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 October 2006
That motownphilly magazine from CITR 101.9 FM
GREAT AUNT IDAS
» BRIAN JONESTOWN SHINDIG ffi
MASSACRE VIG09IAIV3S
ROCK YOURbody worlds 3 ^?
OWN ADVENTIJREstencillingo
PANURGE MIXTAPE MIXED APE$ ■_%
CITR LIMITED EDITION APPAREL_2
I       3510VUVM SNV3M SlffilE
CAT FISH HAVEN
svuiiim NiaaiHiiu1 ISLANDS
BESNARD LAKES
we art?
CALIFONE
SATURDAY NOVEMBER 4
UBC SUB BALLROOM
TICKETS AT ZULU, SCRATCH,       ._-_,*„.
RED CAT, THE OUTPOST (UBC)     EVWrl
FRIDAY        £. K©
OCTOBER 20
Wmm
VANGAALEN
WITH GUEST LEEROY STAGGER     „. ,
LADVHAWK
CATFISH HAVEN
(FROM CHICAGO)
my!gay!husband!
SATURDAY OCTOBER 21
THE COLUMBIA (303 COLOMBIA ST)
/ftU.A6ES\
I GENERAL J
V^ISSHjN/
DECEMBER 10
CROATIAN
CULTURAL CENTRE
w w w.sea Ied w i thakisspresents Srt®cwS>@9t
OCTOBER'2006
Editor
David Ravensbergen
Assistant Editor
Marlo Carpenter
. Art Director
I Will Brown
RLA Editor
Kimberley Day
Datebook Editor
Dan McCash
Layout & Design
Will Brown
Alanna Scott
Production Team
Will Brown
Julie Colero
Dave Fernig
David Ravensbergen
Laura Russell
AiaHMA Scott
Kat Siddle
Caroline Walker
Graeme Worthy
AgataZurek
Photo & Illustration
Megan Bourne
Will Brown
Dan Bucias
Bev Davies
Ben Frey
Hannah G reenspan
Casey Herbert
Katie Lapi
Laura Russell
Alanna Scott
Program Guide
Bryce Dunn
Charts
Luke Meat
Distribution
Richard Chapman
US Distribution
Frankie Rumbletone .
CITR Station Manager
Lydia Masemola
Publisher
Student Radio Society
of UBC
The Gentle Art of Editing
3
1      David Ravensbergen
1     Cinema Aspirant
4
1      Allan Maclnnis
1     RiffRaff
4
1      Bryce Dunn
1     Strut, Fret and Flicker
5
|     Penelope Mulligan
1     Textually Active
6
1     Mixtape
7
1      Panurge
1     Calendar
16
|      Aurel Schmidt
1     Real Live Action
24
1     Under Review
28
1     CilTl Charts
29
1     Program Guide
30
Rock Your Own Adventure
Suddenly, a multi-page rock epic appears! To see
what happens next, turn to page mr 6
No Bones About It
Take your lover on a romantic, flourescent-lit stroll
among the dead bodies on exhibit at Science World.
Idyllic and educational! W 7
Great Aunt Ida
The ever-talented Ida muses on her new album and
her beginnings at the Sugar Refinery. MT 8
The Tall Tale of Anton
Newcombe and the Brian
Jonestown Massacre
Perpetually on tout;!-: larger-than-life infamy. Mr 13
One Beat For Fucking Ever
Cambodia plays epic doom metal in the rain,
then gets interviewed. MP 14
Mixed Apes: How To Stencil
Stencil your favourite wall with an orangutan;
stash a Mixed Ape nearby: here's how! Mr 19
All You Clustered Up Clever
Kids: Hold Steady!
Craig Finn, in his way, keeps it steady. Lifter Puller
origin story included! MT 20
Digital Rights Management and You mt 22
This Means Waraoke
The time may come for us to band together and
fight for the rights of questionably capable singers
everywhere. Full briefing within. MT 23
Cover Photography
by Laura Russell
©DiSCORDER 2006 by the Student Radio Society of the University of British Columbia. All right-
reserved. Circulation 10.0Q0. Subscriptions, payable in advance, to Canadian residents are $15 for one
year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage).
Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deadline .
for the October issue is October 19th. Ad space is available until October 20th and can be booked by
calling 604.822.3017 ext 3 or emailing discorder.advertising@gmail.coin. Our rates are available upon
request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings, photographs, and' transparencies), or any
other unsolicited material. Material can be submitted on disc or in type or via email. As always, English is
preferred, but we will accept French. Actually, we won't. Send words to discordered@gmaiI.com and art to
discorderart@gma_.com. 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, 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.cltr.ca or just pick up a
goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T1Z1, CANADA.
the Gentle Art of Editing
HALLOWEEN CAME EARLY FOR ME this year. I
usually fail to plan my hallowed alter-ego
until the last minute, and then join the hordes
in a frenzied rush down to Dressew in search of
something even mildly original. But this year I
opted for a new approach, and laid my plans way
back in the early days of summer. I decided to dress
up as a Volunteer Coordinator, complete with my
own office, a database and an overflowing email
inbox. The costume was so convincing that I found
myself unable to take it off, and soon I was wearing it
for 40 hours each week. Finally, this past weekend,
I completed my guise with a walkie talkie and an
all-access pass, and marched on down to the AIDS
Walk for Life in Stanley Park. The costume was a
hit. Hundreds of eager volunteers rose up to do my
bidding, logistical problems were resolved with a
few well-placed over and oats, and Sam Sullivan
even showed up to give rides on his wheelchair. I
couldn't have asked for a better Halloween.
I woke up the next morning with a hoarse
throat and a bad case olfaalangst. While I'd been
traipsing around at my weekend fundraiser,
Discorder was sitting idly by, waiting patiently for
the love and care it deserves. Feeling rather low
on vitality after the costume party, I turned to
Copy Editor Mario Carpenter for help. Thankfully,
Mario's fierce and abiding love of language
combined with a streak of Good Samaritan to bail
me out of a copy conundrum. I've invited her to
talk to us briefly.
How do you feel a
it semi-colons?
I'm definitely more passionate about punctuation
than the average person. Having recently read
Eats, Shoots, and Leaves by Lynne Truss, my mission
has solidified. It is now my Copy Editorial duty to
eliminate all unnecessary semicolons, and lecture
those who use them until they become fatigued and
prone to suggestion, at which time I'll reprogram
them and cleanse their bodies of Bad Grammar
Thetans. When everyone has been properly
purged, we'll all fly on a great shining spaceship
to a Linguistic Utopia and five forever and never be
wrong or semantically ambiguous
What are the highlights of this issue?
I love the Great Aunt Ida piece. Julie's right—
Vancouver should be paying more attention to
such a talented lady. Alan and Penelope both saw
some really fascinating films at the Vancouver
International Film Festival, so their reviews are
really good. And everyone should read Will's
interview wtth Cambodia because sludgy doom
metalis totally theshit, and they have insightful stuff
to say about it. Finally, Rock Your Own Adventure
is brilliant because it embodies the protestant ethic
of free will and individual salvation. Life has not
one ending, but myriad potential conclusions. It's
a scathing polemic against cynical Calvinism.
What's the deal with Klaus Nomi?
You know, I'm not entirely sure what his deal is, bat
he definitely warrants further investigation. From
what I can tell, he's this insane German singer
who's shaped like a triangle. He's like all the best,
most fucked up elements of Devo, Kraftwerk, and
1970s Bowie combined. If anyone hasn't seen his
videos, look him up on YouTube.com. Start wtth
"Lightning Strikes". There's also a documentary
about him made in 2003 called The Nomi Song,
which I haven't watched, but plan to imminently
Thanks Mario. Now it's off to Pop Montreal
for a week of drunken gonzo coverage. I'll see you
all on October 31st—I'll be the guy dressed up like
the Editor of Discorder. Q
David Ravensbergen, Editor
discordered@gmail.com
Red Cat Records
4307 Main St.
Mew & Used CD's & Vinyl
ph. 708-9422 * email buddywedeat.ea WoW^^Wo^KI^^
CINEMa ASPIRANT
Allan Maclnnis
IS CINEMA FOOD FOR YOUR SOUL, AND IS YOUR SOUL HUNGRY? ClNEMA ASPIRANT OFFERS
GLIMPSES OF GEMS TO BE RESCUED FROM THE WRECKAGE OF YOUR LOCAL VIDEO STORE.
O ince the 25 annual VIFF is describing 2006 as the "Inspira-
l3 tional Year for Non-fiction Cinema," I thought I'd focus oh some
of the documentaries lighting our screens during the festival.
THE PERVERT'S GUIDE TO CINEMA: My favourite moment
in The Pervert's Guide to Cinema is one of the brief extemporaneous
asides given by Lacanian "pop philosopher" Slavoj Zizek as he waters a tulip bed, re-enacting a moment from the beginning of David
Lynch's Blue Velvet: he rants in his quirky, expressive Slovenian manner about how obscene he thinks the tulips are, saying that flowers
are an "open invitation to
all the insects to please
come and screw me." It
is hard not to be fond of
someone who says such
things. Sophie Fiennes'
The Pervert's Guide to Cinema uses Zizek's commentary and clips from well-
known films—Hitchcock,
David Lynch, Fight Club,
The Matrix—to illustrate aspects of Freudian
theory, and to show how
the structure of narrative film reveals a great
deal about human desire
and the construction
of the identity. It takes
awhile for Zizek to build
up steam—for the first
hour, I was held attentive mostly by the clever conceit of situating
our guide either in the actual sets of the films discussed, or in reconstructions, while growing increasingly impatient with what he had
to say. (It may be amusing to contemplate Groucho as the superego,
Chico as the ego, and Harpo as the Id, but it smacks of the intellectual
masturbation and gamesmanship that Cassavetes scholar Ray Carney rails so passionately against in his essays on the state of film criticism). Once sex and sexual fantasy enter the picture, though, things
get much more interesting, and I particularly enjoyed Zizek's consideration of Haneke's 17te Piano Teacher, Kieslowski's Blue, and Lynch's
Lost Highway. A must for any film theory buff out there.
lAPAN'S PEACE CONSTITUTION: One of the fascinating ironies of recent Japanese history is that the "unofficial" Japanese army,
the jeitai (self-defence force) has been fighting on behalf of the United
States in Iraq: the very country that imposed a "peace constitution"
designed to demilitarize Japan in 1947 is now dragging Japan back
into the world of war. Watching Japan's Peace Constitution, which
takes this state of affairs as its departure point, I was surprised to
learn that as early as 1953, Richard Nixon was calling the Peace
Constitution a mistake and asking Japan to help fight communism
in Korea. This Japanese-produced, American-directed film won two
awards for best documentary in Japan, and it raises important issues:
should the Peace Constitution be revised to permit Japan an official
army? Is Prime Minister Koizumi guiding a swing to the right? What
role should Japan play in the world, and in Asia? Where will Japan's
support of the US in Iraq lead? Kudos go to the filmmakers for taking
a stance here—they make it plain that they disagree with Koizumi's
position and the Japanese presence in Iraq—but, however good their
intentions, there are many more worms in the can than they let on.
Mentions of the Nanjing massacre and Korean comfort women are
given the minimum possible screen time, and are restricted to the
words of Chinese and Koreans—a distancing strategy, perhaps to allow the producers to deny taking a controversial stance themselves
(Unit 731 and the treatment of prisoners of war receive no mention
at all). There is also no attention paid to Koizumi's controversial visits to the Yasukuni jinja war shrine, the recent official status granted
the flag and national anthem, the support Koizumi receives from the
very active and influential far-right elements in the country, or the
fact that Japanese war crimes are once again being edited out of the
history books. You'd think from the footage selected that all Japanese
but the PM spend all their spare time in peace marches, and that just
ain't so.
HAMBURG LECTURES: For a film dealing with the emotionally-charged subject of 9/11, Romuald Karmakar's Hamburg Lectures
is remarkably icy and stripped-down a film dealing with 9/11. The
film consists almost entirely of the words of the Moroccan Muslim
imam, Mohammad al Fazizi, whose lectures at the Al Quds mosque
4     October 2006
in Hamburg in 2000 were attended by three of ithe four pilots later
to fly the hijacked planes, including Mohammad Atta; Fazizi was
also later linked to the bombings in Madrid. Video footage exists of
these lectures, but instead of presenting that, we see an actor, Manfred Zapatka, sitting in a chair reading from a transcript to us in very
chill German. Commentary is restricted to close-ups of Zapatka as
he reads, glancing into the camera intently to underscore what he
is saying. Occasionally subtitles explain what we would be seeing or
hearing were we watching the actual video ("A child cries"; "a member of the audience says 'God is great'.") The background is bare. As
dry as this may sound, it
is remarkably effective,
even chilling. There is
nothing whatsoever to
distract the viewer from
thinking in as focused a
manner as possible about
what the imam says, and
what it reveals about
the mindset behind the
September ll1 attacks.
Those who want to do a
bit of homework beforehand are recommended
to seek out online the
Wall Street Journal's
article, "A New Breed
of Islamic Warrior is
Emerging," dealing with
the doctrine of Takfi wal
na Hijra. According to the
authors, it encourages
immigration as a means of spreading jihad, and permits believers to
kill, qheat, or rob unbelievers deemed hostile to Islam—which, according to Fazizi, includes pretty much anyone from Europe, Japan,
the US, or, indeed, Canada, which he mentions by name. The film is a
disturbing and compelling experience, particularly for those among
us who are content to criticize America and Israel without really
looking that closely at Islamic radicalism.
on the efforts of Yemeni Supreme Court Judge Hamoud al Hitar to
convert a devoted mujahideen and Al Qaeda member, Rashad Mohammed Said, to a more moderate view of the Koran and of the right
path—one which forbids terrorism. Both men are interviewed at
length and we see reason and moderation prevail, giving a cause for
optimism in dark times. The filmmakers are currently at work on a
follow-up. Showing us the daily lives of Yemeni men and women, we
are reminded that the majority of Muslims are not supporters of the
mujahideen... yet.
There are more documentaries dealing with the Middle East
than I can do justice to here. The Smell of Paradise shows journalists
venturing into danger zones in Afghanistan, investigating the roots
of jihad. My Country My Country deals with the Iraqi elections of
2005, again showing us that most Muslims are moderates who simply want to lead peaceful lives. Day Night Day Night tells the story of
a suicide bomber. I have not yet seen the Canadian entry, Our Own
Private Bin Laden, which, according to IMDB, "shows the connection
between privatization, deregulation and free market and the globalization of terrorism," but it sounds pretty darn interesting. It is simply too dangerous to retreat into a comfortable denial of these issues,
scary as they may be, and the VIFF is providing a great opportunity
for Vancouverites to educate themselves.
As a final note, a documentary not submitted to the festival this
year may be of interest to Subhumans fans—that is, the Vancouver
Subhumans, who have reunited and released a new CD, New Dark
Age Party, on Alternative Tentacles, and will soon be touring Canada.
Glen Sanford's documentary Useless, about the Subhumans bassist,
Gerry Hannah, is available from the director at glenette@shaw.ca.
Though it obviously touches on "terrorism," Sanford tells me that
"it's net really about the Squamish Five ... it's about a guy with an
interesting story that includes early punk rock, politically-motivated
sabotage, prison, and getting out of prison. The Aim is primarily intended to ask questions about perceptions of freedom..." Gerry Hannah himself is happy with the film and owns a copy. The Subhumans
play the Lamplighter on October 13th; one of Hannah's new songs,
"I Got Religion," is as trenchant a commentary on religious terrorism as one could wish for. http://www.g7welcomingcommittee.com/
bands/subhumans.php S
AMERICAN ZEITGEIST: Less demanding, but equally compelling, is Rob McGann's
American Zeitgeist: Crisis and Conscience in an Age
of Terror. The documentary spends its first hour
building up to September 11th, beginning in Afghanistan in the late 1970s with the origins of
Osama bin Laden and the Taliban in American
support for the mujahideen. We cut from commentaries by the likes of Tariq Ali, Chalmers
Johnson, Peter Bergen, Christopher Hitchens,
and the ever-articulate Richard Clarke, to a surprising amount of footage prepared by Al Qaeda
themselves for self-promotion. This includes a
lengthy excerpt from a martyrdom video prepared by Ahmed al Haznawi before he participated in the hijacking of United 93. American
Zeitgeist is not just your standard left-wing assault on Bush; Noam Chomsky is restricted to a
one-minute soundbite and the FAQ for the film's
website describes Fahrenheit 9/11 as "the work
of a bloviating idiot" (which opinion it backs
up with a link to an excellent bit of karate by
Hitchens, who comes across far better in this
film than I'd ever expected). The film is scary,
depressing, and very informative; strangely,
one could imagine an Islamist viewer coming to
much the same conclusion. More can be read at:
http://www.americanzeitgeist.com/index.html
THE IUDGE AND THE FANATIC: After
watching films focusing on radical Islamists
calling for jihad, it might be a useful counterbalance to look at The Judge and the Fanatic. The
German-made, English-narrated documentary
shows judges, government officials, and Koranic scholars in Yemen describing how bad
radical Islam has been for their country, and
the steps that they have taken to open dialogue
with imprisoned radicals, to "talk them down"
from their extreme views. It focuses largely
«m
Bryce Dunn
CRIPES, WHERE HAS THE TIME gone?
Seems like I only just finished a column and now here I am again, fingers
furiously typing, trying to come up with
just the right words to describe what I'm
listening to these days. Those same words
failed me last month, and I humbly apologize to Budokan for a case of "Mistaken
Identity Syndrome". The song "Doll Hospital" from their recent 7" was NOT a
Bum song after all, and I've graciously
taken it on the chin for my error. That being said, I know for sure that "Flight 505"
and "Stupid Girl" are Rolling Stones
songs—so sez the 7" with the credits
looking me straight in my bruised face. In
Norton Records' continuing collection of
"Songs The Stones Taught Us", The King
Khan & BBQ Show shuck and jive their
way through the former, putting their
patented punk rock doo-wop to great use,
while The Flakes get into garage-punk
gear and tear themselves (and me) a new
one after turbo-charging the latter. I've
already purchased a couple of these split
singles and not been disappointed yet, so
I advise further investigation if n you're
feeling left out. (Norton Records, www.
nortonrecords.com)
In our other split-single showdown, Maximum R'N'R takes on The
Spades, and the results favour our Ca
nadian brethren quite substantially. See,
the problem I have with the Dutch dudes
is their style of rock and roll comes at least
five years too late. All guns-a blazing,
loud and proud to be sure, but Glueci-
fer, The Hellacopters and Turbonegro
already did this stuff much better than
these guys. And don't get me started on
the lyrics. Meanwhile, Toronto's metal
maelstrom gives us a lesson in linguistics,
with singer Louie providing English and
French translation to "Deep Inside the
Tracks" over a hardcore breakdown mid-
song. "Ire of the Ram" storms the gates
of Black Sabbath while administering
the scream test; not for the faint of hearing, I assure you. This comes wrapped in
a pretty slick sleeve, but someone forgot
to throw in the 3D glasses—I want my
money back! (Relapse Records, P.O. Box
2060 Upper Derby PA, USA 19082, www.
relapse.com)
No refunds needed for our next two
bands, though, and I'm glad to make the
acquaintance of Shit Sandwich Records—
my new favourite label as of... nowl The
Marked Men outta Denton, Texas, continue the truly mind-blowing trend of releasing record after record of amazingly
catchy buzzsaw pop-punk; I swear if I
hear another two songs Uke "Nothing's
Changed" and "She Won't Know", I will ^Mf i
^_w\w
^z&w
STRUT FRET
AND FLICKER
Penelope Mulligan
The 25th Vancouver International Film
Festival
September 28th - October 13th
Once you've snuffled around this year's VTFF programme, it
will be apparent that there's an unprecedented proportion of
documentaries. Of these, many continue the trend of investigating
political and social issues. At a time when our own government is
taking us so far up America's ass that we can see what the White
House is having for breakfast, the importance of informing ourselves
cannot be understated. Yet it seems equally important not to neglect fiction features, since the best ones are to documentaries what
dreams can be to waking life: vital information in code. The following films are some of those available for preview by deadline. As always, check the hotline (604-683-3456) or go to www.viff.org for the
last word on times and venues.
A COMEDY OF POWER (France): Any Canadian with
passing knowledge of the Sponsorship affair will grunt appreciatively
at Claude Chabol's elegantly brittle drama of low dealings in high
places. As things progress, however, it becomes clear that this Gallic
tale (based on an actual 1990s financial scandale) is marked by a
world-weary acceptance of the slippery ballet between big business
and politics—and the limitations this installs on the justice system.
At the same time, the film's setting—a severely de-romanticized Paris
of sterile highrises, claustrophobic interiors and charmless upscale
restaurants—underlines the generic universality of power broking.
Staring the whole stinking mess down is an examining magistrate
bent on exposing the villains via their sloppy bookkeeping. As played
by Isabelle Huppert (in full, frightening divahood—just watch how
she eats sushi) she's almost catatonically single-minded and is
an intriguing study in emotional numbness. Though many of the
supporting roles are well rendered (Francois Berleand is surprisingly
sympathetic as a cornered businessman) some of the cigar-chomping
mobsters are bit overdrawn,- and a subplot involving diverted funds
propping up a corrupt third-world regime is lumbered with cliche.
Still, this is an ever-relevant reminder of where you can end up when
you follow the money. And there's comedy indeed in imagining
Huppert's sadistic, lizard-like magistrate shaking down the wideboys
in Quebec.
LA COUPURE f Canada): Not that we expect a film about
sibling incest to be happy, but this debut feature from Jean Chateauvert
is too relentlessly downbeat to serve the issues and emotions that it
portrays. Since the brother and sister team in question are adults,
there are ex-girlfriends, a spouse, in-laws and several children all
swirling around insinuating and acting out. Past events—such as the
couple's three-month trip together as adolescents—are merely alluded
to in accusatory tones, whereas flashbacks could have helped out with
some much-needed dramatic flesh. In a sense, the narrative seemed
stuck in a turgid, repetitive present with no resolution in sight—just
a lot of furtive bonking, recriminations and copious tears. When the
"cut" of the title finally occurs, though, it's both emotionally affecting
and cinematically clever.
LUNACY (Czech Republic): Not a moment too soon, Jan
Svankmajer returns with another allegorical gutpunch—this one
centering on regime change in a lunatic asylum in 18th century
France. In a deadpan Hitchcockian introduction, the filmmaker
acknowledges heavy debts to Edgar Allen Poe and the Marquis de
Sade, and does seem to be having fun as he riffs on these icons of
horror and debauchery. Famous for his visceral mix of live action
and stop-motion animation, Svankmajer usually blends the two in a
uniquely unsettling way. But here, the animated sequences interrupt
the live action like commercial breaks—severed tongues slurp the
remains from beer glasses, bones drew from the pockets of hanging
clothing and eyeballs roll about—all to frantic carnival music. The
significance of this parade of severed body parts only becomes clear as
the horrifying story unwraps. Though many will regard Lunacy as the
director's most despairing and nihilistic film, that would be a mistake.
Svankmajer is, above all, a potent teller of fables and the lessons feel
much closer to the surface here than in previous work—as if pushed
by the urgency of the times in which we live.
OUR OWN PRIVATE BIN LADEN iCanada): It's appropriate
that a quotation from Sun Tzu's "The Art of War" should appear
near the beginning of this enlightening documentary. The 2400-
just die, like, I mean ohmygodl Chicago's
Busy Signals also have people talking with
their latest, "AU The Time" b/w "Can't Feel A
Thing", a double dose of Rezillos-style razor-
sharp pop, and one record that hasn't left the
turntable since ... yesterday! But really, it's
that good. (Shit Sandwich Records, 1400 S
Elwood Berwyn IL USA 60402, www.shit-
sandwichrecords.com)
Sometimes it's the little things in life
that really count, and after listening to The
Ettes' brand of shimmy-shimmy, I had a
look inside the jacket and found a skuU and
crossbones with the words "converting an
your sounds of woe into hey nonny nonny"
written underneath. Now I may not quite
understand what the heck that means, but
damn if it didn't make me smile, and that
is exactly what this three-piece from Los
Angeles will do when spinning their debut
platter. Imagine Yeah Yeah Yeahs if they
listened to sixties garage records instead
of quirky new wave, or The Headcoatees
if they packed heat instead of purses full of
bubblegum. "Dead And Gone" and "Get Out"
are both dangerous and dead-on—the spirit
of '66 meets the muscle of '77—smart, sassy
rock and roll is The Ettes' MO, and that's a-
ok by me. (Sympathy for the Record Industry,
www.sympathyrecords.com)
Then sometimes when you hear enough
about a band, it makes you want to hear if
the hype is justified. Such is the case with
Fucked Up, a group of Toronto malcontents
that have played shows with carved out
pumpkins on their heads, engaged in flame
wars with Billy Talent and made punk records that defy the meaning of punk. With
the release of this single "Triumph Of Life",
it makes me wonder what I've been missing,
but at the same time where I should start
with these guys (and gal). The a-side is a
little six-minute rager, complete with barking vocals and the same three or four chords
hammering away over a new wave-inspired
double-time rhythm—dare I say danceable?
The flip "Neat Parts" clocks in respectfully
short at two minutes and change, but again
uses that pop-influenced backbeat. The lyrics are cryptic at best, misunderstood at the
least and gives me the impression that more
exposure may grant me more appreciation
for a group that's never played by the rules
and most likely never wiU. (Jade Tree Records, 2310 Kennwynn Rd. Wilmington DE
USA 19810, www.jadetree.com)
A good friend of mine, Jeff G., has started
a label here in Rain City, and his first release
(which I finally got in my hands—thanks
Sean!) is from Oakland, California, all-stars
The Pets. "Sticky Situations" has some
sticky power-pop bounce, while "Never Ask
For Help" hints at KBD-style punk, but keeps
things at a modest pace. A great way to kick
things off, and hopefully with more coming
down the pipe, we locals can get more excited at the prospect of emptying our pockets in
support of hometown heroes (along with La
Ti Da and Seeing Eye Records) for some time
to come. (Sweet Rot Records, www.myspace.
com/sweetrotrecords)
Speaking of Seeing Eye Records, we end
this edition by sneaking in under the wire
another winner from this local label's stable.
Ladies Night and No Feeling share a side
each on black wax that will definitely leave
ears buzzing. The boys of the Night make
nice with "Nazi Tomb", a reverb-drenched,
sweat-soaked hot mess of crashing drums
and strangled guitar that marches along
like the brown shirts alluded to in the title.
No Feeling (comprised of Levon from LN and
Becca and Megan from Vancougar) also
prove that earplugs are for sissies wtth two
tunes of Lost Sounds-without-the-key-
boards-influenced slop. "Don't Tell Me What
to Do" and "Holes" find the three members
back together again (as this isn't the first
time they've played together—Sweet Fuck
All, anyone?) and lovin' every minute of it-
You need this. (Seeing Eye Records, P.O. Box
88202 Chinatown Vancouver B.C. Canada
V6A4A5) s
Tierny Gearon: The Mother Project
year-old advice on the craft of disinformation and the importance of
writing history before it's made has obviously been studied by a few
politicians we've known. (The book is also a bible for corporations, by
the way. It's required reading at Harvard Business School.) Director
Samira Goetschel has assembled an impressive roster of interviewees
(heroes, villains and pragmatic ex-players) who ensure that volumes
of vital information keep coming our way. The film's main subject
is the commodification of whatever enemies or remedies the ruling
elite needs in order to further its long-range plans (the pathetic
shortsightedness of which is evident in America's use of Afghanistan
as a battleground, first against Soviet communism and now against
Islamic jihad). But the beast has numerous tentacles and Goetschel
swings from as many of them as possible, from the counterflow
between coalition arms and Afghan opium to the institutionalized
complicity of international banking establishments and the attempts
to "democratize" countries which have enough oil to qualify for the
favour. As one talking head commented ruefully, "How do you keep
anyone's attention for something this complicated?". The existence of
counterspin Uke this may be part of the answer.
TIERNEY  GEARON:   THE   MOTHER  PROJECT  (USA):
How much slack do you cut an artist whose work is outstanding
but whose methods are exploitative? As the question rumbles away
in the background of this candid look at American photographer
Tierney Gearon, the filmmakers, to their credit, keep it a hard one to
answer. Trailing around after their subject as she obsessively turns
every family activity into a photoshoot. Jack Youngelson and Peter
Sutherland then show the breathtaking results: pictures of such tilted
splendour, intense colour and extraordinary Ught that you want to
forget about the fact that her children have had no choice but to be her
set-directed subjects since the day they were born. Besides, the sprogs
are more than alright, displaying a well-adjusted cool that many
eight- and twelve-year-olds won't reach in a lifetime. As for the artist's
own mother—a manic depressive schizophrenic—she's immensely
entertaining in that American freakshow kind of way. Her freeform
rants are works of art in themselves and an ultimate willingness to
expose herseff, UteraUy and figuratively, to her daughter's camera
suggests a free spirit that never got a proper chance to fly. Some of
the jealous vitriol directed at Gearon is perfectly understandable in
that context. Gearon's art world fame occurred around the same
time as her brief notoriety—a photo series of her naked children at
a prestigious London gallery had her threatened with pornography
charges—but anyone who sees through puritanism's hypocrisy will
have no problem wtth states of undress in family snapshots. What
rankles is the self-absorbed bleating about how she has to use her
own children to heal from her traumatic childhood. I wanted to
smack her. But those photos are so fabulous.
UNREQUITED LOVE (VK): Ostensibly a fictionalized
adaptation of a non-fiction work, this multi-layered meditation on
stalking straddles the two genres in a way that defies labels. Working
from an actual book of the same name, filmmaker Chris Petit has cast
its author, Gregory Dart, as the stalkee (an actress plays the stalker)
but changes the book's title. Thus "Stalkers: Fundamentalists of
Love" becomes the springboard for a stimulating postmodern ramble
linking CCTV surveUlance (dubbed "post-human cinema"), digital
communication, terrorism and unconsummated desire. Shot for the
most part on surveillance camera in London and Leipzig, the film
speaks the very language of its subject with a blue-filtered ambience
that's both lonely and creepy. Petit himself is the tweedy-sounding
narrator, whose apparent digressions actually hint at other,
metaphorical kinds of stalking—one's love for a city or obsessive
cinephiUa, for example—all of which fold back on the main theme.
Heady and soulful, this is the cinematic equivalent of a flying dream. ■TEXTUALLY ACTIVE
Fillip, Recess Pieces, Walking Dead, Abandoned
Fillip vol. 1 n. 3 (spring/summer 2006)
Fillip is a broadsheet contemporary art review published in
Vancouver, but its front page doesn't display any images of actual art.
With spare and orderly columns of small print arranged on heavy
white paper, Fillip evinces a rarefied propriety that effectively suggests the character of the writing within. As indicated in its modus
operandi, Fillip seeks to be "a forum for critical discussion in the
contemporary arts, and situates itself as a complement and stimulus
for contemporary practices and discourses." In publishing "vital,
intellectually rigorous art and cultural journalism", Fillip clearly
addresses itself to practicing artists and academics rather than the
general public. Rooted firmly in the arch-conceptual climate of the
Vancouver art community, Fillip's choice of subjects and modes of
discourse favour the intellectual and problematize the expressive.
With reviews of recent exhibitions by Stan Douglas, Myfanwy MacLeod, Brian Jungen, and Jeff Wall, Fillip positions itself as a chronicle
of the usual suspects. The works in question are explored lucidly, by
authors whose erudition and insight are obvious and valuable, but I
was lead to wonder what properly constitutes "rigour" in this context. The articles in this most recent edition (the third to date) are
certainly weighty, and offer strong points of entry for thinking about
the kinds of works whose meaning is not always easily apprehended.
At the same time, I would have liked to see a more critical attitude
towards the reigning assumptions of what's worth talking about and
how it ought to be discussed.; J^jaeo art, photography, installation,
and works concerned with architecture are prioritized, and a space
is made for sculpture (because it's Brian Jungen), but painting is notably excluded, and the tone of discourse (even in this age of Superflat
and the "impure" contemporary) is limited to only the most academic
diction. Any contact with popular media or broader cultural production is scrupulously avoided, though a passage from Nabokov's short
story, "The Vane Sisters", is unaccountably (marvelously!) tucked
next to the masthead on the back page.
As an "insert project", this issue ol Fillip includes an offset poster
by New York-based artist Stephen Elwood, bu{ the "twadrawings" alluded to in the description turn out to be just two lines of text printed
on a large sheet of pink paper. The best article on offer is probably
Jordan Strom's editorial about the recent Whitney biennial, which
centers around Artforum's handling of the Peace Tower constructed
by Rikrit Tiravanija and Mark di Suvero. This discussion of the burgeoning anti-war movement in the US and its manifestations within
the international art communUy is a welcome engagement with
global politics and relevant discourses in the international arena in a
publication otherwise necessarily focused on the locale. As a whole,
Fillip offers considerable food for thought, and as Vancouver's Only
independent review of contemporary art (not counting publications
put out by the city's various galleries and artist-run centers and more
esoteric zines like UE), has already established itself as the media organ to be reckoned with, whether you're looking to publish your own
writing or just keep up with events. I can't quite shake the suspicion
that Fillip was born more out of the need for Vancouver-based academics to pubUsh their writings—contributors include two instruc
tors from UBC, one each from BCIT and Emily Carr, and curators from
the Or and Catriona Jeffries galleries, among others—than it was out
of the (very real) need for a good local art review, but since this is only
the third edition so far, there's no reason to assume that the editorial
board has entirely found their mandate. I look forward to seeing the
direction that Fillip takes in the future, and I'm particularly eager to
see their coverage of Swarm7 and the large-scale exhibition of local
painting that launches at the VAG on September 30 .
Salman Ru^job%^>  ||
Inkstuds
Recess Pieces, Walking Dead, Abandoned
What is it about zombies that attracts readers and audiences? Is
it the sheer gore and violence, or the sociological exploration of the
depths of what the human condition can handle? Thanks to great
movies Uke Shaun of the Dead and 28 Days Later, zombies have re-entered the pop culture psyche like a rapid flesh-eating virus. Zombies
have always had a role in geek culture, but more recently, the comics
world has felt an resurgence of great tales running a gambit of different genre cycles. Three books that stick out are The Abandoned by
newcomer Ross CampbeU, alternative master Bob Fingerman, and
the ongoing series Walking Dead by the currently more mainstream
Robert Kirkman. The only common thread uniting the stories is
brain-eating undead monsters; other than that, they all approach a
different aspect zombies, with varied takes on the gory ghouls.
Srt<j(_5_Fingerman's MtSstbook, Recess Pieces, approaches zombies
with nostalgia in the vein oi Shaun of the Dead, but he infuses his own
New York upbringing to give it a parodic feel, much like Mad magazine of the 70s. The idea behind Recess Pieces is: what would happen
if zombies invaded an elementary school circa 1976? Art-wise, this
is by far Bob's strongest work. His attention to detail, in its entire
blood-splattering splendour, reminds me of some of Jack Davis's early
work, only taken to a new level. You can tell that this story has been
brewing in his head for many years. Best known for his Fantagraphics masterpiece, Minimum Wage, Fingerman has really developed
visually'while maintaining the humourous style he's best at. The
styUng in the comic is Uke looking through an old yearbook from the
bargain basement in the Salvation Army on 12 , only all the kids
are covered in blood and entrails. Zombie comics are definitely not
for the faint of heart.
While Recess Pieces is a fun slaughter-fest, Walking Dead by
Robert Kirkman takes readers on a journey into the apocalypse. The
story starts out with the classic zombie theme: guy wakes up in hospital, guy wanders around hospital, guy comes to room full of zombies,
gU3f freaks out and runs into streets. From there the story follows the
journey of a small-town cop, putting his life together when everyone
he knows is gone, and everything he knows has changed. The story
continues with his journey to find himself and the people he has lost.
Along the way he finds an assortment of people facing similarly dire
straits, with the same ultimate goal—survival. Walking Dead is in no
way original in concept, but what makes it great is the characteriza
tion. Kirkman really makes excellent characters—gets in their heads
and shows a diverse range of reactions of how people would handle
staring into the abyss. I will be continuing to check out Walking Dead,
just to see what the heU happens to people and just how unimaginably bad things can get.
In the graphic novel Abandoned, Ross Campbell continues his
MO of drawing cute, chubby lesbians with a similar gothic disposition to his series of graphic novels from Oni books, Wet Moon. In
Abandoned, he avoids stereotypes by creating a great cast dealing
with personal, relationship and isolation issues in a small town in
the American South. One of my favourite aspects of the book is the
use of colouring. Recess Pieces has a very lush palate to suit the era
and age of its characters, Walking Dead is strictly black and white;
Abandoned is in a weird almost sepia tone. Instead of beiges though,
he uses different shades of red to eofeeverything, gremgthe carnage
scenes more impact. While Abandoned may be over the top in some
of the cannibal carcass consuming, the story is a very personal and
ultimately sad tale.
Reading these excellent zombie comics is a great way-^?pep
for Halloween with a new zest for the undead. I also need to mention
local zombie fanatics Robin Thompson and Ira Hunter, whose Zombie
;JHs«s^t^^||^re-fire hit. If you love zombies, and you love Jesus,
then you will definitely love Zombie Jesus. It's time to say goodbye to
those familiar wimpy vampires and hello to rough-and-tough zombies.
Robin McConneti   j)
Boh Fingerman's Recess-Pieces .
\C
m
"*Rock Your Own Adventure^-
by Kat Siddle and Curtis Woloschuk
___.
9/
n
Despite its obvious failings and dubious taste, the mainstream music industry must be given credit for being one finely-tuned machine. Svengalis and label execs are constantly standing
guard to ensure that their polished, waxed and wardrobed charges never stray far from their prescribed path to inevitable (if short-lived) glory.
In the determinedly DIY environment of indie rock, things operate a little differently. It's imperative that artists exhibit acumen, intelligence and intuition in guiding their careers. Qne
false move can lead to financial and creative ruin. ^SKpsK'
Think you're up to the challenge?
Put yourself in the shoes of the lead singer/guitarist/primary songwriter of a fledgling indie band in Vancouver. You've written a slew of songs that your friends maintain are "not bad"
and you think it's time your act graduates from the practice space.
Your devoted drummer, Cindy "Rat Basher" Speckles, books your first show. You'll be playing Pat's Pub in a couple weeks. Problem is, you haven't decided on a name. Your preening bass
player, Colt McCorbin, insists on Sex Toys in Japan, but your rock 'n' roll heart is set on Secret Korean Girlfriend, What will it be?
/<r
If you choose the risque Sex Toys in Japan, turn to Page 9.
If you choose the more obtuse Secret Korean Girlfriend, turn to Page 11.
"S7
^%
-_<
October 2006 ||W
^^^^^ (2S?s_§^'
• ■ •
urge
PHomBY Christopher Evans
C.L. McLaughlin
1 Harry Nilsson | Gotta Get Up | This song leads off every early morning and mixtape of the last seven years for me. The perfect blend of
wit, wonk, and songcraft. The template of basically everything I
ever want to achieve.
2 E.L.O. | Boy Blue | You can tell it's JeffLynne's first time with a full
string section and choir. He briUiantly doesn't know exactly what
to do with them and doesn't do it this well again.
' Hefner | When the Angels Play Their Drum Machines | Dead Media
reaUy introduced me to the idea of writing a pop song with an
analog synthesizer. Lyrically, Darren Hayman is England's D.C.
Berman, if you know what I mean. Geek.
4 The Ronnettes j (The Best Part of) Breaking Up | Full of eerie bits
and pieces that never quite fit and stop and start like every relationship I've ever known: by the time it's over, you can't teU if you'd
have been better off having never been a part of it or if it was the
best thing that ever happened to you.
5 Joanna Newsom | Peach, Plum, Pear | How heartbreaking can a
harpsichord and multi-tracked vocals be? Let's find out.
6 Gram Parsons | $1000 Wedding | About the wedding he skipped
out on. Heartbreak and a longing for some sort of forgiveness are.
written all over this song. Regret never sounded so beautiful.
7 Steely Dan| My Old School 11 secretly love a good guitar solo. This
song has three of the best I've ever heard, so pay no attention to the
mind-boggling horn arrangement and drumming.
8 Show Business Giants | Japan Is Turning Into Eric Burdon | For
some reason this song makes me so happy. I always imagine that
this was the most fun song to record ever.
9 Liars | There's Always Room on the Broom | The most FUCKEDUP-
PERFECTPOPSONG ever!
3 Superchunk | Watery Hands | Try to sing along with this song.
You know you can't, but want to so bad. You can't sing like that and
neither can I, but that doesn't mean I don't try every damn time.
1 Blue Oyster Cult | Burning For You | From the band that brought
you nothing good, here's the best song you've never thought was.
Would someone cover this song already?
2 The Beekeepers | DaveC/ark5 | If you ever have a crappy song stuck
in your head, listen to this song. Voila! That one's gone and this one
is in, right? One of the best Vancouver bands ever, they were swallowed by the night, never to be seen again. Poor, poor us.
3 Elvis Costello and The Attractions | Two little Hitlers 11 end every
mixtape with this song. It's the end... it has to be.
Jon Schubert
Local lads Panurge dropped their
third album, Walking in the Fog, on
August 1st. Released through Last Gang
Records (cue incessant buzzing), it has
been lavished with critical praise aplenty.
After limbering up their touring muscles
during a spring circuit with Metric and
Islands, Panurge has just returned home
from a nationwide marathon. Never ones
for overexposure (despite what that police
report says), their next local show will be
in support of Akron/Family in December. Despite six years of catching ears,
Panurge's music often leaves Usteners at a
loss for descriptors. "A blend of '60s-style
pop and modern electronica" doesn't offer much insight. Perhaps a mixtape can
shed some light on the varied muses that
govern them.
what's on their Myspace, but I've listened to this song a thousand
times and haven't yet tired of it.
11 The Pink Floyd | See Emily Play \ I say "The" Pink Floyd to differentiate them from post-Barrett Floyd. The 4-second piano break at
the 0:50 mark means more to me than the entirety of Dark Side of
the Moon. One of my favourite tracks ever, for certain.
12 The Soft Machine | Hope for Happiness | Robert Wyatt and Kevin
Ayers being in a band together was a pretty good idea.
13 Jim Noir | Eanie Meany | It's always heartening to hear something
new that is childishly fey without being milquetoast.
14 Donovan | Epistle to Dippy | Good-hearted, whimsical and melodic.
15 The Zombies | Brief Candles | Basically just picking my current
favourite Odessey and Oracle song.
16 El Perro Del Mar | I Can't Talk About It j She so sad. Why she so
sad? She can't talk about it.
17 Love | She Comes In Colors | Worth it for the harpsichord/flute
flourish bits alone.
18 Beck | Rowboat \ A young, pre-"Loser" Beck does a great sad cod-
country song which ends up as the real thing in Johnny Cash's
Chris Lovell
01 The Beatles | Norwegian Wood | They are the best.
02 Bob Dylan | 115th Dream | Probably the most overt display of his.
sense of humour.
03 Devendra Banhart | I Feel Just Like a Child | Grooves like Marc
Bolan in diapers.
04 Novillero | The Hypothesist | Rod Slaughter (real name) has been
the beating heart of Canadian indie-mod for fifteen years now. We
played with them in August; 'twas grand, as is this song.
05 Of Montreal | Eros' Entropic Tundra | We just played with them;
'twas fantastic, as is this song.
06 The Dukes of Stratosphear | What In the World??... | Genius (XTC)
attempts imitation but arrives at something fresh and exciting.
07 The Poppy Family | Beyond the Clouds | Van City represent. Not
sure why they're not more celebrated in their hometown.
08 Air | Kelly Watch the Stars | From the enormously creative Moon Sa-
09 Broadcast | Goodbye Girls | What Ladytron might sound Uke if
they were able to feel love.
10 Slow Dazzle | Fleur de Lis | I know nothing about them except
01 Kevin Ayers | Lady Rachel | As exquisite as David Bedford's orchestral arrangement for alternate versions of this song, I prefer the
one which appears on Joy of a Toy - spare, spooky and a little more
uptempo. A pop song with real movement, full of images and the
pervasive tension between fantasy and vulnerability.
02 W.A. Mozart | Overture from "LeNozzedi Figaro" | Plenty of delicate
little melodies, counter-melodies and harmonies, yet aU of the bombast that no number of guitar overdubs will ever get you. Wonderfully dynamic, this is one that always moves me when I hear it.
03 Bill Withers | Ain't No Sunshine \ Lacks all pretension. I feel silly
even talking about this song, so i will do so no longer.
04 Neil Young | Tell Me Why | I am just all about this song right
now - such a moving melody, such sweet harmonies, such great
complementary acoustic guitar parts.
05 Radiohead ] Paranoid Android 11 heard some dude in Steve's Music
playing this on the acoustic guitar this summer and it reminded
me just how good it was. The dude was okay, too, but probably
not Thorn Yorke good, you know? Anyway, nothing should be less
cool than a hit song written a decade ago, but "Paranoid Android"
doesn't care.
Daniel Byrne
01 LCD Soundsystem | Beat Connection | It's all true.
02 Spoon | My Mathematical Mind \ Builds like a good shit.
03 Feist | Lonely Lonely | Hove the somewhat unexpected guitar picking at the end.
04 Beyonce | Yay Bey once! | Beyonce can lick my balls.
05 Justin Timberlake | Sexyback | Can I ironically appreciate the
Trousersnake too? Can I? Can I? Huh? Huh? S
No Bones About It
by Mario Carpenter
Illustrations by Hannah Greenspan
Things that are grosser than Body Worlds 3:
• Iron Maiden's mascot, Eddie
• That video we watched in Grade 9 of a baby being born
• Indiana Jones and the Temple of Doom
I guess I'd secretly hoped for
bloated grey corpses floating in
open vats, the air thick with unwholesome vapour, skulls cut open
like grapefruits, ticket-holders invited to stick their hands right in and
have a feel. I imagined monstrous
desecrations of Nature. Grave-robbing, unexplained disappearances
and mysteriously expensive electricity biUs.
Plastination—a technique of
drying out and preserving bodies developed by Dr. Gunther von
Hagens in the 70s—isn't as controversial and Frankensteinian as all
that. Though the display outside the
exhibit which lauds plastination as "the method of halting decomposition of the body and preserving it for all time" practically begs for
some Ozy mandian dramatic irony to befall it ("Look on my exhibit, ye
ticket-holders, and despair!"), I found it not so much mind-blowing
as fascinating and educational.
I learned some neat stuff. For instance, it's relatively easy to spot a
healed broken bone, because bones heal pretty messily and haphazardly. I also never realized before just how huge the liver is. It's bigger
than the stomach, lungs, brain—in fact, it's the body's largest internal organ. And our bodies are pretty resilient. Diseased organs look
radically different from healthy ones. Lungs with emphysema are
ragged and shrunken, stomach ulcers are gaping, cirrhotic livers are
shriveled, and cancer can render body parts nigh unrecognizable.
But it wasn't disgusting. Human bodies, especially muscles, removed of skin and moisture and plastinated, look surprisingly similar to skies of beef. The bones and organs reminded me of their plastic
renditions in biology class and the doctor's office. Of course, the fact
that they aren't models gives them weight and significance, but I
don't think they deserve the hype and controversy they've received.
Dr. von Hagens seems perfectly aware of that old French phrase,
meets de scandale: the idea that there's no such thing as bad publicity.
There are subtle hints of this in the exhibit. Not only do all the full-
body models retain their genitals, which makes complete sense from
a scientific anatomical standpoint, but for some reason the female
bodies all have breasts. By which I mean that their entire bodies are
skinless except for their breasts, which retain all skin and nipple,
while the male bodies don't have nipples or the skin on their pectorals. Other attempts at controversy are more heavy-handed—for
instance, one of the bodies is posed kneeling in prayer on a cross and
looking skyward, holding a human heart in its hands.
It may be obvious at this point that I am in no way a proponent of
the Gothic-Romantic trope so loved by H.P. Lovecraft and the makers
of Jurassic Park; i.e., science has its limits, passing them is an affront
to Nature, and she will exact her
vengeance. On the contrary, it put
a smile on my face to ride my bike
past Science World on the opening
weekend of the exhibit and see so
many people Uned up outside. At
the show, I felt a sentimental connection to the hordes of so many
different people around me who
were as fascinated as I was to see
the cross-section of the human hand, the embryos at varying stages
of development, and the plastinated corpses in sometimes silly poses.
People eager for knowledge and science and learning. The fact that
an exhibit so tame should create so much controversy and rumour is
the depressing part—its popularity isn't.
Body Worlds 3 is showing at Science World until January 14th,
2007. More information can be found at http://www.scienceworld.
ca/bodyworlds/index.html. S by Julie Colero
Photos by Laura Russell
Illustrations by Katie Lapi
fy*
^m^€
8     October 2006 ^^^ > n my perfect ver-
| sion of Vancouver,
l one without giant
TV screens in the
downtown core, one without
impenifam Olympic chaos,
'^ffi^a^ft* with a few more
niApu^^eyerybody would
IM^^Sben. Her band,
Great Auntmmwould be media and radig)mrlings, hiifA
wouldn't gowi/jfr head. 0m
still be as grounded and charming as ever. People would fill every creaky chair in the Western
Front when she played with
her bandmates Scott Malin,
Barry Mirochnick, JP Carter
and (sometimes) Jon Anderson; hell, they'd fill the Commodore, even, and accolades
would shine down on Nilsen
and co. like the late summer
Or something like mm. Let's take it as a good sign that the Western Front was nearly packed for
Great Aunt Ida's cd relfpit
trumpet, accordion, and pil
into a good thing. Nilsen is cl
providing the sweet and clear vocals"
The band's first album was fairly su<
she's optimistic that things will run
I sat down to a quiek beer with Nilsei
about the way things are shaping up. When
mber 23rd. Ida's work as a multi-instrumentalist (she plays the
ret be world-renowned, but it does look like Vancouver's cluing
using her attention on playing the simple piano melodies and
tape Great Aunt Ida's poppy sophomore album. How They Fly.
mingly everywhere but here, a fact that vexes Nilsen, but
ithly this time around.
jfore her shift at the Railway Club the other week to talk
:alked about the band's relationship to its hometown audi-
:e, Nilsen had this to say: "It's alwaysjdjffeKnt.. Sometimes there's lots of people and I don't know any
of them, and sometimes there're a few p|q|jljand I know all of them. It doesn't seem to be consistently
going in any particular direction. I'm^^tSjhat it'll be easier with the new record than last time. I
thought it was pretty funny, though, befctjpewhen the last record came out, every college station in
Canada was playing it except the stations inf/ancouyer and Victoria, actually. In Vancouver and Victoria,
it didn't get played until about six months Mer ifcaok out, and then it charted for a week or something. I
byjuess nobody was interested." If in- ^w|h» ■■■*
Jjjrest was lacking the first time out,
sfnqMfrs would be foolish not to give
l^g^&fealbum a chance. Nilsen is a
lfllipf,fi|||;writer, whose honest and
pHfflHBugiing, not to mention catchy,
^|W#£§s ought to be heard by the
OpJI|pt
li.H she's
sd to Nilsen that per-
e hometown problem
a part of the
pjbtt'- have a lot of patience. Once it started coming together,
I w%m after it pretty quick. We started working on the record
re^^ast, and part of that was Colin [Stewart, of the Rive],
amuWuj. He kept asking, 'Are you ready to make the record yet?'
Iptm't know what it was. Colin's good that way sometimes."
|podwol|gjiere :
:asi!y tal&| for granted and thus l«i«^
)verlooked|t|he disagreed, offering the first of maS"setting-the-record-straight" moments that evening,
jvjaylng flit she's steadily narrowing down he||ivolvement in other peoples' projects as she becomes
prfe dediclj&d to her own. "I actually haven't ##ed on that much. With the Buttless Chaps and the
/iolet ArcheM, itfs very sporadic. It's not th^hAi to manage. Pm trying to not take on little projects
h"^f'_iWiL      3^ up a 'ot °^ tWei' ^e fiUib8*_j^ people for shows where you have to learn a bunch of
hatarifl aiMiJbfa a bunch of practices. JCm43mng to save that time for myself now. I'm not as interested
^playing Ojjj&r people's music anyrn^aj^f t\
/ But playing othjsrtoeople s mjisicls v^tat^ot her roped into this scene in the first place. I've always
afcen Nilsenip^e anM2gma of sorts, appearing out of nowhere at the (sugar refinery) and, without doing
mything in particular, just being one of those good people you always look forward to running into. It
urns out NilsenTiWaT|jgi|^;|§^nd an idteresting one at that. Here's the short version for you: Dropping
)ut of high school injVlctoria, Ida decided to hit the road for San Francisco, where she hoped "to try and
rejebeatnik." That plan didn'twork put-and so she moved on to Salt Lake City and worked at a record
iroripfOESSfshcjrt^^Ie; A trfl|fUme forwfiristmas derailed her future Americana plans, and she ended up
"When I first moved here, I was 17 and really broke. I had no education; I couldn't get a job anywhere. I had a job at a clothes store on Robson, but only for 10 hours a week. I was busking with my
trumpet on Granville Street. The first place that I stayed when I came to Vancouver was the Hive. I met
some friends in Victoria who were associated with the Hive and so I went over and slept on their couch for
a month until I got an apartment.... So I knew about the (sugar refinery) from those people, there were
always people in bands around. So I used to go in for coffee when I was taking breaks from busking, quite
regularly. I went one night and the Beans were playing. I'd been in there having coffee and the Beans CD
was playing, and I asked Steven what it was, and I really liked it, so I came back when they were playing.
It was an amazing, magical night. I was having such a great time, drinking wine, sitting at the (sr) and
listening to the Beans. I-just loved it, and I was getting up to go, and Steven was at the door, and I went
up to him and gave him this huge, fat compliment." Anyways, Nilsen didn't get out of there as quickly as
she'd expected to—Steven asked what she had with her in that big ol' case, and she told him she played
the trumpet. He told her that she should go sit in with the band, to which she replied, "Uh, you don't really
do that." And he said, "You do with that band!" So she sat in with the band during their second set, and
came back the next week, and the next, and, well, you pretty much get the idea. Ida was a Bean. The week
after her first time sitting in, Steven
called a friend of Nilsen's, trying to
track her down to offer her a job.
That was back in 1998. Since
then, many things have changed.
The Beans and their marathon gigs
are gone. So is the (sugar refinery).
When original (sugar refinery)
owner Steven Horwood left, he
passed his restaurant on to Nilsen
and two others, who did their best to
keep the place afloat. It didn't come
with debts, but it did come with a
red flag for the bureaucratic bull. Unfortunately, we all know that this city hates good things, especially
when they're located on Granville Street. Nilsen spoke quite passionately about the demise of the (sugar
refinery), saying "I think it was part of the Granville Street clean-up,To be honest, I'm surprised we lasted
there as long as we did, considering what a fucking gong show it is now. After the Book Company closed,
I was like,'That's it!'"
But things have a funny way of working out. Less time spent at the (sugar refinery) meant more
time for Nilsen's own creative endeavors. "When the (sugar refinery) closed, after that was really when
I started getting my shit together for Great Aunt Ida. A few months after that, we played our first show
where we actually had, like, a set." Explaining band chronology goes more or less like this: During her
stint behind the bar, Ida had managed to put together a makeshift band and play a couple of shows. "The
first Great Aunt Ida show was in early 2003, but that was land of a funny show, because we played four
songs and a cover. It was like a 20 minute set. We did it twice in one week, and then we didn't do another
show for another year." Asked what stopped her from playing more shows, she simply replied, "I didn't
have any more songs. I really wanted to do it, and I'd always had this vision in my mind, and I'd play
around and do little four-track recordings that I was never really that happy with, but I had the idea that
H*.
m
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■•4s*Rock Your Own Adventure-^*"
__
wiw^Ebe'contentious moniker Sex Toys in Japan, you play the gig and it's an unqualified success. Looks Uke the name will be sticking. After your set, you spot local label mogul
ata—^iead of Lozenge Records—sipping a pint. He acknowledges you with a nod. At exactly the same moment, apretty girl smiles at you from across the room. Do you chat up the
5/
n
If you hobnob with Sandy Kinsata, t
If you take your chances with the girl, turn to Page 14.
7.
?<
DiSCORDER        9 I wanted to do the project, and it took a while to get it together."
"I don't have a lot of patience. Once it started coming together, I went after it pretty quick.
We started working on the record really fast, and part of that was Colin [Stewart, of the Hive},
actually. He kept asking, 'Are you ready to make the record yet?' I don't know what it was. CoUn's
good that way sometimes.'' So Nilsen got to the studio and came up with Our Fall, a beautiful
collection of songs including the CBC Radio Three favourite (Ida points this out at most shows)
"Macarena", a very upbeat number, and more than a few other gems. Recording that album took
a long time, as Nilsen is an admitted perfectionist, and she went about things quite differently
the second time around.
"The song-writing was all solid before we starte'-,'* Nilsen explained. "We did the whole
record really fast. I really wanted to do it fast. The last one took a long time, and it was drawn
out over awhile. It's back to patience, I think...I didn't want to spend months thinking...I can get
really caught up in little details."
"There's a couple little things [that I don't like on the new record], but no matter how long
you work on it, there's always going to be a few things that you go back and forth on. I was relieved
to hand it in." You can't help but love someone who sums up the recording process like this: "It's
hard to be so self-obsessed for such a long period of time. It makes me feel kind of lame."
But 'lame' isn't a word that fits with Nilson's character. Hard-working? Yes. Enthusiastic?
Again correct. She thinks she's pessimistic, but hey, she's still here, and she's sttU contributing her talents to a grateful music scene. She's sticking around because "at the moment I'm in
a healthy, long-term relationship and I Uke my apartment a lot. I don't feel like dealing with
somewhere new at this point."
When asked about what I thought to be a recurring theme on the new album, one of mismatched love, Nilsen laughed and set me straight again. Her lyrics are so straightforward, so
candid, that ifs easy to mistake the "I" for "Ida". "That's my boyfriend's worst nightmare!" she
joked. "There's always shit that goes on in relationships, no matter how good your relationship
is. It's part of what makes relationships good as well as what makes them bad. Obviously a case
could be made to disagree with that, but as a sort of general rule, there's always turmoil, or at
least for me." She continued, "Relationships seem to be huge issues for people. They think about
them all the time, they're a total driving force for so many people. I'm very interested by that; I'm
interested in other people's relationships."
"The first song ["Company You Keep"] I wrote after coming home from work one night.
The Railway Club's really interesting after everyone leaves and you're just cleaning up. There's
nobody there, but it's this place that's so often packed full of people. It just has this ghostly presence. There's all these characters that just stay in that place. It's just me imagining snippets out
of all these different heads, it's not really about me at all."
Nilsen's narratives may be cut and paste collections of experiences from the world around
her, but her motivation is true. "Music is really the only thing I'm interested in. I could probably
find other things, but there's nothing that inspires me to go and study, to learn something. I like
music, and that's kinda it." Ida's doing the only thing she knows, creating beautiful music, and is
making her adopted city better for it. S
10    October 2006
Ml
!_    _ THE
IUOU Is'PRIZE W  DECT
IN PRIZES FOR AftrIIMS
BEST COSTUMES
BY MR. DARK      ALTERNATIVE
CELEBRITIES ran
llllP|Plllll|r.v''ll
GiEJIT AUNT Ii*
TIOWTHWRY"
•fraught with admonishment, yet somehow manages
to avoid flat-out misanthropy"-TORONTO STAR
"Nilsen's breezily sweet vocals and warm
keyboards front and centre" - GLOBES MAIL
OCTOBER  C
ESBIS
at the RAILWAY!
OCT S
BUGHOUSE 5
RODNEY DECROO
THE BREAKMEN
OCT'7
HERALD NIX
DAVID P. SMITH
THE KNOTTY PINES
OCT S
LINDA MCRAE
AMY HONEY
ANDREW BURDEN
FLOPHOUSE JR
DYLAN THOMAS
RODNEY DECROO
DAVID P. SMITH
DOUG ANDREW
DOUG ANDREW &
THE CIRCUS IN FLAMES
RODNEY DECROO
*Vr u'Q"^    P'us •
q> ™   surprise guests!
ffHEi LAMPLIGHTER
**ee 878-G°Go
***** £^im^tcm" ^*^'4&**d:
SECRET HALLOWEEN SHOW!
Contribute to Discorder!
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s___
DIG YOUR ROOTS TALENT SEARCH UNDERWAY
Season 5 is the magic number for Creative Jazz Music
The National Campus and Community Radio Association (NCRA/ANREC) is calling for
submissions for its national talent development initiative. After five successful years with Hip
Hop, Spoken Word, Electronic Dance, Roots, and Aboriginal, this year will see the continuation of the series with our sixth project, "Dig Your Roots - Creative Jazz". "This year we want
to focus on a project that will look beyond the mainstream and feature artists who are creating
jazz-infused and jazz-inspired creative music," says National Coordinator Melissa Kaestner. "In a
.sense, anything that is new, progressive, innovative, and creative that has a jazz connection will be
considered." Dig Your Roots features independent artists from all across Canada on its website as
well as through a series of compilations and live concert broadcasts. Artists are invited to submit
their work to be featured on the Dig Your Roots website, where up to 100 artists will be showcased.
Following a national selection process, 15 of these artists will be chosen to appear on compilations
to be released in the spring of 2007. These artists will take part in a series of regional concerts,
each of which will be live coast-to-coast-to-coast on participating radio stations. This could be the
last year for Dig Your Roots. While the NCRA/ANREC will be seeking further funding to keep
tlie project going, "Dig Your Roots - Creative Jazz" marks the last year for the funding,agreement
with Corus Entertainment. "Everyone, including Corus, has been really happy with the project,
notes Chad Saunders, NCRA/ANREC President. "Both musicians and campus and community
stations have embraced the project and really ran with it. All of the project coordinators have
done a fantastic job. We may look to extend the project, or to change it up a bit with an interactive
website or recording more artists. In any case, this 5-year milestone is a true cause for celebration,
and the creative jazz project will be a toast to the success of Dig Your Roots."
Deadline for submissions: October 31, 2006. For more information
visit www.digyourroots.ca
BB|
DISCOVER YOUR CULTURE.
{SHOW A CONSCIOUSNESS.
DIG YOUR ROOTS.
—^Rock Your Own AdventdJre-4-
__
Four days before the show, your bass player resigns in a huff, claiming that you're stifling him creatively and he'd rather focus on a budding acting career. As Colt packs his gear, he chides,
"Good luck finishing Chinese Democracy, Axl." Now, it's just you and your spirited but arrhythmic drummer, Cindy. Do you recruit a replacement four-stringer or continue on as a duo?
If you open the practice space door to auditions, turn i
If you believe rock history will welcome a two-piece with open a\
/<
*3T
v»
Discorder     11 atlantis -
SAT, OCT 7
HJ RJL THE RUGGED MAN
C__3>   richards on richards -
1036 Richards
THURS, OCT 19
zioWi	
THE GROUCH
& CLASSIFIED
1320 Richards
SAT, OCT 21
STONES THROW 10yr ANNIVERSARY
1 w/MADLIB
Vmf PEANUT BUTTER WOLF
* J-ROCC
G_%>   richards on richards -1036 Rid-Ris
TUES,OCT24
_____	
LYRICS BORN
richards on richards -1036 Richards   t___f
MON, NOV 13
 negro"
Vancouver Debut!
H3   richards on richards -1036 ~
Tix available for most shows at:
DIPT (819 Hornby @ Robson) ■ ZULU (1972 West 4th - Kits)
BEATSTREET {439 West Hastings) LIVESTOCK (239 Abbott St - Gasto
- CLUBZONE.com
BI   QHgen_tone.hr     ^'4
12     October 2006 gK__-SSF°»
i''Mm:t. NEWCOMBE
i y sporadic overnight visits to Grandma and Grandpa's
j house are a potent memory I've stowed away from
j childhood. Mom would drive my brother iBrian and '
e out to North Vancouver, and along the way we
. would try to spot hawks above the highway (nature
collided Si bit more with man's world back then). After a long ride she
would drop us off at the grandparents' in the afternoon, each of us
with a change of clothing and an orange creamsicle. v
Those visits were frequent in our minds—as a child, spending
one day with old people was Just about one day too much—but just infrequent enough for the old relatives to not realize that whenever we
were there we would inevitably get bored enough to resort to sifting
through the dreaded 'old person' movie collection, only to settle for
the same dusty VHS each time: Walt Disney Presents: Melody Time!
The scene from that movie that sticks out most is the American
folklore tale of Pecos Bill, the bigger-than-life (figurative and literal)
wild legend who tamed the west.
The story of this Pecos Bill, as narrated by Roy Rogers himself,
is consistent with the archetypal American "Tall Tale" folklore of figures such as Paul Bunyan, John Henry and Nick Stahl. As prescribed
by the tall-tale formula, Pecos Bill was raised by coyotes after taking
a toddler tumble off the back of a wagon. Upon reintegrating himself
into society, Bill performed superhuman feats such as bull-riding a
tornado, make-shifting a whip from a rattlesnake, and lassoing an
entire herd of buffalo with one toss of his rope.
It goes without saying that all these feats of skill and strength,
are ridiculous, but they nevertheless have their roots in fact. Somewhere there was a Bill Pecos and he was probably a pretty wild and
crazy guy. But with enough time removed, the myth builds and takes
on a life of its own. This is how I feel about Anton Newcombe and The
Brian Jonestown Massacre.
Somewhere down the line, way back, the band was a group of
actual people. But then the hugely successful documentary, DIG I,
was released worldwide. Suddenly, the exploits of a moderately sue-;
cessful west coast indie band became the stuff of American legend.
They became mythic cowboys of rock music, owing no allegiances
to anyone.
But there is no reconciliation between myth and reality in
The Brian Jonestown Massacre's world. They prefer to pretend that
the film which documents six years of the band's life never existed,
and have also refused to record a full-length album since the film's
release. But the BJM are far from taking a vacation. The band has
been on tour almost constantly for the past two years, as the DiGI
snowball continues to gain size and momentum.
When asked last year about any future recording aspirations
(by Discorder's own Curtis Woloschuck), Anton replied with unabated enthusiasm that the band would be going into the studio in a
few months to record one or two new full-length albums. Earlier this
summer, I was told by Anton's publicist that they would be going into
the studio next month to record new material. Neither case is true. In
interview, the band confirmed to me that they have no plans whatsoever to record, and have no plans for the future outside of touring in
the same fashion as they have been for the past two years.
But without some kind of tangible response to all the attention
that the documentary has garnered the band, fans have only the live
shows and their own imaginations to consider when pondering the
Brian Jonestown Massacre. And. with that combination, the idea of
the "Tall Tale" Anton perpetuates.
LPs act as a tether from a band to the listening public. Without a
substantial expression of the BJM living and writing iii a post-DiGI world,,
all that is left over is an aging discog-
"raphy and blown up, larger-than-life
rumors about the group. The tale gets
taller. I
In late 2005, Anton Newcombe
and his band of misfit musicians
drunkenly loaded their gear onto the
Richard's on Richards stage before a
crowd of impatient music-goers who
had expected the band to start playing over an hour before. Without an
opening act or a sound check, the
Brian Jonestown Massacre played
through an abbreviated set consisting primarily of noise Jamming and,
as has come to be expected, Anton's
nightly threatening outbursts towards unruly 'haters'. The show
ended less than an hour later, sans
encore, as the eager 11 o' clock club
crowd piled onto the dance floor
for Richard's weekly Salsa Night. I
walked away from the venue with the
bittersweet taste of a typical Vancouver rock show.
One year later (to the day),
Anton and his same musical chain
gang showed up to that very
venue for what I had hoped would be
a repeat performance. I couldn't have
been more mistaken.
This time playing with an opening act, The Book of Lists, the BJM took the stage promptly and sober
(for the most part) and played what felt like a three-hour long greatest hits rock out. Minimal slanders were shot from the audience and,
even more surprisingly, the set was devoid of any 10-minute back-
talk from Anton hailing his music as a gift to humanity (something
I had assumed to be on their   	
cared about 'making it' or having a conventional music career. We
never needed validation from anyone but ourselves and that's what
makes us relevant."
But by ideologically packaging relevance and commercial success together. The Brian Jonestown Massacre doesn't just figuratively
put all of their chips on the
M We are happiest when we don't go on
[stage] too late, the fans are well behaved,
and their friends are at the show ff
set list by now, somewhere between "Seryo" and "That Girl
Suicide").
What the hell could explain this difference? What
made last year's show so
messed up and this year's show
so functional? Ricky Maymi, lead guitarist in the band, explained
that "we are happiest when we don't go on [stage] too late, the fans
are well behaved, and their friends are at the show."
What keeps the BJM train chugging along on this monster tour,
and to what destination? Maymi doesn't believe in trains... or destinations: "We do what we feel we're here to do. We keep going because
we love what we do. Who knows where it will lead? We don't really
look at things in those terms. We Just keep going. That... and getting from Anton "^ Ws P°sse' er~ bamL Whenever that may be. j>
to play at huge venues and festivals."
When asked about their relevance in today's scene, the band
appears to have their hate on for the very concept, and relate it to
the distaste they have for commercially successful bands. "We never
table. They are stepping away
from the game entirely. So the
band turns its back on fame,
but is inadvertently abducted
by infamy. They turn away
from the realities of recording
new and current material and
steer towards die kind of constant touring that is conducive to the
myth-generating nature of American folklore, reconstructing a kind
of Pecos BUI for the modern musical era.
As the group tours across the globe, riding bareback on an EP
and a wildly prolific and infamous past from stage to stage/saloon
to saloon, the problem will remain that as infamy grows, relevance
dissipates. As it stands, I am personally looking forward to a new LP
ve_2_	
I    After some kibitzing, Sandy Kinsata says he liked what he heard from Sex Toys in Japan and would love to get his hands on a demo. You pull a sharpie-tagged CDR from your messenger bag    |
and place it in the palm of Kinsata's hand. A week later, his people are ringing up your cell phone. They want to talk numbers with you. During a low-carb power lunch, a contract offer finds
■^Rock Your Own Adventure'-SH
J
its way into your hands. Your law student roommate looks over the paperwork and suggests that you're not likely to see anything better. Do you sign your musical lives away or hold out
hope of something better? If you take a pen in your sweaty grip, turn to Page 23. If you play a hunch and opt to pass on the offer, turn to Page 24.
'^3T
____Lv
L
,_TBV
Discorder     2 3 ONE    BEAT    FOR    FUCKING    EVER       by Will Brown Photos by CASEYljamffiit
t was one of our worst shows." wrote Bina, drummer of Vancouver doom metal band Cambodia, to me the following day. You'd be hard pressed to\>p_tikG'_i. The night before, despite •
the dismal early autumn rain, I'd seen them play at the recently reopened Cobalt. After a solid set from Lowlife, Cambodia took tcfthe stage and uncurled a new dirge, a 20-minute j
sludge epic they later divulged they'd only written the week previously. The common thread that runs throughout CambodiJs songirisTnWiage, m*J_rnmTNoffs that emerge^
rollover, and slow dive into a sea of drone and sludge. Dueling howls, piercing shrieks, massive drums—they all create a whirling hole that's filled with tha^ver^pre'sBnt, _ifrior
key, funereal, melodic riff. Yes, Cambodia's vocalist and bassist Adam did fall into the drums during their Cobalt set, but I thjy__ne can|>e excused fof a iomeftt Where the music
obviously took over. /0. 1*"%   Jl   \     J   SO
While Pat (vocals and guitar) took down the stage, I talked to
Adam and Bina about what makes Cambodia more than just
another doom metal band.
Discorder: Yon guys recently got acclaim from
Aquarius Records in San Francisco, and subsequently tUMULt. Has anything come out of that?
Adam: Nothing just yet, I really do like tUMULt though.
I think the first tUMULt thing I got was that Leviathan
Verrater double disc. Fucking «
They called you the "heaviest, harshest, indie slow-
core band ever. Only more metal."
Bina: That's probably because of me. I'm always metalling
it up. I Joined a funk band one time, and I totally turned
it into a metal band. I think I've got the more ballsy approach. I Just keep my foot down on these two.
Why do you think the West Coast has such a burgeoning experimental/sludge/drone/doom/black/
metal scene?
Bina: It-dark in those woods. It's racking dark in those
woods. I don't know if you've ever been to the West Coast
in the rainy season but that's probably ninety-nine percent of it.
You're all in other bands. How did you start playing
together?
Adam: Bina and Pat started jamming, we had a rehearsal
space where we were all one door down; we were all there
alt the rime.
Bina: We'd be there at two in the morning. I lived really
close, everybody lived really close, and we'd all show up
at two in1 the morning to jam by ourselves.
This is in East Van?
Adam: We're all scattered out there now. Pat's in Burnaby, fuckin', we practice out in New West actually. Based
in New West.
Bina: That's my house. He's in North Van. Gone are the
days of showing up at two in the morning because I won't
open my door.
Adam: Yeah, I'd say it started then.
You hist performed a new song tonight. What's It
called?
Ada?
"The ThtgjSRe.''*
"the,.THjeme V'Coffin's Weight^ "Weight «f Ages",
all have killer riffs. Is it jamming where you come
up With those?   i
Adam: Those are pretty orchestrated. ItVfc-_a^Pai Pat
just grew up listening to the Melvins for years, fie^pust
fucking obsessed. He can't stop it, he's obsessed wtthejpic-
BiN* He's, like, practicing with this, like, whirling One
riff fo¥ tenT-flfrates, anoSwefitegprd it and m^afftkAdamO
kind of anchored iraown andlynd©! miJKJje it something
we can actually remember.
Adam: I think he's alio, he's listene&jto flisjsharerof fuckin'
Satyricon and stuff lite that with epte nfls^ad^mrbar,
I think, is a big thing too. All of us, *e aft love Crowbar.
Crowbar is a very unterrated band.   |
Why do you think thu type of music, especially now
Sunn O))) and Boris, is being covered so heavily by
mainstream media?  \
Adam: I think a big part of it flat people underrate is that
they just have strong graphic 6Ts^^^t^_^s^0d has
strong graphic design, because StepneiTIJl-alley has
*>w
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■■■■■■■■""■■■■■■■■■■^^ Your Own Adventure 0 ——*■■■^^^—^^^^^—
After some strained attempts at witty repartee, it becomes apparent that the girl, Khymme Gorman, is far more interested in being in your band than getting in your pants. Swallowing your
pride, you invite her to stop by the next practice. While display in g some impressive six-string skills, she a Iter s the sound of the band dramatically. Corbin says you'd be "tantamount to moronic"
to let her go. Cindy reminds you that Sex Toys in Japan was created to "pioneer a revolutionary sound in indie-poperatics." She goes on to suggest that Khymme simply makes the band sound
like a "second-rate Metric." What'11 it be? Is Khymme in or out?
If you decide to bring Khymme into the fold, turn to Page 28. If you send Khymme packing (but retain your original musical vision), turn to Page 30.
A
/fi"
14     October 2006
W
%
-*\ strong work, and it gets noticed. I don't know... I think
it's been athriving scene for years, you know? Ever
the early 80s, with bands like Candlemass and Trouble,
and even earlier. I think it's bound to catch fire^ And
metal's "so mainstream now" and hardcore's
stream now", I think it's bound for some stuff to creep
in here and there. I think fuckin' doom stands more of a
chance than misogynistic death metal.
This question is called "Advice for the Kids": How
do you write a twenty-minute song that's not boring?
Bina: Smoke a lot of pot. No, that's not good for the kids...
I think we all take our turns at it. So, everybody gets their
five minutes of fame in the song. It's really not a lot.
Adam: I think we've all got fairly long attention spans,
to play fuckin' fifteen minute songs out there.
Bina: I could play one beat forever. I don't care what
it's sounding like out there, it's what's welling up in me.
That's what comes out.
Adam: It's a drone aesthetic, losing yourself in the music.
It's kind of like... old Swans recordings have that vibe.
One beat for fucking ever. You know they're enjoying the
hell out of it.
Bina: It's all dynamics, j)
•Or*       **    **    **rf* *ni1r **m>*—
SATURDAY[_fx$100 CASH
*mm
$300 1st PRIZE
OVER $750 IN PRIZES
HALLOWE'EN VISUALS
PHOTO BOOTHS 0 FETISH VENDORS
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ALL PARTIES ARE STRICT FETISH DRESS CODE*
♦NO CASUAL OR PUUN STREEIWEAR*
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letters the most retarded thing they ever heard of."
-Banksy -fs;J^$
__.
Mixed Apes
How to Stencil directions
TO YOUR HIDDEN MlXED APE
by Will Brown
Stencil by Ben Frey
Stenciling is by far the classiest form of street art. A
good stencil is simple, bold, and usually just a little
subversive. Its greatest attribute is that you can have everything, the design and the message, complete before
you even put paint on concrete. And once your stencil is
made, you can use it over and over, on every flat surface in
sight. You can make it as small as you want—they make
palm-size spray cans for the tiniest operations in public areas—or as big as you want, with a few well-cut cardboard
boxes and some strong tape.
The Scenario:
Wheatpasting is fun and all, but I want to make a per-
manent mark in a really great spot I've found to stash my
mix. I want something bold and precise, something that I
can apply to any surface. SoI'm gonna make a stencil.
Making the Stencil:
If you have a design or an image that you want to turn
into a stencil, make sure it's got high contrast. The idea
is to block out the shadows, or main structural elements,
so that they make up a simple but recognizable form.
The more stencils you make, the: easier it gets. I usually
cut my stencils out of translucent, semi-thick plastic, but
anything from acetate to a cardboard box will work. As
long as you have a sharp blade to make hard edges, it will
always look good.
Tools:
A can of spray paint and your stencil. Something to hide
your face, a pair of running shoes, and an especially dark
night.
Application Technique:
Hold the stencil to the wall and spray evenly about 8
inches away. Now put up your hood and run. v
Mixed Apes is more than just an insanely clever play
on words. It's a musical exchange that's been years in
the making. Officially launched with the publication
of the August 2006 issue of Discorder, Mixed Apes
seeks to cover the streets of Vancouver in song.
To get involved, head over to discorder.ca/
mixedapes and equip yourself with the official mix-
making paraphernalia. Now make a mix CD (or
tape, or dob plate) the best way you know how. Write
down the track listing on the cover page, along with
a description, personal message, or your hopes for a
better world. Take your audio capsule and drop it off
somewhere public: nooks and crannies are ideal, public transit is good, even sporting goods stores could
work. Enjoy the warm sense of satisfaction that suffuses your being.
If you find a Mixed Apes CD, take it! You've just
received a gift from the universe. In order to prevent
karmic imbalance, you should then proceed to make
a mix of your own and place it in the same spot. Make
lots of copies, and distribute them all around town.
Mixed Apes is constantly evolving. Email
discordered@gmail.com with suggestions.
-__.
•«■
■■■^^^"^■■^-^"^■■^■■■■•■■■■■""^Rock Your Own AdventurE'^'^^"""^'^^^^""^1"^^^^^^
Dismissing the inevitable White Stripes comparisons, Secret Korean Girlfriend start playing incessantly around town. Within months, you establish a rabid fan base. To your surprise, your
lo-fi demo catches the ear of Kill Rock Stars and a deal is effortlessly hammered out. Following a solid 7.8 review on Pitchfork, your debut disc is played ad nauseum on college radio stations
across the continent.
Just as you seem poised to achieve indie feme and fortune (i.e. opening for Death Cab For Cutie throughout Western Canada), you are served with a court summons by your old bass player. It
seems Cob's TV pilot, Dragon Force Prime, wasn't picked up by the Space Channel. He's now claiming to have co-written Secret Korean Girlfriends first two singles, back "before the band even
had a name." Consequently, you're being sued for one-third of your royalties. After two years of legal wrangling, you eventually settle out of court—albeit in Colt's favour. Not only has the
band lost all of its creative momentum-, but you also now find yourselves broke. Turn directly to Page 21.
3/
A
^
»«
Discorder     19 All You Clustered Up Clever Kids: Hold Steady!
by Quinn Omori
Photo by Dan Bucias
"1 was bored when 1 didn't have a band, and so 1 started a band."
.raig Finn might be known for his witty lyricism, but those straightforward words, taken from "Positive Jam*', are all you need to hear if
ever wanted to know how the Hold Steady came to be. "I wasn't sure if I wanted to play music. I thought I might want to do comedy or
_ writing or something. But it ended up that after two years of being a normal dude who works a day job I wanted to play music again,'' he
j. explains. Those two years of life as "a normal dude" followed a move from Minneapolis to New York, and the dissolution of Lifter Puller.
You can't really tell the story of the Hold Steady without starting with Lifter Puller. Although they were almost legendary within
\ their local scene, Finn's first notable outfit never really received their due beyond their home turf. "I didn't want to be that guy in Min-
" neapolis who 'used to be in Lifter Puller,'" he notes as one of the reasons for the band's amiable split. "We'd spent five or six years doing
it, so it was probably just time." That half-decade or so, which produced a handful of EPs and three full-lengths, propelled the band into the consciousness of
the music underground in Minneapolis, and also set the stage for the Hold Steady. The band gave Finn a platform to hone his unique brand of lyricism; every
song was another chapter in the chronicling of the darker side of growing up in the Twin Cities. It also saw Craig and Tad Kubler playing together for the first
time, when the latter stepped in to replace Lifter Puller bassist Tom Roach after his 1998 departure. Following the band's break-up in 2000, the pair would
reconnect in 2002 for what Kubler remembers Finn modestly describing as a chance to "hang out, play music, and drink some beers."
Another two years on, the world was introduced to the band via 2004's The Hold Steady Almost Killed Me. There were similarities with Lifter Puller, most
notably Finn's delivery, which remained distinct as ever. What immediately shot out as different, however, was the music backing bis vocals. With Kubler
back with a six-string in his hands (guitar was his real instrument) the Hold Steady was an entirely different beast. While Lifter Puller sounded right at home
sharing college rock radio airtime with the likes of Les Savy Fav or Girls vs. Boys, the Hold Steady take their musical cues from early Replacements and the E
Street Band. The taut, sharp guitars of (Lifter Puller guitarist) Steve Barone were replaced with Kubler's big riffs, power chords, and wailing solos, as horns
and more traditional-sounding keys replaced the synths that coloured Lifter Puller's later releases. If Lifter Puller was music for the "sniffling indie kids" that
Finn refers to on "Positive Jam", then the music his new outfit was forging was a reminder to those same kids that it was okay to uncross your arms, tip up
your glass, and pump your fist in the air.
"Well, that's the culture we're trying to create, absolutely," says Finn when asked about the reactions they manage to coax out of generally stiff indie rock
crowds. "I think what we can give is a few hours of just celebrating... breathing the joy of rock 'n' roll." That joy is something that's evident in both the crowd
and the band. An evening with the Hold Steady is an evening when you see the same guys who were content to nod their heads at the Rapture show the week
before shouting along with two beers thrust above their heads. It's an hour and a half of that feeling you get when you catch your "hipster" self sincerely banging your head to "Back in Black", after the DJ ironically drops AC/DC between M.I.A. and MSTRKRFT records. And it's an evening when the band on stage is
too busy having the time of their lives to feign looking cool. "I think one of the coolest things someone said to me this year, was this kid in North Carolina who
20    October 2006 said 'you know what? I go to shows every week and last year the only two bands I saw that smiled
were you and the Drive-By Truckers.' And I thought... we're doing something right," says Finn of
the band's jovial on-stage behavior. "Being able to do something you love is so fortunate, and you
forget that that's not always the case," says Kubler on the same subject, adding that "it seems like
so many people take that for granted."
The line from Lifter Puller to the Hold Steady was marked with a shift in musical direction,
but the themes of Finn's lyrics are still firmly rooted in his suburban Minneapolis upbringing. It's
all still peppered with his characteristic wordplay, and the settings linger in spite of his move to
the Big Apple. "I get uneasy. And maybe it's because I'm intimidated,"
he says of writing about his new surroundings. "You can come off like
a real poseur writing a song about New York. I think you have to be
from there if you're going to write a song about it. Minneapolis, I just
? feel, is my city."
Though he's closed the book on Night Club Dwight and the ilk
that filled the lyric sheets of Lifter Puller records, new characters have
stepped in to live out the based-on-a-true-story fictionalizations in a
world where everv second soul stumbles through bad decisions, killer
parties, and too many drugs in a search tosave themselves. "Someone
asked me what the new songs were about, and I said, 'y'know: art, love,
depression, alcohol, teenhood, the suburbs... I guess they're about the
exact same things all our songs are about.'" Strangely, six records in,
the exploration of the dramas of growing up refuse to sound stale. Similarly, the narrowly focused geographic scope fails to overwhelm the
commonalities of those experiences, regardless of where a listener happens to have been raised.
"I had this really great moment... after one of our shows this guy comes up to me—he was
pretty drunk and he seemed like he was having a really good time—and he was like, 'Dude, we
did the same things in Pittsburgh as you did in Minneapolis!' and I was like, 'yeah, I think everyone did those things,'" Finn recalls with a laugh, the anecdote illustrating his knack for hitting
something universal by weaving, a very specific narrative. It may have been drinking at the dike
in suburban Vancouver rather than under a bridge in suburban Minneapolis, or Hastings Street
instead of Payne Avenue, but almost everyone who grows up in or around a major city can find
something familiar in Finn's lyrics: we all know of someone who got in too deep, or of that guy
who popped an extra cap when he'd already done enough, or of that girl who found God, and
hasnt been the same since.
Just as some things stay the same, some things keep changing. The places and feelings and
experiences in the words are similar, and through three records the band has definitely maintained their own sound, but subtle shifts in both music and lyrics keep things interesting. Last
year's Separation Sunday, which introduced Franz Nicolay's contribution on organ and piano, was
also a concept record, with lyrics that read more like a novel than your typical rock 'n' roll release.
The story that followed the seemingly disparate experiences of kicking drugs and finding Jesus,
now gives way to their forthcoming album, Boys and Girls in America.
"I was very conscious to not write a concept record, because I thought following up a concept
record with a concept record... I was going to have to do them for the rest of my life," explains
Craig of the band's latest long-player. Instead of following a
single story, the album's tracks are all based around the same
line from Jack Kerouac's On the Road: "boys and girls in America
have such a sad time together." "I read that and thought: 'that's
my record,'" says Finn of the theme that's reflected in Boys and
Girls in America's eleven songs. On the musical side, the record
also finds the band adapting itself.
They purposely left more space between all the rocking
, stripped back guitars on certain tracks, and recorded a lot
, of the album live. Ironically, the technique sees them sounding
bigger and fuller than they ever did with everything cranked
up. At the same time, the album employs arrangements that are
downright sparse (for a Hold Steady record) on tracks like "First
Night" and "Citrus". "I came up with this riff that my 2-year-old
really loved," says Kubler of the latter, that boasts only two finger-picked acoustics and Finn's vocals, before adding, "when we decided to use it I told Craig, 'it's
for my daughter, could you, like, leave out the part about the girl who gets fucked all over and ODs
on this one?'" The result, which rather tastefully parallels Jesus and Judas with the beautiful and
dangerous experiences that creep into teenhood, is one of the most unique pieces of the band's
catalogue, and also one of the best tracks from an album that just might be the strongest of their
career.
As Discorder deadlines loom, two weeks before the release date, Pitchfork is currently "mulling over more clever ways to say 'outstanding,' 'surefire year-end list banger', and 'future classic'"
about the forthcoming release. At the same time, Rolling Stone is questioning whether anybody's
"made three albums this great in three consecutive years". Not bad for something that started as
a chance for a couple of old buddies to "hang out, play music, and drink some beers."
The Hold Steady headlines the Plaza on October 20th. Jj
__
\e_____.
>*4^Rock Your Own Adventure j)
e not sure whether to blame yourselves or the "big machine" we call the "i
_€
I*
-     The band never fully recovers from this blow. You're not sure whether to blame yourselves or the "big machine" we call the "music industry." The best you ever manage is playing a Thursday   -
I   night showcase slot at New Music West. Ultimately, you are dismissed as "irrelevant" by elitist university magazines and snide alt-weeklies alike. Sorry, j. I
/C
_*
^
-»\
IMTROOUCIHf
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' Discorder     21 .?«;.-_■_-.«,
Tha C—C Radio 3 Be—i
Mint Records presents
The CBC Radio 3 Sessions
An exclusive not-far-sale collection of 15 songs by Mint artists recorded
live in the CBC Radio 3 studios. Previously unreleased recordings by Neko
Case, The Organ, P:ano, Huevos Rancheros, Duotang, Ike Gay, The
Organ, The Smugglers, Carolyn Mark, Young and Sexy, New Town
Animals, and cub, as well as Exclaim! Mint Roadshow participants The   ^
New Pornographers, Immaculate Machine, and Novillero. _
LIMITED NUMBERS OF FREE COPIES WILL !
BE AT THE MERCH BOOTH AT ALL SHOWS I
ON THE EXCLAIM! MINT ROADSHOW! |
me awAcawcddcme
me ataiwate1 stage
<2%£
CD OUT OCTOBER 10,2006
You might call Shane Nelken the Roy Orbison of Main Street, or at
feast the Njck Lowe of Mountain View Cemetery, where he works
in the crematorium. He's blessed with a great blue voice, a sly sense
of humour, and a knack for writing melodic pop that walks the fine
line between rock and country...songs that are elegant, tragic and
hilarious, sometimes simultaneously." - The Vancouver Sun
^t3l_«
3
eMA&
The RADIO.
The Sparrow Sectional
«-./,_ra&_'
October 6
f The Media Clubl
&'__kclaii-_'
afterpartv
atthT
-with mint    -m^ai^rclulKf
friends
FUN 100
Saturday
October 21
(M ffiWtHrTlihe mecfe clufe
xisC*'live ™ ?AJ_..<.°.lT .S "■m".."...0..!^'-
deal! set In for half price if
Digital Rights Management and You
by Graeme Worthy
Why should I, a Discorder reader, even
care about copyright? Because I like
Dangermouse? Because I want to do podcasts?
Because I want to back up my music collec-
According to a new book by Simon Doyle,
Prey to Thievery, the last round of amendments
to Canadian copyright law, in 1997, was "the
single most lobbied bill in the history of parliament." This round of parliament is going
to need a new lobby, because nobody in 1997
saw Napster happening in 1999, and Canadian
parliament is probably not gonna even think
about YouTube till 2020 or something.
But this time the issue isn't copyright,
per se. It's about the ability to restrict uses of
media, text, and other things that fall under
copyright. For years now, we've seen growing
amounts of restrictions placed on the media
we use. Modern DVD players, for example, only
play discs which are 'allowed' to play in your
region of the world. And the paranoid minds
behind them were so worried that people
would use their VCRs to record video off a DVD
that DVD players all come equipped with little
scramblers, so that VCR recordings made from
them suck. Songs purchased from iTunes have
a limit on the number of times you can copy
them (This was to placate the labels who didn't
want to fill the file-sharing networks with
high quality audio, but it's all already there
anyway), and only play on the iPod (a shrewd
move, perhaps). And CDs are often filled with
software that tries (and fails) to stop you from
ripping the disks to mp3s, and in one well-publicized and still-in-litigation case, Sony decided
to install a difficult to remove and potentially
harmful trojan horse on its customers'.
Vinyl remains perfect, however.
These locks and blocks, for the. most part,
are easily circumvented, and thank goodness,
because in order to use these modern doodads
like you used to in the good old days, you are
more and more having to bypass some sort of
lock or restriction in order to do so. The dream
of the content-owners is that you'd have to buy
a new instance of a work on each use. For now,
they're vending contexts instead: you can read
this, but not print it; you can print it, but not
select passages with the ole mouse. You can
play this disc on some CD players, but not on
the PC. Wanna play that DVD you bought in
England? Tough shit. While you have the right
to play it, your ability to play it has been seriously hampered.
DRM, as long as it's weak, is annoying. It
gets in the way.
Enter the law.
If parliament is discussing anti-circumvention legislation, we should understand
what it's about. It's possible that this may make
it illegal to bypass even the flimsiest or silliest
of electronic locks, or to tell people how to pick
them, or to manufacture tools that someone
uses for removing them. So even if you have
good reason, (because you are a library, or a
school, an artist, or curious) to circumvent the
restrictions, it would be criminal to do so.
And in America, that's the case. Their
DMCA (the M stands for Millennium—so awesome) says exactly that. I will quote the literal
troth from the mouth of God. "Thou shalt not
skip the commercials we put at the beginning
of your DVDs." "Thou shalt not back up thy
Music Collection." "Thou shalt not play songs
on a portable device which is not commercially
allied with those who sold 'em to you."
And such restrictions end up extending
to things that were never intended, like garage
door openers and printer ink cartridges.
Michael Geist, a Canadian Law professor,
is especially concerned with the way he sees
things going, and has recently blogged "30
days of DRM", in which he discusses ways that
anti-DRM-circumvention legislation can be
structured so as to not unduly restrict the access and rights we currently have over our media. His notion is simple. If legislation is passed
which makes bypassing digital restrictions
illegal, there must be exemptions so that bypassing these frustrations for reasons that are
not already illegal should not be made so. Most
importantly, however, the tools for bypassing
digital restrictions should not themselves be
illegal, as there are many legitimate uses of
copyright material that are unduly restricted
by these locks, w
MINT RECORDS TT1
I'HIS MEANS WAKAOKE
In July 2006, two Toronto-area karaoke bars were raided by the RCMP, and not for their tone-deaf renditions of "Like a Prayer" and "My Heart Will Go On". Three employees of The K Box Bar and Lounge on
Hwy. 7 E. in Richmond Hill, ON, and Club Mirage Karaoke and Lounge in Markham, ON, have been charged with violation of copyright. Police allege that the venues sold customers access to illegally obtained
or misused Chinese-language karaoke songs and videos stored on central computer servers. According to Cpl. Kathie Glenn of the RCMP's federal enforcement section, patrons were given individual party rooms,
charged a minimum bar tab and a fee to access a catalogue of karaoke songs. A conviction could mean fines from $10,000 up to $1 million.
While we here at Discorder don't know the details of the case, we are more than a little disturbed at this use of RCMP time, particularly as the effects of increasingly stringent copyright laws become even more
debatable. Moreover, we're fond of the Vancouver karaoke scene, in all its occasional shadiness. What other city can offer you something like the Uranus Lounge, the East Broadway strip-club and karaoke bar with
a terrible but inventively punctuated name?
by Kat Siddle   Illustration by Will Brown
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MT* So what happens when the fight moves here? Are we going to let the Vancouver Police tell us we can't croon badly to "Whip It"? Are we
going to let them silence "I'm Too Sexy" forever?
The Canadian Copyright Act is currently under review. We're going to get to work writing to policy-makers and re-reading Lawrence
Lessig's Free Culture. But such conflicts should be fought with fun as well as sober phone calls to MPs. To amuse you, (and just in case the
Vancouver police get twitehy, as they tend to do) we've createda back-up plan. The following, dear readers, is our battle-plan for the copy fight,
our strategy for Waraoke. When the time comes, and you'll know when it does, play safe and use this map well.
1        1
ITHE LEGEND!	
BARRICADES
Using old couches from the Salvation Army
on 12th, a barricade will be erected in the
street in front of One-Stop Karaoke at 18th
and Main.
Fifth Avenue Cinema will be barricaded using last year's Orca statues. This is actually
a diversion to draw attention away from the
infiltration of the Paramount theatre on
Burrard. There, information pirates with
videophones will record parts of a movie
that, for $14 a ticket, they've pretty much
already paid to own.
The Uranus Show Lounge represents all
that is shady, weird and strangely wonderful about Vancouver karaoke, and must be
protected at all costs.
There is ayfaakery in East Van that sells Hun-
■*\«Cs__
garianbootlegged CDs and movies. They also
make really good bread. This bakery is so delicious that I'm not even going to risk putting
its name in print or its location on the map. It
also must be defended. Ask me where it is and
I'U direct you to it.
PROBABLE COMBAT ZONES
While the thrust of this campaign is overwhelmingly defensive, the police may attempt to engage in combat. In this event,
take evasive action. Attempt to trap the
enemy in a ridiculous hidden licensing
agreement, or install a Sony DRM rootkit on
his computer. If all else fails, recite an entire
copyrighted text from start to finish. Throw
balls of photocopied sheet music. Write the
phrase "I am a superhero" on the dust of the
street and refuse to pay Marvel Comics for
using the term.
If defensive tactics fail; unarmed conflict is estimated to occur outside of the Telus
Sphere [5. j. also the site of the decisive battle
in the Scenester Civil War of'92.
I have personally re-drawn Superman onto
30,000 copies of the album cover of Sufjan
Stevens' Ulinoise. They're in milk crates in
my liv i ng room. First c ome, first serve.
A stash of home-made cakes decorated with
icing-drawings of Simpsons characters in
case combatants need some quick sustenance [inside the Spirit Bear}.
Uniforms can be made at home or taken from
the secret chamber inside every Metro box
east of Fraser Street and south of 37th. Any
logoed clothing purchased from thrift stores
or stolen from Olympic Athletes is perfectly
acceptable. Mickey Mouse hats and superhero costumes are encouraged.
HEADQUARTERS
;......;    The BUtmore Hotel Bar is the only karaoke
place I've been where gin and tonics are
served in pint glasses (and the tonic-to-gin
ratio is proportional, making it a $5 triple).
This, and ite central location, make it an
ideal HQ.
SAFEHOUSES
\}.9..\ If all fails, copyfighters will reconvene at the
secret karaoke lounge at First and Nanaimo.
An unassuming restaurant by day, it becomes a howling karaoke joint after it closes
at 2am. S
&
9/
n
^m^mmmm^^^mmmmmammammmmmmmmmm^^mm^_\sXX. YOUR OWN ADVENTURE)) wmmm^^^^^^^^^^—mmm^^^^^^m^
Upon signing with Lozenge, you are rewarded with the support spot on the New Pornographers' latest cross-Canada tour. Every night, Pornographers fans patiently wait through your set
and buy a modest amount of your merch. Emboldened by your first taste of success, you make the ill-advised decision to tour the continent as headliners. You play to a half-dozen people each
night and lose an obscene amount of money. Returning home, you retreat to the studio and record four new demos that demonstrate an exciting new direction for the band. Lozenge Records
couldn't agree tess. They unceremoniously drop your sorry asses.      Turn Erectly to Page 21.
'e-sr
_*
T_
-»\
23 ACTION
Underoath @ Croatian Cultural Centre, September 24
Photo by Meg Bourne
Jose Gonzalez
Zero 7
September 2nd
Cgtrnnodore Ballroom
How anyone can be anything less than captivated by the exquisite beauty of the music of Jose
Gonzalez is beyond me. Nevertheless, a large portion of tonight's audience were more interested
in the banality of their own conversations than
Gonzalez's understated greatness. Ignorant fools I
However, he seemed unperturbed by their appar-
£_
ent indifference and gave a performance of earnest introspection, playing with a deft touch and
a delicate vocal delivery. He played all but three
tracks of his brilliant debut album Veneer, in addition to touching renditions of Massive Attack's
"Teardrop" and Joy Division's "Love Will Tear Us
Apart". A great exponent of the art of economy, his
guitar playing is deceptively simple, dexterous but
never showy, his between song banter practically
monosyllabic—the closest he got to displaying any
kind of excitement was cracking a rare smile and
quietly saying 'Yo!'
In the studio, Zero 7 is the
product of Henry Binns and Sam
Hardaker, but live they share the
stage with a live band to act as
extra arms, legs and mouths,
thus eschewing the rather boring and uninspiring spectacle
of two blokes standing behind
laptops. Their set got off to a
slightly shaky start with a couple of somewhat underwhelming songs, but after warming up
a bit they soon hit their stride.
The eccentric and exuberant
Sia was outstanding; her drawling, sultry croon was particularly well showcased in the numbers "Distractions" and "Destiny". Gonzalez returned to the
stage to play his part in the song
"Futures", one of the highlights
of the set. With a total of 8 people
on stage, they drew out the end
of the song into a wandering extended jam. For most of the set
each tune was fronted by either
Sia or Jose, but mid-way through
they took a back seat for a few
instrumental numbers. As the
two singers took a break at the
back of the stage, they brought
to mind two children at a party.
Sia was like the birthday girl,
unable to keep still and mischievous while Jose was the nerdy,
quiet boy too shy to join in.
The final song before their
encore was the Jose-penned
"Crosses". Gonzalez performed
this song during his support slot,
a plaintive and poignant piece of
music, but it was transformed,
into something entirely different, uplifting and life-affirming. Zero 7 proved that soulful,
chilled-out electronica can work
equally well live as it does as the
soundtrack to TV gardening and
cookery shows, dinner parties
or, indeed, a big fat blunt.
WillPedley
Fringe Festival
Drumheller
September 14th
Performance Works
Split Second
September 15th
Waterfront Theatre	
The Fringe Festival tends to
favour comedy, and sketch favourites like The Pajama Men often overshadow some of the other genres being performed. Here
are two less publicized plays that
Worked in a darker mode this
Fringe season.
Drumheller
It takes a while for the plot
of Drumheller to come together.
The cleverly structured story, put
together by Torontonian writer/
actors Leah Bowen and Darcy
Bruce, sees a pair of missionary
Mormons, a blustery detective
and secretary, and a sinisterly
quiet elderly couple embroiled
in a missing persons case. The
script is complex, full of hysterical throwaway lines. In one rare
moment of personal revelation,
the secretary admits that she
suffers from a disease that has
left her bald, and after a brief silence the detective goes into a
meditative rant on whether it
would be difficult to attach false
pubic hair, ending thoughtfully
on the words, "Christmas wish
list, Margo, Christmas wish list."
The problem is that Bruce
and Bowen don't give the dialogue room to breathe, and the
pace they've chosen is not varied
enough to allow the audience
to connect with the characters.
There is also some unnecessary
subplot; one of the Mormon missionaries, Sancho, turns out to
have bluffed his faith to get to
North America. This bit of character development feels gratuitous since it doesn't influence
the plot in any way, and it's hard
not to wonder if Sancho's overly
dramatic personal story hasn't
been created simply to give
Bowen something fun to do. The
most succesful characterization
is that of the older couple, where
the slower dialogue gives Bruce
and Bowen an opportunity to
create more fully realized physical performances.
Split Second
Mik Kuhlman can stand in a
corner of the stage for five minutes putting on gloves, and you
still want to watch her. In Split
Second, Kuhlman pulls together
two movement pieces—"Jackie", and "No"— and two short
stories—David James Duncan's
"Red Coats", and the highlight
of the play, Raymond Carver's
"Fat"— weaving them together
into a subtle and resonant emotional event. Kuhlman plays
the three-year-old child in "Red
Coats" Without preciousness,
giving her character a wide-eyed
determination as she climbs the
enormous red coat hanging from
the theatre's ceiling. "Jackie" is
an odd piece, done with a strobe
light, about a car accident and
the eternal reliving of the moment of the crash. "No" is another mime-based piece, and while
it goes on perhaps a touch too
long, it ends on a stunning note,
with Kuhlman walking behind
a sheet and interpolating herself
into an image of the bus where
Rosa Parks refused to stand up.
It's in "Fat," however, that Kuhl-
man's stage presence is most arresting. Her slow, relaxed pacing
makes the moments of humour
organic, and her waitress character's mixture of strength and
vulnerability brings a pathos to
the story of a fat man eating in
a restaurant that another performer might have missed.
Linda Besner
Genghis Tron
A Javelin Reign
Fake Shark, Real Zombie
Mothra
August 30
PicaMyPub 	
When you can't decide what
scene you want to be a part of
(and why should you have to?),
I'm glad there are bands like
Genghis Tron. The metal/electro/dance pop/grindcore Philly
trio packed the Pic like there was
free beer and haircuts to be had.
I kept waiting for the circle-pit types to be caught mid-
shove and start waltzing during
the sudden breaks of ambient,
dreamy solos, but it didn't happen. Instead, I got to see a couple
making out for almost all of the
set. There was a joke about Digi-
mon and everyone in the crowd
laughed—perfect studio audience. Genghis Tron could do
no wrong. A Javelin Reign had
videogame soundtrack precision
in their guitar and bass maneuvers that I could've listened to
all night (if I hadn't been curious about the 'Tron). But the
"rHAWh bLawhlll" (can I sing
along?) metal roars made me
giggle. I couldn't help myself.
Mothra and Fake Shark,
Real Zombie started things
off, but unfortunately I missed
both acts. I hear the latter is like
a repeated punch in the face, at
least if you're Larry and you're
annoying them. It's nice to be
knocked off the feet every once
in a while.
Natalie Vermeer
Hey Ocean!
Lotus Child
The Karmetik Underground
September 16
l__^___VM___J_i_l___i_. _	
It'd be near impossible to dis-
&
2/
^^^^^^"^^^■"■^"■■■■■^^"^^"■•^•Rock Your Own Adventure :) ^mmmm^^m^m^^^^
Turning your apartment into a makeshift assembly line, you mail demos and press kits to dozens of indie labels. All the effort is for naught. With no serious offers on the table, you sink the rest of i
your money into starting your.own imprint: Last Stab Records. With one EP under your belt, you still find yourselves struggling to establish a fanbase. After a state-of-the-band summit with Cindy
and Colt, the decision is made to change Sex Toys in Japan's sound by adding another member. Through a succession of emails, you are able to dredge up contact details for Khymme Gorman—a
girl-you-know through a guy-you-know's sister. Khymme has just finished art school and she's looking for a chance to "subvert the pop culture apparatus from within." While you're unsure of
what that means, you recognize talent when you see it. Sex Toys in Japan has just become a four-piece. Turn directly to Page 29.
24     October 2006
TF* like Hey Ocean I, even tf they
ate a basket of babies and peed
on your lap. This Vancouver surf
/ folk / funk band has been commanding attention with their
nonstop energy and the sheer
lovability of lead singer Ash-
leigh Ball. To boot. Hey Oceanl's
Beany Schuetze lays claim to the
most phenomenal drummer-
face I've ever seen. The I in Hey
Ocean! manifests itself in their
live show, and this contagious
vitality had Richard's turned on
and buzzin'.
Lotus Child revved up the
night at about ten o'clock when
most of the crowd had just filed
in, and they fulfilled their opening duties like indie-rock gentlemen. Unlike most of the opening
acts that I've witnessed lately
who compete with a roar of conversation, people shut up and listen when Lotus Child plays. This
receptive attitude spread good
vibes throughout the night.
Hey Ocean! held quite the
stage party: pianist Tom Do-
brzanski from Lotus Child joined
in on "Addictions"; members of
Five Alarm Funk made cameos
galore on drums, trumpet, and
trombone, producing crowd-
howling praise oftentimes due
more to the surprise appearances
than the actual audible output.
Hey Ocean! fans have long heard
of the infamous "beatboxer who
broke my heart". We finally got
to meet Ashleigh's heartbreaker,
Tyler, experiencing his deep sonant skills during "Beatboxer".
Hey Ocean! crowned their set
with an epic jam-out with all
their stage guests. I was near the
front of the stage at this point,
and it was a dance-fancy dream
pulsating like we all had iBuzzes
This happened to be a particularly spectacular set, but
for those of you who haven't yet
popped your Hey Ocean! cherry,
fear not: whether it's in a post-
show ghetto party room, spontaneously picking up a mike at the
Anza, or playing a packed Richard's, Hey Ocean! knows how
to party. And on top of all of the
dancing and debauchery, Ball is
likely to steal your heart. This
dulcet mantrap will lace catchy
hooks into your head for days.
Victoria band The Karme-
tik Underground capped off
the night with their instrumental jams joined by vocalist Emily Brown, serving the chronic
dancers 'til the end of the night.
All in all, the show was blue ribbon and Hey Oceanl's charming live performance is not to be
missed.
MariainaMdh
He is Legend
September 14
Croj^^C^mviCa^re____
Today's    screamo/hardcore
' scene is so dominated by pre
dictable bands fronted by skinny
boys in tight jeans, and hair so
far side-parted that it falls over
one eye. Each band is practically
a carbon copy of the next, and
the fans are the same. In a scene
so repetitive and overdone. He Is
Legend definitely stands out.
The five North Carolina natives look more rock 'n' roll than
hardcore, and have the tunes to
match. The dangerous guitar
and bass riffs, solid drum beats,
smooth vocals, and nerve-shaking screams make for a wild
show. That mixed with front man
Schuylar Croom's stage antics,
which include somersaults and
some very sweet dance moves,
keeps the crowd very happy.
I danced and sang all through
their set with some intense fans
squished up against me, grinning the sort of grin that gets
you institutionalized, and absorbing the amazing energy this
band produces when they are on
stage. From the first song to the
stretched-out version of "I Am
Hollywood", He Is Legend delivered. It was my second time seeing them live, and it won't be the
last. That's for sure.
Their latest album, Suck Out
The Poison, is due to be in stores
on October 3rd, and I seriously
suggest you pick up a copy.
Sarah Fischer
The Dalai Lama
September 9
GM Place      _	
We were all there to learn
just how to cultivate happiness,
and His Holiness the Dalai Lama
had come to share with us his secret. His words were, of course,
wise, beautiful, and seemed to
strip all complexity out of the
little episodes we cook up in our
lives. But for me, the moment of
power was before his lecture.
After the performance of Tibetan children who opened with
traditional Tibetan song and
dance, Master of Ceremonies
Kevin Newman invited Sam Sullivan and the Dalai Lama onto
the stage to present His Holiness
with an honorary Canadian
Citizenship. Upon this introduction, all of GM commenced what
would be the first of several
standing ovations this day.
Thirty seconds passed and no
one had come on stage. Newman
started uttering stalling comments, rhetorical questions and
humorous apologies. "GM Place
is a very large facility," he observed. Twenty thousand of us
were still standing with anticipation. After another minute,
Newman plainly confessed that
he had no idea where they were.
We all found it very comical, still
unsure whether to sit down or
remain standing, because the
Lamster may have appeared on
stage any second. Newman requested some sort of filler, more
Tibetan oms perhaps. No one
could believe the Lama was lost.
Tension was high. The air was
electric. Seconds were passing.
Newman decided to go find out
where the heck the Dalai Lama
and Sam Sullivan had wandered
off to. But just then, way out of
the blue, some faint voice started singing "O Canada", and I
was motionless with wonder.
The voice grew louder and louder and alt of GM Place joined in.
I felt a tingle run through my
skin, realizing that this was the
most overwhelming 0 Canada
I had ever been a part of. All
the national anthems I've sung
have been preceded by, "Ami
now tet'- rise and sing O Canada". But here we were, totally
unprompted, I felt Uke a tiny
child again, and it was a very
beautiful thing.
After the awesome display
of patriotism, we sat down, jubilant. Oms filled the gap, Newman still scouring the joint for
His Holiness. Within a few minutes, all were found and once
again a standing ovation transpired, the Dalai Lama became
the third honorary Canadian
citizen in history and then we all
sang our national anthem once
more. It wasn't as magical as the
first time, but our vocal cords
very pleasantly warmed up.
MarlainaMah
Shindig
Week One
September 12th
Sweetheart, Bad Moves
and D. Trevlon
Winner: D. Trevlon
Jokes for beer were espe-
cially tasteless this week.
What do you get when you
put a baby in a blender? I
don't know about you, but I
get a hard-on.
Sweetheart
They started out in a pretty awesome way, all slow and
building, one dude on stage
noodling with some keyboards, all low key, and each
member took the stage in turn,
slowly building the noise into
a melody, and a melody into a
rock song. They had heart, and
it was kind of embarrassing for
me to come fact to stage with
such obviously dedicated earnestness and effort. They invited me (verbally) to be their
myspace friend.
D. Trevlon
This guy swore a lot. He's a
one man act, with a room-filling
voice, just him and his guitar.
He was able to get people singing along, get people clapping,
and generally connect. I guess
that's why he won. I got the impression that Mr. Trevlon was
not even remotely interested In
myspace: This unit regrets the
Week Three: Lover Lover Lover
error (myspacexom/dtrevlon).
Bad Moves
I was ostensibly outside smoking when they came on. When I
came back it was past my self-
assigned bedtime, and I had to
leave. I'm sorry Bad Moves, I'm
sony: They did not invite me to be
their myspace friend.
Week Two
September 19th
birdband, The Choir Practice, Oneyedjacks
Winner: The Choir Practice
birdband was up first. It was
all fun wtth feedback until our
one-dude show lost control of the
feedback. Ouch.
The Choir Practice promise to
be, if I may paraphrase one Ben
Lai, one of the "biggest" bands of
Shindig. Their bigness in terms
of winnitude remains to be
seen; however, in terms of people power this statement is very
true. The band easily fills an egg
carton. Decked out in matching
stripes, the band, or rather the
choir, came ready to harmonize.
For the most part they succeeded, but some songs were clearly
still under development. Heck, it
is the choir practice. Can't expect
perfection.
I had already told my joke
for beer and was waiting for my
bus when Oneyedjacks came on.
Turns out the people blogging
about Shindig are all lame and
sleep. This will change.
discorder.cal shindig
DiSCORDER       25 [i@0Kel
®i^^
BUY TICKETS AT M
hob.ca:!
26       OCTOBER 2006 GOSiiHI^^
BUY TICKETS AT £.
hob.ca II
DiSCORDER       27 HBDER REVIEW
MASTODON, NEW YORK DOLLS, CAT FISH HAVEN
IRON MAIDEN, DIRTY PRETTY THINGS, SPARKLEHORSE
CIBELLE, THE HIDDEN CAMERAS, THE ALBUM LEAF ^—i^^^^^^—
Blood Mountain.
(Warner Brothers/Reprise)
2004's Leviathan, Mastodon's
second album, has been rightly
heralded as one of the best metal
albums in recent years. Their
fusion of thrash, death, stoner
and prog-rock coupled with adventurous songwriting and impressive technical dexterity has
even led to some suggesting that
they're the future of heavy metal. Having set the benchmark so
high with their previous opus,
the weight of expectation bears
heavy on their shoulders, and
with its follow-up Blood Mountain, they do not disappoint.
This is a very dense record
that demands repeated listens
just to get your head around
its dizzying complexity. Even
though none of the songs exceed
the 6-minute mark, tracks like
"CapiUarian Crest" and "Hunters of the Sky" contain more riffs
and time changes than there are
in some bands' entire albums.
Considering their prog-rock
leanings, it may come as a surprise that most of the tracks are
relatively short, but the album
flows as one cohesive piece with
many of the songs fading into
the next, tied together by the
continual lyrical concept.
Prior to recording this album,
When Mastodon made the jump
from the much-respected indie
label Relapse to major Warner
Bros, there were the usual tedious cries of 'sell out' from the
underground metal community, the worry being that they
might tone down their musical
onslaught to make themselves
more palatable to a wider audience. Fortunately, this is not the
case. If there has been any shift
in their approach, it has only
been to focus their style, melding the different subgenres of
metal in their musical repertoire
into a more unified sound.
Despite the pretentious nay-
sayers, it can only be a good
thing that a band of this quality
will be brought to the attention
of more people, as they certainly
provide a favourable alternative
to the homogenized emo and
metalcore bands that flood the
market and poison the minds
of young, burgeoning metal
fans. They might play the devil's
music, but thank God for Mastodon.
WillPedley
One Day it Will Please Us to Remember Even This
(Roadrunner Records)
The new comeback from the
original punk/sleazesters (however many original members
there are, plus ex-Hanoi Rocks
bassist Sami Yaffa) is a pretty
solid effort, with bouncy riffs
and high energy. Full of good
time rockers, the feel is a lot like
there was never any gap in the
catalogue, and were it not for
the much improved production
values you might easily be fooled
into thinking you were hearing
old unreleased gems. Well, okay,
the maturity in the writing
might give it away, but there's
still plenty of playfulness too.
Standout tracks (in my humble opinion) include "Dance Like
a Monkey" with its funky driving bass and clever lines about
creationists dancing like monkeys; "Fishnets & Cigarettes" for
the fun witty lines and imagery,
not to mention a neat take on
the old standard love song; and
"Gimme Love & Turn on the
Light" for similar reasons and a
great groove.
So, here's to the return of
great boogie punk music from
the venerable old Dolls. Let's
hope they don't disappear again.
Tell Me
(Secretly Canadian)
It's fitting that "one more
time" are the first words on Tell
Me, as the album finds Catfish
Haven treading down the same
path they set out on with their
rather stellar debut EP, Please
Come Back. The band—who
took their name from the trailer
park where lead singer George
Hunter spent his formative
years—comes off like a stripped-
back E Street Band, with their
bar-rock shuffle mostly restrained to acoustic guitar, bass,
and drums. Rather than emulating the _Boss' gravel-throated
delivery, though, Hunter's
voice drips with pure soul. And
therein lies the band's strength:
nobody told George that white
boys in RVs can't be Sam Cooke
or Otis Redding.
The sparse instrumentation—only occasionally beefed
up with keys and horns—is
never bad and often wonderful
(as with the Motown bounce of
the title track), but the disc does
suffer from too many sound
alike numbers. On the other
hand, even on the more languid
tracks, the vocals are strong
enough to keep things above
water. While still thoroughly
enjoyable, Tell Me finds Catfish
Haven sticking just a little too
closely to the same formula.
Yes, the record is a collection of
' mostly great songs. When taken
as a whole, however, Tell Me just
doesn't have enough variety to
keep things interesting over the
duration of its running time.
Quinn Omori
A Matter of Life and Death
(Sanctuary/EMI)
In a world where so many
bands sound like carbon copies of each other, Iron Maiden
sound like no one else and no
one else sounds like Iron Maiden. The problem for them now,
30 years and 14 albums later,
is that they're starting to sound
like a carbon copy of themselves.
It seems a shame that they still
feel a need to assert their individuality by sticking to exactly
the same blueprint that their
last two albums used, rather
than branching out and experimenting a little bit. Especially
considering theyfrave two of the
most recognizable musicians in
rock—bassist Steve Harris and
singer Bruce Dickinson—who'd
never be mistaken for anyone
else even if they tried. Their outlook is like a person in an argument who's resolutely stubborn,
never realizing that they've
already got their point across
and never opening their mind to
another point of view.
Much of this album sees
the band merely re-writing old
tunes. "Different World" is a
standard, straight-ahead rocker
in the vein of "The Wicker Man"
or "Wildest Dreams" on their
previous two albums, whereas
"Out of the Shadows" comes
across as a re-hashing of "Children of The Damned", minus the
good bits.
It is a testament to their talent that in spite of their apparent
refusal to let go of the past, they
still manage to make what is,
for the most part, a pretty good
record. "Brighter Than a Thousand Suns" and "For the Greater
Good of God" are both brilliant
examples of Maiden at their anthemic best.
At a running time of 72 minutes, this album is much longer
than it needs to be, and maybe
if Iron Maiden had exercised
some quality control they'd have
another very decent album as
opposed to a frustratingly inconsistent one.
WillPedlei/
Waterloo to Any wher
(Universal)
When I was fifteen, I was the
first of the Kitchener-Waterloo
Drunk Punks to get into Oi's
favourite boys, the Dropkick
Murphys. Mohawks were
shaved and band t-shirts traded
for Fred Perrys the year we discovered the Murphys' debut,
through to 1998, when we saw
them play at Warped Tour with
recently installed streetpunk
heavyweight, Al Barr. And
.while punks still dangled their
suspenders dangerously low and
skins pulled themselves up by
the braces and traded up their
40s for four-packs of Guinness,
Barr and the boys joined Motor-
head on a tour that had actually
billed a date at Kitchener's Elements nightclub. The Murphys,
in 1998, were still something
punks and skins could agree on.
All that changed the night
Al Barr took to the mile-high
stage at Elements with eyes only
for the skinhead boys chanting
aloud each chorus of his working-class streetpunk anthems.
I knew every song in the Murphys' discography too, but I also
knew that night that I had hit
streetpunk's glass ceiling. As my
friend Darryl—yes, a fan of the
Murphys thanks to the chance
I took in Dr. Disc while he was
still markering "NOFX" on his
skateboard—sang arm-in-arm
with Mr. Barr, I left behind a
chapter of my life that I've been
reluctant to revisit.
Waterloo sat on my desk for
the better part of a month, even
though some decent reviews
could be written on the rising
of Dirty Pretty Things out of
the ashes of The Libertines.
I know, I know—Dirty Pretty
Things could hardly be counted
among the likes of the Murphy
Clan. They never say "Oi!" on
the album, nor do they wear
boots and braces. In my books,
though, Waterloo comes dangerously close to the streetpunk
sound I discovered in 1997
and abandoned in 1998. To be
fair, Waterloo displays a simple
elegance that makes it the Lincoln Town Car of streetpunk
albums: a must-have for fans of
the genre, and worth the ride for
nearly anybody else.
Mono Brown
Dreamt for Light Years in the
Belly of a Mountain
(Astralwerks)
Albums made by Mark Link-
ous are the kind you really appreciate. It's not just because of
the music, but also because each
album feels like it'll be his last.
Things like swallowing enough
drugs and booze to knock you
into a 14-hour coma give rise to
such outlooks. Linkous actually
performed the above act in 1996
when he lay in a kneeling position for so long doctors almost
had to amputate both of his legs.
He spent the next year locked in
a wheelchair. Since then he has
coped long enough to release
a few more albums, but the
five-year absence since his last
-recording has begun to worry
many. Thankfully, Linkous is
now calming fears with Dreamt
for Light Years, which proves to
be his most essential and strongest record thus far.
On his new LP Linkous
continues to develop on the
soundscapes that made his
debut, Vivadixie, and the much-
applauded It's a Wonderful Life
into little-known classics. It's
still in the vein of those older
albums, but now his brand of
spectral americana is tighter
28       OCTOBER 2006 Lrl I It i/nAn IO!     lif- fflllitfiillftii i
//////////////////////// Strictfythe dopest hits of September .0 B 3 6"1 &Bi- I S 8 -5 Is •_.._ c§ 3 S 3>.ja
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...Title...
f 1    The Hidden Cameras*
Awoo
Evil Evil
26
Danko Jones*
Sleep is the Enemy
Aquarius
| 2    The Cape May*
Glass Mountain Roads
,  Flemish Eye '
27
TV On The Radio
Return To Cookie Mountain
Interscope
1 3    The Dears*
Gang Of Losers
Maple Music
28
The Husbands
There's Nothing More Than I'd Like...
Swan-
j 4    Emily Haines And The Soft
Knives Don't Have Your Back
Last Gang
29
Akron/Family              1968
Meek Warrior
Young God
Skeleton*
j_0
Fond Of Tigers*
A Thing To LM With
Drip Audio
How They Fly
Northern Electric   .
I 5    Great Aunt Ida*
31
The Jolts*
 ||	
Independent
j 6    Les Georges Leningrad*
SmgnPuro
Dare To Care
32
Lily Allen
Lily Allen
 Go^'" |
j 7    Chad VanGaalen*
Skelliconnection
Flemish Bye/Sub Pop
..{33
Grizzly Bear
Yellow House
Warp
! g    Les Breastfeeders*
les Matins De Grand Soirs
Blow The Fuse
f__
LesSayyFav
Frenchkiss
: 9    No Luck Club*
Prosperity
Independent
135
Pajo
_9__
Drag City
110   Easy Star All Stars
Radiodread
Easy Star
1-6
Primal Scream
Riot City Blues
Columbia
111   The Be Good Tanyas*
HeOoLMe
Nettwerk
■ |37
The Rapture
Pieces Of The People We Love
Universal
j 12   Pigeon John
Pigeon John And The Summertime Pool Party                   Quannum
Thunder Down Under                                                    Swami
138
Radio Birdman
ZenoBeach
Independent
;13   Hot Snakes
|39
Pinback
i Nautical Antiques
AceFu
j 14   J Dilla
The Shining
BBE
j40
AceFu
To The Races
To The Races
115   Shout Out Out Out Out!*
Not Saying ]ust Saying
Nr mis Wlcm
j^l
Jennifer O'Connor
\ Over The Mountain, Across The Valley And Buck To The Stt
rs   Matador 1
j 16   Nouvelle Vague
BandeAPart
Justin Time
42
Lambchop
Damaged
""""Merge'
117  Blood Meridian*
Kk* Up The Dust
Outside
43
Erase Errata
Nightlife
Kill Rock Stars
;18   Electrelane
Singles, B-Sides And Live
Too Pure
m
The Rain And The Sidewalk*
Inanimate
Independent
! 19  Junior Boys*
So This Is Goodbye
Domino
45
Teenage Harlets
Up The Fixx
Springman
; 20   Golden Dogs*
Big Eye Little Eye
True North
46
Leeroy Stagger*
Depression River
Boompa
i 21   Los Straitjackets
Twist Party
Yep Roc
|_7
Vincat*
I Like Their Older Stuff Better
Independent
122  Cancer Bats*
Birthing The Giant
Distort
i_8
Ladyhawk*
Ladyhawk
Jagjaguwar/Story-
:_3" Co" t0' Pi	
SubPop
149
One Night Band*
Way Back Home
Stomp
J24  The Dudes*
Brain Heart Guitar
J£j3	
isir
Fake Cops*
Thundertheft
Reluctant
;25   Sunn 0))) And Boris
Altar
Southern Lord
and more focused than before.
His voice still sounds like Neil
Young wheezing through a
ventilator. High-profile friends
continue to make appearances,
like Tom Waits, Fennesz, Dave
Fridmann and even Danger-
mouse. And he continues to pen
some of the most heartbreaking
lyrics around. "I could look in
your face for a thousand years/
It's like a civil war of pain and of
cheer," from "Shade and Honey"
is one of many great moments of
lyrical prowess-.
Where this album really rises
above its predecessors, though,
is in the consistent strength
of each song. No throwaways
plague the album like they occasionally did on past efforts.
Also, the flow finally works. The
odd fuzzed-out rock songs now
fit into the fold perfectly with all
the slit-your-wrist ballads.
Ultimately, like everyone,
Linkous' time among the living
is limited, so enjoy his music
while you still can. All the year's
best-of lists are going to tell you
to like it anyways.
BRock Thiessen
\ft
__
The   Shine   of  Dried   Electric
Leaves
(Crammed)
Once Seu Jorge and Devendra Banhart appear on
your CD liner notes, you know
you've made it these days. Banhart sings alongside Cibelle on
"London London," and in a more
coherent and plain fashion than
on Cripple Crow. The novelty
cover-singer Seu Jorge appears
late on the album, and hopefully
he'll be heard by those who only
download a few tracks. On the
whole, Cibelle's latest release
effectively contrasts a wide array of sounds, forming a radical
mix that sounds great on both
a stereo and headphone listen.
While I am unable to speak
Portuguese, Cibelle's vocals in
English and her first language
are projected clearly, and with a
nod to old-time jazz-smiths like
Billie Holiday. On The Shine
of Dried Electric Leaves, the Brazilian musician makes quick
sonic choices, avoiding languid
gestures with music as spry as a
daddy longlegs.
Cibelle is from Sao Paulo, the
same city whose citizens spark
musical tire fires all over the
map. Earlier works by Cibelle include remixes and a full length.
The diversity in her output puts
mash-ups to shame, and blazes
a trail other acts would be hard-
pressed to follow. This sophomore album is self-produced,
and plays with catchy and experimental ideas all at once to a
beneficent end. It is rewarding
to listen to this CD in a climate
where access to and interest in
world music is limited at best.
Arthur Krumins
Awoo
(Evil Evil)
I was in a terrible state the
day I decided to review Awoo. "It
sucks!" I screamed at the first
person courageous' enough to
pass through my front door with
a peace offering of soup while we
gave the Hidden Cameras' third
LP another critical spin. "Um,
except for this song," I cautioned
as Awoo began. Opener "Death
of a Tune" at least marches to
the beat of an authentic Hidden
Cameras hit, if not a hit the foot
soldiers of the Mild Mannered
Army have already marched to
before.
Following "Death", I warned
again, "Not this one either,"
since "Awoo," despite the general gentleness of Awoo, delivers
the necessary final blow to finish
the cutthroat campaign that Joel
Gibb began with in Mississauga
Goddam's "Doot Doot Ploot." If
the latter was a rallying cry for
fervent followers, "Awoo" softly
proselytizes the devout to a resistance led by simple chords, sweet
chimes, and silly choruses (written phonetically, Gibb insists).
Still, after a release as brazen as
MG, I worry that an album otherwise comprised of tracks fike
"She's Gone" and "Wandering"
signals a retreat from the full-
frontal musical cetup d'etat that
has fired the Mild Mannered
Army since Ecce Homo.
My earliest musings set aside,
however, I doubt that Joel Gibb
plots against himself this album
around. Sure, it took a few more
spins and even more heated
exchanges over the muted force
of Awoo, but I have decided that
it might be the bravest of the
Cameras'   albums   yet.   Awoo,
though surprisingly disarming,
can stake its claim on being the
fiercest of Gibb's efforts to invite
listeners further into the realm
of the one-man army that has
ruled much of his career as the
centre of the Hidden Cameras.
The victory of Awoo is personal.
Mono Brown    S
Into the Blue Again
(SubPop)
On first listen, many will
likely think The Album Leafs
new LP plays like a repeat of his
last album, In a Safe Place, and
they would mostly be right. But
on closer inspection, a few elements do emerge on Into the Blue
Again that set it apart from its
predecessor.
This time around, the man
behind The Album Leaf, Jimmy
LaValle, takes a fairly conservative stance, where he prefers
to perfect past formulas rather
than push any envelopes. LaValle continues to root his compositions in a more traditional
verse-chorus-verse structure as
he relies heavily on his standard
blend of ambient drones, strings
and old Rhodes pianos. He also
includes the usual guest-stars
Uke The Black Heart Precession's Pall Jenkins, who lends
his vocals on "Wherever I Go,"
and members of Sigur Ros, who
unfortunately remain silent and
only do some engineering work.
Where things vaguely differ
are in LaValle's choice to take a
slightly more electropop direction similar to Morr Music artists like Ms. John Soda or Lali
Puna. This isn't to say Into the
Blue Again will make you dance,
but it does tone down the melancholy a bit. The most drastic
change, however, is the addition
of more songs with LaValle braving the vocal realm. Unfortunately, his hesitant singing and
overly simple lyrics usually take
more away from the songs than
they add.
Overall, Into the Blue Again
isn't bad, but a bit more variety
and change would have done
a world of good on this Album
Leaf record.
BRockthiessen
__.
i^-^™"""—^^^™^"^^"*"^^^™        (cRock Your Own Adventure fl ^—i^—^™—^
A natural born indie-diva with a god-given gift for stage strutting and thousand-mile stares, Khymme becomes the biggest thing in Vancouver since the biggest-thing-since Dandi Wind. Even
the disenchanted hipsters can't keep from singing the praises of Sex Toys in Japan. Seated With a Kiss are constantly on the phone asking you to open for buzz-worthy touring bands. In due
course, you take your show on the road wtth a cross-Canada barnstormer. As you prepare for your Pop Montreal gig, Khymme announces that Leslie Feist has strongly encouraged her to go solo.
In fact, she's been approached by Madonna's Maverick imprint. Your homecoming show at the Commodore will be her last with the band.
Turn directly to Page 21.
9/
n
/C
3*
^~»V
%
DiSCORDER       29 -MJO-aijFL.
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^■■■SUNDAY
TANA RADIO (WorMJ
SHOOKSHOOKTA (WorM)
KOLNODEDI (WorM)
Beautiful arresting beats and voices
emanating from all continents,
corners, and voids. Seldom-rattled
pocketfuls of roots and gems,
recalling other times, and other
places, to vast crossroads en route
to the unknown and the unclaim-
able. East Asia. South Asia. Africa.
The Middle East. Europe. Latin
America. Gypsy. Fusion. Always
rhythmic, always captivating.
Always crossing borders. Always   '
transporting.
THE ROCKERS SHOW (Reggae)
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE
(Roots)
Real cowshit-caught-in-yer-boots
country.
chips with everything
30     October 2006
British pop music from all decades. International pop (Japanese, French, Swedish, British, US,
etc.), 60s soundtracks and lounge.
Book your jet-set holiday nowl
SAINT TROPEZ (Pop)
QUEER FM (Toft)
Dedicated to the gay, lesbian,
bisexual, and transexual communities of Vancouver. Lots of
human interest features, background on current issues, and
great music.
RHYTHMSEVDIA (World)
Rhythmsindia features a wide
range of music from India, including popular music from the
1930s to the present, classical
music, semi-classical music such
as Ghazals and Bhajans, and also
Qawwalis, pop, and regional language numbers.
MONDO TRASHO (Edectic)
TRANCENDANCE (Dance)
Join us In practicing the ancient
art of rising above common
thought and ideas as your host DJ
Smiley Mike lays down the latest
trance cuts to propel us into the
domain of the mystical.
trancendance@hotmail.com
DISASTERPIECE THEATRE
(Tcdk)
________________MONDAY
BREAKFAST WITH THE
BROWNS (Eclectic)
Your favourite Brown-sters, James
and Peter, offer a savoury blend of
the familiar and exotic in a blend
of aural delights!
LIONS A1ND TIGERS AND
BEARS...(Edectic)
A mix of indie pop, indie rock,
and pseudo underground hip hop,
with your host, Jordie Sparkle.
ALT. RADIO (Talk)
Hosted by David B.
PARTS UNKNOWN (Pop)
Underground pop for the r
with the occasional interview
with your host, Chris.
LET'S GET BAKED w/matt & dave
(Edectic)
Vegan baking with "rock stars"
like Sharp Like Knives, Whitey
Houston, The Novaks and more.
NATIVE SOLIDARITY NEWS
(Xcdk)
A national radio service and part
of an international network of
information and action in support
of indigenous peoples' survival
and dignity. We are all volunteers i
committed to promoting Native
self-determination, culturally,
economically, spiritually and otherwise. The show is self-sufficient,
without government or corporate
funding.
NEWS 101 (Talk)
A volunteer-produced, student and
community newscast featuring
news, sports and arts. Reports by
people like you. "Become the Media"
W.I.N.G.S. (Talk)
Womens International News
Gathering Service.
SON OF NITE DREEMS (Eclectic)
UNCOMMON PRACTICE (Cks-
sical)
All the classical music you don't
hear on mainstream radio! A variety of innovative and interesting
works from the 20th and 21st cen-
turies, with an occasional neglected
masterpiece from earlier eras.
KARUSU (World)
THE JAZZ SHOW (Jazz)
Vancouver's longest running
primetime jazz program. Hosted
by the ever-suave, Gavin Walker.
Features at 11pm: Ij
Oct. 2: One of the most exciting
and spontaneous bands ever
assembled for a weekend gig
was this one led by pianist/
composer Jaki Byard. From
behind the keyboard Byard
changes tempos and shouts
instructions to flutist/tenor
saxophonist Joe Farrell, bassist
George Tucker, and ace drum
master who also plays vibes...
Alan Dawson. Live and cookin'.
Oct. 9: Tonight we celebrate
the 72nd birthday of Abdullah
Ibrahim (aka Dollar Brand)
with one of his most personal
recordings. Solo piano playing
his own compositions reflecting
his South African heritage. The
sounds of a master in "African
Portraits".
Oct. 16: The music of pianist/
composer Andrew Hill has
always been a fascinating
and challenging experience,
and his latest award-winning
album is another triumph in a
career that always seems to be
reinvented in a new and fresh
way. "Love Lines" with Hill's
quintet featuring trumpeter
Charles Tolliver and others is a
milestone in Hill's history.
Oct. 23: Tonight is the birthday
of one of the most powerful and
original alto saxophonists in
modern jazz, and sadly one of
the most underrated: Sonny
Criss (Oct. 23,1927 - Nov. 19,
1977). Here is Sonny with another legendary Sonny
(Clark) on piano putting his
' mark on some great standards
and blues in "Go, Man!"
Oct. 30: Today marks the birthday of one of the greatest trumpet voices in jazz and one who
is still listened to and copied
today: Clifford Brown. Although
he died at 26 (in a traffic accident), he left a legacy of great
recordings such as tonight's feature, "Clifford Brown and Max
Roach at Basin Street", With the
ground-breaking quintet that
included tenor saxophone giant
Sonny Rollins.VENGEANCE IS
MINE (Punk)
All the best the world of punk has
to offer, in the wee hours of the
________________ TUESDAY
PACIFIC PICKIN' (Roots)
Bluegrass, old-time music, and its
derivatives with Arthur and the
lovely Andrea Berman.
HIGHBRED VOICES (World;
THIRD TIME'S THE CHARM
(Rock)
Open your ears and prepare for
a shock! A harmless note may
make you a fan! Hear the menacing scourge that is Rock and Roll!
Deadlier than the most dangerous
criminal!
bominsixtynine@hotmail.com
MORNING AFTER
SHOW (Eclectic)
GIVE 'EM THE BOOT (World)
Sample the various flavours of
Italian folk music from north to
south, traditional and modern.
Un programma bilingue che es-
plora il mondo della musica folk
italiana.
REEL TO REAL (Talk)
Movie reviews and criticism.
EN AVANT LA MUSIQUE (French)
En Avant La Musique! se concentre sur le metissage des
genres musicaux ausein d'une
francophonie ouverte a toils les
courants. This program focuses ~
on cross-cultural music and its
influence on mostly Francophone
through musical deconstruetion.
Recommended for the strong.
WRAPPED IN SILVER SOU1ND
(Edecncj
DEMOCRACY NOW (Tcdk)
Independent news hosted by
award-winning jounalists Amy
Goodman and Juan Gonzalez.
RUMBLETONE RADIO (Rock)
Primitive, iuffled-out garage mayhem!
JNECESSARY VOICES (Talk)
Socic-poBtical,enviromental activist news and spoken word with
AND SOMETIMES WHY
(Pop/Eclectic)
First Wednesday of every month.
SAMSQUANCH'S HIDEAWAY
(Eclectic)
JUICEBOX (Talk)
Developing your relational and
individual sexual health, expressing diversity, celebrating queer-
ness, and encouraging pleasure
at all stages. Sexuality educators
Julia and Alix will quench your
search for responsible, progressive
sexuality over your life span!
www.Juiceboxradio.com
FOLK OASIS (Roots)
Two hours of eclectic roots music.
Don't own any Birkenstocks? Allergic to patchouli? C'mon in! A
kumbaya-free zone since 1997.
HANS KLOSS' MISERY HOUR
(Hans Kloss)
This is pretty much toe best thing
.■■■THURSDAY
WENER'S BARBEQUE (Sports)
Join the sports department for
their coverage of theT-Birds.
FLEXYOURHEAD (Hardcore)
Up the punx, down the emo!
Keepin' it real since 1989, yo.
Flexyourhead.
SALARIO IVDNIMO (World)
Salario Minimo, the best rock in
Spanish show in Canada.
CAUGHT IN THE RED (Rock)
Trawling the trash heap of over 50
years' worth of rock n' roll debris.
Digit!
PLUTONIAN NIGHTS (Eclectic)
AURAL TENTACLES (Eclectic)
It could be punk, ethno, global,
trance, spoken word, rock, the
unusual and the weird, or it could
be something different. Hosted by
DJ Pierre.
■■■WEDNESDAY
SKA-T'S SCENIC DRIVE (Ska)
Email requests to:
djska_t@hotmail.com
THESE ARE THE BREAKS
(HipHop)
Top notch crate digger DJ Avi
Shack mixes underground hip
hop, old school classics, and original breaks.
RADIO ZERO (Edectic)
THE CANADIAN WAY (Eclectic)
Independent Canadian music
from almost every genre imaginable covering the east coast to
the left coast and all points in between. Yes, even Montreal!
thecanadianway@popstar.com
AFRICAN RHYTHMS (World)
David "Love" Jones brings you the
best new and old jazz, soul, Latin,
samba, bossa and African music
from around the world.
www.aMcanrhythmsradio.com
PLANET LOVETRON
(Dance/Electwnic)
Music inspired by Chocolate
Thunder; Robert Robot drops
electro past and present, hip hop
and intergalactic funkmanship
robertrobot@gmail.com
SHAKE A TAIL FEATHER (Soul/
R'n'B)
I LIKE THE SCRIBBLES (Edectic)
Beats mixed with audio from old
films and clips from the internet.
10% discount for callers who are
certified insane. Hosted by Chris D.
END OF THE WORLD NEWS
(Eclectic)
SWEET'N'HOT (Jflzz).
Sweet dance music and hot jazz
from the 1920s, 30s, and 40s.
WE ALL FALL DOWN (Eclectic)
Punk rock, indie pop, and whatever else I deem worthy. Hosted by
a closet nerd.
CRIMES & TREASONS (Hip Hep)
MY SCIENCE PROJECT (Talk)
Zoom a little zoom on the My Science Project rocket ship, piloted
by your host, Julia, as we navigate
eccentric, under-exposed, always
relevant and plainly cool scientific
research, technology, and poetry
(submissions welcome).
mysdenceprojec___o@yahoo.ca
PEDAL REVOLUTION (Talk)
AFROBEAT (World)
Music of the world, with a special
dance around African drum beats.
My passion is music from the African Ettaspora. Catch up on the latest
and reminisce on classic spins.
myafrobeat@yahoo.com
EXQUISITE CORPSE (Experimental)
Experimental, radio-art, sound   —
collage, field recordings, etc. Recommended for the insane.
LIVE FROM THUNDERBIRD
RADIO HELL (live Mum)
Live From Thunderbird Radio
Hell showcases local talent...LIVE!
Honestly, don't even ask about the
technical side of this.
LAUGH TRACKS (Talk)
RAW RADIO (HipHop)
SUBURBAN JUNGLE (Eclectic) ^^^^^^^
ANOIZE (Noise)
Luke Meat irritates and educates       CUTE BAND ALERT! (Edectic)
THE SATURDAY EDGE (Roots)
Studio guests, new releases, British comedy sketches, folk music
calendar, and ticket giveaways.
GENERATONANNttlflLATION
$m
A fine mix of streetpunk and old
school hardcore backed by band
interviews, guest speakers, and
social commentary.
www.streetpunkradio.com
crashnburnradio@yahoo.ca
POWERCHORD (Metal)
Vancouver's only true metal
show; local demo tapes, imports,
and other rarities. Gerald Rattle-
head, Geoff the Metal Pimp and
guests do the damage.
CODE BLUE (Roots)
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy and Paul.
THE LEO RAMIREZ SHOW
(World)
The best of music, news, sports,
and commentary from around
the local and international Latin
American communities.
OUR WAVE (World)
News, arts, entertainment and
music for the Russian community,
local and abroad.
SHADOW JUGGLERS
(Dance/Electronic)
An exciting chow of Drum n' Bass
with DJs Jimungle & Bias on the
ones and twos, plus guests. Listen
for give-aways every week. Keep
feelin da beatz.
SYNAPTIC SANDWICH
(Dance/Electronic/Eclectic)
BEATS FROM THE BASEMENT
CONCEPTION RADIO (Talk) g)
■SATURDAY
CiTR Is Looking So-o-o Good l|
The station's new merch showcases two local
designers
by Duncan M. McHugh
Coixege radio and T-shirts go together like college radio and beer. And, like the empties
from local microbreweries strewn about the station, our T-shirts have begun to show an
interest in sophisticated local flavour.
For years, CiTR offered only one T-shirt, the venerable "tapehead" logo design. In 2002,
we mixed it up by cannibalizing our pre-tapehead logo, a streamlined wordmark with retro
lettering. While classic, these design were a little static.
Something changed last year, though; Main Street came to West Point Grey and CiTR
ended up with hip new threads. Two new designs, penned by art school students, featured
a giant Marantz tape recorder playing the part of Acme anvil, squashing some hapless radio
nerd, and an old time-y gramophone with cursive writing that anticipated the success of the
Arcade Fire with a Funeral-like design.
This year, the station got even more ambitious, recruiting two prominent local indie
artists. The result: limited edition, designer CiTR T-shirts. The beautiful designs are multicoloured and printed on sweatshop-free American Apparel shirts. As the photos show, they look
totally rad.
Discorder recently asked the designers, Andy Dixon (Secret Mommy, Ache Records) and
Dani Vachon, about their respective T-shirts.
What's the idea behind your design?
Dani: Well, I thought about this for a really long time, and I wanted to make a design that was
going to be accessible to ali kinds of college radio lovers. I remembered back to a time when I
was in bible-camp—of all places—and how the girl in charge of my cabin told me that animals
didn't go to heaven. I thought that was bullshit and basically dropped the classical Christian
beliefs right then and formed my own belief system...where all animals go to heaven. This is
an illustration of a wild horse (I imagine back in the days where Natives populated Canada
more than Europeans) who possibly just got hit with an arrow while running, and his soul
leaving his body.
Andy: I try to design and draw in ways that contradict an academic approach. I love drawing
without the use of any practical technique—instead of sketching it out, just start at a point
and go from there. I guess I'm attracted to a more "outsider" aesthetic. The spontaneity and
naivety is really powerful. With that said, I have had a decade of training, so the eye for design
is always present, creating a kind of juxtaposition.
Is there a place that people can check out more of your design work?
Dani: www.whap.ca {which has been half finished for as long as I can remember). It has a link
at the bottom of the poster page where you can visit my gigposters.com page that has almost
300 posters.
Andy: www.thechemistrydesigns.com v
A
__
"•^Rock Your Own Adventure*^"
___.
V
With great reservations, you opt to pass on Khymme and keep the original trio intact. In the
months that follow, Sex Toys in Japan make a slow but steady climb through the local scene.
After paying each and every due imaginable, the band nabs the much-coveted opening spot
for Wolf Parade at The Commodore. A dream-come-true quickly turns nightmarish: At the
last minute, the band is bumped from the spot by The Featurettes—Vancouver's newest buzz-
band, fronted by none other than Khymme Gorman. You lose the high-profile show and The
Featurettes get the big break that starts their long, illustrious career. When you next visit the
beach, some mean-spirited kids kick sand in your face.
n
3
w
Turn directly to Page 21
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DiSCORDER       31 it
m.w
inly
Taking in the Harvest at Zulu
Akron/Family
MeekWanior
CD
Akron/Family made
some new fans last
time they were in town.
Tne show was a success,
people were excited. This
positive vibe makes sense. Attuned to the local aesthetic, Akron/Family's brand of contemplative Americana
fits nicely with the folk-positive Petit-Summer of Love
we seemed to have had up here this year. It was a
good time; the kids were alright. Along with the rustic-
tinged Ladyhawk and Pink Mountaintops on our collective stew, we also spun My Morning Jacket,
Magnolia Electric Go., Band of Horses, and good old
Will Oldham, and so on. Good times. Similar in spirit,
while these guys are a little more laid back and less
noisy, they're no less inspired or inspiring. Also, they
are not afraid to be beautiful, which is a truly welcome
thing, a treasure in a trouble time, j
CD $16.98
Mastodon
Blood
CD
We had a serious _QV_|
ON for Mastodon's
last one, the mighty, ever
so mighty Leviathan,
wffttefiiwffl torevermore
have a place in our heavy metal hearts and miftt^pw
finally the hardest nerds on the planet (and they^wi-
cerely big nerds) have returned with another we^Mjl
monster album, this time coming on like Leviathan
doubled. While some basic riffage is exchanged IftjjSP'
fancier, even mildly cerebral playing, the thing $§§§
rocks full on, with occasional moody pastoral flashes a
la Sabbath Although it's elaborately dejt^iifBo-    ,
gressive only insofar as this temrd-%r_tes a new-
found form of heavy metal pugilism^S^f^aSc   M
blow after blow down our ears, up our brainsten^idc
then blasting the top out of our cerebellum, cascading
thickly around our shoulders. Despite the gory carnage 1
thereby caused by this kind of beating, the eniigfrterteJli
delight on the faces of the recipients attests to the skilful intensity of Mastodon, the preeminent executors of
high-precision blasts of noisy affirmation!
CD $16.98
Points Gray
Off Shore CDR
One of my favorite comic book titles growing up was
Marvel comics, What If series. The stories were
fantastic, ridiculous. The writers were able to exercise
their imaginations; no otherwise far-fetched idea was
rejected. My favorite What H had Conan the Barbarian
blasted from his barbarian time to present-day New
York City, the climax of the story taking place at the
Museum of Modem Art. It was awesome. This self-
produced, very limited edition CDR is kind of like a
local pop music What If story, except real. Here, the
key premise: imagine Canned Hamm s Rob Dayton
joining forces with Destroyer's Dan Bejar. What! ?!
Sounds like a great night out at the bar, to be sure, but
making music? Surely their individually prodigious tal-
. ents might not come together, instead crossing without
really meeting along some arcane pop music back
road? Yet indeed they do meet, and very well. This
sure-to-be short lived CDR is the proof of this propitious joining, not What If at all. Get it white fhe get-
ting's good and then brag about it later on your blog.
AqKt.
Mouse on
Mais
Varcharz CD
I egend has it that Jar
Lst. Werner and Andl
Tomi met at a death
metal concert. Maybe
this trivia explains Mike
Patton's interest, putting Varcharz out on his label
Ipecac. But there is a kind of distorted heaviness to
Moose on Mars, music, especially live, which this
new album conveys. Also, it's loud. Finishing the
Patton-esque aesthetic trifecta, Varcharz is supposedly Memo on Mars s most experimental record yet
(but what does experimental mean to the always
broad-minded St. Werner and Toad, we wonder?).
Yet no matter how hard and fast they cs^Mot
how far out they get, Mouse on Mars temper every-
thing they do with ironic humour. JlithQugn]B»fey "
make seriously goodSriusic and they fJ&wf _5 «
music-making practice seriously, they thems^to; 0
are not serious They like to^^_g#otf IteeSi t,
1 shows. And that a good time for St Werner and
Tomi means bending a few minds — ears first —   -,
makes for exc$||iTiusic. Bring it on.
CD $16.98
Micah P. Hinson
And the Open Circuit QD
For a young man, MJsah P. Hinson seeiis Is fee „ f
one bummed gay; miserable beyondiNjfpl^.ife*'
short adult pasflfefihlity has somethir^^^Sf^,
this: he had someji- of complex, tragic love affair
with an older fo^Sihmour model with a drug T
problem Thankfy^for us, this ruinous relationship
fueled his stirring isbut album. Micah P. Hinson >
I and the Gospel of Progress presenting him as a
new, although atrefiy mature talent. Following^
another bummer talfcthis time a prescriptiortl^^
addiction inspired b|§k injury. Hinson is hi§l$lifc|
more moody, folksyl^igcBfe tome augmented
with the fine musidaaishifl-lljHl S^rfeig arranging
ability) of Crooked Fingers Eric Bachmann, as well
^ as-afc)st^^^^penence_^ers BrnsHYe.
k_a-Bosph^ listed lor a good bad time.'iriis'' ,
record I5lfte._i6k. T-
CD$16;98
Various
Vancouver, British Columbia,
Canada CD
Produced by the Music Appreciation Society on
lebalf.Bf the Charles H. Scott art gallery at the
Emily Carr Institute, tWs compilation brings together
a keen selection of new, unreleased and old tracks
by some of Vancouver's best, most lovedjgreuBs, O
also emphasizing music made by some well-known -
local visual artists. Featuring tracks by Amber &
Josh (of Black Mountain), Anemones, The Battles,
Blaise Pascal, The Book of Lists, The Choir
Practice. Delve (featuring Kevin Schmidt), The
Evaporators, Good Horsey, The Rodney Graham
Band, Great Aunt Ma, Hello Blue Roses, Hick
Krgovich (of P:ano), Shannon Oksanen and Scott
Livingstone, Pink Mountaintops, Sinoia Caves,
Staked Plain, Sonny Boner (featuring Damian
Moppet), Superconductor, Tree Love Forever (with
Dan Bejar), and UJ3RK5 (featuring Ian Wallace,
Jeff Wall, Rodney Graham, David Wisdom).
BertJansch
The Black Swan CD
Bert Jansen has been active
since the 1960s. Very Inflafe-
tial, players Uke Jimmy Page and
Hell Young cite him as an important inspiration, noting his incredible musicianship and songwriting.
Solo or with Perrtangle, he is truly
a folk music tegentpttfa*, following the recent underground
folk music revival whfefljws" c#fcred the pro-beard imagina-
^totp^|$_e rockers everywhere, Jansch's contemporary profile
is deservedly growing. This new ftiiiifgth reb&rding, released
by Chicago's VM JodSfcy. should orily"further Jansch s current
positK$4t$enrJo(i, expatpgg his audtencs^ecorded mostly at *
home, We Black Swan features (pt$i$tffy tended, adoring and *
respectfu^'.jyest^ppej^pcas by Beth Ortan. fUMm^B_M
Banhart anJ^iA^0 groups such as Espers and Mazzy    ?
CO$16.fl
Tim Hecker
HaimcHiy in Ultraviolet CD
This is the sixth (realty? sixth!?!) full-length from this former
hometown boy and recent federal employee (no joke). Either
rocking the floor or bombing our brains, Hecker has always
done great work, released by such well-respected, fenps-** {r
thinking labels as Staalplaat, Aliens, and Mille PtMfJMBj^ , _>
. Harmony tn Ultraviolet is his first for Chicago's Kranky, iu-01 i
home ts Vancouver's Loscil. Suitably, Harmony in Ultraviolet Is
i ambient and textured, mes^Msrily betweett^^^ Mil'
nance artifowtody,'' as K/anW^escribe i&ind trfdeed Hecker
leaves little fSgK^$ijj%fii get losttswrom in the digital
tazfand eerie processed field recordings. %8, cWouBJp, this is
iyglgjpple, mer^flormalistic drifting but an intentional exbfo-  &
^to^f atmosphere itself as cpft%^iiRg aesthetic material
■loots and Crowns
NiS^r* Califone, Tim Rutili, Ben
Massarella and their longtime
producer Brian Deck were aft once
involved in the Hifty departed,
totally underappreciated Red Red
Meat. Their Bunny Gets fWMs a true American masterwork.
providing the blueprirrrtor the band thev ve since become As
Bunny Gets Paid shows, they've always undeMood the essential "sense of space" in blues, rock arid country music — where
the notes hang in the vibrating air, resonating, powerful. Indeed
-tfte-nrjtton of tiie spatial character of sound seems central to
Califone s music, which is even more far-reaching and evocative than Red Red Meat's. As Rutili explains,.this development
is productive, part of the band's project "this album is a conscious and resolved thing. It fully realizes ideas we touched on
in the past and where we come from as a band, and takes us
into our next phase of life." Hence the imagery of Roots and
Crowns: suggesting a future that both engages and depends on
its past.
CD $16.98
Wolf Eyes
Human Animal CD/IP
In true manifesto fashion, the concluding track on Human Animal Is titled
Hoise Not Music. With their sweaty t-
shirts, pumping fists and free-form
storms of sound, Wolf Eyes, John
Olson, Mike Connelly, and Nate Young;
really seem to mean it. And yet misijPjy
surely a contradiction. Really? Noise?Ji6i^5 to believe that they.ve
produced anything else but music so far? It's unquestionably loud,
chaotic, challenging, ma^rttae^nd even a little terrifying, but noise?
No, it's many things, but hardly noise. $&Meal battle ground, the true
and proper target of their Intense sonic warfare,Is music, music writ
large, and they know ft, and thankfully so does Sub Pop. But as a
prolonged challenge to music from the negative pole, that is executed
from the constructively negative position of noise. Human Animal is
cogent, thordjagngoing, a veritable thesis! Most importantly, it is an
ALBUM. Bring the noise home, enjoy the music.
CD $16.98   IP 14.98
OOMW
Meaning *t_#wer" in Japanese and
"forest5' in Russian, Taiga is meant
■ to Hpptritual communication with the
8-fh an expression of respectful appreciation. This focus on nature comes
across in Japan's OOIOO s (pronounced:
\ orMjh-eye^-ch) somewhat franee-
inducing, rhythm-based soundscapes; there is a neo-tribal quality to
their music. Mike their onomatopoeic name, OOIOO aren't trying to
copy the language of nature, but, in a focused ritual transformation,
to somehow become nature, to truly speak the hidden language of
the earth. And as OOIOO understand, nature isn't always peaceful or
quiet instead often complexly busy with sound. As such Taiga
enacts Its namesakes: it's dense with many small sounds like a forest
and always moving like a river.
CD $16.98
dpdj^Bear
Yellow House CD
Comparisons are lazy in this business, I
if unavoidable, but this really could    j
be (or perhaps even should have been,
depending on your point of view) the
new Animal Collective, except, of
course, if Brian Wilson was in the band. I
I I say Brian Wilson because of the
refined yet mildly trippy pop sensibility in effect here, ice on (sorry
to bring up the canon) Pet Sounds. Indeed Yellow House is not just
an improvement from Grizzly Bear's own past work, now a full-
fledged group lead by Edward Droste, but in fact a remarkable pop
music achievement in general, sure to be remembered come the end
of the year's eventual Best Of tabulations. The playing is great, the
arrangements smart, and the production fM-rate-~-J*»riia_ fhte,.-
be critically ignored? For the rest of us non-critics, away from the
politics of taste-making punditry, Yellow House is a great mix of
t Six psychedelia. Nice.
CD $16.98
PRICES IN EFFECT UNTIL OCTOBER 31,2006
CD $12.98
CDR $9.98

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