Discorder CITR-FM (Radio station : Vancouver, B.C.) 2003-04-01

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 Adbusters: Kalle Lasn's Capitalist Empire
Division of Laura Lee • Rye Coalition • Brokeback
Notes From Underground • my project: blue
The Gay • Plus, Going on Tour With The Organ  DiSCORDE
Adbusters by Val Cormier p. 12
Division of Laura Lee by Natalie Gordaneer p. 14
my project: blue by Ben Lai p. 15
Artist of the Month: Ryan Baudoin p. 16
Brokeback by Merek Cooper p.l 8
The Gay by Julie Colero p. 19
Notes From Underground by Kevin Chong p. 20
Rye Coalition by Zsofia Zambo p.21
Music Sucks p.4
Panarticon p.5
Fucking Bullshit p.6
Vancouver Special p.6
Over My Shoulder p.7
Roadworn and Weary p.8
Riff Raff p.10
Screw You and Your Pointy Shoes p.l 1
Under Review p.22
Real Live Action p.24
Leprechaun Colony p.26
Charts p.27
On the Dial p.28
Kickaround p.29
Datebook p.30
Kevin Long whipped up the savvy political
commentary on the cover, subtly and delicately
showcasing the link between advertising and
propaganda. Chris made it look like some kind of
Bizarro Republican journal. Viva la revolucion!
©   "DiSCORDER"   2003   by   the   Student
rights   reserved.   Circulation    17,500.   Subscript!
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(to cover postage, of course). Please make cheques
DEADLINES: Copy deadline for the May i
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$15  US;   $24  CDN  elsewhere.   Single  copie
money orders payable to DiSCORDER Magazine
April 9. Ad space is available until April 23 and c
available upon request. DiSCORDER is
sible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including bi
to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc
or in type. As always, English is preferred. Send email to DiSCORDER at discorder@club.ams.ubc.ca.
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 line at 822.2487, our office at 822.3017 ext. 0, 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.citr.ca or just pick up
a goddamn pen and write #233-61 38 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
Think we want to drive your Benz? We don't. If we want to floss, we've got our own. Even if you were broke,
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printed in Canada
SAT SUPER SATURDAY house, disco, i
3 DiSCORDER At Urge Entertainment presents...
® Bright Eyes «mM
ARAB bTRAP (Prom Scotland, Matador rec)
Plus special guests.
Doors 8:00pm. Show 9:15pm
The Commodore (868 Granville St.)
® Black Heart Procession
Apples In Stereo
Bartender's Bible
Doors 7:00pm. Show 7:30pm
Richards on Richards (1036 Richards St.)
Doors at 6:30pm, Show 7:00pm
The Croation Cultural Centre (3250 Commercial Dr.)
Q8y JESSE MAUN (producedbyRyanAdams)
Carolyn mark (localalt-country favourites)
Plus special guests.
Doors at 7:30pm. Show 8:00pm
The Royal (1029 Granville St.)
® The Rapture
DJ Marcus Lambkin plus special guests.
Doors and Show at 9:00pm
Sonar Cabaret(66 Water St.)
Tickets Available at Zulu. Scratch. Red Cat.andTeenage Rampage.
Bright Eyes . Millencollin £ Rapture tix also available atIicketmaster
4 April 2003
Know what commercial I love? That one
where it shows a hill
around sunset and then that
Bob Seger song, "Like A Rock,"
starts playing and a Hummer
drives over the top and then
a bunch of US soldiers pile out
and start shooting Iraqis and
then they have a barbeque
and there's an airburst and
everybody enjoys a cold Bud
and watches the symphony of
lights in the sky.
Wait, i think I'm getting
confused. I mean the one
where there's a party and
it sucks because everyone's
drinking the generic beer and
there's no vibe going on and
everyone's ho-hum, until the
window gets smashed in by a
bunch of rappelling marines
who lay down a layer of suppressing fire and order everyone down on the floor and then
the party totally gets going.
Fuck, I don't think that one
happened exactly like that,
either. See, that's the problem
with advertising—it's too close
to propaganda, and what with
there being a war on, I've been
exposed to too much of both
over the past couple of weeks.
Like Operation McFlurry
Justice, for instance, when the
troops are dispatched with a
payload of delicious Easter
Creme Egg McFlurries to dispense to the poor people of
.the Middle East who are being
ruled by an evil (yet comical)
despot who denies his people
large amounts of refined sugar
until Grimace bursts down
through a skylight and gives
him a McFlurry of his own and
he's content. Everyone wins,
roll theme, happy ending.
I mean, geez, it's hard not
to get the ads and propaganda
confused sometimes. They
operate in more or less the
same space on people's mental
maps. One's selling product
and the other's selling an idea.
In fact, check this out—this
pretty much reiterates what
I'm saying:
"Advertising is promotion for something physical,
indeed for something specific.
Advertising serves the economy,
or particular areas, purposes
and tasks. Advertising praises
goods. Propaganda spreads an
idea. Propaganda serves only
The two have in common
an organized set of methods—
often different ones—which
'result in the acceptance or
fulfillment of the needs they
present.' Both use agitators,
though in recent years the term
editorializing by Chris Eng
has come to have a thoroughly
political meaning.
It would be erroneous to
attempt to draw a value judgment from the difference outlined here."
Know when that was
written? 1934. Know where it
was printed? Unser Wille und
Weg, that "ahead-of-its-time"
German monthly for Nazi
propagandists. And if it was
true then, apparently it's true
now, since almost every spin
doctor or ad director since
has adhered to the general
principles concocted by Joseph
Goebbels and his Ministry of
Propaganda. The question,
though, is whether we're in a
place anymore where we can
differentiate between moral
right and wrong when it comes
to advertising and matters
of the heart. If the principles
emerged from an evil concep-
ing has failed before it's begun.
And if you don't believe me,
think on this: war thrives on
nostalgia and emotion, and
war is nothing if not big business. The industrial contracts
that come from wartime are
immense, and the coffers
associated with it tend to grow
at a exponential rate. Compare
with this: in 1998, Coca-Cola's
advertising budget was $1.6
billion. Without question,
advertising is war, and there's
no peacetime. Our hearts and
minds are the enemy and
every ad agency in America
has a campaign leveled against
them. On top of that, we have
become so numbed to the state
of our souls  under wartime
like s
who c
back from the battlefield and
cannot adjust, we no longer
know how to live without
constant bombardment. We've
never known peace. And we
Like Operation McFlurry Justice, for
instance, when the troops are dispatched
with a payload of delicious Easter Crime Egg
McFlurries to dispense to the poor people of
the Middle East who are being ruled by an evil
(yet comical) despot who denies his people
large amounts of refined sugar until Grimace
bursts down through a skylight and gives him
a McFlurry of his own and he's content.
tion, can we divorce ourselves
from them and make a new
start? I doubt it. We've been
programmed too well. We
don't want to know information about the things we buy
anymore. We want an attitude.
Sure, there was a point awhile
ago where advertising actually
tried to impart some information about the products it was
pushing, but those days are
dead and gone.
Which reminds me of that
commercial where the grandpa
is drinking a tall glass of lemonade and he's remembering
back to a time when he was
out shopping with his wife and
a vacuum cleaner salesman
completely convinced them to
buy the latest, most amazing
vacuum, so they did and when
they got home he checked the
mail and found out he'd been
drafted and was so excited
and he kissed his wife and they
hugged. What a proud day;
what a day to buy a vacuum.
Hold on, that doesn't sound
right. Good use of nostalgia,
And nowadays, if it doesn't
speak to your sense of nostalgia or evoke some kind of
emotional resDonse. advertis-
can't go back. How could we?
Everybody is selling something
and if it's not a refreshing soft
drink or hundred-dollar coffee-table book, then it's the
latest diet or way of life. Come
on—we need that stuff! What
would we do without it?! What
does it do? Fucked if I know,
but it was on TV so we'd better
order three of them in the next
five minutes or risk losing this
once-in-a-lifetime opportunity
to buy this state-of-the-art
product that will increase the
prestige of not only ourselves
but everyone that knows us or
comes within a hundred-foot
radius of us.
I mean, do we ultimately
want to know what the general effectiveness of the Swiffer
actually is? No, we want to
know that it will impart a new
feeling of freedom to us and
that our men in the armed
forces will use them in a Bob
Fosse-esque musical number
as they clean their barracks,
scouring them free of dust and
dirt and the evils associated
with places other than our own
country and way of life.
Wait, hold on. No, no I
think I got that one right. The
horror... the fuckine horror. • > an art icon
the sound of spectacle by tobias
Bush accused Iraq of
engaging in a "willful charade" with U.N.
inspectors by hiding weapons
of mass destruction -CNN,
Even if we don't find it, we
know it's there—even if we
know you don't have it: you've
got it. Just like the Prima!
Scene, God, and Jimmy Hoffa's
body. Nevermind that we do
know that the US has such
weapons, and that the Bush
Government is launching an
unjust and dirty war without
UN permission nor a formal
declaration of war; that we
do know that the US was convicted with war crimes in its
invasion and interference with
Nicaragua by the International
Court of Justice in 1984, and
that the US response was to
disobey and ignore international law (RIP the withdrawal from
the Kyoto Protocol), and that
Bush #1 used pressure techniques in pushing Nicaragua
to drop the case in 1990 "in
exchange for aid" (usually we
call this bribery and blackmail);
that Henry Kissinger has been
indicted for war crimes by Chile
(note the US attempts at persuading Chile have failed up to
this point), and still sits as the
primary investigator of 9-11;
that the current US President,
Bush #2, by all accounts, was
not voted into office but leveraged the polling system with
the power of lawyers. <http:
At the beginning of the
21st Century, a global turf
slaughter... Although as we
go to print we are on the eve
of further bloodshed, we are
also witnessing the rise of the
UN and the rebirth of a global
peace movement. Viva La
France. 250, 000 in Montreal,
Saturday, March 15th and
millions the world over—and
the Bush Government is still
trying to persuade a suspicious Homeland of the World
with forged documents and
Doublespeak name changes:
Freedom Tickler, anyone? But
who knows how this dangerous oil opera will play out its
lethal game by the time these
words grace the dirty ink of
Signs of the Times: Empire On
the Rise
In Empire, Michael Hardt and
Antonion Negri argue that US
Imperialism cannot be equaled
to "Empire"—the global, mul-
il order of power. The
thesis has been hotly debated,
although recent events seem
to signify a split between the
agents of corporate globalisation and Bush Government
policy. When the March 24th
edition of BusmessweeJc.com
offered a commentary by
Bruce Nussbaum asserting that
"The U.S. has already lost the
prewar battle over Iraq," and
that "The failure of the Bush
Administration to manage its
diplomacy is staggering, and
the price paid, even if the war
ends quickly, could be higher
than anyone now anticipates,"
it was an open letter from the
munity to the US: War is Bad
for the Bottom Line. A tactics
of anti-war becomes a double-
strategy: dissidents may find
strange bedfellows in the business community. Perhaps this
is an opportunity to attempt
communication with such partners, although this shouldn't
be bought at the expense
of lessening the  critique of
environmentally destructive
capital-driven globalisation.
Being antiwar does not mean
being anti-American.
What If...?
What If the US falls? How
would it happen? A violent
twist—some anthrax here, a
dirty suitcase nuke there, and
then a retreat of forces to military bases and to Washington
and the financial centres, leaving the peripheries to degenerate like East LA and Philly.
Armed enclaves in the South
turn trigger-happy and perfect
the art of picking off overweight SUV-driving consumers no longer able to find an
operational McDonalds. Alaska
melds into Canada while the
military defends privately-held
oil operations. Hawaii becomes
closed to all civilian traffic
while old ICBM missile silos
and chemical research plants
are abandoned in unsustainable parts of the continent.
"Silo Thieves" make their way
to the US to scavenge radioactive ores and biochemicals
for "have not" countries and
terrorist cells. Israel takes out
Palestince; Palestine lets loose
its own reserve and the region
becomes uninhabitable for the
next 10, 000 years. Canada
begins looking mighty attractive—acres upon acres of
unused land, while the Mexican
BorderZone becomes a private
slave-labour factory-centre
to sustain an elite economy.
Meanwhile, US embassies and
corporations become targets
worldwide, and the EU consolidates itself as Fortress Europe.
Do we want this to happen?
The Fall of the US? Apocalyptic
or not, no one would desire
such a scenario: it would spell
the end of much more than
problematic US Imperialism.
Sustaining a workable capitalism, whatever socialist-enviro-
direct democracy scenario one
aims for, is the double-edge
to any strategy of dissent. A
double-edge that is playing
itself out in the globalisation
of peace rallies. The differentiation between peace rallies
in the "West" and the "East"
is evident. Whereas in the
West the aim is a peaceful
resolution, it is rarely pro-dictatorship. In the East, the same
strategy is often used to support authoritarian structures.
Although some would like to
believe we are facing a "clash
of civilizations," we must own
up to the fact that theological
structures everywhere must
be undone with the greatest
caution—including Bush's own
pleas to God.
The Speaking Spectre of
After all attempts the of
Hunter S. Thompson to bury
Nixon to the contrary, his spirit
lives on in the rhetoric of the
US Government. After Dr. Hans
Blix's careful and studied report
on Iraq, Colin Powell's response
was as intelligent as the anti-
French sentiments hurled at
French golfer Thomas Levet.
on the PGA green in Miami and
against Francophone communities in Louisiana. All of which
gestures to an ignorance of the
outside world that is as dangerous as any fundamentalist
religious group. Despite living
in an often violent urban society, Westerners are sheltered
to the realities of war and true
bloodshed on a mass scale.
War Is An Acknowledgement
of Failure
"There may be some who
believe that these problems
can be resolved by force,
thereby creating a new order.
But this is not what France
believes. On the contrary, we
believe that the use of force
can arouse resentment and
hatred, fuel a clash of identities and of cultures, something
that our generation has a
prime responsibility to avoid.
[...] And force is certainly
not the best way of bringing
about democracy. Here and
elsewhere it would encourage
dangerous instability. [...] War
is an acknowledgement of failure." — French Foreign Minister
Dominique de Villepin
In Memorium Rachel Corrie. •
Celebrating 10 years of DMC in Canada!!!
SI ?131y? ftfefolU cTgio JH
May 30 @ Sonar
(66 Wafer St) J
doors open 8pm '«
i) Technics^
-.ostsc, ^:|Motoel&Layz Qanacjjan
Defending his title, current flF FN    I    /* L • 1*
v,„coU»efDjcch.mp *   pj championship
n«._ Jl   J Vancouver Elimination
DJ'S drop your tape, CD
or video @ FWUH (552 Beau
www. knottyboy.com
dread kits • apparel • dread wax « shampoo • rasta hats
5 DiSCORDER fucLinfl bullAmt
bullshit by Christa Min
va w CQMver apccioI -t
local reviews by Janis McKenzie
Let's face the facts. Your
band is bad. It's the sad
truth.  But WAIT!  Don't
cry, just yet.
It's a FACT that 97.6%
of the bands in the history
of music have been bad. It's
a FACT that 68.2% of those
bad bands have gained fans,
fame, and respect despite
the FACT that they were horrific. It doesn't matter how
bad your band is so long as you
can incorporate the following
moves into your act. These are
the secrets to stardom.
complicated move is strictly
for the ladies. It must be done
delicately in order to prevent
the eyeballs from rolling back
too far. When you are playing
your upbeat, rockin' future hit
single, take care to roll your
eyeballs back slightly. Choose a
corner above and to the left of
your head. Stare at this corner
during the verse, and bat your
eyelashes when you switch to
the chorus. The point is not
to-roll your eyeballs to make
a full rotation. The point is
to look cute. Think "Coy," not
"Oh boy."
move must correspond to the
lyrics in your songs, so first,
you have to write some songs
that include the words "mind,"
"head," or "crazy." Every time
you sing one of those magical
words, you need to point to
your temple as if your hand
were a gun, and make a circular motion. If you're feeling
extra wild, you can combine
with one's fist is purely a symbolic gesture. In essence, the
idea is that you are attempting
to grab God's balls. By gripping
and pulling, you are trying to
imagine the sound that God
might make if you were actually able to reach his balls. That
enchanting sound then comes
out of your own mouth. (Extra
Tip: Before you pull down the
balls, twist.)
The idea is that you are attempting
to grab God's balls. By gripping and
pulling, you are trying to imagine the
sound that God might make if you
were actually able to reach his balls.
The Twirling Gun and The
Eyeball Roll.
BALLS. You should save this
move for the most powerful moments in your music.
Originally, this technique was
used to help singers reach high
notes. Raising one's arm helps
inflate the diaphragm. Pulling
down slowly helps control
exhalation.  Gripping the  air
4. CLAPPING. All of the moves
above may isolate you from
your audience. You may seem
unreachable, like a star in the
crying sky. By clapping along to
your songs, you're doing something that your fans can do
too. When they see the Eyeball
Roll/Twirling Gun combo, they
think, "Whoa, that is amazing.
I wish I could do that." But they
can't. It's just too hard. •
July Fourth Toilet
Something for Everyone
Let's start with the title. There
are people who cringe and turn
green when they hear off-key
vocals, and this CD is not for
them. There are other people
who push the eject button as
soon as something muddy-
sounding comes through their
speakers, and this isn't for
them either. Then there are
the folks who want earnest,
thoughtful and sincere music,
and July Fourth Toilet is definitely a band -they'll want to
avoid. Because, as everyone
must know by now, JFT is not
about production values or
good pitch or being serious.
(Although their songs definitely do have messages. Just
listen.) Instead, Something for
Everyone is full of weird and
goofy musical references to
all kinds of weird and goofy
things, with musicianship and
recording quality that ranges
from the "who-gives-a-fuck"
to the really quite good. The
CD is actually pretty fun,
especially if your idea of fun
is the kind of soundtrack you
might hear if you fell asleep
watching "The 5000 Fingers
of Dr T" (a Dr. Seuss movie)
and then had a nightmare
about The Beatles' Yellow
Submarine. And, speaking of
The Beatles, it's hard not to
sing along with the final track,
the six minute anthem, "One
Day Is Representative of Our
Time Together."
The Excessives
(Longshot Music)
The thing about The
Excessives is that the best
and worst aspects of this CD
are exactly the same. Because
the band plays such loud, fast,
stripped-down punk, you could
argue that you've heard this
kind of thing a hundred times
before. On the other hand,
what's wrong with stripped-
down punk, and why would it
need changing? Then there's
the singer Shad's voice, which
is a thick, steady, masculine
yell, and his vocal style, which
values volume and sheer force
over melodic elements or
(often) discernible lyrics. This
means that you don't get the
catchy tunes, wit, or intellectual punch of old-school
bands like The Pistols or The
Avengers, say, but you do get
a good bit of energy. The CD
will certainly inspire someone's mum or dad to yell, "This
is just noise!" which is also
either a good or bad thing,
depending on how you look
at it. The disc includes videos
of the band performing three
songs live (one introduced by
the inimitable Paul McKenzie).
Best of all, there's a very well-
chosen cover that will leap out
at any fan of olden days punk
rock (including, perhaps, some
of those pissed-off mums and
dads): The Simpletones' "I
Like Drugs." •
<theexcessives@hotmail.com> over mv
Image Is Everything: Reality
Television and Minor League
I could begin this month's
navel-gazing exercise with
a titillating anecdote about
rocking a barely legal porn
ensemble at a friend's house-
warming party. Though I do
want to explore the concept
of image, I won't sport with
your intelligence by relating
a story about my night out.
Instead, let's talk television.
One of my roommates took
advantage of an offer for two
months of free digital cable
and since the installation, I
haven't left my apartment.
Because I work from home
this isn't hard to do. During
my time in quarantine (did
I mention 1 had pinkeye?), I
even got CDs delivered to my
door: Burquitlam Plaza's Big
on Fall/Sing! Burquitlam, Sing!
occupies my non-tv watching hours. I figured, "Why
maintain a life when people
inside a large black box are
living out my fantasies and
nightmares for me?" Good
television centres on desire,
of wanting what we cannot
have, of wanting more.
Speaking of wanting
more, I am addicted to reality
television. There's something
about the way people present
themselves when they know
they have an audience that
fascinates me. Whether the
show is about courtship, fame
or fortune (Joe Millionaire,
American Idol, Survivor),
the contestants are always
on their most flamboyant
behaviour. The extremes of
television editing mould each
individual into The Shy Girl,
The Bitch, The Brain, The
Socially Inept, The God-Given
Talent. Under such conditions, some women decide
they have to play the mother
figure or the vixen. Some
men think that they have to
maintain an aura of strength
because everyone knows that
boys don't cry. And as audiences, we play Santa: has the
nice? Do we like the way she
does her hair or the way he
shapes his beard? At times,
the producers of such shows
give us the power to alter
the program's outcome: dial
this 1-800 number or log
onto that website to make
your vote count. We live in a
democracy after all, and our
entertainment should reflect
our lofty ideals.
For weeks, I simply
adored all the contrived suffering that flashed before me
on these shows. There were
crises every week: whether
book reviews by Doretta
one should walk on a bed of
broken glass for a chance
at fifty thousand dollars or
accept a diamond promise
ring from a liar. Then the
war broke out. Reality television indeed. Suddenly there
was nowhere to escape to.
It's hard to care that two
strangers might be married
by America when hundreds of
strangers are being missiled
by America.
As that miniature Bush-
dude re-enacts his father's
glory days, it's quite clear
that the un-cola ads that
claim that "Image Is Nothing"
are pretty far off the mark.
For image is everything: in
today's world, a media event
can do without sound bytes
but not without pictures
and television footage. This
month I  can't help but roll
in all spectacles of excess."
Wrestling, Osborne tells us,
has endured for at least five
thousand years. Why? At the
entertainment level, it is a
representation of the struggle
between good and evil. A soap
opera for the ages.
Who do you think of when
the word "wrestler" is said?
There are Olympic wrestlers.
The national gold medal poster boys are not the subjects of
One Ring Circus. There's also
Hulk Hogan and my favourite wrestler of all time The
Rock (1 mean, have you seen
The Mummy Returns and The
Scorpion King? Total genius.)
Their pictures don't appear in
Brian Howell's text, which is
subtitled Extreme Wrestling
in the Minor Leagues.
If Olympic wrestlers are
like classical musicians
WWE's elite are akin to rock
stars, then minor league
wrestlers are like indie rockers: they're doing what they
do for love, not money. And
out the red carpet for cliches:
seeing is believing, if a tree
falls in the forest and no one
videotapes it... you get the
One Ring Circus:    Extreme
Wrestling    in    the    Minor
(Arsenal Pulp Press)
We are often told not to judge
a book by its cover, but the
cover of the photographic
book One Ring Circus says
more than an essay could or
character reference could:
it rules. If we're going to get
technical as to why the cover
is a testament to the fact that
the book is excellent, let me
refer to Stephen Osborne's
introduction: "On the cover
of this book, a heavyset man
holding a soft drink pauses
before the camera after a
match: he seems merely to
have to present himself to
the lens for everything to
be revealed. In this image
nothing has been captured,
or snatched from the passing flux: the image and the
moment have duration, as do
all moments in wrestling and
like    indie
league wrestlers have a lo-fi
image to maintain. It takes
some pancake makeup, a
little real blood, and a lot of
hard work to establish a presence in the minor leagues of
wrestling. The documentation
of the minor league wrestling
is important because it captures what the everyday person is capable of: the wrestler
who is really the boy or girl
t dooi
and r
propped   up   by
mt deals,  agents,
e pages of One Ring
Circus, Howell presents photographs of wrestlers with
accompanying text. The stars
of this circuit have names like
johnny Canuck, Giggc
Rizzono, Backyard Billy, Disco
Fury, and Beautiful Bruce.
They have day jobs as loans
officers and movers. They
have spouses and children.
Yet they risk life-threatening
injuries to provide folks in
the suburbs and small towns
with a little live entertainment. Some of the wrestlers
are looking for careers in
the WWE, but others aspire
to nothing more than putting on a good show and to
make a connection with the
audience. After reading the
book and looking at the pictures, I wanted to attend a
minor league'wrestling match
and become a full-time fan.
Osborne ends his  introduc
ling   endures."   He
with "images endure
7 DiSCORDER road worn
ana weaif
Tour Diaries
Tour Diaries Feb/March, 2003
by Jenny Smith
Day 1: Vancouver International
Airport, 9:30pm.
We are in a bar called Cheers,
which I think is supposed to be
a re-creation of the place in the
TV show, except our waitress
doesn't know our names. She
does know that we like moist
towelettes, though—this is the
fourth time we've asked for
Oh man, Katie has just
picked up some random baby.
1 guess she doesn't grasp the
concept that you can't do that
in airports these days. I am
trying not to think about being
nervous by focusing on missing
my boyfriend. "Boo" and "woo"
at the same time.
Day 2: Somewhere in Southern
Ontario, 8:07pm.
Oh, Holy Smokes! This is exactly
out of a "B" horror movie. I feel
like I am trapped in The Legend
ofZelda, except in a white van.
For crying out loud, it's been
over three hours driving from
Toronto to Guelph, and we are
still lost. No offence to Lill, the
promoter in Guelph, but she
shouldn't be allowed to give
directions. Ever. I am sure that
when she wrote this out, she
just looked at the Road Atlas,
picked random highways and
backroads out of the index,
wrote them down, and finished
it with "and park out in front
the club."
Okay, we just pulled in to
I am dreaming right now. A long
feverish nightmare. Everything
keeps repeating.
Why do they put the exit
sign after the exit?
If we get to play our first
show tonight, I will... I don't
know, not kill myself?
split up. Ashley went to stay
with her friend Toby; Katie, Erin
and Shelby went to stay with
Maureen and Dominique (who
has a talking bird, apparently)
from The Chevy Project.
Deb and I went with Chris,
the mastermind who controls
Jenny perches on a Toronto rooftop.
Day 3: Jane's house in Toronto,
the floor, 2:20pm.
Ah! Good morning! I feel just like
a fresh pile of dry sticks.
Jane's place here is so nice.
She and her roommate, Other
Jane, have such good taste in
decor, and it all goes so nicely
with this well-kept hardwood
floor that I got to sleep on last
night. But it is warm.
That show ended up being
fun last night. The boy who
opened for us, Matt Barber, was
so endearing. And we got along
very well with all the other kids,
all the Sega sequencers they use
in the Chevy Project. That's real
Sega, like Sonic the Hedgehog-
His house supported my
conception of his being a mastermind. It was rad—so many
cool things: vintage furniture,
mass records, comfy beds,
good movies (that we watched),
treats, comfy beds, cute pets,
comfy beds. He even made us
breakfast and took us record
shopping. He told Maureen that
we'd meet up at the record store
at 12:30, and then all go to the
Gravity Room (the club) to collect our gear and meet Ashley.
Unfortunately, Maureen
didn't inform the others of this
until 12:40, while they were in
the middle of breakfast across
town. Yeah. So by the time they
all showed up,'
And late.
We   had  i
2:00   at  the
e were... bored.
IcMaster radio
> moved it to
But we're on
We've just got
Chad Kroeger trolls for babes.
get directions from an Egyptian-
style Gentleman's Club (strip
I had to get out of there. It
was too freaky, and it is too cold
Can I just remark how cold
it is here? I literally thought I
was going to die when I stepped
out of the airport this morning
at 6:00am, bare ankles exposed
from the legs of my thin satin
pants. Have I mentioned that 1
haven't slept? 'Cause 1 feel like
like those from University of
We're going to London
today and I am so excited. Our
friend Erin is in Toronto right
now and she's going to come do
merch. Yay.
Day 4: London, 2:48pm.
Okay. We're finally all loaded
and in the van. 1 am so relieved
to be reunited with the band and
our gear, and moving.
See, after the show we all
4:00. Oh
to stop at Western University,
so that Katie can look at her
old residence, Saugeen, really
Day 4: Jane's, 11:40pm.
I am so glad that I have a bunch
of time to walk around Toronto.
I have been missing city walking
lately, and I'm kind of feeling like
I need some health food. Last
night in Hamilton, I literally got
food poisoning from a salad.
Yumm! Everyone got sick. You
should have seen the colour of
Shelby's gravy. No wonder they
call it Canada's Armpit. In fact,
it actually made me homesick
for my neighbourhood, the
Downtown Eastside.
But The Underground was
an awesome club, it was about
B April 2003 the size of the old Starfish
Room, but the crowd was like
at The Pic, and they had a nice
stage. And the people are nice
there. They bought me drinks,
and rocked out. And we met The
Snitches, who we played with,
and it was fun.
Okay, big show tonight.
Ashley's brother Ryan has made
video for our visuals, and I am
pretty stoked.
Day 6: The Grand Hotels and
Suites, Toronto, 2:20pm.
Well, I didn't write for a while,
but since the last time I did,
everything went right over the
For one, the show at The
Horseshoe was amazing. It was
just packed and surging with
energy, and there were so many
friends there.
Randy Iwata flew out from
home, and so did some other
good Vancouver buddies, like
the dudes from Chinatown. And
then with all the people from
Toronto that I hardly get to see,
like Joel Gibb from the Hidden
Cameras. It was like a big party.
I really liked Tangiers, The
Meligrove Band and Cheerleader,
so 1 got to dance in between the
chaos. Anyway, what happened
in the end is that we hooked-
up with Chad Kroeger, the guy
from Nickelback who is also the
other half of 604, the label that
is putting out our record with
Mint. So he started reminiscing
about how our road trip was just
like what he used to do with his
band back in the day, and how
it was so tough. And now, since
he has money, he decided to
help us out and put us up in this
deluxe hotel for the time we're
in Toronto (until Wednesday).
So, now it's Monday, and I
have just finished my morning
swim and complimentary buffet breakfast, so I am feeling
all right. Deb and I agree: these
beds are second only to Steve
Bays of Hot Hot Heat's bed,
which he is so kind to lend to
us when we play Victoria. He
has the most comfortable bed
in the world.
Day 7: Toronto, 3:30pm.
Okay. Actually, everything has
taken a turn for the worse. Katie
and Shelby are so sick they can't
even get out of bed. It is from
the weather. Everyone has it,
but those two have it the worst.
I am not going out at all today
until I have to. If that crew from
LA is still here making the music
video, it will be just fun to hang
out here. Last night, Katie went
down to the lounge, and they all
started buying her drinks, and
she was all "west side" and putting her hands like so.
Day 8: Toronto, 830pm.
Now, we're in Peterborough at
The Night Kitchen where they
have pizzas with all kinds of
things on them—even a vegan
tofu kind with a crust thin as a
Trojan. I am all about this place.
They're playing Frankie Goes to
Hollywood. And The Trasheteria
looks like a cool club.
Day 9: Ontario East, 4:11pm.
I hate doughnuts! I hate all Tim
Horton's products. Except coffee. But I do hate the "Roll Up
The Rim To Win" cups. I just won
15% off slide processing at Japan
Camera with the purchase of a
digital camera. Fantastic.or,
I mean, fantastique. 1 forgot. I
am so excited because we just
stopped at a francophone rest
area. Everyone spoke French!
That is so rad I don't even care
how silly I acted last night at
The Trash. (They have Britpop/
eighties night downstairs after
the show on Wednesdays!)
Brother. Shelby got a psycho-
stalker and he followed her
around staring ail night. Creepy!
There is an actual French
road sign! Wheeeee!
Day 10: Le 417,430pm.
I just had the best croissant I
have ever tasted. This has been
the best 24 hours of the trip.
Well, actually, 1 can't rank it,
but it was sooooo good. Even
this morning, when Katie nearly
barfed from the virus and we sat
trapped in the most ridiculous
traffic jam ever, it still ruled. It
was so funny, because every
single vehicle in the line (except
ours) had a hand with a lit ciga-
As it happens, however,
these folks are super nice. They
gave us a huge two-floor accommodation to stay in, and fed us,
and got us to sign a picture for
their band room. They also had
one by locals Black Rice, and the
famous Great Big Sea.
The crowd was a mix
between kids from Queens,
guys from the army, and people
like my aunt and uncle having
dinner. Onstage, Katie rocked a
tea in one hand and a Guinness
in the other.
Now I am in the room and
it's kind of creeping me out.
There's this stuffed crow that
keeps watching me. I think this
place is old.
Day 12: The 401,8:40 am.
This seems unsafe. There was a
huge blizzard last night, and now
we are driving back to Toronto.
Everyone is asleep except me
and Katie, and we are so tired.
We got only two hours sleep last
night, and it was just so bizarre
that it seems like a completely
different dimension than this.
We played Zaphod
Beeblebrox's in Ottawa, which
was a good show in a normal club
Katie makes a new special friend.
rette hanging out the window.
Montreal is so beautiful, and
all the people—gorgeous. The
opening bands for our show—
geniuses. Echo Kitty—everyone,
you should listen to them. They
will change your life. You will
instantly have more style and
better dance moves. And then if
you go to Montreal, you can use
them in an all-night dance club
like The Jupiter Room, where we
went dancing with our BC buddies, Warren and Wozzle. We
didn't make it all night, though,
so I got a chance to call home
and tell Chris and Mar how much
fun it is here. Shelby wouldn't
stop singing "Jenny From The
Block." Total good times. Except
the virus. Owwie.
Day 10: The Merchant MacLiam,
I am in Kingston, and it is so
We pulled up to the
"Merchant MacLiam" to find out
that it is one of those traditional
English-style pubs. Like where
they serve fish and chips. They
even have a petition to make St.
Patrick's day a national holiday.
I am all for that and everything,
but I don't really think it's quite
the vibe we go for, know what
I'm saying?
resembling a cross between the
Brickyard and the old Luvafair.
It was full and fun. Another case
of clubnight afterwards, where
they played electro/eighties. We
met a whack of new friends and
danced our asses off. This army
guy Jean Luc, from Kingston,
came out too, which is only the
It was snowing so hard we
decided to stay in a hotel. We
went halfers with Jean Luc, and
decided to go to this place called
the Chateau Laurier. It was
extreme. It was like a castle. It
was nice.
We went to bed at five. We
got up at seven. The front desk
thought Ashley was Jean Luc's
wife. I don't know why. Now
we are on a six-lane highway,
and there are only two lanes
I can't believe this is almost
over. I feel like I could go on
indefinitely now. I am not ready
to think of home yet. There
are about 17 more hours to get
through first. I've got to stay
Day 12: The Airplane, 9:40pm.
Last chance for Tim Horton's!
just kidding. I can't believe we
actually did it. • IK iBRie JBiaai m
Todd Tomorrow and Rumbletone Productions present
■ ■fila
■ ■ 111 ■
■|il L
_,„. MARCH 21st
10Kb.   $5 COVER
Hi'ill JMI'I H'lili Yf ilf'/'WIVlTlCi
3!wy- '<'Mhy^W&i
rum *2\
ram      hounds of cut*
ruGROAT      rvArnuwrc P**LOUR JTEPS
RODNEY PECROO      _, ,-„-,-
-,—       ,     ^r— __  r~-r-  ,    Please Don't tver Let
I HIS   15    Irih  tJM|OCS Him Design Anythi
Ever Again.
Be DiSCORDER's Art Director.
Here's how: know InDesign,
Photoshop and Illustrator, as
well as have a passing knowledge of Quark. Be willing to
put up with long hours, bad
food and worse jokes. Have
a better design sense than
the Editor. Because he made
this, too. He thought that
using Comic Sans was cool. If
you think that Comic Sans is
the worst font ever, please
call 604.822.3017 ext 3 or
email discorder@club.ams.ub
c.ca with the subject heading: "Your Editor Designs
Like I Poo."
riff raff
by Bryce Dunn
Good day, noble vinyl-
appreciating citizens!
Spring is now here, and
with the birth of a new season
comes the birth of budget
rawk! 'Tis true, I tell you, the
sounds of birds happily chirping have been replaced with the
squawking of many-a-teenager
raising a ruckus in seedy dives
and cemeteries across the
Northwest. As is the case with
our first pair of merrymakers,
Thee Flying Dutchmen and The
Zombie 4! Providing the pulsing
backbeat to exotic lounges is an
everyday job for our Dutchmen,
and the primitive recording of
their four track EP. Live At The
South King County Devil's Club,
invites the listeners into a world
of depravity, cheesy keyboard
bashing and a frenzied frat-
stomp that just won't quit—just
like the body of cover girl Fifi La
Rue! "Stumbling Bear" is the hit
on this platter, with a bass line
that will have you movin' and
groovin' in no time! The Zombie
4 creates such a ruckus on their
four-song slop-fest that even
the dead shake outta their
coffins and a monster mash
ensues in every crypt they kick.
The party starts with "Zombie!"
a little re-working of the Link
Wray tune "Comanche!" then
blasts into "Linda Lou," a song
that The Kingsmen would be
proud to hear. Then "Chinny
Chin Chin", and the signature
dance move that requires
no movement at all, "Do The
Corpse." I'm dead tired from
all that dancing! (Boom Boom
Records, 20720 S.E. 192nd St.,
Renton, WA USA 98058).
Better call for first aid, 'cuz
there's more shimmying to do
with Arthur Lee (that's right
kids!). Before he got hip to The
Byrds' trip and wrote "My Little
Red Book" and "Signed D.C.," he
got down and dirty in a couple
of combos, The American Four
and The Pomona Casuals,
who busted out boogaloo and
R&B blasters like "Luci Baine's,"
his Isley Brothers tribute, and
"Everybody Jerk." It wasn't 'til
later on when the highs of psychedelia and Revolver changed
the sound and style of Arthur Lee
and made him one of the legends
of sixties garage rock as he is
known today. (Munster Records,
Well after gushing like a giddy
schoolgirl over The Exploding
Hearts in last month's column,
how fortunate am I to do it
AGAIN as they've just released
another seven inch on Pelado
Records (521 W.Wilson #103
Costa Mesa, CA USA 92627).
"Modern Kicks" leads things
off with a slightly slower version than the one contained
on their full length Guitar
Romantic (stop whatever
you're doing right now and go
buy this record. I'll understand
if you don't read the rest of
my ramblings. It's ok really, go
on...), but no less potent, with
its Buzzcocks-inspired groove,
and the flipside "Busy Signals"
is a heart-wrenching power pop
ballad that stresses the pop
without getting too sweet for
your taste buds. My job here is
done, carry on audiophiles! •
10 April 2003 SCREW YOU
and your pointy shoes.
by k-l«.
this month:
} VI
TICKETS: $22 • DOORS 8:00PM, SHOW 9:00PM
Tickets available at all Ticketmaster outlets and
Zulu, Scratch, Highlife and Noize! Records.
Sponsored by   cbc radicrarram
liamtiiWBBt LOCAL nr
* $10 ir $S w/ 2 non-perishadle food items
* $8 tickets ii advance at fludiopile a Bomstiell
* Door prizes from BomsheN, Westbeach and
Vancouver Bock Shop
* 50/59 raffle draw for CASH
* license! lounge area
Croatian Cbltaral Centre 1^
••   exithiside
crop (m) circle
Call: 604-351-2745
Visit: BigLocalBands.ca/food4music *«rS^wmTiSS^!S*
Sl + iZ
CiTR r
101.9PM     =
The Student
Newspaper of BC!T\
U.»A/ Rinrliij
THE LAST TEMPTATION OF LASN: "And the Devil said to Kalle. Look unto what I can offer you. In return you must just embrace advertising.' But Katie turned from the Devil and said unto him in return. No. Satan. I have a coffee-table book to design."'
Epiphany la. A Christian feast celebrating the manifestation
of the divine nature of Jesus to the Gentiles as represented
by the Magi. b. January 6, on which this feast is traditionally
observed. 2. A revelatory manifestation of a divine being. 3a. A
sudden manifestation of the essence or meaning of something, b.
A comprehension or perception of reality by means of a sudden
intuitive realization."
—The American Heritage® Dictionary of the English Language:
Fourth Edition. 2000.
"Prophetic utterance, like poetic utterance, transforms experience
and moves the receiver to new attitudes. The kinds of experience—
the recognitions or revelations—out of which both prophecy and
poetry emerge, are such as to stir the prophet or poet to speech that
may exceed their own known capacities; they are "inspired," they
breathe in revelation and breathe out new words; and by so doing
they transfer over to the listener or reader a parallel experience, a
parallel intensity, which impels that person into new attitudes and
new actions."
—Denise Levertov. "Poetry, Prophecy, Survival," New and Selected
Essays, New Directions (1992).
Adbusters. You've probably seen it—pretty and glossy, barely
distinguishable from the neighbouring art magazines on the rack.
Open it up and you may or may not be aware that you're flipping
through one of the most high-profile voices of the culture jamming
San Francisco sound collage artists Negativland are credited with
coining the term "culture jam" in the 1980s. The practice of parodying
and subverting corporate advertising, of course, goes back much
further: at least as far as the first time some kid blacked out teeth
on a Coca-Cola ad. Culture jamming, of course, steps beyond mere
pranksterism into the realm of a full-blown political movement.
Adbusters magazine rose to fame during the '90s as the self-
appointed "house organ" of the culture jamming scene. What started
as a modest magazine with local distribution has exploded into a
slick, high-gloss machine which has, arguably, achieved its own brand
distinction and international empire. In its current form, Adbusters
sometimes seems difficult to distinguish from some of the trendy
corporations it loves to parody. Naomi Klein, in her best-seller No
Logo, devotes a good portion of her chapter on culture jamming to
dismissing the importance of Adbusters as a force of political change.
As in many movements, other factions have formed to work
towards the similar end of subverting Corporate America. New
York zine Stay Free!, for example, successfully combines satirical
advertising with well-developed and substantial written commentary,
and Guerilla Media, a local group of activists, target the mainstream
media with spoofs of The National Post and The Vancouver Sun.
But nowhere on the culture jamming spectrum is there a
spokesperson like Adbusters' Kalle Lasn. Highly articulate, gregarious,
and adept at the sound bite, a conversation with the former
documentary filmmaker can feel eerily like stepping into a Tony
Robbins infomercial or an Amway meeting. Without a doubt, he
wants to be your guide through the storm-infested waters of the
culture jam. In his own words, here are some of his revelations.
In 1989, according to Adbusters' Culture Jammers Network newsletter,
Kalle Lasn tried unsuccessfully to purchase TV airtime for an ad
critiquing the forest industry. Refusing to be stymied, Lasn, together
with friend Bill Schmalz, took action. That same year, they founded
the non-profit Adbusters Media Foundation and published Vol. 1, No.
1 of Adbusters. Still, the roots of rebellion stretch back far beyond this
relatively recent point.
Born in Estonia, Lasn lived in various displaced-person camps
during his childhood. After much world travel he settled in Vancouver
in 1970.
"I met a guy in Panama who started waxing poetic about Vancouver.
He invited me over once when I was shooting around in my Volkswagen
bus, and as soon as I arrived in Vancouver, I had a feeling. I was looking
for some sort of an anchor for my life, and I found it here."
After his West Coast arrival, he made documentaries for a good
portion of the next two decades, mostly for PBS and the National Film
"I've given up making one hour documentaries like I used to, but
for the last 15 years, I've been making 30-second and one-minute
documentaries. For me, one of the reasons I shifted away from
making big documentaries is that, as a director of a big documentary,
you don't have much power. You finish up being in the hands of the
big money people, the executive producers, and they would try
to influence the content of your documentary. If you want to be
too radical, then you won't get a budget, and basically the whole
documentary genre has run out of steam in terms of being a real,
activist activity."
"I feel that our 15-second, 30-second, one-minute mind bombs
are way more effective than most of the documentaries I see
now. Now with Adbusters TV we're getting into two to five minute
documentaries, or epiphanies, or whatever you want to call them.
We're learning how to create longer and longer mind bombs. I don't
know exactly what the future is, but somehow working in that same
visual language that I used to make documentaries, I mean, that's still
alive. I do that every day."
"Many of the group that I was hanging around were filmmakers, and
we saw those ads put out by the BC Council of Forest Industries, and
they were telling British Columbians what a great job they were doing
managing their forests. 'Forests Forever.' That made a few of us so
angry that we came up with our own 30-second TV spot. When we
tried to buy airtime for it, they refused to sell us any airtime.
"It was this moment, this epiphany of realizing that there's no
democracy on the television airwaves—that the forest industry is
welcome there, but Kalle Lasn isn't—this is the moment of truth
for me, one of the great epiphanies of my life, where I basically
"Vancouver is, in my opinion, the very best place to launch a global
activist movement. I can't think of a better place. You're sitting here
looking down at this American Beast below us, you know. On my left, I
can feel the Oriental culture washing over me. Across the pole, 1 can fly
to London in eight hours. I feel the perspective that you get by living
here in Vancouver is by far the most balanced kind of perspective on
what's going on in the world. In Seattle, even, I don't think that we
could have done what we've done, because as soon as you're going
across the border, you're in the American bubble. But here, I feel no
bubble. No bubble in Vancouver."
"That first book [Culture Jam, published 1999] had kind of a strange
history. It was translated into four or five languages. When it came
out in paperback, it was up there as a fast-selling book, reviewed by
USA Today and some mainstream publications. : get a lot of email
that tells me we're reaching a lot of people and it's having influence
on their lives, but somehow the distribution side of it was bad. The
book came out just at the time when Harper-Coliins bought out the
small publishing house that I had a contract with and so that whole
distribution side of my book was thrown into a state of disarray, and it
wasn't available in a lot of places in Canada. We have sold about 6,000
or 7,000 copies of the book through our website alone, which is almost
unprecedented in book publishing"
Design Anarchy, which will be published later this year, is described
by Adbusters as "320 large-format pages... it wi!! be an unmistakable
catalog of the emerging anti-commercial design aesthetic."
Another coffee-table book?
"Ah. no, you'll get a surprise when you see it. It's going to be iarge-
format and will have a lot of graphics. It'll be the visual, the graphic,
the aesthetic version of Culture Jam, but it will be a script book that
will have dozens and dozens of hand elements in it and it will look
chaotic, it will look like anarchy. Even though some of the spreads
wili lock incredibly slick and coffee table-like, you'll turn the page and
suddenly it will collapse into a different kind of aesthetic. This book is
really an attempt to articulate a new kind of aesthetic. It's a visual tour
de force, done in the form of a scrapbook. It wili lull people into the
world of an astute designer who's scrapping around in his book, there,
and coming to various epiphanies along the way. Design Anarchy
is like a deeper version of Culture Jam, 1 think, because visuals are
deeper than words. For me, right now, they are deeper."
What about the proposed street date of Christmas 2003? That
sounds like a classic invitation to buy, buy, buy. Lasn responds:
"Absolutely! I want to sell as many copies of this as possible. It may
also cost a lot of money. We may actually sell it for $100."
"We were brainstorming about 10 years ago, trying to launch an
anti-consumption campaign. We got a lot of help from a lot of people,
specifically a Vancouver artist who gave us those three incredible
words: "Buy Nothing Day." We took those three words and launched
it into a worldwide campaign that, last year, happened in over 60
ind the world."
course, magazine subscriptions.
So, why the decision to buy ad time on CNN (owned by mega-corp
AOL Time Warner)?
"It is the most powerful form of culture jamming, if you can go right
into the belly of the beast. When we purchased 30 seconds of airtime
on Moneyline, this was a classic culture jam: a few hundred thousand
American businessmen are sitting around their TV sets looking at
their favourite business news program, and all of a sudden, along
comes a burping pig and basically slaps them in the face with an idea
that many of them have probably never had about consumerism. This
is a mind bomb that we occasionally let off in the mainstream media.
It doesn't reach many of the converted, like the readers of Adbusters,
but it reaches a lot of people who've never heard of Adbusters, or
heard that there's even an anti-consumerism movement."
Of course, Lasn was only too happy to address published criticism
about Adbusters Buy Nothing Day line of merchandise:
"We don't have any products! The No Logo book by Naomi Klein
had, for me personally, some really bad disinformation about Buy
Nothing Day. I don't know where she got that information from,
but she launched this idea that somehow we have gone commercial
with Buy Nothing Day and that we sell t-shirts and sell stuff. We have
never sold a single item around Buy Nothing Day. That doesn't mean
to say that we don't have books that we sell, and that we don't sell the
magazine, that we don't have, you know, calendars. We have a lot of
items for sale, but as far as Buy Nothing Day goes, it has always been
squeaky clean. We have never, ever made a single penny out of Buy
Nothing Day, and deliberately so. This idea that we have somehow
commercialized Buy Nothing Day is just pure fucking bullshit and I
wish people would stop saying it. I'm especially angry at Naomi Klein
because her book turned out to be an incredible best-seller with this
disinformation about us in it. That has hurt us quite a bit."
As Ms. Klein is currently in Argentina working on a documentary
film, she was unavailable for comment. However, the section in No
Logo to which Mr. Lasn is probably referring is this paragraph:
"Adbusters has taken this hard-sell approach to such an extreme that
it has raised hackles among rival culture jammers. Particularly galling
to its critics is the magazine's line of anticonsumer products that they
say has made the magazine less a culture-jamming clearinghouse
than a home-shopping network for adbusting accessories. Culture
jammer 'tool boxes' are listed for sale: posters, videos, stickers and
postcards; most ironically, it used to sell calendars and T-shirts to
coincide with Buy Nothing Day, though better sense eventually
prevailed." (No Logo, p. 295)
The Adbusters website currently features for sale a 2003
calendar, postcards, gift cards, Culture Jammers video, the Culture
lam book, a "corporate flag" (based on the Stars and Stripes) and, of
"Turn Off TV Week is happening April 21-27. We drop a few potent
mind bombs prior to that week, of course. And again, we do it for
the same reason: it is just incredibly effective to reach a few million
people who are sitting there in front of their TV sets, and then to, in a
very visceral way, suggest to them that maybe next week they should,
you know, 'get real.1 It is a very powerful way to create epiphanies for
people, which is really what culture jamming is all about. It's about
taking people who've been sucked into the American Dream and
whose lives have been turned into this roller-coaster of consumerism,
and to give them epiphany after epiphany until they suddenly snap
out of this commercial media trance that most of us are in a lot of
the time."
"We get a lot of positive press for both Buy Nothing Day and Turn Off
TV Week from alternative media outlets, and we get an incredible
amount of negative press from mainstream media. But this is exactly
our strategy. We believe that if we can get half the people in the world
to hate us and half the people in the world to love us, then maybe
we're getting somewhere. We occasionally get negative press from
the alternative media. At the moment, I would say many activists are
still caught up in this thoroughly left-wing leftover of the old days,
where their whole activism is centered around being in the political
"We culture jammers are not lefties! We actually piss off a lot of
good activists and good protesters and good people in the alternative
press because we go against the grain. You know, that we're supposed
to be good lefties and we're supposed to toe the usual lefty line. We get
blasted from both sides.
"We deliberately disassociated ourselves from the left. One of
my big purposes is to jump over the dead body of the left. A lot of
people have never thought about an alternative to this crazy left-
wing versus right-wing bullshit that's been going on for all of my life.
1 want out of it! I spend as much time lately pointing my finger at
the left as at the right. I look at the left and I say to myself: you guys
just turn me off, you know. You guys haven't done anything now for
about twenty, thirty years. You keep singing the same song. You like it
when magazines like Adbusters and movements like culture jamming
when they basically just remain quaint little things that just talk to
the converted. As soon as a campaign like Buy Nothing Day talks to
the whole world, you think that something has gone wrong rather
than something has gone right. This strategy of ours, buying ad time
on CNN, having a magazine that looks slick [sitting] right next to all
the other magazines on the newsstand, it's all part of a deliberate
strategy to be as effective as possible.
"I know the woman who runs that Stay Free! [Carrie McLaren],
and she's covering some of the same territory. I mean, she talks
about advertising, and somehow, the thrust of her magazine is
very similar to Adbusters in terms of the issues that we tackle. But
she, same as Naomi Klein, is a die-hard lefty, and her perspective is
from that traditional left-wing perspective. I think she's doing good
work: I'm not slamming the magazine. You know, for us to pull off
this global mind-shift that has to happen over the next few years, 1
think we need everybody, you know. I think we need the Stay Free'.s
and the Adbusters, and we need the die-hard lefties, and everybody
else who feels that there's something fundamentally wrong with
the world today. I'm not trying to be the only game in town and say
that, you know, Adbusters is right and everyone else is wrong, but
it is absolutely essential that there are magazines like Adbusters,
that there is somebody buying time on Moneylme, and that there is
somebody talking back at this totally moribund left that can't seem
to get it up anymore."
"We went all the way to the Supreme Court of Canada, specifically
on the issue of us buying airtime on CBC Newsworld. Even though
we had a minor victory at the lower court levels, they [the Supreme
Court] didn't think it was an important enough issue. I had a chat with
Clayton Ruby [high-profile Toronto lawyer] a few months ago and he
has some new ideas for how we can go after the CRTC, and go after
CBC Newsworld specifically, for having a certain policy that seems to
be against the public interest. In a few months' time, when we are
ready to go to the courts, then 1 think it will become a national debate.
Every Canadian citizen will say: 'Well, hey! Why not have the right to
walk into my local station and buy time.' Or have the corporations and
CRTC and the current commercial media cult sold out the game to the
point where we citizens don't count for anything anymore?
"In the US, it's the First Amendment faction against the three
big networks. We've got a ten-year dossier of sending them about 25
different spots over the years and them refusing to air all of them.
We're still looking for a lawyer, and we haven't found our American
Clayton Ruby yet. But I think that we will, eventually. Maybe it will
take Canada to take the lead on this one, if we do win a legal challenge
to the current status quo in television, and if we actually win this right
to communicate. The right to communicate is the big human rights
battle of our information age. And if we in Canada become the first
country in the world to actually set the example for the rest of the
world, then 1 think a lot of other countries will follow. It may be that
certain countries in Europe will then follow, and perhaps America will
be the last—like it seems to be so often in these highly progressive
"We don't have a huge budget, but we decided that we may have
enough money to open up a small office in either New York or London.
Recently all the exciting designers, many of the exciting journalists
and exciting debates and even legislation, have come from Europe. At
the moment, we find Europe to be a hotbed of interesting debate and
writing and visual creativity. We decided that for us to have an outpost
in the UK and to be able to dip into that whole European culture—that
is probably more important for the future of culture jamming and for
the future of Adbusters and everything we do than doing an office in
New York. There has been, in my mind, anyway, kind of a mind-shift
away from America towards Europe. I think that this current debate
that s going on about whether we should go after Saddam, I think it's a
perfect example of the American culture having gone haywire in some
way. European culture still has a certain amount of sanity."
"We are taking our website very seriously now. We are integrating
video content and all kinds of other visual content into it. We're taking
the same route that we took with the magazine. The magazine is, as
you know, a very special hybrid of graphics, photographs, visuals and
writing, it's not your traditional kind of magazine. Over the next few
months, our website will also not be the traditional kind of website.
"Our magazine has been our most successful item, if you like.
We started off here in BC with a circulation of 5,000 magazines, and
now we're up to 125,000 worldwide with a toehold in Australia, New
Zealand, and the UK. One of the reasons it's been successful is that
we've come up with a new magazine language. We sit there on the
newsstand looking slick, and then you pick it up. If you buy it, you are
suddenly subjected to some very, very subversive ideas. And that's the
secret of our success. The lesson that we've learned in the magazine,
we want to apply to the rest of what we do.
"On a campaign level, if there was no Internet, there would be no
worldwide Buy Nothing Day. In the early years, we sent packages to
people that contained templates, free t-shirts and various other items
that would then get BND happening in various countries. It almost
killed us financially trying to do that. For the last many years, we've
been putting that stuff up on the website, where people can download
posters and look at Christmas gift exception vouchers and all kinds
of other materials that are available through our website. Many
countries have started their own Buy Nothing Day websites. I would
say that the Internet is the most powerful activist tool that one could
ever imagine, and without it we'd be nowhere."
"These are disturbing times. After hearing Colin Powell's speech,
I really had the feeling that we're living in a choiceless democracy
where people don't count for anything anymore. Where Bush, and a
few other people, have decided there's going to be a war and there's
no fucking thing we can do about it. These are very disturbing times.
"If America starts a war, then we have this grand plan. We're going
to launch a worldwide boycott of the United States of America and try
to tap into that huge percentage of people who don't want to start this
war without the United Nations. I think that if America starts the war
unilaterally, then 1 think that the moment will be ripe to launch this
global boycott against the U.S. with people who are as pissed off as 1
am who'll say: 'That's it. I'm not buying anything American anymore!
I'm talking about people taking a personal pledge, saying: that's it, I've
had it, I'm not going to take this anymore, and the only effective way
for me to protest is to stop buying American.'
"I hope the war doesn't begin, but if it does begin, then I think
that there's going to be this incredible battle for the hearts and minds
of the people of the world, and America will finally perhaps lose their
o prophet can see before
"Men may know many things by seeing; but
the event, nor what end waits for him."
—Sophocles (497-406 B.C.)
"The prophet who fails to present a bearable alternative and yet
preaches doom is part of the trap that he postulates. Not only does he
picture us caught in a tremendous man-made or God-made trap from
which there is no escape, but we must also listen to him day in, day
out, describe how the trap is inexorably closing. To such prophecies
the human race, as presently bred and educated and situated, is
incapable of listening. So some dance and some immolate themselves
as human torches; some take drugs and some artists spill their
creativity in sets of randomly placed dots on a white ground."
—Margaret Mead, (Introduction to Culture and Commitment, 1970) •
Interview by Natalie Gordaneer, Photo by Joshua Kessler
Hailing from Sweden and having come together in the
last five years or so, Division of Laura Lee may have the
misfortune of being labelled another Hives, but they have
the sound and strength to stand apart. They add the righteousness
and energy of Primal Scream to that of Fugazi, and then blend in
parts of The Stooges, Girls vs. Boys and other bands as well. They
released their first full-length, Black City, this past year, and
enthusiasm for them is definitely gaining momentum. Perhaps
this interest comes as people realize that Sweden isn't only
responsible for garage rock and ABBA, but is home to guys making
videos dressed up as penguins and bears. In any case, Division of
Laura Lee is the real deal, but it remained to be seen whether or
not singer/bass-player Jonas Gustavsson is still keeping it as real
as Jenny from the Block.
DiSCORDER: Do you ever catch yourself singing Weezer's My
Name is Jonas?
Jonas Gustavsson: That Weezer song? Yah yah yah. From the Blue
record—good song.
has to open the doors for the others, and whether The Hives did or
not, I don't know, but they're absolutely one of the bands that led
the way and crossed the border.
Do you find being lumped in with other Swedish bands like The
Hives and The (International) Noise Conspiracy is a help or a
hindrance to your career?
It's good. I mean, we get a lot of attention for free, but we have a
tendency to be compared to them all the time, and people expect
us to be like a second Hives. We don't want to be recognized as a
bunch of Swedes. We want to be appreciated because of our music,
the things that we do, our style and our way. If we were the first
band, then probably The Hives and all those bands would probably
have to deal with the same thing. It's just a matter of who's first.
But it's both good and bad I guess. If you just say that 'this is a
band that plays rock music', no one will give a damn. It's good to
have a vision of how it's supposed to sound if you buy a record. As
for us being compared to The Hives, it's not really that we don't
sound like The Hives, it's more that it's misleading, you know?
Is it your personal theme song?
Well, I guess they wrote that song aboi
fan, but I like that song, of course!
I have a question about the first song off your full length, Need to
Get Some: what do we need 'some of?
Everything. We're in need of love and lust and trust. All of our
songs are about pretty much the same thing—that everyone
wants something. You don't really know what it is, but there's
something that you miss, and usually that is love and respect and
stuff like that.
Is it possible to create something that is entirely new or has
big Weezer     everything already been done in some form or another?
It's possible but it's hard! There are a million ways to make music,
but it's hard to make something new out of rock music, because
it's based on traditions and there are certain patterns that you use
when you write. We're trying hard to not do the same thing. The
record we have put out now, [each song] is really different from
each other but it's still rock'n'roll, you know? I think it's hard to
create a whole new form of music, but there has to be some way!
If I find out, I won't tell because I want to be alone doing it.
In the song "Black City," "hundreds" and later "thousands killed
on the internet" are mentioned—what does this mean?
It has two meanings, because you [can] get so stuck to the internet
that you fade out in front of your computer. Also, we develop that
style of living: everything is so computerized and this world [will
be] soon run by computers or maybe it already is. The idea is [that]
soon we'll be able to just press "delete" and kill someone just by
doing that, you know? We're so connected to the internet that we
[wouldn't] be able to live without it. It's kind of a horror theme!
Why do you think the last couple years have turned so many
North American heads onto Sweden and your music scene?
I don't know. Because we're good. Well, maybe because we look
good. No, Sweden has a bunch of cool bands now, and I think we
always have. Maybe now is the right time, you know? Someone
14 April 2003
I read an interview with Per where he states that Division of
Laura Lee is one of the most honest bands out there because
you're experienced, didn't buy your attitudes, are from the
working class, and had a rough time growing up. I hate to say
it, but this reminds me of Jennifer Lopez where she claims to be
"real" and is "still Jenny from the block." What do you have to
say to that?
She's a good friend of mine, [laughs] I guess she is, and I guess
we are "real." We're trying to do honest music. We're not faking
anything; we're doing whatever we want to do and what feels good
to us. We're not putting on some kind of attitude just because we
want to be cool or anything. Maybe we are cool, I don't know.
Maybe we're not—it doesn't really matter. What matters to us is
the music. We didn't have such a hard time growing up—I guess
Per had a rough time, but I had a really safe and warm childhood.
But everyone has hard times once in a while, and I guess music is
a good way of dealing with the hard times, because you have the
right to express yourself.
Do you think the fashion and image part of The Hives, The
(International) Noise Conspiracy, and music in general takes
away from the music part?
I don't know. I'm not saying anything is wrong or right. I'm just
saying that that's not the way we want to do it. We want to be
taken seriously. We're not really fond of the idea to dress up and
put on a new identity. We just have to be ourselves and that's
honesty to me. I think there's a lot of image bands and a lot of
them are good, but we need something new and genuine. We don't
have anything to offer except for ourselves, our music, our way of
playing it live, but hopefully that's good enough!
Why is Division of Laura Lee one of the most important bands in
the history of rock?
Because we're good! It's all about quality and song writing and
I think that we're both good on record and live, but that's my
opinion. To me, we're really one of the best bands.
Who are some other people or bands that fit in this category?
The Beatles and, to me, Fugazi were really important, because
that's kind of why I started playing in Division of Laura Lee.
Nirvana, because they opened up doors for a lot of punk music and
stuff. The Beatles for the song writing. But, I mean, I think we're
pretty good also. It's music that I love and like to play, so of course
I would rate it quite high!
What is next for Division of Laura Lee?
Touring, touring, touring, 1 guess! We're doing this North American
tour now, and then we'll be home for a couple weeks, and we have
a lot of offers to discuss when we get home. We're going to do a
European tour and we need to do a UK tour and maybe Scotland,
Ireland, and hopefully another US tour, and Canada at the same
time. At the end of this summer hopefully, we'll be able to get into
the studio again and start recording our second record. We're
writing songs all the time—we're going to do a couple new ones
on the tour now. If they work good, then we'll definitely use them
on the new record. We're looking forward to recording them, and
trying them out.
I think that's all for my questions, but is there anything you want
to say?
Just come and see our show and have a good time! • T'S ABOUT BEING
Interview and Photo by Ben Lai
ooked me right away. You took one song—The Dears took
two weeks!"
- Anonymous SHiNDiG judge, to my project: blue
Hooked. Seduced. Mesmerized. Those are words often used by
listeners after being exposed to my project: blue's music. The band
impressed many people with their dark and ethereal sound during
last year's Shindig, and finished as the first runner-up. With 27
other talented bands serving as their competition, their success
was no small feat.
The mostly-Vancouver band consists of Chad Blue on guitars
and vocals, Ben Frey on drums, Ryan Shimozawa on synthesizer
and bass, and Jill Southern on guitars and vocals. Ben and Chad
moved from Vancouver Island to the Lower Mainland a while ago;
Jill migrated to Vancouver from the Interior; but Ryan, however,
still lives in Nanaimo. What this means is sometimes he will
spend hours traveling to Vancouver for rehearsals and live shows.
Thankfully, this is a group that knows how to make the best of
their time together.
DiSCORDER: What is the history of the band?
Chad Blue: I've been doing my project: blue since 1996, on and
off. As for the band, the four of us have been playing together for
about six to eight months. I guess you can say that Ben and 1 were
playing together for a long time before. He played in my project:
blue years ago, when we used to be a more lo-fi band. When I
started the band back up, I asked if he wanted to play again. So we
started jamming. Jill worked with Ben and heard about us and Jill
said, "I want to work with you guys."
Jill Southern: So I kind of forced my way in there.
Chad: It all worked out so nicely and then Ryan wanted to play. I
couldn't be any happier.
Ryan Shimozawa: I can remember wanting to be in the band
before 1 was in the band. 1 saw them playing a show in Nanaimo,
just Ben and Chad. Then I saw Chad at a local record store in
Nanaimo, and I was like, "Do you want me in the band? I'll do
whatever you want." He was like, "Okay, we could work something
out." And then we talked more about it. Chad started showing me
songs over at my apartment in Nanaimo.
Ben Frey: Our jams were so crazy because we jammed with Chad,
Jill and me. And next weekend it would be Chad, Ryan and me. Or
just Chad and Ryan. And then we would have a show. For our first
show the four of us hadn't even played together.
Ryan: I didn't even know JiJrbefore the first show.
Ben: Basically, we shook hands and said, "Hey, nice to meet you.
Here's a set list, we're going to play now."
Let's talk about the new EP that's coming out in April. How was
it recorded? When?
Chad: Jill recorded it.
Jill: 1 am taking recording and sound engineering at Columbia
Academy. It was recorded there by me, a couple of instructors
and students. I't's a pretty good opportunity to get people into the
studio and take advantage of nice equipment. We got six songs
done there.
Ryan: They all recorded live together. When I came over for a
SHiNDiG show, the next morning I woke up early and went to the
studio and recorded the synth lines.
Ben: For the time we spent recording it, it sounds pretty good. Got
some pretty chilling songs.
Ryan: You guys did two days in studio?   •
Jill: No, just one day. That was pretty efficient. Just got in the
Where did the songs come from? How were they written?
Ryan: They were all older songs. Songs since we started together.
Ben: It is stuff we've been playing live during the past six months.
Your website says that some of your new songs are more
Chad: That's the new stuff. The CD is the stuff we've been playing
lately, but now I've been working on new songs. I still record
everything in my room before I get songs ready for the band. I
finished quite a few new ones. And I just put one really new one
up on the website. It's a lot more upbeat and a lot happier. It's a
very fun song.
Ryan: The new songs are a more dancey kind-of-thing.
Is that the direction you are moving towards?
Chad: Well, all the songs we play now are from stuff that 1 started
writing a year and a half ago. Now, over this time period I've just
changed. My songwriting is getting better, I guess you can say.
I don't know. I'm experimenting a bit more. It's not a different
Ryan: I think the more we get comfortable with each other and
the instruments and figure things out, we can take different
directions. Go one way and start off with a dancier vibe....
Ben: And then play a really sad song that will almost break you
up in tears. We also have a new kind of like Latin-style song. Not
really Latin style, but you know, jive-y.
How did you like your experience at SHiNDiG?
Ben: It was great. It was great exposure. The sound there was
really good.
Chad: Playing at The Railway was awesome.
Jill: The audience was so into it. So supportive. We had the whole
place doing the bear dance.
Chad: It was more than  I  expected.  I was like, "Yeah sure,
whatever, we'll go into SHiNDiG." Ben sent the CD in. It was way
cooler than I thought.
Ben: I think the finals was the funnest show we've ever played.
Everyone laughing and singing along.
Any unexpected guests?
Jill: Yeah, this big fuzzy bear showed up.
Ben: We had a bear. I don't know what's up with that.
Chad: Random bear running up on stage.
Ben: Well, I did read in the paper before about some urban bear
that was going through the dumpsters and back alleys. Mauling
Jill: Hitting the clubs.
Just some complete stranger eh?
Chad: Yeah. [Laughs]
Ryan: Who would do something stupid like that?!
This strange bear tends to show up during the bear dance part of
your show. What do you have to say about the bear dance?
Chad: Well, it's just totally ridiculous. That's the whole point about
it. It's hilarious.
Ben: Bears are just so funny. We're even thinking about doing a
music video all dressed up in bear costumes. Like scratching our
backs or something.
Ryan: It's just about being ridiculous. So we can look foolish and
have fun at the same time.
You have a running projector showing old home movies during
your live performances. Can you tell me more about it? Did you
always have that at shows?
Chad: Yeah, we always do. It is kind of like memories for me.
When I was a kid I'd go to my grandparents' house and we would
have dinners, and we would always watch home movies on a
projector. Sit down in front of it and watch it. They were the best
memories that I have. It was awesome. I love 8mm film, the sound
of the projector and the feeling of it all. The films are not my films
though. They are not my family. They were found at some thrift
Oh. Do you go and hunt for new ones for your shows?
Chad: 1 can't find any more. I'd love to have more films because
these ones are getting old. Every show we lose about a foot and
a half of film because it just breaks off at the end of the night.
Ben: Maybe we'll have to make our songs shorter. [Laughs]
If any of our readers have any extra 8mm films....
Chad: Yes! If they want to help out and send us some old super 8
films, that would rock.
Jill: That's a really good idea.
Chad: And they can say, "That's my family!" during our shows.
For more information on my project: blue, including where
and how to send them your 8mm films, you can visit http-y/
15 DiSCORDER April's Artist of the Month is Ryan Baudoin. ;;            —>
Ryan catagorizes this and his art like it as "doodles." Can you doodle like this? Probably not. That's why Ryan's so rad. A BASS HIT
Starting out as a way for Doug McCombs to showcase his
Fender six-string bass, Brokeback has now, three albums later,
blossomed beautifully. The most recent, Looks At The Bird, is
the best yet and features contributions from Brokeback regular Noel
Kupersmith, Aki Tsuyuko, Rob Mazurek, Stereolab's Laetitia Sadier
and the sadly departed Mary Hanson. I spoke to Doug McCombs on
the phone from Chicago where he was busy "meshing" his hectic
So, I really like the new album, how's it been received? Do you read
your reviews?
Actually, 1 think it's too soon. I haven't seen too much press on it, just
a couple of reviews. They're positive. I think there are probably more
substantial things to grab on to than on previous Brokeback records,
and people are taking more of a liking to it for that reason.
There seems to be a progression—as far as I can see-^with
Brokeback: the first record was very much based in the minimal
sounds of the bass guitar; the second, was very loose and winding;
Looks At The Bird is more concise, but it has a far more diverse
sonic palette—voice, laptop beats, and lush orchestration. Was this
Well, I wanted to make more of an effort to flesh out some of the
ideas. On previous Brokeback stuff, 1 would intentionally leave it
open-ended. I wasn't concerned about having song structures. But
now, even though it's still basically an extension of the same idea, 1
wanted to flesh it out a little bit more, have more things going on, but
have more verse-chorus-verse structure. That was intentional on my
part, yeah.
I've read the reason you started Brokeback was to showcase the
Fender six-string bass you own?
Yeah, I had a long obsession with that instrument, but they were really
expensive, so I didn't actually own one for a long time. I got one right
when Tortoise was starting—a lot of the twangy melodies on those
records are that instrument. Then I had this idea that I wanted to play
that sound without it being buried in something bigger. That was the
genesis of Brokeback—me playing by myself. Then Noel Kupersmith
became my partner and it mushroomed from there.
You work with a lot of collaborators on this record. How much is
Brokeback a collaborative process, and how much is dictated by
Well, between Noel and myself it's pretty equal collaboration. We both
sat down and worked out all the ideas and wrote most of the parts.
With the other people who contributed to the record it varies from
case to case. We knew that we definitely wanted to have Mary Hanson
sing a lot more than she had on previous albums, and we wrote some
parts for her, and then she came up with her own parts. The parts that
we presented to her to sing were dictated by what was already going
on in the song. But then, other things she just came up with on her
own, just ideas that she had. That was nice because she surprised us
with some things we wouldn't have thought of.
18 April 2003
Interview by
Merek Cooper,
Photo by Sam Prekop
In the case of Aki Tsuyuko—she plays on three songs—her whole
approach, although I'm not quite sure, is very improvisational. She
just gets an idea of what she wants to hear, and then she'll just start
playing. That's like what we did—we had her sit down in the studio
and just start playing over some of the tracks. And then used bits and
pieces of what we liked about it.
Were you a fan of Aki before?
Yeah, yeah.
Did you know her before you became a fan? I saw her supporting
you when she played with Nobukazu Takemura at The Vogue a few
years back.
Well, I knew her before that even. We did a tour—it was really short,
just five shows—where Brokeback was just Noel and myself and
Takemura was just him and Aki. We all toured together in the same
van, and the four of us became friends. Then the next time Brokeback
went to Japan, we asked Aki if she would be part of Brokeback and
she played live with us for three shows. I can't remember if I'd heard
her album first or not, but I really love her album. That side of what
she does never really comes out in her playing with Takemura. I don't
know if you've heard her album ?
Yeah, Ongakushitsu. I read an article in which you recommended it.
It's really good. You saying it was improvised seems to make sense.
I'm guessing that she improvises, but I'm not really sure. She might
have that stuff totally worked out. It's pretty weird stuff.
"Pearl's Dream" is a great track. A great performance by Mary.
Yeah, it was great to get Aki and Mary on the same track. That was
one of our goals too.
Whose idea was it to do the cover?
That song? Well, I don't know if you're familiar with that song from
the film?
Yeah, Night of the Hunter.
Yeah, that has been one of my favourite films for a long time. 1 was
watching it about two years ago—there was a showing of it on a big
screen here in Chicago. I went with a friend of mine, who's in The
Eternals. He was really good friends with Mary too, and we both
had the same idea at the same time: "Wow, that song in the movie is
exactly in Mary's range. It would be totally great to do a version of that
song with Mary singing."
How does your writing process work? Do you find melodies during
long jam sessions?
Pretty much. For me it's fairly cut and dried, but for Tortoise it's a
different story. A lot of different things happen in the process of
writing songs with Tortoise. There's a whole variety of different ways
that we work. For Brokeback it's usually like... these melodies pop up
and I come up with something I think is a good melody. And then I
just try and build a song around it. Build a chord structure or think of
some other elements that go along with it, or maybe have it change
a little bit and then eventually there's a song. That's why Brokeback
sounds like it does—because up until now there hasn't been a whole
lot of verse-chorus-verse type things; it's more just based on a single
melody or melody with a counter melody and that's it.
Yeah and that's what I loved about Brokeback—the simplicity.
In the beginning, that was definitely what 1 meant it to be. And now,
Brokeback is approaching a stage where it could be more like Tortoise,
y'know—any ideas are welcome. In the beginning, it was just one
specific concept I had, but umm.... I feel really self conscious about
this but, I have to say there is one record that a lot of the ideas for
Brokeback sprung out of. A record that I really liked a lot.
What record is that?
It's a record by Tom Verlaine. An instrumental record called Warm and
Cool. Anybody who hears that record will automatically believe me to
be a fraud [laughs]. Although, no specific melodies are really taken
from there, I'm not ripping off his songs but... the basic overall feel of
that album is something close to what Brokeback does.
What's the state of play with Tortoise at the moment?
We're still working on an album that we've been working on for a
year, but, y'know, not a whole year; we've probably worked on it for a
total of five weeks or something. It's about half way done. We plan on
spending the whole summer just finishing it. So hopefully we'll have a
new Tortoise in the fall. We're hoping to do way more than an album's
worth of material during the course of the summer, so that we can
have another release really quickly after that. We've been trying to
break this mold of making an album every two years. We actually
already did try and failed. We wanted to have something out sooner
than two years on from Standards.
I was talking to Sam Prekop recently about the perceived death of
post-rock and the Chicago scene in the media. What's your take on
all that? How does Chicago feel at the moment?
Well, my take on the whole thing is that, for me personally, there has
always been a lot of great and interesting music in Chicago. But the
moniker "post-rock"—that was almost like an insult. First of all, that's
not the only type of music that goes on here, and second of all, it's
a stupid name and it doesn't really apply to anything that happens
Yeah, I read m
where that it was a British press invention.
know the exact person that coined that phrase. It was Simon
Reynolds. He was a writer in Britain for the NME but he does a lot of
freelancing in the States. You'll see his name in The Wire a lot or even
Rolling Stone, stuff like that.
I think Tortoise were a really special group, you introduced a lot of
indie kids into awhole new word of music, be it jazz or krautrock. Do
you feel influential?
I don't know. I definitely don't think that what we did or what we do
is completely unprecedented. From our perspective, of course, we're
working off our influences, so, I mean, the music that we play doesn't
just come out of nowhere. You know, if we recombined things that
sounded new to people—it definitely sounded new to us—I'll take
credit for that. But I don't really feel like it matters whether we were
influential or not. All that matters to me is that we continue to make
good music, music that is interesting to listen to and is challenging to
us. And I know that we'll continue to do that, so it doesn't bother me
if people say that post-rock is over—we're a good enough band to not
rest on any laurels and we'll continue to challenge ourselves.
That's pretty much it, I know you've got a lot of things to do. Is there
anything else you wanted to mention?
Well... I guess I would like to somewhere acknowledge Mary Hanson.
I was going to ask you about her but it just seems so difficult.
Yeah, it sucks.
I remember hearing about it. It w
Yeah. I don't know if there's anyway to tastefully insert—into a
general article about Brokeback—how much we loved her and how
inspirational she was to us all. • THEY'RE HERE - GET
Interview by Julie Colero, Photo by Paul Clarke
The Gay is not a Vancouver supergroup. These four ladies
(Coco Culbertson, Maija Martin, Sarah Lapsley and Tobey
Black) and a guy (Keith Parry) may have numerous notches
on their hot rock action bedposts, but that's not what's important
here. The key to the creation of fine pop music seems to be, at
this point in time, all about having fun. Getting out there and
keeping fit seem to keep this band on its toes when not buried in
the studio working on a soon-to-be-released full-length album. I
got a chance to talk to The Gay when they headlined a show at
Pat's Pub back at the end of January, and this is what they had to
say about keeping it real.
So you guys are sort of considered a supergroup on a small
Coco Culbertson: On a very small scale. On a scale of one to three,
Keith Parry: I don't know what that means. "Supergroup"
means you're old, right? Ali it means is that you were in other
bands before this band, and none of the bands we were in were
particularly famous, you know, so, all it means is we're old.
Coco: I haven't been in any bands that did anything good, I mean,
we did a lot of records and stuff, but nobody ever bought them.
And things are different this time around?
Coco: We don't know yet. We're just making our first record now.
We're all committed to buying our record, so that's at least five
sales right there.
You're doing a full-length for Mint? And the 7-inch [also on Mint)
— how has that gone over?
Coco: It's good. The 7-inch was sort of a fluke, because really we'd
just recorded those songs to apply to festivals with, and... to get
shows. We didn't really know how to get shows, even though
we'd all been in bands; we'd kind of forgotten how to get shows.
We recorded that just for fun, and then we were invited to tour
with The New Pornographers in Canada, and we thought we
should quickly get some product out if we were going to hit the
old regular stops. We put the single together on the fly and Mint
supported us wonderfully. Out it came, and that's all I know. We
sold lots of them on the road.
Maija Martin: Some guys in Calgary bought them.
Coco: Yeah, a whole bunch of drunk guys in Calgary bought 'em.
When was this little tour?
Coco: It was just across Canada, not very many dates....
Keith: We played six shows.
Coco: It was really fun. It was the middle of summer, and the
weather was beautiful. We did lots of swimming and go-kart
racing and roller-skating and sight-seeing.... It wasn't a very
typical rock tour. It was really family-oriented, in a weird way.
So I'm guessing there's a good band dynamic going on.
Coco: We're madly in love, all of us.
No egos?
Coco: Huge. Everybody.
Keith: Just the girls, actually....
Coco: Keith's more subversive with his massive ego.
Maija: He's just more passive-aggressive, you know?
Keith: I'm not ashamed of that.
Does this mean that all other projects are put on hold right now?
Is this getting 100% of everyone's attention?
Coco: Pretty much. This has become my main focus. I'd just
done some solo recording and stuff when we started The Gay. I
was playing with Tennessee Twin and about six other bands in
Vancouver, and I just slowly stopped playing with everybody but
The Gay, 'cause it was really so much fun that I eliminated other
things that were also fun, but this just meant more to me than
anything else.
Keith: I think we all will do other things, but this is the thing that
we all have the time to do each and every month. We might do
something else every now and then....
Maija: We've all done little bits. Keith and I played recently....
Keith: The Drunken Relatives.
Who spearheads the songwriting? Do you all take turns?
Coco: It's a real collaborative effort. We all come in with separate
ideas, but it's a band effort, for sure. So far we've all been singing
our own ideas, our own songs, but that's soon to change. I think
we're going to start writing songs for other people to sing. We're
just not there yet; we're still a bit nervous. It's a group effort, for
Do you all have your own space to live together, love together,
work together non-stop?
Coco: Some of us live together. Some of us might end up living
together, because our partners have had it.
Keith: Most of us have a good time all the time.
Coco: We like each other in an almost unhealthy way.
Keith: I didn't want to be in a band, but it was like finding four new
friends who happen to be girls who would take this guy to the pool
and play squash together.
You go to the pool together?
Coco: We have things called Gay Activity Days. Squash, tennis,
swimming, hot-tubbing, sauna, steamroom....
Keith: Hiking, skiing, biking, go-karting, river-boat-riding.
No paint-ball? Too competitive?
Coco: Maybe in the angry years.
Maija: We're sort of retro-sports oriented, thanks to Keith. Keith
curls, so we've gone out to Marpole to watch him curl.
Keith: And I'm going to get you girls on the pebble.
Coco: We're not sure about the one slippery foot and the one not...
That just confuses me on the ice. Maija and I also play hockey and
skate on Sundays.
But there's no official Gay team?
Coco: No. It's family hockey, so we have to hijack a child.
Who lets you borrow their children?
Coco: I have one, and he's mostly nice about it.
Maija: Sometimes he tries to skate away from me very fast....
Coco: That's convenient.
I've heard that you're not keen to talk about the band's name,
but there seems to be a lot of "Gay Team, Go!" going on....
Coco: We're a gay band, we write gay songs.
Maija: It's about reappropriating the word 'gay.' It means so much
to so many. Word ownership is a futile battle....
How about copyright infringement? Your logo is wonderful
[looks like the Bay's logo], but have you been spoken to about
that at all?
Maija: They don't care.
Coco: They don't care about the five t-shirts we've sold!
Keith: We've sold 20, come on....
Coco: Bill Baker was the genius behind that.
Keith: It'll be his label that gets sued.
Coco: We trust him.
Keith: Dictionary meaning number one of the word 'gay' is 'happy,'
is it not? Take that to the bank.
Coco, I just have to ask, as you've worked with Bif Naked and
Holly McNarland - how nice is it, not to work with crazy ladies?
Coco: I still work with crazy ladies! It's really nice to not be playing
professionally anymore, because I did that for years, as a session
player, and I did a lot of work that compromised my mental and
emotional state for the sake of feeding my family and keeping a
roof over my head. I was really lucky, I got to do tons of amazing
shit. I grew up playing in indie bands in Toronto my whole life,
but when I was about 21, I started playing professionally. I woke
up one day and I had been on the road forever. When I started
playing, there wasn't any chance of indie bands making money,
and then bands started getting signed to major labels, and you
could make money playing with other people. I had no idea that
that was absolutely empty, and I wasn't even exercising my skills.
It's fucking awesome to have a band that I like and to have friends
in my band, and to be free to do what I want to do.
And are you broke now?
Coco: Actually, I'm not. I have a fantastic job. I'm lucky all around.
But now that you know all about the pitfalls of the industry,
there must be no desire to return to it....
Coco: If you want to do that sort of thing, it's fine, but if you have
any emotional investment in quality or any love for your own
music, then it's a real pleasure to not have to try and make money
at it. Making music that you want to make, whether it's fucking
awful or not, is totally great. •
Interview by Kevin Chong, Photo by Cathy Matusicky
In the past few years, Shawn Mrazek (drums, vocals), Geoff
Thompson (guitar, vocals), and johnny Uljevic have played
in almost every local music venue. Their band, Notes from
the Underground, plays unpretentious guitar rock that has been
compared to the Velvet Underground and Crazy Horse.
DiSCORDER: How did you form?
Geoff Thompson: Shawn and I played together in a band called
Manta Ray, which was one of many bands Shawn had going at the
time. Then that folded. Shawn and Johnny lived together with a
couple of other people in a house that had a shed. And we all liked
to drink together. We eventually picked up instruments.
Was it different for you, Geoff and Shawn, to be the frontmen?
Geoff: It was a new thing, that's why we dug it. Playing guitar was
new for me, too—I sorta ended up playing it by default.
Do you think there's a frontman personality that you need to
bring out?
Geoff: I think you have to invoke a frontman personality, but that's
on a harder night. It's a cliche we've all tried to avoid.
Shawn Mrazek: Working with Johnny and Geoff is the easiest
experience I've had. Sometimes in a band people feel they need
to leave their own personal mark on the song to feel part of the
creative whole. It doesn't happen with us. No one's trying to
change each other's ideas.
Geoff: We're waiting for Johnny to step up to the mike.
When are you going to sing?
Johnny Uljevic: I don't know. I'm concentrating on other projects.
What's up with the instrument-switching?
Geoff: We're a band made up of a couple of bass players and a
drummer. We like to trade it up a little.
Shawn: We have different ideas on different instruments. We like
to play it as we wrote it.
How do you write a song?
Shawn: Some songs are written, even the lyrics, then and there.
Other times the entire song will be finished.
How do you make decisions?
Geoff: We have a rotating dictatorship.
But there are so many...
Shawn: I'm not influenced, but
Shawn: It's kind of like a democracy and a dictat
orship. So it'
Geoff: We like to take turns being on top.
But not the drummer from Triumph.
Geoff: I thought Rik Emmett sang for Triumph
met. She was really nice. We hung out and she came to see a Pete
really like Levon Helm from The Bastard show, and 1 was waiting for her the whole set and she only
got there for the last song. I got her name wrong—I called her
Mia—and that's when I started to strike out. And before we left, 1
started drinking a lot. I asked her if she wanted to marry me, but
she started laughing at me. But I want to send her the song.
Rik Emmett sang for Rik Emmett, but not Triumph.
Shawn: There's also Phil Collins and Don Henley. They're not a
hard act to follow.
Why did you pick the name "Notes From Underground"?
Shawn: We were all jamming and I had just finished reading the
book. I proposed the name to the guys and they had no objections.
I thought it would be taken already.
In a story, Japanese novelist Haruki Murakami writes that
Dostoyevsky "discovered the precious quality of human
existence whereby men who had invented God were forsaken
by the very God." Are there any gods, real or invented, that have
forsaken you?
Geoff: Maybe the one I learned about in Catholic school.
You guys all went to a Catholic boys' school together. How did
you feel when the school was close to being sold as part of the
Mount Cashel orphanage settlement? I really wanted it to be
Geoff: Me, too.
Johnny: 1 was indifferent.
Shawn: I have some good memories. Like playing in band class.
What were the bands you listened to in high school?
Johnny: AC/DC, Led Zeppelin, Guns 'N Roses.
Shawn: I listened to Rush later on. I [got] kind of turned on by
"Tom Sawyer," but not until later. Johnny and 1 went to a Rush
concert recently and it blew every expectation or stereotype I had
of a Rush fan. I pictured someone with super-long hair, skin-tight
Geoff: Because it's a Rush concert and you've got to dress up.
Shawn: But we walked in and there were 18-year-old hot chicks
dancing to "Tom Sawyer." I never thought I'd see hot chicks
dancing to Rush. I saw some scenesters, too. People try to pretend
they don't like Rush, but they're there. But I'm totally pro-Rush.
Johnny: The lights would go on during the drum fills and everyone
on the floor was playing air drums. It was almost choreographed,
but I'm sure no one knew each other.
Shawn, are you influenced by any drummers who also sing?
Shawn: No.
n, tell me what inspired your song "Nela."
n: It's about a real person in Slovenia, a beautiful person I
What about "I Saw Her First"?
Geoff: The song was written during a time when a couple of good
friends were hard up with a couple girlfriends who wouldn't give
them the time of day. I wrote that song as a smug love song to say,
"Hey, forget about her, let's just hang out and play rock music."
What are the best and worst things about the Vancouver music
Johnny: I like the bands. I love Thunderstruck, Benedict Patrick,
The Accident. The worst thing about it is that we've been playing
for a couple of years and you meet all the bands and all the people
and it's all the same.
Geoff: It's a small community, which is the best and worst. There
seems to be a lot of actual talent happening all at once. But in a
town like Vancouver—it's almost too easy to blame the town—
there are very few people not making music who are seeking it
Shawn: I think there's some really good stuff in Vancouver. The
worst thing is that you get a little jaded. It's hard to get people to
shows. Maybe that's our fault. Generally, 1 think things are looking
up for Vancouver.
What's it like to be on Stutter records?
Shawn: It's definitely helpful. Jason and Allen from the Nasty On
have been a great help. Telling the right people about our shows,
getting us CITR airplay.
Geoff: They're really organized where we're not.
What do you guys have coming up?
Johnny: We're playing at Pat's Pub on April 27th.
Geoff: We've got to take it out on the road. Probably Canada first.
Shawn: We want to do it all. Really only Vancouver, and not very
much of Vancouver, has heard the record. We want to see how far
we can take it.
If you could play any place in Vancouver, where would you play?
Who would you play with?
Shawn: I'd love if we could play at the Vogue and the Commodore
where I played with Flash Bastard and the Dirtmitts.
Geoff: I'd like to headline at the Commodore.
Johnny: At the Pacific Coliseum, opening for Rush and AC/DC. •
20 April 2003 AXIS OF ALCOHOL
Interview by Zsofia Zambo
The Rye Coalition were in for it. They had a reputation
for getting into it with interviewers, so I grabbed my
liberty gin and dark sunglasses, and headed downstairs
with a recorder to ask them some random questions before
the show, because I knew that if the interview was conducted
afterward, I would have either been a) too drunk, b) kicked out
of the bar because they close so early, or c) too captivated by
the live performance to mutter anything coherent. Maybe even
a combination of the three. Fortunately, cooler and more sober
heads prevailed on all sides and I was able to ask a few questions
to the New Jersey based rock band.
Just to start off, introduce yourselves and give your ages.
Ralph Cusegiio: Hi, I'm Ralph. I am 27, and I sing.
Justin Morey: Hi, I'm Justin. I play the electric bass; I'm 27.
Herb Wiley: Hi, I'm Herb. I play guitar. I'm 25.
Jonathan Gonnelli: I'm Jonathan. I play guitar as well. 26 and a
Where are the Lido brothers?
Ralph: Jersey City. That's exactly right. Greg hasn't been in the
band for some time now. Since The Lipstick Games. That's '98, I
think. He hasn't been with us since then. And Dave is at home
right now, going to school. He's still an active member of Rye;
he is just not touring with us right now. One Lido member is still
with the band; the other is much loved, but married and on the
way to domestic life.
Why so long between albums?
Ralph: This past year was the first time we've ever been a full-
time functioning band. Before that, we started off as serious in
high school, and then we kind of left for college. Then people
moved and we were never in the same part of the country for
more than three months of the year. So we would have to write
songs, play shows, tour in a span of like three months. That
doesn't give you very much time to tour around, to pretend
you're an active band. We're a band, in theory. A really good
A really good theory? Or a really good band?
Ralph: Both.
Obviously, you listen to a lot of Zeppelin.
Everyone: [laughter]
Justin: Yeah, I think our parents are to blame for that.
Ralph: I would agree—we should hold them responsible for
Are you ever asked about Merel?
Ralph: Well, we used to be when we first started out, like the
first year or so, because Dave was in Merel, and then Greg [was]
later on. But hardly ever anymore. It's like one of those things...
Justin: That if kids do their homework then they will ask, but if
not, they don't ask.
Ralph:  It doesn't seem to register anymore—most kids are
like "Mere! who?" They don't know, but years ago we got more
questions about it.
How long have you been playing music for? Together and in
Justin: I'd say I was 11 years old.
Herb: Yeah, I must have been around 14.
Ralph: l was 16—a year before I started with Rye. So, Herb, you
were about 15? When we're 28 it will be ten years, because we
didn't actually play out until Justin and I were 18 years old.
Justin: We'll have a decade reunion with lots of ballerinas.
How was having Steve Albini produce your album?
Everyone: So cool.
Justin: He is a beautiful man. He is a genius; I admire him. Agood
comedian, very hospitable.
Does he have [Phil] Spector-type quirks? Did he carry a loaded
Ralph: No... well, I guess he has quirks, like anyone. But the thing
about Steve is that he—I don't know if this happens for every
band, but it happens for some—becomes like a sixth member of
the band. It is his job to play the engineer board and the sound
board to make you sound the way you've always wanted to,
and that's what he is good at. He becomes this other member
of a band during the time you're recording, so I can't really say
enough nice things about him, and we're friends these days. I'm
very biased. But yeah, good guy.
What can you tell your fans to expect from the latest album?
Ralph: I don't know, really. I think each one of our records
is slightly different, but you can always tell it's Rye. I think
it's a really good thing, and I think it's going in a progressive
Is there any particular reason it changes? Or is it just because
you are becoming better musicians?
Justin: It's a combination of both. We are constantly evolving.
[That's] just to be expected with musicians to begin with.
Ralph: I think it's also that we've been playing together for a
long time. We know each other very well. I think it also depends
on a lot of what you're listening to—what your influences are,
ind when you'n
ting the record.
Do you have any particular influences?
Ralph: Particularly? No, it changes all the time. That's the nice
thing about our band: we might have taken a long time between
records, but it changes drastically, and it gives us time to go
through these phases of what we're listening to. And any band
that tells you their music isn't derivative of something else is
fucking bullshitting you. It's just the way it works, since the
beginning of time. I think that, when we come together to write
songs, our ideas come together in some kind of weird melting
pot, because we're never listening to the same things at once,
and everyone brings in different elements.
Why the smarmy attitude towards rock critics? Bad experience
with Heart Attack magazine?
Ralph: Wow. That hasn't come up in a long time. Well, the Heart
Attack thing was so long ago, and we were tagged with the
scumbag image long before that came out.
How do you think that came about?
Ralph: It's because we don't pull punches. We're straight
shooters, and people don't necessary like to hear certain things;
they don't like the truth sometimes, and I think we're pretty
direct. A lot of people, I think, tend to walk around the truth, or
they fluff it up a bit so it's less abrasive, and we don't have time
for that. So, I think it comes off as being abrasive, or people
saying we're scumbags. I don't think that's necessarily the case;
1 just don't think people have adjusted to dealing on a personal
or dialogue level. But I don't know... the Heart Attack thing was
so long ago. We've always kind of had this pariah-thing attached
to us that we're fuckers, but we like it and have grown into it.
Justin: A lot of people, their initial interpretation of us is to
assume we're an act and playing a game. In actuality, we grew
up in the area of New Jersey City. It made us not take shit from
people, and it's just basically your instinct of survival. Its not
intentional; we're not intending on displaying this attitude.
At the same time, it just comes across that way. Some people
respect it, and 89% probably don't.
Ralph: They'd much rather just say we're stoners.
Justin: And they'd much rather resort to that description of us
being assholes. But if you ask anyone who hangs out with us for
more than five minutes, they will say we're great guys.
Ralph: And that's the thing with bands and people you meet:
people are always telling us that we get "the most fucked-up
rep," but some people might find that cool about us. I guess it
works either way. People might be into that badass image we
have. We generally don't get messed with too often. •
21 DiSCORDER BnfflfflEIffiHm:
under review
recorded media
Antipop Consortium
Antipop vs. Matthew Shipp
(Thirsty Ear)
Years ago much noise was
being made about the cousinlike relationship between jazz
and hip-hop. Unfortunately, not
much good lasting music came
out of that idea.
The latest from Matthew
Shipp's Blue Series on Thirsty
Ear finds the now defunked
avant-hiphop outfit Antipop
Consortium (actually just
Beans and Priest on this outing) taking a stab at the amalgamation of jazz and hip-hop.
Unfortunately, what you get
in the process is a somewhat
remixed version of what Shipp
and Co. can do and/or a less
than inspired outing from the
Consortium crew with not a
lot happenin' in between. While
Beans at times drops some
thought provoking verses,
Shipp's outright quoting from
Miles Davis' Kind of Blue makes
me wonder whether he simply
ran out of decent ideas of his
own. A shame, as I was hoping
that this would kick some cerebral butt, but neither my mind
nor my ass wants to follow.
Paul Clarke
The Apes
The Fugue
Have you <
just punch
as hard a:
n the Fog
r had the urge to
n the face,
> And I'm
not talking about someone you
know, or that jerk who made
your significant other cheat on
you. I'm talking about a total
stranger on the street whom
you have nothing against. It
doesn't necessarily have to be
that you're crazy, you could just
have some pent-up anger. Or it
could just be that it would be
cool. Kinda like the Fight Club.
There's just something that
would feel cool about punching
someone else in the face—it
would even look cool if someone you walked past on the
street punched someone else
in the face! Yeah, that would
be wicked. Sometimes violence
really is cool. Why look for inner
peace when you can just beat it
out of someone else? And do
you know what also pisses me
off? Bands that have those
wussy guitars. It's about time
there was a band that just had
deep, heavy, fast music. And did
I mention deep? Oh yeah, and
screaming. It should have lots
of screaming. And loud. The
Apes are gonna mess you up.
Soren Brothers
The Beans
Inner Cosmosis
(Forever Bad)
Do you understand that this
was recorded live? Not live in a
studio, but live in some crappy
room with a crowd of people in
it. That's one take. And no mistakes. It's one 63 minute song.
It's very good.
Christa Min
Bend Sinister
The Warped Pane
(Truth Hurts)
My love of '70s prog-rockers
Yes is not something I share
with everybody. I will never
forget the night when 1 silenced
thou music snobs by admitting
that Close to the Edge was one
of my favourite albums. These
days I choose to avoid possible
confrontations, and keep my
interest in classic progressive
rock to myself.
However, I know 1 would
never have to hide this key
element of my personality
from Bend Sinister. The four-
piece instrumental group (and
self-styled boy band) originally
from Kelowna are unafraid
of alienating the occasional
listener with their particular
brand of modern prog-rock.
Their second album is complex
and lengthy, drawing heavily
upon math-metal, a discordant
style that is an acquired taste,
to say the least. While influenced by this tradition, Bend
Sinister also bring jazz and
pop influences to their work.
Heaviness is tempered with
fluid guitar and bass melodies,
creating a sound reminiscent at
times of Tortoise and the more
structured moments of Don
According to guitarist and
bass player Naben Ruthnum
("the cute one"), their sophomore release is their first as a
serious band, having spent two
years both geographically fractured and immersed in work,
school and other projects. Plans
for the next album include adding vocals and playing together
on a regular basis. I sense definite Yes potential, so it's likely
only a matter of time before
fame chews them up and spits
them out, leaving them morbidly obese and artistically
bankrupt, playing ballads to
middle-aged stadium crowds.
I advise you to pick up this
album at Scratch, and get them
while they're still young, impassioned, and dare I say pretty, as
all boy bands should be.
Susy Webb
Burquitlam Plaza
Big On Fall/Sing! Burquitlam
(Hive-Fi Recordings/Deer and
Bird Records)
It's no secret that I adore the
work of Nick Krgovich, aka that
boy with glasses who plays in
chamber pop group p:ano So
just how unbiased is this review
going to be? Not very. But,
dear reader, if you too have the
love for such dreamy acts as
(insert name of band that you
adore that references Belle and
Sebastian or Low) then boy do
I have an album—or rather, two
albums pressed on one CD (for
economical reasons)—for you.
The first half of the CD,
Big On Fall, was recorded in
December 2001 at Krgovich's
house by Colin Stewart.
There's the sweet hit "I Sang
In Church" (often heard in the
Burquitlam Plaza live set) and
the lovely "Flowers (Don't You
Bring Me No)." Unfortunately,
Burquitlam Plaza patented
covers of soft favourites such
as "Smooth Operator," "Bills
Bills Bills," or "Love Lifts Us
Up Where We Belong" have no
place on this record. To include
covers would probably bankrupt Hive-Fi and Deer and Bird.
But you can listen to "Smooth
Operator" on the Hive website.
It's good. Trust me.
The second half of the
album is Sing! Burquitlam Sing!
Here, friends of Burquitlam sing
songs by Burquitlam! What
a swell idea! There's a rendition of "O Beauty" by Jon-Rae
Fletcher, "Fighting or Asleep"
by Veda Hille, and "All Around"
by Ashley & Amber Webber
(the darling sisters from The
Organ and Jerk With A Bomb.)
There's more, but you'll have
to find out for yourself. Yes, if
you loved p:ano's When It's Dark
and Its Summer, you will love
this album. And if you adore
Vancouver's indie music scene
and the stuff that's coming
out of the Hive at the moment,
you'd be a fool not to get your
hands on a copy of Krgovich's
latest opus.
Doretta Lau
Dark to Light
(Blue Fog)
There's something to be said
about albums that are absolutely mind-blowing beyond
recognition when under the
influence, but still engrossing and beautiful when sober.
Elevator's latest album does
not fall into this category. At
the moment I am sober, and
what I hear is a muddle of delay
pedal and distorted voices and
guitar. 1 just tried reading the
booklet for some direction or
guidance in interpreting the
music, but the writing is microscopic and appears to be something about rivers and valleys
calling. The lyrics don't help me
much more, the first discernible
lyrics coming after about half
an hour, and describing the
effects of marijuana use (the
song is called "High"). There
are, however, two factors that
save this album. Dallas Good
of The Sadies sings and plays
guitars on several tracks, and
gives the trip an interesting
and somewhat enchanting
turn towards country music.
Second is the (not nearly) occasional appearance of singer
Tara White, who also brings a
beautiful melodic element to
the music in songs such as "Full
Moon Song." In short, calling an
album "Darkness to Light" and
putting utterly incomprehensible songs at the beginning and
less incomprehensible songs at
the end does not make for a
positive mind-blowing experience. If anything, it makes for
a headache.
Soren Brothers
#1 Record
For those of you who bought
this album two years ago on
German label International
Deejay Gigolo Records you can
choose to read on or skip over
to the next review. After probably what was quite a major
label battle, Capitol/EMI won
the rights to re-release this
highly hyped Electroclash
album (don't you just hate
the word "Electroclash"?).
There's good reason for all that
corporate bloodshed though,
of all the electro-dross out
there, this is at the top of the
heap. And furthermore, at
already age two, this album
is one of the earlier releases
that started the synth renaissance we seem to be experiencing at the moment. So don't
_ mistake these guys for jumping
on the bandwagon rather than
leading it. Capitol sweetened
the pot for us Fischerspooner
veterans by adding three
brand new songs and a remix,
"Sweetness," "L.A. Song," "Mega
C," and a Junkie XL remix of
"Emerge" (the last two being
hidden bonus tracks). These
all still maintain the quality of
earlier songs. They also mixed
up the track listing a bit, good
or bad... who knows? Other
goodies included are a fold
out booklet with mega photos
of this kooky-looking band
and a limted bonus DVD disc
with a documentary, show
history, MORE remixes and the
usual blah, blah, blah. Fun! For
those of you who are just getting to know our fine friends,
Fischerspooner, they are a
New York art collective (there's
like a million people in this
band!) based around two main
members: Warren Fischer and
Casey Spooner. It's '80s style
synth-pop for the fashion
runway, but more in a punk
Vivienne Westwood kind of
way than Liz Claiborne. One
might want to say that they
stole a few clothes from
Depeche Mode, Human League,
and Gary Numan's closet and
added some new millennium
accessories. It's really a very
pretty ensemble! Despite
the nouveau CD packaging
and extra songs my favourite
standout tracks are the adrenaline pumped disco anthem
"Emerge" and a sublime cover
of Wire's "The 15th." Go and see
this band at the Commodore on
April 22: my instincts tell me
this is going to be quite a show!
Christine G
(Le Grand Magestery)
The press sticker on the case
says Flare's Hung sounds like
The     Velvet     Underground's
"Heroin" heard through the
dark new wave visors of
Morrissey. Eh? What bollocks.
That makes absolutely no
sense. New wave? Morrissey?
Excuse me? Morrissey is new
wave? Since when? Bloody
New York Times. It just shows
you when their writers stopped
listening to contemporary
music. Middle of the 80s? By
any chance?
But you can't blame Flare
for this: it was probably the
record company's idea to
put the sticker on the case.
However, what you can blame
Flare for is the bloody music on
this CD. If this is chamber pop,
I'm heading for the cupboard to
go bite on a blanket. Apparently
lead vocalist L.G. Beghtol has
worked with The Magnetic
Fields on 69 Love Songs. I have
that album, and if it's so good
why does a neglected copy lay
collecting dust on my CD shelf?
I don't much like them, so why
mng  i
tation? I think L.G. Beghtol is
also channelling The Pet Shop
Boys' Neil Tenant. Does that
sound dirty? Well, I apologize,
but seriously, he affects this
breathy English accent when
he sings which bugs the shit out
of me—I'm English and I don't
sound like that when I sing, so
why should he? He's a yank for
god's sake. Too many lonely
nights with only Belle and
Sebastian records for company,
I should imagine, that's usually
how it happens.
Anyway Flare drone on and
on, proving that old adage: a
mediocre song plus opulent
production does not a good
song make. "That's not an old
adage," I hear you cry. Well, it
bloody well should be. They tell
you that they "don't like the
way we live now." Suck it up,
asshole. Like I care. They also
wonder who "will teach them
to love?" If I were them I'd be
more concerned about who
will teach them to sing, if this
is, in fact, their chosen career.
Then—making it all to easy for
a twisted hack like myself—L.G.
Beghtol confesses he'd like to
be "found dead, face down,
with a bullet in [his] head."
Don't fucking tempt me. Flare:
Hung—they fucking should be.
MereJc Cooper
22 April 2003 Fruit Bats
A recipe for Fruit Bats:
Take Eric Johnson of Califone
and add Gillian Lisee on keys,
bass, and mandolin. Stir in
three cups of gentle country
melodies with two cups of
pop and a handful of Sloan-y
vocals. Marinate in a mixture
of melancholy and lost love.
Add strings and the spookiest
La La La's to track five. Toss
some wooshy, squishy scratch
into track six. Don't forget the
percussion that sounds like
change jingling in someone's
pocket! Make each song slightly too long. Baste with a little
Young and Sexy, then garnish
with outer-space noises. The
album at this point should be
inconsistent, but appealing.
Release on Subpop and serve.
Howe Gelb
The Listener
(Thrill Jockey)
Giant Sand front man Howe
Geib's latest solo outing is the
soundtrack to trailer parks, big
open skies, lonesome musings
and overheard truck stop diner
gossip. So why is a good portion of this recorded (on tape
no less) in Denmark? Because
that is where some of this disc's
collaborators, Under Byen, hail
from. Also on board for the
hayride are Brett and Rennie
Sparks of The Handsome
Family and fellow Giant
Sand members and Calexico
frontmen Joe Burns and John
The second track,
"Felonius," features some
humourous musings about
the piano-stealing Lou Reed
licks which good ol' Lou probably lifted from somewhere
else. Howe does mention however he wished they were Duke
Ellington or Thelonius Monk
ripoffs instead.That gives you
a good idea where this music is
coming from: low rent with high
ambition. Songs for that lonely,
dusty sunset of the soul.
Paul Clarke
The Go-Betweens
Bright Yellow, Bright Orange
I like tennis and oriental tea
without milk, cream, or sugar.
I like going home early and
Trivial Pursuit. I like Chopin
waltzes, Beethoven sonatas,
and Painted from Memory
by Elvis Costello and Burt
Bacharach. Sometimes I wear
white golf shirts with white
walking shoes. I can't read
without my glasses, but I
love The Go-Betweens, which
proves that I'm young and hip.
Wait, only old people like The
Go-Betweens. Fiddlesticks.
Christa Min
Kristen Hersh
The Grotto
A grotto is a small cave or
cavern. Hersh's grotto is a
metaphor for depression: both
sonically and lyrically, this
album takes the listener deep
underground to experience
a confused, numbed state of
mind. There are no drums or
bass here, nothing definite
to cling to, nothing to move
the sound out of this reflective sorrow. There aren't even
many chords, the vocals often
suspended by nothing more
than a finger-picked acoustic
guitar. These songs tend to
blur together, and I'm not sure
that Hersh's voice can support
such sparse arrangements: her
range is limited, and she often
sounds like she's just speaking
rhythmically, instead of actually singing. The best tracks
on the album include piano,
and restrained but lovely violin
that express what her voice
Hersh is, of course, more
of a lyricist than a singer, and
here it is the words that takes
precedence over the voice. The
Grotto's lyrics are mysterious
n still s
ing through the fish-tank, with
a fist full of Valium. This lukewarm catastrophe is a recipe
for rebirth... or so I overheard."
This album-length portrait of
depression really draws the
listener into the mood, though
this success may also be the
album's weak point. It mires
itself in a delicate melancholy
that doesn't seem to really go
anywhere after the atmosphere
has been established. But it's
an interesting place to be stuck,
Lightning Bolt
Wonderful Rainbow
Like a couple of dirty cavemen somehow bestowed with
the golden keys of heaven,
Lightning Bolt has made a
huge leap from their previous
albums and delivered one of the
roughest, heaviest, and funnest
chunks of raw transcendence
ever laid to tape. The most
obvious difference between
Wonderful Rainbow and their
last release, the undeniably
awesome Ride the Skies, is the
introduction of sonic diversity.
Where before they cruised in
the single gear of colossal,
punishing grooves, they now
introduce fragility, melody,
and quiet beauty into their gut-
wrenching feedback squalls.
The result is nothing less than
the total transformation of
being through noise—after
seven tracks of jaw-dropping,
mind-bending anthems, the
restrained loveliness of the title
track feels like the cool sponge
bath that follows a ten-round
bout with a robot unicorn sent
from heaven to pound you into
enlightenment. Of course, this
is only a brief respite, because
as soon as it's over, you get
thrown back into the ring
with "30,000 Monkies." "Two
Towers" is unquestionably the
album's high point, though,
when after a warm-up of stupidly    technical    kit-bashing,
the two Brians (Chippendale-
talking drums, Gibson-bass)
that comprise Lightning Bolt
kick into a monster two-note
groove that rages back and
forth across the plains of
Gondor for a full five minutes,
slaying everything in sight
before descending into an orgy
of triumphant corpse-fucking.
In the next track, "On Fire," and
the following "Longstockings,"
Gibson actually drops the
distortion altogether for minutes at a time and plays with
a cathartic clarity that clears
the head as it pummels the
body. This is the kind of thing
that separates Lightning Bolt
from their contemporaries in
weirdo noise-rock; they have no
interest in arty ambience like
their friends and neighbours
Black Dice, or the pretensions
of avant-jazz metallists like
Ruins. Instead, they strive for
the wide-eyed enthusiasm of
a child's crayon drawing, their
ham-fisted, blood-and-sweat
approach defying attempts
(like mine) to intellectualize
their unstoppable lust for life.
Because in the end, Lightning
Bolt is a happy band, so crazed
with joy that the only possible expression is the beautiful
chaos of total destruction.
Nicolai Dunger
Soul Rush
I could say any number of
things about the way Nicolai
Dunger sings, plays, and
arranges his songs, but there's
only thing you really need to
know: he sounds exactly like
Van Morrison. There's a little
bit of Nick Drake in there too,
and traces of Jeff Buckley in the
vocals if you want to really dig
for influences. It's really quite
pretty stuff, but there's just
no reason why you should buy
this album unless you already
own every recording by the
(infinitely more essential)
aforementioned musicians.
His lyrics, I might add, are also
quite poor—most likely a result
of the Swede's inexpert grasp
of English. His gravelly vocals
defy interpretation most of the
time, though, so this is a minor
issue compared to the fact that
these twelve tunes, while quite
accomplished and even rather
charming, are also utterly
forgettable. If you haven't
already, buy Astralwerks, Pink
Moon, and Grace, and leave
Nicolai Dunger to the teenaged
Swedish girls who bought this
album just because he's hot.
The Spam Avenger
One Man's Attempt to Rid the
World of Unsolicited E-Mail
(Catch and Release
"Hotmail Username. Password.
Inbox: 15 new messages. FREE:
Penis   Enlarging   Pills.   FREE:
cellphone service. FREE: Bible
seminar.      FREE:      unlimited
wealth opportunity."
If these are the words that
greet you every morning when
you open your email, The Spam
Avenger may be just what you
need. Imagine, contacting all
the companies that send you
unwanted spam and pretending to be interested in their
product when you are not, and
slowly revealing to the telemarketer on the other end of the
phone that you are interested
in their free cellphone service,
for example, because it will
help you more effectively run
your hitman service. And then,
when they're starting to get
creeped out by speaking to
what they think is a hitman,
keeping them on the phone
as long as possible by talking
about everyday subjects, while
still occasionally mentioning
how your hitman business has
been booming lately.
This is the sort of stuff the
Spam Avenger does. He phones
up spammers and gets back
at them. And listening to it is
funny. Really funny, actually.
Because it makes you realize
how far telemarketers will
go on the phone with a total
weirdo stranger if they think
they'll be able to make a sale.
When receiving an unsolicited
email, the Spam Avenger looks
for the toll-free number on the
bottom promising unlimited
wealth and gives it a ring. He
then calls up and says something like: "Hi, this is Leonard.
I am EXTREMELY excited about
this opportunity for financial
freedom." Once engaged on the
phone with the third party, the
Spam Avenger attempts to stay
on the call as long as possible,
solely in order to cause mischief
and waste the company's time
while running up their long distance bills.
The problem with this CD
is that listening to 70 minutes
of poorly-recorded telephone
'interviews' is not exactly my
idea of a good time, no matter
how funny they are in short
spurts. So, it's not the most
marketable CD ever. But considering Mr. Avenger's goals are
to topple the blatant commercialism of many companies, I
doubt he expected to make
thousands  of dollars on this
The Reunion Show
Kill Your Television
Whoa. Turn down the suck. This
album, more aptly named "Kill
Your Stereo," is painful from
start to finish. Well, actually,
that's a little harsh. It probably
would have been more enjoyable if I was a twelve-year-old
girl buying glitter and bubble-
gum at the mall. This slick plastic package might as well be the
free soundtrack that comes
with every subscription to Tiger
The intro to the first song
has some decent chunky pop-
punk riffs, and vocalist Mark
Thomas does a bit of interesting
moog work, but then Mark disappoints by opening his mouth, j
An example of some of the lyri- j
cal waste that he spews, from
"Stuck On You": "oh please cutie j
/ won't you come and meet mej
/ underneath the elm outside /
we'll hug and giggle / maybe our
lips will wiggle." Twelve-year-
old. Bubblegum. Mall. Victory
Records used to be one of my
favourite record labels. They
gave me Thursday and Taking
Back Sunday! Why, then, this
pitiful plunge into mediocrity'
Maybe Taking Back Sunday':
Adam Lazzara and John Nolan
can teach these Reunion Show
kids a little about being litera
Maybe someone will send thi
a dictionary. Or maybe I shoi
just learn not to judge a band
by its label.
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23 DiSCORDER real live acti
live music reviews
Commodore Ballroom
Thursday, February 27
It can be hard to describe a
concert which seems to be at
once four opening acts and
four headliners. Beyond this, it
only complicates things when
the supposed headliner is a
band which seems to be getting
the worst press of all. While it
could have been overwhelming,
I was able to face the challenge
once my music festival hat was
on, considering each band as
developed and popular in their
own rights, each with their
own set of fans. To kick off
the concert, Oredg, the least
known of the bands given by
the crowd and word of mouth,
created an absolutely beautiful
experience. Coming out as perfectionists, they were endlessly
trying to innovate with new
sounds and textures in their
music, and were happy to take
their time and showcase the
music their fans would want to
hear—a wonderful thing for an
opening band to do. Especially
exciting was that the drummer
continued to play as the set
finished, and as they disassembled his drum set, playing
on the microphone by the end.
Hot Water Music and Classjaw
were the next two up—both
obviously had some crowd support given the healthy mosh pit
and rows of smiles and bouncing heads everywhere, and I
actually started wondering if
anyone was actually here to
see Sparta. Having just read
the recent Ubyssey article ridiculing Sparta, and hearing the
popular notion that they're just
a bunch of has-beens who are
not (but maybe should be?)
At the Drive In, 1 figured that
there could be no better way to
see if these guys were for real
than by actually seeing them
in person. And the verdict? The
rockers from El Paso grabbed
everyone's attention, and just
crowded The Commodore
dance floor with immobilized
standers enjoying the lights
and grinding music. They write
powerful emotionally driving
music, and they know it, and
the crowd at The Commodore
knew it. As with most festivals
I felt spread a bit thin, without
being able to give any particular group the concentration it
deserved. Still, I couldn't help
but enjoy the atmosphere of it
all, let alone the buzz in my ear
as I got on the #10 with my slice
of post-rock pizza.
Man Meets Bear
February 27-March 1
Toronto, Ontario
Canadian Music Week is an
annual festival in Toronto
where Canadian bands are
showcased to the music industry, the media, and the fans. It's
not for the lazy; you have to try
to soak in as much as possible
with 150 bands playing at 28
locations for three nights.
I began my CMW adventures at the Horseshoe Tavern
on Thursday night. Spek was on
stage. Spek featured a male and
a female vocalist with backing
guitars and drums. If you combine the B-52's with Cypress
Hill, you'll get Spek. They were
singing sugary sweet hip-hop
songs and I mildly enjoyed
the show. Next up were The
Snitches from Montreal. Scott
Moodie (their singer) was the
craziest person ever to appear
on stage! He was flailing his
arms and shaking his body
like a madman. The Snitches'
songs were energetic and fun,
but who the hell cares as everything was being overshadowed
by the fantastic Moodie. A band
from Hamilton called Warsaw
Pack followed the Snitches.
They were a hip-hop/jazz/rock
band that seemed to sing a lot
about politics. Partly because I
couldn't decipher their lyrics,
and partly because all their
songs sounded the same, I got
bored and decided to leave. I
went into a club called The 360
and a band called The Livid had
just begun their set. I believe
The Livid performed generic
mainstream hardcore rock,
but I can't really remember. My
memory is good at forgetting
awful things.
Friday night started off
with Vetch at the Victory
Cafe. Vetch consisted of Kora
Woolsey on acoustic guitar,
occasionally helped out by a
guy with a horn. Kora had a
great voice but it did not seem
to suit her music. The music
was mellow and soft but her
vocals were too over powering. After a few songs by Vetch
I left and walked to the Tequila
Lounge to catch CiTR Shindig
2002 champion Black Rice. I
arrived a bit too early and a
group called Dee was on stage.
Dee played exactly the kind of
music you'd expect to hear at
a dance club filled with under-
aged teenagers. Heavy on the
beat machines and dependent
on the voice synthesizer I did
not find their music too original
or exciting. Eventually the time
came for Black Rice to perform
and they kicked some serious
ass (no surprise there!). Maybe
because the Tequila Lounge
was too obscure or remote
there weren't a lot of people
there to enjoy the show, which
was disappointing. After Black
Rice I went to the El Mocambo
for the Two-Minute Miracles.
The place was packed. The
Two-Minute Miracles delivered what the crowd came
for — song after song of
deliciously crafted pop gems.
Andy Magoffin was brilliant,
and with his lyrics he proved
again that he is one of the best
songwriters around. After the
Miracles a friend of mine told
me to go see this band called
The Barmitzvah Brothers at
the Silver Dollar. I'm glad I did.
The Barmitzvah Brothers are
made up of two girls aged 18
and two boys aged 14 and 15.
They were nothing short of
amazing. Using bizarre instruments like a kitschy keyboard
and a hockey stick with chains,
they played quirky unpredictable art rock tunes that I never
expect from a bunch of kids.
Some of their songs are priceless, especially one about committing mail fraud - an instant
classic! I stayed at the Silver
Dollar the rest of the night and
saw two bands afterwards, The
Bicycles and Space Elevator.
Both bands were of the indie
pop rock variety, and both were
adequate. The Bicycles were
the better of the two, with their
'60s style pop songs, soft and
overloaded with harmonies,
whereas Space Elevator performed more straight up style
rock with a few country songs
mixed it.
The Meligrove Band at the
Horseshoe started off my last
night at CMW. What energy!
It's obvious that these guys love
what they are doing. Their rock
tunes were filled with hooks
and were extremely dance-
able. You could say that their
music sounds a bit too similar
to the likes of Thrust Hermit
or Superfriendz, but is that
such a bad thing? Someone
has to carry the east coast rock
torch. By the time Vancouver's
own The Organ appeared
on stage the Horseshoe was
completely packed. One of the
biggest buzz band at CMW,
it was obvious that everyone
was there to see The Organ.
This was a huge accomplishment for them. They did not
disappoint, presenting fans
with a dark and chilling show.
I headed straight to the Silver
Dollar to see Winnipeg's Paper
Moon afterwards. They got a
new bassist and he seemed
very excited to be in the band
(apparently he's a longtime
fan and once even asked for
their autographs). He fit in well
and Paper Moon delivered an
assortment of incredibly enjoyable rock songs. The Heavy
Blinkers was a band that 1 have
been dying to see for many
years. They got on stage right
after Paper Moon. Well, most of
them. The stage was too small
for this ten piece band so some
of them had to stand off stage.
Their joyful music was loaded
with clever arrangements and
Sparta, Commodore Ballroom.
Photo By Emily Kendy
24 April 2003
perfect harmonies. I was very
impressed but I was told later
that the band is even better
when playing in their hometown of Halifax, with a bigger
stage and a sound guy that
better understood their instruments. Vancouver's Radiogram
provided the perfect ending for
the night with their mellow art-
rootsy music. Their quiet and
relaxing set was exactly what 1
needed after three long (albeit
fun) nights at CMW.
Ben Lai
Commodore Ballroom
Sunday, March 9
After the mediocre Ladytron
show earlier on in the week,
I was unsure of what to
expect from these fresh-faced
Norwegians of lesser popularity. I was, however, more than
surprised to see almost 800
people at a show for an act
whose debut and only full-
length album, Melody AM, was
released domestically only a
few months ago.
While less known than
England's Ladytron, Royksopp
(Norwegian for a type of mushroom) are the most commercially successful of Norway's
electronic exports—a list that
includes stalwarts like Mr.
Velcro Fastener, Mat 101, and
Geir Jenssen (Biosphere). After
a string of successful singles
with Melody AM, Royksopp
stormed the scene. Mention
of their album alongside such
electronic pop releases as
Moby's Play and Air's Moon
Safari, Rbyskopp is posed for
I'd love to be a sarcastic
mother and slag these lads, but
they brought the beats (and
the digital drums!) that Sunday
night, there's no denying that!
Torbj0rn Brundtland and Svein
Berge looked genuinely excited
to play Vancouver. With one
member on keyboards and
various electric apparatuses
and the other banging furiously
on those electric drums made
popular in the '80s—both
accompanied by an able but
cheesy-looking bassist who
would have been more at home
with The Boss's band than with
the dance-floor house/electro-
pop duo who's name no one
can pronounce—Rbyksopp's
stage presence was delightfully
energetic and playfully corny.
Making up for not dragging
guest vocalists included on their
full-length like fellow countryman and Kings of Convenience
member Erlend 0ye, the duo
sang the vocals with heavy processing for effect.
A couple of encores, a
couple versions of "Poor Leno,"
a few elated moments inspired
by Rbyksopp's funked-out summertime soundtrack music, and
the three left the stage. They
didn't seem to want anything
to do with the record label's
private meet n' greet arranged
for them: the duo walked onto
The Commodore dance floor almost as quick as they left the
stage. Chatting briefly with one
half of Royksopp, he seemed
to be more interested in my
female companions than my
star-fucking attention. When
I asked him where his partner
in electro-crime was, he replied
in a heavy Norwegian accent,
"Probably off fucking some
girl." Who says electronageeks
can't be rock stars?
Robert Robot
Richard's On Richard's
Thursday, March 20
The a
vith a
pation and a diverse, bustling
crowd as seemingly every
music lover in Vancouver
turned out brimming with
hometown spirit for the return
of this city's favorite son, and
the first Destroyer show since
his solo spot opening for Cat
Power last March. Sinoia Caves
started the show off with a solo
electronic set consisting of
deep, heavy drones and dark
and spacey keyboard melodies,
accented occasionally with sublime, heavily processed vocals
that would make Schneider TM
jealous. When he left the vocals
behind, though, his music
ventured too far into repetition, and the impatient crowd
was hardly in the mood for
his ambient soundscapes. Jerk
With A Bomb has a lot of fans
in this town, and though I've
never acquired the taste, their
stark and dusty brand of alt-
country/new wave certainly got
the people a little more amped
up. Adding a fourth member to
what was formerly a duo, one of
the lovely ladies of The Organ
contributed backing vocals and
tambourine, while the new-ish
German multi-instrumentalist helped them step up from
spare death-songs to full-
throttle rock n' roll. I've always
felt they lacked hooks, though,
and this unfortunately remains
unchanged. They rock loudly,
and with driving energy, but a
decided lack of memorable riff-
ing keeps them down. The fact
that little effort is expended on
solid vocal melodies or delivery
doesn't help, either. Maybe if
1 could make out the lyrics,
they'd add some magic, but the
band's gravelly voices rendered
their lyrics incomprehensible to
me. A shame, no doubt.
After JWAB wrapped up,
conversation raged with curiosity over the new band Dan
Bejar had assembled to back
him up on This Night as the
new incarnation of Destroyer.
Had he deserted us by moving
to Montreal—and what kind of
guys did he find there to record
with? I recalled a discussion I
once had about Destroyer as
the quintessential Vancouver
band: I asked my friend, "How
could our best songwriter
just pack up and leave us?"
She replied, "Well, moving to
Montreal is a such a 'Vancouver'
thing to do, anyway." When
the band finally hit the stage,
they were greeted with shouts
and applause before launching into a furious version of
"Strike," from Streethawk. The
new direction of the group
was immediately evident: Dan
wants to rock, and while his
new band isn't as tight as one
might hope (the drummer, in
particular, kept falling out of
time) they impart a raw, loud
immediacy that was never one
of Destroyer's hallmarks but
is clearly their new strength.
Songs from This Night, which I
found a touch weak-kneed on
disc, leapt onto the stage fully
fleshed and driving. The keyboard player definitely knew
what he was doing, and the
drummer's abnormally large
kit made up for his shortcomings with its stunningly deep
thumping, but Dan Bejar himself was, of course, the center
of attention. His idiosyncratic
voice and oblique lyrics make
all the more impact when coupled with his terrific stage presence, in which we all basked
contentedly. The set consisted
mostly of songs from This
Night, and I know I wasn't the
only one a little disappointed
when the show ended without
"The Bad Arts" or "Virgin With
A Memory," ■ but as another
rock hero once said, "You can't
always get what you want". The
stormy rendition of "Hey Snow
White" that closed the show
was awe-inspiring, though, and
Dan's one-song solo encore was
the sweet and gentle comedown from a long-awaited ride
that left me blissed-out, dazed,
and content.
Commodore Ballroom
Friday, March 21
At first, I wished that I'd gotten there earlier, so I could
have heard more of Serena
Rider's audacious, club-filling
voice. Then I wished that I'd
gotten there later, so I didn't
have to sit through The Waifs
seemingly endless set. Maybe
it was the hangover, maybe it
was the fact that I was there
alone. Or maybe it's just that
"this is nothing new," as one
of the pretty sisters noted
their second song (though I
think she was actually talking
about love). The crowd was
really excited, though, bouncing around and making them
encore while I nursed my single
free beer and wondered: are
these skinny Australians called
The Waifs because they're trying to reclaim the word?
After what seemed like
hours The Be Good Tanyas
finally arrived on stage. Their
vocals are much fuller and prettier live than on either of their
albums, though their instrumentation remained spooky
and spare. Frazey Ford was
seven months pregnant and
kept dashing offstage to pee.
Trish Klein is the cutest banjo
player I've ever seen, which
only fuels my secret desire to
master the much-maligned
instrument. After they played
"Rain and Snow," I was satisfied, despite my misanthropic
mood and hangover. The Be
Good Tanyas are damn good.
Kat Siddle
The Meligrove Band, CMW, Toronto. Photo by Ben Lai
ify, [eprecnaurj  Coloviy   ■> s^s^^^*-^^
\pr\\ Listings
Wednesday Apr 2nd...Red Cat Records Night with Ford Pier and dj wttenhead
Thursday Apr 3rd...Petunia and his band with guests Cremona
Friday Apr 4th...Great Northern.„modem bluegrass with celio&iiola
Saturday Apr 5th...straight wit of the studio, Bottleneck
Thursday Apr 10th..JUoustic folk with Kent Mcalister and Leah Abramson
Friday Apr 11th. Jack Harlan Band ofettwerk) with «ctoHas Jeremy Fisher
Saturday Apr 12th. ..Amy Honey and special guests Antler (victoria)
Thursday Apr 17th...f ingerstyle guitar folk with The Hugh Fisher Band
Friday Apr 18th,..,Butch Murphy and The Hired Guns {rockabilly)
Saturday Apr 19th..Pete Campbell and Rockin' James (Sweaters) with Jon Wood
Thursday April 24th..Dou&ie nii with Glenn Mishaw and Jeff Turney
Friday April 25th.. John Guliak and The Lougan Brothers
Saturday April 26th..Blackfeather and The Graham Brown Duo
Thursday May lst.Jba
Friday May 2nd..vktoria's Clay George and his band
4210 Main St. Vancouver BC 604 709 8555
cover charge Is a measly 3- 5 bucks, why not support local musk?
booking: contact Dave... loneaomecowboyzxiuslc&fshaw.ca
26 April 2003
ph. 708-9422 * email buddysredeatea chart*
 min i
what s b
sing played
at CiTR 101.9fm
April Long Vinyl
April Short Vinyl
April Indie Home Jobs
1 Be Good Tanya
1 Birthday Machine
Direction...      Top Quality R n' R
1 Antique City                                    Piecemeal
2 The Datsuns
The Datsuns
2 Maximum Rn'R
2 The Department                    Winner Like You
3 The User
Symphony #2...
3 Lupine Howl
Don't Lose Your Head   Vinyl Hiss
3 Me                                    Counting the Hours
4 The D4
Flying Nun
4 Veal
1 Hate Your Lipstick
Six Shooter
4 Ashley Schram                               Urban Rain
5 The Beans
Inner Cosmosis
5 New Town Animals
Fashion Fallout
5 William Hardman                           Cherry Pie
6 Sea and Cake
One Bedroom
Thrill Jockey
6 Gentlemen Of Horror   5 Song 45
6 Girl Nobody                    Come and Find Me
7 Shipping News
Touch and Go
7 Service Group
Manufacto         Sq
uid vs. Whale
7 Snow Goats                          The Dressmakers
8 Lightning Bolt
Wonderful Rainbow
8 Frog Eyes/JWAB
Global S.
8 The Blacklist                                The Blacklist
9 Wolf Eyes
Dead Hills               Troubleman Unl.
9 Mirah
Small Scale
9 Silt                                                        Untitled
10 Les Tabernacles
Born Ready         Teenage Rampage
10 Armatron
10 The Hand                               Already Not Yet
11 John Ford
Bullets For Dreamers
11 Artimus Pyle
11 Therefore                                              Untitled
12 Aphex Twin
26 Mixes For Cash
12 Semiautomatic
Remixed by...
12 Thriller                                                  Untitled
13 Bonnie Prince...
Master and Everyone
Drag City
13 World Burns to Death  Human Meat...
13 The Feminists                       Sad Echo Wailed
14 Turbonegro
Ass Cobra
Burning Heart
14 The Agenda
Are You Nervous?
14 Skeleton                                               Like You
15 Tim Hecker
Radio Amor
Mille Plateaux
15 Dexters Laboratory
The Hip Hop Exp.
15 Magical Glass Tears     These Autumn Leaves
16 Salteens
Let Go of Your Bad...
No Records
16 The Spitfires
Juke Box High
16Shitfaced                                       Live Untitled
17 Easy Star...
Dub Side Of The Moon      Easy Star
17 Get Hustle
Who Do You Love
Gravity Scat
17 The Panic                                         The Knock
18 Smog
Drag City
18 Chromatics
18 Lisa O'Neill                                          Internal
19 Calexico
Feast of Wire
Touch and Go
19 Shannon Wright
A Junior Hymn
Grey Flat
19 The Millionaires                     Cryin' Over You
20 USA Song Poem
Do You Know...
Bar None
20 The Starvations
Horrified Eyes
20 Shinen                                                    Excess
21 Pangina
Box Lunch
22 Postal Service
Give Up
Sub Pop
24 Xerophonics
25 Mouse On Mars
26 Snuff
Rost Pocks
Disposible Home
Too Pure
Union 2112
27 Burquitlam Plaza Big On Fall/Sing!...
28 Cat Power
You Are Free
The mor
thly charts are compiled basec
on the number of times a CD/
29 N. Dunger
Tranquil Isolation
LP ("long vinyl"), 7" ("short vinyl"), or demo tape/CD ("indie home
30 Subarachnoid...
Also Rising            Strange Attractors
jobs") on CiTR's playlist was played by our DJs during the previous
31 Gloryholes
32 Windy and Carl
33 Loose Fur
Want A Divorce
Blue Flea
Drag City
month (
can be
.e., "April" charts
received via emai
reflect airplay over March). Weekly charts
. Send mail to "majordomo@unixg.ubc.ca"
34 Mind Flayer
Take Your Skin Off
with the command: "subscribe citr-charts." •
35 Minus 5
Down With Wilco
Yep Roc
"This got your attention, right?
To find out about our cheap rates:
email: discorder@yahoo.com
9:00AM-12:00PM All of time
is measured by its art. This show
presents the most recent new
music from around the world.
Ears open.
12:00-3:OOPM    Reggae inna
all styles and fashion.
5:00PM Real-cowshit<aught-in-
yer-boots country.
5:O0-6:O0PM British pop music
from all decades.
SAINT  TROPEZ     alt.      5:00-
6:00PM      International     pop
[Japanese,     French,     Swedish,
British, US, etc.), '60s soundtracks
and  lounge.   Book  your  jet set
holiday now!
QUEER   FM 6:00-8:00PM
your guide to CiTR 101.9fm
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver. Lots of human
interest features, background on
current issues and great music.
10:00PM Rhythmslndia
features a wide range of music
from India, including popular
music from Indian movies from
the 1930s to the present, classical
as Ghazals and Bhajans, and
also Qawwalis, pop and regional
language numbers.
12:00AM Join us in practicing
the ancient art of rising above
common thought and ideas as
your host, DJ Smiley Mike lays
down the latest trance cuts to propel us into the domain of the mystic
THE SHOW       12:00- 2:00pm
8:00 AM
BROWNS      8:00-11:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of the familiar and exotic in a
blend of aural delights!
11:00-1:00PM Local Mike and
Local Dave bring you local music
of all sorts. The program most
likely to play your band!
GIRLFOOD alt.   11:00- 1:00PM
3:00PM Underground pop for
the minuses with the occasional
interview with  your host Chris.
4:00PM A show of radio drama
orchestrated and hosted by UBC
students, featuring independent
works from local, national and
international theatre groups.
We welcome your involvement.
5:00PM A chance for new CiTR
DJs to flex their musical muscle.
Surprises galore.
6:00PM Join the sports dept. for
their coverage of the T-Birds.
CRASH THE POSE alt. 6:00-
7:30PM Hardcore/punk as
fuck from beyond the grave.
for summer) alt. 6:00PM-
6:30PM Current    affairs
with an edge. Kenneth Chan
exposes issues that truly matter.
None of that mainstream crap.
Anybody say controversy? Email:
MY ASS alt. 6:30-7:30PM
Phelps, Albini, 'n' me.
Listen to Selecta Krystabelle for
your reggae education.
12:00AM Vancouver's longest
running prime time jazz program.
Hosted by the ever-suave Gavin
Walker. Features at 11.
Apr. 7: In celebration of trumpet
giant Freddie Hubbard's 65th
birthday we present his own
favourite album, Above and
Beyond. Recorded at the legendary Keystone Korner in San
Apr. 14: Another birthday: This
time one of the most distinctive
voices of the tenor saxophone,
the late Gene Ammons. Jug is
heard on a live date in his home
town with just organ and drums,
Live in Chicago.
Apr. 21: The first of a two-part feature on the great yet unheralded
tenor saxophonist Sal Nistico.
Tonight, his first, an all-star date
with Nat Adderley (cornet) and
Barry Harris (piano) and others
called Heavyweights.
Apr. 28: Sal Nistico's second
date is a rare item with Harris
as the holdover and some of
Sal's Syracuse homeboys like
Sal Amico (trumpet) and Vinnie
Ruggiero (drums). Comin' On
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our hearts—
thank fucking Christ.
3:00-6:30AM DJ Christopher
Schmidt also hosts Organix at
Club 23 (23 West Cordova) on
Friday nights.
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
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!
11:30AM- 1:00PM
LA BOMBA alt. 11:30AM-
REEL TO REAL alt 12:30PM-
1:00PM   Movie   reviews   and
gram music.
CPR AND EMP)   2*>0-3:30PM
| Rts
PARTS      u
PLANET       L^.
| Hh
SKA-T'S       L
these are the breaks
12pm I
1 I
3 ■
4 .
10,000 VOICES (Tk)
LIVE FROM...    —'
28 April 2003
Cf= conscious and funky
Hk= Hans Kloss • Ki=Kidi
Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk
rock » Rts= roots • Sk = ska •So=soul» Sp= sports • Tk= talk • Wo= world
Hk= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Vo- pop • Ku= punk
^^^^^ ^^^^^ Rg= reggae • Rr=rock»Rts= roots^^il^ska •So=soul» Sp= sports • Tk= talk • Wo= world       ^^^^^ ^^^^^ ^^^^^ FILL-IN     ALT.      3:30-4:30PM
4:30PM Last Tuesday of every
month, hosted by The Richmond
Society For Community Living.
A variety music and spoken
word program with a focus on
people with special needs and
10,000 VOICES 5:00-6:00PM
Poetry,    spoken    word,    perfor-
8:00PM Up the punx, down the
emo! Keepin' it real since 1989,
http: //flexyourhead ,v
THE LOVE DEN alt.     10:00PM-
ESCAPISM      alt.      10:00AM-
and beyond! From the bedroom
io Bombay via Brooklyn and back.
The s
inds  of  i
ility   r
Apr. 1: Gamelan Roundtable-
Balinese Gong Kebyar with guest
UBC School of Music Professor
Dr. Michael Tenzer and Javanese
Court Gamelan with SFU Gamelan
Director Sutrisno Hartana.
Apr. 15: DJ Satyricon in Dub
Apr. 29: Church of Hell-Live. The
devil's  advocates  of  improvisa-
6:00AM It could be punk,
ethno, global, trance, spoken
word, rock, the unusual and the
weird, or it could be something
different.   Hosted  by DJ   Pierre.
7:00 AM
9:00AM Bringing you an entertaining and eclectic mix of new
and old music live from the Jungle
Room with your irreverent hosts
Jack Velvet and Nick The Greek.
R&B, disco, techno, soundtracks,
Americana, Latin jazz, news, and
gossip. A real gem! <suburbanjun
10:00AM Japanes
ANOIZE        11:30AM- 1:00PM
Luke Meat irritates and educates
through  musical  deconstruction.
Recommended for the strong.
THE SHAKE 1:00-2:00PM
FILL-IN      2:00-3:00PM
MOTORDADDY alt    3:00-
5:00PM  Cycle-riffic rawk and
RUMBLETONE      RADIO      alt.
3:00-5:O0PM Primitive, fuzzed-
out garage mayhem!
Socio-political,       environmental
s  and  spoken  word
with s<
(First Wednesday of every month.)
BLUE MONDAY alt. 6:30PM-
, 8:00PM Vancouver's only indus-
trial-electronic-retro-goth program.
Music to schtomp to, hosted by
FILL IN 8:00PM-9:00PM
FOLK OASIS  9:00-    11:00PM
Roots    music    for    folkies    and
non-folkies...   bluegrass,   singer-
songwriters.worldbeat, alt country
and more. Not a mirage!
11:00PM- 2:00AM
8:00-10:00 AM
11:30AM Music inspired by
Chocolate Thunder; Robert Robot
drops electro past and present,
hip hop and intergalactic funkman-
ship. <rbotlove@yahoo.com>
STEVE    AND    MIKE 1:00-
2:00PM Crashing the boy's club
in the pit. Hard and fast, heavy
and slow (punk and hardcore).
2:00-3:00PM Comix comix
comix. Oh yeah, and some music
with Robin.
LEGALLY HIP alt. 5:00-6:00PM
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you
all the bike news and views
you    need    and    even    cruise
7:30PM No Birkenstocks, nothing politically correct. We don't
get paid so you're damn right we
have fun with it. Hosted by Chris
7:30-9:00PM The best in roots
rock 'n' roll and rhythm and
blues from 1942-1962 with your
snappily-attired host Gary Olsen.
11:00PM Local muzak from 9.
Live bandz from 10-11. http://
1:00AM An old punk rock heart
considers the oneness of all things
and presents music of worlds
near and far. Your host, the great
Daryl-ani, seeks reassurance via
6:00 AM
10:00AM Trawling the trash
heap of over 50 years worth of
real rock 'n' roll debris.
10:00 AM-12:00PM
Email requests to <djska_
12:00-2:00PM Top notch crate
diggers DJ Avi Shack and Promo
mix the underground hip hop, oid
school classics and original breaks.
2:00-3:30PM The best mix of
music, news, sports, and commentary from around the local
and international Latin American
6:00PM A volunteer produced,
student and community newscast
featuring news, sports and arts.
Reports by people like you.
"Become the Media." To get
involved, visit www.citr.ca and
click "News Dept."
9:00PM David "Love" Jones
brings you the best new and old
jazz, soul, Latin, samba, bossa,
and African music from around
the world.
Hosted by DJ Noah: techno but
also some trance, acid, tribal,
etc. Guest DJs, interviews, retrospectives, giveaways, and more.
FILL-IN 12:00-2:00AM
6:00AM Dark, sinister music of
all genres to soothe the Dragon's
soul. Hosted by Drake.
12:00PM Studio guests, new
leases, British comedy sketches,
folk  r
jnd ticket
8AM-9AM: African/World roots.
9AM-12PM: Celtic music and performances.
12:00-1:00PM Tune in for a
full hour of old and new punk and
Oi mayhem!
Vancouver's only true metal show;
local demo tapes, imports, and
other rarities. Gerald Rattlehead,
Dwain, and Metal Ron do the
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy, and Paul.
SOUL TREE 6:00-9:00PM From
doo-wop to hip hop, from the electric to the eclectic, host Michael
Ingram goes beyond the call of
gospel and takes soul music to the
nth degree.
1:00AM Cutting edge, progressive organ music with
resident Haitchc and various guest
performers/DJs. Bye-bye civilisation, keep smiling blue, where's
me bloody anesthetic then?
EARWAX 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem headz
rock inna junglist mashup/distort
da source full force with needlz
on wax/my chaos runs rampant
when I free da jazz..." Out.
Hardcore dancehall reggae that
will make your mitochondria
shake. Hosted by Sister B.
TO       CiTR       ONLINE
29 DiSCORDER dateb
happening in apr!l
604.822.9364 OR EMAIL
Smokin' and Drinkin' on Tuesday Night@The Brickyard;
Amandasonic@The Pic; AMS Collection@AMS Art Gallery;
Parallelatuesday@Sugar Refinery
Motherdown, randomblind, Drip, Poiys, Mecha Messiah@The
Brickyard; DJ Epine, Sarah Vain@The Pic; AMS Collection@AMS
Art Gallery; Bruce Freedman Tno@Sugar Refinery; Red Cat
Records Night: Ford Pier, DJ Mittenhead@The Main; Miss Kitty's
Caberet@The Purple Onion
Danu@Croatian Culture Centre; AMS Collection@AMS Art Gallery;
Funkshun@Sugar Refinery; Petunia and his band, Cremona@The
Che Chapter 127, Deadsure, End This Week With Knives,
Harrow@The Pic; Arab Strap, Bright Eyes@The Commodore; AMS
Collection@AMS Art Gallery; Fond of Tigers, Joel R.L. Phelps@Sugar
Refinery; Great Northern@The Main
Staticbed@Studebakers; Margaret Cho@The Vogue; Buju Banton,
Wayne Wonder@The Commodore; Springer and Ducommun@The
Sugar Refinery; Faces of Eve@The Brickyard; Mike Watt
and The Secondmen@The Pic; CKY@Richard's; Springer and
Ducommun@Sugar Refinery; Bottleneck@The Main
Open Mike@The Pic; Website Launch Party: Golden Wedding Band,
Beans, Carter Hayes, Noosphere@Sugar Refinery
mokin and Drinkin' on a Tuesday
mandasonic@The Pic; The Datsuns,
arallelatuesday@Sugar Refinery
DJ Epine, Sarah Vain@The Pic; 54-40, I Mother Earth, The New
Deal@Arts County Fair; Tom Cochrane and Red Rider@The
Commodore; ldlewild@Richard's; Patty Larkin@W.I.S.E. Hall; Hearse
of Old Me's@Sugar Refinery
Spirit of the West@The Centennial Theatre; Faces of Eve@The
Brickyard; Three Inches of Blood, By a Thread, Deadsure, End This
Week With Knives@Video-ln Studio; Tangiers@The Commodore;
Wide Mouth Mason@Richard's; Tom Cochrane and Red Rider@The
Vogue; A/V Lodge@Sugar Refinery
Spree@Richard's; Crash indie Writers Fest@Sugar Refinery; The Hugh
Fisher Band@The Main
FRI 18
Matthew Good, The Dears@The Commodore; Butch Murphy and The
Hired Guns@The Main
SAT 19
Livewirepalooza@The Brickyard, Vinyl@Fairview Pub; Matthew Good,
The Dears@The Vogue; Tony Wilson, Daniel Kane Group@Sugar
SUN 20
E-Town Concrete, Soulfly, Sworn Enemy@The Commodore;
Bison@Sugar Refinery
TUE 22
Smokin' and Drinkin' on a Tuesday Night@The Brickyard;
Amandasonic@The Pic; Fischerspooner@The Commodore;
Parallelatuesdays@Sugar Refinery
WED 23
DJ Epine, Sarah Vain@The Pic; Pete Yorn, Grandaddy@The
Commodore; Jesse Cahill Trio@Sugar Refinery
Mason Jennings@Richard's; A/V Lodge@Sugar Refinery; Glenn
Mishaw, Jeff Turney@The Main
FRI 25
Walker Band, Motion Soundtrack@The Railway Club; Kathy
Trocco!i@GM Place; Vic Chesnutt, M. Ward@Richard's; Matthew
Good@The Commodore; Ashby and Ducommun w/JT King@Sugar
Refinery; John Guliak, The Lougan Brothers@The Main
SAT 26
Livewirepalooza@The Brickyard; Avril "Fucking" Lavigne, Gob,
Swollen Members@GM Place; Matthew Good@The Commodore;
Neins, Roger Dean Young@Sugar Refinery; The Yeah Yeah
Yeahs@Richard's; Blackfeather, The Graham Brown Duo@The Main
Strapping Young Lad(
SUN 27
e Commodore; Ashley Maclsaac@Richard's
TUE 29
Smokin' and Drinkin' on a Tuesday Night@The Brickyard;
Amandasonic@The Pic; Mark Browning, Lisa Winn@College Bistro;
Parallelatuesdays@Sugar Refinery
FRI 11
Caesars, The Soundtrack ofOurLives@The Commodore; Millencolin, DJ Epi
Rufio, Ten Foot Pole@Croatian Cultural Centre; Bruce Springsteen
and the E Street Band (including that cool drummer from
Conan)@Pacific Coliseum; The Black Heart Procession@Richard's;
Crash Indie Writers Fest w/ Alexis 0'Hara@Sugar Refinery; Jack
Harlan Band, Jeremy Fisher@The Main
SAT 12
Roch Voisine@The Vogue; Livewirepalooza@The Brickyard;
Blackfeather@The Gumboot Garden Cafe; Clumsy Lovers@The
Commodore; Shikasta, The Spitfires@The Pic; Robert Randolph and
The Family Band@The Royal; Unclean Werner, David Yonge@Sugar
Refinery; Amy Honey, Antler@The Main
SUN 13
Joe Cocker@The Orpheum; Rocket from the Crypt, The Spits@The
Commodore, Agogo@Sugar Refinery
MON 14
Open Mike@The Pic; Kathleen Edwards@Richard's, "Works on
Paper" Opening By Gloria Edith Hole@Sugar Refinery
TUE 15
Smokin' and Drinkin' on a Tuesday Night@The Brickyard;
Amandasomc@The Pic; Gladyss Patches@The Roxy;
Parallelatuesdays@Sugar Refinery
WED 16
DJ Epine, Sarah Vain@The Pic, Bruno Hubert Trio@Sugar Refinery
Yanni@GM Place; Matthew Good, The Dears@The Commodore;
J.   Plummer,   Lisa   Winn@Cafe   Deux   Soleils;   The   Polyphonic
i, Sarah Vain@The Pic
WED 30
Apecial eveutA
The saddest bastards from two hemispheres unite for maximum misery.
Let's all cry on each other's shoulders.
So if thirty people all live together,
perform in white robes, and sing
songs of eternal euphoria, are they a
cult? If so, sign me up.
The world's biggest New Age music
"star" and the Polyphonic Spree on
the same night—that's a lot of robed
nut jobs in the downtown core.
Well, you could always leave
after Grandaddy, but it's at the
Commodore, so the tickets are bloody
expensive, aren't they? Shit.
place* to b
active pass records
324 w. hasting
pic pub
620 west pender
bassix records
217 w. hastings
railway club
579 dunsmuir
beatstreet records
3-712 robson
richard's on richards
1036 richards
black swan records
3209 west broadway
ridge cinema
3131 arbutus
blinding light!!
36 powell
red cat records
4305 main
3611 west broadway
1029 granville
club 23
commodore ballroon
futuristic flavour
highlife records
legion of van
23 west cordova
l  868 granville
518 west pender
1020 granville
1317 commercial
300 west pender
scrape records
scratch records
sugar refinery
teenage ramapage
17 west broadway
726 richards
19 west broadway
455 abbott
Vancouver playhouse
hamilton at dunsmuir 604.665.3050
the main cafe
4210 main
video in studios
1965 main
ms. t's cabaret
339 west pender
western front
303 east 8th
orpheum theatre
smithe at seymour
WISE club
pacific cinemathequ
1131 howe
1300 granville
pat's pub
403 east hastings
zulu records
1972 west 4th
30 April 2003 RADIO   HELL   REVISITED
Celebrate 21 years of FM
broadcasting with:
The Evaporators
with Nardwuar, the Human Serviette)
and the reunion of The Mach Ills
The Waldorf Hotel Bash
Saturday, May 10
1489 East Hastings St,
www. citreunion, com
604 822 1 242
CiTR 101.9
CltR 101.°! FM
UUU. CfMS. U&C. ca/atR
U    2-3 pM SMOG
Supper CD
pill Callahan can do no wrong
Din the eyes of the indie rock
community. This, his tenth full-
length under the (SMOG)
moniker, is no grand departure
from previous efforts, providing
yet another candid snapshot of the rigors of loving and living. A distinct country feel permeates this outing, perhaps
due to the stripped-down production and penchant for
pedal steel guitar work. There's a song on here for every
one of you; that terrible breakup or giddy new love affair
has been summed up with no small skill by the man who
knows how to make it all feel real. Prepare to get your
heart wrenched - in the best kind of way - with (SMOG) as
your soundtrack!
CD 19.98
Babies That Hunt
Attention Deficit Disorder sufferers of Canada take note.
Here's a CD to file next to all
those Venetian Snares re-issues
you've been buying at Zulu. SECRET MOMMY is
Vancouver's own Andy Dixon, the prodigious mastermind
behind The Red Light Sting and The Epidemic. Babies
That Hunt sees young Andy get down to some seriously
wacky splattercore breakbeat action a la Kid 606, OAT
Politics and Blectum from Blechdom. It comes to us
courtesy of Kit Clayton's very excellent Orthlong Musork
label. We are suitably impressed.
CD 18.98
Up In Flames CD/LP
Wow, this record sounds nothing like the last one. You
can barely hear the laptop through all the guitars and
drums and psychedelic pop-rock high jinks. It's more 90s
big beat than 00s laptop IDM. Abandoning the jittery cutesy
feel of his debut, Start Breaking My Heart, Dan Snaith of
Manitoba - now a 3-piece band - shows us just how much
he is down with the Psyche Revolution, new and old.
Borrowing much from the likes of Brian Wilson, The Byrds,
and My Bloody Valentine - and perhaps most daringJy,
even the Chemical Brothers - Snaith dishes out a swirling
mess of nutty, driving, beautifully layered electronic pop. Op
in Flames is an exploration in songwriting, texture and timbre - exactly what electronic music always promised to be!
All this from a guy who said, "I don't give a shit about the
electronic music scene!" Indeed. STREET DATE: APRIL 8TH
CD 19.98    LP 16.98
Summer Sun
The genius of YO LA TENGO
i accepted fact.
They're an institution, as treasured as Christmas or
Hanukah or, indeed, Zulu records, thank you very much.
Like any old friend, they're always welcome over for a
drink and a chat, often a sleepover. This perennial greatness is handily proven again on Summer Sun, their
eleventh full-length release. Fine form from all as the
band competently roves around their expansive repertoire of turns and moves, except this time with all
blowout guitar fireworks replaced by a laidback kind of
dreamy and groovy "feel." Ahhhh, bring it on. As far as
we can tell, Summer Sun is specifically designed to
make listeners lie down and chill-the-fuck-out, something much needed during this time of global insanity.
Roy Campbell Jr., William Parker, Daniel Carter, Sabir
Mateen, Katie Gentile, Tim Harris, and Paul Niehaus,
join the key group of Georgia, Ira and James, adding
horns, strings, double bass, and lap steel to fill out the
basics. Sweet. AVAILABLE APRIL 8TH
CD 19.98    2LP 22.98
Pig Lib CD/LP
Ha ha - Pig Lib! We get it
STEPHEN, you kidder. Bui
to be honest, we don't really understand you, and maybe
we never have or will. Indeed, this typically coy title
leaves us secretly scratching our heads even while we
smirk and wink in knowing approval. Ironically - yes,
ironically - this kind of wordplay and trickery is a major
part of why we love the dude in the first place, fronting
Pavement or his rocking new group, THE JICKS. Many
claim that this is the record where the MALKMUS Magic
is fully apparent again, rebutting any doubt that
Pavement was the only viable vehicle for this songwriting heavyweight. Not true! So get out your scorecards
and check the boxes affirmatively, for the "acknowledged
master of the intriguing non sequitur," as Matador calls
him, only requires the most basic backup to shine like
the twinkling star that he is. Even better, Pig Lib also presents a band in full band mode, not just a hired troop of
adequate extras placating the slanted whims of a certified
indie icon. In other words, THE JICKS sound like more
than a pay cheque. And by the way, evefnoticed that
MALKMUS is a good-looking guy?
CD 19.98    LP 19.98
— ■"
** ■ a
^   m
' i'^tt
I ityl
In-Store: Zulu Presents
Music in the Afternoon with
Saturday April 19th - 3pm
nBduiny" Zulu's Further Investigation of the Printed Page
Saturday April 26th 5PM
MC Lee Henderson - Be here, for the pen is mightier than the song!
Sheila Heti - Contemporary fables, faux fairy tales and
more from Heti's writer lodge 'THE MIDDLE STORIES'.
Lewis Schroeder - welcome local Vancouverite
and his debut collection of stories 'KINGDOM OF
Jane Lee ■ a founding member of THE PATTI
COLLECTIVE and co-editor of PATTI magazine.
I   I
Anxiety Always
Big On Fall CD
Though ADULT share an
archly icy aesthetic with
popular favorites like
Fischerspooner and
Ladytron they have greater historical links with fellow
Detroit natives Drexciya and Underground Resistance.
That is to say, this husband-wife duo has been doing
that hard electro shit since way before it came back into
fashion. And doing it well too, as our many customers
who bought their debut full length Resuscitation will
attest. To call Anxiety Always hotly anticipated would be
quite the understatement. Fans who've been making do
with the many excellent recent releases on the band's
own Ersatz Audio label (by the likes of Magas and NOIA)
are more than prepared to have their bodies rocked.
Time to put on your pressure suit and spend your
money on some serious entertainment. STREET DATE:
CD/LP 16.98
Draft 7.30 CD
AUTECHRE have changed little after seven albums. In a
way, this is why they're so. great. While Sean Booth
and Rob Brown have gotten deeper into their chosen
technologies, figuring out how to make even more truly
fucked up sounds, they played their top cards early on:
fronting strong and unique, then shifting all abstract and
shit. Even when most remote, though, its always possible to hear AUTECHRE s early IDM, electro and hip hop
roots, no matter how granular and cut-up they become.
Indeed, Draft 7.30 makes it easy to hear the foundations
of the AUTECHRE style, for a change, even as it builds
inwardly to the far reaches of the aesthetic they've
defined. In this sense, Draft 7.30 is kinda sadomasochistic, a test of self-imposed boundaries. The
result is purepJeasure for us - and also for the sullen-
looking young men who are responsible, we can only
assume. Perhaps, as the cliche' suggests, it's the quiet
ones that are most kinky. But ask yourself, who is really
excited here?
CD 16.98
Radio Amor CD/2LP
Word has it that this recording is a tribute to an itinerant shrimp fisher HECKER met while in the
Caribbean. While the veracity of this claim must be
accepted on faith, we figure, HECKER has done much to
win our confidence so far. For example, his last two
recordings. Haunt Me and My Love is Rotten to the
Core, are amazing: lush, intelligent and musical, they
stand well above the work of many of his peers.
Apparently Mille Plateaux has also been won over by
young HECKER's many talents, since Radio Amor is on
this coveted German imprint, not HECKER's usual
Canadian Alien8/Subtractif residence (although Mille
Plateaux's sister label, Force Inc., was behind HECKER's
Jetone recording, so our German pals didn't come on
entirely cold). The press push for Radio Amor says that
it fits somewhere between Fennesz's Endless Summer
and Ovafs Diskont 94. and this comparison is indeed
apt, but HECKER has a clear voice and irreverent humor
of his own, not content to simply travel the well-worn
path. Celebrate the digital-smart sound of Young
CD 19.98   2LP 22.98
Holy suffering crap did you guys
ever go crazy over P:ano's soon-
to-be-considered-epochal When It's
Dark and It's Summer (back in print |
now, for those of you who've bee
waiting)! Vancouver's favourite
young indie-pop band are currently recording their sophomore
album but, for those of you who just can't wait for them to perfectly craft their perfectly crafted follow-up, BURQUITLAM
PLAZA should more than adequately fill the gap. Big on Fall
comprises a short set of staggeringly lovely songs recorded by
P:ano songwriter Nick Kgrovich in his front room one afternoon. It also includes Sing Burquitlam Sing a bonus set of
Hick's songs sung by leading lights of the local music scene
including Veda Hille, Jon-Rae Fletcher and members of Jerk
With a Bomb, Destroyer and The Organ.
CD 12.98
s/t CD
Great gentle and lush guitar pop from this young Vancouver
band. Sweet female vocals float above a subtle ambience
with hints of country, like slow wind in the trees. Imagine if the
Throwing Muses and Mojave 3 and Amie Mann and Ida got all
sad and made music together to try and get over it, passing
their sadness on to us as the most beautifully melancholy
sound. This is swooning music for the big hearted, a soundtrack for watching the streetlights go on at dusk. We have
Radiogram and Jonathan Inc. s Jonathan Anderson to thank
for helping this much-deserving recording come out, recording,
producing and even playing with the band, as well as releasing
this debut on his Anniedale records imprint. Major labels get
your chequebooks ready. No kidding..
CD 12.98
Other Promising Notes:
Aphex Twin - 26 Mixes for Cash 2CD
Mr. Scruff- Heavy Weight Rib Ticklers CD
Miss Kitten- Radio Caroline Vol. 1 CD
DJ Spooky with Mad Professor- Dubtometjy
Howe Gelb-Listener CD
Tommy Guerrero- Soul Food Taqueria CDA.P
Various Artists- Dubbed Out In DC CD/LP
Roscoe Holcomb- An Untamed Sense of Control
Califone- Quicksand/ Cradlesnakes CD
Deeihoof-Apple 0 CD
M. Ward- The Transfiguration of Vincent CD
Jeff Parker- Like Coping CD (tortoise, Isotope
217, Chi Und Quartet)
Slitch DVD- Will Oldham in the movies again!
Janet Bean- Draggin Wonder Lake CD (of
Sparta- The Wiretap Scars CD/LP
Imitation Electric Piano- Trinity Neon CD
The Hidden Cameras-The Smell of Our Own CD
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00


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