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 Antony Sc the Johnsons Born Heller Canned
Hamm The Frames Montreal Folk
Alliance  Bella  High  Speed  Scene  The
Kills Youthinasia Luke Meat's    Liver
at    SXSW   Hood   Shout   Out   Louds
Dialect Urban Forum Azimyth The
Mars Volta Jonathan Inc* Damon
8C Naomi Bend Sinister    Airborn Audio
Permafrost Records Scary Dolls Hard
Rubber New Music Society The Futureheads
Laurent   Gamier   Kings   of   Convenience DiSCORDER - April 2005
CITIZEN
.COPE
fc
J dj roark
ranno
dltiBattiBr ANOTHER FINE m U SIC p £ O p i £ SPECIAL EVENT
Music of all sorts played fey ali f sorts of peopte f musif.people.ca
A SATURDAY NIGHT
SOUL GARAGE
9:30pm
APR.
2
ND
fl
^^toagaa^ffln^CiTft»1.9fm. April 2005.
BRKt
OUHH
FINE
RECORDINGS
— PLAYED
«f   %
SVfWfilH'
CWtPER   $
o Tim Cooke for ihe-Dead Bugs.
WWttS
11S4 DeRifiQR St.
PifylelSf Denman
upstairs!
EDITRIX
KatSiddle       SK
AD MANAGER
Jason Bennet
PRODUCTION MANAGER
Dory Kornfeld
ART DIRECTOR
Graeme Worthy
TA EDITOR
Vampyra Draculea
RLA EDITOR
Kimberley Day
REVIEWS EDITOR
Mairin Deery
LAYOUT & DESIGN
Graeme Worthy
Jason Bennet
Kimberley Day
Vampyra Draculea
Dory Kornfeld
PRODUCTION
Dory Kornfeld
Graeme Worthy
Kat Siddle
Vampyra Draculea
Jason Bennet
Jakub Svobodq
Jordie Sparkle
ON THE DIAL
Bryce Dunn
CHARTS
Luke Meat
DATEBOOK EDITOR
Kat Siddle
DISTRIBUTION
Lasse Lutick
US DISTRO
Frankie Rumbletone
PUBLISHER
Student Radio Society
of UBC
fO^pnathan lr^^^
p. TO
Luke Meat at SXSW
P. 11
Permafrost Records
p. 12
The Montreal Folk Alliance
p. 17
//Jjlblect Urban Forum
p. 19
REGULARS
Perpetually Imminent Disaster
SwEk
Riff Raff
p.6
Mix Tape
P.7
Strut Fret and Flicker
p.7
Do It Your Own Damn Self
p.8
Textually Active
P.9
Calendar
p, 14-15
Real Live Action
p. 20-21
Under Review
p. 23-24
Charts
p. 25
llgflFinding Joy
p. 25
Program Guide
p. 26-27
sirsewave
A TON  OF  AUTOMATONS    12"
4.26.2005
m0^um4mpuMk
© DiSCORDER 2005 by the Student Radio Society of the University of British Columbia. All rights
reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for
one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover
postage). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES:
Copy deadline for the May issue is April 15,2005, not that any of you wiH care. Ad space is available
until April 27 and can be booked by calling Jason at 604:822.3017 ext. 3. Our rates are available upon
request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings, photographs, and transparencies), or
any other unsolicited material. Material can be submitted on disc or ni type or via email. As always,
English is preferred, but we will accept French. Actually, we won't. Send email to DiSCORDER at
discorder@club.ams.ubc.ca. From UBC to Langley and Squamish to Bellingham, CiTR can be heard
at 101.9 fM as well as through all major cable systems in the Lower Mainland except Shaw in White
Rock. Call the CiTR DJ line at 8222487, 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. DiSCORDER - April 2005
{April si 3jPaja ma-jama-jam M &/£f
April 20:: Sex in the Gity/JYMa Party^-^
^^m^^wJ^(Gellar*.Wrestling Federation
presents Oatmeal Wrestling^
jHpstedb^^
DJ Joseph Michael
IgfSoln^l
The Best in British Music performed LIVE!
April 21:: Giving away tickets to Killers
April 2&~z0fying away tickets to U2
1006 Giftiville at Nelson :: 604-605-4350 :: wWw.cellarvan.com
"We wrote the book on partying!"
www.granviflivan.com imuftCiTR
BfflSBaraCV10J.9FM
present
Apr!
Sat. Apr 9th
IgMII
$10
GIRL NOBODY
Video Release Party
with Bontempi
Fri, Apr 22nd
89ffe
S1S
The RUMOURS
MO NGO O S E
A Thousand Year Plan
A Textbook Tragedy
$11
Sat, Apr 23rd
PANURGE
BENEATH AUGUSTA
oceanic
love and mathematics
friday, April 29m
Sun, May ♦Up
A NORTHERN CHORUS
Jonathan inc.
mohawk lodge
9PIK / $10
I
sekoya
and HI Trek-e
8pm / $12 cover at the door
$10 advance tickets available at:
Zulu, Scratch and Highlife Records &
online at imuproductions.com/tickets
,i tn bhe media club
|t       MUSI    C LOUNGE
695 CAMBIE ST.    604-608-2871   www.themediaclub.ca
independent musicians unite
.  •. .-• - o   im y pro deletions «c o m
'mdirWt^t
TfsaHRSN'SIAULT
'jf ^RBfcpuWng a Fffier Bunny. Or 1 would be, if I
could draw right now. Twenty-three straight hours
of typing hoxfrwom-my hands to blood and gristle.
I'm shakfeg like a^citten. Those of you who are
familiar Jhonerjprasquez comix get the reference
and..know wrak i mean: It's starting to get light
IfigwWIthe issue's going to the printer's in three
hours, and Dory the despotic Production Manager
-.has toldrfte that if I don't write my editorial in the
next fifteen' n&io||s she's going to fire me and
«4p»(sHhe M.I.A. from my computer.
Jl '•-ToK5ns glaring at me now, as I pause over the
keyboard, which leads me to wonder, how many
words am I at? 181. Crap. This means another
question: just what in the hell is wrong with me?
Staring into the weak grey light of dawn, I get it.
Suddenly, I realize, I know what my problem is. It's
sin.
Look at this magazine. It's rife with sin. There's
the typos, the snobbery, the caffeine abuse, the
messy office. The never-writing-editorials until
6AM. And then there's the real stuff, the smoking
pavement on that broad road to damnation. The
April DiSCORDER burns with all seven of the mighty
transgressions:
1) PRIDE: I'm swelling like I'm in anaphylactic
shock just thinking about our lovely art direction this
month. And I'm not even the Art Director. Those
bees. The calendar. It's so brilliant, it bums. With the
eternal flames of hellflre.
2) ENVY: The entire industry music journalism
is based on it. Do you think that if I could play a
freakin' instryrhe^t Cd be sitting here bleeding from
the wrists all over my keyboard? Heck no! Use Steve
Hiremelfqrfe says in our label profile of Permafrost
Records, "I'm not an artist, though I wish I was,
jand 1 don't^yffi a band, because I suck." And
on another wolffeWat do ydM think we published
Luke Meat's journal of the SXSW music conference,
*where%e wandered around seeing awesome new
band after awesome new band in a half-drunk
haze? So you rajKbuld feet stinging sin of envy.
3)| thinkChris-A-Rtfflc, who wrote this month's
interview witSr Jonathan pf Jonathan Inc., and I
take care of SLOTfcUaretty welt between the two of
us. For example, his trttervieWis six months lam^d
I'm slothfufly reverting to lists to make my editorial
appear longer than it really is! Again!
4-5) What's the difference between GREED
and GLUTTONY anyways? Either way, I'm sure Luke
Meat and Val Cormier covered them both with
their gorging at the troughs of music that were
SXSW and the Montreal Folk Alliance.
6) As for ANGER ... well, I'm sure irate heads
wiH sympathize with the frustrated local hip hop
promoters in Zach Goelman's article on the Dialect
Urban Forum. Or maybe I'll provoke some God-
displeasing rage by forgetting someone's byline. Or
by using the phrase "God-displeasing rage."
7) And if it's LUST you're looking for, flip back to
Under Review, where you'll catch Robert Ferdman
simmering with shameful desire in his review of the
new Kills album. Hey, who can blame them, man?
Jesus. That's who. ^^
I'll see you in hell, kids.    ~*^|£k
^ Kat g>
«*^« J£ i'^^^^^'tifC'^CM^^ pulling this column
i3J|pQrlfa$ci f% eleventh hour, I realized toaJetRr**
**Ttet I had absolutely NOTHING to write about as far as
^^^cfcSrial, s»just this once, I'm gonna up the ante,,
areSE^w l^rSHOCK! HORROR! DIAPERS' CJfef scy
&|||^^f y^ijpl pooped your pants v^^sc^Hement,
here l%> wittfeny two bits.*0,
k^^^SSwk if y^Ljtoftf*ttr frie average teenager of
Jllisy, qjid youa|| them what it is about rock and roff%
|,;fe^& that they like^f>f rst thing they say is the beat,
: the beat, the beat. So along comes The Ugly Beats-to
satisfy the young heathens and their insatiable desire
for dancing and drinking and all things immoral.
Bring On The Beats! is indeed what this Texas quintet
do on their debut long-player and all be damned if
it don't make my feet shimmy and shake like a man
possessed. This is garage rock that puts the oomphasis
on melody and good songwriting. The drums are
nice and crisp and fhe guitars gutsy—two things
that immediately grabbed me; my only beef is the
kepsoards could have bee^S bit more prominent,
%)Mj|iVe. Nice versions of The Easybeats (iiear 'em
^iHhethigh note|^K,apftTb1)jand The Outsiders
allies, alor|| witf^S^te fuzzed-out fave "Girl On The
Braii^' and^^^S^^sv^^p Close My Eyes". For
th^g whjgSA^Rgp i^iwftffml. ■ {Get .
!fqHrcord%^w^.ge1n^.bbm). mk
JConfrwv fcteSseir album's t'rlJe, The Turpentine
Brothers actually do care about your good times, at
pEbstmirJe anyway, when I recently caught fhem live
in the ptetuf^qd<§ town bf Stafd&obd, Washington (I
know, WTF?J. Trust me, they delivered a set of moody
rhythm and blues rockers that had everyone's
jaws hit the floor in eerie unison and on record the
interplay between guitar, drum and keys is spot on
and reminds me of The Compulsive Gamblers at
their darkest or The Deadly Snakes without the horns.
If those comparisons mean nothing to you, then
brother, you don't listen to enough rock and roll. Do
yourself a favour and get this record. Did I mention
mUgLY BERTS! BRING
OUT*
BERTS'
that Tara from Mr. Airplane Man is in this band? If you
saw their performance at The Brickyard last year (I
know, WTF?) then rest assured her trademark shuffle
and pound is well displayed and worth the price of
admission alone. Speaking of shuffle and pound,
two words that I'll try not to use any further but best
describe the playing style of my man BBQ. Combining
the dexterity of such legendary one man "bands" like
Hasil Adkins and Bob Log ill, but with the honey-laced
vocal treatment of a Buddy Holly or a Big Bopper, you
get a finely crafted album of blues-tinged rock and
roll with trace elements of country (not the JR kind,
thank God) that shows this cat has nine lives and
then some. Some may remember a little band called
The SpaceshHs, who then morphed into a little band
called Les Sexareenos. Yes? No? Come on now, you' re
letting me down here. The brains behind those outfits
is now the muscle behind BBQ and the twelve songs
(including a rootsy shuffle take on The Rolling Stones
"Out Of Time") make you not want to Tie Your Noose,
but tie one on in the back yard among friends who
want to "Shake Real Low" and bust out the "Record
Machine" with the sounds of old time rock and roll
blasting from the tinny speakers. Both this and the TB's
LP's can be found on Bomp Records, (bomprecords.
com), so strike while the iron is hot, why dontcha?
We return to our regularly scheduled column
next month-cross your fingers and eyes, kids.^^
E0DDOI)0O,SGC^
APRIL 6
VAN COURTLAND RANGERS
The PARALLELS
(Amped Up Hoodwinks)
The JOLTS
APRIL 13
TRANSMITORS
The LANCASTERS
ABBOTT STREET RACKET
{ex-Flashing Lights & Machlll)
APRIL20
The FLAIRS
JEN MOLD SCREW
ANDRECHRYS
APRIL 27
HEJIRA
The FEMINISTS
SANNE'LAMBERT TRIO
FREQUENCY FALL
arm WEDNESDAY   '
at The RAILWAY!
WAY OUT WEDNESDAYS
at the Railway Club • 9pm - midnite
APRIL "i*
NtmSFRQl
-HHk
MIMStlERS:-
W. MEDIA CLUB
APRIL28
RELEASE
PARTY!
FRIDAY.
Can't get enough   tK,
of the S
New Wave Invasion I
led by I
The Killers I
and I
Franz Ferdinand? I
I    KAISER
| .CHIEFS
Check out
the
new discs
from
THE BRAVERY
and
KAISER CHIEFS.
THE BRAVERY-THE BRAVERY (NEWCD IN STORES MARCH 29)
"CALL IT ROCK WITH A NEW WAVE EDGE OR NEW WAVE WITH A ROCK EDGE, THE BRAEKYS
MUSIC IS DARKLY DANCEABLE AND EMINENTLY CATCHY" ~ ROLLING STONE
KAISER CHIEFS- EMPLOYMENT (NEW CD IN STORES APRIL 5)
inspired by that moment sometime in the late 70s when punk gave birth to new
wave (and looked back to the heyday of '60s mod for inspiration), the kaiser
Chiefs release their debut recording. Employment, featuring the infectious hit"!
predictARiot" (www.kaiserchiefs.net)
The first two people to email
discorder@club.ams.ubc.ca with
"I Can't Get Enough of the New
Wave Invasion" in the subject line
win copies of these fine albums! ?§3
SWSi
u
m§W: ciret
tififW
iji
W—-T vO^L^ ■'r--™-1
Hard Rubber New Music Society
Enter/Exit
Wednesday 2 March
Vancouver East Cultural Centre
Ihe Hard Rubber people are a fairly whacked out lot,
so they'd have probably given us a sonic shakedown
even if they hadn't won this year's Alcan Performing
Arts Award for Music/Opera. What the hefty cash
prize allowed them to do, however, was throw a
party, deck the whole house, hire dancing girls and
give a performance that bled way beyond both
ends of the time we spent in the concert hall. Even
the pathway to the venue's door was illuminated
by ghostly images from hanging video screens.
Inside, the decor theme continued (courtesy of DJ
HoneyBee), casting its light on the crowds of mildly
giddy patrons. The complimentary wine may have
been a contributing factor, but something else was
goosing the atmosphere as well, because from the
moment I entered, it seemed like I was walking on a
slant. I ran into my dentist, my date ran into his piano-
teacher, and we both ended up singing "Happy
Birthday" to a woman we'd never met before.
Once inside the packed theatre, we felt cozy
and pleasantly trapped as the 11 piece band came
at us from down on the floor. A pretty, melodic
overture abruptly gave way to driving, horn-shot jazz
which was run over in turn by crazy, rattling percussion.
From that moment on, a pressure began building
by Penelope Mulligan
and it never let up, despite the sonic shifts provided
by the varied, compositions of Giorgio Manganensi,
Brad Turner, and Artistic Director John "Korsrud. Even
James Proudfoot's lighting design kept things taut,
with blackouts in which darkness decended from
fhe rafters like a sheet. I stopped expecting any kind
of arc to the piece as a whole and just enjoyed the
tension.
Korsrud dragged in some vibrant vSua1%rtists '
whose contributions were projected above the
playing area. Jamie griffiths' EEG-like patterns
responded to every note of Peggy Lee's gorgeous
cello improv; Rena del Pieve Gobbi's silvery
projections of cut fruit were like a score played by the
musicians; and Brian Johnson's video footage turned
dancers into amoebas.
The live dancers—Amber Funk Barton, Lina
Fitzner, Katy Harris-McLeod and Jennifer McLeish-
Lewis—would slink onstage every few numbers
like flappers coming out to play. Martha Carter's
choreography featured her signature ripples and
Egyyptian-frieze voguing, but also included some
passages of Charleston-gone-made twitching that
were the embodiment of jazz.
After the show, the audience hung around in
the lobby for what felt like hours—being silly, getting a
bit sozzled and generally behaving like party guests.
In the end, maybe that's what Enter/Exit meant: no
event is over until everyone has left the building.
THE PLUGHOLE
Choreographer and dancer Cori Caulfield has a mind as wickedly articulate as her body. However
much she might hypnotize you with movement, she's an ideas woman and her dance pieces often
play with that duality. The last time I saw her perform solo, she was in a metallic evening dress and drag
queen platform sandals, sinuously popping and locking to a spoken word track which was, incidentally,
an anti-globalization rant. An earlier piece called "Party Girl" is an unforgettable physical pbrtayal of
emotional collapse. Get ready for warped brilliance when the local artist premieres her first fuU-length
solo work, Foxymoronic. at the Firehall Arts Centre from April 6-10. Performances are at 8 pm Wednesday
to Saturday and.2 pm Sunday. Tickets and info from 604-689-0926 or www.firehallartscentre.ca
For two-dimensional nourishment, we have the cinema and this month, the Pacific Cinematheque
is showing two very different accounts of tortured artisthood. The first, by local filmmaker David Vaisbord,
documents the fall and rise of Canada's most famous art brat. Born and raised in Alberta and nurtured
in Vancouver at Emily Carr Institute of Art and Design, Attila Richard Lukacs became known for his
life-size, homeoerotic depictions of neo-Nazi youth in all its skinheaded, jackbooted glory. By 1986, he
had (appropriately enough) relocated to Berlin. While Vaisbord's film includes some choice archival
footage—from 1985's career-boosting group exhibition "Young Romantics" to 2003's reunion Basement
Show—its real focus is on the most difficult and painful period of Lukacs' career: his failure to conquer
the New York art scene and his recovery from the resulting tailspin. That it's not the film Vaisbord thought
he'd be making when he first met the painter in 1999 is what makes Drawing Out the Demons: A film
About the Artist Attila Richard Lukacs both enlightening and frustrating. Expecting to shoot the closing
up of Lukacs'" Manhattan studio in 2001, for instance, the filmmaker ends up being drafted into helping
with the move. As a result, his written synopsis and director's notes are actually way more harrowing
than what we see onscreen. And why New York didn't embrace such a provocative artist is a potentially
fascinating question that the documentary doesn't fully explore (although we do get a show-stopper
from Village Voice editor Richard Goldstein: "New York doesn't care if you've been a success anywhere
else. It wants to have discovered you.") The film's most unsettling revelation is also its most mundane.
Extensive interviews with Lukacs' parents make it clear that Mommy's emotional coddling and Daddy's
money have been behind him all along-right up to and including a recent crystal meth detox and
artistic rebirth on Maui. While this does nothing to diminish the art, it does induce an unfortunate shrug of
dismissal for the artist. Drawing Out the Demons screens April 15 and 16.
Unlike Vaisbord, British director Peter. Watkins wouldn't have been hampered by his subject
in Edvard Munch, because the titular Norwegian Expressionist died in 1944. The 1976 film is based on
Munch's own diaries and dramatically recreates the artist's life at the beginning of 20th century Oslo.
Munch's traumas were early—and therefore, very formative. So for an idea of what might lie behind
that Scream, catch the newly restored print of Edvard Munch running April 22-25. Call 604-688-3456 or hit
www. cinematheque.bc.ca for times.
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WHO IN THE HELLA ARE BELLA? Is what I was
asking myself after I heard the '80s flavored pop of
their debut album. Pretty Mess.
Since they're local kids, we arranged an
interview to soothe our burning curiosity. The Art
Director and myself arrived at the Railway Club
slightly weighted by the gravity of our commitment
to journalistic excellence, but eager and glowing
nonetheless. Bella's charm soon overwhelmed our
best intentions, however, and the whole thing turned
into a big ol' drunkfest. Pitcher after pitcher assailed
our table as the band celebrated their album release
with an unquenchable thirst more suited to purveyors
of thrash metal than dreamy pop! Needless to say,
my brain was in a pretty mess indeed.
The only things I can tell you for sure are:
1) Bella are Matt Hutchings, Cameron Fraser, Charla
Benet, and Tiffany Garrett. The boys are roommates
and so are the girls.
2) They are a NOT responsible for the graffiti on that
wall near Richards' on Richards that reads "Bella
- Pretty Mess", despite what what you may think.
3) They have gotten in trouble for people writing
"Bella" on the bathroom walls at the Commodore!
Friends'and fans, save your scrawl!
4) Oh yeah, they made us this mixtape. Actually,
they didn't "make it" so much as slur the trackfct
onto my answering machine a feww hours after the
"interview."
5) They're playing an all-ages gig at Seylynn Hall in
North Van on April 30, with Raking Bombs, the Winks,
Immaculate Machine, and the Red Scare.
KatSiddle
£ DiSCORDER - April 2005
(VA
lit iiXlLP M&&
you mi Need:
Fabric,    non    stretch    medium
Pennies, 12-20 rolls or about one
weight in any colour that suits
full spaghetti sauce jar
you.   Choose   wisely,   though.
Sewing machine, preferably with
as light fabrics may show dirty
buttonhole setting or buttonholer
fingerprints or penny dust and
(probably   available   in   some
with thin fabrics, the pennies will
sewing stores but they are getting
show through.
rare. Try your local thrift store; 1
Needles, thread pins etc.
saw one the other day for $2.99.)
Scissors
Embroidery hoop (perhaps)
Stuffing (Polyfill, cut up nylons or
Any embellishments you desire.
shredded rags)
feathers, ribbon, sequins, etc.
1
I
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t-k
I-.
CUTirZ
*«*•
CVTH
si
9
We presert^pS'project, designed by Gaile Addison, to introduce the
upcoming Seamripper's DotFShow. The wine and cheese is Saturday
^piil 2nd from 7-TT^rn ana will not be followed by a dance party; the
dance party will happen on the closing date, April 23rd.
The penny doll is a simple sewing project that forces you to learn
to make a button hole. It is also functional, as it puts that cache of _
forgotten pennies to work as a kind of macabre piggy bank where you
can pluck the pennies from the eyes though the buttonholes. Gaile is
secretly grim, very grim actually.
1. If you are going to use a sewing macnine to make the eyeholes,
use the pattern provided to cut out two of
each of the head and body shapes. If you
are going to make the eyeholes by hand,
don't cut yet.
2. Take one of the head pieces and
mark where the eyeholes should be, about
% inch long. You have several options for
making the buttonholes. The most obvious
is to use the buttonhole setting on your
sewing machine, I suggest practicing on a
scrap of your fabric if you've never used it
before. The setting looks like a rectangular
3p|jtO box and should be on the stitch width
lever/dial as well as the needle position lever/dial.
On this dial you will see three versions of the buttonhole box. These will be
labeled 1,2,3,4, and will indicate the different sides of your buttonhole.
Start on number 1 and sew along the lines marked on the face of your
doll. Always lift your needle between position changes. Switch the dial to
2 and sew about four to five stitches. Lift your needle, turn to 3 and sew.
This will take you forwards on a line parallel to the first line you sewed.
End your hole with the 4th setting, passing the needle though the fabric
four to five times. Insert your seam-ripper inside your buttonhole to open
it up and then cut the slit with sharp scissors to make your buttonhole. It's
easy, just practice. Now make another one along the other marking. If
you don't have a buttonhole setting on your machine, you can fake it
with a tight zigzag stitch.
If you want to, you can make the buttonhole eyes by hand. If you
are going to do it this way, don't cut out the doll's head out until after
this step. Instead, draw the outline of the head on your fabric and put
in an embroidery hoop, then sew tight stitches around the eyes and slit
the insides.
3. Now that you have the penny extracting eyes you can assemble
the rest of the doll. Embellish at will, we opted for the plain white bald
variety with an expressionless face. Cut four of each of the arms and
legs by placing the pattern on a fold and cutting 2.at a time. Put them
front-to-front and sew along the edges and then turn them inside out.
Stuff with stuffing (cut up nylons make good filler too) making sure to
leave a seam allowance for attaching the limbs to the body.
4. When assembling the body, pin the two body pieces together
front-to-front with arms and legs in the appropriate places; they have to
be on the inside of the body when you do this. Sew the body together
leaving a gap at the top wide enough for the neck to be attached.
5. Sew the head pieces together, minus the neckline, (for hair, sew
some yarn into the seam around the head) and attach the front of the
neck to the front of the body. Fill with pennies from behind the neck and
stitch up by hand.
6. To make this doll creepier, you can sew the neck all the way and
make an incision in the chest and fill the pennies from there. After you
by Georgie Russel, and Gaile Addison of
the Seam Rippers Craft Collective
sew the chest up your doll has an embalmed quality to it. Also, you can
sew the arms together across the chest for a lying down doll.
Your doll is complete. You can now use it as a paperweight,
doorstop, or blunt instrument. You can extract the pennies from the eyes
to top up your bus fare or to put over the eyes of a dearly departed for
their passage across the river Styx.,
The Seamripper's doll show will feature amazing local creations as well as
submissions from across Canada, if you cannof make it to the April 2nd
opening then please visit us during our open hours. We are also hosting
a line party/fundraiser on April 30th for the visiting Bookmobile. Check
them out at www.mobiHvre.org.
Check out our website for new open hours and events, membership info
and our next workshop schedule, www.seamripper.ca    AWk*8k
r APRIL 1
DFA 1979 after-party wtth
RAKING BOMBS / PRIMES / BAKELITE
/ THE PARALLELS +.01JESUA
r APRIL 8
1   LOS FURIOS / BEL RIOSE / CORSAIR /
FUN 100 + DJ JOHN COUGAR 40
YWkCZWt
The Fabulous Moolah
Lillian Ellison wtth Larry Piatt
Regan Books
I'm not a wrestling fan. I don't know who wre^^^^e, as a rule,
or read ghostwritttj) World Wrestling Federation: sp^^^^jrciphies. But
j fllSiiteaw fhe leoAghprint cover of The Fabulous Moc%M\i the library,
I figured, what tr$jlpRja&i
The only other time^yd seeR^golah, aka Lillian Ellison, was in the
. l?^ffl|^|^^K^'a^le' w'iere s^Jillpfrer occasional rassJin' partner
: Mae Young were t©^H^^»*rif^^^««y of sequins, fists, and wrinkly
I slefi. She was old enough to be my grandma, tough enough to kick my
ass, and made up like a drag queen. It stuck in my mind.
Born in rural South Carolina in 1926, Ellison was a scrappy kid who
dreamed of being Amelia Earhart. At least, until she was ten, when her
wrestling fanatic father brought her to see Mildred Burke dukin' it out
in the local ring. Dead set on becoming the next women's champion,
Ellison started wrestling as a teenager. This was long before professional
wrestling became the deeply strange spectator sport-opera it is today.
Ellison worked regional circuits across the US, making $50 a week while
learning to wrestle in the ring. She made a name for herself as "Slave
Girl Moolah," a scantily-clad valet for various male wrestlers, before
emerging as "The Fabulous Moolah." A steadily rising wrestling star,
she kept company with all sort of characters including Jerry Lee Lewis,
Hank Williams Sr. and a young EJvis Presley. She won the World Wrestling
Entertainment Unidisputed Women's Championship Belt in J956, and
kept it for 28 years before losing it in 1984. In 1999, when she was 77,
she won the belt back again. Hey, I don't care how fake people say
professional wrestling is. I'm afraid that a small argument might fell my
80 year-old grandma, to say nothing of a fight with Ivory. These days,
the Fab One lives on Moolah Drive in Columbia, South Carolina, with a
couple of her best female wresting friends. I picture it like Golden Girls,
but with more midgets.
Now th^ff.pve made The Fabulous Moolah sound all interesting, let me
warn you: it's not very good. If s all bluster and surface and attitude, which
is exactly what I'd expect from a skimpy, WWF-sanctioned autobiography.
Moolah's Rf^$S&y, and the history of women's entertainment wrestling, -
are so interesting that t want Ofiubstantial, insightful account of them,
k0* ''^^C^ffi^^y'unreasonable demanding it from this source.
Hopefully fhe^^^nif^Mpstick & Dynamite: The First Ladies of Wrestling.
a documen^fffe^tfrected by Ruth Leitman, will have a bit more flying
dropkick to ^ '
*Ajy|^cte     p r^« lilllll
Ballet-Fit Workout: Develop Strength, Control, Flexibility & Grace
Paula Baird-Colt, Megan Connelly and David McAllister
Ulysses Press/Raincoast Books
Just in time to help me stretch out the kinks in my poor screwed-up
spine, this book fell into my not-so-graceful paws. I think everyone would
love to have the grace and lithe stance of a dancer, and the further
away some of us are, the more we try, so I gave it a go.
■ Ballet-Fit Workout is more a series of calisthenics and yoga/pilates
type moves with a lot of stretches at the end than a workout per se (at
least if you're stuck in the only cardio and weights rut). Don't expect to
be learning ballet so much as the specific exercises used in ballet. You
don't necessarily feel you're doing anything when you go through the
program, yet after a few weeks, the results creep up on you. My flexibility
is rapidly coming back, my strength is increasing, and as for the grace,
well, maybe some day it'll come too.
For me, the most beneficial segment of the book was the stretching
section, which had lots of stretches for hard to release muscles, like the
iliopsoas and biceps. There were also a few for more common tension
areas like the low back, but even these were mostly new stretches I
hadn't heard of before, and all helped.
All in all, Ballet-Fit Workout has proven itself to be a great adjunct
to the Pilates, yoga, and dance I already do. Almost makes me want to
take it further and make a fool of myself in a tutu in the nearest ballet
class I can find. Almost.
Drake
The Art of Modern Rock
Paul Grushkin and Dennis King
Chronicle Books/Raincoast Books
My first thought upon opening this gem was a
particularly eloquent "Holy crap!" as my eyes bugged
out at the art. It recurred after pretty much every page
turn, and then again when I started to actually read
and not just look at the art.
All aspects of the wonderful art of rock poster
ads are covered here: production techniques from
silkscreening to Photoshop, interviews with the artists,
legality issues involving limited run sales and run-ins with
the merch companies, even inspiration sources^ For
you theme-fetishists out there, the book is organized
both by artist and iconography.
The Art of Modern Rock is stunning, just stunning.
Too much to digest at once, really. (I apologaeif this
review is too short—it's just that the right side of my
brain doesn't write in verbal language and the left
side that does can't come up with much better than
the first two words.)
I only hope thafsome day my musical efforts will
be advertised by such fine, visceral, art.
Drake
Eleanor Rigby
Douglas Coupland
Random House Canada
There has been something wrong with Douglas
Coupland novels as of late. They have been far too
full of car chases and dysfunctional family abuse and
obnoxious coincidence and invented gagefry and
odd human tricks. His themes are the same as they've
been through all his work—fear of apocalypse, the
tribulations of a generation that didn't really grow up with religion, the
way people relate to each other—but where the worthwhile ideas were
once spoken by characters you came to enjoy in books with minimalist
plot but lots of personality, they are now just folded into thickened plots
that seem constructed around the things that Coupland wants to have
characters think and say. Eleanor Rigby centres around a lonely West
Vancouver woman (the link between her and the most musically famous
of lonely women is made painfully obvious when she gives her email
address as eleanorrigby@arctic.ca) and the son she put up for adoption
when she was 16 who falls into her life at the same time that the comet
Halle-Bopp appears in the sky. It is a decently enjoyable read; the story
moves quickly, has its clever bits, and contains enough mystery to keep
the plot going. It also has enough flaws so that all through your reading
you are conspicuously aware that it's just not a very good book. The
language is a bit stifled (at one point a character refers to an "on-line
web log"! and the Vancouver place-name-dropping is gratuitous, almost
as if Doug thinks that since he wrote City of Glass ail his readers, all o
the globe, will have an intimate understanding of what it means to stroll
along Ambleside.
The main problem, though, is that Douglas Coupland novels just
don't seem relevant anymore. A medium that Coupland used, with
Generation X and Microserfs, to uniquely characterize a time or a scene
or a feeling, now seems trite. It feels as though Coupland is writing novels
like this one, and like All Families are Psychotic, merely because he is
a novelist. At the same time, however, his other projects have been
great—the alphabetical snippet-format ethnographies of Vancouver
and Canada in City of Glass and Souvenir of Canada worked really well,
and the gigantic green army guys he sculpted were awesome. I'm pretty
sure that Douglas Coupland stil matters; he has an upcoming exhibition
at the Canadian Centre for Architecture in Montreal called "Super City"
in which he uses toy building kits from the sixties as a jumping off point
for "looking at the urban environment as both experience and mental
construct," but maybe he should stop disappointing his fans by writing
novels that don't come anywhere close to the salience of his earlier
work.
Dory Kornfeld "^^^^^ DiSCORDER - April 2005
ADAM
GREEN
"GEMSTONES"
In Stores Now
Vancouver - April 13, Richard's On Richard's
With a style that steps closer to the likes of Bacharach and Brel with each release,
"Gemstones" combines Adam's singluar songwriting vision ami plaintive,
almost angelic tenor with elegant melodies and playful art-pop arrangements.
The Fiery
Furnaces
"B.P" In Stores Now
"...charming, accessible and studded with synth-pop fancy" - The Toronto Star
BMi- Pitchfork
"Call it an EP, a CD or whatever you want - a disss this pod would be cheap
at any price" - The Winnipeg Sun
BRITISH
SEA
POWER
"Open Season"
In Stores April 5
GRUFF RHYS
"Yr Atal Genhedlaeth"
Solo album from Super Furry Animals front man Gruff Ryhs
7.8 - Prtehfork
SCROTI
POLITTI
"Early"
In Stores Now
THE LIBERTINES
Pick up one of the best albums of 2004, repackaged
with bonus DVD 'Boys in The Band' featuring over
90 minutes of never before seen footage!
I am the worst.
I am a lazy, do-nothing bastard that says he's
going to help people out, says that, but obviously
doesn't mean it. I put it off, and put it off and put it
off some more. Why? Because I'm a bum and a jerk,
but most importantly, I'm a bum.
Jonathan Anderson, on the other hand, is a
hard working do-something singer-songwriter. He's
been in Radiogram and has fronted Jonathan Inc.
for years. His recording studio, Buena Vista Audio,
has recorded albums for Stabilo and In Medias Res.
He has a lovely wife and two lovely children. I've
met them. They're greatl
I promised to interview Jonathan for Discorder
a really long time ago. Maybe I am sabotaging his
career because I envy him. Well, I'm fed up. With
myself. You can read about Jonathan Inc. while I sit
in a dark room, berating myself for my inaction.
Discorder That was a great set, man
Jonathan: Thanks a lot, Chris.
What happened to Flophouse Jr.?
Jon [Wood] told me last week that they are already
recording a new record...
As Flophouse Jr.?
Yes. The band was essentially a duo. It was Jon
Wood and Susan, who was singing harmonies.
Then she moved to England, and the band hasn't
really done much. But she's going to be coming
back for a bit to make another record together.
What about" Radiogram? What's going on with you
guys? Are you kind of In limbo right now?
I think they are hibernating.
Why?
All bears need to hibernate. We toured the two
albums as much as we could. There's talk of us doing
a split EP with Endearing. I wouldn't be surprised if
the band rises again.
How long has Jonathan Inc. been around?
Since 1998.
Are you happy with the setup of the band? How big
and strong are you guys?
There's four of us. Michelle joined, and she's been
a big change to the band, providing a lot more
harmonies. There's more texture now. I've played
with this lineup for a year and a half and I feel we're
starting to gel. The last couple of shows have been
really fun.
You said during your set that all the songs oh the new
album are older. Do you have a whole bunch of new
songs ready for the next album? Are you already tired
of the latest album?
It took us almost a year and a half to get that album
all finished and out. We don't have any plans to
go back in to the studio soon. We don't have any
money. I'm finding that it's good to be a little ahead
of the game. It's nice to have stuff ready. I always
tend to be impatient. I want to take more time to
send it out and do more with what we've done,
rather than just put it out and move on to the next
thing.
Why did this album take so long?
I moved.
To where?
Langley. Langley rocks.
Does it now?
Love it. Really good swimming pools. Yeah, I've also
been recording a lot of bands in the last year, so I
had to put Jonathan Inc. on the back burner for
awhile.
It seems that you're pretty much living the bohemlan
lifestyle, man. Was that your master plan? I know you
got the family now. You got the home studio. Bands
are coming to you. You got some producing. Are you
happy with the way things are going?
I feel pretty fortunate that I don't have to change oil
or cut grass anymore.
How's the producing going?
Good. I've been producing for three years. I started
producing our own stuff first. I did two albums in a
studio with a friend of mine, who had a home studio.
For the third album, I wanted to rent some gear, and
try doing it myself, but a lot of people told me they
like my old four-track stuff better. I really enjoyed
doing that, because it gave me some time to fool
around. I started buying my own gear, because I
thought it would save me money in the long run. As I
started producing more of my own records, people
became interested in me working on their projects.
Jonathan wU be opening solo tor the Weakerthans
and the Constantines Friday April 29th at Richards on
Richards. »
'mm
Chris a Riffic, is pretty much the nicest man that we, or you have ever m
He does however have a weakness for cheese and crackers. Chris, thu
and family care for you.
Chris, No more crackers. No more ues. T,
m
lom riint buc
%'LukeMeat }D). i^C
11
This March- CiTB. music director and lovable
pfeontent Luke wteat veritiJ||NPfnfo the wilds of
Texas for the South by Southweswrjjusic festival. This is
his travel diairy.
Wednesday March 16th  *
I Arrive in &$§ppi>;if Greyhound. The cabbie tells
me I could sublet my room at the Super 8 fdr $80tra
night. I check in, all things are taken care of (thanks
again, Ben!), and proceed to go see the sights. I
have to pick up my badge first. On my way I hear
Bloc Party playing an afternoon gig. I get so excited
I almost drop my beer. The badge process takes two
and a half hours. In that time, I make friends with my
two wait-line neighbours and they invite me to a
"meet and greet" at their hotel. Free food, free drinks,
all that blah. After some great conversation (finding
out that Robert Blake was INNOCENT!?) I make-my
way to where all the real SXSW stuff is happenin': Sixth
and Red River. All you can hear is music poundin' out
of every single club; walking by, I get a good survey
of what's going on just by craning my head and
peering in to each successive venue. I meet up with
some fellow radio nerds at the Velvet Spade and we
try to figure out what to do with the evening. Eager
to connect with some fellow Canadians, we all cruise
on down to the Whitey Houston gig at The Whiskey
Bar. CiTR joins forces with CJSR (U of Alberta) and
CJSW (U of Calgary), and we create a triad of the
baddest (Canadian) asses that this burg has ever
seen. Whitey, however, has a bad evening. Using
borrowed equipment and a pawn-shop bass, they
just don't pull it off like they usually do. Sorry guys.
We run across the street to catch Vic Chestnut
and he regales us with tales of what it's like to be the
most depressed musician on earth. At Maggie Mae's
we see the last two songs of Smoosh's set—they're
a band of 10- and 12-year-old sisters who play
delightful twee pop. After that, with a spring in our
step, we stumble over to 710 to catch Drunkhorse;
slutty, sleazy rawk. Smilin' Jay of CJSR makes a joke
about catching Billy Idol at Stubbs. I retort that I
will only go if he plays "Eyes Without A Face." Sure
enough, as we leave 710, we can hear the former
Gen X punk serenading Austin with said ballad. The
fates had decreed that we had to check this shit out.
He rocked.
Thursday March 17th
The Province's Stii Derdeyn had told me about
this wonderful Texan hangover cure called "BC."
It's a flap of powder that you mix with water and
shlorp back. It feels vaguely illicit. I later find out it is
just caffeine and Aspirin, but either way it does the
trick. We go "git some bah bee cue":
IW^e, tegenawpr.Stubb's and check
out Electric Eel Shock, indescribable
Japanese metal. The drummer
nothing but a cock sock. The guitarist
literally fucfe-his flying V. The bassist—
when not doing his best Lemmy
impersonation—is ajljfeftts n' horns.
Fucking beautiful.
For a change of pace, wits
genre, I check out DJ Z Trip,, who
could possibly be the best wedding
DJ ever. The guy mixes Janis Joplin
with hip hop beats. He has us all goin'
until he introduces a new jam off his
latest rekkid which features (no joke)
the dude from Linkin Park on vocals.
You can hear the pins dropping
everywhere.
Ratatat follows, giving us a great
dose of their unique Maidenesque
electro tunes. I rip over to The Parish
to catch M. Ward. Very fun, but
afterwards, I feel the need to head out on my own
to mellow out at the Strange Attractors Audio House
showcase, where I am soothed by Harris Newman's
acoustic guitar compositions. Paik from Michigan
follows and proceeds to drone blissful psychedelic
jams, only to be drowned out by Subarachnoid
Space, who close out the night for me. Heavy shit.
I'm tired.
Friday March! 8th
Chunklet Magazine is possibly the best jaded-
indie-fuck zine on the market right now. Henry
Owings and Brian Teasley are the publishers, and
lo and behold, they're in Austin. You can't miss
them. They're dressed as boy scouts. The uniformed
miscreants throw a humdinger of a party at the
Church of the Friendly Ghost, featuring Enon, Jennifer
Gentle, Oxes, The American Analog Set, and Black
Lips. The lead singer of the Black Lips lights his dick ■
on fire. We drink free beer named Purple Haze and it
packs quite a punch.
I get a chance to ask Brian whether he thinks
the magazine ever crosses the line of offensiveness.
I mean, this is the guy who said he would rather fuck
his own diarrhea than (and I quote) "Courtney Love's
ragged-out meat tunnel." He passes this question on
to Henry, who promptly asks me to step outside to
fight. I'm more than ready, but Henry says straight to
my face, "I gotta warn you; I fight like a Jew." Not
knowing what this means but feeling that Henry has
somehow answered my earlier question, I politely
decline the challenge and receive a bear hug
instead.
We     go     check    out     Controller.Controller
afterwards and to my surprise, they put on a really
good show. We get wind of a party happening at an
old mansion run by the North by North East people.
We feel that since we're Canadian, that more or
less counts as an invite. Luckily they don't disagree.
We eat free BBQ, drink free Moosehead (nectar of
the gods after days of Bud Light), and meet lots of
humans. We go back into the city, where we hear
about another happening and head over to check
it out. What we don't know until we've been there a
few minutes is that it is a party for porn star Brittney
Rears. Full of pretty creepy people, as such things
tend to be. Nonetheless, we stay for a few rounds of
vodka and Red Bull—the only drink they appear to
be serving.
The only show I'm stoked on this night is The Go!
Team, and I'm not missing it. What they don't tell you
when you drop hundreds of dollars on a badge that
will supposedly get you in to see every one of the
hundreds of bands playing SXSW is that the popular •
shows fill up early, after "which there's no chance of
gdtting in—badge or no badge. Having learned this,
and determined not to miss this show, I show up at
Buffalo Billiards right when the doors open. The Go!
Team aren't onstage for another three hours, but it's
worth the wait. It is impossible to be in a bad mood
when you hear these guys. With two drummers and
a set-list full of happy cheerieading jams, they had
me boogieing down. Afterward I swing by Beerland
to try to catch Guitar Wolf, but there are about 200
people waiting to get in (see what I mean?) so I opt
to pass out instead.
Saturday March 19th
addicted to them at this point, but will worry about
that later.) We check out the Yep Roc showcase on
Congress Ave, a very nice neighbourhood. We also
meet our first asshole, a hairy-backed wifebeater-
wearing dude who finds out that we're Canadian
and blames us for Mad Cow Disease, tells us he hates;
our country, then has the nerve to say "no offence."
After a Tex-Mex lunch we head back to Red River to
catch The Gossip gig at the Kill Rock Stars showcase.
As always, they kick ass. Smilin' Jay and I put all our
eggs in one basket and decide to go fo the Vice
party. We have the address; however, no cabbie in
Austin has any idea where it is. We finally find a cab
driver who uses a map and gets us to our destination,
The party is in the middle of nowhere, and on arrival,
we are not let in. Someone (oh yeah—Vice!) had
forgotten to mention that we needed a special
laminate to get in. I'm pretty livid. Not only are we
in the worst neighbourhood in town, we just wasted
two hours getting here when we could have been
seeing bands. Grrr. Smilin' calms me down and
springs for a cab back into town. We go to Emo's
and check out Aesop Rock. Killer hip hop. The Black
Halos are playing in the big room, so we stay for a
couple of songs and beers. The boys represented our
city very well. As did I, t hope. In between all the fun,
we spread the good word about Canadian campus
radio to the unwashed masses.
Thank you to CJSR and CJSW for keepin' it real
and for keeping me out of trouble. See ya next year.
Luke Meat's real name is Thomas
Lucas Pigeon, m
■up than Luke Meat. Which we
the point. Anyhow,
Luke Meat neglected to mention
SXSW HE HAD TO
ffii A
immmsLfa mmm mmmc
by Dory Kornfeld
Jjg=!	
w.
Sometime last spring twos standing outside Sneaky Dee's in Toronto
during Canadian Music Week, smoking a cigarette and chatting with a
friend of a friend. He asked how the bands had been so far. I shrugged
and responded that I didn't know because I hadn't seen them; I wasjus^
there to catch Jon Rae Fletcher and The River, who were playing last.
"Me too," said the friend-of-a-friend. Now, I had met and befriended
Jon Rae when I was living in Vancouver, and when he moved to Toronto
a few years after I did. I went to see all his shows not only because his
music is wonderful, but because he was a friend and that's what you
do. But there I was, loitering outside the bar, talking to someone who was
there only because of the music, and I was pleased, almost ebullient.
A year later, that friend-of-a-friend, a Mr. Steven Himmelfarb,
is Commander-in-Chief of the one-man Permafrost Records, and is
gearing up for the June release of the newest Jon Rae Fletcher and The
River album. Old Songs For the New Town will be the third release from
Permafrost since Himrnelfarb took charge of the label's operations. His
change from enthusiastic fan to key part of the project is a result of a ton
^Of^^ri^c*6^».oa^ft<3 desire to be a part of it all.
f|^SlllpM|iimasn't started by Himmelfarb. Rather, he
^^^r^d|fe ciy<^^ic«tfrozen label, moved it over a province, and
tfefeS^^^shaping ft=r°" tils idea of the perfect project in the process.
Jte^^*i^^^^^^& i^Scords was a Winnipeg-based outfit run by
3te^^^^Fa3IW^WtA»l of Steven's friend Nicole Cohen (co-editor
^Wjral&p^UpP Magazine). In that incarnation. Permafrost ■
l^^^ag-^^^rS^pR^pe^fe and two 7" inch records of what Steven
^K^Ste^S^mpitey||jfeidie pop from the late 1990s." However,
s"the^6^'s^utpu^_$lojfi)ped when Richard quit the business to pursue
pnarmacyTstrepnen anaNicole had plans to start a label together, but
Nicole backed out of the deal so that she could start Shame/ess instead.
She referred him to Richard because of his experience, and instead of
advice, Richard gave Stephen Permafrost.
"Richard told me to take over his label because it had a back
catalogue and he had a little logo and other little things, petty things
that I didn't want to deal with. It was semi-established. Because anyone
can start a label it looks better to have released a few things." One of
the things that Steven wouldn't have to deal with was picking a name.
"As far as I know. Permafrost was just a name that Richard picked. It
probably has more relevance in Winnipeg, but names are pointless
anyway. I didn't care and I kind of like the name and it made my life
easy because I had a list of fifty names and I couldn't decide."
Thus, in the summer of 2003, Permafrost Records was reincarnated
and has released two albums since. The first was an EP by The Patients;
"romantic garage rockers who are destined to stay in obscurity for
another twenty-five years," and Good Grooming For Gins, the fundraiser
compilation CD for Shameless [reviewed in the December 04/January
05 issue of DiSCORDER]. Nicole may have backed out of starting the
tabei witbSteven, but there were clearly no hard feelings, as Steven
worked his butt off for his friend putting together the album. It was Good
Grooming For Girts that initially sparked my interest in Permafrost—I was
wowed by the incredible assortment of bands brought together on one
record. Steven was equally impressed with what he was able to do.
He talks of how when he and Nicole were discussing how rad it would
be to do a CD for Shame/ess,he was hit with the sudden revelation, "I
have a label! I'll put it out!" So he set about working on the project. "I
wrote individual pitches to the bands I liked," her said, 'explaining how
GGFG came to be. "To my chagrin, almost everyone I asked said yes
to the project. We were blown away when Kimya dawson of the Moldy
Peaches said she'd record anew song for us. The Arcade Fire gave us
a song fromtheir rare EP; Controller.ControHer was down and so was
Mecca Normal. The artists we worked with were amazing."
Himmelfarb's cynicism and self-depreciation about his hand in the
awesomeness of GGFG spills over into his participation in Toronto's indie
music scene. Some labels are the projects of bands who start up labels
to release their own material, some are collectives like Arts and Crafts or
Blocks Recording Club, and some are the "big" indie labels like Mint or
Three Gut; Steven claims that Permafrost doesn't really fit in with those
other labels. "I'm not an artist, though I wish I was, and I don't play in a
band, because I suck," ihe says. "I don't have a team of people working
together at this." Steven Himmelfarb is simply a guy who likes music
and wants to participate in its creation and dissemination. "Essentially, I
thought there was—and still is—an excess of amazing bands that aren't
signed, that people don't know about. I wanted to use my label as a
stepping-stone for bands. In my head I mapped out the label to be a
fun side project where I could help bands, introduce people to good
music, and keep juggling the same amount of money around until it
ran out."
So has he managed to achieve this? So far, it seems, yes. Good
Grooming For Girls has been a resounding success. All of the 500 copies
pressed have been sold and a second volume is in progress; the first
volume brought attention and recognition to some of Steven's Tavourite
artists and led directly into Permafrost getting to release the new Jon
Rae Fletcher and The River album. Permafrost Records is a project in a
city of projects, a player in a scene Steven describes as "very friendly.
Perhaps there is a very slight cold exterior, but it's broken down pretty
easily and on the inside, it's nothing but warmth."
That cool surface comes out when Steven talks about how his
label teams up with artists. "It's pretty awkward," he says, "it's Hke asking
someone out on a date. It's like 'so, what are you guys up to for the
year...cool...and...like...cool...so.„maybe...' I've said that to someone
and that's been said to me. It usually works out." That dating trope is in
play when he talks about how he'd like Permafrost to grow. "Permafrost
isn't a collective, and right now it's a one-man label—though I'd kill to
change that, I just haven't met the right person or people who would
make it work." It makes sense though. Projects like Permafrost Records
are built on personal dreams and desires. If you're going to share your
project with someone it's going to be intimate. "Ideally, I'd like to meet
one or two or three others who have the same vision as me and want
to merge ideas."
So ladies, gents, artists, musicians, indie rock enthusiasts: Permafrost
Records is available! Though a bit awkward, that handsome label
leaning against the wall of the club with a cigarette in hand just may
be your perfect match.
www.permafrostrecords.com 4ttfep
ikiS
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ErE DiSCORDER - April 2005
TOUR SPRING 2005
April 14 - Saskatoon, SK - Amigo's
April 15 - Calgary, AB - Brew Brothers
April 16 - Edmonton, AB - Powerplant
April 18 - Victoria, B.C. - Lucky Bar
April 19 - Vancouver, B.C. - Pub 340
April 20 - Golden, B.C. - Packers Pub
April 21 - Lethbridge, AB - Tongue & Groove
April 22 - Regina, SK - The State
April 23 - Winnipeg,' MB - West End
April 26 - Sault Ste. Marie - Downbeat Lounge
April 27 - Guelph, ON - E-Bar
April 28 - Toronto, ON - The 360
April 29 - Ottawa, ON - Mavericks
April 30 - Montreal, QC - [.'Hemisphere
May 01 - Hamilton, ON - Casbah
May 02 - Kingston, ON - TBA
May 03 - Lindsay, ON - Academy Theatre
May 04 - London, ON - The Last Drop
BAND
FLARES
4-
Ffc
NEW ALBUM
Out April 5th, 2005
Uncooperative since 1997
www.g7wekximingeommittee.corn 17
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We were sitting around Schwartz's deli on our
last day in Montreal, enjoying the smoked meat and
catching up on events of the previous evening. Two
young guys from Toronto sharing our table couldn't
help but overhear our conversation and figured we
were attending some sort of folk music event in the
city. "Is it anything like that movie A Mighty Wind?"
the bald guy who was into jam bands asked.
The North American Folk Music and Dance
Alliance was set up close to 20 years ago by a
group in the folk music industry (yes, there is one)
to "foster and promote traditional, contemporary
and multicultural folk music, dance and related
performing arts in North America." Their main claim
to fame is the annual conference, which takes
place in February and has become the gathering
of the folk tribes in North America. A motley crew of
musicians, artist reps, record label reps, radio DJs,
promoters, and fans of roots music attend—dose to
2000 this year. And yes, many are from the "we lived
through the 60s folk scare" demographic. I noticed
a lot of reading-over-the-bifocals a la Bob Balaban's
character in A Mighty Wind.
This year's Annual International Folk Alliance
conference (the 17th) was paired with Strictly
Mundial, a presentation of the European Forum of
Worldwide Music Festivals. This combination injected
a much-welcomed European ambience and world
music element to the proceedings. Trad and not-
so-trad Quebecois music was also at the forefront.
I noticed that the aging WMF (white male folkie)
uniform is fairly universal: long grey hair tied back
in ponytail, loose clothing to conceal paunch and
sensible shoes. The Quebec contingent looked similar,
but smoked, drank, and leered at young women
more than their counterparts.
While this character may be the prototype of
the folk music conference attendee, it is not the
sole character represented in the folk music scene
any more. As the popularity of the Folk Alliance
conferences grows, so does the contingent of under-
30s. It's a symbiotic relationship: the young folks need
the old folks to do the organizing and find funding
while the old folks need the young folks' energy and
talent. And the old folks hope that one day the young
folks will take up the torch. What is actually happening
is that the young folks have helped create one of
the best music parties around. Although some go
through the motions of checking out exhibit booths
. arfdattending a seminar or two, it's more about the
chance to make music long into the wee hours with
friends, hoping that someone might stumble upon
them and offer them gigs or a record deal. Outside
of official showcases in hotel ballrooms, several floors
of the host hotel (the Montreal Hyatt) are dedicated
"music floors" where rooms and suites are converted
into mini house concerts for the weekend. One can
wander the haHs sampling music late into the night.
Trish Klein (Po* GM, Be Good Tanyas) missed
this year's Folk Alliance, but explained the concept
of their *Uttie Red Hen Room" which first appeared
at Folk Alliance 2001 in Vancouver and helped the
Be Goods get a lot of festival work that year. "The
Little Red Hen thing was a really great collaboration
in terms of artists trying to support each other, trying
not to be competitive, just coming together to
make something bigger than the sum of the parts.
Every year we've showcased amazing talent, and
we really brought a lot of people in. Our jams would
basically go all day and all night. I think we made it
a lot of fun for visitors as well, because we made an
effort to decorate, and make the room not a hotel
room, but like you were entering into another zone.
You feel like you're in a freaky little club or bordello in
New Orleans, and there's all these stunning women
• standing around, just hanging out with each other."
This year there were no candles to be seen,
thanks to a suspicious fire in one of the suites last year.
Efforts by Folk Alliance organizers to water down this
"guerrilla showcase" element (and potential liability
issues) resulted in even more officially-sanctioned
music in the two levels of Hyatt meeting rooms
dubbed "Performance Alley." On top of this were
the usual official venue events taking place in nearby
clubs such as Medtey and Club Soda. The vnofflcial
music-making in hotel suites didn't go away, it just
competed with all the other music. There was a
tad too much choice and too much area to cover
everything thoroughly, so Istuck mostly to the hotel
happenings.
There was a fantastic mix of performers at this
year's conference. There were lots of important
American acts—longtime favourites like Emmylou
Harris, whose performance I unfortunately missed,
and newer groups like The Mammals (Pete Seeger's
grandson is a member) who are gaining fans of all
ages with a high-energy, genre-crossing roots sound
that's very au courant. However, there were also
a surprising amount of Canadian groups which I
hadn't expected, despite the conference being
held in Montreal. I got a good dose of Quebecois
bands Hke Vent du Nord, Yves Lambert (formerly of
La Bottine Souriante) and his new band, and many of
the younger bands playing in the Folquebec room,
handily located beside the lounge bar. But there
were also groups from all across Canada, such as
D. Rangers, The Bills, The Duhks, Wailin' Jennys, and
Clumsy Lovers, and they were inciting an impressive
buzz among the American delegates. As one dude
I encountered in the exhibit-haH told me, "I had no
idea there was so much talent up here!"
I was happy to see that young women are
also increasingly making their presence known and I
especially enjoyed Eivor (from the Faroe Islands) and
Uncle Earl (five American gals playing bluegrass).
On the Strictly Mundial side there was a good
representation of women as well: Mary Jane Lamond,
Lhasa and Kiran Ahluwalia from our country, Dobet
Gnahore from the Ivory Coast, Sandra Luna from
Argentina and many more.
Whflethe whole scene seemed like a folk festival
with elevators, most people were there to forge
new connections and get gigs. I benefitted from
the opportunity to score new material for my roots
music show ("Folk Oasis," Wed. 9 pm on CiTR) and
hang out with other folk music DJs and musicians.
After the conference, I checked in with Mitch Cantor
owner of eclectic indie label Gadfly Records who
I'd first met at SXSW five years ago [see DiSCORDER,
May 2000] (It was dinner with him that caused me
to miss Emmylou's performance, just as dinner with
him had also caused us to miss Steve Earle s keynote
address at SXSW. Note to self.) "Folk Alliance is
always a challenge for me," he said. "There's a lot
to be gotten out of it, though sometimes, due to bad
planning or circumstance, it's possible to miss much
of the beneftt of the event. Still, as I have found with
most conferences, the best things—performances
seen ond meetings—are the ones you come across
by accident or that you wouldn't have been able
to predict in advance. And that is what has kept me
coming all these years."
Mitch has only missed one Folk Alliance
conference since 1993. so I asked if he has seen
the conference change. "I haven't seen the'event
change dramatically sincethe beginning, except for
the growth. But the core of what it is hasn't changed:
seminar sessions, exhibitors, and a small city of
performers that descends on the chosen host venue.
As long as you can filter out what is unnecessary
or unappealing to you as an individual, "it's a good
conference."
On occasion I managed to escape the vortex of
the Hyatt and soak up some of Montreal's wonderful
ambience. I polished up my French sufficiently so
les Montrealais wouldn't laugh too hard. I indulged
my inner architectural geek around VTeux-MonJreal
and fhe McGill campus. It sure is hard to turn guide
book pages with gloves on. I enjoyed wonderful
meals with friends at Schwartz's, Chu Chai (veggie
Thai to die for), and some new joint in Vieux-Montreal
with impressive vindaloo. We happened upon-the
very funky boutique/performance space Eva B and
greatly enjoyed their special coffees, aptly named
Comfort and Insight. We checked out the outdoor
winter festival Montreal En Lumiere. On s'est bien
amuse.
Next year's Folk Alliance conference wHt be
in Austin, Texas. This wHItikely translate into stronger
emphasis on country-flavoured folk, "Americana,"
and Tex-Mex styles. For sure it will mean leaving my
parka and winter boots at home. It wiH certainty be
interesting to watch how the older, hard-core folkies
react to Austin, and vice-versa. If anything, it'll be
dlmost as good as SXSW, but slightly less nutty. I can't DiSCORDER - April 2005
r!/T
FEAT.
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ao
most musical genres, the independent
of hip hop remain on a different
wavelength than the corporate rap music heard
on pop radio. While the Top 40 stations broadcast
cellophane-new hit singles, underground artists
have been working on promoting independent
styles, but few break the surface of the indie scene.
Certain Canadian cities have strong independent
hip hop scenes: Halifax produced several artists who
moved on to San Francisco on AntiCon records and
also birthed Buck 65, a DJ/Emcee of established
reputation on the independent hip hop circuit; K-
OS rose up through Toronto's organic music scene,
and his sounds reflect it. The diversity of global hip
hop maintains its heartbeat, ensuring that newer
styles will constantly emerge. From Canada's Josh
Martinez to Israel's Dag Nachash, music enthusiasts
are consistently exploring new styles of expression
and pushing the boundaries of hip hop art forms.
Vancouver has few live, independent hip hop
events—"Monday Night Live" at the Lamplighter
is one of only three examples of the city's hip hop
culture. Cas, the show's host, works closely with
aspiring rap artists, and while his shows celebrate'
local performers, they also highlight the lack of
home-grown talent. Some acts, like Jay Kin and
Emotionz, come from these parts, but Monday Night
Live frequently features rappers from places like
Halifax and Winnipeg. Vancouver is plagued by a
dearth of artists and venues to promote them, and
the few nightclubs that will host them often turn
beyond the Lower Mainland to fill their line-ups. Cas
has a casual attitude on and off stage, and he seems
resigned to the struggle of creating and producing
the music. Cas has his own independent record
label, Camobear Records, which has produced
albums by Josh Martinez, and sales are sustaining.
"Camobear has produced seven records, each
one making enough money to pay for the next, and
anyone looking to make money in Vancouver's local
talent, well, they're wasting their time."
The organizer of Monday Night Live, Needle
Kineval, understand Vancouver's hip hop scene
better than many, and his view takes into account
the changes of the past few years. In the 1990s the
music was in its infancy, and it quickly accelerated
into a very popular form of cultural expression. But
at some point, the culture changed. The artists that
pioneered the art form were expressing their emotions
and their backgrounds. Public Enemy raged against
white America with political incisions. NWA and
Wu-Tang brought listeners back into Compton and
Staten Island to display the criminality and violence
prevalent in black urban communities. But by the late
1990s, hip hop had changed from being descriptive
to being prescriptive. It no longer told the stories of the
artists, but instead provided a framework by which its
fans could present themselves. Independent artists
cannot become successful by telling fans how to live •
their lives and what clothes to wear—we have The
Source and XXL magazines for that. Instead, artists
are forced to present something new that reflects
themselves and their beliefs, hoping that it will ring
true with those who look beyond magazine ads for
designer clothing.
Needle Kineval believes that the MP3 revolution
is one of the causes of the decline of live hip hop
in Vancouver. "More people could download the
music that they wanted, and thus record labels only
sold albums to those who were truly committed to
the investment they were making in local hip hop."
Monday Night Live was Cas' and Needle Kineval's
remedy for the situation, even though it was put
together mainly for themselves and their own
interested parties. Cas describes the event as giving
local artists and fans a comfortable place to express
and absorb new talent. It has its regulars, but its
environment is friendly and transparent. "Vancouver
had a lack of live hip hop. So-called hip hop nights
in Vancouver are at the clubs, where people want
to hear the club tracks from the DJ booth. They just
hire a DJ and a mixer to keep the beats, and people
dance. Needle Kineval and I wanted to know that
we had a live show, a real showcase of the stuff
you won't hear on the radio, you won't hear on
MuchMusic." The men and women who take the
stage at the Lamplighter wouldn't necessarily be
recognized as microphone specialists or turntablists.
The music and art they represent is more subtle in
its candor, more raw in its criticism, and stripped of
vestigial vocals and lyrical excess.
The music and art seen and heard in the
underground arena differs from the radio hits; many
hip hop fans ("heads") complain that mainstream
hip hop has been on a slow, downhill slide into a
standardized formula of drum beats, bass lines and
cliche choruses. For those who seek fresh hip hop,
they can skip the grocery store and go straight to
the tree. The roots aren't hard to locate, follow an
artist's career and collaborations to their origins, and
discover the stages they first appeared upon. I listen
to The Roots; The Roots drummer Ahmir "?uestlove"
Thompson produced a record called True Notes
Vol. I; a lyricist named Aceyalone appeared on
that record; Aceyalone collaborated with Abstract
Rude in a band called Haiku D'Etat; Abstract Rude
performed at the Lamplighter; I met Jamil Kemani at
that show.
Jamil Kemani, 20, had done art and graphic
design throughout high school, and after he
graduated, he moved from Abbotsford to Vancouver.
A desire for new venues for his creative output led
him down an entrepreneurial path. Fusing his graphic
talents with his love of hip hop, he put together
Dialect Urban Forum, a cooperative of artists and
vocalists with the common goal of uniting their
talents and presenting positive messages in their art
form. Vancouver is flooded with local designers and
artists, from jewelry to organic clothing, to art galleries
and basement production studios. In this market
sector, Jamil has found a niche. He focuses on hip
hop-styled apparel, aimed at outfitting the music's
listeners with an image that reflects their tastes arid
opinions. The imagery is darkly creative, exciting, and
political. One shirt by Dialect Urban Forum displays
dark-suited, masked mercenaries and features lyrics
penned by Aysha, a songwriter/spoken-word poet
and member of the Forum. Jamil explained that the
words were an attack on the rationale behind the
invasion of Iraq. Dialect Urban Forum has already
produced several lines of graphic art and t-shirt
prints, and the minds behind the forum are working to
procure opportunities and connections with various
distributors in Vancouver. Obtusely, the market for this
type of gear is fused to the lacklustre dynamic of the
local hip hop scene. To compensate and correct,
Jamil and his colleagues are currently working to
promote themselves and other local artists beyond
the realm of clothing and business.
Dialect Urban Forum, newborn though it is, has
already undergone changes. It remains a clothing
company, but has moved towards hip hop promotion,
and may morph again into a record label. It aims
to use clothing as a billboard, specifically using art
to inspire 'organic strength' in Vancouver's hip hop
scene. Jamil has produced a variety of men's and
women's shirts featuring print designs by the artists
of the Forum and lyrics from the writers and emcees
affiliated with the company. The shirts are printed by
American Apparel, certified to be sweatshop-free.
In the eyes of the Forum's founder, people should
be awakened by shirts featuring fresh designs and
poetic content. Dialect Urban Forum only makes
a five-dollar profit off each sale. One dollar of five
goes back to the artists and emcees who write the
lyrics printed on the shirt. Jamil sees this as an "artistic
grant," with twenty percent of the company's profits
going back to artists to help them pay for their studio
time and production costs.
The internet and word of mouth are the
information networks that Dialect Urban Forum relies
on, twin legs that wil carry it into public awareness.
Jamil works to raise the Forum' s profile on Vancouver's
streets and information highways. "Look at San
Francisco," he says. "The crowd there fully got behind
hip hop as an art form, and the scene produced
AntiCon. Even in the Yukon, my sister moved up to
Whitehorse, and the community fully supported
the youth in celebrating their art and music." But
breaking into hip hop art and culture in Vancouver
is Hke trying to unscrew a bolt with your bare fingers.
"People in Vancouver see hip hop, they like hip hop,
but they don't buy hip hop," he explained. There are
a few outlets for hip hop culture in Vancouver, and
the store Dipped Urban Hookups is now carrying a
few of the Forum's lines. As well. Dialect's catalogue
can be accessed at www.dialecturbanforum.com.
Dialect Urban Forum wants to comer an
emerging fashion trend. "Music sets trends in fashion,"
and Jamil predicts the new trend will be 'conscious
hip hop.' Back in the Sixties and Seventies artists Hke
Janis Joplin and Jimi Hendrix helped solidify the peace
sign as a comprehensive symbol of a movement and
a generation. "Wearing a dove's footprint on a tie-
died shirt became both a fashion and a political
statement," Jamil explains to me. He believes that
hip hop is primed to take the lead in new social and
political fashion, and that socially conscious hip hop
is on the rise. Sean Coombs' campaign to Vote or Die,
while marred by the glamour and gratuity typical of
P-Diddy, encouraged political participation among
hip hop listeners. Eminem's Mosh video/single hit
the charts right around election time, and was one
of the strongest attacks on the Bush administration
last year by a popular musician. Perhaps, now that
hip hop has passed through a generation (its stars
are now fathers'and mothers), the artists are thinking
beyond their immediate wealth and opulence.
Andre 3000, Talib Kweli, and Eminem have all entered
parenthood, and Jamil thinks that they are thinking
first about the country their children are growing up
in. If the leadership of hip hop is leaning in a more
conscious direction, and a growing number of poets
and amateur turntable DJs putting their work online
and making their own mixtapes, then Dialect Urban
Forum has a chance at contributing to the new
movement.
As hip hop culture continues to mature, it
is being refreshed from the grassroots level by
motivated actors like Jamil, Cas, and Needle Kineval.
They weave themselves into the fabric of the culture
because they love the music, and they recognize
that they can't keep feeding off the industry without
re-contributing. So to the gentlemen with the Sean
John t-shirts: the improvisational creativity of urban
artists in remaking the event calendars of their
locales—that's hip hop; the capitalization of activists
upon prevalent political trends through innovative
problem-solving—that's hip hop; the use of art
and music to overcome—that's inseparable from
hip hop. It's difficult to do, and both Dialect Urban
Forum's conscious ideology and Monday Night Live's
local promotions may be grains of sand in the great
task of tipping the scales of hip hop towards a more
valuable, less disposable product, not to mention an
art.
Zach is a fourth-year student
in the faculty of ams, currently
enrolled in the international
Relations program. His interests
academic career. He currently Foster Kare
Veritas
March 04
Astoria
Trekking to shows at the increasingly popular Main
and Hastings locale has become such a disagreeable
excursion for me that it has become sort of a rule
avoid it whenever possible. Of course, as the old
adage goes, for every rule there are exceptions. In
my case, there were two: 1) the repossession of my
skateboard after 3 months of separation and 2) the
opportunity to check out Vancouver's newest hype.
Bend Sinister. How does the repossession of and
subsequent obsession with my skateboard correlate
to the Bend Sinister set on March 4th? Both are more
fun than a night of blow and Supertramp records,
and both possess the capability to knock one onto
his or her ass.
Personal hobbies and drug references aside,
the members of Bend Sinister are quickly proving
themselves to be the local band to watch out for.
Friday night's show at the Asbalt remains in my mind
as further proof of their ability to put on a unique,
tight, and unquestionably enjoyable live show.
Bend Sinister is a band already awash with both
energy and personality; seeing them play at ground
level only served to heighten their already remarkably
dynamic live performance. With the promise of a
heavily produced album Through the Broken City
within the next month or so, Bend Sinister is ensuring
that what is lost production-wise at a live show is duly
made up for in entertainment value.
For a band whose repertoire is not nearly fully
developed, Bend Sinister is able to put together a
tight set that has at once the ability to showcase their
technical musicianship, while at the same time keep
the crowd engaged. The sweaty Asbalt crov*d„had
no problem responding to Bend Sinister's energizing
indie prog-rock, and likewise. Bend Sinister had no
problem playing off the energy of the crowd. Bass
player Dave Buck ended up standing on a table on
stage-right and guitarist Naben Ruthnum, in a valiant
attempt to stand up on the now infamous guard rail
that separates the crowd from the band, was, well...
knocked on his ass. Nobody skipped a beat.
At any rate, those who came to the Asbalt
to see Bend Sinister and Black Rice, rather than
Destroyer and Frog Eyes, who were playing at Wise
HaH the same night, left pleased. For those who
missed it: it seems as though Bend Sinister is only just
beginning to pick up hard-earned momentum; don't
mtettefli&ifisjsWiB^
orrrtttzwifergitowGNmeSweta^
hours. These days, $7 won't buy you much better.
Michael Barrow
The Futureheads
Shout Out Louds
High Speed Scene
March 06
Richard's On Richards
Something tells me, and correct me if I'm wrong,
folks, that if you're the first band on a bill where no
one knows who the hell you are, you should rely
on your music and not your stage banter to sell
the audience. Lines like "I've heard rumours about
Vancouver... well actually no I haven't, I'm just trying
to be clever" don't make me want to rush out and
buy your watered-down-pop-rock-sounding-like-
Cheap-Trick style tunes. "We are High Speed Scene
and we are desperately trying to make it in this
business" is at least a little more honest.
A scruffy looking five-piece followed, and
spying a banner being unfurled to my right, I saw
the name of the band. I also saw a girt setting up
what appeared to be (and what I later found out
to actually be) a xylophone. Cool. Turns out, to
everyone's surprise, they are Swedish and not from
Athens, Georgia, or whatever town is hip this month,
and are actually pretty good. The singer gots a few
"He sounds like Robert Smith fronting a sixties-pop
band" comparisons from some friends watching
the show. The bassist has a couple of legs up on
the rest of the band in height; he was fun to watch,
lumbering around the stage, his bass looking like a
toothpick he could floss his pearly whites with. Along
with The Concretes, Shout Out Louds may be part of
the new Scandinavian wave ready to crash on our
shores, so watch out.
Then The Futureheads, a bunch of lads from
Sunderland, hit the stage and had the crowd from
the first note of "Le Garage" to the last note of "Piece
Of Crap." Lots of knee-jerking, head-snapping, and
hand-clapping to be had on this night. Who invited
Patrick Pentland of Sloan on stage? Oh wait, that's
guitarist Ross Millard, nyuck, nyuck. Any band that
can divide the crowd in half each singing the
different backing vocal parts to "Hounds Of Love"
(yes, the Kate Bush song), is OK in my books. In fact
any band that plays equal parts Devo, The Jam, and
makes me smile is OK in my books. My pal Jeffie got
props three times from the band, and from now on I
will only refer to him as "the little man from the record
shop." The rest of the set was peppered with songs
Iroarsite'irdtebwft, iKciiucin-c; Steowsrt fowe "S&acasnf
Etay* Andi Migrate,"' '"A Tte R* 'Ite ©*y te Mem ItaTte
To Use," and so on, but they also paid tribute to flfoefir
influnces by covering The Television Personalities'' "A
Picture Of Dorian Gray." Apparently anyone \i|M
missed them this time out can catch them oper^H
for a certain "hot" band soon, but my guess is MgSM
performance won't be half as good as the one iijjust
saw.
Bryce Dunn
Antony & the Johnsons
March 07
The Red Room
A night with Antony & the Johnsons turned flH
to be everything you could hope for: hauntHE
understated, and rapturous. The Red Room was am
excellent choice of venue (certainly superior to lite
Media Club, where the show had previously bears
booked). It was intimate and elegant, though if, lite
me, you didn't get a seat in the pit, you probaft%
spent most of the show looking for a place to stomal
where you could actually see. In person, AntorSB
a physically imposing figure (though far from obesa,
as some misanthropes have labelled him), tall omsl
broad-shouldered with aface half wounded cheselfe,
half smiling Buddha, framed by a feminine cascoate
of straight black hair. His appearance, howeswerr,
striking as it is, can't compare to the otherwosBs%
perfection of his androgynous voice.
He played all of his best songs: "The Late,'"
"Cripple and the Starfish," "River of Sorrow," mteft
almost everything from I Am A Bird Now. UnbelievaJt^s,
he sounds even better in person than on record., JHSb
seems to draw his rich, breathy vibrato from satmre
organ between the heart, throat, and lungs tha*
normal humans don't possess.
Antony's songs evoke an extraordinary amojumtt
of emotion, so intense as to break down bartrSBS'
between pain and pleasure, memory and reaJHtsf?,
and even accepted conventions of propriety, Ssclr
he's no exhibitionist. Antony is so generous with Ihfe
expressionism that the feelings in his music seemsn
to have belonged to you att along, a profound
personal experience that accounts for rapt response
of the crowd. The silence that saturated the venue
during his performance was total; it was as if
everyone was holding their breath. The humming of
the bar fridges was actually audible.
Antony's accompaniment was also minimal,
as promised, with only Rob Moose on guitar and
occasional violin, and Julia Kent (formerly of
Rasputina) on cello, both extremely tasteful. Perhaps
the most surprising thing about the show was the
diversity and devotion of the audience: people of all
ages and persuasions were captivated by Antony's
music. Clearly, he's come a long way from his days
as on unheralded drag singer in the New York gay
scene (which he claims never embraced him in the
test place), and far from the transgressive spectacle
you might expect from a gender-bending performer
Sratove with Warhol's Factory and embraced by the
at elite (he played at the Whitney Biennial last year).
Antony's soul music is accessible to all.
^■Saetan Twerdy
teSorndPs toes* sswept Ifflwwj^n VbrBceuraar in eratf
March os Vie Hones dtetreredt-amt <aor% Sk PoMidfc"s
DoypeseiftfatRldhiOirtfsorfBJSctoadB. if ■wosttaobad
samm© off ite peqpte ot fflte •wsmee cwJdh'if setum
the famous, for mast off fte '.v# pscpfe-
c citI c   j    t >n.r>  tr; F-^ =-  -r-.x-e.  _ri'j
wos oamrpourmrisdl wtiem ite faswtdi stated wits a
cssitfpte of gjuteter songs firemm lie stem aflemm, &sm
^itsMa^,/\tmAxBr!@'''AOmMmtoWmMmis^,'
to itaiff steswaase Ite ©raengf fey <csm tawwtratato
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M ptetoojoffJter Nteiil teaum ssM lo trrae,, "ihese m
satiififfiffflimgj aixafiM fhis fcenrrdi itet sucfes fms fsi© JfeBr'
stow..'" TBhe^wrfeofetetoi^
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aJb->ak lite ",rino!l:fk amtd ,-H'-sp? ,>-."' Ws&reweft ewass
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■ wsKlft Ute swraffi grtowp of]cJhaStes:rteftisj}iirfs«siidl^lte-
V^W&otfteswigL.
-;;- litewe -was at tpoiipf iirr, fe ssi \e«if)^E© II Htau#it
JHJanssjrrdl, Joe to$te ita^/«cois}),, Rata locJhtfik
jjgjuffiaj) armdi Starem Goodre ((apiiarr, ffilfcg in ta violinist
- ©zsta Stoc Com Ifeariagjitejj ooiaiHi tase eaeHjp waited
of fte stage foecajuss! of tifte dhafctc taut saffiKfere
Fms ttte msikl^Jte all fite i?iigfift, owiq or imaBuuI of sffltsuKM
tte^mceen ssm^, tans stalsedi ^dliirrg iraqpeslts tfeins Jite
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to "Iftew l?witew"|„ parr lite Wasn? fom& «te» oilf ri^it..
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wtdiisffis w© &mtm <smi tee oJf tJire stair,, we tmsent^t
feeiiira; I.. ®u*.«kw* we am."'
. n -^ i ii i      i       ii ii°   i.er -s'
aTi ttfrol poM.. lire band put ewsn'mtmi emscgj^ into
ei Mi i ttrreimtom^'ctedicotedtenns;atttteconcert
-ic i > in.i -^ -r ju- lil - "Jfate.'"TStey ^n
eififHireBr ssfJ OBwiJ tite eiKwdi eAs®i@d! Jfermsreaiei. Itvejf
cacr.u*owjltta ite•rr.c.-'i'? omdiobliged:the erc-vi'v««'«rT,
orri" fa^^uritek fttiroes' fens; l-od: beao- dk'i^Q; •;> i;i&an
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IMm's '-oi Cormas T .- >!ici , ' TBusyp toem-im: o
' r5.'.v:6i! ofMc "Hey. Oavk as. well.
TUte tr'r.grr-es' sJfiawed rlneir mastery of
steawsisiasjfti'p fe^emsJimg ftieii;- eneane: wiift: ai cswsif of
Qeaw"eJSJtels»stee's.''fD«v^!TQwrn.'' The show-ended'with
Ite: ejrawdi smsppiinQi fJheirr tjiagaiis and! singing; aSaaujt
liwimg; os o vamrrpine-.. Tkat. sangj let$ the crowd; quiet,
and! rc-i .i -• -.miuM r.c-■ re- ■ om for another
ejiieaKOv, wtriirdtT. the: band would) hgvej gjadly plteu><e.dL
VWittrt' Woe Con- te.moir:e.-"s; violin, missing ftraw.
ite ;in>i.-;ip. Ii was •■;!':aid ::;cre •vouid be something
;~";i3::;i i>3 flnearrfTi Itte rr'jnick" coriceii" teuit Ihcss fears
were aildyed: about a minute- into, the first song; and
the Frames gave what one Irishman in the crowd said
was one off the best concents ne- had ever seen. I
agree with him wholeheartedly.
Kings of Convenience
March 11
Richard's on Richards
Ever since quiet has been the new loud, things haven't
been quite the same. Extroverts became introverts,
and angst-ridden teenagers turned to making life-
sized models of the Velvet Underground in clay.
Chronicling all of this from Bergen, Norway has been 21
the Kings of Convenience, a duo of acoustic guitar
players and singers who write sparse but somehow
perfectly arranged songs. Unlike other acoustic acts
out there, though, Erik Glambek Boe and Erlend
0ye have secretly associated with different musical
styles (0ye being a respected DJ), and have made
friends in varied places, as noted by the follow-up to
their entirely acoustic debut album: a covers album.
Versus, of other artists including the likes of Ladytron
and Four Tet.
That being said, maybe it wasn't all that
surprising that the Kings of Convenience were able
to convince Canadian Arts & Craft star Leslie Feist
to come and join them on the stage for a surprise
appearance. What was surprising, however, was
the fact that these guys actually put on a fun live
show full of audience participation, sexy dancing,
and decent banter (especially after hearing stories
of their live show in Toronto, where one of them was
sick, and repeatedly left the stage in anger because
the cash registers at the bar were too noisy for him
to play over).
As usual, during the most tender and intimate
moments of the concert the edge of the crowd
turned to conversation faster than I could say "shut
up!" but the Kings of Convenience, instead of trying
to fight it by direct means, were able to simply
give the audience parts of their songs to sing, thus
keeping the musical intimacy and also giving every
listener who gave a damn an opportunity to help
keep the talkers at bay. Dang, those Norwegians are
a smart lot.
Soren Brothers
Youthinasia
Azimyth
March 15
Picadilly Pub
Nostalgia was the name of the game this night, as
some Southern Ontario punks joined Vancouver's
own Azimyth for a blast from the past extravaganza •
at the.Picadilly. The crowd was scarce, which tends
to happen to a mid-week, poorly advertised show, as
hipsters hit The Cellar for some pretentious boogying,
and college kids stay home playing Yahoo! Pool
instead of working on their PowerPoint presentations.
Nonetheless, a few handfuls of locals were treated
well by the $3 cover, the cheap pints, and some
mean Canadian rock.
On their second self-funded, cross-country
tour, the Brantford, Ontario foursome Youthinasia
delivered a solid jam in support of their latest E.P.—
recommended for ingenious E.T.-esque artwork and
melodic punk revival sentimentality. The Solution is
especially catchy. Short and sweet (pop) punk songs
were masterfully executed with a bruising ferocity the
Pic's diminutive stage definitely cursed the next day.
The music was reminiscent of NOFX, Green Day, and
Lagwagon, with singer Ryan Jarvis lapsing into Blink
182 poppiness and brief reggae-inspired grooves,
while excellent bass line bridges and tight drumming
made for a set highly enjoyable to locals and tourists
alike.
While Youthinasia delivered a dose of happy
mayhem circa J 995, Azimyth handed out distressing,
disturbing, brooding, screaming, post-grunge pop-
metal that took me back a few more years, to the
early nineties, when bands like Nirvana and the Pixies
were dishing out their angst and noise. Surprisingly
well-dressed this night, Azimyth did not 'hit' the stage;
they walked on, looked around the room, nodded to
each other, and commenced their set. t
This is a band that does not require wild onstage antics to be enjoyable. Their music has matured
since the band's conception in earty 2002, and now
demands a certain dignity; while I have seen a
younger singer/guitarist Corey Hawkins plummet to
the stage floor in Cobainesque anguish, this was not
the case tonight. I appreciate this band for their soft-
to-heavy transitions on all fronts. Dancing cymbals
explode into merciless cannonades, happy little
bass riffs get dark and broody, distortion pedals add
layers of noise to the guitars, and Hawkins' soft hums
mutate into morbid, resonant screams...and back
again, in the span of a single song.
Not their best show tonight, but certainly solid .
enough to gain more fans, provided more people
would get off their proverbial asses and support
local music! A hair-raising time was had by all, from
crunchy opener "We Won't Break" through a finale
deliriously covering CCR's "Fortune Son." This local
trio is not to be missed, and may well be gracing
larger stages in the not-too-distant future. Eat your
heart out. Blasphemers! You missed a good one.
Luke Brocki
Hood
Windows 78
March 23
Lamplighter
Giving an objective account of a live performance
by a band that you have long held in high regard
can be a challenging task. All too many fans watch
a band they love put on a mediocre-at-best show
and then stay up all night staring their friends in the
face and emphatically explaining how seeing Cat
Power was a pivotal musical experience for them. To
be brutally honest, a lot of bands' live performances
leave fans feeling like they just got a bad hand-
job from a best friend's younger sister: a little bit let
down and a little bit embarrassed. But before talking
about the slightly disappointing performance that
Hood put on for the slightly disappointing number of
people that came out on March 23,1 have to make
some room for the opening act, Windows 78.They
were bad washed in digital delay and reverb. The
lead singer started crying, I think I was crying too.
Okay, glad that's done with.
As I hinted at before. Hood has long been
a favorite band of mine. Having heard that the
members of Hood don't identify themselves as a "live
band," I should have checked my anticipation a little
bit during the week preceding the show, but all bets
were off after entertaining the idea that Dose One,
another long time favorite of mine who now resides
in Vancouver, just might lay down some live vocals
for the tracks he did on Hood's "Cold House." Even a
B-grade performance will sour the most partial fan if
their expectations haven't been properly grounded.
To be fair. Hood's performance wasn't awful,
they just weren't that good. They were able to keep
their set interesting and lively despite the fact that
their music is regularly slow and often bleak, but
their performance was irrevocably marred by some
unfortunate slip-ups. This was topped off by grimace-
worthy unraveling of the last song they played as
guitarist/lead singer Chris Adams simply gave up and
walked off stage. For a band that has been on tour for
some time now, it was an inexcusably unprofessional
finish. Dose proved to be a little rusty as well when he
jumped in early for his verse on "Branches Bare." So
much for anticipation, I guess.
But there were moments of brilliance on stage,
though, and by no means was the set a total loss. It
was great to hear the drum machines and broken-
up sampling done well live (see "The Lost You"), and
the drummer, whom (though I hate to admit it) I had
never paid much attention on Hood's albums, was a
real treat to watch. Yet overall, despite managing to
recreate their sound and atmosphere quite well and
despite frequent moments of greatness onstage,
their set was marred by some unfortunate slips. My
impossibly high expectations weren't met and I left a
little bit let down and a little bit embarrassed.
Michael Barrow
"%
■    mnm  BU
KILLS
"No Wow" In Stores Now
"No Wow steps up to the promise of their EPs
and debut LP, a boisterous reminder that kids
can still hook up to songs that are little more
than a guitar and attitude"
-Pitchfork 8.3 out of 10.
"Live, The Kills are simply stunning. Mosshart,
wreathed in smoke, prowls the stage Hke a
caged animal, while Hince tears away at his
guitar as though trying to dismantle it.
The effect is so raw and personal, you feel as
if you've wandered into theiif bedroom."
flrime Out New York DiSCORDER - April 2005
IN/11 IM
3332EI5E
z    rMOW,    IM
CD release show
April 7 @ Mesa Luna
Vancouver, BC
with Mount Eerie and Woelv
April 24
April 25
Blim
The 50-50
Vancouver, BC
Victoria, BC
with
with
Parenthetical Girls
Parenthetical Girls
and Biackavar
and Biackavar
indie rock for the small people! songs for kids and their
parents made by kids and their parents, with members of
the beekeepers, p:ano, veda hille, and ac newman!
in stores may 3!
ablum release show'.
sun^y apriMT^ noon
Vancouver east
cultural centre
NEKO CASE
Q
■M
%
Organ         a_  -
pu'si'^.i
III
THE ORGAN         THE SADIES     CAROLYN MARK
GRAB THAT GUN CD/LP      S» ESAYE DE NE PAS"        THE PROS AND CONS
NEW VIDEO COMING SOON!       B/W "LE DERNIER DU BON"         gp COLLABORATION
www.tiieorgan.ca                 2-SONG 7" SUNG EN FRANCAIS!
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JOHN GULIAK THE EVAPORATORS    ATOMIC 7
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726 RICHARDS
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ZULU RECORDS
1972 WEST 4TH
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Mint Records Inc. FO Box 3613, Vancouver BC V6B 3Y6 wwwjnintrecs.com 23
50 Foot Wow"* •*"5a
Golden Ocean
(Throwing Music/4AD)
So whose voice is that anyway?
Growly, powerful, explosive,
mined from the quarry and
cannon-balled through a wall of
whiplash guitars. Kristin Hersh is
guilty of wielding both. You mean
Ms. Hersh of Throwing Muses?
Oh yeahl Thank god that for
her, getting older means rocking
harder, and constantly putting
out new records. This time, she's
taken two-thirds of TM, thrown in
a new drummer, turned it up to.
11, made it possible for eardrums'
to bleed, and called it 50 Foot
Wave. You get her trademark
disjointed-yet-catchy songs with
her equally trademarked vocals,
her piercing guitar work, an ass-
kicking rhythm section and her
own kind of wall-of-sound. This is
Hersh at her loudest and angriest,
heartfelt and regretful, chaotic
and bitchy.
The problem is, she will always
have her past to be compared
to, and good as these songs are,
they're not her best. They all seem
to share a similar tone and flavour,
making them seem more like
eleven versions of the same song
rather than the distinct gems she's
capable of writing. Take University.
Throwing Muses' masterpiece.
Listen to the opening chords of
"Hazing" and how they seamlessly
kick into the full volume of Hersh's
howl. Or the perfect pop of "Bright
Yellow Gun." Or pretty much every
track, each with its own distinct
flavour. Going back further, check
"Counting Backwards" off The
Real Ramona (the last album
with Belly's Tanya Donelly) for
some classic Muses. Or "Delicate
Cutters" from the eponymous
first album (back in '86!) And in
2003, Hersh got back together
with her TM band-mates and put
out another eponymous record,
loud, heavy and really, really
good. Then there's her solo work
(fuck she's busy) including Sky
Motet from '99 that shows off her
quieter, more intimate brilliance.
But in the end, Kristin Hersh at her
not-so-best is still better than most
of the alterna-rock pretenders out
there. Pick up some of the older
stuff, get indoctrinated, and then
see if you can resist 50 Foot Wavev.
I couldn't.
Mr. Moo
-    Airborn Avmkn^.lSiSm*?    iJmd
Good Fortune
(Ninja Tune)
If you're a fan of the Antipop
Consortium but always had
personal issues with Beans,
Airborn Audio could be for you
(as this is the other two thirds of
the Consortium, High Priest and
M. Sayyid, though if you've made
it this far you probably already
knew that, and you've already
bought this album, and are just
reading this review to check if
I agree with you). As for those
of you who simply read "Ninja
Tune" at the top here, this only
might be up your alley—that is, if
you're one of those progressive
"'Tuners who've been exploring
the sounds of experimental rap.
This isn't Fog, though—this is a
couple guys rapping mostly about
themselves and about how good
their shit is, and then speeding
that up, slowing it down, singing
in falsettos about being stars, and
then throwing out backwards
loops. If it's lacking in any way,
it's that the first half of the album
feels somehow too sparse to give
it a solid bite. Still, half the fun of
experimental music is in coming
to terms with what at first sounded
like a bad idea, and the second
half of Good Fortune alone is
worth buying the album for.
Soren Bros.
TV
Bom Heller
s/t
(Locust)
This album came out almost a
full year ago with nary a whisper
to announce it, but some things
ought not to be passed by.
Bom Heller's Jason AJemlan
and Josephine Foster (who also
fronts talented folk-rock outfit The
Supposed) rewrite the time-worn
script of backwoods Americana
as a stark incantation. Less
melodramatic than Faun Fables
and more tense than White Magic,
Born Heller inhabit their own world.
but dn||th|ji seems wholly stt||ped
. 3pf pretenslngf artifice. TcySpl the
SayangemeK^|pr|giVmHmJ be
^^^^iderstate^^^^wotes   are
i^y&il*^ '"ce ^^5§^hedark—
aJfrpSfSs never, ty®. wtigrf one will
suTfios.  Thi^^pproacftfdoesn't
leave antfaiWRyf spaoels|jween
Fostei^pitbhy .groter and your
*J ©ai^Andf what a\S$|&$ei Her high,
.btffte croon wiKvsip^*our heart
-''***£ r9ise theLJ8&iV»pj.ifcte' back
of your neck. Likewise, Ajemian
uses his upright bass as a weapon,
sharpened with dissonance, that
thrusts in practised tandem with
Foster's harp and mandolin. This
rebarbative  style  could  classify
Born Heller as hard-edged avant-
gardists, but what really makes this
record shine are the songs that
embrace melody wholeheartedly,
albeit with scarred arms; "Big Sky
#4"   is   breathtakingly   intimate,
and "The Left Garden" is simply
one of the loveliest little will-o-
the-wisps you could ever hope to
hear. Incidentally, this album was
produced  by Paul Oldham  (of
the venerated Oldham dynasty).
If you've ever been a fan of his
brother's music, don't miss out on
this brutal, beautiful album.
Saelan Twerdy
It   '^IwW^'WF' '"'A-,.
| HAJPljrff
Canned Hamm
Erotic Thriller
(Boompa)
This album should be played
while working out. In the '80s. While
attempting to seduce someone. I
can't imagine at any point in my
life when this has happened to
me, nor do I see this scenario in
my future, but if I ever attempt to
create this setup then this album is
what I will pop into the stereo.
Canned Hamm is U'l Hamm,
who has an occasionally wailing
falsetto, and Big Hamm, who
has a deep throaty voice that
could possibly, if you're into large
bearded men who sing anthems
about divas, be described as sexy.
Their album consists of dancey
pumping beats and bizarre dialog
that you wiit either find Wiaricius
or confusing. Possibly both. The
majority of the album's content
is either what sort of women they
like, or why the two of them are
sexy. '80s-style backing music
is provided for the most part by
Stephen Hamm, but there is a lot
of local talent tossed in on various
tracks. This album is quite possibly
One fonniest thing I've heard since
Lovage, but holds together well as
a dance album.
Jordie Sparkle
Damon & Naomi
The Earth Is Blue
(Sonic Unyon)
I hate to say it, but the dream
is dead. Galaxie 500 is no more,
and the art of delicate slowcare is
finally starting to drift away in the
hands of these stranded members.
If you want to squeeze every last
drop out of the scene, then this
critically acclaimed album (which
you may have already heard
being played by the aficionados
at Zulu) might be your ticket. If
you're new to the scene but not
really sure where to start looking,
Damon & Naomi might push
your buttons, but I'd check out
bands like Movietone first, who just
somehow (in my opinion) pull it off
better. To its credit. The Earth is Blue
skillfully avoids over-production,
and has strong melodies that are
growing on me still. Maybe it's
due to the flexible guitar work of
Michio Kurihara, of the obscure
enough to be hip Japanese
band Ghost, or it could be the
King Crimsonesque cover of the
Beatles' "While My Guitar Gently
Weeps," but something strange
and occasionally attractive does
stick out from this recording. 1
can't quite bring myself to call
it beautiful, though, and that's
where I feel it just doesn't click.
Soren Bros.
ton and Wine
Woman King EP
Subpop
Sam Beam comes at us with
another version of his blissful
dreamy folk pop. This time,
around there seems to be
urgency to his structures. His
delicate progressions are altered
by a slightly faster pace and lush
orchestrations. Woman King as
an album deals with what it-rays:
Women, and it seems that we
may have finally reached the true
heart of Sam. Women are shown
to be kings, lovers, fallen, virgins,
■ life's driving force, and they are
so influential that this album has
not only its first electric guitar fuzz
through the soft vocals, but also
explicit language. It appears that
sex drives Iron and Wine, to break
out a little from his sleepy-core folk
to a world where "fucking" is what
we do. The dirty guitars mixed
with a beautifully sprawling string
arrangement, paints a picture,
the act of sex in its beauty and its
driving necessity in human nature.
However, as soon as the journey
reaches a point that you never
thought possible from an Iron and
Wine record, it is cut short, like an
amazing date would be. Lets all
hope that on the full length we
get asked in after the night seems
to be over.
Chris Walters
Laurent Gamier
Ihe Cloud Making Machine
(Mule Records)
Where to start? The Cloud Making
MacNne is music for the mentally
unbalanced and those who like it
that way. Don't listen to Laurent
Gamier if you wish to stay sane and
keep the world in perspective. A'
pervading nihilistic man/machine
hybrid dominates any sense you
may have of a decent society
and the results of such domination
are, in my opinion, cold-blooded
artistic Went. If you're already not
into electronic music, don't even
bother trying to get this. The cover
art and liner notes are the output of
either someone extremely insane,
or simply a crazy scientologist Hee
Tom Cruise or L. Ron Hubbard.
As well, the production sounds
stale yet alien (like a bad sci-fi
movie), providing only surprise
and unwanted incisions (it's like
the aural equivalent of going to
a potentially sadistic dentist). Get.
this: you are not actually hearing
any new sounds when Bstening
to this record, only a sharp and
acid-tongued composition by
one of the world's many tricksters.
However, you may just enjoy
it. The release kicks it like an
amateur assault, but cops out by
embracing style over substance.
Arthur K
The Kills
No Wow
(Domino)
Man, this album is sexy. Sexy,
dirty, and always moving, but
never rushing. It's as if it was written
in the midst of a motorcycle trip,
late at night in a run-down motel
with a carton of cigarettes and
a,few mickeys of JD. What I like
most about The Kills and their new
album. No Wow, is that they can
seemingly pull all this off without
even trying. It's in their blood.
While their drum machine keeps
time and even adds to the overall
feel, guitarist Hotel's fuzzed-out,
bluesy, at times, downright angry
playing is what carries the songs
and gives them their character.
Lead vocalist W possesses such
a seductive, sultry voice, that
you've got to be a eunuch not
to be even a Tittle turned on.
Hotel's low-key backup vocals
complement perfectly, keeping
the songs on the ground, where
they belong.
While the entire record is great,
it's not until midway through, with
"At the Back of the Shell," when
everything really comes together.
Wtth everything from the above-
mentioned guitar and vocals to
the tambourine and handclaps.
The Kills show what they are
capable of. "It ain't such a thrill,"
sings W, but I beg to differ.
The Kills have a strong country
influence, especially apparent in
songs such as "Rodeo Town" and
the closing track, 'Ticket Man,"
where VV does her best Lucinda
Williams impression. Sure, some
will complain the record is- a bit
samey, but I prefer to use the word
consistent. This Is an impressive set
of songs that combine to make
an album that is driving, raunchy,
and yes, I'P say it one more time,
sexy.
Robert Ferdman
The Mars Volta
Frances The Mute
(Strummer/Universal)
Face it: we could see this coming.
From the 8- and 12-minute tracks DiSCORDER - April 2005
S |         SHONEN KNIFE*
_____
NLL* \     The Evaporators
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<L^^L    Raised By Wolves
\I<*r
W ^ %    Friday, April 1st
1 Hv
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LSw
^GEORGE LEACH*
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^m                                 IVIy Olll
r ___w      Saturday, April 2nd
^'^fl
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ROBERT MICHEALS*
Pacifica
Saturday, April 2nd
The Wise Hall
1 E <°
DEAD MEADOW*
o S
Jennifer Gentle
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The Out Crowd
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Friday, April 8th
The Brickyard
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CALAMALKA
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q_£
Friday, April 8th
K&ffaEIH
The Anza Club
CD
BIG JOHN BATES
The Hitchers
s+z:
The Ultravixen Peepshow
g
The Stag Reels
i
Saturday, April 9th
The Brickyard
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THEE SHAMS
Les Mods
d
Sunday, April 17th
CD
The Piccadilly Pub
CO
GREG MACPHEARSON
>*•
with guest
Q_
Tuesday, April 19th,
**&!i
Pub 340
^**
BEDOUIN SOUNDCLASH
"O
with guest
Z5
Thursday, April 21st
P a
The Media Club
THE GRIS GRIS
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CD
The Christa Min
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with guest
c 2
Friday, April 22nd
Oi
The Piccadilly Pub
"J^N    M
DEBRIS INC.
o m
Goatsblood
--3 o
with guest
5C   CD
Friday, April 22nd
O 2
The Brickyard
n §
WEAKERTHANS*
■-*-    CD
CONSTANTINES
ZZZZ   co
with guest
CD®
Wednesday, April 27th
-Q <o
Mesa Luna
CDjS
THE SADIES*
*—- _o
with guest
u_r
Thursday, May 5th
The Red Room
from. 2003's De-Loused In The
Comatorium to the marathon
improvisations at live shows
(jamming on "Cicatriz E.S.P." for
almost 40 minutes), it was obvious
that The Mars Volta were heading
far from their At The Drive-In roots
into full-on prog-wank virtuoso
territory. But did we expect the
results to be this amazing"?
With 77 mjnutes of music split
among only 5 tracks, Frances
The Mute can be seen as either
a completely self-involved
descent into pretentiousness, or
a fantastic journey through an
enigmatic blend of styles and
moods. Omar's spastic guitar riffs
form the record's most accessible
parts, but the real unexpected
pleasures lie in the in-between
sections: John Frusciante's solos
on "L'Via L'Viaquez," Latin
great Larry Harlow's piano, free-
jazz saxophone parts, warbling
electronic ambiances, and even
a few short drum solos from Jon
Theodore. The occasional inclusion
of string and. brass ensembles
adds grandeur, or soft emotion in
the denouement of "Miranda That
Ghost Just Isn't Holy Anymore."
As a whole, it's pretentious as
hell, but it is also such an intense
musical experience that it comes
across as anything but boring.
The lyrics are trademark Mars
Volta trippiness—"brick by brick,
the night eclipsed pricked by
cuticle thorns"—and flow with
the music enough to enjoy
while ignoring the album's
concept. But they take on a
whole new dimension if you try
to decipher the storyline, which
(from what I gather) includes
snakes, pregnancy, and a body
in the closet...or something. The
title track "Frances The Mute,"
released on a separate single, is
supposed to "decode" the plot—
but I'm doubtful of how helpful it
could be with lines like the one I
quoted.
So, yeah...Frances is the one of
the craziest trips you can have for
$10 or less, and of those trips, it's
probably the most legal to boot.
So crank it, and I'll see you in
Latino heaven.
Simon Foreman
M.I.A.
Arular
(XL/Beggars)
I honestly don't know what to
say.
In expressing this lack of verbiage,
a friend suggested that I start this
review off with "every party I've
been to in the last three and a
half months has played at least
two tracks off this album. And I go
to.a lot of parties." Unfortunately,
I don't go to a lot of parties, so I
wouldn't know if this was true or
not. Enough about me, though,
and more about Arular.
Take Jamaican dancehall,
German techno, and Japanese
glitch. Throw them in a blender,
along with a healthy portion of so-
called world music. Layer in Maya
Arulpragasam, sometimes singing,
sometimes rapping, on all sorts of
topics from globalization and the
Tamil struggle to the seemingly
incomprehensible (what the hell is
a Galang, anyway?). It's a dense
album, layered with both sonic
textures and meanings; "Pull Up
the People" has rather an obvious
message, but "Sunshowers"
carries multiple themes which only
make sense after repeated listens.
I could go on about nuance and
detail and all those silly things us
music geeks love to froth about,
but there's no substitute for
actually picking up a copy of the
album. So go. You won't regret it.
Gerald Deo
'       "■" .:,'
"V
w
Montag
Alone, Not Atone
(Carpark/ gooom disques)
Amy Milan, the wonderful
voice of the Canadian indie-pop
sensation Stars, graces us with
her vocals on a few select tracks
of sprawling French techno-pop.
Ahhh yes—I think that is all I really
have to say. However, there
is much more to this beautiful
album than my secret love. In fact
Alone, Not Alone is the beginning
of a new onslaught of revivalist
French musique. Not as full as its
contemporaries and label mates
M83, Montag build upon layers of
blips and soft but not overbearing
synthesized noise. Delicate vocals
lightly add to the atmosphere of a
summer day spent on the French
countryside with Amy Milan
beside you singing you to a lulling
sleep. It appears to this reviewer
that everything Amy puts her
hand to will turn to gold, and it is
only a reassurance when Montag
is placed in the CD player beside
my bed.
Chris Walters
name here), this would perhaps
be the absolute worst album you
could have found, but if that was
the furthest thing from your mind
when you decided Jordi Rosen
was the thing for you then you
are on the right track. Lotus is an
incredibly cute album. It's not
deep, it's not epic and it has no
edge, but if you want to listen to
about how great it is to be in love,
this might be perfect. Okay, if the
last album you bought was by
someone who's name included
the word "blood" you're probably
gagging now, but if you haven't
been turned off by this nauseating
idea, you might be interested in
the fact that this album contains
an eclectic mix of instruments
from accordion to junk percussion.
It's sappy folk-pop, but it's done
well. Jordi Rosen might be for
the very specific tastes of those
who appreciate sincerity and
optimism, but she will certainly
satisfy those people, if nothing
else. Converge fans, today is not
your day. Sorry, guys.
Jordi Sparkle
Jordi Rosen
Lotus
(Independent)
If you were looking for the new
(insert   hardcore   metal   band 25
1 CANNED HAMM*
2 VANCOUGAR*
3 YOU SAY PARTY! WE SAY DIE!*
4 VALUE VILLAGE PEOPLE*
5 DANDI WIND*
(6 LCD SOUNDSYSTEM
17 THE CHEMICAL BROTHERS
6LENOMBRE*
19 ELEVATOR*
0 SAINT ETIENNE
1 DES ARK
2 BOOM BIP
3 HANK PINE AND LILY FAWN*
4 BELLA*
5 GREAT LAKE SWIMMERS*
6 JESU
7 NEW YEARS RESOLUTION*
8 THEIVERY CORPORATION
9 BONTEMPI*
Erotic Thriller
Pro-Am
Vancougar
You Say Party We Say Die!
Independent
Bluefog .
Blood Bath And Beyond
Worthy
Bait The Traps
Bongo Beat
LCD Soundsystem
Push The Button
DFA   •
Astralwerks
Scenario Catastrophe
Blow The Fuse
August
Bluefrog
Travel Edition
Sub Pop
Loose Lips Sink Ships
Bifocal Media
Blue Eyed in The Morning
Lex
The Road To New Orleans
Labelman
Pretty Mess
Independent
Bodies and Minds
Weewerk
Jesu
Hydra Head
Bullets of Love
Independent
The Cosmic Game
ESL
What Keeps Us Awake
Independent
20 PIERS WHYTE
21 M83
22 RAISED BY WOLVES*
23 CHOKE*
Piers Whyte
Before The Dawn Heals Us Away
Raised By Wolves
Slow Fade Or How I Learned To
Question Infinity
iltlllfilllf
Independent
Smallman
24 CROOKED FINGERS
Dignity And Shame
Merge
25 OUT LOUD
Let Us Never Speak Of It Again
Kranky
26 SOMETHING ABOUf VAMPIRES AND
SLUTS^
We Break our Own Hearts'
VMS
27 JEFF HANSON
Jeff Hanson
Kill Rock Stars
28 PONY UP!*
Pony UpJ
Dim mak
29 BLOC PARTY
Tulips
Dim Mak
30 THE BLUE VAN
The Art Of Rolling
TVT
31 IRON AND WINE
Woman King
Sub Pop
32 DOVES
Some Cities
Aslralwerks
33 P. MILES BRYSON
Megalomaniacs Decorator's
Quarterly
Illegal Art
34 BLACK MOUNTAIN
Black Mountain
Scratch
35 MONTAG
Alone, Not Alone
Goom
# Artist
Title
Label
-finding ^y>
\—_ —, _ ______
"tebeme .Corr\ DiSCORDER - April 2005
nEWiram
For CiTR 101.9FM
"TOiimWfl*^
SUNDAY
ARE YOU SERIOUS? MUSIC
9:00AM-12:00PM
All of time is measured by its art. This show presents the
most recent new music from around the world. Ears
open.
THE ROCKERS SHOW
12:00PM-3:00PM
Reggae inna ali styles and fashion.
BLOOD ON THE SADDLE alt.
3:00PM-5:00PM
Real cowshit-caught-in-yer-boots country.
AFROBEAT
3:00PM-5:00PM
In two hours, I take the listener for a spin—musically— '•
around the world; my passion is African music and
music from the Diaspora.
Afrobeat is where you can catch up on the latest in
the "World Music" scene and reminisce on the classic
collections. Don't miss it.
<uget_afrobeat@yahoo.com>
CHIPS WITH EVERYTHING alt.
5:00PM-6:00PM
British pop music from all decades.
SAINT TROPEZ alf.
5:00PM-6:00PM
International pop (Japanese, French, Swedish, British,
US, etc.), 60s soundtracks and lounge. Book your jet set
holiday now!
QUEER FM
6:00PM-8:00PM
Dedicated to the gay, lesbian, bisexual, and transsexual
communities of Vancouver. Lots of human interest
features, background on current issues, and great
music.
RHYTHMSINDIA
8:00PM-10:00PM
Rhythmslndia features a wide range of music from India,
including popular music from Indian movies from the
1930s to the present, classical music, .semi-classical
music such as Ghazals and Bhajans, and also Qawwafis,
pop, and regional language numbers.
TRANCENDANCE
10:00PM-12:00AM
Join us in practicing the ancient art of rising above
common thought and ideas as your host DJ Smiley
Mike lays down the latest trance cuts to propel us into
the domain of the mystic-al.
<trancendance@hotmail.com>
ELECTRONIC SPECTRUM
12:00AM-3:00AM
FILL-IN
3:00PM-6:00AM
MONDAY
FILL-IN
6:00AM- 8:00AM
BREAKFAST WITH THE BROWNS
8:00AM-11:00AM
Your favourite brown-sters, James and Peter, offer a
savoury blend of the familiar and exotic in a blend of
aural delights!
LIONS AND TIGERS AND BEARS...
11:00AM- 12:00PM
ALT. RADIO
12:00PM-1:00PM
Hosted by David B.
PARTS UNKNOWN
1:00PM-3:00PM
Underground pop for the minuses with the occasional
interview with your host, Chris.
SANDBOX THEATRE
3:0QPM-4:O0PM
A show of radio drama orchestrated and hosted by
UBC  students,  featuring  independent  works  from
local, national, and international theatre groups. We
welcome your involvement.
<sandboxtheatre@irotmail.com>
ABSOLUTE BEGINNERS
4:00PM-5:00PM
A chance for new CiTR DJs to flex their musical muscle.
Surprises galore.
THEFUPSIDE
5:00PM-6:00PM
Join me - Dallas Brodie - for stimulating talk radio
about local, national and international issues.
SON OF NITE DREEMS att.
6:00PM-7:30PM
SOLARIZATION alt.
6:00PM-6:30PM
MY ASS att.
6:30PM-7:30PM
Phelps, Albini, 'n* me.
WIGFLUX RADIO
7:30PM-?:00PM
Listen to Selecta Krystdbelle for your reggae education.
THE JAZZ SHOW
9:00PM-12:00AM
Vancouver's longest running prime-time jazz program.
Hosted by the ever-suave, Gavin Walker. Features at
11:00, as listed
March 7: Now.' is a socially significant album from master vibraphonist Bobby Hutcherson as it is a quintet recording with tenor saxophone giant Harold Land with
a difference: the quintet is augmented by a choir of
female voices led by lead singer Gene McDaniels: it
works beautifully!
March 14: Tonight the Jazz Show commemorates the
60th anniversary of the death of one of the twentieth century's greatest musicians ... None other that
Charlie Parker. "Bird" actually died on March 12,1955
and we present the groundbreaking alto saxophonist
in two well-rounded quartet sessions with an all-star
rhythm section. Timeless sounds!
March 21: Tonight the Jazz Show commemorates the
60th anniversary of the death of one of the twentieth century's greatest musicians... None other that
Charlie Parker. "Bird" actually died on March 12,1955
and we present the groundbreaking alto saxophonist
in two well-rounded quartet sessions with an all-star
rhythm section. Timeless sounds!
March 28: The Chicago Sound is a rare album by a
quintet of great players from the windy city. Bassist
Wilbur Ware is the leader and you'll also hear alto
saxophonist John Jenkins, drummer Wilbur Campbell
and Iwo Jazz masters who are still with us... tenorisf
Johnny Griffin and pianist Junior Mance. Windy city
jazz.
VENGEANCE IS MINE
12:00AM-3:00AM
All the best the world of punk rock has to offer, in the wee
hours of the mom. Hosted by Trevor.. .
FILL-IN
3:00AM - 6:30AM
TUESDAY
PACIFIC PICKIN'
6:30AM-8:00AM
Bluegrass, old-time music and its derivatives with Arthur
and "The Lovely Andrea" Berman.
HIGHBRED VOICES att.
8:00AM-9:30AM
FILL-IN
8:00AM-9:30AM
THIRD TIME'S THE CHARM
9:30AM-11:30AM
Open your ears and prepare for a shock! A harmless
note may make you a fanl Hear the menacing scourge
that is Rock and Rollf Deadlier than the most dangerous
criminal!
<bomir_xtynine@lrotmaJ.com>
LIVE HERE, WORK EVERYWHERE, alt.
11:30AM-12:00PM
CJLY - Kootenay Co-op Radio profiles 30 creative
enterprises   in   Nelson   with   markets   and   clients
worldwide. •
MORNING AFTER SHOW att.
11:30AM-12:30PM
REEL TO REAL att.
12:30PM-1:00PM
Movie reviews and criticism.
ENGAGING THE WORD alt.
1:00PM-2:00PM
Canadian    authors,   fiction   writers   and.  novelfets
interviewed by James O'Hearn.
BEATUP RONIN
12:00PM-2:00PM
Where dead samurai can program music.
CIRCUIT TRACING
2:00PM-3:30PM
EN AVANT LA MUSIQUE att.
3:30PM-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.
TANSI KIYAW alt.
3:30PM-4:30PM
Tansi kiyaw? Is Michif-Cree (one of the Metis languages)
for "Hello, How are you?" and is a monthly Indigenous
music and spoken word show. Hosted b June Scudeler
(for those who know me from other shows-1'm Metis!),
the show will feature music and spoken word as well
as events and news from Indian country and special
guests. Contact me at jlscudel@ucalgary.ca with news,
even listings and ideas. Megwetch!
FILL-IN
4:30PM-5:00PM
WENER'S BARBEQUE
5:O0PM-6:OOPM
Join the sports dept. for their coverage of the T-Birds.
FLEXYOURHEAD
6:O0PM-8:00PM
Up the punx, down the emo! Keepin' it real since 1989,
yo. flexyourhead.vancouverhardcore.com
SALARIO MINIMO
8:00PM- 10:00PM
THE LOVE DEN att.
10:00PM-12:00AM
<loveden@hotmail.com>
ESCAPISM att.
10:00PM-12.00AM
es • cap • ism n: escape from the reality or routine of life by
absorbing the mind in entertainment or fantasy.
Host: DJ Satyricon.
<DJSatyricon@hotmail.com>
AURAL TENTACLES
12:00AM-6:00AM
It could be punk, ethno, global, trance, spoken word,
rock, the unusual and the weird, or it could be
something different. Hosted by DJ Pierre.
WEDNESDAY
FILL-IN
6:00AM- 7:00AM
SUBURBAN JUNGLE
7:00AM-9:00AM
CiTR NEWS AND ARTS
9:00AM-10:00AM
EXQUISITE CORPSE
10:00AM-11:30AM
Experimental, radio-art, sound collage, filed recordings,
etc. Recommended for the insane.
ANOIZE
11:30AM-1:00PM
Luke Meat irritates and educates through musical
deconstruction. Recommended for the strong.
THESHAKEatt.
1:O0PM-2:OOPM
MIRCH MASALA alt.
1:O0PM-2:OOPM
DEMOCRACY NOW
2:00PM-3:00PM
Independent news hosted by award-winning journalists
Amy Goodman and Juan Gonzalez.
MOTORDADDY att.
3:O0PM-5:O0PM
Cycle-riffle rawk and roll!
RUMBLETONE RADIO att.
3:00PM-5:00PM
Primitive, fuzzed-out garage mayhem!
NECESSARY VOICES
5:00PM-6:30PM
Socio-political, environmental activist news and spoken
word with some music, too. www.necessaryvoices.org
<necesscrryvoices@telus.net>
AND SOMETIMES WHY att.
6:30PM-8:00PM
(First Wednesday of every month.)
BLUE MONDAY ait.
6:30PM-8:00PM
Vancouver's      only      industrial-elecfrora'c-retro-goth
program. Music to schtomp to, hosted by Coreen.
FILL-IN
8:O0PM-9:O0PMaH
JUICEBOX   .--C.,^0
8:00PM-9:00PMatt.
Developing your relational and individual sexual health,
expressing diversity, celebrating queemess and encouraging pleasure at all stages. Sexuality educators
Julia and Alix will quench your search for responsible,
progressive sexuality over your life span!
www.juiceboxradio.com
FOLK OASIS
9:00PM-11:00PM
Roots music for folkies and non-folkies... bluegrass, singer-
songwriters, worldbeat, alt country, and more. Not a
mragei
<folkoasis@canada.com>
HANS KLOSS' MISERY HOUR
11:00PM-2:00AM
This is pretty much, the best thing on radio.
FIRST FLOOR SOUND SYSTEM
2:00AM-6:00AM
THURSDAY
FILL - IN
6:00AM-8:00AM
END OF THE WORLD NEWS
8:00AM-10:00AM
SWEET AND HOT
10:00AM-11:30AM
Sweet dance music and hot jazz from the 1920s 30s
and 40s.
FIRED UP
11:30AM-12:00PM
Ever told yourself "I can't even boil water, let alone
cook a chicken or stir-fry vegetables!" Let Chef Marat
show you the way to create easy meals prepared in
the comfort of your own kitchen/bechelor pad or
car. OK, maybe not the car. Wouldn't want to spill
anything on the upholstery.
UNPACK YOUR ADJECTIVES
12:00PM-1:00PM
WE ALL FALL DOWN
1:00PM-2:00PM
Punk rock, indie pop, and whatever else I deem
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THE ONOMATOPOEIA SHOW
2:00PM-3:00PM
Comix comix comix. Oh yeah, and some music with
Robin.
RHYMES AND REASONS
3:00PM-5:00PM
DJ Knowone slaves over hot-multi-track to bring a
fresh continuous mix of fresh every week. Made
from scratch, samples and just a few drops of
fame. Our tables also have plethora of guest DJs,
performers, interviews, giveaways. Strong Bad and
the  occasional   public   service   announcements.
<eno_wonk@yahoo.ca>
LOCAL KIDS MAKE GOOD
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27
Local Dave brings you local music of all sorts. The
program most likely to play your band!
PEDAL REVOLUTIONARY alt.
5:00PM-6:00PM
Viva la Velorution! DJ Helmet Hair and Chainbreaker
Jane  give  you  all  the  bike  news  and  views
you need and even cruise around while doing.it!
www.bikesexual.org
NUTHOUSE RADIO THEATRE
6:00PM-7:30PM alt
Music inspired by Chocolate Thunder, Robert Robot
drops electro  past and  present,  hip  hop and
intergalactic funkmanship. <rbotlove@yahoo.com>
NUTHOUSE RADIO THEATRE
6:00PM-7:30PM alt.
All-original Canadian radio drama and performance
art written and performed live-to-air by our very
own team of playwrights and voice-actors. We also
welcome you to get involved, whether you are a
professional or inexperienced...
ON AIR WITH GREASED HAIR
7:30PM-9:00PM
The best in roots, rock 'n' roll and rhythm and blues
from 1942-1962 with your snappily-attired host, Gary
Olsen.
<ripitup55@telus.net>
LIVE FROM THUNDERBIRD RADIO HELL
9:00PM-11:00PM
Live From Thunderbird Radio Hell showcases local talent... LIVE! Honestly, don't even ask about the technical side of this. This month will probably be the best
month ever.
WORLD HEAT
11.00PM-1:00AM
An old punk rock heart considers the oneness of all
things and presents music of worlds near and far.
Your host, the great Daryl-ani, seeks reassurance via
<worldheat@hotmail.com>.
LAUGH TRACKS
1:00AM-2:00AM
BEATS FROM THE BASEMENT
2:00AM-6:00AM
FRIDAY
FILL-IN
6:00AM- 7:00AM
PLEASE ROCK THE DOOR
7:00AM-8:00AM
CAUGHT IN THE RED
8:00AM-10:00AM
Trawling the trash heap of over 50 years' worth of real
rock 'n' roll debris.
SKA-T'S SCENE-IK DRIVE! '
10:00AM-12:00PM
Email requests to: <djska_t@hotmail.com>
THESE ARE THE BREAKS
12:00PM-2:00PM
Top notch crate digger DJ Avi Shack mixes the
underground hip hop, old school classics and
original breaks.
RADIO ZERO
2:00PM-3:30PM
NARDWUAR THE HUMAN SERVIETTE PRESENTS...
3:30PM-5:00PM
CITR NEWS, SPORTS AND ARTS
5:0OPM-6:00PM
A   volunteer-produced,   student   and   community
newscast featuring news, sports and arts. Reports by
people like you. "Become the Media."
THE NORTHERN WISH (formerly THE NORTHERN WISH)
6:00PM-7:30PM
Independent Canadian music from almost every
genre imaginable covering the east coast to the left
coast and all points in between. Yes, even Montreal!
<thecanadianway@popstar.com>
AFRICAN RHYTHMS
7:30PM-9:00PM
David "Love" Jones brings you the best new and old
jazz, soul, Latin, samba, bossa and African music
. from around the world.
www.africanrhythmsradio.com
HOMEBASS
9:00PM-12:OOAM
Hosted by DJ Noah: techno but also some trance,
acid, tribal, etc. Guest DJs, interviews, retrospectives,
giveaways, and more.
I UKE THE SCRIBBLES alt.
12:00AM-2:00AM
THE ANTIDOTE alt.
12:00AM-2:00AM
THE VAMPIRE'S BALL
2:00AM-6:00AM
Dark, sinister music to soothe and/or move the
Dragon's soul. Hosted by Drake.
<thevampiresbail@yahoo.ca>
SATURDAY
FILL-IN
6:0OAM-8:0OPM
THE SATURDAY EDGE
8:00 AM-12:00PM
Studio guests, new releases, British comedy sketches,
folk music calendar and ticket giveaways.
8AM-9AM: African/World roots. 9AM-12PM: Celtic
music and performances.
GENERATION ANNIHILATION
12:00PM-1:00PM
A fine mix of streetpunk and old school hardcore
backed by band interviews, guest speakers, and
social commentary, www.streetpunkradio.com
<crashnburnradio@yahoo.ca>
POWERCHORD
1:00PM-3:00PM
Vancouver's only true metal show; local demo tapes,
imports,  and  other  rarities.   Gerald  Rattlehead,
Dwain, and Metal Ron do the damage.
CODE BLUE
3:00PM-5:00PM
From backwoods delta low-down slide to urban harp
honks, blues, and blues roots with your hosts Jim,
Andy and Paul.
THE LEO RAMIREZ SHOW
5:00PM-6:00PM
The best mix of music, news, sports and commentary
from around the local and international Latin
American communities.
BATTLE ZONE
6:00PM-7:00PM
Each show will make you feel as though you're
listening in on conversations between political
insiders. As well, this guest and caller-driven programs
its guest from opposite ends of the corridor of public
argument against one another in ho-holds barred
debate that takes you behind today's headlines.
SHADOW JUGGLERS
7:00PM-9:00PM
An exciting chow of Drum n' Bass with Djs Jimungle
& Bias on the ones and twos, plus gusts. Listen for
givawas eyeryweek. Keep feelin da beatz.
SYNAPTIC SANDWICH
9:00PM-1 1:00PM
PLUTONIAN NIGHTS
11:00PM-1:00AM
Cutting-edge, progressive organ music with resident
Haitchc and various guest performers/DJs. Bye-bye
civilisation, keep smiling blue, Where's me bloody
anesthetic then? http://plutonia.org
EARWAX
1:00AM-4:30AM
"noiz terror mindfuck hardcore like punk/beatz drop
dem headz rock inna junglist mashup/distort da
source full force with needlz on wax/my chaos runs
rampant when I free da jazz..." Out.
REGGAE LINKUP
4:30AM-9:OOAM
Hardcore dancehall reggae. Hosted by Sister B.
SUNDAY
MONDAY
TUESiDAY       WEDNESDAY      THURSiDAY
FRiDAY
SATURiDAY
9
10
11
12-
IB
2
3
4
5
6
7
8
9
10
I
12a«
1
2
3
4
5
6
REGGAE LINKUP
(RG)   ■
ARE YOU SERIOUS?
MUSIC (EC)
ROCKERS
SHOW(RG)
BLOOD
ON THE
SADDLE (RT)
AFROBEAT
(WO)
QUEER FM
(TK)
RHYTHMSINDIA
(WO)
ELECTRONIC
SPECTRUM
(DC)
FILL-IN
FILL-IN
BREAKFAST WITH
THE BROWNS
(EC)
UONS AND TIGERS AND BEARS
ALT. RADIO (PO)
PARTS
UNKNOWN (PO)
SANDBOX THEATRE (TK)
ABSOLUTE BEGINNERS (EC)
THE FUPS1DE fTK)
WIGFLUX RADIO (RG)
THEJAZZ
SHOW
(JZ)
VENGEANCE
IS MINE!
(PU)
PACIFIC PICKIN'
(RT)
HIGHBRED        FILL-IN
VOICES (WO)
THIRD TIMES
THE CHARM (RR)
BEATUP
RONIN
(K)
CIRCUIT TRACING
(DC/EC)
WENER'S BBQ (SP)
FLEX YOUR
HEAD(HC)
SALARIO MINIMO
(WO)
THE LOVE
DEN
(EC)
ESCAPISM
(EC)
TENTACLES
(EC)
SUBURBAN JUNGLE
(EC)
CITR NEWS*ARTS (TK)
EXQUISITE CORPSE (EX)
ANOIZE (NO)
THE SHAKE (RR)      I   M1RCH MASALA (WO)
DEMOCRACY NOW (TK)
RUMBLETONE
RADIO
(RR)
MOTORDADDY
(RR)
NECESSARY VOICES (TK)
AND SOMETIMES
WHY (PO/EC)
BLUE MONDAY
(Gl)
JUICEBOX (TK)
FOLK OASIS (RT)
HANS KLOSS'
MISERY HOUR
(HK)
FIRST FLOOR
SOUNDSYSTEM
(EC)
FILL-IN
END OF THE WORLD NEWS
(EC)
SWEET'N'HOT (EC)
UNPACK YOUR ADJECTIVES (PO/EC)
WE ALL FALL DOWN (EC)
THE ONOMATOPOEIA SHOW (TK)
RHYMES &
REASONS (HH)
LOCAL KIDS
MAKE 6000 (EC)
NUTHOUSE
RADIO THEATRE
PEDAL
REVOLUTION (TK)
ON AIR WITH
GREASED HAIR (RR)
LIVE FROM...
THUNDERBIRD HELL (LM)
WORLD HEAT
(WO)
LAUGH TRACKS (TK)
BEATS FROM THE BASEMENT
FILL-IN
PLEASE ROCK THE DOOR (EC)
CAUGHT IN
THE RED (RR)
SKA-T'S
SCENIC DRIVE (SK)
THESE ARE THE
BREAKS (HH)
RADIO ZERO (EC)
NARDWUAR
PRESENTS (NW)
CiTR NEWS AND ARTS (TK)
THE CANADIAN WAY
(EC)
AFRICAN RHYTHMS
(WO)
HOMEBASS
(DC)
I UKE THE
SCRIBBLES (EC)
THE ANTIDOTE
(EC)
THE VAMPIRE'S
BALL (GI/MT)
THE
SATURDAY
EDGE (RT)
GENERATION ANNIHILATION (PU)
POWERCHORD
(MT)
CODE BLUE
(RT)
LEO RAMIREZ SHOW (WO)
RACHEL MARSLEN SHOW (TK)
SHADOW JUGGLERS
(DC)
SYNAPTIC SANDWICH
(DC/EC)
PLUTONIAN
NIGHTS (DC)
EARWAX
(HH/DC)
REGGAE UNKUP(RG)
DOdance/electronic • EOeclectic • EX=experimental • FR=French language * GI=goth/industrial • HOhardcore • HH=hiphop • HK=Hans Kloss * JZ=jazz
LMHive music • LOlounge • MT=metal • NOnoise • NW-Nardwuar • PO-pop • PU-punk • RG=reggae • RR=rock • RT=roots • SK=ska • SP-sporte • TK«tatk • WO-world I
9
10
11
12-
1
I
3
4
5
6
7
8
9
10
11
12**
1
2
3
4
5
6 DiSCORDER - April 2005
THE BUDDY SYSTEM Partner up this Apri at Zulu
THE DECEMBERISTS
Picaresque CD
At the time of writing this indie rock marketing campaign, all Decembrists fans were
wading through the sad soggy streets^ their
cheeks wet with tears freshly shed. The whispers in their ears bore the gloomy news bulletin: the Vancouver show was cancelled. What
evil mind would steal a. rock band's equipment?
Heartless loser! Vile thief! Lame duck luckless! Gentlemen grabbed their
muskets, madams grabbed their flint locks >- the search for "public enemy
number one" began and then ended with grief, serrow and a renewed array
of equipment. And so, the band remains committed to bringing the glory of
their latest and greatest Picaresque release to a Jive stage for us. A bawdy
cacophony ot melodies and sea shanty instrumentation, this release finds
our favorite literate quintet at home in opium dens, brothels and midnight
graveyards, looking for their enchanted muse: the spirit aesthetic. Enjoy.
CD 16.98
KEREN ANN
Nolita CD
Picking up the silk threads that retrace the
detached chanteuse lineage, from the ever-
enigmatic Nico through to the wispy chamber
pop of Francoise Hardy, is no easy task. The
pitfalls of engaging the existential 60s forlorn
folk aesthetic are many, as are the examples of
artists lying wounded by the side of the road,
especially as the current milieu seems wanton to rediscover this innocent J
and beautiful sonic epoch. Enter Keren km. You may remember us last   J
year singing her praises with the release of her first North American records
ing, I'm Not Going Anywhere. Her enchanting acoustic odes had us spellbound, taking our iPods into the woods in search of serenity and a spot tar
make love to our loved ones (see Yo La Tengo write up here). Ann's next
sojourn, Nolita, picks up on mis bream-taking beauty while offering a more
developed sonic palette, including sublime flourishes of Sephardic strings,
Fine music for watching flowers wilt.
CD16;98
MICAHP.WISON
And the Gospel of Progress CD
Othe beautiful sadness, the sadness of beauty. This one will bring you
way down but to show you its secret. And lord its truth is woeful and
awesome, its emotional impact like breath. Hearthe sad story of a fallen
youth, Memphis, Tennessee. Love, of course, then heartbreak. Could the
music be redemption? The music is uncommonly good, to be sure.
Sometimes lush, other times spare, so full of pathos and atmosphere.
Every little quirk, crackle and flourish fits just so, then the instrumentation
and yes the singing — pure presence. Not totally out of the blue (or the
darkness), there's some familiar stuff here, too: a little Neutral Milk Hotel,
Palace, Songs ohios, Silver Jews, sometimes even Modest Mouse and
Arcade Fire, except way, way, way more mellow and sweetly sad. All this is
high praise but well earned. This record stands out Ninon and the band
the Eariies have made some real magic, a world-weary new American
Gothic. Recommended. AVAILABLE APRIL 8TH
Arular CD
CD 16.98
SIIVERMT20N MEMORIAL
ORCHESTRA
Horses in the Sky 2LP/CD
Idealism is a hard bag, a certain melancholy seems unavoidable. Also, it is
a challenge to be moreftan a grump, even if well justified. Thus, these
Montreal cats try hard to be positive, even in their grimiest, most ragged
and tormented melodrama. And they're right: shit's an ugly beast, man, the
system makes it rough. Can't blame them, cynicism can be a spiral jetty —
worse, it often starts wtth compassion. Here's the thing, though: the hard
knocks keep them focused instead of depleted. Despite it all, they turn to
their instruments and songs, in other words, they turn to emotionality.
Here, perhaps more than before, they want to make love, to bring love, to
say love. Not just romantic love, but love in the sense of agape: love as a
principle for life, the basis for an ethics of love. Take away the Christian
subtext, or rather directly challenging the Christian subtext, counterpoised
with a self-critical Judaism and a politicized humanism, both fueled by
punky post-rock theatrics, and love seems radical again. Is this the
answer? AVAILABLE APRIL 5TH
CD 14.98   2LP 18.98
SALE PSICES M EFFECT _Wt% APRIL 30, 2005
—at^Jlty-
•old Sri Lankan Tamil
who moved to England when
she was nine and now performs under the name M.I.A.
—■ has been tearing up the
charts in the UK since 2003 with the singles Galang" and
"Sunshowers". And now, finally, M.I.A. s first proper full
length "Arular (after last year's mixtape collaboration with
Diplo titled Piracy Funds Terrorism vol 1") will be available in North America. Making most of her sharp beats on
the Roland MC-505 Groovebox and then adding to those
demos with the help of various producers, M.I.A.'s
strengths are her knack for writing insanely catchy dance
tracks to play off her original voealstyle and her use of
colourful, at times political, lyrics. "From Congo to
Columbo, can't stereotype my thing yo!*, M.I.A. blasts
with bombast on her single "
Galang-alang-alang."
CD 16.98
PEFUSE73
Surrounded By
Silence CD/LP
RetamJng-to his better-known
moniker, Scott Herren has
pulled out all the stops and
phoned up everyone he knows
for his most recent hip-hop
meets IDM deconstruction, including celebrity guest work
by Ghostface Killer, EL-P, Aesop Rock, Beans, Mania
Killah, GZA, Claudia Deheza, Kara Makino and more. But
with Herren, the real ski and magic are always behind the
vocals. Building fantastic beats, grooves and textures from
the smallest snippets of funk, soul, jazz, hip-hop and
abstract sounds, Herren is a left-field master of the sampler,
the king of quantization. Sometimes his work is so artful
that it passes by unnoticed with a first listen. Spend some
quality time with it, however, and a whole undulating micro-
sound universe is revealed, each part complexly interrelated
like fantastic, fecher-esque etockwork. Yet Herren never lets
the beat waver, no mater how complicated the mix, always
steady with the licks, hits, stabs add beats. Just one question: what silence?
CD 16.98   LP 19.98
YO LA TENGO
Prisoners of
LoveA
Smattering of
Scintillating
Senescent
.   1985-20033CD
own up to a certain generational trend: babies.
I—They're everywhere, in uncommon abundance. Now, let's
look at the period of time covered by this excellent new Yo
La Tengo compilation: 1985-2003 Hmm. Note the possible
relationship. This is not coincidence, this is history: the (primarily hetero) people bom a bit before and around 1985,
the mid thirty to early twenties set, have started to reproduce, plentifully. If you find your partner and yourself in mis
cohort, then we have six important words for you: baby's,
first three compact disc compilation. Indeed, this compilation is right for both nap and playtime. Most importantly, it
will help your child grow up with the best musical values —
now, while they're still young. With two "greatest hits" discs
and one disc of coot rarities, enrichment is ensured. Plus,
when the kid's asleep and the lights are low, this collection
also inspires the same old magic: baby's first brother or sister, perhaps?
3CD 26.98
HOTHOTHEAT
Elevator CD
Now calling Vancouver home,
Victoria's biggest success
story blast out of the gates with
their second full-length (not
including their early material).   -
"Elevator" picks up where     1
"Make Up the Breakdown" left
off three years ago and it seems these guys have rr
into the band they always promised to be, writing insanely catchy pop hits like Island of the Honest Man" and
"Goodnight Goodnight". These singles are sure to be in
heavy radio rotation, just in time for your summer soundtrack. Elevator is full of songs that you will not be able to
stop hipmlng. This record also marks the depaljjre of jj
guitarist Dante Decaro, who plays on the album but since
amicably left the band to follow his own creative muse. Hot
Hot Heat has successfully crawled out from under the
dance-punk pigeonhole, creating a solid rock n roll record.
Won't miss their energetic live show, coming to town just a
few days after you get this new record In your hot hot little
hands. Don't take the stairs: this elevator is on its way
waaaayyyup! AVAILABLE APRIL 5TH
CD 16.98
ROOTS MANUVA
Awfully Deep
CDV2LP
Grime is supposedly the new
big UK thing, a kind of
uniquely English hip-hop. Yet
Rodney Smith, a.k.a. Roots
Manuva, presents an alternative and perhaps more thoroughgoing expression of contemporary, postcotonial English fife. Not bound by genre,
his hip-hop is anything but univocal, broadminded not
trendy. Although his take is fundamentally eclectic, with
multiple and diverse references—sometimes dubby, other
times electro, most often solid hip-hop — his creative personality is always clear, presenting a distinctive synthesis,
never a flip hodgepodge. Smith also has the captivating and
authoritative presence of a soul singer: he compels listeners
to listen. In this way and others, Smith's work closely
resembles Michael FranB and Spearhead, who also jumps
from soul to hip-hop to reggae, all without losing a solid
sense of individuality. Also tike Franti arid Spearhead, we
predict Vancouver is going to love Smith's Awfully Deep.
CD 16.98   2LP 24.98
MNO
nCD
y
BLOC PARTY
Silent Alarm CD
Songs, 1
There is always plenty to get
excited about when it comes
to unique new bands with talent to bum, popping up from
London's cutting edge underground. And right now, everyone's eyes are fixed squarely
on South London newcomers Bloc Party. With a series of
unbelievably strong singles released in 2004 on small, hip
record labels like Wichita inlhe U&and Dim Mak in the US,
the debut full length is finally available in North America c/o
Vita Recordings. The hype surrounding this band has been
massive and perhaps even well deserved considering there
isn't a single weak track on the album. Aside from the dangerously danceable, rhythmic tracks like "Banquet" or
"Helicopter" being the obvious standouts, Silent Alarm is a
memorable rock n roll album full of surprisingly emotional
moments on songs such as luno" or "This Modem Love".
Frontman Kale Okereke's yelping vocals and the band's
twin guitar assault provide marry twists and turns amidst
stonningly well-crafted, edgy pop songs, proving-ihat""
Party aren't a one-trick pony. All hyperbole aside.
Alarm" may just be the best debut album released so far
this year.
LocaTquartet Pauto have long
been favourites of Zulu staff and
customers alike. Brigadoon is the
band's third CD and its firsffof
Mint Records. Of course, th&"j
album has superb tunes, diverse
arrangements and inspired production aplenty. Nevertheless,
P:ano's new material marks a significant departure from the work
these youngsters have delighted us with in the past: Never have
they sounded more like themselves — good-humoured, imaginative, mischievous, and just a little awkward. Brigadoon is easily
their most upbeat offering to date and seems bound to sound- .
track many a dreamy spring afternoon spent wandering
Vancouverfts blossom-filled streets. Take to it with confidence
and courage. AVAILABLE APRIL 5TH
CD 12.98
CASTLE
PROJECT
Diaries of a
Broken Heft CD
The White Whale collective must |
have gold miner bloodlines.
. They've managed to sift through
Vancouver's raging rivers of indie pop-rock, panning out some
melodious Beatle-esque nuggets. Enter Castle Projects, ex-
Spitfire Ryan Ostiguy, and his dour titled debut effort! Fusing
baroque charm with delicate embellishments of cello, synth and
bombastic brass, Ostiguy does the impossible: creating a gorgeous pop record dedicated to the break up of his marriage.
Think purer than Pedro the Lion. Think cooler than Coldplay.
Think absolute fucking heartbreak.
CD 14.98
CADEAJH
Physical City CD
There is a Vancouver most people never know about. There is a
Vancouver, even Vancouver Magazine doesn't know about.
Our best journalists have been sent out in London Fog trench
coats to get the scoop on this unknown Vancouver, but we lost
track of their rice trail somewhere around the lower eastside
Dodson boozecan. Next we dispatched undercover agents, recommending they get their hair cut, and then sent them to knock
on the doors r^amauver'sWrysical City — of course they've
never been heard of again. And so, we turn to oar pais in .',
Cadeaux for a full report on Vancouver's Physical City — the
art-rock dance party underbelly of a scene where qnty the toughest of punks survive. Having opened for Q and Not 0, El Guapo,
The Organ and Panthers, this voice must now be heard.
CD 14.98
HOLD HANDS WTIH MORE OF
THE FINEST SOUNDS AROUND
ANGELS OF UGHT - The Angels Of light Sing 'Other People'
SOUNDTRACK OF OUR LIVES- Origins 1
AHCBTTECTORE IN H&SINKI - In Case We Die CD
7lilll npii#^ Flash Free ApriioMny7
11!ill lib WU Live Music Photographs by Adem PW Smith
A collection of striking music performance photos including Cluck D (Public Enemy), «Js Coleman
fKllling Joke)r Mlda^ Htse, n^ vlm^e shots of The Ml and mope.
CD 16.98
I 'KZCORdSA
NICK CAVE-B-Sides and Rarities 3CD
CHICKS ON SPEED S THE NOHEADS - Press The Spacebar 2LP/CD
DAFT PUNK-Human After All CD
LOUIS XIV • The Best Little Secrets Are Kept CD
OUTHUO- Let Us Never Speak ot It Again IP/CD
QUEENS OF TK STONE AGE - Lullabies to Paralyze CD (Universal)
RADAR BROS-The Fallen Leaf Pages CD (Merge)
V/A - PROJECT BUWfEO 10TH YEAR ANNIVERSARY 2LP/CD+0VD
BECK -Euro IP/CO (Geften)
REGGIES THE FUU EFFECT-Songs Not To Set Married To CD
CHET -Kami CD (Hive)
CLEM SNRX - From The End 01 Love CD (Spin Art)
« CO (Ipecac)
rLP/CD(EMQ
JAGA JAZZIST- What We Must CD (Ninja Tune)
MAGNOLIA ELECTRIC CO. (aka SONGS: OHIA) -What Comes After The
MUM IP/CO (Secretly Canadian)
-S/T CD
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
www.zulurecords.com
STORE HOURS
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30

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