geoff mmm . sammm festivals oe GIANTESS • STREETLIGHT . HANSON FANS GlfflL TALK 1 NO AGE . UH HUH HEft IHAI BbDAZZLtD MAGAZINE FROM CiTR 101.9FM VraW.901LLSKATES.COM SELECT SKATEBOARDS LONGBOARDS SKIMBOARDS BICYCLES CLOTHING EXCESSORIES 1 CANADA'S OLDEST SKATEBOARD SHOP ^^^^^^ 2868 W. 4TH AVE. 604 739 7796 2 September 2008 (^iD^^ editor's nole§§ Editor Jordie Yow Art Director Cole Johnston Production Manager Kristin Warkentin Copy Editors Jordie Yow Alex Smith Liz Brant Kristin Warkentin Ad Manager Catherine Rana Under Review Editor Melissa Smith Datebook Editor Melanie Colesn RLA Editor Layout + Design Cole Johnston < Contributors Jordie Yow Bryce Dunn Dan Fumano Simon Foreman Alex Hudson Benjamin Luk Katie Nanton Christopher Olson Mine Salkin Melissa Smith Quinn Omori Alex Smith Luke Meat Lauren Roberts NickPannu Greg McMullen Justin Langille Nathan Pike . Val Cormier Peter Holmes Photo & Illustration Cole Johnston Gerald Deo Nathan Pike Mo Gillis Quinn Omori Benjamin Luk Peter Holmes Charts Luke Meat Publisher ' Student Radio Society of UBC Cover Art By: Cole Johnston CELLULOID SOCIAL CLUB . Vancity's independent filmmakers. GIANTESS 8 Vancouver rock troubadour Stephen Wood talks about being in it for the long haul. GEOFF BERNER 10 On why he used the Reductio adHitlerum argument in Winnipeg. HANSON FANS IP Still has fans. Hot ones apparently. STREETLIGHI 14 A heartwarming tale of friendship. SUB POP'S 2DTH 19 The "Hype Machine" still wants to be bigger than punk rock. SLED ISLAND __ A look at Calgary's hottest music fest. pemberion ee Maxwell Maxwell provides us with his unique take on the fest. SEPIrOl/Bffi ©DiSCORDER 2008 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 7,000. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage). Please make cheques or money orders to Discorder Magazine. If you would like to write for Discorder pie send your idea and a writing sample to editor.discorder@gmail.com. Ad space is available for the September issue and can be booked by calling 604.822,3017 ext 3 or emailing discorder.advertising@gmail.com. Our rates are available upon request. Discorder does not accept unsolicited material, but welcomes new writers. For more info, coi discorder@gmail.com. Discorder is not responsible for loss, damage, or any other injury to any submitted materials, solicited or unsolicited, including but not limited to manuscripts, artwork, photographs, compact discs, review materials, or any other submitted materials. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 FM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, at 822.3017, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364,e-mailusat:citrmgr@mail.ams.ubc.caorjustpickupapenand write#233-6138SUBBlvd.,Vancouver,BC,V6TlZl,CANADA.Ifyouwould like Discorder Magazine in your business, email distro.discorder @ gmail. com to be added to our distribution list. Hello readers of Discorder: Lots of new things happening on our side of things. This is my first issue as editor of the magazine, which I'm excited/nervous about. I've been working with Discorder for a long time now and hope to spend a while longer as editor. There are going to be some changes coming down the road because of that. The devoted reader might be able to detect some already. Discorder has always been dedicated to promoting the local, the obscure and the independent musician. We will continue to do our best to bring what we think are underrepresented pieces of local culture to your attention. Promoting the artists who traditionally get passed over in more mainstream media, such as Giantess, Streetlight and Geoff Berner (our featured bands this issue), is important and we will continue to cover them. But we're also including an article about Hanson's fans and a Celine Dion book in this issue. Those of you with more delicate sensibilities may have spat a bit of coffee out over that one. An understanding of pop culture (and music does fall under that umbrella) isn't just about being able to namedrop the latest bands or list off more Pixies B-sides than the next person. It's most importantly about why we love the latest band and why others love their favourite band. Lauren Roberts and Simon Foreman make us look a little closer at why we value certain forms of artistry over others. In the upcoming issues while I am at the helm I want to run more articles looking for answers to the why of music. So if everything goes according to plan you'll see some. It's sad to say, but my first issue will also be our art director Cole Johnson's last issue. He is a trooper who managed to put this issue together despite being a day and a half behind schedule after his plane was delayed and then spending a day in the hospital getting testecUfor listeria. Cole has put together some great layouts for Discorder and we wish him all the best. If you or someone you know is interested in taking his place, you should apply. Check out the details on page 14. 'Til next month. Discorder 3 Ju fe DROCE D Hello again music-minded souls! My job as reviewer has been made incredibly easy this month due to a trio of releases from the always-adventurous Sweet Rot Records and an Albertan duo with a double 7" ER Come to think of it, all the bands featured are duos. Brandishing the aforementioned label come the Seattle duo, Love Tan (formerly known as Pyramids) who usher forth a six song effort which ranges from the curiously falsetto-sung bombast of "This Land Is No Good," to the Krafmeik-on-Quaaludes "Berlin Rumble Part 1," to the slinky Beat Happening inspired "Ring Ring," so there's a litde something for everybody here. The Anals from France keep it decidedly sparse and stoic on their two-song single, and while most folks in other reviews seem to be down with this duo, I sadly am not. "Commando Of Love" steals from Suicide and disguises it as a soundtrack for post WWII Germany, but "Wake Up You're Dead" fares worse; though a punchy keyboard pace permeates throughout, the monotone vocal delivery leaves this dead in the water for me.. Submitted along with the two previous titles was an EP from a Southern California twosome known as The Robot Assassins. Further investigation finds that this was originally released over a decade ago and any copies that may have existed when the band was active are fetching collector nerd status points around the worid. This is more my speed — lo-fi, Killed By Death meets eariy Rip Off records-style garage trash. Tracks include the Supercharger-esque basement din of "Keep Away" and the band's namesake song "Robot Assassins", as well as "C-B-E" which could very well use those chords, and I could tell you for sure if I wasn't such a dunce when it comes to music theory. However, the pair gave me a clue to the origin of the title when they enthusiastically sang, "Cigarette butts everywhere." Six songs of guitar, drums and good times. This is a keeper. Lastly, a Canadian duo whose debut is not only an auditory - adventure, but a visual one as well. The Famines shed the skins of their previous bands (for guitarist Raymond Biesinger it was The Vertical Struts, for drummer Gareth Kreuger, The Wolfhote). Rather than taking the easy route by agreeing to simply meld the two bands' sounds together, the eponymous EP comes off sounding a little more refreshed and inventive, and in some cases (like with the track "Gimme Some Numbers") eerily reminiscent of another Edmonton duo, Whitey Houston, with its pummel- ing "War Pigs" inspired drum breaks. TWA Flight 553" is solemn Wire worship, and "I Like Some OfThe Things You Do" just barrels happily along, all the while singing the paradoxical praises of Islam (based on the singer's erstwhile impression of the peoples of the Middle East). The accompanying booklet, a series of pictures juxtaposing geography with pop culture symbols, is an intriguing if sUghdy self-serving addition to the music:—but don't let that stop you from checking this out. Q Love Tan & die Amis (Sweet Rot Records, my5pace.com/svbeetrotreconis) The Robot Assassins (Total Sound Records, 2036 XJaiversity Ave. Berke- k|^Q|/ USA 94704, but aMiable through Sweet Rot Records). The Famines (Selfreleased, check www.thefamines.ca for mcmT(!00' BLACK MOUNTAIN LIVE! Monday September 1 @ The Stanley Park Singing Exhibition Black Mountain are a Polaris Prize finalist for Best Canadian Album of the Year! Good luck! BACK TO SCHOOL FEATURES IN OUR STORE -ATLAS SOUND - Let The Blind Lead Those Who Can See But Cannot Feel 2LP/CD BIRD SHOW - Untitled CD BLACK TIME - Double Negative LP/CD BORIS-Smile 2LP/CD BOSTON SPACESHIPS - Brown Submarine LP/CD CEREMONY - Still Nothing Moves You LP/CD COLD WORLD - Dedicated to Babies Who Came Feet First LP/CD KIMYA DAWSON - Alphabutt LP/CD THE DEAD SCIENCE - Villainaire 180g LP/CD DEFEKTORS • two new 7" singles THE ERGS - Hindsight is 20/20, My Friend 2LP/CD O THE FIERY FURNACES - Remember 3LP/2CD THE GIRLS • Yes, No, Yes, No, Yes, No LP/CD GRAVE MAKER - Bury Me At Sea CD GROWING - Ali The Way LP/CD HIGH PLACES - s/t LP/CD HOLD STEADY - Stay Positive 2LP/CD THE HOWLING HEX - Earth Junk LP/CD JAGUAR LOVE -Take Me To The Sea 180g LP/CD DAMIEN JURADO - Caught In The Trees LP/CD MUTATORS - Secret Lite LP NAGISA NI TE - Yosuga 2LP/CD THE NEW YEAR - s/t LP/CD NINE INCH NAILS - The Slip 180g 2LP 924 GILMAN ST: Let's Talk About Tact & Timing - A Film Documentary By Jack Curran DVD OF MONTREAL - Skeletal Lamping 180g 2LP/CD/T-SHIRT/T0TE BAG/WALL DECALS/LANTERN/BUTTONS OKKERVIL RIVER - The Stand Ins LP/CD f ONEIDA - Preteen Weaponry LP/CD * PONTIAK-Sun On Sun LP/CD JAY REATARD - Singles 06-07 2LP/CD+DVD SIC ALPS - U.S. Ez LP SILVER JEWS - DVD STEREOLAB • Chemical Chords 2LP/CD SUBHUMANS - Death Was Too Kind . LP/CD TINDERSTICKS - The Hungry Saw 180g LP/CD . TORCHE - Meanderthai LP/CD TOTAL ABUSE - s/t LP/CD TRANZMITORS - s/t 12" TRASH TALK - s/t LP/CD UGLY THINGS #27 MAGAZINE V/A - EMERGENCY ROOM VOL . LP+BOOK VIVIAN GIRLS - sA LP/CD WHITE LUNG - Magazines T WIRE - Object 47 CD Plus many small label/limited edition 7", LP, and CD releases in stock weekly ^ft ( www. SOOTI recoros.com | 726 Richards Street, Vancouver, BC Car Fax (604) 687-0488 • Email: commerce^ ill 4 September 2008 iyjGne^Ocfna^ E DO ill C-61 declared war on the digital generation, but Panadians are fighting back. in the closing weeks of the spring 2008 parliamentary session, Industry Minister Jim Prentice introduced Bill C-61, a long-awaited piece of legislation intended to bring Canada's copyright laws in line with international treaties and address the new realities of a digital world. For months, artists, lawyers, techno-nerds, and other concerned folk had speculated on the details of the legislation. They'd feared it would be worse than the dreaded American Digital Millennium Copyright Act. On June 12, their fears were realized. Bill C-61, which has come to be known as the Canadian DMCA, was everything they had feared. The government declared war on the digital generation. The problems with Bill C-61 go back to 2001, when the last public consultations on copyright were held. If you asked someone what BitTorrent was, they'd guess a washed up industrial band. iPods didn't exist. Neither did TiVb, digital music stores, YouTube and countless other digital media services we take for granted. Prentice claimed that the 2001 consultations were enough, but the rules of the digital game have completely changed since those early days. Prentice and the Conservatives are selling C-61 as a long overdue update to copyright law, but many of the new rights it grants can be taken away if the copyright holder limits them with a digital lock. Under C-61, the daily activities of millions of Canadians could wind up costing them $20,000 in damages. The following activities banned under C-61 are just the tip of the icebergs ^II^Spp - Copying a DVD you purchased to your video iPod - Watching a DVD on a computer running Linux - Unlocking a cellphone to use overseas - Copying a protected CD to MP3 format - Recording and keeping a copy of your favourite television show - Unlocking an ebook to use with a text-to-speech or text- to-Braille machine for the visually impaired C-61 doesn't even encourage consumers to buy media. It creates higher penalties for people who buy media than for people who download without jpaying. If you copy a DVD you bought to your iPod, you have to break the digital lock on the DVD and could wind up owing a staggering $20,000 in damages. If you download the same movie from the Internet without paying for it, you'd only be on the hook for $500. C-61 also threatens die Canadian Charter of Rights and Freedoms guarantee of freedom of expression and privacy. For example, under C-61 documentary film makers could not take samples from DVDs for use in their work, even if the dip isn't copyrighted. Finally, there is concern as to how C-61 will dovetail with the Anti-Counterfeiting Trade Agreement, which could allow border guards to search your iPod or laptop for infringing materials. Like C-61 before it, ACTA is being negotiated behind closed doors with industry players and without input from Canadian creators and consumers. So, who cares about copyright law? Lots of people, judging from the over 91,000 Canadians who have joined a Facebook group called "Fair Copyright for Canada." The group has organized protests, letter writing campaigns, and local chapters. The Vancouver Chapter is over 1,600 strong, and has "* met with most Metro Vancouver MPs, had a position paper on C-61's threats to free expression and privacy adopted by the B.C. Civil Liberties Association, and is putting together a list of frequendy asked-questions for the general public. Vancouver Chapter members range from highschool students to retirees, authors to programmers and musicians_to lawyers. Canadians from all walks of life are getting involved. Unfortunately, the government still isn't listening. Prentice refused to talk about copyright reform until the legislation was presented, saying he would answer questions once the bill was made public. After C-61 was tabled, he promised CBC Radio's show Search Engine ten minutes to answer questions. He dodged questions about the real world implications of his legislation, then hung up the phone mid-question exactly ten minutes into the interview. Ottawa has never really had a solid grasp on what the digital generation is up to with their cellphones, iPods, and internets. They've been slow to adopt to new technology and quick to regulate it, but largely they've been fumbling in the dark, always a few years behind the real creators and innovators. C-61 changes all that. It stifles innovation and creativity, keeping it in one place where it can be easily tracked and monetized. It all boils down to a fundamental misunderstanding of what we stand to gain from an open Internet and liberal copyright laws,* combined with a wilful ignorance of what we stand to lose by crippling the open systems that led to the rapid growth of these technologies. The government has declared war on the digital generation, and it's about time we fought back. To find out more about the Vancouver Chapter of Fair Copyright for Canada, go to www.faircopy.ca. 0 6 September 2008 Let's Talk About Love by Carl Wilson Like so many of us, Carl Wilson is passionate about the music he listens to. When he was first solicited to write an entry in the 33 1/3 series (in which classic albums such as OK Computer and The Velvet Underground and Nico are subjected to sustained, loving analysis and exploration), the Canadian music critic pitched a volume on one of his favourites: Dub Housing, an ominous, abrasive album, and the 1979 sophomore release by Cleveland art-punkers Pere Ubu. Despite the series' orientation toward the musical underground, the publisher rejected this as being "too obscure." Wilson responded by going in the opposite direction, and chose as his subject one of music's most popular, and most reviled, figures — Celine Dion. The result is a profound examination of Dion and her audience. More importantly, it also depicts the personal journey of Wilson as he explores his own emotions in his personal life, and his prejudices as a music critic. In profiling a number of Dion fans, including a gay San Francisco man and a Cambodian-born artist, Wilson is so touched by their intimate connection with the music that for a moment, he is compelled to ask, "What was the point again of all that nasty, life-negating crap I like?" His final revelation is that greater openness in artistic judgment can not only lead to a better balanced artistic life, but also a healthier personal life. The saccharine star is approached from all angles in an effort to decrypt the mysteries of her staying power. Wilson explores Dion's background as a child performer and rising Quebecoise star in the 1990s, and also manages to place her in a much wider cultural context. Chapters on the history of Quebecois popular song, and American "schmaltz"—an overly sentimental strain of music introduced in the nineteenth century by the nation's new immigrants—come to a number of insightful conclusions. He draws an interesting comparison between Elvis Presley and Dion; the former united honest country songs with the crooning style of Italian opera, just as Dion has blended two competing styles of French-Canadian music: chanson, a still-popular nationalistic genre that gained massive popularity in the late 70s, and the lower-brow "variety song," a parallel style seen to belong to the more rural populace. Elsewhere, Wilson discusses her importance to the people of Quebec, as she is representative of "a whole culture groping its way to self-determination." For Wilson, these and other revelations call into question the very idea of musical and artistic taste. With the constant critical reappraisal of the tripe of yesteryear (e.g. ABBA) as merely misjudged at the time, the author articulates a crisis of faith of sorts: "If even Celine can be redeemed, is there no good or bad taste, or good or bad art?" The book itself is certainly a symptom of this crisis, but it is also a remarkably thoughtful study of it. How else can one explain a serious critical discourse on Dion by a man who^opens by lambasting her music as "R&B with the sex and slyness surgically removed"? WUson delves into aesthetic philosophy, comparing Immanuel Kant's vision of an objective "common sense" of beauty with the ideas of French sociologist Pierre Bourdieu, which state that taste is ultimately social, and a means of higher societal classes for distancing themselves from those below. Each side of the coin is given a fair treatment, so that both adoration and condemnation of Dion's music are questioned in turn. But it is the details ofWilson's private struggle to come to terms with Dion, as well as his own life experiences in the process, that make this book a true gem. His journey to the end of taste is also a beginnings—of insight, acceptance, and self-examination of one's own preconceptions r for him and for the reader who chooses to follow, ft TINDERSTICKS THE HUNGRY SAW i NORTH AMERICA DELUXE CD & 180gLP SThe {Dead Science OUT SEPTEMBER 2nd in NORTH AMERICA COMING SOON EMPIRES OF TIN A FILM BY JEM COHEN WITH MUSICAL PERFORMANCE BY VIC CHESNUTT, SILVER MT. ZION & MORE CONSTELLATION CSTRECORDS.COM hERUy OETRl IM QRGHDRD. here must be hordes of wannabe metalheads spread throughout the random cities and small towns of .1/North America, dreaming of making it big and being worshipped as rock gods, wishing it wasn't so hard to be in a heavy metal band in Topeka, Kansas. Dude. It might not be easy to be in a rock band in Topeka, Kansas, but it can't be that hard. Hard is a country where headbanging is crime that can get you put in jail for the rest of your life. Heavy Metal in Baghdad is a documentary about Acrassicauda, Iraq's one and only heavy metal band. It is the feature film debut of its two co-directors, Canadians Eddy Moretti and Suroosh Alvi. Alvi is one of the founders of Vice, the monthly youth culture magazine started in Montreal in 1994. Heavy Metal in Baghdad'is the first feature for Vice Films. It premiered at the 2007 Toronto International Film Festival before a worldwide I release in May 2008. Formed in 2001 under Saddam Hussein's regime, Acrassicauda consists of four young Iraqis: Firas Al- Lateef (bass), Tony Aziz (lead guitar), Marwan Riyak (drums), and Faisal Talal (guitar and vocals). Growing up in Baghdad, these boys learned to speak English ^-y watching American movies and listening to bootleg cassettes of bands like Slayer, Metallica and Iron Maiden. Acrassicauda quickly learned how difficult it is to play in a place where music (and especially heavy metal) is haram (forbidden) — the band members received death . threats for playing "American" music and dressing like Satan worshippers, forcing them to carry handguns to their practice space, the haven where they would "go to escape this life," hanging out and playing music for hours at a time. That is, until the space was hit by a Scud missile, reducing the building to rubble. Considering all of this adversity, ^it is absolutely impossible not to be impressed by Acrassicauda's dedication to their music. The film cites a Washington Post report that since the fall of 2006, insurgents have been posting decrees throughout Baghdad, banning "Music-filled parties and all kinds of singing". Seventy- five Iraqi singers have been killed, and an estimated 80% of them have fled the country since the U.S. invasion. It's sort of like Footloose, but with AK-47s and car bombs instead of Kevin Bacon. Probably the most fascinating aspect of Heavy Metal in Baghdad is the refreshingly new perspective it takes on the war in Iraq. I wasn't used to seeing this war covered from the point of view of the average Iraqi civilian, and I suspect this will benew to most viewers. "You got the troops and you got the terrorists outside, and we are stuck in the middle," Riyak laments. "If I didn't play drum as hard as I could I would kill someone." ^^^^^^^^^^S Tn the midst of all. of the carnage and mayhem (Al- Lateef jokes that the cover of an Iron Maiden album looks like his life), their music is a vital outlet for their terror, rage and sorrow. ■;■ - lll||§ll \^CaIJUjJ1J^^ ID.- ing around Vancouver and its suburbs is so routine that the term Hollywood North has become cliche. Still, few would complain — Vancouver's film' community has developed into a viable, and talented collective. Not only does the Celluloid Social Club give a glimpse into this community, but it allows one to thoroughly examine it. The club is directed by host Brendan Beiser and producer/founder Paul Armstrong. After each film there is a Q;and-A, where audience members are given the opportunity to pick the brains of the filmmakers and their casts. The audience is often lively, asking questions about the type of cameras used, editing software, themes or even "Was that your actual butt in the film?" Although many films are submitted to Celluloid, only a select few are screened. Armstrong said people are "given the opportunity to see greet short films that would not have otherwise been seen." ^^ftfj Armstrong's reason for starting the regular monthly screening was to give budding filmmakers the opportunity to network with each other and to gain insight from people already established people in the industry. "Many filmmakers have met at the Anza club and then later worked together on projects," Armstrong said. The initiative also brings in prominent members of the film community to demonstrate the value of persistence. This has included Bruce Macdonald showing his first student film and a former agent of the Rolling Stones showcasing his first Stones documentary. Among the many people who have benefited from networking at Celluloid is prolific TV actor Mackenzie Gray. Despite having played a leading role in the U.S. TV series The Net, Gray had no contacts in Vancouver's film industry. Now, most of the people he knows in the community he has met through Celluloid. "It's a great place to meet young independent and old filmmakers," Gray said. "It's a whole mixed bag... a great way to meet other people in the film community." The opportunity to see local independent film, mingle with filmmakers and win prizes through a lottery draw is only five dollars away. Celluloid screens films at the Anza at 3 West 8th Ave. on the last Wednesday of most months. For more information go to www.celluloidsocialclub.com. & From a metal fan's point of view, could the movie have had some more riffage? Maybe, but it's not really an issue, since the DVD extras contain plenty of footage of the band rocking put (and it's probably worth a mention that the band has some pretty serious chops, especially Aziz on guitar). Instead, the filmmakers have opted to focus more closely on the human aspect of the stery, and from a cinematic and journalistic standpoint, this is incredibly effective. It might be a disservice to a band this tough with a sound this heavy to say something as wimpy as "This movie makes a statement about the power of music." But, shit. Heavy Metal in Baghdad makes an intense inspiring and profoundly moving statement about the power of music. Dude. j)--.S^Si| 5 t's an intensely grey mid-August afternoon on Commercial Drive — as good a time as any for a discussion on rock and roll. At the moment, however, I'm finding m^interview subject a bit preoccupied by everyday life. A tall, potbellied man with shocks of white hair is getting His flamboyandy groomed Chi-Poo (a Chihuahua/Poodle cross) to dance for a treat, which mesmerizes Stephen Wood, lead singer and guitarist for Vancouver outfit Giantess, in the process. "I'm, sorry," he laughs. "This dog is distracting me." Eventually the sideshow ends, leaving me with the undivided attention of one of Canada's most methodical rock and roll inventors. ^__w§i^ Wood is at ease, yet simultaneously engaged in the neighbourhood as he takes in the scenery. Sipping a cappuccino, he is enjoying a day off from his job at the Vancouver Art Gallery. Rock might be the last thing on his mind, but it's probably dwelling somewhere just beneath the surface. When he's hot "helping curators arrange cutting edge exhibits, he spends his time developing some of the country's most unique, studio-based rock bands. Wooiwmerly wodced his songwriting magic as the Battles, along with local scene veterans Dan Bejar (Destroyer)-, Scott Morgan, Rob McBetHih^Ted Hamilton. After meticulously recording the 2006 album Tomorrow's Eager Hands for Minneapolis label Soft Abuse, members of The Battles went their separate ways, leaving Wood with the opportunity to develop a new book of songs. Eventually, these creations were transformed into the guitar rock anthems of Giantess — with the help of some like-minded Vancouver musicians. Recorded off the studio floor over a week-long time frame after playing together as a band for a year, Giantess' self-titled 2007 debut is a soulful record that could be seen as a contribution to the recent garage-rock revival of Alberta bands like Women and The Whitsundays. Wood's boisterous guitar riffs and Ted Hamilton's tight drums collude with John Margetts' bass, Clare Kenny's keyboards and Jaret Penngr's guitar textures to produce a loose, lustrous guitar-centric sound that is grounded in band chemistry and classic pop songwriting. On heavy, up-tempo numbers Hke "Flex of Green" and the soaring "Forbidden Intruder", Wood and his bandmates convey a •. sense of genuine joy in making music — this band is playing for the love of it in an era where other artists posture for Internet notoriety. Just whm jKthink that I might have Wood pinned as a nostalgtst, he evades my assumptions. The sound of Giantess might be rooted in '60s and '70s influences, but he doesn't adhere to one paradigm when recording. Instead, Wood enjoys ,£ more open working concept characteristic of today's more inventive ensembles. "Bands do worksraa within certain parameters, Hke when you limit yourself to a songwriting style or you say, 'I'm only going to use this amp or this guitar,'" Wood says. "I've done that, and it works, but it's often a matter of what sounds good to me. If there's a little toy keyboard that plays great or has a desired effect, I'll'play with that. When I first got a computer, I was recording the first Battles album on it within a week. If the Giantess album sounds old fashioned, it's because it's hard to refine songs that are purely digital." Track for track Giantess' debut displays.' impressive aesthetic sophistication, simultaneously playing within a "genre and transcending it. When I press Wood on the dramatic themes of comeuppance and unrequited love that occupy his lyrics, it becomes apparent that he approaches songwriting with the same creativity as he does recording. For him, crafting a good song requires all the devices of fiction. • **k's not aU from me," he explains. "A lot of it is from a character's point of view.The trick is to put* poignant things from your Hfe inside of your music that won'tljbtally expose you to the world. You have to hide behind some kind of character when you're writing —it would be too painful otherwise. I'm not an expert, but it's something that I think about aU the time — how tolyricaUy puH one over and say something at the same time." As an artist saturated with some of the more the timeless aspects of rock and roll, Wood has 'had to get used to bands' unpredictable shelf Hfe. Since releasing the record, Giantess has effectively bowed out of the music scene, taking an indefinite leavefrom recording while members pursue PhDs, mortgages or new additions to their families. This sort of capitulation would ? devastate many musicians working to make a name for themselves. However, instead of letting itfaze him, Wood is at peace with»the decision. "The album came out and we kind of broke up or distended," he says. "It's a tough thing to promote when you're no longer there. It depends on how you look at it: some people want to* be a big splash right away, some want to have a body of work: I've always been more interested in a body of work than a big, killer album that will take the airwaves." When I finally ask him what kind of music Jie Hstens to these? days, he admits (with Httie regret) that he is sorely out of touch with today's pop music. Whfle it seems odd to encounter a musician of Wood's talent with little interest in OjjhSr contempora^Sfmusic scene, he assures me that it's all part of his plan. j„ "Honestly, I don't think I have a pop album * that's come out in the last two years that hasn't been given to me by a friend," he says. "I've always just found out about music somehow and then gone looking for it through record stores. That's the same kind of idea of what I want for my music - for someone to somehow find out about it,"fl|fiitthen you go crawling through the record bins searching it out. To me, success is when someone finds a back catalogue of albums that I've -done. Ji%ejien out of ten of them are good, then I'm happy with that." M 8 September 2008 Michael Franti & LIGHTNING! LO¥E! DEATH! FASCINATION! MOONS! GIANTS! BUGS! ZOOS! RIOTS! AIRPLANES! 1972-1976 West 4th Avenue, Vancouver, BC ph(604)738-3232 www.zulurecords.com 4307 Main St., Vancouver ph(604)708-9422 www.redcat.ca can &jQcoal i -Q/ r Outspoken foUc musician Geoff Berner, hailed as the Bard of East Van, raised a few hackles during his visit to the Winnipeg Folk Festival in July. Berner is an accordion playing folk singer whose lyrics are as funny and insightful as they are deHberately provocative. Discorder's Val Cormier caught up with Berner to chat about his upcoming CD, and to hear what exactly it was that stirred folks up in the 'Peg. Discorder: What can you tell us about the new CD? WeU, it's the finale of a trilogy, and the name wiU probably be Klezmer Mongrels. This trilogy started with Whiskey Rabbi, then Wedding Dance of the Widow Bride. This is a vision of where I think Jewish folk music is going. It's poHtical and dirty and rough. It's both more traditional and more transgressive at the same time. What's the significance of the title, Klezmer Mongrels. Whiskey Rabbi was primarily about drinking and human weakness, and celebrating human vveakness. Widow Bride was largely about women, and fortune. So you've got the booze, you've got the women. In Klezmer Mongrels the central motif is children, which is the natural result of booze plus women! There's strict rules about what klezmer [ed. usually a genre associated with traditional Eastern European Jewish music] can and cannot be and my music doesn't fit those narrow parameters of so-caned authenticity. So it becomes an album about questions of authenticity and celebration of purity, or impurity. When klezmer was at its height, it had no rules of purity. It was a constandy changing beast: a brew of tango, Turkish music, traditional music of whatever country the Jews were Hving in, Jewish sacred music, and whatever else they could throw in. This is a more hard-driving party record. We'U be touring Europe in October, then we plan to put the record out on Jericho Beach Music in early 2009. Then we'U do a full Canadian tour, soup to nuts. Sounds great! Let's talk about the Winnipeg Folk Festival. How did you like it? It was my first time there and I did Hke it. It's kind of Hke the Big One in the folk music world. !^%i My first performancewas as a "tweener", basicaUy you're 10 Julaugust 2008 iciy&m MDi EUB a: Runup JSLenman tS) playing while the band is setting up. I also did some workshops and a concert set. They do a lot of cool stuff at the campgrounds, late night stages that were reaHy cool. I did both Glastonbury and Winnipeg festivals for the first time this year and I'd definitely go back to Winnipeg. That "tweener" performance got you some press and generated a lot of discussion on the Internet among folkies. What happened? WeU, there happened to be a big Volkswagen sign on the side of the stage, direcdy behind where the tweeners would stand. I knew the sign was there. I had two songs planned: "The Dead Children Were Worth It" (a.lca. Official Theme Song for the 2010 Olympic Games) and "Maginot Line". I wanted to get the message across about the 2010 Olympics to this crowd. "Maginot Line" I'd done at the Edmonton Folk Festival and I thought it had gone over weU. I know these festivals aU take the corporate money and stuff but there's a continuum of how overt it is. Having the huge VW sign, Hke you are part of the sign, is at the high end of the spectrum. When that's happened in the past, it was my Httie gag to play some obscene Htde song, then say, "That song was brought to you by Canada Trust", or whatever sponsor. It's just a joke! It just seemed Hke a natural thing to say in Winnipeg after the "dead chUdren" song. People laughed, or were horrified, or whatever. Then I went into "Maginot Line" and the second verse: "and it wasn't very long at aU until Mr. Hider came to caU". Then it suddenly occurred to me: Mr. Hider, the guy who ordered Volkswagen into being. It seemed Hke a natural joke to make - "You remember Mr. Hider, don't you? He was the one who brought you Volkswagen!" So everybody laughed, or was horrified, but it's aU part of the fun. I didn't stand up on stage and read a sermon to the people about the evUs of corporate sponsorship. You know, aU this goes back to how my life was changed by the Vancouver Folk Festival, going there for the first time and seeing BiUy Bragg. He was poUtical but not banging you on the head about it. He could write beautiful love songs and when he wanted to, he could be hilarious. He told stories-that were both deep and entertaining. So it was just the kind of joke a poUtical folksinger makes. uoi coimer No kidding! Surely the festival that hired you must have known what you're Hke? Oh yeah, it's in the bio, so I just said, it and then aH kinds of shit started hitting the fan as soon as I got off the stage. I was informed that the sponsors were not happy4 The folk festival staff were not trying to teU me that I was a bad boy, they were just teUing me their job was about to get considerably harder, you know? I was surprised; I didn't think it was significant. But [Volkswagen] weren't fine about it, apparendy. There was a massive shit storm! People attending the festival kept coming up to me and talking to me about it afterwards. They were uniformly positive. However, somebody from festival staff did say, "You know what, could you lay off the sponsors for the rest of the festival? Could you Hke give us a break?" Did you? WeU, yeah, why teU the same joke twice? I might have made a couple of jokes about not saying anything, but I didn't say anything. Basically, I feel Hke I'm part of the folk festival movement in Canada. It's Hke a big tent, a large farrrily of left-wing views, beHef in community, environmentaHsm and other things that are part of that movement. I'm a sociaUst and I'm personaUy against corporate sponsorship of folk festivals, because I don't Hke corporate influence in the pubHc sphere. But I'm not against it to the point where I would throw the baby out with the bath water. I'm not out to screw the people of the Winnipeg Folk Festival. The fact is that the poHtics I have now come from the folk festival movement to some extent. But I want them to keep going, so if I have a disagreement with them, it's a disagreement within a famUy. Is there a line you wouldn't cross when it comes to corporate sponsorship? companies in the world, owned mosdy by its own union. I was making fun of them mosdy because of that past Hider connection. There's an eternal covenant between Jews and the German people. We now get to make fun of them for the rest of eternity, and it's understood. Who can argue with that? Did you hear anything directly from the sponsors? The festival staff insulated me from aH that. My feeling at the beginning of aU this was that [Volkswagon] couldn't give a shit about some folksinger playing the accordion, but apparendy there were problems. My point about the whole sponsorship deal is that if someone can make a couple of Htde jokes and it stirs up things to this extent, it makes it hard to beHeve the claim that corporate sponsorship doesn't influence programming. Do you think this episode might affect your abiHty to get hired by festivals down the road? I suppose only time wiU teU how judgmental people wiH be about me making a couple of cracks from the stage. I can imagine there might be a couple more chats before I bit the stage where somebody goes: "Okay, you're going out there, Geoff. We've got Sponsor X poster up there. The rep is in the crowd." Other than cuss words, nobody in the folk world's ever told me what not to play. I've always been trusted to play what I want, v Our whole band got dropped from a local agency because we wouldn't ride with Export A. We were offered a free more info visit van, several hundred doUars extra per show. Everybody was taking that money, but we said no. In the end you have to go with your gut and then justify it retroactively. I was wilHng to play in front of the Volkswagen symbol as long as I got to say what I wanted to say. Volkswagen is one of the most progressive car Geoff Berner's next local appearance will be at the 1st Accordion Noir Festival at the Railway Club on Oct. 3. For ]Qfl/OA Appalling: baby-cute in 1998, Zac Hanson (of "MMMBop" fame) is today 22, has married and had his first son. Surprising: Hanson and his older brothers Taylor and Isaac might just be the most genuine band on today's stage. DisbeHevers, read on. Discovered while busking at South by Southwest — not a chest hair between them — their early success is a rare story of talent and hard work. Not child sensations, just plain old good. Yet, screaming teenage girls rarely foster musical credibiHty. Despite continued commercial success (Grammy nominations, BiUboard charts, blah blah blah) their pop culture identity stuck Hke your worst grade school photo. HeUo, pigeonhole. Choosing musical freedom over fame and fortune, Hanson parted with their label in 2003 and prompdy feU off the earth. Screaming girls are hard to dissuade and continued to foUow the band. At Hanson's March 2008 South by Southwest show, screaming teenybop- pers had matured into unaccompanied hipster hotties. A music nerd could find his dream girl at a Hanson show if he didn't mind her dedication to soulful brotherly harmony. Hanson went on to release two credible indie albums, Strong Enough To Break and Taking The Walk. Replacing chart hits and stadiums with iTunes releases and smaU pubs has satisfied both Hanson and . their devotees. Fan Amber Beheler hazards, "They don't get a lot of casual Usteners." WhUe many fans grew up and moved on, for those that remain, "teenyboppers at heart" Hke Beheler, there is no better tonic. Eldest band member Isaac, 28, says on the band website, "The first music you reaUy fall in love with is more than just music."Too true. Hanson fans enjoy an enviable history with the band;-the two have grown up together. A lasting popularity is Htde surprise. A teenage girl could have seriously erred in 1997 (Nick Carter...Nick Lachey?!). Hanson represented something else, though: discernible talent and old-fashioned values. Hanson fandom "lives on in a community of Google- happy girls hunting for band gossip. "There is the occasional 'stalker' type [and] screaming girl," Lainie Heinzen says to explain her feUow fans. "Yet, we've grown up and have matured." The growing maturity of aU parties is clear in the recent 2007 documentary, Taking The Walk, which detaUs exacdy how one might make a successful indie record from scratch (caU in BUly Joel's producer, Danny Kortchmar). [ed. I'll get right on that.] AvaUable for free on iTunes, Hanson's songwriting and musical profes- sionaHsm keep them mUes removed from expired 'boy band'claims. Gone are the flowing locks of yore. Today, it's just about the music. It was never about the money. The band is championing the fight against the African AIDS endemic — with iTunes proceeds from the single "Great Divide" going to the cause. Barely pubescent in 1997s shoving stadium throngs, the group how brings their 6*5 kids touring (Hanson v2.0?). At their Sept. 10 Commodore show, expect to enjoy a convenient collision of fans practiced in outright worship, paired with seriously good musicians. Not much has changed. V Iky. Iouup^Tu ipobuorfesb 12 September 2008 " at my label is about Ralph Alfonso I'm a writer and writers is wl W Best fem\ ftohitj^^ipteoweff ^ 0£)J Pandemonium %tl>$me'l_2 DJb^rt^?ancouver" 4 "Best Place ToJ^^^Toplass" - e«*s« ssafc**^, %i ^^^Jgfost^adical Felish Night in .Vancouver" 1 » o^M^Most Modem PJfc© "teNSet Some" - r«m*>«/ cay "Consistently Voted One Of Vafr$jW*©t^Top Alternative Nights" --xu* was* j OO^PJ Pandemonium Best Local Vancouver EU 2008" - westendm J3|||§f&f Those RargM^enfeW^e Hfteratiy Anything Goes" - Abort Magazine * Take Action Now www.studentsforafreetibet.org www.beijingwideopen.org www.sftcanada.wordpress.com Educate and Empower Yourself with these sites: Tibet Information Network - tibetinfo.org Tibetan Government in Exile-libet.com Tibet Justice Centre - tibetjustice.org Human Rights in China - hrichina.org actions can isavei lives r__ »T ITl! HT BY NATHAN PIKE think this is what's considered the French toast j j chicken," says StreetHght guitarist Gavin Busby, referring to the. deep fried, but. oh-so deHcious, chicken wings at Chinatown's Phnom Penh. It's a warm August night and I have gathered with three members of this fresh-on-the-scene Vancouver band for some empty carbs, protein and a friendly chat. A Htde over a year into its current incarnation and having just released their debut album Strange Spells in March, StreetHght carry with them the excitement of having a soUd Hneup and music to be proud of. And fine music it is, playing a Htde like a throwback to early '80s Cure or to the heyday of britpop. Strange Spells wiU grow on you Hke that awkwardly beautiful sweater your cool grandma bought you for your birthday. You wear it because it's classy and looks damned good on you — it's the sweater that saved your hide and made you feel better about yourseU". For StreetHght, becoming a fuU-fledged band was a matter of timing and waiting for the right people to come along. It started with a couple of friends and some word of mouth. "I knew [Busby]'s sister, and he had heard through her that I had some songs I was quiedy working on," singer/ ! guitarist BasU Waugh says. "So, early in 2006 after [Busby] had moved here from Victoria, he just asked me if I wanted to start a band." The two didn't have a huge musical community to fish from. Busby had played in punk bands in Victoria and Waugh had musical friends, but most of them had moved to Montreal or started famUies long ago. "We would bring in random folks we found through CraigsHst and the few musicians we knew, and we met a lot of great people that way," Waugh says. "But it was when we would jam with our friends that we seemed to cHck the most." And so friends gathered to play music, eventuaUy forming a band. From there, an album was conceived. Soon after the recording of Strange SpeUs, bassist 14 September 2008 Damon Henry left to play the famUy man in Victoria and old friend Tyler Wier stepped in to replace him. "I didn't even know Tyler had a musical background!" Waugh laughs. "I was kind of doing the same thing as [Waugh], playing a Htde here and there through high school and university," Wier reminisces. "I knew [Waugh] was looking to start a band and I'd always sort of half- jokingly tease him because he was always writing these great songs. So I'd periodicaUy ask when we'd get a band together because I reaUy was interested in the stuff he was doing." "Before this Hneup it was just BasU and I jamming out on a couple of guitars," Busby teUs me. "A number of the songs that are on Spells came from those sessions of us sitting in a room and playing. And now, as this band and in this current Hneup, it feels Hke all of that material and even the new stuff is coming much mote naturaUy." "I sat in on a few sessions and because we were akeady close friends it seemed Hke- a natural fit," Wier says. "And it was fun! I was playing good music with my good friends!" It's not hard to see this in the easy camaraderie that, these guys have with each other as we eat platefius of deep fried meat and drink pints of beer. The excitement is infectious as they talk about their band and the direction they're headed. In fact, the band is akeady focusing on playing new material at shows and getting ready to record a new EP. "We're reaUy exdted about the new stuff," Busby says. "It's forward moving music that's fun to play and akeady we're able to hear a marked difference in how we've grown together as a band." 0 You can catch these gentlemen doing what they love to do on Sept. 3 at The Railway. Check www.myspace.com/ streetlightbandfor further listings. WE'RE LOOKING FOR A NEW Discorder is a special project of CiTR 101.9 FM, the campus and community radio station at the University of British Columbia. Discorder is published 11 times a year by UBC's Student Radio Society and distributed for free throughout -Vancouver, with a circulation of 7,000. Duties The Art Director is responsible for the layout, design and overall look of Discorder magazine on a monthly basis. This includes typesetting the copy, commissioning all art and photography, designing the spreads and laying out the pagination. The Art Director will work closely with the Production Manager on all of these tasks, and will direct volunteers to help with layout and typesetting as needed. The Art Director is required to attend Discorder meetings, and must be available the last weekend of each month for production. v /=??*< Qualifications This is a demanding volunteer position that requires a serious commitment. The successful candidate will have a background in art and design, and have experience working with Adobe InDesign CS3. Knowledge of independent and -local music, art and culture is an asset. How to apply To apply, send a resume and a cover letter'to Brenda Grunau, CiTR Station Manager, at citrmgr@ams.ubc.ca by Friday, Sept. 12,2008, at 10 a.m. Honourarium: $150 per issue Tuesday Wednesday Thursday Friday Saturday PACIFIC PICWN' BBC BBC BBC- BBC FILL-IN - SUBURBAN JUNGLE END OF THE WORLD NEWS FILL-IN THE SATURDAY EDGE | GIVE *EM THE BOOT SYNCHRONICITY FILL IN | SWEET AND HOT HIRD TIME'S THE CHARM SKA-T'S SCENIC DRIVE ANOIZE MORNING AFTER SHOW : DUNCAN'S DONUTS THESE ARE THE BREAKS GENERATION ANNIHILATION FILL-IN THE GREEN MAJORITY ' jjgBjWE Aa FALL DOWN THE BROADCAST • POWERCHORD . .LAUGH TRACKS DEMOCRACY NOW . INKSTUDS RADIO ZERO REEL-TO REAL WIVE SOLIDARITY NEWS RUMBLETONE RADIO A GO GO ! CRIMES & TREASONS O CODE BLUE NARDWUAR PRESENTS WINGS WENER'S BBQ CANADIAN VOICES MYSCIENCE ' .f&gUECT PEDAL REVOLUTION NEWS 101 LEO RAMIREZ SHOW •STEREOSCOPIC REDOUBT FILL-IN NASHAVOLNA" FLEXYOURHEAD AND SOMETIMES WHY SAMSQUANTCH HIDEAWAY ' SHADOWJUGGLERS- " " EXQUISITE CORPSE AFRICAN RHYTHMS SALARIO MINIMO FOLK OASIS '"^jp FROM THUNDERBIRD RADIO HELL ■ RAINBOW GROOVE SYNAPTIC SANDWICH CAUGHT IN THE RED JUICEBOX HANS KLOSS' MISERY HOUR FILL-IN SHAKE A TAIL FEATHER .£>- BEATS FROMTH^^W BASEMENT 1 LIKE THE SCRIBBLES CITR RE-BROADCAST AURAL TENTACLES ' CITR RE-BROADCAST CITR RE-BROADCAST CITR RE-BROADCAST LIVE FROM THUNDERBIRD RADIO HELL (Live Music) 9-11pm Featuring live band(s) every week performing in the comfort of the CiTR Lounge. Most are from Vancouver, but sometimes bands from across the country and around the world are nice enough to drop by to say hi. BBC11:30pm-1:30am ■mmmi friday SYNCHRONICITY9-10am \-f~$&£_ Join host Marie B and discuss spirituality, health and feeling good. Tune in and tap-in to good vibrations that help you remember why you're here: to have fun! This is not your average spirituality show. SKATS SCENIC DRIVE (Ska) 10am-12pm Canada's longest running Ska radio program. Email requests to: djska_t@hotmail.com THESE ARE THE BREAKS (Hip Hop) 12-1pm Top notch crate digger DJ Avi Shack mixes underground hip hop, old school classics, and original breaks. beatstreet@telus.net THE BROADCAST 1-2pm Betti Forde has been a pro DJ for over a decade. She's deejayed throughout the world in places like Paris, Berlin, Rome and Malmo. She couldn't be happier to be back at CiTR with The Broadcast, showcasing women in RADIO ZERO (Eclectic) 2-3:30pm We play an international mix of super- . fresh weekend party jams from new- : (Nardwuar) 3:30-5pm Join Nardwuar the Human Serviette for an hour and a half of Clam Chowder flavoured entertainment Doot doola doot doo... doot doo! nardwuar@nardwuar.com - - NEWS 101 (Talk) 5-6pm AFRICAN RHYTHMS (World) 7:30-9pm RAINBOW GROOVE (Dance/Electronic) 9-1u:30pm Getting you in the mood for the weekend, DJ BFAD presents a kaleidoscope of funky grooves for your mind, body & soul SHAKE A TAIL FEATHER (Soul/R'n'B) 10:30-12am The finest in classic soul and rhythm & blues from the late '50s to the early 70s, including lesser known artists, regional hits and lost sould gems. I LIKE THE SCRIBBLES (Eclectic) 12-2am ■■■ SATURDAY THE SATURDAY EDGE (Roots) 8am-12pm Now in its 22nd year on CiTR. The Sat- urday edge is a personal guide to world & roots music—with African, Latin and European music in the first half, followed by Celtic, blues, songwriters, Cajun and whatever else fits! GENERATION ANNIHILATION (Punk) 12-1 pm A fine mix of streetpunk and old school hardcore backed by band interviews, guest speakers, and social commentary. crashnburnradio@yahoo.ca POWER CHORD (Metal) 1-3pm Vancouver's longest running metal show on the air. If you're into music that's on the heavier/darker side of the spectrum, then you'll like Power Chord. Sonic assault provided by Metal Ron, Gerald Rattlehead and Geoff the Metal Pimp. CODE BLUE (Roots) 3-5pm From backwoods delta low-down slide to urban harp honks, blues, and blues roots with your hosts Jim, Andy and Paul. codeblue@buddy-system.org THE LEO RAMIREZ SHOW (World) 5-6pm The best of mix of Latin American music. leoramirez@canada.com NASHA VOLNA (World) 6-7pm News, arts, entertainment and music for the Russian community, local and abroad. http://nashavolta.ca SHADOW JUGGLERS (Dance/Electronic) 7-9pm ■ This eclectic show welcomes you to braoden your musical knowledge with DJs MP, Socool, Soo & guests. We work across musical genres including elec tronic and club-based music, which are rarely introduced into mainstream musical culture. Travel through world sounds. myspace.com/shadowjugglers SYNAPTIC SANDWICH (Dance/Electronic/Eclectic) 9-11pm Every show is full of electro bleeps, retrowave, computer 'generated, synthetically manipulated aural rhythms. If you like everything from electro/techno/ trance/8bit music/retro '80s this is the show for you! www.synapticsandwieh.net BEATS FROM THE BASEMENT (Hip Hop) 11 pm-1 am Hosted by J-Boogie and Joelboy, promising listeners the latest tracks, the classics, the rare andlhe obscure, current events, and the special features of peeps coming into the studio. Most importantly listeners can expect to be entertained... church. klymkiw@gmail.com «#§Mf tetAiifj^ Victory Square Block Party © Hastings & Cambie Stanley Park Singing Fest © Malkin B< Battles ©Richard's Fucked Up, Crystal Antlers @ Richard's TV On the Radio © The Commodore Creature® the Gallery The Juan Maclean © Richard's Bad Religion © The Commodore Against Me! @ Croatian Cultural Centre 16 Shindig #1 @ the Railway Fleet Foxes ©Richard's Alejandro Escovedo @ The Biltmore Ra Ra Riot @ Media Club Breakfast with the Browns 20th Anniversary Radio Show (8-11 a.m.) 23 Shindig #2® the Railway ^28 Cold War Kids ©Richard's | Cancer Bats w/ Black Lungs ® Media Club Shindig #3 © the Railway Mission of Burma © Plaza SEPTEMBER 1 ■■■■SUNDAY TANA RADIO (Worid) 9-10am SHOOKSHOOKTA (Talk) 10-11am A program which targets Ethiopian people and aims at encouraging education and personal development in Canada. KOL NODEDI (World) 11am-12pm Beautiful arresting beats and voices emanating from all continents, comers, and voids.. But Asia. South Asia. Africa The Middle East Europe. Latin America. Gypsy. Fusion. Always rhythmic, always captivating. Always crossing borders. THE ROCKERS WOW (Reggae) 12-3pm Reggae inna all styles and fashion. BLOOD ON THE SADDLE (Roots) 3-Spm Real cowshit-caught-in-yer-boots country. Alternates with: SHAMELESS (Eclectic) Dedicated to giving any local music act in Vancouver a crack at some airplay. When not playing the PR shtick, you can hear some faves you never knew you liked. CHIPS WITH EVERYTHING (Pop) Mpm British pop music from all decades. International pop (Japanese. French, Swedish, British, US. etc.), 60s soundtracks and lounge. Book your jet-set holiday now! SAINT TROPEZ (Pop) 56pm Welcome to St. Tropez! Playing underrated music from several decades! st.tropez101.9@gmail.com QUEER FM (Talk) 6-8pm Dedicated to the gay, lesbian, bisexual, and transexual communities of Vancouver. Lots of human interest features, background on current issues, and great music. queerfmradio@gmail.com SOME SOUND (Indie Rock) 6-7:30pm SON OF NITE DREEMS (Eclectic) 6-7:30pm Join jolly John Tanner, radio survivor for almost half a century now heard alternating Mondays with an eclectic musical : mix of many eras from the Ws to today. RADIO FREE GAK (Indie rock) 7:364pm THE JAZZ SHOW (Jazz) 9pm-12am Vancouver's longest running prime-time Jazz program. Hosted by Ihe ever-suave Gavin Walker. Features at 11pm. Sept 1: The Duke Ellington Orchestra opens September with "A Concert in the Virgin Islands* Sept 8: One of the great working bands of the 1980s: the Tenor saxophonist George Adams and pianist Don Pullen-led quartet Sept 15: We honour the memory of Jazz icon Julian "Cannonball" Adderley, who would be celebrating his 80th birthday today. Sept 22: Maestro Leonard Bernstein's iconic "WhatisJazz". Sept 29: The late Walt Dickerson performs with piano, bass and drums on this groundbreaking recording: "Relativity" VENGEANCE IS MINE (Punk) 12-2am Going on 8 years strong, this is your home for all the best the world of punk. rock has to offer. Rhythmsindia features a wide range of music from India, including popular music from the 1930s to the present Ghazals and Bhajans, Qawwalis, pop, and regional language numbers. ALL AWESOME IN YOUR EARS8-9pm MONDO TRASHO (Eclectic) 9-10pm The one and the only Mondo Trasho with Maxwell Maxwell—don't miss it! TRANCENDANCE (Dance) 10pm-12am Join us in practicing the ancient art of rising above common ideas as your host DJ Smiley Mike lays down the latest trance cuts. trancendance@hotmail.com SUNDIAL FLOODLIGHT (Eclectic) 12-2am Dedicated to all things drone. PACIFIC PICKIN' (Roots) B-8am Bluegrass, old-time music, and its derivatives with Arthur and the lovely Andrea Berman. pacfficpickin@yahoo.com GIVE EM THE BOOT (World) 8-9:30am Sample the various flavours of Italian folk music. Una programma bilingue che esplora il mondo della musica folk italiana. THIRD TIME'S THE CHARM (Rock) 9:30-11:30am Open your ears and prepare for a shock) A harmless note may make you a fan! Deadlier than the most dangerous criminal! borninsixtynine@hotmail.com MORNING AFTER SHOW (Eclectic) 11:30am-1pm An eclectic mix of indie with rock, experimental, world, reggae, o ink and ska from Canada, Latin America and Europe. Local bands play live on the Morning Af- I MONDAY BREAKFAST WITH THE BROWNS (Eclectic) 8-11am Sept. 22nd Celebrate 20 Years on the Air with the Browns. Tune in and be surprised. 20th Anniversary Party time, date and place t.b.a. GROUND CONTROL (Eclectic) 11-12pm Fun and independent music supported by _ a conversational monologue of information, opinion and anecdote focussing on the here, the now, and the next week. becktrex@gmail.com ALTERNATIVE RADIO (Talk) 12-lpm Hosted by David Barsamian. PARTS UNKNOWN (Pop) 1 -3pm Parts Unknown, an indie pop show that has been on CiTR since 1999, is like a marshmallow sandwich: soft and sweet and best enjoyed when poked with a stick and held close to a fire. LETS GET BAKED (Talk) 3-4pm Vegan baking with'rock stars* like Laura Peek, The Food'Jammers, Knock Knock Ginger, The Superfantastics and more. THE RIB (ECLECTIC) 4-5pm Explore the avant garde worid of music with host Robyn Jacob on The Rib. From i experimental n jazz and new classical! So weird it could Mow yow mind! NEWS 101 (News/talk) 5-5:30pm Vancouver's only live, volunteer-produced student and community newscast. Every week, we take a look back at the week's local, national ami international news, as seen from a fully independent media perspective. CAREER FAST TRACK (Talk) LAUGH TRACKS (Talk) 1 -2pm Laugh Tracks is a.show about comedy. Kliph Nesteroff from the 'zine Generation Exploitation, hosts. generationexploit@yahoo.com musicalboot@yahoo.ca REEL TO REAL (Talk) 2:30-3pm Movie reviews and criticism. NATIVE SOLIDARITY NEWS (Talk) 3-4pm A national radio service and part of an international network of information and action in support of indigenous peoples' survival and dignity. WINGS (Talk) 4-4:30pm WENER'S BARBEQUE (Sports) 4:30-6pm Tune in each week to hear Daryl Wener talk about the world of sports. Ill discuss everything from the Vancouver Canucks to the Worid Bock Paper Scissors Championship. ethanwener@hotmaii.com FLEX YOUR HEAD (Hardcore) 6-8pm Punk rock and hardcore since 1989. Bands and guests from around the world. SALARIO MINIMO (World) 8-1 Opm The best rock in Spanish show in Canada since 2000. None of that tropical stuff here. No aceptes imitaciones! salariominimo@yahoo.com CAUGHT IN THE RED (Rock) 10pm-12am Trawling the trash heap of over 50 years' worth of rock n' roll debris. Dig it! AURAL TENTACLES (Eclectic) 12-6am It could be, global, trance, spoken word, rock, the. unusual and the weird, or it could be something different. Hosted by DJ Pierre. auraltentacles@hotmail.com CiTR 10J.9FM m 1 CD 5 TUESDAY m U ! CiTR 101.9FM dj@jackvelvet.net POP ROCKS 10-11:30am ANOIZE (Noise) 11:30am-1pm An hour and a half of avant rock, noize, plunderphonic, psychedelic, and outsider aspects of audio. An experience for those who want to be educated and 6am Sunday Monday BBC 7am Ham flam 10am 11am 12pm lpm 2pm Spm 4pm 5pm iipm 7pm 8pm Opm 10pm 11pm 12am lam 2am Sam 4am 5am BBC BREAKFAST WITH THE BROWNS |j TANA RADIO", 0 SHOOKSHOOKTA • ' KOL NODEDI GROUND CONTROL — THE ROCKERS- SHOW ALTERNATIVE RADIO PARTS UNKNOWN BLOOD ON THE SADDLE SHAMELESS LET'S GET BAKED Si THE RIB CHIPS WITH EVERYYTHING 'SAINT TROPEZ NEWS 101 CAREER FAST TRACK QUEER FM SOME SOUND SON OF NITE DREEMS RADIO FREE GAK RHYTHMSINDA All AWESOME MONDO TRASHO THE JAZZ SHOW ■ ^TRANCENDANCE VENGEANCE IS MINE SUNDIAL FLOODLIGHT .CITR RE-BROADCAST CITR RE-BROADCAST with a big emphasis on our Id C'mon in! A kumbaya-free zi JUICEBOX (Talk) 10-11PM 'EDNESDAY SUBURBAN JUNGLE (Eclectic) 8-1 Oam Live from the Jungle Room, join radio host Jack Velvet for an eclectic mix of music, sound bites, information and inanity. Not to be missed! EARfta „______„ lukemeat@hotmail.com THE GREEN MAJORITY (Talk) 1 -2pm DEMOCRACY NOW (Talk) 2-3pm RUMBLETONE RADIO A GO GO (Rock)3-5pm Primitive, fuzzed-out garage mayhem! CANADIAN VOICES (Talk) 5:30-6:30pm AND SOMETIMES WHY (Pop/Ecli tic) 6:30-8pm Ws_U First Wednesday of every month. Alternates with: SAMSQUANTCH'S HIDEAWAY (Eclectic) 6:30-8pm All-Canadian music with a focus or indie-rock/pop. anitabinder@hotmail.com FOLK OASIS (Roots) 8-1 Opm Two hours of eclectic folk/wots diversity, celebrating queemess, and er couraging pleasure at all stages.,,. www.juiceboxradio.com HANS KLOSS 11 pm-1 am This is pretty much the best thing on radii mmm Thursday END OF THE WORLD NEWS (Talk) 8-1 Oam SWEET AND HOT (Jazz) 10-12pm Sweet dance music and hot jazz from the 1920s, 30s and 40s. DUNCAN'S DONUTS (Eclectic) 12-1pm Sweet treats from the pop underground: Hosted by Duncan, sponsored by donuts. duncansdonuts.wordpress.com WE AU FALL DOWN (Eclectic) 1 -2pm Punk rock, indie pop, and whatever else -I deem worthy. Hosted by a closet nerd. wwwcweaJlfalldowncitr.bl6gspot.ca INK STUDS (Talk) 2-3pm Ink Studs focusses on underground and indie comix. Each week, we interview a .-. different creator to get their unique perspective on comix and discuss their own interesting and upcoming works.. CRIMES & TREASONS (Hip Hop) 3-5pm crimesandtreasons@gmail.com MY SCIENCE PROJECT (Talk) 5-6pm Zoom a little zoom on the My Science Project rocket ship, piloted by your host, Julia, as we navigate eccentric, .underexposed, always relevant and plainly cool scientific research, technology, and poetry (submissions welcome), myscien- Alternates with: PEDAL REVOLUTIONARY (Talk) 5-6pm pedaJrevolutionary@gmail.com STEREOSCOPIC REDOUBT (Rock) 6-7:30pm Psychadelic, acid punk, freakbeat, prog and other grotesque and socially relevant artifacts from 1965 te today, with a particular emphasis on Vancouver's freak flag with pride, www.myspace.rorn/ste- EXQUISITE CORPSE (Experimental) 7:30-9pm Experimental, radio-art, sound collage, field recordings, etc. Recommended for the insane. artcorpse@yahoo.com SUMMER FESTIVALS 2000 mm r- r. . 1 lky> UKb BTueal |oJijo[b^b by; rno gfltlji^ SUB POP Ihe hmB oTodhne hrm* 20 Tip to that time everyone played it really safe, all the small labels. 'Well, we'll put out a single every three months and sell a thousand copies of it and that's cool because I've got my day job.' Jon [Poneman] and Bruce [Pavitt] were having none of that. They said 'We don't wanna work day jobs. We don't want our bands to work day jobs. We want them out there on the road. We want them in the big magazines. We want their records everywhere. It is punk rock, but we don't care. We wanna make it bigger than punk rock." -Photographer Charles Peterson on the origin of Sub Pop Records. ith over 700 releases and 20 years under their mf belts, Sub Pop threw a two-day outdoor V." birthday festival displaying the vastness of the groups they have signed over the last two decades. Bands that I thought I would never see in my lifetime were reuniting just to play one time only. Missing this weekend was not an option. Saturday July 12 We awoke to one of the most gorgeous days Seattle has seen all year. Our hotel offer a shuttle out to Mary- moor Park, in Redmond, Washington where the fest'took place. Marymoor is HUGE, populated with old school- grungesters and neo-hipsters alike. We toured around the various booths selling typical Seattle fare: KEXP, Register to Vote (actually it could have read Register to Vote FOR OBAMA), Sub Pop have a booth that's selling vinyl., The first band on the bill was Drive Like Jehu ex-pats The Obits. They play very driving straight-forward rock which started the fest off perfecdy. The Constantines played a very pretty, very restrained set until fellow Canuck Julie Doiron joined them on stage. I have no idea what meds she has been taking lately, but she sure has cheered the fuck up since the last decade. This segued perfectly into Eric's Trip, who won the award for "Band that looks exactly the same as they did when they started 17 years ago". I've always admired Sub Pop's attention to bands from Canada, and I don't think our country has disappointed them, or their fans for that matter. The second stage kicked off with punk-grungers Seaweed reuniting and making me realize how much my tastes have changed since I last bought one of their records. We had VIP access so during the rest of Seaweed's set we nipped backstage where we indulged in free drinks, ribs and conversation. All the glitterati were there, past and present. I tried to interview Kim Tnayil from Soundgarden; he declined but offered me a drink instead. Class act. We raced back to catch Pissed Jeans, a favorite of mine for the last couple of years. Tneir blistering set—as well as the -sun—melted our faces. Tne Fluid took me back to my high school years when they bust out "Static Cling". I start moshing, while sitting down. Discorder 19 I've never been a big Low fan so we snuck back for more drinks. Good thing we did, because we needed the inebriation to tame Mudhoney's onslaught. To quote Mark Arm in Doug Pray's wonderful documentary Hype: "You sing about dogs. You sing about bein' sick. You have a schtick and 3 chords. You'll make it." Mudhoney has maintained that philosophy for 20 years and it made them the best band at the festival (or of all time for that matter). The most anticipated group on the weekend's bill were Scotland's The Vaselines. They are not technically a Sub Pop band. But, if Sub Pop had not (at Kurt Cobain's insistence) put out the delightful collection The Way of the Vaselines, I doubt the world would have a clue who they are. The duo's charm and sexuality oozed through . classics such as "Rory Rides Me Raw" and "Monster- pussy". Iron and Wine's set was glacially paced, but it was quite a beautiful accompaniment to the sunset. Flight of the Conchords closed the evening. I am a fan of the TV show, but I've always thought that when their songs are taken out of context, they just aren't that funny—or good. Every female in the audience disagreed with me. Any gesture, murmur or movement Jemaine Clement and Bret McKenzie made... you'd have thought you were at a Jonas Brothers concert. Sunday July 13 I awoke with a familiar American beer hangover. Sub Pop made their own ale for the weekend entitled Loser and I guess I indulged a little. We caught The .Ruby Suns' and Grand Archives' set but both bands were fairly non-descript. I was ready for some more Loser by then and enjoyed one during Kinski's set, which showcased both old and new material. The crowd went bananas when members Matthew Schwartz and Barrett Wilke spazzed out on the electric flute and gong, respectively. I saw Les Thugs open for Girls Against Boys at The Starfish Room back in '95 and they positively mopped the floor with them. They show no signs of slowing. down, chugging out their Parisian garage rock - talk of a new release makes me very happy. No Age followed and proved that Sub Pop still know what's going on in the world of the younger listeners. They had the Pitchfork/American-Apparel crowd in rapture with their two-piece shoegaze melodies. I was anxiously waiting for Comets On Fire. Their album Blue Cathedralwas my pick for "Best Release of 2004" and I had never seen them before. It was worth the wait. Cacophonous psychedelic guitars seared while Echoplexed vocals ping-ponged around us. Why hadn't I scored any hash? Green River brought Seattle back to its roots, and I do believe we will see an actual grunge renaissance in the next couple of years. By this point I was getting a little tired of music, so I wandered around the grounds while Wolf Parade closed the night. I purchased a copy oi Bleach on vinyl for ten bucks. It was the first Sub Pop album I ever bought (on cassette) after seeing Nirvana open for Sonic Youth at the sadly defunct New York Theatre in '91. They say you can't go back, and Sub Pop isn't trying to. They're simply doing what they always do: making it bigger than "punk rock". 0 80 September 2008 lies m. (A For the second year in a row, Zak Pashak, who also transformed the Biltmore from a total dive into a potential Uve gem, threw a party called Sled Island in his hometown. Last year, the fest boasted the likes- of the Boredoms, Cat Power, and Les Savy Fav, and the 2008 line-up somehow managed to live up to the lofty expectations set in the event's inaugural year. Discorder made the trek to Calgary to give you the lowdown on the best Canadian music festival this side of Ontario. The festival took place over three days in a variety of Calgary v Yo La Tengo @ the Pumphouse Yo La Tengo are great live any night of the week, but their performance in Calgary was something truly special, as it was one of the rare sets where they turned down the volume and seated themselves for a self-de- . scribed "Freewheelin' Acoustic Q;and-A" show. The audience was given free reign to ask whatever was on their minds and the band followed with a host of entertaining answers (even to the most awkwardly posed questions) that led, spontaneously, into songs. Those songs ranged from YLT favourites like "Stockholm Syndrome" to live rarities like "Damage" to a handful of eclectic covers, including a blistering (can acoustic songs be blistering?) version of Neil Young's "For the Turnstiles." KmIP^ Quinn Omori Basketball @ Broken City The trio - who performed as a four-piece in Calgary with Cam Reed (ex-Hot Loins) beefing up the rhythm section — were in fine form during an early Thursday night set. When they performed under their old moniker, the Raking Bombs, they displayed a very strong (maybe too strong) influence from At the Drive-In. But in their new incarnation, that sound has been jettisoned in favor of a more worldly mix of crashing drums, tribal percussion, and droning guitars and synths. My hometown bias left me smiling the whole time, but I wasn't the only,one. In fact, Cowtown's opinion of Basketball could be nicely summed up by a young man who, when exiting the area in front of the stage, quipped to his • friend, "See? We don't have that. That's why Calgary's music scene sucks." QP Calgary newcomers Women have been the subject of some buzz in college radio circles (not least at CiTR, Where their debut has made several appearances on the charts). These proteges of Chad VanGaalen showed themselves worthy of praise, and seemed more confident in front of their hometown crowd than at their recent Vancouver appearance. Their engaging looseness and thick veneer of noise belie excellent songwriting, and their performance at Broken City showed impressive technical abihty. Trust me — dumb name, great band. If you haven't heard their album, I highly recommend it. Alex Smith RZA @ the Grand Theatre With all due respect to Bob Digi, the RZA without the rest of the Clan is sort of a must-see by association only. At least, that's what I thought before I saw him. Apparently, you don't lead hip-hop's most talented group for nearly two decades without learning how to work a crowd somewhere along the way, and from the opening notes (played out by a rather large and impressive backing band) to the time we were pulled away (by a desire to catch Wire's "secret" show) the Abbot had the sold-out room hanging off of every word. For the duration of his set, choruses were chanted, rhymes were repeated, more than a few Ws were raised towards the roof, and everyone forgot how RZA's most recent effort Digi Snacks held up against so many Wu-Tang classics (not very well). op Wire @ the No. 1 Legion There is always some apprehension when going to see a favoured, but aging, band perform — nobody wants to be disappointed by sagging musicianship or sagging faces. For their part, post-punk legends Wire wasted no time in dispelling any doubts with a spirited performance, including a good amount of newer material. Like contemporaries Mission of Burma, Wire have managed to remain vital and interesting with their more recent releases, putting out albums which stand up to their time-honoured early work. Still, it was energetic versions of classics like "Lowdown", OThe 15th" and "12XU" that revitalized the late-night crowd at the Legion. They may look like middle-aged accountants now, but Wire (bolstered by the guitar of indie veteran Margaret Fiedler) put on Sled Island's most memorable performance. ^O&jS^ AS Qui @ the HiFi Club Former Jesus Lizard/Scratch Acid frontman David Yow is'well known for drunken antics and hard Uving, and despite having recently suffered a punctured lung, he made sure to live up to his reputation. After spewing beer into the crowd, mauUng a female audience member and inexplicably disappearing from the stage, Yow's visage settled into a crooked leer as he snarled his way through Qui's set. Musically, the show was dead on, as drummer Paul Christensen and guitarist Matt Cronk provided a monolithic backdrop to the spectacle. With occasional contributions from Yow on the bass, Qui whipped the crowd into a frenzy, and we left bruised, sweaty and thoroughly satisfied with the proceedings. AS Broken Social Scene/Spiral Stairs @ the No. 1 Legion This pairing of Broken Social Scene with Scott Kann- berg (formerly of Pavement, now performing as Spiral Stairs) had all the marks of an epic indie supergroup (as if BSS weren't already "super" enough). Unfortunately, Human Milk (as the one-off was caUed) was plagued by technical glitches and general awkwardness. Kann- berg just didn't seem to belong, and although indie-rock grandpa Brendan Canning pulled off a credible stage- dive and crowd surf (which he dedicated to the aforementioned David Yow), the performance was mostly forgettable. It's worth mentioning that my coUeague Quinn slept through the whole show, waking up only for the rousing set closer "It's AU Gonna Break", a perennial live highlight for BSS. Kfedn AS ^J@©; show Hsftngs« promoters resources^ get a gig • fiml someore to jam v#t • b^ updated daily by the musicians, promoters and fans that make^ourmySkcWirturtities! ',...-. -j tli :iifj:..vi:n \'y_\:«:l Discorder 2L WW T "■ he entrance to the Pemberton Music Festival is Uke Limbo. Not like the Hawaiian party game, but like the Roman Catholic theological construct: a vast and depressing holding pen for tens of thousands of souls who aren't suffering, but stiU arefft having a very good time. Like all those dead, unbaptized babies, the crowds miUing around in dusty confusion at Pemberton could use a good bath. Within 15 minutes of my arrival, so can I. _ Along the Jeep-clogged single-lane roads leading to the festival grounds, a mile-long stream of people hike past cars inching forward at a snail's pace, Forty thousand people are showing up every day for acts ranging from Fiery Furnaces to Jay-Z. The vast majority of them are here just for the experience, for the sound of 40,000 voices cheering and the sight of 40,000 tight young bodies walking around half-naked, drunk on half a miUion plastic cups of cheap beer. The security is an absolute mess. People were predicting this for months: up until the festival, Genesis Secu- 22 September 2008 rity was running ads on CraigsUst and in the Straight, searching desperately for muscle to hold back the vast tide of bodies. I hear half their staff walked off the job after Thursday's near-riot over a lack of shuttles from the parking lot to the campgrounds. People waited hours only to be denied entry. By the time I get there, though, things have gotten a lot better. It's only three or four hours before I manage to get my media pass and make my way into the teeming festival grounds. Inside, it's like a refugee-camp-themed vacation destination. Everyone is akeady dirty, tired, and shirtless. Everyone wears scarves around their mouths to block out the ever-present dust. Cowboy hats abound. Sam Roberts Band is currently on, and the sound system on the main stage is awful. I pay half-hearted attention to the band (they're workmanlike Canadian alt-rock that I can never find an excuse to really dislike) while looking for friends in the crowd. I can't spot anyone. Maybe it was the $150+ single-day tickets, the $7 beers, or the fact that this is the festival's first year, but the majority of my friends gave Pemberton a pass. My first brush with fun comes at the Bacardi B-Live tent. The* people running this section of the event have their shit relatively together. I'm greeted at the entrance and ushered into a special media area. There's white day-beds with chandeliers overhanging and as many summm FESTWALS 2008 lCKAS| free mojitos as I can down. I'm starting to look forward to drinking myself into a catatonic state. Somebody I've never heard of is thumping away inside the massive tent, and he (there are pretty much no girls playing this weekend) sounds pretty good. After schmoozing with the other people in the line for booze (my new pals from Stereogum, a few older guys from "real" newspapers, and a local DJ who I thought had just gotten out of rehab), I finish my drink and head out of the media area and into the massive tent. It's like a huge Uving room carpeted with hay. People are sitting back on black couches, drinking their mojitos. It's air-conditioned, the lighting is good, and the sound system is large enough to make my insides vibrate from 20 feet away. It feels kind of European. After a while, I head back to the main stage. The Flaming Lips are fantastic. Their performance is fine (even if the sound was terrible), but what I'm really paying attention to is the confetti cannons, the white . weather baUoons bouncing across the crowd, the twenty-odd people in Teletubbies costumes onstage and Wayne Coyne crawUng into the audience inside his huge plastic bubble. It may have been the mojitos, but I'm laughing like a spastic, and the girl next to me starts to stare. The set sounds like a bootleg YouTube video, but it doesn't even matter — I'm having a fantastic time. Si WORDS AND PHOTOS BY •IHJWrttL The Lips are certainly a hard act to foUow, so maybe it's a good thing that nobody very interesting went on afterward. Tom Petty is like a hundred years old and , wasn't particularly great even when he was relevant, so I head back to the Bacardi tent. MSTRKRFT is kind of underwhelming. They would have been great for a mid-sized club, but they seem out of their league here. They're two aging hipsters, crowded around a single laptop, smoking and occasionally tweaking knobs on a mixer. There's no props or fireworks or anything, just scrolling logos on the screens behind them — I'm left thinking this would be cool if they were 22 and doing it at the Anza, Club, but for serious DJs who have produced a bunch of tracks I totally heart, they're not good live. They're still more fun than many of the festival's other acts, even if they can't muster up the same live show as, say, Fiery Furnaces (whose performance was charming even though they didn't play "Tropical Iceland"). Anyways, I'm standing in the VIP section having an awesome last day, even if the acts aren't super appealing. Vampire Weekend was bland but inoffensive, N.E.R.D. was offensively bland. Tne waning popularity of rap-rock didn't seem to stop a bevy of drunk white girls from rubbing themselves awkwardly on PhareU (who is terrible Uve). So as I sip my Red BuU and wait for Jay-Z to go on, I'm feeling kind of bad about the general state of humanity. Jay-Z turns in a pretty good set, which might have been better if he wasn't playing for an entirely white audience. Coldplay goes on, and I'm trying to get out into the audience. It's weird. I don't reaUy like Coldplay,, but everybody else does. Chris Martin is a twerp, his lyrics are the vague, mindless, feel-good pabulum which Bono has been boring people with for years. His band is like Kidz Bop in that it takes popular music and removes anything remotely offensive until it's suitable for very, very dull people. By this, I mean that Coldplay sort of sounds like U2, sort of sounds like Radiohead, and sort of sounds like Arcade Fire, except without the creativity, talent, or relevance. In the audience, Chris Martin's trite platitudes are getting panties wet by the hundreds; a lot of very boring people will be fucking tonight. It's time for more free mojitos. Eventually, blind-staggering drunk, I make my way to my tent. There's a Bacardi pillow under my shirt, and I'm waving a giant flower stolen from somewhere I don't know. Bass is thumping from the Bacardi tent in the distance, and as I lay back on my sleeping bag, I hear people returning to their tents, see their shadows from towers of stadium Ughts splayed against the walls of our tent. The morning arrives suddenly. Laying in my damp sleeping bag and pretending I'm not yet awake. I'm dreading the moment of leaving the tent, getting on the bus home, having to put words together and form a qualitative analysis of a three-day party in the middle of nowhere. I hadn't noticed the mountains until now, and it's kind of shocking, reaUy. They're unbelievably huge; the stages and even the wasteland of dead grass and crushed plastic beer, cups seem tiny next to them. The morning is a blur, in the way mornings after a certain kind of party tend to be, but the one thing I remember is this: I am walking toward the backstage area, trying to find something to eat, when all of a sudden I stop in my tracks, struck with the happy realization that I probably would have had a good time even if I had to pay for my own drinks. W > "-7^8P&^ Discorder 23 fiflttW SEPTEMBER 18 COMMODORE BALLROOM D-Tour 2008 SEPTEMBER 11 COMMODORE BALLROOM SEPTEMBER 22 COMMODORE BALLROOM FRIDAY OCTOBER 17 THE VOGUE THEATRE I SPIRITUALIZED SEPTEMBER 13 | COMMODORE BALLROOM • BOOTSY COLtBlS OCTOBER 1 | COMMODORE BALLROOM • SBERYt CROW OCTOBER 4 | GENERAL MOTORS PLACE nRTIOn.com 24 September 2008 L.Tve nRTiom ow On Sale! barn Owl + V. VECKER + AHNA Hoko's August 6 Judging by the conversations I've had with locals since arriving to Vancouver in Jury, concerts at Hoko's are old hat for most people involved in the city's noise-rock community. Personalty, I've seen Uve music in thrift store basements, art gaUeries and friends'Uving rooms, but I've never been afforded a chance to eat spicy maki roUs while listening to world-class experimental music. The night began modestly with the precision string communications of Vancouver sound exactors ahna. The sometimes four-piece performed as a duo, managing violin and guitar. Easily the most cohesive and structur- aUy sound performance of the night, the set navigated a cyclical minimalist path with expertise, remaining unified and avoiding divisive chaos points. Shortly thereafter, V. Vecker's thunder-and-Ughtning show roUed into the room. With drums provided by Justin Gradin from Mutators, Vecker used his guitar and amp stack to release an onslaught of wayward rhythmic intensity and ethereal feedback that had the crowd clutching their .ears for dear life. While some would dismiss the duo's extreme volume as symboUc bravado or even lacklustre redundancy, they integrated volume intelligently into the scope of their sound, a move that is aU too rare in many noise and experimental music circles. Despite their unassuming looks, visiting San Franciscan headliners Barn Owl summoned an entirely divergent spirit that night, setting them apart from the pack. Opening a portal of dual guitar and effects drone, Jon Poras and Evan Caminiti's music slowly veered into a rich psychic territory that demanded peace and attention from the crowd. Crouched on the floor with pedals, guitars and smaU percussive instruments, the duo projected unfathomable depth and radiant Ught with their 45-min- 26 September 2008 ute composition, leaving the room awash in a meditative spectrum of pure sound. Justin LangiUe Boris + Torche + lair of the minotaur Richard's on Richards July 30 Like a local blogger mentioned, I forgot that they actually start shows on time at Richard's on Richards, so the usual rock show continuum (doors at eight, show at nine, which means soundcheck, so don't show up until ten) doesn't apply. Missed Lair of the Minotaur but a quick poU revealed: big monster stoner rawk, aU meaty and dumb. Dammit. Torche started with a lot of promise, but after the third Soundgarden cover we went for a stroll in search of coffee. I found myself upstairs next to their singer during Boris's set, the two of us rocking out and exchanging looks of "fuck yeah," and he seemed Uke a nice guy — stoked to be be on tour, rocking the nation. I felt a Uttle guilty: it's that uncomfortable thing when a band's enthusiastic and they do what they do really weU, but meh. So it goes? Ahhh, Boris, spotty .on record and diverse in their approach. I was skeptical, especiaUy during an insuffer- ablylong soundcheck, but the wait paid off in terms of a set that was completely epic — UteraUy. I know the term "epic" gets bandied about a Uttle too cheaply nowadays, but I haven't experienced amplified transcendence Uke that since Godspeed You! Black Emperor at the Vogue. Boris started with a dirge and ended on one, with a few blasts of rock in between. But it was the moody drift, purple-black drone and solos comparable to Fushitsusha that channelled the sadness of every person in the room — nay, the universe — through their Orange amps, restoring my faith in the redemptive powers of the almighty rawk. -ll|lfefl Make no mistake, it was drama and spectacle (I would have thought it pompous on a grouchy day — "A gong? Seriously?"), but it was enthralling aU the same. Treatments of tracks such as "Flower Sun Rain" and "Pink" were simply stunning, and the 30-minute finale that ended with Atsuo, their insane drummer, standing on his kit in the midst of a Sunn 0)))-like drone -— horns held aloft along with the crowd in rapturous trance — offered something profound and cathartic. Yeah I know, Uke anything transcendent you had to be there, but Boris should not be missed. Christopher Olson Girl Talk Commodore Ballroom July 24 Before landing my pass to the sold-out Girl Talk show, I'd never been warned by so many concert-photographer coUeagues that I didn't know what I was getting myself into. "Insane" came one description. "People wiU, like, try to undress you" was another. And they were right. Halfway through the show, I found myself onstage with people pressing in from aU sides, as I shielded my camera with my torso and tried my damnedest to re-plug in Girl Talk's left speaker because, between tossing .handfuls of confetti into the sky, he nicely asked me to. As anyone who went to that show can attest, there's no exaggeration here. It's an understatement. Girl Talk is Gregg GilUs, a 26-year-old mash-up artist of the highest caUbre. Making lesser laptop DJs Uke MY!GAY!HUSBAND! look like a nebbish fat fart in a tutu, GiUis wiU take your two-song mash-up and raise you 14, magicaUy breeding such incongruous musical species such, as KeUy Clarkson, Queen or Huey Lewis & the News with shoot-'em-up gangsta rap and producing beautiful, club-dancey aural babies. These babies then have the power to burrow inside your head and transform you from an unassuming hipster fan to a single unit in a . T sweaty, writhing, bUssed-out orgy of pop music ecstasy, album, such as its title track and "Leviathan Bound." Whilst operating within this orgy, the only thing you're As the band played, Zulu's staff walked around ■aware of is how much fun you're having. And when it's"Bhanding out complimentary beverages in what mustP over, Uke a particularly adventurous acid trip, you're just have been a vain attempt to appear more approachable (glad to be alive. ___to their customers. Nice try. AU the marketing in thej| Not reaUy playing by any sort of predetermined set world won't make you guys intimidate your customers _Ust, the show functioned by GilUs juggUng the samples^_any less, but so is the way of the record store. _ ^hat made up albums Night Ripper and Feed the Animals^ As a venue, Zulu Records made an exceUent setting™ into a continuous stream of recognizable; dips, as though for the intimate performance provided by Shearwater. he sUced and diced up his own tracks and reinterpreted them again into something incestuously new. But the real star of the night was the crowd, a swarm of thousands .climbing up onto the stage, throbbing to the mjusic, and making security sweat for their paycheques. Benjamin Luk No Age Richard's on Richards July 24 Experimental noise-punk duo No Age unleashed an assault of sound upon Richard's, coming across as abrasive and assertive, yet strangely melodic and involving. Theirs is the sort of music that reminds you about music as a subject, not some generic bass beat with pretty vocals. No Age was preceded by a forgettable set by Abe Vigoda, whose guitars sounded Uke steel drums placed to awkward lyrics and random backups of ohhs and screams. It was like being on the set of Evil Dead, if it was on a cruise to the Caribbean. It's a good thing the pestilence of bad stage performance isn't contagious because the next band Mika Miko redeemed what could have been a very lame Thursday. ^IllilS Mika Miko is a high-energy noise band that actuaUy seemed to have loads of fun on stage. If it wasn't for the separation the Richard's stage provided, I would have felt as if I was at a house party where everyone goes crazy, and has loads of dirty, screamy fun. The lead singer jumped around the stage and screamed into a red telephone converted into a mic, which completed the lo-fi aesthetic and makes it aU seem cool and thrown together at the last minute. No need for styUsts, choreographers or makeup artists for this girl band, they rocked. No Age took control of the stage at 11:30 p.m. and the sleepy crowd was awakened by dreamy, shoegazy and very noisy punk. The fact that two people can manipulate so much noise into a cohesive whole is undoubtedly impressive. The ear-spUtting feedback, scraping guitar sounds and almost constant symbols perforated my eardrum Uke a three-hole punch. It felt as if it could have been the birth, or the end of, music. In the end it turned out to be neither, but was stiU another great show in Vancouver. Peter Holmes SHEARWATER Zulu Records July 26 If you happened to pop into Zulu Records to pick over the week's arrivals of CDs in late July, you may have been pleasantly surprised to find a very talented band playing in the middle of the store. Experimental indie rock band Shearwater took over one of Vancouver's trendier music stores to play music from their fifth album, Rook. The ornothological- themed quintet played a beautiful performance featuring the unusual instruments that give Shearwater their sound — drawn-out keys reminiscent of Radiohead's "Kid A," a big stand-up bass, a trumpet and xylophone all mixed up with the more traditional sounds of your standard drum kit, acoustic guitar and electric bass. Jonathon Meiburg and Co. played through Rook, as those less interested in their acoustic stylings continued to browse through the store. Though the band is evidently not to everyone's tastes, dedicated fans, those who follow record store-related news and curious shoppers took in the group's short but sweet set. Though brief, it included some of the best tracks from the new The sound was surprisingly clear as the audience packed around the band who had set up next to Zulu's elec- trohic, blues and hip-hop sections. A pleasant surprise on a Saturday afternoon. Jordie Yow 1 WOMEN VOLUNTEERS needed for our 24 Hour Rape Crisis Line and Transition House for battered women For an interview, please call 604-872-8212 Vancouver Rape Relief & Women's Shelter www>rapereliefshelter>bc>ca Dijcorder 27 AMY RAY DIDN'T IT FEEL KINDER (Daemon Records) On the insert to Didn't It Feel Kinder, Amy Ray is pictured staring wild-eyed into the camera, with a chest tattoo just peaking over the neckline of her black collared shirt. This picture captures the essence of Amy Ray's music - intense, stark, untamed. The songs here are much harder hitting than her folksy work as one half of die Indigo' Girls, with muscular arrangements and biting, overdriven guitars. Her voice is deep and full- bodied, proving her capable of taking center stage without the cushion of feUow Indigo Girl Emily Saliers.This less folksy delivery complements Ray's lyrics, which are forthright and unapologetic, as on "SLC Radio,9 a lesbian's response to radio censorship and America's reUgious right. "I ain't here to fuck the family," she sings during the song's quiet, keyboard-driven bridge, before the grinding guitars and drums return, pushing the song towards its triumphant cUmax. Her words paint vivid pictures, clearly drawn from personal experience. On "Bus Bus" she describes Ustening to ElUott (Elliott Smith, presumably) on her headphones, in her tour bus bunk, pining for an absent lover: "I got my phone on vibrate in case you call me," she sings. It is her honesty that makes Amy Ray's music appealing, and with arrangements to match her brash lyrics, her music has never sounded better. Alex Hudson ^ ^^^^ DARKER MY LOVE (Dangerbird Records) The name might evoke a group of mascara-bedaubed teenagers, but Darker My Love has more in common with hazy pop rock than the emo sounds of My Chemical Romance. 2, the appropriately named sophomore album from the Los Angeles five-piece, is drenched in reverb and shoe-gazing fuzz, with melodic sensibiUties firmly rooted in 1960s psychedeUa. Each song is nesded within a cocoon of guitar noise, with difficult to decipher lyrics, couched in woozy harmonies. In stark contrast to its misnomer of a band name, Darker My Love's music is warm and welcoming, drawing the Ustener in with the opening riffs of "Northern Soul," the album's feedback- laden first trade This dreamy atmosphere pervades every track on the album, causing the songs to blend into one another, and resulting in an album that sounds Uke a cohesive whole rather than a random coUection of independent singles. If Darker My Love has a weakness, it's their tendency to be derivative, with the album's lead single, "Two Ways Out," bearing a near-identical melody to Supergrass classic "Alright." Comparisons to My Bloody Valentine and the Dandy Warhols are also inevitable (fittingly, the band is touring with the latter in September). StiU, taken on its own, 2 is an addictive, sun-drenched rock record, so get your hands on it before summer ends. Alex Hudson ELDORADO SUITCASE (Independent) Suitcase is the second album from this local indie/ alt-country five piece. Singer Angela Fama has a voice that deviates between sweet and sultry, while occasion- aUy reminiscent of Cowboy Junkies' Margo Timmins. Although the majority of the tracks throughout Suitcase are strong, the most memorable tracks are the ones where Fama duets with other band members. This is by no means a sUght on the very talented singer, but rather a case of the energy created by the sum, being much more spirited and infectious than its separate parts. The title track is a slowed down honky-tonk number featuring the beautiful sounding chorus when Fama is joined on harmonies by bassist JuUe BavaUs. Guitarist Nenad JeU- cic contributes a tongue-in-cheek spoken word performance in "Never Say Never," and a memorable vocal appearance on ballad "Denial." In addition to the vocal talents, there is a cheeky, irreverent spirit to the album with lyrics that recaU the wit and word play of Carolyn Mark. Closing track "The Darkest Eye" reverts back to a sleepy sweetness recalling the warmth of summer days spent under shady trees and the comfort of knowing that while the road beckons, it also waits. MeUssa Smith THE PACKA.D. FUNERAL MIXTAPE (Mint Records) Listeners enamoured with the Pack A.D.'s debut Tintype, wiU not be disappointed with this sophomore release from Vancouver's garage/blues duo. Funeral Mixtape takes its cue from the concept albums of the 70s by offering exactly what the title says, a selection of songs to be played as a celebration to the end of a Ufe. However, that is where the comparisons with concept albums end, as thankfuUy there is nary a prog- rock element to be heard. Although, the piano is sadly missing this time around, the drum and guitar styUngs are booze and blues infused, and wiU not disappoint. Opening track "Blackout" sets the tone and pace of the album with serious" guitar riffage. Tracks "Don't Have To Like You" and "Dannemora Blues" feature Becky Blacks traditional blues guitar plucking and (hnimming from Maya Mitter that surprisingly sounds sUghdy jazzy. Becky Black's opening guitar in "Shiny Things," a song about zombies, is so eerie and frightening, Usteners are double dared to play it on low with the Ughts out. The track is foUowed by instant classic, "Oh Be Joyful," which although noted on the promotional sheet as a New Orleans death march is nowhere near as unsettling. The rocking continues throughout Funeral Mixtape, as third to last song "BuUd" is introduced by the heaviness of pounding drums, and is definitely the song to get the crowds up and dancing. "Worried," the last track on the album has a sound sUghdy Uke earUer track "Oh Be Joyful," but with a meUower sound that fades out the album with the adage, "I'm sorry." With songs this good, no apologies are necessary. MeUssa Smith SLIM TWIG VERNACULAR VIOLENCE (Paperbag Records) Toronto-based songwriter Slim Twig coined the genre "concrete rockabiUy" to describe his futuristic musical styUngs, but it's not entirely clear why he felt it was necessary to create the term. His latest EP, Vernacular Violence, sounds a whole lot Uke straight-ahead electronica. Every song is driven by a sparse, tick-tocking beat, and fleshed out with eerie synthesizers, jarring ceUo, and the occasional guitar. The mood is relentlessly sombre and oppressive, which causes the album to drag, even over its brief 25-minute run time. Memorable melodies are hard to come by on Vernacular Violence, and Twig eschews traditional verse-chorus structures in favour of more free-flowing compositions. Although this helps to keep things unpredictable, it works against him on the epic dirge " Whiite Fantaseee," which drags on for 10 minutes without ever taking hold. Vernacular Violence isn't an outright failure as Twig succeeds in creating an unsettling atmosphere ideal for late nights and dark corners, sounding at times Uke a pared-down version of Portishead. His synthesizers effectively toe the Une between pleasant and dissonant, contributing to the overaU tenseness of the material. StiU it makes one wish Twig would occasionaUy lift the morose mood; an upbeat palate-cleanser would have been well-placed and welcome. Alex Hudson TANYA TAGAQ^ AUK-BLOOD (Jericho Beach Music) Former resident of Cambridge Bay, Nunavut, Tanya Tagaq has had the honour of collaborating with Bjork j on three projects during her four years as an estabUshed experimental musician and Inuit throat singer. Whfle Bjork does not make an appearance on Blood (or Auk in the Inuktitut language), Tagaq coUaborates with two other renowned experimental artists on her newest album, recorded in Spain and Calgary. Mike Patton, of Faith No More fame, has been credited for his versatile and often experimental vocal style, and in addition to releasing Auk~Blood on his own Ipecac label stateside, he lends his talents to second track "Fire~Ikuma." "Hunger" the ninth track on the album features Tagaq's throat singing laid over an electro beat and sounds incredibly sensual, which is perhaps fitting as this track was derived from a letter to her lover. Opening track "Fox~Tiriganiak" functions as the strongest auditory hallucinogenic on the album and brings to mind "More Than Seven Dwarfs In Penis Land" the tripped-out and seminal (pun intended) gem from Roger Waters' Music From The Body. Surprisingly the tracks that work the best on the album, are the coUaborations with Nova Scotian hip hop artist Buck 65, as his spoken word musings provide a welcome balance to the ethereal experimentation of Tagaq. MeUssa Smith 28 September 2008 Ten Shekel Shirt Jubilee (Independent) For some unshakeable reason, Ten Shekel Shirt's third album, Jubilee sounds cxacdy Uke that period from the late '90s when a bunch of infectiously alternative anthems saturated the radio stations and then were never heard from again. Perhaps Third Eye Blind's "Semi-Charmed Life" and Semisonic's "Closing Time" bring this otherwise undefinable sound and time to mind. Despite Jubilee's nostalgic, late '90s flavour, it also manages to evoke parallels to Snow Patrol, Clearlake, and even a Uttle Grandaddy at times. Highly textured and versatile, gifted front-man and songwriter Lamont Hiebert's emotive lyrical composure and pseudo-angsty voice emanate the pain of Uving in the 21st century. Songs such as "Wartime Lullaby" and "Love From a Lesser God" have an existential, moraUy paralyzing theme to them, while "It's Slavery" condemns commercialism and the lack of coUective social consciousness. At the upswing points of the album, Hiebert can move past the metalUc scratchings of modern Ufe and show an unrelenting optimism, such as in the song "Prague." Darting between the organic, the eclectic and the synthetic, Jubilee is an album of surprisingly varied and masterftdly crafted songs for the ebullient at heart. Min6 Salkin Uh huh her S§|g COMMON REACTION (Nettwerk Records) ! Uh Huh Hers debut full-length album Common Reaction is a melodic hybrid of powerful electro and indie sounds. The group consists of the musical talents of Leisha Hayley and multi-instrumentaUst Camila Grey, whose female vocal pairings give the album a sultry, organic-texture. WhUe the initial sound of the album seems merely styUsh and eUte, the lyrics move through introspective topics that elevate the songs from most club music. "Explode" explores the dark side of female sexuaUty, abandonment, and the pursuit of love, within a superficial demographic. Hafley and Grey function as a kind of glamourized, ironic version of Tegan and Sara, through sad lyrical gestures, camouflaged by upbeat, catchy electronic anthems. The track "Away From Here" epitomizes this world of pain glossed over by outward beauty, as they sing "What if I could change the world one day at a time / I'd go back and stay / Too much is gone / Shallow in depth / So I see everything clear." Inspired by a PJ Harvey B-Side, offended by the notion of a love song, Uh Huh Her moves beyond the transparency of the dance scene through to a shimmery, auraUy pleasing display of the female persuasion. Mine Salkin UNDeR mx_w ~~^^^^^^^^\ mm w Kellarissa If "Flamingo" NOVILLERO A LITTLE TRADITION CD&180gLPOUTSEPT9 in concert: September 24 The Bourbon with The Details www.novilleio.net www.myspace.com/noviileio THE BUTTLESS CHAPS CAROLYN MARK THE PACK A.D. thebuttlesschaps.com carofynmark.com thepackafterdeatb.com 10/31 The Biltmore, Vancouver BC 10/24 Railway Club, Vancouver BC 10/31 Railway Club, Vancouver BC MINT RECORDS RELEASES ARE AVAILABLE FINE RETAILERS LIKE THESE! ^««S RE0 CAT REC0MS _%t\9AT 11 SCRflTCH RECORDS fK I ZULU RECORDS :^S^P 4307 MAIN AI a*2? hNH 726 RICHARDS H fl 1972 WEST 4TH CiTR 101.9FM CiTR's charts reflect what has been spun on the air for the month. Artists with stars alongside their names (*) are from this great land o' ours. Most of these platters can be found at finer (read: independent) music stores across Vancouver. If you can't find them there, give our Music Director a shout at 604-822-8733. His name is Luke. If you . ask nicely, he'll tell you how to get them. To find other great campus/community radio charts, check out www.earshot-online.com. 30 September 2008 rv CQ D. IP 12008 HjArtist We 8^P** D Various* Emergency Boom Volume 8m Nominal W9King Khan and (ft* Shrines TheSupremeGoausoflC^KhanandthaShrines Vice Q Various KMWomen* Songs for the Gang: Thrush Hermit Tribute Gooseberry Flemish Eye Q The Jolts* Haute/Voltage Independent EtW Chris Murray Combo* Why So Rude? Unstrictly Roots n Hank Pine and Lily Fawn* Norm America Independent ^|Mira/i The Old Days FeeUng Modem Radio Q The Telepathic Butterflies* Breakfast lu Suburbia Rainbow Quartz ^m Ratatat LP3 ■iF"1""""""""mi"" ^1 Carpenter* Law Of The Land Smallman Six Shooter _^__ Mountain Meadows ^9 Mas Sound WK Snailhouse* Alias Shrugged lies On The Prize Unfamiliar MM m Vancougar* Canadian Tuxedo Mint WtThaJolts* Haute/Voltage Independent Q The Dutchess And The Duke ^Mjl Hawaiian Bibles* She's Tba Dutchess, He's Tbe Duke Hardly Art There's Good People In Tha City ' Independent ^^^^rHmumd Dollars* ^m Me First And The Gimme Gimmes Forest Of Tears HaveAnoSer^f Independent Fat Wreck Chords i j^rt Jeremy Jay ^wplivian Gi||f Alpharhythm iKi i Wild Eyes Plays Vim Dolls ^y Oxford Collapse ^flporche Bits Meandgrthal SubPop n V^M Various PDX Pop Nowl 2008 ^^^^^ gnwn* A Vary Fine Adventure Twink tones ^R Ron Sexsmith* ^ffilHorse Feathers Exit Strategy Of The Soul Ronboy ^i(TiocJr3§p * ^u The Bug Matties Which Way Ya Wann»:^ti, ' Believer Music Issue 2008 Floatation McSweeneys Q The Ramblin'Ambassadors* Vista Cruiser Country Squire Mint ^fltAdam And the Amethysts* Amethyst Amulet "*P6iR§~' -. 0 Modey Lamm. .^""•"i Season Of Sweets Birdman Qiiimmim Wilson Ri^fcOiM^^M^SSr^ Epic i 1^3 Various* MusicWorkslOI MusicWorks Magazine ^ffijjJeff Han?oa Madam Owl Kill Rock Stars ^n Silver Jews ^MpUie Vigode Lookout Mountain, Lookout Sea Drag (Sty Skeleton ' PPM Q Fiery Furnaces «^m-oirtbo_%S Remember Thrill Jockey We Have You Surrounded In The Red BM H :1ffl: -Modem Guilt DGC ^KeSWfe* Oceans Witt Rise Arts&Crafts B^- lit: The Moving Frontier Domino ^5j0»e/rfa ra Two Af/nufe Miracles* tj!jMfheTou^Alliance Protean Weaponry Volume IV: Lions Of Love Brah/Jagjaguwar Weewerk Summer Lovers' Unlimited imi Njfwliciiijffl'~^" Q The Wet Secrets* Rock Fantasy ^8§§|f§ Rodeo Peanut wk Tunnel Canary* Mhad Run Down Sun u^M Vetiver WKJudas Priest Wring Of Tha Past Gnomonsong '*y- ... Nostradamus ' ^^-—w The AMS represents over 44,000 UBC students as well as students at affiliated colleges. The AMS operates student £-4 III Wl services, student owned student society businesses, resource ams.ubc.ca groups and clubs. 3^=11^ _$mM___&feW M Am^XMM iirsfweek SM*% OPENING FILE SHINDIG 2888... TINE* ife EUERY TUESDAY AT 9 PH SEPTEMBER 16 - DECEMBER 9 LOCATION= THE RAILWAY CLUB COST: SEUEN DOLLARS DATA: COMPLETE SCHEDULE AT HTTP=//SHINDIG.CITR.CA PRESENTED BY= THE BEST DEALS IN TOWN FOR A MEASLY 15 BUCKS. Anti-Social Skate Shop and Gallery 2425 Main St. 604-708-5678 Audiopile 2016 Commercial Dr. 604-253-7453 Beat Street Records 439 W. Hastings St. 604-683-3344 The Bike Kitchen UBC, AMS, 6139 Student Union Blvd. 604-822-BIKE Burcu's Angels 2535 Main St. 604-874-9773 Canterbury Tales Secondhand Books 1990 W. 4th Ave. 604-733-1130 The FALL Tattooing 644 Seymour St 304-676^066 The Eatery 3431 W. Broadway 604-738-5298 Hitz Boutique 316 W. Cordova 604-662-3334 The FALL Tattooing 644 Seymour St. 304-676-6066 Full Tilt Tuesdays @ The Republic 958 Granville St. The Kiss Store 2512 Watson St 604-675-9972 Lucky's Comics 3972 Main St. 604-875-9858 Magpie Magazine 1319 Commercial Dr. : 604-253-6666 Co-op Bookstore 1391 Commercial Dr. 604-253-6442 Puncture Haus 2228 E. Broadway 604-708-8100 Red Cat Records 4307 Main St. 604-708-9422 The Regional Assembly of Text 3934 lOlain St. 604-877-2247 R/X Comics 2418 Main St. 604454-5099 Scratch Records 726 Richards St. 604-687-6355 Slickity Jim's Chat and Chew 2513 Main St. 604-873-6760 Spartacus Books 319 W.Hastings 604-688-6138 Vinyl Records 319 W.Hastings 604-488-1234 VOZZ Boutique 2855 W. Broadway 604-733-2067 Flaming Angels Design 644 Seymour St. 604-689-3224 www.citr.ca/friends A Friends of CiTR Card scores you sweet deals at Vancouver's finest small merchants and supports CiTR 101.9 FM. Show it when you shop! Discorder 31 MUSIC IS THE MESSAGE. Zulu Is The Medium. LYKKE Ll Youth Novels CD n I music of lykke U even though you might not know anything about her) Joining an impressive group of Swedish pop upstarts (Petal, Bjom and John, il Perro Dei Mar, Taken By Trees) lykke is definitely one of the freshest faces to hit our North American shores in a long time. Her debut full length Youth Novels testifies to her inventive vision for crafty and ultimately extremely catchy melodies, instrumenta- * tion and arrangements. Featuring 14 songs that hint at a wide range of genres and moods, this album shows off her musical depth and well-rounded songwriting approach. There is a modern flair to standout tracks such as "I'm Good, I'm Gone" and "Uttle Bit" which capture U's precise sense of fonty experimentation as well as her bold sonic juxtapositions, while also presenting her endearing youthful unflappable voice. Stop by for a listen and finally place a name with the songs you.ye been hearing a round the scene for quite some time. CD 14.98 CALEXICO Camed To Dust CD For Carried To Dust. Calexico called on a rotating cast of musicians and ". friends to help them create what is arguably their most varied and strongest „_„ work to date. The band lineup that solidi-1 nflfWfTil Til TOUTf tied around Feast Of Wire is back again along with a number of guests; including Sam Beam (toon and Wine), Douglas McCombs (Tortoise), and Pieta Brown. Along with extending collaborative bridges with other artists, Carried To Dust also reflects Calexico s amazing live shows, as well as underscoring the band's restraint and beauty. A remarkably well-rounded album, Carried To Dust showcases every aspect of Calexico s exceptional talents — proving yet again that our pals Joey and John are as close to; sure bet as one can truly < THE FIERY FURNACES Remember 2CD Hot off the heels of their critically acclaimed Thrill Jockey release Widow City, I t! Bravo. AVAILABLE SEPT 9m CD 14.98 STEREOLAB Chemical Chords CD w/Hd. edition 7" Scoring an impressive 8.1 rating from Ite rock critics at Pitchforkmedia, Stereolab have created another quintes- sentially great record of bubbling rhythms and dense symphonic synthesizers. Infused in this clas- ' sic Stereolab foundation are some extremely animated horn arrangements from long time collaborator Sean O'Hagen, who hear manages to send Fred Wesley and Maceo Parker through the Brian Wilson sonic kaleidoscope! Gracing.this elixir of blissed out grandeur is another Stereolab hallmark — the dove-like French lyricism of Laetitia Sadler who as atways is in fine form. ; (lotto be mistaken with a track on the bubbly '60s inspired new I Bet* release, Chemical Chords also digs deep into the roots of pop psychedelic era as '60s Doo Wop and symphonic Beach Boys arrangements are through into the enchanted mix with stunning results. Grand! CD 12.98 w/ltd. Option T CHADVANGAALffl Soft Airplane CD Recorded primarily on an old tape machine and a JVC ghetto blaster in Chad's Calgary basement, Sett Airplane retains the handmade charm and singular character of his previous records, while incorporating new layers of sophistication and weight Recalling Neil Young at his most fragile and plaintive, and Thurston Moore at his most resolved and vital, Chad's emotive vocals anchor these songs while tackling the pervasive .themes of death and dreams with an unexpected air of certainty and hope that is far from ominous—instead it's luminous. Through a complex interplay of guitar, drum beats, loop*. san> 0 pies, found sounds, unorthodox percussion, xylophones, distor- tion, synthesizers, accordions and more,-Chad has made an album that sounds bigger than one man. It sounds like a lifetime. AVAILABLE SEPT 9™ CD 14.98 tlie sibling duo that makes up the core of tbe Fiery of the most prolific bands in mu together a double CD live album entitled Remember. The Fiery are one of the most unique experiences in live music. Remember captures the high energy, intricate complexity, amazing vocal acrobatics of Eleanor and the technical musicianship that defines a Fiery Furnaces performance. Collecting songs from their entire catalogue and performances across the globe starting in 2005. Remember is a unique document. The Fiery Furnaces reconstruct and re-arrange their songs for each tour. They go to great lengths to create versions mat vary greatly from the recorded versions in tempo, instrumentation and arrangements. The band go through this process for each tour, never repeating themselves, and often combining songs in a musical collage that creates a new song made up of several — or even of bits of an entire album! These are not your mother's medleys. We know of no other band that goes to such great lengths to reinvent and re-imagine for every tour. As a result, Remember is unique as a live document. More than two hours of music appears on Remember as it appears no place else. Featuring 51 tracks, Remember is issued as a double CD in a deluxe 6 panel digipack and includes a coupon to download a bonus song. 2CD 16.98 OKKERVILRIVER The Stand Ins CD Okkervil River's new fuU-length album The Stand Ins is the sequel to 2007's critically acclaimed The Stage Names, which Pitchfork praised as "...one of the year's best," with The New York Times proclaiming, This band's musical arsenal keeps getting fuller." Recorded in Austin and produced by longtime collaborator Brian Beattie and Okkervil River. The album features 11 songs and includes the track tost Coastlines," on which Will ' Sheff and recently departed Jonathan Meiburg of Shearwater share a duet on the joys and hardships of trying to keep the band together. Of the process Will Sheff explains, "We had so many songs we were excited about that we briefly threw around the idea of just putting out adouMe record. Instead, we decided to take a group of songs that fit with each other and turn that into The Stage Names, setting the rest aside for a future release, a The Stage Names sequel." The Stand Ins is that sequel, part two of a staggered double album now fleshed-out, Uo a deeply ambitious labor of love! AVAILABLE SEPT 9™ roi4.jgB JENNIFER O'CONNOR Here with Me CD Charting the distances between Patti Smith and Lucinda Williams, Matador Recording artist Jennifer O'Connor has now for two records flown under the radar of the general music loving population. Knowing Jennifer she's probably comfortabte^pSrating from this shadowy void as it has allow|||er idiosyncratic vision the freedom to evolve at a gradual and unpressured rate. Steeping herself in the past and present masters, O'Connor prefers to work on the dealt of her outsider rock-diva tradition rather than editing her myspace page or previewing .video director reels. She prefers to study finger-picHrig tf^her fantastic "End of the Hair rather than hunt down vintage jackets for photo shoots. She prefers to dial up her crack Brooklyn session band to sit in on a juicy Dumber such as "Valley Road '86" rather than dial up publicists to get Jier on the party guest lists. You get my driftytetepr drift? You got to love her direct poetics — plain and simple, wk CD 12.98 KELLARISSA Flamingo CD With a flare for the unconventional and her soaring vocal loops, Kellarissa will charm your ears into doing cartwheels through your Grandma's basement Flamingo is a multifac- eted choose-your-own adventure novel of a pop record filled with hazy reverb and elegant Finnish influences. Her previous wort with P:ano and The Choir Practice earned Kellarissa a license in pop sorcery. That said, Flamingo is a magical one woman show that you don't want to miss. CD release party: Saturday, September 14th at ViVo with Hello, Blue Roses and Les Beyond. AVAILABLE SEPT 9™ CD 12.98 JAGUAR LOVE Take Me To The Sea CD After last year's Blood Brothers divorce we now finally have something we can all feel happy about I again. Featuring the tortured caterwauls of B.B. vocal- | ist Johnny Whitney and the must be seen to be believed guitar hedonism of B.B. Cody Votolato as I well as PGMG's rhythm ace J Clark, Jaguar Love is now finally proving the adage that everyone is happy when stocks split! Now, here is were things get interesting. Refusing to me a mere predictable simulacra of their previous sonic efforts, Jaguar Love are indeed their own cacophonous beast to be reckoned with! Unleashing a fury of. spastic guitar riffage and dense drum thunder, Clark and Votolato create a shimmering haze of disorienting riffage to which Whitney out-does himself by screaming beautifully! Pulling in aH directions at once, Jaguar Love are as belligerent and cantankerous the Blood Brothers ever where but also manage find even more tension in their sound as they push the full on freak out to the finest conclusion. One of the best records of the year. CD 12.98 SptvAUCMEN You&MeCD It's been slightly over six years since The W released their landmark debut LP, Everyone tmu Pretended To Uke Me Is Gone. The instantly alluring record was a passionate, immediate, unique and groundbreaking affair. The Walkmen followed Everyone with even mom vigor on Bows & Arrows and A Hi Sparks fly once again on the band's latest opus, You & M Mississippi & New York, the album shines like a diamond in the rough. Key tracks Include 'In The New Year', 'Postcards From Tiny Islands' & the majestic closer, If Only H Were True'. Another stunning collection! Old School roots came together with energetkimelodies and palpable tension to make The Walkmen something special. They have put together a tighter yet more ambitious album than their last two efforts, and the songwriting is as gripping as jk ever. Join the action. CD 14.98 THESTUS Oceans Will Rise CD Three albums into the game and Montreal's Stills have farthered their already amazing catalog of •intense brooding-post-punk rock! Upping the ante after their plaintive roots based Without Feathers seemed near impossible — yet like classic TOsera | Stones—The Stills prove that truly greaj txipd pulse with soul, confidence, and most importantly the courage constantly reshape their aesthetic while maintaining the core level of crafted excellence. Sportin&tjjsfc:;*" trademark crystalline guitar fury and ominous rhythmic bombast, these 12 blistering new sonjjsare easily their mostconsistent to date as well as perhaps their most mature as "Being Here" is an rock anthem In every sense yet also the sort of song most bands leave overwrought, bloated and flat. 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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2008-09-01
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Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2008-09-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2008_09 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | b8d68b08-ade7-4fe3-84fe-db6b0ad74f82 |
DOI | 10.14288/1.0049903 |
AggregatedSourceRepository | CONTENTdm |
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