THAT ROLLERDISCO MAGAZINE FROM CiTR I0I.9FM * **mm mmm itt. JUNE LEARN TO SPELL EINSTURZENDE NEUBAUTEN (SP?) GROW TO LOVE KEITH IONES FIND OUT WHAT MOVIE BEN LAI WATCHED WITH THEY SHOOT HORSES DONT THEY DISCOVER FOUND MAGAZINE ENCOUNTER SPRAY PAINT Vancouver International Jazz Festival PlNE 2 5 - JULY 4 J*" hiphop 1 VjBjkH S«l» I ^^tlrSl fllClfl* «gv5uv* r,«» coastaijoaar Ci clubvibcs.com HENKELL WBmwSLW TICKETMASTER OW280-4444 Canada Trust www.coastaljazz.ca I TUESDAYS IN JUNE —8.15.22 f BRINGING THE BOUNCE BACK TO THE COMMODORE* I EHa ij CHICLET ■eVELVET I uinimniiTit SUAR COOKIES I COMMODORE BALLROOM Pw^H destroyer! with special guests Frog Eyes Pink Mountaintops Jamie ICiilliiiii I HOIXY BROOK Jrici neTsJ ——s-s. ■JUNE 161 THE STILLS 'iJSmiJi i JUNE 23 LOS FURIOS _T,IC^^°^^^" | RICHARDS ON RICHARDS [1 ■COMMODORE BALLROOM | JULyTH ISATURDAYluLYIol CIS and&r ~ - ;Js*. Legendary I Pfflkpts 1mark m j (OmRecords /All World. San Francisco) M\ I i-scisUcicle K (Om Records San Francisco) '.jSjtS B with special guests 1 LUKE MCKEEHAN and fl^ § JON DELERIOUS J RICHARD'S ON RICHARDS I JULY 131 HFRIDAY JULY 16 , IHE DATSUNS I RICHARD'S ON RICHARDS I G0ME2 MMMIMilM SATURDAY JULY 171 I COMMODORE BALLROOM I A.C. NEWMAN SATURDAY JULY 171 |. H H THE CENTRE FOR PERFORMING ARTS IN VANCOUVER ■ **»™«*«c» 1 BOARD'S ON RICHARDS JULY 21 ESESE1 WW W«1ISP?C«KLMSTS THE BUCK WAWlf*ER I COMMODORE BALLROOM 12 fori tickets I COMMODORE BALLROOM I ■ RICHARDS ON RICHARDS ■ wa» ICOMMOBME BALLROOM jH0fm\ *>*«S?. ■SISTsS PURCHASE TICKETS 0Q8DOS AT hob rdir RcU*> 0*€.: .Vs ISSUE 252/ JUNE 2004 D.SCQRDER feature§|| The Badf^&13 ~^J$$£$f %lyrf Graff Writers Take it to the Wall p.14 Ji&Sfer Derby of DestimMBf^^: Mission of Burma p.20 $ CoacHELLa p.2^5^i Einsturzende Neubauten p.24 They Shoof^©t^e^^p*w©y? p.25 Kool Keith Jones p.26 FfJUNDiWagazine Invades Vancouver p.28 DiSCORDER presents ... Cuss Words! p.5 Fucking Bullshit p.5 Strut, Fret & Flicker p.6 This month's cover comes courtesy of graf Panarticon p.7 JfR^^ifnecl art fag Nicholas Pittman, wjfer^" Riff Raff p.8 X^p^gOe|to|B*Jly Carr (sort olf.^q'IftljVOpt^^ Reapive Action p.10 - ^^^swv^^^^i^^^^^^^m^^ Kick Arpund.|).,17 ^/^?''^ihttto even g^ TextuallyActive p.3t. .5. /,.^eyUseSrxoyi^lnt.DonltheWp W^*®^K p*34 ^s^^PSp?CORDER" lettering^hlhe'cover - Charts p"!! #-y#^i |«^|s^0i%sy of luke Jame^iw^ f ^ DatebooJ&^^Sfli^8" %&£* On the Dial p.38 EDITRIX^A^ ^BRODUCTION '*fcSB0i«^ ||j|||paeme Worthy - t-^Dale Davies AD-VARJiffi' fefv^yWebb -Jasli&Benlie^Ei W^fs&ti&f* 3 ^SmmmffibW? '^^^^S (MIS)MANAGER ^raeme Worthy JakubSvo Michelle Mayne Lucas TDS ART DIRECTOR ^Gpcdon s London Dffjplii Dale Davle^S ^^^Smes and Tonic Water EDITORIAL ASSISTANT ON THE DIAL Susy WebiM Bryce Dunn TAEDJToffi^ ihcjllPilf V^rjTjwr^Draculea ^^JaAs© Meat RLA EDITOR ^Mtebook '^^^^^^ Patrick Love Susy Webb %^^P^ESIGN ;^^^^|M|^1 DISTRIBUTION Xa^tiwWorthy MattSteffich Jason Bennet Kimberly Day US DISTRO ;;5;J;ra^jkie Rumbletone VOLUNTEER ^ Jpi CO-ORDINATOR PUBLISHER Susy Webb Lydia Masemola © "DISCORDER" 2004 by the Student Radio Society of the University of British Columbia. AH rights reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Stogie copies are $2 [to cover postage). Please make cheques or money orders payable to DiSCORDER Magazine. Please make gifts papyable to Kat Siddle. DEADLINES: Copy deadline for the July issue Is June 18. Ad space Is available until June 25 and can be booked by calling Jason at i04.822.3017 ext. 3. Our rates are available upon request. DISCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs, and transparencies), or any other unsolicited material. Material can be submitted on disc or In type. As always, English is preferred, but we will accept French. Actually, .- j we won't. Send email to DISCORDER at discordereclub.dms.ubc.ca. From UBC to Langley and Squamlsh to Bellingham, CITR can be heard at 101.9 fM as well as through all major cable systems In the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.3017. or our news and sports lines a' £12.3017 ext. 2. Fax us at 822.9364, e-mail us ah cltrmgr@mall.ams.ubc.ca, visit our web site at www. cllr.ca or Just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T1Z1, CANADA. m I -I V Hool rv»oy W«U (Jiics /O****** »■$ •'* I I M Cr^iVr^.'^o. s.'4^sJr.*0/\ 4Ua-Vwis\ta 7 ♦© curse: ]0O. Moy w«tc 4; t|id yow»r>» n .«% lAAHAlALffrEClI Tw» <v(r*.'«A Mt«, racoon F«rV^«tlV f«ryo« U th,'S moMU'S «•»** ""** a*"1"J?UkeA U4WU»AeVAf6W TV* OAfc €.*|>re*j6* $UotK «m4/»< 7 *> tcWjL; . ev\cte "T litre's oVwtxys OcctxSiOAS ?er Cv».44»V| HElwmfsaW ChristeMiP ROCK AND ROLL SECRETS REVEALED! Have you ever wanted to know how Kim Deal's hair grows so fast? Why Frank Black looks EXACTLY the same as Black Francis? How Jeff Tweedy writes such rock, hard music? Well, you're about to find out, and the truth is SHOCKING! In the next five minutes, you will also discover the secrets behind Morrissey's cowlick. Blonde Redhead's slim silhouettes, and Jack White's belt techniques. What I'm offering you here is free. It will cost you zero dollars and zero cents. I don't want your money. I only want you to get what you've always wanted. I only want to give you the chance to be as great as me. I'm offering you a 100% money back guarantee. You put in absolutely nothing, and I'll give you absolutely nothing. Except THE KEY TO LIFEI You can see it in the fullness of Will Oldham's beard, the creases in Interpol's pants, the sparkle in Courtney Love's right nostril! This "star quality" can be yours! On the surface, you may think that none of these people have anything in common. Believe me, though; there is a true connection. Men and women, young and old, black and white, up and down, wet and dry. shirts and skins, sweet and sour, grass and flower. Storm and Stress, Iron and Wine, Belle and Sebastian, Gin and Blossom! Everybody now! It's the reason why the Yeah Yeah Yeahs dre still together. It's the bond between the Beastie Boys. It's the beauty behind the Donnas. Have you ever noticed that. Effioff I Smith and Shannon Hoon are dead? It's a terrible shame. If they only knew. It's the single reason why the Rolling Stones, the Eagles, and Fugazi are still alive. Modest Mouse says "Yes!" So does Spoon. Death Cab for Cutie declares "Sure, why not!" They're saying yes to a better band and a more beautiful figure. They're saying "Yes!" to YOGA! The secret behind rock and the mystery behind roll is yogal And beer! No, just kidding. The key to life is 0% beer and 100% yoga. Mind, body! and spirit for life! D RUMBLETONE presents at The Railway Club RICKROYALE and the Collection 7&7IS June 23 THE FRENETICS (Montreal) HOG PUNCHER .THE LAST TIME CLOVER HONEY June 9 JIMMY NOW RICH HOPE mS*^^-" KICK IN THE EYE lli.*^2^ June 16 THE WEATHER THEM0DEL0S THAT KELLY BOY June 30 THE BASEMENT SWEETS BONTEMPI VAN COURTUND RANGERS GANGBANG CLOVER HONEY CUNT Sunday JUNE 6th 1 on the Waft S*eas (High S< The Pirate Arrt Show! Saturday June 26 Sunday June 27 Art Opening 8-10pm* Live Music with art exhibit 6-8pm • Live Music with SWANK and ELDORADO 10pm The COLORIFICS 8pm (Earty Show) us Marine Club 573 Homer St(@Dunsmuir) i/highi FOR MORE INFO (604) 878-G0G0 WorrfBilc km m-$k HUMAN HAIR EXTENSIONS * SYNTH DREADS * DREAD XTENDERS * PRODUCTS AND ACCESSORIES 604-473-9651 WVIIW.KN0TTYB0Y.COM/DREADSERV1CE.HTW Peu^^elvjQ|ligan MARIE BRASSARD • INFRAROUGE La Noirceur Wmlt^ 3 Wednesday 28 April The Firehall Arts Centre Vancouver has been getting gang-banged by developers for considerably longer that Montreal, so when Marie Brassard brought us this tale of architragedy set in her native city, the facts were all too familiar. Not half a mile from the theatre, embers were still smoldering at the,, site of the latest "suspicious fire" to destroy a heritage building, while uptown, yet another block of flats was being systematically purged of long time residents to make way for high-end condo dwellers in the newest Hip Urban Hub. What made La Noirceur vibrate was the way it revealed what gets lost when this greed-fueled machine scours its way through a city. Writtenand directedbyBrassard, the piece was structured like an archeological dig - but with the layers all jumbled. As the narrator/protagonist. Brassard situated the piece in the recent past, in which she was the sole remaining occupant of a cavernous old warehouse whose other tenants had, one by one, been turfed. Her own days there being numbered, she spent them in obsessive recollection of the life that used to surround her. The looping monologues had a gently desperate quality - as if she was trying to recover and crystallize the past before the building got an extreme makeover. Her excavations also introduced characters and events from a. time predating that of the recent occupants: a mysterious man in a photo discovered in one of the lofts; a child killed in traffic; a single mother whose troubled son smoked in the stairwells while she went out dancing, alone and self- conscious, in a bar. Their stories weren't so much subplots as pieces in a chronology that wouldn't be fully revealed until much later. The unanchored quality of time and place was enhanced by both set and sound design. A horizontal slab ran across the stage like a rooftop batustrade and a time-lapse video of cityscapes filled the upstage wall. Alexander MacSween's live accompaniment on percussion and electronics bathed it all in industrial ambience. I wasn't convinced, though, by the inclusion of actor/dancer Guy Trifiro. With the exception of one marvellous sequence in which he exploded into a punkified break-dance on the roof, he was more of a cipher than a real presence. I had the feeling that Brassard could have carried the play by herself. As in her previous work, she used voice processing. It was eerie, yet it somehow made the characters even more touchingly human. The same disembodied voices which began the play in darkness with a recitation of eccentric bedtime rituals also closed it with expressions of gratitude for the new digs. At this point, I wondered if the people who ultimately moved into the luxury condos had book-ended the piece. In any case, they were as fragile, needy and fucked up as those they had replaced - only richer. Clearly, La Noirceur is more lament than condemnation. Brassard also left us with the sense that it may be too late for the play to be a caution. Given that the "darkness" of the title refers to what happens when the lights go out for ever on the "evidence of presence" lurking in a city's streets and architecture, I hope she's wrong. D L THE PLUGHOLE Last November, after months of suspenseful darkness. The Celtic Cafe gently moved into the space vacated by The Blinding Light!! at 36 Powell Street. Although this was no hostile changeover - Alex MacKenzie voluntarily shut down after fulfilling his five-year plan - many people I know have drowned their sorrow by avoiding the area altogether. But, living in the neighbourhood, I had a fatalistic urge to keep checking up on the site and was relieved to see that, besides operating as a daytime caff, the Celtic was also posting notices for periodic film screenings. A few months back, I finally stopped in for a late breakfast and after hedonizing my way through a heap of scrambled eggs and melted cheese on a croissant (ridiculously inexpensive), discovered that the place is indeed fully intact. Owner Patrick McCarthy had the usual maze of permit hurdles to clear before opening the new business - one of which was that sprinklers had to be installed under the wooden bleachers; While attempting to comply, he realized it might be a better idea to rip them out altogether. So, holding my breath, I crept into the back room. Tables filled the space, cafe-style. There was a gas fireplace on one side with some sofas bulging nearby and the screen still lorded over the room from the far wall. I squealed my approval and imagined what could go on in this perfect little hybrid of cinema and cabaret. The cinema side of things is managed by Gregory Milne and Greg Tiderington, who began with an emphasis on horror but have expanded their programming to take in all genres. The two Gregs can be reached at celticcinema@hotmail.com or visit their website Otherwise, McCarthy runs the venue on a for- hire basis and welcomes a variety of events, including live performance, mixed media and music. The recent acquisition of a liquor license should open things up. I'm shilling for this space because I'm grateful that the new occupant has a sympathetic vision for it and has preserved it's potential. So go on in for some nosh, attend a screening and if you have a show to put on, consider doing it here. Just think - the place might have been gutted and turned into a condo furnishings showroom. m WMiWiA.\AU.UM 1..U.UJJJJJ.1..I JEFFIE GENETIC AND HIS CLONES NEED A WAVE CD Jeff from New Town Animals debut CD! Contains video for Records Go Round! :oming soon: The Cinch - Shake If You Got It CD/New Town Animals LP/CL" DIRTNAP RECORDS PO BOX 2I2H9 SEATTLE WA 98111 WWW.DIRTNAPRECS.COM DISCORDER, JUN E / 0 4 MONEEN. 110 LOCAL GIJISTS: IXFUmK COLOURS ffl THE BLUD Al -HESALIINA C1S28 W.IROADWAD ALL i8IS IM 81TB ID-BOORS In «««» «« JULY 2ND...THE RED LIGHI STING with THE APPROACH and DIRTY BLOND at VIDEO IN JULY HTH...MC5 with MOS GENERATOR and THE NASTY ON at RICHARDS AUGUST 23rd...BLACK DICE with ANIMAL COLLECTIVE at MESA LUNA WWW.SEALEDWITUAKISSPRESENTS.COM TANG1ERS {sunctami; aebu^ Hot Hew Spirits, mu . |£j RAISING WE^W^heNo^^ A^l^l^^pW,iR («»ncd094) wtfc Christopher P^^KbP^ & PnCe WU a thousand men" Exdaftnl wsBfftiEm Tobias C. Van Veen THESE TITLES & 1000'S MORE AVAILABLE ONLINE www.sonicunyon.com The following constitutes a number of topics I would like to write about intelligently, with style, verve, passion and wit. Perhaps even research. With a sense of self-critical referentiality that aims to dialectically transcend the usual mire and produce open source blueprints that are collectively negotiating a brighter future to-come. In lieu, here's this, a gift from the collection of people who are cracked out in my living room, drinking absynthe without care to waste or wild, orgiastic abandon: FIRE FIRE! Since when did Vancouver give into Firemania outside of Trout Lake and Day of the Dead? In Montreal, fires are still all the rage. Landowners dig striking a few matches to husk out old buildings and blacken tenants in the push for new condos. Every year, at least a few blocks of the Plateau burn down. There's even graffiti for it: "Capitalism is a scorched- earth policy." It's good to see Vancouver developing it's international prospectus by claiming its own arson scandals. And where better to start then artist's studios, anarcho-Marxist bookstores and head shops! In the groundswell leading up to Expo '86, all those ugly artist's warehouses were bulldozed. Now, we can look forward to some free heat in the drizzling summer. Maybe this will be the only way to finally rid the Van of Woodward's... Now some may think we should turn the tactic the other way—riding offices, copshops, McDonald's, the downtown Tinseltown. What a laugh that would be! Zippo + Pow! Perhaps BC can burn away all sides to every equation. This would equate a balanced budget to greet BC's nutrftioys lifestyles. Burn it all! WhootL None of the rest of the country cares anyway. LONG LIVE SPARTACUS BOOKS Meanwhile, Spartacus Books is looking for a new home. Contact them through <http:// www.spartacusbooks.org> & please give generously. Spartacus is a unique collective in all of Canada for its atmosphere and dedication to knowledge. We all mourn the days spent lost in dreams of utopia on their sun-drenched couches. EYES IN THE SKIES • DEMOCRACY IN THE STREETS Brian Holmes says: use small, mobile planes to spy on security and surveillance forces. These and other spy technologies are now available through Internet ordering. Military technologies—just like the 'Net itself—are bleeding further and further into private use. As private contractors play cowboy in Iraq, we get to reap the techdev @ home! Holmes' hallucinatory speculation is that, on a twist of the Cold War, there comes to emerge a state of Mutually Assured Deception (MAD). Imagineactivistsremote piloting small, infrared sensing, pinpoint camera planes over security forces, sending info to intelligent agents that mobilize crowds with cellphone trees and SMS text messaging commands. The playing field is given information overload. All in the name of free speech, of course, although the nugget is Baudrillard given some teeth: up the simulation, the surveillance, the paranoia. Pull a 180: use the fear against that which enforces it's dominant power of control. As Holmes writes, "Is there any chance to PERCEIVE THE WORLD SITUATION"—all of us knowing what the other knows, all the time, leaving few unknowns, even for Rumsfeld to quiver over. <www.aerovironment.' com/area-aircraft/ prod-serv/pointer.html> ACIEEDI ACIEEOI Let's bring back acieed. Recent drug studies (according to MAPs.org) show that acieed has declined everywhere: acieed rock, acieed house, even LSD itself. Most kids crack their ultraworld inductions through cocaine, blowing their nasals instead of their mind. Remember that acieed sound? It's still untouchable. Nowhere in hip-hop or rock do you hear aliens with indecipherable voices only meant for you. Which is exactly why y'all should realise that PLASTIKMAN IS PLAYING LIVE at this year's Mutek. The first time in 10 years. It's X-Day for the '90s Generation. Tomas Jirku agrees and he will be there naked. OH, PLEASE DON'T BRING COKE For those of you coming to Montreal, we just wanted to warn you. Coke is over. It might take a few more years to take catch on in Vancouver, but I wanted to make the rest of you feel like you were hip again (oh. hipsters are out too, much to the pleasure of DiSCORDER's Editor). We're all into next- level shit now, like Toothing and Dogging. We did the '80s even though most of us were kids, or embryonic. It wasn't as fun as it looked. It's boring —just like VICE magazine. The '90s were fucking fun though. Kompakt records has it dead on with their 100,h release: techno never died. And as for electroclash — c'mon kids, you know that's dead when Keoki gets involved (and he died in a meth lab explosion anyway). HUNTER S. THOMPSON IS BACK The Duke almost got sidetracked with his ESPN sports column, which was a tired waste of words on basketball and only mildly entertaining. Obviously it satisfied his teenage lust to roleplay a sportswriter and retread his cliches. But Lo! Check out his last few columns, and the political beast is arising again in the Good Doctor. Is it time for HST to finally pull himself out of his drugged stupor and return to covering politics where he belongs? <http://espn.go.com/page2/ s/thompson/> HOW TO GET MONEY: THIS WEEK'S WORD There is money available in Canada. All if you have to do is write to the Government and ask for it. This is called a "Grant." What divides the recipients from the moaners is the use of an ancient technique known as "GrantSpeak." I'm here to help you, and this month's word is: know/edge transfer. This is really "in" right now, and nobody really knows what it means. I think it means something like, if I email you, and you get it, then I've done some of that. Like spam. So knowledge transfer is basically spam, which is basically a grant anyway. The trick though is using Lacan's petit objet a to convince the Government that this is in fact not spam, but a lure toward a bright and shiny thing they will really want. But not actually wanf—but rather want to have on display, like in a glass case. The art of deception. This is what you want to do. And to do that, you've got to say knowledge transfer. Next month, I'll discuss why in the end if s always the Government that deceives you. This is known as fhe analyst's desire. WHAT, NO GENERAL STRIKE? Next month: we get serious again. Until then! D ftMMff: Bryce Dunn Figured I would stretch my legs • in the deep end of the pool this month, where the waters are a little less familiar, so let's dive right in with a local debut, or as they write in the liner notes, a "nocturnal emission". From the sounds of that, you would expect songs like "Pure Evil" and "Storm The Gates" to be somewhat menacing in tone - alas, this is P:ano we're talking about here folks, and the only tones heard here are of the gleeful twee-pop variety. Clever marketing aside, it definitely sounds like these kids •are having a good time, lots of instruments and voices coming together in the name of joyful noise. Check out this solid introduction to a new crew in the local label scene. (Electricity Group, http://members.shaw.ca/ electricitygroup) Across the pond (no the otherway, dummy), to Victoria we go, for Ghosts, a group who sound a little more like their name, sporting a couple of numbers in. "Whispers From The South Pole", which gives off gloomy Cure-like vibes, but with Robert Smith sounding more like Tiny Tim. Dude: less Ritalin, more Vicodin. The other side is a little more bouncy, full of bass and drums, like Duotang, but again with those vibrato vocals-can someone fix this guy's prescription? (Magic Teeth Records, http:// magicteeth.tripeel.com). Speaking of things that need to be fixed, can someone tell Fourtet that his keyboard programmer is skipping? No seriously, it is. And no amount of. free jazz drum solos is gonna fix it, OK? Wait, are you telling me its supposed to sounds like that? Er... umm... OK, but I still don't like it. Let's flip this baby over and see what Hella has for us - OK, can someone please tell them that their drum machine is skipping? No seriously, it is. And no amount of guitar wankery is gonna fix that. Geez, can't trust technology. Wait a minute: its supposed to sound like that? You mean that's an actual person drumming like a six year old? Er... umm... OK, but again I still don't like it. The kids at Ache Records sure do tho', and they took great pains to tell us music hacks that if we didn't know who either of those aforementioned groups were, we must be dead. Well then, consider this a review from beyond the graaaaaaave (cue spooky music). (Ache Records, P.O. Box 138 1001 West Broadway #101 Vancouver, B.C. Canada V6H4E4). On now to The Marble Index, a trio of "serious" indie rockers with a penchant for mid-'90s British guitar rock, and to authenticate the sound, they recorded this in the U.K., but here's the kicker, kids: they're Canucks. That's right, just a bunch of average Joes from Steeltown, Ontario. And" while they might be influenced by sonically textured groups like The Catherine Wheel and Swervedriver, I can't get around the fact they look like average Joes. Maybe if they start fighting on stage with each other or date rail-thin, coked-out models I'd think ^fltetgntly. Pass. (Universal Music, no address given). So Vice Magazine has decided to start a record label. Guess they figure^ wqsv.-; time they got on the receiving end of the dis list, so hers goes-; with a split single with a theme no less. DO's: the Panthers song "Walk Of Shame" has that Ipud-quiet-loud dynamic like any post-punk band would have, knowing the emo parts would get the girls, and the angry parts would satisfy the guys' inner brat, so we have our winner. DON'T's: Japanther's song "Critical Circles" goes around in circles, with a repetitive keyboard line anchoring a Sebadoh-like lo-fi pop song. Doesn't do much for me. Don't quit your day job, VJce. (http://www.vice- .rgtSgffiHngs.com). ?|§p||r-r*ght, I've had just about enough fun for one ,dxayjr$fc^et's wrap this up with something from The Charming Snakes. Now last time I checked, they were a Seattle two-piece cranking out some broken down blues with some rock nuances, but times they are a changin', 'cuz now they be a quartet with some new sounds to be playin'. The three songs on their latest seven-inch are a mix of rock 'n' blues, but with some quirky new wave touches that'll appeal to the dancer in you. The flip of this disc is their edgy take on The Undertones' "Teenage Kicks", which they engtle "Teenage Kut Out". And that's my cue to make like scissors... see you soon my fine record fans. D -JSmEl |iHrai«ff£AG^^ I The way FOUND Magazine creator Davy Rothbart tells it, the whole thing started with a note he found on his car. "It was parked on a street full of vehicles covered with snow," he recounts on the magazine's website, "and the note's author evidently thought my car belonged to someone else. It read, 'To Mario, You said you had to work. Then why is your car here at her place? You're a fucking liar! I fucking hate you! Amber. P.S. Page me later^'" Davy had always been fascinated by lost notes and thrown-out letters - things he calls the "hard copies of moments in people's lives." After finding the note on his car, he knew that he had to share his collection of found things with the world. And so he created an intense and unusual little publication called FOUND. The magazine is made up entirely of notes, letters, photos and drawings that people have, well... found! The most recent issue, April's "Love and Heartbreak", features love notes, journal entries, and post-break-up emails. There' sex education homework (it got a C-), the diary of young chef's struggle to quit heroin, and a to-do list that includes the goal "make my legs an even length." It's all fascinating stuff that makes you realize how freakin' weird everyone else in the world truly is. L Most magazines tell a story of some kind. To the reader, they imply a particular worldview and set of values. US wants people to be interested in celebrities, MacWorld assumes that you like computers, and DiSCORDER pushes the idea that indie music and arts are both superior and important. But FOUND Magazine is totally different. Its not written by journplf'rs. the authors of its content have^i:"* no idea that their discarded.notes will be published. «*»* i The magazine is unusual: esoteric simply because it is so universal. FOUND is master-minded by Davy Rothbart and Jason Bitner. Davy Rothbart is a driven guy. When he's not scouring the streets for interesting scraps of paper, he can be found drawing comics, playing basketball, working on a rap album or editing a documentary film about inner-city . life in Washington, D.C. He also does stories for the super- " rad radio show This American Life (www.thislife.org), which revels in the same everyday weirdness that FOUND does. .In fact, if you go to the website and look up the episode titled "Lost in America", you can hear Davy reading some of the notes he's found. His commentary and delivery are fucking hilarious. Inspired by one of his students at Cotton Correctional Facility in Jackson, Michigan, Davy started his own production company called 21 Balloon Productions. He used this to self-publish a book of short stories called The Lone Surfer of Montana. Kansas. The company is named after Davy's favorite book. The 21 Balloons by William Pene du Bois. This novel starts with the lines, "There are two kinds of travel. The usual way is to take the fastest imaginable conveyance along the shortest road. The other way is not to care particularly where you are going or how long it will take you, or whether you will get there or not." Taken with the idea of a beautiful journey to who-knows-where, Davy adopted the name, and applied it to his own ambitions. Taking the interesting route seems to be paying off: the FOUND book, published by big-leaguers Simon and Schuster, came out on May 4m. The 50-state tour started in April, and hits Vancouver June 12, 2004 at The Butchershop Gallery (195 East 26th avenue). This is just the kind of nerdy-ass shit that we dig. In preparation for the big day, we asked the infectiously enthusiastic Jason Bitner about what to expect: DiSCORDER: Who are you guys? What else do you do when you're not doing FOUND? Jason: Me and Davy are the two people working full time on spreading the word about Found. Davy doesn't sleep and he's got a bear trap of a mind—it's shocking how he retains stuff. Somehow he manages to do a bunch of other writing and radio stuff with This American Life. I've got another book project in the works. It's kind of the ultimate find, really. I was going to this demolition derby in northwestern Indiana when I stopped at a local diner for a cinnamon roll. There were all these beautiful 5X7" photos taped to the pie case and I asked the waitress where they came from. She painted me to the back room, where they roll silverware into napkins, you know, and in the back corner of the room were 22 boxes of these photos. TWENTY THOUSAND PHOTOS, all from the DISCORDER, J U N E 04 ' — a/, ryr -/titkaA _X heap Q ty&J t^K so t^fcrg. •y "ut i- - Wfe ea/f- <ir.haol-ard uuk*n 7 s^x. 1 a-4 -U_^4- ,_0 jiyfrjfflgL. yjgLfyiJlDSiL^L^i^Jna.. (>Ao/I.XU£-j -KtfL_4AAa/ArM ^x^Jojhs^JLt£^. - l^J^siM. he. so £mk&^ ^. L>r&^tdb&-jL±d^^ ^lf*Ji_iksAJajkrJ^^ ^Slsi WocJikSg Vyr4-t\ r4-u<t f iNr-vf^ <; i"? 2 -.Ui^jckiLjqpOJLJw3C>^-fe..^ jjiiLAsA u©^_j2^Sj£y.* :,oH l\ks^. ett -^tauv\. tk? ter«__.KvfK_-oi^d- toa£- icp±_k^„u^fcfi_-^p _ EJI|P:,- I =tS^^rcm__i^=L^Ui^_j02£r^„ak:Cia. "W6sho^SinbeallowMto«ill aw^Aesa magazine '50s and '60s, sitting untouched in this crazy diner!! They'n these incredible portraits, and they're gonna make a beautiful book. *0_-f ^>. d(V) ^i« 0^^4- rM^4- k^.rf It's a pretty big jump from thinking, "It would cool to do a magazine," to actually doing it. How did you get FOUND off the ground? Did It exist in earlier incarnations? Davy was traveling around a bunch and he'd always come across these great found photos on friend's refrigerators-it kept happening-everybody had these things they'd found taped to the bathroom door or something, and he thought that it'd make for a great show and tell. Why not share these finds with a bunch of people? Wouldn't that be great? So he made some little flyers and passed them out to a bunch of friends or he'd post them on telephone poles or leave them in coffee shops and within a couple of months, we had enough stuff to p<$Jihe first issue together. The first run was 700 copies, each with hand-decorated covers using the extra finds, and they sold out real quick. So we printed another J) 5000 and kept reprinting as they kept selling. That's really how it all began. How did you swing a big project like this? Do any of you have a background In magazine publishing? Did you get a grant to do it? None of us have any clue of what we're doing! Seriously, it's a total fluke. We're making everything up as we go. Magazines are supposed to be vehicles for advertising, bofkaside from a few really special sponsors, we really don't have ads. And we put out a magazine every conttwed following page -^^^^IDkJLX- _OV Ust^yCjC-V-- QUA...._n «juo-\ jvuz .JStSf. acJL® ZrrJL JLoust ~p&fJt, bcdh,. OSqBt J&L -6Xrv^ a£-d\SL ^hc^W °SL'Cn___ Acm/Nt^ Jlc&iC <^3Qof...Qi^r>^. you a**ajc7 msL^^^z/^ a^nx -^.cffr&i 3,1 'opt ^hZd ^> xxi&f &&£ up m cc^ 9Wr® 2) <*- 5< P4G30000012 FOURTEEN MONTHS!! It's totally ridiculous. We shouldn't be allowed to call ourselves a magazine. Somehow we're getting away with all this stuff. How did your book deal happen? That's pretty cool. We had a bunch of great indie publishers wanting to put the book out, but we wanted big distribution for the book and most of these folks couldn't get the book to our grandmothers and uncles and parent's friends, which we thought would be pretty neat. Everyone can find stuff and send it our way. We love it when grade school kids and retired librarians send things in. We've had ninety year olds tell us they stroll the grounds of their community searching for finds - how great is that? What can we expect at the FOUND party in Vancouver? Here's the stock answer: "We're loading up the van with finds and coming to visit you — this year, FOUND parties in all 50 states! What happens at a FOUND party?? FOUND madness!! Davy shares our favorite finds of all-time and gets rowdy and rambunctious and just generally acts a fool, Peter bangs out new tunes based on FOUND notes, and we ask you to share your own finds!" Ken Gracey Photo Basically, we all gjfcWoaether and have a show-and-tell. Davy reads the latest and greatest in the freshest finds and his brother Peter belts out new songs inspired by found stuff. It's nothing but a celebration of found stuff. Are there are more cool projects on your plate? Aspirations for the future? Yes! Yes! We've got a bunch of stuff to look forward to — we've got this 7" coming out in May with four FOUND- inspired songs from TRS-80, Jon Langford, Claudine Coule, and The Victrolas. There's this massive 50 state, 126 city tour from April through December. There's gonna be some art shows, film festivals, a book of found Polaroids, the Found Dirty Picture Club... we're super excited to be collaborating with all sorts of neat folks. There's a whole bunch of music links on fhe website. What do you like to listen to? Do you listen to music while assembling FOUND? I know it's gonna sound ridiculous, but I'm going through this huge Journey/Styx/Yes/Steely Dan phase. It's so wrong, but it FEELS SO GOOD!! I share a space with my friend Arthur Jones and he won't put up with it, so we end up listening to Pit er Pat and Deerhoof and Mr. Lif and Bobbi Humphrey and whatever. But when I go home at night, it's all Hall & Oates, all the time!! Do you have any advice for people who want to launch projects that are off-the-wall, like yours? Figure out what makes you excited and surround yourself with great people. Then work your ass off. IfOUND IT, IT'S MINE!! Seems to me I could remember a time when a second-hand shirt cost four dollars at most. Now-they're running upwards of six or seven bucks! What the hell?! I can excuse Value Village, but what's with all these bloodsucking charity-run shops'? Those gougersl We are left with no choice, my friends... the time has come to scour the streets and sift through the dumpsters. Finding stuff IS the new thrifting. Okay, jokes aside, some friends of mine have found really cool stuff over the years. My best find ever was definitely my bike (pictured left). It was abandoned in a mangled rusty heap behind a dumpster. Someone was obviously too lazy to throw it into the dumpster, which is unsurprising as it weighs about a thousand pounds. It's rad, though. It folds in half, it's gold, and it gets me around the city in eco-friendly retro style. And it was free! On the day that I started writing this article, Dale, the art director, found a cool record the importance of which he will explain to me, at length, tomorrow. On her way to the Stereolab show this April, Susy Webb found an entire cache of amazing finds,** including a diary and a ton of notes (you know, the kind you pass to your friends in class). The journal entries used in this article are from that windfall, as is the "we are gonna get laid on New Years" note. She also possesses a notebook that she found in the "cracked-out park in across from Tinseltown." It's full of Dungeons And Dragons notes, the first chapters of at least two science fiction stories, and ardent devotionals to a girl called "Bdleweiss". My Dad has found enough tools on the side of the road to put together several toolkits, but since he's not a very handy person, these discoveries are wasted on him. He keeps them anyways. I'm not really sure why. And last but not least, my friend Eva once found a pair of thousand-dollar haute couture rubber pants on a street in Holland. She took them home but was too grossed out to ever wear them. Which is a good thing, maybe. Kat What do you enjoy most about working on FOUND? I love getting these incredible glimpses into other people's lives. I've had a pretty sheltered life and I didn't understand the variety of lives that my neighbors are experiencing. We're all just trying to get through the world and figure out what makes us happy and how to deal with difficulties and suffering. It turns out that we all feel the same emotions, they just play out differently. The other great thing is when we get letters from people saying "I always thought I was the only one picking up this trash! Now everybody finally gets it!" or that somehow the magazine's helped them through a rough time. Those are the most satisfying ones to read. D DISCORDER, J UN E '04 THE BADPLUS ARE, ODDLY ENOUGH, NOT A BUNCH OF WANKERS by: Ian Gormely THE VERY IDEA OF A JAZZ GROUP PERFORMING INTERPRETATIONS OF WELL-KNOWN ROCK SONGS IS ENOUGH TO EVOKE IMAGES OF SPINAL TAP " JAZZ ODYSSEY" WANKERY FOR MANY MUSIC FANS. ONE LISTEN TO THE BAD PLUS, HOWEVER, QUICKLY PUTS SUCH BAGGAGE TO REST. This three piece band (pianist Ethan Iverson, bassist Retd- Anderson and drummer David King) has managed to bridge the gap between rock and jazz, garnering critical acclaim and little backlash from either side along the way. While covers of the Pedes, Aphex Twin and Nirvana have drawn in many rock fans, the group's enduring success is a testament to their skftfe as both musicians and songwriters. "I've never gotten the sense that our audience tikes the covers more than the original material," says Anderson, "The covers are only a small percentage of what we do." Iverson goes further, pointing out that covering well-known songs "is a long-standing jazz tradition." When asked about the group's choice of songs, Anderson replied, "We like doing covers that are indestructible [and the songs we cover] are beautiful tunes and they're indestructible." Iverson adds, "All the covers are pieces we like and like to play." The group's sound can be seen as the product of thefcjflwusteal upbringing. Anderson, King and Iverson all grew up in the Midwest, an area not generally known as a jazz hotbed. Iverson cites "the bits and pieces" that he heard white watching T.V. as his introduction to the genre, white Anderson points to his peers who "were aB looking for new music and turning each other onto things." Though, all members are evidently fans of pop and rock music, Anderson appears to be the one who has taken these styles to heart. He contends, "Rock was the first influence [or me] and remains a powerful influence." He cites Autechre, Bjork and Led Zepplin amongst his primary influences,- sharing space with jazz greats John Coltrane, Keith Jarrett and Ornettte Coleman, whose track "Street Woman" is covered on the trio's new record. Following the release of thetefiSajor label debut These are the Vistas, (their first self-titled album was released on Spanish label Fresh Sound) the Bad Plus received heavy acclaim in both jazz and rock publications, acquiring such labels as "piano trio gangstas" and "post modern jazz iconoclasts." The group take their press in stride, however. "We really just see ourselves as ptaying our own music without trying to make it one thing or another," explains Anderson. The group's new album. Give, expands on the groundwork laid by These are the Vistas, creating a record that swings and rocks harder than most bands. The trio once again enlisted Tchad Blake to helm the project. Stake is known primarily for Ns work with artists as varied as Tom Waits, Ron Sexsmith, and Soul Coughing among others. The choice was an obvious one for the band, explains lverson."His personal genius, which combines vast studio knowledge, plus unerring instinct" results in what Anderson sums up as "great sound." As well as the new album. The Bad Plus have posted three otherwise unavailable tracks on Apple's iTunes music store. Anderson explains the decision, citing time constraints for their omission from Give, and a desire by their label to have them posted. "Columbia wanted to use them for iTunes and we thought that was a good idea." He does concede however, that since Columbia owns the recordings, there was little the group could have done had they opposed the move. When if comes to the . broader issue of digital downloads, both Iverson and Anderson are equally complacent. "The writing is on the watt They are part of the future of recorded music," says Anderson. Iverson adds, "You can't stop the acquisition of knowledge." The Bad Plus are quick to emphasize the importance of the "the group" or "ensemble" when writing and performing, "When^you improvise, together, every night, a tribal language develops which is fabulous," says Iverson. Adds Anderson, "I think a group where everyone is committed to the sound and music of that band can make stronjger music than a group trying to support one person's ideas. There is also a psychological advantage when everyone is playing music that is theirs." These Weals are reflected in the band's writing process. Typically, each member wi write indiviclually. then bring the completed songs to the rest of the group. "From there, the music takes on a life of its own as we all make up our own parts and live with the tune," explains Anderson. Of course, ultimately, a band as dynamic as The Bad Plus must be seen live, where each member's musicianship is moulded into rtskfoH sonic force. White the group feels that their.sto#Q! . aJbums reflect their live sound (almost every track on Give was recorded on the first take, with as few overdubs as possible), an "authorized bootleg" was released in 2002. Iverson is quick to point out however, that the record "is an antique since we play so much better now." He defends the band's guerrilla style of recording explaining, "We are irvthe-moment players, not feeling the time is right yet to do a carefully assembled studio date taking weeks and months." When they do. wcrtch out. D Luckily for you. The lad Plus are playing twice during the Vancouver International Jazz Festival. Catch them with Jagga Jazz at the Commodore on June 26, or solo at Performance Works on Granville Island on June 27. guy in queue at movie theatre by Norman Yeung (Stage One) installation at misanthropy gallery sometime last summer by the beer bench gospel I fell for a guy once because he wrote graf. As it turned out he wasn't very good at it, but by that ppint it didn't matter. Like so many people (horny straight girls and otherwise), I was drawn to graffiti by much more than the actual art. To me graf represented an anti-establishment attitude combined with creativity: an eloquent and artistfefuek you. Graffiti occupies a tense and shifting place within social discourse. Since it's ascent into mainstream public consciousness with the New York Times 1971 article on tagger Taki 183, graffiti has been alternately praised as pure and pioneering, and reviled as a symbol of social decay. Some see graf writers as vandals, senselessly defacing heritage buildings. Conversely, graffiti has long held a special place within the arts community, seen by both artists and their admirers as an exceptionally dynamic art form. From what I learned talking with a few local writers, the essence of graffiti combines foolhardiness with passion, the desire to create with the desire to interact with the world around them. Graff doesn't just change the physical aspect of a city, it challenges our notions of the longevity of art, our relationship with the landscape around us, and just who is allowed to express themselves in public space. UIPEUD'HISTOIRE Graffiti exploded in New York City throughout the'70s and '80s, culminating in the golden years of transit painting. While municipal powers combated it, the art form became popular within the gallery world. Well-known artists like Keith Haring, Jean- Michel Basquiat and Dondi White made successful transitions from the street to the gallery, traveling the world and seeing their pieces priced in the thousands, and millions posthumously. Graffiti was integrated into pop culture, reaching an apex in the early '80s as graf motifs were assimilated by advertisers and fashion designers. Graff entered a downswing after that, killed off by its own mainstream success. The eventual tockdown of train yards meant left artists without their chosen canvas, while closely-knit circles of apprenticeship crumbled as the more mature artists were drawn away into the international art world. It seems that Graff is once again on the radar, however; if one takes the trend of "spray- painted" Tnshirts as a sign. Kill BILLBOARDS Graffiti comes in three different forms: the tag, the throw up (no, not vomit, rather the simple outlines^afMetters), and the piece. Since most elaborate pieces are hidden in out of the way locations, many people associate graffiti with tagging and throw, ups only. These forms of graf are public by nature, yet at the same time they speak a language incomprehensible to the vast majority of observers. It's an interesting dichotomy: visual work designed to be seen by as many people as possible, yet at the same time engineered towards a very small community of fellow writers. Taggers do realize that their writing has an impact on the general populace, stirring feelings that range from anger to amazement, especially in the case of daringly placed tags. Many relish this range of reactions, purposefully seeking out such provocative interaction-with the public. The infamous Remio of VTS told me that he drops tags in front of people on purpose, just to see their response. Whatta punk. At the heart of tagging ties a desire for self-assertion, thwarted by state protection of private property. One could see this as the desire to take back the landscape from the forces of development and advertising that change our neighborhoods whether we like it or not. The face of the city is determined by a small amount of people who have money. Graff is a territorial display that asks the question, who does this space really belong to? For this reason many graf writers who don't tag are appreciative of those who do (see Tour's comments in the sidebar). 'The repetitive nature of tags is also noteworthy. Taggers write their name over and over again with a Zen-like concentration. The end result - an repeated image that's virtually the same each time - provides a strange parallel with the corporate logo. Much of society views tags as an eyesore, and at the same time sells almost every available space out for advertisements. Not that the Alesse birth control ads on the bus or the Lululemon billboard by Clark Drive aren't works of art on their own or anything. I know that on an artistic level, we all really appreciate those eight by five foot pictures of McDonald's salads that line the First Avenue Viaduct. STREET ART Fortunately, most people seem less aware of so-called "street art" (posters and stickers) than they are of graffiti. Increased access to screen printing, poster making, and sticker printing has contributed to outdoor installations sprouting up all around the world. Street art takes many forms, from the tiled spaceships of Paris' Space Invader,'*© Above's multi-media arrow installations in San Francisco, to the simple cartoon posters of NYC's Flower Guy»*Wany street artists have backgrounds in graffiti, and white this new form of art is quite different from traditional spray-painted letters, street art shares graf's public, risky nature. Perhaps best known is street artist Shepard Fairey, AKA Obey Giant. Fairey was a student at the Rhode Island School of Design in 1989 when he created a sticker depicting a stylized version of Andre the Giant's face. Originally intended as a mascot for Fairey's skate crew^#ie sticker evolved into an international phenomenological experiment. Phenomenology is described by it's originator, the revered German philosopher (and educational consultant to the Hitler's National Socialist Party) Martin Heidegger, "the process of letting things manifest themselves." Are ya still with me? The Manifesto on Fairey's website explains the project as an attempt to disorient-theviewer, whose interest is piqued by repeatedly viewing the graphic. The viewer is then confused when he or she finds there is no marketing strategy behind the image. The "What the hell?" reaction induced by the image comments on both the individual, and our larger social framework, much as a tag does. DISCORDER, J U N E '04 blue pit by Norman Yeung (Stage One) Local stencil artist "the dark" sees his work in a similar context: the repetitive quality of the stencil medium is a defiant spin on society's classist privileging of advertisers and their mass production of images. This artist stands out from the others featured in this piece. It's not just his height, powerful physique , and raw animal magnetism that set him apart - some of the other guys were pretty cute too. The dark differs in both his chosen medium and his relative inexperience: in fact, the two go hand in hand. While always interested in various forms of creativity, the dark didn't become passionate about visual art until a year and a half ago, when a friend lent him a copy of Stencil Graffiti. Instantly intrigued by the visual power of the stencil, the artist became obsessed with perfecting the craft. "That's the beauty of it, unlike graffiti, where you have to spend years learning it, developing your style. It's like, here's a can of paint, hold it against the wall, and just spray," the artist related over coffee at Soma. Reflecting on the increased complexity of his work, he laughingly added, "At first it was easy... But now it's a bit harder." The dark developed from small pieces in strategic locations along Granville Street and in Gastown to the large, intricate works he produces today. Life-sized images of goat-headed businessmen and children playing with guns were recently featured in an exhibition at Dadabase (up until June 5,h), as was a multi-layered depiction of Bonnie & Clyde at Misanthropy Gallery's Anti-Hero show last month. Other local street artists of note include the Human Five (www. humanfive.com), a collective that has installed wood cutouts in various locations around Vancouver. This spring the steps up to the garden at the Law Courts were graced by images of distorted faces and disjointed body parts, rendered in flat, colourful paint. The three artists that make up Human Five also do design and gallery work. ON IHE SUBJECT OFARTEAGS Is the term "art fag" offensive? Although my friends are predominantly gay males, I find it more humorous than hurtful. It's a phrase that reflects more on the user then the one named, revealing that familiar macho confusion of sensitivity with weakness. Nicholas Pittman is a good example an unapologetic art fag. Nick began writing Riddle 183 in his hometown of Portland at the tender age of 13. His early experience led him to develop a style that incorporates intricate, wild-style line patterns with abstractionist influences. Nick's current work continues a long-standing dialogue with public space: "Making the transition to a gallery, I feel a lot of times that graffiti art loses its touch. So my little haif-assed attempt to keep some sort of risk still there is stealing the street signs, and using them as canvas. Also economically it works really well, cause canvas is pretty expensive. So bourgeois, [laughs] I guess its up to the viewer to see if it has any of that street quality still there. Its sort of a reductionist graffiti tactic: instead of adding to the urban environment I'm subtracting from it." Graffiti doesn't just change the outward face of fhe city. It also changes the artist's relationship with the landscape in empowering ways. As Nick told me, when you do graf, "You're always scoping out the city. It's your playground, as opposed to something that's confining you. Everything looks like a perfect backdrop for your name to be written on. It definitely changes your perception of civilian life... you want to conquer the city. When you're writing, your interpretation of all the signs, advertisements, you're always wondering how you can alter it. I think it's totally different then what others experience: everything around them is controlled by other people. There's a million reasons for doing it and everyone has their own thing, but I think that's a common one." Norman Yeung (Stage One, WCB) is another local artist whose gallery work borrows from his outdoor past. Norman's interest in graffiti was spurred by comic books and rave flyers he saw during his pre-teen years, as well as socio-economic motivations. Over f~*w-§'~* *-i;: ls!§3<flkJ6i! "remio" by Remio the phone from his new home in Toronto, he remarked that "It's free, and it started out with poor kids doing it, so I'm attracted to the political aspect as well." For Norman, graffiti was a key component of his artistic journey, leading to his current freelance design and gallery-based income. One of Norman's signature pieces are the welcoming and intriguing walls of Mod to Modern. The blank-faced hipster girls are a continuous theme in Norman's art: cartoon figures rendered in spray paint-encapsulate social situations such as breaking up, partying, and wistfully checking out babes in record stores. Norman's design work can also be seen on the cover of this month's launch edition of Shameless Magazine, a new publication geared towards adolescent girls ignored by mainstream media, namely queers, young women of colour, feminists, intellectuals, artists and activists. Sweet. GRAFANTI1R0P7 According to Norman, his "biggest change in the last 10 years has been not doing traditional graffiti anymore. I haven't heard any flak from people who I grew up with, who have seen me change. In general, the people I grew up with doing graffiti have changed as well. They're doing websites, and tattooing, and they understand that as artists we have to change and evolve. If I can be a bit cocky, I'll say I'm an artist first and a graffiti writer second. To limit yourself to just one genre is denying your artistic abilities. If graffiti writers have the urge to expand and try other things, they should, because they as artists are bigger than graffiti." Lovers of art and alcohol alike are familiar with Misanthropy Gallery on the corner of Richards and Pender. Founders Neal Nolan, Eben Bender and Nick Brown started out with a mural- painting business that eventually transformed into the gallery, which celebrates it's first anniversary this month. Close ties to the local graf community have led to many shows featuring former and current writers. Nick Brown describes Misanthropy's unusual position as such: "At a certain point, a lot of graffiti artists decide that they'd like to explore studio and gallery art. A lot of galleries aren't supportive of graffiti, and from the beginning we wanted to support these artists who are really talented, and are taking steps towards becoming established studio artists." Misanthropy takes an active curatorial role. Citing the success of Espo and Barry McGee (Twist), Nick states that he respects how they "moved into a different place, and changed their position as artists. That is something that I try to encourage. This isn't just another wall. From day one, we wanted to support graffiti writers, but We wanted to push them in a different direction." Of course, the gallery has also hosted completely non-grdffiti-related exhibitions, such as the current "Home Show," up until June 12lh. Misanthropy has engaged with graffiti outside of it's shows: a quick glance at the building shows that the gallery has a graffiti problem. According to. Nick, it "has nothing fo do with who we are. We're in a certain area of town, and we have a big flat wall above a parking lot which is prime bombing territory;" Last summer Misanthropy decided to take q proactive solution, and began discussions with the city about painting a mural. Nick told me that "the city said yes, what we want from you is a composite. A composite is a lot of work, so in the meantime, we decided to throw together a temporary wall. Our building owner and the owners of all the other buildings around us agreed. We emailed the city and got no reply, so we decided what the hell, let'sjustdoit." Ten writers agreed to take part in the project, and rolled over the wall. Pieces were in various stages of development when mural received the kiss of death: the Goodbye Graffiti notice. Nick contacted the city, who replied that: "We didn't approve it, so you can't have it. It doesn't matter what the community thinks, whether they agree to it or not." For Misanthropy, "it really clarified whose interests are being served by the city's graffiti policy. Clearly, it isn't the interests of the community. So we had it rolled over, and look outside, you decide what's better." Personally I'm a fan of the motley collection of tags and throw ups on a patchy grey and baby blue background, but I think my opinion puts me in the minority. VANCOUVER'S GRAF-ECOSYSTEM Many times I have watched a Goodbye Graffiti truck roll by and felt anger and disgust. Corporate capitalist bastards, destroying the people's artwork! However, talking to a few artists showed me how very wrong I was about Goodbye Graffiti. In fact, they work in tandem with artists to keep surfaces fresh and subject matter changing. The company is one of the great success stories of the local business community. Strata council drama over writing on his Yaletown highrise inspired Perri Domm to start the company here in Vancouver six years ago. Now Goodbye Graffiti has eleven - sites in such far-flung locales as Seattle, Atlanta and Toronto. The companyOffers a unique service to building managers, charging a monthly "maintenance" fee, which covers both documentation and graffiti removal. Municipalities also pay the company huge contract fees to clean paint off the walls by Norman, again. Seeing the trend yet? of local businesses who don't do it themselves, charging those unfortunate businesses massive property-tax levies. Goodbye Graffiti's work is a careful balancing equation: they have to satisfy their customers by keeping their buildings relatively clean, but at the same time they don't want to buff too fast and discourage writers from coming back. After all, graf writers are the reason they're in business. The transient nature of graf sets it apart from most other art. The traditional Western idea of art is of static timelessness-pieces live on after the artist dies, bestowing him/her with intellectual immortality. Destroying art is a crime! Graf writers, on the other hand, may view the destruction of their work as the creation of a fresh canvas. The destruction and renewal of Vancouver's graffiti tends the city an organic feel, as the walls around us bloom and fade. The urban landscape, which can easily feel like a sterile cage, becomes an environment with its own seasonal cycles, determined not only by the advertisers with the most money, but by the people who dare to steal their space. 6RAF-FINI The strange saga of Misanthropy Gallery, the municipality and Goodbye Graffiti highlights the conflicting interests of writers, the community and the state. In North America we are barraged.by thousands of images every day, all frantically vying for our money and our minds. This system enjoys the state's unconditional support. The anger that this provokes in a certain social subset (ie, you, me, and Michael Moore) encourages reaction: the graffiti- based vandalism of ads, or what Remio calls "anti-establishment, counter-culture type shit." As advertising crowds our visual space, graft increases. (And simultaniulsy is co-opted by advertisers seeking to appeal to young consumers.) In the end, it comes down to this: expressing yourself in a public space, when you don't have the money to buy a billboard, is vandalism. And like Remio told me, that's a pretty sound reason for doing something. D Special thanks to Sasha Webb for editorial/emotional support and Nicholas Pittman for the awesome lettering. Work by Remio, Stage One, Tour, Tasq and Cloud [Ope] can be found at www.visualorgasm.com DISCORDER, JUNE'04 BEER BENCH GOSPEL The Beer-Bench Gospel were brought together by fate and a shared love of refreshing beverages in the summer of 2003. They kicked things off with a show at Misanthropy Gallery last September, and since have garnered attention from Butter Magazine and CBC Radio. Cloud, Tasq and Tour fuse high and low art to create unusual and compelling pieces, both in the gallery and on the street. Found objects have an important place in their work, as do distorted text and eerily expressive faces. Currently the boys are amassing ideas and weathered boards for their upcoming show, entitled "Another Installment by that Rogue Pope Trinity Cloud Tasq Tour of the Beer Bench Gospel," opening June 19,h at (you guessed it) Misanthropy. I joined Tour on his Victoria Drive stoop to discuss art and good friends. WTFAT (who the fuck are they)? We're an artist collective interested in pursuing non- traditional forms of graffiti. Their unique style: Our style is influenced by '50s American NYC abstract painters as well as figurative illustration techniques. But when it comes down to it, there's no big conceptual idea behind what we do. It's all based on similar tastes, making a happy accident. On tagging:' That's where I think I'm a little different, because I'm not so much into doing throw ups and tags. Not that I don't * respect them; there's nothing greater then seeing a gorgeous tag by someone who's really good at it, like a Twist tag. You see it and you think, "That's the most amazing thing I've ever seen." I really appreciate them, and love them. I wouldn't be myself if they weren't there. But for me, basically I'm just not really good at letters. [laughs] [Taggers are] people doing stuff without a huge reason behind it. They're just out there to crush shit, to get their name out there, and personally I love it. I wish every surface was covered in graffiti. Who they want to impress (other then their moms): Well, we know we already impressed the DiSCORDER, so that's about all that matters to us. I guess now we can die happy. Who they really want to impress: Personally, every time I do a show, or am involved with a gallery experience, I'm really happy when the graffiti community comes out and supports it. Those are my peers, and they're the people that I respect the most. They're the most real. That's why it's so important to us to keep doing stuff outdoors as well as in the gallery atmosphere. Bridging that gap is what I'm concerned with these days. The Future: You just want your heroes to respect you. I grew up loving graffiti and I still do. Traditional graf is my favorite shit. What we're doing is a little bit different, not that I think it's never been done before, because I'm sure it has. But when it comes down to it we just want the people we respect to be into it, and come down and check out the show. Like at the Giant show a couple months ago, all the kids came out, there was bombing everywhere. Hopefully they'll come to our show and put a big splatter on the wall like Jackson Pollock or something, [laughs] LISA SUGGITT WANTS YOU ON SKATES, NOW. What's 5 feet, 9 and a half inches tall, has eight wheels, wears hot-pants and kicks ass in a skate park? If you go to Rollergirl.ca, you'll find a pink, funky website where you can order Canada's best selection of aggressive roller skates. If you meet Lisa Suggitt, Rollergirl's founder, you'll find a girl who's in love with life. In fact, she was on her way to a picnic on the beach when she remembered our interview and had to send her boyfriend back home, food in tow. When I arrived, I had to suppress the urge to look under the table to see if she had skates on (of course she didn't). Lisa started roller skating when she was five. She took a few years off in the 90's during which she did some skateboarding. This is where she first sampled ramps and the half pipe. Her experience in skate parks later inspired Lisa to take her roller skates into the ramps. The story of how she returned to roller skates is one of fate and fortune. "The turning point was me finding a fabulous a pair of plastic micron roller skates at a garage sale. I was a skateboarder living in Montreal when I found them. The price tag had the year of my birthday on them, they were brand new, in the box, my size, sky blue... that's when I started riding roller skates again. Those were the first skates I took on a ramp. I traced it back. Had I not found those roller skates, Rollergirl would not exist, I would never have gotten back into roller skates. It's like Rollergirl was meant to be... my destiny. Things just happened because of a random, chaotic assortment of events." When she got into parks with her skates, Lisa started copying the skateboarders. "I watched the way that they do tricks, because the makeup of a roller skate is actually very similar to a skateboard. I was watching the skateboarders drop in and grind and then copying their moves... I'm very skateboard-inspired in my tricks." Lisa searched the web for information on other people who were roller-skating on ramps and found next to nothing. This lack of info was the inspiration for Rollergirl.ca. The idea was to find other people who were roller-skating and profile them; get pictures of the tricks they were doing, both to learn from, and spread the word. "We thought it was so cool... and roller skates are so perfect for riding on ramps - why weren't there more people doing it?" With the help of her web-designer boyfriend, Lisa set up the Rollergirl.ca site. The roller skates and online store developed from there. Lisa adores skates. If you ask her a seemingly simple question, she'll give you a passionate, technical answer, complete with constant hand gestures so you can picture exaCJHy what she's talking about. There's lots of laughter too. For example, I asked her about the advantages of roller skates over inline skates. "Roller skates last a hell of a lot longer." She explained, "The wheels on an in-line skate need to be rotated constantly. There's a very narrow surface that actually touches the ground and they wear away on an angle, so you need to be rotating them and changing them every three or four months. Roller skate wheels will last you four years. Because they have the same hardware as a skateboard, you can move the front wheels and back wheels separately. If you lean in one direction, you'll move in that direction, versus an inline skate that's built in a ridged frame, so you go straight. You have to lift your feet and move in a different way. You can carve a little, but with roller skates, you can do what a skateboarder can. You can do an S turn all the way down a hill just by leaning your way back and forth and it's such an amazing feeling, it's so smooth and sweet." Until recently, aggressive roller skating has been dominated by males, but that's quickly changing. Rollergirl.ca has definitely been a positive influence in spreading the word. "There's a whole new breed of aggressive girl roller skaters." Lisa tells me. "In the States, there's the Texas Roller Girls and the California Derby Dolls, who... oh, don't even get me started about roller derbies..." I get her started. "It's this big new thing in the States. It's actually been around since the thirties but it got really big in the seventies. You have a banked, circular track and the teams race around and get points for knocking each other down, or blocking each other and it's really aggressive. The girls wear full body armour... and hot pants. It's always been like that but now it's more so; its fishnets, hot pants, push-up bras; claws, biting and Its hilarious. Its getting a lot of media attention." I asked if roller-skating is as tied into a culture as skateboarding is. Lisa stops to think before she replies. "Sometimes when you get asked similar questions a lot you forget what you really think about it." Rollergirl has been receiving more and more media attention lately, with written articles, radio and TV appearances. "Roller skating is like the new, old thing." she tells me finally. "Skateboarding is so tied into the culture, music, clothing and that's what I liked so much about TEXT & ILLUSTRATION - ELLE JAMES m DISCORDER, J U N E ' 04 roller skating. All the tricks haven r been invented and I could just kind of make it up as I went along. There are a lot of different roller skaters doing a lot of different things and they tend to be people who want to do something different and who have their own style. You can dress up, go to the beach, looking really good and have skates that look awesome with you. You can look super-hot in roller skates." When she first quit her job as a lease broker, Lisa's family thought she was a bit wacky. She was making good money, but was heading in a direction that she wasn't happy with. "I risked everything to start a crazy business. So my family was like... [adopts a nervous voice] 'Okay, if you know what you're doing we'll support you'. My friends thought it was fabulous. And now that I'm supporting myself and doing really well they are all happy for me." Lisa learned about roller skates by working on them. She collected a massive amount of old skates from thrift stores and garage sales, tearing them apart for the parts she wanted and learning about them from the inside out. At first, this was a hobby, but then she started getting asked to build them for people. Next, Lisa got some suppliers and a little bit of government funding, and the rest is history. Her working experience gave her a solid foundation to build up her reputation and the service she provides for her customers. "People need to believe that they will get their skates and get them safely. We provide amazing customer service and if you check out our feedback page, you'll see comments from all over the world. We've always had the customer as our highest priority, which for an online business is pretty ■ unique." Lisa and her staff are dedicated to make sure Rollergirl continues to be a success. "We want roller-skating to get big again," she says with a grin. Lisa tests every skate that Rollergirl sells on the website and qualifies Rollergirl as a success enthusiastically by declaring that she owns seven pairs of roller skates at the moment. She needs to know how every pair responds. She is especially excited about a new pair of skates that Rollergirl has coming out in a couple of weeks. Made for extreme downhill all terrain, Lisa has tried them on grass, dirt, gravel and pavement. "The wheels are huge, like tractor wheels, bigfoot skates... I have a pair and I'm loving them. I was riding them around and people were stopping to stare, children were like, 'Mummy, Mummy, what the *&a# was that?' " You only have to see Lisa talk about Rollergirl to know that she's one happy girl. "I'm having the time of my life. Being self-employed is the best thing I've ever done ... it's so much work, but I love it." Rollergirl is growing at a rate that Lisa can only just handle right now and she is going to try to bring out some T-shirts and underwear this year. "People want Rollergirl underwear. I get asked for it and I can't say no to my customers!" Lisa's customers^ire largely women aged 19 to 35, and mostly based in California and New York, but she also has another market of baby boomers, especially here in Vancouver where people are so health-conscious. "I also have quite a few male customers" says Lisa, "They're not the kind of guys who are offended by the pink website. A lot of our products aren't exactly feminine." Another thing that isn't exactly 'girly' is the precarious side of the sport. "Ramp skating is dangerous!" says Lisa, who can boast a broken tailbone v and torn ligaments as some of her injuries. Some of the most popular pages on her site are the videos of her bails. "Yeah, people just seem to love seeing me hurt myself." she laughs. Lisa talks a mile a minute, but if you interrupt her flow with a question she wasn't expecting, she'll stop and give it serious consideration. This is what happened when I dsked her who, if she could take any one person in the world out roller-skating, would she take. "Ohhh... Hmm... I wonder who needs to go roller-skating?" she looks thoughtful. "There are some people who really need to roller skate but I don't want to go with them! I don't know, I think I'm going to have to ponder that for a while, I mean, I'd take everyone out roller-skating." Now she's excited again and the hand gestures start up, her voice gets louder and the smile is there. "Everyone should go roller-skating, seriously, that's my goal... I'd look out at a world where everyone's on roller skates, as far as I can see." 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J c -g * Si 0©C323°00) |-*|2-gi.£||^Eg o!olB^2©2-£ om~ S3 II il a g ?°£Soc©o£c£CQ.c=>£o3.£o£23e0?! n^Ot.£.£>x:c2 — 20m<-v>-So"mcP-c>aD: |qi : ill ?s;i6i!ils^ --s-b!|I.!'5?«s- 1:1 ' OSS! P4G30000022 Il Eft L YUKI ATTENDED THE COACHELLA VALLEY MUSIC FESTIVAL IN INDIO, CALIFORNIA. SHE BRAVED HEAT, CROWDS, AND MASSIVE INSECTS - AND DIDNT FAINT ONCE! After the hellishly hot six hour drive through California traffic from Et Segundo, we finally arrived in Indio. The relief of the cool evening was disturbed by millions of massive insects on the wing, dive-bombing people and tents. The many drunken revellers couldn't care less. After a thorough search, weaving around the cops tooling around in their golf carts like a fresh gang of pimps, we got inside the camp ground and set up our tents. Coachella had sold out, with approximately 50,000 people to attend each day. The line-up, featuring The Cure, Radiohead, The Pixies, Le Tigre, Kraftwerk, Air, The Flaming Lips, and many more, was, to say the very least, A-FUCKING-MAZING. The heat, however, was not. SATURDAY We were told to expect temperatures in the 40's. Around 8 AM, the sun made our tent an oven. Feeling like a bunch of overcooked pies with BO filling, we all got up and cleaned up as best we could without any running water in the campsite. The shower line-up looked to be about an hour long so I decided to grunge it out. Around 10:30 AM, we headed over to the festival entrance. It must have been around 40 degrees Celsius already! The waiting was agonizing, so agonizing that some guy ahead of us was literally gagging in the heat. The only thing that made waiting bearable was this other guy wearing an umbrella hat. We'd seen him the previous night during camp festivities, wearing a mullet wig. The sheer fact that someone would purposefully packed transport a mullet wig to a music festival in Southern California was inspiring to say the least. I'm already coming up with ideas for next year... Once inside the festival, my boyfriend and I picked up a couple of shirts, CDs, stickers and pins. He also bought a hat to keep his scalp from burning within the next couple minutes. At least it was a Pixies hat- not the most attractive thing, but it did do the job. At least he didn't buy the beret. The heat suckered us into purchasing a lemonade slushie for $5 US. Let the festival gouging begin! Making our way across the grounds, we could hear the Section Quartet. They began with their rendition of "Just" by Radiohead and then played "My Iron Lung," which got totally butchered when they came to the "heavy" part. I really don't know what else to call it, but either way, it did not sound good. At the Mojave tent, a crowd had gathered to check out Erase Errata. Due to the heat, this tent, which is about two or three times the size of the Commodore, had turned into a rancid-smelling oven. Erase Errata were frantic and energetic but for some reason had no trumpet, a key element of their sound. At the end of their set, the smell had become unbearable so we gladly left and threw ourselves back into the sun. After some wandering around, I had a bad headache, thanks to heat exhaustion and maybe mild sunstroke. I laid down in the tiniest bit of shade I could find which was next to the tent we were in earlier. Appropriately enough, Sahara Hot Nights took the stage. All I remember is "Alright Alright" sounding very good in my semi-conscious state. Kudos to any band that could stand to be inside that tent and perform. Actually, kudos to all the bands that played with any enthusiasm when the sun was still up. From across the grounds, we could hear The Stills commenting on the temperatures. I guess us Canadians just can't handle the desert. After downing some more slushies and water, I got up and headed to ...And, You Will Know Us by the Trail of Dead. In usual fashion, the boys insisted on wearing dark pants and black shirts, except for their bassist. Those Texans can handle the heat, right? Much of their set included new material. There was an unfamiliar face behind the drum kit, then I realized that there were 2 drum kits and Jason was behind the other. With the exception of a new song which has Conrad on guitar and Jason on vocals alone, the rest of the set used two drummers per song. Had the acoustics been better, this probably would have sounded amazing. Unfortunately, their infamous destruction was absent from the end of-their set. Nonetheless we were happy to see Thorn Yorke watching the band from the side of the stage. Next, we tried to catch last-minute addition Beck. As we approached the tent, it quickly became obvious that a few thousand other people were trying to do the same. Maybe 3-4 times the amount of people who could fit in the tent were trying to get in. We admitted defeat and walked away crestfallen, listening to Beck faintly in the background... Oh the humanity! Lying down, I could hear the (International) Noise Conspiracy giving the crowd a sample of some of their new songs. I was curious to see if Dennis could maintain his amazing showmanship in the desert heat but I was too fenced in by the crowd packed around me to get up. After that, Sparta hit the stage and made my headache worse so we left. (Apologies to any Sparta fans). We found some more shade under a piece of art. In the distance we could hear Black Keys, then the Desert Sessions. I would have been interested in seeing them if PJ Harvey had made the trip over. I could hear "Hanging Tree" so it seemed that Mark Lanegan had made it. When the sun set the real excitement began. The Pixies were up at 7:20 PM, and then Radiohead were to follow. We ran into acquaintances (who provided me with headache medicine) and selected a spot behind the soundboard with easy viewing of the giant screens. The Pixies walked out to a roaring crowd as my headache drained away. They began with "Bone Machine" and sounded fantastic. The whole hour-long set included favourites such as "Monkey Gone to Heaven", "Gigantic" and "Where is My Mind?" Most of the crowd were either dancing or singing, minus the dressed-wearing dude to my right. Had I been wearing the dress that he was, I wouldn't have been happy either. I mean, I'm just not a fan of floral prints... After the Pixies, I debated running across the field to see The Rapture, but chose to stick around to get a place for Radiohead. They started their set with "There There," Thorn's vocals unfortunately sounding a bit strained. As the show moved along, things improved and the band started to enjoy themselves. The crowd roared in approval during "No Surprises" when the line "Bring down the government, they don't, they don't speak for us," was sung. They began their encore with "You And Whose Army?" then broke into "Planet Telex," following that up with "Creep." Devoted Radiohead fans were throwing fits (in a good way) since the latter two songs are rarely played these PJSCORPER, JUNE'04 Fuck! What can we say?! Radiohead are just awesome. days. It was a nice treat. "Everything In Its Right Place" indicated the end of the encore and set and my first night at Coachella. Kraftwerk, the Electric Six, Phantom Planet, Kool Keith of MF Doom were still to play on other stages, but we opted to eat instead. We could hear Electric Six and Kool Keith as we scavenged for nourishment under the cool, starry SoCal sky. Did I mention there were shooting stars during Radiohead? SUNDAY Perhaps the best lesson I learned from this experience is that my ability to tolerate desert heat is pathetic. Sunday was predicted to be hotter than the previous day, which peaked at 45 degrees. With this in mind, we decide to enter the festival later, sacrifice a couple of the earlier acts like Pretty Girls Make Graves and avoid the hottest part of the day in the festival grounds. After a trip to the In-n-Out Burger (OK, we were in California, we had to), we returned to the campsite a little later than planned after a horrendous Ralph's line-up and parking fiasco. My masochistic desire to endure the hour-long shower line also set us back. After 3:30 PM, we finally got into the grounds, loaded up on water and found some familiar faces. We could hear Broken Social Scene playing "Cause = Time" in the distance but Muse was starting shortly so I didn't wander over. Afterwards I was disappointed when I found out that Emily Haines of Metric had performed with the band. We started with Muse. With only three members, they sounded as large and loud as a five piece. Frontman Matt Bellamy performed with enthusiasm and energy, never passing up an opportunity to demonstrate his skills on piano, especially on songs like "Sunburn." Gigantic white balloons were released during their set, and exploded immediately in the demonic heat. Just 'cause I could, I thought I'd check out Cooper Temple Clause. Their songs all sounded the same to me so we walked towards the mainstage and to hear "Step Into My Office" by Belle and Sebastian. Next, we found oursefres at Bright Eyes. Sitting on the grass behind the Outdoor stage mini bleachers we just listened. 1 enjoyed the musical arrangerhents but the whole Bright Eyes package just didn't do it for me. Despite being unfamiliar with their music, I decided to check I out Air, drawn by the refreshing promise of their name. They described themselves as French robots before ploying "Run." Things really got going during "Sexy Boy," a perfect festival song that got everyone dancing as the sun set. Next, I made my way to Black Rebel Motorcycle Club. They began a Kttte late and were having sound problems. Only the latter half of "Spread Your Love" had any vocals. Then, bass issues forced them to go acoustic for a couple songs. Things eventually get sorted out but by then half their set was done. "Whatever Happened to My Rock 'n' RoH" really got the crowd going and a woman in front of me passed out and took her significant other down with her. I was horrified, but he picked her up and they stumbled away. Another victim of the heat. Good thing the sun was down. I left BRMC a little early so I could catch the beginning of the Flaming Lips. I assumed they would probably do a similar set to the past three I have seen, but you just never know with a group who does a stage show as outrageous. The Lips started a little late but it was well worth it. Wayne Coyne had asked us to wait. and when the show started, he announced that he would walk across the crowd inside what appeared to be a gigantic plastic ball. He climbed inside and "walked" across the crowd, fulfilling his promise. He actually spent most of his time on his ass with the crowd holding up the ball and moving it along but it was still great. So were you able to name a band with a stage show as outrageous as theirs? Try topping that one. [How 'bouf Iggy Pop at the Showbox in Seattle, standing on fop of a speaker stack and swinging his pecker around just before he topples into the crowd followed by a rain of speakers - Insolent Proof-Reader] After getting in one Flaming Lips song, I had to run over to meet up with my party and check out Mogwai. The tent was pretty full, hot and still smelly so I stood just outside. Many chose to lie on the grass outside and listen. I was happy to hear "Rarts of the Capital" and the sound was pretty decent for a tent. Just before the end of the set, we made our way over to see... the Cure! Sitting down in the back, we waited for the Cure. They started off with a new song and we noticed that the excitement, the heat and lack of sleep this weekend had caught up with us. I nearly fell asleep in the middle of the set, but songs like "Lovesong", "Lullaby" and "Just Like Heaven" woke me up periodically. Robert Smith was still wearing his trademark lipstick and his hair was as out of control as ever. I could hear the thumping bass of Le Tigre on the Outdoor stage during quiet parts, making me wish I were over there too. My companions decided to go back to camp early but I opted to stay 'til the bitter end, reminding myself that I did fly down here on purpose, didn't I? Didn't /?! I got up and made my way closer to the stage. The half hour encore was a gem as they played "Close To Me", "Lovecats", "Why Can't I Be You?" and "Boys Don't Cry." I was now wide awake and the crowd up front was very lively. At 12:30 AM, Coachella had finally ended and I made my way back to the campsite exhausted, hungry, very dirty but oddly satisfied. It would have been perfect if I didn't have to sacrifice bands like Le Tigre, Beck, the Rapture and Stereolab among others, and if my body could actually stand up to the heat. But, I will never again see the Pixies and Radiohead back-to-back, and I doubt I'll see any more people walking across crowds in giant plastic balls. At the same time, in the future I'll be more aware of my temperate Canadian physiology. Camping will be saved for fragrant coastal rainforests, and I won't be visiting the desert unless I absolutely have to. I'll be writing the organizers of Coachella to recommend relocating the festival in Tofino next year. D is and the dude from the Flaming Lips give each other high fives across time and space P4G30000024 I was looking forward to interviewing Blixa Bargeld, the front man of German "industrial" pioneers Einsturzende Neubauten. I first became aware of Neubauten at their Expo '86 performance, where they blindsided an unsuspecting audience of families expecting a traditional German oompah band. Shocked concert-goers beat a hasty retreat as grinders met shopping carts and Blixa, rail thin with long scissor-hacked hair played guitar and howled. The band even made it into Ann Landers' column: Just Disgusted (A Father in Rhode Island) described Neubaten as "one group that uses a pneumatic drill that screeches like several thousand long fingernails dragged across a chalkboard. Then one hears the slamming of a drum pedal against a 500-gallon storage tank. A skinny young man screams in German amid a collection of dented car doors, a cement mixer and a refrigerator scavenged for the occasion, ready to be banged, drilled and scraped." Ann's advice? "Aside from the hearing loss I see no danger of mistaking this trash.for music long enough to make an impact on anyone." However, after more than twenty years, Neubaten is more symphonic, and more subtly intense. I interviewed Blixa at their last show in 1993; after a few awkward moments at the beginning of the interview, Blixa was articulate and charming. Not so this time. Following Blixa onto the Neubauten tour bus, neither my companion (CiTR music director Luke Meat) nor 1 knew that we were entering the lion's den. Blixa started off animated while he spoke about the new CD, Perpetuum Mobile, but was less inclined to civility when we touched on other topics. So, we'll focus on the less traumatising part of the interview, shall we? The process of making Perpetuum Mobile was a highly unusual one. Subscribers helped to make the CD by paying a subscriber's fee and were able to watch some of the recording on the internet. While I used the term "interactive" to describe this process, Blixa replied that he "hates the term interactive." He explains, "It's kind of so emptied out that it's pretty hard to define what it actually means, so much as the word multi-media is another word that I don't use at all." The subscribers felt the same way: "Nobody suggested to play the bass line different or anything like that. This is the first thing that comes to mind when you push the word interactive. There were already people, when they heard the word interactive, running screaming, saying 'please don't interfere with what these people are doing for music, we've loved therin for twenty years, we don't want them in any way to be influenced.' And that didn't happen. They were able to listen to rough mixes of stuff and make comments." Blixa compares this method of raising money to a similar strategy used by book publishers: "You subscribe, say, to the collected works of the Marques de Sade in a leather-bound special edition and because the publishing house that would do something like that will not be able to come up with the money ' to do that, you're going to get that special edition for a special price and you raise the money up front. That's the model we've taken." Blixa still doesn't believe that the subscribers interacted with the band. He continues to use the book metaphor, explaining, "There's not much of an interactive aspect in that, first of all. This is the model we've taken in what colour of leather they want this, we didn't ask them how many volumes or what translation or anything like that." He goes on to explain the process of making Perpetuum Mobile: "The first thing you got when you went to www.neubaten.org, was a speech by me. I don't kpow how exactly I phrased it, but I kept the form and level and interaction fairly open. I'm pretty sure I said we don't know how we want this to happen and that we don't know even if you'll like it when it's happening and I kept it fairly open. It didn't happen in all the stupid and fairly obvious ways. It didn't happen in a way that someone sends us a sample that we put in the music or anything like that." The band was aware that they would be watched by subscribers at certain times during the day. Blixa claims this interaction was inspiring: "Most of the time, it gave us momentum; it forced us more into playing and doing something GETS INTERACTIVE, SORTOF. BY JUNE SCUDELER rather than the endless amount of time that is there and no witness and the isolated process. So I think that is the major contribution - if that is interaction, then that is interaction." The title track of Perpetuum Mobile contains a hilarious pprody of the questions asked by counter staff when you check in your luggage at the airport: - Yes, this case was sometimes left-unattended. - Yes, others had access to it. - Yes, I was asked to carry presents. - Yes, there are electrical appliances in the case. - Yes, many batteries. - No, not everything belongs to me. Blixa displays a jaundiced anger mixed with humour at these questions, but is careful to differentiate between Canada and the US. He explains that the questions are part of "an inner monologue that goes on with me every time I get asked them at the airport. I wish I could answer the opposite to your face. Peaking at the questions, 'Is this your luggage?' 'No!' 'Do you own everything in there?' 'No!'.These questions are getting worse and worse. The whole thing, Canada is one thing but the US is the worst in that and I think it is typical in totalitarian states that you raise the pressure so you can take it away and make everybody feel better. Just raise the pressure and take it away it magically seems like everything is much better. So that one day they're not going to take your shoes off anymore, you think, 'Hey, things are getting better! Bush isn't that bad after all.' You will see that happen. It will probably happen after they strip- search and undress you first so that you get used to that. I think they strip-searched our drummer." I ask Blixa about the lyrics to "A Rare Bird", which contains references to Mount Ararat, the supposed resting place of Noah's Ark: What a rare bird flies alone to the towering peak of Mount Ararat Now it finally starts to rain and it won't stop at all After the rain not all of them a > there anymore for example The Pteranodon is not there anymore for example Archaeopteryx is not there anymore for example Even the Shenzhouraptor is not there anymore for example Anyway after the rain many are not there anymore He claims that the song "contains more references to the disappearance of record companies than had to do with the great flood. When I write, you should not take any biblical references in the same way when Nick Cave writes them. I have to admit there is no clear position or message. It started out as a typical staged improvisation which we used when we started phase one and I was ready to shelve it and it was only the supporters that insisted on us working on it. So, it went through many different versions, one of which is the supporter album and one on the Perpetuum Mobile album. It's no apocalyptic rewrite of the Noah's ark story but I can easily budge and say it's exactly that. It has to do with merging and disappearance of ancient record companies that will all go to hell with the flood that is coming and there will be an ark and that model will be Neubauten, what we're doing now." D DISCORDER, JUNE'04 THEYSH00T HORSES, DONTTHEY? ON 7HEVSW0OT, wmsm POMJHEK m They Shoot Horses, Don't They? are: Josh [vocals/guitars). Julia (drums), Rob (bassj, Eli [trumpet), Ryan (saxophone). Chris-a-riffic [Casio). and Pietro (trombone) ONE RECENT WEDNESDAY NIGHT, THEY SHOOT HORSES, DON'T THEY? INVITED ME TO THEIR BASSIST'S APARTMENT TO WATCH THE 19069 MOVIE THEY SHOOT HORSES, DONTTHEY? THE FOLLOWING DISCUSSION BETWEEN THE BAND MEMBERS TOOK PLACE AFTER VIEWING THE FILM. Chris: It was a good movie. Grandpa Munster was in it. Julia: And a guy called Red Buttons. Chris: Yeah, he was the sailor. Pietro: He was the sailor? That made sense. I thought maybe Red Buttons was the name of the horse. Chris: You've never heard of Red Buttons? He was the famous comedian from the fifties. Pietro: Really? Chris: Yeah, saw him on the Garry Shandling Show. Eli: Speaking of which, they should definitely remake this movie. Julia: They probably will. Chris: Who would play Jane Fonda? Julia: Jane Fonda. Pietro: Couldn't Eli play Jane Fonda? Kind of looks like her. [Laughs] Eli: I'm not that much of a bitch. Who's that other guy's name? The guy that shot her? Rob: Robert. DiSCORDER: All the stories he told were second hand. He'd heard from some other guy, or he saw it in a movie. Josh: Yeah, that's right. Eli: He didn't even want to be there. He's like, "I'ii just hong out." So then he got asked to go to this dance competition, he's like, "Ok." Josh: What about those flash forwards? Theatre sets, no background. Eli: At first I thought they were flashbacks. Pietro: I think stylistically it was to separate it from the present. It you were to have it with all background you'd get confused. Josh: Sometimes, particularly in art school, someone will try the tactic of "this is about boredom". So "I am going to make a movie that is boring andifhe audience will feel that boredom." And then as a defense to criticism, someone will say their movie is boring, they will say "WelL it's about boring. I wanted you to feel bored." It's usually not a very good tactic, but this movie actually succeeds in the perfect balance. It's insatiable, but for the most part it's long and tedious like its subject. But it's enjoyable in its tediousness. Pietro: Are you done boring us with this? /laughs] Josh: Which is what cur band is all about. Ryan: It's kind of like our band. Julia: Really boring. Ell: Perfectly boring. Pietro: Because all our songs are about boredom as well. Rob: We're not boring man, not even close. Julia: You can't say that. Pietro: Our songs are like "du du du du du..." over and over again. Josh: We almost got a one chord song now. Chris: Which one? Josh: The new one. It's pretty much just one chord. Chris: That's true. Josh: One day we'll start playing longer songs. Eli: I hate howvtfien the-movfe starts you know who afthe characters are and where they stand, like which one can potentially be the sexual interest. Do you reafly feel any attachments to any of the characters except for the pregnant woman? That's theotevteus one, Jane Fonda's character, the star, she's such a bastard you don't care about her. Pietro: I couldn't stand her, she was so annoying. In the uogtnning I thought her acting was horrible too. The only part that was believable was whettshe was crying about herself. Eli: I don't think our band sounds~!ike that movie at all. Julia: Yeah it does, what the hell. Josh: Anybody else? Julia: There was that one part where they were running and the music was similar to one of our songs. Eli: That part was pretty sweet. And then the pregnant girl singing... Josh: [Laughs] Yeah, the pregnant girl sings. EH: I think the movie is pretty ambiguous. Josh: Well, I think there are a lot of points. Kind of open, not ambiguous open. Eli: I guess I was mostly surprised as I was saying before that I didn't feel any particular connections to any of the characters. Josh: The lead guy was pretty detached. Overall it's such a terrible situation to be put through. And the desperate people, I kind of felt a terrible feeling for everybody involved. Pietro: When the two main characters were screwed over I felt bad. HI: I didn't, I expected that was going to happen anyways. Pietro: I didn't want them to lose. Julia: It was a real downer.. Josh: I don't know, as far as the tone of the movie and our music, I think they are quite similar. But then again, we were ptaying this song, and this one woman heard it and said, "That's the happiest song I've ever heard!" That's not how 1 would have described 8w Ryan: On one of our songs where the end goes on and on and on I always thought about that as a "they shoot horses" thing. Why don't you just shoot the sick horse? However, the movie seems more Wee a desperate, put it out of its misery thing where as our music is a little more sappy but does not have the same desperate feel the movie has. D DiSCORDER asks: Why did he start drawing? Why was he kicked out of art school? Ana what's with the cats? I first met Keith Jones three months ago, when he was selling books and stickers at the Brave New Waves Destroyer/Akufen/ Frog Eyes show/I bought one for a mere five dollars, and sat down beside him, completely blown away by Hello Car's aesthetic appeal and deep message. I hesitated to compliment the artist, assuming that he had people fawning over him all the time. When I did get up the nerve to moronically mumble, "Wow, this is really good shit," he blushed and said thanks, because now he could buy another beer. Hello Car has since earned a permanent post at my bedside, bringing considerable enjoyment to me and the many others that frequent my queen-size. Keith's art speaks simply, yet on so many levels. His trademark characters represent everyone and no one at once, and convey joy, despair and idiocy with a single penstroke. His compositions are a study in contrast: characters collide in complex layouts, inviting you into a labyrinth of swirling arms, intricate machinery, conveyer belts with unclear destinations, and of course his trademark cats. Interviewing Keith was an absolute pleasure. He arrived half an hour late, having missed his ferry from Victoria, and was charmingly flustered and apologetic. His optimistic enthusiasm for art and life were infectious and I left in a better state than when I arrived. I imagine most people feel the same way when interacting with Keith or his art: both communicate a joyful understanding of the'world and our city. Are you from Vancouver? No, I'm from Victoria. So you defected here... I came here because I liked the people who, KOOL KEI+H JONES by Sasha Webb drew here. I originally came here about five years ago and then bodies and things like bags and shopping carts. Then I wanted to I went to Montreal. Then I went all around, everywhere. I was in make an east end park. Once day I was drawing pigeon square, the States for awhile, then I went to Taiwan and then I came back and I was just like: "I should make this in the show". That's where here again. • 9ot the main idea And now you go to school? Nope, I went to school for one semester, at the Victoria College of Art. I didn't last there after a semester. They told me I wasn't allowed there anymore. I went to school with Jeff Latisher and Carey Mercer from Frog Eyes. We all went to school together there, and we all didn't make it past the first semester. Why did they tell you that you couldn't go there anymore? I wasn't doing the assignments properly... they weren't like Emily Carr, where they're more lenient with all those things. It was the wrong kind of school for me. So you just got back last week from poster making in Montreal? Yeah! I was making posters with my friend Matt Moroz. He makes posters for Seripop who makes really good posters for shows all over North America. I went there and we made a poster together and I learned to screenprint. Seripop has invited me to be a part of this new collective [publication] that's coming out in June called Black Rainbow. It will come out four times a year with twelve people in every issue, and then they'll be ten or twelve guests from all over the world. They're the kind of people I like to do stuff with: punk rock kids. The magazine's gonna be free... and I'm really excited. I was going to ask you more about your travels. You said you were in Taiwan with Luke James Ramsey. [See, oh, the last three Issues... - Ed.] Yeah, and Matt Moroz. I was going to teach English, to try and make some decent money and come back and do some neat stuff with all this extra money. But I went out there and ended up painting lots, so I barely worked. I did a big installation, and painted a bar and a toy store. There was bts of other stuff that I could have done, but I got tired of being there and was eager to come back here with all the stuff I had done... I was excited for my show at Antisocial. I was preparing for it the whole time I was in Taiwan, getting used to painting bigger surfaces and stuff. Tell me about your show at Antisocial. Well, I spent about a month building it every day. I originally wanted to do something sort of like what Luke ended up doing at the "Be-Cause" show in Victoria. I was tossing around ideas for months, and then I just got inspired when I got back from Taiwan. I wanted to draw things from the east end, things I was walking around and seeing everyday. I got really into just looking at people down there, and drawing things like weird bent-over Who would you say are your favorite artists? Um, when I was growing up I was really into comic books and stuff. What kind? I phased through all of them really. But before I got into comics, I started drawing ant farms. Then in third grade I met my friend Aaron who was drawing hot rod cars. We'd draw cars with giant motors, giant machine guns, tunneling and chasing each other through the earth and big gun towers with dots and guns blowing up airplanes and stuff. I was like [the child voice again] "I like to draw cars, cars are fun". I was obsessed with drawing from third grade on. As a kid you're all like, [greedy kid voice] "I want all these toys". I couldn't get all the toys I wanted, so I recreated them through drawing. That's why I still find myself drawing in a way that has to do with wanting to touch something that isn't there. Everything I draw is something I wish existed, that I could walk into. I got into war comics when I was an early teenager, and my comics became total urban violence, weird over-blown cartoon characters with giant guns that were shooting people for no reason. I was still drawing cars, but the cars became war machines. I got bored of war comics by the time I was 18 and got really into music. Music influenced me to scrap everything I had learned in drawing up to that point and I wanted to just draw like a retard. DISCORDER, JUNE'04 1 was like [child voice] "I want to be five again" and I ran around in this aimless trip where I figured I didn't need to own anything and I would just walk around aimlessly and draw. At that time I was drawing people that looked really childish. They had smiles on their faces and really long eyelashes, riding bicycles with tea kettles hissing on the back seat, fish jumping out of ponds and rainbows and all that crap. / the time I was 21 I was sick and tired of all that too, and my drawings became sort of depressing. I started to think that I didn't need to draw anything differently, now I'm going to draw everything the same, because it's all the same. I'm sort of breaking out of that still, and trying to get back to being looser with everything. Like that book [points to Hello Car], I was obsessed with it. I made it during a snowstorm in Montreal over a period of three months. I'd spent four years building this comic book that was called Systems of Metric Matter and was a twelve issue volume that got stolen two days before it would have been completed. When I lost it I had a breakdown. s also totally obsessed with making it... my drawings were progressing so fast at that point that I'd draw something, and by the time it was finished I'd have to go back and draw it again. I basically drew the same comic about five times over four years, I was still trying to create these other storylines and filling the gaps and scanning them all in the computer and coloring them and cleaning them all up and making all the covers, and I was finally done and then, I got robbed. And then "UGGHH, I hate making books!" When I was reading Hello Car, I was struck by many of the themes. I was really interested in the stuff about tobacco. Throughout the magazine there are so many cigarettes and statistics about smokers... That came out because cars are these ridiculously obvious death machines... all the gas and emissions and stuff. Smoking is similar to that idea as well, tobacco companies being run in the same way, the same as fast food and all those kind of things. They're just one giant sloth that doesn't go away. And doesn't look like it's going to change anytime soon. No, no, because people have a hard time believing that sloth is bad. And people want to think it won't do them in... It's Hke [evilish voice] "My babysitter's not going to hurt me. One other image I really liked in the book were the cats. Do you have any pets? I've always had cats as my pets and I like cats a lot. I think I put them in my drawings because they just seem like they're there all the time, no matter what's going on they're just always going to be there, so I just throw them in. That's what I think when I draw them, I think "Oh look there's an empty space on the floor, it'd look better with a cat". I couldn't agree with you more. I have a whotefct in my head of things that I fill up empty spaces with like boxes and cats and dogs and carpets and chairs. That's one thing that I always am trying to look for, new crappy items to fill things up with or things that I like that can always fit into any situation. So you were saying before that you were thinking of re-releasing your other books; what are your other plans for the future? I'm redoing my website right now. There are two movies that I'm in that haven't been released yet and then a third that I'm going to be in at the end of the month, made by my friend Corey Adams. He made one movie that's just all about me and drawing and stuff, so I'm really excited about that-because it includes the apartment that I built last summer. I made a glass house and I put everything I owned in the glass house and I slept on the roof, and the rest of the apartment was empty except for all these giant people that I painted on the walls, and then I was going to build an indoor outdoor. But I just got tired. After we made the movie, I decided I was going to move out. The project was finished at that point and it was time to move on. I'm really into this Black Rainbow thing, and I'm really getting into screen printing. I'm trying to organize a place to do it, 'cause no one seems to screen print in thfe city [Tel me about it! - Ed.]. I'm trying to get a grant right now for a show catted "The Seven Wonders of Montreal", about seven funny businesses in Montreal, cafe's and weird places like bowling alleys. I want to build it all out of foamcore. and then build a Montreal street with people wearing hockey jersey, fighting and yelling in the street and cars and stuff everywhere. To finish off, I was wondering what's your favourite thing to do in the sunshine in Vancouver. Ride my bike! I love riding to Stanley Park and having a picnic on the far side of the park where you can't see the city. In fact that's what I was planning on doing after this interview. D Check out Keith's website at www.nobodytand.com and more of Ms work at www.serioop.com MRl ijue flcuaM TV on the Radio Elizabeth April 24 Picadilly Pub Last month's TV on the Radio show at the Pic had the makings of a legendary show, the sort that one brags about being at months later. Much lauded band from New York, check; small venue, check; sold-out crowd, check. Local haircuts Elizabeth started things off well enough. Finalists in last year's SHiNDiG, the band performed a polished and unremarkable set that I now have difficulty recalling; not that it was bad...it was inoffensive. TV on the Radio started their set off slow, building up the intensity. About 15 minutes in they dropped the first three songs ("The Wrong Way," "Staring At The Sun," "Dreams") from their superb LP Desperate Youth, Blood Thirsty Babes, and that alone made the night worthwhile for me, particularly when a syncopated disco beat crept into the end of "Staring At The Sun." Phew, that was sweet. Other highlights included " Ambulance,*' a love song that was accompanied by the rattling of keys by audience members, and the finale which broke down into a massive drum circle, which, when not performed by crusty hippies, can actually be quite pleasing. While not quite legendary, the show was very entertaining. And let me just state here and now that TV on the Radio guitarist Kyp Malone may be the coolest dude in rock. Wearing black cowboy boots, pressed grey polyester pants fwjththe outline of blowout comb in his back pocket, natch), tight ash- grey f-shirt, huge big beard, a huge big afro, thick rimmed spectacles, and with a sort of pogo dance that's much cooler that it sounds, the man's style was almost as impressive as the set. DuncanMcHugh Black Rebel Motorcycle Club The Rapture Starlite Desperation April 27 Showbox, Seattle My first ever trip down to Seattle turned out to be a great one, as I was able to make a stop . into the Showbox to witnesson amazing performance by Mack Rebel Motorcycle Club and especially The Rapture. While in the city (which I had no time to properly explore), I realized a few things: Seattle is quite like Vancouver, and although the coffee shops are a lot fancier, the shows have the same little annoying kids pushing their way to the front and having the most inane conversations in the most high pitched, annoying voices possible. Monterey, California's Starlight Desperation started . the night off, and although they weren't any more original or exciting than your average somewhat-successful, vocc!- lacking indie rock band, the vocalist more than made up for his lack of tone and range by dancing like mad. If your music doesn't deliver, your energetic dancing might as well. By the time The Rapture came on, just about all crowd members under the age of 18 had piled to the front in their paper tiaras and striped shirts. As soon as the band started playing, a dance party began at the Showbox, with quite possibly the most dancing I've seen since last year's III show at Richand's. J Not a person within view was standing still as The Rapture played almost every song from their latest album Echoes, and favourites from 1999's Mirror and the Out of the Races and Onto the Tracks EP. Dressed in the most modest clothing I have seen on a band in a long time. The Rapture played with great enthusiasm, dancing non stop up on stage and even cBmbing down to the floor/delighting many a twelve year old girt in the crowd. GabrieUe Andruzzi, known by most as "the saxophone/ cowbell guy" played his heart out, and mesmerized onlookers with his absolutely insane and nonsensical (yet wonderful) dancing. The high level of danceabHity of the Rapture's set was unfortunate for Black Rebel Motorcycle Club, who were required to follow up an amazing set by an opening band. Although they sounded decent, they were incredibly boring and many people in the crowd seemed to be just waiting for them to be finished. The lighting was interesting, lit mosfty from the back and the sides, not at all from the front, but that's about it. Luckily, I found entertainment in my great view of the token middle-aged, rundown, drunk man enjoying BRMC off to the side! He was enjoying the band enough for the both of us, and there was another girt- -much older than the average age of the crowd-triple-timing beats and dancing like she was on Electric Circus off to the other side, who provided much entertainment as well. If you ever get the chance to go see The Rapture, do not pass it up! You will have fun, you will laugh, you'll probably become infatuated with the wicked awesomeness and hip dance moves of the "cowbell guy"; but, best of all, you'll take part in a frenzy of dancing that you've never even dreamed of, and you'll love the hell out of it. Kimberley Day Urge Overkill The Last Vegas May 03 Richard's On Richards While The Pixies will laugh all the way to the bank on the heels of their recent reunion visit to Van City, the return of "Da Urge" will be remembered for one simple reason: they came to rock and roll because they miss it. They missed giving the fans who stuck around this long, realizing there's no new album to pimp, a good dose of King Roeser's face muscles bulging at every strum of his guitar, and Nash Kato's lanky frame struttingin show-white pants. Rounding Out the cast was Nate Ailing on drums (who deserves props for doing double duty as he also was a member of Urge's support act The last Vegas), and Mike Hodgekiss (of The Gaza Strippers) anchoring the bottom end. "Where are you, Vancouver?" Nash beckons, "I put on you all on the guest list, y'know?" We reply with offerings of illicit substances, which they gladly accept. Found myself in the famifer company of Rich Hope (dude, what's up?) as we sang gleefully ("Reunited, and it feels so good"...) to "Bottle Of Fur" from Saturation. Other hits performed were "Erica Kane", "Crackbabies", "Positive Bleeding" and "Sister Havana", which they saved tor encore #2 (that's right folks, two encores, with a third still to be delivered). Not too surprising that they would do "Girl, You'll Be A Woman Soon" if not to The Rapture at the Showbox, Seattle Photo by Kimberley Day appease the women of the audience who wanted to hear "that song from that movie". Nash graciously strapped on the acoustic and the bourbon- laced charm for that one. The Stull EP was mined for gems such as "Now That's The Barclordsl" and "What's This Generation Coming To?" and even further back we went for diamonds like "I Am Artane" (the power ballad) and "Ticket To LA.", the powerful opening number. What was evident throughout fhe entire show, however, was the need to rock and remember what kind of impact Urge Overkill had on shaping the alternative nineties generation who at that time didn't realize the nirvana and excess that was (and still is, I'm sure) Chicago's post-rock playboys. The Last Vegas seemed to be on what some of us jokingly referred to as the "Budget Tour" (they acted not only as support act but guitar tech and stage hands), though you could barely make them out on stage, due to the enormous chasm that formed between band and audience. "Who's afraid of the big bad rock and roll?" Apparently most of you, as you chose to clap and yell from across the wide expanse. We did appreciate the effort though, guys, your chunky hard rock beats did not go unnoticed, even if it took the final couple of numbers to get people (ok, maybe just the two guys who fingered the crowd) into it. Nevertheless, an entertaining, evening and a testament to the staying power of Urge Overkill: no flash, no mirrors, but magic just the same. Bryce Dunn Einsturzende Neubauten May 04 Commodore Ballroom Once upon a time, there was a band called Einsturzende Neubauten ("collapsing new buildings"). They were from Berlin, and started off their career in the early 1980s with experimental industrial sound recordings, often choosing fire as a viable instrument and local autobahn underpasses as viable venues for their dominantly percussive ive shows. Twenty years down the road, some felt as though they'd perhaps lost some of their aggressive edge, but their creativity was always in top form. The underpass concerts were history, and instead of fire, air compressors were used in as many ways as can be imagined to provide their music with more percussive and melodic variety. This included everything from running a microphone along the surface of the air compressor, to releasing jets of air into construction tubing, or into a home made device which could only be described as a wind-powered turntable. For those so lucky to see them at the Commodore, there was a mingled feeling of excitement and nostalgia. Einsturzende Neubauten themselves would comment that every time they return to Vancouver the crowds diminish in size. Nevertheless, they could have been playing to a million with the power they held, both in the ear shatteringly loud moments, and also tn tho D I S C O R D i R-JfeJ U N E / 0 4 quiet, (mostly) unamplified songs. Crowded somewhat by percussion instruments, barefoot lead singer Blixa Bargeld still managed to dominate with a scream that was both powerful and unbelievably acrobatic (legends were later traced back to this show). Whether the fans were going for an amazing display of new experimental instruments or for the music itself never really mattered in the end, because what they ended up seeing was a band whose name and music would no doubt outlive the musicians, only to be fully appreciated once its influences are understood. Soren Brothers Alexisonfire Boys Night Out Black Halos Blue Skies At War May 6 Croatian Cultural Centre I don't want to upset anyone - because I'm sure this was hyped to be the emotalk of the emotown in the suburban high schools for weeks O when I say that I did not feel this show. I think that us youth should start demanding more for our parent's money: sets that last longer than the 40 minutes inked in the contract would be a great start. Especially the youth who joined forces to form a sea of black and pink and artic fatigues in the CCC lobby, kids who should play punk loud enough to drown out the rest of it all. I do not want to discredit the five guys fresh out of their teens in St. Catherine's Alexisonfire, they played a good set an' all but just...uninspired, I guess. Maybe it was the venue's lousy beer selection that made me pissed off. Or maybe I'm entirely ignorant of busy tour schedules and the capabilities of the human larynx. Or maybe every band consisted of five guys, two guitars, one screamer and/or drooler. Just food for thought, kids. I missed the openers Blue Skies at War, who suffered a . financially crippling car crash a few nights before. They rocked on anyways and for that much you've gotta commend them. The BSAW charity box at the back of the venue was the hot spot for gossip. The new-and-improved Black Halos are always a pleasure to see even if they've become the butt end of a few local jokes. While Billy Hopeless did his best to charm the audience with his slobbery masochistic gusto, the real show was between SG slingers Jay Millette and Davey French who exchanged leads and back-up vocals spots and a shared stage energy that was a pleasure to watch. The Halos pretty much played the complete Violent Years album with highlights of "Jane Doe," "No Tomorrow Girls," and "Sell Out Love." It's great when any track from a record can make a good opening song. The Halos weren't without political activism either as Hopeless made a heartfelt petition to end the beer strike. Capped off a pretty cool set with "Some Things Never Fail." Like the headliners, Boys Night Out also hail from the big province and they played tracks from their Ferret Music album Make Yourself Sick. The circle jerkers liked the set but everything except "I was the Devil for one Afternoon" and '" got Punched in the Nose for Sticking my Face in Other People's Business" started making me really sick of scremo really fast. The big act had presence, intensity and enough of a following to make a big audience. They lacked those little witty lines between songs that you just come to expect now and a decent encore. In all honesty, their recordings are much better than their live sound O maybe guitars going out of tune from all the thrashings can account for that though. "Polaroids of Polar Bears" to open and "Pulmonary Archery" and "Water Wings" had everyone on their feet. These young guys were totally eager to play selections from their upcoming Distort release Watch Out. George, man that guy has lungs. Calen Nixon Sarah Harmer Hayden May 9 Commodore Ballroom Vancouver's obnoxious and inconsiderate came out in droves to witness Sarah Harmer's stunning blend of melodic folk and pop rock at the Commodore Ballroom on Sunday, May 9lh. Early on, in opening act Hoyden's set, the audience was so loud that the singer-songwriter commented on how difficult it was to hear his own guitar onstage. Any audience member not at the front of the stage would've been hard-pressed to. hear the Torontonian perform his elegant, delicate ballads amidst the rabid conversation of drunken thirty- somethings. "Trees Lounge", "Bass Song", "Between Us to Hold", and "Stem" were highlights, as well as a few songs from his new album. Elk Lake Serenade. The belligerent crowd was initially quelled by Sarah Harmer's opener, the unassuming alt-country hymn "Came on Lion", but by "Greeting Card Isle", one of the darker tracks on her latest album AW of our Names, they had resumed their intoxicated insolence. Undeterred, or perhaps ignorant, Harmer and her tight band O featuring Inbreds' Mike O'Neil on lead guitar O graced through a powerfully eclectic twenty- one song set, delighting the more courteous of audience members. Notable moments in the performance were the whimsical "Around this Corner", the rich harmonies of "New Enemy", with great vocal contributions from keyboardist Julie MacDonald, and the lyrical juggernaut "Dandelions and Bullet Holes", with the Commodore stage bathed in dark red gels. The single highlight for this reviewer came midway through the show when Harmer's band exited and she performed two songs by her lonesome. The first song, at the request of yours truly, was the contemplative "Room with a Sir John A. View" from Weeping Tile's eepee. This was followed by "Oleander", a beautiful unreleased track, introduced as "a country number". The break in pace and dynamic, though brief, successfully hushed the talking yuppies; even they could not be distracted from Harmer's soaring melodies and dazzling persona. Josh McNorton Muse May 10 Commodore Ballroom I am really, really sorry to those of you who missed Muse at the Commodore on May 10. If you were witness to the explosive combination of piano, loud guitars, and psychotic lyrics sung in falsetto, you might agree with me that frontman Matt Belamey is one of the creepiest men alive, albeit an extremely gifted creepy man. With the show's opener, "Hysteria", Belamey demonstrated just how far his talents go by doing a sideways shuffle across the front of the stage while wailing on his guitar. Amidst all the cheers, I looked around nervously. Was T really the only one thinking it wouldn't be out of place for his head to spin in a complete 360, a Id ~ Excorcist? Personal hang-ups aside, Belamey continued to wow the adoring audience by playing deafening killer riffs, then throwing the guitar to the nearest roadie and rushing to the back of the stage to play the haunting, shrill notes of a classically-trained pianist. Muse's intricate, chilling melodies, backed by satisfyingly hard guitar riffs kept the crowd begging for more, and the lightshow in the background added to the intense power they put forth. The trio played a flawless, energy-driven set, sticking to their latest release. Absolution, but treating us to old favourites like "Sunburn", "Muscle Museum", "New Born", "Bliss", and ending the show on a powerful "Plug-In Baby". We didn't have to wait long for an encore. The crowd didn't stop screaming for more, and the band quickly showed up to ploy "Stockholm Syndrome" and Muse at the Commodore Ballroom Photo by Robyn Hanson "Apocalypse Please", ending on a jam session complete with Belamey ripping down Dominic Howard's drum kit piece by piece. We staggered out of the Commodore that night in awe, our ears echoing. Before that night, I wasn't aware of Muse's reputation in England as the band of all bands to see live. The fact that the sold-out venue of Richard's on Richards was upgraded to the Commodore Ballroom, which then proceeded to sell out, should have been a huge indication that Muse could deliver. 1 believe it now.-Everyone had comments to make, but I think the guy beside me said it best: "Tonight it felt like the old Commodore. I don't think I've ever felt the floor bounce and shake that hard." Erin Hanson My Morning Jacket M. Ward May 13 Commodore Ballroom I don't know how people get hired to work for certain local music-reviewing magazines, but if I'm still making pot jokes when I'm 35, would someone please kill me? No matter what you've read or heard, the My Morning Jacket show at the Commodore on May 13lh was fantastic. From M. Ward's awe-inspiring acoustic guitar work to Jim James' black hat, the show and everything involved certainly lived up to expectations despite upgrading to a larger, less personal venue and not spacing out appearances with a (note sarcasm) gratuitous one-year buffer. You've probably read about Jim James' witty banter, about Carl Broemel's energetic performance as new lead guitarist, and about the band exploding heads by opening the encore with a fantastic rendition of "Mahgeetah"; but what about the fact that My Morning Jacket impressed the familiar crowd by changing things up and bringing out unfamiliar (to Ive fare) favourites like "The Bear" from Tennessee Fire, or the fact that they were on stage for more than two and a half hours, even backing up M. Ward for nearly the duration of his set? Frankly, My Morning Jacket's music may not be for everyone, but all people in the crowd on Thursday May 13th surely could | have found some appreciation for the band's extraordinary performance. And for those young<rt-heart critics who didn't...I hear P.O.D. is coming through Vancouver soon... maybe that'll be a bit more excitement for you. Kimberley Day Mr. Airplane Man Rich Hope Ladies Night MayU Brickyard Well Vancouver, thanks for showing up to another awesome rock and roll show. And I say that with all the sarcasm I can muster. While admittedly there was double the amount of people at this gig than the gats' last visit in October, fifty folks do not a stellar band ike Mr. Airplane Man deserve. That being said, those who were in attendance were subsequently seduced, enthralled and taken to school by two talented ladies from Boston. Before we get to them let's first introduce Ladies Night. If you like your rock and roll steeped ir, caterwaulin' blues punk raunch akin to the Gories. Sack From The Grave comps and the smell of cheeseburgers, then these four young gladiators of garage are right up your dark back alley. Special mention should be given to their .choice cover of The Oblivions "You Better Behave" P4G30000030 Mr. Airplane Man at the Brickyard Photo by Jason Levis which made me reminisce about another local band of lore who at one time covered that exact tune-the apple doesn't fall from the tree, does it, boys? Watch their speedy rise to the top happen in a matter or days. Next up was our roots-rockin' troubadour Rich Hope, taking a break from his more raucous outfit John Ford to regale us with some Steve Earle (sorry couldn't resist) inspired countrified blues; first all by his lonesome, then with rhythmic accompaniment from John Ford drummer Adrian Mack and bassist Oops Forgot Your Name. Besides, what really matters here is that we were given an all too rare look at another of Van City's true talents, next time he takes the stage, be sure to buy him a drink and give him a pat on the back. So our main attraction hit the ground running with The Stooges' "I Wanna Be Your Dog" and immediately had the crowd enraptured with their stripped down, yet powerful take on a punk classic. They proceeded to play their set in reverse, as Tara, the drummer/keyboardist quipped, and guitarist Margaret wasted no time in wrestling chord after chord from her six strings, giving us more than enough reason to clap our hands, stomp our feet and yell like we were damned souls needing to be saved, and as this was Sunday and all; it was a midnight mass like none other. We^got their renditions of The Fabulous Wallers "Hang Up", where Tara got to stretch her legs a little with some spooky keyboard, their namesake was given a nod with "Commit A Crime" and "Asked For Water" (Howlin' Wolf for those not in the know), and a smattering of originals from three albums worth of swamp rock and boogie roll, which included a bunch from their most recent testimonial, C'mon DJ like "Make You Mine", "Red Light" "Don't Know Why" and the title track which showed a more snarling, feedback driven side to their hypnotic blues- elearly the magic of Mr. Airplane Man had snared us all. Some jackass yelled out a request near the end of their set (oh wait, that was me), and we proceeded like zombies to buy all the merch we could carry. In the immortal words of Supercharger, "Now you got me whiptofized", and for that, ladies, I thank you. Bryce Dunn Shins Fiery Furnaces US Maple May 22 Commodore Ballroom Although there were many options as far as live music went on May 22nd, the best place to be was definitely the Commodore Ballroom, where Albuquerque, New Mexico's The Shins kicked off their summertime tour that will take them across our continent in June and over to Europe in July. Despite being around for almost ten years and releasing five albums, opener US Maple was not a band that was at all familiar to many prior to last night's show; certainly not to me. The reason for this was immediately understood as soon as the band began their set. Let me just put it this way: they were far from the best band I've ever seen or heard, almost at the opposite end of the spectrum, in fact. Their music was soft and the vocals were moany, which can work out quite well if done properly, but US Maple lacked the necessary intensity...along with other things. Fortunately, the disappointment upon hearing the opening band was completely erased, as it left room for the Fiery Furnaces to Come on and blow everyone away. They took full advantage of the situation, and played an unbelievably-high-energy set. Each song blended into the next, allowing them to play what seemed like dozens of songs in a very short amount of time. It's safe to say that no one was disappointed by the band's performance, and whether someone was a fan of the Fiery Furnaces or not prior to the show, he or she definitely was feeling some love for the band by the end of it. The somewhat erratic and fast-paced guitars, aggressive keyboards, prominent bass, tireless vocals and overall energy served as an explanation for the Fiery Furnaces' constantly rising popularity. The Shins started a little after their scheduled time, after setting up all of their own stuff, and the dudes in the crowd immediately started forcing their way to the front like it was a Sloan show, post-Pretty Together. I don't know where the heaps of dudes came from, but they were definitely there at the front, in all of their 6'4, beer-drinking glory, decked out in mall store billboard fashion attire. Anyway, the Shins were obviously happy to be kicking off their tour (and the crowd was obviously happy that they were kicking off the tour right here in Vancouver), smiling and having fun...which is something you don't see towards the end . of a band's tour, for the most part. The music sounded great, and the lighting was excellent. The Shins pleased everyone they could by playing a fair number of songs, like "Turn A Square", "A Call to Apathy", "Caring is Creepy" and "Girl Inform Me" from both their latest release. Chutes Too Narrow, and their 2001 release. Oh, Inverted World. To make things better, like the Fiery Furnaces, the Shins kept the between-song banter to a minimum, bordering having no banter at all. All of the dudes and non-dudes were singing along and having a great time, Including that guy who yelled "your girlfriend's hot" to keyboardist Marty Crandall, and that creepy chick who climbed up on stage to kiss...again, keyboardist Marty Crandall...on the neck like the creepiest creep to ever exist. There was no boredom to be found at this show once the Fiery Furnaces started playing and all the way until the end of the Shins' set. I'm sure that most would agree that all in all, the show was definitely worth every ridiculously-excessive- surcharge-despite-buying- tickets-ahead-of-time penny. Kimberley Day Reverse PsycK^||fc^m^M Hey kid,§p;Yq.(£^ JSI^ee thesejsfineW^ ^Mlssioaof Burma; Kinski ^p6m rtibddr^B'allfjj^j;^; ^iesffweMFrbgSes>^ ,?£ Richards? ohjTRr&h cjr,d^ jjjjSfi^Once^p^ ^^^^^^^|£t^^^^p^brkd^^^^^^^^^^:^^^P ^M^^^^^^e^lt^^gp^^^^^^^^e^^r^^^e^ ^^eci¥pr^c06r|i^ mcyr^'^tjje^j^jn^ri^fbrt^ fisb^^^<'nte%2' ^^^^^^^^^^^^MnP^^r^mi^Rki»^^^^^^ ^wKe^ot^^M^rT^^^^f^^p^t^^^^n^^^^^^^sf ^^^^e^^®L^enXuwl¥» M^^^helr^KjPr^®|^@i9 €S aw&ic/kxelson, Dcr^^^u^d=™mself|wet^^^ef bQD^L prc^ucirigjTO jf^^r^jn^D^jy.^^^ ^pjr^X^^ ^^Meciia^lub^eg DISCORDER, JUN.E'0-4 Woodcrest fs subjected to a reign of terror and geographical confusion as Timid Deer Lane becomes Notorious B.I.G. Avenue, and Burbling Brook Crescent becomes Crack Alley. The unfortunate (for so many reasons) events of September ll,h, 2001 inspired McGruder to become even more political, and this collection showcases the resulting renaissance enjoyed by the strip. Its hard to understand how a narrative this radical became syndicated in so many major American newspapers. Although Huey would disagree with us, we think that sometimes its better not to ask too many questions. By the Sisters Webb Wonder Woman: The Complete History Les Daniels Chronicle Books/Raincoast Books I've been a fan of Wonder Woman, the alter ego of the Amazon Princess Diana, since I was a very small girl, but never really got into the comic itself. When I did pick up an issuej could never figure out what was going on. I hoped this book would help me . fill in the gaps. Boy did it ever! Including gaps I didn't know were there... This book goes through the history of the Wonder Woman comic in exhaustive detail, from it's inception in the 1930s through to the present day. Daniels takes the reader through the twists and turns of the Wonder Woman story both in terms of plot lines and behind the scenes. As it turns out. Wonder Woman had the most problematic continuity of any DC Comic, at least before the "Crisis on Infinite Worlds" series allowed DC to wipe the slate clean for and start over again. No wonder I could never follow it. Interspersed with the text are numerous sidebars on issues related to the main narrative, including side projects, marketing schemes, and even commentary on what else was going on in the comic world, such as the Good Girl Art movement and censorship issues. And of course there are the pictures - this book is packed with illustrations from the comics themselves, covers, posters, assorted Wonder Woman memorabilia, stills from the TV series and previous pilots that rightly failed, just about everything you can imagine. There's even a reproduction of the cover of the inaugural issue of Gloria Steinem's Ms. Magazine, with ' Wonder Woman on the cover and a call for "Wonder Woman For President." (She doesn't look too thrilled with the idea.) I found this book to be thoroughly fascinating. I don't think I've even begun to really absorb the wealth of information in it. If you love Wonder Woman also, you'll probably have the same reaction. But if you prefer Batman or Superman to Wonder Woman, have no fear. Les Daniels also wrote identical "The Complete History" books on them as well. By Drake Make Your Marie Explore Your Creativity and Discover Your Inner Artist Margaret Peot Chronicle Books/Raincoast Books Have you been feeling stuck in a rut lately? Not able to get your creative juices flowing? Well, then you may be interested in reading this. Basically Peot's book is a series of creative exercises, mainly focused around creating visual textures and then taking art from there. The techniques include rubbings (where you put an object under a piece of paper and use ink or some other medium to catch the raised designs), a myriad of stenciling and printmaking techniques, inkblots, collages, stamping, pattern dying, etc., with several variations on each theme. If this sounds a bit like art class in school, you're right (albeit with more variation in materials and material costs). But, most artists first fell in love with art doing assignments just like these ones, and my guess is that part of the reason Peot chose these exercises is for that sort of evocation, bringing the reader/user back to a time when they were simply interested in having fun and goofing off in art class, thereby making art an enjoyable pursuit, and sparking creative ideas. Peot invites readers to have fun with each exercise, doing it a few times and exploring the possibilities. She also asks us to think about what we achieve during the exercises and how we might incorporate these practices into our "normal" work. There is a questionnaire at the back asking us to think not only about how we could use these exercises and what we learned from them, but also to think more broadly about creativity in our fives, and to think of things we do that we don't even think of as creative and how these can feed our arts. What do we like? What have we always wanted to try (not just in art)? Working your way through all the exercises in Make Your Mark would take a few weeks at least. By then your inner artist should have woken up and started creating on her/his own. If you make it through the whole book and still have artists' block, well, then I don't know how to help you. By Drake A Right to be Hostile: The Boondocks Treasury By Aaron McGruder Three Rivers Press As Canadians, we do'not regularly view the American print news media. This is unfortunate for one reason only: we miss out on the widely-syndicated comic strip The Boondocks, which celebrated its fifth anniversary this year. For a comic that describes the lives of school-aged children, the narratives are disturbingly dark, exploring issues of race, politics and pop culture. McGruder's Americ-anime drawing style conveys emotion like nobody's business. Useful points of reference are Bloom Country and Calvin and Hobbes, but The Boondocks is tighter and harsher and just generally cooler. The saga follows brothers Huey and Riley Freeman as they transition from Chicago inner-city life to the privileged suburb of "Woodcrest". The elder Huey is a revolutionary socialist and black freedom fighter, consistently disrupting home and school with his militant opinions. Huey's views are encapsulated in his version of Thanksgiving grace: "In this time of war against Osama Bin Laden and the oppressive Taliban regime, we are thankful that our leader isn't the spoiled son of a powerful politician from a wealthy oil family who is supported by religious fundamentalists, operdtes through clandestine organizations, has no respect for the democratic process, bombs innocents and uses war to deny people their civil liberties. Amen." The younger Riley is a decided contrast, committed to a life of thuggery and keeping it real. For example, Riley is disgusted by the street names of his new community. With the help of a spray can he takes matters into his own hands. The Torn Skirt By Rebecca Godfrey HarperCollins Ladies: thinking about finally sitting down to pen your first novel? Stuck for ideas? Searching for a premise? Here's an idea: why don't you write about a teenage girl? A bad one, who isn't really bad, as your first-person narrative will reveal. A girl with hippy parents, who runs away from home to drift^ond; do drugs. A girl who attracts the attentions of older men, and maybe even tries her hand at prostitution. -Sounds exciting, doesn't it? Of course, if you wrote this novel, you'd be contributing to a genre that's been done to death. Seems like every emerging writer and her sister is writing one of these dark, confessional tales of the young female misfit. Which isn't a bad thing in itself, its just getting more than a little repetitive. (Take the waste of former trees that is Rebecca Ray's Pure, for example). If you were as talented as Rebecca Godfrey, though, you'd make it work. The Torn Skirt is so good it transcends its genre. This Victoria writer's use of language is compelling and poetic. Her storytelling technique is also strong: she wrings a surprising amount of suspense out of a fairly unoriginal plot. The novel is wisely kept short and potent as a shot of whiskey; its over in a rush that perfectly suits its themes of fever and escape. Its safe to say that this book will kick the ass of any other troubled-teen-first-novel. Godfrey is a genuinely gifted writer, and if she should choose to take on a less cliched premise, watch out. That book will be a scorcher. iS!!! By Kat ijr )MN.<UNTQNlStHE "N]| MAff.'.' MPS A PIAYA PRESIP6NT/.' Nt 3 A PIMP " WHOEVER USE IS RONNlNG. "WtY AlrTT SMOOTH Bike Geek #1 I picked up this local zine at the Magpie Magazine Gallery on Commercial Drive. (What a swell joint that place is. Good mags, lots of zines, and they're always playing music I like). Bike Geek number one is definitely aimea more at the hardcore "my bike gives me erections" set. You know, the people who will be joining DiSCORDER staffer Susy Webb at the World Naked.Bike Ride June 12th. But even if you aren't a rampant bike-sexual, you still might wanna check out thfezine's adorable "bike babe sightings" — they're like the "I Saw You" ads in the Straight, but sooo much better. By EJ Goto Red Cat Records 4307 IVfain St- Animal Collective Sung Tongs (Fat Cat) While the Animal Collective live in Brooklyn, New York City is not their home. These mercurial musicians hail from an enchanted alternate universe where you can be a Brazilian-Indian cat person, live in a house made of leaves, and keep a herd of iPods as pets. Every night, when twilight begins to fall and the cable modems chirp amidst the phosphorescent grasses. Animal Collective come together in a clearing to sing and chant, joined by hosts of ghosts and phantoms. Their world is an idyllic one, where eternal children weave webs of stars, and even the most nightmarish ghoul (and one must be warned, this cherub-faced band doesn't shy away from noise and terror) wants nothing more than to add his voice to the song. Sung Tongs is the band's fifth release (counting the albums they've produced under other names), and for the first time since their debut album, Animal Collective is performing as a duo. Deaken and Geologist have departed for time being and left core members Avey Tare and Panda Bear to their own devices. Have no doubt that this is a good thing; Avey Tare and Panda Bear's first album, Spirit They're Gone, Spirit They've Vanished was a masterpiece of wide-eyed, acid-drenched art pop, an offering both effortlessly sophisticated and blissfully naive. It recalled artists as diverse and revered as the Beach Boys, David Bowie, Can, and Christian Fennesz white evolving a sound that was magically unique. It was also their most structured, song-based album, a quality that has been increasingly absent from their subsequent records — until now, that is. Sung Tongs forgets the freeform noise jams of last year's highly-praised Here Comes the Indian and instead takes a renewed inspiration from the rusjic drone-folk of Campfire Songs, while bringing back their original proclivities for pace,- dynamics, and above all, gorgeous, soaring melody. From the first notes of "Leaf House," it's evident that Sung Tongs excels in delirious blasts of unfettered joy, dense with layers of vocal harmony so enthusiastic that they occasionally veer right off into wordless chanting, accented by vigorously strummed guitar, hypnotic tribal drumming, and amphibious vocal distortion. The album is equally successful in a meditative mood, with guitar figures that recall Brazilian folk as much as pulsing Krautrock, earnest whispered verses that beg for everyone to join in, and a seemingly bottomless reservoir of birdcalls, forest ambience, and shimmering electronic sound manipulation. This is the sound of a band too enthralled with the act of making music to hesitate for niceties of polish and precision, but their infectious joy and easy fluidity make a farce of uptight professionalism, achieving perfection with the honesty of youth • in communion, suffused with magical, ageless wisdom. The epiphanies to be had here are intimate and intense, and music this uninhibited generally leaves a listener either passionately devoted or immediately alienated. Sung Tongs is, however, the most accessible and arguably the best album to date from a band that is consistently proving itself to be among the most innovative and exuberant young talents making music right now. Saelan Beta Band Heroes to Zeros (Astralwerks) I first saw the Beta Band open up for Radiohead in 2001. Perhaps it was their intriguing performance, or maybe just the come-hither look of Stephen Mason in a skirt, but something impressed me and the next day I went and bought Hot Shots //. I was slightly disappointed because most of the material from the set I had seen was pieced together from the previously released The Beta Band, and the Three E.P.s', and Hot Shots II lacked the powerful punch and chaotic uniqueness of this earlier material. However, it still held its ground with it's quirky lyrics and droning melodies. When Heroes to Zeroes came out my excitement was renewed. The glimmer in my eye grew ever more shiny when I realized it was co-produced by Nigel Goodrich, and saw that the liner notes displayed a richer selection of instrumentation. However, I was sorely disappointed, even after listening to the record several times in an effort to come to grips with what was happening. Heroes to Zeroes has made it apparent that the Beta Band has lost the magic of being able to turn simple songs into interesting pieces by continually stripping away their wackiness and messiness for the sheen of a polished and flat product. The album has good ideas, but the songs become repetitive and boring as uninteresting and often ch'ched vocals are backed up by shallow instrumentation. If only - they had held onto the playfulness of songs that spasmodically tripped from genre to genre like "the Beta band Rap". Instead songs like "Assessment" and "Wonderful" carry out monotonous musical ideas to languid climaxes and predictable endings. I think its about time I put the torch to rest. Ebony Blockhead Music By Cavelight (NinjaTunes) I finally got around to writing this review after the CD sat collecting dust for almost a week, and regretfully have to conclude that the music is boring, lacking any theme or emotional direction. In contrast, Shadow's Endtroduction envokes the sound of New York. You can hear where the DJ is headed with his dark piano loops. On Blockhead's CD, well, I'm doing the listening but not feeling the listening. Nonetheless, his sampling skills are impressive, and I enjoyed the black & white widescreen video that came as part of the enhanced CD. Of final importance, the album comes with a bonus disk that includes five previously released Blockhead rap instrumentais, most of which were used by Aesop Rock. Frank Liao Despistado The Emergency Response (Jade Tree) I do believe this is Canada's first break into the indie-anomaly that is Jade Tree Records, and what a break it is! Despistado hails from the chilly Saskatchewan ice plains, yet their music is the hottest thing since sliced [& toasted -Ed.] bread. Canada's break into the US-dominated dancey post-punk scene is quirky and unique, perfectly representing our glorious country in a market rife with imposters. Abundant energy spills forth in beautifully dissonant melodies, laden with trebly guitars and tight drum assaults. The Emergency Response is different from the rest, ana1 it's place on Jade Tree will get it the attention this wonderful Canadian band deserves. Chris Walters Dilated Peoples Neighborhood Watch (Capitol/Sony) "MuchMusic love if you cross the border!" That's the message sent to Canadian fans by this schizophrenic album. Hailing from Los Angeles, Dilated Peoples shouts out it's home city more times than Kweli can talk about B'klyn. Two outstanding songs are "This Way," check out the video featuring popular Kanye West, and ' "Poisonous," the latest rap song with warnings about conniving gold-digger women. Does the rest of the album live up to the hype? Sadly, not really. The album concept, literally a "Neighborhood Watch," seems a tad on the lame side. Which city is DP watching exactly? Could it be ... "Los Angeles" they keep talking about over and over? But then if DP is so busy with SoCal, which rap group is watching East Vancouver? Hope its not... maybe I'd better not say. Ending on a pleasant note, at the very least DP's new album means new music to blaze to. And you know that's all something we could use more of. Frank Liao Juliana Hatfield In Exife Deo (Zoe/Rounder) Ever since "My Sister" burst onto the airwaves in '93, everyone's had a reason to either love or hate Juliana Hatfield. There's very little in between: some loathe her for her thin high voice and made-up sister, others adore her for her impossibly catchy songs and heart-felt, tortured writing. I'm firmly in the love camp, especially since Only Everything, the underrated masterpiece she loose nearly a decade ago to a big collective yawn. Too bad for those who missed it, it's a gem. Fast-forward ten years. and the former leader of the Blake Babies is still with us, having popped out a bunch more solo records, some damn good, and one release with the shaky collective Some Girls, which maybe should've remained a gleam in someone's eye. In Exile Deo opens with "Get In Line", a perfect example of Juliana in kick-it-out pop song perfection, segueing into the radio- friendly harmonies of "Jamie's In Town". Things get pretty sweet'n'low from here on out with the slow burn of "Forever" and "Singing In The Shower", a sympathetic ode to one who has never followed their dreams. On "Sunshine", Juliana makes like the strangely elated PJ Harvey of Stories From The City. Stories From The Sea and trades her usual tortured soul in for something that flirts with glee. The tortured souls are usually the most compelling, but in this case an almost-happy Juliana marks one of the best moments of this album. So if you want pure pop goodness that's just this side of radio-friendly, check out In Exile Deo. And if you like that, then do yourself a favour and dig into Hatfield's back catalog; it's full of tasty surprises. Mr. Moo Havergal Electrlcitta (Secretly Canadian) Always an existential and esoteric bunch, I never really thought of architects as closet musicians. Such is the case with Ryan Murphy's solo project Havergal. Architect by day, bedroom chanteur by night, Ryan Murphy has stepped out from behind the drafting table to indulge his musical sensibilities. Due mostly in part to his "not quite sung, and not quite spoken" emotive style, Havergal conjures easy comparisons with avocal delivery falling somewhere between a subdued Issac Brock (Modest Mouse) and Thurston Moore. Lyrically speaking, introspective, philosophical themes such as isolation, loneliness, and failure are dealt with at length: Electrlcitta does not fit into the "easy listening" category. However, some interesting wordplay, astute metaphors, and clever narrative definitely aid in keeping things afloat and accessible. As for the music itself, think Arab Strap (with less booze) manipulating some of the work of the classic minimalists (i.e. Steve Reich) in an attempt to gain mainstream radio airtime. The result is unfortunately less engaging than you would hope. Sonically the record is quite beautiful, with wonderfully sparse instrumentation and crisp production. The tinny acoustic guitars, simple repetitive piano flourishes, lo-fi samples, and mechanical drum beats are the stuff that gives me goose bumps. The problem is that the album is repetitive and moves far too slowly. In the end, many of the songs on Electricitta possess, dare I say, a Moby-esque, generic quality. Good if you want something to chill out to, but hard to get excited about. Mark Pickersgill Kutless Sea of Faces (BEC Recordings) "I tried eating pussy once and I didn't like it much. So I joined a band with four other dudes and we sing about Jesus. I'm still cool because I have piercings." Susy and Sasha Webb Dave Lang Live and In Quonset (Bush Party Records) A glance at the liner notes to Live And In Quonset shows that fun is the ultimate goal in Dave Lang's world. The album is an exercise in all things juvenile, which could work if he didn't seem so damn proud of the lack of effort involved. Clearly, Lang does not possess the gift of subtlety. In the opening track, "Creamsicle", he describes "a sticky sweet little something to take all your troubles away", and I don't think .he's taiking about frozen treats... Likewise, in "Drinking Together", a ballad that sounds like a drunken karaoke performance from the uncle no one talks about, he sings that "I've got a r>ISCQ»PER, JUNE '04 bottle in my pocket and I really want to use it tonight." With "Hoping That You'll Be His Last" Lang invites us to "get on board the love train", like a gravelly-voiced Muppet trying to sing gospel. I choose to believe this is self-parody — which it could well be. His low-key approach does pay off in "Becky is a Farmer", with it's carthorse of a riff and drums designed to induce manic pogo- ing. But the most telling moment is the closing track, a cover of Bum's "I'm Not One". Though marred by a piano and electric guitar forced in the mid-section, it is a simple acoustic guitar and voice number, which sees Lang declare "All I really want to do is have a lot of fun." This is his philosophy, and the record suffers for it. I can't help thinking that with a bit more effort on Lang's part, a few listeners might have been able to join in. Valerie Freeland Madvillain Madvillalny (Stones Throw) Last year's Jay Dee and Madlib collaboration"' < (as Jaylib), Champion Sound, was often criticised for the less-than-stellar rhyming of the two producers and the sense of incoherence due to the recording process (they didn't record the album together in the same studio, but traded beats and rhymes and worked on them independently). Madvillainy should silence all those critics, not only because of the superb rapping of MF Doom, but also because of the inventive jazz and big band-tinged beats by Madlib. Production takes a subtle approach, with off- kilter jazz samples matching Doom's unique wordplay. The album's samples come from a variety of obscure sources including forgotten Brazilian jazz records, R&B, soul and funk gems and other dusty cuts from Madlib's crates. The album is modeled around a black & white movie gangster/villain theme. While not a concept album, it sets a mood of a different time and place. Much of the beats feature samples that sound like they're from old gangster flicks, and Doom's gruff voice and references to his villainy strengthen the association. While this album is excellent and receiving due critical acclaim, it suffers from one major drawback: the tracks are far too short. Several of the songs clock in at less than two minutes and very few get up to three. When you're dealing with hot beats, that just isn't long enough. But what can you expect from super- villains but to be ripped off? Sam C. Kenny Christof Migone, Veda Hide Escape Songs (Squint) Imagine escaping from everything. What do you think you would hear? In Migone and Hille's case, they find music in a natural, organic form, without all of the re-recording. Escape Songs is a progression of sonic experiments. Find the beauty in the mistakes. Chris Walters Mum Summer Make Good (Fat Cat) For a tiny island in the North Atlantic, Iceland hasn't done half bad for itself on the international music scene. First was Bjork, . with n)&r high, childlike voice over unusual combinations of electronic blips and varied instrumentation. Next Sigur Ros entered the scene with epic soundscapes that evoked airborne passage over remote mountains and glaciers than any travel video could ever accomplish. Musically, Mum is something of a meeting point of these otherff^andic acts — the singing is even more delicate than Bjork's, but >ilhe<soun^$^3pes, although electroniCy;^^H|^ decidedly epic in scale. Song titles such as .^Tijtelstandsof the Chlpgn's Children"v||jgjk>£i, ;"Qfo«owme Boat Drifts" further the imdgeWV' of the music. Luckily, Miim doesn't come off as a photocopy of either predecessor. While the group seehisiTO be drawing from many.35^p&S?£. same influences, it gives them a freshsojsi^^^ its own. Soren §8ws. . s£ PapaM Hole of Burning Alms (Drag City) •$rdj8fet»efore he started hanging out with Will Oldham and-singing about his feelings, David 'fo^vfefs^lldrce to be reckoned With with his numerous "M" prq'ects (Aerial, Papa.Uncle) in addition to being ap&fflli bold-type-worthy acts Tortoise and Slint. During his Aerial M days, Pajo crafted somber instrumental pieces that sometimes meddled in folk, sometimes in electronics, sometimes in rock but always in self-absorption. For a brief moment (the Live From a Shark Cage album), his Papa M project followed the same path before turning towards folk bqllads and alt-country style twang. Apparently his change to the singer-songwriter stuff happened when he learned to sing. Personally, I wish he hadn't. Hole of Burning Alms focuses mainly on his stint as Aerial M and features many hard- to-find rarities as well as some easy-to-finds. It provides a good retrospective of work recorded between the mid-'90s and 2000. The album features one of the best cover songssaf all time, "Last Caress" by the Misfits. "I've got something to say/1 raped your momma today/ and it doesn't matter much to me/ as long as she spreads" sounds shockingly beautiful when slowed down on an acoustic guitar and sung softly and sincerely. The most surprising success of the album is Pajo and friends' version of "Turn, Turn, Turn" (you know, that song that's in every soundtrack of every coming of age movie set against the backdrop of the Vietnam war). At sixteen minutes, the cover holds up well and even rocks just a little bit. Like most collections discs, this one is reatfy*rest left for fans, but it also showcases a realisatent and musical style that seems to have gone out of fashion lately. [Hafer!-£d.] Sam C. Kenny NoMeansNo The People's Choice (AntAcidAudio) Jesus H. Christ! It's about fucking time these assholes took their crusty old bones and deposited them in the lawn-bowling yard of their local Shady Acres Punker-tirement Home and finally let someone else take on the Canadian punk-rawk crown. Fuck off you old bastards, you're making Sum 41 look bad! So it seems that some shmoes wrote to NoMeansNo with a list of their favorite songs and the result is this disc The thing-is, how do you whittle down twenty years of kicking ass to a mere fifteen songs? Where's "No Fgnuikc", "The Tower", "Dark Ages", "I've Got A Gun", "Hello/Goodbye", "ROd Devil", "The End of All Things", "Small Parts Isolated and Destroyed", and about a dozen others? Oh yeah, forgot, this is the People's Choice. Well, really, a people's choice collection could easily fill two or three discs, and preferably it would be all recorded live. In the end, who's this disc for? Die-hard fans? If, like me, you're addicted to NMN and have every rekkid, then this ain't for you. Heard of NMN and want to know what the fuss is about? You won't go wrong here, this is like a mini best-of, but you'd be better off grabbing Live and Cuddly, recorded, uh, live in '91, or maybe Wrong, which is NMN at their most glorious. Or if you're digitalized, grab their spanking new DVD Would We Be... Live? packed full of NMN and their hockey-crazed alter-egos The Hansen Brothers. Still, NMN continue to prove that they out-rock bands half their age, and resist all trends ('cept John with his suave handlebar 'stache unveiled at their last gig here. Pretty ballsy, John!). I guess all I can say is that NoMeansNo embodies the best aspects of DIY and independent, and should be justly rewarded. So go buy this record, or better, go buy all their records, and help keep three pensioners in beer and dentures. Mr. Moo Young Heart Attack Mouthful Of Love (XL Recordings) I can understand why the buzz about this Austin group is already taking hold of the Brits (are they growing tired of The Darkness — how rude!): this is a pretty over-the-top approach to the 70s arena-rock songbook and combined with female backups, everything sounds refreshingly new, and dare I say, soulful, like The Supremes meeting the MC5, or Bon Scott dueting with Thee Headcoatees like on the song "Tommy Shots". "El Camino" surprises me with it's swirling guitar breakdown in the middle of it's four-on-the-floor attack, and "(Take Me Back) Mary Jane" brings to mind The Black Crowes (yes, I said it) on their own drug- induced bender. They pay tribute to influences both old and new (the aforementioned MC5 and The Tight Bros From Way Back When respectively), but it's "Misty Rowe" that gets the hair standing on end and the fists in the air with it's story of a girl gone bad disguised in a sonic bombast of unrepentant musical fury. Domination of home turf is only seconds away. Bryce Dunn Pink Mountaintops s/t (Scratch Records) Note to self: don't listen to music about sex during periods of celibacy. An afternoon of listening to the Pink Mountaintops hos my head filled with scenarios best not described in the pages of such a respectable publication. Why do I always come to these revelations too late? The band is Stephen McBean (formerly of Jerk with a Bomb, now known as Black Mountain), joined by Amber Webber and Black Mountain bandmates Joshua Weils and Christoph Hofmeister. While Pink Mountaintops' sound is very similar to Black Mountain (dark, country & blues-tinged, melodic, droning rock), the subject matter is quite different. Instead of visions of future apocalypse, McBean turns his gaze to the pleasures of today: that is. the pleasures of the flesh. Songs such as "Sweet '69" and "I (fuck) Mountains" evoke images of... well, you know. This album will be officially released on the 20th of July, so stay tuned for a feature next month. Hopefully you can look forward to spinning this while fucking and cuddling your boy/girl(s). Susy Webb Thee Sliver Mountain Reverie Pretty Little lightning Paw (Constellation Records) I love Godspeed You Black Emperor! as much as the next person. In fact, I probably love them more than the next person, and the band's label Constellation Records has earned my utmost respect by putting out many fine releases since they started up in Montreal in 1997. It was with this in mind that I grabbed Pretty Little Lightning Paw. a Godspeed side project, with much anticipation. While I can't say it's a bad album, but it doesn't come close to attaining the heights of comparable albums. Held together by two 10-minute songs entitled "Microphones in the Trees", and "Pretty Little Lightning Paw", the album lacks direction, climax, and emotion — three factors which have led me to love Constellation Records. On their own each of these songs is good enough, but as far as being part of a larger album, somehow they just don't fit. Soren Bros. MWard Transfiguration of Vincent (Merge) Every so often an artist comes along who is able to lean on the tried and true musical fundamentals of old, while pulling out the shiny new guns to blast out a unique spin that renews their timeless sound. M. Ward is definitely one of these rare musicians, and with Transfiguration of Vincent he continues to show his mastery in his take on old-world Americana. With this new album Ward borrows from bluegrass, folk, and down-home country- twang, to create a rich and simple record that maintains incredible continuity. Ward's previous album. End of Amnesia, was a romantic fusion of silence and soft acoustic melodies. Transfiguration of Vincent builds dn this dreamy world, adding more booty shakin', money makin' songs, withricher musical accompaniment. However, Ward still maintains his brand of beautiful fragility with songs like 'Let's Dance', a Bowie cover that makes you say out loud, "Ya did good, son." Ward's warm and raspy vocals lend depth to all of the songs on this album, and his continual attempts to challenge himself with new genres make this artist one of a kind. Ebony ^^v?ki P4G300000S*. 36 -> Ttte Totaui sweet fMe- May Indie Home Jobs fPg^JgglYN MARK ANL5%W BEST FRIENDS ilplF£ AIRPLANE MAN 03 NOMEANSNO* 04 LOSCIL* 05 URBAN SURF KINGS* ^^NGIERS* 07 FAKE COPS* 08 GIRL NOBODY* r^^^rMJ^KPIRATORS* 10 BROKEN SOCIAL SCENE* 11 MICROBUNNY* 12 DIVISIOI^eij§pJRA LEE 13EINSTURZEN©^E(36A,^:ia,f \ * 14 MY MORNING JACKET I3GIRITALK S^p^fy PUPPY* ! ,17 MISSIQI^JiBURMA 18 MUM 1? VON. BONDIES 20 TORTOISE lllilJllfEMIX RETROSPECTIVE 22 VEDA HILLE & CHRISTOFF MIGONE* 23 FORD PIER* I||||p5pT MOUSE 25 BLONDE REDHEAD 26 ANIMAL COLLECTIVE 27 BLACK DICE ^gSg^Kfilitvf' JENNYS* 5s£$?AVlD CROSS 30 EL-P 31 KYP HARNESS* 32 ACID MOTHERS TEMPLE 33 BLACK dgilKESTAR* 34 tracks Am Htf&v.. 5 IRON AND WINE ALBUM The Pros and Cons of Collaboration i^rrtfilgp)^ S' People's Choice First Narrows Surf Vs. The Flying Saucers Ho* New Spirits Absolutely Your Credit Is Excellent, But In A Certain Way We Also Need Cash IITJMjiuttJre Isn't What It Used To Be : Mash Up the Dance* s^flmm&w Bee Hives Dead Stars Das Not CompygkZgi Perpetuum Mobile Acoustic Citsouca Unstoppable • Tfii|Sreater Wrong Of The Right ONoffON Summer Make Good Pawn Shoppe Heart It's All Around You Various Artists Escape songs Pier-lc Victory g GOOdiNews For PeopfefWho Love Bad News Misery Is A Butterfly 4 Track Radio Demo Miles Of Smiles 40 Days It's Not Funny High Water ; The Miracle Business* Mantra of Love Ver Zandt? various Artists > Our Endless Numbered Days LABEL Mint Sympathy for the Record Industry Ant Acid Audio ^SsS?? Kranky Indie sotsc^y6y^& Mocking Bird Indie Bacteria Buffet Arts and Crafts Kindling Burning Heart Mute ' ^Ssifi RCA Illegal Art SPV , Sire Ninja Tune Indie Six Shooter Epic 4AD Fat Cat DFA Jericho Beach Sub Pop Thirsty Ear PorterBeach Alien8 Constellation '** tad Rock Stars Sub Pop cr\ji\>jiCf\sL.co{r\. 1.) Motorama 2.) Basement Suites 3.) Magical Glass Tears 4.) Billy and the Lost Boys 5) Collapsing Opposites 6.) Sarah WheelerAE 7.) Spark that Screams S.) Dr. Pong 9.) Amy Honey TO.) Married to Music S/T These Autumn Leaves Breaking Down the Barriers .•'ffie^^bshellw'i*^ Demo Snapshot Sessions r-' WeridSsGotta Go Row^>;V CANDY HEART REVIEWS animal collective ford pier einsomething neubwhatever mr. airplane man von bondies # sarah wheeler nicrOPOFR JUNE'04 Tuesday, June 1 Trans Am @ Dick's Friday, June 4 Mission of Burma, Kinski © Commodore Saturday, June 5 Destroyer, Frog Eyes, Pink Mountaintops @ Dick's Robosexuals @ Brickyard Wednesday, June 9 Damage Inc. © Brickyard Friday, June 11 Fatal Flying Guilloteens, This Moment in Black History @ Brickyard Joel R.L. Phelps, The Secret Three, Mimi's Ami @ Railway Club Saturday, June 12 Quintron & Miss Pussycat, Canned Hamm, VancougarG Brickyard Found Magazine's "Slapdance Across America Tour 2004" @ Butchershop Gallery W^'^4 Sunday, June 13 Violent Femmes © Commodore Challenger, Attack Machine @ Brickyard Tuesday, June 15 The Stills, Sea Ray © Commodore Von Bondies, Midnight Movies @ Dick's Wednesday, June 16 Tokyo Ska Paradise Orchestra @ Commodore Friday, June 18 Hella, Need New Body, Raking Bombs @ Brickyard 2004 DMC Vancouver Elimination Battle @ Dick's Saturday, June 19 Black Rice, Che Chapter 127, The Frenetics @ Brickyard Star Collector, Muzzle, Frequency Fall, Amber Room @ Media Club Sunday, June 20 Lloyd Cole @ Sonar Agent Orange, S.T.R.E.E.T.S @ Brickyard Monday, June 21 X-Ecutioners with Pharcyde 8. C-Rayz Wab @ Commodore Maritime @ Marine Club Cunt @ Railway Club Wednesday, June 23 The Frenetics, Hog Puncher, Clover Honey © Brickyard Thursday, June 24 Lechance, The Witness Protection Program © Brickyard Friday, June 25 Bullfrog feat. Kid Koala, Crash @ Commodore Channels 3&4, Teenage! Leather! Fightl @ Brickyard Saturday, June 26 Jaga Jazzist, The Bad Plus © Commodore Monday, June 28 Calexico with Lhasa @ Commodore Legendary Pink Dots © Dick's Tuesday, June 29 Kia Kadiri, Yerba Buena © Commodore Wednesday, June 30 Al Green (still HOTT after all these years...) ©Orpheum. The Basement Sweets, Alun Piggins @ Railway Club Saturday, July 3 Demolition Doll Rod, Ladies Night © Brickyard Sunday, July 4 Manitoba © Commodore REVERSE PSYCHOLOGY CENTRE NUMBER TWO: HOLY SHITII These shows are going to be so so crappy! These musicans are artistically bankrupt! Jesus Christ, just stay home and rent 50 First Dates already. June 18 Hella Need New Body Raking Bombs -^M^Si © Brickyard y~^ijgte June 16 Tokyo Ska Paradise Orchestra ©Commodore SA^L: June.20 Lloyd Cole © Sonar July 3 - Demolition Doll Rod Ladies Night ©Brickyard PLACES TO BE VENUES anza club 3 w. 8th ave 604-876-7128 brickyard 315 carrall 604.685.3922 cafe deux soleils 2096 commercial 604.254.1195 cellar 3611 w. broadway 604.738.1959 cobalt 917 main 604.764.punk commodore 868 granville 604.739.7469 lotus 455 abbott 604.685.7777 the main 4210 main 604.709.8555 marine club 573 homer604.683.1720 media club 695 cambie 604.608.2871 pat's pub 403 e. hastings 604.255.4301 pic pub 620 w. pender 604.682.3221 pub 340 340 cambie 604.602-0644 railway club 579 dunsmuir 604.681.1625 richard's 1036 richards 604.687.6794 sonar 66 water 604.683.6695 WISE hall 1882adanac 604.254.5858 mesa luna 1 ?26 w. broadway 604.733.5862 video in studios 1965 main 604.872.8337 RECORD SHOPS active pass records 324 w. hasting 604.646.2411 audiopile records 2016 commercial 604.253.7453 bassix records 217 w. hastings 604.689.7734 beatstreet records 3-712 robson 604.683.3344 black swan records' 3209 w. broadway 604.734.2828 crosstown music 518 w. pender 604.683.8774 highlife records 1317 commercial 604.251.6964 noize! records 540 seymour 604.893.8696 red cat records 4307 main 604.708.9422 scrape records 17 w. broadway 604.877.1676 scratch records 726 richards 604.687.6355 zulu records 1972 w. 4th 604.738.3232 DIRECT FROM AUSTIN, TI 1882 Adanac advance tickets available at Zulu. Scratch.. Fed Cat, and Highlife CiTR &d ^^^pr^^i^ MP*! ^ft;,THteir& ■KlPft&P1* - WW\Ar*GITR.CA ;. SUNDAY ARE YOU SERIOUS? MUSIC 9:00AM-12:00PM All of time is measured by it's art. This show presents the most recent new music from around the world. Ears open. THE ROCKERS SHOW 12:00PM-3:00PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE 3:O0PM-5:OOPM Real cowshit-caught-in-yer-boots country. CHIPS WITH EVERYTHING alt. 5:00PM-6:00PM British pop music from all decades. SAINT TROPEZ alt. 5:00PM-6:00PM International pop (Japanese, French, Swedish, British, US, etc.), '60s soundtracks and lounge. Book your jet set holiday now! QUEER FM 6:00PM-8:00PM Dedicated to the gay, lesbian, bisexual, and transsexual communities of Vancouver. Lots of human interest features, background on current issues, and great music. RHYTHMSINDIA 8:00PM-10:00PM Rhythmslndia features a wide range of music from India, including popular music from Indian movies from the 1930s to the present, classical music, semi-classical music such as Ghazals and Bhajans, and also Qawwafis, pop, and regional language numbers. TRANCENDANCE 10:O0PM-12:OOAM Join us in practicing the ancient art of rising above common thought and ideas as your host DJ Smiley Mike lays down the latest trance cuts to propel us into the domain of the.mystic-al. <trancendance@hotmail.com> THE SHOW 12:00AM-2:00AM RADIO ZERO 2:00AM-6:00AM MONDAY fill-in JsHTn! 6:00AM- 8:00AM BREAKFAST WITH THE BROWNS 8:00AM-11:00AM Your favourite brown-sters, James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delights! ll:O0AM-12:OOPM DiSCORDER RADIO ONE alt. ll:O0AM-1200PM Wanna hear the music that drives the DiSCORDER war machine? Suppliment your monthly reading with an aural dose of that super-sonic magazine from CiTR! ALTERNATIVE RADIO 12:00AM-1:00PM June 1: "Human Rights and the War on Terrorism" with Kenneth Roth June 8: "History Matters" with Howard Zinn June 15: "Conspiracy Theories: The Right Woos the Left" with Chip Berlet PARTS UNKNOWN 1:00PM-3:00PM Underground pop for the minuses with the occasional interview with your host, Chris. SANDBOX THEATRE 3:OOPM-4:O0PM UBd^uaents, featuring independent works ^fnbn^^al/^^orw^h^^remational theatre groups^^^^^rie your involvement. <sandboxfheatre@hotmail.com> ABSOLUTE BEGINNERS 4:00PM-5:00PM A chance for new Cif§||>Js to flex their musical muscle. Surprises gatore. STRAIGHT TALK 5:00PM-6:00PM Join me - Dallas Brodjl||for stimulating talk radio about local, national and international ■ ^^SP^^P^-WILL GET ON STRAIGHT TALK; smart, informative, current, provoca- •liviSr©io WHAT YOU WOJ&WgB": fence- sitting, conspiracy theories, reflex anti-Americanism, lefty whining or fluff. SON OF NITE DREEMS ait. 6:00PM-7:30PM SOLARIZATION alt. 6:00PM-6:30PM MY ASS alt. 6:30PM-7:30PM Phelps, Albini, 'n' me. WIGFLUX RADIO 7:30PM-9:00PM Listen to Selecta Krystabelte for your reggae education. THE JAZZ SHOW 9:00PM-12:00AM Vancouver's longest running prime time jazz program. Hosted by the|aver-suave Gavin Walker. Features at 11:00, as Bsted. June 7: Tonight's show will be devoted to the • greaJLJnnovative drummer Elvin Jones. The whole show will feature significant perfor- ■mances by Jones as both sideman and leader. You'iffiear his performances with John Coltrane, Gil Evans, Miles Davis, Elvin Jones Jazz Machinerabd more. June 14: Tonight our whole show is devoted To|he 2004 T.D. Vancouver International Jazz FestivaJj||ci Gavin's gueslfbr the entire show will be the festjSiafs media director... the amazing^llriOi^iS<jf^.-%5: June 21: Charles McPoeVson is one of the leading lightj^^^ri^^jbop: citing Charlie Parker as hisir^mhms^afion, McPherson is his own man;on the alto saxophone. Gifted vritlf a gorgeous sound and awesome technique..*,^Is^aclii the man! Charles McPherson^^pat the Cellar" is on tap this evening... This critically acclaimed album recorded with a resident rhythm section is one of his best. McPherson plays at the Jazz Fest and does two nights at tJj^Celtax.. Not to be missed. June 28: The late Bill Hardman was overlooked for most of his career.'A wonderful trumpeter who worked with Art Blakey, Lou Donaldson, Charles Mingus and many others, he recorded very little under his own name. Tonight's "Sayin' Something" is : one/Of his finest outings, featuring Hardman alongside the marvelous Sonny Redd on alto saxophone plus an all-star rhythm section mqUe tonight's feature a "must listen." VENGEANCE IS MINE 12:O0AM-3:OOAM Hosted by Trevor. It's punk rock, baby! Gone from the charts but not from our hearts—thank fucking Christ. PSYCHEDELIC AIRWAVES 3:00AM-6:30AM DJ Christopher Schmidt also hosts Organix at Club 23 (23 West Cordova) every Friday. TUESDAY PACIFIC PICKIN" 6:30AM-8:00AM Bluegrass, old-time music and it's derivatives with Arthur and "The Lovely Andrea" Berman. HIGHBRED VOICES alt. 8:00AM-9:30AM PLEASE ROCK THE DOOR alt. 8:00AM-9:30AM THIRD TIME'S THE CHARM 9:30AM-11:30AM Open your ears and prepare for a shock! A harmless note may make you a fan! Hear the menacing scourge?that is Rock and Roll! Deadlier than the most dangerous criminal! <bcminsbdynine®lx>tmafl.com> FILL-IN alt. ' 11:30AM- 12:00PM MORNING AFTER SHOW all. 11:30AM-12:30PM REEL TO REAL alt. 12:30PM-1:00PM Movie reviews and criticism. BEATUP RONIN ali. 12:00PM-2:00PM Where dead samurai can program music. A TALK WITH ALLEN CLEMENTS alt. 1:00PM-2:00PM CIRCUIT TRACING 2:00PM-3:30PM EN AVANT LA MUSIQUE alt. 3:30PM-4:30PM «En Avant la musique!» se concentre sur le metissage des genres musicaux au sein d'une francophonie ouverte a tous les courants. This program focuses on cross-cultural music and it's influence on mostly Francophone musicians. Tansi Kiyaw alt. 3:30PM-4:30PM Tansi kiyaw? Is Michif-Cree (one of the Metis languages) for "Hello, How are you?" and is a monthly Indigenous music and spoken word show. Hosted b June Scudeler (for those who know me from other shows-I'm Metis)), the show will feature music and spoken word as well as events and news from Indian country and special guests. Contact me at jlscudel@ucalgary.ca with news, even listings and ideas. Megwetch! THE MEAT-EATING VEGAN 4:30PM-5:00PM WENER'S BARBEQUE 5:OOPM-6:O0PM Join the sports dept. for their coverage of the T-Birds. FLEX YOUR HEAD 6:00PM-8:O0PM Up the punx, down the emo! Keepin' it real since 1989, yo. ftexyourhead.vancouverhardc ore.com SALARIO MINIMO 8:OOPM-10:OOPM THE LOVE DEN alt. 1C:00PM-12:00AM <k>veden@hotmail.com> ESCAPISM alt. IftOOPM-IZOOAM es»cap»ism n: escape from the reality, or routine of life by absorbing the mind in entertainment or fantasy. "^\%.< Host: DJ Satyricon. <DJSatyricon@hotmail.com> AURAL TENTACLES 12:00AM-6:00AM It could be punk, ethno, global, trance, spoken word, rock, the unusual and the weird, or it could be something different. Hosted by DJ Pierre. WEDNESDAY FILL-IN 6:00AM- 7:00AM SUBURBAN JUNGLE 7:0OAM-9:OOAM Bringing you an entertaining and eclectic mix of and old music live from the Jungle Room with your irreverent hosts Jack Velvet and Nick ^tjM^^eelc, R&B, disco, techno, sound||aSB| Americana, Latin jazz, news and gossip. A real gem! <suburbanjungle@channel88.com> ENGAGING THE WORD 9:OOAM-10:O0AM EXQUISITE CORPSE 10:00AM-11:30AM ' - Jpfpi ANOIZE I 11:30AM-1:00PM Luke Meat irritates and educates through musical Reconstruction. Recommended for the strong. THESHAKE^p% l:OOPM-2:O0PM FORTOf RECORD alt. ^OOPM-fcOjgl^ DEMOCRACY tiOW &: 2:00PM-3:00PM ^dejp^danf news hosted b^^^^wirjr^^ journalists Awpfeoodman andean; Gonzalez. MOTORDADDY alt. 3:00PM-5:00PM Cycte-riffic^JWifdnd roll! RUMBLETONE RADIO alt. 3:00PM-5:00PM Fiimifive, fuzzed-out garage mayhem! NECESSARY VOICES 5:O0PM-6:3OPM Socio-political, environmental activist news and spoken word with some music, too. www.necessqrwoiceEOjri^^* <necessaryvoices@telu$.^^fo£ ^j AND SOMETIMES WHY alt. 6:30PM-8:00PM (First Wednesgjpy: of every month.) BLUE MONDAY alt. 6:30PM-8:00PM SSKf y^epeeyer's only industrial-electronic-retro- goth program. Music^tp-sclrtemp to, hosted by Coreen. JUICEBOX alt. &00PM-9:00PM PRIMAL RADIO alt. 8:00PM-9:00PM FOLK OASIS 9:00PM-11:00PM Roots music for folkies and non-folkies... blue- grass, singer-songwriters, woridbeat, alt country, and mcre.'lScrrjg minm^^ <folkoasis@canada.com> HANS KLOSS' MISERY HOUR 11:00PM-2:00AM FIRST FLOOR SOUND SYSTEM 2:00AM-6:00AM THURSDAY FILL - IN 6:00AM-8:00AM END OF THE WORLD NEWS 8:00AM-1ft00AM PLANET LOVETRON 10:00AM-11:30AM Music inspired by Chocolate Thunder, Robert Robot drops electro past and present, hiphop and intergalactic funkmanship. <rbottove@yahoo.com> FIRED UP 11:30AM-12:00PM Ever told yourself "I can't even boil water, let alone cook a chicken or stir-fry vegetables!" Let Chef Marat show you the way to create easy meals prepared in the comfort of your own kitchen/bechelor pad or car. OK, maybe not the car. Wouldn't want to spill anything on the upholstery. UNPACK YOUR ADJECTIVES 12:00PM-1:00PM STEVE AND MIKE 1:00PM-2:00PM Crashing the boy's club in the pit. Hard and fast, heavy and slow (punk and hardcore), THE ONOMATOPOEIA SHOW 2:00PM-3:00PM Comix comix comix. Oh yeah, and some music DISCORDER, JUNE'04 fi .with Robin. RHYMES AND REASONS 3:00PM-5:00PM DJ Knowone slaves over hot-multi-track to bring a fresh continuous mix of fresh every week. Made from scratch, samples and just a few drops of fame. Our tables also have plethora of guest DJs, performers, interviews, giveaways, Strong Bad and the occasional public service announcement. <eno_wonk@yahoo.ca> LOCAL KIDS MAKE GOOD 5:00PM-6:00PM alt. Local Dave brings you local music of all sorts. The program most likely to play your band! PEDAL REVOLUTIONARY alt. 5:O0PM-6:OOPM Viva la Vekxutionl DJ Helmet Hair and Chainbreaker Jane give you all the bike news and views you need and even cruise around while doing it! www.bikesexual.org OUT FOR KICKS 6:00PM-7:30PM Now in it's 15th and final year, your most reliable source for Indie Pop. Thanks to all the regular listeners over the years! Tune in for an entertaining farewell tour. ON AIR WITH GREASED HAIR 7:30PM-9:0OPM The best in roots, rock 'n' roll and rhythm and blues from V942-1962 with your snappily-attired host, Gary Olsen. <ripitup55@telus.net> UVE FROM THUNDERBIRD RADIO HELL 9-.0OPM-11:00PM WORLD HEAT 11:00PM-1:00AM An old punk rock heart considers the oneness of all things and presents music of worlds near and far. Your host, the great Daryt-ani, seeks reassurance via <worldheat@hotmail.com>. LAUGH TRACKS 1:00AM-2:00AM FILL-IN 2:O0AM-6:0OAM F R I D A-l|§ FILL-IN 6:00AM- 8:00AM CAUGHT IN THE RED fcOOAM-iaOOAM Trawling the trash heap of over 50 years' worth of real rock 'n' roll debris. SKA-rS SCENE-IK DRIVE! 1O:0OAM-12:OOPM Email requests to: <dJlka_t@hotmail.com> THESE ARE THE BREAKS 12:00PM-2:00PM Top notch crate digger-DJ Avi Shack mjxes^tfie underground hip hop, old school ciassjcs and original breaks. THE LEO RAMIREZ SHOWJpK 2:00PM-3:30PM '^^m^ The best mix of music, news, sports and commentary from around the local and international Latin - American communities. NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30PM-5:00PM CITR NEWS, SPRTS AND ARTS 5:00PM-6:00PM A volunteer-produced student-and community newscast featuring news, sports and arts. Reports by people like you. "Become the Media!" To get ; involved, visitw^^.cridcja and cfick "News Dept." THE NORTHERN WBH^ ;&6q^-7:30PM I aWca^trhythms 7:30PM-9:00PM David "Love" Jones brings you the best new and old jazz, soul, Latin, sdmpip|>psjci and African music from around the world. www.africanrhythmsradio.com HOMEBASS ^9-0g£M-12:0QAM ^''ffxtl Hosted by DJ Noah: techno but also some trance, acitftn,^!^|fc|^e)|fe]^,.interviews, retrospectives, giveavvidyiSfqnd more. I LIKE THE SCRIBBLES alt. 12:00AM-2:00AM. THE ANTIDOTE oft 12:O0AM-2:O0AM THE VAMPIRE'S BALL 2:00AM-6:00AM Dark, sinister music dfall genres to soothe the Dragon's soul. Hosted by Drake. SATURDAY FILL-IN 6:00AM-8:00PM THE SATURDAY EDGE 8:00AM-12:00PM Studio guests, new releases, British comedy sketches, folk music calendar and ticket giveaways. • 8AM-9AM: 'African/World roots. 9AM-12PM: Celtic music and performances. GENERATION ANNIHILATION 12:00PM-1:00PM A fine mix of streetpunk and old school hardcore backed by band ihtervtews, guest speakers, and social commentary. www.streetpunkradio.com <crashnbumradio@yahoo.ca> POWERCHORD 1:00PM-3:00PM Vancouver's only true metal show; local demo tapes, imports, and other rarities. Gerald Rattlehead, Dwain, and Metal Ron do the damage. CODE BLUE 3:O0PM-5:O0PM From backwoods delta low-down slide to urban harp honks, blues, and blues roots with your hosts Jim, Andy and Paul. ELECTROLUX HOUR 5:00PM-6:00PM BATTLE ZONE 6:00PM-7:00PM SHADOW JUGGLERS 7:00PM-9:00PM An exciting chow of Drum n' Bass with Dj's MP & Bias on the ones and twos, plus guests. Listen for givaways every week. Keep feelin da beatz. SYNAPTIC SANDWICH 9:00PM-1 1:00PM PLUTONIAN NIGHTS 11:00PM-1:00AM Cutting-edge, progressive organ- music with resident Haitchc and various guest performers/DJs. Bye-bye civilisation, keep smiling blue, where's me bloody anesthetic then? http://plutonia.org EARWAX 1:00AM -4:30AM "noiz terror mindfuck hardcore like punk/beatz drop dem headz rock inna junglist mashup/distort da source full force with needtz on wax/my chaos runs rampant when I free da jazz..." Out. REGGAE LINKUP 4:30AM-9:00AM Hardcore dancehall reggae. Hosted by Sister B. SUNiDAY Reggae Linkup^' '■ (RG) MONiDAY TUESiDAY WEDNESDAY ■ Rll-ln THURSDAY Rll-ln FRIDAY Rll - In SATURDAY Fill - In The Saturday Edge Generation Annihilliation (PU) PowerChord (MT) Code Blue (RT) Electrolux Hour (EC) Soul Tree (SO) Synaptic Sandwich (DC/EC) Plutonian Nights (DC) EarWax (HH/DC) Reggae Linkup 6AM I%a5s"* - Fill - In \ >*■••■%%, Pacific Pickln' ©\AM 7 Suburban Jungle Back On! (EC) Caught In The Red (RR) ' j$L Ska-T's Scene-ik Drive (SK) 7 %r8f; 3p:Bfj§a1ttast With The Browns HighBred Voices Please Rock The ^^«^|^ Door(EC) 1 End of the World News (EC) Planet LoveTron (DC) 8 9 ' Are You Serious? Music (EC) (EC) Engaging the Word?(TK) Exquisite Corpse (EX) 9 10 W^MP Times The Charm 10 11 Discorder Rll"ln Radio One Fffl. In ] moS^^T ~~ ^^^l^^^ggSjiwlEC)' . ■ Ronin ^'' ^p" to "«•• TO Anoize(NO) Fired Up (TK) Unpack your Adjectives These are the Breaks (HH) The Leo Ramirez Show (WO) 11 12PM Rockers.Sh'dw^if-^ ^A-Memative'Rdd^g^ 12pm 1 Parts Unknown CO) (EC) ATakWilhAsen Clements (TK) TheShake For The Re- (RR) cord (TK) Steve and Mike (HC) 1 9^H Blood On The Saddle* - iPl^rcut Tracing Democracy Now m (tk) The OndijrMnapoea Show (TK) 2 3 Sandbox Theatre (TK) fpc/ea En Avant La 1 Tansi Kiyaw 8®i5ul5Pft<tp S^SlK^/tS Meat Eating Vegan (EC) Wener's BBQ RumbteTone MotorDaddy Radio (RR) (RR) Neccessary Voices (TK) And Sometimes Why^jtYi (PO/EC) alt. Blue Monday (Gl) Rhymes & Reasons (HH) tSbSwdsMake Pedal Revo- Good (EC) lufjon (TK) Out For Kicks (PO) Narduar the Human Serviette Presents... (NW) CiTR News, Sports and Arts (TK) The Northern Wish (EC) African Rhthms (WO) HomeBass (DC) 1 Like The The Anti- Scribbles dote (EC) (EC) The Vampires Ball (EC) 3 *-$7^ Absolute Beginners (EC) Straight Talk (TK) 4 5 Chips With Saint Tropez Everythingj (PO) 5 r^*i IKUJ £§6fl?pfNite $otarization{TK) pjgfSel^jgJEC) My,AajT!32r'. Hex Your HeaCn\;ai (HC) 6 7 Queer FM (TK) WigFlux Radio 7 9 Rhythms India (WO) Si^lS! SalarioMinirtH?'?.: (WO) ■t^tgWahus Escapism 5Ffy%3p|EC) (EC) Juicebox (TK) Folk Oasis (RT) Hans Kloss' Misery Hour (HK) First Floor Sound System (EC) On Air With Greased Live From... Thunderbird "ispRdalo Hell m m World Heat (WO) Laugh Tracks (TK) Rll-ln 8 9 10 11 Trancehdance (DC) Alternative Radio (TK) The Jazz Show 10 11 12AM Vengence Is Minel (PU) PsyctieaencAirwaves (DC/EC) Aural Tentacles (EC) 12*m 1 2 3 4 The Show (HH) Radio Zero • (EC) 1 2 3 4 CH-children's • DC-dance/elecrronic • EC-eclectic • EX-experimental • FR-French language • Gl-goth/industnal • HC=hardcore • HH-hiphop « LM-live musio • LO-lounge • MT=metal • NO-noise • NW-Nardwuar • PO-pop • PU-punk • RG-reggae • RR-rock • RT-roots • SK-ska • SO-s< HK-Hans Kloss • Kl-kids • JZ-ja: ul • SP-sporrs • TK-talk • WO-w J nZuLU " PRBENT5" imjH ^•ftM. it sktetrisQnT fc$ splash&n. y3SrTCS|8 cover o^hj^iiig Joest. Wi"1' $£ was just the app^seV^'ei ^BSfrW? Vojj rsi^ttjl^"^ COUSITrys big efrtertaiwrietrtT^el^ J^BccJStro, ivitt*btt ^>read|ii^L Vul. '* V^rswir^s asilie^BBe cover story1 Ajteiwhat timing: they're ^^A^^f r®sspl^^^|» tPcdeiut album orr that ^K% J^S^^Sl at$*aff'sft$plt™d"aBi&ut. But was ^Ptf-qlsfNw «^tt»S8«f*isfetne*year-delayed wait? We ^fjM^^r^p^l^lttl^irion from Montreal's Hour had ^^^^^P**i^|^^^9^^P $ vapid nostatjpa ;^^ffy^:Stpri||'is;a beacon oi subdued love and hate ?^M^Mtarl|i3r^|^^rt|1ritat r^^wonie&agDut its .^^^^tJW<ltr't%g>^fiptte^, |awti|fc reacts {{eights s^b^^(^3n()«oi^toes sadness The Cure, Siousjpe; the- :^p» aH^e^efjBli'rjaB^^s Sketch surpasses tier ^^M™^^f^^SKEe^rfMorrissey, in her poetry and CD/LP 12,^ Up,.. Louden IMMImiiw^f 4f **y 0^jrj^srtftl5is%;Tlw''flancei«lap-shout" mantra reverberates through,^^ttfspeaker and three sounds repeat over and over, louderaip$itier. (UH!UHJUB*pfjan you feel it • intensity; can yqj^|ihe notes go froj^m%to highs?" Weil, if;the answer is y^fTO^iptffe readytoptouden Up Now, the long awaited new full lenrJM|rn!!! (aka Chk Chk Chk) and first album proper with the Touched Go stamp of approval, a ppi||s*about time! With a bigge&jdget to flesh out their ideas and dynamicsls the studidmritheyJ§d^fJ|gR*tt§pPl ;S^^jed their'self-titled debut in 2301, III explore a more vai- '|j£pi|md than ever before. PsycheSl flourishes, slowed ^down quieter moments, and increased use of programmed gjelectronics allow for a more expansive feet and a more inter- listing overall listening experience. ButtJielraderaarks^rerflatjB.' "*1§&act, with one of the tightest rhythm sections in the game ^Kp down the stomping percussive funk while repetitive gui- HHBb#orn biases, and vocal chants punch the air above. |flffij^$ndout track "Hello? Is This Thing On" carries right on ^&B*®rlast sin9'e "Me aid Giuliani' (which-also appears $8§m album) left oft and just begs for repeated club play, fy^$§fffl!us nods t0 ttieir predecessors Liquid LiquM, tlie $ Cfl*j|||l$n*, and ESS,!!! proudly carry the luaffdisco-ounk lior^^^^the air, waving that shit arouraPmce they just tto^^^^&.ready, the dance party stapl now. I3D1498 | EfS$mij$l wc^^^jfefiedftol^^^record that is defirAr ^ i^^^cQfle^^^l^t is goorjj^^ht about their shit.' WMsKB$$te begins, a?work lite this wotj)d.transcend subse- ||fiBpNN$< if mey oceur^asiftentbe^do). Sub longs may ^^^K&AnliWstCotieetlve'ssfjiningmwrtent, perhaps %. ^f^^^^e^nd^Rf^^^^^^prf^^&iilieuof fHH^Pp&' We're"not sip| e%rj#neate£aiiMda put down ^^^^lacoustjx%jiters^^pc^^ice^^^^w^|#^ -woa&r/taps Go cffgo forth into the woods of your'fcftigfiia?^; ^^^^toree. But remember, even as the win^^^^ ^^^^Sur soul and the tree ghosts whisper in yclf lltS; % ^^^fe|fe%ilftd^i:§rabbed the sublime. As our good pal ^^tenderiS^n |ujs 8, "Animal Collective started strange and &0$ettiat paranorfflaV OW man Ue&tgatisrigfrt: the Animal f^s|mh|tias tfjijear of the gods, and the gods are listening. CO #98 KEVIN HttJSE fctfe Pastoral ■ '^T^tgptjrriesit fjojHipose- 1 Spanisfrttarij^riarsr'' rupt their gytfj^ir^^Ts to hear his songs. The MaxW -flshan^bjer^es gext door to the Pink Pony to get in * S^S^jiBnead wltllejfiearing his songs. The "critical trouj badiurs" come baek from failed marketing meetings Ii and n% his fragjte neo-folk songs. L. Cohen's Susanne makes her way* a cafe" Nolita (north of little italy) to *: hear his songs^it ornate orchestration seduce. Evenj theancienf r|tsVJane Street stop their thieving andjfr hear Kevin House's debut Gutter Pastoral before dJF appearing Into the cold smoke night. Stop by for.pur listen to this remarkable record sure to strike a cwnl^ with fans of the outsider singer songwriter craft wtf'A CD 14.98 RJD2 Since WeB^I Spoke CD/21P R.J. Krohn drops his follow u^^Pfte^^rk Ma^pttW-afbua^fth coujgfwell §t the summer sapfrack you've been waiting for. SeriousljLsKfSfeg". gMs and leaving his hip hop roots Jijfc BJ. forays ^^sverything from laid back iTj^^^^mdie rock to ^IferSig electro anthems tagpooth downtempo jams. *^l(»B|^y^es th&m^^^ame tricks up his sleeve! Ctorjjpa^^sjirWStKKlew's Private Press are obvious; RJD2 fteijrT^ comparable ability to draw from all genres, throw everything into the mix, and come up with something interesting and unclassitiable in the process. The fead off singjj^^tej^ i|p$l8efr3Sk 'eirt'lgsSter-driven stomping funk trad^wf^^^^^ would, fit right in as a Tarantino soundti'iskwith its punchy'tiorn blasts and funky seve^es cantina vibe. -^H®, Since we Last Spoke lias sornejhi r$w$Zjjjk everyone and begs to be cranksrJ/up Mgtv With the ^p' * down as the summer sea^H^^^teQ^^^2rfP ^^^^£ sipp III Starting w^^^ndelus "Repition" attending with the tttt^fe "Green-Eyed Loco; Marf, this is the first evercompflatiOn to giveaKnUPBlteJi/e overview of ^^pK&re careet'Stj>ati^BW quarter centttnf oi avant-savant waywardness, SSiwIFall Fans "ift.8te ideal entiy point & a bajffingty large/cluttered back catatogue<-Somehow, Beggars piquet have rriaflaggd tojcense tracis fromewiyeraaf the band's label-hopping earner, ft detng so, %&$. have created a bargatn-pHceddpuite Cttthat:%#Qfa a compelling history les^fift aitlabiilsj-adijietivefock epic in its own p|§k It makes; clear whatlrue fans have long known: Ihm I SnHk and his revolving cast of cohoj^^e^ createrftfe most mullf-dimensionat beWjrlsfwo^^^g roclf ^ss^^^nom afrpisuSntl'to have chang^Hl^aS style very much at alt. The FaH remain a divine contradiction. Terrible cover, tl^facs-' 2M 16.98- # Slow Wonder CD f»3eTj?0JteWiind here kno^ Carl Newman I mean we * :vvo*.in a record store for chris^akes and the guy's not only a certified music junkie, he's als'ol^|^^^^P Wsic for certified music junkies fopoyejSi^l^&W^ low. Remember Superconductor? Remembe^ '"' Zumpano? I'm not kidding around here. AnyWa^^ * seems the dude's been biding his time, sharingtnif^ spotlight with Case, Bejar and co. and waitjng*fo^^ freak in the hellish itinerary that ptagues'^eliji!*!^ Poms to finally grace us with his first solo enj^^^^r For those of you with a soft spot for the perfe^Pp song (and there's a lot of you, based on Mew Monographers sales alone) this summer is about to get that much better. CD 14.98 AVJULABLEJUNE8TH HMPtMi **Wes»Heei BEBELGaBERTO S/t CD The Brazilian sun beats down browning your pale skM A mesmerizing pattern of | wives keeps crashing atyista .feet. A blur of sounds; laughter, wind^magt.palms,and % sweet soift^lfehythms, biend into a fprapeutic ■iWWfe>o^fflpr)1^^u came ^Rto to WmSffl, M to escape tntlHr ano^e^aDDin^^feourHBfcer' life. It a fleeti Wmorl^^warify you featfzeJKji have two chofes "-%-^^Srself to A8a%tic ab^f before you or regainfMtf Strength and gejt se^^^g by Brazil's greatest fmjSm't^tM^MUUf^ the rightchoice.^^^^p®nore-*oj^||i^^«|^ TantoTera|rais^^^^^&.srf|plT^¥M| , tro-chanteuse ^^Pr^MifAjW^Kwnaflj |oc|f. \ warm. Sexyar^pf^^S^crjra eafi |a|fe^g M Available June 8th -^gfPS ^ 111 Lj|J ■ Miracle 0V2LP Sixtoo is proucS^^H work and he s&p&^^^ie radically changej' his style and lear^a^^S^rMking of this record V " (or so his liner nomtp l&ftf« Glass ft Otter if: Miracle Cures i&^ls^^^m the heads that are*' also nerds—co^^^S^Hi), moving away 1 from all-prograr^li^^^^^Srds live playing with little post-prodii^pce^^^Siipulation. The result - is admirable; d^^p^^wtf an organic feel and ; lots of air. Nir^^^^Mbe^as a "psyche rock/jazz j masterpiece as made by a kino Vie hip-hop producer." WeiSimply describe % as*greai instrumental hip hop." r^aturir^SMIBpw^Norsola and Thierry from ^mmivm^^^Srit, Matt Kelly, Eric Craven ^1^many others. ■.in&flrthe past'fivtfSitelteFreleas* | .-.wes, the perfect pop trajectory, ' ^s^Brred David llama's, path to" ^^fefnd;nowpreiiIetaWjt f$$jf-' mainstream suece?5i.ttjke fellow |preckn)S»^|^^Bdetes- »sor^teilitio! «^iiH, i^a^^p^fe^HilB amfivS^^ ^ Mwse,^J^tormuia|ff e^s^st^^no^ri^pgjll&jgtess *^ meioaies and heartb^siii^rjfebeaujifuj lyricism tes lelt • \ '-Pedro The Lion wiffta fe^DWing that has a revered apDjsci^ 'Amjgj Bazan's poetjc, lajErjeSt^a/id spjrJttfaJ s&nt(i3pton. "J "Critics agreg, this is hnfTWest mofterrt,«rtd there^re ng " ': wealr^polrit^^^alpuntf'in thi§ ^sj|isjMsf^^eeji^"£>^^re&ti t . NICKD^H Made To HMM C^fffis holdyoiIr.ri}t{ned tongues, tooqutcfe^orustta * a ^ dismissive monosyllable Tthsfs mjr^tojbefr^SfHR on.* the Brake myth tSr^fjjpa^blkSi^rr^cc^irto ^ renewed market growth.•T^rjeJ.worc$'caft;'iQ.a^^s doubt > aside: Tow The Line Yesrthjsinever heard, Jjffffre tune was' • found at the end olsome tape in 'swnestuSbv tojgotten \ for some 20 years. Buttressed.wiJJh ett^lcutiellS} rantiee! remixes and a few known chc^e^^p5 Magic is worthwhile for fans old anf|pg| time for new fans in paj^^pto^r^^ put down first for this collej^|j^n&fp%g that is more to your Orjake^peKn^tl^iJnni^Moon on TV. As if good mu|irj|JP^%spl jijie think not PJ ItARvl^ Ifc Huh Her CO T&vtefltovw^tjMts - THE AMBER BOOM-What VVeS^ M rj^eamy local quartet dial m the Sigur 8!|J^9»^\. W1BTE MAGIC- Through The Son Door CO Drag City's latest momlyfoft rock outfit is a winner! TO ROCOCO ROT- Morgan Hotel CO/IP Post-laptop brH- Uance from this well liked combo. 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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2004-06-01
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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 | 2004-06-01 |
Extent | 40 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2004_06 |
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 | f2650d7c-ea36-4301-bde6-1cad95e23aef |
DOI | 10.14288/1.0049911 |
AggregatedSourceRepository | CONTENTdm |
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https://iiif.library.ubc.ca/presentation/cdm.discorder.1-0049911/manifest