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 SHAMELESS MAGAZINE • DEMON'S CLAWS • LUKE MEAT
YEAR-END SPECTACULAR I THE MAGNETIC FIELDS • STARS NEW YEAR'S EVE
AT THE RAILWAY CLUB!
• A CHILDREN'S STORY GONE BAD... AND PUT TO MUSIC •
Organ
JANUARY 27 UBC'S pit pub
JOHN GULIAK IT'S A TEAM MINT       CAROLYN MARK
7 STORIES AND 13 SONGS XMAS, VOL. 2! THE PROS AND CONS...
ATOMIC 7 THE SMUGGLERS    THE EVAPORATORS
EN HILLBILLY CAUENTE MOTINY IN STEREO RIPPLE ROCK
THE BUTTLESS CHAPS!
FRIDAY & SATURDAY JANUARY 21 & 22, RAILWAY CLUB
THE EVAPORATORS!
SATURDAY JANUARY 22, SEYLYNN HALL, NORTH VANCOUVER
NEKO CASE
CD available now
^D&   RED CAT RECORDS
:^mm    4307 MAIN
y^i    604-708-9422
mm
SCRATCH RECORDS
726 RICHARDS
604-687-6355
ZULU RECORDS
1972 WEST 4TH
604-738-3232
Mint Records Inc. PO Box 3613, Vancouver BC V6B 376 wwwjnintrecs.com rftSCORD
a       Wg^m    Wk ^m&W THAT [ADJECnVE____
Red Cat Record
4307 Maim* St.
EDITRiX
Kat Siddle
AD MANAGER
Jason Bennet
PRODUCTION MANAGER
Graeme Worthy
ART DIRECTOR
Daie Davies
TA EDITOR
Vampyra Draculea
RIA EDITOR
Kimberley Day
REVIEWS EDITOR
Mairin Deery
LAYOUT & DESIGN
Dale Davies
Graeme Worthy
Jason Bennet
Kimberley Day
Vampyra Draculea
Dory Kornfeld
Jordie Sparkle
Yuriko & Keith Jones
PRODUCTION
Graeme Worthy
Date Davies
KatSiddle
Kimberiey Day
Vampyra Draculea
Jason Bennet
Jordie Sparkle
Chris Walters
Dory Kornfetd
Mairin Deery
Zaek Gofeman
Tim Cook
Michelle Mayne
ON THE DIAL
Bryce Dunn
CHARTS
Luke Meat
DATEBOOK
Kat Siddle
Jordy Sparkle
Chris Walters
DISTRIBUTION
Matt Steffich
US DISTRO
Frankie Rumbletone
PUBLISHER
Lydia Masemola
THAT [ADJECnVE____ ] MAGAZINE FROM CiTR 101.
D£C\JAN2004
FEATURES
label o' the Year p. 4
Shameless Magazine p. 8
Demon's Claw's p. VQl
Stars p. 11
Luke Meat's Best of 2004 p. 12
New Music West p, 25
The Magnetic Fields p. 21
Year-End Fun Fest!!! p. 23
A picture of GWAR p. 28
REGULARS
From the Desk of ...what? p. 4
Strut Fret and Flicker p. 5
Riff Raff p. 7
Textualiy Active p. 8
Do it Your Damn Self p. 10
Calendar p. 13-16
Under Review p. 24
Finding Joy p. 25
Real Live Action p. 26
Charts p. 29
Program Guide p. 30
FRONT COVER
By Dale Davies
THANKS
Duncan McHugh
Lydta Masemola
Punctuation
GWAR
Mew & Used CD's & Ymyl
ph. 708-9422 * email buddytredcwtea
© DiSCORDER 2004 by the Student Radio Society of the University of British Columbia. A8 rights
reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for
one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 {to cover
postage). Please make cheques or money orders payable to DiSCORDER Magazine. Please note
that my birthday is February 15. DEADLINES: Copy deadline for the February issue is January 1,
2005, not that any of you wi care. Ad space is avaSabte until January 28 and can be booked
by calling Jason at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not
responsible for toss, damage, or any other injury to unsoSctfed manuscripts, unsolicited artwork
(fncJuding but not limited to drawings, photographs, and transparencies}, or any other unsoicited
material. Material can be submitted on disc or in type or via emaB. As always, English is preferred,
but we wi accept French. Actually, we won't. Send email to DiSCORDER at discorder@ctub.ams.
ubc.ca. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as
well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. CaB
fhe CiTR DJ line at 822.2487, our office at 822.3017. or our news and sports fines at 822.3017 ext.
2. Fax us at 822.9364, e-mait us at: citrmgr@mail.ams.ubc.ca, visit our web site at www.citr.ca or
just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
page 3 KAT SIDD
Usually, I'm not a great fan of the whole
"Best of 2004" year-in-synopsis deal. That kinda
thing requires memory, and after nearly a year of
putting out this magazine, my hands are chronically
shaky, my relationships lie in ruin, and believe me,
I have no memory left at all. I am fully capable of
drinking a couple cups of coffee, forgetting about
ft, drinking three more, and then wondering why
my heart seems to be skipping Hke a scratched
CD. "What's with these chest pains?" I'll think to
myself, "and who left all these dirty mugs on my
desk?" Don't even ask me to remember what was
in the last issue, let alone what albums came out
this year. I have a dim memory of really liking the
first five songs on the new Northern State LP, but
beyond that it's all a blur of "The" bands and pink-
and-black cover art.
Sifting, through the ticket stubs on my
bedroom floor this morning jogged my DiSCORDER-
damaged memory enough to make me recall that
Novemberreally was a great month for gigs. Thanks
to our army of show-goers> this is represented with
three whole pages of concert reviews: Personally.
I was grateful just to be alive at a time when Le
Tigre and GWAR played the Commodore within
24 hours of each other. Though I'll probably forget
about it soon enough.
I must say, though, that the joy of attending
November's Magnetic Fields show could only
be topped by the joy of publishing Duncan
HcHugh's interview with one Stephin Merritt. I wish
you all could share the warm fuzzy feeling I'm
experiencing. Perhaps you will feel it while reading
the interview. If the feeling of warm fuzziness does
not sweep you right away I suggest you do the
following: Play i In its entirety. Then, play the album
again, all the way through, while singing along.
Read the interview. Wait for a glowing sense of
magnanimity to envelope you. If this doesn't work,
try pretending to be Stephin Merrit while reading
the interview aloud.
If you're still not feeling it, I suggest drinking
20oz of Olde English Malt Liquour. This never fails
to make me both cheerful and light of heart,
particularly during DiSCORDER production days.
I'm also particularly happy to include Dory
Kornf eld's review of what will assuredly be the most
overlooked album of 2005. Shameless Magazine's
Good Grooming for Girls is a ridiculously credible
collection of the finest indie pop you might not
have heard of. It's pretty much a must-have for
anyone who wants to archive some of 2005's best
(and if you're as brain-addled as I am, archiving is
your only bet). Instead of a top ten, or even five, i
offer you this single album. At 22 tracks, it probably
includes more bands than my top ten would
have anyways. Rip to Under Review and read
about it for yourself. And check out Luke Meat's
masterwork of year-end criticism. All I have to say
is, thank god some people were paying attention
around here...
Love,
BtSCO^fffARV
Faithful readers, you may remember Subpop was 2003's "Label of the Year," and for good reason.
In 2003, the Seattle-based label that introduced the world to Nirvana brought us music by the Shins, The
Postal Service, a heck of a lot of Hot Hot Heat singles, the Fruit Bats, and last but not least Iron & Wine's
The Creek Drank the Cradle, one of last year's most important releases.
Sub Pop is an established indie giant, and we love them for it. However, this year we're bestowing
this award a little closer to home: with Vancouver's own Ache Records. It's interesting to note some
overlap between the Sub Pop and Ache Records catalogues. Way back in 1999, Hot Hot Heat's first
release was ACHE001, that self-titled 7" that "saved Canadian pop music" (ahem) and made a lot of
their old friends hate them. As the catalogue number indicates, that Hot Hot Heat EP was Ache's first
release. I think we all know the importance of starting off on the right foot, whether that means ditching
the flip-flops for that job interview, or going down on her first. Clearly, Ache Records does too.
Ache stepped things up with the Death From Above 1979 Heads Up EP, released in December
2002. The Toronto two-piece that is now taking the world by storm, via a ridiculous touring schedule and
their new release You're a Woman, I'm a Machine (ACHE017, on glamorous white vinyl). Just like Hot Hot
Heat, Death From Above's Ache EP was their first official release.
Since then. Ache Records hasn't let up. Recent releases include Flossin's Lead Singer, which
garnered a featured review on Pitchforkmedia.com, and the Div/Orce 7" series, nine split singles
featuring artists who are too busy making rad music to bother categorizing themselves. D/One was Hella
and Four Tet and D/Two was Matmos and Die Monitr Bats. We really Hke those bandsl And we ready like
Ache Records too. Thanks for keeping it so tight and so real. Ache Records.
Sincerely,
Your Friends at DiSCORDER Magazine.
mXDCBEE3
SHOWCASING VANCOUVERS
BEST NEW BANDS IN THE CITIES
BEST NEW PLACE TO ROCK!!
1161   GR/XNVTLLE STREET
C/VLL  604     688  7803
FOR   MORE   INFORMATION   AND  BOOKINGS
CONTACT   WWW.SPIVIIV1US1C.BIZ
CALL 604   322  0 102
DiSCORDER - December and January, 2004 and 2005 The Nein A, Graham & the Jens L
TheNein Moment Band When I
Transcend Mainstream Mediocrity
IftlttlttlfTtt
mi   i   '   i€ - ij inxoni
Stuff
This months 'giveaway* goes to the first person to come
and claim it given the following conditions.
1) It is to be a gift.
2) The person recieving this gift is under the age of 14
OMG1 Kurt Cobain is sooo cutel
THE MONUMENT
Felix Culpa and Rumble Productions
Saturday 13 November
Performance Works
Rape, torture and ethnic cleansing are among
war's most heinous extra-curricular atrocities, and
watching a play about them shouldn't involve long
stretches of boredom. But it did; and the blame here
rests heavily on Colleen Wagner's script.
Inspired by events in the former Yugoslavia of
the early 1990s, the playwright builds her story around
a young soldier about to be executed for war crimes
and a middle-aged woman who turns up, offering
to save him in exchange for total obedience.
Although the woman's initial pitch suggests that she
wants to enlighten him, rf soon becomes clear that
revenge and closure are also on her agenda.
It's hard to imagine how anything could keep
knocking the stuffing outofsuchapotentscenaricbut
The Monument's talky excesses did just that. Instead
of being allowed to unfold, the characters became
mouthpieces for a repetitive barrage of accusation
and debate concerning personal responsibility and
the nature of war. At times, even action felt forced
into accommodating the text: bringing the soldier
home, the woman cuts off his ear, orders him to drop
a boulder on his foot and harnesses him to a tiller
like an ox. Since the play's overall tone was far too
earnest to be surreal, one could only wonder why a
strapping young man who has already raped and
murdered 23 women would hang around and submit
to this abuse. To continue the dialogue? Perhaps, but
theatre needs a better reason.
The production design was visceral and
brilliant, and it kept reconnecting us to the horror. At
the top of the show—before a word was uttered—
we were dragged into a nightmare by Noah Drew's,
soundscape. Sickening and terrifying, it was Hke a
car crash played at half speed. Del Surjik's lighting
was both desolate and threatening; while Andreas
Kahre's set, a flat, white oval strewn with rubble, was
a closed system. No exit—Hterally or figuratively.
Actors Stuart Pierre and Linda QuibeH
were both powerful) although QuibeH made some
odd stylistic shifts, at times sounding more like
a disaffected North American intellectual than
a woman whose family and country had been
ravaged by war. It wasn't until the final scene that
both script and performers really had Bft-off: Having
pressed the soldier into remembering where his
victims are buried, the woman makes him exhume
and recognize each one. Few words are spoken and
none are superflous.
I've seen director David Bloom's work before
and know how effective his experiments wtth style
and tone can be. So I'm going to stick my neck out
and wonder if his (very understandable) respect for
the gravity of Wagner's material prevented him from
being daring enough with it—and from making it
gripping from start to finish.
CARMEN ANGEL
Catalyst Theatre
Tuesday 26 October
Vancouver East Cultural Centre
This is one of the most perfect pieces of theatre
I'ye seen in a long while. The realization didn't knock
me down cold or anything; it kind of. accumulated,
just like the show's power did as I watched and
listened. What seemed to begin as a monologue
grew into a virtuosic feat of storytelling in which a
single performer captured the audience wtth a dark,
sweet cliffhanger.
At first, we were hit with a jumble of characters
and events unanchored by time or place. We played
leapfrog wtth the fragments until the gaps gradually
filled in and a narrative took shape in our minds. It's
- a strenuous but always exhilarating way to receive
information. Our narrator was Joe, a crime scene
photographer whose occupation was clearly a
metaphor for his need to revisit a small town summer
from his past. We met his childhood sweetheart.
Carmen Angel, a precocious ten year-old from the
wrong side- of the tracks whose fMm-goddess-in-a-
woman' s-body allure led to her savage murder. And
there was EuMch, a creepily effete mortician whose
preacher father had him castrated as a boy in a
proactive attempt to deliver him from temptation;
Joe's marvellous Aunt Lou; Carmen's extravagantly
unhinged mother; and a gaggle of perfectly drawn
supporting characters.
Through the adult Joe, actor Chris Craddock
channeled them all. Not since puppeteer Ronnie
Burkett have I witnessed such vocal breadth. He
gave them vMd physical life as wed, often very
subtly, his own bulk simply melting away to leave
the essence of a mannerism or gesture. At other
times, the characters seemed to be invading Joe's
psyche.
The always excellent Catalyst team gave
Craddock everything he needed—not least, Joey
Tremblay's script. It was complex image-rich and
almost filmic, and director Johnathan Christenson's
music was the perfect soundtrack. Applied sparingly.
It matched but never forced our emotions.
Designer Bretta Gerecke's set was a row of
backlit doors which hovered upstage like portals
to Joe's memories. Behind them lurked Auntie
Lou's freshly-baked pies. Carmen's shack, Eulich's
cadavers and seedy hotel rooms.
All weH-told stories leave an aftertaste and
Carmen Angel's was bitter. It had a lot to do with
how badly grown-ups can fuck with children—from
well-intentioned, but ignorant repression to outright
exploitation and abuse. That such an enchanting
tale could also send us to bed sad and angry was a
good thing. D
THE PLUGHOLE
If you already have your 2005 dayplanner, crack it open. If not, then write this on the inside of
your wrist and don't wash.
On January 11, The Black Rider: The Casting ot the Magic Bullets opens for a five-day run at the
Waterfront Theatre. Those familiar with Tom Waits' 1993 album writ know that the mournfully berserk
collection of songs was composed foran operetta written by Walts, Robert Wilson, and Wilflam S
Burroughs (oh, the chemistry!). Edmonton's November Theatre actually premiered the English language
production in 1998. It's been everywhere, apparently. Except here. The PuSh International Performing
Arts Festival, whose mandate Is to bring Vancouver up to speed on what's been happening on stages
elsewhere, is responsible for ending this shameful drought. For more scoop on this, and other essential
shows in the series, call 604-257-0366 or visit www.pushfestival.ca.
Penelope Mulligan
page 5 Umtcouber &fter ISaffe 1
as some crazy corners
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DiSCORDER - December and January, 2004 and 2005
with DJs Sinister & Chris
psytrance from Swedent
 isiiii 1011111— i    	 Tt»€
like an outtake from the movie
Kids), you've got a sure-fire winner
for dancin' and drinkin' 'til the sun
comes up. (In The Red Records,
P.O. Box 50777, Los Angeles CA
USA 90050).
to shame, and the flip is equally
pian'o-burning, their rambunctious
spin on The Hangmen's sixties frat
number "What A Girl Can't Do". As
far as the current "garage" scene
goes, these guys are at the top of
the heap, and with a full-length in
the works, all I can say is "Watch
out!" (Dollar Record Records, no
address given).
the proverbial cake. What more do
you need? Go and get this, pronto!
(Boom Boom Records, 20720 S.E.
192nd St. Renton, WA USA 98058).
Thought it only fitting that
I take this opportunity to reflect
and re-s-pin some o' my favourite
45's this past year, just in case you
missed it, and also to pay respect
to this criminally underrated
format.
Speaking of criminally
underrated, how about them
Deadly Snakes? Toronto's bastions
of bourbon-laced rock and soul
put out a double 7" back in June
that begs for repeated listens-
particularly for their romps through
Eddie Floyd's "Big Bird", with its
contagious call-and-response
vocal and foot-stompin' beat,
and Neil Diamond's "Shot Down"
that chugs like an out-of-control
locomotive and shines brighter
than, well, Mr. Diamond's entire
sequin-embossed wardrobe.
"Nasty Boots" is a un- released
original, and with the MM "hit"
"I Can't Sleep At Night" (with
accompanying video that looks
San Francisco all-stars The
Flakes gave their deserved fans
something to crow about earlier
this year when a tour single finally
washed up on North American
shores from a European jaunt from
'03. The pedigree of this band is
admittedly fantastic, not only 'cuz
they can walk the talk, but they
have drumming dynamo Russell
Quan (of Mummies, Bobbyteens,
umpteen other bands fame)
behind the kit. When I say they
walk the talk, I mean they KNOW
how to rock AND roll, and their
influences drive their songwriting
to create masterpieces like "Talk
About You", a hipshaker that
puts Jerry Lee Lewis and his ilk
MttBt&jsr^*
Keep it simple, stupid. No,
not the acronym for "the hottest
band in the land", but instead the
motto for our next inductees into
the seven inch honour roll, The
Fe R Fo Fums. Simple, but fuckin'
genius at the same time, 'cuz you
can't help be drawn to^omething
so primitive and catchy that you
wonder why the hell do other
bands even bother? "Bectrofize
Me" nails it in the tradition of other"
no-fl combos like Supercharger, yet
with a nod to their Northwest roots,
and "Wild One" puts the icing on
We round out our (by no
means complete) retrospective
with a couple of overseas
combos. The Rippers and The
Kidnappers. Judging from those .
names, you're thinking crusty
punk with a penchant for political
prophesizing? Nay, and nay. The
Rippers are four Italians that do
indeed "rip", but more in the vein
of early Pretty Things/Stones on
speed. The four tracks on their EP,
...Are Coming Behind You are fine
examples of the genre I like to call
garagebeat, the former because
of recording aesthetic, the latter
because each song displays the
early sixties R'n'B sound of the Brit
wave that stormed through the
bands previously mentioned. This is
harmonica wailin', fuzz-drenched
guitar stomp that would fit nicely
between your copies of 12X5 and
Kinks Konfroversy, if I do so boldly
say. (Shake Your Ass Records, «
http://www.syarecords.it >).
The Kidnappers are from
Germany and are causing quite a
stir with their song about "Spanish
Girls", border guards have been
besieged, as females are flocking
to hear the punk rock pop of
these young lads—imagine a
cross between The Devil Dogs
and The Beat, and yoy've got
yourself a scream-inducSg, skirt-
tossing good time. The other
tracks, 'Good Morning Cigarette"
and "What The Cool Kids Say"
are more fine examples of the
perfect blend of finger-snappin'
hooks and definitely will have all
the kids beggin' for more. (Zaxxon
Virile Action Records, « "www.
zaxxonvirileaction.com">>).
Happy hofidaze and see
everyone in the'05! D
|	
jji ■ 1 a-J zM
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page 9 Belly Dancing Basics
Laura A. Cooper
Sterling Books
Belly Dancing For Fitness
Tamalyn Dallal and Richard
Harris
Ulysses Press/Raincoast Books
The Art of Belly Dancing
Melanie Votaw and Valerie
Rushmere
Running Press
I've been belly dancing for
just over six months now since
starting classes with Czarina in
April. While classes and at-home
practise are my mainstays, I like to
get other perspectives and ideas,
and these three books are some of
the ones I've been reading lately.
Since there is so much in common
between them, I've decided to
do a three-fer here.
The first one I got was Laura
Cooper's Belly Dancing Basics—a
bit of a misnomer since she goes
much further than the basics and
includes chapters on veil work,
floorwork, sword dancing and
more. This one's a visually arresting
book, with pretty much every
page full of step-by-step full color
pictures of costumed dancers.
It might not seem important, but
as an aide to really seeing how
a move is done posture-wise, it's
the next best thing to a video or
live instructor. There are some
downsides to this book—the
history parts are oh-so-preachy
and puritan and a little defensive
, denying that burlesque and
therefore stripping evolved from
belly dance exhibitions during
the 1800s (this is the evolution
folks, but many a bellydance
book gets a little freaked out by
the association),"and the parts
discussing music are too short
and too simplistic without giving
a clear indication of how the
rhythms go, but listing some of the
best traditional belly dance music
CDs makes up for this as readers
know where to go to hear it for
themselves. This book also has a
good appendix listing all kinds of
sources for belly dance related
items from costumes to music to
swords.
Then, I picked up The Art of
Belly Dancing, mostly for the CD
inside, but also hoping the finger
cymbals ("zills") and veil included
would be worth it. The zills weren't
horrible, but they weren't great
either and the sound is little
too little for me (tip—get yours
somewhere like Banyen Books).
And as for the 72" veil, well, first of
all that's too short for a belly dance
veil (eight or nine feet is best,
depending on your arm length),
and second of all, one may have
noticed that belly dance veils
are three or four feet wide, not
three inches. It makes a great
headband, though. The book
covers the basics competently
and in a couple places, such
as the rib slides, belly roll, and
shoulder shimmy, more clearly
than the other books. This little
book is also a lot more accepting
of the sexual attraction males will
tend to have for watching belly
dancing. Its history section is also
very thorough and discusses roots
of belly dance commonly ignored
by other sources (such as Greek
theatre and shaman dances), and
gives tips on how to differentiate
between regional styles like
Persian, Egyptian cabaret and
Turkish.
Most recently I've received
DaHal's book. Belly Dancing
For Fitness. I like her matter of
fact way of discussing different
aspects'of belly dance mythos,
such as the Dance of the Seven
Veils, and men's reactions to
belly dance without moralizing or
getting defensive, and the book
on the whole is very matter of
fact—just the information needed
plus some extras with very little
BS. As a musician I loved that she
was the only one to give a chart
of some rhythms on page 21
outlining exactly where the beats
go, as well as much more detail
on the kinds of songs to pick for
a routine, different instruments
used, rhythm families, as well
as CD recommendations (she
plugs the Bellydance Superstars
CD compilations, which is fine
with me as I have both and can
vouch for them as great starts
to a collection.) DaHal's history
and regional style sections are
better and more detailed than
those in The Art of Belly Dancing,
although there were some
mistakes and editing oversights.
For example, she first erroneously
says that the English term "belly
dancing" comes from an Arabic
term "beladi" meaning "of the
people" that English speakers
wouldn't have heard of, but three
paragraphs later she does say
that the term "belly dance" was
coined in 1893 by an American
promoter. Realistically, "belly
dance" means just that, which
should have been obvious all
along as the Arabic word for belly
dance is "raks sharqi" - literally
"dance of the stomach." She has
more success discussing the role
of the Hollywood and Cairo film
industries in shaping the image of
belly dance and the costumes,
and this section on cultural
interplay is quite interesting
indeed, as are all her comments
on subgenres and costumes,
especially on the mishmash of
American Tribal.
Dallal also covers all the
basics of practise, posture, basic
moves and choreography and
covers a sample workout plan,
including warm up stretches
etc. (Here's a tip though—if you
actually want to get fit through
belly dance, you best be doing a
lot of shimmies, shakes, and quick
steps to uptempo music for an
hour or more per session, several
sessions per week. Slow moves are
sensual and can build strength,
but they don't give much in the
way of cardiovascular benefits.)
Overall, I'd say that DaHal's
book is the best introduction to
the basics and the history, and
once you have mastered its
contents, you're ready to move
on to Cooper's work for much
more about veil dancing, props,
and floorwork.
While I found things I like in all
of these books and particularly a
lot of good information and ideas
in Dallal and Cooper's books, I
won't be quitting class anytime
soon. If you want to leam to
beHy dance, you really are best
off in a class where you can get
feedback on your form and see
the move done live and at varying
speeds from different angles until
you get it. However, I think we've
all had the experience of wanting
to practise a couple of days later
and not remember everything
from class, and that's where books
like this are great resources.
Drake
Shameless Teenage Kicks
by Dory Kornfeld.
I was watching TV last week and a ad for a
new board game came on. The ad showed two
girls sitting on the floor of an expertly decorated
bedroom (complete with pink bedspread and
posters of boys), laying down cards and giggling.
The commercial ended with a voiceover giving us
the name of the game (which I now forget) and
the tagliner "From gossip to lipgloss, everything
teenage girls like!" or something to that effect. Now
I know lots of people, teenage girls, grown women,
and some choice male friends, who like gossip and
lipgloss, but the idea that gossip is on one side of
a spectrum that has lipgloss on the other end, and
between these two things lies the total range of
things—everything—that teenage girls like, makes
me nauseous. These "teenage girls" catered to by
this glorious new board game, are surely the same
teenage girls that YM, Seventeen, and Cosmo Girl!
DiSCORDER - December and January, 2004 and 2005
are written for. The gossip-and-lipgloss set.
Most teenage girls I know are not of this ilk. They
are smarter, sassier, and a lot more fun than these
board games and magazines make them out to be.
And what are they reading? Well they're probably
reading YM, Seventeen, and Cosmo Girl! too, and
they think it's dumb, but they read it anyway.
Maybe they're reading Cosmo, which is about, well,
gossip and lipgloss, but also* sex and how to be a
ball buster at the office, but still be sexy. Hopefully
they've found BUST ("the voice of the new girl
order"), which is about feminism, organic women-
made lipgloss, and still more sex, but that might not
be the right-fit magazine either. Some of them, I'm
sure, are reaching to the 1970s copies of Our Bodies
Ourselves that sit on their mom's bookshelves just
because the information is frank and honest and
not infantilizing. I'd love to give these girls a copy of
Sassy, but my few copies are
■M/UM> precious and there aren't
ever going to be any more
l&W I    Published-
m^***!® I We" now we can stop
-Tk worrying  about  our sisters
-'-»! anc' cousins and the kids
we babysit for and are
counselors for at summer
camp. Finally, there is a new
player on the scene, an
intelligent, quirky, thoughtful
and spunky publication that
is totally Shameless. Shamless
magazine ("for girls who get
it") is now in its second issue
and is available all over
this city. Started by Nicole
Cohen and Melinda Mattos,
two Ryerson Journalism
Students (now graduates),
as an assignment for a class
to create a magazine that
didn't exist, but should. To
them "It made perfect sense
to create a progressive girls'
magazine...a smart, feminist
teen magazine that was fun and accessible...an
alternative to the glossy teen magazines that talk
down fo girls and...treat girls as little more than a
lucrative market for beauty products."
Shameless' second issue is out now, and it's
available all over this city . This issue is the "Virginity
Complex" issue, written because the editors wanted
"to tackle a subject rarely discussed frankly when
teenagers are involved: sex." The feature article,
"Saint or Slut," is all about debunking the virgin/
whore dichotomy that society sets up for girls and
tackling the awful girls-are-sluts-guys-are-players
double standard. It's stuff I feel like I've heard a
thousand times, but maybe that's because the
article's writer, Ellen Kate Friedrichs, was my camp
counsellor once upon a time. I recall the hundreds
of issues of Seventeen that I read all having articles
telling girls that they don't have to have sex until
they're ready and that readiness is a personal thing
with no "normal," but all those articles came with
sidebars of "how to tell if you're ready" checklists.
Shameless does not descend into the belittling
depths of quizzes and checkboxes—Shameless is all
dbout giving girls the information they need to know
what's right for them. Shameless actually writes
about abstinence-before-marriage clubs and what
the pros and cons of them are; Seventeen merely
advertises them.
There's a lot more than just sex in this issue of
the magazine though. There's an advice column
(with culture jamming tips), food politics issues and
an accompanying recipe (delicious CanCon from
the Juice For Life cookbook), profiles of awesome
women from the famous (Margaret Cho) to the
homegrown (an 18-year-old Toronto graphic
designer and "attack illustrator"), an article about
women in the workplace, the requisite DIY craft
column, fashion accessories (the glory of the one-
inch button collection displayed on a denim jacket),
book reviews, band profiles, comics and art. And
no horoscopes or dating tips—hoorayl It's a pretty
great assortment of snippets of thought and culture
that any teenage girl ought to find interesting, even
if some of it is written in a strange tone, like the article
that promises to be about girls who breakdance
and reads moce like encyclopedia copy.
There is also a lot more magazine to the
Shameless name; the magazine has been
responsible for a whole host of community events
(sadly, all in Toronto) to promote and fundraise for
the publication. From alkage parties to lit readings,
these festivities serve to make the magazine possible,
but also to create a Shameless community. Says
Nicole, "We meet a lot of people at our events who
become part of the magazine's teen collective or
who contribute art" or writing. We like to meet our
readers and supporters and we also want to put on
teenage-friendly shows and events, and especially
events that feature women in the arts communities."
There is also a companion CD, Good Grooming
for Girls: an all girl band/singer compilation that
highlights local talent and other wonderful women
from bands and labels that I certainly had no
familiarity with as a 17-year-old.
Creating more teenage-friendly events that
still draw the university crowds seems to mirror the
readership of the magazine. Though the Shameless
is targeted towards teens, I know tons of BUST-
reading twenty-somethings that all think it's the
greatest magazine we never had as teenagers
ourselves, and Nicole assures me that teenagers are
reading it as well. "We get lots of letters and emails
from teenagers but we also get mail from women in
the 20's and 30's, saying how they wish there was
a magazine like this when they were growing up,"
she says.
So it seems that being shameless goes in
two directions; firstly you get the teenagers who
finally get media that lets them know that they're
allowed to be intelligent and diverse, but you also
get grown-ups who don't have to sneak out of the
supermarket with the copy of Seventeen hiding in
the bottom of their shopping bag—they can read a
teenage magazine with pride, and hopefully pass it
on to a sister, daughter, niece or friend when they're
done.
. The next Issue of Shameless comes out In
February. Visit www.shamelessmag.com for thrills and
excitement.. JlJuttyMJL
Make yourself some
swell underoos
$*>tc/ jptti**-
Jh^t
JUcJ^
Underwear is something that most of us wear everyday. With the exception of having a few fancy pairs we probably don't think
about them that often. It can be really difficult to find them on the right size, the right colour or the right fit. And now you can finally
remedy that while proving to yourself that you area creative genius.
This project is really based on the expertise of Charlotte and Chrissy from the Seamrippers. Although I made a few adjustments the
design and pattern are basically theirs. Its really hard to describe a project like this in such a small space, so if you have any questions
please email DIY@seamrippers.ca. And really one you get started its easier than it seems.
you will need:
Cotton lycra: make sure that it has two-way stretch (top to bottom,
side to side) Dressew (on hastings) has a really good selection of
colours but stretchiness may vary from fabric to fabric, you can use
other stretchy fabric but should probably stick to cotton, if yqu're
feeling rebellious you will have to cut the gusset from a separate
piece of cotton.
Elastic or elastic lace: this should be a similar stretchiness to your
fabric, there are lots of colours available, make sure you have at
least two metres, even if you don't use all of it.
Needles: if you're using a sewing machine use 'ballpoint' needles for
knitwear or jersey, they have a slightly rounded tip which pushes the
delicate fibres aside instead of tearing them.
Thread: if you are using a sewing machine you have more colour
options as you can use two threads at once, the spool of thread
should be the colour of your elastic and the bobbin the colour of
the fabric, when you sew the gusset at the front this will give you line
of contrasting colour. Make sure that the two colours of thread are
the same weight and have the same fibre content as one another.
this will run smoother through the sewing machine, i would use
polyester as it is stronger.
Pins: pin everything before you sew it. this will prevent slipping.
Decent scissors: i know I' m repeating myself, please invest in a good
pair.
Sewing machine: optional, but it will make this project way faster and
the seams wlprobabry hold together better, use a medium zig zag
stitch as it has more stretch.the stitch will probably about as wide
asitislong.
You will need to enlarge the pattern provided (figure 1) either
by photocopying it about 800% or by redrawing it. I recommend
being brave and saving yourself the 20 cents and the trip to kinkos. By
redrawing it you can make some small adjustments as you go.
The waist band should a few inches bigger than the mid point
of your hips when you hold it up to yourself. Depending on your size
and how you wear your underwear you may need to play around
with the pattern to get it exactly right. The closer to the edge you sew
the seams the wider the underwear. The more you cut off the top the
more bikini they will be.
When you have decided on the correct size trace the pattern
and cut it out. Make sure that both the front and the back are along
the same line of stretch, (figure 2).
When you have your pieces cut out, overlap them at the crotch
until the sides meet up at least several inches, this wiH create the
gusset. Fold the edge over slightly (1/4 of an inch or less) and tuck
underneath. Pin in place. There will be two seams one on the inside
and one on the outside. The outside seam should run along the front.
The results of this are more attractive and will prevent any chafing.
Sew each folded under edge onto the body of the other piece
(front edge onto back piece etc.) with a zig zag stitch. If you use a
contrasting colour for the top thread this will show along the front of
the gusset.
When you have the pieces joined pin the side seams together
along the inside edges. Sew together, trim edges. By now this wilt be
recognizable as a pair of underwear.
Adding Elastic:
As the elastic Is sewn on the outside, this pattern calls for the
slightly decorative underwear elastic available in lots of colours. Sew
the waist band on first, cut a piece long enough to go all the way
around the waist band. Start at the back in the middle about one
inch from the edge of the fabric, (figure 3). Put the pretty edge of
the elastic closest to the edge of the fabric. Pin It in place. Sew the
first Inch in place along the top edge of the elastic, (figure 4). After
the first inch start adding a small amount of tension by pulling slightly
on the elastic. Sew the whole way around with zig zag. Fold the raw
edge of the fabric over so that the folded edge i? flush with the edge
of the elastic. Sew In place along the bottom edge of the elastic.
(figure 5). Trim off the excess fabric, this requires good sharp scissors,
a steady hand and some patience. It may take some practice to get
a perfectly straight line. Repeat these steps wtth the leg elastic. If you
want to, now is a good time to readjust the angle of the leg holes.
Trim any loose threads. Put them on and dance around, unless
you made them for someone else.
Variations:
Underwear can be made from recycled materials, such as old
t shirts. This can be tricky as jersey is not as stretchy as cotton lycra.
It can also be difficult to fit the pattern onto the t shirt and have
everything Hne up. Fully take the t shirt apart and lay it flat. When you
cut the pattern, cut
the pieces bigger than yo would expect to. After you have
assemble the pieces but before you put on the elastic you may want
to try them on. At this stage it is easier to make them smaller if you
need to. Then follow the steps for
Making Regular Underwear:
You can also add embellishments to you underwear. Rhinestones,
beads, lace, ruffles, ribbons, these can all be added once you have
the basic pair complete. Just make sure that any fastening is on the
outside or will not cause any irritation if It Is on the InsM*. Ignoring this
detail could prove uncomfortable, don't say i didn't warn you. .
If you need some more ideas there are many different
websites these should give you a starting point. And while you're
looking please check out www.wWmunro.com the underwear he
makes are for boys but they are truly inspired.
The Seamrippers Craft Center offers underwear making
workshops and any questions that you have we can probably answer.
Our workshops will begin again after the hoHdays, check our website
for specifics www.seamrippers.ca. And if you're free, on Saturday
December 18th we are having another craft fair 3-10 pm. 436 West
Pender, admission $2. This one will also be followed by a dance party
soft you need any last minute gifts for someone else (or yourself, we
won't tell) come by.
J^_^nJL  *-
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DiSCORDER - December and January, 2004 and 2005 DiSCORDER
9MiA«yl_________W
COMPILED BY SUSY AND KAT,
THE ANSWERS TO
THESE BURNING
QUESTIONS
EVEALED:
fVGL-
^^0*»» lijMJm
*J&ky is Dandi 0ind missing
a piece 6^"h^':;tongue?§'
• Who attacked Lucy Brsiim
with a Muppet?
I ^nd just how far do
Stinkmitt goitnder the
mistletoe?
Old Time Relijun
Prophesize!
Old Time Relijun have been
around for upwards of six years
now, toiling in glory and relative
obscurity in Olympia, Washington.
This strange ensemble recently
released Lost Light on K Records,
a postmodern, bluesy piece of
hypnotism that draws equally
from '60s stoner rock and ancient
religious texts. Jonathan Falcone
of Logo magazine suggests that
listeners "forget Garage Rock,
this Is Garage Crack." We heartily
agree. Arrington de Dionysio,
OTR's frontman, was kind enough
to share his vision of 2005 with the
DiSCORDER readership.
"Mount Rainier comes closer and
closer to its boiling point, ready
to blow its top, spewing smoke
and gas, turning most of western
Washington into a modem day
Pompeii. It will happen while I am
on tour, far away, so I am not too
worried about my own personal
safety. I wiH miss my friends.
"The Argentine economic crisis
will slowly but steadily improve
with continued prosecution of
the military chiefs responsible
for the 'Dirty War' and the
disappearances of the late '70s
and '80s. When these murderers
are finally brought to justice,
everybody wins.
- "Daily Bfe for millions of people
on the continent of Africa wilt
continue to get worse.
"Canada, and some countries
of Europe and South America,
will become the beneficiaries
of an enormous influx of some
of the brightest and most
creative minds America has
to offer, due to fhe increasing
hostilities encountered by these
people in their home country.
"There will be a lot of magazine
articles about cloning.
"Opponents of the Bush
Administration and its far-right
agenda will have to come to
terms with the fact that his power
over middle-America comes
from his ability to speak to the
lowest common denominator by
cloaking his lies in quasi-religious
terms, which captures the
imagination of a populace hungry
for spirituality in the relatively
empty field of consumerist culture.
Opiate of the masses or not,
spiritual hunger and the quest for
- meaning of modem man must
be taken into consideration as a
political issue if there is ever to be
any hope of defeating this cynical
tyrant."
"Yo, all we have to say is that if you
f*cldng discorder nerds think you' re
getting a round of cone outjcujs
under the Peking mistietoe%ifc
year, you better have saved up
aH fhe xmas money yer mommies
gave ya this year, suckasU! It's
either that or you make sure that
it's SNOWING hard on xmas eye,
no what i'm sayin'? Snowing real
hard-then we'll be wiping our
runny noses on yer stockins' fer
sure!!!
merry xxxmas. prancer andwfxen
(aka betti and jenni stinkmitt)"
Dandi Wind*
Mouth Full of Blood!
Dandilion Wind Opaine and Szam
Findlay have more than just really
cool names: together they make
up Dandi Wind, the electrc-art-
something duo are currently
sweeping Shindig. Look out for a
feature next month, and in the
meantime, to whet your appetites,
read about Dandi's childhood
misadventure.
"I grew up in the northern Interior
of BC ih between two small towns
. where winter lasts for like 5 months
and if gets to negative 40. Our
water well would freeze (cuz we
didn't have indoor plumbing) so
we'd take our large blue gallon
buckets into town to fill with water.
Anyways, one day when we were
on our way to town my dad was
9 BUTCHERSHOP GALLERY—
TOO MUCH LOVIhfl
• OLD TIME RELIJUN—
VOLCANOES! CLONING!
BRAIN DRAIN!
CAROLYN
MARK
MAKES A CHRISTMAS
BEVERAGE!
warming up the car and the rest
of the family was waiting fhside so
I decided to walk around towards
our greenhouse where I saw the
most BEAUTIFUL, GLISTENING pole
covered With delicious looking frost.
It looked so fresh I opened wide
and decided to take a nice long
lick. Somehow I didn't realize that
my tongue would get completely
stuck to the pole. I pulled it a
slight bit and it wouldn't budge. I
stood there for a minute wagging
my head back and forth but my
tongue stffl wouldn't move. Then I
heard my mom call "Dandi, come
to the car time to go into town!"
and I started panicking...I decided
to RIP my tongue off the pole to
avoid my folks catching me in this
embarrassing pose. Before I ran
to the car I saw a piece of flesh
hanging on the pole...though the
most intense pain ensued I held
my mouth shut and jumped into
the backseat. My eyes welled up
with tears and my mouth filled with
blood. My mom wondered why I
was so quiet and told me to Speak
up. When I opened my mouth
blood poured down my neck and
to this day I still have a square
iehunksrfeihg from my tongue."
The Butchershop Resolves!
If you don't know already, The
Butchershop Gallery is located just
off Main street, at 26th ave. and
hosts some of the raddest and
weirdest artistic and otherwise
"events to grace our fair city. The
Butchershop has a monthly comic
jam (second Sunday of every
month), hosts music shows, art
exhibitions, fashion shows, and
even swap meets. Basically, you
name it. If it's cool, they've done
it or are currently doing it. And
there's even a We drawing class
every Wednesday!
Manipulates Drunks!
ft sucks that Playboy .corn's "sexiest
babe of indie rock" left Vancouver,
but we're happy for her, and even
though she isn't from here, we still
consider Neko a hometown hero.
Her new live record. The Tigers*
Have Spoken, has only heightened
our anticipation of her next studio
release (due in spring 2005). The
woman with the best pipes in
aft-country was kind enough to
share an odd Christmas memory
with us.
"A couple years ago I decided to
skip X-mas altogether. I decided I
was gonna work. I made, two big
pans of fudge and bartended at
The Hideout (best bar in Chicago,
nay, the world). It was very nfee
to just sit back and watch, other
people's holiday drinking, without
any danger of any of them being
related to me. X-mas drunks tip
realty well, especially after you
manipulate them with good
fudge. Peace on earth! Let me
call you a cab."
In my mht$nothing goes
together like Victoria's
^Terrible Hostess" and a good
stiff drink. Here's her recipe
for an "English Mother."
1 shot vodka or gin
X^^^m water
Splash of Ribena
^marve over ice garnished
with lemon
"A proper holiday bash is held
on Boxing Day serving tke
$ajor Escape Hatch functio^^i
of extracting you from the
Ipiis of your family while
depositing you back into
the drink-filled arms of your;
friends. Have plenty of Ice on
hand."
YOUNG AND SEXY: TERRORIZED BY PUPPETS!
Holly Day once said, "This band
has completely restored my faith
in little, unknown bands and music
in general." All I can say is, thank
God Lucy dumped Paul, leading
him to start penning his gorgeous,
sad, weird songs In the first place.
2002's Stand up For Your Mother
remains one of my favourite local
albums of all time, and I was stoked
to hear that another album is in
the works. We asked these gems in
the Mint Rec's crown about their
most intense holiday memories.
Lucy: "When I was really
young, my dad seemed to
take pleasure in buying me
gifts hecouldterrorize me with.There
was the evil Kermit puppet I got
one year that he used to
attack me with when I
least expected it. He kept it
hidden in the closet with the Steely
Dan Kafy Lied record that I was also
terrified of because of the praying
mantis on the cover. Then there was
that "Operation" game which
played right into my fear
The Butchershop New Years Resolutions
- Less Hawkers - Get more than two Sis for the float
- Check phone messages more often - Less lovin' in the office
WHAT WE WANT FOR XMAS - a nice big ol' grant - sprinkler system
of anything medicaL "The best gift
was the Fisher Price Tape Recorder
(that used to come in two-
tone brown). My friend Martha and
I recorded hours of inane giggling,
poetry, and recorder solos under
the guise of 'the longest radio
show ever.'"
Paul: "X-mas Recipe for Disaster.
Take one extended family, mix
liberally with alcohol, and add a
dash of political debate. While
this is marinating, throw a game
of Trivial Pursuit together with
too many small children running
around. The results are never quite
the same but equally disastrous.
This concoction should never be
attempted more than once a
year." D dJwWltobb
CiTR's Music iMmctor and
^pilghtl^ Curmudgeon
Dishes on the Platters
This year I've been called everything from "the saviour of noise" to
"a brain-dead monkey with a Commodore 64." This sty that I call
an office has seen more than 2000 rekkids pass through it this year,
and I have listened to...well...most of 'em. I wish I could listen to all
of them, but sometimes you really can judge an album by its cover.
Sorry Pimp Tea. Sometimes it's just a no-brainer. The programmers at
CiTR will want to spin the new release on Touch and Go more than
the new Butisweat from Saskatoon. But those unlistened-to albums
do start to pile up, and sometimes I just have to plant my ass down
and listen to 100 CDs in 3 hours. That's always fun. That is what this job
is all about. And you never know—there may be that one gem in the
stack that CiTR is looking for. Please?
Lists like this are always hard, because you inevitably forget that one
thing that really deserved to be mejitioned, but I've done my best
to think back over the full year. So here is my very condensed list of
what stood out this year, good and bad.
Best reason to start doing acid again:
COMETS ON FIRE - Blue Cathedral (Sub Pop)
Comets on Rre return with their unabashed approach to psychedelia
on this highly anticipated follow-up to 2002's Field Recordings From
the Sun. Bght tracks of hallucinogenic bombast, with new member
Ben Chasny (6 Organs of Admittance) offering some acoustic
method to Comets' electric madness. In a word or six, the best
release of the year.
Worst trend to keep an ear out for in 2005:
Singing like John Cale
Toronto's Hidden Cameras are now on Rough Trade, which means
a giant embrace from the worldwide hipoisie. Unfortunately this
means a spawn of Imitator bands who sing through their teeth, all
•wtth nasal flat voices. Do yourself a favour next year Ignore all of
these groups (and shelve your copy of Mississauga Goddam while
you're at it) and grab Brother John's Paris 1919. It's the original, and
it's way better. Trust me.
Best reason to tour without a new album to promote:
YO LA TENGO -Richards on Richards -May 24 (Victoria Day)
Without the strain of having to slog out new material—let's face it.
Summer Sun was as boring as a Low tribute album—Yo La stuck to
older jams, playing loose and lazy and having a ball. Extra points
for covering The Kinks' "Victoria."
Worst reason to go to an after-party:
Because the guy from INTERPOL is DJing.
Charging something like 15-20 bucks at the Tokyo lounge to hear
the bassist from Interpol spin "80's electro classics" is how you speH
f-u-c-k+n-g- s-c-a-m.
Best evidence that scenesters can make quality product:
THE LIARS - They Were Wrong So We AU Drowned (Mute)
2002's They Threw Us All In a Trench and Stuck a Monument On Top
saw The Liars on their way to being grouped In with the white-
belt Brooklyn crowd quicker that you can say "I own every DFA
release on vinyl." So what did they do? Alienated their audience
completely with the most chilling, sparse, and fucking terrifying
record this year. Supposedly recorded in a cabin in the middle of
winter. They Were Wrong makes you constantly check your back to
see if the Blair Witch is about to pounce or, god forbid, be re-run on
the Space Network for the 100th time.
Worst press-kit photo: This guy.
I don't know who this guy is or what his CD
sounded Hke. I do know it is not on CiTR's
play list.
Worst letdown: the rise and faH of noise
TIE: BLACK DICE-Mesa/una-August23K'/SONICYOUTH-Commodore
-July 13*
The sold-out all-ages Black Dice gig gave me hope that the younger
generation is starting to embrace more avant-garde forms of
audio. Black Dice impressed me with Miles of Smiles, and I was
curious to see what they did live. WeU, what Black Dice do live
is get realty high on BC bud, turn
knobs tor  50  minutes  without
even     acknowledging     each
other's presence—let alone the
audience's—and perform the
.   most   self-indulgent,   juvenile,
unrehearsed wank-fest. Noise-
rock pioneers Sonic Youth, on
the other hand, eschewed noise
in favour of more conventional
fare on their tepid Sonic Nurse.
(By the way, SY, if you're going
to charge 50 bucks a ticket,
please play something off of
Daydream Nation.) So all of this
leads me to the conclusion; if the
new generation of "popular"
noise is essentially bullshit, arid
the   oldsters   aren't   doing 1t
anymore, then I'd prefer that
the form not get embraced. Do
it well or go away.
Patton Oswalt, Hke David Cross, is from Atlanta, Georgia, speaks in a
nasal drawl, and talks about fhe ignoranceof the American voter.
Oswalt, however, is a little more esoteric in his delivery, taking stabs at
such targets as movie producer Robert Evans, Stella D'Oro breakfast
treats, and men who shave ther testicles in public. Feefin' Kinda
Patton still makes me giggle after listening to it for the 35th time this
week.
Best proof that you're never too
old to be a seminal dadaist rocker
MISSION OF BURMA - Richards on
Richards - June 4*
After a nineteen-year hiatus, not
only did this year's On off on
prove that MoB were still
capable of kicking most so-called
art bands' asses and serving it to
them for breakfast, but Mission of Burma's performance at Richards
contained more conviction, honesty, and all-out power than we
usually see these days. Fucking glorious.
Best example that hip hop can appeal to the most off-the-wall
listener cLOUDEAD - Ten (Mush)
Ever wonder what The Residents might sound Hke if they recorded
phat beats and fresh rhymes? The wait is over.
Best reason to retire your David Cross record collection:
PATTON OSWALT- Feetfn' Kinda Patton
Best DVD to show someone who still thinks DJs are
"talentless rip-off artists."' DJ SHADOW- In Tune and On
Time Live! (Geffen)
Josh Davis' annual installment came 'm the form
of a live DVD featuring a stellar performance last
year in London. Chronicling his entire career m a
90-minute set. Shadow proves there's more to the ■
art of turntablism than just playin' rekkids.
Best example of sistas doin' it for themselves:
GANGBANG - The Album
The epitome of DIY (complete with hand-drawn,
one-of-a-kind album covers and titles), local ladies
Sarah Campbell and Andi Maddalozzo bash out
infectious, stripped-down rawk with intelligently
hilarious lyrics. Songs such as "Circumcise Your
Heart" and "Beavers and Ninjas" will keep your
toes tap pin' and a shit-eating grin on your face.
Oh yeah, don't miss 'em live.
Wont promotional phone call I have received
this year
Phone: Ring ring.
Me: CITR music department...
Guy: Hi, I'm in a band, and I was wondering if we
could send you our CD?
Me: [sigh]...Yeah, go ahead. What is your band's
name?
Guy: Euthanasia.
Me: Uhhhhh... you are aware there was a legendary
punk rock band from Edmonton called Euthanasia
back Si the mid 80's?
Guy: Oh yeah, we know.
Me: Ohl Sorry! Ok! So what kind of music is it?
Guy: We're punk rock.       |\,
Me: [click}
DiSCORDER - December and January, 2004 and 2005 The stars must have aligned. The long-awaited Sympathetic Sounds of Montreal compilation has finally
been released by Sympathy for the Record Industry, featuring tracks from Les Sexareenos, Toronto's
Deadly Snakes and former Spaceshit, BBQ. The release happens to coincide with the Western Canadian
tour plans of two of Montreal's newest rock and roll sensations: The Demon's Claws and Skip Jensen &
His Shakin' Feet. The tour (largely booked with the help of garagepunk.com forum users) will see The
Demon's Claws and Skip Jensen & His Shakin' Feet playing all over BC in early December.
I had a chance to catch up with Serge—the frontman for The Scat Rag Boosters, drummer for The
Demon's Claws, and all four limbs of Skip Jensen and his Shakin' Feet—and ask the following half-assed
questions:
DiSCORDER: How healthy Is the Montreal scene right now?
Seriously, the Montreal scene is not what it once was. Scat Rag Boosters is on a hiatus, more or less. Les
Sexareenos are dead, of course. The Spaceshits too. The Cut Offs as well. BBQ is not in Montreal very
often. King Khan is in Germany. Anyway, it's really not like it was and it won't ever come back again.
Like everything else, I guess.
When I first started, I was taken aback by The Spaceshits. l-saw some of their first shows and they really
motivated me to start playing for real. All the other shit around Montreal then was soooo dead
compared to them. But, we're talking 1996, that's 8 years ago.
Now, the remaining bands are Royal Routes, The Sunday Sinners, Skip Jensen, and us.
Stack O'Lees is not really playing anymore. We used to play more in Montreal altogether, now the bands
that are mostly playing are The Sunday Sinners and The Demon's Claws.
How long have the Demons Claws been together?
Now, it's been a little over a year, Patrick, Ysael and Jeff started playing for a few weeks with another
drummer, but it wasn't working really weH, So, when they threw the other drummer out, I said, hey, I
can try and since then, it's been a love story. Until the big break up when we'll tear each other's faces
off.
What other projects are the members of the Demon's Claws involved wtth?
Well, from time to time, we all play with other people. Ysael was (or still is) in a band called The First Times,
he's also replacing the bassist of The Sunday Sinners for one show (it might be more, who knows?). And
he plays with me too. ?. --.. 0 liflEp
Patrick started his another project too. The Debiles and he plays drum for my solo thing, Skip Jensen.
Jeff works on other stuff, alone mostly and I, play with Scat Rag Boosters and Stack O'Lees from time
to time, or so it seems.
How important is Montreal's garage history (The Gruesomes, Deja Voodoo, Og Records, etc.) to the
bands playing today?
The truth is, it's not important at all for people like us. The Gruesomes might have some good songs, but
I was never really famiflar with them and not really interested either.
Deja Voodoo, I saw live a long time ago, live they were fun, but what I heard-on record didn't do it for
me. I don't know anybody in bands that really like those bands like The Gruesomes or Deja Voodoo.
On the other hand when I first saw The Spaceshits in 1995 or 1996, Jesus, it was so fun to see, these guys
were great!
What other bands should we be looking out for? CPC Gangbangs? Sunday Sinners?
The Sunday Sinners are great, really good songs, it's just really good! So, yes it's band to watch out for.
1 really fike Royal Routes too, lots of noise, it's very strong stuffti'think they're putting an album out on
Goodbye Boozy from Italy. It should be real good!
We played with a band called We are Wolves, they're electro clash, I guess. They were very good Hve.
Don't know if it would be really good on record though, got to wait and see.
Are you looking forward to coming out west?
Oh, yes, we're really looking forward to come out west, we've all been there before, Jeff is from
Edmonton and I came out west three years in a row when I was around 18 years old. So, we're all
happy to see Vancouver again, Victoria, apart from Patrick, we've never been there before, so ft
should be fun. We've heard great things about Nelson too! Calgary should be fun! All the shows are
gonna be special for us, whether it's in Regina, Mission or Winnipeg. I Hke the prairies a lot too, it's
going to be fun to see it again. We've never ptayed out west before, except for Jeff, who played in
Edmonton, his hometown.
Upcoming releases?
Well, we have our album, which is coming out on cd on Dead Canary Records, out of Ohio, USA and on
vinyl on P-Trash Records out of Germany. P-trash is also releasing a 7". And we have another 7" coming
out in New Zealand on Perpetrator Records. So, it's aU good for nowl D
by Chris Wa»ii
Saturdajpnight begins as the rain breaks and the stars
come out to play. There's a chill that leaks through
any gaps in_your clothing, the kind that only comes
on a clear, cloudless night. I begin my journey with
photographer ready, recorder poised, and questions
brewing. Once we hear the sound check, there is no
longer any thought of being cold. It's as if the stars
that opened up the night sky to let the cold in also
brought lush melodies for us to wrap ourselves in.
Stars features Torquil Campbell, Amy Milan,
Evan Cranley and Chris Seligman. Their last album,
Heart, was a collection of songs so romantic and
earnest they should have been lame (as Torquil said
to Exc/aim, "We make records for 12-year-old-girls"),
but somehow, gloriously, were not. Their most recent
album. Set Yourself on Fire, is a different, more satirical
beast: a darker record reflecting darker times
DiSCORDER: How is the material from the new album
working on the road?
Amy: Oh, it's so fun, it gets so boring playing the
same... we played Heart for two years.
Chris: How was recording this time around?
Amy: Ahhh, it was fun. We had this guy from London,
England come in—our friend, Tom Mcfall. He is very
entertaining, 'cause he's always like, "Helloooo,
you are a little bit pitchy" ... It actually sounds cute,
cause he's English.
Evan: It's great. It was great to actuaHyhave a little bit
of a budget this time, which definitely added to the
way the record sounds.
Where's the Introduction on Set Yourself on Fire from?
Amy: That's Torquil's father. He was actually in
Vancouver at the time, doing Bard on the Beach.
Torquil wanted to have his fatheran the record, so I
cafled him from the studio when we were mastering,
and Torquil said, ?*Get my father to say this." I told
him what to say, and I only let him dp it once cause
I didn't want to direct him. I warlike, "Okay, it was
greatl' And he was like* "-Well, I wanted to do it a
couple of times!" But I cut him off. He's a one-take
wonder.
How did you get the name for the album Set Yourself
on Fire? It's a lot darker than Heart.
Evan: I think it has a real comical urgency about it,
that I don't think people are really getting...and the
idea of physically doing that, or watching that, or
having that be a last resort, I think that it is deeply
satirical in a really dark time. So it is dark, but it is light.
Y'know? It isn't doom-and-gloom kinda stuff; it has
an air of satire.
Amy: ...There's a process of renewal that goes
along with that. But, you know, the idea of setting
yourself on fire is kinda sexual, if not done literally.
Hot business!
So there's Memphis, and I've read that you (Amy)
have a record coming out. Is there anybody else
doing anything?
Amy: Well, Evan is in Broken Social Scene...
Evan: Yeah, we're working on the next record. It might
come out in the spring. It always takes longer than
you think, but that's kinda the only thing that I am
working on. Maybe some other stuff down the road,
something with a banjo [laughs].
When is your record coming out, Amy?   '^0^m^fs
Amy. In the spring as well. I have stuff to finish in
December, but other than that it is done. There are
just a couple more tracks to lay down, and it wiH be
coming to a folk section near you [laughs]. "Do you
have the new Amy record in the folk section" .
Evan: What's your name gonna be. Amy?
Amy: Amy Mi|siH..c \. >
Evan: and the Fresh Western?
Amy: ...and the Fresh Western. Yeah, it is a bunch
of houses I know from Toronto who play bluegrass
'music. It will be very influenced by the recordings
Johnny Cash did with straight-up guitars; kinda dry.
So what did you guys do for Halloween?
Evan: I had spaghetti with my uncle.
Chris: Nothing.
Evan: Actually it was Scary-O's.
Chris: I didn't know they still made those...
Evan: We had a little party, watched some satellite
TV and ate some Scary-O's. It was great; I wish you
were there. D O
o
*
8*
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5 Keith Jones sent us this comic. Read about him in the June 2004 Issue of DiSCORDER.
DiSCORDER - December and January, 2004 and 2005 00
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DiSCORDER - December and January, 2004 and 2005 NEW YEAR'S EVE
AT THE RAILWAY CLUB!
JOHN GULIAK IT'S A TEAM MINT       CAROLYN MARK
7 STORIES AND 13 SONGS XMAS, VOL. 2! THE PROS AND CONS.
EN HILLBILLY CALIENTE
THE SMUGGLERS    THE EVAPORATORS
MUTINY IN STEREO RIPPLE ROCK
THE BUTTLESS CHAPS!
FRIDAY & SATURDAY JANUARY 21 & 22, RAILWAY CLUB
THE EVAPORATORS!
SATURDAY JANUARY 22, SEYLYNN HALL, NORTH VANCOUVER
ojOC^
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726 RICHARDS
604-687-6355
mcams*
ZULU RECORDS
1972 WEST 4TH
604-738-3232
Mint Records Inc. POBox 3613, Vancouver BCV6B 376 www.mintrecs.com -NEW MUSIC WEST
SrSf, fhfs fe f^ist a snapshot of
my liumbling thre^^i this year's
New Music WesfeConference. J
missed the Friday Ireynofe speech,
and most of the info I gained from
the panels was way ahead of
where I am in my musical career,
but so what?
Saturday, 1 arrived early,
expecting the place to be overrun
with gum chomping squeaky teen
girls deludidly hoping that The
Beat's Pop Singer Auditions would
discover them. Said girls were
quickly directed downstairs so
I had no crowd to fight through.
Rather anticlimacfic, really.
My first panel was
about legal issues relating to
downloading, featuring lawyers,
SOCAN and BMI representatives
and Nettwerk's Mark Jowett. The
focus was varied: mostly on issues
Concerning performing rights
for downloads and ringtones in
Canada and the USA, as well as
publishing sub-contracts, artist
development and how lawyers
can assist in the early stages, how
digital is opening up new avenues
for artists,   and  which   internet
l||PI||lgrvices pay best (nunes).
SOCA^b Terry O'Brien mentioned
that a good basic reference book
is Paul E Sanderson's "Musicians
and the Law in Canada." Things
I learned at this panel: exclusivity
is bad, broad rights licenses are
bad, and I barely know what
either of those mean anyway.
Next was a Music BC primer.
Sure, this info was mostly in the
new member package I got a
week earlier, but I figured, why
not? Here are the highlights:
assistance with filling out FACTOR
applications, a well-stocked
resource library, discounts on
various things including Music
BC's Career Development Series,
the Music Assistance Program,
and lots more.
Third, off to Freedom to
Groove's panel on website design.
The main thrust here was to keep
the site updated and to drive
fans to the website as much as
possible and keep them coming
back through interactive features
and goodies like exclusive MP3s
and contests. There were also
mailing   list   management   tips.
Pretty self-explanatory I guess, but
I still pulled away some tips I had
never thought of before, both
from audience comments and
from the panelists.
Then it was time for the
SOCAN seminar. Terry O'Brien and
songwriter Vince DiGiorgio (he
wrote that "You're A Superstar"
and he's responsible for
unleashing 'N Sync on us, so now
you know who to blame) gave a
brief overview of SOCAN's services
as well as pitfalls to be wary of as
songwriters. Things I learned at
this panel: since TV and film are
the largest source of revenue for
SOCAN members, maybe I should
give a damn about film and TV
after all.
Lastly I went upstairs to the
megapanel whose title was simply
"the Pop Music Business." This
was a pretty informal panel, with
it being thrown out to us to ask
what we wanted to know. After
a moment, a question came and
the conversation flowed easily
from there through topics such as.
the future of selling ringtones, how
indie labels are booming and the
majors.are becoming distribution
houses more than anything else,
how to use the internet to reach
those little bastards who. don't
watch MTV or buy CDs, and how
to micromanage your buzz.
I went into NMW with no clue
what was going to be said, worried
that maybe the industry really
was in trouble, but I left feeling
like Geoff Tate was right when »
he said that in reality the industry
is opening up a new frontier and
that there was more opportunity
and tools available than ever.
And it's all available right hene as
Vancouver becomes more of a
music business hub city. I also left
knowing a little more about what
my next steps are and where to
look for resources to continue
onwards. And aside from ail that
profound learning bullshit, true
though it may be, I had fun and
a lot of laughs and look forward to
next year's conference.
Vampyra Draculea
&
:':>
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"We wrote the book on partying!"
www.granvillevan.com Stephin Merritt is the magical, pulsating (and depressed) brain behind
the Magnetic Fields, one of the best (and literate and charming) pop
bands in music today. If you have yet to hear 69 Love Songs, their 1999
magnum opus, you are living the life of a musical hobo, sustaining
yourself on scraps and clinging to a hardscrabble existence, while we
Magnetic Fields fans gorge ourselves on expensive chocolate and pass
out on piles of money. Or something.
Stephin Merritt is also in the 6ths, the Gothic Archies and the Future Bible
Heroes. He talked to DiSCORDER in a dank dressing room before the
Magnetic fields' show at the Vogue Theatre last month.
DiSCORDER: How's the tour going? You haven't been to Vancouver
before, have you?
Stephin: We've never been to Vancouver...I've never been to
Vancouver.
Have you seen much of the city?
I haven't seen anything yet and it's raining and we went to soundcheck.
So all I know of Vancouver is that it sometimes rains here.
What are your feelings on touring?
I can't stand it. I hate touring. It's the worst part about being a musician.
In fact, the musical part of it isn't much fun either, I would rather be
touring as a garbage collector than as a music performer. Garbage
collectors don't have to think too hard about it.
ts It the traveling or the lifestyle?
The constant traveling and not being able to see anything. It's very
stressful, traveling with four people who you've known for awhile, it
makes us all argue and not get along. So it's not even the pleasure of
traveling with friends really. It's more like trying to keep peace. It's like
the Rolling Stones. The Rolling Stones didn't even talk to each other for
decades, apparently. We're not like that. Nor are we like the Rolling
Stones in any other way. Nor Is our touring set-up like that of the Rolling
Stones.
I've heard a lot about fhe pyrotechnics in your show.
I light a match.
In regards to fhe new album, I was wondering why you entitled the album
/, and about the alphabetical listing of the tracks.
Well, I always try for an alphabetical listing of the tracks, because it's
easiest to remember and it's the first one that one comes up with. If
an alphabetical listing works, then I use that one. I did that with the
second 6ths album and the Pieces of April soundtrack. 69 Love Songs
was originally supposed to be in alphabetical listing, but it turned out
the first eight songs would have been acoustic guitar songs. It was just
too misleading    *
ft starts wtth A ["Absolutely Cuckoo"] and ends wtth Z ["Zebra"]
Although the A song it starts with is no longer what would be the first
alphabetically. I wrote one to come before and then didn't use it as
the first song
Which song was that?
"Abigail, Belle of Kilronan." The Irish ballad.
"I": what was the rationale behind the use of "I"?
Well, I was making a record that didn't have a theme to it and more
than half the song titles started with I. So it jumped up and down and
screamed "look at me, look at me." So what could I do. It chose me
more than I chose it.
I was wondering how autobiographical your lyrics are, given that you
write from so many perspectives and in so many bands? How much of
your life ends up in your songs?
Well, my taste in music certainly goes into it. My taste in other things
probably surfaces in the lyrics. "But the particulars of my individual life
do not come to bear on my lyrics. My biographer would not get much
material out of my lyrics.
In the Interview Daniel Handler did with you for the 69 Love Songs box-
set, you mention "All My Little Words" as one of your "true" songs. I just
wondered what that meant?
I said "All My Little Words" was a true song?
Yup. Particularly with the word "unboyfriendable"
Oh, yeah, yeah. But I was not the one to coin the word
"unboyfriendable."
In regards to Daniel Handler [part-time Magnetic Fields accordionist and
author whose pen name is sometimes Lemony Snicket], I'm wondering
how you two met?
He called me, offering to collaborate on a musical screenplay, which
we have yet to finish, and happened to mention that he played the
accordion and so I enlisted him to play on 69 Love Songs and as an
arranger.
How have you enjoyed composing music for the Lemony Snicket
audlobooks?
We& if s. the perfect outlet for the Gotrfic Archies, which is my gothic
bubblegum band.
I've heard the plan Is to put out an album when the audlobooks series
is completed when the 13th book comes out. [Volume 11 of "A Series of
Unfortunate Events was released earlier this year.]
Yes, but he's only working on a book a year, so he's got two years left.
1 ."Experimental Music Love" 2."l Don't Believe in the Sun" 3."Yeah!
Oh, Yeahl" 4."Reno Dakota" 5."Come Back From San Francisco"
6.'The Book of Love" /."You're My Only Home" 8."Fido, Your Leash
Is Too Long" 9."Boa Constrictor" 10."Nofhing Matters When You're
Dancing" 11."Punk Love" 12."Wi' Nae Wee Bairn Ye'tl Me Beget"
13."Sweet-Lovin' Man" 14."The Things We Did and Didn't Do"
J 5."Roses" 16."When My Boy Walks Down the Street" 17."Busby
Berkeley Dreams" 18."Grand Canyon" 19."lf You Don't Cry" 20."i
Don't Want to Get Over You" 21 ."A Chicken With Its Head Cut Off"
22."My Only Friend" 23."World Love" 24."Wdshington, D.C." 25."Kiss
Me Like You Mean it" 26."Time Enough for Rocking When We're
Old" 27."Papa Was a Rodeo" 28."l Shatter" 29."Acoustic Guitar"
30."The Night You Can't Remember" 31 ."Xylophone Track"
Wtth 69 Love Songs, I read that when you conceived of it, you thought of
It along the lines of a musical revue in the style of "Jacques Brel Is Alive
And Well..." or that kind of, and I know that you've performed it as a two-
night performance. Will you continue to perform 69 Love Songs?
Hell, nol Never again.
Has there been any interest by other musicians to mount a production
of It?       k#-^p
Uh, yeah...oh, no. There's been interest from theatrical producers in
putting a revue together. But, the reason it was a Magnetic Fields
album is that a three or four hour revue, of one person's songs in one
genre...or one topic, is an inherently boring idea.
I think that's disputable.
Warholian boring. Secretly not so boring, maybe. But, it sounds enough
like a boring idea that it's hard to imagine selling it.
If someone came along and impressed you enough for you to think
they'd pull It off, would you be up for it?
Yeah, yeah, we actually have had serious talks about it. But I would want
to pick a different 69 songs, because I didn't write that album with a
theatrical purpose in mind. In fact, I was reacting against that. So, I
would have to rewrite a significant number of those songs, if not all of
them...Probably not all of them.
The number of bands you're in is fairly notable. How do you choose
which songs go where and how do you balance them?
Well, I only work on one at a time, so I know what I'm writing for and
it's easy to balance. I have different roles in them, too. Future Bible
Heroes, I'm just the lyricist and sometime melodist. The Gothic Archies
is just simply me in the best possible band for my voice. The Magnetic
Fields or the 6ths are...well, the 6ths is me with whoever I like, but the
Magnetic Fields is a band with other full-time members, that change
every album [laughing]. It seems like a band with full-time members.
Do you have any plans for a new 6ths album?
We've been talking about doing another 6ths album as a soundtrack.
Do you have a filmmaker or collaborators In mind?
There's a film in mind, but I can't discuss it.
And collaborators?
No, it hasn't progressed that far.
I wanted to ask you about having [writer] Rick Moody open for you on
the 69 Love Songs tour. I read his piece in The Believer...
I thought it was brave to have him do readings. How did if turn out?
I haven't seen him since I read the Believer article.
What did you think of the Believer article? [In the May 2003 article.
Continued on next page... recounted doing readings at the Magnetic Fields' shows and created a
list of "31 Love Songs."]
[Pause]
[Cough]
I think he should have talked to me a little more before writing it, because
I think I could have helped him go further in what he's saying. [Pause.]
Actually, I think it would have gone well as a dialogue. I should have
immediately called The Believer and asked to publish a retort, a
rejoinder, but I didn't. I suppose it would have been fun to have a feud
with Rick Moody, in which I did the same thing to his. Dale Peck actually
did that for me...No, I'm perfectly happy with Rick Moody, but I think he
assumes that he's offended me.
I wasn't too happy wtth his list of songs
The first review I ever read of 69 Love Songs said: "There's too much filler
on it, like all those country songs. For example: 'Papa Was A Rodeo.'"
"Papa Was A Rodeo" happens to be, probably, the most popular
song on 69 Love Songs. It's iconic and not filler-like. I expected, when
making a three-hour set, that there would be people who wouldn't
like everything. Of course, that's largely the point. But saying here's a
genre of music...l'm always interested in attacking the idea of genre
in music. It's horribly misleading. If I say that a love song is genre, and
then there are 69 different genres on the album, what happens to the
idea of genre? There are people who consider themselves to hate
country music, so those people are going to have to hate "Papa Was
A Rodeo."
Why do you think the country songs received such a negative reaction?
Well, that was just this one guy, but in Rick Moody's case, he hates
cabaret and show tunes. So, he didn't use any of Dudley [Klute] 's songs
and he lopped off a lot of the better songs on 69 Love Songs: the show
tunes and cabaret tunes.
What is your take on mainstream contemporary pop music?
I don't hear top 40 very much, because what I generally do is sit around
in bars and listen to thumping disco. So 1 don't hear top 40 until the
disco cover versions come out, except the part of top 40 which
is already thumping disco. So as far as I can tell all top 40 is...[starts
singing a disco chorus].
Would you complain about contemporary pop music?
I would always complain about contemporary pop music, no matter
what it was. I think, you never like it until 20 years later anyway, why
complain about it. We'll all love it in 20 years, no matter how it is now.
Did you have strong feelings about the results the US election last
week?
I have strong feelings about it, but I only discuss it with friends.
What are your plans for the next while?
I'm working on a musical adaptation of Neil'Gaiman's children's novel
Caroline for a theatre in New York. And for this summer,'in New York
and Copenhagen, I'm doing a Hans Christian Andersen musical—a
very abstract musical of dozens of his stories. And we're starting to think
about a new Magnetic Fields album...And the 6ths soundtrack thing.
And the screenplay wtth Daniel Handler.
Yeah, we're trying to find time in the next year, when both of us can
continue it. D
T0P5Q0ESTI0IDIICAN
1} Why did you re-record "I Don't Believe You"?
2} Why did you sign to major fabef? [Up until i. Magnetic Fields
albums had been put out by Merge]
3) Why was your live show acoustic only?
5) Can i get a hug?
tTOUMBLETONE
Wed. Dec. 15
The QUIET NUMBERS
STAR COLLECTOR
The CAPITALS
Wed. Jan.  12, 9pm
The Launch of
the Coachhouse Press Anthology
Biting the Error:
Writers Explore Narrative
with readings by:
JEFF DERKSEN, DAPHNE MARLATT,
GAIL SCOTT and ANNE STONE,
DARK BLUE WORLD
ELIZABETH FISHER and
RON SAMWORTH
Wed. JAN. 19
PRIDE   &   DISGRACE
(Forgotten   Rebels   trib) It seems we've published some reviews.
for those of you who are unfamiliar wtth the tenets of alphabetical
order, we have provided a list of the artists whom we have reviewed
in this Issue:
AA Sound System
A. Graham and the Moment Band
Jason Anderson
Frank Black Francis
Jennifer Gentle
Give 'Em The Boot (Various)
Good Grooming For Girls (Various)
Phil Manzanera
Ministry
Mosquitos
The Music Lovers
Polarbear
Projektor
Subtle
John Tejada
AA Sound System
Thick Glasses, Converse Shoes,
and Cowboy Hats.
(New Saskatchewan Records)
With an album cover
something like one you'd find
enveloping a Finger Eleven CD
or some other brand of hardcorelike Indie rock, AA Sound System
definitely takes you by surprise;:
This initially twisted amalgamation
of ska, country and emo
skemotry, if you will, leaves me
wondering, "Are there any genres
whose union would be more
unfitting?" Maybe some form of
death metal meets pop princess
would be a little harder to take,
but the same level of confusion
would be achieved as AA Sound
System have managed to pull off.
Subsequent to their introduction,
"40oz To 40days" requireg-d little bit
of advice for this budding group
of musicians: there are ways to
fake good pitch. Seriously. Tunes,
barely comprehensible due to -
vocal ambiguity, pelt blumsy lyrics
sung in a similar style to that of
John K. Samson (Weakerthans),
but are in an entirely different,
abandonned, gopher-holed ball
park where metaphorical $orrtent-
is concerned. The band becomes
'progressively emotry as their LP
plays on; eventually songs are
hard to differentiate. This Is the last
time I judge a CD by its case; what
I took to be artsy hardcore turned
into something I think would and
should be a hit in the prairies. I
was infinitely less than surprised to
hear this band hails from Northern
Saskatchewan, and describes
their release as, "Songs about life,
love, and the pursuit of Northern-
Canadian Happiness." I will say
one thing for the band. It makes
me realize that yes, cowboys have
problems too. Big ones, with big,
festering wounds only healed by
the slow strumming of an electric
guitar. Maybe the next emo fad
will be cowboy hats. Or CHAPS!!!
Mairin Deery
A. Graham and the Moment
Band
This Tyrant is Free
(Sonic Unyon)
I first picked this album up to
review because they thank Beck
in the liner notes and thought
if Beck has something to do
with this band then it can't be
half bad. However when I got
home and perused the CD more
thoroughly, I realized they also
thank dogs, snow, and people... a
lesson in the importance of small
print. This mishap proved to be
telling as the first song came on...
I thought some Modest Mouse
CD was in my stereo instead. I
still swear that they ripped-off a
Modest Mouse song, er, at the
very least, a guitar riff but as soon
as the singing began I realized
I was on a slippery slope into an
irreversible makeshift hell. You see
A. Graham and the Moment Band
highly enjoy chanting repetitive
lyrics over and over, they LOVE IT,
almost as much as the Polyphonic
Spree. Other than that there really
isn't too much to say, the sound
is relatively uninteresting, but I can
definitely see potential for growth.
Especially seeing as I discovered
that this album was at first just
a demo by Andy Graham, but
apparently Sonic Unyon stumbled
across it and saw something
special and so they re-mastered
it and re-released' it. Who knows
maybe they misread the liner
notes too...
Ebony Bertorelli
Jason Anderson
TheWreath
(K Records)
There are many reasons to be
an emo singer. Some people feel
alone when they wake up and go
to sleep, and feel as though tying
themselves to a scene or a style
is the best way to find everlasting
security. Some people are just
plain unhappy, and can only find
some consolation by venting their
introverted negativity by telling
everyone else about. it. Some
people feel as though no one
fully understands them, and can
ever really appreciate the bands
they listen to; though for anyone
who's ever seen Jason Anderson
(formerly Wolf Colonel) live, they
know that he's an entirely different-
breed of emo from the rest—full
of positive energy and good
humour. Anderson's follow up
to March's New England is both
more introspective, personal, and
driving than its predecessor, but it
never comes across as emotionally
heavy. Instead, listeners can hear
his sorrows become drowned in
joy, beautifully set with lyrics that
are so straight-hfttfrtg as to leave
no doubt as to theirtruth. While The
Wreath might not be immediately
loved by all, in the right setting it's
a golden album that's well worth
becoming intimate with.
Soren Bros.
Frank Black Francis
s/t
(Sonic Unyon)
It's like Frank Black took
every classic Pixies songxind then
remade them In the way that
should make every one of his diehard fans rise up in anger. That's
what I thought I'd be doing, but...
it's...goodl Really good. Turns
out, even the best of us loved it.
In addition to the original demo
tape that Black played into a
cassette waikmen for the would-
be-producer of Come on Pilgrim,
Black has included a complete
reworking of Pixies classics and
made weird new experimental
electronic versions with the help
of Two Pate Boys. The demo is
something that would really be
only of interest to the hardcore
Pixies/Black fan; hearing all
those tracks in their raw form
is fascinating for anyone who
is interested in the roots of the
now legendary band. In the liner,
notes Black claims that he was
uncomfortable releasing simply
the bootleg to the buying public
since it would alienate potential
new fans, but while the treated
(non-demo) disc is more suited to
the tastes of the general public,
only well-estabfebed Pixies fans
will be able to appreciate these
remakes of their gospel.
Jordie Sparkle
Jennifer Gentle
Valende
(Sub Pop)
The name may imply that this
is the latest lump of touchy-feely,
possibly Jesus-inspired, singer-
songwriter folk music to swell up
out of Sub Pop's catalogue, but
fortunately this is not the case.
Instead,   Jennifer   Gentle   is   a
seasoned indie rock band plucked
straight out of Italy's countryside
at their absolute ripest. The music
they make can't help but be
defined as psychedelic, but not
in the sense that modem critics
and fanboys alike butcher the
term. These Italian musicians are
about as likely to turn up on the
next Powerpuff Girls soundtrack
as Black Dice for many similar
reasons, considering their
connections to the Japanese
noise scene. This is psychedelic in
the way your parents might have
used the term. Picture Syd Barrett
sitting naked in a cardboard box,
drinking milk straight from the
carton after having taken four hits
of acid and you'll know exactly
the type of psychedelic I'm talking
about.
Now don't get me wrong,
they still retain all those essential
elements of shiny sixties pop
rock. All those infectious, circular
melodies, the jangling, simplistic
guitar riffs, the happy-go-
lucky lyrical experiments, and
everything else Haight-Ashbury is
here in full force. But it's the fuzzy,
basement-studio production,
the corresponding lack of polish,
and most of aU, the wild and self-
indulgent freak-outs that put this
stuff miles ahead of the Elephant
Six and other lovers of everything
retro. If you've never been able to
sit through Beyond the Valley of
the Dolls, don't despair, everything .
you've ever wanted to know
about the sixties Is right here.
Ben Ralston
Give 'Em The Boot Vol.4
Various Artists
(Hellcat)
Been a little outta the punk
rock loop lately, so I thought I'd
give this latest sampler from the
folks at Hellcat HQ a spin, and
surprisingly enjoyed most of the
acts presented. It's always a
good primer to see what bands
will actually still be around year
after year, and thankfully, most of
the tracks are unreleased, so for
the bargain basement price you'll
be payin1, you get some quality
songs, not just. throwaways Or
useless remixes (sorry Transplants).
Veterans Rancid kick off the
proceedings with "Killing Zone",
and mainstays Hke Die Hunns and
Roger Miret And The Disasters
contribute some powerful punk
rock tunes. fdr4he rude boys and
girls, you get new bands Bee The
Aggrolites (cool two-tone vibe),
The Slackers don't slack off one
bit on "Propaganda", and the
lone Canuck Chris Murray croons
for peace among alL For the
psychobillies, unfortunately you
get the short end of the stand
up bass, so to speak, as Tiger
Army's "Atomic" makes a repeat
performance (you can find it
on ///: Ghost Tfgers Rise), and The
Horrorpops and Nekromantix
tracks are pretty weak, IMHO.
Hardcore kids can floorpunch
along with The Escaped (straight
outta Portland), with its double-
barrel vocal attack on "Wasted
Life" and F-Minus as they break it
down on "Caught In Between".
There's a live Joe Sfrummer And
The Mescaleros track, a-band from
Beijing, China called Brain Failure
that's pretty fun sing-a-tong style
punk and a wall-size poster of Lars
Fredricksen that all the girls can
swoon over—what more could
you ask for? Hellcat scores high
with this one, folks.
Bryce Dunn
Shameless  presents:   Good
Grooming For Girls.
Various Artists
(Permafrost Records)
Good Grooming For Girls
came in the mail a little less than
a week ago and went directly
into my discman, where is has
remained ever since, except to be
slipped into the stereo at work, the
CD player in the kitchen, and even
the boom-box that I dragged into
the bathroom so that I could rock
out in the shower. It's that good.
The compilation CD put together
by Shameless magazine and
Toronto's Permafrost Records is an
all-girl mix of (mostly Canadian)
indie stuff to fill every heart and
school every younger sister.
Ranging from the lovely
singsongy "Rough Draft" from
Kimya Dawson (complete with
birds chirping in the background!) ...
to the snarky almost-hip-hop
of "First Coffee" by Toronto's
Scandalnavla to the rockin'
bad-assedness of the Barcelona
Pavilion's "Bad Seeds," the CD
that promises "Table Manners,
Beauty & Charm, Perfect Posture,
Social Etiquette" certainly delivers
a lesson in style and substance.
Today's lessons are as
follows: How to Win Over Boys
with Teen Angst (The Weekend);
How a Bad Repjifation Can Get
You Ahead With the Right Crowd
(Barcelona Pavilion); Power
Chords and Their Applications
(Magenta Lane); The Importance
of a Car in Courting Rituals (the
Blow); How To Use Being Sad as An
Edge and Belt out the Blues (Jon
Rae Fletcher and the River); How
a Whole Album of Girls Can Rock
Harder than tillth Fair and Women
In Songs Ever Let tteu Believe Was
Possible; and How The Right Music
Can Actually Make You Cool. If it
seems a bit fragmented and all
over the place, remember that the
instructor was up all night making
'zines and playing the guitar, and
this topic is as varied and diverse
as all the girts you know.
Course materials are
mandatory; they are available
from www.shamelessmag.com
and cost $10 (+ $3 shipping).
There are no exams in this section,
but failure to show up makes you
really lame.
Dory Komfeld
Phil Manzanera
6pm
(Hannibal Records)
It is easy to be distrustful of
age. Generation gaps alienate
politics and culture; the rifts are
widened in the scope of music
taste, it seems to me, too. Roxy
Music guitarist Manzanera is
trustworthy and loyal to the
creativity of his youth. Call
me ageist,  but this is reafly a
prerequisite for my favourable
opinion. His sixth solo studio album,
6pm, is truly a collaboration, a
social effort. My point is reinforced
by a sleeve insert with goofy
Polaroids of prog-rock kingpin
Dave GHmour, Chrlssie Hynde,
and—all respected performers, all
trustworthy, all collaborators. Any
album with Enotonic merits a pi
easant listening experience. (Even
if you've consciously avoided all
U2 albums and didn't watch Heat,
you've heard his afry presence on
the Windows '95 start-up sound.)
Despite the tired myth-rock quota
in "Cissbury Ring," Manzanera
is honest and especially true on
an Eno-haunting song about
daybreak called "Broken
Dreams." Consumer report: spend
$ on Cat Power instead or invest
to maybe, maybe, afford a ticket
to the speculated Gilmour/Waters
reunion tour, if you're one of the
multitude with Pink Floyd'patches
on your sleeve.
Calen Nixon
Ministry
Nooses of fhe Mofe
(Sanctuary Records)
So, the latest offering from
Ministry is a musical throwing star
aimed at the heads of the Bush
regime (who indubitably have
armorK to avoid being directly
impacted by such things, but
that's beside the point.)
For reasons I can't quite put
my finger on. Ministry's mostly
one-topic disc comes off much
better than some recent others
in the genre—like, say, KMFDM's
WWHi which just started to sound
annoying and whiny after a while.
Perhaps that's because there is
an underlying theme of the end of
an era being in sight on Ministry's
disc, as with the opening line
ox "Workf': "The time is right for
decision."
Musically, we open with
samples of "Carmina Burana" and
DiSCORDER - December and January, 2004 and 2005 Bush's own words thrown back at
him. We start a pummeling journey
that doesn't let up. Lyrically, the
writing is sharp, vicious, ironic,
and right on the mark. "Waiting"
contrasts an evangelist talking
about faith giving hope with the
lyric "waiting for Christ in the USA...
waiting for the day he needs me...
waiting for the day I die." There's
a lot of black humor in here too,
contrasting bizarre little samples
of old ads with the new, political
speeches with drug ad snippets
about diarrhea and treatable
conditions with warning to not
mail dead chickens for the sake
of the post office (these particular
onesareon"WTV9").
Sure, it's an oppressive
sounding disc, but unless you'd
rather have some bubble gum
poppy shit to distract you from
your potential new reality, this
one's a pretty good soundtrack
to frame watching the news these
days. Even if you'd rather not think
about that, well, put it on anyway
—there's lots of great grooves and
the lyrics are a bit buried in the
mix in typical Ministry style so you
can probably ignore them if you
wish. As the note on the insert's
photo says, this is music for your
time in the valley of the shadow
of death.
Drake
Mosquttos
Sunshine Barato
(Bar None Records)
Is walking home in the pitch
black at four thirty in the afternoon
in frigid winds and weak pissy rain
bringing you down? Well have
I got the solution for youl Run to
your nearest music store and
scoop up a copy of Sunshine
Bardfe. Pop that sucker into your
noise machine and you'll feel like
you're on the beach, wearing flip
flops, and scooping sun screen
out of your belly button in no
time. Literally meaning "Cheap
Sunshine", this second album
from NYC's Mosquttos is just that;
tight poppy songs that combine
American and Brazlian languages,
sounds, and sensibilities into a fun
blend of easy-listening tropicalia.
This album is a stretch in sound for
the Mosquitos from their previous
work, and from MP3's on their
website it sounds like their newer
ideas are just as mutable, which
explains how they could snag tour
dates with Air and the B-52's and
keep both audiences satisfied.
Ebony Bertorelli
The Music Lovers
The Words We Say Before We
Sleep
(Marriage Records)
Though England-via-San
Francisco songwriter Matthew
Edwards describes his band as
Tindersticks vs. Motown with
Nick Drake as a referee, I feel
as though Morrissey waking up
to the Divine Comedy at 2PM in
the cheapest motel in Vegas is
somehow more useful. Chock full
of dirty melodrama and classy
lounge style, The Music Lovers'
debut full length is going to be
hooking the same crowd that
think Nick Cave and Elvis are
both cool. Actually, given his
older influences and the fact that
Edwards has been performing
since age 13, The Words We Say...
sounds less like a debut full length
album and more like a collection
of songs that have been waiting
to be set with strings, xylophone,
bells, and drums for years. Instead
of sounding stagnant, though,
they instead come across as
overjoyed to finally be out there,
and cradling people through the
night.
Soren Bros.
Aimee Mann
Live At St. Ann's Warehouse
(SuperEgo)
I'll level with you here: I really
like Aimee Mann, but I have never
seen her live, and the only record
of hers that I own is the Magnolia
soundtrack. Mind you, that record
is amazing (especially if you
strip away the Supertramp and
other filler-uppers). So I was really
looking forward to hearing the
three Magnolia songs played live
©n this albym—-which comes with
a DVD of the performance—to
see how they transform on stage.
But despite the fact that the first
Magnolia track comes five songs
in, I didn't find myself impatiently
waiting. After being reeled in
gently by "The Moth," I was sold by
the power pop of "Sugarcoated,"
which has a pretty rocking guitar
solo tacked onto the end. I'm such
a sucker for wah-wah. As with
this track, all the performances
are augmented by her backing
band, as evidenced by the
lovely harmonies throughout the
album. After "Going Through the
Motions," which Aimee was hardly
doing, things slow down with
"Amateur." This sets up nicely for
"Wise Up," a startling track that is
the absolute centrepiece not only
for the movie from which it came,
but for this live set as well. I hadn't
listened to this song, as well as the
next track, "Save Me," for a while,
and I was reminded of just how
great these songs are. But believe
me, the rest of the set doesn't
disappoint. The companion DVD
is also very nice; the film and
sound are both high quality, and
it comes with decent extras. This is
a highly satisfying live document
of a generally (and criminally!)
underappreciated artist.
Robert Ferdman
Outrageous Cherry
Why Don't We Talk About
Something Else EP
(Rainbow Quartz)
One of my new favourite
labels this year gives a sampling of
this Detroit quartet's latest Beach
Boys-meets-Byrds songcrafting
style. The EP's title track and
"Detroit Blackout" are from their
forthcoming opus Our Love Will
Change The World, while "My
Suspicious Midwest" rambles and
rolls like The Warlocks on a downer;
"Don't Worry" contains elements
of Small Faces influenced garage
pop, and "Eternity Changed Her
Mind" is a lysergic emanation of
melodic proportions. For fans who
like to trip out, but not bug out.
Outrageous Cherry are the drug
of choice.
Bryce Dunn
A Perfect Circle
eMOTWe
(Virgin/EMI)
On the brink of hiatus,
A Perfect Circle release their
collection of songs about "war,
peace, love, and greed." This,
along with their DVD/remix CD
combo aMOTION, is all we'll get
from the band until after Maynard
James Keenan finishes his next
stint with Tool; but it's a bittersweet
sendoff.
The first half of eMOTIVe is
brilliant, with various old protest
songs perfectly transformed
to incorporate Billy Howerdel's
dense, atmospheric melancholia.
Echoing, layered guitars are
underscored by driving basslines,
and above it all Maynard (and
occasionally Billy, too) deS^ately
delivers the lyrics of Marvin Gaye,
Elvis Costello, and others. Also
present is "Passive," a reworked
version of a song written for
Maynard and Trent Reznor's ilk
fated Tapeworm project; this
and the cover of John Lennon's
"Imagine" are the crown jewels of
the album."
Unfortunately, the record's
second half falls flat on its face.
Ill-chosen and poorly executed
covers reign, including a
shockingly horrible rendition of
Depeche Mode's "People Ate
People." Despite drummer Josh
Freese's inspired Zach Hill-meets-
Aphex Twin performance on "Let's
Have a War," most of these tracks
are barely even b-side quality.
The reason for such an
uneven cHbum is ctear. eMOTTVe
is only 1/3 about the music. The
other 2/3 are politics-which beat
you gpstete the head in every way
with this album—and business (the
band saw a political cover album
as an easy end to their 3-album
contract with Virgin). You could
give them credit for coming up
with at least some strong tracks
on what is essentially a cobbled-
together afterthought of a record.
Or, you could say that had they
remained true to their art and not
succumbed to other influences,
this album would never have
been made in the first place.
As a self-contained record,
eMOTTVe falls far short; but as a
stopgap between-now and the
next Tool release, it'll do...I guess.
Simon Foreman
Polarbear
Why Something Instead of
Nothing
(Long Live Crime)
Judging by the wallowing,
slightly faux-British vocal delivery, .
it's easy to believe that you're
listening to a new release by
Sheffield's Babybird. That is, until
the first set of powercords tear
through the ambience, causing
the quick-reflexed listener to
skip to the next track. Suddenly,
you're forced into the .realization
that this is the work of ex-Jane's
Addiction member, Eric Avery.
Still, it would be a mistake to
blow this off as something MTV-
conceived. Rather than trying
his luck with nu metal as a new
shtick like bandmate Perry Farrell,
Avery attempts an arguably more
genuine approach.
Polarbear combines long-
winded monotonous nqjKrtives
with some occasionallyintlfsstjng
guitar riffs, interlacing it all with
a jumble of quirky electronic
samples andf laughable drum
machine loops. I like to pretend
that he only put in such lyrics as
"everybody thinks they're fly, has
anybody left the ground?" due
to a bet he lost against someone
particularly vengeful. Or perhaps
he's really just undercutting his
own sentimental" sermons, trying
to prove that he still has a sense
of humour. I tried to keep this in
mind with why something instead
of nothing, but then the inevitable
rocking out of each track came in
turn and I got that uncomfortably
numb feeling—the one that
comes from pressing your tongue
to a 9 volt battery—right behind
my eyes. Ar%f ^suddenly, for the
first time in ^ears, I was worried
that someone sitting next to me
on the bus might hear what I was
listening to.
Thankfully, Long Live Crime
Records forgot to mark this disc as
k-pmrnpttonal use only, so Polarbear
will turn out their real potential
just as soon as I make it to the
pawnshop.
Ben Ralston
Projektor
This Isn't Highschool Anymore
(Projektor Music)
So as I was listening to Young
Hearts Fail, the second full length
record by Projektor, I was thinking,
"God, I bet these guys are really
hot. They have to be really hot.
That's the only way this whole
music thing can ever work out for
them" So I went and looked them
up. It seems as though even with
their mainstream, cookie-cutter
sound, these guys are far from
cookie-cutter. No blonde highlights
or pre-faded jeans can hide the
fact that, with the experience
these guys look like they should
have, a more advanced sound
would definitely be expected.
Their songs! are pseudo-emo;
their lyrics painfully morose, their
sound bordering on Nickleback-
esque, something no one ever
wants to hear in a review. Even
down to the one-word song titles,
this band leaves nothing to the
imagfeTation. The first song didn't
even attempt to draw me in; by
song four, my personal "reflection"
was that I should have listened
to something else. Song eleven,
so appropriately ^tHted, "she likes
being sad," left me identifying with
"her," though on the basis of my
recent auditory-assault. Contrary
to your own beliefs, guys, you're
not "ageless." A more developed
sound would see you spending
less time on the bench.
Mairin Deery
Subtle
A New White
(Lex)
A lot of parallels can be
drawn between Doseone and
Pauly Shore. I'm not talking
about the obvious concern with
physique and demeanour; instead
Jt's something essentially atypical
about both these men that allows
one to love them, to hate them,
but never to feel ^different about
And as one of the primary-
movers and shakers of Anticon,
Doseone has certainly made
his mark in that genre of rap-
for-people-who-don't-like-rap-
music from day one. Aside
from that, he has inspired and
infuriated audiences everywhere
possible, whether he's rapping
en francais. freestyling against
Eminem, mumbling rhymes over
British indie rock, or lamenting
the death of hip hop on his big
shiny debut for Sub Pop. Yet what
sets Subtle aside from the rest of
Doseone's immeasurable oeuvre
is that for the first time ever, his
nasal, self-indulgent streams of
consciousness take a backseat to
the consistently clever production
of his number one partner in
crime, Jel. Although his vocals
Ore a little less subdued on this full
length release as compared to
Subtle s initial four EPs, the main
selling point for me remains the
fact that he shuts up every so
often, giving the music a chance
to breathe. However, A New White
does what those first EPs couldn't,
maintaining all their cataclysmic
tension and breathless pauses
without ever running astray and
becoming, dare I say it, dull.
It's hard to say whether this
dramatic, guitar-laden disc will
be more palatable to the Led
Zepplin fans or the B-boys, but
the problem will likely be that it
holds enough regard for both
album rock and break dancing
to alienate everyone in some
way. Still, for anyone with an
appetite for something less than
commonplace, this release
holds the door open to what it
truly means to disavow genre
altogether.
Bert Ralston
JohnTejada
Logic Memory Center
(Plug Research)
As a Renaissance man of the
music industry—owning his own
label, making himself known as
a DJ, a producer, and otherwise
supporting the scene with an
inexhaustible flow of new retraces
—John Tejada seems to know
what it's all about. And I insist
that there is nothing absolutely
nothing reprehensible about a
healthy fixation with Juan Atkins.
But on his latest release logic
memory center, Tejada proves
that he has so much more to draw
frorrt. Flaunting his skflls with those
unrelenting Detroit beats, he still
Jeaves enough room for some
poppier moments, thus^xxirving
out a fairly accessible niche for
himself. And by constructing
delicate structures of overproduced samples against the
more fundamental elements of
bare bones Techno, this album is
neither exclusively for geeks nor
the dance floor.
If anything, he's a little too
courageous on this release, trying
too hard to please everyone. With
almost every track incorporating
some sort of vocal aspect—cut-up
or otherwise—he brings together
a pretty diverse set of tracks. But
where Jimmy Tamborello (a .lea.
Dntel) and the omnipresent Carl
Finlow succeed in complementing
Tejada's dense production, Kim
Recor didn't really do it for me.
Also, towards the end of the disc,
his mix gets somewhat cluttered
with a mess of vague samples and
noise, but overall ifs easily on par
with everything Plug.
Ben Ralston
page 25 Bright Eyes
Jim James
M. Ward
October 19
Commodore Ballroom
This tour was presented to
the audience as the reunification
of seventies super folk legends
the Monsters of Folk. Apparently
they had to break up back in the
day because of Conor Oberst's
drug habits, and now the time
was right to get back together....
Well whatever, I'm always up for
a corny premise and I was even
happier to see that M.Ward was
starting this show off. Keeping
to true form, M. let loose an
incredible performance of
beautifully arranged vocal and
guitar melodies that hung in the
air during the quiet mood of this
evening. I was sort of disappointed
that he slowed down some of his
more intense and faster paced
songs but he blended them well
into the set. Conor and Jim James
both wandered out onto the
stage at different points to join
Ward in his songs and eventually
Jim was left on the stage alone, to
promote his stake in the Monsters.
Jim's high-pitched haunting
vocals rang out amazingly to the
tune of only his guitar, and it was
interesting to hear My Morning
Jacket material presented in this
way. Joined by the other Monsters
at various points the formula of
the night became quite obvious
and next up to close the show was
Bright Eyes.
Now, to me, sticking two folk
acts with down-home American
0ass-reots influence with an emo
adolescent still singing about
needing a girlfriend very badly
wasn't the best combo. However,
Bright Eyes was able to keep the
crowd's attention, performing a
Jong set spanning his work all on
acoustic guitar. He got into a few
altercations with the crowd and
seemed to be a bit on the ornery
side, screaming Monsters of Folk
into the microphone an obscene
number of times, and yet his hair
remained perfect 'til fhe end.
1 must say that after all three
acts had passed, I was pretty
ready to go home, but all in all
the night was a good tribute to a
band that never existed.
Ebony Bertorelli
Social Distortion
Tiger Army
The Explosion
November 9
Commodore Ballroom
Boy was I mad that I missed
The Explosion, and I got down
there at 9:30PM! WTF? Oh well.
Tiger Army was up next, and these
tattooed pychobilly cats from L.A.
brought the house down, as it's
taken them EIGHT years to get to
Vancouver. Well, the fans gave
them reason to come back, as
songs from their three (but mostly
their latest) albums were met with
rapturous applause, from the
.opening chords of "Ghost Tigers
Rise" to "Santa Carta Twilight" and
their tribute to Johnny Rdmone in
"Through the Darkness" Even with
an entirely new rhythm section
backing him up, (their drummer
had been shot during the
recording of their latest record),
singer Nick 13 was excited and
moved that so many people had
come to see them, he vowed
they would return, and true to
their motto, he claimed "Tiger
Army Never Die".
My first exposure to Social
Distortion was, believe it or not,
when I was in Europe several years
ago, and inside a tiny Dutch bar
where SD's version of the Rolling
Stones classic "Under My Thumb"
was seemingly on repeat the
entire evening. After the twentieth
or so spin through, I figured out the
raspy vocal delivery belonged to
one Mike Ness, ond that song
stuck with me the rest of the time
1 spent overseas. Upon returning,
I hod meant to track that song
down, but somehow the memory
of it had slipped away. Well,
four songs into their set at The
Commodore, the familiar notes
rang out and the song has lost
no momentum whatsoever, and
the tone for the show was set with
over two decades of material to
choose from, it was nothing short
of solid rock punk and country
roll. With a top-notch band
supporting him (which included
Rancid bassist Matt Freeman),
and despite the loss of long-time
guitarist Dennis Danell, there was.
no stopping the freight train of hits
from "Mommy's little Monster"
and "Ball And Chain" to newer
songs like "Reach For The Sky",
and the distraction of seeing a
mammoth-size banner promoting,
the new album Sex, Love And
Rock And Roll couldn't prevent
the masses from moving.
An inspirational show to say
the least, which, as a result, has
made a convert out of yours truly.
Bryce Dunn
Pilate
Boy
Memory Bank
November 11
Richard's on Richards
Holy Acid Reflux Batman! In
a world full of lip-synchers, real
musicians must save us from bad
performances. Tonight, Pilate took
on that sold-out task with their
super sidekicks. Memory Bank
and Boy.
Memory Bank was the first to
arrive at the scene, playing a set of
sophisticated melodic synth rock,
without the keyboards, and used
their superpower guitar effects to
build layer upon layer of sound.
Most of the set consisted of heavy
songs but when they delved into
the slower numbers, the guitarist/
vocalist took on a falsetto vibe.
Images of The Darkness frontman's
unitard were dancing in my head.
The bassist was also a decent
singer; both were able to pour all
their emotional energy into their
lyrics and spastic moves. A screen
behind them provided additional
entertainment, projecting random
B-movies and other weird images.
For more musical rescuing, look no
further than this band.
Don't let the name Boy fool
ya; there's a reason why there's
a superhero called Boy Wonder
(a.k.a. Robin). These guys are not
just pretty boys. As soon as they
started playing their first song, the
comparisons to Sam Roberts and
Sloan seem vaJid. They are what
the perfect bar band should be:
catchy, rocky, familiar, and all
about good times. They played
a lot of songs from their newest
album like the dreamy organ-
heavy, Beatlelesque "The Shell".
Boy also laid down some country
roots. The current radio staple,
"Same Old Song", got the crowd
clapping along to the strong beat
and harmonies. Their short set had
the crowd shouting for more.
While the backing track
was Ashlee Simpson's kryptonite,
a cold was no match for Todd
Clark's willpower. His voice was
the highlight of the night. He
managed to hit the high notes
and both screamed and crooned
out lyrics. It was hard to tell that
he Was sick apart from his raspy
speaking voice ond his pleas for
the audience to bear with him
and help sing along. The band
also made use of screen time and
sang in front of earthly Images of
space, skies, and greenery. The
visual contrasts blended well with
Clark's vocals.
The set list was pretty
mellow but tracks like the upbeat
"Overrated" got the room
clapping and heads bobbing.
To get the energy level up, Clark
would leap around and stand
on his keyboard stool to great
cheers. The best songs were left
to the encore. "House Call" was
one of the new songs played
tonight; Clartc said it was inspired
by Vancouver and went on to
sing the gorgeously sad lyrics
initially with just a keyboard, then
the rest of the band joined in later.
Pilate ended the night with the
much-requested "Alright". The
beautiful ballad had more than
a few back-up crowd singers, it
seemed like a lot of the crowd
were repeat offenders...they've
witnessed the band's other recent
performances.
The city of Vancouver was
once again safe for another
night.
Em/7y Khong
Subtle
Frog Eyes
November 13
BkMK Explosion at Richard's on
Photo by Dieter Friesen
Brickyard
Though billed as a "pairing
too strange to resist," I didn't
find it odd to see in the same
evening the off-kilter shreeky rock
of Frog Eyes and off-kilter avant-
guard abstract hip-hop of Subtle
at the Brickyard. Both bands
seem to be fronted by brilliantly
talented eccentrics, who possess
immediately identifiable voices
within their respective genres. I was
especially expecting good things
from Subtle front man/rapper
Dose One, who I'd seen before at
the Brickyard when he performed
as Themselves (whose members
who now form the core of Subtle:
an expanded six piece).
Victoria's Frog Eyes, who
performed first, came through
quite well. There were high-
pitched whispers between sets of
strange stories that I couldn't quite
hear, and even if I could, I don't
think they would make sense
beyond being absurd and joyfully
meandering. At one point during
the set. Frog Eyes lead singer
Carey Mercer took a playful jab at
the audience, asking those who
considered themselves artists to
clap their hands. He followed that
up by saying "Nothing will ever
come of youl...just kidding..."
Hailing from Oakland, Subtle
flipped the wigs back on any
sensible-minded lyrical Interpreters
in the house, while going through
material from their latest LP, The
New White. The six players came.
on  dressed  entirely in  strange
white costumes. Displaying crazy
moves like the white boy boogie
of Beck on stage. Dose pranced
and rapped at hyper-speed
in time-signatures that flowed
around the rhythms of his band,
which included a drummer, d
guitarist, a keyboardist and an
electric cello player.
Subtle's left-field anthems,
"The Long Vein of the Law," and
"F.K.O." (which Dose One said is
"a song about music television")
were highlights of the night. Both
songs are intense and wordy
composition, built on loud, rock-
influenced musical backdrops.
Hopefully Vancouver will be able to
enjoy more of Dose One's unique
take on rap as he has revealed
that as of December 31st, he will
be moving to Vancouver
ArthurKrumins
Dance for Darfur
Africa We Care fundraiser for
humanitarian relief
Concert Review
November 13
Croatian Cultural Centre
Four dancers in flamboyant
dress-up-bag style costumes
were jumping with the glee and
abandon of four-year-olds when I
walked into the Croatian Cultural
Centre It could only mean one
thing: it was going to be a great
night. The Ebonies of Sudan
Dancers were the tantalizing start
to a packed lineup of African and
African-descended performers,
inviting us to dance our asses
off for the sake of West Sudan in
the fundraiser festival Dance for
Darfur, organized Nov. 13th by
Africa We Care.
The next on the floor was
the Cuban salsa performance of
Los Cumbancheros. If you can
imagine the suave sensuality and
exuberance of Latin dance mixed
with the form of Square Dancing,
you will still have not a clue what
'rueda' is until you have seen it.
The 12 or so dancers wove and
spun their way in and out of a
wheel formation, adding in hand
claps and elaborate turn patterns,
with an overall effect like the
turning of a kaleidoscope. Their
performance marked the only lull
irtthe incessant dancing in front of
the stage-like any group of good
Canadians, this audience took
authority seriously, and since the
title of the event was Dance for
Darfur, well damned if they were
going to stop jumping and jiggftvg
for anything-even bathroom
breaks.
Next, the One Human Race
ensemble brought together
Nigerian traditions, with a funky
band of West Coasters. Singer
Ezeadi's 'one love' and humor
came across, and the guys
pulled off the African music pretty
well, all shaggy hippie haircuts
considered.
Kibwe, master of the new
album Rap is Crap, was something
else altogether. Ladies and
Gentlemen, bring your chastity
belts! One second the guy is just
DiSCORDER - December and January, 2004 and 2005 . screaming his raps into the mike,
and the next he jumps in full grind
into the middle of the dance floor
and onto somebody's wife.
The stars of the show were
Maobong Oku and the Kokoma
African Heritage Ensemble. With 2
other women dancers and singers
and an awesomely powerful
band of African drummers and
guitarists, Maobong broke it down
with gorgeous freely sung melodies
and such graceful dancing. The
open spirit and warmth of all the
musicians was truly inspiring, the
color of their traditional costumes
was a treat, and their genuinely
joyful smiles caused a chain
reaction of happiness.
After such a coup, the
performers who followed seemed
grey, despite the energy and
talent of Aboubacar Camara's
group and the sweet beats of
rapper Bounty Hunta. They just
didn't have the same joyous heart
energy. All the same, the final
band. Ache Brasll, was everything
we have come to expect of
Capoeira and more. The crowd
would still be there dancing to
Afrobeat music today, if DJ RIZK
hadn't finally packed up, and the
Mounties hadn't galloped in to
order them oil home.
Erin Hope-Goldsmith
The Tragically Hip
- Joel Plaskett Emergency
November 14
GM Place
The bonus to seeing a band
like the Joel Plaskett Emergency
in a venue like GM place is that,
unlike small, intimate venues
like the Media Club, the sound,
lighting and stage setup can be
much more intense. This was no
exception at GM Place this night.
Joel, sporting a shorter version of
the mane of hair for which he's
known so well, made the most
of the opporunity to play for
Canada's unfortunate darlings
The Tragically Hip, and played a
wonderful (and decently long) set
to the large, drunken crowd.
Although 90% of the people
in GM Place had come to the
show immediately after drinking
way too much beer at the Grey
Cup, and although they obviously
weren't too interested in what
Joel Plaskett had to play for them,
the band still maintained a high
level of energy and giant smiles
across their faces while trying to
entertain the large, inebriated
crowd with songs from both
Down at the Kyber and Truthfully,
Truthfully like "True Patriot Love,"
"Extraordinary," and "Waiting
To Be Discovered." Joel brought
back his Remix to Ignition cover,
and even managed to get the
crowd to sing along to "There's
Love In The Air (But I'm On The
Ground)."
Once the Joel Plaskett
Emergency left the stage, the
screaming began. GM Place
was absolutely packed, and
nobody was sitting down as
the lights turned to white and
red and the smell of beer and
marijuana began to form a giant,
lung-invading cloud. When The
Tragically Hip took the stage and
began playing, the screaming
got louder and glasses of beer
flew through the air, showering the
unsuspecting crowd.
The Hip started off by treating
fans to many of their most popular
songs, like "Courage," "Poets,"
and "Bobcaygeon" before taking
the energy level way down and
virtually putting the once-delirious
crowd to sleep with newer spngs.
When Gord Downie started
lecturing the crowd and then
went into a song about an activist,
I took that as my cue to leave.
All  in  ail,  the  show was
inevitably entertaining for those
who love The Hip, and I must
admit that part of me longed to
be a Hip fan: completely soused,
listening to my favourite band with
a couple of friends, singing along
to the lyrics of "Poets" with not a
care in the world. I have never
seen that much enthusiasm for a
band in my life, and it was very
heartwarming despite my dislike
for the source.
K/mberiey Day
SHiNDiG Semi Finals #1
Little Death
Evol Hearted
Dandi Wind
November 16
Railway Club
And so the weak have
been culled, and now the various
greybacksof the local music scene
are left to duke it out to become
the SHiNDiG 2004 champion, to
go on to a long and successful
career as local music darlings (or
at least, intend to do such. Actual
post-SHiNDiG success seems much
more ephemeral that it perhaps
should be).
Lining up this night were the
winners from the first 3 weeks of
SHiNDiG: Dandi Wind, The Little
Death and Evol Hearted.
Like probably everyone
else who'd been through the first
round, there was little doubt as to
who would win this night: Dandi
Wind is just so much more than
either of these other two bands.
Not only is the performance
amazing, but musically they stand
out too: I forced myself to just
listen with my eyes shut this time,
to see if the music would stand up
without the performance, and it
really did.
The" Little Death, who are
interesting with their varied time
signatures, odd little drum fills, and
other little musfcianly tips-of-the-
hat. Unfortunately, they are not
the virtuoso musicians that this
sort of wizardry requires in order
to pull off. Also unfortunately, the
singer's voice is almost painfully
bad, which all leads to them just
not.doing well last night.
Evol Hearted, whom I missed
in the first round, were, in my
opinion, ratherdull.Melodicclean,
talented, but, well, bland. Nothing
about them (apart from having a
female drummer, which is more
common than you might think in
Vancouver, but still uncommon)
really stands out in my mind as
being worthy of moving on. They
aren't bad by any stretch of the
imagination; they're in fact quite
tight, together and decent. But,
like so many bands, they fail the
critical test of having something
that sets them apart from others,
which doesn't mean that they
won't find that spark someday,
or won't enjoy some success; it
just means they're not going any
further this year in SHiNDiG.
And so our first finalist is
proclaimed, and deservedly so:
Dandi Wind. All that remains now
is to see whether any band can
stand up to their fantastic, manic
performances.
Steve Tannock
ISIS
These Arms Are Snakes
November 17
Mesa Luna
I unfortunately missed the first
act of the night, Attack Machine,
walking into the Mesa Luna right
as These Arms are Snakes were
firing up their set. Though the
band's debut full length lack the
full-bodied anthemic quality of
the EP they released last year, in
no way was the power of their
live show diminished. The singer
possessed the most unhinged
stage acrobatics I've seen since
Pinback at Richard's on Richards
Photo by Jordy Smith
Kim Days Top Ten
Shows or the year
* tdPltefcstaf State, DaHawlltay Iroof«January 31
'&?Jlma* §#t, TaB> KweR - Pacific Cofseum - September 20
08. Cuff the Duke - Wtj^feOctober 31
07. Sloan in fhe pourtng1f«i - Mclnnb Field - September 10
06. C«Jto*tor»»*»s,«mGalr«fe-Brickyard-May04
05. Watonehj Decemberists - Richard's on Richards • February 11
04. Black Rebel Motorcycle dub. The Rapture - Showbox, Seattle
*■*'«   *A*l*JEr    v
03. Chromeo - Brickyard - November 06
"W^'i.-WSkt, Fiery Furnaces • Commodore Ballroom - May 21
JDJ»My Moming Jacket, M. Ward - Commodore Ballroom -May 14
Cedric Bixler (of At the Drive-in
and Mars Votta fame. Craziest
frontman ever, I promise). Within
the span of their first song, he'd
impregnated a sound monitor,
shimmied with the audience, and
dove across the stage, collapsing
into quivering heap of limbs.
He moved among audience
_ members throughout the night,
at one point breaking up what
looked like a good-natured brawl
between friends, and giving
an impromptu dance lesson.
The band sometimes sounded
muddy, but overall worked weU to
compliment his intensity.
Isis' live show didn't offer
anything for those who weren't
fans of the sound of sand paper
vocals not sitting well on top of
the ambient soundscapes, like
a hardcore band doing Tool
covers. The band idly jammed
on thefr instruments, only getting
more into It when they cranked
the distortion. It wasn't aggressive
enough to be thrilling or beautiful
enough to be hypnotic. The music
seemed to just sit there, inevitably
drifting from predictable climax
to predictable climax. The only
thing that really sticks out is when
two songs into their set, an asshole
yelled out, "Play something okH",
suggesting that even many of the
fans shared my impatience, but
were too polite or sober to do
anything about it.
Ben Fussed
Blues Explosion
The Gossip
Thursday November 18
Richard's On Richards
Apologies to party-starters
The Gossip for missing what I'm
sure was an ass-shakin' set, but I
seem to be ma king a bad habit of
this "mfeslng the first band" thing,
gotta fix that, pronto.
Introduced by the crunchy
and always head-bobbin' tunes
of LL Cool J, Public Enemy and
Run DMC, our fateful trio hit the
ground runnin' with "Shakin'
Rock And Rolf" and proceeded
to conjure the spirit of the blues,
as only three men' from New
York can, yeifti', screamin' and
poundin' 'fu we realized, "This is
not the DevH's musicl" and we
swayed and rocked and danced
our behinds off.
With seven albums of
electrifying testimony to the
power of the "Blues Explosion!"
it was no surprise when we were
treated to a smattering of songs
from said records, but cleverly
cut and spliced together so just
as we may be gettin' our groove
on, he would switch gears and our
minds would be blown sideways.
As a result, we got snippets of
"Bellbottoms", "Soul Typecast",
"She Said" and " '78 Style" in a
span of fifteen minutes! Generous
amounts" of Theremin, a tribute
to their pal RL Burnside and an
extended jam on "Spoiled"
(from the latest album Damage)
were blissful and gave way to
an encore, and leaving to the
gospel harmonies piped through
the sound system at show's end,
we all had the experienced the
power of the blues. Explosion-
style, babyl
Bryce Dunn
K-OS
Peter Elkas
November 19
Commodore Ballroom
After the typfcaiy
interminable Commodore wait,
the night began with solo opener
Peter Okas of Local Rabbits,
who capably accomplished his
stated mandate of mellowing
the crowd. With fluid, dirty guitar
accompanying narrative lyrics
sung smoothly and beautifully,
his intimate, conversational
style quickly won listeners over.
Definitely track down gems "Party
of One" and "Turn Out the Lights"
or, for that matter, his CD (picture
Sam Roberts scrufflness in Waking
life-style rotoscope as cover art).
The half hour wait for K-OS
was made rather amusing by- a
handful of groupie-types trying
desperately  to  get  backstage
- a clear indication of res rising
status as Muchmusic darling.
Smoke then began to AH the air
and K-OS's disembodied, filtered
voice heralded the entry of his
band. He soon emerged onstage,
his style as eclectic as his sound
- white sneakers and hooded
sweatshirt, aviators, ond a suit
jacket with a flower in the pocket
- and the band kicked into "B-Boy
Stance," quickly rectifying any
misconceptions that the show
would be an attempt to recreate
the record.
The twenty-song, two-hour
set grew in intensity, gelling
completely seven songs in with
album opener "Emcee Murdah,"
the second song in a row (after
Latin-flavoured "Commondante")
to feature tastefully amazing
classical guitar solos from seriously
insane secret weapon Russell
Khyne. Songs expectedly ran
the gamut stylistically, switching
straight from the handclapping
page 27 of "Crabbuckit" (which K-OS
mocked for being overplayed)
to the Michael Jackson-inspired
and dedicated "Man I Used to
Be," with Pink Floyd's "Another
Brick in the Wall" sung over the
intra. At several points, up to
seven dancers joined K-OS on
stage, which proved crowded but
impressive.
Late in the set, K-OS
acknowledged his band
gratefully after an extended,
chops-stretching jam heavy on
percussion, peaking with a tabla
solo by percussionist Santosh
Naidu. Soon thereafter, the set
closed with unreleased track "MCs
Come," a heavy affair with K-OS
on guitar that demonstrated that
rap metal doesn't categorically
have to suck. Speaking of things
that suck, however, encore
"Jiggy Homicide" was somewhat
besmirched by the awkward
appearance of Swollen Members'
Prevail, who was thankfully not
accompanied by his less articulate
partner in aural crime. All in all, a
stellar show, though the marked
contrast in intimacy between
Elkas and K-OS prompted
yearning for K-OS's previous,
acoustic-backed instantiation,
the sensitivity and vulnerability
of which only briefly peeked out
from behind the sunglasses he
openly rapped about wearing
due to nervousness.
Gavin Dew
R.E.M.
Charlie Mars
Sunday, November 21
Orpheum Theatre
following last year's show at
Thunderbird Stadium,  1 heaped
effusive praise upon R.E.M. in
these pages, proclaiming "the
band expressed a genuine thrill of
performing that you have trouble
getting from bands half their age"
If that was then, then R.E.M.'s show
at the Orpheum was like watching
that guy near the end of Indiana
Jones and the Last Crusade age
decades before your eyes.
The show started weH
enough. The band began with
rockers like "Finest Worksong,"
and "The Wake-Up Bomb" that
got the yuppies in the crowd on
its feet and moving, somewhat.
However, once the band
launched into "Boy In the Welt"
(from their most recent and most
dreadful album. Around fhe Sun),
aJI energy the band had built up
faded and the crowd responded
by sitting down in droves. It didn't
matter how many kicks guitarist
Peter Buck performed or what
herky-jerky dance moves Michael
Stipe let loose; any part of the set
featuring new material inevitably
sagged: Especially abysmal
was a three-song set the band
dedicated to Douglas Coupland
(in attendance that night) which
featured the hookless "Highspeed
Train," the inconsequential "I've
Been High," and the career-low
"The Outsiders," which featured
Stipe rapping (which was as bad
as the premise sounds). But the
most disappointing aspect was
the lack of rapport the band
established with the audience.
Last year's show succeeded in
part because Stipe couldn't stop
talking to the audience between
songs; this time. Stipe maybe had
two such conversations.
Though the pacing of the
show and the new material
sucked the life out of much of
their performance, R.E.M. never
failed to give the old material
winning performances. Whether
a mid-period classic like "Man
on the Moon" or a newer single
like "Imitation of Life," the crowd
always responded to these
recognizable songs. Better still
was the rollicking version of
1985's "Life and How to Live It"
the band played to finish their
main set. Unfortunately, their
previous show bested even these
performances. Where were other
hits like "Everybody Hurts"? "End
of the World"? No doubt some of
those who paid to see this show
left feeling they didn't get their
money's worth; I felt like I had
watched a band as feeble as a
700-year old knight guarding the
Holy Grail.
Neil Braun
Pinback
The Advantage
Neil Hamburger
November 22
Richard's on Richards
When I told people that
I was seeing The Advantage,
those who knew of them had
one of two reactions, which were:
"Oh, the Nintendo cover band!"
or "They have the drummer
from Hella!" Spencer Seim, the
aforementioned drummer, is
the most amazing drummer I
have ever seen. His body and
drumsticks made a whirlwind that
made it hard to pay any attention
to other members of the band.
Their repertoire of music consisted
of hits from my childhood such
as Mario 2, and Megaman 2's
themes.
Following The Advantage
was stand-up comedian Ned
Hamburger. Any humour that
came from his performance was
not from his poorly delivered jokes,
completely devoid of humour, but
from the audience's reaction
to them. For example: "Why
do Colonel Sanders' daughters
refuse to eat extra crispy chicken?
Because it reminded them to
much of their father's foreskin."
OR "Why did the chicken cross the
road? To take a picture of Princess
Diana before she died."
Neil Hamburger was hated
by about half of the audience and
dealt with heckling for the most
part by making a horrible retching
noise into the microphone. At one
point, a fight broke out between
a Hamburger fan and Hamburger
heckler. Tensions ran high in
the audience throughout this
performance.
Finally, Pinback came
out, a welcome relief from Neil
Hamburger, which went on a
little long. The band seemed to
have a good awareness of what
people wanted to hear, playing
a fairly even mix of songs from all
three of their albums instead of
focusing op Summer in Abbadon
If there were any doubts as to
why The Advantage was opening
for them it was put to rest when
Robert Crow asked the audience
if anyone had bought the new
Nintendo DS yet. Someone had,
and yes, he had played the
wireless multiplayer option.
Pinback did a good job of
recreating the complex melodies
and rhythms of their recorded
material, but when The Advantage
joined them for the final song in
their encore, I was reminded of
the amazing stage presence of
Spencer Seim and wished that
Pinback could incorporate some
of that intensity into their own
performance.
Jordie Yow
Neko Case and The Sadies
Dexter Romweber
November 26
Commodore Ballroom
Opening act Dexter
Romweber proved an energizing
opener to get the urban cowboys
and Elvis fans at the Commodore
swaying and shaking with his
upbeat electro-rockabilly.
Although both he and Neko Case
fall into the country category.
Dexter provided an interesting
contrast to the poignant,
lonesome voice that soon made
everyone in the crowd stop
moving and just listen.
When Neko Case hit the
stage at the Commodore, her
sound did not disappoint. For
nearly an hour, it echoed out of
this flame-haired country pixie
like it was from some other place
and time. One could not help but
be mesmerized and haunted by *
her strong, unshakeable, clear-
as-a-mountain-stream voice: like
a deeper Patsy CBne, with more
twang.
Backed by the accomplished
and ubiquitous country-rock-punk
quintet, The Sadies, Lady Case
chose "Favorite" to kick off the
show (a track newly-preserved
for fans on the just-released
live recording. The Tigers Have
Spoken). Classic, beautifully
bittersweet Neko, "Favorite" is the
first song the singer has claimed to
have completely composed on
her own.
Although Neko's stage
presence came across as a bit
rigid and uneasy through the
first few songs, she started to get
jokey as she launched into the
sympathetic title-track from the
new collection, remarking "it's
been a rough year for tigers."
Though still a lament, like most
of her material, this song had
a chiming, rolling energy to it,
lifting it above the rest. A second
animal-themed song, the heartfelt
"Sparrow" (which - call me crazy -
sounded like some never-released
Billy Joel or Doors track), capped
off this pair of performance
highlights. Despite having a few
albums'-worth of originals to her
credit, Neko also added a couple
welcome covers to the mix,
included a deservedly excellent
take on underappreciated singer-
songwriting legend Buffy Saint-
Marie's "Soulful Shade of Blue".
Aware that her restraint might
have been showing, or perhaps
just to purge, Neko eventually
revealed that she was feeling a
bit nervous, this being only the
second night of her tour. Taking off
her jacket for some relief from the
heat in the room, she seemed to
relax a bit more into her next song:
a cynical, swinging ditty about
marriage. But one couldn't help
but think that perhaps a more
intimate, loungey venue would've
made   her   connect   with   the
audience a bit more. Her torchy
sound deserves deep red carpets,
candles, and an audience circling
around her in tables.
In the end, besides her
amazing voice, the most
memorable aspect of the concert
was its brevity The songs Neko
writes and performs are short in
themselves, so although she sang
quite a few, her show was no
more than 55 minutes in length.
People in the crowd generally
expressed disappointment, feeling
they hadn't totally received their
money's worth, and I had mixed
feelings about it myself. Neko's
powerful voice sets such a distinct
ambience that sometimes her
songs are prone to blending
together, and can even be a bit
exhausting. Maybe Neko was still
getting her pipes geared properly
for the tour, or maybe she knew
the limits of her own melancholic
mood-setting.
Seamus Sullivan
SHiNDiG: Semi Finals #3
Cadeaux
Vancougar
Foster Kare
November 30th
Brickyard
Before I tell you how stupid I
am, let me tell you a story. Davis
Cup (that's tennis, my ignorant
friends). 1994 at the Agrodome.
A young Daniel Nestor was facing
then number one seed Stefan
Edberg and it was looking grim
for the young Canadian. Down
two sets to nothing, I persuaded
my friend Bobby to cut this weak
game .and bugger off to hear
the inspired sounds of one Bryan
Adams, who was rocking it next
door at the Coliseum. Well, I don't
have to tell you what happened,
do I? Nestor comes back and
defeats the frustrated Swede.
Bobby never forgave me, and
rightly so.
Nothing's changed. I have
been hyping this SHiNDiG semifinals to everyone. Cadeaux were
wonderful, busting out some
hard driving tunes and the two-
females in the front provided
some great harmonies with some
choreographed bits. Vancougar
were fun and catchy and perky as
hell, and they smartened up and
played my favorite song near the
end of their set instead of almost
opening with it.
And how was Foster Kare?
I wouldn't know. I have been
told Foster Kare played such
a calculated, inspired set of
hardcore punk, friends who saw
it were convinced they saw
one of the best performances
they have seen in years. And
what was I doing? Eating black
beans, bananas and rice at the
Foundation. I will never be forgtveh,
and rightly so. In my defence, that
rice thing was awesome. You'd
think black beans and bananas
wouldn't go together, but there
you go. And the crazy thing is,
Foster Kare were beat out by
Vancougar...but I wouldn't have
wanted to be the judge that night.
Tough Call. I promise to make it up
to Foster Kare by seeing their next
five shows. Bryan Fucking Adams.
Chris-A-Rifflc • Year End Charts
DISCORDER TOP 50 FOR 2004
Bill
ARTIST
THE CINCH*
TITLE-
Shake it If You Got It
LABEL
DWnap
3
P:ANO*
GrabThatGun                          - -"
The Den
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THE EVAPORATORS*
SURBAN SURF KINGS'
Ripple Rock
Surf Vs. The flying Saucers
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7
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THE DOERS*
Perpetuum MobSe   MtfW'- „
Ready, Set, Dot
Red Cat
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A.C. NEWMAN*
GIRL NOBODY*
The Slow Wonder
The ftitwe isn't What it Used lo lie
The Blue Curtain
Indie
40
n
ROBOSEXUALS*
The Folded P<aim
Mistakes Enough For Everyone
Absolutely Kosher
Indie
12
t3
ATOMIC 7*
En Hillbilly Caliente
Mint
Scratch
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15
ONSBA
DEATH FROM ABOVE 1979
Secret Wars
Ifou're a Woman...
Oj|i||ii|||ii::K
Last Gang
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ARCADE FIRE*                          Funeral
JEf^GJ^elTCANDHtSa&NSS* NeedaWcrve
Merge
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19
SK*&f SOCIAL fCS**
DESTROYS?*
Bee HWes        ', V
Your Blues
Arts and Crafts
Merge
20    j
23
BffiF TERMINAL*
DiAMANDAOALAS    '
The Isolationist
©eibfofies WBar«l Testament
Noise Factory
; vjj&*e      . - ■
23
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SECRET MOMMY*
Hawaii 5.0
'domino
Ache -
24
25
GUITAR WOLF
DANDI WIND*
Love Rock
Concrete Igloo
Namack
Indie
27
WILUAMSHAINER*
NOTWIST
MasBeetj -   -
Different Cars and Trains
Shout ftsslacy
Domino
28
UARS
They Were Wrong so We Drowned
Mute
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HIDDEN CAMERAS*
Mssissauga Goddam
EvflEvf
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CHEEPS
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31   ■-
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32
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COMETS ON FIRE
Louder* UJb-hbw
SubPop
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35
|Pp^^Pi£CTiVE Tung Songs  '
TIJUANA BIBLES*                          Fists of Fury
fat Cat
Indie
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TORTOISE
It's A» Around You
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SOUTHERN CULTURE ON THE SKIDS Mofo Box
Yep Roc
40
THE APPROACH*
;. Wftigs of Monarchs
Flyer
41
LE TIGRE
This-Island
- Universal
42
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Kranky     •
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MISSION OF BURMA
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The Pros and Cons...
Mini-
48
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Dead Cities, Red Seas and Lost Ghosts
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SQUAREPUSHS?
Uttravisitor
Warp
SO -
'     HK3H DIALS*
fields In GJO^iSrO'v.
Rainbow Quartz ,
"Denotes Canadian Content
Breakfast Wtth the Browns - Top 10 of 2004
Mondays 8am -11am on CITR
Listed in descending order
Loscil
Philip Jeck
Broken Social Scene
Einstuerzende Neubauten
Valley of the Giants
Blockhead
Sixtoo
Arcade Fire
Glider
The Organ
of bribes received:
Bee Hives
Perpetuum Mobile
S.T.
Music by Cavelight
Chewing on Broken G
Funeral
Non-Spaces
Grab That Gun
LOCAL CHARTS
1.) Vancougar
Demo
2.) Gangbang
Keepin ft Rfef
3.) WPP
he has ffie technology
4.) Raised By Wolves
EP
5.) A Textbook Therapy
EP
*.) Rant Music
Rant Music
7.) The Tomster
Haa lah lah
8.) Joey and the Instapunks EP
9.) Mandown
EP
10.) The Mockers
EP
SUSY WEBB'S TOP FIVE RECORDS OF THE YEAR
1. Ariel Pink's Haunted Graffiti—The Doldrums (Paw-Tracks)
You have to wonder about a guy like Ariel Pink. His ridiculous songwriting skills make you think a million
people must have wanted to be in a band with him—yet for years he's been recording all on his lonesome,
making incredibly strange pop tunes in the hills of LA. Dude must be pretty bugged out, and realistically,
he'd have to be to write songs Hke this. Thankfully, Paw Tracks have their hands on Ariel's back catalogue,
and we can took forward to more, more, morel (And HARDER1)
2. Helta—The Devil Isn't Red (5RC)
Straight outta central Cali, drummer Zach is inspired by strange voices in his head, and os a child guitarist
Spencer spent hours taping his Nintendo. Somehow this adds up to some of the most unusual, original,
viscerally moving rock music out there. Some say they're kinda like Lightening Bolt or The Ruins, but
comparisons fall short when confronted with such originality. I won't even bother.
3. Joanna Newsom—The Milk-Eyed Mender (Drag CHy)
A harp, a girl, and some mad song-writing skills add up to an incredible record. Joanna's voice is unusual—
not exactly beautiful, but so insistent that you can't stop listening when it's in the room. She plays the harp
Hke a waterfall or mountain range or flock of seagulls or a realy, really cute baby seal. Her songs are so
affecting emotionally that I actually wasn't able to listen to this one too much, as I found myself feeling faint
and overwhelmed whenever I tried. This means they're fucking good.
4. Rob Sonic—Telicatessen (Def Jux)
As the Def Jux site says. Rob Sortie's debut record inspires many observations, but everyone can agree on
"amazing productfon" and "unbelievable lyrics", this is one of the most unusual, Wgh-quaWy indie hip hop
releases of the year, featuring crazy self-production with a variety of vintage and tech gear. Ignore it at
your peril!
5. Franz Ferdinand—s.f. (Sony)
I'm not ashamed to admit it: I think this record is fucking terrific. You know that band The Strokes? (If you
haven't heard of them, don't worry, they're pretty obscure.) WeH, their music isn't really thai catchy. This
shit is. The lyrics are better too.
Dear Loyal Listeners of Out For Kicks,
rW
After 15 years and over 700 shows,
I am giving up fhe microphone.
Thank yoa sa much
rV your dedication ta the show ow these many years.
y«r phone cafe and emails hmm been my paycheque, and I Have
:' always appreciated it. the guar hm always been fo make e..
few fans of the artists we played, and I thmk we achieved that
marry times over.
What will you do Thursday eveninas from 6-7:30
without yotr Ipg? Me-Poo?
As form, I have started a record label.
I Comew"s/tmeat«yireivitome
fhe last showIs January oft
Tyne In, and Join us in The flf that n^M
uomefeandtptaylngandsliareafewtfrlnks.
thanks again, and fceep Sstmmgl
Mvchkm, *
Ctm, Brandt   O
page 29 CiTR BROADCASTS AT 640 WATTS 24 HOURS A DAY. TUNE US IN AT 101.9FM,
CABLE 101.9FM OR LISTEN TO US ONLINE AT WWW.CITR.CA
SUNDAY
ARE YOU SERIOUS? MUSIC
9:00AM-12:00PM
All of time is measured by its art. This show presents the
most recent new music from around the world. Ears
open.
THE ROCKERS SHOW
12:0OPM-3:0OPM
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE att.
3:00PM-5:00PM
Real cowshit-caught-in-yer-boots country.
AFROBEAT
3:00PM-5:00PM
In two hours, I take the listener for a spin—musically—
around the world; my passion is African music and
music from the Diaspora.
Afrobeat is where you can catch up on the latest in
the "World Music" scene and reminisce on the classic
collections. Don't miss it.
email: uget_afrobeat@yahoo.com
CHIPS WITH EVERYTHING att.
5:OOPM-*:0OPM
British pop music from al decades.
SAINT TROPEZ att.
5:OOPM-6:0OPM
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:OOPM-10:OOPM
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 Qawwais,
pop, and regional language numbers.
TRANCENDANCE
10:0OPM-12:0OAM
Join us in practicing the ancient art of rising above
common thought and ideas as your host DJ Smfley
Mike toys down the latest trance cuts to propel us into
the domain of the mystic-al. <trancendance@hormail.
com>
ELECTRONIC SPECTRUM
12:00AM-3:00AM
HLL-IN
3:O0PM-6:0OAM
Sfjtt.O N D AY
FILMN
4:00AM-8:00AM
BREAKFAST WITH THE BROWNS
^MU^tt^QAM
Irfcujr favourite browrvsters, James and Peter, offer a
dtefeSury blend of the famiar and exotic in a blend of
aurot delights!
LIONS AND TIGERS AND BEARS...
11:00AM- 12:00PM
AU. RADIO
12:00PM-1:00PM
Hosted by David 8.
PARIS UNKNOWN     -
t£0PM-&OOPM
Underground pop for the minuses with the occasional
interview with your hosf.s'OiiSv .- -,
SANDBOX THEATRE
3:00PM-4:00PM
A show of radio drama orchestrated and hosted by
UBC $tuo!eoii teafuiinglflaepe^
<ntffarxA«irta1nternofl^^
' |tt^r^^ernent.<scindbc^heafre@hctmaicorn>
ABSOLUTE BEGINNERS
A chance for new QTR DJs to flex their musical muscle.
Surp&esgatore. -'
s^oPM-i.-oom
Jom me - Dallas Brodie - for stimulating talk radio
tocaC rKjftencland&^wwrtkmctra»«as,
Jazz
afc^loaal nation
SONOFNfflEDRBEMS
«:OQPM-7:30fM
SOLAROATtON <*.
&00PM-&30PM
MY ASS C*
fc3QPM-7:30PM
«»|»AI*iWirr».
wmmtumo
Listen toSeJectaKfystabslefiar your reggae education
TtffJAZZSHOW
JSI^^IWs longest running prime-time Jazz program.
H$*#»fJj:tey the ever-suave. Gavin Walker. feai&r^W
11:00, as listed
Dec 8to: One of the best two sa)e|pK8Re teams
history: Al Cohn and Zoot Sims Recorded in StocKhoir
with Ex-Pat Horace Parian on piano and a great
Swedish rhythm section. Al and Zoot in "Motoring
Atongp»
Dec Ittte VBslst Bobby Huteherson has genius and this
Js shown on a rare Bern ca(rea"Oblfc$ue''. Bobby with
his musicai soul mate Herbie Hancock on piano, the
late Albert Stinson on bass and the always provocative Joe Chambers on $||*fte%%
Dec 20th: In keeping with "The Jazz Show" tradition the
historic Christmas Eve summit meeting with leader
Mites Davis on trumpet, Mlt Jackson (vises) and
Thetoraus Monk (piano). Real jazz and real Christmas
hiusiei
Dec 27: "California, Here f Come" is a rare-^dener-
ge$clief by piano giant BI Evans recorded live with a
special trio with bassist Eddie Gomez and Bill's favourite drummer the one andortfy^Mly joe* Jones.
JaB*ffcppyN9wY«rtoalfromGavinand "The Jazz
ShoWwetack off 2005 wJfho«wconaertbyt*urrtpet.
er Miles Davis and his quintet recorded at the Antibes
Jazz Fest, tW&jeS^ George Coleman (tenor saxo-
^«NMfe Herbie Hancock (piano), Ron Carter (bass),
^afid l7-year-©kt1tony Williams (drums). BrWqnti
Jan 10: Big band jazz with a twist. Thetonius Monk and
his orchestra at Lincoln Centre. Monk's piano and
Thad Jones' absolutely stunning work on cornet make
this one a must Ssten. Phlt Woods (alto saxophone)
and Charlie Rouse (tenor saxophone) add to this star
studded evening.
JOte fTt the famous $£rsny <$&$&$art<Camegie Hall
" concert charjged jazz torever and tonight we'd hear
a good part af that event with ctarmtrst/eader B.G.
w^ffetar»qyrrtoatidai>artetastheywereonJan.l6,
1938."
Jan 24: "Contours" by tenor and SOpfino saxophonist
and envelope pusher Sam Rivers was hfersecond biu*
- 1i^»recora1r^«idhBbestnotonVt^WveR^f4e»ff^
,wideompos«c>r«buttorih^
^'c#FireaaSeHu^toaKt Hwbte Hancock {pfterioi.,
* 1te8§arter (bass) an«l Joe Chambers (drums) II out
this heavy album.
Jan 3f: "Count Baste at Newport" the great Basie
Band at the 1957 Newport Jazz Festival with guests
and alumnae Lester Young and Hnois Jaquef (tenor
saxophones), Roy "Little Jazz" Eldridge (trumpet) and
Papa Joe Jones (drums) and some great vocals by
Jimmy Rushing and the rest of the Baste Crew, Fun
and swinging.
VENGEANCE IS MINE
12:00AM-3:00AM
All the best the world of punk rock has to offer, in the wee
. hours of the mom. Hosted by Trevor.
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 its derivatives with Arthur
and "The Lovely Andrea" Berman.
HIGHBRED VOICES alt.
j    8:O0AM-9:30AM
SWEETN'HOT
8:00AM-9:30AM
THIRD TIME'S THE CHARM
9:30AM-11:30AM
Open your ears and prepare for a shock! A harmless'
note may make you a fanl Hear the menacing scourge
that is Rock and Roll! Deadlier than the most dangerous
criminal!
<bcrr1rrsMynirie@tx3trTK«l.com>
UVE HERE, WORK EVERYWHERE, att.
11:30AM- 12:00PM
CJLY - Kootenay Co-op Radio profiles 30 creative
enterprises   in   Nelson   with   markets   and   clients
worldwide.
MORNING AFTER SHOW att.
11:30AM-12:30PM
REEL TO REAL all.
12:30PM-1:00PM
Movie reviews and criticism.
ENGAGING THE WORD att.
1:0OPM-2:0OPM
Canadian   authors,   fiction   writers   and    novellists
interviewed by James O'Hearn.
BEATUP RONIN
12:00PM-2:00PM
Where dead samurai can program music.
CIRCUIT TRACING
2:OOPM-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 its influence on mostly
Francophone musicians.
TANSI KIYAW alt.
3:30PM-4:30PM
Tansi kiyaw? Is Michif-Cree (one of the Metis languages)
for "HeBo, 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 rriusic and spoken word as well
as events and news from Indian country and special
guests. Contact me at jlscudel@ucalgary ca with news,
even listings and ideas. Megwetch!
FILL-IN
4:30PM-5:00PM
WENER'S BARBEQUE
5:O0PM-6:OOPM
Join the sports dept. for ther coverage of the T-Bids.
FLEXYOURHEAD
6:00PM-8:00PM
Up the punx, down the emo! Keepin' it real since 1989, :
yo. texyouitiecKlvarrcouverfK3rdcore.com
SALARIO MINIMO
8:00PM-10:00PM
THE LOVE DEN all.
10:00PM-12:00AM
<loveden@hotmall.com>
ESCAPISM alt.
10:00PM-12.00AM
es»cap»ism n: escape from the reality or routine of life by
absorbing the mind in entertainment or fantasy.
Host: DJ Satyricon.
<DJScrryrfcon@hotmail.com> -*f-f3§\
AURAL TENTACLES
12:00AM-6:00AM
It could be punk, ethno, global, trance, spoken word,
rock the unusual and the weird, or if could be
something different. Hosted by DJ Pierre.
WEDNESDAY
mm
M0pi$-730AM
StilUtS^N JUNGLE
OB^NEWS AND ARTS
9-OQAM-1O-0OAM
J^ft^CORPSE
lOSQOAM'II^OAM v<
Experimental, radio-art sound e©tage, filed recaralr^s,
etc. Recommended for the insane.
113OAM-1:0OPM
Luke. Meat IrBates and educates through musical
deconslrucHon Recommended for the strong
%mm&mM
KtoWEmccmm.
DEMOCRACY NOW
2dQPM-&0GFM
tfKtependertf news hosted by awcjfdwwinhgic«jrndWs
AmyGeKKfcwmarKJJuonQc«ai3tez. '
MOfOtOADOY alt      .
&WftMfe99MrV 0
Cyctenrlfffc rawk and roli
lidHJETONE RADIO <*
Pnn^m,kszea^^gafamf^«^^hl
NiCiSSAtYVOiCB
Sotibf^leal, env»cnmenlaiad*^ news and spoken
ward XjSth some muste,!!®^ <k
wwwriecessaryvoices^Kg
<necesso^voices#te1us.net>
AM&4QMCTIMESWHY alt
4:30PM-8:OOPM
(Fist Wednesday pi every mahfej
BLUE MamMmyk-' • ''
630PM-&00PM
Vancouver's        only   jrKdustnatelecfronic-retro-goth
program. Music fo schtomp to, hosted by Coreen.
PRIMAL
8fl0PM-9:00PM<#.
A sex F>ositive fortnkjhtty Irffc magazine, hosted by
Maura lngrat«^l^Www.primairad^^^^K
JUKEBOX
8:00PM-9:OOPMalt
Developing your relational and individual sexual health,
expressing diversify, cetebrating queerness and encouraging pleasure at al stages, Sexuality educators
Jula and Albc wi quench your search for responsible,
progressive sexuaity'over your Fife span! <www.juice-
lxwacSo.com>
FOLK OASIS
9:00PM-n:00PM
Roots music for folkies and non-fotkies... bluegrass, singer-
songwriters, worldbeat, alt country, and more. Not a
mirage! <folkoasis@canada.com>
HANS KLOSS* MISERY HOUR
^fppM-SKOOAM
j^^fe^fey much, the best thing on radio.
FIRST FLOOR SOUND SYSTEM
2:0OAM-6:O0AM
THURSDAY
FILL - IN
6:O0AM-8:0OAM
END OF THE WORLD NEWS
8:00AM- 10:00AM
PLANET LOVETRON
10:00AM-11:30AM
Music inspired by Chocolate Thunder, Robert Robot
drops electro past and present, hip hop and
intergalactic funkmanship. <rbotlove@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/beche|or pad or
car. OK, maybe not the car. Wouldn't want to spill
anything on the upholstery,
DiSCORDER - December and January, 2004 an,d 2005 UNPACK YOUR ADJECTIVES
12:00PM-1:00PM
FILL-IN
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 with
Robin.
RHYMES AND REASONS
3:00PM-5:00PM
DJ Knowone slaves over hot-multi-track to bring a
fresh continuous mix of fresh every week. Made
from scratch, samples and just a few drops of
fame. Our tables also have plethora of guest DJs,
performers, interviews, giveaways, Strong Bad and
the  occasional  public  service  announcements.
<eno_wonk@yahoo .ca>
LOCAL KIDS MAKE GOOD
5:00PM-6:00PM alt.
Local Dave brings you local music of all sorts. The
program most likely to play your bandl
PEDAL REVOLUTIONARY alt.
5:O0PM-6:0OPM
Viva la Velorution! DJ Helmet Hair and Chainbreaker
Jane  give  you  all  the  bike  news  and  views
you need and even cruise around while doing it!
<www.bikesexual.org>
NUTHOUSE RADIO THEATRE
6:00PM-7:30PM
All-original Canadian radio drama and performance
art written and performed live-to-air by our very
own team of playwrights and voice-actors. We also
welcome you to get involved, whether you are a
professional or inexperienced...
ON AIR WITH GREASED HAIR
7:30PM-9:00PM
The best in roots, rock 'n' roll and rhythm and blues
from 1942-1962 with your snappily-attlred host, Gary
Olsen. <ripitup55@telus.net>
LIVE FROM THUNDERBIRD RADIO HELL
9:00PM-11:00PM
Live From Thunderbird Radio Hell showcases local talent... LIVE! Honestly, don't even ask about the technical side of this, this month's listings:
Nov. 4: Ken Latour (a shindig band)
Nov. 11: The Sore Throats (also a shindig band)
Nov. 18: The Ultimate Power Duo (From Edmonton)...
WORLD HEAT
11:00PM- 1:00AM
An old punk rock heart considers the oneness of all
things and presents music of worlds near and far
Your host, the great Daryl-ani, seeks reassurance via
<woridheot@hotmoil.com>.
LAUGH TRACKS
1:O0AM-2:OOAM
BEATS FROM THE BASEMENT
2:00AM-6:00AM
FRIDAY   .
FM-IN
&09AM- 7$0AM      -
PLEASE ROCK THE DOO* ,'-•,
7:00AM-8:00AM
CAUGHT IN THE RED
.;$Q$jHlM0:00AM
Trawling the trash heap of over 50 years* wOftfeiSfiresafe-
rock "n' roll debris.
SKA-rS SCENE-IK DRIVEI
10:00AM-12:00PM.
Email requests to: <dJskaJ'.s:hotmaB.CQrri>
THESE ARE THE BREAKS
12:00PM-2:00PM
Top notch crate digger DJ Avi Shack mixes the
, 'jj*dle£§00und hip hop, old school classics and
Ooi|pis£Jf breaks.
RADtOZERO   .*.
1|Ai{||UARTHE HUMAN SERVIETTE PRESENTS,*,   . >
3&QPM-&O0PM- *
ant item, sports and arts
$OrjPM-fc0CrPM
A volunteer-produced   student and community
newscast featuring news, sports and artsJSeparfs by
peojpsw $ke you. "Become the Media."
^^^piERNWISH
6:O0PM-7^^k#J
AFRICAN RHYTHMS
7:30PM-9:00PM
David "Love" Jones brings you the best new and old
^^^^H|":iatin, samba, bossa and African music
Irom around 1be world.
www.aWc«nrhySimsradio.com
HOMEBASS
9:00PM- 12:00AM
Hosted by DJ Noah: techno but also some trance,
acid, tribal, etc. Guest DJs, interviews, retrospectives,
giveaways, and more.
i IMS THE SCRIBBLES aft.
THE ANTIDOTE ait.
12:00AM-2:00AM
THE VAMPIRE'S BALL
2:00AM-6:00AM
Dark, sinister music of io soothe and/or move the
Dragon's soul. Hosted by Dtdt0*T~f~
<Bievanfpiresball':yahao:ccP' '
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 interviews, guest speakers, and
social    commentary,    www.streetpunkradio.com
<crashnburnradio@yahoo.ca>
POWERCHORD
1:00PM-3:00PM
Vancouver's only true metal show; local demo tapes.
imports,  and  other rarities.  Gerald   Rattlehead,
Dwain, and Metal Ron do the damage.
CODE BLUE
3:O0PM-5:0OPM
From backwoods delta low-down slide to urban harp
honks, blues, and blues roots with your hosts Jim,
Andy and Paul.
THE LEO RAMIREZ SHOW
5:O0PM-6:0OPM
The best mix of music, news, sports and commentary
from  around  the  local and  international  Latin
American communities.
BATTLE ZONE
6:OOPM-7:O0PM
Each show will make you feel as though you're
listening  in  on  conversations  between  political
insiders. As well, this guest and caller-driven programs
its guest from opposite ends of the corridor of public
argument against one another in ho-holds barred
debate that takes you behind today's headlines.
SHADOW JUGGLERS
7:00PM-9:00PM
An exciting chow of Drum n' Bass with Dj's MP & Bias
on the ones and twos, plus gusts. Listen for givawas
everyweek. 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://plutonio.org
EARWAX
1:00AM-4:30AM
"noiz terror mindfuck hardcore like punk/beatz drop
dem headz rock inna junglist mashup/distort da
source full force with needlz on wax/my chaos runs
rampant when I free da jazz..." Out.
REGGAE UNKUP
4:30AM-9:00AM
Hardcore dancehall reggae. Hosted by Sister B.
9
10
11
12™
1
2
3
4
5
6
7
8
9
10
11
12am
2
3
4
5
6
SUN
iDAY
MONDAY
TUESiDAY
WEDNESDAY
THURSiDAY
FRIDAY
SATURiDAY
REGGAE LINKUP
m
FILL-IN
PACIFIC PICKIN'
(RT)
FILL-IN
FILL-IN
FILL-IN
PLEASE ROCK THE DOOR (Eq
FILL-IN
SUBURBAN JUNGLE
(EC)
BREAKFAST WITH
THE BROWNS
(EC)
HIGHBRED
VOICES (WO)
SWEET 'N' HOT
END OF THE WORLD NEWS
CAUGHT IN
THE RED (RR)
THE
SATURDAY
EDGE(RT)
ARE YOU SERIOUS?
MUSIC (EC)
CITKNEWS* ARTS (TK)
TifcD TIMES
THE CHARM (RR)
EXQUISITE CORPSE (EX)
PLANET
LOVETRON (DC)
SKAT'S
SCENIC DRIVE (SK)
UONS AND TIGERS AND BEARS
LH.W.£(K)
MORNING AFTER
SHOW (eg
ANOIZE (NO)
FIRED UffJK)
UNPACK YOUR ADJECTIVES (PO/RR)
ROCKERS
SHOW(RG)
ALT. RADIO (PO)
BEATUP
RONIN
(K)
THESE ARE THE
BREAKS (HH)
GENERATION ANNIHILATION (PU)
REEL TO REAL (IX)
PARTS
UNKNOWN (PO)
BKA6IN6THE
WORDfJK}
THE SHAKE (RR)     j    FoilEffCW
1          W
FILL-IN (HC)
POWERCHORD
(«T)
CIRCUIT TRACING
(DC/EC)
DEMOCRACY NOW (TK)
THE ONOMATOPOEIA SHOW (TK)
RADIO ZERO (EC)
BLOOD
ON THE
SADDLE (RT)
AFROBEAT
(WO)
RUMBLETONE
MOTORDADDY
(RR)
RHYMES &
REASONS (HH)
CODE BLUE
(RT)
EN AVANT
LA MUSIQUE (FR)
TANSI MYAW
NARDWUAR
PRESENTS (NW)
ABSOLUTE BEGINNERS (EC)
(EC)
(RR)
OfSWHH
BKrMBIPB)
SAwntorfi
m
THEFUPSIDEfFK)
WENER'S BBQ (SP)
NECESSARY VOICES (IK)
tOCALHDS        |           PEDAL
MAKEGOOD(EC)     1     REVOLUTION (TK)
GTR NEWS AND ARTS (TK)
LEO RAMIREZ SHOW (WO)
QUEER FM
DU
SON OF KITE
DKBIS{K)
SOLARIZATION (TK)
FLEX YOUR
HEAD (HC)
THE NORTHERN WISH
(EC)
BATTLE ZONE (TK)
MY ASS (EC)
AND SOMETIMES
WHY (TO/EC)
HUE MONDAY
' m *
NUTHOUSE RADIO THEATRE
(PO)
SHADOW JUGGLERS
(DC)
WIGFLUX RADIO (RG)
ON AIR WITH
GREASED HAIR (RR)
AFRICAN RHYTHMS
(WO)
RHYTHA
ASINDIA
SALARIO
MINIMO -_
0)
PRIMAL (TK)
JUICEBOX (TK)
(W
0)
THE JAH
SHOW
(H)
(W
FOLK OASIS (RT)
y WE FROM™
THUNDERBIRD HELL (LM)
HOMEBASS
(DC)
SYNAPTIC SANDWICH
(OCAC)
TRANCENDANCE
(DC)
THE LOVE
DEN
(EC)
ESCAPISM
(EC)
HANS KLOSS'
MISERY HOUR
(HK)
WORLD HEAT
(WO)
PLUTONIAN
NIGHTS (DC)
ELECTRONIC
SPECTRUM
VENGEANCE
IS MINE!
(PU)
AURAL
TENTACLES
1 UKE THE
THE ANTIDOTE
m
LAUGH TRACKS (TK)
SCRIBBLES (EC)
EARWAX
(EC)
THE VAMPIRE'S
RAH (GI/MTl
(HH/DC)
FILL-IN
PSYCHEDELIC
AIRWAVES
FIRST FLOOR
SOUNDSYSTEM
fEfl
BEATS FROM THE BASEMENT
(HH)
(DC,
'EC)
REGGAE LINKUP (RG)
DC=dance/electronic • EC~eclectic • EX=experimental • FR^French language • GI=goth/industrial • HC=hardcore • HH=hiphop • HK^Hans Kloss • JZ=jazz
LM-live music • LO-lounge • MT-metal • NO-noise • NW-Nardwuar • PO-pop • PU-punk • RG-reggae • RR=rock • RT-roots • SK-ska • SP=sports • TK=talk • WO-world
9
10
11
12™
1
2
3
4
5
6
7
8
9
10
11
12-
1
2
3
4
5
6
page 31 7ii!n fifliiMta 9RR/I
Stdfl   PlCkS Top Tens (in no particular older)
A recapitulation of some of favourite listens of 2004!
All titles 10% OFF until January 31st 2005
SSf
BRADY
♦ ANIMAL COLLECTIVE - SUNG TONGS
*«K«I RUE-FUNERAL
♦ CLOUDDEAD-TEN
♦ DESTROYER- YOUR BLUES
♦ FENNESZ -VENICE
•MADmiAN-MAD VILLAINY
• WW AMERICAN - QWETGITY ;
• TARENTEL - WE MOVE THROUGH
WEATHER
•TV ON THE RA0C-DESPERATE
YOUTH, BLOODTHIRSTY BABES
♦ WILCO- A GHOSTS BORN
BARBE
•PJHARVEY-UHHUHHER
•THE ORGAN-GRAB THAT 80U
• THE WINKS -SLIPPERS & PARASOL
•ROGUE WAVE -OUT, OF THE SHADOW
• BLACK MCE-WEsI COAST THUNDER
/•RU(E COPS-ABSOLUTELY YOUR
cfi£DrnsAWE«*n
♦THE SKOALS-RECEIVER
ANTHOLOGY
•THE DOERS -READY, SET, DO
• CHRISTOPHER DEOfiCK AND THE
CANADIAN FILM ORCHESTRA-THE
• PICTURE SOUNDTRACK FOR "THE
SADDEST MUSK; IN IM WORLD*
♦ BLONDE REDHEAD -MISERY IS A
ragjgftfttr
imMackioeys-
CRfs      r «|
• V/A - NOU ME IE6ERE {% MAURICE
BLANCHOT)    O
•TOON Tffi RADIO-DESPERATE     '-
YOUTH, BUOOOTiffRSTY BABES
• SAWAKO-YOU#BW^
•CHai-FOREST
• CHRISTINA KUBISCH-TWEWE
SIGNALS
♦ANIMAL COLLECTIVE -SUNG TONGS
• AMBARCHI MUUIRJSAMARTZIS -
STRANGaOVE
♦LIARS-THEY WERE WRONG SO WE
DROWNED
• THE PHONOGRAPHER'S UNION - LIVE
ON SGNARCHY RADIO
ERIN
• SIMON FINN - PASS THE DISTANCE
• FLOWER TRAVELUH' BAND - SATORi
• ANIMAL COLLECTIVE - SUNG TONGS
•ONEIDA-SECRET WARS
• JOANNA NEWSOM - MILK-EYED
MENDER
• COMETS ON FIRE -BLUE CATHEDRAL
• DESTROYER-YOUR BLUES
♦GONG-AC© MOTHERHOOD
• SONS AND DAUGHTERS - LOVE THE
CUP
•JJARS-THEY WERE WRONG, SO WE
llBWIBL^
GRANT
• ANIMAL COLLECTIVE - SUNG TONGS
•Tiff CINCH-SHAKE IF YOU GOT IT
• AIR-WALKS TALKI
• TV ON THE RADIO - DESPERATE
YOUTH, BLOODTHIRSTY BABES
• PINK MOUNTAMTOPS - S/T
• ELLIOT SMITH - FROM THE 8ASE-
MENTJMtTH;H|L^
rJuTHgHJliSS
•RED DAYS
URZENBE NEUBAUTEN-
UUM MOBIL
JJeCTRELANE -THE POWER OUT
fORETTA LYNN - VAN LEAR ROSE
JASON
•BLOOD ON THE WALL-S/T
•THE CINCH -SHAKE IF YOUiffif
• THE INTELPGENCE - BOR|^M AND
IlJWlSg^fMYWEIffiWIfflNG.I^IfE
w&w&sF
I JOANNA NEWSOM - THE MILK-EYED
Wkwm-
• ONEIDA- SECRET WARSI
• PLUSH-UNDERFEB
• SONIC YOUTH - SONIC NURSE
• SWELLMAPS-ATRPTO
MARINE VILLE (REISSUE)
• WHITE MAGIC -THROUGH THE SUN
■HI
JOSH
• YOUNG PEOPLE - WAR PRAYERS
•GANG GANG DANCE-S/T
• IJWRS-YOU WERE WRONG, SO WE
DROWNED
♦SHOPLIFTING-S/T
• CHANNELS 3 AND 4 / FUCK ME USA -
SPLIT T
♦ONA-DNA ON DNA (RE-ISSUE)
• 8UCKDICE - MILES OF SMILES
• HOT SNAKES- AUDIT 0) PROGRESS
» WHITE MAGIC - THROUGH THE SUN
DOOR
ififcoiirl
• WOLF PARADE DEMO
♦SUBTLE-A NEW WHITE
• JOANNA NEWSOM - THE MHJC-EYED
MENDER
• PINBACK -SUMMER II ABADDON
•ARCADE FIRE-FttNEJ|AL
♦ANIMAL COLLECTIVE-SONG TONGS
•BLOC PARTY -S/TEP
•MAD VILLAIN-MADVILUUNY  1
• TV ON THE RADIO-DESPERATE
. YOUTH, BLOODTHIRSTY BABES }
• ONEIDA-SECRET WARS
MARK
• ONEIDA -SECRET WARS -
• ELECTRELANE - POWER OUT
• YOUNG PEOPIE- WAR PBAYERS
• WTEUJGENCE-BOREDOM AND
TERROR   ^^
♦CmetE-T^rjOREST
• UA^-THEY%ERE WRONG- Ift
• PJHARVEY-UHHUHHER
• BLACK MOUNTAIN - BRUGGANAUT
♦V/A-SRACELUES
*SHBMANLUEDECKE-MOLJEHTHE
GROUND        M^^te
MEREDITH
• CHRIS LUEDECIBE/OLD MAN
LUEOECKE - A MOLE IN THE GROUND
• MIRAH YOMTOV ZEiTLYN, GMGER
BROOKS. TAVAHASI & FRENDS -
SONGS FROM TBE BLACK MOUNTAIN
PROJECT    .
• FOURTET-IATE NIGHT TALES
•8MB MELDHAN- LIVE IN TOKYO
• LUNA-RENDEZVOUS
♦JAMES YOHKSTON AND THE
ATRELETES -JUST BEYOND THE
RIVER
• VAN HALEN- BEST Of (REISSUE)
♦GABE MtHAiKW - HARD FKUNGS
•ERIC DOLPHY -OUT TO LUNCH
(REISSUE)
• CHARLi HUNTER TRW - FRIENDS
SEEN AND UNSEEN
NICOLAS
•T^PiHtlTOUiriAiNTOPS"^^,
•DESTI»YER-Y0UR8yBBS^*^^
• KEREN ANN -I'M NOT GOING
'ipffragR?';
• RODNEY GRAHAM -ROCKISHARD
• SONS AND DAUGHTERS -LOVE THE
an*
• PLUSH-UNDERFED
•FROGEYES-THE FOLDED PALM
•ANTONY AND THE JOHNSONS-S/T
• THE FIERY FURNACES - BLUEBERRY
BOAT
♦THECOIICBEgS-S/r
SAM
• BARK PSYCHOSS - CODENAME:
DUSTSUCUR
•CLOUDDEAD-TEN
• FENNESZ -VEMKE
• THE FOLK ORCHESTRA - BLOOD
STABBED LOVERS
• IUDVILLAIN-MASVitLA*Y
• PANO-THEBEH
• RHYTHM AND SOUND - WITH THE
ARTISTS
♦BJ/RUPTURE- SPECIAL GUNPOWDER   (REISSUE)
• ARTIfURIIUSSa-WOIftBOTBCHO    •SHELLEY CAMPBEL
(RE-ISSUE) REVEILLE
• JAMES YORKSTON AND Trfih       »T|ESAOES-FAVOURITE
ATHLETES-JBSTBEYOND THE RfiffR     ♦VARIOUS -GOOD GIRLS GOHllAO
VICKI
• BLANCHE-IF WE CANT TRUST THE
DOCTORS
♦ COCO ROSff-tAMABONDE MON REVE
• CANDY STANTON -S/T (REISSUE)
♦ JOANNA NEWSOM - THE MIX EYED
MINDER
♦ MARAINEY-D0N7HSHINMYSEA
(ffilSSHE)
• LORETTAIYNN-VAN LEAR ROSE
NINA SIMONE - SILK ASeUP*
HE RIDGE .
S!
-4 TWIRSJWOKW *i
fmDAY^JEC 24^0^ TIL fepAS
SATqiTOYPE^^^LOSED^
■ ^JNDAY DEC 26™ BOXING DAY 9AftHPM|
Donalelottie Food B^BtMu
Attention All Zulu Customers: Hunger Knows No Boundaries
This ftothtay season wo are encouraging everyone to support the Vancouver Food Bank in their
dedication to providing food and related assistance to those k need. You can help I Just drop off any non-perishable
Items you can spare here at Zulu and we will transport all donations to die Food Bank on Jan.titft 2005.
Note: fhe Food Bank% most needed items are: Canned Meats, Soups & Stews, Canned Fish & Meat, Pasta,
Mil Sauce & Rice, Canned Beans, Fruits & Vegetables, and Baby Formula & Diapers.
All deflators will be given s coupon valid for 10% elf any replar priced purchase ie fee month et January 2085
BLUE CHRISTMAS
NEW ARTWORK FROM
THE POP TARTS
OPENING DGCEMBm 14
UNTIL JANUARY 31
I K£C6VD3\
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
wvvw.zulurecords.com
STORE HOURS
Man fu wed  10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30

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