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AMAKTH DECEMBER 14 | CROATIAN CULTURAL CENTRE » MATT COSTA FEBRUARY 2 | COMMODORE BALLROOM 'ANGELS ANO AIRWAVES MARCH 61 COMMODORE BALLROOM
SBLlVenRTIOn.com
%    Jancember 2007 1M§(M$IW
jancember
editor's noten
Editor
Nat Jay
Art Director
Cole Johnston
Production Manager
Pyra Draculea
Copy Editors
Nat Jay
Brock Thiessen
Pyra Draculea
Ad Manager
Catherine Rana
Under Review Editor
Nat Jay
Datebook Editor
Pyra Draculea
RLA Editor
Brock Thiessen
Layout + Design
Cole Johnston
Pyra Draculea
Contributors
Dan Adleman
Linda Bull
Pyra Draculea
Bryce Dunn
DanFumano
Andy Hudson
Nat Jay
Marielle Kho
Chris Little
Lucy Lynch
Maxwell Maxwell
Greg McMullen
Katie Nanton
Rob Peters
Mine Salkin
Peter Sickert
Alex Tornillo
Steve Venegas
Robert Waldman
Andrea Warner
Photo & Illustration
Meg Bourne
Laura Cuella
Pyra Draculea
Peter Holmes
Cole Johnston
Michelle Mayne
Mark Rimmer
Brock Thiessen
Program Guide
Bryce Dunn
Charts
Luke Meat
Distribution
Frank Rumbletone
US Distribution
Catherine Rana .
CiTR Station Manager
Alison Benjamin '
Publisher
Student Radio Society
of UBC
Regulars
Editor's Notes
3
Riff Raff
Bryce Dunn.
4
Copyfight!
5
Celluloid Exposed
.6
Textually Reviewed
6
Calendar + Datebook
14
HeyDJ!
17
Real Live Action
18
Under Review
20
Zamo the Destroyer
24
CiTR Charts
Strictly the Dopest Hits of 2007
25
Program Guide
26
Features
Music BC                           7
The Music BC Industry Association helps
the Vancouver music scene get a head start.
Festival of Guns
8
Vancouver's rock and roll experience:
Bringing bands and fans together since 2002
Hot Little Rocket
10
The Calgary band talks about their career anc
the launch of their new album.
Dustin Bentall
12
Q&A on the road with the y6ung country rock
who spills about life and music.
er,
GreenTaRA
13
Funk. Soul. R&B, World. This global baby is a
mix of all sorts of good.
Recently I was forced to attend a band night at a local community centre. It consisted
of three below-average high school rock bands playing a set each in the dark of the
multi-purpose room. To be honest, it was loud and rather painful. But as I walked
round the room, I noticed that it was full of friends and family—the beginnings of a
fan base—all rocking out to the music. There were also kids setting up the gear and
running the sound—future roadies and sound techs, no doubt. There was even a merch
table set up in the back, complete with CDs, T-shirts, pins and stickers—the makings
of a genuine business model.
Community is where it all starts, and this is what Discorder and CiTR do their best
to advocate. While Vancouver's music community is still in its developing stages, it has
much to offer its artists and their fans. It is a small scene with a big heart and plenty of
talent to boot. One thing is for sure, with the 2009 Juno Awards and the 2010 Olympic
Games on the horizon, the Vancouver music scene can use all the family, friends and fans it
can muster to assist in its progress in extending throughout the community and beyond.
In 2008, Discorder plans to take part in this mandate by putting more of a focus
on local, independent music. In last month's issue, we previewed our What the Folk
column, and this month you can take a look through the peephole of the local music
industry as we give you a sample of some of the fine Vancouver musicians that Discorder
will continue to showcase throughout 2008. For example, see page 13 to read about
GreenTaRA, who's been making her mark with her funky, soulful R&B. On page 12,
we catch up via email with country kid Dustin Bentall, on the road in Ontario. Then,
flip to page 7 to get a load of the Music BC Industry Association, the organization
that is responsible for bringing the Junos this way, and which is striving to build British
Columbia's music community. We also check.in with the rock 'n roll Festival of Guns
in a photo essay on pages 8 and 9. Lastly, check out our Under Review section (p.20),
which highlights five Vancouver artists who released albums during 2007 that we
forgot to tell you about.
On our December/January cover, meet Hot Little Rocket, a Calgary alt-rock force
that is about to take on the world. For regulars this month, we take a look back at 2007
with the top 100 chart from CiTR, review a year in copyright history with Copyright!,
and Riff Raff features Bryce Dunn's top five spins of the year.
Now that our new staff is settling in, we're excited here at Discorder to bring you a
fresh face for the new year and a sense of community. So, whether it's at the Centre
for the Performing Arts or your local community centre, we look forward to seeing
you in 2008. ^Stll
1Sell§$ig Out
the Season Sale
©DiSCORDER 2007 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation
8,000. Subscriptions, payable in advance, to Canadian residents
are $15 for one year, to residents of the USA are $15 US; $24
CDN elsewhere. Single copies are $2 (to cover postage). Please
make cheques or money orders payable to Discorder Magazine.
DEADLINES: Copy deadline for the February issue is January
18th. Ad space is available until January 21st and can be
booked by calling 604.822.3017 ext 3 or emailing discorder.
adyertising@gmail.com. Our rates are available upon request.
Discorder is not responsible for loss, damage, or any other injury
to unsolicited manuscripts, unsolicited artwork (including but
not limited to drawings, photographs, and transparencies), or
any other unsolicited material. Send words to editor.discorder@
gmail.com and art to art.discorder@gmail.com. Material can be
sumbitted on disc or hard copy or via mail. From UBC to Langley
and Squamish to Bellingham, CiTR can be heard at 101.9 FM as
well as through all major cable systems in the Lower Mainland,
except Shajv in White Rock. Call the CiTRDJ line at 822.2487, our
office at 822.3017, or our news and sports lines at 822.3017 ext. 2.
Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit
our web site at www.discorder.ca or just pick up a pen and write
#233-6138 SUB Blvd., Vancouver, BC, V6T1Z1, CANADA.
16 % OFF NEW 33 y3 % OFF USED
WmM. RIFF
B^YCE DUNN
More-grooves to take a gander at this month for what will be our final column of the
year, and as a special bonus, we'll recap our favourite releases of the past twelve months.
Let's start by curing the winter blahs with some peppy power pop from Steve E. Nix
& the Cute Lepers. Anyone who knows me knows I love the Briefs, that scrappy
bunch of punks from Seattle. When news came recently that they decided to disband
permanently, I was heartbroken to a fault, but was lifted from my sad sack state when
I heard the first of (hopefully) many new recordings from Briefs guitarist Steve E. Nix.
If his tuneful take on punk was identifiable before, The Cute Lepers take that one step
further with the help of former Briefs bassist Steve. E. Kicks, as they add a healthy
dollop of sass from three—that's right, three—back-up singers! It's like the beauty
of the Shirelles meeting the beast of the Sex Pistols, minus the attitude, because for
these kids, it's all about fun. "Terminal Boredom" rides a California surf bass Wave, with
a dash of old-time piano that is anything but boring, and "Prove It" slows it down, but
steps it up in a tribute of sorts to Joe Jackson. Organizing practices must be a headache
for this seven-piece combo, but whatever they're doing, The Cute Lepers pull it off in
spades. (1-2-3-4 Go! Records, www.1234gorecords.com).
The Coconut Coolouts certainly give our guys and gals in the Cute Lepers a run for
their money, with a catchy-as-all-get-out garage-punk dance vibe and equal numbers
in the ranks which include two stand-up drummers and a half-man/half-banana on
bass! I'd pay good money to see both bands in a battle royal, but instead I paid good
money for the recent pizza party platter they put out, and boy do I feel good about that
decision. "The, Spinaround" could very well be the next dance craze to rival that Soulja
Boy track I keep seeing on the TV, especially since it's a lot easier to do and doesn't
involve wearing anything baggy or blingy. "Swim" is exactly what you'll do in the pool
of puke that you fell in after doing too much of the A-side smash. If you don't like
this—tough bananas. (Heads Up Records, www.headsup-records.com).
Or should I say, Tuff Bananas? This crew from Milwaukee knows how to "Dance To
Rock-N-Roll," and want us to get apiece of the action. Inspired by equal parts Chuck
Berry, sixties bubblegum and too many nights hunkered down in their jam space in
the dead of a Midwest winter, the five-piece create a glorious ruckus that rivals bands
Hke the Okmoniks and the dearly departed Brentwoods. On the flip, we've got "Roll-
ercoaster" and "Nitetime (Sha-La-La-La Ooh)," which ooze crunchy guitar, spunky
keys and tons of energy. These are perfect party tunes that you'll be spinning for weeks
(Three Dimensional Records, myspace.com/threedimensionahecords).
Lastly, the aforementioned label just so happens to be owned by one Steve Borchardt,
guitarist of Boys Club, out of Minneapolis, who just so happens to be a swell guy to
boot, as I had the pleasure of meeting him and the rest of the band on a recent tour
stop here in Rain City. He sent me that Tuff Bananas single and a Boys Club 7" that
has, to paraphrase my good friend T>t. Frank of the Mr. T Experience, "TWO songs
about a girl." The first, "Girls Of Today," shakes and vibrates like any good rock and
roll song should, adding some sweet girl backups to make the point clear. The second,
"Are You Gonna Be My Baby," is a mid-tempo, power-pop, hand-clapping tour de
force that evokes images of the boys in various situations, like being at the movies or
the amusement park vying for the affections of the female in question, while she puts
a stop to their shenanigans with every snap of the gum she jchews and stomp of the
stilettos she sports. Steve confided that this group is only around for a laugh, but we'll
. see who has the last one if you don't track this wax down (Douchemaster Records,
www.douchemasterrecords.com).
And now, in no particular order, some singles that got many spins on the stereo this year:
Jay Reatard "I Know A Place" b/w "Don't Let Him Come Back" (Goner)
Fe Fi Fo Fums "In The Summertime" EP (Boom Boom OfRehton)
Bayonettes "We're Doomed" EP (Deranged)
Muck & The Mires "I'm Down With That" b/w "All I Really Wanna Do Is Cry"
and "One Of These Days" (Dirty Water)
Bad Amps "Two Face" EP (Black Market/It's Alive)    ft
4    Jancember 2007
BOYS CLUB #g
#
ag^sft
•!• BONGO BEAT
BUY IT. STEAL IT. COME SEE IT.
IN CONCERT. DEC. 2007
DEC. 17-22
Six Nights Straight
RIME
Commercial Drive
East Van, BC Greg McMullen
Taking stock of the year's copyright craziness
February I     ;p§!
The people who are most-gung-ho about ending DRM and
having cultural products easily traded are often accused of
being loony leftist idealists, completely out of touch with
the realities of business. These loonies were joined by The
Economist in February. They featured an article calling for
an end to DRM-crippled music stores, suggesting that
the digital locks should be thrown open in the name of
interoperability and consumer choice. Coming from The
Economist, you can be sure the article was not a free love
argument for sharing and caring. It was about providing
value and staying competitive. Free peer-to-peer downloading gives people high quality music with no restrictions on what they can do with it. Why would people pay
for files that are locked down?
April
Canada was added to a "priority watch list" of copyright
violators, and pressure built from Hollywood groups and
U.S. lobbyists for the Canadian government to do something about Canadian film piracy. Hollywood claimed
that 50% of pirated films originate in Canada, but critics
showed that those numbers are grossly inflated. This was
the beginning of a U.S. campaign to change Canadian law,
a plan that would come to fruition in June with a Criminal Code amendment.
October
Jammie Thomas was convicted of "making available" 26
music files through the KaZaA file sharing service. She
was ordered to pay $220,000, a hefty sum, but far below
the maximum fine. She is currendy appealing the judge's
instructions to the jury, which said that it did not have to
be shown that she actually uploaded the files, only that she
made them available.
OiNKxd, home to both thousands of copyright violations and the greatest, most extensive music library ever
assembled, was shut down by British police after a two-
year investigation. Rather than work out a deal with its.
founder to turn the successful, not-for-profit site into a
subscription-based music service, record industry officials
had him locked up and threatened individual users with
criminal sanctions. Almost immediately, several new sites
launched to take OiNK's place.
November
The June Criminal Code amendment prohibiting videotaping films in theatres sawits first application. A Montreal
man, fully equipped with camcorder and internet access,
has been charged under the section. He now faces up to
two years in prison.
An Industry Canada study showed that people who use
peer-to-peer downloading services are also much more
likely to buy music. Overall, the study could show no
connection between music downloading and decreased
music sales.
The RCMP made waves when their intellectual property
enforcement chief said that they will not be investigating
people making private copies of music and movies. They
will be focusing their attention on intellectual property
crimes that actually hurt Canadians, mostiy involving
shoddy electronics and unsafe pharmaceutical knock-offs.
U.S. legislators worked to push through an education bill
that would tie public university funding and student aid to
a school's willingness to work with the Recording Industry
Association of America (RIAA) and the Motion Picture
Association of America (MPAA) in preventing copyright
violations. Schools that don't force their students into an
industry-approved subscription service could see their
federal funding completely cut off. The College Opportunity and Affordability Act could, ironically, make it harder
for students with the fewest opportunities to afford their
college education.
December
Could we see the promised Canadian copyright legislation
tabled before the end of the year? Only time will tell...
Overall, the year has been a strange one for copyright.
While the music and movie industries won some legal
victories, most notably the jury trial of Jammie Thomas
and revised criminal provisions in Canada, music and
movie fans had some substantial wins as well. A heap
of DRM-free music stores opened online, veteran acts
like Prince and Radiohead played with new distribution
models, and independent producers in both film and
music heralded peer-to-peer distribution as something
that levels the playing field. The troubles with DRM are
becoming more and more mainstream as the average user
experiences the frustration of being locked out of music
and movies they've paid for.
It's important to remember that in the music industry,
there are two parts: the music and the industry. The same
is true for film. Despite the upheaval on the industry end,
or perhaps because of it, 2007 produced a lot of great art.
While 2008 is already shaping up to be just as chaotic as
this year, let's hope this trend continues:   J)
May tl*%
In a move that shook Canadian cinema to its very foundation, Warner Bros, announced
that Canadian cities would no longer be allowed advance screenings of its top films for
fear of Canadian movie piracy. Fans of underwear pervert Spiderman were outraged
when they were forced to wait an extra forty-eight hours to see the third installment of
his adventures, a film that critics heralded as a "sprawling mess." Despite Warner's posturing, the movie still appeared on the internet days before its official theatrical release.
June  -
Three months into Hollywood's campaign for tighter copyright laws, Canada's Conservative government rushed through a made-in-Hollywood legislative amendment to the
Criminal Code. Bill C-59 made capturing video of a film playing in a theatre a criminal offense, creating heavy fines and potential jail time for the offense. Police set off to
capture the notorious copyright violators who have been terrorizing our cities.
Never one to tow the recording industry Une, Prince struck a deal with a U.K. newspaper
to distribute his new album free of charge with each copy of the paper. He also announced
that the disc would accompany each ticket sold for his London shows. Recording industry officials were outraged, threatening to make him the Artist Formerly Available in
Record Stores.
Good Copy Bad Copy aired on Danish television. Directed by Andreas Johnsen, Ralf
Christensen and Henrik Moltke, the documentary film looks at the current state of
copyright law, piracy, and the move toward free culture. Clearly practicing what they
preach, the makers of the film have made it freely available for download, but suggest a
Paypal donation if you enjoy their work: http://www.goodcopybadcopy.net/download.
September
Radiohead made an album. They announced this as soon as it was finished, and put up a
website offering the songs on a tip jar model—you pay what you Jthink it's worth. Estimates suggested that the band made between six and ten million dollars from the sale of
the MP3 album. However, the band's publicist said the online sale was merely a ploy to
fuel interest in the physical album, which will be sold in January and include songs not
offered in the download packages. The people who paid $15 for a bunch of low quality
MP3 files are not impressed.
Enjoy h^ve Music this season
WK&ase don]t drink & drive
LiveMusicVancouver.com
comprehensive live music listings cm
EXP
serse
£ffi% etting by with a little help from my friends may well
w 1 igbe an appropriate introduction to Across the Universe,
^r-^a dazzling display of creativity from Columbia
Pictures. Chalk full of classic Beatles songs, this 130-minute
tribute plays on the chaos that surrounded the turbulent
60s.
In the movie, upstart director Julie Taymor (Frida)
demonstrates a knack for bringing original stories to the
screen. Scores of penetrating issues surface in this visually
stunning experience that's anchored by tunes made famous
by the Fab Four. Their legendary music is juxtaposed with
the turmoil confronting two young adults from decidedly
different starting points in life.
Born with a silver spoon is Lucy, treated to fhe good
life in swank suburbia, USA. Thousands of miles away
resides Jude, a distinctly working class bloke who hails
from a disruptive family. The pair connects at Princeton,
the renowned Ivy League school, brought together by
Lucy's wild and wacky brother, Max, and so begins a rather
unorthodox relationship.
During this era, things were heating up on the political
and social scene. Efforts to resist the Vietnam War were in
vogue in some quarters, while the racial divide was also in.
full bloom. Taymor cleverly weaves these social concerns
into the story of a tumultuous, uneven love affair between
two lost souls from different backgrounds. Whether they
can ever overcome their upbringings and come together is
one of the many questions posed in this thought-provoking
tale, packed with superbly understated performances by this
group of relatively fresh new actors.
Perhaps the most recognized performer here is Evan
Rachel Wood (Down in the Valley),who continues to grow as
an actress, now playing a girl with a conscience. Scenes shot
in what looks like the Soho district of New York are lively.
Energy abounds everywhere in this flick, whether watching
rebellious youth or feeling the infectious beat of some up
and coming performers awaiting their big break. Both Jim
Sturgess and Joe Anderson (Becoming Jane) give off riveting
performances as the Brit and the brash Yank, proving once
again that opposites can attract. Add on some gutsy artistic
chemistry between Diana Fuchs and Martin Luther and
you have all the elements needed for a fully original motion
picture experience.
Beatles fans will be in awe as to how the filmmakers here
have managed to use some of the band's lyrics in a story of
two star-crossed lovers searching for peace. Hats off to Julie
Taymor, who continues to deliver innovative experiences on
the big screen, unafraid to cast relatively unknown actors who
pack quite the punch in this far-flung journey that tests our
sense of history, justice and pride. 0
6    Jancember 2007
r*%§|jA dfoi&Tier
■^f^ftlnaum Press]
Music geeks, bonafides and wannabes alike: Empty a
back pocket; for one of the 331/3 series. Published steadily
since 2003, Wery slim, Benetton-colours volume in this
series of 50+ books details some milestone album in pop
music. So far lihe list ranges between Meat is Murder and
Sign O' the Times, Live at the Apollo and Led Zepplin IV.
Even the VPfiss buying in, though you have to brave
Teen Non-Fiction to get a copy of Ramones.
Trout Mask Replica, one of tlie latest, is Kevin
\Courrier's essay on a four-sided, atonal monster that is
dqgma to everyone in the cult of Captain Beefheart and
hisNyiagic Band. Dedicated to Mike, an Oshawa speed
dealervwho gave Courrier his first copy because it made ■
him tooOnervous," the book attests that Beefheart songs
like "Neon Meate Dream of a Octafish" are something
more durable than trippy one-offs forthe weird beards
of1969.
33 1/3 writers pick their albums with the same pet
intensity found in mix-tape circles. A film critic by
trade, Courrier took up Trout Mask Replica when a CBC
' executive sacked him for lacking commercial appeal.
The affinity is clear. Beefheart, who couldn't find middle
C, composed Trout Mask Replica by whistling, tapping,
grunting out riffs and "u-chunk-u-chunk" rhythms to
drummer John French, who then transcribed it all into
repeatable music. What results are Dada-ish, American
primitivist lyrics sung or screamed over an alien hybrid of
free jazz and Delta blues, all played in simultaneous 3/4
and 4/4 time. It took BBC Radio's John Peel, a dedicated
fan of "unpredictable porridge," to hoist the album to the
50 spot on the UK charts.
Like most writers in the series, Courrier is outside
the music journalist hard core, so a lot of Trout Mask
Replica reads like a hyper-extended liner note. Wielding
meticulous research and 38 years of hindsight, Courrier
traces every lifted Howlin' Wolf lick and provides short
histories of Pollock's abstract expressionism and Coltrane's
improvised jazz, widening his appreciation of Trout Mask
Replica beyond the narrower, rumour-prone vision of the
conventional rock press.
The obvious charm of Trout Mask Replica and the
entire series is to curl up by the stereo with a meticulous,
bibliographed, track-by-track breakdown, and play'
pause-reread. What sets these books apart, however,
is the superb tact of the 33 1/3 writers. Courrier deftly
wades through the hyped falling-out between Frank
Zappa, the lmob-tAviddling producer, and Beefheart, the
hermit-genius, giving a fair picture of their collaboration
ever since they happened on an old Webcor reel-to-reel
in schooldays. vt^0 3
Courrier also pierces the romance that Beefheart wrote
the album alone, in eight straight days, by hammering out
the parts on piano. He credits. Gary Marker for inventing
the album's musical structure, and producer Alex Snouffer
for keeping the Magic Band together through months
of 12 and 14-hour rehearsals, clothes buried outside in
case of escape. The truth is way more compelling. Even as
Courrier lays bare the full, too-human story behind Trout
Mask Replica, Beefheart ascends as the frustrated, wholly
original avatar of blues legend Blind Willie Jefferson.
Blind Willie? Keep the stereo humming. 0
Andy Hudson        ^^J&ll? paving
the.way
be
musicians
by
andrea^
warner
Are you more Nelly, Nickelback or New Pornographers? Whatever your musical preference, Music BC
Industry Association wall help you chart the course from
garage band to Grey's Anatomy soundtrack staple.
Helmed by artists and professionals in the industry,
Music BC strives to help artists in British Columbia
have sustainable careers through funding, education,
mentorship, networking and business opportunities.
Executive director Bob D'Eith knows both sides. He
was the keyboardist in the now defunct Rhymes with
Orange, and continues to play with his* current project,
Mythos, which signed to Virgin Records and has five
records to its credit thus far. He's also a music lawyer,
helping contribute to one of the major mandates of
Music BC.
"There's a big disconnect between the study of music
and the business of music," D'Eith says. "These kids
come out of school as incredible musicians, but have no
idea how to make money at it. We're trying to work with
educators so the gap is filled before they leave school."
It's a complex balance between art and business,
particularly right now when the music industry is wading
through uncharted waters in the wake of new technologies. This is not exactly news, but it remains the catalyst for a changing industry. According to Chris Brandt,
former vice-president and newly promoted president of
the Music BC board of directors, making money as an
artist is no longer possible by conventional means. And
he should know: Brandt worked for Universal Music in
sales and marketing for 10 years, and has owned his own
label, Cazart! Records, since 2004.
"An ongoing problem is downloading. Anyone who
says it isn't is an idiot," Brandt says. "Downloading
kicked the crap out of the music industry—not to say
the industry wasn't at fault They did a lot of really dumb
things, were susceptible to it and greedy. But they did get
the legs taken out from under them. Now it's trying to
find new ways for an artist to make money."
This is where Music BC can help. With a diverse board
of directors,' who hail from all sides the music industry, the organization can commiserate with the state of
affairst>f their 3,000-plus members—mostly artists from
around the province—and alternatives are first and foremost on everyone's mind.
"There's no money in records anymore," explains
: Brandt "You have to tour, sell merchandise, and get your
music into TV and film."
As jaafft of Music BC's Career Development Series (a
succession of educational workshops offered free to paid
fe m
:bc
members), a music supervisor was flown up LA. to talk
about the placement of music on soundtrack-heavy TV
shftws like Scrubs and Grey'sAnatomy.These. kinds of lectures
are beneficial for everyone involved, particularly up-and-
coming bands and artists with no other way of getting their
music in front of 20 million people in one shot.
"You can't just put .out a song and then have a video
for MuchMusic, because MuchMusic doesn't just play
videos, and radio doesn't play new music,"D'Eith explains,
chuckling a Uttle. "I'm not saying they don't at all, but it's
different now. As an artist, you have to connect."
The hardest part of touring and Uve shows, especiaUy
for young bands, can be in finding a meaningful relationship with the audience. As a further part of the career
development program, Music BC is hoping to finalize
arrangements with Tom Jackson, a famed producer of
Uve shows from Nashvule, to impart his wisdom about
developing the rapport between artist and fan.
In addition to education and career development,
Music BC funds a variety of initiatives to help musicians transition from fledgling to key player. They act
as administrators for FACTOR (Foundation to Assist
Canadian Talent on Records), the $15-milUon federal
grant program. They also offer a travel assistance fund,
and a music appreciation program with a songwriting
contest that is currently accepting submissions. Their
newly developed charity wing, caUed the Music BC
Charitable Foundation, provides scholarships for post-
secondary and private music schools. The foundation
recently raised $28,000 for instruments for Lord Roberts
Elementary School, a program they plan to develop
throughout the province. And they have big hopes for
the future.
"We would love to create a funding program where we
could fund indie labels," says Brandt. "Give them grants
to hire pubUcists, do radio tracking, help them with
production costs here and there."
In addition, 2009 wiU be a major triumph for the organization after having successfuUy negotiated the Juno
Awards return to Vancouver. "This is a great opportunity
to bring the focus back to Vancouver and put a bit of a
spotlight on our local industry," predicts Brandt.    <~y%-
With so much to offer the province's music community" already and a mandate to continue in its development, Music BC wiU be the organization to lead the way
for artists in British Columbia as a new day dawns on
the music industry. U
Membership Benefits Include:
* Career Development Seminar Series
* Free copy of the Music BC Industry Directory
* Exclusive access to the Music BC Resource Library
* Weekly E-newsletter
* Free admission to the "Schmusic BC" industry
networking events & parties
* Members only discounts on industry-related
products and services
* AppUcation eUgibiUty to grants and other
funding programs
* Access to medical and dental benefits
* Live showcase and CD compilation exposure
opportunities
For information of what Music BC has to offer, or if you
would like to become a member, visit www.musicbc.org.
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Beds   WettofrWt^p
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only st The Railway Club!
Thank yea ts oar many prlxc sponsors!
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THE PACK A.D.
TINTYPE
CD/LP OUT JANUARY 22, 2008
RELEASE PARTY:
JANUARY 26, 2008 @ THE RAILWAY CLUB
MINT RECORDS
Discorder   7 ▼fill
I «wr«
WEEKLY JEVSKTS
"DJ,TAMN6itf
WITH DAVID HAWXES
REBELS
JOE SHITHEAD
KEITHLEY & HIS
BAND OF REBELS
Friday, December
■ 4'.JH«R8»A¥,iOsCEMBEHj20TH..
w®
HN&ALEXANDER <
LOOT
fi3Ea        SACK BLABBATH
■^B
WHITFIELD
THE SESSIONS
fell
THE VINCENT
BLACK SHADOW
r*     WtUyDic!
WEEKENDS
ATTHEPLA2A
'op 401 S&BJ ftlpljop tP»»«MJ «as»-U|* I
DJ  TANNER
pyour Friday
a special evegtl   ■
i  UPCOMING CONCERTS & EVENTS
■ .DEC-
Ijan
BASSNECTAR-12/07        3$£*
Book your private or company holiday party now!
ART OF DYING, PROX - 01/17 | BODOG GRAND FINALS - 01/31
:■***
* fl^it^thsjt.ytf^ftBSjftJItf^JlW^ _ wiiiB^i-j *" w__w ■ r*
photas by m&a ^mculem
Ouerpatlted dufc—check
Great quantities of alcohol—check
Headbangers-check
Merch table—check.   J||§
Extreme late hour-check
Good rock music—definite check
y#5rts 1;30 a.m. at Vancouver's RaUway Club, and
g^l Calgary band Hot Litde Rocket are owning the
&?&?stage. The fans extend from the groups very fingertips aU the way down the stairs and out onto Dunsmuir
Street. Even Hot Litde Rocket's own manager is rocking
out, arms in the air and long hair flailing. "You have to
establish a relationship fast with a room fuh of people, get
their attention. Then you have to gain their trust. If you
have that, then you can have your way with them," explains
lead singer Andrew Wedderburn, who is clearly having
his way with tonight's obviously appreciative crowd.
The members of Hot Little Rocket, who are Wedderburn, guitarist Aaron Smelski, drummer Joel Nye and
bassist Matt Swann, are not newbies to the rock scene by
any means. Formed in 1998, Hot Little Rocket released
their debut EP, 'Laika, the foUowing year. After their
first full-length, Danish Documentary, carpfsjptin 2001,
they weir;^^^ted"ti^help. launch MTV CanadiaOSia^
then, the band and their pungent alt-ro.ekhafe<? join amok
throughout the country (not to .mention a two-and-a-
half week stfht in China), gaining new fans at every turn.
They've played alongside Modest Mouse*, Ift^ Weakerthans and Hot Hot Heat, performed to tens of thousands
of festivalgoers and even rocked the Canadian Consulate. Needless to say, these boys know how it's done.
10    Jancember 2007
Their fifth release, How to Lose Everything, hit the
streets this June^uidarjeceived critical acclaim throughout
the country. The^album was even described as containing
*%eear flawless songwriting" (FFWD Weekly), which is
a compUment to the entire band, as every member of
Hot Little Rocket is involved in the writing process.
"It's a long, drawn-out, painful process, but it works. We
make sure everyone is happy, and it reaUy shows on stage,
because everyone owns it, everyone is excited about it and
everyone feels a part of.it," Smelski says. This is evident
in "Like KiUers," the first single off How to Lose Every-
thing,w_nch is fast-paced and catchy, causing uncontrollable
head-bopping and feverish foot-tapping. The instruments
are tight, the vocals, robust and the lyrics, compelling.
This applause from the media and the industry is no
surprise, as Hot? Little; Rocket have been honing their
skiUs for nearly 10 years. "Our sound is a lot sturdier
now. We're all able to actuaUy do what we have in mind
and we know what are capabiUties are," says Wedderburn. Adds Smelski: "If you Usten to some of our early
stuff, you can pinpoint what I liked, what Andrew Uked
and what Joel Uked. And. when three different styles
come togetiBjSjfike that,soffee things are going to clash.
There is more ©f a gefling now, a Uttle bit more respect
and understanding of what each other likes."
Having brought the "band to a state of confidence and
poUsh, th^'Iciifew that it was time to work with a producer
that would be aljjl&toeapture this, and bring their ideas and
onstage sound to BfS^fe a recording. At the beginning of
2006, H$t||Jjttle Rocket turned to famed producer, Steve
Albini, andjife^orarily moved their operation down south
to record atthis Chicagostudio, Electric Audio. Albini, who
has worked ^srot big names Uke Nirvana, the Pixies and
Mogwai, js;kikJw for his^lvg?esff-the-floor" recording technique anp^w|g^j«]el%e perfect for what the band had in
mmd.^Bidfc«8?aridwire-both reaUy big Steve Albini fans.
Our dr^fejpi0^y^r^(|^^S^s him, and I really admired
the recotd^^he^^"Q&^ w®Uke watching a master at his
craft," says' ^^^^-^S^-0^^.
Albini, who apparently works in a red electrician's
jumpsuit, connected weU with Hot Little Rocket and the
two sides saw eye to eye on many aspects of the making of
How to Lose Everything, especiaUy the concept of recording
the album on analog equipment, another of the producer's
specialties. Tn my head, analog recording sounds better. It's
warmer; it has a nice fuzz to it. It sounds real," says Smelski.
After taking the album across'Canada this year, Hot
Little Rocket plans on taking a break over the winter
to write some more music. Having hooked up with
the Vancouver company, File Under: Music, the band
is excited to continue working with manager Shannon
Martin, and bust onto, the international scene in 2008.
With Martin at the wheel, Hot Little Rocket is hoping
to breach new markets and bring their music to the next
level. "Shannon does what we don't do weU. We're a good
band, but we're terrible businessmen," jokes Smelski.
With the possibiUty of bringing their music to Europe,
AustraUa and the States in the upcoming year, the
members of Hot Little Rocket are looking forward to the
next step in their career. "Every time I think I could probably quit, there'U be another song that I wanna get done.
It's not Uke I could just walk away and do this on my own.
It has to be this band and these guys and this music. Every
year there's more to do and the stakes are higher and that
makes it more exciting."D o/K? pasty tS&Mtm
_m'
I Saturday December 8
Sin is now a three room I
#room 1 - electro / rock / 80's /
industrial / alternative mashup. ^
fcroom 2 -down n'dirty electronica ■
... plus of course the dungeon to indulge
your exhibitionistic or.voyeuristic side!
9pm - 3am at Club 23 West - don't be late!
&&_M
XXX-
Allnm
SCHIOC!
where
\___^r    Kstwnrws wW* *53
■Tfa   pgMy encouraged.
II aub23West
Saturday
December 22
I
to the
ouver,
,   NEW YEAR'S
Club 23 Wesl
Kiss 2007 goodbye at the wildest
party in the city! This event will
sell out so get tickets early!
All Sin City parti
Sanctuary Fridays at t
New World Desiqns
1. Diana Floss 8 the Supremes'-"I Got Hurt Truing to Be the
Only GirUn Your Life*
2. The Bemains - "Dont Look Back*
3. The Gun Club - "She's Like Heroin to Me"
k. The Pixies - "Where is My Mind?"
5. Sonic Youth - "Titanium Expose"
6. Hot Snakes - "light up the Stars"
7. The Clash- "ttfltite Man in Hammersmith Palais"
8.HeuiOro^-"Ceremom/      o
i^y Bloody IWentine-"You Mate Me Real«£
10. Sugar -"Helpless"
Don't miss Ihe first Sin CHy parties
of 2008 at dub 23 West!
All parties hosted by
Mr. Dark & those dirty T)Js
Pandemonium, R-Lex,
Betti Forde. Mr. Ir-
CraigWanfess&
STRICT FETISH DRESS CODE
Discorder   ll Dustin BentaU, the son of Canadian rock icon
Barney BentaU, has been proving his chops and
making a name for himself in the Canadian music
scene. HaiUng from North Vancouver, Dustin has
been bringing his unique brand of country rock to
fans across Canada for years. On Dec. 8, Dustin and
his crew wiU be treating Vancouver to their twangy
tunes at the Railway Club. Discorder caught up with
Dustin on the road in Kitchener, Ont., to get his
thoughts on music, touring and Uving in the shadow
of a famous father.
Discorder: You're from North Vancouver, not exactly
the Wild West. What drew you to country music?
Dustin Bentall: Country-rock singer Gram Parsons
got me into country music. I also spend a lot of time
in the country. I've got some friends that steer wrestle
in the rodeo circuit and I've toured around with them
a Uttle.
0: When did you start playing music?
DB: I started playing when I was about 13 years
old. My dad, my brother and I sailed a Utile saUboat
from Gibsons to Nanaimo one day that summer and
my dad taught me to play "Knockin' on Heaven's
Door" and "Mary Jane's Last Dance." We're gonna be
playing "Mary Jane" tonight at the gig in Kitchener.
0: How did you meet your band?
DB: I saw Adam Dobres (guitar) playing with the
Seams at Cafe Deux Soleils about two years' ago and
begged him to play with me. Since then, the whole
Seams/Ridley Bent camp welcomed me with open
arms and we aU play together—not to mention Uve
together in East Van.
0: Was it hard to get your start?
DB: It's easy to start. You just need the baUs to get on
stage and play in front of people. I'm not gonna Ue, my
name has made the journey a Uttle easier thus far. But
at the end of the day, it's the music we play that people
Uke, not the name playing it. That aside, it's bloody hard
to make a name in the Canadian music scene, [but]
I don't look at it that way. I'm on the ride of my Ufe,
meeting the greatest individuals in this country and
playing on stages across the country. I'm not jaded yet.
m: In your career so far, how have you found the
audience reaction towards your music?
DB: It's been fantastic so far. The music we play is the
music we love. It's real and not contrived. People pick
up on that, and therefore, the reaction has been reaUy
positive from an audience of aU ages.
V: What musical influence do you take from your
father? Do you feel more or less pressure because of
your last name?
DB: I think he's a rock 'n' roU legend. The pressure?
Yes and no. Sometimes it makes things easier and
sometimes it makes things harder. I've always felt Uke
I have had to prove my own worth—only to myself
though.
V: Who are your greatest musical influences and why?
DB: There are a lot of them. I'd have to say the Band
tops the Ust. The Last Waltz, what more can I say. You've
seen it!
0: How is Ufe on the road treating you? Do you get a
lot of inspiration from touring?
DB: I do get a lot of inspiration from touring. Most
of aU it's the people I meet. I have become acquainted
with some of the best songwriters in the world, let
alone Canada. I've been staying in Toronto with Corin
Raymond who just brought Jonathan Byrd up from
North CaroUna. These guys are as heavy as they come.
We cover one of Corin's songs, "Three Thousand
Miles," which is a story about Port Alberni. He's
never been there but he nailed it. He loves that I
play it because, after I told him about that town,
he feels Uke the song belongs on the West Coast. I
agree—it's a beauty.
0: What isyour favorite place in Canada to play?
DB: Winnipeg, hands down. The Times Changed
High and Lonesome Club is the best bar in Canada.
It's the kind of bar that a guy Uke me walks into and
says, "FinaUy, someone did it right." BasicaUy it's
everything I ever wanted in a bar. Yeah, it's hard to
leave the Times before sunrise.
0: What are you plans for the upcoming year?
DB: I'm gonna record a new record in January,
which I'm reaUy excited about, and then probably
spend the rest of the year on the road. I reaUy want
to go south, as weU as overseas.
v: What should fans expect for the Vancouver show
in December?
DB: They can expect something they have never
seen before. I put a new band together for this
tour and our first show was in Calgary. The show
at the Railway wiU be the 19th show after Calgary,
so Vancouver hasn't seen this band yet and they
haven't seen us fresh off four weeks on the road.
Things reaUy tighten up on the road. Del Cowsil
on bass and Evan Middleton on drums are the new
additions to the band. It's a Uttle more Crazy Horse.
Dustin Bentall and band will be playing at the Railway
Club on Dec. 8.
For more information visit www.myspace.com/
dustinbentall or www.dustinbentall.com.Q
12    Jancember 2007 BY
DANIEL FUMANO
reenTaRA is the stage name of Tara Nicole
lonald, a 34-year-old singer/songwriter who
also a UBC grad. She was born and raised
in Vancouver, Uves in Vancouver, and yet she doesn't
sound Uke a lot of other artists from Vancouver. Instead,
her cool, sophisticated songs have repeatedly garnered
favourable comparisons to feUow soul songstress Jill
Scott. GreenTaRA's thoughtful, personal songwriting and powerful, soulful voice may also bring to mind
artists such as Corrinne BaUey Rae or India.Arie, but
GreenTaRA is definitely a unique talent—especially in
her own rainy city. More renowned for bands Uke DOA,
Nickelback or the New Pornographers (and everything
in between), according to Tara, Vancouver seems to be
"a rock town."
Across the country, however, GreenTaRA -was not
only recently featured in the Toronto Star, but also nominated for a Toronto Indie Music Award for Best Out-
Of-Province Artist. "[Toronto's] urban music community has the infrastructure for that type of music, and
there's quite a supportive scene. Rap and hip hop and
R&B have been dominating pop music for a reaUy long
time," GreenTaRA says. "Maybe Vancouver just needs to
catch up," she adds with a laugh.
Her sophomore effort, released in October, is aptly
titled Global Baby, a tide that refers to the album as "a
coUection of songs written during my travels, past and
present, across the globe." Backstage before her concert
at the Media Club, she talks about her travels throughout
the States, Europe, AustraUa and New Zealand, and says,
"I started referring to myself as a 'global baby' because
everywhere I went it was Uke my home. And! just think
I'm a nomadic person, and that's just part of who I am."
As with her debut CD, Music for a Mixed Nation, this
album was inspired and affected by our multicultural city
and country. "Being in Vancouver, seeing all the different
ethnicities of aU the different people and aH the cultural
mixing that goes on in our city affected the album's writ
ing, as weU as my own personal experience with my own
fanuly and myself because I'm a mixed-race person."
GreenTaRA, who is ofTrinidadian, Cherokee and European descent, has several brothers and sisters who are "aU
different blends."
There is also a lot of blending in GreenTaRA's music,
which combines elements of soul, funk, reggae, jazz
and hip hop. Global Baby features a handful of guest
musicians and vocaUsts, including an impressive trio of
Canadian female rappers, including Ndidi Cascade and
Kia Kadiri of Vancouver, and BeUadonna from Toronto.
There are fantasticaUy funky horns on several tracks
(especiaUy on the infectiously catchy opener "Get Up"),
keys and synths (such as the organ that drives "Life Can
Be Sweeter"), strings (on "Communication Altar"), and
some turntable work.
Although the album definitely benefits from aU of
these big, lush arrangements, GreenTaRA's Uve show has
a simpler, more stripped-down approach, as she showed
on Nov. 9 at the Media Club. Playing to a packed house,
she was backed only by her bassist and drummer, as weU
as her own skillful guitar work. At times, the musicians
were joined»on stage by Ndidi Cascade, who provided
backing vocals and rapping. The songs feel different
when performed without the bigger instrumentation, but
as Tara says, "Studio recordings and Uve performance are
two totaUy different animals. With the Uve performance,
I Uke it when it's reaUy direct and it reaUy showcases the
songwriting and the lyrics."
After her hometown, show, GreenTaRA heads out
on the road, playing a handful of shows across Canada
and the U.S. Global baby that she is, we can expect a lot
more touring from her and her band in the future, but
GreenTaRA ensures, "I've been in so many places, but
Vancouver is something that's inspired me, and I keep
coming back." 0
Discorder   13  turday
... Mike Doughty @ Red ___<&&_
Atexlsanffrff^^ft-flag, Saosin, "the
Bled®PNEferum". ' •
Streetlight %|§WteOwl @ Pat's Pub
Acoustic Studio Circle of Songwriters
I Backstage Lounge
I Pascale Goodrich Black CD release,
party @ Railway
Tori Amos +'Yoav @ OrphenMSp ,-*
Field @ Cellar Jazz,
The Gay Straights + Said the Whale <§
t Railway
CiTR'sSHiNDiGl 2007 finals: The SSRIs,
The Petroleum By-Products + TBA @ ;
Railway Club' „'
Nikki Galios + guests @ Media Club
Eric Sardinas @ Yale
[ Vancouver Intgt-Cujtyral Orchestra
» Vancouver Public Library (Genfrak
[Branch)
Van Halen @ GM f$&G$>£%£
Joe Shithead Keithley and His Band of
Rebels @ Plaza
[ Sex with ,Strdrj§|s&& Combine the
Victorious, Adjective @ Richard's
Bend Sinister + Elias ©Media Club:
The Triple D<3§jj$©s, Alien Natioa
j melissa rae. Sugar Coated Killers @
the Balmoral'^*'
j, Bassnectar @T^fcea
Tranzmitors @ UbraiySquare Pub
8
Edges of Sevens, Kil§^$>gja Sabrina
Korva @ Redi^^^R
Rabbit Junk, Particle Son, FMTA @ Pat's
China Creeps, Cortez the Killer, taint,
Mr. Plow @Pub34Q
I Sharon Jones & the Dapkings @
1 Commodore^: T
Aaran Nazrul + guests @ Media Club
lo
IX
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14
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Bedouin Soundclash + SainfcAMa ■•
Cartel # (j^jffknodore
The Big Elbow @ Cellar Jazz
Merlin Engine, Social Disease,
Whitfield, Covered Red @Roxy
Lights Below, Means, \ Hate Sally,
Cortez the Killer © Media Club
Gene Farrisr if Republic
Rat Silo @ the Bourbon
j Shonen Knir^^jyiet Dagger, Verona
[ Grove @ Richard's
The Blakes+The Pack A.D., DetefctojjSj.
@ Media C_%gf^£.
Cocaine Kids @ /?©pabffic "£&.
Taboo Revue @ Cobalt    k
Amon Arnarrh, Himsa, Sonic Syndicate
@ Croatian Cultural Centre
BeHa, Immaculate MacWrie/th©
Buttless Chaps @ Railway
' YUca, Catapult, Calcutta Crime Spree
@ Red Room
Carolyn Mark, the Awkward Stage,
th»"ChoirPractice, theRambHn* '__
[ Ambassadors^ /?a/fti^jy- j!;;
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17
18
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26
21
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25
26
27
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29
30
monday
Wednesday
thursday
friday
Saturday
sunday -
monday
tuesday
th ur sday
friday
Saturday
*unday;.
monday
UBC Opera Ensemble: Die Fledermaus
@ ChanCentre
Frost Werewolves of Creston, Ho @*
Media Club
Coat Cooke Trio @ Cellar Jazz
'0^^3jr_ima <§ West Vancouver
LhnjtedChurgti-*?.   ■" ^^*r.'"''"
^»^0ver Symphony Orchestra @
Orpti&Qm
Gob + guests @ Garlinkels (Whistler)
' Baba Brinkman + guests @ Media Club
W^g3^f Ba+es & the Voodoo Dolls @
. -ttkffcySqr S
| '.ByirflrTg^fisorfsiithe Canaries, Quite
W^_^^^on Bong <® /?oyai Unicorn
^Cabaret •*'»
K3B&f8s&®Q Abortions, Blackie LeBlanc
P&nS^^Trlumphs @ Cobalt
B^i^fiSjBjers + guests @ Media Club
PfjSs^&Happiness, the Know Nothings
\ j# P§f&$k$on Pub
Last Minute Mayhem @ Your Local Mall
Wednesday
^arttO: & the Reindeer @ Vour House
BoxingfJay Line-ups @ Every Store in
Town
Up^ftlbtion, Painted Cities, Slingshot,
[fps^fhe Right @ Hoko Japanese
raj^jg^dhoughts + guests @ Railway
rsH^^&fee/t + guests @ lucky Bar
¥ tf$g$qj$^hute + Ferry MSH Sessions <§
rfllfcrtg&te*' >.£,»?
Pf^llpik+Alternative Action @ Pat's
[■Pub'
^^^^ps @ Orpheum
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Circle Jerks + Dead to Me @ Richard's
Art of Dying + Prox @ P/as*
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Hedley + Pride Tiger @ Croatian Cultural Centre
Deep Dark Woods + Shuyler Jansen @ Railway
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Whitfield @ P/aza
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The Sessions, UTS + Sweetheart @ Seylynn Hall (North Van)
Burning Borders, Kill Rhythm, Nikki Hurst @ Cheers
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The Manipulators, CC Voltage, the Saltcoats @ /?oyo/
Unicorn Cabaret
20
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Dal Richards' 90th Birthday Concert @ Orpheum
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YOu Say Party! We Say Die! + Fake Shark, Real Zombie!
@ Plaza
9
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Winston + Dan Mangan, Nat Jay, the Happening @
Railway Club
2§
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The Furies, Search Parries, What's Wrong Tohei? @ Royal
Unicorn Cabaret
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The Vincent Black Shadow, Fall From Grace @ Plaza
Mart Andersen @ Yale
26
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The Pack A.D., The Manipulators, DJ HWY 7 @ Railway
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Big & Rich + Terri Clark, Emerson Drive @ Coliseum
22
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Gallows + This is Hell, Cancer Bats @ Plaza'
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Backyardigans @ Queen Elizabeth Theatre
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Silverstein + Protest the Hero, lllscarlet, the Devil Wears
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Lily Come Down + The Whisky Jacks @ Media Club
*ser
dyour event listings to cal
'ndar.dixorder@gmail.com*
16    Jancember 2007 Breakfast with the Browns
by Peter Sickert
So far in the Hey DJ Columns I've given you a brief
history of the show, some "Brown's Trivia,"and a lesson
on how we source music and assemble each week's show.
This month I'll review some of my favorite music of the
past year.
One of the releases that still gets regular play is
Mathew Dear's Asa Breed. Having distinguished himself
as a purveyor of fine electronica, Dear took a risk and
ventured into the world of pop, and most importantly, he
decided to sing. The songs are full of wry and awkward
observations on life and love. Musically it is clever, recalling early Fripp, Eno and Byrne, but by no means does it
seem nostalgic or derivative.
Dan Snaith and his Caribou project continues to
surprise, making an effortless transition from electronica
to psychedelic-tinged pop on his release Andorra. And
yes, the Beach Boys do seem to have inspired some of
the songs.
Pretty much everyone liked Arcade Fire's Neon Bible
and the hype was pretty rabid, but it is a great follow up
to Funerair__vt orchestration, lyrical content and singing
are right on. One quibble: Win Butler hogs the spotlight
and doesn't give Regine Chassange a chance to shine as
she did on the previous release.
For a very minimalist take on electronic music, From
Here We Go Sublime by The Reid is the best of the class.
Simplistic beats driven melodies form the backdrop to
subde patterns, loops and vocals that drift in and out of
perception to create a hypnotic soundscape.
I discovered High Commission by Intermission Audio
when I was looking for information on the artists featured
on the soundtrack for The Corporation.The website helpfully provided links to the various artists, which led me
to the site of this Vancouver-based collective, where
three releases of songs are available for listening. High
Commission is the most intriguing of the three. Mostly
ambient with an occasionally dubbish flavour and with
somnambulist, otherworldly vocals, this series of songs is
more than just soundtrack music.
Both Buck 65 and the lesser known Soso have each
released excellent new recordings. Buck 65's Situation
and Soso's Tinfoil on the Windows are impressively genuine and personal glimpses into the lives and psyches of
Richard Terfry and Troy Gronsdahl. Their particular
take on the hip hop genre seems to be particularly Canadian. These guys are not all self-confident swagger. They
have no problem laying down feelings marked by anger,
confusion, lust and sadness.
Other worthy recordings: Mum - Gogo Smear the
Poison Ivy, Torngat - You Could Be, Elsiane - Hybrid,
ArcLab - No.Spectre and Ulrich Schnauss - Goodbye.
E-mail us at breakfastwiththebrowns@hotmail.com
24th December 2007: "The Brown's Chistmas Special"
featuring three hours of wonderful musical Holiday
nostalgia.
Peter Sickert hosts Breakfast with the Browns on CiTR
101.9fm every Monday morning 8:00am to 11.00am
Ashes Ashes...
by Marielle Kho
Much to my surprise, the past month proved to be
tremendously busy for yours truly. On top of moving to
a new place and working full time, I found much of my
spare time used on putting together the prize packs that
I promised to all the people that donated to CiTR's fund
drive through my show. It has been an extremely long time
since I've dedicated so much of myself to such a creative
project, and I'm quite glad that things worked out the way
that they did.
For those that are unaware, I promised to create and
print a one of kind design on a shirt and make a custom
mix CD for every person that donated through my show. I
also threw in a pair of concert tickets if I could send them
to a show that they wanted to see (what a deal!). In the
end, I got many more callers than I originally expected,
and my project became much bigger and more ambitious
than I originally would have liked. But after I buckled
down, I ended up creating multiple designs, turning them
into stencils, and printing said designs (each one different
from the next) on various shirts. When the entire project
was completed, I had around 10 shirts of various colours
and designs, tapedup on the wall of my dining room to
dry. As I took a step back to admire the fruits of my labour,
I realized how important it is for a person, such as myself,
to constandy have creative projects like this on the go.
As of late, I've found myself in some sort of social rut.
Ever since I graduated form school and began working
full time, things just seem much too scheduled. I miss
having free time to paint or draw. I miss knitting. I miss
screen printing. I miss being in a band. So here is my holiday message to you, fair reader: don't get caught up in the
stress and busde of the holiday season. Sure, shopping for
gifts (for me) and decorating the house is important. But
if you're like me, and get caught up in one thing far too
intensely, take the time to go to a show, bake some cookies (for me), make a gingerbread house, set up the meno-
rah, plant a tree, write a song or play some of that brand
new Guitar Hero 3 (with me). Because the last thing
that anyone wants is a cranky and frazzled post-holiday
whiner.
Once again, thank you to everyone that donated to
CiTR's second annual fund drive. And to those who
name-dropped my show, look in the mail soon for your
prize packs. I guess you could see them as my holiday gifts
to you, and also a reminder to take some time for yourself to really enjoy this holiday season. And if you cannot
think of anything to do, you can always come over to my
place and play Guitar Hero. Have a good one guys—I'll
see you next year!
Marielle Kho hosts We All Fall Down Thursdays lp.m.
to2p.m. on CiTR 101.9 FM.
Tratadode
Impaciencia No. 15
by Alex Tornillo
Dime a quien invades y te dire quien eres.
Ver los telenoticieros estadounidenses de nivel nacional
puede ser bastante confuso. En la edition de la semana
pasada del programa llamado "Out in the Open" del canal
CNN que dirije un amarillista de nombre Rick Sanchez
y que se transmite diario en horario semi-estelar se trato
el tema de la inmigracion ilegal en los Estados Unidos, al
menos desde el punto de vista parcial de los republicanos
del estado de Texas, claro.
En este programa de CNN, Rick Sanchez llamo al
problema de la inmigacion ilegal una invasion a los Estados Unidos. Ilustro a los tele espectadores con imagenes
de gente cruzando la linea fronteriza de manera ilegal,
saltandose la inmensa pared que se ha venido contiuy-
endo entre Mexico y Estados Unidos, algo asi como la
Muralla China, que tenia como proposito detener la
invasion de los Mongoles en tiempos legendarios, nada
mas que esta pared es cfe concrete o en algunos otros
sectores de metal, una version mds moderna, vamos.
Para hacer su programa aun mas atractivo y patriotero,
Sanchez entrevisto a varios tejanos que, segun ellos,
son afectados por la inmigracion ilegal. Estos tejanos,
o como se les diria en ingles 'rednecks' hablaron pestes
de los inmigrantes ilegales, una de elias, gorda y con las
mejillas coloradas, hablo desde su rancho en Texas y dijo
mutatis mutandis "el presidente Bush deberia hacer algo
al respecto, que ya no vengan estos criminales a nuestro
pais." ,:Aun no hay confusion? Las imagenes que sigui-
eron fueron, por ponerlo de alguna manera, heroicas, el
sheriff de algun pueblo de vaqueros sombrerudos hacie-
ndo presos a varios inmigrantes ilegales, o bien al veter-
ano de la guerra de Vietnam bajando de algun mastiL
usando un cuchillo que decia US Corps, la bandera
de Mexico y tirandola al piso. Los rednecks terminan
confundidos (o engafiados). De la misma manera que
fueron confundidos cuando Bush, usando los ataques del
11 de septiembre como estandarte, fue a invadir a Irak,
so pretexto de que Saddam tenia, armas poderosisimas y
estaban en peligro.
Dos cosas que no tienen nada que ver una con la otra,
porque Saddam jamas ataco a los Estados Unidos, pero
que funciono a la perfection para confundir a las masas:
"Nos atacaron y alguien tiene que pagar los plates rotes"
fue el lema. "Vamos a matar terroristas" fue el plan.
"Invadamos Irak" fue la action. ,jQue la ONU no encon-
tro las mentadas armas poderosisimas? "No importa, nos
vamos encima de Saddam."
Algo de lo que no se hablo en el programa fue que eJ
problema de la inmigracion ilegal no es un asunto de
demanda, sino que es cosa de oferta. Porque no es que los
inmigrantes ilegales esten escaseando, sino que cada dia
hay mas empresas ofretiendo trabajos a mano de obra
barata. Si ninguna empresa norte americana ofreciera
trabajos a los ilegales, estos no tendrian a donde ir, se
quedarian en sus paises, o se irian a otros. La inmigracion
ilegal no es, de ninguna manera, una invasion a otro pats
como lo proyecto Sanchez, sin embargo en los Estados Unidos existe una necesidad brutal de pensar que
cualquier cosa que no les parezca es motivo de deson-
fianza y de la desconfianza a la defensiva hay solo un
paso, por ende se tienen que defender de los inmigrantes
ilegales, al menos esa el la logica que demuestran.
Pero ^Que pasaria si todos esos inmigrantes ilegales
que diario cruzan la frontera desde Mexico a los Estados
Unidos trajeran uniformes milicianos y fusiles? Que en
vez de pasar uno por uno ya escondidas, llegaran march-
ando siguiendo la voz de mando o subidos en tanques-de
guerra color verde con manchas cafe ,;Asi es valida una
invasion? Cuestion de enfoques. Dime a quien invades y
te dire quien eres.
Alex Tornillo esproductory locator del programa de radio
Salario Mmimo que se transmite los Martes de 8 a 10 de la
noche por medio del 101.9 FM.
Discordef   a Dubformss
DJ Krush
Open Studios
October 26
/ To kick off the Halloween weekend, the Lighta! Sound
crew and New Forms Festival put on Dubforms5. And
like all Dubforms parties, this one showcased strong
international dubstep DJs at Open Studios.
In case you don't know what dubstep is, it's a relatively
new development in the evolutionary history of electronic
music that mixes dub influences with beats and deep
bass. And for such an eclectic mix of sound, you couldn't
ask for a better venue. The party started to get hopping
at around midnight and, like most Open Studios events,
the place was soon packed with a diverse cross-section of
people, as the party went in the wee hours of the night.
All party long, the place was packed with a steady stream
of costumed hipsters, nerdy dub and drum 'n'bass enthusiasts and other miscellaneous Hallowden party fiends in
various states of intoxication.
The often minimalist psychedelic visuals being projected
onto the walls really set the Halloween mood, as resident
DJ Michael Red's tight set of bass-heavy hypnotic dub got
the ball rolling. But for almost everyone in attendance, the
highlight of the night was undoubtedly dubstep superstars
and British radio DJs, Benga and Hatcha, whose danceable style of dubstep mixes an atmospheric downtempo
style with a smooth dancehall sensibility. Definitely go see
either of them if you get the chance. Props to Michael Red
and the Lighta! crew for yet another great party.
Dan Adleman
Sunset Rubdown
Richard's on Richards
October 20     f|||i
Owen Pallett, better known as Final Fantasy, walks
onto the stage and picks up his violin. Without a word,
he launches into the tide track from his latest album.
Richard's on Richards is a large venue, filled mostiy with
boisterous, drunk Yaletown fucks. Pallett's sole violin
and effeminate, tremulous voice seems a step away from
being crushed beneath the weight of a nightclub-load
of burly fraternity types, their collars popped, reeking of
Axe body spray and terminal self-satisfaction.
Pallet is the kind of skinny, precious gay boy they probably liked beating up in high school, and the song he's
playing is called "He Poos Clouds." Things look bleak.
Then, partway through the song, he begins to loop his
violin and suddenly he's being backed by an entire orchestra. Like an invisible clone army with violins instead of
weapons, Pallett's music seems powerful enough to beat
back the horde of dimwitted vulgarians.
After the song, Pallett introduces himself and the
friend he's brought with him: Stephanie Comilang,
who's standing by an overhead projector similar to
those you'd see in an underfunded Grade 6 classroom.
A slide goes on she's made herself called Final Fantasy's
8 Schools of Magic. Stephanie assembles, dismandes and
reconstructs her art from dozens and dozens of scraps
of coloured cellophane and intricate, hand-cut shapes,
projecting psychedelically twee imagery behind Pallett
as he plays. The effect is magical.
For a moment, the audience is sucked into the world
Pallett and Comilang create, light and music weaving a
sensuousytsipestry of indelibly perfect art, which seems
less like a concert and more like the birth of a living
tHng.Th^ldriie drunken girl fries to force Jagermeister
on him. His response? A bitchin'cover of "Paris 1919."
Maxwell Maxwell
Commodore Ballroom
October 24
Since the early '90s, Hideaki Ishi, a.k.a. DJ Krush, has
been on the cutting edge of danceable trip hop. Though
his albums range in emphasis from jazz to traditional
Japanese music to old-school turntablism, they all share
an incredibly layered, textured, symphonic feeling that
few others in the biz can match.
This was the third time I've seen him at the Commodore, and I was surprised that the house, which he usually
packs to the hilts, was onjy half full. Regardless, he had
a captive audience, as he took us on a tour of his favourite tunes from throughout his career, with particular
emphasis on his last three albums.
I ran into z: DJ friend of mine at the show, and we
marvelled at Krush's virtuosity during "Still Island." It s a
breathtaking track from his second-last album,/«^a, that
weaves Japanese wind flutes and sick beats into a chilling
soundscape and had the whole crowd rapt. As it drew to
a close, my friend whispered in my ear that Krush is "the
true surgeon of trip hop." When I asked him to elaborate, he told me that there's no element of randomness to
Krush's show. Everything is pre-orchestrated right down
to the exact timing of his mid-song needle changes. But
we didn't have much time to dwell on the issue, as the
DJ kicked it into high gear with a brilliant remix of DJ
Shadow's "Midnight in a Perfect World" that whipped
the crowd up into a frenzy.
The next time you're looking for an appropriate
response to friends who insist they will never listen to
electronic music because it's not musical, keep your eyes
on Krush's tour schedule and bring your buddies to the
show. If they still refuse to acknowledge that DJscan
have musical acumen, drop em like a sack of hot potatoes. They're not worth keeping around.
Dan Adleman
The Plaza
October 25
Despite starting at 11:45 p.m. with two sleeper songs
that fell flat, Sunset Rubdown's performance at the Plaza
had its moments. But that's all, unfortunately,
They started late, they started a litde off and they
ended in much the same way. In between, however,
the band pulled out some gems from their new album,
Random Spirit Lover, which had the forgiving crowd in
a joyous tizzy beneath the two gigantic spiders adorning
the Halloween-ready Plaza. About half a dozen devotees
even brought sparklers for the occasion.
Spencer Krug, the seemingly artier, more experimental
of the two main Wolf Paraders, got the crowd into it
about three songs in and had us all going for the next
half hour. But that's when the steaming art rock engine
of Sunset Rubdown fell off the rails. So much so that, by
the end, half the audience had left.
Krug has one of those "so bad it's good" voices that
stirs extreme opinions, both positive and negative. It's
wavering, it's weird and it grates on you after a while. But
for the most part he sounds the same recorded as he does
in person. The problem with this show wasn't so much
his voice, though, but rather the majority of the material he drew from was sprawling, unfocussed and rather
slow. It was also dense and difficult to appreciate in a live
setting. The more upbeat songs featuring two drummers
were great; however, there just weren't enough of them.
Krug's stage presence is that of^t seasoned veteran,
and while the execution may have lacked in parts, there
wasn't any questioning his conviction. It almost felt as if
his latest batch of songs was a stepping stone for greater
stuff to follow. In the meantime, it's good that his shows
provide a memorable snapshot of "early Krug," even they
are sUghdy off the mark.
Rob Peters "t^^:.:V-"'^r
18    Jancember 2007 + Blockhead, DJ Signify & DJ Big Wis
Commodore Ballroom
October 26
There are two reasons why indie-rap shows are usually
package deals. One, it's difficult for artists to single-handedly carry an entire concert, regardless of their popularity. Mainstream, underground or unknown, there are few
performers in any genre capable of hosting "An Evening
With..." without seeming pretentious or overly self-
important. The other reason, however, is less prevalent
and therefore more problematic: live indie-rap is boring.
Sure, there are exceptions, but for the most part, MCs
on labels such as Def Jux, Stones Throw and Anticon
don't write hooks. This means that even 45-minute sets
can test an audience's patience, and large supporting casts
are needed to fill time and space. Sadly, Friday night's
promising bill did Uttle to alter pubUc opinion, leaving
many scratching their heads at both Aesop's rhymes and
the show's lack of vitaUty.
Opening act Blockhead & DJ Signify did their best to
warm up the smaU but loyal crowd of early-arriving fans.
Using a laptop and a single turntable, the duo smartly
abandoned the sombre instrumental, tracks they are
known for in favour of more eclectic selections, which
at least offered the possibiUty of dancing and fun. StiU,
much of the set faded to resonate with the more casual
Usteners, who at best seeme^half-interested in what was
happening on stage.
PsychedeUc coUective Black Moth Super Rainbow
subsequendy added considerable spice to the ordinarily
predictable schedule by playing a calculated sequence of
cartoonish pop with pleasingly dark undertones. The four
members reUed heavily on keyboards, electronic flourishes and synchronized visual projections for impact, and
their second visit to Vancouver in less than three months
Was pleasant, if a bit brief.
Sporting his trademark Yankees cap and plain white T,
the evening's headUner, Aesop Rock, was greeted by an
enthusiastic audience that was ready to party. For the first
few songs, it did, reacting passionately during the caU-
and-response of "None ShaU Pass," the tide track from
Aesop Rock's latest album. After the initial hype though,
it became clear the New York MC's beats sounded virtu-
aUy indistinguishable from one another and his cryptic
lyrics were nearly indecipherable on stage. In the absence
of Aesop's sharp cadence and experimental wordplay, the
monotonous boom-bap quickly grew tiresome, causing
people to clear out long before the encore. Despite the
best efforts of DJ Big Wiz and Aesop's complementary
yet conventional backup, MC Rob Sonic, in this case, the
last act couldn't save the play.
Chris Litde
+ Bleeding Through
Croatian Cultural Centre
November 9
Though they acknowledged that "probably 98 per cent"
of the crowd had no idea who they were, openers Bleeding Through pumped out a high-energy, tight metalcore
performance that easUy outdid the headliners HIM—not
that half the crowd cared.
As soon as Bleeding Through were done, the crush to
get to the fronfbegan—and so did the wait. HIM started
their set more than half an hour late, with no explanation
given other than the sight of a first aid attendant going in
and out of the backstage area.
When they finaUy appeared, lead smger/heartthrob
ViUe Valo looked more than a Uttle stoned—er, I mean,
exhausted. The band played weU enough, but it felt more
Uke witnessing a soundcheck or rehearsal than a concert
for 1,200 fans who have waited years for HIM to notice
that Vancouver is not a suburb of Seattle.
Frankly, the most energy Valo displayed was when he
took the time to wipe something up on the stage. Unable
to go more than two songs without a cigarette or to ever
get to the point of his occasional ramblings, Valo sang
decendy, and sometimes even coherendy, but without a
lot of heart—not that anyone in the crowd cared.
Pyra Draculea
Commodore Ballroom
October 11
Arts&Crafts veterans Broken Social Scene recendy
paid Vancouver a Uttle visit to play some hot music for
a bleeding cold night. Like during their last visit, BSS
showed they have the dynamic and originaUty of sound
that only the 19-person Toronto coUective can shape.
Looking as if they had entered a competition to see
who could go the longest without a bath, BSS kicked off
their North American tour with a testosterone-charged
set. ActuaUy, that was a stab at Justin Peroff, who was
sweaty beyond beUef and accentuated this look by furiously shaking his beard—as weU as bis sticky sweat—
over the crowd.
Playing mosdy from their latest album, the Kevin
Drew-led Spirit If..., Brendan Canning and James Shaw
(from Mlifcie), along with Drew and Peroff, blasted
out their tunes in a distortion-heavy and ultra-mascu-.
Une manner. There was also some fun sampling with a
30-second stab at "Love and Mathematics"; however,
Canning didn't remember the bass part, so it transitioned
into "Cause = Time," which couldn't have been larger
or louder. Even Andrew Kenny from the now-defunct
American Analog Set tagged along and treated* everyone to the soft Texas-indie sounds of "Hard to Find."
Yes, hot music for a bleeding cold night.
Mine Salkin Fond of Tigers
i^elease tbe Saviours - ' -,
(Drip Audio)
In music, striking a Ustenable balance between discord
and harmony is no easy task, leading most artists to
simply opt for the latter and forget the former. Yet as
difficult as this undertaking may be, Vancouver's Fond
of Tigers seem determined to make the two get along,
and for the most part, the musical opposites attract the
group's sophomore album, Release theSaviours.
With several tracks stretching over 10 minutes, Fond
of Tigers hardly foUow the conventional verse-chorus
construction of pop music. Instead, the seven-piece
instrumental ensemble, led by guitarist Stephen Lyons
and vioUnist Jesse Zubot, adheres to patterns typicaUy
seen in avant-jazz and classical music, with songs transitioning from one movement to another and rarely
repeating. The band best displays its complex structural
^^deilys^on "Pemberdunn Maple Wolfs," which shifts in
and out of groove with bursts of horns, scraping strings,
tinkering pianos and a pair of drum kits. Also somewhere
»in the mix Lyons strikes his guitar violendy, unleashing a
waU of distortion that shows Fond of Tigers are as much
rock as they are avant-garde. And while this approach
may sound famiUar to those fortunate enough to hear the
band's criticaUy adored debut,^? Thing to Live With, never
did that album reach the epic quaUties of the group's
latest. For some, Release the Saviours could prove to be
disorientating at times, but for those up to the chaUenge,
it wiU make for a compelUng and worthwhile Usten.
Brock Thiessen
^
«meK mties I
«|J|
ST SHAPIRO
dssfsi
p£^ ^m
L^alfe
Small Sins
t!Mood Swings
(Boompa)
Adrian Glynn
aAdridrn Ql_ynn -f'.\
(Independent)
Ridley Bent
Buckles and Boots
(Open Road Recordings)
Small Sins recentiy released their second album, Mood
Swings, as a foUow-up from their debut eponymous work
from 2006. Based out of Toronto, the quintet rocks out
with groovy, contemplative electro-typical songs, not
unlike a marriage between Death Cab and Grandaddy.
Several tracks, such as "I Need a Friend" and "On the
Run," sound Uke something fresh off a Postal Serviced
musical venture into popular synth mash-ups. This whole
album seems to capture that trend, blending together the
unlikely wishy-washy complaints of unrequited love and
catchy, upbeat electropop. Mood Swings unravels the cool
veneer of the aloof, dance-mystique, with lyrics such as
"I'm thirsty Uke a diabetic" showing that altogether draining feeUng of ineptitude and personal emotional incompetence. At the same time though, the lyrical component
is certainly lacking in Mood Swings - on tracks Uke "On
a Mission" the melody deUvers a pluraUty of emotions,
but the lyrics don't back it up at with the same integrity.
As a whole, this album moves in one direction only: a.
euphonic, but mindless expression of the broken-hearted.
But maybe that's the point—love reduces the rejected into
a droning, monotonous verbal plane. Or as SmaU Sins
frontman Thomas D'Arcy lethargically relates, "We're aU
tired aU the time."
Mine Salkin
30    Jancember 2007
Adrian Glynn's self-tided debut EP packs plenty of
love, heartache and promise into seven tracks. The songs
are reminiscent of Jakob Dylan, with a hint of Bob,
updated to reflect the current trend towards alt-country
sensibiUties, shared by hipsters and folkies alike.
Glynn's voice is lovely and intimate.The strongest songs
teU the stories: "Paper Crown" offers a bluesy growl about
missing a woman and "Mother's Song" is a touching tale
of a mother awaiting her son's return from war.
The entire EP is an exploration of earnest feeUngs,
but periodically the efforts feel contrived rather than
deep. The closing track is a woeful lament from our hero
comparing his relationship with a woman to that of Jesus'
pUght: "she was my cross to bare/and I laid her down."
WhUe this is a wonderful showcase for Glynn's voice, the
weighty metaphor, coupled with the sound of footsteps
and a door closing to signify the end of the song and the
album, seem trite when one gets the feeUng the artist was
reaUy shooting for meaningful.
Andrea Warner     WrSsii    ^*S*^S£
On his first release with Open Road Recordings,
Ridley Bent's rodeo intro on Buckles and Boots prepares
the audience for a wild ride of emotion with everything
from upbeat, whiskey-fed cowboy poetry to a drug stint
high school parable to cUche country tales of heartbreak
and sorrow. While his music has been known for an infusion of pop and hip hop, this disc is stricdy country.
The album kicks off with the tide track, which uncovers the quick-paced wordplay of a failed rodeo star. This
wiU likely earn Bent some further recognition to accompany his nomination for Songwriter of the Year at last
year's Western Canadian Music Awards. Songs "Cry" and
"ArUngton" give Bent a chance to veer away from story-
teUing and get in touch with his personal experiences
with pain and loss. Buckles closes with low-key funky,
beats and the twang of the electric guitar on "Apache
Hairlifter," presumably inspired by the artist's past as a
security guard reading old western tales.
OveraU, Ridley Bent covers every country lover's needs.
So throwon your Wranglers, saddle up yourlO-speed, and
pick up a copy of this record—like a true blue cowboy, you
can never have too many Buckles and Boots.
Lucy Lynch is
Dan Mangan
Tostcdxds 8c D<rydred:ming
(File Under: Music)
Dan Mangan's Postcards and Daydreaming is the
soundtrack to an evening of wine sipping and soul searching. The first of the album's twelve tracks, "Not What You
Think It Is," is a wonderfuUy atmospheric song. Mangan's
deep, graveUy voice is accompanied by the warm harmonies of Amy Arsenault (featured throughout the album),
the "tasteful tnimp^fpsflocal jazz musician Ryan Naso,
and ceUo from Finn Manniche (Van Django).
The ambience oi Postcards andDaydreamingleads from
one song to another with stand-out tracks Uke "Unnatural
Progression," which teUs the tale of a disillusioned soldier
with its sparse, simple instrumentation, and "Journal of
a Narcoleptic," which showcases the sweet, fingerstyle
guitar of Simon KeUy and a ceUo riff that buUds to an
emotional cUmax.
Mangan's lyrics are an important aspect of his-art, but
sometimes get lost in the drama of the music. Given that
his songs don't have a regular verse/chorus/verse structure, it's not always easy to foUow the story set out by
bis words. However, this is what makes his music interesting and gives it a fluidity. WhUe "Fabulous" is repetitive and the weakest song on the album, it is foUowed by
other more subde and stronger tracks Uke "Come Down,"
"Reason To Think Allowed" and the acoustic guitar and
vocals in "Some Place to Come Home To."
Postcards and Daydreaming is an amazingly poUshed first
effort for such a young performer, and marks a soUd beginning to what wiU be a successful career for Dan Mangan.
Linda Bull
Mother Mother
Touck Up
(Last Gang)
Dressed as mermen and maids in early 2007, the
West Edmonton MaU lagoon is where indie pop quintet
Mother Mother froUcked and shot the music video for
their addictive first single, "Touch Up." That's a playfulness to look forward to in their February 2007 release.
The tide track is a strong and bouncy ditty about reapplying makeup, but pay closer attention and the underlying meaning soon emerges: lyrics that reminisce about
the carefree play of chUdhood and the tragic transition to
caring about tender thighs and cucumber-cooled eyes.
The Vancouver group's sophomore album cuts thirteen tracks peppered with skillful harmonies, energetic
up-tempo beats and melancholy baUads. The song tides
sound Uke a series of cruldren's stories: "Little Hands"
surprises by turning into a depressive, yet aUuring trancelike taunt, whUe "BaU Cap" reveals a pursuit of love and
thin-legged girls (thoroughly unchUdlike sentiments)
with minimal instrumentais. Mother Mother indisputably thinks outside the box, but the fivesome uncannUy
channel Emily Haines-like smoothness (the harmonies of "Little Hands"), Modest Mouse styUngs (is that
frontman Isaac Brock singing the verses to "Verbatim"?),
the snappy, quickness of Tegan and Sara ("Oh Ana") and
a passionate, tortured Feistiness on more than one occasion (Uke the burlesque-influenced "Love and Truth").
Mother Mother takes gang harmonies to new heights
and fans should soon be addicted to what many are touting as the very tastiest of "ear candy"—touche.
Katie Nanton
Sail
Disco l(pmtmce
(PaperBag)
Since SaUy Shapiro's Disco Romance hit Europe nearly
a year ago, Uttle, if any, hurtful ink has been spiUed about
the Swedish songstress or her writer/producer Johati
Agebjorn. But there hasn't been any reason to. Disco
Romance is as soUd as a dance record gets, even though it's
arguably better for nights in than out. With a sUck Italo
disco sound, the record keeps the beats crisp, the synths
pulsing and the hooks abundant. Insert Shapiro's timid,
love-torn luUabies into the mix and you have a stunning
album that shows dance music's rarely seen tender side.
Up until now, Disco Romance has only been avaUable in
North America as a pricey import or an inferior download. However, thanks to Paper Bag Records, the album
finally has a proper domestic release, complete with shiny
new beUs and whisdes. The album now comes with three
new tracks—"Skating in the Moonshine," "He Keeps
Me AUve" and "Jackie Jackie (Spend This Winter with
Me)"—which are just as strong as the original seven, and
flow into the album seamlessly. A new extended version
of Shapiro's hit, "I'U Be by Your Side," is also added,
minus the original cut. Plus, new artwork replaces the
original Sarah Records-styled sleeve—perhaps the only
unwelcome change, as the new art no longer hints at the
early-'90s indie-pop Shapiro often emulates. Add it up
and you have an edition that showcases the briUiance of
the original and then some. If Disco Romance was must-
have before, now it's even more so.
Brock Thiessen
UNDERGROUND
ELECTRON NEW WAVE
Dteoorder   SH HAYDEN
Norm Theatre, UBC
6138 Student Union Boulevard
Tuesday
February 12? 2008
7:30pm
Tickets: Ticketweb, Zulu, Scratch, Outpost
33    Jancember 2007 STOCKING ilW_iW&k&&m£Ri
OUT JANUARY 22!
6I4ACK
-MOUNTAIN
INTMl FjMTURE
WBiiE SUPPLIES LAST, THEBE
WILL BE A LIMITED EDITION 0
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TRACKS! -*M
CRITERION, CULT, AND INDEPENDENT DVDS!
fc£J|
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yP\^ >S7 '^P^Jr'-^RPiSRP^jGet in touch, email order: commerced scratch recorxlsxo^l-o*\|^i
www.scratchrecords.coSofe"T^^oti the east side of Richards St., between Robson an^^eorgia   "J^
THE Bill PUIS IN TOWN M k MEASLY IS BUCKS.
Anti-Social Skate Sho
p       The Bike Kitchen
Hiti Boutique
Puncture Haus
Scratch Records
and Gallery
UBC, AMS, 6138 Studeirt Union
3)6 W.Cordova
2228 Broadway E.
726 Richards St.
2425 Main St.
Blvd.
604-662-3334
604-708-8100
604-687-6355
604-708-5678
604-822-BIKE
flie Kiss Store
Bed Cat Records
Slickity Jim's Chat and
Audiopile
Burcu's Angels
2512 Watson St.
4307 Main St.
Chew
2016 Commercial Dr.
2535 Main St.
604-675-9972
604-708-9422
2513 Main St.      fc~
604-253-7453
604-874-9773      -
Lucky's Comics      0.5^,1
The Regional Assembly
604-873-6760
Beat Street Records
The Eatery
3972 Main St.
0! Text
Spartacus Books
439 W. Hastings St.
3431 W.Broadway
604-875-9858
3934 Main St.
319 W.Hastings
604-683-3344
604-738-5298
Magpie Magazine
1319 Commercial Dr.
604-253-6666
604-877-2247
R/X Comics
2418 Main St.
604-688-6138
Vinyl Records
319 Hastings St. West
Ml
People's Co-op
Bookstore
604454-5099
604488-1234
Ml
*__   m           ■
t$ a fii&tKt ofdtti
1391 Commercial Dr.
604-253-6442
Jl    CJ..J.    __i    #•!
www.(irMa/mends
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at   Vancouver's   finest   small   merchants   and
supports CiTR 101.9 FM. Show it when you shop!
Discorder   33 santa//?
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34   Jancember 2007
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Co-opRadio102:7fm
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I6UANA St*tM#lM6 m&... CITR CHARTS!
CiTR's charts reflect what has been spun on the air for 2007. Artists with stars alongside their names (*) are from this
great land o' ours. Double starred-artists (**) are from right here in Vancouver. Most of these platters can be found at
finer (read) independent) music stores across Vancouver. If you can't find them there, give our MusicDirector a shout at
604-822-8733. His name is Luke. If you ask nicely, he'll tell you how to get them. To find other great campus/community radio charts check out www.earshot-online.com.
#
Artist
Album
Label
1
The Pack A.D.**
Tintype
\    Independent       - 'r^-f^
2
Tranzmitors**
Tranzmitors
Deranged
#''
Fun 100**
Goodbye!
Hockey Dad
4
Do Make Say Think*
You. You're a History in Rust
Constellation
5
The Doers**
Gaiety
Reluctant
'-fo
The Riff Randalls**
[  fl8U6fe»BSS. .
Dirtnap
v*is
Amy Honey**
Pioneer Woman
Self Righteous
8
Book of Lists**
Book of Lists                    |gg%|i|l£
Scratch
9
Arcade Fire*
Neon Bible
Merge
10
Lightning Dust**
Lightning Dust
Jagjagwuar
11
They Shoot Horses
Dont They?**
Pick Up Sticks
Kill Rock Stars
12
Various Artists*
Killed By Canada
Independent
13
Stinkmitt**
The Red Album
Cochon
14
Organ Trail**
Wagon Train   '■
Independent
15
Spoon
GaGaGaGaGa
Merge
16
Dead Meadow
Dead Meadow
Xemu
17
Ghost House**
These Are Ghost House
Reluctant
18
Kids on TV*
Mixing Business with Pleasure
Blocks
19
Wintermitts**
The Cascade Fault
Independent
20
The Choir Practice**'
The Choir Practice
Mint                  ,
21
3 Inches of Blood**
Fire Up the Blades
Roadrunner
22
Collapsing Opposites**
Inside Chance
Local Kids Make Good
23
New Pornographers**
Challengers .
Last Gang
24
Deerhunter
Cryptograms
Kranky
25
Cornelius
Sensuous
Everloving
26
Sonic Youth
The Destroyed Room
DGC
27
Fucked Up*
Year of me Fig
What's Your Rupture
28
Frog Eyes*
Tears of the Valedictorian
Absolutely Kosher
29
. Rick White Album*
Memoreaper
Blue Fog
30
Hrsta*
Ghosts Will Come and Kiss Our Eyes
Constellation
31
Animal Collective
Strawberry Jam ■
• Domino
32
Shearing Pinx**
Poison Hands
Gilgongo
33
Deerhoof
Friend Opportunity
Kill Rock Stars
.34
Neil Young*
Live at theFilmore East 1970
Reprise
35
Residents
Tweedles!            ££*&&$»(*
Mute
36
Million Dollar Marxists
Zero Culture
■Stumble
37
Steve Reich
Reich Remixed 2007
Nonesuch
38
Hella
There's No 666 in Outer Space
Ipecac
39
Value Village People**
Extreme Makeover Audio Edition
Worthy
40
Twink
Ice Cream T/uckin'
Mulatta
41
Bjork
Volta
Elektra
42
Bill Callahan
Woke on a Whaleheart
Drag City
43
Neko Case
Live in Austin TX
New West
44
MIA
Kala
XL
45
Stereo Total
Paris-Beriin
Kill Rock Stars
46
Okkervil River
The Stage Names
Jagjagwuar
47
Caribou*
Andorra
Merge
48
Cub**
Betti-Cola (re-issue)
Mint
49
Wednesday Night Heroes*
Guilty Pleasures
BYO
50
Ghost
In-Stormy Nights
Drag City
#
Artist
Album
Label
51
Queers
Munki Brain
Asian Man
52
Panda Bear
Person Pitch
Paw Tracks          b%i®$JS!
53
Land of Talk*
Applause Cheer Boo Hiss
The Rebel Group
54
Pop Levi
The Return to Form Black Magick Party
Counter
55
Psychic Ills
Earty Violence
The Social Registry
56
The Fall
Reformation Post TLC.
Namack
57
The Black Lips
GoodBadNotEvil
Vice
58
Lesbians on Ecstacy*
We Know You Know                   frjffig;
Alien 8
59
Secret Mommy**
Play
Ache
60
Clorox Girls
Jaime Les Filles
BYO
61
Stars of the Lid
And Their Refinement of. the Decline
Kranky
62
Detroit Cobras
Tied and True
Bloodshot
63
The Pipettes
Your Kisses Are Wasted on Me
Interscope
64
Jason Zumpano**
Living Room Recordings
Powertool
65
Russian Futurists*
Me, Myself and Rye
Upper Class
66
Ted Leo and the Pharmacists
Living with the Living-
Touch and Go
67
Montag*
Going Places
Carpark
68
Emily Haines & the Soft Skeleton
*• What is Free to a Good Home?
Last Gang
69
Love & Mathematics*
Love & Mathematics
Independent
70
The BJoggers**
The Bloggers
Independent
71
Coco Rosie
The Adventures of Ghost Horse and Stillborn
Touch and Go    -
72
Jennifer Gentle
The Midnight Room
Sub Pop
73
Legion of Green Men*
Baqontraq
Post Contemporary
74
Hot Little Rocket*
How to Lose Everything
FUM
75
Thurston Moore
Trees Outside the Academy
Ecstatic
76
Various Artists*
All Your Ears Can Hear: Underground
Independent
77
Sharon Jones & the Dapkings
100 Days 100 Nights
Daptone
78
Bison**
Earthbound
Forest
79
liars
Liars
Mute
80
Bella*
No One Will Know
Mint
81
Sunset Rubdown*
Random Spirit Lover
t Jagjagwuar
82
Joanna Newsom'
Ys
Drag City
83
Cibo Matto
Pom Pom: The Essential Cibo Matto
Rhino
84
Carolyn Mark**
Nothing Is Free
Mint
85
Chromeo*
Fancy Footwork
LastGang
86
The Hits**
Hello Everybody, We Are...
TBR
87
Shellac
Excellent Italian Greyhound
Touch and Go
88
III Ease
All Systems A-Go-Go
Cochon
89
in
Myth Takes
Warp
90
00100
Eye Remixes
Thrill Jockey
91
A Nothern Chorus*
The Millions Too Marry . FjKjyjjjS
Sonic Unyon
92
Laura Peek and the Winning
From the Photographs
Just Friends
93
"Various Artists**
CBC Radio 3: Breaking New Sound
Storyboard
94
Daddy's Hands*
Welcome Kings 1
Kill Devil Hills
95
Jesu
Conqueror
HydraHead
96
LCD Soundsystem
Sound of Silver
DFA
97
Better Friends Than Lovers**
Better Friends Than Lovers
Independent
98
Elizabeth**
First Excommunications  '
Pop Echo             ifey-v?^
99
Blonde Redhead
23
4AD
100
Pterodactyl
Pterodactyl
Brah
Discorder   35 You can listen to CiTR online at www.citr.ca or on the air at 101.9 FM
Sunda
y
iday
Tuesday         Wednesday        Thursday             Friday             Saturday
6am
7am
BBC
BBC
PACIFIC PICKIN' v
BBC
BBC
BBC
/BBC-'.
8am
BREAKFAST
WITH
THE BROWNS
RACHEL'S SONG
(REBRGADCAST)
SUBURBAN JUNGLE
END OF THE WOMjJN'eWS,
CUTE BAND ALERT!
Of THE SATURDAY EDGE
9am
TANARADK
lilt
^t&lgP TIME'S
THE CHARM
10am
8HOQK8HOO
KTA
PLANET
LOVETRON
"iO'S^^aRACY NOW
SKA-T'S SCENIC
DRIVE
11am
KOL NODB
ih
LIONS AND TIGERS
AND BEARS-
ALTERNATIVE RADIO
MORNING AFTER SHOW
ANOIZE
12pm
HJ
ALTERNATIVE RADIO
DUNCAN'S DONUTS
THESE ARE THE BREAKS
GENERATION ANNIHILATION
THEROCKE
I^^LLLI                 SHOW
PARTS UNKNOWN
GIVE 'EM THE BOOT
FILL-IN
WE ALL FALL DOWN
POWERCHORD
ARTS EXPRESS
DEMOCRACY NOW
INKSTUDS
RADIO ZERO
£pm
REEL TO REAL
_
BRC
>ADCAST
LET'S GET BAKED
CAREER FAST TRACK
RUMBLETONE
RADIO A GO GO
CODE BLUE
EuaUJ  BLOOD ON
mBB the saddle
FILL-IN
NATIVE SOLIDARITY NEWS
7™*,r|WB'   «     NARDWUAR PRESENTS
tpm
WENER'S BBQ
EUROQUEST
RACHEL'S SONG
MY SCIENCE I      PEDAL
NEWS 101
LEO RAMIREZ SHOW
6pm
7 pm
8pm
9pm
10pm
11pm
12am
1am
2am
3am
4am
5am
QUEERFM
RADIO RADIOI
RE-
BROADCAST
FLEXYOURHEAD
STEREOSCOPIC
REDOUBT    -
THE CANADIAN
WAY
NASHAVOLNA
AND
SOMETIMES
SAMSQUANCHES
HIDEAWAY
SHADOW JUGGLERS
KARASU
EXCUISITE CORPSE
AFRICAN
RHYTHMS
FtHYTHMSINDA
SALARIO MINIMO
FOLK OASIS
MONDO TRASHO
THE JAZZ SHOW    .
UVE FROM THUNDERBIRD
RADIO HELL
SWEET AND HOT
SYNAPTIC SANDWICH
TRANCENDANCE
CAUGHT IN THE RED
JUICEBOX
SHAKE A TAIL
FEATHER
HANS KLOSS'
MISERY HOUR
* tAUGH TRACKS
''■' ;' afeifefHQM THE
BASEMENT
DISASTERPIECE THEATRE
VENGEANCE IS MINE
AURAL TENTACLfS "
FtAW RADIO
1 LIKE THE SCRIBBLES
JS&iSBINARY
BBC
BBC
'      BE
JC
BE
JC
BBC
^fiti-     BBC
_____________ SUNDAY
TANA RADIO (World) 9-1 Oam
SHOOKSHOOKTA (World)
KOL NODEDI (World)
Beautiful arresting beats and
voices emanating from all continents, corners, and voids. Seldom-
rattled pocketfuls of roots and
gems, recalling other times, and
other places, to vast crossroads
en route to the unknown and the
unclaimable. East Asia. South Asia-
Africa. The Middle East Europe.
Latin America. Gypsy. Fusion. Always rhythmic, always captivating.
Always crossing borders. Always
transporting.
THE ROCKERS SHOW
(Reggae) 12-3pm
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE
(Roots) 3-5pm
Real cowshit-caught-in-yer-boots
country.
CHIPS WITH EVERYTHING
(Pop) 5-6pm
British pop music from all decades. International pop (Japanese, French, Swedish, British,
US, etc.), 60s soundtracks and
lounge. Book your jet-set holiday
Alternates with:
SAINTTROPEZ (Pop) 5-6pm
QUEER FM (Talk) 6-8pm
Dedicated to-the gay, lesbian, bisexual, and transexual com-muni-
ties of Vancouver. Lots of human
interest features, background on
current issues, and great music.
RHYTHMSINDIA (World)
8-9pm
Rhythmsindia features a wide
range of music from India, including popular music from the
1930s to the present,- classical
music, semi-classical music such
as Ghazals and Bhajans, and also
Qawwalis, pop, and regional Ian- -
guage numbers.
MONDO TRASHO (Eclectic)
-9-1 Opm
TRANCENDANCE (Dance)
I Opm-J 2am
Join us in practicing the ancient
art   of  rising   above   common
thought and ideas as your host
DJ Smiley Mike lays down the latest trance cuts to propel us into
the domain of the mystical.
trancendance@hotmail.com
DISASTERPIECE THEATRE
(Talk)  l2-2am An odyssey into
time and space in audio.
immsam monday
BREAKFAST WITH THE
BROWNS (Eclectic) 8-1 lam
Your favourite Brown-sters, James
and Peter, offer a savoury blend of
the familiar and exotic in a blend
of aural delights!
LIONS AND TIGERS AND
BEARS...(Eclectic) Il-I2pm
A mix of indie pop, indie rock, and
pseudo underground hip hop, with
your host, Jordie Sparkle.
ALTERNATIVE   RADIO   (Talk)
12-lpm
Hosted by David Barsamian.
PARTS UNKNOWN (Pop)
Underground pop for the minuses with the occasional interview
with your host, Chris.
LETS GET BAKED w/matt &
dave (Ecleetic) 3-4pm
Vegan baking with "rock stars"
like Laura Peek, The Food Jammers, Knock Knock Ginger, The
Superfantastics and more.
NATIVE SOLIDARITY NEWS
(Talk) 4-5pm
A national radio service and part
of an international network of information and action in support
of indigenous peoples' survival
and dignity. We are all volunteers
committed  to   promoting   Native   self-determination,   culturally, economically, spiritually and
otherwise. The show, is self-sufficient, without government or
corporate funding.
EUROQUEST
(Eclectic) 5-6pm
RADIO! RADIO!
(Eclectic) 6-7:30pm (alt)
KARUSU (World) 7:30-9pm
THE JAZZ SHOW (Jazz)
9pm-12am
Vancouver's longest running prime-
time Jazz program. Hosted by the
ever-suave Gavin Walker.
Features at I lpm.
Dec 3:The always modern sound
of tenor saxophone master/
compser Wayne Shorter opens
December. Recorded in 1965
but never issued until 1980, this
is a definitive album with Wayne,
pianist Herbie Hancock, bassist
Cecil McBee and drummer Joe
Chambers. "Etcetera" is a gas!
Dec 10: Duke Ellington holds
forth tonight with a small band
plus 3 non-soloing trombones to
fill out- the ensemble. This rare
treasure has some of Duke's main
men: Clark Terry . (trumpeter
and flugelhorn), Paul Gonsalves
(tenor - saxophone) and others, making up Duke Ellington's
spacemen... "The Cosmic Scene."
Great stuff!
Dec 17: Our last show for 2007
and our Christmas show with
the great Miles Davis all-star
session with Milt Jackson (vibes)
and Thelonious Monk (piano)
recorded on Christmas Eve
1954. This defined modern jazz.
The Jazz Show and Gavin Walker
wishes everyone the best for the
holiday season.
See you January 7,2008.
Jan 7: We closed last year with
Miles Davis and we open the
New Year with the great trumpeter. This is Miles and his quintet in an inspired performance
at the Monterey Jazz Festival in
September 1963. George Coleman on tenor saxophone, Herbie
Hancock on piano, Ron Carter
on bass and the 18 year old drum
sensation Tony Williams.
Jan 14: Pianist/composer/innovator Lennie Tristano in one of
his few recorded live dates. This
great pianist influenced scores
of players like Bill Evans, Herbie
Hancock etc. Here's Tristano
with Lee Konitz (alto saxophone), Gene Ramey (bass) and
Arthur Taylor (drums).
Jan 21: Tenor saxophonist Sal
Nistico is an unrecognized giant
on his horn. Here is Sal backed
up by a hip German trio playing
mostly original compositions by
pianist Joe Haider plus some
standards. "Just For Fun" is a
rare recording from Europe
never issued on CD. Check out
Sal tonight - hip stuff!
Jan 28:Trumpeter/composer Lee
Morgan made scads of recordings
in his short life but none more
interesting than "The Procrasti-
nator" featured tonight. Morgan
with Wayne Shorter (tenor
saxophone), Bobby Hutcherson
(vibes), Herbie Hancock (piano)
and others in a great program
of Morgan and shorter originals.
Spacey, swinging and intense.
W________m TUESDAY
Ail the best the world of punk
has to offer, in the wee hours of
the morn.
PACIFIC PICKIN' (Roots)6-8am
Bluegrass, old-time music, and its
derivatives with Arthur and the
lovely Andrea Berman.
RACHEL'S SONG (Talk)
8-9:30am
(Rebroadcast from previous
Wednesday, 5-6:30pm) Currently
airing Necessary Voices lecture
THIRD TIMES THE CHARM
(Rock) 9:30-11:30am
Open your ears and prepare for
a shock! A harmless note may
make you a fan! Hear the menacing scourge that is Rock and Roll!
Deadlier than the most dangerous criminal!
borninsi3aynine@hotmail.com
MORNING AFTER SHOW
(Eclectic) 11:30am-lpm
GIVE 'EM THE BOOT (World)
I-2pm
Sample the various flavours of
Italian folk music from north to
south, traditional and modern.
26    Jancember 2007 Un programma bilingue che es-
plora il mondo della musica folk
italiana.
ARTS EXPRESS (Talk)'
2-2:30pm !
REEL TO REAL (Talk) 2:30-3pm
Movie reviews and criticism.
CAREER FASTTRACK
(Talk) 3-3:30pm
FILL-IN
3:30-4:30pm
WENER'S BARBEQUE (Sports)
4:30-6pm
Join the sports department for
their coverage of theT-Birds.
FLEX YOUR HEAD (Hardcore)
Up the punx, down the emo!
Keepin' it real since   1989, yo.
Flexyourhead.
SALARIO MINIMO (World)    •
8-1 Opm
Salario Minimo, the best rock in
Spanish show in Canada.
CAUGHT IN THE RED (Rock)
I Opm-12am
Trawling the trash heap of over
50 years' worth of rock n' roll
debris. Dig it!
It could be punk, ethno, global,
trance, spoken, word, rock, the
unusual and the weird, or it could
be something different Hosted
by DJ Pierre.
■■WEDNESDAY
PLANET LOVETRON
(Electronic) 10-11:30am
With host Robert Robot One
part   classic   electronics.   One
part    plunderphonicmixnmatch.
Two parts new and experimental techno. One part progressive
hip-hop. Mix and add informative
banter and news for taste. Let
stand. Serve, and enjoy.
planetlovetron@gmail.com
ANOIZE (Noise) 11:30am-lpm
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
DEMOCRACY NOW (Talk)
2-3pm
Independent   news   hosted   by
award-winning   jounalists   Amy
Goodman and Juan Gonzalez.
RUMBLETONE RADIO (Rock)
3-5pm
Primitive, fuzzed-out garage mayhem!
RACHEL'S SONG (Talk)
5-6:30pm
AND SOMETIMES WHY '
(Pop/Eclectic) 6:30-8pm
First Wednesday of every month.
Alternates with:
SAMSQUANCH'S   HIDEAWAY
(Eclectic) 6:30-8pm
FOLK OASIS (Roots) 8-1 Opm
Two hours of eclectic roots music. Don't own any Birkenstocks?
Allergic to patchouli? C'mon in! A
kumbaya-free zone since 1997.
JUICEBOX (Talk) 10-IIPM
Developing your relational and
individual sexual health, expressing diversity, celebrating queer-
ness, and encouraging pleasure
at all stages. Sexuality educators
Julia and Alix will quench your
search for responsible, progressive sexuality over your life span!
www.juiceboxradio.com
HANS KLOSS' MISERY HOUR
(Hans Kloss) I lpm-1 am
This is pretty much the best
thing on radio.
■■i THURSDAY
END OF THE WORLD NEWS
(Eclectic) 8-1 Oam
DEMOCRACY NOW
(Talk) 10-11 am
ALTERNATIVE RADIO
(Eclectic) 11 am-12pm
DUNCAN'S DONUTS
(Eclectic) 12-lpm
Hosted by Duncan, sponsored by
donuts.
WE ALL FALL DOWN
(Eclectic) I -2pm
Punk rock, indie pop, and whatever else I deem worthy. Hosted
by a closet nerd.
INKSTUDS
(Talk) 2-3pm
CRIMES &TREASONS
(Hip Hop) 3-5pm
MY SCIENCE PROJECT (Talk)
5-6pm
Zoom a little zoom on the My
Science Project rocket ship, piloted by your host Julia, as we
navigate eccentric, - underexposed, always relevant and plainly
cool scientific research, technology, and poetry (submissions
welcome), myscienceprojectra-
dio@yahoo.ca
Alternates with:
PEDAL REVOLUTION (Talk)
STEREOSCOPIC REDOUBT
(Rock) 6-7:30pm
Psychadelic, Garage,    Freakbeat
and Progressive music from 1965
to   today:  underground,  above
ground and homeground.
EXQUISITE CORPSE
(Experimental) 7:30-9pm
Experimental,   radio-art,   sound
collage, field recordings, etc.
Recommended for the insane.
LIVE FROM THUNDERBIRD
RADIO HELL (Live Music)
9-1 lpm
Live From Thunderbird Radio
Hell showcases local talent...
LIVE! Honestly, don't even ask
about the technical side of this.
LAUGHTRACKS (Talk)
11pm-12am
RAW RADIO (Hip Hop)
l2-2am
I FRIDAY
SKA-TS SCENIC DRIVE (Ska)
I Oam-12pm
Email requests to:
djska_t@hotmail.com
THESE ARE THE BREAKS
(HipHop) l2-2pm
Top notch crate digger DJ Avi
Shack mixes underground hip
hop, old   school   classics, and
original breaks.
RADIO ZERO (Eclectic)
2-3:30pm
NARDWUAR THE HUMAN
SERVIETTE PRESENTS
(Nardwuar) 3:30-5pm
NEWS IOI
(Talk) 5-5:30pm
WI.N.G.S.
(Eclectic) 5:30-6pm
THE CANADIAN WAY
(Eclectic) 6-7:30pm
All types, of Canadian independent music from all across our
massive  and  talented   country,
with your host, Spike.
www.myspace.com/canadianway
AFRICAN  RHYTHMS (Worid)
7:30-9pm
David 'Love' Jones brings you the
best new and old jazz, soul, Latin,
samba, bossa and African music
from around the world.   '
www.africanrhythmsradio.com
SWEET'N' HOT (jazz)
9-10:30pm
Sweet dance music and hot jazz
from the 1920s, 30s and 40s.
SHAKE ATAIL FEATHER
(Soul/R'n'B) 10:30pm-12am
The finest in classic soul and
rhythm & blues from the late '50s
to the early '70s, including lesser
known artists, regional hits, lost
sould gems and contemporary
. artists recording in that classic
soul style.
I LIKE THE SCRIBBLES
(Eclectic) l2-2am
Beats mixed with audio from old
films and clips from the internet.
10% discount for callers who
are certified insane. Hosted by
Chris D.
■■■SATURDAY
THE SATURDAY EDGE (Roots)
8am-12pm
Studio guests, new releases, British comedy sketches, folk music
calendar, and ticket giveaways.
GENERATION
ANNIHILATION (Punk)
12-lpm
A fine mix of streetpunk and old
school hardcore backed by band
interviews, guest speakers, and
social commentary.
www.streetpunkradio.com
crashnburnradio@yahoo.ca
POWERCHORD (Metal) I-3pm
Vancouver's   only   true   metal
show; local demo tapes, imports,
and other rarities. Gerald Rattle-
head, Geoff the Metal Pimp and
guests do the damage.
CODE BLUE (Roots) 3-5pm-
From   backwoods   delta   IoWt
down slide to urbaa harp honks,
blues, and blues roots with your
hosts Jim, Andy and Paul.
THE LEO RAMIREZ SHOW
(World) 5-6pm
The best of music, news, sports,
and commentary from around
the local and international Latin
American communities.
NASHAVOLNA
(World) 6-7pm
SHADOW JUGGLERS 7-9PM
(Dance/Electronic)
Shadow Jugglers works  across
musical  genres   including  electronic and club-based music and
welcomes you to broaden your
musical knowledge with DJs MP,
SocooL Soo & their guests.Travel
through world sounds such as
dub/reggae, hip hop, funk, dub-
step/grime & jungle/drum and
bass. Tune in. and visit myspace/
shadowjugglers.
SYNAPTIC SANDWICH
(Dance/Electronic/Eclectic)
9-1 lpm
BEATS FROM THE BASEMENT
(HipHop) I lpm-1 am
PASSING BINARY (Electronica)
I -3am
WOMEN
VOLUNTEERS
needed for our 24 Hour
Rape Crisis Line and Transition
House for battered women
For an interview, please call
604-872-8212
Vancouver Rape Relief & Women's Shelter
www.rapereliefshelter.bcxa	
i
If you are a fan of courage, if you respect determination,
if you can't help but share in the joy of victory,
then you are already a fan of Special Olympics.
Why not make it official?
Volunteer. Donate. Participate.
1-888-854-2276
www.specialolympics.bc.ca
Special Qlmmpicm
British Columbia
Discorder   37 LET EVERY NEW YEAR FIND YOU A BETTER SONG
ZULU STAFF TOP TENS OF 2007
In no particular order here's what rocked our year!
All reguJar priced titles ON SALE 10% OFF until December 31st 2007.
VICKI
SHARON JONES & THE DAP
KINGS -100 Days 100 Nights
LEVON HELM -Dirt Farmer
BETTY DAVIS - They Say I'm
DAVE ALVIN - Uve From Austin
THE SADIES - New Seasons
JOHNNY^pg
NICK LOWE-At My Age
THE FIERY FURNACES -
Widow City
ROBERT WYATT-
Comicepera
NEIL YOUNG-Una at
IB
MELANIE
TIMES NEW VIKING -
Present the Paisley Reich
NO AGE-Weirdo Rippers
ELECTRELANE -No Shouts
No Calls
PARTS & LABOR -
THE KING KHAN & BBQ SHOW - s/t
MOBY GRAPE - wow (reissue)
BETTE LAVETTE & DRIVE BY TRUCKERS - The Scene of
the Crime .
OST - I'm Not Thera.
THE BOOK OF LISTS -*&^£
YOKO ONO - Yes, I'm A Witch   .
HOT HOT HEAT - Happiness Ltd.
JAY Z - American Gangster
ELLIOTT SMITH - New Moon   -
MARK E.
LIARS- Liars
PJ HARVEY-White Chalk
CIRCLE -Katapult
' BISON-Earthbound
BLACK UPS - Good Bad Not Evil
PISSEO JEANS - Hope For Men
WOODEN SHIPS-s/t
THE BESNARD LAKES - Are the
Dark Horse
NO AGE-Weirdo Rippers
RICK WHITE - Memoreaper
MARKR.
FACTUMS- Alien Native
A SUNNY BAY IN GLASGOW -
Scribble Mural Comic Journal
RACCOO-00-OON - Behold
Secret Kingdom
MUTATORS - self titled 7ineh
LAMPS-Lamps
THE 6- Howl On The Haunted
Beat You Ride
ROBEDOOR + POCAHAUNTED - Hunted Gathering
PJ HARVEY - White Chalk
STARS OF THE LID - ...And Their Refinement Of the
Decline
DALEK
d3e
JOSH
PISSED JEANS-Hope For
'mft-'flij
M.l.A.-Kala
THIS HEAT-Deceit   .
(reissue)
PORTAL-Outre'
PETER BJORN & JOHN -
Writer's Block
SPOON - Ga Ga Ga Ga Ga
JUSTICE-t
PJ HARVEY-White Chalk
TIMES NEW VIKING - Presents The Paisley Reich  s
V/A - Broken Flag: A Retrospective 1902-1985 5LP
CIRCLE-Katapult
ANGELS OF LIGHT-We
DANIEL
FROG EYES-Tears Of The
Valedictorian
PANDA BEAR - Person Pitch
BLUES CONTROL-Bines
Control
SIR RICHARD BISHOP -
Polytheistic Fragments
NO AGE-Weirdo Rippers
BILL CALLAHAN - Woke On A Whaleheart
STARS OF THf |S|~ ...And Their Refinement Of The
Decline
ROBERT WYATT-Comicopera "9§i§|
WHITE RAINBOW- Prism Of Eternal Now' *■*-?•«&*■
EXTENDED £
m HOLIDAYS?"
MICHAEL YONKERS-
PISSEO JEANS- Hope for
OUT OF FOCUS - MU|0'-<
OST - Valerie and Her Week of Wonders
ROBERT WYATT - Comicopera
OM - Pilgrimage
GHOST-In Stormy Nights
SAELAN
LEE PERRY & THE UPSET-
TERS - Ape-ology
V/A -Brazil70 -After
tions in Brazilian music
Inthe1970's
BILL CALLAHAN-Woke
on a Whaleheart
DIRTY PROJECTORS - Rise
THE FIERY FURNACES - Widow City
M.l.A.-Kala
PANDA BEAR-Person Pitch  ) ,%Ji '%
J OILLA - Ruff Draft     - **"^-t-<;TI^
JENS LEKMAN - Nights Falls Over Kortedala
NO AGE-Weirdo Rippers
SPOON-GaGaGaGaGa
WILCO-Sky Blue Sky
THE DETROIT COBRAS - Tied & True
JUUE DOIRON -1 Woke Myself Up   '
BILL CALLAHAN - Woke on a Whaleheart
. THE LONG BLONDES - Someone to Drive You H
Ml -
SERGE GAINSBOURG -
Bonnie & Clyde (vinyl
replica reissue)
CARIBOU - Andorra
GREAT LAKE SWIMMERS -
JUUE DOIRON-Woke
Myself Up
THE FIERY FURNACES - Widow City
IRON AND WINE - The Shepherd's Bog
JENS LEKMAN - Nights Falls Over Kortedala
YOUNG MARBLE GIANTS - Colossal Youth
reissue)
LAVENDER DIAMOND-Imagine Our Love
VAMPIRE WEEKEND - Mansard Roof 7-inch :.
NICOLAS
SPOON-GaGaGaGaGa
BILL CALLAHAN-Woke on
A Whale Heart
FROG EYES-Tears of the
Valedictorian
ANEMONES-Come Down
IRON AND WINE-The
Shepard's Dog
THE NATIONAL - Boxer
ROBERT WYATT - Comicopera
THE BESNARD LAKES -Are the Dark Horse
THE CLIENTELE - God Save The Clientele
SUNSET RUBDOWN - Random Spirit Lover
HOURS w£
*tll you drop - we am open late.
Dec IF-Sun Dec »• WIN TIL $m i
See 24* Oral TIL 6PM m m i m <>
Dec W* CLOSED mmssMm^
Dec 26h BOXING DAY BASH 9AM-6PM
BRADY
AETHENOR-Deepin
Ocean Sunk the Lamp of
Light
BATTLES ^Mirrored
SIR RICHARD BISHOP-
Polytheistic Fragments
THE FIELD->From Here
We Go Sublime
LCD SOUNDSYSTEM - Sound of Silver
LEE SCRATCH PERRY-Super Ape/Return of 1
Ape (Reissue} fSg#s££
PISSED JEANS-Hope For Men
PORTAL-Outre
SWiSI GaGaGaGaGa
JOHNWIESE -SoftPunk
MINUTE
RELEASES
FOR A
«E#1
;Yjpi&g
HEARTBREAK SCENE
-The Szabo
Songbook
CANNED HAMM
- Sincerely Christmas
CD
THE KING KHAN &
BBQ SHOW •
-s/t CDV2LP
BONNIE'PRINCE'
^Bltfcf,.
- Ask Forgiveness
CDEP/ir
flTXfRaTX CD/LP
SIX ORGANS OF
ADMITTANCE
" -filter From the
Ash CDA.P, .:>
WHITE MAGIC
- Dark Stars 12" *
MOBY GRAPE
- Moby Grape '69    *
CO/tP
BRADLANER
- Neighbor Singing
CD/LP
BRIAN WALSBY/THE
MELVINS
- ManchilrJ 3/Making
Love Demos BOOK+CB.'
NEGATIVLAND
- Our Favorite Things
DVD+CD    ':
ALOHA
e super    - Light Works CDEP
BRITISH SEA POWER;i,
- Krankenhaus?
CDEP
t    - They've Actually
-. '.GMjtarWttstUveCb
^ | :.'J£
Zulu Records
1972-1976 W 4th Ave
Vancouven BC
tel 604.738.3232
www.zulurecords.com
STORE HOURS
Mon to Wed   10:30-7:00
Thurs and Fri 10:30-9=00

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