Discorder CITR-FM (Radio station : Vancouver, B.C.) 2008-11-01

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 ___Ww Weatfiefi
Hots Can. You
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Rockstar ]\|§
THE BAND? * CiTR 101.9 FM presents... the longest ninning music battle in Vancouver
4th     Body Politic
Hidden Fortress
The Magician
The Stereo Three
i Oj-U    Zombie Pistolero and His Guns
j Fur Bearing Animals    ^>
2^   Language-Arts
The Sappers
j Lakefield ^
Evenj Tuesday nigkt, skows at 9 PM
Tke Railway Club (Seumour/Dunsmuir)
* Bands subject to change.
For the latest schedules and results, visit:
http ://shindig.citr.ca
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November Production Manager
Kristin Warkentin
Copy Editors
Joraie Yow
Alex Smith
Kristin Warkentin
Melissa Smith
Brock Thiessen
Ad Manager
Under Review Editor
Melissa Smith
Datebook Editor
Melanie Coles
RLA Editor
Brock Thiessen
Layout + Design
Nicole Ondre
Miranda Martini
Becky Sandler
Andy Hudson
David Sienema
Bryce Dunn
Dan Fumano
Alex Smith
Mine Salkin
Alex Hudson
Rosalie Eckert-Jantzie
Nathan Pike
Luke Meat
Aaron Goldsman
Justin Langille
Mark Richardson
Rob Willis
MeUssa Smith
Collapsing Opposites'
November Calendar
Aisha Davidson
Photo & Illustration
Gerald Deo -
Adam P. W.Smith
Ryan Walter Wagner
Freddy Harder
Amy Scott-Samuel
Laura Hatfield
Aisha Davidson
David Sienema
Caroline Ballhorn
Louise Reimer
Program Guide
Bryce Dunn
Luke Meat
Peter MacDonald
CiTR Station
Brenda Grunau   .
Student Radio
Society of UBC
Mt. Royal playing
on Four on the Floor
Projects in Edmonton:
Laura Hatfield photo.
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\Locdl genre-jumping songstress gives -us tbe
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Editor's Note + A Letter
©DiSCORDER 2008 by the Student Radio Society of the University
of British Columbia. All rights reserved. Circulation 7,000.
Subscriptions, payable in advance, for Canadian residents it
used to be $15 for one year; $15 US for Americans; and $24 CDN
elsewhere. Single copies are $2 (to cover postage). Currently,
we're" talcing a look at changing these prices to look more like
rates from 2008 as opposed to our current ones which don't cover
postage. If you want to subscribe send an email to our editor
and we'll work something out based on current postal rates.
Please make cheques or money orders payable to Discorder
Magazine. If you would like to" write for Discorder contact us
at editor.discorder@gmail.com. Ad space is available for the
upcoming issue and can be booked by calling (604) 822-3017x3
or emailing discorder.advertising@gmail.com. Our ad rates are
available upon request. If you would like Discorder Magazine in
your business, email distro.discorder@gmail.com to be added
to our distribution list. If you send us anything and it somehow
gets broken, lost, mishandled, popped, exploded, misused,
scratched, eaten or damaged in any way we won't replace it,
reimburse you or do anything about it at all. That is unless we said
we would before you sent it to us or we think we probably ought
to as nice people. Discorder is published by CiTR, which can be
heard at 101.9 FM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR
DJ line at (604) 822-2487, CiTR's office at (604) 822-3017 or CiTR's
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9364, email CiTR at CitrMgr@ams.ubc.ca or pick up a pen and
write #233-6138 SUB Blvd., Vancouver, B.C., V6T 1Z1, Canada.
Hey guys:
Love your newspaper, been reading it for a
while now!
I would love to see more interviews with
the bands from the Emergency Room and
that scene. Nu Sensae, the Mutators or Twin
Crystals maybe?
Thanks and keep up the good work!
-Elijah Albright
Those of you who agree with Elijah will
probably be interested in looking at the interview with Gang Violence on page 18.
We haven't covered Nu Sensae, the Mutators and Twin Crystals due more to circumstances than any dislike for the bands.
The Emergency Room, though, has been a
touchy subject for us in the media. We haven't
really wanted to report on it too explicitly as
we don't want it to be shut down. Same goes
for some of those other fun venues that occasionally show up in Real Live Action or grace
our calendar, but are only semi-legal at best.
Reporting on that scene draws attention to
it, which is good for any bands who are hoping to make money. People who know about
them will pay to see them, buy their T's, etc.
The downside is that as Gang Violence
drummer Bobby Siadat points out in the interview the more everyone talks about places
like the Emergency Room the more likely
these places are to be shut down.
However, at a certain point a venue, such
as the Emergency Room, has existed for so
long that it is in the public eye enough that
it is an elephant in the room. Obviously, some
police and city workers know about its existence. They have been sensible enough to turn
a blind eye. Looking the other way will only
work for so long and at a certain point the city
needs to start working towards legitimizing
those who are using and running places like
the Emergency Room.
As Siadat also points out, though the scene
doesn't die with the loss of a venue. More and
more musicians that I have been talking to
have been crediting the tough venue situation
in Vancouver with the strong music community that has built up around underground
venues in Vancouver. Art and culture often
benefit creatively from being on the fringes
of society. Those at the edges see things and
think in ways that those in more comfortable
situations do not, allowing them to incorporate new ideas into music and art.
On the other side of things there has been
a lot of talk in both mayoral campaigns of the
benefits of creating a vibrant cultural scene in
Vancouver and it seems at least possible that
upon election our new mayor may extend an
olive branch to Vancouver's beleaguered scene,
though what form that comes in will remain
to be seen. City hall is the place that most decisions about Vancouver's venues are decided.
This is good and bad. If it becomes easier to
run venues in Vancouver, the need for places like
the Emergency Room will diminish and the
brilliant scene it has fostered around it will gradually fade into memory. That's the downside.
What I think outweighs this, though, is the
benefits Vancouver will get from having a diversity of choice for bands to play at legally.
They won't have to work as hard to find somewhere to play, but easy venues will mean more
bands and that will mean bands will have to
work just as hard to get a step above the competition. As it still remains uncertain whether
anything will come of the campaign posturing, I may be speaking to soon, but if Vancouver's music community is asked to work with .
"the Man," it's not the end of the world.
Jordie Yow \pj
Are you a writer who happens to be hopelessly long-winded? Or
do you have some ideas that won't be contained within the typical
review that make up the majority of music magazine
Are you an illustrator looking for another creative outlet for all that
bottled up genius?
If you are either of these things, we want to hear from you! Discorder is looking
for features writers interested in writing in depth articles and illustrators to help
fill our pages with beautiful things. We can't pay you, but your ideas and name
will be printed for all to see.
If you're keen, we welcome pitches, submissions and efforts to make
contact, both timid and bold.
Writers should email Jordie Yow at editor.discorder@gmail.com.
Illustrators, contact Nicole Ondre at artdirector.discorder@gmail.com.
Discorder Magazine I by Bryce Dunn
We start this column the same way we ended the pretrials month's—with local lads Defektors. No sooner
had I sung their praises last issue than they delivered another
knockout punch, this time with even more emphasis on getting folks on the floor to shake what their mamas gave them.
"No To The Nite" and "Torn To Pieces" both ride rollercoaster
bass riffs, staccato-punching guitar licks and ragged but right
drumming. It seems no other band can seamlessly draw from a
number of genres and make it look so easy. This is beat-punk-
garage-art-rock at its best.
The Nodzzz debut dared to be not only a front runner for
top spot on the turntable hit parade, but also a good candidate
for a musical guest spot on cool children's cartoon show Yo
Gabba Gabba with two songs of cartoonish pop fun in the
songs T Don't Wanna (Smoke Marijauna)" and "We Are The
Only Animals". Think Modern Lovers' off-kilter rock-and-
roll melodies infused with die Dead Milkmen's lyrically-witty
punk pop and you're off to good start. These San Franciscans
are on to something, but musn't sleep too long: they've apparendy released more material hot on the heels of this record.
World War IX somehow stepped out of their homemade
time machine and into a futuristic apocalypse where simple
sloppy punk rock is the weapon of choice for fighting their
enemies: religion ("Jesus Freaks"), dodgy drug dealers ("Treasure Hunt") and nutty alcoholic neighbours ("Portrait Of Sobriety"). Fans of early Queers, the Nobodys and the Angry
Samoans will surely dig what these Brooklyn bruisers are laying down. It comes in a cool hand-printed brown-paper-bag
sleeve so after spinning your wax, you can hit the bricks with
refreshments safely bidden away as you patrol your post-apocalyptic neighbourhood.
Lasdy, a foursome from neighbouring Norfolk, Virginia,
the Villains (not the most original name in the world and not
the Vancouver ska outfit) played some mighty fine power-pop/
punk in the vein of their peers, such as Gentleman Jesse, or
their predecessors, the Real Kids. The A-side "Villain" is a
great mid-tempo rocker, with some gritty guitar leads, while
the B-side "Favorite Song" sped along at a plucky pace and
reminisced about their reckless days as youths with nothing to
do and nowhere to go. Devil Dogs fans take note: Steve Baise
is on guitar and vocal duties so any self-respecting fan of that
legendary band should be checking this out.       VD/
Hockey Dad Records,
415tt Brant St.
Vancouver B.C. V5N5B4
The Nodzzz
Make A Mess Records
World War IX
Red, Black & Blue Records *
P.O. Box 982 '
Vernon, NJ USA 07462
The Villains
TA. Records
Film Stripped
High (School) Fidelity: Nick andNorah's Infinite Play list
by Daniel Fumano
~\7ck and Norah's Infinite Playlist is
JL Va cute, fun and overall forgettable
film from director Peter Sollett. Based
on the novel of the same name by David
Levithan and Rachel Cohn, it's a rom-'
com for the indie crowd, set in the seedy
late-night rock clubs of lower Manhattan and Brooklyn. Its soundtrack features
a number of Pitchfork-approved bands
(whose names, interestingly enough,
appear during the opening credits, as
though they were cast members).
The film follows a group of young
people on one epic Friday night, on the
town. Michael Cera plays Nick—a nervous, awkward, clever and ultimately
endearing character that is like nothing
you've seen him play before. That is, unless you've ever seen Michael Cera appear in anything ever.
Nick is a member of a queercore band
called the Jerk Offs, of which he is the
bassist and only hetero member. He's
heartbroken over the loss of his girlfriend, Tris (the Lolita-esque Alexis
Dziena), but his bandmates convince
him to get out of the house for a gig in
the city.
Over the course of the night, Nick
meets Norah (Kat Jennings), a classmate
of Tris who secredy cherishes Nick's lovingly prepared mix CDs that Tris carelessly discards. To Norah, this seems to
be more important than anything else
about Nick They even share a favourite
band: a fictional underground group
with the unfortunate name Where's
Fluffy?, and they spend a large part of
the night trying to find the location of a
secret gig the band is playing.
Much like the ostensibly super-cool
band Nick and Norah chase throughout
the film, Infinite Playlist is fluffy. It often pushes the boundaries of believabil-
ity and sometimes the plot contrivances
reach the level of straight-up silly. Still,
it's hard to say if any teenage romantic
comedies achieve (or even try for) any
kind of realism.
Infinite Playlist is a fun ride through
New York City. Riming on location in
Manhattan and Brooklyn, Sollett makes
a loving document of the streets in the
City That Never Sleeps, complete with
familiar landmarks such as the Bowery
Ballroom, Gray's Papaya, Kate's Deli
and of course, Williamsburg, a neighbourhood that has become synonymous
with the hipster demographic that the
movie targets.
Music is central to the entire film, in
more than its great soundtrack (which
features Band of Horses, the National,
and a great previously-unreleased song
from Vampire Weekend), its equally
great (if underused) score by Devo's
Mark Mothersbaugh, and some fun (but
brief) cameos from musicians like Devendra Banhart and Bishop Allen. Music is the main love in the lives of the
two main characters, and it's the driving
force behind most of the action in the
In the end, Infinite Playlist plays out
something like When Emo Harry Met
Indie Sally or maybe High (School) Fidelity. The film, like the hipster kids in it,
is sometimes too concerned with being
cool. But it's also very likeable and genuinely funny. A music lover could do a lot
worse for a fun date flick
needed for our 24 Hour
Rape Crisis Line and Transition
House for battered women
For an interview, please call
Vancouver Rape Relief & Women's Shelter
November •^: rvs ir v^<o: ;|oif•*.
Textual ly
by Andy Hudson
Aspiring Spin, Wire and Discorder writers will want to crib the
original writing in this 32-story
anthology, poaching from music critics
like Brandon Perkins, whose "Wu-Tang:
Widdling Down Infinity" prophesies the
demise of the Wu-Tang Clan in the style
But for anyone curious about music,
flipping through Daphne Carr's Best Music
Writing series offers a wide and considerate take on the music playing outside your
Sliding "American" into this
collection's title
might be more
the stories come
from American
media. Big city
dailies and mainstays like Slate,
the New Yorker
and Oxford American get multiple
entries in, but upstarts Eaves of Ass
and the obscure
Broward- Palm
Beach New Times
get a word in, too.
Despite its US
base, some of the
best reports in this
collection come
from abroad. In §
"We Sing Everything.  We   Have
Nothing Else," Eric Pape exposes payola
and Western Union ads in the lyrics of the
Congo's Kinshasa pop scene. Reporting
from Oslo, J. Bennet tracks Dimmu Bor-
gir's rise to commercial success from the
church-burning black metal underground.
In Scandinavia, we learn with Bennet that
"there's only one true black metal fan, and
he lives on the edge of a cold lake on a
cold mountain in the middle of Norway
just moaning to himself." ♦
Extra play is given to race in this 2008
edition, which is fitting given that the
year's most talked-about column was
Sasha Frere-Jones' lament on how indie
rock has gotten too white. Tne collection's
first entry is Carl Wilson's thoughtful "The
Trouble With Indie Rock: It's Not Just
Race. It's Class," an article which guest-
editor Nelson George coyly introduces as
a "pimp slap" to Frere-Jones' article.
Themes of race and class also reflect
George's personal interest. A long-time
columnist at Billboard and the Village
Voice, the two books he uses as his guiding lights are Leroi James' Blues People, "a
polemic about jazz, race and politics" and
Greil Marcus' Mystery Train, which talks
up American history, class and rock.
Along with these more poignant themes,
it appears that Gen-X journalists are not
done writing breathless stories about Internet tastemakers like Pitchfork, MySpace and Elbo.ws.
But, aside from
the reporters' occasional tinge of
envy for younger, ,
post-Web readers who never
scraped together
demo tapes or
50-issue fanzines,
it's exciting to see
them trace the
network of your
online piracy on
paper. Jp5£l^
In his intro-
duction, George
lays out a three-
part scheme to
what this book
and music journalism are generally about: profiling artists, giving
context to music
trends and digging up whatever
history forgets.
As ordering principles go, George's are
solid but boilerplate. Best Music Writing
would not provoke the way it does without his editorial collage. He nuzzles a
think-piece on Britney Spears beside the
tour diary of Phoenix punks NunZilla. He
chases down a piece on Louis Armstrong
with "On Lynyrd Skynyrd and the White
Trash Thing."
Reading Best Music Writing has the
same effect as a bracing mix tape, where
Can follows Prince who follows Melt Banana. Which is to say, it might get you
thinking wider.
noteworthy n
Local Musicians
Pay^jribute to
In late September, many people throughout
Vancouver and B.C. were shocked by the
sad news that the local rock band the Hotel
Lobbyists were involved in a serious road accident, just days before completing their first
cross-Canada tour. They were headed westbound to Calgary from Winnipeg in the early
hours of Sept. 25 when their van flipped on
the Trans-Canada Highway east of Brandon,
Tragically, Lobbyists drummer Mike Gurr
was killed in the crash. He was 26 years old.
Singer James Wood was thrown from the
vehicle and badly injured, placing him in a
Winnipeg hospital for several weeks, while
bassist Jordie Dammet and guitarist Jordan
Isaacs escaped without serious injury, as did
the driver.
In addition to being a talented drummer,
Gurr was a highly-regarded and well-loved
member of the local music community. His
friends in the Vancouver music scene were
devastated by the news, and responded by
coming together for a fundraiser and memorial for him. On Oct. 16, a large crowd came
out to Pub 340 for A Night of Music in
Mike's Honour, which featured performances
by a number of the Hotel Lobbyists' friends,
including the Smokes, the Stumblers Inn, No
Horses, Thee Manipulators, Shiloh Lindsay,
Earlstown Winter, and Cadaver Dogs, as well
as Mike's aunt, local «nger-songwriter Babe
On the night, Pub 340 was packed with
a friendly crowd (and more than a few Hotel Lobbyists t-shirts). In addition to being a
memorial, the night was also a fundraiser. All
proceeds from the cover charge went towards
helping the Gurr family with funeral costs, as
well as assisting Wood and his family during his
recovery. There was a silent donation box, and
raffle draws with prize packages donated by local businesses, musicians and record labels.
The event was organized by Ryan Hoben,
lead singer of local rockers the Smokes (who
also performed). Hoben, better known to his
friends as Wally, made it clear how much he
and the rest of the performing musicians care
about Gurr, Wood and the Hotel Lobbyists.
"The night has been a great success so far. We
all love both of those guys," said Wally. "Mike
and James are just the two best guys."
According to Hoben, it wasn't difficult to
get the performers to help out—the Lobbyists are so well-loved around town that their
friends were eager to help. In fact, other
friends who were out of town sent their love
and wished they could be there. Tn between
acts, a note was read out on stage from Becky
Black and Maya Miller, the local blues-rock
duo known as the Pack AD. The girls had performed with the Hotel Lobbyists for the first
part of their tour, playing several Eastern Canadian dates together. Expressing their wish
to be in Vancouver for the night, Maya and
Becky's note announced "We miss Mike. And
we worry about James."
For his part, Wood has been making slow
but encouraging progress in the hospital in
Winnipeg, where he has been joined by some
family members, including his wife, Kim. A
trust fund has been set up for anyone wishing
to contribute to Wood and his recovery and
donations can be made at any Royal Bank
through Transit #3160, marked "Attention:
Sue Gibson."
Wood, along with his longtime friend,
Gurr, grew up on Vancouver Island, and in 26
short years, Gurr accomplished enough to fill
a much longer lifetime. He was a stand-out
athlete, playing rugby and football in high
school, then going on to play college football
at Camplain College in Quebec. He was also
an active film-maker, and studied film at Capilano College in North Vancouver. Though he
struggled with altitude sickness, he suffered
through it to climb Mount Kilimanjaro to
raise money for diabetes.
Backed by Gurr's always-impressive work
on the drums, the Hotel Lobbyists were an
awesome live experience, which got better
with each and every performance over the last
couple of years. Anyone lucky enough to meet '
Mike and share a beer with him after one of
the Lobbyists'shows will invariably remember
his smile and his genuine amiability.
In the many shows of respect for Gurr appearing online, in the media, and at memorial
events like A Night of Music in Mike's Honour, friends and family have paid tribute to
his good nature, his larger-than-life personality and his talent. The profound response to
this tragedy has made it clear how deeply and
dearly Gurr will be missed.
A second fundraiser for members of the Hotel
Lobbyists will be at the Biltmore onNov. 21. The
lineup features the Pack AD, Swank, Ford Pier,
the Beladeans, CC Voltage, the Luna Riot, the
Hawaiian Bibles and Valerie Graham.
Discorder Magazine _____-mm**.>.+. m
a Minivan?
Collapsing Opposites and Bible Belts
Tour Projects
Laura Hatfield, Ryan McCormick Jarrett Samson, Alison
Therriault, and Chris-A-Riffic recendy traveled across
Canada. While their bands—Collapsing Opposites and Bible
Belts—rock-and-rolled 23 times in 19 different cities, they
were excited to be providing more than just a musical show for
passive audiences. Their goal? To present a wide range of art
projects which would provoke thought and encourage involvement, transforming audiences into participants in a vast nexus
of interactions, sights and sounds. At each of their shows, a
clown named Dr. Storey (played by Therriault) would appear,
surveying audience members with questions while gathering
their art and ephemera to form a collection for Whose Museum.
Meanwhile, Four on tbe Floor Projects had three visual artists
to join the bands on stage by placing their artwork on the drum
kit. The following are some results of these collaborative efforts.
Dr. Storeys
Preliminary Report
The study consisted of two main methods
by which data was collected: the solicitation of
art objects from the audience to be included
in Whose Museum, and forms filled out by the
audience regarding the object submitted. Results were gathered from a variety of sii
Canada, reaching as far as Quebec. The focus
was on the demographic commonly referred to
as the "Indie Rock" community; however, selec-
n of sites was sufficiendy varied (houses, bars,
art galleries, backyards, etc.) to gather a diverse
sample from the community. What is most ex-
j citing about the data so far is that it appears to
contradict a widely held assumption about this
overly hyped but poorly understood community:
namely, that its members are uniformly surly and
withdrawn. Rather, when approached gendy and
with a proposition that arouses interest, they
can be quite agreeable and enthusiastic, or even
downright excitable — of course, these are only
preliminary hypotheses.
Whose Museum is a non-exclusionary project that invites you to contribute your art and cool stuff to be included in its collection. All submissions are welcome, including
but not limited to images, objects, performances and other
works. Each piece acquired is cared for professionally;
related records are created in a database; and works are
exhibited and disseminated to the public. Over the course
of the cross-Canada tour, the Whose Collection of Art received over 200 submissions, a number which continues to
grow. If you are interested in contributing something, visit:
Here are a few favourite submissions from the road.
November Four on The Floor Projects
Four on tbe Floor Projects is a collaborative affair between visual artists and musicians that
takes the form of art exhibitions hosted on a drum kit used during live performances with bands.
For the current exhibition, three artists were invited to send their work across Canada:
x Avery Nabata's Light Shakes straps on an'archival cassette case full of light-emitting diodes
'flashing a lo-fi light show, occasionally flickering to the beat of the music.
MeUssa Cartwright's custom designed shoes, Left, Right, Left, offer the drums enough autonomy to run rampant in the night. One of the shoes actually disappeared in Edmonton, and
was later found by Winnipeg band Mahogany Frog who brought the shoe to Saskatoon so it
, could be reunited with its mate.
^Rebecca LaMarre's What Do You Think of the Band? teases the audience out of a potential
slumber by means of a relational text piece, giving the viewer the last word. Viewers were encouraged to write and submit feedback in an envelope found at the merch table.
For more information visit www.fouronthefloorprojects.blogspot.com.
1 uy        I @S '^a
A few responses to the question:
Vancouver New Music presents
1  1
Let's not chat about despair
1 JS j
29 November 2008 — 8 pm
St. Andrew s-Wesley Church
Burrard 8c Nelson
Her artistry is inimitably bold, impossibly masterful.
.    No one else will go where she goes vocally.
Or maybe ifs simply that no one else can.
- Megan Milks, popmatters.com
Tickets $35/$28 at Tickets Tonight   .
(www.ticketston ight ca> 604,684.2787),
Zulu, Scratch and at the doof
T$jjjj)fg~jF   Part of Art & Activism: World AIDS Day
..««».« nev. music  www.newmusic.org           .    photo by Austin Young
Discorder Magazine GSS50 	
Rockstar Menu
Those of you who have paid a visit to your local Denny's after a show may have noticed their
all new Late Mght Rockstar Menu. Not satisfied with knowing what Denny's rock stars eat
at night, Discorder asked a number of local acts what they eat after a gig. The answers were
varied, but we have done our best to modify their description into somethingyou will be able to
order from Chez Discorder, just as soon as we establish our restaurant.
 ("v^ry"^     Illustrations by Louise Reimer
. Text by the bands, edited by Jordie Tow
The PackAD's Tour Imports:
The Overpriced London Experience
Straight from London just after a show played
to a bunch of British people who have very tight
jeans and far, more money than the Pack AD (and
probably you as well). Enjoy, fresh from Stans-
bury's, a $3,000 cheese and pickle sandwich, but
you'll have to split it.
The French-Canadian Health Risk
Food from immediately after playing a show
in Montreal filled by some of the best looking
people the Pack AD have ever seen. They'll bring
you leftover poutine from hours before that's
been sitting in the back of their van. It tastes
good, but we hope you don't get some kind of
food poisoning.
Dim Sum Under A Streetlight
(Only available in the summer)
Streetlight recommends you play stickball
on a Friday nights within bike riding distance
of the Chinatown Night Market. You'll have
to wait Until after the game to get your meal,
but it's not far. After enjoying the Dim Sum
dishes purchased from stalls, you can peruse
the pirated DVDs, ninja swords and padded
bras, to enhance your dining experience.
The D. OA. Late Kigkt Rider
Comes with all of the following:
A steak sandwich (black and blue)
An insanely hot, authentic Mexican taco (chicken)
Grilled cheese sandwiches
Boxed red wine (neither brand nor quality are
A cooler full of Ne'wcasde Brown Ale
Johnny Cash's greatest hits on the juke box (turned
up extra loud)
A steaming hot cup of Turkish coffee with a shot of
Wiser's Whiskey
Empty Love's Cat Burrito
Empty Love's cat will go to Budgies and
fetch you a Henry. She's really lazy though,
so it takes till about 3 a.m. for her to bring
it back. A soggy, six hour old Budgies burrito is still better than the shit they have at
A Late Mght Snack for When You
Are 1/2 Alive
Sausages with butter.
The GR8-2000est
Sugar High Ever
This meal starts off with a big bag of Sour
Patch Kids that you can eat until your face goes
numb. Lick the bag clean and get a couple slices
of dollar pizza. You can totally double-decker
that shit! Like they do in Brooklyn or some-
d^K-   ■
Dinner for Three
(Members of the Choir Practice)
Comes with all of the following:
Keith Moon Over Beyonce:
A dirty mix of scrambled eggs, and broken yolks
smothered over organic free-range home-smoked
Give-Me-A-Bloody-Salad Salad:
A tall glass of vodka in ice, with a splash of tomato
juice, two lemons, a pickled carrot and an olive.
The Black Mountain:
Sizzling blood pudding, kippers, tattie (potato)
scones and a side of brown sauce.
November IlTvg nRTiorrl
Now On Sale!
with the Danger
December 10
Richard's on Richards
Discorder Magazine
9 BSi^B
... ..wHRk
by Becky Sandler
Photos by Gerald Deo
Blending genres to create uniquely beat
driven, breathy, funky songs is what makes
the musk of Piper Davis stand out. In Spain at
the Red Bull Music Academy, she is developing her craft in hopes of making Vancouver
stand out.
Each fall, the Red Bull Music Academy gathers 60 participants and 40 lecturers in a major city for two sessions of
lectures, performances, recording and networking. In its tenth
year, the academy is taking place in Barcelona, and Davis is
there representing Canada. On the suggestion of friends in
the electronica community, Davis filled out the 15-page application in March and sent it in to compete with thousands
of other musicians from around the world. Traditionally, the
academy has attracted mosdy DJs and electronic musicians,
but as Davis explains herself as "more of a crossover sort of
person," she was a clear candidate for the expansion of the program. Davis' acceptance in August excited her, but she still had
no idea what to expect.
It seems kind of sketchy and disorganized, but I can see
that it is kind of on purpose," she says.
Calling from her hotel room at 1 a.m., Davis details the
experience of her first week in Barcelona.
It's kind of like a crash course in what surrounds music if
you are doing it as a job and so it's been kind of hectic and
crazy, she says. Each day, participants attend two lectures, visit
the recording studio and perform at night.
"I haven't been like this since I was 15 and raving all the
time," Davis jokes.
The lessons vary as* lecturers are given the freedom to tai-
lor their time in the classroom to their expertise. Davis speaks
excitedly of watching prolific reggae producers Sly & Robbie
make beats. She is also happy to learn to use the readable,
an electronic instrument played by moving cubes on top of a
glowing table.
Simply being exposed to new music has affected Davis the
most. The songs of Mexican lecturer and musician Natalia La-
fourcade, a Latin Grammy award winner, have motivated Davis to think more consciously about her songwriting.
"I get so caught up in making beats because it is just fun
just making beats," she says. "I think I am going to pick up my
guitar when I get home."      *J&i$&
The other participants have inspired Davis to think more
about the production side of musk.
"I don't really care that much about sound quality, I don't
really care about those kind of things," she explains. "I'm listening to these people who have really, really amazing technical skills... and just hearing the difference and it's making me
consider paying a Uttle bit more attention."
Collaborations are encouraged in the recording studios and
Davis is looking forward to getting more involved in^hejsec-
"I am mosdy thinking about just doing vocals over other
people's tracks while I'm here because I figure that is the best
way for me to collaborate with people and I have the opportunity now, obviously, to get really good vocal recordings."
The recordings made at the academy are available on the Red
Bull Music Academy website and each participant receives a
CD of the final products at the end of the session.   .
The memories of the session are also preserved na the media
coverage given to the academy.
"I didn't realize it was such a big deal,''mentions Davis,
as she describes being taken to meet the press in Toronto on her way to Barcelona and being filmed
.for a piece on MuchMusic. I'm not a huge
spotlight-y person. I like performing, but it
has been a big huge adjustment to be in
front of cameras aft the time."
Yet the media can provide opportunities for learning. "One person
said that too many of my songs
were the same kind of tempo
songs," notes Davis  about a
review of her opening turn
for Dragonette  last March,
a comment she says helped
her improve her live performance. However, she is skeptical about the impact media
makes on the promotion of
music. Davis mused that readers don't often take the next
step after being introduced to a
musician by a media piece.
"Maybe it will turn into something, but I'm not thinking about
it," she says. "I think playing shows
and word of mouth is probably more
Thus, Davis plays to as many crowds
possible, trying to find where her music fits
"I have played in between DJ sets, I have played indie-
feeling shows and iiow I am trying the hip-hop thing," she
says. "I played this one show at the Chapel, where there's a
stage; I think having a stage for some reason makes a big difference." f^%_^rt.
With the connections she has made, Davis has an opportunity to grow her music and her audience. Although she has
no Vancouver shows scheduled at the moment, you can listen
to her music on Myspace or find a copy of the EP she put out
this summer. Keep your ears tuned to Piper Davis; she is only
gettingbetfer.      ^y
10 The Sumner Brothers are a
family affair. The iconic image
the brothers use as a logo—a man
bent over his guitar with a cigarette
and centre hair part—is an old photograph of one of their grandfathers,
a jazz musician who had the misfortune of playing during the dying days
of the jazz movement.
Their tribute to a generation past doesn't
end with a photograph. Jumping out as the
first track on their sophomore self-titled album, "Both Back" is a song of pain, anger and
frustrated longing for two deceased grandfathers.
"Yeah I know it's too late, everything I love
is gonna be taken away" is the song's bitter
Fatalism. Hopeful fatalism. There is a light
that shines through this music despite its
sombre elements. The roots-country approach
may sound like the ballads of a Virginian
porch-step, but these guys are from Vancouver. Flannel shirts take on additional warmth
when paired with a Sumner Brothers tune.
Phill Saylor Wisor of the Shiftless Rounders—who opened the Sumner Brothers' CD
release show on Sept. 19—found a certain
spirituality to the Sumner Brothers beginnings. The Old Man of the Mountain, a New
Hampshire rock formation-in the face of a
man, collapsed mere months before the death
of Johnny Cash. This was during the time Bob
and Brian Sumner began playing music together. "[The Old Man and Cash] left their
vessels and came and found Bob and Brian,"
Wisor said glibly.
Coincidence? Yes. But this idea of transcen-
dence is illustrative of what one might expect
from the music of the Sumner Brothers: spiritual but not overtly religious, sombre but not
melancholy, reflective but not dwelling and
storied but not rambling.
But let's take a step back from the metaphysical. The Sumner Brothers are two guys
saddled with student debt. They subsist on the
scraps offered up by the dregs of independent
music and hope for a government grant on occasion.
This isn't just a
hobby. The Stunner
Brothers have discovered the need to treat
music like work. That
you might find their
posters from Vancouver to Hope is not accidental. They travel
for.- hours postering
for their own gigs.
Spending hours on
the computer searching for arts grants
may be tedious, but
when music is a full-
time job, it is crucial.
Not to mention the Internet savvy necessary
to attract nearly 31,000 MySpace friends.
Tne Sumner Brothers live to create and
their music is brimming with passion. Their
production creates a minimalist, open feel
much like Galiano Island where the latest
full-length, a follow-up to their debut In The
Garage, was recorded.
The brothers trade vocal duties, each delivering distinct styles that are raspy and broken
but controlled and authentic. They also both
play guitar, banjo and harmonica. Behind the
duo are Mike Ardagh on drums and James
Meger on electric and upright bass. Samantha Parton of the Be Good Tanyas also made
a guest appearance on the self-tided album
playing mandolin.
If their recordings can at times be slighdy
down-tempo, perhaps even morose, their live
show is not. The brothers can sing a soulful
ballad and without a moment's hesitation
switch gears to make an entire hall dance to an
energetic rendition of a Pete Seeger classic. At
their CD release, "Pay Me My Money Down"
became a foot stompin' sing-a-long.
You can find the Sumner Brothers'latest album at
Zulu, Red Cat, and Highlife Records or online at
CDBaby.com. You can see them live Nov. 8 at the
Railway Club, Nov. 22 at tbe Crescent Legion in
White Rock and Nov. 27 at the Media Club.
Discorder Magazine
11 L. >-
Zw Malos @ Balmoral
Jason Collett @ Richard's
The Noble Firs & Princeton
Tbe Awkward Stage, Dylan
Thomas @ Biltmore
Ray Lamontagne @ Vogue
Mad Shadow @ Pub 340
Versus, the Nothing @
les, tbe
-§ ®i ^ ^ «> *?<&>
< a
@ Red Roc
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ted Birds @ Am
, Hawaiian Bib
ss Years @ Asto
Bates® Pentho
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Channels 3 &4
j     @ Sweatshop
Medeski Martin and Wood
@ Commodore
The Luna Riot @ Railway
Sarah Noni Metzner @
Pedwell, Ryan McMahons
Quartered® Red Room
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£ 82
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/isten to CiTR online at www.citr.ca
You can
Wednesday    Thursday        Friday
BBC (News)
Pacific Pickin (Roots)
BBC (News) '
'  BBC (News)
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• •M.
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Give em The Boot
EWorld) '■><v3?'
Suburban Jungle
Breakfast With The
News (Talk)
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Synchronicity (Talk)
The Saturday Edge
(Roots)     1
Shookta (Talk)
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Fill In
Sweet And Hot
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-     (Ska)
M     '     Aft   Sh
The Rockers Show
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The Broadcast
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The Saddle
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XT      J-    -        T>
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R  ,.   F     r ,
F     ' '    C
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CimRebroadcast .
CITR Rebroadcast
on. Always rhythmic, ahv
lys      can hear some faves
you never      (Talk) 6-$
pm                            A]
TANA RADIO                     c
activating. Always crossinj
I         knewyouliked.
Dedicated to the gay, lesbian,       YOUR EARS
f»6rtl#9-10am                          I
bisexual, and transexual com-        (Eclectic) 8-9pm
SHOOKSHOOKTA.             1
munities of Vancouver. Lots       MONDO TRASHO
(Edectic) 8-1 lam
iTtf/*) 10-llam                       j
Reggae) 12-3pm
(Pop) 5-6pm
of human interest features,         (Eclectic) 9-10pm
Your favourite Brownsters,
A program targeted to                1
teggae inna all styles and
British pop music J
torn all de-      background on current issues     The one and the only Mon-
James and Peter, offer a sa
Ethiopian people that aims       J
ashion.          jOj,VT
cades. Internationa
pop (Japa-     and great music.                        do Trasho with Maxwell
voury blend of the familiar
at encouraging education           1
nese, French, Swed
sh, British,      <queerfmradio@gmail.com>          Maxwell—don't miss it!
and exotic in a blend of aural
and personal development in     5
US, etc), '60s sounc
Itracksand     RHYTHMSINDIA               TRANCENDANCE
delights. <breakfastwiththe-
Canada. *                                  1
Roots) 3-5pm
lounge Book your
et-setholi-      (World) 8-9pm                           (Dance) 10pm-12am
browns@botmail. com>
KOL NODEDI                      I
Leal cowshit-caught-in-yei
day now!
Rhythmsindia features a wide    Join us in practicing the
(World) llam-12pm                   1
loots country.
saint trope:
Z,                     range of music from India,          ancient art of rising above
(Eclectic) ll-12pm
Beautiful arresting beats and         £
(Pop) 5-6pm
including popular music             common ideas as your host
Fuji and independent music
voices emanating from all            (
Eclectic) 3-5pm
Welcome to StTro
pez! Play-       from the 1930s to the pres-        DJ Smiley Mike lays down
supported by a conversational
continents, corners, and voids..     ]
Dedicated to giving any lo-
ing underrated mus
ic from           ent; Ghazals and Bhajans,           the latest trance cuts.
monologue of information,
East Asia Scum Asia Africa.      c
al music act in Vancouver
i          several decades!
Qawwalis, pop and regional         <trancendance@hotmail.com>
opinion and anecdote focus
Tne Middle East. Europe.            c
rack at some airplay. Whei
l          <st.tropezl01.9@grr
au.com>          language numbers.
sing on the here, the now, and
Latin America. Gypsy. Fu-           r
ot playing the PR shtick,;
ou      QUEER FM
the next week.
L. <becktrex@gmail. com>-
(Talk) 12-lpm
Hosted by David Barsamian.
(Pop) l-3pm
Parts Unknown, an indie
pop show that has been on
- CiTR since 1999, is like a
marshmallow sandwich: soft
and sweet and best enjoyed
when poked with a stick and
held dose to a fire.
(Talk) 3-4pm
Vegan baking with "rock
stars" like Laura Peek, the
Food Jammers, Knock
Knock Ginger, the Superfan-
tastics and more.
(Eclectic) 4-5pm
Explore the avant-garde
world of music with host
Robyn Jacob on the Rib.
fiom new electronic and
experimental musHTtoim-
provisedjazz and new classical! So weird it will blow
your mind!
NEWS 101
(News/Talk) 5-5:30pm
Vancouver's only live, volunteer-produced student and
community newscast. Every
week, we take a look back at
the week's local, national and
international news, as seen
from a fully independent
media perspective.
(Indie *«*>6-7:30pm
(Eclectic) 6-7:30pm
Join jolly John Tanner, radio
survivor for almost half a
century now heard alternating Mondays with an edectic musical mix of many eras
from the '50s to today.
^dteHxk) 7:30-9pm
(Jazz) 9pm-12am
Vancouver's longest running
prime-time jazz program.
Hosted by the ever suave,
Gavin Walker. Features at
Jifev. 3: The classics and
pivotal recordings continue:
"Charles Mingus Presents
Mingus" carried over from
last month.
Nov.10: The Duke Ellington
Orchestra: "The Far East
*fafc!7: The Art Blakey
Quintet with Clifford
Brown: "A Night at Bird-
Nov.24: Stem Getz: "Focus"
43%asf 12-2am
Going on eight years strong,
this is your home for all the
best the world of punk rock
"has to offer.
(Roots) 6-8am
Bluegrass, old-time music,
and its derivatives with Arthur and the hm&ty Andrea
(World) 8-9:30am
Sample the various flavours
of Italian folk music. Una
programma bilingue chees-
plora il mondo della musica
folk italiana.
(Rock) 9:30-ll:30am
Open your ears and prepare
for a shock! A harmless note
may make you a fan! Deadlier than the most dangerous
SHOW ;-.'.
(Eclectic) ll:30am-lpm
An eclectic mix of indie with
cock, experimental, world,
reggae, punk and ska from
Canada, Latin America and
Europe. Local bands play
live on the Morning After
(Talk) l-2pm
Laugh Tracks is a show
about comedy. Kliph Nes-
teroff, from the 'zine Generation Exploitation, hosts.
<^enerationexplmt@yaboo. com
(7M,l2:30-3pm    -||gj
Movie reviews and criticism.
(Talk) 3-4pm
A national radio service and
part of an international network of information and ac-
tion in support of indigenous
peoples' survival and dignity.
(Talk) 4-4:30,
Radio that gets professors
talking at UBC.
Tune in each week to hear
Daryl Wener talk about the
world of sports. I'll discuss
everything from the Vancouver Canucks to the World
Rock Paper Sdssors Championship. <ethamwener@
(Hardcore) 6-8pm
Punk rock and hardcore
since 1989. Bands and
guests from around the
(Edectic) 8-10am
Live from the Jungle Room,
join radio host Jack Velvet
for an edectic mix of music,
sound bites, information and
inanity. Not to be missed!
<dj@jackvelvet. net>
ANOIZE (Noise) 11:30am-
An hour and a half of avant
rock, noize, plunderphonic,
psychedeUc, and outsider aspects of audio. An experience
for those who want to be
educated and EARitated.
(Talk) l-2pm
(Rock) 3-5pm
Primitive, fuzzed-out garage
(Talk) 5-30-6:30pm
(Pop/Edectk) 6:30-8pm
First Wednesday of every
month.   ' ^SJJSSm,
(Edectic) &30-8pm
All-Canadian music with a
focus on indie-rock/pop.
(Roots) S-lQpra
Two hours of eclectic folk/
roots musk, with a big emphasis on our local scene.
C'mon in! A kumbaya-free
zone since 1997.
(Talk) 10-11PM
Developing sexual heakh,«K-
pressing diversity, celebrating
queerness and encouraging
pleasure at all stages. <www.
This is pretty much the best
thing on radio.        ^0__^\
(Talk) 8-10am
(Jazz) 10-12pm
Sweet dance musk and hot
jazz from the 1920s, '30s and
(Eclectic) 12-lpm
Sweet treats from the pop
underground. Hosted by
. Duncan, sponsored by donuts. <duncansdonuts.word-
(Eclectic) l-2pm
Punk rock, indie pop and
whatever dse I deem worthy.
Hosted by a doset nerd.
< www. weallfalldoioncitr.
Ink Studs focusses on underground and indie comix.
Each week, we interview a
different creator to get their
unique perspective on comix
and discuss their own interesting and upcoming works.
(H^hrp) 3-5pm
(Talk) 5-6pm
/■&**) 6-7:30pm
Psychadelic, acid punk,
freakbeat, prog and other
grotesque and socially relevant artifacts from 1965 to
today, with a particular emphasis on Vancouver's freak
flag with pride. <www.mys-
(Experimental) 7:30-9pm
Experimental, radio-art,
sound collage, field recotd-
Recommended for the in-
(Live Music) 9-lipm
Featuring Uve band(s) every
week performing in the
CiTR Lounge. Most are
from Vancouver, but sometimes bands from across
the country and around the
world are nice enough to
drop by to say *Hi.'
It could be, global, trance,
spoken word, rock, the unusual and the wekd, or it
could be something different.
Hosted by DJ Pierre.
(Talk) 9-10am
Join host Marie B and discuss spirituaUty, health and
feeUng good. Tune in and
tap in to good vibrations
that hdp you remember why
you're here: to have fun! This
is not your average spirituality show.
(Ska) 10am-12pm
Canada's longest running
Ska radio program. Email
requests to
(Hip-hop) 12-lpm
Top notch crate digger DJ
Avi Shack mixes underground hip hop, old school
classics, and original breaks.
< beatstreet@tdasJnet\
(Dance) l-2pm
Betti Forde has been a
pro DJ for over a decade
She's djed throughout the
world in places Uke Paris,
BerUn, Rome and Malmo.
She couldn't be happier
to be back at-CiTR with
Tne Broadcast, showcasing
women in musk.
(Edectic) l-Z-Mpm
We play an international mix
of super-fresh weekend party
jams from new-wave to foreign dectro, baile, BoUywood
and whatever dse we feel
Uke. <www.radiozero.com>
(Nardwuar) 3:30-5pm
Join Nardwuar the Human
Serviette for an hour and a
half of Clam Chowder fla-   »
voured entertainment. Doot
doola doot doo.. .doot doo!
< nardwuar@nardwuar. com>
NEWS 38! tT__\) 5-6pm
(Sports) 6-10:30 pm
(Soul/R&B) 10:30-12am
Tne finest in classic soul and
rhythm 8c blues from the
late '50s to the early 70s, ki-
duding lesser known artists,
regional hits and lost soul
(Edectic) V2-2_t_n
Beats mixed with audk from
old films and dips from the
Now in its 22nd year on
CiTR, the Saturday Edge k
a personal guide to world 8c
roots music—with African,
Latin and European music
in the first half, followed by
Celtic, blues, songwriters,
Cajun and whatever else fits!
<steveedge3@mac. com >
(Punk) 12-lpm
A fine mix of streetpunk and
old school hardcore backed
by band interviews, guest
speakers and sodal commentary.
(Metal) \-3pxa.
Vancouver's longest running metal show on the air.
If you're into music that's
on the heavier/darker side
of the spectrum, then you'U
Uke Power Chord. Sonic assault provided by Metal Ron,
Gerald Ratdehead and Geoff
the Metal Pimp.
(Roots) 3-5pm
From backwoods delta low-
down sUde to urban harp
honks, blues, and blues roots
with your hosts Jim, Andy
and Paul.
(Worid) 5-6pm
The best of mix of Latin
American music.
(World) 6-7pm
News, arts, entertainment
and music for the Russian
community, local and abroad.
(Dance/Electronic) 7-9pm
The showedebrates its seventh year on the ak.
Every show is fell of electro
bleeps, retrowave, computer
generated, syntheticaUy manipulated aural rhythms. If
you Uke everything from
music/retro '80s this is the
show for you!
(Hip-hop) llpm-lam
Hosted by J-Boogie and Jo-
elboy, promising Usteners the
latest tracks, the classics, the
rare and the obscure, current
events, and the special features of peeps coming into
the studio. Most importantly
Usteners can expect to-be
entertained.. .church.
< klymkiw@gmail.com>
Discorder Magazine
o B
illustrations by Caroline Ballhorn
These days, weather can't come up in conversation without
being almost immediately dismissed as idle small talk. We
forget in the modern era of urban supremacy that not so long
ago, weather was at the centre of most people's concerns, and
could be discussed with impunity. Before the Industrial Revolution, everyone and their kitchen sink Uved on a farm, and
human sodety was at the mercy of the changing seasons. In a
lot of ways, it makes sense that our conversations stiU revolve
around the weather; most of us don't depend on it for our Uve-
lihood anymore, but the effect the weather has on our moods,
activities and entire consciousness is much greater thart we give
it credit for.
Canadians are particularly disposed to make weatiier-rdated
small talk for two reasons, first and most obvious, we inhabit
one of the nprthernmost countries in the world, and as a result
we tend to be either feeUng cold or preparing oursdves for the
cold most of the time. Second, cultural stereotypes paint us as
shy, unassuming beasts who would sooner take our own Uves
than meet a stranger's eyes on the bus—unless, of course, it's
below freezing and you want to complain to a stranger about
your commute from Surrey. In a world of fractured provinces
and individuals starving for human contact, weather is sometimes the only thread that holds us together as a nation.
Is it so strange that the same prindple should apply to Canadian music? It is only natural that music has been a primary
medium for creating an authentic sense of community. But
when did our famously atrodous climate become the common denominator for Canadian-ness? In 1963, Ian and Sylvia
recorded "Four Strong Winds," now the unofficial anthem of
Canadian heartbreak. It drew together the wistful summers
and biting winters of the prairies, and somehow this made it
a classic worth being voted the greatest Canadian song of aU
time on CBC Radio l's series 50 Tracks: The Canadian Version.
There must be more to Canadian cold and snow than just...
weU, cold and snow.
More recently, John K. Samson of Winnipeg heroes the
Weakerthans has championed a brand of gritty regionaUsm
that focuses on celebrating the stumbUng, unbeautiful face of
his hometown, and the poetry that he finds there. At the heart
of this creative ethic is—you guessed it—Canadian weather,
which is the undercurrent that drives much of Samson's evocative storytelUng: the curUng player in "Tournament of Hearts,"
the tormented bus driver in "Civil TwiUght," the many grumpy
Winnipeggers in "One Great City!" In aU of these things,
Samson sees and draws out what the French caU johe-laide,
or "beautiful-ugly," which is used to describe something with a
character that, although not beautiful, is somehow so real and
compelUng that you can't help looking at it.
The sense of dismal atmosphere providing a backdrop for
great music has inspked other Canadian artists to produce
some of thek best work. The bone-chilUng spiritual isolation
that comes with Montreal's bitter winters Uves in the Arcade
fire's music, even informing the instruments they use—aching
strings and echoing organs,The Be Good Tanyas, a Vancouver
folk group, constantly invoke the powerful dreariness of the
rain in their music, sometimes going so- far as to record songs
over top of the sound of rain. Vancouver's music scene runs the
gamut of perspectives on the city's cUmate, from a West-coast
sun-and-surf sound, replete with harmonies as lush as the city
(usually associated with the New Pornographers), to a wistful
gloom (as in the case of the Be Good Tanyas) to the downright
misanthrdpy of the punk and noise scenes, which are often
reacting to the Vancouver authorities that'restrict the scene as
weU as to the oppressive weather. Josh Rose, an abstract noise
performer and Vancouverite, addressed this negativity san-
guinely in an interview with Exclaim!: "It's harsh music for a
harsh envkonment."
Another important effect of a cold-weather climate is the
mass retreat to the indoors that happens at the first sign of
bad weather. While reduced activity outside of the home, and
therefore a downturn in the Uve music scene, might seem Uke
a killer of creative impulses, it has actuaUy helped to shape an
important Canadian contribution to music: the pop collective,
or what I Uke to caU the "New Pornographers Effect." Harsh
winters force people to find new channels for entertainment.
For the muskaUy indined, this usually entails a bunch of
friends seeking warmth in someone's basement and bringing
their instruments. These hours of playing music together and
sharing muskaftaste are the foundations for future coUabora-
tions and the formation of new bands. While this happens in
warmer dimes as weU, the number of supergroups spawned
across Canada in the last decade—with the New Pornographers based around Vancouver, the Arcade Fire based around
Montreal, and Broken Sodal Scene based around Toronto—
would seem to indicate a trend. So many of these coHectives
have generated several successful solo acts and further coUabo-
rations that they are essentiaUy responsible for creating entire
music scenes on thek own.
There's definitely historical precedent for this phenomenon.
For many people, the mention of East-Coast winters still conjures the image of a ceiUdh: droves of people crowding into a
kitchen, pulUng out instruments and jamming, just as a way
to escape the cold. This impulse has existed as long as humans
have populated cold-weather regions. While Canadian music
is often defined to the rest of the'world by introspection and *
soUtude, the cold climate canalso spawn a uniquely sodal and
coUaborative ethic.
In Vancouver, that spirit of coUaboration has had a greater
impact than anyone could have reaUzed. A city that has become notorious for its crippUng lack of support for venues and
performers alike shouldn't be able to sustain one of the most
vibrant and prolific music communities in Canada, but in many
ways this discouraging envkonment has chaUenged musicians
and friends to the scene to create a self-sustaining community.
The ingenuity and experimental spirit of its members are rewarded with audiences and like-minded peers.
Are Canadian artists trying to find an answer to the regional, homegrown pride found in much of American music? Almost certainly not. It's time we faced the fact that Canadiana
is reaUy a meaningless word that was made up in an attempt
to step out from the shadow of the American music identity.
Tne impact of the Canadian environment on Canadian music
is just the mark of a scene that has grown up and accepted the
conditions that have made it what it is—which is a pretty good
way of defining identity, Canadian or otherwise.
November Who's playing? When is it? Who's putting it on?
Where is it? Who're they? What do- they sound like?
How much are Jickets? Who's in that band?
Who else does he play in? Where did they play last?
When was that show? Where is that place?
What band's she from? What was his old band?
Has it been announced? Who're they playing with?
How do I get ahold of them? Did they break up?
Are they recording?' Are they on tour?
Are they still looking? Where does she book shows?
What kind of music is it? Who books that kind of stuff?
When   was   that?   Where   was   it?   Who   played?
I.__.._____ _. -*-*- -1.
comprehensive live music listings
in enri «■"""     «« sag**®
^S^^uI^IotiISd but
NOV 22
Qottjic B<^ 10-year Anniversary Ball
J)riMid£ti pne&eid cut eumingof
November 8,2008 ■ Club 23 West
Discorder Magazine o «oTir
f.,i-lifcO-,al -
\U?'it n
PAoto fry i?yan P4fr/fer Wagner I
Xith civic elections looming,
■politicians everywhere are
promising to fight gang violence,
but as it turns out, Sarah Cord-
togfcy (vocals), Rob Andow (guitar, synths, sampler) and Bobby
Siadat (drums) are. actually pretty
nice! This Vancouver trio recently
opened for heavyweights Mission
of Burma, only a few short months
after playing their first show at
Music Waste 2008. I caught up
With them in a dark alley behind
Vancouver's Peanut Gallery.
Discorder: Hey gang!
SC: I've been playing in bands in
Vancouver for a long time, but I've
never been in Discorder before!
So, Rob, you went to high school
with My!Gay!Husband!?
SC: That's going to be our claim to
RA: Pretty soon it's going to be him
saying he knows me.
Can you describe your sound in
five words or less (or more)?
SC: We're not electro-rock and
we're not dance-punk. We're dance,
we're punk, we're electro and we're
rock, but we're not any hyphenation
of them. few**" r,*>
BS: We're a pop-punk band.
Like Sum 41?
RA: Yeah, exactly! We're exactly
like Sum 41.
Could give us a short history of the
RA: Me and Bobby worked together at a restaurant.We just kind
of hit it off right away; we talked
about Deerhoof and stuff. That was
kind of what brought us together.
We jammed a few times, but we
were in other bands at the time.We
talked about wanting to do a dance
BS: We did do a little bit of it, but
we didn't know how to articulate it
properly, because we didn't have the
right equipment. So we put it down
for like, two years.
RA We jammed with a few other
people during that period, trying to
find people that were on the same
page, but we didn't really [find anyone], so we just developed a way
that just the two of us could do the
music side. We did that for about
eight months, just writing songs,
and then we booked a show at Music Waste, which was the first time
that we played live, and we played
without a singer. We put out the
word that we were loolring'for one,
and we got a hold of Sarah. Or she
got a hold of us.
Sarah, you're involved with organizing Music Waste. Was that how
you got together with these guys?
SC: Well, I knew them from
around. I've known Rob for a while.
I think our old bands played together a million years ago. I missed
the Music Waste show, but I heard
rave reviews all around, and I heard
that they wanted a singer. So I said,
"I'm in!"      ^MQ
So you always planned on having a
singer? It was never going to be a
RA: Yeah, we wrote the songs
with pop structures: verses, choruses, you know. A lot of people asked
us to play shows after Music Waste
[as a two-piece], but we didn't want
it to be a thing where people had to
decide whether they liked us better
without a singer.
BS: I was on the fence, and [Rob]
was a little bit, too. We just didn't
know whether we could make it
work without a singer.
il I
RA: I think we were really eager
to play, and we were willing to make
sacrifices in order to play shows.
Can you name-drop a couple of
your former bands?
RA: I used to be in a band called
Cadeaux and a band called Skort.
Both of those bands broke up because we shared members with You
Say Party! We Say Die!, so everyone
quit to go on tour forever.
SC: I used to be in a band called
Channels 3 8c 4. We've practiced
once in three years, but we're playing on Nov. 6 [at the Peanut Gallery]. I also play in Ice Cream.
You seem like pretty nice people.
Why is your band called Gang
Violence? Are you in any actual
love of The Wire. I started watching
it this year, and I just got really into
the show. But then things started
to happen in the summer here, we
just started to see a lot of stuff about
SC: Not one gang war, but three
gang wars! [ed. I'm pretty sure it was
four gang wars.]
RA: It was all over the Province—
every headline was like gangviolence
this and gang violence that. It's so
completely foreign to our lives, and
yet I just want to know about it.
Rob, you play a lot of instruments
at once. Can you give us a rundown
of what you're using?
RA: I have two keyboards: an old
-JjjjMiand the Concertmate MG-1,
whSifis a popular keyboard in Van-
■ :T:$&j*(wbispers) Radio Shack!
'.O^And I haw an MPC-1000
sampler, that's like a hip-hop production tool. I kind of play the bass
notes on that, and the melody on
the keyboards and guitar. It took us
a while to figure out how we were
going to do that.
I saw you open for Mission of Burma a couple of weeks ago. What
was that like?
SC: It was strange. They're definitely a classic band. They said they
"got a real kick" out of us. .
RA: They were like "good luck,
you Uttle rascals!" They basically
verbally noogied us.
There seems to be fewer and fewer
legitimate places for local bands
in Vancouver, and a lot of bands
are resorting to playing semi-legal
venues. Any thoughts about that?
SC: Despite the odds, I think that
people are making do, and there a
lot of great things happening.
RA: I think that it also really
helps the scene in some ways. If
you think about all the bands that
were coming out of Victoria a while
ago, that's a city where it's the same
thing:, there's nothing to do and
nothing going on. Everybody's really got to make their own scene. As
soon as all the venues started getting closed down here, everybody
started getting aggravated about
it, and peoplev started doing something, something cooler. It tightens
the community.
Has the Vancouver music scene
crystallized around this lack of
SC: I think it's crystallized despite it. There's a lot more work and
a lot more risk involved, but it's
more rewarding. Places like the ER
and the Peanut Gallery are pretty
-exciting and fun to go to.
BS: But the more people talk
about those places, magazines and
stuff, this thing happens- that's Hke
a cycle that will be the end of every
venue. But there will be other ven-
ues that will pop up.
SC: We'll see what pops up in the
next couple of years.    -
There's a lot of noisy, No Wave-
influenced music showing up
around the city. Is there a Vancouver sound, or is that just a lazy
journalistic invention? Do you see
yourselves as part of it?
SC: I think that to some extent
there is something that ties a lot of
the bands together, but I think it's
weird when we're lumping together,
like, Shearing Pin* and the Mutators. To me, they're pretty different.
I guess it's all coming from a similar place, and I'd like to think that
we have a place in that, but this is
the most pop-oriented band I've
ever been in. We're not particularly
BS: I consider us a pop band.
That's what I love.
RA: I think we share the intensity
and energy those bands have. We're
not just standing still, completely
worried about not fucking up. It's
the performance that's the greatest
part about a lot of those bands.
SC: But if we're talking about it
being related to No Wave, there was
a lot of disco and pop there.
Right, so it's not really a musical
genre, but more of a shared aesthetic. Got any Halloween plans?
SC: We're going as urban animals.
RA: We have a song about skunks
and cats and r;
Gang Violence plays at Di'Metric
Studios (1114 East Pender) with.
Women, Hot Panda and the Bicycles
Nov. 15. Alternately, check out their
Myspace: www.myspace.com/gangvi-
m Tiny Vipers
September 27
Making good on their growing reputation
for bringing innovative American talent to
town, promoters Twee Death recently treated
Vancouver to two intimate performances on
a cool fall night. Sub Pop singer-songwriter
Jesy Fortino (a.ka. Tiny Vipers) and Hydra
Head recording artist Faith Coloccia (one-
third of the Mamiffer collective) crossed
the border from their native Seattle to play
for a handful Vancouverites in the know.
In the humble surroundings of St. Jame's
Hall, Fortino and Coloccia played gorgeous
sets of ethereal acoustic music, creating a temporary island of serenity in the city. With Col-
loccia positioned in front of the house piano,
the lights were dimmed,, and she proceeded
to play delicately sculpted solo versions of the
songs found on Mamiffer's new record Hir-
ror Enniffer. While all of her pieces were exceptional, the rolling melodies of her opening
song "Annwn" stood a bit above the rest, with
heavy, awe-inspiring expressions that left the
crowd in a meditative silence.   ,-gc^^^pT.
While the majority of Vancouver's music-
scene intelligentsia shamefully slept on the
show, Fortino gifted those who did attend
with a memorable set. As Tiny Vipers, she relies on little more than a deep, hymnal voice
and an acoustic guitar to create subtle songs
that gradually bloom into epic narratives. Deciding to forgo all of the material on her excellent 2007 debut Hands Across the Void, Fortino
delved into a selection of rarities that can only
be found on homemade CD- Rsjand YouTube-
videos. Sitting on the hard pews of the church
hall, it was easy to get lost in rapturous songs
like "Eyes Like Ours" and "What Time Takes"
and soak in Fortino's stark, poetic bend.
Justin Langille
Mission of Burma
Plaza Club
September 30
Before Mission of Burma's show at the Plaza,
guitarist/vocalist and notable tinnitus sufferer
Roger Miller distributed foam earplugs from
a Costco-sized jar to stage-hugging audience members. This paternal gesture seemed
appropriate given Burma's father-figure status in the annals of indie rock; when they*
reunited in 2002 after a 19-year hiatus, it
was as if they had never left off. (Fun fact:
Discorder's first issue included a review of
Burma's 1983 album Vs.). Having released 2
critically acclaimed full-length albums since
reconvening, Mission of Burma continue to
be an important force in independent music.
And so, with nothing left to prove and their
credibility intact (unlike many aging "reunion"
acts), Burma came to Vancouver to promote
: of their seminal first EP Signals,
Calls and Marches. The songs from Signals
formed the latter part of the set; the first half
was a'grab bag of their other material, some of
it unreleased.
The performance was great, but seemed
slightly rote, containing none of Burma's
famed improvisational daring. The contributions of tape-loopist Bob Weston (who also
plays in the mighty Shellac) were pretty much
unnoticeable. Still, Miller, bassist Clint Con-
ley and drummer Peter Prescott reminded us
that Mission of Burma are known for more
than sonic experimentalism—they're also a
viscerally exciting power trio.
The crowd danced and shouted along to
well-known ragers like "Academy Fight Song,"
"Outlaw" and the monumental "That's When
I Reach for My Revolver," but the more obscure material didn't always have that effect.
This is not to say that the performance was
lacking, but it was a little subdued for a band
whose proclivity for ear-shatteringly loud and
chaotic performances is almost mythical.
Local opener Gang Violence played a ter-
- rifle set to a mostly indifferent crowd, but by
the time they were finished, they had won
themselves more than a few new fans. Keep
an eye out for this three-piece. You'll be hearing more from them. [ed. To read more about
Gang Violence see Alex Smith's interview with
them on page 18.]
Alex Smith
My Bloody Valentine
Concourse Design Center, San Francisco '
September 30.
After about 15 years in near, isolation, My
Bloody Valentine have arisen from their own
ashes to knock the world back on its ass. Expectations were high after near-unanimous
praise of their 20-odd "comeback' shows over
the past three months. This one took place at
the San Francisco Concourse Design Center,
which resembles an airport hangar with its high
ceilings and large, barren rectangular layout.
Spectrum started the night off and pretty
much stuck to Spacemen 3 classics, which were
quite loud and immensely mesmerizing, making for a perfect MBV opener. The crowd roared
when MBV hit the stage. Within seconds, they
kicked into "I Only Said," which, combined with
strategically placed strobe lights and pastel lasers, hit the crowd with a force of shocking magnitude. The songs off their two full-lengths and
the You Made Me Realise EP were sculpted into
a towering wall of mega-mie'ed Marshall stacks,
thunderous drums, and dozens of guitar pedals.
The show was so incredibly loud and vivid that
MBV classics like "Only Shallow" and "Soon"
were felt as much as they were heard.
The real treat of the show, though, was the
infamous wall of noise that is "You Made
Me Realise." For close to 25 minutes, Kevin
Shields and Co. blasted out wave upon wave
of blissful white noise that had the crowd enraptured and immobilized. The white wash
of sound was so immense and powerful that
some of the crowd literally tried to feel the
sound in the air with their hands, much in the
same way you put your hand out the window
of a moving car to feel the wind roll past.
Witnessing this show was no mere nostalgia trip. This was the past brought to you in
the present but remaining resolutely in the
future. There is no other band like this on the
planet right now.
Mark Richardson
Shindig #3
Fur Bearing Animals
Railway Club
September 30
The third night of Shindig was, according
to this publication's humble editor, the most
varied and interesting so far. [ed. I don't remember saying that] The competition was
going full-tilt, broken up only by the institution that is Jokes for Beer, a Shindig specialty about as amusing as that Conservative
party ad on the side of Celebrities nightclub.
On first was Childsplay, whose name is, yes,
indicative of their ages. Fashioned with studded belts worn around the hips, skinny jeans
and fingerless gloves, Childsplay sounded
like a modern middle-school tribute to Keith
NOVj   | DEC
Discorder Magazine
19 RLA continued from pg. 19
Morris. It's refreshing that some kids choose
to cover "Blitzkrieg Bop" rather than beUeve
Angels & Airwaves are akin to the second
Up next was Fur Bearing Animals, a groove-
dance sensation. The act featured wah-guitar
layered atop catchy beats, tight drumming
and DJ Redworm's violin. They won over the
crowd with dance moves that can only be
summed up as "wicked-awesome."
Because the night was running late, by the
time Streetlight took the stage, the Railway
Club had lost a sizable chunk of its audience.
Singer/guitarist Basil. Waugh led the band
with a frenetic performance; however, the
static nature of the other members failed to
keep the late-night crowd's attention. Lacking
the fine tuning of microphone dynamics and
instrument EQs, Streetlight managed to drift
through their set with only minimal staying
In the end, Fur Bearing Animals came out
■ on top, which is great because we all get to see
more dancing. At the same time the victory
is unfortunate because Childsplay emerged
from their set as Vancouver's potential three-
chord wonders, certainly deserving of a tip-
David Sienema
Silver Jews
Richard's on Richards
October 1
Oh, David Berman. Y>u're a tortured artist,
aren't you? Your eccentric demeanour and
reported suicidal tendencies make you all
the more compelling to fans Eke me. Berman, if you don't know, is the man behind
the Silver Jews who writes free association lyrics that make Beck sound hke a high
school student trying his hand at beat poetry:
And although the indie/folk/country that is
the Jews' sound is catchy, it's really Berman's
poetry that filled Dick's on a Wednesday mght.
Maybe that's why seeing the sidnny man, his
wife and the rest of the band wasn't quite Uke.
the image of the Jews one conjures up when
listening to their albums. Berman still hasn't
' fallen in love with the Uve experience. He has
said he equates touring to selling records, and
it shows. Perhaps the lacklustre performance
was due to sound issues, or the fact that unless you know the lyrics, Uve shows aren't reaUy the best way to enjoy Berman's words.
Regardless, the band did bang out favourites
Uke "Sometimes a Pony Gets Depressed" and
"Trains Across the Sea," the latter reminding
the audience of the group's heyday.
The Jews may also have seemed underwhelming because of the hurricane of energy,
sweat and sheer volume that was show openers
Monotonix. The Tel Aviv trio was everything
the Jews weren't: unrelenting, playful and visceral. Other than both acts being signed to
Drag City and having ties to Israel, the two
couldn't have been more different.
Playing on the dance floor in front of the
stage with the .audience wrapped around
them, Monotonix's three hair farmers beat the
shit out of their instruments with such excitement that it didn't matter that the band were
relatively unknown to the audience. They did
every rock theatric in the book, save lighting
their instruments on fire. (Monotonix asked,
but the club wouldn't allow it.)
When the house lights went up, the audience was left with a lasting impression of the
Tel Aviv trio they'd never heard and won't
soon forget, instead of the Jews they really
paid to see.
&>* Willis        ||$Pjg«gji3p
Restiform Bodies
Richard's on Richards
October 2
As a longtime fan of San Francisco record
label Anticon, I was hyped to see two acts
from the imprint's original roster come to
Vancouver for an evening of sonic reverie.
Few other collectives have been as instrumental as Anticon in pushing the boundaries of rap and creative music over the past
decade while stiU maintaining popular appeal.
Reformed after years on hiatus, legendary hip-hop experimenters Restiform Bodies brought a wealth of new material to slay
the crowd. Showing a renewed focus on song
structure and a cleaner sound to boot, tracks
like "Black FHday" and "Opulent Soul" got
peeps moving on the dance floor, nodding
raucously to cynical, anti-consumerist raps
and electro beats. It was impressive to see
front-man Passage bring his staccato, anti-
. capitalist rhymes to life on stage with such
precision and stamina.
Rve years ago, Why? wasn't much more
than the stage name of Yoni Wolf, a nerd rapper from Oakland, Calif, who spat rhymes
that sounded more Uke conversation than sUck
cadence. Three albums later, his solo work has
become a fuU-band effort that touts some of
the most unique, well-composed pop songs
around. Accordingly, fashionable hipster girls
sporting black-rimmed glasses formed the
majority of the crowd, with only a few backpackers lurking about.
Highlights from Why?'s 2008 disc Alope-
da, such as "Brooks and Waxing" and "The
Hollows," got the whole crowd swooning and
singing along with Wolf and his band, who
were tight as heU from months of touring.
Wolf played it straight-faced and coy most
of the time, but the masses didn't have a hard
time calUng the band back for an encore. To
end the night, they laid out a couple of older
tunes and the fitting farewell luUaby "Exegesis."
Justin Langille
Shindig #4
The S tumbler's Inn
Railway Club
October 7   :j|^^^
As we descend into Vancouver's nine-month
rainy season, let us give thanks for Shindig,
the city's best excuse to get drunk and Usten
to bands when you would normally be bitching about the weather and going to bed early.
First up on night four were Isotopes. Now
listen. Baseball-themed punk rock looks great
on paper—I couldn't have been more excited
at the prospect of a Hanson Brothers for the
baUpark set—but Isotopes didn't quite have
the panache to keep the Ramones-worship-
ping, three-chord rave-ups interesting. Despite some instructive banter on the emergence of Tampa Bay as an MLB powerhouse,
the crowd had begun to lose interest by the
end of the set. Luckily, though, that set only
lasted 20 minutes. 'T
Next up was the odds-on favourite, Language-Arts. Although the four-piece was
heavily tipped to win, I hadn't heard anything
about them, except that they sounded like
Suzanne Vega crossed with Buck 65. As it
turned out, this was pretty accurate, although
the singer channelled more Ani DiFranco
than Suzanne Vega. The band had a collegiate,
music-major vibe, with esoteric time signatures and tonaUties lending a hint of prog to
their hip-hop inflected folk-rock
Last to take the stage was Stumbler's Inn.
They played a likeable brand of country-tinged
blues-rock (blues-tinged country-rock? rock-
tinged country blues; even?), but by the end
of their set, most of the late-night crowd had
turned in.
And so it went: Language-Arts was the
winner, as predicted. They displayed the most
poUsh as a band, even if the final product was
a litde too squeaky-clean.
Shindig #5
Ben & Gorodetsky
Boogie Monster
The Sappers
Railway Club
October 14
Our reviewer was ilLbut the Sappers won.
Congrats. &*"^H3§Efl
Shindig #6
Trembling _
Lakefield Hpf
Railway Club
October 21
Tuesday nights—or rather Wednesday
mornings—are not as flexible or forgiving as they once were. Six weeks in and this
is   the   first   Shindig  I've   attended. Weak
Better late than never. The Railway was
packed with familiar faces, I told a joke (about a
dog with a hearing problem; it bombed) during
Jokes For Beer, and the bands were so-so. Classic Shindig.
Trembling kicked things off. They had an
auspicious start, playing catchy, rhythm-driven
pop music They also had a drummer with the
most earnest headband you are likely to see at
this year's Shindig (actually for sweat!?). This
was the trio's first show in a year and a half, and
towards the end of the set, this downtime became apparent The songs became less inspired
and the set descended into an OK Cornputer-era.
rock soup. ^lli^Sg
Cargohold were up next and took the evening
into a wildly different direction. A one-man
band, he played dark love songs on synthesiz- -
ers and a drum machine (hanging on a modified
Ikea shoe rack no less). His stagecraft and outfit
left a bit to be desired; a hoodie and baU cap and
fist-clenching hand gestures didn't cut it. I think
"this music might be a bit more engaging on record, or in a video directed by Depeche Mode
and U2 video director Anton Corbijn. The high-
point of the set was a cover of the Srniths'"Please
Please Please, Let Me Get What I Want." It
was a beautiful rendition, a capella save for some
scratchy record sounds in the background.
Lakefield was up last and definitely had the
best energy of the night's contestants. They were
also the most competitive band; they claimed
to have scored a copy of the Shindig rule book
used by the judges (Sample rule: "Guitar solo, -5
points''). The Nine Inch Nails stickers on one
of their guitars beUed the fact that most of their
songs were buUt upon pretty boy-girl harmonies.
The five-piece was the evening's winner, and deservedly so • N|||?^.5S
djbI Mmm Antony & the Johnsons
Jto© BiMbas ^CBtac^^Tay Crocker "
Lowfish JEiEfeto Iffim The Organ
Bad Flirt
Jolie Holland ]HED)(SpiM
" Priya Thomas ^
Tori Amos
Live atMontreux 1991/1992
(Eagle Records)
Recorded over the course of two
years at the Montreux Jazz festival,
Amos' Uve performances give the
album a Uving, organic feel similar
to looking at old photographs from
your childhood. The intimacy of the
album is heightened by Amos' fuU-
bodied vocal delivery and emotive
piano playing, while the minimal
rhythm section highUghts the introspective nature of her music. She
demonstrates her creative diversity
while rocking out a cover of Led
Zeppelin's "Whole Lotta Love" in
a way that commands a whole lotta
respect. "Precious Things" contains
insect-like sprawling piano that give
the track a robust complexity, while
incredibly loaded lyrics such as "TeU
me where the pretty girls are/Those
demigods/With their nine-inch
nails and Uttle fascist panties tucked
inside the heart of every nice girl"
demonstrate her sensitivity and in-
teUectual sophistication. Songs Uke
"Crucify" and "Me and a Gun" are
stained by a sense of personal loss
and a guilty, conflicted reUgious
conscience, as she notes between
songs that as the daughter of a minister, her childhood involved regular
and obUgatory Sunday sermons.
Tori Amos'work has been the most
appropriate response to Joni Mitchell's iconic 1960's poUtico-musical
discourse, and without intent to
slander or defame, she accompUshes
what Alanis Morisserte set out to
do and failed miserably at. Live at
Montreux invokes pathos through
a glimpse at a powerful woman
who has endured the messiness of
sexual relationships and personal
tragedy, without yielding to bitterness or a hardening of the soul.
Mini Salkin
Antony & the Johnsons
AnotherWorld •  ,
(Secretly Canadian)
It's been a busy few years for Antony
Hegarty. Since last year, he has worn
many different masks, from Bob
Dylan cover artist to disco diva to
multimedia musical spectacle. Now,
with his band Antony 8c the Johnsons releasing their Another World
EP in preparation for a new album
coming out in January, Antony seems
to be signaling a return to form.
For the most part, Another World
has an intimate feel, as though it
might have been recorded in a tiny
pub for an audience of 30 people.
As usual, though, Antony chooses
a few moments to flout aU expectations. In standout track "Shake That
Devil," the hushed, spooky opening makes ar sudden about-face to
become an amalgam of about three
different genres, all of which are
bound to blindside anyone famiUar
with the Johnsons' oeuvre. (Who
knew the press release description
of the song as "part exorcism and
part Shangri-La" would turn out to
be accurate? And when did Antony
get soul chops?)
Not that the Johnsons were ever
easy to categorize. Between Antony's unusual vocals and the band's
wilUngness to step outside the comfort zone of genre, they have always
resided somewhere in left field. Yet,
somehow, Antony's diverse influences manage to blend evenly into
the Johnsons' sound—perhaps because he has the most fluid, dexterous voice in pop music, which makes
him at home in whatever musical
style he sees fit to take on.
Miranda Martini
Anza Club Sampler
Various Artists
Vancouver has plenty .of great local
acts, but it lacks the musical Mecca
status of cities such as Montreal,
Detroit or NashviUe. Perhaps partly
due to the eclectic nature of the
scene, Vancouver lacks a marketable sound to caU its own. Nothing
demonstrates this fact better than
this recent CD created for the purpose of advertising a quadruple biU
performing at the Anza Club on
Oct. 11. The common feature of the
four local acts featured on the disc is
that aU of them sound distinctly Uke
they come from somewhere else.
The disc kicks off with the
Dreadnoughts,, a folk-punk five
piece, complete with grinding guitars and diddly-dee fiddles. Singing
shanties about the sea, these locals
sound Uke a Maritime band—right
down to the Newfie accent. Up next
is Fuzzcat, a ska band that would
sound right at home in Orange
-County, rubbing sunburned shoul- .
ders with No Doubt and Reel Big
Fish. These easygoing jams contrast
with the aggressive sound of the
third band, the Elixxxirs, who also
play ska, but with a more percussive,
rock-infused bite. Last is the High
School Girls, who, incidentaUy, are
neither of high school age nor female. The trio play instrumental surf
rock, directly descended from Dick
Dale and the Ventures: if surfing
were possible in the idle waters of
EngUsh Bay, their music would
serve as an ideal soundtrack
AU four groups carry off their
sound weU, and, in the case of the
High School Girls, with genre-
encapsulating flair. StiU, one can't
help but wish that Vancouver bands
wouldn't try so hard to sound Uke
they came from anywhere but here.
Alex Hudson
Bad Flirt
Virgin Talk
(Kartel Musik)
Bad Flirt's fourth album, Virgin
Talk, is the culmination of a lot of
touring, hard work and good connections. A lot of connections: the
producer of Virgin Talk has worked
with other Montreal favourites Arcade Fire and Wolf Parade, Davey
von Bohlen of Promise Ring provides guest vocals, and they have
toured with every band from the
Acorn to Zolof the Rock and Roll
Destroyer. But Bad Flirt doesn't
need these references; their great
music is backed by sheer talent and
the knowledge of how to incorporate their influences successfuUy.
"Mad, Mad, Madeleine World"
is the perfect album opener, with
each instrument introduced separately before lead singer Jasamine
White-Gluz reveals why the album
is baled as an homage to innocence.
Throughout Virgin Talk, her vocals
maintain a breathy quaUty, even as
the music shifts between pop and
post-punk The first single, "Hiroshima, Mon Frere" features driving
bass Unes, and a synth sample "that
makes dancing inevitable. "Independence Day" seems Uke it could
have been done by Sleater Kinney
if they were feeUng somber, but
White-Gluz uses her vocals to create a soaring and atmospheric yet
Uvely conclusion. The only thing to
fault the album on is the minute of
sUence during the ultimate track
"Finale." WhUe the last 30 seconds
pack a punch, it's stiU an unanticipated, annoying conclusion to a
great album. There are no average
songs on Virgin Talk, and it should
garner Bad Flirt the fame of which
they are currently on the cusp.
Rosalie Eckert-Jantzie
(Mint Records)
Having recently celebrated a decade together as a band, the Buttless Chaps return with Cartography,
their sixth studio album of new
material, and what a glorious album
it is! Blending folk-country with a
bit of atmospheric new wave senti-
mentaUty, Cartography takes you on
a soft, dream-like journey that you
won't want to wake up from. Hard
work and dedication have paid off
for these Mint Records darUngs—
they have become masters of genre
blending, and it just keeps getting better with  each recording.
Opening with the warm textured
title track which could serve as the
soundtrack for driving across the
Nevada desert at first Ught whUe
pondering your own inner landscape, the album's theme is set.
Both lyricaUy and musicaUy, what
foUows is an intense and stormy but
beautifuUy layered journey that wiU
resonate and Unger in the body long
after the last note has played out.
Adding much depth is the rich
timbre of singer/guitarist Dave
Gowans'.voice which captures the
attention of and envelopes the Ustener, whUe his bandmates weave
intricatepatterns around him, seamlessly blending sounds Uke fine silk
threads that wrap the Ustener in a
blanket as they warm their hands by
the fire. Recommended for both old
and new fans alike, this is a band at
its peak and Cartography^ a work
of art.
Nathan Pike
Jay Crocker
Below the Ocean Over
(Artunuit Recording Kompany)
Jay Crocker is nothing if* not restless. As weU as issuing his own
solo material, the Calgary singer-
songwriter plays in a blues band,
leads a jazz trio, and has produced
a slew of albums for a diverse selection of artists in his hometown. It
is of no surprise then, that a desire
to be everywhere at the same time
seeps through every groove on Below the Ocean Over. Crocker borrows audio bits and pieces without
restraint, ending up in a curious
generic Umbo that is a Uttle confusing, but thoroughly entertaining.
Lead track "July" begins simply enough, with a chugging down
stroke groove and the rumbUng
of slack bass strings. But the song
quickly takes a left turn, its instrumental breaks made up of dissonant
guitar feedback and random, tin-
lding piano. The instrumental "Below the Ocean Over pt. 24" is even
more bizarre, pairing a back-porch
guitar riff with samba rhythms and
sudden interjections of big band
horns. At times, Crocker's arrangements have a touch of Rufus Wainwright theatricaUty, with strings
and horns placed high in the mix,
interrupting anything that might
sound Uke a typical rock song. It's
a post-modern mishmash of influences that Crocker manages to carry
off weU, as he sounds at home on
even the most unexpected of styUs-
tic rambUngs.
Alex Hudson
All The Way
(The Social Registry)
Growing's second release on the
exceUent Social Registry label, All
The Way is a step in the exact same
drone-ambient direction from this
Brooklyn duo. "Green Flag" kicks
things off with a metaUic rhythm
while bUps and bleeps go on in the
background. "Wrong Ride" continues the haze, and the Ustener wiU
start to hunt for their old Kluster
records. The Throbbing Gristle-
esque sounds of "Rave Pie Only"
and "Innit" wiU make any early-
industrial enthusiast swoon, and
"Lens Around" -brings the Aphex
Twin to the party. "Reconstruction"
wraps things up with swirUng loops
and digital patterns. There isn't a
beat to be found anywhere on this
album, and that's not a bad thing.
If you Uke cloudy days, staying inside and using Gravol and NyquU
as recreational substances, All The
Way needs to be in your coUection.
Luke Meat
Jolie Holland
The Living and the Dead
(ANTI- Records)
It's said that artists who try to do
something completely original are
rarely as successful as those who
add an original touch to an existing formula. On her latest release,
The Living and the Dead, Texan
folkie JoUe HoUand isn't reinventing the wheel and she isn't trying
to. She does, however, bring a new
self-confidence not present on her
other albums, which aUows her
to experiment with more ambitious and percussive arrangements.
For the most part, HoUand covers famiUar territory—vocals that
wind around the melody rather
than through it, and an emphasis
on meandering fiddle Unes. This is
not necessarily a bad thing; many of
the best moments on the album are
trademarks characteristic of Hol-
Discorder Magazine
21 land's work Spooky, brooding songs
Uke "Fox In Its Hole" and "Love
Henry" showcase her tremulous
voice, and nearly every track contains some lyrical gem that proves
both her inventive narratives and
understanding of folk music are as
deep as ever.
HoUand sounds as though she has
grown comfortable within herself,
yet she manages to retain the hesitant sincerity that makes her music
charming. Much of the album is devoted to exploring the inherent insecurity and fndlty of relationships,
and Holland's vulnerabiUty is exposed in every Une. "That dark horse
you're ridin' / Has got to carry me
too," she croons at the end of "Sweet
Loving Man," a heartbreaking ballad of faUed love. Not Shakespeare,
maybe, but that kind of pathos is ear
candy no matter how many times
you hear it.
Miranda Martini
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Will you look at all that
Hospital Bombers
(Saved by Radio)
WhUe emulation, .mimicry and
pastiche are arguably central to any
music making, particularly contemporary pop music, a Une has to
be drawn somewhere between inspiration and senseless repetition.
Unfortunately, Hospital Bombers'
debut album, Footnotes, faUs pretty
clearly on the wrong side of this
Une, as their infatuation with the
Mountain Goats is painfuUy obvious. The Dutch four piece's vocaUst,
Jan Schenk, has clearly spent a lot
of time honing his John DarnieUe
impression, capturing the pimply
nasaUty of the indie rock icon almost perfectly on nearly every track
of the album. He sings almost exclusively about bored suburban kids,
loitering in basements and on street
corners, smoking cigarettes and
hatching doomed - plots of escape
from their mundane existence—a
scene more or less mined to death
by their hero over the last seventeen years. "Fromuphere," the album's final track and the only song
sung by back-up vocaUst Susanne
Linssen, begins by counting in the
band in Dutch, but then launches
into her own aping of DarnieUe,
which is even more uncomfortably unnatural than Schenks. Their
instrumentation is reminiscent of
the Mountain Goats' most recent
output, forgoing the purely low-fi,
acoustic aesthetic for a more lush
pop sound. StiU, no amount of raw-
sounding violin and tinny synth
can distract from the tired, copycat quaUty of the record. This is a
shame, because it seems as though
this band can reaUy write songs.
HopefuUy on their next effort they
attempt to write some of their own.
Aaron Goldsmdn
Frozen & Broken
(Noise Factory Records)
Richie Hawtin may have a contender for his Canadian techno crown.
This is the sixth release from Toronto's Gregory De Rocher, or Lowfish
(which is a take on lo-fi "ish"), who,
Uke Hawtin, is no stranger to the European techno circuit, having played
with electronic sound pioneers such
as Speedy J. Currently, that is where
the similarities end; whUe the former Plastic Man's sound is becoming increasingly minimaUst and
severe, Frozen & Broken is textural
and layered, with melodic IDM
beats that recaU the UK's Plaid.
The signature style for each song
is to start out minimaUy, and gradu-
aUy add the aural layers in. While
this would not be a completely
uncommon practice in the techno
community, what is unusual about
this album is that aU of the songs
have a definite beginning and end,
rather than either mixing into one
another or foUowing through on the
vibe from the previous song. This in
itself does not detract from Frozen
& Broken, but in combination with
the manner in which the songs
are ordered, there is never reaUy a
complete sonic upsurge, taking die
release's title to quite a Uteral level.
This is music to come down to; it
never reaUy buUds up a vibe to keep
you dancing but it is also too beat
laden to sit stiU through. Any DJ
worth his/her Special K knows that
it's aU about the wave rather than
the roUercoaster.
Melissa Smith
Krista Muir
Accidental Railway
(Indica Records)
For eight years, Montreal resident Krista Muir performed and
recorded her music in her Lederhosen Lucil persona: an oddbaU
caricature of what some North
Americans might assume to be the
quintessential German country girl
stereotype. As inane as this shtick
might seem, Muir's brand of pop-
rock performance art was a success
that yielded many tours abroad
(accompanied by pal Kid Koala),
criticaUy praised albums and a
2006 boob that detaUed her elaborate costumes and artistic ethos.
This time around, Muir has put
her alter ego on hold in order to explore a plethora of personal dimensions and unique sound concoctions.
Throughout these eclectic 13 tracks
she waxes philosophical ("Summer
Eyes"), explores dimensions of desire ("When You Were Mine" and
"Take Me"), and even serenades a
nosy cop on the rapturous absurdist
baUad "Officer." Many of the songs
on this album are whip-smart pop
compositions wound so tight that
they almost come off as garden variety. However, they are adorned with .
enough ambient sound samples,
whimsical miniature drones and
colourful lyrical styles to make Accidental Railway stand out from the
usual Canadian singer-songwriter
Justin Langille
The Organ
Thieves ,
(Mint and 604 Records)
Defunct since 2006, the Organ have
returned for fans with one final EP,
a dual release from local labels Mint
and 604 Records. Songs on the EP
wiU be famiUar to die-hard fans, as
"Let the BeUs Ring" came out on a
7" in 2005, and the remainder of the
songs have previously been played
Uve. Thieves is a coUection, of songs
which would have comprised part
of a foUow up to their 2004 album,
Grab that Gun. And what an album
it would have been! Though only
seventeen minutes long, there are
some gems contained on this short
release. "Even in the Night" sets the
tone for the EP, and wiU immediately draw Usteners in with the solemn
finaUty of the organ, and the assurances from singer Katie Sketch that
"it's going to be alright." On "Rre
in the Ocean" Sketch lets loose, her
voice sounding as though it's about
to break throughout the piece. The
organ is understated, the drums are
steady, and the crescendo at the end
is bittersweet, as it is over too soon.
That is not to say that there is nothing that Thieves could do without.
"Let the BeUs Ring" is a perfect
example of what Morrissey would
sound Uke as a woman: good for a
cover band looking to branch out,
bad for talented musicians with their
own soUd sound. However, this is a
sUght bUp on an otherwise superb
release. The EP ends with "Don't Be
Angry," a slow, mournful tune that
provides a fantastic conclusion for
a wonderful band, something that
fans have needed for far too long.
Rosalie Eckert-Jantzie
and false eyelashes, the juxtaposition of nature and culture and the
thematic premise of forcing something to be what it isn't is evident
before even Ustening to the music.
Written during a winter spent in
exUe in East Germany, the titles or
the tracks are not conventional song
titles but rather snippets of sentences found within the lyrics. "I'U Be
A Ghost For You" is heartbreaking
in its honesty, as Spoon sings of a
love that, although strong enough
to transcend the flesh, does not
negate the singer's need to equate
death with finaUy finding a home.
Although much of the subject matter is sinularly dark (coloniaUsm,
agoraphobia, aUenation), what saves
the album from being a morose, self
indulgent release is that aU of it is
sung in Spoon's sweetly hopeful
voice, without a trace of bitterness
or pity. If there was ever a testament
to the resiUence of the human spirit,
this is it.
Melissa Smith
Many CDs cross the desk of a reviews editor over the course of a
month, and it is a rare day when one
is so weU loved that it has been played
several dozen times in the lead up
to review, but such is the case with
superioryouareinferior. This is the
fourth offering from Rae Spoon, a
deeply personal album written about
the emotional and physical reaUty
of Uving as a female-to-male trans-
gender person in Canada. With its
collage cover art containing a deer
wearing electric blue eye shadow
Priya Thomas
Blood Heron
^Sunny Lane Records)
Toronto musician - Priya Thomas'
new album is a coUection of songs
with a Uve, one-take vibe, which
locates her somewhere on a scale
between Ani DiFranco and Ben
Harper, and deUvers a fuU dose of
her energy, presence and feeUng. It's
no surprise to discover that these
songs were written on the road,
and the result is an album fuU of
grainy, lo-fi textures, as titles such as
"Wine, Moonshine, Sugar Beams"
and "FareweU Creek" suggest. In the
opener, "Your Guitar, My Undoing,"
her acoustic guitar finds the perfect
midpoint between melodic hum
and infectious, chunky, percussive
rhythm, whUe on "VigUante" she
coats mean vocals with a bUstered
layer of electric guitar. On "Had I
Known, I Would Have DecUned,"
Thomas works more detaUed acoustic patterns which underpin quieter,
reflective vocals; but even as the
spectrum of emotions strays from
attitude to longing and regret and
back again, the raw atmosphere of
this album stays constant. Although
the words seem at times to dissolve
into the textures of the music, and
spUnters of lyrics spin out and accumulate into impressions of love,
loss or anger, there are definitely
no smooth edges here. Blood Heron rewards the Ustener's attention
with a journey of crunchy attitude
and moments of ragged grace.
E. E. Mason
Tour De Fours
The New Standard
(TotaUy Square Records)
The New Standard is the second
CD from Vancouver duo Tour De
Fours. Opening with the rousing
number "I Taste The Glue,1" one
might feel Uke they're Ustening. to
Nick Cave combined with some
precursor to Leonard Cohen's
"Everybody Knows." Another interesting track is the carnival music themed "Lights On," showcasing singer Tyler Greentree holding
things together with her silky
and commanding vocal presence.
With its coUection of strings,
piano and electronics topped with
dramatic vocal interplay, this is
music that seems to be trying way
too hard to separate itself from the
norm. Exploring the reaches of
musical boundaries and blending
uncommon genres in order to offer a fresh sound seems to be the
industry standard, and some bands
are able to puU this off with amazing
results. Unquestionably, there are
folks out there who would love this
gothic caravan of sexy vocals and
the strange musical meanderings
created by Chris von Szombathy
and Tyler Greentree. Unfortunately
Tour De Fours just don't grab these
ears in any meaningful way and if
this is truly the new standard, then
the future is dim for this pair.
Nathan Pike
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Strictly The DopestHits Of October
j   1   : Legendary Pink Dots : Plutonium Blonde
\   2   : Various* [Ate Your Legs
3   : Stamina Mantis/Shearing Pinx*    : Split 5**SP§|p?^
:  4  ; Kellarissa* : Flamingo
\  5  ; The Good News* j The Good News
\  6  ; Hexes And Ohs* : Bedroom Madness
:  7  JRaRaRiot \ The Rhumb Line
\  8  j Bison B.C.* \ Quiet Earth
\   9   ; Tobacco : Fucked Up Friends
\ 10 : The Buttless Chaps* \ Cartography
I H i LandbfTalk* j Some Are Lakes
I 12 : Blitzen Trapper : Furr
I  13 j Defektors* '-NoTo TheNite/TomToPieces
; Thankless
: Reluctant
\ Mint
■ Independent
.': Noise Factory
i Barsuk
j Metal Blade
j Anticon
: Mint
j Saddle Creek
i Sub Pop
': Nominal
: 26 : The High Dials* [Moon Country ; Independent
j 87 j The Stolen Minks* j High Kicks \ New Romance For K
I 28 j Talkdemonic \ Eyes At Half Mast j Arena Rock
; 29 l Fur Bearing Animals* j Fur Bearing Animals • Independent
■30 '• Silver Jews : Lookout Mountain, Lookout Sea j Drag City
I 31 : Ihe Tranzmitors* \ Live 4 Little More EP '■ Deranged
J 32 : Parenthetical Girls -O^i^ '^Entanglements \ Tomlab
j-33 j Fucked Up* \ The Chemistry Of Common Life j Matador
j 34j Lykke Li \ Youth Novels \ LL
: 35 : AU Girl Summer Fun Band \ Looking Into It \ Independent
j 36 j Wire    - \ Object 47 j Pink Flag
j 37 j Deerhoof \ Offend Maggie \ Kill Rock Stars "
j 38 j Novillero* \ A Little Tradition \ Mint
: 39 : Women* : Women \ Flemish Eye
j 14 j Mother Mother* \0 My Heart j Last Gang
j 15 j Coin Gutter* \ Pigeonless \ Vanity \ 40 j Vivian Girls \ Wild Eyes \ Plays With Dolls
j 16 j Aids Wolf* \ Cities Of Glass   ' \ Skingraft ■; 41 \ What's WrongTohei?*     j What's Wrong Tohei? j Independent
j 17. j The Pica Beats j Beating Back The Claws Of The Cold i Hardly Art
: 18 ; Portasratic S Some Small History \ Merge
j 19 j D.OA.* \ Northern Avenger: \ Sudden Death
: 20 : Lady DottieAndlhe Diamonds   : Lady Dottie And The Diamonds I Hi-Speed Soul
\ 21 : Flying Lotus : Reset \ Warp
j 22 : Stereolab \ Chemical Chords \ 4AD
: 23 : Various* \ The Aaargh! Annual: Vol. 3 \ Aaargh!
I 24 \ Various* : Emergency Room Vol. 1 : Nomial
• 42 : Menace Ruine* \ The Die Is Cast \ Men8
: 43 jWoodpigeon* \ Treasury Library Canada \ Awesome Calgary Awesome :
: 44 : Brightblack Morning Light: Motion To Rejoin \ Matador
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j 46 j Chad VanGaalen* j Soft Airplane \ Flemish Eye/Sub Pop :
: 47 ; Mogwai ; The Hawk Is Howling \ Matador
j 48 j Fleet Foxes j Fleet Foxes \ Sub Pop
j 49 : Young Rival* • Young Rival \ Independent
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Microcastle CO/LP
Here it is, the highly anticipated follow-up to
2007's Cryptograms alburn (Pitchfork gave
it 8.9!) which launched the band into the
stratosphere of hype. Microcastle was recorded over the course of a week at Rare Book
Studios in Brooklyn, New York with Nicolas
Verhes in April of this year. The album was recorded as a four-piece consisting of Bradford Cox, Lockett Pundt, Joshua Fauver and Moses Archuleta.
"Saved by Old Times* features a vocal collage by Cole Alexander of the
Black Ups, and the album also features two songs with lead"vocals by guitarist Lockett Pnndt, Agoraphobia; and 'Neither of Us, Uncertainly.
WLP 14.98 .£&
Alight Of Night CD
Skeletal Lamping CD
Of Montreal's critical breakthrough, M
Fauna, Are Yon the Destroyer?, catapulted I
the band to the upper echelon of indie stardom, j
The album landed on over 30 major year-end
lists including Paste, Pitchfork, Rolling Stone,
and Associated fass, and sold over 100,000
copies. A year ami a half later, of Montreal are back with Skeletal Lamping,
one of the most eagerly anticipated albums of 2008. Skeletal Lamping
absolutely delivers. It's a complicated and dense thrill ride packed wtth
slinky grooves that demand a physical'response. It's unpredictable, completely unique, and epic. And while of Montreai'S'Slbums have always been
epic, Skeletal Lamping is an unprecedented achievement that will be talked
about for years.
Hand cake
Car Alarm CD
"The exciting sound of a well-oiled band. Car
T >.( Alarm is fhe Sea and Cake's eighth full-
length record. It is bracing, like the surge of
' wasabe on sweet sushi, like the slap-of cool
water on a diving body, like the head-rush of a
roltercoaster just leaving summit. Bracing
;--,"^6lc is most often encountered in concert. Only the^^ffesfrftterlsha^K
translated the live thrill into the recording studio. Think of the greafjwdr^ffi
' hands, the Charles Mingus Quintet, the John Coltrane Quartet, the Meters
or the Minutemen. For them, there was no gaping chasm between the studio and the road; the studio was just another stop, a gig, a continuous part
of the flow of playing and working and creating together. Listen to the intricate intertwining strings of Sam Prekop and Archer Prewitt and you'll hear
the frontfrne of a forking unit that has moved seamlessly from the stage to
the studio and back. The aim with Car Alarm was to follow up quickly on Its
' precursor, the somewhat stripped down It has the breezy, open, crisp sound
that The Sea and Cake have spent 15 years crafting, but Car Alarm also has
a palpable edge. That's the edge of people who know each other well *jjm
enough to push a bit harder, |^o aren't worried about ruffling each other's
.feathers jBfJbying somethinftidttrent, difficult, intaftivs, trusting. SJrheftjing
bracing. Here'tis.
CD 14.98 \m ' "     M
-    A »*"l*
">■>'        .- '
There's a buzz coming up from the underground and it's the fuzzy, hissy warble of
four-track recorders. As the'major label infrastructure crumbles and our outdated airwave:
are overcrowded with overcompressedLand
disposable digital pop, indie kids are harken-
ing back to the lo-fi heyday of the early 90's with analog purism and a DIY
ethic held close to their hearts. Crystal Stilts are just one of a handful of
new bands (Vivian Girls, Blank Dogs, The Intelligence, Sic Alps, Times
New Viking) shooting straight into the main vein of cooler-than-thou skinny
i white kid music (VU, The Smiths, Joy Division, Felt), but their dour mood-
rock crackles with an excitement that a garage full of reverb can't muffle.
Their breakthrough show was an opening spot for legendary New Zealand
indie band The Clean, whose Hamish Kilgour reportedly said they were the
best thing he'd heard since The Jesus and Mary Chain. So if you're old
enough (or cool enough) to remember Kiwi pop and JAMC, dig this scene
before it's all dyp, out   •*   -v*. J|\tj
Christmas on Mars
Welt, they finally did ft. Six years in the
making, ifs the heartwarming, mind-
bending sci-fi Christmas epic from America's
favourite freak-poppers, The Flaming Uns.
Starring all themembers of the band, include
ing visionary frontman Wayne Coyne (who also directed irje Mm) fet^fe
passionate alien superbeing. Also featuring a soundtrack composed and
performed by the Lips, and acting performances from famous friends like
comedians Adam Goldberg and Fred Armisen It's a tale of inspiration and
hallucination—youtlt laugh, you'll cry, and you'll scratch your head as you
viwriderhow-a-fock band-with tjo knowledge er experience^ of filmmaking
managed to produce?major work of independent dnema.. Truly, they are
the Fearless Freaks. **0" --
CD/DVD 19.98
Loyalty To Loyalty CD
We are engaging iri a great debate — is
there such a thing as "classic indie rock"?
Can it be made in this current era? And does
the term add anything to the larger discourse
around popular culture and music production?
The discussion takes place in the comments ^
secttoR^irfi^^^TH^'rni^t^igs and really the fervor is extremely
interesting as it attests to the sheer passion that a band like' California's
Cold War Kids can elicit from their loyal fanbase. After a two year lay off the
blistering band is EaeKTietterthan ever and truly capable of pennlng^iie 1
1 esSnflaltunejs thaTmsfousf further the cannons of indie r<^kaOrfhu\ \
making them potential caMtjkws? WI
CD 12.98
Sebastien Grainger
and the Mountains
Sebastien Grainger & The
Mountains is a record that reflects
the majesty its title suggests. Big
pulls out all the
Saint Dymphna CD
s been a long wait since God's Money estab-
I fished Gang Gang Banco as the front-runners
of second-wave Brooklyn psyeh in this decade
(if you consider Animal CoUective and Black
Dice the first wave), but they haven't been
wasting their time. Saint Dymphna is a much .
different animal than rts predecessor: the tribal beats, spaced-out new wave
synths, and incantatory dervish vocals are stilt there, but the studio gloss*
has been amped way up, and the songs tightened and focused into actual -
melodic pop. With "House Jam" and "Princes", the band throws balearic
Italo-dlsco and grime MC Tinclty Strlder into the mix, white elsewhere incorporating modish African guitar stylings and massive, .dreamy washes of
shoegaze guitar noise. More resolutely now than almost anything out there,
Saint Dymphna bestrides the globe, surfing across music cultures as effortlessly as an iTunes shuffle. Gang Gang Dance is the post-everything pop of
.the future: ancient arttFrnysfic drama performed with futuristic technology fey
musical wizards. We consulted the oracle, and all signs point to Saint
CD 14.98
le prices in effect uirMIOfctolwr 31,2008,
There's Me and There's
YeuCD        |5P
Matthew Herbert's dazzling new album
There's Me and There's Yon is the most
seductive, sophisticated and subversive collec-
illWH&Rretest son9s ever recorded. Blending lush jazz instrumentation,
"SSo|pH>8aeals,:fascinating rhythms and a secret underground arsenal of jd
.Ots^wlfsarnples, it marks Herbert's second collaboration with his big   7
band. Effortlessly wrapping deluxe avant-jaEZjfftn^^s around polemical lyrics and artfully selected noises, the album's dsppfwt theme is power
and its abuses iqJjjgEgfcr. century. The album's dense mix of audacious
samples includes the sound of 70 condoms bang scraped along the floor
of the British Museum, a match being struck in the House of Parliament,
one of t DO-nails being hammered tnto^plj^vocaJs' recorded at a landfill i
and a McDonald's, and 100 credit cards being cut up, among other things.
Recorded with a vast community of musicians and participants, There's Me
and There's You has a declarator) on the cover signed by ali parties
involved: "We, the undersigned, believe ff|pusieal can still be a political
force of note and not just the soundtrack to over-consnmption"?,".."-
chords, soaring choruses, and Sebastien s voice paint the portrait
of a man still climbing. While lyrically arid musically, Grainger's
taken a sidestep away from the'more aggressive approach of his
past musical pursuits in favor of a more reflective and personal
style, he still knows how to rock ft Mien necessary.. Palling no
punches, Sebastien s crafted a muscular and smart rock record
that will surprise people expecting him to relive his past. Best
known for his contributions as singer and drummer for Canadian
dance-punk duo Oeath From Above 1979, whose decadently catchy
anthems took the world by stbmvwrtb the release of their break-
through record You're a Woman, I'm a Machine in 2004,
Sebastien Grainger is soon to be even better known to the world as
a singer and songwriter of sophisticated distinction.
CD 14.98
Hie Fame CD
Fueled by heavy dance traefes^rf1
popping electronic beats, The
Fans, the first album by the glamorous Lady Gaga, is a well-crafted .
sampling of feisty anti-pop in high
Quality. Already a famous female DJ in '
her own fight, Lady Gaga (nee Stefanl G
stops on The Fame, injecting hard-hitting synthesizers and crashing
bricks and grooves.
CD 14.98
THE JOLTS -IIAWTfEVfJiTAGtCD/LPl^wawllaWe on Vtnyl)
UTTLE JOY - s/llf^
GIRL TALK - Feed The Animals CD
PIT ER PAT -High Time tyK^f
LOO REED - Berlin: Uve at St. Ann's Warehouse CO
SUBHUMANS-Death Was Too Kind CD
VARIOUS - Eccentric Soul: The Young Disciples CD
MAVIS STAPLES - Live: Hope At The Hideout 6ft %
FINAL FANTASY - Plays To Please 10"
THE CURE -4:13 Dream CD/2 LP
DAVID GRUBBS - An Optimist Notes the Dusk UP/CD
MF DOOM - Operation Doomsday CD/2LP
KMD - BLck R_st_ards CD/LP
THE DEAD C - Secret Earth CB^
THE LAST P0G0- The Last Pogo: Toronto Pur* Rock 1978 DVB
WINDY & CARL - Songs For The Broken Hearted CD/2LP
THE DEAD.C-DR503 +Sun Stabbed EP 2LP
DANIELSON - Trying Hartz 2CD
WILDERNESS - (k)no(wjhere CD/IP
. JEAN GRAE - Evil Jeantask||lpp*
V/A-Fly Girts!
V/A - Dancehall: Tlie Rise of Jamaican Dancehall Culture
MANU CHAD - Radio Bemba Sound System Re-Issue
MANU CRAB -Babylonia En Giiag»#f^|^
MANU CHAO - Proxima Estacion: Esperanza
THE SMITHS - The Sound of the Smiths: The Very Best Of...
IAN TYSON - Yellowheatf Tj^fwsniiw.'.^
MEW ORDER - "Movement," "Power, Corruption & Ues,"
'low^fe,'^aBroHiert»ood',aml "Techirtatte" DELUXE EDITIONS
The Lonely Shepard
November 1-30,2008
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232
www.zu tu records .com
Mon to Wed 10=30-70
Thurs and Fri 10:30-9
Sat 9:30-6:30 i


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