Discorder

Discorder CITR-FM (Radio station : Vancouver, B.C.) 2007-06-01

Item Metadata

Download

Media
discorder-1.0049949.pdf
Metadata
JSON: discorder-1.0049949.json
JSON-LD: discorder-1.0049949-ld.json
RDF/XML (Pretty): discorder-1.0049949-rdf.xml
RDF/JSON: discorder-1.0049949-rdf.json
Turtle: discorder-1.0049949-turtle.txt
N-Triples: discorder-1.0049949-rdf-ntriples.txt
Original Record: discorder-1.0049949-source.json
Full Text
discorder-1.0049949-fulltext.txt
Citation
discorder-1.0049949.ris

Full Text

  wmmmmMwmukwmw
Mon Tue Wed Thu Fri Sat (Sun
tivj Reggae, Ska and Feelgood Classics w/RetroiLt
/
w
$6:50)DOUBLE HIGHBALLS
Sun
RepUbliC Open til 3AM
^ m AT ^-v * i&-* i-». 7 nights a week
958 Granville St    dhmbarS.ca
^^^^^^^^^^^^^^^^^^^^ Editor
Mike "Spike" Chilton
Art Director
Cole Johnston
Production Manager
Cole Johnston
Copy Editors
Mike Chilton
Brock Thiessen
Cheyanne Turions
Ad Manager
Catherine Rana
Under Review Editor
Cheyanne Turions
Datebook Editor
Mike Chilton
RLA Editor
Mike Chilton
(for Danny McCash)
Layout & Design
Cole Johnston*
Mike Chilton
NCRC Schedule Layout
Cole Johnston
Contributors
Alison Benjamin
Jamie Bennett
Meg Bourne
Chauncy Carr
Mike Chilton
Cameron Curtis
Pyra Draculea
Sarah Fischer
Arthur Krumins
Nick Lewis
Greg McMullen
Christian Martius
Quinn Omori
John Park
Jack Prus
Brock Thiessen
Jackie Wong
PAdraig Watson
Lillian Yang
Photo & Illustration
Meg Bourne
Melanie Coles
Bienvenido Cruz
Valentine Ho
Cole Johnston -
Emily Khong
Matt McGale
Shawn Maxey
Janice Milnerwood
Leigh Righton
Program Guide
Bryce Dunn
Charts
Luke Meat
Distribution
Frank Rumbletone
US Distribution
Catherine Rana
CITR Station Manager
Lydia Masemola
Publisher
Student Radio Society
of UBC
Di%OKDER
UNE -2007
Regulars
The Gentle Art of Editing
3
Riff Raff
Bryce Dunn
4
Techs and the City
Emma Myers
5
Copyright!
Greg McMuLXen
6
Inkstuds
Robin McCormell
6
Vancouver Special Duplex
Music Waste '07preview 1 Capade
14
Datebook Calendar
Poundin' the sidewalk for good gigs...
16
Real Live Action
22
Under Review
24
CiTR Charts
The Dopest Hits of April 2007
29
Program Guide
30
Features
Fake Shark - Real Zombie!
Vancouver shock rockers signed tc
label and played the Astoria in the UK, so why
did they follow it up by playing unplugged in
front of a bunch of bloody kids? Mr 8
NCRC Workshop Highlights
COVER—Alison Benjamin, co-ordinator
of the 26th annual NCRC, walks you'
through this year's 'not to be missed'
conference workshops. Mr- 12
Special NCRC Schedule
The full workshop and events schedule for
the 26th annual NCRC conference, co-hosted
by the good folks at CiTR. This guide is stuck
right in the middle for your enjoyment,    nr 17
Memphis
Torquil Campbell and Chris Dumont distill the
influences of their opposing coastal hometowns
and use it to create music for lovers
(and to buck the system). gar- 20
Cover Art by Cole Johnston
the (Jentlekytrt of Sditing
During my brief time at Discorder, I have
learned so much about CiTR and its history.
Like, did you know that CiTR is in its 70th
year of existence as the UBC Radio Society,
the campus club that the station has run under the auspices of since its very beginnings?
Or did you know that CiTR was the first
Vancouver radio station to have a presence on
the internet in 1994, with an email address
and Gopher site? Or that this year also marks
CiTR's 25th year on the PM dial, the same
amount of time Discorder has been bringing
you cutting-edge music and arts stories.
But all those interesting factoids don't
measure up to the most important thing to
know about CiTR: we are hosting the 26th
annual National Campus Community Radio
Conference (NCRC), June 11 to 16. That
week, talent from NCRC stations from across
the country will converge on Vancouver to
take part in workshops and to take in gigs.
Along with our friends at Co-op Radio and
OJSF, the SFU campus-community station, we
will be hosting the workshops at SFU Harbour
Centre and here at the CiTR studios on a wide
range of topics for people who are, or want
to be, involved in radio. There will also be a
slate of awesome NCRC gigs that week at The
Railway, Shine, The ANZA and The Ukranian
Hall, with such stellar local bands as The
Evaporators (featuring our own Nardwuar
The Human Serviette), The Tranzmitors
(featuring our own Bryce Dunn), The Choir
Practice (featuring our own Ska-T), No Luck
Club, Pendomoja, Great Aunt Ida, Stinkmitt
and The Pack, among many others.
In observance of CiTR co-hosting this
year's NCRC, a good deal of June's issue will
be dedicated to what to see and do during
the conference. Alison Benjamin, the NCRC
Co-ordinator and CiTR President, highlights
many of the workshops you can take part in,
starting on page 12. We have also published
the full NCRC schedule in the centre spread,
so you can plan what you want to take part
in at the conference. Be sure to attend the
"Developing Publications" workshop at the
CiTR studios on Friday, June 15. At that workshop, panelists Tom Harrison of The Province
(and CiTR alumni), Johanna Henderson of
Renegade Radio (the new program guide of
our sister station, CFUV, my old hangout back
when I attended UVic), and yours truly will
talk about how campus-community radio L
stations can develop their own publications,
or work in conjunction with existing publications, to promote their stations—and the
challenges to accomplishing this.
But no big event, such as this one, can
be successfully executed without lots of help.
That is why we're still looking for volunteers
to help us pull off this year's NCRC. We are
looking for billet hosts, meal servers, drivers,
workshop hosts and registration volunteers.
To thank those who offer their help, CiTR will
offer NCRC passes to those who work a minimum of three shifts or who billet a delegate
for the week. For information on how to become an NCRC volunteer and to download a
volunteer or billet form, go to:
http://citr.ca/conference/volunteers.html.
This is the first NCRC that CiTR has hosted
since 1994, so get out there and enjoy it!-
Mike Chilton
^3M&^-   Editor
©DiSCORDER 2007 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation
8,000. Subscriptions, payable in advance, to Canadian residents
are $15 for one year, to residents of the USA are $15 US; $24
CDN elsewhere. Single copies are $2 (to cover postage). Please
make cheques or money orders payable to Discorder Magazine.
DEADLINES: Copy deadline for the July issue issue is June 17th.,
Ad space is available until June 22nd and can be booked by calling
604.822.3017 ext 3 or emailing discorder.advertising@gmail.
com. Our rates are available upon request. Discorder is not
responsible for loss, damage, or any other injury to unsolicited
manuscripts, unsolicited artwork (including but not limited
to drawings, photographs, and transparencies), or any other
unsolicited material. Send words to editor.discorder@gmail.com
and art to art.discorder@gmail.com. Material can be sumbitted
on disc or hard copy or via mail. From UBC to Langley and
Squamish to Bellingham, CiTR can be heard at 101.9 FM as well
as through all major cable systems in the Lower Mainland, except
Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office
at 822.3017, or our news and sports lines at 822.3017 ext. 2. Fax
us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our
web site at www.citr.ca or just pick up a goddamn pen and write
#233-6138 SUB Blvd., Vancouver, BC, V6T1Z1, CANADA.
Friday June 8 - Sunday June 10
Vancouver Art Gallery
What: Come support members of the
Vancouver Police Department as they
camp high above the Art Gallery for a
full weekend, all in support of the Law
Enforcement Torch Run for Special
Olympics BC!
FOR MORE INFORMATION, VISIT
WWW.BCTORCHRUN.CA by
BRYCE
DUNN
1=1 AX
Hello, music lovers! We kick off this column with a spirited "1-2!" from Boston garage group The Turpentine
Brothers, and a recent single that finds our threesome aping a little bit of The Reigning Sound's style (circa
Too Much Guitar) on "Get Your Mind Off Me,1' a blazing guitar/organ/drum maelstrom. The flipside, "Not Your
Fashion," ups the punk quotient a bit, but doesn't downplay the rockin' bursts of keyboard that punctuate the
mix; check out their full-length on Alive Records for more bass-less boogie from these Bostonians!
(Alien Snatch Records, www.aliensnatch.com).
From Anaheim, California comes Thee Makeout Party!, whose bouncy brand of power-pop is reminiscent
of The Raspberries or The Plimsouls. The sun, sand and surf of home seems to be a perfect complement to
the tunes crafted here: "Wreckless Epic" and "It's All Right!" contain generous amounts of shimmery guitar,
peppy vocals and memories of junior high 'spin-the-bottle' sessions. Catch them live, when they open for the
legendary Nikki Corvette on June 2 5, at Pub 340—your summer wouldn't be complete without it!
(Kapow Records, P.O. Box 29597 Los Angeles CA USA 90029 www.kapowrecords.com).
To Sweden we go for The Mainliners and their newest seven-inch slab. I was impressed enough by their full-
length on Get Hip Records that I snatched up this impressive-looking (judging by the cover, anyway) follow-
up. Once the needle hit, I knew I was in for another awesome dose of modern garage R'n'B. While some
bands struggle with this combination, and end up either too campy or confused, The Mainliners channel the
ghosts of bands past (like The Chocolate Watchband on "Lucy's Fur"), while staying on course with their
contemporaries—like The Maharajas or Caesars on "Round 5"—and making it seem effortless. This one may be
tough to track down, so start with the aforementioned Bring On The Sweet life LP on Get Hip and see what you think...
(Human Bretzel Records, www.humanbretzel.com). - /j||i?
We finish with another Swedish outfit, this one cut from a different musical cloth. Nitad fashion their debut
EP with the flawless execution of six songs of straight-to-the-point punk rock, all sung in Swedish. So, unless
you've a got a translator, you're out of luck in the lyrics department. However, what translates the easiest is
the music. From the Circle Jerks "Red Tape"-inspired "Panikattack pa buss 316," to the shout-along Naked
Raygun-style chorus of "Stang ab TV4," it shows these guys are well educated in punk rock history. You could
learn a thing or two from these guys, trust me...
(DerangedRecords, www.derangedrecords.com).
Done like dinner, we'll see you next month! Q
Dear Discorder readers:       ' k
In my haste to get my first issue of Discorder out on the streets last month, I committed the
cardinal mistake of exercising too much editorial licence over my writers' pieces. In so doing, I
changed the intention of some of those writers' words. I committed a disservice to those authors
and to those they wrote about, not to mention to you, the faithful Discorder reader. I apologize
for any consternation these uncommunicated changes caused, and I have taken every measure
to ensure it does not happen again. Please go to the Discorder website (http://discorder.ca) to
see the stories as they should have been printed. My personal apologies go to c. turions, Juliann
Wilding, Julianne Claire and Allan Maclnnis, and anyone else who may have been affected. I
hope this error in judgement will not affect my relationship with Discorder's talented
contributors gr its readers.
- Mike Chilton, editor.
4 June 2007 illustration by matthew mcgale
Y\D CJ. IS and ■ _
fccity
Emma Myers %J
ipod shuffle: a dangerous source of embarrassment?
Tf the purpose of the iPod is to enable us to hand pick the songs we like and
discard those we don't, then why do we all have songs on our iPods that
we are profoundly embarrassed by? Because having such songs seems
inevitable, the shuffle feature on the iPod has become a dangerous force
capable of exposing unknown sides of its owner.
Musical taste has become somewhat of a defining feature of various
personality archetypes: the punk rocker, the ghetto-fabulous gangster, the
indie individual, the folk hippie or the nejv age yogi. So when someone puts
their iPod on shuffle and a song comes on that is inconsistent with the image
they have created for themselves—thinking others have noticed this—they
feel utterly exposed and embarrassed. It is essentially a case of cognitive
dissonance: the more a person feels the song contradicts their persona, the
more embarrassed they become by it.
Even though we may deny it, we can't help but judge people by the type*
of music they listen to simply because we see music taste as such a clear
window into personality. Despite such strong convictions that a person's
music collection is all-revealing, we all have 'embarrassing' songs on our iPods
for a variety of reasons that may have nothing to do with our overall musical
convictions. For example, even if we absolutely abhor rap music, we might
need to hear about Fergie's 'humps' to go that extra mile at the gym. Similarly,
although we may pride ourselves on our high standards of meaningful lyrics,
we might not be able to escape the latest lyrically mortifying, but undeniably
catchy, Avril Lavigne or Gwen Stefani song from constantly playing in our
heads. Perhaps a certain song reminds us of a thrilling moment at our high
school dance. Even if we realize, in retrospect, that we have romanticized the
event completely out of proportion, we nevertheless still enjoy the nostalgic
rush the song induces. Maybe a song, no matter how horrible, reminds us
of a particular summer when it was played almost oppressively on the radio,
and hearing it again allows us to relive our blissful youth.
It is because of these strong associations we have with certain songs
that make music so incredibly personal. As a result, we feel like our souls
are being put on trial and exposed to judgment when our iPods are publicly
played on shuffle. Before the advent of the iPod, our music collections were,
in some sense, more private; we could send our 'embarrassing' songs into
exile by placing them on separate CDs or cassette tapes labelled 'work out' or
'Summer 1997,' choosing to listen to them in private when the mood should
strike us. True, we can now do the same thing with playlists, but this cannot
prevent a song from revealing itself when the iPod is put on shuffle.
We all like songs that we may be embarrassed to admit to. The truth
is nobody "fits neatly into any one musical category, or its corresponding
personality stereotype. Who said there was anything wrong with being
eclectic? We shouldn't have to justify why we like a particular song. The
bottom line is that we like it, and this in itself is all the justification we need.
GHT
by GREG
McMULLEN
CREATIVE COMMONS MEANS FREE CULTURE FORTHE PEOPLE, BYTHE PEOPLE
—AND YOU CAN STILL GET PAID.
C Current copyright laws are really
good at two things: creating
profit for copyright holders and
preventing use by people who don't hold
copyright. They're not so good when
sharing and collaborating are the goals.
That up-and-coming Vancouver indie band
would likely benefit from a great remix
of one of their songs by a DJ in Montreal
or New York, but chances are they're not
talking to one another. The DJ could go
ahead and do her remix and post it online,
but the band might be upset. They could
talk back and forth to try to come up with
an agreement, but, like so many cool ideas,
might go nowhere because of the heaps
of organization required before the fun
part can happen. The Creative Commons
organization hopes to solve this all-too-
common problem.
If you have ever made anything
original, you're a copyright holder. The
song you put together in Garageband
and uploaded to MySpace; the photos
you put up on Flickr; and the poems you
keep in the journal in the bottom, of your
messenger bag are all eopyrighted works
belonging just to you. Under our current
law, the very act of creating something
means you own the copyright to it, and,
outside of a few exceptions for fair use and
parody, no one can use it without asking
your permission. T
This is all well and good if you want
to keep your work to yourself, but what
if someone wants to remix your song,
use your photo, on the cover of their
zine, or publish your poem in a cool new
anthology? Under copyright laws, they
would need to track you down and ask
permission first. This can be hard enough
on its own—in many cases, no one knows
who owns the copyright to a given work—
but if they appear down the road asking for
money, you could still be in violation. Once
you do find the copyright holder, you've got
to nail down an agreement. At best, it can
be a quick chat, but it can also develop into
complicated contract negotiations for rights.
Enter the Creative Commons licence.
These licences are designed to let someone
know exactly what the copyright holder
will let you do with their work, and what
you have to do in return. For example,
a photographer could say that you can
modify and use her work freely for noncommercial purposes, as long as you
attribute the photo to her. The copyright
holder could also insist that work you do
with the photo be licenced under the same
Creative Commons, allowing other people
build upon your work.
It's easy to see how this system would
benefit our Montreal DJ and our Vancouver
indie band. They may never have talked,
but if the band licenses their work under
Creative Commons, the DJ knows she can
remix the song and what she can do with
the finished track.
Better yet, there is a large (and still
growing) community of creative people
using the Creative Commons to promote
and distribute their work. From the base
Creative Commons website, you can
search for still images, video and sound,
all available under various combinations
of the licensing agreement. Other websites
are building in Creative Commons
functionality as well, making it easy to find
works available for the requirements of
your project.
It's not just indie acts taking advantage
of the Commons, either. Last year, Wired
Magazine released a CD full of songs
available under the Creative Commons,
filled with music from artists like the Beastie
Boys, Spoon and Le Tigre. While most are
for non-commercial work, some of these
artists even let you use samples from their
work in your own commercial products.
The entire CD is legally downloadable for
free from the Creative Commons website,
and you're actually encouraged to share it
with your friends.
More recently, DJ Vadim held a remix
contest through Creative Commons music
site, http://www.ccmixter.org, the winner
being included as a B-side on Vadim's
next single. Vadim made vocals and
instrumental loops from his single "Kill Kill
Kill" available under a Creative Commons
licence, asking remixers from around the
world to try their hand at creating a new
version. The Vadim contest is a terrific
example of the power of the Creative
Commons: established artists working
with huge numbers of up-and-comers,
to the benefit of both and to the music
community as a whole.
For all its misuse today, copyright has
done some great things for our culture.
It has protected the livelihood of writers,
artists and musicians, allowing them to
focus their efforts on creating new wonders
for us full time. Though today copyright is
more often used to enforce monopolistic
practices of investors—rather than to
protect the ownership of creators and
artists—the basic concept of allowing
people to reap the benefits of their creative
work is still sound. Creative Commons
extends the usefulness of copyright to
the average' person, making it easy to
understand and providing legal use of the
work of others.
For more information on the
Creative Commons, visit http://www.
creativecommons.org. To open your Flickr
photos to the Commons, visit http://www.
flickr.com/account/prefs/license/ to select
a Creative Commons licence that meets
your needs.
Copyfight! Update:
In April's Copyfight!, I discussed the
accusations from Hollywood that Canada
has become home to nefarious camcorder
moviepirates.ThepressurefromHollywood
lobbyists to make camcordering in theatres
illegal is still building. Warner Brothers
cancelled all advance screenings of Spider-
Man 3 in Canada, claiming pirates in
Canada would distribute it worldwide.
In response, the Minister of Justice is
promising to introduce legislation this
spring to deal with the issue. If you don't
want movie studios setting the legislative
agenda in Canada, write your Member of
Parliament and the Attorney General of
The     Honourable      Robert     Douglas
Nicholson
Minister of Justice and Attorney. General
of Canada
284 Wellington Street
Ottawa, Ontario KIA 0H8    ft
Discorder   5 ROBIN McCONNELL
Misery Loves Comedy
Fantagraphics Books
by Ivan Brunetti
1531
PADRAIG WATSON q
Perfect From Now On:
How Indie Rock Saved My Life
The subtitle of John Sellers's memoir, tracking the author's life through
his musical tastes, suggests that Sellers will somehow explain how a
genre of music saved his life. It is hardly pragmatic for any genre of
music to rescue an individual from purgatory, however Sellers doesn't even
endeavour to show how it could. All Sellers actually does is explain how
Indie Rock allowed him to avoid persecution from his peers because of his
musical taste. At times, Sellers even presents himself as a poser in the world
he is embracing.
This book confronts the issue of what exactly falls under the classification
Indie Rock. The decisions Sellers makes regarding what falls under this
umbrella are broad, and have the potential to alienate some readers
immediately. After setting the stage, Sellers seems poised to discuss an array
of music in an interesting context. However, his thoughts are either far from
eye-opening, or get lost in his plethora of footnotes. Sellers even mentions
that his lengthy annotations are an homage that fails to attain the calibre
of the original. Sellers doesn't discuss that many bands, and doesn't discuss
the origin of Indie Rock, or the rise of bands that embody the genre. Sellers
does reference the word count he needs to reach and states that his book
barely gets to it. This book is mostly a fan-boy tale of adoration for one band,
Guided By Voices, and even that tale only really presents one interesting
aspect of Indie Rock: the seclusion that some artists prefer to fame. The book
concludes with a series of lists and a poorly thought out section of 'verdicts'
on bands. Perfect From Now On reads as though it is a rushed enterprise
attempting to capitalize on the current prosperity of a genre, and is not the
cultural*account the genre deserves.
I Ivan Brunetti has gone from being a self-hating,
nihilistic cartoonist, to excelling in the fine world
of comix by crafting some of the most interesting
stories in the business today. In Misery Loves
Comedy, Ivan guides the reader through his early
struggles with comix, to his more recent grounded
efforts. Uy 'struggles,' I mean the story he tells and the
personal problems he deals with. Reading an early comic
by Brunetti is like looking deep into the soul of an artist
trying his hardest to expel his dark personal demons.
In the introduction to the collection, Brunetti's
therapist provides an enlightening look into the mind of
the artist and his challenges with the creative process.
She shows us Brunetti wrought with anguish over being
unable to produce to his fullest capabilities. Brunetti
finds solace in his craft, nut is disgusted with himself
for his faulty output. Over the last 12 years, Ivan has
produced four issues of his series, Schizo, three of which
are collected in the Fantagraphics collection Misery Loves
Comedy, along with an ephemera of bonus material
culled over the years before the series from a variety of
publications lucky enough to include Brunetti in their
pools of contributors.
The first issue of Schizo introduces us to a five-
headed beast on the cover, depicting Brunetti in his
various moods and incarnations, meticulously drawn to
show the depths of his artistic ability and the extremes
of his self-loathing. Brunetti depicts himself as Charlie
Brown, riddled with childhood anguish from endless
taunting at the hands of his peers—not to mention
disgust from his off-panel mother—reiterating Brunetti's
self-deprecation. Throughout, Brunetti makes a nice use
of a variety of art styles. In another story, he chooses a
more realistic, less cartoony style to discuss his obsession
with the opposite sex, including a crush on Liz, a close
friend of his wife's. The charm of this story is his extreme
honesty. While some people get very quickly offended by his
work, he is just utilizing his form to show who he really is.
He balances the rifts of depressing monologue with
some incredibly funny comic strip parodies. He really
shines as a comedic writer, combining both the ridiculous
and the offensive into one awesome package. Delight
in glee with such great strips as "Ms. Ann Thorpe,"
"Pontiff in my Pants," "Mass Murders are Pretty Cool"
and a whole cadre of titles that the willing reader must
investigate for themselves. When asked about the strips,
Brunetti replies that he is sometimes disgusted with
himself for the type of stuff that he is able to come up
with. He sent out the first issue to a number of creators
which he looked up to and respected. The replies, for
better or worse, are included in the second issue. Some
highlights include Robert Crumb suggesting the use
of Prozac, Chris Ware reassuring Brunetti that he isn't
such a horrible person and that he has commonalities
with Brunetti's feelings. Ware also applauds Brunetti for
being able to share such personal feelings. My favourite
reply is from David Mazzucchelli, who suggests that
Brunetti can't be all that bad if he is a fan of Hellq_Kitty.
continued on next page 1111311
1
jii
The second issue in the collection continues
the steady decline into madness as Brunetti has
a confrontational conversation with Jesus that
degrades into a full-page rant by Jesus about being
disgusted with society as a whole—with the little
heads of Brunetti and Jesus at the bottom of the
page. Brunetti's wife is included as a writer, towreply
to the concerns of readers about their relationship,
and to respond to Brunetti's erush on Liz. His wife
finds it comforting and iUuminating that he is able
to be so open about what he is thinking, and does
not bottle it up—leaving him filled with more to
anguish over.
The third, and last, issue of the collection is
where Brunetti really starts to take a stride similar
to that of the artist he is now. He discards the busy,
neurotic artwork of his earlier releases for a more
minimal Schulz-influenced style. In Schizo, we are
greeted with a more subdued Brunetti, and instead
of being filled with a rancorous amount of piss and
vinegar, he is more comfortable with who he is.
But don't be mistaken, Brunetti still has the great
ability to say what many people are only thinking,
for better or worse, in order to illustrate a story of
workplace frustrations that make Office Space seem
like a cakewalk.
I hope my review doesn't dissuade someone
from reading his work. While it may be offensive and
filled with questionably tasteless material, Ivan has
created an entertaining tome that explores a mind's
struggle at its core. Since the material that appears in
this collection was initially released, Brunetti's work
has gone through a dramatic transformation. For
Schizo #4, Brunetti released a massive tabloid-sized
comic of character explorations consisting of one-
or two-page stories. Instead of focusing primarily
on himself, Brunetti turns to figures in history who
share similar lives and interests with him. These
include a biography on painter Mondrian, the
tragic story of silent film diva Louise Brooks, some
interesting insights on chanteuse Francoise Hardy,
and many more.
After struggling with his art to find a style
that best captures his newly-refined storytelling,
Brunetti has switched to a more minimalist style.
It's like each brushstroke has a use. Brunetti has
perfected his storytelling by not wasting a single
line, which makes him one of the most important
creators in comix today. Ivan Brunetti's status as a
storyteller has propelled him to the point that Yale
University Press released an excellent anthology,
edited by Brunetti, collecting the best in alternative
and underground—also making it a must-own
compendium for any comix reader, Q
2007 National
Campus & Community
Conference
CONCERT SERIES
HIP HOP Mill / TUESDAY JUNE 12 / SHINE NiTE CLUB / TIX $7 / DOORS @ 8:30
NO LUCK CLUB | DJs AVI SHACK, RiCO UNO, & KNOWONE
AU GRRRLS NiTE / WEDNESDAY JUNE 13 / THE RAILWAY CLUB / TiX $7 / DOORS @ 8:00
GREAT AUNT IDA, STiNKMiTT & THE PACK
WORLD BEAT NiTE / THURSDAY JUNE 14 / THE ANZA CLUB / TiX $7 / DOORS @ 8:00
PENDOMOJA, SANTA LUCIA, EZEADi + GUESTS
AWARSDSNiTE / fRiDAY JUNE 15 / UKRANiAN CULTURAL CENTRE / TiX $8 / DOORS @ 9:30
THE EVAPORATORS, THE CHOiR PRACTICE & CHRISARIFFIC
iNDiE ROCK NiTE / SATURDAY JUNE 15 / THE RAILWAY CLUB / TiX $7 / DOORS @ 8:00
THE TRANZMITORS, THE SiCKFiTS, & THE B-LINES
TIX @ ZULU, BEAT STREET, HIGHLIFE, RED CAT & SCRATCH
& CiTR 604.822.1242    www.citr.ca/conference
m     9
i t&tfr %A _t
THEY SHOOT HORSES DONT THEY
Pickup Sticks
A New CD
4*s  Sfil   Jf
ll mJ I
1 lip m   %
of. fcjft
| % |yJ §p   *•#
f 1%
■Up
| 1V$   j
kiHrockstars.com  SHOCKING PAREHTS EVEftYWHEflte
On Halloween of 2006, a small crowd of people
clad in various costumes and a lot ot; fafee blood,
gathered in the small venue known as Video In Studios
after it was told to shut down for the night. Minutes
earlier, just before the main act was supposed to take the
stage, firemen entered claiming there was a problem and
we all had to leave. Some did as they were told, but the
rest of us noticed the quiet commotion being caused by
the members of our headlining band, Fake Shark - Real
Zombie! After what seemed like too long, they took the
stage* even though they had no power, which meant no
microphones and no guitar amps. The set was acoustic—
weU, sort of—and although it sounded like clanging,
crashing and scratching, everyone danced wildly. Right
in the middle of the set, vocalist Kevin Maher skipped
down out of his drag, climbed atop an amp and instantly
Tf^tAtt onto their drummer, Malcolm Holt; it sent the
entire set and the boys straight to the floor in a mess of
limbs and drumskins. This ended the show:
" Wske Shark - Real Zombie! is known throughout the
local scene^ftgr their stage antics, their wild music and
for Maher taunting the audience. I asked him about a
particular quote in a recent issue of Nerve Magazine, in
which he was caught saying, "Jesus would be a good
fuck," at a show. "The issue came up because the audience
looked like they needed a right shock," laughed Maher.
"I also figured it would be a good way to get the parents
out of the venue, so I could do what I wished with their
children." Maher always manages to get the audience's
panties in a twist at least once a show. No matter what
you thought of their set—if you thought it was the most
insulting, schizophrenic thing you had ever endured* or
if you loved every moment of it—you will never forget
them.
It" seems strange the Vancouver natives are still only
locally successful in Canada and the States, considering
their new album, Zebra! Zebra!, is available at HMV not
only here, but also in more foreign lands such as Japan.
Their career really took off when they were touring with
the now disbanded Test Icicles in the UK last summer.
"The UK is-eool," said Maher on their taste of recent
international success, "our album is only available there
by import, but it's been selling well at shows on this
tour."
Shortly after they returned, while they were still
considered fresh blood in England, Japanese label Vinyl
Junkie Records picked them up after discovering them
on MySpace. When they received news there were life-
sized cardboard cut-outs of them standing around over
in Japan, they were shocked, "That literally knocked my
socks on my ass," said Maher in disbelief.
It seems everything is happening so fast for FSRZ.
Before they left for their current tour, they played two big
shows here in Vancouver: one with MSI last summer and
one recently with the Klaxons? "When we get back this
time, we will be playing the Plaza, for a Nerve Showcase,
and it's about the size of most of the venues we've been
playing on our headlining UK tour. The biggest we've
ever played was with Test Icicles, at the legendary Astoria
in London."
The band has two main objectives, and that is to
enjoy themselves, and for the audience to do so as well.
"We want people to have fun at our shows," said Maher.
"People need to dance, and there aren't many bands out
there right now that allow you to do that." It's true, the
scene today is way too obsessed with hair and pants.
Everyone is far too concerned with what they look like,
and what sort of judgment is being passed about them by
their surrounding socialites. The need to be accepted is
overtaking the need to make good music, which is in turn
killing the scene.
At every FSRZ show I've attended, there has been
at least one person flailing about off in their own world,
and that's the way it should be. That said, if you are
planning on checking FSRZ out live, keep in mind that
once you get comfortable dancing to one beat, it will
inevitably be pulled out from beneath you and replaced
with something completely different. This will happen
many times without much warning. Such chaos is to be
expected from them, and it definitely is an acquired taste.
I can guarantee you will not dance smoothly at their
show, even if you know the music by heart.
Whether they are ready for it or not, success is on
Fake Shark - Real ZombiePs horizon, and it's not taking
its time, either. When I asked Maher what his idea of
making it was, he simply replied with, "The ultimate
level of commercial success would be not having to
worry about paying rent while on the road because we're
playing well-paid shows."
On that note, keep an eye and an ear out for Fake
Shark - Real Zombie! because they're sure to turn up
(even if it's in cardboard cut-out form) where you least
expect them, j)
photo: leigh righton fi MUSIC WASTE
BY
MIKE CHILTON
Vancouver's music scene has always suffered frorrTfactionalism because it
is so darn big. That is why the folks behind Music Waste, now in its 13th year,
decided to keep this year's edition of this city's alternative answer to corporate
music festivals small and easily accessible for everyone.
Music Waste 2007 will take place Thursday, June 7 to Sunday, June 10 in
just four venues, and will feature 3 6 independent local bands in its ten showcase
gigs. New to this year's festival are another three sanctioned showcases called
'Go Your Own Waste.'
"The whole idea is to be inclusive," says Music Waste coordinator Cameron
Reed. "We didn't want to say, 'these bands are good, and these bands aren't."'
That is why Reed put out the call for local artists to set up their own
showcase, under Music Waste's guidelines, and they would be promoted as part
of Music Waste as Go Your Own Waste. These three sanctioned showcases bring
the total bands playing Music Waste 2007 to a total of 48.
"If they booked a show during the festival, kept the entrance fee to five
dollars and promised to promote it, we put it in our program," explains Reed
of this new initiative. "That way, we still keep it to a total 50 bands, but we still
include everyone who wants to be part of it."
Reed fielded almost 150 submissions from independent bands wanting to
be included in this year's Music Waste, but decided to keep it to '40 bands in 4
venues,' because he believed past editions of Music Waste were too big for this
city. "When you have 10 bands a night, all playing at the same time, that is too
much."
Reed points to SXSW and NMW as prime examples of festivals that are
difficult to take in, because there are too many things going on at too many
venues—invariably, attendees of those festivals miss something they want to
take in.
This year, regular Music Waste shows will take place at The Balmoral, Hoko
Japanese House (a.k.a. Hoko's Sushi), Pat's Pub and Royal Unicorn Cabaret,
with additional Go Your Own Waste shows taking place at The Lamplighter, The
Annex (307 W Cordova) and Uttle Mountain Studios (195 E. 26th).
More so than in past years, Reed has also managed to keep the main
Downtown Eastside venues within walking distance of one another,."It only
makes sense to have venues as close as possible," explains Reed. "It's a big party,
with lots of drinking, and we don't really want drunk people taking cabs across
the city, just to get to another show...that's a pretty big feat, considering the size
of this city."
Reed made his best attempt to slot bands into this year's Music Waste lineup
that did not play the alternative festival the year before, "It's to highlight the
new emerging bands that we're excited about and bring attention to some bigger
bands that have a buzz around them, but haven't played (Music Waste) before.
"A scene doesn't grow very much when it's exclusive of anyone but its own
members," notes Reed of Music Waste's goals. This is the reason he has kept
festival wristbands to the low price of $15, or $5 per show. "If a kid was just
coming into the city, and wanted to get introduced to this city's music scene, $ 15
can let him see a great span of bands and become familiar with the scene.
"We have two mandates, to put together a festival with people who are
doing interesting music, and to make it the easiest and cheapest way to see the
entire festival," says Reed.
To see the entire Music Waste 2007 artist and venue line-up, go to http://
musicwaste.ca and click on 'schedule and venue map' in the 'downloads' section.
The festival also has a MySpace page set up at http://www.myspace.com/
musicwaste for more frequent updates. Festival passes are available until the
start of the festival, at Scratch Records, Zulu Records, Redcat Records, Audiopile,
and Limelight Video. Individual tickets can be purchased at each venue. July's
edition of Discorder will also feature a full review of Music Waste 2007.
10 June 2007
VANCOUVER
SPECIAL
DUPLEX
.
CD-I
LU
Q
<
o
SUITE DEUX
I caught local band, Capade, at their CD release show at the Media Club downtown,
nestled near the back entrance of the Queen Elizabeth Theatre. It is a small but classy joint
serving drinks, but focused on the music—which was amped up enough to make conversation
a chore. Dimmed dome lights hovered low from the ceilings, and a wine red curtain fell
elegantly behind the stage. When the four members of Capade, Nikola Tucakov, Jeff Scharf,
Ali Siadat and David Spidel, got on stage in their jeans and plain shirts, they completed the
setting. From behind the three monitors they prepped like rock stars, with Scharf and Siadat
playing skill-laced solos on the electric guitar and drumset respectively.
With a reggae vibe, a bit of rock, and funk, Capade soon drew some shy but music-
intoxicated people to the front of the stage. Tucakov, the lead singer and acoustic guitarist,
was fully engaged in his songs, smiling and doing the turtle-neck-bob that John Mayer does in
his live performances. Soon, people were high on music and a crowd had moved towards the
stage to groove along. At the end of their set, Capade played a Talking Heads cover, "Psycho
Killer." It was so fast-paced and energetic, I looked around to make sure people hadn't keeled
over from excitement.
At six-foot-three, Tucakov's stage presence is commanding, and his off-stage presence
is charming. During our interview, he was attentive and happy to answer every question,
including, "What is your favorite food?" His answer, Turkish kebab, isn't so random
considering he was raised in Turkey before moving to Vancouver ten years ago. Tucakov just
got his Canadian citizenship in April.
- On the less frivolous topic of his songwriting process, Tucakov said he tends to work
on melodies first and his ideas come at random times. Lyrically, he then writes what he's
experiencing in the moment, He often combines ideas and likes to put songs together at night.
Asked to describe his music, he called it "upbeat rock" because it has a clean sound, whereas,
"A lot of bands have a distorted sound...muscle chords." He noted that people have compared
his sound to early David Bowie, possibly due to the lighter guitar sound. In moments, his
singing voice also has a similar tone to the eccentric Ziggy Stardust.
Capade performances are very professional, balancing the sound of each instrument to
create a pleasant mix. It is, therefore, a surprise that Tucakov has only been writing songs for
the past two-and-a-half years. Before that, it was all "random thoughts and ideas, but nothing
I could put a finger on." He picked up the guitar while going to high school in Belgrade, but
didn't start playing piano until beginning his studies at UBC. Capade's sophomore album,
Wake Me Up, is Tucakov's proudest musical achievement yet. In fact, he said that this year has
been a very productive one for him, overall.
The band is becoming tighter and Tucakov wants to continue creating music with
Siadat, Scharf and Spidel. Tucakov fondly explained that he used to play soccer with Siadat,
the drum player. He met Spidel, the bass player, through other musicians, and met Scharf,
the electric guitar player, through Spidel. In addition to their duties in Capade, they all play
in other bands as well.
Tucakov is also the songwriter of the group. As of now, he has written enough music to
compile a third album. However, he is holding off because he is too busy, "I could do another
CD if I wanted to, but I have to focus on promotion." If Capade gets signed to a label, then
Tucakov will start working on another album because he wouldn't have to deal with the
business side of music production so much. Wistfully, he mentioned he's working on a new
song, but, "I'm just so immersed in the business aspect, it's getting in the way [of writing the
song]."
Tucakov is one busy musician. Using his combined degree in computer science and
physics (that's right, he's smart as well), he has started an online web application business—
but, as he puts it, "that's a whole other story." His passion is music, and he hopes to take it as
far as he can. He's definitely putting in the effort. With his newly-released album, he's also
uploading his self-produced music video for the single, the title track of Wake Me Up, onto
YouTube. Oh, and you can bet a musician/computer scientist will have an awesome website
as well—www.capademusic.com. j) m
fruliTlill'iiBffll
OUT: 07.17.2007
Discorder   11 CiTR HOSTS THE 26TH ANNUAL
c
WO!
BY ALISON BENJAMIN.
CiTR PRESIDENT & NCRC COORDINATOR
JjP**     Tuesday June 12th    ^Ifk
10:00-11:30
m     Come learn about the National     ik
f:
NCRA 101
Tuesday June 12th
10:00-11:30
learn about the National
Campus and Community Radio
Association (NCRA/ANREC), the umbrella B
organization overseeing this year's
conference, and the one to which CiTR   I
Radio belongs. Hear from NCRA/ANREC ■
Board, staff, and volunteers about who J
k we are, what we have accomplished,,
and what the future holds for
kcampus and community radio^j
in Canada.
You've always wanted to host a music show. You're a budding intrepid journalist,
itching to break salient stories to the masses. Whatever your reasons, from
broadcasting to podcasting, let this year's National Campus and Community
Radio Conference (NCRC) help you break into the romantic medium of radio.
Each workshop at the conference covers an important topic, and there are
usually three sessions running concurrently in one block of time. With 50+
sessions, choosing what to attend during your time at the conference
can be quite the task. For the budding amateur radio enthusiast,
what follows is a guide to the 'not to be missed' workshops
.of  this  year's   NCRC.   See  the  full   conference  schedule
grid in the middle of this month's issue, or check out
http://www.citr.ca/conference  for the full  slate  of
1||&1|| workshop descriptions.
Doot Doola
Doot Doo... Doot
Doo!
20 Years of Nardwuar the Human '
Serviette!
Friday, June 15th
10:00-11:30
Join CiTR's own punk rock journalist, NardwUarl
the Humap Serviette, as he talks about his 20- j
year obsession of interviewing anything that
moves! Nardwuar will also give tips on how j
you, too, can interview everyone from '
Mikhail Gorbachev to Snoop-Doggy J
Dogg, and live to tell the tale!
http://www.nardwuar.comj '
The
Great Radio
Documentary
Tuesday June 12th
Part 1:2:15-3:30
Part 2: 3:45-5:15
Popular podcaster, blogger, and CBC
producer, To'd Maffm (Definitely Not The
Opera, Real Life Chronicles), guides
participants through the Ins and outs of
creating a memorable documentary and
bringing great ideas to air. His two-part
^workshop covers topics such as radio^
^storytelling, finding focus, using ofJ
^music in pieces, scripting^
and more.
■   -   ''The
Groundwire
Sessions
Tuesday June 12th 3:45-5:15
Thursday June 14th 3:45-5:15
Saturday June 16th 10:00-11:30
m Get on board the media revolution. The Groundwire-^
project is a national initiative to develop a regular,
' syndicated, Canadian community radio news program. ]
Currently in the start-up phase, the Groundwire team is
concentrating on fundraising, project development, and
j the production of pilot shows. During this year's NCRC, j
y    the Groundwire team will produce a radio program   • J
l    exploring the role of community radio in Canada,     J
and will also be highlighting the importance of     .
independent media. Led by CKLN Toronto    M
JL  News Director, Kristin Schwartz, the three ^r
Groundwire sessions will be of
•^yDarticular interest to any budding^8"'
^% ,n        journalist.        -e-y^"
Podcasting
Thursday June 14th
3:45-5:15pm
These days, it seems like everyone
is podcasting. If you're ready to give
it a try, you could be making your very
I own podcast for the world to hear from the'
comfort of your own home. Join Duncan
McHugh as he offers thispractical and
^hands-on workshop-on how to develop^
a podcast—from concept, to
^equipment and software needed,
to actual launch.
..CRC200.
11-16 June, Vancouver
12 June 2007
RADIO-ACTIVITY Digital Editing
Friday, June 15th
Part 1:2:15-3:30
Part 2: 3:45-5:15
Digital sound editing on software programs
such as Pro Tools, Sound Forge, Peak 4, the
open-source Audacity (http://audacity.soundforge.  n
net), and Burli (CiTR's digital editing system) operate
on many of the same core principles. Digital editing
is also the backbone of radio broadcasting and
podcasting—even the sonic madness of mash-up
master, Girl Talk. This hands-on, two-part workshop-
k taught by CiTR Program Coordinator, Bryce Dunn,
ik   and CiTR Music Director, Luke Meat—is ideal
'"1|, for participants who are new to digital sound .
editing. Leam everything you need to   Jl
(^knowabout editing a great radio  t£m
piece.
DIY
Concert
Wednesday June 13th
2:15-3:30
Thunderbird Radio Hell sound
technicians Kelly Dann and Irene Naidu
have been producing live-to-air concerts for
years for CiTR's flagship weekly live music
broadcast. In this hands-on workshop, join
Kelly and Irene as they introduce you to the
basics of setting up and broadcasting a J
I concert—from the equipment needed, j
i    to the set-up and execution of a killer j
k    live show. For woman-identified _
^^^ participants only.
DJ101
Wednesday June 13th
10:00-11:30
Spin, crackle, pop! From spinning vinyl, to
equipment needed, set-up, and sound, leam the ins !
and outs of dropping vinyl, beatmatching, and creating
f that perfect mix in one of three of these hands-on workshops ^
offered at this year's conference.
DJ Lauren Burrows of CBC Radio 3 presents this introduction to ]
DJing session. For women-identified participants only.
Friday, June 15th
Session 1:2:15-3:30
Session 2: 3:45-5:15
[ With CiTR DJs Rico Uno, Jules Andre-Brown, and Bred n Butter,
k The Crimes and Treasons DJs will be demonstrating how to mix ^
f^ records live on-air using mp3-to-vinyl software, Serato, and i
jjL   live mp3 mixing software, like Ableton Live. Those who
HL attend can expect to walk away learning how anyone,A
^^with any type of music, can turn their mp3s into aj
^^^hopped, blended, and pureed radio showj
Interviewing
Techniques
Saturday, June 16th
11:45-1:15
Coop Radio's flagship current affairs show,
Redeye (on CRFO 102.7 FM Saturdays from
9am-noon), is a must-listen to for progressives
| in Vancouver. The unabashidly activist, collectively- j
produced show has always taken a look at news
from an alternative perspective, seeking out the '
voices and stories that are shut out from the
mainstream media. Join Redeye producers,
Lorraine Chisholm and Jane Williams, as
they guide you through the ins and outs
of interviewing techniques, using
a combination of theory and
oractical examples. Are you in a band? Are you a musician? Do you live in the
Lower Mainland?
We are now accepting entries for SHiNDiG! 2007.
We need from you:
1. Three songs of original material
2. Contact phone number and email address
Send it by August "3rd to:
Your Friendly Neighbourhood SHiNDiG 2007
c/o CiTR Radio
#233-6138 SUB Blvd.
Vancouver, BCV6T1Z1
Email: shindig.2007@gmail.com
Burning questions? Interested in becoming a
sponsor? For more information please visit
http://shindig.citr.ca
MmUj-
00.0 FM
Macleod Dixon ALLSMm
S- Qto ■♦
14 June 2007 ~l  fe 5
<^
Q
o
ttfi'
S
D!
i— =>
m   m
<&
il
(0®
CQ O
<o
Q g
IE}
H®
CQ O
I 111- X I    UM'
1 >W S    12
|   >  ®  S     Q^Q
If
S O
LU O
> s*
f£    <   9
tl    rr  :is
c5 b
«: wn
5 c c
> o o
it II
<TE CN •'=00
C   C   3   C
o o c o
8 1 E 1
CD   CD   O   CD
CO CO O CO
>
Z
o
TJ
>-
V
>-
... LU IO
CD
< <
_\
< <
^ £c ■$
> lD ifi
8 > S
z z
LL
z z
b O »
CL
rxy
DQ
LU
1—
sg
i "5 1
x:
Q_
Q_
z jg,-
z
2_
LL] g>=g:g
DC §>^ g
CQ (5 = 1
^ S8l
3 ^ c\i co
Z c c c
^ o o o
ggp
PS o>
J 101
gital Editi
pecialty P
CRA Boa
__
_
CC
CO
101
tal Editi
nic & IT
rammir
-5   JP*    O
QQCOZ
H
qqE^
I
o
z
n
t- cm co ^r
3
i-  CM CO   CD
Z
c c c 2>
ssio
ssio
ssio
ssio
2
ssio
ssio
ssio
10,116
_i
CO CO CO CO
T
CO CO CO _J
V
£     m
<
LU
DC
in
0
z
CC Award
(Dinner Provi
Keynote Spe
@ Media Clu
z
LJJ
LU
o
z
P-2~
O cc __ m
^  CM  CO I
>   O   O C3
a fe
£ Ft cc      c
SSSfg
CO 0. <  co O
S 11!
3 t- CM CO ==  ■*
Z c c c ro cz
^ o o o "r o
2 55 "55 to -2  «
.,_ co co co "O  co
LO d) CD (1) CO   ©
v- CO CO CO DC CO
''*'£«     °
£ co cd
£? H
<§ <?
0. S CC
c  ^  c  c
JJ,
_u£     I
£   K*
Women
Turntabl
Women
rogramm
DC
CQ
LU
Equity A
Women
al Radio
Podcast
g-> §
LUQO
■r1 c\i coQ-
_>
^-  CM   §  CO
X
o
r- CM CO
c: c c 'o
2j
2
IO
ess
ess
ess
ess
ess
tern
ess
z
z>
CO CO CO
CO CO CO
CD CD CD
CO CO CO
CO CO CO LL
■I—
CO CO £ CO
_l
LU    £_£_§
h-      >  LO >  IO   C
i i?fil
S2    52-05^1
:*:
o
CD
DC
CQ
CD.
= 8.
c CO
Q_
o
Z
I
Ci)
rr
Z
© o
LU
~7
fi
LU
>
LU
E c
z
Q
DC <5
S4
o
1   I u^
Q     o CC
«     o CQ
ill 1
CQ O     CO -i-
II
is
O'p m o
_J   OT co £. co a.        i-
y S5
LU E co. _
CC Q cd tf>
i ii?
LU ct-B co
> 2 ^ "5
LU 0_ CO &
+^ p CE 5=-
CC * co co
Nonvaisioaa
li S'S'Igc?
rt. cd g> p" ;*■
3   ?   L^   3
- ^   8"
«"3s
&|
i-s
» &
cd d
01  o
CO
ig-i
0)
3
S£? 3
Sim
£
3
H cd  rr
CD^ ~
g£
CD  3
o
rt.
_)-p
"□    CO      Q.
CO   CD   CO
° m »
C   ^ CO
I?
3'c5 * £r      igg
= 3 o ro
© 3- 3 -
* w z o o
Ilel
Set:
® "8 •
•5 § m
o o co
03 33 C
iff
o 3 co c
n- =J 3 <Q
w <P 3 o
a 331?
£§3
r*<      £. cd <d a «-i
H     s > i *
goo
"§3
CO
Elvl
J8'8
CO. 3        o
Si.
m
Q. ©$
5' o -M
Q P2 3
C   C   CD
ST CD   j
c?i
p
00 33 CO
3 CD   o
J8's
3 3 o
j- co O
5g
12 cd
g. O CO CD
. 3" 3 CD
=r st 5- Q-
'Sis
5".;? CD   2.
m CQ   »   CO
sis
R
= 30 g
coo a
rt-   CO    Q
Q. ®   »
raw
D 2- *
d» O
< Q
3 o
<c; tjco Hm-DO
<Z> Q. .2.-D ®   S   3   3
mot $ <d .  >S9-o
1 ^ "3- __-■ § •
il »§. bi§i»
™ <D TJ C C co 3-
8 23 CT8 § •
_*■
001
oS I
■o 3
2-0
s a 5     8 X 31
3j rt  3-  *
m Jo
S-8 ®
S £ z
a. & co
They Sh
They? a
Sizes to
Railway
w 33 0
QSS.8
3" s.
c *r rn s-
M
CO   CD
2f $»   O
g   00
s.w »
3
-j 3 a
ST
^a9
IIJlc'
g- <B 3
1 *£
I 2<
11 m
Jfg
0J   0)   ? 0) ?
»gr! 3 §.
2 S 0 o o
0)    TJ ~ 0)
C»
ffl   > >
n
Sr 30 H
rt-  3   CO
c
CT
S 00
CO   JL  CO
01 oT
3 ft
ff£e
rt- 3   O
3 E
^cix
C 30
25" a
1
>
>
01
3
3
-■
3
CQ
3
X
CO
0
3
IF
». CO
3   3"
,   Q
CO 0
ZT
CO
3.
0
1
O
3
H
3*
3
CD
^
CD 7. ^
O)    CO    >
o g. c
°2-\
HWHOO
CO   CO   3   ®   W
§ ^3 S?8
"<   CD   3. ®   "
ocog 5- z
E r^ » • O
u 5" h       30
si8    O
CD
■^ O < Pi 3       -J-
§I§Si   *
§■ a g 8 s
2-9^25-
'   5:^ CQ
?§ 8.
CO    =
<5
-I 3" X X CD   O %>
O  Q- Q-
li
TJ
CO   Q. 3- i
1 WP
nil s
Let's just come right out and say it:
tk htit JAZZ FSSTIVAL IN THE WORLDP
''s-.:ft ' ■; kj st'"'   I    f~0^£KiSisfe lO '"•'-"-'* "O - W~       '■■■.'/rr
Classic Sounds at Thf^Centre*%
(for lUrforming Arts ^Hj    ' j.lft m
'"^^"^^////////.^"/.•.".■^.■.'.■.•.".•.■.S^ost expressive inale jazz singer alive
Ttfden ttfebb IWo
06/2%:: HOLLY COLE      . Deeply soulful Texas tenor sax
[■vs|Jrfre?y special guest :.pf 1||| I^^illlb      Ifillllll
Michael Kaeshammer IP5   ' L..-«    ..,*.., *..,*„..,  .      »   -
Sensual chanteuse transforms tunes   -  Wf~ DON BYRON plays Junmr
inioiewels. I       walker    ,
Acclaimed ciannetist/saxoprtonist pay
•• ^Ir^unky tlj&te to soullegend '&_
06/24::: OUVER JONES TRIO KURT ROSENWINKEL GROUP
pHHBIsputed heavyweight^Soazzlir^pitar^tMiys Mei^Mm
^K^^^jazzpiarto. StJlSiF Holdsworth ariNMm Greei|p||
+ Christine Jensen Quartet      ~ Jl^
ik 06/29::: MADELEINE PEYROUXt
tW2S::: BE8EL GflJ»CTO stylish oegu.kng mtapreter of Ihe
Embodiment of breathy Brazilian cool. American sorscJfc$aka§d more,"
+ Sek°ya     . + Steve Dawson, QoU CoastBtsemi
06/2&:: JOSHUA REDMAN TRIO '!06/30::: THE BUND BOYS OFMA&
pfince of the tjJK£    fc -       Barn-burning, roof-arising, heavert-
>ne" - Associated Press   * |3gil|cking'»spei music.
DPLUS %       JIM BYRNES "HOUSE OF REFUGE'
York jazzers w.th hard-KXSlt  ■   Oeop.y reverent. gospel-tinged music.
„ $6/22:." AMON TOBIN
Round-sculpting Ninja Tune DJ blends
global flavours. IBii
PATRICK WATSON J
: Textural orchestral s
Beatles & Pinjwoyd. 1
s 06/23.".- ANTIBALAS j
iBrookfyn's unrelenting A
juggernaut       ; ■
+ Mr. Something Something
'06/24::: THE DEREK TRUCKS BAND
•^nejjrfthegreatestguit|^r^»all 4
0+ Ke//ytee Evans
06/mi JAMES HUNTB&i"
'One of the best-kept secrifs in Bntish
R&Bsand Soul."- Van Mornson
JACKIE GREEffE^
A high-voltage AmerlpSaiipsjifc music
Q6f_m;: TORTOISE
Qjfrtamic post--ock icons unveil an
ambient, instrumental tapestry.
06/28;;: CHAMPION and His   '
G-Strings
The fo|tt never stops nor the cjfjlfr*?*i
vibe. .^i^t^^i^imm
San Francisco's heavyweight
champion DJ. ^Slll
96/2%:; Interchill Records Night
ADHAM SHAIKH & fte COUECTIVE
five tribal fusion} I GAUDl "Dub to*
Breakz Uve Set" (from London)
4 Andrew Interchill     fSjvJJSv^
08/30::: KID KOALA
Awe-inspiring Montreal turntablist sti
loads the pack.
KIERAN HEBDEN and STEVE REID
.li • i  dance dynamics from
London, spacey jazz & etectro-funk.
Discorder   19 i/ifo
tw
.W)0D5
Jackie W#ag
Torquil Campbell & Chris Dumont carve their place in the •wilderness rontmen Torquil Campbell and Chris Dumont both juggle
^committed relationships while collaborating musically.
-They recently released a second album as Memphis called
A Little Place in the Wilderness on Good Fences Records.
Torquil, Memphis vocalist and lead singer of Stars, is based
in Vancouver, where his wife works at Bard on the Beach.
'Chris and his partner reside in New York.
Despite their good standing as well-snuggled citizens of the world, Memphis
songs err on the side of heartbreak.
Lyrics speak of the lonely, lost and afraid. Lush, low-fl instrumentais swaddle
gossamer vocals—a valentine to sleepy kissers. The sound captures the essence of
midsummer evenings lit with fireflies in mason jars, a portrait of the Vancouver
summers over which the band was formed.
"We want to have a kind of narcotic effect on the listener," says Torquil of his
band. "It's Vancouver music," he says. "Daydream music," adds Chris.
Despite the fact that Memphis's beginnings lay in Torquil's Vancouver
residence, the lyrical content barely hits close to home. "I hardly ever write an
autobiographical song," he says. "I love my family, who is my wife. And we have a
great family, so it's hard to write about that."
"That's why I love soul music so much, and bands like Teenage Fanclub so
much," he says, "I feel like Teenage Fanclub is one of the few bands who can
actually write about what it!s like to be happy with someone, and want to spend
your life with them, and have it be an interesting song."
While love might exist as a backing foundation for Torquil and Chris's music, it
seldom takes centre stage in the band's lyrical content.
"With Chris, I write songs meant to be less love songs, and more songs about
your interior life," says Torquil, "They involve songs about love, but they are very
much diary entry songs that aren't my diary. They're like a book I found under a
bed of someone [else's] diary."
While Chris experiments with musical arrangements, Torquil writes lyrics over
his melodies. "He writes in, like, five minutes," Chris laughs. "I would say what I
lack in skill, I make up for in soul," he shrugs. "I work at the Metropolitan Opera.
That's what I do to make ends meet. I still have a job. I still struggle along."
Chris's endearing modesty is a foil to Torquil's quick wit, making for a
compositional product both slow-cooked and fire-roasted. "I'm a very lazy person,"
jokes Torquil, "and utterly convinced of my own talent."
The imaginative lyrical fictions and artful musical arrangements of A Little
~ Place in the Wilderness makes it hard to reasonably deduce Memphis's little place in
recent New Music West festivities.
Discorder met up with Chris, and Torquil at the Red Room on a rainy Sunday
evening during an Apostle of Hustle sound check. Apostle of Hustle was headlining
the concert that night, a performance celebrating the closing night of New Music
West. Memphis and local band Lotus Child were opening.
" Whata fucking sham," says Torquil of the annual rock festival. Billed as a week-
long event designed to expose new local talent, the'lure of winning a professional
recording session is advertised as an incentive for bands to sign up for performance
slots. "It's all about money," says Torquil. "If we'd have known this was what it was
when we were booked, we never would have played."
The for-profit ventures of New Music West don't sit well with Torquil, nor does
the seeming lack of space for independent art in the city. "People who are into art
and culture in Vancouver have such an inferiority complex because we don't have
very hip nightclubs and people spray painting things on walls," he says.
"It's very hard to focus on that sort of temporal cultural discussion when you
stare at those mountains. You just think, 'Who cares about the new Tapes 'n' Tapes
record, or whatever. Who gives a shit? I mean, just look at those fucking mountains!
They're so big! I can't believe that!'"
Perhaps it's the temperate breeziness of our surf town that breeds the annual
allure of New Music West and CFOX-issued compilation mixtapes. At the same
time, Torquil remains optimistic about the state of new Canadian music. "There
isn't this hang-up anymore about people thinking that if it's from Canada, it's
not really cool. Indie rock kids are now listening mostly to music that's from their
actual communities, made by people who live down the street from them or live in
the same city as them."
'And that's a huge change and that's a community that's formed. The people
who listen to the music are the real community, and the musicians are just part of
that bigger community of people who are consuming and making art."
As the title of their album suggests, Memphis is indeed a little place in the
wilderness. It's an oasis from Chris's operatic day job, from Torquil's duties with
Stars and from the din of cock rock on mainstream airwaves.
The stillness and melancholy of Vancouver is a fitting venue for such an
introspective project. "It's like a giant playground," says Chris, '"toothing to do.
Kind of where you sit and watch the clouds change."
"I really like the sadness of Vancouver," Torquil says. "I really like how sad it is,
and how heartbroken everyone is here." It's the perfect setting, perhaps, for-escape
to one's own interior wildernesses guided by Memphis's book of dreams.il
=^L^fc>
VANCOUVER'S #1 NIGHTCLUB
SICK PUPPIES
SOCIAL CODE
CROWNED KING
SOCIALITE
SUPERBEING
THE PLAZA CLUB & HOUSE OF BLUES PRESENT
\iU The Veils
I hnhC & guests
ONLY J&-PRGX
$9.93 THE CUM PROJECT
Sunday, June 24
TICKETS: ZUIU, SCRATCH   tkketmasteta OR CAU. 604.280.4444
FAKE SHARK
REAL ZOMBIE ;W1
GO GHETTO TIGER I
PAUL DEVRO
EXITHISIDE
THE MARBLE INDEX
& GUESTS
BcSUr
SPREADEAGLE      U£2
*,„„... Hh-rTfrliaS^iJS
Tf%r*W*
MONGOOSE
RED HOT LOVERS        ff?|
Sis:! ^BH fEKSME^K
WHYTE HOTT
ONLY
$9.93
TICKETS:                                                     j
p40-RScB-i|3&^f|-
;    DJ TANNER
S4 CANADIAN     ,'__d£im-                  /*-*
__ihao„»,i n.* _%%%__j<_
UPCOMING CONCERTS & EVENTS
TRIBUTE: BC/OC, w/ STTP - 07/26 U    I /        f   I
<U/±
2
miRnv TU5
+ finDRELUpnDREWtpriDRELU
+ £RIH $)EUEREUH
APRIL 25
THE CAPRICE
Hometown DJs Erik Devereux and Andrew (x3) got the
room warmed up with a steady stream of four-four beats
to keep the crowd gyrating. What I would consider house
music, laced with mash-ups of the season's anthems, kept
the dancers happy.
The Caprice is a larger venue with an expansive
dancefloor and a balcony area surrounding it—think of it
as a square Richard's on Richards. With so much room, the
place felt empty early in the night. As the midnight hour
approached, the floor filled up, but the balcony remained
closed.
The boys from Belgium, 2 Many DJs, took over the
tables around midnight and elevated the crowd. A high
concentration of Euros were detected—their attire and
diverse accents gave them away—and they led the charge
on the dancefloor. These Soulwax guys are huge across
the pond, and their fame packed the place despite the steep
cover charge ($30 at the door). Although they have made a
name for themselves through their Radio Soulwax releases
and cheeky mash-ups, 2 Many DJs continued the night with
a seamless mix of electro-house inspired sounds—without
any of the clever combinations of previous releases. I don't
even recall any of their latest bangers, such as "NY Excuse"
or "E-talking." It all just blurred into one long track.
They only had two decks and a mixer, so perhaps the
technology hampered 2 Many DJs' ability to recreate the
magic mixes that they have released. But perhaps these
mixes were just studio productions. Based on the skills
they demonstrated, it was not indicative of their abilities as
turntable masters. It was just two guys playing a continuous
march, but that was what the audience was digging, so job
well done.
Jamie Bennett
p*%m
•EYS-
MAY 5
THE COMMODORE BALLROOM
For those of you who want to dance 'til it hurts but
aren't a fan of the Justin Timberlakes of today, you can find
refuge in The Arctic Monkeys—and I'm sure you'll be glad
you did. The Arctic Monkeys played to a sold-out crowd at
the Commodore. "F-F-F-Friday, I'm m a very good mood,"
mumbled lead singer, Alex Turner, as he put the crowd at
ease after someone in the audience had thrown an entire
glass of ice on him. How rude.
They opened with "Brainstorm," off their new album
Favourite Worst Nightmare, which showcased their newfound sound and amazing musicianship. Effortlessly playing
through hit after hit with spot-on vocals, these boys proved
that they know how to please a crowd. So much, in fact,
that people leaving their tables to hit the dancefloor were
unaware they had also left their drinks and purses behind.
From drummer Matt Helders's humourous facial
expressions, to bassist Nick O'Malley's Unphased humble
attitude, The Arctic Monkeys are a band npt to be missed.
During one of their slower songs, a spotlight shone on
Turner as he leaned his arms on his guitar, almost as if he
was unaffected by the meaning of the song. But as the song
progressed, you felt the emotion he was trying to convey. By
calming the entire crowd down, and then bringing them
right back up, the band made the night very interesting—in
a good way.
They squeezed more than 20 songs- into an hour,
only stopping to make sure the audience was still having
a good time. It made us all feel like we were watching our
best friend's band play in someone's basement—only if our
best friend's band was one of the most amazing bands to
come out of the UK. The Arctic Monkeys may be young, but
believe me, they deserve all the success that has come their
way. They proved they are not only brilliant musicians but
also know what they want to say, and they're not at all afraid
to say it. And, well, they're not bad dancers either.
Prepare for another British invasion.
Meg Bourne
ar&c
3Z--F
■* gm. piBBS a ^:he gniGHw gum
+ g/RPGRR 18, 555, ^JRH gBRLLZ
APRIL 25
THE PLAZA
The release of I'll Sleep When You're Dead, the second
album from Def Jux head honcho El-P, cemented his
position with critics as the prime purveyor of angst-ridden
underground hip-hop. However, there are those who
remained to be convinced whether the talented producer
could transfer his claustrophobic dystopian paranoia from
wax to the live arena.
Support acts SSS and Yak Ballz did little to quicken the
pulse. Perhaps this is indicative of the malaise that many
believe has struck Definitive Jux in the last few years. Their
tidy and competent rhymes were rendered to little more than
hiphop by the numbers, compared to the sheer anticipation
of the evening's-main attraction. By comparison, main
support, Hangar 18, enjoyed the exposure and hyped up
the crowd with a concise selection of upbeat cuts; their
latest number, "Baking Soda," sparked the majority of the
audience into feverish anticipation of the final act.
El-P emerged onstage to "Mad World," by Gary Jules, in
sequence with the rest of his balaclava-clad ensemble. This
initially appeared to be a strange choice until the demented
lament of "Tasmanian Pain Coaster" sent a searing warning
shot across the bows of all those who dared to. challenge
El-P's mantle. He is smeared with fake blood, bound in the
technical debris of performance and certainly seems to be in
the mood. Once he. untangles himself from the microphone
cord, he again proceeds to systematically deconstruct the
very genre from which he was spawned.
Allied to a band composedof MC The Mighty Quin,
turntablist Mr. Dibbs, plus a bass guitarist and pianist, El-
P's insistent and energetic delivery helped recreate the
mechanical mayhem of his studio albums. He seamlessly
blended old favourites such as "Deep Space 9mm," with
Cat Power-enhanced "Poisonville Kids No Wins." Despite
his meanderings into political diatribe and the dangers of
socializing with fans on drugs, El-P managed to encourage
a partisan crowd into repeatedly chanting his name in
demand of an encore. This particular runaway train
metamorphasized into an explosive rendition of "Stepfather
Factory," and concluded with a riotous encore of "Tuned
Mass Damper," to send the dazed crowd into the warm May
evening.
Nick Lewis aJRRUIS 330 CHER
* giHE {DHOIR {PRRCTICE
MAY I
THE COMMODORE BALLROOM
He strides onto the stage with a lanky swagger that is all
his own. The band launches into "Fat Children," and within
a minute, he traverses both sides of the rostrum, leaps from
the monitors, and wags that famous pointy finger of his at
almost every person in the front row. Jarvis Cooker puts the
'front' back into frontman; and it is easy to see why he is
is a national treasure in his home country. Back out of
semi-retirement, and obviously relishing his return, here is
a man doing what he's born to do, and doing it his particular
way—complete with a patented brand of flailing limbs,
hilarious stances and gesticulating energy. Some people
just have that special magical quality, and in the context
of material that is fairly low-key in places, Jarvis gives a
performance that is testament to his distinctive talent.
"Let's unleash the magic again," it says on his MySpace
page, and on this short jaunt along the West Coast, Cocker
has recruited a variety of local support acts through the web
and the band he chose for Vancouver was The Choir Practice,
who cast a warm and.gentle spell on the audience. This
ten-piece indie choir delights in the possibility of multiple
vocal harmonies and musical participation, and produces
a perfect introduction to the proceedings—one that creates
the required enchanted realm.
. The adroit charm of a Jarvis Cocker gig may consist
of witty inter-song banter and the value of inclusive
contribution. But for all the physical histrionics of the main
performance, Cocker still manages to skew a tongue-in-
cheek presence within artfully crafted songs containing
smart sentiments. This isn't a novelty act burdened by its
own ironicxapabilities as the closing number, "Running the
World," pinpoints in its matter-of-fact form. The lyrics may
contain a swear word or two, but the song (like the Pulp hit
"Common People" before it) manages to tap into a universal
sense of outrage and powerlessness. It isn't surprising when
a large part of the Commodore Ballroom crowd seems to be
singing along to its discriminating chorus.
Jarvis Cocker bids farewell to Vancouver with rousing
rendition of Gary Numan's "Are Friends Electric." Executed
in all its surging keyboard glory, and sung in the appropriate
South London accent, it is a fitting end to a concert that is
electric, friendly and a celebration of music. Most leave the
show content in the knowledge that someone has returned
that should have never left in the first place.
$_CD ^ouno^YSTEm
+ VJRCHT
MAY 3
THE COMMODORE BALLROOM
The kinetic energy expended by Yacht, a.k.a. Jona
Bechtolt, kicked off a night of odd exuberance. Yacht fielded
questions from the crowd, jested about his 'band', and
carried off his entire set with infectious youthfrdness. The
crowd, however, wasn't infected immediately; Yacht may
have been subject to some insulting Napoleon Dynamite
comparisons. Nonetheless, the one-man music machine did
eventually get bodies moving after literally getting bodies
moving by backwardly stumble-dancing off the stage into
people. His music's jovial excellence helped as well.
By the time LCD Soundsystem hit the stage, the
concertgoers—who spanned in age from Yacht's generation
all the way up to LCD frontman James Murphy's—were
bustling with youthfrdness, whether it was fitting or not.
Unfortunately, this energy was expressed in different ways,
such as when a three-on-three brawl broke out a short while
into the set. After some peacekeeping by audience members
and some scolding from Murphy, the remainder of the
restless show was accompanied by dance moves rather than
thrown fists. Murphy and co. stimulated and provoked the
crowd, lacquering them with layer upon layer of sweat. First
album winners were churned out, and Sound Of Silver gems
were done justice on a night that could have represented
Murphy and his traveling posse at the pinnacle of their
pertinence and brilliance.
por gJHIP & ■
{LCD £OUnD£YSTEm
?J£ET
+ {ERIH gJEUEREUH
'* g/RDRELUg/RDRELU^RDRELU
APRIL 25
THE CELEBRITIES
The night following their live show at the Commodore
Ballroom, James Murphy (LCD Soundsystem) and pal, Al
Doyle (HOT CHIP and guest guitarist for LCD), along with
someone who looks like Doyle's older bro, hung around
Vancouver to play a DJ set at Celebrities.
These guys make no bones about their love of dance
music, and with Celebrities playing house-inspired music
every Friday, these guys brought the right sound for the
crowd. Although the usual Friday DJs were not in effect,
hard working locals AndrewAndrewAndrew and Erik
Devereux warmed things up with the steady stream of beats
from their Serato/laptop set up.
Taking over on the turntables after midnight, Murphy'
and Doyle were subdued behind the decks. Bringing their
own small selection of vinyl, they didn't appear to use
anything else all night. The modestenergy they contributed
lent itself to some serious neck bobbing as they performed
the simple swaps of sounds.
The music played. The people danced. No creative
mixing, no exclusive remixes—just some guys playing their
records. It all just bled into one long song, and if you weren't
paying attention, you probably wouldn't have known they
were doing that much work. Regardless, it seemed like the
crowd got a dose of what they wanted.
Christian Martius
Padraig Watson
Jamie Bennett ■■ ■■■ ■■■«*■ »■■■
mmumwwinmmm'mm
fiiMliiiBSBBSSaSBH
aep ■■53 »«**»*■
Myth Takes
Before their first album was even released, critics were
hailing It! as dance-rock messiahs, and Louden Up Now
was going to be gospel. Their anticipated album couldn't
help but disappoint when compared to these expectations.
While some of their nine-minute tracks worked perfectly,
seamlessly layering percussion and rhythm into a rave-style,
ecstacy-fueled, dancefloor frenzy, others wandered aimlessly
and ran out of steam long before their conclusions.
With Myth Takes, !!! have departed from the slow, steady
instrumental buildups that characterized the best and worst
of their earlier albums. Averaging five minutes, the songs
on this album jump right into catchy hooks, making them
much more video and single friendly than previous efforts,
but without sacrificing the band's extreme danceability.
The vulgar political rants of "Pardon My Freedom," or
the descent into drug-addled jabbering-lunacy in "Hello?
Is This Thing On?" marked the old Ill's lyrical style. Their
recent focus on tighter song structure has also influenced
the lyrics on Myth Takes, which make a distinct break from
the nonsensical ramblings of Louden Up Now. The first
two singles from the album illustrate this new direction,
especially "Must be the Moon," a one-night stand anthem
that leads from the club to the bedroom floor.
It's hard to tell your friends about a band when you can't
even pronounce their name. Fans of !!! have come up with
several ways around this problem: the snappy "Chk Chk
Chk," the visceral "Ugh Ugh Ugh," or even "that band with
the three exclamation marks." It only matters for a little
while. Before long, the debate over the name ends, and
everyone can just shut up and dance. Myth Takes secures
Ill's reputation as a dancefloor band, offering some of its
crispest and most danceable songs to date.
Greg McMullen
The Great Outdoors
Food, Booze, and Entertainment
(DDG Records)
It's quite appropriate that this group, the folk-pop muse
of Counterrevolutionaries songwriter Adam Nation, is
called The Great Outdoors. The lead-off track, "If I Were
a Car", sets the mood of the group's third album with a
tranquil acoustic campfire singalong, boasting smooth
harmonies by Frazey Ford, of The Be Good Tanyas. The
album deleberately ups the tempo, but still maintains its
hushed nature, as the tracks progress, as though fuelled by
copious amounts of the eponymous food and booze. With
violin accents courtesy of Jesse Zubot, trumpet staccatos
courtesy of Shaun Brodie of Duplex! and AC Newman,
and a chorus of backup vocals from other members of
Counterrevolutionaries and a who's who of the local folk
scene, Food, Booze, and Entertainment, marks yet another
unique interpretation of the folk-pop for which Vancouver
is well-regarded.
This album makes frequent detours to the calm stillness of
the opening track, only to break out into gentle, sometimes
passive-aggressive, layered multi-instrumental and
harmony rave-ups, often within the span of a single track.
Nation gives props to many of his musical touchstones,
including Guns N' Roses and Jimi Hendrix, by slipping in
lyrics from their more notable songs.
Food, Booze, and Entertainment was recorded on a 4-track in
Nations's apartment, but you'd be forgiven for thinking it
was recorded live off a packed stage at some far-flung secret
folk fest showcase—it's that intimate, spontaneous, and
polished a recording.
The Neins Circa
Sleeves and Wigs
(Copperspine Records)
This is a slightly reworked and re-released version of The
Neins Circa's 2005 independent sophomore album Please
Feel Free To Enter The Tipi, marking an opportunity to give this
album the appreciation it deserved the first time around.
With washes of Dan Be jar-inspired lead vocals and angular-
meets-melodic arrangements topped off with loping 90s alt-
rock guitar lines, Sleeves and Wigs is the album that should
finally bump the band's faithful following up to the sizes it
has always beckoned for. With playful Beatles-inspired
boy-girl harmonies, trumpet and violin chorals, and a Paul
Westerberg-style drunken piano line throughout most of
its dozen tracks, much of this album gives the listener the
idea of what it is like to catch a Neins live encore stubbornly
chugging along past last call—gleefully rocking and reciting
epic ballads long into the wee hours.
Closing dramatics have always been a Neins strong suit, both
live and on record. Most of Sleeves and Wigs's simple strokes
of brilliance come in the last few tracks, as there are nods to
country and blues rock on "Welcome Home Eugene Choo,"
the Motown doo-wop ballads of "Goodbye You're Alone,"
and the wistful Westerberg balladry rock of "This is the
Way I Used to Be" (think The Replacements 'Androgynous"
on quaaludes).
To shrug this album's diverse nature off as 'quirky' is to
underestimate The Neins Circa's ability to reinterpret classic
rock, alt-rock, blues, country and pop music into a lexicon
that is timeless, yet most surely their own.
Combine this with the fact that the album comes cleverly Mike Chilton
packaged in a hardcover book, thanks to the services
of the good folks at the Vancouver Public Library, and
endearingly haphazard 50s-style screenprinted illustrations
to accompany eacfesgijt of lyrics, and Food, Booze, and
Entertainment comes off as one of the more compelling
folk-pop releases to come out of Vancouver in quite a while.
That's saying something.
Mike Chilton
24 June 2007 Oh Susanna
Short Stories
(Outside Music)
Early in the third millennium, it's amazing simple music
is still possible to produce. Everywhere I turn, a stupidly
repetitive beat chugs in bland and numb waves out of
somebody's car or cellphone. I'm a cranky aficionado of
folk, appreciative of dulcet tones, and felt lost for words in
listening to the beginning of Short Stories. All the elements
of the songs (pedal steel, slowly strummed guitar, and
lyrics for the long drive home) result in a pleasant ensemble
sound. It's all a bit rainbows and reminiscence and southern
gothic imagery in the lyrics department, compared to the
heavyweights you could probably name. Still, the playing is
decent, though not for the country haters.
All the topical touchstones get included: blue jeans, loss,
alcohol, beauty queens, and old time religion. At the same
time, the songs range from ballads to mid-tempo sway-
alongs. "Three Shots" comes along, and an apprehensive
comparison to Neko Case flits through my brain. It's just
the kind of music I'd like sometimes, like when a stranger
spits on your shoes and calls you coward -for not spitting
back. This is a uniform and pretty album, conventional and
difficult to fault. The vocal range of Suzie is not operatic
quality, but then again this isn't for the opera, this is for the
Grand Ole Opry. On the whole, better than listening to rural
country radio, but less so than the classics.
The cover of Bob Dylan's "Billy 4" draws attention to the
difference between the average and the great, even when the
great song is an obscure Dylan tune I'd never heard of. This
ode to Billy the Kid plays with imagery and melody while
traveling with the longing of the West. Oh Susanna c
it beautifully, and closes out the album with one last original
in the same traditional path the album follows.
Arthur Krumins
Savath&Savalas
Golden Pollen
(Anti)
When listening to the new Savath&Savalas album, there
are points where you feel like you are in a park lying on a
blanket with a close friend on a warm summer day. But the
good feeling of this moment begins to fade when you realize
that it has been lasting too long. Gufllermo Scott Herren,
the man behind Prefuse 73, has brought us an album
where the majority of the tracks tend to sound the same.
All vibrate with the soothing sounds of an electronic hum,
at times overlain with the sound of a violin, and at other
times with what sounds like a harp. Chanted Spanish vocals
accompanied by traditional Spanish guitar are sounds that
remain consistent throughout the album, an album that
can be described as Prefuse-infused Spanish folk—exacuy
what you would expect from Herren's Savath&Savalas
projects. Songs like "Olhas" and "Tormenta de la Flor,"
make you feel as though you are in a well-written romantic
drama (at times liberated and other times constricted, but
ultimately alone). This album is both beautiful and calming,
but I found it to be a bit too comforting, which causes it to
become simply boring.
Chauncey Carr
•0&o|
Sister Vanilla
Little Pop Rock j^;o.'
(Chemikal Underground)
When I was in the ninth grade, my cousin sent me a mixtape
that changed my life for the better. My interest in guitar
bands was waning at the time, and most of my attention
was focused on the Wu-Tang Clan and 2Pac. Musically
speaking, there's nothing at all wrong with either of
those hip-hop legends. The trouble was, instead of simply
enjoying their music like I do now, I had made the mistake
of dressing and speaking like a rapper. When I roll (and by
'roll', I mean 'bus') down the streets of the RBC (Richmond,
British Columbia) today, and see the 'men' my age hanging
out of their loan-financed Escalades with their hats tipped
sideways, I can't help but silently thank my dear cousin for
steering me away from that unfortunate path.
When the first track of that cassette roared to life in a hail
of Ronettes drums and feedback, I decided then and there
that I no' longer aspired to be the tenth disciple of the RZA,
but in fact, wanted to join the Jesus and Mary Chain. By
the time "Sometimes Always" opened side B of the tape,
I'd also decided that I was going to marry Hope Sandoval
(who lent her vocals to the track). I was also pretty sure she
wanted a husband who wore pants that fit, and one who
didn't entertain the prospect of acquiring gold fronts. More
than ten years after that epiphany, Little Pop Rock has taken
me back to that moment that set me along the path of bling-
free orthodontics and snug trousers.
While Sister Vanilla is the stage name of Linda Reid, Little
Pop Rock brings together her older brothers, Jim and William,
on record for the first time since they closed the book on the
Jesus and Mary Chain in 1999. Hope Sandoval is nowhere
in sight, but Linda's vocals—awash in reverb—are a slightly
less airy, but equally sweet replacement. Behind her, the
brothers Reid riff on like they haven't missed a beat, and
"Jamcolas" even sees Jim taking lead vocal duties on a
track that could have been pulled straight off of 1992's
Honey's Dead. It might be unfair to overshadow little sister's
accomplishments, but her musical debut is more like the
great lost JAMC album than anything else; not that that's
a bad thing.
Quinn Omori
o
o
c
CD
a
o
CD "Drunk Teenagers" is followed by an equally pop-tastic
"Fashionable People," the two alone being worth the price
of admission. Like all of Plaskett's albums, though, it is the
songs that don't immediately stand out that quickly that
become your favourites. I am particularly fond of "Face
of the Earth," in which he asks the departed object of his
affections, "are you hiding, or are you seeking?" This clever
turn, of phrase is particularly poignant today, when we just
as easily move across the country, or the world, as across
town. One could argue that Plaskett's tendency to create
faux-rhymes ("Johnny-hook-me-up" doesn't actually rhyme
with "Johnny-hook-us-up") is evidence of simple, no-brainer
rock, but this is actually a literary device he uses to convey
the pure simple mind of the stoner, bad-ass student. Rather
than simple, Plaskett has written some incredible and highly
emotive songs. Whether Plaskett was the star English pupil,
or the pot-smoking drunk teenager, in Ashtray Rock, he has
captured the entire high school experience and made one
helluva good album at the same time.
Cameron Curtis
Joel Plaskett Emergency
Ashtray Rock
(Maple)
A friend once told me their favourite Tragically Hip album
is Day For Night, "because it reminds me of all my teenage
angst. Not that I can't get over it, I just don't want to." On his
last album, La De Da, Joel Plaskett told us that, "the only thing
worse than growing old, is never quite learning how." Well,
it looks like my friend (whom, incidentally, I can't get over
even though I want to) may have gotten to Plaskett, whose
newest album, Ashtray Rock, is a tribute to his teen years
(and all the angst that goes along with them) in Halifax's
Clayton Park area.
Well, Thrush Hermit (Plaskett's first band) is sadly gone, but
Plaskett himself has matured into a five-album-old musician.
There isn't a single one of his albums that I don't regularly
dust off, and so I had very high hopes for Ashtray Rock. I was
not disappointed. If I had to buy an album based on only the
opening riff, this would be it. But, of course, it doesn't stop at
one riff (however fantastically, hand-clappingly, oo-ooo-ing-
Iy good that riff may be). Plaskett's musical maturity and the
childish energy of bis Hermit days combine perfectly in this,
his tribute to teenagehood and the parties out at the Ashtray
Rock in Clayton Park. Let's not leave that opening riff too
soon, though. Plaskett's music has been called uncomplex,
but we shouldn't so quickly adopt the Lester Bangs idea that
"straight up (is) no-brainer rock and roll." Straight up rock
and roll is neither complex nor uncomplex, it is just good.
And in Plaskett's case, it is very good. Without a doubt, he
has crafted a timeless teen anthem in "Drunk Teenagers,"
a "Summer of '69" that will never become uncool. More
than just a catchy tune with perfectly placed "oo-ooo"s and
hand claps, it captures the entire teenage Saturday night
party experience, from finding Johnny-hook-me-up to score
beer, to marking our pubescent territory by pissing in the
wilderness.
With drunkenness, of course, goes debauchery. Ashtray Rock
is a concept album in which two friends lose their friendship
and their band when one friend steals the other's girlfriend—
and so is the ultimate teenage love album. In case you are
having difficulty following the story, Plaskett's wife, Rebecca,
has nicely illustrated each song. And, unlike many concept
albums, this one doesn't sacrifice the song for the concept.
Each song is well-crafted and, with a little MP3 editing, will
perfectly meld onto your summer mix (or summer break-up
album, should you be so unfortunate).
Kittie
Funeral For Yesterday
(Caroline Records)
I haven't kept tabs on Kittie too much in the last couple of
years, so I was shocked at just how much they seem to have„
declined with this effort. The first impression I got while
flipping through the liner notes is that they are now trying
to jump on the emo/goth-pop angsty bandwagon, based on
the romanticly-sighed lyrics about death. (And if their own
weren't bad enough, one of the gals in the band has HJ.M.'s
lyric "won't you die tonight for love" tattooed across her
chest.) At least I can give them points for commitment to
the goth concept, even going for pseudo-coffin portraiture.
Nonetheless, I don't mind being proven wrong, so I
hopefully popped the album into my stereo. At first, things
were promising, as the band delivered some slick riffs. Then
the vocals started—pure emo pop, up until the second half
of the album, at which point Kittie went for the Cookie
Monster growls. Neither vocal style can rescue the tired
cliches, however, and around the time the line "I've lost my
will to live again" came up, I'd lost my will to listen, plowing through the rest of the album only out of a sense of
duty to Discorder.
Like my cousin's boyfriend said: if you want, to listen to
Kittie, listen to their old discs. The liner notes indicate this
disc was recorded during personally trying times, so one can
only hope they've gotten it out of their systems and will be
back with a better album next time.
Laura Peek
& The Winning Hearts
From The Photographs
(Just Friends Records)
Are you ready for some subdued rock? Oh yeahl Hailing
from Nova Scotia, The Winning Hearts is a three-piece band
led by Laura Peek on piano and vocals, and backed by Dave
Ewenson on percussion and Joel Goguen on bass (always in
matching shirts). The Winning Hearts lose their virginity
with From the Photographs.
If you are one of those who hunger for a quieter version
of what is typically the noisy mainstream rock and roll,
there's much to look forward to here. The sounds are never
too thick: the drumming is never loud, the bass is practically
invisible (for the most part), and the piano is predictable
and steady. I just hope you brought your hearing aid,
though, because the most noteworthy thing about From
the Photographs is Peek's quiet voice. Personally, I like my
artists to really sing their hearts out once in a while. Of
course, this is subjective—you may or may not be fuming in
disagreement as you read this—but there is something to be
said when one can barely hear Peek above the instruments.
In my mind, I sometimes imagine her overworking on a 9
to 5 job, seven days a week, before being dragged into the
studio to record. She sounds very tired and the piano and
drums almost drown out her voice. But as I mentioned,
those instruments are not loud or thick in any way.
I do have some better things to say about her songs. I'd say
-^'The General" is the pick of the lot; the piano chords work
very well with the sung melody. "Stand Right There" is also
a standout (no pun intended), with bass that is actually
audible and a jazzy piano solo. Unfortunately, the pacing is
not the best, as the album's middle and end can drag.-The
album doesn't come with printed lyrics, and neither does
the band's official site, so I was relegated to listening intently
to her low-profile voice. Much of the words are artistically
ambiguous (not a complaint), with various observations
on love and life—the low point being the corny chorus to
"So Sorry." As a whole, though, this is a nice effort; I look
forward to their sophomore, and hopefully much improved,
offering.
John Park
Pyra Draculea Video Hippos
Unbeast The Leash
(Monitor Records)
The unfortunate thing about Unbeast the Leash is that
it seriously suffers from poor song arrangements. More
specifically, it suffers from the fact that it begins on the
weakest note. The first two tracks sound like, instead of
playing their own music, Video Hippos kidnapped The
Strokes, pumped them full of downers and forced them to
play under a dirty sock. With this kind of an intro, it feels
like the rest of the album must work very hard to recapture
one's attention and sympathies. Luckily, the percussion
holds enough varied energy to at least keep you interested.
In fact, the album's strong points lie in the youthful feelings
of energy and play. You get the definite sense that, however
it may sound, the band is having fun, which is at times
infectious. The strongest moments on the album manage
to take you away on commercial break-sized adventures
through dirty landscapes of sound and static. Good time
poppy tunes get submergecUn webs of noise that offer brief
glimpses of sugar-coated valleys, and short, puhky tracks fly
through vibrating sonic country sides.
The Strokes are not the only familiar sounds that can be
heard throughout the album. At various moments, Video
Hippos seem to channel everyone from Broken Social
Scene, to The lVficrophones, to Deerhoof. In fact, "Wages
of . . .Fear," one of the most refreshing tracks (despite the
obscene number of elipses in the track's name that I have
not copied here), sounds like an upbeat homage to Clinic.
The negative aspect of this is that, although some songs are
genuinely enjoyable, you often feel like you've heard each .
one somewhere before.
The noise and static that pervades much of the album
sounds good most of the time.. However, if I've learned
anything from inexperienced noise jam sessions in my
basement—and really how could I not?—it is that making
music out of noise is not quite as easy as it often sounds.
This lesson is clear throughout this album. When it works,
it is exciting and one is happy for the ride. At other times,
one ends up feeling bogged down in tiresome clatter, feeling
rather like someone's just jerked off in your ear. The saving
grace of these bits is that they are over quickly.
This album does contain gems, and on repeated listens it
begins to grow on you. However, the highs come just short
of making up for the lows, and any effect the music may
have is gone and forgotten as soon as the album ends.
Jack Prus
Various Artists
SC100
(Secretly Canadian)
It's a shame how certain things are so good in theory, yet
so bad in practice—Secretly Canadian's SC100 being one
of them. The theory behind the compilation? To have the
Secretly Canadian artists cover songs by other Secretly
Canadian artists. Why? To celebrate the 100th release by this
Bloomington, Indiana label (although, by this point, they've
had more than 150). And as great as this idea sounds, the
product is unfortunately somewhat unremarkable.
This disappointment is due to several factors. First, many
of the label's strongest artists, such as Antony, I Love You
but I've Chosen Darkness and The Earlies are absent.
Apparently, they didn't meet the selection criteria and, as a
result, the disc suffers. Second, several of the bands actually
included on the disc are, for lack of a better term, an acquired
taste. The erratic noise bursts of groups like Racebannon,
Cornelius Boots and The Panoply Academy aren't likely
to excite many listeners or win them over. And perhaps the
biggest flaw is that most of the covers just don't improve
or add much to the originals. June Panic's static take
on Danielson's "Fruitful Weekend" and Marmoset's
uninspired cover of Jens Lekman's "Sky Phenomenon"
are prime examples.
But to be fair, SC100 does have a few good things going for
it. Dave Fischoff reassembles Damien Jurado's 'Abilene"
into a stunning electronic episode. Lekman transforms
Scout Niblett's "Your Beat Kicks Back Like Death" into
a beautiful pop nugget. And Ativin and Swearing' at
Motorists show they are some of the most underrated
artists on the label's wide-reaching roster. However, these
few great moments are hardly enough to save this collection
from being anything more than mediocre.
Maybe Secretly Canadian is just a victim of its own success
with SC100. Through the steady output of exceptional
releases during the last few years, they've raised the bar
significantly, and regrettably, this compilation fails to meet it.
Brock Thiessen 0
3
CD
CD f
wffimmm
*%.
VANCOUVER INTERNATIONAL
JAZZ FESTIVAL JUNE 21-JULY 1
THURSDAY JUNE 21 pablo discobar {Australian funk), baked potato, the
MOJO STARS. 8PM / $12 IN ADVANCE
FRIDA! JOSS 22 rich hope & his evildoers, Wisconsin sum.
8PM/ $12 IN ADVANCE
SATURDAY JUNE 23 3PM - 6PM new Orleans ale stars, free
8PM TO CLOSE the sweetpea swing band, the blue island trio
8PM/$14 IN ADVANCE
SUNDAY JUNE 24 the hoppin' mad orchestra, spm / $12 in advance
FRIDAY JUNE 29 the twisters, the dave Patterson duo.
8PM/$12 IN ADVANCE
SATURDAY JUNE 30 3PM - OPM new Orleans ale stars, free
SPM TO CLOSE THE PAUL PIGAT TRIO (MEMBERS OF COUSIN HARLEY), GUESTS.
8PM/$12 IN ADVANCE
SUNDAY JULY 1 five alarm funk. 8pm/$h in advance
TICKETS FOR SHOWS ARE AVAILABLE AT:
THE DOMINION HOTEL (NEXT TO THE LAMPLIGHTER), ZULU RECORDS, SCRATCH
RECORDS,BEATSTREET RECORDS, REDCAT RECORDS, & WWW.CLUBZONE.COM
UPCOMINO JUNE EVENTS
FRIDAY JUNE 1 IMU PRODUCTIONS PRESENTS: a WHOLE LOTTA LED (LED zepplin
TRIBUTE), GENERATION WHO (WHO TRIBUTE)
THURSDAY JUNE 7 go your own waste-huge manatease, portico,
BROTHER BROTHER, CONTRAPTIONEERS. MUSK WASTE WREST BANDS ACCEPTED!
SATURDAY JUNE 9 spm music present: buck bettycd release, grass city
HEZZAKYA
MONDAY JUNE 11 earshot /ncrc annual conference ice-breaker party!
THE DOERS, THE MUTATORS, MORE TBA!
WEDNESDAY JUNE 13 ludvico treatment, adjective, dead filmstars,
IT'S A LIVING THING
THURSDAY JUNE 14 spm music presents: burn Hollywood burn, the dead
LEES, THE DEVIL'S RIGHT HAND
FRIDAY JUNE 15 imu productions presents: the unknown soldiers (doors
TRIBUTE), TWIST & SHOUT (BEATLES TRIBUTE)
SATURDAY JUNE 1 % spm music presents.- wordz from tha underground:
KEEP 6, V0LATIVE CAUSE, A SLAM, BARRON S, XYL
SUNDAY JUNE 17 the nods, burn the strack, guests
THE MANY, TENANT
TUESDAY JUNE 19 finally! new dj dance event -electro, dance, mash-ups
WEDNESDAY JUNE 27 hot uttle rockets, guests
THURSDAY JUNE 20 los furios, guests
•     ••*••••
210 ABBOTT ST | www.thelampUghter.ca
604.681.6666^ IN HISTORIC GASfOWN
28 June 2007
**_2^S£___&*
GUILTY
sIShFheroes iwEif"
sS___f. sft^k'c/M    ui.r. n,„Ji
*&,SrillKamloops7BC> 6/11 WiloBills^ _
m_m x   Victoria, BC*^ 6/13 Red Road LjIdsp
1       V VancouvsPBC 6/14 T1eExc/Ia*i8E
ft CENTER^VanS&UVER, BC 8/15 TteBAJSEMENT
CaIsary, AB
8/10 The Underground Calsary,
|anfWA8
WNMK8, MB
RistNlSK
Saskatoon*, SK
6/18 Velvet Undrsrnd Edmonton, A"
5/17 New City
Edmonton, AB
WOMEN
VOLUNTEERS
needed for our 24 Hour
Rape Crisis Line and Transition
House for battered women
For an interview, please call
604-872-8212
Vancouver Rape Relief & Women's Shelter
www.rapereliefsheller.bc.ca _______
pj
CiTR's charts reflect what has been spun on the air for the previous month. Rekkids with stars (*) I  Qtrjp+|\/ thp
mean they come from this great land o' ours. Most of these platters can be found at finer (read:
independent)musicstoresacorssVancouver.Ifyoucan'tfind'emtheregivetheMuzakCoordinator ClOPSSt hltS Ol
ashoutat604-822-8733.HisnameisLuke.Ifyouasknicely,he'Utellyouhowtogit'em.Tofind /____
other great campus/commumtyradiochartscheckoutwww.earshot-online.com. I  IVl3y Z.\J\J /
Artist
Album
Label
1
The Choir Practice*
The Choir Practice
Mint
2
Jason Zumpano*
living Room Recordings
Powertool
3
Frog Eyes*
Tears Of The Valedictorian
Scratch
4
Kids On TV*
Mixing Business With Pleasure
Blocks Recording Club
5
Oh Susanna* ~
Short Stories
Outside
6
The Brains*
Hell N'Back
Stumble
7
Laura Peek And The
- Winning Hearts*
From The Photographs
Just Friends
8
Bjork
Volta      ' ' ^J§
Atlantic
9
Junior Boys*
The Dead Horse
Domino
10
The Ponys
Turn The tights Out.
Matador
11
Chromeo*
Fancy Footwork
Last Gang
12
Cocorosie
The Adventures Of Ghosthorse And Stillborn
Touch & Go
13
Shearing Pinx*
Poison Hands
Gilgongo
14
Joel Plaskett Emergency*
Ashtray Rock
MapleMusic
15
Collapsing Opposites*
Inside Chance
Local Kids Make Good
16
Detroit Cobras
Tied And True
Bloodshot
17
The Phonemes*
There's Something We've Been Meaning To Do
Blocks Recording Club
18
The Fucking Eagles
A Million Dollars
Gaptooth Jukebox
19
Neins Circa*
Sleeves And Wigs
Copperspine
20
El-P
I'll Sleep When You're Dead
Definitive Jux
21
The Pack*
Tintype
Independent
22
Amy Honey*
Pioneer Woman
Self Righteous
23
Blonde Redhead
23
4AD
24
Bill Callahan
WokeOnAWhaleheart
Drag City
25
Naw*
City Saturate
Noise Factory
...and here's strictly the dopest hits of April
#
Artist
Album
Label
1
The Pack*
Tmtype
Independent
2
You Say Party! We Say Diel*
lose Ml Time
Paper Bag
3
Collapsing Opposites*
Inside Chance
Local Kids Make Good
4
The Book Of Lists*
The Book Of Lists EP
Scratch
5
Shearing Pinx*
Poison Hands
Gilgongo
6
Amy Honey*
Pioneer Woman
Self Righteous
7
Tokyo Police Club*
Smith
Paper Bag
8
Julie Doiron*
Woke Myself Up
Endearing
9
Daddy's Hands*
Welcome Kings
Kill Devil Hills
10
Lesbians On Ecstasy*
We Know You Know
Alien8
11
The Wooden Stars*
People Are Different
Sonic Unyon
12
The Arcade Fire*
Neon Bible
Merge
13
Clorox Girls
J'aime Les Filles
BYO
14
Stars Of The Lid
And Their Refinement Of The Decline
Kranky
15
Bill Callahan
WokeOnAWhaleheart
Drag City
16
Dinosaur Jr.
Beyond
Fat Possum
17
Various*
The Secret Sessions: Rheostatics Tribute
\ Zunior
18
Calvin Johnson And
Calvin Johnson And The Sons Of The Soil
K
19
Adult.
Why Bother?
Thrill Jockey
20
Ted Leo & The Pharmacists
Living With The Living
Touch & Go
21
Cornelius
Sensuous
Everloving
22
OOIOO
Eye Remix EP
Thrill Jockey
23
Elizabeth*
- First Excommunications
Pop Echo
24
Cocorosie
The Adventures Of Ghosthorse And Stillborn
Touch & Go
25
Better Friends Than Lovers*
EP
Independent
Artist
Album
Label
26
The Hits*
Hello Everybody, We Are-
Independent
27
Dntel
Dumb Luck
Sub Pop
28
The Alley Dukes*
...Go Back To College
Flying Saucer
29
Pepper Sands*
Forest Strays
Independent
30
Cornelius
Sensuous
Everloving
31
Black Rebel Motorcycle Club
Baby 81
RCA
32
Motorama*
Dirt Track Specialist.
Last Chance
33
Various*
The Secret Sessions: Rheostatics Tribute
Zunior
34
The Superfantastics*
Pop-Up Book
Independent
35
The Pack*
Tintype
Independent
36
Daddy's Hands*
Welcome Kings        8^**i*--#
Kill Devil Hills
37
Twink
Ice Cream Truckin'
Mulatta
38
You Say Partyl We Say Die!*
Lose All Time
PaperBag
39
Electrelane
No Shouts, No Calls
Too Pure
40
Various
SC100
Secretly Canadian
41
Various*
Manoeuvres 1: A Collection Of
So Called Recordings
42
Various
WUAG Presents Taylor 25:
WUAG
43
Patti Smith
Twelve
Columbia
44
The Young Gods
Super Ready/Fragmente
Ipecac
45
Volt
Volt
111 The Red
46
The Guest Bedroom*
Movement             .
Independent
,47
The Clientele
God Save The Clientele
Merge
48
Stars Of The Lid
And Their Refinement Of The Decline
Kranky
49
Lesbians On Ecstasy*
We Know You Know
Alien8
50
Patrick Wolf
The Magic Position
Low Altitude
2007 Sorry we missed it last month guys!
#
Artist
Album
Label
26
The Fall
Reformation: Post-TLC
Narnack
27
StinkMitt*
The Red Album
SCochon
28
The Queers
Munki Brain
Asian Man
29
Joanna Newsom
And The Ys Street Band
Drag City
30
• Junior Boys*
The Dead Horse
Domino
31
II!
Myth Takes
Warp
32
Various
MesstheticsfWI D.I.Y. 77-81 London 1
Hyped To Death
33
Winning*
This Is An Ad For Cigarettes!
Ache
34
Panda Bear
Person Pitch
Paw Tracks
35
The DT's
Filthy Habits
Get Hip
36
Psychic Ills
Early Violence
Social Registry
37
Cibo Matto
Pom Pom: The Essential Cibo Matto
Rhino
38
LCD Soundsystem
Sound Of Silver
DFA/EMI
39
Eluvium
Copia
Temporary Residence
40
Jenn Grant*
Orchestra For The Moon
Paris 1919
41
Besnard Lakes*
Are The Dark Horse
Jagjaguwar
42
Aids Wolf & Athletic Automaton*
Clash Of The Life Force Warriors
Skin Graft
43
Neil Young*
Live At Massey Hall 1971   *
Reprise       .„
44
Various
Eccentric Soul: Twinight's Lunar Rotation
Numero Group
45
Various*
Aaargh Annual: Year Two
Aaargh
46
Wendy Atkinson*
Pink Noise
Smarten Up! & Get To The Point
47
White Cowbell Oklahoma*
Casa Diablo
Slick Monkey
48
Pterodactyl                  \^_%_%
Pterodactyl    ■ T^^ZM^
Brah/Jagjaguwar
49
Twink
Ice Cream Truckin'
Mulatta
50
Pete Samples*
Yours Makes Mine
Vinyl Republik
Discorder   29 GUIDE
You can listen to CiTR online at www.citr.ca or on the air at 101.9 FM
6am
7am
8am
9am
10am
11am
12pm
1pm
2pm
3pm
4pm
5pm
6pm
7pm
8pm
9pm
10pm
11pm
12am
1am
2am
3am
4am
5am
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
BBC
BBC
PACIFIC PICKIN'
BBC
BBC
BBC
BBC
BREAKFAST
WITH
THE BROWNS
FILL-IN
SUBURBAN JUNGLE
END OF THE WORLD NEWS
CUTE BAND ALERT!
THE SATURDAY EDGE
TANA RADIO
THIRD TIME'S
THECHARM
SHOOKSHOOKTA
PLANET
LOVETRON
SWEET 'N' HOT
SKA-T'S SCENIC
DRIVE
KQLNODEDI
LIONS AND TIGERS
AND BEARS-
MORNING AFTER 9P0W
ANOIZE
THE ROCKEFtS
SHOW
ALT. RADIO
DUNCAN'S DONUTS
THESE ARE THE BREAKS
GENERATION^NNIHIIATION
GIVE'EM THE BOOT
PARTS UNKNOWN
WRAPPED IN SILVER
SOUND
:  . iVfekAtLFALL DOWN
POWERCHORD
BESNERIC RHYME
DEMOCRACY NOW
INKSTUDS
RADIO ZERO
REEL TO REAL
BLOOD ON
THE SADDLE
.   LET'S GET BAKED
CAREER FAST TRACK
RUMBLETONE
RADIO A GO
GO
FILL-IN
CRIMES & TREASONS
CODE BLUE
_
NARDWUAR PRESENTS
NATIVE SOLIDARITY NEWS
VANT                QU
WENER'S BBQ
CHIPS WITH
EVERYYTHING
PTD-.- __
NEWS 101
NECESSARY VOICES
MY SCIENCE 1       PEDAL
PROJECT    J REVOLUTION
NEWS 101
LEO RAMIREZ SHOW r
SAINT TROPEZ
WINGS
QUEER FM
SON OF NITE
DREEMS
UNCOMMON
PRACTICE
FLEXYOURHEAD
FILL-IN
THE CANADIAN
WAY
OUR WAVE
AND
SOMETIMES
HIDEAWAY
SHADOW JUGGLERS
KARASU
EXCUISITE CORPSE
AFRICAN
RHYTHMS
RHYTHMSINDA
.".  - S&MiRIO MINIMQ
FOLK OASIS
MONDO TRASHO
THE JAZZ SHOW
LIVE FROM THUNDERBIRD
RADIO HELL
FILL-IN
SYNAPTIC SANDWICH
TRANCENDANCE
~ " e^#fTJN THE RED
JUICEBOX
SHAKE A TAIL
FEATHER  !
HANS KLOSS'
MISERY HOUR
LAUGH TRACKS
BEATS FROM THE
BASEMENT
DtSASTERPIECE THEATRE
VENGEANCE IS MINE
AURAL TENTACLES
RAW RADIO
I LIKE THE SCRIBBLES
CONCEPTION RADIO
BBC
BBC
BBC
BBC
BBC
BBC
■■■■SUNDAY
TANA RADIO (World) 9-1 Oam
SHOOKSHOOKTA (World)
10-llam      'ISI&I
KOL NODEDI (Worid)
11 am-12pm
Beautiful arresting beats and
voices emanating from all continents, corners, and voids. Seldom-rattled pocketfuls of roots
and gems, recalling other times,
and other places, to vast crossroads en route to the unknown
and the unclaimable. East Asia.
South Asia. Africa. The Middle
East Europe. Latin America.
Gypsy. Fusion. Always rhythmic,
always captivating. Always crossing borders. Always transporting.
THE ROCKERS SHOW
(Reggae) 12-2pm
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE
(Roots) 3-5pm
Real cowshrt-caught-in-yer-boots
CHIPS WITH EVERYTHING
(Pop)5-6pm
British pop music from all decades. International pop (Japanese, French, Swedish, British,
US, etc.), 60s soundtracks and
lounge. Book your jet-set holiday
Alternates with:
SAINTTROPEZ (Pop) 4:30-6pm
QUEER FM (Talk) 6-8pm
Dedicated to the gay, lesbian, bisexual, and transexual com-muni-
ties of Vancouver. Lots of human
interest features, background on
current issues, and great music.
RHYTHMSINDIA (World)
8-IOpm
Rhythmsindia features a wide
range of music from India, including popular music from the
1930s to the present, classical
music, semi-classical music such
as Ghazals and Bhajans, and also
Qawwalis, pop, and regional language numbers.
MONDO TRASHO (Eclectic)
10-1 lpm
TRANCENDANCE (Dance)
I Opm-12am
Join us in practicing the ancient
art of rising above common
thought and ideas as your host
DJ Smiley Mike lays down the latest trance cuts to propel us into
the domain of the mystical.
trancendance@hotmail.com
DISASTERPIECE THEATRE
(Talk) l2-2am An odyssey into
time and space in audio.
■■■■ MONDAY
BREAKFAST WITH THE
BROWNS (Eclectic) 8-1 lam
Your    favourite     Brown-sters,
James and Peter, offer a savoury
blend of the familiar and exotic
in a blend of aural delights!
LIONS AND TIGERS AND
BEARS...(Eclectic) Il-I2pm
A mix of indie pop, indie rock,
and pseudo underground hip hop,
with your host, Jordie Sparkle.
ALTERNATIVE   RADIO   (Talk)
12-lpm
Hosted by David Barsamian.
PARTS UNKNOWN (Pop)
I-3pm
Underground pop for the minuses with the occasional interview
with your host, Chris.
LETS GET BAKED w/matt &
dave (Eclectic) 3-4pm
Vegan baking with "rock stars"
like Laura Peek, The Food Jammers, Knock Knock Ginger, The
Superfantastics and more.
NATIVE SOUDARITY NEWS
(Talk) 4-5pm
A national radio service and part
of an international network of information and action in support
of indigenous peoples' survival
and dignity.We are all volunteers
committed to promoting Native self-determination, culturally, economically, spiritually and
otherwise. The show is self-sufficient, without government or
corporate funding.
SON OF NITE DREEMS
(Eclectic) 6-7:30pm
Alternates with:
UNCOMMON PRACTICE
(Classical) 6-7:30pm (alt.)
All the classical music you don't
hear on  mainstream  radio! A
variety of innovative and interesting works from the 20th and
21 st centuries, with an occasional neglected masterpiece from
earlier eras.
KARUSU (Worid) 7:30-8:30pm
THE JAZZ SHOW (Jazz)
9pm-12am
Vancouver's longest running
primetime Jazz program. Hosted
by the ever-suave Gavin Walker.
Features at 11 pm.
June 4: One of the major voices
of the tenor saxophone was
Gene Ammons. His huge sound
and blues-rooted concept is all
here in concert at the Ahus Jazz
Festival in Sweden in 1973. Gene
with Horace Parian on piano and
the great Red Mitchell on bass
and Ed Jones on drums,
yune //: The 2007 Vancouver
International Jazz Festival is front .
and centre for the whole three
hours with Gavin and guest host,
the Jazz Fest's redoubtable media
director John Orysik.
June /ft The man who has been
called "The Greatest LivingTenor
Saxophonist" is opening the Jazz
Festival on June 22. Tonight, he is
our feature artist with his great
album. from the soundtrack of
the movie, Alfie, Sonny with a
big band (directed by Oliver
Nelson), playing Sonny's compositions. Classic!!
June 25: Trumpeter Lee Morgan
was one of the brightest stars
in jazz and he created a lasting
legacy, despite his early death at
33. Here he is, already a veteran
at 21, on an album called, Here's
Lee Morgan, his first date for
the black-owned label, Vee-Jay.
With Lee is the great drummer
Art Blakey, the hip Wynton Kelly
on piano and Clifford Jordan on
tenor saxophone. Superb jazz!
All the best the world of punk
has to offer, in the wee hours of
■TUESDAY
Bluegrass, old-time music, and its
derivatives with Arthur and the
lovely Andrea Berman.
(Rebroadcast from previous
Wednesday, 5-6:30pm) Currently airing Necessary Voices
lecture series.
THIRD TIME'S THE   CHARM
(Rock) 9:30-11:30am
Open your ears and prepare for
a shock! A harmless note may
make you a fan! Hear the menacing scourge that is Rock and
Roll!  Deadlier than the most
dangerous criminal!
borninsbctynine@hotmail.com
MORNING AFTER SHOW
(Eclectic) 11:30am-lpm
GIVE 'EM THE BOOT (World)
Sample the various flavours of
Italian folk music from north to
south, traditional and modern.
Un programma bilingue che es-
plora il mondo delta musica folk
italiana.
CIRO SYNDICATED (Talk)
2-2:30pm
Syndicated   programming  from
Okanagan's CIRO.
(Replaces Besneric Rhyme)
REEL TO REAL (Talk) 2:30-3pm
Movie reviews and criticism.
EN AVANT LA MUSIQUE
(French) 3:30-4:30pm
En Avant La Musique! se   concentre   sur   le   metissage   des
genres rhusicaux au sein d'une
francophonie ouverte a tous les
courants. This program focuses
on cross-cultural music and its
influence   on   mostly   Francophone m
30 June 2007 m
WENER'S BARBEQUE (Sports)
4:30-6pm
Join the sports department for their coverage of theT-Birds.
FLEXYOUR HEAD (Hardcore) 6-8pm
Up the punx, down the emo! Keepin' it real since 1989, yo. Flexyourhead.
SALARIO MINIMO (Worid)
8-1 Opm
Salario Minimo, the best rock in Spanish show in Canada.
CAUGHT IN THE RED (Rock) I Opm-12am
Trawling the trash heap of over 50 years' worth of rock n' roll debris.
Digit!
AURAL TENTACLES (Eclectic) 12-6am
It could be punk, ethno, global, trance, spoken word, rock, the unusual and the weird, or it could be something different. Hosted by
DJ Pierre.
__________________________m_________M WEDNESDAY
SUBURBAN JUNGLE (Eclectic) 8-1 Oam
PLANET LOVETRON
(Electronic) 10-11:30am
With host Robert Robot. One part classic electronics. One part plun-
derphonicmixnmatch.Two parts new and experimental techno. One
part progressive hip-hop. Mix and add informative banter and news
for taste. Let stand. Serve, and enjoy.
planetlovetron@gmail.com
ANOIZE (Noise) 11:30am-lpm
Luke Meat irritates and educates through musical deconstruction.
Recommended for the strong.
WRAPPED IN SILVER SOUND
(Eclectic) I-2pm
DEMOCRACY NOW (Talk)
2-3pm
Independent news hosted by award-winning jounalists Amy Goodman
and Juan Gonzalez.
RUMBLETONE RADIO (Rock) 2:30-4:30pm
Primitive, fuzzed-out garage mayhem!
NECESSARYVOICES (Talk)
4:3f>6pm
Socio-political.enviromental activist news and spoken word with
AND SOMETIMES WHY
(Pop/Eclectic) 6-7:30pm
First Wednesday of every month.
Alternates with:
SAMSQUANCH'S HIDEAWAY (Eclectic) 6-7:30pm
JUICEBOX (Talk) 8-9pm
Developing your relational and individual sexual health, expressing
diversity, celebrating queerness, and encouraging pleasure at all stages.
Sexuality educators Julia and Alix will quench your search for responsible, progressive sexuality over your life span! www.juiceboxradio.
FOLK OASIS (Roots) 9-11 pm
Two hours of eclectic roots music. Don't own any Birkenstocks? Allergic to patchouli? C'mon in! A kumbaya-free zone since 1997.
HANS KLOSS' MISERY HOUR (Hans Kloss) I lpm-1 am
This is pretty much the best thing on radio.
_______m________m_____________________m Thursday
END OFTHEWORLD NEWS
(Eclectic) 8-1 Oam
DUNCAN'S DONUTS
(Eclectic) 12-lpm
Hosted by Duncan, sponsored by donuts.
WE ALL FALL DOWN
(Eclectic) I-2pm
Punk rock, indie pop, and whatever else I deem worthy. Hosted by a
closet nerd.
CRIMES &TREASONS
(Hip Hop) 3-5pm
MY SCIENCE PROJECT (Talk) 5-6pm
Zoom a little zoom on the My Science Project rocket ship, piloted
by your host, Julia, as we navigate eccentric, under-exposed, always
relevant and plainly cool scientific research, technology, and poetry
(submissions welcome). myscienceprojectradio@yahoo.ca
Alternates with: $___$&■%$
PEDAL REVOLUTION (Talk)
5-6pm
STEREOSCOPIC REDOUBT (Rock) 6-7:30pm
Psychadelic, Garage, Freakbeat and Progressive music from I96S to
today: underground, above ground and homeground.
EXQUISITE CORPSE
(Experimental) 7:30-9pm
Experimental, radio-art, sound collage, field recordings, etc'
Recommended for the insane.
LIVE FROM THUNDERBIRD
RADIO HELL (Live Music)
9-1 lpm ?>-W?&
Live From Thunderbird Radio Hell showcases local talent...LIVE!
Honesthvdon't even ask about the technical side of this.
LAUGH TRACKS (Talk)
11 pm-12am
W_WLW_______________________________W_____mFR\DM
CUTE BAND ALERT! (Eclectic) 8-1 Oam
SKA-T'S SCENIC DRIVE (Ska) I Oam-12pm
Email requests to:
djska_t@hotmail.com
THESE ARE THE BREAKS
(HipHop) 12-2pm &W&K'
Top notch crate digger DJ Avi Shack mixes underground hip hop, old
school classics, and original breaks.
RADIO ZERO (Eclectic)
2-3:30pm
NARDWUAR THE HUMAN
SERVIETTE PRESENTS
(Nardwuar) 3:30-5pm
THE CANADIAN WAY
(Eclectic) 6-7:30pm
Canadian independent music, from any given genre, from all a
our massive and talented country, with your host, Spike.
www.myspace.com/canadianway
AFRICAN RHYTHMS (World) 7:30-9pm
David "Love" Jones brings you the best new and old jazz, soul
samba, bossa and African music from around the world.
www.africanrhythmsradio.com
SWEET 'N' HOT (Jazz)
9-10:30pm
Sweet dance music and hot jazz from the 1920s, 30s and 40s.
SHAKE A TAIL FEATHER
(Soul/R'n'B) 10:30pm-12am
I LIKE THE SCRIBBLES
(Eclectic) l2-2am
Beats mixed with audio from old films and clips from the ir
10% discount for callers who are certified insane. Hosted by Chris D.
I SATURDAY
THE SATURDAY EDGE (Roots) 8am-12pm
Studio guests, new releases, British comedy sketches, folk music calendar, and ticket giveaways.
GENERATION
ANNILHILATION (Punk)
12-lpm
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 (Metal) I-3pm
Vancouver's only true metal show; local demo tapes, imports, and
other rarities. Gerald Rattlehead, Geoff the Metal Pimp and guests
do the damage.
CODE BLUE (Roots) 3-5pm
From backwoods delta low-down slide to urban harp honks, blues,
and blues roots with your hosts Jim, Andy and Paul.
THE LEO RAMIREZ SHOW
(World) 5-6pm
The best of music, news, sports, and commentary from around the
local and international Latin American communities.
OUR WAVE (World) 6-7pm
News, arts, e
and abroad.
SHADOW JUGGLERS 7-9PM
(Dance/Electronic)
An exciting chow of Drum n' Bass with DJs Jimungle & Bias on the
ones and twos, plus guests. Listen for give-aways every week. Keep
feelin da beatz.
SYNAPTIC SANDWICH
(Dance/Electronic/Eclectic)
9-1 lpm
BEATS FROM THE BASEMENT (Hip Hop) I lpm-1 am
PASSING BINARY (Electronica) I-3am
c for the Russian community, local
Anti-Social Skate Shop
and Gallery
2425 Main St.
604-708-5678
Audiopile
2016 Commercial Dr.
604-253-7453
The Bike Kitchen
UBC, AMS, 6138 Student Union
604-822-BIKE
Hitz Boutique
316 W.Cordova
604-662-3334
The Kiss Store
2512 Watson St.
604-675-9972
Puncturhaus
228 Broadway E.
604-708-8100
Red Cat Records
4307 Main St.
604-708-9422      ^S&jjg
The Regional Assembly
of Text
3934 Main St.
604-877-2247
R/X Comics
2418 Main St.
604-454-5099
Scratch Records
726 Richards St.
604-687-6355
Slickity Jim's Chat and
Chew
2513 Main St.
604-873-6760
Spartacus Books
319 W.Hastings
604-688-6138
Vinyl Records
319 Hastings St. West
604488-1234
www.citr.ca/frlends
A friends of CiTR Card scores you sweet deals
at Vancouver's finest small merchants and
supports CiTR 101.9 FM. Show it when you shop!
Discorder   31 SHEp£
Excellent Italian
(toyhoMGO
The Wrifan fireyhoan* is a Sfnattjtus a* of Spa,
I soecAiQBllyaflieoiber of tne sigpt hound family anistember of the toy ®gj*%. They are sometimes called an ^fi* or "Iggy1 for short. Todd
Trainer '* the drummer for the band Shellac. He
also makes 'and releases his own music a^flhe
witting, playing awfpacording everythingWrnself. He previously played
drums for the bands Breaking Circus and Rifle Sport. Trainer also manages
a warehousing & shipping corSjfjgy. He owns an Italian greyhound named
Uffizi and maintains close ties Sib parents and sister Terri. Excellent
Italian Greyhound is the title of Shellac s yet-to-be-released fourth album.
The expected release date Is. ABk 2807.
CD 16.98
THEY SHOOT HORSES
DONTTHEY
Pick Up Sticks CD 1
_a
3. The rftfsle was
adapted by Jamas Pee and Bab
from the ____ novel by Horace McCoy It was
directed by Sydney Polteck They Shoot Nonas, Bant They? is an eight-
piece band from Vancouver, BC Canada. They have a distinctive noisy oompa
sound thanks to a horn section. Oompa-looinpas are staves in BoalrJ    -
JM! s fictional books fAflrgea^f fte Chocolate factory anti Charlie and
the Great Glass Elpratttk Mjji||ias- from Loompaland and are^fcnly
people Willy Wonka will allow to work In his factory due to their^^fcjdja:
trial espionage. They ate only knee-high wtth astonishing haircuts, and are
paid in their favlpiJBad, sacafi beans. The band and the dwarves both
share a fondness, jte^nging and, as in tfi^^p^^^Bss at TSHDI?
shows have beertp^rwn to dance — sOmltimfe uncoStr^iabiyl. Rjn's ojfThe
Oanielson Family, Captain Beefheart, candy, circuses, and astori|§pMi3ir-
cuts, take note: Pick Up Sticks is being released by KW Rook Stars on June
"Mfc.
CD 16.981|
HANDSOME FOBS
Plague Park CD J
The duo of Handsome Furs bj|lR as an idea in
the winter of 2nQ5,ano^8^8y consists of
(ex-Vancouve$S^itontreal residents ten
BeeckneranBI^W Perry Boet*n«3il|£ings
: andpljysguitar.mlJbltRBadjSandf^^^^
did much the same in Atlas Strategic, white
Perry maintains a career as a writer. Their debut album, Plague Park, mar-
i °i the ragged charisma and restless angst of Baeckner's songwriting to
< Idfk and minimal afrangematttS Of drnp "tachine and guitar. Thematically,
tha gongs explore the nonsdjs^lste for both urban and rural environments While composing the album, Beeckaer and Perry listened a lot of
Scandinavian black metal Mack metal is an extreme heaw metal subgenre.
It is typieally sharacterlzed by the use of heavily-distorted guitars, harsh
vocals fast-paced rhythms, and unconventional song structures. The first
bands to (Homer the black metal styrfjjjli Venom iafiusi, and
MeBhammef/ftaHfc Frost Scandinavia is also home to many furred animals,
such as the ArctJffWaWfcrasian lynx, which are considered handsome by
CD 16.98
THE CINEMATIC
ORCHESTRA
MaFleurCD
Showings of silent films almost always featured |
live music, starting with the pianist at the first
public projection of movies by the __a___
Brothers on December 28,1895 In ___%. Small
town and neighborhood movie theaters usually had a pianist. From the mid-J
teens onward, large city theaters tended to have organists or entire orchestras. Massive theatrical organs such as the famous "mighty Wuriitzet* couldfi
simulate some orchestral sounds along with a number of sound effects. The
Cinematic Orchestra is a British-based iazz and electronic outfit, created in
the late 1990s by Jason Swinscoe. The band is signed to Ninja Tune inde-   1
pendent record label. In addition to Swinscoe, the band includes former DJ
. Food member. PC (Patrick Carpenter) on turntables, saxophonist/pianist
Tom Chant and bassist Phil France. Ma Hem is the group's fifth album, and
the first since they recorded a soundtrack for Dziga Vertpv's 1929 silent film
classic, Men with a Movie Camera
CD 16.98
THE NATIONAL
Boxer CD/LP
Boning, also called prizefighting or pugilism is a
sport and martial art in
'awnJEfetwoartypants of
simitar ffleigtJt|||j(|ifc
other nftff^W®
series of one to three-minute Intervals called rounds^-- '
Victory is achieved if the opponent is knocked down •,. I
and unable to get up before the referee counts to teWHl
Knockout, or KO) or if the opponent is deemed too ^H
injured to corrttnue (a ficjg^^^rjkaut, or TKO).    O
Recentfy in the rmlghbournobrJs/around Strfthcpna. .   ^
Park and Majn and BroarAiyav have-teen using TKO as
a slang for a record that really really kicks ass. The
national is an indie rock band from Brooklyn. New  •:
____. founded in 1999 by friends (includft^ two pairs
of brothers) from Cincinnati. Ohto. TheWJ|t self-titled
album was released in 2001 on BrassteBdMlabel
founded by two of those brothers, Aaront§§ Bryce
Dessner, and their friend, writer Alee Hartley Bemis.
The band had played few shows before flsfrelease of
the album. Now as the band supports tli^r 4th full  ]
length release on Beggars BanrjaJeSiltfclear they too .
have scored a TKO with both fans and critics as finally
the band makes good on their promise to bruise It up
e ring. Recommended.
CD/LP 16.98
DUNGEN
TioBitarCD
r\where prisone^tte
kept: Although rnajjleal
dungeons are sim^p single plain room wrjjjjfieavy
door or with ac
Bjpty
from a hatchway fiippdoor in the floor of the rt&Hi'' \ >.
above, the use of r^peons for torture, along wltb.thstr -
association to eortjffii human fears of beingf^^
underground, havij||de dungeons a powerfii|j|jl
metaphor in a var^fecontexts. Dungeons were a.
feal u re ot medieval castles, which were made of stone."
Many stonens are avid fans at the pen-and-paper rote-
playqrg a>me.tjur)gg90S artd^ragpy^The SwediswH
wobj "Dungen" means "grove" in Snakst- Dungen
(pronounced 'docnigenf) is a SwedistjwMt band
|jSed iftjSBcktjplTff, Often cftBsrited as-psychedelic
9mP- Qttngon is also ftifjuanced by Swedish (and other)
^KaThSpssJrln^^G|es|ive^^Md indie
Swedish. 2004's TaOetluqnt received gnAt acclaim
within indie rocfca3^^|hd established0 band's *
El|||§|||jfia! reputation. Fans of Dungeoiis and'
Dragons are freo^^H^ of psychedelic rock, and
may 97 not be fans of Dunger). Oungan s Gustav Eistes
has b^^ferttied by Pitchfork media as a •'booacipusi'
stoner".
CD 16.98
JONATHAN RICHMAN
Revolution Sunnier CK
Jonathan Richman (born 16 May 1951} fe-so
American proto-punk icon and one of ihaproganl-
tors of "Indie rock." He is known for his wide-%wd, '
near-childlike lyrical outlook, and music that, w9^H
rooted in-Sa.srockand roll structures, can be wf^HB
eclectic. A iwohroon (from Ute Latin revolutio which
means 'a turn aroMJtea significant change that usually occurs in a relatively shorti^fc^of time. Summer
is a season of the .year that is rMMf^ beginning in
June, and ending in September in the ffiarthern
Hemisphere. Revolution Summer m in*ft^p^^^_
and directed by Mites Montalbano — who alii, played •
J§ s#r^|ass on Richman s Hot So Ma^jlisnOT^^
Richman s ai^^#/D Take Me to the,
film fearuies an angina} swre by Richman
MjjillJIfes; Jonathan exef^^^Buced the 0iro-
lljft'Vl^secaBio^^ is
fi&^Oif.riweyten'fiM Richman but more of the
e genaft'fcifcjaiB you Show and love.
The
CD 16.98
DIZZEE RASCAL
Maths and English
Dylan Mills knoWo professional1
ty as Dfzzse Rascal (bom
November 1.1985). s a tbnrfohj
based \__l____i and producer. He •
IsycSmegyg SoH Deep crew mem-
|^Jrtpmef0ed horn the UK oarage music scene. His
(largely self-composed) music is a blend of garage MCing,
conventional raa, grime and lagga, with extremely eclectic
samples and more exotic styles. He has garnered broad critical
and commercial acclaim, with his debut album Boy In Da
Corner eventually winning the 2003 Mereary^Music Pii^.^
Dizzee Rascal has had ntemational endorsements deals with
urban branTnlliPand designed his own shoe wfthyd&O ■
Dizzee worked with cross-genre artist Beck on a jilffa jfjgFihe
song Hell Yes. Written entirely by Dizzee, Maths and English
features contributions from the Arctic Monkeys (Temptation)
U.S rappers WL ('Where Da 6s') and Newham Generals
(Lemon) as well as production credits from j^jg-time collaborator Cage and also Shy FX, who produces the track ^i/
Feeiin'. 'Wanna Be' sees Dizzee joining forces with Lity Allen
as they throwdown their lyrical assault oust a cheeky sample
from Bujfsv Malone. with Future Trax taking care of tfffj^ -
duction duties.
MFTAMUSIC
FORYDUR
CD 16.98
HOT CHIP
DJ Kicks CD
2J3^,^fl{CB^js^r.A1Boyli
comes from \___$ and the 0
are from _qb___. Their. se|j||L
album, The Wanting, was on^h the nominees for the 2006
Mercury Music Prize white the album's lead single "Over and
Over* was rated as the best^ttof 2006 by NME. Chips
Jispjlirand CommonweaKh). are pieces of
flflMfl that nave b^eo <Jut mJft batons and deep-fried- In areas
f§§Hj*f cWpi' JSthBaOrombn term, French fries' usually refers
|B| thinner vartsnt (as in fte lt£. the normal size, or as 'shoestring potatoes'). Irr-ftortft^SVica 'chips' generally means
. potato diios '(e^W^jiy&i the UK and Ireland), which are
^Bprfrieri vary thin jpfs of potato. In Australia. New Zealand.
Stfalf^Ma^lWSrne areas of the United Kingdom, 'chips'
can mean either crisps, or French fried potatoes which are also
called 'hot chips' or (in South Africa) 'slap chips'. DJ-Kicks is
a series of DJ mix albums, mixed by various artists for the
independent record label !K7 Records. The DJ-Kicks series has
been called "the most important DJ-mix series evef by
Mixmag.
coiy8
SONDE DO ROLE
Witti LasersW
Brazil's Bonde do Role mix samples from rock songs with baile
^erkfiejits and were BsrJo/s first
ggjay§j|tQhis MadDecent label.
BfploisWeaieyPeotza
PtiiiadQjphia-based producer and
S^toaddlJlon to his seio" career, he has worked .
based siDoei and aitis] MJi^A.. The two were also romantically
involved. As a DlpSfpto ise^tocterized by his ecleclj^.ottan
80s-orlented mashups, mixtapil^d live sets On h&'ifjlJiO '
length solo effort, Florida, however Ws soand is cJoser ^p
sample-based cinematic instrumental hip hoo. such as-1ff&
work of DJ Shadow. Baile Funk is a type of dance rmtjfeirdm
Rio de Janeiro, derived from and superf^laltysimilar to^j^ffll
I Bass, with de^Matojeats and aggressive vocals. Bonde do
Rote's sound has been described as a'^^ftocl^^^^5:
cockfight is a blood sport between two spaoia*/ 'r*rf]>2£ff|,
$0 held in a ring called a cockpit. Wagers are often mao>.on
the outcome of the match and other criminal activity so$? 35
the sale of Illegal drugs may accompany ftgjBjrtg eveirfjt-ntigal
drugs are also a common feature of dance music CUl&riib. v -
CD 16.98
JUNIOR BOYS-So
this is Goodbye 2CD
BOWS WITH MICHH)
KUWHARA4
Rainbow CO     ,    -
W|6BAIffl)-Dear
Companion LP/CO
SHAPES ANO SIZES
-SpJRttips,
Winning Hips,A
Shiner 2LP/CD
GANG GANG DANCE
- Retina Riddim
DVO+€D
OMARROOfBGUEZ-
LOPE-SeDice
Bisonte, No Bufalo
CD
DEADC-Future
Artists CD
AWKWARD
STAGE/YOUNG AND
SEXY-MInt
Records'Double A-
Side 7'Series,
Volume 1T'
PETER BJORN&
JOHN-Writer's
Block 180g2LP
OST-TW BROWN
BUNNY LP
BETTY DAVIS -s/t
CD
ttOJAN-Who Never
MslsLPyCD
SlrtATBGY- Future
Hack CO
Vanouf-GLOBAL
DANCEFLOOR CO
MMmttFROM
rW«S-Cocktail
^yfecoCD
SALE PRICES IN EFFECT UNTIL JUNE 30,2007
ZULU ART NEWS
"Los Cfjgappillos para la
pelajacn^rTn urnana11
Silk-screen and collage on Fabriano paper,
Valencia, Spain 2007 June 1 -July 1
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232
www.zulurecords.com
STORE HOURS
Mon
to Wed   10:30-7:00
Thur
s and Fri 10:30-9:00
Sat
9:30-6:30
Sun
12:00-6:00

Cite

Citation Scheme:

        

Citations by CSL (citeproc-js)

Usage Statistics

Share

Embed

Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                        
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            src="{[{embed.src}]}"
                            data-item="{[{embed.item}]}"
                            data-collection="{[{embed.collection}]}"
                            data-metadata="{[{embed.showMetadata}]}"
                            data-width="{[{embed.width}]}"
                            data-media="{[{embed.selectedMedia}]}"
                            async >
                            </script>
                            </div>
                        
                    
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:
https://iiif.library.ubc.ca/presentation/cdm.discorder.1-0049949/manifest

Comment

Related Items