Discorder CITR-FM (Radio station : Vancouver, B.C.) 2006-11-01

Item Metadata


JSON: discorder-1.0049992.json
JSON-LD: discorder-1.0049992-ld.json
RDF/XML (Pretty): discorder-1.0049992-rdf.xml
RDF/JSON: discorder-1.0049992-rdf.json
Turtle: discorder-1.0049992-turtle.txt
N-Triples: discorder-1.0049992-rdf-ntriples.txt
Original Record: discorder-1.0049992-source.json
Full Text

Full Text

 hi§ .cot&i&dl
November 2006
That bobmshakalaka magazine from CITR 101.9 FM VANCOUVER'S #1 NIGHTCLUB
Mint Records, White Whale Redords, Boompa Records,
Sound Document, Scratch Records, Chop Shop Hair Co.,
Preloved Clothing, and Urban Empire
_____  I WNCWEEKENDtr.
Hip Hop - R&B - Reggae *
J SWING - FLIPOUT  highballs
_:.. ji
80's & 90's Alternative Classics - British - New Rock - Dance
$3 HIGHBALLS - $4 CANADIAN     't__WL_t
Thursday, November 9th
~Wr"0J~Z     Thursday, November 23rd
i%w      BC/DC Wor,d's#ltributeban
Thursday, November 16th
..dimWmk?      NERVE MAGAZINE
wJt4 wt    festival of guns
Thursday, November 30th
Official CD release party
Free CD with paid cover charge!
Top 40 - R&B - Hip Hop - Dance - Old Skool
ays    &DJDAVE
Top 40 - R&B - Hip Hop - Dance
Get on the guest lift at www.plasaclub.net
Get ©ii the VIP/Guest list + Event/Party/Fundraiser bookings
■ «®cor2>@9t
David Ravensbergen
Art Director
Will Brown
Ad Manager
Catherine Rana
RLA Editor
Danny McCash
Review Manager
Jordie Sparkle
Layout & Design
Will Brown
Alanna Scott
Production Team
Will Brown
David Fernig
Natalie Garcia
Robin Hawkins
Arthur Krumins
David Ravensbergen
Alanna Scott
Graeme Worthy
Agata Zurek
Photo & Illustration
Will Brown
Jack Dylan
Sarah Frances Hammond
Marielle Kho
Dory Kornfeld
Sarah Kramer
Nicole Ondre
Laura Russell
Alanna Scott
Katherine Somody
Brock Thiessen
Jason Trill k
Frank Yang
Luke Meat
Richard Chapman
US Distribution
Frankie Rumbletone
Student Radio Society
of UBC
The Gentle Art of Editing
'David Ravensbergen
Cinema Aspirant
Allan Maclnnis
r    Strut, Fret and Flicker
Penelope Mulligan
Spectres of Discord               •„ v^v*t«0
David Ravensbergen
Pop Montreal
Riff Rail
Bryce Dunn
Textually Active
Canzine West'
Nicole Ondre
Real Live Action
Under Review
CiTR Charts
The Dopest Hits of October 2006
Program Guide
Pop Montreal
Our correspondents regale with memoirs
of Montreal, and there's not an accent
aigue in site, iw 10
Margaret Thrasher Won't
Be Our Friend
Local punks rage against the myspace
machine in tiny shorts.  MT 17
Monkey Warfare, Direct
Action, Bicycles and Ebay
The exploits of the Squamish Five reconsidered
through the lens of director Reg Harkema. MP 20
Halfway To A Threeway
Swan Lake stays humble. A phone call and an
email exchange: 1.5 interviews is half of 3.   MP 25
Illuminated By The Light
Svenonius is hard to spell just like Ahmadinejad.
They both don't think the United States is a very
good place to be.  MP 26
Eventual Juxtaposition: College-Quality
Music vs Quality College Music mt 32
Cover Photography
by Frank Yang
©DiSCORDER 2006 by the Student Radio Society of the University of British Columbia. All rights-
reserved. Circulation 10,000. Subscriptions, payable in advance, to Canadian residents are $15 for one
year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage).
Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deadline for
the Decembuary /Jancember issue is November 20th. Ad space is available until November 21st and can
be booked by calling 604.822.3017 ext 3 or emailing discorder.adverusing@gmail.com. Our rates are
available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited
manuscripts, unsolicited artwork (including but not limited to drawings, photographs, and transparencies),
or any other unsolicited material. Material can be submitted on disc or In type or via email. As always,
English is preferred, but we will accept French. Actually, we won't. Sepd wojcdstodJ|scordered@gmaiI.com
and art to discorderart@gmail.com. From UBC to Langley and Squamish to Bellingham, CiTR can be heard
at 101.9 FM as well as through all major cable systems in the Lower Mainland, exceptShawin White Rock.
Call the CiTRDJ line at 822.2487, our office at 822.3017, or our news and sports lines at 822.3017 ext. 2.
Fax us at 822.9 364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at www.citr.ca or just pick
, up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T1Z1, CANADA.
the Gentle Art of Editing
Writing the editorial feels a little different
this month. Maybe it's because I've returned
victorious from a week of Francophone decadence,
and the re-adjustment to life in sleepy Vancouver
is taking a little longer than expected. It could be
a result of my significant other's recent acquisition
of the prefix, 'in', and the subsequent emotional
turmoil. But that's not quite it. It's got to be my
work stance—facing due north where once I gazed
east. Earlier this month, in a fit of dissatisfaction
with the long, straight countertop-style layout
that's ruled this office since time immemorial, we
removed screws and tore planks to create a sleek,
perpendicular design. With the bonus addition of
two slices of new RAM, Discorder feels reorganized
and rejuvenated, ready to take on the long gloom
of November.
The makeover continues with this month's
"cover, the first live shot featured in a long while.
The red, ponderous woman that convinced-you to
pick up this magazine is Henriette Sennenvaldt,
lead singer of Danish band Under Byen. Her
understated presence and captivating vocals
crowned the band's opening set for Joanna
Newsom at Pop Montreal, and the cover photo
comes to us cloaked in mystery from their second
appearance at the festival. Speaking of Pop, this
month's festival coverage is unique in its avoidance
of the word 'retrospective'. By all means, enjoy our
memories, impressions and musings from the early
days of October—we just won't ask you to look
Looking forward, I must say that I found
Douglas Rushkoff's column in the latest issue
of Arthur to be an inspiring call to shake off
the shackles of politeness and start calling
uncomfortable political developments by their
true names. He rightly explains that material
comfort and relative stability are impediments to
meaningful political action, but that doesn't mean
we have to keep telling ourselves little fables about
the efficacy and nobility of democracy. Well, I may
be ready to say "civil War", but I'm not totally on
board with "fascism"—yet. Perhaps I just need an
improved understanding of history, as legendary
punk intellectual Ian Svenonius advocates in this
month's interview about his recently released
collection of essays, The Psychic Soviet. If you're
ready to skip straight to more Direct Action, turn
to page 20 for a discussion of the Squamish Five
with filmmaker Reg Harkema.
That's it for this month. Time to wrap this
little bundle up tight and ship it off to the printers
with love. «k
David Ravensbergen, Editor
Red Cat Records
4307 Main St.
New & Used CDs & Vinyl
ph. 708-9422 * email buddy«redeat.<sa
bring in your Friend of Discorder card and receive 20% off CiTR 101.9 FM presents... the longest running music battle in Vancouver
Huge Manatease
Bionic Owls
Fond of Tigers
14th     —" .   ^
The Choir Practice     7<s
I It's A Living Thing        %
The Pack
Organ Trail
28th    Oct 24th Winner $
Oct 31st Winner
Nov 7th Winner
Everu Tuesday nigkt, stows at 9 PM
The Railway Club (Sey mour/Dunsmuhr)
* Bands subject to change.
For the latest schedules and results, visit:
Music Week
Allan Maclnnis
The Berrigan Brothers,
the Vietnam War, and
Models of Resistance
"If you want to follow fesus, you had better look good on
vmiad." —Daniel Berrigan
Sunshine Coast
artist and anarchist
Maurice Spira has
little use for religion,
saying that even the
compost in his garden has "a cosmology
and a deeper meaning about transitional
form in life that is so
much more profound
than your ridiculous,
imaginary supposed deities and their dreadfully psychotic trips that they pull." In an interview with him
earlier this year, I argued that both religion and the
concept of the sacred can have value, and that he'd
thrown the baby out with the bathwater. To show
he'd considered the idea, he acknowledged that radical priests in Latin. America and the Berrigan brothers
had done good things in the name of their God, but
were, by far, the exception. I'd read about liberation
theology, but the reference to the Berrigans eluded me.
The fact that, given his hostility toward religion, Spira
actually respected what they stood for prompted me to
do some research.
Philip and Daniel Berrigan were Catholic priests
who, in the 1950s and 60s, grew increasingly disgusted
with the compromised conservatism of the church,
and its remove from the lives of the poor that it purported to help. They sought a model of Christianity
that allowed them to actively engage in providing social
and economic justice for their wards, and to protest
against racism and the killing of peasants, women, and
children in'Vietnam and elsewhere. -Their increasing
radicalization culminated in- a demonstration where
Philip Berrigan, as part of the Baltimore Four, poured
blood—including some of his own—on Selective Service
records, saying, "This sacrificial'and constructive act
is meant to protest the pitiful waste of American and
Vietnamese blood in Indochina." Following Christ's, direction to not be afraid of the cross, the four peacefully
awaited their arrest, handing out Bibles to onlookers.
While Philip was out on bail for this "crime," Philip,
Daniel, and a group of anti-war activists concocted a
batch of homemade napalm and set fire to 378 draft
records at Catonsville, Maryland. Both men ended
up on the FBI's Ten Most Wanted Fugitives list and
eventually served time in prison. After their release,
they remained true to their vision of a life after Christ,!
often to the horror and embarrassment of the church
and wrath of the state. Philip died in 2002, but Daniel
Berrigan remains active in the anti-war movement, appearing in Rush to War, a 2004 film about Iraq.
There are four other remarkable movies that feature
one or both of the Berrigans, or were inspired by their
works. Unfortunately, the most significant of these
are very hard to find, only ever having been released
on VHS. The Trial of the Catonsville Nine is based on
Berrigan's play; unselfconsciously stagey, it allows the
defendants at Catonsville to explain how their action,
while criminal; was a profoundly moral act. It's an inspiring and very well acted film that raises questions
of how far activism can go, and features Peter Strauss;
John Vemon, and Donald Moffat (the guy who doesn't
want to spend the whole winter tied to a fucking couch
in John Carpenter's The Thing}. Similarly, fti the King of
Prussia, which stars the Berrigans as themselves, deals
with their involvement in the Plowshares Movement,
which saw the priests and their cohorts invading missile plants to hammer on warheads or pour blood on
In the King of Prussia was directed by controversial documentarian Emile de Antonio. Another of his
films featuring Daniel Berrigan is available on DVD:
In the Year of the Pig, about the Vietnam War. Berrigan
speaks about apeacemissionhe undertook with historian Howard Zinn, going into North Vietnam against
the protests of the US government to negotiate the
safe return of three captive pilots, for which J. Edgar
Hoover labelled them "traitors." Though the scope of
the documentary is much larger than Berrigan's scene,
it's essential viewing, along with Hearts and Minds and;
Winter Soldier, for anyone interested in Vietnam. De
Antonio's engaged documentaries are often described
as antecedents for the filmmaking of Michael Moore,
but unlike Moore, De Antonio is relatively careful and
scrupulously well-researched.
A more conventional Hollywood movie featuring
Daniel Berrigan in an acting role is Roland Joffe's
1986 film The Mission, starring Robert de Niro and
Jeremy Irons. (The novel and screenplay for the film
were written by Robert Bolt, who wrote A Man for M
Seasons, about the martyrdom of St. Thomas More). A
spectacular period piece, it's quite moving, and true to.
the spirit of Berrigan's work, involves Jesuit priests in
18 Century South America defending a remote tribe
against enslavement by the Portuguese. Berrigan plays
Two minor side-notes: though the left applauds
the Berrigans' anti-war activism, both were also, less
famously, involved in protests against abortion, which
may not win them fans in all camps. Finally, if Ann
Hansen's book Direct Action is any indication, Philip
Berrigan may well be the inspiration of an infamous
bit of graffiti on Commercial Drive, "Jail the Real
Terrorists, Litton, BC Hydro, Red Hot Video," a slogan that existed for years after the so-called Squamish
Five were arrested. (Philip Berrigan is paraphrased by
Hansen on page 275 as making a similar statement,
though he goes on to say that "bombs should not
be a strategy of non-violence," for reasons that are
somewhat obvious). Those interested in this topic are
further directed to my interview with filmmaker Reg
Harkema elsewhere in this issue, on his upcoming feature, Monkey Warfare. J)
4    November 2006 x£___7
Penelope Mulligan
Aelita, Queen of Mars
The Film Festival only wrapped a fortnight ago and the Cinematheque
is already wooing us back into the dark with an extraordinary collection of
cellluloid dreams. Touring selected art houses in North America, From the
Tsars to the Stars: A Journey Through Russian Fantastik Cinema is impressively curated—not least in respect to its historical sprawl. Hitting nearly
every decade from cinema's earliest days to the present (only the 1940s
and, curiously, the 1990s are not represented), the films flicker away in a
world parallel to the social and political upheavals that have defined Russia.
for the last century. The series' appeal is just as broad: sci-fi buffs, fantasy
freaks, lovers of silent movies, those who enjoy Soviet kitsch, space travel
archivists and people who breath heavily over decor and costume—there
are points of entry for them all, often within the same film.
Unlike a lot of Eastern European fare from the 1970s and 80s, the films
in this series weren't censored on home turf. Some of the most innovative science fiction pieces,-for example, were victims of the Cold War and
received little or no distribution in the west, even though they reputedly
blow most American product, from the era clean out of the galaxy. (As
early as 1936, Cosmit Voyage had set the bar for celluloid space travel.)
And if you thought that Hollywood's vultures have only been active in the
last decade or so of eurofilm re-makes, take a look at 1959's The Heavens
Call and 1961's Planet of Storms for evidence of some serious plagiarism.
Certain well-known American directors even bought the films and turned
them into spare parts depots for their own work.
As with German Expressionist film, the silent offerings In the package
reflect their era's major movements in modern art. Aelita, Queen of Mars
promises to be especially luscious in this regard. The 1924 extravaganza
features constructivist sets and cubist costumes vying for attention with
a plot that sounds wonderfully camp and, in retrospect, satirical (a Red
Army soldier tries to start a workers' revolution on Mars).
Only one piece shows up from the brief period immediately prior to
Soviet collapse, when a restless combination of psychological anarchy and
Eastbloc magic realism started appearing in films and literature. Zero City
(1988) sounds heavier on the comedy than much of that era's output,
but echoes of Bunuel and Kafka should keep it dark enough to reflect its
time and place.
On the contemporary front, there are chances to see what's been
packing them into Russia's multiiplexes as well as to contemplate what
your hipster counterparts have embraced as homegrown cult film. A stylish example of the latter is To the Stars by Hard Ways, an interplanetary
drama with a strong environmental—and anti-corporate—message. (What
you'll be seeing here is the 2001 restored version of the 1981 original.)
Its heroine, looking like the impeccably cool frontwoman for a German
industrial band, is actually a humanoid from a dying planet who petitions
earth for help (as if we knew any better). Unlike most aliens and androids
from western sci-fi, the Russian versions have a soulful quality that's quite
emotionally engaging. Best line? A statement from the end credits: "All
footage of the dying planet Dessa was shot on planet earth."
Amid the relative obscurities in the series are two films which have
had major international exposure since release. Both directed by Andrei
Tarkovsky, they are essential inclusions because of their iconic status in
the fantasy genre and a big screen revisit will be most welcome. Solaris
(1972) is possibly the most poignant science fiction film ever made and
as much a journey into the psyche as into space. It also does some crucial
things with the. concept of ghosts. And if you profess to be a film buff,
but haven't yet seen 1979's Stalker, then your time is up, babe. Don't arrive sleep-deprived or hungry, as you'll need a raging alertness to make
it through the mind-bending, at times exhausing landscape aheacL, The
rewards are great—among them, images that will take up residence in your
head like a bevy of prophetic nutters.
With a total of 14 features and two shorts on the programme, the fore-'
going is only half the story. Consult the programme guide for full details.
From the Tsars to the Stars: A Journey Through Russian Fantastik
Cinema ploys the Pacific Cinematheque froi
and times, phone 604-688-3456 or visit ww
i 1- 22 November.  For dates
r.cinematheque.bc.ca.    ^
J by David Ravensbergen
Surrey In Effect
Vv^lii-Y CHAMP
On a recent trip to Vancouver Island, I loitered by the tourism brochures as I waited for the ferry to dock. Glancing over the usual invitations
to sail with the orcas or get scared on the suspension bridge, my attention
fell on a brightly-coloured little pamphlet with an unbelievable slogan.
"It's alright here in Surrey" went the pitch, likely to attract only the most
discerning of suburban explorers. It seems the spin doctors in the City of
Parks ran out of ideas, and have resorted to plain, unapologetic honesty. "I
mean, it's okay here, if you're into endless grids of identical houses, strip
malls and one of the highest auto-crime rates hi North America, but it's
nothing too special."
Before launching the campaign, Surrey's top brass should've consulted,
page 14 of the November '88 issue of Discorder, which features a lovely
article entitled "I Live in Surrey By Force". The writer details an ingenuous marketing contest called "88 Great Things About Surrey", masterfully named to coincide with the date. Sweetened with a $2500 prize, the
contest wasn't actually a contest at all—rather, it was a random payout to
whoever could summon anything nice to say about the city. "In typically
well-thought-out Surrey fashion, not only did the entry forms have only
20 blanks to fill in, but the quantity and quality of one's Great Things had
no bearing whatsoever on one's chances of winning. It was a DRAW. Pure
dumb luck." Something tells me that Surrey's newly updated tourist lure
wasn't the product of deliberate choice either.
Lamenting a squandered chance for easy money, the Discorder malcontent attempted to summon a few decent things that could've been featured
on the contest form. "For one, you can still walk around in Surrey with
Skinny Puppy hair and freak people out. Time-warp city. In Surrey people
still keep combs at a visible position in the back pocket of their jeans. No
matter that the jeans are acid-wash; some things never change." I might
replace the word 'combs' with 'guns', but then again I've always been a bit
November 1988
of an alarmist In some magical pockets of Whalley, though, the acid
wash remains the same.
So what was the Great Thing that took all the marbles back in
'88? "All the friendly people." This didn't sit too well with our writer,
who snidely asserted, "I'll keep that in mind the next time I'm getting
my head kicked in at Whalley Exchange." I think that's going a little
far; folks ain't all bad in Surrey. They're just alright,   v RUMBLETONE PRESENTS
)m5m       \r   me,
and the VENUS 3
I&ibvmiss CHAPS
NOV. 26
the m im
"How They Hy"
"24 Hour Charlie"
VIEWS Soundtrack
MicHim mmmn
¥10111 AtCHltS
ronnie mtw
mmm wedding iano
Contribute to Discorder!
Write a story!
Review a show!
Review an album!
Draw a picture!
Take a photo!
Find out more by sending us an email!
Words & Letters io- discordered@gmail.com
Art & Photos lo- discorderart@gmail.com
6     November 2006 * 1 •
IT    a»i AiiniDl C AMRI P
by David Ravensbergen
Whether you've got an aciual destination or not, a road trip is really just an excuse to cozy up behind the wheel and listen to some
albums. As the miles go rolling by, the music becomes like a second landscape, an extra dimension of the journey. Once you've returned home,
your exploits complete and a regular routine resumed, bearing a song
from your trip can conjure up dormant memories, returning you to along
lost head-space. While I didn't exactly have a mix playing with me on a
boombox during my recent trip to Montreal, these songs comprised part
of the experience, and still hold the power to whisk me away from work
and press deadlines back to Canada's fairest city.
1. Rufus Wainwright - Oh What a World
I can't get on a plane without listening to this song. It's the perfect
sing-a-long while you're packing your bags, and makes you feel like the
lead character in a Broadway musical. Play this one loud and puff up
your chest with anticipation.
2. Mr. Scruff - Ug / DJ Vadim t_ Motion Man - The Terrorist
My first night in town unexpectedly featured a Ninja Tune staff party
at Casa del Popolo. The DJ-worshipping crowd took me back to my teenage years, when I obsessively rocked their downtempo beats in my headphones all year round. This track, taken from DJ Food & DK's Now.tistenl
album in the Solid Steel series, provides a hilarious update on Mr. Scruff's
classic dance-floor banger. Motion Man's declaration, "I am the terrorist!
T-E-R-R-O-R-IST!" is not to be played in airports.
3. Pop Levi - Mournin' Eight
Naman, one of my gracious hosts in Montreal, currently works as an
intern at Ninja Tune, where he goes once a week to peel stickers and perform various sweatshop music industry tasks. He's been involved in Ninja
Tone's promotional drive for one of their recent signs. Pop Levi, and immediately started ranting about him as soon as I arrived. After staring at
Mr. Levi's face on posters all over the city, I finally saw him play towards
the end of Pop. Aside from being impressed by his tight pants, I haven't
yet made up my mind on his British rock god moves. This song sounds
like Iggy Pop.
4. Grizzly Bear - Plans
This album was in heavy rotation for me just before I hopped the i
plane, and this song's dripping plod makes for a good travel companion.
The lyric, "it's a long way to South America" could be a reminder to my
friend Dawson, who finds himself in the unfortunate position of studying
Spanish in a town that actively pushes French in your face. Also, "every
option I have costs more than I've got" speaks to Ethan, my other apartment-host, whose journey through the kitchens of Montreal carries with
it the heavy odour of George Orwell's Down and Out in Paris and London.
5. Do Make Say Think - Fredericia
Being in the home of Constellation records pretty much demands that
I include some Montreal post-rock here. This song used to give me the
chills, but I've heard the rise and fall a few too many times now. Still, it
reminds that much good is contained in the crescendo.
6. Spank Rock - Bump
Montreal makes you feel like you need new clothes just to go shopping.
When I ventured out to the boutiques to update my wardrobe, this song
followed me wherever I went. The lyrics are a little too racy for my tastes,
but'the simple, stuttering beat and the 8-bit synth wash just kills me.
7. Holy Fuck - Tune Bank Jungle
This was one band that I desperately wanted to see live at Pop, but it
was not meant to be. I'll have to settle for this pounding instrumental,
that sounds pleasantly like the theme from Peter Gunn.
8. Professor Murder - Free Stress Test
Synthesizer, meet cowbell. Together you will join forces with Professor
Murder's patented "nonsense vocals" to create a righteous dance party.
Check out Ihe brief interview a few pages down to learn more.
9. Dragonette -1 Get Around
It bothered me to listen to this song, because I knew that it would never be this good again. I knew that if I played it again it would get lodged
deeper in my brain, and it would start down the path to hate that I have
trod with all my favourite songs. I despise what this song does to me, how
it makes me vulnerable to the kind of jabs I'm going to receive from people
who are going to look at me and say, "yeah, it's ok, but it's really not that
good." But it is that good, right now at least.
10. Think About life - Paid Cries
This band features Montreal experimentalist Dishwasher, who by all
indications makes music with a vacuum cleaner. And they cite Michael
Jordan and Magic Johnson as major influences. Dissonant keyboards and
childish vocals show these fellows have indeed thought about life, and
they've decided it's fun and worth hollering about. And making techy hi-
hat noises about Somehow their sing-talk harmonies make me feel like
everything is going to be okay, even when the vacation ends.
11. Woodie Guthrie - Rye Whiskey
"Rye whiskey, rye whiskey, rye whiskey I crave, if I don't get rye whiskey
I'll go to my grave." Whiskey was the Pop Montreal drink of choice, following me from show to show in a paper bag in my back pocket. Woodie is
the obvious influence on so many of the boys with guitars playing around
town, and he kept me company on a lovely drive through the maples outside the city in the Eastern Townships.
12. Patrick Watson • Luscious Life
Waiting in line for my free drinks at the Pop launch party, a snooty
journalist from Musique Plus budged in front of me. When she condescended to engage me in conversation, she made sure I knew that she'd
just interviewed "P-Wat". I nodded and swallowed, like I understood. It
turns out Patrick Watson is the big name in town, and he sounds like the
second coming of Jeff Buckley on this track.
13. Joanna Newsom - Sawdust & Diamonds
Joanna's narrative in this song reminds me of the tragedy of the crossroads, of all the possible futures that are killed when a particular path is
chosen. Her warble is pensive but never melodramatic, and the soothing
rush of the harp gives voice to forgotten regrets and desires. This song has
taken up permanent residence in my head since! saw it performed live at
the Ukrainian Federation, and I don't expect it to leave anytime soon."
14. Beach House • Saltwater
The opening track to these Carpark nostalgists'self-titled debut closes
the proceedings. The warm distortion of the organ and the decaying beat
form a safe little enclosure to hole up in, before venturing out once more
to be battered by the world. Unbeknownst to me at the time, the end of
the trip also signaled the Impending end of a relationship, and the refrain
"Love you all the time, even though you're not mine" seems particularly
fitting now. S
Bryce Dunn
Doesn't happen very often that
I get sent stuff for review, let alone
from an actual label, so colour me
surprised when I received a package from What's Your Rupture?
Records, an upstart New York-based
gang with some pretty cool, bands to
boot Cause Commotion are from Brooklyn, and of the two
7"s I got their latest slab is a quirky pop party reminiscent
of early Beat Happening or The Clean, with its minimalist
approach to fun. Slightly off key but frantidy played is the
charm of 'Which Way Is Up?" "Falling Again", credited to a
jane Fox, is a love song channeled by nerdy desperation and
naive sincerity. Comet Gain, from
the UK, are the older siblings to
CC's younger brethren. They've been
around the block and thai some
with their own brand of ramshackle
pop based on the musings of singer/
guitarist David Christian, as noted
on their most recent 12" single "Beautiful Despair". Contrary
to/what is written in the liner notes, the title track reminds
me of Brian Jonestown Massacre and not The Television
Personalities. There's a real drone-y vibe flowing through this
tune, and the female vocals on "Never Die" characterize a little
more of what the IPs were all about Flip it over and you get
"Mainlining Mystery (Finchley Road)", an over five-minute
excuse in beat poetry. The style isn't really my bag, but the
story connected to the song is good for a laugh, even if it's not
true. Guest appearance by Chris Appelgren (formerly of The
Peechees and The Pattern) on drums gives these tunes a bit
of special flavour. Over in Sheffield The
making the scene with their post-
punk leanings on their newest 12"
The Giddy Stratospheres EP, merging
ESG-like dance beats to sweet 'n'
sour vocals, as on the title cut and
"Autonomy Boy". "Polly" pays homage to fifties bubblegum ballads and
"Darts" makes short punk" rode work of the leisure-sport-of-
the-pub set You can peep all these releases and more by going
to myspace.com/whatsyourrupture.
Coincidentally wrapping up with another New York label
and band, Some Action have proven the reasoning behind
the name by giving the lonely and disparaging garage rocker
music to rock AND roll to, which counts for a lot considering
the long history of great New York music that these dudes are
following in _>e footsteps of. I hear all sorts of Devil Dogs-
related rockin' in "Fine China", especially in the piano parts.
"Don't You Look For Me" rips it up like the mighty Dictators,
with its blazing guitar work running circles around die line
"I've bom around!" as though we should have known all along.
Indeed these guys have been, as I picked their first EP almost
three years ago and now, with their debut full length ready to
blast off, it's only a matter of time before you will finally get
what you've always wished for—some action! Don't delay, call
todayl (Gigantic Music. 59 Franklin St Suite 403 New York,
NY USA 10013 or myspace.com/someaction).
Enjoy, and we'll see you next time!  h
Discorder     7 _R__f^_
Don't Go Where I Can't Follow
by Robin McConnell
Recently, I was
fortunate enough to
be able to attend the
Small Press Expo
in Bethesda, Maryland. Attendance
was a mixed blessing; I was able to
meet lots of great
artists and check
new and upcoming creators, but
on the other side, I spent way too much money
on too many awesome books. I hope I can highlight a sampling of some of the great stuff. On
my journey home, my traveling companion and I
compared discoveries of coolness, and I found my
bounty was extremely lacking.
One of my best purchases was Anders
Nilsen's memorial tribute to his fiance, Cheryl
Weaver, and her battle with cancer. Anders is
one of my favourite creators in comics today. In
the past I have talked about his very sparse monologues in the Mome anthology from Fantagraphics,
which is an excellent experiment, but his work
here maintains the experimental aspect while
creating a very purposeful book. Don't Go Where
I Can't Follow, published by Drawn and Quarterly,
is a highly personal journey celebrating the love
shared between Anders and Cheryl, remembering
the adventures, but also the heartbreaking reality
of the situation. Anders uses an array of media
and styles to tell a tale that shifts from personal
correspondence, polaroids of a vacation together,
personal journal entries, and finally, a beautifully
rendered tellihg of the spreading of Cheryl's ashes. Don't Go Where I Can't Follow is guaranteed to
break the heart of any reader, but is an important
testament to honesty and remembrance, not often
found in the cold world of comics.
Another purchase highlight is Paul
Hornschemeier's Forlorn Funnies collection, Let
Us Be Perfectly Clear. Published by the always dependable Fantagraphics, Paul shows incredible
strength as a cartoonist with this awesome flip
book of both sad and fun comics. Paul's previous
collection of self-published work, Sequential, was
the work of a creator still finding his identity. Let
Us Be is an incredibly well-designed book, which
shows Paul sparing no expense in using each
page to the best of his ability. Not by making a
busy comic with dizzying detail, but rather a
great mix of characters and colour that doesn't
disappoint. He has balance that keeps the reader
engaged; never full-out silly or morbidly sad, he
takes cues from masters like Dan Clowes and hews
it all together into a delightful mess. My personal
favourite is "Return of the Elephant", by far one
the creepiest stories I have ever read.
I had never seen David King's work before
the expo, but bought several- minis on merit of
art alone. Being conveniently seated close to Ivan
Brunetti probably helped to bring me over to sample bis wares, but I was more than happy to purchase some small creative pieces. Published under
the moniker of Reliable Comics, David is creating
some interesting and well-crafted books of clever
humour with a great eye for cartooning. My favourite strip from his mini-comics that I picked up
8.    November 2006
is called the class liar, with a young boy spewing
out some memorable lines that hark back to my
own childhood, such as, "My brother has a machete and three ninja throwing stars! He ordered
them from a catalogue and forged his age!!"
I can't talk about purchases at SPX without
mentioning Curses, by comic golden boy Kevin
Huizenga. Winner of an Ignatz award for best
story, Kevin is a cartoonist set to catapult into
popularity. Curses collects the long out of print
first issue of his ongoing series, Or Else, as well
as a large selection of material previously available only in anthologies. Kevin spins a unique
grouping of tales in a semi-auto-bio format that
reflects his own quest for knowledge. One of the
standouts is "Jeepers Jacobs", a story originally
published in vol. 5 of the almighty Kramers Ergot
anthology. It's a beautifully rendered story of
questioning and understanding faith at the same
time. Kevin's literary ability is almost academic,
without making me want to throw the book at the
closest snooty English lit major.
This is only a small sampling of my scores.
I should also give a-shout-out to Ed Brisson's You
Ain't No Dancer, an anthology of web and print
cartoonists. Gabrielle Bell debuted her collection
Lucky at the Drawn and Quarterly table, and sold
a new mini book set in an odd surreal dream
called My Affliction. New Yorker Liz Baillie's series
of mini-comics, My Brain Hurts, is an excellent
story of teens facing difficulties addressing then-
own sexuality in a confrontational world, without being cheesy or preachy. Google her. She has a
great site with more mini awesomeness.
Don't forget to listen to the Inkstuds radio show,
every Thursday at 2pm on CiTR, to get the scoop on
more comics you should be reading. w
H. Canzine West
Words by BRock Thiessen
Photos by BRock Thiessen and Laura Russell
Canzine West, Canada's largest zine fair, greeted Vancouver zinesters with a smorgasbord of tasty
treats and goodies. The Vancouver event was one of three festivals put on across Canada by Broken Pencil,
a Toronto magazine which focuses on zine culture and the independent arts. The theme of this year's annual fair was the yummy, and sometimes sticky, substance known as food. This focus came in celebration
of Broken Pencil's new issue revolving around the same theme.
Around noon, Cambrian Hall filled with zine lovers as they shuffled in out of the autumn leaves to
peruse vendor's wares; A hodgepodge of little books and comics were scattered all over the tables, putting
Vancouver's own beside many sellers from across Canada and south of the border. People had the option of.
visiting tables manned by the likes of Conundrum Press (who Discorder secretly took pictures of), Spartacus
Books (who declined our photographic advances) and Nanaimo's Tim Lander (who lovingly let Discorder
take many, many pictures, of him).
But the fair didn't get its food on until vegan superstar Sarah Kramer took the stage to do her cooking
demo. The author of the vegan cooking bible. How It All Veganl showed a delighted audience the ins and
outs of running a vegan kitchen and the glory of making cupcakes. While explaining how to bake her little
delights, she told a rapt audience about the evils of ovens, the importance of proper ingredients and how
much fun cooking can be. Kramer then filled their tummies with the cupcakes, threw out giveaways and '
signed some books. "The World's Coolest Vegan" also said she planned to give the cookbook writing a rest
for a while to focus on her photography, which makes the audience at Canzine one of the last to see her in
full vegan cooking action for a while.
After people quit harassing Kramer for more treats, they soon moved on to another great little event
at the fair: a collage-making workshop coordinated by Vancouver's Marc Ngui upstairs. Here people could
get in touch with their inner artist and make some nifty collages from old thrift store magazines. Of Ngui's
collection, the favourite picture book was hands down an old volume of Jacques Cousteau's ocean adven-.
tures. People went crazy over the pictures of octopuses, orcas and the man himself. But when one collage-
maker mentioned Steve Zissou, an argument erupted between two artists in training, causing many to
sneak away.
As folks migrated down below to the calmer waters of' zines and food talk, a food and lifestyle reading
by several local writers kept people thinking about provisions. Journalist Don Genova led an informative
workshop all about food writing, or fodo writing for those in the know.
The last morsel of Canzine West 2006 was the latest issue of Broken Pencil^ which they handed to
zinesters at the exit. The pages within continue the food odyssey with articles about rebelling against the
grocery store, independent eateries and writing cookzines. They even threw in a few recipe reviews, where
they say yuck to the Big Burger Supreme and Ladies' Seafood Thermidor.
When it was all over, Canzine West left zinesters stuffed, w
DiSCORDER       9 Photo by Frank Yang | www.chromewaves.net
Henriette Sennenvaldt of Under Byen
Photo by Katherine Somody
'napshots of Montreal in fall: an endless procession of the latest cold weather fashions marches along streets lined with winding fire escapes;
maple leaves flourish with a decidely un-Canadian extravagance; a diverse group mTreati«e^anachronism types get in a few last Sunday battles in
the park before the winter moves in and basement D&D sessions become the only outlet for sublimated barbaric desires. That, and every lamppost is plastered with a brightly-coloured soda pop poster, declaring for all to see that "Our festival is better". It's Pop Montreal talking, and I'm
inclined to agree.
With a lineup of 333 bands playing in close to 30 venues all across the city of Mount Realer (to quote Cadence Weapon on the burg;
^ srriM-extra real in Quebec), it's hard to imagine another festival—at least in Canada—being ape to compete. This glowing appraisal doesn't
even takelne^f'epinmftimedia satellites into account: Film Pop, Art Pop, and the enigmatic Puces Pop, a large arts and crafts exhibition, all
clamour for the beleaugured festival-goer's attention. If a criticism had to be levelled at the events that transpired over the dates of October
4 - 8, it would probabfj4j£buried somSwherejn the word 'overload'. Planning each night's concert schedule took on the gravity of mapping
out a course schedule for an eltliwNterm. With sp r__By«oncerts occurring simultaneously around the city, the task of striking a balance
between seeing familiar, beloved bands and investigating the 6bseure..vras more than a little daunting. Many shows were missed altogether
due to logistical impossibilities, lineups, or plain old exhaustion. But I'm not going-to complain. Montreal was alive and sparkling for those
five days, and the festival organizers outdid themselves with the quality and quantity of this year's proceedings.
Equipped with media passes and starry-eyed in the big city, Team Discorder roamed from show to show, taking pictures, rubbing elbows
and inhaling poutine. Now, with the booze largely out of my system and the stress of missing my potential next favourite band subsided, I present
you a few sober memories, recollected in tranquility.
IO    November 2006
 ——^ — Les Shows
Arrived at this show out of breathfrom a mad dash
across town, and walked in to find legions of underage
girls Fawning over Nick's every Word. Aspiring groupies
aside, this was a fantastic show.JDressedjin their trade-
marl| all white, Islands represented CAiadian multi-
cultt|ralism with their diverse aid talented roster. The
musicianship was incredibly tigBt, andevtry key change
and bridge hit like a train arriving at trie station right
on ti|ne. The range of instruments^—ukulele, bass clarinet, recorder—perfectly capturen their island aesthetic,
and the Arrangements of Return to the Sea sounded
much mare vital in a live setting^ Playing through
the bulk pi that album and tossing J in a cover of The
Kinks' "Waterloo Sunset" in pursuit c}l the ultimate pop
song, thejset finished off with a guesjt appearance from
Cadence weapon on "Where There'? a Will There's a
Whalebone". Although frontman Nielc Diamonds didn't
manage |o crack a smile the entire lime and acted like
he wished the crowd wasn't there, we walked out sated
.and satisfied.
! Edmonton's illest emcee took the stage to a hyped crowd, courtesy of Professor Murder's
skilled party activation. Although he's been touring non-stop over the last year, this was my first
chaifce to see him live, and I w4s definitely pumped. "Oliver Square" was predictably bumped
early on, but crowd enthusiasm kad Rollie's manic stage presence kept the single from sounding
staid "Sharks" was another obvious standout, with its electfo warble and shout-along to "that
means stop biting my shit". Whenever the audience threatened to lapse into passive listening
mode, The Weapon would go into punk rock stance, half-screamihg his raps and jumping down
onto; the floor for impromptu rap-mosh sessions. Cadence's l|j was extremely deft on the |vheels,
too, tend updated the bleepy production of Breaking Kayfabe with some nimble scratching. Even'
witi| the subs cutting out halfway through the set, Cadence .Weapon brought the noise..!
Jack Dvlan
Dude Draws Neat Things
by Dory Kornfeld
They are all over Montreal, and they are the loveliest of things. Yes yes, of course I
mean the Francophone girls with their strange shoes and impeccable haircuts, and
the fixed-gear road bikes, and the brick buildings with brightly-coloured front doors, but
I also mean the posters of Jack Dylan. Black and white 1 lxl 7s are stapled to poles year
round, but during Pop Montreal this October, the city was vibrant with full-coloured
specimens; so m,any, in fact, that it seemed as though there was but one poster artist in
town. "These are so lovely," we said to each other, "so lovely indeed."
Employing a comic-y style, Dylan's posters promote the local indie rock in that humorous-yet-sentimental way that we have grown accustomed to falling for again and*
again. Girls in scarves and boots march through the winter while the snow spells out
who's playing; kids at a show smoke cigarettes and complain that they want to go home;
the most iconic feature band members wrestling with superheroes. Is there anything
that would make you want to go see Islands more than the possibility that Nicholas
Thorburn might take on the Green Lantern mid-show? Maybe. But is there anything
more exciting about Pop Montreal than the opportunity to purchase, straight from the
source, an 11x17 of your very own, pristine, without the corners being wrecked by
staples and tape? Certainly not.
Though I only managed to stutter and stammer when chatting with Mr Dylan at
his table at the Puces Pop poster show, the man was land enough to answer my questions
Discorder: Did you start off desiring to do posters, or are they just a convenient
way to make lots of art?
Jack Dylan: I started off with a serious case of poster envy. I loved posters and novel covers, and found the format to be an open window for a lot of the ideas I had. So my first
body of work was 20 large paintings that looked like posters, but all had titles that I had
dreamed up for them like, The "Naked and the Dead" or "Eat The Roach." Essentially, I've
always been and have wanted to be an illustrator.
How do you feel about being The Poster Guy?
You know, in this town, "Poster Guy" is not such a bad shtick. There are so many musicians, that suddenly this guy who can't play a note and draws purple cats is actually
kind of interesting, kind of a rebel. (Well, maybe not that far.) I don't envy the so-called
fine artists who slave for a year on a show of paintings only to have their work seen by
a few hundred people in one tiny gallery. Compared to that, doing posters is Uke playing
stadiums. But I don't want to do this forever. I did a show of paintings this year, and even
though it was seenby far less people, I found it very rewarding, and I think that there's a
lot more room to develop in the traditional arts than with illustrations and posters. They
can get to be a bit...two dimensional.
Some of your stuff is really self-mocking...I'm thinking of the one with the
girls in coats and one is saying something like, "I'm sick of that guy's illustrations.'' Is this something that you've actually overheard, or are you just guessing about what they're saying when your back is turned?
No, I actually did overhear that at a show. One girl said, "I like that guy's illustrations,
but I'm kind of maxed out on them." Then she turned the corner and said "woopsy"
. when she saw me. I was elated, and I knew right away that I was going to use it for a
poster. Just prior to that I had actually become very paranoid that people we're going to
suddenly turn on me. I had gotten my first taste of success, and it seemed natural that
the tide would shift. But when I heard that remark, I felt all better, redeemed by the fact
that I had been right, that people really did hate me- I've always been a big advocate
of self-mocking humour as a form of therapy. And if you really look at the posters, it's
not hard to tell that that's what I'm doing. I've got a poster where I've announced that
my girlfriend has left me and that I'm suicidal. Posters about how uncomfortable I am
at shows, and posters blatantly adorned with my childish fantasies. It's like by putting
your worst fears out there for all to see, you've somehow vaccinated yourself against the
How long have you been doing this? Did you go to art school?
I've been making show posters for almost 2 years, and I've made over 90 of them. I did
go to an art school called Beal Art in London, Ontario for two years. It was not a fine arts
Photo by Dory Kornfeld
education though; the school was hands-on technical training, and learned high school
credits. But from what I've seen of most university programs in fine arts, I was far better
off at Beal. We learned how to do it bur self, save money on materials "and throw our
own shows. They taught us to go out and be working artists. And it was free, a hugely
important advantage.
What other artists are you into right now?
I look at a lot of comic book artists, Charles Burns, Adrian Tomine, Chester Brown. And
I've always got my eye on local poster artists SeriPop. They're like Picasso to my humble
Norman Rockwell. I look a lot at design, billboards, magazines and film, television and
books. They're often the source for the inspiration behind my work. And I people-watch,
and I listen. That's probably the most important thing I take in.
Do you make money from your work?
I haven't had any other job in three years. When I got out of art school I habitually went
to get my old job as a waiter back, but as it turned out I Was fired. So I put on my own art
shows instead, and I've been working ever since.
Are you from Montreal? Would you consider going anywhere else?
I'm from Stratford, Ontario, and I moved to Montreal almost three years ago. I could easily imagine setting up camp here—I'd like to buy a building one day, and set up studios
and venue space. I already have that but I rent and the heating is inadequate. But I've got
to leave here someday. New York would be tempting, Vancouver too. But if I go it would
have to be somewhere pretty darn good.
Do you love local indie rock? Do you go to the shows you make posters for?
Yeah, a lot of times I do. I didn't start off loving music or going to shows. That was
something I learned over my time in Montreal. My last girlfriend was a full-time musician and the lead singer in a band, and my best friend has been malting music for as long
as I've been making art. And my home and studio space also houses 8 different band-
that jam there.
Which are your favourite posters that you've done?
I really like the Joanna Newsom one I just finished. She's pretty. I think the Art Nouveau
Poster for my own exhibition "Jack Dylan is Alive and Well and Living in Montreal" sums i
me up the best though.
What's the meanest thing anyone has ever said to you?
That's tough, because in time I've come to love all of the mean things people have said
to me. I am very sensitive about my terrible spelling though. It's a very heavy cross for
a poster artist to bear.
What kind of shoes do you wear in the winter?
Doc Martens I think. Someone told me that they weren't cool anymore. Perhaps that's
the meanest thing anyone has ever said to me.
Jack Dylan isn't fust abovd. rock-show posters, he also does paintings and holds exhibitions. You can cheek out (he body of his work at the predictable jackdylan.ca.
Holy Fuck
Sorry, but I just can't re-.
sist—how fuck, the lineup for
this show was hugel Here the
media pass met its match.
DiSCORDER       11 Les Shows
,OChe Dandybcards lILg
This was one of those sh
name. I mean, I've got a bea
qualify as dandy. Their set w
guitar whose name didn't ar.
mannered, but seemed 61 at i
ws that I went to based solely on the
I, so I was curious to see if I too could •
is prefaced by some poor fellow with a
ear to be on the bill. He was very well-
ise with his guitar; every chord change
was a nerve-wracking affair te performer and audience alike. He had
an endearing voice, thoughiand I couldn't help but smile when he
. finished his last song with tip line, "That one didn't go as awesome
as I planned."   ' k^jf^' i ~
Up next were the Dandybiards, or rather the single dandybeard.
witt his lovely assistant providing the decoration, ffl first this guy-girl
ductappeared to be mocking the traditionally majfanalized place of
the female in rock music, but it turned out they wer^ woefully sincere.
Thejpixie-like keyboardist played nurse to the singerjguitarist's doctor,
going so far as to actually hold a mini piano for hi» while he played,
sanp, and worked the bass drum. This after they Maimed that they
couldn't figure out a way to play that one live; weUlhow about giving
yoo| bandmate something to do? It was rntod-boaping. Patriarchal
oddities aside, they played a decent set of cutesy, acpustic pop.
^ma3[______l____1!______.      I - .________*__l_____!St£,
The mysterious band descriptions "in Pop s festival guide had me -'
thinking that these guys were some kind oi electro affair, but it turns
out they were a couple of prerage Guelph rappers. The concert schedule for the night was }ar#-packed and the venues were scattered all
across town, so I showed lip at the door for their scheduled start time
at the stroke of 10:20. Irjitead of a ducking in for a quick set, I was
informed by the doormanlthat the DJ was still setting up. It occurred
to me that they could let ui in while the DJ made his final adjustments,
Activates the Party
by David Ravensbergen and Graeme Worthy
£ ^ We're a dance band or whatever." With this
innocuous introduction Professor. Murder
launched into a set of samba-inspired sweaty
rhythms, complete with massive doses of cowbell
. and whistle-blowing reminiscent of a Brazilian
street party or a really enthusiastic gym teacher.
After lurking in the shadows during the previous
band, the crowd heeded the call of the whistle
and bumrushed the stage for some-dirty dancing.
As the performance wore on, these four skinny
Brooklynites transformed into drum-banging monkeys, producing off-balance beats that sounded like
homemade jungle. They punctuated their set with
ragga "bo!" calls and sent shout-outs to their lawyer Paul. Going into the show with only a sneaking
suspicion that their name was somehow familiar,
we were won over by their enthusiasm and refreshingly un-rocky sound, and decided that we needed
to find out more. We ambushed Professor Murder
outside Club Lambi for a brief chat. We hadn't done
our research in advance, but luckily they filled in
our knowledge gaps with words Uke 'braggadocio'
and 'posit'. The following is a hazy account of our
Discorder: We waltzed into your- show not really knowing anything about you guys. At first
we thought you sounded fike !!!, but you showed a
pretty impressive range. Can you give us the break
■ down?
The basic idea behind Professor Murder is that
we're four dudes. We all listen to independent rock
and roll, but we have a lot of other things that we're
interested in. For example, !!!, we've played with
them, they're a really cool band. What we're trying
to do is, instead of trying to sound like a band Uke
that, who's obviously taking their disparate influences and putting them together, we're trying to do
that with our own disparate influences. With maybe
a base of punk rock, but we all listen to a lot of hip
hop, a lot of R&B, a lot of reggae, a lot of dancehall,
a lot of techno—a lot of more beat-oriented music,
so that's where we're coming from I guess.
There was a lot of jungle sounds in there too,
especially with your vocal style. How important are vocals and lyrics to what you're doing?
Vocally, we've gotten weird press to the effect of
how simple or dumb what we're doing is [see the
Pitchfork review of their latest EP - ed.] In the context of a lot of rock bands who have a big emphasis
on vocals, lyrical content and storytellingrcom-
pared to that we might come across as a Utile bit
'wheel'. But this is a roundabout way of saying that
we're more interested in vocals as another texture,
as another rhythmic element, rather than 'lets
fuckin' write a story about a ship' or lost love or...
Not to slag something Uke that, but our vocals are
usually the last consideration. Not to say that our
vocals are total nonsense, but it's more of a rhythmic thing than a lyrical thing.
12    November 2006   '
Yeah, you guys are definitely not The
Decemberists. At the beginning of your set
you described yourselves as a dance band—
have crowds been receptive to your style?
In New York we have a bunch of friends who are
incredibly supportive. Have you guys been to a
Bar Mitzva, where they've got 'party activators'?
Do you know what party activators are? We've got
our party activator crew. They're in the crowd and
they're dancing, and obviously the vibe we try to
put across on the stage is a Utile bit looser, and I'm
fucking playing drums and keyboards and I can
jump around.
When you were up there, in your bantering,
you painted a story about a run-in with the
law. Did you have some trouble at ihe border?
I wish there was more to say. If there's one thing
that we borrowed from hip hop it's the sort of braggadocio and the mythology that comes with it. I feel
like we're playing aU our cards, but we're just Uke
trying to have fun, we got across the border fine,
but we're fucking Professor Murder, we've got murder in our name.
Your name seems really familiar, but I can't
quite place it.-Where does the name come
It actually comes from a sketch from a comedy
show called Mr. Show    .
Oh yeah, that's where it's from! The episode
with the beef between East Coast and West
Coast ventriloquists. Um, sorry, keep going.
Me and Tony went to coUege about seven years ago,
and we were fucking around in the basement of
this house we Uved in and we started a band called
Professor Murder, and somehow we stuck with the
name.. It's one of those things where if we could
choose today, we might go another direction. We
get a lot of weird reactions from it, where write-ups
say we're a hardcore band. We're trying to buy into
a sort of a history of Jamaican music, Uke the Mad
Professor, or even hip hop with Masta Killa. But
in this context people think we're speed metal or
Before we let you go, do you guys have anything out on record?
We just put out an EP on a label called Kanine.
They've put out Grizzly Bear, just put out Oxford
Collapse, this band Mixel Pixel who we're good
friends with. We just put out an EP with them.
We're just doing EPs—thats our thing, it's a dance
sort of vibe, we have vinyl coming out. We want to
posit what we're doing in the context of other beat-
oriented bands, and not necessarily rock music. It's
important for us to sort of force that a Utile bit.
After that we talked about art, Brooklyn, and where to
get good poutine.Pick up the dance trail on their new
EP, Professor Murder Rides the Subway.
Professor Murder
by Graeme Worthy
A quick Google has brought me a little about
the meaning of "Wet Gate". An article from
Kodak told me more than I ever expected. Taken
from "Use of Perchloroethylene in Motion Picture
Wet-Gate Printing":
Shallow emulsion scratches on the clear supercoat
of 4i black-and-white or color negative will appear white
on the positive film. Emulsion scratches that penetrate
to the support on a black-and-white negative will print
black. Scratches on the emulsion side of color negative
films may appear colored on the print, depending upon
how deep the scratch is and whether or not image-bearing layers have been disturbed. When base or emulsion
scratches exist, a "wet" or "liquid" gate is often used to
minimize or eliminate the resultant optical effect, depending on severity. In wet-gate printing, a liquid (such
as perchloroethylene) having a refractive index close
to that of the film base and the gelatin emulsion is applied to the original. The liquid fills in the scratches and
reduces the light scatter. Wet-gate printing is generally
applicable to any printing configuration, step continuous, contact or optical. Wet printing is of little or no
benefit to deep emulsion-side scratches.
Wet Gate is also band, a 16mm projector ensemble. They play on three projectors, and with
a variety of film loops create compositions out of
serendipitous and intentional combinations of a
finnicky analog playback medium:
It's the last evening of Pop, and I've been
teased with the promise that 'one of the guys from
Negativland' will be doing .something with film
projectors, a band or something. I haven't heard
much, and the festival has been more miss than hit.
I'm tired from being drunk too many days in a row,
and the chance to sit is enticing.
At the front of the room are 3 projectors. Each
has a taU arm extending from the top, and none
have reels. The tall arm is telescopic, and terminates
in a gentle hook which holds the long end of a loop
of 16mm film. In the dark, they begin rolling loops
Photo by Katherine Somody
chosen more for their optically-encoded audio than
for their visual content. The results are magical.
Three images cpme and go from the screen, each
looping at a different rate, each contributing its
unique voice to the chorus of samples that the trio
has gathered over their years of performance. It's
impossible not to construct narratives and draw
connections between the images. A wendigo mask
fades in and out as an arctic explorers attempt to
build a small fire. Thirty match strikes loop as the
reddened wendigo face gazes on. Thirty becomes
forty and the tiny details of the scene emerge.
The manner in which the wind blows the explorers hair. The unique flare of the tiny match, and
I lose all sense of time as I'm slowly mesmerized
by its predictabiUty, and am struck by how much
you can miss by not watching something over and
over. While these loose thoughts lounge about in
my hypnotically lulled head, another scene makes
the screen. Young boys toss a book, again and
again they toss it in circles,'and the noise fades in
and out.
Later they wfil introduce loops which they've
drawn on with markers, glued on, chopped together, and built in> their photo labs. Images from
Bergman, from saftey training videos, from god
knows where else; a lifetime's worth of celluloid
scavenging makes up their libraries. Libraries that
they destroy each time they play a show. They make
increasingly infidel prints of the best ones, the colours fading intentionally and unintentionally,
shifting to unnatural hues, the audio tracks muddying. The good ones go fastest, because they can't
help themselves, it's gotta get used.
As the performance winds on, the images
become increasingly abstract, the sounds less tied
to the screen, which displays snow and flickering polkadots. A muffled amniotic buzz murmurs
around the room as a terribly embarrassing somnolence overtakes me, and I prop up my head with so we couldinake the req u_SteDarstop^___^^Hem OTfflesn_wV__t
the venrte had other ideas. By the time the Ijiow finally started half
an hour late, there were only a handful of ftople ta attendance, including Nick Diamonds, who looked pretty nfmplussed. Overall it was
wack money rap, featuring some generic fraptyles over top of some
Dre beats from 2001. Tb their credit, it was nard to hype a 15-person
crowd, but I left feeling like I should have just eaten a falafel instead.
The Winks' ■%3_We_$
better way to starfeop than a dose of jazzy, Montreal post-rockl It
wasn't exactly CoJptellation-caliber, but their spacey melodies apd
obvious tastrumenlal abiUty impressed nonetheless. I left early in §ie
set to head to chufeh, but I returned shortly thereafter to catch fie
Freshly arrived! in Montreal after abandoning their former
Vancouver home, me Winks got an early start to this year's Pop.lln
contrast to the psychedelic menace of Gary Lucas and lite Golem, Tqfld
and Tyr's quirky, tifcarrical ditties soothed and gently entertained, Ms
always, the stage was draped with Tyr's decorative flourishes, this
1ffie^a^*ffitrlHltre_lfiefs*liid ainictnials to f_fWwlffi?l_Wt_W¥cr"'
of their tour and latest album, Birthday Warty. Their set was festive,
but as the last stop oh a cross-Caftada ttpr, was understandably low
on energy. Todd regaled us with tales ofttheir ventures through the
hinterland, surprising us all with the rdpelation that Calgary is the
"dance capital of Canada", and also the 'skinny indie rock boys making out with other skinny indie boys capital of Canada." Who knew? 1
sported the pair all over the city during tile next few days, including a
bizarro encounter with Todd that featiirid us both wearing the same
black Discorder t-shirts. Hopefully they'vJfcund a place to live by now,
and are off the couch circuit.
my hands, hoping that no one will notice my head-
bobbing. Its dark and warm.
After the show they stand tall and proud facing us, answering questions. This is the closing act
of Film Pop, and much of the audience is made up
of filmmakers. Do they feel bad about cutting up
old film? Do they ever have to clear the rights to
things? It is a greater crime to keep the old films in J
canisters till they rot. So many things never see the j
Ught of day. Wet Gate are heroes.
A Not So Vital Organ
by David Ravensbergen
With A belly full of free drinks from an
earlier opening party, I wandered down to
Eglise St. Jean Baptiste, an enormous and ornate
church that was to play host to Gonzales, the
festival's much-touted inaugural act. Approaching
the imposing wooden doors felt Uke knocking at St.
Peter's gate with booze on my breath, and it was
with some trepidation that I flashed my media
pass and made my way into the pews. I felt hke I'd
already partaken of communion a few too many
times that night.
The cavernous room was all abuzz wtth opening night excitement, but somehow a house of
worship just wasn't the right setting for the start
of a big city night. The proceedings began with a^
screening of Beyond the Pearly Gates of 111 Repute, a
locally-produced black and white short that wove
a silent tale of a young devout girl's moral decline.
Seeking a cheap place to stay, the protagonist rents
a room in a boarding house, only to wind up as an
indentured prostitute when she can't pay her buls.
The crude advances of her lascivious male visitors
send her desperate piety into a tailspin. In the penultimate scene, she's visited by a man in a priest's
collar, which of course unlocks her inner horny
CathoUc, and the two commit unspeakable acts of
concupiscence. I won't spoil it entirely, but the,fi-
nal frames contain a decidely un-Jesus-Uke take on
forgiveness. The film's aping of silent conventions
was fun at first, but ultimately it felt like a needless
exercise in blasphemy in such a sanctified setting.
The opening of Film Pop continued with
The Golem, a German Expressionist gem about the
Jewish legend of "matter without a soul". Directed
by Carl Boese and Paul Wegener in 1920, the film
portrays the persecuted Jewish community in 16th-
century Prague with a palpable sense of doom.
Faced with an edict demanding the immediate re-'
moval of all Jews from the city, a rabbi turns to the
apocryphal story of the golem, a Frankensteinian
guardian made of clay. Dark sorcery brings the
golem to life, and he is employed as a protector of
the oppressed Ashkenazi. The plot thickens as the.
summoned creature's loyalties are called into question, and, fittingly played out in the church, the
created is estranged from the creator.
While the film would have been compelling
enough on its own, with the addition of guitar czar
Gary Lucas' lysergic Uve soundtrack it took on an
air of deep and hypnotic menace. Playing a score
originally written as a duet with keyboards, Lucas
presided over an ominous array of pedals, expertly
adjusting reverb settings to transform the churctf
from a holy of hbUes into a coven, his guitar worljy
like a hallucinatory sermon raining down from th|
pulpit. The effect was far more evocative than any
fire and brimstone could ever be. Warped crescent
dos, surges of feedback and plaintive tremolo cries
combined with the otherworldy images on screen ;
to...well, to be honest it was all a little too much for
me at this point, and I fled down the street to catch
the Winks.
Considerably more sober by now, I made mjp
way back to the church expecting to be overawed ay
the force of the organ, to be enveloped in the golde|i
wash of the voice of God. Gonzales' Organism show
had been hyped as something spectacular, andi L
was really looking forward to a modern approach
to the organ's potential for massive and sublirhe
sound. Instead, I returned to a farce in progress,
a rejection of the value of serious musicianship.
Rather than seize the venue and the instrument's I
capacity to deliver a contemporary take on tpe
sound of reading Revelations in the back pews,
Gonzales tinkered away with his pointer fingers,
playing "Frere Jacques", the ice cream man thefbe
song and the Jeopardy jingle. Hooded in a mor|s:'s
robe, inexplicably dripping sweat and sealed
safely away from real scrutiny in the rear balcony,
Gonzales unleashed what felt like hours of useless
parody. The crowd was left staring at his projecfori'
on the screen up front, trying to decide if this wis a-..
coup of Duchampian proportions, or just a jacfiass**'
"musician" that had fleeced everyone of $30 each.
I left the show feeling drained. What should
have been an energetic kick-off to a five-day s^nic
binge functioned as a vast, sweeping refusal of pear-
nestness in music. From one tedious minute hf the
next, Gonzales not only displayed his obvious inability to actually play the organ, he slowly dismantled
the idea of the genuine artist. The show declared
aesthetics to be Utile more than a pompous front,
and equated serious musicians with a child banging away on a Fisher Price piano. Why is it that an
exercise in vapid irony can draw a full crowd, while
other musicians hone their skills over a lifetime,
toiling in obscurity without a real chance to play,.,
for an audience? WeU, I already know the answer
to my weepy lament, but I still find it irritating that
anyone gives a shit about a performer like Gorfsales,
Perhaps I just didn't get it, as I wasn't privy to the
chocolate mushrooms that those in the know had
ingested to make the experience even minutliy interesting.
Joe Grass, Under Byen, Joanna Newsom
Tais was the show out of the entire festi- J
val that I was absolutely intent on seeing, along I
with Aretty much everybody else, including |
David {Byrne. Luckfly I arrived early enough I
to snap a front-row seat, and settled in for Joe f
Grass'pnspired twang. With the recent Use ini
popularity of indie-country (does that prefix I
simpri indicate that it's cool to like country!
now?)! it's tough to sift out the pretenders fromf
the trpe farmhands. Joe Grass, with his boyish}
charms and breathtaking skill on the Jap steel,}
takes I all the difficulty out of the equation!
Staging of drifters, dreamers, broken-down oidf
men and working the night shift at the trarnj:
""jrat-dSrasshekl tmeJaJjb^onventions of blue J
grassland country, but did so in a way __3!l___?f<"
feel at all contrived. He displayed a masterful un|
derstandtag of dynamics and subtlety, bringing
the latent harmonic potential of the familiar old
acoustic to life with his gentle touch. Definitely
a trohbadour to be watched.
J Up next was the Danish group Under Byent
and they took to stage with an impenetrable
Nordic air. There's been a lot of talk lately aboift
theis Sigur Ros-inspired soundscapes, but their
live show definitely compUcated the compar>-
son! Eschewing the guitar ta favour of a wea-
rounded string section, extra percussion and aja
amplified saw, they played complex, mournful
ist JJenrietteSennenvaldt, whosepicturegra^^***
thefcover of this issue, swayed at the back of tie
band, but her remarkably Bjork-Uke voice commanded everyone's attention, even with all the
wolds in Danish. As the set unfolded, the music
ranked from sprawling post-rock compositions
to #ammy, Tom Waits rhythms. When the saw
was brought out, I was afraid that it was Utile
more than an attention grab, but the opposite
proved true. Working his bow across th| serrated edge, the sawman produced sounds remarkably like a dissonant guitar, but emanating from
a construction tool it came across as a feat of
blackest alchemy. Overall, the set was both intricate and overwhelming, and I look fofward to
hearing more from these Scandinavians.
»O At long last, the evening's highUghlarrived
on stage: Joanna Newsom, looking innocent and
grateful for the applause, sipping an Barl Grey
tea. After listening to the swirling orchestras on
Ys, I half-expected her to be accompanied and
drowned out by a fleet of subsidiary musicians,
but she perched alone on stage with hef massive
harp. As she launched into the opening lines
8f'^Bridges and BaUoonsk t__ soi^d^Laejgal,,,.
hundred grins unfurling at once provided the
backdrop. Her fingers flew over the stijtags, and
her lyrics touched something insid| us that
longs for our feelings to be articulated with
such dignity. During the lengthy compositions
from her new album, her face was intent with
concentration as she balanced enhancing harp
lines with vocal grace; the audiencelvas tense
with empathy, praying that she wouldn't slip up.
She sang of decay and the passage of time, of
love and the cosmos: mutability haslaever had
so beautiful a spokeswoman. During a welcome
rendition of "Peach, Plum, Pear", tflere was a
significant tense change that captured her calm.
unweU" became "I was blue and unwell", and
she smiled shyly ta response to the murmuring
audience. I walked out of that show nerves aU
aglow, rehashing every moment of beauty and
sadness from my own life that she hid conjured
from the depths with her determmed, gentle
plucking, w me aivAi&xwddoge
wioTansi The AVflitoMflflgT
aowneanD $ex»! John muir
and The eyaporvaTors!
<9 Saturdayl>ecember2
n UlcrakiianHall    toebh«_s
HH 8os E.P_nder @ Hawks, Vancouver BC    .£&,.
muhi doom 730pm, -haw-gm - info? 6o4 669 6468! ycfe
****' TteketeatZuta,Scra«ch,Hl«rfti_re,_nd«edCW  \CggJ"
3_-!S_ *ia__v___e,*JS_tthe_oor
Five for
____gmnfl n
I NOVEMBER 13 ■     ft II
5^11__? aalS.yJB f
ag i*» « »8fof»ft   l*j
1 PifHiPfl'S m PirHMfis _B„if-si COMMODORE BALLROOM I
^2f. h
• featuring
use tickets ___GQG at hob.ca or tkketmaster.ca 604-280-4444
14    November 2006 osfmcft
4148 "Main St (25th fr Xing (Edward)
Open daiCy @ 5pm
You're invited for
one <F<RfE£ <A(PcPTff(lZ<E
•with the order of an entree,
(Entertainment every T'kursday
starting at 8:30pm
(African Music by Yorojrom (Benin
Discorder     IS ™$ November
& Besnard Lakes,
Saturday, November 4
SUB Ballroom, UBC
All ages
Tickets: Zulu, Scratch
Red Cat, The Outpost (UBC)
with BAND
||i The Golden Dogs
& The Junction
Saturday, November it
Pit Pub, UBC 18pm
November 8 at 8pm
Gallery Lounge, UBC
3.2006 j
New York Cfcy, NY @ Ace oi
Montreal, CC @ Metropolis
Frederfcton, NB @ Univcrsit
Halifex, NS @ lWC_o_«i 'I
Ottawa, ON @ Barrymote's
Toronto, ON @ Lee's Palace
Guelph, ON €
London, ON tg
Halifax's Wuateisleep re-release their Untitled
album with 2 new bonus tracks & 4 music videos!   ,
Available in store* "& online at www.bbworfetisicxQra   ...   ;.0
uWintersleep could be the album to conven
the whole country" —EXCLAIM Magazine
"Passionate*,* -drowning in hmxtititig flielodi
and captivating ambiance" -REVERB Ma
■■ Wlatereleep * Self-tii
All you have to do
is email your full name
and phone number to
prog„ assist (fams.ubc.ca
by 4pm on Novembers
and you will be entered .
into a draw to win oiie
of four pairs of tickets
to either show.
You must be of 19years
Omehtry per person.
You will be contacted
IK Labwork Music,
16    November 2006 MARGARET
Won't Be Our Friend
by Mono Brown
IN an ideal universe, Maximum Rock'n'Roll readers will always
know more about Margaret Thrasher than will, say, Rupert
Murdoch. Despite the band's somewhat sparing online presence, in
the last year and a half Margaret Thrasher have made themselves
known not only in print and on the airwaves, but also along the periphery of Vancouver's 'terminally hip East Side' and within the inner
workings of UBC's cooperatively run Bike Kitchen. Who is Margaret
Thrasher, really? If anything, they just might be the last band left on
the planet not trying to friend you on MySpace.
Who is Margaret Thrasher?
Skidge on guitar (StC); Gabriela
i drums (G); Anne on bass
I (A); Juls Generic on vocals (JG)
and Billy.
What is Margaret Thrasher?
j Hardcore punk from Vancouver.
| Where is Margaret Thrasher? |
I A: We all live in various loca-
I tions around Strathcona. We |
j also practice in Strathcona,
1  we've played  a lot  of j
| shows at the Alf House, which J
is pretty much in Strathcona.
Why is Margaret Thrasher? j
JG: It's so Skidge can rip off I
the Swedish mid-tempo bands j
he listens to and I can pretend j
n like a self-righteou
! tween Ron Reyes and Andrea I
)' Dworkin. And so Gabriela j
could learn to play the drums. |
Anne thinks it's cool.
Margaret Thrasher
JG: Age of the band? Or our
ages? "We started in March
JG: Um, band?
. G: What is this for?
JG: Basement shows...
SK: ...Oh my Lord...
G: Making the girls scream.
And making Skidge wet.
I About Margaret Thrasher
I' JG: Can you be more specific? I
What kind of interviewer are |
...A good one?...
:     Pickin'     up    chicks. |
I Downtown babes.
G: Fast punk that's not that ]
JG:  I don't try to pick up
A: Me, neither.
JG: I try to get laid on tour,
but everyone just wants to get
with Gabriela.
A: It's true.
Who Margaret Thrasher'd -
Like to Meet
IG: Who we'd like to jneet?!
SK: I don't want to meet any-
n particular.
Billy: Tliis sounds like some really crappy dating service.
G: I know who I want to meet, j
Henry Rollins.
Career High
JG: Being in Discorder.
A: Yeah.
JG: But maybe putting out a
Career Low
G: Being in Discorder.
JG: Are you making a MySpace
G: You can't do that.
JG: A Discorder article that's a
MySpace profile - is that your |
clever plan?.
Famous Last Words
JG/SK: We met Henry Rollins I
in Kansas. He sucked.
Find Margaret Thrasher playing, practicing, or living somewhere in Strathcona, or buy
their 7"~ release, Are you There
God? It's Me, Margaret Thrasher
online (really!) at bistrodistro.
com or at Audiopile (2016
Commercial Drive). ft
f ■*__»:. ?r~____w*.
IF*  I «2  o
•3 SS 1
t\ 1 1 ?J
ja _. j
H  O  <
E g
> ? .
5 -3
s i
I 1
a  8 *  I
« & M   1 !
es £ £
<3 fi u
« 6 £
w o
I i
ed < o
H. « I « 3 1 (§•
'Iii Is Si
5 s £|| g & •
J   _   Q    g    a   |
s     — _ "S   .
•_ » flag's
j§ H   o -a   « ._  _,
5 £ I
8- tf f
S „ «5
Is Q
Il I j
1 _i' ■ ®
8 <9>
1.1 ■F^^iWI^W^l'V'fTT
IN the early 1980s, five young people in Vancouver, passionately concerned-about environmental
issues, poverty, women's rights, and social justice set out to make a difference through direct action—which was also the name they gave themselves, though not the name they are most widely known
by. Successful acts of politically-minded sabotage and vandalism in BC—including the destruction of BC
Hydro's controversial Cheekeye-Dunsmuir substation—encouraged the group to bolder deeds, culminating
in three members driving a van loaded with 550 pounds of dynamite across the country to Toronto. They
intended to stop the production of US Cruise missiles on Canadian soil by blowing up part of the American
company, Litton Industries. The Five only ever intended to damage property, but serious miscalculations led
to the near-fatal injury of a security guard, Terry Chikowski, and several others.
Direct Action returned to BC, where the women in the group (with some outside help) participated in
the firebombing of Red Hot Video outlets, which, as the story goes, were distributing violent porn, at the
time not illegal in BC. Arrested in .19 8 3, the group—dubbed the Squamish Five, because of the stretch of BC
highway on which they were captured—rose immediately to notoriety in the Vancouver punk scene: one
of the members, Gerry Hannah, was the former bassist for the Subhumans, and the author of Vancouver
punk classics "Fuck You" and "Slave to My Dick." However people felt about the methods used by the Five,
many punks regarded Hannah as a martyr for his political ideals, and rallied in his support.
20    November 2006 Hannah's release from prison happened years ago; he is an
older and wiser man, and has recently returned to punk rock, having
reunited with the Subhumans for a new album, New Dark Age Parade,
and an ongoing Canadian tour (a US tour is unlikely, needless to say).
Ann Hansen, the other member of the Five to remain in the public eye,
has written Direct Action: Memoirs of an Urban Guerrilla. In these "ter-
rorisf'-obsessed times, with political activism on the wane, reappraisal
of the Five's legacy has come from various quarters. Former Liberal
government strategist and punk pundit Warren Kinsella has written a
rather vituperative condemnation of Hannah in his book Fury's Hour,
and Reg Harkema—UBC alumnus turned Toronto filmmaker—has
made a movie entitled Monkey Warfare, re-imagining the history of
Direct Action, asking what if two similar activists had escaped capture
and were still around today.
Living "underground and off the grid in Toronto," Dan and Linda
(Don McKellar and his partner Tracy Wright) scour garage sales and
streetside junk piles for collectible records and antiques to sell for cash
on the internet; it is on one of their routes that they become involved with
a pot-dealing young cyclist (Nadia Litz) with her own anti-authoritarian
streak and a hatred for SUVs. The couple eagerly become her customers,
buying BC bud to "numb the pain of past mistakes" (including guilt over
an injured security guard) and "hide from the sad reality of their current
circumstances/' Slowly, reluctantly, they become her mentors (sort of),
which forces them to confront their own past.
Harkema, dressed in a yellow t-shirt emblazoned with the ESL-un-
friendly slogan, "I Fuck the Man," brought Monkey Warfare to the 2006
VIFF, where I was able to talk with him about his history with punk,
Direct Action, and political activism. He stressed to the crowd at the first
screening that though the film is set in the Parkdale district of Toronto,
Monkey Warfare is an East Van movie at heart.
}   <xxxxxx>o<xxxkxx>ooo
Discorder: I'm curious...It seems Uke we must have been at a
lot of the same gigs. Were you at the Dead Kennedys at the
York Theatre, in, I think, '84 or '8 5? C^f^
Reg: No. But I was at Nomeansno's first gig as a three piece, in '84,
opening for DOA. That was at the York Theatre, as well. I kinda got
into punk through the Pointed Sticks, believe it or not, in the late 70s,
and wanted to go see the Rock Against Radiation show, but I was too
young. My Mom wouldn't let me go. And then I sorta drifted out of
the punk scene for a little bit. I drifted back into the whole punk thing
when a friend turned me on to CiTR.at a U2 concert. Eventually I
started DJing at CiTR, a few years later, when I was going to UBC.
What was your show?
It was called "The Visiting Penguins" I believe. We were always accused of stealing records, but I want to set the "record" straight that
nothing in my collection says "CiTR" on it!
What was your first awareness of Direct Action?
Just the sorta media blitz of it on TV, and my Dad going on about what
a bunch of malcontents they were, what a disgrace. My Dad was a
former cop, a Vancouver City Police cop, working in the Downtown
Eastside. I guess he was a homicide detective at that time, mind you
How did you feel about it when you heard about it?
Well, I was, at the time, pretty apolitical, and didn't even really pay
attention to the news or anything, and didn't really care. "Free the
Five" was just another slogan to me. It was only until about a year
later that I became sort of politicized, when I started going back to the
Clash records that I'd bought.
I don't know if you remember, but there were slogans on the
back of DOA albums and stuff at the time, like, "Talk -Action
= Zero." Glen Sanford, who made the documentary about
Gerry, Useless, reports seeing graffiti around town reading
"Talk - Direct Action = Zero." He says-there was a real mood
of tension in Vancouver in those years', which I remember. I remember being nervous about the whole punk thing, because I
was getting into it, and I was, like, 15, and I didn't really know
what it was about or where I stood or what would be required
of me. DOA were recording songs like "Burn it Down," talking
about burning down prisons and things like that, in support
of the Five. That stuff scared the hell out of me, but I thought
it was kinda cool, back during the Cold War, that people had
actually stood up against the man. Did that stuff not have an
impact on you?
Yeah, you know, a little bit. Because once I did become a little bit politicized, a little bit aware—once the narrow crack in the door was
opened for me, I kinda went through it full force, and got involved with
the Green Party and canvassed for them and so on. The DOA song
that affected me more than those songs was "General Strike". I think
that was like '83, '84, something like that. They took the name from
the Polish solidarity movement and applied it to some NDP worker's
movement in BC at the time. I think the song was written for that, and
I was really into that song and into Green Party politics.
But it was all less grounded in reality for me and more in teenage
playacting, almost. I mean, this was while I was living with my parents. I was pretty sheltered. I'd grown up in a Christian, church-going
home with a cop as a father, right, so I was never really in the streets,
so to speak. "Free the Five" seemed like just another cause.
morse —they seem to have suppressed a lot of their political
feelings in reaction to the fact that this security guard got
injured. Am I reading that correctly? Are they supposed to be
running from their pasts?
Yeah, they're both carrying huge amounts of guilt. I don't know how
well this comes through in the film, but part of the guilt is a result of '
them inwardly blaming themselves for what happened, but outwardly
blaming each other. It probably could have been drawn a bit better,
but there's a momenTTafter they reveal their secret to the young girl,
where Don is saying "It was my fault," and it becomes a little dialogue
I definitely have empathy for their aims, but I just don't see
violence as a solution to anything. There's a continuum going
from what they were trying to do, right up to Hiroshima
Actually, my most "direct action," if you will, was at that DOA
concert at the York Theatre, when I was kinda offended by some anti-
religious stuff that was being shouted by Joey Shithead and I leapt onstage and pulled some banner down and unceremoniously got tossed
out of the theatre. I wonder if he remembers that? (laughs).
Someone somewhere is gonna read that and go "That was you!"
And after that I kinda got more into the Violent Femmes and goth music, after the trauma of that DOA gig. (laughs)        i*-fSjP
You said at the Q&A for the screening of your film that you had
sympathy, but not necessarily approval, for Direct Action. Do
. you want to elaborate on that?
Well, what they wanted to do, their whole vision of what society can
and should be is a hard one to argue with. I still have very left-leaning
politics and one of the obvious thematic streams of my own film was
the whole bicycle thing and all that. I've never owned a car and I ride
a bike wherever I go, I definitely have empathy for their aims, but I
just don't see violence as a solution to anything. There's a continuum
going from what they were trying to do, right up to Hiroshima.-
I don't know if you want to get into a little third person argument with Gerry Hannah here, but Gerry said to me that he
questioned whether it should be described as violence, because,
accidents aside, they were attacking property but not people.
But if I can kick in my cynical Godard side, Godard was nailing that in
La Chinoise a year before the May '68 rioting, when he was showing
how awry that can go. I read Ann Hansen's book Direct Action and
I kinda wished they'd been cinema fans, and watched Godard, rather
than listening to the Doors. Have you seen La Chinoise?
I haven't, and maybe some of the readers haven't, so...
It's a film about a bunch of Parisian students who spend a summer
away from school, studying Mao and debating the use of violence versus non-violence in terms of trying to affect change in the world. They
decide to undertake a violent act, to assassinate a Soviet minister who
is visiting to open a new wing of the Sorbonne. It just goes wrong. The
woman who goes in to do the assassination looks at the hotel registry
where the Soviet minister is staying, but she reads it upside-down and
goes into room 23 instead of 32, and shoots the person there, so then
she has to go back to room 32 and shoot the other guy.
In the middle of the film, there's a discussion with a philosopher
who was involved with the Algerian resistance movement, andit's an
interesting discussion, because he actually advocated violence in the
Algerian resistance, but it was because there was a widespread so-,
cial movement backing him. Which is the point Ann Hansen makes
throughout her book, is that they felt isolated, because in North
America there is no widespread social movement backing people to
overthrow the establishment, simply because everyone's too content
here. I guess I should mitigate what I'm saying. If you're in an oppressed nation, where you're under the boot of a dictatorship, certainly I guess violence, maybe, is an option...
Here, we're too comfortable, so it stands out as a fairly unusual
behaviour. It doesn't win a whole lot of approval for the cause.
No. And you become that which you're fighting against.
(Mild Spoiler Warning: from here on in, spoilers begin to accumulate. If
you hate spoilers, you'd best save the rest of the article until after you see
the film. If you don't mind mild spoilers, it's safe to continue for now).
Your characters seem like they're in a state of denial or re-
between the two of them. It has resonance anytime I watch it, but I'm
not sure it's having resonance for the audience.
(Spoiler red alert: they get more serious from here on in. Read at your
own discretion) i
I wanted to ask you what you wanted the film to say, actually.
There's a sense of something generational going on. You're
very aware of the radicals of the 1960s in the film, and then
there's Don and Tracy as 80s radicals from Vancouver, and
there's this young kid smashing up SUVs, so there's a sense of
something being handed down from generation to generation.
The last line of the film—"You guys should have taught me how
to make a Molotov cocktail"—do you think they should've?
The last line drives a lot of the screenwriter types crazy, right, because
it doesn't really wrap it up and bounce it home. I'm not really offering
a message; it's more a discussion of whether they should have or not,
and it's more speaking to the overriding framework, in my mind, of
how society takes our idealism and beats it down so that we're slotted into these little units that function, not for the betterment of our
society, but for the way the powers that be want our society to work.
Most obviously the nuclear family, right?
So at that moment that she says that to them, they're kind of
like her surrogate parents. And what do parents do? They practice a
form of censorship on their children. And what do the greater, overriding "parents" in our society, the powers that be, do? They practice
a form of censorship on the masses. That's why we go into this whole
discussion of hidden histories and what history is taught, y'know?
We're taught how Ronald Reagan told Gorbachev to pull the wall
down, and that ended the Cold War, but we're not taught about people
like the VancouverFive and the radical anarchist movement.
Well, one person who has been hashing over this history
is Warren Kinsella. Did you read the chapter on Gerry in
Fury's Hour?
Yeah. I was a little bit disappointed, because obviously the guy has
written a few things and obviously he's got half a brain, but he's got
an axe to grind. It brings out the worst in human character. It just
seemed to be more a polemic and a character -assassination .than
anything else. It's just really prurient and juvenile, some of the stuff,
where he just takes stuff Gerry Hannah said out of context and just
makes some kind of joke about it.
It seems really snide.
Snide, exactly.   -
It's unfortunate, because he's doing an important thing, by
. interviewing Terry Chikowski, the real guard. You've said you
didn't know Chikowski's name until I mentioned it; well, I
didn't know bis name until I read Fury's Hour. In a way, I'm
kinda grateful, because I was one of these Free the Five people
when I was a kid, I was supporting this, and I didn't want to
think about Chikowski very much.
But you're someone who is trying to see both sides of it. Kinsella is doing the research and finding this guy to shove it in Hannah's face.
The theory that's coming up from talking with Hannah is that
a lot of this stems from Kinsella being pissed off that Hannah
wouldn't do an interview with him.     Ok Sill 1
Yeah, exactly. I'm not surprised by that. It seems like a personal
grudge thing is going on.
DiSCORDER       21 Yep. So, let's talk about eBay for a bit.
You know, if you look in the movie, there's a couple of inserts in the
movie of it being this website called Antiques ©jiline. And I dealt long
and hard with the issue of how these people don't have credit cards
or anything, and how are we gonna make it legit that they could sell
online, so no one would go "you need a credit card to sell on eBay, how
are they gonna do that when they're underground?" After screening
the film a few times—people just fuckin' don't care (laughs). In fact
it's always referred to as eBay, as well, in reviews.
Is there meant to be any commentary on the commodification
of punk? At one point the girl takes Don to task for placing too
much value on his books as artefacts that are worth something.
Definitely. There's a commentary along the lines of how our idealism
is commodified and made palatable and sold. The Baader-Meinhof
book—Ann Hansen herself went to Europe in the 1980s in the waning days of that and was inspired by what was going on there—and
now it's become this book to be valued, so hopefully it will make some
money when they need it when they're too old to get some medicine,
or something.
I mean, the film doesn't seem cynical per se, but you're certainly not very optimistic about the state of things right now.
I mean, this is our idealism: hiding underground, rooting
through trash, selling shit on the internet and hoping to just
get by.
Oh yeah. When the movie's released and the Vancouver Sun coverage
on the movie comes out, I think there'll be a KatherineMonk interview with me and three actors, and the large bulk of the interview '
is them talking about what a sense of hope the movie has, and me
refuting everything they say. I think that what it comes down to is the
actors live in the world of their characters and see their characters as
going beyond the last frame of the movie, where as I see them almost
as little chess pieces and their lives end at that last frame. So for me, it's
over, boom, there's no hope. 23 years from now, no one's gonna give a
fuck, so let's deal with it. "Live in the now, man." Whereas they're like,
"They've formed a little family, let's go on."
We arrive at the nuclear family.
I'm hard pressed to see the positivity and the hope in that.
Well, but...our own families, we don't usually get what we
want from our own families. Everyone has leftovers. But in the
way that we seek out alternate histories, you seek out alternate fathers and figures of inspiration, other teachings. And
in a way, this girl has found people who can look out for her,
and have at least a little bit of wisdom that they can impart on
her. So there's a little bit of hope there.
I guess, y'know, as long as she applies aloe vera leaves to her face every day and it heals and all that, and she doesn't rat these two out,
they may have some kind of understanding, some sort of relationship,
because her involvement in threatening guerrilla activity has probably come to an end. So I guess in that sense there is some hope.
So if you were to make a sequel, what would you do?
(laughs) I dunno, I keep thinking in terms of the last scene which was
never shot, actually, which I wrote for a sales agent who was really interested in giving us some money up front. She wanted to see a couple
more scenes and one final scene after that one to bring to her people,
so she could convince them to give us some money so we could shoot
in Super 16. She never did, but the last scene was them winding up on
a beach somewhere and Tracy unwrapping Nadia's bandages and her
face is all healed up, and Don reaching over and putting on a record
on the portable record player, and the song is "Revolution Blues" by
Neil Young, and that was gonna play over the end credits. So I guess
the sequel would be Agitation in the South Pacific. Or Toronto Island.
Something like that.
I really liked the song you used over the end credits, Leonard
Cohen's "The Old Revolution."
Yeah, that came pretty late in the game. AU the music was kinda in
the realm of "Yeah, we'll be able to afford it," which is /rhy we used
it. That one was a little bit pricier than anything else, but the producer managed
the Halo Benders. They have this song, "Bomb Shelter Parts One and
Two," which has got these great lines in it: "Next time you're at one of
those big concerts waving your lighter, don't waste your lighter fluid!
Take it to the streets, let 'em know how you feel!" And that was gonna
dovetail into our little Molotov cocktail thing with Flick Harrison after the end credits (which, I gather from IMDB, may be removed from
the theatrical version of the film "for legal reasons.") But yeah, "The
Old Revolution" is so appropriate as a poetic summation of Don and
Tracy's relationship in the film: "Into this furnace/ I ask you now to
venture/ You whom I cannot betray." They're held together by that
secret, and the whole fire thing...
There's a generational thing there, as well.
Yeah. And those paying close attention, hopefully, will pick up on the
fact that it's the same song Nadia labelled as "hippie shit" earlier in
the film!
Note: I'm currently considering doing a larger project on some of the
issues dealt with here, specifically around Direct Action. If anyone thinks
they have interesting stories they'd like to see in print, please email me at
ammacinn@hotmqil.com. «* DOOLIN'S
Your Neig^bourhag^d ^ujfc. Halfway tcT a Threeway
In February of this year,
Dan Bejar, Carey
Mercer, and Spencer
Krug huddled down in a house in Victoria and spent a
month together recording songs, bringing to fruition an
idea that they'd been talking about since their Destroyer/
Frog Eyes European tour in 2005. They dubbed their
three-headed supergroup Swan Lake, and their album,
Beast Moans, has already stirred up fervent anticipation.
This is, after all, the fantasized-about union of three of
the West Coast's most celebrated and idiosyncratic indie
rock songwriters, and it's coming at a time when all three
are at new high points in their careers: Destroyer's Rubies
is a fierce contender for album of the year, even if it was
perversely passed over by the Polaris Prize; Spencer Krug's
debut as Sunset Rubdown has garnered almost as much
attention as the songs he penned for Wolf Parade's breakthrough album Apologies to the Queen Mary; and Frog Eyes
has already released one album this year (the brief The
Future Is Inter-disciplinary or Not at All on Spanish label
Acuarela) and they're gearing up for next year's spring
release of Tears of the Valedictorian.
So, naturally, bloggers of the world are waiting anxiously in front of their keyboards, nails clasped between
teeth, to either venerate this historic release or tear it to
shreds. As some guys from Long Island once said, stakes is
high. However, as I spoke to Carey Mercer over the phone
and Dan Bejar via email (from Granada, Spain, where
he's working on new songs, apartment renovations, and
enjoying life), they both told me the same thing that fans
will discover for themselves when the album hits stores on
November 21st: Beast Moans is the casual, private product
of three long-time friends, hanging out by themselves.
"We really love each other's work," Mercer told me,
"Sowe were like, 'Well, duh, let's make a band.' None of
us were like, 'By the way, the blog community is going to
be up in arms about this,' or, 'Man, there's going to be a
lot of buzz.' Or also, there might be a lot of backlash. I
don't think any of us consider what we do to be especially
worthy of half a sentence. Worth listening to, maybe.
You know what I mean? What I'm trying to say is that it
wasn't made with the intention of blowing open the dam
or anything. To me, I think it sounds like we're at least
trying to make a humble record."
For three songwriters as prone to the bombastic as
Bejar, Mercer, and Krug, "humble" might be a little misleading—especially when the music .is so raggedly, spectacularly gtand—but Beast Moans manages to be both
epic and intimate. From the spiralling, controlled chaos of
"Widow's Walk" to the, uh, bleary, semi-controlled chaos
of "Shooting Rockets" (both penned by Bejar), the album
echoes with the noise of its own construction. Layered
and dense, it's nevertheless among the rawest and most
immediate material that any of its creators have released.
owing to their decision to self-produce and to the obvious
fact that each artist was teaching their songs to the others as they were being recorded.
"We needed the kind of luxury that doing it yourself
provides, as far as building a record out of nothing is concerned," Bejar explains. Acknowledging the roughness of
the mix, Carey remarks that, "It would have been really
frustrating to have someone else in there. Also, I think
we just wanted to do it ourselves. We've been in studios
enough, the three of us. I'm not saying that we can do
anything that a studio can, but there's pros and cons to
Discussing his aspirations for the project, Mercer
says, "I was pretty curious to see how it would sound,
what would happen with it. Would a dominant person
emerge?" I was surprised to hear that, despite all three
parties having such strong, distinct personalities, there
was little friction during the recording process. One might
have expected a little animosity between Krug and Mercer
that the former has moved to Montreal and struck it -
big (in indie terms) with a sound suspiciously similar to
his mentor's, but Bejar and Mercer both assured me that
the opposite was true.
"At the same time as everyone is a strong personality, no one really thinks too highly of themselves," Mercer
laughs ruefully. "It's like, 'Oh, you have an idea? Thank
God, because my idea is shitty' I think maybe we typify
the modern Canadian cliche, in that respect." Bejar expands on the band's dynamic. "I guess we are friends first
and foremost. Obviously the public eye doesn't enter the
picture When you're in the studio, and that public eye is so
vague and squinty anyway that who cares. There's more
tangible things like sneaking into a song in the middle
of the night and muting or un-muting things. That was
more a Carey/Spencer back-n-forth, and they've been
pretty good at resolving things like that for years now. A
lot of mutual respect, which is why I was the coffee boy/
He isn't joking, either. Before moving operations to Victoria, the trio originally attempted to record
in a studio belonging to Dante Decaro (formerly of Hot
Hot Heat, now of Wolf Parade) in Shawnigan Lake, but
as Mercer relates, "because only one of us had a driver's
license and you have to drive over the Malahat to get
thereat was quite deadly. So no one could really drink."
As it happens, Bejar was the one with the license, and
Krug and Mercer weren't so circumspect about the drinking. The arrangement didn't last long.
As for the nature of the song-writing process, Bejar
is modest. "I didn't do much in the way of co-writing
any songs. On their songs it was more like—'Bejar! Sing
these words here! Good, now do that again!' And on mine
it was like, 'Yes, your singing on "Shooting Rockets" is
quite musical. No, it absolutely does not sound like you've
never heard this song before. Now on this take try singing
into the mic, not that bottle over there.'" There's obvious mutual touchstones among the trio, though, so even
though the songs were written more or less individually
(though, with the exception of Bejar's "The Freedom", all
24;    November 2006 of the songs were written with Swan Lake in mind)
they still cohere together remarkably well. For example, allusions to glam rock in general and David
Bowie in particular are virtually inescapable in any
Destroyer or Frog Eyes review.
Mercer, however, protests: "I don't really know
the specifics of any of those art-rockers like Roxy
Music or whatever. They were pretty cutting-edge
for their time, right? But I don't know if we're really interested in being "cutting-edge" in the urban
sense. I think the record actually might be proof of
that-. I think the pastoral influences suggest a turning away from the drive to keep ahead and make
something that's entirely new. We were talking
about this: at some point, you start to realize that,
you know, Neil Young is totally brilliant and Bob
Dylan is completely awesome, but at that point, do
you give up everything that's made you not some
horrible Canadian troubadour? There's always that
tension, I think, between the cliche of the new and
the cliche of the old. It's pretty exhausting, to actually always be thinking about it, and I think occasionally you find a good balance between the two,
and I hope that Beast Moans—that every record,
actually—is both escaping the old cliches and the
new cliches, too. I hope."
On the same subject, Dan was loquacious. "I
think there's certain chords and chord progressions I associate with glam-rock, and I think I still
hit 'em every once in a while, and so does Carey (I
find Spencer's melodies a little harder to predict).
I think we both like the tone of a very important
man addressing his people, 'cause there is no better tone from which tragedy can ensue! Mercer has
a lot of the drunk emperor announcing the dissolution of the republic to an empty gymnasium in
Duncan. My songs might be more like the coked-
up, over-the-hill director firing the film crew in his
head. I find Spencer's tunes a little less populatecTby
these apes, but that being said, his song-writing is
still evolving, shifting really fast compared to mine
or Mercer's, which by this point you can smell the
stink of from a mile away. I mean the difference between Krug's songs on Shut Up... and Beast Moans
is considerable, in my opinion anyway. Youth is still
on his side, though barely."
This very quality of self-reflexivity in
terms of history and the larger questions involved
in creating work in the rock 'n' roll, context is another feature which brings these three songwriters
together and sets them apart, which Mercer happily recognizes: "We do struggle, not only with
making the music and performing it and making
it sound good, that's a huge struggle, but also the
kind of greater meta-struggle of picking up a guitar and plugging it in in front of a bunch of people—there's, like, a moral struggle thete! [laughs]
Because, man...everything you do...you're always
kinda mocking yourself, I guess. And I think that's
one of our bonds."    _
So, with so much shared in terms of
influence and imagery, it's hardly surprising that
three men should have jointly generated an album
with a more or less unified theme. In Bejar's words,
"Loss, separation—shit makes the world go round!
In Carey's songs I see a concern with being a 'good
citizen'. Spencer's stuff seems to be peopled with
mythical characters writ small, not like gods or
unicorns or anything like that. I'm pretty into cafe
culture these days, with the exception of one song
that I wrote with my neighborhood in mind, if my
neighborhood was like, uh, Copenhagen between
the wars.""
Carey casts the album in similar terms: "We
didn't write five themes on a board and piek one,
but I think that there's a few songs that touch on
losing people. And you can lose people in so many
ways: in physical, real ways, in others. And that's
a pretty private thing. Like I said, I think there is
kind of a gentle pastoral element, too. It felt really private making it, because for one thing, for
months, nobody but us had heard it. Usually, when
you record your record—like with the last Frog Eyes
record—we toured every song, every song had been
played in front of people, we recorded a few songs
for a website. But with this one, no one had heard
the songs."
"And another thing that was neat was that,
since no one had heard these songs, we'd send
Dan in and he'd play a song on the acoustic guitar, or when Spencer was singing, it would be me
and Dan and we'd get this, like, really happy look,"
Carey continues. "It was really awesome to have
that moment where the song unfolds to you for the
first time. And you could tell that neither person
had sung the song a million times, either. So it was
still pretty fresh for the songwriter. So I guess that's
probably one of the moments that I'll remember
when I'm old, from making music. Sitting there
in the control room with that feeling that something that is someone else's is now, to some degree,
yours." ||
Vancouver New Music presents
No Neck Blues Band j&
W/   IMP(S)  (Victoria) T
U Friday 10 November 2006    8 pm
Granville Island Stage $20/$ 15
Tirtetsava-bleftomtheAmClubBoxOfftei,Tidielmaslef[6()4i80.3311liindlttteilow    WWW.IWiyinUSiC.Oigi
Discorder     25 Illuminated by the Light
Ian leaps into the crowd in June 1984 at Washington, DCs Newton Theater wearingfhe robe of John Stabb. Also on the bill—Underground Soldier, Negative Approach, Maleflce, and Husker Du.
by Saelan Twerdy
Photo by Sarah Frances Woodell
see more atflickr.com/photos/francesrust
o*u may already know Ian Svenonius as the yelping, hip-shaking frontman for various obscenely influential bands like Nation of Ulysses, The Make-Up, and more recently, Weird War
and The-Scene Creamers. Long notorious for filling his liner notes and lyrics with radical leftist
manifestos and If anting exegeses on rock n' roll and cultural politics, he's also been covertly penning
highl^riginal socio-political essays and publishing them in journals like Index, Plan B, and Sound
Collector. Now, finally, Drag City has issued the definitive Ian Svenonius reader: a 300-page collection of nineteen essays, bound in a hot pink, soft-plastic shell so tiny that it'll fit in your pocket. Like
such infamous portable volumes as The Communist Manifesto and Mao's Little Red Book, Svenonius'
omnibus attempts to cover all the necessary topics (i.e. Beatles vs. Stones, Scientology, freemasonry,
the Lord of the Rings, and Swedish girls). As the author claims in the prefatory "Instructions", The
Psychic Soviet "should clear up much of the confusion regarding events of the last millennium—artistic, geo-political, philosophical, et al." Discorder spoke with Ian Svenonius over the phone to illuminate various aspects of this historic publication and the lecture tour that accompanied it.
26     November 2006- Discorder: Have you been planning on doing this book for a
while? Because you've been known for a long time as an articulate ranter in liner notes and interviews and so on.
Svenonius: Yeah, this book has sort of been in the works for a little
while. Over half the essays compiled in the book were previously published in periodicals, so it's been kind of a lurking plan to put them
out as an Ian Svenonius reader. But I had to write some framing essays to tie them all together, one of which was the title essay, "The
Psychic Soviet", which talks about the discovery of psychogeotics by
the American ruling class, and explaining some of the larger themes.
So that took a little while. And I also had to make sure that it worked
the right way. The presentation is always essential.
Why was now a good time to release the book?
Well, actually it was supposed to come out about year ago, but we had
a lot of trouble getting the cover to look right.
hit song a hit song because people request
bunch on the radio, or is s
it over and over again?
An impression I get from your book is that the idea of rock
'n' roll as a counter-cultural force is basically illusory. Do you
think rock 'n' roll ever really had emancipatory properties, or
continues to?
Well, that's what's addressed in my essay "Rock 'n' Roll as Religion,"
which talks about rock 'n' roll as an enormous ideological putsch, as
radical an ideological transformation as has ever been initiated by any
of the revolutions throughout history. Meaning that, when rock 'n'
roll took over from Christianity as the paradigm of American culture,
it was a coup d'etat. It happened without'announcement. And it has
to do with economic forces; the old style of plutocratic capitalism was •
based on slave labour, this kind of serfdom that most people had to
endure, so Christianity was a way to placate the masses and tell them
The cover is quite spectacular. What prompted you to go with the hot pink?
WeU it had to be hot pink. That was central to
it, the whole rock 'n' roll cult:.the pink Cadillac,
punk is pink...pink is central to rock n' roll, but it
also refers to "pinko." So it addresses both of the
themes of the book: socialism and rock 'n' roll. It
bridges these two disparate and possibly antagonist ideologies.
Do you plan on doing more writing of this'
type in the future?
I don't know. I'll definitely do a few more presentations of this type, maybe on the West Coast,
Boston, Toronto, places Jike that. Maybe rework,
my lectures. I wanted to address rock 'n' roll literature a bit more.
—and become, like, a Disunited States? Maybe that sounds too
Oh, I don't know. I mean, America should be wiped off the map. It
should be, it's disgusting. And by that I mean the running president
and what he's done about Israel. It's a political entity that should be
wiped off the map. I don't mean the people should be annihilated by
nukes...    -#J|1|§1 *4»i^SPi
Just as a political entity.
So...are you working on a new Weird War album?
Yeah. We've got some songs recorded, and we're going to record some
more, but we're not playing for a couple months because Alex is touring Extra Golden, which is one of his other bands, and Sebastian is
playing with his other band, Trans Am, so we're really not doing anything for a few months.
"The corporate structure is actually bound, by
its very nature, to grow at any cost. The directors
can do no other thing. So there's systemic evil in
the corporate structure and in capitalism. And
nobody's culpable because it's not one evil man"
Are there any rock 'n' roll writers you particularly admire? How do you feel about Lester Bangs, for instance? 4fsf_s3$
Well, Lester Bangs is really responsible for the kind of idiotic way that
people write about rock 'n' roll. This kind of diary style, gonzo, self-
referential style. And Lester Bangs, like a lot of people who spawn a
paradigm, his work might be great, but the thousand ships that he
launched are kind of reprehensible. If you read about music nowadays, it's awful, despicable. It's prattling.
Do you read much in the way of contemporary cultural studies? You're pretty well-versed in Marx. And you reference Dick
Hebdige in your book.
No, not really. I just read about history. I don't really read academia.
It's so self-referential and it's so laden down with footnotes that it's
basically unreadable. And academics tend to write in a style where
they're circling the wagons. They're writing for their own little community and they emboss what they write in a veneer of science.
They're purposefully impenetrable. I avoid it in my book. It's not to be
confused with academia in any way. K^f^^^A
Do you think you offer a model for emulation?
Yeah, I do actually, and I think that the response the book is getting
shows that the book is filling a void. The book itself isn't particularly
brilliant, it's just that it's addressing the previously-mentioned poverty of rock writing. It's not only that you can walk into Borders books
and there might be five hundred volumes about the Sex Pistols and
how Elvis' shaking pelvis inverted culture or whatever, but it's just the
same tired myth. It's ultimately boring. I think the book is just address-1
ing this void. I have no education, but I am a rock V roll worker, Fm
part of the rock 'n' roll work force. I have a firsthand experience and
insight and I'm asking the pertinent questions: why did rock 'n! roll
assume paradigmatic status as America's number one export during
the Cold War? Why has it been alternately bankrolled or abandoned
by ite benefactors? What is the point of its ideology and why have we
accepted the idea that it's still liberating?
Do you think people should continue to play rock 'n' roll? I
mean, you do.
People have inherited rock 'n' roll because it's an exciting expression,
and it's an exciting expression because its a synthesis of all art, really. Ifs Wagner's dream, the synthesis of art, it's like opera. But it's
not extraordinarily expensive to produce, and you don't have to be a
diva to make something exciting. Obviously, rock 'n' roll is a magical,
mystical medium. And the book, by addressing these issues, it's about
where it comes from and what its use has been, by the ruling class,
which is not to say that rock 'n' roll is a bad thing. Obviously, I've
dedicated my life to playing rock 'n' roll. I've been in various groups,
and I continue to be in a group that records and puts out music, of
course, but it's just a question: why is this regarded as such a great
expression, and is that just popular consensus? Does the market really
betray people's feelings? Is a hit song a hit song because it's played a
that poverty was noble and that they were going to be rewarded in the
afterlife. Now, rock 'n' roll is the opposite of Christianity, but it's very
similar in a way, too. It's aping the template. We have saints and blind
faith and a kind of mystical fervour, but it's saying the exact opposite
things from Christianity: you need it all immediately. Consumerism is
saying binge, and get it all, and sex is great. It's based on the Keynesian
economic system. And of course Keynesianism is a kind of fascist
model of government where it's'a collusion between corporate power
and federal government power. It's based on consumerism. So, really,
rock 'n' roll is a way of getting people out of a Depression mentality
and the Christian ethos of denial.
Something you don't account for in the book, though, is the
recent resurgence of fundamentalism. Do you think that's
something that's just going to pass?
Well, you see, America's a very complicated place. It's got 300 million people, maybe more. It's difficult, we make these generalizations
about America, and I do it too, but American fundamentalism is no
longer the same thing as the Christianity of the past or of Europe. It's
no longer based on self-denial, it's based on...well, I don't know what
it's based on, but its focus seems to be on very specific moral issues
like, you know, anal sex.
What do you think is the gravest threat to mankind right
Well, it's reaUy capitalism, because capitalism worships growth at any
cost. The corporate structure is actually bound, by its very nature, to
grow at any cost. The directors can do no other thing. So there's systemic evil in the corporate Structure and in capitalism. And nobody's
culpable because it's not one evil man. Obviously you can focus your
hatred on George Bush and that's all very fine, but it's totally beyond
So how do you think the average person can fight systemic
Well, what you do is you promote systemic good, a different system.
Like socialism. Or at least the idea that-growth is not necessarily
good. It's really difficult because we live in these countries where the
political process is so abstract because they're so fucking big. Three
hundred million people. Too many people for one country! Because
nobody feels like they have any ability to transform anything, and
there's no state government. You know what I mean? The articles
of the confederation, that was a good idea. Because if people in the
USA, for example, felt like they had enough power to secede from the
union...well, that'd be great. If California said, hey, we're not going
to go along with this Iraq war, we're going to secede from the union.
They could invoke that threat.   ' '<««irO^O
Do you think the country should decentralize—
Oh, definitely.
Another thing, kind of going off-topic again,
but you seem really dismissive about hip
hop in your book. And the points you make
about DJ culture, I think, are really relevant,
but do you think there's really no value in
hip hop as a style?
Oh no, no. Hip hop is obviously very exciting,
great music. I was just being gUb in my book
because the DJ article was so long. I wrote it for
Sound Collector, and it was getting too long, so I
oversimplified some things for readabUity. You're
right, it's an unfair marginalization of hip hop,
but I think what I'm saying is stiU true in a hyper-
generalist sense.
_— Well, I think your criticisms of hip hop are
just more relevant to club music in particular. That particular kind of hip hop has become America's biggest musical export now, rather than rock
WeU, I think The Psychic Soviet addresses that. When there was a socialist competitor to capitalist ideology, rock 'n' roU had aU the old pretenses that we'd inherited from art. Like, we don't talk about money,
and there were certain lines that people didn't cross about direct
commercial marketing, because rock had inherited the old European
tradition. And that's all been abandoned, and that abandonment coincided with the ascendancy of hip hop, which also coincided with the
end of the Soviet Union and socialism. Once capitalism has no viable
competitor, then suddenly the music becomes so vulgar as a commercial exponent of luxury products and prostitution. It's amazing. And
the pretense is that this is the voice of the inner city, but reaUy it's the
voice of finance capitalism and imperialism. I mean, the voice of the
ghetto was the party hip hop that organicaUy developed through the
70s and 80s, it wasn't gangster rap.
It's kind of perverse how the mainstream has really taken to
gangster rap, though.
That's true. But in being dismissive of bip-hop, I'm not being dismissive of the art form, I'm being dismissive of the soundtrack of Madison
What are you really excited about right now?
That's a good question. Let me think about it. New discoveries, you
mean? Oh, Lord Whimsy's book. The Affected Provincial's Companion,
vol. One. I just started it, but I like it.
I guess a book like that is, in a way, along the same lines as
yours. Ton know, his perspectives, in an 18,h-century-pam-
phleteer-style ranting, produced in a neat little volume.
Yeah, yeah. I just got it. I do feel like it's a companion piece, even if we
have very different things to say. It's weU-written.
Well, thanks a lot, man. I hope that if you take your lecture
tour on the road again, that you come to the West Coast. Or
next time Weird War goes on tour.
Yeah! We should come to Vancouver. That would be in the winter, I
think. January, maybe, when nobody else is on the road.  ^
Discorder     27 Starting off tonight's noisy proceedings are
the sole Canadian representatives on the bill, Ken
Mode. They belt out a ferocious blend of hardcore
-and thrash with a slight progressive slant. They're
good, but onstage the intensity of their music
doesn't quite come across properly. One problem
that detracts from their set is that for a large portion of the gig, the singer has to struggle with a
broken mic stand. He eventually resorts to holding
the mic in his mouth with his teeth!
The promoters of tonight's gig should have
posted a sign on the door of The Lamplighter
with a warning. It should have read "Anyone of a
- nervous disposition or of 9. fragile emotional state
should proceed with extreme caution. Daughters
are playing." This band don't do songs in the traditional sense of the word. Each track is more Uke an
1 individual experiment in aural torture. They don't
so much 'play' their instruments as inflict random
acts of violence on them. Despite very brief moments of ethereal beauty, the sheer chaos that they
create is genuinely disturbing.
After the unsettling maelstrom of Daughters,
Pelican were comforting and serene in comparison.
Frustratingly, for the first few tracks the full force of
their music was weakened by sketchy sound mixing. This was eventually rectified, thus allowing
the guitars to reach their true monolithic magnificence. The majority of their set was comprised of
new material, much of which saw the band pursuing a faster and heavier direction. If the new songs
aired tonight were anything to go by, the new album
should be a blinder. Due to the full-on visceral impact of Daughters, the far more subtle, thoughtful
approach of Pelican was somewhat overshadowed.
However, they still managed to provide a solid performance that just fell short of the mesmerizing
potential of such monumental music.
October 6th
The Railway Club
Not knowing anything about rockabiUy, I arrived at the Rattleshake Festival well before nine
and settled in. There were a couple of guys performing a sound check, so I proceeded to find out
what exactly this festival was all about. As it turns
out, Vancouver has an excited and loyal fanbase
for a kind of indie rock reminiscent of Woodie
Guthrie, Muddy Waters and Hank Williams.
Now that I could relate to. The style was a cross-
section of punk, country, old-timey and blues all
mixed together. It reminded me of the soundtrack
to O Brother Where Art Thou, but modernized, with
exquisite lyrics from all three bands delivered with
a rock edge.
David P. Smith was the opening act. They
warmed the stage with an accordion, picking up
the low end as eager music-goers milled into the
venue. I particularly loved Smith's clever writing:
dark, wry and humorous with catchy melodies.
"Stumbling, Mumbling, Jumbling Cowboys" had
everyone singing along. By the time Knotty Pines
took the stage, the Railway Club was at full capacity. The Pines started off with a jazzy instrumental.
Sweet and sentimental, they hooked the audience
into a rare Vancouver sight: people actually dancing. "Pobkie Honey, It's for Real", a crowd favorite,
was dedicated to the trucker dad of lead singer
Linda McRae, whose passionate, edgy and powerful
voice held us in vice grips until she was ready to
let us go.
When Herald Nix finally sauntered onstage at
half past midnight, the room's energy had begun to
fade. Dancers were all pooped out, but the die-hards
stuck around. Apparently, Nix has been on the
Vancouver scene for 10 years and was, despite the
tuckered state of the audience, the biggest crowd-
pleaser of the night. It was lovely. By the time the
night was over, I'd made a few new friends, been fed
nuts by a good-looking one whose name I never discovered, and found out that the nice couple sitting
28    November 2006 (((RLA)))
at a neighbouring table were also my neighbours
in reality. The whole night was inspiring enough
to send me back to myspace.com/northernelectric
looking for more. I've been converted to the 'twang'
side... and that's not bad for a middle-aged black
Julie Okot Bitek
PISE Forum
I still have not been able to come up with a solid
purpose for this show. None of these bands have
released a new album within the past few months,
so why all the hubbub? Don't get me wrong, I'm not
complaining, because I find it very hard to say no
to a sweet punk rock lineup such as this. I'm just
minutely confused, that is aH.
CUt 45 was the first band to play the large, warehouse-like venue. Unfortunately, the acoustics of
the room were practicaUy nonexistent, therefore
' making some parts of the show sound Uke a crazy
sonic jambalaya. These BYO Records punksters
set the stage with their exuberant stage energy,
and wowed both the crusty punks and mall punks
Comeback Kid foUowed with a punishing set of
hardcore anthems. The band was running on pure
adrenaline as they tore through their set while stiU
managing to hardcore dance and come dangerously close to kicking my head in, aU at once! It was
definitely worth seeing these guys with a new vocalist since the last time that they were in Vancouver. Same songs, totally different band dynamic.
I've seen the Dropkick Murphys way too many
times, so their set was nothing new to me. They
were stiB as entertaining as before, with the bagpipe solos and the foot stompin'-beer-binging-til-
you're-shitfaced anthems.
Bad ReUgion was the last band to take the stage,
and succeeded in impressing me. I was fully expecting the majority of their set to be comprisejpifv
songs from their latest two albums, perhaps throwing in a few oldies just to tease. But the stars must'
have been perfectly aligned that night, for both the
band and the crowd were going nuts for the older
material. True to form, Bad ReUgion were imbued
with the spirit of punk rock, wnue stttl managing
to be almost overly informative and intellectual.
They have a b-side called "Markovian Process'^ that
I quite Uke, so I once looked up its meaning on Wiki-
pedia, and didn't understand a fucking word it said.
And that is how smart Bad ReUgion is.
Overall, the rock was brought.
Marielle Kho
October 14th
The Media Club
It is hard to give some kind of existential account
of one's membership in an audience, but the phe-
nomenological facts are as foUows: there was music
played, it sounded good, there were a few notable
characters watching said music, the music ended,
we walked half-way home in the rain, caught a bus,
end scene.
Let's start with the most predominant features
of the night. The scene was fiUed with the constructed towers of delayed drum sounds, guitar
sounds, mouth/voice sounds, and sample sounds.
Califone presented these very factual aspects along
with visions of my past that could be best described
as a dash o' super 8 blended with a pinch of tear-
water tea.
Centre stage, the smaUer-than-expected Tim Rutili (whom I imagined to be bearded and bigger for
some reason), the tall and lanky Joe Adamik and
the regular-sized Jim Becker. To the right, a young
man wearing suspenders (sporting what could only
be described as 'train-conductor-style'), to the left,
a young man with a very large red book, in the middle: me (me, trying to stand taU under the weight of
my memories; me, awash in the music).
The beer was laden with a heaviness accentuated by the emotional ties to Califone's music (read:
I became a nostalgic drunk relatively quickly). Yes,
the night was warmed by the music, drink and company, but I left feeUng somewhat empty. It is only
now that I realize what was missing. Califone didn't
play "Electric Fence", one of the best songs of all
time (read: complete lack of objective journalism).
Please, go and listen to Califone, and years from
now, you too will be awash in nostalgia when you
hear them meander their sound and vision through
your ears.
Stefan Morales
October 14th
St. Andrew's-wesley Church
Shortly after I took my seat in St. Andrew's-
Wesley Church, Sufjan's band, looking like they
were on their way to a masquerade ball, swept past
me and took the stage. They were aU clad in hospital-green track pants, beige button-up uniform
blouses with red trim and gold buttons, technicolor
butterfly wings, and feathered masks of aU shapes
As they took their places, instruments in hand,
a strange sound Uke that of a UFO landing played
in the background. The band began to play an orchestrated intro piece, with female vocals blissfully
harmonizing with the violins.
Suddenly the band stopped, and it was just Stevens and his piano. His voice carried a strain of
beauty that I've never experienc^ipefore, and each
note graciously welcomed the next. As Stevens
emerged from behind the piano, his wings spread
and spanned twice as far as^ his feUow musicians.
His scruffy brown hair and dark features give him
a strange allure.
• A few songs in, Stevens told us a story about
how his parents used to be reaUy infatuated with
National Geographic, and would wake him up in the
middle of the night to tell him and his siblings about
these great ideas they had that involved them starting a farm and being home-schooled. Later he spun
another tale about a summer he spent at camp with
a boy named Franco, and a "Predatory Wasp" that
hunted him ruthlessly. The laughter unified us all,
making the woman two aisles down feel Uke an old
Sometime during the set they all removed their
masks, but I was so intoxicated by the music reverberating off the vaulted ceiling that I didn't even
notice. It only became apparent to me when I saw
one of the violinist's foreheads gleaming Uke the
finish on his instrument. They were aU working up
quite a sweat keeping the music flowing.      jj
The newly unveiled song "Majesty Snowbird",
Uke many of the other songs played that night,
featured a booming orchestra, quiet melodic vocals
and harmonies, and a definite magical quality. Even
though many of his songs are sinularly composed,
the intricate details in the lyrics and instrumental
flourishes set them apart from each other. Each one
accompanies the one before it, and is the perfect
prelude to the next.
Over the course of the evening, Stevens made
us laugh with stories from the past, bob our heads,
and feel that we were witness to something truly
amazing. Walking into Saint Andrew's not knowing much about him, I was completely won over.
The audience rose and the church filled with cheering, clapping, and the rumbling of hundreds of
hands banging on the pews. Nobody, wanted to say
Sarah Fischer
October 12th
The Red Room
There's no doubt that recent Boston Music
Award winner MeUssa Ferrick has a legion of devoted fans in Vancouver. Whether from Main Street,
the Drive, the Davie VUlage, or scattered around the
rest of the Lower Mainland, the queer ladies (and
their friends and lovers) who come in droves to experience hef music never leave disappointed.
Except, perhaps, oy the opening band. In this
case, Vancouver's The No No Spots were out of
their element, and it showed. Not only was the
crowd disinterested in their particular breed of flat
hipster-esque electro-pop but theband-itself hardly
seemed willing to make'an effort. The first words
out of frontwoman Adrienne's mouth were grum-
blings about the choice of Ferrick's fans to remain
casually seated instead of rushing eagerly to the
stage, saying "it sucks". Later in the unimpressive
set, amidst the placating applause, she paused to remark that the lack of people dancing in the middle
of the room was "what's fucking wrong with this
city". Perhaps what is actually wrong is that bands
Uke The No No Spots don't appreciate the opportunity to play to a new crowd in a full venue, and
insult them instead of working for their affection.
Because let me tell you, there was a lot of affection
floating around that room waiting for the headliner
to appear.
In spite of the mood set by The No No Spots,
Melissa Ferrick charmed and amazed old and new
devotees alike. On the road to promote her new album In The Eyes Of Strangers, Ferrick has added a
backing drummer and keyboardist to the mix with
resounding success. Darren Hahn and Val Opileski
added power and depth to an already electric performance, and yet were never the main focus: all
eyes were unvaryingly on the alluring tomboy at
the mic. Ferric— commanded the room with passionate vocals and intense guitar manipulation.
Her confidence on stage has increased dramatically
since last- visiting. Vancouver, and her anecdotes
about song origins, love, giving a barista a six dollar tip in toonies ("we [Americans] think it's Just
change"), or telling border guards that she was
coming to Canada to sell her body, rounded out
the performance into something entertaining and
The songs from In The Eyes Of Strangers carried
on in the same vein as 2004's The Other Side. Although the opening number, "Inside", contained
such clumsy metaphors as "I can't wait to take a
drink from the waterfalls of my memories", the
performer stunned the crowd time and time again
with the speed, and force of her playing. Not one for
predictability, Ferrick also played a couple of covers including, "Give it Away" by the Red Hot Chili
Peppers, stating "That's my Irish funk". She'also
described one of her new tracks as "tending a bit
towards the Morrissey", and precluded it with a
couple of teasing lines from songs by The Smiths.
The encore took the room to a new place with
Drive, a song that has become a queer women's
anthem of erotica, with a masterful wah-acoustic
extended intro. With lyrics that provoked the statement that "anywhere where there are kids with
face paint on^I'm not going to play Drive" MeUssa
Ferrick proved that there is nothing stereotypical
about her or her version of folk music.
Patty Comeau
October 7th
Richard's On Richards
Expectations were running high. It was Friday
night, and there was some dancing, to be done.
Michigan's Thunderbirds Are Now! were sharing
the bill with Vancouver natives You Say Party! We
Say Die! and between the two bands, there were
already three exclamation points. Obviously some
serious good times were in order.
Thunderbirds Are Now! were already playing by the time I showed up. I got a Utile worried,
thought maybe this early show thing at Richard's
was being taken a Uttle too far, but as it turns out, I
walked in during their first song. The band was already rocking right out, and the crowd was keeping
right up. These boys' pants were so tight that you
could tell what kind of underwear they were sporting—boxer-briefs, mostly^and we aU know pants
that tight promise some serious good times. Scott
Allen was rocking two sets of keys Uke the ninja he
is, and the boys were all taking proper advantage of
their surroundings, dancing on PAs, riling up the
croWd, and generaUy having a good time. The general fun-time-party-feeling only intensified as Allen
disappeared into the back room, only to reemerge
wearing a gas mask and sheriff's hat. He proceeded
to puU out his imaginary gun (presumably of the
laser variety) and shoot up the place, climbing up
from the stage to the balcony level, making sure
that everybody was a part of excitement. He even
ran into the men's room instead of going straight
for the stairwell—it was awesome.
I don't even know what to say, except that if
you haven't seen You Say Party! We Say Die! yet,
then you probably should. These kids will be up
there having a good time, and you won't even be
able to help yourself; you'll be right there with them
dancing your Uttle heart out. You might be a bit
bummed that at their next show, Thunderbirds Are
Now! won't jump up on stage with them and join
in for a few songs, but rest assured, somebody else
probably will.
Dana Silk    h
•—Hot Gossip
So all three of the Bonnie 'Prince' Billy shows are sold out, The Commodore is a bit pricey for you to take in The Decemberists, and you think The Rapture are "so 2003". At this point, you're thinking
November will be a good month to take up knitting while you work on those term papers. WeU, guess what—you thought wrong. If there's one show you need to see this month, it's Duchess Says with
Les Georges Leningrad at The Media Club on November 13th. The venue will be intimate, the windows will be steamy, and the crowd will be in 24 hour dance-party mode. So go experience this Montreal
noise/electroclash duo and compare your notes with our coverage in next month's issue. —Dan, RLA Editor
Discorder     29
The Information
For over a decade. Beck had
his fingers firmly on the pulse
of capitalism and culture, draw- <
ing out its very worst and delighting in its dysfunction and
excess. While individual songs
were nonsensical, his albums as
a whole explored uncomfortably
recognizable moods or themes.
Disjointed and unintelligible
even by Beck's standards, Gue-
ro proved the exception to this
rule. The theme of Guero was not
found in the music but instead in
its marketing gimmicks, with 8-
bit Gameboy remixes and exclusive iTunes-only downloads.
When early discussion of Tlie
Information revolved around its
unique packaging'design your
own cover' sticker play set and
a DVD with low-budget videos
for each track many feared a repeat performance. However, The
Information is arguably the most
interesting and personal exploration of Beck's feelings toward
popular culture to date.
The Information is what happens when Beck is trapped in a
2006 that is stranger and more
threatening than; any future he
could have imagined. Produced
by Nigel Godrich of Radiohead
fame, polished electronics form a
suitable backing for the dystopic
gloom and weirdness the album
offers. This is not the playful gen-
X snark of Odelay or Midnite Vultures. Beck shows us the possibilities of networks, biotech, and
robotics colliding with the dangers of universal surveillance, a
shrinking middle class, theocracy, and perpetual war.
While not his greatest or most
innovative album musically. The
Information is thoroughly enjoyable and much better than its
predecessor. His musical ability
reasserted, this latest album does
something none of his others
have: it takes a position. Beck is
T no longer content to sit buck and
cackle gleefully at the wrongs of
our culture.
New Dark Age Parade
(G7 Welcoming Committee)
The Subhumans are still telling it like it is. In the 10 years
since they last put out a record,
punk music has taken- a turn
for the worse. It's ctfap, really—
mostly a bunch of whiney songs
about ex-girlfriends, and giant
30    November 2006
tours sponsored by skate-shoe
companies, with the occasional
"Oi! Oi!" thrown in for authenticity, -specially with the recent
closing of CBGB's in New York,
an even darker age has fallen on
hardcore. Thank God the Subhumans remember punk the way
it was intended.Original band
members, ex-con Gerry Hannah
on bass, Mike Graham on guitar,
and Brian 'Wimpy Roy' on vocals, plus D.O.A/SNFU alumnus
Jon Card on drums, are back on
a New Dark Age Parade, facing up
to Vancouver's rampant poverty,
brainwashing celebrity culture,
and a world at war. Considering
they've had more than 25 years
to evolve as songwriters, the
band might even be better at it
now than when they started.
In the volatile political climate
we live in, where music is an essential voice of the people. The
Subhumans are one of the few
bands still shouting. A must-have
for anyone who remembers the
early days, and for aU those who
want to hear legends still at work.
Merch Girl
And Now That Tm In Your Shadow
(Secretly Canadian)
Unfortunately, Damien Jura-
do has always been lost amongst
the shadows of more reputable
songwriters. Even though critics
have greeted each of his records
with praise, he has never managed to stretch beyond a small
cult following. But this never
stops Jurado from releasing consistently solid records. With And
Now That I'm In Your Shadow, he
has crafted another worthy release in his characteristic macabre style. With each successive
album, themes of death, family
and domestic strife become more
and more dominant in Jurado's
' writing, and his new record is no
exception. The majority of the
songs on And Now That involve
someone who is dead, dying or
breaking, like "I Had No Intentions" and "Shannon Rhodes."
These songs find Jurado painting
grim portraits of bullet wounds
and fatality that you only pray
are fictional.But unlike his last
few releases, this record is much
more united in theme as well as
sound. He's kept the record somber throughout, and relies almost
solely on his voice and guitar to
carry it When some drums, pianos or female vocals do come in,
he uses them sparingly and only
to add a little colour. And Now
That., shows a more focused and
mature Jurado, and proves he is
only getting better with age.
BRock Thiessen
Never Hear the End of It
"What do Tim Horton's and
Sloan have in common?" an editor asked, when I had inquired
about Sloan's popularity in Canada. The answer: "No one gives a
shit about either of them in the
US." Coming from the States, I
can say that this is fairly true.
After all, how many Americans
can sing along with "One thing
I know about the rest of my life/
I know that I'll be living it in
Canada"? Prior to the review, I
was only vaguely familiar with
Sloan's work, so I went head-first
into Never Hear the End of It with
unbiased ears.
At 30 tracks long. Never Hear
the End of It is di lot to digest at
once especiaUy for a new Sloan
listener. It flows seamlessly, akin
to Side B of Abbey Road, and features a relatively fair balance of
all four songwriters in the group.
Apart from the occasional ballad here and there, the album
is straight-forward rock; chock
full of handclaps and big background vocals.
Upon the first few listens,
Chris Murphy's tracks stand out
the most Murphy's "Someone!
Can Be True With" is a humorous depiction of his ideal woman,
beaming that she'd be "Someone
to watch Gremlins 2 with/And
someone to not watch "The View'
with." And perhaps the most
memorable lyrics on the album
are from Murphy's "Set in Motion," a catchy, tongue-in-cheek
rocker about an eager director
planning a movie based on his
life. However, the true gems on
this album are Patrick Pentland's
"I Understand" and "111 Placed
Trust." The former is an epic pop
number with soaring harmonies,
bells and horns, while the paranoid, "lit Placed Trust" is not only
the heaviest rocker on the album,
but dangerously infectious. Anyone, anywhere, would have to be
' deaf to not have "fll Placed Trust"
and its annihilating dual guitar
and bass solo stuck in their heads
for days.
Although it might seem that
Never Hear the End of It would
be a bit much for newcomers to
Sloan, it perfectly showcases the
extent of their talents for breezy
pop perfection. Recognised in the
US or not, Never Hear the End of
It is one of the best pop-rock re
leases of 2006.
Robin Hawkins
American Lo Fi
(Killbeat Music)
Imagine my surprise when,
after repeatedly listening to this
southern twangy-folk of a country album, I look in the leaflet
and discover Ox to be from Vancouver — I never knew! Taking
in (he simple, intriguing stories
told by singer Mark Browning's
drawl against the quiet backdrop
of acoustic and slide guitars, I
was left with grandiose visions
of a beat-iip pick-up truck roll-.
ing down some desolate Interstate. But alack, the ballads to El
Caminos, Miss Idaho and some
lucky lassy named Sugar Cane
are locally produced tributes to
the sounds of another region.
The Vancouver/Kansas confusion notwithstanding, the album's sound remains genuine,
and amidst the so-called genre of
"alt-country". Ox manages to retain an inexplicable uniqueness.
Altogether, it's an endearing
collection of songs to take your
mind for a meandering road trip.
And sorry, you just missed their
Vancouver show (October 10,
The Media Club).
(Copperspine Records)
Roger Dean Young sounds a
tot older than he looks. At least,
he sounds a lot older than he
looks on his label's website. He
could very'welt be as weathered
and weary as his voice, and I'm
a touch embarrassed that I reaUy couldn't tell you if the guy's
actually as youthful as his press
photos lead one to believe. Roger hails from Vancouver, and as
someone who erroneously likes
to think he's on top of most
things musical in our wonderful
burg, I feel like I should recognize someone who's making records that are this good.
Casa features a smaU army of
musicians who get together to
backYoung on the album's twelve
tracks. Falling mostly within the
realm of very classic-sounding
folk, the record also stretches it-
legs to incorporate elements of
jazz, as well as some southwestern flavours. The latter types of
numbers, like "Little Wind," are
vaguely reminiscent of Calexico
at their laid-back best. For the
most part, however, Casa finds
Young and the rotating cast who
make up the Tin Cup sticking to
old-time Appalachian tunes that
would sound at home sharing a
double with the Carter Family. The instrumentation is lush
but never overbearing, intricate
without ever sounding busy, and
always leaves space for Young's
raspy croon to take centre stage.
And it's Roger's voice that might
make this record.
The obvious reference point
would be Dylan. To top it off,
Young has a habit of half-mumbling his way through his lines,
obscuring most of the lyrics. That
might not sound like the greatest thing in the world, but anything he loses as a pure vocalist,
he makes up for with the mood
his creaking timbre evokes. And,
particularly when it's paired
with one of the album's many female guests, his gravel-throated
delivery sets the perfect mood for
whiskey-soaked nights or hun-
gover days. If you're like me, you
live plenty of both.
Quinn Omori
The Truth Doesn't Matter
(Secretly Canadian)
In 2006, Nikki Sudden's life
ended suddenly at age 49, while
on tour in New York. But before
his passing, Sudden lived a productive life, recording numerous,
albums from the early 70s onward. Of his prolific work, he's
probably best known for his post-
punk outfit. Swell Maps, whose
noise experiments and left-of-
centre punk inspired legions of
followers like Sonic Youth and
Pavement. However, Sudden
left the more abrasive sounds of
the Maps long ago, and eventu-
aUy went on to record albums
more akin to the Faces or the
Rolling Stones than punk rock.
His final album, The Truth Doesn't
Matter, continues in this direction. Sudden recorded The Truth
near the end of 2005 in Berlin,
and it reads like a map of all the
different styles of music that in-'
fluenced his life and career. He
shows his adoration for Phil
Specter on the doo-wop number, "The Ballad of Johnny and
Marianne." He gives a nod to
the disco era on "Seven Miles."
And he worships the Stones on
"Empire Blues." But the album
hits its peak with "Green Shield
Stamps," where Sudden hints
at a life well-lived through the
tale of his and his late brother's
upbringing in 60s England and
their love of rock 'n' roll.While
these songs might be from an
older time and place, fans of
Sudden's work will be pleased he
managed to get out one last good
one before he left.
BRock Thiessen
(Yep Roc)
British singer/songwriter Robyn
Hitchcock, known for his surreal, often mystical narratives, has recently
teamed himself with the Venus 3. -
Made up of Scott McCaughey,
Peter Buck, and Bill Reiflin, the
Venus trio is known to some as
my current favorite band, Seattle's The Minus S, or to most as
half the current lineup of REM.
Not surprisingly, Buck's trademark arpeggio plucking, and
the M5's signature garage jangle
permeate the songs of Hitchcock's most rocking album in a
good ten years or so. But really,
it's alt a facade.__.ese are tales of
sadness, sexual frustration, and
impending death, including "NY
Doll", which was written as an
elegy for late New York Dolls
bassist Arthur Kane, and "Underground Sun", a more energized
than mournful tune, written for
a recently passed friend. My favourite on this record so far remains "(A Man's Gotta Know His
Limitations) Briggs", inspired by
a misheard quote from the 1973
Clint Eastwood movie Magnum
Force, moments before Lt. Neil
Briggs steps into a vehicle which
promptly explodes.In addition
to the Venus 3, the former Soft
Boy hired a gaggle of rock royalty to make cameo appearances,
including Ian McLagen of the
legendary Small Faces/Faces,
who plays keyboards on "New
York Doll", and Sean Nelson
of Harvey Danger, who adds
harmony vocals to most of the
album.Robyn Hitchcock & The
Venus 3, and a whole slew of local music identities will perform
at tiie Crocodile Cafe in Seattle
on November 25, with The Minus 5 taking the opening slot. If
anything like his show there last
March, it will prove a memorable
night, and more than worth the
pain in the ass border delays.
Merch Girl
Face the Promise
Do you know who Bob Seger
is? Do you know the song "Old
Time Rock & Roll?" Ah, I see you
nodding your head. Basically Face the Promise is "Old Time Rock &
RoU" times three, divided by fresh
songwriting. Song after song,
the production is pompous and
brawny, but not in a good way
like Queen. He loves motorbikes,
leather, and tight jeans, and he
makes sure you know it. From
the album cover to the lyrics, he
splashes images of riding a bike
and wearing leather in more than
enough places, such as "The Answer's in the Question."
"Face the Promise" and "No
Matter Who You Are" are excellent examples where female
backup vocals are best left absent.
LyricaUy he often tries to appear
philosophical, and fails. "Wreck
This Heart" is another show of
pomp and style, although it at
least maintains a good melody
in the chorus. And I enjoyed the
horns and guitar riff on "Simplicity." Ditto with the strings on
"No More." The best song is the
honky-tonk "Real Mean Bottle,"
a duet with Kid Rock (whose
vocal outshines his host's — not
that I think Kid Rock is any different from Seger).
The album, then, would make
a very fitting representative of
the life of an outback hero, or
a soundtrack to the Wild West
(substituting horses for bikes).
It reminds me of what would
happen if hair metal met John
Wayne. The album as a whole is
not too awful (we're not talking
Motley-Crue-bad), but variety
and better songwriting would
help. It's understandably difficult to pull off the biker/leather
shtick when you're Over 60.
Jung Ho Park
The Letting Go
(Drag City)
Will Oldham seems to have
settled upon the Bonnie "Prince"
BiUy moniker, but The Letting Go
is further proof that he has defi-'
nitely not settled upon a single
approach to making music. The
records Oldham released in the
90s under the name Palace gen-
eraUy rocked, and the records he
has been releasing this century
under the name Bonnie "Prince"
BiUy have generally been very
quiet. The Letting Go never quite
fits into either of these extremes,
but hints at both. It's confident
without being loud.
Instead of simply turning up
his amp to make his songs bolder,
Oldham creates layered arrangements that bring his poignant
melodies into clear view. The
gorgeous lead guitar in "Strange
Form of Life" and the dramatic
strings in "The Seedling" are just
a ^couple examples. String arrangements are found on roughly half the tracks, and are highly
As in all things Oldham, the
vocals are always at the forefront
of The Letting Go, even when he
whispers. He is deliberate in both
the words he chooses and the
way he delivers them. The title
track's poetry is especially impressive, as is the strong declaration of "Love Comes to Me."
Although I can't help but
single out individual tracks, The
Letting Go's greatest strength is
quite possibly its consistency.
After over a decade of recording
(with everyone from Steve Albini to Tortoise), WiU Oldham is
still making records in which every song is worthwhile, without
repeating himself.
Bonnie "Prince" BiUy wiU
be showcasing his abilities over
three shows at St. James haU on
November 9,10, and 11.
Dave Fernig
This album surprised me. Listening for the first time, it felt
like that girl who snuck up and
asked me out to prom, when I'd
been aH focused on that other
more popular girl aU school year.
It was that sort of pleasant surprise that you aren't really looking for but wouldn't turn down.
The hormone-driven nerves of
male puberty travelling to an
awkward early adulthood are
perfectly encapsulated in the
Awkward Stage's debut album
in a way that is at once shocking and incredibly cute.Their
sound is not exactly unique, but
they do it well. Coming across
as a young, confused male version of the Stars (because if I
personified the Stars it would be
female — sorry to aU those guys
who are in the Stars), the Awkward Stage plays the soft beautiful melodies that remind me of
2003's Heart, and sings of relationships with a voice of cynicism and longing.Another thing
that makes this album come out
of left field is the mere fact that
there is so much talent here that
has been essentially off the radar of Vancouver's music scene.
Shane Nelken, the band leader,
has played with numerous local, acts without seeming to have
any creative input. Stepping out
on his own to craft an album
produced by New Pornographers' drummer, Kurt Dahle, he
has coined a sound that, while
not totaUy original, has few similarities in the Vancouver scene.
Not only is this- album fresh, it
is full of beautifully crafted pop
melodies and thoughtful lyrics.
Heaven is For Easy Girls is recommended listening for people who
had awkward puberties, and
those who think people who had
awkward puberties are cute.
Jordie Sparkle
(RCA Records)
Empire is a thoroughly solid
album. The dissonant, melancholic melodies so typical of
British rock run throughout the
record, but this does not render
it the demoralizing, self-loathing sound known to characterize
no small portion of music from
Great Britain. Instead, catchy,
fun beats and vocals bring the album towards that bizarre mix of
introspective, depressing tunes
that you can conceive of danc
ing to feat that can only occur in
a country chalk full of seasonally depressed people who treat
piUs like they're Tic-Tacs. And
on the topic of drug use, though
I hate making comparisons to
other bands, there are no fewer
than 3 songs where you could
swear to baby jebus that some
reincarnation of now-decrepit
Happy Mondays is the cause
of the noise bumping out of the
speakers. But it's not Kasabian,
and their third album is well
worth the purchase.
Myles Estey
Beach House might be the
most appropriately-named band
I've ever heard. As soon as
you've heard those two words,
you know what the music
sounds Uke (though a glance at
photos of Alex ScaUy's tousled,
-saltwater-washed hair and Vic—
toria Legrand's flowing, aqua-
coloured gown won't steer you in
the wrong direction, either).
This Baltimore duo spins radiantly aching dream-pop out
of cracked vintage organs and
sUde guitar, conjuring the bittersweet autumnal mood of a sea-
coast abandoned after summer
vacation. Their quiet little beat
sampler hums away throughout
the album Uke a tugboat engine,
thrumming with submerged reverb like the lap of waves against
a pier. Their myspace page wants
you to know that,
either hand-made from found
sounds, xylophones, clanking
bells, etc or taken from the heart
of the organ when played Uve.
There are no drum machines in
Beach House."
While their bUssed-out, coastal fog-sound redefines every possible usage of words like "woozy" and "hazy", Beach House
are considerably more than
just mood machines. Legrand's
throaty voice recaUs all the leading ladies of nightsong (Hope
Sandoval, Nico, Billie Holiday)
and, coupled with her alternately groaning and sparkling keyboards, she weaves melodies that
wil shortly become essential to
your waking and sleeping. This
album is worth all your sand dollars and it's already endorsed by
the major organs, so you don't
just have to take my word for it.
If you miss their show at Pat's
Pub on November 11th, you wiU
be a very sad starfish indeed.
Saelan Twerdy
Swift Feet for Troubling Times
Ohbijou first romanced me
two summers ago in a small place
outside of Guelph whose name I
now forget. We had aU found ourselves- in rural Ontario for Track
and Field, a three-day music festival hosted by Brantford-cum-To-
ronto's Social Arts Club, and the
six-piece ensemble had rung in
twilight on the porch of a cabin
for a crowd equally mesmerized
by their sentimental, symphonic
strains. That summer, aU that
could be had of Ohbijou was a
home-recorded three-song EP in
a hand-glued paper sleeve.
In the background as I type
this review, Grant Lawrence teUs
CBC Radio One's Sounds Like Canada host Shelagh Rogers about
how he first met Ohbijou when
the Mecija sisters sUpped him a
copy of their self-titled EP. Since
then, Lawrence has also promoted the "grace and orchestration"
of Ohbijou as fervently as I've
circulated my copy of their demo
amongst friends and acquaintances.
Maybe you caught Sounds like
Canada, or have already heard the
unforgettable "St. Francis" on the
CBC Radio 3 Podcast. Either way, I
urge you to log on to ohbijou.com
and trade PayPal $15 for a mail
order copy of Swift Feat for Troubling Times. I fear otherwise that it
may be some time before Ohbijou
pack up the loveUest baUads in aH
of Canada and make the laborious trek across this sprawling nation. Until they get here, strings
in arm, the simple honesty of an
album Uke Swift Feet for Troubling
Times, from "Widths and Curves"
through "Tumbleweeds," might
be enough to get us through the
customary months of grey winter along the coast. I would bet
my own copy on the sway of Ohbijou to move aH listeners, east
and west, from start to finish, had
I not already lent it to a friend.
Mono Brown
Handcut Ice Cubes 12" EP
(Primes Music)
Ever since moving into my
new ground-level apartment,
there hasn't been a single day
where I haven't been rudely
awakened by the 7 am conversations of construction workers,
the sounds and smells of tar machines, dump trucks, jackham-
mers, metal detectors, naU guns,
and'JRFM blaring from a tinny
radio speaker positioned just outside my bedroom window.
Placing Tanya Pea's new 12"
vinyl EP on my turntable and
dropping the needle was suddenly an escape from aH of that.
Her ambient electronic soundscapes released me from the
meat hooks of the chaos found
outside my window. Particularly,
the Philip Western (collaborator
with Skinny Puppy and Download) b-side remix acted as a
kind of noise cancellation device
towards the clanging of the construction site. Whatever abrasive
noise they made, Pea and Western's coUaboration made the opposite.
But the question dawned on
me: from a critic's standpoint, is it
disrespectful to say that one prefers the remixes to the artist's actual material? Both sides are well-
crafted but, after repeated listens,
I found myself consistently drawn
to SideB of the record.
Perhaps it's because I'm not
learned in the ways of electronica and ambient music, and Side
B provides a dancier, more accessible sonic platter to the ear
of the layman. But Tanya Pea
put those remixes on her EP for
a reason, so she must be just as
proud of those tracks as she is of
anything else on the album. I am
absolved of guilt.
Having worked alongside
some of the biggest names in
the biz (Orbital, The Orb, and
Autechre to name a few), and
sitting on a completed full length-
album acting as 50% of the in
dustrial dance duo Primes, Tanya Pea Ts definitely a Vancouver .
name   to   familiarize   yoursetf
with fast.
Danny McCash
What is it with the recent
faux concept album craze? First,
Green Day made a vague social
critique in a punk-opera, and
sooner than you know it, even
Vegas pretty boys The Killers are
trying to pass off their latest as a
concept album merely because it
is somewhat cohesive. Oh, Tom-
mi/, where art thou?Well, finaUy
the nerds have had their go at a
concept album, and, not only
do they nail the mark, they've
practically reinvented the idea.
With Antarctica, North Carolina
indie-popsters, The Never, didn't
merely'craft an album packed
with musical,' lyrical and thematic genius and creativity. They
geeked the system: the entire album revolves around a beautifully fllustrated storybook. Using
the changing seasons as the template, the album sketches an epic
coming-of-age story of environmental communion, unrequited
love, and the susceptibility of innocence. What's even more im-
pressree? The Never puH off this
massive feat without coming off
the least bit pretentious.Sounding tike a cross between Death
Cab For Cutie and Sufjan Stevens, The Never display a wide
variety of styles on Antarctica:
ranging from the menacing organ brigade on "March of the
Minions" to the pop grandeur of
"Summer Girl/Old Man Winter."
This is one of the most refreshing
albums in quite some time. Even
if the music on Antarctica isn't
quite your cup o' tea, one has to
admire the grand ambition and
displayed here.
Robin Hawkins ,
College-Quality Music vs. Quality College Music
Overplayed, irrelevant, easily forgotten—words that describe the bands typically booked as entertainment for university campus events. Quality? Perhaps to be found at open mic nights or on student
hard drives, but rarely at campus shows. Do promoters think students are just so blinded by books, babes
and/or booze that they're deaf to the music? Perhaps the stench of "college-quality music" has just lowered expectations to the point of no expectation; a form of indifference and numbness, hung over.
If the thought of sitting through another set of generic radio rock repulses you, consider: quality college music. Again, a new level of consciousness: quality college music. Think of it as a natural
evolution in the campus experience.
Enter AMS Programming and Events Manager, Shea Dahl.
Shea oversees the division of the Alma Mater Society of UBC that
gathers and primes an assorted mix of music and entertainment.
Although a campus-based affair, AMS Events are generaHy open to all
potential show-goers and not just to the university crowd.
Together AMS Events and Shea lead the charge in redefining
the college concert arena. Whether it's a conscious effort or not, it's a
. phenomenon that UBC is thankfully experiencing.     -.     ',>£<_£■'■-
Case in point: this year's AMS Events concert calendar caters
to a wide appreciation spectrum. In contrast with the traditional
campus music model, AMS Events has managed to secure a lineup
of sense and thought-provoking music. Artists are not booked based
on the premise of name, nor are acts disrespectfully booked to serve
some secondary, back seat purpose. AMS Events books for the sake of
the music, for the sake of talent.
September and October have already seen an array of colourful, unconventional, and independent acts. To boot, the content is
primarily Canadian.
Think: a wildly sold-out musical and comedic variety show featuring melodramatic violin interpretations by Final Fantasy's Owen
Pallett; bizarre wise cracks by Bob Wiseman, and meaningfully
strung together parts of speech by singer-songwriters; a Boompa
rock show a la Blood Meridian and Leeroy Stagger; a mouthful of
Mint-flavoured three-part harmonies by Immaculate Machine; an
orchestra-infused evening of R&B, funk, and jazz with Moses Mayes."
Care to think some more? Sweatshop Union, The Clips, Islands,
Besnard Lakes, Subtitle; Chet, Away, Ri'ol; Meligrove Band, The
Golden Dogs, The Junction; Tokyo Police Club and Shukov—they all
make their way to the UBC Vancouver stage this November, thanks
to Shea and AMS Events.
So how does Shea do it? How did he manage to secure such an
impressive roster to play a university campus, the undisputed kingdom of jock rock?
Chalk it up to experience. It is now Shea's third year as Programming and Events Manager with AMS Events, but since his days as a
UBC student and member of the Arts Undergraduate Society in 1998,
he has been the talent booker for Arts County Fair, Canada's largest
student-run event for over fifteen years.
Perhaps Shea was sick of the stereotypical college music scene.
He broke the monotony of the typical university Frosh week by spearheading First Week:, a two-week long menu of-integrative activities
and the Live @ Lunch concert series, featuring artists such as local
fog walkers Panurge, and dieting gossips Lotus Child. The end of First
Week officially marks the beginning of the year's diverse concert calendar with the hugely popular Welcome Back BBQ, where artists of
all representations and genres share the stage.
With Shea at the helm and the AMS Events calendar to date,
music quality and quantity took promising heading into the New
Year. As for November's lineup of Discorder-worthy music, AMS
Events features local hip hop with Sweatshop Union; organic and
multifaceted pop by Unicorns reincarnation, Islands; rock and soul
that wiU rock your soul at a free shpw with Chet and Away, Ri'oi;
"aieee!" Torontonian rock grace a Meligrove Band; and garage rock,
loaded and ready, via the Tokyo Police Club.
Islands, Meligrove Band and Tokyo Police Club playing a college? These groups, critically analysed and critically approved, are
seriously shaking the Eastern Canadian music front and will impart
their musicality on us in Vancouver, indeed here at UBC. Thus begins
the profiling of the new quality college music standard.
Nick Diamonds, a Unicorn in a past lifetime, is the seed of Islands, with his solitary rock sprouting life in the forms of bassist
Patrice Agbokou, multi-instrumentalist brothers Alex and Sebastian
Chow, and bass clarinettist Patrick Gregoire. Completing this core
are rappers Subtitle and Busdriver.
Perhaps Islands are something Mother Nature intended. Their
self-described "other"-sounding pop is influenced by "rhythms and
sounds of cultures in the southern and western hemispheres." Islands
are forever, recorded in musical history with their album, Return to
the Sea, a groovy, melodic, eery, something-out-of-a-candy-store release on Equator Records.
Sail over from that Island to Tokyo, or rather Newmarket, Ontario. Tokyo Police Club (TPC) is Josh Alsop, Josh Hook, Dave Monks,
and Graham Wright, or according to Exclaim, they are "a four-
headed beast of tunefulness". The garage group really started out
in their basements, and now find themselves paired with Paperbag
Records and followed by musings from the likes of Eye Weekly who
claim, "[They] are undeniably catchy and raw, marrying danceable .
hooks with talk of robot masters and global emergencies, providing
an upbeat soundtrack to our troubled times."
Even Meligrove Band are friends and fans of TPC, but as an
entity on their own, they have let themselves grow from a humble
Torontonian act to a musical triumph conspiring around the planet
with their V2 debut, Planets Conspire.
Meligrove is touted as one of "15 Bands That Will Rock You in
2006" by Chart Magazine, but don't let worldwide acclaim phase you,
for it has not phased them. In their nearly 10-year existence as Meligrove, Jason Nunes, Darcy Rego, Andrew Scott, and Michael Small
haven't strayed far from their indie roots. Their latest album was in
fact homemade and recorded in their friends' homes and apartments.
Though their music has taken a distinct pop twist, these guys still
consider themselves to be fundamental rockers.
Islands, Meligrove Band and Tokyo Police Club playing a college.
Believe and fuel this worthy and real campus phenomenon: quality
college music, a once unheard of eventuality, now an enlightened
and appreciated reality.
AMS Events is giving away tickets through Discorder to see Meligrove Band and Tokyo Police Club. Just look for the ad in this issue to find
out how. Want to be Islands bound? Tune into CiTR 101.9 FMfor details,
as well as for more tickets to Meligrove and TPC. S
-Absoluteivno streetwear, fA^s^s%i%%A$'°mmid
32     November 2006 CITR CHARTS!
////////////////////////// Strictly the dopest hits of October
| c _ .. t
BlIiM _■_
S «2 > fi ;
~ &._ _ .9 3» :r «s -p « »? si? 8
. 8 Ma ei,2s--81.gsS.'SSe9 S<3__ 3.
• #^  Artist
"tABHL"""|""'|""   '" •
! j    Various*
CBC Radio 3 Sessions
; 2    YoLaTengo
I Am Not Afraid Of You And I.Will BeatYourAss
j 3    The Awkward Stage*
Heaven Is For Easy Girls
| 4    The Deadcats*
Feline 500
Flying Saucer
i  5    Tim Hecker*
Harmony In Ultraviolet
[ 6    The Winks*
; 7    B.A. Johnston*
Birthday Party
Call Me When Old And Pat Is The New Young And Sexy
Just Friends
! g    Yoko Casionos*
These Are The New Old Times
= 9   SandroPerri*
■ PtaysPokmoPolpo
; 10  The Black Keys
Ijl   Robert Pollard
Magic Potion
Normal Happiness
|-2   OOIOO
j 13   Dead Moon
',     Echoes Of The Past
114  Fake Cops*
Thundertheft .
115   Buffalo Killers
Buffalo Kilters
116   Four Tet
] 17' Nina Nastasia
Fat Cat
;18   R.E.M          iSSlP^
119   Squarepusher
And I Feel Fine: The Best Of The l.R.S. Years 1982-1987
Hello Everything
! 20   No Luck Club*
; 21   Tara Jane Oneil
Step Outside Yourself
122   Phudge Packerz*
God Hates Fags
Brown Note
123   Los Straightjackets
Twist Party
Yep Roc
;24  Scissor Sisters
j 25   Wolf Eyes
Human Animal
j 26  Les Georges Leningrad*
Sangue Puro
Dare To Care
! 27  Akron/Family
Meek Warrior
Young God
|28  Bonnie Prince Billy
The Letting Go
DragCitjr •
:29   CrimelnChoir
Trumpery Metier
|30  Beck
The Information
j 31   Various
DFA Remixes Volume 2
;32  DSD*
Norsk Drag
133  Thunderbirds Are Now!
Make History
134 Comets On Fire,
135 Trivium
The Crusade
; 36  Jesse Zubot*
Drip Audio
J37  Catfish Haven
Secretly Canadian
138  The Rapture
Pieces Of The People We love
Universal '
139   Emily Haines And The Soft'
Knives Don't Have Your Back
Last Gang
:40   Harvee*
Sink Or Swim
[41   The Grates
Gravity Won't Get You High
; 42   Daughters
i 43   Nomeansno*
All Roads Lead To Ausfahrt
Ant Acid Audio
|44  TVOnTheRadio
Return To Cookie Mountain
J45 Ihe Dears*.
Gang Of Losers
J46   Great Aunt Ida*
Northern Electric
j 47  Square Root Of Margaret
Cloud Nine Revisited
'     Srom
j48   TheAlbumLeaf
Into The Blue Again
= 49  TheSadies*
in Concert: Volume 1
:50  TheCapeMay*
Glass Mountain Roads
Flemish Eye
The Friends of CiTR Card "**
Show it when you shop!
Ihe Regional Assembly of Text, 3934 Main St.
The Bike Kitchen, 6138 Student Union Boul. (UBC)
The Kiss Store, 2512 Watson St.
Free Range Studio, 3278 West Broadway
The Eatery, 3431 West Broadway
Slkkety Jim's Ghal W Chew, 2513 Main St.
Lutky's Collectibles, 3972 Main St.
Magpie Magazines, 1319 Commercial Dr.
People's Co-op Bookstore, 1391 Commercial Dr.
Rx Comics, 2418 Main St.
Spartacus Books, 319 West Hastings 5
Audiopile, 2016 Commercial Dr.
Beat Street, 439 West Hastings St.
Red Cat Records, 4307 Main St.
Scratch Records, 726 Richards St.
Vinyl Records, 319 West Hastings St.
Anti-Social, 2425 Main St.
Burcu's Angels, 2535 Main St.
1     friends@citr.ca       j*|§5|_
Discorder     33 i
You can listen to CiTR online at www.citr.ca or on the air at 101.9 FM
the Browns
Suburban Jungle
Cute Band Alert!
Ska-T's Scenic
Parts Unknown
Wrapped in Silver
These are the Breaks
Democracy Now
Let's Get Baked
■ Career Past Track ■
Rn"Avani I_yM8aflpt
Native Solidarity New*
Radio A Go
Nardwuar Presents
Son of Nite
Necessary Voices
Mir-arNc-'Jv P_a«
Leo Ramire- Show
-. _*QWSIThGCMUr"§fc •
MOndo Trasho .
: ^I^jd^NfiVfSO
the Jazz Show
-Nttft&E' j
- Shadow Jugglers.-.
Shake A Tail
Disasterpifce -Theatre
Vengeance is Mine
Hans Kloss'
Misery Hour
Basfment  .
I Like the Scribbles
Aural Tenisc--;
"Conception R A dio
Beautiful arresting beats and voices
emanating from all continents,
'corners, and voids. Seldom-rattled
pocketfulsof roots and gems,'   j
recalling other times, and other
places, to vast crossroads en route
to the unknown and the unclaim-
able. East Asia. South Asia. Africa.
The Middle East. Europe. Latin
America. Gypsy. Fusion. Always
rhythmic, always captivating.
Always crossing borders. Always
Reggae inna all styles and fashion.
Real cowshit-caught-in-yer-boots
_4    November 2006
British pop music from all decades. International pop (Japanese, French, Swedish, British, US,
etc.), 60s soundtracks and lounge.
Book your jet-set holiday nowl
Dedicated to the gay, lesbian,
bisexual, and transexual communities of Vancouver; Lots of
human interest features, background on current issues, and
great music.
Rhythmsindia features a wide
range of music from India, including popular music from the
1930s to the present, classical
I music, semi-classical music such
as Ghazals and Bhajans, and also
Qawwalis, pop, and regional language numbers.
Join us in practicing the ancient
art of rising above c<
thought and ideas as your host DJ
Smiley Mike lays down the latest
trance cuts to propel us into the
domain of the mystical.
_____________ MONDAY
BROWNS (Edectic)
Your favourite Brown-sters, James
and Peter, offer a savoury blend of
the familiar and exotic in a blend
of aural delights!
A mix of indie pop, indie rock,
and pseudo underground hip hop,
with your host, Jordie Sparkle.
Hosted by David B.
Underground pop for the n
with the occasional interview
with your host, Chris.
LET'S GET BAKED w/matt & dave
Vegan baking with "rock stars"
like Sharp Like Knives, Whitey
Houston, The Novaks and more.
A national radio service and part
of an international network of
information and action in support
of indigenous peoples' survival
and dignity. We are all volunteers
committed to promoting Native
self-determination, culturally,
economically, spiritually and otherwise. The show is self-sufficient,.
without government or corporate
NEWS 101 (Talk)
A volunteer-produced, student and
community newscast featuring
news, sports and arts. Reports by
people like you. "Become (he Media."
W.I.N.G.S. (Talk)
Womens International News
. Gathering Service.
All the classical music you don't
hear on mainstream radio! A va- .
riety of innovative and interesting
works from the 20th and 21st centuries, with an occasional neglected
masterpiece from earlier eras.
KARUSU (World)
Vancouver's longest running
primetime jazz program. Hosted
by the ever-suave, Gavin Walker.
Features at 11pm:
Nov. 6: Tenor saxophone giant
Sonny Rollins in 1955 returned
to New York from a time in
Chicago drug-free and asserted
himself on this album as on of
the premier modern saxophonists. " Worktime" also features
the great Max Roach on drums.
Nov. 13: Today would have been
the birthday of a great pianist
named Hampton Hawes(born
Nov. 13,1928 and died May 22,
1977). We feature him on a date
led by bassist Charles Mingus
who brings out the best in Mr.
Hawes. Along also is drummer
Dannie Richmond who makes it
"The Mingus Three".
Nov. 20: Underrated Jamaican
born trumpeter Dizzy Reece
is featured tonight. Dizzy is
the sole horn and is backed by
a swinging rhythm section
with Walter Bishop Jr.(piano),
Doug Watkins (bass), and
Arthur Taylor(drums). They
all contribute to the success of
"Soundin' Off!"
Nov. 27: Opposites attract
and in this case inspire each
other and for proof tonight's
feature called "Straight Ahead"
with Oliver Nelson(aIto and
tenor saxophone) and Eric
Dolphy (alto saxophone and bass
clarinet) with arrangements
by Nelson and a strong rhythm
section featuring drum master
Ro Haynes. We end the month with a bang! Primitive, iu_~d-out garage mayhem!
All the best the world of punk has Socio-political.enviromental activ-
to offer, in the wee hours of the ist news and spoken word with
,  Bluegrass, old-time music, and its
derivatives with Arthur and the
lovely Andrea Berman.
Open your ears and prepare for
a shock! A harmless note may
make you a fan! Hear the menacing scourge that is Rock and Roll!
Deadlier than the most dangerous
SHOW (Edectic)
Sample the various flavours of
Italian folk music from north to
south, traditional and modern.
Un programma bilingue che es-
plora il mondo defla rhusica folk
Movie reviews and criticism.
En Avant La Musique! se concentre sur le metissage des
genres musicaux au sein d'une
francophonie ouverte a tous les
courants. This program focuses
on cross-cultural music and its
• influence on mostly Francophone  -
musicians.   '
Join the sports department for
their coverage of theT-Birds.
Up the punx, down the emo!
Keepin' it real since 1989, yo.
Salario Minimo, the best rock in
Spanish show in Canada.
Trawling the trash heap of over 50
years' worth of rock n' roll debris.
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.
Music inspired by Chocolate
Thunder; Robert Robot drops
electro past and present, hip hop
and intergalactic funkmanship
ANOIZE (Noise)        _:~
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
Independent news hosted by
award-winning jounalists Amy
Goodman and Juan Gonzalez.
First Wednesday of every month.
(Eclectic)    ■ g
Developing your relational and
individual sexual health, expressing diversity, celebrating queer-
ness, and encouraging pleasure
at all stages. Sexuality educators
Julia and Alix will-quench your
search for responsible, progressive
sexuality over your life span!
Two hours of eclectic roots music.
Don't own any Birkenstocks? Allergic to patchouli? C'mon in! A
kumbaya-free zone since 1997.-
(Hans Kloss)
This is pretty much the best thing
on radio.
SWEET 'N' HOT (Jazz)
Sweet dance music and hot jazz
from the 1920s, 30s, and 40s.
Punk rock, indie pop, and whatever else I deem worthy. Hosted by
a closet nerd.
Zoom a little zoom on the My Science Project rocket ship, piloted
by your host, Julia, as we navigate
eccentric, under-exposed, always
relevant and plainly cool scientific
research, technology, and poetry
(submissions welcome).
Music of the world, with a special
dance around African drum beats.
My passion is music from the African Diaspora. Catch up on the latest
and reminisce on classic spins.
Experimental, radio-art, sound
collage, field recordings, etc. Recommended for the insane.
RADIO HELL (Live Music)
Live From Thunderbird Radio
Hell showcases local talent...LIVE!
Honestly, don't even ask about the
technical side of this.
Email requests to:
Top notch crate digger DJ Avi
Shack mixes underground hip
hop, old school classics, and original breaks.
RADIO ZERO (Eclectic)
Independent Canadian music
from almost every genre imaginable covering the east coast to
the left coast and all points in between. Yes, even Montreal!
David "Love" Jones brings you the
best new and old jazz, soul, Latin,
samba, bossa and African music
from around the world. -
Beats mixed with audio from old
films and clips from the internet.
10% discount for callers who are
certified insane. Hosted by Chris D.
CiTR Fun-draising
Studio guests, new.releases, British comedy sketches, folk music
calendar, and ticket giveaways.
A fine mix of streetpunk and old
school hardcore backed, by band
interviews, guest speakers, and
social commentary.
Vancouver's only true metal
shew; local demo tapes, imports,
and other rarities. Gerald Rattle-
head, Geoff the Metal Pimp and
guests do the damage.
From backwoods delta low-down
slide to urban harp honks, blues, *
and blues roots with your hosts
Jim, Andy and Paul.
The best of music, news, sports,
and commentary from around
the local and international Latin
American communities.
News, arts, entertainment and
music for the Russian community,
local and abroad.
An exciting chow of Drum n' Bass
with DJs Jimungle & Bias on the
ones and twos, plus guests. Listen
for give-aways every week. Keep
feelin da beatz.
by Alison Benjamin
CITR is unique for more reasons than one. We're one of the oldest campus/cc
nity stations in the country. We publish the award-winning Discorder, the sector's
only monthly independent music magazine, and kickstart local music talent every
fall with Shindig, our famous battle of the. bands competition at the Railway. We just
launched an innovative podcast service. We unleashed Nardwuar. And until recently,
we've been the one of the only campus/community radio stations in Canada that hasn't
embarked on an on-air fundraising campaign.
From November 10-24th, we at CiTR will be kicking off our first-annual on-air
funding drive. CiTR gets the bulk of its fundingfrom a $4 student levy run through UBC's
student union, the Alma Mater Society. This funding has allowed us to broadcast quality
programming sans the kind of corporate advertising commercial radio stations have to
rely on. But as radio breaks the digital barrier, the capital.costs of digital broadcasting
and production equipment has risen enormously. CiTR always strives to be accessible in
terms of memberbship, since anyone can volunteer and be trained by us, and in terms of
the audiences we serve, since we broadcast a diverse spectrum of radio shows. Following
the lead of other indie radio stations, we're launching a funding drive to help us deal with
rising costs—so we can continue to deliver quality radio to Vancouver,
During the drive, tune in for special broadcasting, highlighting the best programming CiTR has to offer. Volunteer on the phone lines to help os make the drive happen.
Call in or log in online to donate between the lOth'and the 24th—donating gets your
more perks than just a write-off; bflljour taxes. Donors get great prizes ranging from
Friends of CiTR cards offering discounts;a^ffi^fc^8 music, clothing, and specialty stores
around Vancouver; CiTR limited editio|£&js|3rts designed by local artists Andy Dixon
and Dani Vachdn; and CDs and prize packs courtesy of labels and promotes we work
with such as Mint Records.
So join indie media connoibfurs across the cilj b\ supjw»f#ng CiTR during ojjrjv
funding drive. Check out http //citr ca/donaLe.phpioi more informationabou^
paign and how to donate. We hope to hear from you in- November
DiSCORDER       35 zuurs mmimi
Grab a seat
and give
a listen
S/t CD
Take a vacation at the
Beach House away from
the hustle and bustle of the
city. Let the Baltimore duo of
Victoria Legrand and Alex Scally
take you to a new place where
slow hazy pop fills the room with
organs, slide guitars, reverb, echoes and unforgettable melodies. Our
tains memories from past trips, times, and places: 70s Southern California (lunch with
Karen Carpenter), mid '90s England (star-gazing with Many Star no doubt), a weekend at
Warhol's Factory in New York (shared a cab with Mico) and a camping trip in the
Appalachians back in 1940 (with a country breakfast at Patsy's). We hope you've enjoyed
your stay at our Beach 'Mouse. Please come again. ' S^Sfs^"^*1^?^
CD 16.98
Alter CD
The first collaboration between Southern Lord's two kingpins of avant- metal, "Alts' is surely the most eageriy-
anticipaterj extreme music release for some time. The wedding of Sunn 0_)'s brutal drone symphonies with Boris
kaleidoscopic noise results in a wholly unique album that
aichemically merges familiar elements of each band's sound
into a transfigured, mysterious whole; roaring drones rise and collapse beneath blasts of
disorienting, warped horns, the end result a heaving, psychedelic mass that looks set to
induct yet more devotees to the shadowy explorations of both acts. The album features
various contributions from other artists, including Jess Sykes, who provides haunting,
melodic vocals on .inking Belle* Kim Thayil (Soundgarden). who contributes some
enthralling guitar work to the album closer; and Joe Preston (Earth, Thrones, Melvins,
High On Fire), whose psychedelic vocal style is present on "Akuma Kuma." The end
result is a mind-blowing sludge of cathartic, blurred noise.
CD 16.98
Noise Floor
If you are a major B
Eyes fan like me you will
certainly be tickled pink
about th? approaching
release of Conor Oberst s cutting room floor recordings! Noise Floor collects selected Bright Eyes singles,
one-offs, unreleased tracks, collaborations and covers
recorded between 1998 and 2005. Variously recorded
to cassette four-track, minidisc, reel-to-reel, tape
machine, ADAT and computer, these songs trace Bright
Eyes, evolution from basement project to band of international repute. Many of these gems previously lost to
out-of-prinf obscurity are hereby resurrected. Each
song has a history of obscurity, check out the liner
notes. This is a must listen for any fan — or folk who
wants to know what's going on!
Party CD
o squigglin, you
CD 16.98
Are you going to be
there when they make
the drop? When the piria-
ta cracks and egg yolk
fills the city streets? No wigglir
are not alone at this birthday party. Todd and Tyr <
at the table. Sideways winks Tim and Paul and
Jesse and Andy are around too — lets sing! An elegant blend of modern fervor with an old-world
charm, Birthday Party glistens with a timeless yet
quirky pop panache. Primarily cello, mandolin,
vocals, and percussion, The Winks are entirety void
of any of the instruments traditionally used within
rock music. Yet the delivery is easily The Winks
most 'rock" performance; grand and driving. The
structure, song writing, and execution suggests a
contemporary and pop spirit, rich with "hooks".
However, Birthday Party is, no doubt, the darkest of
The Winks creative output, slanting the album title
towards a moodier implication; a birthday party representing the overwhelming, daunting, and powerful
sensation of growing older; celebratory, yet severe.
It is an exploration of the bitter-sweet act of life
TM HECKK- Harmony In Ultraviolet CD
WHITEMAGIC- Dat Rosa Met Apfeas CD/IP
SQUAREPUSHfft- Hello Everything CD/3LP
DOSH- The Lost Tate CD
DAMIEN JURADO-And Now That I'm In Your Shadow CD/2LP
THE MAKE UP-In Film On Video DVD
BONOBO- Days to Come CD/LP ^%4§3
Some people say that
Wfes Anderson listened
to this original 1995
Pavement masterpiece a magnitude of times before sto-
ryboarding tattle Rocket. Man, those where crazy good
times. You coukt make movies, music and art without - -
the media getting in your face. You could ask a girl or .
guy out on a date without having to check gofugyrsetf
first You could speak freely in a street slang and make it
sound like poetry. You could cut yr hair cheaply and
. come out of there with a Walkmen on singing "Fight
This Generation". Well today at Zulu you can relive this
glory era in indie rock while picking up this loaded 2CD
reissue—features all the b-sides, rarities, Iwe recordings and studio jams from Malkmus and co.'s formative
years! Let's say that again! Fifty tracks in all, with 18
unreleased recordings, four compilation tracks, nine
non-album b-sides, and five BBC Evening Session.
Tracks. As a bonus, vwrse arranged for all fans to WOW
OUT! Come by and get a free poster, a free T and a free
download of a rare live show! AVAILABLE NOV. 7™
2CD 16.98
Wil Build
Them A
Golden Bridge
CD 14.98
Vancouver's Chan brothers have out done themselves yet again! Dexterity is an eclectic, genre-
smashing sonic collage comprised of four musical
suites. The album begins with brooding, cinematic
fare (the Hong Kong gangster noir of 1
and the melancholy "Better Times Will Come"),
switches to an uptempo groove (the hard funk of
Turntables on the Bayou and the Bollywood-
inspired Dosa Nut Chase"), takes an introspective
twist (historic tales of Chinese Canadian racism on
"Our Story") and concludes with an epic smorgasbord of latin rhythms ("Mais Ritmo no Camaval").
Prosperity is also the second chapter of a planned
trilogy of recordings inspired by the Chinese deities
symbolizing luek and good fortune. A self- proclaimed strange brew of electronic hip hop, jazz-
funk, scratching, tall tales and humour, no luck club
is an idiosyncratic project seeking a place in today's
progressive music culture. No wonder why they are
the toast of URB,Time Out New York and AP!
CD 14.98
w York
F1K- Biscuits tor Breakfast CD/LP
THE EVENS- Get Evens CD few McKaye
CAUFONE- Roots & Crowns CD
ROBERT POLLARD- Normal Happiness CD
THE GOTHIC ARCHIES- The Tragic Treasury CD
BLOW BROTHERS- Young Machetes CD
I on business and my eye sight went fuzzy. When the
Ophthalmologist I consulted with discovered tha} I was
from Vancouver, he inquired if t was familiar with the
music of Destroyer. Naturally, I was. Then, as if to distract me from the mental anxiety associated with
preparing for an emergency retinal cryopexy, he began,
entertaining me with stories of the early days (elementary school) of Daniel Bejar. Turns out that this Bejar
character had a "knack for words" from an early age
and was frequently asked by his teacher to read his stories out to the class. These Stories now are part of the
oral tradition associated wtth growing up in Richmond
and no doubt will one day be reissued wtth a lengthy
introduction from the Ophthalmologist. In the meantime, see clearly and check out Bejar's latest back story
—the reissue of his fabled first 4-track recordings. "It
doesn't get any better than this;Wyeur first born:
Destroy^the norm. Revolution, revolution, revolution*.
Hie Black
Swan CD
Perhaps you have a
crazy unkempt uncle
who passes his days
alternately tinkering in the
garage with his beloved beat up Austin Healey as  .
well as on his well worn Martin D-35 flat top guitar.
If you do, you are very lucky -.-chances are this kin
member wiH be best able to bring you up to speed
on the music career of 1960's British folk icon Bert
Jansch. Sure, you could share tea with dudes like
Jimmy Cage and Neil Young who have both
acknowledged how Jansch s work was the benchmark for cool. Save yourself the awkward drool —
stick with your uncle and take a drive through
Dunbar blasting Jansch s latest The Black Swan
You might even be able to school him with some dirt
on Jansch s guest musicians such as Bath Orion,
Hats off to Mint Records'
finest new pop act Immaculate Machine for undertaking such a gorgeous study in the bilingual potential of
indie rock! Ok. HavlngioJaied their asses off through
every continer^Jife Victoria based 3 piece power pop
'.outfit featuring New Pornographer Kathryn Calder, show
us what they do to unwind — indulge an impufeive feel* '
ing in the band to re-interpret some of the songs from
their amazing Mint debut "Ones and Zeros." Initially there
were some musical hurdles to be dealt with. Having to
change the vocal structures to accommodate the translation led to the introduction of some new musical styles
for the band to explore. This changed some of the songs
into a more laid-back performance, even a hint of lounge
in some cases! The result is" Les Uns Mais Pas Les
Autres", (what we call The French EP) an imaginative take
ing the familiar chords of live show favorites such as
"Broken Ship* and "So Cynical" and turning them into
new experience musically as well as linguistically. What's
next? Latin?
CD 9.98
is and M
CD $12.98
CD 16.98
i has been steadily |
been building a reputation as
one of this country's finest singer-songwriters! Having
just packed his suitcase full of this his latest acoustic
release and hit the road for the UK, one thing is certain
— Morrissette's unique voice will no longer be a
Canadian best kept secret! Featuring seven acoustic
songs culled from three different sessions Morrissette's
Laguardia EP was originally intended to be a CDR to be
sold at live performances, but local impresario Ryder of
White.Whale records knew when he had gold in his pan
and deemed the songs as too good to not be released.
Standouts like "I'm not drunk" and "Intoxicated" make
Marc seem like this generation's Lightfoot!
CD 10.98
Those that doubt the presence of "poetry" in contemporary pop. need listen to |
this album. Those that confuse night and day with milk and honey need listen to this
album. Those that have spent a night in the jail of contemporary radio need listen to this album. Those that still
haven't found their number one record of 2006 nee# Ms-
ten to this record. Those who dreamed of Albini working
with O'Rourke while working with Van Dyke Parks, they
ffJOoeed listen to this album. Those who in their last life
were snails transported by monkeys on to the beaches of
future fantasy writer's dreams; need to listen to this
record. Those who wonder how "there are a lot of invocations of harvest, fecundity, rot livestock, domestication,
flooding, property lines, etc. And the other nature repre-
' serried in these songs is a gaping, cosmic one; not close,
not familiar, not harmless, not knowable. Like standing in
a dark field at night, smelling the fruits on the ground and
hearing the sighing animals but not seeing them, and
only seeing the big, dark, swallowing sky" will translate .
into beauty, need listen to this amazing record. Most fast
swift swallows! AVAILABLE NOV. 14™
CD16.98   21P 24.98


Citation Scheme:


Citations by CSL (citeproc-js)

Usage Statistics



Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            async >
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:


Related Items