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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2004-03-01

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Susy Webb tangles with Stereolab!
Sonic Youth's Lee Ranaldo comes to the Ridge!
Blonde Redhead dye our hair!
•Comics! Deformed rabbits!
Obscure electronica from the Czech Republic!
Illustration by Luke James Ramsey, he is our new favourite.
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Discotdtr • X FEATURES
Nardwuar Vs DiSCORDER p.8
Adam Green p.10
Kids These Days p. 12
"The approach p. 14 I
brave New Wavwes Turns 20 p. 16
Numbers p. 19
Mates Of State p. 20
Dale Davies
KatSiddle   I
Graeme Worthy
Susy Webb
Jason Bennett
Dale Davies
Kat Siddle
Graeme Worthy
Susy Webb
Jason Bennett
; Parmida Z
Soren Bros.
Dave Gertner
Bryce Dunn
Luke Meat
Kat Siddle
Matt Steffich
Frankie Rumbletone
Lydia Masemola
This month's is brought to you by Dale Daves, DiSCORDER's new Art Director
and subject to much ridicule due to his unusual eating habits and odd patimes
which include Jello art and prawn tossing.
© "DiSCORDER" 2003 by the Student Radio Society of the University of British Columbia. All
rights reserved. Circulation 17,500. 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. Please
make gifts papyable to Duncan McHugh.
DEADLINES: Copy deadline for the March Issue is...oh, let's say February 18. Ad space Is available
until February 23 and can be booked by calling Jason at 604.822.3017 ext. 3. Our rates are available upon
request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited^Mujserlpts.
. unsolicited artwork (Including but not limited to drawings, photographs, and transparencies), or any other
unsolicited material. Material can be submitted on disc or laJype. As always, English is preferred, but we
will accept French. Actually, we won't. Send email to DiSCOJiJDjJjgrtrfseofdereclub.ams.ubCjCQ.: ;;>-
•From UBC tolWngley and Squamish to BellinghamJSCJTR can be heard at \0l£tsmas well
as through all major cable systems in the Lower Mainland," exempt Shaw In White 'RoflKrCaN the
CT%DjSlne at 822.2487. our office at |2^017, or our news and sports lines It 822.3017W
ext. 2. Fax us at 822.9364, e-mail us at: citrmg^^;:vfit our web site at or just
pickup'sgoddamn pen and write #233-6138SfifiBlvd., Vancouver, BC, V6T 1Z1JEANADA.
From The Desk Of... p.4^
Fucking Bullshit p.5
Panarticon p. 6
Strut, Fret and Flicker p.7
Riff Raff p.7
Real Live Action p.22
Under Review p.24
Kickaround p, 25
On The Dial p.27
Charts p.28
Datebook p.29
1036 Richards Street - - 604-687-6794
■h* ^p-
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^m • •
When I went to Europe this winter, I took an 18-
hour bus ride overnight from the Czech Republic
to the former Yugoslavia. "We'll get a nice bus,"
my companion assured me. "It's an international
The moon rose and the lights in the
little towns faded as we shuddered across the
countryside in a Serbian scrapheap-on-wheels.
I buried myself in The Unbearable Lightness Of
Being and tried desperately to will away my need
to pee. How could an international bus not have
bathrooms? Late into the night the bus stopped
at the Hungarian border, where my companion
was permanently traumatized by the hole in the
floor that passed for a toilet. But it wasn't that bad.
Really. Because I had secretly steeled myself for
something truly awful, something involving torture
and dysentery and lost passports. It was okay. At
least until we reached the Serbian border, where
my companion cast a surprised glance over the
Cyrillic lettering on the border guard's uniform.
"Huh," said the man who was supposed to be my
sole guide to Eastern Europe. "I forgot that they
use Cyrillic here."
My first month as editor was-a bit
like that bus experience (minus the alphabetic
adventures). I had considered the long hours,
meagre pay, and ancient, unpredictable
computers. I was prepared for the frustration of
not knowing how to use Photoshop. InDesign, or
OS9. Hell, I was ready to fuck everything up and
have my eyes put out by the entire CiTR staff as
a consequence. And then nothing bad really
I can only assume that this is thanks to the
people who helped me get through this first
month. I know, I know, it's not the Oscars... but
I still have to express my gratitude. So thanks,
Duncan, for stepping in as interim editor, leading
the campaign for new computers, and introducing
me to Thanks to Graeme,
Jason, and Dale for NOT fleeing like rats on a
sinking ship. And thanks to Susy for her help during
production, and the cookie.
Speaking of that cookie... I guess I
should explain why this is not the women's issue.
And as an ardent feminist, I wanted the women's
issue to bejaw-droppingly awesome. The best
thing since getting fhe vote, dammit. But given
the sheer chaos generated by my meteoric rise
to power, it just wouldn't have worked. Perhaps
later in the year. But hey, this month's Fucking
Bullshit easily makes up for the whole issue's lack of
Girly sounds will reign supreme on my new
CiTR radio show, however. The Dim Sum Show,
the gig that I co-hosted with Claire, has met with
a sudden and swift demise. Like Courtney or
Beyonce, I'm now kickin' it solo with something
called Mystery Girl (think the Kattish elements of
Dim Sum crystallized into one hour of pop-rock
glory, nestled up to Chris-A-Riffc's Parts Unknown at
12 noon). Claire will be around to slap me around
every once and a while, though, so all those of you
who only tuned in for her "good radio voice" and
lust for weird Canadian esoterica should still listen.
It call comes down to this, my friends:
DiSCORDER and CiTR are waaaaaaaay more fun
than a bus ride to Serbia. And they're tasty like a
big feminist cookie.
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My mother is oriental. She is smart. In Canada,
they call her a "surgeon." She is the very best
surgeon. You had to wait seven months to
have a consultation with her. After over 20
years, she has closed her practice, so she gave
me ail of hemnedical records in case I needed
some scrap paper to make origami pants.
I was folding up the crotch when I
noticed that I recognized some of the names
of her patients. There must be some sort of
confidentiality law here, but good old Mom
packed up and moved back home to North
Korea. She doesn't care about the law.
Neither do I.
REAL: Kim Deal, Beyonce, Melissa
Etheridge, Lydia Lunch, Courtney Love,
Wendy O. Williams, PJ Harvey (like icing
tubes), Liz Phair, Linda Sharrock, Michelle
Mae, Kat Bjelland, Vicki Aspinall, Louise Post,
Jean Smith, Debbie Harry, Bonnie Rait, Lita
Ford (spectacular), Donita Sparks, Donna
R„ Veronica Bennett, Nina Nastasia, Kathy
Camaro, Corin Tucker, Jarboe, Nico, Lorna
Doom, Dot Wiggins, Danzig (firm), Exene
Cervenka, Cynthia Sley, Brix Smith, Thalia Zedik,
and Judy Nylon.
FAKE: Kazu Makino, Kim Gordon, Patti
Smith, KD Lang, Mary Timony, Paula Abdul,
Chan Marshall, Georgia Hubley, Christina
Billotte, Tina Turner, MC Lyte, Bonnie Tyler, Ani
DiFranco (saline), Kelley Deal, Bjork, Joan Jett,
Prince, Chrissie Hynde, Marcy Mays, Jane
Wiedlin, Nancy Wilson, Ann Wilson, Noriko
Tujiko, Donna A., Donna C, Donna F., Miranda
July, Tina Lucchesi, Tobi Vail, Klaudia Schiff,
Joni Mitchell, Emmylou Harris, Beth Ditto, Olivia
Newton-John, Allison Wolfe, Cristina Martinez,
Fontaine Toups, Vanessa Williams, Melissa
Logan, Meg White (floaters), Elizabeth Fraser,
Diana Ross, Karen O., Mary Lou Lord, Maureen
Tucker, Fiona Apple, Kim Carnes (cancer),
Wynne Greenwood, Tanya Donelly, Bianca
Sparta, Maria Andersson, Carol Van Dijk,
Ikue Mori, Kira Roessler, Heather Lewis, Hope
Sandoval, David Johansen, Diamanda Galas
(reduction), Kelly Riles, Palmolive, Bilinda
Butcher, Jane Munro, Jqcqueline du Pre, Janet
Jackson (titanium), Nancy Arlen, Alison Statton,
Missy Elliott, Samantha Fox, Niki Elliot, Claire
Ingram, Christina Aguilera, Donna Summer,
Jenny Toomey, Sally Timms, Aimee Mann,
Kathleen Hdnna (for self-esteem), Avril Lavigne,
Neko Case, Madonna, Shannon Wright,
Brenda Sauter, Laetitia Sadier, Cynthia Dall,
Dolly Parton, Kylie Minogue, Carta Bozulich,
Lisa Stansfield, Joan Baez, Cosey Fanni Tutti,
Debbie Gibson, Stevie Nicks, Alanis Morissette,
Poly Styrene, Lora-Logic, Andrea Zollo, Lucinda
Williams, Queen Latifah, Jennifer Warnes, Ann
Shenton, Siouxsie Sioux, and Morrissey.
If you have to know, my right one is real,
and the left one is fake. My mother wanted to
make sure that I was perfect. •
"Surprise Guests"
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With the impending US elections, I've been
keying in to international politics... Check out
the buzzwords: "US unilateralism," "corporate
multinationals," and Chomsky's favourite, the-
"military-industrial complex." Then there's the ■
conceptual blockbuster, from Michael Hardt
and Antonio Negri, "Empire."
The weird thing is, these words sound
like a Communist pamphlet from the '20s.
Brian Salmi in Terminal City talks about how
his '80s$ocred bashing activities were really
just as "fascist" as the "fascists" ['A Cabinet of
Dunces', 06.02.04], Fascism runs in circles after
its own tail. And so does language.
As DJ Spooky said this past weekend in
Montreal — actually, yelled it before his set —
"I am not from Bush's America" (He also said
"I hate Bush" in both French and English). This
is true but it's also misleading. Spooky is from
Bush's America, just like we, as Vancouverites,
are from Gordon Campbell's BC. And the fact
that this "we" — whether it be Paul D. Miller or
Salmi — seems at a loss as to how to construct
an alternative, and in fact, ends up chasing
its own tail politically as well as perhaps
linguistically, betrays a few questions.
Part of this is sampledelia. Spooky's
take, for example, on recent genome
development in biotechnology is basically
this: sampling cultures is a creative process,
one that allows recombinant possibilities to
come to the fore. Sampling the body, i.e.,
sampling genes, is the expansion of remix
culture to the re-mapping of our own bodies.
Ideally, I would agree with Spooky. But there's
also the predicament of property — who
owns what, why, how, and what that means
across a diverse range of global cultures
that are becoming increasingly networked.
Ideally, sampling is a way fo effect cross-
cultural communication. Unfortunately it's also
the same tactic of linguistic buzzwords — i.e.,
the structures of appropriation that support
"global capitalism" (there's another one).
It might be more complicated than that;
the structures of property law and copyright
exceed capitalism, insofar as "the proper"
is something we can't seem to qet out of
our minds. Even if we wanted to engineer
ourselves to eradicate just that property of the
mind, which would assume that this is proper
to the body, the fact is that biotechnology
is not in the hands of the DJ. And there are
many cautions to address before affirming
that sampling genes to create the ultimate
non-possessive human is an easygoing
process. We're talking about structures that
exceed a simple sampledelic solution to
the world's ills. Which also means that a
simple reduction of cultural organization to
properties of the body deftly cuts out the
responsibility. You can't scratch your way out
— but maybe you can scratch your way in.
Whether one likes Howard Dean or not,
the fact that he called for changing the very
structure of Washington has all but fizzled his
campaign — which attests to the weight of
this call, and the quick organization of not
only of the Republicans but the Democrats
in removing such statements from the
language of the political landscape. This is
because we're not eager to face the massive
responsibility of thinking through the entire
framework of not only politics but the political
— the creative space where "politics" has set
itself up as the only shop in town. With shock
and awe, a section of society that would
like to disassociate itself from the State has
witnessed quite a different separation: the
State revealing itself, for the first time, in all
of its power — the "neoconservative (a.k.a.
right-wing, corporate, military)" position. The
neocons have been doing a little bit of beat
juggling themselves.
As Michael Hardt says [see Radical
Society 29:4], the networks that were formed
to sustain a global league of protest — and
which now dots the globe at every major
multinational summit — should be turned
to the positive theorisation of alternative
networks. There are two types of theorisation:
that of the philosophical nature (such as the
book Empire) and that which happens "within
the movement," the hands-on approach. The
difficulty has traditionally been in connecting
the two modes. Now, it's in translation, not
between the two, but of the two, to the
network. This column tries to do a little bit of
Within the 'Right', as Abe Burmeister
notes «», the
philosophy of Leo Strauss has come to
provide the grounds of unification for an
entire generation of "the right-wing." The
language has eaten the tail, and the closed
loop presents a speech from which the very
terms of politics are set, by rewriting the
political as ground, as unity. Likewise, the
debate between "theory and practice" has
been closed through the unity of ranks. Yet
this unity will always have its cracks; any unity
is like a pressure-cooker. As Salmi points out.
Premier Campbell rules his cabinet with an
iron fist [Gordo Plays Dumb, 01.21.04]. And
anytime this power method is employed, it
tends to sow resentment within. The backlash
often results in deposition, a kind of internal
This is the cost of the "Right's" approach
to language. The tight ship of language as
employed in politics is tactical. It isn't always
perfect, but its effects on the audience, and
particularly the media, are well-studied, and
aim to achieve a gain that allows certain
actions by the structure to occur as if the
public wanted such actions. One's repression
is presented as that which one wants — a
kind of involuntary masochism; it's the same
logic that informs consumerism. The public is
perfectly aware that they receiving a product
whose image will outshine it's performance;
thus advertising, fike politics, works at the
meta-level of belief, or faith, like religion.
There's an entrenched violence to the
snake that eats its tail, ouroboros, the spiral
of death. The unification of ground is all
too often of the sort that Pynchon can only
explain, via an esoteric drift of meaning, in the
haunted topography of post-WWII Germany
in Gravity's Rainbow. Which is not to say that
this internal throw-down is the coming of
the great revolution. If anything, the internal
jostles of the "Right" tend to strengthen and
reiterate tactical approaches to changing
the structure of politics, and thus, the political.
To return to fascism: perhaps "fascism"
sets in as the attempt to control the very basis
of what we think politics is, this level that is at
the moment of the political. This is something
that Salmi, like a few philosopher types whom
he'd no doubt rather avoid, understands
intuitively. If not unity, which overrides
diverse cultural landscapes, then a kind of
fragmentation. But frequently we realize this
is a cohesive topography, where sampling &
scratching takes place in ways both "good"
and "bad."
Monday, March ist, 2004
@ 7pm
in SUB room 205
Show that you care about the station
(and that you care about winning prizes, of
which there will be many).
festival of video + sounds
MARCH 4-7, 2004
1965 Main Street, Vancouver, British Columbia. Canada     for information, call 604. 872. 8337
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Last month I felt like I failed you, dear reader,
in providing enough reading satisfaction to
get you from point A to point B {even if that
only means taking those twenty steps from
bedroom to bathroom), but I will endeavor
to plot a longer journey this time out so your
lonely bus ride to work, trip to the dentist, or
even that bee-line to the bathroom can be
more pleasurable, and of course memorable by
learning about those incredible pieces of plastic
we call seven inch records.
Our trip begins with a skip down memory lane
for a power pop blast from Hamilton, Ontario's
Teenage Head, as some anonymous music buff
has re-issued two gems from one of Canada's
premier outfits from 1978. Look as Frankie Venom
stares longingly into your eyes, almost as if to
say, "Don't you remember the good ol' days?
That's why you're listening to this, dumbassl" So
slap on some eyeliner, pull on the Chucks, and
get happy with "Picture My Face" and "Tearin'
Me Apart". (No label info, sorry!)
Taking a trip of nostalgic note are The Little Killers
and The Dartford Renegades, who honor the
timeless tunes of The Rolling Stones on a split-
seven inch series (collect all fifteenl Yowzal).
On the A-side, the darlings of New York turn in
a stripped down, top-gear rendition
of "Think", which benefits from some
scorching guitar, while on the B-side,
"Off The Hook" sticks to its R&B roots
while still being peppy enough to
tap the feet to, as these new London
boys do Mick and Keith proud with
a classic cut from the lean years.
Other records in this series look
equally impressive, with bands like
The Reigning Sound, The Real Kids,
Question Mark And The Mysterians
and The Dexter Romweber Duo
duking it out on wax to cool Stones
trax. Keep an eye out, kids. (Norton
Records, P.O. Box 646 Cooper Station
New York, NY USA 10276).
Taking a trip overseas. The Flakes
gave the Europeans something to
smile about when they released a
tour single to commemorate their
sojourn into garage-lovin' territories
like England and Spain. Aw, just look
at those faces — who wouldn't be smiling at
those cherubic mugs? Well, listening to the
grooves will make you smile too. guaranteed:
two breakneck rockers fuelled by the manic
drum pounding of San Francisco king-among-
men, Russell Quan. "Talk About You" and "What
A Girl Can't Do" make me wanna shake it 'til
I break it, and spill a lot of beer while doin' it.
(Dollar Record Records, no address given).
The Briefs like to spread a lot
of joy when they play, but
they take more pleasure
in the joy of killing on their
latest EP, and drudge up the
corpses of past punk rock
victims like The Deadbeats
("Kill The Hippies") and The
Angry Samoans ("The Todd
Killings") with their patented
pogo attack formation. As
guitars shred and drums rip
with three more odes to offing
your loved ones gracing the
blood red vinyl, Seattle's finest
take the expressway to your
skull, so enjoy it while can,
bub; punk's dead, and you're
nextl (Lollipop Records, 7 Imp.
Monsegur 13016 Marseille
And finally, whatever trip The
Winks want to take in the near
future, make sure to pack
plenty of candy, cigarettes
and attitude, 'cuz these gals
got it all in spades. Imagine a
scrappier version of The Donnas, or a younger
version of The Bags, and you've got yourself
this quartet of sass from Tex-ass. Four songs full
of choppy guitar, kinky lyrics (check out "Spoil
Me") and a solid, but not fancy, rhythm section
keep songs like "You're Gonna Die" hoppin'
and boppiii'. Another reason why the Lone Star
state rules the roost when it comes to rock and
roll. (Super Secret Records, P.O. Box 1585 Austin,
TX USA 78767).
All that travellin' has got me tuckered out, so
while I take a well-deserved break, YOU on
the other hand can take a trip down to the
rekkid store and purchase some of these fine
examples of musical mayhem — your ears will
thank you! S^S!
Friday 23 January
Queen Elizabeth Theatre
True rebel innovators don't become tame
with age. They just get more refined. Edouard
Lock has been creating dance for nearly 30
years — most of them with his Montreal-based
company Lalala Human Steps. Although its
personnel has changed over time, he always
• .ssembles a group of men and women with
iormidable technique, six-packs and thighs
of steel who launch themselves around the
stage with a passion and violence that leaves
you feeling supercharged, yet on the verge
of tears. His latest work gets you there just as
surely but with much more stealth.
Lock was inspired to create Amelia
by memories of his long ago acquaintance
with two transvestites, but he was divinely
oblique about referencing them. Similarly,
a program note on "deconstruction as
revelation" was like a whisper in the ear or a
tug on the sleeve — something to be tucked
away and forgotten until it gave us a little
smack upside the head later on.
Visually, the piece was riveting from
the start. The women danced en pointe,
their foot and leg work knife-sharp, quick
and exaggerated. Their upper bodies were
precise and doll-like, but so manic that they
looked like Coppelias on crack. Alone or
in groups, the eight performers worked the
black stage wherever light happened to fall,
creating an unsettling, random atmosphere.
But John Munro's lighting design was actually
as tightly choreographed as the dancers. The
white follow-spots responded to the music
and to each other, often stopping to wait
until the performers moved into them.
Periodically, 3D animations of one
of the female dancers would appear on a
face-shaped area near the upstage wall.
Although digitally produced, these images
had an exotic, antique warmth which made
the women look like silent film divas, and
contrasted with the harsh landscape evoked
Seeping into everything were the
lyries of Velvet Underground-era Lou Reed.
Crystal-voiced singer Nadine Medawar gave
them a stretched-out sadness and beauty
that I'd not heard before: "I'll be the light
in your window so you'll know that you're
home." Ahhh... Reed's songs were further
detourned by being set to David Lang's
melancholy score for piano, cello and violin
(played live onstage). The string section
started behaving like quantum particles,
disappearing when I wasn't looking and
reappearing in different places. At one point,
they played right in the faces of a dancing
While all this lovely oddness was
registering on a visceral level, I remembered
the deconstruction business, and realized that
Lock was* indeed dismantling everything —
from the conventions of classical ballet and
stagecraft to the Velvets' songs. Collecting
the pieces, I felt excited, anxious and sad.
All the while, Lock had also been
building up an electric emotional field that
was starting to crackle. At exactly the right
moment, the dynamic shifted and four
men powered their way through a piece of
choreography so exhilarating that it briefly
stopped the show. Normand-Pierre Bilodeau
and Alain Thibault's music was a wonder of
driving percussion and lonely blasts of Ennio
Morricone-like guitar. The dancers conveyed
a poignant sense that, despite their desire,
they were working against something so big
that they might not make it
Just as abruptly, the release valve
tightened as the full cast reprised earlier
passages — this time with two of the men in
pink satin toe shoes. While Medawar sang
"What costume shall the poor girl wear to all
tomorrow's parties?" I remembered "Amelia"
and marveled at how Lock and his company
could be so classy about sending us into the
night all mussed up — yet with everything in
the right place.
As anyone whose value system isn't stuck
firmly up their bum already knows, humane
social programs are among the prime
indicators of an enlightened civilization.
While the provincial government's barbaric
attacks on publicly-owned services have
cost countless highly-skilled people their jobs
and threaten access to what we thought
was ours, the direst and most immediate
consequences are felt by those whose need
is already greatest. One doesn't have to
be on the dole to imagine the fallout from
welfare cuts due to take effect next month.
Although Victoria recently relented on a few
of the more stringent eligibility requirements
for assistance, the safety net is still woefully
Always on the frontlines of
grassroots social issues, Headlines Theatre
is taking this one to the people through
an interactive project called Practicing
Democracy. In February, the company's
Artistic Director, David Diamond, held a
workshop with 30 individuals directly affected
by the cuts. Five of them went on to create
a play that they'll present as Forum Theatre
— a style in which audience members can
intervene in order to affect outcomes.   -
The remarkable thing about
Practicing Democracy is that Vancouver
City Council has unanimously endorsed
the project and has promised to consider
audience input when it drafts amendments to
civic policy regarding homelessness, policing,
shelters and the like. Good grief — this is
beginning to sound like government for the
people, by the people. What a concept.
Practicing Democracy runs March 3-21
at three community halls in Vancouver.
Admission is by donation. For reservations
and further info, call 604-871-0508 or go to
M ckcc-Ii   :u 004-   i 7 FROM PLAID PANTS TO PUNK ROCK:
by Dave Gertner
Doing an interview is a much different process than simply writing
a piece on a person or a band. Quite simply, during an interview
you have to work in real time. Questions have to be snappy, and
digressions must be anticipated. You need to be entertaining
and you have to worry about your
breath. This can be a bit disconcerting for a guy who usually
stinks it up as a listless mess behind a computer screen, writing
and re-writing, it can be especially disconcerting when the
person you are interviewing is the reigning guerilla interview king,
hyperactive three-band front man and CiTR mainstay, Nardwuar
the Human Serviette.
But, gathering my nerve, I set off to do the best darn job I
could, breath mints in hand. Some of these questions were
conducted via e-mail, some were done live at the Evaporators
show at the Mesa Luna, February J 7, 2004.1 even intended to
take pictures, but due to the aforementioned stress, I forgot to
put film in my camera (I haven't taken pictures since my 1989
trip to Disneyland, OK). A big thanks has to go out to everyone
who submitted questions for this interview. Without your insight I
would have been lost in a sea of obscure Quebec garage band
references and the countless Human Serviette articles on the net.
If your question didn't make it in, or we didn't give you a byline, I
apologize. But it all goes under the CiTR family name. It's all love.
So take care kids. If you need me, I'll be in the den behind my
computer. But until then "Doot doola doot doo, doot doo!".
Discorder: Why do you play In a band?
Nardwuar Well it's what I always wanted to do, actually,
because in high school I was the student council president
and so I organized dances and I got my own band to play
the dances. And then I got out of High School and I wanted
my band to play, so I had to organize dances, and I got the
Evaporators to play. And then I got to CiTR and I thought,
hmmm, this is a good thing to join, and so I got a radio show to
help my band. And after doing a radio show, well, you wanna
put on more gigs and then you want to put out more records,
so it was just a natural continuation. The Evaporators actually
came before the radio show. The Evaporators formed on Feb 20,
1986, my radio show started in October 1987 and I came to UBC
September 1986. The first interview I did was September 26 1985,
with Art Bergman from the band Poison because I got his band
to play our high school and I thought I've got to get an interview
with this guy because he's playing our school. That's pretty much
the timeline. The first Evaporators record didn't come out until
1992, our first 7 inch. The first release on vinyl in 1989, on Nardwuar
the Human Serviette Records was called Oh God my Mom's from
Channel Ten. It was a compilation record.
Could you tell me about an alleged incident when you and
another CiTR DJ convinced a woman to masturbate on air during
a late night program?
I never did anything like that, although I did play some
soundtracks from pornos mixed in with hardcore punk and I
remember I got suspended for doing Jhat.
How do the Evaporators write music?
Actually one thing I would like to add to that, you know talking
about a woman masturbating on air, blah, blah, blah, one of the
greatest things on CiTR was my friend Adam, who did a show
called "The Noise Show." They call it radio art now but we called
it noise then. One day I walked into the DJ booth and I couldn't
hear anything on air and Adam was lying on the booth board
and he had the mic right
to his heart, and I was like "What are you doing?" and he said
"Shhh! It's the sound of my heart on air."
Another cool thing was [the CiTR show] "Live from Thunderbird
Radio Hell," which Adam helped out at, started by Ed. Bands
would come and play [on air] and afterwards DJs would play
out the rest of the night. And sometimes the DJs wouldn't show.
up. So Adam would just put a CD on repeat. And one time he
put a CD on repeat, and it was maybe 2 or 1 AM and he put on
Sitting on the Dock of fhe Bay by Otis Redding, alternate version.
on repeat. And I went home and woke up in the morning to CiTR,
and it was the same song. It had been repeating over and over
My other favourite story about CiTR, like fuck the porno, was
Gamett Timothy Harry, who was a DJ at CiTR. You know the
carol ships? People go on these carol ships and they broadcast
them this music. Well I think the music was kind of deemed noise
pollution so you were supposed to tune into a radio station. CiTR
was assigned to do the music for the carol ships. And at 8PM
Garnet Timothy Harry was supposed to put on the Christmas
music, he thought it was 9PM. So at 8PM he was bitching, like "I
gotta put on this fucking Christmas shit," and it was broadcasting
all over Vancouver, that's my third
favourite story ever from CiTR.
What's the best cover song you ever heard?
I like cover versions when no-one knows the original band and
it brings the band to prominence. One of my favourites isthe
Gruesomes from Montreal covering Les Lutins and a song they
did called "Je Cherche"' and I loved it because I loved the song
and it made me seek out the original and listen to other songs by
Les Lutins and get involved in all the cool music that came out of
Quebec in the 1960s.
According to a Mike Usinger interview you enjoy smelling things.
What do you like to smell?
Mainly old aged cheddar and other assorted cheeses. Although I
do think unpasteurized cheese is too stinky!
Do you make your own pants?
No, I have been lucky enough ta have had kind people like Sean
Raggett, who ran the Good Jacket Clothing store in Vancouver a ■
few years ago, set aside interesting items, such as pants, for me.
For example the amazing "Canada" sweater I wore on the cover
• of the Evaporators / Gotta Rash LP came straight from Sean's
cache! Thanks Sean! I will never forget that!
S(.orde.r •
$ Where did you first hear punk rock?
When I purchased The Sonics record Boom frcfllulu Records iril||!g
If there was a Nardwuar action figure what would It da?
It probably would say three things "Who are you?" "Keep on ^^
rockin' in the free world!" and "Doot doola doot doo, doot dooj'Jy
Where did you get your tarn? Do you have a closet full of them,   : *
or is there just one special tarn that you wear? Is there a story    «
behind your passion for tarns, a dear childhood experience that
endeared that particular hat to you?
A friend brought me a whole bunch of tarns back from Scotland. 1
I didn't wear any of them for years until Sebastian Bach of the
hair farming band Skid Row threatened to "beat me up for fun"
and stole my favourite toque! Plus he smashed the videotape
I was using to "capture" the interview. The shitty thing was the
tape also contained interviews with Pierre Eliott Trudeau, Sandra
Bernhard and George Clinton! So by default, my tarn became
my daily headwear.
How about the infamous Quiet Riot interview where they took the
tape from you because of the questions you asked? (Mr.Plow
submitted this question and I think he was actually there with you...)
Pretty much the same thing happened with Quiet Riot as it did
with Skid Row. Except that this was five years later. Now whenever
I interview heavy metallers in the flesh I always bring a body
guard. Case in point: Canadian Heavy Metal Legend THOR
accompanied me on my Gene Simmons interview. I felt very safe!
^drfyou comment on the following anecdote, sent to Discorder
fcyjftemall: "Did you know I started a dog poo removal company
yzaiied 'Scoop Doggy Dogg', with a klckass poster featuring a
jjjfece of poo on It, and Nardwuar gave one to Snoop Doggy
ADpgg In person when he Interviewed him most recentty^^^^&
B^hen I do interviews I always try to do a little research. I ask§d?s-<§
By friend Leora Kornfeld if she had any questions I should as^H
■noop and she suggested I show. Snoop a "Scoop Doggy
Ibogg" Poo Removal poster. Leora had seen it up around her
I neighborhood. This is what happened when I showed it to
' Snoop:
Me: Check this out Snoop, look what this is [hands Snoop a
poster], somebody has a dog poo removal service called Scoop
Doggy Dogg.
Snoop Doggy Dogg: Oh, that's fly!
Me: We're number one in number two!
Snoop Doggy Dogg: Preach.
Me: And this is from Vancouver, British Columbia, Canada, Scoop
Doggy Dogg.
SDD: Thank y'all people, I love y'all for that, appreciate it. Keep
picking up shit, all day!
Do you still do a mean Captain Highliner impression?
Wow Dave, you are diggin' deep! In high school I used to
do announcements on the PA and Captain Highliner always
brought down the house! I haven't though about him in years,
although I still crave chips and chowder every so often!
I have heard that you have a large porno collection. Is there any .
truth to this?
Over theyears people have mailed me some wild stuff. After
interviewing Ron Jeremy in 1996,1 threw it all out though. Cuz how
can you top that!
How do you explain the fact that many 1st year CiTRers have
crushes on you?
I am flattered, but maybe they are bored? Courtney Love called
me "totally sexless." -
How many things have you destroyed at CiTR? Apparently there
was a coffee table? Nothing ever got destroyed. I did however
once crack a coffee table, that has since been repaired by the
way. I jumped on it during an argument with a fellow CiTR membe
s over bands signing to major labels. Sorry about that!
You used to love the Java Joint. Is it still as good as Snackers, or is
mere someplace better out there now?
I love anywhere that will actually let bands book their own all age
gigs! So big ups to the Video-in, Seylynn Hall, Mesa Luna, Langley
Community Centre, The Underwear Farm and any other venue
that lets the teenagers shake out their zit rock angst.
How do you respond to being called the "Weird Al Yankovik of
music journalism"? That is a great compliment! Thank you Dave!
For more on Nardwuar and the Evaporators check out
AWrcW   X0O4- * | ADAM GREEN
feelings he h«d one time
Adam Green couldn't name any of Simpson's songs, but thanks
to the singer's spot on a reality TV show and status as a stupid-
quote icon, his song "Jessica" has recently seen success. I credit
Simpson, because otherwise what is the likelihood of this former
Moldy Peach getting mainstream attention? (Remember that his
past lyrics include stuff like "There's no wrong way to fuck a girl
with no legs").
What I find most amusing about Adam Green is the way his
nonchalant, deadpan singing seems to tame his blunt vulgarity.
New listeners are drawn to the pretty melodies, lulled into a state
of calm before being rudely awakened: "Did I hear that right?"
But allegedly Adam's desire is not to shock, as he has no need
to justify his songs with explanation and questioning. To him, they
are just "feeling[s] [he] had one time."
I talked with the charming and enthusiastic Adam recently when
he was in Toronto.
DiSCORDER: My first question is about your latest album -you
switched from home recordings to having a studio and strings
and everything and I thought it was a cool progression from your
first album and I just wonder if...
Adam Green: Why, thank you!
You're welcome... if you've thought about your next album at all
and what you'd like to do for that?
Yeah, I'm going to start recoding that when I get back from
Europe. I'm leaving for Europe on the 8th of February and it goes
for I think a month. We've had like a day in the studio, but we
haven't had enough time to focus. *f.^y'%
Who are you working with on this?
I'm working with the same producer as last time, Dan Myers,
working with the same string arranger, Jane Scarpantoni, and
Steven Mertens, who's all over the last record, he's on this one
too. I gjpss the main difference is I'm working with Parker Kindred
■■' on the^ums and Nate Brown on the piano and Chris Isom is
playing on the guitar.
Ox Scor JL £c
10 When do you hope it will come out?
I don't know. I mean it's like the kind of thing
where a lot of times you give it to the record
label and it takes them a bunch of months to
put it out. I hope it comes out around the same
time this year as my last one came out last year.
Yah, I'd like to be at the pace of making an
album every year. That would be good.
Are you sick of people asking about The Moldy
Peaches or mentioning them with your name?
Well if you want to know...what do you want to
I suppose the big question constantly looming is
if you'll ever get back together...
Well... nobody knows. We sort of joked about
getting together in 5 years again. We didn't
have to break up because we're not signed to
a record deal so we could just sort of make it
whenever we want. Maybe we'll make another
one in a few years; I'm not sure. But I don't even
see Kimya so much these days 'cause we're
both traveling so much; we'd have to hang out
a lot to write songs together.
I've read that you're 'medium-serious' about
your music - what does that mean?
I think when I say that, I mean that there's some
parts that are true and about my life and then
there's some parts that I make up, you know?
I write the songs in kind of a playful manner. I
think people should understand that if they're
gonna be listening to it.
Okay, on the "Jessica" EP, there's that "Don't
Smoke/ The Bronx Zoo 1989" track: did you
record yourself or did your parents often record
I think I recorded that. My dad bought me a
tape recorder when I was like 6 years old and
I would just wander around the house making
up songs. My older brother was doing this thing
with his friend where they had a camcorder
and they were making a fake news show. And I
think I tried to do it by myself in my room. I don't
really remember. I think I was walking up and
down stairs when I was singing [the song]...Yeah
[the recorder] had high speed and it was fun.
You could do all kinds of things with it. Yeah it's
a good thing, if you have a kid you know, buy
your kid that!
Also on that album you did "Kokomo" with Ben
Kweller! How did that come about?
That came about when we were on tour; I was
opening for Ben and I was singing it earlier in the
day and we thought it'd be cool to make it into
the encore so we figured it out and sang it at
the encore.
Why that song? Why the Beach Boys?
Well, I've always really liked that song and
I found that when I sort of mentioned it to
people, they thought it wasn't a good song or
it was cheesy or something. So I thought maybe
if I can record it with a little less production,
I could show what I like about the song and
maybe people can appreciate it in the way
that I do.
Yeah, I played that song once in class, In
the morning. And the reaction was so good
because so many people have memories, just
of hearing that song when they were kids...
Yeah! True. It really takes you to another place.
That's what I always really liked about that song.
I didn't know about the Beach Boys, I just knew
that song and it just seemed like it was really
magical. I remember feeling like I wanted to go
there [laughs].
You did another cover on that CD, the Libertines
cover, "What a Waster", and you played some
shows with them - did you ever play that song
at their show?
Uh, let me think. I don't think I have. But yeah, I
recorded that song right in front of them. They
were in the room just like staring at me playing
What did they think?
I think they really wanted me to do it. They really
liked it. And Pete [one of the singers] wrote all
the words out and Carlos showed me how to
play the chords. And they said they were going
to the studio the next day and I should record
something. So that night I learned the song and
came down and recorded it. Then it became
released, actually, in this weird way. Pete gave
all the songs to some kid in a hotel lobby and
just said "Put it on the internet." So it sort of
became like a little thing I guess!
Okay, a question about one of your songs - why
are you glad not to be a girl?
[Thinks for a moment] Oh, "Hard to be A Girl." I
mean it's not like that. It's just like a feeling I had
one,time. It's not something I go about thinking.
A lot of these things are the emotions I was
going through at the time I was writing the song;
they aren't like hard facts!
I was just wondering if you were thinking
anything like "I wouldn't want to be a girl
because..." kind of thing...
Uh, I don't really remember, honestly.
That's alright... Well is there anything you wished
I asked you?
Uh, no. I have a bunch of interviews to do right
now. I've done like 5 already today.
Oh no!
So I should go, but it was nice talking with you.
You too. I hope to see you in Vancouver again
Okay, yeah. Well, I'll see you there!
Well, I guess Adam Green is in Europe at the
moment, but for those who need some new
A.G. love-, his video for "Friends of Mine" should
be available soon!
Oil Mar* 2H 2001
Get off your lazy ass.
0      Go see a show.    0
And see it for free.
All you sloths have to do is win
tickets to see Ima Robot play
Richard's on Richards March 10.
How, you ask? Just answer one
simple question...
Who did Ima Robot open for at the
Plaza of Nations last summer?
First person to send their answer to
wins! Now get to it!
The debut silo album &w gutirutjgpiit AIBBl STHIEB of IM 1IA1II SNiOS.
: IN A
• YOU!
Victoria BC
Vancouver BC
Red Cat Records
4307 Main St.
Red Cat Presents
iThe Railway Club,
New & Used CDs & Vinyl
ph. 708-9422 * email bud^redcatea
AWoVv   XOOH jt  \\ KiETjf
By Ben lmf:. | \
For a band that played their first show only a year and a half
ago, local Vancouver act kids these days sure are paddirjQjiipv'
their resume nicely. Most bands don't get to talk about"6elBg
featured in a CBC Radio 3 special. Or boast about flattering
write-ups in several major Canadian magazines. Or brag about
playing at such legendary New York City clubs as CBGB and
the Knitting Factory.
kids these days started out as a Marc Mom'ss^i^|(guitar,
vocals) recording project. He would write songs and bring in
his friends to help with the recording. Aftelbeing accepted to
play in Shindig in the fall of 2002, Marc e||jyinced Peter Doig
(guitar, vocals), Ryder Havdale (guitar, bass, vocals), Jason
Stames (guitar, keyboard, vocals) ajj|||||S'Josephson (drums)
to be part of the project. That was when kids these days
became a real band.
I spent a good part of a recent Wednesday night chcftJ^g*wTt^nV■
all five members of the band.
DISCORDER: The band went to North By Northeast (NXNE) In
Toronto last summer without Marc. How did you cope with that?
Ryder: The band took an interesting turn at that point. Marc
had filled out the application but at the same week he also
decided he was gQjrJJipFb go to Thailand. So he couldn't be
there for the NXNE tour which left us hanging because Marc
rhad all the material, and he's only allowed us to sing one of
the songs. [Laughs] So we basically wrote a whole new set in a
month. We went to Toronto with the four of us, with three singers
and a couple songs each. It was a great experience but we
really wi|l$|etfMarc was there. But it was good for the band
because we had to find an identity instead of just being sort of
a backing band.
So Marc, what did you think of the changes when you got back
from Thailand? Did you feel that they changed the band?
• mPfoNo actually. Putting everything into perspective, we'd
been together for maybe six or seven monfns before I went
away. And the way we've always worked is "Ori^rap, we
got a show next week, let's hop into the rehearsdr§pace offflji   ^
figure out a set list." Throughout time there was more oncl^^^j'5
collaboration. Jay and Pete were both singing and writing's
before I went away. I was stoked because I was sitting on a
beach in Thailand writing songs on my ukulele playing for the
locals sipping on a pineapple shake. I didn't feel sorry for myself
afaTI3OT^^QKb<«^:we3^t!^^;>he^ll and ran with it,
Peter: We^r^n6^^e^5ngwrtt^^J?spreifty unique that all of
us write songs. Somebody wih bring In a riff or a new melody
and then there are five people bouncing off them. We've
gotten to a point where we're all writing the individual parts. So
it's kind of a combination of five different players.
You went on another Eastern tour recently. Where did it start out?
Marc: Pete really wanted to play in Guelph because he's
from there.
t Peter: We played at the Albpin in Guelph, which is a legendary
place, especially for me. I've got a lot of friends from Guelph,
musicians. It was very nice to play in this old stone building
where I spent a lot of time as a student drinking beer and
avoiding my studies.
Marc: We really liked the people at the show and the other
bands. It's just really strange because when we arrived the
parking qtten^lqnts were mean to us and swearing at us. And
the cook was really grouchy qqid'oil we wanted was a burger.
And at the after party the bouj|§er wouldn't let a couple of us
in and he broke Rob's glasses.
Later you played at Wavelength, a high profile show where all
the big Toronto underground media types come out, all of them
trying to discover the next Broken Social Scene or the
next Peaches...
Marc: There were a lot of people there. We played with Harris
Newman and his drummen||Phe guy from Godspeed You
Black Emperor. He gave props to Roip drumming after our
show, so that was pretty cool. 'im.
Rob: Shook my hand and said, "You are a really good
drummer, Rob."
Marc: The cool thJGjpivyps that every show was different
because the next day we drove all the way to New York City.
Ryder Barely made if.
Marc: Barely made it, 'cause all of a sudden we saw signs for
"Welcome^pSpjttsburgh". | think we took a wrong turn. We
DiSCOrdtC   •   \"^- thought we were on schedule and we had to quickly hang a
left. We arrived in the city at 8:30 PMl%nd our sound check was
at 8:15 PM. We didn't bring our gear to Newf|ark, but Ryder's
father has a friend whose brother, Kimball, was going to lend us
his vintage gear. So we stopped by Kimball's place and he was
pulling out all his vintage gear that he played in the 60's.
Peter [Laughs] He was playing his classical guitar lines.
Marc: Yeah, he was basically performing for us. This was his big
moment. I was staring at my watch and kind of biting
my tongue.
Jason: His voice was exactly like Woody Allen. There was
no distinction.
Ryder Let me cut in here for a second. Kimball helped us out.
We would have been there singing acappella.
Peter With tambourines.
Ryder Unfortunately for Rob he didn't have a drum kit, but
he did have a tambourine. So we played our first acoustic set  4 I
With Rob on tambourine. The rest of us were on equipment qjj||||l
supplied by Kimball Mandrake, who on a side note happefli? jfejjS
be the son of Mandrake the Magician - the famous a|^pS8n^S
from the '40s, '50s, '60s. We got there ten minutesJ^ft«ej^^^^
were to play our show at CBGB's^
Jason: If you can imagine a group of five gul^^pb^^up f£o§Jf^
Vancouver. They show up at your New Ya^fbp^artrfijSnf4WcH$|l
want to borrow all of your vintage ayj^^^^^^y^^^ndr^
take it all across town to play a shqwJiQg^i'pposedly %fy$i||lj
that night with absolutely no coljatffl^jiTfiiafes^wjiq't we did and :
he pollSfihthrough for us 'frd/i3!^^^^^
Ryder Oh, and we play^Vffe^^pH^ndW^fe^^^'"^^^m
signing. [EveryoneJgj*dira^4^
Marc: And fherjjtfweM|p^
out. It was re,ajly eclectic crowdflli
Peter: I met.|m; JHe^dnx&sister fprk^nsfs'sakel ILgriBBMite.
Andjrpu ended the1buVj§f)the Knitting Factory?
Mj^: Yeah, the next night, just sqme'mbfe.namedropp'ing, |&&
we played the Knitting Factory, and at the end of our set Jay
pspinted to this guy at the back of the room. "Who's that guy
lllfljlijjhere with the Adam's apple?" And Jay figured out it was
^^^^aj»k from The Cars. So Jay went over and gave him a
^^^^^^^tosmile. ,. -:.
(Si)ls^a^swpldl?uestion, but I'll ask it anyways, what's with the
^Ja^^^^^^Mve freaking cell phones. I'm trying to have a
^^^^^^^^^rall I hear>nagers yapping about this and
M^^^^^^^^P^ones' When •was young you'd walk down
^!^^^P^^^?'DUClclY's Place, ring the doorbell and ask if he
feouiq^^^^P ,'.
* PeterTgpf^^teblem with kids these days. Food allergies. And
antibacterial soap.  SP^wL*^
' Rob: i s'ay^^pids these days are totally spoiled. When I was kid
I have to walk to school for five miles.
Pefer Uphill both ways. [Laughs]
Jason: There is anotherlayer to the name which I'm going to
put out there. It's about understanding that life is a continuity of
generations after generations. And every generation says
kids these days are fucking losers. You know, they play too
many video games, they smoke too much pot, whatever. Every
generation does that to the preceding'generation. And until
you can recognize that pattern you're just sort of lost in an
egotistical ignorance. ifvflfsit;
Marc: I want to be a grandparent that digs my grandkids!
music. Whether it'll happen or hot I'm not sure. If all depends if
they have good taste in music, but I guess that's the problem.
[Everyone laughs] iflilllj
kids these days can be reached at They
will be playing at The Pic Pub on March 18th and The Purple
Onion on April 14th. And October Man, Marc's solo project, will
be playing at The Main on March 5lh.
n^rci. -Slo-oH • \y PROG-ROCK   AND   PUNCH-LINES:   A   CON VERS
The Approach is a three-piece band spawned from local groups
Donkey Engine, Closed Caption Radio, and The Red Light Sting.
They play a brand of calculated, instrumental, and yes, (no pun
intended), progressive rock. Before you run away thinking of Keith
Emerson's pedantic keyboard solos of ("Lucky Man" is still one of
my favourites, thank you very much) or, even worse, the vocals of
Van Der Graaf Generator, The Approach's compositions contain
neither of the aforementioned elements. Their debut release.
Wings of Monarchs, is a wonderful sprawl into intricately timed
meters and prodigious plunkin' on both the low and high ends.
Needless to say, I had to have a few beers with these guys and
talk about it. ^W$$M
DiSCORDER: With members who have been in so many different
bands, has it been hard for The Approach to have its own identity?
Marty Rollins (Guitar): I've heard people after our shows try to pick
out, compare, or point out the influence I had on Closed Caption
Radio, otherwise I don't think there's any reason to compare.
There's no real similarity between this band and the other bands
I've been in or we've been in.
Steve Elliott (Bass): I've never had much of a problem with it...
I don't think any of us are that embarrassed by the groups that
we were in previously. I would be embarrassed, I guess, by a
shitty band, before, but if someone wants to reference Closed
Caption Radio, Red Light Sting, Donkey Engine, I don't think we're
embarrassed by it. That's our lineage and it's not like we're afraid
of that.
Marty, you grew up in London, Ontario. You grew up in a weird
Marty: Absolutely.
Did London contribute to your noise-making? I mean, the ultimate
noise band, the Nihilist Spasm Band, was living there. Did you know
about them when you were growing up?
Marty: Oh yeah.
They supposedly perform every Monday night. Did you ever check
them out?
Marty: I don't think I ever knew that they played that often. I saw
their sons' bands a lot—like [Mark] Favro's and Owen Cumoe's
and Galen Cumoe's bands. Tunnels Under the City and stuff like
that was great to see. They used to play in libraries. But if anything,
the atmosphere in London is a lot more generic than you think,
and a lot more kind of grunge based. If anything, my noise
leanings are probably a result of my coming from there.
Steve, do you feel the same about Sarnia?
Steve: There was nothing going on in Sarnia. There were a couple
of country bars, and there's sort of an Irish bar...
Did your town have any influence on your music?
Steve: Well, it's pretty proximate to Detroit, so once I was sixteen
and able to drive, me and my cohorts would skip town most
weekends and check out something at Sfc Andrew's Hall or the
various Detroit venues. We saw all kinds oistuff. A lot of Chicago
stuff was interesting me at that time—Touch and Go stuff, Big
Black, The Jesus Lizard...
You actually saw these bands play?
Steve: Oh yeah. Many times. So it was a good scene there. There
was nothina^gSarhia, though, although there was a very nice
grass roots kind of punk rock scene.
Can you name any bands that came out of there?
Steve: I don't think any bands came out of there...
Ok but can you name some of the Sarnia punk rock bands that you
Steve: The Kentucky Fried Children. Fence.
Marly: I don't know how I feel about Fence. I'm sitting on that one. g
Steve: Fence was actually named because they felt they straddled
the line between punk rock and melpdic pop, sort of like a Blink
182 precursor, I guess.
Daryl, being born and raised here, what kind of scene did you
discover? And why did you start playing Mums?
Daryl Kirkham (Drums): Well, growing ujf I was way oujpif town, so
the scene I was into was the old pop's records: big-band stuff.
" You started playing drums — did you want to imitate someone or
anything like that?
Daryl: Well, yeah. As cheesy as it is,,ps was ajpnd that had the
Oxsco rdtr. I 14" ATI ON   WITH   THE   APPROACH    BY   LUKE   MEAT
sort of theatrical aspect.
Do you blieve that Peter Criss is a good drummer?
Daryl: [muffled]... No.
[laughing] He covered his mouth when he said "no"!
Daryl: But that brings it back to the big-band thing. It was the old
jazz guys that turned me on, and that's what I was interested in.
Like Buddy Rich?
Daryj: ||tally. Gene Krupa...
There's that evil term, "progressive rock," that everyone cringes at,
because they think that it means fold-out record covers and songs
about Dungeons and Dragons, and stuff like that.
Daryl: And flowing robes!
Is there such a thing as the new prog-rock?
aryl: I wouldn't necessarily say there's a new prog-rock; I think
there's perhaps little parts taken from the past forty or fifty years
that are being emulated into one new whole. I don't know if it's
anything really new. It's like anything — it's drawing on a lot of
different sources, and in its entirety, it's not really whole.
You guys are obviously music-listeners. Which one of you has the
best record collection?
Steve: Well, I haven't seen it in awhile, but MartyJapra pretty good
record collection.
Marty: Steve actually has a lot of the defidpFe' stuff, and the filler is
. Wt%s"filler," by the way?
Daryl: Stuff that you bought when you were eighteen, for
emotional reasons.
Sfeve:-ffipn't knowiFyqu can really call Perfect [the soundtrack]
J^tjjjjphn Travolta and Jamie Lee Curtis a great album. I've got
that one.
Marty: I take my "filler"jsfmment back.
Steve: I think it may sqySsijmething about the group that I don't
actually know what Daryl hasT^ikcollection. I know what Marty
has because we lived together.— not romantically or anything.
I think Daryl's actually the dark horse of this group. He's a bit
mysterious. I see him in rehearsal a couple of times a week, but
gsjSe^frcirn that...
Marty: I always have questions about Daryl, but I never ask them...
Do you guys hang out together when you're not jamming?
Daryl: No!
If you decided to get together and not jam or talk about music,
what would yofejioj^f
Marty: Be right here. Maybe you'd be here; maybe you wouldn't.
We'd be swilling beers for sure.
Steve: Or refinishing furniture.
Marty: We always have the f|fest time together. A lot of times when
we get to rehearsal, [we have] obtuse conversations.
Steve: Actually, I think we should hang out more, because
rehearsal seems to be this kind of current events jam session more
than a rehearsal half the time. Yojionly see the guys or fwicdjp
week or once a week or whatevemWe all lead pretty differeKf
lives, to be honest.
So when you get into the rehearsal, how does your composition
process work? Does you each bring in your own parts or does one
of you arrive with an idea that includes all three parts?
Daryl: Generally Marty comes in with compositions and structures
and ideas. Sometimes he knows where it's going to and sometimes
we'll start working on it and play something that we think would be
interesting for it and [the song] shifts slightly.
Steve: I think everyone has a role to play, for sure. We're pretty
comfortable together. The Approach was initially Marty's vision for
a grgpp and we all have a say in how that goes. As far as the initial
song ideas go, definitely, Marty comes up with the essential germ
of what [the song is] going to be, or at least a few riffs, and then it
definitely a democratic decision-making process as to what stays
and what goes. Some^lfffs really cheesy.
Marty: We're actually really discriminating. You'd be amazed at
how much stuff is discarded. Someone described us as kind of like
Don Caballero but with all the boring stuff in between taken out.
Is there a line between good music, progressive music, and just
wanking off?
'"' Marty: There definitely is.
How does The Approach fit into that spectrum?
Marty: I don't see the point in showing off technical prowess.
Daryl: However, when you're a three-piece, there certainly is some
more space tajpork with, so we can be a little more decadent in
our choice of, you know, flurries of notes here and there to create •
the mood, create the tone, and lead elsewhere.
So when you're doing that, are you thinking of the listener, or are
you just indulging your own interests?
Daryl: No, no. Because that happens a lot in rehearsal, that we'll
come up with something, primarily a composition Marty's brought
in, and there wi" be a great deal of wanking. And each one
of us will go through jfjgrj£f%o, "Holy fuck, man, pull your pants
up," trying to cut this down a bit. You're sort of losing track of the
greater goal of something that's actually listenable rather than
something that's a pure wank-fest.
Stevejlt's a delicate balance, I think, between keeping ourselves,
as rdpicians, interested and challenged. We, like in any creative
art, want to progress in our field and explore that terrain. We want
to flush ourselves into something that maybe isn't so comfortable,
scjfauess complexity is born of that desire. But I don't think there's
any desire to alienate, either. But it's fair to say that the end listener
paying attention, because if they did, that's totally awesome. I
wouldn't expect that, because I think that The Approach does
appeal to probably largely a crowd of musicians — people
who can appreciate the musicality rather than necessarily the
showmanship. We try to put on something visual. We are into it,
and there's nothing like perceiving the communal power, the vibe
you get from playing live, which is totally going to translate in your
performance. At the same time, I think we know that we're not the
White Stripes of whatever.
Daryl: Tension and release is the base of music, so I think that's
what we try to achieve in our music, where perhaps something
will be complex for a time, and then it will go back to something
very particular, very simple and dry, so that there's a moment of
repose, a time for a scoop of sorbet to cleanse the palette.
Marty: Often it comes down to scaling down to the most
interesting part, and more often than not, it's the tension and
release aspect of it that is most interesting. I don't necessarily
believe that having a frontman there is drawing the most interest.
Would you ever consider using visuals?
Daryl: Actually, in Donkey Engin, the band that all of us were in
before, we had visuals, and that was a lot of fun. I don't think
it's out of the question; I think that can be an integral part of the
Steve: We've done visuals in the past. It's a difficult thing to
organize; it becomes sort of a multimedia event, and we enjoy
that, but it tends to require some other people to help us out.
Tell me your best joke.
Daryl: Oh, man. OK, so there's these three women in an ice-cream
parlour... Oh, I blew it already.
Marty: [laughing] That's my favourite joke, too!
Steve: An octopus with a pair — a pair? — of bagpipes walks
into a bar and sits down. He's getting progressively drunker .and
drunker. The barkeep's feeding him beers until he finally says,
"Christ, you going to play those bagpipes or what?" The octopus
says, "Play them? Once I get the pajamas off it, I'm going to fuck it.'
Marty: [laughing] I can't contain myself. Where does Popeye get
his girlfriends? IV'T--^"-
Marty: I don't know, but Jeeeesussss!
isn't a first priority when we write music. I don't think any kind of
art can be pure if it's.dojie purely to bring in legions of fans or
appreciating critics.
Some bands of your ilk, like Don Caballero or Godspeed You Black
Emperor, have been known to alienate their audiences live. At the
Flyer Records showcase in July last year, I was amazed to see how
attentive the audience was when you were playing. How you can
manage to make people pay attention and listen?
Steve: I'm flattered to hear that you think that people were
What are The Approach approaching?
Steve: At the moment, we're trying to approach a tour.
Daryl: I'll take a more literal approach. We have another album—
ten tracks—done, so I think a lot of effort wants to go towards that,
to get that done, and onwards from there.
Marty: We'd basically like to take music, scale it down to its most
interesting elements, and translate that live, and I think it'll work.
AWol,   100 4--  1^) BY SWEETCHEYAI
Patti Schmidt — for so many of us, her voice heralded
deliverance. As the host of CBC Radio 2's Brave New Waves,
Schmidt is a rare bright spot of culture and creativity in the dim
commercialized mire of modern radio. Over the years, she has
exposed countless late-night listeners to hours of little-known and
experimental music, purely for the love of the art form. Now in
its 20"1 year, her vehicle is rearing a second generation of kids
addicted to sound. Throughout the years, Schmidt's combination
of wide-ranging and little-known knowledge, obvious passion for
music, and trademark husky voice has endeared her to music
fans across the country and around the world.
- Discorder: What is your motivation?,.
Patti Schmidt: An obsessive curiosity. A need to know what
other people are doing, what's on their minds, how people are
combining all of the crazy elements of life into song, and probably
an unhealthy evangelical element towards playing [music] for
other people. I'm kind of batty within my house. I've said this
to my friends several times, that if they don't tell me to stop I
will narrate every single concert we ever go to. I really have to
consciously stop myself from talking. But I just want people to hear
it, is mostly the problem. When people come over to my house
I'm usually like, "Aah — hear this song!.Have you heard this song?
Do you want to hear this song?" and I try to make them their own
personal playlist of what I think they will like. I don't want to scare
them — "I know who you are. I think I've got some music that
would fit into your life."
I just recently moved in with new roommates, and I can't handle
silence, and they are sometimes surprised that I listen to music as
continuously as I do.
Do you listen to one thing over and over, or do you move it
I go through phases where I latch on to certain things. Most
recently I latched on to the Young People. Holy shit.
I too have been experiencing Young People problems. It's the first
song on that record [War Prayers] I just love... Did you know that
one of the guys in that band [Jeff Rosenburg] ... See, here I go ...
is in this horrible noise band that I love called Pink and Brown. Also,
I've heard reports from people that it is difficult for [Katie Eastburn]
to get it live — that nice, pure, clean kind of tone that she gets,
that sort of austerity of the song. Apparently, but I don't believe it.
now does she listen to my recomrtT
Do you ever meet people who have three C
entire music collection?
Yeah. My sister used to be like that. I think it's just... different for
people. They might find it in literature, or sometimes they don't
find it anywhere. Maybe they find it on TV shows. But, you know,
when you get the world reflected back to you in a way that is
beautiful or enriching...
That's what it's all about... What do you love about music?
Well that! That it is a reflection of real life and ideas and human
emotion. It can convey emotion in such a compact and
effective way. It's a perfect vehicle for a whole new kind of
Even though it has happened to me 1700 times, even/ time that
there is something inside of me that I cannot get out and then
suddenly I And it in the music — I'm floored. Somebody else gets
it, and they have got it to the point where they can make it make
The last couple of years for me have not been particularly
pleasant, and I've discovered again that thing about music that I
knew when I was a teenager: it makes you feel better. I had a lot
of years of being really more empirical in some my choices. But,
when you really need it, a kind of a mirror or something to soak in,
I totally forgot.
Do you think that it is legitimate to evaluate music emotionally?
Of course. I don't think of music in strictly an emotional way
because I like lots of technical displays of music — I like clever
compositional ideas, structural ideas... but yeah.
What was the first band that ever made you lose your shit? That
you freaked out over?
I can never get this one quite accurate. Probably, honestly, it
started with the Bay City Rollers. Then I started to realize that
there was this whole "fandom" aspect to music. It probably went
something like Men Without Hats; Duran Duran, Minor Threat,
The Birthday Party. The show is really almost a reflection of how
chaotic my own record collection is. It makes no sense to most
people who come over. And I know lots of people who are like
serious, serious record collectors. I tried for a while. I got robbed.
But, it's too obsessive. I can't. So, it's kind of this splatter of things
that I have with no real focus or continuity to it. But I like if that
way because that is how I am. That is how life is.
I think for me it started with New Kids on the Block, and then I
went to Moist. Then I discovered the Pixies. The Pixies changed
My sister is now into the Pixies — 15 or 20 years after. I remember
hearing "Caribou" for the first time. I was going through a big DC
hardcore phase and had pretty much sworn off pop music and
figured that, you know, in my angsty 16 or 17 year old way that
fucking melody sucked ass. Sentimentalism is crap blah, blah,
blah. And "Caribou" came along and I was like, "Oh my god.
This is pop music that is totally rocking my world."
I have this theory that if Frank Black was just a little bit more
handsome the Pixies would have been THE FUCKING SHIT in their
Slow burner... They really are huge now. My sister is a Cranberries
fan and the Pixies are part of her repertoire now.   '^SjmiBm
It's interesting having them come back I don't know. I never
thought that this would ever happen.
The older I get the way less skeptical I am of people doing those
I have my fingers secretly crossed that it is going to be some sort
of brilliant, brilliant thing. Like, they're gonna come back and
even/body is going to be like...
Yeah, yeah. I saw Frank Black at the Commodore in Vancouver
for that Exclaiml tour recently where they did some Pixies
material, and I don't know who the bass player was but it was
really missing that sloppy, lazy groovy thing that Kim Deal does.
It was really evident. The parts aren't super hard that she plays,
but it's the feel of them that always made those songs so groovy.
OiScof cie^f it just didn't have that kind of
it is your record/CD player right now? If you were going to
go press play, what would we hear?
I have, and I haven't actually listened to it, it's.just getting ready
to go in, is an advance copy of the new Destroyer record. Your
Blues. And lets just see what is in the CD player in here.... It's the
Egg CD, Don't Postpone Joy. They are a duo from Montreal who
do this kind of clink-house-dub-orchestral-samplyrgroovy thing.
Do you ever feel that your senses are dulled from the sheer
enormity of the music you take in?
Sometimes that happens but it is usually because other things
are going on that make me feel overwhelmed. I suppose I've
had a few periods where I've felt a little bit burned out, but I find
it really not hqrd to break out of.
If I was going to imagine myself being you and actively
engaging in a job where it did fuck with my emotions, and going
in there every day willing to have my heart broken or explode
w/ joy. Every day. That's a pretty brave thing, I think to do.
Its not always so stormy seas as that.
But to some extent you have no control over it.
I don't get overwhelmed or burnt out about it, but I think I get
really fed up with certain genres or ideas and I just ignore them.
I'm like, "Oh my god. Not more of that. I can't deal with any
more of that for the next little few months until somebody does
something interesting."
Do you And that that response you had to the Bay City Rollers,
do you feel that in yourself still with the music that you are
listening to now?
Things definitely change and you never get that again. I also
don't do that thing where I get a record and listen to it 30
times. In three days. I don't do§h$$fiyi»\ore, mostly f
I don't have time. I'm not searJPft^woXigh music or trying to
understand music that way anymore. 1 feel that I have listened to
so much over the years that I have ... I kind of understand what
is going on in a way that I didn't when I was listening to things so
thoroughly. But I still listen thoroughly.
Can music save the world?
Of dll the media, it probably has the greatest chance just
because it is so portable and really can get in. I am always
shocked sometimes at what kinds of songs make people all
sr the world go crazy — how that stuff travels. Music is still a
revolutionary force. It's how people express things.
I think at some points its still like an||p|PBance on the CBC,
and a little bit of that is a relation to the culture at large. I think
Brave New Waves is crucial. In fact I argue for the existence of
this sort of thing on the public broadcaster as totally important
to reflect the world back to emerging artists and underground
artists, some of whom are going to have particularity popular
ideas. I think that in Canada lately there has been a whole
crop of really innovative people who are making a real flash
internationally but at that sort of low hum level. Really innovative
people are here, and I think the public broadcaster especially
has a major responsibility to support that, and to encourage it,
and to propagate it. And so I am happy to be a part of that.
Do you think if was inevitable that something like Brave New
Waves came to exist?
No. I think it was the sheer will of the people who started the
program and subsequently who worked out afterwards, of which
I was one. I recognized, when I started working there, just how
crucial an outlet and vehictethe program could be, and even
though it's late at night it doesn't matter. I love that it's late at
How did you come to be a part of Brave New Waves?
A fascination with radio at a young age. It was probably at 16
when I started listening to campus radio in Ottawa and dreamed
of being a DJ without actually understanding what it all meant.
I went down there when I was in the last year of high school
because I heard that they had a closed circuit sort of training
thing that they would do. And people were really mean and I
was really upset and horrified. When l.came to McGill in 1987, this
is also the year that the cable station was aWM3j±tor ft
license, the second thing I did after I regi^^^^pcourses was,
I went to CKUT and I started volunteering^^^^^irted writing
for the magazine, and I think I might haveflltendeep into a Skinny
Puppy phase at this point. Then I got overrfpSJJJiSlmv musical
taste started to evolve in all kinds of new ways because of the
access to the big, giant library they had there. And of course, beinc
,in a city like Montreal — there were all kinds of things going on.
I got a call in January of '91, which is the year I graduated, to
come audition to be a potential fill-in host. There was like six or
seven of us who went down to the CBC building, horrified. Totally
the scariest, most nightmarish radio experience of my life. You
had to sit in this giant big room by yourself, and you didn't have
. —you didn't work the board or anything. You couldn't touch any
buttons. You're "on," "off," and you get this totally stiff script. It wa
terrible. I stopped and rewrote everything.
I got a call a few months later... No, actually, I did four days in
June of that year, which was very, very scary and difficult. I would
come and hang out, and just be fascinated by the whole thing.
It's that work behind the scenes which one doesn't see that I've
always been a big fan of. I got short-term contracts to be a writer,
programmer which I did until '95.
When you took over speaking and hosting. Okay, this is a quote
from you. It says, and this is from fhe 15th anniversary round of
concerts where you said, "We just kind of have to believe in an
i almost Ideological way that it is important and keep going." Why
is that "ideological way" important?
You have to protect art that has no commercial, or potentially ha;
no commercial validation. It is ideological to support that. It is art
without any of the standard visions of success as culture at large
would measure it to have a place, and I need to argue for it.
How has Brave New Waves unexpectedly changed your life?
I've met several of my heroes over the years. And the best
change: that it actually brought them down to earth.
Smaller people than you might expect. When you realize that they
have real lives, that they have the same neurosis as most people, it
^Wtl,   X004 •   17 SUA/D4K MARCH in
becomes really interesting ... the whole process of how music gets
made. It's been such a long time that I have worked here that
"unexpected" is kind of a hard word to fit in. It's been a 13 year
evolution. Although when I went on air I was very freaked out about
the responsibility.
It's interesting how you're sitting In a room by yourself, and I
don't know if you ever got nervous, but I used to get so nervous
and I'd have sweating palms...
Me too! Me too!
I didn't even know if I had an audience and my heart is beating
a thousand times a minute.
||Yeah. When I did college radio I used to have to do this little
!k.jmantra before I turned the lights on. I did that for a while at
fflBrave New Waves. I'd have to do it too or I'd get all red, I'd
have a headache... ^i^jft^
Do you think that a quest for entertainment erodes art? The
Immediate gratification of pleasure vs. integrity?
Sometimes. I think that it depends how corporate or commercial
that quest for entertainment is. I don't think that there is anything
wrong with fun, or music to entertain, or anything to entertain. I
don't think that it is a bad idea at all.
Do you think that creation and art are equivalent, that anything
you create, be it written words or spoken words or painting is Art?
Yeah, of course. I think it took me a long time to wrap my head
.around how broad that definition is.
The first song played on Brave New Waves was Simple Minds'
"Promised You a Miracle." If you were going to end it today,
what would be your final installation, and what would be your
There has actually been a few over the years that I have made
note of, and I wish that the band was just a little bit better, but
the band is called The Karl Hendricks Trio and they have a song j
called "Requiem For a Canceled Program".
Wanna Catch Some Brave New Waves? If you're curious about musk
or art that slips under the corporate radar, check out Pattl's eclectic
mix of music, artist profiles and Interviews
Monday fo Friday. !2:05am-04:00am on CBC Radio 2 (That's 705.7
fcMr'te jMitafr,
TH Add It Up!
Vancouver was only the third stop for San Francisco's Numbers,
and DiSCORDER was there to get the scoop at the Brickyard -
on February 3,d. The new album. In My Mind All The Time,
was released just two days before, with the jury yet to be
chosen, but by now discerning ears around the college radio
community are being pricked by their remarkable second
full-length CD. Numbers' music has had several descriptions
bandied about by the indie (geeks) journalists, among them
post-punk, no-wave and even retro. While the band admits to
influences such as Wire, Devo and Kraftwerk, Numbers' sound
expands on the ancestor's vision.
"We're not trying to be like those bands, it's just sort of what
we grew up with we're influenced by" explains drummer Indra
Dunis. Dave Broekman (guitar) agrees: "There's not really a
popular type of music that's not influenced by another past
trend of popular music that came before it. When new bands
come up and people start calling it "retro" because it's got
some similarities to an old style, I think that's too strong of a term
for most of the stuff. I mean there is some stuff out there that's
like... exactly like the old stuff, but I think that term is overused."
So, yes, Numbers' music isn't past, present or future but all
three tied together in a bounty ball of bondage. Shouted,
urgently-enunciated lyrics are neither positive nor negative.
They're trivial, mundane and wacky: simple and plain fun.
What other band has a keyboard called a "Buzzerk," played
by the somewhat stoic Eric Landmark? But this doesn't mean
that there's nothing serious on the minds of these very pleasant,
quirky upstarts. I asked the band what would happen if the US
election goes the wrong way again. Would they move up to
Canada with the rest of the progressives?
"I'm hopeful that the election's gonna go the right way" replied
Broekman, but Indra is not so sure: "I don't really have a whole
lot of hope. I mean we just had Arnold Schwartzenegger in as
our Governor of California so ... I never in a million years thought
that would happen. I have no idea what's gonna happen. I
just had more faith in the people of California." Let us pray.
At one point Numbers were the only actual proper "band" on
the Tigerbeat 6 label (run by Kid 606) with its influential roster of
laptop wizards and glitch-core experimentalists. Total Shutdown
and Dynasty are now the other (to quote Indra) "band bands,
with actual live drummers". In fact, Indra is Dynasty's live
drummer. Interestingly enough. Numbers were the first "actual
band band" to appear on the cover of the electronic-focused
XLR8R magazine. When I pulled out my copy of that very
magazine with their photos (alongside Kid 606) they groaned.
"It was a nightmare," Dave relates, "the cover is good but the
photos inside are awful." "I wasn't actually holding a sword,"
Indra points out for good measure. "The interview was great
Like many bands that confound some of their fans when they
discuss what they've been listening to on the road, Numbers
recite a surprising list of tour-van tunes; "We just got a stereo
today that works," Dave says. Indrd continues, "What did we
listen to today? We listened to Notorious BIG, we listened to
Black Flag, we listened to Can.... What else? ... Sly and the
Family Stone." "We listened to Joseph Spence," cuts in Eric,
who evidently exposes the band to old-style country music. "It's
kinda like folk music. He's kinda strange. He kinda growls the
lyrics a lot of the time .... It's just.a guy with an acoustic guitar,
singing, playing." And I almost offend Indra by suggesting that
commercial hip-hop is crap. Oops. I don't take it back though.
Testing how nice the three actually are, I tried to pry out of
them some dirt on any other bands they've toured with. There
were knowing looks and acknowledgements but no one would
name any names. The worst they could do was jokingly accuse
the band Emergency of being "Total assholes!" only to razz
Ethan, member of Emergency (whom Numbers put out a split
single with), and Number's merch-guy who was present for the
entire time. "We don't want to be dicks, we want to rise above
that kind of thing," explains Dave, and Indra confirms "We're
all about love! We're lovers, not hatersl Actually that is one of
the themes of our tour." It seemed important to the band that
I mention another one of this tour's themes is "Destroyed by
Fucking" or something like that.
"... There's plenty of great bands that don't get mentioned in
the press and we want to help them instead of try to take down
somebody else," says Dave optimistically. Some of the bands
they love? "Monitor Bats. We just toured with them. They were
super fun."-Indra's like "It was the craziest tour we've ever had!"
Dave continues, "Yeah, they kept us up partying every night for
two and a half weeks. We almost died ... and they almost died
too, it was amazing." "We went to Tijuana, we invented a new
language, we were tight," Indra adds. In the following weeks
Numbers is looking forward to touring with other bands like Les
Georges Leningrad ("They're Canadian, they're amazing" —
Dave), Trjn Tran (an ex-member of Xerobot which included Erik
and Dave), Ssion, Da Hawnay Troof ("He's like a teenage boy
style Peaches. Only more hip hop." — Dave), and X-27.
Warning the band that Vancouver could be a cold place to
play, in more ways than one, they looked a little uncertain.
Luckily, I was made to eat my words after the crowd proved
me to be absolutely wrong. Number's enthusiasm rubbed off on
everyone. I guess you can count on j^jjjgers. Haha ... Ugh.
^o-ccL "X0 0 4: I \^ totes 1 $^
By Chris Walters
Take a tilt-a-wttiri melody that lilts and spins like a kid in a
playground. Add drums and a catchy organ line. That's right. I
said organ. Top it off with exuberant vocals, boy-girl harmonies
and ear-snagging hooks. If you're the California-by-way-of-
Kansas duo Mates of State, you'll have created something
interesting. And yeah, you'd be married, too.
On a rainy Saturday evening in January I made my way to the
Railway Club to talk to the band that I have been listening to
obsessively over the past few weeks. Yes, they are married, but
don't make any assumptions, because there's so much more
to Mates of State than being in love. This band has an amazing
sound that needs no comparisons, and isn't defined by the
couple creating it. Despite the dismal rain outside, the band sits
down with me to chat good-naturedly about music, their new
CD, and doing the whole thing together.
DiSCORDER: I thought I would start with a fun question. What's
your favourite flavour of Jello?
Jason: Jello? Grape.
Kori: I like green, whatever the flavour is.
D: So you guys are on Polyvinyl now? Is this the first full length?
KdifcWeJI; it's actually the-third now...
Jason: Cause we reissued our first record,
Kori: And the other one [their second album. Our Constant
Concern]. So it's actually our third.
D: How did you get connected with Polyvinyl?   ■■ '
Kori: Polyvinyl flew into a show from Chicago, and they were just
great, the coolest people and so easy to talk to, really together...
Jason: I think we were kinda recommended to them by friends
So you guys like being there?
Kori: Yeah, they're great, they are re
ally good people
They have a really good roster.
Jason: What bands do you like on the label?
Umm, I like American Football, Matt Pond Pa, and Volcano, I'm
Still Excited. You guys have any favourites?
Ko*fc I like. Matt Pond a lot, that's probably one of my favourites.
Jason: Saturday Looks Good to Me ..
Kori: Yeah, cause the older ones arer
I like the newer bands
t really doing anything.
There's a really different'sound on Team Boo compared to the last
two albums... when you went to record were you in a different
Jason: Yeah, a very different space. When we went to do Our
Constant Concern we were entirely ill-prepared as in ...
Kori: Well not only that, but we were in a really uncomfortable
setting, unfamiliar people and a really short time span, and the
first record was actually recorded in like three and a half days,
so Team Boo was the fijpt one we actually spent time on in the.
studio you know... J^**%*i
Jason: We spent almost three weeks on that, we had all the
songs done, with Our Constant Concern we didn't, we only had
8 of the 10 songs written while we were in to the studio.
Kori: [mocking tone] "I think we're just about ready to record a
record, let's go in!" And we weren't ready, you know.
Jason: Yeah, we just weren't ready. We didn't evenhave the
songs down, let alone an idea of what kind of sounds we wanted
D;$corcier • XO to get. So basically, whatever the engineer wanted to do we
were just like, "Uh yeah, that's fine, let's go." We just had to finish.
We had a lot of other things on our mind
Kori: And I think sometimes that that formula might not be so bad
if you have time in the studio, if go in and you're like "Well let's
just see what happens out of this basic structure that we have."
But when you limit yourself to like six days, and you try to do that,
it's stressful, you know. Overall we are all in a better space.
You guys have been touring a lot of the last couple of years. Is
this your first stop in Canada? "'IsS-^*
Kori: Not in Canada, but in this side of the country. We have
played Toronto and Montreal
How do you feel about your efforts on Team Boo?
Kori: We feel like we like it the best, too.
Jason: We're the most proud of it, for sure, because we put the
most effort into it, I think.
I noticed the use of trumpet this time
Kori: I think another thing about this record is that we sorta
opened our minds, and allowed other people to contribute
things, you know. And it always ends up more fun doing that than
it does secluding ourselves and not letting anyone in. That's how
the trumpet idea happened.
Have you guys ever thought of incorporating anything else into
the mix?
Jason: We have thought about it a lot actually. We may
experiment even more with the next record. Just because we are
sort of at a standstill with writing and with that configuration. Like
we recently wrote a song for our friend's movie and we wrote it
entirely differently then we have ever written songs before. So I
think we are just experimenting with different processes of writing
Kori: I think we are [experimenting] just after that studio
experience [because] it sort of just opened our minds to thinking
that we just don't have to do things one way ..; and I mean even
on [Team Boo]. I know, it's not that obvious to other people, but
we think having hand claps or adding a group singing or adding
a xylophone is adding a lot. For most people it's so minimal, but
for us it's like tiny little steps of adding things.
With the beautiful harmonies you have when you go into
recording, does it just happen..?
Jason: No we usually work it out beforehand.
Kori: I mean, I don't know anybody who can just sing a harmony
right away. In order to blend with the person you are singing it
takes time to practise it, you know, figure it out.
Yeah, cause there's so much there. It's a huge part of the band.
Kori: 1 think so. I mean, I also think we always thought of
harmonies as more than a backing vocal... if you can hear
the harmony or the notes that you make together, it makes it so
much more...
Jason: You can hear them both equally, and it sounds fuller.
Kori: But if you bury one, it's taking away.
Jason: [mocking] "Oh, there's the harmony back in the
background." There is no backing vocals in this band. Ha hal
And with that, the Mates were off to do their sound check. They
went on fo perform what I believe to be one of the best sets I
have heard this year. ^Mi(
W    SUM 'mm   Jit*     *
Devil Driver
January 23
Commodore Ballroom
All right, so I'm not your typical
metal fan. I like Metric more
than Metallica, Godspeed more
than Godsmack. and for me, BS
stands for Belle and Sebastian,
not Black Sabbath. That being
said, I know that Opeth is not
your typical metal band. Citing
primary inspiration from prog/art
bands such as King Crimson
and Camel for their latest (and
softest) release. Damnation,
I knew that the night would
have to pack some kind of
surprise. Indeed it did, as Opeth's
drummer was announced sick,
and unable to play that night
(which, considering many of
Opeth's songs reach the 15
minute mark and are stitched
with virtuoso drum passages is
a pretty serious situation). With
that in the back of my mind, I let
myself enter a trance-like state
by staring at the guitarist from
Devil Driver... Or rather, his hair.
His hair must have been several
feet long, and it swung in vast
circles in time with the drums,
which created a strange effect
on my psyche when combined
with the unwavering glass-shard
death vocals, aimed at the
n blue collar workers
of North America (they're an
American band).
Next up were the Portuguese
Moonspell, who raised the
bar somewhat, introducing
keyboards into the heady death
sound, and, more importantly,
a skull on a backbone-like
stick which could be thrust
into the air when necessary.
As the lead singer explained,
this was Moonspell's first night
in Vancouver, and seeing as
Vancouver was effectively a
Moonspell virgin, they were
going to leave us with "a night to
remember". I don't know about
the rest of Vancouver, but I'm
never going to forget that skull
on a stick.
As mentioned earlier,
Opeth's latest album Damnation
is also their softest. This is true to
the point that it's even a stretch
to call it death metal. There's
hardly a song to be found with
power chords and death vocals.
As a result, this was a fitting
evening to see Opeth, pared
down to what they're most
interested in right now - their
softer side.
For most of the set, there .
was a younger-looking drummer
who's skills seemed limited, but
what he lacked the rest of the
band made up for in emotion
and layering of sounds. They
even launched into a rarely
played Deep Purple cover.
For the last two songs (a half
hour's worth), however, an
amazingly talented drummer
was brought out, who nearly
stole the spotlight from the
band, breaking into the metal
with "The Drapery Falls." The
limitations of the drummers
also meant that there was no
encore, leaving the entire set
hardly the length of one of the
band's typical albums. It may
not have been the night that
every fan had been wishing for,
but nonetheless, Opeth showed
tremendous versatility and
originality, especially considering
the stigma that comes with most
death metal bands.
Soren Brothers
Pretty Girls Make Graves ,
Sham Teeth
January 24
Richard's on Richards
The valiant return of Sharp Teeth
was welcome, after a brief hiatus
and new songs and members.
Even though their set was marred
by less-than-adequate sound,
one of Vancouver's secret
weapons rocked in their scruffy
and single-minded Jehu/Rye
Coalition way. Mayhem ensued
— the band was all over the
place, with lots of sweat and
spit and falling over and all that
good R-A-W-K stuff.
WPP delivered a smokin'
stage show as well, with
intricate mathy-screamy, call-
and-response intensity, and
these two ensembles remain
entrenched as VanCity's most
underrated wrecking machines.
You have to see 'em to believe
'em, preferably in a place more
conducive to their high-calibre
post-hardcore like The Brickyard
or The Cobalt.
Indie/hipster darlings Pretty
Girls Make Graves started off
slow, but had the style, moves
and chops along with vocalist
Andrea Zollo doing her best
Karen O to give the kids what
they wanted. You know how
there's some bands that fall flat
if you're not already tooootally
into them?  Case in point. They
won me over by the end of their
set, though, for giving Richards
on Richards shit for starting the
show late and acknowleding
that people paid money to
get in, and that HELL NO they
weren't gonna cut their set short,
to massive crowd approval.
With a sea of defiantly smiling
faces and middle fingers in the
air, they launched into the hits
I wds waiting for: -"This Is Our
Emergency" and "Speakers
Push the Air". A predictable
crescendo, yes, but it was one
of those gleeful moments of rock
n' roll at its most celebratory
fuck-you-ness, and hopefully
this sent a message. They even
played an encore, with the
Disco-house-whatever-nite's DJ
impatiently waiting by the side
of the stage with his crates. Hee
Christopher Olson
Starsailor at the Commodore Ballroom
photo by Gaelen Marsden
Mates of State
Rogue Wave
Da Hawnay Troof
January 31
For some, February 14th, 2004
was a day for embracing love
in all of its forms, and opening
their hearts to the world. For
me, the day for such rejoicing
and merriment was January
31", and the place was the
Brickyard. It was on this night that
my heart literally exploded with
love; perhaps for the first time,
perhaps for the last. Either way,
no love is as intense as the love
found at a Mates of State show.
There isn't really much to say
about the opening act. Rogue
Wave, except that they sounded
like any other halfway decent
band. Their music was alright,
kinda poppy, kinda catchy,
kinda nice; but unfortunately,
their music wasn't too interesting
or unique in any way. I found
more excitement in a friend's
illness-inducing trip to Prime Time
Chicken than in Rogue Wave's
That being said, the second
act. Da Hawnay Troof, took the
stage and immediately swept
the crowd up into a massive
cloud of confusion, repugnance,
fright AND amazement. Straight
outta Oakland, the duo
jumped around in their sparkly
shirts and tiny leopard print
undies, shouting nonsensical
words as lyrics and performing
dance moves only rivaled by
elementary-school gym class.
You either love them or you   •
hate them, but if you hate them,
you've undoubtedly got a secret
love for them hidden deep
down inside of you.
From an undie-clad duo to
a musically talented one, Da    "
Hawnay Troof left the stage to
make way for Mates of State.
Coming from someone who
would rather punch the Easter
Bunny in the face than watch
an episode of Calllou, there h
no arguing that Kori Gardner
and Jason Hammel are the most
wonderfully and tolerably cute
people in existence. Watching
them gaze lovingly at each
other while playing their heart-
filled happy music served as the
epitome of love that night at the
Brickyard. Aside from the love,
however, they sounded great,
as Kori and Jason delivered
the best aspects of their music:
entwining, perfectly matching
vocals and tempo changes, with
neither musician missing a beat.
The night was cut short
due to problems with the lights,
leaving us with one drums-
only song for an encore, and
everyone was sent out into the
bitter, loveless, cold Vancouver
night. Nonetheless, I doubt that
anyone who was lucky enough
to catch the show will ever
forget just how much love they
were able to experience for
this one night, thanks to Mates
of State. If you feel sick after    •
reading this, you're probably just
Kimberley Day
Handsome Family
Buttless Chaps
January 31
Richard's on Richards
What cruel fate should place .
three amazing bands all on the
same night, at different venues?
Even though I wasn't in the best
of moods on my way to missing
Hayden and Mates of State,
openers the Buttless Chaps
played with so much joy and
enthusiasm that my bad feelings
slipped away. It's hard to not get
carried away by their futuristic
style of traditional country,
especially when everyone in the
band has ear to ear smiles the
whole set through (except for
the drummer, who occasionally
had the look of an android from
the future planning the death
of the mother of the unborn
leader of the human race after a
nuclear war. I wondered if it was
part of the set). There's been
some buzz around these locals,
and it'll only grow after such a
show, which had even the most
yee-haw of cowboys cheering.
This brings me to the
Handsome Family. I used to think
country music was a dead style
that was unbearable when it
was at its best. In the past few
years my views have slowly been
changing as I discover more
and more artists within the style
— Alternative Country to be
specific — who have infused
something especially creative
into the mix, turning it into pure
The Handsome Family are
arguably one of the sickest and
darkest of bands out there, but
they disguise their evil thoughts
in an old-country songwriting
practice that takes away any
initial defences one might have
against thoughts of suicide and
extraterrestrial encounters. For
their live appearance, some of
the darkness was lifted to display
a softer underbelly of a husband
and wife with a reasonably
healthy sense of humour. Case
in point, lyricist and backup
singer/instrumentalist Rennie
Sparks' repeated calls for
anyone who could find her pet
spider that had just escaped into
the crowd somewhere (which       .
was answered with a roll of the
eyes from husband and singer/
composer Brett Sparks). They
were almost (gasp!) cute, in a
way that only mentally disturbed
people can be, and the result
was a level of intimacy with the
crowd that I rarely see even at
smaller venues. Their songs were
performed beautifully, and with
so few pretensions about them
that I felt I was far away from
here, at a neighbour's house,
sitting in their cozy living room
and hearing them sing one of
their new songs for me.
Soren Brothers
Hard Rubber Orchestra and
Uzume Taiko
February 1
Vancouver East Cultural Centre
It was billed as "The Godzilla
Concert," and evidently for
good reason. Four huge drums,
flashing lights, masks, dancing,
smoke, a 17-piece jazz orchestra
0: scordvr  •  ^.3^ and... yes, a bagpipe. How
could the results be anything
other than awesome?
The concert was split into
two sections. The first section
featured Uzume Taiko, a four-
person drum group, performing
several original compositions.
Since taiko drumming is a
traditional Japanese art form,
understandably I expected to
hear something stereotypically
Japanese. The Uzume group
proved me wrong however...
players of non-Japanese
ancestry were included in
the group's ensemble and
influences from all corners of
the globe laced their music (this
seemed to bug an audience
member behind me, who
whispered, "Why are there
white guys in the group?" to his
neighbour). The Uzume group
pushed the boundaries of taiko,
most noticeably on "Chappa
Chatter," which was performed   i
by four percussionists on tiny
hand-cymbals. Each cymbal
had a different tone, and the
composition was arranged so
that each player hit a differently-
sized cymbal, creating tiny
clanging melodies reminiscent
of modern electronic music. The
first set ended with the aptly-
titled "Makem Wanna Dansu,"
which featured Jason Overy
on marching-band snare drum
(playing a solo that left more
than one mouth agape) and
Michael O'Neill on bagpipes.
Collaborating with the Hard
Rubber Orchestra was something
that Uzume Taiko seemed a
bit hesitant to do, judging from
musical director Boyd Siiechi
Grealy's comments in the
concert programme ("This was
one of those projects where you
do not know if you have'the
ability to keep up"). It's fair to
say that Uzume kept up their end
of the bargain, and then some.
The second half of the
show saw Uzume members
acting out a Twisted love story in
traditional-style Japanese masks.
As Hard Rubber music director
John Korsrud pushed his band
to screeching and squawking
heights, a masked devil wooed
the beautiful heroine from a
white-faced "good guy" in an
on stage version of a silent film,
with the jazz orchestra providing
a crazed and frantically-paced
soundtrack. At that moment, as
a friend of mine told me the next
day, there was no better place
to be in Vancouver.
Lucas TdS
Matthew Ryan
Februarys .J&j$&*kd
Commodore Ballroom
It was the second coming.
That is, the second coming of
Starsailor to Vancouver since
2002. Tonight they were all smiles
and happy to be in a snow-
free zone. Lead singer James
Walsh may have been the first
person to compliment this city's
weather: "It's the first time in my
entire life I'm glad to see rain."
Opening act Matthew Ryan
tried his best to warm up the
audience. He worked a tough
crowd that was more interested
in their beers than his songs.
The bar room chatter engulfed
the small attentive crowd on
the floor. It didn't help that his
songs were quiet and slow. It
was a mix of folk-rock, ballads,
and atmospheric tunes. Another
handicap was his raspy voice.
Subtitles would have been
handy during the set since his
vocal delivery blended a lot
of the words together. Luckily,
he has some backup support
from his two bandmates who
multitasked on guitar, keyboard,
and violin. They added texture
to the songs with their layered
Starsailor seemed to have
made themselves at home for
the night, kickin' back with all
things local. Singer. James Walsh
was quite the local shopper,
wearing his vintage U2 shirt. The
real sign was the Canadian beer
onstage. If that wasn't enough,
there were plenty of Brits in the
crowd to keep them from feeling
homesick. Walsh was clearly
having fun and spoke a lot
throughout the gig. He was a tad
cheeky when he introduced the
band, including himself, then he
went on to name the keyboard
■ player as the "star of the show".
They had fhe unusual start
to their set by shooting blue light
rays from the stage while the
recorded version of "Shark Food"
played on the speakers. Part
way through the song, the band
walked onstage and finished it
live. The band performed more
than a dozen songs; half were
from the new album Silence
is Easy like the ironic self-titled
song, and the soaring "Telling
Them"; the rest were from their
debut. Love Is Here. Most of the
songs had great instrumentation,
energy, and brash pulses. Walsh's
voice translated a lot better live
than on record. On stage, his
falsetto didn't rub you the wrong
The surprise of the evening
was when Walsh came out
with just an acoustic guitar and
treated the crowd to none other
than two Canadian covers:
Neil Young's "Harvest Moon"
and "Needle and the Damage
Done". There wasn't one person
in the venue that wasn't singing
along to the chorus of "Harvest
The band wrapped up the
night with a moving rendition
of "Good Souls". Backed
with the cheering crowd and
, stirring organ, the drummer,
Ben Byrne, pounded with all
of his might and launched the
crowd into a dozen of more
shouts of the lyrics, "higher than
the government". As the band
members walked off the stage,
Walsh ended the song with a
U2 guitar riff and let it drift into
distortion heaven. The si/ence
fe[n't] easy to handle after a
show like that.
Emily Khong "
Rachael Yamagata
Commodore for two nights in a
row. First, Starsailor stormed the
ballroom. Then, Gomez had a
sold-out turn. Rachael Yamagata
was the first act of the night. She
came across as a bittersweet
romantic, her songs engulfed
in the victories and defeats of
love. She was clad in black from
head to toe: long dark hair,
top, and skirt worn over pants.
She even wore a sombre face
when she sang. In between her
songs, the cheers from the crowd
broke that melancholy spell; she
actually smiled and joked about
giving the wrong impression.
Solo on stage, Yamagata
played songs on a plugged-
in acoustic guitar and an
electric keyboard. Her moving
piano songs had compficated,
beautiful melodies; Between
high-pitched pleas and loud
growling, her fragile and tough
sides were revealed in song.
If her emotions weren't clear
enough from her vocal delivery,
the lyrics drove the point home;
there were declarations ("I
wanna be your everything") to
revelations ("If he can't save me,
nobody can"). Her performance
either made you want to either
keep a lover or ditch one.
"Gomez is for lovers" bumper
stickers should be the next piece
of merch selling at Gomez
shows. Attending a Gomez
show is a whole new experience
compared to listening to their
albums; half the fun is being
immersed in a sea of zealous
fans. There was definitely enough
heavy musical arsenal at the
band's disposal (assorted guitar
pedals and distortion/electro
dub gear) to make the night
interesting. They started the set
with the thumping beat of "Shot
Shot." The song set the tone for
what was to come: the best
display of crowd participation
seen in a long time. Everyone in
the crowd knew the words to all
the songs; they clapped, they
cheered, maybe some even
cried from pure joy. Singer Tom
Gray fed off their energy; he
worked the crowd, encouraging
them to sing and jump around.
A party mood was definately
set at one point when the words
"I'm gonna get myself arrested"
were sung so loud by the fans
that it was probably heard
outside on Granville Street. "FiH
My Cup" showcased the band's
skill at transitions of sweet-muggy
beginnings, crashing middies
and rock-out trippy endings. The
song also had duo harmonies
that sounded like waves rippling
into the crowd. A new song,
"Sweet Virginia" was played; it
had a strange rhythm laced with
electro dub tones.
Stadium-style cheering
brought the band back out for
a mini encore set that ended
with "Whippin' Picadilly". All the
personalities of the band meshed
together as an impressive unit.
Gomez didn't skimp out on a
thing. They delivered everything
but the kitchen sink.
Emily Khong
Themselves at the Commodore Ballroom
Photo by Joel Levy
Commodore Ballroom
Those at Vancouver's
Commodore Ballroom were '
treated to a rare spectacle on
Thursday February 12. While
Munich's The Notwist delivered
with their sublime electro-
ambient rock, it was American
underground hip hop artists
Themselves that stole the show.
Themselves Mt the stage
conspicuously dressed in black
outfits with crude pink fabric
hearts (aorta valves and all)
pinned over their chests. Three
podiums were set up with Roman
columns taped to the front, each
with an assortment of digital
equipment: microKORGs, pushbuttons and drum pads. Behind
the setup was an ever-morphing
arrangement of lights, artwork
and slides. At center stage,
Doseone, armed with a pink latex
glove took his hat off to display a
black mohawk fringed with pink
and began to rap out what could
have been sounds of the future.
The music, though electronic, was
organic in nature. What sounded
like a sampled voice effect was
actually Doseone scattering
syllables overlve keyboards and
Jel pounding out the beats with
his own hands. I'm not really sure
how to describe the music other
than it was hip hop in nature, but
transcended any genre, or for
that matter, the work of any other
act out there right now. As the set
went on, the crowd reverberated
with newly converted fans
hollering for more.
Following Themselves,
the Notwist put on a lengthy
performance, which was mellow
in nature but overall beautiful
and ethereal. The long set
included highights such as Pilot,
Chemicals, Day 7, Consequence
and Pick Up The Phone. The
crowd, though erqoying the
show, wasirelatively inactive.
After several encores. Themselves
arrived back onstage with the
Notwist to perform their first ever
live collaboration. It was then
evident that Themselves had won
over the crowd as the seemingly
lifeless audience awoke with more
applause than the Notwist had
received all night. Not to say that
the Notwist weren't appreciated,
but seeing Themselves perform
ive was truly an exhilarating
experience. As the Notwist singer
Markus Acher took to the back of
the stage during this final encore,
Doseone began to chant out
some of his post modem lyrics to
walls of keyboards, reverb guitar
and soul-wrenching rhythm. This
impromptu jam session was the
perfect way to close the show,
giving both fans of the Notwist
and Themselves a magical ending
to the night.
Robyn Hanson •
If you like music, you should
definitely check out thisjlfit^.
Exclaim! 12th Anniversary
Broken Social Scene
The Stills
Raising The Fawn
at the Commodore Balliwim^.
Wednesday, March M^hl
awo* xoo^t | x3 UUOER «WIEW
Ashtray Boy
The Euro
I rue the word "mellow". I hate
everything about it: what it
conveys, how it sounds, the
words it rhymes with. Sucks for
me because I can't find a better
word for the transcontinental
identity of Ashtray Boy's seventh
release The Euro, which delivers
an organic and hauntingly...
mellow... portrait of Europe
through the perspective of
Randgll Lee. Randall, who
remains to be the only constant
in a band of a bajillion variables,
finds inspiration in the unification
of European currencies under
the Euro (also a rare wallaby,
allegedly) as he chases a broad
spectrum of emotion in his lyrics.
His deep, hollow-sounding voice,
reminiscent of Nick Cave, guides
a semi-hypnotic journey from
the "Late nite mating dance"
to the end of the mellow-
brick road. Recorded in eight
different European languages
- with the assistance of friends
and travel dictionaries - and
recorded in a handful of studios
on three continents, The Euro
finds balance between Lee's
observations of great social
changes and introspective
emotional responses. The
relaxed, unique sounds from the
repetitive guitar riffs and transient
synthesizers are complemented
with drums and bass on the
mixed tracks "VIP600" and "H20
conversations" for an emotional
climax that will convince you to
pack your bags and fly to fhe old
world yourself.
The Faraway Places
Unfocus On If
(Eenie Meenie Records)
On the album Unfocus On It, The
Faraway Places, formerly known
as The Solar Saturday, unleash
an intricate and interesting
listening experience. The band,
which consists of Chris Colthart,
Donna Coppola and Jeff
Wright, incorporates numerous
instruments and effects. Chris
and Donna sing together or
take turns, keeping the CD from
turning stale. The overall sound
of the band is lush and melodic
— good music to have outside
on a sunny day or if you just
want to chill out at home. The
string-laden album consists of
nine psychedelic pop songs that
send the listener into a state of
euphoria. This band knows how
to craft catchy riffs and hooks
that are still very technical in
design. Songs like "Marvelous
Error", "Another Life" and "City
on the Ocean" sound like an
obscure mix of Sloan, Moby and
The Beach Boys. The description,
as weird as it sounds, is fitting for
this band who met in Boston. The
band relocated to Los Angeles
and are currently planning west
coast and national tour dates.'
If you want to listen to some
Upbeat and refreshing music
then I highly suggest Unfocus
On It.
Marc Salem
The Field Register
Eastern Shore
(Ships at Night)
The best I can say for The Field
Register's Eastern Shore is that
it makes for good background
music. Ten tracks of mellow
and melancholy sameness are
perfect for lousy dinner parties
or funeral wakes. But if you
try an active listen of this disk,
and you'll wish you were the
dead guy. I had ambition for
this album. Gilles Castilloux's
drumming style was wonderfully
Radiohead, circa Amnesiac. But
overall Eastern Shore's sound
is oppressive. Disappointingly,
Kees Dekker's charming vocals
never quite escape the music
they're mediated by. Fuzzy and
anti-climactic, this album left me
yearning for clarity. But I won't
throw this disk in the garbage.
It has its uses. Next time I'm
cooking or washing my floor, I'll
pop it in the cd player. The Field
Register's sound is unassuming
enough that it won't distract me
from my chores.
Alison Benjamin
Girl Nobody
The Future Isn't What It Used to Be
I heard Girl Nobody for the first
time on CiTR's The Northern Wish
in 2001. A single song from their
self-titled EP prompted me to try
and catch every Girl Nobody
show in town. I managed to see
quite a few. The best thing about
their gigs was the way their
sound would change from show
to show: the band was always
tweaking something, filling
out their moody pop noir with
effects, and then trimming away
the excess. For a while, every
song started and ended with the
UFO-like wailing of a theramin.
(Mercifully, they're more sparing
with it now). Their first full-length.
The Future Isn't What it Used To
Be, continues this tradition of
movement. Be Good Tanya's
producer Futcher lays down a
backdrop of skittery trip-hop and
electro beats, and multi-tracks
Marta Jaciubek's voice more
often than not. The result is an
enigmatic and sophisticated
pop album that is intriguing in its
best moments, and unemotional
in its worst. While tracks like
"Cages" and "My Best" get
it right, the album as a whole
lacks the emotional appeal Girl
Nobody are certainly capable
of. Though blessed with a
distinctive voice, Jaciubek tends
to sound the same no matter
what she's singing, whether its
"filthy swine you're feeling fine"
or "I will show you what lies
beyond the promised land." I'm
not worried, though. Girl Nobody
have a good solid core of talent,
and as they've proved in the
past, their sound will adjust.
The Heavy Blinkers/Orwell
Intercontinental Pop Exchange
Now here's an idea: expose
artists from around the world
through a musical exchange
program. Instead of taking home
a sexy exchange student, you
can take home a different kind
of tasty package. This is the
third such EP compilation from
endearing records, featuring
Canadian band. The Heavy
Blinkers matched with the French
band Orwell. Both groups share
an orchestral retro pop sensibility,
striving to make the old new
again. The Heavy Blinkers have
their musical drive permanently
set to cruise control. Their
songs feature dynamic piano
chords, "Tribute to Sparrow"
sounding like the lovechild of
the 1960s San Francisco music
scene complete with male and
female choruses doing tag-team
singing. The Heavy Blinker's new
amie is Orwell, a group wears _
its orchestral pop heart on its
sleeve. The singer's 80s new-
wave tone is infectious to say
the least. "Attic's Ballad" goes
off-course but in a good way;
this synthesizer-heavy track with
a flute melody is the sedative to
the rest of the happy-go-lucky
tracks on the disc, endearing
records was a good host
family to this musical pairing.
Apparently there are enough
artists with the same-cheery,
elaborate pop outlook in life left
in the world.
Emily Khong
The Devil Isn't Red
(5 Rue Christine)
As the DiSCORDER goes to
print, Sacramento's Hella is
preparing for their first overseas
tour, a two-country trip to Japan
and France. Japan is obvious:
those kids have the best taste
in everything, from incredible
outfits to delicious yet healthy
snack foods. As this album's
current number two status on
the American college radio
charts might indicate, Hella is
definitely good. So, obviously,
the Japanese love them. But
why France? Anyone who
has spent any time in that
hotbed of European culture is
familiar with the dichotomy at
the centre of French culture:
extreme beauty (think pastry,
public gardens, public sex) set
against unbelievable harshness
(the housing projects, the
snobbiness, and don't forget
the dog poo). This dichotomy
is also central to Hella's utterly
original brand of modern
instrumental post-rock, and well
in evidence on their sophomore
full-length. Hella songs reside
in as-yet-uncharted musical
territory, oscillating unpredictably
between fluid melody and
discordant noise. The fact that
there are only.two players in
this band (Spencer Seim on
guitars and programming,
Zach Hill alternately murdering
and making love to his drum
kit) is frequently disbelieved
by first-time listeners. Tempos
and melodies shift constantly,
demanding complete and
utter submission from the
listener. "Top Twenty Notes" is
a perfect example of Hella's   ■
unprecedented sound:
rhythmic guitar feedback
distills into a driving indie-rock
riff, transforming into bizarre
finger-tapping. The othervyorldly
orgasmic efecfronic beauty
of "Except No Subs" could be
borrowed from a Bjork album
ten years in the future. And hey,
don't the Japanese love Bj6rk
as well? Hmmm... why are they
always the first to know? I like
to imagine their refined tastes,
as some sort of pop-cultural
reparation for Hiroshima and
Nagasaki. And come summer,
Hella will be making it up to them
big time.
Susy Webb
Hell Yeahl
(Hellcat Records)
After years of playing Ii ve shows,
Danish psychobilly quartet
Horrorpops have released their
first full-length on LA's Hellcat
records. Hell Yeahl features
songs about loose women and
tattoo parlors, mean boys and
other things that go bump in the
night. The lyrics are uninspired,
and Patricia's vocals aren't
strong. But her hooks are
pleasantly pop-catchy, while
her double bass gives the songs
a rockabilly kick and swagger
that singles Horrorpops out from
the punk-pop crowd. I'm a big
fan of pop when it's spiked with
something harder, and that tail-
shakin' slap-back bass is dirty
and charming. It's well recorded,
too. The real props go to their
visual aesthetic, though. Patricia
vamps across the album cover
like a b-movie pin-up, clutching
a white bass that sports as much
ink as the band members'
arms. Their well-honed live show
apparently includes pirate-girl
go-go dancers. It's not at ali
subtle, but since when have
lo-brow enthusiasts gone for
subtlety? In the end, they've
got a good sound with enough
rebellious itch to catch the ears
of the young punk-popsters.
Combine that with a strong visual
presence, and the kids should
eat it up like Halloween candy.
Dementia Wiggteboffom
Courtney Love
America's Sweetheart
Everyone has an opinion on
Courtney Love. She outrages
everyone and everything around
her, which, it must be said, is her
single greatest talent. I for one
have always had a soft spot for
Ms. Love because she epitomizes
the brute force rawness of
balls-to-the-wall rock'n'roll and
matches it in her life. In that
context, her music is almost
inconsequential; everything
boils down to her larger-than-life
personality. But what of her latest
disc? First some background:
Hole burst onto the west-coast
alternative scene with '91s
Pretty on the Inside, a slice of
pure raging genius produced
by Sonic Youth's Kim Gordon.
She showed that she still had it
in '94 when Hole released the
kick-ass Live Through This, still
one of my favorite albums of the
early '90s. The songs were almost
pretty by Hole standards, but
still retained the out-of-control
intensity Courtney Love imbues
with everything she does. As
could be expected, America's
Sweetheart falls well short of the
sporadic genius of Uve Through
Th'& or even Celebrity Skin for
that matter. Alternately stuck
in a tired '90s groove, or in the
heavy over-produced rock style
stinking up the airwaves these
days, Sweetheart rarely takes off,
except in those rare moments
when Courtney, sounding drunk
and right fucked-up, lets loose
with her formidable emotional
presence. Have a listen to "Life
Despite God" for an example
and rare shot of what Love can
do when pushed to the wall. If
the rest of the album had the
emotional and musical on-the-
edge risks taken that Love is
capable of, this would've been
a stunning rekkid. Would've.
Mr. Moo
Kate Maid
Confusion Unlimited
Sarah Harmer certainly didn't
invent the folksinger genre, but
she could still sue Kate Makl for
ripping off her sound. Pick up
Confusion Unlimited only if you
desperatly need fhe b-sides to
you Were Here.
(Side One Dummy)
Maxeen's debut album could
possibly be the next teen pop-
punk anthem. Their songs have
the proper ingredients: catchy
beats, lyrics that could be written
by a lovelorn fourteen year old,
and most importantly, a lead !
singer whose voice could shatter
windows. Nonetheless, it is not
entirely justifiable to compare
Maxeen to the likes of Good
Charlotte and A Simple Plan, as
it possesses one thing that the
afore-mentioned bands lack:
real talent. For example, their first
song, "Please" has a stomping
intrq and a crazy sax bridge that
ska bands of yesteryears can only
fathom of doing. Furthermore, if
you are fond of The Get Up Kids,
Maxeen may be worth a listen,
as they bring their songs tinged,
if not doused, with the white
man's reggae. They successfully
bring this sound to most of their
songs, as "Lead Not Follow" has
a great chill vibe, while "Take
the Weight Off" is more intense
and impassioned. However, a
couple of others, such as "Poison
June" and "Getaway," just don't
hit the mark, as their lyrics and
melodies are rather lackluster.
Overall Maxeen's first album
proves^ that they are have talent
and variation. Although they
are probably target-marketed
towards teens, if you like The
Police (Tom Bailey, the lead singer
and bassist, has been compared
to Sting, though I just don't hear
it); or even the Get Up Kids,
add Maxeen to your listening
diet. You may be surprised, as .
they bring back what The Police
invented, with a strong pull on the
Victoria Cruz
The Den
This record made us wish we had
a better stereo in the DiSCORDER
office. Our pathetic, beat-up
boom-box must be payback
for the amount of free CDs and
shit we get. Anyways, enough
gloating. For the legions of fans
who listened to When it's Dark
and it's Summer over and over
again last year, The Den offers
more of the same otherwordly
ingredients: Nick Krgovich's
whispered lead vocals, Larissa
Loyva's heavenly harmonies
and trumpet playing, effortless
shifts from subtle, stripped-
down instrumentation to lush
orchestration, and yes, that
fucking beautiful piano. Lyrically
and sonically. The Den remains
gracefully cheeky without falling
into the bottomless chasm
of twee. These are the songs
the group have been playing
since releasing their first album.
V^cord^r    •   XM- which at long last we have the
ability to hear without waiting
for another far too rare p:ano
show. The DiSCORDER's review
of that first offering closed with
a simple "Thank you." In the
meantime, the sheer volume
of aural pleasure this group
has bestowed upon their
listening audience is deserving
of something spectacular and
concrete. We imagine block-
long chocolate cakes or fields
of band members' favourite
flowers. But for now all we can
say, is once, again, "Thank you,
p:ano. Thank you."
Graeme, Kat and Susy
Run Chico Run
With the unleashing of
Shashbo, Run Chico Run have
accompjished something
beyond my scope of
comprehension. An imaginary
line has been trampled and the
face of rock has been exposed
to a new wind from Victoria
which sounds like an angry robot
leaning towards the occasional
Latin rhythm ("Jacques &
Madeine"), and tear jerking
melodies ("Ol Blue Pants"). The
music is so expansive and fresh,
all that's left to ponder is how
a band with such talent has
remained under the radar for as
long as they have?
Soren Brothers
Bright Flashes
(Victory Records)
This upstate New York band sure
has a lot to say. I was introduced
to the musical styles of Snapcase
on a bus heading to downtown
Vancouver, and as the streets
flowed by, pungent music
blared in my ears. Snapcase
has a unique, shall I say, flavour.
They're hardcore to the utmost,
but this isn't the type of CD that
you get sick of halfway through
because each song sounds
like the last. Oh no, each song
is complemented with a spicy
little riff and beats that rock.
Bright Flashes is made up of a
mish-mash of Snapcase's older
revamped material, and covers
songs, some by inspirations
Jane's Addiction and Devo.
This band seems to be trying for
an intellectual and/or political
theme, methinks, as songs like
"Believe/Revolt (Relocation
Blueprint)", "Skeptic", and
"Freedom of Choice" would
have me believe. Yet many of
these songs are not new. This
album really doesn't have a let
down anywhere, the momentum
is carried fairly well throughout,
and I won't play favourites to
any song, because...well, they
all kicked. Yep, this album is
worthwhile, and makes a good
addition for the seeker of a fresh
style of hardcore/punk revival.
The Special Goodness
What's so "special" about The
Special Goodness? Not much.
There are high hopes for Weezer
drummer Pat Wilson and his
side project with buddy Atom
Willard (from Rocket From the
Crypt). This would be a chance
to display some of Wilson's
hidden musical roots like folk,
jazz, or even death metal but
evidently, he's punk-pop to the
core. Only hard-core Weezer
fans will know if Pat stuck with
the Weezer sound because he
wanted to play it safe and use a
formula that works or if this is the
real Pat Wilson. Will the real Pat
- Wilson please stand up? There
is little variety, with all the tracks
sounding pretty much the same.
It's a lineup of the usual suspects:
- talking/singing verses and power
chord progressions, with Willard
adding his drumming expertise
to fill out the punk-pop equation.
Of all the tracks on Landiarsea,
the drawn out refrain in "Pardon
Me" is the most worthy of a singalong, while the best track is
"Whatever's Going On"—there
are classic Weezer harmonies
and confessional lyrics here. For
an album that was recorded on
two-inch tape, it's pretty solid.
You don't have to be a math
whiz to figure out that Weezer +
a hybrid of Weezer = Weezer. For
the Special Goodness to stop
getting compared to Weezer,
they're going to have to take a
major 45 degree turn next time
round the bend.
Emily Khong
Wax Mannequin
The Price
As self-proclaimed "President
of Indie Rock," Wax Mannequin
has at last delivered his definitive
indie rock album. While his two
previous albums cultivated a
classical, delicate womb with
a tainted yolk of punk love, The
Price features WM bursting out of
the shell with a full band. There
is no doubt a grave somewhere
with flowers and mourners trying
to cope with the death of his
trademark classical guitar and
synthetic beats, but there will
be countless more who will find
salvation in his new rock and
roll, and those who have been
with him all the way will find
enough gems here ("Doctor",
"Thing Game") to keep them
comforted. When it comes
down to it though, this album
isn't about balance. It's about
keeping the rock, and keeping
the roll.
Soren Brothers
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All of time is measured by its
This show presents the most
recent new music from around
the world. Ears open.
Reggae inna all styles and
Real    cowshit-caught-in-yer-
boots country.
British pop music from all
International pop (Japanese,
French, Swedish, British, US,
etc.), 60s soundtracks and
lounge. Book your jet set holiday now!
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver. Lots of
human interest features, background on current issues, and
great music.
Rhythmslndia features a wide
range of music from India,
including popular music from
Indian movies from the 1930s
to the present, classical music,
semi-classical music such as
Ghazals and Bhajans, and also
Qawwalis, pop, and regional
language numbers.
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 mystic-al. <trancendance>
6:00AM- 8:00AM
Your favourite brown-sters,
James and Peter, offer a
savoury blend of the familiar
and exotic in a blend of aural
Songs for the mystery world.
Underground pop for the
minuses with the occasional
interview with your host, Chris.
A show of radio drama orchestrated and hosted by UBC students, featuring independent
works from local, national, and
international theatre groups.
We welcome your involvement. <sandboxtheatre@hot>
A chance for new CiTR DJs
to flex their musical muscle.
Surprises galore..
Join me - Dallas Brodie - for
stimulating talk radio about local, national and international
STRAIGHT TALK: smart, informative, current, provocative
GET: fence sitting, conspiracy
theories, reflex anti-Americanism, lefty whining or fluff.
MY ASS alt.
Phelps, Albini, 'n' me.
Listen to Selecta Krystabelle for
your reggae education.
March 1: "Consequences"
is by alto saxophonist Jackie
McLean on one of his very
best dates with a front line
partner in trumpet genius Lee
Morgan. This one burns!
March 8: "Here Ye, Here Ye!"
Is a date by one of the very
best working bands (sadly
this is their only record) led by
the great tenor saxophonist
Harold Land and bass virtuoso Red Mitchell. Jazz from
L.A. at it's hottest.
March 15: "What goes
around" is by bassist/
composer/leader Dave
Holland   and   his   amazing
band A stunning musical
experience not to be missed.
March 22: " Mother Ship" is
a wonderful and modern
recording that goes way
beond the "groove, funk and
soul" of most organ albums.
Hammond giant Larry Young
leads trumpeter Lee Morgan
and the others to the outer
flings of jazz.
March 29: Canada's premier
jazz icon (who is opening this
year's jazz festival) Is pianist
Oscar Peterson. Tonight in
concert from Vancouver's
Orpheum Theatre with his trio
as they sounded in August
Hosted by Trevor. It's punk rock,
baby! Gone from the charts
but not from our hearts—thank
fucking Christ.
DJ Christopher Schmidt also
hosts Organix at Club 23 (23
West Cordova) every Friday.
TUESDAY ■',"! Pi*.
Bluegrass, old-time music and
its derivatives with Arthur and
"The Lovely Andrea" Berman.
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!
FILL-IN alt.
Movie reviews and criticism.
Where dead samurai can program music.
«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
oh mostly Francophone
Produced by the Service
Employees International Union,
tune in for news, views and
stories relating to the labour
industry and its affiliates, coast
to coast from Vancouver to the
shores of Newfoundland.
Join fhe sports dept. for their
coverage of the T-Birds.
Up the punx, down the emo!
Keepin' it real since 1989, yo.
es«cap»ism n: escape from
the reality or routine of life by
absorbing the mind in entertainment or fantasy.
Host: DJ Satyricon.
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.
6:00AM- 7:00AM
Bringing you an entertaining
and eclectic mix of new and
old music live from the Jungle
Room with your irreverent
hosts Jack Velvet and Nick
the Greek. R&B, disco, techno,
soundtracks, Americana, Latin
jazz, news, and gossip. A real
10:00AM-11:30 AM
Experiments, Collage, Plunder
All your favorite hits... are not
an option.
Luke Meat irritates and educates through musical deconstruction. Recommended for
the strong.
• Independent news hosted
by award-winning journalists
Amy Goodman and Juan
Cycle-riffic rawk and roll!
Primitive, fuzzed-out garage
Socio-political, environmental
activist news and spoken word
with some music, too.
(First   Wednesday   of   every
Vancouver's only industrial-
electronic-retro-goth program.
Music to schtomp to, hosted
by Coreen.
Your ears have never felt so
Roots music for folkies and non-
folkies... bluegrass, singer-songwriters, worldbeat, alt country,
and more. Not a mirage!
Music inspired by Chocolate
Thunder, Robert Robot
drops electro past and
present, hip hop and inter-
galactic funkmanship.
11:30AM- 12:00PM
Ever told yourself "I can't even
boil water, let alone cook a
chicken or stir-fry vegetables!"
Let Chef Marat show you the
way to create easy meals prepared in the comfort of your
own kitchen/bechelor pad or
car. OK, maybe not the car.
Wouldn't want to spill anything
on the upholstery.
Crashing the boy's club in the
pit. Hard and fast, heavy and
slow (punk and hardcore).
Comix comix comix. Oh yeah,
and some music with Robin.
DJ Knowone slaves over hot-
multi-track to bring a fresh continuous mix of fresh every week.
Made from scratch, samples
and just a few drops of fame.
Our tables also have plethora
of guest DJs, performers, interviews, giveaways. Strong Bad
and the occasional public
service announcements.
5:00PM-6:00PM alt.
Local Dave brings you local
music of all sorts. The program
most likely to play your band!
Viva la Velorution! DJ Helmet
Hair      and      Chainbreaker
Jane    give    you    all    the
bike     news     and     views
you need and even cruise
around while doing it!
No Birkenstocks, nothing politically correct. We don't get
paid so you're damn right we
have fun with it. Hosted by
Chris B.
The best in roots, rock 'n' roll
and rhythm and blues from
1942-1962 with your snappily-
attired host, Gary Olsen.
February 5th - Transit
February 12th - A New Hope
February 19th - Mongoose
February 26th - The Gung Ho's
March 4th - The Rebel Spell
An old punk rock heart considers the oneness of all things and
presents music of worlds near
and far. Your host, the great
Daryl-ani, seeks reassurance via
FILL-IN " 9**3g
6:00AM- 8:00AM
Trawling the trash heap of over
50 years' worth of real rock 'n'
roll debris.
10:00AM- 12:00PM
Email   requests   to:   <djska_>
Top notch crate diggers DJ
Avi Shack and Promo mix the
underground hip hop, old
school classics and original
The best mix of music, news,
sports and commentary from
around the local and international Latin American communities.
A volunteer-produced, student
and community newscast featuring news, sports and arts.
Reports by people like you.
"Become the Media." To get
involved, visit and
click "News Dept."
Davfd "Love" Jones brings
you the best new and old jazz,
soul, Latin, samba, bossa and
African music from around
the world.
0\ sco cd^<~   \$    youcf   £
■ C\ Cvw
imports, and other rarities. Gerald Rattlehead,
Dwain, and Metal Ron do the damage.
DJ profile
Coreen of Blue Monday
Hosted by DJ Noah: techno but also some     CODE BLUE
trance, acid, tribal, etc. Guest DJs, interviews,     3:00PM-5:00PM
The last 3 Wednesdays of each month
retrospectives, giveaways, and more.                   From backwoods delta low-down slide to
urban harp honks, blues, and blues roots with
your hosts Jim, Andy and Paul.
Write a quick haiku about your show.
Goth, industrial, on
for six years, that is
Blue Monday. Yes. RighJt, Okay
Dark, sinister music of all genres
Dragon's soul. Hosted by Drake.
o soothe the       From doo-wop to hip hop, from the electric
to the eclectic, host Michael Ingram goes
beyond the call of gospel and takes soul
Which albums do you play the most?
Images in Vogue's self-titled; anything by the
Cocteau Twins and Skinny Puppy. ■
music to the nth degree.
BK*    ,Cz^r        am
Any albums you'd never play?
9:00PM-1 1:00PM
1 plat lots of things; the only thing that has no
place, no how, is hip-hop.
Cutting-edge, progressive organ music with
tish comedy       resident Haitchc and various guest performers/
What'* vour tavniirffo f!iTR chnw?
Studio guests, new releases, Br
Hans Kloss' Misery Hour, and On Air with Greased
sketches, folk music calendar and ticket give-       DJs. Bye-bye civilisation, keep smiling blue.
Hair never fails to put the rock in my roll.
where's me bloody anesthetic then?
8AM-9AM:   African/World roots
Have you listened to the new Frontline Assembly             from my swollen appendage, just as the Last Cab in
Celtic music and performances.
album?                                                                           the Universe pulled up.
Partially. It's not bad, actually. No Mindphaser, but         ' hobbled in, and called it a night, one shoe on,
"noiz terror mindfuck hardcore like punk/beatz
decent in its own right.                                                    one shoe off. How the other one made it off is still a
A fine mix of streetpunk and old school hard-       drop dem headz rock inna junglist mashup/
core backed by band interviews, guest speak-      distort da source full force with needtz on wax/
Have you ever had a "wardrobe malfunction''?
ers, and social commentary.
my chaos runs.rampant when
I do recall several occasions on which my wararooe
malfunctioned. The most memorable would be on          Top 5 Reasons to get up in the morning
LISTEN TO CiTR    1free daiazz~" °ut
Halloween night in San Francisco '96. After hours of          1 -1 haven't yet fufllled mydream of rockstardom.
ONLINE AT        Reggae LINKUP
WINLIINC Ml           4:30AM-9:OOAM
WWW.CITR.CA     Hardcore dancehall reggae.
drunken revelry and futile cab-hailing, my too-small          2.1 might win the lotto super 7 this week.
Value Villaae platforms became fused to my feet. All       3.1 have three furry little mouths that need feedin'.
the writhing in the Safeway parking lot only freed one      4-' "ke my hair.
Vancouver's only true metal
Hosted by Sister B.
5.Because 1 can, when others can't.
show;    local    demo    tapes.
r  —  —  —  —
—    T
6***     Reggae Linkup
^^2"^^^                      Pacific Pickin*                             Fill-In                       Please Rock The Door                       Fill-in
i^f3       Wmmm
$$sf9N                                                  (ec)
|       7
Suburban Jungle
Breakfast wffi|3g2|f           HighBred Voices                                                           End of the World News             Caught In The Red
The Saturday Edge
Brawns iSsffC'*"                    (WO)                                                                                 (EC)                                      (RR)
9 Are You Serious? Music
(EC)                                                                                 Hll-ln
1                          (EC)
Third Times The Charm                                                      ■
(RR)                            Exquisite Corpse                    Planet LoyeJrorJ^if          Ska-T's Scene-ik Drive
(EX)                                      (DC)                                      (SK)
1     11
Fill-In                                                                                                                                                                                  <-/ | g|
Fill - In                 Morning After                                                                                              Rred Up (TK)
■    12W* ^^fcSkWSr^^S^i
Mystery OirtcRv   i\ JSpSptUp           9wY-S&i*S              Anoize                     Unpack your Adjectives          These are the Breaks          Generation Annihilation-12RM
1 li                 (RG)
(PO)      i             i^^ttfik           ReeltoRealfTK)                    iHlKlRi1!                                                                                                          (HH)
Parts Unknown                 (EC)           ATanwithAtan      The Shake     For The Re-             Steve and Mike
(PO)                                        1       ClwrwntsiTiq              (RR)       j    cord (TK)                           (HC)
" 2   Blood On The Saddle
"r   Circut Trafctogi^s •            Democracy TJ$foi%i&        The Onamanapoea           The Leo Ramirez Show
■ ^ilfe^Sti' iJl^fgiilfck*
(DC/EC) HI                     e^MKl?H                           Show(TK)                                 (WO)
1       3
Sandbox Theatre                                   Rumbletone | MotorDaddy         Rhymes & Reasons
Code Blue
(TK)                      En Avant La     Radio Seiu      Radio (RR) j       (RR)                           (HH)                          Narduar the Human
Absolute Beginners ;      Musique (FR) •-■/;■. (TK)               Neccessary Voices                                                        Serviette Presents...
'/^^EGl^i              MeatEatirjg^SBr^ECl^k               (TK)                                                                              (NW)
5 Chips With Saint Tropez
Straight Talk                         Wener's BBQ                                                         Local Kids Make  pedalRevo-       CiTR News, Sports and
Electrolux Hour
Everything        (PO)
(TK)   '                                     (SP)                                                                       Good (EC)        lution(TK)                    Arts (TK)
1 sag*-- tpo)
Son Of Night Solartzation jTKjgs 31     Flex Your Head                                                                                                           The Northern Wish
Soul Tree (SO)
DreamsfECj k MyAss(TK)                j§   (HC)                       And Spmetime.s Why                 Out For Kicks                             (EC)
7           Queer FM
(PO/EC)                                  (PO)
WigFtyx Radio                                                             alt. Blue Monday (Gl)                                                            African Rhthms
1^J^*J^^                 !    Satario Minimo                       JuiceBox(TK)               On Air With Greased Hair                     (WO)
k   (WO)k                                                                               (RR)
9         Rhythms India
Folk Oasis (RT)                                                                      HomeBass
Synaptic Sandwich
?£^J&SJfc,                      ^ve Fr°m... Thunderbird                        (DC)
1      10
|^|fj^pazz Show                 Venus          Escapism                                                           Radio Hell
fW&mS               FlyTrap(EC),;j , : (EC)                                                                  .       (LM)       :
11        Trancendance
Hbns-lQbss' Misery Hour
Plufonian Nights
,    (HK)                                World Heat
1 11111111
VengencelsMinel          ||||f||pl Tentacles                                                                     (WO)                     1 Like The        TheAnti-
(PU)                «£fll&-     (EC)     j                                                                                                   Scribbles       dote (EC)
1             The Show    *'
1                           (HH)
Rrst Floor Sound System                                                         The Vampires Ball
: %i
sn&£d                                   (eg>
3           Radio Zero
Psychedelic Airwaves
(DC/EC)                                                                                                                                                                      -          ' -      ■
Reggae Linkup
CH-children's • DC-dance/electronic • EC-eclectic • EX-experimental • FR-Frerich language • Gl-goth/industrial • HC-hardcore • HH-hiphop • HK-Hans Kloss
• Id-kids • JZ-jazz
LM-live music • LO-
L      ■■■ ~ mm     ~m      —
lounge • MT-metal • NO-noise • NW-Nardwuar • PO-pop • PU-punk • RG-reggae • RR-rock • RT-roots • SK-ska • SO-soul • SP-sports •
TK-talk • WO-world
" f\V7c"
XooH •
7 ;" - |
Febuary Albums -- Top 35!
Ripple Rock
2 P:ANO*
The Den
Time Machine!
Mojo Box
Yep Roc
What Albums were hot 20
Different Cars and Trains
Rocky Horror Punk Rock...
blessed years ago.
Prude Juice for the...
Swinger Seeland
9 V/A
The Homeland
Thrill Jockey
The The
III Boogie
Iggy Pop [& The Stooges]
B.Y.O.P - Calgary Does...
Saved by Radio
Nina Hagen
Signs of Life
Sonic Unyon
Jonathan Richman & the Modern Lovers
Atomic Ritual
Liguor and Poker
The Cramps
Punk Rock
Touch and Go
Brian Eno
You Know the Rules
Talking Heads
17 V/A
Natural Progression
Battle Axe
The Cure
After the Flood
Echo & The Bunnymen
PaperBag Records Comp.
David Bowie
C'mon DJ
The Fall
Yesterday Rules
Dead Kennedys
. M
23 V/A
Big Shots
Stone's Throw
Gun Club
Soft Abuse
Lou Reed
Things Done and Left...
Bill Nelson
Chicago's Avant Today
The Fleshtones
World Series of Love
Ghostly International
Simple Minds
Gang Of Four
The Power Out
Too Pure
Trevor Jones
If You Can't Beat'Em...
Drag City
Chutes Too Narrow
The Clash
33 V/A
Pieces of April Soundtrack
Bangers vs. Fuckers
*= CanCon
Indie Home Jobs -- Top 19!
1 Billy and the Lost Boys
Breaking down the barriers
2 Mongoose
White Plastic Deer
3 The Rebel Spell
Expression in Layman's Terms
4 Roadbed
5 Married to Music
World's Gotta Go Round
6 The Basement Sweets
For Rent EP
7 Collapsing Opposites
i^SlI        Sincerity/Sarcasm
8 Motorama
Little 7 Song Demo
9 Simon Pole
Robot Spring
10 The Tups
The Tups
11 Casey and Finnegan
12 Manlab
Across the Bridge
m 14Shitfaced
r   15 Man Down
16 The Plutonics
The Plutonics
17 Emerald City
Emerald City
18 Magical Glass Tears
These Autumn Leaves
19 Doit For Johnny
Do it for Johnny
scordtc * ~^*b places to be
concert venues:
anza club
cafe deux soleils
the main
marine club
media club
pat's pub
pic pub
pub 340
railway club
WISE hall
misc venues:
3w. 8th ave
2096 commercial
3611 w. broadway
917 main
868 granville
455 abbott
4210 main
573 homer
695 cambie
403 e. hastings
620 w. pender
340 cambie
579 dunsmuir
1036 richards
66 water
mesa luna 1926 w. broadway    604.733.5862
video in studios 1965 main 604.872.8337
record shops:
active pass records
audiopile records
bassix records
beatstreet records
black swan records
crosstown music
highlife records
noize! records
red cat records
scrape records
scratch records
zulu records
324 w. hasting
2016 commercial
217 w. hastings
3-712 robson
3209 w. broadway
518 w. pender
1317 commercial
4307 main
17 w. broadway
726 richards
1972 w. 4th
Wednesday 3
Broken Social Scene
The Stills
Raising the Fawn
@ Commodore
Friday 5
Liz Phair
@ Commodore
Burn Project
@ Richard's
Buttless Chaps
Amy Honey
@ Railway Club
Saturday 6
Mecca Normal
Anna Oxygen (woohoo!)
@ Pat's Pub
Bob Weir
@ Commodore
Monday 8
Sista' Hood Festival -
Sista'Night LIVE featuring:
Ndidi Cascade
Kia Kadiri
Green Tara and much more
8 pm @ Pic Pub (5 bucks!
Wednesday 10
Head Automatic
9 pm @ Richard's
Thursday 11
Sista' Hood Festival ~ New
Sista'Hood open mike
Eekwol (Sask)
Siren's Echo (PO) and tons
8pm @ Sonar
Friday 12
Sista' Hood Festival - Reel
Sista's Film Festival
With music from DJ Bles-ed
8pm @ Anza Club
Saturday 13
Sista' Hood Festival -
Workin' Sista'Hood
Workshops in: Performance,
Music, Crafts,
Film and Media, and Business
1 Jam-6pm @ SFU Harbour
Centre (by donation)
Girl Nobody
@ Media Club
Sunday 14
Sista' Hood Festival -
-Sista'Hood Action
11 am-6pm @ SFU Harbour
Saturday 20
Yeah Yeah Yeah's
@ Commodore
Tuesday 23
Kid Koala
@ Richard's
Wednesday 24
Franz Ferdinand
@ Richard's
Friday 26
Blonde Redhead ^%
©Commodore Ballroom
Saturday 27
Cooper Temple Clause
@ Richard's
Monday 29
Starlight Mints
Dressy Bessy
Architecture in Helsinki
@ Richard's
Tuesday 30
Damien Rice
@ Commodore
Wednesday 1
The Crystal Method
DJ Hyper
@ Commodore
Saturday 4
The Heck, The Flairs, The
Vincent Black Shadow @
Railway Club
Sunday 5
Removal @ The Brickyard
(No Minors)   $6-8
Monday 6
The New Town Animals, The
Girls, No No Spots @ The
Pedro the Lion, Esther Drang,
P:ano @ Richard's On
Richards (No Minors)
Tuesday 7
Girlgig Productions presents:
An Evening of Women in
Song featuring Kat Danser,
Rae Armour, Alita Dupray @
Railway Club (No Minors)
Sunday 12
Christina Maria @ Stardust
Rollerrink Band Wars
(All Ages)
Monday 13        l^jll^
The Doers @ Typhoon
(All Ages)
Saturday 18
Warsawpak @ The Brickyard
Friday 26
S.T.R.E.E.T.S., Infernal Majesty
@ The Brickyard
MarOv    lOOH  •  X.1 Mtyfaf
% fofofaWHf*
aAA U.'s OC»'5VeAKal
S<*V*s£y f^<vjr
/y\oaVV\'s Issue,
wfcerfc Oi1 SCOLDER
Casual Dots
21  I
34 138
Out 2/17/04
po box 11900friiTpia, WA.98807     .jiy£i£
0 Reorder * 30
Olympia, WA 98501  Music: the wine that fi
Your Blues CD/IP
One could bust a brain working
out the complex paradoxes that
surround the purposeful use of
mystery. This is one reason why
artists are so important. They take
on this challenge and pass it on for
us ponder anew. Dm Bejar is an artist likt
recording artist, and the difference is impi
rious not to be coy, but as strategy. For hit
decided and thus obviated, and this pre:
lenge. And his use of mystery is also in r<
his proper object, which is mysterious
music is mystery par excellence: so preci
so banal and indifferent at once. From
Streethawk: A Seduction, to the sprawlir
This Night, and now to the triumphantali
melancholia of Your Blues, what Bejar
pop music is complexly historical, polil
no sense simple or easy. The mystery is
is consistently misunderstood, perhaps
cy. And this is Bejar's challenge to us,
with no misunderstanding, not despite the)
the mystery. Your Blues is another mastei
DESTROYER joined by FROG EYES plays!
WAVES 20th Anniversary Mar 14th at ~
CD 14.98      IP 12.98
He is a most peculiar man. He
does not walk in a straight line I
between places, but instead veers
clear off the path. He is known not |
by his laugh, but by his howl. He
began playing music at an early
age, only to quit in a fit of adolesgji^
Subsequently he began awn as method of relaxation. &
to discover performance i vehicle for contemporary angst.
Indeed, he is a most peculiar man This is tus d<
record featuring members of ftauo, Ttw Secret Ihree
and.... It is a good record, perhaps stalking greatness It
sounds much like you think—eccentric'6iit, yes, His quiet
anonymous freedoms will soon evaporate^AVWOtffcE
CD 12.98
Seafarereivfec M
CDEP/12" 1
Oldham is a lyricist more than a
musician, strictly s$s|l|g^
Although sweet and tasteful, his >
playing is usually secaHprtp fW '
words and their delivery, and. this-waffcJteanjjht froRVl
first Palace Brothers recordings. However, he creates    ,*
complete pictures with n^lyric^'wtote-wvKf"Worlds oWBr v
■ sometimes spare descriptions, hi this ssnse,tijlliamis "~
ideal for soundtrack worfc, treating filmic*iftia§$gas lyrics •,
to be delivered and supported withlS^:. Besides over
the years his playing has cotfls- to meef ajarj matcMiis
vocals. For this project, Olej3il!i|sfff^^Se^ces to
filmmaker Jason Massot, Wjttl^l^rWji^stiC'gWtar
meditations elaboiating theMe of foyrseafataj&Ttieresult
is so striking, picturesque iimwM^wkmtSkwm^■■■
compelled to release the music under his given name.
CD-EP 12.98      12" 9.98
Photographs bv Mark Mushet
i^   March 5-April 15. 2004
UJ  opening) March 5th at 8pm
The Den CI
As you are a d
cerning Zulu
safely assume th
are necessary hei
and cherish
debut CD
You knc
hottest up-and-coi
aware that they long
to Low and
how totally frickir
can't imagine but I'
with the keyboard pf
nity to, well, boi
On getting the
trembling in nervoi
notes. At once
of guest musicians
with a Bomb, Mi
mention of the New
bling that a "local"
ambitions, with
my contraband CD
steal again but inste;
CD 14.98
All Balls
Bounce Rei
Finally reissued
Blowed label,"
sic debut of jazzy Ii
real 995 encaps
>sive cac
"AU Balls Don'tT
1 see tow this pc$.solo ot
original i "lease features the complete album plus a second
disc with 55 minutes of new, unreleased, and remixed tracks
and lour music videos. Grate-diggers look no further this is
whatyouSvebeenwarting-for  l'     ,  .-. •       ..     |
Desperate Youth CD
"TV on the Radio caught most ottis by surprise with their
I brilliant debut EP Young Lias" in 2003 The long wait is
over and the full length album is finally here, thanks to Touch
and Go Records Tunde Adebimae's powerful voice is impofr
sibfe to ignore heis Oft compared to the likes of Peter
• JSatwtel or Hm WMfeflaariftfoumai, comparisons that
'" make perfect sense after a tewatetens Multi-instrumentalist
Oawid tahvw-StttJt, who proved the Yeah Yeafe Yeahs'
records, lays down dense melodic lines whieti groove and' --
sway beneath Adebimpo's waiting vocals. tHot Sans); oMl»'
YVYf even makes a guest appearance on the'tscordf which
moves effortlessly between epic pop song stfifcturesaftd - •■
unexpected stripped down acapeUa^numbers. PossiWy the -.
"most WBejuaiiriffifrmMflaj^ buzz1>aftd|,"
CD 113
Hole of Burning Alms!
What a great and welcome thing BBs
isf and not only tor those of us to
fenger motivated to play our T records.
Harking back to fJw first M material plus
some neat unreleased stuff, such as an i
[ instrumental version of Yum Turn tun, 1
and extras from 1995 to 20QG means'ari
Pajo-styte listening. Yes, the kid has the
' Tfondne^for'«ingies> Indeed, Pajo is cu
new singles series, about wfecfeBrag-JS
■> bow dfteh Vapa dipps-rfnew single into
. about time'.for a pox'fuc.kin' set!"_Good.f
. Lovable, good-humoured and thoughtful — tiff
e cup of silence
And brothers
and sisters,
if you cup is
Ultravisitor CD/2LP
Another fine mix of
Rhythm Science CD The
latest in his lexicon.
TOMBS - Rocket Redux
CD Seminal Cleveland.
TRANS AM-Liberation
LP/CD Brave new future
00I00 - Kila Kila Kila CD
Boredoms noise!
CDEP Real fuzz rock
•M/OUTHUD- Remixes
jt CDEP Reissued!
iU - Knife Play
Buzz band decon-
ffllpng pop.
i&OO&Jed Sleep CD
jfga^ish import!
|||ion/No You C'mon CD
Hff ShOt.
SpST-Roses 12" The
predominant force.
HRpuckoo 7"'
|mf§& One of the most
HJplated rock records
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232


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