Discorder CITR-FM (Radio station : Vancouver, B.C.) 2005-09-01

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that marine Lm CiTR 101.9 Im
September 2005
The Hidden Cameras Teenage Fanclub Festival b'Shekel Charlie Schmidt
Ladyfest Olympia Dinosaur Jn Yip-Yip The Scramblers Archie Bronson
Outfit The Shop Fronts The Tranzmitors Mariko 8C Jillian Tamaki The
High Dials New Forms Festival Common Matson Jones Tlie Floor
Demander At the Drive-In The Most Serene Republic Vienna Teng Rock'n Roll
Monkey and the Robots The Feminists Dub Gabriel The Glitterati Kickball
The D4 Brian Jonestown Massacre Scot^ilgrinrThe Fembots I am Kloot The
Diplomats of Solid Sound Pelican comics 8C zines galore rmCNETIZED PR09iiCTI0HS.COM
A new talent search is going to showcase
the best bands (all-styles) from any West-coast College
mk /University students willing to
Ai%PklKIA   _*w__*k.m
-Headline your own concert at local venue.
-Load-in of your personal gear by roadies and pro sound crew -FREE PHOTO SHOOT
t?5m^S& (SK X£show# th€n uk€n by Vmo AC0USTIC GTR AND 0THIR SWAG
•Media and photo entrance red carpet style to backstage -CHART MUSIC R0CKMAN ROCK GA
-Beautifully crafted trophy with your name on it for your m llc u,.-y __|i*u _**_**
school to-proudly display!
Wmst Coast Music
To enter sand your demo and $10 money order entrance fee to*.
Magnetized Production c/o CLYDE HILL   2413 Dawes Hill Road Coquitlam, B.C V3K-6T2
fii di
That magazine from CiTR 101.9fm.
September 2005.
Jason Bennet
Caroline Walker
Graeme Worthys
Vampyra Draculea
Kimberley Day
Graeme Worthy
Jason Bennet
Caroline Walker
Michelle Shwa
Dory Kornfeld
Graeme Worthy
Jason Bennet
Caroline Walker
Vampyra Draculea
Joceline Anderson
Michelle Shwa
Mono Brown
Saelan Twerdy
Alison Benjamin
Andy Hudson
, Bryce Dunn
Luke Meat
Saelan Twerdy
Alison Benjamin
Vampyra Draculea
Torben Wilson
Lasse Lutick
The Feminists
New Forms. Fastis^!
Ladyfest Olympia
Festival b'Sflftiifefc; 'I
p. 23
p. 24-25
Perpetually Imminent Disaster
Riff Raff
K^H^^^i_^_P9i^r i
Mix Tape
Texfaaf^&eff^S _'\
Do it Your Own Damn Selfl
p. 15
mm_l_\_^^ v":'
Under Review
p. 28-29
j J^al'l^^Ael^ffl*^
Finding Joy
p. 33
Frankie Rumbletone
Ashley Cooke
Student Radio Society
of UBC
Jen Harvey
"tear down the libraries, throw the baby out with the bathwater!"
The type on the cover is referred to as 'Patagonia' and doesn't so much have point
sizes as it does height specifications. It is the work of Jen Harvey. The chair is thanks to Ashley
Cooke, and the Calendar is thanks to the lovely ladies at the Regional Assembly of Text,
Rebecca Dolen antfBrandy Fedoruk
All these months and I haven't even changed the body font, am I afraid of change?
Of trying new things? I must be. I tried to rid myself of this addiction to Jenson. The noses on
the 'e' make my insides twitch in a bad way. Traded up for Caslon, a title font a man can be
proud of, but it just didn't look the same on the cover, the tone was all wrong. It's perfect for
headlines though, gives a crisp classic look, like a white shirt rolled up at the sleeves.
In the past we've used colons to make titles like "Eels: Not Just for Eating Anymore!"
Tired of the colon, we decided to put the name of the band in a big bold Century Gothic,
and ended up using it for everything. It just looked so nice, like check out the II ligature on
page 7! Everything else is, or at least should be. Century Gothic, as always. 7pt.
© DiSCORDER 2005 by the Student Radio Society of the University of British Columbia. All
rights reserved. Circulation 17,500* Subscriptions, payable in advance, to Canadian residents are
$15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2
(to cover postage). Please make cheques or money orders payable to DiSCORDER Magazine.
DEADLINES: Copy deadline for the October issue is Sepember 20th, 2005, not that any of you
will care.' Ad space is available until September 25th and can be booked by catling Jason at
604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for
loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork {including but
_not limited to drawings, photographs, and transparencies), or any other unsolicited material.
Material can be submitted on disc or in type or via emafl. As always, BigBsh is preferred, but we
will accept French. Actually, we won't. Send email to DiSCORDER at discorder@club.ams.ubc.
ca. From UBC to Langley and Squamlsh to Bellingham, CiTR can'be heard at 101.9 fM as well
as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the
CiTR DJ line at 822.2487, our office at 822.3017, or our news and sports lines at 822.3017 ext. 2.
Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at www.citr.ca or
just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
kat siddle
^tea&ent Disaster
*"v 'CqJr'Pwfciuetion Manager, Dory, is a great source of funny little anecdotes about music. If last month's PID
didn't convince you, let me share another of her tales. See, we were all talking about Ani Difranco and Dory
started teffing me about her favourite Ani-related memory. I was totally expecting her to talk about a concert
n Montreal or a interview with a campus paper, but instead she began, "my favourite Ani memory
fhis time when I went to my friend's drag king night in Toronto, it was hosted by this drag queen for some
>n, and anyways, the drag queen did a big fancy lip-sync to "32 Flavors" for all the drag kings. She was
wearing a long sparkly gown and a big glamour wig, vamping along to Ani Difranco for ay these, drag kings
sitting cross-legged at her feet. And they were loving it. It was amazing."
There's a lot of writing about music that's available to you, dear reader, in this increasingly media-saturated
culture. Thanks to the internet, being a music geek is now easier than ever—with google and allmusic.com,
you can find out the vital stats of almost any band, no matter how minor, in seconds. In the last fifteen years,
the "underground" has emerged to become parallel with the "mainstream"; still an alternative but more
accessible than ever. There are more music magazines and websites than there are bands to cover, and
possibly even more music journalists busily exposing the "next big thing." With ail this music writing going on,
stories like Dory's—thoughtful, personal stories about the way music affects us—are of particular importance
to DiSCORDER. We're looking for your unique experiences with music, your understanding of how it works and
why it's worth writing about.
With the start of a new year (we all know the January thing is a just an excuse to throw parties to break up
the winter monotony), there is the possibility of doing all sorts of new and exciting things with the DiSCORDER.
The above-mentioned Dory is leaving for grad school, so Caroline Walker has taken over as Production
Manager. I am leaving soon too—my tenure as editor wiH be up at the end of December. This means that you
and your take on how to cover independent music and culture is as sorely needed as ever. Writing and art
submissions are as encouraged as ever, but if you think grandly about magazines like this one and the things
that they can do or say, your application for the editor position will be accepted with open arms. 1 might even
buy it a beer. Don't be daunted if you've never done this sort of thing before; if you're at all interested, email
katsiddie@hotmail.com. i
Red Cat Record^
4307 IVtain St.
QI*fiyg9|J2l ndilp out nuyj "
in concert
with destroyer and immaculate ma«!
September 22
sugar victoria
September 23
***" commodore ballroom Vancouver
»F EWRY MO.0 m THE crjwnw.- -««« ^
*m *,qht for fhe Hotes OTthw uves
it September 6: the Mint dat
toaactriate Machine. Ob to
•ompvyhers and Destroys**
September 17 Carolyn Mark
Cambrian Hall   with f™*ds' ^
of them. Like
Vancouver, BC     Corb Lund, Luke
duets album!
Just Married:
PAn Album of Duets
Doucet, Ford Pie
Geoff Berner, An
1978-81.These Vancouver greats created a unique
legacy with their pop/rock/punk sound. Perfect Youth,
produced by Bob Rock captures their bright, fresh
and fun sound at the band's peak.
album by D.O.A.
great anti-war
 and is probably
D.O.A.'s best album in
20 years!" Chicarra/Profile
O.O.A.   hit   you   wtth
humour,   politics  and
passion. Killer versions -—- 	
of classic protest songs "Eve Of Destruction"and
"Masters Of War"
storied   career.   Culled
from       13       different
releases. You
how this band"
three    generations
musicians and fens.
A sharp took at the spread
of counterculture
throughout Western society.
XMFDX Debut CD wild industrial
rock with Guenter Schulz
"Get It Straight" CD early 80's
classic pop punk YOUNG
great early Vancouver band with
JWB      J$r 'B-and°       *,*_l
MINT RECORDS www.mintrecs.com
see www.suddendeath.com for
CD/LP/DVD and 7" by D.O.A.,
Damned, Raw Power, MDC, THOR,
Enter to WIN 1 of 2 copies of NINE INCH NAILS' "The
Hand That Feeds" Photex Remixes 12" Vinyl. Just
email discorder@club.ams.ubc.ca with the words "Trent
Reznor told me to" as your subject line. The first two
people to do Trent's bidding win!!!
See   them   for real!   NIN   plays
September   26 at   the   Pacific
Coliseum  (with Queens Of The
Stone Age).
Writers, Photographers,
Illustrators, Thinkers.
please come to DiSCORDER's first - of - the - new - year
staff and contributors meeting on Thursay September
17th, at 7pm in the CiTR lounge.
JMBLETONE presents
Rumble-line: (6Q4) 878-GoGo
TWEDSEPT14 at The Railway Club
artless productions.
W performing Arts Committee present
a dress-up party featuring live
/ burlesque and other entertainment
M    Sepi
andthe -   _    ,
Douglas Students'Union i
September 24th @ the Waldorf
doors at 8:30/show starts 10pm
$8 cover charge
with special guests:
UItYaVixen Peep Show
VaiKOUgar and njiany more...
Nauqhtv| Bits
/ / *^ jSktSBi\     Discorder *\      ^S_f- New Album Out Sept. 27
Live Sept. 3 @ Deer Lake Park HffHaff
Pner a hectic month for yours truly—I'll
u the details, but let's just say I've scoured
^globe (read: record stores near me) for this
PFTonth's hot platters, so my feet are a little tired,
r and my ears are still ringing, but here they be.
While in the UK this past May, I heard a lot
of jibber jabber about a group known as The
Glitterati, and their unprecedented rise to the top
of a fickle music scene in jolly ol' England. Well,
their debut 45 has washed up on North American
shores wrapped in Hustler magazines and soaked
in salt water and whiskey, but I dried it off and
spun it long enough to get the gist of their glam-
rock stylings in the songs "You Got Nothing On
Me" and "Love Drug," the former being better
than the latter, with its late-era Stones/Stooges
swagger pervasive throughout. We'll see how
long their glorified run lasts, I'm guessing 'til the
end of the week, bbt I'll give it a few spins when
I'm hankering for a reckless night on the town.
(Atlantic Records, or check out www.theglitterati.
Course there's nothing wrong with stalking
a potential girlfriend while you're at it, right? I
mean The D4 even wrote a ballad about it, called
"Stops Me Cold" on their new single. They'd even
look through her garbage just to be closer to
her, but once she's wary what they're up to, her
look...well, you get the idea. It's a little different
sounding than their full-length from a couple
Course there's
nothing wrong with
stalking a potential
girlfriend while you re
at it, right f
years back, with a soulful organ creeping in
and out, but if you're looking for more of an uptempo side to the New Zealand natives, then the
flip, "What I Want" will be your speed, complete
with over-amped guitars, rumbling bass and
sandpaper-scraped vocals. (Poptones Records,
From the bustling cosmopolitan city of
Cedar Rapids, Iowa (I know, sounds all glitz and
glamour to me too) come The Diplomats of Solid
Sound with a new soul-jazz junket by way of a new
Spanish label. See, The Diplomats have honed
their craft by listening to too many JB's and Junior
Walker records, but that's ok by me, 'cuz they
definitely get the party going. Just lay "Loaf And
Jug" in the cut, and see the dance-floor bust out
with all sorts of movers and groovers, then slap
on "Grease Monkey" and listen to the Hammond
organ come alive with their spot-on rendition of
Brother Jack McDuff's boogaloo classic. They've
got two great long-players on Estrus Records that
I strongly recommend you check out, but this little
waxing we're waxing about is available on...
(Vampisoul Records, www.vampisoul.com).
Last on our list is a three-song outing from
The Shop Fronts, a New York City-based two-guy/
two-girl combo who like it short and sweet, with
no muss or fuss. No song reaches the two-minute
mark, so this garage rock is perfect for folks who
like it just dirty enough to annoy the neighbours
at high volume and catchy enough to grant
repeated spins between their two originals "Don't
Quit" and "Just Don't Know" and a cover of Irish
punk-rockers The Outcasts "Frustration." Useless
trivia note: singer/guitarist Jami Wolf has punk
rock cred out the wazoo having slung guitar in
San Fran's The Zodiac Killers, written for Maximum
Rock And Roll and Gearhead magazines, and
countless other endeavours. You needed to
know that. Trust me. (Rapid Pulse Records, www.
As always, thanks for making my egotistical
dreams come true by readin' this here missive.
Until nexf montfi!
ret and Flick(er)
|||^jpgijpfc)w you can bring your own videos down to Video-In-
* (1965 Main Sjr) on the last Thursday of each month for an open-mic-
styte evejfrcalled Cue Up? (The next one is on September 29) After
.ttfe.lqn'of BY08 with the Blinding Light, it's good to have a reliable
jpke this going in town.
September's incarnation will include a guest presentation
"Documenting Engagement," a project of the Pacific
Cinematheque. It involves a number of community-based artists
from around Canada learning to video-document their artistic
practice. If you're interested in getting funding for your own
artworks, the current atmosphere almost demands "community" as
every other word on your grant application, so this might be a very
practical bunch of videos to watch.
If you're dying to show stuff, either works-in-progress or newly-;
minted videos, get there early (after Cue-Up's August hiatus,
there might be anxious vid-kids camping out the night before).
Each producer gets to answer questions and speak after their
presentation, so it's a good way to develop the craft in a supportive,
media-maker crowd.
The Cue-Up collective, who organize these screenings, have
gotten together to produce a Video-In contribution to SWARM,
the festival of artist-run culture. As their press pack tells us: "editSix
borrows from the tradition of add-and-pass-on art to combine the
efforts of six practicing video artists into one presentation where no
one artist has final control over the outcome." SWARM is the most
hopping art event of the year, as in, hopping from one gallery to
another, drinking cheap booze and seeing every single person you
know who likes art. On Thursday, Sept 8, SWARM takes over most
of the artist-run centres in Mount Pleasant, then does the same
downtown on Friday, Sept 9. For exact venues and locations, check
out www.paarc.ca.
Among the exciting stuff at SWARM, Video In has also co-
produced a show with Mercury Theatre. There'll be an outdoor video
screen with live mixing of videos from people like Michael Undem
and the Instant Coffee collective; combined with five performances
from folks like 20 Watt and Igor Santizo, all mixed with a live musical
score. It's taking place at Cathedral Park, at Dunsmuir & Richards.
On a completely different note, the same weekend hosts the
Indie Music Video Festival, now in its fourth year, at the Railway Club,
8:45pm on September 7 and 9. The fest consists of dozens of music
videos that are off the radar of MuchMusic and all those big boys.
Though some of the clips at IMVF look like regular old videos that just
didn't make the big-league cut, there's tons of wild and interesting
stuff. The one-hour sneak-preview I saw, which has already shown
at Toronto's NXNE music festival, has plenty to enj'oy. "Teeny Bop
Derelict" by The Kites has one of the simplest, funnest takes on the
old one-guy-dancing-in-the-sqme-shot-twice trick; Peter Miser's
"Scent of a Robot" is a cohesive fusion of rap with science fiction;
the video by Lederhosen Lucil, in which she softly kills a series of
cuddly muppets, must be seen to be disturbed. Three hours of video
over, two nights, plus live bands, make for a full night out on either
On a grander note, let us all bow our heads in thanks to the
Lord that someone, somewhere, has finally paid tribute to those
glowing American tragic heroes on Flight 93. Vancouver is hosting
the production of a Movie of the Week about the fourth plane on
September 11, the one that crashed in a field after passengers
attacked the terrorists, launching their bum-rush with the perfectly
embarrassing slogan, "Let's Roll!" Yes, it's about time someone paid
attention to America's suffering! I can't reveal how I got the script,
but it's packed not only with fanatical religious maniacs blowing
up Americans, but with fanatical religious Americans fighting
back against the maniacs! The Lord's Prayer is recited, in fufi, just
before the Yanks attack! My favourite line in the script: "...AHMED
ALHAZNAWI, naked to the waist, shaves, moving the razor aH the
way down his neck to the top of his chest and watching the dark
hair fait in the white sink."
Video stills from the IMVF, from top to bottom:
Album leaf. The Kites. Atomic Swindler m    §   *
death cab for cutie
For your chance to WIN a meet and greet v
•rize pack which includes a copy of the new
text PLANS to 17
Your Local Music and Movie Experts1.
Downtown Vancouver:!
(604) 687-5837 • South Vancouvi
East Vancouver: 3433 E. Hastings St. (604) 298-0464 • Coquitlam: 2739 Barnet Hwy. (604) 468-1111 • Burn
Surrey: 10280 135th. St. (604) 589-7500 • Langley: 20460 Langley Bypass (604) 533-8600 • Abbotsford: 2369 Mc<
Canadian Owned A Shady Deal in a Barren
Olympia Parking Lot
Loyalties Divided Between Digital
and Vinyl
Made by Courtney Bennett
^^^Kd by Kat Siddle
frfhis month's Mix Tape came to
Discorder courtesy of Ladyfest
Olympia's "Mix Tape Exchange"
on July 31, 2005. My handwritten
and photocopied festival
program placed this event "at the
Artesian Well behind Manium."
I had walked past Manium the
day before, and as far as I could
figure out, it was a car garage
and heavy-metal concert space. I
wasn't really sure what the Artesian
Well was either but I was excited
about having a one-of-a-kind mix
made by a stranger—after all,
our tastes had to overlap, since
we were both at ladyfest—as
well as a unique memento of the
weekend in Olympia.
I arrived at Manium Sunday
morning, looking for the Artesian
Well, picturing white marble
and stone cherubs balancing
amphorae in their chubby arms.
Instead, I found a few greasy-
looking guys leaning on cars out
front; I skirted them as I circled
round the side of the building.
In the empty parking lot, I saw
a group of four girls standing
around looking bored, but no well.
Artesian or otherwise. Then, one of
them moved and I saw it: a pipe
sticking out of the concrete, bent
90 degrees at the tip and gushing
water into a drain at its base. It
was the only thing in sight that
could possibly be called a well, so -
I moved forward, waving my mix
t traded tapes with Courtney
Bennett, a girl with pink cowboy
bootsjand a red motor scooter.
We talked for a while about the
bands on our tapes and the shows
we had seen that weekend. Men
in pickups kept stopping to fill
plastic jugs with water from the
well. Holding Courtney's tape in
my hand, it occurred to me that
I really should have put more
Vancouver bands on my tape.
Some Tegan and Sara or Young
and Sexy, maybe. Two teenage
boys headed for the well looked us
up and down. "Hey ladies," they
said, "how's it going?" We all kind
of just looked away, not irritated
enough to bother replying, but a
little conflicted about being called
"lady" by boys who didn't seem to
be really "getting" Ladyfest, if they
knew it was going on at all. We
ignored them, and when they'd
finished filling their water bottles, .
they left.
While my expectations of
the tape-trading event proved
somewhat misguided, and
many of my questions were left
unanswered (why didh't they hold
the swap in one of Olympia's many
awesome cafes?), Courtney's
tape is an excellent keepsake to
come away with. It's a girl-pop
sugar rush, filled to the brim with
tracks from classic Kill Rock Stars
and K Records acts.
I broke my MP3 player shortly
after returning from Olympia,
but fortunately had Loyalties
are Divided between Digital &
Vinyl (named after a line from a
Lucksmith song). It has become
my constant companion.
Vou can read more about
Ladyfest Olympia on page 24.
Side A
01) Marine Research — Hopefulness and Hopelessness
02) Bunnygrunf — Again with the Shirt
03) Miss July — Shoot to Thrill
04) Pony Up — Shut Up & Kiss Me
05) Lois — Flamer
06) Tsunami — The Match
07) Softies — Together Forever
08) Future Bible Heroes — One Real Summer
09) The Crabs — Anything and Everything
10) Black Tambourine — We Can't Be Friends
11) Kittycraft — More Fortune Smile
12) Super Duo — Holiday
13) Deep Lust — Is that a Fact?
14) 8'eh( — My Favourite Past
15) Heavens to Befsy — Axeman
16) The Shywrifers — Every Time I Pass the Test
17) Little Red Car Wreck — Crashing Cars
01) Courtney Love — Motorcycle Boy
02) Tuscadero — Nancy Drew
03) My Favorite — The Truth About Lake Ronkonkono
04) The Aiselers Set—Mission Bells
05) Diana Froley -^Yesterday's Activists
06) Scrawl — 11:59 It's January
07) Kaito -Go
08) Dear Nora — Up on the Roof
09) Heavenly — Escort Crash on Marston Sf.
10) Slumber Party — I'm Not Sad
11) Call & Response — Rotterskate
12) Velocity GU — Crazy Town
13) Bunnygrunf — /nan/mate Objects
14) The Huffman Koos — Parts to My Heart
^J^adaL^^  __.
anouonaaa 3SION _
Editor Search 2005!
Kat Siddle is growing weary of scouring small town parking lots for the occasional
column, bhe is making a run for it as soon as the December/January issue hits the streets,
and we will need another editor.  Applicants will require tenacity, smarts, and at least a
little experience.in the field.  Send a resume and portfolio to
Discorder Magazine
CiTR Radio
Room 233,
6138 SUB Boulevard
Vancouver, BC
Also, it would Osgood to email Kat at katsiddle@hotmail.com to make your intentions known, and to determine suability for BRAIN TRANSFER™ septemtier
fri sept 2nd
Double GD Release Party
and special guests OCEANIC & PORTICO
@ THE RAILWAY CLUB 579 Dunsmuir Street
tues sept 6th
@ THE RAILWAY CLUB 579 Dunsmuir Street
sat sept 10th
HEJIRA   Whitfield
Tour Kick-Off Party & avatar
@ THE MEDIA CLUB 695 Cambie   J
as tne crow rli<
@ The LAMPLIGHTER 210 Abbott Street
^^  tues sept 13th
j^ @ ThelMEDIA CLUB 695 Cam bie
samsBpt 17th
TnjBjt PaillC @$The lamplighter
^ satlgppt 2^.h
M@ The ReI^ROOM, 398/RICHARDsfsT
f     Jf     if      Jf
-   fri JJspf 3i|t/f
P'The LAMjjJlGHTER, 2lA»tt Street
Coco Rosie
Billy Childish
Devin the Dude
Irving Fields
Grizzly Bear
Gordon Thomas
I 111
Antony and The Johnsons
GonzalesN The Durbervilles
h<{ <si£IHS:> socajnI
Foreign Affaire     Affaires etrangeres
(J^g^   Canada £> jgpi asar
independent musicians unite   \
Visit www.imuproductions.com for full show details
§K    WWW.POPMONTREAL.COM SHowS!/ Four Book Reviews
ally Active
Scoff Pilgrim vs. The World
Bryan Lee O'Malley
Oni Press Publications
Rock, romance, and ninjas! Scott
Pilgrim gets 'em all, even though he plays
in a crappy band, shares a futon with a hot,
gay roommate, and seven of said ninjas
are evil ex-boyfriends of Ramona Flowers,
his courier-girl crush from Scott Pilgrim
Volume I. Not only must he defeat each
evil ex to date Ramona, Scott is two-timing
a fanatically devoted schoolgirl named
knives Chau. Yes, Knives.
Part of O'Malley's charm, here and in
an earlier graphic novel. Lost at Sea, are his
surprise detours into fantasy. He steeps this
twenty-something love triangle in the video
games that our slacker hero plays even in
his sleep. When Scott, beats evil ex number
two, a skater turned poser film-star, the
vanquished ex explodes into $14 in coins
and a special item. "N-no!" shouts Scott, "I
can't even use this! Why didn't I pick that
skateboard proficiency back in grade five?!?"
Aside from gamer geeks, Scott Pilgrim hits touchstones with the fans of Canada's
indie and alt-country music scene. "Scott Pilgrim" was originally a Plumtree song—three
minutes of power pop for a high school crush. Quiet kudos to bands like Sloan, The
New Pornographers, and Neko Case are sprinkled throughout the panels of O'Malley's
wonderfully drawn, manga-influenced comic. The six-book series is set firmly in Toronto,
and TO kids will welcome the sight of new music dens like Club Rockit and lee's Palace
in a graphic novel. For the uninitiated, there are true-to-life illustrations of dorky Toronto
landmarks like Casa Loma and the Reference Library, complete with fun facts. I'm pretty
sure my old apartment makes a cameo, minus the roaches.
The whole effect, whether you're in Toronto, Vancouver, or anywhere and crushing
to Plumtree, makes you feel very familiar in Scott Pilgrim's "precious little life". To start your
own touching comic infatuation with an indie rock ninja, check the five page previews of
volumes I and II at onipress.com. You'll like him for a thousand years.
Andy Hudson
The Roofs of Desire: The Myth, Meaning, and Sexual Power of Red Hair
Marion Roach
Bloornsbury/Raincoast Books
This is the tale of Roach's journey through science, social mythology and personal
history as she looks into attitudes about red hair and ponders the evolutionary significance
of why this particular mutation came to be and how it has endured. The story flows
wonderfully through all its twists, turns and tangents as she explores topics such as the
MC1R, medieval poison recipes calling for the fat of a red-haired man, anti-Semitism,
customs about menstruation, her Scottish ancestors, and Roach's irritation with people
who describe her faded hair as light brown. It sounds a little scattered, but it's a great
trip and it mostly makes sense in the end. There were also some moments of probably
unintended hilarity, for instance, as she describes her fear at "witch camp" that the Devil
himself was really going to appear to a bunch of Wiccans calling on Set. I guess not all
redheads are witches after all.
Vampyra Draculea
Peculia and the Groon Grove Vampires (Evil Eye #14)
Richard Sala
Fantagraphics Books
The fourteenth issue of Richard Sola's Evil Eye Magzine (actually a short graphic
novel) pits his usual cover-waif Peculia against a family of vampires in her first full-length
story. While Sala wins for his vision of pretty girls, much like those of comic artist Adrian
Tomine, Groon/Groove Vampires suffers from skimpy characterization and predictable
plot, and shows little of the humour or visual appeal of other creepy-cute comics. There
wasn't even much atmosphere to tide me over. Perhaps I've been badly conditioned by
an excess of Buffy, Gorey, and Dirge, but in Peculia's case I can't distinguish satire from
sincere imitation.
Jesse Reklaw
Global Hobo
While digging through a recycling bin one day, California cartoonist Jesse Reklaw
found "what no one was supposed to see again"—a number of Ph.D. applications from an
Ivy League University. Each application, filed between 1965 and 1975, included a photo and
confidential references letters meant to be seen by only the application review committee.
At first, Reklaw kept them simply for the photos of the hopeful students. Fortunately for us,
he later realized the files' potential and assembled them as Applicant. Each portrait is
paired with a line from its accompanying reference. The results are sometimes nonsensical,
often scathing, and usually hilarious. Some of them are also noticeably dated (under one
girl's photo: "Weakness: she is a female, and an attractive, modest one, so is bound to
marry"). Equal parts Ann Taintor and Found Magazine, Applicant is one of those zines you
read once and then want to show everyone.
KatSiddle And Two Interviews!
The Collaborating Tamakis
No, they're not a crcus family. They are, in fact, the creators of Skim, a new comic published by
Ontario's Kiss Machine magazine. Skim is the diary of Kimberly Louise Takota, a "chubby weirdo Asian
chick" nicknamed "Skim" because she's not exactly low fat. Kim is into Wicca and tarot cards; life is further
complicated by her passive-aggressive best friend, suicidal classmates, and a growing fascination with her
art teacher. What might sound like just another tale of teen angst is rendered beautifully in this understated
black and white comic. Skim offers a believable portrait of a time and place that may seem very familiar to
former teenage misfits.
If this comic is a satisfying read, perhaps it's because Mariko and Jillian are far from raw amateurs.
Mariko is a published writer (her most recent book is 2005's Fake ID], and has performed in activist/theatric
troupes, including Pretty Porky and Pissed Off. She is currently a grad student in Toronto. Jillian is a freelance
illustrator whose work has been seen in The New Yorker, Maclean's. Bust, and The Stranger. She has recently
completed a second comic. City of Champions, a non-linear look at the city of Edmonton during its glory
days and after. Originally from Alberta, she is now living in New York, where her least favourite place is the
post office: "The people are unduly mean and they have bullet proof glass everywhere and signs reminding
you that it's illegal to mail guns."
DiSCORDER asked the collaborating Tamaki cousins a few questions about their work, which they were
kind enough to answer via email.
DiSCORDER: $M$* Idea was it to collaborate? How did Slam
come together?
Mariko TamafcfciSero was bom in a spare room in Ottawa—on
the Pei petual Motion Tput 1 was traveling around Eastern
Canada and US wjsjpgjiily Pohl-Weary, the editor and
. ^rtht behind Kiss Machine. We were prorrmtirfg^er:^^^
called Girts Who Bite Ba&k, about superheroes, specifically
superheroines. Somewhere on the 401 (highwaytJjji^p^^
rn_htioned,1hat Kiss Machine was going;|iSiaftiate a series
of comics. At ifjte time, I had seen a tot of JUBan.'&.woriVoh
her websJj#d||fF40VED it (was using it for the cover of my
new book. Fake ID, actually), JHS^rt's on incredibly talented
O^JsR^feS^H j^ist thought it wpSrj^'be amazing to write a
comic abost-ap Asian chick, yGu>kno»&;tWs^hubby weirdo
Asian ct_ck^fv0iisji (Red the idea of creating something
like that Wlfejoh Asian chick, er, woman, espedlj^
as talented as Jillian. So t pitched that idea to Emily while
^j3jp=f«|8s^?8Jio fall asleep dS^tr stopover in DftQwcQ
pitched it as a Goth^j^Bwnce. Emily liked it and offered
us the comic that summer.
Uke Kim from Skim, I was Into Wicca as teenager, and this story
rang very true to me. How much of It Is autobiographical?
1 W|j£j;w0:s definitely a bjt Qf a weirdo in high school, fe Ttaich
the same way Skim is a weirdo. 1 was a witch,- althou^t
'nlfcre Jn'_r#^^^|^ct^kJrn is a witch (or at least a witch
. in Traintog}. I Jhmk there is certajfi^a lot of Skim In me cj^fc
vice versa. But the story is not autobiographicdl?J Jhiri^ f
;§s|^ip^3m a bit of a ride in this comic that I never took at
her age.
i|i||iW§lnber reading In the now-defunct Good Gfr/ magazine
that you have been Involved with various kinds of activism
as well as writing.
My one actjfejjroupe. Pretty Porky and Pisse^-fip|y||
longer; We aB stiS hang out butfiave decided to retire from
being perforrnihg fatactivists, i am stffllnyohred in various
sorts of femMst politics andas a performer, I think;-dlofp£
my activism shines through, i do a lot of work with and at
Toronto's Buddies in Bad Times Theatre, which is a queer
theatre space.
Right now I'm also a graduate student at York University in
Women's Studies, and I think I've never felt as "active" as
an activist since becoming a student. It's really amazing to
be doing something that means you get to constantly think
about and talk about your feminism.
You're certainly keeping busy.
I think I am one of the busiest people on the planet. One of them, at least. Of course I'm not a
working mom. I see working moms at the grocery store and I think, at least the only thing I have at
fiOBag.that needs my attention is a cat, a self-reliant girlfriend, and a laptop. No babies!
tWsjswnrner I put out a comic and a book, I performed with my troupe TOA at various venues, I wrote
a play, and attended my first conference.forschool. So yes, I'm a tittle road burned at the moment.
But the thing is, when I'm not busy t feel left out. I know I'm realty fortunate to be surrounded by a
city and community that offers so many opportunities to work as an artist. I'm constantly looking
for more things to do.
What are you working on at the moment?
I'm currently working on a play version of Skim for Nightwood Theatre's GroundsweH Festival of New
Works by Women (which premieres August 25, 2005). Where it goes from there I'm not sure, t go
back to school in September, so t'H be pretty busy for a bit. And then hopefully I'll get to work on
something a little longer. We'll see!
DiSCORDER: Visually, what are' yi^ Influences? I'm sensing
imdSrga but I can't get more specific than that.
** Tamptd Stylistically I guess manga is qn influence, y$s i
hke tturijjFawings of Otomo, Miyzdto, Tafsymf j.-finct Tezuka, From ■
an illustration point of view, I'm mostly influenced by GerjJRan*
iressionists like George Grosz, Otto Dot. and. MS^SecAmanrkv
There ate other less specific Things t 8nd very JhspMngl fike
graphic design (especially PeM ftonaj;, Jnuit Art and cMk*en"s
book Wustrottons.
What are some other comics that you Hke?
lvif#eHBto_tto being a reksHvely recent convert to comics Onjy
ofie&lwqsln design school was I really exposed to them fully, t
't pretend to be an expert in the field (e$ S^^ferquite a few
of 1t«m, real anet self-prof e ed1) but I jQveJuf$ Doucet. Igor T
Chester Brown, Joe Matt, fiftfte Ware Michel Rabagliati, Herge.
Wili Eisner, Mike Mignola and thelgj|j{sft
Why did you decide to do Cffy of Champions?
After Skim, I wanted to tryte create my own cotntc, tj&y cousin
Mariko jl<$d written- the script tar.^^, v^_k was a great
challenge for mebecause it required interpretcfellf buthwwf e«t
ta.tty^.t^ach myself about the medjprn. Hence I gave myself
a project. It sort of came about because t^^been keeping
sporadic sketchbooks and=lhey were often al|§|Jrt people and
things I'd see around tow** (f s^et-very funny Itftte c&f.
Are you especially interested In felling "Canadian" stories?
WsjKrf %at I have a parHcuJar interest but being a CartQGfaitn,"
perhaps it's sort of inevitable? i actugjfy fidvS^Sfeintasy project
of doing a graphic novel about my maternal grandmsty^-jfrin. ■
Egyptian who was a befly-dancer fe^fSotreal} and my paternal
grandmother (a Japanese-Canadian who was interned in
WW!4K;!?5 the risk of creating another needless "afienated
Canadian immigrant experience".^^§f50§
On your website, I noticed a lot of drawings of women and girls.
Is this a theme you Hee?
Well, I do like drawing women more than men. They're easier
to draw, i-find their figures more expressive somehow. The best
drawings and portraits are those in which you, as the creator,
empathize with your characters, so perhaps that has something
to do with it. That sounds ready daffy though. : IpESENTlNb
/5^cAis W
"SECRET HOUSE                           ____Sr__fc
AGAINST THE WORLD"          ^|
"Secret House Against The World is an eclectic,
enchanting, complex, arty creation-brilliant
nonsense..." - TIME Magazine, 2005
"...mind bending... charming" - DOSE, 2005             ■
"...Buck $5 inspires instant attention.
Unlike anything else around..."-Music Week, 2005   ■
It's a hit* NNNN - NOW, 2005
WBa '"fSS**"
SQJ^H                                               SBj »▼»■
is /oi?e f/ie answer? Transgendered artist and
activist Terre Thaemlitz shatters gender and cultural
confines to explore this very question.  Immerse
yourself in Lovebomb's electro-acoustic audio collage
and video vignettes, experience the familiar as ifs
turned inside-out and dare to take a walk on the
darker side of love.   Presented in English and Japanese.
Saturday 24 September 2005 — 8pm
Scotiabank Dance Centre (677 Davie Street)
Tickets $15/$10 (students, seniors) at Ticketmaster 604.280.3311
or www.ticketmaster.ca and at Zulu Records and Little Sister's
24 September, 2 pm
Scotiabank Dance Centre
with Debora O, Kathleen
Oliver, Michael V. Smith,
Terre Thaemlitz, Alvin
Tolentino, and
moderator Nancy Shaw
14 DiSCORDER - July 2005 own damn self
^^^^tem Rippers' Guide to Stuff in Vancouver
when things are
<rr\ CuA^eccVau)
-yv\Ajjf\, ^OtjLc^
The Seamrippers Craft Collective is a D.I.Y. project with the goal of
creating a supportive environment for making stuff and for the people
who make it. We have recently opened the Seamrippers Craft Center in
downtown Vancouver for this purpose. The center is designed to serVe
as studio/resource facility, gallery, and hosting venue.
The studio is open to both members and non-members who are
welcome to drop in, and includes a screenprinting studio, sewing
equipment (regular machines, industrial machine, a serger), knitting
and needlework supplies, a loom, bookmaking supplies, a large
cutting table and a craft library. The gallery is dedicated to showing
contemporary craft in all its variety and show proposals are welcome.
As a hosting venue, we hold craft fairs, offer workshops, free socials (like
Sunday night knitting), 'ESL through craft' classes, and more.
In this Discorder space, we usually write a how-to craft column but
this month we're doing things a little bit differently. Here is an incomplete
list of all the craft supply stores and related places that I can think of.
This list will be available on our website shortly at (vwvw.seamrippers.ca),
please feel free to add any locations that you feel were neglected.
Beadmanla Beads: 1011 Commercial Dr., (604) 258-6400
Beadworks: Net Loft, Granville Island, (604) 682-2323
Country Beads: 2015 West 4th Ave., (604) 730-8056
Beads and lots of 'em. Every size and colour imaginable.
The Birkeland Bros. Wool Ltd.: 3573 Main St.. (604) 874-4734
A delghtfulfomily owned-and-run yarn store—here you'll find all sorts of
knitting supplies, from wool and needles to pattern magazines. If you buy
a skein, you can wind it into a ball with their winder, and if you have any
questions about anything knitting-related, they're sure to have answers.
Budget T-Shlit 25 West 8th Ave., (604) 874-1800
Budget is the next best thing to ordering wholesale. They sell blank t-
shirts from a variety of brands including Fairline (good baseball t's) and
American Apparel (good colours, wide selection). You have to make a
minimum purchase of $200 which is easier than you think, especially if
you go With a friend. You can call in your order over the phone to pick
up the next day but make sure you have one of their catalogues as they
don't carry all styles by all brands.
Button Button: 422 Cordova, (604) 687-0067
An incredible selection of burtons both practical and impractical. All
different kinds of buttons can be found here including very tiny ones (my
favourites) and very beautiful vintage ones. You'll never know how you
lived so long without paying more attention to buttons.
Craft House: 1386 Cartwright St., Granville Island. (604) 687-7270
This is a good source of inspiration more than anything else. They have
exhibitions of craft artists' work that is always of the highest quality.
Douglas Trading Post: 991 Granville St., (604) 687-4024
Possibly one of my favourite stores in Vancouver for the random items
that they sell. They have a wide range of jewellery-making supplies
(chain, pendants etc.) They also sell beads, leather, feathers, stickers,
rhinestones and plenty of the unexpected. Don't be in a hurry when
you are browsing and expect to leave with something that you weren't
looking for.
Dressew: 337 West Hastings, (604) 682--6191
Probably the best fabric and notions store in Vancouver, maybe
anywhere. They have a huge selection of fabric, an awesome discount
section, and rows of every trim imaginable. They buy out stock from other
companies so they often have very strange items like bridal headresses
and Halloween costumes. If you see something you want, buy it; it will
probably be gone when you come back. And remember, they only
take cash.
Fabricland: 1678 South East Marine Dr., (604) 321-1848
They have a good selection of basic fabrics at reasonable prices. Not as
great a selection as Dressew or Textile Clearance Warehouse.
t Leather 1345 Railspur Alley, Granville Island, (604) 685-0880
The only leathereraft store in Vancouver that I know of. They sen fuH skins,
leather dyes, leather fasteners, and embossing tools. If there's something
that you need to work with leather that they don't have, the world might
I'm Impressed: 1494 Carwright St., Granville Island, (604) 684-4657
Rubber stamps are a simple way to decorate paper and other surfaces.
Stores Hke these sell stamps in sets (alphabets) or themes (leaves etc.)
And many colours of ink. You can also get your own image transformed
into a stamp. Just make sure that the lines aren't too thin or close
together or you may be stuck with a blob.
Loomls: 1629 Main St., (604) 681-7351
1664 West 4th Ave., (604) 733-1331
Loomis on Main St. is the larger of the two stores, but both have a
wide variety of art and craft supplies. They have a varied selection of
decorative papers as well as those for drawing and print making. They
have a decent selection of screenprinting ink and some basic supples.
Loomis also has a wide selection of craft supply kits and books, many
paints for different surfaces, scrapbooking supplies, and fabric paints.
Maiwa: Net Loft, Granville Island, (604) 669-3939
There are two Maiwa stores in the Net Loft on Granville island. One
sells products from Fair Trade resources aH over the world, mostly textiles.
The other sells dyes and inks for printing and dyeing fabric. They also
carry affordable screens for printing.
I's Craft Store: 9711 Bridgeport Rd. Richmond, (604). 273-6311
1000 Main St. Ste A 1, West Vancouver, (604) 913-6145
Every craft supply you could ever need and some you probably never
wiH. Michael's has a lot of basic kits in every craft medium and some
products that I haven't found anywhere else. If you have a specific
project in mind don't get distracted by the fake flowers or the paint by
numbers sets.
Opus: 1360 Johnston St., (604) 736-7028
Very similar to Loomis. A large framing department and wide variety of
paints for different surfaces. A good selection of paper. Loomis, however,
has a better selection of craft supplies.
Paper-Ya: Net Loft, Granville Island, (604) 684-2531
Guess what, they sell paper. Every kind of paper, both decorative and
functional. They also sell stationary (in sets), rubber stamps, resource
books and really beautiful ribbon. They have what is probably the best
selection of bookmaking supples Including glues and cloth tapes.
The Regional Assembly of Text: 3934 Main Street, (604) 877-2247
This store just opened (August 26th). They sell some art supplies (glue,
scissors) but mostlythey just have their own stuff. Becky and Brandy make
zines, cards, t-shirts, and more and somehow make it al look really easy.
At the RAT, you can use their small letter press and drawers of type for an
hourly fee. They also have a 1-inch button press and are inviting people
to come in and use it. So rad.
Ruby Dog's Art House; 4738 Main, (604) 873-2825
This place is a marvel. It's ful of the most amazing collection of papers,
stamps, little jars, foreign playing cards, lettrasets... it just goes on and on.
Once Ruby Dog figures out how much they can charge for ther sweet
sweet crack, a few of us will have to start living on the street amongst
our collections of pretty things. Until then, rent a bigger appartment,
you'l need it.
Stanley's Sign and Screen Supply: 28 West 5th Ave., (604) 873-2451
Stanley's is similar to Wilox only not as far from the city centre. They sel
mostly to industrial printers so it is good to know what you want before
you get there. Chances are the ink and cleaners you need wil be water
based. They also clean screens for $15, a good alternative when you
have tried everything else. Also a good source for screens and mesh
by the yard.
Textile Clearance Warehouse: 5550 Fraser St.. (604) 321-7188
1349 United Blvd. Coquitlam, (604) 515-7161
This place has a great variety of fabric. The location in Coquitlam is
much larger. If you can't find something at Dressew, you should be able
to find it here. A five dolar membership gets you substantial discounts
for a year.
Thrift stores: Too many in Vancouver to list!
A good place for deals and unique items, but finding something that you
actually need can be fairly chancey. Most stores have a smal selection
of craft supplies and often some realy great fabric. Yam is pretty easy to
find but keep an eye out for sewing machines, you never know. I have
also been lucky with great magazines for colage, old resource books,
and hidden surprises.
Urban Source: 3126 Main St., (604) 875-1611
Why is it that I love stores that sel things in bins? Urban Source has
• ridiculous amounts of random supplies and is very good recycler! Most
of the objects in this store are salvaged from other projects. There are
a lot of off-cuts and leftovers but somewhere in this store is the ultimate
item to complete the craft project of your dreams.
Willox Graphic Supplies: 3104 South East Marine Drive, (604) 255-7725
Willox is one of the best places to start for screen printing supplies. They
ore really an industrial supplier but very helpful fo those of us who require
smaller quantities and a little advice. Make sure you have an idea of what
you need before you get there as you cannot browse the chemicals
and inks. They also sel mesh for screens and pre-made screens. A fun
place to go, because you can walk around the showroom and make a
wish list of all the eqipment. 16 DiSCORDER - July 2005 SHINE NIGHT CLUB
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M.C, D.J, Beatbox and B-BOY Battle
Sunday        Monday       Tuesday    Wecfnesday    Thursday        Friday        Saturday     « Sunday
Sept 11
playing all
45 rpm 7" records
Sept 12
Sept 13
Sept 14
Sept 15
Tickets for all events available at:
Zulu, Dipt, Beatstreet, Livestock plus via Paypal
Tickets for shows at The Vogue and The Commodore:
also available at www.ticketmaster.ca 604*280-4444
*to enter CLASH battle:
e-mail inio@604HlpHopExpo.com with "Clash" in subject line
"locals acts Interested in showcasing:
e-mail info@604HipHopExpo.com with "Showcase" in subject line
"volunteers Interested in helping:
e-mail lnfo@604HlpHopExpo.com with "Volunteer" in subject line
Sept 16
hiphop battle
Tokyo Lounge      J
I Atlantis j
Sept 17
Sept 18
WWW.604HIPHOPEXPO.COM How Soon is Yesterday?
the floor
In light of the current explosion of new wave rip-off artists, it should
be easy to make fun of The Floor with their Morrissey-quoting website
and echo pedal love affair. Unfortunately for the cynic within,- tfte
Edmonton quartet's first LP, Personnel, is stunningly good. Tendah-
snqpping guitars, sweeping synth, and anthemic insistency are laid
under a heavy dose of effects to make a sound that was born under
New Wave but grew up with britrock. Of course, the band wants
to drop comparisons to the first wavers and their most fashionable
ripples, but they'll have to give up writingrsongs about girls on fit*
first. DiSCORDER spoke to Graham Lessard, The Floor's synth/guitorisf,
from various locations across Canada.
DiSCORDER: The Floor began as a noise band. How are these origins
reflected in your music?
Graham Lessard: The influence of shoegazers like MBV and Ride
is more pronounced on Personnel than either of our previous
releases, as evident in the feedback and chaotje* guitar textures
that are layered in a number of songs on the new album. The/great
post-punk bands were hugely important to the late 80s/early 90s
shoegazers, and the best groups of both genres share the same pop
sensibilities. We've always been big into the atmospheric, noisy stuff
but t think we've incorporated it into our own writing more as we've
gone along, partly in order to further distance The Floor from a lot
of third rate 'new new wave' fashion rockers that seem to spring up
everywhere you turn these days.
Do you see The Floor as new new wave?     ■
How about 'old new wave'? Some might disagree or say I'm just a
snob, but I think we have a very specific.sound: post-punk in a strictly
British vein. As for the atmospheric elements you mentioned, even
early post-punk groups were experimenting with noise and textures
that the shoegazers would later expand on (for instance, Modem
Eon's fiction Tales or the Comsat Angels' Sleep No More). No
disrespect Intended though—there are several good groups that
get lumped in with the NNW crowd, but I've never felt much affinity
(with them musically speaking. Plus we're not overtly fashionable—
not even a single white belt between the four of us.
A lot of truly old New Wavers, Idee Martha and the Muffins, the
Chameleons, have regrouped for reunion shows and revival albums
within the last few years. Do you feel that the interest in bands Hke
the Faint or the Killers have rekindled Interest in the 'old new waver'
sound or do you feel It's the other way around?
I guess it's the 20 year cycle—what's old is new again. Echo & the
Bunnymen had a reunion tour in 2001, before the Interpol album
really sentthe 'new new wave' trend into fever pitch. But then again
> it's hard to imagine so many Joy Division records suddenly flying off
" the shelves if reference to JD hadn' t made it into every single review
of Bright lights to ever make print. That's all speculative, but it's -
clear that music press and fans are far more conscious of musical
history and influences than ever before. Perhaps to the point where
the focus is too much on a band's debt to ther influences and not
enough on the music they produce. Honestly, in the 1980s there
were good post-punk bands and not so good; at present there drfe
good new new wave bands and bad ones, and the difference
in a lot of cases seems glaringly obvious. Interesting discussion in
some ways, qghough it's sort of an academic problem—if a group
is releasing shit-hot records I don't see why anyone gives a toss
where they draw their inspiration from.
I think it is still a point of
vital importance for The
Floor to write music that is
completely different from
what people would expect for
a band from the Canadian
And if there wasn't a crack at the white belt at every turn... How do
you make music in a strictly British vein out of Edmonton?
I guess that growing up in a city where the music scene was
overwhelmingly {art) country, roots, or punk, English art-rock was
about as contrary as you' could get. I think it fe sM a point of "vital
importance for Thet Floor to write music that is completely different
from'what people would axpect-'for a band from the Canadian
I guess if you're making music and you're Canadian, it's Canadian
music no matter what It sounds like. That's the Can Con rule we live
and die by here at CITR. I read that your very first performance as The
Floor was on college radio. How did that come about?
Matt [F/ahl, vocals and guitar] and I wrote and recorded a song in
the summer of 2002 and submitted it to CJSR (University of Alberta
campus radio} for a compilation they were putting together. We
didn't even think twice about it. A few weeks went by and Matt
invited me to play a few times with his band. They had formerly been
called The Politburo, but at that time they had just gone through a
couple of drummers and were trying to play with the bass player,
Dan Carlyle, on the drums, and second guitarist Paul Amusch on
the bass. Then the radio station called and said they had picked the
song (called "Warning Sign'", a re-recorded version is on our first EP)
for the comp, and asked us to play the release party in a couple of
weeks, which would also be aired live on the station.
From The Politburo to The Floor—that's a pretty drastic letdown. Why
the name change?
Ouch...the kind of music we-were writing was more focused and very
~ different sounding than The Politburo, and the name change was
in order to reflect that...fjhe Floor] is just a simple name that looks
good in capitals.
That heavy hazy synth sound adds a pretty grand dimension to
the music. Do you think your latecomer contribution of synthesiser
changed the direction of the band musically?
It wasn't quite like bringing in the synth and suddenly The,Boor's
sound changed drasticaBy—it was a very considered move to use •
synth. The synth is usually to add 'dimension,' as you say, rather
than as a focal point. But I spend hours working on synth sounds
and parts. As far as the synth goes, I spend as much time listening
to Kraftwerk and Yellow Magic Orchestra as I do to guitar-based
bands like the Cure and the Chameleons.
The eerie sound of Personnel pairs so nicely with the lyrics'
preocccupaffon with privacy and detachment. Did you intend to
make a concept record?
Not as such, although Matt is very intent on writing lyrics that fit the
sound of our songs. He would be the first to teH you that the lyrics
are not part of any grand design. They are partly 'accompaniment'
to the instruments (because most of the bands we are influenced
by write songs with vocals) and parity an honest observation of the
world around him.
Where does the "personnel" sample from the title track's chorus
come from?
It's a heavily affected recording of Mart's voice. Another interesting
bit about that one—the crash sound at the beginning is also an
original recording. Matt and I spent an afternoon recording the
sound of various glass objects smashing in a garbage can filled with
What was behind that sonic project? Seems like a lot of effort for a
single crash.
No grand scheme-^we wanted an original sound effect instead of a
pre-recorded sample. And how much inspiration do you need for
an afternoon of violently destroying a pile of glass bottles and light
fixtures? If s Just plain fun. Recording that sound is very representative
of the work ethic we adhered to for the making of Personnel. No
corners were cut. We did as many takes as necessary to get the best
performances out of everyone—in a couple of cases we recorded
all the tracks (often 20-30) for entire songs two or three times in order
to get things sounding just right.
So, you Just wrapped up the cross-Canada tour extravaganza that
brought you to Vancouver In June. Seeing as we're practically
neighbours on the national scale of things, can The Floor be expected
In town anytime soon?
Nothing slated for the immediate future—we'H keep you posted.
The Floor's new album Personnel b released on Normals Welcome
Records and is available virtually through
www.nnnbwtenwcrds.cow the feminists
Without a doubt. The Feminists are one of the busiest bands in town.
You'll be harcl pressed to find an act that plays as many shows as they
do. I did a tally earlier this year and discovered that they took part in
14 gigs (all in Vancouver) within a short three month span. But when
your live shows are as delightful and rocking as theirs you shouldn't
mind bringing your music out to the masses. After all, what better way
to build a fan base than to let more people see you play?
The Feminists are Ferdy Belland, Keith Grief, AHyson Mara and
Mike Zobac. This interview took place inside CiTR's old vinyl record
library (a favourite among visitors to the station) after their energetic
performance on Live from Thunderbird Radio Hell.
DISCORDER: My favorite thing is always to start with the history of the
AHyson: The band started when Keith was my boss at Sam the Record
Man; he had a band and I was in jazz school. I was a total jazz snob
at that time and he'd be like, "Oh, I'm playing shows. You should
come check it out." I was like, "Yeah sure, I'll come and watch your
stupid little band." And I went and saw Hunter Gracchus, his band,
and was very surprised and thought, "I have to play music with this
guy." I had a jazz trio and I invited him to come out. He came and
saw us and said that we might be a good group to play softer songs
that weren't getting played in Hunter Gracchus.
Keith: I had this notion in my head that I was going to be like Tom Warts,
but it didn't turn out that way. [Laughs)
AHyson: We did play his wimpier songs and there was a lot of jazz
influenced stuff, but then when Ferdy joined, we started redoing
heavier songs that Hunter Gracchus has already done. And now it's
just all rock n' roll all the time.
Keith: Plus it was good because it means that I didn't have to write
more songs.
AHyson: It really was when Ferdy joined the band that everything
changed for us. The last year and a half has been completely
different then the two years leading up to that for sure.
The name of the band b worthy of note. I'm sure many people will
interpret it as a statement of sorts.
Keith: It draws strong emotions. As many people who are going to Hke
it are going to hate it.
Mike: When we first asked Ferdy to join the band, we exchanged
some volleys of emails on whether we should rename the band or
not. [Imitates Ferdy] "Oh, it's not a reafly good name."
Ferdy: Wed, at first I didn't Ike it. I thought it was the kind of band
name you'd find from a punk band from Lloydminster or something
like that. But then they started explaining about how aH four of us
are feminists, and men can be feminists too because if you exclude
people from the discussion you can't solve the problem. Although
we don't really have pointed political songs..:
22 DiSCORDER - July 2005
AHyson: No, the music is not about feminism at all. For me I just thought
that it would be great to have a chance to explain ourselves
whenever someone asks us about the name. That's what I want;
I wanted a chance to talk a bit about why it's not a terrible bad
negative thing to caH yourself a feminist. And that is totally the
perception. These guys get a lot more flak for it that I do.
Keith: If you want to think that it's ironic, I say go right ahead. You can
if you want. There's nothing wrong with being wrong. [Laughs]
You went on a cross-Canada tour awhile back. Where did you go?
AHyson: We drove from Vancouver to Sydney, Nova Scotia. The whole
thing took us six weeks. We played 27 shows. There was a lot of
Ferdy: It was good to see the other cities in Canada. It was nice to
see our musical peers from scene to scene. It was good to play in
Winnipeg: Our shows in Sudbury were both really good. We played
a good show in Moncton—hooked up with this other band called
The Ride Theory who became our tour buddies, as we bumped into
them a few times on the road. There were dead shows to be sure,
but that's indicative of any tour that any band takes.
"We showed up, and I
knew something was
up because the venue
was right next door to
a tombstone factory"
Wasn't there a bad story with Montreal?
Ferdy: Oh yes, the Montreal story. We've been scheduled to play
the Jupiter Room. I was excited at first because it was the first room
that Sam Roberts broke himself in. He played the Jupiter Room, then
Zaphod (in Ottawa) and I thought "Wow, we can do the samel" So
we showed up, and I knew something was up because it was right
next door to a tombstone factory. We go upstairs and the place was
a mess from the rave that happened last night. And there was not
one poster that got put up; it was Sunday night and no one knew we
were there. Basically to make a long story short, we played there with
The Ride Theory. We played well for the eight or nine people who
were there, sold two CDs actually—which is a telling tale in itself. But
in the end we didn't realize this was a pay-to-play venue, as most of
Montreal's venues unfortunately are.
Keith: It's actually pronounced "le pay de play".
Ferdy: [Laughs] In any case the bar manager informed me that we
were responsible for paying the remainder of the soundman's fee,
which was being taken out of the cut at the door. And there was
a bit of initial financial confusion at first in which certain members
of the bands got duped, but finally I put the hammer down. I said,
"Look, we are hot going to do this. You have a live venue here; it's
your responsibility to pay the soundman as a member of your staff,
as you would the waitresses or the bouncers."' [Imitating the bar
manager's voice] "No, it's not how we do it here and you owe us
$751" So I told him to go fuck himself, in front of the shocked members
of Tt»e Ride Theory.
AHyson: And Ferdy let us all out. He said, "Go fuck yourself," and then
he turned and started walking. Before that, during the last song of
the show, Keith and I had ended up screaming at each other. Keith
threw his guitar on stage and stomped off the stage in the middle of
my keyboard solo. So, The Ride Theory, who'd never met us before,
their little eyes were wide open, they didn't really say much at this
point, just fell into this single-file and neatly trooped out after Ferdy
Belland. We were all like little ducklings and followed him out the
Your just released your new album She Could Be. What's the difference
between it and your previous album?
Ferdy: The production is heavier. It was fun to record with Cecil English
just for the notoriety of being able to record with Cecil English
(SNFU, DOA, NoMeansNo) and I can grill him for NoMeansNo trivia
and all that. The production is a little thin and indie-rock on the first
album. The songs are good but we could sound punchier. With Mike
Southworth he made us sound huge. It's much more of an aBve
sounding album.
AHyson: I think the thing that made it for me is the vocals. When we did
the vocals with Cecil it was really hard for us because we were singing
all the vocal parts together and we just didn't have somebody who
could help us. We knew we were singing badly or singing out of tune
sometimes but we didn't have anybody that could help us fix that.
When we were working with Mike, he was such a great musician
and has such a great ear that he helped Keith and I get really good
vocal takes. It sounds great.
The Feminists will be back on the road heading across Canada in
September. For more Information on the band, visit
http://www.thefeminisfs.net. new forms festival
Techne ex Machina
Last year, the Vancouver Art Gallery hosted a major exhibition
called Massive Change, an optimistic take on the progress of
humanity into the 21st Century. Meditating on the life-altering
potential of new technology, designer Bruce Mau organized the
show around the question, "Now that we can do anything, what will
we do?" Set to the tone of Telus' reassuringly benign slogan, "The
Future is Friendly," Massive Change sought to provide a positive
counterpoint to the naysayers in the globalization debate. In contrast
to the concept of technology as a malevolent force capable of
usurping the sovereignty of humankind and ultimately rendering the
Earth uninhabitable, Bruce Mau's exhibit argued in favour of science
guided by intelligent and sustainable planning.
Massive Change, which will be showing at Chicago's Museum
of Contemporary Art in 2006, contends that "design has emerged
as one of the world's most powerful forces. It has placed us at the
beginning of a new period of human possibility, where all economies
and ecologies are becoming global, relational, and interconnected."
Despite comprehensive coverage of the impacts of design, from
computer interfaces to cheap and efficient water purification
methods, one simple question was conspicuously absent: What does
this all mean?
While designers, scientists, and technophiles relentlessly forge
ahead into a brave new world of cheaper, faster, and easier, it has
traditionally been the role of the artist to wonder what these changes
mean, or if they are even desirable. Despite all our best efforts in
design, it is often the unintended or unforeseen consequences of
innovation that have the greatest impact. Ironically, the Vancouver
Art Gallery exhibition lacked this perspective, focusing on the utility of
technology rather than more critical issues, such as the redefinition of
human existence through our increasing dependence on electronics;
the ways in which technology distances us from the natural world.
Theoretical concerns aside, there remains the more immediate
question of how new forms alter our means of creative expression. Art
and technology have always had an intirrtate relationship, as different
tools such as the paintbrush, the camera, or the mouse influence
how we choose to represent the world. As Canadian media theorist
Marshall McLuhan famously stated, "The medium is the message." It's
time we listened to what emerging technologies are saying.
Back in 2000, amidst Y2K hype and millennial anxiety about
the transition into the '00s, Capital Magazine co-founders Malcolm
Levy and Jarrett Martineau recognized a need for a dedicated
forum to discuss the impact of new forms in art and culture. The
resulting project was the aptly titled New Forms Festival, an annual
showcase for artists, musicians, and cultural theorists to explore the
intersections of technology and art. Now in its fifth year, the festival
has gained international recognition, bringing together members,
of fhe electronic community from across the globe to participate
in exhibitions, performance art series, conferences, and workshops.
Running from September 15 to 24 in an assortment of venues such
as Video In Studios and The Western Front, New Forms promotes a
uniquely multidfeciplinary approach to art exhibition. The New Forms
Media Society aims not only to provide a venue for contemporary
art, but also to develop a dialogue between the often isolated
realms of art and science. Interactivity is a major focus, as many of
the exhibits invite audience participation, and workshops seek to
disseminate tools and information in order to broaden the community
and increase public awareness.
This year's festival, organized around the theme "Ecologies,"
examines the ways in which technology can alter our existing
environment as well as create virtual ones. Using ecological systems
as a guiding principle, artists are. invited to explore the possibilities of
modeling advancements in art and science after the existing interrelationships in the organic world.
When pressed about how the theme was chosen for this year,
Malcolm Levy explained that the idea struck him while he was
pondering organic wisdom in one of Amsterdam's lovely cafes. For
those with a taste for the finer things in Vancouver life, a city with
undeniable similarities to the famed liberal haven in the Netherlands,
this kind of sudden inspiration is probably familiar. Hazy origins- aside,
the theme has particular relevance as the drive to ratify the Kyoto
Protocol continues, and pressure to find alternative energy sources
intensifies in the wake of soaring oil prices and the protracted war
in Iraq. While art may seem powerless in the face of such massive
political issues, it is important to remember that all actions are based
on ideas, and that ideas do not simply materialize out of nothing.
Events such as the New Forms Festival are the breeding grounds of
new memes, which disperse out into the global culture and may
ultimately impact the decisions of political elites. According to author
and cultural theorist J.G. Ballard, "many of the great cultural shifts
that prepare the way for political change are largely aesthetic."
With Ballard's pronouncement in mind, contemporary electronic
culture seems to be on the verge of a shift, a change which could
have far-reaching impact if some of the ideas in Ecologies are
realized. Discussing the contrast between the work showcased at the
New Forms Festival and traditionally accepted art forms, Malcolm
Levy muses that "some of the most cutting edge works coming
out of media arts are not yet seen as part of this field." He sees the
distinction between "high" and "low" art as largely arbitrary, with little
more than an art form's surrounding image to blame for membership
in either group.
Although some new media arts have yet to gain entrance
into the hallowed halls of officially sanctioned galleries, there is an
undeniable movement in Canada to foster the development of new
forms. At this year's media launch, held on August 18th at Video
Monster, Vancouver-based artists Carol Sill and James K-M unveiled
their DVD project entitled, "Electric Living in Canada," a compendium
of interviews with Canadian artists and media theorists discussing the
current state of art and technology in Canada.
Eric McLuhan, whose work in communication and media
continues in the tradition of his father Marshall McLuhan's pioneering
thought, believes that, "there is no such thing as Canadian poetry or
Canadian painting." He sees all forms of art in Canada as regionally'
influenced and decentralized, a unique condition that cultivates
eclecticism and allows artists more freedom to explore the avant-
garde. With no definitive Canadian form or style, new media arts
flourish across the nation, carving out new hybrid identities in the
absence of a singular tradition.
In a typically multifaceted Canadian approach, Cree/French
Canadian artist and writer Ahasiw Maskegon-lskwew provides
a counterpoint to McLuhan's characterization, highlighting the
importance of building connections rather thqn working in isolation.
Maskegon-lskwew points out that the artistic milieu of Canadian
aboriginals is decidedly non-combative, in contrast to the ""anti"
ethos of European art. "We're not working for the rights of indivlduats,"
he explains, "it's very much for community and support of individuals
through community."
The New Forms Festival strives to make this community-building
process explicit through a heightened aboriginal presence in this
year's proceedings. The Museum of Anthropology will serve as a
major venue for both exhibitions and conferences, drawing attention
to this valuable resource of indigenous cultures at the University of
British Columbia. Curator Dinka Pignon will be hosting an exhibit at the
MOA from September 16-October 16 entitled "Ritual Ecology," a look
at the process of culture creation as behaviours within a given tribe
or group progress from habit to custom to ritual. The exhibit will also
feature a special aboriginal networking session, which will focus "on
the junction of contemporary aboriginal communities, art practices,
cultures, and new media—along with the potential remediation and
extension of aboriginal culture." In line with the Ecologies theme, this
type of dialogue is extremely important in seeking to restore healthy
relationships within aboriginal communities after a long history of
harmful frrterference.
Don't expect any drab and depressing governmental
committees attempting to redress the wrongs of the past, because
New Forms is an ultimately celebratory and future-oriented festival. -
Yet looking to the future does not mean making a complete break
with the past, as the success of Nunavut-born throat singer Tanya
Tagaq Gillis clearly illustrates. Tagaq, who will perform at the MOA on
September 18, taught herself the traditional Inuit art of throat singing
while studying at the Nova Scotia College of Art and Design. For the
uninitiated, throat singing bears some similarity to beat-boxing, as both
techniques require the performer to harness the full potential of their
vocal chords to produce two or more notes or sounds simultaneously.
The technique, which employs the lower part of the throat for deep,
growling tones and the nasal passages for high notes, is jokingly
described by the Inuit chanteuse as "uterus singing."
Unlike beat-boxing, whose cultural clout has risen considerably
in the last decade, throat singing remains relatively unknown outside
its traditional homes in Tibet, Mongolia, South Africa, and Northern
Japan. In Nunavut, throat singing is usually enacted as a call and
answer game between two women, although Tagaq had never
heard it performed until she received some recordings at college
from her mother. Intrigued and compelled to learn the form on her
own, Tagaq developed a uniquely solitary vocal style to translate her
interest "in instinctual and emotional capacity."
Listening to the haunting, wolf-like cries on "Ancestors," a
collaborative track on Bjork's acclaimed 2004 LP Medulla, it's easy to
see what she means. Tagaq's guttural cries and unfamiliar melodies
have a primal feel, employing a range of raw emotive power typically
denied to vocalists. Her presence on Medulla, din album dedicated
to exploring the outermost possibilities of the human voice, positions
her as one of the rarest voices in contemporary music.
As an accomplished painter, musician, and aboriginal artist,
Tanya Tagaq Gfflis exemplifies the Ecologies theme of this year's New
Forms Festival perfectly. Although throat singing is far from a new or
technological form, it has been recontextualized through Tagaq's
work with Bjork, the Kronos Quartet, and various electronica artists
such as Michel Deveau.
The New Forms Festival does not advocate relentless progress
into a technological future or innovation for its own sake, but rather
creative use of existing forms and the intelligent development of
new ones. The focus is on integrating art into all aspects of culture,
modeled after organic inter-relationships rather than- the often
fragmented association between humans and the natural worid. If
the traditional arts are beginning to seem irrelevant, if ypu're curious
about cutting-edge media arts, or if you simply want to dance your
ass off to some experimental electronica, go check out the festival
and start bridging the gaps between art, technology and culture. ladyfest olympia
My love for music has long been entwined with my feminism. It probably
wouldn't be much of a stretch to say the two are inseparable. I found
my feet as a music geek in high school, using music by women as a
place for myself: I adored Tori Amos for her difficulty and epic range
of emotion and disliked Jewel for her obviousness. The distorted sound
of PJ Harvey's To Bring You My Love made me uncomfortable, but I
was glad that she existed. My dad started buying me music books for
Christmas and The Rolling Stone Book of Women in Rock probably sealed
my nerdly fate. Flipping through its glossy pages, I began the process of
realizing that the trends of 1997 didn't exist in a vacuum—women had
a short but fascinating history in pop music, a history made all the more
accessible to me because rt didn't take much time to learn most of the
important names: Loretta Lynn, Bessie Smith, Siouxsie, Janis. Eventually,
I started exploring outside this niche,, but music made by women (of
any genre) will always be especially compelling and close to my music
geek heart.
So, given my long-standing fascination with girls 'n' tunes, I couldn't
possibly forgo July's Ladyfest Olympia. This four-day weekend of bands,
crafts, workshops, and films marked the fifth anniversary of the very first
Ladyfest, also held in Washington's state capital. Since the beginning,
Ladyfest has been defined as "a non-profit, community-based event
In the tradition of Ladyfest 2000 and in solidarity
with Ladyfests all over the worM, Ladyfest Olympia
2006 is a festival organized by local women of all
identities to showcase, celebrate and encourage the art
and activism of woman jnnery where. Ladyfest Olympia
is a non-profit music mad acta festival benefiting local
organizations that support women. We are committed
.ifipniii'  i __a —_.-_ft_ftf____a___*_.._£_»nj_»n_»
who support the education, advancement, and
celebration of women >0 allnWll IIUI' festival.
designed by and for women to showcase, celebrate and encourage
the artistic, organizational and political work and talents of women."
Festivals are put on all over the world by different groups of volunteers.
In this month alone, Ladyfests are happening in Ottawa, Singapore, and
It meant abandoning the magazine halfway through production
and skipping two days of work, but I couldn't give up the opportunity to
glut myself on art, DIY politics, and K Records bands. Thursday, July 28,
the DiSCORDER team arrived in Olympia rushed, cranky, and ready to
soak up everything we could in four short days.
The Thursday line-up was half the reason we decided to go:
Tender Forever, The Blow, Anna Oxygen, and the Rock 'n' Roll Camp for
Girls in one night? Hell yeah. We entered the Capitol Theatre at about
6pm, not fully realizing that we would spend the bulk of the next three
days in its dark, velvet-chaired interior. First on stage was Plasmic Stallion,
a foursome of pre-teen Rock 'n' Camp attendees. They ran through
two original compositions, "Shut Up," and "You Suck," both of which
involved choruses of cathartic yipping: "Shut up! Shut up! Shut up!" and
"You suck! You suck! You suck!" Nevertheless, we were totally in awe of
the 11 -year-olds onstage who were clearly cooler than we were ever
going to be.
I was excited to see Tender Forever after glowing' reports brought
back from friends who went to Anacortes' What the Heck FestJn-Wy-
According to the Ladyfest Program, "Tender Forever is a girl performing
alone with her DIY crafty sounds, a cardboard laptop, a very personal
body language,'tears, cut-outs, spasms, and more." This sounds a little
obscure but is completely accurate. I'll elaborate: Tender Forever is a
boyish French girl, singing songs about long-distance love while coaxing
sounds out of a duct-tape and cardboard laptop. She performed with
a five-inch tall che* of cardboard cut-outs. Choir members included
Stevie Wonder, Calvin Johnson and Beyonce. Tender Forever fully owned
the stage, stalking back and forth wildly, sometimes laying on her back
as she pressed the microphone to her mouth. It was as wonderfuLas it
sounds, perhaps more so.
I missed most of Anna Oxygen when we ducked out to get tacos,
which was a shame since I really enjoyed her debut album, AH These
Faded Things. We returned halfway through her set and Anna was
onstage, dressed all in white, in the middle a hard-to-follow conversation
with a prerecorded voice claiming to be a giant fish. I didn't get it
A devoted fan of Poor Aim: Love Songs and The Bonus Album EP, I
was elated at another chance to see the Blow on their native turf. Beats-
maker Jona Bechtolt was touring in France as Y.A.C.H.T. at the time, but
he joined in via speakerphone. Singer Khaela Maricich queued up the
beats on her laptop, invited everyone to dance onstage, told some very
engaging stories, and sang a lovely little song about sex, in French.
While DiSCORDER's Caroline Walker took some instrumentation
workshops (see sidebar), I elected to explore downtown Olympia's
thrift stores and book shops. I managed to miss a lot of great-sounding .
workshops during the weekend, probably because I never actually
sat down and read the program guide from front to back. Among my
regrets: missing the Radical Cheerleaders performance, the sound tech
workshop, and the K records zine-making session. Among my complaints:
Dame Darcy's doll-making workshop required you to bring all your own
materials, including toaster oven (1), and the unfortunate circumstance
of the Ladyfest program guide being completely disorganized and
impossible to read. (Shoulckanyone ever organize a Ladyfest Vancouver,
I offer my layout services now.) Nevertheless, one could do a lot worse
than spend a Saturday morning sauntering around sunny small-town
At about 3pm, we headed to the Capitol to check out more bands.
I've been intrigued by Dame Darcy ever since unearthing a book of
collected Rollerderby zines so I was disappointed with her band. Death
by Doll, and their synthy dirge-pop. One goth girl danced rapturously,
wheeling in circles and tossing her hair, but most of the audience
seemed underwhelmed.
JULY 28-31 Their set was followed by Kimya Dawson, another artist who
s herself with mortality, albeit in a completely different way:
where Death By Doll are removed and affected, Kimya is immediate
and utterly, heartbreakingly real. On this occasion, the former Moldy
Peach was fragile and worried about her mother, faraway and ill in New
York City. Kimya's flight east had been delayed for a few days, freeing
her to play Ladyfest, but she clearly wasn't in the mood and couldn't
keep herself from weeping at one point. Her sweet, quick-paced songs
are largely concerned with grief, hardship and hope: one line stood out
in particular, "I will lose my shit if even one more person dies, so please
don't die." I left with the feeling that Kimya writes because if she doesn't
she will seriously lose it, and more than anything I just wanted to give her
a hug and say, "My mom's been sick too."
We took a break after that, and returned to watch San Francisco
four-piece Von Iva. Something about their lead singer seemed familiar
to me, and for a while I just watched her spinning and preening in her
glittering fringed cocktail dress. Then it hit me—it wasn't just her height
and glamour, but the way she moved: her stage act had all the camp
and posing of a drag queen's but with twice the ease on heels. It was
distinctly reminiscent of Vancouver's Carlotta Gurl, and this comparision
is all I can actually remember of the band. (They also featured 7 Year
Bitch bassist Elizabeth Davis, apparently).
Saturday night was Soul Night at Ladyfest, featuring soul and
blues pioneer Barbara Lynn and her backing band of local musicians
(including Chris Sutton and Olivia Ness of C.O.C.O.). Barbara (b. 1942 in
Beaumont, Texas), was discovered while still in high school. She became
one of the first female instrumentalists to hit the charts, wrote a number
of her own songs, and did the whole thing playing guitar left-handed.
She seemed as amused by the obvious generation gap between her
and the Ladyfest attendees, asking the crowd to thank their parents
for making "You'll Lose a Good Thing" a number-one hit in 1962. After
launching into the story behind the single, (apparently, the guy's real
name was Sylvester) she looked to the audience (at least 30% young,
mohawked lesbians) and told us to insist that our men treat us right. "If
he don't come home on time, give him hell." She was at home on the
small stage in a way that none of the younger performers had been,
and I just kept thinking, how much has women's place in pop music
changed during this one person's career?
The Gossip were up next, rocking the stage in matching camouflage
outfits. This was only my second time seeing the Portland powerhouse in
action, but I feel like I learned a few things. Gossip Lesson #1: Gossip
songs, no matter how good they are on CD, will always sound better
live. Gossip Lesson #2: Even if she's sick, in debt, or recovering from gall
bladder surgery, Beth Ditto will always, always bring the house down.
Gossip Lesson #3: until the Gossip are international superstars, the world
will be a cold and unjust place. For everyone.
divide between musician and regular citizen that saturates most gigs.
No one seemed particulary invested in the normal roles contemporary
music is fraught with. When a girl cimbed onstage to sing harmony
during Liarbird's set, a few people on the floor yelled, "Yay, Lindsay!" For
the short time we spent there, the Olympia scene seemed refreshingly
without pretense. It reminded me of something Khaela Maricich (the
Blow) said to Vancouver Ion magazine this summer: "I wouldn't have
made music if I didn't live [in Olympia). I never thought of myself as
being a musical person. I think that in Olympia the standards of what
you have to do to be considered a musician are really broad, you
know? You don't have to be a musical person. You could be a person
who has a lot to say."
However, not everyone finds Olympia as nurturing: when we
ducked into a cheap, colourful student bar to cure our exhaustion with
beer, I spotted two paintings for sale on the wall. One depicted a few
stylized birds along with the words "Birds are so scene," and the other
showed two girls frowning and said "My subculture is better than your
I made it to my one and only workshop Sunday morning: the Reel
Grrls video workshop. A teenage girl with braces taught me the basics of
using a video camera before I returned to the Capitol Theatre to watch
more bands.
Back in the HQ, Mirah was experiencing serious sound trouble. She
ended up scrapping her mic completely. "Be very, very quiet," she said,
"and I'll sing without one." We sat on the floor, crowded as close as
we could. She perched on the edge of the stage and played a very
intimate set of delicate folk songs.
Mirah's quiet strumming made an incongruous prelude to the
evening's rockabilly headliners, but Ladyfest had been filled with
unlikely pairings. To be fair, though, I don't know that it would have been
possible to really prepare yourself for Wanda Jackson.
Like Barbara Lynn, Wanda Jackson was discovered while still in
high school, singing country songs on an Oklahoma City radio show. A
year later, she was touring with a then-unknown Elvis Presley, who urged
her to start playing rockabilly as well as country music. Wanda liked Elvis,
and the world liked Wanda: she became star, and Elvis's girlfriend to
A vision irvpink polyester fringe and big black hair, Wanda was the
absolute peak of the weekend. She was sassy, sharp, and comfortably
chatty between songs. She praised the curves of her pink Daisy Rock
guitar for being "cut in just the right way ... I bet even my friend Doily
Parton would like this one." She even talked about meeting Elvis for
the first time: "Now, I know you all wouldn't find this strange, but when
I saw him for the first time, he was wearing a yellow sports coat. I had
never seen such a thing on man! And he had a pink convertible. This
was back before Mary Kay, now." Her singing voice has changed over
the years, but her signature nasal bleat was still intact,for her renditions
of "Fujiyama Mama" and "Mean Mean Man." The crowd went quiet
when she started to talk about Jesus, but the singer knew she was on
contentious' turf: afterwards, she graciously thanked everyone for
listening, "even though it's a very personal thing we all have our own
opinions about." Classy lady, that Wanda.
Dusk fell as the DiSCORDER crew walked out of the theatre and into
the cooling streets. We were just thinking that our Ladyfest experience
had come to an end when we heard the sounds of live drumming,
coming from an alley. We poked our heads in to see a pickup truck with
a piano on the back. A sweaty young man pounded out a jaunty tune,
while his female band-mate battered a drum kit next to a well-tagged
dumpster. A happy audience had gathered around them, cheering
and swatting at flies. Ladyfest wasn't over, and somehow, in Olympia,
it never really is,
Worn out by Friday's marathon of band watching (nine hours!), I
basically went AWOL on Saturday. I hid in the zine library at The Last
Word book store, surfacing only to drink coffee and watch Hide and
Seek, Su Friedrich's absorbing film on lesbian girlhood.
Although people at Ladyfest were friendly, there was this pervasive
feeling of being at a big party where everyone knows each other but you
don't know anyone. And there's no liquor. To complicate things further,
most of the people associated with Ladyfest—organizers, workshop
leaders, performers, and audience—dressed in that thrift store, rockstar accidental uniform. It made it difficult to tell who was doing what.
On the plus side, there was almost none of the intense psychological
KaV 4:"'^
Ladyfest Drum Workshop
I was really excited about this workshop; I mean, what could be
better than taking a traditionally sweaty male musical activity and
putting it in a relaxed communal art space with a bunch of women
who love feminism and music?
Arriving at the workshop early I got my pick of the well-worn pieces
of percussion. J was drawn to combo of floor tom.and warped crash
symbol. Our instructor, sporting a rockin' boot-n-short combo, went by
the name Drummer, a well-deserved moniker considering that she has
played for most of her life. After handing out the donated plastic head
drum sticks we did a round of introductions. I was relieved to find out
that most of the group was equally as inexperienced as I. While I was
the only technical foreigner in the lot the rest of the group was a good
mix of local Olympians and gals from Los Angeles, Seattle, Portland,
New York and Colorado..
Drummer gave us an intro to time signature, drum notation, proper
holding technique, and how and where to strike each piece of the drum
kit. Finally we were ready to tackle the coordination challenge of the
full kit. I respected the first brave soul not only for her sacrifice of dignity,
but because her lack of coordination put me immediately at ease. As
others tried to beat out the provided rhythm of torn, tom/snare, torn,
tom/snare, i air-drummed to get the pattern into my muscular memory.
When my turn came around I eagerly sat behind the kit. After a little bit
of fumbling my nerves dissipated in the supportive atmosphere and by
the end of my brief stint my head was bopping along with the beat I
was holding.
1 came out of the workshop with one of the most giddy feelings
I've ever had: on par with that of my after-school checker matches
with the boy of my dreams in grade four. Having always revered the
female drummer it was shocking to consider the possibility of actually
becoming one. Drums now join violin and cello in the instruments4-
need-to-leam-in-order-to-die-happy fet.
CaroSne Walker
I   w- /•
_P<BP '      ■■'■■'•■■■    W-:
Look at All the Love We Found:
a tribute to sublime
The Album of the Summer, available now!
Also available:
live & Acoustic Roots
W\ SONIC UNYON DISTRIBUTION find these titles @ your local record store or find more info & order online @ www.sonicunyon.com
26 DiSCORDER - July 2005 Israeli hip hop
*§ <*
iJv    it* A!     ■
SUsitel for Your ITiou
Jerusalem is a city of a thousand neighbourhoods, united by
white stones and divided by ethnic and religious identity. Every
conflict felt between Jews and Arabs is redivided in both communities
by conflicts between the religious and the secular, and then
redivided again by economic disparities within the communities. The
renowned vibrance of Israeli society has thus produced art that is at.
once emblematic and escapist. This art is highly engaging at many
levels; like all forms of cultural expression, it contains something for'
the outsider, the neophyte, and the native.
The Kiriyat Mordechai neighbourhood of Jerusalem is a blue-
collar residential borough, and this summer it hosted the Festival
b'Shekel, the One Shekel Festival. The festival was created through
ifre initiative of Irfaelr1 musicians and performers who wanted to
allow greater access to their concerts, which are often plagued
by restrictive ticket prices. The festival was held in a park in Kiriyat
Mordechai and charged a single shekel as admission. The performers
were some of Israel's most popular musicians: the headlining band
was HaDag Nachash, a funk, rock, and hip-hop group that achieved
fame in the last five years; they were joined by Israeli rock legends
Rami Fortis and Berry Sakharof, a duo that split up in the 1990s and
were reunited for that night's performance.
HaDag Nachash is a group that deserves serious attention. They
are led by writer and vocalist/rapper Shanan Street and the band
includes a DJ/keyboardist, an electric guitarist, a bassist, a drummer,
a flautist, and a beatboxer. They combine electric-sounding 80s
funk with a hip hop hook and "mizrachi" (Arabic and North African)
rhythms. They opened the festival with some energetic songs from
their extensive catalogue, suitable for the crowd, who responded by
jumping and punching their fists in the air.
The atmosphere within the park contained more than simple
fanfare and excitement. The festival took place on June 27th,
seven weeks before the beginning of the Israeli government's
disengagement plan—the withdrawal of 8000 Jewish civilians from
occupied territories in the Gaza Strip and northern West Bank.
Since its inception, this plan has caused an incredible amount of
civil disagreement within Israel. The fact that the Jewish state was
removing Jews from their houses was entirely unacceptable to
some, while others saw it as an invaluable step towards handing
over territory to Palestinian rule. The proponents and opponents of
the plan battled in editorial posts and on street corners, and fears
grew of the possibility of civil violence between the groups. Within
Jerusalem, opinions run as high as they can, and the different
political camps became associated with coloured ribbons that
waved the banners of their causes. An orange ribbon indicated
that one opposed the disengagement plan, and a blue-and-
white ribbon expressed support for the decision of the democratic
government. Wearing ribbons in public Invited discussion, insult, and
even threats from those opposed to the colour of opinion flying from
one's rucksack. Atop this political division within the society, there
loomed the threat of a terrorist attack, a threatfelt in any crowded
area, especially in Jerusalem.
Imagine then, the crowd that appeared for an accessible
concert in the state's capital—overwhelmingly young, many of the
Jerusalemrtes present were waiting to be drafted into the Israeli
Defense Forces .There were large numbers of casually dressed music
HaDag Nachash is Israels
formost politically and
socially conscious bancL.their
commentary on Israeli society
is famously engaging.
tovers, high-school students enjoying a great show on a :
night. Some wore small knitted kippot, a sign of religious observance
or an inclination towards the traditional. Many wore ribbons of
different colours. Some were old enough (18-22) to appear In their
army unit fatigues, and a few young men wore the uniform of the
ulW-religious (black pants and jackets, white shirts; sktelocks, and
black felt kippot). The religious-secular divide "m Israeli society was
seemingly united for the duration of the concert.
Within the mixed crowd, society and politics blended equally
in the music heard that evening. HaDag Nachash is Israel's foremost
poTrticafly and socially conscious band; above their musical talents,
their commentary on Israeli society is famously engaging. In their
song "Rak Po" (Only Here), rapper Shanan describes how, despite
the easy life one can find in America and Amsterdam he prefers
Israel to any other place on earth. In the song, he includes in the
song descriptions of various everyday trials faced by Israelis, including
army service, metal detectors, moral cohfSct, and economic strife.
In "Beta Belisida" he tells the true story of a woman named Beta who
protected a knife-wielding terrorist with her body against a crowd
bent on avenging the victims stabbed moments earlier. The band,
known for its moderate, secular, and cynical approach to Israeli
pontics achieved widespread approval among music lovers of all
political stripes because no one can disagree with their honesty in
describing the humanity of the conflict and the strain it places upon
Israeli society.
The music built up to what would appropriately be the
festival's climax." when HaDag Nachash and guests performed
"Shir HaStikerim" (The Sticker Song). The Sticker Song was released
by HaDag Nachash last summer and grew immensely popular
over the past year, because its ingenuity touches most Israelis with
a sense of familiar sarcasm that rains down upon oil who engage
in the- political dialogue in the country. The verses are composed
entirely of recognizable phrases taken from Israeli bumper stickers,
one of Israel's most prolific media. The single-slogan manifestos coat
vehicles and streeteigns up and down the country and range from
the moderate to the mocking to the blatantly racist.
The lyrics ot the song were originally composed by Israeli author
David Grossman, following the assassination of Yitzhak Rabin. The
political' murder of Israel's Prime Minister spurred Grossman into
composing the song, wherein he displays both the divisions within
the society and the incitement and hatred of opposing vfews.Oavid
Grossman broke onto the political scene wfth his 1987 work The YeMow
Wind, a collection of essays on his encounters with Palestinians living
under Israeli occupation. Grossman's primary focus has often been
on the impact of the occupation on Israeli society, how occupation
corrupts and brutalizes the occupier. He expresses his fears of civil
hatred between Israelis, and the murder of Rabin truly brought his
(and many Israelis') worst fears to light.
"Shir HaStickerim" begins by contrasting moderate bumper
stickers, then begins; to include both the humorous and the extremist
slogans. As the song progresses it spirals out towards the most
shockingly objectionable. The chorus repeats the auestion "how
much evil can we swallow?" The suspenseful instrumentation, and
the shouted lyrics (Shanan spits every slogan with the appropriate
emphasis) add to a chaotic bombardment that only forces you
to appreciate how seamlessly Grossman and Shanan wove the
interlocking and contradictory fragments into a rhythmic, rhyming
poem. When sung in the politicised atmosphere of a hot Jerusalem
night, the song took on the force of a musical score to the evening.
And everyone present knew all the words, having grown up seeing
them stuck to their parents' cars, ther neighbours' widows, their
street comer's stop signs.
The concert wasn't long, but it was intense, and it was fun. The
country wes discussing fearing itself apart in the newspapers, and
we stood together singing regardless of our political perspectives.
For more information on HaDag Nachash and The Sticker Song,
a PDF file cafled "Israel from Bumper to Bumper" is avaflable online.
Created as an educational tool to explain some of the different
political views in Israel, it is a really thorough package that provides
images of the original stickers. However, it treats every sticker,
whether rude or racist, as another quirky expression of the Israeli
mosaic, downplaying the serious and disturbing nature of many of
the slogans. Archie Bronson Outfit At The Drive In
The Hidden Cameras
Under Review
Archie Bronson Outfit
s^jpliRs the first album by the charged,
j§9f|_F^out British blues rock band The
llpinie Bronson Outfit. They draw heavily
Rom their 60s and  70s counterparts,
which, thankfully, is not to say that they
wallow in the ■ past. The  album starts
off   right  with   "Butterflies,"   complete
with raunchy guitar and  Nell Young-
inspired vocals. The assault continues
with "Islands," and its heavy, absolutely
pounding rhythm section. This, along with
the chorus of "This Heart Burns Electricity,"
puts the album into full gear. "Riders,"
which soon follows, slows things down a
■  bit without giving up the grittiness of what
preceded it. Given its title, it's perhaps
fitting that it has a Doors feel to it.
The Archie Bronson Outfit seem
to have a pretty good thing going,
so it's kind of disappointing that the
second half of the album is not nearly as
ctffecting. "On the Shore" Sounds again
like Neil Young, but more subdued. The
melody is pretty good, but after a while
the song starts to drag. "The Wheel Rolls
On" is a fast-paced song with a tension
that builds, but there's never really the
release that I find myself waiting for the
entire track.
There is, however, the second-to-
last song. "Kangaroo Heart" is a pumping
track containing the guitar lines and
changes that I liked so much from the
first half. Here, it finally sounds like whgt I
knew this band is capable of; let's hope
they continue in this direction for their
Robert Ferdman
At the Drive-In
This Station Is Non-Operational
I've never been a dedicated At
The Drive-In fan, so I don't have much
knowledge about their albums, which is
precisely why this retrospective collection
is perfect for me or anyone who needs to
catch up with the band. It's particularly
useful for fans of The Mars Volta and
Sparta who want to check out the roots
that spawned those psych/prog and
punk/metal offshoot bands.
This collection does an excellent
job of displaying the band's musical
evolution over the years. If you compare
the first song on the album, "Fahrenheit,"
an enjoyable, but fairly typical punk-
metal offering, to later tracks such as the
slow-paced but uber-intense "Non-Zero
Possibility" or the drum machine-driven
B-side "Autorelocator," you'll see what
I mean. Then listen to your Mars Volta,
and it'll probably fit together somewhat
nicely, or at least make some sense. (The
Pink Floyd cover that closes this collection
doesn't hurt, either).
This album does enough to get the
listener interested in some of the music
not included here, which was probably
the point of this anthology. Good job.
Good band.
Robert Ferdman
(Triplicate Records)
Sivan Harlap and Karen Correa
have token off their Hissyflts/Beauty
Supply jackets and are revealing a less
poppy Breeders and a more poppy
Yeah Yeah Yeahs in this new Demander
clothing. This five-song teaser starts off
with a slightly droning vocal melody that
doesn't guite equal the rad catchy bass
and drums. "Wicked World" is memorable
for its beautiful surfy guitar, though I find
the lyrics a bit confusing: "for some time
now, I called you my mother but she
would not approve...! can't take you, no
not anywhere but this old story is already
"Raise a Glass (redux)" is totally
beguiling and it makes me imagine
a serious Lederhosen Lucil fronting
Cadeaux with Kathleen Hanna singing
a Tsunami Bomb melody. And I love the
lines, "I can't raise a glass to things that
are long gone—what's so wrong with
here and now?" The most demanding
song on this disc (and a great closer)
is "Porte Cochere." Correa's "Could
I?" in this song will be a great follow-up
to Kaito's "Should I" on your "grrrls with
guitars" mix tape.
Maybe soon there will be more
to check out from this line-up, but for
now, I'll dig the short and sweetness of
DEMANDER! (say it in a metal voice—it's
Natalie Vermeer
Dub Gabriel
Bass Jihad
(Azra Records)
In Dub, bass is the place. In the case
of Bass Jihad this place lies somewhere
in subterranean Brooklyn where sonic
impressions and rhythms of the Middle
East and South Asia are filtered through
the sonic alchemy of Jamaican dub.
Multi-instrumentalist and producer Dub
Gabriel's second full-length release brings
aH these influences together into a heady
mix that will inevitably get comparisons
to the more esoteric dub output of Bill
Laswell, Muslimgauze, The Suns of Arqa
and the Wordsound label's Crooklyn Dub
' Consortium.
The album kicks off with "War In The
Poppy Fields," a swiney double reed loop
over a kicking Middle Eastern drumbeat
with keyboard stabs and a thick bass
presence. Things begin to really trance
out nicely in "Musique de L'ame" with
its ghostly violins and gently supportive
tablas. "Tales Of One Man's Trials"
features MC Khalil's dark musings over
a dry breakbeat that would sound right
at home on any Spectre release and
"Dis Song" sources poet Mutabaruka's
voice from his "Dis Poem" dislocated
over a propulsive push/pull beat before
ethereal chords drift over the developing
groove. The album finishes off with
"Second Coming Of The Urban Mystic,"
a lengthy ambient dub excursion that
leaves the listener adrift in a seemingly
eternal nocturne.
Bass Jihad is not so much a sonic
call to arms as it is a notable contribution
to the ever-expanding universe of Dub.
It's also a great excuse to get your
subwoofer pushing out some serious
DJ Satyricon Dub Gabriel
Matson Jones
The Scramblers
Yngwie Malmsteen's Rising Force
The Fembots
The City
(Paper Bag Records)
There are two things in life that I
truly hate. The first is when a band's hype
surpasses its musical quality. The second is
when a band with a great sound decides
that a greater sound would necessarily
arise from making the band bigger.
Unless you're Jesus or maybe Radiohead,
massive changes can go terribly, terribly
Thankfully, Toronto's Fembots have
walked this fine line, making a musical
transition to loud, chanting anthems
without losing the character that made
them attractive in the first place. In other
words, what makes The City strong isn't
the larger arrangements themselves, but
the variety of ideas that come through,
ranging from the Splrttuallzed-esque
gospel ending of "Count Down Our Days"
to the darker sound of "Hell." The City
also distinguishes itself from other recent
country/roots albums in its detail, which
includes typewriters used for percussion
("History Remade") and a spacey
instrumental waltz ("Demolition Waltz Pt.
Soren Brothers
The Hidden Cameras
Learning the Lie (7 inch)
(Evil Evil)
Let's face it, a limited-edition
double 7 inch is not really about the
quality of the music but about the quality
of the packaging. Learning the Lie is no
exception. All the trappings of novelty are
here, including coloured vinyl (think baby
blue and white making tender love in a
spin art machine) and a poster-sized lyric
sheet adorned with skulls and cameras.
Musically, four demo tracks are
featured to whet the appetite for next
year's full length release, Awoo. The first
and last songs on the record highlight
what the Cameras do best, taking full
advantage of Joel Gibb's soaring voice
to tempt the listener to join in chorus;
before you know it, you are next to your
mother on the drive to church singing
about interrupted outdoor sexual liaisons.
Sandwiched in the middle of "Learning
the Lie" and "Death of a Tune" are
two somewhat lackluster tracks,- "Why
I Understand" and "Lollipop," both of
which follow the pace of Mississuaga
Goddam's "B Boy" with a driving wall of
repetitious sound interwoven with Gibb's
voice, briefly exposing its beauty. The
lyrics are unfortunately lost beneath all
the instrumentation and the guitar loops
rapidly tire. Overall, there is enough here
to make the listener want more, but like a
good theatrical trailer it doesn't give it all
away. The casual listener will be satisfied
with the rest of the Camera's catalogue
while waiting for the upcoming LP, and
more importantly, their not-to-be-missed
tour in support of its release. Oh you
Hidden Cameras, you're such teases.
Caroline Walker
The High Dials
War of the Wakening Phantoms
(Rainbow Quartz)
After listening to this latest, blissed-
out opus from Montreal's psych princes, I
almost want to tell them they got the name
of their albums mixed up. Let me explain:
in 2003, they gave us A New Devotion,
which signaled a departure from their
former mod-pop leanings in the form of a
conceptual album of smart, snappy songs
and significantly more experimentation.
With this record, a more sublime
approach ensues, showcasing a band
now comfortable and confident with their
newfound musical calling, and not at all,
in my humble opinion, representative of
the apocalyptic reference to the album's
title as one might think. Tracks like "The
Holy Ground" and "A River Haunting" are
perfectly crafted pop gems that break
up the mellowed and moodier cuts like
"Winter Ghosts" and the closing track,
"Dust In The Sun." The only time things get
really busy is in "Our Time is Coming Soon"
which starts innocently enough, but then
ends in an accelerated climdx, nearly
losing control but just narrowly missing the
mark. So while the stories of old maybe
bear more literal meaning to this new
record's moniker, musically The High Dials
new devotion to making a solid artistic
statement out of the ghost of albums past
Bryce Dunn
Huckleberry Eater
(Houseopolis Records)
Sauvie Island: Only 10 miles from
downtown Portland, a bridge transports
reality-worn urbanites to fertile soil!
Fresh produce! U-Pick farms! In their
sophomore effort, Kickball serenade
this slice of agricultural heaven and the
feeling pervades the entire album. With
pared-down instrumentation supporting
the singer's earnest voice, a track off
Huckleberry Eater would provide a
comfortable transition between Animal
Collective and something from the
Elephant 6 catalogue on a summertime
mix tape.
This stressed out urbanite couldn't
get into the more meandering tracks;
it's been awhile since my last island
getaway. Personal shortcomings aside,
the album is lyrically playful and innocent
and the beats follow suit. Kickball is here
to play with you. They don't want to be
pinned down to simple time signatures,
no! Just as your toe starts tapping there
will be a break or a roll; but after a few
listens you can anticipate the next snare
or torn beat, then you feel good. And
feeling good is what Kickball is all about,
even though I cannot escape the pang
of Portland jealousy. Anyone up for a visit
to Purewal Farms? That's right, Portland,
show me your Fraser Valley!
Caroline Walker
Matson Jones
(Sympathy for the Record Industry)
Matson Jones is a departure for
Sympathy Records,'better known for lo-fi
pop and recorded-in-a-tin-can blues/
rock, and I'd like to thank Long Gone John
personally for releasing it. On their debut
album, this Colorado four-piece doesn't
reinvent the two-and-half-minute pop
song, but they do refresh it by mixing up
a few familiar elements, laying gritty girl
vocals (think Kathleen Hannah circa Bikini
Kill) atop two cellos, drums, stand-up
bass and a smidge of bleepy keyboard.
Before you start thinking of Rasputina,
lemme say there's nothing fancy here,
no history-shtick or waify prettiness, and
certainly nothing that could be called
"ethereal." Matson Jones is pensive and
driving, with straight-up song structures
and mean-eyed lyrics: "I've got people
to see, and places I need to burn down."
They're taking the cello for a ride, and
the result is urgent, sometimes manic,
and grimy in all the right places. Despite
their unique sound (and pretentious art-
reference name), this album has the
Sympathy Records anti-shine all over it,
and I'm slapping my seal of approval on
it as well.
Kat Siddle
The Fire in Our Throats Will Beckon the
Hot on the tail of the release of the
twenty minute "March into the Sea" as
a 'single' comes the new Pelican full-
length The Fire in Our Throats will Beckon
the Thaw. Pelican is the honey of heavy
music; it's predigested, easy to swallow
and goes well with a warm cup of tea and
a hangover. Beyond that, it really doesn't
have much use unless you are loyal to
the bong. While I can't dislike them, they
provide so little stimulation, it's just so
damn bland that at worst it allows me to
sit back and ignore it. At best, I might think
about stars, expanse, or something else
cliche and 'sublime.'
If you have limited patience for
waiting for a moment of clarity in fuzzy,
repetative riffing, then The Fire in our
Throats probably won't do much for
you. The best Pelican moments come
when they are able to fuse the fuzzy
and the clear, the best example is the
version of "March," abbreviated for the
full-length. Unfortunately, through it all
we find ourselves back at "Australasia"
fairly quickly; simple without the sonic
atmosphere required to compensate for
a lack of technical musicianship. In fact,
Broadrick's remix on the "March" single
is the best thing to come from either of
these records.
If HydraHead is the self-proclaimed
label for "thinking man's metal," then
Pelican fits in as a weeded sabbatical
devoid of deep thought, though it can
coax non-musical thoughts out of you.
Mike Barrow
Rock'n'RoH Monkey and the Robots
Detroit Trauma
(Drastic Plastic)
It was Friday...early evening...I was
tired...then I heard "Rock 'n' Roll and the
Monkey Robots!" beingrshouted from my
stereo. After a few songs I was drinking
beer and charged to go out and cause
Detroit Trauma has a solid
crunchy rock'n'roll positron core with
dark electronics in orbit providing a
balancing negative charge. On this
album there is everything from a crack
dog out for revenge in "Sadie," a bluesy
stomp "Shaky Jake," and the edgy
"Chopgratewhipgrind." These guys must
put on a great live show; there is good
energy in all of their songs and no hipster
posturing. I am putting this album on the
same shelf as the Pixies, Ramones, Dead
Kennedys, and The Cramps.
Jeffrey Helm
Charlie Schmidt
Xanthe Terra
(Strange Attractors Audio House)
If there's one great trend that solo
acoustic artists such as John Fahey, Glenn
Jones, and now Charlie Schmidt have
established, it's the use of stories without
singing. For many, the idea of listening
to the instrumental musings of a single
guitar for an hour could be daunting,
but I'm starting to appreciate it in the
same way that reading a book gives
the imagination more of a workout than
watching a movie. And Xanfhe Terra is
the perfect example of this—Schmidt has
put together a group of songs in which
some are his own, and others inspired by
artists ranging from John Fahey to Igor
Stravinski. Each song has its own story laid
out in the liner notes, but put together they
are intended to describe an imaginary
hike across the album's namesake region
on Mars. The resulting effect is a layering
of meaning and sounds, with the listener's
imagination wandering off in several
directions, but always guided by the
expertly played guitar. There's definitely
an audience for this.
Soren Brothers
The Scramblers
Good Gone Bad
(Heart of Texas Records)
The Scramblers serve up a selection -
of peppy glam rock that predates my
current local favorites Crystal Pistol by
close to twenty years. I'd never heard of
them before, but now that I have heard
their hook-y songs with smart-assed lyrics,:
I'll add them to my list of favorite bands
from the sleaze rock genre Ihave loved so
dearly ever since Faster Pussycat horrified ■■
my mother when I was in grade four. 1 find s
it amusing that the liner notes initially slam
writers Who describe rock in sexual terms
only to follow it with a pragraph bragging
about the women in their sexual prime
that came after the Scramblers, but
oh well—Alanis isn't the only one who
doesn't know what irony is.
Vienna Teng ,    ;/',*J^£0
Warm Strangers
(Zoe Records)
Dear Vienna,
I wanted to listen to your new
album, but couldn't, because the Copy
Protected Disc made my computer freak
out for five minutes before spitting if out.
The computer claimed the CD contained
no readable files. I was relieved that I
hadn't paid for Warm Strangers (it was a
review copy), but I would still like to hear
it. Maybe I can download it somewhere?
Please, let me know if you figure
anything out.
Pro-Twelve Thinker
(Strictly Amateur Films)
"Yip-Yip" is my new articulation
for "Yes Yes! L'll take it!" I can listen to
this album continuously and still want to
nod and bounce along. The few spoken
outbursts on this album include a "woo!"
at the beginning of "Mansion Days" and
a "we've been together for a long time
baby; do you have to leave?" plea on
"Big Bass with the Platinum Limbs." This is
a collection of seemingly random noises
and beats that all fit together quite
purposely. Yip-Yip.
"Cut Cameo" is like an actually
pleasurable junior high band warm-up
scale pattern, while previously mentioned
"Big Bass" is a romantic video game with
cardboard gun shootings. "Banger An
Eating Contest" is like a march downtown
(while tilting your head from side to side)
with stops at the Yves veggie dog stands
every 50 steps or so. "To Catch a Beef"
reminds me of chasing a coughing dog
that morphs into a g-dawg who taunts us
with a "shit's just too real" proclamation.
The clever duo of Brian Esser and
Jason Temple have played with Animal
Collective, IQU, The Cinema Eye and
such, so yes, they are rad. Yip-Yip.
Natalie Vermeer
Yngwie Malmsteen's Rising Force
Unleash the Fury
The title of this album refers to a now
humorously infamous 1988 incident of
Yngwie's drunken air rage, but the actual
content of the new disc is as serious as
one would expect from a proud viking
with a thing for Bach. The melodies are
sweeping, the harmonies majestic, the
lyrics occasionally corny but delivered
in a near pompous metal style and the
production makes it all sound like your
typical Yngwie epic journey. In other
words, it's freaking awesome and a real
treat for all us metalheads who aren't
ashamed of our secret love for Ronnie
James Dio, Dungeons & Dragons, and
bitchin' guitar solos. Now if only Yngwie
would drag his qss'up to Vancouver so I
can give a similarly sycophantic concert
Drake The Buttless Chaps
Constant Peasant
July 29
The Railway
I chose a recent Friday evening at the Railway to test out a new
theory of mine: bands can only be as good as their names. I mean
come on, seriously, did anyone really expect good things from Pearl
Jam before they heard one of their records? 'Nough said. And I did get
off to a great start with show opener Constant Peasant, a directionless
mess whom 90% of the audience simply ignored. But not even the
family and friends in attendance were able to muster much in the way '
of voluble support; their set ended like one of their songs: the band
sensed (correctly) there wasn't much point carrying on and no one
seemed to notice if they didn't.
Emerson said something like all credos are the products of weak
minds, and so the Buttless Chaps proved of my soft melon: contrary to
their idiotic name they were some good. Among othervirtues, the Chaps
might do well to consider careers 'm music biz management should they
ever give up the night gig: following Constant Peasant for a foil was a
stroke of programmatic genius. The Chaps have everything the formeS
didn't: cohesiveness, empathy, and patience, to name a few of those!
things. While the Chaps are a hefty six members strong, there's nothing
.haphazard about them; this is a band that's going to do it together or
not at all. At first I worried that the lead vocalists' disembodied, nasal
monotone would be a kind of drag on the collective parachute, and
yet these brushes with the ground only seemed to remind the band
how much higher they might go. It struck me, watching them, that
their sound consisted almost entirely of "peripheral" elements: jangling
guitars and keys; delicate drums; and a chugging, yet orbital and
nimble bass. Their elegant patterning seemed to trace something
elusive, yet all the more gorgeous for the wait.
John Evans
Teenage Fanclub
The Rosebuds
August 02
The Red Room
The Rosebuds were a charming four-piece from Raleigh, North
Carolina, that embodied the pop sound with just enough variety to
keep things interesting, mixing folk, country and a teensy bit of rock and
roP into a set that at times was a bit unfocused but kept the crowd's
attention for the most part. They seemed genuine in their execution,
but I wasn't bowled over, just content.
I was really saving my energy for Glasgow, Scotland's answer to all
. things good about late-night road trips. See, I can't tell you how many
times my girlfriend and I have tuned into 1991 's Bandwagonesque (on
cassette no less) in the par driving down the 1-5 with the-moon full and
the stars all aglow. What I can tell you is that when the alburn's closer
"Is This Music?" comes on, it is pure pop bliss, no questions asked. And
now, fourteen years later, many more albums since then, including
30 DiSCORDER - July 2005
their latest John (Tortoise] McEntire-produced Man-Made, we were
Blessed with a catalogue of music made by men who are gleefully
Ifelf-deprecating, yet engaging entertainers all the same. They mined
only two selections from the aforementioned classic, those being
lj|e teen-angst vignette "The Concept" and "Alcoholiday," a song
about the tales of unrequited love gone wrong, but two songs does
not make a proper set. -Crowd favourites included "Your Love Is The
Place Where I Come From" and "Ain't That Enough" from 1997's Songs
From Northern'Britain, which showcased their Byrds and Flying Burrito
Brothers influences, then they hit us with "Neil Jung" and "Don't Look
Back" from 1995's Grand Prix, the latter song featuring the best rock
and roll pick-up line in recent memory, "I'd steal a car to drive you
home." I enjoyed hearing "I Need Direction" from 2000's Howdy! which
ironically is the only album out of their discography that needed it, as
Teenage Fanclub has never been a band to really stray far from the "if
it ain't broke, don't fix it" philosophy. Of course, new songs needed to
be intcluded, and they made ample use of their three-part harmonies
with songs like "Time Stops", "Fallen Leaves" and "Slow Fade", but the
Shocker came near set's end when they reached way back to the
beginning and played "Everything Flows" to show us they still had a
trick or two left in the magic bag. Upon leaving the show, it only made
sense that the evening drive home was capped off with The Fannies
and I'm sure it wasn't just us that felt that way.
Bryce Dunn
The Tranzmitors
The Parallels
The Badamps
August 19
The Candy Bar
At first, I wasn't exactly keen on going to this show, considering
that I'd already seen The Tranzmitors six days prior. But their guitarist,
Jeffie, told me that it would be a "punk rock party", and DJ Ska-T
recommended attending as well. Seeing as I am always in the mood
for any amount of punk rock parrying, 1 decided to hitch a ride down
to the small, intimate venue.
The show itself started pretty late into the night, but if this indeed
was a punk rock show, I knew it wasn't bound to last that long.
The Badamps were the first brave souls to take the (somewhat
cramped) stage. Despite their pleas and attempts to get everyone into
the back room where the show was happening, only about 20-odd
people sauntered over to see what all the fuss was about. Looking like
the long-lost brothers of the Ramones, the band confidently played
tracks from their album, Molotov Milkshake. Although their sound stuck
to the basic pop-punk formula, the band's insanely catchy tunes didn't
fail to^get the crowd's heads a-bobbin' and toes a-tappin'.
The Parallels followed up with a less punk, more power-rock set.
I actually think I would have been more enthusiastic about their set if
I wasn't stuck at the back behind an extremely taH fellow. From what
little I could actually see of the band, it seemed like one of the guitarists
resembled an angry Buddy Holly.
I made sure I got a better spot to watch the last band of the
night, the Tranzmitors. These snappily-attired punk rock veterans are
certainly no strangers to the Vancouver rock 'n'roll scene, as the
band is comprised of former members of The Smugglers and The New
Town Animals. The band started off strong, and continued to blast
through their set, using only the necessary" 1 -2-3-4!" to separate each
song. Although the crowd was a little tepid at the beginning, a little
encouragement from the band and a song called "Dancing in the
Front Row" got a lot of people moving that night. Also of note were
the stellar covers of The Jesus & Mary Chain and The Undertones.
Watch out for some sort of demo/EP from these boys soon.
Shows like these remind me of why I love rock 'n'roll. All I can
do is urge you to watch any of these bands the next time they play.
Hurry, before these guys become huge rock stars!
Marielle K.
The Most Serene Republic
Immaculate Machine
August 10
Media Club
The indie crowd was out in full force at the media club for a
first visit by the new kids on the block. The Most Serene Republic.
Having joined the Arts and Crafts family as the only band not sharing
members with the rest of the label, they had a heavy burden to carry
and high expectations from their audience.
Mm The night was kicked off by the supporting act. Immaculate
Machine from Victoria. Sharing vocal duties and utilizing some great
keyboard work, it was hard to imagine a better supporting band
for what was to come. They carried their set with an innocence
and naivete only overshadowed by their flamboyant and shirtless
drummer. With some tighter production and the experience of their
upcoming tour with The New Pornographers, Immaculate Machine
will be a draw on their own) although the night belonged to the quite
geeky main attraction.
H     Before the band came onstage, they held a group stretching
session and arrived in front of the crowd barefoot. Even with all six
members crammed onto the Media Club stage, they offered all their
■"""collective energy to the crowded venue. Frontman Adrian Jewett led
the band, laying his odd take on Ben Gibbard's emotional vocals over
top of electronic blips and beats. Comparisons to The Postal Service
fell away as Jewett showed more range and variation than that band
were able to drop on their album.
With boisterous and intense takes on "Where Cedar Nouns and
Adverbs Walk," and a rousing finish of the band shouting "I Think We All
Know Words" and their first single "Content Was Always My Favourite
Colour," there was a noticeable shift in the crowd. It was difficult
enough to remain still as the band assaulted its listeners with wailing
vocals and intense jams.
The highlight of the set was "Proclamation 61" with its beat-box
start and all out wall-of-noise finish as the band shouted, "she took a
sad song and made it sadder." Such a riotous interpretation grabbed
the attention of the crowd back after a couple of meandering tracks.
This show was the start of something beautiful, and with A&C's
fairy god-s'cenester's watching out for the Most Serene, don't look for
a happy ending anytime soon.
David Flynn
Dinosaur Jr.
Love As Laughter
August 22
Commodore Ballroom
Despite the relatively high ticket price ($34.50 +) fans both young
and old packed the Commodore to see the former kings of indie rock.
Dinosaur Jr, whose original line-up of J. Mascis, Lou Barlow, and Emmett
"Murph" Murphy were playing together for the first time in 15 years.
Alaska and Love As Laughter opened the night with 35 minute
sets of their own versions of prog rock and indie rock, respectively. By
the time Dinosaur Jr finally took the stage it was well after 11 pm, and
they wasted no time in raising the volume with opener "Severed Lips"
from their self titled debut album. Drawing on a set that focused largely
on their first two albums. Dinosaur Jr proved over the course of the
next 80 minutes that they had lost none of their musicianship over the
years; Murph pounded the drums with such force that he broke several
drumsticks. Barlow plucked and strummed his effects-laden bass as
if it was the last time he would ever play it; while Mascisw—silver hqir
shimmering—cranked out the feedback-drenched leads that have
made him a guitar hero.
But this was far from a great show. It was guaranteed to be loud,
but it was so loud that both Mascis' and Barlow's vocals were almost
completely drowned out, and after a few songs the music developed
an element of sameness to it. And despite the individual members'
claims of enjoying themselves again this time around, there was little
evidence of it on stage. Mascis and Barlow seldom looked at each
other, and barely a word was spoken to the crowd—Barlow introduced
the band a few songs in (as if he needed to). Murph liked to leave the
drummer's stool and wander offstage every few songs, while Mascis,
not noted for his love of conversation, preferred to let his guitar do the talking, managing only to say, "Thanks for coming
Still, if it got a bit repetitive during the middle,
there were highlights at the end. The heavy dirge
of crowd favourite "Sludgefest" rounded out the
main set, and the first encore began with a cover
of The Cure's "Just Like Heaven" before morphing
into another crowd favourite, "Freak Scene,"
from 1988's Bug. Finally, the second encore was
an intense version of "Don't" with Barlow's urgent
scream rendered indecipherable under the wail of
Mascis' guitar. It was a surprising choice to finish, but
a fine way to go out.
Patrick Fergusson
DJ Kemo
August 24
Commodore Ballroom
It's common sense to be a b-boy at heart. The
Commodore was the place to be for Common's
last date on his sold-out tour.
DJ Kemo set the mood and had a good
selection of songs, ranging from old classics like
Naughty By Nature's "O.P.P." to newer tracks like
Kanye West's "Gold Digger" but the volume and
bass were cranked to the max on the speakers,
which distorted the tracks, and transitions were way
Up next was local rapper J-JIg. J and DJ
Pyscho donned 'Van City' shirts and tried their
best to get the crowd pumped. He Tapped over
some hip hop and soul tracks and even had some
guests join him. He had a decent flow throughout
his set but he earned bonus points for delivering a
swift rhyme. It wasn't until the midnight hour that
Common and his crew were ready.
The feit^*pjTJ Chi-town is a Renaissance
man: super MC, storyteller, b-boy, musician, and
"^jisslgipary. Opening with the title track on his latest
fpBrJpie*, Common took the stage with his 3-man
crew of DJ Dummy, a drummer, and a k^rboardist.
They held some tight grooves, with crash cymbals
adding   drama  and   keyboard   melodjes giving
some warmth. His timing was in sync with every
snap, beat, and note. With almost two hours worth
of storyteller time, he threw down recent material
like "Go" and "The Corner" as well as revisiting his
Common Sense days wth "Nag Champa." No
stranger to collaborations, he also dropped Black
Star's "Respiration" and Erykah Badu's "Love of MY
Common wanted to make sure the crowd
knew that hip hop lives. Showing l?^?jb|d skool love,
he threw down some of his own b-boy moves.
Taking cues from big production shows, Common
donned his playa fagade and brought up a lucky
lady from the crowd for a slow jam and she got up
close and personal (if you know what I mean).
To make sure that future MCs remembered
his name, Common did a long freestyle rap, giving
props to our city's ganj and making a play(a)fui nod
("I'm not Fifty, but bitch it's your birthday"). Another
highlight had to be DJ Dummy's cool James Brownlike funkiness; he showed off mad skillz for his solo;
at one point he scratched blindfolded. People with
cameras had to work hard to capture him cuz he
was quick on his feet working the stage. Though
not preaching. Common spread the word of God
throughout the night, talking about faith and how
people need to "let your light shine". The super-MC
ended the night on a positive note, rapping "It's
Your World" and getting the crowd to repeat the
mantra to the end.
It's good to be crunk-free. [Word - Ed.]
Emily Khong
Vancouver Zombie Walk 2005
Across Town
August 27
Legions of the undead rose from their graves
to chase busses, stagger through the mall, and
terrorize Main Street's living in an effort to satiate their
ceaseless hunger for brains. Hundreds of zombies
roamed the earth, leaving a wake of lobotomized
citizens and fake blood across Vancouver. When
asked for comment on this event, representatives'
The Brian Jonestown Massacre^ . -
Richard's op Richards
Jppgteoftber 10
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Brian Jonestown Massacre through many pha es
' at fame! 14 albums, 40 band mjemjaers»and Hi
years since t\& founded ihe psych-rock ptojecf iq
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^ "l$sw Nisyrconlber's" audience BjciutteS'
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manoged mysic,that Crept onto th&«cene m tne -
woke of gfunge put white Newcombe gets known»
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to- sign on with a nnajor fabet the Dandies get
famous mi Europe fot "Bohernian Like You,"'" .
•t  - Head Dandy Courtney ,Tayk» narrates the
<Hm but Newcombe steeds' -thfe ebnwa. ft heir,
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Vancouver Zombie Walk
DiSCORDER's monthly charts reflect what has been spun on the air for the previous month. Rekkids with stars mean they come from this great
land o' ours. Most ot these platters can be found at finer (read: independent) music stores across Vancouver. If you cant find 'em there
give the Muzak Coordinator a shout at 604-822-8733. His name is Luke. If you ask nicely he'll tell you how to git 'em. To find out other great
campus/community radio charts check out www.earshot-onHne.com.
slllllw   IBF
Underwater Cinematography
This is a Mot
Dimples and Anti Depressants
Old Songs For The New Town
Hot Blood
Wolf Parade
Rock Swings
10,000 Shots
If Footmen Tire You...
Debut EP
Romanticism Askte
Spurts: The Richard HeB Story
Dangerman Sessions Volume
Danee Me In
Sunday League
Maximum RNR*
Horns Up
fourth City
The Girl With The Rsh Bowl Eyes
Moon Room
90.9 Wtth A Bullet: 20 Year of Calgary
Music On CJSW
Saved By Radio
Stomp and Howl
Whitey Houston
Sub Pop
Everything Ecstatic
Keep Guessin'
Lost Highway
Fat Wreck Chords
Modern Sounds Of
Character Of The Moment
BUCK 65*
Secret House Against The World
Pop Echo
Tenth Street And Clarence
Clothes Horse
Sound Of Pop
Hang On Little Tomato
Alpine Static
Sonic Unyon
La Foret
Now Sound Redesigned
J|§tl3tThe Attic
KID 606
W%f\&%t\s   j-^H*
*°\f  Lukx R3msjeij> CiTR 101.9 FM presents... the longest running musk battle in Vancouver
13th   Crossbone Cadillacs
Fun 100
, lise Monique	
20th   ^° Ghetto Tiger
The Jolts
likely Lads
Plus Jokes For Beer!
Every Tuesday night shows at 9 PM
The Railway Club [Seymour/Dunsmuirl
* Bands subject to change.
For the latest schedules and results, visit:
"Afos/c Week
listen to CiTR at 101.9tm or at www.citr.ca
David "Love*" Jones brings you the
best new qno old jazz sout Latin,
^ke the listener for a
Ealy—-around the wortd;
; African music and
; from the Diaspora,
at is where you can catch up
' on the latest in the "World Music"
scene and reminisce on the classic
collections. Don't miss it.
Hosted by David B.
AND     SOMETIMES     WHY     (Pop/
Fist Wednesday of every month.
ANOIZE (Noise)
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
All of time is measured by its art. This
show presents the most recent new
music from around the world. Ears
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.
Real     cowsh'it-caught-in-yer4xx5ts
BLUE MONDAY (Goth/Industrial)
Vancouver's       only       industrial-
etectron'ic-retro-goth      program.
Music to schtomp to, hosted by
Your favourite browrvsters, James
and Peter, offer a savoury blend of
the familiar and exotic in a blend of
aural delights!
Independent Canadian music from
almost every genre imaginable
covering   the   east   coast   to
the left coast and all points in
between. Yes, even Montreal!
British pop music from all decades.
CIRCUIT        TRACING        (Dance/
A volunteer-produced, student
and community newscast
featuring news, sports and arts.
Reports by people like you.
"Become the Media." On Hiatus
'til September 7th and 9th.
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy and Paul.
Independent    news    hosted    by
award-winning   journalists    Amy
Goodman and Juan Gonzalez.
«En    Avant    la    musiquel»    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
(Eclectic)    |
ESCAPISM (Eclectic)
es«cap»ism n: escape from the
reality or routine of life by absorbing
the mind in entertainment or
fantasy. Hosted by DJ Satyricon.
Experimental, radio-art, sound
collage, field recordings, etc.
Recommended for the insane.
FLEX YOUR HEAD (Hardcore)  -
Up the punx, down the emol Keepin'
it real since 1989, yo. flexyourhead.
Two hours of eclectic roots music.
Don't   own   any   Birkenstocks?
AHergic to patchouli? C'mon inl A
kumbaya-free zone since 1997.
A fine mix of streetpunk and old
school hardcore backed by
band interviews, guest speakers,
and social commentary.
This is pretty much the best thing on
Vancouver's longest running prime-
time jazz program. Hosted by
the ever-suave, Gavin Walker.
Features at 11:00, as listed.
September 5: Sonny Rollins the
tenor saxophone giant will be
celebrating his 75th birthday on
September 7 and tonight we'll
play his latest disc. Without a
Song, recorded four days after
9/11 with his touring group. This
one is a "must listen."
September 12: At this time of year
The Jazz Show is always ready
to educate and entertain 'm a
"back to school" mode. Tonight
Is Leonard Bernstein's fascinating
What is Jazz where Bernstein
explains and analyzes how this
music is put together with great
examples and humour.
September 19: Continuing in our
educational mode The Jazz
Show presents An Introduction
to Jazz narrated by the great
saxophonist/bandleader Julian
"Cannonball" Adderley talking
and presenting musical examples
of jazz past and present.
September 26: Tonight, to honour
the 79th birthday of John Coltrane
(Sept. 23, 1926) we present
one of Coltrane's crowning
achievements: the album called
Crescent recorded during
one of the "Classic Quartet's"
musical peaks. Coltrane on tenor
saxophone with McCoy Tyner
(piano), Jimmy Garrison (bass),
and the great Elvis Jones (drums).
Developing your relational and individual sexual health, expressing
diversity, celebrating queemess
and encouraging pleasure at al
stages. Sexuality educators Julia
and ARx wil quench your search for
responsible, progressive sexuality
over your life span!
The best mix of music, news, sports,
and commentary from around
the local and international Latin
American communities.
Hey    Jordie!    See    your    show
' description? No? I thought not!
Um...this show has eclectic pop
and rock and hip hop and show
listings and stuff. It's hosted by
Jordie Sparkle.
HELL (Uve Music)
Live From Thunderbird Radio Hell
showcases local talent... LIVEI
Honestly, don't even ask about
the technical side of this. This
month will probably be the best
month ever.
THE LOVE DEN (Eclectic)
Cycle-riffle rawk and roll!
Zoom a little zoom on the My
Scence Project rocket ship, piloted
by your host, Julia, as we navigate
eccentric, under-exposed, always
relevant and plainly cool scientific
research, technology and poetry
(submissions welcome).
PRESENTS... (Nardwuar)
Socio-poBttaaLenvironmental activist
news and spoken word with some
music, too.<www.necessaryvofces.
org> <necessaryvotees@telus.net>
All-original Canadian radio
drama   and   performance   art written and performed live-to-
air by our very own team of
playwrights and voice-actors.
We also welcome you to get
involved, whether you are a
professional or inexperienced...
The best in roots, rock 'n' roll and
rhythm and blues from 1942-1962
with your snappily-attired host,
Gary Olsen. <ripitup55@telus.
OUR WAVE (World)
News, arts, entertainment and
music for the Russian community,
local and abroad.
Bluegrass, old-time music and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
Underground pop for the minuses
wflh the occasional interview with
your host, Chris.
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.
Music   inspired    by   Chocolate
Thunder,   Robert   Robot   drops
electro past and present, hip hop
and intergalactic funkmanship.
Start your week ridiculously earty
with Vancouver's super awesome
fun time happy radio show. Playing
all the dance-punk, electro, rock,
new wave, hip hop, 80's, etc. sh*t
that your mom thinks is cool.
Cutting-edge, progressive organ
music with resident Haitchc
and various guest performers/
DJs. Bye-bye civilisation, keep
smiling blue, Where's me bloody
anesthetic then? <http://
Vancouver's only true metal show;
local demo tapes, imports, and
other rarities. Gerald Rattlehead,
Dwain, and Metal Ron do the
Dedicated to the gay, lesbian,
bisexual, and transsexual
communities of Vancouver.
Lots of human interest features,
background on current issues, and
great music.
RADIO ZERO (Eclectic)
Movie reviews and criticism.
JHardcore dancehall reggae.
Hosted by sister B.
DJ Knowone slaves over hot-multi-
track to bring a fresh continuous
mix of .fresh every week. Made
from scratch, samples and
just a few drops of fame. Our
tables also have plethora
of guest DJs, performers,
interviews, giveaways. Strong
Bad and occasional public
service announcements. <eno_
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.
.Reggae inna all styles and fashion.
Primitive, fuzzed-out garage
International     pop     (Japanese,
French, Swedish, British, US, etc.),
60s soundtracks and lounge. Book
your jet set holiday now!
Studio guests, new releases, British
comedy sketches, folk music calendar and ticket giveaways.
8AM-9AM: African/World roots.
9AM-12PM: Celtic music and performances.
An exciting chow of Drum n' Bass
with Djs Jimungle & Bias on the
ones and twos, plus guests. Listen
for givawas everyweek. Keep
feelin da beatz.
Email requests to: <djska_
Sweet dance music and hot jazz *
from the 1920s, 30s, and 40s.
TANSI KIYAW (Eclectic)
"Tansi kiyaw?" ls"Mtehif-Cree (one
of the Metis languages) for "Hello,
How are you?" It is also a monthly
Indigenous music and spoken word
show. Hosted by June Scudeter (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 j_cudel@uca_ary.
ca with news, event listings and
ideas. Megwetch!
Top notch crate digger DJ Avi
Shack mixes the underground
hip hop, old school classics and
original breaks.
Open your ears and prepare for a
shock! A harmless note may make
you a fan! Hear the menacing
scourge that is Rock and Roll!
Deadlier than the most dangerous
criminal!   <bcm'insixtynine@hotmail.
Join us "in practicing the ancient
art of rising above common
thought and ideas as your host
DJ Smiley Mike toys down the
latest trance cuts to propel us
into the domain of the mystic-al.
Dark, sinister music to soothe
and/or move the Dragon's soul.
Hosted by Drake.
Al the best the wortd of punk rock
has to offer, in the wee hours of the
mom. Hosted by Trevor.
Punk    rock,    indie    pop,    and
whatever else I deem worthy.
Hosted by a closet nerd.
WENER'S BARBEQUE (Sports)     '
Join   the   sports   dept.   for   their
coverage of the T-Birds.
Listen to Setecta KrystabeHe for your
reggae education.
W.I.N.G.S (Talk)
Womens      International      News
Gathering Service
An old punk rock heart considers
the oneness of all things and
presents music of worlds near
and far. Your host, the great '
Daryl-ani, seeks reassurance via
Sunday       Monday      Tuesday Wednesday  Thursday      Friday        Saturday
""■'■""""""* Hlun
milN          1   KIRCH MASALA (WO)
W.I.N.G.S. (TK)
DOdonce/electronic #DR=drama * EOeclectic • EX=experimental • FR=French language • GI=goth/industrial • HC=hardcore • HH=hiphop • HK=Hans Kloss • JZ=jazz
LM-live music • LOHounge • MT=metol • NO-noise • NW=Nardwuar • PO-pop • PU-punk • RG=reggae • RR=rock • RT=roots • SK-ska •' SP=sports • TK=talk • WO-world ZULU NOME SCHOOLS YOUR STEREO
I metaphor Jor the glassy; fas-
s New Pornographers. The
fficient specie, a hermetic
lorbed in itsjpwn reproduc-   |
fetors have rsoj|m; they show
logic of the sinncle itself
■ No tortjjpinctjoning,
|iew displays 1
icholic talismaf
I truth of pop!
Jcordingly, eaf
further elabofl
| absolute popf
, but to imparl
Ind lo, this on
The New
The image of two |
jectors joined e
offers a compelling |
tidious pop n
image suggests a sel
self-referential circufl
tjon. And yet, these jf
nothing but the absti
suspended as pure f
the remaining sidewlj
twin cameras as a n
gorically reveals a ce]
form. The tunes unfJ
hook, bridge and cha
lematic: the search f|§
Zarathustra, The Net
from the cave not tojj
through willful examj
into moral clarity.
WLPtja _
Coco Rosie
Fuih_\p__pS&ting the crackles and coos of low-fidelity
turiesrnrtfoery, Coco Rosie
, tetuwis with another uniquely
.mj^H^ theatre. The»ork is
J^^^^susly carefH^pppy, genuii
^^^^ftafways gre^K as tf Bjork
cross-dressing, neo^W-sci-l
imagine Ifla fiti_era§j|§)d Nina Sii
done Ivy League edui
syrup and magic mi
tjve poetry intohroke
in bedroom closets
odd-ball faux naive si
um, zebra-corns on
it features guest visi
more, too. Freaky! AV|
CD 16.98
iron and Will
In Hie Reins)
There is a phenomej
called a standing
which two opposite
waves combine accot
the principle of supei
little more detailed, ofj
dynamic energy of thej
nizes, becoming signi
propitious meeting of
pop talents is a uniqui
that is individually gr
is the shit. But hot
ta the Betas tMisn,t If
Bunts and Convertino at t
spare and skills aplenty;
j that aJte-
: in icon
pove, lick,
lic. As if
Icome down
ll shock you
>n. The phyffcs of it all is a
but the fsult is that the
amplified|Likewise, this
jch significant indie-roots-
;some com^Hp1 °* a"
irds, this
Immaculate Machine
Ones and Zeroes CD
After their imminent "high-profile" tour
with Destroyer and The New
may find the quiet confines of their sleepy
hometown of Victoria quite welcome. The
trio of Brooke Gallupe (vocals/guitar),
Kathryn Calder (vocals/ keyboards), and luke
(vocals/drums) have jumped into the instant spotlight with their
recent signing to Mint Records. Telephones have been a-buzz around
; here with journalists from tire States wanting to know something of
the personalities behind the group's brilliant debut, Ones and Zeroes.
They're regular people," we tell them, "regular people who know
how to pen amazingly catchy, dance-party positive, poTrticized rock
songs." You figure rt out yourself—or trust us. And catch 'em at
the Commodore Sept 23rd.
CD 14.98
Devendra Banhart
Cripple Crow CD
"The wind cries Mary no longer 'cos
I she's got a new lover named tad I
Banhart! With his trusty nylon string i
tar and band of gypsies, Bee Bee is
going to take the wind under his Cripple
Crew wings and mate sweet love, love, love! So, you gentle soul
star-child, please decide whetberybu are free — freeto rfcla on- '"
Mama Wolfs fancy caravan ride. All you gotta do is fiowiateng;«ath
Devendra s vagabond noise! Jong the way, your hips vt$ shake-to;
the boogie beat of Long Haijj|iild and you'll keathe in the secondhand pump-organ air of He§i Somebody Say|Are you ge$ng, -:
there?! Yeah, man, we're afijtting there! !___§ it featores performances from Antony and tfi Coco RosiojsJpaJ,
CD 16.98
The Rosebudsf
Birds Make toi
Neighbors CD
Merge Recording ^.^IIL^
have previousfjf'ttsfighfe^^^toi
two cozy little pop records. Ftecerff*
dropping into town to support fellow
Merge pals Teenage Fanclub, The Rosebuds really won over the
local pop-sters with their intimate arrangements of delicate melodies
and carefully crafted vocal harmonies. Well, now with the release of
a stellar new full length under their belt, everything is starting to
really bloom for our beloved Rosebuds! Sure, you've heard and love
Arcade Fire and Spoon, but isn't it time you found a new Merge act
to devout your listening hours to? The magic word: Rosebud!
CD 16.98
The Intelligence
Icky Baby CD/LP
We sold, like, two copies of the last Intelligence album,
Boredom & Tenor, it was no fault of theirs, though — some
sort of changeover in distro, or something, where certain albums fall
through the cracks. Lame-o excuse, i know, but it happens sometimes. And yet, down in the cracks sort of seems (ike the optimum
place for this band. I mean that in the best possible way—even
though I cant property explain it. Nevertheless, this new one, Icky
1, will not suffer the same fate. This time around Lars Robert's
noisy, frantic and fried indie rock—with obvious debts to the
Country Teasers and The Fall — is gonna be front-racked here at
Zulu with enough copies for all. Mark my words.
^talogue anc
|rl. Man, it rules,
jrder from j
f roof white
rround DVD 1
urbines, cut-f
ot diving
em, we couf
| decision to
i hear?
bming soon §
I big-s
yeah, that's!
Death Cab For
Plans CD
Ah, sweet. We've finally
decided to invest in that
oval-shaped swimming pool
and hot-tub combo for our
roof patio. We've looked through 1
talked to our sales-rep, "the Dukel|
the Aqua Deluxe 5000 with Super!
Jt costs a little more and it's a spef|
Miami, but ifs so worth it. With w
metallic glaze vinyl seats for 12,59
with sub-aquatic woofer, 6 ultra-qtj
ting-edge "wave-poor functionalitf
board, auto-cover and self-cleanin J
n't resist And how did we come bj
make this audacious purchase? Dfl
There's a new Death Cab long-playjj
and it,s on a major label. How di
at Zulu? S-W-l-M-M-l-N-G-P-0-0|
CD 14.98
The Double
Loose in the Air
Senate number of    -
#8az)Mfiands coming out
fjWtew York ind Srookryn?
'wts^e^^^^jWrrlc^e^^Pl '.cause everywhere
else sucks, This ethapian,jn an eflnto escape thejj
emut of everywbere-elsewhere folks tn the States
"vm^li^_i^_%4mm^s_\ moveJp&YC to meet 1
up with like-minded peers for the PttiMse of fulfilling^
their destiny and furthering the rodfip roll revolu-^
tion. A grand scheme! Enter MataddjjlBcords, _
smart-dressed, smarter-than-shit in|jj|jockers, The §
Double. Sounding like the screwed tjHpusins of
Interpol and The Walkman, The DoBi really up-
the-anti in the experimental post~pu|jj||ck scene.
Like last year's fellow Brooklyn "disagies" TV on 1
The Radio, The Double make musi^Biting all overlj
again. Get Loose in the Air, baby.
CD 16.98
The Warlocks
Surgery CD
Anton-rock is getting bigger and bigger these
days - much to
Newcombe',s chagrin and
benefit Witness the rise of
bands like B.M.R.C., The
Black Angots, The Dffldy Warhols
nightcrawlers. Surgery is another!
in the Factory lobby. VU, J.A.M.C.
references abound. Add in a newfoui
"girl group" sound, and you got a
nestle itself easily in a dope induced
bed, or between your ~
records. Give yourself a
Hey — are you
looking for something that tastes
good on a bun?
We've got it!
Chocodog Records is
run by Dean and Gene Ween and these guys
serve up the strangest sounds going. Yum
yum! YespS juicy mouthful after juicy mouthful as everyone's favourite how "high can you
fly" guys dig deep into their mushroom bog of
rarities and find some really amazing sonic
fungi to share with you. Whoa, dude! Indeed,
this is a must-have for all devout fans — also
non-devout fans. And hell, even non fans. Feel
the love.
CD 14.98
The Other Stuff is
always the Best Stuff:
Portastatic- Bright Ideas CD Mac from
Superchunk and Merge fame shows
off his intimate side.
August Bom-sACD Ben from Six s
Organs of Admittance shares ideas f:
with Japan's Hiroyuki Usui.
* &The101ers-Elgm m
Pre Clash recordings from everyone
fave hard man.
| CD Sweden's finest sweetheart p^
\ give us a little of tjieir B-side boniisefB
I The Dandy Wartrab-Oditofturn and
Warlord CD Guess what, ttiey are
Brian Eno-Music For Films III CD The
Godfather of today's ambient scene
gets bank with Ms celluloid inspired
The Rrat 10 Years of Saddle Creek
DVD Plexifilm's documentary look at
the world of Bright Eyes etc. Pretty
Sonic Youth- Goo Deluxe CD/IP
i Remember the year that punk broke?
I This is their defining alternative noise
rock moment.
36 DiSCORDER - July 2005


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