Discorder CITR-FM (Radio station : Vancouver, B.C.) 2007-08-01

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august 2007
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that freally magazine from citr 101.91m    1 they shoothorsey^ don/tthey? the/vcwicowi/er vUghty dcurxdt/wind/
elCgabeth the/safety show burnside' new yecwy resolution/ fun/100
three/inxfaefr of blood/ the/pcvch Spe&ktngsofdevity the/badxwvipy
Joel/ the/ra^nand/the/sCdewaXh mr. plow the/winhy ga^ngbarig^
tKe^wvohcvwk/lodge/ hotloiny org<xn/trcul/ wiaow my projectibluje/
leaJvabrawison/ humxwvhO-lite/reel/ the/weather rock/n the/Jolty
ktdythese/ dayy the/scdteerw coUapsing^ oppositely go-ghetto-tiger
doverhoney nicely vUeely the/sore^x^nin^ea^gley sarah/wheeler
blcvchrice/ the/Witnewprote<tton/prot^am/ d/tret/Ion/ jUAnp+dath/
fond/oftigery the/pe^jgutwy ora*v tlwbeluthty hejira/ parvty boy
victoria/, victoria/ thesbatem&ntsweety foster kare/ the/ natty on/
operation/ makeout rovna*vce/ bossanova/ the/ewohy ready vviad^
the/choir prcuttce^ in/wiedtcuy rey destroyer m/ytoroA^ia/ the/front
mystery mxxehine/ the/r.cud/.i/.ct. the/sa*ddl&sorey brcwvd/vteM) wnit
the/parlour stepy 42 better frierulfrtharv lovery mxytorcycle/ wiarv
voA^cougur the/riff1 ra4%delly itya/living^things ccuLecuAjt/ eUcuy
the/orgarv you/say party I we/bay dte/\   	
Don't miss out on the fun...
Submission deadline August 6, 2007.
Send 3 original songs -to shindig.20076gmail.com
Or, mall CO/cassette/minldlsc to:
SHiNDiG'07, 233-6138 SOB Blvd, Vancouver BC V6T 1Z1
WEBSITE/INFO/SPONSORS: http s//shindig.citr.ca
Anti-Social Skate Shop
and Gallery
2425 Main St.
2016 Commercial Dr.
Beat Street Records
439 W. Hastings St.
The Bike Kitchen
UBC, AMS, 6138 Student Union
Burro's Angels
2535 Main St.
The Eatery
3431 W.Broadway
Hitz Boutique
316 W. Cordova
The Kiss Store
2512 Watson St.
Unity's Comics
3972 Main St.
Magpie Magazine
1319 Commercial Dr.
People's Co-op
1391 Commercial Dr.
228 Broadway E.
Red Cat Records
4307 Main St.
The Regional Assembly
of Text
3934 Main St.
R/X Comics
2418 Main St.
Scratch Records
726 Richards St:
Slickity Jim's Chat and
2513 Main St.
Spartacus Books
319 W.Hastings
Vinyl Records
319 Hastings St. West
A Friends of CiTR Card scores you sweet deals
at Vancouver's finest small merchants and
supports CiTR 101.9 FM. Show it when you shop! te@#(8P
the Gentle j4rt of Editing
elcome to August! I don't blame you I am excited about the prospect tha
Mike "Spike" Chilton
Art Director
Cole Johnston
Production Manager
Copy Editors
Mike Chilton
Brock Thiessen i
c. turions
Ad Manager
Catherine Rana
Under Review Editor
c. turions
Datebook Editor
RLA Editor
Brock Thiessen
Layout + Design
Cole Johnston
Mike Chilton
Justin Banal
Karen Bourne
Meg Bourne
Amelia Butcher
C Carr
Melanie Coles
Julie Colero
Val Cormier
Bryce Dunn
Michael Fodor
Joe Haigh
Sarshar Hosseinnia
Arthur K.
Ben Lai
Christian Martius
Maxwell Maxwell
Steveston Mike
Maya Miller
Robin McConnell
- Greg McMullen
Emma Myers
Jack Prus
Danielle R.
Brock Thiessen
Alex Tornillo
Saelan Twerdy
Padraig Watson
Jackie Wong
Photo & Illustration
Meg Bourne
Cole Johnston
Matt McGale
Jennilee Marigomen
Michelle Mayne
Tina Ok
Quinn Omori
Miss Susan
Connie Tsang
Program Guide
Bryce Dunn
Luke Meat
Frank Rumbletone
US Distribution
Catherine Rana
Lydia Masemola
The Gentle Art of Editing
Vancouver Special Duplex
International Falls + Folk Fest
Robin McConnell
Riff Raff
Bryce Dunn
Techs & The City
' Emma Myers
Greg McMullen
Mix Tape
1                      The Pack takes us on the road, in the van.
Calendar + Datebook
Real Live Action
Under Review
CiTR Charts
The Dopest Hits of July 2007
Program Guide
A preview of the hotly anticipated
documentary's screening, an event unto itsell
with the director and special guests set to hos
1       the evening.                                            IV
Immaculate Machine
When a band gigs relentlessly and has a
good time doing it, good things are almost
always sure to follow. And how, in the case
of Victoria's rising rockers.                       m
13th Annual Reggae Fest
Sun, soca, and...Maple Ridge? Vancouver's
reggae rebel, Bounty Hunta, and his Mends
throw a Carribean party in the far outskirts
of Vancouver, and everyone's invited...      M
Frontman Dan Snaith has seen a lot: from legal
action over his band's previous moniker to the
land that inspired the title of his new album,
Andorra; Caibou's music is the better for it. Mr 15
Welcome to August! I don't blame you
if you thought it would never come, what
with the weird summer we have had so far.
I hope the various labour problems that began last month here hi Vancouver have not
caused you too much inconvenience. My
shouts go out to anyone who may still be on
the picket lines. I wish for things to work out
fairly for you.
Such turmoil is a fact of growth and of
change, and there's been plenty of all that
here at Discorder over the last few months.
During the last half year, CiTR's publication arm has undergone what amounts to a
complete editorial staff changeover.
, Art director extraordinaire Cole
Johnson and I have essentially worked as a
short-staffed, two-person unit ever since my
start as editor. As of this month, that has
all changed, as we welcome on Cheyanne
Turions on board as our new production
manager. Let's just say life during production week in the Discorder office will be a
whole lot less stressful with her around!
Speaking of staffing changes here at
Discorder, I must also note that we have a
new Real Live Action (RLA) Editor as of
last month. It is my pleasure to greet Brock
Thiessen, the proofreader with the eagle
eye, to the team. He replaces outgoing RLA
Editor, Danny McCash. I admit I goofed big
time by forgetting to credit Brock for his
hard work in last month's masthead, so
hopefully this shout-out with help partially
atone for that flub.
But that's not all the change that's afoot
here at Discorder. This is the first month for
our newest feature, HeyDJ!, which will feature columns from a semi-regular cast of
CiTR on-air talent. It is my hope that Hey,
DJ! will help CiTR listeners become more familiar with these DJs and what their shows
have to offer. This month's Hey, DJ! will feature writings from Alex Tornillo of Salario
Minimo, Steveston Mike of Flex Your Head,
and me, Spike, of The Canadian Way.
Cover Art by Banksy
©DiSCORDER 2007 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation
8,000. Subscriptions, payable in advance, to Canadian residents
are $15 for one year, to residents of the USA are $15 US; $24
CDN elsewhere. Single copies are $2 (to cover postage). Please
make cheques or money orders payable to Discorder Magazine.
DEADLINES: Copy deadline for the July issue issue is August ,17th.
Ad space is available until August 20th and can be booked by
calling 604.822.3017 ext 3 or emailing discorder.advertising@
gmail.com. Our rates are available upon request. Discorder is not
responsible for loss, damage, or any other injury to unsolicited
manuscripts, unsolicited artwork (including but not limited
to drawings, photographs, and transparencies), or any other
unsolicited material. Send words to editor.discorder@gmaiI.com
and art to art.discorder@gmail.com. Material can be sumbitted
on disc or hard copy or via mail. From UBC to Langley and
Squamish to Bellingham, CiTR can be heard at 101.9 FM as well
as through all major cable systems in the Lower Mainland, except
Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office
at 822.3017, or our news and sports lines at 822.3017 ext. 2. Fax
us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our
web site at www.citr.ca or just pick up a goddamn pen and write
. #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
I am excited about the prospect that Hey,
DJ! becoming a popular feature with readers
and CiTR DJs alike—a way for Discorder's
two closest allies to regularly stay in touch
with one another. DJs contributing columns
to Hey, DJ! will find it a unique and casual
way to promote their shows to their fullest
potential, while listeners will get to know
their favourite CiTR shows, and their hosts,
on a more personal basis.
On another front, I would also like to
note that due to behind-the-scenes issues,
the name of our film column has changed
from Cinema Aspirant to Celluloid Exposed;
it is still the same great film and DVD write-
ups you've come to expect from us, just with
a different name.
Finally, before leaving you to peruse
through this month's issue of Discorder, I
would like to remind everyone that we're always looking for reader and listener feedback
to be reprinted in the Discorder Mailbag,
which makes its return this month. Sure the
two pieces of mail we did receive were glowing, but we're just as happy to print reader
and listener mail with tips on how CiTR or
Discorder Magazine can improve. Don't be
shy. Send your feedback to mailbag.discord-
er@gmail.com, or snail us at: Discorder
Mailbag c/o CiTR
#233-6138 SUB Blvd.
Vancouver, BC
You can also email the Discorder
Mailbag from the link on the contact page at
This is everyone's chance to make
Discorder Magazine into something more
akin to a forum for CiTR listeners and talent,
while still providing the cutting-edge music
and arts stories that you have grown to rely
on from this little monthly. In the meantime,
enjoy this issue, soak up the last of summer,
give us your feedback and support your local live music scene!
Mike "Spike" Chilton
Hello Discorder,    -
I am a recent convert to your magazine, and it encouraged me to go seek
out your station. Through CiTR's live
streaming and podcasting^ I've been
listening for months and loving it!
I really like Nardwuar (Who doesn't?
He's crazy...) and the guests he has on.
I'm also a fan of so many other shows.
Ifs impossible to list them all here. Lef s
just say I wouldn't have listened to any
of them, or even known about them, if
I hadn't discovered Discorder that one
fine sunny day. I often listen at work and
I've started downloading the podcasts,
now that I have an iPod. Ifs almost too
much to take in.
There's lots of other radio stations
who should be paying attention to what
you're doing. I've never even seen commercial stations cater to their listeners
so well, and thaf s their job! Keep up the
good work, Discorder and CiTR! I will
continue to listen and read for many
years to come.
Also, I'm glad you brought back the
Mailbag so that I can show my appreciation for all to see.
Lindsay Rothschild
Hi Mike,
I am Stefan [EllisJ's brother and I also
work for Burli. I just wanted to thank
you for your write-up about Stefan.
Thank you, and everyone else involved, for taking the time to compile
this wonderful memory of Stefan. It is
very well written and touching in many
Best Regards,
Andrew Ellis VANCOUVER
It is amusing that only one member of International Falls has actually been
to the Minnesota dry with which they share a name. Guitarist Jeremy Bidnall
explains, "I grew up in Thunder Bay, which was close to there. We went to Fort
Francis, which was their sister city. We went across and had dinner."
"There are a lot of lakes around there," adds vocalist Megan McDonald,
"and frozen turkey bowling."
In fact, only Bidnall knew the city even existed before the band borrowed
that name. "Megan and I just heard it on the radio. I have no idea why actually,"
co-vocalist Jay Arner explains.
Together with their newest member on drums and bass, Jack Jutson, this
four piece band from the seemingly remote suburb of Langley, BC has been
turning heads for years with their finely crafted lo-fi indie pop gems. They
have had some help along the way, however, as it would be silly not to mention
the impressive cast of musicians who have been involved with the project
at one point or another. There is Phil Elverum (Microphones/Mount Eerie),
Jason Anderson (Wolf Colonel), Adrian Orange (Thanksgiving), Carla Gillis
(Plumtree/Bontempi), Amanda Braden (Plumtree), Thomas Shields (Run
Chico Run), Rusty Matyas (The Waking Eyes), and Karl Blau. And that's only
to name a few.
Last year,-International Falls released the vinyl-only album, The Plateau,
which was an instant favourite among reviewers and campus radio station
DJs alike. Therefore, the expectations will be high on September 4, when the
band releases their follow-up album, Achievements. The band was trying to be
facetious in choosing that title, since most of the songs on the record are about
mid-20s aimlessness. But Arner confesses that there might be another reason:.
"I wanted a band called Achievements, and since I got this other band called
International Falls already, I'm obligated.
"(Achievements) was recorded last winter at our house. We tried to make
it a party album, something that you can play at a party, so there's a lot of
percussion," Arner recalls. "The thing with recording this album was we
would do what we feel. When you are recording, you are always thinking in the
back of your head, 'Maybe I shouldn't do that. Maybe I shouldn't haw a stupid
amount of reverb on the singing. Or maybe I shouldn't distort everything on
this song.' So we just sort of ignore that."
As the principle songwriter, Arner explains his creative process: "It really
doesn't take very long to write any songs. They sort of pop into my head. But it
does take long to write lyrics. It's not constant work; it's just waiting for things
to come to my head." iSP"^
Besides recording Achievements, International Falls also contributed a
song to the new album, Wanna Be Your Friend: A Tribute To The Inbreds, a record
celebrating the influential '90s Canadian indie rock band, The Inbreds. "We
did the song 'Attitude." If s a song that I always like singing in the car. I jumped
on 'Attitude,"" says Arner, "Scott, the guy who was putting it together, must
have heard about us from Plumtree. He was a Plumtree fan and he bought one
of our albums. If someone buys The Plateau, I would always try to talk to them.
I'm just curious."
"If you are in a scene where you are not trying to sell records to make
a living, it is really neat to actually know the people that are buying your
records," McDonald agrees. "You are like, 'Why? Who are you? How could you
possibly be buying our album?' For example, Marriage Records in Portland, if
you order it in Portland, they personally deliver it to your door. It ties the people
in that music scene a lot better. It is amazing."  i)
One might expect that the host of a CiTR folk show would set up camp at or near Jericho
Beach Park during the high holy holiday of Folk Fest. Many years, I've taken in the entire 13
hours of music, from site opening to closing. This year, however, I stepped back to experience
the 3 Oth annual Vancouver Folk Music Festival (VFMF) as a casual audience member.
I missed Friday evening's mainstage, but heard good reports about Bhangra Authentic.
Inclusion of the South Asian community in this festival is a better late than never development.
-.Saturday, I arrived on site at a civilized 2 p.m. While I waited for my guest, I caught the end of
a very good workshop with Oh Susanna, Old Man Luedecke, the Carolina Chocolate Drops and
Sam Parton of the Be Good Tanyas. The Chocolate Drops blew everyone off that stage with
their blues and Appalachian numbers.
My music aficionado friend arrived; not particularly enamored of folkies or folk music, she
managed to keep her anti-hippie rants to a minimum. First stop was a shady stage 3 to watch
Geoff Muldaur, an older, white blues dude with some good stories about the old days. What to
see next? I compared texts with a music writer acquaintance of mine who was wandering about.
Utah Phillips (wash your beard, dude)? Ganga Giri (didgeridoo alert)? The Carolina Chocolate
Drops were nearby, so we enjoyed one of the best hours of music that whole weekend.
After a gruelling 20-rninute portapotty line, we crossed the festival site to catch Jim Byrnes
and his band. A tasty horn section, and Simon Kendall on keys, filled out his sound nicely. As
the first band started on the mainstage, we hightailed it to the CD tent and then the food village.
Thumbs up to the new fish taco vendors!
Back to our blanket for the Jamaica to Toronto project. Their old school R&B was very slick
and entertaining, and enhanced by the new video screen at stage right. The Wailin' Jennys also
put on a good set. We gave Toumani Diabate a chance, but perhaps all our years living near the
Drive have put us off Afrobeat-^even the great stuff. Early night brought us an excruciating
bus trip downtown with drunk Irish students.
Sunday marked the final 'Birkenstock 500', but I couldn't be arsed to get up that early; it will
be interesting to see what eventually replaces that mass run. I also missed a reportedly fabulous
gospel workshop with Jim Byrnes and the Sojourners. I did get to see Jesse Zubot collaborating
with Inuk throat singer Tanya Tagaq; it was as freaky in the best way, as one might imagine.
My guests (niece and nephew, ages 5 and 8) arrived. After a walkabout, we plunked ourselves
in front of stage 2, where Geoff Berner, Bitch and the Exciting Conclusion, and Hawksley
Workman were holding court in a rambunctious manner. My niece leaned over to inform
me, in a worried tone, that, "that guy (Hawksley Workman).is kinda crazy." We caught other
performances in passing, but most of the afternoon was spent keeping the wee ones fed and
entertained in the kids' area.
After my brother picked up his offspring, it was time for the big ones to be fed and
entertained. Since VFMF has steadfastly refused to provide an adult beverage area, we headed
to the Jericho Sailing Club. There, the increased business crashed their computers. We went.
back to the mainstage in time for Sarah-Jane Morris, who had greatly impressed at her first
VFMF appearance a few years ago. I loved her "I Put All My Money on a Horse Named Janis
Joplin," about losing a high-profile movie role. The Collaboratory, a band consisting of East Van
types, was better than I'd expected. Theirs was a slick production, avoiding most of the hokey
folk cliches. Unfortunately, their high-tech setup and slightly long set threatened to cause a late
start for the Be Good Tanyas.
After a painfully long turnover, the Be Goods took the stage and started what was turning
into a good set—only to be cut off after about 20 minutes. "Um, this is kinda lame," Frazey Ford
pointed out. An awkward transition into the traditional 'let's all hold hands' finale was a sorry
ending to an otherwise fine evening.
The festival posted an apology of sorts on their website, citing curfew constraints: "We didn't
want to do it, but had no choice." I beg to differ. It was already past 11:00 when they chose
to go ahead with the old-and-tired finale. Lame indeed. Festival organizers had to be aware
of extenuating factors (notoriously slow band to sound check, CBC recording for national
broadcast, complex stage setup), so suck it up, guys. Sorry.
Thirty is often a tricky birthday to traverse, and Folk Fest is doing its best to keep up. Ah, the
blessed absence (at last!) of the birthday and 'Dude, where's my party?' announcements—hell,
even the raffle prizes were better. Including more well-known acts would've been great, but it's
clear that this Fest, at age 30, is finally getting serious about fiscal responsibility.
The folkies still put on a great party, limitecLmeans or not, and VFMF is stiU-a relevant and
important part of Vancouver's cultural landscape. Good luck on the creep towards middle age!
Val Cormier hosts Folk Oasis Wednesday evenings, 8-10 p.m., on CiTR 101.9 FM. t. by
Looking back at the volumes of work that Renee
French has created over the last 15 years shows
an artist who has realfy stepped into her stride.
She has created some of the most original comic work
around by balancing the genre lines between fine art,
children's books and disturbing comix. When one
compares differences between her books, one finds
that each takes on a completely different style and
feeling. The unifying factor of French's work is that it
both disturbs and delights. Top Shelf has put out three
books by French that each play on their own separate
strengths, playing with storytelling in a meticulous
style. The Soap Lady, The Ticking and Micrographica are
sure to please both adult and child alike.
The Soap Lady came out in 2001 as a charming
graphic album that would fit in any kid's bookshelf,
next to Where the Wild Things Are and other excellent
examples of youthful literature. Illustrated in'
exquisitely penciled pointillism, The Soap Lady is the
tale of a young boy meeting an odd, almost grotesque,
bony creature made of soap. It's a story based around
the innocent relationship between the young boy
and the Soap Lady, and the trials and tribulations
that they go through in their odd friendship. Things
eventually degrade, as other people in the young
boy's life discover the Soap Lady and chase her out
of town, back into the sea from where she came. The
Soap Lady works as a children's book because of the
intricate work that French puts into the art and the
story- Instead of trying to do an educational story,
meant to teach something, The Soap Lady is just a fun
story with incredible art that will suck in any reader.
The Ticking is French's most impressive piece
of work by far. It comes in a beautifully designed
hardcover by the uber-talented Jordan Crane. The
Ticking further explores the theme of childhood. But
in this book, it's the tale of a father and son, both with
deformed appearances. While the father is unhappy
with the way they look, the son doesn't see a problem
with his disfigurement and enjoys the blissful naivete
of youth. French's strength in The Ticking is the way
in which she shows the beauty within the grotesque.
Looking at the delicate pencil-work of French sucks
you into a sad, beautiful world. One of the things I find
most astonishing about her work is that she draws in
the same scale as her work is printed. Most work this
finite and detailed is done at a much larger scale, then
shrunk down. Her art shows the exceptional work such
a refined talent can produce. Another great aspect of
The Ticking is the indication that French seems to be
ready to take her work to the next level. The Ticking is
a career benchmark that most cartoonists can only
hope to achieve at some point.
In comparing French's early, more crude work
in Grit Bath, and her illustration work for Dennis
Eichhorn's Real Stuff, you can see that she is a
completely different artist now. While her work
already had the great aspect of being strong and
rough and dirty in all the right places, her latest work
shows an incredible attention to detail. It's as though
she has created perfectly-contained stories that don't
need any touch-ups or altering; instead, French has
covered every last detail. Many of today's great comix,
will feature a lovely Renee French spread. One of my
favorites is in the Fantagraphics smut anthology, Dirty
Stories. In that piece, French creates an odd, silent six-
panel arc that features a watermelon-looking thing
entering what looks like folds in flesh. French leaves
much to the imagination, making the story all the
more disturbing.
Her latest work is almost a step back for her,
focusing on bold lines and telling a more youthful,
ifaftJL 4£Li  dm JU&jLa *
less disturbing story. Micrographica, published by
Top Shelf Comix, French's mainstay publisher, is as
close she will ever get to publishing a pocket book.
Measuring around the size of a hand, Micrographica
is a mini journey into the land of a group of little
rodents and their prized ball of poop. Personally, I love
stories with poop. Poop is funny on so many levels and
not used nearly as often as it should be. Micrographica
focuses on the friendships of her filthy protagonists
and the struggles of a day in their lives. It is a simple
and wonderful story that you can read over and over.
Even though Micrographica is done in a simpler style,
French has still designed her book to look awesome.
The pages are on this weird pseudo newsprint that
gives the book a good, pulpy feeling. And don't forget
the bonus drawings of crap in the back, by some of
the finest artists in the field, including a Jim Woodring
French is one of those creators whose work is so
odd, and filled with such a great sense of humor, that
I wish I could hang out with her, and get into that
odd mind that creates such pieces of wonderment.
Instead, French spends a good amount of her time
in Australia, sitting by the sea, working on her next
book that will keep me sucked in and wanting more
as soon as I am done with it ft 6
*=L-&X Youft i«At>
Stevesrcm Mfce hosts F/ex Your
Head TUesday evenings, 6-8 p.m.,
bringing you the best in current
and classic punk and hardcore on
CiTR 101.9 FM.
6 Auaust2007
•WfT'>l»IT«$> Sticks
Sorry to skip out on ya last month, folks. It's been busy around my neck of the woods lately. I plan to
make it up to you, though, and this month's batch of goodies will definitely strike a match under yer
butt to get out and find these gems.
First off, a band we told you about last time out. Thee Makeout Party, graced me with their newest
' slab. It's hot off the press and into my hands, and it follows the same sickly sweet formula as their
last. "2 EZ 2 LUV U" is a Bay City Rollers homage, reworked and refined for the modern age with its
pseudo-falsetto vocals and bouncy backbeat. "Hedberg Boogie" starts off innocently enough with a
Merseybeat-style intro then strays into "extended jam" territory as things continue—but before you
can lift the needle, it quickly reverts back to its origins and ends on a humourous note. Apparently an
album is in the works, but in order to satisfy your bubblegum cravings now, chew on this and hope the
flavour doesn't go stale. (Burger Records, 1370S. Sanderson Anaheim CA 92806)
One band that has created renewed flavour for their fans is Vancouver's power-pop princes the Pointed
Sticks. Back on the scene after a 25-year (what they call) hiatus, they graced Vancouver with a show
back in January and will do so again this month to celebrate the release of their newly-minted single.
"My Japanese Fan" tells the story of their sojourn to the Far East and how they fell in love with the
people they thought had forgotten about them. There's also a clever double-entendre lyric in "looking
for Shelter down in Tokyo," a reference to a club in the capital city and the romantic point of interest
for our protagonist "Found Another Boy" takes musical cues from Joe Jackson's "Is She Really Going
Out With Him?" and early Squeeze to form a mid-tempo ballad akin to their early days classic "The
Real Thing." For longtime fans, this is a must-Jiave for their collection. For the new and curious, this
is worth a listen and might inspire you to catch them when they hit the the Red Room stage Saturday,
Aug. 25. (SuddenDeath Records, Cascades POBox #43001 Burnaby, B.C. V5G 3H0 Canada)
In researching the band Good Shoes, I came across the track "Morden" from their debut LP, Think
Before You Speak. It takes an ironic tone in a quirky look at their hometown. Described as "not the
sort of place you want to take your kids to," you wonder what still makes them, so chipper in such a
lackadaisical sort of way. If Maximo Park had more cheek and the Libertines didn't suffer from a coke-
addled image, you would have this foppish foursome. An EP was released before the record made it my
way, and I dig the crackin' (that's the new "wicked," BTW) tunes on display here, too: chirpy guitar,
crisp drum work and soul-bearing storytelling are the order of the day for these guys, so you may want
to take a gander. (Brille Records, www.brilIerecords.com)
Finally, an unearthed treasure makes its way to wax courtesy of two hard-working music fanatics
in New York. Before the quasi-legendary psych group Love hit the scene in Los Angeles, circa '66.
lead singer and mastermind, Arthur Lee, dabbled in R&B and soul (documented on an EP recently
released by Munster Records) while trying to find his muse. His collaboration with guitarist and longtime friend Johnny Echols produged his first foray into the tripped-out world of Electric Prunes and the
Seeds-styled music, with the formation of the American Four. Not happy with that moniker, they then
settled on the Grass Roots. Because there was another group already in possession of the name, some
of the tracks Lee and Echols recorded (along with the rhythm section that would go on to become Love)
never saw the light of day until just last year. "Stay Away" has a cool folk-punk vibe with its handclap-
happy verses and manic guitar break. The flip "You I'll Be Following" showcases a jangly pop tune that
cites more of a Byrds influence than the pysch edge trie group is known for. This being said, another
winner from the folks at Norton in their quest to uncover lost legends and give them their due—a
necessary purchase, to be sure. (Norton Records, Box 646 Cooper Station NY, NY 102 76 USA)
Back with more musical mayhem next month!   It)
Seeing as how this is my first column. 1 thought I would take some
" time to introduce myself. My name is Steveston Mike, and I host Flex
Your Head on Tuesday nights from 6 p.m. until 8 pm. on CiTR. Flex
'Your Head is a radio show that focuses on punk and hardcore music.
I got the name Steveston Mike about eight or. nine years ago. At the
tune, there were a lot of Mikes' in the scene, and to make it easier,
for people to tell us apart, some people started adding "Steveston"
in front of my name (Steveston is a little area in Richmond where
I grew up).
I first got into punk when I was 14 years old. I can still remember
riding home from school on the bus and a guy sitting across from
me asked if I had ever heard of Suicidal Tendencies. I said no, so he
loaned me his tape. The first thing 1 heard was a song about this guy
talking about seeing his friend's dead mommy and how much he
liked it. I had never heard such outrageous tyrics: I was booked. To
this day, Suicidal Tendencies are stiU one of my favourite hands.
I can also remember the first time I heard Flex Your Head. I was
working as a delivery driver, and one day, I was searching the radio
for something different to listen to. I tuned in to QTR and they were
playing some heavy band I'd never heard before. Again, I was hooked.
The band turned out to be Biohazard, and 1 immediately went out
and found the album in some record store. That was back in 1991,
and Eric Flexyourhead was the host of the show. Ilistened to the rest
of that show and made sure to tune in every week for he next 16
years. During, those years, I became friends with Eric, and from time
to rime, he would ask me to come in and hang out with him at the
studio while he did the show. We always had a fun time.
Just over a year ago, he called me up and asked if I would be
interested in taking over for him. My first reaction was he's pulling
my leg. Even after he finally convinced pie he was serious. I was still
shocked that he would ask me to fill his shoes. Over the years, he has
introduced me to some amazing bands that 1 would probably never
have heard of if it hadn't been for his show. However, once his offer
sank in, it didn't take long for me to jump at the opportunity. Over tlie
next eight or nine months. I trained with him every Tuesday to learn
how to use the equipment and become a DJ. It wasn't all work though:
we had a lot of fun hanging out and playing some good music. Then
one day, Eric decided that it was time for him to step down alter 18
years of .hosting Flex Your Head. He gave me one week's notice to
prepare, and then he threw me to the airwaves by myself.
For the past six months, I have tried to maintain the high standards
that Brie set I have done my best to keep to the same format that he
had for all those years, while slowly introducing my own musical
tastes to the listeners. I only hope that one day I can be the guy that
some young kid out there is listening to, excited about a band that he
may have never heard of if it weren't for Flex Your Head.
More Hey, DJ! on page 18...
Top Ten for July 2007
1. Violent JVtinds -\ We Are
Nothing [Deranged]
2. Fire at Will,- Today Is Mine
[I for Us]
3. In Stride - Place of Decay
7-inch [Bottled Up]
4.108 - A New Beat from a
Dead Heart [Deathwish]
5. Face the Panic-
The Reclamation [Reaper]
6. Never looking Back -
Fragile Hearts [Detonate]
7. What life Is - demo
8. Christian Club-
Final Confessions 7-inch
[Sorry State]
9. Destroy LA.-Vandalize.
7-inch [No Way]
10. Make It Count-Make It
Count 7-inch [Defiant Hearts] techs
The Fascination with Facebook I ■! /"^
by Emma Myers LAXV-^
The world's fascination with passive viewing has
long been exploited for entertainment purposes. From
the Kinetoscope to the television, each new format
has brought with it a new set of social concerns and
reactions. The. power and pleasure of voyeurism is
brilliantly exposed and explored in Hitchcock's film,
Rear Window. The protagonist, L.B. Jeffries, is an every
man who happens to be incapacitated with a broken
leg. Confined to a wheelchair in his apartment, he
takes to peering into his neighbours' windows (and
lives) through his binoculars. Hobby turns to all-
consuming obsession as Jeffries transforms himself into
a seemingly omniscient observer, seeing and knowing
all about everyone. The emergence of the enormously
popular cyber community, Facebook, has bred millions
(over 30 million to be exact) of voyeurs similar to Mr.
Jeffries by essentially creating an online apartment
buflding in which everyone's blinds are alwa^re open.
of providing a network that would connect college
students. In its early stages, Facebook was unique to
students at Harvard, the alma mater of creator Mark
Zuckerberg. It then loosened its girdle to include all Ivy
League schools and, later, to include almost all colleges
and universities. Next, it became available to high
school students. Facebook is now so broadly available
that basically anyone can join, as there are a variety
of networks that have nothing to do with school (for
example, geographical regions).
To a generation raised on instant messaging and
email, at first glance, Facebook doesn't appear to be
anything revolutionary, but it is. Like Jeffries, Facebook
users—most of who are university students—have
allowed the program to become a central priority in
their lives. Only instead of being incapacitated by a
broken leg, the majority of students are incapacitated
by their own boredom. Facilitated by on-campus
wireless Internet, students browse profiles during
lectures, in between classes or as a substitute for
studying in library.
However, the most important distinction between
Jeffries and Facebook users is that, while Jeffries
remained an anonymous voyeur, Facebook users are
well aware that they are simultaneously watching
and being watched. This has given rise to the twin
obsessions of looking at others, as well as presenting
oneself. Personal profiles have evolved to become a
type of self-advertisement. It has come to the point
where the goal of an evening out is to take a profile-
worthy photo. '■3z£&\
The photo component of Facebook has proved to
be its winning and most addictive feature. Facebook
photos inform others what everyone has been doing
and where they have been doing it. With the exception
of a few albums documenting exotic travels, the
majority of photos depict inebriated, red-faced and
squinty-eyed college students, smiling overzealously
and holding an alcoholic substance of some kind in
one—or both—hands. One would think that after
looking at two or three essentially identical albums,
people would get bored. On the contrary, this photo-
stalking is like an addictive drug that induces a high
from the false sense of omniscience that Facebook
grants users.
What Jeffries learns at the end of Rear Window is that
there is no such thing as true human omniscience—a
lesson that would perhaps help many Facebook users
break their addictions. If Stella, Jeffries's maid, thought
that the world had grown into a bunch of "peeping
Toms" back in the '50s, I can only imagine what kind
of bitter phrase she would use to describe us now. it
Hollywood wants you to believe that unauthorized downloading is worse than bank robbery.
In June, a delegation of powerful industry representatives and lobbyists appeared on Capitol Hill
in Washington to talk about a major problem facing the world. In a speech by Rick Cotton, general
counsel for NBC/Universal, he set the stakes:
"Our law enforcement resources are seriously misaligned. If you add up all the various kinds of
property crimes in this country, everything from theft, to fraud, to burglary, bank-robbing—all of
it—it costs the country $ 16 billion a year. But intellectual property crime runs to hundreds of billions
[of dollars] a year."
Cotton hopes that U.S. law enforcement will shift its focus, concentrating on intellectual property
crime rather than other forms of property crime. The reasoning seems pretty clear: since intellectual
property crime costs the economy at least 13 times as much money, intellectual property crime should
be treatedfar more seriously.
Urifortunately for Cotton, there are two key problems with his argument. First, the numbers he
presents are uncertain, if not complete fabrications. Secondly, and more disturbingly, he shows a total
disregard for the very human nature of crimes against real property and the social ills that come with
them. ia^af
Let's look at the numbers first. The figure of "hundreds of billions" is not exactly precise in itself.
Are we talking close to a trillion, or closer to two hundred billion? There's no word on what makes up
this kind of crime. Are we talking about kids downloading Mims's "This Is Why I'm Hot," organized
criminal cartels selling bootlegged DVDs or Cuba refusing to recognize U.S. drug patents? The figures
thrown out by the movie and music industries never come close to hundreds of billions. The biggest
number the movie industry has offered comes closer to $6 billion—soil large, but nowhere near the
"hundreds of billions" territory. What else is included to pad the losses?
Another issue is exactly how losses are calculated. If people aren't going to see Fantastic Four
2, is that because they don't care about the Silver Surfer or because they downloaded it? If no one at
all went to see it, would the loss be the amount the movie cost to make, or the amount they expected
to profit? Even if you could count up the number of people who download a film or album, you
can't show that they didn't buy it later on or would have bought it if the album wasn't available to
be pirated, Understanding all these complex factors requires a detailed analysis—one that I doubt
industry lawyers and beancounters bothered to carry out.
The numbers problem becomes especially clear in the Canadian context. Recently, the Canadian
Recording Industry Association (CRIA) announced what it called an unprecedented decrease in sales—
down 35 per cent from the previous year. Graham Henderson, the president of the association, said
it was a wake-up call to the federal government. He said these numbers made it clear that something
needs to be done to-end piracy in Canada. But Michael Geist, a copyright lawyer at the University of
Ottawa, has pointed out that in April 2006, several Canadian record labels, including Vancouver's
Nettwerk, left the association; therefore, the association had less product to sell. Of course their
numbers went downl Geist suggests that if sales of the six absconding labels are taken into account,
CRIA might actually show growth for the 2006-2007 year, rather than the 35 per cent loss.
Here's a challenge to Cotton's crew and other industry puppets: break down these "hundreds
of billions" for us, so we can see exactly where the losses are corning from, and then show us the
methodology you used to come up with those figures.
For now, however, let's do something Copyfightl rarely does—let's give the industry groups the
benefit of the doubt concerning how much money intellectual property crimes realfy do cost them.
Does this mean that intellectual property crime really should receive more law enforcement attention
than traditional property crimes?
Lawyers tend to put dollar signs on everything. This makes for great
jokes about greedy lawyers, but there's a good reason for it. If 50 CDs are
stolen from a store, you can figure out what those CDs were worth and
itemize the damage done. The owner might not get the CDs back, but
their insurance can shell out the dollar value and put such victims back
in roughly the same place they were before the crime.
But what if someone breaks into your house and steals the same
50 CDs? You've lost the same dollar value as the store, but you've lost
something more important: your sense of security and safety in your
home. Even if your insurance pays to replace the missing collection, it's
impossible to put a dollar value on the safety that should come when
you lock your apartment door. The law is great at calculating tangible
losses, but this kind of loss falls through the cracks. This doesn't mate it
less important, though.
However, this is about more than copyright and intellectual property.
It's about our safety and security when we're at home or walking down
the street. Cotton is suggesting that these violent, invasive crimes are less
important than infringement on intellectual property, simply because it's
easier to put an inflated price tag on intellectual property crime. Cotton
wants fewer cops investigating bank robberies and break-and-enters so
they can spend their time looking for movie bootleggers. This is more
than stupid; it's dangerous. Cotton and his ilk have to be stopped, and
even if they succeed in influencing the guys on Capitol Hill, they must
never be allowed to do the same in Ottawa.
Copyfight! Update:
Back in the Jancember issue of Discorder last year, I wrote about how copying music
from a CD you bought to your iPod was illegal, thanks to strangeness at the Copyright Board
of Canada. The board has not been sitting still. They've looked at the original decision and
overturned it. They plan to bring in a small tax on the purchase of iPods that will allow for
private copying. If you've paid the levy, you'll be able to legally copy music to your iPod or
other MP3 players,   f)
Discorder   7
ore than words
..SELLS OUT in   .
Vancouver id
SUP      jacki
How does a Hhm about a typeface self out in a day-and-a-half?
The Vancouver premiere of Helvetica, screening Aug. 7 only at the Empire Granville
7 Cinemas, sold out in the first 48 hours of tickets first going on sale. The documentary explores the ubiquity of the popular sans-serif typeface and its cultural influence
on graphic design. Like times New Roman's cooler nephew, Helvetica has become a
household font, widely used in public spaces and mass media. Surely Courier never
garnered this much fame.
Director/producer Gary Hustwit is the producer of five other documentaries, amdng
them Wilco's / Am Trying to Break Your Heart and Death Cab for Cutie's tour diary,
Drive Well, Sleep Carefully. Helvetica premiered at the 2007 South by Southwest
music festival, and the B.C. chapter of the Society of Graphic Designers of Canada
(GDC) helped bring the screening to Vancouver.
"When we originally started to book it, we were looking [at] a small scale [screening], but as the film started premiering across the states, we realized it was becoming
a much bigger, more popular film than we expected," says Cory Ripley, GDC events
chair. "We had a lot of [GDC] members ask for the film," says Cory. "TheYe's a little
bit more to it than just a film about a typeface. It really talks about how Helvetica is in
everybody's lives."
The Helvetica typeface celebrates its 50th birthday this year. "How did a typeface
drawn by a little-known Swiss designer in 1957 become one of the most popular
ways for us to communicate our words, 50 years later?" asks Hustwit. Douglas Coupland and Jim Rimmer will weigh in at the Vancouver screening as guest speakers.
Coupland, a writer and visual artist, is known for authoring Generation X, Microserfs,
and works of non-fiction. "He uses Helvetica in most of his books," says Ripley. "Most
people don't realize his background is graphic design."
Rimmer is a celebrated typographer, lithographer, illustrator, and designer, and is
considered a Canadian hero in the graphic design industry. He has worked in all
aspects of the industry, including traditional metal type-casting methods. "He's been
involved with [design] for 50 years," says Ripley. "He's an artist and a tradesman."
In the event that extra tickets become available for the currently sold-out Vancouver
screening of Helvetica, the GQC has created a ticket waiting list for eager patrons at
http://bc.gdc.net/helveticafilm. The documentaiy is set for DVD release in October 2007.
I   ■
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WWW.PUZACLUB.NET the restless life of
" been logging a great deal of travel time this summer.
June saw the band making repeat milestone visits to
Vancouver. One for a pre-release listening party at
Red Cat Records to celebrate their new album, Fables,
and again for an album release show at the Ukrainian
Hall. They then jet off to do a five-gig mini tour of
London. Near the end of July, the band set out on yet
another cross-country tour—this one running east
to west and set to end in early September. It's no surprise then, due to their busy schedule, that the band
had to reschedule a number of interviews before we
finally settled down on a park bench in Strathcona on
the night of their album release gig for a little chat.
Keyboardist Kathryn Calder says -that after their
long time on the road supporting Transporter, the
band's second self-released album, "Mint signed us
because they were like, 'Wow, you just did, like, six
months of touring in Canada!'" Most bands would
balk at such a task, but as evidenced by this summer's
lengthy tour schedule, Immaculate Machine can't
wait to get in the van.
Brooke Gallupe, guitarist and lead singer, explains
that success found them when they took things into
their own hands. He says it is "the only way that anything has ever really happened for (the band)."
I had the pleasure of first meeting Gallupe a few
«uo*eU and u
fay Julie Colero
months earlier in the cozy and cluttered apartment he
shares with his girlfriend Leslie, located above Victoria's most happening nightclub, the Red Jacket. Brooke
is not entirely content with his living arrangements
(as chronicled in the song, "Nothing Ever Happens,"
found on the band's new album), and seems rather
conflicted about living in a lovely, but "dull" city on
an island. These sentiments might help explain why
he.channels so much energy into the band he shares
With drummer Luke Kozlowski and Calder. The sense
that all three bandmates are aware of something bigger outside the confines of sunny Victoria is clear from
listening to their albums and hearing them talk about
their motivation to get out on the road.
Getting out of Victoria affords the band the opportunity to get noticed. While favourable reviews at
Pitchfork and write-ups in national and U.S. magazines are always helpful, playing shows has proved to
be the best way to amass their fan base.
"We were talking with the guy who owns Ditch
records in Victoria, and he was saying that most of
the people who buy records are over thirty," explains
Kathryn. "It's hard to force kids to buy music. They
won't, they'll just download it. Not necessarily download it for free, you can download it on iTunes and
you're still supporting the band, but you just don't
bother walking down to the record store." Immaculate Machine's busy live schedule, peppered with all-
ages shows whenever possible, ensures that, despite
a downward trend in record sales across the board,
they still stand a chance of making it.
continued on next page continued from page 9
Both Gallupe and Kozlowski are involved in a regular Sunday pickup game of baseball in Victoria. When
they were in Vancouver early in May, the band or:
ganized a game at a local park, which afforded us a
chance to experience the pleasure that is a good nine-
inning excuse to drink beer, eat popsicles and run in
base-dictated circles. My favourite aspect of the game
was the "no strikes" rule, which might be a good metaphor for the way the band looks at the music scene.
Despite the frustrations, and necessity, of endless
hard work and networking, everyone's outlook remains positive. This diligence has assured that with
each new Immaculate Machine release, their fan base
grows. The Fables release show, where the band shared
the stage with Victoria, Victoria! and Meatdraw, was
a big success, but the reality is that that's not always
the case with Immaculate Machine concerts. According to Calder, "You have to soldier through. You don't
have to always soldier through them with the best attitude, but we try, because the 20 people paid to be there
and they're there to see your band, so you'd better put
on a show."
Gallupe counters with the optimistic: "Twenty people in a closet would be pretty awesome." But then he
puts things into perspective, "We've had shows with
150 people that seemed pretty dead, because we were
hoping for 500, or something."
Calder agrees, noting that when they draw "Forty
people and it's packed because it's this little art space
and everybody's sweaty and dancing around...you're
like 'yeah!'"
Forty-person shows are a thing of the past for Immaculate Machine, though, as felicity has propelled
the band and its members onward and upward. Calder
has been a member of the New Pornographers for a
couple of albums now, and she revealed that the New
Pornographers' slot on the Glastonbury bill may have
aided in facilitating Immaculate Machine's mini tour
of London. Regardless of how their first tour outside
of North America came to be, nobody's looking that
gift horse in the mouth. Connections born of Calder's
New Pornographers gig also provided Immaculate
Machine with the producers for their new record
(they worked with Vancouver's JC/DC and the Hive in
the past).
The band fits remarkably well on the Mint Records
roster, as the label is a strong proponent of music that
is, well, plain old fun. That's not to undermine the
messages of the band's lyrics, which are often political or slightly cryptic. Though, as the band learns to
collaborate on lyrics, they are becoming less serious.
Calder jokes, "Brooke explains my songs to me sometimes. It's pretty funny."
Calder insists that the new album is "just a bunch
of songs," and that, "We could pretend we had this
big master plan for what we wanted our record to be,
and a big concept or something, but we didn't. Even
if you did have that, I guarantee that it wouldn't turn
out like that."
So what did Fables turn out like? The album is 10
songs of gorgeously-orchestrated pop music, with the
upbeat single, "Jarhand," that was given the honour
of being an iTunes single of the week; It has enough
additional toe-tappers to keep old fans hooked and to
reel in new ones. The band had great support from
iTunes, with the album being featured and the members being given a chance to create celebrity playlists
to highlight their inspirations, both old and new.
When listening to Fables, Gallupe says it's best to
keep in mind that the album is very much about the "
band, and not its influences: "It's about our travels.
We travel a lot, and that's kind of what we do. And we
write about fights we have with our girlfriends when
away from home. And we write about just driving
around and seeing crappy cities, and coming home to
a boring but nice city. And being frustrated with the
music business."
The band works together to craft solid songs that
many music journalists have been wild about. But Kozlowski insists that isn't his motivation when creating
music: "I consider myself an optimist, but we still have
all of our challenges and we've still got to work through
them and try to understand them. Music is a way of
trying to work through that. It's pretty cathartic."
All three band members are hyper-aware of the
changes Immaculate Machine has gone through
since its inception in 2002. Says Gallupe, "You definitely want to progress and evolve and try and challenge yourself, and try and surpass what you did on
your previous records." He adds that, thanks to the.
vast amounts of time spent together, the band is "more
comfortable editing and vetoing each others' ideas,
and stuff like that. So there's not as much of, 'Oh, I like
the album, but I hate that part,' or whatever, on the
newest album." This comes across loud and clear, as
you can trace a real sense of continuity in the themes
and sounds on Fables.
Whatever ambiguities are left for Immaculate Machine to sort out in their music, they have plenty of
time to figure them out. Whether that be in the recording studio, sweating it out on the stage, waiting in line
at the Schwarz Bay ferry terminal or chatting in the
dugout on a sunny afternoon, a strong team mentality rules Immaculate Machine. It will surely help guide
them through many more successful tours and albums, b
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by Maya Miller of
We have no band van. I repeat, we have no band van. We just played our 24th show this year on the
vehicular graces of friends, family and a cab or two. On top of that, we have this addiction: we just
ean't turn down one-off shows out of town. So, rather than renting a car, we instead invite a friend
with a car to join us for the weekend^—you know, to go somewhere else, to drink our free beer, to sell
our merch and; along the wayrto form a whole new bond through exchanged stories of barfing in and
at inconvenient places and times. Recently, we played at Doc Willoughby's in Kelowna. This bar is a
band's dream bar. They treat you like gold (no joke, can you marry a bar?). Kent McAlister (of Kent
McAlister and His Iron Choir) was our buddy on the long ride up.
Our mix tape is a little slice of our road-trip weekend. Trust me, you shoulda seen the other guy.
"Jtoch Bround The Clock" - Bill Haley and the Cornets
I absolutely dare you to not dance in your seat. Impossible.
"Bhy of Bod Ulaster" - Hellsing Soundtrack
An absolutely brilliant piece of musiclrom the Anime series Hellsing. Melancholy
and hopeful at the same time—especially when the ghouls chime in.
"Bon't Etop Belieuin" — Journey
Journey and the open road...'nuff said.
'Haue Loue WJill Trauel* - the Eonics ^
Props to the Black Keys for covering this song really well, and yet nothing beats
this version done by the Sonics. This guy's screams are so righteous.
"Rag S Bone" - the MJhite Etripes
This call and answer song from Icky Thump is the Stripes getting back to what
they do best. You can pracftcally hear their smiles. Plus, it made Kent giggle.
"Cigaro* — Eystem of JH Bourn
You might think, huh? But if you know us, you're all like, "Yeah, duh."
"Leaue Her Blone" - Junior Himbrough
"UTIannish Boy* - OTluddy SDaters
Becky picked this as the first song in the van, putting the kibosh on Vivaldi.
"37=1=1 James Road (Oue)" - the Groundhogs
Shouts out to Stan at the Railway Club for enlightening us about the Groundhogs.
This song is an epic 11-minute-plus jam out and has the best riff ever. I kid you
not. If you're a musician, it makes you want to play. If you're not, I swear it'll
make you want to learn to play something, anything. It's that good.
TjR Radio, University ofBtjtAfMumbia's award winntngand le$dii%campm radio station
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ann i al fundjgg drive including ^urf&vohiateer neruitment, sponsorship solicitation, deveiojsnent of materials,
and documents for programmers, volunteer* anC&atpners * Menage central risjff interna and volunteer ttaff
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S^^^^ropoi al* tor staff ^cr4tttnest tStgJ^h'HRDr, v orkstudv and fHfeer ettpoyaierit fondinif programs *
^i^fcta«)^tkiWi^e«HKe^ * Organize spef^ptoJ«ct*Jni;oai&ep8feiFw^ tk* Radio
Sta! ion as re^uie*d**%Eirkwtb'©si^incetlag.a!tHlIT Consultants to>eraiiHt&at the station's bwdcajr^andd^aajl
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related to staff the Hoard thfctec^WW,|S^amSlel»a^tSClIRIHe8!4«S$'i, JiBftwopealiHesSf aaitfi
l>etween sttgiipstation members *§Over«e^me'<kvelopnient and jganagemeatof comtnimnaUon itstn&s
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Provide consultation to^te^^^K and advertising negotiations ^^^fe^the aeationue^^^sfiireleases and
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* Excellent ^^^Mi^e^^mfs^i a^dfj^Ecrship skills *'3ier^tj%^alS%iwledge of and cxparient^ in a<anmus>
.andfer-tiomrounityridio Setting * A thorough understanding of tfe-fiafe played by community based <&o&os
broadcasters * Strong Jto^Kp^^^&3C, particularly its poli^^^Ks&ung to campus h.iscd com^^ntty
radio * Strong understanding of in^ijffipsi and communication technologie»«pK|fi^s^plications in campus
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"Last Ouing Bouls"
This is one of the last songs I remember hearing before it was my turn to drive and
everyone fell asleep on me. My only regretis that I didn't grab my coffee before
Kent passed out on it.
Discorder   11   Wmdd and Jmagea ^^^,2001 fl
f'am Swtefiwc 3i&Adeitinia
224th SUeet in Maple Slidye
•ach year, Maple Ridge hosts a party, a Mardi Gras-like carnival to celebrate
the summer. It brings out the town folk in a fun-filled day of unity and music
losted by local businesses, as well as entertainment provided by part-time
musicians from in and around Vancouver. The theme of the day was reggae, but
the day also offered up calypso, Brazilian salsa, big band and soca music. As well as
live music, there were vendors selling authentic Caribbean food, clothing and beads,
along with street entertainers and kids rides all sharing one jam-packed street.
Although the layout was basically the same as last year, you could sense that the
festival had drawn a larger portion of the community. More thanl8,000 people
attended, and stayed late for the salsa dancing and a form of Carribean dance
called "winding." They also in stayed in anticipation of the draw to win a trip to
Cuba, which took place at the close of the show.
Midday celebrations began with Bounty Hunta, whose late arrival allowed the
Pizza Jerk's owner to soundly deliver a taste of his dub and dancehall tunes from
the decks. Bounty Hunta was technically sound, but what was really impressive
was the contribution made by Hunta's DJ, BK Da Black King, who picked up the
crowd and sped up the dancing with his body-rocking freestyling. They electrified
the crowd in attendance, which was taking advantage of the recent heat wave, as
well as these tunes.
Once the first act was done, all eyes turned to the main stage, where Tropical
Heat brought their steel-drum act to the festival for the first time. They engaged
the audience in a communal dance, and their act provided a rich soundtrack to the
proceedings. It also helped set the bar for the rest of the day.
The party continued with limbo dancing and the music of La Candela, but it
was the sound coming from the gospel band Caribbean Redeemers and their roots-
reggae style that really embodied the Caribbean mood.
Once that music stopped, most people headed for the main stage to see the
performance by the Marlin Ramazzini Band and Carl's Sound Vibes. During their
set, large chunks of the crowd were dancing up at the front of the stage, where
the party had found its rhythm. Maffie had succeeded in gathering members of
the audience up on the stage to "large it up," while individuals showcased their
winding talents in the front row. The Brazilian dancers also made their, way up
onto the stage, along with the Phase HI Steelbandand, and helped cap off a fine
day of partying. • v
Roll on to the Reggae Festival next year. It is a great opportunity to lively up yourself!' ^^^^^^^B
■■ri4-"M" usic anc* mat^ run hancl in hanc'. and Dan Snaith is living proof. Two years ago, Snaith, better known
.::ii |:::ji Ml as Caribou and formerly as Manitoba, completed his PhD in mathematics at London Imperial College,
.:JI-' JU- Ij- specializing in what he calls the "arcane subject" of algebraic number theory. Since then, he has been
wgrking on his latest album, Andorra, set to be released on Aug. 21 on Merge Records.
Snaith's first album, Start Breaking My Heart,-was released in 2001 under the name Manitoba. Glitchy, yet well
structured and ever so easy to listen to, the album was well received by critics and fans alike. After a second critically
acclaimed release as Manitoba, Snaith had a run-in with a Manitoba of another kind—"Handsome Dick" Manitoba of
the '70s punk band, the Dictators.
Dick threatened Snaith with a trademark-infringement lawsuit. Rather than challenge the litigious punk in court,
Snaith changed his name. He says that the experience was, "intensely frustrating for a short period of time. He
[Handsome Dick] had a lawyer working pro bono for him—a really reputable trademark Tawyer—and I just didn't have
the funds to take it to court. I didn't have the resources to fight it, but would I really want to spend a year in litigation
with this person whom I had no interest in even interacting with at all? Once
I thought about it in that light, I was like, 'This isn't something that's worth
wasting that much time over.'"
Since the change, Snaith hasn't looked back. Taking the time and energy
that could have been wasted on prolonged legal wrangling, he produced The
Milk of Human Kindness, releasing it to rave reviews under the name Caribou.
Since then, he finished his PhD studies in London and turned to working full
time on recording his second album as Caribou, Andorra.
Before this new release, Snaith had to balance recording with his PhD
studies. Completion of the degree then left him with more time to focus on
making music: "I literally worked on music every single day, probably six or
seven days a week, from January 2006 to January 2007, all the time. I'm an
obsessive, workaholic person, so maybe it's a bit unhealthy that I didn't have
something else to balance'me out. I became this hermit and was recording and
recording and recording all the time, but it's always what I wanted to do. It's a
luxury to be able to spend your full-time recording, so I'm very happy with it."
Though his sound has changed with every album, the production end has
always been consistently obvious. The first thing that many fans will notice is
that Andorra is less about beats and blips, and focuses more on melodies and
vocals. In fact, narrative can be found in almost every track, along with a distinctly 1960s psych-pop sound.
"The new album is based on writing songs. Not in the sense of the lyrics,
but songs in the sense of fitting melodies and chord changes and harmonies
and counter-harmonies—all those compositional ideas. They aren't so much
about production. In the past, my records were more about being interesting
combinations of sounds. But I've been going back and listening to songs
more about the way they're written than about the way they're produced."
Fans of Caribou shouldn't look for anything autobiographical in the stories
found in Andorra, however. Instead, the album is about what Snaith calls "the
sensation of making music" rather than the lyrical content.
"To me, the interesting thing is, if you write down words about a very sad
•experience in your life or a very happy experience in your life, it's very easy to
see how that would be a good starting point. There's an obvious starting point
to some sad music or some happy music. It's a way in," he says.
Instead, Sriaith attempts to create a mood first, then build his stories and
characters just enough to help flesh out that feeling. "The stories and the
characters in the songs, are just sketched out to evoke whatever feeling the
music's giving me rather than the other way around.;
"The music that I love the most in the world are the kind of pop songs that,
when you listen to them, you get a lump in your throat or you get really sad, or
euphoric, or both at the same time—music that's really affecting. And the way
I make music is a head-space thing, where I just get lost in messing around
with musical ideas If it's going well, it has some kind of emotional effect on
me, and I'll be jumping up and down with headphones on in the middle of the
night,-or it'll make me melancholy. So getting into that, working almost until
there's some kind of trance-like state working on me, until it has that kind of
effect, is what really inspires me about making music and what excites me
about making music. And that kind of eureka moment of something really
working, and everything really coming together...it's escapism, from whatever
you're feeling to something else entirely."
This escapism might help explain the geographical nature of much of
Snaith's work. Many of his song titles are taken from places—"Dundas,
Ontario" is a track on his debut album; Drumheller, a small town in Alberta's
Badlands known for dinosaurs and a yearly outdoor passion play, lends its
name to a song on The Milk of Human Kindness. Other song titles include
references to dirt roads and mountains. Even Snaith's old name, Manitoba,
is a nod to a physjcal place. The new album* Andorra, takes his geographical
fixation a bit further, providing a physical context in which to start exploring
Caribou's work.
The name of the album comes from the tiny principality wedged between
France and Spain in the Pyrenees Mountains. Andorra might sound fike a
beautiful place, but when Snaith travelled there in the middle of recording the
album, he was surprised to find this was not the case. -
continued on next page
The "Melody Day" video shoot (www.caribou.fin). continued from page 15
"It's set in an amazing mountain landscape, but it's a really horrible place. It's just tax
havens, so it's all cheap duty-free stores and crappy knick-knacks and tourist stuff and
memorabilia and souvenirs. It was actually very different from the place that I imagined in
my head. But when I'm making music, it's all about escaping the reality that I'm recording
in—this crappy little room in my apartment, or whatever—and escaping to this place in
my head to enjoy making music. So the Andorra in the title is far more about that place
than it is about the physical place in Europe."
Some of Snaith's influences are easy to spot. His earlier work drew heavily from
the Warp Records style of droning electronic dreamscapes and Boards of Canada,
while Andorra clearly borrows from melodic trance music and 1960s psychedelic pop.
However, some of the other influences are harder to spot.
"I became really obsessed with the films of Werner Herzog in the past year...! watched
50 or 60 of his films and read everything I could about him, or written by him, and
somehow that was really inspiring," he explains. "The kind of weird, metaphorical movies
that you can't really pin down. There's some kind of mysterious quality about them that
was really inspiring for making music."
During recording, Snaith was also listening to a lot of James Holden, "who makes
a kind of electronic dance music that's kind of minimal but also influenced by trance
music. Lots of euphoric synths, but" everything is almost falling apart all the time, then
building and falling apart."
Andorra is being distributed by Merge, which is a first for Snaith. Hooking up with
Merge had little effect on the work he did on the album, however, as it was largely
completed before he even started to shop it around to labels.
"It was kind of like, 'Well, here's the record, are you interested in it?' And they said
straight away, 'Yeah, we love it. We would love to work together.' And, obviously, I'm a
huge fan of a lot of the records that they've released over the years, so it felt like a really
natural home. But when I was making the record, it was just me."
Right now, Snaith and his band are preparing for a long fall tour, supported by Born
Ruffians. He says that fans can expect the live version of Caribou to be in top form by
the time to tour opens.
"We're rehearsing for the next month and a half with the band, from 9 in the morning to
8 at night. Every single night, every single day, seven days a week. I'm a pretty notorious
taskmaster with the rehearsals. I like to get in there and really play."
The tour is starting off in the U.K. in September and winding through Europe before
heading through North America in October and November. A Vancouver stop is planned
for Oct. 30 at Richard's on Richards, just in time for a Halloween bash. If your city isn't
on the schedule yet, don't despair. Caribou plans to take their show further.
"That's really just the beginning of the touring, and then we're going to keep going
from there. It is gruelling, but I really love that. I'm the kind of person who never sits still,
never does nothing." ^f>|9f
For fans of Snaith's work, there's more good news. He plans to continue working
with Merge in the future, saying that, "they're definitely musician-friendly." He does not
plan to return to the scholarly world of mathematics any time soon. For now, music will
continue to be his career: "I'm just doing what I enjoy, and I've been lucky enough that
it pays the bills, to this point."  j)
3 Comedy Stages: ianeane Sarof alo,
Fred Srmisan, My Borowfe Sod's Pottery,
Craig Baldo, Brent Weissbaeb assl others
Urban crafts and DIY goods:
so NOT your fanny's art bazaar,
sponsored by ReadySada
Complete Arts
#1215^ ^f!P JBfflp
•ance Topless**
"Most Radit
Fetish Night
- Terminal
Sr     peningPan'va!!
at The Lotus/455 Abbott
sS&^T^^ ZULU*
No. 15
por Alex TorniUo
Alex Tornillo es productor y locutor
del programa de radio Salario Minimo
que se transmite los Maries de 8 a 10
de la noche por medio del 101.9 FM.
En 1998 la TBC Band
(Takin' Care of Business por
is siglas en ingles), j unto con
The Stamps, J. D. Sumner y los cores de Sweet Inspirations
se juntaron en el Radio City Music Hall de NY para orde-
narle ami mas leche a la memoria del Rey: Elvis Presley.
Todo artista famoso que muere antes de
tiempo es una mina de oro y estos lo sabian,
decidieron hacer on tour mundial fundamenta-
dos en esa idea de que ciertos recuerdos tienen
mucha leche que ordenar. La banda original del
Rey salio al escenario mientras que 3 pantallas
gigantes proyectaban a Elvis Presley cantando
en diferentes epocas de su carrera, unas en el
concierto de Hawaii, otras cuando ya estaba
mas regordete, segun la epoca de la cancion. En
un momento del concierto el Rey dijo "Me han
estado viendo durante toda la noche, ahora qui-
ero saber como se ven ustedes" e iluminaron al
gentio que estallo en una explosion de gritos y
aplausos. ris§i££
Este concepto no es nuevo y en realidad
no fiie tan bueno como el de la Princesa Leia
que era proyectada a traves de R2D2 mientras
decia "Ayudame Obi Wan Kenobi, eres mi unica
Elvis no salio al escenario convertido en un
holograma 3D como la Princesa Leia, sino que en pantallas gigantes, rompiendo asi el record mundial de asistencia
en un eoncierto virtual y se podran imaginar un escenario
con banda pern sin cantante.
Elvis, El Rey, aquel bianco que' cantaba como negro
y movia las caderas como reumatico se convirtio en una
leyenda cantando canciones que jamas escribio, asi que lo
unico que decia, era, en consecuencia, dicho por otros: En
el eoncierto, la realidad alcanzo nuevos limites: un cantante que no existe dijo, durante dos haras, palabras que
no eran suyas.
.Que tanto se puede confiar en las palabras del Rey
virtual?; poco, exactamente lo mismo que en las palabras
de cualquier otro que no es famoso pero que sigue vivo y
que tendria que pasar un milagro para que sea apodado
'el rey.' Muchas veces se habla de una cosa para decfr otea;
las palabras funcionan para decir, en la misma medida que
funcionan para no decir, porque son dichas, o no dichas
Decir sin haber dicho. Voto par Laura Cuello
por personas que andan haciendo, frente a uno o frente a
otro lo mismo que hizo Elvis con los que asistieron al tour
mundial, decir palabras, sin decirlas.
Hace unos anos lei un libro originalmente intitulado
Doce Cuentos Peregrinos del maestro Garcia Marquez, en
uno de los cuentos, llamado La Bella Durmiente, el Gabo
hace referenda a otro libro del escritor japones Yasunari
Kawabata en el cual se describe un ritual rarisimo donde
los viejos japoneses frecuentaban un prostibulo donde las
putas, que aun no Uegaban a la edad legal, estaban dor-
midas, sedadas bajo una ppcima magica y jamas interac-
tuaban con el cliente. No las podian tocar, despertar y ni
siquiera lo intentaban. El rito consistia en recostarse junto
a la puta que estaba desnuda en la misma cama mientras
ella dormia, contemplarla durante horas y llenarse de su
eriergia, pasado un tiempo el viejo tomaba una pastilla
que era propiamente colocada debajo de la almohada para
que, a su vez, el viejo fuera drogado y cayera dormido. A la
manana siguiente el viejo despertaba solo en su cama con
un dolor de cabeza como si le hubieran dado una
paliza. En otras palabras, la puta habia hecho su
trabajo sin decir una sola palabra, estando, prac-
ticamente, en la misma cama en forma virtual
sin darse cuenta siquiera que sin haber dicho dijo
tantas cosas.
Y asi como en el caso de Elvis Presley, que
hablo desde ultratumba, nos podemos dar cuenta
que en realidad no importa de donde vienen las
palabras que son dichas, o no dichas, para que
tengan un efecto, ya sea este a una multitud
enajenada por un Rey virtual o a un viejo rabo
verde que paga por robarle los suenos a una puta
Porque habra veces que no es necesario decir
una sola palabra para decirlo todo, pero eso jio es
lo importante, lo que verdaderamente importa es
que quien escucha (o en este caso lee) esas palabras haga de elias Io que tenga que hacer.
w   ors
o j
by Spike
Spike hosts The Canadian Way Friday
evenings, 6-7:30pm., bringing you new
and not-so-new independent Canadian
music, from all genres, on CiTR 101S
First off, I'd like to introduce myself and my show for
those who are unfamiliar. I am Spike and have been doing
campus radio since 1994, when I started my original rock
and punk show, Spike's Musical Pins and Needles Show, at
the University of Victoria's CFUV. I came to CiTR in 1998,
where I continued that show until 1999, when I switched   / to r. The Canadian Way's host, Spike, with Tim Chan of local
my format to independent Canadian music ("indieCan," in   band China Syndrome on the fitly 27 show.
The Canadian Way's lexicon), noting that CiTR was lacking
Canadian representation. The new show was called The Northern Wish. In 2003,1 retired
that name and the ornate Rheostatics theme songs, and it became The Canadian Way.
The Canadian Way's eponymous theme song, by Winnipeg's Guy Smiley, is about the
Jets leaving Manitoba for Arizona and how the U.S. has always managed to screw Canada over. I thought the song
encapsulated perfectly what I feel is The Canadian Way's indieCan ethic: hyping our independent Canadian music scene
in order to promote and protect it.
Fans of The Canadian Way will know that this summer has been chock full of in-studio and call-in guests. In
the last couple of months, I have featured interviews with
the Pack, Lightning Dust, Go Ghetto Tiger, Carolyn Mark,
Shapes and Sizes, the Hits, and China Syndrome. But that's
not all you can expect from CiTR's flagship indieCan show.
On the August 24 edition of the show, I will be chatting
with Marc Morrissette of Octoberman about, and play tunes
from, the band's brand new album, Run From Safety. I also,
hope to have in Caleb Stull of Parlour Steps to talk about
their new album, Ambiguoso, and their recent tour. Stull also
won a big songwriting competition recently, so we'll find out
more about that, too.
If you want to find out more about what's going on in
the world of The Canadian Way, check out the show's web
page at: myspace.com/canadianway.
Anyone wanting to request indieCan music, or give me feedback, can email The
Canadian Way at: thecanadianway@popslar.com.
Cheers, and keep it Canadian!
Mysterious Body
On initial listens, Azeda
Booth's Mysterious- Body comes
across like the Icelandic bastard
child of electronica, fathered by
Warp Records and birthed (appropriately enough) by some
amalgamation of the band Mum.
But this band doesn't reside
within the Arctic Circle nor are
they signed to a dance label from
the U.K. Azeda Booth are from
Calgary, and despite the obvious
influences, this new EP delivers a
fresh blend of material and a new,
developing sound.
Of the disc's five tracks, three
are   instrumental   and   placed
• symmetrically at the beginning,
middle and end of the recording.
Discorder 18
All three contain warm synths reverberating against tinkling percussive beats. Jumbling away in
the background, these clanking
rhythms sound like the work of
deranged birds set loose on a collection of half-empty milk bottles
or the hollow clatter of a heap of
wooden blocks being thrown down
the stairs. Significantly though,
none of these instrumental tracks
create a sense of dissonance by
putting melody in complete conflict with the percussion like some
of Autechre's- more discordant
numbers, for example, with their
loose tool-kit-in-the-washing-ma-
chine modulation. The first track
with vocals, "Landscape (With
Grass)," builds with chiming guitar patterns and a fragile falsetto
and is the most traditional song
on the EP. The second song with
vocals, "Dead Girls," is glitchy,
keyboard driven, and throbs over
and underneath the same fragile
falsetto that sounds female but is
in fact male.
As diverse as these songs
may be to one another, the mix
of styles on Mysterious Body is refreshing. The arrangements and
experimentation have enough
charm and intricacy to surpass
the more pedestrian constraints
of imitation. At times, the band
may sound like the conjoined
amalgamation of their influences,
but for the most part, this release
shows the potential for something
unique and exciting.
— Christian Martius
Andorra ?^'|f^
Dan Snaith, formerly known
as Manitoba and now as Caribou,
has developed his sound with
each and every album. From the
droney, ambiant electronics of
Start Breaking My Heart to the
trip-hop experimental beats and
rhythms of The Milk of Human
Kindness, you can never be sure
what to expect from a Snaith album. Andorra is no exception and
is perhaps the sharpest break from
previous work yet.
Andorra is a move away
from the production-driven electro psychedelia Snaith's produced
in the past. With this album, he's
focused more on melodic '60s-
inspired    psychedelic    pop—an
unholy union of Beach Boys and
Boards of Canada. Lyrics play
a much greater role in this new
offering, with almost every song
unveiling its own mysterious and
romantic narrative to accompany
the soundscape. The first single,
"Melody Day," opens the album
by launching recklessly into a
lovestruck verse, and Snaith
doesn't look back once. The entire
album is full of unapologetic romanticism. While this could easily be unbearably sappy, the deep,
lush instrumentais allow you to
become lost in the sentiment.
This album is bound to disappoint some of his fans, but Snaith
doesn't seem to be worried about
that. "I really worked hard on editing things as much as possible,
kinda cramming in as much into
sible, leaving no flab on the track.
So if it's on there, I want you to
hear it," he says, and he's right.
Every single note is full of beauty.
— Greg McMullen
Business Up Front/Party in the
[Maverick/Goatee Records]
"Ugly people put your hands
down"—such delightful examples
of sass-mouth are repeatedly
dished out by the Family Force 5
on their album Business Up Front/
Party in the Back. But before you
can evaluate the commentary in
this review, watch the band play.
There's a certain je ne sais quoi
about a skinny, Caucasian hipster
from Georgia rapping in a pink T-
, shirt and purple pants that simply
can't be expressed through recorded sound or written word.
Business Up Front/Party in the
Back is a collection of 15 songs by
Family Force 5, which mixes elements of hip-hop and synth-rock
in an exaggerated but undeniably
infectious way. The band proves
that somewhat cliche instrumentation and lyrics can be done
in a clever fashion, especially
when paired with xylophone and
speak-and-spell sound bytes. The
album pokes fun at the upbeat-
music-with-angry-lyrics notion
that makes traditional rap-rock so
unbearable. Family Force 5 knows
their music is over the top, but
that's the point.
This album requires you to
take a leap of faith. To make the
plunge less intimidating, start
the album on Track 5, "Put Ur
Hands Up," and work your way
back around. Jumping right
in at "Cadillac Phunque" and
"Kountry Gentleman" may be
too much of an initial shock, especially with lyrics like "You're
just another redneck from back in
the woods/Not a country gentleman that can bring the goods."
A huge part of Family Force 5's
appeal comes when the album is
put in its proper context. Just like
how their live set was a welcome
contrast to a somewhat repetitive
Warped Tour lineup, Business Up
Front/Party in the Back will cast
the same magic on your iPod. The
power of this album is not fully
realized until it is sandwiched between the wishy-washy stylings
of Falco and Feist. Trust me. Leslie
don't rap like this. .
— Danielle R
The Sun
[Temporary Residence]
Touted as the first Fridge
album in nearly six years, The
Sun marks the return of Kieran
Hebden (Four Tet) and Adem
Ilhan (Adem) to their original
launch-site band. Since Fridge's
last record (2001's Happiness),
both artists have had success
individually or in participation
With high-profile figures, such as
Radiohead, Steve Reid ancLDavid
Byrne; and this new release can't
help but be marred by the burden
and consequence of these separate triumphs. Rather than being
an inspired continuation of previous endeavours, The Sun works
in showcasing fresh techniques,
competence gained elsewhere and
a six-year absence of participation
that seems to have removed the
alchemy of the band dynamic. '
Much of what has been
produced mimics what has been
absorbed in the time between the
two aforementioned Fridge albums. The imaginative patterns
of percussion aren't so dissimilar
from the instrumental tinkering
found-on Kieran Hebden's work
with Steve Reid, and the folk ambience of tracks like "Our Place
in This" and "Years and Years
and Years" does correspond to
equivalent material by both Four
Tet and Adem. As singular songs,
most of the tracks are interesting
as opposed to captivating, and for
all presentation of ability, there is
•nothing that galvanizes the album
together as a whole. There may t
a residing krautrock influence in
the use of recurrent drum and
guitar rhythms, but the jarring
oscillation between the sequencing of jazz-drum workouts and
folk atmospherics cause attempts
at overall coherence to disintegrate.
If it wasn't for the baggage associated with this release, The Sun
could be mistaken as a ramshackle compilation of old B-sides, with
no defining consistency and a
little underwhelming. As a brand
new Fridge album, The Sun is too
disjointed to work as the great return of a lost band. The jumbled
mess of content typifies the nature of this reformation, which
seems to be based on celebrated
solo adventures and not the experience of shared creativity. For
members of Fridge, collaboration
seems to be about where they are
and not about where they were,
which would be admirable if the
notion was encompassed within
the band. 0;.^
— Christian Martius
Super Taranta!
[Side One Dummy]
Gogol Bordello have always
presented us with something different—maybe a little too different. So when they released their
fifth album, Super Tarantal, what
do we expect? The best, of course.
And as far as I'm concerned, they
Tracks like "Wonderlust
King" and "Your Country", prove
that Gogol Bordello mean business, and that their passion for
music is so strong that everything
they produce sounds good. Every
track on Super Tarantal explodes
with essence and power. Even if
you can't understand what vocalist Eugene Hutz is saying, you feel
the force of every guitar riff and
violin solo. Super Tarantal has the
chops to satisfy Gogol's cult-like
fan base, while at the same time
intriguing a whole new audience
of fans who crave something
Gogol are infamous for breaking barriers by mixing genres like
punk and Ukrainian folk to create their signature "gypsy-punk"
style. This shines through more
than ever on this record, with
songs like "Ultimate" and "Zina
Marina" showcasing the bands
extreme skill and knowledge of
music. Super Tarantal may not
change the world, but it. could
very well change you. Keep an
open mind. You never know what
could happen.
— Meg Bourne
Jay Love Japan
[Operation Unknown]
What a piece of art. J Dilla's
Jay Love Japan is yet another example of the legacy this man
left behind. His beats scream the
sound of a new hip-hop era—an
era where sound is hitting with
the heavy force of pure soul.
Sure, it may sound like a bit of a
cliche, but there is no other way
to explain what J Dilla brought
to the hip-hop arena. His work
was a part of a new generation of
hip-hop music—one that resurrected and redefined the sound by
bringing us beats with a bit more
soul at times and a bit more synth
at others. With songs such as
"Yesterday" and "Believe in God,"
Jay Love Japan shows us the soul.
While other tracks like "In the
Streets" and "FirstTime" offer us a
sound described by Stones Throw
founder Peanut Butter Wolf as
'80s industrial-goth stuff."
Yet Jay Love Japan, while fun
and enlightening, is also a bit discouraging. Two of the tracks, "Say
It" (featuring Ta'Raach and Exile)
and "FirstTime" (with Baatin and
The Ruckazoid), include disappointing rhymes by artists who
likely would have never worked
with Jay Dilla, doing little justice to the man behind the beat.
Thankfully, there is an instrumental version of "Say It" at the
end of the album. And honestly,
these tracks would have been best
left as instrumentais because they
stand stronger on their own. But
despite its disappointments, Jay
Love Japan is a treat for the ears.
Unfortunately, it may never hit
the shelves because of constant
delays in the release date. So if
you can't find it, download it. But
you didn't hear this from me.
— C.Carr
On the Move        ^z"££qg$-_\r*t§
[Pias/Wall Of Sound]
My roommate brought this
alum home a couple weeks ago
and put it on the stereo. The first
song really grabbed my attention,
but then the record kept playing
and I realized that it is by far the
worst song on the album. It's a
very good song, but then hit hit hit
hit hit. This is the best new band
I've heard in two years. This is a
catchy fusion of punk-rock and
power-pop, featuring girl-meeting
and girl-losing songs that somehow come across as fresh. The
harmonies are oldies-influenced
without being campy. Both singing members have great voices.
And the songwriting calls to mind
the better songs by early Elvis
Costello and The Pointed Sticks.
The musicianship is equally
I've listened to this straight
through about onge a day for the
past two weeks, and I'm not about
to stop now. Buy it.
—Justin Banal
[Scratch Records]
The fourthJull-length album
from Vancouver natives Parlour
Stepsis a thoughtful, shifting drama, soon to be a favourite among
fans of the Arcade Fire. Distributed
by Scratch Records, but recorded
and produced by members of the
band, Ambiguoso showcases the
group's musicality, as well as Caleb
Stull's excellent songwriting. The
play of Julie Bavalis's (bass) voice
against the male vocals, as well
as the heavy, elegant tone, give
for a sound reminiscent of Stars
or A Northern Chorus. There are
several standout tracks on the
album, including "The Garden,"
a song like a child skipping in
too-big shoes, shuffling and lilting. Also notable is "Thieves of
Memory," a swaggering, shadowy
horns-and-handclap tune.
While some songs feel too
long and repetitive to hold an interest, most tracks are clean and
well developed. Stull's smart lyrics are another element that make
the record. "An orgasm ain't success/However, feels close enough
in tins cold weather," he sings
on "There But For the Grace." "A
Pagan and a Cook," a tango-esque
brooder that exits with a mini-accordion outro, is a fitting closer to
an excellent album.
— Amelia Butcher
Kingdom of Fear
[fierce panda]
A barrage of clean drums
and anthemic vocals open Shit
Disco's dance-floor disaster of a
disc. The ridiculous "I know Kung
Fu" line from The Matrix is sung
and shouted repeatedly over the
slowly building and shuffling
track. It's good for a quick adrenaline rush and head shake, and
then I get quickly tired of it. I'm
into the rest of the disc, though,
and it's still rock-disco—maybe
like a sped up, slightly rockier LCD
Soundsystem. The lyrics, when
you read them on their own, are
embarrassingly bad. When combined with the high intensity of
the music, however, everything
gels nicely, and the distorted bass
and lightning fast hi-hats become
compelling. The total effect is a bit
corny and lacks subtlety, although
with dance music, this isn't necessary a bad thing. I can see myself
dancing to this at a show. Kingdom
of Fear retains a punk sensibility,
while taking on the fervor and
syjai&etic sounds of '80s dance
music*-Shit Disco would be worth
seeing live, but for full-length
dance music albums,; there are
many great JanVlengtlis out there
that4his can't shake loose in their
vie for shelf space.
— Arthur K
These Ones are Bitter
[Mendota Recording]
Qkay, so going solo can't
be fun. It's sort of a no-win.
If you sound at all like you did
in your previous bands (in this
case. Screeching Weasel and The
Riverdales), people wonder why
you bothered and say you've got
no new nicks. If you try something new, people get mad that
it doesn't sound like some record
you made 20 years ago (in this
case, Boogadaboogadaboogadal).
This record, however, is great.
Ben Weasel hired musicians who
can play stuff that many alumni
of his band might have found
challenging, -and then wrote
more complex, carefully arranged
songs. Yes, it does sound more-or-
less like Screeching Weasel without the comic relief. This is not a
bad thing. Great lyrics, great music and better singing make this
digital-only release worth signing
up for iTunes for.
-Justin Banal Rial Ijvi Action! rial livi Action? rial Live Action!
(sled ?$LFinD gnusic ^ESTIURU
It is contrived to immediately compare
a show in a church to a religious experience. There was, however, something truly
messianic about a heavily bearded Dan
Bejar. The way the crowd hung off of his
every word, the same way sweat dangled
off of each and every person privy to the
event. Bejar, performing as Destroyer, said
little but drew laughs and applause at every
turn, and with every song. The spectators
behaved just about as politely as the building's usual patrons would. Bejar proved
why, despite his enigmatic nature and spare
live performances, it is worth over-emphasized courtesy to behold his swirling songs.
Chad VanGaalen took the stage after
a Destroyer encore. Bejar joked that the
crowd was "cheating themselves out of an
intermission" by wooing him back to the
stage. VanGaalen's closing slot was likely
more about Bejar's aversion to live performances than the Calgarian's hometown
popularity. He did produce an entertaining
set that was lengthier than his predecessor's, but less captivating, even with his
use of a gallimaufry of instruments and
miscellaneous displays. VanGaalen drew
laughter in a more calculated'way, and his
on-stage banter and witty, playful lyrics
flowed beautifully and whimsically. Both of
the night's main cogs shone in the organ-
equipped room with majestic acoustics and
reached the audience fantastically. Perhaps
even on a spiritual level.
— Pddraig Watson
giHE {pLBUm 2-ERF
Denmark's Under Byen seem like an
interesting aural prospect when the eight
members .of the band appear. Two drummers, a man With a cello and another with
a violin join a singer, keyboardist and a pair
of guitarists to make the stage look a little
smaller. They play what sounds like Bjork
fronting Sigur Ros playing "Venus in Furs."
Such a categorization may be a little too
general for a band that swaps instruments
or thumps the drums as if it's mimicking
the footsteps of heavy giants.
However, the group's arrangements
are one-dimensional in tone and the tempos are steady and dull. There isn't enough
in the songs to divert the attention from
such generalizations. The band may create an adequate mood, but after a handful
of brooding songs that don't go anywhere
but onto the next brooding session, there
is nothing to hold anyone's attention other .
than an accompanying yelping Voice.
At first, the Album Leaf gives a more
spirited performance. Gorgeous melodies
build to become pretty piano crescendos
and continue to build, while added guitar
and electronic adornments dress the sound
Discorder 20
in a refined space. Most of the performance
consists of the enveloping resonance of the
Rhodes piano, as it echoes onward, constructing a collection of musical journeys,
some with vocals and some without.
The problem is, like Under Byen, the
Album Leaf's songs create tonal repetitions
instead of contrasts. The rising waves of
interstellar electronics have no attributed
musical dissemination, or even a release
that isn't constrained by surge after surge
of endless piano-led ascents. The band may
enjoy its journeys, and by their blissed-out
eyes-half-closed mouth-ajar expressions on
stage, it looks like it does. Unfortunately,
due to their lack of destination, the songs
lose their instrumental radiance and end
up meandering in a realm of missed opportunities.
By the end of the concert, one of the
long musical passages is disturbed by a 20-
second squeal of welcome feedback before it
returns to wallow and wander in a domain
that by now has become tired and monotonous. This brief disturbance gives relief and
hints at what is missing here in its most basic configuration. Interesting' soundscapes
are constructed with engaging details, but
these realms are unable to develop—save
the odd screech of feedback—beyond the
limitations of their self-imposed form.
— Christian Martius
Ah, Canada Day, an event filled with
domestic beer, flag-waving, barbeques, smiling families and bearded South Carolinian
rock bands with animalian names. On the
latest confederation celebration, Band of
Horses graced the nation with their first
Vancouver show, and it was a good one.
Openers, and fellow South Carolinians,
A Decent Animal, were an apt pairing for
BOH and a pleasant surprise. On record,
their lengthy passages of stylized, spaced-
out Southern prog don't have much of
a payoff, but thankfully they were much
more impressive live.   "
The band could really play—particularly the bassist, whose unconventional
chords and fretwork did the double duty
of driving the songs and adding flourishes
normally augmented by lead guitar. A
Decent Animal's comparability to BOH is
perhaps limited to the wistful vocal delivery
and shared geography. Their sound is more
astral and nocturnal, their muse closer to
Pink Floyd than BOH's Neil Young leanings.
Admittedly, some songs needed focus, but
overall, the performance was quite good.
Band of Horses were just as surprising, exceeding expectations by some margin. They appeared late with beers in hand
and ripped into what was purportedly the'
opening track on their forthcoming record.
It was stellar, holding up to anything from
their first album. The guitars were massive,
as the band leaned into power chords and
bashed out an impossible amount of reverb.
Many reports of BOH shows have emphasized their restraint and delicacy, but none
of that was evident here. Covering most of
the first record, as well as some Ron Wood
and Otis Redding covers, this set was loud,
brash, passionate and ballsy.
Lead horse Ben Bridwell was quite
a sight as well: tall and gaunt, with his
Seahawks ball cap and beard shrouding
his face, save for his squinty eyes. He led off
with a matter-of-fact "Happy Canada Day,
bitches"—for which he would later apologize—but no offence was taken. He was
compelling, jovial and folksy, but not in a
contrived way. His voice was also in fine
form, sounding as much like Perry Farrell
as the oft-mentioned Jim James.
Their calling card, "The Funeral," appeared about two-thirds through the set,
and by the way they had been blasting out
choruses previously, everyone in the room
knew they were going to absolutely unload
on it. And they did; the house lights went
up and they buried it. And really, it was
such bashed out anthems as this one that
were the highlights, not the more low-key
While many likely expected something
a little more intimate and introspective,
what Band of Horses dished out was better.
Utter dramatics and showmanship infused
their yearning desperation with swagger,
even a little danger. It was a great show.
— Michael Podor-  ■sl^wsljlf
June 24
richard's on richards
The night of June 24 got underway
sluggishly at Richard's on Richards. By the
time Shearwater started setting up, there
were approximately 30 people in the audience, the room was cold, and the balcony
remained closed off behind a phalanx of
chairs and a bored bouncer. It seemed like
we were in for an evening of apathy.
However, once the band got going,
things began to look up. The audience
had doubled, and it listened attentively as
Jonathan Meiburg sang the first song a ca-
pella. And from this unaccompanied piece,
to the cover of Brian Eno's "Baby's On Fire"
that ended the performance, Shearwater
played with not only power and control, but
also appeared to have a lot of fun. Although
my friend found it boring, I even liked it
when they introduced the players halfway
through the set (some of the band's only
'banter')—a hint that we were at a gimmick-free concert, where artistry is allowed
to carry the show. Complaining about the
small crowd, or how no one was dancing,
or the fact that Vancouver is no fun would
be hopelessly beside the point. This was the
kind of performance that leaves recordings
feeling dull in comparison; the important
thing was to listen.
A few details were initially troubling,
at least for my curmudgeonly self. Details
such as too many poetic references to eyes
in the recent songs (I guess that makes for
a motif). Meiburg's odd shifts into a vague
Celtic accent and his glued-open glare. The
wild-eyed tragedian act especially made
me think I was going to be disappointed.
I worried that this might turn out like the
last Mountain Goats show I attended: the
dreaded, no-fun concert-as-religious-expe
Yet, once you got used to Meiburg's
possessed-prophet moments, they felt less
pretentious. Combined seamlessly with
his strength as a singer and the rest of
Shearwater's enthusiastic performance,
these moments contributed in their own
way to making the evening as entertaining
as it was.
— JoeHaigh
Not only is Jack White a guitar god, he .
is also a weather god-Sunday, June 24 was
a day that virtually had every weather condition, except for snow. Not only were the
White Stripes playing at the scenic outdoor
venue of Deer Lake, but they were playing
to a sold-out crowd.
I awoke that morning to the sound of
rain on my window and not the sound of
a summer sprinkler. As the day carried on,
the clouds continued to move in, bringing
thunder, lightening, hail and more rain. I
worried there would be mud fights and an
icky ground. Magically, as the Stripes took
to the stage, the sun came out. There was
not a cloud in the sky as the group appropriately opened with "Dead Leaves and the
Dirty Ground." The crowd stood mesmerized by this god called Jack.
He belted out his raunchy, Zeppelin-
style guitar playing from three amplifiers,
which provided listeners with absolutely
perfect sound. And as always, Jack was
accompanied by Meg, who brought her
simple but perfect style of drumming to the
Stripes. Feet were stomping in the mud, and
I truly believe that Jack and Meg were born
to be on stage performing for the world.
They played for a solid hour-and-a-
half without a break, and performed new
songs from Icky Thump and many tracks
from previously released albums, such as
"Hotel Yorba," ,"The Denial Twist," "Stop
Breaking Down" and even a little Dolly
Parton. I mean, who could do "Joleen" better than Jack?
As for Meg, she took to centre stage in
sweat pants and Puma running shoes to
perform her signature song, "In the Cold,
Cold Night." Of course, she also had the
crowd clapping in unison to "Seven Nation
Army," with her heavy foot pounding it out
on the bass drum.
The highlight of the evening, however,
was "I'm Slowly Turning into You," where
Jack simultaneously played his guitar, keyboard and sang while conducting the audience to woo along with him in unison.
All in all, it was a perfect evening.
Perfect weather, perfect sound, perfect
crowd. Of course, the White Stripes get
more amazing each time they come
through town. I really do believe the world
is ready for the Stripes to keep rock 'n' roll
alive. Oh, and I must mention this: Jack is
not only a guitar god. As soon as he left the
stage, the clouds moved in and down came
the rain; hence, Jack the Weather God.
— Karen Bourne __M__l]
CiTR's charts reflect what has been spun on the air for the previous month. Artistes with stars Qtriptlv thp
alongside their names (*) are from this great land o'ours. Most of these platters can be found at y '
finer (read, independent) music stores across Vancouver. Ifyoucan'tfindthemthere, give our Music QODSSt HltS Ol
Director a shout at 604-822-8733. His name is Luke. If you ask nicely, he'll teU you how to get
them. To find other great campus/community radiochartscheckoutwww.earshot-online.com. JUly ZUU /
The Tranzmitors*
The Tranzmitors
They Shoot Horses
Don't They?*
Pick Up Sticks
Kill Rock Stars
Legion Of Green Men*
Post Contemporary
3 Inches Of Blood*
Fire Up The Blades
Wednesday Night
Guilty Pleasures
Hot Little Rocket*
How To lose Everything
File Under Music
7 _
The Pointed Sticks*
My Japanese Fan/Found Another Boy
Sudden Death
Lightning Dust*
lightning Dust
Fucked Up*
Year Of The Pig
What's Your
Tokyo Police Club*
Paper Bag
Ga Ga Ga Ga Ga
Excellent Italian Greyhound
Touch & Go
The Bloggers*
The Bloggers
Hockey Dad
Melody Day
Merge   •
Immaculate Machine*
Ulrich Schnauss
Rick White*
Blue Fog
Language Arts*
. language Arts
Raising The Fawn*
Sonic Unyon
Amy Honey*
Pioneer Woman
Self Righteous
The Russian Futurists*
. Me, Myself And Rye
Upper Class
tes Ondes Silencieuses
Bob Marley And The
Roots. Rock, Remixed
Ghost House*
These Are Ghost House
Wax Mannequin*
Orchards Ire
Infinite Heat
Montag*           i?rj_____
Going Places
The lucky Ones
EMI Canada
Bad Brains
Bad Brains (Reissue)
Azeda Booth*
Mysterious Body
Independent .
Dizzee Rascal
Maths'+ English
The Shimmys
Drive You Wild!'
Off The Hip
The Cribs
Men's Needs, Women's Needs,
Our Love To Admire
Ohbijou*       ^3p§p'
Swift Feet For Troubling Times
Jennifer Gentle
The Midnight Room
Sub Pop
Music Roots*
Parade Of Noises 2006
Rick White*
Blue Fog            0
The Pipettes
Your Kisses Are Wasted On Me
Love And
Love And Mathematics
Afghan Whigs
Unbreakable: A Retrospective
Grow Up & Blow Away
Last Gang
Brian Joseph Davis*
The Definitive Host
Blocks Recording
Les Sans Culottes
Le Weekender
Tiger Army
Music From Regions Beyond
Wafer Thin Mints*
The Finest Car They Ever Built In 1983
The Parlour Steps*
Lavender Diamond
Imagine Our Love
City Of Echoes
Hydra Head
Chicago Underground
Delmark '
1 M1\kfcofc \
1   f\J
Discorder   21 sua
You can listen to CiTR online at www.citr.ca or on the air at 101.9 FM'
Sunday             Monday            Tuesday         Wednesday        Thursday
6am fjj
7am I
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11 amjljl
1pm I
2pm I
4pm i
NEWS 101
6pm ||
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8pm 1
fj^ffl         mondo TRASHO
12am pi
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2am II
BBC      k.
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4am ||
5am H
m_______m SUNDAY
TANA RADIO (Worid) 9-1 Oam
I Iam-I2pm
Beautiful arresting beats and
voices emanating from all continents, corners, and voids. Seldom-rattled pocketfuls of roots
and gems,- recalling other times,
and other places, to vast crossroads en route to the unknown
and the unclaimable. East Asia.
South Asia, Africa. The Middle
East. Europe. Latin America.
Gypsy. Fusion. Always rhythmic,,
always captivating. Always crossing borders. Always transporting.
(Reggae) 12-3pm
Reggae inna all styles and fashion.
(Roots) 3-5pm
Real cowshit-caught-in-yer-boots
(Pop) 5-6pm
British pop music from all decades. International pop (Japanese, French, Swedish, British,
US, etc.), 60s soundtracks and
lounge. Book your jet-set holiday
Alternates with:
SAINT TROPEZ (Pop) 5-6pm
QUEER FM (Talk) 6-8pm
Dedicated to the gay, lesbian, bisexual, and transexual com-muni-
ties of Vancouver. Lots of human
interest features, background on
current issues, and great music.
(World) 8-9pm
Rhythmsindia features  a wide
range of music from India, including popular music from the
1930s to the present, classical
music, semi-classical music such
as Ghazals and Bhajans, and also
Qawwalis, pop, and regional language numbers.
(Eclectic) 9-1 Opm
I Opm-12am
join us in practicing the ancient
art  of  rising  above  common
thought and ideas as your host
DJ Smiley Mike lays down the latest trance cuts to propel us into
the domain of the mystical.
(Talk) l2-2am
An odyssey into time and space
______________ MONDAY
BROWNS (Eclectic) 8-1 lam
Your    favourite    Brown-sters,
James and Peter, offer a savoury
blend of the familiar and exotic
in a blend of aural delights!
BEARS...(Eclectic) Il-I2pm
A mix of indie pop, indie rock,
and pseudo underground hip hop,
with your host, Jordie Sparkle.
(Talk) 12-lpm
Hosted by David. Barsamian.
(Pop) I-3pm
Underground pop for the minuses with the occasional interview
with your host, Chris.
dave (Eclectic) 3-4pm
Vegan baking with "rock stars"
like Laura Peek, The Food Jammers, Knock Knock Ginger, The
Superfantastics and more.
(Talk) 4-5pm
A national radio service and part
of an international network of in- i
formation and action in support
of indigenous peoples' survival
and dignity.We are all volunteers
committed to promoting Native self-determination, culturally, economically, spiritually and
otherwise. The show is self-sufficient, without government or
corporate funding.
EUROQUEST(Eclectic) 5-6pm
(Eclectic) 6-7:30pm (alt)
KARUSU (World) 7:30-9pm
Vancouver's longest running
primetime Jazz program. Hosted
by the ever-suave Gavin Walker.
Features at 11 pm.
August &Tonight the Jazz Feature
highlights the powerful Stan Kenton Orchestra that, at the time
of this recording (1962), was full
of very promising young players (Marvin Stamm on trumpet,
Gabe Baltazar on alto saxaphone,
Don Menza on tenor saxaphone)
and was a very dynamic and hot
band. They will play an eight
movement concerto written by
the great Johnny Richards, who
also conducts the orchestra. Big
sounds tonight!
August /3:The debut recording
of a short-lived band and a shortlived marriage. Pianist/composer
Toshiko Mariano (nee Akiyoshi)
and her then-husband, alto saxaphone great Charlie Mariano,
formed a quartet and made this
classic, one of a kind album that
features the recording debut of
drummer Eddie Marshall and
bassist Gene Cherico.This was a
beautiful date with compositions
by both co-leaders. Don't
this one.
August 20: A collaboration by
two masters of jazz cool: tenor
saxophone master Stan Getz
and trumpet icon Chet Baker.
Baker and Getz hated one another personally, but they made
gorgeous music together with
just the backing of bass (Carson
Smith) and drums (Larry Bunker)
on this live date done at the legendary "Haig" in LA in 1953.
August 27: Today is the birthday
of "the second messiah" of jazz
(the first being Louis Armstrong):
the President, Lester Young. This
tenor saxophone master had a
huge influence on generations
of jazz players, including Charlie
Parker. Tonight we hear "Prez"
in the company of two giants.
Pianist Nat'King' Cole influenced
scores of piano players from
Oscar Peterson through to Bill
Charlap.Those of you who know
Nat as a singer will be surprised
at his amazing playing. They are
backed by the drummer's drummer, Buddy Rich (after Buddy
they broke the mould). Amazing
music from 1945.
All the best the world of punk
has to offer, in the wee hours of
the morn.
(Roots) 6-8am
Bluegrass, old-time music, and its
derivatives with Arthur and the
lovely Andrea Berman.
(Talk) 8-9:30am
(Rebroadcast from previous
Wednesday, 5-6:30pm) Currently airing Necessary Voices
lecture series.
(Rock) 9:30-11:30am
Open your ears and prepare for
a shock! A harmless note may
make you a fan! Hear the menacing scourge that is Rock and
Roll!   Deadlier than  the  most
dangerous criminal!
(Eclectic) 11:30am-1 pm   '
(World) I-2pm
Sample the various flavours of
Italian folk music from north to
south, traditional  and  modern.
Un programma bilingue che es-
plora il mondo delta musica folk
italiana. 0__^_W^-'
Syndicated   programming  from
22 August 2007' Okanagan's CIRO.
(Replaces Besneric Rhyme)
(Talk) 2:30-3pm
Movie reviews and criticism.
(Talk) 3-3:30pm
(French) 3:30-4:30pm
En Avant La Musique! se concentre sur le metissage des
genres musicaux au sein d'une
francophonie ouverte a tous
les courants.This program focuses on cross-cultural music
and its influence on mostly
Francophone musicians.
(Sports) 4:30-6pm
Join the sports department for
their coverage of theT-Birds.
(Hardcore) 6-8pm
Up the punx, down the emo!
Keepin' it real since 1989, yo.
(World) 8-1 Opm
Salario Minimo, the best rock •
in Spanish show in Canada.
(Rock) I Opm-12am
Trawling the trash heap  of
over 50 years' worth of rock
n' roll debris. Dig it!
(Eclectic) l2-6am
It could be punk, ethno, global,
trance, spoken word, rock, the
unusual and the weird, or it
could be something different.
Hosted by DJ Pierre.
(Eclectic) 8-1 Oam
(Electronic) ID-11:30am
With   host   Robert   Robot
One part classic electronics.
One part plunderphonicmixn-
match. Two  parts  new  and
experimental    techno.   One
part progressive hip-hop. Mix
and  add  informative banter
and news for taste. Let stand.
Serve, and enjoy.
ANOIZE (Noise)
11:30am-1 pm
Luke Meat irritates and educates through musical deconstruction. Recommended for
the strong.
(Talk) 2-3pm
Independent news hosted by
award-winning jounalists Amy
Goodman and Juan Gonzalez.
(Rock) 3-5pm
Primitive,  fuzzed-out  garage
(Pop/Eclectic) 6:30-8pm
First Wednesday of
every month.
Alternates with:
HIDEAWAY (Eclectic)
FOLK OASIS (Roots) 8-1 Opm
■ Two hours of eclectic roots
music. Don't own any Birkenstocks? Allergic to patchouli?
C'mon in! A kumbaya-free
zone since 1997.
Developing your relational
and individual sexual health,
expressing diversity, celebrat-
Jng queerness, and encouraging pleasure at all stages.
Sexuality educators Julia and
Alix will quench your search
for responsible, progressive
' sexuality over your life span!
(Hans Kloss) I lpm-lam
This is pretty much the best
thing on radio.
NEWS (Eclectic) 8-1 Oam
(Talk) 10-1 lam
(Eclectic) 11 am-12pm
(Eclectic) 12-lpm
Hosted by Duncan, sponsored
by donuts.
(Eclectic) I-2pm
Punk   rock,   indie   pop,  and
whatever else I deem worthy.
Hosted by a closet nerd.
INK STUDS (Talk) 2-3pm
(Hip Hop) 3-5pm
(Talk) 5-6pm
Zoom a little zoom on the My
Science Project rocket ship,
piloted by your host Julia, as
we navigate eccentric, underexposed, always relevant and
plainly cool scientific research,
technology, and poetry (submissions welcome), myscien-
Alternates with:
(Rock) 6-7:30pm
Psychadelic, Garage, ' Freak-
beat and  Progressive  music
from   1965 to today, underground,   above   ground   and
(Experimental) 7:30-9pm
Experimental, radio-art sound
collage, field recordings, etc.
Recommended for the insane.
(Live Music) 9-1 lpm
Live  From Thunderbird  Radio Hell showcases local talent... LIVE!   Honestly,   don't
even ask about the technical
side of this.
across our massive and talented country, played for you by
your host Spike.
(Worid) 7:30-9pm
David "Love" Jones brings you
the best new and old jazz, soul,
Latin, samba, bossa and African
music from around the world,
(jazz) 9-10:30pm
Sweet dance music and hot
jazz from the 1920s, 30s and
(Soul/R'n'B) 10:30pm-12am
(Eclectic) l2-2am
Beats mixed with audio from
old films and clips from the internet 10% discount for callers who are certified insane.'
Hosted by Chris D.
_m_______m__m FRIDAY
(Eclectic) 8-1 Oam
I Oam-12pm
Email requests to:
(HipHop) l2-2pm
Top notch crate digger DJ Avi
Shack mixes underground hip
hop, old school classics, and
original breaks.
RADIO ZERO (Eclectic)
(Nardwuar) 3:30-5pm
(Talk) 5-5:30pm
(Eclectic) 5:30-6pm
(Eclectic) 6-7:30pm
Canadian independent music,
from any given genre, from all
(Roots) 8am-12pm
Studio guests, new releases,
British comedy sketches, folk
music   calendar,   and   ticket
(Punk) 12-lpm
A fine mix of streetpunk and
old school hardcore backed by
band interviews, guest speakers, and social commentary.
(Metal) I-3pm
Vancouver's only true metal
show; local demo tapes, imports, and other rarities.' .
Gerald Rattlehead, Geoff the
Metal Pimp and guests do the
CODE BLUE (Roots) 3-5pm '
From backwoods delta low-
down slide to urban harp
honks, blues, and blues roots
with your hosts Jim, Andy and
(World) 5-6pm
The   best   of. music,   news,
sports, and commentary from
around the local and international   Latin American  communities.
(World) 6-7pm
An exciting chow of Drum n'
Bass with DJs Jimungle & Bias
on the ones and twos, plus
guests. Listen for give-aways
every week. Keep feelin da
9-1 lpm
needed for our 24 Hour
Rape Crisis Line and Transition
House for battered women
For an interview, please call
Vancouver Rape Relief & Women's Shelter
Zulu's Sonic Picnic
there's a taste for
Jthe refined palate. St.
Vincent is the alias ol
Annie Clark, a versatile
guitarist and songwriter
whose voice is so strikingly original that we can only reach towards other
incomparable personalities to compare her to: ifork,
Kate Bush, Jeff Buckley etc. Previously served as an
appetizer on the Arcade Fire's recent tm and ferfefih■-. ■
ed while a member ot both Ite Polyphonic Spree and
Slean Brancas 100-guitar orchestra, S&ytacert isO.
the kind of complex and substantia) dish that can easily be your main course. Ingredients include jffl,
gospel blues, Southern folk music, and classical composition, but the presentation will make you rethink
what modern orchestral pop should taste fike.
CD 16.98
"The seasoned picnicker
I wili know that there-is
a time In late summer
when choosing a secluded spot for art open fire roast Is simply nil
absorption. -Thus it foltcwsthat cho
wood to smoke one's tas%» morsels ovens a matter
of great importance. One must look lor somethtfta \
delicate, yet full of character, One must seek out «
slow burning fire source that will trap the flavour witlO
in each mouthful. Qrte must find a spiritual kindle that
releases passion into the mystic smoke. If you cannot
do this yourself, ft is wise to consult the guys tn
Mohawk lodge as they are masters of the cook-out.
As with their divine Jazzy folky ait-rock anthems, they
know how to craft things and make an art out of the
dancing flame. Wildfires is grilled to perfection!
These three puddings from Yorkshire are out to
prove that British fare needn't be faceless and
tasteless They start by importing some ined-and-
tjrue Amencao taste favourites {Weezer fhe O
Strokes) and wedding them to state-of-the-art
British indie circa the late 2000s — in particular. ^
"Our Bovine NMhTs-iidicutotisiy caichy melody
and punchy drums feel like the resets of an%.
experiment to fuse together Maximo Park, the
Futureheads, and Seed Shoes in some secret Jab.
This isn't supermarket science, though, it's reck n'
rolt, and while master chef Alex Kaprancs of
Fran* Ferdinand supervises the proceedings, Hie
Cites are a little meatier and streetier than their
Scottish counterparts. Think##lMl bangers,
nomas^,^t ^k
CD 16.98
•I    __e__lJ_l_l2L
identical JSigns
I Tegan and Sara
.   hav^MjBeett^
^^nowna%confec- -
, eraftinrfls
r and a c
Cheese is a must I
trust you agree? I
make a point to keep a
lew good cheeses in the
house at ail times as they, when married to a bottle of
vino, are certain "go-to" items for any picnic feaster. My
cheese diary Is full of .entries documenting various sorted
love affairs with .the blue spectrum # Sorgor&ola,
Roquefort, Stilton —as wet as details of the setting,
atmosphere and mood that must accompany goat,s mffl?
experimentation. A recent evening reads as follows:
"White walking through the province ot Novara I come
upon a glorious field of Moon Daisies and decide to nibble on my Pavfe Varese. t then put on my tpod and scroU
through Okkervil River's latest gothic Americana epic and
imagine myself Weeding in an ornate theater with frescos
ot my favourite famous fictional characters, medea go
easy on me." Amazing! AVAILABLE AUGUST 7"
CD 14.98
grown up a little, i.iou-jh a\-■■!'<* :>mu;<: now),
they.re tlinin? their talents to more mature forms
of songwritftig, Vsij might mink rrf it as switching
from lollipops In J;»rk : ■usruW* Of ■■.■f.it.e ■! -r
doesn't mftan they're setfljsig dows—sure, lae,
See has a f&rmelancholy mattes, but it also
shows the inft^iceofT&Stourmates'TOfflMSSis*
and Hot Hot Heat, sporting the kind of synth/'
hooks that can start parties apijper clubs and
all-ages shows. Ifs still dess#tJut you earned
like a grown-up while you eat i|<just don't call it a
guilty pleasure),
CD 16.98
V taifify has its fair
share of great spots
to lay down the picnic blanket Wreck Beach has
always been my favourite and certainly Jason
Zumpano {Zumpano farrow, Destroyer) makes
musk; for this romantic sunset setting. Plus, what
could be more 'nude' than a solo record of just
stripped down piano? Zumpano s style recalls the
early Gould, the mid period Satie and perhaps
even the late period Randy Newman, is there not
a more plaintive instrument? Come ami see my
CD 14.98
Halfway between
the trled-and-true
and a plate of hors
d,ouewes, we find
this collection of rarities, covers and alternate versions from the once-obscure and now much-loved
progenitor ot sad-eyed suicide folk, ft® album is a
varied concoction to tempt the tastebuds of new
fans and satisfy fhe cravings of aficionados.
Bringing together instrumental exercises, blues
h coverst^nd music-hall ditties written and recorded
by Brake'Simother Molly, Family Tree aims to
explain the magical traditions that informed Drake s
elegant melancholy. At twenty-eight tracks, this is a
±mtmw^mmw? of Brake s three LPs in
length, sure to sate evert the roost starving listener.
. The flavour is generally simple but sublime
tJBWJgteut, like a fine consomme.
Scotland's new lavourite'sms will soon be taking
over N$j1ti America. They Jh|ady are enjoying a
massive amouat of success in ihe UK (largely due
to their hit angle 1 Though! Vou Were Supposed To
■. Be My Friend), and have toured over them with
The Strokes Franz Ferdinand. CSS and The long
Blondes Tho i and ft at i*e" °* mB#ers o'    1
* IfTil^lrtt^osetx^^riers"StsQlhaude**" **
Alex Kapranos and Paul Thomson of Franz
Ferdinand) What we have here is a basic, fun,
catchy; rack 'n'flilt'aWBfflPtiWPSheBfd appeal to any
I funs of basic, fun, catchy rock 'n' roll albums.
CD 16.98
New Zealand's The
Brunettes, fronted and formed by Jonathan
Sree (vocals, guitar) and Heather Mansfield
(vocals, keys, glock), base their breezy, effervescent
pop on traditional recipes from the Shangri-Las io
Fleetwood Mac. songs, hooks, fun, falling in love
and breaking up. Take the original notions and
reformulate them {structure), dress them up (cosmetics) — the perfect rock song recipe. Yup, listers
to Her Hairagami Set   The simple piano riff, the
thick guitar sound, chirpy percussion — it fates
just a few carefully chosen ingredients to convey
such charm. It looks good and ft tastes even better.
The Brunettes first attracted notice opening for The
Shins and now Sub Pop serves them up daily,
alongside favourites like Bite Kiley, Tne Postal
Service, and Clap Tour Hands Say Yeah. AVAILABLE AU6«STT»i
CD 16.98
Cass McCombs-TTtat's That GOBVIflr
Mick Turner/Tien Bins-Blue Trees CD
Sum»)))& Boris-Alter 200g3LPB0X
BEACH BOYS-Pet Sounds (40th
Anniversary) 2LP
WTCTPOL- Our Love To Admire 2LP+CD
MEAT PW»PETS-Rise To Yrjur Knees CD
JDtlA-BufTOnrttlBStnmeiiLds 2LP
The Bears-
Bang Of Loser
Julie Doiron - Woke Myself Op
Feisty The Reminder
Junior Boys-So This Is Goodbye
Miracle Fortress-Five Roses
JoerPiasfcett Emergency-Ashtray Rock
Patrick Watson-Close To Paradise
Vinyl Sale Continues!
Used CD Sale Continues!
Saturday Aug 18th
Hippie Dayz
Zulu Sidewalk Sale!
by Matthew Day
Bra Can't Take
Zulu Records H
1972-1976 W 4th Ave f
Vancouver, BC i
tel 604738.3232
www.zuturecords.com U


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