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 Discorder  +
that magazine from CiTR 101.9fm
Kaiser Chiefs & OK Go & The Caesers 22-20 s Wblf Eyes Hot Snakes
What the Heck Fest Mail Art Aimee Mann The Believer Cheb i Sabbah Martin
McDonagh Melodium CirCUS Contraption The Nervous Patterns Raised
By Wolves Sweatshop Union The Loved Ones & Crowned King Platinum Pied
Pipers The RaveonetteS Robert Dayton Four Slicks Why? Spoon &
the Clientele French Cinema  Built to Spill & Chad Vangaalen The Fatals
July 2005 ALMOST AS GOOD AS CANADIAN IDOL
Afcfcenfcion etll bonds.,
wtfsleictns, dteimntiing wonfee^s!
Are you in a band that doesn't suck? Or are you a
solo musician 'with mad skills?
We are now accepting entries for SHiNDiG! 2005.
Send in your minimum 3 song demo of original
material (all styles welcome) for an opportunity to
play CiTR's annual music deathmatch! Toss your
demo, contact information, and anything else that
you would want us to have before August 15th to:
SHiNDiG! 2005
c/o CiTR Radio
#233-6138 SUB Blvd.
Vancouver, BC V6T 1Z1
Questions? Interested in becoming a
sponsor? For more information please
visit http://shindig.citr.ca Yon can also
call Duncan at (604)822-1242 or email
Ben atbenlai@citr.ca
IpHis past week, Buddy, the large and
JJpRNERY CAT THAT WAS THE Red Cat OF
pis? Cat Records, sadly passed away.
Discorder   :jff|tt|
Magazine sends    -
its condolences. \\\
Buddy, you were a
good cat, and the
way you slept#£§ \**
THE TURNTABLES»  *fj
WAS MORE THAjfc|| V
ENDEARING* WE jWlLL
MISS YOU SORELY*
2 DiSCORDER-July 2005 Discorder >>•
That magazine from CiTR 101.9fm. July 2005.
EDITRIX
Kat Siddle
AD MANAGER
Jason Bennet
PRODUCTION MANAGER
Dory Kornfeld
ART MISDIRECTION
Graeme Worthy
TA EDITOR
Vampyra Draculea
RLA EDITOR
Kimberley Day
LAYOUT & DESIGN
Graeme Worthy
Jason Bennet
Kimberley Day
Dory Kornfeld
Kat Siddle
Caroline Walker
Joceline Anderson
PRODUCTION
Dory Kornfeld
Graeme Worthy
Kat Siddle
Jason Bennet
Joceline Andersen
Caroline Walker
Vampyra Draculea
Andy
Michelle Chua
ON THE DIAL
Bryce Dunn
CHARTS
Luke Meat
DATEBOOK EDITOR
Saelan Twerdy
DISTRIBUTION
Torben Wilson
US DISTRO
Frankie Rumbletone
PUBLISHER
Student Radio Society
of UBC
FEATURES
Wolf   Eyes:    Fucking   Wasted &      p.7
Fucking Crazy
Why?: The Not-So-Secret Diaries of      p. 8
Yoni Wolf .      mm_„m<_^ '_m
Whoa! The Roveonettes Hove a     p. 13
TdUr Sus!"       '  ■•••■;'-r."1- --*   " ■'^' '- *•"*"*!
Circus Contraption p. 14
REGULARS
Perpetually Imminent Vacation p. 3
Strut Fret and Flicker p. 4
Riff Raff p. 4
Do It Your Own Damnned Self p. 5
Mix Tape . p. 6
Real Live Action p. 8
Textuafly Active.'Cafendar  ., -. ;J.p,.10\
Under Review p. 13
Finding Joy p. '17
Charts p. 17
Note* to this issue:
I went overboard on the fonts last issue. I appologise. It really was fun though, wasn't
it? Just a little? This issue I retreated into typographic asceticism. Just Adobe Jenson,
and Century Gothic. Not even a smailcap version of either. Instead, I crammed it full of
scanned stamps.
More importantly though I would like to thank whoever it was that did the beautiful
coloured margin notes to the David Foster Wallace piece in fhe Atlantic a few months
back. I wanted to rip it off for all I was worth and use their ideas to accent Luke's discussion
with Wolf Eyes, but the differences between Mr. Wallace's writing (long and descriptive)
and Mr. Meat's (short and sweet) made it so that coloured annotations just became a
mess. Hence the jabby arrows. Perhaps I will have another chance in the future.
The calendar has been a place for pretty art for the last few months, but this month
we were short on space, so Dory's essays took it over. Feel free to hang them on your
kitchen wall.
If any of you know the people who these envelopes are adressed to...by all means
write us. Or...them.
Graeme
© DiSCORDER 2005by the Student Radio Society of the University of British Columbia. All rights
reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for
one year, to residents of the USA are.$15 US; $24 CDN elsewhere. Single copies are $2 (to cover
postage). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES:
Copy deadline for the August issue is July 19,2005, not that any of you wW care. Ad space is available
until July 27 and can be booked by calling Jason at 604.822.3017 ext. 3. Our rates are available upon
request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings, photographs, and transparencies), or
any other unsolicited material. Material can be submitted on disc or in type or via email. As always,
English is preferred, but we will accept French. Actually, w© won't. Send email to DiSCORDER at
discorder@club.ams.ubc.ca. From UBC to Langley and Squamish to Bellingham, CiTR can be heard
at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White
Rock. Call the CiTR DJ line at 822.2487, our office at 822.3017, or our news and sports lines at 822.3017
ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca visit our web site at www.citr.ca
or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
,g0    J/0    *■"*     ^"     I
»Y
per?cttt*
Some Notes on the Content of This Issue
Anyc||g who won't admit that they're a nerd is probably ju^ti^mbarassed that they're acutaliy into stuff. iBg is,
aloofs't ti$p| anymore. The new ego is surely anti-ego, and fhe contributors to this issue realize this fact.   ■
Tm'Issue lyKisbout embracing nerdiness.Th&l^iffdent as so much of the contentdeats ^jtaprvivirjjikthe
things that are dying .ar.thought to b»:<£Jflgpma8 art, mix tapesOhe c^j^g*esei^^tej3i^MT^rasny*and au
curan|||hose|p§|t:embraceiNfj?J|i»fscra displq^Mtfheir n^^^^s^ptdW^i^dTo this Luke Meat's admission'
that h^jla "tf|jj|j£jj|g|^ been replaced by our books column; we here at
the Dis<a^ej^^^rTjbai«wy^l'bookishness^ And you should too.
But Despite Our Nerdlness We Are Still Cook A Word or Two What The Heck Fest
Alright kids, folks, fans, whoever you may be. Throw the tent and the sleeping bag in fhe trunk of your car and
blaze on down the 1-5; put some tunes on the stereo and head for Anacortes, Washington the weekend of July
15-18 for a homegrown assortment of music, art, multimedia, and garage-sale-goods. We'll meet you there.
This year is the fourth for What The Heck Fest, where the folks from Knw-Yr-Own Records, the Department
of Safety, and K Records team up to put on a festival of Pacific Northwest goodness. The event coincides with
Shipwreck Day, an eight-ctfy-block garage sale put together by the Anacortes Chamber of Commerce. Expect
the sun to shine and the city's residents to be out prowling for antique toasters and ocean-air-addled out-of-
towners as you stroll around town enjoyin' yourself.
The lineup at this year's festival offers a great mix of bands from Anacortes and beyond. Local musical
landmarks will include Mt. Eerie (whose new album, coming out August 16th, will be specially available at the
festival). Hie Blow (the Knw-Yr-Own site describes her as "an Olympian with that strong magnetic Anacortes
blood") Karl Btau, D+, Laura Veirs, and Little Wings. Vancouver makes a day-trip in the form of Mecca Normal
and P:ano. Kimya Dawson's flying in from New York to do her riot-grri folk thang, and, perhaps most exciting in
a totally-surprising-but-still-makes-sense kinda way, Krist Novoselic will be kicking off the whole weekend with a
reading from his book Of Grunge and Government: Fix This Broken Democracy! The former Nirvana bassist is aH
about electoral reform these days, and maybe you'll get a chance to have a beer with him and discuss why
STV-BC didn't pass.
The Discorder editorial and production folks are gonna be there. And you should too. Nerds
sinewave
A  TON  OF AUTOMATONS    12"
Sinewave's forthcoming CD, Unity Gam, has been a work
in progress over the past three years and includes the
debut single, A Ton of Automatons. This single sees
Sinewave trade in his drum & bass beats for some of the
sweetest vocoder vocals this side of Airs Moon Safari.
Available on ITunes
Wumjttpubtt
listen § m^tlkoiTi/mk p<
ffRatf
By Bryce Dunn
We'll kick-start this month and open the throttle with
local lupines Raised By Wolves, who like to howl their
unique brand of rock 'n' roll in the form of a three
song EP that happened to fall into the hands of some
unsuspecting Swedes. "Motorcycho" is a barely two-
minute ripper about the joys of owning a chopper,
while "Action" takes full advantage of the twin guitar
attack, sharp keyboard "action" and some nice bass
runs that swerve and careen, keeping things loose
but playful. "Blitzkrieg Boppin'" takes The Ramones
down a decidedly rockabilly route accompanied
by Billy Bones' trademark throaty croon. Tastefully
low-budget, but aesthetically high-brow (thanks to
cover art by Winnipeg's own Merinuk), this is a good
teaser for their upcoming full-length that somebody,
ANYBODY with a fist full of cash and an appreciation
for over-the-top garage rumble should be releasing
darn quick. (I'm looking at you, La-Ti-Da). For now,
grab this limited press on Ken Rock Records, or go to
see them live and try to snatch one outta their hairy
claws).
Zaxxon Virile Action Records continue their
winning streak by supporting twin towers of trash in
The Fatals and The Nervous Patterns. The former are
Frenchmen who love their distortion (think of the first
New Bomb Turks record), and on the three tracks
represented, even earplugs won't save you from the
boom boom of "Desperate," the skuHplitting din
of "Yeah, Baby!!!" and the rockabilly-tinged ruckus
of "If You Don't Like Me." The latter are Memphis-
proud members of The Lost Sounds Jay Reatard and
Alicia Trout exorcising some new wave demons on
a one-sided two-song affair. "Beautiful Brutal," like
its oxymoronic title, displays the Jekyll-and-Hyde
characteristic of Jay's caustic delivery that has a
certain post-punk flavour; "You Can't Change"
turns the mic over to Alicia and sounds like her other
project, Mouserocket, as a more subdued pop edge
creeps in to the mix. With fhe multitude of bands
these two are involved with, you'd think the quality
of music would suffer, but as demonstrated here,
there's no lack of imagination or creativity, and
gmMMi^Q
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A SKULL IN CONNEMARA^  4? jjf   -''
. Western Theatre Cofl£fi|p£^' ^^^'__§W~^^e-   "
Tuesday 7 JuflW^W''^^ "'"
Waterfront Theatre
For much of the first act, I wondered if someone
was taking the piss. It was like being back in school,
.trudging through the plays of Sean O' Casey
and J.M. Synge and glazing over at the looping,
repetitive Irishness of it all. But Martin McDonagh is
a contemporary playwright who wrote A Skull in
Connemara while still in his mid-twenties, so I was
expecting a left turn at any moment. In a sense, it
came, but not through parody. It was more a case
of classic Irish theatre winking at itself, going punk as
fuck for a bit, and then putting its slippers on before
shuffling off to bed.
McDonagh sets us up with a downbeat,
mildly bizarre plot in which an overcrowded village
cemetery has to be weeded every year to make
room for new corpses. The job has fallen to one Mick
Dowd, whose own wife fe due for disinterment. Since
rumours still fly about the true cause of her death, the
local constable (a puffer-carrying, chain-smoking,
asthmatic) would love a look at her skull. The author
4 DiSCORDER-July 2005
^eartvj^^Jgxigy^^ itTTfiere's truckloads of talk,
"■"and heVfunniest when wit and wisdom poke through
the blather. As one character remarks, "Casting
aspersions is a fine, convoluted art".
The play begins skidding into irreverence when
Mick and his exuberantly simple-minded young
assistant start hucking human bones into burlap
sacks. Things reach a thuggish catharsis when the
pair gets hammered on potato moonshine and
smashes the skulls to dust in Mick's sitting room, while
loudly debating the merits of drowning in one's own
vomit as opposed to one's own "wee."
The play's tone is slippery, and director Richard
Wolfe wasn't making any attempts to nail it down.
Not a bad thing, since the pitch and roll between
lumbering naturalism and absurdity was pleasantly
disorientating. For the actors though, this created a
huge challenge that was met with varying degrees
of success. As the small-town cop with crime drama
aspirations, Adam Henderson owned the stage (and
the best Irish accent) in the early going, although he
lost muscle later on. Wendy Morrow Donaldson was
awfully plodding as an old, bingo-addicted gossip
and allowed that character choice to deaden
her performance. But William Samples as Mick and
half the fun is never knowing quite what to expect.
(zaxxonvirileaction.com for details and ordering
info.)
Hot off the press and into my hands arrives the
sophomore effort from Paris France's Four Slicks,
and four more tunes of hot rod rock 'n' roll to drink,
drive and destroy (not necessarily in that order) is
their calling card. Lyrics be damned as I can't really
understand what's being said 'cept for the odd chorus
or two, but no matter, I'm diggin' the sounds just fine.
"Crazy Little House On The Hill" stands out with its four-
on-the-floor surf beat and the other three tracks mix
punk rock and fifties rockabilly with ease and energy
to boot. (Savage Records, savagemagazine.com for
more info)
To end, a little nugget from Hot Snakes courtesy
of our friends in jolly ol' England. Seems our boys were
scheduled to make an appearance on the legendary
John Peel show during a tour of duty overseas last
year, bringing their brand of hyper drive punk* and
roll to the Maida Vale studios for a hasty four-song
session in preparation for the prestigious event. Sadly
however, the tragedy of Mr. Peel's death postponed
their fateful meeting. In honour of sorts to what
could have been, Swami Records has released a
posthumous tribute to the legendary DJ that includes
two songs from the first Hot Snakes album Automatic
Midnight (the title cut and "No Hands") and two from
the most recent outing Audit Movement (the buzz
saw antics of "Braintrust" and the more somber "This
Mystic Decade"). The quality of the recordings is quite
good, considering the sometimes stale environment
some "radio" recordings are produced in, but all in
all a necessary purchase. (Swami Records, P.O. Box
620428 San Diego Ca. USA 92162)
Thanks for indulging in my record rants, now get
outta here!
Johann Helf as the young man were brilliant. Samples
knew just how to tease us with Mick's secrets and
Helf was such a glorious, open-hearted hooligan that
someone should really call Danny Boyle.
With so many productions opting for either
stylish minimalism or the existential void, David
Robert's traditional set design was a lovely curiosity. It
also helped confound any sense of the playwright's
intentions—and I get the feeling that's just how
McDonagh would have wanted it.
EL PLUGHOLE
Though almost half a century would pass
before Tom Waits sang us to sleep with "You're
Innocent When You Dream," his words were already
a modus operandi for French artists under the Nazi
Occupation. There was a great hunger for cinema
during the censored years of 1940-44, and the worlds
of dream and fantasy were a perfect disguise for
filmmakers who wanted to remain creative and
politically engaged—and fool the Man. Over ten
days in July, the Pacific Cinematheque will present
French Cinema Under the Occupation—seven films
from the era, hand-picked by contemporary French
master Bertrand Tavernier.
If you want to play spot-the-subtext, by all
means do, but many of the films are just so wondrous
at face value. Two of them stand out for their
treatment of those interior realms that can't be •
bought or controlled. Marcel Carne's Les Enfants du
Paradis (Children of Paradise) is downright colossal
and has been required viewing for successive
generations of romantic hipsters. Set among the
theatres and carnivals of 19th century Paris, it features
the heartbreaker ©f mime, Jean-Louis Barrault, and
gives us an opportunity to see some of his exquisite
creations full staged.
Less famous, but utterly astounding is Marcel
L'Herbier's La Nu'it Fantastique (Fantastic Night).
. This unselfconsciously surreal gem follows a sleep-
deprived student through Paris as he literally chases
down the woman of his dreams. The tone sits
somewhere between German Expressionist comedy
(Guy Maddin probably loves this one) and the dead-
serious frivolity of The Russian Ark. The language fe
dizzying, and the effect of watching a scene in which
a woman packs a spare head with her on a midnight
excursion to the Louvre is like chiropractic for the
psyche. In fact, the film plays like a seamless study
in the navigation of lucid dreams and has much to
say about the subversive, empowering influence of
REM sleep.
Les Enfants du Paradis screens July 7 J A 12 @ 7:30pm
and La Nuit Fantastique on July 8@ 9:20pm and July 10
@ 7:30pm. For full series info, pick up the programme
guide or go to www.cinematheque.bc.ca.   'm^frmm
Les Enfants du Paradis Jjpityour
SUDDEN DEATH
By Gedikie Russel of The Seamfippers Craft Collective
Mfc   1
AAaH Art: Deco looks
You wiH need:
Scrap paper Various colours, textures and sizes—
whatever you can flhd. You w^^pkt several
pieces the same size fo make the pages of the
book. Most art stores have a wide selection "of
special papers. Try Loomis, Opus and Paper-Ya.
Miscellaneous craft supplies: Really^gwthing^^fer'
^^Kphatever random jgjjf sugplP+fcive been
JfcT >>^^^urrn^ai||||gon y^tjjjfqfflable or in your craft
H ^^pwverjjjilii'UforThe more two-dimensional the
^^^.jSlirTTerrKeep in mind that this is a book meant to
be sent through the mail, so keep it light.
Glue or tape: Make sure that you have some way of
attaching all the materials to the book.
Clear mac-tac or clear packing tape: Once you have
finished decorating your page, use this cover
it with a transparent layer. This will protect the
material and also prevent it from transferring to
the other pages. This is especially helpful if you are
using materials like pastels and glitter.
Someone to send It to: This is probably the most important
factor. Send it to someone you love, someone
you miss or someone whose art you've always
wanted to own. If you can't think of anyone, you
can always send it to us at: Seamrippers Mail Art,
Post Office Box #307, 2763 Commercial Drive,
Vancouver BC, V5N 4C3.
Stamps: Your book won't get anywhere without them.
If you want to put in a little more effort, there are
a lot of stamps out there that are a extra pretty.
You may even find some that match the theme of
your book. I've heard a rumour you can recycle
them by applying a thin coat of white glue and
Uke chain letters, butfXteityl K %SIfc'
HI iP^-SiS^
s||gJi|pR having theirigpiptent wash it off with warm
water. But thqt would bewail fraud so you should
never dp it. II        W_Wm
' '.   Hey there Discorder readera, long time no see! I
hope you missed me. Since this issue is mail-themed,
we decided tcvincluci^^psimple project that relies
iWosTThere's nothing like receiving
i the mail that ISN'T bills or fliers, and our
"generation seems to have lost the art of sending things
this way. The instant gratification of email fe possibly
more efficient but there is a different kind of anticipation
that comes with opening a personalized envelope.
One of the simplest mail-art projects is the
deco book which only requires a bit of paper, some
imagination and a willing recipient. You simply create
a small blank book with any paper or card stock of your
choosing. You can either make a traditional book with
papers folded down the middle and then staple or sew
this 'spine', or you can staple pieces of paper together
in one corner. The pages should be quite small so they
can be mailed in a standard envelope. (Canada Post
standard mail is minimum 3.5 by 5.5 inches, maximum
6 by 9.5 inches).
1) Pick a theme for your book, a theme that is simple to
decorate and that the other participants can have
a little artistic/freedom with. Try a favourite colour,
an emotion, animal pictures. (You can probably
come up with better themes on your own.)
2) Decorate the first page. This is where being a bit of
a hoarder comes in handy, as you can use any flat,
light material. Use up that collection of magazine
clippings for a collage or draw something and
decorate it using any type of craft medium.
Stickers, glitter, ribbon, rubber stamps, postage
stamps, wallpaper, different coloured pens...the
list is endless. Write your name and address and the
theme of the book on this page.
3) On the last page of the book write your name and
address and the theme of the book again. You
should also write a note that says "if you are the one
decorating this final page, send this book back to
me at this address."
4) Put the book into an envelope and send it to one
of your friends. The scheme works if they then
decorate a page and send it to one of their friends,
who does the same. The person who decorates
the last page should send the book back to you.
There is an element of risk to this, as you may not get
your hard work-returned to you. It's a good idea to
choose someone you think wiH send it on. And the
risk is small if you consider how exciting it is to own a
personal collection of your friends work. You can use
this type of process to send all types of projects. Try
starting a simple drawing and having other people
add to it as it is sent along. Be creative, remember
that anything that you can fit into an envelope can
be sent to someone. So keep your eye on your mail
box. Maybe you're about to receive something
good.
in case you are Interested, the Seamrippers are still open
tor July. We have regular open hours and are still giving
workshops. We apologize for our website which Is in dire
need of an update. If you don't find the information that
you need at www.seamrippers.ca then please cat us
at 604-689-SEAM. We will be closed tor at ot August
but please come and see us at Under the Volcano on
August 7th. And ot course we wit be open again In
September with new shows and new workshops.
IlliiliiCip    mjdc
__J____^___L____
IMllM&fcliUIJy
along in the right
direction by having 3/4 of the original line-up back
together again. MAGNUS DOMINUS CORPUS
takes straight aim the US government and
corporate bullshit
P.O.A- ^mmmmmmmmm
MixTape
0**
'*"*&_*>
5.rt One: A Book Review
Mix Tape: The Art of Cassette
Culture
Edited by Thurston Moore
Universe Publishing, 2005
I've been making mix tapes
ever since I discovered what
the record button did on my first
ghettoblaster. A mix tape was a
sure-fire way to let a girl to know
that you liked her; hell, in Grade
11 I gave a girl eight pages of
liner notes in addition to the
90-minute masterpiece I
had spent the previous night
making.
This art form is sadly
seeing its demise in the face
of the "drag and click" playlist
method of burning CDs which
takes away the entire ethic of
what the mix tape is about.
First, when you make a mix
tape you have to sit there and
endure the entire song. Sometimes
halfway through a track you may
realize that the tune blows, or
it just doesn't flow the way you
want. Then you have to rewind
and start fresh. Also, nearing the
completion   of  said  tape,   you
can fall into the dreaded "only
have 76 seconds left!" on a side;
Guided By Voices help out with
this problem immensely. Either
way, if you put your heart into the
process, you will have created a
piece of modern folk art that will
have more feeling, passion, and
personality than a limp old CD
can ever capture. To quote Steve
Albini, "The future belongs to the
analog loyalists; FUCK digital."
In this book. Mix Tape: The
Art of Cassette Culture, Thurston
Moore has brought together 50
artists, musicians, and friends to
share anecdotes regarding the
best mix tapes they have received.
The full-colour book includes
cover art, playlists, and images
of the cassettes themselves. The
range of music is quite staggering;
I don't know how The Flaming Lips'
Steven Drozd managed to segue
Glen Campbell to the Mahavishnu
Orchestra, but it seems to work on
paper. There's a very touching
story by Leah Singer about the first
tape her husband Lee Renaldo
made for her. Like I said before,
tapes are a surefire way of gettin'
tha ladies, guys. The emphasis of
this text is on how mix tapes
reflect personality and offer
a deeper understanding of
the person who made the
cassette. It is very inspiring,
and it will make you wish
you'd never thrown out your
first Walkman.
This is a great eye-
popping anthology of what
is hopefully a soon-to-be-
resurrected medium. It would
be a great addition to any hipster's
coffee table or bathroom-reading
rack. That is, if hipsters have coffee
tables or read on the can.
I wouldn't know.
*
Are you Serious!?!
We are.
Classical music by 20th and 21st Century composers:
Glass, Nyman, Gordon, Morlock,
Lang, Reich, Sharman, Part
Tune in every Sunday from 9:00am to noon and find
out what's new in Classical music.
Hosts  Colin  MacDonald  and  Eric  Hedekar  play
serious music by serious composers.
Are You Serious? Music - 9 to noon Sundays
CiTR 101.9FM or tune in on the web: www.citr.ca
Part Two: A Mix Tape from Robert Dayton of Canned Hamm
■   •   • noA" sspn t y
SHE A
- What's Your Sign?
Screaming Jay Hawkins - Frenzy
Capt. Beefheart - Tropical Hot
Dog Night
Van Dyke Parks - FDR in Trinidad
Bonzo Dog Band - Look Out,
There's A Monster Coming
I Royal Trux - Sick Azz Dog
Tim Buckley - 3et On Top
| Bapisek Balam - Samsimar
i Alexander "Skip" Spence - All
Come To Meet Her
ie Monkees - You Just May Be
6 DiSCORDER - July 2005
Love from afar, love from across the country
is what happened. The only reason it didn't
work out was the long distance. The reality
of proximity kicked our emotional asses, but
it was lovely while it lasted. I take great pride
in mix tape creation and chose alotta my fan
faves on this, the second I made for her. We
had already wooed each other but were now
taking the wooing further. She chose this tape
out of four or so for this column.
The first five numbers (besides the
Screaming Jay track) are by white eccentrics
being influenced by the Trinidadian/
Caribbean/calypso sound. Late-period Nilsson
opening things up with a cheap come-on
turned into good natured cheer. My f ave lyricist,
he blended the moving with the comical,
sometimes in the same verse. Beefheart sings
of "meeting the monster tonight" while The
Bonzos (my fave band of all time) leeringly warn
"Lookout, There's A Monster Coming." The Tim
Buckley track is from Greetings From LA., an
album completely and overtly concerned with
sex—the liner notes tell the record company
to send fifty copies to a massage parlour.
Future Days by Can is the sexiest and most
sensual kraut-rock album ever. Continuing in
that purple vein is a track from the fantastic
compilation Folk and Pop Sounds Of Surnatra
Vol. 1 on the Sun City Girls imprint. The last four
tracks on side A move into hazed romance.
Including the amazing track "Guess I'm Dumb"
that Brian Wilson wrote for Glen Campbell and
the beautiful song-poem reverie "Cloud 9."
I almost didn't print the Ihst three songs on
side B but she sent me an email saying, "Nol
SIDE B
Canned Hamm -
Orowing Up
Canned Hamm - Does Your Mother Knovrt
Canned Hamm - The Beat Goes On
Scott Walker - The Electrician
Lee Hazelwood - Your Thunder And
Your Lightning
Sparks - More Than A Sex Machine
Happy Mondays - Dennis S: Lois
Destroyer - It's Gonna Take An
Airplane
Ringo Starr - Photograph
Robert Wyatt - Soup
Lucia Pamela - In Love In Love
Henry Mancini - The Happy Carousel
The Lovin' Spoonful - Unconscious
selected by Robert Dayton
I think you should just write that you wouldn't
normally put your songs on a tape, but that I
had never heard them and asked you nicely
to put them on for me! It's really important to
document the tape exactly as I received it and
enjoyed it. I had no way of ever hearing those
songs and you put them on as a favour. People
will understand...." Next up is the eerie and
jaw-dropping "The Electrician" from the very
flawed Walker Brothers reunion album where.
each member contributed songs, natch, all
the songs but Scott's are laughably awful. This
brillidnt number foreshadows what he was to
do later with Climate Of Hunter and Tilt. The
Sparks number is fairly recent and shows that
they can still make a great song! "It's Gonna
Take An Airplane": we often flew to see each
other. "Photograph": I carried her photo in my
wallet. "Soup": she would make soup for me,
though I never fell in like the character in this
song. Etc. Ending with an instrumental from the
underrated soundtrack to What's Up. Tiger LHy
by The Lovin' Spoonful.
Note: as you may notice this tape is very
light on the indie pop/rock. I am sure that some
of you voyeurs out there own a lot of that stuff.
I suggest you trade it all in for the albums that
these songs are from. It will greatly enrich your
jife. If not, then I empathetically wish you good
luck on your life, and please don't darken my
doorstep. On another note, the lady I made
this tape for and I are still close.
Robert Dayton Fucking Wasted & Fucking Crazy
A conversation with Wolf Eyes complete with annotations by Luke Meat
Photos by Chris Walters
ifiwW'&ijrGMjIB were the first
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Legendary Detroit hardcore
group.
A Blak Witch-style '
mockumentary from 197$,
where q film crew disappears
in the jungles of South America
while shooting a documentary
on cannibalism.
New York DJ most well known
for inventing trip-hop. Also
known for being pedantically
pretentious.
Wolf Eyes have more in common with a house full of Old Stock than
Stockhausen. Their live show should leave any sane person regressing
back to the state a four-year-old child, where all you want is your
mommy and for all these evil men to stop making all the loud noise. I got
to talk to them after an accidentally double-booked night at The Media
Club. Wolf Eyes went on at 7:30. They were pretty drunk. I was pretty
drunk. The problem with drunk noise nerds is that when we get together,
we can talk for hours about lame esoteric stuff that no one gives a shit
about. Hence the notes.
Discorder: True or false: Wolf Eyes is a noise band.
John Olsen: True.
How does Wolf Eyes define "noise"?
Mike Connelly: Nowadays it's weird. We come from the old school—
y'know, like noise that people do NOT want to hear.
True or False: Wolf Eyes have released over 300 alburns.
John Olsen: True, about 250-300 now...
True or False: Wolf Eyes are the next coming of Throbbing OtfsHe.
John Olsen [loudly]: Ahhhhhhh! No way, man! Their reunion gig was
the best thing I've ever seen—it made me retarded—but the dumbest
thing is when people see no drums and only electronics, people think
we're like a TG thing. It's like comparing The Shaggs to The Allman
Brothers. It's retarded to just look at instrumentation, because the actual
instrumentation is totally different with us. Of course we aH love 'em and
L stuff, but we are not the second coming of TG. They were all about this
social art manifesto thing.
Is there a Wolf Eyes manifesto?
John Olsen: Yeah, get wasted and have fun! We got the alliance with
the fuckin' bands like the §H!J§ and fuckin' [Negative Approach J, and
fuckin' y'know...just get fuckin' crazy! Technology is retarded. Y'know
we're just doin' it and getting' crazy... and fuckin' wasted.
i. Have visuals ever
r I love the _Wnntbaf1fotecb_iifj t-shirt you've got <
been a part of a live Wolf Eyes experience?
John Olsen: -Nahhh, not really. We used a Valley Export movie where
a girl chews her fingernails off, but that's the only thing. You handle
your business with sound, you don't do fuckin'   Jedi Starbucks shit.
We played with DJ Spooky last night and he had some Japanimation
behind him and it's like, "dude, whatever."
Did you and Spooky talk last night?
John Olsen: No, nah... He's an intellectual, man...
[Another Wolf Eyesmember, Nathan Young, enters dressing room]
You're wearing a Mayhem t-shirt! You're wearing a Mayhem t-shirt! Is
Varg Vikernes innocent or guilty?
Nathan Young: Oh, guilty man! [laughs] We like Mill and Mayhem.
Did the Norwegian black metal scene go too far, do you think? What with
the burning down churches and eating sheep's brains...
John Olsen: Nahhh, I think that if anybody feels that strongly about
something, [they] should do that. I'm not endorsing it, but I think all
these lazy fuckers with their computers, if they actually went out and
did something that they believed in...then that's fuckin' cool.
John Olsen: What?
Never mind. I noticed you were selling hand-cut, JnotvtduqHy numbered
7-Inch singles for 50 bucks a pop. Is that a tip of the hat to j|*   ~~
or the Hafler Trio; at aH?
Nathan Young: Yeah, their packaging was cool. That's different from what
we're doing, theirs was an actual product. We have an old lathe-cutter,
so we're cutting vinyl constantly. We like doing kind of a one-of-a-kind
thing, like a hand-cut record of a jam that we'll never hear again, as
opposed to a nice package. Each one of ours is totally unique, one-of-
a-kind—both the music and the record itself.
Does that attitude cross over to the live performance as wed?
John Olsen: Totally! The problem with motherfuckers today is they can't
do it on the spot. Y'know, motherfuckers show up with their CDs and
shit like that. Everything we do onstage is on the spot: our releases,
everything. If we're not feelin' it or it's not happening onstage, we'll
like just hang out and talk; y'know what I'm savin'? But all these other
motherfuckers, they got it aH planned and stuff Mce that. But since we're
so dumb and fun, we'H just do what the fuck ever. Our live shit is like
___\\—y'know, stones and draggin' chicks back to our caves by their ,
hair and shit.
Does Wolf Eyes get any groupies?
Nathan Young: There's a lot of girls at a Wolf Eyes show. There's a lot of
criticism of our shows being male-dominated, but tonight the audience
was like half-and-half.
John Olsen: We're not into being male and all this domination shit; we're
into bein' ourselves and ladies who are into havin' a good time.
Aaron Dllloway: I once fell into a mosh pit at one of our shows that was
aU breasts.
Okay. Wrapping up: do you feel lucky?
Aaron Dllloway: [loud laughter] Every fuckin' day)
John Olsen: Dude, I'm hangin' out with my best friends, drinkin' beer,
-actin' a fool onstage, and goin' to Brazihand seein' the world. We are
the luckiest pieces of shit ever. Seriously.
me prefix "Soper" seemed to
dominate bae^c. names in
"Ihe, 3&fc- sg., "Superchunk,
Supergrass Superconductor ,
The word "IfiJoS* \t\b»t is
cropping up In q slew of ^tew'
" bands, e g*, Wolf Sate. Rated
By WoTves, Wolfsblbod ..it's a
dqwestterv.
British . „ cMant-garde group
fenowrt forhandmade record
jackets cfibde out ofmateflsils
1 as burlap, tissue
L and sandpofpei
Another British avant-garde
group known for charging
ridiculous amounts of money
for   limited-edition    iO-thcn
Very unfunny comic by Johnny
.   Hart about early man.
i
I ;fkWkr<c<
Does he deserve to rot In prison?
John Olsen: NO WAY MAN! No one does!
Norwegian death metal group. Bassist Varg Virkernes killed guitarist j
Euronymous because the latter was "more evil" than the former. ]
Vikernes is now serving life in prison.
Vikernes' solo project in prison. The Not So Secret Diaries of Yoni Wolf
-   eoo« 8 8 *wr
IIIOOOQ   9   HI
JAN   8004
by Mike Barrow
I've always thought that listening to a Why? album might be akin to
thumbing through one of lead singer Yoni Wolf's journals. It's not always
perfect, but it doesn't attempt to be; this is what keeps Yoni's writing
provocative and honest. At the same time though. Why? songs rarely
slip into digristic ramble and are hallmarked by closely thought out,
often poignant and sometimes funny lyrics that come into conversation
with each other (check out Yoni's mention of Costa Rica in Clouddead's
"Apt. A (1)" and again in "All Them Boys" by Hymie's Basement, for a.
start). Why? occupies the no-man's-land between the front lines of
spoken word, rap, folk, and pop. They find a fitting home on Anticon
Records.
Yoni, the first of the now four-member group, is something of an
anomaly—equal doses of uncertainty and tongue-in-cheek bravado,
raw-wound vulnerability and protective obscurity, playful humour and
forbidding sadness, puerile simplicity and complex maturity. In the song
"A Little Titanic" Yoni explains, "I fucked your girlfriend and I'd probably
do it again," before confessing his guilt as he "rubbernecks a wreck on
the highway." He is the same timid self-deprecator who sings, "Kissing
me is a waste of your saliva," and proceeds to explain to me how he was
sweet-talking at the lady at customs so he could get some merchandise
into Canada. The Sanddo/tars EP, Why?'s latest, is a pop record you
could listen to while cruising to the beach on a sunny day—or it could
be the soundtrack to a depressingty lonely, rainy summer spent living
in a storage room in an isolated wasteland like Kerrisdale (for example).
Oaklandazulasylum, Why?'s first official full-length, was
released in 2003 on Anticon. It is personal and poetic, and as a
result, is at times a difficult album to access because of Yoni's quirky
unconventionality and his penchant for the self-destructive. The
cover image of Yoni face down in a swimming pool and the close-
up photograph of "Why?" jaggedly carved underneath his left nipple
provide a fitting aperitif for the sobering subject matter that follows.
The fourteen songs on Oaklandazulasylum were recorded by
Yoni over a two-year period from 2001 to 2003. "Some of it was recorded
on an eight-track and some of it I did in a computer, or a combination of
both," he told me when I asked him about the album's unfinished sound.
Rather than detracting from the album as a whole, the rawness of the
production and the minimalism of the compositions serve to compliment
the subject matter and give the album its own unmistakable signature.
"Oaklandazulasylum is very dark, for sure. It has probably not been that
dark for me up until then and hopefully won't be again."
The Sanddo/tars EP, released in the spring of this year as a
precursor to a new full-length LP due out this fall, seems to be a point
of departure from the bleakness of Oaklandazulasylum. Mixed by Tony
Espinoza at San Francisco Soundworks (according to SFsoundworks.com,
Espinoza has worked with the likes of Dan the Automator, L'il Jon, New
Order, R.E.M., and Alanis Mom'sette, to name just a few). The Sanddo/tars
EP has a very finished sound that helps to brighten the feel of Yoni's
poems and music. "With the nature of the songs on the E.P. I told Tony to
go to town and make them sound like pop songs, and he did. He really
brightened them up."
Further, fellowOhioans Doug McDiamid, Josiah Wolf (Yoni's brother),
and Matt Meldon have been added to the fold, which helps to alleviate
the sense of isolation that marked Why?'s first release. Despite the
added depth, most of the songs on Sanddo/tars were written exclusively
by Yoni dating back as far as 2000, making them as old as material that
appeared on Oaklandazulasylum. "Sick 2 Think" is contemplation of
Yoni's reflection in the mirror of an airplane bathroom, "500 Fingernails"
is a self-addressed retrospective: '*You will know that you are still the fat-
face, fresh-fade sixthrgrader, fitted pro-model Red's cap...You will know
you are still the kid sitting quietly on the creosed-vinyl green-seat bus."
"There's still a tot of dark stuff about Sanddo/tars," Yoni explained
before hinting that the "forthcoming full-length won't be light fare. "I
can't say the direction I'm going in is happy. When you hear the album
coming out in September, it's pretty dark—a lot of breakup songs, death
songs, stuff like that."
Though Yoni's subject material is much the same, having full
accompaniment and glossy production further distances him from the
cerebral art-rap tangents that he and his Anticon brethren have dared,
most successfully with Clouddead, a group that included Yoni, Doseone,
and Odd Nosdam. Whereas Oaklandazulasylum has discemable hip
hop trimmings, Sanddo/tars pretty much forgoes the rap route except
for a few of Yoni's croaky spoken vocal runs and some turntable work.
Holding true to his anomalistic modus operandi, Yoni is a bit disdainful
about the rap-rep that surrounds his record label. When he saw the
blurb on a flyer for his show that described Why? as "hip-hop on a higher
level" he was less than enthused.
"Oh no, is that what it says?" Yoni replied, "I'm not frying to make hiphop at a higher level. I always thought it was a bit whack when Anticon
put out that first EP, and it was called Hip Hop for the Advancement of
Mankind or something like that. I think it was half tongue in cheek and
half serious, but to me it always sounded so pretentious. I don't think any
of us are trying to better hip hop. In any kind of music there's going to
be bad music and there's going to be good music and you hope that
you are on the good side of things. You try to be honest with your shit. All
I think we try to do is make honest music and it sounds whatever we feel
like." There is little doubt that Yoni is honest with his music—it is human
thoughts, moods, eccentricities and observations, warts and all.
True to Anticon form, Yoni has been busy working on a plethora
of side projects. He worked with Andrew Broder from Fog on a typically
difficult-to-classify album that showcases some of the best work by both
Broder and Wolf. He recorded with Clouddead producer Odd Nosdam
under the moniker Reaching Quiet, and remixed a track for Themselves'
No Music ofAiffs. He worked with Doseone on Hood's Cold House and
recorded with Dose as Greenthink, appeared on Pedestrian's latest
release. Volume One: Unlndian Songs, and is discussing plans to record
an cqllaborative album with Pedestrian and Alias. For now though. Why?
are busy touring Europe in support of Sanddo/tars and will be touring
extensively this winter (Australia and more European tour-dates are in
the in the works) and hopefully they will roll back through Vancouver
sometime soon.
If you like music that forces you to engage, pick up a Why? record.
But don't fool yourself; be prepared to ponder what you're listening to.
The pleasure of reading somebody's journal is in thinking about their
thoughts, not letting them think for you. j
WIN STUFF:
Alright GUYS. NO JOKES THIS TIME.
WERE GIVING STUFF AWAY. WE WANT YOU TO HAVE IT.
GIVE IT TO YOUR FRIENDS, GIVE IT TO YOUR FAMILY, KEEP IT FOR
YOURSELF ... JUST TAKE IT OFF OUR HANDS. OUR OFFICE IS SMALL. IT
GETS CLUTTERED IN HERE.
THE FIRST FJVE PEOPLE TO EMAIL DISCORDER@CLUB.AMS.UBC.CA WITH
THEPHRASE GIVE ME GORILLAZ IN THE SUBJECT LINE WIN, I DONT KNOW,
MAYBE A NEW GORILLAZ CD OR A POTTED PLANT OF SOMETHING. Seriously.
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■
12 DiSCOROER - July 2005 Photo by Melanie Dueck
1 im:
604-878-GoGo
Wed July 6 @ The Railway
ladyhawk:
JON-RAE FLETCHER &t
JOHNNY WAKHAM
Thurs. July 7 ® The Candy Bar
THE CHRISTA MIN
KILLER WHALES plus guests
Fri. July 8 @> The ANZA Club
From Calgary, Saved By Radio Artiste:
FALCON HAWK ^
BEND SINISTER f
IMMACULATE MACHINE f    .
ROMANCE I
FH. July 8 <W The Candy Bar
From Edmonton, Spawner Recording Artists:
THE JOHNSONS
CAREWORN
THE CITY STREETSfrom Edmonton)!
THE INTESTEENS (from Ontario)
THE KRYPTOS
Sat. July 9 @ The Piccadilly
THE FEMINISTS
MONGOOSE
THE NOTES FROM UNDERGROUND
I Sat. July 9 @> The Candy Bar
I TAMARA NILE
Wed. July 13 @Th
THE CAPE MAY (i
THE ATTICS (from Win
I Thurs July 14 @ The Candy Bar
1 AL.L. PURPOSE dIus auests
Fri July 15 @ The Ca
LES BARONS
THE NEW BLACK
ROB SZABO
HERALD NIIX
LIVE RAILWAY CLUB
Fli July 15 m The Marine Club 1
MAKESHIFT HEROES + guests
Sat July 16  @ The Candy Bar
THE PETS (from San Francis—
THE BLANK-ITS (from Sean..,
LADIES NIGHT
Wed. July 20 <m The Railway Club
GREAT AUNT IDA
REID JAMIESON (from Toronto)
IDEA OF NORTH
Fri July 22 <m The Marine Club
THE AWKWARD STAGE
DRIVEWAY (from Toronto)
THE POKIOK FALLS
Fri July 22 <m The Candy Bar
BUT THROAT* STAG REELS
WET SECRETS
1 Tues. July 26 & The Railway Club
the HIGHBALLS
" SLOW POKE& the SMOKE
:    plus many B-day guests
Wed. July 27 @The Railway Club
the WEATHER
BIRDS of WHALES
Frt July 29 @ The Marine Clu
COUSIN HARLEY I
the PETE TURLAND band
Fri July 29  @ The Candy Bar
the KILLER WHALES
MR. PLOW
TREACHEROUS MACHETE
the UNTOONED
Sat. July 30 |
I Polynesian Twilight Loung
In "The Waldorf Hotel I
LUSHY (from Seattle) I
IJTTERSPRITES (from Seattle)
AUG 2: THE KICKERS - I
AUG 3: ROLL GYPSY ROLL - Venue
AUG 3: PETUNIA -Railway Club
just announced
Fri July 29 @ VENUE TBA
Woah, the Raveonettes
have a TOURBUS?
! HIGH DIALS
Sun. July 31
Until arriving at Richard's on Richards one sunny spring
afternoon, I thought that this interview would be
no problem at all. You know, having a smoke and a
coffee with the band, bantering about this and that,
them saying "Good question!" enthusiastically after
every question I ask. Who knows, maybe a bit of flirting
with Sharin Foo, the Raveonettes' own Nico, would not
be out of the question. I'd make clever comments, the
band would laugh. No problem.
I arrive at Richard's. The Sony promotions rep.
informs me that the interview will take place on THE
TOUR BUS. I start to sweat, and my pulse rate increases.
THE TOUR BUS! I've never seen the interior of a TOUR BUS
before, let alone interviewed someone aboard one. I
see other interviewers from other publications milling
about, waiting for their turns. They are all decked out in
hipster regalia, checkered Vans and everything. Their
photographers all have expensive cameras with big
lenses. They seem to be much more in command of
their recording equipment than I am; I'm experiencing
extreme technical difficulties with my fucking minidisc
recorder.
Finally, theaforementionedSonyrep. approaches,
telling me that Raveonettes frontman and mastermind
Sune Rose Wagner is ready to see me. We walk up to
the TOUR BUS, overshadowed by its towering chrome
and gloss brown paint bulk. We board, passing by
real-looking journalists. The bus is dark. The brown
plush velvet upholstery absorbs all light. We make our
way past the bunks and various facilities to the back
of the bus. I introduce myself, sit down and prepare
my recorder. My photographer, Melanie, takes her
position. The interview begins.
Oh yeah. Did I mention that this all took place on
the TOUR BUS?
DiSCORDER: Mr. Sune Rose Wagner!
Sune Rose Wagner: Damn straight.
Alright. On the new record, the sound is a lot more
straight-up reverb, without aH of the distortion and fuzz
of the last two albums. Was that a conscious decision,
or did It just evolve that way?
That actually happened because when I was writing-
most of the songs for the record, I didn't have aH of the
distortion and stuff around. Most of them were written
without it, and when we went into the studio to record,
that's just sort of the way that it came out.
When I was watching Sin City, I instantly thought of your
first album, and the song "Beat City" In particular...
Yeah!!!
Have you guys ever considered soundtrack work,,or
ever been approached by anybody?
Well, they've used our songs in a few movies, but not
really. It would be different if we could work with a
director or something and actually create music for
the movie. If that were the case, though, then I think
that it would be just me doing it. Since I write most
of the music/there's really no point in me writing a
Raveonettes record for a movie: I actually want to
be a film composer when I get older, and so if I was
approached and they asked specifically for original
music then I would do in under my own name, and if
they asked for Raveonettes stuff then they could use
whatever they want. That's what would probably be
• the case."
What's II Hke working with Richard Gottehrer? Are there
ever any compromises that have to be made?
Well, we produced Chain Gang of Love and the new
record together. No, it's different working with Richard
because he's my friend: I hang out with him all the
time, I stay at his house, we go out for dinner, we go out
and see bands together. So, basically what happens Is
he's more or less there to make sure we have a good
time. Sometimes he'll make suggestions, say, "Maybe
we'll put some handclaps in there." Sometimes it
works, sometimes it doesn't. It's not really producer
work, like you would expect a normal producer to
do, because all the songs are already written and
By Mike Von Thrust
j everything. He makes sure that we're comfortable ir
the studio, that we like what we're doing and if we
have any issues he'll make some suggestions. It's realty
just a friendship. It's nice to have him dround. He tell:
really good stories, and he's really into wine, bring
a lot of good wine. He basically makes sure that the
atmosphere is good for us.
How did the Moe Tucker thing come about? [Moe
Tucker from the Velvet Underground plays drums or
several of the tracks on the new album, as well as or
the Buddy Holly cover on the promo release.] Did thai
come about through Richard, or through spending time
in New York?
No, that came about because on the last couple
of tours here this guy, also called Richard, startec
showing up sometimes and saying to us, "Moe Tuckei I
says hello, she couldn't be here tonight." We were I
like, "Oh wow, that's pretty cool." And he's actually I
Moe Tucker's manager. Apparently she saw us when I
we played the David Letterman show and fell in love I
with us. She would start giving him presents to give tc I
us, hke old velvet Underground recordings that no one I
has heard before from her own personal stash. Ther I
we figured that since she's such a big fan we shoulc I
play with her, so we just asked her. We came through I
Atlanta, she lives just outside Atlanta, and she was I
very flattered that we asked her. It was actually he I
60th birthday that day> and she decided to spend ir
with us in the studio.
Did she tell you any good Lou Reed or early-day
Velvet Underground stories that you could relate to in I
quickly?
We talked about those things but they were not really
stories, more her feelings regarding the whole thing I
Did she regret anything, or was she happyto be a par I
of that and ail the people she met? She just seemec I
to be very happy with her whole Hfe. She had a grea I
time with the Velvets, she said, and it was awesome I
meeting all of the people that they surroundecl
themselves with, Warhol and all these people, that i I
was a great community. They just had so much fun; I
she said. When you see pictures of the Velvets, yotl
always imagine this drug infused band that had all
these issues with each other. She says it wasn't like I
that, that they were just really kids having fun, playing I
music. And she's still really good friends with Lou.
The last lime that you were here, a man of some
notoriety, another Interviewer named Nardwuar thei
Human Serviette met with you. He gave you a CD...
Last time we played here in Vancouver, right?
Yeah.
And it was of a band called... [Pauses]
The Modernettes, who were a seminal Vancouver pop-1
punk band from the early 80s...
Yeah, t remember. I don't know where that disc is now,
but I actually quite liked it.
One last question: Gene Simmons from KISS was in
town a while ago, and during an interview with him he
mentioned that Canadians have this insecurity about
their country, that they always ask outsiders about I
what they think of Canadian stuff. In keeping wtth. thai I
wise man's incisive social commentary, are there any I
Canadian bands that you like?
Let's put it this way: One of my favourite bands of all
time are Canadian. They're from Moncton, New
Brunswick and they're called Eric's Trip. They are stffl o
my top-ten of aH time Hst. They used to play with Sloan
ail the time. Are Sloan still around?
Yeah, they Just played here last night.
We're also very good friends with the Stlfe, who we|
"hang out with aH the time.
_3 R
Alright! Thank you very much. .<
You're welcome. Take care! ■jj&Miw* £___.
^^rz_^__» _____■     JSPR
SQntraDtii
Circus Contraption has been putting on a new kind of circus show in Seattle since 1998. Under the broad, bold
vision statement, "A bracing curative for the afflictions of our times," they have been heading up the circus
revival. Vampyra Draculea got more info on Circus Contraption from publicist and performer Evelyn Bittner.
DiSCORDER: Tell us a bit about Circus Contraption.
Evelyn Bittner: After getting their dancer, musician, and juggler friends on board, Lara Paxton (the artistic
director) and David Crellin (the "Ringmaster" and frontman of the Circus Contraption Band) decided to put
together a show for the Seattle Fringe Theatre Festival in the spring of 1999. The show, A Surreal Circus, was a
collection of dance performance, aerial acrobatics, music, juggling and comic interludes, characterized by
bizarre costumes and masks and fantastic original circus music performed live. It was a hit at the festival, and
after it was over, most of the performers decided that it would be fun to keep it going, and try to be a real
circus in Seattle.
Where do you get your inspiration from?
Our inspiration comes from old-time American circus and carnival themes, freak shows, cabaret and
vaudeville. The aesthetic definitely is toward the raw, live, scrappy, surreal and darker undercurrent around
those traditions—nothing too slick or clean. The down-and-out elements of society and the naughty take
their place in our work next to bizarre creatures, and themes of love and death become juxtaposed with the
downright silly and Dada-esque.
Whdt themes are most important to Circus Contraption?
We have an extremely strong ethic of being self-produced. Every one of the members has multiple artistic
leanings; Circus Contraption as a project is an outlet for all of these. Add into that the performance skills—
incredible musicianship, aerial work, acrobatics, physical comedy, juggling and dancing—and it all gets
blended in to create this other world that the audience gets to experience for a while. It's also really important
. to us that the audience be a part of the show, that we are not too removed; we want their experience to be
as live and interactive as possible. Circus is not an experience for only the privileged few!
So what's your current production about?
Circus Contraption's Grand American Travelling Dime Museum was inspired by a host of odd and amazing
things we saw while on a 12-week tour of the West Coast and Midwestern U.S. in 2002. When we weren't
performing we had time to visit some great American tourist traps. Add a variety of other cheap popular
American entertainments of the turn of the 20th century: a dime museum of freakish oddities, burlesque
dancers, vaudeville performers, and you've got a show! The theme and aesthetic of the show is set in 1890s
America, a time when Americans were still having their eyes opened to the outside world and found pleasure
in the exotic, and saw other cultures as being fantastical and curious.
What's next for Circus Contraption?
After a two-month run in Seattle we will take the show to New York City for five weeks in September, a particularly
ambitious and daunting venture for all of us. We did the same thing last year by running "Dime Museum" in
Seattle and then spending a month with the show in San Francisco.
Any chance there will be Canadian dates?
At this point we have no firm plans for anything beyond New York City, so of course there's a chance! We
. did perform at the Victoria Folk Fest in 2003, and had a great time there. It would be great to do that again
sometime. We love Vancouver, so if we had an invitation, sure, we'd come!
What do you think Is fueling the underground revival of circus?
My take on it is that people want a real experience. They want to be close to something that takes their breath
away, that engages them in a palpable and immediate way. The virtual reality of computers, video, television,
etc. makes other types of experience possible, but not as directly as a live performer in front of you. In live
performance there's always an element of chance, of real danger, of the unexpected. No two performances
are ever the same. Revivals happen when people feel a need for them to happen, because the elements
those things provide aren't being supplied in other forms of art or entertainment that are available. Circus will
always be with us because it fulfills a need for wonder and amazement that we can't get any other way.
Any advice for those wanting to run away and join the circus?
We made our own circus. We did it, and we're proud of it. With hard work and vision, artistic skill and persistence,
anyone can do it. You just have to go for it.
Circus Contraption's Grand American Travelling Dime Museum runs at the Magnuson Community Center
Auditorium in Seattle, Fridays, Saturdays and Sundays through July 30, 2005. For more info, visit www.
circuscontraption.com.
Freaks A Fire: The Underground Reinvention of Circus
J. Dee Hill
Soft Skull Press
Ever wondered what happened to the circus? Surely it hasn't
degraded into the kind of non-offensive pablum safe enough for Reba
fans to enjoy. At least you hope so.
Well, you're right. And if you don't know where the circus has
been, you just haven't been looking for it the way J. Dee Hill has.
Hill has gone on a journey through the new wave of American
underground circus, following groups and acts as diverse as Jim Rose
alum Enigma, fire-based artists such as Flam Chen and Seattle's own
surreal Circus Contraption. She covers each circus in a fair amount of
depth, going over the basics of their histories and ideologies, but she
also gets deeper than that, spending a lot of time conveying the feel
of each circus and its performances.
She also examines the meaning and function of circus in the modern world. After all, why do we need
the circus? Is it the commentary and comedy? The dream of being able to run away with one? Or the way
the circus carries you away while you sit engrossed in the performance? It's really all of this and more for
the audience. What drives the circus and its revivals is an even deeper need to perform and play in this
deeply rooted institution of human culture.
Vampyra Draculea Built to Spill
Chad Vangaalen ]SL
June 18
Commodore Ballroom
Two summers ago, Built to Spill came,
to Vancouver and packed Richard's
on Richards for a wonderful show. This
time, the show was at the Commodore,
the venue was just as packed, and the
music was just as enjoyable.
Not having previously heard fhe
work of opener Chad Vangaalen,
imagine my surprise and amazement
upon his first entrance onto the stage:'
picture one man sitting at a drum
set, holding a guitar, and wearing a
harmonica. CaigsKyV Vangaalen,
newly signed to Sub' Pop, played a
long set of songs, many from his one
and (as of yet) only LP prpper. What
Vangaalen lacked ifjOjpginalify of
overaH sound, he more than made
up for with h& obvious talent, making
the act of singing and playing several
'irafruments at once seem effortless.
Despite this display of musical
^^sj'-|§3Btgaaien was unforfunafety
unable to silence a group of people
frribei tron? who, while loudly (and
ironically) exclaiming phrases Bke "listen
to this guy, he's awesome," would not
be quiet for long enough to actually
IgpreMgthe music..or fo let anyone
efee listen without distraction.
ri^^fe" minutes passed before
the stage was taken by Built to Spi,
led by the same old Doug Martsch in
his trademark beard and big white t-
shirt. The band played to hundreds
of rowdy and excited fans who were
undoubtedly thankful to see Built fo Spi
fri a Canadian city, rather than having to;
drive down to the US like most Canadian
fans who don't live on the West Coast.
Fans were rewarded for their presence
at the show with a ioud-but-not-too-
loud, nearly flawless set, filled with newer
songs like "Strange" from their 2001
release Ancient Melodies of the Future,
older songs like "Built to Spi" from the
1993 album Ultimate Alternative Wavers,
and even new endings to favourites like
"Center of the Universe" from Keep it
Like a Secret.
The band pJayed well into the
night, peaking with a very -ptense
"Alien Fugue," and the mood at the
Commodore Ballroom ($jpifa't drop from
its Wtial height for one single minute. It
takes a band like Built to Spi to create
such an mcredtbly soaring amount of
energy without any theatrics or stage
antics whatsoever, and they certainly
did just that.
To say the least, this show was a
great way to say goodbye to spring and
hello to summer. Besides, any show that
David Cross would hang out at has got
to be good, right?
Kimberley Day
Kaiser Chiefs
OK Go
The Caesars
June 05
Commodore Ballroom
On the night of Sunday June 5, Ok
Go, The Caesars, and The Kaiser
Chiefs rocked the stage at the
Commodore Ballroom while a
crowd full of enlivened fans shook
the dance-floor. Starting off the
stellar concert. Ok Go played a
selection of new songs as well as
a few older singles. Although their
set was short, their presentation
was not: With just enough time left,
Damian, Tim, Dan, and Andy put
down their instruments; cleared a
section of the stage, and danced
to a recorded track from their new
CD. Bringing smiles and laughter
to the already pumped crowd.
Ok Go's choreographed dance
number brought their set to a
unique end.
Taking the darkened stage.
The Caesars continued to build
the energy sparked by Ok Go
and played an excellent set to
a spirited crowd, some of whom
even started a circle pit on the
dance floor. They ended the set
with"Jerk It Off," and the audience
definitely loved the dynamic tune.
The night's headliners. The
Kaiser Chiefs, took an already
brilliant show and made it rock.
The set climaxed with a mad
performance of "I Predict a Riot",
where the crowd jumped higher
and higher with smiles stretched
across their sweat-dripping faces.
Lead singer Ricky Wilson dove off
the stage and to be caught by the
excited fans below. Once back on
the stage, Ricky sometimes shared
the microphone with members
of the audience, giving them a
chance to sing along. Throughout
the night, spirits were high, the lineup was fantastic, and the show
produced enough energy to keep
you dancing all week: at home,
at work, and, if we lived in a world
where no one was considered to
be crazy, up and down the aisle
of the bus.
Julie Rankin
June 06
Mesa Luna
I had great expectations for this
show, but they were shattered
when I arrived at Mesa Luna to
learn that the headliners never
made it past the border. Tsunami
Bomb was not the only band
unable to play the show that night;
one of the opening bands, Kane
Hodder, was unaccounted for as
well. Usually, you'd expect the
show to be cancelled under these
circumstances, but not tonightl
What the hell am I supposed
to talk about now? I had loads to
say about No Cal punks Tsunami
Bomb, their relation to AFI, and
the recent replacement of their
original guitarist, but I guess all that
info is totally irrelevant now. Let's
focus our attention on the two
bands that actually played that
night;
The first band to play was
The Loved Ones. Straight out of
Philadelphia, this supergroup
formed from the ex-members of
The Curse, Trial by Fhe, Paint II
Black, and KM Dynamite. I was
impressed by how quickly these
guys got the crowd of 50 (or less)
people   dancing   and   singing.
Sounding very much like Hot Water
Music or The Explosion, their mix
of punk and straight up rock and
roll blended together seamlessly
to create insanely catchy songs
that ali the underage kiddies at
Mesa Luna could not get enough
of. And judging by the amount
of people lined up at the merch
table to get their hands on a copy
of the band's EP and beg for their
autographs, it looks like The Loved
Ones are, for lack of a better
phrase, truly loved.
jgg|j!MD|g<ipcond and final band
togo" on was Crowned—King
I was never leally'a-fari ofVimis, *
band, but I was amazed byrffiP*
dedication these guys had to
their music and their fans. The
fact that there were hardly any
people at the show did not seem
to discourage them at all. They
played as if they were playing to
thousands of adoring fans. The kids
went crazy for the band's sugary
sweet pop-punk melodies infused
with aptly placed trombone riffs
(think Less Than Jake). Though I
left fairly content, I (and I believe
many others) could not shake the
. sheer disappointment of Tsunami.
Bomb's absence.
Marielle K.
Spoon
The Clientele
June 17
Commodore Ballroom
There are certain physical
attributes that truly capture the
essence of rock n' roll; Spoon
frontman Britt Daniel's smarmy
good looks and blondissimo charm
are high on that list. On the other
hand, a green floral neck brace
most certainly is not. Hampered
by my neck brace (spinal injury.
don't ask) and attendant feelings
of unrock, I was nonetheless
enthusiastic about seeing one of
my favourite bands have their way
with the Commodore Ballroom.
Upon arrival, I immediately
grabbed a drink and sidled over
to a table in the shadows, hoping
to hide my indisposed state
from the legions of hyperactive
Spoon devotees. Opening act
The Clientele provided a suitable
soundtrack for my clandestine
people-watching, but offered
precious little in the way of
engaging live performance. The
Lc^bfofrbase^^xgouf) peddled
their hazy atmospherkaTand
psycheaeHek pop nostalgia to
a largely "mdiffere nT*er©wd, as
the buzz of conversation was
easily audible over the lush guitar
arrangements. With little or no
differentiation between songs,
the set quickly descended into
monotony, punctuated only by
the band's repeated insistence
upon being called "Alf Tomkinson's
Bicycle Party." Oozing English
aloofness, the only party The
Clientele could successfully throw
is a unicycle party of one, with
headphones.
Spoon, on the other hand
know a thing or two about
having a good time; if only the
good people of Vancouver were
equally as knowledgeable. From
the opening chords of "The Beast
and Dragon, Adored," the lead-
off track from Spoon's latest album
Gimme Fiction, I knew I had to at
least try to dance, fragile neck
and all. While some rambunctious
folk near the stage thrashed about
with abandon, most of the crowd
responded to Spoon's irresistible
groove with some earnest toe-
tapping or head-bobbing.
Dancing isn't the only way
to enjoy a show-^watching
Britt Daniel's economical guitar
work and Jim Eno's metronomic
drumming was mesmerizing.
Since most Spoon compositions
clock in under the three or four
. minute mark, the band was able
to cover a wide range of material,
showcasing new songs alongside
favourites from Kill the Moonlight
and GkisCan Tell. Old singles such
as "EveryfWng Hits at Once" and
"The Way We Get By" had everyone
cheering and singing along. While
I would have enjoyed a tad more
interaction with the crowd, my
only real complaint was with the
venue itself. The Commodore's
cavernous space diffused Spoon's
dense, hard-hitting sound, making
the show pale in comparison with
the immediacy of 2003's sweaty
appearance at Richard's on
Richards. Regardless, even from
within the confines of my neck
brace, this was one of the best
shows I've been to this year.
David Ravensbergen J0W
The      Believer
Compilation
AJtV|v«
CoSfcg from four young lads from
Lincoln, England who take their
name from a song written by Skip
Jamfh nearly fifty years before
they f!|re even.born, this earnest
take on ragged bjues with soul
and pee sehsibities is refreshingly
accurcS». There's somej
inflecte^n '^^JejaUi<rWfS*,kwhile
the spirit"'of" Otis flows through
"Such A Fool" and bits of Dylan
are packed in "Friends." Fans
of The Sights, The Greenhornes
and other like-minded outfits will
probably dig this also. These guys
still have some room to grow, so
watch for them to make waves
real soon.
Bryce Dunn
CHEB I SABBAH
La Kahena (Les Voix Du Maghreb)
(Six Segrees Records)
After two highly acclaimed
albums transforming the classical
and devotional musical traditions
of the sub-continent with his "DJ
Science," plus remix and DJ-mix
CDs to his credit, Algerian-born
Cheb i Sabbah now turns his
digital gaze closer to his original
home area, in this case North
Africa. Collaborating with some of
the most distinctive female singers
frofn the Maghreb (meaning
"western" in Arabic, is the region
of the continent of Africa north
of the Sahara desert and west of
the) Sabbah has crafted arguably
his finest excursion yet.
La Kahena is named after a
7m century North African leader
who rallied all the Berber tribes
against the Arabic invasion of
Kabylia, Algeria. Drawing heavily
from Arab, Berber, Andalusian
and Hebrew elements, Sabbah
treats the original sources and
regional performers with same
genuine respect as was found
on his past efforts [Shri Durga,
Krishna Lila] whilst applying his
now-recognizable mixology to
create a truly unique soundscape.
Unlike many other OJ/producers
who often source and sample
indigenous cultures without any
real context, Sabbah puts the
musicians and their traditions first
and foremost in the mix. Featured
on tha "*5$pse«Fding is Algerian
Raj singing sensation Cheba
Zahouanla, B'net Marrakech (The
Women oftl#|S^^|,who draw
from Gnawa, RaT and GfaQfj^
'j&mfn pop) influences on the
- lead-in track "Esh'Sani, Alash Mshit
{Why Did I Follow $$m* Adding
more modem 'toucjn
^tEiassist
and    percussionist
Karsh  Kale, along  with  Richard
Horowitz (composer/musical
consultant for the soundtrack to
the film The Sheltering Sky] on Ney
flute and Canadian cellist Rufus
i Cappadocia amongst others.
Highlighting the various rich
musical traditions of the Maghreb
is certainly something to sing
about while Cheb i Sabbah's
transformations and mixing of all
these traditions is worthy of praise.
Roman Howard
Aimee Mann
The Forgotten Arm    '
(SuperEgo)
Aimee Mann knows how to write a
solid melody, and she has a warm,
welcoming voice that is a pleasure
to hear. But the main reason I, and
many (but not enough) others,
listen to her is her lyrics. She has a
striking talent for making the most
ordinary, seemingly plain people
into fascinating subjects, and the
real genius of her lyrics is their
ability to make the listener feel Hke
they have at least a tiny little bit
in common with the characters
she portrays. There are few artists
out there now who can make you
feel emotionally connected to
the people in her songs as well as
Aimee Mann.
Her new album. The Forgotten
Arm, is more of the same, and
that's a good thing. A sort of
concept album, it revolves around
the story of a boxer and his lover,
and their destructive relationship.
This is due in no small part to his
drinking and drug problem. After
she leaves him, he tries to clean
up, to give up "the world inside
the glass that struggles to conceal
the wreckage on the overpass,"
as he confesses in "I Can't Get My
Head Around It." He can't get her
out of his mind, and it's in the song
"Video" he wonders: "Tell me why
I feel so bad, honey-fighting left
LaTefeQuiF/offe
(Moulin)
If La Tete Qui Flotte is approached
from the right angle, on the right
day, with the perfect shade of
orange (or maybe blue) coming
through the curtains, it can be
really sublime and beautiful.
Stylistically the music sounds
equally influenced by Air and
Philip Glass, with a lot of repetition
and minimalist but surprisingly
emotional progressions, all filtered
through a somewhat cheesy
and sometimes experimental
60s instrumental electronic vibe.
When I first heard the album,
the conditions must have been
right, because I loved it instantly,
but every time I listened to it
afterwards it sounded boring
and cold, until this very moment,
when I finally understand it once
again. Think of it as ancient ruins
that only reveal themselves fully
on the solstices, when the sun is
lined up just perfectly...those ruins
usually won't be the most popular
tourist attractions, but for those
lucky enough to witness them at
the right time, it'll leave the most
wonderful memories.
Soren Bros.
i Pied Pipers
Triple P
(Ubiquity Records)
The Pipers slid out of Detroit like a
luxury special edition sedan: subtly
tasteful exterior cloaking the extra
benefits within the cab and under
the hood. Solidly built as a steel
frame, the Pipers are a pair of
producers that created a powerful
coalition of artists and sounds on
a single record that tasks itself to
represent a cutting edge new feel
from Detroit hip hop. They invoke
me plenty at maneBbut didn't
keep the promise JJj memory
lapses " It is suct| a revelatoiy lyric,
exactly what I'm t^ldnaabout.
There are manfjlpf these
moments in flieppbufrl and I'll
tfawWhe llsteper to discover
the^rf- An^Krrr*that I like
mt^Severy time I listen to ft. The
Forgotten Arm. is yet another
successful addition to Aimee
Mann's body of work.
Robert Ferdman
the   spirit   of   Motown   Records
through the use of brass horns,
. steel drums, cowbells and possibly
steam whistles. The Pipers have
mastered the "breathless bass,"
the deep tone at the end of an
exhalation that coats track after
track on the record. On top of this
is a calculated blending of electric
sounds and acoustic strings. The
solely instrumental tracks ("After
the Worries" and "They Don't") are
gorgeous'and dirty, like the clash
of rusted cymbals.
In contrast, the vocals are
incredibly human. The singers Zeno,
Georgia and Tiombe Lockhart
push the pitch of the octave,
stretching notes that stop just short
of cracking. These female vocalists
give the record a delicious sugar
that allows the bitter-tasting beats'
go down easier. Rapper/producer
and former Slum Village member
Jay Dee lays down a few rhymes
on a couple of tracks, but the
lyrical limit is set by MC Invincible
on the song "Detroit Winter."
She throws down a collage of
imagery evoking the harsh chill of
the gutted ghettoes in the city's
winter months, and does so over
a perfectly arranged driving bass
line. As a final sweet goodbye, the
Platinum Pied Pipers present Paul
Simon's "Fifty Ways To Leave Your
Lover" with a snare drum keeping
the beat. •
Zach Goleman
Sweatshop Union
United We Fall
(Battleaxe Records)
Sweatshop Union has done
Vancouver proud once
again—and maybe done a hip
hop a favour as well. United's
production is the first thing to
impress, as the opening track
begins with a beautifully sombre
treble arrangement laid over short
monotone vocal samples and
well-used distortion. As the album
launches into its second track
("Cut Back") which begins with
great head-nodding beats that
go on until you realize that it is, in
fact, a partying song, with a high
energy rhythm fondly reminiscent
of Iggy Pop's "Lust For Life;" The
rocking method slows back down
to head-nodding and rewards
dedicated hip hop heads with
famous excerpts from De La Soul's
record Stakes is High, and bits
of Q-TIp on the mic. Sweatshop
ore glad to present their myriad
influences and preferences: "Hit
the WaU" contains a loop of the
introductory chords from Bob
Dylan's "Tonight I'll Be Staying
Here With You." As the album
winds down after a solid fifteen'
tracks, listeners will be glad to
be reminded of hip hop's ability
to successfully hum the blues
and pluck the strings of electric
guitars.
Lyrically, the Union go over
alternative, conscious, yet well-
worn ground: they criticize the
commercialization of art, the
tragedy of war overseas, the
exploitation of women in the
workplace, and the emphasis
on materialism in everyday life.
They do it well, and one gets the
impression that as long as they
avoid the offensive cliches of how
much money they have, how they
cruise in their cars, how women
cling to their arms, Sweatshop will
continue to be very successful.
A last note: It is good to hear
solidly pleasing hip hop in< the
absence of a recent Jurassic 5
album. Sweatshop Union's diverse
vocalists keep the group sounding
fresh, the diverse timbres and styles
compliment each other. Emcee
Marmalade's baritone acts as an
anchor to the group much in the
same way the Chali 2-Na does for
J5. There is a lot here that makes
one want to go back and listen
to Quality Control and Power in
Numbers.
Zach Goleman
Various Artists
The   Believer 2005  Music  Issue
Compilation CD
(The Believer)
Sometimes when I'm watching
movies, I like to pretend that the
characters played by the actors
are composites of every character
that actor has ever played. Like
Batman ts also the main character
in American Psycho—he just
doesn't like to talk about those
years he spent killing women
because it doesn't really fit into
his current hobby of pursuing
vigilante justice. Sometimes this
thought-experiment       infiltrates
the way I listen to music, and I
wonder: is the person Colin Meloy
addresses when he wails "Oh, my
love, we both go down together"
the same person that Joanna
Newsom is thinking of when she
says "Oh, my love, it was a funny
little thing"?
Thankfully, the compilation
CD enclosed with fhe June 2005
issue of The Believer (the monthly
advertising-free magazine put out
by people associated with the
McSweeney's literary scensterism)
can answer my question with a
definitive "yes, yes they are the
same person, and that same
person has the potential to hurt
both Colin and Joanna very
deeply." This CD is an excellent
collection of contemporary indie
musicians performing songs
by other contemporary indie
musicians. It's a musical show-and-
tell of "what are you listening to
now?" and it is in this context that
the Decemberists step up to the
front of the classroom and belt out
Joanna Newsom's "Bridges and
Balloons" with mope and ache. It
goes on from there, Spoon singing
Yo La Tengo, The Shins doing The
Postal Service, Devendra Banhart
covering Antony & The Johnsons,
Wolf Parade paying homage to
Frog Eyes, Mount Eerie playing a
song by Thanksgiving.
Even though the idea seems
like it's just kinda kitschy and
cute, the songs do not seem like
ironic parodies—they just sound
good. The songs that I know well
come across well, those doing
the covering play the songs like
they're their own and sound
sincere, but they also convey a sort
of excitement over being able to
play these songs that they're really
digging. There are inevitably songs
that I don't know the originals of,
but these cover versions are lovely
and pleasing nonetheless. This
album, rather than serving only
as a marker of this-year-in-music-
according-to-The Believer, is a
really good compilation CD.
Dory Kornfeld
See Page 10 for a review of this
issue ot"The Believer.
J.
Cheb i Sabbah
Platinum Pied Papers
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Push Barman to Open Old Wounds
Matador
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Weeknights At Island View Beach
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bvf   LvkjL RgmSj2y>—P Program Gui
W^    All the shows! In alphabetical order!
sto«0
4—tiSflKi TO CiTR AT 101.9 FM OR
ONLINE AT WWW.CITR.CA
ABSOLUTE BEGINNERS
A chance for new CiTR DJs to flex
their musical muscle. Surprises
galore
AFRICAN RHYTHMS
David "Love" Jones brings you the
best new and old jazz, soul, Latin,
samba, bossa and African music
from around the world.
<www.africanrhythmsradio.
AFROBEAT
In two hours, 1 take the listener for a
spin—musically—around the world;
my passion is African music and
music from the Diaspora.
Afrobeat is where you can catch up
on the latest 'm the "World Music"
scene and reminisce on the classic
collections. Don't miss it.
<uget_afrobeat@yahoo.com>
ALT. RADIO
Hosted by David B.
AND SOMETIMES WHY
First Wednesday of every month.
ANOIZE
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
ARE YOU SERIOUS? MUSIC
Al of time is measured by its art. This
show presents the most recent new
music from around the world. Ears
open.
AURAL TENTACLES
It could be punk, ethno, global,
trance, spoken word, rock, the
unusual and fhe weird, or it could
be something different. Hosted by
DJ Pierre.
BEATS FROM THE BASEMENT
BLOOD ON THE SADDLE
Real cowshit-caughtH'n-yer-boots
country.
BLUE MONDAY
Vancouver's only industrial-
electronic-retro-goth program.
Music to schtomp to, hosted by
Coreen.
BREAKFAST WITH THE BROWNS
Your favourite brown-sters, James
and Peter, offer a savoury blend of
the familiar and exotic in a blend of
aural delights!
THE CANADIAN WAY
Independent Canadian music from
almost every genre imaginable
covering the east coast to
the left coast and all points in
between. Yes, even Montreal!
<thecanadianway@popstar.
CHIPS WITH EVERYTHING
British pop music from all decades.
CIRCUIT TRACING
CiTR NEWS, SPORTS AND ARTS
A • volunteer-produced,   student
and      community      newscast
featuring news, sports and arts.
Reports by people like you.
"Become the Media."
CODE BLUE
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy and Paul.
DEMOCRACY NOW
Independent news hosted by
awardwinning journalists Amy
Goodman and Juan Gonzalez.
EARWAX
"noiz terror mindfuck hardcore
Hke punk/beatz drop dem headz
rock inna junglist mashup/distort
da source full force with neediz
on wax/my chaos runs rampant
when I free da jazz..." Out.
ELECTRONIC SPECTRUM
EN AVANT LA MUSIQUE
«En Avant la musigue!)) se
concentre sur le metissage des
genres musicaux au sein d'une
francophonie ouverte a tous les
courants. This program focuses
on cross-cultural music and its
influence on mostly Francophone
musicians.
END OF THE WORLD NEWS
ENGAGING THE WORD
Canadian authors, fiction writers and
novelists interviewed by James
O'Hearn.
ESCAPISM
es»cap»ism n: escape from the
realty or routine of life by absorbing
the mind in entertainment or
fantasy. Hosted by DJ Satyriccn.
<DJSatyricon@hofrnal.com>
EXQUISITE CORPSE
Experimental, radio-art, sound
collage, field recordings, etc.
Recommended for the insane.
FIRST FLOOR SOUND SYSTEM
FLEXYQURHEAD
Up the punx, down the emo! Keepin'
it reaj since 1989, yo. flexyourhead.
<vancouverhardcore.com>
FOLK OASIS
Two hours of eclectic roots music.
Don't   own    any   Birkenstocks?
Allergic to patchoul? C'mon in! A
kumbaya-freezone since 1997.
<fdkoasis@canada.com>
GENERATION ANNIHILATION
A fine mix of streetpunk and old
school hardcore backed by
band interviews, guest speakers,
and social commentary.
www.streetpunkradio.com
<crashnbumradio@yahoo.ca>
HANS KLOSS' MISERY HOUR
This is pretty much the best thing on
radio.
HIGHBRED VOICES
I LIKE THE SCRIBBLES
IN THE SHADOWS
THE JAZZ SHOW
Vancouver's longest running prime-
time jazz program. Hosted by
the ever-suave, Gavin Walker.
Features at 11:00, as listed.
July 4: Today's date did not go
unnoticed by The Jazz Show as we
pay tribute to the USA by playing
music by saxophonist/composer
Oliver Nelson and his big band
suite called "The Afro/American
Sketches."
July 11: Pianist Horace Parian leads
an all-star sextet featuring tenor
saxophonist Booker Ervin and
Guitarist Grant Green and trumpet
ace Johnny Coles through a
great program of originals from
Parian and other jazz composers
in a date called "A Happy Frame
of Mind."
July 18: A great studio session by
saxophinst John Coltrane and
the "Classic Quarter" with pianist
McCoy Tyner, bassist Jimmy
Garrison, and some of Elvin Jones'
finest drumming. The "out of this
world" session from 1962.
July 25: Piano genius Phineas
Newborn Jr. graces tonight's
show with his stunning virtuosity
in a program of standards and
blues and jazz originals. Newborn
is accompanied by none other
than the great Ray Brown on bass
and drummer Bvin Jones showing
us another side of his talent in a
piano trio.
JUICE BOX
Developing your relational and individual sexual health, expressing
diversity, celebrating queerness
and encouraging pleasure at al
stages. Sexuaity educators Jula
and Alix wil quench your search for
responsible, progressive sexuality
over your Ife span!
- <www.juiceboxradio.com>
LAUGH TRACKS
THE LEO RAMIREZ SHOW
The best mix of music, news, sports,
and commentary from around
the local and international Latin
American communities.
LIONS AND TIGERS AND BEARS...
Hey Jordie! See your show
description? No? I thought not!
Um..this show has eclectic pop
and rock and hip hop and show
listings and stuff. It's hosted by
Jordie Sparkle.
LIVE FROM THUNDERBIRD RADIO
HELL
Live From Thunderbird Radio Hell
showcases local talent... LIVE!
Honestly, don't even ask about
the technical side of this. This
month will probably be the best
month ever.
July 7: Transylvanian Polka, City
Streets
SPkVI MUSIC AND CITR 101.9 PRESENT THE BETURN Of...
Tfl
WEDNESDAYS
IJULYffijlHI ■JMOiIHI
DREAMSOFTREASON UNLEARNED
MEXICO MEXICO FREERASE
LIQUID HAPPY    BROAD RAND NOISE
■H MUSH
THE SPOTS
ETHERS VOID        STONEHEAD
RESONATOR
315 CARRAL STREET, 604 685 3922
{ 101.9 fK   «***««,» /&rW %SBw? BO "^rve  7&
18 DiSCORDER - July 2005 July 14: The Unleanred
July21:TBD
July 28: Thunderbird Radio Hells
meets On Air with Greased Hair
(Bands TBD)
LOCAL KIDS MAKE GOOD
Local Dave brings you local music
of all sorts. The program most
. likely to play your bandl
THE LOVE DEN
<lOveden@hotmal.com>
MIRCHMASALA
MOTORDADDY
Cycle-riffle rawk and roll
MORNING AFTER SHOW
MY ASS
Phelps, Albini, 'n' me.
NARDWUAR THE HUMAN SERVIETTE
PRESENTS-
NECESSARY VOICES   o7%f!l
Socio-political, environmental
activist news and spoken
word with some music, too.
<www.necessaryvoices.org>
<necessaryvoices@telus.net>
NUTHOUSE RADIO THEATRE
All-original Canadian radio
drama and performance art
written and performed Rve-to-
air by our very own team of
playwrights and voice-actors.
We also welcome you to get
involved, whether you are a
professional or inexperienced...
ON AIR WITH GREASED HAIR
The best in roots, rock 'n' roll and
rhythm and blues from 1942-1962
, with your snappily-attired host,
Gary Olsen. <ripitup55@telus.
net>
THE ONOMATOPOEIA SHOW
Comix comix comix. Oh yeah, and
some music with Robin.
OUR WAVE
News, arts, entertainment and
music for the Russian community,
local and abroad.
PACIFIC PICKIN'
Bluegrass, old-time music and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
PARTS UNKNOWN
Underground pop for the minuses
with the occasional interview with
your host, Chris.
PEDAL REVOLUTIONARY
Viva la Velorution! DJ Helmet Hair
and Chainbreaker Jane give
you all the bike news and views
you need and even cruise
around while doing it! <www.
bikesexual.org>
PLANET LOVETRON
Music    inspired    by   Chocolate
Thunder.   Robert   Robot   drops
electro past and present, hip hop
and intergalactic funkmanship.
<rbotlove@yahoo.com>
PLEASE ROCK THE DOOR
Start your weekend ridiculously early
with Vancouver's super awesome
fun time happy radio show. Playing
al the dance-punk, electro, rock,
new wave, hip hop, 80's, etc. sh*t
that your mom thinks is cool.
PLUTONIAN NIGHTS
Cutting-edge, progressive organ-
music with resident Haitchc
and various guest performers/
DJs. Bye-bye civilisation, keep
smiling blue, where's me bloody
anesthetic then? <http://
plutonia.org>
POWERCHORD
Vancouver's only true metal show;
local demo tapes, imports, and
other rarities. Gerald Rattlehead,
Dwain, and Metal Ron do the
damage.
QUEER FM
Dedicated to the gay, lesbian,
bisexual, and transsexual
communities of Vancouver.
Lots of human interest features,
background on current issues, and
great music.
RADIO ZERO
REGGAE LINKUP
Hardcore dancehal reggae. Hosted
by Sister B.
REEL TO REAL
Movie reviews and criticism.
RHYMES AND REASONS
DJ Knowone slaves over hot-multi-
track to bring a fresh continuous
mix of fresh every week. Made
from scratch, samples and just
a few drops of fame. Our tables
also have plethora of guest
DJs, performers, interviews,
giveaways. Strong Bad and
the occasional public service
announcements. <eno_
wonk@yahoo.ca>
RHYTHMSINDIA
Rhythmslndia features a wide range
of music from India, including
popular music from Indian movies
from the 1930s to the present,
classical music, semi-classical music
such as Ghazals and Bhajans, and
also Qawwalis, pop, and regional
language numbers.
THE ROCKERS SHOW
Reggae inna al styles and fashion.
RUMBLETONE RADIO
Primitive; fuzzed-out garage
mayhem!
SAINT TROPEZ
International pop (Japanese,
French, Swedish, British, US, etc.),
60s soundtracks and lounge. Book
your jet set holiday now!
SALARIO MINIMO
THE SATURDAY EDGE
Studio guests, new releases, British
comedy sketches, folk music
calendar and ticket giveaways.
8AM-9AM: African/World roots.
9AM-12PM: Celtic music and performances.
SHADOW JUGGLERS
An exciting chow of Drum n' Bass
with Djs Jimungle & Bias on the
ones and twos, plus guests. Listen
for givawas everyweek. Keep
feelin da beatz.
THE SHAKE
<djska_
SKA-T'S SCENE-IK DRIVE!
Email     requests
t@hotmail.com>
SOLARIZATION
SONOFNITEDREEMS
SUBURBAN JUNGLE
SWEET AND HOT
Sweet dance music and hot jazz
from the 1920s 30s and 40s.
SYNAPTIC SANDWICH
TANSI KIYAW
"Tansi kiyaw?" Is Michif-Cree (one
of the Metis languages) for "Hello,
How are you?" It is also a monthly
Indigenous music and spoken word
show. Hosted by June Scudeter (for
those who know me from other
shows-I'm Metis!), the show wil
feature music and spoken word
as wel as events and news from
Indian country and special guests.
Contact me at Hscudel@ucalgary.
ca with news, event listings and
ideas. Megwetch!
THESE ARE THE BREAKS
Top notch crate digger DJ Avi
Shack mixes the underground
hip hop, old school classics and
original breaks.
THIRD TIME'S THE CHARM
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!
Deadler than the most dangerous
criminal! <bom'insbdynine@hotmai.
com>
TRANCENDANCE
Join us in practicing the ancient
art of rising above common
thought and ideas as your Host
DJ Smiley M9ce! lays down the
latest trance cuts to propel us
into the domain of the mystic-al.
<trancendance@hotmal.com>
UNPACK YOUR ADJECTIVES
THE VAMPIRE'S BALL
Dark,   sinister   music   to   soothe
and/or move the Dragon's soul.
Hosted by Drake.
<thevampiresball@yahoo.ca>
VENGEANCE IS MINE
Al the best the world of punk rock
has to offer, in the wee hours of the
mom. Hosted by Trevor.
WE ALL FALL DOWN
Pupk rock, indie pop, and
whatever- else I deem worthy.
Hosted by a closet nerd.
WENER'S BARBEQUE
Join the sports dept. for their
coverage of the T-Bids.
WIGFLUX RADIO
Listen to Selecta Krystabele for your
reggae education.
WORLD HEAT
An old punk rack heart considers
the oneness of aH things and
presents music of worlds near
and far. Your host, the great
Daryl-ani, seeks reassurance via
<woridheat@hotman.cora>.
6*»
7
8
9
10
11
12p«
1
2
3
4
5
6
7
8
9
10
11
12*«
1
2
3
4
5
6
Sunday        Monday     Tuesday   Wednesday   Thursday     Friday        Saturday
REGGAE LINKUP
(RG)
ARE YOU SERIOUS?
MUSIC (EC)
ROCKERS
SHOW(RG)
BLOOD
OHM
SADDLE (RT)
AFROBEAT
(WO)
QUEER FM
(TK)
RHYTHMSINDIA
(WO)
TRANCENDANCE
(DC)
ELECTRONIC
SPECTRUM
(DC)
FILL-IN
BREAKFAST WITH
THE BROWNS
(EC)
LIOMS AND TIGtRS AHD BEARS
JLIJMDIO(PO)
PARTS
UNKNOWN (PO)
ABSOLUTE BEGINNERS (EC)
WIGFLUX RADIO (RG)
THE JAZZ
SHOW
(JZ)
VENGEANCE
IS MINE!
(PU)
FILL-IN
PACIFIC PICKIN'
(RT)
HIGHBRED PLEASE ROCK
VOICES (WO)       THE DOOR (EC)
THIRD TIMES
THE CHARM (RR)
FILL-IN
CIRCUIT TRACING
QC/EC)
ENAVANT
LA MUSIQUE (FR)
WENER'S BBQ (SP)
FLEX YOUR
SALARIO MINIMO
(WO)
THE LOVE
DEH
(EC)
ESCAPISM
(EC)
AURAL
TENTACLES
(EC)
FILL-IN
SUBURBAN JUNGLE
(EC)
CITR NEWS* ARTS (TK)
EXQUISITE CORPSE (EX)
ANOIZE (NO)
THE SHAK£ (RR) 1   MIRCH MA
DEMOCRACY NOW (TK)
RUMBLETONE
RADIO
(RR)
MOTORDADDY
(RR)
NECESSARY VOICES (TK)
AND SOMETIMES BLUE MONDAY
WHY (PO/EC) ;    (Gl)
JUICEBOX     (IK)
FOLK OASIS (RT)
HANS KLOSS'
MISERY HOUR
(HK)
FIRST FLOOR
SOUNDSYSTEM
(EC)
END OF THE WORLD NEWS
(EC)
SWEET'N'HOT (EC)
UNPACK YOUR ADJECTIVES (PO/EC)
WE ALL FALL DOWN (EC)
THE ONOMATOPOEIA SHOW (TK)
RHYMES &
REASONS (HH)
LOCAL nos
MAK 6000 (EC)
NUTHOUSE
RADIO THEATRE
ON AIR WITH
GREASED HAIR (RR)
LIVE FROM...
THUNDERBIRD HELL (LM)
WORLD HEAT
(WO)
LAUGH TRACKS (TK)
BEATS FROM THE BASEMENT
FILL-IN
SKA-T'S
SCENIC DRIVE (SK)
THESE ARE THE
BREAKS (HH)
RADIO ZERO (EC)
NARDWUAR
PRESENTS (NW)
CiTH NEWS SPORTSAND ARTS (TK)
THE CANADIAN WAY
(EC)
AFRICAN RHYTHMS
(WO)
PLANET LOVETRON (Sq
MM SHADOWS (HH)
I UKE THE
SCRIBBLES (EC)
THE VAMPIRE'S
BALL (GI/MT)
FILL-IN
THE
SATURDAY
EDGE(RT)
GENERATION ANNIHILATION (PU)
POWERCHORD
(MT)
CODE BLUE
(RT)
LEO RAMIREZ SHOW (WO)
OUR WAVE (WO)
SHADOW JUGGLERS
(DC)
SYNAPTIC SANDWICH
(DC/EC)
PLUTONIAN
NIGHTS (DC)
EARWAX
(HH/DC)
REGGAE UNKUP(RG)
DOdance/electronic • EOeclectic • EX=experimental • FR=French language • GI=goth/industrial • HC=hardcore • HH=hiphop • HK=Hans Kloss • JZ=jazz
LM-live music » LObunge • MT-metal * NOnoise • NW-Nardwuar • PO-pop « PU-punlc • RG-reggoe • RR-rock • RT-roots • SK-ska » SP-sports « TK-tolk » WO-world
*
6*«
7
8
9
10
11
12-
1
2
3
4
5
6
7
8
9
10
n
12-
1
2
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5
6 RAYS OF SONIC SUNSHINE FROM AFAR
XUIJdll
La Foret CD
Jamie Stewart is what Victorian society
would have called, "an unsettling young
man." To near Jamie's band Xiu Xiu play is t<
be shake!, disturbed, and shown something
original.JJnatural percussion cracks around
him likejwine glasses snapped at their stems.
Guitarstclang and break into damaged strums, and we are suddenly
jarred jhto listening. On La Foret, he sings about death, doomed love
and tie decay of relationships. The album waltzes between acoustic
parts fp intimate that his shoican be heard scooting on the studio
floor a| he moves closer to manic. Then come the pounding
wave thunderstorms where electronics and guitars go Mogwai loud and
. Jamie se/eams over the hissing! spitting deluge. So the choice is yours.
Listen tola Foret, shudder, go it in the sun and be glad you.re not
Jamie. Owdelve deeper, play it o|er and over, read the lyric sheet, and
give yourleart to the darkness. AYAUBLE JuTYSTH
C016398
LAUPUNA f^f
I Thoughtl W&Qm That CD/|LPf
More super cobTtaidback nicenes&fcopj these mum-likef Germans,
this time done right and gooctby, foefcrnany nofcble f fends and
peers. Features rarities aricrrernixes byltoom Bip, Jwo Lop
Swordsmen, Dntel, Thomas LeBoeg, To RococojSbt, Aliaf Flowchart,
and Sixtoo. Great on recor^^ellent live, cj#^ remixed
CD 16.98   2LP 16.98/
SUFJAN STEVENS
Illinois CD
Prolific and creative, Stevens
one style, feel and sound. Ifs like]
several Sufjans working away in varjpus studios, but all equally beloved. Htaows the
next state portrayed in Stevens, orjjoing
State Project, a mission too amblous for any
other (and lesser) artist than he. what to expect? More ftp music
greatness from a grand and risirjf new voice on the
CD16.58. (^
IAURlp|TRBl
Humming By Ite
FlowenidViiiWLP    \
Host of the |famous WFMU Thrift ShgpT
Radio program, Laurapantrell has a%^
velous knacjrror searching though dusty old
song catalogs to unearth ^mlk)f the most
charming Jems ever written| Lite a crate robbing musical archaeologist,
the Nashvle native songwriter laves no stone unturned in her quest to
document me best of folk and cowrtry music. In doing so Laura conjures
up quite a dflightful concoction oftnostaigia, wistful dreaminess, and,
lets face it, lpme gorgeous poetic'fcecordings. Here joined by her all-star
pais in Calexico. Cairn-ell's unique Interpretation of her recent "historic
favourites" exudes a charm associated with the all-time greats, regardless of genre. % you are new to Laura Cantrell. then you are new to the
world and it islme for you too, to dckome exploring!
CD 16.94   LP 16.981
WOLF PARADE
EPCDEP \
On July 7th your stereo will be forever changed. This will be the
date you can picfc 3pvtte'*1atest Sub Pep signing from-Montreal,
Canada, Wolf Parade. Endorsed and fecoftedl^i
Issac Brack, this quarts, known for the% denaS^nic fury and
synth punk assault, arejsufCto win you ovWKg time.
CDEP 9.98
in^HISfinUHHi
UTHERUPTOTOE«LOCALSqp|
GREAT AUNT IDA
Our Fall CD
A familiar face around Sugar
Refinery closing times, Ma is best
known for her work balancing brooding dynamics on the keys and trumpet with Ike Beans, as well as her
daring improvisations in Cunt! This,
her first proper solo release, is somewhere between these two points of reference, featuring sonff gorgeous old time balladry and great performances from her gj-star
band. A bright debut.
CD 12.98
THESOLARISIS
The Channel's
Twilight CD
Cameron McLeilan takes time
away from his Hinterland endeavors to retreat into the Hive Studios for ■
this refreshing debut. A loose meditation on the politics of love, the state and modern disillusionment,
it draws on the songwriting tradition but colors it with indie-rock
spirit and simplicity. Enjoy.
CD 12.98  C3|
JON-RAE    \\
AND THE Rim 1 *\F
Old Songs F«lhe\   I
New Town CD
An old soul and familiar face
around town, Jon lie djpps this
highly anticipated sophomore release and hitsahe bulls-eye with
his distinct blend of lotsjfcck a la Will Oldham and Neil Young.
This guy is young ari liktito drink the whiskeys of sorrow
I before rocking — is lis our Zurna?W*love ill
CD 12.98
NORTH ATLAiW
EXPLORERS \
Skylines CD  \
Interweaving spacey songlwith
scenic themes and geogratac
imagery, enhanced by loopslsamples,
cinematic orchestration, and lstru-
mental elements. Skylines is ie result
of a blend of nomadic ventureljncorporating
beauty, Wilco s dreamy texturef and Yo La
ambience.
CD 12.98
SUNSET RUBDOWNJ
Snakes Got A Leg CD
Just the facts baby. Spencer Kreg
makes is solo debut, leaving history trails to Hue Pine, Frog Eyes, and   _
most recently Sub Pop stardom in       Ajf"
Watt Parade. This is his definitive       ^™i
recorded moment—a shit storm of strangulated sounds and
dense poetics. Messed up reverberations and dense pump organ
with distortion — if you are brave, you will dig King's own weird
scenes from the goldmine. Recommended.
CD 12.98
FOR YOUR VIEWING
PLEASURE
Kill Rock Stars
DVD Fanzine
12005DVD
ras the newest video fanzine
Itrmn Kill Rock Stars and
SRCtVpVD form! The first
new tarfljoe in five long years
and it's to%y packed with
music video% live footage, and never before seen
stuff, rangingwom spoken word to French Pop to
film clips to spray rock to mini documentaries to
folk to old stumfo new stuff, and then some.
Featuring old fawrites like Sleater-Kinney,
Deerhoof, JulianaLueking Unwound, Mecca
Normal, SlumbefParty and others, with new
friends like The Mcemberists, Mae Shi, the
pAper chAse andfiore. Whew! So much to enjoy
and view! 1
DVD 16.98!
W&M
LOW
LOW IN EUROPE
fintf^n't Look^^ggiP|
voyeJtl^^Aentary of
Zulu faves%hjpmile in the UK is mandatory viewing for those into their re^ggftsgestial slow-core
sound. Director SebastiafSllnpe climbed into
the tour van with taw, braving Seep deprivation,
road hypnosis, warm be* col Jtood and 1,000 -
cigarettes to document 1st yew's tour across
Europe and the UK. Tolf throJh van ride conversations, backstage barjlr, how room chats and
late night revelations JBWIMEUROPE is an illuminating portrait of a j^up ma|ng mesmerizing
music at the heigj
DVD 19.
UNCORK THESE OTHEl BEAUTIES!
Various - ACID GAM YOU JACK TE TAB Vol 1CO/IP
Soul Jazzfobscure 80's Acid Hougp.
Various ItHE SEXUAL UFE OF THE SAVAGES CD/LP
Soul Ja#s Brazilian Post Punk!   I
San Fpn's freak folk scene
SNAILHOUSE- The Silence Shof CD A gorgeous
releags from Montreal's Mike Freferstack.
SIMON FINN - Magic MomentsfCD Drone folk musing.
GARY HffiGWS-Red Hash CDfsych folk gem that
appjared and then quickly disefpeared in 1973, is now
rei^uedbyDragCity.ASixOpansfave.
2U*Jo Abstract hip-hop par
BIOSPHERE - Shenzhou COjInother dreamy atmospher-
if orbit
COLLEEN - ThB Golden Mmm Breaks CD Seriously
reefcrwended minimal cclnpositjons.
TUJJf$MFr4!%*^
are balk. 1 ^*%
By CD Bloodshofs pioneers make good.
BLACK HALOS - Alive Without ContnH CD Vancouver's
bad boys are back!
AhME-Anniemai CD Look out boogie electro dash
rocker.
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
www.zulurecords.com
mwfiiiHIiiJ

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