Discorder CITR-FM (Radio station : Vancouver, B.C.) 2003-09-01

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 I Under Exposure * Sonic Affairs @ Vancouver Art Gallery
presented by Western Front
laO© The listening Theatre @ Charles H. Scott Gallery
presented by Open Circuits and Vancouver New Music
noo trac : IM @ Video In
^O^u Audiomobile : Artist Run limousine @ Western Front
=Oo  see«sound e*scape @ Western Front
SFU Max/MSP/Jhter Workshop @ Western Front
Open Circuits, bradycran@hotmail.com
Access Artist Run Centre, wvw.access.rubyarts.org, 604-689-2907
Belkin Satellite, www.belkin-galleiy.ubc.ca/satellile, 604-687-3174
Simon Fraser University, School for the Contemporary Arts, www.sfu.ca/sa
Counterpoint: Local Hangouts, exhibition opening @ Access
II ©.8II  Cinema for the Ear @ Scotiabank Dance Centre
presented by Vancouver New Music
|©J(6HI9  Open Circuits @ Or Gallery, Zulu Records, and Sugar Refinery
Q©>H)  Peter Luining @ Belkin Satellite
uO.^s^a©  Dangerous Currents @ Scotiabank Dance Centre
and Vancouver East Cultural Centre presented by Vancouver New Music
D©>38 Counterpoint: Local Hangouts, performance @ Access
Western Front, www.front.bc.ca, 604-876-9343
Video In, www.videoinsludios.com, 604-872-8337
Vancouver New Music, www.newmusic.org, 604-633-0861 "
For roorc rwcrmowa pm<m® cow a>©4=<a>33~©86i arp)!®'
design and illustration by PiSCORDER
The Weakerthans by Ian Gormley p. 13
The Constantines by Kimberley Day p.14
Frog Eyes by Chris-A-Riffic p. 16
The Microphones/Mount Eerie by saelan p.l7
KaitO by Merek Cooper p. 18
Hella by Susy Webb p.l9
Bonnie "Prince" billy by Merek Cooper p.20
Radio Berlin by Julie Colero p.22
New Forms Festival by Meelosh p.24
Fucking Bullshit p.6
Strut and Fret p.8
Panarticon p.10
Riff Raff p.l 1
Road Worn and Weary: ox p. 12
Under Review p.26
Real Live Action Special:
Sonar and Mutek p.28
Screw You and Your Pointy Shoes p.33
Mystery Takeout Box p.34
Kickaround p.34
Charts p.35
On the Dial p.36
In the Booth: Coin Gutter p.37
Darebook p.38
Dani Vachon did the cover. I remember
seeing a poster that she did for a band and
really liking it. A strange set of coincidences
led me to meet her just two days later blind
drunk at a Goxxip show. I can't believe we
managed to arrange this excellent cover.
Merek Cooper
Ad Wrangler:
Steve DiPo
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Deputy Editor:
Esther Whang
Editorial Assistant:
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Layout and Design:
Merek, Lori and Esther
Keith Turkowski, Karen, Brian
Danin, Ian Gormley, saelan. And
very special thanks to the Ubyssey
especially Duncan and Hywel
On the Dial:
Bryce Dunn
Luke Meat
Mistress Whang
Matt Steffich
US Distro:
Frankie Rumbletone
Lydia Masemola
Masthead Photo:
V Dave Gaerther
© "DiSCORDER" 2003 by the Student Radio Society of the University of British Columbia. All
rights reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents
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DEADLINES: Copy deadline for the October issue Is September 10. Ad space is available until September 17 and can be booked by calling Steve at 604.822.3017 ext. 3. Our rates are available upon
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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.
Made and Printed in Canada, eh?
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The Stooges are one of the
greatest bands of all time.
Jimbo Osterberg, or Iggy
Pop as most people know him, is
one of my family's oldest friends.
My dad and Jimbo used to yuk it
up back in the day when my dad
lived in Detroit.
I never got to see the
Stooges play live. I was born long
after they had already broken
up. A few months ago, Jimbo
called me up to invite me to the
Stooges reunion show in New
York. I hadn't been to New York
in a while, not since I broke it off
with TV. That's Tom Verlaine. We
kind of have a history, if you know
what I mean.
Anyway, I was really excited
to see Jimbo and his good old
band. I called him up before I left
to make sure that they included
" "I Need Somebody" on the set
list. That's my favourite Stooges
song. I also called up Tom to tell
him I was coming. I was sure that
he'd be at the show.
He sounded good. He wasn't
the mess I left him in. I agreed to
meet him before the show.
Jones Beach was packed. I
met Tom on this patch of grass.
The opening band was playing.
I forget what they were called.
Boy, they played some noisy
shit. I couldn't hear anything Tom
said. All I could hear was that
crappy band yelling these stupid
lyrics—"Cool dink, walking like a
panda... I don't wanna... I don't
think so...." They really sucked
it. After they finally finished, we
pushed our way to the front of
the stage.
encore. Jimbo got all crazy and
sang right into my face. He pointed at me every time he sang
"you." I was cracking up. I looked
over at Tom and he was furious!
He looked like he was going to
punch Jimbo 'm the sack.
After the show I said "Tom,
how can you be jealous? Jimbo's
practically family!" That's when
he fell apart. He begged me to
(hadn't been to K/ew yorte/n q vj/hi/e,
notsT/xe I broke frofftffWi TV. Thaf's
Tom Verhlne. We kind of have Q Ws~
for/z ((■ youknow whqf /meqru
The Stooges were great.
They mean to put you on the
stage, which is why they are
super-modern, though nothing
near to Art. In Desolation Row
and Woodstock-Altamont Nation
the switchblade is mightier and
speaks more eloquently than
the penknife. But this threat is
cathartic, a real cool time is had
by all, and the end is liberation!
(Sorry, sometimes I get carried
away. It's hard to hide how great
a writer I am.)
They finally played "I Need
Somebody"    in    the    second
go home with him. He begged
me to stay.
He said "What about Jane's
Addiction?" I shook my head.
"The Grapes of Wrath?" I kept
my arms crossed. "How about
Thin Lizzy? The Yardbirds? The
Damned? Okay, the Go-Go's.
Iron Maiden. Fleetwood Mac. The
Who. Black Sabbath. Suicide. The
Buzzcocks. The Misfits. Pere Ubu.
The Velvet Underground." I said
nothing. "Television?" he asked.
"No," I said. "We're not getting back together. It's a bad
idea." •
^Ulfl proudly presents y ig^
JfcS II Cnhra
2003 Fall Music Series
■nk    <m        /TO frail Music ;
Wayne Horvitz &
Sweeter Than The Day
£»   (Zony Mash Acoustic)
with Peggy Lee
Wayne Horvitz - piano
Tim Young - guitar   «
Keith Lowe - bass
Andy Roth - drums
Peggy Lee - cello
September 21
Vancouver East Cultural Centre
'Vancouver Operations'
jpji*   Masa Anzai - al
Skye Brooks
J.P. Carter -1
Coat Cooke - s
Sal Ferreras -1
Wayne Horvitz - keys
Viviane Houl
Giorgio Magnanen
Ron Samworth -guitar, prompter
Stefan Smulovitz - viola, electronics
Dylan van der Schyff - drums, prompter
Tony Wilson - guitar
Jesse Zubot - violin f^U*3^
October 2
Richard's On Richards
John Hblenbeck's
Brad Shepik - guitar
|, Matt Penman - bass
** Tom Rainey - drums
Francois Houle - clarinet
Jesse Zubot - violin
Tuesday j
Matt Moran - %
Drew Gr
eve of newt
I the cult classic Nosferatu
I Stefan Smulovitz - viola
I Coat Cooke - flute, clarir*
i      Paul Bkney - bass
°£°£f L28     October 31
St James
Community Hall
St, James
Community Hall
;s at Black Swan. Highlife, Scratch, Z«lu Records. Chroma Books & wwwivtb
ya^^     I 3214 West 10th Avenue^
a ^^HlH event 601879.4990 www.zola.ca
6 5aprter*ber20G3 Red Cat Records
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Mew & lifted $>'« & Vinyl
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09/13 - Vancouver - The Brickyard
09/14 - Victoria - Logans Pub
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The Plughole
For the fourth year running.
SWARM is arriving to keep us out
in the streets, while easing us
back into the misty routines of
autumn. On the first weekend of
September, a goodly whack of
alternative galleries and cats centers—most of them artist-run—will
hold exhibition openings and
other occurances. Your mission is
to graze them.
Although there have been
satellite venues since year 2, the
Downtown Eastside/Gastown
area has always been SWARM's
epicentre, and last year's event
was so hugely attended that the
City got nervous. Venues were
often plugged solid and people
were milling outside (can't have
that, can we—especially after
dark). SWARM's response has
been to spread itself over three
nights in three different areas: Mount
Pleasant, Gastown/Downtown
East and Yaletown on September
4, 5 and 6, respectively. The
upside of this is that you won't
have to race between neighbourhoods trying to cram everything into one evening. With a
total of over twenty venues participating and afterparties erupting at various locations each
night, you can.stlH go out and
play.for hours.
Mount Pleasant north of
Broadway (let's call it NoBro) has
more than enough spaces to get
its own evening. An important
stop will be the grunt gallery.
where 2400 An Indian Odyssey
reflects the vital presence of First
Nations as they explore and celebrate the ways in which they're
affecting the culture that colonized, but never extinguished
them. Also check events at Aion,
Antisocial, DadaBase. Video In
and the Western Front.
Down in the motherland on
Friday, the Access, Artspeak and
gachet galleries are joined by
four spaces making their SWARM
debuts. One of these is a great
artifact in itself. The Interurban. at
9 E. Hastings, was part of
Vancouver's transit system back
when streetcars roamed and
fares were probably about five
cents. Recently, it has been
developed as a gallery and arts
centre where the area's residents
can paint, tell stories and contribute to a video archive. Here,
the desmedia collective will show
work from three years of art-making in the community. I caught a
desmedia show last year and
can highly recommend this one.
At Blake's, Laurie Marshall's
sweet, childlike paintings should
make fools of those who stalk
exhibitions spewing traddlesome
bafflegab. Perspective, proportion and technique are bent
every which way, but apparently
Marshall's innocence is quite
genuine. My Atelier and
Ironworks bookend this circuit. To
finish the night (or at any point
during) be sure to visit Dynamo.
Sugar and Sugar and The Crying
Room. Although there are no listed openings at theselocations, -
their doors win be open until late
for drinks and some shoulder-rubbing. As you approach Sugar
from the west along Powell, you'll
pass the wailing wall at #36. Wail
briefly and press on.  .
Don't let the word Yaletown
put you off your oats. The final
night there includes some righteous galleries—Centre A, Helen
Pitt, Onepointsix, Or and (in a
rather odd mapping choice) the
Belkin Satellite near Victory
Square. It will also be the closest
we get to watching a science fiction film in a churchyard in what
promises to be SWARM's most
manifesto is to show films wherever and whenever possible (cinemas, rooftops, livingroom walls...)
and to break down any barriers
between audiences and the films
that they view (although I'm not
so sure that having them regarded as flickering wallpaper was
quite what he had in mind).
The line-up for each year's
tour is chosen from an international group of submissions on
Super 8. There's something warm
and grainy about this format that
makes it highly absorbable to the
viewer, and with many of the
films, I had the feeling of kicking
back while people showed me
their thoughts, dreams and fantasies.
Personal favourites included
Vanessa Micale's Untitled
Cowboy, a portentous walk
through a bleak and scrubbly for-
TheMercury Theatre exposes Vancouver's
tetutiJU innards, oAtfife year's SWAWH festival ^
dramatic event, Mercury Theatre.
A collaboration among media
artists from Video In and Intermission, it will take place outdoors in Cathedral Park, where
video clips of Vancouver's more
futurisrically-inclined architecture
will be projected onto surrounding buildings and temporary
screenage to an improvised
soundscape. That sounds Gothic
enough to make me feel alright
about Hallowe'en being less than
two months away.
So there you go. Venues
should have full listings and maps
on the night.
Polyester Prince Road Show
Wednesday. August 13
The Sugar Refinery
Call me cranky and inflexible, but
when films are being shown,
either belt up or leave. Yes, The
Sugar Refinery is a club, but a
screen was set up. for christsake,
the event was MC'd and everyone else was attentive. What,
then, did that table of stentorian-
voiced cretins. whov_apped from
start to finish, think they'd walked
Paolo Davanzo, LA-based
curator and ringmaster of the
Polyester Prince Road Show,
probably has a longer fuse—his
est that ends in suicide by hanging; Jason Harris' sweet, sinister
claymations and split-screen
nods to early surrealist film in The
j?jkonfiand Why: and Picinin,
Davanzo's film-poem to his childhood in Venice, made as a way
of coming to terms with his parents' deaths. Cleverest and funniest of the lot was The Chad
Lawler Story, a mock-documentary about fhe hometown legends that grow up around a
headbanger's disappearance.
Half of the ten shorts were silent,
and for these, Lisa Marr and her
Band of Troubadours provided
live musical accompaniment so
sensitive and right that it often
seemed as if the films had existing
Davanzo is well aware of
what we in Vancouver lost when
The Blinding Light!! Cinema went
to that big film festival in the sky.
By touring films and screening
them in untraditional settings, he
is proving that small format and
guerilla filmmaking can still flour-
ish^-though they be temporarily
If you'd like your own Super 8
film to run away with next year's
Road Show, visit www.polyester-
prince.com or email <polyester-
prince @hotmail.com> •
9 September aflce ? t*£GORXH^ The hordes will descend,
black with the expectancy
of bitter grief and. brilliant
triumph, thirsting for the reproduction of an image—anywhere,
on paper, a billboard, a radio
or television—seeing themselves
infinitely reflected in a dizzying
Borge's library—we will be much
older—DiSCORDER aged seven
years mbre, my friends, even
if we exist and even if these
words be remembered—paste
these to your wall—for this is the
past!—calling to you & asking
to remember our robots: what
ridiculous fantasies did we tread ■
on the blacktopped garbage
waste, EXPO Ernie in fowl" -Late
night reminiscent and drunken
words recorded @ "the exiled"
poetry gathering, Montreal
24 Months of Panarticon
Indeed. Peek around that seven-
year corner & see the perma-grin
of the Olympics, while here at
Panarticon Headquarters, we are
celebrating our 24th missive: two
years of mangled politics, littered
art, and blasphemy through
which no less than four editors
have crawled. Six years since I
began writing for DiSCORDER—
which means we are almost at
the fulcrum between APEC and
the Olympics. A balancing act,
writing Panarticon is. Is this column monitored by Government
Intelligence, I wonder? All politically engaged bodies ask these
questions in moments of smoked
paranoia, and even though
CiTR reporters were granted the
honour of CSIS records for their
independent coverage of APEC
'97, I queried myself today on
the increasing potential for free
speech in the light of Sherman
Austin's imprisonment.
"You Never Know Who's Listening"
"Sherman Austin, webmaster of
RaisetheFist.com, was sentenced
today, August 4, 2003, to one
year in federal prison, with three
years of probation. Judge Wilson
shocked the courtroom when he
went against the recommendation of not only the prosecution, but the FBI and the Justice
Department..."- Raisethefist.com
Guilt by association is coming to
the fore—a vicious tactic—and
by this I mean that today one
can be prosecuted with "Intent
to harm the State" (conspiracy)
by simply linking or hosting information that could be used for
dangerous acts—like creating
explosives. Which is what has
happened to Sherman Austin.
After an "unnamed poster"
uploaded information on explosive-making Jo Austin's political
site, Raisethefist.com, an FBI
squad team surrounded and raided Austin's house. From there it
was all over (suspicions remain, of
10 September Wm
'course, ai to why the poster has
not been pursued...). The issue is
not. technically, linking or hosting such information—but rather
conspiring to use with intent, for
Google caches contain, host
and link such information, as do
libraries and (untouched) religious
and conservative militias. While
Austin's rhetorical intent is con-
■ frontational there is no evidence
that he was planning or even
approving of violence wrought
-■ by explosives. fci fact, his website
is only a degree more direct than
many other websites critiquing
US policy and Government with
an ear to considering alternate
political systems—Austin's political system of choice being, not
and activists are. The waves of
fear spread. So does the discussion of anarchism.
Austin's case also means
another dangerous US legal
precedent: that webmasters are,
responsible for all content on their
websites. This would entail what
an anonymous poster might write
in the Comments field of a blog,
for example, or in a guestbook.
Are webrriasters now responsible
for what others say, think and
write? And what of Google ads
that rotate generated content?
Is the webmaster now responsible for, simply, all volunteered,'
provided, generated, and linked
information? What of RSS Feeds?
How and where does a website
Today one can be prosecuted
with ''Intent 1o harm the State"
(conspiracy) by simply k'hking or
hosting information tilQt could
be u$<zd for dangerous acfe-V/Tce
ere q ting exp/os/Ves,
surprisingly, "anarchism" (a
debated alternative, in theory
and application, on Zmag.org,
Nettime.org and lndymedia.org,
as well as in PostModem Culture
& Autonomedia.org).
I don't support Austin's "anarchism," but it's something, and it
remains startling if not ironically
close to the politics of Thomas
Jefferson, of "Declaration of
Independence" fame (which one
poster described as "an anarchist
rant"—& it is for these same reasons that I would be weary of
"anarchism," for its acceptance
of a liberal humanism, inheriting a legacy that requires some
thought, including "liberation"
and other violent methodologies
which, at their limit, mimic salva-
tionary structures). But it shows
that the very usage and mention of the word today—anarchism—is looping the circuits. The
linking of "Tactical Post-Structural
Anarchism" to Hakim Bey as
well as Foucault, Lyotard and
Deleuze (see Michael Truscullo,
PostModem Culture 13.3.
www.iath.virginia.edu/pmc/) will
have a double-effect: of at once
aligning poststructuralism with a
movement often shunned by the
Left and philosophy in general
for its apparent naivety, and at
the same time, in the eyes of the
Right, confirming their long-held
suspicions that "French Theory"—
if not intellectuals and academic
knowledge in general—are The
The resampling of "anarchism" makes both Left and Right
uneasy. The State has clearly
acted with aggression against
Austin. Noam Chomsky is unlikely
to be arrested. But the upcoming
generations of political thinkers
end, in this situation, when hyper-
linking has also been proved to
be a legal act of association?
For example, by even linking to Raisethefist.com in this
journalistic context as well as in
the mode of critique and citation, it could be claimed, under
this unjust precedent, that one
supports the site's aims of conspiratorial intent ("intent" which
has been "proved" in the same
manner). And so on—which
leads us to (wrongly) conclude
entire swaths of the Net, if not
discourse in general, as matrices :
of culpability. Will we live to see ;
the time when, in its final bid for
supremacy, hegemonic power
attempts to eradicate not only
the presence of such information but all the participants and
agents in and of its relay? It's not
too fantastic to suggest that the
current tactics of the RIAA—in
arresting MP3 filesharers accused
of minor infractions of outdated
copyright law—are beginning to
test the limits of such "outreach"
tactics of State and Corporate
interference to what what can
be termed "inward" aggression.
These are the tactics of, to put it ,
mildly, "shock & awe."
We resist with an openness '
to debate, to discussion, to writ-
ing-as-polylogue, to dropping the
in-fighting and presenting a show
of hands when needed (and we
need this in the case of Austin).
But beyond this frontline support,
the issue at hand is one of knowledge itself: of the way we know
things, citate things, learn things.
This is not only about Austin, but
about the*power politics of information—and thus our dreams
and our realities. •
"straight o^^%^
middle of
buttfudge nowhere"
buck 65
•JS)j£kin honk-
LIVE Sonar i5feptembefel8
VANCOUVER       I ^.. ■ V
Sept. 13 * 14
0»;t. 25 & 26
nt program of 25 videos will fje featured each night
The Stag Reels
The Snits
Giri Nobody
The Perms (Calgary)
The DudeS (Calgary)
5th Annual
Pete Campbell 40th B-day
The Sweaters
Rodney Oecrao & the Kilers
PeteQ ,
& his so catea friends Well wouldn't you know
it? After the deluge of
entries I received last
month I was feeling a little cocky
that I would repeat the feat again
this month. Only up until a few
days ago I was feeling the fiery,
heat of failure bite my ass, when
a package courtesy of Jonny Cat
Records (P.O. Box 82428 Portland
OR. USA 97282) arrived in the
hands of Nardwuar The Human
Serviette, and even before the
man himself was able to test-
drive the turntable, I persuaded
His Nard-esty to hand over the
goods and let me give them a
new vinyl
by bryce dunn
spin. And here's what I heard:
Now I'll give The First Time some
credit as this is most likely their
"first time" on vinyl, so the slightly
sloppy, glam-soaked punk that
accosted my ears was tuneful at
times, but not that catchy. There's
some potential on this three (four if
you count the uncredited bonus)
song EP, but it may just happen
after the second, third or fourth
time these songs are played.
More seasoned Seattleites The
Stuck-Ups have benefited from
the addition of keyboards into
the line-up, as they've been able
to explore an edgier side of their
sassy punk rock a little more with
a track called "Last Chance." The
flip gives us more of the patented
two-minute tear-a-long I've
heard from these gals (and guy!)
in the past, with "Out Of Control."
A band I've gushed over in the
past has got me praisin' again,
as The Diskords, the tyrants of
teen trash, have busted out two
more gems in "Touch Of Evil"
and "Summertime Blues." The
former had my head boppin'
to this mid-tempo number with
just a hint of The Boys, and the
latter is a cool stab at the Eddie
Cochran classic, with the lyrics
adding extra irony as these lads
have not yet dabbled in the joys
of voting, working, or much else
us adults have to deal with on
a regular basis. The Low Rollers
share the other half of this waxing, and I'm pleasantly surprised
with the two tunes supplied.
"The Thunderbird Song" is a '50s-
twang inspired ditty about their
favourite ride, and their version
of "Trouble" by The King sounds
eerily like the man at the age of
fifteen—which is I think how old
these guys are. Oh, both songs
were recorded the old-fashioned
way (in the basement, no over-
dubs) and sound awesome, so
kudos, kids! Another split-single
effort comes from The Gloryholes
and The Flip-Tops, respectively.
Our garage-rockin' Gloryholes
contribute two blue-collar bullets
in the way of "Give It A Rest," a
punchy, guitar-dueling ode to
people too full of themselves
to notice, and "Pickled Egg," a
track that thinks a little outside
the punk rock box, thanks to the
lyrical genius of Doug 'Hole, 'cuz
damned if I know what the hell
this song's about! It sounds good •
to me and that's what matters,
I guess. The Flip-Tops offer up a
pair of mid-'90s Texas buzz saw
punk-influenced songs (think
Motards, Cryin' Out Louds, etc.).
Short, snappy and delivered
with just enough piss and vinegar to keep you wanting more.
We venture outta the Pacific
Northwest (which at this point 1
should mention is where all the
aforementioned hail from) to San
Francisco for the last stop on the
Jonny Cat tour, and The Clorox
Girls. While there's actually only
one girl in this trio and the labels
of both sides of the record have
them   as   the   "Lorox   Girls,"   it
don't detract from the sounds
of bouncy, pop-laced punk that
remind me of how Brent's TV
and Supercharger would have
sounded had they joined forces
back in the good ol' days of Bay
Area rock and roll. Heck, I could
go back even further and tell you
that "Trashy Daydream" reminds
of The Gears tune "I Smoke
Dope," but that would require
some serious thinking, and I ain't
about to overload your senses
more than I've already done over
these last several lines, so we'll
stop right there. Thanks Jonny
Cat Records, you saved my butt
with a bounty of punk rock treasures... aye-aye and good-bye!
- I
tl piscoftbe* °z's british to
ox from the uk...
in the uk for a month now and
almost through, washed up, hung
out, wasted... hammered almost
every night and i'm lucky they
let me on the trains stinking like
i do—of sheep paddy fields and
the local goulash... nasty bitters,
pork & ale pie, black (blood)
pudding, bags are stuffed with
money and receipts, hard to tell
which is which, scurrying down
railway flats and bus stations looking for 'platform 9 1/2,' trying to
understand english: "i'm sorry, i'm
Canadian—can you write that
name down... oh, the 'w' is silent
in chiswick... and Warwick... glaw-
chester... oh, glawster...shire? is
scared "the piss outot q nice, old lady
walking dawn the street- just asking
how "to gei 'down/oun.' she acfual/y
took q step backwards que/ ran away.
oh yeah, brighton's lovely...
gorgeous sunset... not very quad-
raphenia at all, really, took a few
photos... left the lens cap on.
passed battersea park power station on the train back to london...
took a photo of that too—looks
just like animals.
... sleep...
Cambridge and i'm scruffy as
hell—slept the train away, scared
the piss out of a nice old lady
walking down the street... just asking how to get 'downtown.' she
actually took a step backwards
and ran away, i need a shave
and some shampoo, my deodorant stone broke as well—fell on
the bathroom floor at kings cross
rail station, gum residue and
tar—looks nasty now.
sweaty boy meets up with
the demon and miss pickles
outside king's college in the
"medieval heart of Christendom's
most learned town, looking very
Canadian, as in, 'out of the
bushes.' CB2 is a buzzing cafe
full of beautifully intelligent posh
speaking folks... walked there...
VERY sweaty now. dispersed
vinyl and cds, met wonderfully
enthusiastic music lovers... had
a very good soup and ate too
much bread (and later farted
on stage) highlight was the fart...
F# i think, then did a rousing version of "north country girl" and
woke up to adoring, if restrained,
applause, three to four stella
artois later (i haven't gotten into
the bitters yet... and that's when
the real trouble starts...) i've got
a place to lay my head down
and have some hot chocolate,
first decent sleep in the old
world that night and enjoy a trip
to the grocer's and drank tea
whilst watching the worthington
cup (which it turns out is a big
deal—though NOT as big a deal
as other 'cups'... my enthusiastic
and learned hostess attempts
to explain the complex system
of soccer leagues in operation
throughout britain and europe
that a 'shire'?"
nine hours on a plane—it's 4
am in Vancouver and so it's off
to the grey's, brighton and i'm
keith moon with a candy box of
pills... vitamins, echinacea, most
of all... advil—taken with a lovely
english ale and washed down
with the greasiest, nastiest, foulest 'chicken fingers' (from the
chipper) i've ever slided down
my throat, drunk on chicken oil
and a single beer i cancel the
show—then i go on—and sneer
through Julian cope's "pristeen"
with the resounding, non-rjietori-
cdl chorus: "how much can you
take? Mow much can you take?"
politely, the audience doesn't
answer so i go on. all in all a good
start—i get out alive—the crowd
goes wild—i meet a couple of
buxom girls... .and turn cds into
money...     'isE'iu
'wicked & weird I HI
a roadnog
with an old dog singing
slow songs
tryin' to hold on%uck 65
talkin honky blues
>pxember 1?
and i can't help but wonder how
meathead 'football hooligans'
can figure it all out... and keeping
to myself, of course, the fact that
these neanderthals in doing so
show more intelligence than we
Canadians could ever manage
if hockey had seven leagues,
four cups, nine divisions, three
seasons, six playoffs, five trade
deadlines, and a partridge in a
pear tree...) and so, as visions of
sugarplums danced in my head,
i train to london—or bus, to
some other place first because
my mission: Sheffield university and the interval bar. maps are
useless, the local dialect unintelligible, only hope is to a) wander
in a methodic fashion across the
anti-grid that is the archetypical
euro city b) get on a bus full of
young nubile females carrying
schoolbooks. i choose b).
word from the interval bar
was the following:
Yes, we can do Monday 3rd
March. It's the Curry Club night
so yummy food!!! Do you do any
.'I)talcej&h b/q7ft*'s old room p/ease.
actyctJ/y,.. no, Q clean room with a both
pfease. the spirit of rock and roH coy\
waft 4fHlne n qctfuclcM 9 tevvn. I
the trains don't run on Sundays
from Cambridge—and arrive,
smartly, and ready for six cobra
beer and chicken vindaloo with
a side of 14 papadoms, in kenton.
(that's one of london's names)
drink, pass out, fart many times
jalfrezi, sour the room-
wake up scared...
next stop: Sheffield & def lep-
pard country (south yorkshire).
wow, the train... and i spent
the evening before fueling up on
frothy warm ale thinking i could
while away the morning sleeping
fitfully at leisure on a cosy, long
train ride: closed my eyes and
i'm there, turns out Sheffield, the
rock and roll home of cheese
rock legends, def leppard and
pulp (they're not cheese rock) is
in yorkshire. so i'm in YORKSHIRE!
and it only took three hours.
so now i'm bloodshot, with a
faint hint of rank hops, staggered
under the weight of 50-plus cds
and ridiculous glam-farmer-
hoser-rock stage clothes, standing outside the Sheffield transport
exchange blinking and cowering
under the hideously cheery sunshine of an unseasonably glorious
i arrive sweaty and bump my
way through halls feeling grizzly
and weathered, there are many
girls and silly-looking boys... i AM
rock and roll i say to myself... find
the manager, order the hottest
ass burner they've got, where will
i sleep, where will i sleep, def leppard is from here, it's splurge time:
a room at the local inn, appropriately, The Harley. '"i'll take jello
biafra's old room please, actually... no, a clean room with a
bath please, the spirit of rock and
roll can wait 'til the next fucking
so again, i farm-rocked the
packed house... a room full of
plucky and eager listeners as
it turns out... again, turn cds
to money and get some more
receipts... invitation to the bars
downtown? to the casbah (more
there later..:)? ok.
and so it's a night on the
town and bed & breakfast must
wait—i dance, i drink, i make
merry... meet many new daves...
and finally, bed is nice, bed
is good, i pass out, sour the room,
wake up scared.
def leppard is from here.
12 aofrten>ber acoa FABLES OF THE
Ptifttito, tfttteEIKS Lodge
Vstfth John P, Sutton o*Th« Wedkferfhons
By Ian Gormley
Pho-to b Y t>ar\ MonlcK
The Weakerthans are a Canadian band. Not in the sense that
they are ignored elsewhere on our continent (The Tragically
Hip), not in the sense that they move south to pursue greater
success (Finger Eleven), and not in the sense that they play big shows
sponsored by Molson Canadian (Theory of a Nickel-Fault). They are
Canadian in the way that they sound like Canada. Lead singer and
guitarist John K. Samson's voice evokes a sense of warm isolation that
typifies life on the Canadian prairies. "We write the only songs we
know how to write," explained Samson in one interview, "songs that
reflect the place we come from musically and geographically, the
community we live in and the struggle for any one person to connect
with another in a meaningful way."
Hailing from Winnipeg, Manitoba, the band is comp/ised of
veteran Winnipeg musicians including Samson who played bass in the
legendary Propaghandi for five years and bass player John P. Sutton
who has recorded "every Winnipeg punk band."
The Weakerthans have managed to combine elements from their
hometown's two most famous musical exports: the breathy vocal
stylings of Neil Young and the driving guitar rock of Randy Bachman.
These influences are once again a prominent fixture on the group's
third LP Reconstruction Site. Bass player John P. Sutton in conversation
via telephone from Toronto describes the album in typically modest
fashion as, "On par with the other albums. The songwriting is basically
the same idea, its the same group of boys writing the songs so it
doesn't stray too far off from anything that we've done before, but at
the same time I think we put a ton of thought into it. It seems like we
worked and worked and worked at these songs and hopefully that
comes across." The hard work does come across. The record boasts
a cleaner (but not slick) production and much tighter or "cohesive"
songwriting. Lyrically Samson took "a bit of a left turn" according to
Sutton, moving away from the futon revolutionists of old into more
"peculiar" territory with songs such as "Psalm for the Elks Lodge Last
Call" and the first single, "Our Retired Explorer (Dines with Michel
Foucault in Paris 1961)."
Reconstruction Site and its first single are accompanied by a
new video. Set in the Antarctic, the band dances around with fake
penguins among other things. Though unintentional, the video
comes Off as surprisingly humourous, somewhat of a change from a
group that are often perceived as being quite serious artists. "I think
we probably come across as quite a serious, straight-ahead rock
band. Listening to the records you don't really catch a lot of humour
in there. I think there's a bit more humour in the lyrics on this new
album, but there's also a lot of the same serious, heavyJyrics. We're
humourous people, I would think. We're always joking around and
we're always having fun together. It's good to make a video that
brings out that side of us."
The lyrical and visual turns are not the only change being
ushered in by the new album. Reconstruction Site is being released
on independent heavyweight Epitaph Records. "[Epitaph] is a great
scene. Everyone was just so excited about their job and about music
cool. They're coming to the show and probably buying a t-shirt.
They're just so into it that they had to get the record before it came
out. For a band of our size it's not that big of a deal. Sure we may
lose a few CD sales here and there but ultimately these people are
liking it, hopefully, and they're coming out to the show. As long as
people listen to the music and like it that's sort of the main thing.
The release of Reconstruction Site will see the Weakerthans
embarking on a "trans-continental expedition" that includes two
shows in Vancouver on September 10 and 11 at the all-ages Mesa
Luna and the Commodore Ballroom, respectively. "[Touring] is
"l Ve do ne ever/possible extreme on tour, from having a perfect d<*y
1o breaking down fo Ihe micfdfe ofnourbere andfteen'ng oriwecdijnQfo
ihe poitf where youjv&wwttv pass out." ■ ■
and it just seemed like a really great fit for us."  Sutton is quick to
point out that relations are still good with the group's old label G-7
Welcoming Committee, who still handles the group's back catalogue.
The move to Epitaph was motivated by a desire to consolidate the
business side of the group. At one point Weakerthans albums were
being distributed by no less than five different labels, making things    •
exceedingly difficult to keep track of. The move was an issues of
control. With Epitaph, Sutton explains, the band can now "walk into a
studio, record an album without a record label, own the masters and
just say 'we want to sell it to somebody now. It's our record, and we
want to hold fhe rights and let's find somebody to license it from us.'"
Control on the business side of the industry seems to be a
key issue to bands these days. Internet piracy, according to the
Recording Industry Association of America (RIAA), is apparently
the scourge of the industry. It threatens artists from the top down.
However, Sutton doesn't quite see things this way. "I have my own
issues around it. I have my own rules that I make. I don't feel that
opposed to downloading major label music or bands that are
long gone, like band from the 70s or 60s." He goes on to point out
that "it has so many elements to it. A lot of people have already
downloaded our new record and when we played in London,
England, it was evident that there were a lot of kids out there that
knew the words to the new songs. On the one hand thdt's pretty
everything you Can possibly think of. Somedays are so fun, and some
shows are so great and other aays you just don't want to get out
of bed. It can be anything." says Sutton. "I've done every possible
extreme on tour, from having a perfect day to breaking down in the
middle of nowhere and freezing or sweating to the point where you
just want to pass out. You know some shows you just get up there and
the last thing you want to do is play a show but you gotta do it... its
something I really enjoy." The all-ages show is a conscious attempt
by the band to allow younger fans to come and see them. "We've
been doing that for a few years now. We try to do that in most of the
bigger cities in Canada and the U.S. We just find that we all grew up
in the punk rock world and our best experience of seeing bands has
. been at all-ages shows. I really like all-ages shows. I go to them all
the time still. I would feel weird if we were going to a city and a lot of
the kids couldn't come out."
The Weakerthans continue to spread the word on life on the
Canadian prairies. But will this unique experience be lost on the new
audiences that wider distribution will surely bring? Who knows? Go
see them, though. They're really good, eh? •
The Weakerthans play Mesa Luna on Wednesday, September 10 and
the Commodore on Thursday, September 11. Reconstruction Site is in
13 D&coftoe* STEROUS
Bry Wetob *&The Ccnstanttoes encousages fa«sio pickup -fteir
howema.dc rtovSeAiafcers and team not -to tafceUfeteoserrC*tffy
Photo toy J«*ii>ifor Adorns
The Constantines have been receiving consistent recognition and
praise since they first started making music as a four-piece band
after forming from the members of london, Ontario's Shoulder
and Guelph's Captain Co-Pilot. Two members of each band went
on to begin The Constantines. and after two successful releases—a
self-titled full-length album and an EP entitled Modern Sinner, Nervous
Man—a fifth member has joined on to play the organ on their latest
release. Shine a Light. Now—just over four years after fawning—The
Constantines have released on album on both their original label
Three Gut Records and the US label Sub Pop, and they are being
recognized in (emotionally for their original and captivating personal
brand of rock.
DiSCORDER: Your latest album, Sh/ne a ughf, was just released last
week. How has the response been so far?
Bry Webb: It seems pretty good. It's definitely better than I could have
expected, and we're happy with the way things are going. It's been
weird because we recorded the album eight or ninemonths ago, so
it's strange that it's coming out now because it's been finished for so
How does the album differ from your self tilled release and from your
Modem Sinner, Nervous Man EP?
The biggest difference is that we have a new organ player in Whil
Kidman, who joined about a year ago and is a permanent member
of the band now. We really couldn't have made the record we
made without him. He's a really imaginative guy and he added a
whole psychedefic, vintage organ kind of thing to the band that
wasn't there before. It's helped us figure out how to not play as much
individually, which has made a big difference. Also, lyrically the
songs aren't as focused on rock and roll and that kind of thing. The
first record was more trying to come to terms with rock and roll, and
14 September 2008
the new record is more about community and family and coming to
terms with the place you five#v
What do you feel Whil's on-stage presence adds to your five
performance? ~'"\»5i§i
He's just a wild man. I'll look over and seehim jump on his keyboard or
do a slide down the keys with his foot. It brings a smile to my face. He
helps us not take anything too seriously, which has been a continuing
goal for thisband. He's an amazing player.
Do you feel that the band has gone in a different direction at all after
signing to SubPop? Did your motives, ambition or drive change at all?
It wasn't signing to SubPop that changed anything; it was just
us growing up a little bit. We're a few years older than we were
when we wrote the songs for the first record, and we're aH living
in different places now. All of us, except Doug, live in Toronto now
which is a big part of the record. It's more just little life changes that
have happened- The SubPop thing just changed a bit of our family
dynamic; our community that we have going with our friends in
Toronto, Three Gut Records. They released the new record in Canada,
and up until signing with SubPop it was just us. Three Gut and the
Three Gut bands. We used to see each other everyday and just
hung out with each other as close friends. It was more of a friendly
relationship that was already there. With SubPop, they're on the other
side of the country so it's a bit different. We had to sign contracts,
which we never had to do before. Just having to think of something
you care about so much in legal or contractual terms wasn't very fun
at all. But once we got past that, it was fine.
Now that you're earning International recognition with SubPop, is
there any chance of you ever leaving the Three Gut family for future
i don'tthink so. We're pretty happy. They're good to us and they
know what they're doing. Things keep changing with us, with Three
Gut, and with what we're surrounded by; the way we're received.
Things wiH always be changing and the relationship will be growing
and changjng.tout I don't want to ever be making records that
they're not Involved with. They're close to us and they've been so
good to us up until now. I can't imagine ever saying goodbye to
them.      .     v-^^s^li&llll ^^^*
Three Gut continues to grow in Its size and popularity, signing bands
like Oakville's Cuff the Duke, and receiving more and more demos
each week. To what can you attribute this growth, and do you Und
that it is primarily due to the success of their current bands, the
Constantines in particular? v-:^^^,^^%
I think that originally Three Gut got a Jot of attention because
they weredoing things in a really different way. They weren't
industry-minded people, they weren't going by any "How to Run
a Rock Band" books, as far as the way they ran their label and
were promoting bands. They just wanted to throw parties and put
something interesting and beautiful into the world. That was more
their concern than anything, and so that, I think, was refreshing
enough in the music world that people started to really take notice.
Because of that, I attribute a lot of our success or the reason people
initially started paying attention to us, to what Three Gut were doing,
and the way they promoted us. It's all been very interesting and
unconventional in the way that they've put us out there.
What were you able to take from your experience in your former band
Shoulder, and bring to the Constantines?
I think that part of the reason why Shoulder didn't work in the end
was that we all took things a little too seriously, or at least I did. I've
learned over the past few years, and I'm still learning not to take things too seriously. It doesn't make sense to take life too seriously
because life doesn't really take us too seriously. I think that was a big
thing that we all learned in Shoulder. It was part of the hardcore punk
rock network that was happening throughout the '80s and '90s, and
we were playing a lot of basement shows and hall shows that were
amazing. People would come out to see shows just because there
was a show, rather than waiting for a band they knew. Bands weren't
playing for any financial success, they were doing it because they
loved the music and they loved the community of it. That was pretty
encouraging, and it was a great way to grow up; starting to make
music and to travel. At that age it's pretty special. I definitely took a
lot from that experience and it was an amazing time;
Besides music, do you feel that your songs are influenced or inspired
by any other forms of art or literature?
I was just in Vancouver a couple of weeks ago, and I went to the
"Drawing Our World" show. It is an incredible show that starts in Italy
and goes through Inuit villages and First Nations children's drawings.
Upstairs is all of this contemporary drawing that is just amazing. There
is also a group called Royal Art Lodge in Winnipeg who are doing
incredible things. I feel an alliance to what they're doing because
they are a small group, eight people who got together when they
were in University and they would just draw on a piece of paper
and pass it around in a circle. They would create these things in a
community. It was a beautiful thing. They didn't take it too seriously:
it was all about having fun and surprising one another. That's the
way I feel about running a band; that's the way I feel a band should
operate. There are also a lot of writers that I'm into, like Gabriel Garcia
Marquez. I'm really into magic realism. I like the idea of writing as a
way to make sense out of your world through your own idiosyncratic
myths and magic realist ideas. It's a very inspiring, liberating idea, that
you can make your own myths to make sense of the things around
How has the transition from the Constantines playing smaller bar
shows to playing larger venues and soon touring the US with the
Weakerthans been so far?
It's been good, but I wish we could play more diverse places. It got
to a certain point where we realized that we couldn't book ourselves,
and it was too much for Three Gut to try and do it. We had to get a
promoter in Canada and in the States, but usually those folks work in
the bar scene and automatically go to bars to book shows. It's alright,
I like playing bars and that dynamic but I wish we were playing some
different spaces. That's the only thing I'd like to get into more in the
next year or so. We'd like to play converted barns or art spaces, as
well as playing bars or clubs. The more people you can involve in a
night of revelry and dancing, the better.
In your live shows, there have always been percussion instruments
passed around the crowd near the end. How important is audience
participation in your live set?
Very. The reason we play a show is for audience participation. We've
been lucky; we haven't lost too many instruments over the years.
We're not as stocked with instruments as we were at one time, so
hopefully we can make a few more acquisitions over this next tour
and bring more percussion out. It's my favourite part of the set. It's the
same as clapping: it's a lot better when you feel like you're engaging
the people in a party. It feels like more of an event or a celebration of
something, more than if it's just you performing the same structured
sounds every night. It would be a dream come true if people started
bringing handmade percussion instruments to our shows. That would
be the best thing ever.
How did the SubPop/Epitaph or Three Gut/G7 connection come about
with the Constantines and the Weakerthans?
We actually played with the Weakerthans about two years ago in
Quebec, and we kind of hit it off. They're really nice people, and
a couple of the guys are in Toronto now, so we see them around
every once in a while. I think the connection probably happened
because Rob, who does our booking, also books the Weakerthans,
and our releases are coming out at the same time. It seemed pretty
convenient and I'm looking forward to seeing them because I like
their new record a lot.
Just to help those of us who are torn between the Constantines
show at Brickyard and the Weakerthans show at the Mesa Luna on
September 10, what should the Vancouver concertgoers expect from
a live performance of the Constantines?
It's going to be a multimedia extravaganza!!! Maybe I'm
exaggerating a little bit, but there may be some media manipulation
going on as part of our show. We're just all about freedom rock. I'm
going to try to make every show that we have a little celebration of
life, and hope that everybody has a good time. I went to see Neil
Young and Ray Charles in the same week at the beginning of June,
and I ended up hitchhiking across Canada for July. That's the kind of
thing that I want to inspire in people: the idea that you can live free,
and do what you want to do. •
So, just fo re-iterate, you can catch The Constantines at the Brickyard
on Wednesday, September 10.
Shine a Light is out now on Three Gut Records
Shine a Light is also on the CiTR playlist and is getting some serious
rotation. If you actually listen you could hear it. That's 101.9fM.
iSOaSGOSDBR If is not only the belly of this charming and robust rogue that needs
nourishment. I have a mind to feed as well. If one were to take a
slice of Bertrand Russell, two crisp pieces of Plato, plucked from a
fresh head of Pushkin, four thick slices cut from a block of Heraclitus,
some Hieronymous Bosch and Brueghel sauce, and the most sparing
sprinkles from the Thrashymachus and Xerses shakers and place them
all in between a hoagie bun—well, I might just take a bitel"—from the
biography of Carey Mercer by Reg Lech and Grayson Walker.
I just want to apologize in print for sweating on them on that hot
summer evening. I was in over my head, but this is not about me. Well,
it kind of is. I heard so much about Frog Eyes from the Hive Studios
people and CiTR DJs that I was almost forced to see a Frog Eyes show.
I saw them open for Stephen Malkmus and was kind of shocked to
hear them later trounce the show as being not great (more for the
headline act than anything).
I've never been so floored by a performance. Right from the
beginning, when front man Carey Mercer assured the crowd not to
be afraid and invited them closer to the Sonar stage, I wasn't going
anywhere until they were done. Upon hearing their first album, The
Bloody Hand, I was led to believe that Carey was literally off his rocker;
shackled to a railing during their sets so as to not attack the audience
G.G. Allin style. But of course all four of them were sweet and kind and
giving with their time, even though I pestered them with questions for
four days by e-mail and in person. Yes, they were kind, but so were.
the alien visitors from "V" before they ordered us onto their mothership
in order to be preserved for future consumption. The above quote is
from a biography of Carey Mercer. "How old are you?" I ask. "Old
enough to have a biography." Wha?
Yeah, I think he's having me on as well. But through careful
research I have come to the conclusion that he is being sincere.
I've only known of this humble four-piece for a few short months, but
ever since my first listen, I've been carving the Frog Eyes logo into my
school desk.
I'll give you four points about these cats and then I got a plane
to catch. First up is Carey's voice. The first word I ever heard Carey
utter was 'radio' from the song "Sound Travels from the Snow to the
Dark." Joy Divsion's Ian Curtis sang that word almost identically in
the song "Transmission," except that Carey sounds like he's trapped
in a closet screaming into 90 megaphones. I have this lawn mower
that growls along for a while, but then it eventually lets out this high
pitched wail that liquifies my insides. This, comparison with the way
Carey sings Is meant as a compliment.
"I was pissed once... drunk, not angry," Carey begins "and I was
listening to the CCR cover of "I Put a Spell on You." Then it really hit me
and I thought it'd be nice to try to sing. And now, here we are in this
room." For the record, Carey did not know who Diamanda Galas was
and the rest of the band did. Long story.
Secondly, the latest album is different than their first one, but not
really. Let's ask the band themselves:
DiSCORDER: Why did you clean the music up?
Carey Mercer [guitar, vocals]: Is it bad?
It's wonderful. But I never heard an album like The Bloody Hand. Have
Carey: Well, it's a very unconventional recording. [We recorded it on
an] 8-track, and then we re-recorded it through tubes and distorted
pianos. There's quite a bit of that in the new one.
What did you do different?
Melanie Campbell [drummer]: We recorded in our house, the first one.
Carey: But it sounded like shit, the first one, until the very last second. I
love that album... it's like victory to me.
Grayson Walker [keyboardist]: I remember talking to Carey and
pulling the whole 'let's not do it' thing, and it came out and I felt
better about it.
Carey: This albums.. I was totally nervous about its cleaness. The worst
thing I would want people to assume is that we were like,"People
like us. Now it's time to get serious. Serious studio album. Clean. The
first album is, in some small way, this cyclical progression through the
night, in to the morning through the heat of the day and it ends in
the calm twilight. And this album is about creeks and rivers that flow
through the forest and the various movements in some small way.
So [there's] this woman on the barge on the river that bends ...the
Golden River, I guess, but that's no explanation....
That's a wonderful explanation!
Thirdly, VICTORIA! They live in Victoria, yet they mercilessly
take away gigs from us hard working Vancouverites. Just like the
Weakerthans, or Boy, the sparse desolation of a small town boils Frog
Eye's creative juices, A sprawling metropolis like Vancouver provides
just too much stimulation.
Carey: Vancouver's a beautiful city if you don't live in it. If you do live
in it, you're miserable like that guy [referring to Destroyer's Dan Bejar.
During the interview, Dan provides beer to everyone in the room but
me. I get one, eventually.]
WeP he moved once, but he came back. You know why? Because it's
in his blood.
Grayson: What? Misery?
Lastly, Carey had no musical experience before getting into a
band. This pisses me off. His music is so insane that I worry my years
at the conservatory will leave me to pine as a domesticated TV
theme writer. But Carey has surrounded himseff with musical minds,
such as Grayson Walker, the talented keyboardist and biographer,
Michael Rack, the subtle, quiet bass player and Melanie Campbell,
the wonderful drummer and the apple of Carey's eye. Carey and
Mel are married and I think that's so cool. They are off on a tour of
North America, the likes of which we have never seen. Godspeed, my
friends. Godspeed. •
Frog Eyes are currently recovering from this encounter while
touring America. The Golden River is out now. Think global, buy local.
16 September aoca SERMON FROM
In the dead of night, fog shrouds the pines of the Northwest coast
and foamy breakers crash and spray on the rocky shores of
countless inlets. Blood pumps from the red autumn moon into the
heart of Phil Elvrum as he records in his basement in Anacortes, WA,
beneath the shadow of Mount Eerie. At once boyishly amiable and
enigmatically distant, Phil Elvrum (with some help from his friends)
has been crafting since the mid-nineties what is undoubtedly the
most original and atmospheric music in the Northwest, first as The
Microphones, and now, after a personal transformation that left
listeners asking questions, as Mount Eerie. His creations feel carved
out the environment he grew up in, rife with the chaos and silence of
nature, and bloody with intimacy of his own exposed.heart. His songs
often flow in and out of each other with the ebb and swell of the sea,
an acoustic guitar armed with his trademark nylon strings emerging
like a morning fog from the oceanic roar of crashing cymbals and
pounding, distorted drums. The effect is epic: a lo-fi orchestra,
sweeping and experimental.
Starting with a few tapes of songs about recording and
developing over time through the wistful noise-pop of It Was Hot,
We Stayed In the Water and the nocturnal visions of the highly-
praised The Glow Pt. II, finally arriving last year at the wildly ambitious
collaborative concept that was Mount Eerie, Phil Etvrum's career is
a journey through one of the most creative minds on the K Records
roster. His live performances are equally revered for stripping away
the layers of production to expose the heart-rending intimacy of the
songs underneath. Since his rebirth as Mount Eerie, this songcraft has
come to the fore; Elvrum's interest in the invention and exploration of
pure sound has waned in favor of the development of the personal
power of the song itself. I caught up with Phil in a tiny, sun-drenched
room on his recent tour while he was preparing to play a brunch show
for a tiny crowd in the house of some friends in East Van:
DiSCORDER: The first, most obvious question: why did you decide to
dissolve The Microphones and start performing as Mount Eerie?
PWI Elvrum: Mount Eerie is a new project. The Microphones was
completed, or at least at a good stopping point. I did it because I am
ready for new things. I am new.
Mount Eerie was your most ambitious and conceptual album to date.
During the course of its storyline, you die, are eaten by vultures, and
then in your bodiless invisible form you realize the size of the universe
as it unfolds In 3-D. Since you've subsequently chosen to perform
under the name of that album, one might assume that recording it.
was an intensely profound experience that continues to affect your
Yes, sure. Also, I am not satisfied with the ending of Mount Eerie the
album', so maybe by calling myself that I am attempting to elaborate
on the ending. The whole Mount Eerie band project will, in a way, be
a closer look at the ideas and lessons from the album.
How is Mount Eerie material going to differ from The Microphones
material?   -"fer^";"
I don't know.
Do you still plan on collaborating with same people that you worked
with as The Microphones (I.e., Little Wings, Karl Blau, Mirah, Calvin
Johnson, Mikhaela Maricich.etc?
Yes. And more new people, and more space.
You relumed not long ago from living and playing in Norway. Why
Norway? How would you describe your experience there?
I was there for a few months. I was traveling for a long time. I don't
know why Norway. Romance? Postcards? I lived alone in the dark,
dark winter and felt terrible and then I burst and now everything is
different forever.
The tour you're doing right now is certainty unusual: all dates around
Vancouver, Vancouver Island, and Anacortes. You've played at the
Sooke Public Library (in the microfiche section), at a ballpark, and a
backyard "near the sunflowers.'' What's the guiding idea or theme
behind this tour?
Genevieve (Migou) and I have been saying theme-like words to
each other spontaneously in the car on the tour. Words like "faith,"
"babies," "lOve," "gosh," "hope," etc.... The tour has felt more like a
honeymoon than a tour. That's the theme. Living love.
I also understand you've chosen to move from Olympia back to your
hometown of Anacortes. How come?
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Are you able to make a living as a musician? Your albums have
received very high critical praise, but even In the indie community,
you still remain quite low-profile. Is the amount of records you sell
something you concern yourself with much?
I don't have another job. I don't know anything about the numbers.
I am doing fine. It is really easy to survive in our world. We don't need
very much, really.
What do you do when you're not playing or recording? I noticed
there's some very nice photos on your website—did you take them
yourself? Do they have any significance aside from being very nice
Thank you. I do many things. I am always overwhelmed and stressed
out, but I am getting better at hanging out at the lake for four hours
andsleeping for a long time. I try and keep things in order. I am
moving. 1 am always traveling. I set up more tours. I check my email
for six hours and answer a million phone calls. I scheme.
When you recorded as The Microphones, you started out singing
songs about recording, and much of your music seemed to involve
things you could only do in the studio: production tricks, tape
looping, immense percussion, and so on. How do you plan your live
performances in light of that? Also, you seem to improvise a lot when
you perform live, especially lyrically. How does that translate When
you're recording?
It is impossible to recreate so rjgSfrhinfc of fhe live version as a
separate band. I go for a different thing with performing. Recording
is magic. It's totally amazing and unique. Playing music in front of
people for me is about the one present (hopefully) powerful moment.
Recording is about creating a fake-permanent world made up of
thousands of layered convoluted moments. Totally different.
When do you think you'll be releasing new material?
I am taking my sweet time. I dont want to rush it. It's hard to relax, but
I don't want to do it any other way. It will be a long time. By the time
I do it everyone will have forgotten and I'll have to try to get popular
again. I am building from the bottom. • ra ft|S,COfcW3i ABANDONED RED
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While unable to release their new record in their home
country, British band KaitO have spent the majority of the
summer sloggin' out a lenghty tour through America in
a little whjte van, garnering nothing but good reviews along the
way. Said tour passed through Vancouver this July, where they blew
through two ripping sets at The Royal and The Brickyard, respectively,
and I managed to spend the better part of two days with the
band to deliever.this interview and catch up with some hometown
compatriots (I'm from Norwich, England, too, just in case you didn't
pick that up). Luckily for KaitO, they have now been picked up by
Blast First in the UK and will finally be able to release an EP in Britain as
as an all-too-short taster of their brilliant second album. And luckily for
us. the continued promotional push for their Spin Art debut. Band Red.
will see them return to Vancouver in a support slot for The Walkman.
. Hopefully more people will notice them here too. Certainly, no one
.who witnessed their two previous shows will be spending the night on
the sofa. And neither should you.
Comprising of lead singer and guitarist Niki Cplk, lead guitarist
Dave Lake, bassist Gemma Culli.ngford and drummer Dee Quantrill,
KaitO are as formidable a proposition live as they are on record. I'm
hesitant to make comparisons, but it's safe to say that if you like the :
spiky guitar riffs of The Pixies, the koo and squark of Blonde Redhead
and the sass of Le Tigre, you'll be in for a fun-filled evening.
Discorder Have you heard the joke about English teeth?
Dee: Yeah, we were playing in Denver. And this really fucked up
looking guy comes up to me and goes, "Where are you from?" And
I'm like, "England." So he says "Smile for me." So I smiled and then
he smiled and he'd got all these teeth all yellow and sticking out. He
goes, "I've got a better English smile than you have."
Alt Errrgghh
Gemma: What? We're all supposed to have bad teeth? That guy had
the most horrible teeth in the world.
But you have a large fan base in America?
Niki: I don't know, it depends. Like, from website results it's pretty fifty-
fifty. Obviously we.get way more press over here.
Gemma: We sell more records over here.
Dee: Well, we've got records to sell for a start.
Niki: The only reason the English music scene is so competitive is
because it's so tight-knit. I mean, if you want to get something
reviewed, you have to give the guys who are reviewing/it loads of
coke. That's the way it is in England, it's really naff.
You were telling me that you met a guy from The Pixies in LA. You said
he wanted to do some stuff with you guys?
Dave: Yeah, he's talking about maybe doing some experiments to see
how we'd work with each other. He's a really good guy actually.
ifc septe««ber ooqb
How did you meet him?
Dave: Br, it was to do with Spin Art in a way, I think. But the nice thing
about it is that he saw us once at the Knitting Factory when he was
pressurized by Spin Art to come down and meet us.
Niki: No, no. He told me that he got the record first and then
contacted Spin Art and said he really liked it and wanted to do some
Dave: Oh right, that's even better.
So this was Joey Santiago?
Dave and Niki: Yeah.
Has he produced anything else?
Dave: He's done some recording with Frank Black so maybe he's still
does. He said there's this old slaughter house somewhere in America
where he thought it'd be good to do some recording. It's still got the
metal hooks hanging there.'.. Vi-^fVv
Niki: ErghU Did you tell him I'm a vegetarian?
How do you find doing interviews? Is it really weird when people who
don't know you come out With these facts about your life?
Dave: We got misrepresented really badly once in Fly Magazine [Small
British magazine].
Niki: God, yeah.
' Dave: They couldn't figure out how we were able to come over to
America. And they just said, "They've obviously got rich daddies.
They should go back to their rich lawyer daddies." That was horrible,
they couldn't have gotten any further from the truth. That really hurt. I
wanted to complain but I thought myself better than that.
Nat [the band's tour manager and drummer Dee's wife]: Yeah, that's
so far from the truth. I mean, try living in a van for two months like you
guys did and living off two dollars a day. Basically living off Taco Bell
and then coming home and not being able to pay your rent.
Niki: i've never noticed any bad press in the States, though.
Yeah, I know I couldn't find any bad press about you guys.
. Nikki: [With a cheeky smile] Not on us, of course you couldn't.
So where did you record Band Red?
Niki: The Sick Room [small independent studio in the country outside
of Norwich]. It's called The Sick Room because the place used to be
where all the* people from the war used to go when they were sick.
You love those distorted vocals, don't you? What do you use for this
Niki: Well, Owen [fhe band's producer] had bought a $3000 dollar
microphone, not just for me but also for the studio. And I was like
"Nah, don't like it, I can hear myself too clearly." I don't like hearing
myself too clearly. So I'd come out with my cheap $10 dollar
microphones and we'd used those for recording drums. And that's
why the production is very lo-fi.
You've definately moved on a bit from the first album [You've Seen
Us... You Must Have Seen Us... released on Devil in the Woods in 2001]
though. The last song, for instance, is probably the best thing you've
ever done.
Niki: Yeah, "3 am." Err, I did that by myself. Because we had to do
everything very quickly and we couldn't all be in the same place at
once. "3 am" was just an idea I'd had. For the beat I used a clock
and just put a microphone on it. I actually made a thing about
recording it at 3 am. So, we recorded a clock ticking really loud as
you can probably guess, and it was really scary 'cuz the microphone
that picked up the clock picked up every slightest bit of movement. If
you turn it up really loudly, suddenly you hear these sounds that come
from nowhere. And because they're all shufflely [sic] you think they're
in the house. It's really haunting.
You have a lot of crazy sounds on your records. You must spend a lot
of time working on the details.
Niki: Most of the stuff happens by accident. Like the electric fan in
"Moi"—it was just on at tlie time and it had the same timing and we
were like, "We should use this, we should mic this up." And a lot of that
stuff does happen by accident while we're recording.
You sampled a chainsaw before, didn't you?
Niki: It was Dee just cutting a piece of wood with a saw and again
that had a rhythmical thing. I think that all the accident things that
happen are to do with rhythm, more than anything. And that goes
for the vocals too, they're never real words. It's more about the sound
of the words and the rhythms we all make when we sing at the same
How did you all meet?
Niki: I met Dave at a gig. He knew me from around town. I'd just got
a guitar, but I didn't play. We eventually got together and started
jamming. I said that I didn't want to do a gig for a year, but after two
months we got our first gig at a motorbike rock venue, somewhere
really crazy, which was horrible. But we went down really well. I think
everyone understood that I had nerves.
So that was your first gig, at a motorcycle pub?
Niki: Yeah, with fluorescent lighting. It was a pit. But it stood me in
good stead for what was to come. •
KaHO play the Richard's with The Walkmen on Thursday. September 18
Band Red Is out now on Spin Art. Buy S and see what fhe British are
missing. HalSuckersll 5n^ ■4aiw
A math rock-loving friend who goes by the name of "Sam"
introduced me to Hella. While I respect math rock, it's not
my favourite type of music. I was nonetheless an instant
Hella convert, most likely because the Sacramento duo's sound
isn't so easily classified. While the group has been compared to Don
Caballero, Hella is darker, faster, and more distorted. Self-described
influences are diverse, including Nintendo, Devo and Dave Brubeck.
Guitarist Spencer Seim's finger-tapping and frenzied riffing duels with
drummer Zach Hill's dense yet intricately precise style, creating a
sound that alternates between pure noise and fluid melody.
Their 2002 debut, Hold Your Horse Is, has created a growing
ripple of praise throughout the States, as has their relentless touring
schedule and mind-blowing live performance. However, they are
relatively unknown up north. 1 was lucky enough to catch them after
their show during their first-ever visit to Canada, on tour with recent
Epitaph signees Locust. The interview proved an exercise in "who
not to invite to the interview," namely, drunk, star-struck, math rock-
obsessed friends named Sam.
Susy: Okay, it's recording. Oh, guys, this is my friend Sam. He's a
really big fan. [Sam lurches towards table, pulls out chair and sits
down.] -i''?'''':
Sam: I'm here for the actual fucking specifics.
Susy: Uh, yeah, the specifics of the music. Well, I was interested in
what we were talking about earlier, when I asked where you see
yourselves within the math rock genre, and you said, "We don't."
Zach: It might seem kind of weird for us to say, "Oh, we're not that."
But neither of us are into math rock, so.... [his voice is cut off.]
Sam: But what about Lightning Bolt?
Spencer.: They're friends of ours, and we love their music, but to us
we don't even perceive that as math rock.
Zach: Yeah, to me, math rock is staccato guitar parts, back and
forth, stop, start, all that shit.... [Zach is cut off again.]
Sam: As a fan of the genre, I like the term, because I can see it in an
article, and my attention will be drawn to it.
Zach: Yeah, I understand that genres have a purpose, to let a
person who may not have heard the music before get an idea of
a sound. But thinking of what genre we fit into, if we were to fit into
one, it wouldn't be math rock. It's cool if people want to describe it
like that.... [cutoff.]
Sam: When we were at your Seattle show, some dude was yelling
out "spazz rock!" Would that fit better?
Spencer: No, not even. I don't think anything fits. Like I said, people
need to say those things to describe us, but for us, playing the music
itself, we don't.... [spencer is cut off.]
Sam: So what kind of music do you guys listen to?
Zach: Oh, all across the board, everything. Precisely, we were
listening to a band called Cato.... [Sam cuts Zach off again.]
Sam: So what is the Sacramento scene like? I've been there once
on a weekend afternoon, on my way to San Francisco, and it was
dead. I have never seen a city that dead. I went into a restaurant
and people were surprised to see me there. It was three o'clock!
Zach: [Laughing] As far as arts and music go, it is pretty... dead. It's
the capital of California, so it thrives off of government business. If
you were downtown, then of course it would be dead.
Spencer: That is like the ghost-area.
Sam: But even in Vancouver, in the business district, there are going
to be some people, tourists and stuff.
Zach: I'm not saying.... [cut off.]
Sam: At the restaurant they were vacuuming. I was trying to get
some food, and they were like "What are you doing here?"
Susy: That's great about your trip, Sam. To get back on topic, what is
the music scene like?
Spencer: There's not much of one. There's a couple good bands,
some good musicians that are looking for bands, but fat chance...
It's hard to find musicians there who want to do something.
Zach: If there are good bands, they tend to leave.!!! is from
Sacramento, but they left for New York. Smog lived there for a while,
but they left too. There aren't too many options.
Susy: So why do you guys stay?
Spencer: Cause we're both from there.
Zach: I wouldn't knock anybody for leaving there. I mean, I want to
leave a lot of the time. But at the same time, nothing's ever going
to happen if everybody who's doing anything good keeps leaving.
Not that I'm saying we're doing anything particularly interesting. But
there are bands there, and there are some big bands, like Poppa
Roach and shit....
Spencer: It's a weird place. It's comfortable to live. It's cheap. Laid-
Sam: Are you familiar with any of the Canadian math rock bands?
I'm a big fan of the stop-start, staccato stuff, and I think Canada
has some really great bands.
Zach: Name some of them.
Sam: Weights and Measures?
Zach: No.
Sam: Kevlar?
Zach: No.
Susy: Kitchens and Bathrooms?
Zach: No. I've heard of Godspeed You Black Emperor...
Sam: What about Don Caballero? Obviously you're doing your own
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Zach: Uh, not really. I don't really listen to their music.
Sam: You should!!
Zach: Well, we play a certain thing.that's in our heads, but we don't
really listen to similar music. We might be listening to Slayer, or The
Flaming Lips, or some African music. We don't listen to music that
sounds like us because we feel like we don't sound like anyone else.
That's where we feel that we're not very math rock, in the sense
that we're just trying to achieve effective songs. We're not trying to
achieve perfect technicality, or some crazy thing....
Spencer: Our playing is really sloppy.
Zach: We just want to make good songs. We're hot trying to be all
mathed-out, which is why it's hard for us to perceive ourselves within
that genre.
Sam: So what's going to be the difference in the new album?
Zach: Well, there are two records coming up before the next full-
length, there's a live record, and an EP.
Spencer On fhe EP, there's going to be a bunch of programmed
stuff. I'm using this eariy nineties program which is really weird, and
the drumming has been imported in. That one is really funky. But the
next full-length is really the sequel to Hold Your Horses Is.
Zach: It's a lot better. Levels above. There's a lot more production,
there's a level of density and weight to it.... [Zach is cut off.]
Sam: You guys, and a lot of other bands that fit within your genre...
math rock... seem to use a lot of irony, like in your song titles. I really
admire that because I have the same sense of humour. See. you
have the calculator watch like me.
Spencer: Actually/this doesn't have a calculator. [Demonstrates
Spanish-speaking watch.]
Spencer's watch: Horaesfi...
Sam: Whoa, so that's the time in Spanish. [Demonstrating own
watch.] Welt, this one stores phone numbers.
Susy: How long have you been playing together for?
Zach: Well, about two years ago we were both in this band that
broke up, and then we were trying to start a band With other
members, but we couldn't find anybody, because Sacramento's
weird. So we started out just having fun, making weird songs, and
then we started pldying shows.
Susy: So is there anything else you'd like to tell your Canadian
Zach: Maybe about our records coming out? On August 16, Total
Bugs Bunny on Wild Bass comes out, that's the 7-song EP on Narnack
out of Brooklyn. The split five record with Dilute comes out on Sick
Room Records this month. The next full-length comes out in January
on 5 Rue Christine. •
I? D&COQ5&L *WBI^%
What is it about WW Oldham's music that
makes it so goddamn good? An
omnipresent ghostly echo, a phantom
vibration, a primordial connection to something
everlasting but for now lost in the modem world?
% You sense all this in his music, but you can never
quite pin it down—never quite nail that x-factor
that makes it transcend its contemporaries. The
music, like the man, remains shrouded in mystery.
Or at least that's how a traditional Will Oldham
interview would open. The man, the myth, the
music... whatever. Well, from here onwards you
can forget all that. I'm here to give you the truth,
no angles, no bullshit, just the facts. A conversation
with a man who makes music. Nothing more. Don't
come looking for mystery; you won't find it.
The real facts of the matter—as they appear
to me at least—are these: Writers need stories, writers need angles. One is chosen and applied as the
rule, there are no exceptions. You talk to Will
Oldham, you are obliged to use a certain set of
signifiers. Lets take a cross-sectional sample, shall
we? "The most mysterious figure in contemporary
American music." "The elusive Will Oldham, man
of many records and many aliases." "During his
career. Will Oldham has made confusion a speciality." Confusion, wilful obtuseness, a reticence
to comply with interviewers' questions—that's not
what I found. I found a man who was obliging,
comfortable and although perhaps a little withdrawn, a man more than willing to answer my
questions. And anyway, what so hard to understand? The man sits down with a guitar or at a .
piano and makes music. Millions of people do the
same thing. Yes, he's better at it than most, but
what's so hard to fathom? The music is simple
enough. Most of his songs quietly shamble along,
with the lyrics decidedly placed in the foreground,
in plain view for all to see. They always have been,
and they certainly are on his new album. Master
and Everyone. A close to solitary performance of
simple paeans to love, life and the problems of
matrimony. It seems that everyone has got hold of
the wrong end of the stick. See for yourself. I called
Will in California, where he was staying with friends
in Mill Valley after his first show supporting Bjork on
the West Coast leg of her American tour. This was
our conversation:
First of all 1 wanted to ask you about fhe Bonnie
Prince Billy persona. When I got this interview, I
was told that I wouldn't be interviewing Will
Oldham, I'd be Interviewing 'Bonnie.' It sounded
pretty mysterious. So, am I talking to Bonnie now?
Sure, yeah.
Okay, so how did you come up with the Bonnie
Prince Billy persona?
I think it was just created by the fact that there
was somebody being interacted with that I started to recognize. There were two things... people
treating a person as a person but I didn't know
that there was a person yet.
So, he's significantly different from Will Oldham?
How then does he differ? Does he write the songs?
I'm not sure about that.
I read somewhere that you said that the songs
didn't bear any relation to your Hie, and that the
"I" in the songs refers to mainly Bonnie.
It's a gTey line, in terms of that.
Did you ever have a imaginary friend as a child?
Err, I don't think so. [Laughmg] I didn't have any
friends as a child. s^
Why was that?
'Cuz I was chained to a wall in the cellar.
That sounds pretty rough.
Ahh, it was alright. Gotta make the best of what
you have.
And you did that?
That's right.
How did you finally escape?
Erm, I made a chain of faeces and climbed out. I
fashioned a braided chain of dried faeces.
That's pretty resourceful.
You played a young preacher in the John Sayles
film Matewan, and I think that there's a religious
theme to be found in your music that b similar to
the part you played in this film. Religion mixed
with the Southern Gothic?
That perspective seems to be more prominent
among people who are culturally farther away
from Kentucky or maybe the United States in general. It just seems like religion... it's one of the main
subjects of music.
What kind of personal faith do you have? Do you
believe in God?
I feel like I'm fully aware that I don't have the
authority to even pretend to know.
So you're just wondering like everyone else?
I don't wonder. It's a waste of time. You're never
going to know.
Yeah, that seems to make sense. Moving on, I
was reading your online diary and I know that
you don't normally like publicizing much about
your personal life, so I wandered what made you
want to write an online diary?
Well, it's already getting to the difficult stages of
that. I didn't write anything yesterday and I'm not
sure what to do now. One of the main reasons
was that I was going to be doing this trip, and I
was going to be playing these shows with Bjork
and I figured that there were people who like the
music and might wanna go to the shows, but who
maybe couldn't afford it, or don't live anywhere
near it, or don't feel like going to the Ticketmaster
outlet by a certain time in order to take out a ticket, but who still wanna know what was going on.
2P Septette- 2x0 A More Stable Will? tt certainly seerfis so
The "Sowme" boyiiirX$y opens up.
By Merek Cooper
Photos b/ 4<MQ.MacPonald
Layout hy LorfK
And rather than making it something that excludes
all the people who support and enjoy the records,
as they exist so far, I'm trying to do something that
they could be a part of in some way.
What kind of show are you performing on the Bjork
tour? Is it solo or Is it with a group?
Playing solo.
Just you and a guitar or a piano or what?
An autoharp.
Oh yeah, I read about that. What exactly is an
It's like a zither, but ithd^aSthounted piece on it
with 21 buttons. And each button represents a
chord, and you push the chord and then you can
strum or pluck.
How did you meet Bjork?
I met her through a mutual friend. Harmony Korine.
They were friends, and he and I were friends. And I
think I was going to Iceland. So he said to me, and
I think he said to her, "Y'all should meet each
other." That was probably four or five years ago.
Did she give you a tour around Iceland?
Yeah, she did actually. It was very cool, she was a
very good hostess.
You mention that you worked on some new
recordings with your brother Paul. What form are
they taking? Are they going to be released under
the Bonnie Prince Billy name?
Yeah, yeah. Sometime. The next album, maybe.
Are they taking a radically different direction?
©mjnsome ways, definitely in some ways. We're
working with the kind of musicians I've never
worked with before. And we're also taking a
longer time with it. And doing some different
things: working with different kind of musicians, as I
said, and doing some different kinds of recording. I
just put some songs on to a hard drive and sent it
around to different musicians to do their parts.
Are you working with new musicians, or are you
sticking with the people you've worked with
Both. There's lots of people on it—twenty people or
something like that.
Is there anyone you're particularly excited about
working with?
Err, I worked with this guy called Pig Robbins, who's
a piano player. That was pretty fucking exciting...
[apparently looking out the window]. Oh, there's a
white heron! Err. yeah, the piano player... his name
is Pig Robbins and he's probably the most significant piano voice in country music for the last forty
years or so.
Is country music a big thing for you? Do you listen
to it a lot?
Err, not really. Though I would say all music is important to me.
Yeah, I notice that a lot of people when writing or
talking about you only ever talk about that side of
your influences, and they leave out the other types
of music that are obviously a big influence on you,
too. You're a big Misfits tan, for instance.
Yeah, I was trying to think if, on this trip, I've
brought any country music with me. I think I
brought a new record by... oh, I can't even think
of the guy's name. It's Chester somebody and it's
out on Merle Haggard's record label, called Hag
Records. And Merle Haggard, he signed with one
of those Epitaph subsidiary labels, but he's also
started his own record label and has put out fucking, like, maybe four CDs by now and they're all
really great.
But, yeah, but I think that out of the 30 or 25
records that I brought with me it's the only country
music that I brought.
Can you give me a brief selection ot some of those
other records?
Err, what was I listening to? Probably the last 24
hours, I guess I was listening to a Pentangle record.
Err, it's got five songs on it, I think it's called The
Cruel Sister.
And anything else?
Country Grammar.
Really?! The Nelly record?
Uh huh, yeah.
So you're a bit of a hip-hop tan?
Well, the thing is, like, if you say you like country
does that mean you listen to country radio? No.
You know, if you like hip-hop, do you listen to hiphop radio? I just like the records that I end up buying. And this one, with Nelly, it's like, yes, it's
hip-hop, but it's doesn't sound anything like any Dr
Dre productions or whatever. It's doesn't even
sound like Jay-Z. It's pretty unique and I think it
sounds like itself.
That's not the album with "Hot in Herre" on it. Is it?
That's the one before, right?
Yeah, that's Nettyville. This is the one before it. It's
got "Batter Up" and errr... [starts singing, quite
tunefully as you would expect] "If you wanna go
and take a ride with me...."
Oh, yeah. "Ride Wit Me," is that it?
Yeah, yeah. [Singin' again] "Ooooooowwww"
I also wanted to ask you about the Sean O'Hagen
interview in The Observer late last year. In that he
says that you were going to call Master and
Everyone it's Expected, I'm Gone.
Uh huh. I was going to cut it down to an EP and
call it It's Expected, I'm Gone.
The most interesting thing for me was that he said
you wanted to take off the songs that were most
popular with the people who'd heard the album.
Didn't you want it to become too popular?
Yeah, yeah. Somehow he phrased it that way, but
it was more that I was going to take these songs off
anyway but they were coincidently songs that anybody who'd heard the album so far had liked. But
that wasn't why I was taking them off, it was just
because I was going to make something shorter. I
was cutting it in a way that if it was going to be six
songs long it would work.
What's Ihe status of the much-rumoured PJ
Harvey/WW Oldham album?
I don't know. We'll see. Hopefully. I'll see her in a
couple of weeks in Los Angeles... or this week.
Jesus Christ! I'm going to Los Angeles tomorrow!
And maybe I'll see her there. We talked about it,
but then she did a massive tour with U2, which
pretty much co-opted all her energy. That was
maybe two summers ago.
How did you meet her? Do you share
No, I think she wrote me a letter a long time ago.
Maybe six or seven years ago.
What is she like?
I don't know, I like her. [Laughs]
Just a regular person?
I doubt it, but then I don't what a regular person is.
I also heard that Bjork wants to cover one of your
I don't know about that. For one thing, on
Vespertine, there's a song called "Harm of, Will"
that our mutual friend Harmony Korine wrote the
words for. And then she talked about if we wanted
to make songs together. But the last time she
talked about that, she had a baby.
Moving on, I wanted to ask you about yet another
thing that I've read that you said: "if [you] ever had
a big hit, [you] would probably stop." And I've a
friend who works at a record store and she says -
that when Master and Everyone came out it was
literally flying off the shelves. Does this kind of popularity scare you?
Well, it takes a while. At Drag City we don't get
record advances, we just make money from the
records themselves. So it's hasn't been long
enough to get a paycheck from that album and
that would be when I'd know.
Part of that, though, is I'd have to be realistic
and say that I make music for a living, and if I was
making much more than I needed to live, I could
not guarantee that I could put any urgency or validity into what I was making, because what would I
be making it for? To make more money? If you have
a hit record, you make a shitload of money. So why
would you make another fucking record? Because
you're fucking greedy?
Yeah, the hunger wouldn't be there.
The hunger wouldn't be there. There are other
things you can do. You could sit on your ass. You
could give it all away and start again.
i thought the reason why you would stop if you
became popular would be because of the celebrity status you would suddenly have. Your whole life
would be open to investigation. Is this a factor?
Yeah, sure, that's not something that I want to be
involved with. I wouldn't like it if it became more
and more of an issue... it is already, I guess. It's not
very fun, and it's not very exciting, and it's not very
interesting, and it certainly doesn't help me make
music better.
So do you get recognised a lot?
Yeah, but I don't go out in public places very
much, and I'm not always aware of the way all
that works. Perhaps, because of the acting I did as
a kid, there has always been some kind of weird
recognition thing going on. You know, I end up
going to darker and filthier places so I can have a
private life.
How weird is it when you're walking down the
street and people are quite obviously fuming their
heads and saying, "There's Will Oldham"?
To be honest, I don't know. It's weird. Yeah, it has
drawbacks and it's very great a lot of times as well-
There are tons and tons of fucking people that are
really important to me that I wouldn't have met.
Some because they heard the music; some will
give me a free pass to the museum, or give me a
free whatever. And that's nice. It does balance
What prompted you to make music?
It was just,"I've got to do something or I'll just
die." •
You see? Pretty simple realfy.
You can read Bonnie Prince Billy's online diary by
going to www.dragchy.com and following the links.
You can also read the article "Still Voice, Distant
Life" by Sean O'Hagen at www.observer.co.uk.
Simply do a site search lor Will Oldham. You
should. It's a realfy great feature.
The best web resource for all things Will Oldham
related remains The Royal Stable. Just google it.
"The Return of Radio fcerlirx
Tongues are WaachVrOufte CaJero
Shvtters <ve snap ph': oanSiney
Once upon a time there was a band called Radio Berlin
who knew what '80s revival was about way before anyone
else did. And nobody much cared. But now you do. and
the band's about to do you all a really big favour. You know those
bandwagons y'all get accused of jumping on so very often? Well,
here's your opportunity to get on board the Radio Berlin Express.
before the fare reaches the automatic surrendering of your cred-ibHity
card. The band is ready to release its third full-length album. Glass,
might actually have a stay-puf drummer, and is about to hit the road
on the tour that'll finally make them a household name.
The band wears black, except for Chris, because he's more
of a blue kind of guy. Keyboards, no longer a must for every track,
still feature prominently on the new record, but I swear it's not that
creepy. Jack still kinda sings out of tune, but how can you not love
that? The band's about to get on the road and see the world, and
I suggest you catch them before they turn into some devilish hype-
band. Damn you, modem world!
I entered the house of Tiffany, now the house of Jack, for an
interview with the band {sans new drummer Brad, who was busy
relocating from Victoria), and we got down to what might be
considered business.
DiSCORDER: Do you guys make money now? It's been, what; Ave
years? f^p&mli
Jack: Five years, but it's almost like starting again. The last year or
two we've been pretty tow-key, mainly because Josh was stepping
out. He was wiling to stay until we found another drummer, which
took about a year and a half. We really like Josh, and he's a pretty
neat drummer, and I think that, in Vancouver, B's hard to find the right
person to fill his shoes. Yeah, so we're just trying to start again. We're
pretty excited, since we've been around this long and there's still a lot
of enthusiasm. Or renewed enthusiasm...
And part of this "starting again" thing is Action Driver, is it not?
Jack: It's awesome to be working with them, or, him—Joseph—and
just know that he's doing it and that he's into our band. He's a
cool person to get along with, even though I've never met him,
but I've talked to him on the phone numerous times, and if he says
something's going to get done, it gets done.
Lyndsay: He believes in us so much, it's kind of scary.
And did all this come about because of ALunaRed?
Jack: I'm trying to remember how it ail worked out. I think he got the
first ALunaRed record on Global Symphonic and got in touch with
me right when we were finishing up recording [fhe second ALunaRed
album], and he sent over this long pseudo-contract, and did a really
good job with that. He had an interest in Radio Berin, and we sent him
the new recording and he flipped. I'd rather deal with him, someone
who's really honest and cool, rather than a less-reliable label that's
hip, but doesn't know how to run property.
What do you think of the tact that's he's going Vancouver-centric?
Jack: Well, he's only got ALunaRed and Radio Berlin...
Chris: And Jack's in both of those. I think he's just Jack-centric.
How was your government-funded four?
Jack: That was the government-funded tour. Sure, we had the
finances, but in terms of shows and how it was booked, it was like,
play two shows, have three days off.
So the taxpayers paid for you guys to...
Jack: ...basically ramshackJe-ly make our way around America. For a
couple shows we just showed up, saying, "Hey, we're a band, we're
going to play," and that's how we played with The Faint a few times.
We had corresponded with them before. The last tour we went on
was pretty rad, we were impressed that people came out and were
interested. j"»\.;'-!
Are there no band girlfriends or boyfriends coming along?
Jack: Well, no. I think it's kind of hard to be like, "Well, hey, do you
want to take six weeks of your life off?" There's no guarantee of
money in this situation, really. It's not like we're a rock group.
Chris: That's bullshit. Jack.
Jack: Yeah, actually, we're more of a rock group than those bands
on their cushy tours. With us it's like, "Get the fuck in the van!" I think
we'll do alright.
Chris: We've got a bunch of records to sell, which makes a big
difference. It's more than just a travelling store, but, uh... but that
makes the idea of going ond travelling mare realistic, because I've
not seen too much money made out of touring. We're not going to
be staying in hotels or anything, we'll be sleeping on floors and stuff.
Jack, why did you name your song "Rote Lippen" when there's
already a D.A.F. song with the same name?
Jack: There is, and that's kind of why I named it that. I had this
obsession with them for a. while. I think their music's pretty out there.
It's this early '80s sexually-charged German duo barking over these
weird synthesizer bass-lines. I just think it's pretty unique and a preemptive blueprint to a lot of hard electronic music. It fit my aesthetic.
Every time I listen to it, I'm laughing, but it's so good at the same time.
There's a lot of weird musical alliterations that I put in my music that no
one would suspect.
Chris: Alliterations? Innuendos?
How about you, Chris, do you sneak anything in?
Chris: Probably. It's all left to be decoded.
Jack: Certain songs of ours were definitely written with our sense of
humour inclusive. There's this new song, "Bright Things," and when
we jam on it, we can't stop laughing, because it's so bombastic-
Chris: It's fhe heaviest song so far.
Jack: Drop-A tuning. It's post-new-record, and will be on a Kill Rock
Stars compilation this fall.
Chris: I play guitar now.
Jack: On the newer stuff.
22$eptentoec xas
And who plays bass?
Chris: That's the new Lyndsay.
Jack: Some of the newer stuff is two guitars and bass. It's pretty
interesting, actually. For a while, at the end of last year, I was kind of
burnt out. There were all these bands lumped in the same category as
us. When we started, it was something interesting, but a lot of bands
you listen to nowadays have really dancy beats and new wave
tendencies, and a lot of them are kind of barfy. No offence. With
people changing instruments and new ideas coming in, the ideas for
possible things to do with this band expanded.
Chris: It's really quite new, actually. As soon as I started playing guitar,
it made the band a fresh thing for me.
Have you backed off the keyboards. Jack?
Jack: I don't know how it works now. How does it work?
Lyndsay: Sometimes you have parts.
Jack: Sometimes I have parts for the other players, and sometimes
we just repeat riffs over and over until someone comes up with
something. I think that we might try to bring a second keyboard on
tour, but at this point, Lydsay's playing bass and keyboards, Chris is
playing guitar and bass, I'm playing guitar and keyboards - it's going
to be like a yardsale on stage, a little bit excessive. I like the variety
of sounds; we can go from a song that's all synth-y to a song that's.
guitar-y, and it stays in context.
So with all this gear, I guess you're going to get a van with a good
Jack: Yeah, we're going to weld the door shut every night, and de-
weld it every morning.
Chris: We'll take a Brinks truck. We're trying to buy a van right now.
Anything that's reliable, really. Vans are the downfall of so many great
tours. Let's put an end to that.
So you guys kind of had the whole music business covered, right,
since Jack does the graphic design, Chris books the shows [at Pat's
Lyndsay: And I'm just a party animal!
You put out records, no?
Lyndsay: Oh, I did put out a record!
Jack: Lyndsay does a lot of film and video stuff, too.
Chris: She's going to make our rock video eventually.
Jack: If we ever did a video, it wouldn't be a rock video, it'd be
something like getting our friends to do a weird film project.
lyndsay: I have an insane idea, actually, for "The Hyphen."
Chris: That's be a good song to have a video for.
Lyndsay: It's so goth.
Chris: It's so drama-atic. •
Radio Berlin hits the road pretty dam soon, but you can see the band
first at Pat's Pub on Wednesday. September 10 with best buddies Jerk
With A Bomb. Yes Indeed, now that Josh Wells Isn't In both bands, they
can actually share bills! GET
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tet 604738.3232
^ y^-J fc~-■v£    1 raBi~ \ 1 1   ---■■
The Jack Herren Band
Orchestra & JEMINI
Fiesta Songs Ghetto Pop Life
Original Soundrra
Project 1950
As Far As - a
ne & Ours
Pacific Drift
C0 5IE.98/2LP20.
Clip this ballots enter at Zulu R
ie for entries September 30,2003.
A re/tef/ otthe newborns festival by Subecmrwantterrte
Meet os h
AH too often, events go off in Vancouver and fall way below the
radar screens of the average observer of the urban cultural
scene. Complacent folk with a penchant for the pipe and
'Ifee cotiTCh are often to blame, while others blame the outdoors—
primarily a vast amount of rural distractions within spitting distance
and a depressingly long rainy season—for the lackluster cultural life in
Vancouver. Promoters of all sorts are no strangers to this problem, as
kcfeSbrtghts, galleries, and one-offs (to name but a few) are often left
•suspiciously unattended, regardless of the quality of the product. And
-««hDe crife' rightfully hate these obvious faults and downsides of the
city, a dedicated few have used this as their motivation, deciding to
make it their mission to move ahead as planned, to create a scene,
and hope for the best.
Threeyearsago. Capital Magazine co-founders Jarrett Martineau
and Malcolm Levy decided that they needed more than simply
their magazine to act as forum for the growth of new media, art and
culture in the Greater Vancouver Area. The idea was to have a small
media arts festival that could disseminate the movement of New
Media to a smaH group of people and, in turn, convey the potential
of the movement not merely for its technological advantages,
but more importantly to explore its budding future as an art form.
The original festival showcased numerous local artists engaged in
symbiotic relationships between their various artistic mediums, namely
visual arts and music. The initial project was a success and the
positive feedback from both the artists and the festival's attendees
has permitted the subsequent growth that has allowed the New
Forms Festival to grow substantially to the four-day event that it is
now. equipped with panels, seminars, a gallery relevant to the genre
as well as earty evening and late night events with a wide range
of audio and visual performances. When pressed about the swift
evolution of the.festival. Levy is the first to admit that, looking back, he
"had no real idea what [they] were getting into." "We had plans and
goals." he assures, "but especially in ventures such as this, plans and
'ideas change as quickly as the technology and artistic endeavors
^nfm the genre."
While adapting to the innovative ideas that emerged with
the growth of the festival, the basic foundations—recognizing and
displaying growth in the artistic ventures of new media—have
remained a catalyst for the growth and thus increased exposure
of the festival, as well as the art/technology it is striving to promote
and encourage. As a result of this, the 2003 edition of the festival
Jfherood tnterJsec/qc]tion: a convergence of music, media, and art)
featured artists from around North America: Montreal-based audio
visual artist Jean Piche, installation artist'David Rokeby from Toronto,
Detroit-based labtop DJ, Jimmy Edgar, and performance artist Semi
Ryu from Virginia, amongst a host of others. And while it is imperative
to bring in accomplished artists from outside the city. New Forms has
also maintained its commitment as a showcase and forum for up-
and-coming Vancouver artists, giving the floor to a diverse crowd,
'such as DJ's Konrad Black and Quadra, musicians Christopher von
Szombathy and Dan Werb, lap-top denizens Loscil and Granny'Ark as
well as artists Paul Wong and Joanne Woods (to name but a few of
the talented local people involved).
In addition to the five nights of performances and art at the
Roundhouse, this year's festival featured a plethora of conferences
and presentations discussing many different features of the industry,
including its applications and relevance to the social and cultural
climate of today. Yet regardless of their geographic homes, all
artists brought with them the very framework of the festival's original
ideologies: to step up to presented challenges in technology and
art and present unique interpretations. It is this very approach that
sets New Forms apart and makes it a unique Vancouver event. As
event curator (and the host of CiTR's "Planet Lovetron"), Robert Willis
notes that "every artist and contributor I spoke to emphasized their
view that this is a truly unique festival, one that has real successes and
great potential to influence [technological and artistic movements]
in the future." It is this very nature of the festival that necessitates
creativity and originality, and it is primarily this that has artists and
onlookers alike excited about the possibilities it presents. Robert
Willis' late night event, "Modified Music: An Evening of Wo/man
Meets Machine" saw a real twist on a traditional night of electronic
music and dancing and demonstrated where the festival strives to
push past the creative elements of traditioMJhights. Describing the
innovative event, Willis explans that "each performer interacted via
an FTP site and incorporated each others' sound files into their sets
that night [using] present-day technology to interact creatively."
With a wide range of musical styles for the performers, the result was
a night ripe with an array of layered sounds, which, Willis enthuses,
"the artists incorporated with ingenuity and ease." Live visual art was
simultaneously projected on a number of screens throughout the
studio space with similar approaches of originality, keeping the house
full and the stimulated crowd dancing right until close. "The visuals
and sounds that were performed on Friday were made completely
for the festival; never to be repeated," Willis notes with a bit of pride.
"[It] worked out even better than I had expected."
This event was typical—as far as the various New Forms events
can be described as typical—of the nature of the festival's events.'
While the genres obviously provided different challenges, the desire
of the festival organizers and event curators to push the artists for
originality was evident throughout the events. Jean Piche, Nomlg,
The Morpheus Project, Velcrow Ripper and Jonathan Eric delighted
the eyes and ears of viewers to their night of "Cinema as Music,"
displaying an array of images and music that left the audiences
with stunned senses and infinite interpretations of the work that was
presented. The Thursday night event of "Sentientechnics" displayed
a mish-mash of mediums in performance art by an array of artists
collaborating for the night where the performances ranged from
interactive cinema to projected images of dancing, while the Friday
evening event provided the festival's only non-electronic night, titled
"Interplay Sound Art and Experimental Jazz," featuring several local
musicicffB, few of whom had previously played together.
Through presenting challenges such as these to the artists.
New Forms has been able to create a form of spontaneity that
demonstrates the true capabilities of the artists, revealing what they
are able to create under certain conditions and pushing them to not
only demonstrate their individual abilities but also their proficiency in
working with others to create a succinct night of art that they are then
able to propagate to their respective audiences. When the artists
are able to work with their technology and work instinctively, focusing
on the creative potential of sharing an artistic endeavor with another
artist, it becomes an enjoyable challenge for those involved, which is
naturally reflected on the audience. Working with aH the mediums of
technology really allows for innovative attempts in which the merits of
technology are used to create art.
Unfortunately, it is this aspect of the festival that causes some
to view it with an element of caution, expressing fear (or at least
distaste) of the exceptionally strong focus that the festival has on new
technology and the aversion that some people have to intertwining
art with technology. As an interesting rebuttal to this view, keynote
speaker and renowned artist David Rokeby mentioned in his speech
at the opening of the gallery at the Roundhouse Community Center
how the complete rational and efficient order of computers and their
technology is not something that should be neglected or feared,
but rather embraced as a perfect vehicle for symbiosis with the
"irrational" human being. This permits for a relationship with endless
creative possibilities, most of which have yet to be fully realized.
For my fellow Luddites who share the aversion to an overload of
technology in our society, it is hard to ignore the ideas of Rokeby that
the true merits of new technology and New Media are not solely in
their capabilifies to make more efficient the workings of our society,
but rather their abilities to work alongside humans and propagate
growth in fieldswuch as art. There is always need for change, and
there is always room for change that challenges conventions.
New Forms has made room for change and has only just begun
to challenge the field of New Media and the growing technological
advances of our world. Performer Jimmy Edgar was amazed at
the "new and intriguing forms of art [that] were using technology
to better get their point across," As society continues to progress
technologically, so will artists have to adapt to use this technology for
more than just the creation of a more efficient'and error-free society.
Look for New Forms in years to come, as it challenges the ability of the
artist to use the machine to its advantage, making human mistakes as
it continues to challenge and work with the new forms of New Media
that will inevitably present themselves. •
24 September 2£ta (jL wwim Qnlm f&imd... mwmim^Qmt/ med §ead!
DJ Sheriff Fatman, Kenneth Bastard, Keith Talent and their
drinking mates bring a bit of the UK underground to the club.
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My Morning Jacket
It Still Moves
(ATO Records)
And so much for the dying
days of summer—a summer
I never really wanted anyway. So much desolation this
season and a deep-rooted
dread dancing and singing
' along with it all. Damn the
dying days. Drugged, sedated—barely aware that some-
■. where the rest can laugh it
V, off. Aren't we all tired of lying
&to ourselves—is it too much to
g ask that we all awake to the
gcaustic sobering truth. Sober
Pup—drop your head into a
Ksink of ice water. Admit you
Rdon't care "to all the people
v I've loved/ don't think poor of
'■fjg/jt wasn't 'til I woke up/
' that I could hold down a joke,
or a job, or a dream/ but then all
three are one in the same." (Lines
from "One in the Same" from It
Still Moves). Bang-bang-^one
fucking step closer to enlightenment. The songs like a wearied
sweetness; a muted compliment
to these dying days, these damn
dying days. Just forget the suffering you think you endure—rusted
house numbers, weak-knuckled
knocks on a screen door. On
those penniless nights of tireless rest, don't wait for them to
knock again. Find a copy of this
album. (Do not let your decision
hinge upon the fact that My
Morning Jacket's main man Jim
James is some damn songwriting genius, or that this band has
melded the greatest sound. A
tempered, often muted coun
try-rock pyschedelica. Listen •
to me. Everyone should hear $
this album at least once. Just ><
find a copy.) Album review,,'
therapy notes, crib sheets J
for the lost cause—whatever^
these words pretend to mean/-*
just the one tight punchline in|
the great build-up of a joke 1
that is life. But then there is this;
this album is a still life painting
of a small town, a grace that
shelters us all from the pitiless
storms of fear, a reconciliation of old lovers.... Harmony,
sweet fucking harmony and
a melody so serene and brief
in its brutal honesty. Walk with
this music, talk through it, fall
asleep to it—finally, sure you
might as well drink and drug.
Derek Sterling Boone •
"4 - 6 -
and ]
3 a punch
| can't think
a kick
a Dexter w&3
r to end. tne
buck 65
Ln honky blues  v/WY/.buCk65%COm
Sonar September 18
afcSOftetftoer 2W8
Ashley Park
Ihe Secretarian Motor Hotel
Just because I don't like this
album doesn't mean it isn't
good. Who am I, anyway? I'm
just a simpleton who gets his musical kicks from fast-paced tempos
and suggestive subject matter,
it's not Terry Miles's fault that
he's a better man than me. So if
you fancy slow, dreamy countrified ballads and collaborations
with Jon-Rae Fletcher and Nick
Krgovich, then don't let me stop
your purchase. ■
Ha Ha Sound
This album is really goddamn
pretty. And it's not boring. I was a ■
bit worried about that, but I can
say with some degree of surety
that this one's not going to wear
out its welcome anytime too
soon. I've dabbled in Broadcast
appreciation in the past, and I
think I'm ready to own an album
now. I've matured. So has the
From what I can remember,
Broadcast has always been a little
bit coasting on that Stereolab tip,
quite good at doing what they
do for five or six minutes straight,
stirring up some sonic vibrations
and churning out the vibraphon-
ic sounds. I owned an album by
them once, but it got boring. I
sold it. I'm suspecting that maybe
I missed some nuance. I'm pretty
sure I did. There's a little something more going on here (and
probably back then as well), and
I like to call it 'good.'
People are all about The Clientele. They like pleasant, slightly
dated-sounding pop music. I like
this better. They will, too, very
soon. I keep not quite putting my
finger on this sound, suspecting it
to be merely an amalgamation
•of everything enjoyable and right
about sincere summertime pop. I
won't try to pin it down. Run free,
; sweet Broadcast, and bring joy
into the lives of many!
Julie Colero
David Byrne
Lead Us Not Into Temptation:
Music from the Film Young Adam
(Thrill Jockey)
David Byrne was once lead
singer of the uber-cool Talking
Heads. His cool factor was
maintained when the rest of the
group reformed in the mid 1990s
to record an album with a rotating lineup of guest vocalists. With
his social standing in the eyes of
hipsters around the world firmly
established, Byrne has put out a
series of solo albums, this being
the latest.
Lead Us Not into Temptation
is the soundtrack to a film this
reviewer has neither seen nor
ever heard of. Therefore, the correlation of the mostly instrumental
music with the images and mood
of the film is a subject on which I
cannot comment. The jazz meets
ambient soundscapes (perhaps
a hangover from work with
Brian Eno?) vibe of the record is
another issue upon which I have
little knowledge. The album does
not simply bfend into the background like a lot of instrumental
music does. Instead it compels
the listener to pay attention to
the nuances of the tracks.
When all is said and done,
it is difficult to recommend an
album to someone when you
are not entirely sure if you like it
yourself. What I will do is say that
this is a very interesting record, so
if you're into that check it out.    .
Ian Gormley
Chargers Street Gang
Through fhe Windshield
(Get Hip)
I have a hole in my back molar.
Caused by a filling that cracked
out with a bite into an artificial
cherry lollipop. One day soon, I'm
gonna teel all the naked perverted fury of hell in my sweet-lipped
maw. True art is a representation
of honesty. Mind you, an all too
often cheap and hammed up
representation. In the interest of
stupefied honest art I will reveal
the fear that haunts me as I listen .
to this record. I HAVE A FUCKING
HOLE IN MY TOOTH,, and very
soon fiery demons will feast on
the nerves of my molar. Alright
you dilettante performers, hacks
of the illest fucking order—here
it is:
Power-lines framed by a dull
grey night (Cleveland, I guess),
and all in all we're all bound
to fall. The cover of the album
in muted blues and greys is the
skeletal remains of a fallen building; what does any of this mean?
1 don't know, and this review
won't make any sense. There is
something unhinged about The
Chargers Street Gang's second
full-length Through the Windshield
(from a band that had a side-
project where they were billed as
The Asheton Brothers and played
Stooges covers). It has that first
night in prison kind of sensitivity
to it that belies a reaction against
whiny pretension. From side 1 to
side 2, it smacks of an uncertain violent sophistication, only
really losing it on the last track,
"Kruezberg." There is a shaky
hesitant warning amongst all this.
A severe cynicism is mixed and
beaten within all the lyrical self-
deprecation. For example, the
standout track for yours truly is
"He Don't Take Pictures of Karate
America" where it all spills out into
a howling question of "so why do
I keep fucking up? /so why do I
keep fucking up?" The record
twists and flails about, ably commenting on relationships in "2
East" and "Living Arrangements,"
dissecting political apathy in
"(Not Talkin' 'Bout) Freedom,"
and the revelling in the uncertain and abstract in "I Have a
Theory About Municipal Stadium
magic." More than anything, for
a band that walks a dirty, almost
post punk MC5/Stooges swagger,
they've got mind-warping titles
on the sleeve. That pain in my
molar is coming soon, and it will
reveal a painful flash of enlightenment. If the cliche stands and the
truth hurts—then like my fucking
tooth this record will cause you a
little pain. But the nervous edge
on it will fade out and you will be-
left with something more than just
a hole from a pulled tooth, feed
off the blood that fills your mouth.
Digest this record and realise that
other people get fucked up and
over all the time.
Derek Sterling Boone
clann zu
(G7    Welcoming    Committee/
Although I'm told I'm a sucker for
classic printmaking, I think this CD
has a really striking cover. Like a
1940s stamp from Bolivia or something. And the opening song,
"words for snow," has a really
promising start: violin and tremolo
and a quiet voice. Unfortunately,
much like communism, the album
unravels into something quite different from what was initially suggested. Eventually there's a lot of
screaming about the Irish Potato
Famine topped with Gaelic and
drum machines. The arrangements are also really constricted.
The live drumming is lost and the
violin fights a lot with the vocals
for space. However, were there
an LP version, I would buy it on
sale and file it between My Lai
and Jeff Mueller's solo record at
the way back of the box.
Chris C
a three point perspective
(Woodson Lateral)
This is the first album from the
Seattle electronic trio in this
incarnation, although some
may remember them as the
younger and louder and electric
Recidivist. This project has been
in the works for* a few years and
seems to me to be a computerized foil of their former personalities. Recidivist was completely
improvised, resulting in a certain
randomness of ideas with the
comings and goings of guitars
and drums. Similarly, this record
is very open but changes direction just sharply enough to remind
you you're listening to a collaboration. The tracks are completely
relaxed and atmospheric and yet
somehow this record also reminds
me of the spastic rock found in
claustrophobic spaces of yesteryear like the Rendezvous. Were
I to lapse into comparison, I'd go
with the episode where Tortoise
meets the Ex. But no chanting or
Dutch accents.
Chris C
The Long Winters
Whent Pretend to Faff
(Barsuk Records)
Remember a couple of years
back when Everclear wrote that
song about how groovy listening to AM radio was back in the
1970s and how the kids today are
just missing out? But instead of
starting some revival that saw AM stations changing their formats
from Dr. Laura to the all Everclear
station, people just said "Why the
fuck are we listening to this balding forty year old rock star whose
only cred comes from bleaching
what remains of his hair?" They
haven't had a hit since.
Well, another Pacific
Northwest band is taking on the
ghost of 1970s AM radio. Seattle's
The Long Winters second record
When / Pretend to Fall provides
a nostalgic trip back thirty years
without actually sounding nostalgic. As songwriter and brainchild
of the group, John Roderick aptly
takes in the sounds of '60s and
'70s pop acts like the Faces, Big
Star and the Beatles, creating a
unique and yet familiar sound
reminiscent of the Flaming Lips,
minus all the weird psychedelic .
If all of this wasn't enough
to entice the average listener,
the list of accompanying musicians on this album should peek
anyone's interest. Former Harvey
Danger front man Sean Nelson
plays keyboards in the group,
while John Auer (the Posies),
Sean Ripple (American Analog
Set), Scott McClaughey (Young
Fresh fellows. Minus 5) and Peter
Buck (REM, Minus 5) all make
appearances on the record. To
tap it all off, the album's co producers include Ken Stringfetlow
(the Posies) and Chris Walla
(Death Cab for Cutie).
The seemingly endless list of
musicians who contributed to
the creation of When / Pretend
to Fall would suggest a chaotic
sounding recording. However,
the album is, for the most part,
extremely tight and laden with
hooks. The Long Winters falter
a coupte of times with the droning closer "Nora" and the Srst
single "Cinnamon" is ridiculously
sugary. But then AM radio has
always thrived on sugar cane
and cheese.
./an Gormley
Michael J. Schumacher
Room Pieces
Not having read the booklet
before listening, I made the
assumption that Schumacher
was merely an ambient artist with
gobs of time on his hand dr*asj
meditative spirit. After reading
the material though I found that
Room Pieces is one highly conceptualized sound installation
with structured, mathematical
engineering. The first disc weighs
in at a hefty 75-plus minutes
wherein a computer makes all
the "decisions about rhythm and
pitch." Measured ratio of silence
and/or length of one track
determine the size and output
of the next or overlaying track.
While tracks are prearranged
the order of play is random and
overlapping inviting the listener
to ponder on whatever meaning
they can conjure. Interactive and
immediate. This evidently recalls
Schumacher's experiments in
large installations utilizing loud
speakers set in separate rooms
in which an audience would be
seated in a foyer listening to hours
of tones, drones, instruments, etc.
Disc 2, containing four tracks all
nearly 20 minutes, makes use of
actual musical instruments (violin,
cello, percussion), sampled but
planned with the same "active
and intimate, focused and
personal" shuffle. Basically, if it's
music you want you've come to
a deceptive place. The object
is sound, not typical noise but
slow, time-designed, beautifully
looming sounds that you'll need
lots of free time to soak in. I'd be
dishonest if I didn't point out that
I enjoy this but can also take a
good, healthy DiSCORDER step
back, chuckle and recognize
the pretentious, new-age art-fop
aspect of this too. I can sure dig it
as well as laugh about it.
Bleek of Green Gables
Senor Coconut
Fiesta Songs
(Emperor Norton)
Who told Senor Coconut he could
keep being funny? Messing with
Kraftwerk was one thing, but turning Sade's "Smooth Operator"
into a mambo? I mean, c'mon,
is nothing sacred?
Atom Heart's work as Senor
Coconut has garnered him more
than a few new fans, but one
can't help wondering—what's up
with the prolonged good-off-ery?
Perhaps the thrill of working with
a real live multi-manned band is
what enticed Atom to keep his
sombrero on for another album's
worth of classics revamped in
meringue, mambo and ehacha-
cha style.
Along with a few Sehor
Coconut originals, the eas-
ily recognizable favourites on this
album are covers of "Smoke on
the Water," "Riders on the Storm,"
Beat It," and a stirring rehaTfion
of Jean Michel Jarre's "Oxygen
(Part II)." Oh boy.
If you need a quick fix party
mix, this'd be a good album to
pick up. If the musicians weren't
so quality, I'd say this belongs
solely in your novelty record collection, but the tunes are solid,
if a bit cheesy, and the album is
well worth a listen or two. Three,
Jutie Colero
The Silver Mt. Zion Memorial
Orchestra & Tra-La-La Band With
"This Is Our Punk-Rock," Thee
Rusted Satellites Gather* Sing
(Constellation Records)
Like entering into a 21s* century
cult chant, the TSMZMO&TLLBWC
bring a world to you and place it
in the opening of your ear canal.
Right there for you to take it, if
you so wish. This album has an
addictive quality to it, and if you
accept it, then it will be caught in
your lobes for the rest of your life.
I'm very happy that somebody
out there, right now, is making this kind of music. There is
a hollowness in pop music, not
that hollowness is bad or any
thing, but certain bands have
the power to fill those musical
cavities. I would put all my trust in
Together, with patience, the
songs demand full attention as
they take your hand and bring
you to their floor. The music is so
transfixing that anything communicated makes perfect sense,
and you want to play along with
them, jumping into a musical time
warp to the rooftops of Montreal,
and twirl around until you're
drunk with tears.
How can you go back to
fhe so called "real world" after
listening to this? You want to be
in TSMZMO&TLLBWC's world. How
do they cope? I guess this it how.
Patrick Finlay
Soft Canyon
Broken Spirit, I WUI Mend Your
This is album is the 1960s. And
not like how some folks think that
Sloan is. I mean 1960s like rock
and roll finding its feet, psychedelic drugs, and prevalent spiritualism. 1960s like if the copyright
date was changed to some forty
years ago, I wouldn't blink a metaphorical eye as a listener (For further proof, please check out their
web site: www.softcanyon.org.)
In fact, there is practically nothing glaringly modern about Soft
Canyon's debut release besides
the fact that they are part of the
Montreal-based Alien8recordin®s,
a label usually noted for its support of some of the stranger, more
difficult music being created
today, such as Sam Shalabi. Soft
Canyon seem odd in their place
on this label to say the very least.
The scent of indulged memory
reeks off of Broken Spirit. 1 Will
Mend Your Wings to the point
where Soft Canyon run the risk
of becoming nothing more than
a way to take the mind back in
time. Which is not the same as
escape or release. Granted, I
could not accurately compare
this to any album I've ever heard
originating from a specific time
period. Instead this band, a
phoenix from the ashes of Tricky
Woo, Plug and The Beautiful
Losers, has managed the bizarre
feat of distilling all *hat a 90s girl
would believe the summer of love
to be built on, and then mashing
it into a single album.
I cannot imagine what their
next album wiH sound like. And I
just may not care.
The Embattled Hearts
(Six Shooter)
Veal's second full-length release
is more consistently good than
the first, but I think they have not
yet reached their peak. Starting
off with a burst of high-energy guitar, the energy level never lets up,
and you can tell that they love
what they do. There's a certain
amount of performance to Veal
(an increasing trend, in Toronto
artists especially); you are not
listening to Luke Doucet, Chang,
and Nik Kozub, you are listening
to Veal, with their sparkly logo
(okay, that's on the other album,
but still) and distorted vocals. This
is pure rock and roll, but dark.
And it's loud, very loud. Highly .
recommended—it's worth it just
for the best song on the album,
"Fader Creep", a Veal-esque rap
about the meaninglessness of
being a junkie. But don't listen to
the album more than twice in a
row—it's just too much.
C Turner
(Sanctuary Records)
quebec, like Ween, avoids genre-
definition like a fat kid avoids
stairs; unlike the little tub-o-lard,
however, this album jumps up
and kicks your ass. The first post-
Elektra records release by Gene
and Dean Ween is somewhat of a
microcosm of the Pennsylvanian
obscurist-rock duo's career. The
album begins with a speed-
rock shakedown reminiscent of
albums like The Pod or God Ween
Satan, then delving through the
left-field weirdness of Pure Guava
or Chocolate and Cheese on
tracks like "Zoloft" and "Hey
There Fancypants." quebec,
however, really finds itself through
the superb composition of slower,
acoustically based tracks such
as "Tried and True," "The Argus,"
and "Chocolate Town." While
quebec is decidedly mellow
(even in comparison with 2000's
■. ballad-laden White Pepper), it is
by far Ween's most approachable album, quebec won't even
scare away the meek until they
listen closely and realize that this,
like every Ween album, comes
from a place of truly twisted evil
(these are the guys, after all,
who penned the track "Spinal
Meningitis"). Unlike Ween's past
efforts, chaotically dominated
by a sense of strange turmoil and
darkness that required one to
find the songwriting through the
muck of the weird, quebec is an
outstanding collection of quality songs with much more subtle
hints of gloom and loss affecting
the overall mood of the album.
Praise Boognish.
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to Sonar 2003
Tales from the unencrypted flies
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|HoiaI jSonarI
When it came time to summarize
the smoldering mess known ds my
"notebooks"—hotebooks that
would be found "missing" several
times over during my Journey
of Summer Festivals—it was as
if I was recovering some kind of
hallucinated handbook, a cross
between the lost books of Narnia,
an entheogenic philosophy text
and a hipster travelogue. Out
came phrases plucked from
the hot Mediterranean air of
Barcelona's Sonar festival, a four
day excursion into the madness
of 40 degree heat, absinthe,
avant-garde architecture
and floods of pasty bodies on
drugged-out trips. Oh yeah—and
a good slice of experimental
electronic music. I learned the
following: aqua means water;
vino, wine; and hash—well, that's
self explanatory.
Rewind the memory banks:
"If writing these scrawled
notes are an excuse to lower
my budding Friendster addiction, then Sonar is the wrong-
way stopover for drunk Brits
lost   on   their   way   to   Ibiza."
I like that one. And it's true:
Sonar is a dangerous nightmare...
hordes of drunk, pink & flabby
post-ravers. "Claustophobia
in the booth," I wrote, "as the:
livestock ramshackle into the
multi-level, fenced off massive
art-complex known as the Ceh- •
tre de Cultura Contempordnia
de Barcelona, which is like plunking down SFMOMA into a walled
medieval city—plenty of winding,
narrow streets filled with screaming night hookers, just off La
Rambla, the massive avenue of
tourist despair, the pickpocket's
dreampalace, where only the
dripping bodies fear to tread."
Barcelona is one of the only cities
on Earth that is beautiful at every
corner: the corners are octagons,
recessed for bars and restaurants.
Terraces are in the middle of the
avenues, lined with trees. Nobody
eats dinner until 11pm. Nobody
goes out until 2am,. You come
home at 8am or later. You wake
af 1 lam. And then nap between
1 pm and 3pm—siesta—when
everything is closed. You don't
sleep much. Thinking is sweating.
Living is vertigo. And this is the
atmosphere—sun blazing hot,
passing out, headaches, missed
appointments, overheated
laptops, motorcycle protests—of
Sonar—on Balmes.
Sonar.es is a festival for
experimental electronic music
lovers, and since its inception in
1993, has been drawing evergrowing crowds to the mid-June
festivities. This was the 10th Anniversary, sporting a total crowd of
89,109—including 387 artists from
20 countries, and 848 journalists
(half of those from Spain). One
of those journalists was me—for
Discorder, and hellbent on covering Sonar from inside and out.
Few electronic music festivals
manage to balance the beats
and the weirdness with such success, as well as net.art exhibits,
software demonstrations, sound
installations, film showings, three
floors of international booths, a
record and business fair, something   like   six  different   stages,
including chill out rooms and
deck-chaired listening tents, and
two entirely different venues—if
not faces—of the festival: Sonar
By Day> and Sonar By Night.
Sonar By Day is probably where
anyone over 24 ends up. As the
heat rolled in one fine afternoon,
I found myself stoned to AntiCon,
rocking the front-stage at high
volumes on the astro-turf. Later it
was Prefuse 73 and the stunningly
erotic Safety Scissors, singing
his songs of digital despair.
Numerous label showcases are
the highpoints, with members of
Mego, Cheap, and MUTE gracing
various stages. Yet anticipation
this year focused on Montreal, for
the last event of Sonar, Saturday
afternoon in the hot, outdoor
SonarDome, was the Mutek
showcase—Akufen, Tim Hecker,
Deadbeat, and DJ Vincent
Lemieux. Imagine the scene,
feel the heat...plugging away at
laptops while the throng passed
out on the shaded green; the
Montrealers getting extremely
drunk, due to a certain infamous
net.artist's absinthe supply (Tim
drank the absinthe, too. Then
dreamt his Rimbaud dreams
in sound to the hallucinating
audience). Even though both
of Akufen's laptops crashed
(and later, his MIDI controller
was stolen from the stage), and
the sound system completely
melted, and Lemieux's DJ set
was rather straightforward, Tim
Hecker managed to absorb the
crowd in waves of cascading
granulation. This led us up to
Deadbeat's stunning exploration
of his microdubscapes that had
us all singing into the night air,
and  Philip  Petite from  BiP-HoP
dancing & yelling in the graffitied
streets after we got kicked out
(there's supremely surreal graf
in Barcelona; the graf kids grew
up on Dali, dada, Picasso and
Gaudi), and yeah, we seemed
to be the last people to leave the
trashed grounds of Sonar, knee
high in plastic beer cups...
Walking from building to
building was kind of like being
at EXPO '86 at age nine—all
asses and legs, unable to make
an actual decision, caught in
the crowd and the flow. But
what a flow! What asses! Either
the red-burnt skins and husks of
plastic-cupped Eurotrash drunks,
or those other asses one finds
down at Spain's nude beaches.
Which is what I wrote, sitting
beside a hungover XLR8R journalist, along with: "Everyone in
their '20s in Barcelona drives a
motorcycle or scooter. Fucking
move here now." I think I might.
While Sonar By Day takes place in
downtown Barcelona, adjacent
to the old quarter—the whole
city is old, so this means really
old, Roman era—Sonar By Night is
an hour out of town in a massive
arena-sized convention center
1 built for the Olympics. I knew
things were going to be BIG when
we went to the invite-only press-
party on the thursday before
things kicked off—and it had an
"intimate" party room that was a
skafmg-ring. This was small. Luckily
I saw Jeff Mills, Detroit techno
turntablist superstar, undo the
decks in a 40-minute set that saw
the Wizard handling the history
of Detroit: from funk to Afrika
Bambaata to early jack-house
and on into his newer and housier
Purposemaker records, living up
to all flash expectations—finally.
Compare this to Sonar By Night—
where 30, 000 sweaty, shaved
chests and silicon separate
you from the front stage, and
the sound comes in echoed
waves across the sea of bodies
while Mills and Richie Hawtin
just bang out the unfortunately
stagnant hard techno. Mutek
offered a much more intimate
experience—we'll get to that
soon. But here's a tangent in
sonic politics: propelling 130bpm
beats of hard, minimalist and
abstracted percussive abuse
meant something. But ever since
Hawtin started to look like Sven
Vath—he's got the blond hair
& the blue contacts now—and
Mills...well, about five years ago
it all started to shift with the ego-
expansion: and hard techno was
forever lost. Like Beat poets, hard
techno was tied to an actual
nomadic, roving existence.
Once that becomes a global
circuit—the music's angry punklike frustration is made dance
pablum. At least at Sonar, and
in contrast to other Euro festivals,
you don't see nary a Sasha or
Paul van Dyk in sight—the reigning
trance queens—although one
feels the Brit crowd wouldn't
notice the difference anyway.
It is this indifference which sets
the tone for Sonar as radically
apart from the smaller, intensive
-confines of Mutek. Mutek is
like Sonar in year three—and it
looks like Mutek might just hang
onto its proportionality without
begging to the alternate-lbiza
schlock that is slung at Sonar as
"alternative" or "experimental."
Comparing/ Hawtin's two sets
between Sonar and Mutek is a
' litmus test. While at Mutek, Hawtin
played a deeply introspective,
minimalist funk, previewing much
of the new Plastikman album,
stripping down the bass to stark
levels and submerged acid—in
the critical technohead sphere
he played an act of redemption.
Unfortunately, his Sonar set was a
neverending bang-bang-bang,
requiring neither emotion nor
intelligence on behalf of the
dancing body. No connection at
all. The rest of the world doesn't
understand what Hawtin was—
and Hawtin, for reasons we can
only speculate, seems to lack the
courage to bring the elements of
his art, his extreme MidWest style,
to the rest of the world.
And there is schlock—although a lot of it is not even
from Sonar, but a global trend
known as "the schlock market."
We do not have a musical
avant-garde in techno music,
for they are afraid of upsetting
the careful balance of festival
politics. If Sonar's politics are
marked by indifference—this,
despite its net.art exhibit, which
featured some fascinating work
by NN, among others—then so
are the former politics of many
an ex-warehouse-technohead.
The much anticipated Kompakt
records showcase—the German powerhouse of all things
minimal techno—revealed that
what the supermen are up to
today is nothing less than a compacted minimal trance. Boring as
hell—for both mind and body,
like the neverending repetitions
of the Roland 909 that grace
ubiquitous drum trax. Perhaps
this is because of a wider shift—to
laptop production, which creates
sound still too odd to be incorporated into the conservative main
room of Sonar By. Night—but also,
the death of the entire paradigm of the subculture, a change that
has resulted in the complete disorientation of a number of "traditional" genres in electronic music.
The very nature of the politics
of the subculture has changed.
While trance, house and hard
techno die, and their icons come
to a foggy realisation that their
crowds of bouncing-audiences
are dwindling to an average
age of 14, the exploration of dub,
cacapohony, no-holds-barred
experimentalism, noise, random
sound generation, performance
art in electronic music, and all
the things that make up today's
microhouse/techno, microsound,
lowercase, electro, phonography, noise, breakcore, and bit-
hop sounds have come to the
fore as the sound of the aughts.
Rewind that soundbyte: the
subcultural political is dead.
Thus it comes as no surprise that
events like Sonar and one-time
resistance music like hard techno
are nothing more than hollow
husks signifying no'actual social
movement—like they once were.
The social movemenf'today is not
tied to the sound of the music,
but rather to the gathering itself:
what is happening at Sonar, the
very nodal gathering that Sonar
is. And Sonar can be nothing
less, at points, than a strange
brew of business, sex, drugs and
politics...where one ends the
other doesn't stop: it's a vicious
hedonism that keeps the music
distributors, labels," and artists
on the circuit. One look into
the deeply sunk, intelligent and
incredibly sleep-deprived eyes
of Ricardo Villalobos will tell you
that in a second. And it's wiring
these global circuits—Sonar,
Mutek—into the mainboards
of other networks—Next Five
Minutes, Ars Electronica, ISEA—
that is soldering a new political,
not of the "underground" or the
"subculture," but of the global
nomad. ■,-i".'
Is Sonar worth attending?
Sure, why the fuck not—if anything it's a chance to see Barcelona and drink absinthe. Alcohol
is cheaper than water, and absinthe in Spain is stock full of the
wormwood, for five Euros a bottle.
Mutek—Four Years In Montreal
The narrative on Mutek • has
forced me to say, "I've seen it
all." Hell, I moved to Montreal in
part because of this gathering,-
or more significantly, the people
this gathering has brought
together, across Canada, into
one metropolis—a city cheap,
stylized, hip, with more than one
language and culture...and not
only French, but a myriad billion
things going on at once. A couple
hours north of NYC, Montreal has
everything Williamsburg, Brooklyn
wants but wouldn't even know
where to begin—a weekly park
gathering called Tarn Tarns,
cheap & decriminalized pot
(from BC), better coffee, more
terraces, and something called
"style" which has the effect of
making one's fuckability rating
escalate a notch or two.
Mutek too has grown over
the three years, and so have I, in
three years of coverage. I feel a
bit like Genesis P-Orridge: when
you know everything that is going
to happen, when you know how
the entire thing is run, alt the internal scuffles and politics, you feel
like bailing out while you still can,
before the cynicism kicks in. Keep
moving. But it took a trip to Sonar
to took back at Mutek and realize what a wonderful thing it is.
My Editor at e | / magazine asked
me to write a very critical review
of this year's Mutek—and good
thing the review was cancelled,
for I was simply unable. Sure,
the usual Quebecois disorganization graced all aspects, silly
decisions were made, and the
general Mutek hierarchy remains
as generally mysterious and
unapproachable as ever, but
the festival itself was an intimate
experience—something I can
barely say for Sonar. At Mutek,
one can sit down, lie down, often,
and listen. The festival is still about
the sound, about listening, about
giving an artist the time and
space to absorb soundwaves,
and often engaging visuals.
The debate over laptops in this
context is over: it doesn't matter,
what matters is the sound. We are
a generation of ears, perhaps
because—and as Adbusters
demonstrates time and time
again—our visual environment is
a polluted mess. At least, if we
cannot afford artist's billboards;
we can create music and sound.
The mistake many people
make at Mutek is believing it is
a music festival. It masquerades
as one: primarily, Mutek is
about sound, which means that
various expectations, of music
will, at some point, be entirely
crunched. The most aggressive
example this year was the MEGO
showcase. For the most part,
the atmosphere was loud, but
soothing. Kevin Drumm's oceanlike noise filtered visual patterns
through closed eyes as his strobe
light increased and decreased
in intensity; Pita played a soft
collage of waves and drones;
and Tujiko Noriko's noise-pop
was a beautiful interlude, earning
her the compliment: "the new
Japanese Bjork." But then there
was Hecker— no, not Tim Hecker,
but Hecker, who chose to split
bodies, mindi the air and the
audience in two with violent
and ^/worrying sinewave shards,
running into frequencies so
sudden and vicious that a good
number of people fled into the
afternoon...the applause was
smattering, but for those who
stayed, his excursion cleaved the
consciousness of what sound can
do to you. Many people didn't
like it all, which for me signified
an experience unassimilable into
the hfpster consciousness that
wafts like a bad perfume 'round
The only other performance
to come close was sound performance artist Christof Migone.
Three videos side-by-side on the
screen displayed, beginning on
the left, a man (can't see his
eyes) holding his mouth open;
next over, a man trying to suck
through a massive block of ice,
held in his hands, to a tomato in
the middle; and finally, what appeared to be a bridge at dusk as
it slowly moved through sunset to
night. Audio was recorded from
these actions: the tension, groaning and breathing of the open-
mouth, the cold slice-slurping of
the ice, the choking, the traffic
and far off city-drones, routed
via separate amplifier-speakers
which were then mic'ed and
fed into a central mixing console,
electro-acoustic style, where
Christoph sat in the middle of the
audience. It was a performance
of tension and it ended 45 minutes later, the audio undulating
from these live recordings in time
with the video, a whole aural field
of bodily tensions, of excruciating
pain, of endurance, a meditative
torture, pushing past the limits of
body to sound, yet seeing the
process, which finally and only
produced audible relief in the
audience when the tomato was
reached, 45 minutes later, in the
middle of the ice. Presumably
it was Christoph, finally closing his mouth, coughing and
spluttering from viciously holding his jaw open for so long, his
muscles conducting uncontrollable spasms. Three quarters of
an hour that was an eternity.
The sonic organization of this
year's edition surpassed previous
years—at least in the grouping
of various artists into appropriate
venues. The sold-out Ex Centris
shows were a treat, with the extra
bonus this year of floorpads to sit
on instead of the pure cement.
Moreover, the shows were
aurally engaging, with Thomas
Koner and Asmus Tietchens
opening ears and closing eyes
to an introspective labyrinth, a
dark soundscape drawn from
field recordings and tense in
the directionless interpretations
the ambience invited. A still-life
tableaux of Tietchens and Koner
manipulated us farther and
farther into the post-industrial
drones and buried sound streams,
repetitions and events that could
only be heard after significant
immersion—cave-like, a steel-hull,
or maybe even the sound track
to House of Leaves. The end of
the performance was, perhaps
ironically, one of the superior
moments: the volume reduced,
the bass rumble dominated the
atmosphere, and as it slowly
decreased, and then ended, the
audience was perfectly quiet,
there was a pause once the
sounds echoed into stillness, and
then a heartfelt and thunderous
The same can be said for the
disciplined improvisational duo of
Martin Ng and Oren Ambarcfti,
accompanied by the visual artist Tina Frank (her work can be
found gracing Mego, Staubgold
and Chocolate Industries).. The
ensemble "began before beginnings were realised," with acute
and small tones that slowly, with a
restraint rarely heard in improvisation, collided into a careful tinkering of line noise from stock turntables, effected and prepared
guitar, and other forms of delicate i
feedback. A few surprising and
shocking, if not violent feedback
spikes shook the audience out
of quietude; a few tittered and
laughed, genuinely unsettled...at
the same time, a madly psychedelic generative-video from
Frank, of geometric lines, cubes,
holes and sprawling grids flipped
representational schemas from
2D to 3D, interpreting the sounds
as they were processed. This led
into Tim Hecker, whose performances are lush and evocative
explorations, and this was not
a disappointment. To warm up
the audience, a few audio experiments from the 242.pilots vid
collective (including Kurt Ralske),
mainly abrasive lines, colours,
and biting, cutting, hard-edged
sounds. But the main course, if
not dessert, was Hecker and the
Pilots. While I drifted off from the
video—which was colour-toned
and softly delicate, with broad
swatches of colour occluding
swathes of source photo and
video, lost in a fog, yet perhaps
too bright, not blue enough for
what I imagine in terms of Hecker's soundscapes-^l was rapt in a
deep slumber with Tim Hecker's
improvisations, chunks recognisable from Radio Amor: I had
a dream, while lying down and
listening, and feeling the floor
rumble from tones that we could
not hear, so deep they were, of
creating a deep listening show
where Tim would pipy for a good
2 hours and at volumes much
higher than Ex-Centris seemed
capable of that evening. Who
knows: it may indeed happen.
So—Mutek continueswith its drone
weirdness. To Mutek's credit, the
fest annually showcases several
unknown Canadian artists. This
year, Edmonton's Clinker—who
also played the 2003 New Forms
Festival—debuted. And by this
I mean that Mutek was, for all
purposes, his first prominent live
show, before he's even released
an album. It was a focused and
coherent debut. Cfihker took over
the reins with a delightful drone
and loop performance that
shook the very foundations of the
postmodern architecture. During
the quiet points we could hear
the kitchen staff in the restaurant.
(...but losing all thoughts to the
hums and strains that retained
the classical edge of an avant-
garde composition—no glitches,
granulation, or high frequency
pitch-shifting here—think of what
it must have been like to have
heard La Monte Young at Black
Mountain, massive sine waves
enveloping    whole   rooms    of
f ail
n   'r
• [l
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The facts: Clinker is 36. been at
it since age 20—but as a bassist
in heavy rock bands aiming to
become Primus. Six years ago
he lost interest, and began
wandering into Tortoise, Bjork,
and Brian Eno, something Clinker
describes as "I had a couple of
epiphanies with music listening"—
which also comes down to
researching minimal classical
music, from Morton Feldman to
Steve Reich and Thomas Koner.
A designer for a living. Clinker
fell in love with synthesizers (he
uses a Nerd Modular, but owned
"dozens of synths" In his basement
for awhile), falling farther into the
land of ambient music.
DISCORDER: People coming In
from other genres have exploded
the field anew. Are you aware of
people doing work similar to yours
today, or are you still operating in
a vacuum?
Clinker: "I live in Edmonton, so
I do feel like I am in a vacuum,
it takes an enormous amount
of effort to try and source out
and find the music that's been
inspiring to me. I found my
way to the Mutek website and
started listening to a lot of the
streams from the first year—when
I got to Carsten Nicolai and the
Raster-Noton collective, it was a
sound I had never heard before.
Super clinical and austere, but
something warm about it that
appealed to me. A lot of the
influences come through Mutek."
Clinker is a textbook case of
Mutek's influence and its force
within the Canadian scene. After
attending the 2001 edition, and
seeing how experimental music
is presented, he came back
determined to participate—as
an artist: "I'm coming to Mutek
absolutely from the bottom.
I don't have any releases on
anybody. Their decision to bring
me in was based on my demo.
Mutek is the portal. If you can
play there, you will meet all
these people that you need to,
and if your work is good enough,
people will be interested in it. And
that's the way I've approached
it,   and   so   far   it's   worked."
And as an artist, he's followed in the grand tradition
of soundscapes, from Hllder-
gaard Westerkamp to Tim
Hecker, which led me to ask:
Tim Hecker did his remix of Van
Halen. Could you ever converge
your interests that way, has that
come to mind?
"No, not at all. People tell me that
you're a product of your past...
and I can see that now, when I
was recording the rock albums
and learning how to engineer,
all those skills play a huge part
in what I am doing now. It was
a whole process of learning that
end of it, then coming back into
the sound design aspect with
Some people accuse journalists of attaching music to geography, but would you say your
dronescapes are a product of Edmonton? I've been to the Prairies,
spent some time there, and for
me, that sort of music comes right
out of that sort of place, living-
do you see that connection?
"I absolutely see the connection. Maybe It was more a subliminal thing. I didn't start recognizing
the connection until the last couple of years, thinking theoretically
about my artist's mandate and
what seems to be happening
with the sounds I was coming up
with. I turn my machines on, and
it's natural to build these types
of soundscapes. My isolation,
locking myself up for the seven
months of winter in my basement,
its gotta have an influence, I really believe it. I've billed myself as a
minimal isolationist in that sense."
Back to Mutek
Mutek's expanse far exceeds
my words here—and no doubt,
your patience. As the growing
Vancouver contingent can
attest, Mutek is not only a
valuable, learning experience-
like first-time anal sex—but one
hell of a party. (Vancouver
sends, -along with Seattle, by
far the most delegates—close
to twenty this year.) If you'd
like the extreme play-by-play,
may I politely point the reader
over to Dustedmagazine.com,
where a 15, 000 word essay on
every single act at Mutek can
be found in the Events section.
I say this to spread the love. But
also because I'd like to mention
one more act—Coil—and one
more interview: Robin Judge,
who now lives out on the West
Coast with her perhaps more
well-known partner, Tomas Jlrku.
PJease welcome them—they are
fish out of the water, so to speak.
But on to Coil.
Coil came out in white fur
suits reminiscent of a Yeti version
of Sun Ra, slowly they walked
out with a military bearing. The
relationship was evident: master
[Coil] / slave [audience]...playing
the keyboards with dramatic pause and aggressive
execution...sequencing tracks in
Live on a Powerbook...responding
with warmth to the darker and
colder Coil, and his gaping eyes.
Once the hoods came off, we
saw their age! Both had shaved
" heads, although grey could be
seen: mohawks at age...50 ?
Impressive: hardcore and fucked
until the end. I think Coil only
communicated with those who
knew their history or who know
something of the genesis of industrial music in the heyday of
the 70s performance-art scene.
Thus spending much time in
their ambient excursions before
tapping into rhythms, playing
three distinct tracks with pauses
that melded into others. Detroit
technoheads speak of "educating" the crowd: this was such a
performance, with Coil demonstrating the direction of rhythm,
the importance of repetition, the
ways in which sounds need not
be busy, but need be relational,
to speak to each other. Later, the
response was mixed. Those who
knew Coil were blown away,
sampling the references, the
gestures; those who knew nothing of Coil thought their performance irrelevant. Regardless of
their relevancy today in terms of
an innovative force, seeing Coil,
in all their weirdness, their dark -
industrial tinge, their refusal to
accede to contemporary performance schemas, all of this
served as a historical reminder of
a past that is perhaps even less-
known and appreciated than
Detroit techno: 70s industrial, the
whole nexus of Throbbing Gristle,
Genesis P-Orridge, Chris & Cosey,
right down through Skinny Puppy,
Thrill Kill Kult, Front 242, and so on.
Sunday Night: Mutek On The Brink
Where do we begin—with the
massive lineup waiting to get
in? The anticipation of viewing
the set-up of eight beat geniuses
getting ready to improvise
a eaeepheny ef elanee-
meltdowns? Sunday was a first,
and Mutek's tradition of growing
back its ecstatic hair was once
again renewed. The Phoenix.
Indeed, first with Robert Hen-
ke as Monolake, whs proceeded
to deconstruct, via Ableton
Live—he's one of the software's
designers—a few of his hallmark
& patterned echo-scapes into
the stratospheres of techno-
dub. A few moments of hilarity
from the truly genial Henke—he
had to ask for a mouse halfway
through as his "trackpad was
going crazy"—in a wonderful
German decent, may I add
-and he took the time to thank
everyone, noting this was the last
night of Mutek. Sometimes you
just need a 6-foot-plus, bald, and
smiling German guy to remind
you to have fun. And for many
of us, this was the chance to see
a Monolake we had hunted out,
record by record, since 1995.
And Henke did not disappoint,
submerging the casa into watery
realms, and as the drinks were
washing down numerous pills In
the audience, the soundsystem
was put to its furthest limits of
volume. Time to prepare for
what was to come: Narod Niki.
According to the Mutek booklet,
Narod Niki take their name
from a group of "students and
professors who travelled Russia
teaching the peasants to read
and to understand the basis
of the revolution" (45). Now, I
don't know if this is meant to be
revolutionary—all those loops in
revolution—or ironic [ultimately,
Russian socialism failed].
Whatever: Narod Niki was,
from left-to-right: Richie Hawtin,
Akufen, Ricardo Villalobos,
[master mixer controller &
conductor: either Jullen Roy
or Robert Henke], Pier Buccl
(Zip from Perlon), Dandy Jack.
Luciano, Cabanne and Dan Bell.
For those counting, Richie Hawtin
+ Dan Bell = Cybersonik. History in
the remix.
The result was speaker meltdown. Some poor soul I met was
a little disappointed, saying that
although the grouping was legendary, the results were anything
but. I think I have to disagree.
I remember at the first Mutek I
was disappointed by the live
sets—after practicing the speed
at which a talented techno-tum-
tablist can dive records, hearing
producers play their own tracks
remains somewhat boring. Tracks
need to be mixed, and Mutek is
still trying to grudgingly admit the
role of fhe DJ, the turntablist of beats and not just phonographic
experimentalism. To a degree,
I've come to expect an element
of long-track-dancing at Mutek,
and accept the changing parameters of playing from gear,
laptops,' and so on, as part of
the sonic shift. But since 2001 the
technology has also improved to
the point where the producers
are able to remix their work live.
And the producers themselves,
those who are not DJs, have
started utilizing DJ techniques.
Which Is not to say that all producers are good DJs, or for that
matter, know how to really play
their own work—for often it takes
a third party to interpret what
was not heard at the origin...
Give thanks, then, that each
member of-Narod Niki had such
an idea of how to mix—although
fhe stand-outs were by far the
most talented turntablists: Richie
Hawtin, who stripped everything
down, sound-sculpting the mix,
and Dan Bell, who jumped into
the repetitious loops of mindfuck-
vocals that made him famous
["I'm losing control...l'm losing
control..."]. Each had their own
unique quality—Luciano led into
two desire-filled, epic, but not
cheesy, breakdowns, sweat dripping off bodies packed Into this
brick box... Dandy Jack dropping
the four-on-the-floor into Latinate,
organic breaks—dancing away
like mad, his energy infected
the crowd and drove us into orgies of movement—Cabanne
working with Bell on the tight
beats-f-while Ricardo opens the
whole mix to surreal basslines and
vocoder sing-songs. Akufen's
sliced-and-diced sampledelia
cut through Hawtin's minimalist
sound-sculptures, and every-
tlme his trademark beat-dicing
could be heard, another surge
erupted from the crowd...that's
our man...Richie would Jook up,
smiling and laughing at Dan—
who remained stonefaced the
entire time, dead serious—as Bell
pushed the bangin' mindfuck.
Ricardo would gesture over,
pointing out who had come
into the mix. It was like* a big jazz
jam, trading off beats, winding
through various tortures and ecstasies, gesturing the magick of
sonic ritual, conducting, a digital
clone of a .Sun Ra jam, and at
the helm was either Julien Roy or
Robert Henke, manning the master mixer and pushing it as loud
as it would fucking go, thudding
the bass—that warm, hard bass,
so loud that those in front of the
speakers had both hands over
their ears in pleasure...bleeding
loud...when the three hour jam
ended at 4am, the crowd cheering with the lights on, it seemed
like we were only just getting
started...indelible memoirs...we
were stunned: this is, after all,
what we are here for, and this
is the social found in the sonic.
And then the Gods granted
the free, intimate warehouse
afterparty. Richie and Ricardo
spinning, dropping deep acidic
techno and Latin minimal house
jams...solid thumping...all chilling,
barely awake, more substances
consumed, famous journalists
passed out in awkward positions
on couches, wild dancing from
gum-chewing label-owners. All
that shit I just cannot talk about,
Mutek Director Alain Mongeau
actually smiling and looking
relaxed, and finally, after days
of cloud and cold, the sun rising over the echoing streets of
Montreal...enough time out of
joint to see a strange post-hippie
bike down the street in the oddest of wheeled caravans...and
to eventually move the decks
up to Mont Royal to continue
the beats into afternoon suns...
From the annals. •
"fa^t ain't always
§§ than slow J^Pl know
'-^^omerun every tiflHSL'^
would start to get boring
:v^$er a wfajile"
buck 65
talkin honky blues
LIVE Sonar September 18
[10 Bands 2 Nights J
Friday, ectober 10th
The Purple Onion Cabaret.
15 Water Strict Sia«w»«M"",f
mi uncTlC
S   B2QWeitPemer*MCM»ei
■    -VARiN
itBr«1ii, October 1im
I licaards Oo BJchards ,
■ 1131 Bicbarls Street Vaicasver j
31 Discord $1599
-,co ***
A Mark, A Mission, A Brand,
A Scar
includes bonus limited edition DVD featuring 60 minutes*^Kve performance &
studio footage Features "Hands Down"
The Artist in The Ambulance
Straight off the vansjWaVped Tour,
punk rock that stabs anyone with a
pulse. For fangtWAt the Drive in,
Thursday and Refused.
"Quite possibly the coolest thing to
come out of Canada" - Time Out London
Features "Anger As Beauty
De-Loused in The
The full-length debut from Omar and
Cedrx from At The Drive-in
Fever To Tell
The nyc art-punk trio's sexy take on
garage punk.
Old World Underground,
Where Are You now
Pure pop-nojisfA -eferostating brew of
Blonde Redhead-ish art pop and new-
wave sunti^" **£
In concert SepLV - Green Room
WWit ^t-+3e>Kc'^
788 Burrard Street
604.669.2289 Sale dates 09/01 - 09/30
DAnny michel
Tales From The invisible Man
"Sweet but never bitter, his lyrical
storytelling hits like the best kind of
sonic young adult novel, a beautifultly
varied pop masterpiece" ~ now
jim BRyspn*9>
The north Side Benches
A stunt^fiM«rcoUeciij>n of tracks"*
ranging.fjf«fji^i,t.country to ambient
in concert septn - The commojiore
l_ Pfi
nW«>* vwf fcriMU work as a   qVios* +rac»<«.r s©  x
^s+   4g   ^fS c£   ^   jk&. Sy s-My;^   Ivs
2. you Hwa+   d^-cs-Ve.   Vr«^fi.  & ye or  *Uos+ -ovt^i   '
33CX3cc#cefc 'we*>. culture
by esther
Whoring Out. Digital Style!
Back when scrunchies and
Lunchables were cool, I received
from a friend a padlocked diary
with dancing milkmaids and bunnies on the cover. She also told
me she hid the key to her own diary because of her little brother,
-Ond advised me to do the same.
I pretended to sympathize with
her but I hqnestiy didn't know
what she wa?. talking about. Sib-
ings? Invasion of privacy?
Without* a prying brother or
■ sister. I quickly found journals useless, if voyeurism is where it's at, I '
surely wasn't gettin' any. So, the
milkmaid diary and the hopes
of documenting my pubescent
years sat in a damp storage for
a decade—until the internet entered my amish life.
My very first website was a
weblog, though I did not know
what weblogs were at the time.
No one read it of course, but
the possibility of some random
person reading it raced my heart
enough for me to continue for
two years. Now that my site's defunct. I had to look somewhere
else to feed my fetish and a
friend introduced me to a truck-
load of websites that host journals
of the young, old and creepy.
Curiously, these sites resembled
the cliques I encountered in high
school. Of course, they are now
called "communities." Right.
Every high school has one: the
popular girt or boy whom everyone likes but loves to hate.
But it's hard to legitimize your
hate—they are equally as nice
to the chess club as they are
to the football team. They get
along with the teachers while still
retaining the coolness. God, how
1 hated them.
The only problem is that they
are unattainable. You have to either have an "in" from an existing
member in the circle—in livejour-
nal's case, a code—or have a
large disposable income.
The exclusivity is a turn off for
some, but it's worth it. Where else
can you read about rstevens'—of
dieselsweeties.com fame—stories
about poo? Seriously.
If livejournal is the queen, blurty
is the arch-nemesis disguised as
her best friend. While claiming
to have an independent style, it
can't help imitating every move
of its better, sexier and more
popular colleague.
Blurty should stop blaming
the world for its lack of success
and invest some time in therapy.
No one likes a website with psychological baggage.
I'm sure at one point in history
goth was cool. Unfortunately,
as it stands now it's a synonym
for'teenage confusion and Hot
I once dated a goth. He moped all the time and uttered suicide everytime something didn't
go his way. Oh hell, he uttered
suicide even when things did go
his way. Needless to say, he soon
irritated me, just like the users of
Piece of crap and ugly as hell.
Much like the senior who hung
around three years too long and
never graduated. Most people
know better than to be seen with
this kind.
" I keep a lighter
and dog treats
my pockets all iMT
jver Know
buck 65
talkin honky blues
omLIVE Sonar September 18
and your pointy shoes.
by k-lo.
1 this month:
#3* A Change in wardrobe. J                   -JBfe
hf? \
Anyone want
a ride to the mall?
#4: Visual Proof.
Oh... uh, hi son...
Uhhh... have you met
my friend Benny? at CiTR  101.9 fM
September Long Vinyl
September Short Vinyl
September Charts 20 Years Ago
Broadcast: Lying down on the job, but stilt top of the charts.
1 Broadcast
2 Constantines
3 High Dials
4 Buttless Chaps
5 Wed. Night Heros
6 Frog Eyes
7 Los Furios
8 Bonobo
9 Animal Collective
10 Sup. Furry Animals
11 A Silver Mt. Zion
12 Coin Gutter
13 Senor Coconut
14 Merzbow
15 Polysics
16 Von Zippers
17 Amon Tobin
18 Pastels
19 v/a
20 Simply Saucer
21 Farrell Brothers
22 Soviettes
23 Melt-Banana
24 Soft Canyon
25 Mohsieur Mo Rio
26 v/a   /JBf
27 Luther Wright
28 Skinjobs
29 Glenn Branca
30 Kills
31 M. Yonkers Band
32 U-Ziq
33 Locust
34 S.T.R.E.E.T.S.
35 N. Pornographers
Hahd Sound
Shine a Light
A New Devotion
Love This Time
Sub Pop
Rainbow Quartz
Superiority Complex... Longshot
The Golden River        Global Symphonic
Dial M for Monkey
Here Comes the Indian
Phantom Power
This is Our Punk-Rock..:
All Your Dreams are-
Fiesta Songs
Animal Magnetism
The Crime is Now!
Verbal Remixes...
The Last Great Wilderness
Free Speech for Sale
Cyborgs Revisited
Ninja Tune
No Type
Emperor Norton
Alien 8
Asian Man
Ninja Tune
Sonic Unyon
Rumble at the Opry  Teenage Rampage
Broken Spirit, I Will Mend.
Bonne Chance
Survive and Advance...
Guitar Pickin' Martyrs
Burn Your Rainbow
The Ascension
Keep Your Mean Side
Microminiature Love
Bilious Paths
Plague Soundscapes
Bo Bo Gnar Gnar
Electric Version
Alien 8
Rough Trade
Sub Pop
Planet Mu
Global Symphonic
1 Hidden Cameras
2 v/a
3 v/a
4 Jeffrey Lewis
5 Earlimart
6 Charming Snakes
8 v/a
10 Microphones
11 Silk'Flowers
12 Lost Vegas
13 Pepe Deluxe
14 Doughboys
16 Omega Cinco
17 Shell
18 v/a
19 Zombie IV
20 Kill Me Tomorrow
Play "Ban Marriage"
Gossip/Erase Errata
No LSD Tonight
Burning the Cow
Ice Hatchets
Starlight Mints/Steve Burns
Neo Psych
Salami Fever
La Majeure 1987
Go Ask Yer Dad
Gimme Shell
Electro Group/St Avalanche
;f$$m$e know what members o^p^;.,.'
Locust do on their days off—they dance
for the-'m^^^^^ftos.
Bauhaus: Twenty years ago or next
week? Beware the '80s revival. You have
been warned.
'  1 Bauhaus
2 King Sunny Ade
3 Elvis Costello
4 Surplus Stock
5 Malcolm McLaren
6 Violent Femmes
7 Pete Shelley
8 Aztec Camera
9 Talking Heads
10 Mofungo
11 Yello
12 Alan Vega
13 Killing Joke
14 Howard Devoto
15 Juluka
16 Eyeless in Gaza
17 True West
18 Flesheaters
19 Tom Tom Club
20 Go-Betweens
Burning From the Inside
Punch the Clock
Dance Ersatz
Duck Rock
Violent Femmes
High Land, Hard Rain
Speaking in Tongues
Out of Line
You Gotta Say Yes
Saturn Strip
Fire Dances
Jerky Versions of the Dream
Rust Red September
True West
A Hard Road to Follow
Close to the Bone
Before Hollywood
The monthly charts are compiled based on the number of
times a CD/LP ("long vinyl"), T ("short vinyl"), or demo tape/
CD ("indie home jobs") on CiTR's playlist was played by our
DJs during the previous month (i.e., "September" charts reflect
airplay over August). Weekly charts can be received via email.
Send mail to "majordomo@unixg.ubc.ca" with the command:
"subscribe citr-charts." •
9:00 AM-12:00PM
' All of time is measured by its art.
This show presents the most
recent new music from around
the world. Ears open.
Reggae inna all styles and
Real      cowshit-caught-in-yer-
boots country.
British pop music from all
International pop (Japanese,
French, Swedish, British, US, etc.).
'60s soundtracks and lounge.
Book your jet set holiday now!
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver. Lots of
human interest features, background oh current issues, and
great music.
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.
10:00PM-12:00 AM
Join us in practicing the ancient
art of rising above common
thought and ideas as your host
DJ Smiley Mike lays down the
latest trance cuts to propel us
into the domain of the mystic-
6:00AM- 8:00AM
8:00 AM-11:00AM
Your favourite brown-sters,
James and Peter, offer a
savoury blend of the familiar
and exotic in a blend of aural
Local Mike and Local Dave
bring you local music of all sorts.
The program most likely to play
your band!
11:00AM- 1:00PM
Underground pop for the minuses with the occasional interview
with your host, Chris.
A show of radio drama orchestrated and hosted by UBC students, featuring independent
works from JocaJ, national, and
international theatre groups.
We welcome your involvement.
A chance for new CiTR DJs
to flex their musical muscle.
Surprises galore.
Hardcore/punk as fuck from
beyond the grave.
SOLARIZATION (on hiatus) alt.
Bands Chris-A-Riffic Always Plays on Parts Unknown
(Mondays 1:00pm-3:00pm)
10) Randy
9) Low
8) Velvet Underground
7) Belle and Sebastian
6) The Dears
5) Danielson Family
4) Destroyer
3) Belie Bette
2) The R.a.d.Lo.
1) Beck
Bands Chrls-A-RHflc Will Never Play on Parts Unknown
10) Swans
9) Mekons
8) The Donnas
7) Submission Hold
6) Ani DiFranco
5) Salteens
4) Nina Hagen
3) Tenacious D
2) Wierd Al (even though I love him)
1) Mecca Normal
your guide to
Ci™ 101.9 m-
MY ASS alt.
Phelps, Albini,'n' me.
Listen to Selecta Krystabelle for
your reggae education.
9:00PM- 12:00AM
Vancouver's longest-running
prime time jazz program. Hosted
by the ever-suave Gavin Walker.
Features at 11.
Sept 1: In celebration of what
would be his birthday, the great
alto saxophonist Art Pepper is
featured tonight. "Art Pepper
Meets the Rhythm Section"
(Miles Davis' rhythm section).
Perhaps Pepper's finest recording.
Sep 8: A set from "Miles Davis
in Person" recorded at the
legendary San Francisco club
'The Blackhawk' with his working band. Hank Mobley (tenor
saxophone), Wynton Kelly
(piano), Paul Chambers (bass), i
and Jimmy Cobb (Drums). Say
• no more!
Sept 15: In honour of his birthday
tonight: Julian "Cannonball"
Adderley will welcome you
back to school with "A History
of Jazz" which the great alto
saxophonist narrates in an
entertaining fashion.
Sept 22: Continuing our return to
education, the great American
musical icon Leonard Bernstein
narrates "What is Jazz."
Entertaining, informative and
Sept 29: "Opus de Jazz" was
a best selling jazz record in the
fifties and one of vibes master
Milt Jackson's best. Milt with
flutist/tenor saxophonist' Frank
Wess and pianist Hank Jones
and others. Even people who
hate Jazz loved this album!
Hosted by Trevor. It's punk rock,
baby! Gone from the charts
but not from our hearts—thank
fucking Christ.
DJ  Christopher Schmidt also
hosts Organix at Club 23 (23
West Cordova) every Friday.
Bluegrass, old-time music, and
,   its derivatives with Arthur and
"The Lovely Andrea" Berman.
9:30 AM-11:30AM
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
3b September 2*03
dangerous criminal!
12:30PM- 1:00PM
Movie reviews and criticism-.
Where dead samurai can program music.
Last Tuesday of every month,
hosted by The Richmond Society
For Community Living. A variety
music and spoken word program
with a focus on people with special needs and disabilities.
Join  the sports dept. for their
coverage of the T-Birds.
Up the punx, down the emo!
Keepin' it real since 1989, yo.
es'cap«ism n: escape from the
reality or routine of life by absorbing the mind in entertainment or
fantasy. Host: DJ Satyricon.
Aug 5: Pounding System: dub-
wise and otherwise.
Aug 19: Church of Hell: Mars
It could be punk, ethno, global,
trance, spoken word, rock, the
orrasual and the weird, or it
could be something different.
Hosted by DJ Pierre.
6:00AM- 7:00AM
Bringing you an entertaining
and eclectic mix of new and
old music live from the Jungle
Room with your irreverent
hosts Jack Velvet and Nick the
Greek. R&B, disco, techno,
soundtracks, Americana, Latin
jazz, news, and gossip. A real
Japanese music and talk.
11:30 AM- 1:00PM
Luke Meat irritates and educates through musical deconstruction.  Recommended for
the strong.
The therne is: there is no theme!
Kat and Claire push around
trolleys of alt-pop, alt-country,
Canadian indie, electroclash,
and other delicious morsels.
Cycle-riffic rawk and roll!
Primitive,   fuzzed-out   garage
Socio-political,  environmental
activist news and spoken word
with some music, too.
(First    Wednesday    of    every
Vancouver's     only industrial-
electronic-retro-goth program.
Music to schtomp to, hosted
Your ears have never felt so
9:00PM- 11:00PM
Roots music for folkies and non-
folkies... bluegrass, singer-songwriters, worldbeat, alt country,
and more. Not a mirage!
8:00AM-10:00 AM
10:00 AM-11:30AM
Music inspired by Chocolate
Thunder, Robert Robot drops
electro past and present, hip
hop and intergalactic funkman-
ship. <rbotlove@yahoo.com>
11:30AM- 1:00PM
Crashing the boy's club in the
pit. Hard and fast, heavy and
stow (punk and hardcore).
Comix comix comix. Oh yeah,
and some music with Robin.
Viva la VelorutionJ D J Helmet Hair
and Chainbreaker Jane give
you all the bike news and views
you need and even cruise
around while doing it!
No Birkenstocks, nothing politically correct. We don't get paid
so you're damn right we have
fun with it. Hosted by Chris B.
The best in roots rock 'n' roll and
rhythm and blues from 1942-
1962 with your snappity-attired
host, Gary Olsen.
Local muzak from 9 til 10. Live
bandzfrom 10 til 11.
An old punk rock heart considers the oneness of all things and
presents music of worlds near
and far. Your host, the great
DaryJ-ani, seeks reassurance via
6:00AM- 8:00AM
8:00AM- 10:00 AM
Trawling the trash he'ap of over
50 years' worth of real rock 'n'
roll debris.
10:00 AM-12:00PM
Email   requests   to:    <djska_
Top notch crate diggers DJ
Avi Shack and Promo mix the
underground hip hop, old
school classics, and original
The best mix of music, news,
sports, and commentary from
around the local and international Latin American communities.
A volunteer-produced, student
and community newscast
featuring news, sports and arts.
Reports by people like you.
"Become the Media." To get
involved, visit www.citr.ca and
click "News Dept."
David "Love" Jones brings
you the best new and old jazz,
soul, Latin, samba, bossa, and
African music from around the
9:00PM-12:00 AM
Hosted by DJ Noah: techno
but also some trance, acid,
tribal, etc. Guest DJs, interviews,
retrospectives, giveaways, and
12:00AM-2:00AM THE ANTIDOTE a».
Dark, sinister music of all genres
to soothe the Dragon's soul.
Hosted by Drake.
8:00AM- 12:00PM
Studio guests, new releases,
British comedy sketches, folk
music calendar, and ticket
8AM-9AM:   African/World roots.
9AM-12PM:   Celtic   music  and
A fine mix of streetpunk and old
school hardcore backed by
band interviews, guest speakers,
and social commentary.
Vancouver's only true metal
show; local demo tapes,
imports, and other rarities.
Gerald Rattlehead, Dwain, and
Metal Ron do the damage.
3:00PM-5:00PM 11^311
From backwoods delta low-
down slide to urban harp honks,
blues, and blues roots with your
hosts Jim, Andy, and Paul.
From doo-wop to hip hop, from
the electric to the eclectic, host
Michael Ingram goes beyond
the call of gospel and takes soul
music to the nth degree.
9:00PM-1 100PM
11:00PM-1:00 AM
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?
"noiz terror mindfuck hard-
. core like punk/beatz drop
dem headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
I chaos runs rampant wtien I
k free da jazz..." Out.
Hardcore dancehall reggae.
Hosted by Sister B.
Coin Gutter is a Vancouver-
based electronic duo. They make
sparse, agitating, and often earth-
ily beautiful noises. Graeme Scott
and Emma Hendrix who make
up Coin Gutter came by CiTR's
studio on August 20 to chat about
noise and stuff with Luke Meat on
ANoilE (Wednesdays 11:30 AM-
1:00 PM)
Luke Meat: Do you consider your
music "noise"?
Emma Hendrix: To a certain
extent, yeah. I mean, we do have
elements of noise in our music, but
I wouldn't solely label what we
do as "noise." Although the word
"noise" tends to make it easier
for people to understand what it
Is that we do, as far as the noise
music that exists, we—Coin Gutter—are pretty wimpy. [Laughs]
Graeme Scott: When you're a
noise artist, the term itself isn't very
applicable, fefifit you're the average Joe walking down the street,
the term "Qpb" probably fits.
What was the first Irritating noise
you heard and enjoyed?
Graeme: The first feedback.:i^^.^ki
yscm^^^W^^^^ Fine"
by the Beatles. {Laughs} Seri-
with Luke Meat
ously, probably Sonic Youth. I was
playing guitar in the early '90s.
Actually, wasn't everyone? It
just sounded exciting, like ctfete,; ^
release. It was really invigorating.
Is the guitar the main source material on fhe new album All Your
Dreams Are Meaningless?
Emma: No. We record a lot of stuff
j'ust walking around with a mini-
disc orwhejt&e can get a hold
of a DAT machine.;8onging on
things, scraping things. We found
a crappy Qptwe scraped up on
the street once and recorde&$he'
skipping... that was a favourite.
We have a stack of about$j£P£
CDs that all have good sk}p|«|^,J
fh&r#r*We also have a CD player
that doesn't work and it does the
most bizarre things to albums.
Graeme: Also, a keyboard, and
an Apple G4.
Are there any avant garde pioneers you admire?
Emma: I once bought a Mick Harris CD and it was so ambient and
droney artdilShtastic. I also just
picked up Mark Spybey ancf 8$^
Harris and that's amazing.
In this day and age of abrasive
sounds becoming more acces-   -y
sible, how do musicians, like yourselves, stay cutting edge?
Graeme: We try not to consider it.
Emma: If yowr whole goat is to
..majife- something thafrdoesn't
sound like anything else, you
spend more time just making
sounds, rather than worrying
about the composition.
Coin Gutter's new CD AW your
Dreams Are Meaningless is available on No Type Records.
fILUN jl'-tejjra
8 '
9 ■
SHAKE             |     THER?CC*D
ELECTRIC       1       EN AVANT
CHIPS WITH              1    SAINT
EVERYTHING              [  TROPEZ
' 8    !
2   |
L                                       SS       	
604.822.9364 OR EMAIL
Mayor McCa
Thu 11, 8pm
Mon 15, 8pm
with Clover Honey
@ Commodore
@ Plaza of Nations
and Collapsing Opposites
Social Distortion
Tue 2, 9pm
Wed 10,8pm
@ Pic Pub
@ Commodore
with The Walkmen
Thu 18,8pm
John B
The Constantines
@ Richard's
Tue 2
Wed 10
@ Lotus
@ Brickyard
Magic Ass
with The Roman Candles
Modest Mouse
Sat 20
Wed 3, 8pm
Fri 12, 8pm
@ The Marine Club
@ Commodore
@ Commodore
Evan Dando
The Panic
Old Time Relijun
with Consonant
with Fornication
with Baron Sarnedi E.S.Q.
Sun 21, 8pm "
Universal Mind
Fri 12
@ Richard's
and Calico Drive
@ Brickyard
Thu 4
Def Leppard
@ Pic Pub
The Redscare
Tue 23, 7:30pm
with Explaining Color to the Blind
@ Pacific Coliseum
Fri 12'
with My Project: Blue
@ Pic Pub
and Elizabeth
Fri 26, 8pm
Fri 5, 9pm
Burning Spear
@ Commodore
@ Pic Pub
Sat 13,8pm
@ Commodore
Fri 26, 7pm
with The Polys
Warsaw Pack
@ Sonar
Fine Options
Sat 13
and BTUs
@ Brickyard
The Raveonettes
Sat 6, 9pm
with Stellastarr*
@ Pic Pub
Indie Music Video Festival 2003
Sun 28, 11 pm
with musical guests
@ Richard's
Satl3&Sun 14, 7 & 9:45 pm
with Billy and the Lost Kids
Scotia Bank Dance Centre
Wed 10
Tue 30, 8pm
@ Mesa Luna
with Fembots
The White Stripes
with Ima Robot
@ Commodore
CiTR Special Presentations:
Girl Nobody
performs on at the Green Room on Friday 5
with The Hermit and guests.
A Northern Chorus
This quintet from Hamilton ON plays songs
from their latest release Spirit Flags. I think
they are space-pop, but I'm not sure. They
are playing two dates: with O&V and Jonathan Inc. on Tuesday 9 at Green Room and
with Hinterland on Thursday 11 at Sugar
The Listening Room
feat. DJ LACE, MUX, Koolatron++ and more
My favourite elementary school fieldtrip was thJ5§§>vernight stay at
the Vancouver Aquarium. The Planetarium wos^be my favourite but we got to sleep next to the beluga whale tank at the
aquarium and that's hard to beat. So, going to this event would
be like revisiting my childhood. I suspect there will be plenty of
tea and crumpets. That's what people do at these psopfes, right?
Right. Saturday 13,9pm at H.R. McMillan Planetarium
Buck 65
You know Buck 65. Of couriei^DU do. I'm
glad we cleared that up.
He's performing on Thursday 18, 9pm at
Sonar. You know Sonar. Of course y^uwfo."
fo be
concert venues:
misc venues:
1131 howe
cafe deux soleils
2096 commercial
ridge cinema
3131 arbutus
3611 w. broadway
video in studios
1965 main
917 main
green room
868 granville
695 cambie
record shops:
455 abbott
active pass records
324 w. hasting
the main
4210 main
bassix records
217 w. hastings
marine club
573 homer
beatstreet records
3-712 robson
pat's pub
403 e. hastings
black swan records
3209 w. broadway
pic pub
620 w. pender
crosstown music
518 w. pender
railway club
579 dunsmuir
futuristic flavour
1020 granville
1036 richards
highlife records
1317 commercial
the royal
1029 granville
red cat records
4305 main
66 water
scrape records
17 w. broadway
sugar refinery
1 US granville
scratch records
726 richards
-6p4i&7/j6355   y
WISE club
1882 adanac
zulu records
1972 west 4th
When I was 13,1 mistakenly thought my English teacher—Mrs. Sex-
smith—was married to Ron Sexsmith. She regre$t&&ly was not. Mr.
Sexsmith performs on Friday 19 at Vancouver East Cultural Centre
with Mad Violet.
Go see them play songs from their latest
album Feast of Wire on Wednesday 24,8pm
at Richard's. The Frames will also be there.
Vancouveilnternational Film Festival 2003
Yes, It's that time again; For info, check their site [www.viff.org]
Sept 25 - Oct 10 at various venues around town.
feat. SpeeatjJQtrKill, retrograde, Superbeing, Yoko Casionos, O&V,
Maplewocfc^|ae, Kick in the Eye, Steve Rocks, Angie Inglis and
Jan Tlngsfad. .Tajeesplace on Friday 26 at the Green Room.
The Kills
I'm very excited about this show, which
could only mjsfejfi ohe thing: I will be sched-
S^tpJwork that da^Tspy over my dead
DOdy. The Kills are playing with Jerk With A
Bomb on Saturday 27, 7pm at Richard's.
Damian ^<^-oi$-*C^
|fi^shi|^^/songv«9ltlt^$ys folk on Monday 29,8pm at
Richard%." $fj#pv3efu|v Jlii^ljf anecdofefcf* • VANCOUVER\
It's right here."
(CANADA, 109 min.)
Set in 1969, autumn brings turmoil to an already
dysfunctional family as the Field sisters explore
the world outside their claustrophobic home. A
strong ensemble cast (Callum Keith Rennie,
Miranda Richardson, Katharine Isabelle) is
superbly directed to balance humour and
tragedy in Scott Smith's (Rollercoaster, VIFF 99)
poignant second feature.
(BELGIUM, 127 min.)
As a sweltering June Friday unfolds to a
killer soundtrack, eight characters
dream of alternative realities and pine
for the weekend. Belgian musician Tom
Barman's ambitious debut captures all
the comedy and drama of life in
Antwerp-family crises, house parties,
alternative art, and let's not forget the
(CANADA, 94 min.)
Laurie Harding is afraid oi elevators, escalators,
open spaces, red meat sauce and intimacy, so he
blames himself for the Fear Storm that is running
rampant in the city... Gary Burns' (waydowntown,
VIFF 00) fourth feature is a comedic gem about a
technology-reliant society.
(FRANCE, 115 min.)
Titillating yet unquestionably serious-minded in
examining sexual politics and class conflict,
Secret Things follows two hot women as they
seek upward mobility by sexual manipulation.
Cahiers du Cinema's choice for 2002's film of the
year, Jean-Claude Brisseau's flamboyant melodrama goes fox baroque-you'll be left rubbing
your eyes in disbelief. Sliill
(HONG KONG, 96 min.)
Lo-tech sci-fi.from Hong Kong's indie maverick
Yu Lik-Wai. A Taliban-like sect rules Asia until its
collapse leaves a huge void in the lives of adherents and dissidents alike. At once intimate and
enigmatic... and very beautiful.
(THAILAND, 109 min.)
Lessons in life, love and the pursuit of happiness:
cautionary anecdotes about the romantic failures
of three young flatmates in Bangkok, one dumped
by his girlfriend, the other two chasing impossible
dreams. Thanakom Pongsuwan's debut shows
real visual flair and wittily casts the same girl as all
three girlfriends. Dragons & Tigers Award
Nominee. With: Kosoku Bozu (Japan, 11 min.),
wherein a monk in furs and a man in uniform meet
a very controlling woman. Director: Tamano
arts Council
Brad Birarda
QlMefllm Canada      QQQ        jfe -     fecfe    *#!#>    CiMV
OiW «fr c«:teiev.s.on A ■—gEE/J QrOGI^|1j«i:
UL3        CROWNE PLAZA AdACCDC W ch***l«1^W WIMLlii
NN>» ^i and you're done:
jacksonSrkws The Vancouver Sun
AIR CANADA /pend the flight uuith Zulu |
The found/ of /eptember Can la/t Forever Hi
Hot Shit CD
Stem §|||§|fr 1
fgmat imtii^auk^otSv
-$^ However; wb know *;..
QjbbI, Um pWjj&pop duo Of#*in Coomes and Janet
'lite, a ftrfe tie% than thisj doit't we' Surely what
8% mean e thifroppostte onwhat they re saying. They
psajjaWy Brink their Hot SMtk vvarrnat best. fut'fc
acpi fact thispalm ends up really meaning exactly
«W * says MMt isJifrtSJlft! Indeed, it bjomj. .
Ah^such Knrony^sJtSbg ontjotttsidfes of the fence
Vjbjko. As vmcto teH, flw*|P fts deeply. Not only
. I*e this; wey also have-some serious chops.
ttieyradflTouehandGoajjin  *
}SWW)tfByh^^hem in
stjjsjrt. catchjQsiqd of quirky
p|pseJ0owl§i§ why wfjite
ni^in$titictj|m Site CD
COffiffiifc be Winnipeg, Manitoba's Built to
»WtAtthoughtoittiful, we're only making
this facile parallel to fame this ad blurb. The
Weakerthans are already well known around §
jbur fejPSr soon to jSecome even better known ■
everywhere now^^ftey're on Epitaph. With
s§reat #^1 art by llaarcel Omm, another Winnipeg luminary, the
;pa"alnij^ti*iwitJis a literate and mature pop sound. Sometimes ifs a
little rocking, other times subdued, but mostly it has an appealing mid-
SmpofeeXiWKh occasional tap steel helping fill up thjp3j|'iijj. company par-
tance, some rniofs^ayJhis record has cross-over promise, set to push the
Weakerthans intAe next level of the market. While that is no good way to
.rank abouysjjttig, let alone music, we're pretty confident that old
Weakertham'faf&H be able to play ReconstructJon Site for all their
iMids.Wie stocking up oi|fei|p§foldelujK ■Wt
pn evBrytfilp, ever fe
and RHO, you'll be took-
lo^ise to spend yw instrumental
on. Way we {rejinfroducetCanadas;
feccillab«ation,with^B8oftJ1e  „
that Is confidently comparable,
breakbeat classics'fike
Shis some kinda B-boy-come-
. rfiose resume details coHabora-
and Sage Frank as well as deal
imprints including Anticon. Ninja
" Mush impressive yes'*
f Blue CD
—it elevates mediocre mainstream	
re §p the stature of venerated rap auteurs, its
thewOeOTjpsvche^pilarnJft have got |
soff pretffinf ws^pvwod(®» sugar cube. I
Thw.third5s»pi|BlBajfjr the llflpcfc Stars label!
' not^Vehafl^igioiiiirt^sqyiythrns, and gor^eoi^^^.lla^njew;!
' k Itfewen a^Sftiiftinoe we heanSband tapping into the^pfe chips ofS;«
is exprKsionjp^, b||^6jsj|i 500, Slumber Patoj^Bwsy.p^fbenfc
U«d words awtne acweifl£red|Its in a heady reverie, rwpp acti8$ reflijfe
pi% Go9®Bad alfte!JarrySfl make yourself lightalfeea|^^th .m&
1972CO+OVD       $
Emotions gfancad at fref&*rJi$Jaira|eem k
most portentous Vast^heat fields, few / ,
stefm<*uds a^ quiet raft towns Jiold^e ^
imbued metaphoncal pcnwof isolstoi^kmeif-*« -^ph*i
nessandeleg^.6eauty..Tl)esistarkim^esatB   ^yj^ -'fyjajg
thetyncaffodtoafMr.J^lM**ft^ '. ^^^^._ ■-!l'-P,.!l! J
audio eulogy to the ragc^gleiyfliHIwgg^^
erfuBy emotive stings come offfifctocoMri
setf-abandon and rock'n'roll went tariffing
plenty of sway antfbarbiouatoboaLlnlVH
70s todudmg TntSbweivCra^ tamm.
Thistsa gorojwusiecwd-—UokyOBSB
CD+OVD 16.98.   Wk
This Is Our Punk-Rock, Thee
Rusted Satellites Gather & Sing
F^^^W wbn thought Godspeed You Hack Emporfl&sn't  2
Memorial Orchestra STTa-la-la Band wlti^ialr'^^ffieand
lUffiflig ante—against themselves! Serrasly nnn^iis '  -
Godspeed side-project has come onto Us ov^wttn^^Mnng'f.
||»n|||ta. Four long passages show more jpcula^jri Wjn
fgK^lfe first featuring a |xufe*b(r|rp fcen^Mites    '
fjSf the thenWpf theraora", putogSoLlo^nd iffii|§9m'
||lliejl|nM .
i jBc^phe Constellation website puts ft, ^m arrwioMhoir -''
'aWrM'forfhe fasola sing-atongcfltl«owninj,^acK8ets <
thoJone'n|r an exuberant community-rallying |jptsst jtausfc that.
" <^WP^'he spiritual foundation of the rocom," Aepio, tjealty."'
C^p^mn says, "ll^^Pf^nll^He^
:SttaR^ather & Sing is ^nH.SriM^
tudJ.chaJteginjjr'lhe^aJ^^qivB^ dernjse ojaiKanjiroSeJand
^ ^f^^^fful^^^^^^^^pis^ft^Rie^^^Kv:'
C| 1^.98 |2IJF16.96 I
D^^^tit0^m^rr<e^ti^^tA\^«i^iR ofwesr
<!^^ mat extends into the tjram Scientists have yet )n>%
•^vef|»$ou(ce.oi8te«iiamat}c illness SomeaiBuefl^fjP
■^l>ts, <rtha«a ^nesl A Is paijseU genpfiea% Rt^aVnti^iias^ ^
irictuife uncontrollable head banging and generalized leitytodvf
flashes oitbougbtfutrevew and-anunjotoscppbcafp-lna;mys.; .
<bi$qw %^ Jotowt as "nawan
sytnatojn. Hour* of study baye faileiU&Bni»v»a^ftjeo)iindf^
^Ua^^"mt)t$jK^^otifi6wdi5easfiS ^
>^»tt^«Wft^|)»iiose<te«fvatJ« of patients recewi«>,'-''; IP
(qjknlBael^ tosiKBii s^iap^
^^P^diseases ward qtse^ mutter to nwm^elVBS,
"Patton, Patton, NJBjaV''Tfljr isjBottiaKon^miinirytBrpains $o>
Tlie Secretariat
Motor Hotel CD
Joined by the Maw^fi
j our own Burrito Brother Terry
Mhos, has created an astonishWj -
tapestry of country-pop rambling. Beginning with a phantom
.melody from an uprifht piano, 1$fcfo latest songs have a timeless sublime quaBtyiiftsokirtg a staled down pop purity with
iplenty of jieartbreaWn|fftwang. Evs^thlng is imbued with a
melancholic tone**ilie sage bush weeps, the sun-kissed adobe
walls whisper, anrf thegihadow of you on your chopper is your
Sj' f||»^: Is the Secretariat Motor Ho art the new gilded palace
HH^-lw.Wng'sp. I^snot some flea bag love motel, but rather
^^JaoB channeling t^heartbreaking beauty of Gram Parsons,
^:and Ray Darin. Great!   -
MarltMniaht I saw Jason
> I Zumpano leaving the Arts Club
^febe Bonnie Blue show. A few
^Rfater I saw him reading at a
■Wm. He took out a pen and drew
HHigng on a napkin, rui|pijn|Sti^
^^p.tossing ftbjJP^feh. A jevfchours after that, I saw him
sgipiflg under ijee^^^^y Rark*|Tien ft ■&S£JHB&$b&fai
.'jK?^« placeat the^^^w .--^J'n| w^^^^^^fc|»y
Mmie genius!" J-ranfflpack to the cafe hoping to find the
^mingthewnb kid had discarded it toned out to be some.
^P% OvwviheBie^Tlfruck me agafti' 'Hroitot sdonK
B|MudJg fives.all the time, making rna^afi the
||||r Majjfcf an£ J^poa are one arRfthe same. Jnterchanflla^e,
^8>,wll ^p/hnisly.homaitealrjllfrfriag^
^■Mytj^iis SJranwu .record maloes.thosftotli^fs sotk^Uce;
^KtootejBnd illusions. The real nsaa^as always
" f& sfenOJor maafc'. AVWLABLf SBPt «TH.
(Tlore from our mintoor
Gnittett by Voioas- Earthquake «lw CO/LP (Matador)
BraatJeast* Ha Ba Sobbi CB/2ti? ftHupf
9ns« ft- Exflsgnntlmt COEP (tWarp,' -",';
^BSmf Pip«)|^a^taBj^a1te;lHi EwResc StriaiSO
iiMB# $r«a#fiH«ii lta^r$^s«0JE#lPa|KB'Sat)
^Mi^Miry.llM^'iJfiwnaoit P«b^j€0 {O^reTCaa^-^.v
UU|ip» S«TBH3l(TliriH Jockey)   ,,
IPnrttf smb Mate taw*>llBW ftoraanca (MaUMTor)
jfa|iaBBtari roi^jit'te^j^wwBtjSii'' -\;,%'i' - ■
finMrlia tf Chp%*ftwaf Swraj>a»J>TaTh8fflaWsCD


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