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 THAT MAGAZINE FROM CITR 101.9FM
Atmosphere  The Beta Band  Christopher Bissonnette  Bontempi The Book of
Lists  Francoiz Breut Caribou Cuff the Duke Dandi Wind's European Tour
Diary Luke Doucet Gang of Four Great Lake Swimmers Foster Kare Gwen
Stefani  Rachel's Ihe Kills  The Knitters  The Magic Numbers  Luke Meat's Best
of 2005   M.I.A. TheNederbietels   Old Soul The Parallels  Mr. Plow  P.O.S.
The Priscillas   Propaghandi  Stars  Thurston Revival  Neil Young SCRATCH + CHRISTMAS - A TASTY DATE!!
'tis tljc season for our giant
• *t 1 ^_9r^Bl^_Pll -iH|
20 to 50% off!
other items further discounted well below colt
»AM*^g0® Pfirf|K^Krs., 10:30 AM: 7 PM Fri & Sat
n|pay ^w6^^^l^^mclosed Dec 25 * Jan-1 -
'MAS!!
§Ek making origami, with a similarly tight,
rifjbQjto focused aWjiiirished with each
j^Bprirffi isJte brpt^f gem'of them all..
PINK
The Ones I Love 7"
(Jagjaguwar)
I» n« e)OTsfe»cks fjoMlyfc. 111
Mountain bea'rdo Sfephen McLean & cuJJt
^ook for Scratth'ttffelease th^upcommg}
raP§M 0 u rtta i n top sm^^mfW^m^m
pearly in 28wrt
kfalSO availahlA-jj   1     JM ,< ___tmr jHj
"'   BLACK MDUNTAtN'-'_rtJ^_n_«t 12'M%'
9mm^-mu_Qmm_}0r% s/t lp cd ■
BLACK MOliOT^fP^ft^:   '■HSFm
JERK WITH A BOMB- PyrokinesiTtP/tfP *•'  ":
Scratch releases are available at the followi^^lfflfrstoies:     ^«%^«ra^T^
A&B Sound, Audiopile, Pitch, HMV,. Luckys, Red Cat, Scratch, Zulu
f_rtd clanging Hardwire beats;..
jjpffi' neatly Vlups punk rotlt _
alike to just get with the beat
beaten." - Pitchfork
Don't miss YSPIWSD!
New Year's Eve at Pat's Pub!
^^^^pmifet|u|rrp ftmfe^^B
h^^^^^^he_r| cultur#fttcp_ clfe'wij
fieTJf a^edide^orwiitive war whoe$ .b_-
heir fourth record of spastic Ritalin bomp C
STOCKING STUFFER CORNER
We've Got Something For Everyone!!
13 & GOD-s/t 2LP/CD (The Notwist and Themselves)
ADULT-Gimmie Trouble LP/CD
AKRON/FAMILY & ANGELS OF LIGHT-s/t CD
ANIMAL COLLECTIVE-Feels 2LP/CD
ATMOSPHERE
-You Can't Imagine How Much Fun We're Having 2LP
BABYSHAMBLES-Down In Albion CD (UK import)
BECK-Guerlito 2LP remix album
BLACK UPS-Let It Bloom LP/CD
BONNIE "PRINCE" BILLY
-Summer in the Southeast 2LP/CD
BORIS-BorisAtLast-Feedbacker CD
CLOROX GIRLS-This Dimension LP/CD
EARTH-Hex; Or Printing In The Infernal Method 2LP/CD
ESPERS-The Weed Tree LP/CD
FRANZ FERDINAND
-You Could Have It So Much Better LP/CD
GALAXIE 500-Peel Sessions CD
GOGOGO AIRHEART-Rats! Sing! Sing! CD
JASON FORREST-Shamelessly Exciting LP/CD
JENS LEKMAN-Oh You're So Silent, Jens 2LP/CD
JOY DIVISION-Let The Movie Begin CD
KANYEWEST-Late Registration 2LP/CD
NEW PORNOGRAPHERS-Twin Cinema LP/CD
OKKERVIL RIVER
-Black Sheep Boy Appendix 127CDEP
PHARCYDE-The Remix & Party Collection 3LP/2CD
QUASIMOTO
-The Further Adventures of Lord Quas 2LP/CD
SILVER JEWS-Tanglewood Numbers LP/CD
SONIC YOUTH
"-"lcertas Stan Brakhage Pristminimui CD
AN STEVENS-lllinois 2LP/CD
SUNN0)))-BlackOne CD
THE BRIEFS-Steal Yer Heart CD
THE DIRTBOMBS
\Loo
2Cf
THE FALL-Fail Heads Roll CD
THE GRIS'GRIS-For The Season LP/CD
THE HOWLING HEX-You Can't Beat Tomorrow DVD+CD
THE KING KHAN & BBQ SHOW-s/t LP/CD
THE ROOTS
-Homegrown! The Beginner's Guide
To Understanding The Roots
TOOL-Lateralus PICTURE DISC 2LP
TUJIKO NORIKO & AOKITAKAMASA-28 CD
TWILIGHT-s/t LP/CD
V/A-PUNK HISTORY CANADA PRESENTS:
ONLY IN CANADA, EH 77-81 VOL 1 CD
V/A-RUN THE ROAD VOL 2 CD+DVD (UK import)
V/A-THINK DIFFERENTLY: WU-TANG CLAN MEETS
THE INDIE CULTURE 2LP
VASHTI BUNYAN-Lookaftering CD
WHY?-Elephant Eyelash 2LP/CD
WOLF PARADE-Apologies to the Queen Mary LP/CD
YESTERDAY'S NEW QUINTET-Sound Directions LP/CD
Plus hundreds of Criterion Collection, Cult,
Foreign, Documentary, And Music DVDs!
sum
www.scratchrecoFds.com
m* T26 Richards Street, Vancouver, BO   Canada   V6B 3A4
STORE:   604.687.6355   DISTRIBUTION:   604.687.0499   FAX:   604.687.0488
STORES:   Get in touch.   EMAIL. ORDER: commerce@scratchrecords.com
726 is on the east side off Richards Street, between Robson and Georgia.
OSDiscorder—jancember Features
EDITRIX
KatSiddle
David Ravensbergen
AD MANAGER
Jason Bennet
PRODUCTION MANAGER
Caroline Walker
ART-SQUAD DIRECTOR
Graeme Worthy
TA EDITOR
Vampyra Draculea
RLA EDITOR
Kimberley Day
LAYOUT-DESIGN
Graeme Worthy
Jason Bennet
Caroline Walker
Nicole Ondre
PRODUCTION
Graeme Worthy
Jason Bennet
Caroline Walker
KatSiddle
David Ravensbergen
Jordie Yow
Curtis Woloschuk
Andy Hudson
COVER
Alanna Scott
PROGRAM GUIDE
Bryce Dunn
CHARTS
Luke Meat
DATEBOOK EDITOR
Zoe Alexander
DISTRIBUTION
Torben Wilson
Lasse Lutick
US DISTRO
Frankie Rumbletone
PUBLISHER
Student Radio Society
of UBC
..-Dandi Wind.
Luke Meat's 2005
Foster Kare
Rachel's
Caribou . . .
The Book of Lists
Regulars
P .*
P. n
MM
p. 13
* P^p^uctft/ Immlcireft^^^^^^^       p. 3
Riff Raff p. 5
P5
p.6
p. 15
p.26
p. 27
p. 29
p. 29
Program Guide p. 30-31
StrWfret and Flicker
P5
Mixtape
p.6
^*^^P_endars
Si 15-18
Under Review
p.26
Real Live Action
p. 27-28
Charts
p. 29
Finding Joy
p. 29
THAT MAGAZINE FROM CITR 101.9FM
© DiSCORDER 2005 by the Student Radio Society of the University of British Columbia,;*!! rights
reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for
one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover
postage). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES:
Copy deadline for the February issue is January 18th, 2006. Ad space is available until January 25th
and can be booked by calling Jason at 604.822.3017 ext. 3. Our rates are available upon request.
DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscript ..' •&
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 email to DiSCORDER at
discorder@club.ams.ubc.ca. From UBC to Langley and Squamish to Bellingham, CiTR can be heard
at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White
Rock. Call the CiTR DJ line at 822.2487, our office at 822.3017, or our news and sports lines at 822.3017
ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at www.citr.ca
or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
Notes to this issue:
Feature titles, Bell (bold). Subheads and bylines Sabon (occasionally bold). Regular titles,
Bernhard (bold condensed). Body font. Century Gothic 7pt. Cover by Alanna Scott, who is not
Allison Scott, but she does have a sister named that. Thanks to Phieu Iran, who was especially rad
this month. Nicole Ondre, who never fails to impress. Zoe Alexander, who is very helpful. Julia Monks,
who is very easy to work with. Mark Hall-Patch, who is very talented, and excellent with colour.
And Nathan Matthews, who likes sailors, and penguins and bikes and moustaches and drew the
calendar. And Caroline Walker. This issue wasn't me it was all of you. Thank you all.
Sincerely, Graeme.
Perpetually f
Imminent Disaster
Dear Discorder readers and contributors.
By the time you read this Discorder will be left in the capable hands of incoming
editor David Ravensbergen and I will be free!
Last month I told you what I' d miss about being Discorder editor the long production
nights, where contributors and staff challenge the limits ot human endurance and
caffeine consumption. Since then, I've realized that I don't have to forgo my favorite
parts of Discorder. I can ignore the magazine all month only to show up and make myself
useful. And, if Dave's reign is anything Wee my own, the Discorder kids will be happy to
use a little help. This is a thinly veiled encouragement to contributors—production is fun! A
grueling sort of fun, granted. But if you become involved, you have the chance to leam
things UBC won't otherwise teach you. Overall, I'd say I'm stronger for the experience (so
much so that I suspect I'm actually immortal and can only be killed by wooden stakes).
Over the last two years, I've depended on a handful of people. At the risk of my
last installment sounding like something from a twelfth-grade yearbook, I'd like to thank
the all the people who worked on staff with me, including Susy Webb, Graeme Worthy,
Dale Davies, Dory Kornfeld, Jason Bennet and Caroline Walker. I offer an equal measure
of gratitude and apology to those who supported or just put up me with me, and to
anyone's whose name I misspelled (though as Dave has proved, it does you no lasting
harm).
Here's loota'n' to the future.
KatSiddle
Red Cat Records
4307Main St.
,0MP_J___3   '
rlSIS^U
New & Used CD's & Viwyl
ph. 708-9422 * email buddy®redeat.ea
Dccembiiary—DiscordcriB Doors open 7pm
Thurs, Dec 8th 2005
Kokanee Party at the Peak
Tons of snowboarding gear giveaways
Saturday, Dec 31, 2005
miliar   pooling
5I|F|IC11   ^IRISHPUB
wp J-and Down Party
Ring in the New Year in style
brooms •D4Jos^iMlcbaelA«e Cellar
• Party favours
Arrive early for The Teton Vancouver Premiere
The Tangerine Dream Movie at 8pm
Win a Heli Trip or Jackson Vacation
Live Party Music   H ;Tu%Joe* Ga_ag %™*f'V\'Dr' fm?T™
*   ■ Sat: Does Your Monkey Bite / DJ Junior from Jack FM
Nightly §un: Camground "C" Country that rocks with Byron James
932 Granville -604.331.7999:: www.roxyvan.com
g| DOOLIN'S «Hi
%*_: irish pub  -£JB
ailH^M^nr^MiiMii»
W_W' '^^mSL____   _^__mM_^_^^m_'^" '3wF* ~-^tm
Ifcam^l^Wf
654 Nelson at Granville | 604-605-4343 | www.doolins.ca
_____!
;l
GrhnvilleEnterthinment Group
Live Party Music by
Does Your Monkey Bite?
and Joe's Garage
• Kick ass party all night long
• Party favours
• Piccolo champagne at midnight
• Late night pizza
Advance tickets $25.00 or $40.00 at the Door
932 Granville:: 604331.79991 www.roxyvaii.coni
OltfH uoors(a>9pm   A WLWZ-
Ski Sulpd Boozyhutes
With our newest houseband Gen X
playing the best of 9.0's rock
Get into your best 80's/9||s Ski gear
and wiSa Cat-ski adventure!
For more info Calfjr^iJ^eiS-^tiSOS^BSO o.riroike@cellarvan.com
_»
W
iu f
WEDNESDAY, DEC 21 st
1006 Granville at Nelson :: 604-605-4350 :: www.cellarvan.com
"We wrote the book on partying!"
www.granvillevan.com Riff Raff
**«
Well, another year down, and more resolutions
to make. If you make any deals with yourself to lose
weight, stop smoking, or spend more time with
friends, you can forget all that 'cuz vinyl is your
only friend, bub, and the turntable is the only thing
that'll be smokin' after you get done spinning all
this great wax I get to tell you about!
benefits from Beatles-like harmonies while busting
out some Pretty Things R&B rawness. The flip "Where
To Run" is a nod to their predecessors The Haigs,
whose 1966 "hit" gave us some gnarly Outsiders-
influenced guitar work stampeding alongside
frantic Who stickwork. Stick a fork in this one, kids;
by all accounts this is well done! (Screaming Apple
Records, www.screaming-apple-records.de.
Slits beating up the Shangri-Las on the latter. Best
served after dinner while the kids are tucked away.
The Priscillas promise a garage-punk party that'll
have even the stuffiest of houseguests on the floor
or at the very least on the dinner table, kickin',
screamin' and having a ball! These ladies are full of
surprises and will snap, crackle and pop their way
into your heart! (Damaged Goods Records, www.
damagedgoods.co.uk).
The Nederbietels will have shaved a few
pounds of Christmas turkey off you when you
plant this platter down this is Eurobeat that
moves the feet! The Dutch foursome rescue you
from the throes of tryptophan with a crackling,
fuzz-laden stomper in "On My Mind", a track that
The Priscillas are four Christmas firecrackers
with a new single in tow, ready to battle gun-
toting grannies on "All My Friends Are Zombies",
and send lustful love letters to potential suitors on
"Should Be Me." These la-la-la-la-la-la-la London
girls can be best described as The Headcoatees
lunging headfirst into 1977 on the former, and The
With all that racket, you're bound to get a
visit from your nosy neighbours, and if they happen
to be The Kills, you better invite them in, or they'll
plug in and rock out right on the front lawn! All that
fussin' and moanin' you kept hearing from across
the way, what sounded like the ghost of Howlin'
By Bryce Dunn
Wolf meeting Suicide in a dark alley that was
Hotel and VV with their newest and freshest batch
of blues punk, baked up hot and juicy just in time
for the holidays! And they're comin' over to your
house to make nice and celebrate! "No Wow,"
the title track from their full length opus, slithers and
slides onto this latest seven-inch, but it's the other
cut, "Half of Us," that calls for the most Christmas
cheer; this new track is all shiny like the gold foil
it's wrapped in. Sonically satisfying, this isn't the
same ol' fruit cake you get from these two year
after year; in fact, this takes the trademark digital
drum beats. Hotel's scratchy angular guitar and
VV's seductive tones and puts a Wire-like twist on a
tried and true recipe. Hmmm, with a Httle eggnog
this goes down smooth and sweet, a post-punk
treat for your tastebuds. (Domino Records, www.
dominorecordco.com)
Hey everybody, thanks for reading about
another year's worth of great tunes for your listening
and buying pleasure. Have a cool Yule and we'll
have some new tricks in 2006!
Sfraf Fref and Flicker
First off, a standing ovation for Flick Harrison,
who covered this space in my absence with
such wit, wisdom and style. And don't worry, I
won't be muttering about dimly-lit courtyards in
Budapest that lead to theatres in converted tango
bars where avant-garde Dutch troupes perform
absurdist comedies in German. That would be so
pretentious. Maybe some other time. For now, I'm
back and keeping it local.
Still vibrating with jetlag, I went to the Firehall
Arts Centre to catch the remount of A Fabulous
Disaster. With its forest fires, gay marriage, gay
divorce, eco-activism and a character who says
"eh" a lot, it was so Canadian. Created and
performed by Denise Clarke of Calgary theatre
troupe One Yellow Rabbit, the piece is a slippery
hybrid of show-and-tell, theatre and confessional
monologue propelled by an implausibly loopy tale:
Lesbian grieving over recent divorce heads for the
trees and plonks herself in the path of a raging
forest fire, all the while fretting about the imperilled
animals and sharing tender memories of her ex-
wife and a long-ago boyfriend who lost a testicle
to cancer and wandered into the wilderness to
die. That this tragi-ridiculous scenario should have
been so compelling is down to Ms. Clarke and her
winning ways. She sketches a character in broad
strokes, but then shocks you with detail. And you
really come to care about this endearing little dyke
who was so hokey, yet so literate.
Like so many seasoned artists heading for
diva-hood, Clarke doesn't so much disappear
into her creations as speak through them, and she
isn't shy about using her solo work to air whatever
she's been pondering lately though you had to
wonder what that might be when, at the end, her
wounded but relentlessly upbeat protagonist strips
off and heads into the fire. In a diffuse way, it ali
felt very meaningful more like an attempt at
purification than suicide.
Props must also be given to video editor
Richard McDowell for his tiny square of flame
projected onto the upstage wall. It slowly and
ominously grew into a conflagration in lock step
with the dramatic tension.
When a locally shot television series lets
Vancouver play itself and lists bands like Pink
Mountaintops, Broken Social Scene, Stars, The New
Pornographers and Ladies and Gentlemen on its
soundtrack, I slow down to have a look. Too bad
that after viewing the pilot episode, I feel inclined
to give it a mauling. Subsequent instalments might
be better, but there would have to be a complete
180 in terms of writing and tone, which seems
unlikely.
This Space for Rent concerns itself with
five friends in their mid-to-late twenties who live
downtown and are busy coming of age. Three of
them share a flat on the Downtown Eastside (how
gritty of them) which appears to be on the roof
of the Grand Union pub, since they have such a
splendid view of Save-On Meats' iconic frying pig.
They are university graduates who aspire to success
D
and affluence in the very world they profess to
disdain, yet go all whiney when their vague value
systems are compromised by things fflce articTing in I
a law firm or serving soy lartes. It's hard to identify
and equally hard to laugh, as the "comedy" is so |
lame. As the press kit makes clear, the project takes
itself way too seriously to be genre parody.
If, as the gush can't stress enough, the city
and characters are metaphors for one another
("Vancouver is the embodiment of that golden age
between youth and adulthood where possibHrfies
are endless"), then heaven help Vancouver. The i
poor burg has had enough abuse from developers j
without being saddled with an anthropomorphized
adolescence. The series has both profile and
funding. A co-production in association with the j
CBC, it's directed by Scott Smith (of Rollercoaster
and Falling Angels fame) and the actors all have
fairly beefy c.v.'s. The creators acknowledge Wes |
Anderson, Jim Jarmusch, Gus Van Sant et al. as
"cultural reference points," but there's no trace
of such inspiration fri their own product. It's about
as true to young urban adulthood as that glossy
brochure currently flogging the "Woodwards
District" is to the Downtown Eastside. But by all
means, watch it. If it's "as much about the city
of Vancouver as it is about anything else," then
it might be the perfect prod for getting out of
town more often. Just remember to load-all those
bands into your iPod.
This Space for Rent premiers Wednesday, j
January 4 @ 9pm on CBC TV.
by Penelope Mulligan
THE PLUGHOLE
It's hard to think of another arts festival that's
had as much bionic growth in a short existence as
PuSh. This international performing arts fest has been
bringing in theatre and dance companies (and
this year, musicians) from major cuttural centres as
weU as showcasing local innovators since 2002. A
handful of performances four years ago has grown
to 61 this year, and the best part is that there has
been no compromise corporate or artistic. This
thing is flying on its own juice.
If you fancy a puppet show featuring "Famous
Puppet Death Scenes," a local provocation called
"Sexual Practices of the Japanese" or perhaps a UK
company's exposure of the Glasgow drag scene
in "Sisters, Such Devoted Sisters," then this is your
menu. There wifl be an exploration of the dawn ;
of cinema in "Studies in Motion: The Hauntings of
Eadweard Muybridge," and a trippy immersion
in aH things northern when The Kronos Quartet
and Inuit throat singer Tanya Tagaq collaborate
in "Nunavut." There's so much more, so pick up a
brochure or visit www.p_shtestival.ca.
The 2006 PuSh International Performing Arts
Festival runs from January 10 to Feruary 12 at
various venues around Vancouver.
0
Decembuary—Df scordeiOS r
Mix Tape
by Mike LaPointe
you promised to. Maybe you finally told that pretty
girl that you liked her shoes. Maybe you won the
lottery. Maybe you won it twice.
But I can also assume that some of you have
gone the other route. Perhaps the boss introduced
a machine that will do your job twice as quickly
(and, though you won't admit it, twice as well).
Perhaps the girl with the shoes told you she really,
really hopes Savage Garden reunites. Perhaps you
won the lottery but lost the ticket. Twice.
To express my condolences and
congratulations, here is a mixtape for everyone.
A round-up of tracks from 2005. A chance to look
back and reminisce, for better or for worse. Listen
to the side that best reflects how 2005 has treated
you.
Alright then, let's count this year down to
U___&?ot3B PRESENT
My 2005 began as a paddy wagon tore
down a slushy street in Hamilton, Ontario. The kids
who had been standing idly on the road began
to run, slipping on black ice and scrambling over
snowbanks, most of them clutching cases of
beer to their chests in fear. My friends and I stood
watching the scene, looking at our watches as the
countdown passed unannounced, and it seemed
then like this year might not be so great.
But I can't speak for everyone. The next
morning, as I sat in a Tim Horton's with a precious
cup of black coffee, people regaled each other in
wondrous New Years Eve tales. Stories of balloons
and party hats and confetti everywhere, all the
time, with midnight kisses and genuine resolutions.
They seemed, on January 1st, truly happy that 2005
had come to replace 2004, a year so unremarkable
that no one could honestly name one thing that
happened during it.
So I can only assume that a few of you
reading this have had a good year. Possibly even a
great year. Maybe you finally lost those five pounds
SIDE A: For Those Who Had to Ditch Their Beer in Hamilton
1. "Man Is The Baby" - Antony and the Johnsons
2. "To Leave it Behind" - Great Lake Swimmers
3. "Jezebel" - Iron and Wine
4. "John Wayne Gacy, Jr." - Sufjan Stevens
5. "Ghost Song" - Patrick Wolf
SIDE B: For Those Who Waltzed On a Confetti-Covered Floor
6. "Do the Whirlwind" - Architecture in Helsinki
7. "Grass" - Animal Collective
8. "The Skin of My Yellow Country Teeth" - Clap Your Hands Say Yeah!
9. "This Boy" - Franz Ferdinand
10. "I'll Believe in Anything" - Wolf Parade
CD RELEASE PARTY
WITH SPECIAL GUESTS
[eftzZ-ei^Yl^M
Happy/Sad New Year, everyone
Drawing by Zoe Alexander
CiTR    Get full show details at:
QI.9FM iinuproductions.com
Offliscorder-Janccmfter VANCOUVER'S #1 NIGHTCLUB
BEST MUSIC - BEST SOUND - BEST DJ'S
Dose
2 LIVE CREW PRKENTEDBV IMMiLA™«
WEDNESDAY, DEC. 14
J SWING - FLIPOUT
Tickets $18 Advance/$20 at Door
Tickets at Noize To Co, Boomtown, DIPT, Beatstreet, Zulu Records, and The Plaza Club box office.
19+ with ID -  Doors at 9 PM
NEW YEAR'S EVE
SATURDAY, DEC. 31
DJ TANNER spinning Top 40 - Hip Hop - R&B - Dance
Tickets $50 Advance/$60 at Door
Tickets at The Plaza Club box office.
19+ with ID -  Doors at 8 PM
Midnight Bubbly!
PARTY FAVOURS!
BALLOON DROP!
WEEKLY E
__^_^_^^^^H_t9tlm
TUESDAY
House - Techno - Trance - Acid - New Releases
DJNOAH
$3 PINTS - $2.50 HIGHBALLS   NO COVER CHARGE
WEDNESDAY
HOLLABACK
THURSDAY
WEEKENDS
Hip Hop - R&B - Reggae
J SWING - FLIPOUT
$4 HEINEKEN - $2HIGHBALLS
Block Rockin9 Beats & Dance Classics
Di CZECH 8c VINYL RITCHIE
$3 PINTS-$2 HIGHBALLS
Top 40 - R&B - Hip Hop - Dance
FRIDAY - J-SWING (THE BEAT) & DI DAVE
SATURDAY-DI TANNER
To get on the weekend VIP/Guest list go to plazaclub.net
Show your Canucks
ticket stub from
any home game
and get in FREE!
Excludes special events
and concerts.
Subject to capacity.
Must be 19+ to get in.
Get on the VIP/Guest list + Event/Party/Fundraiser bookings
604.646.0064  WWW.PLAZACLUB.NET  881 GRANVILLE STREET one w^y   WRe.
TIGKETWMEm^
IN STORES MOW |g      Jg
www.thedarknessrock.do|S?|
THE ULTIMATE DARKNESS
CONCERT EXPERIENCE
TEXT HELL T012321 FOR A CHANCE'
OSlsciMicr—Jancenber *
Tlirough Eirrnpir
Vancouver ex-pats Dandi Wind were kind enough to send us this
collection of random anecdotes from their October tour of England.
You can catch their infamous live show/80s art-spasm on December
14 at Mesa Luna. It's all ages! (unlike this tour diary, which is for mature
readers only).
LIVERPOOL
"The tour was off to a good start—Szam forgot to bring a jacket
and wore the shittiest full-of-holes shoes imaginable. We flew into
London in the morning and had to get to Nottingham by train to
catch a car ride to Liverpool that night. When we got to Nottingham
we were met by Ricky, our "tour manager," who immediately told us
his radiator had blown up the day before and thus we were going to
be losing loads of money on this tour buying train tickets. We also met
"Mossy," this dood who sleeps occasionally on Ricky's floor, who was
recently let out of a mental asylum and is a chronic masturbator. We
could already feel the magic in the air.
When we arrived in Liverpool we had the nice surprise that
Szam's keyboard wouldn't work, and despite traveling 20 hours
that day we wouldn't be able to play our first show. We were totally
bummed out—but Ricky DJ'd for the crowd who actually chanted
"O-AS-IS" and tossed bar glasses at him. After the gig Ricky fooled
about with a girl in an inflatable Lamborghini—we decided not to
mention to him the strange sores all around her mouth.
NOTTINGHAM
All of Ricky's friends in Nottingham kept saying how great the
Liars Club show would be, and it totally was—it was completely sold
out and tons of people knew the words. The audience was going
crazy, it was super sweaty and it felt like we were in a Dead Kennedys
iiisaemiine
SMES&MftRS
Exquisite Handmade Medieval Gowns,
ForGrad, Weddings, Whatever.Corsets.
Accessories. Coot Boots. Guys Threads.
GASTOWN NEW WEST
315 CAMBIE ST.      708 COLUMBIA ST
004.687.1908 604.540.1008
www.venusandmars.biz
video from 1981 or the Devo video for "Come Back Jonie". It even
ended in a stage invasion that knocked out the sound system.
Also a girl got her tooth kicked in during a crazy mosh! In honor of
Nottingham we wore Robin Hood outfits: actually Szam was more of
a medieval knight and Dandi looked a bit like Peter Pan. Mossy did
backing videos of women shitting onto a camera for like 10 minutes.
After the show Ricky smashed a coconut on his head, leaving him
with a gigantic bloody goose egg for the rest of the tour.
BIRMINGHAM
In Birmingham we traveled with Punish The Atom, a fun
Buzzcocks-esque band from Nottingham. The show was fine, nothing
especially memorable but Ricky DJ'd the night to an amazing close
by mixing "Scatman's World" with "Whoomp There It Is". Then on
Punish's tourbus, Ricky attempted the world's first NUDE CROWDSURF
inside a tour bus on the WAY BACK from the gig. He then stuck a
carnation up his arse (see"figure A).
LEEDS
In Leeds we played a disastrous all-day festival that was
practically empty—the only memorable bits was this synth band^
lead singer looked exactly like The Captain [the Vancouver icon)
fronting Human League dressed as a communist! Also, Szam ate pork
scratchings.
MANCHESTER
In Manchester, we played with Theoretical Girt from Essex.
She and Dandi were corralled for about two hours by this wistful
Irish geezer named Jeremiah who only talked in song and kept
demanding topics to sing about. Every song had the same melody
and each sentence ended with the phrase "Don't you know". He
would conclude each song by saying "Have you ever heard a song
like that?!" He was interested (h singing about lockets and fields of
barley BUT we got him to sing about Kate Bush and science. Hilariously
he DESPISES science so the song was all Hke "Scientists are bastards,
they can't cure death-don't trust them."
Weirdly, he didn't even drink alcohol in our presence, just nine
cups of tea. Inevitably he took the mic from Dandi right as we finished
playing and started (get this) freestyting over "Hand to Phone" by
Adult. I wish we had a recording.
Although the Manchester gig was pretty small, rt was a fun night
which included orderingeight pizzas from a "Canadian" pizza parlour
run by Turks. When Dandi and a girl we stayed with were waiting for
pizza these two mean looking drunks bust in the pizza parlour and said
"We're in the mood for SEX," and left. Evidently the area where the
show was held was rather unsavory.
LONDON
We played about six shows in London—we traveled there twice
from Nottingham and Ricky stayed up for four consecutive days both
times. The crowds in London are generally too cool for school but
we had a good time at White Heat and Queens of Noize. Also it was
pretty mental to play at the infamous Fabric dub—it was oversold and
there were apparently 2200 people in the building. The subwoofers
downstairs are so powerful you almost lose control of your bowels.
The first London show was by total fluke with Vancouver's own
Stinkmitt at Club Motherfucker. It was totally crammed but Stinkmitt
showed up so late we frantically had to switch positions on the bfll
and they only got to play two songs. I wish they could've played
longer as they're always a blast to watch. Though Maren did say they
played that same club five times that week(!) [This does not surprise
us in the slightest—ed.]
We also played at the 100 Club, which was once an infamous
punk venue but is now a Granville Street-style blues bar/lounge.
The show was really early (like 6pm) and considering that quite well
attended. Because there was so many bands we only played fflce three
songs, but we did open for Selfish Cunt, who were fucking AMAZING
live, entirely due to Martin Selfish' s absolutely frantic performance.
Dandi's in towel tte literally put Iggy bi his prime to shame. He kicked
over several tables and threw cellphones and pints into the wall.
Totally insane and actually dangerous. This was the best show we saw
in England—most stuff going on rt London is deathly boring at the
moment. Incidentally, when "Arctic Monkeys" put something out in
North America next year you'll see what we mean.
Between shows Dandi did a photoshoot for a magazine called
"Less Common" using clothes from this mental clothing store called
Kokoh Tozai that has the most outrageous streetware imaginable.
Apparently MIA buys her clothes there and the designer is the guy
who did the Bjork swan costume a few years back. They have for
instance, a size XXXL tweety bird sequined poncho for 1500 pounds.
They lent the mag these two amazing hats; one that was about four
feet high and made of exotic Papa New Guinea bird feathers and
another that was a military helmet with beautiful gold quail feathers
throughout and REAL wings attached to the side of the head. Very
PC.
Apart from a lot of traveling,
watching daytime TV and
visiting museums, those were the
highlights. We're going back in
January again to tour for our new
European EP. Our album Concrete
Igloo is out now in North America.
It has 10 videos on it so buy it. And
we're playing our first Vancouver
show in nine months on December
14 @ Mesa Luna (all ages).
www.d ancHwind .com
Figure A: Ricky's bumhole
o
Deccmbiiary - »bcordeKW _?™* Annual Boompa Stocking Stuffer Sale!
Starting December Is* CDs available through the boompaxa
online store will be available from just $5
Also available from Boompa:
Matt Sharp Matt Sharp, The Lueksmiths Naturaliste, Sekiden
Junior Fiction, Billy + the Lost Boys Breaking Down...
New albums available Spring 2005:
Run Chiro Run Slow Action, Sekiden Sound Instincts,
Kevin Kane, The Salteens and more!
Listen to CiTR
101.9 fm
Alfred Hitchcock
totally would.
lflDiscorder K T,ni^«- ivi t^rr*
Best£
Music was pretty weird this year. Not weird, just content to
chug along without making too many waves. As always, here's
a few things that stood out in the world of music from CiTR's
messiest office.
Best reason to not throw out your black-light poster:
Black Mountain- s/t
Put Sister Ray on your 8-track, Tusk on your cassette
deck, and a banged-up copy of Sabbath's seilMPed on your
iaeWbsfale so the recei^Bfeips over and over. Listen to all three
simultaneously. Now: hot-knife two grams of hash. Now you've
got it. The best release out of Vancouver this year, or any year.
What year is it again? I'm soooooooo hungry.
Best proof that International Pop Underground wasn't such
a bad idea after all:
Diskettes- Weeknights at Island View Beach
5 000 000 CiTR DJs can't be wrong. The trio of Emily
Belliveau, David Barclay and Maggie Livingston remind us
of the time when twee was hip, love was lovely, and si»^|p@[^
about it was cuter than two bunnies fucking. Also throwing in a
16 minute long sound-walk piece of the beach to end the disc
somehow just isn't pretentious.
Best reason to see bands outdoors and not have to shit in
the woods:
Terminal City Victory Square Block Party
Gorgeous day, DJ Sipreano spinning psychedeDc platters
that go for $200+ on eBay and a line-up of some of the best
bands this city has to offer. The Pink Mountaintops' encore
of Flipper's "Sex Bomb" was unreal. Too bad the MC was a
fucking goof. On the upside though, the event also proved
that Vancouver could have a public event without stabbings!
Yay! Our city now has the status of coming in|Nrd at d Special
Olympics marathon!
Best example that it is possibleJgflbunge' up a song
without irony:
Paul Anka-8/ack Hol&fi^^
Sorry Seattle. Did you ever see The Jazz Singer. This is how
it's supposed to sound. The bluest fuckin' skies you ever seen...
Best tune to BBQ to:
Rogue Wave- 70:7
The best tune to crank on a sunny day, with a beer in
your hand and a smile on yer mug. It's like Wayne Coyne and
  Bob   Pollard   decided
to stop their hate on,
took E, and jammed
on Rhodes keyboards.
It's impossible to be in
a bad mood when you
hear this song.
Best pick-up line to
use at a Sunn 0)))
show:
"Are your clothes
vibrating, or is it just
me?"
Best box set to pick up if you can't afford the Merzbox:
Bunny Brains- Box the Bunny
It's pretty damn ambitious for a noise band to release a
five CD BOX SET. It's also pretty ambitious to sit down and listen
to the damn thing all the way through. Despite its girth, this is a
pretty entertaining listen. Recommended for the strong.
.«L
"WolF is to "super" as _
_ is to "wolf".
Orange. Sure, this year we were bombarded by:
Wolf Eyes, Wojf Parade, Raised by Wolves, We are Wolves,
Wolfsblood, and The Wolf Note. But for some reason, this year
CiTR was inundated with CDs by: Orange, The Oranges Band,
The Orange Peels, Oranger, The California Oranges, Orange
Park, and a re-issue by Glasgow's finest. Orange Juice.
Best example that Grindcore wasn't just a phase:
Jesu - s/t
At age 17, Justin Broderick proved he was one of the
worlds most insane axe slingers during his tenure with Napalm
Death. He then quit to start Godflesh and single-handedly
create a new genre: Grindcore. Then nothing. For five years.
He returned this year with his two man project Jesu and, in
doing so, released one of the most beautifully feedback-laden,
distorto-drone records since Metal Machine Music.
Best WTF album of the year:
Cleopatra- extraterrestrialmonstrositymultigenremegasuperst
argreatestspectacularshow'tnouterspace
No shit. That's the actual title. There is something so
delightfully terrible about Cleopatra's 'music' that it almost
defies description. In fact, it does defy description. Don't take
my word for it, check it yourself, http://www2.emusic.com/
album/10853/ J 0853129.html
0
David Cto&li&Mlmd no. Luke Isnt always this beaming.
CiTR 104.9 FM presents... the longest running musk battle in Vancouver
©_Wc%
H§H Finals  '2§|
December 6th
Fun 100
The Weather
Winner Semi #3
Every Tuesday night, shows ai 9 PM
The Railway Club (Seymour/iJummuiir)
* Bands subject to change.
For the latest schedules ami results, visit:
http;//www.(str.ca
OUR GREAT SPONSORS:
fSgcisTon
SOUND CORP.
UUMHLUQM
*tC9l**
Decembuary—Discorder 11 lister Kare
i
t
Mr-
By Curtis Woloschuk 1
Upon rendezvousing with Foster Kare's Chad
MacQuarrie at his band's practice space, a CD-R
copy of In Formation Go the Heard is placed into
my hands. MacQuarrie apologizes for the makeshift
nature of the offering. With less than a week to go
before their CD release show, the band still has
some work to do.
"[Drummer Jason] Dana had a vision for how
he wanted the packaging to be and we went for
it," explains MacQuarrie. Seeing that vision through
to reality has proven to be a labour-intensive affair.
Each cardboard-based CD sleeve must be hand-
assembled by a glue stick wielding band member.
Still, MacQuarrie isn't at all put off by the arts and
crafts workload. He suggests, "It's always nice to try
something different."
In many respects, Foster Kare itself is a
testament to MacQuarrie's adaptability. While In
Formation Go the Heard functions as the band's
debut album, it's but the latest product of a music
project that traces its origins back thirteen years
and four time zones. "Karen Foster started in 1992
in Fredericton, New Brunswick," shares the singer/
guitarist during a crash history course. The "sloppier
and more experimental" band eventually headed
to Vancouver and landed a deal with Sudden
Death Records. In the midst of all this, MacQuarrie
established a two-piece improv group called
Assertion. As the drummers for both groups began
to disappear, Foster Kare started to take shape.
Karen Foster was the first to lose their skinsman.
At that point, MacQuarrie recruited bassist Bryan
McCallum for Assertion and established a stronger
songwriting emphasis for that project. When
Assertion's Scott Ritchie departed, Jason Dana
was drafted in as a replacement. His playing style
proved highly reminiscent of Karen Foster's original
drummer; consequently, a name change seemed
in order. However "I didn't want to call it Karen
Foster again," says MacQuarrie. "That would've
made me feel like a dinosaur." And so, with a
reversal/reworking of words, Foster Kare came into
being.
Early in 2005, MacQuarrie, McCallum and Dana
traveled the well-worn trail leading to Vancouver
recording studio The Hive, churning out fifteen songs
in nine days. With the guidance of engineer Jesse
C-ander, the trio focussed on solidifying material
then still in progress. MacQuarrie—the group's
songwriter—jokes, "Once they're recorded, I don't
have to worry about forgetting them."
"The arrangements and vibes of the songs
didn't really change much while we were
recording them," he continues. "Having guests on
some tracks was probably the biggest mutation."
Notable guests included Gander (keyboards),
vocalist Sarah Jane Doer, trumpeter JP Carter and
saxophonist Masa. Despite strong ties to the local
music community, MacQuarrie endeavoured to
keep the invitees to a minimum. "I wanted to keep
the instrumentation fairly simple on this recording
and keep it sounding like a consistent rock trio."
Of course, a serious problem exists with
such an aim. One of Foster Kare's most beguiling
characteristics is their strident unpredictability. The
band trashes the notion of an established musical
approach or "sound" with frenetic abandon. On (n
Formation Go the Heard, blistering "Black Magic of
Zion" and earnest "Best in Show" kick in the doors
and clear a path for "Evil Tidings." Amidst propulsive
rhythms and searing guitar, female harmonies
chime in and a saxophone wails. Next, "Bottles"
boasts rootsy fretwork that's later echoed in the
opening strains of "Synthesize." "Francis Bacon"
finds MacQuarrie wailing "Rock and roll song!" with
the same venomous vigour afforded to the "You're
a fucking idiot!" refrain of bilious "Saltspring." In the
album's most audacious transition, atmospheric
instrumental "Lullaby for Harkit" (augmented by
effects-drenched trumpet) runs headlong into "The
Sage" - an unmitigated hardcore attack.
"I hope that the dfttterrt styles don't deter
listeners," says MacQuarrie. "I fear that the
dPerences will seem irrelevant and irreverent. I'd
like to think that, amongst the differences, there's
a common thread that people can jive on." He
aspires for Foster Kare's eclecticism to mirror that of
Led Zeppelin. "I'm in awe of how they combined so
'$£$ftf deferent styles but remained consistent and
true." It's a fine line to walk. In the case of skilful yetr
erratic Mr. Bungle, he concedes, "I'm sometimes
annoyed by listening to them. [They're] flexing their
musical prowess for the sake of flexing their musical
prowess." Or more succinctly: "Showing off."
The members of Foster Kare are certainly
capable of throwing their musical weight around.
As a rhythm section, McCallum and Dana are
a consistently devastating tandem. Meanwhile,
the dextrous MacQuarrie boasts a university-level
education in jazz guitar. When asked whether Foster
Kare's heavy leanings are a reaction to his formal
training, MacQuarrie refutes the suggestion. "'Jazz'
is a very broad idiom," he declares. "The kind of
jazz that I enjoy is often very 'mathy.' It's helped
me understand and express rhythmic tension more
than most rock that I've studied."
"I've learned a lot from playing jazz and
African music. It's expanded my vocabulary,"
continues the guitarist. "I don't think I quote many
non-rock styles verbatim in Foster Kare but I'm sure
they seep through in less obvious ways." At this point,
every member of the band plays in other projects
(including Hard Drugs, Open Fire and Co-Pilots).
MacQuarrie views the extra-curricular endeavours
as beneficial to Foster Kare's development. "All the
music we make as individuals in and outside of the
band affects our musicality," he states. "That's an
ongoing and beautiful thing."
A characteristic that's been present
throughout the band's various incarnations is
MacQuarrie's social conscience as a songwriter.
"I've always been motivated to write songs with
social themes because they seem real and inclusive
to me," he says. However, MacQuarrie doesn't
see himself as overtly "political." "Sometimes, the
deliberate omission of social themes experienced
by a songwriter seems more political to me," he
counters. In this vein, he cites most pap found on
commercial radio. "It seems like more of an effort to
avoid expressing feelings about one's relationship
with the world in favour of... I don't know... 'Let's
party all night and be beautiful forever' or 'We'll
have fun fun fun 'til your daddy takes the T-Bird
away.'"
"Writing stuff like that would seem really
unnatural to me because my life isn't at all like that,"
offers MacQuarrie. Yet, he concedes, "Sometimes I
outgrow songs and feel foolish playing them. I don't
feel like the same person who wrote it." While some
songs may be embarrassing in retrospect, a track
such as "Faust and Arjuna" holds a unique and
lasting significance for him. Written almost twelve
years ago, it found its way onto the new album.
"That song is currently the most enduring for me."
Even with more than a decade of Foster Kare
history behind him, MacQuarrie still finds many
labours laying in wait. Once the In Formation
packages are assembled, the trio will begin their
attempts to find a label for their band. There's
also the vexing matter of touring. Between the
three members, they possess precisely one driver's
licence and zero motor vehicles.
"All our money is currently going into this CD,"
accepts MacQuarrie. "I guess the next purchase
will be a van." As Foster Kare continues to chart
their course, he philosophizes, "Small paycheques.
Small steps."
0
CiTR volunteer position available:
Apply before January 15
Discorder
needs a new
Art Director
If you wish to apply for the position
please send a coverletter and portfolio to:
Discordered@gmail.com
subject: Art Direcor
or
Discorder — Art Director Search
#233-6138 SUB Blvd.
Vancouver, BCV6T1Z1
or if you are feeling especially tenacious, both.
12Discortier—jancember Art by Zoe Alexander
Classical Music for Indie-ots
by Luke Meat
Louisville, Kentucky begat Will Oldham, the film Half Cocked
and Slint. Slint begat Rodan. Rodan begat June of 44, Retsin, and
Rachel's. Rachel's begat modern classical string aiTangements,
haunting piano melodies, and conceptual audio pieces that would
make Godspeed Youl Black Emperor run for cover. Jason Noble is the
guitarist. Luke Meat likes to talk. Here's what happened.
DiSCORDER: There seems to be certain mysticism about the Kentucky
scene in the early 90's. Did you realize that there was something
special going on?
Jason Noble: It's kinda hard for me to separate myself from all
the music that was being made at the time. I think in Louisville all the
bands had a lot of people collaborating with each other. It was a
very open working community. Three of us (in Rodan) were all living in
the same house and it just seemed natural to start playing together,
we had been in other projects before. We shared the house with a
band called Crane who were a huge influence on us. It had a lot to
do with having a lot of friends who supported and encouraged us.
It's hard to say what intent we had, it was just based on making music
that we loved and there were a lot of bands in Kentucky that I loved,
tike Bastro and SHnt, there was also stuff like King Horse who were
kjpst hard to describe...kinda metal but not really. Also the stuff from
Chicago and DC, y'know. Big Black and Fugazi...Drive Like Jehu. Of
course we were also listening to classical stuff...and Prince [toughs].
I played Rusty (Rodan's only full-length release) for some ot the kids at
the radio station I work at a few days ago, and they went completely
apeshit! Do you think the album stands up 11 years later?
[Laughs] I'm probably the worst person to ask that! I know that
it [Rusty] stands as a fair document of what we were about and I'm
proud that we made that record. Some of fhe stuff on it is us playing
as seriously and dedicated as we possible could. You mentioned
earlier about the time changes being tricky or complicated; wed, we
were just catching it as well. We had to work really hard just to play
those songs.
So how did Rachel's emerge from the ashes of Rodan so to speak?
Weirdly enough. Christian Fredericksen who plays viola fri
Rachel's, and Eve Miller who's our cellist, all three of us lived in
Baltimore prior to Rodan. We started making recordings together
and it never gat any bigger than that, they were in the conservatory
there, and I was going to art school. There was a great studio there
called The Hat Factory which really was an old factory taken over by
this really great engineer named Tony French and he let us work in
there; he actually recorded the first Rodan stuff as well. We recorded
there from '91 to '93, some of which wound up on the first Rachel's
record. I moved back to Louisville and we started sharing some
of those recordings with Rachel Grimes and it just seemed natural
that we should all work together. So in the summer of '94 we started
working pretty full time on what became Handwriting (Rachel's debut
LP), even though we knew we couldn't possibly do it Bve; it seemed a
little out of our reach. We didn't play a proper show until a year later
in July, so it was a pretty stow evolution: April '91 to July'95. There was
a lot of stuff we were learning and Rodan existed through that period.
It was a total learning experience. The idea of strings and the classical
angle was very exciting to me, but at the same time it seemed almost
impossible. I found it very helpful to be working on Rachel's for a few
years before we did anything with ft.
How did you manage to amass the army of guest musicians that
appear on Handwriting? Was it Just phoning up a bunch of friends
and saying 'Hey, do you want to be part of our indie-chamber music
band'?
Yeah! That's really how it came together! It was friends from
multiple cities, people from The Cocktails, and other friends from
Chicago. It was ail about friendship and being able to try something.
There were no big manifestos or anything [toughs].
You mentioned earlier about not being able to putt off onstage what
Rachel's do In the studio. What do we get to see at Richard's?
We became friends with a quartet from New York City named
Invert who we toured with last March and we loved their music.
They're a string quartet but amplified, they write their own material,
and they're just really great people. They offered to be an additional
quartet in our band so that brings us to about ten people in total. So
we get to play some of the string pieces from our earlier records in a
club atmosphere which we had never been able to do before.
Do you consider Rachel's a punk band?
We definitely travel like a punk rock band! [toughs] We're in
two vans, we're not what I would call 'roughing it' but we don't
have 'handlers' or anything like that. We just enjoy having it as a DIY
project. Our record label is incredibly supportive, and they believe
in bands being able to manage themselves and choose their own
path. I think that's the closest thing where we relate to punk rock. We
certainly don't sound very much fike a punk band...
What can you tell our readers about the funniest movie about band
equipment theft Half Cocked? Can you tell us how II all came about
and why no one has properly distributed this wonderful Kentucky
Aim?
Matador put out a proper VHS of Half Cocked but there is no
DVD that I know of. They also did a soundtrack album. But the way
that it was usually shown was on 16mm film in clubs. We would get a
couple bands to play and then show this film. We met the directors
Mike Galinsky and Suki Hawley while on tour with Rodan. Mike played
in Sleepyhead and he did a lot of band photography and filming
and that kinda stuff, and Suki was into filming and art, and the movie
really hatched from us going on tours together. It was really funny. We
were on tour, Mike and Suki sat us down and said, "We wanna make
a movie with you guys fri it, the only hitch is that that you have to be
a really bad band" [toughs]. They wanted us to pretend to be a little
younger than we were, maybe four or five years, and they had this
notion of a road trip movie that was to be very improvised. There was
a script, but the way that it worked is that the script had a description
of a scene but they let us just riff on it. It was really tun. The musical
stuff especially. It's not often that you get direction ttke, "Okay, that
was really good but it's too good. Pretend you don't know how to
play bass. Fuck up more."
Hours before Rachel's Vancouver appearance. Eve Miller broke
her arm in a fall, having to cancel not only the Vancouver show, but
the entire North American tour. No statement has been given from
Touch and Go about when they may resume. We can only hope they
w& be back in the near future.
0
Deeemhuary - Discorderl3 CiTR volunteer position available:
Apply before January 15
Discorder
needs a new
Art Director
If you wish to apply for the position
please send a coverletter and portfolio to:
Discordered@gmail. com
subject: Art Dfrecor
or
Discorder — Art Director Search
#233-6138 SUB Blvd.
Vancouver, BCV6T1Z1
3r if you are feeling especially tenacious, both.
Attention CiTR Alumni:
Your station needs you!
For the first time in its 62 year history, CiTR 101.9 FM radio
is launching a Capital Campaign to raise funds for major
upgrading of its broadcast facilities, equipment, and
web-streaming capabilities. For information on the CiTR
Capital Campaign, or donating to this worthy cause, check
out www.citr.ca/capital.
Help bring CiTR out of the 80s and into 2006!
91 GRANT LAWRENCEsr CBCRRDI05
TULDEClSffiRICflflRDS
MUSIC* ART SAlSmtUJUHG: ACHE R£CDRpS,6O0MPA,
MINT RCCOftW, WHITE WHALE, SC**rcH «ECO*JDS,
i|ffi^LSWPVlONlC, PAPERBITO CtOTHtMCi,
pfVIL MAY WEAR, SIOUAU OOTWING. a/*,dU..rlORE
SPONSORED &y:
cBc#radio3
Discorder >>•
l#i
tier CO I I 1111 3
Holiday Craft Sale @ Western Front
Rich Hope & The Evil Doers, The
Feminists @ The Lamplighter
Paper Lanterns, The Spinoffs, The
Polys, Fun 100 @ Candybar
Seamrippers "medical themed"
fundraiser @ Lick
Parliament of Owls present: Brown
@ Butchershop
Toquefest @ Robson Sq.
Sparrow, Secret Three @ Railway
Blim and Video In presents: Video-
Blim: an X-mas Fundraiser ®
Video In
10
My Chemical Romance, Thrice,
Circa Survive @ PNE Forum
Corsair, The Nons @ The Columbia
The (International) Noise Conspiracy, These Arms are Snakes,
Nightmare of You @ The Drink/
Red Room
The Salteens @ Railway Club
Paint 1 W.I.S.E. Hall
Gocco fabric making workshop
12
The Immortal Lee County Killers,
Rich Hope & His Evil Doers,
Raised by Wolves @ Railway
Club
Dayglo Abortions, Alcoholic White
Trash. The Neo Nasties, The Business Associates @ Asbalt
VenusandMars.biz wesite launch ft.
Sanne Lambert Trio ® Pic Pub
3
31
Happy New Year!
Stinkmitt @ Lotus
Carolyn Mark, Cousin Harley @
W.I.S.E. Hall
The Beladeans, The Furios @
Waldorf
Latin, Caribbean, Old School &
Top 40 New Year's Eve Gala @
Hilton Metrotown
2
CiTR & the Ubyssey present a Steve
Zissou themed beer garden.
SUB.
Echo & The Bunnymen @ Richard's
Spygirl @ Rime
Carole Pope @ The Anza Club
ARKADE, Live Girls, ShEAring PinX,
Pink Noise @ The Asbalt
The Stag Reels, Los Furios, Hot
Breakfast @ The Lamplighter
Richard Thompson @ St.
Andrews Wesley Church
9
Ben Lai and Luke Meat's birthday
presents: They Shoot Horses,
Don't They?, Mohawk Lodge,
Robosexuals, The Openers @
Lamplighter
Hong Kong Blonde, Limb from
Limb @ Asbalt
Carpenter, Art of the State, The Fall
of Summer @ Pub 340
Mint Records Christmas Party: The
Organ, P:ano, Carolyn Mark,
Young & Sexy, Immaculate
Machine, The Buttless Chaps @
The Cambrian Hall
Seamrippers craft fair
10
Canned Hamm Xmas party @
Lamplighter
A Textbook Tragedy, A Thousand
Year Plan, The Murderous @
Pub 340
Mark Gardener, Catlow @ Media
Club
n
30
Killerwhales, Annabelle Lee
Murders @ Candy Bar
Graham Brown & The Prairie Dogs
® Railway Club
1
Masta Ace, Wordsworth @
Richard's
Jorane ® Media Club
Insipid, Koncrete Examles @
Buffalo Club
DJ Premier @ Atlantis
8
Hejira, The Feminists, Go Ghetto
Tiger® Marine Club
Ail-American Rejects @ Croatian
Cultural Centre
Broken Condom Babies @ Railway
Club
15
Skatomatics @ Railway Club
Tarron the Tailor cd release w/
Organ Trail @ Anza
a
O
J
o
1
1
Wm
§
a
1
£
o
§
Oil
2
The Modellos, The Reverberators, Golden Wedding Band @
Railway
The Like, Giant Drag, Catlow @
Richard's
Whitfield, Strada, Retrograde @
Red Room
Nikki Hurst Band @ Buffalo Club
Clutch @ Commodore
Far From SalnfeiSWHnal, Dave
Brunt @ Marine Club
14
Dandi Wind @ Mesa Luna
The Pirates @ Anza Club
The Jimfre Bacal Band, The Jammers @ Marine Club
D
1
0
®
o
O)
1
mmm
?5§
28
Bedouin Soundclash @
Commodore
6
CiTR Presents: Shindig
Finals w/ Fun 100, The
Weather, tba @ Railway
Club
The Southland, West Indian Girt ®
Richard's
Porn on the Cob, AKA @ The Roxy
13
You Say Party! We Say Die!, Cadeaux @ Richard's
Bury Me in Eden @ Tribeca
Allison Crowe @ Norman Rothstein Theatre
o
T5
®
E
Z
1
__
S5i
22
Bedouin Soundclash @
Commodore
5
Fear Factory, Strapping Young
Lad, Soilwork @ Croatian Cultural Centre
Morcheeba, Gabby La La @ Commodore
Hard-Rock Miners Singalong @
Railway Club
Matt Costa ® Richard's
Seamrippers quilting workshop
12
Nina Hagen @ The Alibi Room
Blowfly @ Lamplighter
19
Riders on the Storm @
Commodore
a
0
i
o
1
a>
Si
4
Greely Estates, A Change of Pace,
Agent Sparks @ Mesa Luna
!!! (Chk Chik Chick), 2 Live Crew @
Plaza Club
Drew Emmitt Band @ Richard's
. A LoVipg Spoongul Stripathon @
Odyssey
11
Bob Schneider @ Richard's
Lokjaw @ Media Club
Kanye West @ GM Place
Fleshtones, Dropouts & Hung Jury
® Railway
18
Ultravixen Peepshow @ Railway
Club 2
I
3
CO
15
Please realize that these listings
were compiled just under 2
months ago at this juncture.
Sorry but you should probably
be your own stuff to do now.
Just think 15 days away from a
new Discorder!
8
Happy Birthday Brian Lawrence
McHugh (and Elvis & David
Bowie)
1
Hangovers!!!
Polar Bear Swin @ English Bay
M
B
fr-4
CO
2
Hard Rock Miners Singalong @
Railway Club
£
m
*-*
w
gin
3
p-
18
Slightly Stoopid ® Commodore
INXS @ Queen Elizabeth Theatre
=s
O
26
Porn on the Cob @ Media Club
Coldplay, Fiona Apple @ GM
Place
1—t
<o
ft
fen
>
Q
Q
22
The Aaron Pritchett Band, Erik
Nielson @ The Commodore
Ballroom
Coldplay, Fiona Apple @ GM
Place
m
13
James Brown @ River Rock
Casino
6
Goldfinger, Reel Big Fish, Zebra-
head @ Croation Cultural
Center
28
KT Tunstall® Richard's On Richards
Kronos Quartet @ Chan Center
21
Mongoose, Transylvanian
Polka, The Hunter Cometh, The
R.A.D.I.O., Salmon Arm, Evol
Hearted, The Rain and the
Sidewalk, James Dean IV, Richard Fordham ® Railway Club
D.O.A, Wednesday Night Heroes @
Seylynn Hall
14
The Constantines @ UBC Pit Pub
James Brown @ River Rock
Casino
Plan 9 @ Cafe deux Soleils
D
o
O
§ There is some quality about higher
mathematics that entirely escapes our sense
of reality. The purity of the number exists on a
plane that is seemingly untainted by our human
biases. Fourier analysis can break any complex
tone down to its component pure tones and
simple addition will build it up again to the
original timbre. If the musical and mathematical
groundwork laid by Pythagoras is any inafceiion,
these two forms are inextricafely'IIhked. I carry
with me the belief and concordant jealously
that high-caliber mathematicians must see
pattern and form where mere mortals do not.
Being firmly in the camp of 'mere mortal' when
it comes to calculus, I grew quite excited at the
chance to chat with Dan Snaith, mathematics
PhD, and the man behind the laptop creations
of Caribou.
Fresh off the tour bus from Minneapolis,
Caribou graced this city alongside the Super
Furry Animals on November 24th at Richard's on
Richards. Escaping the noise of soundcheck, I
spoke with Dan Snaith outside Madame Cleo's
(you know the place, or at the very least its
distinctive airbrushed artwork). His sonic stylings
are no stranger to this part of the world, having
breezed in last May with the Junior Boys and the
Russian Futurists for the first round of touring for
his latest full-length The Milk of Human Kindness,
which has been met with an overwhelmingly
positive response. Beginning the millennium as
a self-described "dude with a laptop," Snaith
has turned his live performance into an audiovisual bombardment. While not the first artist
to use two drum kits simultaneously, he has
the rarer honour of making music that actually
deserves the poly-percussive treatment. The
visual component is provided by the Dublin-
based animators Delicious 9, and Caribou's
newest release Merino is a DVD collection of
all of the videos that these creative folk have
spawned for him.
Dan stressed that, as much as this is a
Caribou release, it is also the creative product
of Delicious 9, and he wants their name to
be featured and the visual product to be
appreciated as their interpretation of the music
in a different modality. With r&rt||8$Gonstantly
on music, Snaith is rather removed from the
creation of the videos. "I don't want to wade
in there and be like, 'Yeah it would be cool if
there was like stars in there,' y' know what I
mean? But I do send them the music and then
go over there and hang out with them for a
weekend and talk through their storyboards for
the videos."
While he admits that performing with
the added visual componefiS;* ksomewhat
confining nwsioiatty, it doesn't bother him at
all. "I spend so muchtime on the album taking
care of how each track is arranged, so I don't
want to break them down into fuckin * tree-form
hippy jams on stage. People always ask about
improvisation but I think that a lot of people
don't realize that when you go and see a band
' that's just a fucking rock band they play their
songs exactly the same way every night. I think
people get this impression that everybody is just
like Phish up there going [makes guitar noise],
y' know? We do have some freedom to switch
things around, and as the year has gone along
we've changed the show so that from night to
night we'll change it. It is restricting in that you
can't totally change the way the song's going
on the spot but I think that bands that do that
are quite rare actually."
Having finished his PhD in mathematics
last March, Snaith remains uncertain as to
how exactly he accomplished such a feat at
the same time as he was earning his musical
reputation. Apparently the mathematician and
the musician were interwoven in a threatening
inverse relationship: "It started off mainly
student with some musician and then in the
end musician took over the whole thing. It was
good, doing a PhD was great because there
were no classes to go to; I'd just be scribbling
away in the back of the van and not sleeping
ever. Somehow it all worked out, I don't know
how I managed to do both but I'm really glad
that I did. It would've been very easy to just be
like, fuck this." Flying in the face of a putative
math-music connection, Snaith's musical and
academic lives rarely meet. Neither consciously
informs the other, not even when it comes to
time signatures. "I really enjoy them both, they
are both really obsessive individual pursuits for
me."
Showing some signs of road weariness,
Snaith tells me that he has only been at his
London, UK home—where he's been going to
school for the past four years—for about two
months this entire year. The end of the current
tour in mid-December wfll see his return to
the recording studio. "I don't really have any
specific plans. I never plan things out. I get
asked all the time, because I tour with a band,
will it be a live band record? And that's not
really what I want to do. I like having live sounds
and samples all together. Having said that it
could be a live blues-rock album because I
don't have any plan until I get into the studio,
I just start recording and see what happens. I
never write anything before I start recording
it, I just start recording". When can we expect
a new Caribou release? Upon getting in the
studio, Dan usually offers up new mastered
tapes in nine months. "It's See having a child...
My next album is going to come with a bonus
child."
If the names Manitoba and Caribou are
any indication, this guy remains thoroughly
Canadian, and I'm more than happy to have
him on my team. At the end of the show he
extends a sincere and deep appreciation to
the audience, saying, "You guys are always
way too nice to us". Flying the 'nice Canadian'
flag at fuB mast, may he conquer the world with
kindness, or the milk thereof.
0
Being a stickler for festivity! couldn't let
him escape without filling me in on his favourite
listens for '05. Animal Collective top the list
among other noted releases from Quasimoto,
Four Tet, and Gang Gang Dance. And
with extra emphasis, "The Daft Punk album,
everybody hated it but it's so fucking good,
and I can't wait for ten years from now...[for
everyone to recognize]." Just FYI on the Daft
Punk, Alternative Press claims that Human
After AM is "a hilariously cold and mechanical
work that makes Kraftwerk sound fike Curtis
Mayfleld."
Art by Nicole Ondre
Decembuary—DiscorderM Wwe Mok of Lists
We Lived Through the Year!
By Julie Colero
Back in the hazy days of summer '05,
Vancouver style pioneer Brady Cranfield crashed
his bike white riding home from work. As he flew
through the air, he had the wherewithal! to protect
his beer-filled bag, but forgot to concern himself
with his own personal well-being. Why should you
care about this most treacherous of mishaps?
Because it very nearly meant the end of Cranfield's
illustrious drumming career. In one fell swoop he
cracked his elbows and broke his fans' hearts,
temporarily turning the Secret Three into the Secret
Two-and-a-Half.
Also affected by the splintering of bone was
The Book of Lists, a calculating rock four-piece
fronted by Chris Frey [ex-Radio Berlin, ex-Destroyer],
who depend on Cranfield to keep the beat.
^©HftSiWftevor Larson was so upset that he didn't
leave his mother's basement for three weeks, living
off Campbell's chicken noodle soup and menthol
cigarettes. Bassist Laura Piasta printed up shirrs for
the general public which read "Post rock won't be
the same without yoQjNMMfftfuyl" none of which
were ever worn, as Cranfleld's arms mended
quickly and enabled him to get back behind the
kit.
And so I'm happy to announce that The
Book of Lists is massively back on track. They've
been playing songs from their EP Red Arrows and
new songs they've invented at many a house of ill
repute around town. Most recently they headlined
a show at Richard's on Jfehards with Pride Tiger
and the Anemones, where their beer was drunk by
freeloading journalists and their sound, a fuzzy but
perfectly-planned throwback to bands you might
not know {Felt, anyone?) was enjoyed by many a
party-ready person. Here's what I got out of the
band that night:
DiSCORDER: Let's talk about some highs and lows of
2005 for the Book of Lists.
Trevor Larson: Oh man! Don't get us started! Let's
mention some lows...
Chris Frey: I'D mention some personal lows. I was
doing some social work earlier on in the year and
had my life threatened a number of times, and so
I decided to get out of that practice. In order to
fill the income void that that left in my life, I took
every job I could get a hold of and worked seven
days a week making still no money for the entire
summer. Our practice space got broken into, and
Trevor and Laura's guitars got stolen. More recently
Laura and I almost got killed in a high-speed car
chase. We were riding our bicycles.
How does this al fit together? Someone decided to
chase you because...
Chris Frey: The police were chasing somebody and
1hey happened to be boxing^ the speeding
vehicle right where we were riding our bicycles.
We both got hit by cars. I don't know if we should
even be mentioning that... But let's talk about
some of the good moments.
Laura Piasta: Both of my sisters had babies.
Brady Cranfield: We've got new songs.
Chris Frey: Our first EP came out, and that was
exciting. Basically, we've almost got a new album
ready to record. We're recording in December at
' .;4)p|#re with Josh Wete and Colin Stewart.
Same team as first time around?
Chris Frey: Yeah.
Did you guys ever find your instruments again?
Trevor Larson: No.
Brady Cranfield: We also got evicted from that
space, shortly after we got broken into.
Chris Frey: Add that to the lows.
Trevor Larson: They tried to break in a second time,
but I was there, and I saw the guy, and he jumped
the fence and got away.
Laura,   I've   heard   you   have   the   skateboard
connection.
Trevor Larson: You should see her Nokia commercial,
it's amazing!
Laura Piasta: I don't know if there's much to explain,
but I've skateboarded for a long time.
Are you pro?
Laura Piasta: No.
Is that an aspiration?
Laura Piasta: I don't think I could ever be good
enough to be... But I've entered contests. It's
pretty easy to enter contests.
Chris Frey: She was in Slam City Jam. Didn't you
get, _ke, third place or something? Or was that a
typo?
Laura Piasta: Seventh, the first time. But there was
only like fifteen women in the contest.
Have any of your bands ever played Slam City
Jam?
Chris Frey: No! Nor the Warped Tour. I don't know
what we're doing wrong.
Not even you, Brady?
Brady Cranfield: Are you kidding? Actually, you
know what, somebody approached Video Tokyo,
encouraging us to submit for one of those. Video
Tokyo, being the band that it is, couldn't bother to
pull its shit together to do it. It would have been
funny, 1 suppose....
Chris Frey: I remember Dan Bejar really wanted to
get on the bill, but they turned him down.
Warped tour or SSJ?
Chris   Frey:   Both.   He   was,   like,   sending   out
applications madly.
Brady Cranfield: Because he's so into skateboarding
and skateboard culture.
How was your big UBC beginning-of-school hot
party ballroom show?
Trevor Larson: There was pot there?
Chris Frey: Pop?
Brady Cranfield: It was an all-ages show.
I said HOT. And I'm sure there was alcohol there,
Brady, come on.
Brady Cranfield: There were some pretty young-
looking kids there.
Trevor Larson: We had enough alcohol, that's for
sure!
Chris Frey: It was definitetj?lire strangest show we've
ever played. I don't think anybody had ever
heard of us. People nodded their heads in time
J-tAiln-ihfo music and all that, but I think there was a
lot of confusion becat!l$#MMrtk Iftey wanted The
Weakerthans.
You guys don't do any cover tunes, eh?
Chris Frey: Not yet, but we're thinking about it.
With four very diverse characters, are you going to
be able to pick one song, one band that Is worth
covering?
Chris Frey: It's going to be like a 'Stars on 45' kind
of thing.
Brady Cranfield: A medley. But that's how we design
our songs. Each chord and Hck it a little icon of
pop music references. There's actually very little
originality in the way that we write our music. We
have this graph system that we follow, and it's
alpha-numeric, but usually it works.
Chris Frey: We'll be like, "This part's part of "Walk the
Dinosaur", this part's "Pump up the Volume" by
MARRS, this part's "Tarzan Boy".
Trevor, what's the best thing you've ever ripped
off?
Trevor Larson: Oh, "Kiss me", what's that song?
Laura Piasta: Sixpence None the Richer.
Trevor Larson: You'll notice that the first two chords
of one of our tunes happen to coincide wtth the
first two chords in that song.
Laura    Piasta:    But    it    was    an    accident,
subconscious...
Trevor Larson: No way. I was really trying tp put that
in there.
Laura Piasta: We should do some Freudian analysis
of our songs.
You should pay someone to do that for you. Trevor
and Laura, can you two help me out and explain
T.A.L.A. Band, which you used to play in? The name
Is always mentioned In things, but there's no info.
Did this band actually exist?
Trevor Larson: Oh yeah, we played tons of shows,
like twelve.
Laura Piasta: We played like every week. We
recorded four songs at The Hive, and Trevor and I
were just listening to that the other night.
Trevor Larson: It's good stuff. Trevor Andrew Laura
Andrew, that's what T.A.L.A. [of the T.A.L.A. Band]
stands for, and we played redjIjpS&st music.
Brady Cranfield: Dance punk music, right?
Trevor Larson: I don't think so.
Laura Piasta: Accidental dance punk, maybe.
Brady Cranfiefe^lWey became the art party band.
Trevor Larson: We used to have this fog tent that
we'd set up with PVC sheeting.
Brady Cranfield: It was a hot-box tent.
Trevor Larson: No no no...We put a smoke machine
and a strobe light inside it, and during our first
song the lead singer would cut open the tent and
smoke would spill out over the crowd. Of course
i,'V-iwm vwwjust all over the place. It was not really a
tight band at all.
So where's the Book of Lists' gimmick?
Brady Cranfield: Trevor is our gimmick.
Laura Piasta: [T.A.L.A. Band] was party-oriented.
Trevor Larson: But it made people too uptight to
party. Too uptight!
Brady Cranfield: We're the inverse. Reverse.
Do people party when you play?
Brady Cranfield: We don't notice, because we're
too uptight.
So you're always Just looking at the wall at the back
of the room?
Laura Piasta: We're looking into our inner mind's
eye.
Brady Cranfield: It's not intentional, we're just soul-
searching.
Chris Frey: People seem to pay attention at least.
I'm not sure if there are enough people who know
our songs enough to really loosen up around them.
They're probably still frying to digest the first songs
we've written. We're only about a year old.
Brady Cranfield: But in ali sincerity, we're a very
new band still, and we haven't played a whole
lot, because we've all been busy with school and
other obligations. Once the new year begins, I
think all that will change and we'll play around
more than we have in the past and everybody will
be happier.
0
2©i§coriierHaneember
Julia Monks Photos One of my most vivid recollections of a Mr.
Plow show happened at The Railway Club. The
place wasn't particularly busy that night, though
there was still an audience watching the show,
including a table of well dressed older ladies
who obviously didn't know what they were in for.
The look of horror on those women's faces as Mr.
Plow belted out one dirty song after another was
priceless. Halfway through one particularly filthy
song about incest, they couldn't take it anymore
and all headed straight towards the exit, shaking,
their hands disapprovingly at the stage during the
process.
That was four years ago, and I' m now back at
The Railway Club face to face with Mr. Plow.
DiSCORDER: You didn't start out being a solo
performer. You had quite the history.
Mr. Plow: I started off as a band whore
actually. Played in seven different bands starting
back in '94 with The Hairy Areolas, and we were just
a basement band, never did anything. We made
a demo tape and that was as far as we got. Never
even once played a show. As The Hairy Areolas
started falling apart, I joined this other band called
Offday, with two of the guys from Insipids, that
band actually started to go, we started playing
shows - the first time I started playing shows was
with them at The Niagara. I was playing drums in
these two bands at the time, and I joined another
band called The Chick Magnets, which featured
another Insipid, so it was a very incestuous circle we
had back then. Although in Vancouver nowadays
that's all there is too, it's the most incestuous music
scene besides Victoria, you know. Victoria is pretty
nasty for incestuous bands. Anyways, Offday broke
up, because the singer/guitar player moved to
Winnipeg. Shortly after that The Hairy Areolas got
back together, but we were known as Dwayne
Dibley and His Magical Hairy Areolas - just for the
circus sake of the name. When that band reformed
we got ourselves a new drummer, and I became
the lead guitar player/lead singer of the band.
And then we had to throw the bass player out two
weeks before our first show, because he couldn't
learn anything, even the one song that was in the
key of A. All he had to play was the A note on his
bass for a minute and a half but he couldn't do it.
So I took over the bass duties and played all the
lead guitar riffs that were written for our songs on the
bass instead. The Mr. Plow thing was the alter ego
of Dwayne Dibley, because everyone assumed my
name was Dwayne Dibley. I just played all these
fast hardcore punk songs from the band slowed
down on acoustic, so everyone could actually
understand what was being said. It sort of took off
from there. I played in a couple other bands for a
while, but I decided to go cold turkey, just focused
on the Mr. Plow thing from that point on, three CDs
later I'm sitting here at the Railway Club.
And your last CD is entitled Mad
Plow Disease. Tell me about it.
It   was   the   longest   ever
«g*F recording I've had to sit through,
because it took place not only
W in   Vancouver,   but   in   Salem,
Oregon, and also Santa Monica,
California.  It took two  months
to get everything done. I have
somehow enlisted great players
like Norwood Fisher from Fishbone
playing bass on five tracks. Rocky
George, who was the one-time
lead   guitar  player  of  Suicidal
Tendencies, who is now the lead guitar player
of Fishbone, he appears on three tracks. Gene
Hogland, the almighty death metal drummer from
Strapping Young Lads, appears on nine tracks. And
then a couple of Doers appear on the album, Joel
from Joel and the Last of the Neighbours appears
on the record. Two of the Joint Chiefs appear on it.
Devon, the drummer from Cadeaux appears on
it. And Al, the drummer from The WPP, plays guitar
That's a lot of people. Did you have to ask?
Norwood I asked. I begged and pleaded
with Gene. Rocky volunteered when I was down
at Norwood's house doing the bass tracks. He
was actually acting as somewhat the engineer
for the session, and he liked what he heard. And
to everybody else I just said, "Hey, do you want
to come sing backups" or "Do you want to do
this?" Everyone just jumped at the chance, which
was awesome. And Chris-a-riffic plays on it too, I
almost forgot.
One of the most distinctive features of your songs
is the lyrics. They're not based on real life stories
now are they?
I'fjust tell you and the people the same thing
I tell everybody else, which is that each song holds
about sixty percent of truth serum.
When do you write your songs?
They mostly just come at the oddest
moments. Like track number two on the CD, which
is entitled "Are You Really a Guy?" is about a blind
date from hell.
That happened to you?!
It is a true story, but it's not about me. And
the story popped in my head as I was driving from
California to Tempe, Arizona the spring of last year.
I just wanted to get to my next show and not stop
and write all these lyrics down, so I kept reciting
the lines over and over again. As soon as I got to
the bar in Tempe, besides asking for the bathroom
I asked for a pen and paper. The song was fully
completely by the time I was in New York in late
spring. As for other songs, I worked at The Cobalt
for a year and a half as the door guy; you meet
a lot of interesting people, and you see a lot of
interesting things going on. I can point people out
to you and say that's track number seven, this is
track1 number twelve, that's track three...
Do you choose to base your songs on stories that
have more of a shock value?
I write a lot of songs, at least once a week
I have some sort of new song in progress. There
were about 25 songs recorded for this CD, and
only 18 songs made the cut. I follow The Simpsons'
theory, which is if the joke doesn't make you laugh
hy Ben LaL
thirteen times, they aren't going to use it. Thai's.
kind of what the game plan I used for the CD is. I
have the rough demo, and I just kept listening to all
these songs over and over again. If I didn't find the
song funny the fifteenth time I listened to it over a
span of two weeks or whatever, then there is less of
a chance that the song will make the cut.
Do you ask for input from others? To see if they
laugh?
Some people I'll go, "Hey, read this." Or I'll
sing the first verse to somebody, and they'll be,
"Dude, that's hilarious," or, "Dude, what the fuck
were you thinking?" If I get one of those two quotes
from people then I know i'm on the right track. The
main thing is, especially going to a punk rock show,
you see a guy getting up with a guitar, you don't
know what the fuck. Everyone's first assumption
is that the guy is a hippie. So I sing the songs that
hippies don't touch. And that's what gets the
people's attention.
What do your parents have to say about your dirty
ipng-?
Ma and Pa Plow as I like to call them, they've
seen me play here at The Railway a few years ago,
and just a while ago at a show at The Fairview. I
ended up catching my mother, Ma Plow, singing
along to the Crackhead Momma song. My parents
are behind it a hundred percent, they think it's
absolutely hysterical. I go out and sing these dirty
songs, people pay money to witness it, and I'm
somehow able to make a living off this. They are just
as baffled as I am that I'm able to do this [Laughs].
http://www.beenplowed.com/
B
Drawing by Marielle Kho
WAY OUT WEDNESDAYS
NC1M
Rumble-Line: 878-GoGo
@ THE RAILWAY CLUB
new
MARINE CLUB
DEC?
YEAR'S EVE
THURS DEC 8
THE MODELOS1 THE REVERBERATORS
at THE
HEJIRA
GOLDEN WEDDING BAND
THE FEMINISTS
DEC 14
WALDORF
GO GHETTO TIGER
ANGER, POWER, FURY & THE FILTH
FRI DEC 9
E.S.L
JOHNNY WAKEHAM
TRECHEROUS MACHETE • THE POCKETS
LOS FURIOS
DEC 21
THE BELADEANS
MIKE CLARK
D.O.A. • JOEY SHITHEAD • THE JOLTS
plus
FRI DEC 16
OCTOBERMAN
DEC 28
'surprise'
SHAPES & SIZES
THE IDIOTS • COLLAPSING OPPOSITES
guests
SOLARISTS
BIRDS OF WALES
FRI DEC 23
PAT'S PUB         ROMANCE*
VANCOUGAR
GHOST HOUSE
SKORT
DEC 16      THEY SHOOT HOR!
SES, DON'T THEY?
CO-PILOTS
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CAROLYN MARK
THE BUTTLESS CHAPS
CHRIS MASTHEIM & THE I COME OH
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OUT FEBRUARY 21
wvw  w» 804-687-6355
22Di§€order—Jancenber ^V 74**
Ironically, Dave Allen and I are talking
grandly about the future of technology in music
when a mysterious crackling comes over the
phone, which neither of us seems capable of
fixing or figuring out. On the state of the industry,
he says, "Everything's changing"; after being
established in it for twenty-six years, and finally
reunited with the original Gang of Four line-up,
he's in a very good position to judge.
Here are the Spark Notes: after answering an
advertisement for "bass player wanted" in 1977
Leeds, Allen hooked up with Andy Gill, Jon King,
and Hugo Burnham, and the quartet established
the landmark post-punk band Gang of Four. Their
seminal 1979 album, Entertainment!, is one of
the crucial documents of the era, capturing a
groundbreaking band attheirhungriest.Therecord
is striking for its angular, much-counterfeited guitar
sound, and Allen's dub-reggae influenced bass.
Entertainment! perfected the aesthetic today's
post-punk revivalists are seeking to duplicate,
a fresh hybrid of punk rock youthfulness and a
dose of danceability. Since the first time he left
the band twenty-four years ago, Allen has played
in Shriekback (a band that strangely sold more
records than Gang of Four) and started a web
design company, Pampelmoose.
So why is it that when I told my friends, "I'm
interviewing Gang of Four," they all said, "That's
great! Er, who are they?" Well, it could have
something to do with the fact that Allen parted
ways with the band after their sophomore album,
1981 's Solid Gold, and none of the later material
approached the envelope the first two albums
pushed. But, says Allen, "it was something wrong
before I left," a combination of over-touring,
ineffective management, and lack of guidance.
Although Allen doesn't buy the comparisons,
the popularity of modern rock bands such as
Franz Ferdinand and Bloc Party has marked a
post-punk revival largely informed by Gang of
Four's sound. Rather than lamenting the theft of
his style, Allen believes that "the opportunity that
created reminded us, if not other people, about
the band's legacy." Driven by this renewed
interest, the original lineup reformed and have
made a full return after nearly a quarter century
apart.
They've already toured all over the world
and released Return the Gift, an album of rerecorded songs from their earlier work. Return the
Gift effectively liberates them from the bum-deal
they first signed with EMI three decades ago that
left the masters in the hands of the company,
a catch typical of the era. But now, says Allen,
"Gang of Four owns the masters. We're in control
of our destiny, finally, after all of these years."
So where does the band want to go?
Though many cringe at the thought of their
favourite reunited bands making music after
years apart (the Pixies, anyone?), Allen feels that
Gang of Four is still capable of making music
that explores new frontiers. "The hard part would
be Jon and Andy, because they were the two
lyrical components, for them to sit and say, 'What
the hell? Where do we start?'" Though he kicks
around a few ideas, including current events
such as the disaster in New Orleans, Allen admits
that, after all of the changes he's experienced
(he's been married for seventeen years, and is a
father of teenagers), "I'm not sure what we want
to talk about these days."
Ever since Entertainment!, the provocative
content of Gang of Four's lyrics has garnered
the members misleading reputations as radicals,
Marxists, and socialists. The fact that they named
themselves after a group of Chinese communists
didn't help, though Allen doesn't feel his band
ever specifically brought those ideas into play.
"Gang of Four was always stateless... we left it
wide open to interpretation," he says. Fans of
the band still recall one famous instance when
Gang of Four walked off of a much-coveted
spot on the BBC show "Top of the Pops" because
the producers asked them to censor the word
"rubbers" from "At Home He's a Tourist." Many
regard this as a turning point in the band's career,
and the moment when mainstream commercial
success eluded them for good. "We're an odd
beast, aren't we?" Allen says, laughing.
The thing that sets Gang of Four apart from
the plethora of late-'70s punks was a personal
touch that no other band approached. As Allen
describes, the band wasn't so much political as
sociological in nature. They talked about the
personal choices involved in society, the decision
to either rebel or turn the other cheek. "Nobody
[since] has managed to encapsulate in a song
those kind of issues," he says. "We're a kind of
island in a sea of mediocrity, really. And I say that
with pride."
But the United States is one issue he feels
Gang of Four is incapable of avoiding these
days. With "America being hell-bent on global
hegemony," the subject, he believes, aligns
with the band's universal approach. One reason
he feels the reunion has been such a success is
that the lyrics are "equally important and just as
relevant as they were back then, because not
much has changed."
Whether or not this means Gang of Four wil
be as controversial today as they were during their
first incarnation is irrelevant; Allen, an outspoken
enemy of nostalgia, isn't expectftig to recapture
by Mike LaPointe
anything except the power of the band's live
show. "None of us are looking back with our rose-
coloured glasses on, trying to re-create what we
were back then... we're not those people." On
whether or not he'd play "Top of the Pops" now,
he says, "Yeah. If they tried to censor us again,
then we'd walk off again. It doesn't matter. Our
principles have not changed."
Though that statement may be true, the
question remains as to what exactly Gang of
Four is fighting against these days, if anything. On
one hand, Allen seems dissatisfied with a culture
that sends messages such as, "you must join the
iPod generation," but on the other, his company,
Pampelmoose, lists Nike as one of their clients.
While he's proud of how the band took back the
masters from the behemoth EMI, Gang of Four
"do play ClearChannel venues." After observing
how Pearl Jam fared against Ticketmaster in the
'90s, Allen explains that he's not interested "in
fighting a battle on that scale."
Perhaps these questions are immaterial for
the Gang of Four of today. Alien says he enjoys
the fact that modern audiences may be "just
having a good time because we're a really
good, loud rock band," and not buying into the
band's politics. However, the ambiguity of Gang
of Four's political maturation casts a shadow over
where they can safely go in the future. Only time
will tell.
But speculating about the future of Gang of
Four isn't a particularly interesting topic to Dave
Allen. His attitude is simply, "what will be will be,"
and the past, inevitably, isn't that important. "I
live for the moment every day, moving forward,"
he says. "There's no point looking back."
0
Mark Hall-Patch Illustration
Itenitiarf—Iisc#ri1ei23 With the success of their self-deprecatory
album God Loves Ugly and its self-destructive follow-
up, the celebrated travelogue Seven's Travels,
Atmosphere have solidly stationed themselves as
a favorite among hip-hop heads and hipsters alike.
The release of this year's You Can't Imagine How
Much Fun We're Having marks a change in tone
for Atmosphere's two insectile members, Slug and
Ant, [Ed: slugs belong to the phylum Mollusca]
as they take time to pay a little homage to their
predecessors and reflect on the past few years that
have launched them to the fore of independent
underground rap.
The Midwestern United States have been
receiving ample attention over the past few
years with the successes of Chicago's Kanye
West, Common, Twista, and of course, Detroit's
Eminem. Though Atmosphere are a far cry from the
mainstream tangle, Slug sees important parallels
with rappers like Kanye whose everyman appeal
is changing how hip-hop is accepted by the
mainstream audience.
Whether Kanye will have a lasting impact on
the evolution of rap remains to be seen, but the
implications of his success are of particular interest
to Slug. "Kanye's been rapping out of Chicago for
10 years, I've known who that dude is for a long
time and now he's finally popping", he pointed out,
"but what's impressive to me is that the mainstream
audience is okay with it, they are embracing the
everyman."
Atmosphere's latest album marks a new
level of comfort and acceptance for Slug, now
33, in regards to both his voice and position as an
artist and everyman. This was readily apparent
in his eagerness to share with me his opinions on
revolution, renaissance, rap paternalism and
everything in between during our 28-minute
phone interview that ran 13 minutes longer than
scheduled. In terms of career placement. Slug
couldn't be in a better position.
"I think that, essentially, so much time is spent
trying to obtain your own voice and. trying to be
something new or something fresh that a lot of
times it's easy to totally displace or hide where
your influences come from," he explained, "I think
there was a little less pressure on us to try to stand
out of the crowd and that resulted in us being a
lot more relaxed and open to showing where
our roots are." Yet despite the shedding of these
identity insecurities. Slug still finds himself being
misinterpreted.
"First of all, everybody thinks that I must be
sad and brooding and upset all the time, but they
meet me and they're usually surprised at how
optimistic and positive and rational I am, and
how comfortable I am with myself," he continued,
"I'm just this dude that's excited, scared, nervous,
arrogant, pessimistic, optimistic, pretentious and
humble about my place in the world." Slug's
hallmark mix of modesty and confidence has
been expressed better. His forthrightness
has plunged him into an ironic imbroglio as fans
interpret the title You Can't Imagine How Much Fun
We're Having as sarcastic.
"I didn't mean the title to be ironic
whatsoever," Slug told me, though the album's
cover photo seems to hint otherwise; "I guess the
irony in it is that I didn't mean irony whatsoever." If
Slug is being honest in saying that we can't imagine
how much fun he's having, he certainly chose an
odd album to try and prove it.
"This record is a celebration of the part of life
that everybody is sad about," he disclos^fe^HH^
sadness in my life is important to me because it
is what inspires and creates and makes things
happen so I can have positive, productive things
go on." So far productivity has not yet been an
issue for Atmosphere. But rap is a fickle mistress and
Slug is well aware that tired acts disappear, as his
tour-mate Blueprint quipped, "like Bobby Fischer".
"The bottom line is that I've learned so much
behind the scenes that has nothing do to with
artistry that I do intend to be up in this for the rest
of my life," he asserted, "whether that be driving
the van for Eyedea, or on the phone for the office
trying to sell Brother Ali CDs or whether that be me
up on stage jumping up and down like a fucking
clown, I don't care." As in any other genre, rap
commands dedication. But perhaps more than
any other genre, rap requires confidence. For
the most part, rappers are only successfully self-
conscious when they are being funny. Yet Slug has
managed to find a balance between bravado
and braininess without having to act a part.
"I guess I never got to mention it," he told me,
"but I feel blessed that I don't have to change my
voice the minute I start talking about rap music. I
get to be who I am, and I am happy about that
because I don't know that hip-hop has left a lot
of room for that in the last 20 years." Slug forecasts
that this pattern, common through much of
independent hip-hop, will seep into the circles of
mainstream rap as well. "I do think 5 years from
now you are going to see people that didn't have
to get their street credibility, nor their intelligence
credibility, nor their hustler credibility, nor their nerd
credibility—all they will have to have is their human
credibility." Slug, in is own way, has earned bits of
each.
You Can't Imagine still has all the elements
you would expect from an Atmosphere album:
Slug raps about girls, he raps about himself, he raps
about the world and he raps about rap. Though
this time around it's a little more serious.
"I've already thanked Chuck [D], but
someday I'm going to thank Kris [KRS-One] and
I'm going to thank Grand Puba. As a 33 year old
who is grounded and rational and blessed to be
surrounded with good people and blessed to be
as successful as I am, if I don't pay that back, I'm
a bitch," he emphasized. "I think that that anxiety
weighs a lot more on me than the success."
Phieu Tran Illustration
SONIC UNYON DISTRIBUTION   www.sonicunyon.co
2<_)i§€order--Jancember New Indie Roots, Punk, 'n poi?
at Zulu records
Wt^
SLOWDRAS
Slowdrag
I Slow-Fidelity
If you like the
Be Good Tanyas,
Gillian Welch and
the Carter Family,
you'll love Slowdrag.
The Vancouver trio
recreates the powerful
harmonies of a bygone
era on this gorgeous
collection of dusty old-
tyme tunes.
If you happen to like
rock n' roll and are
inspired by the rebellion
of punk rock past and
present, if you like to
dance and jump, have a
broken heart or one on
the mend, listen to Ash
Riot
Ash Riot
i This Time I'll Foriye you.. Again
["This talented Rockabilly
■Revival/Country Rock
■outfit is almost as bad-ass
las the black-clad man for
■whom they're named-
I The soulful singer belts it
I out like he's been in prison
J for twenty years and busted
I out to taste his first bite
of fried chicken in two
decades." - Rolling Stone
Bastard Sons of Johnny Cash1
Mile Markers
j Produced by Veda
Hille. Hille's
lovely-but-off-beat
I arrangements are the
j perfect match for the
I songs of this Canadian
I roots music pioneer.
"4   ■
Oi*\_-
Combining»_rums, tubal
guitars and electronics,
D&T takes its wildly
diverse musical
backgrounds and
creates a sound that is
entirely its own—full
I of catchy, groove-based
^" songs.
Bob Bossin
The Roses on Annie's Table
Drums & Tuba
Battles Ole
If you hadn't heard of
this innovative Montreal
artist before she joined
The ^aftf Jennys,
check out this EP. Six
great songs with stripped
down arrangements
that draw from Eastern
European folk, bluegrass, .
country, old school music j
hall and vaudeville.
Annabelle Chvostek
Burned My Ass
Romi Mayes puts the
ASS in bluegrass with
this hot sounding,
live off the floor
roots/country album.
Nominated for the
Western Canadian
Music Award for
Outstanding Roots
Recording.
Romi Mayes
AND THE TEMPORARILY EMPLOYED
The Living Room Sessions: Vol 1
Think of'the
unpredictable whoops and]
sighs of Mary Margaret
O'Hara, Laura Nyro and
Tanya Donnelly; the rich
lyrical imagery of Jane
Siberry or Laura Nyro; and1
the confessional nakedness
of Ani DiFranco and
Carole King."
-the Westender
Sarah Wheeler
Black helicopters
* A sneak peak at the
artist some have
compared to a
young Joni Mitchell.
Performing with
nothi ng but guitar and
golden voice, "she
can floor you with her
1 loveliness." - Now
Harmony Trowbridge
Amoraphobe
Check out these titles in the listening post at Zulu
all through December
1
1972 West 4th Avenue
www.zulurecords.com
604.738.3232
DISTRIBUTION, INC. inder Review
The Beta Band
The Besf of the Beta Band:
Music
(Astralwerks)
It was a shock to many that
the Beta Band, after eight years
of puzzling ears and confounding
expectations, broke up this year
after their fourth album, Heroes
to Zeroes, proving once and for
all that not even hype from the
NME can sell that many records.
Reasons for the demise ranged
from the coherent ("little return
in terms of commercial success
inevitably takes its toll") to the
typically vague ("the Beta Band
apple has over-ripened and
become riddled with maggots,
it must fall from the tree and let
its seeds return to the ground.")
Coupled with the fact that
Heroes to Zeroes, despite its
critical failings, was their most
popular album, the true reason
for their breakdown remains
ambiguous.
Enter post-mortem best of
collection: The Best of the Beta
Band combines efforts from the
band's catalogue (and also
blends all four album covers
into one monstrous, exploding,
logo-riddled gloom-scape). It
courageously takes on what
seems like an impossible task: to
cull sixteen tracks from a career
that covered lo-fi indie rock,
trip hop, and an indescribable
kaleidoscope of country and
dub reggae, while maintaining
the cohesiveness that these
retrospectives require.
Just on the overwhelming
strength of the songs themselves,
the album succeeds. By
supplying the listener with the
bulk of their greatest work
(check "Dry the Rain," "She's the
One," "It's Not Too Beautiful,"
among many others) the record
offers a crash-course in a band
that most people are criminally
uneducated in.
But The Best of the Beta
Band: Music predictably suffers
where most compilations do.
By not giving the listener the
context within which the songs
originally appeared, the daring
experimentalism that made
the Beta Band such an exciting
and important band is lost. The
whole package gives you the
strange feeling of reading some
incomplete novel. Though the
music is undeniably consistent, it
all hints at a master plan that fell
tragically short.
On its own, The Best of the
Beta Band:Musicisarollercoaster
of sounds, and for the impatient
listener, it'll probably give you
2©iicirtff—Jancember
the idea. But as a whole, it isn't
the Beta Band that I knew,
and it just doesn't seem like an
appropriate last gasp for these
star-crossed pioneers.
Mike LaPointe
Francoiz Breut
Une Saison Volee
(Olympic Disc)
It's always difficult waiting
for one of your favorite artists to
release new material, especially
when it's been five years. Une
Saison Voile, Francoiz Breut's
newest and third release was
worth the wait. Francoiz has
come a long way from singing
back-up vocals for French alt.
pop star Dominique Ane. Her
self titled debut Francoiz Breut
(1997) and her second release
Vingt a Trente Mille Jours (2000)
showed a steady maturation
in her music, as she established
her own identity apart from
Ane. Picking up on the French
vocal (chanson) tradition
established by Edith Piaf, Serge
Gainsbourg and Francoise
Hardy and combining it with
multiple musical references
embellished with a Tom Waits-
like quirkiness, she has quickly
defined her own identifiable
sound. Francoiz's singing has a
straight forward authenticity that
carefully balances a degree
of vulnerability and complete
self-assuredness. "Overall" is the
stand out track. Sung in English
with the help of Calexico's Joey
Burns (Calexico had previously
covered Breut's "Si Tu Disais" on
the Convict Pool release) this
powerful duet is spine chilling
and reminiscent of Excene
Czervenka and John Doe of
X and Knitters fame. Sung in
Italian, "Ultimo" displays a
cinemagraphic flare that recalls
Morricone. Bit it's when Francoiz
sings in her native French the
full range of her vocal repetoire
unfolds. "La Vie Devant So/" is a
delightfully breezy Latin-tinged
nurriber. In a more traditional
Piaf inspired vein "Le Premier
Bonheur" mournfully drifts
with heavy film noir intensity.
To highlight these few tracks,
though, does a disservice to the
remaining songs, all of which
are excellent. Francoiz Breut is
a master of beautifully crafted
musical narratives, effortlessly
referencing multiple styles but
unmistakably unique.
pes
Christopher Bissonnette
Periphery
(Kranky)
I met Bissonnette at the
Mutek festival in Montreal a
couple of years back. He was
performing as one of numerous
members of the media
collective Thinkbox, who had
recently released Guitar, a group
meditation on the instrument via
manipulation of pre-recorded
audio. Thinkbox, who boast
members from both Windsor and
Detroit, is everything NAFTA isn't;
an easy and fair playground
exchange without the sandbox
bully. Watching Thinkbox live was
like a summit meeting between
audio academics exchanging
ideas via their numerous sonic
sound tools.
On his Kranky debut
Bissonnette is taking his Thinkbox
philosophy of live electronic
experimentation to work by
recording and mixing Periphery
live using randomized audio-
patches.
Sweating the little things.
Periphery is an album of subtleties
and ambience. Bissonnette's
process of making his immersive
sound is carried out via extensive
sample manipulation of piano
and orchestral work, resulting
in textures unrecognizable from
their source. The soothing sound
of static-like audio provides a
base to much of the work on
Periphery, inspiring the listener
to turn the volume high to fully
appreciate all the sound that
can heard between the audio
snowflakes. Like all good ambient
music Bissonnette's pieces draws
the listener in by their emotive
powers; making the ears attuned
to each tonal variation.
Periphery isn't going to
put much money in Kranky or
Bissonnette's bank accounts.
It probably won't even make
that many reviewers' top 10
lists either. This isn't that kind of
record. Periphery is just that,
an album that focuses on the
sounds not normally listened to.
What Periphery will do if you give
it the chance is expose those
who don't know the realms of
modern ambient music to a
world where less is more. Who
knows, the manipulated pop of
static on microphone might just
be the hook you were looking
for.
Robert Robot
Luke Doucet
Broken (and other rogue
states)
(Six Shooter Records)
Luke Doucet, former front
man of the band Veal, has
gone   solo.   Does   this   entitle
him to take himself very, very
seriously? Apparently so,
because he's put out thirteen
tracks of morosely weird, self-
impressed, over-produced shit.
The whole enterprise is wretched
with shallow cliche, incongruent
artistry, and self-conscious,
broken-hearted egotism. Don't
believe me? Check out the blog
on his website for daily updates
on what he thinks of himself
(www.lukedoucet.com). Here's
one song title as an example of
what I'm talking about: "If I drop
names of exotic towns that you'll
never see, in the songs that I
write, it's that that's all I have
when I miss my girl and you're
taking yours home tonight". You
fucking wish I made that one
up.
This is the kind of thing
makes me ashamed to be
Canadian. Nobody told this guy,
when he needed to be told,
that he can't sing, that he writes
boring songs, and that he is not
Johnny Cash. Now he thinks he's
fucking Nick Drake on Jim Beam
and is already halfway to the
Junos. Thanks a lot, Ontario Arts
Council. I want my tax dollars
back.
Jon Fleming
The Knitters
The Modern Sounds of the
Knitters
(Zoe Records)
What is it about California
punk that leads to such great
country music? I don't know,
but this album is my new favorite
example of this phenomenon.
Beginning in the mid 80s as a side
project of X, The Knitters (made
up of Exene, Doe, Bonebrake,
rockabilly revivalist/label mates
Dave Alvin and Johnny Ray
Bartel) released "Poor little Critter
on the Road" in 1985. The Modern
Sounds ... is their first record
since, a beautiful amalgamation
of LA punk, 50s rock and roll, and
traditional American music. It will
satisfy punk fans, X fans, country
fans, whatever. Every member
in this group is energized,
complimented, and contrasted
by the other. The classic binary of
tension and adoration between
Exene and John Doe is still fresh
and evolving here: their voices
are full and brash and seem
to know exactly how to come
together in perfect meetings
of harmony and discord, just as
they write songs. Dave Alvin is
a superb guitarist: sHghtty similar
to Billy Zoom but with more of a
penchant for discreet soloing,
with lots of rattling moments of
twanging honky tonk, andsurf-ltke
reverb. The drums are sometimes
rocking and sometimes
whispering; the upright bass is
rich and percussive. Everything is
perfectly balanced: sincere and
simple, fervent and humble.
The songs are a pleasing
mixed bag of originals, X classics,
and select covers of country
and traditional material. The
re-recordings of "in this house
that I call home" and "burning
house of love" are outstandingly
good. John Doe's "Try Anymore
(Why Don't We Even)" evokes
perfectly the spirit of a song like
"When Our Love Passed Out
on the Couch," but in a slower,
waltzing shuffle. Alvin' s" Dry River"
is a telling analogy of heartbreak
in the context of the LA that
existed before the prevalence
of scripts and silicone. The
traditional material present on
this album is very strong, from
the lovely "Give Me My Flowers
While I'm Living" to the strange
beauty of the ballad "Little
Margaret". The country and
bluegrass covers are reverently
astute, from Bill Anderson's
"I'll go down swinging" to the
overwhelming, almost violent
loneliness of Albert E. Brumley's
"Rank stranger." Lastly, there is
a tribute to Steppenwolf's "born
to be wild" which, though odd,
still rocks.
Jon Fleming
Propaghandi
Potemkin City Limits
G7 Welcoming Committee
(Canada)
Propaghandi has served
up another soundtrack for your
rebellion. Sticking to their tried
and true progressive-thrash-
meets-progressive-activism
formula, the Winnipeg trio's
latest offering won't surprise you
so much as renew your vigour
for making the world a better
place (if you're down with their
politics). For Propaghandi, that
better place would be a world
minus the sexism, war, racism,
and economic inequity we're
mired in, as Potempkin City Limits
conspicuously reminds us. From
songs about colonial oppression
("Bringer of GregtfrThings"), the
mainstreaming of punk ("Rock
f^Sustainable Capitalism"), and
war in the Middle East ("Name
and Address Withheld"), to the
liner notes directing readers
to a batch of indie news sites,
Potempkin City Limits' anger is
firmly rooted in the present tense.
I'm still more of a sucker for the
poetical stylings of the band's
John K. Sampson (1993's How to
Clean Everything and 1996's Less
Talk More Rock) era, but I'd say
this album nicely fits the band's
mandate of "thrashing the
planet into humane submission."
Alison B
Neil Young
Prairie Wind
(Reprise)
Let me set the record
straight: I am a huge Neil
Young fan. In the years since
I discovered his music, he has
done more for my soul that
most other artists. I don't have
nearly enough space to put
into words just how important
he is, to me personally, and
to the rock genre in general.
This is why it makes me particularly
upset to listen to Prairie Wind,
his latest record. To me, it's the
sound of Neil resting on his laurels.
I could be hearing wrong, but
I just can't detect the passion
to which I'm so accustomed. I
think to myself, "Who the hell
am I to criticize Neil Young?" He
has given me so much, and here
I am, backlashing. But I can't
help it. I'm just disappointed
and heartbroken that I don't
hear something even remotely
vital on this new album.
I can't start using the excuse that
it's all relative, that when artists
get older, they lose their mojo,
and that should be taken into
consideration. Fuck that. Look
at Bob Dylan: his last two albums
were brilliant, arguably better
than most of his 80s output. Look
at Johnny Cash: you want to talk
about a renaissance? But that's
Dylan, you say. That's The Man
In Black, you say. I would not
hesitate for a moment in placing
Neil Young in the same category
as those two. Listen to Tonight's
the Night, or On the Beach, or
even Harvest Moon (the latter
being the supposed predecessor
in theme to Prairie Wind), and tell
me that this is still a good album.
More than that, tell me he isn't
capable of so much better.
I believe he is, and always will
be able to make great music. I'll
put Prairie Wind away, perhaps
to collect dust, but I know that
its place in my CD player will
someday soon be taken by a
new red-blooded, introspective,
fiery, Neil Young record—just the
way I like 'em.
Robert Ferdman
D Cuff the Duke
Old Soul
October 19
Lamplighter
The Lamplighter used to
be the ultimate Gastown flop
bar, the default place you'd
reluctantly shuffle to when
you realized the lineup at The
Cambie was too long. Thanks to
some savvy promotions and a
string of solid acts over the last
few years, those days are gone;
The Lamplighter is emerging
from its cocoon only to find
itself a beautiful, beer-soaked
butterfly. When I walked in the
doors Toronto's Old Soul was in
full swing, treating the crowd to
what lead singer Luca Maoloni
described as "The Glen Miller
Band for the 21st Century".
The small stage was packed to
capacity with drunken mariachi
troubadours from the heartland
of Ontario, alternately doing
shots of tequila and playing
their own debaucherous
soundtrack. In addition to the
standard rock ensemble, the
Old Souldiers boasted some
earnest saxophone and trumpet
blowing, nicely complimented
by a be-toqued gentleman on
xylophone who looked like the
guy from the hockey B-movie
classic Slap Shot. This was party
music played with abandon,
loaded with premonitions of
the next morning's hangover.
Despite the fact that it was
Wednesday, the crowd seemed
more than willing to indulge.
After the opening set I had a
chance to have a brief chat with
Maoloni outside the bar. He was
eager to assure me that he had
no pretensions, and little desire
to make "deep" music. After
a brief dissertation on the ways
in which panhandling violates
conversational etiquette, the
old soul extolled the virtues of
the simpler things in life, such as
drinking beer and hanging out
with one's girlfriend. He praised
his pals in Cuff the Duke, but,
with a conspiratorial gleam in
his eye, straightened out all the
ballyhoo about their blue-collar
aesthetic.
When Cuff the Duke
took the stage any contention
over the colour of their collars
was quickly settled; they look
distinctly like the guys I would
have gone to youth group with
if I had actually gone to youth
group at my parent's request..
From the opening piano lines
of "No Sleep, No Heat", class
consciousness became instantly
irrelevant, and the room was
enveloped in the all-accepting
embrace of warm Canadiana.
In between flaunting his excellent
vocal register and teasing some
down home country twang
out of his guitar, lead singer
Wayne Petti actuaHy executed
a farmer's blow in front of the
audience. We're talking visible
mucus flying across the stage
in a sublimely beautiful arc of
distilled Canadian essence.
Compared to last year's
straightforward appearance
with Hayden at the Vogue
Theatre, the band seemed far
more at home in the beery .
environs of The Lamplighter.
Their alt-country elements have
been toned down slightly,
incorporating more rootsy blues
tones and even disguising
some sinister menace beneath
their perky veneer. Songs like
"The Future Hangs" sounded
excellent in a live setting, as
the infectious harmonica set
the whole room to swaying and
toe-tapping. The set ended with
the droning, spaced-out guitars
of "It's Over", displaying the
impressive range of genres and
moods covered on their latest
self-titled release. From this point
on things started to get pretty
silly, as their antisocial friends in
Old Soul bumrushed the stage
to help out with the first encore
number, "Antisocial". The stage
was too small to accommodate
everyone, so a couple trumpets
and a saxophone were posted
on various bars around the
room. A wandering jam ensued,
dubiously titled "The Mexican
Wrestling Anthem". The music
devolved into Blarney Stone
booze anthems, capped off
with some unfortunate band-led
chanting of "Cuff...the...Duke!"
But I couldn't really hold it against
them—they were clearly having
a blast and I couldn't begrudge
them their good time.
David Ravensbergen
Atmosphere
P.O.S.
Blueprint
November 06
Commodore Ballroom
I have been an Atmosphere
fan since my days in Minnesota,
when a buddy left a copy of
the Lucy Ford EPs at my house.
I had to see them at least once
in my life, so I popped down to
the sold out Commodore with no
ticket. Sure enough, as soon as I
got there I overheard someone
talking about his extra ticket,
and I took it off him for cheap.
Rhymesayer P.O.S. opened
up the show talkin' shit about
George W. Bush, which got some
loud cheers, but his set didn't get
quite the same response. He was
condescending and seemed
bitter at the fact that none of
his songs could elicit the same
enthusiasm that his anti-Bush
sentiment could.
Blueprint came next, and
his songs ranged from stupid to
red hot. He played the RJD2-
produced "Final Frontier," which
was great.
Throughout the openers,
the lily-white crowd of nicely
manicured college kids pulsated
in anticipation for Slug, so much
that Blueprint had to tell them
to be patient for his set to finish.
Slug came out with a five-piece
band, which backed him up
in place of Ant, who Slug said
couldn't get over the border.
It was pretty amazing to see
his songs performed with the
power of a live band, and Slug's
intoxicating flow upped the
intensity. "Between the Lines"
was particularly powerful played
by a full band. The instrumentalists
took a break for a few songs
while Slug and MC Crescent
Moon rapped to looped beats,
also entertaining but not as
good as the band's numbers.
Why "Smart Went Crazy" was
played recorded and not live, I
have no idea.
Luke Johnson
The Magic Numbers
The Parallels
November 06
Richard's on Richards
The Magic Numbers' sixth
show in their first official trek
around North America proved
that six is the magic number, not
three.
But first: the Parallels.
Surprisingly, the sight of an organ
on stage did not indicate another
post-wave dance outfit. Instead,
the local openers played short
and sweet retro nuggets that
were part rockabilly, part surf
rock, and part 60s Brit rock. The
quartet kept up the energy and
all three guitarists took rums
frantically sing-shouting.
As for the Magic Numbers—
well, if you wanted a love-in,
you came to the right place.
The UK band seemed genuinely
surprised at the huge warm
welcome they got, prompting
lead singer, Romeo Stodart to
comment on how this was by
far the best of the tour and that
"We're definitely coming back
to Vancouverl" The band was all
smiles and a great mood was set
for the whole night, kicking off
with "The Mule". Playing tunes
from their self-titled debut album.
The Magic Numbers could have
been playing on a pile of dirt and
no one would notice because all
the songs are attention-grabbers
live. So there was no need for
light spectacles, flashy outfits, or
a posse of Harajuku girls. It was
just two pairs of siblings doing
their thing.
Angela Gannon and
Michele Stodart's high, raspy
voices mesh well with Romeo
Stodart's warm tenor. Their doo-
wop harmonies in "Mornings
Eleven" were spot-on and they
showed that they're definitely
experts in West Coast harmonies
and country crooning. Angela
also showed off her melodica
playing skills. "Hymn for Her" was
the show-stopper and a multitasking one at that. First, it started
as a country ballad, morphed
into a lullaby with Michele and
Angela on xylophone, and
ultimately lead to a Coldplay-
esque power ballad. The surprise
of the night was their slow
acoustic encore of "Crazy in
Love" (sans Jay-Z) where Romeo
encouraged some "shakin"'.
The band didn't want to
stop playing, but they ended
things off with, "The Beard", a
stompin' country hoe-down
tune; the energy was so loud
and fast, that these hands hurt
from manically clapping along.
And so (the band) began the
start of a beautiful friendship.
Emily Khong
Gwen Stefan!
M.I.A.
November 20
GM Place
"I just wanted to make a
stupid dance record." I'm sure
there are more than a handful
of readers that would agree with
Gwen Stefani's summation of her
solo record. Love. Angel. Music.
Baby. But, if the packed house
at the Garage on November
20th was any indication, there's
a lot more punch crammed
into Mrs. Rossdale's first effort,
sans No Doubt, than your typical
"stupid dance record." The level
of adoration for the bleached
blonde bombshell was evident in
everything from crowd response
down to the sheer number of
young ladies who were copping
her fashion sense, thread for
thread. And, it was dear that
Gwen wasn't intent on making
her foray into the world of pop a
disappointment.
Critical darling M.I.A. had
the task of warming the crowd
up. And, although her bastard
pop sound was probably a little
too far into left' field for many
attendees, she did manage to
get a significant number on their
feet. For those few (myself, the
friend who scored me the ticket,
maybe a couple others) who
were in attendance when M.I.A.
tore down the house at the
Commodore last month, there
were also quite a few changes
in her set. These ranged from
subtle tricks from DJ Contra,
who manned the turntables, to
opening with a couple of verses
from various guest appearances
(including, "Bad Man," where
Maya cameos with Vybz Cartel
on Missy's latest). I was a little
skeptical about whether or not
she'd extol the same level of
charisma in such a big room,
especially to a crowd that
wasn't her own. While it wasn't
a mind-blowing experience, she
certainly held her own, and what
more can you ask for from the
opening act? At the very least, it
wasn't the leg of the tour where
the Black Eyed Peas opened.
Armed with a harem of
dancers, and a stage setup
elaborate enough to make
Britney or Christina jealous,
Gwen's decade plus of
performance experience was
on full display. Not surprisingly,
the singles received the biggest
response, culminating in the
almost-too-predictable encore
stomp of the inescapable
"Hollaback GW." But, the album
cuts were almost equally well
received. Singing (and yes, she
sang) in front of a tight backing
band, Stefani and co. ended
up makftig their way through
"L.A.M.B." in more or less its
entirety. And, aside from one
unfortunate wardrobe misstep
(a "gangsta" Gwen pseudo Crip
walking is just too much), you
couldn't have really asked for
more from a high-budget pop
spectacle.
Quinn Omori
Great Lake Swimmers
November 20th
Lamplighter
The streets of Gastown
were eerily vacant, filled with a
thick fog made orange by the
streetlights. It was, undeniably,
the appropriate environment
for people to come in from to
see Tony Dekker, a.k.a. Great
Lake Swimmers, play a haunting
solo set at the LamRlighter. At
a brief in-store performance at
Zulu Records earlier in the day,
Tony seemed jittery, nervous
in front of the ten of us who
huddled faithfully next to stacks
of used vinyls. He explained how
he was "a little on edge" after
travelling up the west coast of
America. "It's nice to be back
on Canadian soil," he said,
without further explanation. For
anyone in attendance, it was
like watching a vase teetering
on the mantle.
But under the hood of
night, Dekker seemed to have
dulled some of that edge, as
his performance effortlessly
captured the beauty and fragility
at the heart of his songs. Playing
an even mix of material from his
self-titled debut (a record that
seems to get better with lime)
and this year's Bodies and Minds,
Dekker exorcised his demons.
Ahush fell over an audience
that hadn't paid much attention
to excellent openers Jonathan
Inc., and a select few crouched
in the darkness at the front,
gazing up in awe at Dekker, who
stood on stage like a lonesome
wanderer, vaguely staring out
into the audience.
Always    soft-spoken,    he
Deeembuary- Dbcorder22 said, "This song is about manic
depression," before strumming
his way into "Various Stages".
After a few nervous chuckles
from the audience, Dekker
replied, "It's funny but true," and
carried on. Like this statement,
with much of his music, the
audience never seemed sure
how to react, where to clap,
whether to cheer, or whether to
simply sit in silence and watch.
But everyone in the room realised
that they were in the presence of
someone truly special, and that
the songs they were witnessing
were as startlingly honest as the
way he introduced them. After
the show, people stumbled out
into the haze that awaited them,
and most of us stood around for
a few minutes, wondering where
to go next.
Mike LaPointe
Stars "S
Bontempi pf§
Thurston Revival
November 21
Commodore Ballroom
Is it the internet? Is it the fact
that the music press has crowned
Montreal the "new Seattle?" Or,
is there some other explanation
Jar.the.jpacked house at the
Commodore, gleefully singing
along to Set Yourself on Fire, the
title track from Stars' latest long
player? The band themselves
may or may not know the
reasons why people have finally
awoken to their soaring brand
of clever pop, but they were
certainly grateful, either way.
After thanking the crowd on
one of the numerous occasions,
lead singer Torquil Campbell,
a transplanted Vancouverite,
noted "it's a lot nicer playing
for a thousand people than for
fifteen." It certainly showed.
The Thurston Revival drew
first blood for the evening, and
are a hard band to peg. Lots of
keyboards, with a slightly gothic
sort of aura, but with a clear
love of 50's rock n' roll. Definite
potential, so keep an eye out for
them, but they have a ways to
go before they blow me away.
Bontempi played second.
Think Tegan and Sara with one
less guitar, and more keys. Lead
singer Carta Gillis' riff age was also
vaguely reminiscent of Sleater-
Kinney's Carrie Brownstein when
she turned up the rock, which
may explain why their uptempo
numbers were so much more
engaging than the slower songs.
Again, they're a band to look
out for, as they seem capable of
some pretty great tunes.
If the members of Stars
were alone in any other band,
you might knock them for
upstaging, but throw them
together, and it's a dynamic
spectacle. Bassist Evan Cranley
was all axe swinging glory, while
Torq bounded around the stage,
flanked by Amy Millan, who
seemed to emote every word
that beautifully left her mouth.
Only keyboardist Chris Seligman
was content to stay fairly still with
his instrument, as even drummer
Pat McGee got into the act by
moving from behind his kit to
crowd surf. It wasn't all style over
substance, however. Not even
close.
Stars drew from their entire
catalogue, reaching all the way
back to Nightsongs for three
numbers, but pulling mostly from
Heart and Set Yourself On Fire.
The band was tight, but the live
treatments of the songsalso had
enough character to set them
apart from the recorded versions.
They also seemed to draw off the
crowd, who enthusiastically sang
along to almost everything the
band threw at them (and were,
happily, mostly in tune), and
received some help from locals
The Organ, on a significantly more
calypso sounding version of "The
First Five Times." By evening's
end, Stars had crammed in more
pop, grandeur, and romanticism
into one night than most bands
could muster in a career. But,
if for some reason, you were
immune, the closer, "Tonight"
—all plaintive and gentle, with
a stripped-down version of the
band's lineup—was enough to
melt the iciest of hearts.
Quinn Omori
Cuff the Duke, Kim Day Photo
CITR 101.9  AND  AND  SPM  MUSIC  PRESENT
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TATTOO CO    m    —^ _g*     _ m ^    TWs /s a year-end compilation of CiTR's monthly charts and reflects what has been spun on the air for the
BB    | V f* i) r    f It fl I    E        II     ___W     \u        I    ^^     I     Prewoos /ear. Rekkids w/f/i sfars mean fhey come from fh/s great land o' ours. Most ot these platters can be
*     ~     ** ^^    **    **    *      *    *^     "     found at finer (read: independent) music stores across Vancouver. If you can't find'em there give the Muzak
Coordinator a shout at 604-822-8733. His name is Luke. If you ask nicely he'll tell you how to git 'em. To find out
other great campus/community radio charts check out www.earshot-oniine.com.
#
ARTIST
Title
Label
J
The Diskettes*
Weeknighs at tsfand View Beach
Blocks
_._
Black Mountain*
S/T
Secretly Canadian
3
Pony Upt*
S/T
Dim Mak
4
Cadeaux*
olBPIII1
Sound Document
5
Russian fnjfurists*
Our Thickness
Upper CJass
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P;iano*
Brigadoon
Mint
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Bontempi*
What Keeps Us Awake
Independent
8
The High Dials*
War of the Wakening Phantoms
Rainboy Quartz
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Elevator*
August
Blue Fog'
10
New Pornographers*
Twin Cinema
Mint
~H
V/A*
Vancouver   Complication   (re-
Sudden Death
Iff
Canned Hamm*
Erotic Thriller
Pro Am
13
Raised By Wolves*
Hot Blood
Stomp and Howl
14
Destroyer*
Notorious Lightning and Other
Works
Merge
J5
M J.A,
Arular
XL
16
M83
Before the Dawn Heals Us
Mute
17
You Say Party! We Say Diel
Hit fhe Floor
Sound Document ...
18
V/A*
90.9 With a Bullet: 20 years of
Calgary music on CJSW
Saved By Radio
19
LCD Soundsystem
S/T
DFA
20
Hexstatic
Master View
Ninja Tune
21
Buck 65*
Secret House Agatns the World
Warner
22
The Most Serene Republic*
Underwater Cinematographer
Arts & Crafts
23
Kinski
Alpine Static
Sub Pop
24
Gossip/Tracy and the Plastic.
Split EP
Dim Mak
25
Sufjan Stevens
linotse
Asthmatic Kitty
26
The Book of Lists*
Red Arrows
Global Symphonic
#
ARTIST
Title
Label
2?
immaculate Machine*
Ones and Zeros
Mint
28
Sparrow*
The Early Years
Absolutely Kosher
29
The London Apartments*
Romanticism Aside
Sound of Pop
30
Whitey Houston*
S/T
Rectangle
31
Constantines*
Tournament of Hearts
Three Gut
32
Jennifer Gentle
Valende
Sub Pop
33
Soso
Tenth Street and Clarence
Clothes Horse
34
Sigur Ros
Taak
Geffen
35
Dandi Wind*
Bait the Traps
Bongo Beat
36
Falconhawk*
Here's Your Ghost
Saved By Radio
37
Novillero*
- Aim Rigjri for the Holes in Their
Lives
Mint
38
Chixdiggit*
Pink Razor
Fat
39
Winks/Tights*
Split EP
Drip Audio
40
Real Mackenzies
10 000 Shots
Fat
41
B utters prifes
S/T
Dionysus
42
Montag*
Atone, Not Alone
Carpark
43
Connectjcut*
Moss
Dehausset
44
Parallels* .
1961 McLean
Upstart Hi-fi
45
Kid Koala*
Live From the Short Attnetion
Span-
Ninja Tune
46
Catlow*
Kiss the World
Boompa
47
Paul Anka*
Rock Swings
Verve
48
Bloc Party
Silent Alarm
Vice
49
The Hoor*
Personnel
Nrmlswicm
50
Negativland
No Business
Seeland
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Decembuary—Diseontei29 CiTR lOi.Qfm Program Guide
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.
I <www.africanrhythmsradio.
com>
AFROBEAT (World)
In two hours, I take the listener for
a spin—musically—around the
world; my passion is African music
and music from the Diaspora.
Afrobeat is where you can catch
up on the latest in the "World
Music" scene and reminisce on
the classic collections. Don't miss
it.
<myafrobeat@yahoo.com>
ALT. RADIO (Pop)
Hosted by David B.
AND SOMETIMES WHY (Pop/
Eclectic)
first Wednesday of every month.
ANOIZE (Noise)
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
ARE     YOU     SERIOUS?     MUSIC
(Eclectic)
All of time is measured by its art.
This show presents the most recent new music from around the
world. Ears open.
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.
BEATS FROM THE BASEMENT (Hip
Hop)
BLOOD ON THE SADDLE (Roots)
Real   cowshit-caught-in-yer-boots
counlry.
BLUE MONDAY (Goth/Industrial)
Vancouver's      only      industrial-
etectronic-retro-goth     program.
Music to schtomp to, hosted by
Coreen.
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!
CAUGHT IN THE RED (Rock)
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>
CHIPS WITH EVERYTHING (Pop)
British pop music from all decades.
CODE BLUE (Roofs)
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy and Paul.
DEMOCRACY NOW (Talk)
Independent news hosted by
award-winning journalists Amy
Goodman and Juan Gonzalez.
ELECTRONIC SPECTRUM (Dance)
EN AVANT LA MUSIQUE (French)
«En Avant la musique!» se
concentre sur le metissage
des genres musicaux au sein
d'une francophonie ouverte a
tous les courants. This program
focuses on cross-cultural music
and its influence on mostly
Francophone musicians.
END OF THE WORLD NEWS
(Eclectic)
EXQUISITE CORPSE (Experimental)
Experimental, radio-art, sound
collage, field recordings, etc.
Recommended for the insane.
FLEX YOUR HEAD (Hardcore)
Up the punx, down the emo! Keepin'
itreal since 1989, yo. flexyourhead.
www.vancouverhardcore.com
FOU OASIS (Roots)
Two hours of eclectic roots music.
Don't own any Birkenstocks?
Allergic to patchouli? C'mon in! A
I
CIER 101.9  AND  SPMMUSIC  PRESENT
THE VANCOUVER MUSIC COMMUNITY IMTED
TO CELEBRATE AND SPREAD CHRISTMAS CHEER!
mmmmmmmm
tmrnwrnmrnm
THURSDAY.DEC22N)
bhe media club
kumbaya-free zone since 1997.
<folkoasis@canada.com>
GENERATION ANNIHILATION
(Punk)
A fine mix of streetpunk and old
school hardcore backed by
band interviews, guest speakers,
and social commentary.
www.streetpunkradio.com
<crashnburnradio@yahoo.ca>
HANS KLOSS' MISERY HOUR (Hans
Kloss)
This is pretty much the best thing on
radio.
HIGHBRED VOICES (World)
I LIKE THE SCRIBBLES (Eclectic)
IN THE SHADOWS (Hip Hop)
THE JAZZ SHOW (Jazz)
Vancouver's longest running
prime-time jazz program. Hosted
by the ever-suave, Gavin Walker.
Features at 11:00, as listed.
Dec. 5: Tonight one of the best
musicians that England ever
produced and with one of his
best bands: Tenor saxophonist/
flutist/composer Tubby Hayes
and his great album "Mexican
Green".
Dec. 11: "Bags and Trane", a
classic meeting between tenor
saxophonist John Coltrane and
the premier modern vibraphonist
Milt Jackson backed by a
stellar rhythm section with the
great Hank Jones on piano and
others.
Dec. 19: The Jazz Show presents
an annual treat: the famous
Christmas Eve All-Star Session
led by trumpeter Miles Davis
with Milt Jackson (vibes),
Thelonious Monk (piano), Percy
Heath (bass), and Kenny Clarke
(drums). The "Bag's Groove"
session and The Jazz Show gives
out best wishes for the holidays.
Dec. 26: Gavin Walker and "The
Jazz Show" take a break for
boxing day.
Jan. 2: Happy New Year! "Mingus
Dynasty" opens the new year.
Bassist/composer Charles
Mingus and an expanded
ensemble playing works that
range from small group jams
to ensembles of symphonic
proportions with great soloists
like altoist John Handy, tenorist
Booker Ervin, and trumpeter
Richard Williams. A look inside
the genius of Mingus.
Jan. 9: A "rare edition of
drummer/leader Art Blakey's
Jazz Messengers that features
the first female to play with
this band: Joanne Brakeen.
Veteran trumpeter Bill Hardman
and Panamanian born Carlos
Garnet of tenor saxophone
form the front line of this fine
band. They smoke!
Jan. 16: A very special feature
tonight beginning at 10 o'clock
rather  than   11   is   the   68th
anniversary of one of the most
famous events in jazz history: The
Benny Goodman 1938 Carnegie
Hall jazz concert. This was
the real deal with clarinettist/
bandleader Goodman, his
trio, quartet, and big band as
well as the great jam session
with Count Basie, Lester Young
and others from the Basie and
Ellington orchestras. A major
event in jazz history.
Jan. 23: Trumpet great Clark Terry
is with us tonight in a classic
album called "Serenade to a
Bus Seat" with the Chicago Fire:
Tenor saxophonist Johnny Griffin
and a rhythm section beyond
words: Wynton Kelly (piano),
Paul Chambers (bass), and
Philly Joe Jones (Drums).
Jan. 30: Tonight: the debut
recording (March 1961) of
one of the most original and
innovative vibraphone artists,
sometimes called "The Coltrane
of the Vibes": Philadelphia born
Walt Dickerson. Walt performs
with his working band that
includes the debut recording
of drum great Andrew Cyrille.
"This is Walt Dickerson" is a
formidable first album.
JUICE BOX (Talk)
Developing your relational
and individual sexual health,
expressing diversity, celebrating
queemess, 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>
LAUGH TRACKS (Talk)
THE LEO RAMIREZ SHOW (World)
The best mix of music, news, sports,
and commentary from around
the local and international Latin
American communities.
LET'S GET BAKED W/ MAT + DAVE
(Eclectic)
Vegan baking w. "rock stars"
like Sharp Like Knives, Whitey
Houston, The Novaks and more.
LIONS AND TIGERS AND BEARS...
(Eclectic)
A mix of indie pop, indie rock, and
pseudo underground hip hop,
with your host, Jordie Sparkle.
LIVE FROM THUNDERBIRD RADIO
HELL (Uve Music)
Live From Thunderbird Radio Hell
showcases local talent... LIVE!
Honestly, don't even ask about
the technical side of this. This
month will probably be the best
month ever.
MOTORDADDY (Rock)
Cycle-fiffic rawk and roll!
MORNING AFTER SHOW (Eclectic)
MY SCIENCE PROJECT (Talk)
Zoom a little zoom on the My
Scence 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).
<myscienceprojectradio@yahoo.
ca>
NATIVE SOLIDARITY NEWS (TK)
A national radio service and part
of an international network of
information and action in support
of indigenous peoples' survival
and dignity. We are all volunteers
committed to promoting Native
self-determination, culturally,
economically, spiritually and
otherwise. The show is self-
sufficient, without government or
corporate funding.
NARDWUAR THE HUMAN
SERVIETTE PRESENTS...
(Nardwuar)
NECESSARY VOICES (Talk)
Socio-political, environmental
activist news and spoken
word with some music, too.
<www.necessaryvoices.org>
<necessaryvoices@telus.net>
NUTHOUSE RADIO THEATRE
(Drama)
All-original Canadian radio
drama and performance art
written and performed live-
to-air by our very own team of
playwrights and voice-actors.
We also welcome you to get
involved, whether you are a
professional or inexperienced...
OUR WAVE (World)
News, arts, entertainment and
music for the Russian community,
local and abroad.
PACIFIC PICKIN' (Roots)
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
PARTS UNKNOWN (Pop)
Underground pop for the minuses
with the occasional interview with
your host, Chris.
PEDAL REVOLUTIONARY (Talk)
Viva la Velorution! DJ Helmet Hair
and Chainbreaker Jane give
you all the bike news and views
you need and even cruise
around while doing it! <www.
bikesexual.org>
PLANET LOVETRON (Dance/
Electronic)
Music inspired by Chocolate
Thunder, Robert Robot drops
electro past and present,
hip hop and intergalactic
funkmanship.
<robertrobot@gmail.com>
PLEASE ROCK THE DOOR (Eclectic)
Start your week ridiculously earty
with Vancouver's super awesome
fun time happy radio show. Playing
all the dance-punk, electro, rock,
new wave, hip hop, 80's, etc. sh*t
that your mom thinks is cool.
PLUTONIAN NIGHTS (Dance/
Electronic)
Cutting-edge, progressive organ
music   with   resident   Haitchc
3<Di§c©rder—Jancember listen to  CiTR at  101.9fm  at www.citr.ca
and various guest performers/
DJs. Bye-bye civilisation, keep
smiling blue, where's me bloody
anesthetic then? <http://
plutonia.org>
POWERCHORD (Metal)
Vancouver's only true metal
show; local demo tapes,
imports, and other rarities.
Gerald Rattlehead, Dwain, and
Metal Ron do the damage.
QUEER FM (Talk)
Dedicated to the gay, lesbian,
bisexual, and transsexual
communities of Vancouver.
Lots of human interest features,
background on current issues,
and great music.
RADIO ZERO (Eclectic)
REEL TO REAL (Talk)
Movie reviews and criticism.
REGGAE LINKUP (Reggae)
Hardcore dancehall reggae.
Hosted by sister B.
RHYMES AND REASONS (Hip
Hop)
DJ Knowone slaves over hot-
multi-track to bring a continuous
mix of fresh every week. Made
from scratch, samples, and
just a few drops of fame. Our
tables also have plethora
of guest DJs, performers,
interviews, giveaways, Strong
Bad, and occasional public
service announcements. <eno_
wonk@yahoo.ca>
RHYTHMSINDIA (Wortd)
Rhythmslndia features a wide
range of music from India,
including popular music from
Indian movies from the 1930s
to the present, classical music,
semi-classical music such as
Ghazals and Bhajans, and also
Qawwalis, pop, and regional
language numbers.
THE ROCKERS SHOW (Reggae)
Reggae inna all styles and
fashion.
RUMBLETONE RADIO (Rock)
Primitive,     fuzzed-out     garage
mayhem!
SAINT TROPEZ (Pop)
International pop (Japanese,
French, Swedish, British, US, etc.),
60s soundtracks and lounge.
Book your jet set holiday now!
SALARIO MINIMO (World)
THE SATURDAY EDGE (Roots)
Studio guests, new releases,
British comedy sketches, folk
music calendar, and ticket
giveaways.
8AM-9AM: African/World roots.
9AM-12PM: Celtic music and
performances.
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
ever/week. Keep feelin da
beatz.
SKA-T'S SCENE-IK DRIVE1 (Ska)
Email requests to:
<djska_t@hotmail.com>
SOLARIZATION (Talk)
SON OF NITE DREEMS (Eclectic)
SWEET AND HOT
Sweet dance music and hot jazz
from the 1920s, 30s, and 40s.
SYNAPTIC SANDWICH     (Dance/
Electronic/Eclectic)
THESE ARE THE BREAKS (Hip Hop)
Top notch crate digger DJ Avi
Shack mixes the underground
hip hop, old school classics,
and original breaks.
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!
<bcmnsixtynine@hotmai.com>
THUNDERBIRD RADIO NEWS (Talk)
A volunteer-produced, student
and     community     newscast
featuring news, sports and arts.
Reports  by  people  like you.
"Become the Media." On Hiatus
'til September 7th and 9th.
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 mystic-al.
<trancendance@hotmail.com>
UNCOMMON PRACTICE (Classical)
Alltheclassicalmusicyoudon'thear
on mainstream radio! A variety of
innovaative and interesting works
from the 20th and 21st centries,
with an occasional neglected
masterpiece from earlier eras.
THE VAMPIRE'S BALL (Goth/
Industrial/Metal)
Dark,  sinister music  to  soothe
and/or move the Dragon's soul.
Hosted by Drake.
<thevampiresbaH@yahoo.ca>
VENGEANCE IS MINE (Punk)
All the best the world of punk rock
has to offer, in the wee hours of
the mom. Hosted by Trevor.
WE ALL FALL DOWN (Eclectic)
Punk rock, indie pop, and
whatever else I deem worthy.
Hosted by a closet nerd.
WENER'S BARBEQUE (Sports)
Join the sports dept. for their
coverage of the T-Birds.
WIGFLUX RADIO (Reggae)
Listen to Selecta Krystabelle for
your reggae education.
W.I.N.G.S (Talk)
Womens International News
Gathering Service
WORLD HEAT (World)
An old punk rock heart considers
the oneness of all things and
presents music of worlds near
and far. Your host, the great
Daryl-ani, seeks reassurance via
<woridheat@hotmail.com>.
Sunday       Monday      Tuesday Wednesday Thursday      Friday        Saturday
6am
7
9
10
2
3
4
5
6
7
8
9
10
11
12"
1
2
3
4
5
10
11
12™
2
3
4
5
TANA RADIO (WO)
ARE YOU SERIOUS?
MUSIC (EC)
ROCKERS
SHOW(RG)
BLOOD
ON THE
SADDLE (RT)
AFROBEAT
(WO)
BREAKFAST WITH
THE BROWNS
(EC)
UONS AND TIGERS AND BEARS (K)
ALT. RADIO (PO)
PARTS
UNKNOWN (PO)
LETS GET BAKED (EC)
NATIVE SOLIDARITY NEWS (TK)
PACIFIC PICKIN'
(RT)
HIGHBRED PLEASE ROCK
VOICES (WO)       THE DOOR (EC)
THIRD TIMES
THE CHARM (RR)
MORNING AFTER SHOW (EC)
FILL-IN
RttL TO RtAL (TK)
SUBURBAN JUNGLE
(EC)
FILL-IN
ANOIZE (NO)
FILL-IN
DEMOCRACY NOW (TK)
RUMBLETONE
RADIO
(RR)
MOTORDADDY
(RR)
END OF THE WORLD NEWS
(EC)
SWEET'N'HOT (EC)
WE ALL FM DOWN (EC)
NEW COMIC BOOK SHOW! (TK)
RHYMES &
REASONS (HH)
SKA-T'S
SCENIC DRIVE (SK)
THESE ARE THE
BREAKS (HH)
RADIO ZERO (EC)
NARDWUAR
PRESENTS (NW)
BBC
THE
SATURDAY
EDGE(RT)
GENERATION ANNIHILATION (PU)
POWERCHORD
(MT)
CODE BLUE
(RT)
10
11
12*" |
1
2
3
4
5
(UPS WITH
EMTTMGIW)
SAINT TROPEZ
(PO)
QUEERFM
(TK)
SON OF NITE
DREEMS (EC)
UNCOMMON
PRACTICE (CL)
WFNFR'SBBQ(SP)
NECESSARY VOICES (TK)
RHYTHMSINDIA
(WO)
WIGFLUX RADIO (RG)
FLEX YOUR
HEAD (HC)
TBIRD RADIO NEWS (TK)
THE CANADIAN WAY
(EC)
LEO RAMIREZ SHOW (WO)
OUR WAVE (WO)
JUICEBOX     (TK)
TRANCENDANCE
(DC)
THE JAZZ
SHOW
(JZ)
SALARIO MINIMO
 (WO)	
EXQUISITE CORPSE (EX)
AFRICAN RHYTHMS
(WO)
SHADOW JUGGLERS
(DC)
BEATS FROM
THE BASEMENT
(HH)
VENGEANCE
IS MINE!
(PU)
CAUGHT IN THE
RED(RR)
FOLK OASIS (RT)
LIVE FROM...
THUNDERBIRD HELL (LM)
PLANET LOVETRON (DC)
HANS KLOSS'
MISERY HOUR
(HK)
ilIGH TRACKS (TK)
IN THE SHADOWS (HH)
SYNAPTIC SANDWICH
(DC/EC)
I UKE THE SCRIBBLES
(EC)
PLUTONIAN
NIGHTS (DC)
BBC
AURAL
TENTACLES
(EC)
THE VAMPIRE'S
BALL (GI/MT)
REGGAE UNKUP (RG)
CL=classical • DC=dance/electronic •DR=drama • EOeclectic • EX-experimental • FR=French language • GI=goth/industrial • HOhardcore • HH=hiphop * HK=Hans Kloss • JZ=jazz
LM=live music • LOIounge • MT=metal • NO=noise • NW=Nardwuar • PO=pop • PU=punk • RG=reggae • RR=rock • RT=roots • SK=ska • SP=sports • TK=talk • WO=worid Zulu Staff Picks of 2005 Htn
A recapitulation of our favourite listens of 2005! Iff
All titles 10% OFF until January 31st 2006 '  m 0>
BRADY
• Amerie -1 Thing
• Black Mountain
-s/t
• Christopher
Bissonnette -
Periphery
•Jason Forrest-
Shamelessly Exciting
• Konono No. 1 — Congotronics
• LCD Soundsystem - s/t
• Stephan Mathieu - The Sad Mac
•M.I.A.-Arular
• Shipping News - Flies the Fields
• Various - World Psychedelic Classics 3:
Love's a Real Thing
DAN
• Bonnie "Prince" Billy ]
and Matt Sweeney- j
Superwolf
•00I00-Gold and
Green
•GogogoAirtteart-
Rats! Sing! Sing!
• Black Mountain - s/t
• Delia Gonzales and Gavin Russom - Days o
Mars
• Antony and the Johnsons -1 am a Bird Nm
•The Fait-Fall Heads Roll
• Bob Dylan - No Direction Home O.S.T.
• Martha Wainwright - Martha Wainwright
• The Fiery Furnaces - EP
ERINB
•Spoon-Gimme
Fiction
•Chad VanGaalen-
Infiniheart
•The Dirty Three -
Cinder
•Sarah Harmer -I'm a *
Mountain
• Weird War - Illuminated by the Light
• Sleater Kinney - The Woods
• The Ex-Models - Chrome Panther
• K'Naan - The Dusty Foot Philosopher
• Crooked Fingers - Dignity or Shame
• Deerhoof - The Runner's Four
ALL LISTS IN NO PARTICULAR ORDER
ERINS
I Marianne Faithfull -
i Before the Poison
(•The Fall-Fall Heads RollJ
[•Lightning Bolt-
[ Hypermagic Mountain
■• Gang Gang Dance -
God's Money
• Devendra Banhart - Cripple Crow
• Sunn 0))) - Black One
• Angels of Light - The Angels of Light Sing 'Other
People'
• Elevator-August
• Wooden Wand and the Vanishing Voice - Buck
Dharma
• Dungen - Dungen:1999-2001
JASON
I Coachwhips - Peanut
Butter and Jelly Live at
the Ginger Minge
• Six Organs of
Admittance-School of ]
\ the Rower
• The Fall - Fall Heads Roff^
• Le Volume Courbe -1 Killed My Best Friend
• Silver Jews - Tanglewood Numbers
• Blood on the Wall - Awesomer
• Bonnie "Prince" Billy and Matt Sweeney -
Superwolf
• Oneida - The Wedding
• The Howling Hex - You Can't Beat Tomorrow
• Black Lips - Let It Bloom
| JOSH
I • Gang Gang Dance-
Gods Money
• Double Leopards - Out
; of One, Through One,
I and to One
1 Wooden Wand and the
Vanishing Voice - Buck
Dharma
• Quasimoto - The Further Adventures of Lord Quas
•Sunn(O)))-Black 1
• Excepter-Throne
• M.I A-Arular
• Khanate - Capture/Release
• Aaron Dilloway - Beggar Master/Prayer Rush
• Islaja - Palaa Aurinko
JULIE
• Black Mountain
\ -s/t
•Of Montreal-
; TheSunlandic
Twins
• Bloc Party -
Silent Alarm
• Maximo Park - A Certain Trigger
• Gang Gang Dance - God's Money
• Scout Niblett - Kidnapped By Neptune
• The Duke Spirit - Cuts Across the Land
•Oneida-The Wedding
•The Fall-FaH Heads Roll
MALCOLM
•Wolf Parade-
Apologies to the
v'
1 Queen Mary
- j
• Black Mountain
-s/t
•M.IA- Arular j
NICOLAS
• The Clientele-
Strange Geometry
• Micah P. Hinson
and the Gospel of
Progress - s/t
• Spoon - Gimme
Fiction
• Archer Prewitt - Wilderness
• Cass McCombs - Prefectjon
• Low - The Great Destroyer
• The National - Alligator
• Nick Cave and Warren Ellis - The Proposition
• Colleen -The Golden Morning Breaks
• The Book of Lists - Red Arrows
• Of Montreal -
jr The Sunlandic Twins
• Clap Your Hands Say Yeah - s/t
• Animal Collective - Feels
• Broken Social Scene - s/t
•Antony and the Johnsons-1 am a Bird
Now
• Caribou - The Milk of Human Kindness
• Bloc Party - Silent Alarm
• Konono No. 1 - Congotronics
• Stephan Mathieu - The Sad Mac
• Mount Eerie - No Flashlight
• ftano - Ghost Pirates Without Heads
• Quasimoto - The Further Adventures of Lord
Quas
• Noriko Tujiko - Blurred in My Mirror
♦Richard Youngs -The Naive Shaman
Ml
Late Hindi
at Zulu.
Extended
Holiday
Snapping
Madness!
Thirsday Dee 15
to Friday Dec 23
iiPfliiiiflPM
■Acid Mothers
Temple &
Cosmic Inferno - HO Chant from the
Cosmic Inferno
• Boredoms - Seadrum/House of Sun
1 Boris-Feedbacker
'Oneida-The Wedding
■The Fall-Fall Heads Roll
• Jonathan Kane - February
■Elevator-August
■ Bob Dylan - No Direction Home
1 Th faith Healers - Peel Sessions
- Live at CarnegferfaiT
•Various - Blowing The Fuse 1945 (reissue)
• Sam Cooke - Live at the Harlem Club
reissue)
• Various- Smithsonian Classic Bluegrass 2
(reissue)
• Shirley Collins and Davy Graham - Folk
Roots, New Routes (reissue)
• Art Pepper - Meets the Rhythm Section
(reissue)
• James Burton and Ralph Money
Attention Ml ZulU CUSf OlliePS: Hunger Knows No Boumtapies     .^n=:~
This holiday season we are encouraging everyone to support the Note: the Food Bank's most needed items are: Canned Meats, Soups & Stews, Canned Fish & Meat,
Vancouver Food Bank in their dedication to providing food and   Pasta, Pasta Sauce & Rice, Canned Beans, Fruits & Vegetables, and Baby Formula & Diapers,
related assistance to those in need. You can help! Just drop off     .„ ,■-_-_« ,„hi k« «_j9 I _________ ______ «-,- . no/ «« -«„ S_S__l__________i :„
any non-perishable items you can spare here at Zulu and we will    A» donors Wl11 be 9lven a couPon va[ld tor 10% off anY Purchase in
transport all donations to the Food Bank on Jan.11th 2006. the month Of January 2006
IT'S ART SHOW SEASON!
THE GOOD SHEPARD
Paintings by
Carey Mercer of Frog Eyes
up until December 30th
9AM-6PM
Tuesday Dec 27
teCd-RDSl
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232
www.zulurecords.com
STORE HOURS
Mon to Wed   10:30-7:00
Thurs and Fri 10:30-9:00
32M$corder—Jancenber

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