Discorder CITR-FM (Radio station : Vancouver, B.C.) 2006-04-01

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 That nonconsensual spooning magazine from CiTR 101.9 jm
A 10th Anniversary Retrospective BY0REC0RB3.COM
aH'hEW RECORD «NSS 6.9  ~»  v#  w#11
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ROMANCE        ***pests withpeste UteHaffn^   c*ast«|w_Mteh
TtieRaiwa* Honey ThgRaiway ItieRaiaa*
2   April 2006
$ BEST DIRECTOR ^        £
^jL    Sundance Film Festival    jJjT ^3_
^fl_ iaac _P S»
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>*T    AUDIENCE AWARD    *g,
San Francisco Independent    A*"
|_ Film Festival ^iy»
1! ©<
Post-screening discussion with Luke Meat, CiTR 101.9FM Music
Director, hosted by Dr. Harry Karlinsky, UBC Dept. of Psychiatry.
Skip the queue! Buy your tickets in ADVANCE @ www.cinematheque.bc.ca
April 2006
David Ravensbergen
Ad Manager
Caroline Walker
Production A*
Alanna Scott
Art Director
Will Brown
RLA Editor
JKimberley Day
layout & Design
Will Brown
Alanna Scott
Chris Little ,.
Will "Not From Concentrate" Brown
Julie "Tardy" Colero
Andy "Ice Grill" Hudson
David "J'Yeah" Ravensbergen
Alanna "Otis" Scott
Caroline "Refiner's Fire" Walker
Curtis "The Flavour" Woloschuk
Graeme "Looks Like Your Dad" Worthy
Photo & Illustration    .      \ ','*_$&
'  Zoe Alexander
Guillaume Boucher
Jesse Ladret
Michelle Mayne
1 Joey MacDonald
Nicole Ondre
Alanna Scott
. Lauren Scott
Program Guide
Bryce Dunn & Rockin' Ruby
Luke Meat
'  LasseLutick
US Distribution
Frankie Rumbletone
Student Radio Society
of UBC
The Gentle Art of Editing
by David Ravensbergen
Strut, Fret and Flicker
by Penelope Mulligan
Cinema Aspirant
by Allan Maclnnis
Textually Active
: by Andy Hudson & Duncan McHugh
Mixtape: The Doers
by The Doers
Spectres of Discord
by David Ravensbergen
by Will Brown
Under Review
Real Live Action
CiTR Charts
Program Guide
11.The Books
by Mike LaPointe
n.Tiger, Tiger, Burning Bright
by Curtis Woloschuk
M Active Listening
• by Luke Meat u
20.N0 Bandls An
by David Ravensbergen
David Ravensbergen
This month we're all about opulence and ice grills. Spring is in the air again and it's time to clean
up our appearance—tailfeathers need to be pruned for club-shaking, and someone's got to convince the
orthodontist to install a shiny new pair of braces. With Young Jeezy bumping on our tin can computer
speakers all through production, the prospect of a mouthful of diamonds has taken root in our hearts. The
only problem is that we just can't afford any jewels; with some undisclosed members of our production
team hovering just above the poverty line, our next meal is starting to seem more important than modeling
our mouths after Nelly. In Discorder life, the chorus to "Grillz" is more like "rob a grocery store and tell
them make me a grilled cheese sandwich." Until the cash money situation is resolved, our idle daydreams
of silken issues printed in the blood of endangered manatees will-have to go unrealized.
In all seriousness though, we don't actually condone the conspicuous waste of limited resources. We
recently took a trip down to the printers to view the transfiguration from .pdf to street-ready magazine
and assess the state of our finances. Immersed in the heady smell of ink, we were confronted with a host
of decisions both ethical and financial. Should we switch back to a smaller zine format? Reduce our use
of colour, or keep the page count down? Obey our consciences and run only on 100% post-consumer
recycled paper? There's so much more to this hustle than fawning over bearded indie rockers.
In other news, we have some new columns to welcome aboard. Performance artist Coral Short has
returned from her travels to grace us with culinary reviews in "Spoonin"', forkin' around Vancouver's
fine selection of restaurants. Meat-eaters need not despair, as the vegetarian Short plans to contract out
the fleshy dishes to her carnivorous friends. Local cinema buff Allah Maclnnis, author of last month's
Cassavetes' feature, will be rounding out our take on moving pictures with "Cinema Aspirant". Watch
for monthly Maclnnis-hosted screenings of the films in question at Blim. "Textually Active" is back in
full force, so head out to BC Book and Magazine Week from April 22-29 in preparation for more literary
goodness in the months to come. Lastly, we have the arrival of "Spectres of Discord", a nostalgic lookback •
through the Discorder archive.
But all of this pales in comparison to the arrival of Program Coordinator Bryce Dunn's new baby. To
those of you outside of the CiTR community, this announcement probably won't quicken your pulse, but
I'd fike to encourage you to ponder the beautiful mystery of life anyway. How strange it is to be anything at
all! Although I suspect that the reality of caring for a new human with thrush and cottage cheese tongue
is a little less romantic, we'd like to issue our heartiest congratulations. Watch for the return of a more
fatherly "Riff Raff" next month,    /a
Ruby Juniper Georgina aka Rockin' Ruby
Bom Tuesday March 21 at 12:58AM to
proud parents Bryce Dunn & Mary Hosick
I     7 Lbs. 7 oz. 20" Long
r   kfi-Ji
^ ^^§
22T«mve Minds
26.Laughing and Crying
is the Same Thing
by Arthur Krumins
> Cover Photography by Lauren Scott, Adam Mitchell, Tomlab and Getty Images
i © DiSCORDER 2006 by the Student Radio Society of the University of British Columbia. All 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 May issue is April 20th. Ad spacers available until April 21th and can be booked by calling Caroline
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 manuscripts, unsolicited artwork (including but not limited to
drawings, photographs, and transparencies), or any other unsolicited material. Material can be submitted
on disc or in type or via email. As always, English is preferred, but we will accept French. Actually, we
won't. Send 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, V6T1Z1, CANADA.
The Devil and Daniel Johnston Vancouver Opening
April 19th, Pacifique Cinematheque.
Post-screening discussion with Dr. Harry Karlinsky, Department of
Psychiatry, UBC and Luke Meat, CiTR's own Music Director.
WIN: 2
tickets | a
movie poster
ams.ubc.ca with
the answer to the
Q: What weighs 7 lbs.
7 oz and rocks the free
3 Prizes available to be
won, contest closes Friday
April 14th.
Discorder   3 Yeah M yeahs
5/W 1W 3»6
..and you can win: 'Show Your Bones' cd +\
limited ed 7"+ 'Gold Lion' 12" remix vinyl
i be rewarded for your c
Finally, you i
Send us an X-Ray of your bones following trauma'bc injury.
We will accept tfi/s electronically, however would greatly
prefer it through more classical means: With either method,
the contact information for fhe attending doctor must be
supplied in order for prize eligibility. For Karen O's sake we
must know that you are-showing us YOUR bones.
Mail to: Discorder Magazine; c/o CiTR Radio; Room #233;
6138 SUB Blvd; Vancouver BC; .61 111
Email: discorder@club.ams.ubc.ca
'This album knocked me out within 30 seconds
of hitting 'play1 and has continued to
relentlessly beat the shit out of me."
- Now Magazine (Toronto)
"Gritty passion abounds,
but then comes the last-track title song,
-and don't you dare ask for an encore.
The show is done, and well done. *
"He's got the nasty tongue,
the nicotine-sharpened wheezing bellow that
"Striving For A New Tomorrow"
Americana and proves himself a masterful,
hilarious storyteller.''
- Montreal Mirror
"David tells a mean story... he also tells a
funny story... he also tells a strange story.
Getting the picture? Well, add a kick-ass band
of Old Testament proportions, and you got
the whole freaky enchilada."
iti iititiiitti if Ultima I kimssl ksiii
Coral Short
Sadly, the legendary Buddhist vegetarian restaurant has closed down in Chinatown, so I thought my
first column could try to fill the painful gap it has left in some of our lives. Lucidly, my fellow diners
and I discovered the miraculous OM by fluke. This wonderful and friendly restaurant has been around
for a mere two years and remains a secret among Vancouver's vegetarians.
Through the glass doors we were cordially greeted and seated at a functional wooden table with
purple laminate tops in spacious surroundings. The walls were half eggplant purple with a wallpaper
fruit design tastefully encircling the room. Our sparkly-eyed waitress gave us these words of wisdom:
"Don't worry, just enjoy! If you feel unhappy after eating this food then you are a truly unhappy
person." We were each given a menu along with a special extra menu covered in small square pictures
of succulent vegetarian delights. Our eyes tried to read the written menu but kept wandering back to
those amazing pictures.
We ordered pot stickers, chicken drumsticks (vegetarian of course), the chef fried rice and
Shanghai noodles. My vegan friend Garry is obsessed with Shanghai noodles and says you can judge a
restauranthased on what they taste like. He said they were "pretty good," but he's not one for adjectives.
The pot stickers, though a little lacklustre, were doughy mouthfuls of veggie goodness. We ordered the
chicken drumsticks because we thought they sounded funny, but they were no joke. Tender, juicy and
flavourful, the fake meat surrounded by a golden crispy skin made my taste buds quiver. We actually
Jiad to ask the waitress: "Is this meat?" She told us that they were made with yellow sweet beans and
huge mushrooms with giant stalks, which gave them that delightful texture. The chef fried rice was
also a winner. Our Choice was confirmed when we noticed the same dish on our neighbours' table, who
dine there regularly two times a week. Tasty morsels with bursts of vegetable flavours spiced up with
pine nuts were shovelled into our mouths until we could not move.
Hot delicious tea was provided constantly from a clear coffeepot. And then our waitress started
to give us treats! She seemed like our best friend, chatting away and giving us extra free goodies such
as deliciously prepared taro root, green tea dessert and cranberry candies. On top of all that, Garry
ordered the vegan cheesecake, which was thick, heavy and creamy with a whisper of lemon. When
everything was consumed we had to walk all the way home, as it was the only way to recover from
such spectacular ingestion. ~j.
■j?m              smumnmm;                         «« sponsors:
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APRIL 15-MAY6,2006
Penelope Mulligan
Flick Harrison's Marie Tyrell
Spartacus Books      _2_3_<
Wednesday March 1
It's one thing to make a film about a revolutionary on death row, but
releasing it as an interactive DVD is quite the tease. At a cinematic
salon co-sponsored by Spartacus and Cineworks, local filmmaker Flick
Harrison launched his take on a short story by Vancouver writer D.M.
Fraser—and also shed some light on the interactivity factor. Taking
the form of 65 "political vectors" which intersect the narrative at
strategically chosen points, it allows the viewer to "interrogate" the
film. Unlike video games, in which outcomes can be affected, this
is a series of discreet invitations to penetrate the work's sprawling
In addition to staples such as "making of" clips, there's hilarious
right-wing propaganda footage from Nixon-era archives, interviews
with Stephen Osborne (Fraser's contemporary in the leftist arts scene
of the 1970s) and even home movies of the filmmaker earning his
stripes as a military cadet. The DVD also makes a handy promo tool
for cast and crew, as numerous mini-docs (not all shot by Harrison)
tell you everything you need to know about their other pursuits.
Somehow, Harrison manages to keep it all relevant. Nothing is ever
more than a remote-click away from the political imperative.
Nonetheless, a gulf develops between -the Marie Tyrell story
and the documentary segments, revealing the "interrogations" to
be more akin to interruptions. The disconnect comes partly from
the filmmaker's interpretation of the source material. Fraser's 1974
work, while clearly about totalitarianism, dissent and the psychosexual
- make-up of a revolutionary, is fairly non-specific vis-ji-vis period
and place. The title character herself is almost a cypher. This sort
of thing works on paper, but is fiendishly hard to make filmic. While
attempting to honour the novel's impressionistic approach, the film
still insists that we engage with the flesh and blood characters. But
.this is hard. Marie is a po-faced fanatic who should be executed—
not for terrorist acts, but for her utter lack of humour. Her lover
is a snivelling wimp, who hits the sauce and—in one of the film's
intentional period mash-ups—strolls past Woodsquat reciting poetry
after his girl gets nicked. Since we never discover the nature of Marie's
crimes against the state, her activism remains theoretical and her
words smell like stale polemic.
Ironically, the interrruptions are far more politically resonant
than the main. film. Footage of Noam Chomsky, U.N. Weapons
Inspector Scott Ritter and antiwar demonstrations shot in the run-up
to America's invasion of Iraq make 19 74 fade into insignificance. In a -
sense, the 2 5-minute film is both a gateway to, and an excuse for, the
underlying material. Whether one finds this clever or annoying doesn't
really matter, considering that it's probably the most audacious use of
the Extra Features shtick since the advent of DVDs.
Marie Tyrell can be viewed—and penetrated—at the Video In
library (1965 Main Street).
The relationship between genius and madness is always fondly
acknowledged, but never is the eye of the beholder such a big part
of the equation as when art is involved. One of the most depressing
documentaries you're likely to see in awhile makes this unintentionally
clear. In The Devil and Daniel Johnston, the madness of the titular
singer-songwriter and visual artist is fairly indisputable. It's the genius
that's slippery.
Jeff Feuerzeig's exhaustive film-bio tracks Johnston from an
evangelical Christian childhood in West Virginia to Austin, Texas,
where his mournful, lo-fi ditties caught the ear of the mid-8 Os indie
scene. As the manically creative trickster became manic depressive
(that's the official diagnosis, although a lot of his behaviour seems
monumentally psychotic), his artistic stock continued to rise. It's
here that the director's devotion to his subject starts to hobble his
judgement. Instead, of pausing to wonder about the freak factor, he
fills the screen with friends and music biz types who sing paeans to a
brilliance that never really comes across in the film. What we do get
is the story of a stianger-than-fiction life and a mental disintegration
so meticulously documented that it's exhausting to watch. Johnston's
regression into religious fanaticism, though spectacular, is never
adequately explored, and his sermon-like hectoring (both onstage and
off) is more nutbar than apocalyptic.
But still, - the man is a fascinating phenom. His illustrious
fan base is like a roll call of cool—David Bowie, Jad Fair, Sonic
Youth, Sparklehorse and Tom Waits, among others, have either
collaborated with him or covered his work, while his darkly detailed
cartoons have made him a darling of Outsider Art fetishists. He has
also inspired the theatre world: a ballet company in Lyon commissioned
American choreographer BUI T. Jones to create a piece to six of
Johnston's songs.
If the film raises more questions than it answers, you can
always ask the doctor. The Devil and Daniel Johnston plays the Pacific
Cinematheque at 7:30 pm on April 19 as part of the Frames of Mind
Series, with Dr. Harrjr Karlinsky from UBC's Department of Psychiatry
in attendance. As the event is co-presented by CiTR and Discorder, he
shares a post-screening Q & A with our own Luke Meat. _—.
Allan Maclnnis
Is cinema food for your soul, and is your soul hungry?
Cinema Aspirant offers glimpses of gems to be rescued from
the wreckage of your local video store.
Rainer Werner Fassbinder
Rainer Werner Fassbinder was anJ outrageously productive
filmmaker, directing over 40 films before dying, at 37, from a
combination of drugs and alcohol. Like his compatriots in the New
German Cinema—^including Wim Wenders and Werner Herzog—he
was raised on gangster films and westerns pumped into West Germany
' in the post-war years to "re-educate" the country in American values,
and had an ambivalent relationship with Hollywood; he once said that
he wanted to make Hollywood movies in Germany, but without the
hypocrisy. Many of Fassbinder's probing dramas, centering around
the theme, as he described it, of "the exploitability of feelings," are just
now becoming available on DVD, largely thanks to the Rainer Werner
Fassbinder Foundation, Wellspring Video, and the Criterion Collection.
Since he was so prolific, I thought it would be useful to share four films
of his for which I have unequivocal love.
The Merchant of the Four Seasons (1972)
The first of Fassbinder's films to draw on the works of Douglas
Sirk, The Merchant of the Four Seasons is the sad tale of a fruit
vendor who, bitter about the lack of love he receives from his family,
sickened by the indifference of his friends, and crushed by his wife's
selfish neglect, retreats into self-destructive alcoholism. Comparable
to-Werner Herzog's Stroszek (1977), the incapacities and injuries of
his smaller-than-life lead character are used as a means of pointing
up the hypocrisy, snobbishness, and insensitivity of the working and
middle classes. Fassbinder extends considerable sympathy to Hans,
and creates a moving drama out of his downward trajectory.
AU: Fear Eats the Soul (1974)
A Moroccan migrant worker living in Germany, lonely and tired
of drinking every night with his co-workers, attempts a relationship
with a much older cleaning woman, Emmi, played by Fassbinder
regular Brigitte Mira .(short and somewhat unattractive, some have
suggested that she is meant as a signifier of how Fassbinder felt
about himself). Will social pressures, racism, and the judgments of
society permit their relationship to survive? Inspired by Sirk's All that
Heaven Allows (1955)—which also inspired Todd Haynes' tribute to
Sirk, Far from Heaven (2002)r-the film is near perfect in its use of
character as a means to articulate its theme. The role of Ali is played
by EI Hedi ben Salem, who was Fassbinder's lover at the time and who
later killed himself in prison, after he stabbed a man in a bar when
he thought Fassbinder had cheated on him. Fassbinder's tumultuous
. love relationships would later also inform his film about the suicide
of a transsexuaL In a Year with Thirteen Moons (1978), made after
Fassbinder's friend, lover, and sometimes actor, Armin Meier, had
killed himself in Fassbinder's apartment.
Mother Kusters Goes to Heaven (1975)
Mira and Meier star in Fassbinder's Mother Kusters Goes to
Heaven (1975), about the idealistic, but somewhat naive, wife of
a disgraced factory worker who tries to clear her husband's name.
Mockingly funny and tragic, the DVD release contains two alternate
endings, one for the European release and one for the American—so if
you're not happy with the first ending, don't hit the stop button right
away...though you may want to pause it to-contemplate the emotional
effect for a minute or two, since the second ending begins forthwith.
The film is interesting in that it includes some of Fassbinder's criticisms
of the inadequacies of the Left; though he had friends among the Red
Army Faction, he considered direct action silly, and would later make
The Third Generation (19 79), a film criticising terrorists. .
Fear of Fear (1975)
Shot for German TV, this is Fassbinder's take on the "women's
picture," and is probably must-see stuff for fans of Cassavetes' A
Woman Under the Influence (1974) or Todd Haynes' Safe (1995). A
housewife, beset by inexplicable anxieties and unable to fulfill herself
within the confines of a normally repressive middle-class life, turns to
various means—from Valium to infidelity to psychiatry—-to try to cope
with her growing anxiety, while her husband and in-laws ignore her
cries for help or stand in the background clucking about how selfish
she is. Again, we see a character driven to desperate measures by
emotional needs that are simply not being met by the life she's given to
lead. The lead performance, by Margit Carstensen, who also starred in •
The Bitter Tears of Petra von Kant (1972) and the fascinating Chinese
Roulette (1976), is compelling indeed.
In these films, Fassbinder unerringly taps into human loneliness
and pain and questions its meaning and political significance, ideally
spurring the audience on to fruitful discussion and self-revelation;
they're profoundly moving and thought-provoking films, which any
true Cinema Aspirant should seel ^
Discorder   5 EXTUALLY ACTIVES!?!
Cnriaiflpr the Brnininr
Consider The Lobster
David Foster Wallace
(Little, Brown and Company)
Although American writer David Foster Wallace (DFW) is known primarily for his fiction
Infinite Jest, Brief Interviews with Hideous Men and most recently Oblivion, I think his non-fiction
is best. Anyone who read his 1997 collection of essays, A Supposedly Fun Thing I'll Never Do Again,
can tell you he's one of the funniest writers working today. He might not be as consistently funny
as your David Sedaris or your Sarah Vowell, but his sharp and extremely thorough observations put
him into a class of his own.
Consider the Lobster is his non-fiction follow-up to A Supposedly Fun Thing. Collecting essays
and reviews dating back to 1997, first published (albeit in substantially abbreviated form) in such
diverse publications as Premiere, Gourmet, Rolling Stone, Harper's-and the Village Voice, the book
covers (in order) the pornographic movie industry, John Updike, Franz Kafka's sense of humour,
American grammar and usage, 9/11 (poignantly and without sentimentality or jingoism), former
tennis star Tracy Austin, John McCain's 2000 Republican leadership campaign, the lobster (and
specifically/horrifically the Maine Lobster Festival), a biography of F. M. Dostoevsky and talk radio.
I list off these topics not simply because they are all fantastic, but to show the breadth of what DFW
can do. The guy is incredibly, incredibly smart and is able to digest tremendous amounts of very
complex data and turn it into clear, precise (oh, the precision), original and funny prose. What I
wouldn't give for those chops.
While some have referred to DFW as 'that footnote guy' (and he does love his footnotes), the
notations are not schtick; instead they are a byproduct of a rigorous assault on his subjects.
Reading DFW, you get the sense that mere
sentences cannot contain all the information
and nuances this man can give us. We need
footnotes, and footnotes of footnotes, and
interpolations, and subtitles and glossaries of
relevant vocabl
What really makes DFW, and in particular
Consider the Lobster (an homage to M. F. K.
Fisher's Consider the Oyster, I'm assuming), is
his thoughtfulness as a writer. In his profile
of Arizona senator John McCain, DFW forces
the reader to consider, really consider, what
happens to a person when he or she spends five
years as a P.O.W., as McCain did. Like most of
his writing, he doesn't just reference this as a
matter of biography, as others might, but rather
draws you into it, makes it fresh (and shocking)
and relevant again. His books aren't easy reads
(after 343 pages, I'mready for a break), but DFW
provides some of the-most satisfying reading I've
done in a while
Duncan M. McHugh
David Foster Wallace
all Love
Geosge Bowering
Talon Books
[ fan. Sometimes I wish Scrabble was the national U.S. pastime, or if it has to
be a sport, commuter cycling. Ordinarily, a baseball memoir would draw consumptive coughs from
the long Russians on my bookshelf. Not so Baseball Love.
Not only is the author a septuagenarian I can safely run from, but George Bowering is also an
abounding poet, a novelist, a "swashbuckling history" writer, a teacher, a friend to small press, and
Canada's first Poet Laureate (2002-2004). His latest book winds as far back as 1948, "the greatest
year in human history," the same year young-George heard the underdog Cleveland Indians win
the World Series and grabbed the first paperback edition of The Naked and the Dead at a Penticton
Make no mistake, while Bowering cavorts in both ballparks and lecture halls, his Baseball Love
is ardent. Expect no lightning-struck bats, nor hagiographies of late great bigots like Ty Cobb and
Ted Williams. Bowering swings at Bernard Malamute's The Natural, "the most famous baseball
novel of the high-rent district." Among baseball literati, he picks out Fielding Dawson, a writer who
understands baseball as is:
"It is not a guilty pleasure for an intellectual, and it is not a ritualized event that needs the
veneer of myth to make it worthwhile. A great day for a ball game is a great day for just about
One heady day in the sixties, when Bowering starred in the Kosmic League of Vancouver poets,
punks, and painters, he watched the Flying Dildos play ball in nothing but sneakers, gloves, and old
man overcoats. Another day in the fifties, he watched two girls in Oliver, BC sneak a line of peanuts
around the crown of a man's fedora. The greatest moments of Baseball Love come from left field.
Truly sports-averse people might not follow
Bowering through the centerpiece of his memoir, a
"USAmerican" road trip to watch single A teams like the
Batavia Muckdogs or the Mahoning Valley Scrappers.
Others might go along for the literary diversions, like
the story of a friend who hitchhiked from Minnesota to
within two doors of Ernest Hemingway's room at the
Mayo Clinic, just a few weeks before Hemingway killed the
greatest sports-loving, English writer.
Other people, with a sense of humour, will even
appreciate Bowering's hardcore fandom: a nmning list of
baseball names (Elgin Bobo, Arquimedes Pozo), nitpickers
scorekeeping (never mark F9 for a simple right-field fly
out), and a real love for logo-free, flag-free baseball.
Baseball Love will launch on April 26, 7:00 at the
Granville Island Brewery Taproom, where you can talk to
Bowering about America's game over Canadian beer.
... ■. •"...:    i„_ ..,,-..:..:.;..;
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Andy Hudson
Cunt Burnham
Arsenal Press
"LIKE. YOU KNOW." These two, co-stars in our idlest spoken English, punctuate a couple
of otherwise empty pages midway through Clint Burnham's Smoke Show. Notoriously anti-
grammarian, they highlight Burnham's gambit: to exhibit literally the immaterial, everyday talk of
a fictional circle of young Ladner and East Van do-nothings, circa 1995.
Smoke Show is a novel in length and scope, but it reads quick as a stack of transcripts. Most
pages pick up a dialogue mid-conversation, the top line in all caps. The dialogue, about drugs, or
Waterworld, or changing the music, tends to run halfway or two-thirds down the page before it
sputters out. The book has a short attention span. Occasionally a single line floats up alone from the
Spoken words are typed out with stenographic fidelity, without any " " to set them apart
for special consideration. The parade of expletives, misstepping grammar, and lost clauses is
embarrassing to read. You probably speak, this way yourself, sometimes.
"You know, cuz she's really focussed, eh?" starts a girl moving to the Interior for low rent and
a fresh start. 'Andyou know, that's the perfect person for me. You know, cuz she's like. You know
like. You know, I mean, the other day, she had to register her kid of this class and she like got up, and
went there at, I don't know, before seven."
Although most of it could have been bootlegged off the number ten bus, Smoke Show is fiction.
Gradually, as characters recur in the mix of chatter, they distinguish themselves as a group. A
few interlocutors sport denim cut-offs, collect welfare, and shop atr"Crappy Tire." Two will star on
Donahue. There is no Texlahoma for this sample of Generation X; smoking weed is the escape of
choice. The irony is on them.
There is a narrator, to write he said and she said, add details, and to relate the sexy bits in a
flat, disinterested tone. The narrator blends right into the chatter, as in, "Oh yeah? She said it like
an Ozzie, yee-uh?" Once in a while, the distance between narrator and subject widens a bit, and the
narrator comes off sneering:
Oh right on, they're -
They're little dream catchers. I got a set, with a necklace. I know the girl who does them, eh?
Oh yeah; these are great. She giggled. They're cute.
They agreed: they were the greatest.
As an experiment in bare vernacular, Smoke Show is a cheeky success. Combined, the
unpunctuated dialogue, flat narration, and overwhelmingly empty pages of Smoke Show read like
an indictment of these mid-nineties twent^somethings. Recreational drugs, to judge by the ending,
appear to be their lowest common denominator.
Now on a shortlist for the BC Book Prize, many readers will find it too shallow for its own
'good. To judge it on its own merits, though, the worst you could say of Smoke Show is that there
a few moments of pastiche. Burnham fashions a fine
motif from Kevin Costner's Waterworld, but there is also
a character with an unconvincing, slightly too poetic
fixation c
Clint Burnham, the short bio proudly relates, "has
been attacked by audience members at the readings
of his work and students have protested the use of
his writing in a college classroom." Apparently, he is
ready for criticism. To give him a hand, you could say
; had to write this way. It's the way we like, talk,
you know?
6   April 2006 MDCMPE/tHE DOERS
This is the Doers mixed tape. a 01* «-*,-«- and not __■«__.
We think it would be good real though. I would think another good tape would be Double Nickels on the Dime
by the Minutemen. That would be our second choice. Our third choice would probably be Fear of a Black
Planet by Public Enemy as that's the CD.we listen to when we're leaving on tour. We usually put it on as we're
getting on the on-ramp at the corner of Grandview and Freeway. Another thing we listen to a lot in the van is
a mixed funk CD that Barry's friend Dayvo made for him. We have always listened to lots of hip hop and jazz
but now it is manifesting itself in the form of new Doers rap songs. Barry is an MC now. MC Hot & Cold. MC
HC. Barry's raps are the shit. 1sS§1hr)?
Messy Bessy, Get Undressy |
Pink & Brown
We like Ughtning Bolt like
everyone else, but this is nice too.
Perhaps nicer.
Worms | S.T.R.E.E.T.S.
I just heard someone say that
S.T.R.E.E.T.S. is one of the only
real punk bands left in Vancouver.
True, but they just had their last
show ever. I went there, got in,
left, came back and couldn't get
in again cuz the police wanted the
show to themselves.
Haze | Eric's Trip
We stayed at the house in
Moncton where Eric's Trip used
to record. Our friends live in there
now and there's some sorts of
cool left-over Eric's Trip stuff
down in the basement.
You Set the Scene | Love
I was born too late...
Oh My Pregnant Head, Labia
in the Sun | Flaming Lips
And they are all pregnant.
Redondo Beach | Patti Smith
One of the more catchy Patti
Smith songs. It was actually
Morrissey's cover of this song
that drew my attention back to
the original.
Origami Nightmare | Ghost
Wizzards and the most of men.
Nowhere Fast | The Smiths.
Meat Is Murder is one of the Doers'
tour van favourites.
Vitamin C | Can
My favourite rock drummer.
Out of (he Freedom World |
Mice Parade
Fve been trying to see these guys
live for years—can they do it?
I Can't Go For That | Hall &
Looks like they know they're back
Nutrition | Dead Milkmen
Big Lizard in My Backyard was one
of the first good cassette tapes I
got in highschool.
Watch Me Now |
Ultramagnetic MC's
Luke told me if all rap sounded like
the album Critical Beatdown he'd
only listen to rap. Agreed.
No Knock | Gil Scott Heron
This is one of the cats Barry's
rolling with now.
Resolution | John Coltrane
This is Part 2 of the album A Love
Supreme. Somewhere down in the
US there's the Church Of John
Coltrane that has services where
everyone jams on Coltrane jams.
Invisible to Bitches | Run
Chico Run
This song was never released but
we could probably get it in one
form or another if this mix tape -
was real. Mattie says that this
song exists only in our minds.
Lonely Avenue | Ray Charles
This is the saddest song ever. Ray
Charles is one of my heroes.
After Midnight | JJCale
If Joy was to go on an island with
only one CD it would be JJ Cale,
5 and Naturally (I have them
burned into one great long CD)
Don't Let the Sun Go Down
on Your Grievience | Daniel
Sassy Frass.
Some Velvet Morning | Lee
Hazlewood/Nancy Sinatra
I've been straight for 10 weeks
now. Partly, I took a break from
drinking to save money.
Summer Feeling | Jonathan
Self explanatory.    ^-^
■HPwwwww-^m fit * —      1 --M U II »W ——U U iV
FRIDAY APRIL 21ST FRIDAY APRIL 22ND m_mm___c n ____■ ___-«__»_r__i iti#o
HiuDicllS °*§23^^
PfNjf if»$« *rim, p ,vf||ff. fff, inn
, HEZZAKYA \______
_  B-WB    ■■ ■      «■■_.
OTTsf, \mhmm^
*ni N i imd
■ *■   __H
lew laptop electronica
svery other Sunday
sreserrted by
fDj) doppler defect
at the alibi room
57 alexander at main
H MMi _■
formerly ihe ladies and gentlemen
*^>r8_raj, feftiersweeC and
iaeessarittjf eatscfrr... The
best CaiH&m irwie rock
; allasB tMs year"
lullaby m
• w-rdkase fe faa_t
Records* NewMusicWe Asjana Hunter summarizes so astutely elsewhere in this issue, "ghosts are rad."
It is with this premise in mind that we are proud to introduce "Spectres of Discord", a new column -
dedicated to bringing you the future of Discorder history. The ghosts of issues past have been clambering
cupboards, crying out to be read and fondled and appreciated before returning to the
pulp mill from whence they came. While former writers and staff have no doubt moved on to bigger, better,
actual wage-earning undertakings, the text they've left in their wake should be of interest to old hands and
fresh faces alike. Watch this space to see who was riding high on the charts in the early 80s, or to tracethe
progress of your favourite band across our magazine's hallowed pages.
Flipping through old issues in the archives, it's amazing to see how much has changed since Discorder
was born in 1983. Back in April 1995, Smugglers frontman and future CBC Radio 3 correspondent Grant
Lawrence had never heard of crystal meth. Dumbfounded by the* mention of "crystal" in an interview with
legendary pubescent punks d.b.s., Lawrence was enlightened by a streetwise, 16-year-old Jesse Gander. "It's
some sort of new wave drug. People think they're hardcore cause they're paying a hundred dollars a gram.
It sounds like a waste of money to me." A hundred bucks? What I wouldn't give for a time machine and a
sack full of cough medicine.
Dubiously priced drugs aside, the mid 90s were a time of reckoning for punk rock. For the hoys of
of target market punk bands like Green Day was an inspiration, not the death.of a genre.
An opening slot at a Rancid gig was cited as a career highlight, despite the fact that they rolled up to the
show in their parents' minivans. A few pages over in an interview with seasoned Vancouver punks The
though, the sentiment was a little different. In the midst of a drunken conversation about the state
of mainstream music, singer Wes piped up to suggest T think I can sing through my asshole better than
the leader singer of the Offspring can." While I'm not confident passing judgment on the quality of Dexter
Holland's rectal crooning, it's safe to say the man can't sing for shit.
But not everyone was all wrapped up in matters of punk pedigree that April. Nardwuar was up to his
usual horseplay, this time ambushing an oblivious Dan Quayle at a book signing in Washington.
Nardwuar: Hi. Mr. Quake, who's the Prime Minister ofHanada?
Dan Quayle: The Prime, Prime...Minister of Canada, which just had the, uh, President, uh, Clinton, up
here for a, uh, address, and, uh, it's one thing that George Bush didn't do...Mu!roney did not invite him
up. But you now have a new Prime Minister of Canada.
In a world of variables, it's nice to know that Nardwuar's knack for flabbergasting interviewees
remains constant. So there you have it. We've paid our respects, and now the April '95 issue can fade
peacefully away into the ether.
Discorder   9 WEDNESDAYS
Need help planning your party?
"We wrote the book on partying!1
\ i li 1
by Mike Lapowte   t£        ^
museum. The listener moves from one room to the next, deep
within the history of elegantly curated sound; some voices are dead and gone, some are alive,
whispering, singing, laughing. In one room will be a soft-hearted country band, strumming as
the oak cello dutifully hums. In another room will be two people nervously speaking, goosebumps
rising every time their hands barely touch. In another will be Gandhi, imparting some small shred
of wisdom; the next will take you on a flight over Tokyo at night; Lewis Carroll will be there, side-
by-side with Lao Tzu.
immediacy. Their debut album Thought for Food gained attention in
2002 due to its unprecedented originality. The following year's The
Lemon of Pink established the band on the strength of its subtlety and
enduring warmth. The lyrical content of Lost and Safe adds a further
dimension to the band's already complex arrangement. "It's probably
not the easiest record to please people right away," contemplates de
Jong. "We just aim to communicate through the music."
Lost and Safe aims to communicate a lot. The record travels
through science, philosophy and poetry, while constantly retaining
their patented brand of linguistic humour and playfulness. As Nick
believes, "Humour is the backdoor to. the profound." Mercifully, the
album is accompanied by a lyric booklet. Otherwise, such detailed
lyrics could be lost to the all-too-easy classification of incoherent. In
all fairness, phrases such as, "So instead we went ahead / To fabricate a
catalogue / Of unstable elements, and modicums, and particles / With
non-zero total strangeness" are commonplace in the world of Lost and.
Safe, but it's one of the missions of the band to train the ear to attention
and contemplation. "The more detailed and subtle music is," says de
Jong, "the more the ear will open. I think that that might help people
to open their ears for what they might hear in daily life." Their latest
attempt seems to be successful, as listeners and critics are beginning to
fully unravel the details, several months after the release.
The bulk of their work is founded on paradox and mischievous
contradiction, rubbing words of various languages against each
other to see what profundities spark from the friction. They're
constantly tying tongues and turning things on their heads, like a
musical Finnegan's Wake. But the Books allow for occasional glimpses
of straightforwardness. On the opening song of Lost and Safe, Nick
sings, "The books suggest we set our hearts on doing nothing," which
arrives in the ear as a suggestion from the band. When asked about the
But it's more than a museum of iconic history. It's also filled with
those surreal scraps you hear on any average metropolitan stretch.
Neglectful parents are there, along with a teenager who just can't
express himself, a stout disciplinarian teacher, a tired woman with a
world of complaints. The Books place the everyday alongside the otherworldly. They're concerned with moments as much as with centuries.
The albums can be as challenging as they are whimsical. The duo
behind the music, guitarist Nick Zammuto and cellist Paul de Jong,
consider themselves to be only a fraction of the experience. "We feel
that what we do is 50% of the work, and the other 50% is something
that can be completed by the listener," says de Jong. Their messages
aren't necessarily clear, but there's no shortage of content to ponder.
The Books currently find themselves in a period of transition.
Their third album, 2005's Lost and Safe, sees them creating lyrics and
vocals, components that they previously would have left to their vast
collection of found sound. "We wanted to find a way to control the
content of it, to make it into one voice that speaks throughout the
record," says de Jong. Nick assumed the role of vocalist as, "Not so
much a voice tied to one character or person, but more of an ego-less
voice that takes away from the ego of all the samples."
They've ajso begun to tour, something that was impossible with
their laptop-dependent earlier repertoire. "When we were making Lost
and Safe, we were already thinking that it would be the album we'd
play live," says de Jong. They've found great success on the road, their
show quickly gaining a reputation for its innovation and inspiration:
live musicians interacting with a recorded archive, co-operating with
the language of the past to create rhythm and melody. Many early fans
believed that they would never tour, but, as Paul explains, "It's better
to make your own laws and then be able to break them."
When released, Lost and Safe critically suffered for its lack of
phrase, Paul pauses and then replies, "Well, I mean, doing is probably
something that is an enormously over-rated thing."
It's hard to say whether the Books practise what they preach in
mis respect. Though they're not looking ahead much further than the
time on the road, they've been hinting at what the next project will
be, and it seems as though they're going to be doing quite a bit. "We
have great interest in working more with video, and also with video
that we shoot ourselves, not just found video," says de Jong. Their live
shows are overtures to short projected films, perhaps a taste of what's
in their future. "But we're also interested in just making a new album,"
he adds, "so it's probably going to be more than one thing at a time
that we're doing."
In the music of the Books, there is no such thing as black and white.
Things cannot be distinguished so easily. They explore the grey area,
the space between, that makes us human. They see that our languages
are imperfect. Things are lost in translation. Things are stripped
of context. Individuals are impossibly isolated by their differences,
valiantly attempting to convey what it means to be themselves with
words that often fail or prove insufficient. That's why the musk: is so
special: they bring all of the grey under one roof. The Books supply
a forum for individual perspectives to collide and, inevitably* discover
commonality in the sound of their own voices, echoing on.
The Books play Richard's On Richards on April 22nd.
By Curtis Woloschuk
The earliest hours of 2006 introduced me to Giant Tiger. While
stumbling about a New Year's party, I was approached by one
of the anonymous young scruffs in attendance. "Someone said you
write for Terminal City," he shouted over the din of generic post-punk
being transmitted by shoddy speakers. I advised him that such a feat
would be impossible as the publication had died two months earlier.
Undeterred, he placed a jewel case in my hand and said, "I was going
to give you this to listen to." Never one to look a swag horse in the
mouth, I accepted the offering and excused myself to search out more
The next evening, I discovered the CDR in my jacket pocket while
in search of sufficient coin to cover my day's first meal. Scribbled on the
jewel case was "GT" along with an email address. The disc's presence
initially evoked only befuddlement. Then, a memory of the previous
night's handover was slowly reassembled by my floundering faculties. I
planted myself on the couch and slid the disc into the stereo. The digital
display advised me that I had three tracks and thirteen-and-a-half
minutes of music laying in wait.
Admittedly, the recording quality of the songs was abhorrent,
with the first track suffering particularly. Amidst ninety seconds of
Television-indebted, angular guitars, a vocalist employed Malkmus-
like cadence to rail on about...it was impossible to say. An excessive
slathering of reverb rendered the lyrics completely incomprehensible.
On the next track, the six strings went buzzsaw while the rhythm
section adopted an industrial strength, lockstep menace. A loquacious
narrative commenced that incorporated elements of the Black Dahlia
Murder and ancient mythology: 'Accept a courtier's money/To hell
with Persephone/Make and break and dump the girl/With the Lizzie
Short cut curls." If prime-era Gang of Four had covered MC5, they
might've managed a comparable sound.
The eight minute finale's languid structure immediately evoked
Lou Reed's "Ocean." Waves of tidal keyboards lapped at a lightly
strummed guitar as sparse percussion built in intensity. In the second
verse, slow-burning pedal steel sparked up like a beachside bonfire. The
vocalist played the role of confessional cartographer with a psych rock
coda leaving him intoning: "I will find release." Never had an explorer
sounded so resolute or desperate.
As the final notes died away, I moved to my computer and fired off
an email to the supplied address. Explaining that we'd met briefly the
night before, I enquired: 1) Did they have any shows planned? 2) Was
there anything else recorded? 3) What did GT stand for?
Less than a minute after dispatching the message, I had a response:
"Wrong guy. Pagan calendar for me. Mostly. This year? Giant Tiger.
Phone #? Hate email." Surmising that I'd nothing to lose, I responded
with my digits and returned to the living room intent on giving the disc
a second spin.
However, the phone rang before I had the chance to retake my
sofa perch. As I raised the portable to my ear, an insistent voice queried,
"Who is this?" I explained that the band's demo had fallen into my
possession the night before. I'd mistakenly assumed that the email
address affixed corresponded with the individual I'd met. "Not me,"
assured the voice. "Which one was it? What'd he look like?" I began
a brief description: Shaggy hair, glasses, beard, scarf, natty t-shirt...
"That could be any of them, man." How many people were in the
band? "Usually four. Mostly eight. What do you like about the music?"
I declared that it was the most enthralling thing I'd heard in a while.
About to elaborate, I was again interrupted. "I hate phones. You should
come over tomorrow, man. We'll eat some soup and" you can listen to
the new stuff." I procured _n address and hung up the phone. Only
then did I realize that I'd never asked for a name.
Late the next morning, I arrived at an unassuming character house
a few blocks from Oppenheimer Park and knocked at the basement suite
door. It was flung open to reveal a thirty-something man garbed in long
underwear and a housecoat. "Did we talk on the phone?" he questioned
with an odd urgency. Seemingly non-ironic mutton chops adorned the
man's cheeks and his dark hair boasted telltale bed head. His recessed
eyes were glazed and the acrid scent of various smokables clung to him.
After I confirmed that we'd spoken, he advised, "You should get inside.
I haven't had a chance to get the soup on."
[At the behest of the artist, a verbatim transcript of the recorded interview
Discorder: I don't think I caught your name.
Giant Tiger: That's not important. You can make one up or whatever. I
just want to talk about the music.
Fair enough. How long has Giant Higer been around?
Kind.of forever, I guess. This is what I was always meant to do. Guess
I've only been playing music for about two years though. I learned by
masturbating to Bauhaus songs.
Seriously, man. You probably don't even know anything about sigjl
magick. You can alter reality by using it. You just make a sigil that's
loaded with your intent. It's like a bomb or whatever. The best way
to charge it is by jerking off. When you shoot your load, the sigil gets
launched. That's how I made myself a m
Uhhh... Where'd the name Giant Tiger come from?
Someone was talking about all the bands with "tiger" in their name. He
said, "If I see another band use the word 'tiger,' I'm going to shoot an
old lady in the face." I said, "What about Giant Tiger?" That shut him
the fuck up. Seeing the effect the name had...That was a big part of it.
Then I found this. U_EM&?ofH present
What's this about? Dish detergent?
The other side of the flyer. The entire flyer. There's these stores called
Giant Tiger. They're all over the country. Alberta. Quebec. Everywhere. My
grandma's getting the same discount on Peek Freans as some separatist in
Gatineau. That's fucked up, man. Thinking about that really affected me on
some profound level.
These stores are just like commercial radio or whatever. I mean, think about
it. Everyone's lining up to buy the same shit in bulk. It's like all those drones
listening to Aqua or Chumbawamba or whatever. These multinational,
box stores are turning music into just another commodity. I'm not going
to let myself be commoditized. They can pry my songs from my cold, dead
What about influences? You mentioned Bauhaus before. Who else? I hear —
Bauhaus isn't an influence, man. Just something that gets me off or whatever.
The last album I bought was Tender Ritual by Jim Chappell. Fucking amazing.
I got it at a garage sale for a quarter. That was, like, five years ago.
So you're not influenced by modern music?
Fuck no. We were just at the Hive last week talking about recording an EP or
whatever. That Jesse Gabereau guy...
Jesse Gander?
No the other one. He was talJdng about how he w
Like I'm supposed to know who the fuck she is.
3 going to record Elizabeth.
That's a joke too. The. idiots that put on these shows don't even know
that they're victims of the Conformist ideals being perpetuated by big box
thinking. They want everyone to sound the same. Straight off .the shelf or
whatever. We were supposed to play a show with this band Vertical Stripes
from Alberta. The sound guy kept fucking up our levels. Like we didn't know
we were red-lining or whatever. That was it. Show was over, man. Fuck it.
We're not going to be anyone's monkey hand puppet. Sock puppet. Whatever.
That demo you have. The first song's all about shit like that.
I was going to ask you aboutthat. Why'd you choose to obscure the vocals on thai
Maybe because we want you to work for it. Giant Tiger's not going to spoon
feed you like The New Radicals or Primitive Radio Gods. Jesus, man. The
chorus is: "Fool me once, shame on you/Fool me twice, shame on me/April's
coming down with a vengeance/Time to alert the cavalry." There. Now you
can feel better about playing it in your Iroc when you're cruising Robson or
I don't—
You know what? I really don't like where this is going, man. I'm going to say
one more thing to your readers and then you're going to turn that thing off.
Here goes. The wolves are at the door and it's time for all the sheep to decide
if they're willing to unleash the Giant Tiger. There you have it. Show's over,
man. Turn it off.
Needless to say, no soup was served that day.
Kin TtlE-ITE
SATURDAY apr 1st »-
(from seattle)
_ Th. LAMPLIGHTER, 210 Abbott street
FRIDAY apr 7th „™
@ The LAMPLIGHTER, 210 Abbott Street
SATURDAY apr 8th ^
cd release party
. @The MEDIA CLUB ess cambie _ Georgia
SATURDAY apr 8th ,P-
KISS Tribute Night
(with special guest TO BO KERNS)
Sugarblade, Skookum, Bod Burn
Sugar Coated Killers, Pern Ob The Cob
Savde Davis + more! @ The backstage
LOUNGE, 1585 Johnston Street, Granville island
SATURDAY apr 15th >P_
SATURDAY apr 22nd *_
cd release party
@ Tha MEDIA CLUB 695 camb
THURSDAY apr 27th *_
The 0 U T F IT
Orchards a. Vines
e The M E DIA CLUB 695 camb
CiTR    Get full show details at:
fOI".;2f.M iinuprociiictioiis.coin
Discorder   13 wm
14   April 2006
Every year, the Video In studio converts itself into a
giant living wall of sound for the three-day Signal
and Noise Festival. Circling the room are 8 speakers,
placed to allow the listener to hear a combination of prerecorded audio art installments and live performances
with their full "diffused" aural effect. In pursuit of
total audience immersion, the experience is sometimes
accentuated by playing the works in complete darkness.
Now in its sixth year, Signal and Noise has always
been a fascinating event, not only for the avant-garde
community but the music community as a whole—a
coming together of local and international audio
experimentalists in a celebration of audio art.
Audio art presupposes not only an artist, but an active listener as well. "I would like
to believe that people have the capacity to just sit back and listen, not just hang out, talk
with their friends, and get wasted," festival organizer Velveeta Krisp laughs. "But it's also
not supposed to be like a snobby 'art' thing either. When the festival began, it was very
hierarchical, and it was always the same performers year after year. I want to broaden the
festival out to a new community of artists and audiences."
Through an amalgamation of audio art, electro-acoustic music, and noise audio,
the Signal and Noise Festival has always posed the question, "What is sound?" Keeping
in mind John Cage's "silent" composition 4'33" it may be easier to ask what isn't sound,
but nonetheless a diverse assemblage of artists have stepped up to attempt to provide an
answer year after year.
"The tag line we're using this year is A celebration of sonic and media inspirations,'"
says Krisp. "It's an opportunity for local and international artists to present their audio
ideas." The festival, which started primarily as a video event, has evolved into an audio
event first and foremost. "We're only showing one film this year," says Krisp. "I think
we're focusing more on the audio aspect because there are so many new audio artists
cropping up all over this city, and all over the world."
by Luke Meat
This year's Signal and Noise festival runs April 2 7-
9th and centres around three themes: the Macabre.
J Fluids and Functions, and Stujsits. In addition to
multimedia installations, pre-recorded pieces, and video
screenings, live performances will include:
Gunshae Collective (Vancouver) ____P"'.~-r--
This local collective's piece will work around the themes of the heart and blood and the
bodily movement of all its elements. Using live heart recordings, the laptop will be situated
as the heart which directs an oboe and a dancer as blood cells.
Paul Warren Bennett & lesse Colin Scott (Vc
A live audio/video performance utilizing human spittle and oral and nasal sounds a
textural aural pallet (includes live sound recording and sampling).
Dan Kibke, Ole Eldor, and Christine Carrier. (Vancouver)
Turbulent Bodies: An Anesthetic Odyssey
The scene is an operation with a patient undergoing surgery. Sound is improvised using the
related source materials generated by both the patient and surgical instruments.
Kele Fleming (Vancouver)
Manufacturing Beauty
A sound collage exploring the theme of beauty, the body, and the numerous internal and
external forces that challenge and enhance our aesthetic judgments. /
Stefan Smulovit. (Vancouver)
Aemth _0 ". -13?^
This piece is defined by the use of the performer's body in her uniquely inspired movements,
and the extreme sounds of her extended vocal technique as the audio source material.
Lee Hutzulak and IMirae Kosher (Vancouver)
Eternity and the Sentimental Fist
An improvised performance in which a dancer and musician on acoustic guitar
interact in a space denned by the frame of the video camera suspended above them.
Charles Francis Heroine (Vancouver)
Tachikoma *_5& V *& ^Sfe?
Live electronica with laptop, synthesizers, and performed vocals.
forge Ruiz-Isaac (Vancouver)
This performance will map an audio landscape of the human body within the context
of language and frequency modulations.
Michael Lloyd (Sweden)
Air Pressure
An exploration of the ideas of concentration and exhaustion involving two dancers
and a trumpet player.
Thomas Beck (Gernianu)
Anti-System . sSfSsI
A performer moves in response to a pre-recorded soundtrack, which upon playback
through diffusion creates a very present bodily experience for its audience.
[ustin Cooper, Benjamin BeUas & Reed Barrow (Chicago)
Several chairs, a table, maybe some magazines
"Several chairs" tests the internal as well as the external limits of speech, movement,
memorization, and mental and physical processes, using drums and vocals.
Eva Sjuve (Sweden)
13 volts+1 carrot
An improvised interactive performance using real-time sound processing and a
gestural interface to express a surreal response to the cultural issues of the stranger
and the community (live sound with body sensors). W_W^_W?i
Stefan Brunner (Austria)
Full Contact Concert
Two bodies, cabled, amplified for impact using a stethoscope mic. Breath and
heartbeat. An jntense, reactionary and sometimes choreographed display of violent
As always, Signal and Noise promises to be a unique and unusual event For
showtimes and full festival schedule, check the website at www.signalandnoise.ca
Get on the VIP/Guest list + Event/Party/Fundraiser bookings
19+ with ID - Doors 7:00 pm
Tickets available at Zulu, Scratch,
Noize to Go, and Red Cat Records.
19+ with ID - Doors 7:30 pm
Tickets available atTicketmaster.ca
or charge by phone 604.280.4444
19+ with ID - Doors 8 pm
Tickets available Zulu, Scratch, and Ticketmaste
19+ with ID - Doors 8 pm
Tickets available Zulu, Scratch, Highlife,
Noize to Go, Redcat, and Beatstreet.
19+ with ID - Doors 8:00 pm
Tickets available at Zulu, Scratch, Highlife,
Noize to Go, and Red Cat Records.
19+ with ID - Doors 8:00 pm mrr
Tickets available at Clubzone.com and L'Tdr
at the door.
19+ with ID - Doors 8 pm
Tickets available Zulu, Scratch, Highlife,
Noize to Go, Redcat, Boomtown, and Beatstreet.
19+ with ID - Doors 8:00 pm
Tickets-available at Zulu, Scratch, Highlife,
Noize to Go, and Red Cat Records.
19+ with ID - Doors 8:00 pm
An Eclectic Cascade of Soulsonics
Hip Hop - R&B - Reggae
Block Rockin' Beats & Dance Classics
Top 40 - R&B - Hip Hop - Dance
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Discorder   19 NO BAND IS AN ISLAND ___
by David Ravensbergen
With the recent election of Prime Minister Stephen Harper, Canada's shaky sense
of identity has once again been called into question. Just as the image of Canada
as a voice of reason in an often irrational international community was starting to gain
momentum, we elected to dip our toes in the murky waters of social conservatism. Polluters
continue to flout the Kyoto Accord, and our soldiers in Afghanistan are keeping it real,
but it remains to be seen if they can keep the peace. In short, Canadians everywhere are
waking up to the fact that we may not actually be as cool as we had thought.
While politically we
don't measure up to our
own   idealistic   imaginations, we'can take solace
in   the   growing   strength
of   independent  music   in
Canada. If we are to be a
.nation in decline, at least we
can go out in style with Black
Mountain's  "Faulty Times"
providing the soundtrack. The
Vancouver band is only one
example of a recent swathe
of Canadian artists storming
is the
hearts of listeners the world <
Beginning   with   the   opening
salvo of Broken Social Scene's
widely acclaimed 2002  album
You Forgot It in People, Canadian
indie  releases  from  bands  like
Arcade Fire and Wolf Parade have
lent  our  insecure   nation, some
musical clout.
But the flash in the
of a couple bands from Montreal is by
no means the definitive story. While it
is tempting to defer to iconic cities like
New York or Montreal as the arbiters
of good taste, paying too much attention
to status serves only to stifle creativity. In the early
years of the decade, Toronto musician Jonny Dovercourt
decided it was" time to combat his city's inferiority complex and
embrace the diversity and talent of the local music community.
Dovercourt devised the term "Torontopia" as an impetus for
a healthier music scene, one concerned more with fostering
unity than competing for scraps from the press table. Stopping
short of declaring Toronto as an actual Utopia, the basic idea
was to recognize the city as a hotbed of artistic possibility. As
Carl Wilson .of the Globe and Mail describes it, Torontopia was
meant as a rallying cry, a declaration of shared intent "which
had to do with doing it here, doing it now, and doing it with
whoever else felt the same way."
Despite the success of Dovercourt's weekly concert series
Wavelength and the rapid growth of Three Gut Records, the
concept of Torontopia has recently fallen into disrepute. As bands
like Broken Social Scene, The Hidden Cameras and Death From Above
1979 flourish in the media spotlight, the scene's grassroots ethic is
inevitably diffused. What started out as an experiment in openness
has begun to devolve into another indie clique, as sprawling guest
lists and incessant hype rob the scene of its spontaneity. In
i the outside world's recognition of Toronto's thriving music culture has
undermined the potential of the Utopian drive. Yet the term remains
useful as an approach to making music, and suggests the possibility
of developing a creative commons in any city, at any time. In Victoria,
labels like Self Righteous Records and Aaargh! Records are working
hard to will that possibility into being.
When I first think of music in Victoria, I envision an enclave of our
below the radar has its benefits. "I think when one separates oneself
from any pressing urgency as far as musical popularity is concerned,
one can easily realize that Victoria is as good a place as any to develop
musically and creatively, if not an exceptional place," says MacDonald.
"It's almost for the better that there are fewer distractions such as the
prospect of temporary success at the hands of Canadian indie buzz
Aaargh! came into being on February 3rd of this year as a creature.
of necessity. While his label's name suggests the frustration inherent
in the music industry, MacDonald insists that the inspiration stems
from a tattoo on his lip, done in true punk style with a safety pin and
Indian ink. Wanting to maintain the DIY sensibility of punk rock but
dissatisfied with Victoria's legions of apathetic "drunk punk devotees",
MacDonald and company realized that if they wanted to see the quality
of local music improve, they would have to do something about it
themselves. What initially began as a loose collection of artists intent on
making their music heard has developed into a full-fledged label, albeit'
one concerned with making silk screens, buttons and posters as much
putting out records. "The things
we find ourselves most
able and pressed to
devote   ourselves   to
are  things  that  we
'can't find,
and therefore need to
produce    ourselves,"
explains MacDonald.
guishes Aaargh! from
other independent
imprints is the amount
of life force invested
in each recording.
While most labels
tend to consider their
albums as "manifest
objects," commodities
which disguise the love
and labour that went
into their production, ',
Aaargh!    is    con-
past, with a few former
Greenpeace     activists     or
grizzled draft dodgers stiumming Neil Young covers at a local open mic.
e that picture is wildly inaccurate, and can be quickly dispelled
with the mere mention of Hot Hot Heat, NoMeansNo, Chet and Frog
Eyes, names dripping with contemporary relevance. But with the
proximity of Vancouver and its own list of prominent music-makers,
Victoria often gets overlooked. If Vancouver is the terminal city then
Victoria is what lies beyond, an addendum to the story of mainland-
focused West Coast culture. For those accustomed to judging a city's
musical worth by its reputation, such relative obscurity must seem
unfortunate. But for Joey MacDonald of Aaargh! Records, working
'.    ...«*-•
20   April 2006 cerned with the creation process as much as the finished product.
"Whether it was our initial intention or not, the albums we've dealt
with and produced have been so tightly interwoven with the lives of
those who've made and recorded them that it's almost frightening,"
says MacDonald. This personal obsession extends from recording all
the way through to album packaging. On the Aaargh! Annual Year One
compilation, the clothbound cover and ornate illustrations provide a
lovely complement to the diverse selections contained within. The disc
begins with the menacing, off-kilter accordion jam "Blue Witchery"
by Run Chico Run, and wraps up with "Aloha!" by Himalayan Bear,
. a Canadian take on ukuleles and the Polynesian state of mind. The
genre-hopping in between thwarts any attempt to pinpoint a single
Victoria aesthetic, although MacDonald hints that it all might just boil
down to "the sound of resigned punk rockers turning to Neil Young for
spiritual and musical guidance." Maybe I was right after all.
Conceived around the same time as Aaargh!, Self Righteous
Records represents the flip side of the DIY picture: the warm sense
of satisfaction to be gained from making music without corporate
supervision. T>r perhaps the name is an ironic reference to the
holier-than-thou hipness of indie labels enamoured of their own
independence. Presented with my grasping interpretations, label
head Jesse Ladret admits some interest, but claims he just chose the
name because it sounded cool. As a graphic designer, show promoter,
and editor of Brand X Media, an online arts and music magazine,
the dilettante Ladret has good reason to feel self righteous. Together
with producer Myke Hall, Ladret founded the label as a common
sense response to his existing connections with the local scene. Citing
six degrees of Kevin Bacon, Ladret fondly describes Victoria's music
culture as incestuous, a feature that allows for a good deal of cross-
promotion and cooperation between labels and bands. On Cavalcade
of the Scars, Self Righteous' latest compilation, the familial love shines
through: Chefs Ryan Beattie sings backup on a David P. Smith track,
Lily Fawn of Hank and Lily plays as a member of Meatdraw, and Joey
MacDonald's band Away, Ri'o! lends the haggard beauty of "Song
Although Ladret sees collaboration as an essential component
of Victoria's music culture, he prefers a more traditional label to the
idea of an artist-run collective. Looking to the Torontopian model,
collectives run the risk of becoming bloated cliques as their popularity
increases. "I'd like to think that the bands and the label itself don't
really want to be a part of some sort of elitist, scenester entity, and
if we did, it'd be embarrassing to us and those around us," explains
Ladret. Self Righteous' response to the problems of the mainstream
music economy relies more on the records themselves than any kind
of alternative business structure. "I think people creating any sort of
art just for the sake of creating it is a fundamentally subversive act,"
says Ladret. While Aaargh! clearly promotes a similar sentiment,
they also try to make their politics more explicit by donating 8.5%
of the net worth of all label materials-to charities that promote .
sustainability and animal rights. "That aside, I think oddly enough
we all had younger days where we were avidly into productive punk
rock and peace punk/anarchist activities, which has had a strong
effect onour pop sensibilities," reveals MacDonald.
Aaargh! fs belief in the power of pop radiates from the upcoming
Himalayan Bear album Lo Lonesome Island, a side project of Ryan
Beattie. The gentle island sway of Hawaiian tropicalia manages to
trump its own ironic tendencies, thanks largely to the elegance and
honesty of Beattie's voice. The disc's distinct island temperament
sings of seclusion and resigned hopes, but the beauty of the sparkling
ocean is ever-present around the lonely edges. On the Self Righteous
side, loneliness prevails as David Chenery prepares a new album of
subversive country with the help of the Lonesome Valley Singers.
Recording on the bottom of an island in Canada's westernmost
reaches seems to have made loneliness something of a leitmotif in
Victoria's music. With Chenery, the lament of solitude stems from
his removed status as an entirely unique musician, combining equal
parts drunken whimsy and myopic visions of the apocalypse. "I
figure anybody who spends equal amounts of time fawning over an
old Deicide album as they do with Iris Dement LPs is basically going
to come out of the trance with a pretty weird vision of the i
making process," says Ladret, trying to summarize Chenery's sound.
The upcoming album promises a greater range of instrumentation,
with horns, violin and pedal steel guitar adorning songs of empathy
and desolation.
To borrow a concept from Situationist Hakim Bey, Victoria is
poised to become a Temporary Autonomous Zone (TAZ), a city where
established musical conventions are being challenged by groups of
uninhibited musicians. Bey believes that the revolutionary potential
of everyday life can be awakened once people realize their ability
to create outside of the imperatives of top-down culture. With the
lawdpgs at the Legislative Assembly in town, Victoria won't ever be
quite as free as the hash-hawking anarchists in Christiania, a semipermanent Danish TAZ, but the potential is there. With bands like
Himalayan Bear and DavidChenery and the Lonesome Valley Singers
set to release albums in the coming weeks, Victopia can't be far off.
by Julie Colero
photographs by lauren scott
Jt was the Spring of '97,1 believe, when I first met Colin Stewart of the Hive. He was a friend of a friend
of a friend, and it didn't really look like he'd ever be much more than that, as the man was as shy as they
come, and pretty much ensconced in the basement life. Colin was riding high on his fledgling studio's first
success story: The Ids. The Vancouver three-piece, a staple at the (sugar refinery), was destined for big
things and had recently been signed to Nettwerk Records, home to super-diva Sarah McLachlan. The Hive,
a little nowhere studio with engineers who took the time to record with bands who didn't have the money to
pay up for anything other than (hopefully) the tape they recorded on, had struck major label gold.
"That Ids record became the least-selling
album in Nettwerk history!" jokes founding Hiver
Rob Leickner, a statement that comes easy nine
years after the broken-hearted fact. Terry Stewart,
Colin's wife and business partner since the early
'00s, has invited me out to the studio's new digs
in Burnaby on one of February's wetter nights to
participate in a reunion of sorts.-1 found myself in
Studio A's spacious control room with Rob (who now
works on independent films and is putting together
a documentary about the PNE's Super Dogs), Colin,
and herself. The Ids never really panned out for
die Hive the way Colin and Rob had hoped at the
time, but now it's the spring of '06, and the Hive is
doing better than ever. Ten years on from its humble
basement beginnings, the Hive is busy, busy, busy
and has rightly earned itself a shiny reputation
with artists at home and away.
"Every major city has its own 'hive'," comments
Colin early on in the evening's stroll down memory
lane, as he tries to provide likely grounds for why
his studio has flourished. But did he really expect
his Hive to be Vancouver's "hive", in that sense?
"Honestly, nol" he jokes. Rob and Colin, who met
when they were "humping gear" for their friend
Terry Miles' band Cinnamon, felt that Vancouver
was lacking a proper studio for indie artists. "There
was nothing going on in the city, but there were
all these great bands. We thought, 'there's gotta
be something we can do.' We figured we needed a
studio to record Terry's band...and there was a Cub
side-project that needed to be recorded." Much
laughter ensues. Rob's use of the word 'need' tells
you a little something about the way things came
about—there really was no other option but to take
things into their own hands and get the job done.
When Colin tries to put his motivation into words,
it's totally charming; "It's always those young kids
that are making music beyond their years. Those,
are the ones I'm always interested in. You know that
you'll make that first one or two awkward records,
and then you'll make the really good one, but it's
worth making the awkward ones to get to the good
One of the Hive's first awkward recordings was
for The Ids. In a story that repeats itself again and
again throughout Hive history, a gifted, perhaps
visionary singer-songwriter (in this case, Sean
McDonald) found his way onto the Hive's doorstep,
and his music inspired the Hivers to take a chance.
Explains Colin, "The Ids, which was really Ihe first
major thing we did, was six months in...[We told
them] 'We don't know what we're doing, so we'll
record you for free.' I recorded the record and we
gave it to this friend of Rob's who ended up being
an undercover scout for Nettwerk. The next thing
we know, we've got the vice president for Nettwerk
totally in love with this kid."
The Hive teamed up-with Nettwerk to release
a 7" single, financed by Nettwerk but bearing a
Hive label, because "they wanted it to look indie,"
according to Rob. Lo-fi recordings were all the rage
at the time, with bands like Sebadoh coasting on
careers made of half-baked home recordings, and it
made sense that the majors were trying to buy in.
What looked like a godsend turned into a nightmare
as The Ids' full-length recording, Psycho Babylon,
fell flat with audiences outside of the Vancouver
scene. Colin and Rob learned an important lesson,
although it took a few failures (just ask them about
Kym Brown): steer clear of major labels. "For the
longest time I couldn't listen to The Ids," says Colin,
but thankfully the years have healed those wounds.
It turns out that The Ids have done good things for
the Hive, even if they didn't make the studio any
money. "A lot of people came to the Hive because
of The Ids," attests Rob, citing friend and engineer
Jordan Koop as proof, and Terry backs him up.
"Nick from P:ano thought the lyrics were great."
Nettwerk came knocking again some years later,
this time chasing P:ano side-project Burquitlam
Plaza, and Terry, arguably the most business-savvy
of the Hivers, didn't even give them the time of day.
Colin's relationship with his recordings is often
very intimately tied to the reactions they garner.
Strange, then, is his willingness to put his name
to records that sound...bad. "Almost every record
that I do gets criticised for sounding lo-fi or like a
demo, but somehow bands keep on coming to me.
There must be something else there," Colin muses.
"What's funny is that a lot of people I record don't
care about the way things sound. Maybe I have
the reputation of being an engineer who's willing
to have something sound bad, in a sonic sense, as
long as the performance is good. If you think about
it, a lot of the records you love actually sound really
bad, but purely in a sonic sense, where the music
transcends that." An example of this is found in his
working relationship with Nick Krgovich of P:ano.
When I spoke to Nick Krgovich, he couldn't
quite put his finger on how his connection with the
Hive came into being. "Was I in high school still? Do
you remember?" he asks, and it sounds about right
to me. I met Nick back when I was Music Director at
CiTR and he showed up with a homemade tape in
tow, requesting airplay. I was happy to comply, as that
tape contained early versions of some of the songs
that would end up on P:ano's first CD release, When
it's Dark and it's Summer, songs that today remain
favourites to many. "P:ano were certainly a band of
just friends from high school then, and we played
sporadically. The-show I met Colin at was [when]
we played at the Brickyard." As Nick remembers it,
"we were loading outside, 'cuz I guess we had to go
home to bed, because we had to leave as soon as we
finished playing, and Colin was in the line-up and
he hopped out of nowhere, like out of some sketchy
alley, just like 'I've heard all about you> I loved your
set, I wanna record you, here's my number.'" Like
I've said, the Hive likes the boy geniuses. (I'd like
to think that I played a matchmaking role in the
P:ano-Hive romance, something Colin alludes to
during our conversation but I'm hesitant to pursue.
It does look like my gushing may have paid off for
once, though.)
"We had no concept whatsoever of recorcUng,"
continues Krgovich. "We had no idea that a mic
would pick up a sound a certain way. We were so
ignorant of that process. We thought we were
making perfectly fine recordings onto tape decks
and onto the computer above our drummer Russell's
garage in the summertime. The idea of going into
a studio was just this far-flung thing at the time. I
think it took a few months before I actually called
Colin and inquired about it." And so another
budding singer-songwriter found a home at the
Hive. When it's Dark..) was recorded in the basement
du jour and released on Hive Records to great
success. Terry says that according to Keith Parry
of Scratch Records, who helped with distribution
22   April 2006 and continued to help throughout the Hive-Fi
Recordings years, that album was one of the best-
selling Scratch distribution titles ever. It's currently
out of print, but not for lack of public interest.
Based on North America's warm reception to P:
ano, things got a little out of hand when it came
time to record Album Number Two.
The Den caused some sleepless nights in the
Hive house at 5th and Nanaimo. P:ano had been
given a Canada Council grant, and Krgovich had
lofty aspirations as to the sound he wanted, and
the liberty to do things just*ight. "When we were
recording the first record, I was just such a hippie,
like, 'let's do this vocal track in the back yard!',
or, like, I'd play a note on the organ and it was
making one of the furnace pipes rattle, and I'd be,
like, 'I really like that! Why don't you put a mic up
there?' Colin still does this—he'll give me a face,
but then he'll do it. He totally humours me, and I
think that that's a major part of...people need to do
that when they work with me, 'cuz I often have a
lot of, not bad ideas, just ones that one might find
silly." Terry credits this record as being the reason
why the Hive had to move out of the basement and
into a building separate from their living quarters.
There were nights-when she would notice the spot
in bed next to her empty, Colin parked in front of the
mixing console in the basement, fiddling away.with
the layers of recorded sound in all their intricacies,
trying to create the perfect record. If you've heard
the record, you'll know that Colin's dedication to
the task paid off. "It doesn't take much for [Colin] to
understand what I'm trying to go about doing when
we're in the studio. He gets there, at some point or
another," explains Krgovich, who continues to work
with Colin whenever possible.
Until recording The Den, basement studios had
always been well suited to the Hive's modus operandi.
Hives A, B, C, and D were all in living spaces
spread out across our fair city. The only material
catastrophe to befall the studio was at Hive B, and
is something that Rob refers to as "The Great Studio
Flood of Christmas 1998." According to Colin,
"Everyone went on holiday and the pipes had frozen
in the house. We left the tap on in the bathtub, and
then the landlord brought in some contractors to
work in the bathroom, and they left the plug in the
bathtub. I got a call saying 'you have water flowing
out your back door!' Water was pouring down onto
the console and spraying on all the gear. Lucidly, for
some weird reason, I don't even know why, I had
unplugged all the gear." Crisis averted. Hive D, "the
best Hive," if you believe Rob, where they recorded
Hot Hot Heat, Destroyer, the first two P:ano records,
Ashley Park, and Radio Berlin's second and third
records, also suffered from flooding.
Not all crises are as easy to live through as a
little bit of water damage. Without going into too
much detail (read: I was afraid to ask about it), it's
worth mentioning that the Hive has lost musicians—
and friends—to suicide and drug addiction over the
years. The lossjof Adrian Rout, percussionist for The ,
Ids and a solo performer under the moniker Chruth?,
in T999 hit Colin and Rob particularly hard. I can't
help but think that the (sugar refinery)'s closing [at
the end of 2003, I think—the years have gotten
fuzzy] must have been a downer as well, as many
of the musicians who recorded at the Hive made
names for themselves by performing regularly at
that charming locale. Hive regulars Beans and The
Secret Three were so entirely suited to that space.
Ida Nilson, former Hive roommate, (sugar refinery)
employee and owner, and regular Hive musician,
muses, "I don't remember thinking about this much
at the time, but certainly both places provided an
environment for certain kinds of music to develop'
that may have gotten lost in the shuffle otherwise.
I'm sure both places would have been different and
less interesting without each other."
Rob cites recording Beans as one of his Hive
highlights. Ida's recollection of those recording
sessions hints at the painstaking care and attention
that Rob and Colin provide when they're working
with artists they're passionate about. "When I
first came to the Hive in '98 it was pretty much
constantly keyboard jams and hot knives. While
recording what became the Beans records Crane
Wars and Tired Snow, I remember spending an
afternoon dripping water into different jars and
listening to it with max reverb in the headphones.
'We had a lot of time then. Too much, probably. I
appreciate how Colin prefers to capture the right
sound as you record instead of working on it after.
He's quite traditional and it makes recording simpler
to me. Also I think he is naturally gifted at capturing
a certain quality of sound."
But let's get back to the basement, or the move
out of it. Four basements and seven years later, (he
Hive was ready to go above ground. They found a
dream-come-true location out in Burnaby (short-
term home to a studio that had gone broke after
putting in the $10,000 window between the studio
and sound booth—alright!) and decided that, in
order to pay the rent, it was time to look for new
In the Hive's early days, Colin and Rob had
been joined by studio partners Jim Routhier and
Travis Lacombe, both of whom left the business
prior to the big move. In order to make the move
financially viable, Colin called upon colleague Jesse -
Gander, who was recording out of Profile Studios
for his own company, Rec-Age Records, and asked
him to join the Hive team. "When the Hive asked me
to join them, I asked 'Can Stu come too?'" says Jesse,
when I finally reached him for a chat. He's referring
to the Hive's night-owl engineer Stuart McKillop,
master of the pop-punk and hardcore recordings,
originally a master of mastering at Rec-Age. And
thus the current Hive engineering trio was born!
According to Jesse, expanding upon a comment
made by Colin, the Hive works on a sliding scale like
so: "What you see is what you get with Colin. He'll
print the effects. Once a sound has been established
with Colin, then that's the sound of the record.
With Stu, it's all about getting clarity at the source
and changing that to be as large as you can make it.
It's quite the uber-production. My influence comes
from 80s indie rock and 80s punk, because that's
what my taste leans towards. Most of the records I
record are tracked live, but I tend to do more work
in the mixing stages. I will use Pro Tools and effects
and stuff—I lite to mess around more. Sean Maxey
from the Doers says I go for the loud vocals and
drums." Most bands interested in recording at the
Hive know who they want to work with based on
familiarity with the engineers' work and a whole
lot of word of mouth. "I'm ending up with bands
that just want to sound lite themselves," continues
Jesse, rather proudly. "Colin loves 60s recordings
and he loves that particular sound; dark reverbs.
Stu likes the very modern sound." Bands know
what to expect when they lug their gear through
those big Burnaby doors.
There is so very much I didn't cover, couldn't
• possibly cover, in this article. Look for ihe exciting sequel
next month, as the history lesson continues with Hive- '
Fi Recordings, home to Great Aunt Ida, fohn Rae and the
River. P:ano, Chet, and sometimes Thanksgiving. There
are probably tons of other bands who 1 ought to have
name-dropped, but since I didn't, why don't you? If you
have any special Eivememories you'd like to share with
the world, send them o Goldenvoice Presents
DVD Features
performances by:
Available April  18
The Arcade Fire
Belle £* Sebastien
Bright: Eyes
The Chemical Brothers
The Crystal Method
The Flaming Lips
Iggy & The Stooges
Kool Keith
The Mars Volta
IMu-Mark & Cut Chemist
The Polyphonic Spree
Red Hot Chili Peppers
Saul Williams
The White Stripes
Zero 7
And appearances by:
Josh Homme
Mos Def
Perry Farrell
[*l0i R_60*D*   t
bv Band? we Lov£ /
ftettovi S   P*tAtrt
^ASf/e   frtjeti
f A_#Crl
APRIL 0? @ Railway
(Jade Tree/Seattle)
APRIL 16 @ Railway
APRiL 29th
(1019 Seymour St.)
POORFOLK (Montreal)
*_\\        •»* I \V 0^>\
for the love of rock & roll,     new site and videos at http://whitewhale.ca
ail albums available in stores and as digital downloads on Zunior.com and MapSeMusic.com
white whale
goodnight nobody .    m
April 18 - Zulu instore
April 19 - Media Club
w/ Radiogram * Shotgun and Jaybird
April 20 - Victoria @ Logans
ml Radiogram + Shotgun and Jaybird
April 21 - Langley @ Mnnrayfille Mall
W/ Jonathan Inc. + Cran (216S7 48iii Ave}
tet it grow
April 27 - Richards
w/ Paper Moon
/ana Hunter's music is haunting,
bewitching, unstable and addictive,
and unearths subterranean emotions and
paranoid joys. When I put on headphones
and play "All the Best Wishes," the opening
track from Hunter's newest CD, I feel like
I'm in church, but I also feel like I'm floating
in the clouds, watching water droplets rush
by in slow motion. A perfect setting for
this CD would be on a trans-Atlantic flight,
allowing yourself to melt away from the
world of crying infants and pesky in-flight
attendants, transmogrifying your insides
with this other-worldly folk while the earth
stands still.
In the interview I did with Jana Hunter, she seemed nonplussed
by the current "freak-folk" label being applied by many music writers
to Devendra Banhart and company. For me, her association with
Banhart is merely a plus, something I realized after getting into her
new CD Blank Unstaring Heirs of Doom. Buried beneath the album's
muddy sounds, rough mics and four-track recording techniques lies
a hypnotic and occasionally scary take on folk music. It's scary like a
haunted house or late-night ghost story, the good kind of scary that
makes you look out into the darkness between trees and huddle closer
to the fire. Hunter's voice grates against the limits of the microphone,
occasionally distorting under the immediacy of her delivery and the
power of her singing. Blank Unstaring Heirs of Doom is a ramshackle
jam for weirdo folkies everywhere.
Being a bit of a weirdo folky myself, I felt compelled to interview
Hunter before she came to town on her current tour. Our brief
correspondence didn't yield as many answers as I had hoped. But
I did come away assured that Jana Hunter is a serious artist who is
independent and committed to making music outside of the pressures
of critics and music nerds like me.
. What are your other musical projects and engagements, aside from tour
current solo MATERIAL?
Several things. Growths. A half dozen friends that I make music with
very sparingly, cause I see them so little. Examples are Jracula, which
is scarier, and Sush, which is nicer. I hope to get releases together by
these and more this year, but they might remain on the order of CD-Rs
handed out to friends.
Well, there isn't a single character. Each song, or more often a small
group of them, is of a character. The songs from the split with Dev
[Banhart] are kind of hysterical, community types. Even "That Dragon
is My Husband," there's a hysterical mind behind it. The effects of
boredom and some level of paranoia are represented in most of the
things I make.
by Arthur Krumms
What is the main difference between the sound of tour recordings and
when you play a live show?
The songs are more rehearsed, and looser, deliberated upon long
by the time they're performed live. I think they, sound cockier.
Sometimes drunker.
What kind of sounds did you grow up on as a child?
Neil Diamond, ABBA and Crystal Gayle reels. Older siblings' Prince,
10,000 Maniacs, REM, and Smiths tapes. Kenny Rogers.
Yesl My brother, John Hunter, is coming along.
In what way do you prepare for a live performance?
I haven't really much in the past, when playing solo. Outside of a shot
or two just before the stage. Now that I have company, I suppose we'll
>u write. Can you describe
Religious references are present in ti
the way religion affects you?
I grew up in religion. That shit is tough to shake. And even if it weren't,
I'm still pretty fascinated.
On tour album Blank Unstaring Heirs of Doom, the track "K" stands out
That's an old song, an old ballad, redone under the influence of my
friend, Simeon. The difference is Simeon.
Where was your best or worst concert you have played and why?
One time, with Matty & Mossy, I was sick in all possible ways, couldn't
sing and had to run to the bathroom a couple times during the set.
Totally sucked. We were in the south somewhere. Maybe Charlotte.
Based on your own experiences moving from Texas to Brooklyn, what is
your advice to somebody who moves to New York for the first time?
Try to play croquet in Prospect Park as often as possible. With Simeon.
In the past few fears, a huge movement of online music zines, both large
(Pitchfork media) and small-scale (various bwgs), have allowed an
unprecedented number of people to read about new music and be exposed to
I don't know. There's equal or greater opportunity for putting your
music into the digital realm. I'd think that'd have an effect, but not
necessarily the criticism, unless people are' reading to see how they
should create in order to earn praise. That's a terrifying thought. Friends
I have who are more concerned think the general proliferation of access
via the internet has spurned creativity. And that maybe becomes an old
conversation, about art for art's sake.
Pursuing music as a not-career. Going to school. Having kids.
Many of the tracks on Blank UnstaringHbirs of Doom and the split release
with Devendra Banhart were recorded on 4-track tape. Can you tell me a
bit about home recording?
Recording drunk or otherwise in my bedroom in the middle of the day or
night is just remarkably satisfying. Working up the frenetic momentum,
talking aloud, dancing. I guess these things are just a
studio but I hate working past the gaze of another.
ie title Blank Unstaring Heirs of Doom?
It's a name I gave to a group of friends. It suits them. They're pretty
grim, but they're also pretty goddamn fimny about it.
In what way does your classical background inform your musk?
Heavily. In a good and bad way, I will always think in its structure, I will
likely never improvise worth a damn. I'm so glad to have it. I think its
being so dramatic is a big part of my being the same.
That was amazing. It was an honour and a pleasure to play with Ray
and to travel with him. He's good people. I like his music very much and
it was good to see that others appreciate it as well.
One of the things that dre w me to your music was the haunted quality op the
recording and of your voice. as well, in an article on dustbd magazine you
- enthused about the fact that an artist "may be haunted." what is it that you
like about this haunted quality?
Ghosts are rad. fl=»
26   April 2006 UN
.^    £
m 9
"We make ritual noise... We build
cities of sound/ We feel the rhythm
of time..." With a manifesto
leading off their sixth album,
Sweden's Covenant has crafted
one of its most consistent
releases to date. Working in
the area of electro-industrial,
Covenant's sound is a form of
easily accessible, club-friendly,
The album features several
potential club killers in that
"standardized electro-industrial
club killer format including
"Brave New World," "20 Hz," and
"RitualNoise," the lead-off single.
These songs are exactly what
you'd expect and want to hear
from Covenant, the ones you don't
have to hear to know how they're
going to go: solid, catchy, and safe
120-140 BPM tracks.
A few songs stray from
this structured form and start
to fall into trance territory. This
includes "Spindrift" (with female
operatic/ritualistic backing
vocals-how many goth/industrial
bands have tried that?), "The
Men," and the best track on the
album, "Sweet and Salty." This
spoken word track has abstract
lyrics that perfectly compliment
the music; the beats are solid but
the vocals and the music remain
quiet, dark, and subtle.
lake many bands in this
genre, Covenant feels the need to
drop in the odd obligatory synth-
pop ballad (why?), which are
predictably the weakest tracks on
the album. "The World is Growing
Loud" meanders without ever
hooking and "Happy Man" (don't
worry kids, the title's ironic) uses
a ridiculous boppy synth line.
Overall, this is a mostly solid
and enjoyable album with a lot of
strong songs that safely occupy
the realm of electro-industrial
without testing: its boundaries.
Not new, but not bad.
Charlotte Bourne
Hawksley Workman
At War with the Mystics
(Warner Bros.)
We live in reactionary times.
People form a stance all in an
instant and then entrench
themselves, often in contradiction
to whatever they truly feel. So in
the case of the new Flaming Lips
album, I'd hke to make something
explicit from the outset: all at
once, this album does and does not
deserve the reactionary opinions
it's going to receive. You're going
to feel something towards this
album that may be in direct
opposition to disappointment,
but you're probably going to be
The first thing you're going
to wonder about when you play
this album, as it opens with the
underwhelming "Yeah Yeah
Yeah Song," is what's going
on with Wayne Coyne's voice.
Throughout At War with the
Mystics, his typical falsetto is
either absent, lowered to a more
manageable octave, or slightly
masked by production, forcing
the band to rely more heavily
on instrumentation. "Yeah Yeah
Yeah Song" fails as an opener,
unable to evoke much interest
or excitement in the album to
But then gears shift entirely.
"Free Radicals" will be cited
by some people as their least
favourite Flaming lips song
ever, but frankly, it's great. The
beat is a juggernaut, staggering
and crunching along as studio
alchemy adorns every second
with a hyperactive surprise. It
could be an anthem if it weren't
so weird.
The Lips prove that they can
still set an astral mood with the
eerie instrumental conclusion of
"The Sound of Failure/It's Dark...
Is It Always This Dark??" But the
album as a whole doesn't really
begin its brief flight until "Vein
of Stars." Guided by a simple
acoustic guitar, the song employs
a wahrwah pedal to deliver
its most potent hook before
ascending, halfway through, into
what unfortunately reminds me
of the theme for Star Trek, before
rejoining its original trajectory.
"The W.A.N.D." and.
"Pompeii AmGotterdammerung"
are the most fruitful duo of the
record, arriving at the end. The
former is the big, rock-steady
sound of summertime, the song
that really should have opened
this record, and the latter is the
only number that captures the
potential theatrics of a title like
At War with the Mystics. The bass
triumphantly leads the charge
as guitars surge upwards and
then explode, rattling the song
as though something massive
has shattered, dissolving the
momentum and then soaring
to the album's plateau with an
elated,    extraterrestrial   guitar
But the good on here needs
to be determinedly sought out.
Because regardless of these
moments, these flashes of
brilliance, there is something
distinctly lacking here. Rather
than satisfying a hunger for
the same kind of alien genius
displayed on previous albums,
At War with the Mystics serves,
it feels, merely to whet your
appetite. It leaves you grasping at
straws, helplessly sifting through
the tedium and loose ends for the
band you love.
Mike LaPointe
Carnival Folklore
Resurrection 14: Static
From The Outside Set.
The Sun City Girls are one of the
weirdest and most anomalous
bands out there—weird in a
challenging the status quo kind
of way. Static From the Outside Set
is the latest in their self-released
Carnival Folklore Resurrection
radio series. The album takes the
form of an uproariously funny
one-hour radio show, originally
aired on 'On the Wire', the
alternative music show on BBC
Radio Lancashire.
Hosted by the "spirit of
film legend Cantinilas, the
"Charlie Chaplin of Mexico",
the radio show is composed of a
number of diverse and random
segments. The specially prepared
radio snippets slide easily from
otherworldly to world music.
From one moment, a ramshackle
blues number that barely holds
together: to a fake advertisement;
to a free-form psychedelic freak
out; to a teen summer anthem;
to bizarre rhyming poetry;
to "Sacrifices in the USA", an
elucidative news clip professing
that political and religious leaders
sacrifice children. It's easy to see
why a realistic listener may find
the Sun City Girls alienating.
Undoubtedly the most
hilarious piece is "Lester's
Dictionary", featuring a hip
and happening groovester who
provides licentious definitions to
life's pertinent words. Of comic
note also is the studio cover of
"Gimme That Wine" performed
as a humorous Elvis-style spoof.
The Sun City Girls do
indeed provide an amusing and
enlightening break from what
ordinarily spews forth from
the radio. They give frequent
glimmering insights' into
'civilized' nations, and challenge
commonly held assumptions
by voicing opinions you would
not ordinarily hear. Static From
the Outside Set is a delightful
document of obscure sounds,
opinions and creations. It is
natural human expression'
without subjectivity, , which
Lester defines as "limitations in
one's ability to express one's self.
A distraction, a trick."
Sarah Spencer
Panic When You Find It
(Mint Records)
Despite the bland grey of the
cover, Young and Sexy's latest
gift to pop is filled with enough
whimsy to make me want to
play paddy cake. A tickle trunk
of light ditties and lullabies
for grownups, Panic When You
Find It sets nostalgic melodies
against well crafted layers that
are dynamic but never overdone.
The darkness of the lyrics adds
an element of maturity to the
playfulness of the songs, making
the soaring elation of the
melodies and the .vocal interplay
between Paul Pittman and Lucy
Brain seem wonderfully eerie.
The standout opening
track "Your Enemy's Asleep"
sets a soldier's, (literal) hunger
for love (Your lips are bruised/
With a soldiers last caress) to the
backdrop of a wartime march,
while "AU The Little Girls And
Boys" sounds innocent enough
until Lucy's rich voice asks if
"the darkness will have its way
with them." For all its sinister
nuances, the album - mainly
explores the timeless theme of
love. Lyrical depth generally keeps
the theme from going stale, but
the performance is weakest when
the songs are at their most literal.
"Without Your Love" is lyrically
the most straightforward, but the
precision of the delivery left me
feeling rather unloved.
Still, if there were moments
more appropriately titled "Panic
If You Lose the Metronome" or
"Young and Sebastian Bach",
their perfectionism still made for
an enjoyable listen that rarely left
me cold.
Liv Fetherstonhaugh
(Stones Throw)
Officially released just three
days before J Dilla's surprising
death on February 10th, there
is a strong tendency to approach
Donuts as a record that is very
much bound up together with.
Dilla's premature passing. But
the album should be seen as it
stands: an extremely dynamic,
virtuosic and, quite simply,
incredible record, which should
go down an instant classic and
probably one of the best releases ,
of the year.
Unlike his only previously
released solo album Welcome 2
Detroit, Donuts is an instrumental
record without any newly
recorded vocals. Dilla does
however extensively sample
recordings of soulful singing—
from Jermaine and Michael
Jackson adlibs to familiar Beastie
Boys lines—which he then
manipulates and integrates into
his sound world. These samples
either function as moments of
rupture or punctuation as in
"Airworks" and "The New" or,
alternately, as a track's unifying
chorus, seen in songs like "Don't
Cry", "Two Can Win" and the
wonderful "U-Luv".
Without any raps to hide
behind, the listener is forced to
concentrate on the beats alone.
Through the course of this 31
track, 43 minute album, Dilla's
production is never repetitive
or monotonous. Indeed, the
range of this record is one of
its most amazing features.
The astonishing variety in the
production is due primarily to
two factors. First, the drums
(the foundation of any dope hiphop track) are always perfectly
selected, and Dilla somehow
finds a way to never use the same
breakbeat twice. Secondly, Dilla
creatively samples an eclectic
array of artists, mingling Frank
Zappa with James Brown.
Furthermore, the juxtaposition
of these disparate sampling
sources, flipped in such a singular
way, is itself thrilling. Simply put,
Donuts is essential listening for
anyone interested in superlative
and truly important hip-hop and
(post) modern music.
Graham Preston
Treeful of Starling
On Treeful of. Starling, Hawksley,
Workman abandons the path
established by the glossy
production values of his previous
two releases, moving instead
towards a rustic, candlelit sound.
Measuring a mere 36 minutes,
the new album strips away any
studio swagger, relying on sparse
piano melodies and lyrics nearly
childlike-in their simplicity. In a
shift reminiscent of the abrupt
sobriety of Beck's Sea Change,
Treeful of Starling reveals a man
bowed by the weight of the world,
tentatively in love but no longer
nourished by illusions.
range is still here, transitioning
easily from soaring falsettos to
cloying whispers, but his more
theatrical tendencies have been
clipped. The songs all adhere to
a similar tempo, providing little
opportunity for moments of sung
epiphany such as those found
on his brilliant debut, For Him
and the Girls. While the tracks
are all linked by a consistent
aesthetic, closer listening reveals
Hawksley's masterful use of
varied instrumentation to subtly
alter the tone of each song.
On "Hey Hey Hey (My Ottle
Beauties)", a playful harmonica
bounce gives optimistic ballast
to the realization that "life is
ugly, sad .and dirty." The sax
solo on the album closer "Ice
Age" strays dangerously into
adult contemporary territory,
but eventually resolves into a
fitting complement for the track's '
cautious elation at the end of
The prospect of the collapse
of our proud capitalist society
is the muse that inspires these
"hymns for a dying planet and
a culture in decay." Taking the
imagined beauty of the world
before human interference as
their starting point, each song
varies between nostalgia for
a post-apocalyptic future and
longing for a simpler life, "before'
clocks kept track of the time." The
same irrepressible poetic whimsy
seen in his earlier work governs
each song, but has been tempered
with a degree of resignation.
While 'the folky arrangements
and straightforward lyrics are a
step away from his old endearing
eccentricities, Workman's conviction that one day "the truth
will be like a parade" makes for a
compelling listen.
David Ravensbergen     --~
Discorder   27 REAL!
The Animal Collective
First Nation
March 1
Commodore Ballroom
The Animal Collective showwasvery divisive. I mean,
some people loved it, some people hated it, some
people left, and most people were put off by Barr, the
opening performer/MC. For me, I was in a haze of
smoke so thick I could cut it with my interest in the
show, which was razor thin before the Collective got
on. But then—wow, maybe I was high as shit—it felt
incredible to witness Feels, their most recent album,
live. The show gave me a new appreciation of their
work. It was a notable feat to pull off an impressive
live set—where they manipulated and extrapolated
upon their recorded material from the last three
albums—in front of a sold out Commodore crowd,
considering they were originally scheduled to play at
Richard's on Richards. From the opening moments
of "Banshee Beat" to the final end of "Purple Bottle",
the Animal Collective was off the hook in my book.
The performance was intense, and all four members
put their all into the night's numerous spazzy folk
Unfortunately, the opening acts, though
decent, were not up to the level of the headliners.
First Nation noodled around on some shimmery
beautiful riffs, but was- mostly noticeable for
appearing inexperienced and unsuited to the large
crowd. Barr, the opening MC, was likely a shock
to the system for most in the audience. His style
was perched somewhere between the emotive
expressiveness of slam poetry and the personal/
political consciousness of rap. His delivery was
what stood out most, as he didn't really ride the
beat so much as scream and whine along to it in
a semi-rhythmic way. The fact that he couldn't get
the levels right during his set also detracted from his
show, and was a problem for First Nation as well.
Maybe next time the opening acts can get a proper
sound check in before the show.
Arthur Krumins
Electric Six
March 14
Richard's on Richards
What is the first thing you think of when Electric
Six is mentioned? Is it the "superior culture trash
garbagemen" that dominate the stage with pop-
trash lyrics? Some might mention the political
contribution the band has made to the great North
American nation. For me though, I inevitably think
of synthesizers. What else would move me to dance
with the unquestionable furor that resides deep in
my soul? So when the band stepped onto the stage
and no synthesizers were setup, I figured it had to be
a joke. We all knew how this band likes to torture its
audience, and assuming it was all part of the show,
we stood there, waiting, dying with anticipation. Just
imagine the horror when Dick Valentine (lead singer/
dancer) brought up the dreadful truth spurring from
the culture-dictates of the evil border patrol that
half the band had been detained for being criminals.
Apparently Mr. Valentine was equally torn-up about
the situation, which he elegantly expressed in a moan
at the end of the show, "imagine what you're seeing
tonight...and then imagine it with synthesizers."
Trust me: I imagined, but it just wasn't the same.
Nevertheless, the show certainly had some
extra perks that wouldn't be available at any other
Electric Six concert. Eddie Spaghetti was the sit-in
backup guitar, filling in for Johnny Na$hinal, and
this guy was the most bad-assed cowboy guitar
player Whose ever hovered inches above my head,
strumming lackadaisically on that there guitar.
"Normally Electric Six is made up of white guys
from the suburbs. It's not everyday I get to share the
stage with a cowboy," beamed Dick. I could even
look past Eddie Spaghetti's atrocious singing in
the Radio Gaga cover, since his stealthy, cowhand
guitar strumming was so mighty impressive. Really
though, he was probably the coolest dude I've ever
seen on stage.  Plus, Mr. Valentine's dance moves
were like nothing I've ever imagined. The infamous
double-fisted-chest-pound-to-the-sky-punch in
constant repetition said it all, and the dance's
brilliant simplicity allowed the audience to catch
right on and dance in style, in rhythm, looking like
the white fools they were or weren't. What really
struck a note in my heart was Dick Valentines
constant "Nickelbashing". I've always said, taste
in music is equated with how much a person hates
After ten or so minutes of giving praise and
love to the drummer (which every lead singer
should constantly do during performance), Dick
finished the show by lying down flat on his back and
lifting his left leg into the air: up and down, up and '
down, up and down, for the final five minutes. The
crowd was left in awing disbelief and joy when the
band left after that remarkable piece. Cheers soared
and back came Dick with attitude, who proceeded
to he right back down on the floor in the same place
kicking his leg up and down for another five or ten
minutes. All I can say is the crowd "dug it."
After a long night of hard dancing, I came
back one happy fan. Even though I was sorely
disappointed by the lack of synthesizer, Dick
Valentine can truly impress on every imaginable
level. "Backstreet's Back" even made its way into
the lineup, which pierced right through to my 14
year-old soul when dancing was still naive and
uncoordinated, so reminiscent of Valentine's own
dance repertoire. The encore closed on the highest
possible note with "Dance Commander," a song I've
long admired.
It may sound like this band is extraordinarily
cheesy and somewhat bad, but I still can't help
but love the music and the performance for some
strange reason. The crowd seemed to feel this way
too, and illustrated it sufficiently with their constant
storming of the stage. Plus, if I feel this way, then
you absolutely must as well!
Sonic Boom
March 19
Western Front
The Sonic Boom Festival is an annual festival that
presents "new works by emerging BC composers."
I only got the chance to see the last night of the
festival, but the evening captured an astounding
diversity of sound and performance. The previous
night's performance was reported to be packed to
standing room only, so I showed up at the Front in
plenty of time to secure a seat for the show. The
building used to be a Masonic Lodge before it was
converted in the seventies to the artist run studio/
living space it is today The first section of the
program consisted of live performances that ranged
from a saxophone quartet (four saxophones) to a
work for solo viola to a final work for three cellos.
Each peice was different from the next. My favorite
work, in the middle of the section, featured a female
contralto, guitar, flute, piano and percussion, and
reminded me of a more abstract, academic Godspeed
You! Black Emperor.
For the second half of the program, the room's
8-channel system was put to use for the first time
in a collaboration between longtime Vancouver
soundscape composer Barry Truax and multi-
instrumentalist Randi Raine-Reusch who played the
traditional Japanese instruments the Ichigenkin and
Shakuhachi. The piece was meditative and ambient,
with complicated echoes of the live intsrument
supplementing their live performance. The next
work was an abstract duet between a cello and
wood block percussion, in which both instruments
seemed to be playing completely unrelated material-
After the somber excursions of the first two works,
it was a more ironic, light-hearted outing on the
next number. Stefan Smulovitz's "Long Black Cat"
was a poem set to music about a friend's deceased
cat. Read in a mock beat poetry style, it got a few
laughs when the narrator declared that the dead
cat was "the coolest cat" to jam-classical backing
from an ensemble of musicians. The final work of
the night was perhaps the most ambitious, with
four movements. "The Road Not Taken" began
as a jazzy ballad which became something like
TNT-era Tortoise in the second movement. The
third movement took the sound a step further into
fractured arrhythmic jazz and ended with an avant-
garde romp that made me think of the Planet of the
Apes for some reason.
Unfortunately-most people left before the
last section of the evening's show, and missed the
student pieces by composers in the SFU school of
contemporary arts. The three compositions, all
played on the 8-channel system, were an impressive
bunch, morphing sounds into heady voyages with
the lights dimmed. I had heard the final work of
the three before and appreciated it even more the
second time. Andrew Czink took for his source
material sounds of huge pieces of rock being
scraped against one another and processed it into
what sounds at times like rhythmic breathing,
animal cries and huge towering drones. It is always
-worth it to hear 8-channel music if only for the
thrill of an all-encompassing sonic environment.
For Vancouverites, Sonic Boom continues to present
an engaging sample of contemporary music, too
bad it only runs once a year.
Arthur Krumins
Jenny Lewis with the Watson Twins
March 7
Richard's On Richards	
The procession arrived in song: Jenny Lewis, Rilo
Kiley's iconic strawberry frontwoman, and her
hymnal vocal duo, the identical Watson Twins,
cooed the slight gospel of "Run Devil Run" against
the chatter-filled chamber of Richard's On Richards.
Her backing band awaited them onstage as if
awaiting some kind of saviour. Everyone mistook the
musicians for billed second openers Whispertown
2000 (who couldn't make it), and the mood wasn't
favourable. Everyone had been waiting a long time,
and everyone was waiting for Jenny. As the three
women reached their microphones, a flutter swept
through the audience, and just as everything settled
to a pin-drop hush, the silence of awe was broken by
the foot-stomping "Big Guns."
With a strong foundation in the excellent
content of her debut solo record, Rabbit Fur Coat,
Jenny orchestrated the mood. Everything depended
on her sparse banter and sarcastic grin. The
band tightly and effortlessly supported her small
catalogue, giving the Watson Twins space for then-
flawless ooo's and ahh's to flourish around Jenny's
tender words; her voice even more striking on songs
like "Happy" in the ambience of a live setting.
To prove that she hadn't put all the eggs in one
basket, the band confidently strode through a series
of -soulful new songs, all welcomed additions. "Jack
Killed Mom" was the most notable new entry into
her repertoire, seeing Jenny on side-stage keyboards
as her band turned up to 11 and screamed through
the number, burning down Richards in the most
unexpected way.
Unexpected because, despite all the fun of
barn-burning ruckus, the quiet moments truly
set the tone for fee night. Paying tribute to one
of her crucial influences, Laura Nyro, Lewis stood
microphone-less and a capella with the charming
Twins for a rendition of "I Met Him on a Sunday" to
open the encore. But the undoubted centrepiece of
the show was the centrepiece of the album. "Rabbit
Fur Coat" was the sole song performed by Jenny
alone. With its simple country-waltz rhythm, she
gracefully tuned down an audience that was getting
used to clapping along.
Throughout the brief set, her affection for the
campiness of country music, and her devotion to
the traditions of stage performance stole the hearts
that weren't already stolen. Some would call them
cliches, but the Waston Twins' subtle choreography,
and Jenny's obvious gimmicks (incorporating the
word "Vancouver" into a lyric, for example) only
served her in good stead. It was beautiful and
endearing, seeing her embark alone for the very first
time, wide-eyed and in love with the legends of her
music's ancestors.
Mike LaPointe   m
28   April 2006 SiTRCHAF^Sl
CiTR's charts reflect what has been spun on the air for the previous month. Rekkids with stars mean they come from this great land o' ours.
Most of these platters can be found at finer (read: independent) music stores across Vancouver. If you can't find '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-online.com.
Pink MounUuntops*
Neko Case
4     They Shoot Horses Don't
KillRock Stars
5    ThehiienidHon-iPafli'1'
The. Plateau
6     Why?
Rubber Traits
7     Desumer*
I. itroipr'i, ftwfces
8     B.Fleischmann
Tlie Humbucking Coil
Morr Music
9     Sparks
■ Hello YounqUrtur^
10   Isobel Campbell And Mark
11   Anna Oxygen
Kill Rock Stars -
12   Bossanova*   =
Hey, Sugar
Teen Beat
11   SuKwave*
» Unity'Gam... ,
\injr,    _.
14   Cat Power
The Greatest
15   Arliitfink's Haunted Graffiti
House Arrest
Paw Tracks
16   Ghost House*
Ift^ Gossip
Shmding In The Way Of Control
KiURock Stars
18   Eels
With Strings: Live At The TownHaH
19  MagnetaLane*
Paper Bag-O* eStg^"
20   Our Mercury*
From Below
21   Matson Jones
A Four Song EP
Sympathy _fe-^^
Record Industry
22   Acid Mothers Temple &
Melting Paraiso UFO
Starless And Bible Black Sabbath
23   Kites
Peace Trails
24   Yound And Sexy*
25   Arrogant Worms*
■ #      ARTIST
26   Tortoise And Bonnie Prince
The Brave And The Bold
27  Nicolai Dunger
28   The Buzzcocks
Flat Pack Philosophy
True North
29  Blood Meridian*
Soldiers Of Christ
30   Tribes Of Nerot
31   DD/MM/YYYY*
The Blue Screen Of Death
We Are Busy
32   Stereolab
Fab Four Suture
Too Pure
33   All India Radio
Permanent Evolutions
34 Jason Forrest
Shamelessly Exciting
3 5   Chicago Underground Duo
In Praise Of Shadows
Thrill Jockey
36   The Cops
Get Good Or Stay Bad
Mt. Fuji
37  The Hellacopters
Rock And Roll Is Dead
Liquor And Poker
38   Man Man
Six Demon Bag
39   The Advantage
Elf Titled
40   Angels Of Light & Akron/
Akron/Family & The Angels Of Light
Young God
41   Nick Cave And Warren Ellis
The Proposition
42   White Noise Ensemble*
]'ai Vu Le Long Des Routes Desolees Des Carcasses
De Chameaux Blanchir
43   Clearlake
Amber \
44   Aids Wolf
The Lowers EP
Lovepump United
45   The Slackers
* Represents Canadian Content
Ked Cat Records
4307 JVTain St.
Record Release Show!
The Doers
Fri, April 14th - Railway Club
Greg MacPherson
^_ (Winnipeg - G7 Welcoming Committee)
and Sean Wesley Wood
& The Vancouver Vipers You can listen to CiTR online at www.citr.ca or on the air at 101.9 FM
' ^i^^Ssa^y^
Breakeast with
the Browns
../ Uv^am_isypi(is. r'
Suburban Jungle
TJms^ATn^)4Yfip«S- **
Tt5»D-Tt^ih4 CHARM
Wrapped in Silver
Ska-T's Scenic
Lions and Tigers "*"*
and Bears...
' Mornb^ Afroa Show
Alt. Radio
These are the Breaks
Parts Unknown
. roVvJiRCfjtoR^$?■ s
Democracy Now
Radio Zero
■_•.____: xtfm__if-"s ..«*
•. 0N;lj__ •„':
Let's Get Baked
' Wenhr'j^^^S
'.Rhymev& Reasons!
■ '~*tti!$j&ffi&$^r_ '
Nardwuar Presents
Native Solidarity News
CiTR News
Necessary Voices
News 101
ilp Ramirez Show ™"
W.I.N.G.S.         "*
Y • ^§M^%4*£
Son of Nite
■ '."S^^^^I'P®^;" - ■
The Canadian Way
AND poplecl
;^&ov^Jt;GGiiW- V:
Wigflux Radio
v EM$Ji$m Corpse
African Rhythms
Open  *"*
the Jazz Show
Folk Oasis
Planet Lovetron
,%»>i:       ^^^^r
in the Shadows
Hans Kloss'
Misery Hour
•ji* vLaugb JKA^iCS-u.'
.^J^^WE^toj 0&-.
Vengeance is Mine
vf ^3A^ jyiNna^'f
I Like the Scribbles
gothl industrial
The Vampire's Ball
sa-aaaaa SUNDAY   queer
hi 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.
Reggae inna all styles and fashion.
Real cowshit-caught-in-yer-boots
British pop music from all decades.
International pop (Japanese,
French, Swedish, British. US, etc.),
60s soundtracks and lounge. Book
your jet-set holiday now!
30   April 2006
FM (Talk)
Dedicated  to  the  gay,  lesbian,
bisexual,       and       transexual
communities     of     Vancouver.
Lots of human interest features,
background on current issues,
and great music.
Rhythmsindia  features  a  wide
range   of   music   from   India,
including popular music from the
1930s to the present, classical
music, semi-classical music such
as  Ghazals  and Bhajans,  and
also Qawwalis, pop, and regional
language numbers.
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.
Your favourite Brown-sters, James
and Peter, offer a savoury blend of
die familiar and exotic in a blend
of aural delights!
A mix of indie pop, indie rock,
and pseudo underground hip hop,
with your host, Jordie Sparkle.
Hosted by David B.
Underground pop for the minuses
with the occasional interview with
your host, Chris.
LETS GET BAKED w/matt & dave
Vegan baking with "rock stars"
like Sharp Like Knives, Whitey
Houston, The Novaks and more.
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.
W.LN.G.S. (Talk)
Womens    International    News
Gathering Service.
listen to Selecta Krystabelle for
your reggae education.
Vancouver's    longest    running
primetime jazz program. Hosted
by the ever-suave, Gavin Walker.
April 3: The genius of the
Vibraphone, Bobby Hutcherson
and his great San Francisco
working band of the late 1970's
(which appeared in Vancouver).
"The Stroll" is definitive statement.
Bobby will be appearing at this
year's Ja_s Festival. Look Out!
April 10: One of pianist/composer
Chick Corea's strongest recordings
is tonight's feature. "Three
Quartets" has Corea with tenor
saxophone master Michael
Brecker bassist Eddie Gomez and
drummer Steve Gadd...It doesn't
get much better!
April 17: A serious orchestral
work by trombonist/composer J.J.
Johnson with trumpet pioneer
John Birks "Dizay" Gillespie as
soloist This six-part suite is a
perfect  blending   of  jazz   and
classical concepts. It's called
"Perceptions" and it's a major
April 24: He's called "The Little
Giant" and "The Chicago Fire"
and tonight we celebrate the
birthday of still living tenor
saxophone master Johnny Griffin
(78 years young) with a live
recording from "The Montmartre"
in Copenhagen. The Griffin burns
up the horn on this onel
All the best the world of punk has
to offer, in the wee hours of the
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman. HIGHBRED VOICES (World)
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
Movie reviews and criticism.
En Avant La Musique! se
r le metissage des
francophonie ouverte a tous les'
courants. This program focuses
on cross-cultural music and its
influence on mostly Francophone
Join the sports department for
their coverage of the T-Birds.
Up the punx,  down the emo!
Keepin' it real since 1989, yo.
Salario Minimo, the best rock in
Spanish show in Canada.
Trawling the trash heap of over 50
years worth of rock n' roll debris.
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.
JulieCo., just playin' what I know
best (or is it the only thing I know?)
-indie rock!
ANOIZE (Noise)
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
Independent news hosted by award-
winning jounalists Amy Goodman
and Juan Gonzalez.
Primitive, iuzzed-out garage mayhem!
Cycle-riffic rawk and roll!
Socio-political, enviromental
activist news and spoken word
with some music too.
First Wednesday of every month.
BLUE MONDAY (Goth/Lndustrial)
Vancouver's only industrial-
electronic-retro-goth program.
' Music to schtomp to, hosted by
Developing your relational
and individual sexual health,
expressing diversity,' celebrating
queerness, and encouraging
pleasure at all stages. Sexuality
educators     Julia     and     Alix
will   quench   your   search   for
responsible, progressive sexuality
over your life span!
Two hours of eclectic roots music.
Don't   own   any   Birkenstocks?
Allergic to patchouli? C'mon in! A
kumbaya-freezone since 1997.
(Hans Kloss)
This is pretty much the best thing
on radio.
isgsY_.._g THURSDAY
SWEET 'N HOT (Jazz) -
Sweet dance music and hot jazz
from the 1920s, 30s, and 40s.
Punk rock, indie pop, and whatever
else I deem worthy. Hosted by a
closet nerd.
Zoom a little zoom on the My
Science project rocket ship, piloted
by your host, Julia, as we navigate
eccentric, under-exposed, always
relevant and plainly cool scientific
research, technology, and poetry
(submissions welcome).
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
professional or inexperienced...
Experimental,   radio-art,   sound
collage,   field   recordings,   etc.
Recommended for the insane.
RADIO HELL (Live Music)
Live  From  Thunderbird   Radio
Hell showcases local talent...LIVE!
Honestly, don't even ask about the
technical side of this.
April 6th: 12 Year Old Girl
April 13th: Love and Mathematics
April 20th: Fuck Me Dead/
Shearing Pinx
April 27th: The Safety Show
Email requests to:
Top notch crate digger DJ Avi
Shack mixes underground hip
hop, old school classics, and
original breaks.
RADIO ZERO (Bdectic)
NEWS 101 (loft)
A volunteer-produced, student and
community newscast featuring news,
sports and arts. Reports by people like
you "Become the Media."
Independent Canadian music form
almost every genre imaginable
covering the east coast to the left
coast and all points in between.
Yes, even Montreal!
David "Love" Jones brings you the
best new and old jazz, soul, Latin,
samba, bossa and African music,
from around the world.
Music   inspired   by   Chocolate
Thunder;   Robert   Robot   drops
electro past and present, hip hop
and intergalactic funkmanship.
Dark, sinister music to soothe and/
or move the Dragon's soul. Hosted
by Drake.
Studio guests, new releases, British
comedy   sketches,   folk   music
calendar, and ticket giveaways.
A fine mix of streetpunk and old
school hardcore backed by band
interviews, guest speakers, and
social commentary.
Vancouver's only true metal show;
local demo tapes, imports, and
other rarities. Gerald Rattlehead,
Dwain, and Metal Ron do the
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy and Paul.
The best of music, news, sports,
and commentary from around
the local and international Latin
American c<
OUR WAVE (World)
News, arts, entertainment and
music for the Russian community,
local and abroad.
An exciting chow of Drum n' Bass
with DJs Jimungle & Bias on the
ones and twos, plus guests. listen
for give-aways every week. Keep
feelin da beatz.
(Hip Hop)
So you're Geoff the new guy from CiTR's Metal show Powerchord. How long have you been part
Yeah, I'm the new guy. Been doing the show since 2003, but have been a special guest on the
show a few times prior to becoming a full fledged member of CiTR.
First heard the show through a flyer on the Brave Words and Bloody Knuckles magazine...
would listen to the show religiously...then I met Metal Ron and Dr. Dwain Damage back in
the day ('97) at HMV. I basically started as a fan, until they asked me to come guest on the
When did you get into metal? Are you also into leather?
When I was like 7-8 years old. Started off tame with Twisted Sister, Motley Crue, Iron
Maiden...then it all went to hell (in a good way) after I discovered Slayer, Testament, Death,
Carcass. Leather? I like leather, but not in a Judas Priest way. My boots are made of leather,
so yeah!
o Norway fc
(e Inferno Metal Festival.. Have rt
This is my first Inferno Metal Festival, and I'm really excited about it I went for the Dynamo
Open Air in Holland a few years back and that was just so damn insane, sd I have high
expectations for this festival. It'll be PURE EVIL—after all it is being held over the Easter
weekend, and most of the Norwegian Black Metal scene is based on Satanism, so it should be
fun. Just hope I don't get used as a sacrifice—that would suck!
n Beautiful
, but the Scandinavians just do it
What's so great about Norwegian metal anyway? Is tk
British Columbia?
Not to take anything away from the BC metal seen
differently in a way-that just pumps my blood even more.
Are we going to hear abouttbts Inferno-Metal Festival at. all on Powerchord?
More so than one would need to hear...hahaha...I've already done two shows featuring most
of the bands playing at this year's fest, and I'll be doing a recap when I get back.
If you ran into Bolt Thrower, Nightrage and Demonlzer in a dark alley, what would you do?
Dark alley? Ifll probably be in some dark Norwegian forest. I would probably get them to sign my
CDs and have a few drinks with them...not too metal is it?   $=&
Discorder   31 NO ONE KNOWS MY RING TONE Everyone, music at Zulu.
'Sno Angel Like You
is like the kind of
"lguy who might know a little
something about everything. Even
more so, he seems like a good old
American. Not merely biographicalry 1
obvious, which it is, this last comment describes Gelb's overall
Show Your Bones
I j_rom the get-^go, The \
(Yeahs have been the darlings of thei
Williamsburg art-punk explosion, and I
it's no wonder. Among the dozens of ■
post-Strokes New York bands — both
^•reward types and thoWffiStT?BfifnTyieVe'tM
Here is My Song
You Can Have It
Everything All
The Time CD
Jinstantly to Sub Pi
'e years ago I met Nicolai     | __l this upstart Northwest'rock outfit. 1
tr in the basement of a   ■■ ^K centered around the talents of
f club in a quiet near-deserted    m BF multi-instrumentalists Benjamin
" neighborhood of Chicago. He had^^llyreiaseanifflra Bridwell and Mat Brooke, has madetWSf
, aesthetic, which is steeped heavily in his own backyard zest, all 50 Great Spotlight — Karen 0, Nick Zinner, and Brian Chase have       American record, 'Soul Rush', and had gone to the States to their debut release. Few bands hit the ground running but
States large, from dry to wet. This aesthetic is the one constant      always stood out. They have that not-so-subtle quality that always    support it and put a face to its intriguing refocusing of Band of Horses are definitely now in full gallop as their
that bridges his wide-ranging, occasionally kooky eclecticism. Yet   divides the wannabe art star from the genuine pop hero: personal!-   early-period Van Morrison. The evening was marked by unique sound - imagine something between My Bloody
no matter which way he rambles, Gelb always seems somehow     ty. They're a band that knows that rock and roll is fun: when Karen    copious consumption of beer as well as an unquenchable Valentine and My Morning Jacket - has catapulted them to
deeply "red, white and blue," but in that cool, admirable, open-       is assaulting the stage in one of her custom-designed costumes,      desire to discuss the future role of the singer-songwriter in the top of every indie/ock hot list. Highlights from the record
minded and nice way, not that scary, confused, narrow and fearful   beer-soaked and sexy and brash, it's not just her that's larger than    society. Dunger s passionate position placed the bard within include 'Wicked Gil' with Its driving drum and guitar intra
| way (as, seen on Fox News). But for such a profoundly American life, it's you, too. "Ifs important for kids to feel bigger than they       the realm of spiritual soul-searching poets rather than the
veteran of all things Americana, this record breaks some foreign usually do," Karen 0 said in an interview. "We're trying to make you   new crew of MySpace pretty boys. At the end of the
ground: ifs a secularized gospel-style album recorded In Ottawa feel a little bit cooler ton you might actually be." At the- same time,   evening we parted ways, each eager to set the energies of
with the Canadian gospel group Voices of Praise. It seems it took the YYYs succeed because Karen 0 is willing to be ordinary, fragile, this discourse on our paths. Listening to this, Hunger's lat-
a trip north for Gelb to rediscover this basically American synthe- and insecure. On their newest album, Show Your Bones, she's        est magnum opus, it is clear that Nicolai has at last deliv-
sis of blues, soul, country and church music. Should this come as hopeful and encouraging: "we're just another part of you," she ered his greatest treatise on sonic beauty, thus solidifying
a surprise? Nope, Gelb usually goes his own way. Plus, some- sings, "good things happen in bad towns". With instant hits like        his place as the premiere balladeer for our generation.
times a removed vantage puts things into perspective. And nor "Gold Lion", the band lends its rock n' roll power to you: "we'll build  Joined for this record by members of M
should it be surprising that this is some mighty fine music, some a fire in your eyes," Karen promises, already ablaze,
of Gelb's best yet. By the way, 'Sno' Angel' is the name of the pro- r»n * «« qq
jeet and like You'is the name of the album. We've put Gelb's WI 10.HO
name up top here for the sake of communication.
CD 16.98
V pool called 'musical theater',
longtime Zulu fave Stephin Merritt
and his Magnetic Fields have created one of the most enthralling listens
of 2006. Comprised of a selection of
songs he composed for three plays
directed by acclaimed Chinese theater director Chen Shi-Zheng
Return To Tlie Sea CD
iw eyeing a legacy. Enjoy.
CD 16.98
In Colour CD
_Jove with this very cool
Swedish 8-piece outfit that
somehow did the whole Velvet
d-meets-Byrds thing
without sounding stupid.
looked this up on Wikipedia to double check. The Internet nevei
lies. So anyway, Unicorns are totally make-believe, a ounch of
childish, pre-historkal, fantastical phoney-baloney, meant only for
black light fett posters, birthday cards arid daydreams,
the other hand, are the real deal, serious, substantial, a bunch of
rocks, dirt, plants and other stuff such as animals, both small and     _l"?ps _was„)USt ?e_!u* T8*5-™-
Jarge. Furthermore, different-sized bodies of water, such as J"8"19°t0 c?^,e'" f6 Stetes anrTlroM^seTvesIn
streamsvlakes; oceans and seas, typically surround Islands. the shower white listening to Yo la Tengo and Pavement.
Vancouver Island is an island, for example. So yeah, man, Islands   „?*,aPs ■_*" b)Pu?„??„ *■_a stnpped-downjapproach
cool, and not only because they're totally reaJ-so real they're    ** s°un<^ed both c°l1,We^^ rel?fd eTOU9_-° iust let
The Orphan of Zhao, Peach Blossom Fan, and My Life As A Fairy soBd,"for real solid,"as only Islands can be.'unlike Unicorns, which   their simPte son9s shine-Whatever^e v*5*, The
Tale, these 26 songs firmly place Merritt within an illustrious        are as fake as my fake moustache, which is super fake (ifs made of Cmcretes are what everv 9reat P°P Qroup should be -
daydream, an alcove of cool that can t be touched, and
mileu of show tune greats including masters Cole Pi
ix and cat hair). On the subject of hair, moustache or otherwise,
Joined by members of the original casts and ensem- these two guys have some, and not just'on their heads (icky): Nick hedontstic detour to distraction. Recorded between
bles, Merritt's compositions for the stage are simply breathtaking, Diamonds and Jaime Tamneur Rumor has it these other people Stockholm and Omaha, one really senses an Amenrana-
as well as sonically his most adventurous works - this marks his a|S0 (h^ |jajr (variously worn): Richard Reed Parry, Regine meets-Northern European Soul sort of sound on hi Colon
debut with a wider palate of instruments including a small orches- chasagne, Tim Kingsbury, Sarah Neufeld, Dan Boeckner, Spencer Get reacly for the inevitaDle breakthrough - this is great.
tra of a marimba, yangqin, double bass, and steel drums, the k^, and Mjkey Feukrstack. Hair or no hair, they also all agree
CWnese jinghu, a two-string fiddle, a pipa, a lute, and an autoharp. }tlat Unicorns do not exist, never again, not at all. Whereas Islands
Merritt always thinks big (this is the same meager man who gave are realr-realty ^j, really good and real, and we've all bean wair-
you 69 Love Songs) and clearly this work is-his most epic produc- ing for them, the Islands. Amen. AVAILABLE APRIL 4TH
Hon. to date. We wont give away the entire plot, but Stephin s -,_ . _ __
songs based on a poet and courtesan's tragic love in the last days . CD 10.98
of the corrupt Ming dynasty are sure to be the folly greater than
CD 16.98
re indie-rock daydream distraction. Curtains up, way up!
CD 16.98
Dom Again In The USA CD
Using role-play to solve my conflicts, I find it useful to pretend
to be a 'big league' guitar player in a jam band. I riff on ideas
and explore themes musically before transferring these energies
Drum's Not Dead CD
After taking the prize for Most Uncompromising Debut in the
inaugural Oance-Punk Olympics of 2002, Liars horrified their
fans in the 2004 round by doing what they do best: not compromising. Determined to avoid a career as pigeonholed, one-trick
ponies, Angus Andrews and Aaron Hemphill ditched the rhythm
section that made them famous and submitted a bratty, abrasive
Hey, Sugar CD
Improbably, Bossanova emerge from the woodshed, tall,
potent, ready, occasionally bearded, the full final form
heralded almost a decade before. This is THE special
moment, totally magical, years in the making. Behold! It is
cool, and something of a relief for friends, family and, yes,
fans alike. Hips a-swinging and music a-schooling,
Vancouver's Chris Storrow is much more than a champion
U, perfectionist (or, instead, perhaps a super procrastinator, a
£E. .*£S™?,2? *__%£_%*_ SS      P«*8, Aligns Andrews and Aaron Hemphill ditched the rhythm      real marvel), he's also the head honcho of this Teen Beat
I nff on ideas     KSZSZ___ %_Z\ *,—, _„H_T_Z\„_,«, __t_Z_      sanctioned pop masterwork, rushing easily and rightly
to the New Pornographers and Young and Sexy at
S^t^^rlSlte^^iS^'tefri livinn tad hu7__? sPin and min$ *»*i*"» n*** they gave ft their lowest pes- «». final bend next to the exerted grandstand. Swoosh!
L«e £ oTsSS£7f£7it^SM^^asibie ****Three aibums '"•jt looks like ,he Umare geftin9 the Qa pop music' ____* swift and sweet like ,resh air This
___tM_f_to_Z _Z»J&„ £_^_S2v •* la«flh: Onmr. Hot Dead is a stone-cold masterpiece, a billow- unit is also something of a super group, especially drum-
?S-ta,_J EM _^™TS^nS2™^_2v <n9 cauldron of dark and dreamy atmospherics with a skeleton of mer-wise: is that both Kurt Dahle and Josh Weds listed iii
hamJernasfaSnmS «ery, propulsive rhythms anda melted ice-heart 4 pumps       the liner notes, we exclaim, already knowing the answer!
S£* whol^^^-MSSKM   sweet' «"*meiodies-Themed *a o^m ■*•»«>instinctua|   Yeahf dude'and m ptey some disco 9raoves'to0-
_^Ml^_^^___^l^tS^^S_Zm ft assertion and nervous apprehension (Drum vs. Mt. Heart Attack),     Massive! Which leads us to this final point:-S«Tow has
K^n2__ffi_KKM^ S2S
creative process with the most unabashedly beautiful songs of their mg CD, beginning when indie rockachieved self-aware-
career. The Liars have followed a hazardous path, defied expecta- ness to its status now as a historically conscious and his-
tions every step of the way, and emerged triumphant at a peak of toricized part of popular music. We don't really care for an
ambition that,few musical adventurers ever reach. Also includes 3 answer, but we must ask this last question anyhow: why
sets of videos: one for each song by each of the three band mem- the hold up, buddy? Probable answer: "Because it had to
bers. That's THIRTY-SIX videos. be right." ^^W^W
CD 16.98 CD 16.98
providing a rigid framework for Bridwell's soaring vocal -
delivery. Elsewhere, Tin Funeral' showcases the band's
mellow balladry and penchant for forlorn eulogies - that still
kick ass. Hey, sure it's only early Spring - but perhaps the
record of the Summer is already upon us. Recommended.
CD 16.98
Garden Ruin CD
Steadily the members of Tuscon, Arizona's Calexico have
taken the indie music scene by storm. John and Joey are
I no longer merely the most sought after session players
I (Neko Case, Giant Sand etc) but also the true pioneers of
I today's finest Americana sounds. The ten stunning tracks on
; this latest recording up the ante further and perhaps hint that
I the Calexico Big Band is ready to cross into an even wider
I listening audience. About time! After all they have done it all
T - played the folk tests, jammed out on the international jazz
festival circuit, and infused their desert sway sounds with a
'grandeur reserved for the nation's legendary theater venues.
Garden Ruin is Joey's most immediate work to date, as
songs like the chugging 'Creel' and classic tex-mex of 'Letter
To Bowie Knife' instantly sweep one up on billows of reverby
guitars, pedal steel and thumbing bam house upright bass.
Tracks like the closer 'All Systems Red' showcase the band's
witJtagness to stretch out and explore the smoky jazz tones of
their horn section, as fittered-through the frenzied whirl of a
dust storm of vibes, keyboards and haunting string arrangements. Plant yourself in the Garden Ruin - and watch the
enchanted flowers bloom. Available April 11th.
CD 16.98
WTTCH-sA CD—The next stoner rock band you will love.
ill be hard to resist playing along to this slab of Thunderclap
rock, and even harder to resist slipping into my head closet and
coming out as Hendrix. Syd, or my current favourite Ronnie
VanZant. The hype of this record is unbelievable and I do like
Wilco and all of the breezy baroque pop records of O'Rourke, but
this is classic rock, baby, and what's a rocker like me to do?
CD 16.98
V/A-DJ KICKS: THE EXCWSIVEi CD—A Sampler from tWsawe-
SPARKS-Hello Young Lovers CD—Bub the sleep out of your
eyes - this is awesome.
AKITSUYUNMIakm BOOK+CO—Thri Jockey gives us this
MATES OF STATE-BringH Back CD/LP—One to watch for 2006.
QUASI- When the Going Gets Dark CD/IP—Pop love fun aid
charm from HIM Smiths best Mends.
ARTHUR RUSSB1- Fnst Thought Bert Thought CD-This guy is
cool, and experinental.
MECCA NORMAL- The Observer CD—Hometown heroes rale.
WIRE- PHc Flag, Chans Missing, 154 CD -
'falling in Love with Great Women"
April 8th-May 31st W$&
Jiriie Doiron and band!
Tuesday April 18th @ 6PM
I 'KzcaPbBA
Zulu Records
1972-1976 W 4th Ave
Vancouven BC
tel 604.738.3232
Mon to Wed   10:30-700


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