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Discorder CITR-FM (Radio station : Vancouver, B.C.) May 1, 2004

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T-MODEL FORD
SPAM
KENNY BROWN
CEDRIC BURNSIDE
PAUL JONES
OTSMERS
FRI. MAY 2111
RICHARDS,
ON RICHARDS
MAY 27
(btmbORibimm  THE PROS AMD CONS OP COLLABORATION
as violinist Diona Davie* of Po'Girl),
atso doublet at a scripbook of Marie's
misadventures. "Chamal and Leroy,"
"Yanlogrving,* tad the stripped-
down "Jodjrand Sua* (with backing
vocals by KeHy Hogan) ate charming
autobiographical episodes iflutnu-
natcd by Mark's seasoned voice and
off-the-cuff delivery. ,
"I don't know what I'm doing or
where I should go," admits the artist
on the disc'* catchiest original) "Not
a Dolt" No worriea. Whether she
land* on her {bet* or ass-over-tcake
tte. Mark always sounds tike she's
having fon.
Carolyn Mark, the rootin'-tuotin' the repentant finale "Hangover," corn-
roots music darling of Victoria, plete with banged-up piano and a
BC, dot* little to dispel the long- hcad-hung-low sing-along. Mark even
standing myth that booze coruurap- includes a recipe in the liner notes, for
don and creativity go hand-in-hand. those who wish ta sample the
Roughly half the songs on her third Bourbon Decay, the on men-
full-length address drinking, from a turned in the rollicking "2 Days Smug
tongue-twisting diatribe about men
who favour'white wine (The 'Wine
Song," inspired by Nick Lowe) to
and Sober.*
But there's I
to Mack than just
the smartass who can fire off internal
rhymes for "gcv
and Cent) which f
accompaniment from the New Best
Friends (which includes longtime
cohort Tojan McNeil on guitar a
RED CAT RECORDS
4307 MAIN
S«
SCRATCH RECORDS
726 RICHARDS
ZULU RECORDS
$ I   1972 WEST 4TH
irfnrntfT.Tn'r
, BC V6B 3Y6 www jnlntr
IS5B8-51
ILIUM'
FEATURES
Ray Condo p. 14
SXSW p. 16
BlondeRedheadp.19
Carolyn Mark p.20
The Organ p.23
Theremin-manSal p.24
Immaculate Machine p.26
Elizabeth p.27   ]
Pedro the Lion p.28
Jim Guthrie p.30
Sondre Lerche p.32
REGULARS
From The Desk Of .f p.5
Fucking Bullshit p.5
Panarticon p.6
Textually Active pft&
Riff Raff p.8
Strut Fret & Flicker p.10
Real Live Action p.ll
Luke James Ramsey
(again) p.29
Under Review p3r~"~
Charts p.36
Datebook p.37
On The Dial p.38
~!DiTRlx
Kat Siddle
ADDIN' IT UP
Jason Bennett
PRODUCTION WIZARD
Graeme (Oz) Worthey
ART DIRECTOR
Dale Davies
EDITORIAL ASSISTANT
Susy Webb
RLA EDITOR
Kimberly Day
TA EDITOR
Vampyrd Draculea
LAYOUfTDESIGN
Dale Davies
Kat Siddle
Graeme Worthey
Jason Bennett
Kimberly Day
PRODUCTION^
Gaeme Worthey
Dale Davies
KatSiddle
Susy Webb
Kim Koch
Lori Kiessling
KimberlylDay
Michelle Mayne
The Proofing Army
ON THE DIAL
Bryce Dunn
CHARTS
Luke Meat
DATEBOOK
Lori Kiessling
DISTROBUT*©fck»*
Matt Stefftch
US DISTRO
Frankie Rumbletone
PUBLISHER
Lydie Masemola
© "DiSCORDER" 2004 by the St
$2 (to cover postage). Please
DEADLINES: Copy deadline ta
jdent Radio Society of the University of British Columbia. Al rights rese
Han residents are $15 for one year, to residents of the USA are $15 US;
nake cheques or money orders payable to DiSCORDER Magazine. PI
ur rates are available upon ret
id artwork (including but not Hi
Dapyable to Duncan
White Rock. Call the CITR DJ ftn
I us at: cifrmgr@mail.cims.ubC4
mver. BC. V6T IZ1. CANADA. picrOP PER .    MAY'04
endeanngrecords
NEW RELEASES
Ker
Kd^um
Discorder has seen a lot of turmoil
and turn-over in the last year.
There have been four different
editors in the last twelve months,
each with their own team of art
directors, production managers,
sub-editors and assistants. When I
joined the long list of hollow-eyed
magazine zombies (aka editors)
three issues ago, there was a
palpable sense of concern.
Where was the magazine going?
What were my intentions? People
seemed worried that I was going
to turn Discorder into a local
version of Chart Magazine, or
worse yet. New Music Express.
Three issues ago I was pretty
uninterested in answering these
questions. I was too busy learning
how to put out a magazine
without bursting a vein to reassure
everyone that Discorder would
continue to be as indie as ever.
But now that the staff has pretty
much worked things out, and
stopped hating their jobs (okay,
that was just me), it's time to
communicate my vision to the
masses. So here it is: the
DiSCORDER MANIFEST DESTINY
1) Discorder will be better-
written than any free, volunteer-
based magazine has a right to
be. I'd like to make the word
Discorder synonymous with good
writina.
2) Discorder will encourage
and privilege imaginative,
creative music journalism that
goes beyond, under, over, or
completely avoids convention.
There's lots of music magazines
out  there,  and  Discorder has
' the incredible advantage of not
having to rely on sales figures.
So send us your experimental,
"unsellable" work. (Still has to be
good, though, as per statement
I
3) On that note, one of our
aims to give ambitious unknowns,
as well as the more established,
a place to publish their work.
Young people can be disturbingly
apathetic in this town (I went
to UBC, I know), and we'd like
to reward people who don't sit
on their ass all day and watch
TV with a quality place to be
published.
4) Discorder will likewise
feature independent and/or
little-known artists, for the same
reasons. And because we ARE a
music magazine, after all.
5) We will naturally cover
the local artistic and musical
community. We will support the
CiTR community, particularly,
since CiTR is" our mothership, and
alternative non-commercial radio
is so fucking important.
6) I'm really bored with
exclusive hipster bullshit. No white
belts, converse sneakers, or little
buttons are necessary if you have
passion and talent. Of course,
we might wear these thing from
time to time, but you dress how
you want, I'm too busy editing this
thing to care.
7) We aim be a source of
cool and interesting stuff for the
reader to discover, particularly
if said reader is sick of reality TV
and boring mainstream media
fodder. I'm especially into local
and affordable/cheap things,
because I am a poor transit user.
And I think we are the majority.
So there it is. A little vague,
perhaps, but the keyword here
is qualify. Because I'm not here
for the glory (outweighed by the
stress), or the money (there is
none), or because I like editing
documents with no capital
letters in them. I'm here because
I believe it's possible to turn
this magazine into something
interesting, readable, and
ridiculously welt-written, and I
want to do it. Not to mention
that the forces of darkness (ie,
commercial radio and reality TV)
are converging upon us. And if
Discorder can't be a weapon,
well, at least we can be read it
and be entertained as we huddle
in our cultural bomb-shelters.
That's all for now,
Kat
l^a^mbv
I have terrible news. My guitar
was stolen.
Well, I have more than one
guitar. I think I have 19 guitars in
total. I hove some kind of gold
Les Paul from '52; another one
that looks like that one, except
cherry and junior and five years
older; a banged up; shitty, piss-
coloured no-caster from '51; a
couple of Velenos—an Original
or whatever they're called, and
one of those cutesy Travellers,
which I don't like at all because
it reminds, me of screeching
babies; a few hippie guitars
including a Martin D-18 that
sounds like a crying old lady, a
custom D-model that this fat guy
in sweatpants gave me because
he said I was pretty for a lady,
and one of those Taylor seven-
wood numbers with the flowery
bullshit; a honky 335 from the
'60s, a '58 Strat that I hate and
use as a tennis racket; a Country
Gentleman that feels me up
if I try to play it; a pussy little
'59 Coronet; two Mosrttes, one
sparkling and blue like those jars
filled with combs, and one worn
and red old hag; a pointy HB-612
Double Neck with a thousand
pickups, three smashed Univox
loafs of shit that my late pal Kurt
gave to me; and, well, that's it. I
only have 18 now.
I don't care about any of
those guitars. I never play any
of them. They just sit on racks in
this temperature-controlled room
in my basement. I suppose my
guitar tech has fun with them.
He restrings them and intonates
them every 38 hours. He buffs
them up and cradles them at
night until he gets a boner and
has to Rut them away. I get mad
if he tries to play them. Can you
believe that he actually tries to
play them? What, does he think
they're toys or something? Well,
they're my toys. Not his. I can
do what I want to them, but he
should respect my collection.
What an ingrate.
Anyway, I'll fire my tech, and
offer all of those guitars as part of
a reward if my favourite guitar fe
returned to me.
It's a white 1978^Travis Bean
500, serial number 120. This guitar
is irreplaceable. It was made
especially for me when I was
conceived. The pick-ups are
inscribed with my birthdate, and
the body fits perfectly into mine. It
is in mint condition, although who
knows what condition it's ir> now.
Whoever stole it smashed the
glass display'case and exposed
it to the Vancouver climate.
Most people don't know that
guitars should be treated as if
they were alive. They should only
be exposed to temperature and
humidity that is most comfortable
.to pre-mature babies. I know my
guitar is ruined now, but I just
have to have it back. It means so
much to me.
I've set up a website with
photographs at www.chrisfa
minsstolenwhite 1978travisbe
an500-serialnumber120.com/ -
homedongus/pussyreward.html.
Please take a look and help me
recover my precious love, so I'll
have a reason to live. •
< The Heavy Blinkers i
The Night and I Are |
Still So Young
Aaron Booth >
Our Last Escape
"40 minutes of the most romantic
melancholia you've ever heard.
Sorrow should be so sweet." - The
Coast
"...rootsy folk and pop
melodia...well crafted, $enuine,
and quite beautiful." - The
Silhouette
WESTERN CANADA "Start Your
Own Country" MAY TOUR DATES
6th - Winnipeg @ The Collective
7th - Regina @ The Easy Alibi
8th - Saskatoon @ Amigo's
11th - Edmonton @ Sidetrack Cafe
13th - Calgary @ The Liberty Lounge
14th - Vancouver ® Picadilly Pub
15th - Nakusp @ Wylie's Pub
BiiiWj.-tfMiiiW^gfflaiaciiaao
...his days totting in obscurity are
numbered.lnfiniheart pan quickly induce a
dreamlike state even if you've had a tew
jffees, but it's more akin to lucid dreaming:
the sense of being captive in another world,
but with the freedom to choose what you
experience.... Not unlike the prairie itself,
the beauty of this recording resides in both
its spaciousness and apparent desolation.' i
%wf^
^koJy&.'VcXkv'Vubv
I'd like to welcome all of you to
Montreal for this year's MUTEK
festival. My living room is" full, but
I can still fit a few more of you
under my sink. There's enough
of you out there to write this:
every year, by far one of the
most boisterous and stoned
contingents (almost the largest,
now that the EU coagulated)
is the crew from the Pacific
NorthWest, arriving in last year's
fashions but dancing like there
is no tomorrow. Often to be
found giggling on the floor of
Montreal's most pretentious
venues or screaming on acid
down Ste-Catherines, this
Canadian heritage and cross-
cultural exchange constitutes
an important aspect of... Well,
fuck that N Montreal will have
to take note sooner or later: with
impending superfame on the
way for Vancouver, Montreal
is going to start feeling really
jealous. They keep talking
about EXPO '67 and the '72
Olympics but VanCity keeps
the smug 2010. In Montreal
already, one of the most
active ex-pat communities is
the Vancouverites. We've even
finally organized a gathering
for ourselves, called Left Coast.
We're conspicuous and already
there's a tangible backlash.
But that's ok: the more video
footage we play to them of
secret forest tribal gatherings
and hippies dancing'in circles,
the more the 'Trealers loosen
up and start realising that the
'80s revival could transcend
cocaine and post-No-NewWave. Montreal never left
the '80s anyway: the whole,
"revival" thing for them is just the
way it's been since '81. What
'am I talking about? Why acid
house of course. It's already
starting. Rewind to the late '80s
in the UK as the era of 'Teds,
the second Summer of Love,
definitely over by '90, in North
America a little more on into the
early '90s. So get ready for that
early '90s revival. We're hauling
out DJ Venus, Rob Shea and
Noah. It's not beyond irony N
I'm talking Technotronic, The
KLF, Black Box, sure N but I'm
also talking that infectious fuck
it all atmosphere of get the
fuck down and scream and
yell a lot while jumping around
to music that is neither banal
nor pretentious N something all
that shitty electropop never had
and never will have. I mean, half
the kids are living a "revival"
they never experienced in the
first place. Just like Jesus. Let's
at least revive something we
actually lived through the first
time. Courses on resuscitation
(no tongue) will be offered in
the Discorder offices at the end
of every month: please bring
your Smiley t-shirt and overalls.
Of course you have to
realize that half of what I write
here is bullshit, so take it easy.
Yet I think the return of
acid house is also a somewhat
solid bet on the postsubcultural
futures market. Think of it this
way: the whole thing was
spawned in the era of Thatcher
and Reagan. Duck and Cover:
impending nuclear doom,
Home Taping is Killing the
Music Industry, Yuppies, bad
hair and overkill fashion. So
what's different from today?
Here we are with a global
geopolitical situation that is far
more explosive than old Cold
War tensions, a realization that,
actually, Clinton was simply
the lunchroom break while
worldwide NeoCons read up on
their Leo Strauss, another phase
of poser music complemented
by anti-MP3 campaigns with
armed RIAA Copyright Squads,
and a complete absence of
reality anywhere. What's more,
this is coming from leftfield: it's
going to be South America and
Asia reinventing how this acid
house comes down. It won't
be the same and we might not
even recognize it. Like Kid606's
latest album, who still kill sound?
(Tigerbeat6), a happy joyride
that turns its back on destruction
to play the bigger beats for the
jacking bodiesNyeah, bodies
still absent (one of the Kid's
titles is: "you just left the smallest
rave on earth"), but bodies-
to-come: keep that bodymind
open for jacking into the future,
some kind of Giorgio Agamben
cocktail on E.
And yeah, E N let's get
that back into the mix again, we
need some love around here.
D&G Did Drugs, Dude.
Right, so Vancouver is
poised to re-launch the entire
thing (although this time, can
we please avoid the big rave
corporations? I mean just
forget it, there's no money
in this anymore, and I'm sure
you're all tired of the gunplay
and being ripped off in armed
robbery anyway N we're talking
acid house style, and that's only
going to happen with certain
devious moves of invisibility.
Suggestion to organizers: think
FlashMobs, not voicemailNuse
the new technologies to
disperse organization).
Acid house is going to remix all ■
the challenge to the reigning
nation-state authorities via the |
cultural exuberance of sillyness.
Given that multinational j
corporations are doing
fantastic job of deterritorializing j
borders, it's about time we got I
back to that on the cultural
angle: music that travels,
people on the move (some
might say on the run), get in
and squat, occupy, temporarily
zone in and burn down the
roof, reclaim the streets, parks,
forests with soundsystems (let's
phone up the Queen Elizabeth
Theatre again Nstarting
throwing down wax on Sunday
afternoons in that outdoor
plaza, music for buildings N but
if you're outdoors, take care
of that environment). So silly
that the Rave Squads will be
resurrected: but this time, we will
be ready. (Everyone get online
and Google the [NWR] archives
of the violent Prime Time bust,
1997Nthe finest experience of
Vancouver's Blue). Acid house
was such a major threat to
Civilization when it happened
the first time that maybe this
time it actually will live it up N
bring about some shake-up to
the conservative era we live in.
I mean c'mon kids: it's fucking
worse than 1954 out there, and
we don't even have the Beats.
If you missed that,
there's an entendre on "Beats"
there.
Anyways,  if we  do
this, the Kid's remix of "Blame
Canada"  will  at least  mean *
something.
If you go to cbc.ca
right now, you can nominate
William Shatner for the Greatest
Canadian of All Time. Please
make us happy. •
FIRST APPOINTMENT WITH THIS AD!
^^Bj^^j^^g^^
.r  '     '  i;kkJ.»:.k'k-' .
The Railway Club
9pm to Midnight
Jim Guthrie
(Royal City/Three Gut Records)
kids these days
Immaculate Machine
(from Victoria)
Nathan Lawr
MAY 12
The Burdocks
Setting Sun
(Gary Levitt from LA.)
Pigby
MAY 19
The Conversation
(from El Paso, TX)
Star Collector
plus guests
MAY 26
Gordon B. Isnor
(Lord Sir Skronk)
The Relatives
plus guests
JUNE 23
The Frenetics (Montreal)
^       Hog Puncher (Calgary)
Clover Honey
The Railway Club
friohy mm 21
The Highballs
CannedT Hamm
The Wet Spots
Mr. Plow
smmmmAY mm 22.
Surprise Guests
The Beekeepers
The R.a.d-i.o
SUNDAY MAY 23
They Shoot Horses Don't They
The Neins
Fond of Tigers
INFO: 60H 878 GOGO - RUMBLET0NE.COM
PONCHO'S ROCKIN' TfiCOS DISCORDER,    MAY'04
HOW TO RUIN YOUR FINANCIAL LIFE
Ben Stein
Chronicle Books/Raincoast Books
After his sarcastic successes with How fo Ruin
Your Life and the more specific How to Ruin
Your Love Life, economist turned comic actor
Ben Stein is back to tell us How To Ruin Your
■ Financial Life.
Many may know Stein from his game show
or movie roles, but most people don't realize
Stein's first loves are politics and economics.
He has been an advisor to Republican
administrations, and has written columns for
Barron's and The Wall Street Journal as well
as many books on personal and international
finance. His goal is actually to have people
use How to Ruin Your Financial Life as a reverse
instructional guide - do the opposite of the
rules in this book and you should be fine and
financially well-off.
This book came at an opportune time for me
as I'm just starting to learn about investing
and building wealth (yes, that's right, I'm a
capitalist pig.) I was having some trouble
getting started, and it turns out my problems
involved following some of Stein's rules. I won't
confess to the whole list, but here's a couple of
them: "Don't Keep Track of What You Spend"
and "Don't Think About Retirement." At least
I wasn't stupid enough to follow "Don't Pay
Taxes".
Stein divvies the book up into little chapters,
titled by the rule with a brief sarcastic essay
explaining why it's good to follow the rule.
Usually the essay reflects the way most people
think about the issues even if they don't admit
to it. If you recognize the thinking in the essay,
you're in trouble. His use of humor sticks the
message in much better than all the dry
graphs and charts and admonishments in the
world to show just how silly some of our thinking
can be. From that realization, it's easier to
change your ways. In theory at least.
Highly recommended.
Drake
BLONDE
Joyce Carol Oates
Harper Collins
This book was published four years ago, but
Marilyn Monroe never goes out of style so I
figured whdf'the hell? and started reading
it. Such a fool am I. Oate's "fictionalized
biography" of the American icon is so dark
and negative, it plunged me into a listless
depression. I nearly didn't finish it, but, since
one must read the whole book to properly
review it, I forced myself to. It was a spirit-
crushing exercise. Marilyn is abused in various
horrible ways, first by her mother and then by
a long line of men, starting with insinuations
of molestation in infancy and ending with her
relationship with JFK. No one comes off very
well, except perhaps her husband Arthur Miller,
who is one of the small minority of characters
who don't rape or beat the actress. Oates has
a point - Monroe was fucked over by many
of the men she was involved with - but I don't
think that her feminist analysis of the past
redeems this tale of unrelenting degradation.
If you're already aware of the psychic and
psychical effects of misogyny, spare yourself
the pain of reading it. If you're not, check the
library for Margaret Atwood's The Handmaid's
Tale. And if it's not available, then, and only
then, subject yourself to Blonde.
Kat Siddle
TEACH YOURSELF REIKI
Sandi Leir Shuffrey
McGraw-Hill Ryerson
For readers not familiar with Reiki, this is
basically the modern Japanese form of
healing touch. Reiki actually means "Universal
Lifeforce," and Reiki as a healing practice
seeks to harmonize the flow of that lifeforce
through the body to ensure maximal health
and vitality. It's become rather popular with
the New Age and alternative healing crowds.
It is true that in Teach Yourself Reiki there are
some very good exercises that introduce Reiki
to the reader. The problem is that in between
those, the majority of the text in the book is
what a friend of mine calls "newage" - rhymes
with sewage - a lot of words with very little
useful information.
Shuffrey's writing is disjointed. She jumps from
topic to topic with no discernible connection.
She goes off on tirades claiming that without
the expensive initiations you can't use lifeforce
energy to heal yourself or anyone else. This is
the same author who admits that lifeforce is
within and utilized by every living thing, and
that many other healing systems use lifeforce
energy manipulation to heal, yet she claims
you are incompetent to use it without Reiki
initiation. She even states on page 63 in her
discussion of chakras that it is dangerous to
teach yourself to work with your own energies,
which makes me wonder why she chose to
write a book called "Teach Yourself Reiki!"
Not surprisingly, Shuffrey offers initiations and
guidance...
Then there's places where she makes claims
that are just plain false, like when she is
spouting off on diet, and states that plant
foods have more energy than meat. Let's see
here, food energy is measured in calories.
Meat has more calories than plants. If Shuffrey .
was right, we'd get fat from eating salads and
skinny from eating red meat. Believe me when
I say I wish that was how it worked.
Frankly, at times I found this book to be so
irritating and patronizing I just tossed it in the
corner.
A better text on energy healing is Donna
Eden's Energy Medicine, which is a book I
can't praise enough. It's not specific to Reiki,
but it has a far lower "newage" factor.
Drake
THE BEST AMERICAN NON-REQUIRED READING
2003
Edited by Dave Eggers
Houghton Mifflin
If you're gonna buy one collection of short
writing this year, make it this one. If that
sentence alone did not convince you, let me
give you 10 reasons why you should run down
to your nearest indie bookstore and snap it yp
RIGHT NOW.
1) It includes short stories, a comic, a
script, personal essays, and literary
journalism, and they're all awesome.
All of them. Except maybe two,
which are just good-to-okay. Two out
of 27 pieces, guys.
2) Half of the stories are really, really
funny. In a smart way. Like Ryan
Boudinot's "The Littlest Hitler", where
an elementary school kid dresses up
as Hitler for Halloween (cause he's
scary), only to be confronted by a
classmate dressed as Anne Frank.
There's also story from The Onion in it,
and one by David Sedan's too.
3) Everything is really well-written. Real
mastery of language and storytelling
(or a lack thereof) is often more
apparent in short literature because
you don't have much space to
screw around, as this collection
demonstrates over and over. It might
make you despair about your own
4) There's also some gratifyingly dark
and sad stuff, if you're into dark
things, which I am.
5) Even the introduction is great! Plus,
Dave Eggers runs a pirate store in
San Francisco where he sells nothing
pirate-themed merchandise. And
he wrote A Heartbreaking Work of
Staggering Genius, which Graeme
loves, but also wrote And you shall
know our velocity, which he hated,
so those two kind of cancel each
other out.
6) Much of the book - like K. Kvashay-
Boyle's amazing "Saint Chola" - is
incredibly timely, with themes that
aren't preachy, but rather urgently
, applicable to life in North America in
2004.
7) You will actually learn things by
reading it. Like, did you know that
used-clothing dealers export tons of
our old swag to African countries for
profit?
8) It's good way to read stuff by hip
new writers like JT Leroy and ZZ
Packer. (I think I'll launch my career
as a hip new writer by becoming KA
Siddle).
9) It's great to read on the bus.
10) It's better than The Best American
Non-Required Reading 2002, If you
go out and buy this book, and you
don't like it, I'll give you ten bucks for
your copy and give it to my friends
for Christmas.
Kat Siddle
iwiiLVi
Ben
Stein
Photo courtesy of Raincoast Books.
We are actively looking for reviewers
of books.
please come and see Kat regarding
this sort of thing.
or e-maif tje||||g
discorder@club.ams.ubc.ca
Furthermore we are looking for.
Comics, we. iggrttyjheed a lot more of
fafiltllsllili
Fiction, but only if it's good.
Poetry, pr^^^j^^^^^^ftpr^^^
^^a^eifpreferably of the musk;
\r^ie\Ung kind, {see Soren Bros, haiku
feajm to furnish o^^^^^^^^
A record ptayerfcapabte of playing
both 45s ahd^^^rayon't listen to
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A coffee maker, pre|ej5»^Spj»^^^^
A really good Itali^t^llSp^
A new eMac, tot re^^^^^^S
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pu^^^^^pi^Jrte morning, and
Dale turns t^^^^S
Writers, pref©i|i]^capable and gung
-:jT03|
capital forifrje following:
^^^^cad label -: •
magciifoe**:
§3j»al|^u in advci^^^S C?KuJ2& <£Xt>vh/
After a well-deserved break
(as well-deserved as one
can have writing a monthly
self-indulgent critique of his
favourite vinyl releases), I'm
back with ears a-blazing,
ready to split hairs and
topple chairs with some
more seven inch affairs for
your reading pleasure. The
reason for my absence,
you ask? Well, you can
read about that elsewhere
in this here issue, but some
of the bands I'll be taking
to task in this here space
performed at the big wing
ding in Austin including The
Lazy Cowgirls. Now these
tough-as-nails cats have
been known to show a soft
spot here and there for
the acoustic side to their
rollin' and tumblin', blue-
collar rock and roll, and
their latest single is a prime
slice of melancholy with
the cut "When It Comes To
You, I've Got No Dreams To
Lose", a song about hard-
luck women, and even
harder drinkin' as a result.
The A-side sports a rollicking
mber called "You" so it
could be about anyone, but
chances are it's about you.
(Gearhead Records-, P.O.
Box 421219 San Francisco,
CAUSA 94142).
Speaking of a hard luck
gal. The Cool Jerks are just
tryin' to find her on their
latest seven-inch offering,
and they'll search the
"Whole Wide World" to be
with her, even it's only ".For
A Little While". The Cool
Jerks are Memphis crooners
Jack Yarber (ex-Oblivians)
and friends strummin' and
hummin' some gritty guitar
.blues/roots-flavoured tunes
and they make me smile
and want to take a trip of
my own, not to find a hard
luck gal, but to find more
material from The Cool
Jerks. (Misprint Records, P.O.
Box 40211 Nashville, TN USA
37204).
In the pantheon of punk
rock heroes. The Big Boys
held a prestigious spot in
the hearts of many Texans
for their individuality in the
overpopulated genre and
of course, like the credo of
Texans, did it bigger and
better with each album.
Who better then to pay
tribute to these giants than
Texas' own over-the-top
rock royalty The Riverboat
Gamblers on a joint
venture with a band called
Throwrag, who contribute
a Pogues-like sea chantey
version of "Red/Green". The
Gamblers knock out "Fun,
Fun, Fun" which in all its four-
track glory, is exactly that;
snappy, overdriven guitars,
gut-busting bottom end and
raspy vocals on a mustard
coloured side o' vinyl.
(Dateshake Records, www.d
ateshakerecords.com).
Our Canadian
ambassadors of soul-shakin',
foot-stompin' rock and roll.
The Deadly Snakes want to
remind you that they can't
sleep at night knowing,
that you've forgotten the
greatness that was their last
album Ode To Joy, so In The
Red has issued a double
7" memory-enhancer
which includes their
aforementioned "smash
hit" (can you believe a clip
of the video for that song is
used in the Muchmusic Loud
commercial fer chrissakes?!).
But you also get the bonus
original "Nasty Boots", and
two awesome covers of
Eddie Floyd's "Big Bird"
and Neil Diamond's "Shot
Down", perfect examples
of the rock and soul
influences prevalent in the
Snakes sound. Help curb
their addiction to Nyquil
by adding this fine piece
of vinyl in your record
collection. (In The Red
Records, P.O. Box 50777, Los
Angeles CA. USA 90050).
Some stuff for the skinny
tie/white belt crowd now,
and The Distraction and The
Hatepinks give us two tunes
apiece of pogo-inducing
punk rock. The Distraction
sing (if you consider Johnny
Rotten sucking helium
balloons singing) the merits
of "False Advertising" and
being "Too Late For The
Trend", with their French
counterparts doing a
admirable job of covering
Swell Maps "International
Rescue" and an original
"Bored On Pills". However,
boring this isn't as I was
prone to bouncing around
the room when playing
these tracks. (Lollipop
Records, 7 Imp. Monsegur
13016 Marseille, France).
The Ends bring this
column to an end with
two new mid-tempo tracks
of '77 punk crossed with
New York gutter rock. On
"New Rome" the band
demonstrates their affinity
for The Sex Pistols with some
down-tuned choppy guitar
propelling the swagger
into "Saw It Comin", a little
more melodic and peppy,
reminiscent of Stiff Little
Fingers or Cocksparrer.
The vocals are raunchy
and beer-soaked, but not
grating, and the band plays
loose but not sloppy, with
the two guitars given equal
time to show off their chops.
If you like this single, check
out their full-length feature
Sorry...XOXOXO on Pelado
Records. In the meantime,
this 7' is on...(Dirtnap
Records, P.O. Box 21249
Seattle, WA USA 98J11).
Well enough from me,
its time you went out and
got some of these rekkids.
Happy hunting and see you
next month! •
{PTOUR WITH STATISTICS
May 28 - Vancouver, B.C. - The Showroom (750 Pacific Bivd)
May 29 - Victoria, B.C. - Logan's Pub (1821 Cook Street) fif*|l
May 30 - Vancouver, B.C. - Mesa Luna (1926 West Broadway) *all-ages with Honeysuckle, Black Rice.
May 31 - Whistler, B.C. - TBA with Honeysuckle
Order both releases online atjadetree.com
Distributed ii Canada By. Fab, Scratch, Sonic Unyon
Oespistado "The Emergency Response" Statistics 'leave Your
CD EP out &224M I www^esoisladomusiccom       IP/CO Out Now I www.statisticsm DISCORDER,    MAY'04
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THE HOLY BODY TATTOO--
RUNNING WITH TINDERSTICKS
The things that resonate with
us live in constellations with
no regard to genre. People,
places, moods, memorable
dreams and works of art
all hang together because
they nourish and reflect our
personal aesthetic. There was
no surprise, then-only a shock
of recognition—when I learned
that dancer/choreographers
Noam Gagnon and Dana
Gingras were creating a piece
to a specially commissioned
score from Tindersticks.
Originally from Montreal,
Gagnon and Gingras formed
The Holy Body Tattoo in
1993 (the year the UK band
released its first album,
incidentally) and hit the
ground in a blur of physicality
so brutal that it left some
viewers screaming for pacemakers. It also left a sense of
the body's heroic vulnerability
and resilience.
From the beginning,
the pair collaborated with
musicians acclaimed by a
cult-like faction of rock and
pop cognoscenti. The fullblown excellence of their
musical tastes was revealed
in 2000 when they premiered
Circa to a soundtrack by
The Tiger Lillies. Using the
language of Tango, and
including contributions from
The Secret Three's Warren
Ellis and producer/former
Banshee Steven Severin,
that work scoured the sexual
and emotional battlefield
of personal relationships.
The duo revisits this
bittersweet territory in its latest
production, a five-piece
collection of dances called
Running Wild. Once again,
the music connections are
impressive: Montreal-based
instro-rock unit fly pan am
(Godspeed fans take note)
provides the music for / Will
Always Remember to Forget About
You, a duet performed by
guest dancers Day Helesic
and Blair Neufeld; while that
band's Roger Tellier-Craig ha?
blended a collage of songs
by Nick Cave and Public
Image for Gingras' new solo, ■
Crave. As for Gagnon, he's
drawing on Air's Walkie Talkie for
his own solo. Gone.
The Running Wild programme
. takes its name from the last
track on 2003's Waiting for the
Moon, and a highlight is sure
to be Gagnon and Gingras'
duet to Tindersticks' 14-
minute extended version of
the song. Although The Holy
Body Tattoo has developed
a body of work and an
international reputation that
allow it to pursue such dream
collaborations with ease, this
one had a serendipidous
beginning.
On the phone from LA.,
where she was enjoying a
short break from work on the
upcoming show, Dana Gingras
charmed me with a story that
began in 2001 while whe was
visiting New York. Hating her
hotel, she had decamped
to another just up the street
where she recognized
Tindersticks' Stuart Staples
in the lift. The long-time fan
went into self-confessed "high
school crush" mode and
blurted her admiration-as well
as her regret at being unable
to get tickets to the band's
sold out concert that evening.
Staples took care of things and
she saw the show.
"We remained in contact
and a friendship developed.
I knew that the band had
worked with fimmakers [most
notably, Claire Denis and
Patrice Chereau], so I started
to discuss the possibility of
us working with Tindersticks'
music. Around that time,
Stuart was putting together
a kind of extended jam of
'Running Wild'. He thought it
might be good and offered it
to us."
To anyone familiar with both
the epic melancholy of the
song and The HBT's movement
style, it was an interesting call.
Whether violent, poignant or
sultry, the choreography has
always had a strong rhythmic
boot—reflected in the music
which drives it. "Running
Wild" is more like a beautiful,
sliding wind. Yet by the time
he blew the track their way,
Staples had seen the dancers
in a London performance of
Circa and it's as if he'd sniffed
the essence of that wild place
they inhabit.
"It was a challenge at first",
says Gingras, "but as we
worked, we realized how good
it was to reassess the way we
create dance." She describes
the result as something
"visceral and loose, a
deconstruction of our dancing,
reduced to the primal force
that's left when the shape is
stripped away."
And "stripped down" is
how she characterizes the
production as a whole.
"People have complained
that with all the multimedia
elements, like photoprojections
and video, there has been
too much to watch. This time,
there aren't even any sets.
It's completely focused on
the dance. In a way, we're
going back to our roots...to
a time when we were more
portable."
Over coffee the following
week, Noam Gagnon confirms
that choreographing to
"Running Wild" was a lot
like surrendering to the wind
and almost flies out of his
chair while describing the
process. Animated and
sweetly intense, he's such
^a fountain of observations
on life that I pretty much
abandon my interview notes
and just enjoy our chat. As
we talk, it becomes clear
how much the dynamic of
human relationships informs
the duo's creative output. But
be assured that there is no
trace of cliche of indulgence
in the way the subject is
explored. Nor is gender to
be interpreted in a fixed way.
"We're a male and female,
so obviously people are going
to relate to that dynamic",
Gagnon acknowledges, "but
we hope that they'll see parts
of themselves in each of us."
He also expands the show's
theme in his solo which, he tells
me, is about "remembering
where we come from". How
appropriate-since The Holy
Body Tattoo never lets us
forget that what we come
through is our bodies.
With dances dealing in "the
fragmention and disintegration
that come as a result of
love, desire and loss", the
Running Wild collection may
be the closest thing yet to a
physicalization of Tindersticks'
music. The collaboration was
inevitable. •
Running Wild is at The Vancouver
East Cultural Centre from
May 13-22.
Tickets: 604-280-3311
Info: 604-251-1363
Red Cat Records
4307 Main St.
New & Used CD's & Vinyl
ph. 708^9422 * email btiddy^redeat.ea
May Special - Ali Used Vinyl 30% off
TICKETSffT t>cl<e>tmaste*r 604-280-4444
ticketmaster.ca   DOORS <8> 8pm
TIX ALSO AVAILABLE AT: SCRATCH - ZULU - NOIZE
straight DISCORDER,    MAY '04
III 01 111
Franz Ferdinand at Richard's on Richards
Photo by Robyn Hanson
SNFU
The Rebel Spell'
March 19
Cobalt
In fine form, the Cobalt's
bathroom didn't flood until
eleven, the floor wasn't that
sticky and you could almost
get beer without shoving. The
Rebel Spell had a full house.
Three chord heroes cranking
out old-school punk rock. The
Retreads were next, and filed
out with plenty o' eye makeup, black shirts and pink ties to
complement their new album
"Pink and Black Attack." The
drummer doubled as the
singer, meshing beat and lyrics
very well, while George the
Animal Steel (bass) kept the
crowd interested. Their cover of
"Beat on the Brat" (Ramones)
was dyno-mite!
SNFU took the stage
next! Originally competing
skate teams, these old-school
pilgrims have forged a path
and stayed on point since
'81. Last I saw them was in an
audience of 300, using more
puppets and prizes in that
show, but this time the sound
out-did any SNFU show I've
seen (not including the one
with BR in Edmonton). Mr. Chi
Pig, sorry to say, is looking older,
but like fine wine his voice has
aged well. Somehow Muc
has put in over twenty years
with Canada's top skate
punk band outlasting his own
twin - and hasn't aged!? The
Cobalt was bursting, the mosh
in full blown swing. Nobody got
hurt... very badly.
Among his downsized antics, Chi Pig pulled
volunteers for on-stage beer
bongs, used only one mask, no
fire, no puffed wheat.., what?!
A new song "Head Smashed
In Buffalo Jump," named after
a real place, is not really that
cool. The encore brought the
very best though: "The Ceiling,"
"She's not on the Menu," and
"Cannibal Cafe." Again, they
did not play "Quest for Fun,"
even though they said they
would. Damnit. Well, I love
SNFU. In the Meantime and
in between Time wiH be their
eighth full length album.
madmarco
Franz Ferdinand
March 24
Richards on Richards
/ love the smell of hype in
the evening. Franz Ferdinand
made a Vancouver debut
and the sell-out crowd
came to see what all the
fuss was about People in the
crowd unknowingly entered
themselves into a 5-step
program: Hype Anonymous.
These 5. steps must be
completed for a listener to truly
believe that a band deserves
the hype.
Step 1: Impatience
Local band, Elizabeth, had
the undaunting task of making
the long wait more bearable
for the crowd. They brought
their own brand of indie garage
rock/pop camouflaged in a
war motif. The chunky .guitar;
lines had catchy melodies and
the drumming was strong. They
kept up the energy and chose
more play and less talk. From
the rapid fire of guitars, to the
urgent, fractured singing, song
titles like "Versailles" showed
that their carefree hair and
attitoctes are just a front.
Step 2: Commitment
When the main act starts
their set, two things go on in
your mind, "Do I stay for the
whole set, or leave after I
hear the single/my favourite
song?" Step 2 was crucial for
the FF because they had to
win the crowd over in the first
5 minutes. As soon as the band
hit the stage, one thing was for
certain, they were dressed to
kill. The quartet looked like they
just stepped out of a European
fashion magazine. The band
had a highly infectious energy;
the lead singer, Alex Kapranos
and guitarist/vocalist Nicholas
McCarthy, couldn't contain
themselves, they danced
non-stop. They started off
with "Cheating on You'1 and
worked their way through
almost their entire repertoire. If
you're familiar with the band's
music, then you remembered
to wear your dancing shoes.
Even Kapronos took a moment
to say, "Nice to see you all
dancing".
Step 3: Acceptance
The boys didn't stop short
of anything and played in
high gear; they even rolled
out their best rock poses and
podium stances. Most of the
stage banter was muffled by
their thick accents. No matter,
their smiles and shoes spoke
volumes. The whole crowd
got footloose; more than one
person was spotted dancing
and clapping. The boys did
their best to act like the next
big thing, which the crowd had
no trouble believing.
Step 4: Denial
There are moments during
every concert where you
think that there might be a
Milli-Vanilli stunt happening
before your very eyes, but
by Franz Ferdinand's last
song, "Darts of Pleasure", you
couldn't help but blurt out the
German refrain, "Ich heisse
superfantastisch!"
Step 5: Remorse
The band ended the
night with a 1-song encore:
"This Fire". They came, they
conquered...then left the
stage.
Remember the first step
is to admit that you have a
problem.   Repeat   after   me,
"Hi, my name is   and
I believe the hype." Then go
attend some concert therapy
and do a self-diagnosis. It's too
early to say if Franz Ferdinand
can save Rock n' Roll but they
sure can make people dance
like there's no tomorrow.
Emily Khong
Buck 65
Matthew Barber & the Union
Dudes ii^ii^l
Matt Mays & El Torpedo
March 31
Commodore Ballroom
First on fhe bill, Matthew Barber
& the Union Dudes. So what did
this band haiShg from Toronto
have to offer me? Edgy rock,
with complementary, wailing
guitar riffs and inspired lyrics.
Vocalist Matthew Barber
certainly has a voice all to his
own, that of the captivating
sort, and its haunting qualities
have others critics likening him
to Sam Roberts.
Next up. Matt Mays &
El Torpedo. In my opinion,
this band has whatever it
isNelegance, talent, passion,
zany riffs and vocalsNall the
defining quaftKes of a good
rock band. They, being lead
man Matt Mays and four-piece
El Torpedo, penetrated through
th© unwWbigness of the crowd
to stand, and held fast to their
attention. Their music has a
slick and polished feel to it,
but is also raw and powerful.
And, once or twice, some raw
passion was exerted in a three-
four minute session of crazy
guitar and drum solos, Alas, as
good things must come to an
end, Matt Mays & El Torpedo
left the stage, taking their
guitars, drums, bass, petal steel,
and organ with them, and it
was promptly replaced with a
turntable and a microphone.
Then there he was, the
legendary Buck 65. This man
has a unique charm, backed
up with an entrancing voice,
an intrinsic knowledge of good
beats, and mad scratching
skills. Buck opened up with
the instant hit "Wicked and
Weird," and then continued
through the 21 song set
with the same intensity and
passion. The majority, of the
songs drew on his most recent
release, Talkin' Honky Blues.
But Buck was also humble,
and played everyone's old
favourites: "Pants on Fire," a
slower remastered version of
"The Centaur," some goodies
from Square, and some even
way back to Weirdo Magnet.
We were also treated to some
brand new songs, songs that
showed Buck 65 isn't deviating
an inch from his theme for his
Language Arts Series, these
songs, as always, blew wide
open this man's ability to
captivate the listener with his ■
literary capacity and funky
style. Buck also seemed to
enjoy greatly busting out some
new moves to his beats and
scratching up a storm during
songs.
But what Buck 65 concert
would be complete without
the crazy stories he teHs? On
that note I'll leave with a joke
Buck felt compelled to tell us.
So he says, "what do you think
is the best stocking stuffer?"
Some people will say that it's
the new Lord of the Rings DVD
or whatnot, but, to Buck 65,
the best stocking stuffer is a
severed foot.
JuSa Shewan
Pearl   (The   Scrappy   Bitches
reunited)
April 01
Vancouver      East      Cultural
Centre
When I toddled down to the
Cultch, haggard and trembling
from another long DiSCORDER
production night, I had some
crazy expectations. When my
friend Matthew told me that
Kinnie Starr, Veda Hille and
Oh Susanna had once been
played together under the
guise The Scrappy Bitches, I
took it to mean that they had
all been a band together. I was
totally freaked out. I mean, can
you imagine those three writing
songs together? What the hell
would that sound like? How
surreal. And now they were
apparently re-uniting, right
before my weary eyes.
I was totally wrong, as it
turns out. The trio had toured
together years ago, but
as three different acts and
not as a band. I was a little
disappointed when I realized
that they were simply sharing a ~
stage, but that didn't last long.
The crowd was rapt, giving the
performers the attention and
silence they needed to really
open up and blow us away.
The gig was solid all
around, but Kinnie Starr stole
the show—and our hearts and
loins—with the best set I've ever
seen her do. Songs I'had heard
live two or three times before
sounded completely different,
infused with a vulnerability thai
you rarely see at bar shows. If
Kinnie's albums have left you
unconvinced of her brilliance,
try to catch her at a good,
relaxed live show; there's no
way you'll regret it.
KatSiddle
John K. Samson
Christine Fellows
Veda Hille
Dan Goldman
April 03
Vancouver      East      Cultural
Centre
SUCH  EXCITEMENT! This show
was definitely not one to be
missed,     and     unfortunately
there were many people who
didn't  even   know  about  it.'
Hosted by the wonderful and
talented Veda Hille, this night, DISCORDER,    MAY'04
Buck 65 at the Commodore Ballroom
Photo by Joel Levy
fittingly titled "Smartypants
Songwriters" featured a full
set by Dan Goldman and
his band, and a roundabout
performance by John K.
Samson, Christine Fellows and
Veda herself.
Dan Goldman was the first
to perform for the small, cozy
crowd at the Vancouver East
Cultural Centre. Joined by a
bass guitar player, a drummer
and occasionally Veda on
' piano, Dan played beautiful,
quiet songs with interesting and
clever lyrics.
As great as Dan Goldman's
set was, after playing for nearly
an hour, there wasn't much
time left for the rest to play.
John K. Samson, Christine(
Fellows and Veda Hille began
their performance after a
lengthy intermission, and only
had another hour to play
before we were atl to be
•dismissed. The three musicians
played in a style similar to that
of last summer's Railway Club
show, but instead of simply
taking turns playing songs
and occasionally playing
one together, every song
played by one musician was
accompanied by the other
two, from Veda Hille on piano to
John K. Samson stomping on a
box for percussion. In addition,
whatever disappointment
there may have been looming
in the air was completely
destroyed upon Ford Pier
taking the stage. Watching him
pick up the guitar and play a
few notes while totally rocking
out with intensity to the most
.mellow song ever was both
exquisite and splendid.
Although it's impossible to
not wish to have heard more
of Veda's songs that night,
or "My Favourite Chords"
from John K. Samson, the
overall performance was very
enjoyable with John, Christine
and Veda at their finest form as
a trio. Individually, they are able
to consistently create some
of the most beautiful music
and write some of the most
intelligent lyrics today, and
when the three come together,
whoever is lucky enough to be
able to listen can't help but be
impressed. Besides, leaving us
wanting more is probably the
best way to reel us in the next
time John and Christine head
back out West from Manitoba.
I'm hip. It's cool.
Kimberley Day
Rufus Wainwright
Joan As Police Woman
April 07
Commodore Ballroom
It's spring. Love is in the air.
That's why it must be the singer-
songwriter season. They're
coming out from hibernation,
ready to take on the jaded
world. Rufus Wainwright graced
the Commodore Ballroom
for 2 hours with his precious
presence.
Joan as Police Woman
opened for Wainwright and
they were a good match.
She introduced herself and
said that she doesn't look
like an officer because she
was undercover. The first
few songs were played on a
retro keyboard, and then she
switched to guitar. Her sidekick
on occasion was an upright
bass player. "Stagger into the
Light" was a Jeff Buckley-tinged
tune. Joan's displayed her sexy
side with numbers like "Sexy
High-rise". She was confident;
this was obvious from her shiny
belt buckle emblazoned with
her name as well as her warm
power-house vocals. She had
a jazzy style with good melodic
singer-songwriter capabilities.
Emily Khong
I was first introduced to the
music of Rufus Wainwright one
night back in the 90s when
Sloan hadn't yet released
Navy Blues and Loudon hadn't
yet played the zany dad on
television's Undeclared. Back
then, nobody really knew
Rufus Wainwright and though
the campus radio station
liked him enough to conduct
an interview, the crowd at
the Sloan show for which he
opened showed absolutely
no interest in his music at all.
Despite the rudeness of the
London, Ontario crowd that
night, Rufus played through all
of the heckling and finished his
set. His finest moment occurred
when he announced that
he would be playing his final
song-an announcement met
by cheers of relief from the
crowd—but then played that
final song for well over ten
minutes. Though the majority of
the crowd was not impressed
by Rufus, I, on the other hand,
was amazed by the beautiful
lyrics, music, and especially
vocals that he delivered. Best
of all, aside from one or two
songs accompanied by his
sister Martha, he played the
entire set alone, just Rufus
Wainwright, his voice, and a
guitar or a piano.
How things change. Six
years and two additional
albums later, Rufus Wainwright
packed the Commodore
despite high ticket prices
and played to hundreds of
cheering, adoring fans. Mind
you, the integrity of some of
the fans were questionable
at best; notably the girl in the
front who was giving the devil
horns, and that annoying jerk
who decided to sing the final
notes so loudly that it ruined
whatever buildup Rufus was
trying to achieve by protanging
the silence before singing
those final notes himself. And
really, smoking pot at a Rufus
Wainwright  show?   Right  on.
dudes. You're totally rad...
...yes.
As for the music, everything
was wonderful, and the
beautiful sound from the seven-
piece band almost dissipated
my longing to hear Rufus'
music stripped down to what
it was before the glamour. Still,
the highlight of the set were
the points where he would be
alone on stage, sitting at the
piano and performing songs
like "Foolish Love," or beginning
and ending the set alone at
the piano with beautiful French
songs. Sure, seeing all of the
band members return to the
stage in witch costumes for
the encore and "Oh What
A World" was cute, and the
multiple encores helped to
justify the high ticket prices,
but the moments of simplicity
were what truly made the
show. I think it's safe to say that
Rufus Wainwright's exponential
growth in popularity since that
little show so many years ago
is quite understandable; the
man knows how to please.
Those idiots from London are
probably eating their hats right
about now. .
Kimberley Day
The Vines/Jet
Neon
April 15
Commodore Ballroom
Fire up the barbie 'cause it's
time to throw some rock on the
grill. The last stop of the North
American leg of the Aussie
Invasion Tour was a sell-out at
the Commodore Ballroom and
third time was the charm for
the Vines.
I was late checking out the
start of the first act. Neon. Even
though they didn't quite get
the fire going, they had some
decent moody rock numbers.
They had some great drumming
and whipped out the heavy
bass lines. And boy, can the
singer howl. Things heated up
by the time The Living End hit
the stage. They brought their
weird brand of fast punk, jazz,
and hillbilly twang and got the
heads a bobbin', and the boys
walked off the stage with the
crowd shouting for more.
The curious had flocked to
the Commodore to see another
Aussie band currently crashing
the radio airwaves. Jet's live
show is this generation's version
of the AC/DC stadium rock
show. Lead singer/guitarist, Nic
Cester, was the flight attendant
for the evening, constantly
checking to see how the crowd
was doing. Shouts of "Are you
feeling good?" permeated
the room. -Cester yelled and
howled his way through the
opening strains of the crowd-
pleaser, "Cold Hard Bitch."
"Roll Over DJ" was a catchy
number complete with intense
drumming and an extended
jam at the end. The solo rhythm
of the tambourine made a cool
intro to "Are You Gonna Be My
Girl." The screaming vocals of
"123 Take My Hand and Come
With Me" were echoed by the
entire crowd.
The tough part to chew
was that the songs all started
to sound the same. There was
room to breathe when the
band switched gears and did
a ballad, "Look What You've
Done." tt was a shame that
the sound drowned out the
words. There was also the 60s
vibe in "Get What You Need"
that got the crowd doing an
awesome clap-along beat. The
boys finished things off in true
stadium show style, with a super
fast song, "Take It or Leave It",
with seizure-inducing flashing
lights.
The question of the night
was "Will he, or won't he?"
By now. Vines frontman Craig
Nicholls' onstage behaviour
has become infamous. It's
ironic that at one point of
the night, Nicholls asked the
crowd, "Have you got any
complaints?" The tracks of their
current album. Winning Days
sound wonderful live. One of
the best songs of the night was
"Autumn Shade II". Nicholls
began the song alone on stage
with an acoustic guitar, then
the rest of the band came
out to fill out the melody and
harmonies. It was impressive
to hear Nichnolls hold a high
note,. The band played one
new song, "Going Gone",
with a simple guitar and drum
arrangement. ISC ORDER,    MAY7 04
The Vines at the Commodore Ballroom
Photo by Joel Levy
Purists, don't fret, there
were still a lot of trademark
screams, yells, and nonsense
words aplenty in songs like
"Animal Machine." The chunky
guitar riff of "Ride" and the
crazy-laced "Get Free" got the
mosh pit moving. During "T.V.
Pro," the Aussie was unleashed;
Nicholls threw his guitar into the
mic stand, then used both to
violate the drumset. This mini
destructive session signalled
the end of the set. While the
roadies cleaned up, in true
Aussie fashion, the crowd
passed the time with calls of
"Aussie, Aussie, Oi, Oi, Oi!"
"Mary Jane" was an encore
gem, where the1 slow delivery
was spacey at best. During the
rolling drum beats of the last
song, Nicholls climbed on the
drum set, screamed "Fuck the
World!" and left the stage.
This time round. The Vines
played a solid show and
showed another side to their
stage presence. If these drums
could talk.
Em/7y Kliong
Man Meets Bear
Collapsing Opposites
The Rain and the Sidewalk
April 23
Pat's Pub
Do you enjoy a good buffet?
Well I do! There's something
about being able to
repeatedly fill my plate with
as many different foods as
possible until I am sick with
pleasure, combined with
paying a cheap all inclusive
base price that really gets me
going. I think that must be why
I particularly enjoyed this show.
My intense personal relationship
with the smorgasbord was
translated into a live musical
menagerie in this one-man-
band-stravaganza. First was
Man Meets Bear, a local
musician who can often be
spotted on Monday nights at
the Gallery. With his laptop,
electric guitar, melodica,
and microphone he told the
audience that for him this show
was like a 'hamburger essay',
and as he began, his thesis was
clearly one of righteousness.
Melody rich songs poured forth
from the stage, combined
with high pitch vocals and
electronic spinal chords, that
laid an interesting foundation
for the skillful guitar work to
dance over.
During the set, songs
became intricately linked
together in a sort of medley
that swung from genre to
genre. Everything from country-
esque, to dance beats, to
noise-rock guitar solos spewed
out from the speakers, and as
Man Meets Bear's set came to
a woeful conclusion, the other
two acts joined him onstage
to jam into the next musician's
set. This is how Collapsing
Opposites came to be
standing before me, otherwise
known as Ryan McCormick
of They Shoot Horses, Don't
They? fame. Armed with a
keyboard, saxophone, guitar,
and looping/effects pedal,
Ryan delighted the audience
with his earnest verbose lyrics,
and sweeping layered musical
backdrops. Storing guitar
riffs in his pedal, . and then
moving over to the keyboard,
Collapsing Opposites was able
to create a rich and heavy
sound. Pairing this with unique
nasal vocals that ramble on
about such things as Jesus,
being cool, buffalo, and
even Steven Malkmus, Ryan
was able to incorporate his
personality and his musical
talents to showcase a unique
musical experience.
During his last song, Man
Meets Bear, and The Rain and
the Sidewalk ran back on
stage, and again played us
into the next set. This brings us
to The Rain and the Sidewalk,
who commanded attention
straight away with the industrial
pre-fab beats emitting from
his electronica miscellaneous.
Along with his heavy bass
guitar riffs, and his buddy
accompanying him on the
turntables, he delivered
a sound that could be
classified as 'neo-new wave'.
I was excited, I felt like I was
listening to the cure, but with
worse hair. Although it was
an extremely entertaining
live show (complete with
a death sequence, and a
mysterious woman all dressed
in black), songs began to
sound a bit repetitive, or
maybe it was just their lyrical
focus on 'worthlessness' and
'unworthiness'.
Either way, for a night
down at Pat's Pub, the
audience more than got
its money's worth, and the
metaphorical buffet left me
feeling satisfied in a way that
only unzipping your jeans to
make way for the extra girth
can. My Prediction: The year
of the One Man Band.
Sofia Japan *
Go See These Shows, or Someone
from DiSCORDE?5Bfi#You:
Constantines
yl|||||ay 04
The Brickycir)c| j£g
(for serious this time)
My Morning Jacket
M. Ward
May 13
Commodore Ballroom
French Kicks
May 18
Media Club
The Shins
Fiery Furnaces
May 21
Commodore Ballroom
Decemberists
Long Winters
l^wtay^^^^
Richard's on Richards P4G30000014
REMBERED
BY STEPHAN NIKLEVA
I played guitar with Ray for twelve years. We must have
done 600 shows around the world and there was never
a boring show. Some of you may have heard Ray at the
Railway or Marine Clubs over the past few years when he
was spending more time in Vancouver.
Ray hated anything boring. There, was no middle ground
with Ray, it was fast or slow, up or down, black or white. Ray
lived life like he was still 20 years old, and maybe that's why
younger people could relate to Ray. Ray's hard-scrabble
upbringing gave him an edge that led him easily into punk.
As part of the local band The Secret Vs, Ray was in the punk
battleground and had his nose broken in Calgary with a two
by four, when being punk could mean fighting for your life.
Later, in the early 80's Ray heard The Herald Nix Band and
The Cramps. Both groups had a huge impact on Ray. It led
him to reach back to the country, hillbilly, and rockabilly
gold mine of songs that Ray was to spend the rest of his life
mining. Ray loved to find gems — great songs that were
buried, and bring them to life. Ray moved to Montreal and
morphed into Ray Condo & His Hardrock Goners in 1984. We
are fortunate that lots of footage exists from these exciting
years as his guitar player and drummer, the Sandmark
brothers, were both involved in film.
Ever since he first arrived in Vancouver in 1970, riding the
rails from his hometown in the Ottawa valley, Ray loved the
city. He enrolled at Emily Carr in the early 70s, pursuing his
interest in art and painting, a passion that stayed with him.
It's not surprising then that many of his friends and fellow
musicians like Jimmy Roy, Clive Jackson, Harold Nix, and
Regan O'Connor also shared this background.
The most-asked question I had at shows was "How old is
Ray?" Ray lived hard and it showed in his body and face,
even though his energy was youthful. In the end, though his
mind was ready to get back to touring, his body gave out.
He would have been 54 on May 16th. Ray packed a lot of
living in those years. .
Hey, he was no angel; he said what he thought and in the
process offended some people. He hated complacency
and could have a short fuse with those that didn't know their
musical history, or to those to whom life had been an easy
ride. Ray's early life had not been easy, growing up on the .
wrong side of the tracks. However, if you treated Ray with
respect, if you knew your music, then he could be a caring
and loyal friend.
Ray was a man on a mission. For over 20 years he played
variations on the Americana Songbook. Virtually ignored
by the mainstream music business, Ray was always
independent. He had moments of recognition;
like the time we played the Lincoln Center in
New York City, then did the Good Morning
America TV show. A hopped-up hillbilly J^>:-
number from his first Ricochet album was       jfr*^.
used in a Honda TV commercial in the
US and heard by millions, though
recognized by few. His constant
touring won him an
underground following
in every major
Canadian and
American
city.
He has left us with albums and CDs by his
two groups. Though they can't convey the
spontaneity, humour and sheer physical
energy of Ray on stage, they do provide us
with a large body of work to remember
him. Tribute shows are being planned in
various cities. May 16th wiH see a large
tribute show in LA at the legendary
Derby, the same club he had sold out
a couple months earlier, with similar
shows being planned in Toronto, and
Austin.
Check out www. raycondo.ca
website for updates.
1996 "Something I Said on A
(Skizmatic Records)
1996 "Jump Back, Honey, Jun A PARKIKSOK'S FUNDRAISER
BBw'XSI \
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MONDAY:
1 flew in a couple days before the official beginning of the
Music Festival. The actual festivities began a week earlier
with Film and Interactive Media sessions, but it gave me a
little time to play tourist, and plan my geek-like strategy to
attend as many shows as possible within the week. Surveying
the strip of clubs where most of the action would be taking
place, I quickly threw that plan out the window in favour of
seeing bands that I already knew but leaving room for a few
surprises. As 1 became more familiar with the surroundings, I
realized why Austin is the perfect place for an event of this
magnitude: clubs are literally within stumbling distance of
each other, and coupled with the fact that spring break
and NCAA fever was in the air, it felt more like a backyard
bash with about a million of your closest friends than a music
festival.
TUESDAY:
To give you an idea of whatjay ahead for me, three shows
loomed large this evening: Southern Culture On The Skids,
Sonic Youth and a four band rockstravaganza with a
reunited 9LB. Hammer, The Lazy Cowgirls, Zeke and High On
Fire. I opted for the last bill, more bang for the buck, I figured.
Well, I was right. The show was at Emo's, a club owner's
nightmare but a show-goer's dream. Two rooms, one inside,
one outside, with free reign to mosey back and forth, drink(s)
in hand, over-stimulating yourself to the point of no return.
What a difference a few years, a couple hundred buckets
of chicken and a trip to the Jack Daniels distillery makes.
9LB. Hammer gave the teething crowd a dose of Kentucky
trailer-trash rock and we ate it up, hook, chicken-bone and
sinker. Meanwhile in the atrium. High On Fire made ample
use of the Drop-D string in their Black Sabbath-meets-sludge-
core "songs", using the term loosely as it really became an
exercise in how long the band could hold one note until
everyone ran for cover with their ears bleeding profusely.
WEDNESDAY:
Was I prepared for four more nights of aural torture after the
previous night's noise-fest? You betcha! Two in the afternoon
and the streets were already teeming with bodies searching
for kicks by way of matinees and super-secret label parties.
One such matinee provided the first surprise of the day:
five local teens known as The Octopus Project supplied the
already sweating crowd with impressive disco-punk jams
all the while trading instruments between the group with
each song almost seamlessly. Nice use of a theremin, too,
as I knocked back the first taste of the local brew known as
Lone Star, a staple of this trip as it would keep me amped
for the remaining days. A mere half hour later, I was across
the stre.et watching Memphis gloom-cpuntry outfit Lucero
wail away at songs of dusty roads and dead-end jobs. As
the Austin winds whipped up and created a dusty road
out of there, I meandered up and down the "strip" and
eventually ended up at the Hard Rock Cafe to watch
surprise number two. With the Detroit music scene still a hot
topic on the lips of fans and foes alike, The Go have been
quietly undermining the seedy underbelly of Stooges-meets-
Velvet Underground drag'n'roll for some time, and being a
fan since '99 (their release Whatcha Doin' was the sleeper
hit for SubPop that year), I was stoked to see they were
kickin' out the jams before my very eyes. An extra-special
visit from Beatle Bob (imagine Nardwuar trapped in a sixties
time warp) and the show was over the top. However, the
night was still young, so I hightailed it back to Emo's for The
Bronx, an absolute trainwreck of early eighties hardcore and
rock and roll that turned the crowd into a virtual tornado
of bodies, particularly when they kicked into high gear with
an awesome version of The Saints' "Private Affair." Out of
breath, but not out of time, I capped the evening off with
one of my favourite bands from the mid-eighties garage
scene. The Cynics. As a long time fan FINALLY getting the '
opportunity to see them, I wasted no time in losing my shit. piSCQRDER.     MAY
dancing like a madman and singing every word. The smite
clearly etched on my face was still there the next morning
as I awoke.
THURSDAY:
The official SXSW Conference portion began today. Lest
ye be thinkin' this was all play and no work, well I attended
a bunch of workshops and trade show stops and got
the skinny on new CD burning technology, how campus
stations in the U.S. deal with those annoying phone calls
from label reps (I feel for you, Luke!) and hobnobbed
with label heads getting the latest discs for our little home
away from home, CiTR. Several keynote speeches were
peppered throughout the conference and the "speech"
(more of a Sunday gospel session, really) given by Little
Richard had me in stitches the entire time. Barely able to
get any questions off his notepad, the interviewer was at
the mercy of the "wop-bop-a-lula, a-wop-bam-boom"
million times before. Ah, the price of fame hey kids?
Thank god for The Demolition Doll Rods - nothing says "Hot
Damn!" like this trio of Motor City maniacs who know how to
get down and get dirty with their blues-punk stomp, treating
the afternoon crowd at the aptly named Beerland to a dose
of new material from ther upcoming Swami Records disc
set to drop this month. Margaret Doll Rod gave calisthenics
instructors a run for their money with her mind-boggling
body moves, but still played the guitar like it was her last
mission on Earth. A little later, The Fatal Flying Guilloteens
gave a lesson in how not to use a stage, as members of
this Houston art-punk damaged garage rock ensemble
took every opportunity to use the crowd as their platform,
even if it meant throwing some muscle in the name of
entertainment. Best band name of the festival goes to I Love
You, But I've Chosen Darkness and the name fit the group
perfectlyas they crafted songs of despair and loneliness to
the soundtrack of new-wave disco beats while Ian Curtis fans
icWw
Often forgetting where exactly the songs were going I think
was exactly what they had in mind as the audience was
treated to tracks old and new even after the plug was
offlcfqJty pulled and the crowds slowly faded away. A fitting
end to a warm and breezy Austin night.
FRIDAY:
It was only Friday, and! still had to find the strength to get
through the weekend. The locals, however, were just getting "
started! Af the Spin Magazine party, Swedish garage royalty
The Hives were In fine form, with tester Howfin* Pete delivering
some of the best lines of the 'fest. "Are you listening with
this ear, Austin?"(points to left ear) We respond: "Yeaah!
"Are you listening, with this ear? (points to right ear) Again
we respond: Yeaah!; "WeU I certainly hope not, 'cuz these
ears are miner" Between these comedic clips were some
great new songs that demonstrated their knack for hooks
and a love for Nuggets-era pop. Throw in nxrtehing silver
I'VE LOST ALL CAPACITY TO DISCERN ACTUAL NOTES, I HAVE NO EARS LEFT
of Richard's stories of yore and his incredible knack for
picking out people in the audience and mistaking them
for members of his band, all the white keeping-sunglasses
pasted to his perfectly coiffed head.
As I ventured out of the conference center and into the
next round of music showcases, I passed by members of The
Von Bondies being interviewed by the local "rock" station,
and as tempted as I was to sabotage the interview with
"How does feel to get your ass kicked?", I kept my mouth
shut and watched them very roboticly and matter-of-factly,
answer questions that they've probably been asked a
were crying on the inside. At the Birdman Records showcase.
The Modey Lemon cut a path of destruction with only a
guitar, drums and a couple of keyboards, but my god, what
a divine noisefThe blues never sounded so catastrophic.
Had to meltewout a little, so a nice way to do Just that
was to visit an outdoor performance from Brian Jonestown
Massacre. Ringleader Anton Newcombe was in fine form,
leading his circus through a mesmerizing set of spaced-out
jams, pulling members of the B-52's on stage to add to the
melange of psych-tinged tuneage, reminiscing on past drug
binges and singing the praises of Montreal's High Dials who
were also in attendance and supporters of The Massacre.
amplifiers and Colonel Sanders suits and you got the whole
package, friends. Fresh off a five-week tour of Europe, The
R'rverpoat Gamblers were eager to give their hometown fans
a welcome home party to prove that they are undoubtedly
one the best rock and roH bands going today. Packed IBce
sardines into a tiny sweltering club. The Gamblers and the
rabid fans were a time bomb waiting to explode, with singer
Mike Wiebe being the first to jettison himself off the stage and
not look back. If there was any memorable show from SXSW
that people are still talking about today, it was that show.
Back over at Beerland, The Triggers were puttin' the screws
to the complacent crowd at the Dirtnap Records show. This i WIVED SXSW!
PHOTOS    BY    ERIN    SLOBOGIAN
Portland, Oregon outfit is like The Germs reincarnated, but no
amount of searing punk action and audience baiting was
enough to get the crowd moving, except me. Final stop for
tonight was The Vue, from San Francisco, who much to my
surprise were sporting a new member in one Brian Teasley,
ex-Man...Or Astroman? drummer. He toned down his usual
Keith Moon-esque antics from his days in the sci-fi surf combo
for the primal boogie chillun of The Vue's repertoire, but
was no slouch in the backbeat department - he's one of
my favourite guys to watch. The rest of the group lurched,
crawled and leaped around the stage like they were
exorcising demons, and it flowed vicariously into the crowd,
providing me with the much needed energy to make it back
to the hotel for some much needed rest.
SATURDAY:
The last official day of SXSW was the one that had the
most going on in every conceivable way and much to my
chagrin, I had to make some pretty selective choices in
where I was headed. The Mistreaters made the choice to
entertain me early on with their primitive garage swagger
and by inciting the crowd to throw whatever was in their
hands at .them. So we replied by engulfing them in a
mountain of beers cans, some empty, some full, which
could have proved deadly in any other circumstance if only
for the singer's uncanny ability to dodge the malt missiles
Rounding out the festivities was The Reigning Sound, who
features in their ranks ex-Oblivians leader Greg Cartwright, so
you knew that when they ripped into "You Better Behave"(an
old fave from the Popular Favourites LP), the crowd went
ABSOLUTELY BANANAS dancing and yelling, the bench I was
standing on nearly buckled with all the bodies jumping up and
down. The Reigning Sound make rock and roll music to dance
to that crosses timeless boundaries and influences, from early
fifties country to seventies pub rock and beyond. The Oblivions
carried a cult following behind them that remains a mystery
to the band themselves, but hopefully they realize that the
legacy will continue with The Reigning Sound.
SUNDAY:
It ain't over 'til the fat lady sings as they say, but Les Baton
Rouge put a nice capper on the sparse Sunday afternoon
crowd at Beerland with a set of Nina Hagen influenced art-
punk that for some strange reason all became a wash of
sound after a few songs. Oh wait, it's because I'd lost all
capacity to discern actual notes, as I had NO EARS LEFT! But
there I stood dumb-founded, still able to see even more rock,
including the Danish garage punk combo The Defectors, and
two Texan groups The Ugly Beats and The John Spqrrow who
gave the Mod kids something to dance to, and along with a
handful of other smartly dressed attendees, I gleefully twisted
the night away, sufficiently tired enough at the end of it all to
while being dead drunk. "This song's for all the roadies who       miss my flight the next day! But what a week it was...
talk shit behind our back when we're on tour - you can
swing from my nutsack!" Such was the battle cry of Dillinger
4's bassist St. Paddy as the Minneapolis punker-than-punk
firestarter dropped trousers and launched into the song
"doublewhiskycokenoice" and tet the crowd get a good
view of said nutsack. With eyes sufficiently gouged out, I had
to rety on my other senses to guide me the rest of the way
through their full-throttle social commentary soundtrack. Ok,
so I lied about the eye-gouging bit, but believe me, not a
pretty sight, kids. Besides, I needed to see Jello Biafra in the
flesh in a vest of cow-flesh introducing the supersonic soul
sounds of Harold Ray Live In Concert!! They proceeded to
tear up the small stage (complete with tree growing right
out of it) with awesome renditions of Edwinn Starr and Rex
Garvin & the Might Cravers songs, to give you an idea of
where these cats are coming from. With my feet satisfied
and brain reeling, I hopped over to the In The Red Records
showcase for what in my opinion was, band for band the
best gig of the week. This label doesn't stop in its quest to
uncover some the best talent in the rock and roll world (The
Dirtbombs, Deadly Snakes and Cheater Slicks just for starters)
and tonight was no exception. When it seemed like each
group had its work cut out for them, they would rise to the
challenge and amaze us with the skills to pay the bills. Take
The Hunches, for example, who even before their set began,
saw their singer off in his own little world careening into
people and singing at the top of his lungs, and then creating
absolute chaos once the show began, rolling around a
stage littered with cigarette butts, stale beer, and God
knows what other foreign bacteria, with his band around
him holding steady like a ship on stormy seas, a maelstrom
of seething, primal energy that could not be contained.
Take the best elements of The Birthday Party and mash them
together with Blue Cheer's prog rock experiments, and you
get one of the more lethal bands to emerge from Portland. DISCORDER,    MAY'04
SUSY WEBB
I started writing about music during a low financial ebb in my life.
Recently graduated from UBC's English program (gag) and working
for slave wages as a tutor, I hadn't bought a record (or much else) in
months. When I found out that DiSCORDER lets you keep the CDs you
review, I jumped at the chance.
Of course, avarice wasn't my only motivation. Like many other
people, I've always been drawn to music, and it has served as an
inspiring and tempering influence throughout my life. Sonic Youth
were about the-only thing that got me through a hellish Abbotsfordian
adolescence, and since then music has consistently enriched my
existence, amplifying happy moods and dispelling sadness. As
someone who doesn't make music herself, I saw music journalism as
a chance to give something back. By helping to publicise local and
independent musicians, I was helping them increase their audiences,
and therefore, their chances of making a living by doing what they did
so well. I was doing something good, wasn't I?
As my sense of self-awareness as a writer increased, I learned that
music journalists are often seen as parasitic creatures by musicians.
References to "lazy" music writers abound, and plagiarism is
widespread. Most offensive of all is the self-important attitude some
music writers adopt. They pick apart art and creativity almost gleefully,,
placing themselves on par with the musicians themselves.
Such writers, of course, are in the minority, and my experiences
have been largely positive. A few endeavours, though, have been
more unsettling. Like the following interview, for example. In the
past. Blonde Redhead has done very little press, a fact that I found
- intimidating. Why was this? Considering how much we all love them,
it couldn't be for lack of journalist attention. It must be because they ||
don't like doing it. Before I spoke with Simone, Kazu told me that she k;
hated doing p'ress, that the entire band did, because "it is too difficult :
to speak about yourself."
Anyways, enough already. I already mentioned Sonic Youth, so that
should be enough to introduce Blonde Redhead. I met up with an
exhausted but still enchanting Amedeo Pace after sound-check at the
Commodore. I didn't have the heart to ask the average professional
journalist questions, and instead we talked about nature and animals.
DiSCORDER: I really like your shirt, the sailor suit is cool. [Amedeo Is
wearing this rad sailor suit with a sweater over top.]
Amedeo Pace: Thank you.
So you guys are pretty worn out today.
Yeah, we just drove from San Francisco, which is quite far, and we've
been working pretty hard. It hasn't been a long time, but I think the
beginning of the tour is always the hardest to get used to, all the
rhythms and stuff. We're a bit exhausted, and we have so much
stuff tomorrow and the next day.
Are you going straight back down to Seattle afterwards?
Yeah.
I'm very Interested In how all the members of your band are
expatriates; you all left your country of origin. You and your brother
moved to Montreal, then you left Canada to move to America. Why
did you choose to do that?
Mainly for music, for Simone and 1.1 felt like Montreal, it wasn't the right
place. I don't know why, it was very comfortable for us as kids. But
you know you just have a feeling that you need to be somewhere
else, that it would be for the best, and we just needed to go. It's
not like we felt we had discovered everything about the city or the
country but we just had the feeling that it would be a good thing to
be away, to be in New York City. And for Kazu, more than for music,
I think she just needed to leave Japan to figure things out.
That makes sense... Do you see yourself ever leaving New York?
Yeah. I miss nature, and I want to live where there's more nature. I'd
like to try and live a life that's a bit more human. New York can
be really stressful, even though it can be amazing and fun too, it's
crazy. It's hard to have a car, it's hard to have the basic things.
We keep getting kicked out of all our practice spaces, they get
renovated and bought and turned into places for rich people to
live. So it would be nice to have a house where nobody kicks you
out, and you can practice as you want.
Do you take holidays often, to visit more natural places?
Yeah, I do. I often go to Italy, my family's there. Me and Kazu ride
horses, so we take horses once a week. It's really cool to get away.
And then we do take holidays in between tours, which is maybe
not the best way to do it.
Why's that?
Well, then you have all this stuff with you, instruments and all that, but
sometimes it's the only way to do it.
Where do you prefer to go on holiday?
I love the mountains and I love the sea, but I think I love the
mountains the most. Usually I like to go in Italy to this little town right
underneath the Alps. It's the last stop before these huge mountains.
I like to go there.
It's very healthy as well, the air in high regions.
Yes, it's amazing. You start to look different, your hair looks different,
your skin looks different, you feel so much energy. You feel clean.
I've always wondered about that, because-1 feel that both the beach
and the mountains feel like the healthiest places.
Well,-here you have both.
We're.very lucky... What's your horse's name?
Oh, no, I don't own horses, I ride a few. My favourite one is Monty.
He has a lot of energy and he is young, but he has an amazing
personality. He's very affectionate and quick. He's really intelligent.
He anticipates your movements like he reads your mind. Most
horses do, just because your body is such a language for him, but
he... he just helps you out. I've had classeswith him, where I was
having a hard time doing a certain exercise, and he just helps me,
he does it for me.
Do you jump as well?
I do, a bit.
ITs very difficult, I used to ride horses as well when I was younger.
It's amazing isn't it?
Yes it is. So in reference to the music, where do you. see the main shift
with the new album from your previous work?
I want each album to be different, I think it's important. I notice
the difference when we play Sve, cause the songs have such a
different nature to them. It doesn't necessarily mean that the songs
are quieter or calmer, it has just a different feeling to it, and you
have to get used to it, you have to capture rLlthink the old songs
that we play, with this record I think that's the hardest thing. But as
far as a shift, people have different opinions on it. We came to a
point where we really did something that we wanted to do. And
maybe that couldn't happen before. We took our time more, spent
more money,we didn't hold back on certain things...
Thank you so much. I just have one more question: do you have any
pets at home?
One cat, named Toto.
What kind of cat tel?
A white and grey cat. We had him... My other cat my old cat... No,
i actually my room-mate's cat... I don't know why we had him, how .
do you say it... mmm... There was this cat in an aquarium store in
Brooklyn that was so cute, and she was a female. Once she was in
heat, so we asked the people from the aquarium store, if we could
take her and bring her home, because we had another cat, and
they could do their business, and we would take the kittens. So
we did, and it was kind of a crazy thing to do. because there's so
many cats in the world. But he's amazing. He's such a personalty.
It's hard to leave him when we go on tour. YVITTi HAD A DREAM, AMA THAI'S IXACTLY WHAT HAPPENED.
W5S SMITH
Carolyn Mark's new record, The Pros and Cons of
Collaboration, is a funny, feisty and ambitious collection of
songs that run the gamut stylistically and thematically. On
top of that, the woman is practically a lexicon of pop culture
goodness. I doubt you'll find mentions of Bob Odenkirk and
Tobey Keith on any other album this year. And since the
record kicks off in grand cinematic fashion with an overture,
I thought it only fitting to fly this interview to a more exotic
locale.       fililifpiiiil
EXT. ISLAND PLANTATION. DAY.
A chipper Navy nurse from Arkansas dines with a mysterious,
but charming Frenchman. Their attraction is palpable. He
wants their relationship to evolve, but she has questions that
need clearing up.
CAROLYN MARK: Who's Jakub Svoboda?
DISCORDER: Oh, call display. That's my room-mate. I just
moved into this house. It's weird, I haven't lived with three
other people in long time.
CAROLYN: It's like a sitcom!
DiSCORDER: It is a bit like a sitcom, we have wacky
adventures, and there's all kinds of crazy innuendos. Like I'll
be listening outside the kitchen, and they'll be talking about
stuffing a turkey...
CAROLYN: And you'll be, "Whoa!" Like Mr. Furte*K
DiSCORDER: Exactly, I'm totally the Mr.Furley of the house. It's
cause I wear the seventies leisure suits.
CAROLYN: Excellent. I hear they're making a comeback.
DiSCORDER: I hope so. So how's it goin'?
CAROLYN: Just fine. I got back last night after being away for
two months. It was really long, but good. It was all different
phases. I was playing by myself, then with Neko Case, then
with my band, with Neko again, with the Sadies...
DISCORDER: So it was a mad Ontario jaunt.
CAROLYN: And Chicago, and Tucson, and LA, and
Chicago, and Toronto, and Chicago again and Denver and
Albuquerque, ancfaif... over!
DiSCORDER: So are you hot in Chicago? You're playing there
a million times.
CAi<iQ%N: Well, Neko and the Sadies are making th^le
album, and I was doing some backup singinjff^;
DiSCORDER: Doing some tambourine action?
CAROLYN: I was like the warm-up clown for the show. Like
The Larry Sanders Show, the audience flutter.
EXT. NAVY BASE. NIGHT.
Her superiors have asked the patriotic nurse to discover
where the Frenchman's loyalties lie in this crazy mixed-up
war. She meets him again, unsure of her true feelings or his
true character.
DiSCORDER: So the album says these are your "new best
friends", is it all new people you're working with?
CAROLYN: Yeah, it's Ford Pier, Gregory Mcdonald, Leona
Dawfes,Tolan McNeil...
DiSCORDER: And you had a good time making it?
CAROLYN: Yeah, for once, yes.
DiSCORDER: The other times have been difficult?
CAROLYN: Well, I usually loathe recording, cause when
people are trying to be their best, they're at their worst, you
know?
DiSCORDER: I do know, [thinking of his friends valiantly struggling
in La Resistance./
CAROLYN: But this time we were organized.
DISCORDER: In a studio?
CAROLYN: bra house. We had chefs, and we had outfits, and
it was a lot of fun.
DiSCORDER: How long?
CAROLYN: Two weeks for recording, then mixing and
whatnot.
DiSCORDER: That's pretty great. I've been trying to make a
record with my band, and working around everybody's day
jobs...
CAROLYN: Yeah, well, I paid them. So no one's running off, or
going to their girlfriend's. It was like... camp.
EXT. PLANTATION COURTYARD. NIGHT.
The Frenchman has turned down the Navy's request for
his help on a secret mission. He wont risk a future with the
woman he loves. There are, however, still matters of his past
that must be addressed.
DiSCORDER: So the record. The overture right off the top, it's'
very cinematic.
CAROLYN: I've always wanted to have an overture. I was at
the Narrator's house and we were stoned watching South
Pacific, and I safaV^Ots I want an overture!" and then I
remembered somehow, and then, Gregory, the drummer
made me do it. He kept at me. Then 'The Pauls" would be in
the other room pretending not to notice, then piping up with
Jftefc ideas, so they had a huge hand in the arrangement of
it, the linking up.
DiSCORDER: Yeah, I would think that that would be difficult.
CAROLYN: That's why I have a team of experts.
DiSCORDER: We should all be so lucky. I could use one with
me at ail times.
CAROLYN: A panel. You just turn to the panel.
DISCORDER: And they just go with you everywhere. Like DISCORDER,    MAY'04
m^09/BI^S^§BSiUB) ISLAND. DAY. -   '
jpvrie Frenchman, stone-cold rejected by Little Miss Little
«^f1^K, took on the mission asked of him by the righteous
Americans. Now she pines for him, and he for her, while
hoping he doesn't end up dead or in a Japanese prison
camp. Which would suck.
DiSCORDER: A couple of the songs, "CtKniraf ana^Ceroy" and
"Yanksgiving" seem almost like joumarenfries. *-■•*
CAROj^NJ^^^W^^^^^W^^^^^^^pfefeo^^.*
the events nappened e^^tJytika^tieJ i alan't try to pretty it
■"■'_   up, I ju'sTwrate it a^wrvoi#RqppejhedS;.*■*
opening. I bought Tolan a ticket to see^^^r^j^e and Thin
Lizzy for Christmas once. And^^^^^1
eaHF^A^ATiQf^Wiir^ib.'DAi^ -/;
e rriisslan was a success, despite fhe death of that
^^pf^^nprllK^Kivar-torn lovers are reunited on his
^Colonialist plantation; where they can treat their sen/ants
almost like people, where the Frenchman's mixed children
can grow up outcasts from two different societies, where the
'yellow menace" can eventually be nuclear-bombed info
submission and where, of course, they can live happily ever
after.
DiSCORDER: How do your friends feel about their sexual
escapades being glorified in song?
CAROLYN: Weil... Chantal and Leroyjust broke up. I've only
spoken to Leroy, Chahtal's in Mexico.
DiSCORDER: And at the end of the record, you have narrated
Credits. Is that just for fhe promo copy, or-
CAROLYN: No it's part of the record. If you have an overture^
to start, you have to have creditstojtaJsJbytg-yssi^^
DiSCORDER: Maybe that's for the best. ._____^tmtlmmm\
CAROLYN: BuMfs u good document ^Mq^f^l^lv#v^ie^rir*
together.
§f£p|$tDER: I guessTrra good way to give, everyone their
PipIIor the people who dont read liner notes.
CAROLYN: Some people don't read liner notes.
PPppDER: So they will never listen to that song, it will be
permanently on "Skip".
CAROLYN: Well, they actually came to visit at Christmas,
DISCORDER: Which is a shame really. I mean, what's the first
thing you do when you buy a new record?
CAROLYN: I smell it. I smell the ink.
'How do I manage to ride this bus without people talking to
me?" And then you'd have a panel of people to deflect the
crazies away from you.
CAROLYN: Exactly!
EXT. NAVY BASE. DAY
rhe plucky, though unfortunately xenophobic, nurse cant
come to terms with the Frenchman's past life with an island
girt. She ploughs on with a musical revue to improve the
morale of the salty sailors. Frenchie returns with flowers and
one last bid for her love.
DiSCORDER: You did that Altman Nashville record, right?
With all the film and pop culture references on the record,
you must be a huge movie nerd.
CAROLYN: I love movies.
DiSCORDER: Do you draw inspiration from them for your own
writing?
CAROLYN: I think so. It's probably a lazy way for everyone to
get the same picture: 'You know that movie..."
DiSCORDER: No, I dont think it's lazy. You can look at
Shakespeare and it's peppered with all kinds of references
lo Greek and Roman mythology, because that's what
everybody knew then. You can throw out the references
you want on your record and people of your tribe will get it.
Like the Waylon & Willie bit from "Chantal and Leroy." Oddly
enough, your disc was slotted right next to Waylon & Willie in
my player.
CAROLYN: No way! The one with the tooled leather cover?
Awesome. 1111111
DiSCORDER: 'Take back the wh-"
CAROLYN: 'Take back the whiskey, take back the cocaine,
baby..." I love that song.
we had just finished recording, and we were like, "Come to
the basement and hear your song!" And they were like, "Uh, •
nah..." They didn't want to hear it.
DiSCORDER: When the song is factual, based on something
real, do you ever worry about the people who were the
inspiration for it hearing the song and thinking, "Hmm..."
CAROLYN; I think that, most people, if they were reading a
book by someone they knew, they would look for their name.
I think they'd be glad to be there, rather than, "I've know you
for ten years and you never mentioned me!" / would fike it.
DiSCORDER: I always perversely enjoy that idea. "Hey, if you
have to ask me if it's you in the song, that should tell you
something in the first place."
CAROLYN: Or you could lie: "Oh, get over yourself."
DiSCORDER: Yeah, "You wish it was about you!"
CAROLYN: "You're so vain, ha-ha... you probably think this song
is about you."
DiSCORDER: That's right. "Leave me alone, Warren Beatty."
CAROLYN: And the Vincent Gallo song was like that too.
Yvette had a dream, and that's exactly what happened.
' DiSCORDER: So It's not your dream? You're not personally
obsessed in any way with Vincent Gallo?
CAROLYN: Well, I think he's hot.
DiSCORDER: I find him a bit creepy, really.
CAROLYN: He is a bit creepy.
DISCORDER: Actually. I wanted to ask you about that song.
There's a brilliant segue at the end into an epic Thin Lizzy
double lead guitar solo.
CAROLYN: Ah, Tolan... Tolan, Tolan, he loves the double solo.
And since it was like a dream sequence, anything could
happen, so... double harmony solo! iflsUke a parachute
DiSCORDER: You smell it? 'Cause I have to crack it open
and read the booklet, and it always pisses me off when
-there's just pictures. Gimme the lyrics, dammit! Anything
else you want to tell the good DiSCORDER readers about
the record, any magic that they should know about?
CAROLYN: Well, it's kind of flukey, but you know how Pink
Floyd's Dark Side Of The Moon matches up perfectly to
Wizard of Oz? Well, for some reason, this record matches
up perfectly to 'Turner and Hooch".
DiSCORDER: Was that planned?
CAROLYN: No, it was a fluke!
DISCORDER: I'm not sure I believe you. You cant have it
that perfect with the Tom Hanks and the drool... I'm going to
have to go back to the album and listen for clues.
CAROLYN: I gotta go to the bank.
DiSCORDER: You gotta go to the bank?
CAROLYN: Yeah, they're gonna turn off my hydro if I don't
pay up.
Oh yeah, in the middle of aU this was a lot of singing and dancing,
and weird lighting effects. If any of this has been lost on you, please
consult either ihe UBC drama or film studies department. Carolyn
and her New Best Friends will be at Richard's on Richards May 14.
It's certain to be an enchanted evening. THE
ORGAN
Yoga and Tofu: You know you're a
Vancouver band when ...
BY FLAVIA
One of the most popular indie rock bands in Vancouver,
from Vancouver, The Organ is an elusive group. Since the
largely successful release of their Sinking Hearts EP in 2002,
their sound has attracted a lot of attention. Reminiscent of
the Smiths, The Organ's songs play light and dark at the same
time, drawing you in with sweet melody and simple chords
on the organ, and then smothering you with steady bass
and emotional vocals. This appealing balance of elements
helped to sell out Metric's recent show at Richard's on
Richards (The Organ opened). For a band that hasn't played
a gig in four months, and before that, a year, that is an
impressive feat. But now The Organ faces new challenges:
they signed with Mint/604 Records and have recently finished
a long and drawn-out recording process to produce the LP
Grab That Gun, which will be released in late May. After that,
the girls will go on a cross-Canada tour during the summer;
ail of which must be coordinated between school, work, and
side projects of Shelby, Katie, Jenny, Deb, and Ashley.
I caught up with the five ladies at The Foundation for
dinner and talk of recording, re-recording, and hot yoga.
Discorder: I'm so hungry... what should I eat?
Ashley: Oh dude, I eat here all the time, I love it. Two words:
molten, tofu.
Uh, OK. Is it good?
Ashley: Just order it, I swear.
So. The new album. Recording... good times? When was this
done? How did it go? Did we have .a nice time doing it?
Shelby: This is the question, man, this is the fucking question.
Ashley: Yeah.
Katie: Obviously this is the question we're gonna have to
learn to answer.[pauses to reflect] Uh, no, we didn't have
a good time doing it.
No?
Katie: Because we did it... and it took a really long time.
And... we did it twice.
You recorded the album twice?
Katie: Recording an album is really tedious anyways, but
doing it twice is... uh...
Double tedious?
Katle:Yeah! Double tedious...and on top of that, we rerecorded some of the songs from the EP [Sinking Hearts], so
in a way it was really like, three times.
photo by Andrew Topham
Shelby: I don't think it's fun ever recording an album.
Ashley, Deb, Katie: Why?!
Shelby: Well, I don't have great memories, of great times... 1
never had a blast.
Ashley: Oh, we had a good time at the Warehouse, you
know, when we were watching TV.
Jenny [laughing]: Oh yeah! That was great! Yeah, it was
awesome.
Shelby: Yeah, going drinking...
Jenny: And to the Columbia and then running back to
record your part! That was awesome! DISCORDER,    MAY1
3HT
04
How long did it take?
MA05IO
Shelby: It just didn't turn out, and there was no way we
Katie: The album should have been out almost a year ago.
were gonna release it so, whatever...We just couldn't
So it's really hard to say.how long it takes because we did
do it. It was somebody else's vision, and 1 don't mean
it twice, and we did it in little bits and pieces... we didn't
to blame them or anything like that. They were doing
do it all in one sitting.
something they thought was good for us and it just
Shelby: And we had pauses in between it, too. Before school
wasn't us in the end. It's too bad it didn't work out.
and after school, around work. See, we finished it last
Katie: To me it didn't sound like what 1 thought our band
summer, but we just weren't happy. We weren't happy
sounded like. It sounded like a girl band doing covers of
with the way it turned out. It just wasn't what we wanted.
us. It wasn't right.
So we just re-did the whole thing. And now we're very
happy. We're all stoked on the new album.
OK. Are you guys doing something else in terms of projects
Jenny: Now we're happy even though it was really painful
on your own, or with other people?
and very tedious.
Katie: Well, there's really no time. We all work and go to
Katie: Yeah, it was totally worth it. You had to remind yourself
school and stuff... that's a major challenge. But we're
that it was going to be worth it.
recording another seven-inch, with a label in Seattle.
Shelby: Like, regularly.
Jenny: Can 1 mention my art project?
[laughing] That sounds pretty bad. But now it's done. 1 know
Of course.
you're planning on going on tour to support this album.
Jenny: It's an art show, called Parliament of Owls, and
How 'bout you tell me a bit about that?
it's on June 12*. It's gonna be great. I'm doing it with a
Katie: We're touring Canada throughout all of June.
group of friends... but it's opening while we're on tour.
Shelby: Yeah, art, school, work, Bikram's every now and
All over Canada?
then.
Katie: 1 think as far east as Montreal... we might go more
east in the fall.
Oh dude! Lef s talk about yoga...1 just came from there, it
was great.
And into the States at all?
Shelby: Oh really? Who was your teacher?
Ashley: Eventually, but not on this tour.
Uh, Danny.
How is your fan base in the US?
Shelby: Yeah, he's good. He's my favourite.
Shelby: Well, it's hard to say... we hear from them
Katie: Who? The owner guy?
sometimes, through our website. That's always cool.
Shelby: Yeah, he kicks your ass, he's awesome.
Katie: You know, fans have really stuck by us, even though
Ashley: We're all doing yoga, 1 love that shit.
they've had to wait a Long time for the next album. And
we do get a lot of feedback through emails, from all over
How did you guys get into it?
North America, in the States, yeah. And it's quite often
Katie: Well, 1 know it's not particularly indie rock to do yoga.
word-of-mouth. Like, a friend saw us play somewhere and
but it is helping our mental state.
passes it on.
Shelby: We live right up the street from it and decided to try
it out one day. We were partying so much and just not
What kind of a musicians support base do you have in
keeping on top of... our game, 1 guess. We really weren't
Vancouver? How close are you to other people in music.
taking care of ourselves.
girls and guys? Jenny 1 know your affiliation with the
Katie: Mentally or physically.
Ewoks, but otherwise, are you guys really tight and do you
Shelby: So we went and now we're stuck on it, we're
support each other?
all hooked. It's been a couple of months. It's super-
Katie: Well, our friend Szofi [of the Ewoks] is coming on tour
addictive and it realty helps us relax. We were getting
with us, she's going to be our tour manager.
really wound up about everything, recording, working.
Shelby: Yeah, it'll be interesting.
everything, and it became a bit too much. This helped us
Katie: We're really tight with Radio Berlin. Jerk With A Bomb,  •
get back to normal, whatever that is.
a lot of bands.
Katie: Yeah and now we're ready to devote more time to
Jenny: 1 think it's just a matter of identifying with people in
this, the new album and the tour and everything. 1 think
Vancouver that play music.
it's gonna be good.
Katie: Um, I'm just thinking now about how 1 want to word
that album question...
About recording the album?
Katie: Yeah, 1 don't want to hurt anyone's feelings. Uh...
hmmm... we did it twice for a reason, so...
Grab That Gun is out May 25 on Mint Records. TH»
P*
BY SUSYKAT
IN 1927, A YOUNG GENIUS IN THE
USSR INVENTED THE FIRST ELECTRONIC
INSTRUMENT. HE GAYE MUSIC LESSONS
TO LENIN AND MARRIED A PRIMA
BALLERINA FROM THE AMERICAN
NEGRO BALLET. THEN, IN 1938, HE
DISAPPEARED WITHOUT A TRACE...
The story of the theremin is a tale of artistic endeavor, and a
parable of Russia's failed communist experiment. It's a story
of events that could only have happened in the 20th century,
and of an invention that helped determine the future of
music. In the life of Leon Theremin, sheer genius, cold war
politics, and the weird world of pop music intersected to
create a history at once fascinating and tragic.
TERMAN S INVENTION
Forget Kraftwerk. Electronic music started way before those
sBy Germans made knob-twiddling cool. Lev Sergevitch
Terman, a.k.a. Leon Theremin, was born in St. Petersburg
in 1896. A student of Physics and Astronomy, as well as
the cello, he was only 21 when he created his trademark
instrument in 1917. The young inventor was building a radio
when he noticed that the radio tubes produced a weird
wailing sound whenever a
conductive object - like a
piece of metal, or a part of
the human body - came
near them (this was due to
a magnetic field created
around the radio tubes).
Instead of viewing this as a
problem to be fixed, Terman
saw it as an opportunity
to create a truly unique
musical instrument - the
"Aetherphone" or Theremin.
THEREMIN: WTF?
You may have seen any number of
contemporary musicians playing the
theremin. Vancouver's Girl Nobody and
Seattle's the Turn-Ons both use the instrument, as
do Add N to (X) and Goldfrapp (Allison Goldfrapp
got slightly explicit with hers at her last show at the
Commodore in August 2003, sticking it between her legs and
driving Kat's boyfriend into a frenzy ol desire). The give-away -
that someone is playing the theremin is the unmistakable
sound - an eerie wailing - and the way it's played. The
player's hands move around the instrument (without
touching it!) creating subtle changes in the surrounding
magnetic field, which then produce that signature sound.
For the uninitiated, a theremin performance can be
confusing. Kat experienced much confusion at her first
theremin gig, thinking that the player was making that
strange, haunting noise with his voice while explicably
standing behind a big metal box. Read on, DiSCORDER
reader, and you will never have to suffer the depths of
humiliation Kat went through that evening.
The original Theremin used a foot pedal to control volume
and a switch mechanism to alter pitch. By 1920, the
instalment had evolved into its modern shape, consisting of.
° asmaH four-legged box with two antennas, The thereminist
commands a range of five octaves, using the right hand to
modulate pitch by moving toward the vertical antenna. The
left hand moves only minutely- next to the second antenna, a
round loop, which controls volume and articulates the sound.
CiTR VS. RUSSIA!
The early twentieth century was a craaaaazy time for
technological innovation. The-radio as we know it today was
still a work in progress, and by 1910 thousands of amateur
broadcasters were building crystal sets with whatever
materials they could scrounge up. Their lust for kicks left
public telephone booths gutted all over Europe and the US.
In fact, most of CiTR's equipment was constructed by these
early enthusiasts. People were simultaneously enthralled and
freaked out by the rapid advances in technology.
Russia was at the forefront of this revolution. The Soviet
authorities took central control of radio broadcasting and
technology, and for once a government-pioneered project
turned out pretty damn well. By 1922 Moscow had the most
powerful radio broadcasting station in the world. It was into
this hotbed of creativity that Terman found his way as an
inventor. ■
WHEN LENIN LOVES YOU, THE WHOLE WORLD LOVES YOU
Terman demonstrated his invention at the Moscow Industrial
Fair in 1921. Lenin witnessed the demonstration, and was so
impressed that he requested private lessons. Apparently, he
wasn't bad at it. Lenin believed that electronic innovation
would be a cornerstone of a successful Communist
Russia. Seeing the theremin's potential to advarfce his
nation's electronics industry and global artistic profile, he
commissioned 600 models to be built and toured around the
Soviet Union.
In 1924 the famed Russian composer Paschtschenko wrote
an orchestral piece for the theremin, and by 1927 Terman
had expanded his touring route to encompass the entire
European continent. He was so successful that he added a
.visit to the United States later in the year. During the summer
of 1928 the theremin made an ambitious debut on the
American concert stage with the New York Philharmonic.
Terman received a US patent for his instrument. And during
the same year, he emigrated from Russia to the United States
permanently. That was his intent, at least. DISC O RD ER,    MAY'04
COMING TO AMERICA
- Like so many artists, Terman
settled in New York City. There
he set up a salon, catering
to high society patrons of the
arts, who supported him and
his extensive experiments.
Terman's studio was science
fiction come to life, fitted out
with a variety of electronic
audio devices. There were
many gadgets, gizmos, and
even some doohickeys,
including lighting shows, an
electronic dance platform,
and a prototype colour
television system. Colour TV
in 19281! We may hate it now,
.but back then it would have
been pretty sweet.
It was around this time that Terman
met a 17 year old ingenue named
Clara Rockmore. A Russian expatriate and classical violinist,
Rockmore was present at the Theremin's American debut
in the Plaza Hotel. The doe-eyed beauty was*fascinated
by the instrument instantly, and became Terman's student
and protege. She had little patience for those who saw the
theremin as a toy or mere novelty item, and developed
an as-yet unparalleled skill on the instrument: The epitome
of '20s glam, Rockmore's good looks, queenly manner,
and skillful playing advanced the theremin's profile
throughout the US and Europe. Playing the music of classical
composers, Rockmore performed over a hundred concerts
with major symphony orchestras.
In September of 1929, Terman granted the Radio
Corporation of America (RCA) a license to build and
distribute the "Thereminovox." RCA marketed their new
venture somewhat deceptively, proclaiming that "anyone
who could hum a tune could play one." In fact, the
theremin's lack of keys or frets makes it one of the most
difficult instruments to play. Thereminovoxes were largely
sold by mail order, rather than through music stores that
might have offered lessons. To make the situation even
worse, the dawn of the Great Depression was not the best
time for novelty music items, and only a few hundred were
sold during the thirties.
The commercial failure of the Therminovox did not deter
its inventor. During this time Terman worked on a myriad
of projects, among them the Theremin-cello and the
Rhythmicon. He collaborated with many great artists and
inventors, among them composer Joseph Schillinger and
Drawings by Elle James
physicist (and classical violinist) Albert Einstein. Always
interested in security, he worked on the first burglar alarms,
and wired the walls of Sing Sing prison to prevent escapes.
One of his pet projects was an electronic dance platform,
which made music based on the movement of the entire
body. Terman was captivated by the idea of ballerinas
dancing across a magnetized floor, creating music out of
nowhere with the graceful motions of their limbs.
LOVE, SWEET (INTERRACIAL) LOVE...
It was while working with the American Negro Ballet that he
met and fell in love with prima ballerina Lavinia Williams. Not
much information is known about Wiidms, The few surviving
photos of her depict a stunning, statuesque woman, scantily
clad in various teeny4iny dance costumes. Disregarding
widespread condemnation, the eccentric Russian genius
and the dancer married. This interracial romance was highly
scandalous, and the couple found themselves ostracized
by many previous friends and associates. Despite it all, they
stayed together. When their relationship was severed, it was
not by choice.
TERROR IN SIBERIA!
One day in 1938, an extremely distraught Williams reported
that a group of Russian men had entered their apartment
and forcibly removed her husband. Leon Terman was
bundled into a car and taken away, and his wife never
saw him again. For years, his friends corresponded with the
American police and diplomatic forces, but to no avail.
It would be thirty years before the Western world found out
what had happened to the inventor. In 1967 a journalist
from the New York Times spotted Terman in Moscow, spoke
with him, and wrote an article about what he learned.
Kidnapped by the NGVD (forerunners of the KGB), Terman
was brought back to Russia where the Stalinist authorities
accused him of disseminating anti-Soviet propaganda.
False reports of his execution were circulated in the West
while Terman was imprisoned at Magadan, a Siberian
labour camp. There he was forced to work on Soviet security
projects, and invented the first "bug," a miniature listening
device used for spying on Sovie»t citizens. Terman supervised
it's installation in the American Embassy and Stalin's private
apartments, and for his work was awarded Russia's highest
honour, the Stalin Prize.    -
After his "rehabilitation," Terman took a teaching position
at the University of Moscow. There he was a favorite of
the students, and continued to experiment with electronic
instruments. Tragically, when the New York Times article
made its way back to Russia, Terman was fired. He was
forced to watch while his instruments were destroyed. The
Soviet ideology of the time decreed that modern music was
bourgeois, and Terman was reportedly told "electricity should
be reserved for executing traitors." He took various technical
jobs until he died in 1993.
POP GOES THE THEREMIN
While Terman was suffering at the hands of the Stalihist
government, the theremin was becoming more well-known
in the United States. Clara Rockmore toured extensively,
playing the music of classical composers, often joined by
large symphony orchestras. But the most common use
of the instrument was in science fiction and horror movie
soundtracks. The eerie sound of the theremin is ubiquitous in
horror films of this period, such as The Day the Earth Stood Still.
Bob Moog, influential creator of the Moog synthesizer,4JotWs
start with electronic engineering when he built thereminsln
high-school, and later manufactured them as part of a home
business.
The Beach Boys made the instrument truly famous when
they used it in "Good Vibrations". More recently, the Pixies
featured the theremin in "Velouria," and the John Spencer
Blues Explosion, used it throughout 2002's Plastic Fang. The
incredible "mention that Clara Rockmore and Leon Terman
envisioned as the next great instrument of classical music
entered the world of pop music and emerged as a different
thing entirely.
The theremin is a strange instrument, and the story of its
creator is fittingly odd. It is a story of dreams gone awry,
the story of a vision distorted by the powerful outside
influences of its time. It is a story firmly rooted in the politics,
entertainment trends, and technological explosions of the
last century—fascinating. It also has spies, forbidden love and
scantily-clad dancers! And what's better than that?
For more information on the Theremin, watch the
documentary Theremin: An Electronic Odyssey, available at
your local indie video store.
Don't say we didn't warn you: it's sad. IMMACULATE MACHINE
MELANIE COVEY
Brooke Gallupe and Kathryn Calder are a bit sleepy early
on a Sunday afternoon when we meet at a cafe on
Commercial Drive. Their tiredness is understandable: after
playing a show at The Main the night before, they stayed
up even later to watch Ghost World. Gallupe and Calder
make up two parts of the three-piece Victoria unit known
as Immaculate Machine, whose new-wave songwriting
sensibilities and youthful exuberance might just be taking
them places. With the upcoming release of their full-length
CD Transporter, a tour, and cross-country move to follow,
they are a band with a plan.
DiSCORDER: Tell me your names and what instruments you
play.
Kathryn Calder: Kathryn Calder, I plqy keyboards and voice-
bass on the left hand, and keyboard on the right hand.
Double-duty.
Brooke Gallupe: Brooke Gallupe, guitar and voice. The
absent member is Luke Kozlowski, drummer.
Do you use any sampling off the keyboard or anything like
that?
Kathryn: No sampling, it's all live.
Brooke: We went to see Blonde Redhead on Friday, and I
was kind of disappointed by how much they do sample. 1
was watching them, they were all kind of cksneing, and the
whole song was playing and I was like: "Wait a minute!"
How long have you guys played in this band together?
Brooke: About a year and half.
Did you play in other bands in Victoria — did you guys grow
up there?
Brooke: Yeah. We're all from Victoria, born and grown.
Nothing really significant before, but tons of other bands.
So what's the meaning of the name? Where did that come
from?
Brooke: It's from a Paul Simon song. There's a line that says
'moves like God's immaculate machine.' And it sounds kind
of nice. I think it's supposed to be ironic about human beings.
Brooke: Yeah, it kind of represents that for me at least. It's
ironic calling humans flawless.
To draw comparisons to some bands — I mentioned The Cure
to you. Hot Hot Heat — you said maybe that's a Victoria
thing. I think it's partly the keyboard, and [Brooke's] singing
style. Les Savy Fav—it's a little dancey, and you had a song
with a crazy, racing Latin beat. There was quite a variety of
sounds. Maybe the one Kathryn was singing reminded me
of Belle and Sebastian, because it was a little quieter.
Kathryn: And there's the duet.
The Rapture — that was the other one. Your drummer sings, so
the harmonies change depending on who's singing.
Brooke: We've got that pretty light, alternative, melodic
happy sound.
Light in mood?
Kathryn: Not necessarily.
Brooke: Vocal-oriented pop songs. Usually with slightly
alternative structures. They don't quite fit the pop formula.
And they're played with enough energy that it's not too
light, summertime pop stuff.
Right. Because you guys are serious.
Brooke: Yeah, we're really serious.
Kathryn: But we like to make people dance.
Brooke: We're very serious about making people dance.
Kathryn: We do have a lot of slow, moodier songs. It really just
depends on the mood we're in.
Brooke: I like playing the faster songs, it's nice.
Kathryn: I do too. Because we have had a lot of slower songs
in the past.
Brooke: Because we're very serious.
You don't want to alienate the people that are thereto dance
by having all really slow songs.
Kathryn: We've found that the people who like the dance
songs like [to have] a break as well. You play slower songs
and they're listening to the songs.
Brooke: Yes. We've done market research.
Kathryn: You can tell from the crowd's reaction that people
do like to hear the slower songs because otherwise they just
tune out and start dancing without listening.
Brooke: Our album is about of half and half, more mellow
and more heavy drums.
Do you guys do other stuff creatively, like visual art? I noticed
you all go to UVic as well.
Brooke: Luke does creative writing there. I do French
Literature [and a French new music show on CFUV called
Pardon My French]... Kathryn does whatever the hell she
wants.
Kathryn: [Laughs] I do whatever the hell I want.
So you guys are going on tour?
Kathryn: In May.
Brooke: The whole tour is kind of a CD release.
Kathryn: We're going to go across to Toronto, and then I think
we're going to get an apartment there and hang out there
for 6 months or so, as a home base kind of, and do tours. It's
just so much more central.
Where did you guys do your recording? Who did you record
with?
Kathryn: We recorded with Scott Henderson at S.O.S Studios.
Brooke: Sea of Shit. I think he recorded the Buttless Chaps'
jast record, and he has worked with Carolyn Mark. He's sort
of like an old scenester. He's got this"terrific, and terrifically
dingy, studio that we spent two weeks in. Mixing took a long
time. We did an EP before [with him]. It's called The View.
What would you say has been the highlight of the past year
and a half of being in this band?
Kathryn: I would say the summer tour was definitely the
highlight. We had a really good time, met a bunch of really
great people, good bands.
Brooke: We had a VW van with a pop-up top so we could aU
sleep in it. We borrowed it from my parents.
Kathryn: We were totally set up, it had a stove, a fridge. We
ended up not having to spend any money on hotels, and
we bought-food at the grocery store and cooked it.
And you found places to park easily enough?
Kathryn: Side of the road.
Brooke: Illegal sometimes. One night we drove all night, and
we just parked on the side of the highway. And we woke up
overlooking Lake Okanagan — it was so blue, and the sun
was shining and there was a giant apricot tree right beside
where we parked. So we just got out and ate apricots.
Kathryn: It was so nice! [makes sound of an angel singing.]
Brooke: It was part fun camping and part seeing a lot of
other cities, meeting other people and playing good shows.
How long were you away?
Brooke: Five weeks. So it-will be longer this time.
What do you do for work?
Brooke: I tutor high-school students mostly.
Kathryn: And I look after little kids.
Brooke: We're looking out for the kids!
Immaculate Machine plays at The Second Story in Victoria
on Saturday. May 1st, and on "Way Out Wednesday" May
5,h in Vancouver at the Railway Club with Jim Guthrie, Kids
These Days and Nathan Lawr. If you're can't dance you
can still look at their website, which can be found at
www.immaculatemachine.com DISCORDER,    MAY'04
to>en cJLald
One of the catchiest songs performed during last year's SHiNDiG
(fellow DiSCORDER writer Chris-A-Riffic would agree with me on this)
was Elizabeth's tune called "War Is Beautiful". It has one of those hooks
that you just can't get out of your head after hearing it. Impressing
many with their high-energy live performances, Elizabeth went on to
finish third at the event. That's a pretty good run for a bunch of friends
who had only started playing together a year ago.
Elizabeth hails from Vancouver and consists of Reggie Gill (Guitar/
Vocals), Paul Gill (Drums), Dean Hargreaves (Bass/Programming/
Keyboards), and Davor Katnic (guitar/percussion). I chatted with
Reggie and Paul about their recent shows.
DiSCORDER: You played with Franz Ferdinand at a sold-out show at
Richard's On Richards. How did that come about?
Paul: It's actually a funny story. We made a little CD for House of Blues.
We went and just showed up at the office to drop it off.
Do you know anyone there?
Reggie: Our friend Ryan was applying for a job there at the time, and
he knew a man named Jason Grant. He's a good man. When
we went to drop off the CD to them we were actually at their old
building. We phone them up and they said, "Where are you guys?"
And we were like, "We're right outside your building." And they said,
"Where is that?" We said, "Gastown?" They went, "No, we moved a
year ago." So we had to go the week after that to drop it off. It was
sitting on Jason's desk for a white and Ryan our friend got him to
listen to it. And he loved it and immediately booked us for the Franz
Ferdinand show. All the House of Blues people have been so good
to us. And the guys from Franz Ferdinand were so nice.
Paul: Yeah, they were really cool.
Reggie: And also Dustin from Hot Hot Heat was at that show and he's
a fan as well I guess. He's the coolest fucking guy we've ever met.
And it's so cool because Franz Ferdinand and Hot Hot Heat are so
big, but they're such nice guys - they just take it in stride. I think the
best bands probably are the nice guys; it's all these shitty bands
that have this attitude when we play with them.
Any other surprises at the Franz Ferdinand show?
Reggie: A lot of people came up to us, and the one comment we
got the most was that a lot of people didn't realize we were from
Vancouver.
Paul: They thought we were a New York band. Or that Franz Ferdinand
had brought us.
Reggie: I don't know; maybe it was good in a way, that it exposed
people in Vancouver more to us. It was definitely good to play at a
sold-out show.
Paul: The response was really good.
Reggie: And then the week after that we played with Dustin DJ-ing
with The Smiths.
How was that?
Paul: That was a weird show.
Reggie: Those guys... that was weird. That's all I have to say.
Did a lot of people show up just to see Mike Joyce and Andy Rourke? ~
Reggie: It wasn't as packed as I thought it was going to be. I thought
it could be more packed. I didn't matter to me because I was so
tired and I had to work at six in the morning. I was just going to play
this show and get out anyway. -^'.^^SSl
So you guys played a set before they DJ-ed?
Paut I don't think people were ready for a five band when they
wanted to hear The Smiths DJ-ing.
Reggie: Yeah, I had this guy in the crowd and he was yelling after
eyery song "Play a Smiths songl" And I finally said, "You know
what? I don't know any Smiths songs" and I walked away. And
then he left. But again, we got to hang out with Dustin and we've
become such good friends. He didn't have to help us, but he did
and it's great.
The TV On The Radio show; is that another House of Blues thing?
Reggie: No, the promoters of that show had been going to a lot of
Elizabeth shows, the smaller ones we've had before. They actually
booked the TV On The Radio show and they have us in mind for
opening.
Do you plan differently for the bigger shows versus the smaller ones? \
Reggie: I think the difference between the bigger shows and the
smaller ones is we like to have a shorter set for the bigger show.
Because we know ful well they're not there to see us. So we like to'
just punch them in the face and get off.
Paul: Not any less or more energy.
And you will be going out to Toronto, to North By Northeast (NXNE) this
summer?
Reggie: Dustin got that for us again. He told us to give him packages,
and he'll send them off to various places. He sent one off to his
lawyer in Toronto and she listened to it, and she just said she loves it
and she will help us out in anyway possible. She has a slot for NXNE.
she gave us the date and said come on out, there's a spot waiting
for us.
Are you planning on a tour around that?
Reggie: We would like to fit that date into the tour, because otherwise
we're just going to be driving there for that one day and driving-
back, but we have friends in Alberta, and umm.. that might be it
though. [Laughs]
Paul: We don't have a lot of Canadian friends.
Reggie: We are pretty west coast. [Laughs]
How has the sound of the band evolved from the beginning?
Reggie: We started out more sonic, I guess, ambient. And we've
gotten punchier as we've gotten along. And I think now we are
really comfortable onstage.
Paut We played the Franz Ferdinand show to a sold-out crowd. It was
just like another show really. It was awesome but not scary anymore
like it might have been in the old days.
Reggie: I think that's the big thing. The confidence we have.
Paul: I think Reg has thrown away 30 songs since the beginning.
Reggie: Since I've had a guitar honestly I've written like a hundred
songs. I've thrown so many songs away in my life.
Are you the one that writes al the songs?
Reggie: Well, I consider all of us writing it because the drum part
and the bass part add so much to the song. But for the most part
Davor and I kind of write together, the lyrics and the music He
and I would start it; usually I would go to Dean's because he is the
technical wiz and we'd demo it at his house. And then we hand
the demos to everybody and they mix some parts up and then we
throw it all together.
What gives you inspiration for the songs?
Reggie: I think there is definitely a lyrical content to our sOngs which
are sort of snapshots of history. They are aU historical kind of things:.
There are references to things like the Berfin WOH and various wars.
Is that a hobby of yours, studying history and wars?
Reggie: Well, I just think it's a more interesfing-thing to sing about
than "I love you", or about magical elves or whatever. It's like
dancing to history when you come to our shows. Dancing to an
encyclopedia, you'll learn something and you'll dance.
You guys are finishing up an EP. How was the recent recording done?
Reggie: We did it at the Hive with Jesse Gander from Black Rice.
Paul: We got the time from SHiNDiG. SHiNDiG was good for us.
Reggie: Very good. Two days though, serious recording. There's not
much you can do in two days.
Paut A lot of setup the first day, and then we just pretty much
knocked it all down in two days. We are going to have three songs,
one remix and one demo that we are hoping to have on the EP. It
should be out in about a month and a half.
Since your two other members aren't here, is there anything that we
need to know about them?
Reggie: Yeah, probably that they are the two least important
members of the band. Thus shown by ther lack of participation in
.this interview. And they have rudimentary English skills. And they
don't smell too good.
Paul: I agree withReg. /Laughs/
Elizabeth win be playing May 22 as part of Music Waste @ The
Columbia, and June 11 as part of NXNE @ The Rivoli in Toronto. They
can be reached at hWfKffwww.etaabethelizabeth.ca PASSION OF THE CHRIST VS. STARSKY AND HUTCH, IN BED WITH
David"
Bazan
is largely
considered to
be Pedro the
Jjon. This isn't a
^drfficu{(.conclusion
"Tocome to: he's
been Pedro's core
figure since the
pS^   band's formation in 1995,
remaining constant through
both line-up and label changes.
A number of albums were true one-
man-shows, with David tackling all the
instruments himself. He's been involved
^wth many bands in his hometown of Seattle,
incluatfig Coolidge and Unwed Sailor, and it's
not uncommon to see him play in the bands that
open Pedro's stows.
But David, it seems?is now ready to settle down with
a "real" band, instead of an ever-changing cast of
friends. Pedro's new album, Achilles Heel, will be released
this month, and may showcase a new, permanent cast of
r musicians. We can be assured, though, that it won't likely stray
r from David's trademark melancholic and beautiful songwriting.
David is the ultimate of radness to talk with, and I got my chance
to speak to him just before the Pedro the Lion show on March 6th at
Richards on Richards.
DiSCORDER: Your new album is coming out in May. Is there a specific
theme or story that's central to it?
David Bazan: Um, there wasn't one as I was writing it at all. There
was no specific theme that I was trying 16 stick to. In the end, I do
feel like there was a lot of a similar theme. The one that was the most
obvious to me, when I'd go back and read the words and try to see
what shallow common elements there were, was a bit of a sexist
subtext where the male characters were just sort of like under their
breath sort of making sexist remarks or just something like that. I think
that in hindsight, it seems like that the record was a lot of sorting out
insecurities of being a man or whatever. It's even weird to say that
'cause you just feel like "what is a,man and when do you become
one?" I guess at 28, you just kinda have to admit, whether you want
to be or not, that you' re a man or whatever. There's a lot. of the
responsibilities of manhood particularly and marriage and whatnot
that the record is sort of obsessed with. It's not overly dark, it's not like
"Control", it's got a lot more humour in it and it's a lot lighter I think. But
it still has that side to it.
You seem to like to play your most recent songs at shows. Is there a
reason for that?
It was probably just what the other guys knew and were interested in _
pta>v&at the time. I hire buddies of mine to play... I just want them to
be excited about it so I'm like "what songs do you want to play?" This
time around, we're going to play a lot more from earlier records... so
it's sort of retrospective.
It almost seemed like the same people were in all 3 bands...
Yeah, it was. You know, it's not really important; it just worked out
in those particular cases that way. I enjoy doing that 'cause I like
playing rock'n'roll and I like being in the support role a lot, trying to
help whoever it is that's writing accomplish their visions: stuff like that.
Sometimes it works, sometimes it doesn't. Like this show, we're playing
with our friends Ester Drang and although their drummer James was
hanging around while we made the record and helped out a lot on
it, there's no sort of overlap in the bands... We're trying, in the States
anyways, to tour with bigger bands and not just like our friends' bands
because people are telling us if they don't know any of the other
bands arid they've seen our band 6 times, they might not o
to the show. That makes sense. I mean, I work the same way: if it's a
band I've seen a hundred times and they're with another band I've
never seen and I really want to, I'd be more likely to fork over the
dough...
During your shows you have the question and answer period. What's
the strangest question you've been asked? Or has there been a
question you wish no one asked?
Oh, well it's not very strange but, well, there's a certain portion of the
Pedro fan base that would really like me to preach about Jesus. So,
um, people will try to set that up during the auestion and answer time
and I don't really prefer that 'cause I'm not going to. It just makes it
awkward 'cause people are really sticking their necks out to ask a
question so I don't really like to shut people down but at the same
time, I just kind of have to set the precedent that I'm not going to be
manipulated into doing something like that. Well it's not that big of a
deal; it's more funny than anything but I do feel bad, depending on
how it's asked. I don't want to make the person feel bad but at the
same time I kind of make them want to feel bad enough so that they
never do that again. It's hard to know.
So why do you think Christian music seems to be a genre?
I don't know. I think it's economic. There's Christian bookstores,
there's Christian music fans, people who only buy Christian albums
because all other music is supposedly like of the devil or what, I don't
know what people say anymore. That we're not really a part of that
market doesn't seem to matter to people who want to label us as
this or that or the other thing. But people.are going to say what they
want. I'm growing more and more comfortable just in doing what I'm
doing and being excited about it and not depending on people's
reactions so much and that makes me feel a lot better. It can be kind
of a rough ride if you care too much, I think, about what people are
saying and calling you.
What do you think
about the release of
The Passion of the Christ1?
I don't know. I haven't seen it
yet. We were going to see it today
but we saw Starsky and Hutch instead.
Yeah, I want to see that tool [laughs]
It was pretty funnyl
Snoop Dogg!!!
Yeah, he was GREAT in it! And Ben Stiller- he's just a realty
good actor. I mean, he just really takes it super seriously
and makes it really funny. But uh, I'm looking forward to seeing
[Passion of the Christ]. Anything that has to do with the subject of the
crucifixion and Christ that was taken seriously when they were making
it is really interesting to me and really compelling. All of the hype and
the press surrounding it is pretty irritating to me but that's just the way
it goes so yeah, but I'll watch it. I'll probably watch it a few^times,
when it boils down to it, and I'll probably get choked up during it or
just whatever. That's a pretty central event in my life, regardless of
sort of my dissatisfaction with Christianity or whatever. Christ is a pretty
compelling figure to me.
Unfortunately. I wasn't at the show here when Paperback [AKA David
Bazan] opened for Bright Eyes. But I was wondering why you didn't use
your real name?
Well, the shows were mostly sold out on that trip before I was even
added to the bill, and I wanted the opportunity to play for full rooms
of people that didn't have any expectations. [They'd just be like]
"who's this guy?" and then I'd have to win them over based on if I
was doing well, or whatever, and so that was kind of it. There's a lot of
baggage with Pedro the Lion, so I wanted to get out from under that
and play songs that you know, were new...
Do you feel like you need an alternate identity like Paperback where
you can be more free?
Well I don't know if Paperback will continue. Over the last year or so,
I've been really developing my ideas about what I want this thing
to be and I think I decided last spring that I really wanted to be a
band, a real band. And whether or not it keeps being called Pedro
the Lion or not, I'm not really sure. We're definitely going to do, after
this record, at least a couple more if not more but now my friend Tim
is pretty much a full partner in the thing: the guy who's been playing
drums and who's playing drums tonight and we're looking at another
guy that we hope he's going to be a third and so, yeah. I don't know
if Paperback will be or if I'm going to play solo very much or anything
like that.
WeU, thank you very much for your time!
Yeah, yeah. You're really welcome!
Pedro fhe Lion's new album, Achilles Heel, is available May 25th. nmcQPPER .    MAY'04
So what is it now? Issue number three? LJR just
keeps giving and giving, and we just keep taking
and taking. (Hint, hint: we like to print good art. If
you have any SEND IT TO US.) Anyways, above you
will find the newest installment in his epic bunny
comic, "Finding Joy," as well as photos from the
BeCause show, recently held (April 10th -18th) under
the Value Village on Store Street in Victoria.
The DiSCORDER's editorial staff
attended out of a passionate sense of duty and
commitment to our readership. The scenic ferry
trip, sunny weather, and general merrymaking
were torturous, we assure you, but we bore up
under the strain, willing to undergo any amount of
strife in the pursuit of quality journalism.
So I guess I should write about it, hmm?
It was exactly what I expected, yet so much more.
The photograph barely hints at the spectacutarity
of Ramsey's dense, multi-layered installation of
wood and cardboard cut-out figures and scenery.
juxtaposed against a colourful backdrop. When
filled with revelers, the effect was truly fantastariffic.
DJ's spun beats while local MC's battled, and Kat
and I wandered bliss-stricken through the physical
manifestation of Ramsey's mind.
Themes of modern alienation, consumer
idiocy and dysfunctional social interaction were
omnipresent. Yet the under all the'frustration was a
sense of hope. The viewer grasps Ramsey's honest
assessment of modern society (it sucks), and at
the same time feels the current of deep, primal joy
that flows through life despite the many restrictions
we face.
That's why we love him.
Susy Webb
JEFFIE GENETIC
AND HIS
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Jeff from New Town Animals debut CO!
Contains video for Records Go Round!
ALSO NEW
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loming soon: The Cinch - Shake If You Got It CD/New Town Animals LP/Ct
DIRTNAP RECORDS PO BOX 21249 SEATTLE WA 98111 WWW.DIRTNAPRECS.COM Jim Guthrie's first record, the experimental pop album A
Thousand Songs, was chosen by CBC's Brave New Waves as
one of the Best Albums of 2000, before being re-released
in 2002. He's also a member of the band Royal City, whose
sophomore album Alone At The Microphone recently broke
the record for longest-charting record in Canadian campus
history. This is even more impressive when you realize that
Guthrie is self-taught, and totally DIY.
On March 13 2004, Jim played a solo show at the
Railway Club, accompanied only by the sounds of a self-
programmed Sony Playstation. After that amazing set,
DiSCORDER started emailing him questions. These are the
ones he answered before instituting a restraining order.
What are your influences?
I think early on in my life I was influenced by music on
television. Shows from the '70's had some pretty crazy
theme songs. Stuff that could really send a kid to the brink
of insanity. Dr. Who, Magic Shadows, What Will They Think of
Next?, Dr. Snuggles, Fables
of the Green Forest, etc. I
didn't play music back
then but they always
stuck with me.
Even jingles on
the radio and
TV sort of
haunted
me
when I was younger. When I first started playing music, when
I was 17 or so, I was really into the lo-fi revolution that was
going at the time. Mainly Sebadoh and Pavement and stuff
like that.
Lo-fi revolution?
Well, there's a lot to it but I guess I can say something about
the lo-fi revolution. Home recording units started to become
fairly cheap by the late 80's. Which meant more people
could record their own music at home instead of paying
major bucks in a studio. The quality of it wasn't near as good
but it didn't matter. If the spirit was there and the songs were
good then you could release an album recorded in your
bedroom. I bought my first and only four-track recorder in
1992.1 think I paid $300 for it. 1 started writing more songs
and playing and singing harmony. It was an amazing tool
for realizing a musical vision. I started banging on the washer
and dryer for drums and learned to get creative with what I
was doing. There were no rules. This was going on with a lot
of teenage boys and girls all over North America. It's sort of
been replaced with digital technology now and the quality
is much better but it's no different.
Do you still do home recording?
Almost everyday if I can. I use a combination of my cassette
4-track and computer to record. I just tinker though. If it turns
out good then you might hear it on a record but I have tons
of stuff that is awful.
Making your own movies?
How did you know that I make my own movies?
Directions? (Musical or otherwise)
My thing right now is to try and do some music for film and/or
TV. Other than that I've been touring a lot and I'll be starting
another west coast tour starting April 23 in Winnipeg. My
band will consist of Nathan Lawr on drums and Mike Olsen
on bass. I usually play with a five piece band but the other
guys will be in school still. It's a damn shame because I've
never played with the full band across Canada. I'm pretty DISCORDER,    MAY'04
HAD THE  CRAZIEST  DREAM  LAST  NIGHT
BY      ARTHUR       KRUMMINS
good friends with the Cons and I am looking forward to
spending so much time with one of my favorite bands in the
world (no jokes). Even if they didn't win a Juno.
History?
No, I was never really that good at history in school.
Favorites?
Curry toast, Nina Simone, sleeping, computers, the smell of
outside, touring, cheese pizza and Spanish dancers.
Nina Simone?
I love the music of Nina Simone. Look.her up. It might
change your life. There's a great 2 disc anthology out now
that would be a great place to start.
And computers?
The room for growth with computers is huge. They are
amazing, complex machines. Considering that there just a
big hunk of plastic and metal and whatever else, they can
do a hell of a lot. Computers are our friends.
Dreams?
I had the craziest dreams last night! I had a book of local
newspaper articles from the near future. The book had
blood and guts all over it. I would look through it and read
about a murder and then see that person on the street. I
wanted to tell them that they were going to die soon but
then I thought that it might mess up the natural order of
things. It was a real scary drag.
Can you say any more about history class? Did you have a
bad experience with a teacher or something?
No bad teachers. Just a bad student. My last class of my
last day in high school was history. I had to get up in front
of the class and talk about Leonardo da Vinci. I really didn't
want to do it so I skipped it. That was it for me. I never went
to graduation or got any pictures taken. I never step foot in
that school again. My mom was a little upset that I didn't get
pictures to remember the occasion but she got over it. Yep,
I'm a rebel.
What's up with Guelph?
It's where I was born and raised for my whole life up until I
moved to Toronto. It was a great place to grow up. Guelph
is where I learned the meaning of the word "community".
It doesn't really matter where you live as long as you have
good people around to teach you a thing or two about life
and living.
• Toronto?
Is where I live now and have for the past four years. It's not
where I want to die but for now I love Toronto. It's weird
and wonderful. I have a great community of friends and
musicians here and it makes all the difference.
How do you get a music community started,
and keep it going? .
The thing about a healthy comlmunity
in any sense is it really comes down
to all the individuals involved.
That's what makes it special. It's
everybody's spirit and willingness
that keeps it going. I'm not
sure how they start though. I
jusf-do what I do and meet
like-minded individuals
that genuinely love
what they do as well.
It's also important to
support fellow artists by going out to shows and networking
with other bands and people in the industry.
What's one thing that you've never been able to figure out?
Why I bother being afraid of anything in life.
Jim Guthrie's label, Threegut Records, hosts a fan site and
[ can be found at Http://www.threegutrecords.com/.   His
" latest CD is called Now More Than Ever. Be sure to keep an eye
out for a Vancouver date when he tours the west coast with
the Constantines. A tentative dates for Vancouver shows are
May 4th at the Brickyard, and May 5th at the Railway Club. Sondre Lerche. While you think about how
to pronounce his name, I'll fill you in on the
details. This 21-year-old Norwegian is a triple
threat of retro sensibilities, charming personality,
and unique talent. That fresh face you see is
just a front for his musical maturity. His style is
tough to pinpoint, but clearly references the
sounds of yesteryear and the influences of
musicians such as The Beach Boys.
This sweet package is wrapped up in a
romantic view of life, and tied together •
with an orchestral pop ribbon. He
does fall into the same group of fellow
singer-songwriters Ed Harcourt and Rufus
Wainwright, if only because they are all black
sheep in the major-label flock, tackling instruments and
ideas that are usually neglected by the mainstream. The
label "sensitive singer-songwriter" gets thrown around
a lot, perhaps because artists like Lerche are not afraid
to wear their
hearts on their sleeve. But if you
read between the lines, you'll surely
appreciate his irony and wit.
His first album, 2001 's Faces Down, was
full of catchy melodies and clever lyrics.
His latest effort, Two-Way Monologue,
features more varied arrangements. His live
performances are proof that he doesn't need props to
show that he's got that special something.
Recently, in the wee hours of the morning, I had the pleasure
to speak with Sondre over the phone from Norway.
DiSCORDER: Hi Sondre.
Sondre Lerche: Hi.
Why do you like to post diary entries on your website?
You know, it's just a way for me to focus on whatever I
have in mind that I can somewhat relate to my music or just
something else. It's just a way for me to... control exactly
the kind of information I give away. And when you do all
these interviews, you kind of put your words in the control
of someone else. And I'd like to also have a forum where
I can articulate exactly what I want*to say without any
interference. And when you have a website, I think it's
nice to use it to do something more than just have photos
of yourself, and a bio, and whatever boring stuff that most
people would have on their website. You should have
something more; it's not just a vanity project. And I don't
wanna be part of that. DISCORDER,    MAY'04
i-™ ,<■« -,f y
DRUNKEN FANS
CAN'TSAP
THE ROMANCE
BY EW1LY KHOMG
PUPPET BY
KAT
Do you actually also keep a personal diary as well?
Ah, no, that's [laughs] one thing I don't do. And I thfate
some day I might start doing that 'cause it would be
probably nice to reflect. I'd have a more specific memory
of all my trips, and experiences, and people I meet and
stuff like that. And that's the kind of stuff I wouldn't put on
my web diary 'cause, you know, I don't wanna get too
personal. So I wanna draw the line somewhere. So I should
maybe start my own private diary.
Speaking of personal matters, would you consider yourself a
romantic?
Oh yeah, absolutely. I think that's very reflective in the music
itself. I think all my songs have a certain romantic aspect. If
it's sad, it's always melancholic/ not depressive. I think that's
the difference between romantic and non-romantic music.
I'm definitely [on] the romantic side. And that's [the] quality.
that I like in music and in life itself.
' I want to ask a couple of questions just about touring and
playing live shows. What's the best thing about playing a
live show?
Oh, it's the fact you can kinda tear down the songs once
more. You write the songs, and then you record them
exactly like you want them to be. And you have ail tb&t*fie
in the world to do that, to really pronounce every detail
of the song. And then on the live circuit and when you're
doing a concert, it's exactly fhe opposite 'cause it's more
primitive.
In comparing this, you can't really control every aspect of
it. In the studio, you can manipulate the song in any way
you want. I think that's the excitement of a live show. You
just have fo jump into that spontaneous affair with the
audience. And hope that it becomes exciting, that you can
give new life to the songs.
I like to try to have a sudden new approach on every
song, every night, 'cause I play these songs a lot. And I
need for myself to keep the whole thing exciting. I need to
change around how I play the songs, and how I perform
them, and just make it a process that goes on all the time
cause if not it would
be very boring. You
have to understand
the audience gets the
songs as if they were new every night. Of course, you hear
them for the billionth time, but you want to, to make it sound
fresh, every night, for the audience. And it's important to
think about these things.
What has been the best and worst fan encounter that you've
had?
[Laughs] Um, I don't know, I just received an e-mail from
a 12-year old boy from... where was it, Arizona? No. Uh,
somewhere... in America. I can't remember. His name was
Jacob. He's 12 years old and he said that he was so inspired
by seeing the "Two-Way Monologue" video that he had
started a band and decided to become a singer. And the
name of the band is Two-Way Monologue. [Laughs] Their
band is really cool.
And what about the worst encounter?
Um, I don't know. The worst encounter? Hmm... [grumbling
and thinkingnoises] Well, most people are very pleasant
and very nice. I haven't had any really bad encounters with
fans. I don't know... probably a show where most of the
audiences are drunk... you know, it can get kinda nasty, I
guess. And if you're unlucky and you encounter these drunk
fans after the show, that usually isn't the ideal way to meet
the audience. The worst thing is when people make fools out
of themselves and you have to kind of deal with that 'cause
you don't want to make it worse for them so you try to be
understanding and get rid of them at the same tirne, in a
niceAvay of course. That can be kind of unpleasant 'cause
people are doing their best to approach you but in real life,
they're just making fools out of themselves. You have to kind
of help them, I don't know, get home and go to bed. Sleep
off the alcohol.
But at least you can make sure they had a good night.
Yeah, I guess but they don't remember anyways. So it's not
good for anything. [Laughs]
[Giggles] Okay. Since you're starting your U.S./Canadian
tour, I know this time around, you'll have the Faces Down [his
backing band} with you.
Yeah. '"^^^
I wanted to ask you, what is it like playing
a solo show versus playing with the Faces
Ddwn?
It's very different 'cause when you're on
stage by yourself, you can do whatever
you want in a way. You can do the most
ridiculous, spontaneous things that just
pop into your head. You don't have to
rely on anyone else to follow you. You
don't have to communicate with anyone
but yourself.   And that's really cool, I
enjoy that freedom. It's very easy to
make the songs exciting for myself to
play. But at the same time, you have to
be really concentrated. And if you forget
a word, that's kind of like, the small thing
that can kind of make you lose control
for a couple of lines. And it really requires
you to be terribly present and really, really,
focused 'cause not only are you delivering
everything that people hear but you're
also... you have think of remembering
the next chord and the next word and also, you have to
remember the next thing you're going to say. And after the
song is finished, you have to keep track of all these things.
With a band, it's not such a hassle 'cause you can withdraw
more, and rely more on the other people on stage. And
there's this good communication. I think that's where the
real magic happens, when people are playing together.
Talking about the songs, on your new album. Two Way
Monologue, I wanted to see and And out if "love You" is a
sequel to "Things You Call Fate"?
Yeah, that's right. It's based on the same chord. I mean, I just
wanted to make an intro, a small piece of melody to open
the album. I thought it would be nice, just as a small detail
to open the song with the same chord progression as the
ten seconds that ends "Things You Call Fate," and to make
a brand new arrangement and a brand new melody on top.
of those chords and just open up the album in that space.
It's just for reference for most people who are observant and
that's very good.
That's great. Well, that's all the questions I had to ask. Is there
anything you would like to add?
Um, no, well... is this a Vancouver address?
Yes, it's for a university campus radio station newspaper
called DiSCORDER.
Wow, that's great. 'Cause I'm really, yeah, I'm just realty
excited that I get to go to Vancouver again 'cause when
I went there this summer, I had really, really good time and
loved biking in Vancouver 'cause I went biking around that
island.
Stanley Park?
Yeah, and that was you know... I had a day off amidst my
touringcind it was such a release to go bike around... the
weather was just fantastic. I had a really wonderful time. So
I'm hoping that the weather wiH be good when I came back
and hopefullyNL. maybe I'll ride the bike or something and
take a trip.
Read up on Sondre Lerche*sthoughts and whereabouts on
www.sondrelerche.com, and check out Ns recent release.
Two Way Monologue. He wiH be playing with his band. The
Faces Down, at The Drink on May 25*. IB! REVIEW
The Advantage
s/t
(5RC)
The concept is simple: songs from the original
Nintendo Entertainment System, structured
to fit a drums/bass/guitar/guitar lineup. The
Sacramentian (Sacramentite? Sacramenter?
Sacramentorian?) group includes members
of Crime In Choir and Hella, and as one
would expect, it's really fucking good.
Nintendo songs were designed to take over
the listener's brain, entrapping children
and adolescent males in hours of indoor
catatonia, and as such are incredibly
well-written pieces of music. However The
Advantage's effect is quite different from
that of the NES. Rather than inducing a
comatose state, the 26 short, sharp songs
are energetic and inspiring, and quite frankly
got this magazine's staff through yet another
frenzied production night. Favorite tracks
include "Bubble Bobble," "Zelda - Fortress,"
and "Double Dragon 2 [story and boss
music]." And how can you not love a band
that makes their own merch by stenciling
their name on items bought from local
dollar stores and charity shops? (Advantage
watering cans and pot holders are always
big'sellers.) The band will be visiting our fair
city in September, so prepare for a bizarrely
gratifying experience, on both aural and
visual levels: they're also really cute. -
Susy Webb
Coppermine
Seven One Eight EP
(Paved Earth)
Ahh, this EP reminds me of the good ol' days
of being held upside down by the ankles,
having my head submerged in a toilet bowl
by four of the coolest guys of the ninth grade:
prepubescent sex-gods, envied and idolized
by the male population. The boys-turned-men
of Brooklyn, NY's Coppermine pack quite the
6-song punch with their EP Seven One Eight.
It's a diverse effort, and I'm left here not quite
sure what to make of it, except my feelings
of pure jealousy. Could it be due to front
man Jonathan Buck's powerful, almost sultry
voice? Yes. Fuck!
A so-called "mattercore" band, they
break the bounds of overdone, stereotypical
emo with unique song structures and by
incorporating jazz, guitar-laden rock, and
metal. This album does definitely pull at your
heartstrings with songs like "I'll Be Waiting"
and "Save Yourself." (Okay, but did anyone
else notice that "Save Yourself" is ten minutes
long?!) The songs "Down" and "Reason 9/11"
are signs that this band is not making music
just for the chicks — like emo kids that realize
the whole world doesn't revolve around
them. Hard feelings and girlish squealing
aside, these guys will be getting some and
much more in the direction they're heading.
Johnny Monday
The Hiss
Panic Movement
(Sanctuary Records)
If you're sick and tired of any more "The"
bands, except for maybe The Sums (anyone,
anyone?), then you may want to pass on
this Atlanta, Georgia quartet, but if you're
into hook-laden heavy guitar rock with hints
of the Oasis brothers knack for disaffected
vocal treatments, then this will be right up
your alley. Good ol' southern boys playin'
rock 'n' roll, gettin' high and motorin' down
the freeway, that sort of thing... kinda gettin'
tired of this stuff to be honest... probably
decent live... fits between your Kings Of Leon
and yer Allman Brothers records pretty nicely
I'd say... that's all.
Bryce Dunn
Jolie Holland
Escondida
(Anti)
Jolie Holland was a founding member of
the Be Good Tanyas, but only stuck around
long enough to contribute vocals to one
song ("The Littlest Birds"). Much like her old
bandmates, Holland is winning fans with
an unpolished, subtle take on Americana.
Her first solo album, Catalpa, was recorded
at home in a single night, given to friends
and sold at shows. When Anti reissued it
last November, Catalpa made many best-
of-2003 lists and earned Holland numerous
comparisons to Billie Holliday. Not bad for
a disc with coughs and random living-room
noises in the background. Escondida is more
accessible than its predecessor, flirting with
country and jazz phrasing as well as straight
up BGT-style folk. I'm not sure which I like
better: Escondida is easier to listen to, but
Catalpa is more interesting. However both
do justice to Holland's lovely, unique voice.
You really can't lose either way.
Kat Siddle
Ben Kweller
On My Way
(ATO/RCA)
Ben Kweller is indeed on his way, if he's not
already there. This is his official sophomore
release and hooray! It was worth the
anticipation! At first I found myself comparing
dumb things with the first one - like "Ooh, he
mentions sex in track two of both albums," he
mentions his mom (or mama) again on the
title track like he did on "Lizzy," and with "Ann
Disaster," he could easily be singing "Ann
Disaster's her name!" like on "Commerce, TX"
(from "Sha Sha"). But wait a minute, who is
Ann Disaster? -
Maybe the greatest change is that "Lizzy",
who inspired that incredibly sweet song on
on "Honeytone," "Gamma Hydra IV,"
and the hauntingly sad "Wishing." Vocal
tracks alternate with short space-themed
instrumental interludes that hark back to the
Brian Eno and Daniel Langois collaboration
Apollo. The title track, "Dead Stars," is
masterful in all its 23-minute glory. Meshing
Williamson's vocals with spacey sounds and
throwing in a smattering of NASA sound bites,
this track is truly amazing. Dead Stars is an
epic musical journey that I highly recommend
you take.
pes
the first album, is now his wife and all mentions
of love on this album seem to be positive!
He seems to be quite contented now.
Awwww!!!! My favorite track is undoubtedly
"Hospital Bed". Okay, it does start with a
polka beat, but it isn't long before he goes
all Jerry Lewis (or something) on us and pulls
some jazz freak-outs and a glissando across
his piano. I imagine this to be his encore song.
And I definitely love his pun: "this machine is
so mature, so much your type!" His still-young
voice can sound country at times, but seems
to have lost the Weezerness of his last album.
He is truly his own Ben now. Perhaps the piano
might still remind me of The Folds, but he is
really getting a distinct Kwellerness. I miss the
quirky song that "Sha Sha" had with its title
track but other than that, this album is very
lovable and easy to repeat 10 times in a row.
P.S.: My friend says that the cover
of this album is the BEST OF THE YEAR, HANDS
FUCKING DOWN (and if he could use bigger
letters than that, he would).
Natalie Vermeer
Microbunny
Dead Stars
(Kindling Music)
I realty liked Microbunny's self titled debut
release, but had a hard time convincing
others of its hidden qualities. Microbunny is
ex-King Cob Steelie founding member Brian
Okada's side project. Microbunny's "film noir-
ish" sound has evolved since then, inhabiting
a similar musical space as Portishead, yet by
no means an imitation. Tamara Williamson's
fragile vocal delivery is a real treat, especially
Nekromantlx
Dead Girls Don't Cry
(Hellcat Records)
In my humble opinion, psychobilly has to be
the weirdest phenomena in music today. It's
hard to imagine that a genre that bore such
legendary acts as the Meteors, The Guana
Batz and Demented Are Go (who I listened
to back in the day) are influencing a coffin-
load of newer bands who are seemingly
more interested in trying to outdo each other
with who has the most tattoos, who writes
the most songs with the word "monster" or
"blood", or who plays the fastest stand-up
bass. I mean, how many bands can really
stand out in this pompadour-sportin' crowd
before all it becomes a blur of flaming eight-
balls and graveyard girls?
Well, unfortunately Nekromantlx
don't re-invent the wheel, but they do play
some mean, tight-as-the noose-around-a- :
dead-man's-neck rockabilly on their latest
tombstone testament to all things that go
bump in the night. If you're looking for the
theory of relativity in the lyrical content,
you'll be sadly disappointed, but instead
hear of odes to their deceased dates ("To
me you're perfect/hotter than hell/a society
reject/but my bombshell," from "Ghoulina"),
or pondering the purpose of a monster's life
("Where Do Monsters Go?"). They try for a
little more "rock" than "billy" on "World Of
Dust" and get silly-billy on "I'm a Shockstar",
but in the end it's an entertaining ride in the
back of a souped-up hearse with a trio of
Danish deadcats by your side.
Bryce Dunn
Nina Nastasia
Dogs
(Touch and Go)
New York singer-songwriter Nina Nastasia
released her first album, Dogs, on the "micro-
indie" label Socialist in 1999. Engineered by DISCORDER,    MAY'04
Steve Albini, the disc  featured intriguing
instrumentation, masterful ["mistressful?" -
Susy] songwriting, and elaborate packaging.
Every copy was sold by the end of 2000,
but demand for the album was just getting
started. Nastasia released two more full-
lengths on Touch and Go, and now the
Chicago label has re-released the long-lost
first album. Apparently it won't have the
hand-mounted photos and letterpress lyrics
of it's first incarnation, but all the album's
beauty and addictiveness remains. If you
liked The Blackened Air and Ruin to Ruin,
you'll love Dogs, 'cause you know that the
old stuff is always better anyways, [including
your boyfriend. Or so I hear... - Susy]
Kat
Pedro the Lion
Achilles Heel
(Jade Tree)
Hailing from rural Washington State, Pedro the
Lion has always been a reflection of frontman
David Bazan's environment and psyche.
Achilles Heel is a melodic pop album full of
minor-key hooks and deep narrative lyrics.
It's a much more uplifting effort than previous
albums, in which the sweetest emotion
tended to be misery. Surely the change has a
lot to do with the fact that David Bazan is now
happily married. Whereas past Pedro albums
have been dominated by lyrics to slash your
wrists to, this one's at least contemplative, if
not upbeat. Bazan's vocals are what makes
this album work. Smoky, miserable when it
needs to be, and a few octaves higher than
usual, his voice is soothing Gone are the lyrics
about being a lonely fuck-up... except in
"The Poison," a self-condemning effort about
a lost relationship.
the last two Pedro albums were
conceptual efforts, each song a linear
continuation of an extended narrative. This
time the lyrical content is varied, and the
production has a fuller sound, rounded out
by faster tempos, two-part vocal harmonies,
more active drumming and melodic
basslines.
Pedro the Lion has often been
described as having a loose, down-tempo
country rock feel to it, but it's genuinely
obvious for the first time on this album.
"Foregone Conclusions" is a satisfying track,
and "The Fleecing" is a standout, in which
Bazan sums up the epitome of all his lyrics
when he sings "Who shall I blame for this
sweet and heavy trouble?"
This album as a whole swings
dangerously close to being radio-friendly
soft-rock. Luckily, the lyrical content is dark
enough to keep the album worth listening
to. But while the Christian angst remains
an integral part of Pedro's sound, it's more
subdued now, leaving this reviewer the
impression that a happy Pedro is not as
satisfying a listen as an emotionally wounded
Pedro.
Greg Amos
Joel RL Phelps and the Downer Trio
Customs
(Moneyshot)
Tradition
(Moneyshot)
I will tell you what you need to know.
Customs is the first Downer Trio LP in
five years; Tradition, the boner EP, is the first in
three. I don't even have a dink, and it gives
me a boner. I can't remember any other
records released in between.
Customs and Tradition are fucking
unbelievable. They're the best records I've
ever heard. Joel RL Phelps and the Downer
Trio are the only hope in the world.
Christa Min
Rcrtatat
s/t  i
(XL)
Ratatat is a Brooklyn-based band comprised
of Mike "Snake" Stroud and Evan "E*Vax"
Mast, who have been making music
together since 2001. Their self-titled debut
album is what you get'when you throw
hiphop, electronic dance, ambient music,
and chunky rock guitar into a blender. There
are no vocals, but the guitar and synthesizer
lines are more than melodic enough to fly
without the need for vocal parts. You may
even find yourself, as I did, humming some of
these songs.
No time is wasted in showing the
listener what they're made of: on the opening
track, "Seventeen Years" (which you can also
download from www.ratatatmusic.com), we
get a full onslaught of guitar riffage, along
with a big beat to make you get up and
move it (or at least indulge in some severe
head-nodding). But this album is about more
than shaking your ass. Several of the tracks
are miniature epics, in which simple melodies
build to a great cJimaX, then gradually
decline. And while it is certainly true that this
album is not without songs that miss the mark,
there are no real throwaway tracks.
The main strength of the album is in
it's restraint. Not a wasted note comes from
any of.the contributing instruments. These are
well thought-out compositions, in which the
overall sound is the grand sum of all parts. This
is great ear candy, in which new elements
are discovered and suddenly appreciated
with every listen, and is one of the better
albums I've heard so far this year. I look
forward to seeing where Ratatat's original
sound goes from here.
Robert Ferdman
Sigmatropic
Sixteen Haiku and Other Stories
(Thirsty Ear Recordings)
electronic waves
indie love is in the air
even though they're bad Haiku
Soren Bros
m
Tetrezene
What Once Was
(New Glue records)
Unlike the softy-pop oriented 1999 release
N Door Fin, What Once Was finds Tetrezene
taking a decidedly more cinematic
approach to their music. Shannon du
Haskey's voice once again embellishes the
highly textural pieces. With three of the five
tracks longer than 15 minutes, the songs
. slowly unfold, adding layer upon layer,
creating a dreamlike state. Whereas "Birth
and Tragedy" nearly loses its narrative thread
some two thirds into the track only to pull
back from the brink near the end, "In Grainy
Black and White" successfully covers the
expanse of time. With its jazz infused trumpet
and quietly burbling electronics, this song is
the most fully-realized track on the record.
Tetrezene are once again good for another
pleasant surprise, which hopefully will find
them the wider audience they deserve.
pes
Vista La Vie
Don't
(F Communications)
There's always something vaguely disturbing
when artists put out an album that has
brilliant songs half of the time, and then
unbearably bad songs filling up the rest.
Particularly unfortunate about Don't is that
the bad songs make up the entire first half
of the album, so it was tempting to write off
the album as bland atmospheric electronica
whose songs had neither particularly
good beats nor particularly interesting
atmospheres. Songs such as "Drunken
Master", and "Back in the Pit", however, spin
around with creative production and vocals
that are so good that by the end of listening
to the album I feel as though I have to give
the beginning songs a second chance. No
matter how much I listen, though, I can find
no way to reconcile these two halves. Keep
an eye on Vista La Vie, because they haVe
some great ideas, but Don't isn't the full
""Teaiizatfon of this creativity.
Soren Bros
Yngwie Malmsteen's Rising Force
Attack!?
(Red Ink/Epic)
Fans of '80s shredder metal (and we know
who we are) will no doubt be familiar witty
Swedish guitar whiz Yngwie Malmsteen. We
guitar geeks remember all about Malmsteen's
obsejssion with baroque composers like the
Bach clan and his efforts to adapt similar
styles to his guitar work. Still going strong, his
band Yngwie Malmsteen's Rising Force has
recently released their zillionth CD, Attack!!
(I don't know
why it needs two exclamation marks,
apparently it just does.)
Attack!! is pretty much what we've
come to expect from Malmsteen - lush
but heavy arrangements, super fast upper-
neck notes, and self/ego-affirming or
mythology-inspired lyrics that occasionally
make no sense but sound really cool if you
don't analyze them too much. In otherwords,
it follows the patented Yngwie Malmsteen
formula, but sometimes there's something
to be said for picking a formula, sticking to
it, and mastering it. For guys like Malmsteen
with such ama/ing technical talent, I like
what they do and personally prefer that they
take it as far as they can with not too many
deviations.
I loved, pretty much all of this album,
but I always pick a few favorites. The opening
track "Razor Eater" for some reason reminds
me of early '70s Queen. I loved "Valley of the
Kings" for its slower, heavier majestic feel. I
also loved the instrumental tracks, particularly
"Baroque & Roll." While for the most part I do
like vocalist Dougie White's King Diamond-ish
treatments of the lyrics, it was refreshing to
hear Yngwie himself singing "Freedom Isn't
Free" in his gravelly bluesy swagger.
True, Rising Force does start to
sound a bit like Spinal Tap, but then again,
they were probably around first.
And for the record, no, I do not
have a Y chromosone.
Drake
Magnetic Fields
I
(Merge)
Don't ask me when this is coming out or
where I got this. Just suffice to say I have the
kind of friends that understand all that stuff
written on the back of American dollar bids.
And it's crack (the album, not the stuff on the
dollar ©ills.) I'm hooked so deep I can't get
up in the morning without my hit. I think about
it all day long, I get the quivers when I go for
too long without hearing it. Lets face it I'm in
love with this album. I'd die without it.
Anyone who knows any of Stephin Merrit's
previous work knows that the 'hits' are just
gateway drugs to the lesser songs on the
album,  and  this  one's  got  three  strong
ones up front. ! don't love you any more, I
don't believe you, I thought you were my
boyfriend, and ... oh, yeah I said three.
These are insistent, demanding songs they
drag you from slumber to listen to them.
I think I've gone on too much about the
compulsions this album inspires.
Fuck, just get it, steal it, buy it, kffl for it if you
have to, just get it.... now!!!
Graeme P4G3000003N.4
FORTUNE COOKIE REVIEWS!
©Be direct, usually one can accomplish more that way.©
03 DESTROYER*
04 SQUAREPUSHI
sfAS-lt NEUBAU
*^tfe -5EFFIE GEl
07   WALKMEN
0& SMUGGLERS*	
**09 'ZOMBIE RIGHT IN-CANSDA?;
^Q-^DBKORDS- ~.   r--*.#
11 BILLY AND THE LOST BOYS*
12 NOMEANSNO* 	
-13 *WAX MANNEQUIN   .*- y
. -14 -GIRL NOBDb'Y**-'J \l. ' * ...
15 WAILIN'JENNYS*
16 MISTRBSJEN*	
v*.T£» ORPHANS;,-/V*
19 MUM
20 AVENGERS        	
*,2i- -FRANZ FERPINAMD.*" *
k22' MICRdBUNNY* -       *!
23 BEDOUIN SOUNDCLASH*
24 BILLLASWELL 	
-:'2S- .RED'THREAD
26*GLENTSTBRA&'CA- J
27 TOOTS AND THE MAYTALS
28 DT'S	
)S09> MINDFLAYER-^
2*30* TV ON THE RADIO "*-'*'
31 THRILLS
32 ZEKE	
£-33 THEOW.LS. ' - „.* ' '. .
^ -lll/OUTHUD--* '"' '      - • - \i
35  GREG DAVIS
'Denotes Canadian Content
Your Blues
UHravisitor
Bows And Arrows
Mutiny jn Stereo
 '_WKKKm
Breaking Down The Barriers...
People's Choice 	
r.The Price -     - ..*.
\W» FWure Isn't What It Used To Be> -    " '
40 Days
Buzz
iSerybocly Loves^ou Whj&n You're Dead,
, Good News For'Feopte WK6 Love Bad Neto's^
Summer Make Good
The American to Me
Franz Ferdinand     ~** /  *
Rootfire
ROIR Dub Sessions	
tension Pff»s*^^S%5^#^p^
.'Lesson-No. 1 K©jnW^ac1<J ~%tiifei£mm
True Love
Hard Fixed
Ws/Jwcys 1999 ~ . .     .     * ^    _ .**>
fQespetdte Yout& BipodThirsty Babes    *. '".*"'
So Much For The City
Til The Livin' End
-Our .Hopes And, Dreams . •-•* ^
,' Lab Remix Serious VoL 2* * "    "**"" '-V*
Curling Pond Woods
Record Collection
Mint
Lost
Ant Acid Audio
[fHH>*L
Fat Cat
JDBK
•Domino..
"Kindling.     ■*•'
Stomp
vROtR	
V2
Estrus	
Load - -;-■■.:
■ touch and Go"."...
EMJ
Relapse
© You will have a tine capacity for
the enjoyment of lite.©
girl nobody
© idleness is the holiday of fools. ©
broken social scene
ll^^Hl
mistress jen
Q Confucius say: Show-off alw
shown up in showdown. Q
destroyer
©You will attract cultured and
artistic people to your home.©
squarepusher
7     8   39  43  40  22
tv on the radio
q You will have gold pieces by the
bushel. © PI SCO RDER,    MAY704
umm
MAY DATEBOOK:.
Tuesday May 3:
Urge Overkill @ Richard's on
Richards
Tuesday May 4:
Einsturzende Neubauten @
Commodore Ballroom
Tuesday May 4:
Constantines @ The
Brickyard
Wednesday May 5:
The Constantines @ the
Crocodile Cafe, Seattle
Thursday May 6:
AlexisonFireJhe Black
Halos, Blues.Skies.At.War @
Croatian Cultural Center
Friday May 7:
New Town Animals,
Knucklehead, The
Lancasters, Dance Floor
Disasters
Sunday May 9:
Sarah Harmer @
Commodore Ballroom
Sunday May 9: Southern
Culture on the Skids @ The
Drink
Monday May 10:
Muse, The Exit @
Commodore Ballroom
Tuesday May IT:
Red Cat Records Presents
Greg MacPherson with
special guests The Doers @
The Railway Club
Wednesday May 12:
Peaches @ Commodore
Ballroom
Thursday May 13:
M. Ward, My Morning Jacket
@ Commodore Ballroom
Friday May 14:
Death by Stereo @ Purple
Onion Cabaret
Friday May 14:
The Pink Mountaintops @
Pat's Pub
Saturday May 15:
April Wine @ commodore
Ballroom
Saturday May 15:
Ion Dissonance @ Mesa
'-una ilv*l!2
Sat May 15:
Girl Nobody, John Ford +
The NoNo Spots @ Media
Club
Sunday May 16:
Radio Berlin, The Floor @
Crush Lounge
Saturday May 16:
Mr. Airplane Man @ The
Brickyard
Tuesday May 18:
French Kicks, On the
Speakers @ Media Club
Thursday May 20:
The Distillers @ Croatian
Cultural Center
Thursday May 20:
Music Waste presents: Djs
Masaro and Panakronic
(Phonologic Lab), DJ
Neoteric, Kaboom,
Kia Kadiri, AweDaCity,
Recommended System
Requirement, Chena Finess,
Sara Kendall.The Drunken
Arseholes, Prizm Emcee,
Stillife Family, Emotionz,
Main Offenders.Ashleigh
Robinson, P.O.S, Ilia Brown
and Kutcorners, Buzy B,
Caspian, Genetix, Sunday
Skool Dropoutz
Fri May 21:
Music Waste presents:
Baron Samedie E.S.Q., Bella,
Brundlefly + Kids These Days
Friday May 21:
The Shins, Fiery Furnaces @
Commodore Ballroom
Friday May 21:
Clumsy Lovers @ Mesa Luna
Sat May 22:
Music Waste presents:
Smaqu-2, The Front,
FreeFlow, Josh Martinez
and The Pissed Off Wild,
Threat From Outerspace,
Djs: Panakronic and Masaro
(Phonologic Lab), Dj Seko
Monday May 24: Yo La
Tengo @ Richard's on
Richard's
Thursday May 27:
New Pornographers @
Commodore Ballroom
Friday May 28:
The Decemberists, Long
Winters @ Richard's On
Richard
Saturday May 29: Tortoise,
The Eternals, Beans @
Commodore Ballroom
Saturday May 29:
Sparta @ Richard's on
Richards
Satutrday May 29:
Fiery Furnaces, Destroyer,
Frog Eyes @ Crocodile Cafe,
Seattle
Tuesday June 1:
Trans AM @ Richard's On
Richards
Wednesday June 2:
Black Mountain, Veda Hill,
The Gay, The Buttles Chaps @
The Cultch
Friday June 4:
Mission of Burma, Pretty Gits
Make Graves @ Commodore
' Ballroom
MORE SHOWS THAT
DiSCORDER
WILL KILL YOU FOR MISSING
MAYU
MR AIRPLANE MAN
@ THE BRICKYARD
MAY 3
URGE OVERKILL
@ RICHARDS
PLACES TO BE
VENUES
anza club
3w.8thave
604-876-7128
brickyard
315 carrall
604.685.3922
cafe deux soleils
2096 commercial
604.254.1195
cellar
3611 w. broadway
604.738.1959
cobalt
917 main
604.764.punk
commodore
868 granville
604.739.7469
lotus
455 abbott
604.685.7777
the main
4210 main
604.709.8555
marine club
573 homer
604.683.1720
media club
695 cambie
604.608.2871
pat's pub
403 e. hastings
604.255.4301
pic pub
620 w. pender
604.682.3221
pub 340
340 cambie
604.602-0644
railway club
579 dunsmuir
604.681.1625
richard's
1036 richards
604.687.6794
sonar
66 water
604.683.6695
WISE hall
1882adanac
604.254.5858
mesa luna
1926 w. broadway
604.733.5862
video in studios
1965 main
604.872.8337
RECORD    SHOPS
active pass records
324 w. hasting
604.646.2411
audiopile records
2016 commercial
604.253.7453
bassix records
217 w. hastings
604.689.7734
beatstreet records
3-712 robson
604.683.3344
black swan records
3209 w. broadway
604.734.2828
crosstown music
518 w. pender
604.683.8774
highlife records
1317 commercial
604.251.6964
noize! records
540 seymour
604.893.8696
red cat records
4307 main
604.708.9422
scrape records
17 w. broadway
604.877.1676
scratch records
726 richards
604.687.6355
zulu records
1972 w. 4th
604.738.3232
tRU. FOR
su&russvort
Thtr(e)Fiir,-boi-
EEPiD FCTBn ■
discord (51 OMIli
USTEN TO CiTR
AT
101.9 FM
OR
ONLINE AT
WWW.CITR.CA
SUNDAY
ARE YOU SERIOUS? MUSIC
9:00AM- 12:00PM
All of time is measured by its art. This show presents the most recent new music from around
the world. Ears open.
THE ROCKERS SHOW
12:00PM-3:00PM
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE
3:00PM-5:00PM
Real cowshit-caught-in-yer-boots country.
CHIPS WITH EVERYTHING  alt.
5:0OPM-6:O0PM
British pop music from all decades.
SAINT TROPEZ alt.
5:00PAA-6:00PM
International pop (Japanese, French, Swedish,
British, US, etc.), 60s soundtracks and lounge.
Book your jet set holiday now!
QUEER FM
6:00PM-8:00PM
Dedicated to the gay, lesbian, bisexual, and
transsexual communities of Vancouver. Lots of
human interest features, background on current issues, and great music.
RHYTHMSINDIA
8:OOPM-10:OOPM
Rhythmslndia features a wide range of music
from India, including popular music from Indian
movies from the 1930s to the present, classical
music, semi-classical music such as Ghazals and
Bhajans, and also Qawwalis, pop, and regional
language numbers.
TRANCENDANCE
10:0OPM-12:00AM
Join us in practicing the ancient art of rising
above common thought and ideas as your
host DJ Smiley Mike lays down the latest trance
cuts to propel us into the domain of the mystical. <trancendance@hotmail.com>
THE SHOW
12:00AM-2:00AM
RADIO ZERO
2:OOAM-6:0OAM
MONDAY
FILL-IN
6:00AM- 8:00AM
BREAKFAST WITH THE BROWNS
8:00AM-11:00AM
Your favourite brown-sters, James and Peter, offer
a savoury blend of the familiar and exotic in a
blend of aural delights!
DISCORDER RADIO ONE
FILL-IN alt.
11:00AM-12:00PM
Wanna hear the music that drives the Discorder
war machine? Suppliment your monthly reading with an aural dose of that super-sonic
magazine from CiTR*
MYSTERY GIRL
12:00AM-1:00PM
Songs for the mystery world.
PARTS UNKNOWN
1:00PM-3:00PM
Underground pop for the minuses with the occasional interview with your host, Chris.
SANDBOX THEATRE
3:00PM-4:00PM
A show of radio drama orchestrated and hosted
S&mfep students, featuring independent works
"from bcal, national and international theatre
groups. We welcome your involvement. <sand
rjoxtheafre@j3atr1rol.com>
ABSOLUTE BEGINNERS
4:00PM-5:00PM
A chance for new CiTR DJs to flex their musical
muscle. Surprises galore.
STRAIGHT TALK
5:00PM-6:00PM
Join me - Dallas Brodie - for stimulating talk
radio about local, national and international
issues. WHAT YOU WILL GET ON STRAIGHT
. TALK: smart, informative, current, provocative radio WHAT YOU WON'T GET: fence
sitting, conspiracy theories, reflex anti-Americanism, lefty whining or fluff.
SON OF NIGHT DREAMS alt.
6:O0PM-7:3OPM
SOLARIZATION alt.
6:00PM-6:30PM
MY ASS alt.
6:30PM-7:30PM
Phelps, Albini,'n'me.
WIGFLUX RADIO
7:30PM-9:00PM
Listen to Selecta Krystabelle for your reggae
education.
THE JAH SHOW
9:OOPM-1200AM
Vancouver's bngest running prime time jazz program. Hosted by the ever-suave Gavin Walker.
Features at
11:00, as listed.
May 3: Blly Harper is one of the great "muscle-
tenors" in jazz and'ttfliffine saxophonist/
ji<jei«poser has been unfairly overlooked.
t> OnejE^his better offerings is tonight's
if^pfpre; Harper with master trumpeter Ed-
_#ie Herjdejson make^' dj»tjw is yours" an
liriteiTse listen.
May 10: Hasaan Ibn Al was one of the rjawJ^
amazing pianists in jazz and also a wonderful
composer and yefcftpji ydrjet^of •reasoni j -
-imaqe only one recB^bj^ilhth^leg^i®^
<MK|yind unique HcBSQh'with Dr. Art Davis
(bass) arwi^e/han responsible for setting
up this date... drum great Max Roach.
May17: Tonight we celebrate the birthday ■;
(72 years old today) of one of the mas^gs of
the alto saxophone. Jackie Mclean was first
inspired by Carlie Parker but quickly found
is own sound (sharpiphd tart) and style.
Tonight a rare 'live' recording done in 1966
with his working band featuring some powerful drumming by "smilin"' Billy Higgins.
May 24: Guitar giant Pat Martino is making
a welcome return to this year's jazz festival
so tonight the jazz show presents his latest
recording. This one's an alJ-star date with
Joe Lovano (Tenor Saxophone) at his best,
c^th master Gonzalo Rubalcaba (Piano),
Christian McBride (Bass) and Louis Nash
(Drums) All Adding up to one of the best
discs of the year. Check out "Think Tank".
May 31: Some very rare recording by one
of the great clarinettists in jazz Tony Scott.
Tony's Working band included Bill Evans
(piano), Jimmy Garrison (bass) and Pete
LaRoca (drums)... Inspired and adventurous
Jazz recorded at "The showplace" in NYC
in 1959.
VENGEANCE IS MINE
12:OOAM-3:O0AM
Hosted by Trevor. It's punk rock, baby! Gone from
the charts but not from our hearts—thank fucking Christ.
PSYCHEDELIC AIRWAVES
3:00AM-6:30AM
DJ Christopher Schmidt also hosts Organix at
Club 23 (23 West Cordova) every Friday.
T U E S DAY
PACIFIC PICKIN'
6:30AM-8:00AM
Bluegrass, old-time music and its derivatives with
Arthur and "The Lovely Andrea" Berman.
HIGHBRED VOICES alt.
8:00AM-9:30AM
PLEASE ROCK THE DOOR alt.
8:O0AM-9:3OAM
THIRD TIME'S THE CHARM
9:30AM-11:30AM
Open your ears and prepare for a shock! A
harmless note may make you a fan! Hear
the menacing scourge that is Rock and Roll!
Deadlier than the most dangerous criminal!
<bominsixtynine@hotmaiLcom>
FILL-IN alt.
11:30AM-12:00PM
MORNING AFTER SHOW alt.
11:30AM-12:30PM
REEL TO REAL alt.
12:30PM- 1:00PM
Movie reviews and criticism.
BEATUP RONIN alt.
12:00PM-2:00PM
Where dead samurai can program music.
A TALK WITH ALLEN CLEMENTS alt.
1:00PM-2:00PM
CIRCUIT TRACING
2:00PM-3:30PM
EN AVANT LA MUSIQUE alt.
3:30PM-4:30PM
«En Avant la musique!» se concentre sur le
metissage des genres musicaux au sein d'une
francophonie ouverte 6 tous les courants. This
program focuses on cross-cultural music and
its influence on mostly Francophone musi-
Tansi Kiyaw alt.
3:30PM-4:30PM
Tansi kiyaw? Is Michif-Cree (one of the Metis
languages) for "Hello, How are you?" and
is a monthly Indigenous music and spoken
word show. Hosted b June Scudeler (for those
who know me from other shows-I'm Metis!),
the show will feature music and spoken
word as well as events and news from Indian
country and special guests. Contact me at
jlscudel@ucalgary.ca with news, even listings
and ideas. Megwetch!
THE MEAT-EATING VEGAN
4:30PM-5:00PM
WENER'S BARBEQUE
5:00PM-6:00PM
Join the sports dept. for their coverage of the
T-Birds.
FLEXYOURHEAD
6:00PM-8:00PM
Up the punx, down the emol Keepin' it real
since 1989, yo. flexyourhead.vancouverhardc
ore.com
SALARIO MINIMO
8:00PM-10:0OPM
THE LOVE DEN alt.
10:00PM-12:00AM
<loveden@hotmail.com>
ESCAPISM alt.
10:00PM-12.00AM
es»cap*ism n: escape from the reality or routine
of life by absorbing the mind in entertainment
or fantasy.
Host: DJ Satyricon.
<DJSatyricon@hotmail.com>
AURAL TENTACLES
12:00AM-6:00AM
It could be punk, ethno, global, trance, spoken
word, rock, the unusual and the weird, or it
could be something different. Hosted by DJ
. Pierre.
WEDNESDAY
FILL-IN
6:00AM- 10:00AM
EXQUISITE CORPSE
10:OOAM-11:30AM
11:30AM-1«0PM.=; £;
Luke Meat irritates and e^Ocbtes through'nq$^9
deconstruction. Recommended for the strong.
THE SHAKE alt.
l:O0PM-2:O0PM
FOR THE RECORD alt.
1:00PM-2:00PM
DEMOCRACY NOW
2:00PM-3:00PM
Independent news hosted by^gward-winning
journaBsts Amy Goodman and Juan Gonzalez
MOTORDADDY alt.
3:0OPM-5:O0PM
Cycte-riffic rawk and rolll
RUMBLETONE RADIO alt.
3:0OPM-5:O0PM
Primitive, fuzzed-out garage mayheml
N^|Si$ARY VOICES
^?PM-6:30PM
Socio-politicar^n^rohfnental activist news and
spoken word with sornetnusic, too.
www.necessar||pices.org
<necessaryvoices@telus.net>
AND SOMETIMES WHY alt.
6:30PM-8:00PM
(First Wednesday of every month.)
BLUE MONDAY alt.
6:30PM-8:00PM
Vancouver's •   only industrial-electronic^fiKJ;
goth program. Music to schtQf|frto, hosted
^^^re^nJS
FILL-IN
8:00PM-9:00PM
FOLK OASIS
9:00PM-11:00PM
Rgfftss'iiiusic for folkies and noj^|pJKies... blue-
grass, singer-songwriters, worldbj^it^blt country,
and mae.l^pj mirage!      .Jll^l
<folkoasis@car^^^^^^^Ksw
HANS KLOSS' MISERY HOUR
11:00PM-2:00AM
FIRST FLOOR SOUND SYSTEM
2:00AM-6:00AM
THURSDAY
FILL - IN
6:O0AM-8:O0AM
END OF THE WORLD NEWS
8:00AM-10:00AM
PLANET LOVETRON
10-.00AM-11:30AM
Music inspired by Chocolate Thunder. Robert
Robot drops electro past and present,
hip hop and intergalactic funkmanship.
<rbotlove@yahoo.com>
FIRED UP
11:30AM-12:00PM
Ever told yourself "I can't even boil water, let
alone cook a chicken or stir-fry vegetables!"
Let Chef Marat show you the way to create
easy meals prepared in the comfort of your
own kitchen/bechelor pad or car. OK, maybe
not the car. Wouldn't wantto spill anything on
. the upholstery.
UNPACK YOUR ADJECTIVES
12:00PM-1:00PM
STEVE AND MIKE
1:00PM-2:00PM
Crashing the boy's club in the pit. Hard and fast,
heavy and slow (punk and hardcore).
THE ONOMATOPOEIA SHOW
2:00PM-3:00PM
Comix comix comix. Oh yeah, and some music
with Robin.
RHYMES AND REASONS
3:00PM-5:00PM
DJ Knowone slaves over hot-multi-frack to bring
a fresh continuous mix of fresh every week.
Made from scratch, samples and just a few
drops of fame. Our tables also have plethora
of guest DJs, performers, interviews, giveaways.
Strong Bad and the occasional public service
announcements. <eno_wonk@yahoo.ca> DISCORDER,    M AY'04
LOCAL KIDS MAKE GOOD
5:O0PM-6:0OPM alt.
Local Dave brings you local music of all sorts. The
program most likely to play your band!
PEDAL REVOLUTIONARY alt.
5:00PM-6:00PM
Viva la Velorutionl DJ Helmet Hair arid Chainbreaker
Jane give you all the bike news and views
you need and even cruise around while doing it!
www.bikesexual.org
OUT FOR KICKS
6:O0PM-7:30PM
Now in it's 15th and final year, your most reliable
source for Indie Pop. Thanks to all the regular iis-
. teners over the years! Tune in for an entertaining
farewell tour.
ON AIR WITH GREASED HAIR
7:30PM-9:00PM
The best in roots, rock 'n' roll and rhythm and blues
from 1942-1962 with your snappily-attired host,
Gary Olsen.
<ripitup55@telus. net>
UVE FROM THUNDttBIRD RADIO HBi
9:00PM-11:00PM
May 6th Jacob
May 13th Harrow ,
May 20th Roadbed
May 27th Neck Beer
June 3rd The Doers
WORLD HEAT
11:00PM-1:00AM
An old punk rock heart considers the oneness of all
things and presents music of worlds near and far.
Your host, the great Daryl-ani, seeks reassurance
via <worldheat@hotmail.com>.
FILL-IN
1:00AM-6:00AM
F R I ,8gnK&
&00AM- &00AM
CAUGHT IN THE RED
&00AM-10:00AM
Trawling the trash heap of over 50 years' worth of
real rock 'n' roll debris.
SKA-rS SCgffigjIC DRIVEI
i*ppAlW-12:00PM
Email requests to: <djska_t@hotmail.com>
iJi^^STHE BREAKS
12:00PM-2;^^^g
l^^^f^psrate digger DJ Avi Shack mixes the
underground hip hop, old school classics and
original breaks.
THE LEO RAMIREZ SHOW
2:00PM-3:30PM
The best mix of music, news, sports and commentary from around the local and international Latin
American communities.
NARDWUAR THE HUMAN SERVIETTE PRESENTS...
3:30PM-5:00PM"
CiTR NEWS, SPORTS AND ARTS
5:O0PM-6:0OPM
A vdunteei^rpduced,^ stude/^^®&omrnuhjty
newscast featuring Jn^"arts. Reports
l^^^^^^^^pu.- "Become the Media." To get
'■i^s^^^^S^^J^rjc°l anc' c^c'< "News Dept."
6:OOPM-7:tim0y
AFRICAN RHYj|jpl|p
DqyKl ."Lov#^^^ps}|«Tigs:ybu the best new and
old jazz, soul, Latin, samba, bossa and African
^rrj^'c^fiarolihdjrhe world.
i^^^^nrj^^^paa^el^ff^T^
H^telrf^CJNp^^rB^py^pptsome trance,
1 aBd,'ti|$a!; ffo^Guest DJs, interviews, retrospectives, giveaways, and more.
IUKE THE SCRIBBLES alt.
v12$0AM-2.-00AM
WEAWfJDOJE^^
12:00AM-2.*00AM
IWEVAMPlRFSfM'il
^AM^4j»Aiyr l -
Parf^sir^S^^p^C^of alt genres to soothe the
Dragon!s soul. Hosted by Drake.
SATURDAY
FILL-IN
6:O0AM-8:OOPM
THE SATURDAY EDGE
8:O0AM-12:O0PM
Studio guests, new releases, British comedy sketches, folk music calendar and ticket giveaways.
8AM-9AM: African/World roots. 9AM-12PM: Celtic
music and performances.
GENERATION* ANNIHILATION
12:00PM-1:00PM
A fine mix of streetpunk and old school hardcore
backed by band interviews, guest speakers, and
social commentary.
www.streetpunkradio.com
<crcishnburnradio@yahoo.ca>
POWERCHORD
1:00PM-3:00PM
Vancouver's only true metal show; focal demo
tapes, imports, ana other rarities. Gerald
Rattlehead, Dwain, and Metal Ron do the damage.
CODE BLUE
3:OOPM-5:O0PM
From backwoods delta low-down slide to urban
harp honks, blues, and blues roots with your hosts
Jim, Andy and Paul.
ELECTROLUX HOUR
5:0OPM-6:O0PM
BATTLE ZONE
6:O0PM-7:00PM
SHADOW JUGGLERS
7:OOPM-9:O0PM
An exciting chow of Drum n' Bass with Dj's MP & Bias
on the ones and twos, plus gusts. Listen forgivawas
everyweek; Keep feelin da beatz.
SYNAPTIC SANDWICH
9:00PM-T 1:00PM
PLUTONIAN NIGHTS
11:00PM-1:00AM
Cutting-edge, progressive organ music wjth resident Haitchc and various guest performers/DJs.
Bye-bye civilisation, keep smiling blue, where's me
bloody anesthetic then?
http://plutonia.org
EARWAX
1:O0AM-4:3OAM
"noiz terror mindfuck hardcore like purik/beatz
drop dem headz rock inna junglist mashup/cfetort
da source full force with needlz on wax/my chaos
runs rampant when I free da jazz..." Out.   .
REGGAE LINKUP
4:30AM-9:00AM
Hardcore dancehall reggae. Hosted by Sister B.
r
SUNiDAY
Reggae Linkup ■
Are You Serious? Music
(EC)
PRt$!* ;      Rockers Show
(RG)
1
Blood On The Saddle -
MONiDAY
;.      Fill - lo ". j«d
Breakfast With The 0
Browns
(EC)
Discorder
Radio One
Mystery GWS&SPj
(PO)
Parts Unknown
(PO)
TUESiDAY       WEDNESiDAY      THURSiDAY
Pacific Pickln'.
Third Times The Charm
■feb|^T- Show (EC)
P^S^liT-'   ReoltoRaallTK]
(EC) AWnWhAfcr
Sandbox Theatre
Circut Tracing
(DC/EC1
En Avant La     Tansi Kiyavs
Exquisite Corpse
Silllll
\. - Anoize'
The Shake I For The Re-
(RR) j cord (TK)
Democracy Now '
RumbleTone MotorDaddy
Radio (RR) (RR)
End of the World News
(EC)
Planet LoveTron
Fired Up (TK)
Unpack yburAblectives
Steve and Mike
(HC)
The Ondmanopoed
ShowfTK)  ■
Rhymes & Reasons
(HH)
FRiDAY
Caught In The Red
(RR)
' Sko-T's Scene-ik Drive
(SK)
These are the Breaks
...        (HH)
The Leo Ramirez Show
SATURiDAY
'Fill-In
The Saturday Edge
(RT)
6AM
7
8
9
10
Generation Annihilation |
PowerChord
(MT)
Code Blue
(RT)
W§':
g^g^jsolute Beginners
(EC)
Musique.(f^^^-'P3^
f£tv'iN§S,cessary Voic^. ;&
Serviette Presents...
.    . (NW)    |
mm
5 Chips With Saint Tropez
Everything |      (PO)
Straight Talk
(TK)
Meat Eating Vegan (EC)
Wener's BBQ
tocal (Ods Mate! Pedal Revo-
Good (EC)    J    kjflon (TK)
CiTR News, Sports and
Arts (TK)
Elec Jrolux Hour
(EC)
5
Wms
mm   .
Dreams(EG£ ??My Ass (TK)
Hex Your HdaglP'^J
■*/d»yw Sometime Wny--^
efPiiii*§ur For Kicks
.{EC}
■ ,6   ■
. .7
Queer FM
(TK)
WigRux Radio
(HC)
(PO/EC)
alt. Blue Monday (Gl)
(PO)
African Rhthms
7
'•?•'"
^>P|g^
SalaricrMir}jri^^^
' ".FILL-IN  jjfi
l^^SnQWr. With Greased
Hair (RR).^^SS>
8
9
Rhythms India
(WO)
(WO)
Folk Oasis (RT)
Live From... thunderbird
HomeBass
(DC)
Synaptic Sandwich
(DC/EC)
9
MSt&g
The Jazz Show       a
(JZ)
^^^stotpf^f |L Escapism
FlyTrapfECfl g§^0f0:
ilijl^^adia Hell - '-J.!
10
11
Trancendance
(DC)
Hans Kloss' Misery Hour
(HK)
World Heat
Plutonian Nights
(DC)
11
12««
(PU) :-\
p $jg Aural Tentacles
|S1|B@1IJ
^yjkjiThe        The Anti-.
Scribbles       dote (EC)
12AM
1
The Show
(HH)
(EC)
Fill-In y
(EC)
EarWax
(HH/DC)
1
<3&U:
- Rrst Floor Sound System
(EC)
2
3
Radio Zero
(EC)
Psychedelic Airwaves
(DC/EC)
3
CH-children's • DC-dance/electronic • EC-ecle<
LM-live music • LO-lounge • MT-metal • NO-nois
Reggae Linkup
(rg|
: * EX-experimental • FR-French language * Gl-gorh/industrial • HC-hardcore • HH-hiphop • HK-Hans Kloss • Kl—kids • JZ-jazz
» NW-Nardwuar • PO-pop • PU-punk • RG-reggae • RR-rock • RT-roots • SK-ska • SO-soul • SP-sports • TK-talk • WO-world MUM/.
Summer Make
Good CD
It might not seem like it at
first but the good people of
' lcetand?fi|y appreciate    1
summeri|8 a land of some- W
||times Stjpess winter days the sun is profoundly sjtjnifi-
'• late -sl8^ more so than in beach-iaden climes, m fact,
.s^sre^stm's excessive production shines forth ublq-
h^m^Mien when unwanted and ignored Despite their
JiJ§g|pharms, Califomians simply cannot treasure the
,' stpmer season with the same degree of depth, for
;^^pi^!fndless summer" rhetoric aside Anyway-
*?*$8Hb important here is that Miis^lil^pWduced a       s
_ f|K>rd that captures this special (Jeep ajpireciation of y|
isammer. Indeed, Summer Make Good sounds like the. .t
summer colour palate turned into stirring music, the  .-
Slighter shades of late spring deepening tnto the robustness of summer proper. Please note; tdeal for warm
WMe listening, too.     ^IfejtfiF^ ^W Mr
CD19.SP
Ifirst NaiTows CO   #p
The apparent simplicity o|Scott'1&eif Morgan's
loop-based computer ifrasie is highly deceptive* It Jl
masks multiple levels of exquisitely heh and radically,.^,,'"'
1 precise sound desigrt. This fellow5|as good ears and • •
™ know! bow to filter a sonic fralmlm until every ^t^teVi
cy if resonaf1n| inperfect over-tonal accordijpdged^tr
aesthetics or technique, there's simply no denfjfcp, thai
j Loscil-music is a heady, immerse;joy. First Narrows is
i the final part of a trilogy that thipjeal electronica artist
! extraordinaire has produced frjPehicago's Kranky label.
I It's certainly the best r^rjipf a never-less-than-wonderful
i series and sees Morgan Ixpanding his Jrnusical palate i
ijph the inclusion of subtle, snaking guitar figures |f
gimong the digital flotsam. World classy t ftlf f|
l]lmtm®^m. Mi \
C016.98
JOUE HOLLAND
Escondida CD |
This former Be Good
Tanya took the other roadij
• and ended up in sotr#
American ghost town.
: There's a folk quality, son
dusty blues and alfi^aa, but also a real sense of city
life, tike if teh&ei Orfgfhated in apartment buildings in
Los Ana^tesubuft^ifid not the Mississippi Delta. jl
jr Similarly t$js^$t$a$ has a voice that con£ires-,*jp
| equal measareMf ttllie Holiday and Cat Power --jf
almost exaefJ$p|grftJie middle Xnd fo/a second^ -
release, the \&ffiW fjiystery around Holland has not lifted: she is asbeiuMg anslwejMHdden as before. With
r fans like Tom^Afalts^Nicfc CaWe^nd Daniel Lanois,
1 Holland is probablygworth ^rii$ear$oo. ^\   -
na vfcf ##f# m~
R smmgt Ma f
i     »     i  *^     i«s»»^^ -s»s»»««fk   «»" ^^# '     "      ■ ""■     ■•      " "^^
lection right from
FROG EYES §;
EgoScriptorGD
Increasingly cod Frog-Eyes'
Carey Mercar takes a low-It
acoustic turrf^n this W^^htigJ
new CD on super-cool"
Absolutely Kosher Record^^S
playing hits both old and not-yet-released. Although the
full band deal is awesome, especially live, this pared
down recording is somehow more immediately invtbng
And while Mercer stjH waits and moans like a drunken
early history professor, as we love him he's toned down
™§ugh to permit "dos^lamination of every nuance in
his detgriry, rather then Wow us away with his usual full-
throated vociferousness — again, especially w Mighty
and grizzled Mercer may indeed well be as wed as liter
ate (if super cryptic) but here often tender as well which
is-uost we'eome-Ueawll-read andin I ■■.   ■•!
teddy bear with a drink issue. Get fi while you can.   p
CD 16.98
LES SAVY FAV
Inches CD+DVD
This is a band that does it
then own way. For examph
this collection covers seven
years worth of seven inch
records somenowrare.lt
ikseemstheirianwasto
' M start, §1 a seven fear pllfc This is remarkable foref
^ightj^trrjadt^ pnink hot working/the sad industry ■
trearif)$}i (otherwiSsftbmeto all kinds of culprits, suck-jjj
upsaltfweaklingsrjot worth mentioning). Not to say trip
these ijuys areffuliJan ir$§pntrast, or whatever, butthejj^
are kfejing it Baal. For olafan^with ffb^ord-cajfectino;
im^^^jis setwjj^tea gfWrelief For unimh&d|:uri-
t.ous^^l'stene^Pfe maywll be the best Intt^udon
pojipefto this argil's stuff. Just remember rj&thing:
MIM^ sbOBfojIiKseen to be believed.     If ^
co+ovo jpl
MAGfCTC FIELDS ;. ftgl
Following a masterworkiite-S9 Lowe Songs must not t\
.r be easy. No wonder thejong wait for the great return. - ■
True, Stephen Merritt has^heen busy elsewhere, making
sOffiidtraci® andjwh^^r antf all worth a listen, ftjfe v .
Magnetic Fields really is his flagship project, certjjfe- \
the one with wide^af$eal'{r(Qt to undervalue his other ?
I great projects, rntpdyetu), ffojv on Nonesuch a stspTor |
- twojtip the industry tender from Merge, this new release '\
,. J§s a loose coricsj&iai ftamfMFQFlc, even looser than ^ f"
^p»e Soigc; all (rfwe songg^egin with the letter^, f 1
^tef? We dorfWww. ButweUriist Merritt has ajfcS J-'
S^p>B tor this choice...or not. Actually, who caWl? J&
."^Stwe do know is that Merritt is un(»fljponf^^6fterJ^
rS^songwnter and lyricist, kind of li|» a^srtJSwWrd y-
^iWwtndie underground. Cheers. -^l^pP-"'
CD 14.98
JOEL R.L
PHEIPS&THE
DOWNER TRIO
Customs 2CD
L^png overdue new work by
<Kj^^highly regarded recent
&^gr€ and all-round deep dude. It's always "amps up"
for Mr Rielps and the Downers, even when mellow and
cool. But it is necessary to think of amplitude in a more
manifold sense, meaning passion, intensity and purpose,
not simply volume qua volume In other words, when   .
everything is meaningful, everything's going to be loud, -
even when rfs quiet if you follow And when 8% Frjpk . <■
comes, and boy ft does, it s f ucteig great - like Craiy,-
Horso prssed off. Displaying thefr keen musicologlcal
know-how, easterns also comes with an EP of well chosen covers, making this an incredible deal as well as a
great new record Get down with this,
2CD 16.98
THE PIXIES
Wave of
Mutilation: Best
TP/DVD
%v>^e?Chyeah,
^jlfk Following the
momentum of two massive sold out shows at the
Commodore and then on to the rest oi the world. Ah,   :
yes - it's coming back to us now. There we were, arms
waving, singing along, drunk. Fantastic stuff. And here
is i greatest hits package to really seal the deal - sojP
Now re-ive the memories in the comfort of your ewrr
home No teeming hordes, no barricades, no chanting
and shoving, just you and digitally purefWes hits. But
no simple nostalgia trip for the aged, this 13 track compilation rocks all the way, from Bone Machine to
Winterlojtg Indeed, as they did on stage. This time,   ,
don't wait for the encore for your favorrjej
CD OUT MAY 4, OVO OUT MOW . I
CD 16.98   DVD 19.98
DEVENDRA BANHART
Rejoicing in the Hands CD   .
Just-recently, a growing number of indie rock hipsters
have started to adopt the trappings of old-school
I h'f)iPfn- ^*r surPri s,n9^> *•*retreat into n0^e
' prttfcism arj^-unabashed sj^f^itylhas'f^vedm^ i
IbaiiSg -jNeast not for tj||ipt^f music beinf | **
|pn^pd/pbcovered. Ta^'t^k afoBplyou -Ml\
Wps®iesarft everywhere and Davadgrj Baobart is their
"lunpheir-Sa^iur. Rejoicing in theyl^ps Ais ft
' d|eaihy S^^Bed songsmiths lates|Jbu$fon ifof §
mn Bolail My bedroom daze It comes to us courtesy of Michael Gira's ever-excellent Young God label '
and seems setts become .fine of th> defining docdh W
meflsic^he new courrfe*li»1urape9fisciousness."
CAROLYN MARK
The Pros & Cons
lisp
of Collaboration
The third recorifrbm this
1 acerbic torch crooner,
roots-country luminary and self
Sister". Quality control in high et
the others, plus the dependable \
Slip
roctaimed "other Cora
ect for this one as with
atue of the Mint seal of
even still in tha eeHo-
s well, event! Mark has
boraSon Prevaricabon
otamthjs respect: Fori
CD 14.98
REIGNING
Too Much
Qemembef the
riaimoreaccui
Memphis garage
that very easy. ..H
over and here cot
player} laigtflaf
Cartwright. 2002
er hit here-a Ml;
for this one, enM
CD16.9K
3,taM|vere
irgjphit like
lithp war's
^Ra bass
os, Greg
Was a sleep-
FOR
MORE FOR MAY, I
|«ORE... MAE MOORE!
OJ Signify- Sleep No More C0/2LP Features    |
Buck 65 and Sage Fraacfet
Vast Aire - Look Mora lo Ws SJi»/CO SeTo
ttaHtit from Die Caontiaf fix eaicce
Black OxQrkesfer - *er Taazt? 180b !*A»
Jewish folk song from Constellation.,
The One AM Radio - A Name Writ In Water
LP/CO Recommended nocturnal indiebonica
Architecture in Helsinki- Fingers Crossed
CD Superb smarty-pants pop from Australia 'm
Parks and Rec - NAM CDEP In stock at last-
solo debut from Secret Three guitarist
Throbbing Gristle - Mutant Throbbing GristleV
jlfLP Industiia^Sip remixed'
Chris T-T - London is Sinking CO The best |p'
Britpop album since we-dont-know when ^^
SALE PRICES IN EFFECT UltJfMAY 31,2fJ04
her jball show^&xE&Medfa C&p thai?^«afjg {8 jr^rJL -i^ax^rShow)
I 7teCdPDS\
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
www.zulurecords.com
STORE HOURS
Mon to Wed 10:30-700
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00

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