Discorder CITR-FM (Radio station : Vancouver, B.C.) Jul 1, 2007

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 that saucy magazine from citr ioi.9fm mvs&xs €^ infamous #uM&
lse J
tV# ,    i . Hedspin and FUpoM
958 Granville St
Open til 3AM
7 nights a week
dhmbars.ca ULY  ♦200 7
the (gentle j/Xrt of Suiting
Mike "Spike" Chilton
Art Director
Cole Johnston
Production Manager
Cole Johnston
Copy Editors
Mike Chilton
Brock Thiessen
Cheyanne Turions
Ad Manager
Catherine Rana
Under Review Editor
Cheyanne Turions
Datebook Editor
Mike Chilton
RLA Editor
Mike Chilton
(for Danny McCash)
Layout & Design
Cole Johnston*
Mike Chilton
Justin Banal ,
Meg Bourne
Mike Chilton
Henri Cording
Sarah Fischer
Simon Foreman
Erica Holt
Sarshar Hosseinnia
Maude Lachaine
Nick Lewis
Christian Martius
Maxwell Maxwell
Robin McConnell
Greg McMullen
Emma Myers
Quinn Omori
Nick Pannu
Rob Peters
Adam Simpkins
Jordie Sparkle
Brock Thiessen
Jackie Wong
Photo & Illustration
Meg Bourne
Cole Johnston
Matt McGale
Jennilee Mar'igomen
Michelle Mayne
Tina Ok
. Quinn Omori
Miss Susan
Connie Tsang
Program Guide
Bryce Dunn
Luke Meat
Frank Rumbletone
US Distribution
Catherine Rana
CITR Station Manager
Lydia Masemola
Student Radio Society
of UBC
The Gentle Art of Editing ?
Textually Active
■   GregMcMuUen
Robin McConnell
Cinema Aspirant
Emma Myers
Techs & The City
Emma Myers
Vancouver Special Duplex
The Pad: 1 Amy Honey
Datebook Calendar
Poundiri the sidewalk for goodgigs...
Real Live Action
Under Review
CiTR Charts
The Dopest Hits of June 2007
Program Guide
La Vie En Rose
By tracing her difficult path from adversity to
fame, a French biopic about one of France's
greatest national treasures, Edith Piaf, reminc
us why her music is still relevant today.    Mr
6 i
IMVF: Indie Music Videos
Who knew a touring show comprised of
music videos would span six years and two
continents, and serve as a indicator of the
state of electronic media? They did...       Mr
Bad Religion
The trailblazers of punk with a political bent
have a new album and tour. Discorder gets
bassist Jay Bentley's take on everything from
life on the stage to the world's stage of life. M
Julie Doiron + Calvin Johns
One of Canada's most influential singer-
songwriters teams up with one of America's,
and a veritable history book of alternative music
and culture is the result.                           pqp j g
by Cole Johnston
©DiSCORDER 2007 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation
8,000. Subscriptions, payable in advance, to Canadian residents
are $15 for one year, to residents of the USA are $15 US; $24
CDN elsewhere. Single copies are $2 (to cover postage). Please
make cheques or money orders payable to Discorder Magazine.
DEADLINES: Copy deadline for the July issue issue is June 17th.
Ad space is available until June 22nd and can be booked by calling
604.822.3017 ext 3 or emailing discorder.advertising@gmail.
com. Our rates are available upon request. Discorder is not
responsible for loss, damage, or any other injury to unsolicited
manuscripts, unsolicited artwork (including but not limited
to drawings, photographs, and transparencies), or any other
unsolicited material. Send words to editor.discorder@gmail.com
and art to art.discorder@gmail.com. Material can be sumbitted
on disc or hard copy or via mail. From UBC to Langley and
Squamish to Bellingham, CiTR can be heard at 101.9 FM as well
as through all major cable systems in the Lower Mainland, except
Shaw in White Rock. Call the CiTR DJ Une at 822.2487, our office
at 822.3017, or our news and sports lines at 822.3017 ext. 2. Fax
us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our
web site at www.citr.ca or just pick up a goddamn pen and write
#233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
Well, this is my third issue of
Discorder, and I must say, it's been an
interesting experience so far. As if taking
over editorial duties on a magazine is
not challenging enough as it is, the
added challenge of knowing many new
pairs of eyes from across the country
will be looking at your words with great
interest adds that much more pressure.
CiTR hosted the 26th annual
National Campus-Community Radio
Conference last month; for the final
word on it, see Conference Coordinator
Alison Benjamin's final take on the
event in the Highlights column on the
inside back page. At the conference, a
small mob of programmers and staff
from campus-community stations from
all across Canada came to take part
in workshops, to enjoy conference-
sponsored concerts and entertainment,
and to meet and network with
likeminded radiophiles.
That week of June 11 to 16 was a
particularly scary but exhilarating
one for me for many reasons—not the
least of which included speaking on
the Developing Publications panel with
a journalistic hero of mine (and former
CiTR Music Director, I might add), Tom
Harrison, and introducing another one
of my ink-slinging heroes, NCRC awards
night keynote speaker, Kevin Potvin.
Another high of that week included
the fact that Discorder's new readership
bumped up exponentially during the
conference. In case you missed it,
the June issue of Discorder contained
a copy of the NCRC schedule and a
feature highlighting the recommended
workshops taking place that week.
All sorts of conference delegates
approached CiTR staff and me to
comment on how good our June issue
looked, and how it served as a helpful
companion guide to the weeklong
event. For this fact, and many others,
I would like to congratulate and thank
our Art Director, Cole Johnson, for
creating a dynamic-looking and easy to
read guide for those delegates. He made
Discorder-and myself look exceptionally
professional when it was most crucial.
The NCRC gave me an excellent
opportunity to pick the brains of other
delegates and to determine how to
improve Discorder, so that it reflects
everything it must offer as the program
guide, and companion publication, to
CiTR. I concluded that Discorder should
be about the talent behind the station,
the music and artists they feature on
their programs, and, most importantly,
you fine listeners of CiTR—without
whom, this would all be for naught.
As a result, I have been experimenting with some much-needed updates to
the content of Discorder. Last month,
I began with bringing back an old
column with a new twist. Vancouver
Special had long been featured in our
pages, and brought local scene news
and mini CD reviews from such writers
(and on-air talent) as Janis MacKenzie,
Val Cormier and Ben Lai. The June issue
featured the debut of Vancouver Special
Duplex, a section which, courtesy two
mini-features, throws the' spotlight on
local bands, scene news and previews
of local cultural events. The inaugural
Vancouver Special Duplex had a preview
of this year's edition of Music Waste,
as well as a profile on Vancouver band
Capade, and the release of their new
CD, Wake Me Up. But that's just the beginning: this month, Vancouver Special
Duplex features profiles on CiTR fa-
vourties Amy Honey, by Ben Lai, and
CiTR chart-toppers for the month of
April, The Pack, by yours truly!
As the months progress, changes
will be instituted at Discorder which will
help bring CiTR talent and listenership
closer to one another than ever before.
As captain of the good ship Discorder, it
ismyhopethatby thefall, CiTRsprogram
guide will be providing infinitely more
content from on-air talent in the form
of features, updates and stories torn
right from their programming. As well,
I am proud to announce the return of
Discorder's venerable Mailbag section.
Here, CiTR listeners and readers of
Discorder will have the chance to voice
their feedback and opinions by writing
us at: mailbag.discorder@gmail.com—
go ahead and write us; it's free, it's
fun, and it lets us know just what you
think of us and how you think we can
If snail mail is more your style, write
the Discorder Mailbag at:
Discorder Mailbag c/o CiTR
#233-6138 SUB Blvd.,
Vancouver, BC
Last month, we unofficially celebrated the 25th anniversary of CiTR
broadcasting on the FM dial during the
NCRC festivities. We are also creeping
up to the 25th year since the premiere
issue of Discorder, 'That magazine from
CiTR 101.9FM,' first hit the streets. So
let's accept this as our cue to take both
CiTR and Discorder to the next level!
Mike "Spike" Chilton
Editor Croaked little Vein
by Warren Ellis
William Morrow Books
If you still believe in things like innocence and
happiness, think that the government is here to
help, and have never found yourself in a porn
theatre watchingold Japanese monsters copulate with
humans while ihe rest of the audience masturbates
with anatomically correct Godzilla gloves, Crooked
Little Vein is probably not the book for you.
Warren Ellis is better known for his work in comics,
especially for Transmetropolitan, a gonzo-meets-
cyberpunk mashup exploring the strangest aspects
of American pop culture and politicsin an anything
goes free market future. Ellis has also developed quite
a following in the blogosphere. He is ranked around
#1100 in the Technorati top 2000 for his rants on
politics (Stephen Harper as "the kind of actor a US,
or US-but-produced-in-Canada, TV show uses as
the bad guy when they can't afford a British actor"),
music (Joanna Newsom as a "yowling autistic playing
a harp with a brick"), and all forms of subcultural
review by
Ellis puts his cultural and political savvy to work
in Crooked Little Vein, his first novel. The book begins
in the office of Mike McGill, a failed private eye who
seems to be one bad case away from suicide. McGill
has absolutely nothing going for him, except for
his uncanny ability to find the most vile, deviant,
perverse clients and cases going. What other man
could crack the case of the tantric sex ostrich farm?
He's contracted by the heroin-addled and patently
insane U.S. Secretary of State to find a lost national
treasure—the "Real" Constitution.
"This is how life in America is. Moment by moment,
our country has grown sicker," explains the Secretary
of State, who is revolted by the horrors of subculture
and deviancy. He wants Mom's apple pie and piety
back, and the "Real" Constitution is the only way for
him to get it. Bound in alien skin and weighted with
meteor fragments, the "Real" Constitution is also a
perfect mind control device, and thus the ticket to the
aabninistration's rewiring of the brains of America.
McGill sets out on a demented adventure that
crosses both the continent and the boundaries x>f the
normal. Ellis is the master of this kind of story. He has
an "uncanny ability to write about deviance with a
personal distaste and discomfort while still remaining
sympathetic to members of a given subculture. Never
once does the novel become a Palahniukian gross-out
tale or morality piece. Ellis might not like or understand
a particular subculture or fetish community, but he
appreciates that people are happy taking part in it-as
long as they aren't harming anyone else. Isn't that
what freedom is really about? While we may not like
some of the things that are going on around us, we
should remember that the weirdness of today will be
the mainstream of tomorrow. This book helps us get
ready for that.
Crooked Little Vein is a disturbing but wonderful
tour through the emergent weirdness that we can
find all around us, if we bother to look. It's viciously
hilarious, witty and fast-paced. While at times you
may wonder why this sick individual would fill your
head with such horrible things, you'll be cackling to
yourself later as you subject your friends to it. Warren
Ellis only hurts you because he loves you so much. by
A great offshoot from the recent trend
of anthologies is the exposure of more
experimental narrative artforms. Living in
Vancouver, I am lucky enough to be exposed to a
great group of talented comic artists.
Nog-A-Dod is an excellent primer for comix
people to enter into some oddly sequential art. The
one drawback is the price: at $25, it can be a steep
investment for novice interests. So, instead of telling
you why you should just get that book, I am going
to tell you about a couple of other small books from
the artists compiled in Nog-A-Dod that are a more
affordable way of checking out something new and
different. You should still get Nog-A-Dod because it is
so awesome.
Jason McLean and MarkDelong have put together
a nice little book on Nieve called Melanie Sheepwash.
As a flipbook, it successfully presents two very unique
talents. Delong's stuff is a great mix of Gary Panter
with a sort of street-like struggle. He really brings
a neat complexity to the page that works on many
levels and gives you a lot to absorb. This is the first
time I have really had a look at his stuff, and I think
any fans of the Fort Thunder crew would really find
some love for Delong.
I am little more familiar with McLean's work.
Looking at one of his paintings is like looking into
the mind of the creative process. His work is at once
incredible to look at, but also a story in itself, filled
with an array of complex imagery. It is easy to lose
Oneself in trying to absorb all of McLean's artwork.
Every little corner of his pages are packed with
thoughts and emotion. I really wish I could afford one
of McLean's originals, just to be able to look at it up
close, over long periods of time.
The other great book that I just picked up is Luke
Ramsey's ongoing project on Islands Fold. It's a
collaboration with Justin B. Williams, a great young
talent from whom I predict big things. Williams did
a great piece for Beasts (from Fantagraphics), and in
his Islands Fold contribution, he really shows some
great progress. A Great Big Stillness has what I really
love about Williams's work: he creates these great
characters that seem filled with conflicting emotions
and thoughts, as though there is a madness from
which they are trying to escape. Williams also utilizes
odd mountain settings, filled with great chunks of
bold imagery, much like a patchwork blanket.
Last, but not least, is Marc Bell, who edited and
curated the Nog-A-Dod collection. Bell has cemented
his role as an interesting creator by putting out vibrant
new work and constantly stepping up his game in the
art world. Most people will recognize Bell's work; he
is the guy who did those crazy one-pagers at the back
of Vice Magazine—artistic representations of horrible
pop songs mixed with his imaginative creations. For
Bell's straightforward comic work, check out Shrimpy
and Paul and Friends, from Highwater Books. It's a great
collection of his hard-to-find comic work, including a
selection of really nice collage work near the end of
the book. Bell's work has a very surreal edge to it, too,
playing with storytelling and taking things into some
very odd directions.
Nog-A-Dod is a very adventurous collection of
years of collaborations from a group of Vancouver's
most talented creators. If one was to try and find the
original printings that Nog-A-Dod collects, it would be
a hopeless endeavour. There are so many neat little
mini-comix and small microprint run collections in
Nog-A-Dod, you would never be able to find everything
contained in it. For Vancouverites, Nog-A-Dod\s a great
testament to the artistic talent in our city—not to
mention being an archival retrospective of goodness. J) The year is 1915, the world is at war, and France's streets are filled with poverty.
This was the world in which Edith Piaf, the iconic French singer, was born and
raised. Her life consisted of profound disappointment and unspeakable hardship,
but her vofce and passion elevate her from the streets and into music halls around
the world. In his film, La Vie En Rose, Olivier Dahan reveals the woman behind the
voice that captured the heart of France.
Edith's childhood was defined by loss and longing. Abandoned by her mother,
she was raised in a brothel run by her grandmother, and later, in the travelling
circus where her father performed. Her childhood was punctuated by a period of
temporary blindness, caused by acute conjunctivitis, from which she eventually
recovered. This childhood experience left her with an incredible faith that she
carried with her throughout the rest of her life.
It was her dire circumstance that forced Edith to discover her amazing gift. She
began singing on the street for money, enchanting passers by. She was discovered
by a night club owner who offered her a job, and who also nicknamed her Piaf,
meaning "little sparrow." She gained fame and recognition as people began to
identify with the palpable emotion in her ballads, which expressed her struggle
and longing for love. She eventually graduated from a downtrodden cabaret singer
to a glamorous music hall performer, developing friendships with many of the rich
and famous of Paris and America along the way. Most notable was her love affair
with the famous boxer, Marcel Cerdan, who was tragically killed in plane crash,
leaving Piaf utterly devastated; she began to overindulge in, and become dependent
on, the morphine she took for her developing arthritis. Her health deteriorated
rapidly to the point where she could no longer perfqrm, or even feed herself. Piaf's
extraordinary and tragic life ended at age 47.     -/*' «'
Dahan became inspired by the idea to make a film about the French legend as
he leafed through a book that delved into her life. The challenge was to find an
able actress to play the complex chanteuse. Dahan immediately thought of Marian
6 July 2007
Cotillard, known best in North America for her role as Josephine in Tim Burton's
Big Fish. In addition to possessing extraordinary acting talent, she bears enough
of a physical likeness to Piaf to be believable in the role. Cotillard was enthusiastic
about the part, naming Piaf as one of her idols. The film required the leading
actress to portray Piaf in all stages of her life. The older years were the biggest
challenge, as Cotillard had to perform in very heavy make-up. Dahan's vision was
executed brilliantly by Cotillard, who successfully morphed herself into Piaf, both
inside and out, right.down to the tiniest movement and subtle voice inflection.
Although most of the singing in the film is Piaf's actual voice, lip-synching
her singing in some scenes was still the most difficult element for Cotillard. She
studied footage of Piaf's performances in order to accurately mimic the way she
sang, moved and even breathed. The result was worth her hard work, as Cotillard's
performance is seamless and convincing, making the audience feel as though they
are watching Piaf herself.
The narrative is not presented in a linear manner; it jumps between time periods
and portions of Piaf's life. Here Dahan's innovative vision becomes evident. The
film refrains from becoming disjointed and confusing. Rather, the segments flow in
and out of each other beautifully. Although its 140-minute length is daunting at
times, the film manages recapture its audience by maintaining an astounding level
of emotion throughout its entirety. Each scene is more heart-wrenching than the
last. The emotion reaches its climax with Piaf's legendary final concert at the Paris
Olympia, when she performs her celebrated song, "Non, Je Ne Regrette Rien" ("No,
Regrets"), moving the audience to tears.
La Vie en Rose is a triumphant tribute to the little sparrow, who's voice came to
symbolize the "soul of France." With a gut-wrenching story, superb acting and
beautifully woven narrative, there are no regrets from the audience as they leave
the theatre, fc techs
The Modern Appeal ofVinyl
by Emma Myers
We' live in a digital age. The physical trappings of music formats have
gradually been abandoned for the convenience of the MP 3. Of course, this shift
didn't happen overnight. First, epic record collections were tossed aside for the
easily portable cassette tapes during the walkman boom of the early 1980s.
Cassettes, too, were soon replaced as people opted for the thin, sleek CD that
appeared in the late '80s. It was in the 1990s that the digital age dawned on
music, spurred on by file sharing, and reached its twin apexes with the advent
of the iPod in 2001 and the launch of iTunes in 2003. Now, in 2007, the
average person's music collection has been digitized and compiled onto a single
device, rendering his or her CD and vinyl collections essentially obsolete.
Ironically, in the midst of this digital revolution, there suddenly seems
to be a rising interest in vinyl among the younger generations. This interest
is perhaps linked to their growing fascination with music of the 1960s and
'70s (in other words, our parents' music). Kids are buying the same records
that their parents likely threw away copies of 20 years ago, or at least this
is how it is in my case. Sadly, my dad got rid of his colossal record collection
when I was about five. Now, 15 years later, here I am essentially rebuilding his
old collection as my own—ah, how wonderful the circle of life is. My dad, of
course, thinks it is an utter waste to buy vinyl now, when I have access to CDs,
iTunes and countless music-sharing programs on the Internet. I sometimes
feel guilty about this supposed frivolity of buying records; nevertheless, there
is a certain romantic nostalgia associated with records which seems to appeal
to our generation (or maybe just to me)—something an MP3 file simply
cannot provide.
Much of this appeal has to do with vinyl's dynamic sound. When Keith
Richards was asked in the 40th anniversary edition of Rolling Stone his
opinion about digital recording technology, he answered that while digital is
useful for editing, "if you really want that boom, you can't get it on digital."
And who better to give expert testimony on sound than one of rock's most
innovative guitarists.
The sound of vinyl is definitely of higher quality than the sound of a digital
file, and it lends itself particularly well to acoustic music, specifically folk and
jazz. This supports my theory that this budding interest in vinyl coincides
with thesurge in popularity in the music of the '60s and' 70s, which is largely
folk music. Nothing beats listening to Bob Dylan on vinyl, as he was meant to
be heard: his throaty voice, gentle guitar and heartfelt harmonica blending
perfectly into one full, yet raw, sound.
Perhaps our generation feels as though we missed out on the great youth-
driven musical revolution that our parent's experienced and listening to vinyl
is our way of jumping on their bandwagon.
Of course, I am in no way denying the importance of our own generation's
musical revolution. There is no question that the digital age has spawned a
boom in musical knowledge and exposure. I love that I can carry around my
entire music collection with me at all times, but this doesn't stop me from
being magically, almost magnetically, drawn to records.
Fairly recent technology has made it possible to convert vinyl into MP3
files. Although only true audiophiles and tech geeks will actually have this
equipment, it might become the next big thing in music, as it allows the best
of both worlds for those who love both the convenience of MP3s and the
sound of vinyl.
In the mean time, there is no reason to feel guilty about buying vinyl even
if you have a digital music collection; that's like saying you shouldn't buy the
first edition, hardcover copy of your favourite book just because you happen
to own the paperback. While one format offers convenience and portability,
the other offers authenticity, permanence and a thin slice of the past, tl
 and i _
*e City Despite being able to make a living as a television
producer, one of the originators of the Independent
Music Video Festival says television is going the way of
the dinosaur.
"Maybe lazy people will always want this linear
stream of pablum fed to them," says co-founder Marcus
Rogers. "I think the market's going to become smaller
and smaller." He credits this with the rising tide of
interactive broadcast technologies, such as YouTube and
other online broadcasters.
The increasing popularity of digital-media technologies has contributed to the success of projects like the
Independent Music Video Festival (IMVF), and the death
of television as we know it. Since IMVF's inception, user-
driven online media like YouTube, MySpace, and Blogger
have exploded, giving independent visual art a huge
audience and distribution potential.
Rogers is a passionate advocate of the creative
possibilities for video art. He founded the Independent
Music Video Festival with Nicole Steen and Frank Yahr
in 2002. The festival is now in its sixth year, with shows
in seven cities across Canada and the United States. Each
stop features a one-night showcase of 25 independent
music videos. This year's selections include videos from
such indie acts as Stinkmitt, the Octopus Project, Sparks '
and Cadence Weapon.
Before IMVF started, Rogers was curating a show
at the now-defunct Blinding Light Cinema called Before
Year Zero, a compilation of West Coast punk videos. "I've
8 July 2007
always been making punk videos for D.O.A. and bands
like that," he says. "Everyone loved it, and Nicole said we
should have a festival for music videos. High-quality indie
music videos 'cause they're really high art."
The first-ever Indie Music Video Festival also debuted
at the Blinding Light Cinema, featuring the video art of
Vancouver bands.
Once the festival was unleashed in independent
music circuits, it quickly gained momentum. "Word of
mouth actually does work. Something's really good, boy,
it gets popular fast," says Rogers. "(We do it) without a
million dollar advertising budget, and that's really cool.
It's better to have things sell themselves, and people just
get what they like."
Thefestival aims to includediverse, wide-ranging content,
as well as a broad sampling of generations and genre.
It's a constant task for the IMVF organizers to
encourage more submissions from female artists. To
rally more female involvement in the festival this year,
the coordinators did something new. "On International
Women's Day, we did a ladies-only special—all female
artists," Steen says. Audiences voted for their top-five
videos, which were then placed in the IMVF 2007 lineup.
IMVF 2007 boasts 25 videos chosen by the
coordinators' secret jury. What started as a two-night,
50-video Vancouver festival is now a one-night, 2 5-video
extravaganza with shows across North America.
The rise of interactive, user-driven online media has
helped spread word of, and interest in, initiatives like the
IMVF. "Now we can get the media we want, as opposed
to the media they want us to get," Rogers says. "What a
great equalizer." "^fppflS
Rogers marvels at the creative floodgates opened
by increasingly sophisticated computer technology.
"Previously, it was very difficult and really time-
consuming [to create video material]," he says. "You
might have spent months rendering this stuff, but now
you can render it with a G5 overnight."
"The creativity is unlimited in videos now," Steen says.
"It's opened up a whole new palette of tools to creative
imagination," agrees Rogers.
"We're seeing stuff that we've never seen before. I
mean, up to a point, we thought everything had been
done. But then, when you introduced this next generation
of computers, it really opened my eyes."
"[The internet has] given us all an exhibition venue,
which is something MuchMusic never gave the indie
bands," Rogers says. "Our little music video festival is
just as easy for you to find online as MTV. It really is. And
that's a really cool thing." t.
The 6th annual Indie Music Video Festival hits Vancouver at the
Railway Club, Wednesday July 18th, 9pm. The Vancouver show
features a live performance by Canned Hamm. m
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over the phone in Vancouver mere weeks before the bassist
j oined up to begin yet another tour with the rest of his band
mates in the veteran American punk outfit Bad Religion.
They are embarking on the two-month long Warped Tour
in support of their new album, New Maps of Hell.
Bad Religion has never been one to shy away from
social issues and responsibility. A huge portion of the
band's repertoire from its last 2 7 years together addresses
some connection to the way their country is run. With
perhaps the most dangerous President in recent times,
George W Bush, waiting out the end of his eight-year helm
in the White House, Bad Religion has moved away from
bashing his regime and instead focused on the broader
aspects of cultural life. Yet, Bentley insists that there is
still work to be done to fix the wrongs made by the current
"With The Empire Strikes First (their last album), the
focus was still on George Bush. But as his tenure is coming
to an end, we (America) have a big mess to clean up.
There's not much point in beating a dead horse talking
about him. Everybody knows it's rotten to the core, it's
redundant. We have to counter the real problems and aim
for the future."
continued on page 12
Discorder   11 continued from page 11
Bentley   even   suggested   that
whoever the next person in charge
of the country is must travel the
globe and apologize to the people
of the world for the damage done
by Bush. But even an apology
from the new American leader
might not be enough to reverse
the damage from a war waged
for capitalist purposes, under the
guises of religion and freedom.
That is something that, according
to Bentley, will go on forever.
"The Cold War was a power
struggle, this war isn't," conceded
the Wichita-born father of two.
"The only way the US beat the
Russians   was   because   Ronald
Reagan   outspent   Russia.   You
can't outspend a terrorist because
it means  more  to  them  than
money—it's   their  beliefs.   They
really don't care."
When it comes to a Bad Religion
show, in addition to enjoying the
music, fans will hopefully grasp
the band's message. According to
Bentley, it is fans from Europe who
derive a deeper meaning from their
lyrics: "In Europe, English isn't the
first language, so the fans make
more of an effort to study the lyrics
and come to realize that America
isn't the land of milk and honey.
But all of our fans, whether they come from America, Canada or Europe to see a show, are all like-minded individuals."
Bad Religion will undertake one of the more important tours in the band's long history when it hits 45 cities over the course of the next two
months, on the internationally-renowned Warped Tour. Despite over two decades of touring, Bentley and his band-mates still make adequate
preparations for a live show. This includes sending emails back and forth between each other about what songs they'd like to play.
Bentley admitted that he still gets butterflies before heading onto the stage, "What I get nervous about is accidents happening, such as the
lighting rigs falling over, or if anyone falls off the stage. I get butterflies before I go on because I'm excited, but as soon as that drum roll rises,
it all goes away. It's like a rollercoaster ride: as soon as you get to the top, you just let go."
Bentley also notices differences in the crowd reactions from city to city, which makes each concert performance unique, "There are little
idiosyncrasies you notice in each crowd, such as the different types of moshing that takes place. For example, you can tell the difference
between a California mosh-pit, a Vancouver mosh-pit, or a Texas mosh-pit. It's all about what the people pick up when they go to their
respective cities' clubs, and they end up taking that with them to our shows."
With the imminent release of New Maps of Hell on July 10, and headlining Warped Tour, Bad Religion feels they are the best they've been
in a long while—at least Bentley seems to think so: "I think Brett (Gurewitz)'s and Greg (Graffin)'s writing is phenomenal, and Brooks
(Wackerman) and Brian (Baker) and Hets (Greg Hetson), in the band right, now is amazing. We could never have done some of the things
we're doing now in the '80s. Am I
still enjoying the music life after 2 7
years? I hope so, because if I'm not,
I'm going home."
Bad Religion plays the Vancouver
stop on the Warped Tour July 3 at
UBC's Thunderbird Stadium. VANCOUVER
byTHE pack
Guitarist-singer Becky Black and drummer Maya Miller are a bit of an anomory:
they are a female duo who play gritty blues rock that would blow most guys off the ^™
stage. And they have been taking Vancouver by storm, one gig at a time. Their ^^
debut CD, Tintype, recently hit #1 on the CiTR charts for the entire month of ^^1
April—that means no other CD had more spins on the station in the entire month.
They followed that up with # 1 at Nanaimo's CHLY for the week of May 8, the same ___M
week they began their first tour of Vancouver Island and the Interior.
When you hear their signature blend of smoky vocals, chugging rhythms ■■
and buzzsaw guitar, it's not only hard to believe that they're just a duo, but that ^^
they've only been playing together as a band for only a year. So what's the. secret     ^
of their sudden success? ^^^ il
"I like to think that we play honestly," says Miller, the doubles as the band's     ^^     ^^
self-styled publicist and promoter. "We're not posing as anything, if that makes     &_^\ &m
any sense. We're just playing exactly what we'd want to listen to, and I think     linJ ____
that's kind of relatable for people. We just want to have a good time, and hope
that people do, too." ?*0'^-llp
"There's a couple of other bands that are doing sort of the same thing, the
blues-rock and all," admits Black. "I don't know, maybe we put a new spin on it."
Their 'spin' is a dirty barroom blues, informed by an aesthetic of American
Civil War regalia (Miller is half American and believes some of her relatives
fought in that war), and the turn-of-the-century Old West. It's the kind of stuff
that you would normally hear from the likes of Robert Johnson or Son House—
two of main songwriter Black's musical inspirations. Their spin seems to be
working, too. Based on the strength of a handful of high-profile local gigs, as well
as press and spins of Tintype from such diverse outlets as Nerve Magazine and local
mainstream radio, their sudden exposure has gotten them a wealth of local gigs,
and radio airplay on CBC Radio, CBC Radio 3 and on Seattle mainstream radio.
"It's stressful for me because we don't have a manager or anything yet. So,
it's like every night is computer paperwork and that sort of thing, but it's okay,"
admits Miller. "Whatever. I'm not going to complain about that. I'm pretty happy
how it's going...I certainly wasn't expecting everyone to love (Tintype)."
"It started with CiTR pretty much," says Black. "We gave you guys our little tape."
That tape was a demo for Shindig!, CiTRs annual battle of the bands, held at
the Railway Club. However, their part in last year's competition didn't necessarily
go as planned: "We didn't even make it past the second round," laments Miller.
"Oh, it was pretty stressful. The first show, I think I cried in the bathroom
after," admits Black.
"Yeah, it was really stressful, but it was 'fun' stressful in that twisted,
demented sort of way," agrees Miller. "Lflce really glad that we did it—and it was
great once it was done—it was, like, 'Oh, now we can kind of relax.' But it was a
really good experience, and I tell everybody I know, if they haven't done it, they
should try and enter it because it's the best way to just jump in, because you.
don't have a choice."
Since last year's Shindig!, The Pack has notched a lot more gigs on their
six-shooter belts, including a recent gig in Portland, Oregon: "We had a wicked
show and it looks like we're gonna play a goat roast/fish fry in a house that is
now a bar called Billy Ray's Dive in August. How flippin cool is that?" exclaims
Miller. "Everyone was really nice and accomodating and we got treated like gold...
it looks like until we get our American West Coast tour organized, we're going
to be playing in Portland and Seattle on everyone else's gear and then bringing
them up to Vancouver—sort've a musical cultural exchange. It's pretty great."
The Pack have a corral of local gig on tap this month, playing July 7 at the
Railway, July 14 at Richard's on Richards and July 21 at the Cobalt. Black and
JVIiUer are planning their first Eastern Canadian tour, with their new pate in
Nanaimo band The Paperboxes (who they will play the Cobalt gig with), near
the end of September
Amy Honey is no stranger to veterans of the Vancouver music scene. She
was a founding member of the successful all-girl rock band, Clover Honey, in
the late 90s. Her solo career began with a few gigs at the Sugar Refinery, under
the name Amy's Rock, while-she was still playing with Clover Honey.
"I somehow knew that Clover Honey would be taking a hiatus and wanted
to continue to write and record, so I went for it," Amy says. "Sure enough, both
Anita (Binder) and Lauree (Thomlinson) decided to settle down for a bit and
have babies, and eventually we stopped playing together."
Amy also helped open Red Cat Records almost five years ago, a store
specializing in selling local and rare albums. For a time, it also doubled as a
record label, releasing Amy's first self-titled CD as well as albums from the likes
of The Doers and Tolan McNeil. The independent record store business is not an
easy one, however, and the store had to be sold last year.
. "Both (my partner) Andrew and I felt like we were losing a child. At a time
when we were desperately trying to hang on, the city decided to do a bunch of
construction work right in front of our store, thus essentially giving us the final
nail in our coffin," Amy says. "Thankfully, our right-hand-man, Dave Gowans
(frontman for the Buttless Chaps), stepped up to the 'owning an indie record
store' challenge and along with his partner (and bandmate), Lasse, they have
managed to keep Red Cat going. This makes me happy because I know that it
-will survive, but it also breaks my heart because I feel like I lost part of my life's
purpose when I sold the store."
Quite often, the most beautiful music is written from a place of grief and
sorrow. Amy's latest album, Pioneer Woman, seems to be a perfect example.
"I used to have this big, fat, old cat named Buddy. Everything was going fine
and dandy with me and the store until Buddy got really sick and died in July of
2005. About five days later, my 24-year-old cousin hit a moose on the highway
and was killed instantly. My life suddenly dissolved into shock, darkness and
grief, and I picked up my guitar and wrote "Old Reliable Death," "Hopeless"
and "Woods Hag" all in one afternoon," she recalls. "Looking back on the
writing process for this record, I think I was subconsciously putting myself in
the position of a real pioneer woman; a woman who has lost things that are
close to her, but struggles to survive through the tough times, regardless, never
giving up, no matter how hard it is. After the losses of that summer, I didn't
want to work at the store or even play music, but I forced myself because I think
music is a thing that can heal a broken heart"
Recently back from a music showcase inToronto, Amy is now busy spending
her summer in Victoria working with Self Righteous Records, the independent
music label that put out Pioneer Woman. "Self Righteous Records was founded'
in 2004 by Jesse Ladret and Myke Hall," Amy noted. "When they agreed to
release Pioneer Woman, I assumed they would operate like I had operated
Red Cat Records (the label), but I quickly realized that they had no publicity,
distribution or aclministrative sector in place. So, based on my knowledge of
running a label, I offered to step up and help out in these areas. It's a total DIY
effort, and for the record, if anyone has a box of money that they'd like to give
us, we'd really appreciate it!" www.amyhoney.com g)
Discorder   13   INDIE ROCK
Notorious unities are forged on the sweaty dancefloors of
Paris discotheques, and the musical kinship of Julie Doiron
and Calvin Johnson is no exception.
"We met quite a few years ago when I was on tour with
The Microphones (now Mount Eerie)," said Doiron on the
phone outsideThe Smell, a renovated Los Angeles warehouse
space. She and Johnson were preparing for a show there that
mid-June evening, moving speakers and merch while they
talked. lEll^
Johnson, the former Beat Happening frontman and
founder of K Records, said the Doiron deal was sealed as
they worked together at a Paris music festival in 2005.
"We went to a lesbian disco and danced 'til 4:30 in the
morning," he recalled, "and I'm dancing to Mudhoney at 4
a.m. with Julie Doiron and thinking, 'Hey, life ain't so bad.'"
This year, Doiron and Johnson walked their talk and
embarked on a North American tour together; they decided
to hit a whole June's worth of cities, ranging from Brooklyn
to Saskatoon, as a team.
The diverse geographical range of Doiron and Johnson's
tour mirrors the polarity of their musical roots.
Doiron hails from Sackville, New Brunswick, where
she lives with her husband and three children. She was a
guitarist for the band Eric's Trip in the early '90s, and then
toured with Ottawa's Wooden Stars through to the early
part of the 2000s.
Johnson still lives In Olympia, Washington, and is known
as a vanguard of West Coast indie rock. He founded K
Records—one-time home of Modest Mouse and Built to
Spill—in 1982, at the age of 20. Among others, he has
collaborated with The Microphones, The Gol Team and Dub
Narcotic Sound System* He has also worked extensively in
campus and community radio, beginning in 1977 as an
on-air personality at KAOS (the Olympia campus station at
Evergreen State College, which is credited with discovering
Kurt Cobain). Many consider Johnson to be the 'godfather'
of the independent music movement.
While Johnson was seeding the blossoming hothouse of
influencial indie rock in the Pacific Northwest since the early
'80s, Doiron was gaining prominence as an influential artist
in her native New Brunswick. She has been part of £ growing
East Goast music community through more recent years.
"I think the attitude in the early '90s was really kind of
an exciting time," said Doiron. "The growth of grunge."
"There was a lull in the mid-'90s and early 2000s. People
just stopped going to shows for a while. I don't know why.
But now, I find it's kind of back up to where it was," Doiron
said. "I still haven't gotten as many people at my shows since
Eric's Trip.
"When we started, we'd use cassettes," said Doiron.
"You'd just tour, tour, tour.
"But now, with the Internet and everyone's blogs,
and whatever, that kind of opened (music) up and made
everything a lot easier for people.
"When the Internet started to happen, that's when
people from around the world started to talk to each
other about music."
A veteran of using analog means of production, such
as 8-tracks, for his first projects, Johnson agreed with
Doiron's sentiments about the accessibility of music
since it went online: "People's homemade projects and
tilings—there's more ability for people to find knowledge
if they're interested."
At the same time, Johnson asserts that creative people
will always find ways to express themselves and be heard,
no matter what the state of contemporary media.
"There's always going to be weirdos doing crazy, cool
music. It doesn't matter what. The tools are out there
to access it," he said. "People are just creative and they
want to express themselves. They use whatever tools
are available."
And despite Johnson's prolific work at the forefront of
American alternative music, spanning for three decades,
he knows there is still much to learn, "I just found out
today there's a thing called a Juno, and 0ulie) won one,"
he said. "So it's been very educational."
Education or otherwise, Doiron looks forward to her
kids getting out of school for the summer. It is a personal
highlight coinciding with the conclusion of her tour. "I
get to be home all summer," she said.
Johnson will do a few solo performances in July before
he stops touring, then it's back to his home in Olympia,
If the trajectory of Doiron's and Johnson's careers are
any indication, it looks like indie rock is growing up on
both coasts, j)
they yhoothoryey, don/tthey? the/vanccnM/er nighty dandOwind/
elizabeth the/safety &how burnUde/ new year* resolution/fun/100
three/inehefr of blood/ the/paeh ypeahing^ofde^/ily the/badampy
joeh the/rain/and/the/tideMjallo mr. plow the/wOnhy gar\jgbar\jg^
the^mxyhccwhlodge/ hotlovny organ/trail/ maow my proje^blue/
leah/abra#mcm/ humajrVhOAAte/reel/ the/weather rock/n/ the*jolty
kldythe&e/ dayy the*wdteeny ayU^^Cng^oppo^itey go-ghetto-tiger
clover honey nicely nicely the/ ycreoLmlng/ e&gley bar ah/wheeler
blanch rice/ the/witvxewproteetfayw dtret/lon/ juwtp+dath/
fond/oftigery the/pe^r\guln>y crcwv tne/beluihCy hejira/ panty boy
victoria/, victoria/ the/basementyiveety footer kare/ the/nasty on/
operation/vvvaheotct rowianjce/ boww\jova/ the/ewoky readymade/
tfae/chxyirproAZtice/ in/ media*rey deytroyer wvotxrrama/ the/front
myytery mxxchlne/ th&r.cucLUo: the/baddJbetorefr bra4r\d/new unit
the/parlour ytepy 42 better frienxlytharvlovery motorcycle/wian/
vajfxcowgar the* riff randelly itfya/U^ing^thlng/ cad&OAW/ eUa&
the/organ/ yowyay party! we/yay dJbeA   	
Don't miss out os the fun...
Submission deadline August 6, 2007.
Send 3 original songs to shindig.20076gmail.com
Or, mall CD/cassette/minidisc to:
SHiNDiG' 07, 233-6138 SUB Blvd, Vancouver BC V6T 1Z1
WEBSITE/INFO/SPONSORS: http://shindig.citr.ca
Discorder   17 Q/sasquatchphotos Iff qU
From a musical perspective, there wasn't much to the Blow's set.
Khaela Maricich was rolling solo and was joined by only a set c
pre-recorded backing tracks. A little charisma can go along way,
though, and her storyteller-like set was dripping with it.
Mirah - Saturday at 5:2 5 p.m. on the Yeti Stage
Mirah's performance was a no-frills affair, but what she lacked
in showmanship, she made up for with musicianship. As the
air began to cool, she softly rocked the festival's smallest stage
with songs that were as gentle as they were gorgeous.
Arcade Fire - Saturday at 9:15 p.m. on the Main Stage
The thing that's astounding about this band is they're
actually better in a larger venue. We all know someone who's
quick to remind us they saw the band at Mesa Luna or in a
loft in Montreal, but this kind of thing only counts if you're
in a scenester pissing contest. The Arcade Fire craft anthems:
big music for big places. And when they stormed Sasquatch's
largest stage, they proved that sometimes size does matter.
Patrick Wolf- Sunday at 2:20 p.m. on the Wookie Stage
While Patrick Wolf's Magic Positions was a step up from
his previous work, the record was still too much glam and
not enough substance. In the flesh, however, all its pomp
and swagger was gloriously fitting. Wolf's 'Accident and
Emergency" was one of the single greatest moments of the
entire weekend.
Tokyo Police Club - Sunday at 4:45 p.m.
on the Wookie Stage
These Torontonians sound a little unpolished on record, but
live, all the rough edges are overshadowed by their unbridled
energy. They opened with "Cheer it On," and you could see
the crowd turning from curious onlookers to instant fans. By
the time the group got to "the Nature of the Experiment" a
pie thousand of those new friends were clapping along.
Spoon - 7:45 p.m. on the Main Stage
After Spoon's set was postponed due to the inclement
weather, the band finally hit the stage more than two hours
after they were originally scheduled. However, they \
worth the wait. Singer Britt Daniel kept the banter to a
minimum, and his less-talk, more-rock attitude was coupled
with a set that boasted all killer and no filler.
A ton of other bands haven't been mentioned here. In fact,
if you were there, you're probably asking yourself why there
were no gushing words about (insert your favourite act
here). But that's the thing about a festival of this size: there's
something for everyone and not nearly enough time to see it
all, let alone discuss it.
•    JUNE 14
"Umm, yeah, it stands for Young Americans Challenging
High Technology," said Jona Bechtolt, a.k.a. YACHT, to the
crowd during his self-imposed mid-set question period. A
notable irony, perhaps, considering the nature of his game:
a sometimes remixer, drummer, collaborator, artist and all-
around one-man dance party freakout show, who utilizes
said "high technology" in creatmg/performing.
During his opening set for Architecture in Helsinki, he
was powered by little more than a microphone, a laptop,
sneakers and whatever drives him to invent wickedly
entertaining capitalistrcritiquing commentaries. His
performance consisted of his own organ compositions, mixed
with phat, slightly goofy beats and seemingly improvised
dance routines.
Without trying too hard to maintain his 'cool,' Bechtolt
was undeniably awesome and incredibly inspiring. He
proved his pudding as a real-life DIY extraordinaire, content
with ensuring a good time was had by all without giving
a particular fuck about what his audience or critics may
dish his way. Yet, this overall confidence appeared to come
easily for a guy who displayed all the humility of a stranger
handing out candy to a roomful of sugar-starved children.
In other words, he gave the people what they didn't know
they craved, and did so without unnecessary posturing and
"Do what you love. Love what you do. It's priceless!
It's priceless!" he proclaimed. The majority of his lyrical
endeavours were infused with much the same sentiment:
outwardly self-evident truths deceptive in their simplicity,
yet unpretentious in their contemplative efficiency.
While such an opening act may be tough to follow,
"this thought was quickly eroded by the energy projected
from the growing crowd that gathered for the main event.
Architecture in Helsinki took to the"stage to overwhekning
and pre-emptive acclaim, while I looked downwards from
the balcony and considered the irony if it were to collapse in
the midst of such an episode.
While I'm far from being the biggest ATH fan, in this
particular environment, I'm in the vast minority. Yet, I
remained open as I witnessed the ensuing spectacle, where
people went ape-shit for these guys. The front row was lined
with desperately flirtatious she-fans, armed with batting
eyelashes and skin-bearing tops. Fist-pumping boy-nerds
and dance-ready fun-seeking types were there, too. And all
the while, the drunken dude to my right insisted that I ought
to describe the AIH experience as an event akin to a roller-
derby, to which I totally agreed.
Inducing as much frenzy and sheer, genuine delight
as these guys did is no small feat. Being the comparatively
smallest supporter in the room, I may just be a slow convert.
Erica Holt
+$30RDE {DO {pOLE
I went to see Cansei de Ser Sexy to dance and look
hot while doing so. But I didn't think I'd have such stiff
From Sao Paulo, Brazil, the sextet's name translates as
"tired of being sexy." Their half-Japanese frontwoman goes
by the ejaculation-inducing name of Lovefoxxxand they sing
about sex, music, bitches and alcohol. All this seductively
matched with simplistic disco beats, surf-inspired guitar riffs
and slapdash synths.
Though Brazilian baile-funk opener, Bonde Do Role,
were to open, they were absent and no one came to take their
place, including their supposed replacement, Busdiver. These
no-shows forced the audience to endure a wearing two-hour.
DJ set before CSS finally took the stage. But thankfully, the
Brazilians did a fine job of setting the crowd up for a flirty
dance-punk groovefest on their own.
After throwing handfuls of glitter and blowing bubbles,
Lovefoxxx, clad in a geometrical-print spandex bodysuit,
sprayed potato chips into the delirious crowd. Taunting us
with a smirk, she asked, "You want snack?"
And the crowd ate it up. During "Music Is My Hot Hot
Sex" it was impossible not to dance—so much so, it ignited
a dance battle between Lovefoxxx and myself. But all the
moves I was busting out, she was busting better. Every time
I shot her a stellar hip-swaggering attack, she would come
back by ripping out some antic like running into the crowd
and singing with the mic shoved down her top. Hmmph.
At one point, she even dragged a wasted-looking fan
onstage and toyed with her, like a kitten with a moth. The
fan flopped unfortunately about, draping herself across
unwelcoming band members while Lovefoxxx giggled and
grinded against her. The vocalist then gave 'the look' to
security, and the fan was promptly shoved offstage.
Before long, the encore rolled around. It began with a
forgettable new number and ended with "Let's Make Love
and Listen to Death From Above." But during my last chance
to finally stick it to Lovefoxxx, I realized something: it would
be a total embarrassment to get caught up in this woman's
antics. Watching her as she stood on a stage cluttered
with smashed chips, used Kleenex and discarded Vans, she
reminded me of this gymnastics friend I had in Grade 7, who
was too hyperactive, too sexy and too insecure for her own
Soon after this realization, it was all over. Lovefoxxx
held up her chip-encrusted sock to the crowd and yelled,
"Look at my sock!" Yes, I did crane my neck to see, but only
because I wanted to see her look dirty.
Lena Ross
As trite and cliched as it may sound, writing a review
for Girl Talk's sold-out showjs a pointless undertaking. To
sum up a monumental gig such as this one in a few hundred
words does not do justice to anyone involved—that includes
the performer and the audience. I hate to say it, but you
really had to be there. Anyway, here goes nothing.
Openers Datarock took the stage decked out in
matching red name-check suits to the sounds of the
Flashdance soundtrack, dispelling any doubt of the band's
affinity for the '80s. Getting off to a rather noisy start with
two uncharacteristically guitar-driven songs ("Hie New
Song" and, uh, a new song), the crowd initially seemed a
bit taken aback, yet still ready to accept whatever the campy
Norsemen threw its way. By the time Datarock turned out
"Computer Camp Love," hips started telling the truth, and
the night went uphill from then onward. After the duo left
the stage, the ridiculously packed Richard's was well-primed
for the main event.
If you're not familiar with Girl Talk (a.k.a. Gregg Gillis)
by now, you'll most likely be by the end of the year. While
certainly not at the peak of his popularity yet, throwing
parties every weekend for the past two years has apparently
paid off because he's mastered his near-perfect show.
Seriously, dude knows every trick for getting people sweaty
and keeping them that way.
And, in a way, it doesn't matter what he played.
Hundreds of bits from aU your favourite songs were thrown
together—not bloody 'mashed up,' but symbiotically
working together and apart, under the spell of their master.
The crowd was pretty awesome, too: looking good, sure, but
at the same time not really giving a shit, either But with the
bouncers already familiar with the token stage-rush that
comes with every Girl Talk show, they made sure not to let
anyone have too much fun.
However, it's hard to gauge how much longer these
carefree dance parties will last before the bubble pops. At
this rate, Gillis will be performing in much larger venues to
much larger crowds, thus disconnecting himself from the
audience participation he's become so known for. Before
long, you'll probably see him opening for Gwen Stefani, or
some such person, in some disgustingly huge space. So if you
were at this show, consider yourself one of the lucky ones.
Adam Simpkins
Discorder   19 THE PIPETTES
<J+ smoosH*-/
The Pipettes were a tired-looking trio as they finished up
their North American tour at the Plaza. It was their twelfth
performance in two weeks, and it showed.
The girly mod outfit from the U.K. normally delivers
a brand of '60s-esque pop that relies more on energy
and attitude than it does originality. Each song is loosely
choreographed with enough doo-wops and horizontal slicing-
hand moves to fill an Austin Powers movie twice over.
But unfortunately, the Pipettes' Vancouver performance
lacked the necessary polish to pull off a style of music that
doesn't bring anything new to the table. Doing the mod
thing is fine, but since it's been done so many times, it has to
done well to succeed.
On this particular night, the songs were virtually indistinguishable, as the sound at the Plaza wasn't much better than
at a high school gym. This, along with limp choreography and
lacklustre energy, combined for a boring performance.
The girls didn't seem to take it all that seriously.
Sometimes they'd walk across the stage to say something
to another member mid-song, and when they became
dissatisfied' with the sound guy, they would stop and
give him the evil eye. Considering most of the songs have
synchronized dance moves, such antics were distracting
and came off as amateurish.
This casual attitude might be a strength or a weakness,
depending who you ask. On the one hand, the Pipettes'
live performance has the feel of a trio of fun-loving friends
braving the mic at a wedding, with no estranging star
quality to distance the audience from the band. But on the
• other hand, this show wasn't free, and concert goers should
be able to leave feeling like they saw a performance better
than one which could easily be replicated at a mod-themed
birthday party. ers^.**'
As for the four male backing musicians, known as
the Cassettes, they too seemed to lack a certain polish that
would have improved the performance. Despite wearing
homemade yellow vests embroidered with their initials, the *
occasional baseball hat and an uneven aesthetic made their
image seem half-assed, to say the least.
However, there was a highlight to all this. During the
encore, teenage openers Smoosh joined the Pipettes on
stage. The Smooshers had a gay old time jumping up and
down and belting out the final pair of songs with abandon.
If only the Pipettes had some of that energy and
conviction, this night could have perhaps been a worthwhile
Rob Peters
MAY 24
The sun was just setting behind the trees of Deer Lake
Park as concert goers giggled and shuffled their feet. They
anxiously adjusted positions, waiting with anticipation for
the event ahead. People swatted at bugs attempting to take
refuge in their summer jackets, and those seated on the
grass ambled to their feet to bettertheir view. The stage was
set perfectly at the bottom of the slope, and, as the last of
the instruments were tuned and set into place, Arcade Fire
As soon as the band took their positions, they started
right into their set. The crowd bounced and twisted as it
received each note and verse, absorbing the sound and
sending its energy in return. "We don't want to influence
you or anything," crowed vocalist Win Butler, "but it sure
is nice to know you're appreciated." And with this, the
audience took off into a frenzy of hoots and hollers that
could be heard towns away. Playing through a solid set of
songs, Arcade Fire finally reached "Rebellion (Lies)," where
the emotion and volume of the audience shook the park
with gratitude.
Before returning for an encore, the band brought out a
cardboard cut-out of Butler to centre stage. It matched the
singer's outfit to every detail, except it was without his face.
When the band broke back into song with "My Body Is a
Cage" from their latest album, Neon Bible, Butler stood at the
back of the stage, and as hesang, his face was projected onto
cut-out, making for a rather stunning effect. And things like
this went on throughout the show, like when little, hidden
video cameras filmed each band member, projecting their
images in and out of focus on screens behind them.
When Arcade Fire came to their grand finale, nobody
wanted them to go. If you asked anyone in attendance what
they thought, chances are they'd say this was one of the
most amazing shows they'd ever attended.
Sarah Fischer
MAY 27
Cliches tend to lack conviction. Just'because a phrase
is repeated and sounds dull, it doesn't mean it's false. How
often is the sentiment echoed that listening strictly to a CD
limits perspective on a band? Well, no matter how often
you've heard this, it definitely holds true for the Town Pants.
Without seeing them live, it's impossible to catch the genuine
essence of the band, whose show is an experience that leaves
a lasting impression.
On this night, the Town Pants made their return to the
Blarney Stone where the band was originally incarnated 10
years ago. Throughout the evening there was Celtic dancing,
a jeering chorus of patrons and raised mugs, as band
members repeatedly made toasts. The roof of the Blarney
barely capped the energy and euphoria of the concert goers,
who never slowed down—even after last call.
While watching the Town Pants, one can't help but
appreciate the versatility of its members, as they effortlessly
switched roles and instruments. At times, Aaron Chapman
would take the mic, at others, Duane Keogh would lead.
Dave Keogh was also equally impressive as he alternated
between banjo, guitar, vocals, mandolin and tin whistle.
Joining the band only a year ago, Virginia Schwartz added
another element to the band, as well. She played the fiddle
with so much energy and poise that she made it look easy.
Throughout the night, the Town Pants expressed
their gratitude to their cult-like following here on the West
Coast. The band shared interesting anecdotes, from their
humble beginnings in Vancouver, and of course, to their
first performance at the Blarney. But not only were the
Town Pants celebrating 10 years together, they were also
welcoming the release of a new album. Fans had traveled
abroad from as far as New York to celebrate the special night,
which was actually being recorded live.
Honestly, I had seldom listened to Celtic music before,
and knew fuck-all about Celtic dancing, yet I never felt out
of place. The energy of the band and audience was amazing.
I was even ready to dance and try to pick up a few Celtic
moves in the process. It was a wonderful night all around.
Nick Pannu at torttact ssS s UgHI
All Smiles
10 Readings of a Warning
(Dangerbird Records)
All Smiles is Jim Fairchild's solo project
and Ten Readings of A Warning his first
solo outing since his days in the band
This album was almost entirely created
on an 8-track, recorded for no money in
living rooms up and down the West Coast
and mixed by Brian Deck (Iron and Wine,
Modest Mouse). Surrounding himself
with talented musicians such as Janet Weiss
(Sleater Kinney, Quasi), Joe Plummer
(Modest Mouse, Black Heart Procession),
Danny Seim (Menomena), and Solon
Bixler (Great Northern), Jim Fairchild has
put together a very delicate and inspired
album with airy passages and lighthearted
songwriting. His vocals may not be striking,
but it sounds warm, honest, intimate and
beautifully melancholic sometimes. Can we
call that Lo-Fi Folk Pop kind of music, or a
'70s-feeling melodic pop trip? I don't know,
and personally, I don't really care. Just by
hearing the beautiful "Of Course It's Not Up
To Me" or the perfect orchestration of "Leave
Love" should be enough to convince anyone
to go and get this album.
Simple melody, acoustic guitar, piano
chords and Jim Fairchild's floating vocals
are what this album is about. And if you've
just broke up with your girlfriend, the
melancholia of Ten Readings of a Warning
might certainly be the appropriate summer
soundtrack to think things over, or maybe
just to rub it in. In a nutshell, All Smiles isn't,
going to blow you away, but it can move
you on a certain level, and that's more than
enough to appreciate the album.
Henri Cording
On All This Could Kill You, the husband-
and-wife duo weave a patchwork of various
sounds and styles, play one element off
another and, ultimately, make an elegant
balancing act out of ther debut. Touches of
avant-pop, folk and mid-'90s slowcore all
can be heard, but no one genre dominates;
rather, they all intermingle into a cohesive
whole, which at times can be light, floating
and beautiful, and at others, tough and
With this union of harmony and
disharmony, it should come as little surprise
then that AH This Could Kill You is produced
by Daniel Smith, who's made a career out
of this approach with his own Danielson
projects. His rich, organic production instills
the record with a warm and generally
inviting air, giving equal weight to Ben's
deep Scott Walker-style voice (typically
accompanied by Vesper's harmonies) and
the intricate arrangements that back it. A
few other members of Smith's famile also
join Ben+Vesper, such as the producer's wife
Elin, brother David, and friend Sufjan, who
help contribute to the variety of stringed
instruments, organs, and percussive devices
that fill the album.'
Only for a brief period in the record's
middle section do Ben, Vesper and friends
stumble slightly. A few overly dark numbers,
such as "The Stomach" and "Force Field,"
drag in comparison to the more optimistic,
upbeat ones, like "Rockaway Twp" and
"An Honest Bluff" (a track that sounds
remarkably like American Analog Set
meets Bedhead).
But overall, Ben + Vesper are rarely
thrown, carefully balancing all weights.
and measures into an album well worth
Ben + Vesper
All This Could Kill You
(Sounds Familyre)
Balance is a delicate art: shift a bit
too much in one direction or another and
it's thrown. As a result, striking the so-
called 'perfect balance' is tricky business
and rarely does anyone get it truly right.
However, some individuals come mighty
close—Ben + Vesper being two of them.
Brock Thiessen
The Choir Practice
The Choir Practice
(Dangerbird Records)
There has been a lot of hype
surrounding tile Choir Practice's debut
album. This brought me to believe that a
linear picture was a sarcastic pure white
esthetic from dirty hipster chicks. Well,
I was wrong, unless they hide it really
well. As the first song started with a lame
pop guitar melody, followed by crammed
glittering white Christmas female vocals, I
waited for something interesting to develop,
but after the fifth song, my hopes were
down. It was quite difficult to listen to the
album through to its end. I wondered why
so many reviews underline group leader
Coco Culbertson's (bassist from the Gay)
supposedly original choir idea. Perhaps all
those critics get excited seeing a bunch of
indie pseudo-cool musicians making utterly
uncool music. This so-called innovative
organization seems to be based on image
rather than music. Mint Records definetly
hit a great marketing coup by releasing an
album with some of their best-selling artists
(the Gay and the New Pornographers).
Some people will love this simply because
they really, really want to love it.
Now, I may just be the wrong person
to review this genre of music. Most of the
artists in the Choir Practice are venerable
and talented local musicians. So, I suggest
you don't get influenced by who's in the
group, but rather get this album if you
love thick, soft female vocal arrangements
accompanied by subtle, clean pop music
arrangements. I personally can'thackit, but
still, it's a very talented group of musicians.
The name is appropriate, though; it sounds
just like a choir practice to me.
Maude Lachaine
Sage Francis
Human The Death Dance
Sage Francis is back for his third album,
and this is probably the most difficult of bis
works to get into. This veteran underground
rapper has matured greatly with time, and
this album is probably the most complex
thing he has produced yet. Human the
Death Dance is alienating compared to his
sophomore work, A Healthy Distrust, which
is perhaps his most enjoyable. He has toned
down the humour and the politics to create
something that is a lot more introspectively
personal than that previous endeavour.
This new album is very aware of the
criticism that has been directed at the artist
who has been described as the emo of the rap
world. The-comparison has never seemed
apt, as Francis tends to draw on humour and
anger as much he does on the sorrow of emo.
The comparison is not completely without
merit, though, as some of the tracks on this
album come across as an overly defensive
whine directed at critics who attempt to
pigeonhole ftancis as 'the emo rapper' or
'the white rapper.' Such rhymes tend to
draw attention to these comparisons and
invite the listener to test the validity of the
claims, leading this reviewer to wonder if he
might have done a better job avoiding these
labels by simply ignoring them altogether.
However, it is hard to claim that Human the
Death Dance lacks the quality of his previous
works, as it is merely the content Francis
delivers that has changed. While this album
certainly gives a more in-depth look into
the soul of the rapper, it is harder to identify
with as a Ustener.
Despite the misgivings I have about this
album, it does have a couple stellar tracks
to discover on it, in particular "Got Up This
Morning." a collaboration with Buck 65
and Jolie Holland. Francis has drawn
on a number of friends to make beats on
this record, including the aforementioned
Canadian, Alias, Sixtoo, and Reanhnator,
which at least keeps the beats interesting, if
not the rhymes.
Jordie Sparkle
I A Ghost to
Kill Again
A Ghost to Kill Again
This sounds really good, and it's all
really hard to play, but I wish it had a litte
more energy. When people say shit like,
"Woah, dude, those guys are so good they
could probably rock out in their sleep!" this
is hopefully not what they mean. Don't get
me wrong, it's really technical and good.
The drummer, in particular, kills. However,
it gets boring. My favourite song is the two-
minute instrumental break in the middle.
No other song is less than twice as long as
that though.
Justin Banal
HORSE the band
A Natural Death
Here we have the third full-length release
from HORSE the band, self-proclaimed
pioneers of the "Nintendocore" genre. But
instead of the frenetic video game theme
song covers of The Advantage (the other
main Nintendo-inspired group out there),
HORSE punish us with aggressive metalcore
peppered with bursts of vintage console
sounds. In actual fact, those old-school
touches are only present on a few tracks of
A Natural Death. With the exception of an
attention-grabbing solo on "I Think We Are
Both Suffering From The Same Crushing
Metaphysical Crisis," such sounds are used
rather unspectacularly.
So what does that leave us with? Several
songs are fairly straightforward in their fast,
heavy attack, while elsewhere there are
numerous exploratory moments. It seems
to me like there could have been a lot more
discretion in the track selection: at 16 songs,
forced-artsy moments like "The Beach"
(built around samples of someone crying)
should have been easy cuts, but somehow
they snuck in. The bouncy "Sex Raptor"
incorporates elements of New Order and
The Cure, but is too jarring a departure
from the band's metallic oeuvre. The
horribly cheesy "Kangarooster Meadows" is
just one more track better left unheard.
The album came along with a promo
description, speaking of 'epic soundscapes,'
evoking 'the vastness and emptiness of
the universe.' However, its more inspiring
moments—such as "I Think..." and its
expansive range of sound, or the slow
angst of "New York City"—don't lock into
any meaningful flow or concept. What
HORSE needs here is more focus: either
stick to simpler metalcore and curb the
aspirations to high art, or fully plunge into
experimentalism and leave behind all the
one-dimensional riffs. The sad thing is, even
in taking either of these approaches, what's
left of A Natural Death would be nothing to
get terribly excited about.
Simon Foreman
the booming, minimalist percussion of the
current Top 40 singles he both aspires to
Jonny McGovern
Gays Gone Wild
(Gay/Nerd Music)
Novelty singles get old fast, and the
artists behind them tend to fare similarly.
Chumbawamba have aged like mayonnaise,
Right Said Fred are most likely selling
insurance by now, and last year's semi-
singing sensation Kelly ("Those Shoes are
Mine, Betch!") is about six months from
trading her electroclash revival act in for a
full-time job frying meat at Burger King.
It's a little weird, then, that five years
after New York nightlife impresario Jonny
McGovern (better known as the Gay Pimp
to his fans) blanketed gay bars across North
America with "Soccer Practice"--a single-
entendre-filled musical exploration of the
erotic possibilities inherent in the men's
locker room—he's managed to release Gays
Gone Wild, a follow-up album which is not
only equally raunchy, but also surprisingly
listenable. The album's twelve tracks,
produced by fellow New Yorker, Adam
Joseph ("Flow With My Soul," "Faggoty
Attention"), are a fresh blend of skittering
electronic beats, crunchy synthesized
bass loops, and gospel-influenced backing
vocals. McGovern's sound is much fuller,
more energetic, and more upbeat than
Gays Gone Wild, of course, is not for
everyone. The album, although tongue-in-
cheek, is entirely about gay sex and getting
drunk with go-go boys. Even people who are
okay with queer culture might not be entirely
comfortable listening to songs like "Girl, I
Fucked Yo' Boyfriend" or "Dick Swang Out!"
but for those who enjoy hearing about naked
dudes, Gays Gone Wildis twelve tracks of dirty
gay fun. The album's first single, "Somethin'
for the Fellas (That Like the Fellas)," has been
on the top spot on the Logo Network's Click
List for the past two months straight for a
reason: underneath the sequins and raunch,
Johnny McGovern has the talent to be more
than just a one-hit wonder.
Maxwell Maxwell
Linda McRae
Carve It to the Heart
(Black Hen Music)
When- talking about depression-era-
inspired country, there's usually a few
failsafe terms freely bandied about the
subject: 'lazy midsummer days porch jams,'
'last call saloon music,' 'murder balladry,'
'torch song country,' 'hurtin' music,' and
the like. Thing is, with Linda McRae's third
solo effort, these are more truisms than
With this local roots songstress' nods to
the lineage of Kitty Wells to Loretta Lynn
still as intact and as confident as ever, McRae's
music bridges the gap between such icons in
the genre as Patsy Cline to Oh Susanna
without missing a step or coming off glib.
Meanwhile, McRae's odes to music from
our grandparents' time make modern-day
listeners nostalgic for a time that only ever
really existed in Westerns and Gunslinger
serials. But we don't mind that at all.
However, this album would not be
what it is without the group of local semi-
regulars from McRae's previous two solo
efforts. It features Paul Pigat on upright
bass, Canadian Country Hall of Fame artist
Gary Fjellgard on background vocals and
Stephen Nikleva on guitar and mandolin,
among others. This is yet another McRae
recording that has the easygoing feel of old
musical pals getting together to jam for an
afternoon, tell stories and reminiscence. We
reap the benefits of the seeds of creativity
she and her crew work diligently to sew.
Mike Chilton
its I
Grow Up and Blow Away       Wv^
(Last Gang Records)
Songs about death and grey skies aren't
usually synonymous with Metric or Emily
Haines, but 2001's Grow Up and Blow Away
is exactiy those, things. Ranging from the
summery, echoing tales in "London Halflife"
(included on this re-release), to the almost-
operatic tune "Soft Rock Star," Metric's
long-shelved debut album is a far cry from
the heavy riffe in "Monster Hospital," or the
experimental electro-pop on "Dead Disco"-
-so much so that Haines chose to deny it
even existed, as Metric's sound changed over
the years. But with the international success
of Haines's solo album, Knives Don't Have Your
Back, and new interest from die-hard fans, the
band has been rewarding fans for their newfound intrigue by playing songs from the
album live. Last Gang Records released this
lost album as Metric prepares for the" release
of their fourth album, slated for the fall.
Grow Up and Blow Away starts off with
the bleak title track, featuring only the two
original members, Haines and guitarist
James Shaw (bassist Josh Winstead and
drummer Joules Scott-Key had not yet been
added), allowing the duo to experiment with
electronics without the thumping basslines
and prog-rock drumming they now have.
"On The Sly" is an artsy plea for acceptance,
not dissimilar to the Yeah Yeah Yeah's
signature sound; a cleverly-inserted guitar
solo distances this song from the more 60s-
influenced 'summer of love' feel that other
songs on the album incorporate. "Soft Rock
Star" is sung in a very low key throughout.
While that tune is hummable, perhaps the
song may have worked better with Haines
singing normally. "Raw Sugar" is possibly
the danciest, most vibrant song on the whole
album, with a beginning almost identical to
Dr. Dre's "Still D.R.E." On this track, layers
of Haines's voice and simple piano crash the
song progressively. "London Halflife" talks
about Haines's desire to get over her midlife crisis, and the sombre, almost distant
vocals compliment this song perfectly; it is a
lonesome track full of regret and disdain at
being beaten down by life.
There are a couple of other tracks that
were originally intended to be on the album,
but were withdrawn on the re-release.
"Parkdale," which used plentiful horns
and a Deborah Harry-esque rap in a sea
of mild dub/reggae, perhaps should have
been kept on the album, because it is a far
cry from the tub-thumping electro-thrash
Metric now plays. Despite these exclusions,
it's still obvious why so many of the loyal
fanatics of the band have been lobbying for
the long-awaited re-release of this album.
Sarshar Hosseinnia
indeETt Lou Reed
There's Something We've
Been Meaning To Do
Recording Club)
OK, I'masuckerfor sheik packaging, sol'll
freely admit that, upon seeing the handmade
sleeve for this album, I was predisposed
towards it. However, once I popped it in and
gave it a listen, it did not disappoint. I mean,
come on, who wouldn't be charmed by a
beautiful woman's voice singing, "I met a
man who thought he was a tree / All those
below better watch out for his leaves"?
The whole album has a very dream-like
quality to it. The first track is sparse and
gentle, making the listener a feel they are
being put under a spell or hypnotized. Once
the energy builds up, and the first touches
of drums come in halfway through the
second track, it is with the feeling of laughter
bubbling up to the surface. After this, one
is truly under a spell and the Phonemes are
free to whisk you away to a land of rainbows
and daisies—where time moves at a slower
pace, and images and ideas flitter in and out
of consciousness. The album's gentleness
is interspersed with moments of childlike
energy. Moments of percussion hit all that
much harder since they are so rare. Every lull
seamlessly transitions into a high.
If I have a criticism it may be that, since
the album is so dreamy and hypnotic, some of
it can easily float by unnoticed. I've listened
to it several times and still I find myself hard-
pressed to remember some of the songs in
the middle. However, this is not necessarily
because they are either bad or not noteworthy,
it is simply that while listening to the album,
one feels truly transported and it is easy to get
lost in the spell it creates. If one ever strays too
far, there are plenty of memeorable moments
to shock one back, like the defightfully
unexpected eastern European, Jewish, folky
sounding "Lewis." So, I guess my only real
complaint is that, goddamn it, I just can't
stop singing the mantra-like chorus of "Pain
Perdue." Fuck the Phonemes.
Jack Prus
Hudson River Wind Meditations
(Sounds True)
Considering Lou Reed's most famous
instrumental opus, Metal Machine Music, is
a howling cacophony of wailing feedback
and a possible middle finger to contractual
obligation, then Hudson River Wind
Meditations, his new vocal-less release,
is entirely dissimilar to its predecessor's
construction. As the liner notes state, this
album has been composed to facilitate
meditation, the practice of Tai Chi, and is
meanttobe, "musictoplayinthebackground
of life." It's soft wind-like rhythms or long-
thrumming drones are gentle but insistent.
In the 3 5 years between the reverb-drenched
clamour of the one record, and the gradual
throbbing electronics of the other, there has
been a clear change of mood and intent.
Reed has often been distinguished as
contrary, but Hudson River Wind Meditations
will not shock the listener, nor will it be as
surprising as his Edgar Allan Poe concept
album that came before it. For all the
perversity and myth that surrounds the
unholy noise of Metal Machine Music, it
was nonetheless created as a serious piece
of art (or, as Lester Bangs said, "to be taken
every day like vitamins"). Now, there may
be cynical guffaws^ over aging rock stars
producing indulgent ambient soundtracks
for the pace of their twilight years, but these
new compositions are successful in moving
beyond the more pedestrian constraints of
the oeuvre. Instead of sounding like a soon-
forgotten generator humming in the corner,
where a stereo is situated, the aural textures
of these pieces probe and surround to create
the ideal atmospherics for a journey into
inner spaces.
Hudson River Wind Meditations offers little
for those who wantarepeatofReed'sprevious
art rock incarnations, or another chapter of
his particular brand of street poetry. Two
of the four tracks are around 30 minutes
long, repetitive, and completely different
from the other extended works in his back
catalogue. There is nothing that resembles
"Sister Ray," or even "Street Hassle," but as
a suite of slow electronic pieces, the album
delivers the subtlety and the detail required
for meditation. It also exists as an engaging
background, without the use of a crescendo
of angry guitar feedback.
Christian Martius
Patti Smith
Following Patti Smith's recent induction
into the Rock and Roll Hall of Fame, a
somewhat fusty institution, her album 22 is
arather obvious collection of post-induction,
conservative cover versions. Museum pieces
of Hendrix, The Beatles, The Rolling
Stones and The Doors all appear among a
roll call of other recognizable baby boomer
artists. Apart from Smith's distinct drawl,
there is nothing that differentiates these
songs from the abundance of other bland
cover versions. The band may be replicating
the originals to perfection, but most of the
songs are too well-known to be enjoyed
as a by-the-numbers remake, and there is
little hint of any inherent artistry capable
of transcending the mundane. Smith's
backing is lacklustre and perfunctory, and
mostly offers repetition of overly familiar
material. Such familiarity breeds contempt,
with yet another dull retread of "White
Rabbit" or "Gimme Shelter."
Considering the vitality of Smith's
previous transformations of traditionalrock
songs back in the 1970s (Van Morrison
and The Who), this new compilation is a
big disappointment. It is also an indicator of
how an artist can go from a position of high
regard to self-regard over a period of time.
If the majority of the covers included are
unable to refresh, or even add an interesting
slant to the originals, the purpose of the
enterprise seems superfluous. Overall, 12
exists as an empty vanity project when
compared to the brilliance of her legacy.
Despite the stink of trite complacency,
there are a few scant surprises. The Dylan
number, "Changing of the Guards," is
fairly obscure and there are songs chosen
by Tears for Fears and later-period Paul
Simon. Only on Smith's take of Nirvana's
"Smells like Teen Spirit" does any
invention make itself apparent. Complete
with a middle-eight poetry rendition, and
composed as a bluegrass dueling banjo
song, this version of very familiar material
towers above its more routine neighbours.
It is a shame none of the other 11 tracks
were recorded in the same fashion.
Like the Rock and Roll Hall of Fame
itself, 12 can't help but come off as
self-congratulatory and maybe a little
redundant. The vibrancy of music isn't
meant for the museum, or to be repeated '
with a lack of imagination. For an artist
who used to be consequential, even when
covering other people's songs, this album is
a bit of a blunder.
Wassabi Collective
Stories Not Forgotten
Fresh from a morning high, a cool
breeze in the air helped put my feet back on
the ground. Listening to Wassabi Collective's
new album, Stories Not Forgotten, a mix of
dub, reggae and tranquil soft-rock, only
eased the mood.
The tense moments I felt leading up to
a telephone interview I conducted with
Bad Religion bass player Jay Bentley
were replaced, after the relaxed chat, with
euphoric calm and controlled pleasure, and
if ever there was the perfect album to listen
to when in your own world then Wassabi
Collective's just released third album surely
has to be a top contender. The yet-to-be-
signed five-piece band from Nelson B.C.
serve up a fresh flavour of music to chill
to with their space-like guitar hooks and
percussionist Melissa Meretsky's strangely
rasta-like, jazzy voice.
Perfect reggae for a perfect day is the
best way to describe Wassabi Collective, but
the band also incorporates tribal jazz, folk
music and soul into their sound to create
a positive vibe and progressive energy
that make this album easy to listen to,
and even more fun to groove to. The long
instrumentais in between vocals keep the
interest in songs going, especially with the
breezy "Dune"; Meretsky's soaring vocals
coupled with Brent "Gisto" Hongisto's
Santana-influenced guitar solos bring
a touch of psychedelia to the already
diverse-sounding album. "Belly-Up,"
one long instrumental, is the focal point
of the album; a lengthy wild Western
sound piece, akin to something off Butch
Cassidy and the Sundance Kid, the song fits
in despite the difference in genre from the
rest of the album. Other tunes such as the
transcendental "Forever" and the straight-
up dub reggae "Counterman," with lyrics
about angels, planting seeds and the earth,
cement Wassabi Collective as pioneers of
organic reggae.
At the end of the album there is an
added piece where Meretsky raps over the
band's combined beat-boxing efforts, an
impressive ending to a magically mellow
album. Like the Easy Star All Stars hit
album, Radiodread, or Michael Franti's
Yell Fire, Wassabi Collective's Stories Not
Forgotten is certain to be a major influence
- on the new reggae sound that is taking
Vancouver by storm.
Sarshar Hosseinnia
Who Never Rests
(Tomlab) ^3§teJ
Maybe it's just that the first two tracks
are "^communication" followed by
"Satan backwards," but there's definitely
something very irreverent about Khan's
Who Never Rests. Nothing is sacred and
everything, from goth rock to jazz to funk,
is ripe for Khan's makeovers. The results are
sometimes great, like the awesomely funky
"I Got To," and at other times they are just
plane silly, but always fun.
The picture on the back shows an oddly-
dressed man, with dyed white hair (or is that
a wig?), leading a horse through a field. If
this is Khan, then it would seem like getting
laid is not one of his top priorities. However,
if the album has any common theme, it is
sex. The libido simply drips off the vocals, the
beats scream 'fuck me' and with choruses
like, "I got to /1 got to /1 got to do it to you,"
well, I think you get it. Some of it feels a bit
raunchy, and subtle it ain't, but if you're
looking for the soundtrack to that dirty porn
party you were planning, look no further.
Like I said, the main draw of this album
is its fun factor. Whether Khan is hammering
your ears with musical testosterone,
grooving in smooth, jazzy beats, or simply
taking you back to when Fatboy Slim was
cool (although whether this was an actual
time period is debatable), it's a fun ride. The
album does get a little tedious after a while;
not really one that you could handle on
repeat. However, if you need some energy
for a drunken spring cleaning or want to
throw a little curve ball into a dance party,
Khan's your man.
Jack Prus   Q
Oigportbr  23
J "There may not be
a more perfectly
matched vocal
assemblage in
pop music today."
needed for our 24 Hour
Rape Crisis line and Transition
House for battered women
For an interview, please call
Vancouver Rape Relief & Women's Shelter
www.rapereliefshelter.bc.ca CiTR's charts reflect what has been spun on the air for the previous month. Artistes with stars ^tfiPtlv t hP
alongside their names (*) are from this great land o' ours. Most of these platters can be found at
finer (read: independent) music.stores across Vancouver. If you can't find them there, give our Music QODSSt M11S Ol
Director a shout at 604-822-8733. His name is Luke. If you ask nicely, he'll teU you how to get       . ______
them. To find other great campus/community radio charts check out www.earshot-dnline.com. J U N © Z U U /
Lightning Dust*
Lightning Dust
The Choir Practice*
The Choir Practice
Going Pfaces
The Bloggers*
The Bloggers
Hockey Dad
3 Inches Of Blood*
Fire Up The Blades
Wednesday Night Heroes*
Guilty Pleasures
Frog Eyes*
Tears Of The Valedictorian
The Horrors
Strange House
Stolen Transmission
The Pipettes
Your Kisses Are Wasted On Me
Rick White*
Blue Fog
Mark Sultan*
The Sultanic Verses
In The Red
Lavender Diamond
Imagine Our Love
Tiger Army
Music From Regions Beyone
Amy Honey*
Pioneer Woman
Self Righteous
Pissed Jeans
Hope For Men
Sub Pop
Mary Timony Band
The Shapes We Make
Kill Rock Stars
Black Rebel Motorcycle Club
Baby 81
Patti Smith
Junior Major*
Tic Tac Heart
Alone In A Dark World
The Crabs
Sand And Sea
Between Hemispheres
Strange Attractors Audio House
Yoko Ono
Yes, I'm A Witch
Ugly Beats
Take A Stand With The Ugly Beats
Get Hip
The Veils
Nux Vomica
Rough Trade
Strange Attractors Audio House
Carolyn Mark*
Nothing Is Free
A Grisly Tableau of Carnage
Harsh Noise
Elliott Smith
New Moon
Kill Rock Stars
Patrick Wolf
Magic Position
Low Altitude
Maximo Park
Our Earthly Pleasures
The Clientele
God Save The Clientele
Immaculate Machine*
Bonde Do Role
With Lasers
Boris with Michio Korihara
Drag City
Ulrich Schnauss
Do Make Say Think*
You, You're History In Rust
Matthew Dear
Asa Breed
Ghostly International
Various Artists/Stars*
Do You Trust Your Friends
Arts and Crafts
No Shouts No Calls
Too Pure
Shearing Pinx*
Poison Hands
To Go Home EP
Secret Mommy*
The Neins Circa*
Sleeves and Wigs
Xiu Xiu
Remixed and Covered
The Cinematic Orchestra
Ma Fleur
Ninja Tune
Rufus Wainwright*
Release The Stars
Anti-Social Skate Shop       The Bike Kihhen
Hitz Boutique
Scratch Records ,
ami Gallery                    UBC, AMS, 6138 Student Union
316 W.Cordova
228 Broadway E.
726 Richards St.
2425 Main St.                       Blvd.
604-708-5678                       604-822-BIKE
The Kiss Store
Red Cat Records
Slickity Jim's Chat and
Audiopile                        Bunu's Angels
2512 Watson St.
4307 Main St.
2016 Commercial Dr.                2535 Main St.
2513 Main St.
604-253-7453                       604-874-9773
Lucky's Comics
The Regional Assembly
Beat Street Records          The Eatery
3972 Main St.
of Text
Spartacus Books
439 W.Hastings St.                  3431W. Broadway
3934 Main St.
319 W.Hastings
604-683-3344                       604-738-5298
Magpie Magazine
1319 Commercial Dr.
R/X Comics
Vinyl Records
2418 Main St.
319 Hastings St. West
f    cmnR    1
People's Co-op
ii i         ■
1391 Commercial Dr.
______   -__.____*   J___A_
at   Vancouver's   finest   small   merchants   and
supports CiTR 101.9 FM. Show it when you shop!
Discorder   25 »aJG0,DE
You can listen to CiTR online at www.citr.ca or on the air at 101.9 FM
Sunday             Monday            Tuesday         Wednesday        Thursday             Friday             Saturday
6am il
7am I
8am 1
bbc  $p^f$
.^li^URDAY EDGE    "
1pm 1
2pm |
.*    T&KSJUJSS  '
' ^.W^^S&ts^'^^
"     BSSIiSpBmI
___\ __]___ EVERYYTHING
MY SCIENCE {    ~TJ*m)$&*
NEWS 101
6pm I
7pm §|
l?T^fl      ^^^fi#«SINDA
CT^H            MONDO TRASHO- '•
1am H
2am I
3am 1
4am II
5am |
JC  0
TANA RADIO (World) 9-10am
I Iam-I2pm
Beautiful arresting beats and
voices emanating from all continents, comers, and voids. Sel-
. dom-rattled pocketfuls of roots
and gems, recalling other times,
and other places, to vast crossroads en route to the unknown
and the unclaimable. East Asia.
South Asia. Africa. The Middle
East: Europe. Latin America.
Gypsy. Fusion. Always rhythmic,
always captivating. Always crossing borders. Always transporting.
(Reggae) 12-3pm
Reggae inna all styles and fashion.
(Roots) 3-5pm
Real cowshit-caught-in-yer-boots
(Pop) 5-6pm
British pop music from all decades. International pop (Japanese, French, Swedish, British,
US, etc.), 60s soundtracks and
lounge. Book your jet-set holiday
QUEER FM (Talk) 6-8pm
Dedicated to the gay, lesbian, bisexual, and transexual com-muni-
ties of Vancouver. Lots of human
interest features, background on
current issues, and great music.
Rhythmsindia features a wide
range of music from India, including popular music from the
1930s to the present, classical
music, semi-classical music such
as Ghazals and Bhajans, and also
Qawwalis, pop, and regional language numbers.
9-1 Opm
I Opm-12am
Join us in practicing the ancient
art  of  rising  above   common
thought and ideas as your host
DJ Smiley Mike lays down the latest trance cuts to propel us into
the domain of the mystical.
(Talk)  l2-2am An odyssey into
time and space in audio.
___m____M MONDAY
BROWNS (Eclectic) 8-1 lam
Your    favourite     Brown-sters,
James and Peter, offer a savoury
blend of the familiar and exotic
in a blend of aural delights!
BEARS...(Eclectic) 11-12pm
A mix of indie pop, indie rock,
and pseudo underground hip hop,
with your host, jordie Sparkle.
Hosted by David Barsamian.
Underground pop for the minuses with the occasional interview
with your host, Chris.
dave (Eclectic) 3-4pm
Vegan baking with "rock stars"
like Laura Peek, The Food Jammers, Knock Knock Ginger, The
Superfantastics and more.
(Talk) 4-5pm
A national radio service and part
of an international network of information and action in support
of indigenous peoples' survival
and dignity.We are all volunteers
committed to promoting Native self-determination, culturally, economically, spiritually and
otherwise. The show is self-sufficient, without government or
corporate funding.
(Eclectic) 5-6pm
(Eclectic) 6-7:30pm (art)
KARUSU (World) 7:30-9pm
Vancouver's longest running
primetime Jazz program. Hosted
by the ever-suave Gavin Walker.
Features at 11 pm.
July 2: Tonight we feature the
middle Heath brother: tenor
saxophonist/band leader/composer/arranger on a fine big band
album just re-issued. It's called
Really Big and has an all-star
band, with the-Adderly brothers,
Clark Terry and others. Great
stuff with Jimmy Heath and his
July 9: Trumpeter and band leader
Woody Shaw in an incredible set
recorded at the Village Vanguard,
with his working band. Woody
kept the jazz flame burning during the dark (for pure jazz) ages
in the 70s. Woody belongs to
a great legacy of players, beginning with Miles Davis and Dizzy
Gillespie on down.
July 16: Tonight we pay homage
to the late giant of the tenor
saxophone who was one of the
most influencial players in the last
35 years of jazz history...Michael
Brecker. We'll feature Michael's
last recording, called Pilgrimage
and Gavin's guest will be saxophonist Terry Deane, who was a
good friend of Brecker's.
July 23: Long overdue for re-
release is tonight's feature. This
challenging and deep recording is by the late, innovative
pianist/composer Andrew Hill.
Here with a quartet with tenor
saxophonist Sam Rivers, bassist
Walter Booker and drummer
JC. Moses is an all-Hill program
of his pieces that have, until now,
been unavailable.
July 30: Pianist/composer Thelonious Monk ends the month
with a date recorded at the legendary Blackhawk in San Francisco. Monk's working quartet,
with tenor saxophonist Charlie
Rouse, bassist John Ore and
newly-acquired drummer Billy
Higgins, plus the addition of two
great West Coasters: tenorist
Harold Land and trumpeter Joe
Gordon make this an interesting
date with Mr. Monk, in fine form.
All the best the world of punk
has to offer, in the wee hours of
derivatives with Arthur and the
lovely Andrea Berman.
(Rebroadcast from previous
Wednesday, 5-6:30pm) Currently airing Necessary Voices
lecture series.
(Rock) 9:30-11:30am
Open your ears and prepare for
a shock! A harmless note may
make you a fan! Hear the menacing scourge that is Rock and
Roll!  Deadlier than the most
dangerous criminal!
(Eclectic) 11:30am-lpm
Sample the various flavours of
Italian folk music from north to
south, traditional and modern.
Un programma bilingue che es-
plora il mondo delta musica folk
Syndicated   programming  from
Okanagan's CIRO.
(Replaces Besneric Rhyme)
REEL TO REAL (Talk) 2:30-3pm
Movie reviews and ci
(Talk) 3-3:30pm EN AVANT LA MUSIQUE
(French) 3:30-4:30pm
En Avant La Musique! se   concentre   sur   le   metissage   des
genres musicaux au sein d'une
francophonie ouverte a tous les
courants. This program focuses
on cross-cultural music and its
influence   on   mostly   Francophone musicians.
Join the sports department for
their coverage of theT-Birds.
Up the punx, down the emo!
Keepin' it real since 1989, yo.
8-1 Opm
Salario Minimo, the best rock in
Spanish show in Canada.
I Opm-12am
Trawling the trash heap of over
50 years' worth of rock n' roll
debris. Dig it!
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.
(Electronic) 10-11:30am
With host Robert Robot. One
part   classic   electronics.   One
part    plunderphonicmixnmatch.
Two parts new and experimental techno. One part progressive
hip-hop. Mix and add informative
banter and news for taste. Let
stand. Serve, and enjoy.
ANOIZE (Noise) 11:30am-lpm
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
Independent   news   hosted   by
award-winning   jounalists   Amy
Goodman and Juan Gonzalez.
Primitive, fuzzed-out garage may-
(Pop/Eclectic) 6:30-8pm
First Wednesday of
every month.
Alternates with:
(Eclectic) 6:30-8pm
FOLK OASIS (Roots) 8-1 Opm
Two hours of eclectic roots music. Don't own any Birkenstocks?
Allergic to patchouli? C'mon
in! A kumbaya-free zone since
Developing your relational and
individual sexual health, expressing diversity, celebrating queer-
ness, and encouraging pleasure
at all stages. Sexuality educators
Julia and Alix will quench your
search for responsible, progressive sexuality over your life span!
(Hans Kloss) I lpm-1 am
This is pretty much the best
thing on radio.
___________ THURSDAY
(Eclectic) 8-1 Oam
(Talk) I OH lam
(Eclectic) 11 am-12pm
(Eclectic) 12-lpm
Hosted by Duncan, sponsored
by donuts.
(Eclectic) I-2pm
Punk rock, indie pop, and whatever else I deem worthy. Hosted
by a closet nerd.
(Talk) 2-3pm
(Hip Hop) 3-5pm     . '-;|p|||
Zoom a little zoom on the My
Science Project rocket ship,
piloted by your host, Julia, as
we navigate eccentric, underexposed, always relevant and
plainly cool scientific research,
technology, and poetry (submissions welcome), myscienceproje
Alternates with:
(Rock) 6-7:30pm
Psychadelic, Garage,   Freakbeat
and Progressive music from 1965
to  today:  underground, above
ground and homeground.
(Experimental) 7:30-9pm
Experimental,  radio-art,  sound
collage, field recordings, etc.
Recommended for the insane.
RADIO HELL (Live Music)
9-1 lpm
Live From Thunderbird Radio
Hell showcases local talent...
LIVE! Honestly, don't even ask
about the technical side of this.
I Oam-12pm
Email requests to:
(Hip Hop) l2-2pm
Top notch crate digger DJ Avi
Shack  mixes  underground  hip
hop, old school classics, and original breaks.
(Nardwuar) 3:30-5pm
(Talk) 5-5:30pm
(Eclectic) 5:30-6pm
(Eclectic) 6-7:30pm
Canadian   independent   music,
from any given genre, from all
across our massive and talented
country, with your host, Spike.
David "Love" Jones brings you
the best new and old jazz, soul,
Latin, samba, bossa and African
music from around the world.
SWEET'N' HOT (jazz)
Sweet dance music and hot jazz
from the 1920s, 30s and 40s.
(Soul/R'n'B) 10:30pm-12am
(Eclectic) i2-2am
Beats mixed with audio from old
films and clips from the internet.
10% discount for callers who
are certified insane. Hosted by
Chris D.
Studio guests, new releases, British comedy sketches, folk music
calendar, and ticket giveaways.
12-lpm     ;J|fi||
A fine mix of streetpunk and old
school hardcore backed by band
interviews, guest speakers, and
social commentary.
POWERCHORD (Metal) I-3pm
Vancouver's   only   true   metal
show; local demo tapes, imports,
and other rarities. Gerald Rattle-
head, Geoff the Metal Pimp and
guests do the damage.
CODE BLUE (Roots) 3-5pm
From   backwoods   delta   low-
down slide to urban harp honks,
blues, and blues roots with your
hosts Jim, Andy and Paul.
(World) 5-6pm
The best of music, news, sports,
and commentary from around
the local and international Latin
American communities.
(World) 6-7pm
(Dance/Electronic)      ^^pfS
An exciting chow of Drum n'
Bass with DJs Jimungle & Bias on
the ones and twos, plus guests.
Listen for give-aways every week.
Keep feelin da beatz.
9-1 lpm
(Hip Hop) 11 pm-1 am
PASSING BINARY (Electronica)
2 0 0 7
To describe the CiTR Radio facilities as 'quiet' these days might just
be the understatement of the decade. But now that the National
Campus and Community Radio Conference (NCRQ's hundreds of
delegates, volunteers, and speakers have gone home, we at CiTR
have been kicking back, enjoying a beer from the machine, and
savouring the taste of pulling off another successful event.
The conference is a yearly event put on by the National Campus and
Community Radio Association (NCRA), the umbrella organization
representing campus and community stations like CiTR all across the
country. From lobbying the CRTC, to supporting the development
of emerging stations, to fighting for media democracy, the NCRA
is one of the most important national indie media organizations in
the country. This year's conference put host station CiTR back on
the radar of national campus-community radio.
Just take CKXU delegate Jen Prosser's words for it: "By now this
is a little redundant, but a huge thanks from CKXU in Lethbridge,
Alberta to both the fan-tabulous people at CiTR, as well as all those
who helped, assisted and coordinated. You guys were amazing
and sure know how to throw a great party!"
Radio Canada International Journalist Bethany Or's nod to CiTR
has us feeling more than a little bashful. Said Or, "I was amazed
at stuff I learned in the workshops and people I met, and the
conference went off so seamlessly—how did you do it?"
The answer, of course, lies in CiTR's dedicated staff, volunteers
and sponsors, without whom NCRC 2007 wouldn't have been
possible. The efforts of Luke Meat, Bryce Dunn, and CiTR's
worker-bees, Melanie Coles and Victoria Cruz, all deserve special
praise—not to mention the hard work and vision of CiTR Station
Manager, and former NCRA President, Lydia Masemola. Great
work everyone!
So what's next for the NCRA?
At the closing plenary meeting of NCRC 2007, Windsor/Detroit's
CJAM threw its hat into the ring to host the 2008 conference.
After all, if Vancouver can get the Olympic bid, surely CJAM will
be able to bring radiophiles from across the country to Windsor
next June.
Until then, on behalf of CiTR, it's been a slice!
Alison Benjamin
Conference Coordinator, NCRC 2007 THE SUN SHINES AND SHINES
By and by the French (from
France) often remind us
that the word discotheque is a
lovely French portmanteau
(another word that, come to
think of it, also sounds a IJttfe
French). Both word and idea
(or rattier practice), this influential notion is al
that cool culture is something properly acquired over time
(as with history): listening to records as public recreation
while drinking and whatnot? Yes. a wonderful idea, a grand
invention! ft seems that the spirit of this early 20ft Century
coinage is alive and well in slamming goodtime records like
this full-length debut by Justice (young producers Gaspard
Auge and Xavier de Rosnay), who are friends of Baft Punk
and a member ot the always-recommendable Ed Banger
records, dance-positive corps (more French?). Already illegally downloaded en mass, this one Is certain to be ubiquitous - and quick! Viva the good time!
CD 16.98
Our Black Mountain s
tion is itself quickly
becoming a busy area a
JtflOtoniy contair s mjsic by
Black Mountain of course," ■
but also by the Pink Mountaintops, Jerk with a Bomb,
Sinoia Caves. Ex Dead Teenager, Blood Meridian, the
$9ftfennda 3 soundtrack and now Lighting Dust lighting
Oastc madeupof Amber Webber and JosbWeDs who
together and separately, ha*1 played m one *orm or another
in a stood number* of the aforementioned groups. Now here
on their owti as a duo the; offer a mucft meftowef urate'
staled music than is typical of their mora rocking peers and
.cprripatrldts this difference nicely emphasizes Webber's
beautifully soulful voice and Wells gentle k», board rftmd-
ing The result rs both swectand earthv, with .asoftty sad
pastoral-aura Imagine tha sound of a lens flare ma sunset
photograph, taken from the woods but towards tne beach;
with an endless ot am notr/on beyond In qjhejw'oftfe
* absetwefy idveV" v
Seems like forever smce
ftnttes much much
longet ago tnan only 2004
Now on a major label proper
Interpol has finally returned.
H last overcoming the often
dreided sophomore challenge Thankfully fte refised aea-
thetic that makes their previous work so strong and com
peiltng parhcufaily their imprMwedebH* UuSrwrtte
Bright Ugnts remains at prominently as ever But now in a
post-Arcade Pin world a little more «ir in the m't" is de
rigetir these davs, as well as a somewhat <favereified sonic
palette (not to mention a somewhat ehorohy acoustics) '
Rising thoughtfully and competently to the challenge of this _
transformed pop music scene but m tact not having to
move too far from the same -starting position as the Arcade
Fits any way Our Lave to Admire somehow tot ns down the
coitrast but increases ttv shadows, white stiff finding the
opportunity to kick out a few tightly wound Xigular rockers
As always with Interpol' this is recommended
CB 16.98
Like a beloved old friend
(or three), the Beasties
are always happily
received, back-slaps, hugs,
hand shakes and high-fives all-round. This latest release,
although entirely instrumental, is especially welcome,
particularly now that summer is at last upon us. A set of
cool yet rocking jams, all played by the Beasties themselves and a few of their old pals (hello Money Mark),
Tne Mix-Up is sure to be the sweet soundtrack to your
next patto or backyard party, or even lazy nighttime
drink. Nice. By the way, word has it that a vocal version
of this album, if perhaps somewhat differently composed, is supposedly also forthcoming. But, in the
meantime, if, like us, you are a big fan of the deft instrumental turn on Check Your Head, and we know you are,
then yea,ll also know what kind of guaranteed good time
we're talking about here. However you do it, kick back
with this one!
CD 16.98
Carolyn Mark is goofy.
(•aroiyn Marie is a charismatic tirecracker $rttj a
heart of gold It's no wonder she's a folk festival
favourite our Temble Hostess, M'ss Carolyn Mark battles heartaches and hangovers with a healthy dose of  ' |
humor. Armed with nothing but.her guitar sdme red lip <
stick and her new album nothing is Free her 6th ("•>   j
release with Mint Records Carolyn leaps off of the bacfc"j
porch ano Into our" hearts Sejf-aescnbe& ab her,   ,-,..''
"woodsy introspective" album, it pairs nicely wtth a'      j
cheap oottte of red wine from the exppnsi««» store and,$
teisurety afternoon/      »^   -
CD 12.98
GACD    .
Sp.oon.s lasywo
atbtms Kill the
Moonlight and CSmme
Fiction, demonstrated a
- band (apparently mostly
just the mutntaferrted
Britt Daniel and Jim few hi the stuoio) rapidly maturing
Secure as a great new voice of senous smart indte-
Amencana the excellent fiaSa 6a Gafia Spoons sixth
fuii-iength recording (or so) anoVfortn for Merge recoids
gives further evidence of their steady growth andsophis-
tieatiori Unsurprts.nglv fia Ga Ba Ga 6a songs are um
forrnJy tautand efficient without being burned, explonrtg
new rdeas witnout forgetting the fundamentals nothing
is wasteful of unnecessary and everything ts always
played with feehrtg Listening to it now here while writing
thts ad bhirb 6a6a 6a 8a Ga somehow —-" surprisingly**
perhaps—brings to mind Cambatltock The Cash1
great homage to America, except as ifplaved by a; • "
paired-down Wilco but tf WMeo were sfmurtansoialy the
long-gone but (nopetulty) not forpottep great. San ->   *~
Francisco band SwaH Does thts make sense? Trust us
it's att good.  " ,;■ *'" :0 J
What more heeds to be said? Three Inches of Blood's Fire tip j
the Blades is pure rocking metal, endorsed, no less, by
Judas Priest's Bob Halford (no kidding, check out the band's ;
MySpace page). As they should be, the guitars are defUnd •■ ■
thrashy, the singer (at least one of them) gritty but operatic, the
rhythm section a tight fucking machine, and the band combined
awesome. With clear, heavy production by Slipknot's Joey
Jordison, Fire Up the Blades sounds as good sonically as it does musically, which means pretty
fucking good. Things kick off hard and fast and keep on chugging to the bitter end, leaving nothing but burn marks and debris in the wake. Fire lip the Blades is not just true metal, ifs a call to
Beware, false metal, be-fucking-ware.
CD 16.98
l: ing their legendary Spideriand in its fantastic entirety, but
also even supposedly possibly working on new recordings (gasp!) |
— now is probably a good time fo reexamine The For Carnation,
Brian McMahan's somewhat underappreciated post-Slint project.
Hence, Touch & Go have compiled and reissued the band's first
two EPs, Fight Songs and Marshmallows, as one handy release.
At times featuring John Herndon, Doug McCombs, Andrew Bonnaci, Michael McMahan, John
Weiss and Tim Birth, The For Carnation was nonetheless always a genuine vehicle for
McMahan's idiosyncratically moody atmospherics more than a super-group victory lap although
their "eponymous ?nd ultra-cool final recording is perhaps the band,s definitive statement, this
excellent collection is a definite must-have for any Slint fan.
CD 16.98
Recent much-deserving cover stars of Ihe Georgia Straight, we
hope that thuse rough hard bitting and ropktng, local boys
(and real sweet dudes) makp the big-time pimp to huge reeogn'-
' fieri and huger sound systems Truly their music deserves to be
blasting out of trucks and boogie vans ail over the lower mainland
tha interior, and, Weir indeed ail across Uie land, from small town
to urban o>n1Pr Without recounting the irreproichat%«»lpedH s
gree of the band rooted well and deep in-the Ideal music and sub-" \
cultural scene The Lucky Ones is outnght roifup-yoor-sleeyes populist rock With wide possible
Iw^fc it ts'sourced primarily from the massive tuneful nfte of 70s FM rock radio it is as mocht
"Twfttajras underground nip AHkiiiei riffs, flat-out impressive chops ano a singing drummei
^ti%major label debu is sure to please the working classes proper as mucn as weil-clothed pop-
cuftural epicureans, all of which inexplicably drink Pacific ■PHstier WE are the lucky ones1
CD 16.98
Chemical Brothers-Wg '
mm Night
Art Bruit-It's a Bif "
Complicated "- t ^ r
Hick Drake-Family Tree .
FrWge - The Sen
Jayiib - Champion Sound ,'■
Deluxe Version ;o "
Polyphonic Spree^lhe *
HyanAoams-Easy Tiger
Bad Brains-Build a Nation
Bryan Ferry - Dylanesque
Bad Religion-Hew Maps of
Gogol Bordello- Promised
Happy Mondays "Uncle
fron& Wine - Boy with a Coin
Editors - An End Has a Start
Mick Turner-Blue Trees
,"   . V~~r   '* "wniLjour31,2007
July 1-31
Secret Logic  ■
by Emiliano Sep; vleda .&m *_m
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
Mot ■ "


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