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Show it when you shop! 1 2 May 2008 editor's noleB Editor Nat Jay Art Director Cole Johnston Production Manager Kristin Warkentin /UN f Copy Editors Nat Jay Brock Thiessen Regulars Ad Manager Catherine Rana Under Review Editor Nat Jay Datebook Editor Editor's Notes Riff Raff Film Stripped The Biz 3 5 6 7 Kristin Warkentin RLA Editor Brock Thiessen Layout + Design Cole Johnston Calendar + Datebook Under Review Real Live Action Program Guide 14 16 20 24 Contributors CiTR Charts 25 Chris Brandt Bryce Dunn Simon Foreman Daniel Fumano Darren Gawle Mark Hewitt Peter Holmes WV_ r Ronny Jotten Features Mark Richardson Mine Salkin Terris Schneider Adam Simpkins Brock Theissen Stacy Thomas. The Highlight - Hawksley Workman, that is. -He discusses the highs and lows of being a producer. 6 10 Cheyanna Turions Andrea Warner Joride Yow js^a*^,-^ Photo & Illustration New Music West It's that time of year again. What you can expect to see this year at Vancouver's next- big-hit showcase. 12 Cole Johnston Jordie Yow Christa Couture Program Guide Bryce Dunn/Kristin Warken Christa Couture talks about the meaning behind her music and some of the ways life tried, but failed, to keep her down. tin Charts Luke Meat Distribution Peter Adaline Vancouver's newest hot female talent talks abc her new album...and why music is her boyfrie 13 ut id. CiTR Station Manager Alison Benjamin Publisher Student Radio Society of UBC 22 Hawaiian Bibles 1. A song by song interview. Cover Art By: Cole Johnston - There is no doubt that each and every one of us experiences adversity at some point in our lives. In the music industry, these obstacles seem even more apparent, likely because^they are lived and conquered in the public eye. At.the height of a successful artist's career, the ups and downs can make headlines. But even as an up-and-comer, songwriters bare their souls onstage, sharing their innermost thoughts and feelings with whomever chooses to listen. I watch my talented friends in the^ industry struggle daily with personal and ©DiSCORDER 2008 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 8,000. Subscriptions, payable in advance, toCanadianresidentsare$15foroneyear.toresidents 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 June issue is May 22. Ad space isayailableuntilMay23andcanbebookedbycalling604.822.3017 ext 3 or emailing discorder.advertising@gmail.com. Our rates are available upon request. Discorder does not accept unsolicited material, but welcomes new writers. For more info, contact" editor.discorder@ gmail.com. Discorder is not responsible for loss„ damage, or any other injury to any submitted materials, solicited or unsolicited, including but not limited to manuscripts, artwork, photographs, compact discs, reviewmaterials, or any other submittedmaterials. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 1013 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 usat:citrmgr@mail.ams.ubc.ca, visit our web site at www.discorder.ca or justpickupapenandwrite#233-6138SUBBlvd.,Vancouver,BC,V6TlZl, CANADA. If you would like Discorder Magazine in your business, email -distro.diaeorder@gmail.com to be added to our distribution list. :ason, an artist feels the a very bad place, and at the of the world at a time, it can (and at all stages in their career, each having been •or our Highlight story, I had the pleasurable professional demons, and it seems to me that, for somi hightened level.For some.it can (and often does) lead often does) lead to the creation of brilliant art. In this month's issue oi Discorder, we encounter through difficult times, and triumphed musically a: opportunity to hang with the captain of Canadian quirk, Hawksley Workman. As successful and celebrated as his career has been so far, Hawksley has faced adversity professionally (because he insists on going against the grain on a regular basis) and personally (he admits to taking on a lot of the negativity around him). But he is humbled by his struggles and uses his experience to create unique work. In conversation, he is engaging and laughs often, and I enjoyed discussing his contribution to the industry as producer to many of Canada's rising indie stars. On a local level, Discorder caught up with folk darling, Christa Couture, who has seen more than her fair share of trials and tribulations, and who shares this with the world through her upcoming release,1he Wedding Singer and the Undertaker. Adaline, one of Vancouver's finest female vocalists, has come through everything from breaking away from a sheltered childhood to legal battles in getting her music out to the world. The result is Famous for Fire, her debut full-length and a sold-out CD Release at the Biltmore on April 25. ' As an artist myself, I can attest to what I call a kind of darkness that sits in the back of my own head and certainly looms in the eyes of many of my most talented friends. But I think that it is there that we find what we need to express ourselves as musicians. Without it, I feel like we would be less, and we would not reach as many as we do with our art. I threw the wisdom (or perhaps naivety) of my 25 years out to Hawksley Workman, and our conversation went something like this: Nat Jay: "I think most artists are dark inside, but I think it serves a purpose still. And if i don't think that most artists would be nearly the artists that they were." Hawksley Workman: "Probably you're right." Nat Jay: "I dunno. That's my take on it." Hawksley Workman: "No, I think you're probably right." I'll take his word for it. ~i._t]«y, Editor The AMS represents over 44,000 UBC students as well as students at affiliated colleges. The AMS operates student C\ \Wft services, student owned student society businesses, resource ams.ubc.ca groups and clubs. 't there, I lllfi® ff\ ADVOCACY ^mW jMm irstwedk *£.y- *9 jHS'^ ■■■■■HI Discorder 3 by BRYCE DUNN RIB The month of May is upon us faster than you can say, "Let's have a party!" or perhaps more specifically, a "teabag party" according to everyone's favourite Everly Brothers from another mother, The King Khan & BBQ_Show. But before you bust out the fine china, have a proper listen to the lyrics and you may be surprised by what you hear. I will say no more on that subject, but I will let you know that what should be a patented rock 'n' roll doo-wop duo has never sounded so good as it does on their latest offering for Crypt Records, no less. An amazing feat, considering the last "new" band the label signed was nearly a decade ago. Title track aside, the boys manage to eek out two songs of the same design, namely "Larry Is A Gay Blade" and "Gangbang Gordon," both containing King Khan's ascerbic wit and vocal delivery, and will draw the ire of anyone with that name, to be sure. But the highlight has to be "What's Mine Is Yours," which showcases BBQls uncanny knack for fifties balladry and will make girls cry instantly. Another winner from the dudes who can do no wrong even when questioning their own dudeliness. Sorry, inside joke,but for a clue look at the cover. (Crypt Records, cryptrecords.com). Another duo that makes beautiful music together, and probably looks the part too, is No Age, two semi-pro skaters from L.A. who decided to drop their boards for guitars and drums, thus making the foray into shoegazer punk. Equal parts hazy and crazy, No Age have nearly perfected their space jams on their latest EP. And not only that, but they managed to manufacture a record cover you can drop acid to as well. "Eraser" takes a My Bloody Valentine-esque guitar loop and layers it with lo-fi drums for a dizzying result. The flipside is their distinctive dabbling on three covers: "Don't Stand Still" (originally by Nate Denver's Neck) takes a fellow L.A. troubadour's tune and packs a psychedelic punch; "Male Masturbation" is an homage to L.A. punk legends, the Urinals, which stays true to its original form of minimalist teen skronk, complete with an edited live ending; and an unrecognizable version of the Nerves' power pop classic, "When You Find Out," perhaps giving it a twist and nod to M83's synth drone sound. This EP precedes their highly anticipated full- length on Sub Pop so fans just getting a taste with this release will be salivating like Pavlovian dogs at the mere thought of what happens next. (Sub Pop Records, 2013 Fourth Ave. Third Floor Seattle WA USA 98121). The sight of meth teeth is disturbing to say the least, as I found when googling for more info on the duly named trio from Rose City (that's Portland for all you un-hip types). But on record, Meth Teeth are much easier to stomach, thankfully, and with their debut waxed for a local label, the scuzz-folk vibes these guys are putting out fits well with the imagery of a tweaked out user crawling the streets looking for the next big score. Songs like "Bus Rides" and To My Good Friend" sound gritty and earnest, sometimes dark, but determined to stay stuck in the brain with the occasional melodic hook. The closest thing I can liken this to is Haunted George, but swap the sun-baked desert scene for a rainy alleyway with trash piled high along its narrow, crack-tiled path. You'll be hearing a lot more of Meth Teeth in the future with an LP and more seven-inch output in the works. (Sweet Rot Records, myspace. com/sweetrotrecords). £04$$^ We end with a four-song affair from a foursome from the Windy City of Chicago called The Laureates. Feet firmed planted in pop territory, they seem comfortable in displaying both Kinks-inspired riffs ("I Want To Miss You") and Bob Pollard- isms ("The Warm Son") without so much as blinking. They also aren't afraid to keep songs short and full of dense guitar, sprightly bass and snappy drums so it has just as much spit as it does polish Beat boys for the new age, The Laureates have achieved a small victory with this release, (www.laureatesmusic.com). b 4 May 2008 LIVE JUNE 10 m PLAZA CLUB NEW ALBUM AVAILABLE MAY 20 FILM STRIPPED m w Wm^' CO Qi __t < C£ ex. Q He was the poster boy for the punk movement, as famous for his politics as he was for his snarling stage presence. Now, the lead singer of The Clash is the subject of Julien Temple's fascinating but spotty Joe Strummer: The Future is Unwritten. While Unwritten effectively illustrates how a collection of moments can affect the Zeitgeist of a generation, it never quite gets inside the mystery of the man himself. Born to a diplomat father who was known for challenging authority, Strummer and his older brother, David, had lived in five different countries by the time they were in grade school. Temple gets the details right and lingers for the perfect amount of time on some of the tough spots, such as David's suicide and Strummer identifying his brother's bpdy, all by the age of 18. The large midsection of Unwritten is devoted to The Clash, and there is plenty of volatile material here that should have been covered in an entirely separate film. There was more to Strummer than his politics, which provided the thrust of The Clash's power-to-the-people message. Still, Unwritten devotes more than half of its running time to The Clash's hirings, firings and ego explosions, while the ten years Strummer spent trying to exorcise that band from his system is wrapped up in about six minutes. Referring to it briefly as the "wilderness years," Temple treads very lightly on Strum- mer's dark period following the breakup of The Clash, when he retreated from the public. The film hints that he may have become a preacher for a short time. Say what? This is the consistent frustration with Unwritten: the dots aren't connected enough to fully realize Strummer as an icon and as a person. Friends, musicians and a variety of celebrities appear throughout the film, but Temple makes no attempt to identify individuals beyond their names, and offers no explanation about their connection to Strummer. It's distracting when Johnny Depp suddenly shows up, but it's downright disconcerting when Matt Dillon comes aboard. 00 That said, Unwritten has plenty of momentum, and there are many r recommend it. The imagery is wonderful, interspersing archival footage, animations of Strummer's art, scenes from Orwell's Animal Farm and interviews taken around the campfire with a truly varied assortment of people. Throughout, Strummer often acts as a narrator to his own life, with sound clips culled from interviews and his popular radio show, London Calling. Like The Clash's music and the do-it-yourself punk ethos, Joe Strummer: The Future is Unwritten colours outside the lines of the traditional documentary form, and this is where it succeeds as a fitting tribute to the original "punk rock warlord." fa Discorder 5 ___ he music biz is dead. Not dying, dead. Oh I know, here we go again. Not another doom ■■I and gloom article with overly dramatic assertions for shock value. In journalism these days, it seems more important to be first than to be accurate. This is essentially because most people will only read one article (if that) on a subject, so it is key to grab people with a tasty morsel before the opposing opinion serves something up. It's about instant gratification, then we can go back to being blissfully ignorant. Is music the same? Hell ya. When the effects of Napster and the like were kicking the shit out of the music industry, it reacted by selling the farm. An intelligent, proactive strategy would have been to ensure that as "many retailers as possible had healthy businesses, seeing as how they are the institutions that actually get the product into the hands of the consumer. Instead of investing in long-term relationships, the major labels all hired hookers: big box stores like Best Buy, Wal-Mart and Future Shop that provided the labels with a quick fix when they needed it. Keep in mind that, like most industries, music is filled with publicly traded companies that have quarterly targets. When faced with declining revenues and given the option to invest time and marketing money into partners that have CD sales as their bread and butter, or pick up the phone and close a million dollar PO with Future Shop, the labels picked the latter. I've been in .those conversations. I've been the guy ordered by Toronto to get $500,000 by 5:00pm. If the big box stores carried every CD, then this wouldn't be so bad. However, we all know that they don't. Why? Because they don't care about music. Music for these retailers has been a means to an end — a complete loss leader. New music releases every week, so Best Buy has an excuse to send out a weekly flyer to try and bait consumers into the stores with a 19.99 price on an A-list artist. Public perception over time is that because CD prices are so low, the big stores are probably the best place to buy big-ticket items like TVs and refrigerators. This is why these stores only focus on the Top 30 CDs in the marketplace. They don't want to educate you on who an artist is, they want to show you that they are carrying the ones that you already know by displaying a postage stamp album cover next to an X-Box game in their flyer. They would rather sell 1,000 copies of one title, than 20 copies each of 50 titles. The obvious result is that while business measured in dollars might remain steady, the amount of different CDs , sold declines rapidly. Neglected music stores see their business decline because they cannot drop their prices to compete with huge retailers that can make up the lost margin on dishwasher sales. In one year, 1,000 music retailers closed in the U.S. On the home studio front, the advent of Pro Tools and other home production software has increased the amount-of music being produced to its highest point in history. More eggs. Less baskets. The. labels are 100% responsible for building the beast. Extra deals and payment terms' were offered as incentives for large purchase orders, further widening the competitive gap from stores that still have customers passionate enough to call the labels asking to please send five copies of Glen Phillips' solo album. They can't get anyone on the phone, so they leave a message. Karma, as we all know, is a bitch. Big box retailers gained massive power over the labels. Threats were issued, bills were sent, and rabbits started winding up in boiling pots. Major retailers further reduced the amount of shelf space given to CDs, and began spreading their staff across the entire software department. An April Rolling Stone article suggests that Wal-Mart has gone so far as to threaten to stop selling CDs entirely if the labels do not reduce their wholesale prices. Do you think they is regretting who they got into bed with now? The labels couldn't right this ship if they wanted to. The Titanic had a pinhole compared to this business model. They have essentially sold themselves into slavery and there is no micro-credit model that tan help them. There is no Hollywood ending to this story. I sat with the intention of closing with a positive spin, but the walls are too thick. Sure you can get closer to your favourite bands than ever before because of the internet, but there is no solution to save the day. Call it a No Country For Old Men ending. The major label presidents won't be winning any Oscars for this one though, fa WOMEN VOLUNTEERS needed for our 24 Hour Rape Crisis Line and Transition House for battered women For an interview, please call 604-872-8212 Vancouver Rape Relief & Women's Shelter www>raperelief$helter,bc,ca 6 May 2008 FI * LOOK FOR THE NEW WEBSITE COMING THIS MONTH! Discorder 7 As proj^kr to some of Canada sfinest indie talent* Hawksley Workman successfully bridges the gap between hisJmiO extremes. SSli natjay To call Hawksley Workman an extrovert would be an understatement. As a songwriter, his work is laced with uninhibitec! quirlc;I as a performer, his overwhelming talent and presence run from his lips to his fingertips and into the spirit of every audience member in attendance. But today, sitting in a chapel pew at St. Andrew's Wesley Church, he is the definition of calm. The truth is, he's tired. He's a dedicated worker and has been toiling incessantly to promote his recent release, Between the Beautifuls. He's quick to liven up, however, when he starts talking about his work as a producer, something for which he has developed a solid reputation over the years. Hawksley Workman has produced many of Canada's top talents, including Serena Ryder, Tegan and Sara, Hey Rosetta!, Great Big Sea, Sarah Slean and Vancouver's own Jeremy Fisher. And of course, he has produced his own celebrated records, like 2001 's (Last Night We Were) The Delicious Wolves. Today, he is modest and quiet, but his personality is warm, his laugh is unbridled and he speaks passionately about his extremely varied work as one of Canada's biggest indie producers. t of come in and add my colour. !uld, Is producing others' work a way for you i, but nth a major way to be involved xgetically in other 1. What do think artists expect of you as a producer? I think when people hire me, they're expecting me to s 2.1 read that you'd put out three records a year if you to put out more records? It is a little bit, yeah. I mean, I have the songs to do that and th record label at the moment and they don't do that very well. As a producer, it it in other records and absorb other influences, and to be able to involve myself" things. It's really sagfe-,***^" 3. For your January release, Between the Beautifuls, you stepped out of the producer role. Was thi the first time you've done that? •S*,*3S***" . ■AsmssSSg^ijil Yeah, which was nice. It wasn't eveoJ|hgk.J needed an artistic preMfafijH!. With Andre (Wahl) I got great engineer and someone with real work ethic that allowed me to just show up, sing and pi: go home. And he did the work of putting things together and worrying about how things were goi to get finished. All those producerial things that are a pain in the ass—it was really nice to just gi 4. Do you think that this record sounded different than all your others as a result? It's maybe the most polished recoSflVe ever made. I have my cooky-ness that's in then., but it's not as obvious because the production isoY^ftky. IFS not lo-fi or odd in any way. It's very straight-forward. 5. How many albums did you produce last year? . ^|^113fe?i I did too many records last year. Besides mine, I did g|ferhers in about 14 months.'I think I did a good job on them, but it drained me a lot .f.5iSKilPlS^ 6. How is it different producing other people's records rather than producing your own? When I produce other people's records, I take more time and energy with theirs than I would with my Ijlliljjil ifeS S^^ft^gif^^ "May2Q0&.. have, ever since I was a ldd. When I cut the lawn fosr^te3eighbours, I was the best lawn-cutter boy they ever had. For me, I don't know how toItoajobother tnartjtBt ff^TTmtooiMO^rfe^'tofiSrH like I'm just slacking off. For my own music, it's like, "Fuck it. .^XijSB.what just falls out of my hands. Usually it s like, "Aw, that's fun! No, I wasn't in tune, or maybe 1 should have worked harder at the guitar part, but whatever." It's just me being me, which is what I think people like. But when I'm hired to do a production, it s more like, "Ok, It's a job now, and I really want to do it right." £ _"* 7. What was it like working with Great Big Sea? O^tH Great Big Sea wanted to do something different. They were BlS^^Ws're getting tired with wfaljsii^pj always do. We like what you do, so just do it. Do somethin' different." So I was involved with taking , apart something that was really well-built and putting it back together. 8. What was one of your favourite parts about working with these industry veterans? I like to start at ten in the morning because I'm a morning person and I don't like to work late. Most people are like, "Ten in the morning? Fuck off." Great Big Sea was like, "Alright, what are we &0[&ij* Let's start at nine." It's encouraging for me when I see people with that kind of work ethic. 9. Was it different working with a developing act like Hey Rosetta!? _i______]_\_______$____$^^ wanted somebody they respected giving them the yes or no, and my |stH&F#!feafWS§'JSBrK> soylDta^S'^^^TTv^^^^me^TOr^wjtn mlsmv^ because ttevjfi&gung and have not had any sort of public..affirmation. They've not had a hit record or been on the cover of Spin magazine. They't%^ySLweak in heart, and 1 just had to remind them, "You guys really are the shit, so don't worry. Just play like you're the shit." 10. What's something that excites you about a production project? When I wofltiid with Sarah Slean, I think she is an incredible songwriter. Same tiling when I worked ;' with John Southworth—when I get to wojfc alongside people whose torfj^wnting I reaJlv icspett * AwTthat fe®; of "songwriting cfcseftft htppea 'ever^S^, $&■__&_&_?* a songwnte r who is innovative, u bordering on genius, I'll work with that any pi&K " - $1.'Where's your ideal place to record? If I fadjttkjj-w^. I'd ru.ord in Los Angel«i£iSat's wliere I pi< lei to nuke recoidi I m-t 1. \l rrthewO ^tiW^^^^ of the place, ia^&gf$fc§fa»t Cana&ti^^tbe Canadian, "Oh, you eagi^E: l^*,*Gte.&_tytfo-*vtebtAy$ti %S8_X feels like, "Jus* gig-sick. Go out and fuckm" do it" \nd Thar1*"' what I love about that place. , £> Wmlm» BEST SOUND SYSTEM it ViP/Cll_St UST * SOOSC YOUR BUHMDAY i mm *Doq Day and guBsrs straight : cW^§Mysfi^o •\%**w eallyloveLJL? Iwuld WW to has Angeles today and* st art receding. I'tHnk" faxhkitem&miii places^a mean* Jftat I don't dunk vtfwsn 1 ^I3fc.,-which I lov e^3#-Ifn- always more wfcfio'Ks j not doing ilfi^s cm drinking boo- e, Fm ji better thinker and a more productive pt l_~$W rou have your «warecording studi a «rae«»untry—don' jpu'alce to get away fror warkio the BHpfurt of your ttvm home? Other ai •tiifo-can rtuirf la the country as,' in escape. I find the cc «^*taE?£j*aft wfckja ^be.fed«H^6tE,':'->' M^Wth n you work, with an artist, do yon prefer utat th*gr corne TojrawstiKlteorcfoyDU f 11 gp y*he«f anybodj Iwafitt to] With Great Big Sea,l worked with them w$t Tohn"s, New£ ^&icwm§^ssi,.i^^ble With Hey Rostra', we worked inHalifax, which was aho g les Murdoch, we worked at my house I hke moving and setting up a .studio in a nev ^tu%ten4w be ooiiuukc beings Why do vou t^',n^-1^^^S.^mK-tt^^^mi9muii :.And .isMfiJaif JftlvtusI VT trunk ir Fm|^oti«6 ie*jSJ^goodAt tr^efeag. J^kgwifSng^n newplagee/but, ilike to be settled. I might go to J| ^^jitttelia^ fevr^ieeS^Tj^gsi^^^ '^e^0 Co tsKrayb^a ces^ct Jast is^^o to ^Ae- t^tjiv Aofr^t> Qnxvet, &t*rf ^SSt^*^ 1 - house ^t two weeks arid write Thst*R» wb,atIliRe dons'* * • «» • 16. When greets record thetf-fim;|lb^xthiei!^^ og*$ic cm change. Do j^Ufeiijcyvwdun^vSthatti^^dtbjeirfii^J^iSiHrd ajKJIw&tching them go through this process^ J Yes In a^wajfc (fhtftyguvI.dDrjff 'w?Bj»-fuckit 3|L Whojt actual ddnrj: nave I walked on' *Cg*£%J.y& dogg ' '^'lbtterf people's "d^ciaE'fiiBfwcords^BkE Sarah Ble4r#> ^gsri lijidSaia's and Hey RosettaJ's "official*. j -, fistfty^rdbj^nd it'sdlifef^fitVv. »',»§'*,*, * * ?•*.." * "■<* *"■**" "*.'**~ - '"A 17. Youpso<$iKedvcmrawn&ti%MawsMfC>)^^ _ I thipkjfetefc,«rt}sts experiences js^sjiairia^iSpwsn'fcfifwn j^tss&When I didmy first record, I played ^ everything, produced it, re«wd$d jg, mated i$rff was»just me living through that, and 1 had this, •asioar-j .' of-wfeltwa«^eir^^ be.TtwS^t%SiTCd JSyTUiybody's expectation^ike what tans wanted a sfteofd'eornpanyJftiWsA flf wiif a manager thought I«hpul*l be doing It's like you're just^sqrrjejgpk^, punk nebo^f5!8^!aSetfSet^^thnoifting to lose So do whatever you want. It's fantasffi:. — 18. Are you working with anyone right ittf^^S OOi^^ffl^^^O" QSaS^ ^NoO'sa^^OBe for now I'm going fd'twtftbls recordj then, j dorit know. Ihave 'a^hunger to travel^utia.' khuBjpr to stay home, so ttftWt suiewhat's next. But if there's a great record to maiteoa th^productioa * ' JStlSffeBt wosfdyou still like to accomplish as a produce*? •£■ *}_~ «• -' ^atia «3^9^ift,jfeoJbM»^« J^S^Ss «Tl*rnbalan5 or ^a^htng-Khe tbti'Jl^M^^e nw" dream, ttework tn that field doi ng that land Qfmusic 3jhat% vvttMjtt lite^ deb * * 'SJO: Asfr-pKidfleer, Trh stti,e''3»e artists look up to you, but wha| are some imp6i,tw$yh3neBjsdvtV<e learned iisom them? --1 k1* "" i, *■. - * -* •» *" ■ **"*■ " • ■*"* jt "\ -/^ * . I've learned ss^ftetiung wonderful and diffegeoffrom everybody Fve wg^sed T«jtb. With ^fty Rosetta! I ,, lesttrfed-aboni that hungry fioersy agaln—theyre^tStcated And because they're from Newfoundland, th^five-aiiftwtofseitarlte ssaety,4asd tbj^hx |^^E^umce4.by^^fVj:cx>lahd.Hh^UtuiC%S£^K -' rest of North Ajnericsins «*"e\ ThBjrtt?in nSusic fm aB tfift dtght reasons. [Ihe ttuvs from] Great Big Seaj ' af^^r&ej'^'fejgi^sgil^iftc^lfefe^ in the, industry because . tfegr work so li u d Ther work as- ted or hat3et jjgutt nSe, ami£dant see that very maeh. Tegari ajjsj ; , SotawjIiBfrbttftt)', fuck you attitude was something I fefU*ht&frol$.^eyTe incredible They know what. et and they won't accept aiqrdAAg less They're uncompromising. I dunk it's phenomenak,^,, 4 Thursday, May 8 RUN GMC LIONS IN THE STREET, GRASS CITY ppijpn Thursday, May 22 l^^1 BEYOND THE FALL !| | WHITFIELD, RALLY CAR TICKETS: CLU8ZONE.COM, & ATTHE DOOR ■Kjl Thursday, May 29 TEENAGE HEAD .-Mm ORCHID HIGHWAY Thursday, June 5 *-* EMERGENZA BAND SEARCH GRAND FINAL H«VSE EI.ECTRA :0.'PMRT¥K:liMSIC 1 I getw: tf» da&s. list: Mo@ht-wta6.ttet SATISFACTION rilllATOROAYS &S- Hip Hop -Dance ililyNNER Discofder 9 SB®T\liteiii *£_+ - ^SstMSK§_%9&Stii - ^ap^^wp^ Everyone loves to be able to look at a hugely famous bufff'-Vrhen it's selling out stadiums, appearing ori Letterman or feeing high-profik criminal charges, and say "I saw that band back when it opened for the Slippery Nipples at a second^stosftey karaoke bar on East Pender." New ' Music West might just be the best chance for local music lovers to have that opportunity a year or two fro&«nN| * S^Mtt May 14 ft'lfraew Music West will bring over 200 arifists to the best live music venues I^SBpfr^fiiefflp^t. Since its inauguration in 1990, the festival Ife seen local and non-local acts the likes of Hot Hot Heat, Matthew Good, Liz Phair and the Flaming Lips-, offering Vancouver music fans a chance to see these acts before they get big. In a hitlist of acts from all different genres, Discorder •#§|@Qt to highlight some of the variety at the city's biggeslN^fiWcase of music on the rise. viihvvx mm % om^'O^ th&UfaR bidjprk Whistler-based jazz-pop singer Ali Milner is the definition of a great young artist at the age of only 17. In a phone conversation, she mentions that sh* will turn 18 later this month — the day before her prom. But before Ali and the rest of the 2008 graduating class of Whistler Secondary School enjoy that wonderful tradition of corsages and slow-dances, Milner will be performing at the Libra Room on Commercial Drive, sharing a bill with three other talented songwriters. For that show, Milner will-lb® accompanied only > by her piano, performing wfjjj&cshe calls a "pared- ' down, loungey set* She'll ife eschewing the jazz ^ttdttds and covers that she^ffen performs during her weekly gig at the Four Seasons Hotel in favour ti!f fata own original songs. She'll also play a few Written by her uncle, Canadian Country singer John Howard, "His lyrics are really! amazing, but the songs don't sound like couatif* anymore,' Milner says of her jazz renditions. 0' "f- This promising talent^haS ^ag^dy played for some pretty impressive crowds, including a performance at astadluM £j3 the city of Guangihou/Qblna, where she appeared as paft^af $.> futeral fosjSvat. There, she flayed to is audience of fiOfOOC *lleyond epic" is ^fs&W* Milner describes the $$iow, which featured fireworks, pyrotech^^-'-|^t&imers from several different countries and none other thaa Jackie Chan onstige Siftgmg a Chinese pap fang, When asked . to evaluate Chan's pigpsoiianeq 4S a singer, Milner -: psp<lnds, "Hie was al|Ight...:Jbut ft was Jackie Chan! - pjppgrts self-titled debut ^IMbi was released on Venus/EMI and is nowfi^tt|hle'through-her Website, www.alimilner.c@^M;:iShe has already tecotded some new material, ^^^Jfc^^iot certain when, or how the fo^fl^ft^HS^^^ped. In the pteanttae, thoughj^tf^^l^^lsi^^^is summer attending Bostotfij famed BerkHe College of Music, lb .the taos& fffffc^ttSefc performance jarogram that wa$ CoRipleted %oto_W9^B^^Mf JS^S^ BC-bred jazz phsnom, Dianaj^ai|£ ;. pidilfter rrtsry &t31 bell yea* *0^^from being able to Ist^^oG^t^^^S^br^f^^butfae^Ncvv Music West a^peatatJCe.tfefe monsh wil, be a great opportu- : mty to show that slfe is a -soul&t, oldrfoshioned jazz singer, with style ar^taleatbey<i*xl net year$> . ^V&^'-^^K' "I guess ihe cowboy label fits ok,* saV? singer/song- -|wr^er Cariier^ff Latimer, ftbut my rjqjjasic's sort of aU •0_fst theplace.* Indeed, Latimer's solo debut, Fallen Apatt has a lot more going on than straight country tunes. The alburn, which will be released in August * by Black Hen Musk, featufes pop Spngs and hard- driving rock numbers alongside the country songs, reflect! ng;ai^iie:r^i^e of influenqjejiO " In fact, oneofLatimer'S'earitest and^oost significant musical influences was his fathsr, *Tony Latimer. *He*s a country-folk singer* explains the proud: son, "and I've played five with him affew times. He's ■been a huge influence on me/'He is&es aU different kinds of tunes: Caribbean, Celtic, sis a shanties. I've ,' always loved all kinds of musk?.* 1 Though h& music draws from all pf these diverse inspirations, it has. a basis in country find roots music Latimer is* part of an emerging alt-country scene' in Vancouver, alongside acts IBke'Ridley Bent, Kent McAlister &the Iron Choir, Dustin $entall and Ryan McMahon,' aU of whom Latimer hastshared the stage with- "There's about five or six bands that make up *hat scene, and they're afi very different,'' he explains. "Over the past six or seven years, vff sort of built up ua bit of an alt^country scene where *here wasn't one 'before, and it feels cool to bearpart ot that" "In fact, Latimer's first ever lwe .performance was alongside Ridley Bent, playing jif&ar for ■ biai at, the RailwayChib. "I was realty nefyous,* he laughs, "but I Jove that place! I Ve played |here lots' of times. l& OQe'of tbtf5r"only" cool'.venues left in town now)* Fittingly, Cameron witt be appea|ing at the- Rail- -' way on May:14 as part of New-Mu^ic West Fpr the showv Latimer and his longtime collaborator/guitar ' player, Adam Dpbres, w,ill perform an acoustic set - Watsw>*-0iece. " ' *0-'«"'"' ■ ' After the release of Fallen Apart (which also includes the playing t»f drummer Pat Stewart and bassist Rob 'Becker) in August, Latimer and Dobres will take to ; the road aspart of the Home*Roufes Tour of House Concerts. In a truly original-and intriguing endeasf;- % our, Latimer and Dobres wiltbe touring from Mani- • toba to Alberta, appearing and playing in people's' homes. While the dates haveyetsto be confirmed,J the boys will show up wi^i their|guitar$V$et up in someone's living room; grab a seat fcnthe couch, and *, play for an audience of friends andneighbours.. . <!:. The Hdfloe Routes Taur isr the brainchild of Mitch "Podolafej'the" founder ^TtHe Vancouver and Winni-. ">peg Folfe; Festivals,, Whe®, asked if he's ever done anything like these shows before, Latimer replies 3*Htb a bif of a chucKte* "Ne. 1&ptt resdly think that anyone has," "• .0>O v--*' * I THE FOLKIES T Lily Come|3P^s;n|^^*» feise^iece led by vocal- ists/multi-instrujrnentalists/songwritf^ Melissa Bandura and Joanna Chapman-Smith, along with* Chris Suen onlbanjo and, vocals, Justine Fischer on bass, and vofcalist/percussioni'st Kenton Wiens. , The band plays a root«y style of music that they call "feisty folk,9 a term invented by Wiens. As Bandura explains, the term .feisty folk "really describes our Savour: folk-With some driving, sometimes Celtic, sometimes funk rhythms, along with strong, Story*- telling lyric*,* Looking to similar acts like the Be Good Tanyas, the Wailin* Jennys and Po' Girl, Bandura says that Lily Come Down hasn't played, with these bands yet, although .she points out, "They have influenced us beyond, measure,*' She goes on to sav, "We are looking forward to. the hopeful day when we do getj • to play with them, arid that will be another personal milestone forfrffe."!,' " ' The group formed around-the duo.of Bandura and Chapman-Smith, who; onh/last year decided to do - some recording, but wanted to flesh'out their sound with a full. band. Novfr/ jhey almost .always appear . wHh. a full line-up, and' will-do so at then CD release party, May 15 attfie^WlSE^Hatlj jhe night before their NMW "showCasje. Both shows should .'feature "some -heavy ipot-stomping, two leading' '-gals on stage with an endearing s^nse of humour; 'and an energy-from the band,'that's highly contagious because it's so real." Bandura quickly adds, v- "And, don't forget the four-part harmonies!* ' Between the cwo leading gals, they have guitar,', mandolin, fiddle', pennywhistkj and clarinet covered: ' While they, both share $ special affection for the guitar, Bandura singles out the violin as her favourite' * instiument. "IfeaUy feel like the fiddle is an exten- , v'siofr of my ayrij. I l&ve dac sound of a bowediri^titta/ ment." And speaking on behalf of Chapman-Smith , {who is out of tfewri on a solo tour), Bandura says,*To" me, her voice ii her instrument. She has trained her body to project her vocal expression since 'a youngs age, and it sh&ws with the precision and emotion '. that comes fro&j her mouth when t.he sings." ' * **"* I J*«OCKERS . , A Saturday night rock show at the Bourbon in ! Gastown has all the right ingredienMp|a big night, j andjason Corbett, the frontman of^|al rock band | TV Heart Attack, wants you to l^^^plactly what j s0jj_w080&l is in for at their New Mulic West appear- $$_$00ki_hl_ay 17. TV Heart Attack sounds like a hard rock version of David SHfe, updated for 2008 of course, and in addition to their catchy, sy|tth- drenched tunesr, "You can expect s|rnf nearing loss. You might lose your virginity top-^f you're lucky." Statements Iffe that one seem to be^e^tesentative of j TV Heart Attack's attitude — thejf #i|pheir music j :£ei3dtt|ly, but they hke to have a little fun toonm. M^^p^ag of Corbett on vocals and guitar, Arthur Guest on lead guitar, Dave Andersbi^Mjbass, Ryan I McDonell on keyboards, and Doinjofl-Coletta on drums, the band has an ojfihne bio that makes several d eye-catching claims. It states that"Ogp&'s "family was instrumental in the building! of tille panamak Canal," that Guest has 35 gujtju^tfe^^fcDonell moonlights as a TV actor ("mostly|plS|iirlg tortured | teenage angst roles") and that he ajffdrw5ibett actu- ^H^lmet on the set of Look Who's jfalking 3. Asked about that last one^pArbett replies, "You can't make up a story like that!* l|i£&oe$ on to .a$d, "We did leave^ip that I sold my soul to the devil when I was 12-years-old. We jugtdidn't have enough room*to go back that far." j ' TV'Bearit Attack's bio also oulliaes the story | of^how tf^lfiind formed oversetei^Sile all. the membersi^^^-l^ing in Europe,Js^M"returning ■ home to Canada because of "the m#J£al chmate." "There's a5 r^BenCf:*^"the Vancou|e|Jfiusic scene," says Coriaett^ e^aining vvhat dre&-the ^afidpa^K td C^nwa-.^Just when you^lMtt^'fliken its last ^eafnj'ifallof a sudden ge^^ssjitihg again. I guess it^s .eyej^cai, l-kt anything else. ^LmS^^k just a matter ofpar^etwwf *• CHRISTk COUTURE SINGER. SONGWRITER. WARRIOR. i^HHi irista Couture deserves your respect. At the j§«g|s ;c of 29, the girl has faced more adversity than ^BHmost people do in their lifetimes, but she refuses to play the victim. Couture's experiences have made her empathetic beyond her years, and she communicates what she has learned through her music. A cancer survivor, she prefers not to be defined by what others may see as a disability. She was diagnosed with bone cancer when she was eleven, and her leg was removed above the knee. After spending four years in a hospital undergoing treatments and dealing with mortality, watching her friends die and feeling guilty for surviving, Couture entered high school with a pronounced limp and lacking the usual social development of someone her age. But she sees the positive side of her experience: "I couldn't imagine going through adolescence without cancer," she says. "Chemotherapy is so primitive, but there is this sense of living with cancer and being grateful for it." Despite dealing with body image issues, Couture still managed to find her way on to the stage, performing in choirs and in musical theatre throughout her childhood and into her teens. Born to a folk singer mother and a Cree healer father, Couture was raised spending weeks living in teepees in the Albertan bush, watching her father lead sweats and sing in ceremonies. The Native outlook on spirituality and nature remains an influence for her today—so does her father. "He had an amazing voice, he was always singing and drumming." At 18, tired from rigorous auditioning and performing, Couture left Edmonton to attend film school in Vancouver. However, the call to perform did not leave her for long, and she began to write her own songs and think about performing solo. Seeking a place where she could introduce herself as a musician in a less intimidating atmosphere, she moved to London when she was 22 to "earn her stripes." "I couldn't do it in Vancouver," she says, "it was such a good year." She played small gigs and open mics around the U.K., getting used to playing her guitar and being solo on the stage, before heading home to try out what she'd learned. In 2005, she released her first album, Fell Out of Oz, which is about the transition from adolescence to adulthood. The album prompted comparisons to Tori Amos and Ani Difranco, although Couture's singing is revealing in an entrancing, non-aggressive way. After the release of Oz, the emerging folk singer experienced falling in love and marrying, going through pregnancy, and the loss of her child shortly after he was born. Couture found solace in songrwiting, and a second album began to take shape. "Making this album was the only thing I could do. I wrote these songs while I was pregnant. Once he died, the songs took on a different meaning. I learned so much about loving someone, he changed the shape of my heart." The title of the album is The Wedding Singer and the Undertaker, which for Couture illustrates the idea that love and death are inseperable, and explores a time of her life when love and grief were so intertwined. "When, people found out what had happened, so many [people] came to me with their own stories. It seems hke the dark side of childbirth is ignored- —nobody wants to hear about that." Couture sees performing as a way to identify and give hope. The traumas of her own life have given her insight into the problems that other people have in their day-today lives, a rare apathy. "Everyone has weird shit in their lives, and grief is a complicated emotion. That's one thing I love about music. If I can help someone go through that, that is most important to me." For now Couture is focussing on plans for her next tour, her longest one yet, to promote The Wedding Singer and the Undertaker. The tour kicks off in Nanaimo on May 1 and will take her across Canada and to the end of the summer. What does Christa Couture have to say about what's upcoming? "It's exciting," she says, a knowing smile on her face. Christa Couture's CD Release Party is on May 20 at the Wise Hall in Vancouver, fa 12 Jvlay 2008 •s she breezes into the coffee shop, apologizing for running three minutes behind schedule, Adaline radiates cheer, excitement, and graciousness. She warns that, she's a "chatter" and that she's working on showing a bit of decorum, not wanting to divulge anything that would "make her parents die." But her natural friendliness and enthusiasm make withholding almost impossible, and frankly, all the better. _t^^^_$ Adaline in person is a stark contrast to the woman in her songs. The most haunting of the 12 emotional and evocative songs from her debut album, Famous for Fire, deal with betrayal, confusion, sadness and heartbreak. And, while she's pleased with the album and proud of the outcome, it's still a tough place to journey back to every time she gets on stage. "It was a really scary time. I am the most even- keeled, positive, outgoing person," Adaline says. "And to know that I could go through a time that was that ^lodMWftkes you realize that everyone can." With nothing to lose, Adaline decided to hold a concert—a sort of career launch—at a church to see if she had the chops to make it as a performer. She played for about 250 people that night, and hasn't stopped yet. Part of Adaline's universal appeal might be the breadth of her influences. When she was younger, her father was a minister, and together with her mom and brother, the four would travel around and play music together—a Canadian twist on the Partridge family. Raised on a diet of church-based gospel and soul, the classically grained pianist eventually discovered Pearl Jam's Ten, a moment that shattered her preconceived notions of music. It also inspired a defiant streak, as she bought and hid a new copy every time her parents found the CD and threw it out. Her sheltered childhood couldn't keep Adaline from indulging in her love affair with pop culture. She wasn't allowed to take dance, but she made up her own routines to songs hke "Baby Got Back," recorded on secret tapes made from the radio. "I was 17 or 18 when I heard Radiohead for the first time. And Tom Waits. People that everyone else knew of except for me," says ths songstress. "I was like* This is so amazing,' To hear people be creative and thoughtful about music in a way that I'd never heard before—it was absolutely mind-blowing." And, while most people can't recall hearing "Tiny Dancer" for the first time, it's in part her perpetual wide-eyed awe that lends her darkest songs a lift up. She admits her folks weren't-thrilled with the idea of her playing shows io dingy bars, but they haw come around since her career launch concert. Musically, her parents have a lot to be proud of with Adaline's debut. Strongly influenced by women like Sarah Slean and Fiona Appkr^ the album's chilling piano beautifully underscores her slightly smoky vocals. And already Adaline is trying to mentally prepare for writing her second album, which will come from a vastly different place than Famous for Fire, although she won't forgo her sulky tone entirely. Adaline is more than a little cynical when the topic of love comes up, and she admits that all of her energy is intensely focused on her career. But this is part of the reason Adaline is poised to become a huge hit. Her sweetly self-deprecating candour is refreshing in a world of sound-bite ready bombshells. "Honestly, I'm a bit of a geek right now. I'm really social, but I have found that lately the most exciting thing to do on a Friday night is to plan my tour. Music is something that is so stable. It's not like basing your happiness on a person or a situation. I often look at it as-*-and this is going to sound crazy—but as a romantic situation for me. Music is kinda my boyfriend, which is a little weird," she concedes with a sheepish laugh. Christa Couture's CD Release Party is on May 20 at the Wist Hall m Vancouver, fa Discorder I ' Wi \ [i \f > w_'_\ w___ m ¥ mr? /I1'1 ~Vr **¥.¥ ? Ill v i ~ k A m 'JTM M v\ tie. Samarabalouf # Capilano College Performing Arts Theatre 10 The Proclaimers @ The Commodore Alpha Baby, Jon Rae Flaetcher @ The Astoria ully Black @ The Commodore Clinic @ Richard's On Richards Bill The Kooks @ TheCommodore Sasquatch Festival @ The Gorge Tbe Mars Volta @ PNE Forum 31 Japanther, Manic Aatracts, Vapid) RobKi 1 Bank$ @ The Astoria i Richards 1111 ^1- '■■ ■■'•;; • ': -§ '■»S'' '■.'45'*'*- . Mr/--. r-§Oki Bill §1 mm )!j&iife>Ji|BS @ The Com fevoteffts @ Richard's Oi YOAV® The Plaza Clu ['^'^ '• " % ■ * ■? '■"'.r-S's « | | ^1 "9 si" il ^-' - mm 1111 ,*V: f^"-*-."1 vm30m_Wief_\i%$9' B "if ^ Is •;;-■ rS^^'^'?'--"^ j| % "M \ 11 f ''%'.' f* "X * __ 3_~ *' 'Z^_\fi£F&3$_t&£i'i ^tHM^^^r T^-i ? g-f --■ \ S5 . J J . -■ft-~ " V' * Oi &■-'-J Httf Hi SSSRSBttfillK ;0-^<o -t; ' ll to '■§' 2JS J Matthew Mei and you bright minds MATTHEW MEI AND YOU BRIGHT MINDS (Independent) Hailing from Vancouver, Matthew Mei has created a brilliant album that combines a hard rock edge (reminiscent of Black Rebel Motorcycle Club) with a delicate touch. Following his 2006 solo debut,The Preachers Son, Mei joins forces this time with You Bright Minds (Matt Piatt, along with bio and sis, Nate and Jeannette McKay) to produce another energetic album infused with gospel roots. The self-titled record blends intensity with a soulful sound, with the opening song, "Truth," as the powerhouse track that sets the tone for the entire album. In contrast With the rockier tunes, some of the tracks are beautiful ballads, but still carry the resonance of the dynamic group. "Railroad" is one of the strongest tracks, showing off Mei's powerful vocals, harmonizing effortlessly with You Bright Minds and forming a truly impressive number. Each song is memorable, distinct and exciting. This album showcases how Matthew Mei and You Bright Minds have a promising future ahead of them. Mei's sound has matured from his debut in 2006, and the collaboration with You Bright Minds has created a truly unique and remarkable collection of songs. Terris Schneider JUSTIN RUTLEDGE MAN DESCENDING (Six Shooter Records) Justin Rudedge is too alt for the country music realm (thank god), and too country for the indie-kids. Fortunately for you, listener, this means that you'll never feel any stigma for enjoying his music, and that he'll always be a litde bit un-hip. It also means that his career will have longevity, carrying him on a slow incline to subde legendry. Man Descending is Rutledge's third studio album and contains songs written loosely about characters from a collection of short stories by Guy Vanderhaeghe. Along for the ride is a large cast of Canadian troubadours lending their respective hands, including Jim Bryson, Jenn Grant, Melissa McLelland, Oh Susanna, Ron Sexsmith and Hawksley Workman. Ihe album is quiet, slow and beautiful. Rutledge is one of those writers who only needs six chords to make a record, and somehow each song is just different enough to fit nicely into the progression between the beginning and the end. Man Descending is story-based lyricism at its loveliest, *and you will no doubt hear these songs recorded by other artists decades from now. Tne only downfall to this record, as with his previous two, is that every time he enters a studio, the sound engineer turns down the "balls" knob. If you've seen him Uve, you know that there is an intensity in him that is lost in recording—missing is the fiery delivery that merits a pin-drop audience. Nevertheless, Rutledge is one of the country's finest songwriters, and this piece of Canadian Americana deserves your attention and a spot in your iTunes —listed just Below Jeff Tweedy and Jose Gonzales, to be sure. Ronnyjotten 16 May 2008 UNDeF The Television Personalities the good anarchist/ She's always Been There For me - (Elefant Records) The Television Personalities have had their fair share of ups and downs. With front-man Dan Treacy's various battles with drug addiction, mental illness and the law, the band has been unstable at best and plain disastrous at worst. Despite this, the group has made some of the finest pop records of the last three decades, and like all TVP releases, their latest proves that, at the end of the day, it's the music that counts. Following 2006's My Dark Places and 2007's Are We Nearly There Yet?, the 30-year-old UJC. indie act's new 7-inch shows Treacy and his revolving cast of players creating pop in its purest and simplest form.The A-Side's "The Good Anarchist" features little more than a clumsy, childlike guitar Une, some organ drones and a Ught, floating voice, courtesy of Swede, Johanna Lundstrom. It's a track that puts a Uttle innocence back into the musical equation, bringing to mind the halcyon days of indie- pop before twee became just another four-letter word. On the flipside, "She's Always Been There for Me" puts Treacy front and centre, his vulnerable voice riding high above a rousing Northern Soul-tinged dance number. And unlike "The Good Anarchist," the song brings out the Television PersonaUties'weU-practiced scrappy side, as a fuU band pounds in time to Treacy's ever-honest and unguarded words. 'O- Combined, the tracks prove these modern-era Television PersonaUties have a lot offer, with the band's latest chapter being just as exciting as those previous. Brock Thiessen Apples in Stereo Electronic Projects For Musicians (Simian/Yep Roc) There's been a constant debate throughout the ages as to whether one bad apple reaUy can spoil the whole bunch. Wars have been fought, children slain, churches torched to the ground, and yet, the argument stUl remains one of Ufe's great quagmires. With that preamble in mind, it's a smaU wonder how the Apples in Stereo can retain such a great wealth of unreleased material in its basket - could these tracks reaUy be considered unworthy of a place on official albums? Simple answer: yes and no. It goes without saying that lead Apple, Robert Schneider can write a perfect pop song in his sleep, and probably has on a few occasions, but such is the case with many perfectionists: it'seasy to find fault in what others would deem brilliant. So what we have here is another coUection of odds and ends from the Apples'vault (their first coUection being 1996's mealy Science Faire). The disc contains songs that either weren't suitable (stereo- phonicaUy or thematieaUy) for proper albums or tracks that were simply laid as one-off recordings. Either way, each previously notsready-for-primetime gem on Electronic Projects for Musicians is more interesting than the bulk of the barely hummable pap that is spewed out by the majority of indie pop bands on today's waning circuit. With not a single rotten track here* W. doubtful anything could ever spoil this band. 0 Adam Simpkins > iii Culture Reject Culture Reject (White Whale Records) Twangy and eclectic, Culture Reject is but a antidote for BeUe and Sebastian fans, as weU as those who are looking for something less mainstream than Broken Social Scene. Singer/multi-instrumentaUst Michael O'ConneU samples-from his weU-versed musical train- ing,Aising pretty much any instrument that makes a noise, and adds his knowledge of african beats acquired from his travels. His whispery thin vocal deUvery is particularly noticeable in tracks such as "Museums" and "Oh Remain," giving it a soft, jazzy sway at times. LyricaUy, the self-titled debut is evocative and humble. Lines Uke "I wanna go home/ and get myself stoned," exemplify an honest, bohemian attitude that is lacking from a lot of Canadian music these days. In the track "Overflow," O'ConneU croons softly about a cruel, spontaneous woman, bewailing his unrequited love in a way that gets into the Ustener's heart—a melodic and soulful musical base mixed with a bitter taste of rejection. This album as a whole is fitting for aU occasions, encompassing eveiything from jazz to random, rhythmical melodies. Culture Reject is designed with the sensitive of heart in mind, Uving in a cruel, cruel world. Mine Salkin The waifs Sun Dirt water (Jarrah Records) , The Waifs' first record in five years was, according to the Western Australian band itself, a difficult album. And unavoidably so, as it aspires to more diverse territory, breaking the hiatus since 2003's Up AU Night. Recorded in NashviUe, Tennessee, Sun Dirt Water is a set of immaculately executed, lush folk sounds, aU poUshed and warm; very easy on the ears. The band's unpretentious blues convey the slowness of their own desert outback remarkably vividly—a knack equaled perhaps only by their wUder countrymen The Drones. But they're not explosive. Instead they simmer and saU along with sparse, soft rock, incorporating lapsteel guitars, a Hammond organ and an upright bass, aU chipping in to create tasteful, albeit predictable, chord progressions. The lyrics seem to be where Sun Dirt Water puts the naU in the coffin. In true folk fashion the music seems ultimately to be a backdrop, secondary to the stories and reflections it underwrites. The album is a mix of complex love songs (as in the soulful hit tide track) and scenes of road tripping, nowhere men, booze, and harsh, pretty landscape (notably "Get Me Some," with Josh Cunningham's monumental lyric "I'm free when the sun shiries down on me"). AU of these songs are as compelUng as they are soothing, and make up a cohesive, mature and very Ustenable folk-blues record. Mark Hewitt Four Tet Ringer (Domino) After various stints with various coUaborators, Kieran Hebden has finaUy gone back to what he does best: working solo as Four Tet. And as always, his latest release under the moniker—the mini-album Ringer—continues to showcase his distinct brand of headphone-geared electronica as Hebden again refuses to repeat himself. Unlike the chaotic free-jazz swirls of 2005's Everything Ecstatic and even more unlike the chiUed-out "folktronica" of the project's infancy, Ringer'9 four tracks push forward, embracing a simpler, more unfurnished blueprint. Each of its slow-building epics clears the clutter for exercises in speedy minimalism, where sequenced loops interlace with deep 4/4 grooves of a very techno, yet very Four Tet, nature. The jazz breaks, the bUssed- out harmonies, the computerized noise—they're aU stiU here, but less present than in the past, functioning only as window-dressing to the crisp, cycUcal patterns. For once, you can isolate each of Hebden's instruments— electronic and organic—allowing you to chart their course as they enter and leave the mix. It's a welcomed relief from the indistinguishable layers of commotion usuaUy linked to Four Tet, and gives backing to the old adage of less is more. In many ways, Ringer is the most electronic Four Tet offering, yet it's also Hebden's warmest, making aU 31 minutes essential for fans of his past, present and future. Brock Thiessen ELIZABETH SHEPHERD PARKDALE (Do Right! Music) After her hugely successful Start to Move, EUzabeth- Shepherd has returned with her foUow-up album, the highly anticipated Parkdale. Once again, Shepherd has produced a magnificent jazz record that displays her incredible musical talent. She has trained extensively in conservatories from Alberta to France, completing a degree in music from McGiU University, and her expertise unravels throughout this album. She combines funk, soul and blues, captivating the Ustener with her enchanting and swooning voice. The opening track, "Shining Tear Of The Sun," is a styUsh, unforgettable tune that perfectly displays Shepherd's vocal abiUty. The title track, "Parkdale," is a catchy song, reminiscent of Feist's earUer works, uniquely blending together samba music with skillful jazz trumpet and piano. The album brilUantly concludes with "Mirror Living," a sultry and vibrant hit that leaves the audience pining for more. EUzabeth Shepherd continues to produce timeless music that is refreshing the world of jazz. The hard work and dedication on this record shine through, and it would be no surprise if Shepherd repeated as a nominee for best Jazz album at next year's Junos with Parkdale. Terris Schneider Discorder 13 th special guests Modest Mouse I~ plus The National m\ : friday, may 23s iKmnmisusuH mm^wmmmmat A R <SiH| SATURDAY, MAY 24 PNE FORUM dwgm DIYSNE+ftERESY MAY 26 y-dftilriAN CULTURAL CENTRE W GHOSTLAND fe^SS i OBSERVATORY ».-,J% MAY 27 RICHARDS ON RICHARDS CULTURAL CftilflE KASKADE MAY 18 | COMMODORE BALLROOM • RUSH MAY 29 I GENERAL MOTORS PLACE • STATE OF SHOCK & ECONOLIME CRUSH MAY 30 I COMMODORE BALLROOM :riflTIOn.com 18 May 2008 n Lfve nRTiorrl Do Sale! Discorder 19 \ m BOfcN RUFFIANS + Said The Whale The Media Club March 26 Ontarian trio Born Ruffians packed the Media Club to near capacity on their recent Vancouver stop. And just like their album, in concert the band's musical architecture came together like a well-lived-in country home: hardly squeaky clean, but tidy. Each note, chord and snare hit acquired its own space without regard for getting the place a little dirty. Steve Hamelin's tight and structural percussion framed Mitch Derosier's smooth and rhythmic bass. Upon this foundation, Luke Lalondes nailed his guitar and delivered thesaurus-defying spasmodic vocals. Opening for Born Ruffians was local band Said the Whale. It took them a while to warm up the crowd but by the time they finished, they had made a solid connection, with the audience up against the stage, primed and whetted for Born Ruffians. Early into* the Toronto band's set, whUe tuning, Derosier snapped his bass string for what Hamelin said was the fourth time this tour. After a quick fix, the band dropped an old favourite, "This Sentence Will Ruin/Save Your Life," a quick, catchy and honest take on high-paced modern life. If the crowd had cooled off a little, they were reignited at this point with wave after wave of unrelenting vocals, back-up shouting and rolling drum successions. Throughout the show, musical ability and good, honest effort poured off the stage—literally. Sweat rained from aU three of members, which almost (but not quite) overpowered the urinal-cake smeU of the bathrooms at stage left. At times, the artists were so caught up in the music that it seemed like a "who can keep your eyes closed the longest" contest. *^^^ With a greatly heralded encore, Born Ruffians proved they have built their fan base on some very solid musical ground, which is good, because their style tears the house down every time. Peter Holmes 20 May 2008 Bruce Springsteen General Motors Place March 31 Where is a girl to cast her eyes? Entering a musical spectacle, surrounded by thousands of people -104 rows of them in front of me, one tiny man dancing around on stage. Reproduced on a giant stadium screen above him, the man's face hovers in mythic proportion. And so, where do I cast my eyes? I am given two obvious options: I can watch the small indistinct image of Bruce Springsteen on the stage, or I can watch the high-definition Jumbotron of parts of him. Turning my head to and fro I can follow him with my eyes; the real Bruce skipping across the stage, so small and so indistinct. Or, I can watch an equal-sided square of frightening detail, images mixed in almost- real-time, "real" life yielding to the mediated experience of a one-time-only music video. If I choose the latter, then why not save the money of the very expensive, faraway seats, purchase a live DVD and watch it on a friend's living room Jumbotron? What would be the difference? Str^lill IIP^'-"' Perhaps the difference is in the reason I go to see music live in the first place: I go to hear the ways it is different. I go to eye the way musicians respond to their day, to participate in a reciprocal exchange of energy; I go to heed the perfection or imperfection of reality. All these things are tied up in the sensory affair of gathering together—of watching, hearing, breathing hot, stinking, mingled air. But in this modern age, the camera's eye and aU. the accompanying bru-ha-ha machinery catch my attention in a way that reality cannot. If I choose not to watch the absurd, backlit image of The Boss's "Born to Run," I have to exert a real effort to ignore the Jumbotron. It feels like a matter of science that the ambient equivalent is less enticing. And yet, I came here for the guffaws, for the sweat, for the unme- diated space between me and The Boss. Even wanting what I wanted, though, I gazed at the screen, as if it gave me somehow more of him. But it was when I diverted my eyes that I was rewarded with the whole spectacle of his rock-star posturing. He raised his arms in a caU to action but aU the screen got was the shape of his shoulders. In that synchronized moment of bUss The Boss left me no choice. I was dancing with him. Cheyanne Turions THE BLACK KEYS + JAY REATARD The Commodore Ballroom April 6 It seems only a short time ago—four or five years, in fact—that Akron, Ohio's Black Keys found themselves playing to a smaU, devoted crowd in Vancouver's tiny Red Room. Nowadays, when they come to town, the Georgia Straight promotes the show, they book the Commodore, it seUs out, and the band brings a stadium- sized light show that rivals any other major spectacle in recent memory. Thus, part of the Keys' charm is gone. They belong in a tighter, more intimate setting where their amplified blues-rock makes the place burst at its seams, not in a cavernous hall where they're forced to supplement their stripped-down sound with excessively energetic Ughting. That being said, the guys haven't lost any of their skill at stomping out track after track of catchy, bluesy gems. Rockers like "Set You Free" and "10 A.M. Automatic" were larger-than-life thanks to Patrick Carney's thunderous pounding on the drums, while Dan Auerbach had more than sufficient chops on guitar to screech out riff after swaying riff. There's little more to say about ' it—the songs didn't stray much from recorded versions, but with the power and punch of live performance behind them, it didn't much matter. Opening for the Keys, Jay Reatard and his backing band (a bassist with huge, Melvins-like hair, and a drummer in what had to have been a blonde wig) hammered out a wonderfully old-school parade of lo-fi street-punk. Little touches, like having no stage banter except for introducing each song with its title, made the performance a great throwback to honest, gritty Ramones-style punk rock. However, a distinctly gnarly touch was the bassist being so drunk that he kept spitting huge wads of mucus into the air, and sometimes directly at the crowd. Pretty gross—but sometimes that's the price of rock and roll. Simon Foreman I^SsIf''*' WOODHANDS + The Clips The Astoria April ? ] Sflll Woodhands kicked out some great indie dance tracks before an eager audience at the Astoria, April 11th. Dan Werb, bearing a striking resemblance to Thomas Dolby, led the duo, playing keytar, a heavily processed synthesizer and providing most of the vocals. Paul Banwatt played a fast-paced rhythm on the drums and filled the role of rap MC on one song with surprising talent. Coming from Toronto to Vancouver for the second time, Woodhands has cemented themselves as one of Canada's best acts to get the dance floor going. They don't quite approach the all-out balls-to-the-waUs atmosphere that Shout Out Out Out Out can achieve, but if you want a live act to dance to, you can't do much better than this duo. Their energy almost masks the fact that Werb and Banwatt are also very talented musicians. With Werb choosing to rock the keytar, you might think he was all energy and irony, but as anyone who has seen hirh play solo can tell you, he is an accomplished, classically trained pianist. Opening for Woodhands was local indie dance rockers the Clips. Playing songs from their recently released Matterhorn, Edo Van Breemen and co. got the crowd warmed up with a high-energy performance. They're a lot jammier than your average dance band and, at times, step away from the standard synth lines to replace them with a more traditional piano sound. This breaks down into a looser sound, which has some appeal in that it stands out from most dance acts. Between the two bands the crowd was thick and eager to dance, if you were thinking of seeing this one and missed it, you missed out. Jordie Yow m DANIEL JOHNSTON Richard's on Richards April 19 Daniel Johnston hasn't had what you'd caU a smooth ride. Multiple stints in mental hospitals, brushes with the law and chronic bi-polar disorder have all plagued his life, making a stable live show unlikely at best. Surprising then that Johnston treated a sold-out Vancouver crowd to a moving, as well as solid, performance that went far and beyond expectations. *., ^ The hour-long set by the Texas musician—who continues to grow in popularity and physical size—came in two parts: a touching opening segment with simply Johnston and a guitar, and a second more rockin' half, complete with a full band. Johnston started the evening with his own bumpy guitar rhythms, but quickly brought on a hired hand to strum his songs for him. This let 47-year-old Johnston centre his efforts on his off-key, but always charming, vocals, as the backing guitarist, as well as the four-piece band that followed, brought a welcomed polish to Johnston's usually rough-and-tumble songs. However, it was unclear whether enlisting the musicians was a matter of choice or necessity; Johnston's hands suffered from uncontrollable tremors throughout the evening, and seemed to need all the power he could muster to keep from losing his voice, chugging bottle after bottle not of Mountain Dew but simple water. .Yet despite Johnston's struggles and obviously uncomfortable stage demeanor, he managed to cover a lot of ground with his set-list, which very much played as a greatest-hits collection. AU the classics were there: "Living Life," "Walking the Cow," "True Love WiU Find You in the End," "Silly Love" and even the song about that famous ghost. Also, mixed amongst the songs was an interesting tale or two about AstroWorld, plastic frogs, Star Wars videos, and a morbid dream Johnston had where he was sentenced to death for trying to commit suicide. When it came time for the encore, Johnston held the stage on his own, leading the crowd in a moving rendition of "Devil Town." It was a powerful end to a powerful performance, and one that reminded you why a word as bold as "legend" so often applies to Daniel Johnston. Brock Thiessen SEX NEGATIVES + YELLOW SWANS, SHEARING PINX Richard's on Richards April. 19 . 3Pgg& . The Strathcona Youth Centre was packed to the gills with noisy fans, hipsters and some confused kids just looking to dance 'til dawn. This was to be the last show at the centre for the next while and what a memorable send off it was. In the early hours of night, the mighty Shearing Pinx tore through a tightly wound set of their energetic brand of feedback-driven tension punk. It was amazing the Pinx were able to play as tightly as they did, what with all the kids up at the front pinballing each other into the band, who, like every other group that night, played in the middle of the floor, makingibr a bit more of an "intimate" show. Portland's D. (decayed, dying, dead, deceased?) Yellow Swans took the stage soon after and played what was to be one of their last shows ever before calling it quits. The duo of Pete Swanson and Gabe Mindel sent the crowd careening just above the clouds with their all-too-brief set of wavy bliss drones. Their stretched-out 20-minute piece sent out an all-enveloping hypnotic vibration, which rattled the entire room and silenced anyone who dared try to talk through it. The performance was a fitting exit from one of the most prolific and well-loved noise/drone groups of the last 10 years. You wiU be missed, guys. • Vancouver's Sex Negatives finished off the festivities, pulling off the most impressive and memorable set of the night and standing tall against the juggernauts of the improv and noise scene. Sex Negatives did have some help from local noise guru the Rita, though, who provided the white-noise jet fuel for their jaw-dropping hypno- jam. The Rita was flanked by the four members of the group, which included two feedback/distortion wielding guitarists, a howling vocalist and a thunderous force from behind the kit. All five coalesced together and concocted a swirling tower of howling feedback, finishing off a truly great night of noise. Mark Richardson CLUB 23 WEST f ___: ■ I IBLANKWAUE r ELECTRO/RETRO/INDIE OLD SCHOOL HIP HOP NO COVER DJS SiCKBOT, MANOS, STRYDER, GRENADENE & RYANFANTASTIC jL^^^s4. fiiiifs LJ loraanlx ji II1^ PSYCHEDELIC TRANCE ^H |UJ CHRIS >taiirtg guests Angel, RJ Solo, Goa Pete, | |||pt' V: .r Causai. Nighthawk, Mythrli, Ronin, Jorge & more ifl^ r^Wk P^^M i$6 C0WER'fm mm $10:3° :jL j4#'Ja \^ p j_P .Iw- 4 WI^MSS_W<0i flkiftTiiiinairit WAy3 I At4y/7| ij,:nMii ALTERNATIVE / SYNTH / ELECTRO NEW WAVE / 80S / 90S ROCK / INDUSTRIAL / SYNTHPOP WWW.SftN6TilJlilYSftTU8BfiYS.C0IH ^HPp^H {may£ *M - [SIN CITY ft 4jV^^7' VANGtMJra'S MOST NOTORIOUS PARTY STRICT FETISH DRESS CODE 2 BOOMS + OUMOiOM / 9PM-3AM WWW.SlNCiTYFCTISiiNIGHT.COM 23 WEST CORDOVA / GASTOWN Discorder 21 with CiTR's Ma; %u would think that a two-piece band that had one member living in Port Coquitlam and the other in Delta would ^ontain enough suburban angst to make you ditch all your Minor Threat |||p|bs for good. Not true. The Hawaiian Bibles want you to have fun. L^^jWF>t.T}us summer, tlie Bibles ^p|#ianning a tour where they play (uninvited) in undisclosed parking Jegiisf public places across B.C. until the cops arrive. Their self-released debut album, There's Good People in the City, sounds like two pop-loving maniacs let loose in a warehouse with a whole bunch of recording doodads- -which is pretty much exactly whatlffi^^e^TOBjiawaiian Bibles are the '^^H^k^S^^ Here's a run down of There's Good People in the City, according to Devin ||| Boquist (Vocals, Bass, In$tjr*i||^§if$, Programming) arid Jordan Gervais (Vocals, Drums, Percussion, Instruments). mm m Song: There's Good People in the ^^ ^'*|3^vul^^qmst: It's a ro^fel^tSI^&J The very first time Jordan came over 0io1i^l$Bi|i|§.we just started playing this song. The opening bass riff is the very first rain^i^^er played together. The original lyrics were something completdyatiifferent. .,^^| Jordan Gervais: [The lyrics] were "Who's fighting, what are you fighting for?" and then we changed the lyrics, which became about gender issues. This tag line, "There's Good People in the City," I came up with, wi^@bi/ w?.. ifacjiyjftgi ffiwca^idJtjfa)^ p*opip ■ around. ,, . ■<■■*>■ Igg Song: The Corner I J.G.: I had a dream where my ot^^^^-old nephew was dying of cancer. I f* woke up in tears and I had this sor|Bpfriy head off of one of Devin's derjacf* fwjF" tapes called "The Corner."There is a Une in it which goes "I've got news for H you, and you get it," and he kept repeating it, and it related to this horrible pi|s? dream I had. ■ D.B: "The Corner" is the only fgfeg. on the album that is originally one of K^j§fflJtoies» It changed3i&fei$,l>ut it is a Billy Shadow [solo project] song. IIS Song: Don't Wanna Give It Up Bi*p3§B.: That is essentially about drug abuse, (lagghs) I still dont wanna give Sill ** up' 5 Song: Hearts for Money Sst J;GbiSame with "Hearts for Moli^^te^f^bnt vices. "Looks hke everyone's m selling their hearts fofcaaoi^^n^r &" S©h§: Experiments with Oxygen K?LfeB.: That sqagHis an experiment$|pfc itself. ISf** J.G.: The more you listen to the lyrics, the more it makes sense. "Look at | j* isgj|^p!igf!i£ skin is suffering." I^gtbout not taking care of oneself. Turn -*r D.B.: The thing about .all of our lyrics is that they come out really quickly* E They're about the life that we've lived so far. . - Hs Song: Movie Roll- £3j&S IBB J,<^^^i^ about workjnjg/i^;'^fe-set of a porn film. A woman being |||§| fili^e-cj m, a Ygry |«^fcative mami^ but the only villain is the viewer. 0 HB Sof^.iSSf&fC^fijt'''?' §|||1 D.B^That has the poten^l^^^^^l &%$_% $&&& the albu m it's like 30 | llpf! seconds.. , J, ,0^ - §81 J.-^J^^^^fes^ _%_^^i.t_ttmZPt^^^^A^^ concept album for $J$e first 8 Sill songs, they^ie about fighting wim Jstjjpgd^ fighting ad^^pon, and "Close i HfSr. to "Vou" is tfcpSil^fflK^p^l^-'^^SlEi'' ■HL Song: Main and Hastings BfiBjl J.G.: That was originally &2$j$% J^^gatt^^^&^^ould Live in CasttesO* H j% TBat^my favourite song o^%hifj^_^StJ. |1|||| DSEKl 5||K$^!i$ic is realfy ia^or^p^^^ for a title like "Main and jH^t$ftgs* q Warn --it's another add^i^-sel^^ |||| Sor^Cheap Shliliv; Hill t$pG,: A standaj$.guy/girl ^WJjp^^^fes-'f ^^4'"^fT'^<^^feASOjI mSi D.B.: It's about a relationshlpfwh^^p.'girl takes a cheap shot at a guy. J Song: She Stays tormf^^A p ~ J]Xx.fDevm's lyrics are very, personal about his life, his r^laftonsfejp, his kids, ] ^^ and {this song] is an extensi^fit'df-B&at'—it's super iKJpesfcO'OV jjjj D.B.: I actua_ly.^^^t^^^Ss^0.g to go on the s^^^j^^because its ■jit -4£$y^??li|i^^ ^^SvXi^f^^* song is almost like a mac^for-TV movie! (laughs) r^B , D.B*- I* sounds like when we taEfaabout our songs, we sound so serious, tff|j§ ^*fe^^S^^^eri°us- '^1*s 1S jus* a l°t of life gql^ift^^^Ht we love. Wg oSf - Jp^B8wi|s(>& love playin|^^^toT^s *sn^ an album that had to be made, j|j& It^Jpst a collectiqfc^f life experi^j^^ji^jujt fei&tog music. I just want-. lilt? Pe^^^^^^'^^rtfer'' ? 1'r 'i The Hawaiian BtBles areptaymg Path PuJ. on M&V 20. JOHNNY DOVITD a DrunkarDs masterpiece •••• 4 STARS. MOJO "A Drunkard's Masterpiece is a creative car crash of Americana, beatnik rock, poetry, prose, jazz rock, rap, screaming metal guitar, retro pop, spoken word and country noir. The whole thing was recorded in three days, on 8 track tape, live in the studio... The lyrics, like the music, are classic Dowd - sex, marriage, more sex, adultery, original sin, unoriginal sin, God, Mary, Jesus, more adultery, death, iove, masturbation." MORE INFO. _.!..___,_._._____._., LiveMusicVancouver.com comprehensive live music listings Discorder 23 ©ora n@n, PROGRAM GUIDE YoucanlisteatoXilRari^ air at 101.9 FM Sunday Monday Tuesday Wednesday Thursday Friday Saturday 6am (j 7am | BBC PACIFIC PICKIN' BBC BBC BBC BBC JC 8am I BREAKFAST WITH THE BROWNS GIVE'EM THE BOOT SUBURBAN JUNGLE END OF THE WORLD NEWS FILL-IN THE SATURDAY EDGE TANA RADIO THIRD TIME'S THE CHARM SHOOKSHOOKTA FILL-IN SWEET AND HOT SKA-TS SCENIC DRIVE 11am| GROUND CONTROL MORNING AFTER SHOW ANOIZE 12pml| 1pm ■ 2pm I ALTERNATIVE RADIO DUNCAN'S DONUTS THESE ARE THE BREAKS GENERATION ANNIHILATION PARTS UNKNOWN LAUGH TRACKS THE GREEN MAJORITY WE ALL FALL DOWN THE BROADCAST POWERCHORD FILL-IN DEMOCRACY NOW INKSTUDS RADIO ZERO REELTOREAL 3pm ■ 4pm H SHAMELESS LETS GET BAKED FILL-IN RUMBLETONE RADIO A GO GO CRIMES & TREASONS CODE BLUE NATIVE SOLIDARITY NEWS NARDWUAR PRESENTS * THE RIB WENER'S BBQ •■ CHIPS WITH KJ LililEVERYYTHING NEWS 101 WINGS MY SCIENCE j PEDAL PROJECT j REVOLUTION NEWS 101 LEO RAMIREZ SHOW CAREER FAST TRACK CANADIAN VOICES 6pm II 7pm ■ FLEXYOURHEAD STEREOSCOPIC REDOUBT FILL-IN • NASHAVOLNA SOME SOUND AND SOMETIMES SAMSQUANCHES HIDEAWAY SHADOW JUGGLERS RADIO FREE GAK EXCUISITE CORPSE AFRICAN RHYTHMS 8pm 1 SALARIO MINIMO FOLK OASIS MONDO TRASHO THE JAZZ SHOW LIVE FROM THUNDERBIRD RADIO HELL RAINBOW GROOVE SYNAPTIC SANDWICH 10pmH H CAUGHT IN THE RED JUICEBOX HANS KLOSS' MISERY HOUR FILL-IN SHAKE A TAIL FEATHER BEATS FROM THE BASEMENT VENGEANCE IS MINE AURAL TENTACLES BBC I LIKE THE SCRIBBLES I SUNDIAL FLOODLIGHT BBC CITR RE-BROADCAST CITR RE-BROADCAST CITR RE-BROADCAST = £ E E CITR RE-B 10ADCAST ■■■■SUNDAY TANA RADIO (World) 9-10am SHOOKSHOOKTA (Talk) 10-11am A program which targets Ethipian peo- " pie and aims at encouraging education and personal development in Canada. KOL NODEDI (World) 11am-12pm Beautiful arresting beats and voices emanating from all. continents, comers, and voids.. East Asia. South Asia. Africa. The Middle East. Europe. Latin America. Gypsy. Fusion. Always rhythmic, always captivating. Always crossing borders. THE ROCKERS SHOW (Reggaej 12-3pm Reggae inna all styles and fashion. BLOOD ON THE SADDLE (Roots) 3-5pm Real cowshrt-caught-in-yer-boots country. Alternates with: SHAMELESS (Eclectic) Dedicated to giving any local music act in Vancouver a crack at some airplay. When not playing the PR shtick, you can hear some faves you never knew you liked. CHIPS WITH EVERYTHING (Pop) Wpm British pop music from all decades. International pop (Japanese, French, Swedish; British, US, etc), 60s soundtracks and lounge. Book your jet-set holiday now! Alternates with: SAINT TROPEZ (Pop) Kpm Welcome to St Tropez! Playing underrated music from several decades! sttropez101.9@gmail.com . QUEER FM (Talk) 6-8pm W%$&. Dedicated to the gay, lesbian, bisexual, and transexual communities of Vancouver. Lots of human interest features, background on current issues, and great music. queerfmradio@gmail.com RHYTHMSINDIA (World) 8-9pm 34 May 2008 Rhythmsindia features a wide range of music from India, including popular music from the 1930s to the present, classical music, semi-classical music such as Ghaz- als and Bhajans, and also Qawwaiis, pop, and regional language numbers. MONDO TRASHO (Eclectic) 9-1 Opm The one and the only Mondo Trasho with Maxwell Maxwell—don't miss it! TRANCENDANCE (Dance) 10pm-12am f \ '^-ph*!* Join us in practicing the ancient art of rising above common thought and ideas as your host DJ Smiley Mike lays down the latest trance cuts to propel us into the domain of the mystical. trancendance@hotma i I .com SUNDIAL FLOODLIGHT (Eclectic) 12-2am i to all things drone MONDAY BREAKFAST WITH THE BROWNS (Eclectic) 8-11am Your favourite Brown-sters, James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delights! breakfastwiththebrowns@hotmait.com GROUND CONTROL (Eclectic) -.11-12pm Fun and independent music supported by a conversational monologue of information, opinion and anecdote focussing on the here, the now, and the next week. becktrex@gmail.com ALTERNATIVE RADIO (Talk) 12-1 pm Hosted by David Barsamian. PARTS UNKNOWN (Pop) 1-3pm Parts Unknown, an indie pop show that has been on CiTR since 1999, is like a marshmallow sandwich: soft and sweet and best enjoyed when poked with a stick and held close to a fire. LETS GET BAKED (Talk) 3-4pm Vegan baking with "rock stars" like Laura Peek, The Food Jammers, Knock Knock Ginger, The Superfantastics and more. THE RIB (ECLECTIC) 4-5pm Explore the avant "garde world of music with host Robyn Jacob on The Rib. From new electronic and experimental music to improvised jan and new classical! So weird it could blow your mind! NEWS 101 (News/talk) 5-5:30pm Vancouver's only live, volunteer-produced student and community newscast. Every week, we take a look back at the week's local, national and international news, as seen from a fully independent pm SOME SOUND (Indie Rock) 6-7:30pm RADIO FREE GAK (Indie rock) 7:30-9pm THE JAZZ SHOW (Jazz) 9pm-12am Vancouver's longest running prime-time Jazz program. Hosted by the ever-suave Gavin Walker. Features at 11 pm. May 5: Pianist/composer and near genius, Elmo Hope lived a short life and his career was blighted by narcotics and neglect. He grew up with Thelonious Monk and Bud Powell but unlike them never got the critical recognition. Tonight we present his masterpiece: The Elmo Hope Trio" with bassist Jimmy Bond snd drummer Frank Butler. Seven originals by Mr. Hope and one great standard....the legend lives May 12: Drummer/composer Tony(Anthony) Williams was a musical adventurer right from the beginning of his career and this album reflects that fact. It was his second Blue Note recording-done when Williams was only 20. "Spring" is amazing! May 19: A big band album by tenor saxophonist/ composer/ arranger Oliver Nelson is always a treat and this one called "Fantabulous" is no exception. The album was recorded in Chicago and mixes New York and Chicago based players in a program of Nelson originals plus one by pianist Billy Taylor. Solid stuff. May 26: Drummer/bandleader Art Blakey needs no introduction but this edition of The Jazz Messengers was only represented by one domestically produced recording until the release of these tracks recorded at the "Club St. Germaine" in Paris. VENGEANCE IS MINE (PunkJ 12-2am Going on 8 "years strong, this is your' home for all the best the world of punk rock has to offer. _W_m___m TUESDAY PACIFIC PICKIN' (Roots) 6-8am Bluegrass, old-time music, and its derivatives with Arthur and the lovely Andrea Berman. pacificpickin@yahoo.com GIVE 'EM THE BOOT (World) 8-9:30am Sample the various flavours of Italian folk music from north to south, traditional and modern. Un programma bilingue che esplora il mondo della musica folk italiana. THIRD TIME'S THE CHARM (Rock) 9:30-11:30am Open your ears and prepare for a shock! A harmless note may make you a fan! Hear the menacing scourge that is Rock and Roll! Deadlier than the most danger- borninsixtynine@hotmail.com MORNING AFTER SHOW (Eclectic) 11:30am-1pm An eclectic mix of Canadian indie with rock, experimental, world, reggae, ounk. and ska from Canada, Latin America and Europe. Local bands playing live on the Morning After Sessions. LAUGH TRACKS (Talk) 1 2pm Laugh Tracks is a show about comedy. Kliph Nesteroff from the 'zine Generation Exploitation, hosts. generationexptoit@yahoo.com musicalboot@yahoo.ca FILL-IN 2-2:30pm REEL TO REAL (Talk) 2:30-3pm Movie reviewsandcriticism. NATIVE SOLIDARITY NEWS (Talk) 3-4pm A national radio service and part of an international network of information and action in support of indigenous peoples' survival and dignity. The show is self- sufficient, without government or corporate funding. WINGS (Talk) 4-4:30pm WENER'S BARBEQUE (Sports) 4:30-6pm Tune in each week to hear Daryl Wener talk about the world of sports. I everything from the Vancouver Canucks to the World Rock Paper Scissors Championship. Your calls are welcome and I hope you enjoy listening. ethanwener@hotmail .com FLEX YOUR HEAD (Hardcore) 6-8pm Punk rockand hardcore since 1989. Bands and guests from around the world.' SALARIO MINIMO (World) 8-1 Opm The best rock in Spanish show in Canada since 2000. None of that tropical stuff here. No aceptes imitaciones! CAUGHT IN THE RED (Rock) 10pm-12am Trawling the trash heap of over 50 years' worth of rock n' roll debris. Dig it! AURAL TENTACLES (Eclectic) 12-6am It could be punk, ethno, global, trance, spoken word, rock, the unusual and the weird, or it could be something different. Hosted by DJ Pierre. auraltentacfes@hotmail.com ■■■WEDNESDAY JUNGLE (Eclectic) Live from the Jungle Room in his Top Secret Eco-Pod complex high in the Cascade Mountains, join radio host Jack Velvet for an eclectic mix of music, sound bites, information and inanity. Not to be missed! dj@jackvelvet.net FILL-IN ANOIZE (Noise) 11:30am-1pm An hour and a half of avant rock, noize, plunderphonic, psychedelic, and outsider aspects of audio. An experience for those who want to be educated and EARitated." lukemeat@hotmail.com I MAJORITY (Talk) 1 -2pm "I NOW (Talk) 2-3pm RUMBLETONE RADIO A GO GO (Rock) 3-5pm Primitive, fuzzed-out garage mayhem! WINGS (Talk) 5-5:30pm CANADIAN VOICES (Talk) 5:30-6- :30pm AND SOMETIMES WHY (Pop/Eclectic) 6:30-8pm First Wednesday of every month. Alternates with: SAMSQUANCH'S HIDEAWAY (Eclectic) 6:30-8pm All-Canadian music with a focus on indie-rock/pop. anitabinder@hotmail.com FOLK OASIS (Roots) 8-1 Opm Two hours of eclectic folk/roots music, - CITR CHARTS! CiTR's £harts reflect what has been spun on the air for 2007. Artists with stars alongside then- names (*) are from this great land o' ours. Most of these platters can be found at finer (read: independent} music stores across Vancouver. If you can't find them.there, give our Music Director a shout at 604-822-8733. His name is Luke. If you ask nicely, he 'II tell you how to get them. To find other great campus/community radio charts check out www.earshot-online.com. 101.9FM i tt>n>to>.M$c<>rtor.ca with a big emphasis on our local scene. Don't own any Birkenstocks? Allergic to patchouli? C'mon in! A kumbaya-free zone since 1997. . folkoasis@gmail.com JUICEBOX (Talk) 10-11PM Developing your relational and individual sexual health, expressing diversity, celebrating queerness, and encouraging pleasure at all stages. Sexuality educators Julia and Alix wil! quench your search for responsible, progressive sexuality! www.juiceboxradio.com HANS KLOSS MISffiY HOUR (Hans Kloss) 11 pm-1 am This is pretty much the best thing on radio. ■THURSDAY END OF THE WORLD NEWS (Talk) 8-1 Oam SWEET AND HOT (Jazz) 10-12pm Sweet dance music and hot jazz from the 1920s, 30s and 40s. DUNCANS DONUTS (Eclectic) 12-lpm Sweet treats from the pop underground." Hosted by Duncan, sponsored by donuts. http://duncansdonuts.wordpress.com WE ALL FALL DOWN (Eclectic) 1 -2pm Punk rock, indie pop, and whatever else I deem worthy. Hosted by a closet nerd.. www.weallfalldowncitr.blogspot.ca INK STUDS (Talk) 2-3pm Ink Studs focusses on underground and indie comix-from publishers like Fantagraphics, Top Shelf, Drawn and Quarterly and more. Each week, we interview a different creator to get their unique perspective on comix and discuss their own interesting and upcoming works.. CRIMES & TREASONS (Hip Hop) 3-5pm crimesandtreasons@gmail.com MY SCIENCE PROJECT (Talk) 5-6pm Zoom a little zoom on the My Science Project rocket ship, piloted by your host Julia, as we navigate eccentric, underexposed, always relevant and plainly cool scientific research, technology, and poetry (submissions welcome), myscien- ceprojectradio@yahoo.ca Alternates with: PEDAL REVOLUTION (Talk) 5-6pm pedatrevolutionary@gmail.com STEREOSCOPIC REDOUBT (Rock) 6-7:30pm Psychadelic, acid punk, freakbeat, prog and other grotesque and socially relevant artifacts from 1965 to today, with a particular emphasis on Vancouver's freak flag with pride. www.myspace.com/stereoscopicredoubt EXQUISITE CORPSE (Experimental) 7:30-9pm Experimental, radio-art sound collage, field recordings, etc. Recommended for the insane. artcorpse@yahoo.com UVE FROM THUNDERBIRD RADIO HELL (Live Music) 9-11pm Featuring Jive band(s) every week performing in the comfort of the CiTR Lounge. Most are from Vancouver, but sometimes bands from across the country and around the world are nice enough to drop by to say hi. FILL-IN - BBC 11:30pm-1:30am __________________ FRIDAY FILL-IN (Eclectic) 8-1 Oam SKA-rS SCENIC DRIVE (Ska) 10am-12pm Canada's longest running Ska radio program. Email requests to: THESE ARE THE BREAKS (Hip Hop) 12-lpm Top notch crate digger DJ Avi Shack mixes underground hip hop, old school classics, and original breaks. beatstreet@telus.net THE BROADCAST 1-2pm Betti Forde has been a pro DJ for over a decade. She's deejayed throughout the world in places like Paris, Berlin, Rome and Malmo. From 1998-2002 she hosted the infamous Stand & Be Cunted (as DJ HancuntTon CiTR, and she couldn't be happier to be back with The Broadcast, showcasing women in music. RADIO ZERO (Eclectic) 2-3:30pm We play an international mix of super- fresh weekend party jams from new- wave to foreign electro, indie rock, baile, booty, club rap, juke, disco, Bollywood, dancehall, and whatever else we feel like. www.radiozero.com NARDWUAR THE HUMAN SERVIETTE PRESENTS (Nardwuar) 3:30-5pm Join Nardwuar the Human Serviette for an hour and a half Manhatten Clam Chowder flavoured entertainment. Doot doola doot doo... doot doo! nardwuar@nardwuar.com NEWS 101 (Talk) 5-6pm FILL-IN AFRICAN RHYTHMS (Wortd) 7:30-9- pm RAINBOW GROOVE (Dance/Electronic) 9-10:30pm Getting you in the mood for the weekend, DJ BFAD presents a kaleidoscope of funky grooves for your mind, body & SHAKE A TAIL FEATHER (Soul/R'n'B) 10:30-12am The finest in classic soul and rhythm & blues from the late '50s to the early 70s, including lesser known artists, regional hits, lost sould gems and contemporary artists recording in that classic soul style. I LIKE THE SCRIBBLES (Eclectic) 12-2am Beats mixed whh audio from old films and clips I SATURDAY « THE SATURDAY EDGE (Roots) 8am-12pm Now in its 22nd year on CiTR, The Saturday edge is a personal guide to world & roots music—with African, Latin and European music in the first half, followed by Celtic, blues, songwriters, Cajun and whatever else fits! GENERATION ANNIHILATION (Punk) 12-1 pm A fine mix of streetpunk and old school hardcore backed by band interviews, guest speakers, and social commentary. crashnbumradio@yahoo.ca POWER CHORD (Metal) 1-3pm Vancouver's longest running metal show on the air. If you're into music that's on the heavier/darker side of the spectrum, then you'll like Power Chord. Sonic assault provided by Metal Ron, Gerald Rattlehead and Geoff the Metal Pimp. CODE BLUE (Roots) 3-5pm From backwoods delta low-down slide to urban harp honks, blues, and blues roots with your hosts Jim, Andy antfPaul. codeblue@buddy-system.org THE LEO RAMIREZ SHOW (World) The best of mix of Latin American music. leoramirez@canada.com NASHA VOLNA (World) 6-7pm News, arts, entertainment and music for the Russian community, local and abroad. http://nashavolta.ca SHADOW JUGGLERS (Dance/Electronic) 7-9pm This eclectic show welcomes you to braoden your musical knowledge with DJs MP, Socool, Soo & guests. We work across musical genres including electronic and club-based music, which are rarely introduced into mainstream musical culture. Travel through world sounds. myspace.com/shadowjugglers SYNAPTIC SANDWICH (Dance/Electronic/Eclectic) 9-11pm * 0 Every show is full of electro bleeps, retrowave, computer generated, synthetically manipulated aural rhythms. If you like everything from electro/techno/ trance/Sbit music/retro '80s this is the show for you! www.synapticsandwich.net BEATS FROM THE BASEMENT (HipHop) 11 pm-1 am Hosted by J-Boogie and Joelboy, promising listeners the latest tracks, the classics, the rare and the obscure, current events, and the special features of peeps coming into the studio. Most ■ importantly listeners can expect to be entertained... church. klymkiw@gmail.com Artist The Ravonettes Fake Shark, Real Zombie* Sudden Infant Dance Syndro MGMT Plants And Animals* Forest City Lovers* The Superfantastics* Dirtbombs . l"^__ ."■ Various* DJ Co-Op* Thee Silver Mt Zion Memorial...* The Breeders The D'Ubervilles* M.I.A. Black NI Danava The Better Beatles Adam Green Goldfrapp Jason Collett* Nihilist Spasm band* Fink Chris Walla The Creepy Creeps Vampire Weekend Collections Of Colonies Of Bees Chris Walla Xiu Xiu British Sea Power Growing The Sword SamShalabi* Title Oracular Spectacular Pare Avenue Haunting Moon Sinking Choose Your Destination We Have You Surrounded Trouble In Dreams Let The Blind Lead Those... Love and Circuits... Co-Operation Version 4.0: AYO, Technology 13 Blues For Thirteen Moons Mountain Battles We Are The Hunters Paper Planes Somethings Just Stick In Your Mind... In The Future Earthbound Unonou Mercy Beat Sixes And Sevens Seventh Tree Here's To Being Here ■ Vapour Trails Shots Flowers Forever Live @ The Western Front Distance and Time Field Manual Last To Leave Vampire Weekend This Gift Had To Be Rip It Off Bottled Lightning Of An All Time High For Emma, Forever Ago Birds Annwn as an ex-anorexic six sicks exit- Field Manual Women As Lovers Do You Like Rock Music? Gods Of The Earth Label Secret Chy Out of This Spark Independent In The Red Cardboard Independent Constellation 4AD Out Of This Spark XL Dicristina Stair... JagJaguwar/Scratch Kemado Hook Or Crook Rough Trade Mute Arts & Crafts Crammed Discs Jagjaguwar Team Love Independent Ninja Tune Barsuk Green Door XL Matador Independent Jagjaguwar Radium Hydra Head Independent Barsuk Kill Rock Stars Rough Trade - The Social Registry Kemado Alien 8 Discorder 25 ncted by Carolyn Mark , - ® THE RAILWAY CLUB! Cameron Dilworth of The Mains circa Larissa Loyva Caleb Still of The Parlour Steps ortWaJw , Paul & Lucy of Young and Sexy Rodney Oeeroo Cameron & Charla ot Beiia Adam' Nation of The Great Outdoors Shane Nelken of The Awkward Stage 'JJj*JJUJJJMJJJJ J±UJjjU££UJJl. BMTUTmm MAY 17™ The Parlour Steps The Awkward Stage Vonnegut Dollhouse Rebekafi Higg$fromHaii?ax fOUNQipD/SEXY pi TBPARC V CD/ftPtSjTMAY 13 '§j i^ECIALLY PRICpsAOED«Xf,;ZULU & SCRATOfl ALBUM-fer-ASBrlARTY: 4 FRIDAY/MAY 23 @ WE BILTMORE ($. •ii*** o^m /. _____ >——*———-V%rf fJD uui j'jJuy TJU> jpHijinLij prismU ui JiaU Un!* Zulu, N^ unii 'Juruish (\f^OC^ftOi^ SATURDAY IViAY 24 PUB 340 with SO COW & NO BUNNY 26 May 2008 mth .ooooo,; by not jay In this time of re-invention in the music industry, there is an ongoing question of who is winning out in the battle between major and independent record labels. Shquld an artist go major or indie? Which is suffering or benefiting most from emerging technologies? What lies ahead for each and how are majors and indies dealing differently with the changes in the industry? We witness the war from both camps: BATTLING FOR THE MAJOR LABELS: SCOTT JOHNSON, BRANCH MANAGER OF WARNER MUSIC CANADA WHAT IS THE ROLE OF A MAJOR LABEL IN TODAY'S MUSIC INDUSTRY? Simple. Market, promote and sell our artists and their music. We continue to build new alliances and partnerships with companies with the goal of enablingTans to have their music wherever they want, whenever they want. Our role is to ensure we reach that goal for our artists and for their fans. DO YOU THINK MAJORS HAVE ONE-UP ON INDIES OR VICE VERSA? The majors represent 80% of the music sold in Canada. As physical sales continue to decline, major retailers are lowering their sku counts and are choosing to work with the companies who carry the products that the majority of their customers are looking for. Additionally, they look to those companies for marketing support to promote their products, usually at a cost which an independent cannot readily afford. Internationally, Warner has affiliates and licensees In over 50 countries worldwide. IS IliEGAL DOWNLOADING DESTROYING THE MUSIC INDUSTRY FROM A MAJOR LABEL PERSPECTIVE? Illegal downloading is definitely a tough subject, but most would agree that it has devalued music overall, regardless of your stance with file sharing. Artists, producers, engineers, label reps (those selling and marketing the music and the artist) all need to get paid for their craft. It is tough seeing artists living out of their cars and talented people losing their jobs and changing careers because of what is happening in this regard. I believe the revenue model will continue to evolve and more stringent controls will be put into place for file sharing, but in the meantime, as the format changes, the perception continues to be that music should be free, and that spells trouble for the artists and for music in general. BOB LEFSETZ RECENTLY STATED THAT "MAJOR LABELS MADE MUSIC FREE BY REFUSING TO AUTHORIZE NEW DISTRIBUTION TECHNOLOGIES." WHAT'S YOUR TAKE ON THIS? Bob is a colourful guy and is well known for his hard stance against the major labels, despite his involvement in the industry. That being .said I would agree that the labels as a whole did play a role in the situation that faces the industry currently. Ultimately the consumers will find a way to get what they want, and so it is up to the labels now to ensure we can deliver the goods to them. The ongoing question is, at what cost? WHY WOULD AN ARTIST WANT TO SIGN WITH A MAJOR LABEL? A major label not only has the financial backing necessary to build the brand needed to take an artist from infancy to stardom, it has the International reach that an indie simply doesn't have. AMajor label has the tools and components necessary for taking an artist from a local to a world-wide success, and can ensure the support is in place regionally, nationally and globally. WHAT DOES THE FUTURE OF THE INDUSTRY HOLD FOR MAJOR LABEL MUSIC? That's anyone's guess I suppose, and I think it is the same for all labels whether you are a major or not. The labels that are successful will be the ones who embrace and develop both the technology and the infrastructure to deliver the best music to the public, with a revenue model that allows both the artist and the company to continue to give the people what they want: great music at the best possible price. We are signing bands and including new components such as tour support and merchandising, and will be more involved with funding and supporting their business as a band. Our distribution systems will continue to evolve, and our focus will continue to be music. BATTLING FOR THE INDIE LABELS: OF BOOMPA RECORDS ROB CALDER, VICE-PRESIDENT WHAT IS THE ROLE OF AN INDIE LABEL IN TODAY'S MUSIC INDUSTRY? I think we are the only sane developers left. We take risks with the music and the artist. We tend to try to hear something special before it is tainted by the money, the machine, and the ego. We want long-term relationships with our artists, yet understand that we have our limits, and an artist can move on. We try to spend and develop responsibly. I really believe ittake seven years minimum for an artistto just "get it," to define themselves, to sacrifice and explore the possibllities.-lndies can help facilitate this process. DO YOU THINK INDIES HAVE ONE-UP ON MAJORS OR VICE VERSA? HOW SO? They are such different structures and strategies which makes it hard to compare, I think the real challenge is now going to be competing with the Majors as they become more indie. I have already noticed these changes over the past few years. I don't think the indies have a one up really. We are just more flexible and adaptable. One major head of a corporate company once told me that it would take him 5-10 years to change the structure and message of his company. That is just slow and bulky—we are quicker and more adaptable. IS ILLEGAL DOWNLOADING DESTROYING THE MUSIC INDUSTRY FROM AN INDIE LABEL PERSPECTIVE? No, not really, it is truly creating a massive challenge to engage the fan and keep them respecting the craft, the art, and the power of the music. It is a combination of being more aware of what is going on from a consumption level with your artists' fans, and trying to create more value for them, using all of the information that you have. For example, if you figure out how many illegal downloads are happening in Chicago— and It is a lot—you need to help your band get there to play and sell some vinyl or CDs or t-shirts or bottle openers. BOB LEFSETZ RECENTLY STATED THAT "MAJOR LABELS MADE MUSIC FREE BY REFUSING TO AUTHORIZE NEW DISTRIBUTION TECHNOLOGIES." WHAT'S YOUR TAKE ON THIS? Bob is great but I stopped subscribing a while ago because I think he loses the plot sometimes. The music became free because the distribution systems and new technologies were better, more convenient and easier. You could sit at home and browse, listen, download, share, discover. I don't feel like blaming or pointing fingers at the Majors.. They didn't cause anything. The fans and users made music free—it was their choice. WHY WOULD AN ARTIST WANT TO SIGN WITH AN INDIE LABEL? Flexibility, creativity, aesthetic, friendship. A lot of bands like the roster of artists on a particular label, or they might have a direct connection to the community that surrounds a label. Indies should be treated like your mom's lasagna or chocolate chip cookies. We are warm and comforting—or something like that... WHAT DOES THE FUTURE OF THE INDUSTRY HOLD FOR INDIE MUSIC? Weneed to hold on to our role In putting out challenging music and art. Some of it will rise up to the top, some will hold fast with steady and lengthy careers, and some bass players will quit or sleep with the lead singer's girlfriend. In many ways, it-Is so unpredictable that you need to let go of the analysis and do what seems natural and truly comes from the artists. Then the line up at the show will be around the corner, the orders for product will start coming in and things just work. That has always been the indies' roll. ~ Discorder $17 MAY ALL YOUR DREAMS COME TRUE WITH ZULU NO AGE Nouns CD Zulu faves No Age return with their Sub Pop debut! Nouns is succinctly all passing, from the faux-simplicity of the tit to the beautiful distortion of its sound, to the packaging that includes a 68-pa; book packet) with photos and art pieces. The record opens with a symphony of nose (both Dean and Randy use samples alongside their main instruments) and sometimes creeps, sometimes smashes through a sonic headlock befitting Baidroiwi Nation-era Sonic Youth, Kiwi pop, My Bloody Valentine, and experimental noise. There's bit of an art-punk rennaissance in LA. right now and No Age are right in the middle of it. Don't miss out on one ol the year's most exciting albums. AVAILABLE MAY 6m CD 14.98 BORIS Smile CD Boris is not a sorely underappreciated or sadly overlooked group anymore. Thanks , in large part to critics' fondness for Pink in 2005-06. the Japanese rock giants finally 0 gained more than a faithful following in Norm America for their brutal take on drone and psychedelic rock. This is a band that has been steadily releasing sterling material since their inception in 1992, and it feels like they've covered every aspect of stoner-rock and doom-metal and Jap-psych and on and on and on over 17,18 albums... But never before has anticipation been as palpable as It is now. Smile is more of the same, but only in the loosest sense; this is a grower with shades of sludge, shades of punk and, perhaps most strangely, shades of pop. It's the closest Boris has come to combining rts three artistic directions on one release. This is Boris as deliciousiy schizophrenic and ambitious as they've ever * BBSS. 'JujjroWt leave the earplugs behind. AVAILABLE MAY 1st CD 14.98 BRIAN JONESTOWN MASSACRE My Bloody Underground CD I'M t#» four-years since that documentary rocketed him to infamy, Anton Newcombe hasn't made many moves to belie director Ondi Timoner s portrayal of a self-sabotaging Colonel Kurtz-styled maverick, turning his band into an almost-endlessly touring gong show that s made a couple Vancouver stops that either pissed everyone off or gave everybody what they wtmsfj (one and the same thing, really). So. further complicating that legacy, the new BJM (notably including Ride's Marie Gardener) delivers an expectation-defying album ol hallucino- genically lo-fidelity speaker-blowers, broken up with drunken stabs at avant-classical piano interludes and Revolution Number 9"-style sound collages. Its another schizophrenic disc, but the rewards are undeniable: much as previous incarnations of BJMbhave effortlessly projected the spirit of The Byrds, Dylan and the Stones, this particular version WalkSfialks and breathes the aesthetic of its influences (more hevily- WigWe^fowards shoegaze fuzz than drug-addled mod this time around) with a satisfying level of grit and c< endlessly interesting conversation piece. CD 14.98 CONSTANTINES Kensington Heights CD As the biggest thing to ever come out of Guelph. Ontario, the Constantines' matu- ' ration into Canada's apocalyptic poet laureates of hard work and commitment has been particularly gratifying. Their early albums were too glibly tagged as Springsteen- meets-Fugazi, but with 2005's Tournament of Hearts, the music turned into someming'.)Bei8htier, brawnier, and more satisfying as frontman Bry Webb hit his stride, growling about growing up and working full- time. New songs like Time Can Be Overcome' or Trans Canada" possess the kind of muscularity that makes the Constantines more punk- fnflected songs so exciting,' but also the tendemejsfthat shades their more ostensiblygenUe mrlmrtfs. Jt^W^f makes them one of the few Next Big Things with staying power, arid the'Way I walks that delicate line with aplomb makes it the band'; CD 14.98 MATMOS Supreme Balloon CD The new album from Matmos finds the dynamic duo takings holiday from conceptual responsibility, skipping the outre sampling antics in favor of a lighthearted "cosmic pop" record made entirely out of synthesizers. Leave it to Matmos to invent a hard and fast rule that they hava to follow even when they're just having fun: the creative restriction fJilstlme an&mcFtethat" - Supreme Balloon is an ALL synthesizer album and no microphones were used at any point. That's right no household objects played in a percussive ■ manner, no snails or blood or amplified semen, no acoustic instruments, no voices of famous people for five seconds, not even any half-way cheating with Vocoders, just synthesizers of all shapes, sizes, eras and nationalities being snipped, folded and reshuffled by an arsenal of samplers and computers into colorful sound-origami. Though it was recorded all over tbe world over the last two years, the whole shebang was finished in Baltimore, Maryland (the band's new home, at least as long as Drew Daniel is a professor in the English DepartmentatJohns Hopkins University), and comes encased in some truly gorgeous watercolor artwork by Robert Syrett AVAILABLE MAY 6™ CD 12.98 THE LAST SHADOW PUPPETS The Age Of Understatement CD "The Last Shadow Puppets are Alex Turner I (from Arctic Monkeys) and Miles Kane (frc The Rascals). Firm friends ever since Arctic Monkeys toured with I previous group, The Uttle Flames, the pair were so inspired by listening to the likes of Scott Walker, early Bowie and David Axelrod, that they hatched a plan. The result, The Age Of The Understatement, is an album of 12 full- blooded songs, bold and brassy, full of drama, wit and melody, that source-, the past but avoid falling into pastiche. Both Miles and Alex are 22, and this is a youthful record, full of life and the sheer pleasure of music making. The Last Shadow Puppets recorded the songs at Black Box studios near Nantes, France in two weeks during the summer of 2007, with, producer and drummer Jams Ford. The band then approached Final Fantasy's Owen Pallett to arrange and conduct the orchestration of the tracks, which were recorded by the 22 piece London MetropoiaaiSrchestra at British Grove studios in London over Christmas. AVAILABLE MAY 6"1 CD 14.98 THE LONG BLONDES Couples CD What's in a name? A lot. in the case of the second Long: Blondes LP. The title, you'see, gives the game away completely: since 2006s debut album Someone To Orive Yon Home, you see, the two couples in the band have split up, ■ while singer Kate Jackson has started dating their ex-tour manager after her previou&*fcng-distance relationship ended. Hence the quotation marks around the title. That said, it's lyrical ground they've trodden before. A lot of songs g/ffleir first album dealt in similar currency, and the real new here isn't a Himaflc; revolution but a musical one: led by producer Errol Alkan, The Long Blondes have orchestrated a slick collision of floor- filling, big-chorus indie-pop with ihe new school of disco. The result is as "* close to Italians Do It Better acts Hke The Chromatics as it is to Blondie: Where they go from here is anybody's guess but with Couples they've managed to turn two years of inter-band heartache into an ambitious, forward- • thinking pop record that tops their debut by quite some distance. AVAILABLE MAY 6"' CD 12.98 ATMOSPHERE When Ufe Gives You Lemons, You Paint that Slit Gold LTD. CD The prolific duo of Slug and Ant offer their sixth studio album, presenting their storytelling, songwriting, and musicality at its finest. Limited deluxe edition (25,000), packaged as a 40-page, gold-embossed hardcover book featuring an illustrated children's story written by Slug. This time around, Slug is coming with ajpfly different approach from the sharp-witted misanthropy that's charactejpierj AtmoSpherialbums for most of his career. As the title suggests," the|P more optimism'in the mix and the album's main theme is Slag's drivej^be a good father (hence the kids' book). Bonus DVD i footage and extras. EL PERRO DEL MAR From the Valley to the Stars CD Two years after the grand. Spector-esque flourishes of I the debut, From The Valley To The Stars sees Sarah Assuring (aka El.Perro del Mar) strip away the layers to reveal a stately simplicity and an album with an underlying theme — a personal reflection on the idea of heaven. Sarah explains, "I wanted to make something as unfashionable as an album in the classic sense of the word — in terms of its composition and the idea of a theme. In the same way that 'folk music' works I wanted to make something timeless, that in its character might appear- like a collection of hymns or psalms, but in a pop costume". Recorded at home by Sarah with assistance from members of the Gothenburg Symphony Orchestra the result is an album that like, say, Robert Wyatt's Rock Bottom or Virginia Astiey's From Gardens Where We Feel Secure, creates its own universe, a wonderment for the CD 14.98 ANIMAL COLLECTIVE Water Curses CDEP This fantastic EP features four unreleased songs from the Wavelab session that spawned last year's clebrated | Strawberry Jam. but rather than b-sides or studio floor cuttings, Water Curses is another one of the fully-realized I between-album teasers that Animal CoUective do so well. Highly reminiscsljtof the excllent Prospect Hummer EP they recorded with Vashti Bunyan, these songs represent the band at their mellowest and most playful, balancing sonic experiment with breezy accesibility in a way that few (if any) other bands can manage. From the frothy bossa swing of the title track to the creeping chorus of Cobwebs", Water Curses is sure to delight every variety of AC fan. CDEP 7.98 YOUNG AND SEXY The Arc CD/LP Local ensemble Young And Sexy have returned with a set of songs destined to appeal to the true music love a listener who, in this digital age of restlessness, is willing I to spin a record in its entirety and take the time to enjoy a complex and rewarding audio experience. These eleven new songs wield the rare gift of both artful experimentation and strong melodic invention. The Arc is full of classical, baroque pop and prog rock influences. Songs move from one movement to another cradling lyrics that focus on medieval and pagan inagery and a touch of spWtoalfern. Recorded and produced at The Hive Studios in Vancouver by Colin Stewart (Black Mountain, Cave Singers, ladyhawk. Swan Lake) The Arc fits securely into Young And Sexy s ever- changing musical canon. AVAILABLE MAY 13*1 CD 12.98 THE INCOMING DREAM! The Sword- Gods of the Earth (Kemado] Krtfrienos (Last Bang] Acid Mothers Temple and the MeKing Paraiso The Kooks -Konk[AsbahWHksJ [North D.F.O. - M83- Saturdays = Youth [MuteJ Auburn Lull - Begin Civit Twilitfrt Jtterla] Portishead-Third [Island] Boredoms -Super Roots 9 [Thrill Joekeyl yampire Weekend- "A-PurT/'lhtord Corona'' Clinic-Do tt [Domino] (rehearsal verskm)r (XL) Cut Copy -mehost Colours [Modular] Billy Bragg -Mr. Love & Justice [Anti-] Eric Avery -Help Wanted [TJangerbfrd] The Cinematic Orchestra- Uve at the Royal Fleet Foxes -Sun Giant EPfSub Pop] Aftert Hall [Domino] Foars-Antidotes [Sub Pop] [North American _*m-_ TheSeldom Seen Kid [Ftetton/Geffen] LTD. CD 14.98 -SYR7{SYR) Thalia Mak Band - liars and Prayers [Thrill Shout Out Louds - Impossible EP [Merge] S«r«oneSflliU««sYouBorteYe«sln- 1l*1bi-*riilil»IIWi**|l PersrwBlPolyv&ryll ■'^r^B^VIj^matmi* Spoon -Donl You Evan (single) [Merge] Creek) |lr*^ielease] TheeOhSees-The Master's Bedroom Is Worth Oo»llaBdC*W-UBblUgM8&^ Spending a NigM In rjoinlabl JaedeUM- JknfJKarp] Wye Oak-ri Children [Merge] Air - Moon Safari: 10th Anrwersary Edition - Bubble and Scrape reissue [Dommol Christopher Bissonnette -In Between Words JUKrefeaseJ *>-\?-y"'. JKranky] Vetiver- Thing of the Past [pi ZULU ART NEWS: MAY 1-31 Face the Music II Portraits of Musicians by Mark Mushet Zulu Records 1972-1976 W 4th Ave Vancouver, BC tel 604.738.3232 www.zulurecords.com STORE HOURS
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2008-05-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2008-05-01 |
Extent | 28 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2008_05 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | b8d68b08-ade7-4fe3-84fe-db6b0ad74f82 |
DOI | 10.14288/1.0049981 |
AggregatedSourceRepository | CONTENTdm |
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