Discorder CITR-FM (Radio station : Vancouver, B.C.) 2007-03-01

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That discreet and professional magazine from CITR 101.9 FM Red Cat Records
RY COODER 'My Name Is Buddy'-Actually inspired by in house legend
Buddy the cat (RJ.P.X Imagine Che (as Buddy) riding the rails and
sparking socialist revolution in Is middle America. $20.99 CD
ARCADE FIE, Neon Bible CD. $16.99 Deluxe CD $19.98
TRANS AM-Sex Change CD $17.99? IP $15.99
iH MOUNTAMTOPS Single Life/My Best Friend 7' IP $5.99
KAREN FOSTER - information Go The Heard CD $13.99 LP $tE99
DO MAKE SAHHINK- You, You're a History in Rust CD $14.98 CD
Some things on the red cut stereo...
OEERHONTER-Cryptograms CD $19.50
DEERHOOF - Friend Opportunity CD $19.50 '
CAMPER VAN BEETHOVEN - Telephone Free Landslide Viclory CD $23,99 (Impoil)
OF MONTREAL - Hissing Fauna Are You The Destroyer CD $16.98
RED CAT ART SHOW-March 2007 lost Time'
photos by Hana Macdonald, Jaynus O'Donnell, Carmen Wagner,
Ryan Walter Wagner -- opening Friday March 2nd 8-10 w
r mmm&mmm *
FLOPHOUSE JR W8ca«f>(gsn
I Editor
i David Ravensbergen
j Art Director
! Will Brown
; Ad Manager
I Catherine Rana
: RLA Editor
\ Danny McCash
j Datebook Editor
I Danny McCash
; Review Manager
I Cheyanne Turions
I Layout & Design
! Will Brown
j Alanna Scott
! Production Team
| Will Brown
I Melanie Coles
| Charlotte Nobles
| Catherine Rana
| David Ravensbergen
| Alanna Scott
I Cheyanne Turions
j Photo & -lustration
| Reanna Alder
i Will Brown
! The Lions
j Jake Madison
| Sharla Mann
j Tyler Mounteney
I Kate Rossiter
j Alanna Scott
j Lauren Scott
] Andrew Taggart
! Brock Thiessen
I Program Guide
| Bryce Dunn
; Charts
I Luke Meat
] Distribution
I Amanda McCorquodale
j US Distribution
| Catherine Rana
| CITR Station Manager
| Lydia Masemola
; Publisher
j Student Radio Society
I of UBC
The Gentle Art of Editing
Cinema Aspirant
Allan Maclnnis
Spectres of Discord
David Ravensbergen
Textually Active
Adverbs, Inkstuds
Riff Raff
Bryce Dunn
Greg McMulkn
The Dangerous Summer
The Lions
Real Live Action
Under Review
CiTR Charts
TheDopestHitsof February 2007
Program Guide
The Highlight
CiTR Spring Bash
Shearing Pinx
Noise music that cuts the fabric of spacetime
in a neat zigzag pattern. Mr 10
Vancouver on Blast: Paul
Devro & Justice
If a bourgeois hipster dances to baile funk in
Vancouver, does it make a sound in Brazil? MT
Steve Balogh unearths music from the
18th century.    W- 22
Individual Poetry Slam
An incomplete introduction to slam poetry for
those who are used to music.    24"**
the Gentle Art of Editing
a print shop offering us a quote to print our
magazine. Accustomed to solicitors from phone
companies trying to con me into signing up for
a new strings-attached contract, I didn't pay it
much heed. When we followed up on the call the
next week though, the numbers looked good,,
and we decided to investigate further. I asked if
I could come pay a visit to their shop, to inspect
their equipment and try to sound knowledgeable
about plates and ink. They gave me an address in
Burnaby, and I strapped in for a bicycle ride out to
the wastelands of Metrotown.
After navigating the surprisingly efficient
BC Parkway bike path, I arrived at a nondescript
storefront, and began to suspect that I'd made
a mistake. The low-lying building looked like it
maybe had room to house a few photocopiers,
but not the sprawling majesty of a web press.
Entering the office in search of clues, I was greeted
with a glass of water but no print shop—I was at
the office of the Epoch Times, not their affiliated
printing press. As we set out to mend the mistake
and recalibrate my bicycle for coordinates further
along in North Burnaby, I decided to find out how
a fellow publication was faring in the newspaper
Cover Art by Will Brown
©DiSCORDER 2007 by the Student Radio Society of the University of British Columbia. All rights
reserved. Circulation 8,000. Subscriptions, payable in advance, to Canadian residents are $ 15 for one year,
to residents of the USA are $ 15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage). Please make
cheques or money orders payable to DiSCORDER Magazine. DEADIUMES: Copy deadline for the April issue
issue is March 19th. Ad space is available until March 20th and can be booked by calling 604.822.3017 ext
3 or emailing discorder.advertising@gmail.com. Our rates are available upon request. DiSCORDER is not
responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including
but not limited to drawings, photographs, and transparencies), or any other unsolicited material. Material
can be submitted on disc or in type or via email. As always, English is preferred, but we will accept French.
Actually, we won't. Send words to discordered@gmail.com and art to discorderart@gmail.com. From
UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 FM as well as through all major
cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our
office at 822.3017, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at:
citrmgr@mail. ams.ubc.ca, visit our web site at www.citr.ca or just pick up a goddamn pen and write #233-
6138 SUB Blvd., Vancouver, BC, V6T1Z1, CANADA.
Ad sales are a sore spot for most publications.
Online media is making serious incursions into the
territory once held by print, and it's getting harder
to convince businesses that their money is best
spent on a piece of newsprint. Many companies
already have relationships with other papers in
town, and it takes a wily ad rep to lure them away
from their established outlets. Still, with enough
savvy and can-do spirit, it's possible to get by and .
(this is largely theoretical) turn a profit.
For the Epoch Times, however, things are a
little more complicated. As an outspoken anti-
Chinese Communist Party and pro-Falun Gong
paper with branches in over 30 countries, they've
received a lot of attention for their critical editorial
stance. According to the newspaper staff, some of
that attention hasn't exactly been friendly. They
told us the Chinese Consulate in Vancouver has
taken a special interest in Epoch's ad sales, going
so far as to "suggest" that businesses "choose" to
advertise efsSwtee?I dSn't want to get involvdotn
someone else's beef, but I suddenly feel likejnaybe
Discorder doesn't have it so bad.
Political intrigue aside, we've decided to give
the new press a shot. It's a little unsettling to turn
our labour of love over into unfamiliar hands, but
I'm sure this issue will turn out beautifully, barring
any Commie interference. But then again, we are
several years behind on our Illuminati dues...
David Ravensbergen, Editor
Briefs by Lauren Scott
Discorder is looking for an Art
Director and a Production Manager.
Production Manager Responsibilities:      I   Art Director Responsibilities:
■ Liaise with the print shop on a monthly
basis to schedule press date, delivery
date and printing specifications
■ Schedule meetings and deadlines.
■ Assist Art Director with layout of
magazine from initial stages through to
final proofing and sending files to print,
■ Time commitment: Two monthly
meetings(l 1/2 hours each approx.)
and one production weekend (30+
hours approx).
■ Honourarium: $50
i Commission work from
photographers, illustrators, and artists.
• Draw, photograph, paint.
' Typeset and layout magazine.
» Time commitment: Two monthly
meetings, preparation for production
and one production weekend (30+
hours approx)
i Honourarium: $100
&S_8_     discorder.ca
Apply by March 9th with resume and
cover letter to discordered@gmail.com. SEALED WITH A KISS
The Apples
in stereo
iliCH 27
©strike anywhere
with guests TENDER FOREVER
H    WAY 27        M
* PARTY FlNAi^SHtttw
MARCH 12 - ORPHtfc\_i_^Sfc
TICKETS FOR Alt EVENTS ON SAtE NOW AT ticketmaster 604-280-4444, ZULU AND SCRATCH iJSC ^^Mm^^^SW: W*k_
Allan Maclnnis
Few British filmmakers
have created as energetic and
striking a body of work as
Nicolas Roeg. Known for jarring edits, poetic logic, intense
sex scenes, and occasionally
shocking bursts of violence,
at least three of his films are
masterpieces and must-sees.
Roeg's career as director began with a collaboration with
the under-appreciated Donald
Cammell. Performance (1970)
presents a psychedelic explora-
_ rJon into the mind of a sadistic
gangster (James Fox), as undertaken by a burnt-out, decadent rockstar (Mick Jagger).
There are references to Borges,
Burroughs, Hassan-i-Sabbah, and juggling; there's ample sex and violence and several varieties of
magic mushroom on display (though I would caution against the use of amanita muscarial). While
it may not interest those lacking nostalgia for the excesses of the 1960s, the film is a dizzying and
memorable ride. Rumour has it that James Fox felt so psychically damaged that he retired from
acting for some years after the shoot.
Performance was never available in a decent video version in North America, so the current
DVD release is a vast improvement, even if it somewhat scandalously is missing a line. During
the "Memo from Turner" sequence, Mick Jagger is seen entering- a closet with a naked man and
raising a glass; in all past versions you clearly hear him say, "Here's to Old England!" For reasons
as yet undetermined, the line is cut though the scene remains intact-you see Jagger's lips move,
and that's it.
By the way, not that I would ever advocate drug use, but this film amply rewards you if you clean
your doors of perception first. In fact, just take them off their hinges and leave them somewhere
safe until it's over.
Roeg's two other must-watch experiences are Don't Look Now (1973) and Bad Timing (1980).
The former is presently being remade, but Roeg's version is so dense, suspenseful, psychologically
real, and shocking that the new version will no doubt be an embarrassment. Described as "a psychic
thriller", the story follows a couple (Donald Sutherland and Julie Christie) who relocate to Venice,
in part for work, and in part to help them forget about the recent death of their young daughter.
Approached by an apparently benevolent blind psychic and her sister, they are advised that their
daughter is trying to communicate with them. The couple's varying reactions say volumes about
men and women, the different ways people deal with death, and about our fascination with the
unknown. I particularly love the scene where Sutherland, as our skeptical on-screen representative,
__ by David Ravensbergen
This month I decided to approach the issue of International Women's Day from an archival
rather than an editorial perspective. I don't have the necessary hold on contemporary gender politics to do a women's issue, and I don't particularly relish the thought of singling out female artists
simply because they're women. Moreover, running a women's issue would serve to highlight the
lack of black content last month, throwing our entire editorial policy into question. Turning to the
archives, I'm curious to see how Discorder has weighed in on the debate in years past.
At first glance, the March 1997 issue has little to offer in the way of clarification. The cover
image features a drawing of a woman who looks remarkably like Marilyn Manson, with the words
"Women have addictive needs / Unique, powerful, destructive / Angry and natural / Will you
control or respect us, pork chop?" emblazoned across her chest. Unsure if I should identify as pork
chop, I read on. Two pages in, Kitty Poulin's essay "Where is Not What You Wear" tries its best to be
a manifesto but ends up closer to academic spam. Theoretical doublespeak is woven around a feminist "axis of concern," which is then retracted nearly 1000 words into the article. "I am, however,
postponing the bulk of my analysis of this very complex matter for next month," Poulin remarks,
before continuing on in her bulky analysis. Nearly halfway through, she gets down to the business
of defining her terms. "Very generally, Feminism is based on the consideration and extenuation
of excluded topics; as well as working towards redeveloped conditions of social/cultural/economic
existence that may somehow, more responsibly, represent avaried constituency." Suddenly reconsidering my plans to go to grad school, I reach for the March 1999 issue.
In the Grumpy Old Dog column, Blaine K explains that the role of women in the music industry
has changed drastically over the last 50 years. The writer locates the change with Madonna, who
progressed from a label-created sex kitten to a self-determined artist. "No one makes decisions on
her behalf. If Madonna wants to be thought of as a sex symbol, it will be on her own terms," Blaine
explains. The next example hasn't quite stood up to the test of time. Courtney Love is cited as another female triumph, who has morphed from a "foul-mouthed druggy" into a "glamorous, custom
built movie star." I've seen some photos that suggest her transformation wasn't quite complete.
Blaine's point, though, is that "the best indication that women have found a definite, incontrovertible place in the music industry is that there are good women artists and bad ones, those who
are in control and those who
are controlled, those who are
in for the music and those
who are out for a buck." While
Britney Spears' recent behaviour doesn't exactly illustrate
the strong female presence in
contemporary music, there is
no shortage of artists and writers who do, and they appear on
the pages of Discorder every
month,   J)
peeps guiltily through a keyhole at a seance. Invoking the voyeurism of the audience, it lends a self-reflexive element to the film,
raising the question of what the ending really means. I would
highly recommend that you readTtoffhhg more on tKClRlm if"
you're interested, lest anyone spoil it for you.
Then we have Bad Timing, sometimes given the subtitle
"A Sensual Obsession", and sometimes the more prosaic "A
Horrifying Love Story". Art Garfunkel-yes, that Garfunkel-
plays a voyeuristic professor of psychology in Austria. Theresa
Russell is the free-spirited woman he gets involved with. Harvey
Keitel is the investigator—another voyeur—who tries to piece together how Russell's character nearly came to die, and whether
the evasive Garfunkel was complicit. The film deftly interweaves
at least two sequences of events: the narrative of the investigation and the development of the relationship that culminates
in the night in question. Alex Mackenzie, of the much-missed
Blinding Light Cinema, reports that a film student he knew once
re-cut the whole thing and placed it in linear order, to see what it
would look hke. "It was as much a prank as an experiment, and
quietly acknowledged in the department as a kind of noble and
nerdy attempt at an inquiry into the central role of editing in the
film, using a film which in its time was recognized as a genuine
triumph in cutting style." Men given to controlling behaviour
will loathe recognizing themselves in Garfunkel's character, and
women who feel themselves outsiders will be amply sympathetic
to Russell's. The Criterion DVD is stunning.
Walkabout (1971) certainly succeeds on its own terms, but
I'm less fond of it. The story is about two lost white youths found
and accompanied through the outback by an Australian aborigine. Thematically, the film deals with civilization, sexuality, and
the noble savage. Eureka (1984) is full of energy and chutzpah,
and you'll be shocked at how many faces you recognize (Gene
Hackman, Mickey Rourke, Rutger Hauer, Joe Pesci, and again,
Theresa Russell, who married Roeg after Bad Timing), but even it-
defenders regard the film as flawed. The Man Who Fell to Earth
(1976) is perhaps Roeg's most famous work, since it stars David
Bowie, but I confess when last I visited it, the film seemed a vast
and scattered mess. An extraterrestrial Icarus story with some
fascinating ideas, it bites off more than it can chew, and then
spits it out every which way.
Roeg's most recent work can be divided into two categories:
lesser films that are, at least, still recognizably his: The Witches,
Insignificance, Track 29, and Cold Heaven. And then, as Roeg aged
and began taking TV work, we have his lacklustre and generic
Heart of Darkness adaptation, and stuff with titles like Full Body
Massage (yecch). Fans continue to wait for a return to form;
some say Two Deaths (1995) is it, but I haven't bothered. IMDB
buzz is strong for Adina, currently in pre-production, but Roeg is
nearing 80. I'd be surprised, though delighted, to see him produce another major work.    «. TEXTUALLY ACTIVE
' by Daniel Handler
Harper Collins, 2006
What is dancing? At its most basic, it is swaying back and forth,
either alone or with a partner. While reading is a solitary activity, it is
essentially the delicate following of another's footsteps, and so reading,
like dancing, is both the private party and the tango. Daniel Handler's
Adverbs is a tango where toes are stepped on and faces smash into one
another. This is not to say that the story is graceless—Handler lays a delicate path, curlicuing through seventeen chapters of adverbs, exploring
possible ways to love. What makes this dancing, this reading, tricky and
awkward are the names—they recur. Billed as a novel but appearing to be
a collection of short stories, Adverbs is composed of a cast of characters
that stretch from New York to San Francisco, all of them in the midst of
considering imminent disaster, from failing relationships to volcanic activity. These many characters masquerade as one another either because
they are the same person in a different adverb, or merely the same name
in an adverb all their own. Sometimes the reader is obviously taking
the hand of the same Helena, gracefully dipping her through chapters
marking different manners of love. Other times, a common name could
be just that, and the connections between one Joe and another are but
the consequence of a desperate human need to connect dots, or to dance
despite an abundance of left feet.
The point, it would seem, is that small things, details, knit together
a disparate whack of us. Beginning with an adverb that tells a seemingly
inconsequential story, Handler quickly draws his dance partner into close
reading, giving Adverbs a life of continuity by virtue of detail. "Because the
characters do not engage in a cohesive plot through the myriad adverbs,
it is the white noise that tells the larger story. Each adverb could stand
alone and complete, but they are not standing or alone; these adverbs
shimmy, the mess of them, together. Random details bear responsibility
for the magic that makes this novel work. These details encourage the
reader's dancing feet to fall surprisingly into pattern, and this nonlinear,
tumbling narrative is, after all, about just such a miracle. What are the
chances?! Well, they are very small, and yet these small things, the ways
things get done, are where Handler draws our attention.
Through the dizzy twirling of the larger story, with its tangled mess of
names and limbs, the reader is offered a key. Handler accepts responsibility for the storyteller's voice, but this story is not an entirely fictional
one. Citing authors and novels and encyclopedias, reference is made to
our actual world. Yet, it is unclear whether Daniel Handler of "Truly"
is Handler or merely a character with the same name as the author.
Daniel Handler speaks directly to the reader, revealing his identity as the
nameless voice that sometimes interjects in the lives of other adverbs.
Yet, when he then tells a fantastical story about diamonds, this claim
to reality is revealed as dubious. Imagination and the verifiable world
shuffle when the reader realizes that, yes, they are being spoken to, but
whom is speaking? Handler takes the lead, spinning his reader across a
postmodern dance floor of existence. It is this movement, this allowance
for mystery, that allows Adverbs to be so literally engaging.
c. turions
Mary Fleener, Phoebe Gloeckner and Pia Guerra
In recognition of International Women's Day, the Ink-studs focus on
some of the great female cartoonists this month. While largely a boy's
club, the comics field boasts some fantastic ladies who make some superb books. Mary Fleener elates readers with her unique mix of cubism,
thick black inks, and drug-fueled madness. Phoebe Gloeckner's brutal
honesty makes for an uncomfortable read that both shocks and delights.
As a counterpoint to these two pillars of alt-comics greatness, Pia Guerra
has found acclaim in her own ventures in the more mainstream comics
Mary Fleener's main collection, the Fantagraphics release Life's a
Party, collects some of the finer autobiographical work from her earlier
Slutburger series, published by Drawn and Quarterly. Heener's's style is
reminiscent of Real Stuff s Dennis Eichhorn, but her work clearly showcases her own unique talents. One of my favourite things about reading
Fleener's comics is that no matter how crazy and debaucherous things
get, she is able to have a good time through it all, and makes sure the
reader enjoys the journey as well.
On a slightly darker side, Phoebe Gloeckner's books provide a realistic
look at the seedy underbelly of society. I first got to know her art through
the fantastic anatomy drawings she did for a couple of Re/Search books,
including a cover for J. G. Ballard's The Atrocity Exhibition. The main
thing that attracts me to her work is her ability to tell a gruesome story.
Gloeckner's topics run a gauntlet from heart-wrenching stories of incest
and abuse to the results of a lifetime of drug addiction and prostitution,
showcasing her ability to really get into the minds of the characters.
Many readers will find Gloeckner's stories too disturbing, but I think
that's why her work is so important. She really breaks down reader expectations towards "funny books". In contrast to her dark creative output, Phoebe has a more lighthearted online presence. Going through her
blog, you get to see Phoebe the Professor, bringing such creative notables
as Harvey Pekar and Alison Bechdel into her class to pass on their creative expertise. ?ij*^;
For a lighter journey into the comics world, I thought I should mention Pia Guerra, one of Vancouver's most renowned cartoonists. Working
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as the primary artist on the highly successful Y: The Last Man, Guerra
has cemented her role as one of the top mainstream talents. Somewhat
ironically, Guerra, a female cartoonist, illustrates this story about all the
men on the planet dying of some mysterious illness, with the exception of
Yorick and his pet primate, Ampersand. Avoiding the traps of adolescent
fantasy, Guerra employs a more realistic style to describe the disappearance of the male species. Her artistic progression over the course of Y is
impressive, recalling the vivid work of Vertigo greats like Mike Dringenberg
and Steve Dillon.
These are just three examples of great female creators. If you feel like
exploring further into the world of women cartoonists, I highly recommend checking out people like Julie Doucet, who has earned the distinction of being the only cartoonist name-checked by Le Tigre. She has since
left comics to create some fantastic books of collage and experimental
art, maintaining her status as an important modern artist. Rebecca Dart,
one of Vancouver's best and brightest, recently had her Rahbithead series
reprinted in full in Harvey Pekar's anthology, Best American Comics 2006.
Sandwiched in between the work of Ivan Brunetti and Chris Ware, Dart's
book ranks as one of the best comics to come out in recent years. For
something along Gloeckner's darker lines, check out Debbie Drechsler or
local Miriam Libicki, whose exploits in the Israeli Defense Forces make for
an engaging read.
For the month of March, Inkstuds will be interviewing some of the
top female talent in comics today. Check out our past interviews at www.
inkstuds.com and listen to us every Thursday at 2pm on CiTR.
Robin McConnell h
■ iTfrMtlP.l
Downtown's NEWEST
CD & Record Store
for Music
www.remixrecords.ca (604)681-0044
(Just off Davie Street)
Anti-Social Skate Shop
and Gallery
2425 Main St.
2016 Commercial Dr.
Beat Street ieiords
439 W.Hastings St.
The Bike Kitchen
UBC, AMS, 6138 Student Union
Bun u's Angels
2535 Main St.
The Eatery
3431 W.Broadway
Hitz Boutique
316 W. Cordova
The Kiss Store
2512 Watson St.
Lucky's Comics
3972 Main St.
Magpie Magazine
1319 Commercial Dr.
People's Co-op
1391 Commercial Dr.
228 Broadway L
Red Cat Records
4307 Main St.
The Regional Assembly
of Text
3934 Main St.
R/X Comics
2418 Main St.
Scratch Records
726 Richards St.
Slickity Jim's Chat and
2513 Main St.
Spartacus Books
319 W.Hastings
Vinyl Records
319 Hastings St. West
A Friends of CiTR Curd scores you sweet deals
at Vancouver's finest small merchants and
supports CiTR 101.9 FM, Show it when you slept copyfight!
A new breed of jerk
threatens creativity
by Greg McMullen
How many times have you seen a really innovative new product or idea and mused to yourself, "Damn, why didn't I think of
that first?" For most people it ends there, but a new breed of jerk
is using intellectual property law to re-write history and claim the
ideas of others as their own. Meet the patent troll. This nefarious creature works side by side with the sample troll, employing
underhanded tricks and vexatious legal action to take cash from
deserving creators and deposit it in their own slimy pockets.
Patent trolls are the more visible of the two villains, thanks to
the drastic impact they can have, cm financial markets. There are
two variations on the patent troll scam". The first is sleaziest:
1. Look for a successful product.
2. Find some element of that product that isn't patented, then
apply for a patent on it.
3. Apply for an injunction and sue.
This kind of patent troll doesn't hope for a courtroom victory,
because if the case ever goes to trial it'll be laughed out of court.
Trolls rely on fear and confusion to force the victim to pay a
settlement. Shareholders don't like uncertainty, and vying with
someone else who claims to own a key part of their product is not
a risk they like to take. Preferring to avoid a legal confrontation,
unsuspecting companies succumb to the threats of the patent
troll, paying out for rights to a patent they shouldn't have to
worry about.
Remember how corporate execs were terrified that Blackberry
email access, their drug of choice, was going to be shut off after
some kind of legal dispute? Research in' Motion, the Canadian
company that created the Blackberry, was accused of patent infringement by a smaller company that had earlier patented an
essential part of the email delivery system RIM used. They weren't
developing their own Blackberry-like device, but saw a chance
to profit from RIM's success. The Blackberry case is a classic example of the second kind of patent troll. This breed goes out and
patents a heap of unpatented ideas, with no intention of actually
developing a product. The troll waits for a company like RIM to
stumble onto their patent turf with an exciting and profitable
new product, making them a ripe target for a settlement.
While big corporations are occasionally the victims of this
kind of patent extortion, they often engage in trolling themselves. Bioprospecting is a variation on the first kind of patent
troll, and it's a regular practice of-biotech corporations the world
over. Biotech patent trolls look to indigenous medicine, finding
Bryce Dunn
I'm back! Did ya miss me? Of course you did. Why, without
my monthly musings on music that matters you'd be stuck pon-'
dering the strange wonders of the universe, or at the very least
why Britney shaved off all her hair. But first ask yourself this:
why did The Badamps have to go and break up on us? Even
though they sneakily resurrected themselves for a final FUN 100 .
four-band blowout, they cheated us out of getting to hear more
of their perfectly crafted pop-punk finery. Good thing they snuck
me a copy of their posthumous Two Face EP before finally calling
it, in the words of The Queers, a day late and a dollar short.
Speaking of those New Hampshire heavyweights, The Badamps
lived, breathed and shat The Queers in order to perfect their own
sound. Who says you can't rock it like it's 1996? Meaty hooks,
dirty looks and all the more reason why songs like "Highschool
Sweetheart" and "Milkshake Murder" should be anthems for
teen angst, instead of whatever flavour of the month' screamo
is in vogue these days. (It's Alive/Black Market Records, www.
Since said break-up, former members have gone on to forge
other musical friendships with their peers, including newest
(and possibly first?) baseball punks The Isotopes, who recently recruited free agent Kyi Sharpe to their roster. A two-song
seven-inch is the start of the campaign to get The Isotopes on
the proverbial scoreboard, and from the sounds of "Around the
Horn" and "You Gotta Freeze", it's a solid home run for these
bad news bears. Coached by The Ramones, The Riverdales and
other teams with memorable names, The 'Topes are taking the
big league by storm, so batter up and keep on swinging boys!
(Isotopes Punk Rock Baseball Club P.O. Box #78046 Vancouver,
BC Canada V5N 5Wl).
Up next to the plate is a new one from two-gal/two-guy punk
rock combo The Bayonettes, who dutiful readers will recognize
from Discorder back issues. Their latest prophetically-titled EP
claims We're Doomed, but not before we pogo our asses off to the
punchy pop of "Take this Pill" and current fave track "Let it Go".
There's a lot of good bands coming out of Toronto these days,
and The Bayonettes are right up there with the best of them—let's
hope there's a full length in the works. (Deranged Records, www.
Lastly, and speaking of T-dot, Torontonians Fucked Up were
recently in town to give the West Coast a slap upside the head
with three shows of manic rock 'n' roll. In the midst of the mayhem, lead vocalist Pink Eye slipped a copy of his side project into
the hands of yours truly. On The Bergenfield Four's four tracks,
there's a distinctively lo-fi Black Flag feel that runs through
cuts like "To the Judge" and "Dear Slumlord". "My Sweetheart"
is the one that slows things down a bit, almost reminiscent of
Killdozer's plodding pace. If I remember correctly, the copy I
had was only a rush-job, and there'll be a proper release sometime in the future. If they keep the rip-off Crass cover art intact,
the record should get some nods from the punk rock elite. I can't
help thinking that the guy pictured on the cover looks like my
friend Al from Kingston who died a few years back—coincidence?
I dunno. (Lowdown Records, 7 Walmer Road, Apt.1810 Toronto,
ON Canada M5R2W8).   Jj
the chemicals that give medicinal herbs their unique properties,
then patent those chemicals for industrial production. In some
cases, the indigenous groups have been told they are not allowed
to sell traditional medicines, since they infringe on patents.
Discorder readers will likely be more interested in the actions
of the fiendish sample troll. These enemies of creativity buy up
huge libraries of songs by other artists, then wait for remixers,
mash-up makers, and hip-hop producers to borrow a bar or two.
When Jay-Z asks us to justify his thug, a sample troll is there,
flanked by two lawyers in bulletproof vests, waiting to collect
his dues. The worst offender is Armen Boladian, whose company
Bridgeport is currently demanding cash from Jay-Z. Bridgeport
is also known for something eyen more evil—stealing the rights
to most of funkadelic George Clinton's recordings by forging his
signature on a contract. This is a double insult: not only are creators punished for using even a tiny portion of Clinton's work,
but Clinton himself receives nothing.
The second type of sample troll is both better and worse than
the first kind. This sample troll does create, often making some of
the biggest hits in pop music. However, unlike Bridgeport, trolls
of this variety don't even pretend to play by the rules. They take
what they want, incorporating it into their own music without
so much as a tip of the hat to the original creators. This kind of
scandal hits even the biggest names in music—Timbaland, hip
hop producer extraordinaire, has been accused of stealing entire
songs from a Norwegian musician, with damning evidence being
posted to YouTube and other sites online.
The world we live in today is different than the world patent and copyright laws were meant for. Originally designed to
give creators a chance to profit from their creations before the
vultures descended, the vultures have since turned the tables.
By abusing the complex formalities of the law, the trolls have
created a sad state of affairs in- which you're better off hiring
a lawyer than a musician if you're hoping to produce the next
number one hit single.
We copyfighters tend to complain about big corporations, and
with good reason. They're up to some-nasty things in the copy-,
right and patent fields, from applying DRM restrictions on what
we can do with our music to suing their customers. However,
they can also be the victims of intellectual property bullying,
and it can cost them billions. What we should really be pushing
for is an intellectual property regime that does what it's meant
to—encourage creativity, protect artists and inventors, and let the
people who make something exciting profit from that creation.
Everyone could benefit from a system of intellectual property
laws that operate with the protection of the creator in mind.
Little guys and megacorps can work together to push for reforms
sb that the weasels like Bridgeport are run out of business.    S Dear Discorder readers,
The following is an introduction by way of a mixtape. Most
of you out there have never seen our band, being that we have
played only a handful of shows in this incarnation. A few of
you may remember our previous band the Regional Hats, and
quite a few more may know of the other projects of which our
members are a part (the Parallels, Ghost House, Moses Inglis,
The Tranzmitors). Over the last many months we have been
up in our studio fitfully putting to disc the tunes for our new
album. We feel that this mix can be looked at as a selection
of the music which has been on the minds of the five of us
while working on this project. Some of the songs are by artists
to which we all are incline-. Others represent the whims of
the individual members, their tastes and concept of the band.
More specifically, some of the songs have been chosen for the
feeling which they convey, others the story'that they tell, more
still for the sounds on the recordings. We hope however that
the mix is able to at once convey some idea of our intentions
and be enjoyed on its own as a mix. The mix can be found at
As the process of recording moves along we will be posting
some of the work in progress at myspace.com/thedangerous-
Sitting Still -R.E.M.
All That Matters - Pointed Sticks
Sorry Somehow - Husker Du
Ivory City - Julian Who
Pachina - Listening Party
J Remember When I Loved Her - The Zombies
Music is My Boyfriend - The Hidden Cameras
Get into the Groove(y) - Ciccone Youth
Necromancing - Gnarls Barkley
That's Pep - Tortoise & gonnie Prince Billy
This Ain't No Picnic - The Minutemen
Jawbone - The Band
John Henry -. Woody Guthrie
I Can't Love You Enough - Loretta Lynn and Conway Twitty
I Don't Want to Spoil the Party - The Beatles
Apology Song - The Decemberists
What a Day That Was - Talking Heads
Kid Heaven - Johnny and the Moon
California - Joni Mitchell
Random Rules - Silver Jews
Oh Carol - Rockin' Horse
Kiss Me On the Bus - The Replacements
In a Lonely Place - the Weather
Some Velvet Morning - Nancy Sinatra and Lee Hazelwood
All the Tears That I Cried - Kirsty Macoll & The Pogues
Andalutia - Crooked Fingers
April Skies - The Jesus & Mary Chain   J)
Yours Truly,
Jesse, Katie, Mick, Mike, Tyler
The Dangerous Summer
Photos by Alanna Scott and Tyler Mounteney t's always awesome when you discover a local
I band with a sound you've been craving for a long
time. It's like, thank god somebody is doing this.
Shearing Pinx play noise-rock, and they put a spring
in my step after seeing them the first time with the
Mutators at the Cobalt. You've got Erin and Nic on guitars and Nic singing, and then Jeremy drumming. Heavy
reverb on the vocals. Improv-y jammy bits amid Arab
on Radar/Erase JErrata/early Sonic Youth-esque no-wave
punk. And they are tight. Even in the most seemingly chaotic parts, they're all making eye contact with one another.
If you haven't seen Shearing Pinx play yet,
they're affording you the opportunity several times
over in the next little while. Their MySpace (myspace.
com/shearingpinx) is a bustling cavalcade of upcoming shows, recordings, and projects. Their merch table
at shows is jam-packed. There's always a plethora of new
songs. They're all in a handful of other bands. Vocalist and
guitarist Nic (who you may recognize from Channels 3 & 4)
also runs the record label Isolatednowwaves (myspace.com/
isolatednowwaves). They're also active participants in the experimental noise night, Fake Jazz Wednesdays, which happens
weekly at the Cobalt. How many recordings do you have?
Nic & Erin: 35.
N: A bunch.
E: It's like one and a half recordings a month.
Such as...
J: In Flux; Teen Community, Totally Rippedl,  Mongst,
N: Both the Channels bands.
J: Black Dicks.
power went out, and the whole group of people that were
there just refused to let it not happen, you know? Everyone
was talking about going to parkades. I've seen some shows
just get hitched on something, and people just ditch it and go,.
'Ah, fuck it. Let's go get high.' People really made it happen.
Jeremy: One full-length, and then the rest are all splits and
And where do you record?
N: In jam spaces.
J: We've recorded at the Hive before, and we're going-into Lab
Monkey at the end of next week.
That's a lot of recordings. You've toured, too, right?
You're just, like, a super-busy band.
J: We haven't toured super much. Just one real tour down the
coast and back. A few jaunts over the weekend. But not as
much as I think we'd like to.
N: We've never been gone for more than eleven days.
But you're gonna be, right? Coming up?
J: Yeah, this summer.
N: It's not all booked yet, but we wanna do six weeks in the
US of A.
J: The first week of May, we're gonna be doing 5 or so dates
with Varge. They're kind of a rad band.
Where would you really like to play?
N: The East Coast. Anywhere east of California.
E: London. Tokyo.
N: Germany. For sure. Lots of kids in Germany get in touch
with us.
Do lots of kids from other countries And you guys on
MySpace, too?
J: Yeah, MySpace has been amazing. Lots of people from
Germany, the UK. It's been really good for kind of bringing
people out of the woodwork, I think. People in their bedrooms
kind of fiddling around.
E: Especially in the genre of music that we play in, it's quite
difficult to find local people who are interested.
J: Yeah, but there's definitely a pretty good tight thing going
on in Vancouver. There's a really healthy scene going on. Fake
rs has definitely brought that.
So what happens at Fake Jazz Wednesdays?
J: It's all over the place. Generally, it's anything kind of free
open music. So, there's been performance art stuff with costumes, there's been, of course, tons of noise bands, electronic
stuff, lots of free jazz lately. Even some weirdo jammy Mars
Volta shit sometimes.
I heard In Flux played.
N: First show in over a year.
So, you guys are all in In Flux, and then you formed...
E: No, except Jeremy.
J: They're just In Flux. Just those two. But there are a million
side projects. We made a list a few weeks ago, and I think there
was 9 or 10 different projects stemming from us.
Are they all different kinds of music?
E: You could probably pull out the same influences for all of
them, but...
J: Some of them are a lot mellower.
What made you guys decide that you wanted to do a
noisy project together?
N: It actually started more like that, and then we started doing...like, our first few releases were just all jams.
E: Jeremy was, I think, holding us down from being a lot more
noisy. Not back, but stopping us from turning into a noise
thing. So now it's turned into something a little bit more approachable at times.
J: We already had noise bands, and I wanted to learn how to
play drums. I couldn't really play when we first started.
E: None of us could really play.
What can you tell me about Isolated Now Waves?
J: It's pretty awesome, and it's been around—how long has it
been around? Seven years?
N: 2001.1 started mostly CDRs at first. The first 50, 60 releases were mostly just my old stuff that had been just on tape
that I wanted to put on CDR to finalize documentation of old
bands that I had before I moved here. Mostly really limited,
like 2 to 10 copies of some things. And then a few years went
by, so I did more, like 20 copies, or 40 or 50.-Mostly just a way
to release my own projects, and then branching out, getting
other bands involved, which is good. Eventually, that's what
I'd like to do—put out records for my friends. We have a compilation which has been in the works for about a year, an LP
with 12 bands on it. Shearing Pinx are on it. A couple other
Vancouver bands, but it's mostly other out-of-the-country
bands, like in the US.
N: Fxxxing Lion, Night Wounds, Metalux, Paradise Island,
Vholtz, PRE, Hustler White...
And do you do all the art and stuff yourself?
N: Yep. There's a craft table at home.
J: That's what we were doing before we got here. All spray-
How was touring, the eleven days that you guys went?
N: Really good. We didn't want it to end. The only thing that
sucked was the heat. Like, record fucking temperatures. It was
47 degrees in Sacramento. You had to run from the car into
the nearest shady air-conditioned house.
J: Yeah, I thought I was gonna die. We played a basement show
one of those nights, and halfway through the set I started getting cold shivers.
E: That was the basement show where Sacramento had a
brownout, and so there was no power, and the power was being run in from a van parked in the alleyway beside the basement, and then you've got a basement full of 30 kids, and one
tiny little fan that we're trying to point at Jeremy.
J: That was a beautiful display of perseverance, because the
Have you guys played at the Emily Carr parking lot?
J: Not as Shearing Pinx, no. Nic and I—
N: We played as Black Dicks.
J: And that was really awesome. Really awesome space.
Yeah. I hope that there's lots more shows there. It's
good. It's always kind of like, guerrilla. You don't know
if it's gonna happen.        ^tfKffh-3^
J: Yeah. And it attracts an interesting crowd, too, like people
you don't normally see out. Certain events have been good
for that. The Fake Jazz thing has been really good for that.
Especially a lot of older people, who were maybe doing stuff
like this 10 years ago, and just thought it was dead, come out
and been really inspired to start doing stuff again.
And the Cobalt's always good.
N: We really like Portland, too. It's one of our favourite places.
How many times have you guys played there?
J: Three.
E: I think we were gonna try for 4, and then it never happens:
N: I mean, even In Flux played there before Shearing Pinx,
and that was awesome, and we met a lot of our good friends.
Even when Channels played there, it was awesome. I love that
E: Yeah, I think Portland is responsible for Shearing Pinx.
How so?
E: We jammed with Hustler White after playing down there
with In Flux, and Nic and I both fell in love with playing guitar, and—
N: Yeah, we just wanted to play guitar in bands, and we were
just like, that's it, we're just going out and we're fucking starting a band. And then I introduced these guys and formed the
J: Yeah, Nic and I had known each other kinda for a while,
yakking about music.
N: Jeremy was in the background in one of my movies. This
movie that we shot in this coffee shop that he was working
at. You could see him in the back with his big long dreads [all
Man, you guys have so much energy.
J: When you think about it, there's lots going on in town right
now. It's pretty good.
E: It's awesome that there's so much enthusiasm. Everyone's '<
really supportive, for the most part.
J: Yeah, and even that people just are coming out to events like
this, you know? Some nights at the Emergency Room there'll
be, you know, 50, 60, 70 people. Even at Fake Jazz, there will
be from 50 to 100 people on random nights. And I remember doing shows with different bands with Nic 4 or 5 years
ago, and shit, you'd get 20 people if you were lucky. I guess we
can thank a lot of bands that kind of have been going big, like
Lightning Bolt, Black Dice,-Hella, Animal Collective. They've
brought a lot of different people to this stuff,   ft 1, A BRIEF HISTORY OF PAUL DEVRO
by Quinn Omori
Illustrations by Andrew Taggart
Photos courtesy of Salon des Bourgeoisie e'and my brother [Erik] went to
Vancouver—we bought some Wu Jl
Tang and- some Black Moon records
and we went back and grabbed a
record player from my grandfather's
shed, took it home and just started
scratching from there,
v meet Paul Devro for the first time, he doesn't
come across the way you'd expect. For a guy who
makes his living throwing booze-drenched parties and spinning the underground's latest anti-hits, he's extremely soft
spoken. He's self-effacing in a way .that betrays his attention-
grabbing skills as a DJ and producer. As he excitedly speaks
about upcoming and ongoing projects—between bites of Bon's turntables and a mixer out of a bunch of cereal boxes. He
$2.99 breakfast special—he's quick to praise his peers while employs the genuine tools now, and they've taken him farther
downplaying his own contributions. It's also abundantly clear than a kid "scratching" records on a cut-out Cheerios package
by the way he talks about music that he's found his calling—a could possibly have imagined.
fact that's affirmed when my interview tape has long since Devro's current itinerary includes orchestrating a podcast
stopped and Paul recalls being nine or ten' and constructing of "cumbia, baile funk, and meringue" for XLR8R magazine,' managing an April tour for Fox N' Wolf that
sees he and fellow Vancouverite Tyler Fedchuk
opening up and down both North American
coasts for the Swedish pop duo, and a host of
other high profile gigs. "I'm playing Fabric in
May with Blaqstarr, Switch, Sinden, Diplo and
DJ Mehdi. That'll be crazy," he says of the world
famous London night spot that will see him
sharing a stage with some turntable royalty. In
between, he might find time to work on some
new production projects or a mix to follow up
his successful Toma series.
The latest mix in the set, Toma 3, collects
35-minutes of Brazilian baile funk, and has
garnered comparisons to Diplo's genre-breaking Favela on Blast. The disc also gave Devro
an opportunity to give something back to the
community that he borrowed the music from.
"There were a couple baile funk CDs out. And
people were getting flack, like 'you're not giving
to the people.' People weren't even putting proper track names on the CDs (in a rather dubious
effort to keep the musicians ungoogleable)," he
notes. In addition to taking the obvious step of
listing Toma 3's featured artists properly, the
record's release party doubled as a fundraiser
for the Two Brothers Foundation.
"I was just looking for fundraisers in that
community and I found Two Brothers and this
guy Paul Sneed (the foundation's director) and I
emailed him and he was super down for it." The
money raised helped the foundation convert
a house in Rocinha (Rio's largest favela) into
a school house, and an additional dollar from
every sale of Toma 3 goes to help Two Brothers
with future and ongoing projects. If things keep
going according to plan, Devro might be able to
see the fruits of his philanthropy for himself. "I
should go. Hopefully I can go with Wes [Pentz,
a.k.a. Diplo] sometime," he responds when I ask
if he's had a chance to travel to Brazil.
Diplo's name pops up repeatedly in our
hour-and-a-half long conversation, which is
not surprising, since the two genre benders
share a similar production style. Additionally,
the man best known for his work with
M.I.A. is set to put out some of Devro's
recordings. "I'm doing this New Order
remix. I play didgeridoo and accordion
and these other things on it, and I got
Wes—he's in Australia right now—he
got some aboriginal kids to record the
vocals," he says with excitement. I follow up by asking if the track will be
out on Diplo's Mad Decent imprint,
and get an overly modest response
that might reflect Paul's small town
upbringing. "I think he's going to put
* it out if it's good," he quips with a
shrug and a smile. "If it sucks..."
Port Alberni, British Columbia
isn't exactly a hotbed of progressive
sounds, but it's where Paul (then still
known as Paul Pierre Devereux) got
his start. "Me and my brother [Erik]
went to Vancouver—we bought some
Wu-Tang and some Black Moon records and we went back and grabbed
a record player from my grandfather's
shed, took it home and just started
scratching from there," he says of
his musical roots. The pair slowly acquired more equipment while honing
their craft, before Devro took his talents to the people. "I had a couple of
parties with underage drinking and I
worked at this place called Cloud 9. It
was this seedy bar...I was 17 or 18 or
something," he states, fondly recalling the gigs he played before moving
to Vancouver in 2 001.
"I went to school in Burnaby for
a couple of years, so I moved there
and I started DJing at DV8 and I had
a Tuesday at Crush with Jason (better
known as mylgaylhusband!) which
was really cool," he says. "For like a
month there, I had Grime on Tuesday
[at Shine], 686 on a Wednesday, the
Met on Thursday, then Friday at Shine
for Get Up, Get Down, and Saturday I was at the
Columbia." The Kids at the Columbia (which was
originally held at the Met), was the first party in
Vancouver, that turned a former dive into one of
the city's hippest weeklies. And it's a trend that
Devro continues every Saturday night, as he
co-presents Salon des Bourgeoisie at the Royal
Unicorn Cabaret.
Ten years ago, if you told a local that the
top floor of the Woodward's building—located in
Canada's poorest postal code—would be selling
as a million dollar penthouse suite, you would've
been laughed at. The response might've been similar if you'd looked into your magic 8-ball and told
them the city's trendsetters would be lining up on
a Saturday night to get into a cramped Chinatown
bar, but that's been the scene since "Salbourg"
settled into its latest digs a couple of months ago.
Paul spins regularly along with his brother Erik
and a rotating collection of the city's finest, and
the night has also managed to host a multitude of
just-below-the-radar talent that might otherwise
skip Vancouver for larger and more standard metropolitan locales. Over the last half a year, Steve
Aoki blew through town for a set, Uffie dropped
some verses with Feadz, and DJ Funk performed
what Devro described as "the best DJ show I've
ever seen." And in a coup d'etat for both Devro
and the city's club scene in general, Salon des
Bourgeoisie is hosting a French invasion on March
25th at the Caprice. The party sees Pedro Winter
bring his Ed Banger Records roster through on a
North American tour that boasts a scant six dates
and a headlining set by Justice.
Paul speaks with his usual excitement about
the forthcoming visit by these electro-juggernauts, and when I catch up with the French fete-
makers later in the week, it's clear that Devro's
enthusiasm spans the Atlantic.    .
Salon des Bourgeoisie takes place every Saturday at
the Royal Unicorn Cabaret (147 E. Pender) and Toma
3 is available in stores and on turntablelab.com.     ** o -
ml , • \ \\ eg      '   t
t's different from Europe, and especially from Paris, be-
I cause people in Paris are acting like they know everything,"
Xavier de Rosnay says of the few shows that he and Gaspard
Auge have played in North America.. "We just had people in
front of us who just came to party, and this is the best crowd
you can get, you know?"
Apparently nobody told him that getting people to move
in Vancouver is about as easy as getting the rain to stop falling.
Although, if there's anyone who can remedy the city's collective affliction of unnecessary immobility, it's de Rosnay and
Auge. They bring their dance tour de force, Justice, to the usually uptight confines of the Caprice nightclub on March 25th.
The pair hooked up in 2003, when de Rosnay was welcomed into Auge's social circle through a former girlfriend. "It
n o
was a bunch of friends. When I met them
they were all into music and things, and
they had this small label, and at this moment they were putting out a compilation.
And so they asked everyone around them
to make some tracks," he explains. The
DIY spirit of the compilation led to Justice
pairing up to make music for the first time,
although according to de Rosnay, the results were anything but spectacular. "We
did it together and it was really crap," he
says with a laugh, before noting with some
relief that the track in question is probably ■
lost to most people's ears. "I think they sold
Discorder   15
like 70 copies of that compilation. It's really hard to get." Undaunted, the guys were soon back
at work, crafting a new collaboration that would lead to their big break.
"We did 'We Are Your Friends' like two weeks after that compilation," de Rosnay explains.
Stripping away everything but the chorus of Simian's "Never Be Alone", Justice's home-produced treatment turned the electro-folk track from a low key toe-tapper to a synth-laden club
anthem. A short time later, the tune was on heavy rotation at the world's hippest dance spots,
eventually falling into the hands of the founder of France's premier independent electronic
music label. "We met Pedro Winter, the boss of Ed Banger Records, I think one month after
doing 'We Are Your Friends.' And so we released our first record three months after starting
music, which was kind of a good surprise," he understates. That "good surprise" led to a deal
with Ed Banger, as well as a torrent of remix requests.
"I trunk the electronic music world is really a special world. Because when you get lucky,
you are requested to DJ and make remixes quite fast," de Rosnay muses, speaking to Justice's
quick ascension from obscurity to in-demand producers. In the last four years, their profile has
grown steadily, as the pair has lent their unique sonic vision to almost a dozen tracks, ranging from the relatively obscure to some of the pop world's most famous artists. Label mates
Vicarious Bliss were the first to get a retouch, but the Justice stamp has also graced songs
by everyone from fellow dance acts like Daft Punk and Soulwax to music industry titans hke
Britney Spears. The attention certainly hasn't tempered the group's artistic reach, however. A
remix of Franz Ferdinand's "The Fallen" would've been rendered unrecognizable if it weren't
for the inclusion of a few repeated samples of Alex Kapranos' chopped and screwed vocal lines.
As a bit of a self-aware jab at themselves, the song came tagged with the subtitle "Ruined by
Justice." Perhaps to the relief of popular music's more conservative fans, these pop delinquents
haven't had much time to tinker with other people's creations as of late.
"There were some remixes we really wanted to do, but we didn't have time to do them,"
de Rosnay notes of the past year. He and Auge have forgone hiring their services out as of late,
opting to complete work on their own record instead. The as-yet-untitled LP, due out later this
year, will be the duo's first full-length, though the public has already had a taste of what's in
store from a handful of compilation tracks and the Waters of Nazareth EP. But while the aggressive rumble of the EP's title track and "One Minute to Midnight" is in full effect on new songs
like the pre-release 12-inch, "Phantom", listeners are also in for some different sides of Justice.
"D.A.N.C.E.", which serves as the record's official first single, trades the pair's'trademark hard
beats for funked up bass lines and disco strings. "D.A.N.C.E.' is a special track on our album.
We chose this to be the first single just because we loved it and we wanted to say that the
album is not going to be exactly what you expect about us," says de Rosnay. The single also
swaps the vocoded clips that usually serve as a Justice track's only vocal contribution for a
full-on children's choir that the pair recorded while in London. In a rather fitting coincidence,
the finished product shares the aesthetic of "We Are Your Friends". Their breakthrough hit
was recently re-released, becoming the first taste of Justice for many of Europe's mainstream
music fans when the accompanying video skipped its way up MTV Europe's chart. The clip
even snagged the "Best Video" title at the MTV Europe 2006 Music Awards gala, much to the
chagrin of one Kanye West.
Apparently, Kanye doesn't care about French people making dance music, as he felt compelled to bum-rush the stage when it was announced that "We Are You Friends" and nothis
own "Touch the Sky" would be taking home MTV Europe's top video honours. Ironically, de
Rosnay was en route to West's hometown of Chicago for a Justice gig when the ceremony was
taking place. "We thought we wouldn't win, but when we landed in Chicago we got off the s
plane and saw tons of text messages saying 'Congratulations,'", he says with some lingering
disbelief. Completely unaware that the world's most famous college dropout had stolen their
spotlight with a wide-eyed rant, concluding that "if [he] didn't, win, the whole awards show
loses," the pair headed to their hotel to find out how the ceremony went down in a rather un-
rockstar-like fashion. "We went to the hotel and went on YouTube to see the thing, and this
is when we discovered the beef with Kanye," de Rosnay recalls, laughing about the fact that
Ed Banger comrade So Me was in Copenhagen to collect the award on their behalf. "It was so
funny to see our friend being aggressed by Kanye West," he says, before noting that he was
rather relieved to have missed the entire escapade. "I had to watch the thing like five times just
to understand what he was saying. At the moment [it happened], I just would've looked so
dumb, saying 'Aha Kanye, thank you.'" Something tells me he wouldn't have received a polite
"You're welcome" in return.
Though their record is done and set for an early summer release date, de Rosnay and
Auge are still full steam ahead. Undoubtedly, we can expect a few more hits and non-hits to
be "ruined by Justice" (though probably not a "Gold Digger" remix), and the pair continue to
play shows from Philly to France and everywhere in between. To say that Justice is riding high
would be an understatement, but from what I could gather from Xavier de Rosnay, they could
still probably use one favour when they drop in on Vancouver this month: if you show up,
make sure you come to party,   jc "
"We went
to the hotel
and went'
on YouTube
to see the
thing, and
this is when
we discovered the    /
beef with
4 o'-' v. AfJIIBfiLAS
In stores 3/6
i _*_ §■*% #■■.
in stores i-zn-tn
cm tour ruts spriiig with
cniTi.E necnpnmmn min nruinHTGn:
have hit a new creative peak with "Security"
fusing their renowned afrobeat grooves with a new, heightened sense of melodic lyricism and texture, thanks in part to
producer John McEntire of Tortoise.
XLR8R called Antibalas "the baddest on the block"
and Pitchfork wrote, "They lead the pack".
Elsewhere, Rolling Stone, The NewYork Times,
New Yorker and a slew of others have
taken serious notice.
On tour this spring, check Anti.com for dates.
0 '
Discorder   17 DURING
MARCH 14-18 2007
FEvmrAb rnmn for sflpabbti week
March 14th to 18th 2007
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March 15
March 16
March 17
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Featuring RADIO ONE,
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St Paddy's Eve
McGllHcueWy's High Octane Celtic
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11:30am-2pm   Doolins Open for Dublin Brekkie
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followed by Midnight Cowboys
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Get on the VIP/Guest list + Event/Party/Fundraiser bookings
604.646.0064  WWW.PLAZACLUB.NET 881 GRANVILLE STREET Unearthing V
Lost Gems o
with 1777rex
photos by Quinn by Quinn Omori
Omori and courtesy
OF 1777REX
to Steve McBean (of Black Mountain/Pink Mountaintops)
about Ex Dead Teenager." The formed, which Balogh describes
as 1777rex's one "hit," is a collection of songs that Dayton
penned to perform with Bejar under the questionable moniker, A.I.D.S.
"They made the record, but Dan quit the band because
he didn't want to play shows in a band called A.I.D.S.," says
Balogh of the group's very brief existence. "Then talking
about it over the years, Robert thought it was a good record
and wanted it to see the light of day, and Dan agreed that if
[Robert] changed the name of the band he'd give his blessing
to it." The collection of "downer folk gems" showcases a side
of Dayton that might be lost on most people, including any
Destroyer fans looking for forgotten Bejar jewels. "People love
Dan, but it's mainly Robert's project, which is mainly why I
wanted to put it out, because it's different than everything else
that he's done," explains Balogh. The label is also set to expose
a side of Steve McBean that's probably new to many of the
fans that follow his work.
"They were one of the best punk bands this city has ever
produced," says Balogh of Ex Dead Teenager. A slightly different beast than either of McBean's current outlets, Ex Dead
Teenager created spastic blasts of noise, often punctuated with
keyboard stabs, that in retrospect foreshadowed Vancouver's
now characteristic no-wave sound. The record is currently in
McBean's hands getting remastered. In the time between the
release of Points Gray and getting the wheels in motion on
Ex Dead Teenager, Balogh has managed to put out two more
recent creations.
"Again, it just comes down to friendships. And Sipreano
and Ice Palace—both those groups of people were not going
to be releasing anything on their own," he notes of 1777rex
releases three and four. "Kevin [Howes a.k.a. Sipreano] never would've finished something unless I said, 'I want to put
this out.' And for [Ice Palace's] Lyndsay [Sung] and Rich
[Trawick]—who just got married—making music is just part
of their relationship." The latter release collects seven quietly captivating songs that come out of left field if you've got
Sung's contributions to Pink Mountaintops and Radio Berlin
or Trawick's former membership in Three Inches of Blood
in mind. While the Sipreano LP is more characteristic of its
author, the downtempo mix of sample collages and live instrumentation is still a shift from the lauded Jamaica to Toronto
compilation that he curated last year.
With its one man staff taking a six-month leave from
Vancouver to write and record with his own band in Montreal,
1777rex will be on hiatus after the release of the second
Anemones EP, Come Down Like a Cloud. Although there's nothing currently slated in the label's future, Balogh is at least cautiously considering some potential releases.
"My friend Hollie Brown, she's always been really private
about her stuff, but she's started to play house shows recently
and her stuff's really beautiful. She gave me the sewing machine [that Balogh uses to stitch up the sleeves of each CD-R],
so I'd like to do something for her if she's interested. If Mark
Szabo ever started writing songs again and wanted to put something out, I would do that in a hot minute. Maybe the Prancing
Cat stuff that Carey Mercer did for a while. We'll see."
No matter whathappens, Steven Balogh will keep making
music. There's not the same guarantee with 1777rex, but you
can be sure that any future release will be something that you
uld've missed otherwise. Keep your ears open.
1777rex's releases are available at Zulu Records or by mail
order at myspace.com/1777rex. The vinyl-only Anemones LP will
be out soon on St. Ives. S AN INCOMPLETE
by Sarah Buchanan   illustrations by reanna alder
am ten minutes late for the Last Chance Slam, which is the
I first event of the International World Poetry Slam. Tonight's
winner will ascend to the weekend rounds of official slamming, meaning that they could win the World Championship,
meaning that the bar is packed, and I have to wait. Slam poets
are. a new breed, emphasizing performance rather than the
written word, competing in venues all over North America
for the chance to claim the title of Slam Master. One by one
they perform, get judged, and rejoin thecrowd. Let me be clear
about one thing: this is a sport, and loose clothing is recommended.
From a quick Scan of the crowd outside, I conclude that
slam poets are mostly hot people who smoke terrible cigarettes. Peter Jackson's, Players, Export A—perhaps this is part
of a lyrical semiotic system that I have not yet grasped. Or perhaps the mostly American competitors had hopped across the
border that very morning, ran out of smokes, and promptly
bought the cheapest shit they could find. As they rant and rage
poetically with lit cigarettes in hand, I imagine them instead
holding a tightly rolled Drum, or a slender Benson & Hedges,
or a balled up sweater clenched in one hand.
Inside, I wedge myself next to a photographer who is
crouching on the ground. It becomes clear that I am in the
way. This does not seem to be a problem. The poems are quite
varied; heavy poetry about chemotherapy, light poetry about
a man seeing his landlord's penis, and poetry I don't understand about being covered in blood, but still like anyway. I am
nodding, others choose to wave fists or yell.
I am especially impressed by a man whose name I cannot
pronounce, a small hairy man who takes the stage near the
end of the night and speaks in a rolling, silky voice. I find out
later that he is Anis Mojgani, and has won a lot of things. But
right now, I have no idea, and I am shocked.
I head to the bar and shove my little notebook inside my
rubber boot, where it escapes somewhere on the floor of La
Rocca. This is embarrassing because there is weird shit in
there (in the notebook, not La Rocca), including a terrible dolphin sketch and one song lyric which is also terrible. The dolphin may in fact be mistaken for a curvy line. So if you found
it, don't look.
Anis won the night, but the final prize went to claustrophobia, which is what sent me home early. Being in the way became more uncomfortable as time increased, even as the
enjoyability increased at a similar rate. I often like to use the
equation below for determining when to go home. Feel free to
cut it out and bring it along to events around town.
I Where d = discomfort; t = time (hours); e = enjoyability. \
If dt > et, our spectator must conclude that leaving is a
better option than staying. Where dt = et, our spectator becomes caught in violent indecision, and must mill around the
bar buying expensive beer. Due to my increased discomfort
and lack of beer money, I decide to go home.
On the second night of the competition, I arrive at Rime
two hours early. Lounging next to me is Steve, one of the
many competitors from Texas. There are so many Texans that
they claim an entire corner of the bar, convincing me of one1
thing: Texans love slam. Steve assures me that he will not
be drinking before his performance tonight, but will order a
lemon tea at exactly seven o'clock. He stays true to his word,
checking his watch to make sure. The Texan poet next to him
also orders tea, convincing me of another thing: Texan slam-
masters love tea.
I am just settling into a seat when a large man in a suit
approaches me and asks if I want to judge. Slam competitions
are always judged by randomly selected audience members,
which I have just learned an hour ago on Wikipedia. I tell this
man that I cannot judge for three reasons:
'  1) 1 am writing about the event.
i 2) I have only ever seen one slam in my entire life. i
i 3)1 plan on drinking quite heavily.
He shrugs. "So what?" He has a point. I accept the giant
laminated score cards, and he moves on to convince the guy
to my left that his list of reasons not to judge are also bullshit.
This is what makes slam poetry democratic, and refreshing,
and also scary as hell.
As it turns out, judging is quite difficult and involves
more motor skills than I normally possess after 6pm. I have
only three seconds from the poem's end to decide on a score,
flip two laminated cards around to the right number out of
ten, and raise these numbers high in the air, where they will be
booed and heckled unless they are exactly ten. I am generally
out of breath, and spill beer all over myself twice. The highest
score I give is a 9.7, the lowest a 6.8, which receives a reply of
"Ooooooooh...are you kidding? Are you deaf?" Other remarks
include "Who made you God?" and my favourite, "Fuck you."
I am relieved when a new crop of judges steps in for the second round. I decide that judging sucks, and I am uneasy with
the whole process. It's like trying to hit a bullet with a rock.
I try sticking around for the Erotica Slam, but at 12:30am
it shows no signs of starting, so I decide that it makes more
sense to go home and read porn in bed.
Friday begins with the Anarchy Slam, an event.in which
the poets are allowed to do what they are not allowed to do in
official slams. Some of these things include:
»playing the accordion
»using props, including audience members and/or body parts
»covering other people's poems
»two people reciting the same poem together, with one of
them yelling certain words to make them stand out more.
The poem is so well
executed that I do not
even get distracted
looking at his penis,
The first performer is Casey, and he asks if anyone minds
him getting naked. Nobody minds. There is* a giant window
behind the stage which soon becomes packed with surprised
Commercial Drive-goers who walk by and see Casey's penis,
and stay. The poem is so well executed that I do not even get
distracted looking at his penis. A young woman steps up after
Casey, nervous as hell. "I can't top that," she admits. "Then
bottom it!" yells a faceless voice from the audience.
I head to Richard's afterwards to try to catch Deerhoof for
an "early show." Doors are at six, which really means seven-
thirty, and the show is at seven, which means standing around
drinking overpriced beer until well after nine. Everyone looks
pissed off.
The friend I meet up with has forgotten the tune of the
song she just wrote, and immediately leaves to remember it. I
start to get bitter about hanging out with musicians, because
I have been hanging out with poets all weekend, and the poets
seem to be coming out on top. They don't cut each other up,
talking about how "their first poem was better." They don't
have to dress up in gimmicky safari outfits to hide the fact that
their act is lame. When poetry is lame, there is no hiding it.
Also, poets come up with really great sex words that do not
include "fuck" and "make love", which musicians seem kind
of stuck on. Then there is the matter of heavy gear, and poets
having none of it. Under the warm glow of beer signs upstairs,
I compose a list of pros and cons, and decide that I would rather watch poetry. Did I just say that? I can't believe this. I would
rather watch poetry.
On a sunny Saturday morning, it is just me and Ansel
Appleton, who is drinking a tiny macchiato and eating a tiny
cookie. Last night, I almost ran into him as he paced frantically back and forth next to the water cooler before performing.
At that moment he was deciding to ditch his poem completely
and memorize a new one. He looked worried. This made me
worried, which I think made him even more worried. Today
he looks less worried, but still has an air of frantic energy that
I like. I ask him a lot of naive questions, and because he is a
sport, he answers them all. »»»
J I take it poetry doesn't exactly pay the bills these days.
Actually, it does. I don't have to work much anymore. Touring
can pay alright, especially on the college circuit.
The college circuit?
Yeah, it's just taking off. You can make up to a thousand bucks
on a really good night. In a bar, maybe fifty bucks, and some
Wow. That's a lot.
Yeah. I'm hungry.
Me too.
do with Slam. I went to Urbana, I went to the Berkeley Slam,
I made it to finals at least one year, and I lived successfully off
poetry for a while. I'd like to try something new.
Like what?
. Well, I'm finishing a manuscript.
Can you tell me what it's about?
First kisses.
. We walk across the street for sushi, at which point I eat
peanut sauce by accident and feel uncomfortable. I am allergic
to peanuts. I only have so much time before my ears swell and
I have to go home and throw up. The pressure is on.
Why did you change your poem last night right before
walking on stage?
It had to do with the poets before me. I felt like the subject
matter had already been addressed that night, and I needed
something fresh.
Is this a common slam thing?
Sometimes. I often write poems the morning of the slam, like
on Thursday. I think you judged that one.
I remember the poem, a delicate admission of his first
"I love you" to a punk girl he never kissed. While the female
judges loved it, the male judges seemed to think he was a
pussy, and scored lower.
Is there a lot of strategy involved in which poems you
use? Like, there have to be a few poems you know are
really kick-ass.
The bottom line is, if you go to Worlds, you have to have seven
poems, and they'd better all be incredible.
Huh. Do you plan on doing this for a while?
I feel pretty close to retiring. I've done everything I wanted to
Under the warm glow
of beer signs upstairs, I
compose a list of pros
and cons, and decide that I would rather
watch poetry. Did I just
say that? I can't believe this, I would rather
watch poetry,
At this point, I lose focus due to residual peanut swelling,
and cannot give a proper account of our conversation.
I had no idea what to expect from the much-hyped final
round on Saturday night, but I was suitably impressed. There
was cheap beer—good beer—and popcorn. Everyone was in
good spirits, even the line-up of last-minute hopefuls snaking
around the block.
The big names were all there. Buddy Wakefield, two-time
world champ, performed a stunning poem that nobody seemed
to like as much as I did. Andrea Gibson was the clear crowd
favourite, receiving two standing ovations compared to a combined total of none for the rest of the poets. Anis Mojgani had
me spellbound again with his rhythmic incantations about
fish. Slam poems often get bogged down in dense subject matter, relying on pain more than pleasure to score points. Anis
avoids this, and stands out for it.
Ed Maybre came away with first, storming through an
impressive set of poems that shocked and rattled the predominantly white, upper middle-class audience. He wrote his son's
name on the inside of his wrist and kissed it before starting
each piece. The room went dead quiet each time he finished,
out of breath.
I had to take a walk before being able to speak after the
finals. It was too intense. If I organized a slam, I would have an
intermission halfway through, and project little fluffy clouds
onto a giant screen for the audience. Even the after-party
was a bit too intense for me. People kept going into this huge
trailer in the front yard and closing the door and then running back out again ten minutes later. Everyone who wasn't
doing that was dancing. I lasted an hour and then got really
hot, so I walked home through the damp industrial parks of
East Hastings.
I can understand the attraction of the slam scene, now
that I have seen the best of it. It's like the punk rock of poetry,
bursting out of a scene that many fans wouldn't touch with
a ten-foot pole. Poetry readings? No thanks, I'd rather gnaw off
my own arm. One can only hope that this new enthusiasm for
poetry will lead to a wider appreciation of the small, subtle
poems being read in bars across the continent, and not just
the flashy theatrics of slam. «. Long & McQuade
 + University 2007
[free clinks during the month ofMarch\
*   jl
Tuesday, March 6:7*9 p.m,
Textural Drumming with Bob Gretsinger
Tuesday, March 6:7-9 p.m,
Electronic Drum Clinic with Kyle Bedemskj
Saturday, March 10:2-4 p.m.
Men andGmtwith
Black Sabbath's Vmnvtppw
f^fli&lafch 11:1 -4:30 p.m.
Canadian Print Musk Book Fair
Tuesday, March 13:7-9 p.m.
MuskIndustryQ&A with Michael Burke
Thursday, March 15:7-9 p.ra.
(location To Be Announced)
Recording Work ii. wah
Garth Richardson & Ben Kaplan
Thursday, March IS: 7-9 p.m.
Pro Tools Basics
Tuesday, March 20:7-9 p.m.
Gaitar Set-Up Workshop with Scott Oakte)
TO REGISTER: Wa Email - Please send an er
Thursday, March 22: (Time - To Be Announced)
Sibelius (link with Bruce Hanson tram Sibelius USA
Pro Tools lot with Dan "Seabass"Mkn
Thursday, March 22:7-9 p.m.
Tuesday, March27:7-9 p.m.
Tuesday, March 27:7-9 p,m.
Guitar Clink with k t ettn r
Wednesday, March 28:7-9 p,m.
Guitar Clink with Dave Martone
Wednesday, March 28:7-9 fun.
J0C7lrV Workshop with Terry O'Brien
Thursday, March 29:7-9 p.m,
lauImprovandSaxInteraction withaJazzBand
with Campbell Byga and Boss Taqgart
Friday, March 30:7-9 p.m.
Jaslmprev with Dennis isson
wil to the store at which the seminar is Wag held.
1B§     For full clinic descriptions   ^H
E*EEm|                        B  visit www.long-nicquade.ee n ^H
1    1      1   |
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TBURSDAY MARCH 01 - shearing pinxjerrorbird, nihilist PAim
SATURDAY MARCH 03 - 3 to 6pm new Orleans ale siars
8pm to dose AARRGH! RECORDS Presents: CHET CD RELEASE PARTY with g
SUM! MARCH 04 - clipd beaks (tigerbeat 6}, basketball,
FRIDAY MARCH OS • the parlour steps, the Februarys,
SATURDAY MARS! 10 * 3 to 6pm new Orleans ale stars
SUNDAY MARDI 1I - jakartah, jason clackley, the fall of summer,
SATURDAY MARCH 17 • 3 to 6pm new Orleans ale stars
9pm to dose SKULL SKATES Party TBA
WEDNESDAY MARCS 21 • east side de
SATURDAY MARSH 24 • render cd Rei
MONDAY MARCH 28   da spot! (w "
THURSDAY MARCS 20 - crayonsmith, the poison dart, old bridgi
FRIDAY MARCS SO - the highballs, the elixxxers
SATURDAY MARCS SI • 3 to 6pm new Orleans ale stars
9pm to dose GENGHIS TR0N +GUESTS
210 ABBOTT ST * www.tbelampli^iter.ca
Neko Case at The Commodore, February 13
February 2
Richard's on Richards
Deerhoof beamed into Vancouver on February 2nd
to play a set for a sold-out crowd at Richard's on Richards.
Locals Hot Loins christened the proceedings, ripping into an
impressive set of damaged synth-punk and noise. Alternating
between terse and restrained passages with emotive drunken
caterwauls, and then releasing the tension with crashing,
combative guitars and keys laden over powerful drum fills,
the boys made a lovely racket. Perhaps a step or two out of
their comfort zone, they're probably best seen in an East Van
dive where they can preach to the converted, but a strong set
nonetheless. (Banter - Crowd member: "Where's your lead
singer?" / Donruss [Vocals/Guitar]: "Wow, I don't even have a
comeback for that, [pause] I killed him.") Good guys.
Los Angeles's blackblack hit second and offered juxtaposition to-the anger and catharsis of Hot Loins. After they
set up, I thought the trio were too good-looking to be any
sort of credible noise band (the bassist/vocalist and drummer might as well have been Mischa Barton). They returned
dressed as a tiger, an African Sikh, and Jeff Daniels' character
in The Purple Rose of Cairo (a safari theme) ready to show up
my prejudice. Turned out they weren't really a noise band, (I
didn't hear any "black metal" as advertised on their MySpace
page) instead playing gentle, child-like pop. The set was fairly
lacklustre, the band a bit restrained by their own whimsical
pretense. Often when bands employ that sort of pageantry
it's to accent some eccentric dynamic residing within. Here it
didn't quite ring true and came off a bit like a school play. I'm
being a bit hard on the fresh-faced starlets, likely out of jealousy. They did have charm, and the occasional bright chorus,
but the performance wasn't great.
Deerhoof did not disappoint, delivering an astonishing
performance. Their set was made up of songs from nearly all
their albums, showcasing the many facets of their dynamic
music. The highlights were numerous, but the seamless opening salvo of "The Eyebright Bugler", the new single "+81",
and particularly "This Magnificent Bird Will Rise" was sensational. The power trio format played to their strengths as
performers, and keyboard parts from the records were filled in
aptly, either by guitar or drums. Satomi Matsusaki anchored
the performance with sturdy bass, her distinctive vocal style,
and expressive hand gestures to match the lyrics. It was appropriately cute, but never cloying. In fact, Matsusaki's vocal
styling and the band's overall pop craft provide the perfect
framework for Dietrich and especially Saunier to lay out their
explosive, improvisational attack.
Deerhoof live is the work of three musicians pulling in
different directions until it sounds like they're about to fall apart, only to come crashing together at the band's poppiest
moments. What masks as chaos is undeniable synergy. This,
coupled with their infectious exuberance, make them a premier live act.
Mike Fodor
\mmmtomm®m hh
February 7
Carnegie Centre
February 8-10
Time Flies Festival, Ironworks
One of the primary exponents of an eccentric school of free
vocalisation, British imp&tW&m Phil Minton has a range of
clicks, pops, tweets, gurgles and cries at his disposal sufficient
to bewilder the most devoted phonetician. In his mid 60s,
Minton performs at a compelling level of physical intensity,
his feet twitching and head jerking as, seated, he uses his
whole body to produce the desired sounds. Minton came to
Vancouver to perform at Coastal Jazz and Blues' Time Flies
festival, alongside fellow UK improviser and saxophonist John
Butcher, Toronto drummer Harris Eisenstadt, and locals Peggy
Lee and Torsten Muller. For three nights, the musicians played
in rotating combinations, often pushing their instruments beyond normal boundaries. Danish guitarist Hasse Poulsen occasionally played his guitar with a bow—or a Slinky. Butcher
produced effects with his horn that often didn't require him to
blow into the instrument. Seattle-based violinist Eyvind Kang
impressed me in particular; he was extremely gifted at treading a line between free playing and almost folk-like themes,
passionately stated.
There were moments that didn't work. Poulsen seemed off
the third night, and Dutch pianist Cor Fuhler, though clearly
gifted, appears not to have mastered whatever skill it is that
allowed his fellows to sense when a piece is ending. These are
small things compared to the exquisite beauty of the music;
it can be a revelatory experience, to be present as improvisers
craft organic and unique compositions out of little more than
their attentiveness to each other and their craft.
The high point, though, occurred before the festival
proper started, at a sparsely-attended free show at Main and
Hastings' Carnegie Center. Wearing a floral shirt and spectacles, Minton led and performed alongside a "Feral Choir" of
six Vancouverites, including a man in his 50s in a bandana,
reminiscent of Jodorowsky in full beard, and an instantly likable older woman with a turquoise scarf around her head and
a bright pink one around her neck. As the seven produced an
unclassifiable and ever-changing tapestry of sound, a few of
the Carnegie's more downtrodden regulars ventured in, and
then back out, stirring free coffee and scratching their heads.
A gruff male attendee skeptically muttered to his buddy that
the people on stage were a "bunch of cuckoos"—but stayed to
watch. Toward the end, Minton led his choir in a little dance.
As things quieted, I briefly mistook the gurgle of the coffee
machine behind me for part of the performance.
As the applause died down (surprisingly loud for a crowd
of perhaps 20), a middle-aged woman in the row ahead
turned to me and looked up, looking not at all like an art geek.
"I liked it," she said, with just enough emphasis on the word tp
suggest that you could call her crazy if you wanted to, "but..."
Then she smiled, looking somewhat puzzled. And that was the
best part of the night.
Allan Maclnnis
The Shins at The Commodore, February 19
February 7
Richard's on Richards
Before heading off to Richard's on Wednesday night, I
decided that I should do a bit of tappity-tapping on the good *
ol' interweb to see what's what in the world of Of Montreal.
As it turns out, their current success is being both praised
and despised due to an incident in which Kevin Bairnes sold
the rights to "Wraith Pinned to the Mist and Other Games" to
Outback Steakhouse. Reports stated that Bairnes later regretted the sale, and that it had all boiled down to being hopped up
on anti-depressants at the time.
I arrived just in time to hear Vancouver's own vinyl sweetheart Trevor Risk wrapping up his set. Nice, but this trend of
Dick's-on-Dicks showcasing local DJs as the opening act of
their concerts is mildly disheartening. None the less, Mr. Risk
did an excellent job of fluffing the audience for the main act.
There was a strange crew at Richard's that evening, which included several girls who were dressed for the Plaza on a Friday
night. I briefly wondered if they had heard of Of Montreal
from the steak house commercial.
When I first listened to Hissing Fauna, Are You the
Destroyer? I thought it sounded like over-produced, 80s radio,
pseudo glam-rock rip-offs, but I quickly forgot all that once the
band took the stage. In fact, it took me several songs to realize that there were no drums (although others, I am told, did
notice, and were not too impressed). The band wore a sparkle-
tastic array of costumes, looking as though they had dressed
this way more for their own pleasure than in any attempt to
show off to the crowd. Bairnes treated the audience members
as well-received dinner guests, and he was simply so pleased
they were having a lovely time. The show was energetic and
lovely but part way through I couldn't help but crave a little
less glam-rock, and a little more "Mimi Merlot". Thankfully,
fjjfS JKST  IH
Discorder   29
J February 17
The Plaza
I've never been real big on Grizzly Bear. I mean, Yellow
House received a few listens around the house, but it never
really struck me as transcendental or anything—a fact that
left me questioning whether I was the right Discordian for this
review. I feared my cynical, old-man tendencies would get the
better of me, causing an onslaught of scathing remarks to
litter this review—and my mailbox. But after cuddling up to
the stage at the band's second appearance in Vancouver, I can
safely say I now "get" Grizzly Bear and have no need to bring
any hostility into this write-up.
So let me explain why last month's show converted me
into a bit of a gushing fanboy. First off, Grizzly Bear dispelled
my preconceived notion that their live show would become
some self-indulgent, free-form exercise. They kept things to the
point during the evening, giving room for a bit of experimentation but neyer straying too far off course. For this I have to give
the band high fives. Second, instead of relying on a bunch of
vocal effects, these guys actually sang, and sang quite well—a
reminder that Grizzly Bear's four-way harmonies outdo the
vocal loops some other bears use in their collectives. Third, the
band turned up the rock, maybe not to 11, but, for my wussy
ears, that's fine. As the four players worked through a set
mainly taken from Yellow House, they often turned the album's
strings and production tricks into crunchy guitar tones and
some mighty big drum sounds, which brings me to my last
piece of praise: Grizzly Bear's man behind the kit, Christopher
Bear (not sure if that's his Christian name or a rock pseudonym). Bear drummed like he's been studying under Michael
Karoli for years, repeatedly pushing the band's songs into a
much more intense, rock 'n' roll territory than heard on recordings, such as during the concert's climatic closer, "On a
Neck, On a Spit".
However, I do have a few minor grumbles about the night.
The Band's take on my favourite Phil Spector song, "He Hit
Me," came out a bit too sludgy for my tastes, and the weird
electronic bits could have been pushed up in the mix more.
Also, the show hit somewhat of a lull at the three-quarter
mark, causing loud chatter to rise in the club, but maybe the
high quotient of weirdos in the crowd were talking for completely different reasons; I have no idea. With all the strangeness I witnessed that night, anything is possible. Numerous
make-out sessions, violent rock fists and some maestros who
Grizzly Bear at The Plaza, February 17
conducted not the band but an unmoving crowd were at all
sides. Then again, Grizzly Bear does make drug music, right?
So as I peddled home after the show, I contemplated
how all my negativity towards the band had been flipped on
its head, and a thought came to me: maybe first impressions
aren't that important after all.
Brock Thiessen
February 19 - ^ISill
Commodore Ballroom
Probably the most memorable part of seeing The Shins
perform at the Commodore was when Russell Mercer, the
frontman and central nervous system of the Oregon-based
group, reached down to an injured and near-crushed-to-death
girl in the front row. His hand reached down and linked to hers
and the young girl effortlessly ascended out of the crowd, as
if escorted by two angels. Battered, bleeding, and covered in
a mixture of her own tears, sweat and vomit, the American
Apparel-clad tween used, her last ounce of strength to hold
herself standing, teetering on the stage before Mercer.
The music stopped. The crowd collectively held its breath
in bewilderment. Russell Mercer wiped a tear from the fan's
cheek and what happened next is the stuff of legend—the
modestly dressed rock star belted a melody from his vocal
chords so beautiful I swear he channeled the song of Apollo
himself. Simultaneously, Mercer smashed his hand across the
strings of his guitar, releasing from his body a kind of radiant
healing energy.
As if mimicking a scene from the faith healing television sermons of Benny Hinn, the girl was released from the
shackles of her mortal wounds, as her cuts and broken hopes
mended before our very eyes.
From that point, the drummer quickly counted the band
into a booming rendition of "Kissing the Lipless", the final
song in their set. Just as the last chord was strummed, the
entire band vanished in a cloud of vapour. Just as we left the
Commodore, my friend smugly pointed out, "I guess Natalie
Portman was right. The Shins really will change your life!"
Danny McCash    w mention
and get I 5 ^ off
J anything in
the store..
I   "38-9318
J Final Show for
February 3
Mount Pleasant Community Centre
"It's kind of funny how a band is always more popular
after they break up," says guitarist Dylan Thomas, after his final performance/reunion show with his punk rock band The
Badamps. To sum it all up, the Mt. Pleasant Community Centre
was an unlikely place for the end of a Vancouver punk era on
February 3rd. It was at this unusual venue with no stage that
two local bands with a loyal following—The Badamps and
FUN 100—played their last shows, while guests The Doers and
Sudden Infant Dance Syndrome rounded out the proceedings.
When "community centre" and "all-ages punk show"
get put together in the same sentence, there's bound to be
expectations of a young audience with crossed arms bobbing
up and down. Instead, the show went from your average rock-
a-thon to a giant mosh pit, with a band somewhere in the
middle of the melee. These kids just took it to the next level,
going as far as to knock mics onto the bands. "It was amazing," says Sudden Infant Dance Syndrome guitarist Craig
Farmer. "Seeing FUN 100 play with a hundred kids singing
along instead of a PA was so incredible. It was like that scene
in Another State of Mind when Minor Threat is playing a show
where the sound man doesn't show up and they play anyway,
and the vocals as sung by the entire crowd come through with
perfect clarity. Except Minor Threat had politics, whereas FUN
100 are about having fun." Likewise preoccupied with enjoying themselves, Fanner and his band, who had come all the
way from Calgary to open the show with an energetic mix of
indie punk and underwear, were an excellent way to kick off
the night.
As great as the concert was, the fact that it was the last
show for two of the four bands gave the night a tint of nostalgia. "We never really had lots of luck as a band," Ryan Dyck,
vocalist and keytarist of FUN 100 explains, "But we still did
what we wanted, so it turned out to be a fitting last show."
The two retiring bands were just there to go out having a good
time. "I've never had so much fun. People genuinely seemed
into it, and it was a great way to end it," says Thomas. They
played some songs off their new EP Two/Face and brought
back some favourites that hadn't been played in years, such as
the ever-popular "Banned from the IGA".
Thomas explained his reasons for ending the band on the
mic in front of everyone, claiming it was due to his feeling,
"like we weren't going anywhere, and I felt like I had written
all the pop-punk love songs I could." It's a style he found very
limiting to write with in the first place. In the time between
The Badamps' new release and their previous records, Thomas
went on to perform solo as a folk singer, and with another,
more intense punk band he fronts, The Jolts. New projects
are also possible in the future for FUN 100, and their reasons
for breaking up aren't too different. According to Dyck, "We
couldn'); keep up what people expected of FUN 100, and more
line-up changes were looming on the horizon, something we
didn't want to deal with."
The final show for FUN 100 nearlyy|jdn't happen. Come
midnight, after a few noise complaints from the pleasant citizens of the neighbourhood, equipment failure and an appearance by the RCMP sounded the death knell of any party. The
last thing anyone heard from FUN 100 was that they only had
time for one song. "They were about to shut it down, we were
told we couldn't play at all, but we managed to squeeze in 4
songs. When I told the crowd that we were allowed to play
one song, I was lying," recalls Dyck. The music came from
the crowd, who burst into song on their own, then turned to
backing music for FUN 100's set, which included an extended
drum solo to "Hot Popular Girl". Meanwhile, Mount Pleasant
Community Centre organizers began to take the amps and
mics away until the lights came on and the power was cut.
"Everything I wanted to happen at our last show happened,
and it was more memorable than playing the same set again,"
Dyck said.
There was crowd-surfing galore, Dyck hanging from rafters (those rafters were asking for it), smashing of keyboards,
girls crying when toy keys were lodged in their eyes, and a visit
from the Vancouver Police Department to break up the show.
"It's a shame that FUN 100 never really got to play," Thomas
laments. "Though in a way, it was probably a more memorable
show for them and us. It was pretty cool to see everyone singing
their songs even though they were told to stop."
Jonathon Brown   S u »ER REVIEW
The Bird and the Bee
Metro Blue
The Bird and Bee are a
jazzy pop duo, and their self-
titled album has a very misleading "Parental. Advisory:
Explicit Content" logo on
it. This is probably because
of the song "F*cking Boyfriend", which is essentially
a jazzy pop song, except that
the chorus contains a shockingly casual and seemingly
pointless use of profanity.
Even in the liner lyrics the
word is written "Peking".
What I can't figure out is
why anyone would want to
limit their audience, even by
the minuscule amount that
the parental advisory might,
when they don't even want
to write the word in full. And
once you have the parental
advisory, why not just run
with it and fill every song
with cursing?
That might have helped,
because The Bird and the Bee
work in a kind of pedestrian
jazz-pop reminiscent of Ladytron, but without much
edge. The best songs are ones
like "I Hate Camera" and "I'm
a Broken Heart", where the
music actually feels like it has
some substance. Even then,
it's all so gentle and breezy
that the album feels like falling asleep in a warm bath. In
sugar. In an elevator.
Neale Barnholden
Be Your Own Boss
Blocks Recording Club
r It is an old cliche, but necessity is rightfully said to be at
least half the motivation behind all of our spectacular, ri
diculous human endeavours.
The Blocks Recording Club,
based in Toronto, is an official, tangible result of a need
for community within industry. With the motto, "Don't
try, do!!", the club gathers
members bent on doing music, dirtying hands as much
as they can along the way.
At Blocks, the people who
record, produce, distribute,
and promote the music are
the same people who make it
For the audience, what this
actually translates into are
beautiful and strange artifacts of sound to be gotten on
the cheap. As the people at
Blocks explain, "We believe
that working together we can
accomplish far more than we
ever could working apart and
further, that by moving closer to a co-operative economy
we're helping in whatever
small way we can, to minimize the harmful effects of
capital in the world." This is
DIY, no fucking joke.
Perhaps an explication
on this alternative economic
philosophy is The Blankket's
Be. Your Own Boss, a mini
album of man-of-the-hour
Bruce Springsteen covers.
Known for his anti-corporate politics and an ability
to capture the working class
struggle, Springsteen's music is a strangely appropriate
bedfellow to the Blocks' cooperative logic. That Blocks
does business differently
than much of the music industry should not preclude
them from being successful
in more traditional ways, like
being able to pay their rent.
Springsteen, for all his depictions of typical American
life, must be making his own
ends meet, no problem. And
so, one hopes, the same is
happening in the east of our
country, because the music
that Blocks is making is important. And gorgeous.
A founding member of
Blocks, The Blankket is one
man, Steve Kado. These covers hearken back to his childhood, a place where music
was scarce, but Springsteen
was nonetheless played on
the car stereo as Kado fell
in and out of sleep in the
back seat. Obviously, these
covers come from a place of
love, but what Kado. does is
not really an honouring of
their traditional form. These
Springsteen covers explode
"the Boss, totally re-imagining
songs that are very, very classic. The charge of creative
bankruptcy often leveled
against cover versions is here
totally unfounded. Be Your
Own Boss reads like an experiment as much as it does
a memory, and this may be
another reason The Blankket
covers Springsteen—his image is culturally tied to ideas
of freedom, and this small
collection is an explication
on freedom of form as much
as it is anything else. These
covers haye wings of their
own right.
c. turions
Bloodied But Unbowed
Sudden Death
This is an excellent collection
by the band almost universally credited with coining
the term "hardcore". The
album is a modern reissue
of a 1984 collection of the*
band's best works spanning
from their 1978 inception
through to 1983. This is absolutely the best era of a still-
relevant band, and it's worth
noting that these songs
stand the test of time despite
the fact that they weren't
compiled with the benefit
of hindsight. However, with
tracks in common with the
upcoming singles collection,
the greatest hits compilation
War and Peace, the Polish-issued greatest hits compilation Greatest Shits, the recently reissued (with bonus
tracks) War on 45 EP, and
the reissued versions of their
first two albums and an early
seven inch, one might question whether this long out-of-
print collection really needed
to be reissued. If you're already a big fan of the band,
you know whether or not you
can justify the purchase, but
If you're as confused as I was,
definitely start here.
Justin Banal
Back Numbers
Zoe Records
"I probably kept going because I was interested in
her—if I'm being very honest with myself." These are
the words Dean Wareham
once said about Britta Phillips in the Luna documentary, Tell Me Do You Miss Me.
In the scene, he explains how
the only thing, or in this case
person, that held Luna to-.
gether in those last few years
was his wife Britta. And after
listening to Back Numbers,
one gets the impression she's
still what keeps him going.
On this soothing album,
Dean and Britta follow in
the fine tradition of lovers
making music to make love
to. Like Lee and Nancy did
in '68, Back Numbers boasts
eleven songs full of sweet
nothings, love dust, and
fuzzy wuzzies—a bewitching
formula Dean and Britta first
explored on their last outing,
L'Avventura. But unlike their
debut, Back Numbers' sonic
souvenirs are of a more electronic nature. Along with
production vet Tony Visconti
(David Bowie, T. Rex), they
have added an array of digital
touches to back Dean's distinctive guitar work, giving
the album a unique sound
of its own and effectively distancing themselves from the
Luna years.
While Dean's contributions are significant, it's Britta who really takes charge of
Back Numbers. She sings the
lead on the majority of the album's tracks and showcases
a dynamic vocal range, as on
the moving rendition of Lee
Hazelwood's "You Turned
My Head Around". The rework of "Family Conference"
(a track the duo originally
scored for the film The Squid
and the Whale) into "The Sun
is Still Sunny" displays Dean
and Britta's most sensual
vocal interplay to date. After
20 years of Dean Wareham
albums, Back Numbers is the
most adventurous in ages,
proving both his and Britta's
l wells are far from dry.
TS Brock Thiessen
JMiss Everyone
Explosions in the Sky certainly start off its latest effort
with, appropriately enough,
an explosion of sound. AU of
a Sudden I Miss Eyeryone begins with an ascending surge
of grinding guitars, before
dissolving into the familiar
soundscape of albums past.
"The Birth and Death of the
Day" and the 13-minute
"What Do You Go Home To?"
appear to have personalities,
despite being mere arrangements of chords. Each song
feels like part of a greater
continuous whole, and the
band stays true to form with
their epic storytelling formula, bleeding each track into
the next.
It's the kind of music that
makes it feel okay to daydream about ethereal scenes
like unicorns prancing in
fields or deep-sea adventures.
That is, if you're into that
kind of thing.AU of a sudden,
the memory of what it feels
like to hear a solid, optimistic and unpretentious album
returns since The Earth is Not
a Cold Dead Place came out
more than three years ago.
Instrumental albums have a
tendency to fall by the wayside, victims of monotony,
but these crashing cymbals
and- layered walls of sound
won't let Explosions in the
Sky's name rest.
Patricia Matos
Etienne D'aout
Dare to Care
I just. You know. Wanted to.
Like. This one. So much. And
that way I could have spelled
out for you the proper term,
neither French nor English, YOUT H GROUP
for the practice of making
music good through good
music-making practices. The
word, my friends, was (and
admittedly, to some degree
still sounds like) M-A-L-A-
J-U-B-E. That definition,
though, fits either of their
preceding LPs, Le Compte
complet or Trompe l'Oeil, better than ft' Wtbetr most
recent release for Dare to
Care Records, a four-song EP
entitled Etienne D'aout.
Remember Trompe I'oeil,
the little album that could
and did see Montreal's Ma-
lajube onto more short lists
than the Rankins have Ju-
nos? Well, if the most celebrated release by this French
Canadian pop-rock quartet
was (at least an eponymous)
trick of the eye, their Etienne
D'aout stands out on a first,
listen as some sort of trick
of the ear. Like the reproductive motifs that ornament its
cardboard sleeve, this baby
seems, uh, hastily birthed.
Perhaps to say so might be
overstating the case, seeing
as only four songs populate
the EP, two of them being
reproductions-of the EP title
track, "Etienne D'aout." Both
the version radio and the remix maman "Elton D'aout"
redeem the release's wane in
whimsy from earlier albums,
and "M Pupille" manages to
be both energetic and reflective without being too much
of either. Remix or not, "Fille
a Plumes" sounds like the
soundtrack to a racing video
game where you have to drive
a cloud along a magical skyline, shooting rainbow lasers
at cackling gorilla puppets.
And then. You go back.
To "Etienne D'aout." Only
softer. And longer. Than the
first time around. I hardly
think, despite my disappointment, that the rift in tone
that makes Etienne D'aout
less than what Malajube has
been in the past means the
band saw the EP as an attempt to rebirth themselves
in the way that some artists
do in the wake of success. I
guess," though, we will have
to see with what sort of trick
they will come up with next.
Mono Brown
Exodus into Unheard Rhythms
Stones Throw
I am a hill believer in the
talent of the Jackson family. No, not the Gary, Indiana
Jacksons, but the Oxnard,
California Jacksons. Oh No,
nee Michael Jackson, is the
latest family member to drop
an album with Exodus into
Unheard Rhythms. Oh No
is the younger brother of
underground beat maestro
Madlib and son of 70s soul
singer Otis Jackson.
Oh No's Exodus into Unheard Rhythms smacks of the
tireless crate-digging his older
brother is famous for. Many
of Oh No's beats bring a kind
of laid back, smoke-a-blunt
atmosphere to the forefront,
heavy on subdued piano riffs
and bopping funk drumming.
For the most part Oh No's
beats on this album come
from Gait MacDermot, the
composer of the score for the
Broadway musical Hair agd a
renowned jazz musician. The
infusion of jazz and funk on
Oh No's tracks are, no doubt,
a by-product of being around
his older brother and soaking
in some of his influence.
The rhymes on the album
are pretty much on par with
any west coast underground
compilation. Nothing that
will have you silently spitting
bars to yourself while taking
a piss. Still, it is nice to hear
Murs, Cali Agents, Wild-
child and Wordsworth drop
their contributions. LMNO is
on the album, but his track
doesn't hold a candle to the
verses that he used to spit
on the Beat Junkies mixes.
Buckshot's track, "Get
Yours", is probably the best
on-the album in terms of lyrics, while Vast Aire's opportunity to bring some credibility is severely missed—skip
that track. 'Oh No himself
gets on the mic only three
times over the whole album
but he holds his own; he
doesn't need any gimmicks
like his older brother to keep
your attention.
LaToya,  Jermaine,   Tito,
Michael and Janet step back.
The real Jacksons are making
Andrew Webster
Writer's Block
To an unfamiliar listener, the
first few moments of Writer's
Block could lead them to believe they are about to embark
upon a wispy, pretty, easy-
listening, electronic-experimental something-or-other.
Such expectations are immediately and vehemently
confounded by a roaring,
rhythmic assertion to the
contrary—the epic has begun and it is unclear whether
the listener will be laughing
or crying by the end. This is a
sound that rolls, soars, chugs
along, rolls over again, never
stopping, never wavering, if
perhaps only for a moment.
Such a moment merely hints
at an assured sadness just below the surface, tricking you
into believing you're about
to be let down, however willingly, only for the motion to
be reborn yet again. Okay,
fine: it is springtime incarnate, slapping you firmly on
the back and allowing you to
breathe again as though you
had forgotten how.
There is a lot going on
here: deep and chunky basslines, catchy yet unexpected
melodies, cascading tonalities. Vocal harmonies sound
sharp and soft at the same
time, subtly echoing into the
background and enveloping the multitude of sounds
around them. Layers build
upon themselves without
ever reaching a pinnacle,
without ever exploding and
dispensing their energy completely, preferring to stop
short, leaving the listener in
want of more. Funny, then,
the sense of satisfaction derived from it all, this constant
motion, these highs and lows,
this exercise in opposites. Full
and gracious, this is no lazy
Third time around, Peter
Bjorn and John have found
their epic in the ordinary, and
this is simply and superbly a
well-crafted pop album. This
is music for keeping stride 1
down the street on a sunny
day, gliding down the hill
on your bicycle en route to
the beach, having a whistle-
along with your morning
cuppa joe, and everything
in between. Refreshing and
uplifting, Writer's Block, of
course, demonstrates anything but.
Erika Holt
Ache Records
Secret Mommy, AKA
Vancouver's Andy Dixon,
is not afraid to tackle a big
concept. The idea guiding
Plays was "to create the mdst
anti-electronic electronic
album," using the patched-
together analog sounds recorded from non-electrified
instruments. Guided by these
Herbert-esque restrictions
on recording and a blip-bloop
glitchy aesthetic, Plays delivers on the promise of the big
concept with an album that
bridges the gaps between mechanical and human, digital
and analog. It's folk music for
Ironically, because of this
strict set of rules and limitations, Dixon has provided a
much richer soundset than
is found in most electronic
music. Drawing on the skills
of a wide range of Vancouver
talent, Plays escapes drum
machine purgatory with a
selection of traditional instrumentation and found/
made instruments. From the
bass clarinet to the autoharp,
from bicycle wheels to bubble
wrap, there are sounds here
that I've never heard in music before.
Plays is not without its
faults, which are mostly
found in the vocal experimentation on a few of the
later tracks. The vocals on
"Kool Aid River" sound like
Aphex Twin and Fall Out
Boy had very ugly children.
The positive hip-hop verses
in "I Can't Get Down," with
lines like "I'm a part of this
world / like the trees of the
earth," seem out of place in a project like this one.
These small flaws are not
enough to befoul the album
and its playful assembly of
musical weirdness. This is
one of the most interesting cut-up, glitchy albums
I've heard in the past year,
and in a year that includes
releases from Coldcut and
Squarepusher, this is no
small praise. Secret Mommy
has created an album that is
interesting, engaging, and,
defying convention for the
glitch genre, listenable and
fun. Plays will be in heavy rotation, for me, for some time
to come.
Greg McMullen
Back to Black
Everyday, music fans are hit
with claims about how piracy is killing the music industry. Everyday, as this dying
industry scrambles to find a
solution, music fans have to
five with the consequences.
I can only imagine it's this
scrambling that somehow
explains why Amy Wine-
house's fabulous new record,
Back to Black, ended up with
three release dates and three
different track listings.
Across the pond, in October of last year, this record
was unleashed to an impressive amount of fanfare.
Apparently, it hit Canadian
shelves in December, although with a rather lacklustre publicity campaign
behind it, you'd be forgiven if
you didn't notice. While the
brain trust over at Universal
Canada were busy figuring
out ways to push the new
Hedley record, Winehouse's
profile was elsewhere growing by leaps and bounds, filling pages of both the NME
and English tabloids, her
album skipping its way up
the charts. Since the majors
are always ready to strike
when the iron is hot, a US
release was quickly slated for
the middle of March, a full
five months after its UK release date, eight weeks after
the record hit #1 in Britain,
and after anyone in America
who had got wind of the initial hype had grabbed it off
of LimeWire. But enough
nitpicking, we music fans
should just be happy that
we can finally purchase this
stunning follow-up to Wine-
house's spotty but endearing
debut, Frank, right?
Just one question lingers—what version of the
disc are you going to end
up with if you can find it
at your local record shop?
The UK release comes with
eleven tracks, starting with
the soulful stomp of "Rehab"
and ending as Winehouse
blows over the Impressions-inspired strut of "Addicted." The initial Canadian
pressing weighs in at a slight
ten tracks, leaving off the
latter and finishing with the
Motown shuffle of "He Can
Only Hold Her." But according to Amazon.ca, the domestic release now features
the same number of tracks
that our Commonwealth
cousins enjoy. Of course, we
both get screwed out of the
beautifully stripped-down,
acoustic take of "Love is a
Losing Game." The bonus
track that rounds out the US
version of the record brings
the tracklist that our Yankee
neighbours enjoy up to a full
dozen tunes.
Confused? So am I.
You'll want to get a hold
of Back to Black somehow,
but I'm a bit hesitant to suggest that you pick it up at the
store, since who knows what
you're going to end up with.
I'm sure you have "other"
ways of getting music nowadays, anyhow. You can make
up your illicit downloading
and quasi-legal home taping
to Winehouse if she comes to
townT)y buying her a Rick-
stasy (her favourite cocktail).
Or, if you don't want to encourage her drinking habit,
maybe just toss a wadded up
twenty on stage. I guarantee
that it's about twenty-five
times what she gets from an
album sale anyhow.
Quinn Omori
Casino Twilight Dogs
Ivy League Records
"I'm so sorry. So sorry.
I'm so terribly, terribly sorry.
I'm so sorry. So sorry. I'm so
terribly, terribly, sorry! I'm
so sorry. So sorry. So terribly,
If you blanked out after
the second "sorry" back
there, you might find yourself a little worse for wear in
choking down all the "sor-
ries" that make up Youth
Group's "Sorry", the second
track on their latest album,
Casino Twilight Dogs. Despite—and perhaps because
of—the song's mammoth
reams of apology, I happen to
be playing "Sorry" on a loop
as I write this review.
Granted, I am feeling a
little droopy about love at the
moment, so I'm technically
in a prime position to review
a band as canonically emo as
Youth Group. The Sydney-
based quartet grew out of
Canberra's indie scene, and
has since gained mainstream
success with their support of
Death Cab for Cutie on a
2005 North American tour
(sorry, Discorder cred, but
I'm sweeping any remaining shards of you away by
openly admitting that I attended and enjoyed the Vancouver show on this tour). To
ice the cake, Youth Group's
cover of Alphaville's "Forever Young" appeared on the
2005 O.C. Soundtrack, slow-
dancing them to mainstream
I'm neither a fan of covers nor The O.C, so I'd argue that "Forever Young"
is one of the weakest tracks
on Casino Twilight Dogs.
Overall, it's a well-produced,
thoughtfully-crafted record,
but it lacks that layer of acerbity necessary for music of
this genre to really fly. The
album is at its best with the
playground hum of "Daisy-
chains," the cuddly squish
of "Under the Underpass,"
and, yes, the Gilgamesh lament of "Sorry," but the rest
of the record is too gentle in
its delivery of heartbreak to
make any memorable statements. Maybe it's hard for
the shy kidsJn Youth Group
to, like, talk too loudly about
their feelings, and stuff. Still,
I'd give this record bigger ups
if it helped "me cry so good,
but its radio-rock grooming
has neutered the possibility
of attaching strong emotion
to the music.
Jackie Wong   ft
"NOT   YET 3 [•U1H
Strictly the
dopest hits of
February 2007
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 he found
at finer (read: independent)
music stores acorss 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
other great campus/community
radio charts check out
www. earshot-online, com.
1 Do Make Say Think*
2 Of Montreal
You, You're A History In Rust
Hissing Fauna, Are You The Destroyer?
Camera Obscura
ff Looks Could Kill
Wincing The Night Away
8      Julie Doiron*
12    Dead Meadow
Burnt Oak Records: You And Yours
There's No 666 In Outerspace
The Music Appreciation Society Presents Vancouv
19    The Dolly Rocker Movement
A Purple Journey Into The Mod Machine
20    The Boredoms
21     Deerhunter
22    Geoff Berner*
The Wedding Dance of the Widow Bride
23    Arcade Fire*
24    Apostle of Hustle*
National Anthem of Nowhere
This is an Ad for Cigarettes
Endless Summer Editions
28    Neko Case
Live From Austin.TX
30    Sohic Youth
The Destroyed Room
31    The Dexateens
32    Mother Mother*
Dig Your Roots Creative Jazz
35    The Good, The Bad, & The Queen
36    Explosions in the Sky
All of A Sudden I Miss Everyone
37    Steve Reich
Reich Remixed 2006
Fans Of Bad Productions
Canada Council For The Arts
Chemikal Underground
Million Dollar Marxists*
Zero Culture
Friend And Foe
No Luck Club*
Igloo Cartel
The Winks*
Birthday Party
The Gruesomes*
Live In Hell
Pop Levi
Blue Honey
Let The Record Show
Absolutely Kosher
The Third Hand
Bloc Party
A Weekend In The City
Johnny Cash
• Live in Austin TX
New West
Discorder   37 nwj
You can listen to CiTR online at www.citr.ca or on the air at 101.9 FM
Beautiful arresting beats and voices
emanating from all continents,
corners, and voids. Seldom-rattled
pocketJuls of roots and gems,
recalling other times, and other
places, to vast crossroads en route
to the unknown and the unclaim-
able. East Asia. South Asia, Africa.
The Middle East Europe. Latin
America. Gypsy. Fusion. Always
rhythmic, always captivating.
Always crossing bwrders. Always
Reggae inna all styles and fashion.
Real cowshit-caught-in-yer-boots
British pop music from all de
cades. International pop (Japanese, French, Swedish, British, US,
etc.), 60s soundtracks and lounge.
Book your jet-set holiday now!
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, in-   .
eluding 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 mystical.
mm__m Monday
BROWNS (Eclectic)
Your favourite Brown-sters, James
and Peter, offer a savoury blend of
the 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.
LET'S 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
NEWS 101 (Mc)
A volunteer-produced, student and
community newscast featuring
news, sports and arts. Reports by
people like you. "Become the Media"
W.I.N.G.S. (Talk)   .
Womens International News
Gathering Service.
All the classical music you don't
hear on mainstream radio! A va
riety of innovative and interesting
works from the 20th and 21st centuries, with an occasional neglected
"Vancouver's longest running
primetime jazz program. Hosted
by the ever-suave, Gavin Walker.
Features at 11pm:
March 5: Only the Blues pits two
jazz masters in a jam session
context. Modern jazz great Sonny
Stitt (alto saxophone) and swing-
era great Roy Eldridge (trumpet)
spar on four long tunes backed
by pianist Oscar Peterson and Co.
March 12: Today is a sadly
famous day in jazz history, as it
marks the 52nd anniversary of
the death of the most important
musician in modern jazz history:
alto saxophone master Charlie
Parker. We honour "Bird" by
playing some important recordings by his working band that
also featured trumpeter Miles
Davis. Bird lives!!!
March 19: The Mingus big band
live in Tokyo recorded on New
Year's Eve of 2005. This band
is keeping alive the legacy of
Charles Mingus. This band burns
and would be the kind of band
Mingus would have if he were
still on the planet. Mingus lives!!!
March 26: The oddly titled band
called The MJT Plus Three was a
hot little band of Chicago-based
players who all moved to New
York in the early 1960s. They
recorded several albums before
breaking up, and Make Everybody Happy was one of their
best. Drummer Walter Perkins
and bassist Bob Cranshaw were
the Modern Jazz Two (MJT) and
the Plus 3 were pianist Harold
Mabern, alto saxophone master
Frank Strozier and brassy trumpeter Willie Thomas. One super
All the best the world of punk has
to offer, in the wee hours of the
morn. __________M TUESDAY
Bluegrass, old-time music, and its
derivatives with Arthur and the
lovely Andrea Berman.
Open your ears and prepare for
a shock! A harmless note may
make youa fan! Hear the menacing scourge that is Rock and Roll!
. Deadlier than the most dangerous
Sample the various flavours of
Italian folk music from north to
south, traditional and modern.
Un programma bilingue che es-
plora il mondo de^^^p^ftlk
Interviews with contemporary
Canadian poets. We'll talk about
line breaks, construction bosses
named Phil, and the invitational
Movie reviews and criticism.
En Avant La Musique! se concentre sur le metissage des
Independent news hosted by
award-winning jounalists Amy
Goodman and Juan Gonzalez.
Primitive, fuzzed-out garage mayhem!
Socio-political,enviromental activist news and spoken word with
some music too.
First Wednesday of every month.
Developing your relational and
individual sexual health, expressing diversity, celebrating queer-
ness, and encouraging pleasure
at all stages. Sexuality educators
Julia and Alix will quench your
search for responsible, progressive
sexuality over your life span!
Two hours of eclectic roots music.
Don't own any Birkenstocks? Allergic to patchouli? C'mon in! A
kumbaya-free zone since 1997.
(Hans Kloss)
This is pretty much the best thing
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.
_________ WEDNESDAY
With host Robert Robot. One part
classic electronics. One part plun-
derphomemixnmatch. Two parts
new and experimental techno.
One part progressive hip-hop. Mix
and add informative banter and
news for taste. Let stand. Serve,
and enjoy.
ANOIZE (Noise)
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
SWEET 'N' HOT (Jazz)
Sweet dance music and hot jazz
from the 1920s, 30s, and 40s.
Hosted by Duncan, sponsored by
Punk rock, indie pop, and what-   •
ever 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).
Music of the world, with a special
dance around African drum beats.
My passion is music from the African Diaspora. Catch up on the latest
and reminisce on classic spins.
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.
■m*>m______\ friday
Email requests to:
Top notch crate digger DJ Avi
Shack mixes underground hip
hop, old school classics, and original breaks.
RADIO ZERO (Eclectic)
Independent Canadian music
from almost every genre imaginable covering the east coast to
the left coast and all points in between. Yes, even Montreal!
David "Love" Jones brings you the
best new and old jazz, soul, Latin,
samba, bossa and African music
from around the world.
Beats mixed with audio from old
films and clips from the internet.
10% discount for callers who are
certified insane. Hosted by Chris D
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 Rattle-
head, Geoff the Metal Pimp and
guests do the damage.
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 communities.
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.
CITR 101.9 FM: Official
Sponsor of Good Times
by Robert Robot
^£^fc> No, we're not talking about Good Times, that dynamite mid-sev-
i>& V enties sitcom (although Jimmie "J. J." Walker is pretty sweet). We're
talking about all the events CiTR Radio provides our audience all
year round. On top of the unique and unparalleled sonic gold we
transmit over the airwaves, publishing this infamous magazine
every month, and hosting Shindig, Vancouver's annual battle o' the bands, this
year the CiTR good times just won'^ stop. From June 11th to 16th, CiTR and our
friends at CJSF and Co-op Radio will be hosting the National Campus Community
Radio Conference (NCRC) 2007. For almost a week, Vancouver will turn into a
playground for Canada's campus/community radio sector with visitors descend-
ingon our fair city from all corners of our country and beyond. In preparation for
the multitude of events we have planned for NCRC, we, like any business-minded
organization, made a very important decision: to throw a party. As usual, an
eclectic group of artists are on the bill to delight and strike glee into even the
glummest of hearts. For a measly ten bucks, you'll not only be entertained, but
will also be helping to support the conference, much of which is open to the public—including an impressive list of live shows soon to be announced. So bring
your friends, call your folks, and get down to the Lamplighter on Saturday. Good
times are guaranteed! Jimmie "J. J.," Walker isn't.
Midnight Dragon [Dirty Boogie Rock]
"Loud, dirty, and always ready to git down, Midnight Dragon are Vancouver's
trashiest boogie band."
Circus in Flames [Noir Country]
A "garage string band" with a "unique but rooted musical vision."
Junior Major [Hot Girl Pop]
"Stripped down, poppy, noisy, and fun."
Date: Saturday, March 10th, 2007
Venue: The Lamplighter at 210 Abbott St., Vancouver
Doors: 9pm (Show at 10pm)
Tickets: $10 in advance at Zulu, Scratch, and Red Cat
Still have questions?
Contact CiTR Promo Gal, Mya B, at merchvancouver@gmail.com.
Art Director.
Drawing, Photographing, Typesetting, Learning,
Helping, Sharing, Coordinating and Liaising.
Production Manager.
Coordinating, Drawing,
Typesetting, Helping,
Photographing, Sharing and
Liasing also.
Zulu asks the question and
Neon Bible
CD/Deluxe CD
Perhaps this is the most anticipated release of 2007!! Well, we
can now with utmost confidence tell
you that Montreal's little band that
could will not disappoint on this, their sophomore release!
Following up one of the best indie debut albums of aftime
would be a near impossible task, yet this band of merry music
makers have let the blooms of 2004's Funeral go to seed only
to have the new rushes of Neon Bible robustly come up. For
the new epic the combo hasn't drastically altered their uniquely
emotionally charged sound, but instead developed it into
refined revolutionary rock amber through more interesting
instrumentational choices including mandolins, psycho strings
and delicate acoustic guitar motifs. Cementing this brooding
mass is Win's familiar caterwaul vocal delivery that acts as a
bombastic call to arms to overthrow the oppressive structures
and ennui of modem society. There are few banrJs^Bygljg-^k;
that can match Arcade Fire's raw emotional quotient, add their
theatrical grandiosity and unique ability to connect with their
audiences, and it quickly becomes obvious why they have risen
to the top of the. world's rock Parthenon. Neon Bible sounds
like a band comfortable with their glory—yet willing to make
havoc with the spotlight! Enjoy! AVAILABLE MABGH ff8
CD 16.98   Deluxe CD 19.98
Living With Tlie
Living CD
With his latest, Living with the
Living, Ted Leo delivers that
existentialist ethos to a new crop of rude boys, For their fifth
, full-length release Uving with the Living, Ted & Co. wipe clean
the slate that once held names like Weller, Strummer and
Bragg and indulge some of their farthest-reaching musical
ambitions. "Amy Bound" and "la Costa Brava" evoke the
melodic spirit of Andy Partridge, Ray Davies and ArgyBargy-
era Squeeze, while "Colleen" is Ted's most successful meditation on pop music yet. "A Bottle of Brickie clinks pint glasses
with The Piques and captures Ted conjuring up the rhythms of
his Irish ancestry. And stretching his boundaries further still,
songs like "The Tore and the Toreador", "The Lost Brigade",
and "The Unwanted Things" find Ted taking his falsetto in new
directions, with vocals that caress each composition with the
greatest delicacy and grace. Along with the punk sound and , -
energy found in Ted Leo and the Pharmacists, previous works,
Living with the Living finds seal, funk arid R&B injected into
the trajectory. As we've learned from those artists, vital, irnpas-1
sioned music is often the direct result of aiSfre political climate,
and Living with the Living is a shining example of that truism.
CD 16.98
New Magnetic
The Return ts
Fotm Black
Majick Party CD
id Apple Robert Schneider
I has lead his heavenly pop
band through over a decade of
melodic indulgency and along the way touched the hedU?Wl*«**i
many a loyal Zulu customer. One such music lover is Hijah
Wood, who when in town before the tens would keenly frequent
our bins looking for that new blast of pop urgency. Finally, as
head of his own record stable Mr. Wood can fervently support
his longtime love of the Elephant 6 pop sound and the studio
wizardry of Schneider and his fellow HO, Beach Boys and
Pavement-influenced pats! This is the Apple's fifth release of
"hyperactive fuzzy indie rock and surreal bubbfegum, splashed
wtth colors bright enough te g%ftln the dark" — if this don,t
make you 'eel warm inside nothirg will' Recommended for
those looking for that lost Olivia Tremor Control feeling!
Calling all Children of The
Revolution! We know it,s
gonna take some special swagger to shake you out into the
street in your boogie shoes, spaceman. We know that
when you hear the words "GJam Rock" you sometimes
cringe and long for the Stardust Electric Warrior days of
old. But we also know when a good thing comes shining
through the stars down the milky way of ecstasy and into
our jukebox in the name of Pop Levi!!! Oh lord, sweet lord,
thank you for the new messiah for the man not afraid to get
the balls loose and thus freely conjure up a heady brew of
sexuaity charged party-power-pop reminiscent of the days
when platforms and plaid- and shag and shag and shag
ruled the dance floor. Pop Levi (not his real name) knows
that rock music is supposed to be dangerous, instinctive,
enigmatic, and like the wick in a powder keg, a fuse to
' destroy everything standing between you and pleasure.
Just one listen and you wil! be at the Black Majick Party in
no time!
CD 16.98
You, You're a
History in Rust
Do Make Say Think are one
of me most consistently inventive instrumental rock
bands of the past decade, and one of the most self"
realised: DMST members themselves have recorded, mixed
and mastered alt the band,s work, developing a highly original and finely detailed approach to audio production. Yea, .
You're A History In Rust Is the fifth record by Bo Make
Say Think and a brilliant extension of the band's unique
sonic narrative. Anchored once again by f ingerpicked
acoustic guitars, these compositions trace erratic circles
around a flickering, elusive centr^i$h;;swarms of percussion and horns that swirl like mo^amund an astral
* campf're Tte-WHanio n©n-linea'i\ wi be familiar to fans
of the band, as DMST has been honing this kind of overlapping, multi-thematic eW^Sow since their inception.
With History In Rust they'we: rjeScfatf a new peak of decon-
structive talent. Never academic or self-indulgent, DMST
coBtiwueW^ustain meir tradition of authenticity and artful-
Myth Takes CD
As dance-funk-punk contin-
ues to mutate !!! (JEM
Chic Chic) prove their principal
place as the predominate voice
on the deconstructed dance
ftodr scene! Wi? thump,
shake and a bit of KG-inspired boogie, NYC's fl! have followed up 20Q4's now classic Louden Up Now (2004) with
-one of the finest records of ttis young year.
Loaded with genre shifting post-modem anthems that
keep you on the phone with their catchy familiarity, Myth
Takes is a massive achiwemeBWtpmposition as over the
^wtiesef if.Bumefous dancefloor raves it captures a rare
playfully experimental spirit and good time energy, Oigthe
low end rumble of the bass-heavy psychedelic album opener "Myth Takes" as *eps the New Music-esque ambience
of Myth Takes, closer Inf inffold — clearly Myth Takes
re not mistakes. Highly Recommended.
CD 16.98
CD 16.98
Our New Quarters CD
Many people know, but few will come forward and tell
you that Vancouver is the perfect city to go incognito I
in. We have long been a safe haverrfor stars tofiomestiad |
in, as our streets, cafes and stores offer all the anonymity
to relieve a soul living a very public life. So, here is the new
record from international electronica pop star Julian Fane
a.k.a. Vancouver's best kept secret. It is nearly impossible
to see Julian around town, especially as there are conflicting reports as to who he actually is, how he styles himself,
and what exactly he does to occupy his time while not creating some of the most sublime electronic pop songs
around. What sort of mind would come up with compositions that manage to synthesize the playful bounce of The
Magnetic Fields, the blissed-out tones of NBV and the
angelic vocal delivery of Sigur Ros? We can only hazard a
guess. Our New Quarters offers ali the clues you need!
CD 16.98
All of the
Sudden I Miss
Everyone CD
Thirty seconds* all you'll j     I
need to believe in the tr^t/Kly-tiirried-rnaiesty of AU of a
Sudden I Miss Everyone, the long-awaited fourth album
from Explosions in the Sky    r&M   ea^ these moody
Texans have become e ling *arc*i Si 3'ers of instrumental
rock sublimity. The hands-over-your-face, drop-to-your-
knees opening track is only the beginning of the dominating powers! this record. Recorded by John Congleton
(The Roots, The Mountain Goats) at Pachyderm Studios in
rural Minnesota, the album is a massive leap forward,
showcasing a broader instrumental range and their most
focused, efficient songwriting to date. It's also within arm's
length of matching the overwhelming glory of their legendary live shows, trading in the crystalline production of
The Earth Is Not a Cold Bead Place for a paint-peeling
intensity that ite the fines between studio and live performance.
CD 16.98
Slightly Sony
P.O. Sb is on
formerly a key playeri
NYC's lata, revered psych-
supergroup The Tower
Recordings {which aiso spawned the h
MV7EE and Samoa luhelskl). As such, 1
ing traditional fingerpicking balladry deep into interior
space long before anyone coined the term "freak fofk", and
his powerfully mature style made his earlier records big
favourites with the Zulu staff. Now signed to Drag Sty
records (home ot Joanna Newsom, Bonnie "Prince" Bffly,
Smog, WUte Magic, etc.), P,G. Six is presenting their
magnum ^pus, a folk-rock masterpiece that exemplifies
everything that's great about Drag City music: Slightly
Sorry is wise and worldly, willow-thin and lonely and then
suddenly fat with organ tones andchoral harmony. It's a
timelessiy real and deep set of songs tn the spirit of John
Fahey and Nell Young, well-playeCfelf-produced, and
gjmmick-free.AraietreasuFef-..- ■
CD 16.98
The Besnard
Lakes are The
Dark Horse CD
Imagine a sonic landscape
shaped by an eerie aesthetic falling somewhere between
a David lynch phantasmagoria and the tranquil mise-en-
scenes of the Italian masters Fellini and Arrtonioni.
Dreamy and inviting, yet also haunting and estranged,
this is a place where fhe mind opens and unfurls a steady
stream of piercing images to animate the night A flaming
dark horse gallops across your field of vision, it's hooves
thundering a loneliness in the clouds, and with it a slow
dirge and an elegiac ballad the fuels the fiery breeze of
'The Besnard Lakes. The curtain sheet sways like a lost
Jover.s tangled hair and with it an enticing melody comes
forth fo seduce and kill. You toss the bedside orchids that
cradteypiJelref in magic into fte-aifcaod they float
amongst a miasma of angelic voices whispering
"Disaster* to which you reply in chorus "Devastation".
Tonight you are caught in the wake of the Besnard
Lakes—- theress nothing you can do — give in.
Air-Pocket Symphony CO
The Pink Mountaintops-Single Life
M. Want -To Go Home CDEP
Minus The Bear-Interpreciones Del
The Frames-The Cost CD
Bobby Conn-King For A Day CD
Calla-Strength in Numbers CD
Sondre Lerche-Phantom Punch CD
Trans Am-Sex Change CD/LP
Elvis Perkins-Ash Wednesday CD
Money Mark-Brand New By
Tomorrow CD
The Silos-Come On Like the Fast
Lane CD
The Knife-Marble House CDEP
Mick Harvey-Motion Picture Music
David Bowie-various reissues limited ed. CD
Southern Culture on the Skids-
Countrypolitan Favorites CO
High Llamas - Can Claddeis CD
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
4 Fli. 10:30-9:00
Sat 9:30-6:30


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