bi^eurtici 1 FREE august 2007 1 %J^T >>^ , jj j * ^a^-..,. 's-^' 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/\ euij% 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 THE BEST DEALS IN TOWN FO* Jl MEASLY 15 BUCKS. Anti-Social Skate Shop and Gallery 2425 Main St. 604-708-5678 Audiopile 2016 Commercial Dr. 604-253-7453 Beat Street Records 439 W. Hastings St. 604-683-3344 The Bike Kitchen UBC, AMS, 6138 Student Union Blvd. 604-822-BIKE Burro's Angels 2535 Main St. 604-874-9773 The Eatery 3431 W.Broadway 604-738-5298 Hitz Boutique 316 W. Cordova 604-662-3334 The Kiss Store 2512 Watson St. 604-675-9972 Unity's Comics 3972 Main St. 604-875-9858 Magpie Magazine 1319 Commercial Dr. 604-253-6666 People's Co-op Bookstore 1391 Commercial Dr. 604-253-6442 Puncturhaus 228 Broadway E. 604-708-8100 Red Cat Records 4307 Main St. 604-708-9422 The Regional Assembly of Text 3934 Main St. 604-877-2247 R/X Comics 2418 Main St. 604454-5099 Scratch Records 726 Richards St: 604-687-6355 Slickity Jim's Chat and Chew 2513 Main St. 604-873-6760 Spartacus Books 319 W.Hastings 604-688-6138 Vinyl Records 319 Hastings St. West 604488-1234 www.citr.ca/friends 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 Aueust«2007 the Gentle j4rt of Editing elcome to August! I don't blame you I am excited about the prospect tha Editor Mike "Spike" Chilton Art Director Cole Johnston Production Manager C. TURIONS Copy Editors Mike Chilton Brock Thiessen i c. turions Ad Manager Catherine Rana Under Review Editor c. turions Datebook Editor C. TURIONS RLA Editor Brock Thiessen Layout + Design Cole Johnston Mike Chilton Contributors Justin Banal Karen Bourne Meg Bourne Amelia Butcher C Carr Melanie Coles Julie Colero Val Cormier Mike-Chilton 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 Hanson Cole Johnston Matt McGale Jennilee Marigomen Michelle Mayne Tina Ok Quinn Omori Miss Susan Connie Tsang Program Guide Bryce Dunn Charts Luke Meat Distribution Frank Rumbletone US Distribution Catherine Rana CITR Stat Lydia Masemola Regulars The Gentle Art of Editing 3 Vancouver Special Duplex International Falls + Folk Fest 4 Inkstuds Robin McConnell 5 Riff Raff Bryce Dunn 6 Techs & The City ' Emma Myers 7 Copyfight! Greg McMullen 7 Mix Tape 1 The Pack takes us on the road, in the van. 11 Calendar + Datebook 12 Real Live Action 18 Under Review 19 CiTR Charts The Dopest Hits of July 2007 21 Program Guide 22 Features Helvetica 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 t 8 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 p9 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 r14 Caribou 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 V6T1Z1 Canada You can also email the Discorder Mailbag from the link on the contact page at http://discorder.ca. 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! Hag Mike "Spike" Chilton Editor 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. Thanks, 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 ways. Best Regards, Andrew Ellis VANCOUVER SPECIAL DUPLEX byINTERNATIONAL ""FALLS 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) http://www.internationalfalls.ca/ QC D 1- -l i > K CO LU tt« HjO >*S m Z so 30 $ _ LU O LU CO 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 ROBIN McCONNELL 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 * r- 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 rendition. 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 HEY *=L-&X Youft i«At> BV STEVESTON MflcE 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 ^W^M HAJI 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. Theprogramwascreatedin2004withtheintention 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 andg city 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? COPY-n GREG McMULLEN 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 O IBiMMSS ore than words VANCOUVER'S #1 NKBflCtUB WEEKENDS AT THE PLAZA MJfANNER ..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. http://www.helveticafilm.com/ I ■ IHfc MANVILS WB&Sm ___Wm>»zs-<xm:"^___L CRYSTAL PISTOL B RED HOT LOVERS 1 THE HITS THE PACK Thursday, August 16th |g LOOT(ToolT.'«e) PROX r '* llAIIUMI Mm pemmmffl) |5f§ & GUESTS - j| FRIDAY, AUGUST 17 1 MENDOZZA ■ BTPl r mmmm TV HEART ATTACK THE SMEARS « gH.gtf.OOH 881 GRANVILLE STREET WWW.PUZACLUB.NET the restless life of 0 :0. ZAM^L have " 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 ^m^^0^t m>.< ^JI'V /ThH VoWl *n?t c^/ct/f me of -VHe i We \ ■ij-^JlpS? u y +lne VWings ... wiW *. ®wlf§ Vjjfe stuff. • I ^rcLm iHf 'Jl Ik ;xp 1^3-00. 10 August 2007 n tfje roati 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. ' CiTR RADIO JOB POSTING TjR Radio, University ofBtjtAfMumbia's award winntngand le$dii%campm radio station This man was brilliant and the world is a sadder place without him. If you don't know Junior, make it your goal to know him. ; seeking appli The Station Manager i i espansible prthwdtijt-t M||MN candidates for the position of StahonMmmger. p>akiftfe j&f'iftB admittiifMtwn and pperatmn of C.TS Radio She/He is i'd^Trtana^nerrtoffhe^fi^.-eswellasiUstraU^dinxtUm. _ , Operational: , '. * Oversee broadcast licence renewals and amendment* aadVpresent ,tbspa,to the Board of Directors for approval |Pl!|||lfe CRTC deciSslsrtKUl^fct at pertinent OKI C hearu^** Analyze, report, and resolve listener CQmplaints*Oversee xaA^^tb^ttr^t&k the programming music trl&nmg a&;rappeenfl« dep&rMtenis * Oversee Discorder Mzg^a§QJj^fc&Mm:the Publisher^ Kprtscntatn%"*3teitaintel^ttonswith other tampus- community radio Stations, *lsHNC^**oC6th*rifcfcVant incj,, stakeholders tAselfrfi|i|>ortaBrti*» to be ^Ssbie at *¥afflj>t^ and v.onimunity*^^B • .'•_ , 'Managerial. ■ . Develop ^nd/of update policiei»a» ftsqMitdfev tettation and drcc^Hlv^i^^^&pfepare annual budgets W^^gtairs___^___y^__rd *'Se$frJfoan| of EHreetfflrs^ipprovat and track all txpen&twesVAsnsuBikjjEthey adheste to * butlget * Pejpare weelily and monthly financial tratt*i&ons>^ted!ng'4epos)ts,dbeck re^o»bon$ and invokes-" thrd igh IMS processes and system' Develop nee long «w shsjt trn.i fi-ndraiMiif! iiuiulivcs" Manag* the 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 |||||ncEp-tfaal the stationsHR policy is adhered $o* i wi'e with the AM_*fa$Skftgiffi& teSStesfcttons * Develop and: 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 '■ j;^^lflks meet programming requhs^^^^^^w ^^B^Sffmunication & Promerfiimj&- * Act as eomaiunicatiaahafe»ftn*ittf the ASIStilve Ubtversity, busmess^«0niiattfijirfOf^a^izarionsaB^t?i3^beis * Act as liaison and r lainiairt cffieefeK? t$sXH>as tolh th^ J_Ua* Matec&oeigty * CWdsuWai^iBaliOBSn related to staff the Hoard thfctec^WW,|S^amSlel»a^tSClIRIHe8!4«S$'i, JiBftwopealiHesSf aaitfi l>etween sttgiipstation members *§Over«e^me'<kvelopnient and jganagemeatof comtnimnaUon itstn&s including (JlpBijfesites, listscrveSfdsrtabasei and press ieleases * Manage' promotiOna} aerwes-mciajtag* events, - |^^^^i|swii^ffiH|S toaudmg I nends ot d^TE^H^sa^gBieaw^jind'aition gleisdiiftdtse * Provide consultation to^te^^^K and advertising negotiations ^^^fe^the aeationue^^^sfiireleases and other media documen^^^^^^^^^^dMS and UBC Archives ^^^fentenance of CiTR memorabilia and historical docoH|eat£:*kifife, 7'^^^__Wfmance Requirements: * 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 community radio * StranAa^j^ftl^udgetary processes, humatt^^Ke management, policy development and project rnanagemesESS^MS^^^^^feiA^tHterpersonal and orpnizational skills * Experience working - with boards and conari^^^^rongComputft^^^^^fc^ databases, web, {SJnftL^ * Broadcasting technical skills aiw^^Wferity with broadcasting edM^WM and their applications is desired * Prior or current radio programming experience in campus <A<inmumty%&tio an asset" Must have thekabrftty to work well with a wide variety of people and in a busy work-eniMlneM * Flexibility in hours of work. * Deadline: Monday Mipkt 6, ^087 iy Spm^fDT.) * Starting Date: September 6,2007 (negptu$e}; ' }f^fSkWy.t0he__^mnl^ f" Applications can he emailed to the attention <$CiTRl_MngC4mmMtteg:at btistnessmanager@cit_.pL'' Hpiyo n an equal apportunhy emphwyr. Applutwh fwnisuhdmepmented&mtftiffiities are- . encouraged to apply,~Qttfy'short-listed applicants will be contacted. Farmofe informaSxdn about the • station, you can log on. to www.t$($cai ~ "Last Ouing Bouls" Eorillaa 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. UVi fPf 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) SEATTLE'S MUSIC & ARTS FESTIVAL 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 AND MORE! Complete Arts programming BUY EARLY AND SAVE! Of8ya!K«8at206.62S.®8S:?isw§h^ustt7. #1215^ ^f!P JBfflp To •ance Topless** -UgorgiaStmii "MbstModeiti "Most Radit Fetish Night - Terminal Sr peningPan'va!! at The Lotus/455 Abbott FRIDAY AUGUST 17* RICHARDS ON RICHARDS sS&^T^^ ZULU* SCRAPE, NEW WORLD DESIGNS, CLUBVIBES.COM 0VWEOV I^§1 B^i^ CWMI ■n^Hiitt SEP SEP HHHBHHfll HEY JTratadode impaciencia 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 dormida. 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. BEY 1 w ors ^ o j I m U HHfe; 3/ IT'S MY NORTHERN WISH: MY LIFE AT THE CANADIAN WAY 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! UNDER REVIEW UNDER REVIEW UNDER REVIEW UNDER REVIEW UNDER REVIEW UNDER REVIEW UNDER Mysterious Body [Independent] 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^ [Merge] 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 as short a space in time as pos- UNDER REVIEW UNDER REVIEW UNDER REVIEW UNDER REVIEW UNDER REVIEW UNDER REVIEW UNDER 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 Back [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 delivered. 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 original. 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 Ambiguoso [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! PESTROYER £HRD §JRR^RRLER (sled ?$LFinD gnusic ^ESTIURU JUNE 28 GRACE PRESBYTERIAN CHURCH, CALGARY AB 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 VRDER {JBYER JULY 4 THE PLAZA 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 $3RRD OF fiORSES F pECERT ZpRimRL JULYl RICHARD'S ON RICHARDS 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 material. 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 ^HERRLURTER 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 rience. 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 $IHE {WHILE ^TRIPES DEER LAKE PARK JUNE 24 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 / # Artist Album Label 1 The Tranzmitors* The Tranzmitors Deranged 2 They Shoot Horses Don't They?* Pick Up Sticks Kill Rock Stars 3 Legion Of Green Men* Baqontraq Post Contemporary \4f--~ 3 Inches Of Blood* Fire Up The Blades Roadrunner 5 Wednesday Night Guilty Pleasures BYO ■*£ Hot Little Rocket* How To lose Everything File Under Music 7 _ The Pointed Sticks* My Japanese Fan/Found Another Boy Sudden Death 8 Lightning Dust* lightning Dust Jagjaguwar 9 Fucked Up* Year Of The Pig What's Your 10 Tokyo Police Club* Smith Paper Bag 11 Spoon Ga Ga Ga Ga Ga Merge 12 Shellac Excellent Italian Greyhound Touch & Go 13 The Bloggers* The Bloggers Hockey Dad 14 Caribou* Melody Day Merge • IS Immaculate Machine* Fables Mint 16 Ulrich Schnauss Goodbye Domino 17 Rick White* Memoreaper Blue Fog 18 Language Arts* . language Arts Independent 19 Raising The Fawn* SleightOtHand Sonic Unyon 20 Amy Honey* Pioneer Woman Self Righteous 21 The Russian Futurists* . Me, Myself And Rye Upper Class 22 Colleen tes Ondes Silencieuses Leaf 23 Bob Marley And The Roots. Rock, Remixed Quango 24 Ghost House* These Are Ghost House Reluctant 25 Wax Mannequin* Orchards Ire Infinite Heat # Artist Album Label 26 Montag* i?rj_____ Going Places CarPark 27 PrideTiger* The lucky Ones EMI Canada 28 Bad Brains Bad Brains (Reissue) Roir 29 Azeda Booth* Mysterious Body Independent . 30 Dizzee Rascal Maths'+ English XL 31 The Shimmys Drive You Wild!' Off The Hip 32 The Cribs Men's Needs, Women's Needs, Whatever Warper 33 Interpol Our Love To Admire Capitol 34 Ohbijou* ^3p§p' Swift Feet For Troubling Times Independent 35 Jennifer Gentle The Midnight Room Sub Pop 36 Music Roots* Parade Of Noises 2006 Independent 37 Rick White* Memoreaper Blue Fog 0 38 The Pipettes Your Kisses Are Wasted On Me Universal 39 Love And Love And Mathematics Independent 40 Afghan Whigs Unbreakable: A Retrospective Rhino 41 Metric* Grow Up & Blow Away Last Gang 42 Brian Joseph Davis* The Definitive Host Blocks Recording Club 43 Les Sans Culottes Le Weekender Vibratone 44 Tiger Army Music From Regions Beyond Hellcat 45 Wafer Thin Mints* The Finest Car They Ever Built In 1983 Independent 46 The Parlour Steps* Ambiguoso Figment 47 Lavender Diamond Imagine Our Love Matador 48 Pelican City Of Echoes Hydra Head 49 Unicorn/Torso* Split Divorce 50 Chicago Underground Trip Chronicle Delmark ' 1 M1\kfcofc \ 1 f\J ii$^___i__ffi fesis s,112f ff% Jr*-** Z^^^^sK^ mm 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 Friday Saturday 6am fjj 7am I 8am I BBC PACIFIC PICKIN' BBC BBC BBC BBC BREAKFAST wrm THE BROWNS RACHEL'S SONG (REBROADCAST) SUBURBAN JUNGLE END OF THE WORLD NEWS CUTE BAND ALERT! THE SATURDAY EDGE TANA RADIO THSRD TIME'S THE CHARM SHOOKSHOOKTA PLANET LOVETRON DEMOCRACY NOW SKA-T'S SCENIC M DRIVE 11 amjljl LIONS AND TIGERS AND BEARS... ALTERNATIVE RADIO MORNING AFTER SHOW ANOIZE 12pmfl 1pm I 2pm I ALTERNATIVE RADIO DUNCAN'S DONUTS THESE ARE THE BREAKS GENERATION ANNIHILATION PARTS UNKNOWN GIVE'EM THE BOOT FILL-IN WE ALL FALL DOWN POWERCHORD CIRO RADIO OKANAGAN DEMOCRACY NOW INKSTUDS RADIO ZERO REEL TO REAL 4pm i RE- BROADCAST LETS GET BAKED CAREER FAST TRACK RUMBLETONE RADIO A GO GO CRIMES & TREASONS CODE BLUE EN AVANT LA MUSIQUE NARDWUAR PRESENTS NATIVE SOUDARRY NEWS WENER'S BBQ I9HI CHIPS WITH **J'lllM EVERYYTHING SAINT TROPEZ EUROQUEST RACHEL'S SONG MY SCIENCE 1 PEDAL OtisSiwpr {REVOLUTION NEWS 101 LEO RAMIREZ SHOW W.I.N.G.S. 6pm || 7pm I RADIO RADIO! RE- BROADCAST FLEXYOURHEAD STEREOSCOPIC REDOUBT THE CANADIAN WAY NASHAVOLNA AND SOMETIMES WHY SAMSQUANCHES HIDEAWAY SHADOW JUGGLERS KARASU EXCUiSfTE CORPSE AFRICAN RHYTHMS 8pm 1 SALARIO MINIMO FOLK OASIS fj^ffl mondo TRASHO THE JAZZ SHOW LIVE FROM THUNDERBIRD RADIO HELL SWEET AND HOT SYNAPTIC SANDWICH 10pmH 11pmjj| CAUGHT IN THE RED JUICEBOX SHAKE A TAIL FEATHER HANS KLOSS' MISERY HOUR LAUGH TRACKS BEATS FROM THE BASEMENT 12am pi 1am H VENGEANCE IS MINE AURAL TENTACLES RAW RADIO I LIKE THE SCRIBBLES PASSING BINARY 2am II BBC k. BBC 3am ll 4am || 5am H JC BE 5C BBC BBC m_______m SUNDAY TANA RADIO (Worid) 9-1 Oam KOL NODEDI (World) 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. THE ROCKERS SHOW (Reggae) 12-3pm Reggae inna all styles and fashion. BLOOD ON THE SADDLE (Roots) 3-5pm Real cowshit-caught-in-yer-boots country. CHIPS WITH EVERYTHING (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. RHYTHMSINDIA (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. MONDO TRASHO (Eclectic) 9-1 Opm TRANCENDANCE (Dance) 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. trancendance@hotmail.com DISASTERPIECE THEATRE (Talk) l2-2am An odyssey into time and space ______________ MONDAY BREAKFAST WITH THE 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! UONSANDTIGERSAND BEARS...(Eclectic) Il-I2pm A mix of indie pop, indie rock, and pseudo underground hip hop, with your host, Jordie Sparkle. ALTERNATIVE RADIO (Talk) 12-lpm Hosted by David. Barsamian. PARTS UNKNOWN (Pop) I-3pm Underground pop for the minuses with the occasional interview with your host, Chris. LETS GET BAKED w/matt & dave (Eclectic) 3-4pm Vegan baking with "rock stars" like Laura Peek, The Food Jammers, Knock Knock Ginger, The Superfantastics and more. NATIVE SOLIDARITY NEWS (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 RADIO! RADIO! (Eclectic) 6-7:30pm (alt) KARUSU (World) 7:30-9pm THE JAZZ SHOW (jazz) 9pm-12am 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. ■■■1 TUESDAY All the best the world of punk has to offer, in the wee hours of the morn. PACIFIC PICKIN' (Roots) 6-8am Bluegrass, old-time music, and its derivatives with Arthur and the lovely Andrea Berman. RACHEL'S SONG (Talk) 8-9:30am (Rebroadcast from previous Wednesday, 5-6:30pm) Currently airing Necessary Voices lecture series. THIRD TIME'S THE CHARM (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! borninsixtynjne@hotmail.com MORNING AFTER SHOW (Eclectic) 11:30am-1 pm ' GIVE'EM THE BOOT *s%0j (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^-' CIRO SYNDICATED (Talk) 2-2:30pm Syndicated programming from 22 August 2007' Okanagan's CIRO. (Replaces Besneric Rhyme) REEL TO REAL (Talk) 2:30-3pm Movie reviews and criticism. CAREER FASTTRACK (Talk) 3-3:30pm EN AVANT LA MUSIQUE (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. WENER'S BARBEQUE (Sports) 4:30-6pm Join the sports department for their coverage of theT-Birds. FLEXYOUR HEAD (Hardcore) 6-8pm Up the punx, down the emo! Keepin' it real since 1989, yo. Flexyourhead. SALARIO MINIMO (World) 8-1 Opm Salario Minimo, the best rock • in Spanish show in Canada. CAUGHT IN THE RED (Rock) I Opm-12am Trawling the trash heap of over 50 years' worth of rock n' roll debris. Dig it! AURAL TENTACLES (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. ^■WEDNESDAY SUBURBAN JUNGLE (Eclectic) 8-1 Oam PLANET LOVETRON (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. planetlovetron@gmail.conv ANOIZE (Noise) 11:30am-1 pm Luke Meat irritates and educates through musical deconstruction. Recommended for the strong. DEMOCRACY NOW (Talk) 2-3pm Independent news hosted by award-winning jounalists Amy Goodman and Juan Gonzalez. RUMBLETONE RADIO (Rock) 3-5pm Primitive, fuzzed-out garage RACHEL'S SONG (Talk) 5-6:30pm AND SOMETIMESWHY (Pop/Eclectic) 6:30-8pm First Wednesday of every month. Alternates with: SAMSQUANCH'S HIDEAWAY (Eclectic) 6:30-8pm 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. JUICEBOX (Talk) 10-IIPM 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! www.juiceboxradio.com HANS KLOSS' MISERY HOUR (Hans Kloss) I lpm-lam This is pretty much the best thing on radio. ■^■THURSDAY END OF THE WORLD NEWS (Eclectic) 8-1 Oam DEMOCRACY NOW (Talk) 10-1 lam ALTERNATIVE RADIO (Eclectic) 11 am-12pm DUNCAN'S DONUTS (Eclectic) 12-lpm Hosted by Duncan, sponsored by donuts. WE ALL FALL DOWN (Eclectic) I-2pm Punk rock, indie pop, and whatever else I deem worthy. Hosted by a closet nerd. INK STUDS (Talk) 2-3pm CRIMES* TREASONS (Hip Hop) 3-5pm MY SCIENCE PROJECT (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- ceprojectradio@yahoo.ca Alternates with: PEDAL REVOLUTION (Talk) STEREOSCOPIC REDOUBT (Rock) 6-7:30pm Psychadelic, Garage, ' Freak- beat and Progressive music from 1965 to today, underground, above ground and homeground. EXQUISITE CORPSE (Experimental) 7:30-9pm Experimental, radio-art sound collage, field recordings, etc. Recommended for the insane. LIVE FROM THUNDERBIRD RADIO HELL (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. www.myspace.com/canadianway thecanadianway@popstai AFRICAN RHYTHMS (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, www.africanrhythmsradi SWEET'N'HOT (jazz) 9-10:30pm Sweet dance music and hot jazz from the 1920s, 30s and 40s. SHAKEATAIL FEATHER (Soul/R'n'B) 10:30pm-12am I LIKE THE SCRIBBLES (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 CUTE BAND ALERT! (Eclectic) 8-1 Oam SKA-TS SCENIC DRIVE (Ska) I Oam-12pm Email requests to: djska.j@hotmail.com THESE ARE THE BREAKS (HipHop) l2-2pm Top notch crate digger DJ Avi Shack mixes underground hip hop, old school classics, and original breaks. RADIO ZERO (Eclectic) 2-3:30pm NARDWUAR THE HUMAN SERVIETTE PRESENTS (Nardwuar) 3:30-5pm NEWS IOI (Talk) 5-5:30pm W.I.N.G.S. (Eclectic) 5:30-6pm THE CANADIAN WAY (Eclectic) 6-7:30pm Canadian independent music, from any given genre, from all ■IM SATURDAY THE SATURDAY EDGE (Roots) 8am-12pm Studio guests, new releases, British comedy sketches, folk music calendar, and ticket giveaways. GENERATION ANNIHILATION (Punk) 12-lpm A fine mix of streetpunk and old school hardcore backed by band interviews, guest speakers, and social commentary. www.streetpunkradio.com crashnburnradio@yahoo.ca POWERCHORD (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 damage. 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 Paul. THE LEO RAMIREZ SHOW (World) 5-6pm The best of. music, news, sports, and commentary from around the local and international Latin American communities. NASHAVOLNA (World) 6-7pm SHADOW JUGGLERS 7-9PM (Dance/Electronic) 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 beatz. SYNAPTIC SANDWICH (Dance/Electronic/Eclectic) 9-1 lpm BEATS FROM THE BASEMENT (Hip Hop) WOMEN VOLUNTEERS needed for our 24 Hour Rape Crisis Line and Transition House for battered women For an interview, please call 604-872-8212 Vancouver Rape Relief & Women's Shelter www. .ca Discorder 23 THE SALAD DAYS OF SUMMER Zulu's Sonic Picnic ST.VMCBiT MARRY ME CD THE CRIBS MAN'S NS 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 MOHAWK WILDFIRES CD "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! C012.98 WOMAN'S WHAT1VHU CD 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 TEGAN AND SARA •I __e__lJ_l_l2L I THE CON vCifs, identical JSigns I Tegan and Sara . hav^MjBeett^ ^^nowna%confec- - || and-swt varfe , eraftinrfls r and a c |K^*^H OKKERVIL RIVER THE STAGE NAMES CD 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 SALE PRICK IN EFFECT UNTIL AUGUST 31,200? 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 JASON ZUMPANO IN TNE CO. OF GHOSTS CD ll&icowereer- 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 loves. CD 14.98 NICK DRAKE FAM1Y TREE CD 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. WWK&SCO 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 BRUNETTES STRUCTURE AND COSMETICS CD 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 «% ALL THIS AND STILL MORE 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 BEASTIE BOYS-Tlie Mix Up LP MEAT PW»PETS-Rise To Yrjur Knees CD JDtlA-BufTOnrttlBStnmeiiLds 2LP MJJL-fcpir OST-Once CD ZULU SALUTES CANADA'S POLARIS MUSIC AWARD NOMINATIONS: 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 Kiadvan6«len-Skelliconnection Patrick Watson-Close To Paradise 10% OFF All THESE REFRESHINGLY GOOD RELEASES ZULU SALE NEWS" Vinyl Sale Continues! Used CD Sale Continues! Saturday Aug 18th Hippie Dayz Zulu Sidewalk Sale! ZULU ART NEWS Boxes by Matthew Day Bra Can't Take TaemWitnSm. Zulu Records H 1972-1976 W 4th Ave f Vancouver, BC i tel 604738.3232 www.zuturecords.com U STORE HOURS,
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2007-08-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2007-08-01 |
Extent | 24 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2007_08 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | aaefe201-81fe-44ac-9f06-5eb6f8108b9a |
DOI | 10.14288/1.0049880 |
AggregatedSourceRepository | CONTENTdm |
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