T^l* **^ry *£*£/* DiSCORDER - February 2005 POPLIN'S IRISH PUB Monday, Feb 14, 2005 3rd Annual Anti-Valentine'a Day _ Saturday, Feb 26, 2005 @ 11:30 am RE/MAX Sea to Sky Hookey Challenge Team Burke vs Team Nonis Tickets $45.00 includes: Saturday Dublin Brekkie Buffet Transportation to and from Pacific Coliseum Great lower bowl seats After party at Doolin's for beers Hockey highlights Presented by: £3W|»oHSBC<» To purchase tickets or info please contact Brad Toews 604.306.6177 or brad@doolins.ca Body Painting, Beach Balis, Bathing suit Corona, Mikes ai|d •Jm& Party Music Nightly. 1 ^^» - Tees: Joe's Garage Tuss: Canadian Conten|n^^^l|pgg; & - Fri: Dr. Strangelove Sat: Sees Your Monkey Bite / DJ Junior tTorttiacH fjjjs. Son: Campground "C Country that rocks with Byron James from*JWl^g 032 Granville st | 604-3^9hS[ www.roxyvan.coin * gj DiSCORDER That magazine from CiTR 101.9fm. February 2005 EDITRIX Kat Siddle AD MANAGER Jason Bennet PRODUCTION MANAGER Graeme Worthy ART DIRECTOR Dale Davies TA EDITOR Vampyra' Draculea RLA EDITOR Kimberley Day REVIEWS EDITOR Mairin Deery LAYOUT & DESIGN Dale Davies Graeme Worthy Jason Bennet Kimberley Day Vampyra Draculea Dory Komteld Jordie Sparkle PRODUCTION Graeme Worthy Dale Davies Kat Siddle Kimberley Day Vampyra Draculea Jason Bennet Jordie Sparkle Chris Walters Dory Kornfeld. Mairin Deery Nick Parmida Z. Roast Beef Saelan Susy Webb Caroline Walker Kim Cook Michelle Mayne ON THE DIAL Bryce Dunn CHARTS Luke Meat DATEBOOK Kat Siddle Jordy Sparkle Chris Walters DISTRIBUTION Matt Steffich US DISTRO Frankie Rumbletone PUBUSHER Student Radio Society FEATURES Arcade Fire §$§888^ Dandi Wind P. n ■■ -' T£?ang Bang p. 14 Dose One p. 15 V x Mariana's Trench ..p...tMH REGULARS P€fi^f6tyotty Ifwnnent Disaster mSHm Riff Raff P5 Db it Youf O^m Ddjrnn Self m4P5 Strut, Fret & Flicker P.7 -\ textuaffyActtv® P-ffP Calendar p. 12-13 Ffad^ Ji§y", V ■•'tfiflls; Charts p. 17 rv:B!e^Uye,A0rOn p. l|ll§ Under Review p. 20-21 Program-Guide '■ p. 22% FRONT COVER Owen is the founder and creator of the Rubber Popsicle Factory that has self-published over 80 zines on the Marching Chicken Press {marchingchickenpre ss@hotmail.com) and is repsented by Perro Verlag (PeroVerlag@Germanmail.com). Owen currates art shows at Lucky's Comics on Main Street. Owen's art has been shown around Vancouver, Seattle, Toronto, Montreal and New York and can be seen in the Infinity Project show at the Helen Pitt Gallery currated by Jo Cook. Owen draws with Puffers and paints with James Whitman of the Lions fame. Owen lives with his lovely wife Terry in Mt. Plesant but would rather live in the heart of Strathcona. © DiSCORDER 2005 by 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 $2 (to cover postage). Please make cheques or money orders payable to DiSCORDER Magazine. Please note that my birthday is February 15. DEADLINES: Gopy deadline for the March issue is February 7, 2005, not that any of you win care. Ad space is available until February 24 and can be booked by calling Jason at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs, and transparencies), or any other unsolicited material. Material can be submitted on disc or in type or via email. As always, English is preferred, but we will accept French. Actually, we won't. Send email to DiSCORDER at discorder@club.ams. ubc.ca. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Cat the CiTR DJ line at 622.2487, our office at 822.3017, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@nrwfl.gms.ubc.ca, visit our web site at www.cirr.ca or just pick-up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA. THE FIBRES BURN THEMAPS DiSCORDER - February 2005 FOLK & ROO I Perpetually Imminent Disaster ptr mm :X COKCSRT jsg£ fe^f&aay 2© # llie Railway -skg^^gO MEMONESH0W features WAGONWJU£7>^' andTELLITTOi^Bp hash's spirit fives QKajNSf: a young and rowdy Nashville quartet tliat pulls back-oofch - i^pffS banjos and frenetic fiddles | down from tike mountain^ aBiljfjB and onto the doorstep of CBGB's." - Esquire m mL*** *&$?!£ $t&98 NITHAN h © "If David Lynch had .*.J| directed O Brother *ofl Wkem Art Tkau$f: *JtH Nathan's music 1 would he the soundtrack .* .L* GBCJtafio El $16.98 ~ j Br* Greetings readers. . This month, I feel its my duty to share a personal lecdote with you. Not because I want to. Not icause it satisfies me. It's for your own good, all THE ANECDOTE: So one night, a couple weeks ago, I went to this boy's house, hoping that after a little beer and a lot of awkward pauses he might want to make out with me. We're standing in his kitchen talking about people we know and I'm paying a little too much attention to how I'm standing and how I'm holding my drink, like that's going to make any difference now, like he's going to be struck with a sudden epiphany and think, "Wow, I thought she was a repulsive little troll until I saw how alluringly she holds a glass. I must have her, now." Things were going pretty well until, he announced that he wanted to watch a funny movie. He queued up the film and sat on the far end of the couch, chortling and snorting through the first half hour. I sat on the other end, aware of the 2 feet 5 inches between us, but more aware of the fact that I'd lost his attention, and the movie wasn't keeping mine at all. I got bored. A friend called my cell phone from Pat's Pub: "We're at the Hank and Lily show. It's going to be really good. You coming?" I looked at the TV screen and the way the light reflected on the boy's face. "Yeah," I said, "I'll be right there." Stepping off the bus, I felt a heartskip of glee. I'd saved my night from the lameness of being ignored. I was out in public; I could meet people and talk with them. I had resigned myself to a night without kissing, but I could find out about new books and bands, swap witticisms, hear funny stories I'd never been told before. I bought a cheap beer and greeted my friends a couple minutes before Hank and Lily hit the stage. Their exuberant swampditties, sweet costumes and strip-tease dancer fueled my social mood. I smiled at a few people I recognized from seeing at ©ther shows. They looked away. Weird, I thought. It happened again a few minutes later. "Is it me?" I wondered. "Do I have a disfiguring rash on my face or something?" My friends hadn't' mentioned anything. Maybe they were being nice? I looked in the large mirror near the stage (you know the one I mean). Eyeliner, coif, and teeth were ali in order. I looked like my usual self. I glanced from my own reflection to that the people standing behind . me. They were all either looking at their hair too, or staring at the ground. Every last one of them. My purpose in telling this unflattering anecdote is this: you people are going to die out if you don't start breeding. And I tell you, that is NOT going to happen unless you stop looking at your haircuts and -shoes and starting talking to each other. You may not realize it, but like the mighty Panda, the scenester is in decline. You won't see evidence of it now. You won't see evidence of it two years from now. But without a scenester generation to replace ours, symbiotic species like musicians, t-shirt makers, and one-inch button designers will also face extinction. An entire ecological niche is in grave danger. This Valentines' Day, when you're sitting all alone listening to depressing music, pretending you "don't believe in commercialized holidays," keep this in mind. Forget the haircut. Talk to someone. Breed like there's no tomorrow. Because if you don't, there won't be any tomorrow for the common scenester. You alone can act to save it. Thanks you and goodnight, Kat Siddle Red Cat Records 4307 Main St. HTTWIHI.CBK • IITTf lfiKfl0BT8.aM <**. 1972 West 4th Ave 604-738-3232 f » **w* New & Used CD's & Vinyl ph. 708-9422 * email buddy$redeaiea Riff Raff by Bryce Dunn My stereo spilleth over with 7" abundance ■ this month, and we've no less than ten (!) entries to pontificate and deliberate on, so let's get spinnin'l Our sojourn begins with a picture disc or two, and it's always a bonus when you get to make yourself sick watching the rekkids go round, IMHO. Scratctvlhat, let Mike Wiebe of The Riverboat Gamblers do that for you—he received one nasty gash to the hand at a show; it now graces one side of a new single w/ Electric Eel Shock. The RG's rock surprisingly *~at mid-tempo with a tune called "That's Entertainment!" that speaks to the average Joe about the spoils of rockin' so hard your hand nearly falls off; our Japanese friends entertain us with "Rock And Roll Can Rescue The World," which is a pretty lofty goal, but the trio aims for the rock funny bone and succeeds without going too over-the-top. There's some witty referencesto Van Halen and The Ramones in there, so I'd like to see what else these cats are capable of, and if they can indeed save our world with their lock and loll. (Gearhead Records, http://www. gearheadrecords.com). Belgian instro-beat band The Fifty Foot Combo deliver a visually stunning three-song affair that fans of exotica and the surf-styled among you will enjoy. "Jennifer Jennings" has a seventies soft-core soundtrack feel to it, while "Theme From F.A.C.T.S." and "Banana Split" are caught live and in the red for maximum drinkin' and dancin' pleasure. (Delboy Records, http:// www.delboyrecords.net). The aforementioned label is also responsible for a gear-grindin' new split 7" from San Franciscan heshers Drunkhorse, who turn in "Independent Type," a teenage anthem for a bygone era, and Belgium's bastions of boogie. The Feather, who sound a lot like Glueclfer, The Hellacopters et al., so if your guitar's loud and proud and your pedal's to the metal, then "Joint Of Lamb" is what you want to be chewin' on. Seems that since ol' Dubya has been officially been back in office, the music scene has been rife with protest songs, (and not in the folkie, flowers-in-thenr-hair type), so The Earaches decided to horn in on the action and record a garage-rockin' pissed off rant, about El Presidente called "Freedom Fries," expressing their distaste for the way they've been cut, deep-fried and eaten up in the disposable consumer culture called warfare. Pretty deep, huh? Well, thankfully on the flip, we can shake a little frustration out on "Too Hot To Taste" which gives Girl Trouble a run for their money, to be sure. (Steel Cage Records, P.O. Box 29247 Philadelphia PA USA 19125). Seems the kids today aren't just pissed off about presidents, but also the style-conscious and the TV-obsessed, so says Knucklehead. Calgary's answer to Social DistorHon-meets-Stiff LitHe Fingers punk rock deliver a brass knuckle or three to the "Cosmetic Youth" to get them out of the "Prime Time Reality" they're stuck in, and even though it's a "Long Hard Road," the boys have been round the block a few times to know that music sends a powerful message, so listen up. Sparky! (Longshot Music, PMB #72 302 Bedford Avenue Brooklyn NY USA 11211). The anger continues with Hong Kong Blonde, a powerhouse hardcore unit from right here in Rain City, who have a four song EP out for your consumption. Bringing to mind Poison Idea, Black Flag and other like-minded outfits, what's noteworthy of the four songs like "Hell Is Alive" and Knives Of Twilight" is the not the atypical "shout along with melody" style of hardcore, but instead more of a storytelling style that provides a little more depth, even if the songs themselves are a little same-y, with the exception of "Two Black Guns." Still, a worthwhile debut and if nothing else, a reason to support what appears to be a fairly miniscule local hardcore scene. (Ugly Pop Records, http:// www.uglypop.com). With all this hate, it's good to have something to make you smile once and a while, and The Suspicions fit the bill nicely with their debut vinyl. A lo-fidelity cross between Nikki And The Corvettes and the poppier side of the garage is how best to describe the tunes "We're All Wrong" and "Memory" off this record. The trio plays with spunk and seems like they'd be a fun band to catch live, and judging from their website, folks from Seattle to parts unknown will soon have that pleasure. (Nerve Wracking Records, 425 Bolyston Ave. E Seattle WA USA 98102). The Sultans of San Diego offer more stripped down garage pop on a recent effort for the crowds across the pond. Head Sultan The Slasher (aka John Reis, rocketeer from the crypt extraordinaire) churns out his patented guitar chops whilst Tony Di Prima kicks out the jams and Black Velvet soothes his fans with sultry bass action. "Walk Of Shame" is a speedy little number from their most recent full length, and they do an ace version of The Dlls "Blow Up" and an unreleased track "Permission To Bored." I would think our English friends would heartily grant this request. (Sweet Nothing Records, info@cargorecords.uk). We wrap up this extra helping of vinyl vittles with a double scoop of Francophone rock et roll, courtesy of Midnight Tramp and Skip Jensen & His Shakin' Feet. The former are a quartet outta Chicoutimi, with a refreshing sound that lies somewhere between The Long Ryders and Flaming Groovles. There's a great roots-rockin' feel to "I'm Back" and "Higher And Higher," but they infuse a sixties folk-punk influence into "In Spite Of Appearance" that doesn't lose any momentum and begs for repeated spins. (Zaxxon Virile Action Records, http://www. zaxxonvirileaction.com). One man band SJ fuses the blues. Back From The ©rave garage punk and hillbilly country into his four song EP, the standout here being "Take My Time" as it pounds and drags its hairy knuckles across the cave floor. He's got a whole mess o' trouble out on a number of different labels, but you can find this one on...(Delta Pop Music Ltd. 663 S. Bernardo Ave. Suite 113 Sunnyvale CAUSA 94087). Whew-what a stack o' wax that was, I be fully spent. 'Til next time, record houndsl D DiSCORDER - February 2005 Do It Your Own Damn Self stencils iy Georgie of the Seamrippers Craft Collective You will need: image: start simple, one colour, high contrast. card stock: not so strong that it will be difficult to cut but thick enough to hold its own shape. Think greeting card. scissors: sharp but not your sewing scissors... there are also scissors with fancy patterned edges that you may want for your image. Places like Michael's and most office supply stores have these. x-acto knives/utility knives: the more detailed the cut, the smaller the blade you will need. cutting mat: these are self-healing and stop your blades from going dull. You can get them from art or office supply stores but they are a bit pricey. Daiso in Richmond sells small ones (and everything else) for $2. hole punches (optional): there is now a wide variety of shapes and sizes that may enhance your image. Find them in large craft stores or places like paper ya on Granville island. metal ruler for straight edges. tracing paper: optional removable textile adhesive: most art supply stores will have this. It will hold your stencil in place. Very useful if the surface you are stenciling is vertical. pins: will hold fabric in place and flat but you may need something to pin it to. fabric paint (or other paint, depending on your surface); Michael's store carries fabric paint in handy pump spray bottles. Otherwise, most art stores carry fabric paint that can be thinned. Follow the instructions for airbrushing and use your own spray bottle. spray bottle: small ones are. available from dollar stores and sometimes from the travel-size section of drugstores. The stencil: This is a craft technique that can be readily adapted to a variety of surfaces depending on what type of paint one is using. The example given here is mainly for fabric but even this medium holds many possibilities. To begin with, choose an image that has one colour, no shading and a simple shape. You will want to decide whether you will be painting the positive or negative space. To transfer the image to your cardstock you can trace it on using tracing paper (just turn it over and scribble onto the back, transferring the image backwards onto the card.) you can also place the image over the card and trace it with a sharp, hard pencil. This will leave an impression that you can retrace over. There are also printers and photocopiers that will print directly onto cardstock and can then be cut out. Remember that you can make your image either way round and can change your mind at the last minute just by turning the stencil over. You can also use mylar or another plastic transparency as a stencil because you can easily see through it, but It is a bit more difficult to cut so you may want to start on cardstock. Cut as much of the stencil out with scissors as you can. It is The paint: easier on your hands and you will probably have more control. Take your time cutting. Its not worth almost finishing and then ripping your stencil. Although that is what tape is for. If the item that you are painting has to be pinned flat to avoid wrinkles or expose a hard to reach place. You will need a surface to pin it to; a piece of Styrofoam or a really firm pillow is good. (Make sure that whatever you use has been properly protected if you want to avoid getting paint on it.) Once the surface has been secured you will want to anchor the stencil. If you use removable textile adhesive you will want to spray the back and then let it dry a little. You can also blot the back so the area isn't too sticky. Adhesive assures that the stencil won'4 slip when the paint is sprayed on and also prevents paint from running under the edges of the stencil. You can also pin the stencil in place, just make sure that the pins don't overlap into the painted area. If your stencil is of the positive space, you will want to mask off around the outside edges of the space to avoid this area accidentally being painted. Fabric paint in spray bottles is available in a wide variety of colours. You can also buy other fabric paint and dilute Ihem yourself. When you dilute it don't add too much water as the paint may become more translucent that you expected. You will want to experiment with light colours on a dark surface as these can sometimes be unpredictable. Both types of spray bottles will produce a splattered effect depending " on how far they are held from the surface. Between six to eight inches should be good. If you are radically opposed to sparing the paint you can stencil with a brush. The best way is to get a round, stiff brush with short bristles (a stippling brush, available at any art store). The paint that you use should be very thick. Put a small amount of paint on the end of the bristles and apply them with a sort of stabbing motion. The ends of all the bristles should contact at the same time. You will have to be careful that the layer of paint is not too thick, or it will crack. Fabric paint is the best but regular acrylic paint can be used with fabric medium. This prevents the paint from cracking when it dries. You can also use an airbrush (costly and complicated, only invest once you have established your stenciling skill). Or you can use spray paint, but only outdoors. You must make sure that the layer is thin and it may not be machine washable. Fabric paint will need to be heat set. Once it is dry, use an iron on the highest setting that the fabric can handle. Iron the no painted side for a few minutes. There are lots of websites with information on stenciling but most of them are graffiti centred. There is some DIY irrformation on wv stencrlrevolution.com. With a little ingenuity, the information can be readily adapted. Stencilling can be applied for all sorts of different results. Experiment, have fun, and if you have any questions please contact DIY@seamrippers.ca. I Seamrippers is starting our new workshop semester on February 13th. For more Information or schedules check www.seamrippers.ca. the release party for the calendar is Saturday January 29th starting at 7pm. 436 West Pender (at Richards). This Is also the opening night for 'Self Love' the latest Seamrippers craft exhibition. Some of you may even read this In time... Knot come down anyways. theexhibit runs until February 16th. Call for open hours: 689-SEAM. j friday, february 4, 2005 a citr 101.9fm ALL AGES benefit Strut, Fret & Flikr SAY PARTY! WE SAY DIE! UBC SUB Ballroom tickets at zulu, scratch, red cat, noize and citr 8pm info at www.citr.ca by Penelope Mulligan THE BLACK RIDER: The Casting of the Magic Bullets November Theatre Tuesday 11 January Waterfront Theatre Arrghh... that nagging uncertainty over whether a problem lies in the piece itself or in the production. To be honest, I'm leaning toward the latter here, only because it's hard to believe that anything hot off the brain-pans of Tom Waits, William S. Burroughs and avant-garde theatre guru, Robert Wilson could be anything but stupendous. Still, I was nowhere near Hamburg when the original production opened in 1990, so have no basis for comparison—only the sense of having watched a tamed beast. Inspired by several incarnations of an early 19th-century German folktale. The Black Rider is an operetta whose narrative unfolds in a carnivalesque procession of cabaret numbers. The tale is ripe with allegory and is very Faustian: In order to win the hand of a forester's daughter, a city clerk must prove himself as a hunter. Striking the proverbial deal with the devil, he learns that magic bullets come at a tragically high cost. Edmonton's November Theatre delivered the piece with leering precision, but by about fifteen minutes in, I had to admit that I wanted to be liking it more that I actually was. There was something self-conscious and laboured about the performance, particularly in the opening scenes which were awash in strident singing, agape mouths and tensely-flexed feet. What should have been effortlessly macabre felt perilously close to cliche. Fortunately, the show gathered momentum as each of the marvelous songs took its place in the fable and individual performers revealed their strengths (the cast of six was usually strongest when not working ensemble). As the bullet-peddling Peg Leg, Michael Scholar Jr. was an iconic, seductive MC with a poignant limp; Clinton Carew was a powerhouse in his spoken word performance of "Crossroads"; and while Rachel Johnston was sometimes too "look-at- this" deliberate as the daughter Katchen, she had physical and vocal chops aplenty. In the role of office geek Wilhelm, Kevin Corey ended up stunning me with his drunken rendition of "Lucky Day" and an explosion of acrobatic skill. The show's music component was killer and it came courtesy of the three onstage musicians, Liz Han, Dale Ladouceur and musical director Conine Kessel. As "The Devil's Rubato Band", they gave accordion, bass, chapman stick, clarinet, percussion, piano and trombone a fearsome workout that would have had Mr. Waits himself growling with glee. In the end, there were enough high points to earn my heartfelt applause, yet I still came away underwhelmed. So what the hell did I want? More reckless, tumbledown insanity, probably. This Black Rider needs to lose the training wheels. D THE PLUGHOLE Until recently, I'd only had the pleasure of viewing one of Dylan Cree's films, so when the Pacific Cinematheque announced that it was devoting a whole evening to the Vancouver filmmaker's work, I played catch-up with a few video screeners and then invited him over for tea._ The most striking thing about Cree's oeuvre is that it's rude, explicit and at the same time, hilariously formalistic. He samples the conventions of transgressive cinema while taking the robust piss out of them. When I asked if he was actually somewhat attached to the very things he lampoons, he replied, "My films are constantly attempting to deal with interruptions". I took that as a yes. _ It wasn't surprising to learn that he's an admirer of Pasolini and Fassbinder, who hover over some of his earlier pieces—the former in the scatological ending of 1997's Perversions: 4 little deaths and the latter in the hideous family dynamics of vulgar...incomplete 'n yet whole from 1999. His most recent work, 2002's Of Pomology (from which the evening takes its name) is a hyper-literate send-up of academics debating pornography as a legitimate field of knowledge. According to Cree, the Cinematheque felt that his work would provide a bit of relief from "all that Swedish angst" on its current programme. Of course he's more that happy to be a palate cleanser. Of Pomology: Films by Dylan Cree screens Wednesday, February 23 with the filmmaker in attendance. Speaking of Swedish angst, the films of Ingmar Bergman will continue to glower at the Cinematheque until the end of February, so do try to inhale some of their depressing magnificence. Nestled among them is a mini-festival dedicated to contemporary Swedish filmmaker Roy Andersson, whose Songs from the Second Floor is a surreal howl of socio-political distress and one of this decade's most unforgettable films so far. He also makes commercials^-which are revered as art films that eviscerate the consumerist society that they're supposed to be serving. All this, plus his two other features and a pair of shorts will screen as APOCALYPSE ad absurdum on February 11,12, 13,19 & 20. Phone (604) 688-3456 or visit www.cinematheque.bc.ca for more details. DiSCORDER - February 2005 Textually Active Books Books Books Books Books Care of the Professional Voice D. Garfield Davies and Anthony FJahn A&C Black/Raincoast Books Singing and the Actor Gillyanne Kayes A&C Black/Raincoast Books I've decided to do a combined review for these two excellent works since they dovetail together so nicely. Care of the Professional Voice focuses mostly on theory and medical background information while Singing and the Actor takes you from theory into practise with various exercises to get the tone and quality you want out of your voice. Care of the Professional Voice gives you all the information you need (and then some) to understand the mechanics of how sound is produced. It also gives details of various potential problems and prevention and/ or treatment thereof. While its content may be primarily of interest to doctors, there is also plenty of practical advice for singers, actors and others who live off their voices. Topics covered include precautions and tips for reducing the impact of travelling on your voice; multidisciplinary management of stress and stage fright; special demands and advantages of musical theatre and popular music versus the classical world; how to match repetoire to the condition of the voice, especially as it ages and changes; dangers of overly high decibel levels in amplified music and how to protect your hearing and technique; issues of toxic chemicals in stage fog. pyrotechnics, and other dangers your voice teacher never anticipated warning you about; and the ubiquitous problems of the voice's interactions with medications, both legal and otherwise. This is just a brief overview—this book is absolutely packed with useful, and occasionally icky, information, most of which I hope I never need worry about. (Except, of course, for the travel tips. I do hope to require those in my career.) Singing and the Actor focuses on how to get the idealized sound you imagine you will have out of your brain and onto the stage. It covers most of the basics of vocal training, including developing range and different qualities such as twang, operatic, and belt. It also covers how best to learn songs, audition tips, and character development with the varying voice qualities. The aim is two-fold: a hands-on approach with several exercises per section so you learn by doing, and an emphasis on not just doing but feeling. Can you feel how your throat and mouth may shape themselves differently for different sounds? Can you replicate this at will so you always sound the way you intend to sound? To a beginner, this sounds insane, but if you apply Kayes' suggestions and pay attention to yourself, you will eventually pick up some of the subtle clues. It is worth noting that while her exercises and visualizations are great, there is some controversy about her suggestion that the cricoid cartilege moves, even if you think you feel it. This has not been shown to be actual movement of the cricoid, but may be a sensation originating in tendons and muscles surrounding it. That said, if visualizing the cricoid moving helps you get the effect you want, great. And if you have no clue what I was just talking about, get these books and find out. Certainly, texts like these are no substitute for a qualified voice teacher, but I did find them a useful additional resource, and I have noticed huge gains in the development of my voice in terms of controllable tone and clarity since I started working with Kayes' book on my own time in addition to similar exercise my teacher was having me do during lessons. Care of the Professional Voice has also helped me in terms of being more aware of some of my bad habits (caffeine, late night snacks, etc.) that may have been not-so-beneficial to my voice, and therefore cleaning those up. Highly recommended in both The Villain's Guide fo Better Uvlng Neil Zawacki (Illustrated by Bill Brown) Chronicle Books/Raincoast Books Well, now here I was thinking my depraved life didn't need improving much, but I figured why not? One can always use some new tips on dungeon maintenance and finding new adoring slaves. I must say, Neil Zawacki gives some excellent tips for all aspects of a wickedly good —er, I mean bad—life. Health tips, home decor, socializing, and conquering the working world (only as a cover in case anyone asks what you're up to, naturally). And he has such a delightfully devilish sense of humor. I simply must have him over for dinner. I especially liked his tips for getting on with the mortals - from using a dart board to decide which ones to fire, keeping the mobs from one's lair, to mind control. All very useful indeed. Also useful were the tips for keeping those pesky pixies and fairies out of the house—they're always sneaking around in here, and I was pleased to learn that there's a better way for removing them than the old fashioned broom method (which really just spreads them around differently anyway.) Now I have my choice of making pixie shish kabobs or simply poisoning them with brewer's yeast. And the art is lovely too, I simply must have this Bill Brown do some murals for my haunted chateau getaway in the Carpathians. One might say there's a problem with the mass release of this volume—if it were to get into the hands of the minions, they might seek to improve their lot and move up the corporate ladder and usurp your power. Be sure to use some necromantic invisibility charm so they can't read this book, or else make sure it's thoroughly secured in the oubliette. I am slightly suspicious how Zawacki got some of his tips, however—I suspect his spies stole my beauty secrets. (Damn pixies.) I mean, how else did they find out about the CSPAN trick for getting that sickly death glow? Really. Drake. Locas: The Maggie and Hopey Stories Jaime Hernandez Fantagraphics Books I dove into this beautiful hardcover collection completely unfamiliar with the legendary Love & Rockets comic series. Created by Jaime Hernadez and his brothers Glibert and Mario in 1981, it ran until 1996. Locas represents the bulk of the series, but despite its impressive size, isn't a complete collection. This volume reproduces the first fifty issues of the comic, which focus on the story of a young Mexican-Amercian woman, Maggie ChascamTIo, and her best friend/occasional lover Esperanza "Hopey" Glass. Outsiders in their own communities, the two girls find solace in the emerging California punk scene of the early eighties. The story proceeds in real time as the characters grow up together and apart. The early installments of L&R add a heavy scoop of pulp romance and science fiction to this premise: we first meet Maggie fixing rockets deep in a dinosaur- infested jungle^ Political intrigue, superheroes, and other classic comic book elements mark the first third of the book. As the story progresses, L&R settles into realistic, character-driven stories of life, love, and Mexican wrestling in Latin American neighborhoods. Surprising plot twists remain, though, and you never really know what's going to happen next. The artwork changes with the tone of the series, and one of the best parts about reading an entire series is watching this slow transformation. By final issues, Hernandez's visual style is gorgeously classic and adept, at no expense of expression, imagination or nuance. Perhaps even more striking than the artwork is the characterization. Hernandez treats his creations with love, intelligence and respect, and though the series throbs with all the conflict and heartbreak of a soap opera, the stories are presented with a deftness that makes them completely compelling. Selfhood . and sexuality are treated like dynamic elements of the characters lives rather than as "issues." Hopey, Maggie, et al are fully sketched out and reassuringly three dimensional: it's rare to see female characters so realistically rendered. I have to say that the sexy drawings threw me initially—I don't have much tolerance for the traditional male-penned comic book's view of women (as it's mostly boobs). But after reading the whole series, i concluded that the abundance of curvy female flesh didn't indicate a creeping misogyny. I even came to enjoy the cartoonist) sexuality of Penny Century. Reading L&R in one fell swoop, instead of issue-by-issue, is an intense and fully enjoyable experience. Don't shy away from buying it just because you don't know the comic: I have a feeling that this is the perfect way to get to know it. By the end, you'll feel like Maggie and Hopey are new old friends. D KatSiddle Images from Locas: The Hopey m a BY JAIME HERNANDEZ W^rm 'JUP: The Arcade Fire is one of those extremely hyped bands that people of a certain temperament will automatically disregard. In my humble opinion, however, this is one of the few instances in which the hype is justified. Their debut album, Funeral, is stellar (and Pitchfork's #J album of the year) and their Commodore show was my favourite of last year. The following is an abridged transcript of a conversation with Arcade Fire guitarist and percussionist Richard Reed Parry, conducted via telephone as he sat in a van, driving through Seattle, on his way to San Francisco. Some of these questions were provided by a DiSCORDER Montreal music scene informant. Hopefully his contribution made this interview slightly more interesting than the Arcade Fire interviews in every single other Vancouver newspaper. Questions about Howard Bilerman, Mormonism and Merge Records had to be cut to make room for pictures of insect heads, and this exessively spaced text. DiSCORDER: How's it goin'? Richard Reed Parry: It's goin' well. DiSCORDER: How did the Vancouver shows go? At the Commodore show, you said that it was your biggest show yet. Richard Reed Parry: It's true; it was by a couple hundred people. The Vancouver shows were good; the Victoria show was a disaster. tl was a disaster? I thought the baby Jesus saved it. Ha ha. Well, sort of. If by saved you mean ruined. I think a lot of people were surprised at the incredible response to you guys, selling out the Commodore— which is quite a feat—and Mesa Luna. Yeah, it's pretty crazy. It's surprising for us, too. I read that you signed to Rough Trade In the UK. How did that come about? They approached us and said they really liked the record. And the «bold2»Hldden Cameras signed with them a year ago and we're kind of mutual fans of the Hidden Cameras and I know they were speaking really highly of us. And it's pretty good cred, signing to Rough Trade. They're nice people. So they got wind of our record and they got a copy of our record. You joined the band in 2002? Is that right? 2001, 2002. 2002 I guess. Maybe a little bit earlier. You're also in the «bold3»New International ' DiSCORDER - February 2005 Fea (ie L'CLreaile QtGcide Fire by Duncan McHugh Standards... That doesn't exist anymore. Or you used to be. And you're in, uh. Orchestras des...Sorry I don't have it written down. [unintelligible] What are those bands like? How did they compare to Arcade Fire? It's quite different. It's instrumental. It's kind of chamber music meets, like, electronic music and jazz, or something like that. It's all orchestral and instruments. Is it true there used to be a big rivalry between the New International Standards and the Arcade Fire? [Laughing] No. We were really good friends. We use to go see each other play and then the New International Standards fell apart. And me and Tim [Kingsbury, bassist] joined the Arcade Fire and Jeremy, our new Arcade Fire drummer was in that band also. I notice you sometimes use the name Richard Reid Parry and sometimes just Richard Parry. Have you dropped the 'Reed' because of fhe Shoebomber? Was that a factor? Because of what? Because of Richard Reid, the Shoebomber, the guy with C4 in his sneakers? You weren't worried about touring in the States or anything? [Laughing] No, it's on my passport and everything. I guess some people don't write it or something. It's my real name; my name is Richard Reed. That's what my parents called me...People are like, 'What's your name?' and I'm like 'Richard Reed' and people are like, 'What?' 'Richard Reed' and they're like 'What?' so I'm just like, 'Richard.' Some people have suggested that you bear a tremendous likeness to Napolean Dynamite. Have you heard that? Oh god. Yes. What would be your response to someone who said: 'I caught you a delicious bass'? I haven't seen the movie. But people just tell me that. At every show there's somebody who tells me that. You're much, uh, better put together than Napolean Dynamite. [Laughing] Thank you. You have a music degree. Do you feel your music degree is being best served by banging some a bunch of drums and yelling? [Laughing] I didn't get, like, a music performance degree, I got a degree in electro-acoustics sound, which is, like, sound art. So, yes. In terms of electro-acoustics, they're being well- served by banging drums and yelling. I didn't go to school to have school tell me what to do and then go do it. I went to school to explore and learn and, it's like, through my whole schooling, still sven or eight times out of 10, my favourite music to listen to is still, like, pop bands. Someone wanted me to ask about [ex-Arcade Fire member] Brendan's departure from the band. Apparently there was a big break-up show in which a viola was broken. It's true. And someone wanted to know if that was staged at all, if there was any planning or if that was raw emotion. That was totally raw disaster. Raw disaster. And you weren't in the band at that point were you? Sort of. I played at that show. I wasn't performing at every show. That was when I started performing at every show actually. That was when we released the EP. I played on a bunch of the EP and then I came and performed at the CD release and at the CD release the band sort of totally fell apart. I played at all the shows after that, when there was no band left. Well, there was a band left, but it wasn't the band that it was before, it had totally fallen apart. We played a bunch of shows. What brought you guys back together after that? Well, it wasn't like being brought back together, it was a new band. Win and Regine were still at the helm of it, but... So, it was a very different band that recorded the EP. Yeah, it was different. Yeah. What are some of the differences between the old band and the new one? I don't know, it's more together. It was kind of a dysfunctional community back then. It's more functional now, for sure. So there haven't been any stage tantrums on this tour. Will [Butler, drummer/shit disturber] dropped me on my head at the Commodore show. Did you have a helmet on at the time? No, I took the helmet off, I was hitting it. And then I fell onto my head on the helmet and broke the helmet. Fuck. It wasn't even on my damn head. Awful. Were you okay for the rest of the night? I was okay enough to perform. I had a huge bump and cut on my head. It really hurts right now. It sucks. And what's next? You guys are touring and then what? We're going to take a little bit of time off. And then my other band «bold2»Les Orchestras is going to go to the Banff Centre for about a month. Then we're going to go to England, I think, and play some shows. You guys played one new song at the Vancouver show, are there a bunch of them? We have a few, a lot of incomplete stuff. We have two new ones we've trying out on this tour. They're not quite there. Any plans to go back to the studio? Yeah, but there's no date on it or anything. Anything you'd like to say to the people of Vancouver? Clean up your act. The city is in trouble. What makes you say that?. I don't know, there's a lot of people on drugs. At least you didn't get your equipment ripped off, like other bands do. That's true. Okay, well, I've got to get my haircut. Have a good drive. Thanks. Take care. D "Blown &vvaq bu Dandi (jt/ind Bv the lovely Miss Susv Webb ^ M It's great being among the first to write about an artist. You get to sound like you're cool and down with the scene, whether or not this is actually true. You get to interview them in person, and maybe even hang out. But most of all, you can make obvious puns with the band name before everyone else does. Such is the case with 2004 Shindig winners Dandi Wind. Hot on the heels of releasing their new EP Bait the Traps, I was able to indulge in all of the aforementioned perks. Dear reader, bear with me as together we ride the torrential force of... Dandi Windl (Ahem.) A Dandi Wind performance is an unforgettable event. Szam Findlay is dapper and reserved in a dark suit, competently manipulating his Korg and sequencer while contributing occasional backup vocals. Physically and stylistically somewhere between Bjork, PJ Harvey and Peaches, enrapturing vocalist Dandilion Schlase dances, shrieks and flails, each performance an impassioned, cathartic labor of love. Both band members come with a history in theatre, and it shows. On record, the music holds its own even without the consummate show. Made "with a few unpopular decade old synths, a single mic and a monophonic Pentium 2 soundcard," Bait the Traps fuses industrial, IDM and rock, striking a satisfying balance between unpredictable rhythms and delicious melodies. Dandi's vocql style flies above it all, reminiscent of '80s new wave greats like Lene Lovich, Kath Bush or Lora Logic. At this point in their career, Szam and Dandi are still obliging enough to invite a humble local writer into their private digs in the north-east of Vancouver. Dressed in a one-piece '80s short-suit number, Dandi ushered me graciously into a spacious studio. I was impressed to note that her wild on-stage steez is not a stretch from her everyday loungewear. The live/ work space was stuffed with their tools of one of their many trades: selling clothing on the internet. While we chatted they jumped up more than once to show me items of interest, ranging from a set of buttons about eating meat (Szam: "Here's a really cool one: It's two people with aerobics outfits on, and the guy's holding a tray. He's putting a fork of meat in her mouth! Its totally new wave."), to Dandi's current sculptures (gleefully ghoulish heads, self-contained in glass- topped wooden boxes), to Lene Lovich's 1978 record Stateless. As we talked, Dandi Wind revealed an Industrial aesthetic. Vancouver electronic-rock greats Skinny Puppy came up more than once, as did plans for a "MirtSry-inspired" record after their upcoming fuit- length release. White their music strikes a balance between heavy and dance, Dandi Wind's lyrics reveal an underlying darkness. Szam told me that, "We have some songs that are political, but only in the sense of day to day life inspiring us to feel something politically." Of course, the sights and sounds of life in Vancouver's eastern harbor can be depressing. From their new EP, "O Todo o Dia," depicts the suffering of low-wage laborers, and "Ms. 45" describes a sex worker killing her clients ("Thanks for letting me fulfill a dream / Watching you beg is such a scream / I've always wanted to use my crossbow / To kill a John like , you driving by real slow.") While Dandi Wind may be newcomers to the local live scene, they are old hands in the world of art and creativity. Szam has been playing piano and writing music since childhood. As he told me, "I've always been creative, but it's not hereditary. My parents don't even Dice music. They put me in piano lessons. I did ice-skating, I did swimming, and none of them had any influence on me, but I liked piano. I hated the lessons, I hate playing transcribed music, but I enjoyed making noise." According to Dandi, "I had an alternative childhood, and worked on lots of stuff with my dad." Like her father, Dandi's first and eternal love is sculpture. While she studied at Emily Carr, Dandi created a series of elaborate sculptures to accompany Szam's music. They were photographed and included as the artwork for his 2001 release. Die Hautfabrik, (translation: "Skin Factory") released on UK-based Resonant Recordings. Following the record's UK release, the BBC's Colin Buftimer wrote a lengthy and poetic review: "Melodies appear to be always on the edge of nightmare: as the Golem escapes the rabbi's servitude to spread fear and chaos, so does Szam Rndlay's music threaten to run amok into dischord. The photographs on the CD booklet appear to capture inbred plantlife, effigies erected by superstitious peasants far from big city 'civilization', folk memories of the victims of natural but inexplicable disasters." The album received attention from The Wire, All Music Guide and Muzik, but not much local coverage. While the response may have been disappointing. Die Hautfabrik firmly established Szam's solid musicianship. The current EP is a teaser for the upcoming full-length, which will contain other songs recorded at the same time, as well as several videos. The film for "Another Side Effect" on Baft the Traps features Dandi in one of her trademark leotards stumbling through an alleyway, eventually collapsing, vomiting blood. We can only imagine what the future will hold! Other long-term plans include "an album of synth covers of Canadian pop songs, from Skinny Puppy and then more and more obscure from there." Dandi mentioned an album made with all hand-made instruments, and more collaboration wtth other musicians. In the very near future, I predict tours, record, sales, and many more articles about this fledgling band. I also predict that they wiH get very tired of articles titled with lame-ass puns ("The Dandi is Btowrn* in the Wind." etc.). D Do yourself a favor and check out their website, www. dandfwfnd.com, for glorious photos of Dandi and snippets of their music. "O OJ |i i ABOUT THE ARTIST h i 3 Si MI ill 111 Hi iz ail i ill ft III 3 S a % 2 I c « if o 5" q 13 8 Q I S oil- o«g l!l ff III lilN I Ml1 til !■ as||f «8lH §1681 S§ 3 • f •=§ si fya *£ IkJyyl II ^ fa w ^ '^ ?S fi it Ii 1 f?ki! I! + PIS ii I© n| il fa hi I* I If CR ^J CW •o> 8-^ irfsii "• § as-s ^rHi! -n m DP D C > 33 o o D m 3D ro ls5 ^1° o>3 8- Off a Sgf ^ O 3 5< O D 7 > 5<? i^>CTg>y»2?oo2 Q. 3. 3j 9 r* ff s- g JT s x^»a |tf «5 O 3 "" 3 -8 % H5 § s-f-f •IPS- (D q <D Q O |-ial 2 I i 00 1 z. a 3 O HH W m 00 H 5 W D D HH a H H 3 HH O r o ci 00 fe 1 o C fi) < O CD CD 35 o fi) CO "U O CD fi) .; By Ben Lai An old DiSCORDER editor, Merek, once said of Gangbang, "I quite like the idea that the best band that I ever saw in Vancouver was a band that was intended as joke (or at least a band that didn't take themselves seriously). Most unintended things normally turn out great- it's the intended things that turn to shit." Gangbang have been the darlings of the local music press ever since their first gig at Ms. T's about two years ago, and for good reasons. No one wffi argue the fact that they write unbelievably funny, catchy songs, but it is an art to be able to deliver these lines on stage in a charming and non-gimmicky way. People should laugh with you, not at you. It's a fine line to tread and they succeed admirably. One snowy Vancouver night, I spoke with the two very nice ladies of Gangbang, Andie Maddalozzo (vocals, guitar) and Sarah Campbell (drums, vocals). Be warned: while there will be no talk of excessive copulation or extreme hairstyles in the following interview, there will be a brief mention of Wil Sasso at the end. DiSCORDER: How did you get started? Sarah: Andie and I worked together. She and Reggie started to write songs, and then I came aboard pnd put some beats to them. Then they added Taunya, Jen and Rory. And then we decided to strip it down and make it two. Andie: Due to circumstances, but then we liked it. So we kept it. Circumstances? Sarah: Everybody went on vacation one night when we had to play a show. We wanted to do the show, so we decided to do it anyways. Andie: We don't say no to anything. So after the show you thought "Oh, this Is way better?" Sarah: Well, it wasn't necessarily better. [Laughs] Andie: It wasn't much worse. It was fun. Challenging, but in a way easier, because when you don't know how to play, not having to coordinate with anyone is way better. You are your own team. Sarah: We can just go for it and not worry about being in tune with anybody else. Andie: I don't even have to tune my guitar. It rules. [Laughs] Was there any drama or resentment when you let the rest of the band go? Andie: Not really. Sarah: They understood. It didn't have anything to do with them, of course. It just felt right. Andie: It kind of just kept going like that. We booked so many shows; everybody saw that we were a two-piece so they were booking us as a two-piece. I have to ask, I guess-^where did the name of band come from? Sarah: I had nothing to do with that. Andie: Me and Taunya drank one bottle of wine each one night. She was like, "You know what would be a good name for a band? Gangbang!" and we were like, "That's awesome!" DiSCORDER - February 2005 _t%^ '" Your album is doing really wen at CiTR. Who did It? What's the story? Andie: Chris Dang {from] Depth Charge Studios... He's so cool. We did [the album] in three hours. We were like, "Don't spend too much time on it." He did everything pretty much in an hour after that. All the mixing and producing. Did Chris come to you? Andie: I've known him for a while, so he offered to do it. I was giving him free haircuts for studio time, but now he shaves his head, so I should give him some money. Chris if you read this, call me and I'll give you money. [Laughs] How many copies did you make? I see that they are CDRs; you did them on your computer? Andie: Yeah, whenever someone wants one. People email me for them so I just bum them. We burned 50 to start. I don't have any money, I don't know how bands can afford CDs and stuff. You mean manufactured CDs? Do you think that would make a difference if you have a "rear CD? You think people will be more willing to buy it? Andie: No, but it wouldn't be as irritating. My computer doesn't work so I have to find people's houses all the time and burn [the CDs there]. And buy CDs from Future Shop, . Sarah: You know I have a CD burner. Andie: Yeah, I didn't know you did until today. [All laugh] Sarah: I haven't been doing my part. Andie, you drew all the different covers too. I have the hockey one. What other covers are there? Andie: There's Ninjas with Attitude, Keeping it Riel... Oh, Chucky Nufs, a peanut driving a car, that's personally my favorite. One that people really like is the one with the mime in the front and it's called | Hard Rockin' Gentle Talkin'. Are you happy with how the album turned out? Andie: I don't know about you Sarah, but hearing [my] voice on recording was disgusting. I sound like a fat prepubescent boy. I like Sarah's voice a lot though. She can sing. Sarah: I sound like Jewel. Andie: Like Jewel on crack. [Laughs] What do you sound like to yourself. In your head? Andie: I sound way hotter inside my head. Way hotter. Sexy. Sarah: You're a sexy prepubescent boy. [Laughs] Your songs are really funny. It Is hard to come up with them? Andie: I don't think there's a serious bone in my body. Sarah: There isn't. Andie: I want to be all gay and happy. I don't want to be sentimental or anything, there's already enough of that. 1 don't like depth and meaning, although it's not a bad thing. Sarah: It's just not you. It's safe to assume that none of the songs are real life stories and experiences then? Andie: None of it. Except for the one about the robot. [Laughs] I think it'll be weird to put anything personal into it. I'd feel very , uncomfortable if I did that. Sarah: I think the hardest thing is to put your personal thoughts into music. Then everyone knows what your feelings are. Andie: No one needs to know that. People should be there to have a good time, not feel my pain. What's the Chinese Song about? Andie: That's all the words I know in Chinese. My friend Alan gave me a few Chinese catchphrases, and then my friend Jermaine gave me a couple more. What do the phrases mean? Andie: I think Alan's was "Why are you so ugly? Why are you so homy?" and Jermaine's was "Why are you so stupid? Why do you smell so bad?" or something. , So they thought these would be useful phrases tor you to use In the future? Sarah: Really eh, who's she hanging out with? Your songs have a fair amount of swearing In them. Have your parents heard your music? Have they been to your shows? Sarah: My parents did. My mom liked it a lot, but I don't think she got it necessarily. She was dancing. She wasn't very happy about the name choice. Andie: I didn't give my parents my CD ... when [my dad] heard our radio show with you he was like, "Blah, why did you have to use those kind of words?" ... As far as my dad's concerned, we don't even have a CD. Do you have a favorite place to play? Sarah: I really like the Railway. Andie: I know we've had bad experiences at the Lamplighter, but we've always play good shows there. Bad experiences? You mean the Infamous Wil Sasso incident when you played with Unclean Wiener? Andie: Well, that guy broke Sarah's ankle. Sarah: He didn't break it, just sprained it. It wasn't WD Sasso. It was one of his lackeys. He was unplugging the amps from Unclean Wiener, and somebody tried to plug them back in, and he started beating him up. I happened to be standing next to him. I got knocked over and got beer poured all over me. Twisted an ankle and I had to play. .What were you thinking when that stuff was happening? All those drunken idiots from Wil Sense's posse screaming at Unclean Wiener? Sarah: I was kind of worried about how they're going to accept us. Andie: I got really mad. i just wanted to go up there and have them hate me. You know what I mean? Hopefully that kind of crap doesn't ever happen again. Have you ever been heckled in any extent? Sarah: No. We should though. D Gangbang win be playing at the ANZA Club February I Ifh and the Railway Club March 3rd. eone By Mike Barrow With each passing year the boundaries of hip-hop become more loosely defined. Artists have been experimenting more with the medium by incorporating different concepts that transcend the "beats, rhymes and life" aesthetic that has been the backbone of most hip-hop music for so long. The collectively owned Anticon Records has exemplified this genre-transcendent qualify since its beginnings in 1998 when co-founders Sole (Tim Holland) and Dose One (Adam Drucker), after fruitlessly distributing their demos, decided to form a collective record label of their own. I had the opportunity to catch up with Adam "Dose One" Drucker (of Themselves, Subtle, and Clouddead) here in Vancouver (the city he now calls home) to discuss his beats, rhymes, life, and side projects. Discorder: Where were you living before you came to Vancouver and why did you choose Vancouver as your new place of residence? Adam: Oakland [California]. I lived there with everybody from Anticon, pretty much. But my girlfriend of over two years is here. She was in Guelph so she moved out here and so I moved out here to be with her. What's up with fhe hands and arms in the artwork for the Subtle record? I just totally got stuck on it, I realized I've always been a body mutilator in low-key nervous child ways. Fingernail biting? Yea, things like that. I realized that there's something about taking the whole arm off, thoughts about wilted suicide at a ripe age. Because it is about winning when you're quitting. Quitters win: quitters get rest, quitters get to fall asleep on the job. I just realized that there was something about giving the whole arm. I'd like to see myself give the whole arm in this. Instead of slitting your wrist you just keep going, you give the whole arm and finish life with one arm, strong. And you've actually spent that much of yourself on something, it seemed very relevant to me. Subtle has remixed a track for Beck and now there are rumours about the possibility of being Included on a tour with him. It's up to him, if he wants to put us on. He really likes us; it's apparently one of his favourite remixes. We'd love to tour with him but y'know, he's on a massive label and if they want to pick us I don't know how that goes. But the remix was a blast. Is that remix out now? That's coming out on his release first in early spring. Then we're [Subtle] gonna put out this Plus CD with all our other mixes that are on vinyl that we are just putting out. Mike Patton did this all a cappella thing. We did an instrumental of "I Heart LA.."with Hrvatski playing guitar. "Swan Meat" is sort of the end of "A New White," the last song on the record that's not on the record—we're putting it out as the last single. There's a remake of that that's JO minutes long with Andrew Broder from Fog doing all the vocals and he re-wrote all my writing kind of in his own way. That's "the long vein" remix that Patton is working on. Are you in contact wtth Mike Patton at all, are you guys going to try and get some more stuff happening? Yeah. The reason I met him is that he's doing this thing called Peeping Tom and he has all these producers making sort of his adapted rap. So it's got Jel and Odd Nosdam doing beats on it and pther people also. I did some vocals that Jeff [Jel] and Nosdam are doing and 1 did this Fresh Prince cameo verse and a couple other verses. We're gonna work together, we're very similar. A lot of what he's doing is very inspiring, just as a person, because he was thrust out to the world and he was successful-and-then he made the most of it for himself and now I see where he is. So I think it's really interesting to meet someone like him. n Lex Records. Why didn't Subtle's latest album "A New White" Anticon handle it? Subtle is almost four years old now. When we started doing Subtle, Anticon didn't have the space for it and it didn't have the space for Anticon. Would you say that Lex is bigger than Anticon? No and yes. I don't think that it's really relative. But the funding is healthy and there're opportunities to open up different avenues that I think add to Anticon. I've enjoyed very much stacking their expenses so that they are interested in pushing the record. It's good faith and it's good music, which is the bottom line for me. Has Lex been able to back you wtth more money for recording? A little bit more, but not so much. Anticon could do the same but then I would feel tike I was asking a lot because it's my collective. It's heavy. It involves me asking for a massive amount of money from a stockpile that my best friends and favourite artists all draw from. So Anticon is totally a collective. If you are taking money from Anticon to put Into recording you're reducing fhe amount available for someone else? Right. And I think it should be an even and healthy distribution. Something felt healthier and more even about putting Subtle where there's room to develop. It's not an overwhelming amount of money that I'm privy to at all, but I'm really into the jump in size. If you're not going to hand me a tree that money grows on, I'd really like a little Chia Pet that I can grow. At first I thought it was just my luck, like, "I can never win at anything." There're aH these elements to my personality that are still that. But then I realized it just the pace that I'm comfortable with. It's working on a lot of art all the time and then my progress with success and the world is aMhfc buffer distance. What about selling up an Anticon studio? That'd be cool if we did that but it's better off that people invest personally in their home studios and then one day when you have a little bit more of a home that you own you stick a room on it and put your home studio equipment-in there. Having a home studio is a very elaborate exhibition of "I make music sometimes" unless you're scheduling time in it. Are you ever apprehensive about lyrics? Do you ever write something and go "shit, that's a little much." Everybody has their own way of letting in weak unfortified thoughts. Thoughts that don't have a form, that can't stand alone. You can't hit it all, when you first write it down, so you have all these lines that are in the stages of weak and in the throes of being great. The earlier stuff was a lot like that; I smell it on all the other writers out there. That's why I like or dislike any music: it's the lyrics. What really makes me love a band is good lyrics and what really quickly makes me hate a band is non-existent mumble. ' You wouldn't say you're concerned with alienating listeners then? I don't know. You kinda alienate yourself when you listen to fuckin' music that's like [sings] "in the summer when love is shining." If you see someone rockin' to that in their convertible, it's like nowadays you can honestly judge someone when they're eating at McDonald's. You look like you're full of shit, you probably feel like you're full of shit. But I also don't want to judge all these people. It's relative, it think, all that stuff. I've heard you refer to your music as masturbatory. is that still relevant now? I don't know. There's a truth to that, but that's like saying it's self- indulgent. All things are. We make music selfishly, the pace of our music is dictated only by our own concerns, palates and aesthetics, and by what we know we've done before. That's a very selfish way to make music; that's why it's not under everybody's Christmas tree. It remains built in this peculiar way, it goes places that maybe you don't want to go. It's highly fashioned in that sense, and so it's totally masturbatory. Clouddead, and Themselves to a certain extent, seemed to have an affinity for odd Items. Lots of blenders and ambient sound—the subtitle for "You Devil You" is "Bang on Shit fill it Sounds good." How important has experimenting with sound been for those two projects and other projects in general? Well, I'm finishing a solo record, like a Slow Death II, of all my own production and stuff... It's still very much "Bang on shit tiU it sounds good." It hasn't changed too much. We don't have great • equipment and we have big ideas... A lot of times our best ideas come out of humour and jerking off together in the same room. Especially "You Devil You." When we did that song we were fuckin' going nuts, it sounded like shit and then Jeff [Jel] starts playing the sink to piss me off because I was trying to record something. And then alt these things start sounding good and he moves a mic and we record aH this great shit. It's always like that... It's a lot more human, it's a lot more errored. D Subtle's latest record A New White is out now (www.fexrecords.com). For all other things Dose One. visit www.anffcon.com. epitaph.com • sagefrancis.net Blame it on the mash-ups: where differing styles are woven together to create something familiar yet new. They're even showing up on MTV, with big time acts like Jay-Z and Linkin Park put head to head. Which leads one to ask, what if you had a mash-up between the Foo Fighters and The Beach Boys? What would that sound like? It might sound like Marianas Trench and their blend of melodic alternative vocal rock. This Vancouver band took a moment from their December recording schedule to sit down With DiSCORDER for a chat in their chilly downtown rehearsal space. Though it's not technically a soda-pop, bassist/ vocalist Mike Ayley says their sound is "like Pepsi but more like Pepsi Twist. It's Rock Twist." Lead vocalist/ guitarist Josh Ramsay takes another approach and describes by what he would like to be known fon "It's punk rock, meets rip rock, meets tons of vocal rock like Queen and the Beach Boys." Vocal rock? It's not a term that's thrown around a lot on playlist categories these days, but then, what other band can say that they all share the same high school choirboy pasts? Oh, they don't don gowns like the Polyphonic Spree to display their vocal roots, but at concerts, they've been known to treat the crowd to an a cappella ditty or a little "Good Vibrations." Josh unabashedly admits that, "at the heart of every band, there's a band dork somewhere. And I'm a band dork AND a choir dork." Once a choirboy, always a choirboy; the group continues to take voice lessons to maintain their tight harmonies. Marianas Trench invests this time and effort into their voices in the hopes that this will set them apart from the rest of the music scene. Drummer/vocalist Ian Casselman believes that "[the vocals] sound like nothing that's out there right now." Ramsey adds that "it is all real—live, not fake, not digitally doctored—so it's got a real live, good energy." Their first full-length album will be released this spring by 604 Records, the large indie label owned in part by Nickleback's Chad Kroeger, and home to local gloom-stars The Organ (speaking of strange musical Mash-Upsl). Though they've only recently been signed, the band isn't overly naive about the business. Josh's lyrics already reveal some frustrations with the music industry. He explains the song, "Shaketramp," and its chorus "slap you like a bitch and you take it like photo Patrick Blaeser a whore." He explains, "I was feeling a little bit like a sell-out and the idea was not like "bitch" as in girl or in a hip-hop 'money on my mind, and my bitch is on my money' kind of way. It was more like I felt like a whore, 'cause I was whoring out for the industry and being somebody's bitch, more like in a prison kind of way...I dealt with it by writing that song." But they're happy with their producer, former Matthew Good Band guitarist Dave Genn. Keyboardist/guitarist/vocalist Matt Webb can't believe that they get to work with "somebody I personally look up to and have looked up to for a long time." Josh believes that Genn's influence will help Mat Webb's playing skills "become godlike...or Genn-like anyway. [He] is really an artist-friendly producer so we're gonna sound like a band and not just cookie-cut and mechanically perfected in a computer." There's more to the recording process experience than just turning knobs, and Ian feels that "the band has a sound right now whereas before you're always trying to find your sound." Not being rushed in the studio. Josh says the band is "taking time to get the right takes as opposed to the other school of recording that's happening now [which is] just recording on the first take and that's that and you digitally fix it all." With the release of their first official album on the horizon, there are other "firsts" that the group is looking forward to. Josh, deadpan shared this wish: "I'm hoping to lose my virginity soon." Other definite "firsts" for the band include the filming of their music video for "Fix Me" and soon after, a national tour. If they had it their way, Marianas Trench would have a tour that incorporated everything. Josh proclaims, "I wanna get a tour bus but not a normal one...I want it to be painted in rainbows and say, 'Reading is fun' on the side...we could give out books to people after shows and stuff. Like copies of Hemingway and Steinbeck...but as a pop-up book." Talk about promotion mash-ups. Sadly, this is just initial brainstorming. At least, the long days of tburJng,ahead shouldn't be boring. D Cfieckoufwww.604records.com for Info on Marianas Trench's official release and tour dates. DiSCORDER - February 2005 Charts Beginning with January "Long Vinyl" Continuing into a second column of "Long Vinyl" m Artta Recording tqtMrt. 01 Vancougar*+ s/t Indie t&& Gangbang** frfeotturrO' Indie 03 Bel!a*+ pretty mess Hideout j&Sj Bakefite*+ iS^^SMSi Sound Document 05 PHiHip Jeck/Jara kSchaffer songs for europe Asphodel Guitar Vfolf foveroe* " Namack " 07 Doers*+ ready set...do Red Cat 08 Stars' set yourself onftre Arts and Crafts 09 Lesbians on Ecstasy* s/t Aliens fS*" The Go! Team thunder ilghtning strike * MerrphsfrtdusMes Red Light Sting*+ The Radio Dept. Neko Case 20 Negativtafitt heifer stupid Seetand 21 Black Mountain*+ s/t SecretyCanacBan ^fCT ^^^^^^M on unsert letter vinviRepubig: 23 DACM stereotypie Asphodel 24 Canned H«1»^^^ erotic thriller Pro Am 25 ' Tussle Uingklang Troubleman • H * T*e:* ; ^TiE2^ Com,efc*^"?! 27 R.LBurnsfcfe.: a bothered min Fat Possum •fti .-•.The. Cape May* cerstrat cfy: may riseagain Catch and Release*^" fe; 29 junior Boys* last exit Domino 30' Ted Leo cmaW*Pharmacists ||3j|fcp the sheets 1SSS9HE3 31 Connecticut** moss Dehausset 32 ■ 3t^fti83 rendezvous JetSet 33 Three Inches of Blood*+ advance and cc nq jer Roadruhner 34 -lilliRSJ foliage Cognition Audtawom^^ 35 Elevator* august bluefon aH these interruptions * INDICATES CANADIAN CONTENT And Ending with January's "Indie Home Jobs" 01 Raised By Wolves EP 02 Fun J 00 "Greatest Hits" 03 WPP "he has the technology" 04 Mitchell Bedermon "Addicted to E" 05 Gangbang "Keepin it Riel" 06 Vancougar "Demo" 07 The Tomster "Haa lah lah" 08 Joey and the Instapunks EP 09 Mandown EP 10 The Mockers EP -find I {f\9 ^pip 4><f LukJi Rims*Cf -"«*%*«• Hell of Shows Live reviews, some pictures, occasionally a pseudonym? SwHchfoot Acceptance December 06 Croatian Cultural Centre The glory that is known as the "all-ages" show; many people talk about it, seldom people attempt it. After a summer visit, SwHchfoot returned to Vancouver for a sold-out show at the Croatian Cultural Centre. Oh, the humidity. Big props to anyone who can survive a sea of sweaty, hyper kids. Someone must be eating his/her vitamins or hormone-injected produce because it was hard to see past the towering heads on the floor. Acceptance had the golden opportunity to open the show. It was fitting since they're living the . teenage-angst mantra that a lot of emo-punk-rock outfits are wearing out these days. Live, the guys gave off a pretty polished sound and the majority of sounds were catchy. They had the hard guitar riffs, and the vocal styles ranging from raspy vocals to can-you- hear-me-shout? choruses. Acceptance even showed their softer side by playing a rock staple power ballad lead by keyboards; this prompted lighters to be whipped out and a question: how young are the kiddos smoking these days? The lead singer was- pretty energetic and the drummer pounded out the tunes. The band managed to keep the attention of the crowd for their whole set. They'll be sure to be on the Much Music rotation faster than you can say George Strombolopogus. [sic] And on the 6th Day, God created the concert. Okay, so He didn't, but promoters have learned that if you book a Switchfoot concert, they will come. The band certainly has a faithful and devoted lot of fans; no other concert could fill a parking lot with a church school bus. Not sure what to expect from a Christian rock band, the sushi waiter that served the group earlier said it best, which lead singer Jonathan Foreman shared with the audience: "Rock first". And they did. Switchfoot opened with a bass intro and guitar pedal effects, fit for any Radiohead fans, which segued into "Ammunition", a heavy rock smasher. Most of the setlist was taken from their latest release. The Beautiful Letdown like the slow-burning "On Fire", to older songs like the energetic "Company Car". It was nice to see the band alter songs especially the radio hits; the hard metal-like outro from Beautiful Letdown merged into a harder version of "Meant to Live". "Dare You to Move" featured playing around with the vocal timing but that didn't stop fans from joining in. They debuted a few new tracks like the tamborine-happy "Easier than Love", but the songs that had the most impact during the show were the slower ones. The highlight of the night had to be the much- requested number song, "24". Foreman appeared solo on stage with just an acoustic guitar; his only backup was a lone stage spotlight aided by cell phones display lights and lighters to light up the simple-but-moving song which the crowd lovingly sang along to. Plain and simple: Switchfoot is very appreciative of their fans. They would bend over backwards to play song requests they don't normally play like the poppy Everclear-sounding "Like Everybody Else" during the encore. Foreman would take every chance to stand on the rails to be closer to the crowd and hold up the mic stand to amplify all the voice's singing along. By the end of the night, it was a teenage wasteland of happy souls, ready to take on a brand new (school) day. £m/7y Khong Jimmy Eat World Smooth December 07 Commodore Ballroom The only thing that could have toppled the crowd's excitement over Jimmy Eat World's sold-out appearance at the Commodore tonight was if school got cancelled for the rest of the year. DiSCORDER - February 2005 No one seemed to know who the opening act was. When two young girls, barely 12-years old, walked onto the stage to take their respective places behind the drumkit and keyboard, it looked as if they had taken a wrong turn on their way to the mall. It wasn't until the duo began playing that we learned what Smoosh was. They had a mature sound, taking cues from quick '80s New Wave dance tunes. The drummer seemed to use the same drumbeat for more than one song through, which 90t tiring real fast. The vocalist's thin voice wailed over her manic keyboard playing. The only times where the group's sound became childish was during the pseudo-rap numbers, but that didn't stop the audience from happily singing along to their choruses of "yo, yo". The girls were given a lot of support, ending with cheers for an encore. Here's proof that not everyone grew up listening to Britney. The kids are alright. All the pent-up energy (and fake IDs) was reserved for Jimmy Eat World's arrival. As soon as the band came on, they wasted no time and tore into "Bleed American"; it was no talk, just rock. There was just a little chit-chat in between songs and quips of songs like "Beautiful People" were thrown in for fun. The band got through almost 20 songs, featuring mostly tracks off of their latest release. Futures. One of the night's finest moments was the title track; its crowd-friendly chorus and catchy melody was hard to beat. Vocalist/guitarist Jim Adkins was the ying to vocalist/guitarist, Tom Linton's yang. While Adkins was drenched in sweat from frantic playing, Linton was perfectly cool, standing his ground. It seemed like nothing could calm this crowd down. The band changed the pace with the crowd- pleaser, "For Me This is Heaven", playing a more rockin' version but keeping the bittersweet lyrics of "Do you still feel the butterflies?" intact. These teenage anthems had massive live sing-alongs that rivaled the Death Cab for Cutie crowd. Other highlights included the slow, moody "Polaris" and "Get it Faster". The latter had a great spacey reverb guitar intro, followed by pounding guitars and spitting vocals. Major moshing and crowd surfing ensued. Kudos to the dude who rushed the stage to hit the drum kit cymbal, then tried to escape security by diving back onto the floor, to un-open arms. That scene was taken right out of a movie, complete with the pause of silence and the singer saying "he's alright". The band was in the holiday spirit of giving because they gave out treats like the hit single, "The Middle", and the appropriately timed "Last Xmas" but without the campy sound. They touched upon some older material like "If You Don't, Don't" and "Sky Harbour". After chants of "Jimmy", they played a wicked 2-song encore of opposites: "Pain" and "Sweetness". The harsh dueling guitar riffs of "Pain" demonstrated how strong their new material is live. "Sweetness" was oh-so-sweet with Zach Lind's mad drumming feeding off of the deafening crowd. The tire-laden floor got a massive workout. There must have been some good girls and boys at the Commodore 'cause Christmas came early. Em/7y Khong Swayzak Matthew Dear December 08 Sonar I haven't been to a show in a while. Ask me six months ago, and I could have told you about a number of shows I would have seen on any given week. My absenteeism from the Vancouver live music scene is due to many not-worth-mentioning factors, the most significant of which is that post New Forms Festival, there hasn't been too many significant electronic shows to see. To be honest, the last two electronically- inclined shows I saw in 2004—Books on Tape, and yes, Swayzak—both landed in the shoulda-stayed-home- and-contemplated-my-navel category (although the line art of Olo J. Milkman's at the Books on Tape show was definitely noteworthy). But I'm supposed to write about Swayzak, aren't I? The date was December 8th, and as far as I was concerned, the bill was a double line-up with minimal techno darling Matthew Dear. For me, the venue. Sonar, was a bad omen to begin with. If you've never been to this bastion for suburban kids and (on this particular night) place for aging electrona-hipsters, then you're in for a night crapper to say the least. Imagine a place with the maze-like feeling of an Escher painting where you end up walking around looking for but never actually seeing the people you came to the gig with until the night has finished, and you have the not-so-pretty picture of one of Vancouver's "premier" bars. Determined to have a gay old time despite the venue, the night started off well. In case you didn't know, Matthew Dear is riding high on critical acciaim, not to mention being the darling of one of North America's hottest electronic labels. Ghostly International. Basically, think Warp records if they didn't get crappy post-millennium and you have Ghostly. Matthew's set was as expected: a nice mix of minimal techno with electro elements thrown in for good measure. If Matthew decided to give the Swayzak clan the middle finger and worked the Techniques all night, I would have bought the man a drink or five. Unfortunately, Matthew was finished all too soon. Swayzak are one of those groups who have ' achieved legendary status but perhaps need to. throw in the sampler. With their genre-mutating (tech- house, dub, micro-house, etc.) critically-acclaimed studio albums and multiple 12"s under their belt, they seem to have run out of ideas. Still riding high after their 3rd full-length Dirty Dancing, their latest Loops from Bergerie is, frankly, flat and not representative of the masterful production that the Swayzak duo of James Taylor and David Brown have come to be known for. Boasting of a live band performance equaled by no other electronic act (who make the jump from geeks in the studio turning knobs to a full- live band) my expectations were sadly unrealized. When the quartet that is the touring Swayzak took the stage, the half-full Sonar seemed ready for greatness. What we got was something different. A few songs in, I quickly realized that this wasn't the Jonathan Richman December 11 Richards Three days after this show I had my parents over for dinner and put some of his mp3's on the playlist. It rujned my night. I couldn't hold a decent conversation, I'd be in the middle of discussing BC politics or What I Am Doing With My Life or life insurance or something, when I'd trail off and be "and then when he played this song he did this little dance..." Because he was always doing a little dance, just shaking his hips and moving his feet so much that sometimes he wasn't even near the PHOTO MICHELLE MAYNE microphone. This is a lapse which I normally would have griped about and been all "The music was okay, but It bothered that he didn't sing into the microphone," because I was the captain of my Intramural hatin' team. This time though. He was so thoroughly charming—I've never met someone so charming— that I didn't care a whit whether he sang into the microphone or not. I was totally sucked in. Graeme Worthy Swayzak on the records. All my posturing about how a full band can often flesh out synthetic sounds live was lost on the friends I dragged along. There was a drummer, but I couldn't hear any of what he was doing due to the drum machine drive on almost all the tracks, coupled with the simply retched sound quality of the room. This was unfortunate since the man on the skins really looked like he was enjoying himself. Maybe having a mixer as the focal point for a live performance isn't the best thing for sound despite its uniqueness. The highlight of the night was the band's nod to electro-clash, "In the Car Crash" (which is a local favorite due to Vancouver's own March 21 having worked on the track with the Swayzak boys), which was thumping, but somehow they managed to shit on this solitary gem through vocals sounding like 'Bom Slippy" era Underworld, not to mention playing the song fucking twice over the course of the nightl I doesn't matter how much Ecstasy or overpriced Stella the crowd had consumed, not even low rent one hit wonders try to play the same song twice live. I tried to give Swayzak as much of a chance as I could, but in the end, their anthem of "In the Car Crash" was too much of an analogy for the show in general. Robert Robot Arcade Fire December 12 Commodore Ballroom My introduction to The Arcade Fire came through a webcomic called Questionable Content; the author put up a comic about how, at their live shows, one of their members' entire function was to bang a large drum, dance around, and rock out at appropriate moments. His name is Will. He did exactly that, and he did it very well. Also there was Richard, who looked a bit like Napoleon Dynamite, had bells attached to one leg and played aH sorts of instruments. The two of them fed off the crowd, the music, and each other to produce spontaneous displays of energy and emotion, sometimes with one wrapping the other in a towel while the one being wrapped plays a guitar, sometimes playfighting between songs, or dancing with Sarah, the guest violinist During "Neighbourhood #2 {Laika)", they donned motorcycle helmets, grabbed drumsticks, and made noise off of any hard surface, including the plastic cow taped to the kick drum, the proscenium, the motorcycle helmets, each other, the glockenspiel on stage, and ending with Richard perched atop a chair drumming his sticks off each other while Will looked around, then tackled Richard, crashing down to the floor, where they wrestled for a bit before slumping, drained from the exertions and the emotional content of their performance. Moments afterward, they rose, embraced, and prepared to launch into the next piece. And this was the second song. They followed it up with a pair from their ealier EP, before leading into a new song and then the mostly-French "Haiti". The band infused their songs with life, both by virtue of simply being there and pure musicianship, and despite their claims to have "never really toured before", the band knew how to get and keep a crowd moving. "Une Annee Sans Lumiere" provided a breather before "Neighbourhood #3 (Power Out)" segued into "Rebellion (Lies)", and the normally stonefooted Vancouver hipster crowd became a sea of bobbing heads and twisting bodies, abandoning themselves to the emotionally charged music and mirroring the actions of the band, who, despite looking like they were going to pass out at any moment, powered through, taking a welt deserved rest before "Neighbourhood #4 (7 Kettles)". The show closed with the energetic "Crown of Love" and "Neighbourhood #1 (Tunnels)" which featured the crowd singing to the band, and Will wrapping Richard's head in a towel before simply collapsing. Hampered by a midnight curfew, the encore almost didn't happen; luckily, the band waited patiently for the filler music to stop, dancing to it while they waited, before surprising us all with a cover of the Talking Heads' "Naive Melody". Another round of applause and trepidation went by before the band assumed their positions for "In The Backseat", fhe last song on the album and a fitting, cathartic closer to an emotional show. After the concert, I walked out of the Commodore; sweaty, hoarse, exhausted, and wearing a ridiculous grin. I wasn't alone in doing so. D Gerald Deo VANCQUV "The greatest scene compilation ever' —Jack Rabid, The Big Takeover VANCOUVER COMPLICATION CD Release Party! with DOA No Fun SubhumansMe Norton Revue fe?J« The Shades * Dishrags Tlttl Roy « 4 r ond olso performing members o( The Pointed Sticks hxotone M K-tels U-J3RK5 IrVosfed lives *Acfive Dog* Mwte$fj»ol (or fo 90 to FebcuctryQS^ Hidd^"Cd*Yi$rfcts :''} Richard's cm RichoitliC- JU*Oj$|: „ l^r^pWght Movies Richard's on Richards Hell of Albums! 1 00k Two whole pages of reviews, some intellegent and articulate, some not. You get to decide which is which. Oh man, alphabetical order is so great! If it weren't for alphabetical j I order we wouldn't know that potatoes come before Plato or that a ! C+ in organic chem isn't so stellar after all...and how would you ever j know who to sit next to during, graduation! The horror! Here are the albums reviewed this month, in alphabetical order, for clarity and j . convenience. The Anomoanon Balacade and The Sunbeam Tigers Black Mountain Cursed Dandi Wind John Frusciante and Josh Klingheffer Ghostsfor Hood Shuyler Jansen Lee Livingston Maps of the Night Sky Roses are Red Yohimbe Brothers. ^ James Yorkston and the Athletes i The Anomoanon Jo// (Temporary Residence) The Anomoanon's second offering of 2004, Jo// is a decent enough album in the tradition of Neil Young, CSNY, and the Grateful Dead, etc, etc. Not that it's a straight copy or anything, but the heavy influence is there, no mistake about it. This isn't necessarily a bad thing, mind you; it's when Ned Oldham and Co. wear their influences on their sleeves that they shine most on this record. Songs like "Mr. Train" or "Green Sea", with their multiple- part harmonies and jangly guitar, could make me smell the country air in the middle of downtown Toronto. It's a good thing too, because the trod-through-the- mud of the opening song "Down and Brown" damn near ruins the record right from the get-go. Thankfully, the next four songs form the core of the album, and save it from what I thought would be certain doom. So be patient, OK? Speaking of patience, the following two tracks, "Wedding love" and "Nowhere", last a tad too long past the "OK, 1 get it" point. This is a minor complaint, though, about these otherwise solid songs. The last song, "Bird Child" closes the album on an upbeat note, in contrast to the brooding way the record begins, much to my liking. Jofi. while not a masterpiece, is a perfectly capable bluesy roots-rock record that will probably make its way into the car stereo during a drive on a country highway, but to be honest, probably not as often into my stereo at home. Robert Ferdman Balacade (And The Sunbeam Tigers) The Sunbeam Tigers (The Deer Records) The Sunbeam Tigers takes this Vancouver artist from his acoustic guitar-based, Eliot Smith-like beginnings into a more experimental phase in his recording career. Both organ and drum parts are integrated much more effectively in this, Balacade's, (correct us if we're wrong) fifth release to date. The Sunbeam Tigers join Balacade (usually a solo flyer) on more tracks than have ever previously been recorded as group projects. The record's cover is reflective of it's inner musings, taking on a lighter, more peaceful tone than Balacade's previous offspring; his youngest child promises to be a congenial one. The frustration present in earlier releases has subsided as he and The Sunbeam Tigers take on a more introspective tone; contemplation winds its way through all 12 diverse and melodic tracks. This record is something we'd never be ashamed to say we'd fistejfed to countless times on repeat (unlikei say, "Drop it Like It's Hot"). This stellar EP belongs in the CD players of people like us; of coastline highway drivers, of sunny day bus passengers, and people who contemplate their navels all too often. Mairin and Phelps Black Mountain s/t (Scratch) Finally! After first experiencing Jerk With a Bomb, then The Pink Mountaintops, we are all blessed with the wonder that is Black Mountain. Stephen McBean is the voice behind all of the action, and while there are similarities in all three bands, Black Mountain's self-titled album is an entity on its own. Sprawling 60's and 70's nostalgia may openly display some of the band's influences fled Zeppelin, The Velvet Underground), but there is >|fifl something new and fresh in their song structures. Typical chorus- verse-chorus songs are given new life by blending sounds overtop one another. Guitars coalesce with horns, and vintage pianos; and Amber Webber's soft vocals float perfectly overtop McBean's bluesy delivery. The buzz surrounding this band is huge, and my guess is this is going to be the west coasts answer to Montreal's Arcade Fire so make sure to pick up this local debut before they get signed to Warner records and totally change their sound (a la Hot Hot Heat). Chris Walters Cursed Two (Goodfellow Records) A BRIEF RECAPITULATION OF THE DRAMATIC EVENTS: Police are called to the scene of a "domestic disturbance" where witnesses were said to have heard "ungodly screams, followed by deafening roars like nothing I've ever experienced." Upon entering the house in question, officers found a man splayed on the floor, arms akimbo, almost as if he were shielding himself from some impending blow, blood trickling from his right ear. With no signs of forced entry and no visible weapon in sight, the officers were drawn toward the bedroom where what sounded like fhe apocalypse was emanating from behind the partially unhinged, paint-chipped door. Scouring the room for evidence of a struggle, the officers spied a CD cover from the band Cursed displayed on the stereo, witlr a demonic visage paralyzing' the officers' gaze for a brief moment, but as they passed over it, it was already too late. As the eruption of guitars roaring, drums pounding and bass rumbling in an unparalleled fury swept over the room with a metallic vengeance, there was no escape. The officers barely made it out with their sanity intact, and the coroner was later quoted as saying, "A suicide note set to music was what killed this tortured soul." Soon after, other reports of Cursed and their destructive impulse had been reported in cities across the country. Scientists, intelligentsia and other pundits were-calling it an "...epidemic where no one is safe. God help us all." Bryce Dunn [This review was found scrawled on the walls of his office, in blood. Bryce has not been seen for several weeks. If you know of his whereabouts, please contact DiSCORDER Magazine.] Dandi Wind is the work of two very dedicated pioneers, who are bending the rules and embracing not only.jMsic, but art as well. Dandi Wind are changing the way posgje^should view music- , ■#&**?jjohj}' I- said view music. Sometimes there are albums that give you a visual experience as you listen to it, and that's what Bait the Traps does. Thick synthesized beats sit atop even more artificial instrumentation tb^% fitted to a rough vocal delivery that makes your hips shake. Instantly, Dandi Wind wants to persuade you to dance, they want you to get off your ass and move: not just hear the music, but feel it and see it. Dandi Wind's debut is a wonderful step in an artistic direction, blending music and performance art into one beautiful listening experience. Chris Walters John Frusciante/ Josh k Kllnghoffer A Sphere In the Heart of Silence (Record Collection) One of my friends whose taste in music I share and trust continually insists that John Frusciante is, if not a genius, an artist worth recognition and respect. Thinking back to my earlier alt-rock days of listening to the Red Hot Chili Peppers, I realized that the idea of revisiting these moments didn't necessarily sound appealing. There were, however, two factors that pushed me to give Sphere a chance. First, John Frusciante is one of. the most prolific artists out there today, this being something like his sixth album of 2004. Secondly, Frusciante was chosen by Vincent Gallo to write the soundtrack for maybe there was some promise hidden here. On fhe third listen I dawned that I was listening to c Gallo's latest romantic comedy. The Brown Bunny (and even though Gallo didn't end up using any of the songs, that's still an honour, right?) Keeping in mind that Sphere isn't just Frusciante on his own, but atso features the electronic artist Josh Klinghoffer, I approached the album with a bit of caution (oh, and I also tried to forget the comment that Sphere was Frusciante's Kid A). Though I would like to see more experimentation still (beyond the pretty standard electro-beats offered), Frusciante's strength is prevalent in his own individual and recognizable style. This isn't the most intellectually challenging rock/electronic album out there, but it's not weak either, and there's a lot of variety for such a prolific composer. While it's still commercial enough sounding to attract adventurous RHCP fans, Sphere is also just strange enough to raise some other eyebrows as well. Soren Bros. Ghoststory Befom the Night's Around Me (Bluefog) Unfortunately, I'm not familiar .with The Deadly Snakes, and I'm not familiar with Andre Ethler's solo work, so please don't ask me for any comparisons. As far as Snakes' bassist Chad Ross' side project Ghoststory is concerned, though, I can point y'all in the right direction. Right off the bat, it's hard not to feel cheated by the rootsy, pointless jam ethic in effect, which is probably fun to participate in, but meaningless as far as an audience is concerned. On the second listen, I noticed that the first song is about a captain who fell off his ship, drowned, and washed ashore, and I realized that less fun Sadies coupled with a less interesting Red House Painters. Well, Before isn't a total loss—the ^instrumental moments are great, and the song about the captain that drowns and washes ashore is entertaining (for the lyrics alone), but there just isn't enough heart or variety to pull it all together into anything greater. Soren Bros. ' Hood Outside Closer (Domino) The orthodox and banal way to start this review would be to describe Hood's new album as "the much anticipated follow- up" to Cold House, but artists do not always lay some clear, linear progression in the course of their life. That old notion of assembling one's oeuvre piece by piece, from humble beginnings, pathetic and uninspired in someone's garage until you hone your skills, perfect your individual style—to put it lightly, it's a crock of shit. [That's because a artist's first album is always their best. The ability to produce two or more albums makes you a sellout. Seriaasly. -Ed.] If you want evidence of this, just look at Outside Closer. This latest release by the Leeds-based musicians known collectively as Hood does a great deal of what their audience has come to expect. Dub-like grimy reverb blends a hushed British accent into the background of swirling pedal distortion; the drum kit reterrtlessly rides and crashes while soft atonal horns, gentle guitar picking, and the occasional accordion embellish the songs rather than construct them. It doesn't sound Hke much, but for me it's enough. But it looks like Hood had set their sights a little higher this time around. In the promo for this release, glaring emphasis is placed on the homage that Hood would pay to their much beloved and revered fellow artist, Scott Herren. And certainly laptop-style electronic noodling has been characteristic of Hood ever since their 1991 conception, so why shouldn't they update their sound a bit and incorporate a few new DiSCORDER - February 2005 elements into the scheme? One rationale comes to mind. There's a reason why Hood is most often described as a lo-fi outfit—it's not due to their technical mastery over studio equipment, I can tell you that much. Whereas Scott Herren and Montreal's Akufen both seem to possess some intrinsic aptitude for translating William Burroughs' concept of cut-up into its rich and innovative musical manifestation. Hood's attempts are more reminiscent of early Joan of Arc's bedroom studio masturbations. Fortunately this is just a minor stain on an otherwise solid recording, but if you believe in linear progressions then Hood is one band that, if you can pardon the clich, has already passed their prime. Benjamin Ralston Shuyler Jansen Hobofron (Black Hen) What would Grandaddy sound like if they were from Edmonton and listened to the Corb Lund band? Well, one listen to Hobofron would at the very least be a start. From the beginning, it becomes evident that even though this is Shuyler Jansen's debut solo album, he isn't new to the scene. As the lead man of Edmonton's Old Reliable, Jansen has also played with enough big name acts (Gord Downie, Calexico, Tegan and Sara, and Green Day just to name a few) that it's almost a wonder that his name isn't better known already. Even though his allegiance is closer to the alt-country than it is to 4he electronic, Hobofron walks the electro-country line in a stately manner, flushing out walking-pace ■ songs with synths galore. Hobofron isn't the most immediate album (outside of perhaps the first two songs. Whipping Boy and Write your Will), but it's the best thing I've ever heard to come out of Edmonton, and its many subdued moments hint at something greater than just a few listens' offerings. Soren Bros. { Lee Livingston Morning/Afterlife (Short & Sweetie Music) For months I've been noticing the mysterious double EP by Lee Livingston, but knowing nothing about her I always opted for something more familiar. Luckily, I finally took a chance on the bass player for local Vancouver artsies The Radio, and I'm not just impressed by the results, I'm astounded. How come nobody's heard of her?? It's one of those crazy mysteries of life maybe, and these CDs are a perfect example to prove wrong those critics who still feel as though any musician who's worth listening to has a healthy hype to boot. I mean, seriously. Each CD is four tracks, presumably with Morning to be played before Afterlife. Morning spans styles from deceptively simple acoustic and alt-country to a rocking experimental melodrama reminiscent of Blonde Redhead. Both Morning and Afterlife share a dark current that feels like a hand gently tugging the listener downwards, though Morning has a sense of peace and happiness that distinguishes it from its sister album. Both also share a wonderfully rough level Of production that only emphasizes the quality of the songwriting. I don't know where this album came from, or what it's supposed to mean, but I know that without it my new year may have already been much rougher. Soren Bros. Oll|t|l Maps of the Night Sky Twilighters EP (Locust Mount?) Emokids at their finest. Maps Of The Night Sky's new record puts the likes of Matchbook Romance to shame with a sophisticated and refined take on the genre that was driven to infamy by its incessant acoustic power chords and whiney tortured middle class kids. The Twilighters EP, a melodic, beat driven brand of piano based... what I hesitate to call "emo" for fear of invoking prejudice of the readership, is taking this whole "emo" business in a simpler, melodic direction. Both naturally and possibly intentionally following the vocal stylings of Isaac Brock (Modest Mouse), Ray Cammaert's melodies come off as raw and emotionally driven. Further, Cammaert's voice and piano contrast well with his methodical guitaring and accordion harmony reinforcement, provided by Jared Ozuk. Maps Of The Night Sky are something that should grace the stages of The Red Room/Drink, and The Brickyard, as opposed to those larger and more bustling locations of Richard's, or The Commodore, and yet I can see their crowd being equally as moved as the audience was at The Faint's most recent Vancouver show (though in a mellower, more emotional way). The Twilighters EP, while not something I could see perfecting my indie kid strut to, is made for long bus rides, rainy afternoons, for dark nights staring at your bedroom ceiling. Mare-in Roses are Red Conversations (Trustkill) Roses are Red seems like one of the more melodical acts on the Trustkill label, which is a definite positive for someone so unsure of how deep into this hardcore pool she should dip her little toe. More punk than the rest of Trustkill's releases, Roses are Red are a band I can easily equate with folks like AH, Yellowcard and Funeral for a Friend: melodic and harmonious vocals are applied to energetic and drum/powerchord- driven instrumentais. Vocals and instrumentais aside, their Alexisonfire-like lyrical stylings, both in content and delivery, left me pleasantly surprised rather than disappointed to be listening to "just another punky hardcore act." My only hesitation in my praise of this album would be that these guys may be having their own set of" 13 Conversations about One Thing" and may need to look to subjects other than "love and all its many forms" for their lyrical inspiration. To call them emocore -seems so degrading (we all know my feelings on emo's bad rap these days), yet they seem to fit well into that category. I'm not afraid to admit, however, that sometimes. Just sometimes, someone needs more than just a good cry. A good scream can help tool Mare-in Yohimbe Brothers The Tao of Yo - (Thirsty Ear) Let's pretend that the Yohimbe Brothers are making music in a cultural vacuum where no one remembers Vernon Reid's work with Living Color and the world has yet to discover Dj Logic, who has appeared on albums all over the musical map (includingworks by DJ Spooky, Vitamin C, and the terribly Phish-esque String Cheese Incident). All formal aspects of the songwriting are solid and in the execution Reid's guitar work is consistently tight while Logic maintains interesting, if not innovative, work on the turntables. But does this make it worth listening to? With or without context, half the tracks on this album are just plain good, with the duo throwing the weight of their abilities into some finely crafted instrumental work. "Shape 4" and "Shape 1" present a blend of tap dancing and impromptu steel string that might feel more comfortable on a compilation disc with Jack Rose and Steffan Basho than it does matched up with classically-themed rap music and occasional metal riffage. "Overcoming," on the other hand, blends steel string arpeggios, muddy beats, skronking electric guitar masturbation and some old-fashioned turntablist quirks without sounding the least bit trite. As for the. acoustic/hip-hop fusion of "30 Spokes" and the sample- philic outro track, "Perfect Traveler (Tourist Europe)," even they furnish enough interest and instrumental dialogue to be considered something far beyond simple filler. Yet the album's girth rests equally on vocal tracks, particularly blends of heavy rock guitar and politically charged rap; thus we return to the album's real context. When I say that the Yohimbe Brothers blend heavy metal guitar and wild beats beneath aggressive rhyme schemes, don't think of Old Dominion or D§lek, instead recognize the fact that these are musicians more accustomed to attending the Grammies than being picked apart by Pitchfork Media. Still, if this is where 'mainstream' is headed then the distinction is soon to be obsolete. BenR. James Yorkston and The Athletes Just Beyond the River (Domino) James Yorkston and the Athletes ■iMYflwm ZIB USHER51 KmTnww, v«rmraq| BE fiiESWERS REST HUE HP RV HBR HEBE - HIIEE i/BJ luiBnUE Su^an&smi pilssei DrmES «75 LU SIB BDB1E-FIEE Pm-DEIT HS fiBff lUK'HEBM DJE'CHHF DHHK5 HBSTED ST DJ JfflW EHDEM WaannauBFun'turns Ms «blt * FSESEBTEB £f RflKMC T*1I IO fiUKS DEEP flSBSE FBI SBEL'STELLi SPEDlt Pm'T MBS THESE FEE. ElfESTS TH - 5TJEE FUSTS f BBMFK5, EH - gflf -m an - sweets i mmm f TJttIlMfflJSTS,ISn-JjllUE(5EirTLE), 259 - ans Bum a ieleise putt, _m - snr wun un DMPLETE 5CHED8LEI lOT'TrnWlBTCEfrEi BFS USEtEiTKSHJEEE BKUETEniMmTlElJuffimrTB^t is a Scottish band, backed by a label with an impressive line up. If that doesn't 'inspire confidence, Just Beyond the River is also produced by Kieran Hebden (AKA Four Tet) and preceeded by the acclaimed debut. Moving Up Country. However, Just Beyond the River doesn't reach beyond okay: Yorkston's soft folky vocals and instrumentation are peaceful and pleasant but really offer no substance or progression. Each milky song begins to blend into one another as time passes, and simple strummings become banal and stale. Yorkston's brand of musings lack, the colourful viewpoint found in the work of label mate Bonnie Prince Billy, or M Ward. I'm a big fan of folk, but the greatness of the genre is found in the innovation that keeps it vital; an innovation that this album sadly lacks. Ebony Hel of Radio Shows! A CiTR Program Guide usmjf¥AmwU?&OR SUNDAY ARE YOU SERIOUS? MUSIC 9:00AM-12:00PM All of time is measured by its art. This show presents the j most recent new music from around the world. Ears open. THE ROCKERS SHOW 12:00PM-3:00PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE alt. 3:00PM-5:00PM Real cowshit-caught-in-yer-boots country. AFROBEAT 3:00PM-5:00PM In two hours, I take the listener for a spin—musically— around the world; my passion is African music and j music from ihe Diaspora. Afrobeat is where you can catch up on the latest in j the "World Music" scene and reminisce on the classic j coflections. Don't miss it. <uget_afrobeat@yahoo.com> CHIPS WITH EVERYTHING alt. 5:00PM-6:00PM British pop music from all decades. SAINT TROPEZ alt. 5:00PM-6:00PM International pop (Japanese, French, Swedish, British, I US, etc.), 60s soundtracks and lounge. Book your jet set holiday now! QUEER FM 6:00PM-8:00PM Dedicated to the gay, lesbian, bisexual, and transsexual communities of Vancouver. Lots of human interest | features, background on current issues, and great j music. RHYTHMSINDIA 8:00PM-10:00PM Rhythmslndia features a wide range of music from India, including popular music from Indian movies from the 1 1930s to the present, classical music, semi-classical music such as Ghazals and Bhajans, and also Qa wwalis, j pop, and regional language numbers. TRANCENDANCE 10:00PM-12:00AM Join us in practicing the ancient art of rising above common thought and idearas your host DJ Smiley j Mike lays down the latest trance cuts to propel us into 1 the domain of the mystic-at. <trancendance@hotmail.com> ELECTRONIC SPECTRUM 12:00AM-3:00AM FILL-IN 3:00PM-6:00AM MONDAY FILL-IN 6:00AM-8:00AM BREAKFAST WITH THE BROWNS 8:00AM-11:00AM Your favourite brown-sters, James and Peter, offer a savoury blend of the famifar and exotic in a blend of aural delights! LIONS AND TIGERS AND BEARS... 11:00AM- 12:00PM ALT. RADIO 12tf0PM-1;00PM Hosted by David B. PARTS UNKNOWN 1:O0PM-3:0OPM Underground pop for the minuses with the occasional interview with your host, Chris. SANDBOX THEATRE 3:00PM-4:00PM A show of radio drama orchestrated and hosted by UBC students, featuring independent works from local, nationat, and International theatre groups. We DBCORDER - February 2005 welcome your involvement. <sandboxtheafre@hotmail.com> ABSOLUTE BEGINNERS 4:00PM-5:00PM A chance for new CiTR DJs to flex their musical muscle. Surprises galore. THEFUPSIDE 5:00PM-6:00PM Join me - Dallas Brodie - for stimulating talk radio about local, national and international issues. ' SON OF NfTE DREEMS eft. 4:Q0PM-7:30PM SOLARIZATION alt. 6:00PM-6:30PM MY ASS alt. _:30PM-7:30PM Phelps, Albini, 'n' me. Wt^tUXRADIQ 7:30PM-9:00PM Listen to Selecta Krystabelle for your reggae education. THE &ja SHOW 9:OOPM-12:0OAM Vancouver's longest running prime-time jazz program. Hosted by the ever-suave, Gofife Walker. Features at 11:00, as listed Feb. 7: Modem jazz Pioneer Bud Powell on piano with Oscar Pettiford on bass and Kenny Clarke on drums. "The Three Bosses" who play their set and then become the rhythm section for "the father of the tenor saxophone," Coleman Hawkins. Recorded at the Essen jazz festival in 1960. Nothing less than great! Feb. 14: As this was pre-empted on January 17 by a special on CiTR, tonight's the night for the famous Benny Goodman Carnegie Halt concert of 1938. B.G's trio, quartet, and big band and much more in a concert that changed jazz forever. This special feature will begin at 10:00pm. Feb. 21: One of the most important present day bands. Pianist supreme, Keith Jarrett with bassis Gary Peacock and the always creative Jack DeJohnette on drums in thei' latest recording called "The out-of-towners". No More Need be said about this great trio. Feb, 28: Legendary guitarist Wes Montgomery ("The *|||6s$$b"} recorded in concert in parts with his working group. At this time wes was making more commercial recordings but in person was still playing Ixird-drivtng, swinging, real jazz Ike tonight's concert. VENGEANCE IS MINE 12:O0AM-3:O0AM AS the best the world of punk rock has to offer, in the wee hours of the mom. Hosted by Trevor. PSYCHEDELIC AIRWAVES 3:00AM-6:30AM DJ Christopher Schmidt also hosts Orgartx at Club 23 (23 West Cordova) every Friday. TUESDAY PACIFIC PICKIN' 6:30AM-8:00AM Bluegrass, old-time music and its derivatives with Arthur and "The Lovely Andrea" Berman. HIGHBRED VOICES alt. 8:00AM-9:30AM SWEETN'HOT 8:00AM-9:30AM THIRD TIME'S THE CHARM 9:30AM-11:30AM Open your ears and prepare for a shock! A harmless note may make you a fan! Hear the menacing scourge that is Rock and Roll! Deadlier than the most dangerous criminal! <bominsrxtynirie@hotmcfl.com> LIVE HERE, WORK EVERYWHERE, alt. 11:30AM-12:00PM CJLY - Kootenay Co-op Radio profiles 30 creative enterprises in Nelson with markets and clients worldwide. MORNING AFTER SHOW alt. 11:30AM-12:30PM REEL TO REAL alt. 12:30PM-1:00PM Movie reviews and criticism. ENGAGING THE WORD alt. 1:00PM-2:00PM Canadian authors, fiction writers and noveKists interviewed by James O'Heam. BEATUP RONIN 12:00PM-2:00PM Where dead samurai can program music. CIRCUIT TRACING 2:00PM-3:30PM EN AVANT LA MUSIQUE alt. 3:30PM-4:30PM «En Avant la musique!» se concentre sur le metissage des genres musicaux au sein d'une francophonie ouverte a tous les courants. This program focuses on cross-cultural music and its influence on mostly Francophone musicians. TANSI KIYAW alt. 3:30PM-4:30PM Tansi kiyaw? Is Michif-Cree (one of the Metis languages) for "Hello, How are you?" and is a monthly Indigenous music and spoken word show. Hosted b June Scudeler (for those who know me from other shows-Tm Metis!), the show will feature music and spoken word as well as events and news from Indian country and special guests. Contact me at jlscudel@ucakjary.ca with news, ■ even listings and ideas. Megwetchl FILL-IN 4:30PM-5:00PM WENER'S BARBEQUE 5:00PM-6:00PM Join the sports dept. for Iheir coverage of the T-Birds. FLEXYOURHEAD 6:00PM-8:00PM Up the punx, down the emo! Keepin' it real since 1989, yo. ttecyourhead.vancouverhardcore.com SALARIO MINIMO 8:00PM- 10:00PM THE LOVE DEN alt. 10:00PM- 12:00AM <loveden@hotmaiI.com> ESCAPISM alt. 10:00PM-12.00AM es»cap»fsm n: escape from ihe reality or routine of fife by absorbing the mind in entertainment or fantasy. Host: DJ Satyricon. <DJSatyricon@hotmail.com> AURAL TENTACLES 12:00AM-6:00AM It could be punk, ethno, global, trance, spoken word, rock, the unusual and the weird, or it could be something different. Hosted by DJ Pierre. W E D N E SO A Y FILL-IN 6:00AM- 7:00AM SUBURBAN JUNGLE 7:00AM-9:00AM CITR NEWS AND ARTS 9:00AM-10:00AM EXQUISITE CORPSE 10:00AM-11:30AM Experimental, radio-art, sound collage, filed recordings, etc. Recommended for the insane. ANOIZE 11:30AM-1:00PM Luke Meat Wtates and educates through musical deconstructtoh. Recommended for the strong. THE SHAKE alt. 1:00PM-2:00PM FOR THE RECORD alt. 1;00PM-2:0QPM DEMOCRACY NOW 2:OOPM-3:O0PM Independent news hosted by award-winning journalists Amy Goodman and Juan Gonzalez. MOTORDADDYatt. 3:O0PM-5:O0PM Cyde-riffic rawk and rolll RUMBLETONE RADIO alt. 3:OuPM-5:O0PM M§^W^2ze<^-<M^ garage mayhem! NECESSARY VOICES 5:0OPM-6:30PM Socio-politicat, environmental activist news and spoken word with some music, too. www.necessaryvoices.org <necessaryvoices@telusjiet> AND SOMETIMES WHY alt, 6:30PM-8:OOPM (Rrst Wednesday of every month.) BLUE MONDAY alt. 6:3OPM-8:O0PM Vancouver's only industrial-electronic-retro-goth program. Music to schtomp to, hosted by Coreen. PRIMAL 8.-O0PM-9:O0PMalt. A sex positive fortnightly news magazine, hosted by Maura Ingraham. www.primalradio.net JUICEBOX 8:00PM-9fl0PMalt. Developing your relational and individual sexual health, expressing diversity, celebrating queemess and encouraging pleasure at all stages. Sexuaity educators Julia and ASx wil quench your search for responsible, progressive sexuaWy over your life span! www4uiceb0xradfo.com FOLK OASIS 9:00PM-11:00PM Roots music for folkies and non-folkies... bluegrass, shger- songwriters, worldbeat, aft country, and more. Not a mirage! <f0lkoasis@canada.com> HANS KLOSS'MISERY HOUR 11:00PM-2:00AM This is pretty mxt^te best thing on radio, FIRST FLOOR SOUND SYSTEM 2:00AM-6:00AM THURSDAY FILL - IN 6:00AM-8:00AM END OF THE WORLD NEWS 6:00AM-10:00AM PLANET LOVETRON 10:00AM-11:30AM Music inspired by Chocolate Thunder, Robert Robot drops electro past and present, hip hop and intergalactic funkmanship. <rbotlove@yahoo.com> FIRED UP 11:30AM-12:00PM Ever told yourself "I can't even boil water, let alone cook a chicken or stir-fry vegetables!" Let Chef Marat show you the way to create easy meals prepared in the comfort of your own kitchen/bechelor pad or car. OK, maybe not the car. Wouldn't want to spill anything an the upholstery. UNPACK YOUR ADJECTIVES 12:00PM-1:00PM WE ALL FALL DOWN 1:00PM-2:00PM Punk rock, indie pop, and whatever else I deem worthy. Hosted by a closet nerd. THE ONOMATOPOEIA SHOW 2:00PM-3:00PM Comix comix comix. Oh yeah, and some music with RHYMES AND REASONS 3:00PM-5:00PM DJ Knowone slaves over hot-multi-track to bring a fresh continuous mix of fresh every week. Made from scratch, samples and just a few drops of fame. Our tables also have plethora of guest DJs, performers, interviews, giveaways. Strong Bad and the occasional public service announcements. <eno_wonk@yahoo.ca> LOCAL KIDS MAKE GOOD 5:00PM-6:00PM art. Local Dave brings you local music of all sorts. The program most likely to play your band! PEDAL REVOLUTIONARY att. 5:00PM-6:00PM Viva la Velorutionl DJ Helmet Hair and Chainbreaker Jane give you all the bike news and views you need and even cruise around while doing itl www.bikesexual.org NUTHOUSE RADIO THEATRE 6:00PM-7:30PM All-original Canadian radio drama and performance art written and performed live-to-air by our very own team of playwrights and voice-actors. We also welcome you to get involved, whether you are a professional or inexperienced... ON AIR WITH GREASED HAIR 7:30PM-9:00PM The best in roots, rock 'n' roll and rhythm and blues from 1942-1962 with your snappily-attired host, Gary Olsen. <ripitup55@telus.net> LIVE FROM THUNDERBIRD RADIO HELL 9:00PM-11:00PM Live From Thunderbird Radio Hell showcases local talent... LIVEI Honestly, don't even ask about the technical side of this. This month will probably be the best month ever. WORLD HEAT 11:00PM-1:00AM An old punk rock heart considers the oneness of all things and presents music of worlds near and far. Your host, the great Daryl-ani, seeks reassurance via <woridheat@hotmail.com>. LAUGH TRACKS 1:00AM-2:00AM BEATS FROM THE BASEMENT 2:00AM-6:00AM FRIDAY FflLl-tN 6:00AM- 7:00AM PLEASE ROCK THE DOOR 7:00AM- 8:00AM CAUGHT IN THE RED 8:00AM-10:00AM Trawling the trash heap of over SP^F^rs' worth of real rock *n' roll dl||ti£^ SKA-T'S SCENE-IK DRIVE! 10tfOAM-12:00f»M Email requests fa: <djska_t@hatmail.com> THESE ARE THE BREAKS 12:00PM-2:00PM lr^^fir®> crate digger DJ Avt Shack mixes the underground hip hop, ok) school classics and i c^iiat breaks. RADIO Jt»0fc|sp£ 2:00PM-3:30PM NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3-3XSttk-SiS^^0i CITR NEWS, SPORTS AND ARTS 5:00PM-6:00PM A volunteer-produced, studenf.'^^d community newscast featuring news, sports and arts. Reports by people tike you. "Become the Media." THE NORTHERN WISH 6:00PM-7:30PM AFRICAN RHYTHMS 7:30PM-9:Q0PM David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa and African music from around the world. www.africanrhythmsradio.com HOMEBASS 9:O0PM-12:00AM Hosted by DJ Noah: techno but also some trance, acid, tribal, etc. Guest DJs, interviews, retrospectives, giveaways, and more. I LIKE THE SCRIBBLES alt. 12:00AM-2:00AM THE ANTIDOTE alt. 12:00AM-2:00AM THE VAMPIRE'S BALL 2:00AM-6:00AM Dark, sinister music to soothe and/or move the Dragon's soul. Hasted by Drake. <fhevampiresbaH®yahoo.ca> SATURDAY FILL-IN 6:00AM-8:00PM THE SATURDAY EDGE 8:00AM-12:00PM Studio guests, new releases, British comedy sketches, folk music calendar and ticket giveaways. 8AM-9AM: African/World roots. 9AM-12PM: Celtic music and performances. GENERATION ANNIHILATION 12:00PM-1:00PM A fine mix of streetpunk and old school hardcore backed by band interviews, guest speakers, and social commentary, www.streetpunkradio.com <crashnbumradio@yahoo.ca> POWERCHORD 1:O0PM-3:0OPM Vancouver's only true metal show; local demo tapes, imports, and other rarities. Gerald Rattlehead, Dwain, and Metal Ron do the damage. CODE BLUE 3:00PM-5:00PM From backwoods delta low-down slide, to urban harp honks, blues, and blues roots with your hosts Jim, Andy and Paul. THE LEO RAMIREZ SHOW 5:00PM-6:00PM The best mix of music, news, sports and commentary from around the local and international Latin American communities. BATTLE ZONE 6:00PM-7:00PM Each show will make you feel as though you're listening in on conversations between political insiders. As well, this guest and caller-driven programs its guest from opposite ends of the corridor of public argument against one another in ho-holds barred debate that takes you behind today's headlines. SHADOW JUGGLERS 7:00PM-9:00PM An exciting chow of Drum n' Bass with Dj's MP & Bias on the ones and twos, plus gusts. Listen for givawas everyweek. Keep feelin da beatz. SYNAPTIC SANDWICH 9:00PM-1 1:00PM PLUTONIAN NIGHTS 11:00PM-1:00AM Cutting-edge, progressive organ music with resident Haitchc and various guest performers/DJs. Bye-bye civilisation, keep smiling blue, where's me bloody anesthetic then? http://plutonia.org EARWAX 1:00AM-4:30AM "noiz terror mindfuck hardcore like punk/beatz drop dem headz rock inna junglist mashup/distort da source full force with needlz on wax/my chaos runs rampant when I free da jazz..." Out. REGGAE LINKUP 4:30AM-9:00AM Hardcore dancehall reggae. Hosted by Sister B. CITR BROADCASTS AT 640 WATTS 24 HOURS A DAY. TUNE US IN AT 101.9FM, CABLE 101.9FM OR LISTEN TO US ONLINE AT WWW. CITR.CA 6*m 7 8 9 10 11 12p« 1 2 3 4 5 . 6 7 8 9 10 11 12*m 1 2 3 4 5 6 SUIfiDAY MONiDAY TUESiDAY WEDNESDAY THURSiDAY FRiDAY SATURiDAY REGGAE LINKUP (RG) ARE YOU SERIOUS? MUSIC (EC) ROCKERS SHOW(RG) BLOOD OH THE SADDLE (RT) AFROBEAT (WO) QUEER FM (TK) RHYTHMSINDIA (WO) TRANCENDANCE (DC) ELECTRONIC SPECTRUM (DC) FILL-IN FILL-IN BREAKFAST WITH THE BROWNS (EC) UONS AKD TIGERS AND BEARS ALT. RADIO (PO) PARTS UNKNOWN (PO) SANDBOX THEATRE (TK) ABSOLUTE BEGINNERS (EC) THE f UPSIDE (TK) WIGFLUX RADIO (RG) THE JAZZ SHOW (JZ) VENGEANCE IS MINE! PSYCHEDELIC AIRWAVES (DC/EC) PACIFIC PICKIN' (RT) HIGHBRED FILL-IN VOICES (WO) THIRD TIMES THE CHARM (RR) BEATUP RONIN « CIRCUIT TRACING (DC/EC) EN AVANT UMUSHMJE (Ht) WENER'S BBQ (SP) FLEX YOUR HEAD(HC) SALARIO MINIMO (WO) THE LOVE DEN m ESCAPISM (EC) AURAL TENTACLES (EC) FILL-IN SUBURBAN JUNGLE (EC) CITR NEWS* ARTS (TK) EXQUISITE CORPSE (EX) ANOIZE (NO) Msiuifiitt)—] mm DEMOCRACY NOW (TK) RUMBLETONE RADIO (RR) MOTORDADDY (RR) NECESSARY VOICES (TK) AND SOMETIMES WHY(P0/EC) PRIMAL (TK) BLUE MONDAY JUICEBOX (TK) FOLK OASIS (RT) HANS KLOSS' MISERY HOUR (HK) FIRST FLOOR SOUND SYSTEM (EC) END OF THE WORLD NEWS (EC) SWEET'N'HOT (EC) UNPACK YOUR ADJECTIVES (PO/EC) WE ALL FALL DOWH (EC) THE OHOMATOPOEIA SHOW (TK) RHYMES & REASONS (HH) LOCALHOS MAKE GOOD (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 PLEASE ROCK THE DOOR (EC) CAUGHT IN THE RED (RR) SKAT'S SCENIC DRIVE (SK) THESE ARE THE BREAKS (HH) RADIO ZERO (EC) NARDWUAR PRESENTS (NW) CiTR NEWS AND ARTS (TK) THE NORTHERN WISH (EC) AFRICAN RHYTHMS (WO) HOMEBASS (DC) I UKE THE SCRIBBLES (EC) THE ANTIDOTE w TNE VAMPIRE'S BALL (GI/MT) FILL-IN THE SATURDAY EDGE(RT) GENERATION ANNIHILATION (PU) POWERCHORD (MT) CODE BLUE (RT) LEO RAMIREZ SHOW (WO) BATTLE ZONE (TK) SHADOW JUGGLERS (DC) SYNAPTIC SANDWICH (DC/EC) PLUTONIAN NIGHTS (DC) EARWAX (HH/DC) REGGAE UNKUP(RG) DOdance/electronic • EOeclectic • EX=experimenral • FR=French language • Gl-goth/industrial • HOhardcore • HH=hiphop • HK-Hans Kloss • JZ=jazz LMHive music • LO-lounge • MT-metal • NO-noise • NW=Nardwuar • PO-pop • PU=punk • RG-reggae • RR-rock • RT-roots • SK=ska • SP=sports • TK=talk • WO-world 6a« 7 8 9 10 n 12pm 2 3 4 5 6 7 8 9 10 11 12- 1 2 3 4 5 6 page 23 ZULU'S IVRIS1CF0RUM Listen, ttscuss, and C^ebrate the New Music BHGHTEIB irasaft ioenms- isall: gmswti ui? antS tefetfeditit> unleash not ons but twws fenwdl raw raeorcfe, musto to> tttedelight of his eseivgr-Gwing; mrj. fraadftniitg, iNMBfl Steeped Me: iftdi ofidfeamaiand: emotion, present i«sMI tttt»t«»0'l)«l»-|19C8Hte.ShWIBS» tawaaaMi&inwBsawsQnpritir^ SOTtpelllnf stt»rtss,in'hislpss, PatWM>5wa*« is thek&l^roots- aJtami at tt»pif and1 feature swestspotEh by Smmjiwabwis and tim liiamu ot iHy JWanaig jactot, ainidst'HlasliwIle tinged: produe- SannamliplwiQt gfip8d8|ist8el'an*mandDllii. RMMtlMMl Men. 'gSsriftfluertcadicouBin, Ogita* Aefts is; a? playful(album 8f> sisettoHW' swm <w whii*' 8*»* B]MB MmsaJfi ft* spase- tetrss sonw new things musically am* mates us all'wondeii if latselrmaJBs. B»&fc*rtav.sb88nshowlng.©M»aftJng,'ortwo; Releasing!two stylistically diffefentalbums atttie'Same time-isirodouteta^boia- rnoae; but you liave to giwe BHaJH Eyas credit for tatongfechanGes: ani always- pushingi the-, envelopes OlfiJB tFlfcSfeaeM OH the-yeans w« haw noiisiarily pulsed Die-work- ot Thrill Jockey/s Arefcat Gliicaga Irsungarfarf popster? Tne Goctatts as wall!as- eveifejffijjflpaate wla jsasfroefe outfit; Ste a^&fc^.ftwwIBiaawteJiiiF-'', allBa#walli isp:sp-?!-tedii'.yoL-i' rrcurd'Ecite'-.tioii. | fasouiitrlisyeaKl Sfeted; will i llnlini Iptltiiii'iiflJf'il I'iIniiiI' im ill Mililliiil j mull j iimrti'i'nTilfla Willi coast sofft-poj>«|}Bstiaftbii,.ft«Mrtrts intospectiye sonic wsicrri is irtfcised; witJjittngesaf^iaa^SigialW^sftiand abafoijueunite that ertotttessiy balances- l-Gi:e v.'itir JesuauJow wih lost and. the- ephemaaf l;eai:w of a s-n- ple mBicrjv be^»i%te;#te^t& the work, of fellow dai* terseftwfli - fto saute Qlljls&|rtlSs#fKlaiteetedgeries that disSaet us taw 8» personal: anaisnirrtuaii fej^Wiferaafcrigliwe; DESTROYS! Lightning and OOerWnfcsCD Infill aisp lou barlow EMQttCD I' 9»terita» is-bestknown as:te founder am* ttius a printsrarw.iirSielM bedroom racordi n gsbaom of; fte aarfy '90s. Earning- compaBSSBSSgrt the famous nature boys-(WMtoJaiiJBtBBMBBL & aipSpsnee Bariaws delicate- songwriting. visionun only !» descr.bed as a direct andhonest ma7iifesta*»afthe heart. Recallingitf^^ptfdowBfBll* glory-of his Brand taw Uwa<id recordings on -iHW return, to Ws "back to bases* songwriting approach; These am tracks feature quiet acoustic guitars, alternatively tuned ultuiete anAextremeJsf lush vocals. The results are a warm and phosis of nomenclature- as- a. means todiversify hiedissography (whilfrsnatting. new. sonfe directions, collaborations, etc), SwigsiUhia^ central figure Jason Mnrhii has evolved- his oeuvre-now recording under the enigmatic. s was indeed- ft* title of his last art* 3 INhwusesits-rich folk,tones a springboard for this ft* next fttataadiBtawis a live recording; s if MaUaa wished his dark honest best reconjlngs, and fittingly and-deeply personal writing-a phase-in his esteemed career, purposely | Bo>layte > before the lis sr thus re aling its enthralling OT 16.98 CASS McCMB CO/IP Touted as one of America's finest independent singer-songwriters, it would appear that Baltimore native Cass McCsmas stands at the precipice of mass appreciation and greater reward. His sublime first release Jt has just received distribution throughout Europe on the taste making 4AO label, and as he readies this sophomore effort tor North American ears, his honest plaintive melancholic soft-pop aesthetic is now being compared to greats such as Jonathan Hebrew Im ■mland Mwrimwy. Prafectww builds upon the promise of these initial fulsome recordings, allowing KfcCowa* and his verdant band room to explore the delicacy of the more restrained end of the outsider folk parameters. This album is soothing, catchy without rendering itself childish or th* product of fetishized whimsy, and ultimately an important recording forwarding todaySs insurgent bard supreme fascination. CD 16.98 IPm» UDf I Superwolf €BIP Superwotf is a collaborative effort by an ex-Zmatex-CBwa* dude and HHt OAata, plus a few-odd' players to fill the thing up. Old BHI supplies the words, as is, we think, his vary best calling, while Sweeney does the tune-agei. or so we've read (is this even true?5-Ha matter whatthedivJsiwofFafeOHr, rtawsver.ftethmffisgoodmusie—and we canall agree th$gee*HW8i£«s8aoL Itsgot more of a dirty bluesy ¥h» UrtBhasfeei than the emptier Waee stuff but w»tr a FrtJe more savvy in the studio, lite that store-imagining of the Palaea catalogue played via rich NasHvMWyJe, buteffflte less so, if you foftoar. Here s what to expect imagistic lyrics with possible deep meaning and the occasional weil-placed crudity ptesweet fret wsr* and other instrumentation. T3w»k a vague sense that maybe we ve heard this before from the bearded one yet its so finely done that such-ccitf^wte*Berely cursory train-spotting. Besides, why knock a good thing, which is, we again all recognte, good. - . CD 16.98 IP16.98 AMON TOBIN Chaos Theory CQ/LP Gamers and non-gamers alike should perk up with the news that Ninja Tune mainstay Aman Tobm has agreed to create some new spools beats to set fte stealth mood for the release of the latestSjIWBrCeBgame. TaWngrhis commissionerf *in»game* samples and beats and reworking: them into a sfek soundttaek sure to get yatr nerves tingttig. If you've ewer played I GMI; you'll know there's no telling justwhat waits around fte next comer. Smilarty, with ToWns rich sonic outings, he always keeps one guessing and constantly tackles a new mfesrarrof adventure. CD 16.98 IF19.98 SAIE PRICES W EFFECT LMTH. FEBRUARY 28,2005 awBs fpkaavMfiht; w just eenader Gatan's hedonistic satsbac- eai 8M»a**Ufc»»» Bacfc and- rali iss m5f*«^isarney «* deep-seededi psyeWtegroai' sigrtficarree- that requiiiesi^ heroes ■ 3..«, j tlie lorisl-/ roefean; .--jiiet! ;■:■. oc a -:^ri;;:n l«:v?i. bevsa-ter. about esplyrfng} ;lwpra.:!iv» possibWes of ftis tefijf icx-iy pirwd-cut BusJe !orr.r.r?ta-ivoly SK;yi.:g, '.vliile also-speMsngintaispersonaf and TMlJUpiHiiiilli i riii 111 I'm nuf TTiiniiiffilfliiiii Him IHW ' ■ ra^l^ Dravsled; is as suck Certain periis- saurt ffiiSwctetecEamf, wfsmiftat footing. Thisk iwjss grosK on fte Brags m& ufifeshionabto ^teftiKtaider cetenwniesfediscardBdialongfte-paft—warnings k (ronst fte sra^ myftiafeaEai; beast catted Twius&y;"'ate has claws -exrandii-g dsep irto *e saftiuai: caazsn. Slaving ttsstsiBoes creaftw is impossibie. not that Pnnwl tojar entertains fie iBBght. Ratw, tefr ingiWifcitfeaTOugrr. And. so, he falsify invites his pals F»tE|as ifife im arena to colfoboratB on- ftis intense raworkag.rf his astonish- ing torn ttamt material Wgh. Season- is h seastasL-S' GD12L9B LOW Des&oyer CQ/LP Please be advised that eternal and forevermore Zulu beloveds Law have changed1 record labels. Thus, When you break the siirirw-wnp of tfeaewesB^sact dte you will not be breathing; fe the kidje air of Chicago's hip Kranky records, but rather the: purifierf ulfe coot exygan of none other than that sfStt^^Popf Tate a deepteafer^ftieRds, letthegfory ftH your lungs and warm your beat- in® heart, eBerglSngissefy blood celft sirtting right iaisi joar marrow. )■ Um are. going ftraagh many changes and as with most maturate* there are hourtffoi benefits quickly apparent Far their latest opus, lte wr challenge their own signature spacey-broodlng' i magnificent toy of noise resembteg Soot Hmm, ttsur own telecaster blazing pal JaaiR,L IMpn Incted,. standout traete: like the cacophonous "Monkey^ arid freneficaily melodious "Silver Rider" showcase las adventures info new sonic territories and. m- true revelatory fashion, humanity's reat urge: the will to evolve. C016.98 LP14.98 THE LOCAL REPORT: PfmMB FATHERS <# CD TlSstwg is so OMnteftatve were beginrHV to wonder and, feanfc^, wany. Bat as be <M adage ones, good Amps as worth | »eiwflLAcfctie?Yes.fetstt»roB?Yfes,Ber^fcMi iiniettupritfit I and vet: end, sranasftt jaz^p Kftutnanialns^ietttateiifaBrantl iMnYiPJlmiiHiyJi uii^iiiy»tWtp[B CD12J8 BUCK sfttSB HoJMpfat Iftis deteit rnaster- totfcfeBtftgse beastW pso- plehassomtiehsdirneFnusfcifii: Satiltaite. KM I pramfee-; we' re going; to piay fe shffi aat of f1 «*"' tE^M ANTONY AND TNEJQHSm lAmABirdNow CD Once tea while,, statist comes along who is able to create mus so bold and powerful that people are forced to sit up and take notice. Astray along with his talented band He Jraasms, is no doubt such an artist Most often accompanied by somber piano arrangements, a choir of backing vocalists, and dramatis stringed instrumentation, Asteaes unmistakably intense androgynous voice is comparable to other unique vocalists such asUna Smtne, ttmrnTmit, Haas Masa. and ftrfus Wranmakt (who makes a cameo appearance on "What Can I Do?*). Aatanr s ability to deliver his melancholic songs wift such unflinching displays of passion and fervour is so rare that he has been known to leave those audiences lucky enough to witness one of his rare live appearances speechless and weeping tears of joy in their seats. His second full length I Am a Bird lew features an impressive cast of musicians including guest spots by longtime Antray supporter Lea deed, out-folk visionary Baveadra Banhart, JaBa Yawaa, and Bee 6eerfe. For the very first time, Antony ami tha Johnsons are set to play live in Vancouver March 6th at fte Media Club, which is sure to be an intimate and memorable evening not to be I feasant ei seBftself,w*asasGO I martial*ontofc set iousljf ex known-crew ot ragged warriors and scenefrtaters. This fe definite^ garigtotecwmasteverytiad^'stoppieksristofZIMB—and its what, February? Eft^it on and; far fcekwigi w& GD12J8 CiVMBDHAMM Erotic Thritte" m Now you too-can star in m&rte Thritar of your own dreams? Indeed everyone%feveMi*dparnk I duo return with a hikww ne release designed to get your ass shaking and baking with LO VB fatal between the lines, or past read the lines of their poetry. Big Haaaa and IB Hasan know a thing or two about passion desire and fte carnal pleasures? Hey—stop by Zulu Feb- 15ft at 6PM and they willbe-here to sing to you? CABBED HAMM instate FBI 15ft 6PBL OUT FEBRUWfY MIM CD16J6 OTWRSnJFVt«m«SHAK»C A STICK AT: ■Hi FWHFttL-fcfcBBte Prison CD Her amazing collaborations with PJ HARVEY and NICK CAVE? mONW&fFNmnWMfrStimi>**1m_ HMOrO atOCflaflY- l^pCDEPAsigi of grralnessto come! TK FRAMES- Bun tie Maps CD More from our beloved root rockers. SAGE FRAHOS- All i iftf IHIbiiI TWP Inventive post-hip-hop beats. POUY UP- s/t CDEP Montreal^ finest new rack act — look out Brooklyn. STEREO TOT^AL-To TteBambi CD New Disco is tfe New Punk CD 16.98 MT. EERIE AKA PHIL ELVERUM STOPS BY ZULU FOR AN INTIMATE PERFORMANCE, FRIDAY FEBRUARY 11™ @ 6PM gliS CANNED HAMM PERFORMS SONGS FROM CD O EROnCTHRILLER, TUESDAY FEBRUARY 15™ @ 6PM Zulu Records 1972-1976 W 4th Ave Vancouver, BC tel 604.738.3232 www.zulurecords.com STORE HOURS Mon to Wed 10:30-7:00 Thurs and Fri 10:30-9:00 Sat 9:30-6:30 Sun 12:00-6:00
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2005-02-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2005-02-01 |
Extent | 24 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2005_02 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 25f18dbf-d042-4d72-97a2-5d78e2ec98be |
DOI | 10.14288/1.0049972 |
AggregatedSourceRepository | CONTENTdm |
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