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Discorder CITR-FM (Radio station : Vancouver, B.C.) Oct 1, 2004

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 J I OCTOBER 13™
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DOORS 8PM, SHOW 9PM
I FRIDAY OCTOBER 22 I
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SATURDAY OCTOBER 231
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I RICHARD'S ON RICHARDS 1
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I COMMODORE BALLROOM
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■ «V 7
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Billy Corgan
An Evening of Poetry
/ ^. ^*§   With Special Guest
/   \ Yungchen Lhamo
RD'S ON RICHARDS | Wm  ■ THE RED ROOM (FORMERLY THE DRINK) I
OCTOBER 26 I    DOORS 6:30PM/SHOW 7:30PM I
OCTOBER 26        1
COMMODORE BALLROOM   I
w/t#e tiK'LMt smmmts
& stem, wests Cm THE DUKE
| RICHARD'S ON RICHARDS I
OCTOBER 27 & 28
j ARTS CLUB THEATRE!
I0CT0BE?281
1 TICKETS ALSO AT ZULU
W^Wwm
I OCTOBER 30j
T88LT
isoaasapGjsa
I COMMODORE BALUOOM I
PURCHASE TICKETS 3Q3BQQ AT ]
I RICHARD'S ON RICHARDS I
■l'&£££M\kVAV&i{.d^   ISSUE 256 OCT. 2004
DiSCORDER OCTOBER 2004
Julie T>oiro\A>
Goodnight Nobody CD Release Show
Saturday, Oct 16th @ the Media Club
Early Show - doors 6:30, show 7:00.
with special guests Jonathan Inc.
$10 at the door
INTERCONTINENTAL POP EXCHANGE
INTERCONTINENTALPOPEXCHANGE.COM
IPX No. 4:
IPX No. 5:
Treeball (Finland) &
Aaron Booth (Toronto)
Spearmint (UK) &
Novillero (Winnipeg)
endearingrecords New Music West night
Aaron Booth, Paper Moon, The Parkas & Novillero
Thursday November 11 at The Media Club
with guests Jonathan Inc.
endearingrecords
www.endearing.com   info@endearing.com
Distributed by MapleNationwide/Universal Music Canada
EDITRIX
.    KatSiddle
ADSTER
Jason Bennet
PRODUCTION MANAGER
Graeme Worthy
ART DIRECTOR
Date Davies
EDITORIAL ASSISTANT,
Susy Webb
k TA EDITOR
%      Vampyra Draculea
L RLA EDITOR
||l      Kimberley Day
"%yOUT & DESIGN
ll||lPale Davies
^fcraeme Worthy
l|§|son Bennet I
^fcberley Day
vl||ipyra Draculeaji
PRODUCTION
Igraeme Worthy i[[
Dale Davies
WWebb
l«Siddle
KlBterley Day
||yra Dracuk
ipennet
jjSmith
GercWDeo •
FEATURES SPI1
Vancouver International Film Festival ©.II
5 Blank Pages p/ttitNBfafc
jplrilla Pop p. 18
Jjlfhod Ibn Wyza p.I3
JjfThe "For the Record" Drinking Garrl||&2(lj
jjl   Robosexuals p. 1*S
REGULARS
From the Desk of... p.6
J^MTRaff p.8
Panarticon p. 7
Do it Your Damn Self p.9
Kick Around p. 20
Textually Active p.12
Under Review p.21
Finding Joy p.24
* o^dllve Action P-2J^||
Charts p.25
On The Dial p.2
reserved,
year, to
lovember
by calling
tble for loss,
hot fimtted to
be submitted
tfefe jfitetuaMy, we
fe^ an# Sqoamish to
the Lower MaMand,
sports
web site at www.
$jL^w£%& CANADA.
J Now Available In Stofes!!!
KAT SID
This month's spooktastic cover, created by
Gareth of Magic Teeth fame, looks a lot more
traditional than our last few have. It's a bit ironic,
when everything between the cover and the
ever-present Zulu ad, is changing. July saw the
retirement of beloved classic Fucking Bullshit,
while August introduced a new DIY-or-die column
presented by the Seamrippers. This month marks
the final Panarticon, and the last-ever Kick
Around, not to mention the second full colour
pin-up calendar, with art by Aurel Schmidt.
Those keen of eye might notice the absence of
Strut, Fret and Flicker, but they're not to worry-
Penelope's take on the local arts scene will be
back next month. It's not like she was deported
or arrested for smuggling or anything like that.
We ran what I believe is our first article on Dave
Emory, 'cause listening to CiTR isn't just about
losing the signal between Alma and Main
Street, or hearing You are the Quarry on repeat
between three to six AM every night. It's also
about drinking with your friends and learning
. about Nazis, which is why we included the "For
the Record" drinking game. We understand that
the show is on during traditionally non drinking-
game hours, but we want to encourage you to
expand your horizons.
For those of you who confine their boozing to
the dark, CiTR's Shindig! makes an excellent
venue for this, and there's beer for jokes to boot.
Meander down to the Railway Club on Tuesdays
and check it out (while yours truly pines in a night
class). If dancing's more your thing, don't miss
the Evaporators/Cinch/Penguins show at the SUB
party room October 15. It's a station fundraiser, so
if you don't show, you're just pounding another
nail 'm the-coffln, you know? It's all ages, by the
way. And hey, if you really, really insist on hearing
recorded music, swing by the Pit Pub Thursday
nights when our finest DJ's are released-from the
CiTR stable to strut their stuff on the turntable.
It's a night in the Pit when the music won't suckl
Discerning readers of the DiSCORDER should at
least consider showing up. Gotta encourage
good music in public places.
Between the fall harvest of good albums, the
rad concert season ahead of us (Le Tigre! PJI
Magnetic Fields!), the Vancouver International
Film Festival, a week of Rheostatics' gigs, CiTR's
plenteous offerings of music and cheer, and the
need to eat, sleep, and bathe, I'm not entirely
sure how we're going to survive. The stars are
aligned, and musically, at least, this "no-fun"
city's been turned on its head. Enjoy it while it
lasts, kids.
Kat
[THEE15S
R£ADYt$£T...0O
4307 Main Street
Vancouver, B.C.
[6041 708-0422
buddy@reilcat.ca
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Jens Lekman                                   Frank Black
When 1 Said 1 Wanted To Be Your Dog          Frank Black Francis
Showcases a burgeoning pop genius finding his legs in      A new 2-CD collection of PIXIES related rarities. A
life. Features hit song "You Are The Light". OUT 09.28.04      must have for all PIXIES fans! OUT 10.12.04
1    o>
W:;v:Kduit^,tffc(Ui
The Nei
The Nein
4^ so
A. Graham & the Moment Band
This Tyrant Is Free
o featuring former      Deliciously breezy & quirky pop songs reminiscent of
10.19.04                    our favourite late-90's indie rock.  OUT 10.19.04
BOX 57347 JACKSON STN HAMILTON ON CANADA L8P 4X2 • VISIT OUR ONLINE STORE @ WV DiSCORDER OCTOBER 2004
Pawartigom
- "Reading is escaping in broad daylight, it's
the rejection of the other, most of fhe time it's a
solitary act, exactly like writing..We don't always
think of this because we no longer read; we used
to read when we were children and knew how
violent reading can be. The book strikes a blow,
but you, with your book strike the outside world
with an equal blow. We cannot write in any other
way—without slammjng the door, without cutting
the ties." -Helene Cixous, Three Steps on the
Ladder of Writing
The essay expanding into verbose
nothingness. A column of exhaled air supporting
nothing. Eventually, you pull out the knife and
chop. Slice & reduce. Writing is painful, it is the art
of pain rendered through the sign. Not symbolic
masochism, but the masochist tied & whipped by
his symbols. You are held to your words.
Discorder is. clinging on. It has axe-handled at
the same moment as my departure. Meaning: yes,
this is the last Panarticon, number 35 to be exact,
just about three years worth and beatmatching
the end of Fucking Bullshit. It's been a long;
strange trip through seven years of affiliation with
the radio beast known as CiTR 101.9FM and its
proxy paper magnate. In the manner of all "last
columns," I must recount: from the APEC '97 Nooze
team to (successful) Referendum fever. President,
BOD, noiz-r, PARTICLE & Limpsink 2.0; one new
studio, eight editors (give or take), three program
coordinators and two station managers. CiTR is the
washing machine of its time. Will it survive?
The radio future is digital. Paper's future is
TOBIAS C. VAN VEEN
uncertain. Recent moves by a new Discorder staff
to get all "indie" might feed the short-term but the
forecast projects obscurity & eventual demise.
Barbara Andersen, praise her Are, brought "That
Magazine from CiTR 101.9FM" out into the great
open (no blood drawn in a war of the roses). But
the open is a tough place to be, especially if
you're new to the deterritorialization game.
Given that the magazine risks representing
all-indie, all-the-time, it could become the paper
hit-thing of its pseudo-generation, like one of those
Oldies radio stations. It's not the worst thing to
happen, but close. A run-out groove slotted on the
unused band of a frequently forgotten spectrum.
—There is an answer: and behold!
Capitalism represents the perverse
movement of the form we all love to hate.
There is no reason why Discorder can't forego
its parochial, backwater regionalism, its petty
scenester politik. Discorder can re-imagine itself
as a hub of independent global coverage across
all outlets of non-commercial music scenes. And
not only music. Music isn't just music anymore
and never has been. While we all know that the
mergence of technology with the streetscape is
producing hybrid forms, we don't yet know how
to write about it. None of which signals a positive,
"futurist" stance to technocracy: its critique lies
not in the hands of some academic enterprise,
but right here, in this beat-up, stained, newspaper
strength rag. And you can do it: you can sign
up and get involved and pitch and volunteer
and write. If Discorder is to move, it must not only
acknowledge the paradigm but craft and shape
it. If we want print (though not necessarily made
from a tree) in a digital world of implanted adverts,
then Discorder will be all the more necessary.
It must operate at the excess of the generative.
Evaluate these moments and get in the thick of
the thin. Start writing, and the bruises & cuts will
heal the addictive taste of pain.
At CiTR, there is an ancient motto inscribed
on the wall in black ink pen from the Sage of Yore
(apparently Nardwuar): Love Thy Station.
There are two ways to die: by taking a risk, or
by withering away in the same-old, and the body
rotting off its shackles, mold & decomposition.
Death on the vine in the great parable of Thomas
Mann. Or, headlong off the cornice into fame,
fortune and a timed burn-out. Either way, you
can't avoid the Great Extinguisher. HST called it
"The Great Magnet." Mann, Death in Venice.
Vancouver has grasped its early demise and
already sanctioned it in the name of the 2010
Olympiad. Luckily, culture is revving into some
kind of froth as the date approaches. Dead since
its industrial-acid house days, since the year of
1986 wherein EXPO destroyed qn entire bastion of
warehouses, fertile grounds of the counter-culture,
there arise new zombies counter-point to the
consumed bodies of George A. Romero... Dead
again as The Sugar Refinery met its bohemian
overdose, nonetheless there crawls from the abyss
Vancouver's instrumental namesakes: VOID, the
New Forms Festival, the Public Dreams Society,
Vancouver New Music under Magnanensi, Tribal
Gathering, the ever elusive artfreaks of PON™,
Misanthropy, the ex-worshippers of the Church
of Pointless Hysteria, lost ravers of Trickett FMRs
& Mixtress acid house, <ST> and all in-between.
seeking the two-thumbed, clenched fist of Freak
Power. Foaming at the mouth in rabid glee is
Vancouver's current denizen....
Gazing over the trees to the whitened
dome that is Baker, along the earthquake faults
that ring this geographic Are, sleeps a temporal
continuum known as Cascadia. Portland, San
Francisco... Down to the Decibel Festival in Seattle
and beyond—will Discorder grasp the locus of its
coverage?
It's not a question for me to answer: it's up to
everyone else now.
In this muggy Montreal afternoon, as traffic
drips past under a grey haze, fine Scotch in the
tumbler, I'd like to thank those Editors who have put
up with these en/coded transmissions, paranoid
prophecies & general abuses of English grammar,
in their hindsight & excitabifity. Dedicated to Linda
Scholten (& Emma, with bows to Jane Austen), B.
Andersen, L. Meat, enahs & anirtak, L. Kiesling, A.
Schrag, D. McHugh, D. Lau, M. Hancunt, A. Friz,
E. Shaw, A. Newman, S. Efron, Lucas, C. Min, o.j.
Milkman, dj Noah, the G42 Players, Dr. Kildare,
Haitch Cee, Harry & the BOD, J.J. Lee (for the
typewriter, a debt which will one day be properly
remembered), M. Hoffman, THE Jazz Show,
Nardwuar, SketchCo, 24 Hours of Radio-Art and
everything and everybody else that has made this
time weird and wonderful, with special kudos to
Mel and everything s/he represents and the very
first years of Discorder issues—a forgotten treasure
of Vancouver radicalism, an homage to the
magazine's potential in the core of the punk DIY
ethic 8. the inspiration for this column.
But the thing about writing is, you never know
who you're writing for. Which is a good thing. D Riff Raff
October is all about tricks and treats, so why
don't we give you some in the form of ear
candy? Sonically sweet. The Immortal Lee County
Killers kick off this month's latest additions to the
vinyl vault by giving us the splendid Bo Dlddley
bounce of "Sonic Angel", complete with keys
and a swampy, hot Southern ode to a mistress.
And on the flip, a live-to-micro-cassette version
of a ILCK show staple, "Sympathy For The Devil",
which allows for more boogie chillun and a
scorching guitar solo from Fu Manchu head
hesher Eddie Glass. Not usually a fan of live
recordings, but I'll give this one a nod, only for the
effort to capture two men hell bent on making a
pretty common tune a hip-shakin', gear-grindin'
good time. (Munster Records, www.muhster-
records.com).
It's always a treat to discover new bands
that blow you away on first listen and The Red
Onions from LA. have done just that, but I had
to hear their CD EP first, before managing to
track down an earlier seven inch of much rawer
quality. These four Latinos have managed to,
in a very short amount of time, turn Los Angeles
on its ear and create what will be the most
talked about resurrection of "funkpunk" (and
I don't mean the Infectious Grooves kind) in
recent memory. Marrying the best elements of
Stooges-esque bravado with incredibly catchy
Meters-style hooks, fhe platter in question is two
songs that shake, quake and vibrate with such
urgency that you can't help gettin' down like
James Brown and lie kin' the floor like Iggy would
do. "Live Wire" and "Sexy Thang" are only a
taste of the much sharper production and tighter
songwriting evident on their EP, but sometimes
you gotta look forward to go back, or whatever
the saying is. (Revenge Records, no address
given, but try their S/T EP on Fat Possum).
Now The Mooney Suzuki have been in my
bad books for a little while, after releasing the
mediocre Electric Sweat LP and a waste of-
vinyl-seven inch last year that could have been
better used as a way to patch a loose spot on my
girlfriend's vintage couch, but I digress. Lo and
behold, that band that claims to be "Number
ONE!" (at least that's what the email they sent-
me says) is back with a new album (produced
by the friggin' Matrix, WTF?), and the lead-off
single is "Shake That Bush Again", which I have to
concede is a pretty happenin' track, a rewed-
up soul shouter that has the sex appeal to make
the girls undoubtedly want to shake whatever it is
they got again and again. So why did they have
to go and ruin this with a throwaway instrumental
on the B-side? Their stab at blaxploitation
soundtrack sampling is better found sandwiched .
between cuts on the album, not as a single.
Speaking of the album, read my review on that in
this here magazine for my ruminations on whether
or not The MS are indeed Alive And Amplified
and not dead and buried with their latest record.
(Columbia Records, but don't bother-save your
mooney for a new couch).
Turning our attention to the city of Edmonton
and the two twosomes known as Whitey Houston
and The Vertical Struts, we've got double the
reason to give them some ink here. Whitey and
Gravy (bass and drums respectively) pound
through two numbers of the fuzzed-out, floor-
shakin' variety, kinda reminiscent of another duo
you may know as Death From Above 1979, but
with a little less facial hair. The Vertical Struts offer
up lo-fi blues that plays like Doo Rag (remember
them, anybody?}, as "Plans For Her" has that
same type of skittish guitar work that Bob Log
is now renowned for. Bther way, you've got a
couple winners here, and both bands are close
enough that they can tour our way (which
coincidentaHy, both have), so make sure to catch
them next time they're out. (Contact Whitey at:
whitey@vueweekly.com. The VS courtesy of: The
House Of Queenie, No.2 7625 115 St. Edmonton,
AB Canada T6G1N4).
"Who killed The Zutons?" You may be asking
yourself after picking up the latest piece of crap
that is their first album. The answer: "Please let
it be me...oh let it be me." This single ("Pressure
Point" bAv "Zutonkhamuun") offers me nothing
but a headache and no words to describe how
lame this actually is. Death threats can be sent to
Epic Records. If I sound angry, I apologize, but for
Shoplifting, they make no excuses on their seven
inch, which is a pseudo-disco art punk protest
with a message that's not to be taken lightly; just
listen to "Talk Of The Town" with lyrics conveniently
included, so you can stomp, shout and work it
on out with the rest of us. (Kill Rock Stars, 120 NE
State Ave. P.O. Box 418 Olympia WA USA 98501).
Thanks for reading this far, party people, see you
in Novemberl D
Nick Cave
<&The Bad Seeds
oAbattoir ^lues/The Lyre of Orpheus
The new two album set. DiSCORDER OCTOBER 2004
Po It Your Pa
THE SEAMRIPPERS CRAFT COLLECTIVE
KATURING GEORGIE RUSSELL
STUFFED FELT APPLE PIN
Craft felt: (red, green, and brown). Available in
12x12 inch squares from almost every sewing or
craft store.
Embroidery Floss: (pale green, for leaf veins) As
readily available as the felt.
Needles: Embroidery or regular.
Thread: I prefer polyester as it's stronger. The
colours should match your felt as closely as
possible.
Straight pins: To hold all the pieces in place
while you sew it. Unless you think that you don't
need them, show off.
Safety pin or proper pin backing: Safety pins are
easy to find and the proper pins are available in
little bags at both craft and sewing stores.
Scissors: Get some good ones, especially for
fabric. And then don't cut paper with them, so
really you need at least two pairs.
Tracing paper Optional.
Stuffing: I prefer polyester fibre fill as it is light
and not lumpy, good for small objects. It's only
available in really large bags which might be
more that you need. If this is your first project
that needs stuffing and you aren't sure you
want to commit, use cotton wool form the
drugstore. It's not quite as springy but you can
always use it to take off nail polish.
P    ,     ■•   A C
- E  , I C
:ONiFWHE<qUE-
"Fv  'TA.-f.     t:*\    !■-*<■ I*   . _'t ■.-:■'CL- ■'   If- 8'
This Is a simple project and the end result
can be used as a pin or appliqued to an item of
clothing or other object (cushion or bag maybe).
The process for making this project can also be
adapted to other shapes and designs.
To start making this pin you will need to
trace the images below or cut them out directly
(make sure you have already read the article on
the other side of the page). When you have your
paper pattern cut out you can trace them onto
the felt (use a soft pencil and remember to sew
this onto the inside) or pin hem in place cut around
them. Felt works best for these types of projects as
it is available in lots of colours and the edges don't
fray. Felt is also quite thick so your finished pin will
have a soft rounded shape. If you are insistent on
being complicated and using a different type of
fabric you have two options, included at the end
of the instructions. But here's how to keep it simple,
cut out felt in various colours. Stems in brown,
ledves in green and the fruit of the apple in red (or
green or yellow if you are feeling subversive).
The stem should be folded in half length-wise
and stitched down the open side and across one
end. Stitches should be small and even. Through
the remaining opening insert a small amount
of stuffing to aive the stem some shape. You will
probably need something for this - try the head
of a pin of the inside of a ballpoint pen. When
you feel that the stem has enough shape, stitch
the remaining end of it closed. For the fruit part
of the apple, sew about 3/4 of the way around.
Fill the fruit with stuffing until it attains desired
plumpness. Sew up the remainder of the seam.
For a vein down the center of the leaves, make
small even stitches from one end to the other
with embroidery thread.
When all the pieces are complete, put
them together roughly following the-diagram.
When you have assembled all the pieces, attach
the pin. You can either use a safety pin or a pre-
made pin especially designed to be glued or
sewn on. Make sure it is smaller than the apple.
The pre-made pin has holes to sew through and
will be quite sturdy. If you are using a safety pin.
sew over and over the whole side that doesn't
open. Or, you can make this more ecure by cutting
a small rectangle of felt and sewing over the pin.
For a juicier looking apple you can add a
shine spot with embroidery thread or a small clear
sequin. The embroidery should be added before
the felt is sewn together but a sequin or beads Can
be added at the last minute.
For complicated people:
Option one: Iron interfacing onto the
backside of regular fabric before cutting it out.
Get a soft interfacing as it will be hard to sew if too
stiff. Most sewing stores have a wide variety; make
'surejfJtwMt is heat bondable. This will prevent the
weave of the fabric from fraying.
Option two: You can also sew a seam on the
inside of the fabric. Place two right sides together
and sew a seam most of the way around. Then
turn it right side out and stuff it through the same
hole, stitch up this hole as invisibly as possible.
You can also make a seam all the way round
and then cut a small hole in the back to twmfr-and
stuff it. Inside seams can be tricky as the shape
of you object can change drastically. You may
need to experiment with the size and shape. As a
general rule, make the pattern bigger and wider
than you want the finished project.
The Seamrippers Craft Collective is offering
workshops this fall. We have been experiencing
technical problems with our website so if you can't
get the calendar there, please email us at seam_
ripper@excite.Com or phone us at (604) 689 SEAM
(7326) for information.
And due to the success of the opening of
our first show <italics>lf I have to make another
wristband I'll kill myself, we have decided to hold
gallery hours. They wiH be Saturdays October 2nd
9th from 1-6 and Sundays October 3rd and 10th
from 5-9. If you would like to see some example of
craft based artwork that wouldn't be in a craft fair
please come by our address is 436 West Pender,
at Richards. D
liiiw
WsW**
"AN EVENT MOVIE LIKE NO OTHER
wumm
SUNDAY, OCT 10: CREMASTER 1+2 • 4:00 ■ CREMASTER 3 - 6:20 • CREMASTER 4+5 - 9:45
Ci j. CO ^m 10~ 4:BB f*% SM. OCT 10-8:20       /» M      /»-.
U f     **"*   MOM, OCT t1 - 7:15 V.^ m m ^m       U4 + C5
THBRS. OCT 14 - 9:25
MON, OCT 18 - 7:30
SUM, OCT 10 -^45
HON. OCT 11 ^30
THURS, OCT 14 - 7:30
1131 HOWE STREET, DOWNTOWN VANCOUVER       www.cinemathjj|e.l>c.Ca        24hr film info: 604.688/i7m
w DIAMANDA GALAS
DEFIXIONES: Will and Testament
Tuesday 19 October 2004
Vogue Theatre   8:30 pm
Tickets S30/S20 at Zulu and Ticketmaster
604.280.3311 or www.ticketHiaster.ca
Singer and pianist, poet and philosopher, Diamanda Galas
ninds us that the voice is the blade that cuts us all to the he
VOX
ULL-THHQTTLE MOUTH MUSIC
VHNCDUVER NEW MUSIC FESTIVAL
WWW.NEWMUSIC.ORG • GQHJ33.QBE1
ed
EH
pushing VOCALIZATION to
ITS LIMITS USING SOUND, MUSIC
AND POETRY, each of the performers in
Vancouver New Music's JK||Qjj|]i3 festival
explores the elastic potential of the
human voice.
Overtone singing, squawks, howls and
breathy utterances all take the stage, at
times enhanced with video and electronic manipulation. The festival showcases the voice as a
versatile instrument, capable of producing beautiful
melodies, unearthly sounds AND EVERYTHING
IN BETWEEN.
TICKETS AT TICKETMASTER 604.2803311 or www.ticketmaster.ca
OCT
2004
The Westin Grand
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	 DiSCORDER OCTOBER 2004
THE 23RD VANCOUVER
INTERNATIONAL FILM FESTIVAL
AS REVIEWED BY PENELOPE MULLIGAN
Either you already know how exhilarating an
international film festival can be or you owe it
to yourself to find out. The following films are
recommended because 1) I've seen them, 2)
I believe they're worth your time, 3) they will still
have screenings by the time this issue is out and
4) of the many features and documentaries
fulfilling the above criteria^ they're all that this
heartbreakingly constrained space allows. In the
end, I had to flip a coin.
BEAUTIFUL BOXER (Thailand)
I don't usually fling around descriptors
like "uplifting" and "something for everyone"
unless I'm being an ironic cow, but this dramatic
feature about a real-life kickboxing champion
is all that, and at the same time, utterly cool.
That Nong Toom, as he was known, should have
pursued such a career in order to finance his own
sexual reassignment surgery makes every detail
hypersigniflcant, yet both the comedy and the
philosophical insights are as delicate as a temple
dancer's hand gesture. The almost universal
acceptance and support that Toom received
from "real" females is beautifully observed, as
is the loaded issue of panic-stricken, macho
homophobes trying to beat the shit out of a
transvestite in the boxing ring. The fight scenes
are glorious, of course, with the camera tracking
every move like a nimble referee; and there's a
miraculous performance from a first-time actor in
the lead role. The film's only downside is that it's
the sort of thing Hollywood might want to remake.
The possibility is too hideous to contemplate. {Oct
6, 7pm, Vogue)
IMAGINING ULYSSES (Ireland)
Sure it's the fat, rich tome by James Joyce
that's being savoured here. And don't let not
having read the thing keep you away. One of
the central hooks in this collaboration to mark
the centenary of Bloomsday is that not a lot of
people have—and that Joyce and his novel have
become institutionalized to the point where most
Irish don't feel they need to. Running parallel
to the book's Odyssey-like structure, the film is
divided into 18 short episodes which follow the
progress of one Stephen Dedalus as he walks
through Dublin, but this thread is almost lost in
the welter of everything else that gets packed
in. Not that it matters. Events in Joyce's life are
wonderfully illuminated with both narration
and vintage photos of family, Dublin street life
and Edwardian pom; literary heavies drop in for
enlightening commentary (director Neil Jordan is
especially pithy); and we're treated to some truly
dreadful mock-talk shows and sitcoms dedicated
Searching for the Wrong-Eyed Jesus
to things Joycean. At times, the documentary's
wild jig between reverence and populism is more
Jarring than cheeky, but its aim is true. The most
moving side-trip concerns a Chinese couple who
began translating Ulysses into Mandarin just in time
to incur the wrath of Chairman Mao. After public
floggings and years in labour camps— they finally
completed their labour of love in 1994. A quarter
million copies have been sold—and you can bet
they've been read. (Oct 5,10:30PM, Granville 5)
SEARCHING FOR THE WRONG-EYED
JESUS (UK/USA)
When a crew from BBC's Arena went looking
for what in God's name inspired a 1998 album
called "The Mysterious Tale of How I Shouted
Wrong-Eyed Jesus", they found its creator,
Jim White. The worldly hickster became their
drawling, straw-hatted Mephistopheles on a
journey through the back roads of the American
South. The resulting film wraps you in a fecund
weirdness reminiscent of last year's Piggie, but
because it's a documentary, this is a lot scarier. In
a place where "the most ordinary conversation ...
has a theological basis," folks are tethered to the
co-dependent poles of religion and sin; and it's
White's personal quest for a way to reconcile the
two that sets our itinerary. The ramblings of locals
and illuminating dissertations on southernness from
musicians such as Jimmy Dowd, White himself and
alt-country darlings The Handsome Family keep us
riveted, but it's the music (from all of the above
and more) that puts the gas in the tank and
makes you want the trip to last forever. There's a
good reason why DISCORDER is the proud sponsor
of this film. (Oct 5, 9:45pm, Granville 2)
THE NOMI SONG (Germany)
Like all satisfying documentaries, this
engaging look at rock music's quintessential alien
is about more that its subject. By the time Klaus
Nomi's popularity had hit its zenith in the early 1980s,
the android get-ups and robotic choreography
were just set dressing for an otherness, which the
German pixie already carried with him when he
landed in New York City a decade earlier. Armed
with classical voice training from a Berlin music
academy, he honed his falsetto (at a time when no
one was hiring countertenors) to a pitch that was
pure cabaret. No wonder, then, that East Village
scenesters discovered and claimed him as one
of their own. In one of many info-rich reminiscences
from veterans of the era, performance diva Ann
Magnuson recalls the night she stumbled out of
Max's Kansas City to find Nomi by a dumpster
singing an aria. Weil-integrated footage from
the alternative vaudeville scene makes obvious
what the talidng heads freely admit: while they
wore their trash aesthetic like a badge of honour,
Klaus was a genuine artist. Most distressing to
watch are the compromises that Nomi made as
he began to groom for the big time—and the film
documents this subtle artistic derailment wtttvltttie
comment. David Bowie's brief involvement, for
instance, feels almost parasitic, and one gets the
sense that Nomi may have been better off without
it. A fascinating slice of art rock history. The Nomi
Song also whispers a lament for those artists whose
curse has been to arrive both too late and too
soon. (Oct 7, 3pm, Granville 1) D
And for afters...
If you just can't get out of marathon mode when the Rim Festival wraps, crawl back to the
Pacific Cinematheque at 4pm on October 10 for a complete screening of Matthew Barney's 5-
part Cremaster Cycle. Those who prefer to take it easy can spread things out until October 18.
Either way, Cremaster is six and three-quarter hours of sensory stupendousness—and a crucial
demonstration of film's capacity to deliver the contents of an artist's Imagination.'
A battle-of-the-bands extravaganza
Tuesdays at the
Railway Club
579 Dunsmuir Street at Seymour
October 5: Mark of the Beats/The Philharmonic/The Sore Throats
October 12: Basement/Bontempi/Ponderosa
October 19: The Invaders/Mohawk Lodge/sik logjk
October 26: Cadeaux/Hejira/The Skatomatjcs
Props to these extra special sponsors:
—  -   |--^^L^—"-■•'Wil i'-'k1
THEWVE
Rumbletone
PRODUCTIONS
HB   I si
Incision
SOUND CORP.
info: http://shindig.citr.ca/ Textually Activi
For Those About To Rock: A Road map to beginning a band.
Dave Bidini:
Tundra Books
Dave Bidini is best-known for wearing funny hats and playing rhythm guitar with the Rheostatics, that
most Canadian of bands hailing from Etobicoke, Ontario. What you may not know is that Bidini is also
an author, and he's coming (in both guises) to Vancouver.
Bidini got his start writing for his high-school paper, interviewing up-and-coming bands (like the
Ramones, for example). His first book. On a Cold Road, documented the unique experience of touring
in Canada. Two books about sports, 2000's Tropic of Hockey and
2004's Baseba/fes/mo followed. This fall sees a fourth book from the     * *,  ._,  *±
plaid-suited powerhouse: a guide for kids who wanna rock. And    ||
when I say kids, I mean kids, children, the wee humans you see in
elementary school and junior high.
At a time when the music industry specifically targets the
youth market and makes a ton of money off of it,' it's a relief to
see someone offer kids a level-headed, honest introduction as
to what it's like being in a band. Bidini points out that "making
it" is a relative idea, and that this year's American Idol probably
won't hang around for the long run. He stresses the idea that it's
not about the clothes, the gear, or getting signed—in the end, it's
about making the music you want to make. With the airwaves
clogged by Brittany and Avril clones, this isn't something kids can
hear enough of. He also covers the practical matters, from where
to meet like-minded aspiring musicians, to surviving the emotional
wreckage of touring, to finding the perfect band name. This book
is intended for young readers, but Rheostatics fans who read it will
find references to the early days of the band, Etobicoke and the
Albion Mall.
Dave will be reading at the Vancouver International Writer's
Festival on October 21 (event 15) and 22 (event 29). The Rheostatics
are releasing their twelfth album, 2067, on October 5th on True North
Records. They will be playing five (five!) shows at the Media Club
October 19-23.
For   further   information    go   to   www.writersfest.bc.ca    and
www.rheostatics.ca.
Kat
Funny hat, big bat. Dave Bidini
Curious Scotland: Tales From A Hidden History
George Rosie
Granta Books/Raincoast Books
Since I've been digging up my roots a bit
lately, I've noticed my lack of knowledge about
the Scottish part of my heritage. So, when I saw this
book I had to jump at it.
George Rosie doesn't try to teach Scottish
history the way history is usually taught—with a
bunch of dates that seem meaningless when
they're taken out of context to fit into a neat
chronology. Rather, he explores Scottish history
the way I like my histories—a series of semi-
chronologicai vignettes that may seem random in
some ways, but that help to illustrate the patterns
of a people like piece in a puzzle. Rosie goes deep
on context and helps give a better understanding
of the Scots—from their fiercely independent
nature as illustrated in the chapters on wars with the
Celts and Romans and Angles, to the value of their
now-forgotten or vitlifled heroes like John Knox and
how these men helped shape modern Scotland,
to the way they've made heroes out of their old
villains like Mary Stuart, to how Scotch influence
has helped shape the rest of the world from the
fluid kind of Scotch influence during prohibition to
how Robert Burns' descendants participated in
the British Empire's trades. And there's lots in here
too about how non-Scots perceive us and have
throughout the years.
There's humor, there's tragedy, there's plain
old human stupidity just as in any other history you
could ever find, but what sets this book apart is
Rosie's superb storytelling skills, bringing each
person to life in a very convincing manner (unlike
the one dimensional portrayals common to the
kind of history we learned in school.) It reminds me
a lot of my first teacher of Scots history—my high
school physics teacher, a proud Highlander who
was the first one to ever make it seem like being
Scottish, even in part, was the least bit good or
funny or interesting. I bet Mr. Perry already has his
copy of Curious Scotland, and I know I'll treasure
Drake.
What Is Goth? Music. Makeup. Attitude. Apparel.
Dance and General Skullduggery
Voltaire
Weiser Books/Raincoast Books
So you're like me and you know you're
basically a Goth and you know some bands you
like and your wardrobe is 99% shades of black,
but you still get kind of hung up when you have
to explain Goth to a normal. You know in your
gut what it means, but not how to explain that.
Okay, here's funny Goth singer/writer Voltaire to
your rescue with some history, lots of anecdotes,
and some vocabulary to give a precise scientific
definition of Goth. Of course, you could just give
the normal an evil stare from behind those heavily
made up eyes, but maybe you're too tired today
after being out at a club all night, or writing poetry
all night searching for that perfect phrase to
capture your angst.
In either case, this book can help you.
There's tips on how to bitch about the DJ at the
club, dance instructions for the double left-footed,
fashion tips to help you look your spookiest when
• there, and for you poets, if you just can't write any
thing angsty today because your cousin brought
over her cute little puppy and you couldn't resist
its charms, have no fear - there's also a goth poem
generator. (There's also a Goth name generator,
because it really sucks to have written the ultimate
Goth opus and have to sign it "George Smith.")
And for you history buffs, yes there is a brief
history of the actual Gothic tribes of Germanic
people way back when, to show how the word
evolved from them to us.
Basically, this cool little tome is a veritable
guidebook to Goth. As for the question in the title,
well, you'll just have to read it yourself to discover
the true answer. (And no peeking ahead to the
last page! You'll miss all the fun stuff like how to not
get cavity searched at US airports.)
Drake
Damned: An Illustrated History of the
Devil
Robert Muchembled
Seuil Chronicle Books/Raincoast
Books
Just in time for Halloween, that most devilish
time of the year, comes a book that tells a little
bit of the story of Satan, if nothing of his presumed
holiday. And yes, I say "a little bit" because the
"Illustrated" part of the title is the real key. Damned
is filled with all sorts of demonic and sin-related
images from Western art history, and I think this is
the true value of the book.
So, the art. Included here are some of the
masterworks of Western art, and lots of other works
by the masters in question. From the surrealist
monsters of Hieronymous Bosch's depictions of
Hell to the hilarious little etchings in the nineteenth
century when the Devil wasn't really feared in a
literal sense anymore, there is a lot to look at here,
and for a painter like myself this is a valuable
resource of evil iconography.
There were, however, a couple of glaring
externalization versus internalization of blame for
baser instincts, and like I said, the art is awesome. It
alone is more than worth the price.
Drake
omissions to my eye. First, there
nothing of the thriving Devil in
commercial art from the Fifties
and Sixties when the Evil One was
used to hawk everything from
hot sauce to gum. Maybe it's not
the most significant philosophical
reference, but it is a major
source of relatively recent visual
depictions, and I thinksome should
have been there. Secondly,
and this was foreshadowed by
a dismissive and stereotypical
reference to murderous devil
worshippers on page 167, there
is no acknowledgement of the
work of actual Satanic artists.
Sure, there aren't many of them
in the art world in general, but
in terms of artists who are using
devilish subject matter, they're a
fairly large contingent, and it isn't
too hard to find out about Coop
or Diabolus Rex Church's work
via an easy internet search. And
Coop is certainly becoming well
known with his work on everything
from T shirts to CD covers to his
very own devil-art coffee table
book. But, omitting them seems
to support the author's premise
hat no one bothers much with
the devil today and evil has
been internalized etc. (hence
lots about non-Devil related
horror flicks in the end as though
that was the end of the topic.)
There isn't even much about the
comics, with their semi-demonic
villains and/or heroes.
Nonetheless, the author
does make some good (albeit
obvious points) about the nature
of human reaction to fear and
: virtually
The Brickyari
1 The Cinch, Pink Mountaintops, Bella
2 Niel Hamburger, Pleeseeasaur
9 Canned Hamm, Smell Of Steve,
Steve Steveston, Phat Farm
15 DOA, The Rebel Spell and guests
21 Electric Frankenstien, Nasty On,
Red Hot Lovers*
23 Soulscar CD release with Omegacrom, |
Angel Grinder
29 Zuckuss and guests
30 The Almighty Punchdrunk, Cyanotic, ||
Among The Betrayed
The PiC Pub 622 West Pender Street
15 Farewell To Freeway, Pure Blank
A Murder Of Crows
20 Bedouin Soundclash
21 King Cobb Steelie and guests
23 Staggerd Crossing and guests
28 Moneyshot, Rio Bent and guests
30 Cuff The Duke and guests
The Red ROOm 398 Richards Street
29 Zeke, Black Halos and guests*
 * tinkers (8> Zulu Snratnh Bed Rat Nnh DiSCORDER OCTOBER 2004
Madame Wang: I have panic attacks. Having had one Just yesterday.
It Is an inexplicable feeling of wanting to rip out of bed and run out
of my house. Maybe it's a sign I need to get out more.
Whatiseshod?
Madame Wang: It is a semi-collective. A core of five members
(Madame Wang, Crow-box One-string, Solar Warrior, Hypolyte,
Corvid Lorax), guest MC's (23 Ends), and instrumentalists (Daniel
Buxom, Joaqchim). We want to be something different, and we're
slowly finding out within our group what we can all do to make
that a reality. It's rather ironic that I'm in a project like this because
I still consider it rather conventional. But I'm trying to change that.
It is challenging trying to make music for 4 or 5 different MC'S that
have all different styles. It's more fun than making music by yourself.
When left alone it's kinda like the idle-hands-devil's-work thing.
Our EP, We Are That We Are, is not really indicative of us as a live act.
Our second album. Internal Mindscheme, is definitely a concept
album and it is a little closer to some of the stuff we do live. But it has
a more experimental edge to it for sure... It satisfies my experimental
cravings.
Hypolyte: Experiment is every time I sit in a space with my collective
and the jam emerges out of nowhere, and suddenly I wanna be
Jack White. Experiment is the whole experience of eshod. Listen to
Internal Mindscheme—Madame Wang took an idea and turned
every entry on that album into an experience in experiment.
We are still finding our ground. We all come from different places
where our talents developed and eshod is a manifestation for all of
us as a vehicle to present those talents. Its intentions...music music
music music music, knowledge passed down through the love
of our art and the composition of our varied styles of rythym and
poetry—reestablish the definition of rap—(s)he should have been
wiser...
How does having organic instrumentation change the music?
Hypolyte: It gives it the life of a thousand years. Fuck 4/4—find a
drummer, a bassist, and some horns—go back to the basics
and suddenly the expression takes on new elements of sound,
resonance, acoustics, intention. Poetry seems to best match
organic instrumentation only because the spaces between, the
noodling and dramaticies, give word new dimension. People can
relate to that scene of a three piece band and some form of lyricist
on the m+c.
Are the words you speak poetry?
Hypolyte [his voice always sounding of it]: You tell me. Rip into the
i inside paper—very natural and unnatural at the same
time—black hole literally in a figurative sense—comprehend? Out
of my mind most often when I think, out of synch—remember to
wink at the stone faced blinkers. Something of my presence lingers
so' close to touch with fingers picking through stem to root so
massive yet still minute compared to the fruit of it all—yes mama I
have the gall to take the fall—heaven to earth, it's hell.
I have a hard time defining where that places in literary regards.
My words are my world. I write words that are directly lifted from
my world, both internally and externally. I write in weird tangents
about instances in my day, interactions with people, reflections of
my mind's eye. I have d*piece that starts off, "These words find
Fife beyond my mighty attempts to murder the vocabulary." Once
the words are on the page it is as if they are their own being. I will
read a piece six months after writing it and suddenly understand
how relative that was to the time of creation. These are strands
of thought based in reality and an alter-reafity. I write in a weird
context of past, present, and future tense, i write about my life in a
very metaphorical way, so if that fails to permeate the audience,
I come off sounding like gibberish. I depend on people's ability to
detach from their regular interpretations.
Do you consider your work with eshod to be hip-hop?
Hypolyte: Personally, no. I am influenced by hip-hop but I am
predominately a creative writer. My work with eshod is devoid of
genre. My frame of mind is "How can we blur the lines?" "How can
we strip away preconceived notions?"
Madam* Wang [always the contrarian]: Yesl Albeit a new brand of
something that is essentially the same inside. The mechanisms and
construction of the music is similar, but we try to enhance elements
of today's hip-hop with Hve instrumentation from odd musical
sources, infusing it with something that's similar to today's hip-hop
but also having that juxtaposition of an accordion and spoken
word artists thrown in the mix; something you'd be hard pressed to
find in any 'hip-hop' act.
What is the essential similarity that makes hip-hop 'hip-hop'?
Madame Wang: The construction of it really, the sampling, the
sequencing. The internal mechanisms that hip-hop producers
use to make music are all very similar to our method. But one can
say thgt all music is done similarly these days. The differences are,
of course, our material as opposed to theirs. For me, the more
obscure the better. It just sounds more fresh when you're sampling
a ten second musical sound-bite from an obscure Italian action
film (that no one has ever seen), as opposed to a sound bite of
Samuel Jackson from Pulp Fiction. Stuff like that makes me close
my ears.   ,  ^%^Jfi|
23 Ends [she hates me for asking these questions]: Fuck hip-hop! Hiphop is full of similarities, eshod Ibn wyza is an undefined expression;
unsimilan abstract...
And abstract?
23 Ends [she hates me even more]: Music, word, art—not saying
by definition only by perspective. Abstract through the angle of
the music—to compose in touch with grey tones—unlike average
summaries of artistic format, using technical language and
proficiency as well as visual language through the auditory use
of the music interpreted by a specialist audience. An ability to
interpret and take into account the vast and diverse cultural and
historical accomplishments that gave birth to its sound, imagery...
Expressionism, idealism and spirituality combined with harmony by
the surfacing of an acceptation through unordinary terms.
Hypolyte: I have been learning to listen. This art never ceases to
challenge the performer and audience. To listen. Listen to the words,
to the song in voice, to listen to the advance and retreat of rhythm
and beat—all of these are elements of the whole composition and
when one is truly listening all of the opportunities to connect are
front stage centre. I seek to learn how to completely open to my
audience. Spoken-word is effective most when the cadence, the
words and the message are delivered in its most ideal fashion—
intimate, naked, emotional. In my recent experiences Ihave met
people who love the poetry, the abstractedness of it. and want to
hear more. I want to attract the audience that appreciates the art
form and develop ways to reach people who turn that deaf ear.
Madame Wang: Music for me is anything, any sound really. The
roaring of a fan or train, for me, is more enjoyable that anything
you'fl find on a top 40 station. For me music and sound are
essentially the same. I find music in most 'sound'.
My early experimentations were all about finding harmony in chaos,
or finding 'music' in sound.
What b your motivation?
Hypolyte: It's like a flash of light goes off in the corner of my brain
and suddenly the page opens into a golden road—the bricks
leading to Oz—and there is a forest of word with letters the size of
buildings littered all over the place. When the words spill forth from
pen I realize that expression is the engine. I have a burning need
to write, to speak in turn to clear cut the alphabet forest and allow
for periods of new growth. The people around me motivate me to
improve upon my dreams and reach for the stars in my heart.
And the rr
-but that is a whole other article.  r^T
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BY BEN LAI
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ALS
You know, just a few days ago I moved cubicles at work, and
it was a big deal for me. My desk is bigger now and my space
is cleaner, but by far the greatest benefit from the relocation is
now I'm at a spot where I can crank up my music during work
hours. And what I've been looping over and over in my CD-
ROM drive is Mistakes Enough for Everyone, the latest CD from
Vancouver's Robosexuals. It's quite a delightful little treat. And
apparently I'm not alone in thinking this way—the album was
number one on the CiTR charts last week.
The Robosexuals will be having a dual CD release party
with Black Rice at the Lamplighter on October 8.1 spent one
Saturday afternoon chatting to Shawn Bristow (vocals/bass/
guitar) and Shane Phillipson (vocals/guitar/bass/keyboards)
about the show, among other things. Mark Karpinski (drums)
was out of town and couldn't join us.
Let's start by talking about the history of the band. One of you
was in Closed Caption Radio and one was In Unclean Wiener.
Shane: Yeah, I used to play in Closed Caption Radio for a few
years. When that disbanded I moved to Seattle for about a
year, just hung out. And then I started playing with Shawn
long distance. We were going to move to Seattle and start
things up there, but it just was too complicated. So I moved
up here.
Shawn: Yeah, both of our bands broke up at the same time so
we started playing with a drum machine and wrote songs.
We have a little practice space, about the size of this table.
So whenever Shane was up for a weekend or something, we
got together and jammed. Then finally we got a show and
decided we were going to be an actual band, with a drum
machine. We did that for about a year, playing two-piece
with a drum machine.
Shane: Long distance, kind of in Seattle.
Shawn: Yeah, we played shows down there, we played shows
up here. And eventually we got a drummer, and we started
writing more songs. I used to play in an improv unit so it was
interesting to switch over and start writing songs. Playing the
same thing over and over again, that's kind of interesting.
Do you consider yourself a new band? Or are there still parts of
say. Closed Caption Radio, with you?
Shane: No. Well, I was one of the songwriters of Closed Caption
Radio and I haven't totally changed my songwriting style, but
it's pretty different. We did start with Closed Caption Radio's
drummer, Joe, but things didn't quite work out.
Shawn: Some of the early songs definitely had a Closed Caption
sound to it I thought. But I think we kind of got that out of our
system [Laughs]
I noticed that the back of your new CD has some artwork of
mechanical fishes, i remember those from some really nice gig
posters you were selling at Pat's Pub.
Shane: Yeah, it's just this thing that we decided that we wanted
to do. Whenever we put a show together, we want to print
some silk screen posters and sell them for a reasonable
price at the show. Just to pay for the cost of doing them.
It was very successful. How many did you sell?
Shane: I think we sold thirteen at the show, that's pretty good. I
was kind of hesitant at first because we did them on cardstock
and you can't really roll them up. People are drinking all night;
do they really want to take a huge poster home? In the end
we thought maybe a couple will, so we did it anyways. The
response has been awesome. People are starting to know us
for just having really awesome posters,
Shawn: It's something different than T-shirts. We tried T-shirts and
gave them all away.
Is there going to be a poster for the CD release party?
Shane: Yes. Actually my girlfriend Katie who's done all of our
posters and artwork is working on a poster right now. I think it's
going to be pretty cool. We'll silk screen some of those, and
it's going to be our first three colour poster.
Shawn: There are a lot of cool graphic designers in town doing
posters and stuff for gigs. It's nice to see that. I went to Toronto
and they have the most boring gig posters I've ever seen.
Shane: All font no action.
Shawn: Our city should be proud of our posters.
Shane: The whole poster thing is on a rise. Silk screened posters
weren't really around for a while, and now it's sort of making
a resurgence. It's huge in Seattle. People want to buy art of
a band that they likeHt just makes sense. If you can buy a
poster for like ten or five bucks, and it's a show that you saw,
it's pretty awesome.
Some people say that you are the most underrated band right
now In Vancouver, and you haven't had any major press.
Shawn: No, not at all.
Any Idea why?
Shawn: I don't know. We play shows and everybody gets
reviewed except for us.
Shane: It's just a timing thing. It comes around. We've played
some good shows and have just been missed.
Shawn: And we haven't really worked all that hard to get any
press. We are pretty lazy when it comes to that.
Shane: For me personally, being out of the music game for a
while, you kind of lose all you contacts. You don't really know
who to talk to anymore. But it's slowly coming around as
we're together longer.
• Shawn: It helps to have a CD now. Something to promote.
Shane: Also it really helps having a CD because before the
show I can listen to the songs and go "Ok, I know exactly what
we are doing." [Laughs] Our first show we did with the Dirtmitts
we didn't really have a set at all.
Shawn: We wrote the set in two weeks.
Shane: We had a couple of songs but most of it was a lot of
jamming. It's been like that for a long time, kind of not knowing
what we were doing, format's always changing because
either we were using a drum machine or a new drummer or
trying to something with both. It's nice to have some songs
that we know how to play. It's a bit of a no-brainer.
Do both of you come up with the songs? is it a pretty mixed
writing process?
Shane: Yeah, me and Shawn pretty much write the songs
completely together.
Shawn: We just hash it out until it falls into place with the
changes. A song will take different forms from when we first
write it to when we record it. On this album all the songs are
pretty different from when we first started playing them. So it's
just a constant process for us.
Shane: There is nobody that comes in and says, "Ok, I got a
song and this is how it goes." It's more like, "I have an idea for
a verse, what's going to work for a chorus."
We   have  to  talk  about  the   name  of the  band,  the
Robosexuals.
Shane: The name was realty relevant when we first started out,
because it was me and Shawn, and we had a drum machine.
Based on the drum machine it was sort of this robotic thing.
But we also wanted to be slightly organic. I don't really know
how we came up with the name.
Shawn: You had some book about robot cyber stuff; I can't
remember what it was.
The most popular reference to robosexuals is probably by
Bender from Futurama.
Shane: Yeah. It's funny that it's all over the web.
Shawn:        What        is        it        again?        "I        hope
people don't think we're robosexuals"?
Yeah, something like that.
Shane: But I just don't understand how there can be so many
webpages that have that quote. There's like hundreds.
Shawn: They are all different too. Some misquoted or taken in
a different context.
Shane: And there are a couple militant organizations, that
mention robosexuals as part of the evil that's out there. You
know, humans getting together with robots as our society
moves towards a more automated world.
Shawn: Well, we're here to topple that. [Laughs] D DiSCORDER OCTOBER 2004
BLAiikPfAG^ES
MATTHEW GRUMAN
"I've always wondered about Robert Smith's
wife and how she puts up with his songs. It's been
like 25 years!" - N. Hilmi
Noyan Hilmi is the lead singer/songwriter for
Brampton, Ontario's Five Blank Pages. He writes
delightful pop-rock songs, many of which concern
past relationships with former girlfriends. And his
bassist is his girlfriend, Pinar Ozyetis. Ever heard the
old adage 'Don't shit where you eat', Noyan? "I
have heard of it, and I'm still trying to understand
it completely," he says. "There are definite risks
with being in a band with your girlfriend, but we
have mostly seen the positive things that come
out of it."
The obvious closeness between Noyan
and Pinar reflects itself wonderfully in their music.
Rounded out by Noyan's sister, Chelen Hilmi on
drums. Five Blank Pages have a cohesive, familial
sound that stands out in the booming indie-rock
scene. While he jokes that the band's "Beatles-
sized meltdown" is just around the comer, the
group shows no signs of slowing down any
time soon. Their first EP, Spaces to Occupy and
Abandon was released recently through Sonic
Unyon Distribution, and they are poised to start
making more than a blip on the radar.
Writing songs at 16 while teaching himself
to play the guitar, he was heavily influenced
by the likes of Hayden and ElfiofSrhith: "The first
song I wrote was called 'This One Place', about
the solitude of my room," he laughs. "Exciting
stuff." Over the years, he continued writing songs,
eventually performing solo material under the
moniker noyz, with a revolving cast of band
members. The ball started rolling when, through
a mutual friend, Noyan was introduced to Noah
Mintz (hHead, Noah's Archweld). Mintz later went
on to master the first and only noyz record. Let Go.
The 13 track, lo-fi release is described in their bio
as a varied collection of sounds and sensibilities;
at once introspective, melodic, and infectious in
its combination of garage distortion, hook-laden
guitar-pop, and folk sensibility. The album, sold at
shows and through the old noyz website started
getting the singer/songwriter some attention.
As more shows were played as noyz, and
more songs were recorded with what was
becoming a permanent lineup, it became time
for a name change. Now less of a solo project,
and more of a band, the name started losing
it's original relevancy. "When I first came up with
noyz, I guess my goal was to have an acoustic
song-writer presence. I think my songwriting and
arrangements slowly grew out of that. I also
started disliking the name (it was a nickname of
mine) and its confusion with people thinking that I
was in a metal band," Noyan laughs.
This 6-song EP is a fantastically accurate
sampling of the band's sound. From track one,
the instrumental "Lacewood", to the closing
track from which they've derived their name.
It is full of hooks, full of catchy choruses and full
of heartfelt lyrics. Standout track "Richie T." is a
song of unrequited love containing the haunting
a cappella line: "I'm going to kill myself...
tomorrow,.. .tomorrow.. .tomorrow."
"Richie's a character that I didn't create,
but observed" explains Noyan. "I was on a long
drive and wrote the song in my head. The lyrics
are basically Richie's thoughts swirling around
his head, like a blender. He's basically a guy
who figures out that his longing is a disease, and
he'd rather rid himself of the sickness, no matter
what." After this confession, the song moves from
an initially slow, melodic feel into a crescendo of
distorted guitars and heavy drums. -T+iis sudden
emotional change is characteristic for more than
one song.
"I guess they are part of who we are and our
sound. The lyrics and music are a mix of emotions;
sometimes the changes just seem natural in the
progression of the song I've written. I'm a huge
fan of a range of music. I think I like to incorporate
what I see fits from myinfluences. A song may start
out "Hayden-esque" and then end up having a
touch of Tool in it."
As a band of the modern age, Rve
Blank Pages have embraced technology as
a promotional tool. From the first noyz album,
available in full through newmusiccanada.com,
to promoting full-length samples of new material
through   their   own   website   (fveblankpages.
com), Noyan's a fan of digital media. "We get
emails from time to time saying that people have
downloaded a song or heard it and are saying
nice things about it. Makes us feel warm and
fuzzy." Emphasizing Its importance to independent
artists, tie adds, "1 have discovered and therefore
began supporting many independent acts
because of mp3 as a tool".
"I'm not a big fan of keeping secrets
when it comes to people you love" said Noyan
near the beginning of our talk. It's this simple
philosophy that seems to permeate the sound
that has developed with Five Blank Pages. It's
this honesty, found in both the lyrics and musical
arrangements, that is setting them apart from
being just another indie-rock band on the scene.
'It's definitely an interesting experience being in
the band with people who are already so close
to you," is the humble description of a group
who's future should prove to be more than just
interesting. D 1
Waging war on banality one Single at a time
G 0 E R I \Mm__j5. P
BY ROSS SMITH
In Denys Arcand's film Decline of the American Empire, one
character describes getting a hand job while discussing the
millennium with his masseur. This, he pinpoints, was the moment he
knew he was in love. This is a remarkably apt metaphor for my love
of a great pop song. Not just good, great. Good you can dance to.
Great sends shivers down from your spine through your fingertips. It
makes you cock an eyebrow and say, "Damn." It shows up on the
mix CD's you give to the girl you're trying to impress. Great will not
necessarily get played at your wedding, but will help you through
your divorce. And the point extrapolated from a near twenty-year-
old movie is that it's the perfect combination of sex, emotion and
intellect that will ever have me devoted tp and championing pop
music, that hooker with the heart of gold.
"Pop music" is a big fat vague term that means entirely
different things to different people. Sadly, for most folks these days,
the term conjures up Britney, Justin, and Celine, just as I'm sure it
once conjured Pat Boone, David Cassidy, and Right Said Fred. For
me, however, it's about an art and a craft by poets and musicians
who know that catchy tunes aren't any less hummable for having
insightful, revelatory or provocative lyrics, but in fact are often better
for it. They know that sometime, somewhere, someone is waking up
hung over from last night's party, with the stereo still on "shuffle" replaying the song they were rocking out to mere hours before and
having some turn of phrase or guitar lick assert itself upon them,
as if for the first time, like a double-double chasing the Beefeater
out of their system. These artists are innumerable, but for the sake
of context, a few of them I might include could be Bob Dylan, Cat
Stevens, Prince, U2, Johnny Cash, Public Enemy, Nirvana... a very
obvious and mainstream list I grant you, but it's important to realize
that these artists all have had a huge impact on many people,
. without ever having compromised their work. It seems to me that in
the current pop climate, artists with both gravity and a knack for sexy
hooks are almost entirely relegated to the sidelines of college radio
and critical dariinghood. There are a few exceptions that seem to
sneak through: to be au courant I'll mention Franz Ferdinand and
Kanye West, but it's still too early in their courtship with the fickle
public to know if they'll stick around.
So why the vacuum? Blame the consolidation of media outlets,
record companies who fa vour the quick money made off singles over
long-term artist development,
and maybe even listeners who
don't want to hear anything
that resembles their parent's
music. The Why's are perhaps
best left to economists and      °-^^|
cultural studies majors, but I can
saunter out to the other end
of the street with a couple of
solid Why Not's. It's not because
the artists aren't out there, and
it's certainly not because the
world we live in doesn't provide
enough fuel for an Iraqi oilfield
sized fire. Goddamnit, people, we
have amongst us some of the finest
sohgsmiths the world has ever known, and political tumult up the
asshole every day.
So who's gonna do it? Who's gonna whup the stale status
quo and bring some life and credibility back to the three-and-a-half
minute pop sucker punch? Any songwriter worth his salt reading this
should be saying, "Me". But until that day arrives, maybe we can
deal a few blows with the help of Steve Earle and Morrissey.
"Strange Bedfellows" is the phrase I think you're looking for. Yes,
Steve Earle and Morrissey, who have little in common, except that
each is a man of distinct vision, and they're both consistently very
good at what they do. Both released new albums in 2004: in August,
Mr. Earle offered us his most boisterous and impassioned album yet.
The Revolution Starts Now, and in May, the reliably miserable Mr.
Morrissey swaggered back to action with the rapier-sharp You are
the Quarry. Worlds apart stylistically, yet not as disparate as you may
assume, both of these artists know and respect their audience, and
are established enough that a good swing at the flabby mainstream
could actually yield some new fans and mobilize normally passive
listeners into full-on flag wavers for their respective causes.
Steve Earle is someone that has always made my top-five list for
"guys you'd feel best about having on your side in a bar fight." Like
Merle Haggard or Glen Danzig, you know that Steve's not gonna
fuck around, and indeed, when he sets his musical sights on you, he's
leaping straight for your jugular with brass knuckles and a broken
Sam Adams bottle. So if I were George W. Bush, I'd be pissing in
my pants right about now. The dude opens his record with an
incitement to revolution, so you know you're off to a good start, and
the rest of the album follows suit. Every track is somehow related to
all post 9/1J American governmental policy, which if I had to guess,
Steve's a little bothered by. He's never been shy about his self-
described "pinko-ism," therefore in the face of the most abhorrent
US administration since... the last one; his strength and clarity of
purpose should come as no surprise.
The impressive thing about his writing though, is that he never
takes the obvious slant. Jokes about brawling aside, Steve Earle's
greatest weapons are his poetry, his compassion and his sense of
humour. Combined with some nasty, snarling guitars and a never-
failing sense of melody, this is sonic pamphleteering at it's finest.
After we've shaken our fists and booties to "The Revolution Starts
Now", track two, "Home To Houston" checks in with a soldier whose
gung-ho has been quickly replaced with a prayer for survival in the
field of battle. "If I ever get home to Houston alive, then I won't drive
a truck anymore," he promises. Perfectly followed by "Rich Man's
War" that reminds us that no matter what God and country bullshit
leaders trumpet, war is just as much a domestic issue as a foreign
one, spilling the blood of a nation's poor, for whom military service
is one of their best, if most Faustiqn Jjgjgains. Join the army, get a
L DiSCORDER OCTOBER 2004
degree, see the world, and shoot some people you've never met.
"A stack of overdue bills and off to save the world/Been a year now
and he's still there/Chasin' ghosts in the thin dry air"', mirrored by
his foe, who "...answered when he got the call/Wrapped himself in
death and praised Allah/A fat man in a new Mercedes drove him to,
the door/Just another poor boy off to fight a rich man'swar."
Each song is unfailingly persuasive and moving, filled with
urgency and eloquence. "Warrior" is an eerie, churning spoken word
piece about the tarnished mythology of bravery. "Condi, Condi" is a
hilarious calypso love song forthe Ms. Thang lurking within Condoleezza
Rice, and "F the CC" is a rather direct bonjour to the FCC. (Fish in a
barrel there I suppose, but it's raucous fun.) Earle seems determined
not to let the Bush gang off the hook for their inhumanity or any fellow
American off the hook for ignorance or blind patriotism. If you love
your country, he challenges, prove it with love and concern for your
friends and family and some actual participation in your democracy.
He is a romantic, seeking out the true heart of his nation, appealing
to their capacity for building instead of destroying.     ^*^y4&S
Morrissey's "You are the Quarry" is not as focused on a specific
political agenda, but it is his blend of the deeply personal with the
political that that makes it feel whole. He writes of politics in the way
that any intelligent, reasonable person who casts an eye to the world.
around them says to themselves, "Why are things so fucked up out
there?" He knows the intrinsic link between self-loathing and the
need to lash out that can make people not just sad but cruel, and
how unfortunately attractive that is to most of us. He's been refining
this thematic combination from day one with The Smiths, and all his
subsequent solo work. Ugly/sexy, weak/strong, want/need—I don't
think Morrissey would ever want to write of the heads without the tails.
He seems the perfect vessel for these kinds of songs. A Brit living in LA,
a famous recluse, ambiguously gay, the man knows dialectics.
Now, for having said he's not that political, he does open up
his album telling America how much he loves them, but also where
they can shove their hamburger. "And don't you wonder, why in
Estonia they say, 'hey you, you big fat pig..." He then takes a shot
at his homeland in "Irish Blood/English Heart". "I've been dreaming
of a time when to be English is not to be baneful/To be standing by
the flag not feeling shameful, racist or partial." But like Earle, the point
here is their knowing how great these families that they're a part of
could be, and feeling frustrated by the current state of affairs. He's
surprisingly often more direct than Earle, singing mostly from the first
person, with laconic intimacy, so even if he were only portraying a
character, you feel that "you really know him". I suspect this plays a
large part in his fans' strong devotion.
Honestly, I never gave a damn about the Smiths, and was only
a casual fan of his solo work until now. Perhaps it's simply the right
time and place for his potent heartache. He lays bare desire ("This
World is Full Of Crashing Bores", "Let Me Kiss You") struggles with faith
("I Have Forgiven Jesus") and admiration versus self-loathing ("How
Can Anybody Know How I Feel?", "I Like You", "You Know I
Couldn't Last") which seems to be
a long-time favourite
indulge
Interestingly, in "First Of The Gang To Die", Morrissey essentially gives
a shout out to his sizable young, straight, male Latin© following (see
Chuck Klosterman's "Viva Morrissey" in Da Capo press's Best Music
Writing 2003). There, with a dark flourish, he speaks for a violent soul:
"You have never been in love until you've seen sunlight thrown over
smashed human bone." Perhaps in each other, Morrissey and the
gang bangers recognize hurt and struggle, for love, for respect. But
most often, I have to say that Morrissey mostly comes off like your
quiet, "fancy" uncle who lets loose at a family function when he's
had a few too many glasses of wine... bitchy and hilarious. Did I
mention that all these songs are also catchy as fuck? You should see
me at work, dancing around singing, "You fat pig, you fat pig..."
I sing (and dance) the praises of these two men because I feel
aligned with their ideas and musical sensibilities, and perhaps I'm
not the most objective judge. Maybe these albums won't convert
the casual listener: it could be that these artists are too old and
unmarketable to be fully embraced by the mainstream. Maybe
their appeal is too selective and they won't turn the tables on the
tacky shit that reigns in iPodville. But I remain optimistic. Politically,
more and more people feel disenfranchised by their institutions,
unsettled by witnessing how the world can steamroJJ right on over
them (or someone really no different from them continents away)
and no matter where you live, that ain't cool. Socially, it gets harder
and harder to connect when so much of our culture encourages
hiding away with our toys. Music has always run in cycles from pap to
inspirational, but I think we're coming back to a time when shaking
it "in da club" just isn't going to cut it. People will want theme songs
for their return to humanity, folk songs, slave songs, blues, country,
punk, and hip-hop calls to arms. Arm yourself with intelligence and
melody; they can carry you a long way. Maybe it won't be Steve
Earle or Morrissey. But just like one hippie at Woodstock who may
have campaigned to end the Vietnam war, or one Midnight Oil fan
who devoted themselves to aboriginal rights, or one Rage Against
The Machine fan who boycotted Esso, there will be one person who
hears either of these records and decides they can be more than
just a call to "Much On Demand". Hell, Green Day just put out an
anti-war record, so what does that tell you about where things are
headed? Perhaps soon we can all look forward to Justin's new Pete
Seeger tribute album, sure to score another three-and-a-half minute
victory for the real pop music. D
UNDER THE WATERLINE
"A subtle, shifting wonder, Under the fVaterline mixes indelible, melodies with soothing
layers of ambient guitars to create one of the most richly textured records of the year."
- The Georgia Straight
The acclaimed qebut album from Hinterland, dut now on HybridElectric Records
fiyfcjfllf ill#Ctl*|igfnI www.hybridelectricrecords.com www.hinterland.bc.ca <^^^^> Canada IT'S THAT...
"FOR THE RECORD"
DRINKING GAME!
by Kat Siddle
You know For The Record!
It's that political conspiracy-
themed show broadcast on
WFMU and KFJC in the U.S.,
and on CiTR 101.9FM here
in Vancouver (alternate
Wednesdays time-time).
It's hosted by Dave Emory,
who we have come to just
adore. So much so, that we
have created a drinking
game in his honour.
Like every good drinking
game, this one is simple,
but effective. Please note
that DiSCORDER does not
encourage the copious
ingestion of alcohol.
t) Procure enough alcohol
to get everyone good and
swig.
Take a swig of something
light (like beer) every
time Dave says one of
these words:
"Anti"
"Saudi"
"Bush"
"Start again"
"Program"
"Skipping Down"
"Nazi"
wasted, and then some.
2) Settle down on a rug in
front of the radio, just like
they did in those dark days
before TV and internet pom.
Gather your friends and/or
family around.
NOTE: this setting is very
important. Most people tell
me that they listen to CiTR
in their car, and, as I have
learned, playing drinking
games while driving is highly
illegal. So snuggle into the
carpet, because it's unlikely
that the floor will suddenly
swerve into a tree.
It is also imperative that
your friends accompany
you during this game. Doing
'the For The Record Drinking
Game' alone is too sad to
contemplate.
3) Divvy up the words listed
below. Make sure everyone
gets an equal number of
words, or if you're pressed
for time, everyone can take
all the words.
4) Turn on For The Record
on CiTR 101.9FM, or pipe it in
via your computer at www.
cifr.ca.
shot.
misc.
Down a shot every
time Dave says one
of these words:
"American Nazi
Movement"
"Fascist"
"Bin Laden"
"El Taqwa"
"Shadowy"
J V
Each time Dave mentions
the name of the book or
person he is discussing in
the episode (examples
include Kenneth Starr,
the F.B.I., or The Shadowy
Anti-Saudi Fascist Program
of the American Nazi
Movement), all players
must yell "Oh no, not	
[name of book or person]
again!" i
monotone.
i a unified
Naturally, everyone one
has to cheer and drink
when Dave says "For The
Record", his own name,
or any email address.
B Taqwa? No, El Taco in El Bowlol
kick around
October 2004
scott malin
after four years, this comic marks the end of kick around.
to receive future comics/art info email kiekaround<@hotrnail.com.
thanks to christa min for initially asking me to do this.
and thanks for looking at It. DiSCORDER OCTOBER 2004
(Universal)
While every one of Bjork s
albums has been completely
unpredictable, the typical
music journalist's response has
remained consistent. "She's
done it this time, she's gone
too far, this album is too difficult:
she's alienated her fans." It's
not surprising that critics react
like this: the fact that Bjork can
release an album composed
entirely of human vocals, and
have it reach top position on
charts all over the world is pretty
confusing. Does this mean that
the average chump on the
street "isn't as stupid as the major
labels seem to think? Basically,
Bjork's mainstream success
indicates that there may be
hope for humanity.
Susy Webb
The Beakers
Four Steps Toward a Cultural
Revolution
(K)
Blackouts
History In Revenues
TO
When I say that I'm a child of
the '80s, I mean it. Seriously, I
was bom in the '80s and I was
barely out of the larval stage
when they ended. As my tastes
have refined, so has my curiosity
about music I'm too young to
remember. When K records sent
us their re-releases of these two
albums, I thought it would be a
brilliant way to learn more about
some obscure, almost forgotten
80s bands, and to move beyond
what I do remember about
music from the period: flash and
cheese, lots of keyboard, and
icons like Morrissey.
Listening to The Breakers
was unbearable the first four
times. Incoherent and alienating,
abrasive and disorienting,
with bewildering and bizarre
lyrics; it just made no sense to
me. I thought it was the most
pretentious crap I'd ever heard.
I pictured art school dropouts listening to the CD, eyes
closed, occasionally whispering,
"genius" to no one in particular.
But then I actually did my
journalistic duty and read the
press sheet. The Breakers came
out of Olympia, toured the west
between 1980-81. Read more
about it at http://www.krecs.
com/Press/onesheets/Beakers/
KLP163.html. Anyway, it was
enough to make me reconsider
and listen again. I'm getting into
more art funk punk so I thought
I'd surely enjoy it if I gave it
more thought. I must totally lack
the necessary sophistication,
because I still can't listen to it ,
all the way through. But it's a
bit more thought-provoking...or
simply provoking. Both are the
objective of art punk, aren't
they?
"The Blackouts were the
best Seattle band you never
heard of. To those who bought
tfaefe "records and attended
their shows, this is no secret.
But for the majority who didn't,
this exciting anthology—long
overdue—thankfully now
exists," says K Records. Yes! This,
anthology, or legacy rather, is
exactly the sound I was hoping
for/expecting. It feels good in
that familiar '80's.way: lots of
synth and gloom, just the way I
like it.
Listening to the Blackouts
right after the Beakers may not
have done the former band any
favours: their sense of adventure
seemsrather pale in comparison.
Each song flowed into the next;
none really aspired to bend the
genre or create a fresh sound.
Beyond this, though, it should
fit nicely in your CD collection
between your Smiths and Joy
Division. Very appropriate for
the days you gaze soulfully out
the bus window into the ongoing
grey of fall.
Parmida Zarinkamar
Frog Eyes
The Folded Palm
(Absolutely Kosher Records)
Finally! For so long Frog Eyes'
beautiful, dense sound spiced
by Carey Mercer's howl has
drawn me near, but once I
arrive I feel lost and confused,
wondering if I took a wrong turn
somewhere up the road. As a
result, f ve set them as a strong
band lyrically, and in terms of
the sounds they create (one half
literate rock and one half hard- >
core ghost burlesque house).
On The Folded Palm, though,
there seems to be a newborn
pop sensibility that has risen out
of the chaos of previous albums
but (this is the best part) without
compromising that same earlier
insanity. Be it the transfigured
chirp on "Ship Destroyer," or
the beautiful, fragile desolation
of "Ice on the "Sail" The Folded
Palm is an awesome showcase
of some of the best new music
coming out of Victoria, or
Canada for that matter.
Soren Brothers
The Multi-Platinum Debut Album
(Def Jux)
A simple analogy for all you indie-
rock geeks: Hangar 18 are well
on their way to. becoming the
Franz Ferdinand of underground
hip-hop. Quality composition
and smooth production create a
sound you can't help but dance
to. You also can't help but feel
slightly guilty about this pleasure
afterwards. Hopefully that
sounds tike I'm recommending
this disc. Because I am.
The Multi-Platinum Debut
Album could be just that if
the mainstream rap world
was slightly less stupid. Singles
"Where We At" and "Go Git
That" wouldn't sound out of
place on The Beat, Vancouver's
"disappointing" hip-hop radio
station. The Hangar songs would
be the rare ones that you turn
up amidst the Beyonce and
Eminem, due largely to simple,
infectious beats from producer
paWL, whose past work includes
collaborations with the great
(and hott!) Mr. Uf, Harlem cutie-
pies Cannibal Ox, and The
Presence.
MC's Windnbreeze and
Alaska have complementary
deliveries: both possess tight
vocal styles heavy on the
enunciation. Lame white girl
through and through, I still can't
understand most of what they're
saying, but what I can make
out sounds pretty damn good,
ranging from commentary on
life post-9/11 life to recurring
jokes about donkeys.
This album is definitely
a manifestation of the Def
Jux label's move towards the
mainstream, which will bring
some outcry from long-term
underground fans. But I say,
SFW? If this is Def Jux's idea of
mainstream, then bring it on.
It will be a happy day when
any one of us hears this on the
radio.
Susy Webb
Memphis
I Dreamed We Fell Apart
(PaperBag)
Let's skip right to the chase:
yes, Memphis is a side project
of Torquil Campbell of Stars,
and yep, most of trie songs are
about love and relationships, but
this record is not as immediate
and hook-laden as the last Stars
record, the excellent Heart.
That said, / Dreamed We
Fell Apart, is a good record that
will work perfectly on a rainy
Sunday afternoon, or for a late
summer drive at sunset. The
melodies will reveal themselves
in time, but until then, Torq's-
floaty vocals combined with
Chris Dumont's subtle electronic
flourishes and acoustic guitar
do more than enough to set the
right mood. Granted, there are
some instrumental tracks that
come off as slightly noodling.
But don't go away thinking the
record doesn't have Its share
of high points: "3:15 on the
Last Day of School," with its
relaxed slide guitar, and slowly
unwinding, gorgeous melody,
will seep in under your skin.
"Nada" is another highlight,
using jazzy snare-brushing and
sax fills, ethereal guitar effects,
and Torq almost whispering the
vocals into your ear, to very
soothing effect. And throw in a
competent Pet Shop Boys cover
to boot. What's not to like?
As stated earlier, don't
listen to this record expecting
the next Stars album, although
fans of the band (and especially
fans of Torq's voice) will definitely
enjoy Memphis. Do, however,
expect a sofld record with some
strong moments that outweigh
the misses.
Robert Ferdman
RTX
Transmanfacon
(Drag CHy)
Neal Michael Hagerty isn't
on this one, so it's not as quite as
good, and a little too heavy on
the Vocoder. That said, if you're
searching for the right album
to play while freebasing crack
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J ..Continued from the last page
and driving off a cliff, you're in
luck. Also get it if you have a
(totally understandable) crush
on Jennifer Herrema. It would
be good to listen to while
fucking your cat or filling an
entire sketchbook with ghoulish
clowns. But only if you're into
power chords—if not, don't
even bother.
Susy Webb
Sarah Slean
Day One
WEA
Day One follows Sarah Slean's
fabulous major label debut,
Nightbugs (2002), a selection
of sweeping caberet pop that
far surpassed her handful of
indie releases. This album isn't
Nightbugs II, though I wouldn't
have minded if it was, and it's
not the bid for commercial
radio play that I feared it
might be. Instead, this dlbum
sees Toronto's darling waif
take on new musical territory,
albeit with mixed results. The
instrumentation is the chief
difference, with abundant
guitars and programmed
beats. Slean's beloved piano
takes a back seat to keyboards
that occasionally stray into
elevator music (as in the truly
horrific "Mary" and the not-
so-bad title track). The vocal
are as strong as ever, though,
and Sarah's lyrics have stayed
true to her capital R-Romantic
sensibilities. It's the slower songs,
like live favourite "California"
and the Sarah Harmer-esque
"Wake Up" that are the winners,
though they, like the rest of Day
One, suffer from overly-glossy
production.
This album's strange
musical mixture may be more
original than that of past works,
but, as shown by "Mary and the
hidden track, originality is a risky
business.
KatSiddle
Stars
Set Yourself on Fire
(Arts and Crafts)
There is a sound that makes me
feel at home, very warm and
very content. That sound comes
from the female member of
the stunning indie-pop group
Stars, whose 2003 release
Heart met with well-derserved
critical praise and contained
one utterly song, "Look Up."
Maybe you can have a crush
on someone's voice, and if so,
I have a huge crush on Amy
Milan. This crush isn't the sole
reason for my love of Stars;
their music is beautiful too. Lush
pianos, atmospheric hooks, and
emotionally cut strings together
give a feeling of perfect
decadence. Set Yourself on
Fire is rich with sound, but isn't
over-produced, showing that
these guys deserved to share
a stage with label-mates and
close friends Broken Social
Scene. Songs like "Your Ex-
lover is Dead", the first track
on the album, immediately
swells with strings as it moves
back and forth from Evan and
Amy till their vocals coalesce
in harmony. Perhaps if there
was one complaint regarding
Set Yourself on Fire Is that Amy
doesn't sing as much as she did
on Heart. Some might not see
this as a problem, but it breaks
my heart a little (tear).
Chris Walters
Various
Song of the Silent Land
(Constellation)
This review will assume that'
you have heard the music of
Constellation powerhouses
Godspeed You Black Emperor!
and Do Make Say Think. The
hype machine has already
said plenty about them. If you
haven't listened to them, please
do yourself a huge favour and
do so.
Song of fhe S/7enf Land
collects songs from the
entire roster of Montreal's
Constellation label. It serves as
a good sampler of what this
label has to offer besides the
aforementioned bands. And
as phenomenal as GYBE! and
DMST are, this compilation does,
more often than not, show that
there is good reason to delve
deeper. Some of the highlights
for this reviewer were:
Hangedup, "(Re) view
from the Ground", and re:
"Slippage": Driving, industrial
metal machine music that can.
evoke the feelings of the need
to escape the daily grind, or of
playing on the construction site,
respectively.
Black Ox Orkestar, "Toyte
Goyes In Shineln:" based on a
WWII-era Yiddish poem, and
sung entirely in that language.
Dreary and raw, yes, but also
highly evocative and more than
a simple exercise in tradition.
Polmo Polpo, "Dreaming
(,„Again):" great slide guitar
work that acts in nice contrast
to the not-quite-as-organic
backing sounds and subtly
propulsive beat.
There are a couple of
duds here, like the dragging,
mopey "String of Lights", by
Sofa, or "Fair Warning", by 1-
Speed Bike, which starts off
promising, but doesn't really
go anywhere, becoming a
series of repetitive sounds and
beats, with a voice asking,
"Capish? Capish? Capish?",
which reminds me of my dad
scolding me as a kid. But as a
whole. Song of fhe Silent Land is
ah excellent introduction to the
bands signed with this seven
year old Canadian label.
Robert Ferdman
Various Artists
Garden State Soundtrack
(Epic)
This album is one of the best
soundtracks I've heard in quite
awhile. A blend of sexy trip-hop,
romantic singer-songwriters,
and familiar favourites like The
Shins and Coldplay allows you
to see how the music added so
much to Zach Braff's directorial
debut. He picked all the music
himself, too. Impressive guy. The
highlights of the> album include
The Shins' "New Slang", Iron
& Wine's cover of The Postal
Service's "Such Great Heights"
and Frou Frou's "Let Go". A
tribute track to "The Graduate"
is included in the soundtrack.
You know the Simon &
Garfunkel one... because they
did the soundtrack to The
Graduate. Looks like Zach Braff
is well aware of the similarities
between the two dissatisfied
main characters of those
movies. With a soundtrack like
this it's easy to imagine why
your friends keep telling you
to see this film. If they haven't,
they just have bad taste.
Jordie Smith
The Sermon
Volume
(Alternative Tentacles)
For a label that's given us
everything from the post-rock
lunacy of Alice Donut, to the
Brazilian punk rock of Ratos De
Parao, to our very own clown
princes of garage pop The
Evaporators, you can't blame AT
for not being musically diverse.
Add to this roster The Sermon,
five San Franciscans (well, two
of 'em used to be from Tuscon,
AZ and a band called The Fells
who had some releases on
Estrus that are worth checkin'
out), who blaze a trail of '60's
European freakbeat-influenced
stuff like The Outsiders or maybe
The Mooney Suzuki, before they
started smokin' more weed
and dressing like extras from
That Seventies Show. The guitars
sound sharp, the.drums beat
loud and tough, there's even
some harmonica action for
those who like a little harp juice
with their gin-soaked R'n'B. The
overall imagery is dark and
somewhat bleak, from their
unified fashion choice of black,
to the cover art of an upside
down tree, to the lyrical content
of songs like "The Other Side Of
The Mirror" and "Miss A." But as
the title suggests, The Sermon
speaks volumes and delivers the
message loud and clear; this is
the new rock 'n' roll revolution.
Bryce Dunn
These Arms Are Snakes
Oxeneers,   or The  Uon  Sleep
When Hs Antelope Go Home
(Jade Tree)
Rising out of the ashes of
popular Seattle scene bands
Botch and Kill Sadie, These Arms
Are Snakes have destroyed
all of what you thought of
those bands, to create a sonic
mess of broken screams and
instrumental experimentation.
Perhaps you will shy away
because this isn't The Promise
Ring, and that's ok, because in
all honesty TAAS would destroy
them, and create a violent
dance party that the whole
crowd's invited to. A band who
isn't afraid to change the face
of hardcore music, allowing
themselves to experiment with
sonic landscapes as well as tear
the vocal cords and ear drums
of all those in the like.
WESTERN FRONT NEW MUSIC
PRESENTS
5DUND   DE5IEN
LIMINE   CINEMR
With New Forms Festival
Thursday, October 14,7pm $12/$10
Bob Ostertag unflinching political sampled sound
Pierre Hebert scratch animation pioneer
"Listening becomes cultural time travel at warp speed"
also Mark Brady & Igor Santizo, Stefan Smulovitz, Coat
Cooke, Odette LeBlanc Trio, Steve Gibson
DOUBLE   HERDER
HRLLDVUEEN
Bossa Noir and LaConnor
Saturday, October 30,8 pm $12/10
Kevin House, Tony Wilson
Frangois Houle, Jesse Zubot, Jean Martin
machine guns and theremins and electronics
WESTERN   FRDNT
SOS  ER5T  STH  RUENUE
WWW.FRDNT.BC.CR
WWMJ.NEWFDRM5FESTIMRL.CaM
RDURNEE   SRLE5:
E04-B7E-3343
m   tl
WESTERN FRONT DiSCORDER OCTOBER 2004
Live Action
Bumbershoot Festival
September 3-6
Seattle Centre
Friday {$«):  Death Cab for Cutle's  Ben
Gibbard announcing, 'I can't remember the last
time we had anything resembling a mosh pitr
in reaction to playing the main, huge, outdoor
festival stage. Saturday (4*): Nancy Sinatra!
Unfortunately I missed her first song, undoubtedly a
slower version of 'Bang Bang", but Bono's '2 Shots
of Happy, 1 Shot of Sad' came out gorgeously.
During 'Good Time Girl' she showed clips of her
film career, including scenes that matched her
lyrics! 'Momma's Boy' (written by Thurston Moore)
came off pretty rad and Sonic Youthish, and it was
great to hear her James Bond song, 'You Only Live
Twice'! Eek! Everyone in the sit-down theatre was
dancing when she walked into the crowd despite
her bad knee to strut it up for 'These Boots Are
Made For Walking'. An amazing solid set, and
she tossed out coin purses! I can't rave enough.
Maybe I'm just a sucker for nostalgia. Or for
people who can have a music career for 40 years.
Pedro the Lion: David Bazan announced that in
three weeks his wife will have their first child—I
guess he must be a father by now! David asked
for questions after almost every song—he seemed
more anxious than normal. The closing song,
'Criticism as Inspiration', was especially haunting
and kind of depressing. Robyn Hitchcock played
an acoustic show. I loved his warm but kind of
raspy voice and the song 'My Wife and My Dead
Wife.' This guy really is a nut bar! Later in the set,
he was joined on stage by Sean Nelson of Harvey
Danger and Scott McCaughy of the Young Fresh.
Fellows. Sunday (5""): Krist Novoselic talked about
his book. Of Grunge and Government: Let's Fix
this Broken Democracy and he actually seemed
to know what he was talking about. The highlight
came during the Q&A, when someone asked,
'Why didn't you run [for presidency]?' and he
replied, 'I'm gonna run out of here. I wanted to
be a celebrated author and I wanted to get my
garden in.' He even bragged about the size of his
apples. These Arms Are Snakes made me want
to start listening to the Jesus Lizard. Ben Kweller
was endearing as ever but what made this show
stand out from the other times I've seen him was
the girl in the pit who grabbed me, accused me
of punching her in the head, and started clawing
and punching at me. It was a total cat fight.
Monday (6m): saw Public Enemy, 'cause I never
expected to see them ever. Plus I was wearing a
'Public Emily' shirt. The Fitness announced, 'We're
Jazzercise. We're from Kirkland'. Unfortunately
the sound was lost in the hall but I still love them!
Harvey Danger: who knew that they have good
songs? This was also my first time in the EMP
Skychurch, an amazing venue with excellent
sound. As for Sam Roberts, I only saw two songs
but I thought he looked like Jesus. I like that he
sings so that the veins pop out of his neck. I love
intensity. The Pixies: I wasn't ever going to pay to
see them because they broke up ten years ago.
I got over it because I didn't listen to them when
they existed—I got into them later like a poser. But
it was really cool to hear the faves like 'Cactus',
'Gouge Away' and 'Hey' played live. They played
for an hour and a half and made made for a
great end of the festival. All in all, Bumbershoot
was amazing (and I haven't even described the
roasted com on the cob, the manga and 'zine
workshops or the gig poster displays). I could not
believe the wealth of venues in Seattle Center. It
was heaven. And in heaven, everything is fine-.-
Natalie Vermeer
Crooked Fingers
Sparrow
September 10
Media Club   .
Dear Fan,
I know you. I used to be like you. I know it's
hard when no one can relate to the pedantic
bullshit that spews out of your gaping maw most
of the time so THANK CHRIST there's music that
you can sing along to. THANK CHRIST once in a
while one of the people who plays that music
you so lovingly love comes to town so you can
LET THEM KNOW HOW MUCH YOU LOVE THEM.
I know how hard it is when the artist in question
doesn't play EVERY SONG YOU WANT TO HEAR IN
THE EXACT ORDER IN WHICH YOU WANT TO HEAR
THEM. I've been there myself. I can relate. Y'know
what I used to do? What you did: SCREAM at the
performer and the audience simultaneously so
everyone in the building knows WHAT A BIG FAN
YOU ARE. Surely, the performer will love you for it.
He MUST love to know that he has such ADORING
FANS. Surely, the audience will follow suit. They will
say, 'Wow, I thought / loved this band, but THIS
fan makes me look like a guy who just wants to
see a show and actually listen to the music.'
I went to the show to see Crooked Fingers'
Eric Bachman play, and play he did. His pared-
down solo performance was raw, soulful, and
riveting. The anguished troubadour—one of the
great, under-appreciated songwriters of our
generation—poured out his heart for a small,
rapt audience of devotees. He played gorgeous
new material, old favourites, and even a few
songs from his former incarnation as frontman of
Archers of loaf. It was enough satisfy any fan. Too
bad it wasn't enough to SHUT YOU THE FUCK UP.
Looking forward to the next gig you ruin for
everyone else in attendance.
LOVE,
Luke Meat
SHINDIG: Night One
Speaking of Devils
Automatic Fancy.
Dandi Wind
September 14
Railway Club
It must be said that all 3 bands were decent
last night, although all were a little rough in
patches. Speaking of Devils opened the night
with a pseudo-folk set. A trio, whose main selling
point was the lyrics and phrasings, they suffered
from muddied sound. The band was clearly fhe
lead singer's in every respect, with little to no
input coming from his backing musicians. Indeed,
when the guitarist goofed up, the singer shot
him a mighty angry look. Were I the manager of
this band, I'd get rid of the electric guitarist. The
keyboards were good for atmosphere & sound-
richness, but the surfy electric just seemed to
take away from the sound. A simple, soft drum-kit
might make a better addition to the band, to fill
in the gaps, as it were. A radical suggestion might
even be for the singer to take it solo for a while
- if only to get more comfortable with his own
delivery, before adding in others for sound.
Stuck in the middle was Automatic Fancy,
an all-girl rock act. In this band, the backing
musicians were the highlight - stellar playing,
very tight and a clean sound. The singer, who, it
must be said, brought terrific energy to her act,
was probably the weakest member, shouting
the lyrics to the point that they were no longer
comprehensfole. She did, on the other hand,
have a nice touch on the keyboards, which were
Franz Ferdinand played the Commodore last Sunday.
Kim Day took this photo of their Bassist.
used sparingly, but to great effect.
Rounding out the night was the evening's
winner, Dandi Wind, an east-side/German
Industrial/Performance Art act. Think Rammsteln
meets Riverance, only in a good way. This is an
act that will sink or swim entirely on the presence
of the singer/dancer, who, I'll admit, was scary
intense during the set, thrashing and dancing
(small quibble: 'the robot' popped out too often),
shouting and singing over a tight, harsh techno
beat hammered out nicely by her backing
keyboardist (who also provided some surprisingly
delicate backing vocals, a nice counter-point).
Steve Tannock
The Greatest Rock'n Roll Story Ever Told
Sunday 19 September
The Butcher Shop Gallery
I'm a bit stand-offish with arts festivals that are
about to have condo developments named
after them, but when a little invitation arrived
in the post in a hand-written envelope, my
analogue buttons were pushed. Besides, I like
the Butcher Shop. So I mounted my bike and
flew up Main Street, cackling like at witch on a
broomstick. Off to the Fringe!
The boys in 80s tribute band, Rock'n,
put together a charmingly DIY show. Having
arranged things themselves with the gallery
(that's "Bring Your Own Venue" in Fringe
parlance), they proceeded to flog themselves
silly by doing 14 performances during the
festival's 11 days. Using a slightly sorted sheet as
a scrim and carrying a few bits of props on and
off, Buddy, Chad Johnny and Rick Rock'n told a
story of thwarted dreams. As the reigning bad
boys of rock back in high school, their crowning
moment was to be playing at grad. But mere
hours before the dance. Principal Higginson
expelled their lead singer and the gig was off.
Twenty years later, they still aren't over
it (one of them gives Karate demos backed
by heavy metal tracks). Simple, yes, but
not simplistic. The inevitable reunion and
revenge gig had all the signposts of psycho-
drama (revisiting trauma, exorcising internalized
oppressors—you know the stuff) but was played
with such raw innocence that it was really quite
cathartic, especially when the band let fly with
that gig that got away.
Blessed with distinct and believable
characters, this Story was considerably more
than a play draped around a rock show. There
was also some choice writing: Trying to elicit
our sympathy for a bandmate who was going
through a painful divorce, Johnny exhorts, "Our
hearts are like plates. Sometimes they break.
Rick's plate is broken."
After the show, I asked Rick if there was a
programme. "No", he replied, "we didn't make
a programme because we're not realty actors".
Sweet. But like all savvy musicians, they had a
merch table.
Penelope Mulligan
Beastie Boys
TaHbKwefl
September 20
Pacific Coliseum ^'v^^fe;
Not much is worth the absolute horror of
getting to the Pacific Coliseum on a night where
approximately ten million sixteen year olds are
doing the same thing, except for, perhaps, the
first Vancouver Beastie Boys show in five years.
The opener for the night was Superdogs, a
trick dogs show. How sad but awesome at the
same time. Unfortunately, I missed it.
Talib Kweli, the hottest commodity since the
rice cooker, started the actual show off with DJ
Chaps, playing to a very receptive crowd. TaH>
flawlessly went through a good handful of songs
Continued on the next page.. ..Continued from the last page
flawlessly, went through a good handful of songs
from his repertoire—new, old, and rare—and was
sure to lace the performance with advertisements
for his 'after party' at Richard's on Richards, to
which 'all' were invited.
In no time at all, the Beastie Boys took over
by running out onto the video-screen-covered
stage following a little skit in which a camera
followed Mix Master Mike from selling beer at a
stand to climbing up onto his pedestal to do what
he does best. The Beastie Boys, dressed in ever-so-
trendy green jumpsuits with yellow stripes, started
the night off with a definite favourite, 'Root Down',
and followed it up with 'Sure Shot' before playing
some newer tracks. Theaseowd's interest vy|||petd";
by the Beastie Boys through their high-energy set
and crowd interaction, including frequent ventures
by MCA out into the sea of raised arms and sailing
bodies (in fact, I'm almost certain that at least
several of those crowd surfers just barely escaped
death. They were Hying).
Some of the more notable moments in the
Beastie Boys' set were: groups of songs linked by
intermittent pieces of Will Ferrell doing his- George
Bush impression, the guys and a few extras coming
out as a five-piece mariachiesque band on a
wedding reception-style stage setup to play several
of the instrumental songs that nobody would have
otherwise expected to hear live, and the Beastie
Boys coming out to do an encore 'Intergalactic' on
the upper level of the venue-.
The music was great, 'the level of Intensity
was high, the encores were plentiful and when
Mix Master Mike started up the music to 'Brass
Monkey', I thought the entire venue was going to
explode. Both times. The Beastie Boys eventually
had to leave so that at least several people would
head downtown to the Talib Kweli after party (in
response to which Mike D was heard to exclaim 'if
it's gonna be that type of party, ima stick my dick in
the mashed potatoes'), but they played for as long
as they possibly could, coming back again and
again, and finishing everything off, to the delight of
the crowd, with 'Sabotage'.
Kimberley Day
SHiNDiG: Night Two
The Little Death
Salmon Arm
September 21
Railway Club
This week's SHINDIG line-up included the likes
of The Little Death, Salmon Arm and Mandown. The
Little Djiath opened, artd^ddly, weren't cheeky
fpost-rvPPwave intellectuals; Instead, they were
more of an...l'm not sure - indie prog-rock act,
perhaps? With hints of Pavement, Rush and even a
little Yes, they were hard to pin down, but give the
boys credit for reaching for that rainbow. Only, in
my mind, they're still mired in the mud. It is true, they
have potential, but they need to do some serious
practising to get to where (it appears) they want to
be, where muscianship can outshine the song.
Salmon Arm was really much more like f
expected TLD to be like. Gorgeous instrumentais
crossed with the occasional rocker, but all very
atmospheric. The best thing I can probably say
about them is that they both hinted at, and made
me want to list, 'Houses of the Holy'. Featuring a
ceHo (it's amazing what a rich sound that instrument
can produce), guitar, bass & drums, they kept things
in a lower key that begged for a smoke-filled room.
Vocals, when there were any, were throw-away,
but I didn't think the band any weaker for it.
After an interminable & wretched 'Jokes For
Beer', Mandown came on, sporting a drum kit with
a skull painted on, a classic hair-metal guitar (you
know - the angular 'star-shaped' kind), and a look
that would make Blink-182 appear hardcore, I
was really worried that we'd get some pop-punk
pap from the trio. They were, instead, really quite
respectable. Way too loud for me, and certainly
not my style of music, but they were decent, and
sadly, completely forgettable too.
I left before Mandown had left the stage, as I
was getting a headache. Given my opinions, and
having chatted some with the other judges during
the course of the show, I was quite surprised to hear
that The Little Death had won the night. A pity, in
my opinion, but that's the glory of SHiNDiG. And
now, I'll get to give them a second chance (which
I'll admit, they're worthy of) in the next round.
Steve Tannock
13
September 25
White River Amphitheatre
Auburn, Washington
Apparently Seattle's 'original alternative radio
station,' 107.7 the End, missed the memo that said
modern rock radio festivals are supposed to feature
headliners like Linkin Park and Velvet Revolver.
Lucky for me, not so lucky for the beefy dudes in
the West Coast Chopper t-shirts looking for a faux
guitar god to flash the ol' devil horns at.
My road trip compatriots and I managed to
find our way into the amphitheatre just in time to
see Metric. It's always tough being the opening
act, but that didn't stop Metric from rocking like
they were headlining the show. James Shaw
and Joshua Winstead swung their guitars around,
flanking Emily Haines as she shook and pranced
around the stage. They ended with an extended
version of 'Dead Disco' before waving goodbye.
Next up was Muse, who for some reason
attracted everybody who still thinks it's 1992,
Jeremy spoke in class today, and moshing is 'totally
rad dude!' Crowd aside. Muse were their usually
grand selves. All those prog-rock bits that sound a
little too 'ELO' on record were just what you want
on a massive festival stage, and Matt Bellamy sold
every note with his fist pumping, spinning, and
-r-«no,N%!^ &£>y>
guitar windmilling.
The theme of the show was old and new. So,
next up were the Psychedelic Furs. Apologies if
you're big fan. But, I took this as my cue to get
some food.
We made it back onto the floor in time for the
Yeah Yeah Yeahs. Taking advantage of the two-
sided rotating stage (yeah, you read that right -
American ingenuity baby), Nick Zinner, aka coolest
guy on the planet, had already started the intra
to 'Y-Control' as the band spun into place. It may
have been the middle of the day, but Karen O was
there to be the star. She swung her microphone
around, rolled around on the stage and yelped
and growled her way through a set that saw four
new songs cozy up with favourites like 'Art Star' and
After the Yeah Yeah Yeahs, punk legends, X
were up. They played all the 'hits' fit you can all
them that), and John Doe ran around playing his
bass like it was 1981. Still, something was missing.
They weren't bad by any stretch of the imagination,
but it was evident thafE well£ they were old.
The Violent Femmes followed X. And, unlike
youthful punk anthems, songs about being youthful
and dorky never age. The Ferfimes sounded tight.
Not only that, but it seemed like everyone there
was a fan (who knew!?). 'Blister in the Sun" was the
predictable sing along, but 'Add it Up,' 'American
Music' and 'Gone Daddy Gone' were equally well
received. Gordon Gano was nearly drowned out
during the pill popping count of 'Kiss Off.'
The first thing that came out of Alex Kapranos'
mouth, after Franz Ferdinand came-on, was praise
for the Violent Femmes, but it was clear from the
opening notes of 'Cheating On You' who the bulk
of the crowd was there to see. The crowd surfing
and slam dancing that had been going on all day
continued, but the mosh pit was dwarfed by the
dance floor. Irony: half naked sweaty guy who
told my friend not to be 'such a pussy' slamming
his naked chest into his half naked sweaty friend to
the beat of 'Michael.' Franz rocked harder than
diamonds!: in that dancy 'we're the Scottish Strokes
but ten times better than those boring rich tads'
way. iSissJsili
:-OlfelK) and the Bunnymen had the misfortune
of following Franz Ferdinand, and ended up
playing to a hatf empty amphitheatre because
of it. To top off the MIA audience members, Ian
McCulloch was in one foul mood. This, of course
wasn't disappointing, but ended up being more
entertaining than the band members, who seemed
bored to be there. McCulloch berated soundmen
and audience members, but was witty enough to
almost make up for aborting 'Bring on the Dancing
Horses.'
Thus, my EndFest adventure was over.
The Presidents of the United States of America
headlined, but we were on our way to the car
already. No, seriously- Those guys. You know,
'Lump.' I'm at a loss to explain how they headlined
over the likes of the Yeah Yeah Yeahs, but it helped
us avoid waiting to get out of the parking lot, so I'm
not complaining.
Quinn Omori o
DiSCORDER OCTOBER 2004
H      DOERS*
J|fc-V4»&GEYES*
03 CINCH*
04 GUITAR WOLF
06      ROBOSEXUALS*
# kATOMIC 7*
08 TO ROCOCO ROT
09 PINKMOUNWIhiTOPS*
10 HIDDEN CAMERAS*
11 DIAMANDA GALAS
12 TEGAN AND SARA*
13 BLACK KEYS
14 DANDiWIND*
15 BLACK RICE*
16 BJORK
17 PO'<3JP*3|?.
18 SADIES
19 LE FLY PAN AM*
20 I CLINIC
- ^^*NOCKOUT PILLS
22 CONVERGE
23 ZOLAR X
24 SIX ORGANS OF ADMITTANCE
:|||2|rIlJUANA BIBLES*
2©      ELIZABETH*
■*»     OX)A»
28 WOLF EYES
29 DRAGONS
30 WILLIAM SHATNER*
41 t'■•'BLOOD MERIDIAN* ; \,
32 MOUSE ON MARS
33 A.C. NEWMAN*
34 ORGAN*
35 CONSTANTINES*
•Denotes Canadian Content
Ready, Sat.. Do -
The folded Pairo
Shake If You Got It
iso—
Red Cat
Absolutely Kosher
Dirtnap
Loverock
Narnack
&38gral
Merge
Mist<!r^ Enough For t\
eryone
Indie
En Hillbilly Caliente
Mint
Hotel Morgen
Domino
The Pink Mourfrafrilops
Hfc
'   ^ISF     Scratch
Mtesissduga Goddam
Eva Evil
Deflxiones Will And Testament
Mute
So Jealous
Sanctuary
Rufefoer faci&ijfc' "*
Fat Possum
ConcrMel^s^'' -
rmfj^M1
Indie
Contact
Indie
Medulla
Elektra
Vagabond Lullabies
r«5£
Favorite Colors
N'ecoutezPas
Constellation
Winchester Cathedral
I*l=Afc»
Domino
Eslrus
Timeless
Ol^siidph
AJfemative Tentacles
The Manifestation
Fists of Fury
Strange Attractors Audio House
.    tndJe
Blick EP
Live Free or Dfe: ..■'
indie
Sudden Death
Burned Mind
Rock Arid RoJI Kamikaze
Sub Pop
Gearhedd
Has Been
,We almost made it home
-    Shoutt
Teenage USA
Radical Connector
Thrill Jockey
The Slow Wonder
The Blue Curtain
Grab That Gun
MM
Young Lions
Sub Pop
WIN 1 of 2 TEGAN AND SARA
prize packs including:
Tegan and Sara's new CD
'So Jealous' plus a T-shirt
e-mail DiSCORDER at: discorder@club.ams.ubc.ca
Figure 1. Labels
INDIE
HOMEJOBS!
01
Gangbang
Keeping it
02
Vancougar
Roughin' it
03
The Tomster
haa lah lah
04
Lee Livingston
Short and Sweet Music
05
The Skatomatics
Where have all the rude boys gone?
06
Mandown
EP
07
Collapsing Opposites
Sincerity/Sarcasm
06
Sore Throats
S/T
09
Solaris
S/T
10
Hejira
1 do but do you?
VENUES
RECORD SHOPS
area club3 w. 8th ave604.876.7128
brickyard315 carraU604.685.3922
active pass records324 w. hasSr^g
butchershop floorl 95 e.- 26th ave604.876.9408
audopile recOTas20l4commerclal
cafe deux soleils2096 commercial6Q4.254.1195
bcrssk records 217 w. hastings        &~s~^*.
cellar 3611 w. broadway604.738.1959
beatstreet records 3-?12 robson
cobalt917 main604.764.punk
black swan records 3209 w. broadway
commodore868 granvilte604.739.7469
t£ y -'^'crosstown musicSlBW. pender
lotus455 abbott604.685.7777
<C^^We records 13T^^pmercial
the main4210 main 604.709.8555
V    «efeetrecordsS40 seymour
marine club573 homer604.683.1720
°  ' red <?c#iec«d$ 4367 mam
media club695 cambie604.608.2871
pat's pub403 e. hastlngs604.255.4301
scrape records 1 ?*ftjroadway
■soa^h records 726 nchards
pic pub620 w. pender604.682.3221
s^«^.'records 1972 w. 4th
pub 340340 cambie604.602-0644
railway club579 dunsmuir604.681.1625
richcrrd's1036 rJchards604.687.6794
sonar 66 water 604.683.6695
WISE hall 1882 adanac604.254.5858
mesa luna 1926 wr broadway604.733.5862
video in studios 1965 main 604.872.8337 Du Tibial
SUNDAY
ARE YOU SERIOUS? MUSIC
9:00AM-12:00PM
AH of tfrne is measured by its art. This show presents the most recent new music from around
the world. Ears open.
THE ROCKERS SHOW
12:00PM-3:00PM
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE alt.
3:0OPM-5:0OPM
Real cowshit-caught-in-yer-boots country.
FILL-IN alt.
3:O0PM-5:O0PM
CHIPS WITH EVERYTHING  all.
5:O0PM-6:00PM
British pop music from all decades.
SAINT TROPEZ alt.
5:0OPM-6:O0PM
International pop (Japanese, French, Swedish,
British, US, etc.), 60s soundtracks and lounge.
Book your jet set holiday now!
QUEERFM
6:00PM-8:00PM
Dedicated to the gay, lesbian, bisexual, and
transsexual communities of Vancouver. Lots of
human interest features, background on current issues, and great music.
RHYTHMSINDIA
8:O0PM-1O:0OPM
Rhythmslndia features a wide range of music
from India, including popular music from Indian
movies from the 1930s to the present, classical
music, semi-classical music such as Ghazals and
Bhajans, and also Qawwalis, pop, and regional
language numbers.
TRANCENDANCE
1O:O0PM-12:00AM
Join us in practicing the ancient art of rising
above common thought and ideas as your host
DJ Smiley Mike lays down the latest trance cuts
to propel us into the domain of the mystic-al.
<trancendance@hotmail.com>
FILL-IN
12:00AM-2:O0AM
MON 0 A Y
4$QAtt-J^&AM
itoyfJSASfMftrlE BROWNS
8:00AM-1«|&sM£i\v
Your favourite browrwters, J$J*$i|i£d Peter, offer
a savoury blend of the famifiar and eseotte Imp
blend of qjfaldefights!
DiSCORDER Rft&JO ONE ait.
J £0QAM>1&0QFM .
Wanna heaf|r%e^r^C"%at drives the Discorder
war machine? Stipphment your monthly read-
* ihg wHhan aural dose'of that super-sonic mag-
kt3#iefrornOTR"
11:00AM-1200PM
ALT. RADIO
1Z-O0PM-1:00PM
%ji|fi&d,by David B.
PARTS UNKNOWN
1:00PM-3:00PM
Underground pop for the minuses with the occasional siterview with your host, Chris.
SANDBOX THEATRE
3:00PM-4:00PM
A show of radio drama orchestrated and hosted
by UBC students, featuring independent works
from local, national, and international theatre groups. We welcome your involvement.
<sandboxtheatre@hotmail.com>
ABSOLUTE BEGINNERS
moth to am
'' AFo
101,9 FM
OR
ONLINE AT
WWW.CtTR.CA
j^^^ice for new CiTR DJs to flex their musical
^^pote. Surprises galore.
THEFUPSJDE
f||j|prV&Q0PM
Join the - Dallas 8rodie - tor stimulating talk
radio about local, national and inferno^ppaJ
SON OF NB&fP^a^^|
6:OOPM-7:30PM
SOLARIZATION att.
6:00PAM:3S|!S|;O,v
6:30PM-7:30PM
Phelps, Afcini *ji* im.
WIGFLUX RADIO
^^fcM-fcOOPM
llp}!^SeJecta Krystabefle for your reggae education,;, **
^ip^asHow
*||$PJ|*12:00AM
3§$p8$©yver's longest running pime time jazz
program, Jtasted by the ever-suave Gavin
Walker, Failures at 1 ], as listed.
October 4: Crisfeqt fine Crossroads features tne
woefully underrated mastet-jfefce alto saxophone, William "Sonny" Crjs^tj^s^late recorded in Chicago with anothepfg^jpften master
in trombonist Oia Hansen. .TJ^jgJeot Wynton
Kelty is on piano plus ffj^e* CJ)fesgoans who
later became famous. bassS^^s Cranshaw
and drummer WaB^f^srfeK^ Warm and
swingin' session.
October Hf-wH^-ev^f heard of atfo saxophonist Ray Reed? Har»ds up...' nobody?
Tonight you wi hear the aj>propriatefy named
Mr. Reed with an aU-star cast of LA based
players Ik^^rfl^pel'^iaptta^^Kunders and
drum great Joe LaBarbara, "$$&%■$ killer date
'-tri^fvvS surprise y@$ _-•'
October T^^B.feeJebratlorf^ftrfe birthday
tOn%hf fhel foe 43) one of the most influential
jnusictans of ouresra; Wynton Marsalis. Here is
youfig W^nton-$usi 1?) playing with drummer
Art Blafcey's Jazz Messengers and beginning
khis. ascent to stardom. Mr. Bp^ey was very
proud of hJVyoung trumpet player and gave
htm tots of room to show his stuff and show he
did! Hapf^jjifhday, Wynton!
October 2sfC$braphonist Mft Jackson live
and coofcl^fpnight from a date at New
York's VlliageJGate with a great cast, including tenor saxophonist Jimmy Heath, and the
great Haf&Jones on piano. Bob Cranshaw
on bass and Albert "Tootle" Heath complete
the band on this one-shot date by Milt away
>Jt^mtheMJQ.
VENGEANCE IS MINE
1230AM-3.-OOAM
Hosted by Trevor. It's punk rock, baby! Gone from
fhe charts but not from our hearts—^riari|f^«s^
ingChrisf,     *. *'
PSYCHEDELIC AIRWAVES
3$8AM4$QAJ£ '.
DJ Christopher Schmidt aiso hosts OrgjQ$j$y&t
^Nb-23 (23 West Cordova) e$^-fl1ctay.
TUESDAY
PACIFIC PICKIN'
6:30AM-8:00AM
Bluegrass, old-time music and its derivatives with
Arthur and "The Lovely Andrea" Berman.
HIGHBRED VOICES alt.
8:00AM-9:30AM
FILL-IN att.
8:00AM-9:30AM
THIRD TIME'S THE CHARM
9:30AM-11:30AM
Open your ears and prepare for a shock! A harmless note may make you a fanl Hear the menacing scourge that is Rock and Roll! Deadlier
Cfm MtOADCASTS AT 640 WATTS 24
than the most dangerous criminal!
<Lxjminsrxlynine@hotmal.com>
LIVE HERE, WORK EVERYWHERE, alt.
11:30AM-12:00PM
CJLY - Kootenay Co-op Radio profiles 30 creative
enterprises in Nelson with markets and clients
worldwide.
MORNING AFTER SHOW alt.
11:30AM-12:30PM
REEL TO REAL att.
12:30PM-1:00PM
Movie reviews and criticism.
ENGAGING THE WORD alt.
1:00PM-2:00PM
Canadian authors, fiction writers and novellists
interviewed by James O'Heam.
BEATUP RONIN
12:00PM-2:00PM
Where dead samurai can program music.
CIRCUIT TRACING
2:00PM-3:30PM
EN AVANT LA MUSIQUE att.
3:30PM-4:30PM
«En Avant la musique!» se concentre sur le
metissage des genres musicaux au sein d'une
francophonie ouverte a tous les courants. This
program focuses on cross-cultural music and
its influence on mostly Francophone musicians.
TANSI KIYAW alt.
3:30PM-4:30PM
Tansi kiyaw? Is Michif-Cree (one of the Metis
languages) for "Hello, How are you?" and is a
monthly Indigenous music and spoken word
show. Hosted b June Scudeler (for those who
know me from other shows-I'm Metis!), the show
will feature music' and spoken word as well as
events and news from Indian country and special guests. Contact me at jlscudel@ucalgary.ca
with news, even listings and ideas. Megwetch!
FILL-IN
4:30PM-5:00PM
WENER'S BARBEQUE
5:00PM-6:00PM
Join the sports dept. for their coverage of the
T-Birds.
FLEXYOURHEAD
6:00PM-8:00PM
Up the punx, down the emo! Keepin' it real
since 1989, yo. flexyourhead.vancouverhardc
orecom
SALARIO MINIMO
8:O0PM-1O:O0PM
THE LOVE DEN att.
10:00PM-12:00AM
<loveden@hotrhail.com>
ESCAPISM alt.
10:00PM-12.00AM
es»cap«ism n: escape from the reality or routine
of life by absorbing the mind in entertainment
or fantasy.
Host: DJ Satyricon.
<DJSatyricon@hotmail.com>
AURAL TENTACLES
12:O0AM-6:0OAM
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.
8&-IN
6:00AM- 7:00AM
SUBUjiSANJUNGJJi
2fdtp*-9:00AM    '
CITR NEWS
9:00AM-10:00AM
EXQUISITE CORPSE
10:00AM-11:30AM
Experimental, radio-art. sound collage, fifed
recordings, etc. Recommended for the insane.
11:30AM-1:00PM
Luke Meat irritates and educates through musfcaJ
deconstruction. Recommended for the strong.
THESHAKEatt.
1:00PM-2:00PM      .
FOR THE RECORD att.
HOURS A DAY. TUNE US IN AT 101JFM,
1.-O0PM-2SOPM
DEMOCRACY NOW
Independenf^&j^ hosted, by awj&rd-winning
joumaflsts Ar^ Goodman and |^ Gonzalez.
MOTORDADDY a&-     *
Cyde^cra^aftdielft-'
RUMBLETONE RADIO OM
300PM-5-00PM
Primitive, fuzzed-out garage mayhem!
NECE5SA^VOIGP-V£>
SocJo-polHJcaL envirortrnenidl activist news and
spoken word with sdrfle hiuste, too.""'- <
www.necessaryvotc«»^fes* ?&
<necessaryvoices@teteW|^^^
AND SOMETIMES WHtf&f^
0te30mB.-00PM
(First Wednesday of es^g^^rtt*.^ -
iCUtJlbWDAY att.
6:30PM-&0^P
Vdncc^verhs^^&lndustilal-electronic-retro-
goth program. Music to schtomp to, hosted by
Careen.
PRIMA!
8.-00PM-9:00PMatt.
A sex positive ^&ghtiy news magazine, hosted
"by Maura IngrOham. www.primalradio.net
JUICEBOX   , <
$<fe?^fc00PMalt.
Developing your relational and indf$duai sexual
ilpfe^^expressing diversity, celebrating queer-
ness arid encouraging pleasure at ail isf ages.
Sexuality educators J^l^and Alix will quench
your search for responsible, progressive Sexuality
'■ovej^purSe span! <«(^^ulceboxradio.com>
FOLK OASIS
9*»PM-11:00PM
Roots music for folkies ant#ron-f olkies... bluegrass,
singer-songwriters, wort^eat. alt country, and
more. Not a mirage!
<tolkoasls®p^p|a.^^fe.*?^
HANS KtOSr MISERY HSpfi. * ■'
H:00?M«$0QAM
FIRST FLOOR $0m SYSTEM
2:00AM-6:00AM
THURSDAY
FILL - IN
6:00AM-8:00AM
END OF THE WORLD NEWS
8:00AM- 10:00AM
PLANET LOVETRON
10:00AM-11:30AM
Music inspired by Chocolate Thunder, Robert
Robot drops electro past and present,
hip hop and intergalactic funkmanship.
<rbotlove@yahoo.com>
FIRED UP
11:30AM-12:00PM
Ever told yourself "I can't even boil water, let
abne cook a chicken or stir-fry vegetables!" Let
Chef Marat show you the way to create easy
meals prepared in the comfort of your own
kitchen/bechelor pad or car. OK, maybe not
the car. Wouldn't want to spill anything on the
upholstery.
UNPACK YOUR ADJECTIVES
12:00PM-1:00PM
STEVE AND MIKE
j    1:0OPM-2:0OPM
j Crashing the boy's club in the pit. Hard and fast,
heavy and slow (punk and hardcore).
THE ONOMATOPOEIA SHOW
|    2:O0PM-3:O0PM
; Comix comix comix. Oh yeah, and some music
[   with Robin.
RHYMES AND REASONS
j    3:00PM-5:00PM
■ DJ Knowone slaves over hot-multi-track to bring
1 a fresh continuous mix of fresh every week,
f Made from scratch, samples and just a few
| drops of fame. Our tables also have plethora
| of guest DJs, performers, interviews, giveaways,
I Strong Bad and the occasional public service
|   announcements. <eno_wonk@yahoo.ca> CABLE I01JFM OR tlSTIN TO US ONLINE AT WWWIITR.CA
LOCAL KIDS MAKE GOOD
5:00PM-6:00PM alt.
Local Dave brings you local music of all sorts. The
program most likely to play your band!
PEDAL REVOLUTIONARY att.
5:00PM-6:00PM
Viva la Velorution! DJ Helmet Hair and Chainbreaker
Jane give you all the bike news and views
you need and even cruise around while doing it!
www.bikesexual.org
OUT FOR KICKS
6:O0PM-7:30PM
Now in it's 15th and final year, your most reliable
source for Indie Pop. Thanks to all the regular listeners over the years! Tune in for an entertaining
farewell tour.
ON AIR WITH GREASED HAIR
7:3OPM-9:0OPM
The best in roots, rock 'n' roll and rhythm and blues
from 1942-1962 with your snappily-attired host,
Gary Olsen.
<ripitup55@telus.net>
UVEFROMTHUNDKBIRD RADIO HHL
9:O0PM-11:00PM
Live From Thunderbird Radio Hell showcases local
talent... LIVE! Honestly, don't even ask about the
technical side of this. This month's listings got lost
however, and you will have to be a bit resourceful to find out what's going on. I would suggest
the Internet, and www.citr.ca, but that's just me.
WORLD HEAT
11:00PM-1:00AM
An old punk rock heart considers the oneness of all
things and presents music of worlds near and far.
Your host, the great Daryi-ani, seeks reassurance
via <woridheat@hotmail.com>.
LAUGH TRACKS
l:O0AM-2:O0AM
FILL-IN
2:00AM-6:00AM
FRIDAY
*$M»N
?|£0AM'B!fl&*ft
CA80HTIItlilllt£D
8?00AM-10.-00AM
Trawling the trash heap of over 50 years' worth $£
|||l|bck 'n' roll debris.
SXjA^IS SCENE-IK DRIVE!
ittt»AM-t2$aMft
EmaH requests to; <ajska_t@hotmaif.com> , ,
THESE ARE THE 8^^
13fcOOPM-2.-O0PM
fo|? fiofaii crirtft digger DJ Avi'^tock mixes the
underground-iSp hop, old school classics and
original breaks.'
RADIO ZERO *
^rf$l4£QPM
NARDWUAR f|| HUMAN SERVIETTE PRESENTS...
s&mA-stivfk.
pliNiWS, SPORTS AND ARTS
«0OPM-6:O0PM
A volunteer-$3fe6s&/ced, student and community
■ r^vsccistfea|y^ngnews, sports'^tel arts. Reports
by people-t^^p^. "Become the Media." To get
I^vSJvedV vr^ www citr.ca and click "News Dept."
THE NORTHERN WISH
4:0uPM-7:30PM <*
AFRICAN RHYTHMS
7:30PM-9:0uPM
David "Lovs? Jones brings you the best new and
Old jazz, soUk Lafrn, sgrtfoa, bossa and African
tJ5ft^irofr» around the world.    \
www citriccrirhythmsraa1o.com
HOMEBASS
9*>0PM-12:00AM
Hosted by DJ Noah: techno but also some trance,
acid, tribal, etc. Guest DJs, interviews, retrospectives, giveaways, and more.
IUKE THE SCRIBBLES att.
. 12KXJAM«2^PM  .,.
^ApiDOTEaft.
12:00AM-2:00AM
THE VAMPIRFS#&L    O
£0gAM-&O&AM
Doric sinister music of all genres to soothe and/
or move the Dragon's soul. Hosted by Drake,
thevampiresbal^ahopca
SATURDAY
FILL-IN
6:0OAM-8:O0PM
THE SATURDAY EDGE
8:00AM-12:00PM
Studio guests, new releases, British comedy sketches, folk music calendar and ticket giveaways.
8AM-9AM: African/World roots. 9AM-12PM: Celtic
music and performances.
GENERATION ANNIHILATION
12:00PM-1:00PM
A fine mix of streetpunk and old school hardcore
backed by band interviews, guest speakers, and
social commentary.
www.streetpunkradio.com
<CTashnbumrcKto@yahoo.ca>
POWERCHORD
1:O0PM-3:00PM
Vancouver's only true metal show; local demo
tapes, imports, and other rarities. Gerald
Rattlehead, Dwain, and Metal Ron do the damage.
CODE BLUE
3:00PM-5:00PM
From backwoods delta low-down slide to urban
harp honks, blues, and blues roots with your hosts
Jim, Andy and Paul.
THE LEO RAMIREZ SHOW
5:0OPM-6:00PM
The best mix of music, news, sports and commen-
DiSCORDER OCTOBER 2004
tary from around the local and international La
American communities.
BATTLE ZONE
6:00PM-7:00PM
Each show will make you feel as though you're
tening in on conversations between political insi
ers. As well, this guest and caller-driven programs
guest from opposite ends of the corridor of pub
argument against one another in ho-holds barre
debate that takes you behind today's headline
SHADOW JUGGLERS
7:00PM-9:00PM
An exciting chow of Drum n' Bass with Dj's MP 8. Bi
on the ones and twos, plus gusts. Listen for givaw
everyweek. Keep feelin da beatz.
SYNAPTIC SANDWICH
9:00PM-1 1:00PM
PLUTONIAN NIGHTS
11:00PM-1:00AM
Cutting-edge, progressive organ music with re
dent Haitchc and various guest performers/D.
Bye-bye civilisation, keep smffing blue, Where's n
bloody anesthetic then?
http://plutonia.org
EARWAX
1:00AM-4:30AM
"noiz terror mindrUck hardcore like punk/beatz dre
dem headz rock inna junglist mashup/dtstort c
source full force with nOedlz on wax/my cha
runs rampant when I free da jazz..." Out.
REGGAE LINKUP
4:30AM-9:00AM
Hardcore dancehall reggae. Hosted by Sister B.
SUNDAY
MONDAY
TUESiDAY
WEDNESDAY
THURSiDAY
FRIDAY
SATURiDAY
7
8
9
<■     (RG). ■
FILL-IN
PACIFIC PICKIN'
(RT)
FILL-IN
FILL-IN
FILL-IN
FILL-IN
SUBURBAN JUNGLE
(EC)
BREAKFAST WITH
,   THE BROWNS
(EC)
HIGHBRED
VOICES (WO)
FILL-IN
END OF THE WORLD NEWS
m
CAUGHT IN
THE RED (RR)
THE
-* o^||^,^
EDGE(RT)
ARE YOU SERIOUS?
MUSIC (EC)
CITR NEWS
10
11
THIRD TIMES
THE CHARM (RR)
EXQUISITE CORPSE (EX)
fUJHJ ';;■
LOVETRON (DC)
SKA-T'S
SCENIC DRIVE (SK)
|     RAOIOONE(EC)
12PM
U.W.E.(1K1
MORNING AFTER
SHOW (EC)
ANOIZE (NO)
FIREBilPfTK)
ROCKERS
SH0W{R$
ALT. RADIO (PO)
BEATUP
RONIN
(EQ
UNPACK YOUR ADJECTIVES (PO/RR)
THESE ARE THE
BREAKS (HH)
GENERATION ANNIHILATION (PU)
REEL TO REAL(TK)
2
3
UNKNOWN (PO)
ENGAGING THE
WORD
THE                        fORTBE
SHAKE(RR)        {       RECORD flfKJ
STEVE & MIKE (HC)
POWERCHORD
(MT)
CIRCUIT TRACING
(OC/EC)
DEMOCRACY NOW (TK)
THE ONOMATOPOEIA SHOW (TK)
RADIO ZERO (EC)
BLOOD
ONTHE
SADDLE (RT)
■ FHWH '
SANDlM THEATRE (TK)
MOTORDADDY
(RR)
RHYMES &
REASONS (HH)
CODE BLUE
(RT)
4
ENAVANT         1       TANSIIOYAW
LAMUSIOUE(FR)     [             (EC)
RADIO
(RR)
NARDWUAR
PRESENTS (NW)
ABSOLUTE BEGINNERS (EC)
5
6
filun
OffSWIH
8HYIHNG|P0J
5AINT TROPEZ
m
THEFUPSIDEflK)
WENER'S BBQ (SP)
NECESSARY VOICES (TK)
LOCALKIDS        ]           PEBAl
MAKEGOOBfEq     |     REVOUJTiON {TK}
CiTR NEWS AND ARTS (TK)
LEO RAMIREZ SHOW (WO)
QUEER FM
(TK)
SON OF HITE
DREEMS (EC)
SOLARIZATION (IK)
FLEX YOUR
HEAD(HC)
OUT FOR KICKS
(PO)
THE NORTHERN WISH
(K)
BATTLE ZONE (TK)
7
M¥ASS(EC)
AND SOMETIMES
WHYPO/K}
SLUE MONDAY
SHADOW JUGGLERS
(DC)
8
9
10
11
12AM
WIGFLUX RADIO (RG)
ON AIR WITH
GREASED HAIR (RR)
AFRICAN RHYTHMS
m
uJfflPSINDIA
(WO)
SALARIO MINIMO
PRIMAL (TK)
JUICEBOX (TK)
THE JAZZ
SHOW
an
FOLK OASIS (RT)
THUNDERBIRD HELL (LM)
HOMEBASS
(DC)
SYNAPTIC SANDWICH
(DC/EC)
TRANCENDANCE
(BC)
VENUS
FLYTRAP
(EC)
ESCAPISM
(EC)
HANS KLOSS'
MISERY HOUR
m
WORLD HEAT
(WO)
PLUTONIAN
NIGHTS (DC)
FILL-IN
VENGEANCE
IS MINE!
(PU)
AURAL
TENTACLES
1 UKE THE
THE ANTIDOTE
(EC)
2
3
.4
LAUGH TRACKS (TK)
SCRIBBLES (EC)
EARWAX
(HH/DC)
FIRST FLOOR
SOUNDSYSTEM
FILL-IN
THE VAMPIRE'S
BALL(EC)
PSYCHEDELIC
5
n
AIKW
AVti
*c)
(t
L]
REGGAE LINKUP (RG)
DC=dance/electronic • EOeclecKc • EX=experimental • FR=French language • GI=goth/im
• LO-lounae • MT-metal • NOnoise • N\y-Nardwuar • PO-dod • PU-i
lustrial • HOhardcore • HH "hiphop • HK~Hans Kloss * JZ=jazz
RR=rock • RT-roots • SK=ska • SP-sdoi1s • TK-talk • WO=world THEHUNT _
Wot From Birth
GO
ISflfeatfelinecJ up to be
I by a sickly
. tarnoBfrphotoaraptier v____\
- had BBtfins with the wi^
be It was like a dreanWHsm'etraevto^len I pJPhere _,
be pulled out a t-sWrJIiat said "Screamo rules
i^ejryfwng else totally suxxO When tie t§W met^f put ft
oh, Iins out the door. What was he th^feng? He &8t
find someone else far his Job. I was pistgc[4 cajigm a
bus and pot on myfep^and started a iawfcy mg$6j|a«
my knees to the breeze of the Saddle Creek beat TOtt*^!
probably have readatoutmetDtondan's Time Out.
This is called "computer stabbing* $id H» Falnfs latest masterpiece Wet Froaffrthls our anfternvrt goes
way beyond Danse Macabre. Recommended!
Antics CD/IP
Urgent News Bulletin The
four members ofy&puiar
rock band MMpI revested
today that they have spent
the last twrjf years as undercover agents working to inM-*    *j
trate and collect mtormafion on the alternative rock •
world. Speeiafcagefits of the real Interaejf (International
Police Organization), the "band" iMMfrtrl had their
spokesperson Cartas B issue1 the frjjfping official statement "It has tal^ sever^tp^Bjgur masterplan to
be fufly realized, but wittt the rsjej|§of our new 'album'
we are confident that wel^^^^fe on the bright
lights' to uncover the taportaffifnformation on the
'antics' of rock music and its fans. We have travelled all
over the world and have confirmed that hipsters are the
same everywhere. Our music (actually created in France
by session musicians hired by Interpol) has reached
extreme levels of popularity and we feel strongly that it
Is only fair to finally let our fans know the truth.
Ultimately, Interpol exists to help create a safer wo^%
and fight crime on an international level and we daeidSd,,
that music is the most international medium tf#a^|i3|
We apologize for any confusion our mission may haviSf
caused, but we did it for the good of mankind.'
CD 14.98   LP 16.98
HOT SNAKES
Audit to Progress QtffL
To be read out loud witWpcfeaSfftg volume. New#t
Stakes, new Hot Snakes, new Hot Snakes, new Hot
Snakes, new Hot Snakes, new Hot Snakes, new Hot
Snakes, new Hot Snakes, new Hot Snakes, new Hot
, new Hat Snakes, new Hot Snakes, new Hot
s, new Hot Snakes, new Hot
s, new Hot Snakes, new Hot
., new Hot Snakes, new Hot Snakes, new Hot
Snakes, new Hot Snakes, new Hot Snakes, new Hot
Snakes, new Hot Snakes, new Hot Snakes, new Hot
Stakes, new Hot Snake, new Hot Stakes, new Hot
Stakes, new Hot Snakes, new Hot Snakes, new Hot
Snakes, new Hot Snakes, new Hot Snakes, neWM?
s, new Hot Snakes, fttjpM&-
s, new Hot Si
, new Hot Snakes, new Hot Snakes, new Hot
Stains! Fuckin' Stta3^£M(RftLE 8@gBggpgft'
C016.98   IP 14.98
PINBACK
Pummerin
Abaddon CD    ■
RatOfavandAimlstead
JBtOTMHajWl W-ffeg&c*
ojrjNBSIV) retain wltKaflgfter
saving Pinlraekwlease, their
fast release oft Touch arnmt. All the trademark I
elements that you have grown to know and love over the
years are here in heavy doses powerfully sweet daydream
inducing rar^ffarmrjrflfss that float overtop of each other
and unrte^peathtaking crescendos, tjatjar lines that move
^bckisrjd foa|Jugging at one another m^afl and response,
Zach Mttfe trademark bass style which leaves most of us
wondering how he is humanly able toplay what he does
withWa fepextra fingers, and the strange stream ot consciousness ^rfeaf tfew which often attempts to describe the
indescribable #Jafe the listener into the author's abstract
■reams. So get ready for the great push forward; summer
may be over, but it tools like we'll be spending this winter
P •-!•*.
<G#ftC
e the sublime Ktetts
■. this new foray
liM
AVAILABLE OCTOBER 12TH
f|16.98
LOST BOYS
Br^jungDown
the Barriers Tliat
Break ftwm Your
Music CO \
God Imows there is a lot of new pop punk available in
the already cluttered music market. Most of this stuff
sounds as if "Emo" has become a choice career option for
too many of the teens of today, who practice tightly harmonized "whoa-ohs" during off periods at high schools all*
across North America with the kind of self-directed dedication that impresses guidance councilors — oh the humanity! This is all well and good, we suppose, but one might
wonder were the spark, life and air has gone behind the
glossy sheen that usually typifies the end result. Rather
than follow the predominate pop-punk Emo template,
■■ thankfully, the female-fronted Billy and The Lost Boys have
good variety to their punk rock tunes, with a sound that is
both contemporary and classic, mixing Hiisker DO and
Joan Jett with the best of any of the current Epitaph bands.
The songs are catchy, the musicianship high and ite production excellent, making Breaking Down the Baniers
that Break Bourn Your Music a sophomore recording that
sounds like a graduating with honours thesis.
IK6"98—
THE GOTAN PROJECT
Inspiration Espiracion 2CD
By now you probably know that France's Satan Protect
has singte%ndedly reinvented the genre of modem
tango (successfully rescuing it from Senior's homes ball-
eaoms) and spearheaded a revitalized interest in the passionate wi^rf Argentinean godfather Astor Piazzolla As
a follow up to fttftaMime La Revancha Bet Tango, Satan
has decided toftrtfeer tip their hand of influences by serving up this awesome DJ set of their idiosyncratic sonic
trickbag. Leafing through his albums, Goran's chief
Philippe Cohen Sola! weaves a perfect blend of remix
tj|cks from Piazzolla (of course), Peter Kruder, Anti-pop
Consortium, Calexico and more. Included is an enhanced
dSptth a surreal video from graphic artist extraordinaire
Prisca Lobjoy. Suffer, this is the tango!
2C016.98
TOM WATTS
JtealGoneCD
Down in ffie scrap yard
_ sparks % as the welding
torch flickers w pseudo-
strobe light fa^hiot>to the
exotic rhythms of Mr 1am J
Waflrf real gone (Ales, jh
Sashaying into new lerrrtoHesI
double shot of ABct and Btaert
for Anil Records has been dabbed'"tttfeMfufltf for ife ^
rhapsodic retoteromtation of the Tin Pan Attey aesthetic
asflftBredtrKOugJrthecc^potsc4Ufingr^e, -^
human beat box, and heavy bone rumbling afro funk '*-J
hc^rKigertfCMte concoction of f$astf etevaJg&fgmd kb-
erators, and downers, an atc^dear-uniwrse offib**?
Stag chams, o^eiUatjng rhy^gtsanS nfSB^oundham-
mers.'*Socheeltftout. AVfpBU;OCt8iOfa£f < *
C016J8
JWiORrtB
last Exit wm
It seerre there is gtfJli^l
txmstracfive (andS^t^
prtsir^f}egJert8t3)rQj9un$
yet untamed bet&Mtttew
Order (and yes Massive
Attack, too). GSSpslhO
tmitsw^/t"
PfDOGADOS
MmatAadto
recefffty|fflpfif
some key coordflHHpllobd effect smartly combining classic synth treatments, contemporary R&B
inflected programming and whispery emotive vocals,
with a moody, atmospheric and understated dub-like
minimal house feel. Junior Boys are the most recent
exeflesforf Wo the darkness of f)Wlnd of urban electronic melancholia. For a still new grallf
have already been well-received since forming in
Hamilton Ontario (of all places) in 1999. Pitchfork,
Mojo, Metacritic, the Mew York Times, the Village
Voice and many others all think Junior Boys are onto
something new and significant, and we must agree:
this record should help change public opinion, proving
that last Exit may well be an important first entrance,
2CD 16.98
CALEXICO
World Drifts In DVD
The camera never lies and neither
do we—this is a goldmine for
any Calexico fanatic! The first^tr.;
cial documentary of one offfie*
hardest working bands knp#0'
(they've played Vancouvert^JBS
every other spot in North Arnpii^
three times in Ihe last year), this DVD features a ftrsl 'f-
hand look into the life of CaJexico on the roadJ:fontenj|
include die entire live conCertof Calexico with'      '^s
Mariachis and guest vocagstsatths Barbican Centrfas*
part of London's now infanroufi-Styoadlftsbville
Festival, as well as a few tasty bonus features shot on
Joey Burns' own handheld. Ijittmately this wrtl go down
as a snapshot of a band reaching file height of their
powers, as over the course of Us near two hours
Calexico not only dazzle with some grace, oat also in
interviews and featurettes reveal their gallant charms.
Two thumbs up, way up. A¥AfLABt£ OCTOBER 1CTH
'^pte Oelgados are a band fjBj
*1 ctear^rjvesrmistorrotei^
-• do they lake corisistejjfe ,
" strong nq^ajbumjb J^^ *$^
ajsjo behind the asteSried ir^ JabefJOmnSiad
^UndergrednL BntvtBjM Aafti is fgf^test high pop
.- statemen^pm mis-w#ver^Srd8]iof Seofe. Tnere fe
a little more rocl^n^rinnni ott|i8gsas releases,
bu&hea^e7itio{rfp%&&f9jtisftttB^
-thfrspjjnd is^balarice^fuJ tusttjiBHt vocal ntefcidies and
harmonies p|iKadcoo^Nnentai%ti 8m mm,viSt>f/i!x»-
^ptt^^^t tJM^MnSawiBaMa and Is TWs all
That I fJanie ForTpl^^Ptndout singles, althougtt ihe
^^^plays wefi a^8%^wm, tea. -
CO|i16.98
;ii|ECKER
Mirages CD
Folte^pup his great Radio Amor release on Milfe
PtateS our pal Tim Hecker has declared war en the
Jtn^#el»^^U%^etectronics. ht rebSlal to the prolif-
^Ssn-orW^hng carefully constructed cute organic bliss
HSOtdsOffl^^belf, Time returns to his North Delta punk
roots and offel^^olution that is incredibly visceral in its
noise quoflefft'^S^iriagically, equally enthralling and
beautiful. He exjltts as he rummages through "truths of
dirty sodium light pollution, love on the rods, and tooth-
hunting in toe garden of evil-—with its motifs of eroticism
and torture, militancy, and ecstatic pain, Mirages also
points backwards towards the Viking penchant for fighting
and feasting." This is a Canadian landmark, stake ft.
JHtarBoys     CD 1498
DVD19.98J
PLAIN CLOTHES GOOD:
Vaious- MATADOR AT 15 2CO/DVD Oct 12Hi
Wm TK RADIO- New HeaHh Rock COEP
Wm&h
TWROBOSEXlW5-Mist*esAreNotFor
CArY^OSCURA-Biggest Bluest hHieOH*
Hp12Hi
BUXBIvffiRroiA^VVe almost made it home
CD B       ^£m^.
RICHAliBUCKWr^ Bents and Shells CO
Oct 12th
H\«AR|;|pio or DemoHfon GD
VlHlKiF DOIl^wlttw^iomous
Villain CO Jgf
SOCIAL DtSTORTKW- Sex, Love and Rock
and Roll CD
ROMCHICO RUN- Shashbo CD
AMBttCAN MUSK CLUB- Love Songs For
PatrietsCO Oct 12th
S.5LE &.XW& 6FREGT UNTIL OCTOBER 31.20m
3rd ANNUAL OPEN GEBCUETS LAPTOP DERBY
SUNDAY OCT 10th 3PM-4PM
Drop in 5 Minute set — first come, first served.
www.opencircuits.org        All styles welcome — last powerbook standing wins!
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
www.zulurecords.com
STORE HOURS
Mon to Wed   10:30-7:00

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