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 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
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clubvibcs.com
HENKELL
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TICKETMASTER
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Canada Trust
www.coastaljazz.ca I TUESDAYS IN JUNE —8.15.22 f
BRINGING THE BOUNCE BACK TO THE COMMODORE*
I
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■eVELVET I
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SUAR COOKIES
I COMMODORE BALLROOM
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destroyer!
with special guests
Frog Eyes
Pink Mountaintops
Jamie
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I HOIXY BROOK
Jrici
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——s-s. ■JUNE 161
THE STILLS
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JUNE 23
LOS FURIOS
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JULyTH ISATURDAYluLYIol
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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 |.
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THE CENTRE FOR PERFORMING ARTS IN VANCOUVER ■ **»™«*«c» 1 BOARD'S ON RICHARDS
JULY 21
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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
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AD-VARJiffi'
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(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^
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V^rjTjwr^Draculea
^^JaAs© Meat
RLA EDITOR
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'^^^^^^
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
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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****** »■$ •'*
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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
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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)
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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
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MONEEN.
110 LOCAL GIJISTS:
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JULY HTH...MC5 with MOS GENERATOR and THE NASTY ON at RICHARDS
AUGUST 23rd...BLACK DICE with ANIMAL COLLECTIVE at MESA LUNA
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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
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"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
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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." D I
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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
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^^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
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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"
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^•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.
'§jH^SH^^^^O inventive avant eletApfes/ ^ ^
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Wortttteai^pn|^f
WAisoiianisi^^^^^Mnr^^KJ
DMA: DMA on DHA CfiTIW ce^ HO WAVE hand in the uni-
verse worth the^p^S
HOLLY GWJ£ffTl^|tovm highly
anticipated live release!
THEUMCOMlsliM
big a la Ween!
Rrj6ERTPfJllJUffl[-fictl(HiMan CD/LP Ho spare time for
this rock and«ijfi#-^
HWT HINT- Young Days CD Northwest's finest dance-
C0/21P 16.98
ZULU Presents MUSIC IN THE AFTERNOON with...
...from Montreal's introversion records...     _ •     n
An afternoon instore with electronic artist VltanXUlSlOryOU at Zulu
Wednesday June 16th @ 4:30 pm!
Catch him later that night with fellow Montrealers Montag and label-mate
Ghislain Poirier at BUM * 604 694 BUM(2546)

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