they zhoothor&y, don/tthey? the/vancowver nighty dandOwind/ eXiyabeth/ the/safety show hurnMxle/ neM) yeary resolution/fanlOO thre& inchesof blood/ the/paeh Japandroidy greeribelt c<yUectlye/ Joel/ the/raJA^OA^the/zids^aZk/ mr. plow the/winky garigban^ the/ mohawk/ lodge/ hotloiny orcfiwx/traXV mcuow myproje^hwue/ lecxh/abrarvisor^lru^ the/ weather rock/'n the/jolty hidythe^e/dayy the/scdteewy c<yll(tysirig'Oppoyitefr sarah/wheeler clover honey traXbvy rassia th&petroleAAwi^byprodAAetfr fan&haM) black/rices witne^proteet^on/program/ death/se^rdte^x/ce/ the/syriy fctnd/oftigery the/perigiAlny cran/ nerve/tub&y hejira/ panty boy victoria, victoria the/btxtemervtsweety foster hare/ tne/ nasty on/ operation/ mcik&out romances bossanova the/eM)6ky r^adyvwovde/ the/ choir practice/ vn medlcoy rets destroyer motorama/ the/ front mystery machine/ the/r.a.d/.Uo-. the/zaddletore&braA^v^^ the/parlour steps 42 better friendstharvlovery vwotorcyde/wian vancoagar the/riff randelty itfyali^in^thln^ cad&OAW/ eXtay ihe/ organ yow say party! we/say die/l j SWNcKs Over 500 bands can't be wrong. Don't miss the fun. Submission deadline Jtagasib 8, 2008. Send 3 original songs to shindig.086gmail.com Or, mail CO/cassette/mlnidisc to: SHiNDiG"08, 233-6138 SOB Blvd, Vancouver BC V6T 1Z1 WEBSITE/INPO/SPONSORS: http;//shindig.citr.ca THE BEST DEALS IN TOWN FOR A MEASLY 15 BUCKS. Anti-Social Skate Shop and Gallery $&■£$ 2425 Main St. 604-708-5678 Audiopile 2016 Commercial Dr. 604-253-7453 Boat Street Records 439 W.Hastings St. 604-683-3344 The Bike Kitchen UBC, AMS, 6138 Student Union Blvd. 604-822-BIKE Burai's Angels 2535 Main St. 6044744773 The Eatery 3431 W.Broadway 604-738-5298 Hitz Boutique 316 W.Cordova 604462-3334 The Kiss Store 2512 Watson St. 604-675-9972 Lucky's Comics 3972 Main St. 604-87*9858 Magpie Magazii 1319 Commercial Dr. 604-2534666 People's Co-op Bookstore 1391 Commercial Dr. 604-253-6442 Puncture Haus 2228 Broadway E. 604-7084100 Bed Cat Records 4307 Main St. 604-708-9422 The Regional Assembly off Text 3934 Main St. 604477-2247 R/X Comics 2418 Main St. 604-454-5099 Scratch Records 726 Richards St. 604487-6355 Slickity Jim's Chat and Chew 2513 Main St. 6044734760 Spartacus Books 319 W.Hastings 6044884138 Vinyl Records 319 Hastings St. West 604488-1234 www.dtr.ca/friencis A Mends of CiTR Card scores you sweet deals at Vancouver's finest small merchants and supports CiTR 101.9 FM. Show it when you shop! 2 Julaugust 2008 edibr's noteH n Editor | Melissa Smith | Editorial Advisor ; Duncan McHugh ; ArtDirector i Cole Johnston I Production Manager \ Kristin Warkentin " Copy Editors I Duncan McHugh i Melissa Smith j Catherine Rana 1 Under Review Editor ! Melissa Smith I Datebook Editor j Kristin Warkentin j RLA Editor ] Brock Thiessen j Layout + Design | Cole Johnston i Duncan McHugh I Contributors | Chris Brandt ] Bryce Duns | DanFumano j. Mark Hewitt j Alex Hudson | Marielle Kho ! Benjamin Luk j Katie Nanton i Duncan McHugh | Christopher Olson j Mark Richardson | Mine Salkin I Terris Schneider I Adam Simpkins j Melissa Smith ' Brock Theissen ; Photo & Illustration | Cole Johnston j Dave Gowans | Justin Kellam I Marielle Kho | Benjamin Luk | Mark Maryanovich ! Jon Pesochin ' Adam P.W. Smith ! Charts I Luke Meat ; CiTR Station Manager | Brenda Grunau | Publisher I Student Radio Society j of UBC ttocwktxa FEMURHt Mention summer and thoughts turn toward.... endings? Perhaps this makes sense, as although the summer equinox is the longest day of the year, it also signifies that light has reached its apex and is slowly winding down. Without any deliberate orchestration, many of the pieces in this issue touch on demise in one form or another: the Pack A.D.'s new release, Alkaline Trio's musings on the afterlife, and reviews of Kurt Cobairis Journals and a film about Ian Curtis, Control. Tne voyage into the winter realms does not always have to be an exercise in despair. One would have to look no further than the jovial crowd, some in tuxedos and others in Hawaiian shirts, who relinquished the fleeting Vancouver sunshine to gather at the Railway Club on the afternoon of June 14th. People laughed, told jokes and celebrated the life of Dave Watson, the Georgia Straight columnist who got his start in journalism by writing for Discorder. It is a testament to a remarkable individual when the occasion of their death unites a room in the shared bonds of laughter, as well as serving as a great reminder of the power of the written word to forge bonds and create a sense of community. Tne generosity of spirit within the writing community was very much alive for this issue of Discorder. Jumping into the job of interim editor after one month as Under Review editor was definitely an act of faith, as the magazine is built upon the generosity of time and spirit of the staff, all volunteers. Many people, some whom I had never met, others I barely knew, offered their assistance. Departing editor Nat Jay generously donated a few hours of her time for handover, even though she was about to go on tour. Brenda Grunau, CiTR's new station manager, provided support even while adjusting to her own new role. Duncan M. McHugh, a former Discorder interim editor himself, gave me free reign with conceptualization and organization of the magazine, but was kind enough to act as editorial advisor and jumped in to lend a hand whenever anything^lse needed doing. i^^^wP Gestures don't have to be grandiose or exemplify perfection to make a difference in the lives of others. Often it is the simplest actions which are truly the most helpful and meaningful. I would like to dedicate this issue to the experiences and people whose simple acts of kindness have made us who we are, and whose energy lives through us and our interactions with others. Tnis one's foT you. Melissa Smith, Interim Editor ©DiSCORDER 2008 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 8,000. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage). Please make cheques or money orders payable to Discorder Magazine. DEADLINES: Copy deadline for the July issue is March June 20. Ad space is available until August 15 and can be booked by calling 604.822.3017 ext 3 or emailing discorder.advertising@ gmail.com. Our rates are available upon request. Discorder does not accept unsolicited material, but welcomes new writers. For more info, contact editor.discorder@gmail.com. Discorder is not responsible for loss, damage, or any other injury to any submitted materials, solicited or unsolicited, including but not limited to manuscripts, artwork, photographs, compact discs, review materials, or any other submitted materials. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 FM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.3017, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams. ubc.ca or just pick up a pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA. If you would like Discorder Magazine in your business, email distro.discorder@gmail.com to be added to our distribution list. ** ANNIVERSAlfY SALE Saturday July 1 9th and Sunday July 20th 11 am to 7pm 20% OFF NEW 40% OFF USED VN—4^|fr>Y^|teT. pool g£r UgH^UDlOPILE.COM^faBJP^D'S & RECORDS^. Greetings record hounds! More than your usual batch this time out as we have to cram as much filling into this overstuffed Oreo of a column as possible. To begin, hot off the press and into my hands, the Zip Guns burst forth, dual guitars a-blazin' on their debut EP, which includes four songs that mix the punk with the rock. This music doesn't just sit there waiting for you to listen, it grabs you by the scruff of your neck and shakes you 'til your ears bleed. "Dirty Pictures" starts out vicious and quick, with some crackin' drum work and sturdy bass riffage, then barrels headlong into the Saints-inspired "Lookin For Love." Following on the flip side is "Speedway," which takes the opening chords - of the Dictators' "Stay With Me" and puts the hammer down, finally screeching to a halt with a decent cover of the Lurkers' "I'm On Heat." This EPis a perfect complement to the feeling you get when you've been run over by a souped-up roadster occupied by these five fanatics-of stripped-down, street-level rock 'n' roll. Spray the champagne boys, you've a got a winner here. (Meaty Beaty Records, www.longshotmusic.com/mbr or, hell, just contact the band for a copy). Another local release from the opposite side of the strip is the dark-wave stylings of Twin Crystals and their Two Girls EP. Featuring the prolific talents of Jesse Taylor (Terrorbird, Channels 3X4, Cheerleader Camp, Reflektions, should I go on?), this trio invokes the spirit of pseudo-industrial and synth-punk acts of the past like Alien Sex Fiend and Skinny Puppy, but would not be out-of-place nestled next to contemporaries the Lost Sounds or the Vanishing, or past Vancouver bands like A Luna Red or Primes if push came to shove. The title track showcases some creepy keyboard flourishes with skittish drums and subtle guitar picking, while "Trinity" and "Safety* raise the Reznor radar a few notches with their screamy vocals and punctuated blasts of synth for maximum mopeyness. I dig it. (Summer Lovers Unlimited, check it on myspace, kids.) Next, we have a cruel joke etched on wax, and by that I mean how the hell did Chris Appelgren get to appear on a split seven inch with both of his past bands? Sure, you may think you're listening to the Old Haunts from Olympia on one side, with their garage pop tune "Out Of Sight," but instead it's the Peechees (circa Games People Play) doing their thing in the same vein, I kid you not. It msiy SAY Tobi Vail (yes THAT Tobi Vail) plays drums, but c'mon, it's really Molly Neuman: I'd recognize that swing-style drumbeat anywhere. You turn it over and you get Red Eyed Legends, a Chicago group who—let's face it-Hire the Pattern (Appelgren's neo- garage outfit with recordings on label Alternative Tentacles) in disguise, with their art-punk damaged track "Monsters." Same punk-rock-paced staccato guitar breaks, same off-kilter whiny vocals—^-don't try to tell me different. (Nodak Records, www.myspace.com/nodakrecords). Two bands on the same label, and from the same city, are Vivian Girls, and the Royal Chains. The former are currently stealing hearts and crushing them under their heels with a recent single of fuzzy pop jangle, "Wild Eyes" is a barely two- minute twee delight, bringing to mind the Shop Assistants or Tiger Trap, if they weren't so straight-laced and their mascara was a little blotchier. "My Baby Wants Me Dead" recalls like- minded New Yorkers the Rogers Sisters, with its galloping garage stomp morphing into a spaced out mid-section, where shimmering vocal harmonies just barely break the haze. Word on the street is that hipper-than-thou label, In the Red Records will release a full-length Vivian Girls album in the fall. The Royal Chains penchant for pop hooks is apparent on the all syrupy A-side "No Love In Your Punches" with its Zombies-like guitar tones and near-falsetto vocal delivery. The flipside is decidedly more Brit-pop in execution—double hi-hat and danceable. Fans of Franz will undoubtedly "get it." You should, too. (Plays With Dolls Records, 226 Knickerbocker Ave #38 Brooklyn N.Y. USA 11237). A special shout-out goes to our next group the River City Tanlines. Who else but these brilliant minds from Memphis (mostly Alicja Trout, but kudos to her band too) would change the lyrics of the Painted Ship's classic "And She Said Yes" to "He Said Yes" and still retain the gritty garage pound of the original? Not only were we impressed, but so too was the writer of that tune, William Hay of the Painted Ship himself, who donated a copy to the station! Not to be outdone, "Modern Friction" is a curious blend of mid-tempo glam rock riffs and brooding new wave undertones, but an interesting listen if one takes the time. There's a little something special going on with every RCT release, and this is one is no exception. Check it! (Savage Records, www.myspace. com/savagemag). Finally, fresh from geostationary orbit around the earth, the . Laundronauts jettisoned their debut platter in a tube sock wrapped pod, smelling of roses. After listening to their three- song EP, similarities began to surface with Supernova, who crash-landed on our planet a few years ago and who successfully made it back into space thanks to our generous offerings of tinfoil. Their quirky garage punk songs covered such illustrious topics as the rigours of math, their love for vitamins and the wonder of elevators. The Laundronauts keep it simple with their fascination of the household chore everyone loves to hate, but musically speaking, they share a lot in common with their space brothers before them. "Hard Water" brims with a Sonics-style energy and deals with washing (or a relationship, I'm still not sure which) to great effect, while "That Kind Of Laundry" has more of a country-boppin' vibe to it. "Outta My Head!" has the band studying the songbook of the Mummies for a lo-fi take on the girl who got away and took the soap with her. Until such time as everyone on Planet Earth learns the difference between "delicates" and "unmentionables," the Laundronauts will continue their assault on our ears and we will obey. (Spincycle Records, www.myspace. com/thelaundronauts). «. That should be enough to tide you over—see you in September! 4 Julaugust 2008 UILL TCRR VDU RPRRT Control is the 2007 feature film debut by Anton Corbijn, the Dutch photographer-turned video director-turned film director. Anyone who remembers Corbijn-directed videos for Nirvana's "Heart-Shaped Box," U2's "One," or Depeche Mode's "Personal Jesus" knows that he has a knack for memorable, intense imagery, and the most immediate element of Control'is the stark and stunning look of the film; presented in crisp, beautiful black and white, each shot looks amazing. But Corbijn also shows himself to be a masterful storyteller, crafting an excellent film and eliciting brilliant performances from every member of the cast. . Control follows Joy Division, the seminal and iconic post-punk band that formed in Manchester in 1976 and became New Order after the death of their lead singer and songwriter, Ian Curtis, in 1980, weeks before the release of their second album. For a detailed look at the music and career of Joy Division the band, viewers would be better served by Grant Gee's 2007 documentary, simply titled Joy Division, but Control is ultimately the story of Ian Curtis, and it is a brilliant, engrossing and tragic tale. For the central role of Curtis, Corbijn wisely chose an unknown actor in the form of Sam Riley, frontman of Leeds-based band 10,000 Things, who—in addition to his Northern English heritage—also bears a stunning physical resemblance to Curtis. The other three members of Joy Division (Peter Hook, Bernard Sumner, and Stephen Morris) are played by a trio of talented' young actors (Joe Anderson, James Anthony Pearson, and Harry Treadaway, respectively), who rehearsed with Riley for two weeks and became so tight playing together, the director chose to use their** performances in the film. Riley's musical channeling of Ian Curtis is amazing, right down to his bizarre, frantic dancing. A key scene in the film has Joy Division making their first televised appearance, performing "Transmission," and when Riley lets out, "And we could DA-A-A-A-ANCE," it is truly goosebump-inducing. But Riley does more than mere impersonation. Portraying Ian from his school days until his suicide at age 23, Riley's performance is incredibly affecting and impressive. Samantha Morton is equally captivating as Deborah, Ian's high school sweetheart, young bride, long-suffering wife, and eventual widow. Control'is partially based on Deborah Curtis's memoir about her life with Ian, Touching From a Distance, and this lends an air of authenticity to the film. Corbijn knew (and acted as photographer to) Joy Division, as did Control producer Tony Wilson, the record label owner who "discovered" the band. The crew actually filmed in the house in which Deborah and Ian lived, which was also where Ian hanged himself on the eve of Joy Division's first US tour. This is an- impressive and promising debut for both Riley and Corbijn. In many ways, Control is Uke the music of its subject: stark, jarring, painful, depressing, yet strangely beautiful. And totally unforgettable, il :»u I ^IEk '^*" f^lliy^M^i^* H album release party: i3P£ Saturday August 16, Richard's on Richards ||lf i { CD/LP out August 12 *§i-/ , www.thepackafterdeath.com • www.myspace.com/thepackad MINT RECORDS RELEASES ARE AT FINE RETAILERS UKE THESE! mm Discorder Kurt Cobain Journals [Riverhead Books, 2002] Textually Active 6 Julaugust 200S Perhaps it is a bit unusual to be seeing an impassioned review of Kurt Cobairisjourna/s these days, but the lingering pain, and sadness of Nirvana's frontman resonates strongly still. Written in the author's childish, chicken-scratch hand, Cobain's honesty shines through in his writing. He narrates the course of the band's history and their rise to fame, with side discussions of love and sex, and other deeply personal avenues of introspection. Spiritual and sprawling, Journals is an intimate posthumous look into the complicated balance between rock 'n' roll, the personal alienation of fame, and the dark world of drug addiction. The everlasting image of Cobain is that of a man tortured by the conflicted personaUties he could not reconcile; the depressed, social outcast and the rockstar, dawning in the age of the grunge. Aside from reading his first-hand accounts of Uving the Ufe of a terminaUy-depressed heroin addict, Journals shows Kurt's struggle between the massive dichotomies he sets up in his own mind. Caught between right and wrong, fleeting happiness and self-induced torture, the rock star and the junkie, Cobain struggles to identify himself through these polar opposites. This theme is even prefaced on the first page of the diary as he writes: "Don't read my diary when I'm gone OK, I'm going to work now, when you wake up this morning, please read my diary. Look through my things, and figure me out." It's conceivable that most musicians become somewhat troubled by the cost of fame, but Kurt's radical spUt makes the whole of Journals so incredibly fascinating as it samples from the extremes of his psychological states. Cobain's need to be validated in a different way seems unclear even to himself, and is worthy of an Aronofsky film; bafflingly contradictory and amazing, too. It's not hard to imagine how the lower-middle class Aberdeen, WA youth, who grew up in a rural logging community, could become the beacon for tormented American youth of the early '90s. Dancing between a nihiUstic and a utopic, Buddhist vision of the world, Kurt writes openly about other, more personal matters in a way that simultaneously repulses and attracts. In one particularly gruesome entry he writes about a girl that attempts to have intercourse with him in junior high. When he asks.if she's done it before she replies, "Many times, mainly with my cousin." This incident causes die frightened, yet sexuaUy curious adolescent boy to develop an unusual obsession with the female reproductive system and images of fetuses. Upon returning to school, his classmates caU him the "retard Pcker," and Cobain's persona of social reject is quickly adopted. This honesty pervades the entirety of Journals; Cobain's poetic sensitivity is but a glimmer amongst a backdrop of the corporate American music industry, .accompanied by scribbles of recipes for fried chicken and french toast. Journals creates the overaU impression of a neglected, insecure musician becoming increasingly uneasy with his fame. The tattered journal entries parallel the conflict and confusion voiced by a scrawny yet soulful individual, who represented the impotence of his generation through the strained throaty textures of his music, t. I'b a writer and writers is what my label is about Ralph JUf W= J^jJCwiLiJ^ ; first—the devil or the egg? In the proverbial dark aUeys of the music industry, there is one shadowy figure that has always scared a major label executive walking unescorted at night—commercial radio. "Radio is the devil" is a common retort to the assertion that major labels are solely responsible for any perceived decUne in the quaUty of music on the radio. For the purposes of our discussion here, let's leave coUege/ independent/satelUte/etc. out of the debate and let "radio" refer to mainstream commercial radio. Let's start with the cloning of superstar artists. Who is to blame for musical genres (grunge, boy bands, ska, teenage pop princesses) that fish too deep and too exhaustively in a limited talent pool? Keep in mind that major labels are pubUcly traded companies that must turn a profit every quarter. If commercial radio is only playing Britney Spears, it is counterintuitive from a business point of view to sign an artist Uke Ron Sexsmith. It does not matter how brflUant the artist is, or how much marketing money is dedicated to promotion. If radio is playing platinum blonde teen-pop, then you have to invest in that model. This is why new genres in pop music rise so quickly and are so aU encompassing of the airwaves—every label is perpetuaUy searching for a carbon copy of the current big thing. To take advantage of the momentum of a genre, they can rarely afford to wait for their artist to be the next big thing. Radio is fuU of sheep. The majority of stations wiU not add a song regardless of how good it is, until stations with simUar formats in LA, NYC, etc. have made the leap. Music Directors who actuaUy add (not feature) local music to their playlsists should be canonized. Canadian radio didn't always foUow the US. When Canadian radio mimicked the UK, we benefited from a more varied musical appetite, where a new album was at number one on the sales charts every week. Now, the same album (or worse, a soundtrack) can remain on top of the US charts for weeks, or even months. Keep in mind that radio is not about music—it is about selUng advertising. Advertisers pushing to have their commercials placed next to the established hits add to this glacial pace of change. Bemoan it aU you want, there is genius in the harnessing of the momentum of the herd. Nickelback do aU they can to promote bands that sound just Uke them. These bands are not competition, but rather placeholders— there to ensure that radio charts don't change too much while Nickelback is out of the picture recording a new album. They learned this lesson from Kiss, who donate costumes and props to Kiss tribute bands. These tribute bands keep the Kiss Army salivating between tours, as they often go on tour just before the real act announces a show, just to get the masses primed. Just because it hurts your ears, doesn't mean that it isn't brilUant. Commercial radio wiU never be brilliant; it can't afford to take risks. That is why classic rock stations, that play NO new music, have popped up into almost every major radio market. Vancouver is going to be getting its first "adult album alternative" (AAA) radio station, as the insanity of going head to head in the same format finally subsides and a new station brings in a radio format that doesn't exist here instead. Consistently in Vancouver, radio stations would rather fight for a piece of an estab- Ushed pie than open a brand new bakery. There simply are not enough wolves to make a dent in this many sheep. V ALSO AVAILABLE HOW: MERYN CADELL pop/spoken word FRAZE GANG rock/metal C.R. AVERY blues harmonica beatbox DAVE RAVE & MARK McCARRON jazz LOLA DUTRONIC electronic/dance KEVIN KANE (Grapes of Wrath) ARI SHINE los angeles power pop RALPH beatnik jazz garage rock LAND OF GIANTS SOs electronic Thank You and Goodbye, Vancouver. After 17 years, we are going back home to Montreal. Thank You for the support, the love and the inspiration. As of Aug 1, we are at: Bongo Beat Records 2049 Melrose Ave, Montreal, Quebec, H4A2R6. Ralph Alfonso ralph@bongobeat.com BONGO BEAT (IIP hot bands with h_w& UU m I hat happens when the vocalist (Eden Fineday) of four-piece Vancou- , gar goes on her honeymoon just before the release of the band's latest album Canadian Tuxedo} The other ladies get nostalgic and ruminate on the path that brought them to their own true love, music! -«f^^PWhnM)QOs My interest in music started with my dad. He plays guitar, and before I started school, he spent time touring Canada, sending me postcards from places like Head-Smashed-In Buffalo Jump, Alberta. I dreamt of the day I could get on a tour bus and travel crosscountry, although I had no idea how I'd get there. I took piano lessons, but I never considered how that could help me join a band. Sol carried on playing with Jem and the Holograms doUs and shrieking >along to Cyndi Lauper records, creating a vivid fantasy of my grown-up life ahead. J?%lis| In grade two, I decided to make up a dance routine for the school talent show. I remember doing handsprings in front of my music class, making it up as I went along. After the . audition, my teacher took me aside. "Megan," he said, "I think your dance was alright, but we can't accept you into the talent show, because 'Like A Virgin' is not an appropriate song." I didn't even know what a virgin was at that point, but I suppose he was right. I continued with piano lessons until practicing and playing recitals stopped being fun. As a last-ditch attempt to keep me interested, my teacher promised to assign me a pop song. She chose Whitney Houston's "The Greatest Love of AU." I quit within a few weeks. My mom said I'd never play again, and for years she was right. It wasn't until I moved to Vancouver and went to my first D.I.Y: show that I realized that those piano lessons had an application outside of a recital theatre. Now, when I think about the grown-up version of myself I'd pictured as a kid, it makes me happy I wasn't too far off. 8 Julaugust 2008 In the summer of 1988,1 was a thirteen-year-old tomboy nerd, just about to enter the gates of heU some people refer to as high school. Lucky for me, the album that was about to change my life for good had just come out, and thanks to a hopeless crush on a cute drummer in my class, I discovered Guns N' Roses' Appetite For Destruction, a.k.a. the Most Beloved Rock Sleaze Album Ever. Being the young, impressionable and obsessive girl that I was, I immediately waU-papered my waUs with glossies of Axl, Slash, Duff, Izzy and Steve in a myriad of drunken, sloppy poses.Their bandanas, ripped jeans and leather jackets became my wardrobe. Their bottles of Jack became my drink of choice. Most importantly, their music became the soundtrack to my teenage life. Now I'U be the first to agree that Axl Rose is a world-class asshole. We've all heard about the wife abuse and the racist and homophobic remarks and the megalomania. But back then, he was my world. How I managed to survive as a strong, independent woman I'U never know. What I do know is that for about three years I listened to that album at least once a day. I stiU have the original cassette tape that I bought at the mall that summer with my allowance. The ink has rubbed off, but the tape still plays flawles|ly. Say what you will about the offensive lyrics, rip-off guitar licks and out-of-date hair metal images, that debut album is one of the most solid, focused and potent punches in the face the music industry has ever received. There were many moments in my life that influenced me to listen to and appreciate music or to pick up an instrument and maybe take a lesson or two. But that album made me want to master the drums, hop in a van with the boys (or girls, as it turned out to be) and sweat my face off every night on stage. I would probably be a doctor or lawyer or something else inteUectually stimulating and financiaUy lucrative, wearing khakis and feeding little Timmy his last spoonful of mashed carrots, but instead, I have tattoos, drive a work van and play rock 'n' roU music. Sometime during my teens I reaUy got into '90s "mod," with Fred Perry shirts and Brit Pop music. I dyed my hair black and wore only vintage clothes from the '60s and heavy, black Uquid eyeUner. My best friend Karin and I spent countless hours in North Van getting dressed up, taking pictures and planning for aU the cool shit we were going to do once we moved away from our parents. She was the best artist in our high school and had an obvious future in photography. She already had a thing that made her cool and interesting at parties. I thought I was boring next to her. I felt Uke I needed a "thing." I started saving money for a Vespa. I thought I could join an Italian scooter gang. Not a gang of Italian people who ride scooters; a bunch of reaUy, stylish people who ride Italian scooters. Maybe some of them could also be Italian. Anyways, that part doesn't matter. The important thing is that we would all look amazing and '60s. My dad didn't find the idea quite so romantic. He was convinced that the combination of me and a motorized vehicle equalled certain death (in his defence, he was probably right). After some dramatic arguing and graphic descriptions of motorcycle accidents, he forbade me. Since I had already saved some money from my job at Fanny's Fabrics, I decided to buy a bass guitar. Karin's dad was a guitar player and he had recently been trying to teach us some riffs. He gave me some key advice about guitar brands and models. The guy at the music store gave me my first lesson. I learned "Alright" by Supergrass and "WonderwaU" by Oasis. My parents have always been very supportive of this endeavour because I haven't died. True story. V With a nod to synchronicity, Canadian Tuxedo hits the streets July 8th. Vancougar's CD release party is on Friday, July 11th at the. Biltmore Cabaret. Fetish vendors / decorations / visuals / photo booth 2 rooms of DJs & dancing plus the play dungeon AJI parties hosted by Mr. Dark with resident Dis Pandemonium, Betti Forde, R-Lex, Pyxis, Rhiannon, Craig Allan & guestsi 23 West Cordova / 9pm-3am ^rszr&Bsa, __mmmmm_m_vm Sim Qy celebrates men loving won* men lowng men and womenlaving ©EWEftRLENOER GosSr-oressng h*ghiy encouraged - ptum> for best" costenesi! RICT FETISH DRESS CODE; AT ALL PARTIES. NO EFFORT = NO ENTRY! Dresis code suggestions, online ticket purchasing, photo galleries and outrageous videos from 1^^ **" previous parties at : §1 WWW.SINCITYFEriSHIII0HT.COM Discorder 9 i -3L PACKING IT IN it The Pack A.D, on touring, toilets, dhd the concept behind their sophomore release * MEUSSA SMITH anovich Listening to the recording of my interview with the Pack A.D., I am amazed at the amount of laughter I heard. Here are two women with reputations as hard-living, drink- swfHing, hell-raisers, and yet the playback sounds more like a chat amongst friends. Singer and guitarist Becky Black, who is initially ~4fao^ghv8*membaBLjpfthe duDrplJ^3uS^e^4Prl?g a bit more raucous than band/best mate Maya Miller, drummer and chief organizer for the group. While I suspect there is some truth to those rumours of their hard-living ways, like true professionals they underplay theiroffstage antics and choose to discuss their new album and recently completed UKtour-their first. It is an exciting time for the Pack A.D. They have a new website and are releasing their second album Funeral Mixtape, on August 12th. Their first effort, Tintype, has been lavishly praised by both fans-chef reviewers alike, and their live sho^filways promise a good time. Worryindp,^^^6mmon occurrence for the Pack A?lyp©th here and stateside are the backhanGled compliments they receive for ^^r^^^i such a great ^rTO^~desprte«feeing female. They hear, "I thoughfcyou were going Oto suck because you're both girls but you were actually really good," frequently enough that flfilsp^e no longer surprised that this senti- |ptj|nt is mean! *& ar) acc°lade. When4T<i£k; fpt||trif the band em^fejtered the same;©?** ijjpilpjpngratulations on their recent UK tou|^he: |||i|)firms my suspicions that this tsMrideed a jlfpa^Ameiican experienced^ ^^^^^Jnight expe^^^tiSce»\,wg®^Q. ^^^^ptSund chattihg*over afternoon coffee, talk^oon turns to excrement. While staying^- a friena3=fhd fellow musician's flat fin Brighton, the only toilet in the place got blocked. It was a full hej&le and there wasn't a plunger to be found. What to do? Well if you're BeckyBtock, my hands in and fixed it." When confronted by ^^incredulous stare, Maya^te*$$^t"e toilet |||p®&'f worklr^oind I was hoping, and H§§j8>ty* |fffil^&n^y that soonej&safifctfer Becky "wbujd fix it because she likes a. challenge." ^pR^lopIc" "^ntihuesOwtfn convers^^&K- a^gompasgjr^y^^^Eg" Vancou^F"',^^^s> «^pfeh^"std^S^^^^itte pooi^^fe^ky fffiiagLon tour NA^^^^g^which artists trg^^^ |gb®J centres, decorating ^d tt>£|i§9p||§ Ogjipphing offerings of the#feca^^^^^^ notable mention: poo with,s^^^e^^^^K^ ^h^glphones and—the undisputed i^^^^^m. ^§ftangers orvxtTrain," whicfyleatu^^^e^ standing in for a train caLgspgit of a re^^^- set. Now that's definitely one thing you v^ln% %iJ^lke ^ftftfr^bands who bemoan the , b^Sdom of tour|ng, the Pack A.D. are very ^p^^^^andi'>i3s^tenot perusing scatologi- J ^^^^teratuceidgJt^^ir travel downtime to «§ap&~ use. I^^^l^tjust -finished a horror/ comedy screeM^^^ut killer squirrels that will contain g^l^fe in which the band plays, should the film reach the production stage. Becky draws and composes haikus, the following composed at 4 am., after a show in Nottingham: "If y^jjBse your mind/And it's lljipWhere to be foun^Su<jqri'borrow mine." l^S#*en I commenWhat their sophomore effort seems a bit mellower, Maya explains. r.o "The luxury of c^fep^i^lbwro'iS-.if^i^^^?^ able to put pna few mellower-|or{gs. whtesn-' we probably wj^ferv't pla^jfi^,J~?^e?|pe£pie come out they^^Ktj^anf^h^^thg^/ % This sentimeiO^evideQced by fhefr reC&&- show at the Aspi Qub,,^.§>mptele'witih5:8t^^' divers and rn^ffip^wrji^^a bit une^Se^^ for a blues ba^id,* even .age ctH^vspnrafSs elements of garage jpck Buttry,e to their image, the Pack A D played an, 'looking cool as can be while chaos surrc^r^^o^n^^^^ was, at times, literally inches away. The band is still touring Tintype but is looking release-atrRtchard's on Richards on August I „,Tj&thr Becky states, "Some of the old material I is starting to feel a bit stale. We can't wait to 1 play our new songs but we have been saving 1 them for the release party. Most of our new 1 songs ft^^^^ferbeen played live before." I %to^a^ke£tTO^Caricept albums »of the '60s I and VO^f^^era/ Mixtape is built around a | thematic centre, which arose from a convert 1 - satlon be$s£e®rr the- tVseoofriends aj^^what I sort of mtlslethey would want playe5f"^f^^^^ ;"i^i\June^te. "What they fe^^agreed on is 1 ^ftdtr*they wanted--their transition to be "Joyful, I rather than* a sad affair. The interview comes to a conclusion when a I honey-vo*6ed, dreadlocked musician sets up '?r^__\ Leonarg^phen's "Hallelujah." This unexpected I event (j^qulte fitting, as it«|^rsonifies the 1 Pack A.D. and their approach to music; th%i§l tisstfOfking of an*o0 favorite,jtb@. cdiscongruity I between expectations and appearance, and I ito"iact that you go through life feeling a bit jnj .^ett^Just for having heard it. «K. TRIIfBS 70U MAY NOT KNOW ABOUT TBf PACE A.D. '--TfePack A.D, derived-from a 4 pfece with 2. ri|gs§e members-^hal^lj^^ .gS^fifBer.. "JJ Becky and Maya are collaborating On a comic .- book whidh features some of their foerfes^asO ^SifF' Mixtape will be released on black vinyl asjj^^^iljnot a fan of coloured vinyl. M^y^ra^currentiy obsessed with the word rjpuilpp^qs in a hgj^ p;f gold, not broth) ^^JjfP^^^^ri^he word into conversatjpbs,.- ^^I^ever possible. 1 The Pack A.D. once played a show at a .bowling alley in Kamloops. At the end of the night, their bar.tab was higher than what they were paid, j Becky and Maya fantasized about mailing- one critic poo (minus the sprinkles I'm sure). It was my attempt at having a RZA, Wu-Tang moment," says Nick Krgovich. "But it's more Sade and-Mary J. BUge than Wu-Tang." Nick's referring to "Bluster in the Air." It's one of the highlights of Come Into My House, the first album by No Kids, has new band with keyboardist JuUa Chirka and drummer Justin Kellam. Not that the band members are new to each other. Julia, Justin and Nick were three quarters of local pop darlings P:ano. When the fourth member, Larissa Loyva left the band (she now performs as KeUarissa), the remaining members decided to change directions. "Larissa and I started [Piaoejwhen I was in high school," says Nick, "and the idea of being in the band you started in high school for the rest of your Ufe was such a hum out that I reaUy needed to take a minute and think about what we wanted to do. It felt Uke it was time to start again." Nick took the name No Kids from a dormant band he had formed with Stefan UdeU (ex-Beans). "Sitting around thinking up band names is one of the worst things on earth," he says, "I thought this one was good, and it was just sitting there." With a grant from the Canada CouncU, No Kids recorded the album at Vancouver's Hive Studio, For those famiUar with the baroque pop melodies of P:ano, the Wu-Tang comparisons may come as a surprise. WhUe some of Come Into My House's songs would be at home on a P:ano album, the band has pushed themselves to new places. This includes using sequencers, electronic-sounding drums (which, Justin is quick to point out, is actuaUy "heavUy-treatedacQUS'- tic drums... wry gated, Cindy Lauper-esque") and an embrace of R&B, particularly on "Bluster" and the incredible "Tne Beaches AU Closed." "['Beaches'] was the last song that we recorded for therecord and it was me being, 'Okay, we have to fully look head-on at aU of the R&B inclinations we've had and not dance around it, just do it,'" says Nick, an avowed fan of Sade and early Janet Jackson. "And we wouldn't have been able to make that song had we not made the 11 songs that preceded.it. We wouldn't have known how to arrive thereO Come Into A_fy House was released this past February by the formidable German label Tomlab. When asked why they chose a label in Europe, the band was unanimous: Jan Lankisch, Tomlab's co-owner and its head of art direction. "When P:ano was looking for a label for Brigadoon, I think we sent them a copy," says Nick "Jan reaUy liked them. We became friends." Of Tomlab, Nick says: They're totally amazing people. They put out really good records, and they put a lot of care and attention into the packaging." Tnis is evident with a look at Come Into My House. Nick's "perfect cajWK^ fer the album was an Alex Katz painting from the 1960s. Through a stroke of luck, the Jablonka Galerie in Cologne—-Tomlab's hometown— held the rights to the painting and the label was able to Ucense "Ives Field #1 (1964)." , "Tne fee wasn't outrageous. To me, it's my favourite thing about the album, the cover," says Nick. Tne album has garnered a lot of attention, as has No Kids' Uve show. "Unlike with P:ano," says Justin, "for the first time people have been coming to us and saying, 'Do you want to go do this [show or tour]?" No Kids recently returned from a successful European tour with Mt. Eerie and, earlier this year, they toured with "one of the best band in the universe,^ the Dirty Projectors. "It was quite eye-opening" says Justin. "We did [our first] three or four shows at SXSW, and it was Uke watching three cats with broken legs try to catch a mouse... Within two shows of playing with the Dirty Projectors everything got super tight." They've even started to dance onstage.. "Jan from Tomlab says Julia has rasta moves," Nick says. "I do," admits JuUa with a laugh. "It's so natural though. It's just what I do." No Kids wiU be in Vancouver for the summer, working their non-musical jobs. Tney plan to play some shows in town in the early faU (a planned show this spring was canceUed) and then head back out on tour, j) N«KI»S The members of No Kids have other bands to look after, too. Justin's band Duplex is header* It ( »cora a Duncn 5igi, a Vancou or new ver '60s, songs Wall- of 1 -Sound hey all -style si play in ipergroup tha will have an ("Says Axl Rose," jokes Justin). On top of that, Julia and Nick's To Bad Catholics, who were on tour with Casiotone for the Painfully Alone last fall, have an album in the can that Scratch Records will distribute as soon as Nick gives them copies. li 13 Julaugust 2008 Tuesday Wednesday Thursday Friday Saturday PACFIG PICKIN' BBC BBC BBC BBC - FILL IN SUBURBAN JUNGLE END OF THE WORLD NEWS .FILL-IN THE SATURDAY EDGE GIVE 'EM THE BOOT SYNCHRONICITY FILLIN SWEET AND HOT THIRD TIME'S THE CHARM SKA-T'S SCENIC DRIVE ANOIZE MORNING AFTER SHOW DUNCAN'S DONUTS THESE ARE THE BREAKS ■ GENERATION'ANNIHILATION J RUIN THE GREENMAJORITY WE ALL FALL DOWN THE BROADCAST POWERCHORD- LAUGH TRACKS DEMOCRACY NOW INKSTUDS 0 RADIO ZERO REELTOREAL NATIVE SOLIDARITY NEWS RUMBLETONE RADIO A GO GO CRIMES & TREASONS ' CODEBLUE NARDWUAR PRESENTS WINGS WENER'S BBQ CANADIAN VOICES MY SCIENCE PROJE<33?&5 ! PEDAL REVOLUTION NEWS 101 LEO RAMIREZ SHOW STEREOSCOPIC REDOUBT . FILL-IN NASHAVOLNA FLEXYOURHEAD AND SOMETIMES WHY SAMSQUANTCH HIDE-AWAY SHADOW JUGGLER^gpol EXCUIS1TE CORPSE AFRICAN RHYTHMS SALARD MINIMO FOLK OASIS LIVE FROM THUNDERBIRD: . RADIO HELL RAINBOW GROOVE SYNAPTIC SANDWICH JUICEBOX CAUGHT IN THE RED HANS KLOSS' MISERY HOUR FILLIN"5||j?i •SHAKE A TAIL FEATHER BEATS FROM THP •BASEMENT. . K 1 LIKE THE SCRIBBLES CITR REBROADCAST AURAL TENTACLES CITR RE-BROADCAST • CITR RE-BROADCAST CITR RE-BROADCAST Experimental, radio-art,-sound ci field recordings, etc. Recommended for the insane. UVE FROM THUNDERBIRD RADIO HELL (Live Music) 9-11pm Featuring live band(s) every week performing in the comfort of the CiTR ' Lounge. Most are from Vancouver,' but sometimes bands from across the country and around the world are nice enough to drop by to say hi. BBC11:30pm-1:30am ■H^H FRIDAY FILL-IN (Eclectic) 8-9am S¥NCHRONICITY9-10pm Join host Marie B and discuss spirituality, health and feeling good. Tune in and tap in to good vibrations that help you remember why you're here: to have fun! This is not your average spirituality show. SKA-TS SCENIC DRIVE (Ska) 10am-12pm Canada's longest running Ska radio program. Email requests to: djska_t@hotmail.com THESE ARE THE BREAKS (Hip Hop) 12-1pm Top notch crate digger DJ Avi Shack mixes underground hip hop, old school classics, and original breaks. beatstreet@telus.net THE BROADCAST 1-2pm Betti Forde has been a pro DJ for over • a decade. She's deejayed throughout the world in places lite Paris, Berlin, Rome and Malmo. She couldn't be happier to be back at CiTR with The Broadcast, showcasing women in RADIO ZERO (Eclectic) 2-3:30pm We play an international mix, pf - super-fresh weekend party jams from new-wave to foreign electro, baile, Bollywood, and whatever else we (Nardwuar) 3:30-5pm Join Nardwuar the Human Serviette for an hour and a half of Clam Chowder flavoured entertainment Doot doola doot doo... doot doo! nardwuar@nardwuar.com NEWS 101 (Talk) 5-6pm AFRICAN RHYTHMS (Worid) 7:30-9pm RAINBOW GROOVE (Dance/Electronic) 9-1u:30pm Getting you in the mood for the weekend, DJ BFAD presents a kaleidoscope of funky- grooves for your mind, body & soul SHAKE A TAIL FEATHER (Soul/R'n'B) 10:30-12am The finest in classic soul and rhythm & blues from the late '50s to the early 70s, including lesser known artists, regional hits and lost souldgems. I LIKE THE SCRIBBLES (Eclectic) 12-2am Beats mixed with audio from old films and clips from the internet 10% discount for callers who __________ SATURDAY THE SATURDAY EDGE (Roots) 8am-12pm Now in its 22nd year on CiTR, the Saturday edge is a personal guide to world & roots music—with African, Latin and European music in the first half, followed by Celtic, blues, songwriters, Cajun and whatever else fits! steveedge3@mac.com •• -f* GENERATION ANNIHILATION (Punk) 12-1 pm A fine mix of streetpunk and old scjiool hardcore backed by band interviews, guest speakers, and social commentary. crashnburnradio@yahoo.ca POWER CHORD (Metal) 1-3pm Vancouver's longest running metal show on the air. If you're into music that's on the heavier/darker side of the spectrum, then you'll like Power Chord. Sonic as sault* provided by Metal Ron, Gerald Rattlehead and Geoff the Metal Pimp. CODE BLUE (Roots) 3-5pm From backwoods delta tow-down slide to urban harp honks, blues, and blues roots with your hosts Jim, Andy and Paul. codeblue@buddy-system.org THE LEO RAMIREZ SHOW (World) 5-6pm The best of mix of Latin American music. NASHAVOLNA (World) 6-7pm News, arts, entertainment and music for the Russian community, local and abroad. http://nashavolta.ca SHADOW JUGGLERS (Dance/Electronic) 7-9pm This edectic show welcomes you to braoden your musical knowledge with DJs MP, Socool, Soo & guests. We work across musical genres including electronic and club-based music, which are rarely introduced into mainstream musical culture. Travel through world sounds. myspace.com/shadowjugglers SYNAPTIC SANDWICH (Dance/Electronic/Eclectic) 9-11pm Every show is full of electro bleeps, retrowave, computer generated, synthetically manipulated aural rhythms. If you lite everything from electro/techno/ trance/8bit music/retro '80s this is the show for you! www.synapticsandwich.net BEATS FROM THE BASEMENT (HipHop)11pm-1am ' Hosted by J-Boogie and Joelboy, promising listeners the latest tracks, the classics, the rare and the obscure, current events, and the special features of peeps coming into the studio. Most importantly listeners can expect to be entertained... church. klymkiw@gmail.com OkO>Ok„ SU 6 Harrison Festival of the Arts © Harrison, BC Parlor Mob © The Media Club 7 Kode9 © Richard's on Ric 13 Sarah Evans © MMMF 14 Newton Faulkner @ The f 20 Hayley Sales ©VFMF Jully Black @ Surrey Fusion Festival 21 The Modelos w/ Jim Ma2 Club 27 Nicole Atkins ©The Plaza Erica Mah w/ Shera Kelly @ The Backstage Lounge 28 Open Mic Night© The & Rapture Resurrection © The Commodore Burnaby Blues and Roots Festival © Deer Under Hie Volcano Festival © Cates Park Open Mic Night © Kingshead Pub Gypsy Kings @ River Rock Show Theatre Richard's oh Richards Open Mic Night ©The A Crue Fest ©GM Place Joshua, Radin w/ Erin Mr. © The Biltmore Cabaret Summer Slaughter Tour < rt £QQa St/l« toMtaf w^m^m ttw#&fjmm wMti^m Bill Weeds Sextet w/ Joanni Taylor © The Cellar Jazz Club Sarah McLaughlin w/ Cindy Lauper © Deer Lake Park Ashes Divide © Richard's on Richards George Michael @ GM Place Mystery Point © Big Star Cabaret Vancougar w/ DJ Bryce Dunn @ The Biltmore Bacchus w/ Floating Goat © Funhouse, Seattle My Dearest Friends w/ Matthew Mei © The Media Club 10 Merritt Mountain Music Festival © Merritt, TiC Eric's Trip © The Plaza Vancouver Island Musicfest @ Courtney, B Easy Star All-Stars © The Commodore 12 Stevie WondeY © GM Place Wolf Parade© The Commodpft tjl Scarlett © The Cornwall DJ Betti Forde w/ Trevor Risk © Celebrities The Wheat Pool w/ No Horses © The Railway Club 17 Zaki Ibrahim © The Media Club Vancouver Folk Music Festival © Jericho Fusion Festival @ Holland Park 19 Bedouin Soundclash w/ rhe-Roots1® Whistler Music FesftS^,* Sylvie ©The Media Club . Emmylou Harris © The Orpheum Joseph Arthur © The Media Club No Age © Richard's on Richards 25 The Cadaver Dgos © Tha BiltnweO"'' Pemberton Festival © Pemberton, BC Ted Nugent © Red Robifw^^S Top Drawers CD Release Patty @ The a A Textbook Tf&gedy and Means @ The," ■Ued_i\iii$^^-.: *sendyour event listing? tp ctmndar.^cor^t^ginailcm Cute is What We Aim For © The Plaza Amanda Leopre © Celebrities Ragga Mur © Astoria ■ ■aI pnnft Hit fj#§#Mf OMtll 1 . ;*■" Mount Baker R&B Festival © Mt Baker, * | WA , ' \ _\ ' . '- -f J'"^\ ) The Faint @ The Commodore < ~* NZAClub 5 Feist w/ Weakerthans © Deer Lake Park 6 Black Francis © The Media ($&+■"$■ Angels ^nd Airwaves @ Tlie CoiWSotkire Bill Mohawk Lodge w/ John Cougar ©Astona 12 Open Mic Night © The Purple Crab Xinxin Nanguan Ensemble ©Vancouver Playhouse Theatre (Festival Vancouver) .13 . Smalt Sins © The Meia^^^ lira 15 ' SalmonArmRoots & Blues Ffcsu"va!.@;OvT? Salmon Arm Fairgrounds _ i •Cariey, Erin PestJe 19 Andy White CD Release w/ Shane ne'j%t" ' scott Jackson © The Media Club ||||jf§ HH Jack Johnson© UBC Thunderbird Stadium , \\ Adaline w/ Hanndh Georgas © The Railway. F - |H|| 1 : SThe Commodore 26 Lagwagon © 1 he Ctoatian Cutturaitl8rf}&-!', 27 • i 28 . tzsisp Oasis * GM Place J Beck© The Orpheum, ]^&jap^®t}»&wir» I SUNDAY TANA RADIO (World) 9-10am SHOOKSHOOKTA (Talk) 10-11am A program which targets Ethipiopian people and aims at encouraging education and personal development in Canada. KOLNODEDI(World)11am-12pm Beautiful arresting beats and voices emanating from all continents, comers, and voids.. East Asia. South Asia Africa. The Middle East Europe. Latin America. Gypsy. Fusion. Always rhythmic, always captivating. Always crossing borders. THE ROCKERS SHOW (Reggae) 12-3pm Reggae inna all styles and fashion. BLOOD ON THE SADDLE (Roots) 3-Spm Real cowshit-caught-in-yer-boots country. . Alternates with: SHAMELESS (Eclectic) Dedicated to giving any local music act in Vancouver a crack at some airplay. When not playing the PR shtick, you can hear some faves you never knew you liked. CHIPS WITH EVERYTHING (Pop) 5-6pm British pop music from all decades. International pop (Japanese, French, Swedish, British, US, etc), 60s'soundtracks and lounge. Book your jet-set holiday now! Alternates with: SAINT TRQPEZ (Pop) Mpm Welcome to St Tropez! Playing underrated music from several decades! sttropez101.9@gmail.com QUEER FM (Talk) 6-8pm Dedicated to the gay, lesbian, bisexual, and transexual communities of Vancouver. Lots ' of human interest features, background on current issues, and great music. queerfmradio@gmail.com RHYTHMSINDIA (World) 8-9pm Rhythmsindia features a wide range of music from India, including popular music from the 1930s to the present Ghazals and Bhajans, Qawwalis, pop, and regional language numbers. ALL AWESOME IN YOUR EARS8-9pm . MONDO TRASHO (Eclectic) 9-10pm The one and the only Mondo Trasho with Maxwell Maxwell—don't miss it! TRANCENDANCE (Dance) 10pm-12am Join us in practicing the ancient art of rising above common ideas as your host DJ Smiley Mike lays down the latest trance cuts. trancendance@hotmail.com SUNDIAL FLOODLIGHT (Eclectic) 12-2am Dedicated to all things drone. SOME SOUND (Indie Rock) 6-7:30pm RADIO FREE GAK (Indie rock) 7:30-9pm THE JAZZ SHOW (Jazz) 9pm-12am Vancouver's longest running prime-time Jazz program. Hosted by the ever-suave Gavin Walker. Features at 11pm. July 7: 'Social Call' is the title track from a latter-day classic with Monk's ex-tenor saxophonist Charlie Rouse and ex-Charlie ■ MONDAY BREAKFAST WITH THE BROWNS (Eclectic) 8-11am Your favourite Brown-sters, James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delights! hreakfastwitiithebrowns@hotmail.com GROUND CONTROL (Eclectic) 11-12pm Fun and independent music supported by a conversational monologue of information, opinion and anecdote focusing on the here, the now, and the next week. ALTERNATIVE RADIO (Talk) 12-1pm Hosted by David Barsamian. PARTS UNKNOWN (Pop) 1-3pm Parts Unknown, an indie pop show that has been on CiTR since 1999, is like a marshmallow sandwich: soft and sweet and best enjoyed when poked with a stick and held close to a fire. LETS GET BAKED (Talk) 34pm Vegan baking with "rock stars" like Laura Peek, The Food Jammers, Knock Knock Ginger, The Superfantastics and more. THE RIB (ECLECTIC) 4-5pm Explore tha avant garde world of music with host Robyn Jacob on Tha Rib. From now electronic and experimental music to improvised jazz and now classical! So weird it could blow your mind! NEWS 101 (News/talk) 5-5:30pm Vancouver's only live, volunteer-produced student and community newscast Every week, we take a look back at the week's local, national and international news, as seen from a fully independent media perspective. CAREER FAST TRACK (Talk) 5:30-6- July 14: 'Dizzy Gillespie and The Monterey Jazz Festival Orchestra under the direction of Gil Fuller' explains it all. July 21: Tonight we present "Pilgrimage" in tribute to the passing of one of the great voices of the tenor saxophone, Michael Breaker. July 28: 'Pianist Ahmad Jamal is in .tonights spotlight with his 'classic' trig recorded live at the Pershing Lounge in Chicago in January 1958. August 4: Tenor saxophonist Clifford Jordan posesses one of the most distinctive sounds of any of his peers. "Bearcat" is a very personal statement - August 11: Pepper Adams makes this live date from 'Pat Tuesday's" in New Yoric special. "Conjuration" is another latter-day Jazz masterpiece. August 18:The issuance of trumpeter Louis Smith's two Blue Note albums makes one realize what a giant this man August 25: Composer/pianist Cada Bley's music is always fresh, funny and ' original. ■■■■ TUESDAY VENGEANCE IS MINE (Punk)12-2am Going on 8 years strong, this is your home for all the best the world of punk rock has to offer. PACIFIC PICKIN' (Roots) 6-8am Bluegrass, old-time music, and its derivatives with Arthur and the lovely Andrea Berman. pacificpickin@yahco.com GIVE 'EM THE BOOT (World) 8-9:30am Sample the various flavours of Italian folk music. Una programma bilingue che esplora il mondo della musica folk italiana. THIRD TIME'S THE CHARM (Rock) 9:30-11:30am Open your ears and prepare for a shock! A harmless note may make you a fan! Deadlier than the most dangerous criminal! borninsixtynine@hotmall.com MORNING AFTER SHOW (Eclectic) 11:30am-1 pm An eclectic mix of indie with rock, experimental, world, reggae, ounk and ska from Canada, Latin America and Europe. Local bands play live on the Morning After Sessions. LAUGH TRACKS (Talk) 1 2pm Laugh Tracks is a show about comedy. Kliph Nesteroff from the'zine Generation Exploitation, hosts. generationexploit@yahoo.com musicalboot@yahoo.ca REEL TO REAL (Talk) 2:30-3pm Movie reviews and criticism. NATIVE SOLIDARITY NEWS (Talk) 3-4pm A national radio service and part of an - international network of information and action in support of indigenous peoples' survival and dignity. WINGS (Talk) 4-4:30pm WENER'S BARBEQUE (Sports) 4:30-6pm Tune in each week to hear Daryl Wener talk about tiie worid of sports. Ill discuss everything from the Vancouver Canucks to the World Rock Paper Scissors Championship. ethanwener@hotmail.com FLEX YOUR HEAD (Hardcore) 6-8pm Punk rock and hardcore since 1989. Bands and guests from around the world. SALARIO MINIMO (World) 8-1 Opm The best rock in Spanish show in Canada since 2000. None of that tropical stuff here. No aceptes imitacionesl salariominimo@yahoo.com CAUGHT IN THE RED (Rock) 10pm-12am Trawling the trash heap of over SO years' worth of rock n' roll debris. Dig it! AURAL TENTACLES (Eclectic) 12-6am It could be, global, trance, spoken word, rock, tha unusual and the weird, or it could be something different Hosted by DJ Pierre. auraltentacles@hotmail.com CiTR 101.9FM *>_ CD 5 3 S .co CiTR 101.9FM 6am Sunder / Monda V BBC 7am Sam 9am 10am 11am 12^m lpm 2pm Spm 4pm 5pm 6pm 7pm 8pm 9pm 10pm 11pm 12am lam 2am Sam 4am 5am BBC BREAKFAST WITH THE BROWNS TANA RADD SHOOKSHOOKTA KOLNODEDi GROUND CONTROL THE ROCKERS 1 SHOW- ALTERNATIVE RADIO PARTS UNKNOWN BLOOD ON THE SADDLE SHAMELESS LET'S GET BAKED THE RIB — - CHIPS WITH EVERYYTHINO SAINT TROPEZ NEWS 101 CAREER FAST TRACK QUEERfM ■ SOME SOUND RADIO RADIO RADIO FREE GAK RHYTHMSINDA All AWESOME ■ MONDO TRASHO THE JAZZ SHOW . TRANCENDANCE VENGEANCE IS MINE SUNDIAL FLOODLIGHT CITR RE-BROADCAST CITR RE-BROADCAST I WEDNESDAY SUBURBAN JUNGLE (Eclectic) 8-1 Oam Live from the Jungle Room in his Top Secret Eco-Pod complex high in the Cascade Mountains, join radio host Jack Velvet for an eclectic mix of music, sound bites, information and inanity. Not to be missed! dj@jackvelvet.net POP ROCKS 10-11:30am ANOIZE (Noise) 11:30am-1 pm An hour arid a half of avant rock, noize, plunderphonic, psychedelic, and outsider aspects of audio. An experience for those who want to be educated and EARitated. lukemeat@hotmail.com THE GREEN MAJORITY (Talk) 1-2pm DEMOCRACY NOW (Talk) 2 3pm RUMBLETONE RADIO A GO GO (Rock)3-5pm Primitive, funed-out garage mayhem I CANADIAN VOICES (Talk) 5:30-6:30pm ANO SOMETIMES WHY (Pop/Eclectic) 6:30-8pm First Wednesday of every month. Alternates with: SAMSQUANTCHS HIDEAWAY (Eclectic) 6:30-8pm All-Canadian music with a focus on indie-rock/pop. _anitabindei@hotmail.com FOLK OASIS (Roots) 8-1 Opm Two hours of eclectic folk/roots music, with a big emphasis on our local scene. C'mon in! A kumbaya-free zone since JUICEBOX (Talk) 10-11PM Developing sexual health,, expressing diversity, celebrating queemess, and encouraging pleasure at all stages. www.juiceboxradio.com HANSKLOSS-llpm-lam This is pretty much the best thing on radio. __________ THURSDAY END OFTHE WORLD NEWS (Talk) 8-10am . SWEET AND HOT (Jazz) 10-12pm Sweet dance music and hot jazz from the 1920s, 30s and 40s. DUNCAN'S DONUTS (Eclectic) 12-1 pm Sweet treats from the pop underground, Hosted by Duncan, sponsored by donuts. http://duncansdonutelwoFdpress.com WE Ali FALL DOWN (Eclectic) 1 -2pm Punk rock, indie pop, and whatever else I deem worthy. Hosted by a closet nerd. www.weallfalldowncitr.blogspot.ca - INK STUDS (Talk) 2-3pm Ink Studs focusses on underground and ' indie comix from publishers like Fantagraphics, Top Shelf, Drawn and Quarterly and more. Each week, we interview a different creator to get their unique perspective on comix and discuss their own interesting and upcoming works.. CRIMES & TREASONS (Hip Hop) 3-5pm crimesandtreasons@gmail.com MY SCIENCE PROJECT (Talk) 5-6pm Zoom a little zoom on the My Science Project rocket ship, piloted by your host, Julia, as we navigate eccentric, underexposed, always relevant and plainly cool scientific research, technology, and poetry (submissions welcome), myscien- ceprojectradio@yahoo.ca Alternates with: PEDAL REVOLUTIONARY (Talk) 5-6pm pedalrevolutionary@gmail.com STEREOSCOPIC REDOUBT (Rock) 6-7:30pm Psychadelic, acid punk, freakbeat, prog and other grotesque and socially relevant artifacts from 1965 to today, with a particular emphasis on Vancouver's freak flag with pride. EXQUISITE CORPSE (Experimental) 7J0-9pm .-JJUJ. Dusty" DougSmith, 43-year-old Vancouverite and bass player for Cadaver Dogs, is more than happy to wax breathlessly about the endless string of bands that have changed his life over the years, and to reflect on the ironic, demented, offspring of punk—a loose underground of which his own band is a bona fide member. But aren't they a country band? "We are like the redhead bastard step-children of the roots band," Smith quips, only partially joking. . Indeed, the Cadaver Dogs' brand of country music is far from pure. Chi^f songwriter Mike Q is a keen fan of early punk, as is Smith, who remembers the very first wave of the movement (he opened for the Dead Kennedys and saw Bad Brains live—all before many readers were even born). With a drummer that loves prog-rock and metal to boot, the band's sound is intrinsically hard-edged, more reminiscent of the Replacements or the Ramones than Hank Williams. "We can kind of do both," clarifies Smith, using their new album, Pariah Social, as a case in point. "Dirty Jokes" is a nice little waltz. "Touch Me Behind the Liquor Store" is a bossa nova. "But then, on the other hand," says Smith, "we've got songs like 'O Waitress'—knuckle-dragging, Neanderthal-like, two chords, solo, solo, solo... There are 13 guitar tracks on that song." Tne genre-jumping, cow-punk flavour also stems from the polar opposite tastes within the band, whose line-up has undergone several mutations since its birth in 2001. Tne band has now settled on something that is eclectic, yet works well. "Tne cool thing about the Cadaver Dogs—and I think this is what makes us the kind of band we are—is that it's four completely different musical tastes. There are a few crossovers. It's funnj^ we all probably Uke the Wb% Ac Ramones, Devo..." The addition of a "pounding" drummer and a highly studious second guitarist has also helped to take things to a "different level," as Smith puts it. "It can evolve into anything. We can play 'Pistol Packin' Mama,' we can play 'Teenage Head' by the Flamin' Groovies, or we tan play the Jesus and Mary Chain. Are we gonna pky it exactly like the Jesus and Mary Chain? No, we're probably gonna play it Uke the Stooges." In terms of their own material, "We write from what we Uve and what we have lived," Smith points onfe "We're a little bit older, we've been around." Despite their punk immediacy and boozy connotations, underneath their open chords and Mike O's sincere croon, there's an eccentricity—a dry, playful defeatism that keeps the wheels turning. "Our music is good-time music," Smith admits. "W« don't take ourselves very seriously, right? It's over the top, Uke, pastiche; we're making fun of everything. We know that everything's been done." There is one thing that hadn't quite been done before. InitiaUy a spontaneous studio moment, it now serves as conclusive testimony to the band's warped sense of humour and to its love of music, too. "There's a hidden song, the last song. It's Devo's 'Mongoloid,' but it's done like Neil Young and Crazy Horse- Devo approved it and sent me a shirt and stickers and said they loved it... They fucking loved it." Cadaver Dogs play the Biltmore Cabaret (395 Kingsway) on Friday, July 25. t. Discorder I ONMNE @ ALWAYS THE BEST ALTERNATIVE / SYNTH / ELECTRO NEW WAVE/80'S/90'S/ROCK INDUSTRIAL / EBM / SYNTHPOP WITH DJS PflNDEMOHIUM, R-LEX, VORTEX & GUESTS UPCOMING PARTY CALENDAR: ymuHJUlMiLL • VampirelH Vampire, New Wave, New Romantic, Goth, Victorian & Vintage Wear highly encouraged - prizes for best costumes! Vampire visuals ali night AllfllCT i_t f ™ OFFICIAL VANCOUVER fiUUvJI 10 I ZOMB,EWAL,c 200S AFTERPAKIY ZOMBIE BURLESQUE BY LITTLE MISS RISK ZOMBIE HALFTIME SHOW BY MR. DARK FREE ENTRY FOR ZOMBIES UNTIL 11 PM PRIZES FOR BEST COSTUMES v ZOMBIE VISUALS ALL NIGHT i worn Midsummer _j_____3BExm&y* *mm^m CLUB 23 WEST / 23 WEST CORDOVA WWW.SANCTUARYSATURDAYS.COM fl©£ftaaD Ltve nnTiom On Sale! R.E.M SgJi + MODEST MOUSE + THE NATIONAL Deer Lake Park May 23 While sprawled out on the lawn in the lush surroundings of Deer Lake Park, mindlessly enjoying an overpriced strawberry ice cream cone and with one arm draped around my better-half, it suddenly dawned on me: this has to be the least rock 'n' roU that I've been in a long, long time. It wasn't reaUy my fault, though, as there wasn't anything remotely rock n' roll about this late spring concert, boasting its Uneup of adult-oriented rock bands with sights set on aging hipsters, soccer moms, young families and greying boomers. Starting out the proceedings was the National, those perennially duU (and oddly over-hyped) Brooklynites. Tne band flaunted their wares to a few dedicated fans at the front,, but ultimately served as a muffled soundtrack to arriving concertgoersTand those waiting in Une for beer tickets. Modest Mouse foUowed by delivering a set heavy on the last two albums, only once making a brief foray into their back-catalogue with Lonesome Crowded West's "Trucker's Atlas." The crowd gave a big "I recognize that riff" cheer for "Float On," though most of the grownups probably only know it from their offspring s Kidz Bop Kids album. As for R.E.M., let's just say that those in attendance tonight hoping for a hit parade would have been left fuming under their Tilly hats. However, for fans who can't get enough of the band's latest album, Accelerate, they would have had little to complain about since the band played the entire record (warts and au) over the course of the band's two-hour set. Michael Stipe seemed a little stiff, but cordial, and gave us a coUective blush with his glowing praise of Vancouver's beauty and hospitaUty. In turn, he threw a few favourite oldies our way Uke "Losing My ReUgion," "Get Up" and some surprises, such as the 20 Julaugust 2008 rarely if ever played "Ignoreland" and "Gardening at Night" from their debut 1982 EP. And whole it was a very controUed and reserved evening (how could it not be with a 5:30 p.m. start?), it couldn't have been more pleasant, which is about as suitable as an adjective as you can find for this show. There were no arrests, the first aid tent remained empty and most couples probably made it home in time to catch The National'(on CBC, that is). Adam Simpkins M83 Richard's on Richards April 29 In a w$y, M83 succeeding in a live setting seems downright impossible. Most often the group has only one member. Their sound hinges more on production than actual playing. The sonic output is so unbelievably huge that Uve translation seems a challenge, to say the least. Yet here they are, M83 on stage, in person and out to show why Saturdays equal youth. '%i'l&g With a sizable crowd in attendance, the French act's clean-cut and enviably youthful Anthony Gonzalez takes the stage, making a beeUne to a Ut-up glass box of electronics affixed above a synthesizer. He begins pressing down on its multitude of buttons, sending harsh, digital sound waves over the crowd. Soon a trio of backing players appears from the sidelines, dividing up behind another console of synths, a guitar and a ridiculously large drum kit surrounded by six-foot plastic panels (presumably there for sound purposes). Then aU four break into the song that kick-started the career of this electronically inclined shoegaze act some five years ago: "Run Into Flowers." It aU makes for a wonderful start to a show, with the band foUowing it up with a choice selection of rockers, ravers and chiU-outs mainly from their latest effort, the '80s/John Hughes-inspired Saturdays = Youth, and its 2005 predecessor, Before the Dawn Heals Us. And while there are few complaints about the song selection (which covered everything from "Graveyard Girl" to "Don't Save Us From the Flames" to "Gone"), as expected, Uve many of the tracks lost, rather than gained, sonic oomph. The mix was definitely loud enough and the metal-styled drums hit with the same kick as on record, but the aU the blaring keyboards, electronics and guitars often merged into one indistinguishable mess, losing many of the songs' subtleties. Also, Gonzalez's arsenal of Uve antics—which included frequent use of the thumbs-up, double thumbs-up and the peace sign—left something to be desired, to put it poUtely. On the other hand, the band's newest addition, vocalist/keyboard player Morgan Kibby, added a lot to the evening, with her Kate Bush-styled voice coming across beautifuUy and her energy seeming less awkward and better placed than Gonzalez's. Yet by the show's electro-fueUed close, few in the crowd seemed to mind the obvious flaws, giving M83 an enthusiastic response that, funnily enough, seemed to take the band a bit by surprise. So did M83 succeed in a Uve setting? Let's say, for the most part, yes, but there is definite room for improvement. j^-V ■ Brock Thiessen '^^^M JAMIE LIDELL Richard's on Richards May 25 The turnout was surprisingly high for a Sunday night, and the entire room was itching to dance. Knowing this, soul singer Jamie LideU, criticaUy lauded as the most recent musician responsible for bringing funk back to the white man, adroitly bunt up anticipation by allowing his four-piece band (guitar, drums, keyboard and sax) to casuaUy saunter onstage before him. When he finaUy appeared, it was Uke a landmine going off. The room erupted in cheers and UdeU went right into P fess up: In true rock critic fashion, I showed up -"Another Day." LideU swung and swayed Uke a Motown_late and missed local openers Victoria Victoria and half "Elvis with Buddy HoUy looks. Erdisting the crowd to™of Frog Eyes' set. Irresponsible? Fine. Reliable sources" sing falsetto backup for "Out ofcMy System" and armed informed me that, despite a smaU but loyal contingent ■with what appeared to be a modified radar gun thatBup front, Frog Eyes' brand of sinister and ramshackle^ worked Uke a shotgun mic, he recorded beats, chants drama didn't win over most punters. What I did see gfrom the crowd and saxophone arpeggios, and warped«did not disappoint, however: demonic doo-wop from them into ambient PowerBook techno-pop before us. An r improvised scat session slowly took shape, but went on for about five minutes longer than it should have. Coming back in on "The City" (from" the 2005 album Multiply) didn't quite save the groove, but "Little Bit of Feel Good" did, bringing LideU's saxophonist to centre stage playing two saxophones at once, whUe looking uncannily Uke a love chUd between Jesus Christ and Al Borland. Sounding as though Marvin Gaye were 20 years younger (and aUve, for that matter), LideU's magnetic presence onstage had every woman in the place ogling him with bedroom eyes, especiaUy when he took a moment to teU some tales of dreams he'd had or how much he loved his kid nephew. Continuing on the theme of Gaye pride, "Green Light" may as weU have been written by Marvin himself, and the explosive finale of "Wait for Me" ended with LideU thrashing around and losing his glasses in one last bout of foot-stomping mania. This was LideU's first show on his North American tour and it can only multiply from here. Benjamin Luk DESTROYER + FROG EYES + VICTORIA VICTORIA Commodore Ballroom May31 Destroyer was my soundtrack to art school. Dan Bejar's astute turns of phrase and candour—some say pretentious, I say acerbic and witty—provided running commentary on the fine art of sidestepping personas and deaUng with the egos and affectations that an art institute can foster. Given the looser and louder approach for Trouble in Dreams and his pubUc persona—aloof, disdainful and a prickly interview—I headed to the Commodore curious to see how it would aU translate Uve. creepy basement free of affectation and fuU of soul. Casey* Mercer'—man, he's got a set of pipes. That is aU. Part of the beauty of Destroyer is that Bejar's work is a combined homage and mid-finger salute to the artifice that is the rock spectacle: the fantasy rawk figure is just gUtter and greasepaint or, in East Van terms, plaid and beards. It was fitting, then, that amidst the overpriced draft, fancy Ughts, security goons and the crowd yeUing requests, Bejar and co. eschewed note-perfect repUcation and went Dylanesque. Think 1965, Manchester Free Trade HaU—rock it out, crank up the nuance, trade the delicate phrasing and croon for a caterwaul. InitiaUy captivating (especiaUy "Rubies" and "Dark Leaves form a'Thread"), the songs mushed into each other after a while. Commodore shows are Uke that, though: if not at capacity, the band competes with the large space, the energy fizzles and you spend half the evening wishing it were in a smaUer venue. There were epic moments, however fleeting, reaching Last Waltz, proportions by the end, where Destroyer self-reflexivefy jammed the rock idiom's pomposity to its absurd, yet logical, conclusion: some guys on a stage playing loud. Nothing more. Christopher Olson Wolf Eyes + SICK BUILDINGS + THE RITA Pat's Pub June 11 Opening the night was local noise purveyor Sick Buildings, who brought an innovative set of harsh shifting electronics. Before he began, rape whistles and alarms were distributed throughout the crowd with accompanying instructions. Halfway through the 10-minute set, there was a short pause foUowed by an assault of high-pitched whistles from the crowd. Sick BuUdings then hurtled at least a dozen pre-sampled high-pitched whistles back at the audience for an intense, disorientating effect, and quite possibly marking the first time a rape whistle was used to assault rather than protect. Worldwide and local noise legend the Rita continued the night's assault with a short blast of his harsh brand of volcanic electric-crackle. For those who have not seen the Rita in action, it's an earthshaking experience you won't soon forget. He started off with an explosive roar that would be akin to standing behind a fighter jet as it revs its engines. After several brain-rattling minutes, he reared back and slammed around a black metal box filled with contact mics and shards of metal, emitting an incredibly jarring and ear-damaging sound that was as powerful as it was painful. Ann Arbor's Wolf Eyes ended off an already intense night with a two-part set. The first part was a 20- minute crawl through a foggy funhouse from heU. Droning electronics, squealing saxophone, feedback- drenched guitar and snarled incantations cast an ominous cloud over the speUbound audience. The second half showed the aggressive side of Wolf Eyes, which, unsurprisingly, got the biggest reaction from the crowd. Arrhythmic beats that would have fit on an Autechre album laid the backbone for most of the tracks, meanwhile the band screamed, skronked and shredded the crowd to bits. One fan got so excited he stage dived into an unwUling audience and knocked himself out in the process. But not even that could top the insanity that dominated Pat's for almost two hours. Mark Richardson UNDeR Ndidi Onukwulu THE CONTRADICTOR (Jericho Beach Music) Powerful and engaging, Ndidi Onukwulu's The Contradictor is a mesmerizing record that wiU entrance her Usteners. Her voice sounds Uke a bluesy female version of Devendra Banhart, while stiU remaining strangely unique and unforgettable. In 2007, Onukwulu was the recipient of the CBC Galaxie Rising Star Award, and after Ustening to her latest album, it is obvious that she is weU-deserving of this prize. The Contradictoropens with the stunner, "SK Final," where Onukwulu laments, "I'm not going to hurt over you again." Her impressive voice further conveys her emotions, causing the music to be that much more compelUng. The rest of the tracks on the album are just as consistent and strong, especiaUy "Forever SZ." AU of the songs not only showcase her amazing talent, but also flow together to create a very hip and contemporary blues album that wiU appeal to both a younger and broader audience than a traditional blues record. Terris Schneider The Notwist THE DEVIL, YOU + ME llfel (Domino Records) Despite their woodland Bavarian roots, the Notwist's new album, The Devil, You + Me, encompasses a huge range of warm euphoric tones. The opening track, "Good Lies" discusses the good Ufe in a style that bridges the gap between the sounds of Death Cab and Interpol, but with less hesitation and insecurity. Smooth and deUcately crafted, the album weaves soulful string arrangements together throughout the work, showing a progressive movement from their original sonic metal experimentations in the late 1980s. As the album moves along, electronic rhythms and loops are explored, adding tremendous musical textures and varieties, ranging from the rhythmicaUy-charged to the famiUar and melan- chofic. The track "Where in This World" brings Thom Tforke's haunting voice to mind, as Markus Archer's strained crooning gives an eerie touch to the more introspective songs. The lyrical themes of the album are equally profound in complexity and density, as notions of spiritual restlessness, the decay of the material world and other compelling existential questions are raised. The Notwist's droning themes and dark lyrics suggest that the band is plagued by a Prufrockian 21st century paralysis, but the polarity of their sound provides an optimistic edge that is countered again and again. On the whole, The Devil, You + Me is a microcosm of unending spiritual disparity that renews itself upon each Ustening. Mine Salkin STYROFOAM A THOUSAND WORDS (Nettwerk) What does this disc promise? Sounds reminiscent of the Postal Service, a guest vocaUst from Jimmy Eat World and the L.A. production team behind the Backstreet Boys and Jessica Simpson. What does this disc deUver? You know when you eat a piece of pizza and think, "this tastes Uke styrofoam." Yeah. That. Arne Van Petegem (who goes by the pseudonym Styrofoam) is a self-described, "shy electronic guy afraid of singing," who traverses his personal boundaries and sings on aU eleven tracks of A Thousand Words. Tnis fidls flat not because the Belgian-based performer can't carry a tune or write compelUng lyrics (he can sort of do both), but because every single track sounds like a variation on the last. With inventive acts—think Hot Chip— ingeniously mixing programmed beats and the use of software, Van Petegem's use of bleeps and beeps are far from original and, nine times out of ten, downright boring. In his own words, he set out to make "an up-tempo pop album with big choruses to sing along to... [having] made enough sulky mid-tempo music for ' fhe rest of my Ufe." Interesting analysis, because there are maybe two songs that don't sound sulky (ironicaUy, one is caUed "No Happy Ending") and a dearth of up-tempo choruses. Advice? Leave your electro playUst on Cut Copy for the next Utde whue and wait for the next Postal Service album. Katie Nanton Carpenter LAW OF THE LAND (Smallman Records) Carpenter make no attempt to disguise their influences; look no further than the "JohnCougarlsGod" portion of the band's Myspace URL for evidence of that. Certainly, MeUencamp's influence on the group is undeniable, as witnessed on tracks such as "Off the Road," with its driving guitars and anthemic "whoa-oh" bridge. But on Law of the Land, punk and '90s indie rock bear an equal influence on the Vancouver quartet. Singer Dan Sioui is a veteran of the alt rock outfit AU State Champion, and his hoUering vocals and poUtical angst wouldn't sound out of place on aThermals album. LyricaUy, Sioui speaks out on behalf of the land rights of farmers and concerns himself with Utde else. He rages against the proverbial "they" on "Six Shots," beUowing, "They'U buUd towers up on our home/Take the land and then steal its soul." On "A Different Life," he ttYearn[s] for days/Of much simpler ways." (Fittingly, MeUencamp shares Sioui's poUtical agenda—the classic rocker co-founded Farm Aid with WiUie Nelson and Neil Young in 1985.) It's an impassioned tirade to be sure, but the narrow lyrical focus grows a Utde wearisome over the course of the album. Nevertheless, the musical accompaniment to Sioui's poUtical soap-boxing is accompUshed, and Law of the Land is an enjoyable Usten, despite its limited thematic scope. Alex Hudson GHOSTKEEPER CHILDREN OF THE GREAT NORTHERN MUSKEG (Saved by Radio) Blues rock is one of the easiest musical genres to play, and consequently, perhaps the most difficult to play truly weU. With coundess bands churning out indistinguishable auto-pflot blues-riffage in countless bars across the continent, it's difficult for anyone to separate themselves from the masses. At their finest moments, however, Calgary's Ghostkeeper manage to do just that. The band's best songs are those in which they push the blues rock envelope into new terrain, as they do on "Mr. No Show," the relentlessly melodic, '60sr infused opening track to their debut album, Children of the GreatNorthern Muskeg. Elsewhere, "Cruisinthe Chev" sets distorted vocals against a jarring guitar rhythm to pleasing effect. Unfortunately, the band doesn't sustain this level of inventiveness throughout the entire album. Ghostkeeper plays it safe for much of the album's middle sectionals on "SoUd Gold," which rides a repetitive guitar Une for almost five minutes before petering out long past its expiration date. "The Introduction" sinularly reUes upon predictable, ZeppeUn-pilfering sUde riffs for its too-long instrumental passages. ThankfuUy, the group redeems these missteps on the closing track, "The Boxes and the Botdes," which features vocaUst Shane Ghostkeeper's emotive voice on top of a nimble acoustic guitar Une. The song concludes with a brief outro of unexpected vocal cUcking, a reminder of the potential of Ghostkeeper at their innovative best. Alex Hudson ^» Azeda booth IN FLESH TONES (Absolutely Kosher) Being a six-piece, you'd expect a group doing crunchy, ambient-electronic stuff Uke this to be some annoying cacophony of digital percussion. ThankfuUy, Calgary's Azeda Booth are austere enough not to faU into the trap of too many cooks in the kitchen. In Flesh Tones, the band's debut fuU-length, is fiUed with songs that sad, going nowhere in particular, but so enchanting that you won't even care. There's a strange warmth to their sound, reminiscent of Autechre's analogue dog EP7 (actuaUy, "Lobster QuadriUe" sounds Uke a trip through the EngUsh duo's back catalogue). Acoustic instruments, Uke guitars, stick-dicks and floor toms are used here and there ("In Red" and "Numberguts"), but In Flesh Tones is more synth-driven than percussive. This album is too dreamy to be thrown under the hideous IDM banner, yet cerebral and structured enough to be thoroughly gripping. It has the kind of ambience that beeUnes through your skuU, straight to the part of the brain that makes you want to curl up and bask in the cinema in your own head. Yeah, it's the same feeUng that Boards of Canada gave us, but isn't it great? Listen to it once and reaUze there's not a trace of pretense in the band's own description of "visual/pop/ambient." It's visual without the visuals. So if you've had enough of waking up mid- nightmare in a cold sweat, headphone cord around your neck, because you feU asleep to Godspeed You Black Emperor!, look no further. Mark Hewitt Julaugust 2008 SAVANNAH LEIGH BAND CITY OF GREY (Independent) Vancouver's Savannah Leigh Band plays a sUghdy bluesy kind of folk rock—very smooth and unassuming—and City of Grey is a fitting tide for this album. On a musical level, things are straight-ahead, as excitement'occurs rarely with hooks few and far between. This, of course, could be part of the concept—to channel, both lyricaUy and musicaUy, the bland loneliness that can take hold during winter in the Pacific Northwest. The tide song certainly succeeds in this: "I've got a broken umbreUa and ten bucks to my name / My shoes are second-hand and my shirt is the same /1 think I've lost my social graces / And I have a funny way of forgetting faces / 'Cause when the clouds roU in, you know that they're here to stay." Leigh's not basking in depression, just trying, as she informs us.directiy, to "discover a way to stay sane." Via a series of soft choruses, softer harmonies, shakers and twists of old-school country (as weU as a Feist-esque number, vocals Ughdy distorted and aU), Leigh's contemplative, matter-of-fact tone reaches its apex in 'Polygraph': "Your heart won't admit what your cheeks cannot hide / Why continue to Ue?" Underneath the almost too-perfect instrumentation and angeUc vocal deUvery, it's a scathing song;—a needle in the hay of an otherwise introspective, inoffensive record. Mark Hewitt PRISCILLAAHN A Good day (Blue Note Records) jj PrisciUa Ahn opened her mouth and angels wept. Some wept for joy, whue others wept in bittersweet gratitude; happy that such melodicaUy beautiful resonance could exist, yet saddened that they themselves could not match the sweet stirring sounds emanating from a mere mortal. Multi-instrumentaUst Ahn's fuU- length debut, A Good Day, is an enchantingly naive and hopeful record that manages to channel the spirit of Jewel's Pieces of You, whue sounding completely like itself. "Dream," the stand-out first track, stays with you well after the initial Usten. With lyrics such as, "I asked God who I'm supposed to be/The stars snuled down on me/ God answered in silent revelry," this is a record that sounds syrupy and saccharine in description, but upon Ustening is engaging and sincere. Even when mining darker subject matter, such as on "Red Cape," which begins by recalling a plane crash, Ahn (who invokes the sound of early Cranberries-era Delores O'Riordan without sounding Uke a pale imitation) manages to make her message upUfting. Her reworking of WiUie Nelson's "Opportunity to Cry"is such a departure from the original that it does not seem correct to refer to it as a cover, but rather.as a reinterpretation. WhUe A Good Day may sound Uke a record weU-suited to dreamers, it should be required Ustening for aU of the cynics out there. MeUssa Smith Hank Pine & Lily Fawn NORTH AMERICA (Independent) To say this band is as cool as Pck, is to remark that BrangeUna are hoping their chUdren wiU repair their relationship. It is so obvious it doesn't need saying, but it is so true it can't help but be said. HaiUng from Victoria, this is the duo's third fuU-length offering, each one accompanied by a comic book starring their rock 'n' roU alter-egos. Tide track "North America" is a sUghdy more demented take on the Arcade Fire sound, whue "Xanadu" sounds Uke Dublin's the Chalets, if they were fronted by Andrew Eldritch of Sisters of Mercy. The duo describe themselves as vaudeviUe rock, and their Uve shows are highly creative and conceptual events complete with costumes and saw playing. WhUe the imagery serves as a complement to their theatrical sound, the music can definitely stand on its own merit. If you were to imagine Ustening to Boss Hogg jamming with Polyphonic Spree while drinking Absinthe and watching a Maya Deren film, you might come sUghdy close to describing the exceptional, warped beauty of this album. MeUssa Smith Discorder Magazine is seeking an Art Director POSITION DESCRIPTION: The Discorder Art Director is responsible for overseeing the layout of Discorder on a monthly basis. This includes typesetting for the copy, commissioning all art and photography, designing the spreads and laying out the pagination. The Art Director will work closely with the Production Manager on all of these tasks, and will direct volunteers to help with layout and typesetting jobs as needed. The Art Director is required to attend Discorder meetings, and be available the last weekend of each month for production. The Art Director is in charge of the placement, design, and overall look of the magazine. QUALIFICATION: The Successful candidate will have a background in art and design, and will be competent using Adobe Indesign CS3. Knowledge of independent and local music, art and culture is an asset. This is a volunteer position with a monthly honorarium of $100 per issue. To apply, send a resume and cover letter to Brenda Grunau, CiTR Station Manager, at citrmgr@ams.ubc.ca by August 1st, 2008. Discorder 23 L K^ tra m trapped for time and cash? Unsure whether to spend your hard-earned paper route money and decidedly un-European vacation entidement on a quick hoUday or kang about recovering from a series of fantastic gigs? Why not combine the two and head to a festival? Being the decidedly deUghtful bunch that we are at Discorder, we have compUed a selection of festivals to assist you in your escape, if only for a day or two . &juk Ma cdldkdl^ 20 Sub Pop, the label synonymous with the early-'90s Seattle music scene, turns 20 this year, and to celebrate 20 years of seUing out, they're'haying a party. When "Grunge" broke, it was a staffer at Sub Pop who famously fed the New York Times a bunch of nonsense grunge words she had made up (See: "lamestain" and "harsh realm"). Sub Pop was the early home to Nirvana, Soundgarden, Mudhoney and Eric's Trip. More recently, the label has found success with the Postal Service (who finally broke Sub Pop's sales record by moving more albums than Nirvana's Bleach) and the BiUboard-chart- toppin' Shins. Sub Pop was even Discorder's "Label of the Year" in 2003. Today, Sub Pop stiU brings the noisy (No Age, Pissed , Jeans), but it also has bands as varied as BrazU's CSS, Montreal's Wolf Parade and England's Go! Team. As well, Sub Pop has become a home for comedians: Patton Oswalt, David Cross, Eugene Mirman, Todd Barry and New Zealand's Flight of the Conchords. AU of this history wiU be celebrated at Sub Pop's 20th Anniversary party, happening next weekend (July 11-13) near Seatde. Friday night's comedy showcase features Oswalt, Cross, Mirman and Barry, and wiU be hosted by Kristen Schaal, who co-stars on the Conchords' TV show. Saturday and Sunday, the festivities move to Marymoor Park in Redmond, reputedly quite lovely and accessible via bus from downtown Seattle. Saturday's schedule includes Eric's Trip, Pissed Jeans, Fleet Foxes, Low, Mudhoney, Scottish legends the Vaselines (on their first North American tour!), Iron and Wine and the Conchords; Sunday's lineup features Kinski, France's Les Thugs, No Age, Red Red Meat, Comets on Fire, Beachwood Sparks and the re-united Green River. Wolf Parade wiU finish the weekend off. Happy birthday, Sub Pop. For more info, visit http:// www.subpop.com/sp20, Duncan M McHugh Julaugust 2008 Jm^JberuJnuJbkja. jblJSH. j\ a cure-ftr Ifoe hkmi>; fbtmuLWc If you're in the mood for a road trip, the Second Annual Deep Blues Rim & Music Festival takes place in Minnesota, from Friday, July 18 to Sunday, July 20. According to online route planner, freetrip.com, the journey to Washington County Fairgrounds—just east of Lake Elmo, MN—takes 25 and a half hours of straight driving to cover the roughly 2900 km. You could consider that time a personal chaUenge or book a flight to MinneapoUs-Saint Paul, which is about a half hour drive from the fairground. Music starts at 11am each morning and finishes at 9:30pm, after which there wiU be a screening of a music-related film or additional performances in nearby venues. Not content to merely offer 46 bands (including Vancouver's Pack A.D. on Sunday) over the course of three days, Deep Blues wiU also be screening 20 music-related films in Hooley HaU, which is on the fairgrounds but located outside of the concert area. The last film starts at 10pm. Attendees may bring their own meals and coolers (no glass!) but food and beverages are also avaUable on site. AU revenue generated from pop and water sales wiU be donated to the Three Day Breast Cancer walk. This is a fantastic event for anyone who loves the blues or mixed genre bands that meld the blues with punk/garage/rock, etc. For the film buff or music historian, it is also an opportunity to view blues-related films and documentaries that rarely screen pubUcly. Visit deepbluesfestival. com to view their comprehensive listing. Advance three day passes are $75 and advance single day tickets are $30. If avaUable, tickets can be purchased on the day for $90 and $35 respectively. MeUssa Smith >* The Green Mountain Music Festival is a one-day festival occurring July 19, and all 12 of the featured acts perform in an absolutely breathtaking setting at the base of Mount Benson, on the outskirts of Nanaimo. AU proceeds from the festival wUl go to the Canadian Cystic Fibrosis Fund, and each of the bands wUl perform out of the goodness of their own gosh-darn hearts to benefit this worthy cause. This is the second year for the festival, which was started and organized by James Wood, lead singer of local rockers the Hotel Lobbyists. James was inspired to start the festival by his fiancee Kim Black, who was born with the disease. Along with the Lobbyists, who wiU bring their guaranteed-every-time brand of party-starting, mojo- rising rock 'n' roU, the festival lineup boasts an impressively solid and exceptionaUy diverse selection of talent from Vancouver and Vancouver Island. East Van thrash-metal stalwarts Bison wiU deliver punishing, powerful riffage, whue Young & Sexy wiU bring their lovely pop melodies and layered harmonies, hot off the recent release of their criticaUy-rimmed second album, The Arc. Thee Manipulators wiU absolutely make your ass shake, with a blend of R&B, punk and garage rock that is absolutely dirty (in the best possible way). Valerie Graham and ShUoh I^jndsey wiU each bring their beautiful voices and honest country-folk baUads. The island wiU be represented by Victoria's Run Chico Run and Nanaimo's Chasing SateUites and Jon McKiel wiU be there, aU the way from Halifax. The biU is rounded out by a trio of Vancouver's best live acts: the Smokes, No Horses and the Stumbler's Inn. Tickets are only $15 in advance ($20 at the site), and avaUable at Red Cat Records in Vancouver (4307 Main Street) and Fascinating Rhythm in Nanaimo (51 Commercial Street). For directions to the festival, accommodation info and to hear the bands, go to the website: greenmountainmusicfestival.com Dan Fumano Camp-out music festivals have long been a staple of the British summer: Glastonbury, Reading, et al. In its inaugural year, the Pemberton Festival—taking place - July 25 to 27—is part of a recent spate of North American festivals intended to re-popularize the concept this side of the Atlantic. And if the lineup is any indication of success, Pemberton is bound to be a bigger hit than last year's wash-out Virgin Festival. It's no wonder that Pemberton has designated a special famUy campground, as the festival promises to have something for everyone. Day one gets things underway with Nine Inch Nails, Interpol and Metric. Day two features monster act Tom Petty and the Heartbreakers and festival-staples My Morning Jacket. That day also joins Canadian acts the TragicaUy Hip, Sam Roberts, Buck 65 and locals Black Mountain. The weekend culminates on day three with Jay-Z and Coldplay headlining the main stage, whue Death Cab for Cutie, 2008's indie-sensation Vampire Weekend and legendary spinner DJ Shadow also add to the festivities. Bring a tent and'nothing else (weU, maybe some clothes), as the festival promises to be equipped with wash stations, a general store, and a wide array of food and drink vendors (alcohoUc and otherwise). Weekend passes for the event are steep at $259.50, and single-day tickets ■ are proportionaUy even worse at $149.50. StiU, it might be worth it to pawn some, valuable fanuly heirlooms; if you're on the lookout for this year's must-see super-concert, there's no better option than Pemberton. 9 Alex Hudson Discorder 25 CiTR's charts reflect what has been spun on the air for 2008. Artists with stars alongside their names (*) are from this great land o' ours. Most of these platters can be found at finer (read: independent) music stores across Vancouver. If you can't find them there, give our Music Director a shout at 604-822-8733. His name is Luke. If you ask nicely, he'll tell you how to get them. To find other great campus/community radio charts check out www.earshot-online.com. 26 Julaugust 2008 Hpg«" Title Label 1 Vancougar* SVarious* Canadian Tuxedo Mint Emergency Room Volume One Nomma^^ I Andy Dixon* The Mice ofMt Career Ache 1 Hank Pina Ani Lily Fawn North America TndTpendent 1 Women* Women RemishEye pJote^** "Hauie/Voftage Independent 1 CPC Gangbangs* Hawaiian Bibles* CPC Gangbangs Swami There's Good People In The C'rty Independent Lo [ No Kids* pVolf Parade* Welcemne To My House aiMtfZobmer ■*|i|W0O Sub Pop ) 1 Fuad And The Feztones* Beeramid Ricochet Sound Tdntana Q ^Spiritualized Songs In A WE 1 Pete Samples* The Jumper Cables Independent ■Steinski ^^v^tT^T^ZnTw^mT^^ Illegal Art m a The Green Hoar Band* Hf light Of Tn| Conchords " The Green Hour Band Kingdom F^glnWThe CoSSaf^ lubPoT""' ^ Q Winning* Could We Believe In Magic? l*y ^Kid**,sw" Do We Earthquake Nominal Q Jason Anderson The Hopeful And The Unafraid w?®~~ ) Mpfitatators* Tiger Wnmj^uai/^^^ Tie Broadway ■j 1 Japandroids* Lullabye Death Jams Independent ) 3 1 Cancer Bats HMDestroyier 3 I Young And Sexy* The Arc | Ronnie Prince Billy Tie Down In The Light "Crag C'rty ] 1 Mates of State Re-Arrange Us Barsuk JflfDrjve ByTraclters1'^^ BfigliiWThlitiffieaffon's Dark' TKw^rVest M TheB-52s Funplex W ,|il WWII,, .i,j|—wi Astralwerks Arts & Crafts jyphe Constantines* " Kensington Heights M The Death Set Worldwide Counter "'5^T|i8ntTJirir'""'"' Q Boris [ 1 No Age SubPop Inaependi^t^ ] Kwis^ilic*"~™" [ Matmos Matador KSnolS*^ 1 Mattress {JJjFleet Foxes" Reluctant SubPop Q||tticeman/Sun City Girls Mister Lonely Drag C'rty BK Chico Run* Reluctant M Urban Surf Kings* Independent ^SniicUnyon njpSpySa«cei^-::"'"' ' 'Half Hurn^n^Mfjwm H Islands* Arms Way ^^m M^^^i'lC ^kksb^^^^ i^semahcy Youth Club M Teenage Head With Mirl^ Ramone* teenage Head With Marky Ramona^ • Jex Thoth i'&mtc UnyoriO •,• 1 1 Hate 3 Carpenter* LtJ|Univers Zero " Law Of The Land -StSSHman 9'ttash Wolves And Vm^^ * Antlcian Mental Monkey Jwixel Pixel wmmmmmmmmm®mmm>m!>>iwmiH «> P." mmmww.uj* Lefs Be Friends ffkfco Italia: Esssntial halo Disco Clifsstcs Sfci wystalCasBtit TastGa^^ JoTO tl Words and photo by Marielle Kho Over the past 11 years, Alkaline Trio have witnessed themselves grow from their humble beginnings as a D.I.Y. punk group into a widely received band with many more opportunities on the horizon. Discorder speaks with Matt Skiba and Dan Andriano about metaphysics and their new record. Ot^COfOCt?: Do you want to bilk about your new album, Agony & Irony? Who produced it? Where did you guys record it. ~Matt: It's all done; Josh Abraham produced it, and we recorded it in a studio in the beautiful neighborhood of Silver Lake, just outside of HoUywood. We wrote the album over a couple years' time, but recorded it in six weeks, which, for us, was pretty quick. We're really excited about it, and I know that bands always say that their new record is their best record, but I think that this is our best record. We had a reaUy good time making the record. It was a very fun and natural process. I listened to The Con by Tegan and Sara a lot, and we. did not want to repUcate it, but I wanted for us to make a record that was just as tight and full of character and feeUng. As far as production goes, do you guys feel that you've expanded your sound, as far as instrumentation goes? I've noticed that as your recordings have progressed your drum sounds are getting bigger, and guitar tracks are becoming more layered Is this new album following suit? Dan: No, I don't think so. From awriter's standpoint, it has grown, but from a production standpoint, we didn't go crazy with anything. We just decided that we didn't need to. We felt Uke we had these songs that stood on their own fairly strongly. In a sense, they're almost stripped back a bit. I think the album itself does sound bigger and more produced, though. Heaven and hell. Do they exist? '^^^__tW Matt: They exist right here on earth, for people. Some of us have hard lives, and we're hot given the choice, but heaven and hell are right here, right in front of us. Dan: I don't know how I fed about that anymore. I used to feel like I was very certain that, when you died, your body went into the ground and that was it. But now there's a big part of me that doesn't want to believe that that's true. Do you find that, as you get older, you start to question thatmore? Dan: Absolutely. But I don't think that it's because I'm getting older, I think it's because of the things that are happening around me. You start to feel differendy about the people you know; people that you don't want to see for the rest of eternity. It makes you'want to believe something like that, and you start to question science, which is something that I never reaUy did before. Alkaline Trio's new album, Agony & Irony, was released on July 1st. The rest of this interview was aired on the CiTR show, We AU FaU Down, and can be downloaded from www.citr.ca. WOMEN VOLUNTEERS needed for our 24 Hour Rape Crisis Line and Transition House for battered women For an interview, please call 604-872-8212 Vancouver Rape Relief & Women's Shelter www.rapereliefshelterbc.ca t Discorder 27 RETOOL YOUR MUSICAL SELF Zulu throws a wrench in the outsider chic. SIGUR ROS Me>su>i wspilum endalaustCD Casting fate to the wind like so many outworn garments, Sigur Res have hopped the fence of past expectations and sprinted headlong and heedless into the sunkissed meadow of liberated possibilities. Inspired by the acoustic sessions of their last album. Hehna, you might «ay they've stripped down, and they're letting fans see a part of Sigur Bos that was never before visible. And I'm not Just talking about the nude bums on the cover. For one thing, Me> su> I eyrum vi> solium endalaust (With A Burring In Our Ears We Play Endlessly) features the first-ever Sigur Ros song to be sung in English. Ifs also the first album of the band's career to be recorded outside of Iceland. Sessions)took place in New York, London, and Havana, Cuba, and moving out of their comfort zone has helped our favourite moody Icelanders break out of what was—admit it — a bit of a rut. Immediate and thrilling as they've never been before, this is perhaps Sigur Ros, finest hour. 12.98 CD RATATAT LP3CD Did you know that Ratatat's last album, Classics, scanned over 50,000 copies in US sales alone? Not bad for an all- instrumental indie band. But of course, Ratatat aren't your average instrumental combo, and with the success of Classics, their sound is radically expanding, like a star being bom in the heart of a nebula. Their drum-machine-and-guitar duo format is enriched on tn with the liberal application of warm Wurlteer and gooey, outer-space mellotron" washes. As their Transformers-referencing logo suggests, they've always been into that particular species of retro kitsch that revels in archaic visions of the future. Like Swatched-On Bach for the 22nd century, their frothy keyboard flourishes are a classical gas, lounge music for space-age bachelor pads. But they've got teeth, too, with riffs as anthemic as any from the heyday of '80s pop- metal (though I'll bet you never heard a Van Halm song with the slide guitar and sleigh bells that Ratatat mix in). If this is wallpaper music, think of it as an Escher-esque pattern of interlocking devil horns held aloft. Imagine Air meeting the Fucking Champs at an indie-dance party. Imagine yourself getting down. AVAILABLE JULY 6™ THE ORB Tlie Dream CD THE LOCAL MUSIC SCENE: The Dream couldn* more appropriate title for what can only be called Tha Orb's return to form after their last album, Okie Dokey Ifs The Orb On Kompakt, proved that the veteran g roup can succeed on the minimal-techno terms of today's electronic avant-garde. Tha Orb are back . on their own terms for their new album, though, and The Dream is exactly that a trippy, spacey, dubbed-out journey through classic chillout, a post-rave fantasy of posittvity, empowerment, and oddball humour that hearkens back to the heyday of albums like UFOrb. Notably, the floating duo has been shorn of Thomas Fehhnann; replaced by old- time collaborator, producer and bass maverick, Martin 'Youth" Glover. And with other old shipmates like System 7 guitar wrangler, Stave Milage, on board it's no surprise that The Dream is a return to the sample-heavy playfulness of the band's earlier triumphs. .Yet it comes with a lighter more danceable touch than recent offerings. Ifs undeniably nostalgic — Petersen is 48 and Youth is (ho ho) 47, after all — but those who've taken the cosmic tour with The Orb for the last 15 years will be more than happy to climb aboard again. CD 14.98 VARIOUS YOU DONT KNOW: NINJA CUTS3CD 14.98 CD WOLF PARADE At ML Zoomer CQ/LP "\/ou said it was Impossi- T ble to follow up Marv. Obviously it is not. Any ■ great band doesn't give a shit about what they've already done." "Who wants to make the same record twice, not I." "This is definitely better, because ft is definitely differ; ent and staying stagnant is the worst possible thing to do." "Don't listen to it with those ears." "Arcade Fire did the same thing, which was the best thing for them to do." "Krug sounds tike Breekner, and Broekner tears a page from Spencer "Sounds nothing like Modest Mouse." "Their Show sold out in two seconds!!" "So, fhe record was originally called something else, and then they might have gotten sued... everyonesues everyone." "This sounds noodley, is that a word?" "Have' you heard the new Beck?" "Shut upkwe are talking aboutWMf Parade, baby" "I don't care what the unofficial fan site says." "Honestly, this is the best record in Canada going — the fact that they don't have a Juno or a Polaris or a Canadian Academy Award proves it." "I am moving to Montreal, no wait I am not." CD 14.98 IP 14.98 CD 14.98 You know'Ninja Tune and everything about them and exactly the type of music they put out and why arid ifs, y'know, cool and everything but... Werl, you4on't. The latest Ninja Cuts is number five in a series of classic compilations which have studded Ninja's 18 years of existence. And, like its predecessors. You Don't Know serves as a signpost of both where the label has come from and where ifs heading. Although there are tracks on this three CD package dating back as far as 1998 (Mike Ladd's rare classic "Blah Blah") there are also 9 unreleased tracks (from some of Ninja Tune's biggest acts like Mr Scruff, Cinematic Orchestra, Coldcut and others); some from albums which won't be released until later in the year (John Matthias' fragile, ethereal Evermore leaps to mind, or Pop Levi's superb, princely "Dfta Dimone"). Ifs fair to say most of this compilation contains rare, alternate and brand new tracks. More than anything else, what You Don't Know shows is the breadth of Ninja's releases, the sheer ambition and diversity of the music being put out through the imprints of Ninja Tune, Big Dada and Counter. 3CD 18.98 THE NOTWIST The Devil, You + Me CD A fter making a tremendous /Hsplash in 2002 with their North American breakthrough album, toon Golden, German band The Notwist more or less disappeared for the next six years, aside from a brief dalliance with Themselves as 13&God. Returning with The Devil, You + Me, however, reminds us that much of the charm of The Notwists moody, atmospheric glitch-pop lies in their ability to conjure ttiat specific sound of absence, a dreamtight netherworld of ambiguous gestures and overcast colours. Often compared to the Postal Service in their fusion of the familiar sounds of beart-on-sleeve indie guitar-pop with electronic elements, The Notwist s Markus Acher doesn't share Ben Gibbard's penchant for gushing emotion or heavy-hitting dance choruses. More subtle and muted in his delivery and more elliptical in his lyrics, Achef s use of dance elements also skews towards a. broken-machine aesthetic that's closer to Radiohead s fascination with the melancholy lives of the ghosts that live in our technology, ifs been a dark summer so fan let The Notwist be your umbrella. RODNEY GRAHAM Why Look For Good Times? CO/IP "The man that the New York Times called "the nutty I professor of contemporary art" has always been in the business of asking tough questions you probably wouldn't have asked yourself. So, why look for good times? Maybe we should ask the mayor, tn most cities ifs not such a hard question. Know what l,'m savin,? Anyway, Graham's sharp wit and inquiring mind might have ted him to pursue art full-time and rock on the side rather than vice versa, but the man writes a fine tune. Lyrics-minded listeners and fans of country-tinged storytellers like lee Hazlewood and the Silver Jews, take note. CD 12.98 LP 14.98 V/A EMERGENCY R00MV0L1 LP+BOOK Vancouver's noise-punk scene is climbing out o the carpark and the loading dock and into your with the release of this book and compilation—a No New York for here-and-now Vanshitty. A joint release between local labels Nominal Records and Grotesque Modem (who aptly describe themselves as "a record label devoted to releasing violent puke into the universe"), the LP features bands such as Mutators, Defektors, Petroleum By-Products, White Lung, Vapid, Twin Crystals, Nu Sensae, and Sick Buildings, and it comes with a 20-page photography and art book featuring contributions from loeatartists. An historic docu- LP+BOOK $16.98 VANCOUGAR Canadian Tuxedo CD Half indie rock, half garage rock, all girl! Vancougar have just finished recording their Mint debut afbuirv Canadian Tuxedo, which starts shaking the speakers just in time for Summer! Expect 10 catchy, riff-testic songs to sing along to recorded at the legendary JC/DC shack—Vancouver's oldest garage rocking console. Megan Johnson's pulsing keyboards, Becca Stewart's driving bass and CC Rose's urgent drumming explode from the speakers, harkening back to the burgeoning mid 80s scene of Venice Beach, California. Eden Fineday belts out melodic lyrics which reflect upon the fragility of life itself, the struggle of relationships and remembering to live each day to the fullest. Jf this is up your alley — cruise down our alley as the real scene is out back! Recommended. CD14.98 STREETLIGHT Strange Spells CD Qtreetlight might be Vancouver's bestrew undiscov- Oered pop band. Mixing a variety of classic guitar jan- glers (The Smiths, The Cure, The (Oaks, Unrest) with the introspective but dance-friendly sensibility of New Order, Streetlight's undeniable modernity and crisp precision earns them comparisons with hot-shit international sensations like Cut Copy and the Whitest Boy Alive Singer/guitarist Basil Waugh has a big, romantic voice after the fashion of Bryan Ferry or Bowie in his blue- eyed soul phase, and the band has great range, ably handling moody disco, heart-pounding make-out ballads, windmill-chorded rockers, and bouncy sing-alongs. Keep your eye on these lads. CD 12.98 TUNNEL CANARY •JIHAD' LTD. EDITION 2LP/IIP Formed nearly 30 years ago at the height of Vancouver BC's early bunk scene, amidst Canadian hardcore progenitors like O.O.A. and Sahhamans, Tunnel Canary emerged wtth a sound more in common with fhe then still incubating UK power electronics scene and a militant attitude/lifestyle more in-line wit straight edge hardcore or East-Asian asceticism. Influenced by avant-garde guitarists Fred Frith and Keith Rowe, contempory electronic composers like Mar, Stockhausen, and Cage, and no-wave bands like Mars and DNA, Tunnel Canary produced a volatile and often violent mix of pure noise, synthesizer music, free improv, and confrontational performance art. This 2LP set representsjhe definitive Tunnel Canary document LTD. EDITION 2LP $20.98 1LP $16.96 month and hope to buy one'of these you will be drinking your tea out of your shoe. The lord works in strange ways and so does July Fourth Toilet who snuck into the store and told us about their latest biker boogie meets hogwash acid record! The sonic technicolour adventure of Sir Robert Dayton and it kicks ass, like old school noise. One third hard driving biker boogie, one third faux Eastern but 10,000 miles up exploratory instros, one third wonky ballads, one hundred percent je ne sais quoi, and zero bullshit. Balis Boogie! LP 14.98 DIXIE'S DEATH POOL Scarlet Lake CD t's project from 1991 until 2000, when he moved to Vancouver and the dispersal of his collaborators led him to put the band name to bed. Recording under his own name since then, he's made his name as an experimentalist of the subtlest and most affecting variety. l Working with fragile scraps of pop melody and the circum- Ijpmbient sounds of local things and spaces, he creates miniature studio epics packed with aleatoric detail and scrambled by the technology of their production — accidents transformed into miracles. Currently a member of such electroacoustic and improvisational groups as CoUapsing Lung, Attn: Diamond Shoppers, Spectrum Interview, Heartwarmongering, Hi Bozo, Action Vacuum, Tbe Vertical Narrative, and infinity Mattress, Lee has resurrected the Dixie's Death Peel moniker for Scarlet lake, a combination of new, old, and reconstructed tunes that offers a retrospective and a great introduction to his varied career. CD 12.98 OTHER STWF WE LOVE OUR itttRltwTTO:^ WHE-Object 47 CD VARIOUS-Eccentric Soul: TheTragar& Notes Labels CO VARIOUS- Life Beyond Mars "Bowie Covers CD TULY AND THE WALL-060 THE BLACK ANGELS - Directions to See A Ghost LP Now!! THE 8RUES0MES-Tyrants of Teen Trash CD COMeCTCUT-TheyShowed Me the Secret Beaches UP THE JOUS-Haute Voltage CD FAUN HiBlES-A Table Forgotten" COEP M prices STRATEGY - Music for Lamping CB m effect until SNMUIOu^-LiesOnThePrizeCD July31,2008 ZULU ART NEWS: JULY 3-31 Savage Wall Drawings by BitSy KJIOX
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2008-07-01
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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 | 2008-07-01 |
Extent | 28 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2008_07 |
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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 | b8d68b08-ade7-4fe3-84fe-db6b0ad74f82 |
DOI | 10.14288/1.0049973 |
AggregatedSourceRepository | CONTENTdm |
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