Discorder CITR-FM (Radio station : Vancouver, B.C.) 2005-10-01

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October 2005
that magazine from CiTR 101.9fm
The Burdocks Antony and the Johnsons Chad VanGaalen Ted Leo
Cardboard Chairs The Feminists Buck 65 Bumbershoot Son Volt
Frontier Index AIDS Wolf & Seripop You Say Party! We Say Die!
Strung Out Marjorie Faire Parlour Steps Vancouver International
Film Festival Canzine West Tommy Lee John Vanderslice PRIMES
The Redwalls 604 Hip Hop Expo Oasis Four Tet The
SUNDAY | Electronic Beats
$3 PINTS -$2.50 h
SUNDAY, October 9th
WEDNESDAY | Hip Hop - R&B * Reggae     THE BEAT 94.5
I THURSDAY | Classics
FRIDAY | Top 40 - R&B - Hip Hop - Dance
SATURDAY | Top 40 - R&B - Hip Hop - Dance
LW*Mlay+ct*ker $*m
Ceifewe CeftitJtt!
To get on the guest/VIP list, book your events or party call 604.646.0064 or
lSCOrCler        Perpetually
Jason Bennet
Caroline Walker
Graeme Worthy
Vampyra Draculea
Kimberley Day
Graeme Worthy
Jason Bennet
Caroline Walker
Nicole Ondre
Graeme Worthy
Jason Bennet
Caroline Walker
Jon Fleming
Liz Brant
Neb Macura
Mono Brown
Zoe Alexander
Peter McDonald
Saelan Twerdy
Andy Hudson
Bryce Dunn
Luke Meat
Persia P.
Torben Wilson
Lasse Lutick
Frankie Rumbletone
Student Radio Society
of UBC
* ^^t^FT ** -
Parlour Steps
p. 12
: Buck 65
p. 16
Ted Leo
Four Tet
O  P-17
p. 19
p. 20
Petpe_^^^^^^^er\t Disaster
p. 3
Riff Raff
*" Strur fret and Flicker
Mix Tape
Do it Yaur Own Da^^^^P%W
p. 14-15
*,^pfedTer Review
Real Live Action
p. 22-23
Finding Joy
p. 25
p. 25
Program Guide
Program Guide
Ashley Cook
p. 34-35
This issue was especiailypleasar
f, thanks to a blizzard of fresh volunteers this month we were able to have orignal arfworts for
many of our features. Septembe
r is always grand like fhof. I'd like fo thank Phieu. Nicole. Geoff. Karin. Zo4. Ashley, and Andrew
for aH of your art and help.
Andrew Pommier's caler
me wish 1 could draw.
The leaves that blow ou
of Four Tefs head were all Nicole Ondre. she was amazingly hardworking, and wins the prize
for best new volunteer otthe. fes..
1 feel compelled to telly
ou about the typefaces 1 used in this issue. The body font is, as always. Century Gothic 7pt. Our
Cover and Title font were a las
minute selection. Emigre's ridiculously named 'Torzania' wide. 1 felt that it complimented the
grub on the caver in a way 1 cot
looked so damned swell that Ih
ad to leave them. The Dingbat is Filosofia. A few of you commented on how nice you thought
the pullquotes looked. They're g
one. I'm sorry, maybe one day they'll be back.
Again. Thanks to the'Art
© DiSCORDER 2005 by the Student Radio Society of the University of British Columbia. All rights
reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for
one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover
postage). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES:
Copy deadline for the November issue is October 20th, 2005. Ad space is available until October
25th and can be booked by calling Jason at 604.822.3017 ext. 3. Our rates-are available upon
request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings, photographs, and transparencies), or
any other unsolicited material. Material can be submitted on disc or in type or via email. As always,
English is preferred, but we will accept French. Actually, we won't. Send email to DiSCORDER at
discorder@club.ams.ubc.ca. From UBC to Langley'and Squamish to Bellingham, CiTR can be heard
at 10J .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, vrsit our web site at www.citr.ca
or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
Imminent Disaster
This month was particularly disasterous, especially when I was trying to write this
column. Therefore, I will say only three things, in ascending importance: 1) Textually
Active will return next month. In the meantime, check out our article on Canzine
West, the first-ever western offshoot of Toronto's "Giant Zine Fair." 2) We are still looking for an
editor. Applications must be recieved by Oct. 15. Email katsiddle@hotmail.com for details. 3)
Discorder and CiTR both had an amazing response from the UBC community this September.
The station is now brimming with frisky new volunteers, many of whom contributed fantastic
work to this issue. I'd also like to thank our pre-existing contributors who stuck by us during the
long, boring summer months at a nearly abandoned university. You guys made this another
smart issue. I promise that when I am relieved of my post I will suddenly become the fun person
you always.supsected me to be, and we'll all go for beer. I won't even talk about fonts.
Yours in anticipation,'
Red Cat Records
4307 Mam St-
ph. 708-9422 * email buddy®redeat.ea Riff Raff
by Bryce Dunn
Is it just me, or did it suddenly become
uncool to ride bikes in this city? When I was
in Toronto over the summer, everyone, and I
mean EVERYONE seemed to have pulled out their
two wheelers and put pedal to metal to get from
A to B, and that was even in one of the worst heat
waves that city has felt in years. Yet even on the
brief, albeit scorching days that Vancouver had
(of course I'm using past tense because those
days are now gone, sad but true as rain begins
to pound the pavement once again), I've seen
more transport of the four-wheeled variety than
two. Now don't get me wrong, I dig skateboarding
as much as the next guy or girl, but when you see
every, and I mean EVERY second person walking
the streets clutching a new piece of hardwood
you've got to wonder, what makes bikes a thing
of the (recent) past?
Thankfully, The Buff Medways are keeping
the dreams of cycling alive by writing about them
on their recent single, "Medway Wheelers". The
three piece from London, featuring of course, the
dapper one, Billy Childish, sing and play of their
love for a bicycle group Billy's mom was active in
in the 50s (That's his mom on the cover, too.) Also
featuring former Prisoner Graham Day on bass and
Wolf Howard on drums, Billy leaves his trademark
sneer aside for a lighthearted romp through the
streets and alleys with memories of brisk autumn
days and unchartered destinations to channel his
musical muse. On the flipside, "A Quick One", both
figuratively and literally as they charge through The
Who's mod pop masterpiece, falsetto vocals in
check and pounding drums setting the backbeat.
(Damaged Goods, P.O. Box 45854 London El 11YX,
or go to www.damagedgoods.co.uk).
English sisters of the Medway sound. The A-
Unes, also have a relatively new seven-inch out,
released by the Phil Spector of the new millennia
(minus the gun-toting and shocking hair hazard).
Long Gone John. He knows good all-girl garage
when he hears it, so the ladies knock out two
Kleenex-meets-The Kinks goodies in "One Day"
and "Heidi's Head". Singer Kyra (ex-Headcoatee)
plays both the tease and taunt cards well in her
vocal delivery, while other ex-Headcoatee Bongo
Debbie plays like her namesake, crash-boom-
banging her way through the trebly din of Julie's
pawnshop guitar and Delia's hold-it-steady bass
end. Definitely a group who realize that skills don't
always pay the bills, but still have a damn good
time trying to pay the rent. (Sympathy For The
Record Industry, www.sympathyrecords.com).
Time to bid a fond farewell now, to one
of the current darlings of Portland's always
profilic punk rock scene. The Observers, as they
announced their break up after a recent string of
dates along the West Coast that saw them play
Vancouver twice in the span of five months. If you
didn't see them play then you're a doofus, 'cuz
these guys ripped it live, and played some of the
smartest punk rock around. Two new songs mark
a posthumous end to their all-too-short career,
wrapped in a nice hand-drawn, complete with
comic book-style lyric sheets sleeve. "Where I
Stay" uses singer Doug's penchant for storytelling
to great effect while providing a early SNFU-
influenced backdrop, and "Manipulator" waxes
political on the state of affairs on their home
turf, bringing to mind Bad Religion or T.S.O.L. in
their prime. Folks needn't have to wait too long
before members start other projects, as The Rose
City is known for its large pool of talent, so keep
a watchful eye out, but keep the needle always
locked on these grooves. (Deranged Records,
1166 Chaster Road Gibsons, BC VON 1V4 or go to
Finally we leave on an acid trip with San
Francisco septet The Warlocks as navigators,
steering through your skull to a tune called "Come
Save Us" (the first single off their latest album
Surgery] that steadily builds on layers upon layers
of guitar and mid-tempo Velvet Underground-
style drumming, while "Suicide Note" takes the
van and crashes into Spacemen 3's practice
space for kicks, leaving a - pile of dust and
distortion behind. Displaying a mellower, if not
trance-inducing state of mind different from past
releases, this still puts them near the top of the
Jesus and Mary Jonestown Motorcycle Club heap
and will have you reaching for the stereo instead
of the medicine cabinet when Advil just won't do.
(Mute/Birdman Records.www.birdmanrecords.
com or www.mute.com for details.)   g®&
Next month, more vinyl madness!
315 CARRAL ST EQ4 BBS 3922
I with kesideht dis SSm^SM
for more information contact www.spmmusic.biz Strut Fret and Flicker
With a special relentless trundle, the
Vancouver International Film Festival
crawls once again from the woodwork
of the universe spreading its cinemagic. This year's
biggest news is the spanking new Vancouver
International Film Centre with its Vancity Cinema,
a welcome addition to downtown after years of
shutting-down screens.
First off, let me say that sitting through movies
in the new venue is a definite pleasure. I've never
encountered such luxuriously big drink-holders, mile-
wide seats, endless legroom and double armrests
(yes, double! I used one as a desk! And they're
padded!). It feels like riding in business class, as one
person loudly proclaimed at a press screening.
Though it's a great venue, a few warnings: don't
sit in the front row. The super-comfy seat-backdesign
makes it very difficult to scrunch down while looking
up, not to mention these seats are pretty close to
the screen. WATCH OUT for the'wooden riser at the
front of the room, three people tripped and landed
face-first the first day I was there. And, though I never
sat up there, the balcony is apparently much less
The best film I've previewed so far is Shunichi
Nagasaki's Heart Beating in the Dark. Japanese
films at VIFF tend to excel at pushing boundaries
without abandoning story or substance. This one
is no exception. It isn't quite a remake of the same
filmmaker's 1982 super-8 epic of the same title (which
is also playing at VIFF), made in the intense Japanese
super-8 scene of the early 80's, about a guy and
gal who kill their baby and then go on the lam. The
outlaw-couple genre is taken to new heights as
they abuse, fuck and attack one another in grainy
intensity. All the traditional questions about gender
relationships and cinematic morality are exploded
in punk performance here: Is screen-rape real rape?
Are murderers worth characterizing? The fact that an
old lady walked out of the screening during a very
harsh sex scene should tell you: This is a real festival
All these questions, plus whether the new,
higher-production-value version is a cynical cashing-
in on an earlier success, or an attempt to subvert the
same, are thrown into total confusion by the addition
both of copious excerpts from the original film, plus
the original couple playing older, more sober selves,
still on the lam and separated for decades. Adding
Lee Yoon-Ki's This Charming Girl
to the ambiguity are self-conscious documentary
intrusions about making this new version, in them,
the older actor promises to participate in the remake
only if he can really punch the actor playing the
younger man. "If I met him now, I'd wanna punch
him," he says. Are these bits real or staged? There's
strong tension as the older guy looks for the slightest
opportunity to punch the young actor during
rehearsal, and this plays out within the dramatic
scenes as well when the four characters finally come
together. But as the younger actor says, "That's kind
of hypocritical, isn't it? You killed your baby too?"
Finally, the most disturbing thing, to me at least,
was the spectacle within the documentary bits of'
Japanese production assistants bowing to the actors.
Hope that doesn't catch on here!
My other favourite was This Charming Giri from
Korea. Slow-paced and realistic, it's the story of a
woman facing the kind of ennui you only get from
working in a post office. Many filmmakers try to evoke
the desperation of modern society, the pointless.
repetition and social disconnects, but director Lee
Yoon-Ki succeeds. The larger world outside the post
office is no more than a boring problem, "What code
do I punch in for special delivery to Japan?" New
people only intrude with lame dramas of everyday
life; "Oh my, that's how much it costs? What other
choices are there?" Somehow the nothingness of it
begins to cook, and when we start to learn Jeong-
Hae's life story, we aren't surprised or shocked by the
melodramas or her attempts at resolution.
Oh-oh, there's so much to see and so little
space to inform you! I think it's important that
everyone check out The Score, which is... wait for
it!... a dance musical about Huntington's disease! Of
course such a production could only emerge from
Canada. Locally made by fast-rising Screen Siren
pictures and Electric Company theatre, it is one of
those films which has to be seen because, well, how
could it possibly work!? And if it does work, could you
ever forgive yourself for missing it?!
Don't bother seeing Paper Moon Affair, a listless
if spiffy would-be-potboiler, and unwittingly-fetishistic
time-filler about a Japanese woman abandoned
in the woods by her rich husband. Too many weak
plotlines, cardboard-thin characters and a general
lack of point will possibly be dug by the demillectual
class starved for another The Piano. Produced by the
gang behind Lunch With Charles .(Bit Naked's film
by Flick Harrison
t>«%bRpr^ Bsprrm S£Aeo4
debut), the worst thing about PMA is the dastardly
attempt to set it in both America and Canada at
the same time, with American money, but Canadian
mailboxes. Or maybe that's old Canadian money,
but new license plates? Subtle hypertextual
engagement or simple marketing cynicism? You
decide. One shouldn't have to be distracted by such
things during a film.
Other things you should check out are: Clement
Virgo (Rude)'s new feature Lie With Me, and Deepa
Mehta's new Wafer (sequel to Fire, Earth, but not Air
for some reason). C.R.A.Z.Y. is a Quebec box-office
hit, and you should ALWAYS SEE Quebec box-
office hits. See you on the other side!
appl.uturt dkaihue  »S 0<fobcr IS  I
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Four days of soil hedonism
The 2005 Vand|ij$er New Music Festival presents four days of creative
intensity, blendi«i||if»e raw with the refined and the:$»|fe with the.^VO
raucous.  Tapping into the world of mUsique actuelle and improvisation,
INTERFERENCE challenges the preconceptions of performed music to
offer a radically innov«lr^$Owtt$l* experience. ^IJefight in the sonic ^-^
permutations as younger artists perform alongside pioneering veterans
for four days of harmony and dissonance, sublime sonic architectures,
hybrid analog and digital creations, new collaborations in live sound
manipulation ana1 explorations of tone and texture.       v'ti%sf|   'h*4?Q
OCT 2005
Ticketmaster 604.280.3311
MERCREDI 19                   JEUDI 20          1         VENDRE0I 21                  SAM EDI 22
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8:00 PM
Danger Mouse a MF DOOM
Guest appearances by:
Tallb Kweli, Cee-Lo & Ghostf ace
^pttniih [adult swim].
imyKinmxtm rtWUwlw.com epltapii.com
6 DiSCORDER - October 2005
K^ri- You say Mix!
We say Tape!
It's hard to write about You Say Party! We
Say Die! Not because there's nothing to say
about them—these Vancouver dance punks
have been doing well for themselves lately—but
because those exclamation marks are damn
hard to punctuate around. Nevertheless, we are
compelled to tell you that their brand new LP, Hit
the Floor!, came out two weeks ago and is already
number one on the CiTR charts (it also garnered
a favourable review from notoriously difficult-to-
please pitchforkmedia.com) YSPIWSD! are currently
touring Canada, and will return triumphant with
gig on October 14th at Lamplighter. Word is they
are competing in this year's Shindig!, held every
Tuesday night at the Railway Club. With the sudden
buzz around Hit the Floor!, they can't be anything
but serious contenders. They haven't let all the
attention get their heads, however, and sweetly
sent DiSCORDER this month's Mix Tape, composed
of their favourite songs, and songs by their favourite
local bands.
You Say Party! We Say Die! are:
Becky Ninkovic: lead vocals
Stephen O'Shea:
Krista Loewen:
Jason Nicolas:
Bruce Dyck:
Derek Adam:
bass guitar
guitar left
hot beatz
guitar right
Side One
Go Ahead Now!
Private Idaho
Velvet Underground
Sweet Jane
Twist: Jacques Lu Cont's Conversion
Perversion Mix
Do Make Say Think
Hurray Hurray Hurray
track 7
The Awesome Machine
Death from Above 1979
Black History Month
The Rest of the Story
Fun 100
Hot Popular Girl
The Doers
Mr. Well-To-Do/Found a Find/Uncle
Sam and His Friends/The General
Side Two
Jimmy Soul
If You Wanna Be Happy
V-Boat Attack
Weird Al Yankovic
Dare to be Stupid
Lenny, What's Gotten Into You?
Naked Raygun
the Replacements
Takin' a Ride
Rikk Agnew
O.C. Life
Raised by Wolves
Sean Wesley Wood
(and the Vancouver Vipers)
Rats are Gonna Ride
Join the Fun
You're the One
CiTR 101.9 FM presents... tlie longest running musk battle in Vancouver
a fa      Andy Collins
Hot Loins
The Belushis
The Hunter Cometh
Peter Le Grande
The Smokes
The Weather
The Woods
QQfU    Romance
Every Tuesday night shews at 9 PM
The Railway Club [Sey mour/Dunsmuir J
* Bands subject to change.
For the latest schedules and results, visit:
Music Week
ggvTlA $AVtU> BV RAfrtO
calgary ab
435 west hastings street
Vancouver be v6b 114
po box 95075, 370 e. broadway
Vancouver be v5t 4g5
www.endearing.com ejfi&eflrtnrf I
435 west hastings street
Vancouver be v6b 114
W uinqlfepubhlc
723 warsaw ave
Winnipeg mb r3m 1b6
www.killbeatmusic.com      www.vinylrepublik.com
Tear Out Live Guide!
Saved by Radio shows:
Thursday, Oct 20 at the Railway Club
9 pm - Vai I halen
10 pm - Falcon hawk
11 pm - The Summerlad
Friday, Oct 21 at The Lamplighter
Lorrie Matheson and the Brass Tacks
Endearing shows:
Thursday, Oct 20 at the Media Club
10 pm - Jonathan Inc.
11 pm - Radiogram
12 am - Ox
Saturday, Oct 22 at the Media Club
Julie Doiron:, 7pm to 9pm
Maximum shows:
Thursday Oct 20th at the Railway Club
12 am - The Winks
Thursday, Oct 20 at the Media Club
12 am - Ox
Friday October 21 st at Torchy's
11 pm - Sekoya
Saturday Oct 22nd at the Railway Club
10:35pm - Belinda Bruce
Vinyl Republik show:
Saturday, October 22 at the Railway
Rare live performance by Sinewave
at the Kill beat after party.
Killbeat after party:
Saturday, Oct 22 at the Railway Club
1 am to 2:30 am
Special Performances by these
Endearing, Killbeat, Saved by Radio
Maximum and Vinyl Republik artists:
Ox, AA Sound System, Lorrie Matheson,
Sinewave, Julie Doiron, & Octoberman
Venue Addresses:
Media Club - 695 Cambie Street
Railway Club - 579 Dunsmuir Street
Lamplighter - 210 Abbott Street
Torchy's -1033 Granville Street
fa//6eat mu6ie
|r fjfepUbWc Do it your own damned se
from the Seam Rippers Craft Collective
This month we are proposing a very
practical project called DIYI, Do It Yourself
IKEA I am sure most of you have moved
once or twice in your life, and some of you are
chronic, so you are familiar with that endless pile of
boxes waiting to be thrown out. Stop. Do not throw
this ingenious material out just yet. Put it to good use
by turning it into foldable chairs for your impromptu
dinner guests. Cardboard has been around since
the 15th century and invented by the Chinese as a
packing material. The official cardboard box was
patented by an American, of course and improved
upon in 1890 by another American who added a
waving middle layer between two liner sheets on
both sides. This is the corrugated cardboard that
we know and love today.
In my search to Jind the best design for this
project, I tested a few Internet finds made by
a bunch of international designers. However,
the winner comes from a book called Nomadic
Furniture, by James Hennessey and Victor Papanek
. It can be found in the Vancouver Public Library or
in the "You Say You Want a Revolution" 60s and 70s
exhibit in the Vancouver Museum.
This chair is completely collapsible, does NOT
employ any glue, nails, or fasteners, and is NOT
held together by sheer will; although, you may
need some to get started.
Choosing cardboard that is big enough for
this project might be hard. This is where big IKEA
By Gaile Anderson
boxes come in handy. If you do not have any at
hand then maybe your neighbour has some left
over from their shopping spree that you could offer
to "recycle" or you could purchase some, but that
goes against the whole notion.
Cut out the pattern from single corrugated
cardboard. Score the board along the —x—
x—x—, but don't cut all the way through. The
scoring will help you get cleaner folds. All the slots
are as wide as the cardboard is thick, and are 9"
in length.
At this point you may want to add some
personal touches by cutting out the shaded area
into a shape or covering it with wrapping paper
or adding a doily. Do whatever you want, but
remember: if you want to hide the chair under your
bed and reuse it at some point, keep it simple.
Follow the pictures below to assemble. Fold
part A in thirds and insert part B into the slots. Fold
part C in half and lay on top of A and B. Add a
cushion for comfort. Voild! ___.
Don't forget to join us for our Diorama-rama
exhibition at the Seamrippers Space. October 8th
till 29th.  436 West Pender.
Owfe'in 604 Hip Hop Expo
45s and Flow
Popular culture is flooded by a
dizzying amount of hip hop.
As .light reflected through a
prism, -the multitude" of colours and
expressions dan be overwhelming, and- -
by attempting to view everything aT"
. once, the myriad blends together into
a' uniform whiteness, monolithic and
uninteresting: Yet-by-studying hip hop as
a whole, the individual .facets of the art
form become, more aripjarent: the cut of
'this crystal contains seH'g, poetry, dance;
l|feJFH5ibling, graphigp#t, and more. Much
of the hiphop we hear is an amalgam of
these different specializations, blended
just enough that the finaLproduct can
be sold, usually wrapped; in an exciting
package of sex and violence. Credit to
Sean Lala and the people at Spectrum
Events, then, for creating the 604 Hip
Hop Expo, ah event that celebrated the
artistic differences within hip hop. - 4$&$k
Rooted ■Di5t_|h&i-"de'pths of musiogJp"
expressigtfy^lnjp^.hop emerged as a
celebration of urban and modern art.
From the greatest talentsMf fezz. be-bop,
and scat the pioneers ,*ffiHb hop drM?/
the method of improvJsfh_«>n a sinjife'
arrangement, gospel rhythms, soulful fuffc
bass lines and much of the. introspective,
retrospective of blues Musicians. The
ch^Feh of the baby/boom, the first
generation of hip hop, were the first
generation to grow up with libraries of
contemporary music in the household.
By rooting through record collections,
hip hop was conceived and expressed
from atop the art of earlier musicians. This
was displayed by the Expo's first event,
an eve of turn-tabling by deejays J-Rocc
and Peanut Butter Wolf. Both acclaimed
producers (J-Rocc of the Beat Junkies,
and P.B. Wolf of Stone's Throw Records)
Were billed under a specific challenge:
they would play only 45's. By limiting
themselves to 7" vinyl, they displayed
their nimble-fingered skill in mixing in fast-
•moving singt^S,? which they did tirelessly,
foremost, however, their choice of vinyl
parked back to the first "recordings to
Inspire and infiltrate hip hop. That night,
Atlantis was filled j/vith 70's T.V. series
theme songs that cut into heavy horns
and James Brown samples thick with
suspenseful pitch.
The only falsehood propagated in
the flier for the J-Rocc/P.B Wolf show was
that it was "deejay battle." If only conflict
was always so cooperative. The duo
were collaborating to fuel the crowd's
appreciation, taking turns on the tables,
tapping each other out when one felt
he had the perfect track to follow the
current song. P.B. Wolf added-tois Jove of
Blue Note jazz recordings to the mix. Then
sliding the fader between Hancock and
Motown, seemingly for the benefit of the
crowd, they includes! many of the original
songs4hat..tep~4$s-hip hop samples in its
hooks and choruses, allowing many in the
audience to "recognize" their favourite
hits in the work of artists 30 years ago.
The atmosphere of the party only grew
in intimacy, until the deejays pulled out
what is arguably the greatest crowd
pleaser: the reggae, reminding all the
fans of their favourite moments of bud,
beanbags, reeds, and Che. The party-
starting hosts pushed the dancers past
1:30 on a Sunday night for an incredible
opening to the E$5o.,<
Richard's, { on* Richards hosted
the next night's activities. If Monday's
performance fcsirgted hip hop's roots
from the boimff^oi the record stactc,
Tuesjjij^s"display promoted the art fbrtlSiS -
present from the {sip of the stage. Hip hop
as a vocal performing, art begins w$h.c£:
mouth, a rfriR^ and a microphone; the'
end is to both? interest and entertain q
crowd. The vocal style of rapping, with its |
quick pace and emphasis on wordplay,
makes it difficult to display to audiences
of thousands, but "ideal for the intimate
atmosphere of a club like Richard's on
Richards. Emcees Aceyalone, One Be
Lo, and • Bokue' One rallied the crowd,
delivering intelligent, playful performances
without the image-heavy promotion
associated with more glamorous names.
By first mixing with the crowd and then
taking to the stage, the night felt like
one of collaboration. These emcees in
particular are known for their creativity
and lyrical mastery, having participated
in many different collectives and projects.
Aceyalone has to his name both Project
Blowed and Haiku D'Etat along with his
solo work. All are highly credited, and he
truly swayed the Vancouver fans.
The hip hop Expo went from
turntablists to emcees and back to DJ's
as RicharcCs on Richards was followed
the next rjight by DJ ?uestlove. Ahmir
"?uestlove? Thompson is known as the
bandleader and co-producer of The
Roots, hip hop's darlings of originality
and authenticity, lln between working
-with the Roots and producing songs by
'many different artists (from John). Mayer
,to Christina Agoifera), ?uestlove tours
as a solo DJ famous for playing, crowd-
pleasing party jams. As ?uest took to the
booth with his signature afro, he plugged
his turntables into his iBook. The glowing
apple and the white plastic^ frame
radiated in the btack lights of^tlantis, ■
giving.the laptop ah aJmo^divtne"_lowa!r ?
by Zach Goel^pi^|
Thompson queued songs uftpn the sojeen ■
and then mixed them manually out onto..
the dance floor. The crowd was drawn
largely because of ?uestlove's status as
one of the key architects of the legendary
roots crew, a veritable Guggenheim of
contemporary music. Beginning with Ray
Charles' "I Got a Woman" and mixing it
into Kanye West's "Gold Digger," ?uest set
up his formula for the evening: original soul
sample into popular hit song. AdditionaUy,-,
he seemed focused on reminding the
crowd of when they first fell in love with
hip hop, spinning the Beastie Boys and
the Fugees. He lingered on a few bands,
namely A Tribe Called Quest, De La Soul,
Outkast, and the Beatnuts. The crowd
not only felt entertained, they almost felt
honoured: longtime favourites such as
the Native Tongues were finally getting
played on the dance floor. Ultimately,
?uestJoye was tying together the roots
j$i&md on Sunday with the lyrical display
seen at Richard's on Richards.
Hip hop wanes and waxes in this
• Pacifb-;Northwest town. Larger acts blow
into town, eclipsing the slim crescent of
local talent that rises at weekly venues .
like Lamplighter's Monday Night Llve:3he
shows at Lamplighter, white vibrant, are
fiefclejke this autumn weather: sometimes
rbeautiful, sometimes miserable, a blend
that Vancouverites have learned to
endure and even enjoy. In the cycle
between the local regular shows and
the large, GM Place concerts, truly mid-
range hip hop brings a strong attraction
to lovers of the art form. This "mid-range,"
a category lacking a lustrous name,
encompasses all the music that has risen
above the- underground yet remains
hidden just beyond the radio hits and
MTV. Those who broke into this mid-range
reside on the dark side of the moon,
just* beyond the spotlight, occasionally .
peeking out to feature on a bigger star's
allium or even, as The Roots did in 1999,
to-win a Grammy. The music produced
by this group of artists (who are grouped
here only by their level of fame, and
not necessarily anything but) -is widely '
celebrated by the aficionados who follow
threads of talent back to the source, :
and are generally unsatisfied .with Jtoe—.
jrrainstream material produced by much
of the industry. Thanks to the people at
Spectrum Events, Vahcouver receives the
quality talents of this diverse and vibrant
group of artists.   „   '
broken pencil magazine presents...
The First Ever Vancouver Zine Fab" and Festival of Alternative Culture
Sunday, Oct 16th
Western Front
303 East 8th Avenue
experts from around the Pacific
Panel discussion:
Indie Spectacle and Political
The Wild West!
Radical Readings!
Free admission!
All Welcome!
www.BrokenPencil.com The ParioyGjSJfij^
Productive P
The Parlour Steps are:
Caleb Stull: voice, guitars, keyboards, percussion
Julie Bavalis: bass guitar, voice
Rees Haynes: guitars
Rob Linton: drums
I met up with Caleb Stull, the lead man for Vancouver's Parlour Steps, to talk about his band and
their music. For the most part, this is how it went...
DiSCORDER: So first of all, what are the backgrounds of the players?
Caleb: Well Rees, Rob, and Julie actually all met in jazz school at Cap College. Before Cap, Rees was
a metal guitarist, so he lends a bit of an edge. Rob, the drummer, hadn't strayed much into any other
zone but jazz. Julie, while being trained in jazz, is also in the band Eldorado, so she's got a real roots
thing going on as well. She plays stand-up bass really well and the roots-country angle also influences
her singing. I actually come from an indie-rock background, started a couple indie-rock punk bands
in Victoria: just kinda adolescent, fuzzed-out stuff. Rees, Rob and Julie's schooled, refined, studied
backgrounds are a real nice balance to my crass punk sensibilities.
So are they basically toning down your craziness? Do you find yourself trying to get them to be less
refined? ^•■i'_r"
No, I think the jazz gives them great ears and allows them to be sensitive to what else is going on. So in
terms of collaboration and working on stuff together I couldn't ask for better musicians. It's amazing
how they pick up on ideas so quick.
One of the things I noticed about the sound is that you're about as dense as you can be for being pop
Did you see us with the violin player? It was even worse, or even better, depending on your point of
view. We had two melodic instruments, guitar and violin, plus me playing rhythm. So it was actually
nice when we left that behind because we had more space to fill up. We could kinda stretch out a
little bit more.
What do you think has been changing from your first album to your most recent album. The Great
Perhaps. Do you sense a progression or a direction that you're moving into?
When you hear the first album the first thing that definitely comes into mind is that deadly moniker,
"eclectic." The songs seem a bit disjointed and the band was not cohesive at the time. It was me
writing and then some different musician taking on fhe songs and working on them in a disjointed
way. So there really wasn't a cohesive voice, it was really fragmented. The second album got a lot
better. We concreted our line-up, started to find a voice. There was still some fat to trim and I think we
have finally gotten to a place where the voice is refined and a' little bit more pure. Those elements
that we were playing around with in the first record and the second record are still there, but it seems
to be a lot more cohesive.
So where are you going now? Now you've trimmed the fat, n
any foreshadow to the next project?
Shorter songs, get them in under two minutes, [laughs]
v you're more cohesive...can you give
Shorter?) I would have thought you'd get longer! i'm thinking epic concept album. You're not going to
keep your jazz musicians around if you have two minute songs.
I find it interesting to throw jazz musicians into constrictions. Say to them, "We're going to do the verse
once, we're going to do the chorus once, we'll have an ending and that's it, that's all you get." You
-   know, it's a challenge. Either that or lose the constraints entirely...
Do you ever just let it go? Just say, this Is my idea let's run wtth it?
Yeah absolutely. Before it gets performed or produced for record, we'll usually try to refine and come
up with a plan musically,-but there are spots where it's nebulous and we fill the space with whatever •
comes out. And that is exciting, that is good stuff. In fact I used to do a lot more of that with a different
group of musicians, we'd just get together and improv for hours and hours and hours. It gets really"
trance-like and really cool and that definitely informs the more structured
pop writing. I wish I could get more time with my current group so we
could be exploring more of that.
The reason I ask these things is I'm also curious to know if you're band-
mates, since they come from jazz backgrounds, feel constricted.
That's a good question, I should ask them that. Well, I think they are realistic
about how efficient we need to be with the time that we have together.
There is a part of me that wishes that we didh' t have to intellectualize these
songs and didn't have to talk about verses and choruses and decide
where to go with it, because that stuff could come out of just jamming.
But that's a tot of time—we're talking a couple days a week, hours of
getting drunk together, exploring all those other regions. But we just can't
do that, it's just not possible for us. In a way the pop structure affords us
a roadmap, a beacon to keep us productive. Most musical forms are
constructive, especially classical. My mom was a classical musician, so I
grew up listening to a lot of classical. [Classical musicians!work their ass
off to perfect the form, perfect the delivery and then, THEN they get to
express themselves, THEN they get to try to inject that stuff with some sort
of expression. Something about that concept always attracted me, even
though it was constrictive...finding expression within confinement.
Plans for this album?
Going to get a tour going before Christmas, going down the US coast.
After Christmas we'll tour across the country. We've been somewhat
Vancouver-locked before this, but now with the new membership, it's
opened up, so we're into getting out there and hitting the road.
Do you think you're going to survive it?
Julie, the bass player, has been on tour, but for a while there I was the only
one in the band that had been on tour...and...and...I didn't want to do
it, man! I didn't want to go back out there. I'm sure there will be tensions,
but I think we all possess the skills to get through it. We communicate
pretty well, we like each other, respect each other...that's a basis for
hopefully surviving. If you want to make a go at this, you got to hit the
road, you got to get out there and hit some fresh ears*   _^
IqH "1 £±Q&       ON TOUR NOW
12 DiSCORDER - October 2005 Buck 65
Once had a radio show, has a Bachelor of
Science, and is only interrupted twice.
When Buck 65 came through town I was graciously
allowed to meet up with him before the show. We
were all set to meet in the Pit a few hours before he
had to go on. I was going to buy him a drink, but found out that
he didn't drink while researching for the interview. So I bought him
a cookie.
DiSCORDER: I hear that you used to host a radio show. What was
that like?
Buck 65: Well, to go right back to the beginning, when I was growing
up in Nova Scotia I lived in a real rural kind of place. I can remember
when I was a kid and really into music, radio was really in a pretty
bleak state of affairs out in my part of the world. I would listen to
CBC sometimes. They would have some interesting programming
here and there, but in terms of hearing any interesting music, hip
hop or whatever, I couldn't hear anything on the radio at all. Then
I discovered that there was a college campus radio station from
Halifax, but their signal didn't quite reach all the way out to where
I lived. I wasn't really willing to accept no for an answer though.
1 figured if I was really crafty with antennas and really maximized
my possibility for reception I might be able to get it. In the end the
best solution I could figure out was to take a portable radio, a big
antenna and extend it as much as I could and then climb to the
top of a really tall tree. Honest to goodness this is what I would do.
On Sunday there was a program I particularly didn't want to miss
so I'd sit in a tree for two hours and listen to this radio show. I loved it
and it was great that I got to hear these interesting songs, but after
awhile... after I'd gotten a feel for the station, it occurred to me
that I had a big record collection and a lot of knowledge about
the music I liked.
How old were you then?
Oh, 16 years old. I thought, "Heck I could probably do a better
show than some of these guys that I'm listening to." So I was really
nervous, but one day I walked up to the radio station, and I said "I
want to do a show." And they said "Well... you have to prove you
really want it." So before they put me on the air they just kept me
around doing all sorts of dirty work, picking up garbage, things like
that, painting and what not. Finally I got my start the same way a
lot of people do, doing all-nighters, being on the radio for six hours
straight. In the very, very beginning I played a little bit of everything,
really. I played lots of funk music. I remember if I was tired or needed
to use the bathroom I'd play a nine-minute long Parliament song,
and I'd go to the bathroom. Then when I got my own regular slot
during primetime I had a pretty much strictly hip hop show. I did
that for years and years and years. That was called The Basement
and it had a really educational bent. I really wanted to talk a lot
about the history of hip hop music.
by Jordie Sparkle
You mean hip-hop from back in the '70s and '80s?
'70s and '80s, yeah. I was a member of Afrika
Bambaataa's Zulu Nation so I wanted to do a lot of
preaching of the stuff I learned being a part of that. I
wanted to play a lot of real underground kinds of music,
so around '96 I made it a strictly independent format.
Then a few years after that it became open format all
over again.
And you did that radio show for...?
About 11 years in total.
Did your career start to take off then?
Yeah, that's exactly right. I started to do a lot of touring, missing my
show a lot and having to get a lot of other people to cover for me.
Eventually I realized that I was hardly able to do it. So it was really
sad, but I had to give it up. I loved it and I miss it I'd love to get back
into rt one day.
So back in the days of Vertex you had a song called "Bachelor of
Science". Do you actually have a Bachelor of Science?
Yes, I do. I studied in the Science program at University in Halifax, i
took a lot of English as well, probably enough to be a double major,
but I didn't have the uh-
No, the smarts. I didn't even think to declare it that way. I went to
school for about five years, taking it kind of light. I don't think there
was ever a year where I took a full course load. But, when I was
writing that song I was kind of lonely and it occurred to me that
I had the idea of bachelorhood down to a science. So there's a
double meaning there. It's funny, when I look back at a lot of the
material that I used to write; when I was in university you could see
that my education was really informing the music that I wrote. A lot
of the things I was studying would make my way into my music, it's
good that even though I don't use my degree in a practical way-
It still affects the way you think?
Yeah, absolutely. I'm really glad for that experience even though it
didn't turn out the way a lot of people intended.
So awhile ago, on your web site, you said that you intended to retire
"The Centaur". But every time I've seen you ptay you've played
that song. In fact, most recently when I saw you at Coachella, you
not only played It, but you had completely redone the song. What's
the story wtth that?
WeU I have a complex relationship with the song called "The
Centaur". It's an important song in—I don't want this to sound too
pretentious—in my legacy. I can't really ignore that, t had sort of
an eye opening experience just after the time where I said I was
going to retire the song. I went and saw Lou Reed five. I was realty
excited about it. I'm a big velvet Underground fan, and I was fike,
"Whoa, here's my chance to see al these great songs... hopefully."
Because he also had a new album out then and one that wasn't
all that... great. So I thought, "One of two things can happen here:
he could play only songs from the new album, which would be
interesting enough, or I'll get really lucky and I'll get to here some
of those great old songs." As it turned out he did one new song and
the rest were all these old songs. So I thought "How great. What a
fulfilling experience for me to go a get to hear aH these old Velvet
Underground songs," which made me think, "Hey. wait a minute."
It made me realize that you've got to give people what they want.
So it made me go back and change my mind about retiring a song
like "The Centaur". I'm glad I had that experience arid I will say that
I reserve the right to change my mind, i think you need to be able
to reserve that right.
Is that why you remade the song?
It helped to redo it. Maybe this is a little bit blasphemous, tampering
with the past, maybe you should let sleeping dogs fie, but I kind of
felt like "The Centaur" had the potential to be a good song, but it
wasn't. I had a good idea. I mean, if you listen to "The Centaur" as
it exists on Vertex, it barely qualifies as what any kind of musicologist
would call a song. It's a loop with some lyrics over it. There's nothing
really going on. It's not even music that I wrote.
I've really endeavored to up my game a lot more than that in
recent years. So I wanted to go back and rescue what I thought
could be a pretty good song and make it something that was aH
my own. My label in the US was asking for a retrospective album so
I thought here's a chance to look over the song. Ready whip it into
shape. So we wrote our own melody and gave the song a lot more
structure. I think we were actually able to rescue rt and make it into
a real song. I think it breathed new life into it. Made it interesting
again for myself which is maybe a bit fike George Lucas tampering
with Star Wars, and I can recognize the...
Well yes, but also the bad side of tampering with things. I can hear
the pleas of nay-sayers on that one. Maybe I'm just too obsessive-
compulsive when it comes to stuff Hke that. That's just the way it
has gone. That song has gone through a lot of incarnations, too.
In total, now, there's been five or six different versions of that song.
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For the kind of person who makes
music the way I do, playing live is
a big challenge. If you play the
song the same way it sounds on
the album then that's not really
an interesting experience for the
person who buys a ticket to see
your show. So if you've got a
few different versions you've got
something different you can pull
out during a live show. That's how
this version started out—it was just
intended to be something in the
five context. When I was touring
with my band we just kind of
reworked the song. So then, when
we had an opportunity to record
so I thought, why the heck not.
You just mentioned touring with a
band. Do you have any plans to
bring them around again?
I have a band that I work with
in the studio and obviously it's
a very interesting idea to bring
them on the road, but it's also
very expensive. As soon as you
bring six guys on the road that
requires bringing a sound guy, all
the instruments, renting a vehicle,
getting a driver for that vehicle,
buying everyone flights and hotels.
To be frank, I just can't really afford
that. Maybe one day I'll be able
to sell enough records to be
able to afford to do that all the
time. The general rule of thumb
in the business is that any singer/
songwriter who has the ability to
play solo has to sell 100,000 records
to be at the point where you can
afford to do that all the time. I'm
close, I'm getting closer and closer
to that mark, but I'm not there yet.
Hopefully before long I'll be able
to tour with a band all the time.
Alright, one last question. I read a
rumour that you recently became
engaged to Leslie Feist a little
while ago. Do you want to confirm
or deny this?
Oh my goodness, that's bananas.
That's funny because I was reading
a review of my album the other
day, and they said that Leslie Feist
was on the album and she was
great, but she's actually not on
the album. The fact is that she's a
friend of mine, and I am engaged
to be married, but not to her.
She doesn't like to talk about her
personal fife very much, but we're
friends. I'd heard that that rumour
exists. She's very popular in France
and they have a Leslie Feist rumour
website. Apparently the number
one rumour was that there was
a romantic relationship between
her and I. That's an interesting and
exciting rumour, but it's not the
case. We are good friends. We
both five in Paris. We run into each
other fairly often. The last time I ran
into her was at the Vancouver Folk
Festival. No romance between us
whatsoever. Mk
Paper, Gol
Hot photocopy action at Canzine West.
by Andy Hudson
Since 1999, rumours of Canzine have itched the ears of
zinesters, bookworms, and crafters across Vancouver. First
came whispers of trade tables bowed with dirt-cheap
zines, comics, and small-press books. Every year, more tantalizing
rumours trickled in as Canzine spawned off-paper events: video
screenings, media panels, DIY demos, and a penchant for
And every year, you wished a thousand paper cuts on Toronto
for hoarding Canzine to itself, in a big hotel, 4,380 kilometers
Well, here is good news for leaden hearts: on October 16th,
Broken Pencil magazine will bring the first offshoot of its sprawling
Canzine festival to Vancouver. Canzine West will be co-produced
by the Western Front art collective, who have generously donated
a venue for the festival in their space at 303 East 8th Avenue.
"It's not just a zine festival," says Andrea Gin, one of the lead
organizers, "it's a whole independent arts festival. We're trying to
encourage people to open up their tables to any kind of indie
craft they want to put on them."
Alongside the zinesters, watch for Vancouver specials like
a silk-screening workshop by Blim's Yuriko Iga, and unabashed
readings from Arsenal Pulp's With A Rough Tongue: Femmes Write
Pom. Too hot? Then hide your rosy cheeks for the panel talk "From
Burlesque to Grotesque," a discussion of the controversial ways
burlesque has been adopted by indie culture.
Andrea is also looking forward to zine-themed sideshows
like the Ink Muffins Cheerleaders ("God Save the Zinel"), and the
Seamrippers' 2005 Collating Championships (expect a long-armed
stapler and lots of paper).
A few of the more than thirty exhibitors hail from Cascadia-
at-large. Meet zinester compatriots from faraway Anacortes, see
dioramas from Bellingham, and leam to DIY from the Seattle DIY
Academy which taught summer courses on everything from how
to cut your own hair to making biodiesel fuel.
Of course, the roots of this promising tumult are still in sharing
Ken Boesem of Barking Raven Press is glad to have a r
showcase with Canzine. He has shown his zines and comics at
established venues like the Vancouver Comicon, and the Comix
and Stories event at Heritage Hall. One of his zines even found its
way to English Canada's most mainstream magazine, a fixture of
every dental office I know.
"I drew it for SPX [Small Press Expo]," he explains. "The theme
was travel, -but I didn't want to do a travelogue." Instead, he
drew ten striking pages, no captions, to track the global influenza
epidemic of 1918. Boesem's 1918 also features reproductions of a
Victory Bond and a public health poster, as well as a brief history
of the outbreak.
"SARS was still a pretty big deal when it came out," he says,
so he sent copies to every publication he could think of. Only two
responded with reviews, the community paper in his hometown of
Quesnel, and Maclean's.
Of a more textual and potentially petty character is No Pets,
No Smokers, No Losers, a chapbook from Two-Star Press, who will
also have a table at Canzine.
Inside are five pieces on roommates, ranging from Andrew
Kaufman's mea culpa, "Heather Randall, I'm Sorry," to the
occasional indictment in Jason McLean's oral history of roommates
For example, the Karen entry: "She was a farm girl at one
time and got a pet pig for the house—not a pot-bellied pig, but
a farm pig—and brought it home and didn't tell any of us... She
put hair all throughout the garden and even in the houseplants
because it supposedly helped plants grow."
Zines like these are top sh _lf, but previous Canzines have shown
off every kind of zinester, right down to the Kinko's kids. I remember
seeing two sisters, 12 and 13, wedged between Winnipeg's Tart
magazine and a table of ultra-goth daemon comics. They had
cut-and-pasted glossy photos of hot Seventeen and Bop boys all
over school notebooks and called them Crush.
Thanks to the Western Front society, admission is to Canzine
is totally free, at a great venue, and most zines for $5 or much less.
If you need an excuse to stay the whole day (it runs from 1-7 PM),
visit www.BrokenPencil.com and be a volunteer.
You really have no excuse not to come, leam a few tricks, go
home and befriend a stapler.
Canzine West hits October 16. at 303 East 8th Avenue, 1 - 7pm Ted Leo
shocked and appalled
Interviewing Ted Leo is a lot more complicated than you might
think-what's the point in asking someone questions when their
life is already well-documented on the web? Being as outspoken
as he is, Ted seemed willing to do more talking, and I did my best to
catch it all on tape. During the process of transcription, however, it
became clear to me that Mr. Leo's a bit of a rambler, which is every
interviewer's worst nightmare and wettest dream rolled into one.
Here's an attempt to sort through the 30-minute long, September 2nd
ramblings of one Ted Theodore (oh no, wait, that's from a movie) Leo,
rock star and dissenting American. ^z^.^T-
I didn't really know what I was getting myself into when I showed
up at Richard's that fateful night, but I did have high hopes of not
hyperventilating. Ted Leo makes incredibly catchy mod-pop-punk
music, akin to not much of anything at the moment, and it seems
as though he's got a lot to say. Much of it is packed into his songs,
with lyrics often expanding past rhythmic borders and listeners'
vocabularies. Ted also keeps in touch with his fans via email and a
regular blog on his band's website. He's a real people person, I guess,
and even though he shows up a couple of hours later than planned
and has a guitar to re-string, he's still willing to sit down with me for a
real live interview. Why?
"I consider it part of the job," says Ted, guitar on his lap and
goldeny glass of booze on the table in front of him. "But also, they are
usually pretty good for me to do. Not necessarily to talk about yourself,
but to talk about the process and your ideas helps you to order them.
It helps you keep your head straight. When you hear yourself saying
stupid things, which sometimes you do... Sometimes I'll think that I
have an idea about something, and over the course of a rambling
interview answer—like this one—I'll either reinforce it or change my
mind. Artists tend often to think about what they do a little too much,
and I think there is a real value to examining your life, if that's not
too grandiose, and interviews are a perfect opportunity to do that.
Sometimes it ends up being the same old ... basic stuff... but it's good
to do them, too, because then you can get real concise about it."
He did say, though, "I like to make special concessions for Canadian
brethren and sistren." Right on!
So the basic stuff you can look up on the net or get from me
- Ted's from New Jersey, his early teenage years were spent hanging .
out at hip hop shows, he then made the switch to hardcore, and got
to playing pretty darn early. He was in Chisel; they toured and were
semi-popular. He produced a record by the Secret Stars that was good
for its day. And then he went solo and called himself the Pharmacists.
"The truth is that [Chisel], when it got too late for us to change
our name, realized what a stupid fucking band name that was, so
we were sitting around, thinking about what we would change the
name to, if we could change the name, and Pharmacists came up,
and I vowed, at that moment, that I would have a band named
Pharmacists, and that's the truth. When I started playing under my
own name, I wanted to avoid the singer-songwriter tag, and so, even
when I was playing alone, I would play as ted leo-slash-pharmacists."
Ted had revolving musical help, but got some keepers when
he found Dave Lerner and Chris Wilson. They're nice dudes who let
Ted do his bandleader thing. It's like a one-man show, but with two
other guys. The band is busy jet-setting all over the place, touring like
madmen, and I got to see them in Europe this past spring, which was
pretty hot. I asked Ted a bit about his Euro-travels, and he had stories
by Julie Colero
to tell about road trips past and present-er:
"I had a conversation' with someone a
few years earlier about racism in the States and
we were talking about the legacy of slavery,
which is certainly a legitimate thing to talk
about, aside from the fact that it ended 140 .
years ago, or whatever, and when I brought
up Germany under the third Reich, he actually
said, 'No, that's ancient history.' I was just like,
'Alright, I'm done with this conversation!' I was
actually surprised, in the past ... alright, here's
the thing - that particular trip was like, 1997 -1
was surprised at the amount of flak that I got •
from people for being American back then,
because it has always been pretty obvious that
I am a dissenting American. It's pretty explicit
in my song-writing. More and more, since the
Bush presidency, basically, I won't even break it
down to the September 11th attacks or the war
in Iraq, it's just kind of the larger issue of the Bush
presidency, I've actually found Europeans to be
more sympathetic ... to me, but, by extension,
to Americans like me. At this point, I think that
they do understand, as everybody should
about every country, that every people in every
country are not as monolithic as everybody
wants to make them out to be. Whereas in the
past I felt there was an understandable but
annoying conscious decision to ignore that
fact, these days I find that you get a little bit
more benefit of the doubt. If you're a punk
band, the people know you obviously didn't
vote for Bush."
As we got to the hot topics fairly quickly, me and Teddy did. I'm
sadly not so well-versed in these things, so I just let him go off. You don't
need to hear all about it, do you? If so, I'll send you the tapes, man,
to make of it what you will. Ted did rant a bit about American kids in
Prague (who I think are lame, too! Yeah!), saying "I did find, in Prague
for example, that [American kids] completely took over the show, and
it was really annoying. They'd be yelling songs, and I actually said 'I'll
play any song you guys want to hear, if any one of you can ask for it in
Czech.' And of course, none of them could.
"I mean, even if you're on a vacation, you don't even learn a
couple of words, like do a frigging web search and learn how to say
'please' and 'thank you'? Not to be too moralistic or whatever, but
I was shocked, yes, I say shocked and appalled. It was really, really
disturbing. ,
Now what we were talking about, with the Europeans possibly
giving you the benefit of the doubt because you are a punk band.
Now what. In the name of God, makes someone think that we're
going to be cool with that? Can't you do a little bit of extrapolating
and think that maybe a band like us might appreciate a little humility
in our American audience, you know what I mean?"
So Ted's about humility and other intelligent things. He does,
however, sometimes dabble in cheese, fike when he busked the five
worst pop songs ever (including tunes by Rick James and Bette Midler)
for Blender, and when he covers a Kelly Clarkson song (which he
THANK GOD did not do at our show). He's got a sense of humour. I just
didn't really get it.
TED: The experiment was for me to busk the top five and see
which one scored the most change. It wasreally fun, actuaHy. It was
a week of constant ROTFL.
Blank look from ME
TED: That was kind of a joke.
ME: / missed it totally.
TED: That's good! You're not as much of a nerd as I am. It was a
joke. I don't actuaHy speak like that.
ME: But you do, kind of.
TED: I don't. It was a joke. Let's move on. I shouldn't drink while
we're doing interviews.
And that's sort of how things wrapped themselves on up. I still
think TecPs rad, even if he schooled me repeatedly. He's all about
being a dissenting American, sticking put to stick it to the man. ("I
can't fathom the idea of deserting. I feel like I have a duty as a citizen
to either go somewhere else, like not go AWAY from something, or stay
and slug it out.") He used big words because he can, ("I wouldn't use
it if I wasn't pretty confident about how I was using it. Do you think I've
misused something?") and he puts on amazing rock shows, inspiring
much awe in his fans, even the lame ones fike myself. So there you
go. Ted Leo.
Drawing by Zoe Alexnder Friday ■ Oct 7
DOPE •■•■-■■  " '*.")CIETV'
proceeds go to:
SOIiar 66 Water St.
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spectmi^tits^om • QKgcr!__T>ne.rv «DOSe   |p
Sunday Oct 23
Richards pn Richards *    ^Wgl ' l__ I 1036 RSchaitls
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mote at door doors at 9pm Four
Four Tet  shops  for rude  shirts,  sets  an
interviewer straight about jam.
Starting out with the post-rock outfit Fridge while still a teen,
getting his first Four Tet album. Dialogue, released at just 21
and recently starting his own label, Text Records, Kieran
Hebden (AKA Four Tet) is one busy dude. I got a chance to speak with
him just as he was in midst of being late for a sound-check in Atlanta
due to one of the seven American wonders: the outlet store.
Where are you right now?
Oh, you don't even want to know. We're in a place called Clothing
Carnival, a factory outlet store somewhere in Georgia.
So what brings you to Clothing Carnival?
We just found a t-shirt with a naked woman on it, and on the back it
says "Nothing is finer than sewing your hopes at the crack of dawn"
and there's another one with a picture of a naked woman with a
gun and it says "Nothing is finer than hunting."
(laughing) Well, as I happen to be Canadian, I have to ask you about
Dan Snaith (AKA Caribou). I understand that you are friends, this is
Yeah I've been friends with Dan for ages; I met him at a festival in
England ages ago. He wasn't even doing music or anything. He
was just hanging out at the festival; he arranged for me to come
over and DJ at a night he was doing in Toronto. So I came over and
we got on well, met a whole load of people and made some good
friends. He played me some CDs while I was there. And he was Hke,
"I've started making music as well,' and that was the first Manitoba
stuff I guess.
Do you two communicate about your music?
Yeah, he lives just down the road from me. And we often both work on
albums at similar times and we'll get together and play each other
what we're working on and tell each other if we're doing something
good or bad.
With everyone living in London, do you go out for tea and have
expensive jams and stuff?
(silence) Ah, expensive jams?
Yeah, wed, that was one of my only London experiences. At Heathrow
Airport I had to pay a lot of money for toast and Jam. Toast I understand
is universally affordable so the high price must've been due to the
Well, I don't really do a lot of my shopping at Heathrow.
Wise. You've mentioned in other Interviews that you found the Riot Grrrl
movement to be quite Influential.
Yeah, totally.
So what was it like for a young Brit lad to be into these third-wave
women from Olympia, WA?
It was good, you know. I must have been about fifteen or something
and I remember going to see bands like Bikini Kill and Team Dresch
and all this sort of stuff. It was exciting for me because all these records
were coming out, especially stuff on Kill Rock Stars and K where the
whale attitude was just have the confidence; anyone can make a
record, anyone can put a band together, record something and
release it, it doesn't have to be done in a big studio and it doesn't
need some old guy in a suit telling you it's all right. I think that gave
me the confidence to think it was fine to make music and release it.
Did that influence your starting your own record label (Text Records)?
Yeah, I think because I grew up wtth this whole low-fi scene going on.
It's a constant thing, I come back to the mentaHty behind it—bands
like Fugazi and stuff, I love the attitude behind what they do—the
whole DIY way of recording your own things. With the label, I wanted
the experience of putting my own record out, not having it run
through any big company. We did the artwork ourselves, everything,
recorded it ourselves and produced it ourselves. I remember selling
CDs at shows and thinking, no one else had been involved in this..
We didn't have to go through any big company in order to do our
You're speaking of you and Fridge?
Yeah, but even 'til this day. Because of the time when I got into music,
the whole way of thinking, I don't have a manager. I work on my own
terms in quite a unique way. I mainly do shows with independent
promoters. In the UK I do these tours that are booked almost entirely
just from kids emailing my website asking if they can put a show on.
So have you played some pretty strange venues coming out of that?
Loads! I've done lots of shows where the people putting on the show
have never put a show on before but were just really excited about
the idea.
The first person you signed to Text Records happens to be Canadian:
Koushik, who will be supporting you at the beginning stages of your
tour. So is it through Dan that you met each other?
by Caroline Walker
Koushik is actuaHy standing right in front of me and he's just found a
t-shirt that has Southern Comfort on it and it's got some American guy
wtth a swortt chasing some Arab guy on a camel. It's reaHy tasteful,
we're really in quite an amazing shop.
He's a friend of Dan's, and grew up with Dan; when I went over and -
met Dan I met a whole ton of people and I met the guys that ended
up being in Dan's band as well. And then Koushik played me the stuff
he'd been recording and I really, really loved it so I put out the 7-inch
when I had the idea of getting a label going. Then we gave copies
to Stone's Throw Records and they're reaHy into it now. He's signed to
Stone's Throw and he's done some EPs and he has a compilation of
his EPs out at the moment. He hopes to have an album out next year.
Your tour schedule is pretty packed.
Yeah it is, something fike 25 shows.
How do you handle it?
I'm quite used to it but this is quite long for me. Normally I only do two
or three weeks. I was thinking about it; it's something Ike my seventh
American tour.
The kind of music you make Just being you and your laptop, I imagine
is largely produced in solitude. But then to bring an audience into this
relationship - does ft create a strange dynamic?
Not reaHy, I think a lot of the music comes about through what I do
live, live music & often the backbone of what I'm trying to do, really.
Doing five shows isn't just about going out and promoting the album
for me. It's a musical statement in itsetf. I see it as a chance for me
to put forward my musical ideas and show people where I'm at that
So what's next? Every album has had a different feel. Is there anything
hi the works that you would like to share?
I've got two albums coming out next year that I've recorded with
this drummer, Steve Reid. He's a jazz drummer and it's alburns of
improvised music, jazz and electronics. He used to play with Sun Ra
' and James Brown and aH these people; he's an incredible musician.
Domino will be putting them out next year.
Thank you for talking with me, and I hope you enjoy the Southern
Comfort t-shirt.
I don't think we're going to buy it.   ^^
Drawing by Nicole Ondre Life-Force Warriors
AIDS Wolf & Seripop aren't afraid to get in the van.
by Saelan Twerdy
Serigraphie Populaire (aka Seripop) is to graphic design what
Lightning Bolt is to noise rock. Which is to say that, in the field of
gleeful, day-glo violence, they reign supreme. The two-headed
Montreal-based team of Chloe Lum and her partner, Yannick Desranleau,
produce up to four or five illustrations and gig posters every week, and since
they woFfc-'rttalrtly for freaked-out punk and art-rock bands (Oneida, Acid
Mothers Temple, the Unicorns, and Wolf Eyes have all been recent clients),
no one complains when the finished product is a nearly illegible riot of acid-
neon colour palettes, trippy patterns, melting monsters, and scribbled, nonlinear text. Having first gained a reputation for the posters they designed for
their old band. The Electric End, they're now the poster artists of choice for
virtually every group that inhabits the weirder limits of the rock spectrum,
and ther increasing visibility has started to earn them illustration gigs for
trendy publications Hke Tokion, XLR8R, and The Drama.
Seripop are hardly the glossy-magazine type of designers, though.
They do aH their work by hand with sflkscreens and acrylic ink and they
describe their designs with words fflce "crappy," "messy," and "obsessive."
They attribute their eye-burning aesthetic to "mental illness" and, while
they're happy to make a living from what they do, they admit that they're
still dirt-poor, sick, and crazy. Self-proclaimed "freaks and dorks," Chloe
and Yannick rarely have time to actually go see the shows they promote.
Instead, they spend their time running between their house and the library,
working non-stop, and getting in the van with their band, AIDS Wolf, who
recently completed a grueling cross-Canada tour, spreading the gospel of
Freedom Summer. Said gospel endorses growing your hair, listening to metal
and prog, playing bongos, and not wearing pants. No hacky-sack bullshit,
though. Chloe took time during AIDS Wolf's West Coast tour to answer a
few of my questions about her music, her art, and the struggles of being a
life-force warrior.
Discorder How long have you been doing AIDS Wolf?
Chloe: For a little over two years now.
How about Seripop?
A Httie over four years.
Did you go to art school?
Yeah, but my partner and I dropped put.
What didn't you like about it?
I found the atmosphere really stifling. I felt really frustrated by having so much
class time devoted to critiques of people's work. The only reason we were
really staying was for the facilities, but at some point we just decided, fuck
it, let's get our own gear and just get out of here.
Is there anybody you look up to, as artists?
Well, we're both reaHy into Vittorio Rorucci. He's originally from Italy—he
immigrated to Canada in the 50s—but he's been doing posters in Montreal
since the 60s: lots of bright colours, sort of weird, demonic characters. He got
kind of famous for designing the Just for Laughs logo. Some other people
that have influenced us are Saul Steinberg, Milton Glaser, Simon Bose, Mike
Diana, Mark Beyer, Savage Pencil, Bob Gill, Gary Panter, Henriette Valium,
Seymore Chawst, Niklaus Troxler...outsider art in general, Archie comics,
candy packaging, MAD magazine. New Yorker comics, garden gnomes...
Do you do work aside from posters?
Yeah, we do editorial illustrations. We do all kinds of design and illustration. Gig
posters and album art just happen to be the biggest thing we do because
we're so involved with the music scene.
Are you interested In branching out Into I guess what you'd can "gallery
Well, we've done a couple of shows of our posters, and we've got a couple of
shows in October, after we're done touring. The one we have coming up is
a joint show with our pal Gun Sho (otherwise known as James Quigley) from
Providence, Rhode Island. The show is called Masters of Panick and will run
one month at the Madame Edgar Gallery in Montreal (www.madamedgar.
com), October 20th to November 20th, and it wiH hopefully travel afterwards.
So we're building these pretty massive siHc-screened paper sculptures for it,
Hke these big wasp's nest sort of things. We're also doing another series of
art prints, 2-D foam characters, shirts, monoprints and making masks. James
is doing a series of 300-plus drawings on cardboard and a bunch of art
prints and shirts. Hopefully there will be a book to accompany the show.
Some of your press releases refer to you as "life-force warriors." What do you
mean by that?
It just means that you devote your entire fife energies to what you create.
Do you consider your music life-affirming?
I think so, yeah.
Do you think there's a connection between violent energy In music and
Yes. I think catharsis is really important. You need to put your aggression
What do you want the AIDS Wolf experience to be Hke when people come
see you?
I Hke it when people join us on the same level as us. I don't Hke being an
entertainer. I don't Hire being on a different level than people that are there
to see the show.
Do you ever fry to Involve the audience In a show?
I don't believe in trying to involve the audience. I believe that if the audience
wants to involve themselves, they wfll. I don't want people to feel that they
have to behave in a certain way at our shows. I want people to participate
because they want to, not because they feel like they should or they're
being pressured to. I've always been really put off oy going to see bands or
playing with bands who tell the audience to react a certain way.
About Freedom Summer-^what happens when the summer b over?
We're gonna have to cross that bridge when it comes. We didn't know it was
Freedom Summer until Freedom Summer started. When Freedom Summer
Is over, the next era starts.
What are your plans after the tour is over?
WeH, we're going to be leaving again to go play CMJ, and after that we have
several different releases coming out: a split with The Fugue on Blood of the
Drash, our debut album on Lovepump United, a spBt with dmonstrations
from San Diego, and possibly a split with the Flying Luftenbachers.
When did you guys come up with name AIDS Wolf? "
My partner and I were on a road trip in Ohio, and it just came to us. It was
a universal message. It's a combination of our spirit peers in An Albatross
(animal) and The Sick Lipstick (R.I.P.) (illness). It fits, because we're a little
bit no-wave and a little bit hardcore, like each of those bands, it's also a
Do you consider yourselves healthy people?
Yeahl Well, we try. We're all into swimming and eating vegetarian. We're
very wholesome.
Do you have any advice for aspiring designers?
Don't do it! Be an organic farmer or something. Even/one is a designer these
days, it doesn't mean anything. I feel like most design now is just hacky-sack
Define hacky sack bullshit.
Hacky-sack bullshit is anything that's not thought out, that has nothing behind
if. no purpose, no spirit.
You talk a tot about "getting in the van." What does it mean?
Have you ever read Henry Rollins' book. Get In the Van? You should. That's
where we got the whole concept of "getting in the van." It's not just about
being in a band. It's about anything from being a gardener to being a writer.
It's just about not wussing out. It's about doing what you do on the level you
want it to be at, no matter if no one else likes it. It's about spending all your
time on it. So many people say they're a certain thing, but they're not,
because they only spend 5% of their life doing it! To me, that is the definition
of hacky-sack bullshit. Like, someone who says they're a filmmaker, but they
don't make films. Or they'll make one 20-minute film and then going around
telling everyone that they're a filmmaker. If you're committed, you have to
breathe it. Being an artist or a musician or a yoga master or an athlete, you
have to do it every single day. You don't take days off. You don't take days
off from sleeping! You don't take days off from going to the bathroom! Like,
get in the van means that whatever you do, you take it as seriously as you
take breathing and eating and taking a shit. It's basically fife or death.
You should also get, from the same publishing house. Rock and the Pop
Narcotic by Joe Carducci who used to work for SST records. I think It's a
really important critique of rock culture in general, both mainstream and
underground. This is a book that me and aH the other guys in the band have
read multiple times. And Get In the Van is seriously a big influence on what
we do. Like, you have the story of all of Black Flag's grueling tours, and how
they keep their focus on their plan and how they want the band to evolve
despite the facf that afl their fans just want them to be a hardcore band.
They're just getting hassled aH the time, but they end up succeeding In the
face of that. The ending words of the book are Henry Rollins talking about
how he's just an average guy, not especially smart or talented, and I think
that's a reaHy important idea to think about. A lot of people still think of
artists or musicians as these mystical unicorn-type creatures and feel that
they can't do that. It's all a matter of having a good work ethic and having
Seripop would Hke you to check out rad art by Keith Herzik, The Little
Friends of Printmaking, Bongout, Jelle Crama, Zeeloot, Matt Moroz, Keith
Jones, Monsters in Diguise, and Mike Deforge. They also recommend the
bands An Albatross, Athletic Automaton, and The USAISAMONSTER, all of
whom are "total long-haired freedom warriors."
For more info about Seripop and AIDS Wolf, check out:
www.myspace.com/afdswolf Under
The Redwalls
Chad VanGaalen
John Vandersuce
The Burdocks
What We Do Is Secret
(Black Mountain Music)
The Burdocks are aiming big with their
fourth release. Opting out of their do-
it-yourself attitude, the Halifax veterans
have put themselves in the competent
hands of Black Mountain Music for broader release and promotion. The table is set
for them to collect their dues: they only
need to put forth an album that surpasses almost eight years of relentless work.
Should be easy, right?
Well, for the most part. What We
Do Is Secret defivers. From the very first
guitar tickles in bewildering opener
"Snakes", it's obvious that the band
has well-developed chemistry. The
song effortlessly dips in and out of time-
signatures and melodies, never losing, a
step, introducing the deep well of genres
the Burdocks draw from. Not just any
band can pull off prog-rock, dance, and
lo-fi in the course of five minutes without
sounding like a slapping record.
Lyrically, the music is in very clever
hands. Members Christian Simmons and
Seth Smith trade off on microphone duty
throughout the record, occasionally
pushing against their vocal ranges with
charming, Stephen Malkmus-like voice
cracks, or frantically spiting lyrics Hke
now-defunct Washington sweethearts
Q And Not U. Their words are a constant
combination of smart-ass wit (check "Turn
of the Century" with the spasticfiscBal of
"We were always too fucking good for
it/Now we're too fucking good for each
other") and ironic juxtaposition (like the
Sonic Youth-esque "Enemy" with the
eerie assurance of "everything's under
control" just as the music spins completely
out of it like a mangled helicopter).
But the album falters at crucial
times. It is at no point unbearable, but
there are moments when the listener wiH
simply stop paying attention, and for a
band with ambition, that's a dangerous
place to be. The second third of the
album suffers most, particularly "Call Girt
vs. Call Centre," which, though mercifully
brief and quickly redeemed, offers no
improvement to the record, and doesn't
compliment the Burdocks' apparent
intent: national attention.
Inevitably, there's clearly a reason
why they've outlasted their peers in the
hollowed-out Halifax scene, but with
Canadian music being what it is, after
four records and eight years, I'm just not
fully convinced they have what it takes
to stack up.
Mike LaPointe
The Feminists
She Could Be
Before playing the Feminists' latest release. She Could Be, the listener is confronted with a question: printed in the
a lonely blank space beneath the CD
are the words "Who cares?" This phrase
hangs like spectre over the content of
the whole album, setting the tone for one
of the best releases by an independent
Canadian band this year.
But beware: throughout the record,
the Feminists don't seem content to
answer anything. Instead, they constantly
ask the listener to solve the problems
themselves. Opening track, "Brand New
Common Sense" sarcastically evades the
weight of their question, as the Feminists
introduce themselves to the listener with
a series of casually eerie lyrics like, "All
the good kids become shooting stars/
Everybody else dies in their cars/That's
So what exactly do the Feminists
care about? According to the band,
each member is "in blind lust with rock
music," and this seems to fit the bill pretty
well. Each song is full-steam ahead,
relenting only in moments carefully
placed to make it that much more
dramatic when they turn up the volume
again. But the Feminists are a far cry
from an aimless rock band. They retain
the melodic sensibilities of Vancouver
brethren the New Pornographers, and
they're lyrically much more challenging
than any of their Canadian competitors.
Lead singer Keith Grief constantly
treads the boundary between" stabHity
and chaos, his voice gently soothing the
microphone one second, and hollering
with an angry urgency the next, asking
the listener weighted questions Hke,
"Don't you know what the radio's for?"
Like the music. Grief's lyrics fluctuate
between sympathy and the violence of
rock 'n roll. In "Las Vegas Breakdown" he
proclaims, "nobody moves and nobody
gets hurt," before tenderly crooning,
"Let's talk about the way you crumbled
apart." One moment he's announcing
that "nothing's gonna be alright," and
the next he's repeatedly begging the
listener to "tell me what this black heart's
beating for."
She Could Be avoids categorization,
both musically and ideologically. The
band dabbles with genres just as freely
as they experiment with their political
messages. But they are undoubtedly a
rock band, and though they may not
have the commercial appeal of their
colleagues, and they may not lay the
answers at your feet, when the songs are
this good, who cares?
Mike LaPointe
Frontier Index
Frontier Index
(Rainbow Quartz)
Gentle reader, when was the last time
you had a good yearn? If you can't remember (or just don't want to), then get
out your hanky; Toronto quartet Frontier
Index has joined the alt-country scene,
breaking out the harmonica and aching enough for the whole lot of us. The
album starts out with a couple of weak
tracks of generic power-pop, but later
redeems itself. While Frontier Index are
clearly capable of producing catchy
(though admittedly predictable) pop-
rock, they ready shine when the songs
slow down and the slide guitar comes
to the forefront. Couple that with drawl
ing, heart-heavy vocals about love and
loss, and you've got a country-inflected
album that just happens to be gosh-darn
easy on the ears. I, for one, can't wait
until Frontier Index take another step out
of the full-to-bursting Canadian pop-rock
roster and just let rt twang. Yee haw.
Liz Brant
Marjorie Fair
Self Help Serenade
I had a lot of preconceptions about
Marjorie Fair's debut effort. From the look
of the cover art, I had expected either
an experimental folk album or perhaps
the latest from the screamo camp. In
fact, I discovered a mediocre rock band
with a GREAT style coordinator. As for the
music, in a lot of respects this group is tike
Canadian "indie" soft-rockers, Pilate—
flashy production techniques attempting
to compensate for dull songwriting. Rob
Schnapf over-produces almost every
track on the album with used-to-be-cool
spontaneous lo-fi vocal punch-ins and
meticulously crafted background noise.
But it feels as though Schnapf is just using Marjorie Fair as a demo reel for all
the nifty things he can do from behind
a mixing board. IronicaHy, the best track
is also the least producedr^/ith "Please
Don't", the bullshit is stripped away and
the honesty finally shines through on a
solemnly strummed acoustic guitar and
untouched vocal melodies.
Daniel McCash
Tommy tee
TommyLand: The Ride
(404 Records)
Sitting here in my mustard yeHow Converse
shoes, Sufjan Stevens concert shirt, and
dark-rimmed 'Rivers Cuomo' glasses, I had
an epiphany—I'm not the right person to
be reviewing TonrnyLand: The Ride. So I
gave the disc to my brother—a 19-year-
old football junkie with an affinity for '80s
rock bands like Motley Crue and G'n'R.
So here was his verdict: the record was
produced in affiliation with Vancouver's
604 Records, so it pretty much sounds Hke
everything that Chad Kroeger touches:
Chad Kroeger. With enough guest appearances on this album to make even
Santana blush, Lee has no shortage drawing from his arsenal of celebrity friends for
support (Dave Navarro, Joel Madden,
and Nick Carter to name a few). But in
my opinion, bad is still bad... no matter
who attaches their name to it. Best track:
"I Need You" —a power ballad, and the
one track devoid of Lee's vocal stylings,
but replaced rather by Andrew McMahon
of Something Corporate. Worst track: the
soft-rock, "California Dreams"-esque single "Good Times".
Daniel McCash
(Action Driver)
Remember the "cool pofrits" that kids
used to collect off the ends of Popsicle
sticks back in the 2nd grade? Well if
PRIMES collectively took the form of a
7-year-old  boy, that kid would have
enough cool points to build a log cabin.
Somewhere, somehow, everyone has
been exposed to the Duckworth fad
that's sweeping the nation. Whether you
stumbled across the bit crushing dance
noise of A Luna Red, tapped your foot
approvingly to the recently deconstructed supergroup Radio Berlin, or had your
band's website designed by Duckworth's
art project. Wax Museum... everyone
in Vancouver has caught the cool and
PRIMES is no exception to the rule. Their
debut LP from Action Driver presents distorted synths, laptop beats (courtesy of
the beautiful Ms. Synnod), and a lot of
defiant vocals reminiscent of early NIN
and Adult's Anxiety Always. On stage, the
laptop/microphone duo performs with
unabridged intensity, as if having spat
in the face of their creator and lived to
dance about it.
Daniel McCash
The Redwalls
De Nova
A quick glance at the cover of the
Redwalls' sophomore album and you may
think that another British invasion is underway. Clad in three-piece suits and coiffed
like The Beatles, the Redwalls give the illusion of European Cool. But, one spin of De
Nova and it's apparent that the Redwalls
are more complex than first glance may
assume. Hailing from Chicago, the four-
piece refuses to confine themselves to
a particular sound, spanning soulful '60s
tributes, introspective ballads, harmonic
pop interjections, and classic rock-out
moments in less than 50 minutes.
It's easy to catch yourself singing
along to many De Nova's songs. In
"Thank You", the band infuses pop
melodies, catchy riffs, and a horn
section, practically forcing you to hum
the song for the rest of evening. Adding
a bit of social commentary, "Glory Of
War" and "Falling Down" critique military
advertising, war, government lies, and
political censorship. "In times Hke these,
you better watch what you say/ watch
them take your fucking rights away...."
sings lead vocalist Logan Baren.
A solid major label debut, De Nova is
just the start of what looks like a promising
career for the Redwalls. No scheduled
Commodore date yet... but I'm keeping
my fingers crossed.
Jessalynn Keller
Chad VanGaalen
(Flemish Eye)
It is true that many a wonderful
person flees Alberta, but those that remain
hide an indie-pop heart beneath the
questionable socio-political tendencies.
Stealing away from the rest of the world to
record music in his bedroom, VanGaalen
has put together a 16-track sampling of
this internal Albertan world on Infiniheart.
The piecemeal manner of the album's
creation means that the whole is no
stronger than the sum of its parts, which
fortunately stand well on their own.
The   album  starts  out  with  the
anomalously driving track "Clinically
Dead", which finds VanGaalan tapping
out the time on the bass drum, highly
reminiscient of the Arcade Fire. Aside
from a few musical wanderings, the
album is vaguely reminiscent of fellow
Calgarians The Dudes, had they remained
in seclusion for years. VanGaalen's voice
trembles much like Wayne Coyne at his
most reflective, but he lacks the Up's lyrical
depth. The arrangements are lovely and
intimate, reminding me how there reaHy
is nowhere else to be on impressively
cold day in Alberta than in your bed. The
guitar, mostly acoustic, is enmeshed with
hand claps, flute, viofin, saxophone, bed
squeaks, piano, glockenspiel, drums, wind
chimes and whatever else VanGaalen
has hiding in his room. Collectively this
album is promising and I look forward to
more focused efforts hi future bedroom
Carofihe Walker
John Vandersllce
Pixel Revolt
These days, it seems a lot fike musicians
who include a political message in their
music are deemed to be either out of
bounds or posturing, and not taken very
seriously. It's too bad, especially given
the state of affairs of the planet these
days. Pixel Revolt, the latest album from
John Vanderslice, is not drenched in message after message, but does carry with it
some seriousness. The great thing is, when
he does want to say something, it's not
covered in syrup.
Take "Exodus Damage", part of
which talks about 9/11: "So the second
plane hit at 9:02/1 saw it five on a hotel
TV, talking on my cell with you/you said
this would happen, and just fike that it
did", and then wonders, "An hour went
by without a fighter in the sky/You said
there's a reason why/So fell me now,
I must confess/I'm not sick enough to
guess". There are other commentaries
throughout the album: regarding the
Iraq war in "Plymouth Rock", or trying to
understand the resentment of American
occupation through the story of a
journalist in 'Trance Manual".
It's not all about America at war,1
though. There is other subject matter,
as with "Angela", about a lost rabbit, or
"Conttrtuation", in which the detectives
who study a case of serial killing become
the suspects. What really holds the record
together, however, are the gorgeous
melodies and arrangements therein.
John Vanderslice is a true craftsman,
evoking moods and feelings in the songs
naturaHy and effortlessly. It sounds fike
any more added to the songs would be
superfluous, but that any less would make
them seem empty. An sublime balance
is reached in the songs on Pixel Revolt.
making it a nice surprise, and one of the
better albums I've heard this year.
Robert Ferdman_t^ *__t_____Wk
"Tleil Cive
Bumbershoot Festival
September 02-05
Seattle Center
My only complaint about the r
and arts festival that is Seattle's annual Bumbershoot
(now in its 35th year!) is that it's impossible to see and
do it all. Everything else is PERFECT!
Friday I was lucky to catch Anna Oxygen
joined by two jumpsuited dancers. All sounds were
supplied by her laptop, keytar and beautiful voice.
Cuteness was supplied by her owl Ai&qel (for new
song nervousness) and the colourful screen stories
behind her. Smoosh came after and were brilliant for
11 and 13-year-old girls. The slurred sugar-pop vocals
of the elder Smoosh, Asya, became a bit much
halfway through, though maybe it was actually the
little kids climbing on me to see, or the 14-year-olds
continuously yelling for "Rad".
Saturday I experienced Carolyn Mark for
the first time. She was instantly loveable, explaining
that she was "already tarnished" as she had stained
her dress the night before. Writer Daniel Handler
explained that alter-ego Lemony Snicket "could not
make it because of an unfortunate accident," the
monologue that followed was definitive of the dark,
self-deprecating Series of Unfortunate Events Snicket
is famous for. He shared moral lessons including
1) never raise your hand (or you risk your armpit to
the mercy of crocodile-like creatures like the one
that attacked Snicket) and 2) if you see Count Olaf,
scream and run away (one of the most important
lessons in Western Literature). The twelfth book of his
series comes out October 18th. Later that night, for
some reason, instead of catching Minus the Bear,
Digable Planets and a Seattle benefit featuring a
Death Cab appearance (covering "Hungry Like a
I This is Anna Oxygen and
I her owl head.
I photo by Natalie Vermeer
Wolf"), we caught some fiims in a collection called
"The Best Sex Ever". I loved The Big Empty, as well as
Lady Like, which featured a bowl of alphabet soup
that spelled its own words and prophecies.
Sunday began with Math & Physics Club.
The band's melodies were quite Smiths-ish and I
was charmed by the band's grace and sweetness
(and violin). I checked out some rock'n'roll history
with cute chuckler Bo Diddiey afterwards. However,
sitting down and hearing ten minute bluesy jam
songs put my rocking head to sleep. 1 was stoked to
experience The Locust's latest album Safety Second,
Body Last live, though curiously enough, their noise
brutality was still too much for some who quickly
left, frightened, with hands over their earsi Juana
Molina looked crabby and anxious but it turned out
her keyboard didn't download her sounds properly.
Rather than delay her performance furthe.r and
despite looking like she was having the worst nigH
ever, she sang some songs with her guitar only. When^
a new keyboard arrived, she shrieked with delight
and continued to sing gorgeously in her Argentinian
accent with keyboard-noodling sounds in the
Monday seemed to to be everyone'sfavourite.
I started with the growly-bluesy-rawk of Post-Stardom
Depression. My friend said singer Jeff's voice was
especially rough that day. Aren't holiday Mondays
glorious? Next I caught the end of The Decemberists.
I was captured by their last song, "The Mariner's
Revenge Song", when the crowd was instructed to
scream like we were being swallowed by a whale.
I don't think many people actually appreciate the
art of screamln^|pj|_t on fhe grass, alone, with teeth
chattering, for two hours in anticipation of Okkervil
River and it was well worth it. I was mighty impressed
that they playe^p^H of my favourite songs of the
weeks before: l|$pGas City", "Song of Our So-Called
Friend", "Lady Liberty", "Westfall" and "The Latest
Toughs". I am counting down the days until October
27 when I (and hopefully you) will see them at The
Media Club. I then stuck around for Tegan and Sara.
They covered Splicing in the Dark" and I was sad
when they finished, as I didn't hear my favourite "Time
Running". But then they came back and played it.
Good old mind bullets. Afterwards, I rushed out to
catch the end of Michael Franti & Spearhead and it
was a wonderful pick-me-up party time. Perhaps it
was a little cheesy during "Everyone Deserves Music"
but it was happy and fun and perfect for the family
music festival. I caught the very end of The Stooges'
set. And I'm okay with that. Iggy's low pants left little to
the imagination, but I was impressed with how much
energy and presence he had, even after all these
years. And apparently I missed 50-200 (depends on
the degree of exaggeration efforts of those who told
me) people on stage with the band at the beginning
of the set, much to security's dismay of course. I saw
them play "I Wanna Be Your Dog" so I'm okay.
It was hard to leave Monday night but I don't
think I really could've handled more than four days,
as much as I love shows and art and
comedy and Seattle. Still, I can't
help but be excited and wonder
who will be at next year's festival!
Natalie Vermeer
Son Volt
September 05
Richard's On Richards
Perhaps it was because it was Labour Day weekend
and people still hadn't arrived back from holidays, or
maybe they had spent all day at the Terminal City
Block Party, or it could be they are just slow to accept the Mk II version of the band, but whatever the
reason it was only a half-full Richard's that greeted
the new-look Son Volt on Labour Day.
Amid contractual disputes in late 2004, the
original incarnation of the band fell apart, leaving
Jay Farrar as the only survivor of the Son Volt that put
out three albums of country-tinged rock in the '90s,
from 1995's Trace tol998's Wide Swing Tremolo.
Touring in support of their first album of new
material in seven years, Okemah and the Melody of
Riot, Son Volt began the night with a brace of songs
from that album, from the rollicking "Who" to the
slower, more whimsical "Gramophone", as well as
the non-album track "Joe Citizen Blues", which was
so well-received, you had to wonder why they left it
off in the first place. These first few songs were played
with minimum fuss and little apparent enthusiasm from
the band. Keyboardist Derrick DeBorja looked like a
regular office-type conducting a regular day at the
office, until the roiled-up sleeves on his shirt revealed
a tattoo on his right forearm, while new guitarist Chris
Frame looked like he would rather be anywhere but
on stage, making Farrar's assertion, "It's good to be
back" seem more than a little dubious.
But this was deceptive. Farrar has never been
a charismatic frontman, preferring to let his songs do
the talking. And slowly but surety the band warmed
to the task, and the strength of fhe songwriting
shone through, evident in new songs like "Bandages
& Scars" and "Medication", which featured slide
dulcimer from Frame that sounded remarkably like
a sitar. And even though they played the entire new
album, there were also many older songs such as
"Caryatid Easy", "Medicine Hat", and the only non
Son Volt song, "Damn Shame" from Farrar's solo
album Sebastopol.
By the time the encore started, the band was
more relaxed, allowing themselves the odd smile as
they played a trio of songs from their debut album
Trace—"Tear Stained Eye", "Windfall", "Drown"—
before ending with the new single "Afterglow 61".
The final notes rang out nearly two hours and 26
songs after it all began, the audience members
getting more than their money's worth from a band
that had quietly slipped into Vancouver, played one
of the most impressive concerts of the year, and
quietly slipped back out again.
Patrick Fergusson
September 08
GM Place
The last time I saw Oasis was at Maple Leaf Gardens
in 1998. The opening band was Comershop, and I
was too young to take the bus to Toronto by myself,
so I was escorted by my brother (it was my Christmas
present). Seven years, four albums and several band
members later, I'm old enough to go to big concerts
by myself, and Oasis hasn't lost any of the energy
they possessed at Maple Leaf Gardens in J 998. The
brothers from Manchester didn't threaten to fight
with one another on stage like last time, and
they were drinking bottled water instead of beer
(perhaps the reason for the lack of fisticuffs), but
it was the same old Oasis.
The band walked onto the stage to the
instrumental "Fuckin' in the Bushes", which
would end up being the one and only song that
night from the band's 2000 release Standing on
the Shoulders of Giants (which is one more than
the number of songs played from the sadly
forgotten 1997 release. Be Here Now]. To please
the Jet fans, they then played the opening track
to their latest release Don't 8e//eve The Truth,
"Turn Up the Sun", followed by the album's first
single "Lyla".
Oasis didn't waste any time; they thanked
the Vancouver crowd for waiting so patiently
for them to return, and got right into some of
their older songs. They played "Bring It On
Down", "What's the Story Morning Glory" and
"Cigarettes and Alcohol" before returning to
the new album.
Perhaps the most entertaining aspect of
the evening was, of course, Liam Gallagher: the
man with several trademarks. He didn't hold
back on any of his defining qualities: the sexy
swagger, the sneering vocals, and the unexplainable
poses (at one point he held the crescent-shaped
tambourine in his mouth, creating a smile not unlike
the demon of avarice). He sang "Rock 'n' Roll Star"
like he truly believed it, and rambled on between
songs about things that nobody quite understood.
The band didn't leave the stage until they
had played nearly everything everyone wanted to
hear. They dedicated the beautiful "Live Forever"
to the people of New Orleans, and they brought
back "Wonderwall" (the only true version of the
song) after its long absence from Oasis set lists. For"
the encore—to the dismay of those who expected
a Noel Gallagher acoustic solo set—the whole
band returned to finish off the night with two new
songs, followed by a powerful "Don't Look Back In
Anger" during which Noel stepped away from the
microphone and let the crowd fill in the voccli^t||^|
final flare was delivered with the best cover of Oasis'
careen "My Generation" by The Who. Those who
hadn't heard the cover before, or who wouldn't have
expected Liam to pull it off were inevitably stunned
by the result. The lights and the fanswj§||prazy; "Let
It Be" began playing over the loud speaker, and it
was all over as if it hadn't even begun.
Kimberley Day
Antony and the Johnsons
The Choir Practice
September 15
St. Andrew's Wesley Church
I arrived at St. Andrew's just as the openers. The Choir
Practice, began their set. My party was ushered to
the third pew from the front, which I felt was fortunate
considering the gargantuan capacity of the building.
Aside from the merch table in the foyer, the church
was as it would be on any Sunday, complete with
bibles and offering envelopes behind each pew.
Granted, the audience was entirely dissimilar from
^sual church-fare, but it felt like a community nonetheless, complete with my favorite server at Slickity
Jirws, Nick and Julia of P;ano, that Cuppa Joe employee, not to mention the memorable skinny kid with
extraordinarily large hair.
The Choir Practice, ten women and one man
with one electric guitar, were the perfect openers
for both the venue and the headliner. The repetitive
verses that innocently concealed lyrics of troubled
relationships were welcomed warmly by the
audience as well as the acoustics of the church.
These voices felt more heavenly than the Christian-
rock bent that my parents' church is currently on,
and I hope to catch them in future partially out of
curiosity about how their sound translates in a more
standard venue.
The four Johnsons entered the stage wielding
a violin, cello, bass, and guitar before Antony
with his wavy black locks seated himself behind
the grand piano. My only complaint was that my
vantage point didn't allow for me to see his face
during performances. The opening song was "My
Lady Story", and the audience was hushed with
expectation. The recent Mercury Prize winner
seemed slightly nervous but hit stride nicely with his
third song, "Man is the Baby" with the wrenching West Coast phenomenon I
"turned  white  hot I
;1978-81.These Vancouver I
I Perfect Youth, produced by Bob Roc
JfcfaitTnij$fyi__8; -let live nffe'VAtrthe set continued, it
was apparent that his musicians were as deeply moved
as the audience. The sentiment came across in their eyes -
f&vaWlastheir delicate playin^p&O." i*-^^i^%_M^^&
Covering Modridog's "All is Loneliness" qnd Leonard
1 Cohen's "The Guests", Antony succeeded in making them,
his own. Rather minimalist with the banter between sets-'
made him all the mbr^€ftaf mihg. After the exceptional
emotionality of gender bending that is "1 Fed in Love with
a Dead Boy", Antonysifrjptfy said "Well, that was that little
ditty" and continued on' with the set, which included
some audience participation. Antony requested that
we all hum an accompaniment, but seemed less than
impressed with Vancouver's ability. Clearly, we heeded
more instruction with humming a note and he delivered
it in the most lovely way: "Imagine there is a small storm
spinning in a circle around your throat. A tornado you're
powerless over; visualize it, you'll be fine."
After some more songs, including my personal
favourite, "Today I am a Boy", he simply picked up his
nondescript tote, said thank you and walked off. The
audience rose immediately to its feet and had the
pleasure of an incredible encore. "River of Sorrow"
was followed by none other than a cover of the Velvet
Underground's "Candy Says". Here we were in a church,
and Antony was singing lyrics based on Candy Darling's
death letter. Receiving another standing ovation, the
building was a-hum with the realization that there could
not possible be a more fitting end, not to mention many
misty eyes. ^SsrSf '•"">  ~^ltl'
Caroline Walker
Strung Out    ".£;     /i>^|^3**^ 4***Mr»
3i^!Sfi>:  MSfc_td^' ^^^5i^5^7*____H
Comeback Kid
"iB^^B|iS#'§^S^V^^^^¥: *   __^^_r^_^__^tt^
$>t^tpi^l tW^Os'a%^ ^^_\\\iW^^_»'   ''
Croatian Cultural Centre, , O 0 A_W_m
It's been a While since I've beeft tttfi hardcore fOf^/t_pa\'
t was. pretty excited to see these bandst«^ ibecause of
my naivete, J neglected to menSpB^ prepare myself for
the blazing guitars, copious amounts of screaming and
the hyper hardcore kids: i'   ' S$j^_&y ^SK?"^
I usually miss the opening band filler'sMMfr^M&s
in an effort to better" tftgMm^^mtided fo venture info
uncharted territory and get,there as doors, opened. I gof
to the CCC ridiculously early, only to find myself amongst
super keen hardcore jgHpbtalt ages, just itching'to get
Despite my previous efforts, I still managed to miss
the first band of the^hight, The Reason. It was not in vain
though, for I had managed to schedule an interview with
the guitarist from Comeback Kid as the last minute.
By the time the interview was over, Winnipeg's
Comeback Kid hit the stage. Canada's hardcore darlings
played a high-energy set, doing songs from their previous
release. Turn it Around, and their album on Smallman
Records, Wake the Dead. The whole band put on a
really good show, but by the end, I was convinced that
the people controlling the sound were deaf. Or maybe
the facilities just really sucked. Either way, the horrendous
sound levels disappointed both my ears and me.
Boston's Bane were the next to take the stage. In
the midst of becoming hardcore legends themselves.
Bane truly exemplifies a real hardcore band. In between
their songs, their lead singer would shout inspirational
pearls of wisdom at the audience about deciding their
own destiny, being true to themselves, and other welt-
phrased self-help lines. Be glad if you saw them perform!
for the word on the street is that their latest release. The
Note, is going to.be thefefeisfc: --Sfl-
Strung Out has been around for over a decade.
How are they stilt making music? After 10 years of
hardcore, I assumed that their vocal chords would
have been hopelessly mutilated and rendered useless.
I was most impressed by their lead singer's ability to
instantaneously switch between singing very well and
screaming. I liked how they all wore matching t-shirts with
the logo from their album Exile in Oblivion, but I'm pretty
sure the crowd didn't need any reminders of what band
they were watching.
By the time it was over, I was happy to have
attended this show, for it may very well have been the
last time Bane would play in Vancouver. I left that night a
little more inspired, and a little less able to hear.
Marielle K.   &&?
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24 DiSCORDER - October 2005 Charts
DiSCORDER's monthly charts reflect what has been spun on the ah for the previous month. Rekkids with stars mean they come 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 'em there
give the Muzak Coordinator a shout at 604-822-8733. His name is Luke. If you ask nicety he'll tell you how to git 'em. To find out other great
campus/community radio charts check out www.earshot-onttne.com.
VOU SAY PArmr^iWBrfP'-,
new pornographers*
rebel spell*
wolf parade-
THE FREE DtStfgfc*
Hit me Pt|«|iS|
Ones and Zeros
Days of Rage
Apologies To We Queen Mary
The Winks/Tights Split EP
Sound" tfdajWtfni",*'
Cardboard Box
Drip Audio
The Plastic Bass SP
Red Cat
Paper Bag
H^Bernent of Hearts
Learning to Lie: 4 Track Demos
Romanticism Asjq^S|||
Sound of Pop
Underwater Cinematography
Sunday League
Now Sound Redesigned
Light in The Artie * •
10,000 Shots
Pop Echo
1961 McLean
Upstart Hi Fi
She Could B
First Blush
This is a Riot |
Kiss the World
Hair in my Eyes Like a Highland Steer
Stony Plain
ta$W3(f .%£
Sign the Line
You Will Die
Gold And Green
Thrill Jockey
in the Heat of the Moment
- MapleMusic
Alpine Static
In the Reigns
#. Oy^nooat'/
Cliqueety Kliqk
Red Arrows
•finJ.ns j-oip
ky» LukA RgmSjevp imy&ciTR
_________ CV tOt .9PM
^r^sm^it CiTR Program Guide
BBua    sat oct 1st
H-l  nim ynnnnv
thu OCt 6th
__&£&_. cd release party
fri oct 7th
s h u k o v
sat oct 8th
sat oct 22th
El  IJi C formerly
sat oct 22nd
sat oct 29th
sat Oct 29th
,. The Vincent
Black Shadow
C1TR   Get full show details at: j
ioi .9fm jmuproductions.com I
David "Love" Jones brings you the
best new and old jazz, soul, Latin,
samba, bossa and African music
from around the world.
In two hours, I take4he listener for a
spin—musically—around the world;
my passion is African music and
music from the Diaspora.
Afrobeat is where you can catch up
on the latest in the "World Music"
scene and reminisce on the classic
collections. Don't miss it.
Hosted by David B.
AND     SOMETIMES     WHY     (Pop/
First Wednesday of every month.
ANOIZE (Noise)
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
All of time is measured by its art. This
show presents the most recent new
music from around the world. Ears
It could be punk, ethno, global,
trance, spoken word, rock, the
unusual and the weird, or it could
be something different. Hosted by
DJ Pierre.
Real     cowshit-caught-in-yer-boots
country.   —
BLUE MONDAY (Goth/Industrial)
Vancouver's       only       industrial-
electronic-retro-goth       program.
Music to schtomp to, hosted by
Your favourite brown-sters, James
and Peter, offer a savoury blend of
the familiar and exotic in a blend of
aural delights!
Independent Canadian musicfrom
almost every genre imaginable
covering    the    east    coast   to
the left coast and all points in
between.  Yes,  even  Montreal!
British pop music from all decades.
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy and Paul.
Independent news hosted by
award-winning journalists Amy
Goodman and Juan Gonzalez.
«En    Avant    la    musique!»    se
concentre sur le metissage des
genres musicaux au sein d'une
francophonie ouverte a tous les
courants. This program focuses
on cross-cultural music and its
influence on mostly Francophone
Experimental, radio-art, sound
collage, field recordings, etc.
Recommended for the insane.
Up the punx, down the.emo! Keepin'
it real since 1989, yo. flexyourhead.
Two hours of eclectic roots music.
Don't    own    any    Birkenstocks?
Allergic to patchouli? C'mon in! A
kumbaya-free zone since 1997.
A fine mix of streetpunk and old
school hardcore backed by
band interviews, guest speakers,
and social commentary.
This is pretty much the best thing on
Vancouver's longest running prime-
time jazz program. Hosted by
the ever-suave, Gavin Walker.
Features at 11:00, as listed.
Oct. 3: Unfairly under-recognized
and neglected by the jazz
community, pianist and composer
Elmo Hope was every bit as
innovate and accomplished as
his boyhood buddies Thelonious
Monk and Bud Powell. Tonight
the genius of Mr. Hope with Paul
Chambers (bass) and the great
"Philly Joe" Jones (drums).
Oct. 10: Drummer/bandleader/
legend Art Blakey was at the
helm of some of the best groups
in jazz history and tonight we wish
Blakey a happy birthday (he
would have been 86 on Oct. 11).
Blakey's favourite edition of "The
Jazz Messengers" in concert ...
Lee Morgan (Trumpet), Wayne
Shorter (tenor saxophone) and
Bobby Timmons (piano)... nothin'
Oct. 17: Sonny Stitt was one of
the finest saxophonists and was
accomplished on tenor, alto,
and baritone. The alto was his
favourite and he demonstrates
that tonight with his working
band that includes the great
Don Patterson on organ and Billy
James on drums in a program
of blues and standards. Stitt
Oct. 24: Grachan Moncur 111
was one of the leading avant
guard voices of the 1960s. The
trombonist/composer fell below
the radar as the '60s closed.
Moncur is back with a new and
critically acclaimed recording,
leading such people as Gary
Bartz (alto saxophone), Billy
Harper (tenor saxophone), Tim
Hagans (trumpet), Andrew Cyrille
(drums) and others in a program
of Moncur originals. "Exploration"
is a special recording and event.
Oct. 31: Tonight we salute, on his
birthday one of the great voices
of the tenor saxophone. Today
Booker Ervin would have been 75 .
years old. Ervin died at age 39 in
New York. Ervin's crowning glory
is our jazz feature tonight and it's
"The Freedom Book". Booker with
Jaki Byard (Piano), Richard Davis
(bass) and Alan Dawson (drums).
One of the most powerful
recordings in jazz history!
Developing your relational and in- -
dividual sexual health, expressing
diversity, celebrating queerness
and encouraging pleasure at all
stages. Sexuality educators Julia
and Alix will quench your search for
responsible, progressive sexuality
over your life span!
The best mix of music, news, sports,
and commentary from around
the local and international Latin
American communities.
Vegan baking w. "rock stars" like
Sharp Like Knives, Whitey Houston,
The Novaks and more.
It's hosted by Jordie Sparkle
HELL (Live Music)
Live From Thunderbird Radio Hell
showcases local talent... LIVE!
Honestly, don't even ask about
the technical side of this. This
month will probably be the best
month ever.
Cycle-riffic rawk and roll!
Zoom a little zoom on the My
Scence Project rocket ship, piloted
by your host, Julia, as we navigate
eccentric, under-exposed, always
relevant and plainly cool scientific
research, technology and poetry
(submissions welcome).
PRESENTS... (Nardwuar)
Socio-political, environmental activist
news and spoken word with some
music, too. <www.necessaryvoices.
org> <necessaryvoices@telus.net> listen to CITR at 101.9fm or at www.citr.ca
All-original Canadian radio
drama and performance art
written and performed live-to-
air by our very own team of
playwrights and voice-actors.
We also welcome you to get
involved, whether you are a
professional or inexperienced...
OUR WAVE (World)
News, arts, entertainment and
music for the Russian community,
local and abroad.
Bluegrass, old-time music and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
Underground pop for the minuses
with the occasional interview with
your host, Chris.
Viva la Velorution! DJ Helmet Hair
and Chainbreaker Jane give
you all the bike news and views
you need and even cruise
around while doing it! <www.
Music    inspired    by    Chocolate
Thunder,   Robert   Robot   drops
electro past and present, hip hop
and intergalactic funkmanship.
Start your week ridiculously early
with Vancouver's super awesome
fun time happy radio show. Playing
all the dance-punk, electro, rock,
new wave, hip hop, 80's, etc. sh*t
that your mom thinks is cool.
Cutting-edge, progressive organ
music with resident Haitchc
and various guest performers/
DJs. Bye-bye civilisation, keep
smiling blue, where's me bloody
anesthetic then? <http://
Vancouver's only true metal show;
local demo tapes, imports, and
other rarities. Gerald Rattlehead,
Dwain, and Metal Ron do the
Dedicated to the gay, lesbian,
bisexual, and transsexual
communities      of      Vancouver.
Lots of human interest features,
background on current issues, and
great music.
RADIO ZERO (Eclectic)
Movie reviews and criticism.
Hardcore dancehall reggae.
Hosted by sister B.
DJ Knowone slaves over hot-multi-
track to bring a fresh continuous
mix of fresh every week. Made
from scratch, samples and
just a few drops of fame. Our
tables also have plethora
of guest DJs, performers,
interviews, giveaways. Strong
Bad and occasional public
service announcements. <eno_
Rhythmslndia features a wide range
of music from India, including
popular music from Indian movies
from the 1930s to the present,
classical music, semi-classical
music such as Ghazals and
Bhajans, and also Qawwalis, pop,
and regional language numbers.
Reggae inna all styles and fashion.
Primitive, fuzzed-out garage
International pop (Japanese,
French, Swedish, British, US, etc.),
60s soundtracks and lounge. Book
your jet set holiday now!
Studio guests, new releases, British
comedy sketches, folk music calendar and ticket giveaways.
8AM-9AM: African/World roots.
9AM-12PM: Celtic music and performances.
An exciting chow of Drum n' Bass
with Djs Jimungle & Bias on the
ones and twos, plus guests. Listen
for givawas everyweek. Keep
feelin da beatz.
Email requests to:
SweeJ dance music and hot jazz
from the 1920s, 30s, and 40s.
Top notch crate digger DJ Avi
Shack mixes the  underground
hip hop, old school classics and
original breaks.
Open your ears and prepare for a
shock! A harmless note may make
you a fan! Hear the menacing
scourge that is Rock and Roll!
Deadlier than the most dangerous
A   volunteer-produced,   student
and      community      newscast
featuring news, sports and arts.
Reports   by   people   like   you.
"Become the Media." On Hiatus
'til September 7th and 9th
Join us in practicing the ancient
art   of   rising   above   common
thought and ideas as your host
DJ Smiley Mike lays down the
latest trance cuts to propel us
into the domain of the mystic-al.
Dark,   sinister   music   to   soothe
and/or move the Dragon's soul.
Hosted by Drake.
All the best the world of punk rock
has to offer, in the wee hours of the
mom. Hosted by Trevor.
Punk rock, indie pop, and
whatever else I deem worthy.
Hosted by a closet nerd.
Jdin the sports dept. for their
coverage of the T-Birds.
Listen to Selecta Krystabelle for your
reggae education.
W.I.N.G.S (Talk)
Womens International News
Gathering Service
An old punk rock heart considers
the oneness of all things and
presents music of worlds near
and far. Your host, the great
Daryl-ani, seeks reassurance via
<worldheat@hotmail.com>. _m.
Sunday       Monday      Tuesday Wednesday  Thursday      Friday        Saturday
(TK)             j     REVOLUTION (TK)
THE some
DOdance/elecrronic • DR=drama • EOeclectic • EX=experimental • FR=French language • GI=goth/industrial • HOhardcore • HH=hiphop • HK=Hans Kloss * JZ=jazz
LM-live music • LO-lounge • MT=metal • NOnoise • NW=Nardwuor • POpop • PU=*punk • RG=reggae • RR-rock • RT-rooh • SK-ska • SP-sports • TK-talk • WO-world
Mouse & Mask
Every once in a white, twrj
artists meet whoJag£g
to have oeen waiting thei
whole caq
of pui
Tournament of
chemistry—thiPR Sconmse y
antiPJant, Montana and Rice   v
UBCterflrwind hip-hup s most
respected artists, DaHg^W^a^i^ft^liTave
com. togeAsr for BARGERDOQM: the Mouse and
the Mask, w0f00$tM by Adult Swim, Cartoon
■Network's popular late-night animation strand*Biwn
erings the masked identities and superhelo perallas
while Mouse provides murky ethereal soundscapes
thatetoud men's minds like Mandrake. This is a true
meeting of mad minds where each has inspired the
other to the finest wk of their respective careers.
Geometry CD
id! Followingpi the footstep^f
his Hogtowrf|ve-
fjp. ou|||prJfche shadows W'
obscurit^H^HPi_y^ei%, stStting their hoBMl^
goodness ^ySrJffJSfest recent^f, they wowed Arf^t
Fighters taf¥«fer1^nchy pop «t that delay mattaged,..
to make a stadium shew intimatejfburnament ofHearts
is a sweeping epic that will be an wimediate hit with Jams
of Modest MapB, The Replacetnfnts and even goojpol,
Husker BB($9ho knows, maybe in^nother 50 years^^
will be voting again jptjytew bat J of greatest M
Canadians^andthewtastantineS will be there,*^
CD 14:98
We were desperate. When
The Clientele came
ftHXtt^towom^uiK^Jif* \
1 SgdooSp sent agents. haJJH
'fQp fifts|£ ipl^rlsyyocalist Alisadair Maclean into giv-  -
HptS affldyJP&ft^CPRtif Strange Geometry. Having lis-
»%^'^%r|tt^^^^Arf^, we can tell you that it
^Bijt^arj^spjola that takes the core Clientele
■4sjif^ir^i|rr^uitarsfb))^d,suriealistJc pop and
ra^Btfie^enched vocg&jaj^ a whole newtagl^jjlr
Produced by eci^^|ri|wfl®nger Louis Philippe,    «
Strange Geometry has a Beatles-esque bounc^^A o(,\
*|p gu||Saccents and a cool elegance rarely found>]n'.
|y^^ OTf^JJ%^B%osWp*tf you want something with,
all thg harmonies gf The Sltfns^jFtorfe-xiUfiB. happmess df *■
A.C. Newman ar^#wwwtorf^m»stique than Fsft, jomihe'
Clientele. AVAllABLEOCTOBERll^k ■
Elephant Eyelash
H^tfepFpasa future. It isn,t    ,
cjO^p/away or slipping further
into the maip^eam big-box-big-
beat stuff that we see daily on the
video channeil."^ffiBMBitf tsihe closest thing to poetry our'
generation can understand and with authors like Yoni Wolf
(cLOUDDEAD. Reaching Quiet, Hymie's Basement) we can
once-more witness the def power of word. Elephant Eyelash
dishes up the real deal: ttireJVe gorgeously rendered tracks of ,
* jangly psycfweek, folk-hop and peculiar pop. Whether inhab-
, iting the persona of a lovelorn crooner or warp-mouthed
Dyianesque poet, self-deprecating shy guy rjQ^Sfriouthed
Tfflgkm type, Wolf wraps unforgettable lyrical imagery around
grooves powetedwah arsenal of %fr_meir^^fei -'„
^tog^le, piano, glockenspiel, pedal steel, pete. $Sns and  ~«
m 16.98   21P 19.98
"here has ne«er been a
I better time|j be young,
^fcrock and roll and living
-fi» Brooklyn NYC Right
now "the o_fjj§Siiew York" is producing some of the
best rock baBSs on the planet. The shortlist includes
Wnethe Radio Interpol, Fiery Furnaces, Blood on
the Wall and the Yeah Yeah Yeahs. Seriously, where
1 "Hw^m^m witness such a congregation of talent?
j l^jliakl, good bands get good in the presence of
Ojjfgat bands and this year, like all others, will produce
a few more breakthrough names. At Zulu, we.ve long
loved the way Calla use dreamy gutters and moody
arrangements to create enigmatic rock anthems and
now — with the arrival of their latest edgy release
Collisions — we can honestly say that they are going
to slay the competition. Like their pats The Boulrie,
Brooklyn's true power trio, Calla, have a more
focused and arty take on the current Interpol esque
underground sound. This album is catchy, strangely -
charming and worth of many listens. You won't hear
it in a car commercial but, hey, we don't make cars.
CQIP 16.98
For The Season CD16.98
Wit$HJpctor Greg Ashley and his murk-peddling
cohorts have conjured up anotfterlwet and oily
bag of southern psychedelia. The sounds? Guitars-
ringing and chiming like charms and amulets hanging
from a long-dead tree*on a warrrrwindy night, an
organ howling like the wind blowing througyheeye-
holes of a skull and drums that stir _%& looserajB^1"
earth just enourjhjq jnake itmiejfonhe wd$WLO.
dead to grip the dank soil and pull themselves tifrthto
the btood-red moonlight, frfthe blankets o'er ydur^f
head and join the chant Brand new hoodoo!
Apologies to Ttte
Queen Mary :
There's something ftwut
coming of age on an island
at the western-mosipp of CanadafBcan create a
magnetic pull towarfs the east. Thesjjguys all left
Victoria (and their respective island-Sed bands) several years ago, to chase the ghost of scfrie un-nameable
muse. They followed the long, hard trail eastward to
Montreal and eventually found comfoff in making music
with like-minded ex-Victoria types. Wolf Parade was
born like a wonderful accident from JB-necessity of   I
making music when surrounded by sifmany other creO
ative artists. And after several years oSoiling in relative
obscurity, the Parade has finally relealpd a proper
album. Led by the perfect fit of two vocalists, Spencer
Krug and Ban Boekner, these 12 dynamic songs sound
like the work of kids on a mission to sjread an urgent
new kind of gospel.
CD/LP 14.98
S/t CD
Slowing up with a broken nose for a recent gig In  %
ffew YorX^ronto's highly revered indie rock
ensemJBe BSS were reminded that there are some real
differences be&wearjrour country and that of our neigh-
bours%the south. Knowing the show must go on, this
rag-tag group ^| friendly rock and rollers didn't disappoint and 1j$ftej^the crowd to an amazing demonstration, of g^fulryJjgtorted pop compositions and gloriously interwoven iPlcal harmonies. For this we salute
'^nvnowftjan^fiA fri/ taking it on the nose, turning
the other cheek ai$-showcasing our freedom bliss! You
Craft CD
Wjipfyou think of Bay Area
soulantj'fu^ you proba-
^KhrtK of the legendary
slap'n'tickle of Sly Stone or the
pioneering R&B shuffle of
smooth Shugj$PWs. WeU let
%&&$!&!£> when you think about San Francisco's hiphop community,you realiy to be thirtWngaboutthe posi-
• ^Igi^f beat collective Blackalicious Their third f ull-
iength release, Craft soars past the eatchy production of •
2002's breakthrough Blazing Arrow, arriving at an instantly cool sound that pulses with soul! Gift of the Gab and
f.^|pS»{eaiiy nailed it wfth'Ws one. Guests include
CD 16.98
Runners Four CD
The first thmg you notice about Runners Four is the simplicity ~ ifs an unadorned recording of this acclaimed
quartet in their Oakland practice room. Without the layers
of production heard on Milk Man and Green Cosmos, you
start to understand the mania that follows their live shows:
Deerhoof are a shockingly good rock combo. They play
• with a primal abandon and molten group chemistry that
has remained uriferaed since the band's early days. Still, at
nearly twice the len§8r of any of their previous albums,
Runners Four is mdi§ complex and challenging than anything ftwve ever recorded. After a few listens it dawns on
you: this'tenore than rock, this is a wholesale rewrite of
the rock'n riy dictionary; a massfve, sweeping totality; the
product of aseemingly limitless collective imagination.
CD 16.98,
CD 16.98
Followingtha>rjw-power rock of Country on the Click,
Mark E Smith et al take a compelling bejlBlfcister on
>Hheftjecond album for Namack Records. Fall Heads Roll
'^^ffi^ifid avarrt-rockists what made The Falso Intriguing-
ly strange and strangely intrigii^^^fte first place. Pile-driving repetition, hair-brained urban surrealism and extremely
off-key vocals—they're all here, present and not-quite cor-
red From the Van Der Graaf Generator-pastiche cover to
the chaotic reading Af4jj|jp~=Ftear the Grass Grow", this is
Fallmusick at its wildest and woolliest—a cavalcade a
psyche-punk insanity par excellence.
CMP 14.98
The Music of the Moment:
Tangiers- The Family Myth CD
Morcheeba- Tne Antidote CB
Lotek Hi-fi- Mixed Blessings CB
American Analog Set-Set Free CD/LP
Dirty Three-Cinder CD
Hella- Concentration Face/Homeboy CD
Spoon- Sister Jack CDEP
Circle- Tulikoira CD
Holly Golightly- My First Holly Golightly Album CD
Sunburned Hand _$ The Man- Complexion LP
Coheed ami Cambria- The Second Stage Turbine
Blade CD
Black Dice- Broken Ear Record CD/LP
Venetian Snares- Meattioie CD/2LP
Sonic Youth- Geo 2CD/4LP
Adult- Gimmie Trouble CD/LP
Tom Verlaine- Warn and Cool CB
Kelley Stoltz- The Sun Comes Through CDEP
Nada Surf- The Weight Is A 61ft CD
Broadcast- Tender Buttons CD
Luke Doucet- Broken CD
The Orange Peels-Circling The Sun CO
The Deadly Snakes- Porcella CD
OST-Thumnsaeker CD
Casual* Presents Smash Rockwell CD
Celebration- s/t CD
Early Man-Closing In CD/LP
Feed the starving artist"
New paper works by
Barbe Bowen-Saez
October lst-31st
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00


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