Hftf**lo HOUR 20' YEAR AHNWERSARY SHOW THURSaLOCT.'MS W^>&y SATURDAY, OCT. 6th DJ VADIM mm ■. mm. Tickets $10- At B^tstf^JSv^^^Onderworid • Zulu ■ Dipt • Clubzone com - SHINE (364 WATER St) T^ftttfST 26 th. BRAVO $15 adv. at Clubzone. ■n, Livestock. Zulu, Dipt, Underworld & Beatstreet rjjr I B'tiflj. RICHARDS ON RICHARDS (1036 Richards St) iSTTLlBBOTHIil .J^ssafflSS^ak 3 October 2007 ROCKETS! HORSES! COLORING BOOKS! OPERA! GOOD! BAD! EVIL! TRUTH! CHAOS! uiscoraer 4 October 2007 FRIDAY NOVEMBER 16 RICHARD'S ON RICHARDS NOVEMBER 6 THE MEDIA CLUB FRIDAY NOVEMBER 9 I ST THE MEDIA CLUB [ flllSj als and Manchester Orchestra SUNDAY NOVEMBER 11 mfi&arsfm. SHOUT OUT OUT OUT OUT witt my!gay!husband! Tyler Fedchuk, Tony X, and MC Curtis Santiago FRIDAY DECEMBER 7 - RICHARD'S ON RICHARDS /Wl/IM_%* VHS RBEIA [SIS ■ RicHAftD-s st k&mk iCELEDRdTION i _*^_W<&___T*l'Q_t WITH6UESTS I "* '#^0feJi KILL ME TOMORROW I NOVEMBER 14 I NOVEMBER 28 RICHARD'S ON RICHARDS SOOT RECORDS 20th ANNIVERSARY DESTROYER VOTE ROBOT PINK MOUNTAINTOPS RIFF RANDELLS DUSTIN COLE HILARITY! and special guests SATURDAY NOVEMBER 10 RICHARD'S ON RICHARDS CUFF THE DUKE I THE WITHGU^TS NOVEMBER 25 WTHGtflBSIS §ifciNDOFTM& POVEMBESfe RICHARD'S ON RICHARDS A ?____ ra A WITH GUESTS SATURDAY DECEMBER 8 RICHARD'S ON RICHARDS ™ntasy joxtftti «f9fi39tfOCTOBER 20 t£S9asBNta-8 TICKETS FOR ALL EVENTS ONSALE NOW AT ticketmaster.ca 604-280-4444 ZULU AND SCRATCH RECORDS IlYvie nnTionl Now On Sale! BLACK UPS iwpWcM«rphi|? SATURDAY NOVEMBER 1 MAXIMO PARK FRIDAY DECEMBER 14 | CROATIAN CULTURAL f CENTRE UNEARTH OCTOBER 15 f CROATIAN CULTURAL CENTRE • GALACTIC OCTOBER 18 I COMMODORE BALLROOM • IAMX OCTOBER 29 | THE PLAZA CLUB nRTIOD.com 6 October 2007 tewHw OCTOBER MOT the Gentle j4rt of Editing Art Director Cole Johnston Production Manager P*|&J?RACrjLEA Copy Editors Mike Chilton Brock Thiessen c. TURIONS Pyra Draculea Ad Manager Catherine Rana Under Review Editor Pyra Draculea RLA Editor Brock ThieSsen Layout + Design Cole Johnston Mike Chilton Contributors Meg Bourne Linda Bull Amelia Butcher Mike Chilton Jullanne.Claire Jason Colantonio Pyra Draculea Bryce Dunn Steve edge MikeFodor Simon Foreman Darren Gawle Joelboy Ben Johnstone Marielle Kho Arthur Krumins Christian Martius Maxwell Maxwell Michelle Mayne Robin McConnell Steveston Mike Nardwuar the Human Serviette Tyler Noble Quinn Omori Nick Pannu PF JoePooley j^O.k'iri Jack Prus Peter Sickert O.J. Simpkins Emily Sobool Jordie Sparkle John Tanner Brock Thiessen Andrew Wilson Lolei Yang Photo & Illustration Meg Bourne Mitch Clem Pyra Draculea William Jans Cole Johnston Arthur Krumins Maxwell Maxwell Sean MacPherson. Alicia Smith Wilson Wong Lolli Yang Charts Luke Meat Distribution JErank Rumbletone US Distribution Catherine Rana CITR Station Manager Lydia Masemola Publisher Student Radio Society of UBC Cover by Cole Johnston Regulars The Gentle Art of Editing 7 Riff Raff 12 Bryce Dunn Inkstuds fill __&%Sl_\ 'Robin McConnell Textually Reviewed z$i !i Celluloid Exposed 14 Vancouver Special Duplex 15 lightning Dust + Mohawk Lodge Calendar +Datebook 16 HeyDJ! 20 Under Review 22 Real Live Action 25 Zamo the Destroyer 28 CiTR Charts 29 The Dopest Hits of September 2007 Program Guide 30 Features Army of Anime 1 The costumes may be weird, but who really 1 cares when you're having fun? Or maybe 1 not, if you ask our intrepid investigator... Mr 8 Nardwuar's 20th Anniversa "7 The man who put the'guerilla'into Vancouver music journalism, Nardwuar the Human Serviette, celebrates 20 years on CiTR with 20 hours of his best interviews! BW 10 Gogol Bordello Call it 'gypsy punk' if you must, but Gogol 1 s Bordello is so much more than that. One thing is for certain: this band does want to be known for its propensity for partying down... Mr 19 The Weakerthans As they begin touring on their newest album. Reunion Tour, Winnipeg's favourite musical sons have established themselves not only as a touring juggernaut, but as an activist force, too. Mr 22 Wow, there's so much going on here at CiTR over the next couple of months that it's time to batten down the figurative hatches and stay tuned to the station for further details-much in the same way we've recently had to prepare for those inevitable fall storms (it is still just fall, right?) in my West End neighbourhood. Not only is CiTR in the middle of celebrating its 2 5th year on the FM airwaves, but it's doing so by rolling out the banner on its biggest fundrais- ing effort in its history. The second annual CiTR Funding Drive will begin on Monday, Oct. 1, at 8 a.m. and go for an unprecedented two weeks, ending at 11:55 p.m. on Sunday, Oct. 14. The goal is to raise $20,000 to do such things as buy new broadcast equipment, add more production training and editing studios, get a new high-powered server for hosting the popular podcasting service, upgrade and renovate the production facilities, buy remote equipment for the sports department and, of course, repair and renovate the main on-air studio. This all comes so CiTR can continue to improve the quality and types of programming you have come to rely on the station for. You can pledge during your favourite show, or really any show, by calling 604-822-8648. Go to citr.ca/donate.php for more details and help keep CiTR on the air for another 25 years. Also, every year at about this time, the CiTR sports crew begin their slate of live UBC Thunderbirds broadcasts. Check citr.ca/sports.php for the full T-Birds on CiTR broadcast schedule. On Tuesday, Oct. 2, head to UBC's Pit Pub to check out another CiTR first: That DJ Competition from CiTR. The station has taken entries from some of Vancouver best amateur or undiscovered turntablists, and narrowed it down to the eight best, and will give them a quarter of an hour each to prove their talent. There will be cheap cover, a liquid-refreshment special (two bones each) and over two hours of solid entertainment. Not to mention the chance to possibly see Vancouver's ©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 November issue is October 19th. Ad space is available until October 21st and can be booked by calling 604.822.3017 ext 3 or emailing discorder. advertising@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 Shaw in White Rock. Call the CiTR DJ fine at 822.2487, our offlce 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, V6T 1Z1, CANADA. next hot live DJ. It's kind of like CiTRs Shindig! for turntablists. Speaking of CiTR's Shindig!, the station is right in the thick of it. Action on Tuesday nights at the Railway Club began on Sept. 11 and continues for 13 weeks, until early December. Congratulations goes to the SSRIs, Retrofire and Stolen Bicycles Gang for winning Shindig! weeks one through three, respectively. This month be on the lookout for five weeks of real live Shindig! action this month-are we blessed, or what? See shindig.citr.ca for all the skinny. There are also things going on here at Discorder. Namely, we say goodbye to Cheyanne Turions as our Under Review Editor and Production Manager, I thank her for her dedication and service to this publication during her time here. In turn, I extend a hearty welcome to Pyra Draculea, the creator of our new monthly comic, Zamo the Destroyer, as our new Production Manager, Anyone interested in helping out with production of Discorder may contact her at pro- duction.discorder@gmail.com.. Finally, I end this off on a slightly sombre note, as this will be my last issue of Discorder Magazine in the role of Editor. My life has taken a drastic change in direction, no longer allowing me to dedicate the time or attention that is required to bring each issue of Discorder to fruition. I've always wanted to use the word 'fruition' in a column. It is my hope that my replacement wiH continue to bring you the best in CiTR-based content you have become accustomed to, of late. Anyone interested in going out for the Editor or Under Review Editor position should email Lydia, CiTR's station manager, at citrmgr@ams.ubc.ea for further details. It's been a slice, see you in the funny pages. -Mike "Spike" Chilton OfaCOfCtof HANGING WITH THE ACMYs OF *■ V& PS ^> m WOQOS ANO IMA&BS BY max we!5 max we!! 6 Ave Boll is something of a genius, in a slightly twisted i m m way. He makes films out of popular video games which Wt^t are then released to a wide audience and almost- certain commercial and critical failure. If you've seen posters for BloodRayne, Postal, Alone in the Dark, or House of the Dead, you've probably got the general idea: Boll takes a mildly popular game (BloodRayne U, for instance), changes the plot around until it can fill an hour and a half (turning BloodRayne II into a vampire western, for instance), and then the movie almost inevitably fails. Why, then, is Uwe Boll able to make more films? After so many of his movies have bombed so horribly, why would people keep investing in them? The answer lies in a strange loophole in the tax laws of Boll's native Germany. Investment in German film production companies is rewarded with lavish tax breaks by the government. Even better, corporations can loan Boll's company money, invest it while it's borrowed, and pay no taxes on anything but the film's profits. If the film is a bomb, obviously, the companies need not pay taxes. Boll's unique business model is taken, more or less, from The Producers. As long as his movies bomb, his investors make money. Seeing Boll in person, however, it becomes clear that the financial aspect of his movies is not his main concern: the man is clearly passionate about the films he makes to the point of obsession. The audience here shares his passion, both for video games and the films Boll makes from them. Then again, they're not exacdy an average audience: I'm sitting in the middle of Anime Evolution 2007, one of British Columbia's biggest anime conventions. The hundred or so people attending Boll's discussion panel are, for the most part, dressed like they're at a Halloween party instead. People are emulating their favorite video game or anime character to varying degrees of success. Sometimes they're a little cheap and silly-looking, and sometimes they seem to have spent huge amounts of time and money to produce a disturbingly high-quality costume, but they're all having a good time. Near the front a group of boys are wearing matching black suits and afros. I found out later they were from 4chan.org, a Web forum responsible not only for the popular 'O RLY?' owl, but also for the barrage of sensationalist television coverage which occurred after members jokingly threatened to blow up several NFL stadiums. Fox News referred to them as an "internet hate machine". They're pudgy, cheerful, and mostiy in their late teens. Outside Boll's discussion panel, I find a boy sitting next to a bizarre Japanese arcade game, wearing a huge red trench- coat, bondage pants, and elaborate leather cuffs. He's playing a Game Boy and ignoring the thousands of people wandering the halls of SFU in equally outrageous costumes. I introduce myself since he looks bored and most of the people with really amazing costumes are too busy to interview. I've never heard of the person he was supposed to be dressing as, and so can't make an objective judgment as to the accuracy of his costume, but I compliment him anyway. Making friends here will require some stretching of the truth, as the only anime I've seen are Hayao Miyazaki movies {Spirited Away, and so on). "Yes," I tell him, "the similarity is amazing." I cannot remember what the name of the character or the show was, but it seems best to feign understanding and smile. Moments later, his brother walks out of the panel with what looks like his girlfriend. I'm surprised to see that the girl is not only wearing an elaborate costume, she's also surprisingly pretty. I strike up a conversation with her, and she's charming. I'd expected the convention to be full of nerds and social outcasts (I felt I'd fit in well—although I don't run Linux or have episodes of Star Trek memorized, I do prefer reading books to getting blasted at keggers), but a lot of the people I meet here seem like they'd fit in fine at a sorority or a soccer team. I'm a little weirded out and seek the safety of my own kind. Past the screening rooms, gaming rooms, and vast array of people selling Pocky, there's a stage outdoors. I have no idea what's going on, but a Japanese woman starts singing and several more behind her are shuffling to the rhythm and clapping their hands. One of them isn't Japanese, or a woman at all: he's a white guy, blonde and handsome, in a cheap-looking wig that is falling off his head and a glittering schoolgirl outfit. He's a full head taller than any of them, and not making much effort to pass as a woman, but he's having an amazing time. So is everybody else: it doesn't matter if they look ridiculous, they're happy. Maybe they've got the right idea."*^", 8 October 2007 SATU319AY 27 OGTftlElfl «isch auds ons mmmm (PRE-PARTY OCT 13 AT CLUB 23 WEST) 'DJ Pandemonium Two-Time #2 DJ In Vancouver" "Best Fetish Night In Vancouver" "Best Place To Dance Topless" - Georgia Straight "Most Radical Fetish Night In Vancouver" "Most Modern Place To Get Some" - Terminal City "One Of Those Rare Events Where Pretty Much Anvthinq Goes" - Abort Maqazine SEXIEST COSTUME CONTEST EVER . •HOSTED BY MR. DARK YDJS PANDEMONIUM, R-LEX, •STRICT FETISH DRESS CODE • NO EFFORT = NO ENTRY $15 ADVANCE TICKETS AT NEW WORLD DESIGNS, ZULU, LITTLE SISTER'S AND CLUBVIBES.COM MORE DRESS CODE INFO, PARTY PHOTOS AND VIDEOS AT WWW.SINCITYFETISHNIGHT.CA Discorder 9 preview by Nardwuar the Human Serviette, photos fey William Jans, comics by Mitch Clem I, Nardwuar the Human Serviette, hate math, but I love numbers! Especially the digits that come together to create 1986, the year I entered the University of British Columbia. I guess to some, I only lasted in 'proper' university for two days. Proper university? That, to me, is like going to class, studying and doing nothing else. No, I am not a dropout. I graduated from UBC in the fall of 1990 with a BA in Canadian History. What happened to me? Well, let's lay the blame on the bands UB40 and the Fine "Young Cannibals! On-my second day of university, they played UBC's War Memorial Gymnasium. Before the gig, my buddies and I wanted to get wasted. Being 18 and all, it wasn't going to happen in the student pub; however, maybe it would happen at the beer garden being hosted by CiTR FM 101.9, UBC Radio. So, with the promise of fhe 'olde ale,' we wandered into the Student Union Building's 'party room' for CiTR's 'Brews-cast.' Needless to say, I was served, no problem. Except there was just one hitch: I was pressured into joining the station. Well, not exactly pressured, but encouraged to join possibly the greatest radio station in the world! Me? A teenage zit loser? Yes! All the training would be provided and I didn't just have to be a DJ. I could do news, sports, arts, mobile sound DJing, production, or write for the station's program guide, Discorder. Or I could even do as little as eat my lunch in the CiTR lounge. There were so many or's! The fine folks at CiTR then gave me a membership form and told me to bring it back the next day. And that day was my third day of university! And that is when it all changed: I joined CiTR! I think it's the greatest thing I've ever done in my life! Hell, it is my life! I ate lunch in the CiTR Lounge for a year before I got a radio show in 1987. But there was no rush. Little did T know that through CiTR, I would be able to interview everyone from Mikhail Gorbachev to Kurt Cobain, from Dan Quayle to Courtney Love, from Timothy Leary to Ron Jeremy, from Iggy Pop to Jean Chretien, from Snoop Doggy Dogg to Mr. Plow and from James Brown to Reveen. All this through a campus station—not some top-40 lame-ass joint! Aside from the 'journalistic' part, through CiTR I have also met the nicest, warmest, kindest people. Punks, poets, preachers, pornstars, yeah, yeah, yeah! Now it is time for you to do the math, dear readers. If a dweeb like me can still be hooked on some campus club after 20 years, there must be something stupid going on. Like you reading this! Baboom! Now go out and join CiTR! Everyone is welcome. the im .it Serviette anniversary interview marathon dJRS 9 P.TT1 IHURSOdH 7T0UETOBER X TO 5 ?m FHDdU T10USTTTBCT 2 Nardwuar will be celebrating the 20th Anniversary of his radio show (1987-2007) on CiTR with a 20-hour live-on- air Nardwuar interview marathon, starting at 9 p.m. on Thursday, Nov. 1, and ending at 5 p.m. Friday, November 2. Later on that evening, on Nov. 2, there will be a special all- ages anniversary gig with Nardwuar's band, the Evaporators, along with the Pack and others at the Sub Ballroom. Also, on N&fiikjbT, Nardwuar will be releasing a new 2-disc DVD of interviews from his radio show and public access specials called Welcome to My Castle. Plus, Nov. 6 also marks the release date of the Evaporators' new CD/LP, Gassy Jack and Other Tales. More info at www.nardwHie^m v 10 October 2007 Interviews to be aired during Nardwuar's 20-Hour Marathon include: Ernest Angle? Fugazi GeraidForti GWAR Henry Rollins Ice Cube fe*T fggyPaa David CrasfJ'JJ? Death Sentence Begrassi Kids Echo and the Bu Elijah Wood r Jetto Biafra Uk the Pole Lydia Lunch Maestro FresWes Metal Groupie Michael Moore Mickey Dolenz Mikhail Gorbachev NegativLand Nina Hagen Nirvana Oliver Stone Paul Gallagher Pierre Berton Pointed Sticks Rheostatics Robert Anton Wilson Mom Jeremy Slayer iK-^t? Stilt Toxic Sloan Swoop Doggy Dogg Sonic Youth Timothy Leary Tom Vu Tommy Chong Tommy Lee Vanilla lee Wesley Willis And many morel Email,* and tell Nardttmor what you want to hear! I \ ,^^r........MM SSfl&ENDj^ &IHMCOUVER'S MIGHTIEST ANO LONGEST-RUNNING ALTERNATIVE NIGHT HAS MOVED TO THE WEEKEND! ONOBOOY, BUT NOBODY, DELIVERS A HALLOWEEN PARTY LIKE SANCTUARY - COME GET YOUR FREAK ON! TMSA BY MR. DARK PART HELLRAISER, PART NIGHT OF THE LIVING DEAD, PART CLASSIC HORROR, AND ONE HUNDRED PERCENT EVIL, MR. DARK IS RESPONSIBLE YEAR AFTER YEAR FOR THE BEST DECORATIIONS IN THE CITY! plS PANDERiC3Nli1^rVORTSXrR-IEX I sHviNG UP ONLY THE BEST INDUSTRIAL / ALTERNATIVE / ELECTRO / 80S / SYNTH / PUNK ALL NIGHT! fstfOO CfiSHE^PRTZEFORBEOTCOSTOME ' COME AS SEXY, SCARY, CREEPY, CLASSY, TRASHY, DRESSED UP OR DRESSED DOWN AS YOU WISH AND JOIN Xl3K|THE PARTY! TONS OF PR8jfSig£JKwoH INCLUDING THE JUDGES CHOICE THIS YEAR FOR MOST GORY! Iniday, )£Tch6e^alt^_\__0\\J_S l ABBOT ST . 9PM-3AM. $10 ADV. TIX AT NEW WORLD DESIGNS, ZULU, UTTLE SISTERS, SCRAT~ Rl BRYCE DUNN 0* ■ __¥____ i T»T "W'li »■!""> BLANK DOGS 1 Welcome everyone to yet another tale of epic vinyl adventure, courtesy of yours truly. As the hours of sunlight become increasingly short, the leaves begin to fall and the air becomes crisp and the chance to tear up the asphalt on your board becomes a precious commod- . ity. But if you're the China Creeps, you find a way to sidewalk surf and carve the most famed piece of concrete in the Vancouver landscape any time and in any season. This dedication to the popular skate spot of China Creek inspired their moniker and the title to their fresh-as- the-skinned-knees-from-a-bowl-bombing-session self- titled EP, which made its way onto my desk. Intended as j a vivid reminder of the spoils of such a workout, a ragged piece of duct tape was glued to the cover to symbolically christen the workout of musical muscle contained on the six tracks within. Music this fast, uncompromising and full of adrenalin makes for punk that both rocks and rolls like the wheels of fire burning underneath these dudes. For those who missed S.T.R.E.E.T.S and their brethren the first time around: check out this release. Bonus points for tackling one of the best skating songs of all time, Beyond Possession's "Skater's Life." (No address given, only 300 pressed, so act fast.) There's been a shift in the scene that has been bubbling up as of late where a lot of bands seem to be conveniently discovering No Wave (made somewhat famous in New York during the late '70s and early '80s with bands like Teenage Jesus and the Jerks, James Chance and the Contortions and other like-minded outfits) to the effect that it has become a bit too overwhelming for this writer to handle. Not to say it's all bad—you just to wonder when is it going to end? Better yet, how did it begin? Seemingly at the forefront of this 'movement' is the Mutators, three purveyors of pure musical mayhem that have laid down 'songs,' which may be bereft of melody and certain other qualities made available in popular music, but which do contain admirable structures that resemble tempo shifts, volume changes and 'singing.' Oh, what the hell—enough of the shop talk, let's get to the real deal: these guys and gal bring the noise and then some. Not for the squeamish but definitely for the experimental crowds. There's so much happening on these three tracks that I couldn't even decide if it sounded better on 33 or 45 r.p.m. Live, I hear they are a clusterfuck of cacophony (trademark that, Sam Sullivan!), but the kids, they dig it. Kudos to a local label for plugging in and turning us on to these crazy tunesmiths (the Broadway To Boundary Records, myspace.com/thebroadwaytoboundary). To end this edition, two meaty morsels from Sweet Rot Records: a posthumous EP from Milwaukee, Wisconsin, punks the Catholic Boys, and a current slab for the unusually named Blank Dogs. The former are no little angels and would rather piss in the Holy Grail than drink from it. Plus, from the four tracks on their final release, it sounds like their meds are running low, as the vocals have been through a steady diet of bourbon and barbed wire, the guitars are razor sharp and drums barely keeping up with it all. Fans of Crime, Angry Samoans and A.D.D. will like it. The latter band is a mysterious synth-post punk duo from points unknown who conjure the spirits of Sparks and the Spits in tracks like "Doorbell Fire" and "Outside Alarmer." Robotic without sounding monotonous, quirky without sounding campy, they've caught the ear of a few labels already, the most noteworthy being heavyweights In the Red Records, which plans to release an album's worth of Blank Dogs' material in the coming months. For the now and the curious, check this single out (Sweet Rot Records, P.O. Box 78025 Vancouver BC Canada V5N 5W1). Sayonara, sweethearts! To be continued... 0 www.ams.ubc.ca/events ail Schedule mm at the Pit Pub ct.12 IfNJAi* NTASY Iat lake flMMERS ct.20 , SEALED WITH A KISS ON RICHARDS Russian Futurists k at the Pit Pub 1St October 2007 ■Textually tRe^ewed Tlitcii Matthew Holmes [Nightwoo*Editions] Hitch is an appropriate title for Matthew Holmes's debut collection of poetry, his words securely knotting us to characters and the smallest moments. His ropes connect five seemingly unrelated sections, each introduced by a Morse-code image of one of the five letters in the word Hitch: "I. A Science Everyday," "II. Before Others Are There," "III. Green Tomatoes,," "IV. Coal Smoke Dreams" and " V. Hitch," which read like individual chapbooks tied together to form a book. The bulk of "I. A Science Everyday" are prose poems about various scientists who Holmes makes human through a series of eccentric details. "II. Before Others Are There" and "III. Green Tomatoes" read, at times, like a well-edited poetry journal, with poems using simple Qetjyj 1 Ht ® JaB^iaJ 1& a - ^^&mm_^_WsJ_W^~»_w!S_mi Cl. *£Sf Welcome to My Castle! 2-disc DVD DVD/CD/LP release party! Friday Nov. T* @ UBC's SUB Ballroom I j Nardwuar! The Evaporators! The Pack! and more! All ages! w m CD release party: October 4* at the Railway - The Mint debut SMS MINTRECORDS^^ Sfrg.afr Canada .(§ experiences to portray a broader understanding of relationships and what it is to be human. It's in these sections that Holmes masters the love poem with such lines as, "How I find you in others how I want them/for you." The book is dedicated to a woman named Beth, and the third section contains simple yet moving love poems like "To Beth, Sleeping" and "Beth Seeking Poems." In this section, he also proves his flexibility by writing -about appliances and using comedy to address dust bunnies, as well as a man named Paul who stole his boots one winter night. "IV. Coal Smoke Dreams" depicts observations of everything from birds to seasons, using often overlooked details to reveal them anew. The final section, "V. Hitch," is the most stylistically innovative, with short poems prompted by images of knots. Here Holmes plays with the rhythm and nuance of language, using backslash caesuras to create a tangled rope effect as in, "So we go/together/untying/but tying/untying/a chain/loving and drinking and loving/again." Despite this being his first book, it's no surprise that Holmes has an impressive resume. Hitch demonstrates not only his ability to write in a range of tones and styles, but also his talent for finding beauty in untying what it is to love and be loved. Tracy Ann Stefanucci Delible 4gS9jj Anne Stone [independent] When a person goes missing, there is always the question of how they went missing. A myriad of possibilities suggest themselves as answers—the person got lost in an avalanche, the person was kidnapped, the person went on vacation without notifying anyone or the person ran away Jfrom home—and the investigators must go to loved ones to weed out the possibilities. Fbfteen-year-old Lora's sister, Mel, has gone missing. Police come to Lora and her mother, Karin, for answers. They are sensitive to the situation, but still rely on assumptions and stereotypes to solve the case. As they discover Mel's past runaway attempts, and her one drug- overdosing suicide attempt, they become convinced that Mel has run away from home. Lora knows that there was foul play involved—her sister was not abandoning home this time. Still, the world does not gasp and react with outrage when a missing girl printed on a poster has a face of lost innocence and mischief. This story belongs to a small family: Lora, her mother Karin and her grandmother Celia. From each woman's perspective we, the readers, get to experience the heartache of a lost family member. The author, Anne Stone, reveals the hole that is left behind by Mel. The family's grief is expressed with a sort of passive passion. Stone never relies on gore or dramatic, tear-strewn scenes to intrigue the reader. Instead, the reader is bound to the book by its honesty. The sensation of reading this is much like people- watching. One can pick up or put down fhe book at any point because it doesn't move forwards with an introduction, rising action and climax. Rather, the story moves back and forth in time without a sense of order. I would not recommend Delible to those looking for action, fantasy or the extraordinary, but for those look- . ing for a thoughtful and sensitive book. A bonus is that the author is a Vancouverite, like you and me. Lillian Yang Suburban Pornography Matthew Firth [Anvil Press] J The ghosts of Charles Bukowski and Hubert Selby, Jr. lurk in Matthew Firth's new short story collection. Even the sparse prose-style of Raymond Carver materializes in passages of matter-of-fact description where the seemingly minute incidents of existence become indelible. These influences may be common currency to an author who casts an unflinching eye on the lurid margins of life, the poverty stricken and the ever-widening gap between expectation and reality, but the authenticity of the content soon diminishes any prejudices based on the familiarity of a writing style. There's more to Matthew Firth than being a new version of Bukowski transposed to the cold of a Canadian metropolis. In Suburban Pornography, characters struggle to exist in challenging social conditions, in ruined familial, social and sexual relationships and often seek emancipation through satiating their basest desires. "The Summer of No Love" describes the cruelty of an abusive relationship with a mentally disturbed woman, and "Smooth with the Ladies" depicts an evening of sexual pursuits that ends in humiliating violence. Throughout the novel, sex is the realm of the cruel, the sordid and the disappointed, which figuratively portrays a larger world that is just as cruel, sordid and disappointing. Despite an unwavering graphical depiction of degenerative and desperate situations, Firth frequently places his characters at a dispassionate distance from the world they survey. They are mostly impotent chroniclers, watching their own and other people's tawdry Uves with a mustering of cold indifference. In this collection, men stare at naked women through their Uving room windows, view copulating suburban neighbours in their homes or catch bus drivers receiving the services of a haggard prostitute. These voyeurs witness the not- so-private Uves of others and the tragic circumstances behind them. From the ten-year-old who observes an occupied house burning down in "August, 1974" to the homeless shelter worker who documents its assorted patrons in "The Centre," most characters in Suburban Pornography keep a cool physical or emotional distance. The narrator in "Everybody Loses," who is affected by an unfolding pubUc accident, puts it this way: "Someone somewhere always strings us along, keeps us hanging on. But I'm an interloper so I say nothing..." Fortunately, Suburban Pornography is not a forum for dry social criticism dressed up as fiction to be told from a safe distance. For aU of Firth's character displacement, these tales create a genuine world of despondency, where people are burdened by their dumb jobs, aUenated by their personal relationships and suffocated by their unre- aUzed dreams. "SheUa Crawford Sucks Cocks" once again details a voyeur, this time an adolescent, who notices the local girls, not much older than him, offering backstreet sexual services. Although the teenager is never involved with what he sees, the first-person narration perfectly transcribes fife child's feeUngs of alienation and longing as he wrestles with his own unfulfilled sexual desire. In "Giants," a long-distance driver illustrates his vulnerability by describing a group of giants that enter a hole in his body. More often than not an impUcit inner territory of anguish is revealed, even when what is described isn't very real at aU. Firth reUably conveys a dejected voice, not so much in conflict with a harsh and volatile milieu, but one that is struggUng to accept the apparent frailty of existence. These stories deUver an authentic reteU- ing of Uved-in worlds full of wayward compulsions and engulfing dead ends, whether inspected by a detached and unflinching gaze or experienced through a character's internal but unacknowledged suffering. Suburban Pornography surpasses a generic understanding of a tell-it-like-it-is Uterary form, born from American 20th century fiction, and deUvers a unique Canadian voice offering a universal reflection of troubled humanity. 0 Christian Martius Discorder 13 EXPO hort F j{ms of Se^ii MacPhe Lights, camera, action. Movie sets, flashing strobe Ughts and roadblocks have become almost as permanent fixture in Vancouver as the mountains surrounding the city. So much a part of the landscape have they become that Vancouver is often labeled 'the HoUywood of the North.' Yet, if one is to venture outside the context of corporate media and film, a new frontier can be discovered: the realm of independent movies. In seeking out this entity one can find venues such as the Fifth Avenue Cinemas, Pacific Cinematheque and VancityTheatre, which showcase mostly— and sometimes exclusively—indie film. Around town, in cafes and post-secondary campuses, small-budget indie entrepreneurs can also be spotted shooting scenes in crooks and crannies. There is Uttle gUtz and glamour for these filmmakers. Recognition and hopes of ultimate fame are not the major reasons behind their struggles. Indie film makers have passion and a specific premise for what they are doing. According to local indie writer/director Sean MacPherson, "Although it is the hardest road I decided to take, there is no way to describe the feeling of giving birth to ideas for a film." This past summer, on July 31, Sean MacPherson screened three short films: Mannequin Romance Novel, Unicorn Ragazo and Marion Bigsby: Prince of Darkness at Pacific Cinematheque. The films were only about 30 minutes each, but the process of making the films took over a year. MacPherson wrote the first script for Mannequin- Romance Novel over fhe course of a month, while working nights at a drop-in centre in Calgary. He admits that preparing these films was one of the toughest undertakings and chaUenges he ever dealt with. Getting the money for the project and then booking the location took some time. MacPherson confessed the irony of disclosing to others that you have a very small budget has its, perks: "When people realize that you don't have a lot of money, they are willing to help out." Many businesses along Main Street helped out with the pivotal scenes of his first film, Mannequin Romance Novel, where various scenes were shot in cafes and clothing stores. Moreover, having a tight budget often coerces filmmakers to bear the burden of wearing many hats during production. MacPherson not only wrote, directed and produced aU three films, but also starred in the first two. According to MacPherson, multitasking for the many positions requires that you "have faith in every decision you're making." Characters have to be found on the spot because of the time constraint. Several approaches can be taken to find actors; for example, ads can be put in the paper. Around the Lower Mainland, there are also several agencies to help find actors. MacPherson was fortunate to find child actors for his film, Marion Bigsby, from a talent agency in Surrey. Quite a few actors were found shortly before production started, but everyone managed to get into character and perform. In spite of the many challenges, MacPherson confesses the rewards are ultimately reaped once the films are completed. "There is a sense of gratitude for family and friends who supported each stage of production, and are finally able see the end product." Also, being able to initiate the thought processes within audience members is rewarding. MacPherson took an open-ended approach in his writing. Props, scenes and characters constructed impUed themes that aflowed the audience to derive their own meanings. Mannequin Romance Novel, Unicorn Ragazo and Marion Bigsby: Prince of Darkness screened on July 31 and Aug. 14. For information on screenings contact Seari Macpherson at winterpictures@gmail.com. There is also a webpage for Mannequin Romance Novel at www.myspace.com/marmequinromance. 0 Of rjjjs 14 October 2007 Jmt-phK, VANCOUVER mm- -* SpEC|AL DUPLEX SOMEWHERE IN THE WOODS, BY POSSIBLY A CABIN:ARTHUR KRUMINS THE ORIGINS OF LIGHTNING DUST X UI LU -J D o o X UJ < Q i LU H o ui Q Z < UI X S 3By8 CO LOLLI YANG "I think when we started the project, we just wanted to do something that was sort of dreary, kinda dark. Sort of like the dark side of our personalities. Or the dark side of our writing."—Amber Webber on the Lightning Dust vision. I'm out to a show by myself.1 haven't gone solo to one in a while, but every so often, something like Lightning Dust comes along that I can't resist. The narrative of the songs draw me in while I marvel at the originality of the music being played. The interplay between the keyboard and guitar, along with the harmonies, flies and hangs in peaks and valleys. Thunderous applause, and I head out to East Hastings to catch a bus home, feeling the wonderful thing I feel when I've seen a truly great show. A far more prosaic and day-to-day scene happens a few weeks later when I get to interview lead singer Amber Webber, who doubles as the second vocalist for Black Mountain and who has a guest spot on the new Cave Singers LP due out on Matador. As she remains humble about her musical beginnings, Webber recalls listening to Van Morisson and Neil Diamond growing up, and her mother's devotion to Janis Joplin: "Every morning it was cranked to "Me and Bobby McGee."" Amber "sang in a few choirs in high school and stuff like that," she says and offers me a beer as we chat on the couch in her East Van apartment. I look up at the shelves and shelves of old LPs in her place. Musical stuff fills the room we're in. There's a keyboard, and guitars on stands around the room. "Josh and I obviously play in Black Mountain together and we were writing songs that really weren't suiting Black Mountain. We actually wrote five songs and put 'em on a CD for all of our friends and some relatives and stufFfor Christmas in 2005. Then we played a few art shows and we had a lot of fun doing that, so we just kept on writing songs, and we had enough songs for an album. Jagjaguwar had the Christmas CD and they were stoked on it. When we said we were recording a full-length album, they were interested in putting it out. Mostly Josh and I recorded that. We just did it ourselves in our house and our practice spot and mixed it at the Hive. We did the instrumentation by ourselves, except for Cris Derkson, who did cello on it." So far, Lightning Dust has played half a dozen local shows and has gone on a two week tour with kindred spirits, the Cave Singers. When asked about the Cave Singers, Webber says she "loved them instantly" when she heard some songs they had sent her. They are friends of mutual friends in Seattle, and because they share a booking agent, scheduling a tour together came about easily. Black Mountain is also taking the Cave Singers with them to multiple dates on their current tour. Webber is happy with how the Pat's Pub show went that night, when they played with their full line-up, including her sister, Ashley, and Peters from Ladyhawk. She explains the virtue of having Ladyhawk's drummer: "He adds a lot 'cause it's hard to play such mellow music live, you know, and get it across without people just chit-chatting and all that kind of stuff." Was it always called Lightning Dust? "Josh and I took a vacation to Toronto to visit friends and family and we were partying all night and we came up with these ridiculous names. And it's two of the words I guess that just stuck with us because I'm trying to work 'lightning' into something and 'dust' into something, and so we just collaborated the two." So does Webber think their name describes the band's music very-well? "Sure. I mean, fuck, names are hard, you know? Because you just think people are going to think too much about it. We just thought it was like a good memory: the name, coming up with it and just laughing about it and just having a good time. We thought that was more important: when you think of that name, think of that time." Since Black Mountain has become a touring machine, there won't be too many Lightning Dust shows soon in Vancouver. However, Webber and Wells already have four to five songs together for their next record and plan to record it eventually when they get the time; Webber vents her mixed feelings about going on the road again: "My whole life for the next year is seriously booked. It's cool to know what you're doing but in a way, there's no room for anything else because of Black Mountain. I totally prepared my mind for that kind of stuff because it's really important and I have a lot of fun touring. But at the same time, I wish there were just four months of the year I could squeeze in some Lightning Dust stuff. It's good to give it a fair shot: people can have your album, but there's nothing like a live show." Check out Amber and Josh live with Black Mountain on November 3rd at Richards on Richards as part of Scratch Records' 20thAnniversary party. D "Please state your name, instrument and favourite thing about yourself.",Like any self-respecting group of free-spirited people, the guys of the Mohawk Lodge did not answer in the order of their seating arrangements, or according to my expectations. "Ryder, guitar and vocals...it would definitely be my feet," offered the lead singer. "Arch, guitar, my muscular physique." The guys laughed good-naturedly, acknowledging that Arch has an average build but is by no means musclebound. "Paul, bass, my iron stomach." Again, an explosion oflaughter that was loud enough to disorient me. "Rob, drums, I'm ambitious." I was caught off guard by his earnest answer. There's also a third guitarist in the band, Corey Price, but he wasn't there. With that, I had a good idea of their group dynamic. Ryder Havdale is the leader. He answers questions first and is the founder of the band's record label, White Whale Records. Sporting a mustache and a trucker hat is Arch, the funny guy. He chooses to keep his last name a secret, even on their MySpace page. Paul Goertzen is the quiet one, only uttering a few words when prompted. Lastly, Rob Josephson is the calm and attentive member, never losing his cool. Together, they form an easygoing band of friends that laugh hard and rock harder. The Mohawk Lodge guys were the closing act at UBC's first-week concert event in September, also featuring the youthful Copilot DJ and the electrifying In Medias Res. As we spoke, Copilot DJ was on stage downstairs, so I asked how they feel before going in front of a crowd. In his jovial manner, Havdale quickly answered, "wasted," but retracted his answer as a joke and admitted that he gets pre-show jitters. Josephson added that he gets nervous and antisocial. Ever the joker, Arch declared that he takes "a nervous poop." Well, sure, that would calm anyone down. The guys proudly label themselves rock musicians, so why rock? Why not R&B, punk or, say, opera? As it turns out, the band did have folky beginnings but moved naturally towards rock with the addition of more members. %/$»• t "^ Havdale, Arch and Josephson all attended South Delta Senior Secondary. Arch and Josephson jammed together, and in Grade 9, Havdale first saw them play. Teenaged Havdale, with the ambition of picking up girls, soon joined a Slayer cover band and played the bass. As for Arch, it was known from his elementary school days that he would be a musician. . The music of the Mohawk Lodge is soulful rock Great attention is paid to the melody. When Havdale begins a new song, he records his rough ideas onto his iPod to share with his bandmates. Each member then contributes to the songwriting process by adding his own ideas to the framework laid out by Havdale. In this way, the songs have the depth of something carefully crafted—something with a solid four-four beat and lots of soul. In October, the band heads out on a three week national tour along with Octoberman. They have already purchased a Dodge Pacifica van as transportation for their impending adventure. The guys have no worries about getting sick of one another on the road, which bodes well for such a long tour. It helps that Arch promises he is "gonna bring tighty whities for everyone." In the future, the Mohwak Lodge hopes to tour internationally. At the present, they are very excited about their new album, Wildfires. Visit their site http://mohawklodge.ca to experience a piece of their rock O *_$*&' Discorder 15 I Cineworks' Mesi^^^l^rtvCikef.^fds:- I $ Pocflte Qr&fodih6t_ij& _asm^t^fi^W%' l-.^Beljo/giD (^^s^/POTiaor.$iej3S,;;'f6frrfn k.W^e$fe^ j|||jd§e,;Q^ ',' - jfjIpcHete (&t.Okrd'ml<if. '$$£#$-'$ $m mm IH ■I W_Wl fo>wnpl^:\j3f&i&g|^^ V^ ^S Thdrff^s ygfiofia vfc|o»^8'". ^J&SWro-'-S;-.'' £ 3^^ral^jIrtfeeBee^5pe<^um * f-^feer$6slwj^..j$^ MM .fttlQl ?QXm$st. *3teS£Lake SWiffiJ^etS*. •", |||||iOfySJ@ C<3rtirrtci«3©<^ ,„' s ^8cfoterle9t^^SiajftsesH&yth4y*^. [||§bkvh^Qil Bulssciu©'^Bourbons' J- :|I? pcpfi^vc-DeiSK! fvlgtgiys BQncf& Altec® iijlljR rS^woff.-K&v^Hpuse^TRi^cJ'Q^f' iBiiii 30E Jed' Ueb .qpQU^ ffi&T_^fiffi&@LiiQ$F@ C6f Tbijsrj S<?i^slt|^^|?^^!6iBefl^" ■ :*X:: ____\W_w%_b_\ PPe$erv$fe^tdi§ll J^E.BJab^@.^cvfT,' ____n.^-f^s3i^si£iu'-'^i BUS Whrte Cowbell Oklahoma. Big John ^Sse<3f^^^^^rd"'^i^ft Hi ^^f^m<or^r>8eto^^;i^^efef.i«^i kfOraan ^ess^o) J?raj^pi Furjdf after @ ^7 \mi B ^pMTmoiJte^.;:*^'; %* Hi fnh<$>fv Wfi>&ir ppy&&¥S£?!i3fc>. ■.:,■;' ■ I - Jash -Maitim?, Sleep, Mdfo-Onil&^BWp.' &H Bond .of Tigris, Vfedd^S^SgftQ&p^Peifj p'i06? ()Qk\f^hr.¥_W'j ■los Fuilos, the Q?edc^c*^fe^^^Eoi^i HI 8gt for ic^efc'<5rws'Ch<Si«st@ A^bku- «» .%» ragr|erf.fl-'pl&^Sr*3^ I' Oavsd Jrancey @ C^tofib Golt&Qn% f&etfetrhing-Aft. Bfefi^"l?^ ■I ^&l@CafecteuirSote/ls a*li ^^'^fri^'Pp ■i ||p»Fi&iy Fui!h9Cia»r,Pft^P<^-@ O. '■Mm Nlr^Sp^^Q^pucha l^Si^fl^ Apes, ifJfimSwSmh"\t>. * send your event listings to calendar. discorder@gmail.cotrT ^REPUBLIC £*FOOQ.BEVERAGE Mon Tue Wed Fri Sat Sun I j- ■•- W*W wgWS ' m" u_______fJ__W TJi-UZMi'BLh ss^toW^- JftflJRSOCTll Iii n^cje model machine l+abas,, the fast life & chc^,^.. ^„ 0X^o| Ipk™ . BUY TICKETS ONilNE clubzone.com OR CALL: 1-866-824-8212 www,cluJMKme.c»m/totJmate ^fecmftfllr.: 439' W.lfetags Odubvibes 1 THU REPUBLIC 958 Granville St // Open till 3am 111 nights a week // dhmbars.ca 18 October 2007 M#OU W^»TWANTTO SH3T JVfp^jBtOM CALLING IT'GyPSV ■P-wpunk,"' explains bass player Thomas Gobena of Gogol -^ Bordello. "We are much rnoje than Gypsy punks-" Hours later, as I watch Gogol Bordello play a two- hour-long set at the Commodore Ballroom, I realize that Thomas couldn't be more right. As 1 look around at tlie sold-out crowd, some people dawning fake mustaches to emulate lead singer Eugene Hiitz, others just staring in awe (possibly because' Hutz's pants keep falling down), it's easy fo* see ■that Gogol's stage presence and passion for music is something that none of us can deny. An3 Ave love it. With eight members, including t\yp dancing girls, Gogofs.: live show is a chaotic circUs of energy and eftfiSosiasm, mixed with the^nning and precision of a weU-tfamed orchestra. If it seems, as though it's a party on stage—"it is!" confirms Thomas. "We want it to be a party every day, every minute, every second!" Having just released their fifth album, Super Tarantal, Gogol aire slowly emerging from their cult status. Recently performing a duet w§h Madonna at ihe Live Earth' concert in England in! playing almost every festival you could imagine, they're just getting started. They also have a lotto be proud of: they've just finished ■ a long U,S:/Canada tour, and they've already announced a European tour starring in October and ending in December; not to mention Hu£5 has been chosen, to star jb Madonna's new film, JPiao and Wisdom, which is scheduled to be released in 20QS. :, When asked where he sees himself in ten' years, ■ Thomas said, T see myself having, like, a super-crazy rocket-powered wheelchahv^Bteghed and began to imagine the whole band still performing, even when, they are in wheelchairs. And the thing is, it didn't even seem that weiitfefThe strength and skill that Gogol shares is too powerfiil to be stopped by age or fame or anything,. In?' this world full of over-produced 'music/ Gogol seems to smne through it approving that real talent will always capture hearts and make a difference. "With so much humour, .politics, energy and partying, ghat's not to love about Gogol Bordello? v Radio RcSfo AsfiQsAshis %Jh Maijelle Kho My Upon to ylu this month is never judge a book by SSs^vjf. Or morelspecifically, never judge a band by its hsOTL gever. I receady learned this lesson from experience nui embarrassmg, but almost humorous, manner this mcHSp. m During^^l^^^^rst episodes of my show, just over two years ago, I remember coming across a new local band that, for very shallow and specific reasons, I learned to hate pretty quickly. I was reading over the upcoming concert listings for the Lower Mainland area when I came across a band called Fake Shark Real Zombie. I had never heard any of their music, and when I read their name out loUd, I immediately despised them. With a name like that I got the feeling they were a group of stupid, young, pretentious teenagers that thought they were the shit. I even voiced this opinion on air. With an over-the-top name like that, I thought they were trying to make up for what I assumed would be very shitty music. And every time I saw a listing for one of their shows, I laughed and turned my nose up at them, like the snobby asshole that I am. Fast forward to two years later. I recendy started a new job that I only got hired for because I knew the manager well. As my first week there went by, I slowly became acquainted with my co-workers. One day, the manager introduced me to someone I would be working with and said, "This is Malcolm. He's the drummer in Fake Shark." I said "hi," but immediately thought, "Oh crap, one of those guys." To my surprise, as the weeks went by he actually came across as a pretty cool guy. He had talked about his band a few times, but despite getting along with him well, I still thought his band sucked. Keep in mind I had not heard any of their music at this point. One day, Malcolm announced that his band was playing a show at the end of the week and everyone at work decided to attend, as most of us had never seen his band play before. I convinced myself that the show would not be a complete waste of my time and decided to go, if only to support my friends. Turns out his band is fucking awesome. Their show left me feeling uncomfortable, but in a good way. Their self-sacrificing, awe-inspiring performance made my opinion of them do a full 180. The next day I congratulated Malcolm on a great show and admitted that I used to think that they were "a group of stupid, young, pretentious teenagers that thought they were the shit." I felt bad and apologized but he replied, "We are a group of stujbid, young, pretentious teenagers that still think we're the shit. And you can quote me on that." So, it turns out I am a huge asshole and Fake Shark Real Zombie is actually a great local band.T will play their music on my show, and you too will come to know their awesomeness. Don't be a music snob, guys. It won't make you any better, and the kids at Zulu won't think you're any cooler. Marielle Kho hosts We All Fall Down Thursdays 1 p.m. to2p.m. on CiTR 101.9FM. 20 October 2007 by John Tanner Host Jolly John Tanner is a longtime (too long) Vancouver broadcaster who spent commercial radio purgatory in his chosen- profession back in Kelowna. Always the music SJsJpMr.T. decided professional broadcasting would be his brilliant career move so he could play all the music he loved (he thought). Working the mid '60s at CKOV Kelowna, where he is still held in high regard by the few still alive in the 'Big K' to remember him, Jolly J. was brought to the Vancouver radio wars by none other than Red Robinson, the "Dick Clark" of local radio. JT saw action and inevitable inter- . nal strife while residing at CFUN, CKLG AM & FM, CJJC, CKVN, CFMI, CJOR, CHRX, and COAST 800 8c 1040. Affable and arguably the friendliest and least affected local radio personality, Mr. Tanner saw the advent of the music video and can claim the mande of Canada's first music VJ. Rogers Cable 10 in the late '70s 8c early '80s, under Tanner and producer Mr. Tasty (Don Fraser), launched Nite Dreems, airing Sunday nights at 11 p.m., which was to become the most-watched local program in the history of Vancouver cable TV. It was innovative, self- indulgent craziness that celebrated the new music video before the advent of MTV. During the Nite Dreems era, Tanner befriended the hapless—but celebrated—semi- legendary J.B. Shayne: the first to introduce "alternative" music to the CBC, among his other ventures in radio, TV and films. Their team-up would continue throughout Tanner's colourful career. Shayne took the moniker 'Raouel Casablanca' and collaborated with Long John on Nite Dreems, taking the cable show to new highs and lows. Shayne declined to join Tanner on CiTR-FM, citing "no money," though he is a fervent fan of the station. Instead, Mr. Shayne's son from a previous marriage, Nimrod (real name Herbert) was given the opportunity to assist—and hinder—Mr. T. Several listeners claim Nimrod posses his dad's gift for bullshit cloaked in knowing cynicism and is a real "hottie" (quoting CiTR's manager, Lydia). Radio Radio has no set agenda other than to play an eclectic array of the best of pop music from then to now. With Nimrod's knowledge and enthusiasm for "what's good" in most genres and Tanner's experience, love of music and natural on-air abilities, this is a program that sets no boundaries, takes no prisoners and is the perfect accompaniment to nothing in particular. John Tanner hosts Radio Radio alternating Mondays 6 p.m. to 7:30p.m. on CiTR 101.9 FM. Breakfast with the Browns by Peter Sickert There are two events that changed my view of music forever: seeing the Pointed Sticks perform a free concert in Gastown (was it 1981?) and hearing Brian Eno one late night on CBC. From then on, I was hunting for anything that sounded new and different. In late 1985, after hearing the Dead Kennedy's "Hobday in Cambodia" on my friend Ian's radio (it was tuned to CiTR), I knew I had found what I was looking for. He claimed that anyone could host a show and play cool stuff. So he and I went out, paid up, got trained and made demos. We actually never made it on the air—unless you count the time we were asked by Jerome Broadway to cheer loudly in the back ground as he destroyed some "evil-mainstream vinyl." Anyway, we did promos and other behind-the-scenes production stuff. My friend dropped out. I met my future partner, the weather girl (they had that back then), then I got busy with university. Forward to the summer of 1988. I was bragging to some of my classmates that I had been.involved in CiTR. When asked whether I had been on the air, I had to admit that I hadn't. I was double-dog dared to go back and finish what I started. I triple dog dared them into joining me. After some training, a demo tape, being offered the unpopular Monday morning slot and after a breakfast strategy meeting, a show concept was born. Five of us—James, Judith, Julie, Vaughan and, of course, I—would host a show featuring music, restaurant reviews and short stories. The show's name, Breakfast with the Browns, came about naturally, as the generic Brown last name had a certain bland, suburban feel to it, in contrast to the young rebels we felt we were. So, in September 1988 BwtBsvras on the air. The first tune played was David Bowie's "DJ." The first year was marked by a crazy collage of unrelated music (punk, classical, ambient, jazz, new wave, soundtracks, etc.), spoken word, interviews and reviews of all types. Occasionally, we would do 'music specials'when we< would use the show to feature different music styles such as ska, African, covers, an all polka/klezmer show and can't forget our annual Christmas Special, either. Over the year, as school and eventually work got in the way, only James and I were left as hosts. From then on, our show started to focus more and more on the music. Although our show is still pretty eclectic, we try to string the disparate music pieces together into something bigger than the parts—something that ebbs and flows over the three hours and that creates a sustained mood or atmosphere. After all these years of doing the show it is still the highlight of my week. Old favourites: Eno/Byrne "My Life in the Bush of Ghosts," Michael Brook "Hybrid," Einsturzende Neubauten, Residents 8c Jon Hassel. Odd favourites: Der Plan, Spock, Al 8c George, Jolly Tambourine Man 8c EJ Brule Current favourites: sfe@C Mathew Dear, Caribou, the Reid, Ulrich Schnauss, Intermission Audio Lab, Pete Samples, Arclab, Quadra, Dosh, the Arcade Fire, Budos Band Many thanks to all the lovely listeners that take the time to call in to the show or e-mail us breakfastwiththe- browns@hotmail.com. It's easy to forget that people are actually listening out there and appreciate what we do. We were very flattered that during CiTR's last Funding Drive so many listeners pledged money in our show's name. IPiN^i lllfe^ Upcoming Highlights: Oct. land 8,2007 The Best of the Browns: in support of the CiTR Funding Drive, we'll dig out some of our favourite tunes. Peter Sickert hosts Breakfast with the Browns Monday mornings 8 a.m. to 11 a.m. on CiTR 101.9FM. Flex Your Head! by Steveston Mike I was reading one of the more popular hardcore message boards this morning and the topic of violence came up once again. The poster asked if it was okay to react to a person who was moshing at the edge of the pit and throwing punches and kicks into the crowd. My first reaction was, when the hell did this become accepted in the first place? I have been going to shows for about 20 years now, and I've never seen this kind of disregard for fellow punks and kids until recently. It used to be that if you wanted to feel safe or just enjoy the bands, you could stand off to the side and not feel threatened by the dancing. Nowadays, some people think that no one should be safe, no matter where they stand. They seem to go out of their way to slam into everyone, even small kids and girls. Maybe they see this as a show of their manhood. Maybe they think that people will be impressed with how many people they can hurt during their favourite band's set. They're wrong. I am fed up with these new kids who feel it is their right to act all tough and try to play the part. I have s^een too many incidents where someone dances like a jerk, hits people deliberately, and then, when someone confronts him, he reacts with violence—knowing that his so-called friends will help him out in the fight, no matter who was in the wrong. This needs to stop. These kids need to be called out and shown how stupid their actions are. I have confronted these kids in the past and some seem to Usten, if only for a little while. It seems they need a constant reminder that this scene is what they make it, and most of us don't want a scene filled with violence and fear. This scene should be a place where everyone can come and feel Hke they are a part of something without worrying about violence directed towards themselves or others around them. Kids at shows need to be more aware of what they are doing and realize that most people are there to have a good time—and a good time likely means not getting killed by someone else's dancing, no. matter how tough and cool they may think they are. Please show some respect for each other. Top 10 for September 1. Soul Cqntrol - Involution (Rivalry) 2. Alternate Action -s/t 7" (Longshot) 3. 86 Mentality - Final Exit 7" (Deranged ) 4. Antibodies - Concrete Rockers Go Uptown (Choking Hazard) 5. Commitment Crew - Hisinger (Crucial Response) 6. Attitude - Turn Into Stone (1917) 7. One Voice - Break Free (Crucial Response) 8. Wolfbrigade - Prey To The World (Unrest) 9. Criminal Damage - No Solution (Feral Ward) 10. Limb From Limb - Death Famine Plague (No Option) Steveston Mike hosts Flex Your Head Tuesdays 6p.m. to 8 p. m: on CiTR 101.9 FM. Shadow Jugglers by Emily Sobool We at Shadow Jugglers enjoy searching out the good vibes in life and then sharing them. We've lucked into Uving in a fine city with plenty of vibrant underground cultures, and would Uke to give to you a sample of some of our favourite finds. Dubstep is a genre of music that emerged around the turn of the mulennium, stemming from various influences, namely U.K. Garage, 2-Step, jungle, techno and dub. The sound was cultivated from within a tight group of people in the U.K. and was incubated at FWD» and on the radio show Rinse FM. A. defining moment for dubstep was on Mary Anne Hobb's Breezeblock show on BBC Radio 1 in January of 2006. The show was called Dubstep Warz and featured some of the sound's brightest pioneers: DMZ, Skream, Kode9 8c Space Ape, Vex'd, Loefahj Hatcha and Distance. Soon afterwards,-it was characterized memorably by Joe Nice, one of dubstep's key North American ambassadors, as consisting of elements of "bass, pace and space." And heavy sub-bass is the key to dubstep's minimal and often dreamlike, reverb-drenched sound drenched. With a tempo hovering around 140 bpjn., which doubles or halves itself depending on the track, the music is well-suited to both vibrant dance floors and contemplative headphone Ustening. The ideal dubstep party takes place in a dark space stacked with bassbins, and if you've been lucky to enough to attend any of the parties put on by Lighta! Sound over the past year, you'U know what I'm talking about Part of the appeal of dubstep is its relative newness as a genre: these are stiU the early years, so the sound is fresh and regularly evolving. Music producers and DJs around the world are certainly finding themselves inspired, switching to dubstep from virtuaUy aU other genres of computerized music. Some Canadians have also caught the dubstep bug, including Taal Mala, Bias, Kuma, Max UUs,AFL and DJ Cure. If you're ready to learn more, the worldwide dubstep community unites on dubstepforum.com. And if you're ready to experience it, mark your calendars—Benga 8c Hatcha are coming through town on Oct. 26. Another unmissable is the Sound and Fury Tour, featuring R.A.W. and General Malice mashing up dubstep, reggae, hip hop and jungle on four decks. ^^^^S Tune in to the Shadow Jugglers radio show on occasional Saturdays from 7 p.m. to 9 p.m. on CiTR 101.9FM. In the meantime, check our show archives and blog on myspace.com/ One Year And Counting... Shake a Tail Feather by Jason Colantonio Now that I've, metaphorically, blown out the candles on Shake a Tail Feathers one-year birthday cake, there's some fresh news On the horizon. First off, as promised, the show now has a web presence. You can search for Shake a Tail Feather on Facebook: just type in the name of the show. Once there, you'U find many things, including news about classic rhythm 8c blues and soul artists (their whereabouts, upcoming tours and music releases), links and discussion topics. Right now, you can vote for your favourite YouTube soul music video (or 'promotional film' in old school parlance). I promise you these are not the standard oldies that have been Big ChiU-ed to death over the past 25 years: these are some rarely seen gems. Part three oi Shake a Tail Feather's "History ofRhythm 8c Blues" series, which airs on Oct. 19, features soul pioneers of the late-1950s. Partjene was a three-hour episode co- hosted by Sweet N' Hot's Charles Burnham and yours truly, which aired on Aug. 31 and spodighted the roots and birth of rhythm 8c blues, from the pre-Second World War-era to the mid-1950s. Part two aired on Sept. 7 and featured the best of 1950s rhythm 8c blues and doo-wop, the foundation upon which aU soul music rests. Listen to podcasts of bothparts on www.citr.ca/podcast.php. Also, Oct. 1 to 14 marks the second annual CiTR Funding Drive. Tune in for Shake a Tail Feather's special Funding Drive episodes on Fridays, Oct. 5 and 12. On Oct. 5, I wiU be co-hosting with David "Love" Jones of African Rhythms Radio on a show packed with special guests, give away prizes and, as always, great classic soul music. These episodes wiU be two out of many opportunities during the Funding Drive for you to show your support for shows Uke mine, as weU as CiTR as a whole. Pledge! Pledge! Pledge! " fg&| Listen to Shake a TaU Feather, Fridays from 10:30p.m. to Midnight. Podcasts can be heard at www.citr.ca/podcast.php. Also, look up the show's Facebook page. Requests can be emailed to moresoulmusic@yahoo.ca. Shake a Tail Feather! Give 'Em The Boot! by Linda Bull As this is the first time I've written for Discorder, I thought I should introduce myself and teU you a Uttle about how an AustraUan woman ended up doing an Italian folk music show in Canada. WeU, just over a year ago, I started this show after thinking about getting into radio for a long time. I have a good friend who is a host on AustraUa's national radio, the .ABC. After many "what a great radio voice you have" comments, it sort of gave me the idea that perhaps I could try it out. I definitely had the interest and the enthusiasm, but didn't reatty know where to start. I moved to Canada in 2003 and got involved with the Rogue Folk Club and met Steve Edge, host of CiTR's long-running Saturday, morning folk music show, the Saturday Edge. InitiaUy, I apprenticed under Steve and filled in for him for a month when he went on hoUdays last year. So, he introduced me to the world of CiTR: using the console, finding CDs, getting into the station on a weekend—which can. sometimes quite a chaUenge. Getting up early to do the show was also hard, but I loved it and couldn't wait to do more. So, I asked Bryce if I could have a time slot for a show of my own, and after an initial discussion about genres, I said, "WeU, I speak ItaUan and am into traditional Italian music, so I could..." and before I could finish that sentence, he said-yes. So Give Em the Boot! was born in September 2006, and "it's been a great year of radio for me since then. Maybe I should teU you about what sort of music I play, as it's pretty unusual. Hmmm... weU, I playja mix of traditional ItaUan folk music—the hardcore stuff—from aU different regions of the country. Then I also have quite a soft spot for more contemporary folk music—usuafly younger bands and singers who blend the traditional music of their region (often singing in their own regional dialects) with a more modern musical approach (pop/ rock and world influenced at times) that stiU often uses traditional instruments. So, you should just tune in so you can get a feel for whether you Uke it or not. So, tune in, and if you want to get in touch, you can caU me during the show in the studio at 604-822-2487 or emaU me at musicalboot@yahoo.ca. Hope you enjoy the show! Linda Bull.hosts Give 'Em the Boot! Tuesdays 1 p.m. to 2p.m. on CiTR 101.9FM. Tratado de impaciencia No. 15 por Alex Tornillo A mediados de los anos 70, me Uevaban a comer a un lugar el cual en ese entonces no sabia donde qued- aba. Cuando tienes menos de 10 primaveras vives en un mundo que es totalmente diferente 10 anos despues. No recuerdo como se Uamaba aquel lugar, pero a mi me parecia sensaciorial: la comida era abundante y buenisima, el ambiente invitaba a los comensales a quedarse a una sobremesa de horas, era una especie de cantina mezclada con pub, osmra con unas ventanas de marco de madera que dejaban >. attar la luz perpendicular que con la humareda de la cocina se reflejaba como imagen reUgiosa y para rematar habia un piano vertical que era aporreado por un viejecito al cual no se le veia la cara al tocar. Tocaba con tal pasion que quede marcado para toda mi vida. Este tipo de lugares existen por todos los rincones del mundo, no son turisticos y tienes que ser considerado como "local" para que sepas de su existencia y dependi- endo de donde se encuentren es lo que sirven de comer. En las ciudades viejas es mis entretenido encontrar un lugar como estos y en aquel entonces la gente fumaba en las mesas, los senores se emborrachaban frente los nifios y las mujeres platicaban con risas desparpajadas sin enterarse qu£ era lo que hacian sus tesoritos dentro de un lugar como este. Yo corrfa entre las mesas, quiza dando coces a las siUas y mesas y no dudo que alguien algun dia me haya dado un jalon de rizos por haberle tirado la bebida. Despues de tantos anos entiendo que aquel lugar al que me Uevaban cuando era niiio era lo que era no porque el ambiente invitaba a los comensales a quedarse a una sobremesa de horas, o era una especie de cantina mezclada con pub, oscura con unas ventanas de marco de madera que dejaban entrar la luz perpendicular que con la humareda de la cocina se reflejaba como imagen reUgiosa etc. sino que tenia magia porque la musica que saUa de aquel piano era tocada con pasi6n. Alex Tornillo esproductory locutor del programa de radio Salario Minimo que se transmite los Maries de 8 a 10 de la noche por medio del 101.9 FM. t) DiscordeT 81 wi rum guitctrisTStepben Carroll jrt^n. YTfUT 1%£___\"X* mnfr '1 he new Weakerthans album, Reunion Tour,. ^Wt X ^^F ^^ I - out On it, the group's ever-evolving % L^A cellpbone intlrvieu) ooitb the X songwriting continues to mix punk-rock energy and the spirit of protest music from the left wing. It not only appeals to people across Canada but also around the world. Their hometown of Winnipeg has been the birthplace of a thriving'arts ie, participants of which the band's members have frequendy collaborated with. As they took off to tour the world, Discorder got a chance to ask their guitar player, Stephen Carroll, a few questions in September while their tour bus travelled between Chicago and Minneapolis for their first gig. In this interview, Discorder got to discuss the political efforts the band undertakes. The organizations discussed in the interview can be found online: ■ftDords by eArtburKrumins Tljoto by sAYicia Smitb Resource Assistance for Youth (Winnipeg) War Cluld (International) %oww. warchild. org Discorder: Hello? Is this Stephen? Stephen Carroll: Yes, it is. Hi. D: Oh, hi. This is Arthur in Vancouver. Your album's coming out tomorrow. SC:Itis. D: Could you describe a little bit of what it was like to record it this year? SC: What it was like to record? Well, it was a different experience from our last record That's for D: Yeah, Reconstruction Site. SC: We spent most of the recording in the Factory mkWSKnipeg, which is just recording overnight. And by the time we recorded the [songs], you know, left at 6 a.m. to go home. We could almost barely tell what we'd made. It probably wasn't until we got it all assembled later on in Toronto that we got to see what the songs were shaping up to. be. That was an interesting process and fun. It was beginning to feel like all we were doing was making this record during that time. We lived and breathed it. There was no time for anything else. There was just enough time to go home. When you were back, you'd be back driving out the commute of about 35-45 minutes to the Factory. D: So, did you have any help on the record? SC: You mean other musicians? We had some musicians in Toronto come in and play flute and trumpet and some other horns, and of course, the help of our producer, Ian Blurton, and our artist D: I lcnow in the past, you've recorded a song for the War Child compilation. I was sort of interested in that. And you've played Rock Against Racism and stuff. Could you talk about your involvement with activist projects? SC: Well, I guess we're not heavily involved. We do support about three or four organizations regularly in Winnipeg. War Child asked us to contribute a song. It was good. We were saving it for this record, Reunion Tour, before we released it, and we thought we'd do a version for that record. And for this record we re-recorded it. Last year we started working with this organization in Winnipeg called Resource Assistance For Youth, a.lca. RAY They're a really great organization, and we just did a show for them and a T-shirt for them—a T-shirt that's sold internationally—and a poster. It was really a remarkable experience for us to work with them. That's the people who are dealing with, I would say, a series of problems that the world doesn't see every day. D: So is it a resource centre for people? SCsResqurce Assistan&A^outh is basically an assistance program run oUt of a couple locations injsjfcaiaipeg, where [they bel|p with} whatever any ^youth needs, be they homeless or temporarily homeless or they are searching for something, they're having trouble with a landlord who's kicking them out or being cruel. It's just a fantastic organization that helps: Bra realty broad way and it focuses on street youth. And it's from laundry, to Internet, to helping them with lawyers, and as I said, to dealing with landlords, to finding them food and shelter and health care. D: I didn't lcnow about that, but that's good to hear. Well, I'm excited'for the new record, and I wanted 22 October 2007 to ask you about artists tliat you feel have influenced you. I know there's obviously the punk side to the band, but I also hear a bit of country on songs like "New Name for Everything." SC: Yeah, we're interested in all aspects of music that interest us. And, really, just follow the songs wherever they lead us. Whatever they need. Whatever that arrangement is. And whatever suits the subject of the songs. D: What can we expect to hear on the new album? How would you describe it? SC: Well, I think for me it just means an extension of our previous work. I mean, these songs are kind of tangled in my mind with older songs. Like, some of them have been around for a while. I mean, "Utilities" was written even maybe four years ago, and it's been around for a while. And then "Night Windows" as welL So, I kind of feel like I don't see as much differentiation as maybe somebody who purchases them would. I would sort of see them as their histories entwined. D: So, were they written on the road or in the studio? SC: No, no. There's not really writing on the road. Everything has.to stop for any successful writing to get done. itf^g'^H D: And are there any things you do on the road to make sure you stay sane and keep it together? SC: I don't know. Humour. Laughter. Keep your sense of humour and don't take anything too seriously. D: I'm wondering if you grew up punk, or if it was a radical thing to be into punk music when you were growing up? SC: Yeah, for sure it was, actually. We had a very radicalized youth. I grew up in Winnipeg. For our generation, it was pretty crazy. I mean, the idea was everybody was engaging with their music. At the time, it was very political. We were engaging with our culture at all levels: about the way we were living our personal lives, about the way we eat, about the way the city we lived in was run. And we affiliated ourselves with various organizations. We were walking into the Premier's office and handing out controversial . literature to him, right? Which is kind of funny. That was just part of what we were doing. We were just friends. And we had these political beliefs and we just did this stuff. We had a fun time. I think our band's history is really based on that, and we still use the network of left wing punk rock to tour the world. The people who come to see our shows are awesome, and our songs have a philosophical centre and we market that as left of centre, and I think when we travel the world, people who come out often share that opinion. D: Why is the band called the Weakerthans? S: It was named after a moment in a Margaret Duras ; rievel thwjvas. adapted for film. It was a film, and it was a book. It's a line that's only in the movie, but it's a good line. You have to watch the movie before it makes sense. D: What movie is it? S: It's called The Lovers. Check out the Weakerthans when they come to Vancouver for an all ages show on Oct. 6th at the Commodore Ballroom. S JWDAYJIGHT ^'MONDAY NIGHT TAILGATE MENU AVAILABLE FROM 6 - 9 PM o BURGER & BEER %> A BOTTLE OF MGD AND A 6 OZ §M ' BURGER $7.99 ADD FRIES $1.99 JACK DANIELS RIBS & FRIES fe RACK $7.99 FULL POUND ADD $4 iIhicken wings HOT, BBQ, SALT N PEPPER, & TERIYAKI 1 LB $7.99 2 LB $13.99 DOOLIN'S IRISH PUB Architecture in Helsinki \ The Big Bad Places Like This Polyvinyl] The first song on Architecture in Helsinki's third album shouts the words, "You've got the wrong idea if you're leaping off the edge of this world." In reference to this and the following nine tracks that make up Places Like This, such a sentiment describe the chaos of a band trying too hard. Architecture in Helsinki have got the wrong idea if they are, in a sense, jumping into the unknown, for the band carry too many thrown-together and hastily assembled musical aspects, which would cause them to plummet off of the edge of the world. Where a mix of strained vocals, bombastic brass, electro-pop and Remain in Light-ish white-boy funk would otherwise work, Places Like This delivers the soundtrack for a headache in an over-crowded nursery, but only because the songs have litde room to breathe. Wrenching vocals crumble under the weight of barely shouted syllables and layers of instrumentation, laser- synth surges, omnipresent cowbells and acoustic guitars. All these elements scream out against one another -in desperate attempts to find spaces to be heard. Unfortunately, it's an arrangement of sound that is both jarring and forced. rvTjjtespite Places Like This's laboured shambles, there are some segments that work. The climatic last half of i^afeae, Old Innocence," the bouncy intro of "Red Turned White" and the building zenith of "Heart it Races," all let the band's separate sounds coalesce. More often than not, though, these harmonious arrangements are just fleeting sections in a cluttered mess of songs. Maybe Architecture in Helsinki could consolidate their wayward sound if they looked before they leaped next time. Christian Martius The Fiery Furnaces Widow City %fp [Thrill Jockey] I was super stoked about reviewing this album since I loved all the Furnaces' previous albums (even Rehearsing My Choir).l )ust love the storytelling style of the Ffiedburgers; it reminds me of the old 1950's radio dramas that my parents and I would Usten to on road trips. But this disc was actually a hard to review because, I must admit, I was a more than a little disappointed. Don't get me wrong, we are still talking about the Fiery Furnaces, who are excellent, and there is still a lot to enjoy in this album. My disappointment stems from two things. First of all, this album follows a rapid-fire, of excellent material: the epic concept album, Rehearsing My Choir, the diverse double Matthew Friedburger solo , .^alburn, Winter Women/Holy Ghost Language School, and "^^ft|ncredibly catchy and poppy Bitter Tea. Second, for theiirst time, I found myself being irritated by several songs on the album: "Clear Signal from Cairo," "The Old Hag Is Sleeping" and "Wicker Whatnots," to name a few. Granted, every Fiery Furnaces album had one or two songs that would grate on my nerves a little bit, but this album was different. I found myself heartily disliking $|£$Hee of the tracks and being only lukewarm others. Once again, this album is not bad at iQugh. I loved the flow of the first through fourth i, and "My Egyptian Grammar," "Navy Nurse" and "Restorative Beer" are excellent. f§ The bottom line: for Furnaces fans, this album is still Xmugt; but for people who are new to the Furnaces, I wouldn't recommend this album as a starting point. People looking to get into the Furnaces would do better cheeking out either Bitter Tea or Blueberry Boat. Ijjlplrew Wilson Middle of the Night EP [Independent] It's alhursday morning and I am in my garage painting something black. There is an obvious soundtrack for _ such an activity, but Vancouver's own the Big Bad are providing the tunes. The first track off their five-song Middle of the Night EP is "Better Way." Drums...guitar... bass...vocals. Really, by song three, the only thing getting through to my paint-fume-addled brain is the vocals. Margitta Ziercke growls, snarls and shouts her way through 15 minutes worth of formulaic punk rock. She could probably kick your ass in three different octaves. So-so lyrics, grinding guitars and repetitive songs don't make the most of her talents, but there's enough there that, with a Uttle more experimentation, Middle of the Night could've been gi£at< \ AmeUa Butcher Maritime Heresy and the Hotel Choir Pameshovel Records] Like so many bands, Maritime has been a victim of expectations. When the group started a few years back, fans had such high hopes for this band of ex- Promise Ring and Dismemberment Plan members that disappointment seemed inevitable. And that's exactly what Usteners got with Maritime's 2004 debut, Glass Floor—an awkward record of pop songs that was panned by critics and fans alike. Yet in a way, this shaky beginning was a blessing; it seemed to let the pressure off, to let the group shake out the cobwebs a bit. And when Maritime released last year's foUow-up, We the Vehicles, a new confidence and maturity had seeped into the band, making comparisons to the group's emo-tinged roots pointless. As a result, record No. 2 stood out as an exceptional piece of sunny, low-key guitar pop and one of last year's best. Well, if Maritime found its footing with We the Vehicles, then the band is now jogging at a nice, brisk pace with its latest record, Heresy and the Hotel Choir. Led by a more adult-like Davey von Bohlen, Maritime packs a hefty load of pop hooks, catchy melodies and clever guitar moves. And the newly expanded four- piece (minus bass player Eric Axelson) does this with precision and self-assurance, repeatedly hitting the mark and making the phrase "no filler" an appropriate one. It's this consistency that makes Heresy perhaps a stronger album than Vehicles. The sound, direction and approach of the new record aU seems to stem from the same place, whereas Vehicles sometimes strayed off track and had a more hodgepodge-type assembly. Also, thanks to producer Stuart Sikes (the Walkmen, Modest Mouse), the production of Heresy is leagues above Maritime's previous efforts. He finaUy disposes of the band's crisp, digital sheen and opts for much warmer, . more analog one, which is more suiting for Maritime's humble pop. Through a bigger, crunchier guitar sound, Sikes also makes the record a bit more rock, a Uttle less sugar—-a good move considering yon Bohlen's tendency to give some Usteners a toothache. Ofej^-rg' AU in aU, Maritime has one-upped itself with Heresy and the Hotel Choir, and once again proved that first impressions don't mean much. Brock Thiessen continued on page 24 WIDOW CITY Discorder 23 Hugh Masekela Live at Market Theatre [Time Square Records] I witnessed a Hugh Masekela concert for the first time this July at the Mission Folk Music Festival. The legendary South African trumpet/flugelhorn player was in stunning form that night, so I jumped at the chance to review this double CD. It's very much along the same Unes, stepping out to a danceable groove that Ues between jazz, funk and African music. Masekela was discovered by Archbishop Trevor Huddlestone in the early 1960s. He came frorri a poor black family background, and Huddlestone, who was white, wanted to show the South African government that even under Apartheid it was possible for young Africans to make a name for themselves. Apparently, Huddlestone bought Masekela his first trumpet. His career blossomed immediately, and he recorded several albums -with Miriam Makeba, becoming one of the most powerful musical voices in the anti-Apa*the.isj_ movement. In the 1970s, he became the first African artist to have a No. 1 hit in the U.S., knocking the Rolling Stones'"Jumping Jack Flash" out of the top with his classic groove, "Grazing in the Grass", included here as a glorious 14-minute epic. The coUection takes the form of a two-set concert, complete with Masekela's trademark narratives and calls to the audience to sing louder, cheer more and get up and dance. At Mission, his song about the train taking migrant workers to their unforgiving places ofworklasted I about 30 minutes. It was compelling, covering African poUtics fromJDarfur to Durban. Here, he deUvers several monologues, including a wonderful moment where he describes the difficulties faced by agricultural workers in "incontinent weather." The man is pushing 70, but has as much energy, joie de vivre and mischievous sexual energy as anyone. His mastery of the flugelhorn is total. He casts a speU over his audience, and leads his superb backing band in irrepressible fashion. That Mission festival performance was amazing. The next best thing is to put this CD on and surrender to the groove. Ik^^ Steve Edge Moka Only & Def 3 Dog River [Ship Records/Fontana North] Dog River is a new coUaboration between Vancouver's Moka Only and an up-and-coming MC from Saskatchewan named Def 3. If you know a bit about hip hop, you've likely heard of Moka Only, maybe from his past days as a part of Swollen Members or from one of his releases such as Lime Green and The Desired Effect. Those in the know can teU you that those days are just the tip of the iceberg of Moka's talent, with a 15-year-long career and more than 30 self-produced solo albums. This coUaboration, then, between Moka and Def 3 is one that surprised me because of the widely different styles of these two talented individuals. With Moka's laid-back, abstract style of singing and rapping, and Def 3's poUshed deUvery, the album shines with the contrast and talent these two bring to the table and is one of my favourite hip-hop albums to drop in quite a while. The album starts with a heavy beat layered with samples that appears to be both maniacal HaUoween-type laughter and sped-up chipmunk vocals, firing up an album that's diversity and contrast ties it together. Each track except the fourth was produced by Moka and stays true to his typical production style of intentionally unrefined raw, chunky beats that could be compared to a J Dilla or a Madlib style. The album is amazing front to back, flowing through a diverse variety of amazing beats and weU-executed raps 34 October 2007 from both Moka and Def 3. However, Def 3 sometimes- doesn't alter his precise flow enough throughout some of the diverse beats, although his repetition ends up balancing Moka's abstraction and helps tie the album together. I played this album for a few people and had everyone, including some non hip-hop fans, praised the heU out of it. This album shows that Canadian hip hop is aUve and weU, and hopefuUy wiU prove that Canada's music scene isn't all trash like Avril Lavigne or Sum 41. From surfers to crack dealers, this album wiU appeal to any music fan out there and should definitely not be missed. joelboy Mutators Mutators jSS^ [Broadway to Boundry] Setting the pace with an introductory scream that reaches pitches matching those of the included sporatic feedbackj-the. (reformed) Mutators' debut 7" rekindles an energy I wasn't sure I would feel again until the teenage years of my next life. As a recombinatieouof minimal punk ideals, hardcore edge and tempo-change madnessTThis^ album is an at-home experience ofiSgjng in the midst of a construction site and simultaneously feeling your mental structures breaking. While diving into to the three track record, I found myself not knowing if I wanted to hack my hair offwith the nearest sharp object, or drop everything and make violent love to myself with the anticipated bursts of audio insanity. With simple droning and drumming to pay attention to, the (somewhat) newly acquired vocalist, Leif Ambrosia, shrieks and screams his words so convincingly that I have no idea what she is talking about, but I agree nonetheless. The Mutators may be too unconventional for those who view or Usten to punk rock for its nostalgic value, though they're stiU reminiscent of historical, movements that have brought music to this point (much Uke everything happening). They are kind of Uke a banana: theydon't need the shit on the outside, have a deUcious inner core and remind perverts of a big yeUow dick. This album is one of the most satisfying I could have around. I am convinced that the Mutators are the type of band that wiU keep only the most honest fans around and bring tears to those who can see the importance but^a?t have the stomach for it. Julianne Claire The National Pares Timber-vision (CD+DVD) [Audiogram] Newly formed trio, the National Pares (Ian Cameron, ChimwemweMiBer and Montreal-scene veteran Vincent "Freeworm" LetelUer), have crafted an ecological hip-hop tour de force out of coUaged sounds coUected from nature. The CD is good, but to get the whole experience, you really have to watch the DVD - videos that show both the creative process, as weU as being artistic extensions of the songs themselves. They show the three making and recording sounds using branches, logs and stones, a kick drum against a canoe, water rushing through a beaver dam and Miller rapping as he walks across a muddy bank Opener "Border Patrol" is textured with chain-gang chanting vocals; the warped lens and blue tuxedos of "Powerline" add visual interest. Most intriguing^AbOgh^. is "Down by the River," with gj|6phy, crackling beats and smooth vocals and keyboards, a study in contrasts^eisveen^ fire and water that melded perfectly withjthe..video. Other favourites are "CUckety-Clack" and "Twelve Word Song," especially the giant log xylophorite* ' Timbervision is smart, rich Canadian hip-hop for not only die-hard fans, but also newcome||feo AmeUa Butcher Sunset Rubdown Random Spirit Lover [Jagjaguwar] In the past couple of years, the indie music scene has increasingly given the impression of a snake eating its own tail. In a relatively short time, the genre, or whatever you want to caU it, has grown from the domain of coUege music geeks and Value Village Rivers Cuomos to its glory of chart-topping bands from Montreal and teams of screaming high-school girls. Now, I don't mean to knock the entire thing - the "Indie" label has given us many exceptional acts from the mega-stars Arcade Fire and Broken Social Scene to the lesser-knowns Dufus and Caribou. However it seems like for every genuinely good act there are a score of the same uninspiring indie bands that profit off the hipster aesthetic, or who think the more *80s music references something has, the cooler it is. The result is that an area of music that thrived off the hope of something different and creative is now a "genre" that has long since lost any semblance of freshness. It is in dark times that Sunset Rubdown shines through Hke a beacon of hope. Listening to Random Spirit Lover is Uke entering a feverish musical kaleidoscope. Spencer Krug of modern legends Wolf Parade and Frog Eyes shines again/What started oOt^s a solo side-project has by now evolved into a multi-faceted group that proves it's more than ready to stand on its own two feet. From the first track, the door is flung wide open with an energetic romp that packs more style and variety into one song than one is often lucky to find in an entire album. As the album unfolds, one is taken on a journey that gives stylistic nods here and there while remaining independent and unique. It is quite simply an album that defies categorization. Experimental but with an acute pop sensibiUty, lyrics that run Uke poetry without the trappings of conventional verse-chorus-verse arrangements. Feverish in intensity but more of a playful fever than Carey Mercer's "I'm about to lose it" fever. I guess it's too much to expect for any genre to produce great music, across the board, and the fact that Sunset Rubdown is out there gives me hope that the indie bit stiU has room to grow. Now if we could just do away with the goddamn hipsters (we could lure them into a giant cage with a vinyl of "ThriUer" and a vintage Devo shirt), we'd be getting somewhere. Jack Prus The Russian Futurists Me, Myself & Rye [Memphis Industries] Adam Matthew Hart's indie-pop project has put out three albums that aU contain a few stand out tracks. Unfortunately, the remainder of these albums tend to be made up of filler-ish material that makes the actual albums not reaUy worth owning. Few bands are in need of a "Best of" as much as this band was. This compilation of the best tracks from previous albums is not for the devoted fan who already owns everything the Futurists have put out. There's nothing new for you here. However, if you held out on previousFuturists endeavours, for aforementioned reasons or simply out of ignorance, this album is an excellent purchase. Taking the high points of previous albums, this compilation brings together the happy good times of synth-dripping indie-pop choirs that make Hart's music so notable. It cuts the fat of previous albums, strips the song choices down to the essentials and delivers pretty much everything you could want from the band. This album is also an exceUent entry point for you if. you're unfamiliar with the band and have been convinced by favourable write-ups of their upbeat choral synth-pop. In fact, it's the only Russian Futurists album you need. Jordie Sparkle n Octoberman Run from Safety [White Whale] August hasn't felt Uke summer. It's been cold. It's been rainy. But there is a soundtrack to this - Octoberman's Run From Safety. It's meUow and laid back, with lapsteels and trumpets. There's a soUd sound backing this album that makes it feel like an album: put together and thought out. It's the kind of music that pushes no boundaries and no buttons, hovering just under the melodramatic radar. It would make a good road album, driving through the middle provinces with big sides and fields of yeUow. PF Joe Satriani Surfing With the Alien [Epic/Legacy] This is the reissue of the Satriani's landmark 1987 disc. Disc one is the album we guitar and metal geeks aU know and love and probably have memorized note for note, so I'll just skip over to commenting on Disc two, which is a DVD featuring previously unreleased footage of a July 1988 concert at the Montreux Jazz Festival back in the infancy of Satriani's career. The first thing that comes to mind of course is a mix of nostalgia and shock that I ever thought guitar grimaces and spandex outfits Hke that were cool when I was 12. Oh weU. The audio is fantastic, the video is as good as you can expect 1980s video to be (which is to say don't watch it fuU-screen if you have an iMac) and there are plenty of great close-ups for figuring out Satriani's techniques. (Not that it would do my stubby, clumsy fingers a damn bit of good or anything.) In addition to Satriani's spectacular playing, the DVD also includes a wonderful bass solo by Stu Hamm exhibiting incredibly fluid and melodic chops, every bit as outstanding as the big boss has. The liner notes teU the tale of this show that almost didn't happen because of airline delays and previous bands jamming on without time limits. Slated to go on at midnight, Satch and company didn't hit the stage until 4 a.m. And whether it be exhaustion or bad taste, much of the crowd got up and walked out a few bars into the first song. Idiots - they didn't know what they were missing. I also quite enjoyed the cinematography on the DVD and the angles used throughout as weU as the bonus features' spoof interview with Nigel Tufnel of Spinal Tap. HUarious. Pyra Draculea Dean's place was ground zero for two things: rap music and ingesting things that you weren't supposed to. It was Dean who introduced me to UGK via a mixtape entitled Deepest, Downest South. At the time, the biggest thing in my world was the Wu-Tang Clan, but his compUation dropped the tricked-out funk and slowed-up rhymes into my ears for the first time. After Ustening to the tape at lunch, I immediately pedaled over to Dean's house where we turned on Riditi'Dirty (the duo's fourth fuU-length) and made an iU-advised attempt to "sip on some syrup," not realizing that over-the-counter cough suppressant was not an adequate replacement for the codeine-based syrup that's supposed to give the kick to "purple stuff." '&&$. It was the aforementioned memory that came flying back when I popped UGK's latest into my stereo for the first time. Tne beats and rhymes are stiU slow and thick, and Pimp C and Bun B stiU come correct on nearly every verse. WhUe Underground Kingz might stand as their finest coUection to date, the formula hasn't changed aU that rpuch. Despite aU my reminiscing, however, there's nothing about the album that sounds stale. In fact, despite taking more than half a decade off, UGK doesn't have any catching up to do. Instead, in a rap world where names Uke TI and Young Jeezy are tops, it seems Uke the rest of the game has finaUy caught up to them. Now, if you'U excuse me, I need to lace my work coffee cup with some Buckley's, so I can get my drank on (to get my lean on). Quinn Omori UGK Underground Kingz [Jive] When I was in junior high, this was my shit. It's not that I dislike hip hop now. In fact, I still love it. But weU into my mid-20s, I recognize that I am not and never wiU be a gangsta, hustla, playa, pimp, mack or straight thug. I'U never Uve in Compton, the 10304 (a.k.a. ShaoUn), or the Fifth Ward. And, I've long since abandoned my aspirations to flossi^ja floored '64 Impala that roUs on Daytons (in fact^T^dbn't even Uke driving). WhUe that doesn't prevent me from celebrating the fact that UGK is returning - after a six year hiatus - with one of a handful of hip-hop double albums that actuaUy warrants its two-disc length, it does make me long for days when the release of Underground Kingz would have been an event of epic proportions to me. In the 10th grade, I was friends with a guy named Dean whose parents, perhaps unwisely, let him Uve mostly alone in the other half of their duplex. What this meant was that Torngat You Could Be [alien8 rt by virtue of being just a Uttle too sUck in their execution. Bassist/vocalist John Idan deserves mention for pulling off a spot-on Keith Relf, though. Unfortunately, the concept unravels as the new Yardbirds (which I guess can't officiaUy be caUed the New Yardbirds courtesy of the embryonic Led Zeppelin's use of the name in 1968) trot out material from the reunion album, Birdland. Bearing in mind that most of the Yardbirds'best- known original material was not self-penned, McCarty does offer a glimpse of the old Yardbirds style with "Crying out for Love" and "Please Don't TeU Me 'Bout the News," but as the set progresses, the new material sounds less and less Uke the Yardbirds the fans came to see. Ultimately, Live At BB King Blues Club, a CD packaging of their 2006 satellite radio broadcast, adds nothing to the Yardbirds' catalogue other than to prove that some of the members put the band back together and made an alright job of it. Not something I'd recommend spending your money on - unless you're a Yardbirds completist. 0 &&&} Darren Gawle Along with the Arcade Fire, their cousins in instrument- switching pop, Torngat proves that band nerds can make it as indie rockers. Or that, in Quebec, musicianship is alive and weU. With their full-length, You Could Be, these three Montreal multi-taskers have fashioned a breezy instrumental album that eschews the more theatrical tendencies of their post-rock coterie. But the lack of posturing refreshes: there's a purity and organic sounds that shine through with analog synths, Hammond growls and the acoustic hom echoes (and you can be sure that's a part of their ethos). At times, one is certainly glad that the soundscape is not tainted by vocals. Indeed, You Could Be remedies the depersonalized, often aUenating, quaUty of the instrumental-only albums with rich and engaging arrangements. On the title track, the French horn dances and sings whUe, later, the seemingly superfluous ambiance of "Mouton Noir" gives way to a crack of body-moving percussion that is primal in its affectivity - pre-language, inarticulable. After aU, Torngat makes a safe bet they don't want to come off as poetasters. Joe Pooley The Yardbirds Live At BB King Blues Club [Favoured Nations] One has to question the point of the Yardbirds'reunion when their original vocaUst is some 30 years deceased, and there's no hope in heU that any of the three lead guitarists (Clapton, Beck, and Page) who made the band legendary would reunite for anything more than a one-off gig. But Chris Dreja and Jim McCarty deserve some credit for piecing together a new combo that comes close to recreating the sound of the original lineup. A few of the old numbers, such as "Train Kept A-RoUin" and "Shapes Of Things," compare favourably to the extant Uve Yardbirds recordings of the '60s I've heard, and at worst, other numbers ff^Sfc1: as "Heart FuU Of Soul" veer mttf'&Jref-band territory Under Review Section Editor 1 he Under Review section editor is responsible for: - maintaining and building contacts with labels and bands in order to procure review material. - organizing materials submitted for review - recruiting and organizing reviewers and coordinating section line-up for each issue of Discorder. - primary edits of Under Review section copy to ensure it is clean and ready for next phase of production. This is a moderate volunteer position which requires approximately a 10-20 hour commitment per issue. Ideal for a UBC journalism student looking for practical editorial experience. Discorder Editor 1 he editor is responsible for: - conceiving story ideas and assigning them to writers, as well as accepting pitches from contributers. - Collecting, organizing, editing and proofing all text copy submitted by contributors. - Working closely with other Discorder staff to organize the production of every issue - Recruit and organize volunteers. - Communicate with record labels,' publishers, and other industry contacts. - Basic admin, and secretarial work. This is a demanding volunteer position that requires a serious commitment. The editor is creative head of * the magazine as well as the main organizer. The role of the editor is to fulfill the magazine's vision as well as facilitate the ideas of volunteers. This position requires about a 30-40 hour commitment per issue and includes a modest honorarium. Ideal for a UBC journalism student looking for practical experience and portfolio If interested in either position, contact CiTR's station ager, Lydia Masemola, at citrmgr@an Discorder 25 REAie 1 Collective llroom fgmodor Se^lbmber 1 i WitK||n AnimaBCoUective show aU you can expect is the unexpe%6e«Wwi stage, the group hardly foUows some typical rock-show formula, where tours are simply used as promotional tool for new releases. Instead, Animal CoUective likes to stay a step ahead, most often using the stage to explore new sounds and ideas for upcoming material—not those recently recorded in the studio. If you do hear familiar songs played Uve, the renditions are often. so radicaUy different from the studio versions that they're nearly unrecognizable. And whUe this journey into the unknown can be a gamble, in Vancouver, it paid off Animal CoUective was in top form at the Commodore BaUroom as it deUvered a tight and focused performance—one that proved the group has indeed moved up in the rock'n'roU hierarchy. Minus Deakin (who, according to the merch guy, no longer tours), Panda Bear, Avery Tare and the Geologist laid down a set of a very electronic nature, simUar to that heard on their latest album Strawberry Jam and, in a sense, their first, Spirit They're Gone, Spirit They've Vanished. I As poles of bUnding Ughts flashed into concertgoers' retinas, a clamour of sound came from chaotic consoles of keys and wires. Groove-heavy rhythms beat out steadily from bUnking high-tech machines. And vocals were screamed, uttered and whispered by a jumping and dancing Panda Bear. Despite the guitars remaining almost entirely dormant, they weren't missed. Like on Strawberry Jam, Uve, Animal CoUective's new sample- based approach suited the band surprisingly weU, with Jam songs such as "Unsolved Mysteries" and "Fireworks" picking more emotional punch than much of the band's older material. jiS^w if^ls!?**; Compared to Animal CoUective's last two Vancouver performances, this one was much more uplifting and, for lack of a fancier word, fun. Unlike in the past, the band never got bogged down in instrumental wank-offs and taxing sonic experiments. Instead, it stuck to more song- orientated structures, giving the night a sort of twisted party vibe where movement was a natural reflex. When the band left the stage, it was easy to feel that you had experienced something significant, as weU as satisfying. Animal CoUective has fuUy hit its stride and, at this point, shows few signs of slowing down. X-.£>k Brock Thiessen W^Ms^-^v^* 26 October 2007 Magnolia Electric Co. + Joel RL Phelps & the Downer Trio Richard's on Richards August 31 MagnoUa Electric Co.'s latest coUection, Sojourner, is one of the most aptly titled releases in recent memory. Cutted from four different recording sessions, the four- disc set of new and re-recorded material is a snapshot of the unsettled world of Jason MoUna, whose prolificacy and dedication to craft must keep him very busy. The intimate bedroom Americana of Molina's previous incarnation Songs: Ohia has transitioned into bona fide country-rock, a development that fittingly dovetaUs with his adoption of the MEC moniker. Sojourner, then, is a summation of that transition as weU as a gift to the fans that have stuck by him through it. Similarly, a MEC tour is less about reaching a new audience as it is playing for the tried and true fans, which MoUna indeed did at his recent Vancouver show. y$T,P^ Also on the biU were Joel RL Phelps 8c the Downer Trio. Phelps draws from the same weU of yearning Americana as MoUna, but is a different animal—one that is much more punk in spirit and execution. The best pieces shifted between two extremes: pounding riffage, and Phelps's unaccompanied voice, which is fragUe and parched in nature. Tne set was passionate and had some interesting dynamics, but it was quite short, feeUng perfunctory because of the tight schedule of this early show. Plus, by the brutal mix, the sound guy may have been taking a siesta. Not surprisingly, MagnoUa Electric Co. was dependably good, if a bit rigid. This is a band that has honed its craft over countless gigs and it showed. They had synergy. They could lean back, close their eyes and flesh out the sound, and quite seamlessly at that. MoUna sang weU and guitarist Jason Evans Groth was a virtuoso, naiUng aU the Young/Allman/Collins inspired solos. "I've Been Riding with the Ghost" roUicked, outdoing the studio version. A cover of Warren Zevon's "Excitable Boy" was gleefully deUvered with a smirk and juxtaposed with the heavy-handed tone MoUna is known for. During the encore, Ladyhawk's Darcy Hancock was brought on stage for what was supposed to be a soulful guitar duel with Groth in an extended version of "Texas 71." It wasn't. In fact, whatever did transpire was mind- numbingly bad. Not a great ending, but it didn't mar what had come before. OveraU, other than the Ladyhawk mash-up, the performance was pretty good. If anything, the monotony of Molina's material was responsible for the dull spots, not any aspect of the performance. It was nice to see him in the flesh, however, and for devout fans, it was a real treat. MikeFodor + Black Joe Lewis Commodore Ballroom September 15 Allow me to admit this right from the get-go: It took me a while to warm up to Spoon. For some reason, the band has flown quietly near my radar for almost the entirety of their 13-year existence, but I never took much time to Usten or care. I always knew they were there, buzzing around with the occasional catchy tune Uke "The Way We Get By" or "I Turn My Camera On," but those highlights were never enough to maintain my fickle interest. I just found them to be kind of duU: decent songs but no real image or story to get behind. Kind of Uke Wilco: you want to Uke them, but they're reaUy no different from those indifferent uncles of yours. My attitude suddenly changed, however, with the release of this year's Ga Ga Ga Ga Ga—an album that takes all those previously pesky blah-blah's and swiftly turns them into hearty rah-rah's. It's just too bad that the record's same energy and thpughtfulness didn't go into Spoon's mediocre Uve show. After an upbeat opening set from Austin's Black Joe Lewis, Britt Daniel and company (including former Get Up Kid Rob Pope) took the stage to a mid-sized roar from the sold-out room. Issuing tracks from the old and new, and peaking with the latest hit "The Underdog," Spoon played it pretty cool and detached for most of their set. The songs offered were done note for note— with the exception of a few pimped-out tracks from Kill the Moonlight—whUe the chitchat and stage antics were kept to a minimum. And with the exception of a rather sweet exchange with a very recently newlywed couple, the show went by without much notable incident. While there wasn't reaUy much to complain about, there was reaUy no need for big cheers, either. Spoon is a great band, without a doubt, but it's about time they step things up to the next level. g^gS^] O.J. Simpkins Flaming Lips Malkin Bowl September 18 FoUowing a dismal afternoon of September rain, the clouds parted on a chilled Malkin Bowl, nested deep within the prehistoric trees of Stanley Park. Soon after, Wayne Coyne roUed out and over a congested audience in a giant hamster baU. Confetti flurried overhead, and purple smoke bombs flared. The Flaming Lips had taken the stage. With globular baUoons bouncing lazUy offheadsnand ribbons catching in mouths, it was hard not to feel like a part of the refrain. More than almost any other band, the Ranting Lips'performances come the closest to visuaUy matching their sound. To attend a Flaming Lips show is not just to see the band but to see the music. Between spacey psych-rock and synthetic circus-pop, the sound bounced around and never stayed in one place too long, sometimes soft and cloudy, sometimes larger than life, Uke the macro zoom of Coyne's face on a sparkly, pixeled digital backdrop. The Lips doled out most of the gems from their latter work and dipped back into their catalog for one or two oldies, such as Zaireeka's "Riding to Work in the Year 2025." This smoky visual and sonic assault was also met with flanking armies of flashUght-waving Santas and aUens, dancing tirelessly on either side of the stage. Various additional bouncy toys were added to the mix, which all together had the senses working overtime. By the time Coyne stood in the shivery cold asking the crowd, "Do you reatize??" the stage was a giant baU of poUution, enveloped in a-pufiy cloud of exhaust of the night's events. MicheUe Mayne ""f Devenda Benhart Commodore Ballroom September 1 It's the first night of the tour, but instead of making a grand entrance, Devendra Banhart and his cohorts amble on stage and slowly begin with a relaxed set of gentle folk songs. Devendra sings in his not-so-unique Bolanesque butter- fly-in-the?throat technique, and an aura- of-twiUght contemplation is created. But no pulses are quickened—both out in the audience and on the stage. This hairy band does a good approximation of a 70s folk-rock sound, with a democracy of shared vocal duties and songs; but for aU the possibilities of seeing a version of Santana/Free/T-Rex in the 21st century (without having to even close your eyes), the CoUective's shamboUc lack of focus is a constant letdown. Songs from the new album, Smokey Rolls down Thunder Mountain, are often paused halfway through with quips from Devendra, such as "This is a good bit." The over-famitiar . "Golden Brown" melody of "Seahorse" is cut in half by an interrupting guitar riff. And a bashful audience member is puUed on stage to awkwardly sing his own composition wltile the band happfly slinks offstage. Such a ramshackle performance may be charming in its own special way, but the band's start-stop inconsistency only further disintegrates its graceless momen-. turn. The setiist, with its endless block of sedate down-tempo numbers and feeble attempts at animation, reinforces the notion that beyond the beards and the hair, this reaUy is just a bunch of clumsy laid-back hippies. The real shame here is that Devendra has a lot more to him than a waistcoat and velvety voice. And there are hints of something greater locked beneath his cumbersome and recycled 40- year-old shtick, if it ever broke free from its hackneyed self-imposed restrictions. Christian Martius Chad Van Gaalen + Fond of Tigers, fhe Doers Richard's On Richards September 13 Chad VanGaalen is never touring again—or at least that's what he announced during his recent stop at Richard's on Richards. The show began with the Doers, a Hiisker Du-like punk trio with a twist: they play only acoustic guitars. Despite their energy, they didn't do it for a crowd awaiting the gentle tones of Mr. VanGaalen. Next up were Fond of Tigers, who played an eclectic set of mostly improvised instrumentais. Though their subtler moments were interesting, the band—which featured guitar, bass, fiddle, keyboards, trumpet and two drummers— had so much going on that most of it was uninteUigible. After a lengthy intermission, a guitar- wielding VanGaalen took the stage armed with some drums, a bass and the harmonica around his neck. Consisting of largely new material, his set shied away from his electronic side and favoured his country-tinged rock tunes instead. Though VanGaalen seemed to be enjoying himself, he declared that touring was "miserable," and that he was "never going to go on tour again." What troubled him, it seemed, was the previous night's show, which was deraUed after the band decided to open with the theme from Ghostbusters. Later, when a fan shouted that Alberta missed him, VanGaalen, a native of Calgary, said that he likes Alberta "except for the nasty poUtics." VanGaalen then caUed Stephen Harper "a douche bag" who "looks Uke a pedophUe." After a soUd set, the band was called back by the smaU crowd. Triumphantly, VanGaalen led his band through a rousing rendition of "Ghostbusters," joyfuUy exorcising the previous night's faUures. "Let me teU you something," he said. "Busting makes me feel good." Having conquered his difficulties, VanGaalen ended the show with the Une, "I found you and I kiUed you," which left an eerie fulfillment in the air. Maybe he'U come back after aU. Ben Johnstone Winning + Ghost House, Karen Foster, life Against Death Pub 340 September 7 This night was to be my second encounter with Winning, my first taking place when they opened for the venerable Blood Brothers at Mesa Luna (RIP) back in '06. I was greeted with two major changes since last time: the replacement of Primes' Jack Duckworth with The Red Light Sting's Gregory Adams (joining other RLS alumni Andy Dixon and Paul Patko) and a move, however gradual, towards more conventional songwriting. Many songs stiU exude a harsh, corrosive jam- session-gone-wrong feeUng. But "Weird Wit" and a few other tunes had cracks in their atonal sheUs that revealed melodies and constructions smoldering like hot embers underneath. I ask the members of Winning to widen the cracks and let the steam through. When they do, I'll be first in line to warm my hands. What stands out about the Ghost House Uve experience is movement—not so much physical as musical: the fervour in the drums and bass, guitar parts that are always climbing or flitting around Uke fruit flies, and piano playing that alternately complements the other instruments and steers songs into different territory. It aU brought back fond memories of Cadeaux's tremendous and spunky energy. Both bands are (or were, in Cadeaux's case) driven by a standout drummer who lends each song a special urgency. Exclaim! and the Straight are eating this stuff up, and you should too.. As for Karen Foster, they played some soUd, punky hard rock. But I decided to retire my weary soul for the night midway through their performance, opting to miss Life Against Death for some weU-needed shuteye. Until next time, Pub 340... tl Simon Foreman CiTR 101.9 FM presents... the longest miming music battle in Vancouver 2nd OCTOBER LINEUP Gunshae The Petroleum By-Product Wintermitts 9th A Relative Distance The Skedaddlers Treacherous Machete 16th JpNDRDS Lownote s Vonnegut Dollhouse* 23rd Fanshaw The Noble Firs The Public Or The Press 30th Adjective. Taxes Tuck Plus Jokes For Beerl Every Tuesday night, shews at 9 PM, $7 The Railway Club (Seymeur/Dunsmuir) * Bands subject to change. J»"lll For the latest schedules and results, visit: http://vpww.citr.ca OUR GREAT SPONSORS: Or ' IF^^ lllllll JlHH ^^»MttssM jjpj|| i.'jSjJ 3i^pH?^B IHf 111 m hive backline: RADIAN MUSIC WEEK Discorder 27 http://members.shaw.ca/zamothedestroyer http://www.mysface.com/zamothedestroyer VANCOUVER NEW MUSIC FESTIVAL 2007 GUITARS! GUITARS! PAOLO ANGELI - OREN AMBARCHI • SIR RICHARD BISHOP - NICOLAS BRAGG - BERNARD FALAISE - BILL FRISELL GORD 6RDINA - HER JAZZ NOISE COLLECTIVE - ANNETTE KREBS - ROLF LISLEVAND - RENE LUSSIER DONALD MILLER * JAMES PLOTKIN - KEITH ROWE s TONY WILSON - WALTER ZANETTI vY 1 STAGE. 4 DAYS. 144 STRINGS.* GIVE 08 TAKE ft DOZEN 17-20 0CT-8PM TICKETS A ZULU RECORDS * WWW.TMETS10HIBHT.M 604.231.7535 HUB AT THE 8008 SCOTIABANK DANCE CENTRE 677 DAVIE STREET WWW.NEWMUSIC.ORG 604.633.0861 6P0MYMOUS 28 October 2007 mus CiTR's charts reflect what has been spun on the air for the previous month. Artistes with stars alongside their names (*) are from this great land o' ours. Most of these platters can be found at finer (read: independent) music stores across Vancouver. If you can't find them there, give our Music Director a shout at 604-822-8733. His name is Luke. If you ask nicely, he'U tell you how to get them. To find other great campus! community radio charts check out www.earshot-online.com. Strictly the dopest hits of September 2007 # Artist Album Label 1 New Pornographers* \ Challengers Last Gang/Matador 2 Caribou* Andorra Merge 3 Jason Zumpano* In the' Company of Ghosts Catbird 4 The Doers* Gaiety Reluctant S Animal Collective Peacebone Domino 6 Turbonegro Retox Cooking Vinyl • ^ Bison* Earthbound Forest 8 Okkervil River The Stage Names Jagjaguwar 9 Liars liars Mute 10 Spoon GaGaGaGaGa Merge 11 Riff Randalls* Doublecross Dirtnap 12 Kinski Down Below It's Chaos SubPop 13 The Darkest of the Hillside The Shadow Out of Tim Divine Industries <£&£&. 14 M.I.A. Kala Interscope 15 Wintermints* The Cascadia Fault Independent 16 Various ImatWVFS Independent 17 No Age Weirdo flippers Fat Cat 18 Oakley Hall I'll Follow You • Merge 19 Get Him Eat Him Arms Down Absolutely Kosher 20 Black Moth Super Rainbow Dandelion Gum Graveface 21 The Luyas* Faker Death Independent 22 We Are Wolves* Total Magique Dare to Care 23 Torngat* You Could Be Alien 8 24 Architecture in Helsinki Places Like This Polyvinyl 25 1990s Cookies j World's Fair # Artist Album Label 26 The Brunettes Structure and Cosmetics Sub Pop 27 Sharon Jones and the Dap-Kings 100 Days, 100 Nights Daptone 28 Square Root of Margaret* Teragram Photeur ■ 331/3 .29 Various* - r-J0%_t&£ CBC Radio 3: Breaking New Sound Storyboard 30 Madlib Beat Konducta 3 & 4: In India • Stones Throw 31 Stereo Total Paris-Berlin Kill Rock Stars 32 Dirty Projectors Rise Above Kill Rock Stars 33 The Black Lips Good Bad Not Evil • Vice 34 The Gol Team Proof of Youth Secret City 35 High On Fire Death is the Communion Relapse 36 Adrian Orange and Her Band Adrian Orange and Her Band $$$&$& 37 Pinback Autumn of the Seraphs Touch & Go 38 The Weakerthans* Reunion Tour , Anti- 39 Junior Senior HeyHeyMyMyYoYo Rykodisc 40 C.O.C.O. Play Dwms and Bass K 41 Mono Gone: A Collection of EPs 2000-2007 Human Highway 42 Angels of Light We Are Him Young God 43 Devendra Banhart Smokey Rolls Down Thunder Canyon XL 44 Jason Anderson Tonight ECA 45 Bettye Lavette The Scene of the Crime Anti- 46 Interpol Our Love to Admire Capitol 47 ZolarX X Marks the Spot Alternative Tentacles . 48 The Cave Singers invitation Songs Matador 49 Scottie's Cut and Paste Project* Unplugged from the Matrix Independent 50 Dragons, .;^Sj|; BFI Ninja Tune THE BEST DEALS IN TOWN FOR A MEASLY IS SUCKS. Anti-Social Skate Shop The Bike Kitchen Hitz Boutique Puncture Haus Scratcl Records and Gallery UBC, AMS, 6138 Student Union j 316 W.Cordova 2228 Broadway E. 726 Richard St. 2425 Main St. Blvd. 604-662-3334 604-708-8100 604487-6355 604-708-5678 6Q4-822-BIKE The Kiss Store Red Cat Records Slickity Jim's Chat and Audiopile Buna's Angels 2512 Watson St. 4307 Main St. Chew 2016 Commercial Dr. 2535 Main St. 604-675-9972 604-708-9422 - 2513 Main St. 604-253-7453 604-874-9773 604-873-6760 Lucky's Comics Ike Regional Assembly Beat Street Records The Eatery 3972 Main St. of Text Spartacus Books 439 W.Hastings St. 3431W. Broadway 604-875-9858 3934 Main St. ?&M 319 W.Hastings 604-683-3344 604-738-5298 Magpie Magazine 604-877-2247 604488-6138 yj 1319 Commercial Dr. R/X Comics Vinyl Records w „„„: ; y """^ 604-253-6666 2418 Main St. 319 Hastings St. West ClonR People's Co-op Bookstore 604454-5099 604488-1234 ____ ggpM_ fPMfJk www.dtr.«/f riends yisu 1391 Commercial Dr. 604-253-6442 'm i fmtt$ of cfltf - ru r _._._! %*_Z_l_l_m J 1 at Vancouver's finest small merchants and supports CiTR 101.9 FM. Show it when you shop! Discorder 29 ffiunfto You can listen to CiTR online at www.citr.ca or on the air at 101.9 FM SHOOKSHOOKTA SAINT TROPEZ RHYTHMSINDA MONDO TRASHO TRANCENDANCE DISASTERPIECE THEATRE BREAKFAST WITH THE BROWNS ALTERNATIVE RADIO PARTS UNKNOWN LETS GET BAKED NATIVE SOLIDARITY NEWS RADIO RADIO! THEJAZZ SHOW VENGEANCE IS MINE PACIFIC PICKIN' MORNING AFTER SHOW GIVE'EM THE BOOT CIRO RADIO OKANAGAN REEL TO REAL CAREER FAST TRACK EN AVANT LA MUSIQUE WENER'S BBQ FLEXYOURHEAD SALARIO MINIMO CAUGHT IN THE RED AURAL TENTACLES Wednesday Thursday SUBURBAN JUNGLE DEMOCRACY NOW RACHEL'S SONG AND SOMETIMES WHY END OF THE WORLD NEWS DEMOCRACY NOW ALTERNATIVE RADIO DUNCAN'S DONUTS WE ALL FALL DOWN ' l$iii&& TREASONS' EXCUISITE CORPSE LAUGH TRACKS CUTE BAND ALERT! THESE ARE THE BREAKS NARDWUAR PRESENTS SWEET AND HOT I UKE THE SCRIBBLES Saturday THE SATURDAY EDGE GENERATION ANNIHILATION POWERCHORD LEO RAMIREZ SHOW NASHAVOLNA SHADOW JUGGLERS SYNAPTIC SANDWICH PASSING BINARY ■■■■SUNDAY TANA RADIO (World) 9-1 Oam KOL NODEDI (Worid) 11 am-12pm 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 now! Alternates with: SAINTTROPEZ (Pop) 5-6pm October 2007 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 (V\forld) 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 language numbers. MONDO TRASHO (Eclectic) 9-1 Opm TRANCENDANCE (Dance) I Opm-12am 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. ___________M 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) 11-12pm 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 (Eclectic) 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. Oct I: Tonight a live concert ■ from the Newport Jazz Festival with the great Canadian pianist Oscar Peterson and his Trio. Then the Trio is joined by 'Papa Joe' Jones (drums), Sonny Stitt (alto and tenor saxophones) and Roy 'Little Jazz* Eldridge (trumpet). Great cookin' sounds. Oct 8: Some modern mainstream sounds with trumpeter Art Farmer and tenor saxophonist Jimmy Heath and their band, recorded live at the Museum of Modern Art in New York. Great music from this short-lived band. Oct 15: The dynamic sounds of one of the most swinging and exciting big bands, led by the great Canadian trumpet virtuoso Maynard Ferguson. Recorded at Birdland, that legendary New York club, before a real jazz audience. Oct 22:The very underrated and underrecorded pianist/composer Walter Davis Jr. from his one and only album on Blue Note. Davis performs with alto saxophone master Jackie McLean, lyrical trumpeter Donald Byrd, bassist Sam Jones, and hard-driving drummer Arthur Taylor, in a program of Davis' compositions. Oct 29: Tenor saxophonist Stan Getz headlines tonight in an album aptly titled The Master. Mr. Getz in rare form with a dynamic -quartet with pianist Albert Dai- ley, bassist Clint Houston, and creative drummer Billy Hart Only four tunes, but they allow Getz to really 'stretch out' ■■■■TUESDAY All 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 series. THIRD TIME'S THE CHARM (Rock) 9:30-11:30am Open your ears and prepare for a shock! A harmless note may make you a fan! Hear the menacing scourge that is Rock and Roll! Deadlier than the most dangerous criminal! borninsixtynine@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. Un programma bilingue che es- plora il mondo della musica folk CIRO SYNDICATED (Talk) 2-2:30pm Syndicated programming from Okanagan's CIRO. (Replaces Besneric Rhyme) REEL TO REAL (Talk) 2:30-3pm Movie reviews and criticism. CAREER FASTTRACK (Talk) 3-3:30pm EN AVANT LA MUSIQUE (French) 3:30-4:30pm En Avant La Musique! se concentre sur le metissage des genres musicaux au sein d'une francophonie ouverte a tous les courants. This program focuses on cross-cultural music and its influence on mostly Francophone musicians. 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) s2-3pm Independent news hosted by award-winning jounalists Amy Goodman and Juan Gonzalez. RUMBLETONE RADIO (Rock) 3-Spm Primitive, fuzzed-out garage may- 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 mii- sic. Don't own any Birkenstocks? Allergic to patchouli? Cmon 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. ■■■THURSDAY END OF THE WORLD NEWS (Eclectic) 8-1 Oam DEMOCRACY NOW (Talk) 10-llam 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) Zoom a little zoom on the My Science Project rocket ship, piloted by your host Julia, as we navigate eccentric, underexposed, always relevant and plainly cool scientific research, technology, and poetry . (submissions welcome), myscien- ceprojectradio@yahoo.ca Alternates with: PEDAL REVOLUTION (Talk) 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 (Uve Music) 9-1 lpm Live From Thunderbird Radjo Hell showcases local talent... LIVE! Honestly, don't even ask about the technical side of this. ■ FRIDAY SKA-TS SCENIC DRIVE (Ska) I Oam-12pm Email requests to: djska_t@hotmail.com THESEARETHE 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 W.I.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. wwwmyspace.com/canadianway AFRICAN RHYTHMS (World) 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 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.rapereliefsheller.bc.ca t 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. ."'£gE%a& 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 low- down slide to urban 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.Turie in and visit myspace/ shadowjugglers. SYNAPTIC SANDWICH - (Dance/Electronic/Eclectic) 9-1 lpm BEATS FROM THE BASEMENT (Hip Hop) I lpm-1 am ra that dj competition oct 2 at the pit email thatdjcompetition2007@gmail.com to enter WSiSS?* u are you that *^ spin to win fabulous prizes. 40L M **************=************** ^QmCDfMIIMr W$ arm O0KBQBBSO 1.1 IK *Ui.T Stu<j.nl SocMy ***************************** 9 • D W!N PRIZES! f TO www.citr.ca 604 822 1242 ■■■■■■111 citr lOl.qftn Discorder 31 ZULU BULLS UUWN THUNDER CANYDN This and other nuggets! AKRON/FAMILY Love Is Simple CD Through seemingly constant touring and regular work with Michael Gira's Angels 01 light, the urban folkies in Brooklyn's Akron/Family are a (mostly) bearded (always) busy bunch. Which is why it's hard to believe the watch- worthy quartet's forthcoming Love Is Simple is just their second full-length release. No way that's possible... Let's recount There's the self-titled debut, Gira backup band spot on The Angels of Light Sing (Other People), and that excellent split album with Angels — ail of that appeared in 2005. Then there's 2006s mini-album Meek Warrior. Okay, all set... well, actually, they also lend one hell of a muster to Angel's recent We Are Mm. The juice just doesn't let up, though, as Love Is Simple may be their most fully-realized effort to date, and certainly their folkiest, with heavy nods to the Incredible String Band, The Holy Modal Rounders, and even the Grateful Dead. Suffused with rootsy hippie utopi- anism, the lads unleash hot-to-trot guitar solos and boogie organ swells while howling good old American love n' peace. Turn on, tune in, and buy this album. JW__J-€k*^j_W* DEVENDRA BANHART Smokey Rolls Down Thunder Canyon CD " f a rolling stone gathers no moss, how about a rolling smoke? On his fifth full- length, The Bearded One rambles far and wide, but he doesn't go it alone. He's already got a faithful band of fellow travelers nestled deep within the fragrant furrows of his facial foliage, and he's opened his Topanga Canyon hideaway to a picaresque variety of genres and guest stars, including such diverse luminaries as Vashti Bunyan, 8Mi Garcia Bernal, and The Black Crowes' Chris Robinson. The result is an even fuller and more classic-sounding album than Cripple Crow, redolent with the perfumed breeze of South American sambas, the JENSLEKMAN Night Falls Over KortedalaCD CD $16.98 THE CAVE SINGERS Invitation Songs CD There are a lot of reasons to love The Cave Singers. Maybe it's that guitarist Derek Fudesco played in Pretty Girls Make Graves and before that in the legendary Murder City Devils. Maybe they touch your soft spot because they're pals with local faves Black Mountain and Lightning Bust, and they recorded this album (their debut) here in Vancouver with Colin Stewart. More likely though, you'll dig them because they play folk music in a way that few artists (jndie, trad, or otherwise) do these days. Singer Peter Quirk's spine-tinglingly high and nasal voice sounds straight out of Harry Smith s Anthology of American Folk Music, suffused with an Old Weird America that doesn't have anything to do with shoelace headbands or heavy drug consumption (though I wouldn't rule it out completely). Their music isn't psych or soft, hokey or pretentious: it's sparse, melodic, creepy, and alluring, like the widow mourning graveside in Johnny Cash's long Black Veil". d this darkness. You might not want to come back. serious stabs at doo-wop and reggae that prove that Devendra knows how to leaven the bread. Tis a feast, my friends, conclusive proof that omnivorous rock-n-roll excess is alive and well, and that Banhart is no mere flash' the pan, but a worthy heir to the Tikes of Neil Young, e, and Ci CD $16.98 BEIRUT The Flying Club Cup CD AVAuaiEocraw w After his debut album's flirtations with Balkan gypsy folk made the youthful Zach Condon a runaway star, one might tiave expected him to . keeJNafking his way up the Neutral Milk Hotel tree —a justifiable comparison considering that NMH's drummer (and A Hawk and a Hacksaw main man) Jeremy Barnes played on the album. Mucfiiff'our'a^ljted surprise, however, Condon is pulling a Sufjan and taking his iao1|l<}n tour: for The Flying Cup Cluh, his inspiration is Jacques Brel, Serge Gainsbourg, and the traditional cafe music of Paris, if that wasn't tempting enough, Condon and his posse struck a deal with Final Fantasy/Arcade Firer Owen Pallet to record at the Fire's Masonic Church studio if they played oh a forthcoming Pallet E.R, so expect nothing less than massively beautiful string sections, scissoring accor- dion, and a wine-sipping choir fit for tl e carnival, the circus, or the lonely Montmarte garret. Is Condon still only 21?-^ CD $16.98 SUNSET RUBDOWN Random Spirit Lover CD Whether it's as the more tortured and obtuse of Wolf Parade's two heads, as the Son in Swan Lake's Holy Trinity of Canadian indie rock (is it going out on a O limb to proclaim Dan Bejar the Father and Carey Mercer the Holy Ghost?), or constructing sets fc^an|astp§ffcf ■> mas with his own group, Sunset Rubdown, Spencer Krug has earned his place at the Last Supper of contemporary songwriters. Darker than his breakout album, Random Spirit Lover is a fever dream of silent-cinenn&smolteri| mirrors, where beauties turn into beasts and take^g * - through the pages of a mythological melodnSna/-^p6t 4 sturm, it's got drang, it's got hair-raising halped-Muse i organs and a fog of crystallized guitars that sound like nothing else going. It's a blood-soaked costume ball where the host is as sincere as a suicide bomber with a glowing coal clasped between his teeth. Listen now, or you'll be gnashing your teeth later. CD $16.98 SALE PRICES HI EFFECT UNTIL OCTOBER 31,2007 CD $16.98 BAND OF HORSES Cease To Begin iiifolP Released in March of 2006, Band of Horses'debut Everything All the Time propelled the band from early shows opening for friends Iron & Wine, to playing on The fcate^^^^to^P|irid Letterman by July, and being nomi- nated as one of ten finalists (along with Joanna Newsom, Beirut, Tern Waits, and, the eventual winner, Cat Power) for the"Shorttist Music Prize for that same year. Though they worked with producer Phil He again for Cease To Begin, as they did on Everything Ail the Time, much has changed for Band of Horses between the fairly recent then and now. Band members have come and gone, including Mat Brooke, who left to pursue other interests and his own band and, close friends and family have come and gone-some far too early. Necessarify sj^flirough with these experiences, the songs on Cease To Begin are strik- ";' tagy beaOT^JHtes elliptical and mcaSslpightforward, dealing with the reconcjUttion'of attachment and detach- ment, the strength that's found through suffering, and the understanding that we are as'sJoJfficant as we are insignificant It's also a great rock record. Sweden's Magnetic Moz is back, and more heartbroken jf^j N than ever! With pitch-perfect dry humour set to sampledelic reinterpretations of doo-wop, A.M. radio, twee-pop, and even tear-stained disco, Jens gives us twelve variations on the timeless themes of kissing, memories, and remembering kisses past. Loosely themed as a farewell to the "suburban hell" of his neighborhood in Gothenberg, Sweden, Night Falls Over Kortedala isn't so much a departure from his past work as a fine-tuning. Lekman's deadpan style of singing, sunny melodies, and wittily lovelorn lyrics are all still intact and 100% Jens even as his vinyl-crackling arrangements span the baroque pop of Scott Walker, the upbeat rhythrhs and bricJffiafflSGrJies. of Northern soul, and the beach-party disco of fellow Swetfisftj^ts^Afc France, Studio, and the Tough Alliance. Along with wry, sometimes melancholic observations worthy of Jonathan Richman, these elements make for Lekman's best reeord. If you weren't captivated already, you better brace yourself. CD $16.98 IHE FIERY FURNACES Widow City CD AVAUW£0CT9n< ToHbauite honest, I'm at a bit of a loss to explain to you "IKBirincredibly awesome this album is. It beggars description. I might as well just put oh my coat and hat and go home to make some tea, because there's nothingjjg3&8o to prepare you. You're going to put Rjklioum on and, in mere moments, be reduced to a grimacing, air-drumming moron, trying to throw devil horns and pull out your encyclopedia at the same time. I'll grant llfe^ouin&ht be skeptical: this band often flies too close to the sun. Keen as they are to never do things the normal jvajsdhey occasionally sabotage perfectly good songs for no >■ jeSMason. Rest assured, though, that Widow City is the %erfe<$ajmalgam of everything they've ever tried to do. Matthew plays every instrument except drums (handled by the colossal, Bonham-esque talent of Robert D'Amico) and Eleanor proves once again that she's the toughest, coolest singer in rock music today as she narrates another set of bizarre adventures. This snarling beast of an album is the musical equivalent of a Russian novel, and future anthropologists could do worse than regard it as the pinnacle of Western culture circa 2007. jLJW? w SHARON JONES&THE DAP-KINGS 100 Days, 100 Nights CD " n the new millennium, soul has become big business again. But despite suc- culent re-issues from labels like Astralwerks and Light in the Attic, the resurgence of seasoned soul sisters like Bettye LaVette, and the volcanic popularity of new-soul crooners like Amy Winehouse, the champions of the new generation's purist strain are Sharon Jones & the Dap Kings. Jones has been turning in backup vocals for gospel, soul, disco and blues artists, most of it uncredit- ed, since the 70s. In the '80s, her vintage sound was deemed unfashionable, so she returned to her roots in church singing and took a job as a corrections officer at Ryker's Island. In the late '90s, though, she was rediscovered-and since then she's been taking her lived-in, sweat-blasted talent all over the.globe, proving her reputation as the Queen of Funk. 100 Days, 100 Nights is her third full-length with the Dap Kings, and you can start groovin' on it Oct. 2M. CD $16.98 BELLA No One Will Know CD Well, summer's pretty much over now, but don't let those shorter days get you down. Bella's coyly titled Mint debut No One Will Know will be in your hands, extending the blissful season with its dreamy girl-boy-girl vocals, synthy hooks and punchy rhythms. It'll have you reliving those sweaty carefree weekends, practicing your dance-moves in your living room and wishing, hoping and bouncing around for more. While recording No One WiH Know, Bella called in their friends Roddy Bottum and Will Schwartz (Imperial Teen) and Jason Martin (Starflyer SO) and joined forces with producer/understated mastermind Ba»e Carswell of JC/DC Studios (Tegan and Sara, The New Pornographers). The result is a sparkling Mint Records debut that channels its influences from a synthier time, in a gorgeous, non-ironic kind of way. CD $16.98 THE WEAKERTHANS Reunion Tour CD By now, Them bittersweet, slice-of-prairie life vignettes are almost as familiar a Canadian cultural export as the Tragically Hip, though you're less likely to find them in your dad's CD player. The curiously-titled Reunion Tour (it's four years sincetftfejasftalbuna, bot"th# newdis-.' banded) finds the band lirl6>form, 0 ice again crafting the kind of lyrics that Ugye earned them comparisons to short story masters like Grace Patey and Raymond Carver. Like The Mountain Goats if tb^B&e songs about Olympic curling, or Death Cab back in their early days, The Weakerthans find ways to make the little things yield large truths.5ecorded over the course of a winter week and a naif in a Manitoba factory during its off hours, the album sounds waim;Jtfsf5,afld'vjgorous. Give these songs time and they'll flower WJj^M^eai, sprouting movies ease? on lines like "where the raaiifresounds Jn4lig{^ri^aflje£ Itself inspired by an Edward Hopper painting, but you ftori't need to know any of that to dig it, of course. CD $16.98 CD $16.98 CD $14.98 HU.YOURCANYQNS mOURGOU)... Taken By Trees - Open Field CD Animal Collective - Strawberry Jam CO Emma Pollock - Watch The Fireworks CD Tim Gane & Sean O'Hagen - La Vie D'ArtisteCD Film School-Hideout CD Federico Aubete - Panamerica CD Damon & Naomi-Within these Walls CD The Dead Kennedys- Milking The Sacred Cow CD Enon-Grass Geysers... Cariion Clouds CD Robert Pollards-Standard Gargoyle Decisions C05||||§ Oakley Hall - ril Follow You CD. | Cass McCombs- Dropping The Writ CD Sir Ridiard Bishop- Polytheistic Fragments CD The Donnas- Bitchin' CD Black Lips-Good Bad Not Evil CD ZULU ART NEWS WSSNSSlI by World[of mM%S0 Favorites October 1-31
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Page Metadata
Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2007-10-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2007_10 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | aaefe201-81fe-44ac-9f06-5eb6f8108b9a |
DOI | 10.14288/1.0050046 |
AggregatedSourceRepository | CONTENTdm |
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