Discorder CITR-FM (Radio station : Vancouver, B.C.) 2008-04-01

Item Metadata


JSON: discorder-1.0050238.json
JSON-LD: discorder-1.0050238-ld.json
RDF/XML (Pretty): discorder-1.0050238-rdf.xml
RDF/JSON: discorder-1.0050238-rdf.json
Turtle: discorder-1.0050238-turtle.txt
N-Triples: discorder-1.0050238-rdf-ntriples.txt
Original Record: discorder-1.0050238-source.json
Full Text

Full Text

on on-air ads
v/lien you, buy
an advertisement in
on-air ads
are as cheap as
$10 each
for more info:
%ii\3^ii. in :Rfiiyi
Anti-Social Skate Shop
and Gallery
2425 Main St..
2016 Commercial Dr.
Beat Street Records
439 W.Hastings St.
The Bike Kitchen
UBC, AMS, 6138 Student Union
Burcu's Angels
2535 Main St.
The Eatery
3431 W.Broadway
Hitx Boutique
316 W.Cordova
The Kiss Store
2512 Watson St.
Lucky's Comics
3972 Main St.
Magpie Magazine
1319 Commercial Dr.
People's Co-op
1391 Commercial Dr.'
Puncture Haus
2228 Broadway E.
Red Cat Records
4307 Main St. .
The Regional Assembly
of Text
3934 Main St.
R/X Comics
2418Main St.
Scratch Records
726 Richards St.
Slickity Jim's Chat and
2513 Main St.
Spartacus Books
319 W.Hastings
Vinyl Records
319 Hastings St. West '
A Friends of CiTR Cord scores you sweet deals
at Vancouver's finest small merchants and
supports CiTR 101.9 FM. Show it when you shop!
2    April 2008 editor's noteS
Nat Jay
Art Director
Cole Johnston
Production Manager
Kristin Warkentin
Copy Editors
Nat Jay
Brock Thiessen
Kristin Warkentin
Ad Manager
Catherine Rana
Under Review Editor
Nat Jay
Datebook Editor
Kristin Warkentin
RLA Editor
Brock Thiessen
Layout + Design
Cole Johnston
Karen Bourne
Julian Bowers
Lena Ross
Bryce Dunn
Simon Foreman
Daniel Fumano
Darren Gawle
Freddie Harder
Mark Hewitt
Andy Hudson
Nat Jay
Lucy Lynch
Marielle Kho
Katie Nanton
Mine Salkin
Terris Schneider
Adam Simpkins
Brock Theissen
Stacy Thomas
Andrea Warner
Photo & Illustration
Cole Johnston
Jordie Yow
Program Guide
Bryce Dunn
Luke Meat  .
Jake Pippus
CiTR Station Manager
Alison Benjamin
Student Radio Society
of UBC
Cover Design By:
Cole Johnston
Editor's Notes
- Mixed Apes
Riff Raff
What the Folk?
The Biz
Textually Active
Film Stripped
Calendar + Datebook
Under Review
Real Live Action
ftogram Guide
CiTR Charts
Cover - Hot Chip 10
They're hot. They're chippy. They're British.
Ryan McMahon
A decade of music and a brand new album
brings the Vancouver singer/songrocker to
his roots.
The Great Outdoors
Vancouver's the Great Outdoors brings you
inside their quirky world of music.
CiTR's band battle winners shoot the shit.
Q&A: Sweatshop Union
Giving Canadian hip hop a good rap.
There is something to be said about creativity in today's music industry. With all the
whozits and whatzits the internet provides, everyone and anyone can get music out
into the world. With such a level playing field, artists these days need more than mere
talent; they must also have a story and an idea that makes kthem stand out from the
crowd. Essentially, they need a business sense that pulls from both the left and right
sides of the brain.
In the April issue of Discorder, we are highlighting artists who have got both sides
covered. We ventured across the pond for our cover story to visit with one of Britain's
biggest bands, Hot Chip (p.10). From the colourful photo on the cover, it is obvious
that the members of the band have a handle on creativity, but they've also been a
sensation around the globe with their sophisticated, body-shaking, room-filling dance
music. On the other end of the musical spectrum, in our back page Q&A, Vancouver's
own hip hop collective, Sweatshop Union, has made use of the artistic strength in
numbers, by pulling together seven minds and delivering a socially conscious brand
of rap (p.27). In Discorder's local features this month, we hear from Ryan McMahon,
a roots rocker whose collection often years worth of songs comprise his April release,
and who displays innovation in his lyrics that take him beyond the realm of rock and
give him the heart and soul of a true folkee (p. 12). We also head outside to the Great
Outdoors, a band that has made their musical quirks into a storybook, literally (p.13).
Here at the mag, we have a new member to add to Team Discorder. Kristin Warkentin
takes over the position of Production Manager this month, and we welcome her and
look forward to working alongside (from what we've seen so far) her charming humour,
mature perspective and enthusiastic approach to the world of publishing. At the same
time, we'd like to thank our outgoing Production Manager, Pyra Draculea, for sharing
her expertise and giving years of dedication to Discorder and CiTR. We wish her the
best of luck as she takes on the world in different ways.
Until next month, I hope that you will enjoy getting to know the artists in our
April issue and learning about each one's individual take on music and success as they
attempt to create a place for themselves in music history.
~N_t Jay, Editor
©DiSCORDER 2007 by the Student Radio Society of the University of
British Columbia. All rights reserved. Circulation 8,000. Subscriptions,
payable in advance, to Canadian residents are $15 for one year, to
residents of the USA are $15 US; $24 CDN elsewhere. Single copies are
$2 (to cover postage). Please make cheques or money orders
to Discorder Magazine. DEADLINES: Copy deadline for the February
issue is March 21st. Ad space is available until March 24th and can be
bookedbycalling604.822.3017ext 3 or emailing discorder.advertisihg@
gmail.com. Our rates are available upon request. Discorder
accept unsolicited material, but welcomes new writers. For
contact editor.discorder@gmail.com. Discorder is not responsible for
loss, damage, or any other injury to any submitted materials, solicited
or unsolicited, including but not limited to manuscripts, artwork,
photographs, compact discs, review materials, or any other submitted
materials.FromUBCto Langley andSquamishtoBellingham, CiTR canbe
heard at 101.9 FM as well as through all major cable systems in the Lower
• Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.248 7,
our office at 822.3017, or our news and sports lines at822.3017ext.2.Fax
us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site
at www.discorder.ca or just pick up apen and write #233-6138.SUB Blvd.,
Vancouver, BC, V6T1Z1, CANADA. If you would like Discorder Magazine
in your business, email distro.discorder@gmail.com to be added to our
distribution list. by
To begin, a trip in the time tunnel with Sherman
and Peabody to 1982 and the land of beer and cows:
Milwaukee, Wisconsin. And I don't mince words when
I say this, because the members of Die Kreuzen gave
their first EP that same name back in the day just to
screw with the locals and set themselves up for what
would be, I'm sure, instant ridicule. That suited them
just fine however, as Die Kreuzen (whose name actually doesn't translate to or mean anything) wanted it
that way Driven by the emerging hardcore scenes in
far away places like New York and San Francisco, the
band got together simply to rock out and test the waters
of "punk" in the Midwest. This re-issue of material
from those formative years will re-introduce the lasting impression they left on bands that would follow
them and give ample reason to start a circle pit. Songs
like "Hate Me," "Pain" and "Don't Say Please" are fast,
pissed and to-the-point, and that is the best way to
describe this. While the original release is now a record
collector's wet dream, find the re-issue on Barbarian
Records (254 W Gilman Madison WI USA 53703).
While the tourist town of Naples, Florida may not
resemble too much of the punk rock meccas like New
York, San Francisco or say, Milwaukee, natives to the
area have renewed reason to champion theif 'burg with
the recent inclusion of Fake Problems to the Sunshine
State stable. Not only do they share a hometown with
Hot Water Music and Against Me, but Fake Problems
pseudo-country folk punk vibe takes cues from the
aforementioned bands and somehow carves their own
niche, and to these ears that's not such a bad thing. Take
a listen to "Adam's Song," "Mutt" or "Wendy Clear,"
and try to stop yourself from humming sea chanties
about lost loves, making enemies of friends and other
tall tales, while hoisting brews in the process. For
fans of Filthy Thieving Bastards, Attack In Black or
drunken nights around the campfire. OK, maybe that
last one was a bit of a stretch. (Good Friends Records,
no info available)
If 2007 was the year of the "Bands With Animal
Names," 2008 may well be the year "Fuck" broke. I
mean we've got Holy Fuck, Fucked Up, Fuck The
Facts—shall I go on? Well Fucked Corpse didn't get the
memo either, so here they are entering the sweepstakes
and doing an admirable job of confusing me to the point
where I'm not really sure how to peg their musical preferences. "Apple Meat" is almost two songs in one—like
they just dog-piled guitars and keyboards on top of each
other and somehow the drums kept time along with the
mess. "Rising Tide" has a bit more bite to it, with more
keyboards keeping the melody afloat. At the very least,
they know how to catch the attention of the average
listener's eye (with the hand-painted cover) and ear, and
according to the reviews, there is more strangeness to'
come from this Ottawa based outfit, (no info available-
just check their Myspace page)     b
4    April 2008
y THrrARC \ 1
• CD/LP OUrMAY.l3 <
Young And Sexy retum^ntneir fourth studied
^alburn, The ArciEleven new.songs that wield thei^r
%*___*___ ^Viml &2t a \- _____$_i i y *"*
erimenfation andy
LP is pressed on 180 gram vinyl?
includes a digital download col.
05/16 Railway Club, Vancouver BC
05/17 Logan's, Victoria BC.
www.caroiynmark.com *--TirieS'
4/05   Orange Hall, Victoria BC
4/25   Railway Club, Vancouver BC
£ www.tlieliultlessGiiaps.coRi
4/04   Biltmore Cabaret, Vancouver BC
04/81 Media Club, Vancouver BC
04/12 Hoko's, Vancouver BC
05/23 Biltmore, Vancouver BC
4/11    Biltmore, Vancouver BC
Since meeting at Walk The Line's last show at the Pic,
Tom Prilesky and Liza Moser have been inseparable. Along the way, they've formed a folk band, the
Wind Whistles, and crafted a high-spirited debut album,
Window Sills. Like true folk artists, their musical process
is simple: in the morning, Liza brushes her teeth and starts
humming, Tom whips out the guitar and joins her, Liza
grabs the bass, Tom starts dinner and somewhere along the
way a song is made. Ihe band (along with a supporting cast ;
of good friends who randomly join in here and there) are
currently gearing up for a tour starting with several dates at
home in B.C. and ending in venues across Europe.
bi&Ctttbtl.: When and how did the Wind Whistles come to be?
The Wind Whistles: After backpacking across Europe
in the spring of 2005, we moved in together and started
doing most things together. It was inevitable that we'd start
making music together in one shape or another. Don't be
surprised if you see us come out with a heavier rock project
in the next couple years. We make mouth techno too.
b: Do you have anyone helpingyou these days, like a record label?     b: Who are your major influences right now? ,
to be SOCAN and Music BC members and also organize a
local folk festival called Beanstalk.
b: Where can the Wind Whistles b'e found live in action?
WW: We tend to think of Cafe Deux Soleils as our 'home'
venue and we also like to play at the Railway Club. We
have a bunch of shows coming up in and around Vancouver and then we're going on tour for six months: first with
our friends the Greenbelt Collective to Winnipeg and back,
then to Europe and the UK, and then across Canada starting on the East Coast.
0: Who does the writing in the band and what do you usually
sing about? l&NPl^
WW: Tom wrote Window Sills, but since then we've started
collaborating more together. Tne topics are a little scattered
because we tell stories in our music, and every once in a
while we subtly crusade for a cause we believe in. Topically
we've avoided love-related songs, but that might change a
little over time.
lately. Tney are a 70s tramp folk band called Brontosauri.
There is so much music that we Usten to that it's pretty hard
to pick out what we are directly influenced by, but we find
our friends pretty inspiring: Tne Burning Hell, Greenbelt
and Fraser MacLean, to name a few.
le evolved since you first began playing
WW: Nope. Everything's "do-it-yourself."    We're still
debating the pros artd cons of being "labeled." We do happen
WW: There is this Czech record that we recently pulled out
from Tom's parents' collection that we've been pretty into
b: How has your
music together?
WW: Our songs have gotten4 shorter. We started out with a
lot of material, and mostly through the process of recording
our album, we've decided what songs not to play. What was
left defined our best parts and narrowed down our sound.
b: What has been your biggest challenge as a band?
WW: Because there are essentially only two of us, problems
within the band don't really come up. So, our biggest
challenge is in a lack of communication with outside sources
when we're, for example, working on booking a tour, or
getting our album reviewed. It seems like 100 emails go out,
and 5 come back. We overcome this by acknowledging the
fact that a lot of DIY bands have to deal with this and we
just have to persist. Every time something works out, it feels
really good, so it's worth the work,   b
The 1978 classic, The Rockers, started out
documentary and a testament to the growing popularity
of raggae around the world after Bob Marley and the
Wailers released their hit LP Catch a Fire, and movie
The Harder They Come. It ended up a fictional, Robin
Hood-like tale about the "top ranking drummer in
JA" and an homage to Jamaican musical culture. The
storyline exists only to add moments that showcase the
power of a true-to-life drummer by the name of Leroy
"Horsemouth" Wallace-an artist who has played with
almost every major Jamaican recording artist ever.
What is unique about this film is that it does not
sugar-coat the Jamaican history of music. There is no
evidence of a false front to the reggae movement; there
is no use of resort artists (like when the American public
was introduced to ska 15 years earlier). This movie
features some of the most talented musicians of the
time (or of all time), including: Burning Spear, Gregory
Isaacs, Big Youth, Kiddus I, Mr. Jacob Miller and Inner
Circle, Richard "Dirty Harry" Hall, the Abyssinians,
Dillinger and, of course, Horsemouth.
The Rockers centers on Horsemouth as he moves in
and out of musician circles, recording studios and record
shops trying to.get together enough money to buy a
motorbike in order to get a job pushing records. This
aspect of the film is similar to another Jamaican classic
from 1972. The Harder They Come features a group of
talented artists that has to deal with the realities of a
very tough Jamaican recording industry. Even mundane
day-to-day hustling is accentuated by the respect-even
awe-he receives from those who recognize him as the
"man named Horsemouth."
Each scene is heightened by the music, which
comprises one of the most amazing soundtracks in
movie history, lined with reggae classics like "Steppin
Razor" by Peter Tosh, "The Rockers" by Bunny Wailer
and a moving live version of the Abyssinians' "Satta
The subtleties of the film are what make it worth
watching over and over again; seeing Gregory Issacs
in one scene helping "them tourist people" break into
their own car and in the next scene, performing in a
large open air concert. Moments like the man they call
Dirty Hairy yelling, "Remove Ya!" to the police after he
performs a takeover by throwing a disco DJ out of the
booth so that he can put on some Rockers music make
this film truly incredible.   v
Discorder   5 Discorder is seeks Under Review Editor
Select approximately a dozen new albums a month to cover in the Under Review
section. These selections must be relevant to Discorder's readership, CiTR and the
music community at large. They must also be timely, be a mix of local, Canadian and
international artists, and they must try to reflect the various genres on CiTR's rotation.
Seek out and contact regular writers, as well as new ones, to'cover each album.
Contact record companies and publicists to gain review copies for contributors.
Maintain relations with contacts in the music industry and uphold Discorder's
professionalism and reputation when dealing with such companies. Also, branch
out and contact new labels not currently covered in the magazine, especially those
promoting local artists.
Ensure all contributors hand in copy and photos according to specified deadline.
Copy edit Under Review section and assist other Discorder staff with production
duties as needed.       . <
Attend monthly staff meetings.
Job entails anywhere from 20 to 30 hours a month.
Compensation: tl@tl£*
This is a volunteer position and best suited for someone who is looking to build
their resume in the field of journalism. Candidates must have strong communication
skills and an excellent command of the English language. Interested applicants
should forward a resume and cover letter outlining their relevant experience and
qualifications, including why they would be a good fit for Discorder, to Nat Jay (Editor)
at editor.discorder@gmail.com.
cou joHinstom
gtorgto muvubcr tear0
plmb eyen
Uvnftiuerii jfg more fun to compute (busy p remix)
goWttt fla0hing
aloe fcfacc are you ready
njrfjex imitt ptolemy
ftnte hnity cloudbu0ting
ityuUi 2raeet harmony
pinn fUrtjfc another brick in the mall (minitel ro0e mix) ]
dje art of noise beat box (lady four0quare remix)
pumt little i-6oo-gru0tlin'
le lmtfll)t cbtii holiday on ice
fctylte room (C00 remix)
anita math ring my bell
pmtv line double journey
autolautomaiitl »»»»
freo fume looe'0 theme j
nvrtf) ettb happy day0
tmmicl) nmctjiiie get on the funh train . •*.
t^e efasi) mu0tapha dance
Cole Johnston likes music too! As the Art
Director for Discorder, he gets to show his
design skill, but rarely has the chance to flex
his musical muscle. So here it is, a smooth
electro-disco-funk mix perfect for drawing*
Uttle pictures to...
April 2008 Textually
This Is Your Brain on Music
by Andy Hudson
Wonder why piping Furious Pig into your ears
sends a shivery, dopamine-soaked cascade of
neural activity through to your cerebellum
and limbic circuit? Or why kids from age two intuitively
know Western scales? Daniel J. Levitin does. Now out
in paperback, his bestselling This Is Your Brain on Music
is both a primer on music cognition and an optimistic
essay on how neuroscience can enhance our cultural
experience of music-making.
After dropping out of M.I.T and Berklee College of
Music, Levitin joined a coke-addled band, built speakers for the Grateful Dead, and engineered records for
the likes of Santana. Not until his thirties did he go back
to college and study cognitive psychology at Stanford,
where a cadre of John Cage-loving sound engineers
would design the first musician-friendly FM synthesizers. Published in Scientific American and Billboard,
Levitin now chairs McGiU's Laboratory for Music
Perception, Coghtion, Perception and Expertise.
Aimed at a popular readership, This Is Your Brgin
on Music is in line with Levitin's infectious verve for
applied science. The book does include a brain map and
a bibliography full of technical articles on pitch perception, memory, timing and the cerebellum, but Levitin is
more keen on minds than brains. Neuroanatomy is just a
platform for his inquiries into common musical experiences, like how we identify music genres or distinguish
3/8 and 6/8 time.
For example, researchers found that if we play a
version of the Danube Waltz to an owl with all the
fundamental notes edited out, then amplify the tones
reverberating in its basilar membrane, you will hear
the waltz played back from the owl's head with all its
fundamental notes reconstructed. Our brains can do
the same trick. Pitch perception, notes Levitin, allows
composers to create auditory hallucinations like having
an all-male choir build a non-existent female voice from
overlapping overtones.
Why are our brains wired this way? Is it so non-musicians can come into Levitin's lab and sing Stevie Wonder
songs just 4% off tempo? Why does it give us pleasure
to anticipate Miles Davis' return to the coda? Aside
from parallels he has found between music and language
cognition, the most compelling part of This Is Your
Brain on Music is Levitin's argument that music is not
just an evolutionary hiccup, a byproduct of the need to
hear hungry bears in the bushes. Music, which involves
a uniquely wide range of brain functions, has given us
evolutionary advantages which are proved, in part, by
the sexual conquests of Mick Jagger "and Led Zepplin.
If you can find a fault with Levitin, it is in the
opening chapters of the book, which cover basic musical
elements like pitch and timbre. A little dry, these first
chapters might have been better presented in a shorter,
more textbook-like style. As they stand, these chapters
meander and can be hard to follow. As for the rest,
Levitin's mix of pop trivia, field report, and cultural
essay makes for an engaging read that will maintain the
reader's musical curiosity,    fr
needed for our 24 Hour
Rape Crisis line and Transition
House for battered women
For an interview, please calf
Vancouver Rape Relief & Women's Shelter
www.sonicunyon.com for more info! IP
Please state your name, age, instrument, and position in \
band hejrarchy.
gDlivia Fepffterstonhaugh, guitar/vocals and songwriter of FanshSM^,-
What is your favorite venij§p play in Vancouver?
I like to^Soy smpfier venues^ My j^Pcwjriteilnow is still my first.^"
i^fe|yecQfeChroma books ^with one of Chris Alsher(Chris-a-riffic)'s
pteno students.
What is yoiprpay job?
frna Commdriity%^^t Worker Ax people with jg^abilit^L^et
pmki to draw, bake IpsjpwatSfo Ills-one particuiarlfpisode ||f CSI
Miami over and over. it^lfl
Jf you could spend one nigW partying with any band onJhe planet,
alive or dead, who wouldJ§||b and what would you &$&■[
ii\ bqnd^ Kate Bush's! I v\^lra probably want4o listen tcmer records
.with heir watch her movie with her, .stare at het.
Who are your favorite Vancouver bands?
KellarlssQ^eally great. She s a very tasteful musician. Chris Alsher
(Chris-a-rifi|p, Bible Belts) is egg©' of my heipes. r finally saw Black
^guntain and Destr^efewhea I was at Sxiw. The ato whc^^fs In
JS®K< Mountain haslone of my if^lvoyrite voices and I beli^^fed
Bois (of Destroyer) td%e the best keyboard playerfh this otty, maybe
Jeilh in Canorcra^^!
Where do you hang out?
I used to goi|pd singjlie entire Kate Ball, catalogue at HqJ||&
twicer a weekTrm surlfflhe regulatgftave seen me sing "Wuthering
Weights" 20 times.
Juicy gossip! Any infer-band hookups?
iftst my vanity to Peter Frari^ton.
What is the most rock n' roll thing you have everyone?
Sleep with Peter Fra^pton. Drink Beer. |jj
Who is your secret crush?
David Byfnej8|
If you could, what year would you be reborn in and why?
1979.1 could boot Tina a^^Ta^ro Heads.
Selling out with huge commercial success,--$&* obscure, non-
financially rewarding integrity?
SMven Spielberg has "StroncjpRps" as his ring tone, I'm pflWy sure
this meanjgfftat suditess and fame are teevitabl|jj|arts of my life.
.a.   AprtAj#   0      ^_____\__i
-'1 S3
Please state your name, age, instrument, vice of choice, and
position in band hierarchy.
Sally J0rgensen. 18 years of age. Cfltjar/Voice. Wigs, the taller the
better. I don't believe in a hierarchy only believe in a monarch!!
Vanessa Turner, 18, Keys^Smoke, drink, and dance hoochie cooch,
Robin BarjSwski, 20, Drums, tardiness, hierarchy is for chumps.
Aaron Summerfield, Bass and Voice, Sleep D|brivdtfeh/Meal-
Skipping, I built my own pyramid.
WJjo is the boss of the band?
Aaron: Sally.
Sally: I've been told I am.
Vanessa: Sally's dad.
Robin: there is no boss.
What is your favourite venue to play in Vancouver?
Aaron:I like the Railway Club best so far. There are lots #
comfortable places to sit, algains on the stage and sound and
lighting people who give a shit.
.vjBsbin: I really like how Richards on Richards is set up, but I have the
n^Dst funlplying at the ER.
What is the most shameful thing you have done as a band?
Sally: Played a terrible show at the Secret Space in AJlfeust. We
were the most terrible sounding band there, and what a shame#
was because we looked so damn good.
Who are your favourite Vancouver bands?
Robin::^lupcoming band formerly%iown as Disco Ruff. They ai%
actually very good. I recommend checking them out when tlly?*
erupt. I also like Defektors.
Sally: The band formerly known as Disco Ruff, tne Defektors and
the Green Hour band.
Vanessa: The Defektors, Vapid, Disco Ruff, Mani^Aattracts and
Culture Cunt-
IPrarori: I like Modern Creaturesand Suspiria most of all. ^0 ijjjj
What is your favorite dive in Vancouver?
Vanessa: I liked wb Monkey Pit while it was smroroundT^
Who is your rockn^foll hero?
Aaron: None haye^gvedtne yet.
Robin: Dee Dee Ramtone, &'Stephen Morris
Vanessa: Divine.
Sally: Marie Antoirgstte. I believe she's rock xn' roll at heart-
especially with hairfjjp hers!
Selling put with huge commercial success, or obscure, non-
financially rewarding integrity?      fEgjh ^
Sally: Selling out. Here's <|jj^ thing that High s^bpl hafgprily taught
me, it's that you'gPra fake it 'til you nugke it. ThaWwhy Vanessa an*
wanted td'stajt an artificial band, 'We'je artificial and superficial.'
Would you take a bu|et for the band?
Sally: Al-fiJlS.
Aarpn: Nope.
Robin: No.
Vanessa: No, butllPrake a bullet for.Diftjjbfdfeca^i
io^imM§®Ay§7-/ o::
Thursday, April 10
Thursday, April 17
(Feat. Jordy Birch of Pure) (Ex Sons of Freedom)
Thursday, April 24
_ Thursday, April 24
881 GRANVILLE STREET   604.646.0064
Discorder   9 The path leading from the Beatles to Destiny's Child is like a treasure map for the
minds behind the U.K.'s hottest, chippest,
most manly bust-armove revolutionaries of the
moment. The list of Hot Chip influences holds
more variety than a sampler cereal pack, and
listening to the band's music is akin to the best
ever cram session in the evolution of rhythm.
On tour to support their latest album, Made
in the Dark, Hot Chip's sound is beat-heavy,
slyly amusing and deceptively sincere. They
are disciples of a simple cause: getting you
sweaty on the dance floor.
Grade school chums Joe Goddard and
Alexis Taylor met at the age of 12 while attending the same school in a London suburb. Their
shared love for music fostered a friendship
that still thrives today, a refreshing trait in an
industry that has so famously fractured dozens
of bands in the past. On the phone, Goddard,
who is in London before embarking on a North
American tour, is humble, happy and still
somewhat in awe of how far they've come.
As teenagers, Goddard and Taylor would
hang out on Friday nights and play their acoustic
guitars, singing covers of Oasis, Blur or "any band
around 1994." This led to songwriting and recording on a four-track before Goddard started
producing music on his computer in 1996.
"When we first began, myself and Alexis, it
was very rudimentary," Goddard says. "We
didn't have the capability to record lots of
different layers of music or different things. We
would do a little bit of electric guitar, acoustic guitar, a little bit of one old keyboard—my
technology teacher at school gave mean old
keyboard and we used to use that—and we
would play very simple, almost folk or country
music. We were playing very different music."
Goddard describes the Mexico EP, which
was released during this period, as "quite sad
and melancholy." The slow, acoustic music of
that EP does little to hint at Hot Chip's future
reputation as the wild dance band they are
today. But one thing from those days stuck:
"The band was actually called Hot Chip at
that point. We made the name up on stage
at one point. We started playing gigs in parks
nearby the school, and then the kind of usual
places small bands play, like pubs."
And the group's progression from acoustic
to dance was just a part of growing up. "It's
a kind of typical thing, isn't it, the teenage
angst? I guess it's something to do with your
personality developing. You have these
melancholy ideas. I think what I feel is that we
just kind of got a little tired of being melancholy all the time. We started to be inspired
more by (what) groups like Destiny's Child or
(artists like) Timbaland were doing. We started
to find more exciting music and it influenced
us to make more pop or R&B music."
Hot Chip was also expanding to include
multi-instrumentalist Owen Clarke. Originally
providing the artwork and the creative direction for the band's self-released albums, Clarke
is now credited for his guitar, his Micro Korg,
Roland SH-101 and his.handclaps. While Hot
Chip's members were attending Cambridge
and Oxford University, they managed to
complete the band's lineup with Felix Martin
___% "St,
.   ft*
10    April 2008
S^  <OJ' 9   \?P C^
^* ^Z3_ W     ^jj|
.«   ^  %\?
»  A    SSrSSP1 ^O
•v* ^?*   fe^«*B
0»    «A    %\f
i a=m^___wi^-
and Al Doyle, and following graduation, the
five devoted themselves seriously to making
music. Hot Chip then launched its first commercial release. Coming On Strong, and has been
writing, touring and remixing ever since.
Though they now make a living solely from
their own music, the guys from Hot Chip have
learned diversify their income and have
remixed over 30 songs for other acts, including
Kraftwerk, M.I.A. and Rilo Kiley. "For a long time
in our career, we worked juggling other jobs to
make money and get by" says Goddard. "We
kind of DJed to make extra money occasionally and do remixes for other artists. The record
sales have slumped so dramatically in the last
' few years, bands need to have other ways of
getting by financially—remixing, DJing, playing
live. We try to balance all of those things."
The band's live shows have become a hot
ticket for concert enthusiasts, and Hot Chip's
been tapped to play several of the largest
festivals this year (Coachella and Glastonbury
for a start), and locally, the Vancouver show
has-been sold out for months. "What some
people find exciting about it is that we're
making electronic music and the way that
most bands do that is by using just a laptop
or having everything sequenced or controlled
so it's perfectly in time. It's all controlled by a
computer originally, so you get this very well-
oiled, slick dance music," Goddard explains.
"Whereas the way that we do it is much more
organic. Like you'll see the five of us on stage
just playing together, like a rock band, but
making the real house music or techno or
R&B. We don't do it in the same way that most
people do it when they play live. That's very
important to us, to be very physical on stage,
playing together and to be enjoying that and
having fun and really working at it rather than
just having it all preprogrammed."
The energy from playing their complex
songs live seems to fuel the crowd, which
Goddard describes- as "an electricity in the
air" that happens at many a Hot Chip show.
"In Lawrence, Kan., it just felt like a total party,"
he says. "People were just really, really going
_m> __ ___f=B^W\
for it, having fun. We went to Brazil and played
a show (for) 20,000 people and a lot of them
were really just dancing. It's a fantastic feeling
when it all goes right."
The band has been touring extensively for
the last several years, a major bonus for the
members of Hot Chip, who have had the luxury
of experiencing new cultures all over the world
in places like Japan, Spain, Portugal, South
America, the U.S. and even here in Canada.
And while touring can be exhausting, it's an
incredible perk if your band-mates are your best
friends. "When you're touring on the tour bus,
you have a lot of free time to spend with the
people you're touring with. It's a very sociable
thing to do. Obviously you get moments where
you really want time alone, where you want
some privacy, but most of the time it's really a
happy and joyful thing," says Goddard.
And while they have worked with some of
their biggest heroes (Kraftwerk, Robert Wyatt),
and lo^ed it, they don't really want to branch
out and take on big names for future albums.
"Most of the time, we're kind of happy working
just with each other."
This might be the real key to why Hot Chip's
music makes people so damn happy—the
band members genuinely like each other and
love what they do. There's still a bit of innocent
naivete that fills Goddard's voice as he
describes Hot Chip's good fortune, and how
the five men have become "kind of brothers,"
including all the good and bad that comes
with that relationship.
"When you spend three weeks on a tour
bus being with each other all the time, we
end up kind of needling each other, or slightly
annoying each other. But when we're apart,
we really kind of miss each other," Goddard
says. "When we see each other again after a
break, it's really kind of joyful. We make each
other laugh a lot and we enjoy each other's
company. It's a strange situation because you
start a band not thinking it's going to be your
career. We started our band just because it
was fun and exciting to us, but we didn't ever
really think it would be our day job."
And what a killer day job it is. b
Chip play the Commodore Ballroom on April 21.
Discorder   11 iN^/kim
n a drizzly afternoon in East Van, Ryan
McMahon is jovial. His new album, Weeks,
Months, Years is due for release April 18,.and
it's a day before his band kicks off a Canadian tour in
its name. He draws positively, too, on the troublesome
event of his band's showcase at Canadian Music Week.
"It was awesome," recalls the 28-year-old troubadour
before admitting, "the problem was, our manager
had put together this wicked list of who's-who that
were going to come out to see us, but Toronto's worst
snowstorm since 1936 prevented about half of them
from coming. But we'll be spending more time back
there, so all is not lost. We know people are listening.
You don't just have one chance to make it." McMahon
pauses. "Make it... whatever that means."
' In terms of creation, McMahon has already made
it. This sophomore album's slick, country-tinged-
rock sound masks a Tnyriad of minor-chord bumps
and bruises -heart-scraping yearning delivered with a
shrewd minimalism forgotten all too often since 1970. -
Refreshingly, and without an ounce of self-deprecation,
McMahon is the first to tell us that this time, he got it
right. "It's spot on. I love it. It turned out to be exactly
the record that I always wanted to make." Transcending any troublesome second-album-syndrome, Weeks,
Months, Years is the culmination of years of growth
and change, the conclusion of a creative era that dates
back to his mid-teens. "I had ten years to write it,
really. There are 13 tracks on it, but my first songwriting was done in 1996 and 1997. So it's over a decade of
songwriting on one record. I'm glad that that's done,
and I can't wait to make the next one now, because I.
think I really found my voice in the past year."
McMahon's musical roots are found in Ladys-
mith, B.C. in the 1990s, where his current bandmates
Dustin Young and Mike Rogerson were peers of his.
Tney were the older kids that first enamored him to
pick up an instrument and make some noise. It wasn't
until years later, after McMahon's local outfit Citizen
Strange had disbanded, that he hooked up with Young
and Rogerson in Vancouver. Since 2003 they've been
an integral part of his musical world, or his "lovers",
as McMahon puts it, with characteristic black wit.
Seriously though? "It really is a team of three. Dustin
always writes his own harmonies, Mike's an amazing
producer. We definitely utilize everybody's best assets."
Like a lot of artists, McMahon attracts certain
labels, is placed under certain banners and - like a lot of
artists - his music i's somewhat misunderstood, insofar
as its eclecticism goes. "A lot of people say it's straight
up country, and I don't even understand that, because
there's very little country music that I like," McMahon
reveals. Citing Elvis Costello, Bob Dylan, Conor Oberst
and Warren Zevon as major influences, all for different reasons, McMahon's love for hard mixed with soft,
eccentric mixed with militant, comes through. "I'm still
influenced by really simple music, which is why I Hke
punk music. The Ramones, the Buzzcocks. And Mikey
brings his whole Zeppelin thing (he loves Jimmy Page).
And then Dustin and I, we infuse a lot of harmonies
into it, which is where the Beatles and groups like the
Odds come in."
It's not such a surprise, then, that McMahon's music
is the kind that people seem to either love or hate. "I
think a lot of the hipster kids, they might not get a lot
of what we do, because it is a little bit of an amalgamation of a lot of different genres. I think the biggest thing
is that people don't really know what to call my songs."
Evidently, McMahon,is proud enough of his art not to
care about whatever flavour of the month the cool kids
are lapping up. "We think it's good music, otherwise we
wouldn't, be doing it. The people who get it really get
it, and the people who don't really don't. I don't think
there's indifference with us. That's okay."
McMahon and the band are set to tour for
basically the remainder of 2008, winning fans over
"one by one," as the humble plan goes - to evolve
musically through making a connection with people,
not necessarily by achieving superstardom. "I don't
need to play stadiums. That's not why I got into the
game at all." He's quick to place high importance on
a "good, solid fanbase, one that will roll with your
musical punches. And also to have respect from your
peers, your favorite bands and favorite artists that
you look up to. Because if they get it, then you really
know that you're on track."
Talk of devoted fan bases, strong DoTt-Yourself
resolve and all-round down-to-earth-ness leads
McMahon to another tangent, this time about the
ethics (and brilliance) of Eddie Vedder, followed by
a love of headstrong U.S. punk legends Fugazi. It
all comes back to songs, songs, songs. "I can't stop
listening to [Fugazi s] 'Waiting Room.' On the other
hand I'm listening to Willie Nelson too. It's all over
the map. I'm putting together iPod setlists for the
van across Canada - it drives the guys crazy because
one moment we'll be listening to Steve Earle - super
mellow, roots, rock and roll - then all of a sudden
Iggy Pop and the Stooges comes on," McMahon
shrugs. "You gotta ride the music wave."
One had best believe this when he says it, too.
It seems that if there's one thing you can count on
McMahon and Co. for, it's embracing it all. "We had
a night off in Banff, and Dustin, Mike and I went to
karaoke where Dustin proceeded to get up and sing a
rousing rendition of Shania Twain's 'Man I Feel Like
a Woman.' As Mike put it, 'This is the greatest thing
in the history of people.'"
Ryan McMahon's CD Release party is April 18
at the Media Club,    b
13    April 2008 fhe Great Outdoors are a Vancouver band
made up of five or six or seven or maybe eight
members, depending on when and where you
catch them. Boundlessly creative and ambitious, they
are making a name for themselves by doing things
a little bit differently. They play a rootsy brand of
electric folk-rock that will appeal to fans of Wilco,
Neil Young and local acts Uke The Be Good Tanyas
(whose Frazey Ford performs on the, most recent
Great Outdoors album).
The Great Outdoors began as a project for singer/
songwriter/multi-instrumentalist Adam Nation, who
released a solo album in 2000. But after that, as Nation
explains, "I started to recruit people to play with
me. And it was with Steve and Steve [Wegelin and
Wells on drums and guitar] that we did the first tour
of Ontario and Western Canada—as a three-piece."
And the band has continued its evolution since then:
"It was more of a collective when it started," Nation
recalls, "It was pretty loose; whoever could come
would come. It still goes that way a little bit - when
we do shows, it could be a seven-piece, could be an
eight-piece, depending on who's available."
Now Nation describes the Great Outdoors as a
"community" based out of his studio space, known as
East Van Eden. Nation, Wells and Wegelin are joined
by Randy Forrester, RC Joseph, Jojo Darling, Shaun
Brodie and Daniel Brodie to make up the eight band
members credited in the liner notes of their newest
album, Food, Booze and Entertainment. Released
in 2007, the album is the band's third full-length
endeavor and its second in book format; a concept
that sounds confusing until you have the product in
your hands. In an elaborate and inspired decision, the
group chose to package the album, quite literally, as a
hardcoTjer book.
Put together in the recently closed bindery in the
basement of the Vancouver Public Library, with the
author and title printed on the spine and the tracklist
on the back cover, the book's pages (printed on 100%
post consumer waste paper) feature the liner notes,
each song's lyrics and original artwork by band member
Daniel Brodie. The disc is inserted into a sleeve on the
inside back cover, complete with a sign-out slip that's
signed and dated by the band -just like the books at your
elementary school library.
The result is a book that would not look out of place
on your bookshelf amidst novels, plays and volumes of
poetry. According to Nation, part of the motivation for
packaging their last two albums in book format is "to
put a little more emphasis on the lyrics. I think that's
kind of lacking in some modern music." Nation, whose
background is in rock and punk bands (including his
other band, the hard rock outfit known as Counterrevolutionaries), explains that he loves "playing rock'
and roll, but this is more singer/songwriter stuff. I love
books and I love writing."
Over a glass of wine and a cigarette on the patio
of a Main Street pub, Nation explains that literature
has had a great influence on the music of The Great
Outdoors. He notes writers like Anton Chekhov (the
final song on Food, Booze, and Entertainment is entitled
"Checkhov and I") and Henry David Thoreau, whose
best-known book, Walden, recounts the author's experience of passing a year, from springtime to springtime,
in a cottage in the woods away from society. Between its
fascination with the natural world and its rich, romantic
imagery it's not difficult to imagine this album as an
aural accompaniment to Walden.
Food, Booze and Entertainment is actually the second
in a planned trilogy of book albums from the Great
Outdoors, with the third and final part "pretty much
finished" and set for a 2009 release. Before that
however, the Great Outdoors will be making good
on another cool idea: the group is releasing a series
of four EPs based on the four seasons. The band's
website helpfully advises you to, "Think Vivaldi, but
more stoned."
Like Thoreau and Vivaldi, The Great Outdoors*
are beginning with the Spring EP, out on April
1. Summer will hit the streets and beaches in July,
followed, of course, by Fall and Winter later in the
year. "Then, at the end of the year," explains Nation,
"we'll put it all out together, maybe on double vinyl
with the extra songs."
The Spring EP consists of three new songs, two of
which were penned by Steve Wells, marking his first
songwriting contributions to the Great Outdoors.
The EP will be marked with a CD release party at
the Fairview Pub on May 30, followed shortly by
a Western Canadian tour. And while touring can
be difficult without the funding and support from
a label, financial backing isn't the top priority for
Nation and the rest of the Great Outdoors. "There's
not a label in the world,that would put this out, cause
it costs so much to make it," he says, referring to
the book packaging of his group's last two albums.
"So no. one's going to do that, cause it doesn't make
business sense. But I'm not a businessman, I'm an
artist. And what I want to do is make art. I'm trying
to do something a little bit different."
With the book trilogy and the Four Seasons series
already underway, it is safe to say that Nation is
succeeding in doing just that. And it is truly exciting
to think about what the future might bring for the
Great Outdoors, which looks to be as wide open as
their name suggests,  b
Discorder   1  4k
II®  I
•fit li
> .s       » 1
£■<§> g £
f J ° |
S< £» s
I! ii i
®   ^
1® j
>:Q 'E
il   si
2* i®
11   ll
II   Ifl
a. I.« g & a
£ «* *
s ®
I j-
_£_*_$>_w ■■$_%*
fit*! :'M
c^an,l    IB
. •;  Ok .-, .y:
16    April 2008 FUCK YEAH
Discorder DeR    I
Colour Revolt
(Fat Possum Records) ~t
Plunder, Beg and Curse is fantastic. Based out of Mississippi, Colour Revolt's new album rocks out softly and
sadly along a satirical seven deadly sins theme, complete
with messy, blemished illustrations on the jacket cover.
The opening track sounds eerily like early Yeah Yeah
%ahs, but then gets way more hypnotic. Singer Jimmy
Cajoleas croons, "I'm still swinging from the liquor tree,"
imitating Godfc image, the fall of man, and the garden of
Eden, which is later described as, "a hell of a place." The
album peaks at "Ageless Everytime," a pained song about
rejection and unrequited love, not to mention the absurdity of carnal, animal attraction. Utlimately depressing,
this track is like an ugly version of Kevin Drew's prettyboy
music, but the gritty aesthetic is completely satisfying on
a different level. Altogether abysmal and dreary, Plunder
Beg and Curse is a cycle of sin and redemption that we
can't help buttall into over and over again. The album as a
whole feels like a 2005 new music sampler, caught somewhere between alternative rock and indie-pop, and with
surprisingly insightful lyrical sensitivity. Colour Revolt
sounds much like Franz Ferdinand imitating Death Cab,
but with a holier-than-thou, pretentious, never-ending
quality that emphasizes the fall from grace and man's
descent into a world of pain.
Mine Salkin
Crystal Castles
Crystal castles
(Last Gang) O
Beneath mounds of hype you'll find Crystal Castles, a
Toronto duo who went from basement-party nobodies
to worldwide blogstars with the click of a mouse. Since
forming in 2004, the pair of electro-oriented individuals has quickly garnered quite a name for themselves,
through remixes for acts such as Bloc Party, Liars and
Klaxons and their own semi-ridiculous back-story -no
practices, no interviews, no faces in press photos-likely
attempts to hide the past of band member Claudio
Palmieri (no, his name's not really Ethan Kath), who's
done time in less-than-cool alt-rock groups like Kill
Cheerleader and Warner-signed Die Mannequin. Now,
striking while the iron's hot, Crystal Castles has released
its debut full-length, which, despite the buzz, misses as
often as it hits. On the down side, the self-titled record
plays more like a random assortment of songs than an
album, as it lacks any real cohesion and constantly shifts
between obnoxious Kathleen Hanna-styled electroclash
offerings and glassy, drive-by-night synth jams. On the
up side, when the group sways away from the gimmicky
Atari-loaded sounds of the former and sticks to the latter,
it works quite well, offering dark grooves that show the
group can indeed walk the walk to everyone's talk. But
when you have an album that repeatedly drives you to
"Skip," or even "Delete," it can make for a frustrating
listen, and one not worth often repeating.
Brock Thiessen
18    April 2008
(Arts & Crafts)' €SJ
Since parting way* with their south-of-the-border
home at Sub Pop, Guelph's Constantines have returned to
a more direct and refined sound-and one that is distinctly
Canadian. Leaving behind their penchant for meandering and occasionally unconstrained arrangements that
had the tendency to distract more than connect, the band
has now trimmed away any excess fat from not necessarily
a new sound, but one marked with precision and brevity. "Trans Canada," though placed near the beginning of
the album, should serve as the centrepiece of Kensington
Heights. Opening with an echoing and pulsing synth line,
followed by a deeply immersed bass, the song feels like
a drive through the expansive Canadian prairies: wide
open space from north to south, with only the distant
howls outside to keep one company. And this feeling of
mini-battles in the broad arena is prevalent throughout
the album, as though the Constantines are finally realizing their sound and purpose at the expense of a grandiose
and ornamented album. At its core, Kensington Heights is
simply a soulful and austere rock record, but its skeletal
and honest approach also makes it the band's most definitive album to date.
Adam Simpkins  Jri^Oj*
Captured In Still Life
(Anniedale Records)
Hands up if you're guilty of watching Radio Free Roscoe
or Degrassi, The Next Generation, two Canadian television
shows aimed at the nations'teenage audience. If you are,
you've probably already been charmed by Rebecca Rowan's
voice and her indie group Maplewood Lane. Rowan's new
solo project, Kensington Prairie, allows her to branch off,
creating a full CD dedicated to showcasing the full depth
of her talent. Captured in Still Life lends itself to on-the-
road listening (think long train rides), reflecting Rowan's
childhood of exploring Africa and India with her family
before settling in B.C. Mixed and recorded in Langley,
it's also filled with memories of childhood and love lost.
On the track, "A Million Skies," addictive harmonies grab
at the heartstrings (seeing the lyrics in print does it no
justice, but here's a teaser: "And your eyes / they are the
stars / that flicker in a million skies"). "Bluebirds" is reminiscent of catchy melodies from The Shins, but with a
female songstress. A duet on "Letters That I Send" pleasantly mixes up the playlist a little (those male vocals are
courtesy Rowan's husband, Nathan) but Rebecca Rowan
can easily carry this disc on her vocal chords alone. And
before you start thinking that this is 'just another'aspiring,
melancholy singer/songwriter, take note: these are songs
with hooks that play on repeat in your head when you're
trying to fall asleep, but they're so far from Britney that
you'll love it.
Katie Nanton
Sing and Dance
Daniel Wesley's new album sounds like Sublime, but
without the clever melodies and punk rock. It could be
the brainchild of Eddie Vedder s younger brother, if he
had one, who smoked more weed and surfed more and
liked jamming more on the same riffover and over. Chad
Kroeger also comes to mind. Jack Johnson (a primary
influence on Wesley, no doubt) once said that all he really
wanted to do was make chilled-out music for barbeques.
Most of us would agree that he was fairly successful in his
pursuit. Wesley must be successful then too, mainstream
radio hits ("Ooo Ohh") and two back-to-back sellout gigs
at the Commodore aside. Sing and Dance is a most fitting
title (certainly more so than 2006's debut Outlaw) - you
could sing and dance to this to your heart's content, but
that's about where it ends. Unlike Outlaw, which had a
few glimmers of something interesting, Sing and Dance
is invariably and hopelessly derivative. If you want music
that moves, go and pick up a Bob Marley record. If you
like vaguely soulful mainstream radio rock or chilled-out
music for barbeques (and you already have every jack
Johnson album), this is for you*
OLD jMAN Luedecke
PROOF of Love g|U(
(Black Hen Music)
A follow-up from the critically acclaimed album
Hinterland, Old Man Luedecke's new album captures the
ad lib words and feelings of the tender-hearted. Recorded
in two days flat, Old Man sums up the spirit of the ages
and the search for a proof of love in under three minutes
on each song. Beautifully simple and stripped down, the
album glosses over the beauty of the world, nature and
the theme of self-determination. Lyrics like, "I've been
to the bottom of fear and self-loathing/but this is my
home," show both the problems of introspection and the
brimming optimism that things invariably get better. The
track, "Send my Troubles Away" bridges the gap between
rural life and death by urban streets, complimented by soft
female backup singers who have that delicate sing-song
quality that makes you want to stretch out on the grass on
a warm summer afternoon. Songs like "Sad as a Forest"
and "Johnny Has Gone for a Soldier"have the same poetic
integrity as Iron and Wine, but the banjo twang adds
sharp pep to an otherwise mellow sound. It's definitely
the childlike honesty and simplicity that makes Proof of
Love the quintessential, cheery kind of album you'd need
on a rainy day.
Mine Salkin
Japandroids (JPNDRDS) are a two-piece garage band
that consist ofVancouver duo Brian King and David Prowse.
The two of them began recording music as a creative outlet
for their post-teenage angst. Their band certainly does not
resound a mature or adult-like type of angst - their tracks
are so muddled together and disorganized that their sound
comes off as amateurish. Although Japandroids produced
their own album, as well as everything else, their sound
seems to get lost in the overwhelming noise and clutter.
Like No Age, another similar two piece band, Japandroids
attempt to combine a number of different genres. "Darkness on the Edge of Gastown" kicks off as a heavy metal
track and then transcends into a melodic, more subdued
tone. While this song is the strongest on the Lullaby Death Jams EP, their fusion of genres does not flow as smoothly
as the tracks do on No Age's Weirdo Rippers. This twosome
has a lot of potential and strives to create a completely new
sound - a task extremely hard to accomplish in today's
music industry. With practice and time devoted to forming a more cohesive identity, Japandroids has the ability
to produce an extremely unique record in the near future.
As its title suggests, Lullaby Death Jams blends hard rock
together with a mellow harmony, an amalgamation that has
the capability to shape a new kind of sound.
Terris Schneider
Ghost bees
(Youth Club Records)
Hailing from Halifax, Nova Scotia, twins Romy
and Sari Lightman have banded together to form the
avant-garde folk group, Ghost Bees. Their debut album,,
Tasseomancy, is a collection of eerie mythical figures and
spooky chronicles of ancestry. These songs emulate a
sense of Nova Scotian heritage infused with a contemporary flare. These two have been compared with another
folk prodigy, Joanna Newsom, due to the similarity of
their carefully crafted folk tales. However, the Ghost
Bees' sound is more accessible to a larger crowd than
* Joanna Newsom's music is: the harmonies of their vokes
are more enchanting and the collaboration between the
two results in a unique shoegaze type of folk that forms
an anomalous listening experience. The sisters express
nostalgic tales in a fantastical realm, detailing the background of their birth in "Sinai," stories about the Pol Pot
Regime in "Tear Tassle Ogre Heart," and a fable that
begins in the kitchen of The Grandmother in 1904. The
most fascinating track on the record, "Vampires of the
West Coast," harmonizes to form a visual that reverberates through all of these inventive stories. Combined,
these elements prove Tasseomancy is a strong starting
point for a promising band. Ghost Bees' debut album
does not lack experience - it offers its Usteners a new
kind of folk that is both intriguing and haunting.
Terris Schneider
I had a dream that Fiona Apple and Emily Haines gave
birth to an Australian pop star. Then I woke up and realized
I had fallen asleep to Sandrine's newly released album Dark
Fades Into the Light. Recently picked up by an American
producer, Sandrine made the move to record in the U.S. from
the comforts of DownTJnder, where she is known among
Christian pop lovers as the Laurie Partridge of the Comer-
stone Family, minus the orange skin. Sandrine, her brother
and her sisters grew up traveling around with their minister
father in a five-piece band (called The Cornerstone Family),
where she started out her musical career as an omnichordist.
As the daughter of a minister, it seemed only natural for her
to rebel at the age of 15, quit the band, and run away to live
ina trailer. She picked up a guitar, had her heart broken a few
times and released her first single in 2004 called "Trigger."
While Australia had a hard time getting over her badass-
Christian-girl rep and taking her seriously, she never gave up
her dream of being a female pop star and continued to write
and play, determined to expand her fan base and have her
name recognized on a global scale. She finally came up with
enough semi-decent light and fluffy love ballads inspiring
listeners to "let your love shine through," and to "save your
kisses for a lonely night," because "true love is beautiful...
and Sunday nights, and birds in flight." But what she lacks
in lyrical ability, she makes up for vocally and visually—not
to mention her lullaby skills are top notch.
Lucy Lynch V $§**
52 worn ._.» ny-     <rda
elephant shelf (9ii*mj|iii&'
. fndie dornnss, Tokyo folks CJhb om set to release their dt
• album "EtSPHANUHEU.* louder ^ssojfate.?-^ .
• toy 16th- T(ie Plaza Cliib
Discorder   19 RHU
The Plaza j |
March 8
The Raveonettes' Sune Rose Wagner and Sharin Foo
have got a good thing going. Marking a territory far
different than any of the other boy/girl units .that are
popping up faster than mushrooms during rainy season,
these two bring the Uttle white pills to the red wine
party. The texture is bubblegum, without a doubt, but the
flavour bouncing around in your mouth is black licorice.
And live at the Plaza, all that sound came from two
waifs playing Fenders and a third pounding a snare
drum and floor torn like her cheekbones depended on it.
Indeed, that was the extent of the drum kit—two drums.
The bass was pre-recorded, but hey, there wasn't enough
room on the stage for any more cool.
Sonically, the Raveonettes possess an effortless
dynamic and'magical synergy that can propel three
simple chords through seemingly endless peaks and
valleys, and twists and turns. Though Wagner and Foo
kept to their respective sides of the stage, there were
times when their vocals and guitar lines were so interwoven that the sound they were creating seemed to
come from one singular beautiful monstrous creature.
With eyes closed you could almost see a two-headed
four-armed blonde-haired brunette Danish hermaphrodite with a fetish for tragic car crashes, heartbreak, and
black and white movies where things go from bad to
worse. And not to mention, a lust, lust, lust for candy.
Waking from this reverie, you saw the strangest thing,
stranger even than the reverb induced hallucination of
horny Viking monsters—all around were people actually
dancing. For real, in Vancouver, at 9:30 in the evening, in
front of other people.
Freddy Harder
+ Sweet Thing
Commodore Ballroom
March 21
Watching Dragonette turned out to be a night of firsts.
It was the first time I've attended a band's Uve show solely
because of a remix, and the first time I've ever felt mildly
insulted by the headliner.
Though I-arrived too late to catch the first act, Piper
Davis, I did witness the generic styUngs of Sweet Thing:
a five-piece Toronto band that plays upbeat, imitable
rock rife with high-kicks and tight vests. Exuding the
same polish as bands like Maroon 5, Sweet Thing played
a tight set and referenced many a musical genre. They
weren't unique, but the crowed loved them, and they had
enough energy to entertain me for at least a little while.
Then, Dragonette took the stage. And because I had
only heard their single "I Get Around" before, and
because Midnight Juggernaut had remixed it, I really
wasn't sure what I was getting myself into. But I was feeling optimistic. Sadly, that feeUng didn't last long.
About a quarter of the way in to their fourth song,
frontwoman Martina Sorbara stopped the band entirely
and asked if they could start over. So they did, which was
okay. But throughout the night Sorbara Jkept explaining,
"The only time we ever did that was when we opened for
Sugababes at Wembley Stadium," adding, "There must
have been twice as much crowd," and "That was reaUy
embarrassing." Uh, so? What about now? Aren't you embarrassed to have done this in front of us? I should
hope so. Huffing aside, the rest of their set was margin-
aUy better. During T Get Around" the band managed
to sound a step above generic and their encore featured a
cover of Wolfmother's "Woman," which sounded decent
All night Sorbara straddled the divide between girUsh
vocaUst and pop powerhouse, proving her vocal ability.
But as a whole, the band's sUck, over-produced sound
created an electro-pop act worthy of the closing credits
of a teen movie. Keeping in mind those credits are given
to others, I suppose I have Midnight Juggernaut to thank
for this outing.
Lena Ross
Crystal Ballroom, Portland, OR
March 20
For those who don't know Boredoms in their current
formation, the band consists of three drummers
(Yoshimi, Yojiro, Senju) and one person on various electronics and vocals (Eye). These days their music mixes
drum 'n' bass, Japanese traditional, minimalism and
Krautrock like Ash Ra Tempel and Neu! all at once.
However, there's more to it than that.
At this particular Portland outing, the night started
with a staple in the Boredoms (or V°oredoms) live show:
Eye playing sound triggers that light up the venue and
make sounds of swirling synths, snaps and loud chords
that come seeping out of the speakers and are enough to
make anyone's head swim instantly. The band of drummers later kicked in with ^endless, phasing high-speed
beats. Yoshimi occasionally sang, played keyboard and
the bass pedal board, and Eye did his barrage of vocals
and screaming, effects and slammed on a guitar rack-a
massive hammer dulcimer that has been upgraded from
his earlier models. They kept this up for an hour and a
half, with breaks few and far between. These were rather
simple ideas that anyone could have come up with, but
it's like the wheel: it had to be done.
So the concert was, for lack of a better word", typical. And while typical usually implies some type of
norm, possibly with negative connotations, Boredoms
were always unconventional, so anything that's related
to them sympatheticaUy warps as well. The typical
suddenly isn't typical anymore.
This show was what we expected from Boredoms—
dazzling, thrilling, gorgeous, moving and hypnotizing
sounds that remind you music can still accomplish at
least this. You know, typical Boredoms.
Julian Bowers
Richard's on Richards
' February 25
The first headlining show in Vancouver by trash-digging improvisers Holy Fuck had only one flaw: some
rather frustrating equipment troubles, which caused some
lengthy delays in the lead-up to their set. Barring that,
this evening at Richard's came strikingly close to perfection—due in no smaU part to the opening bands.
The CUps have drawn much local praise recently, and
for good reason. Many of the greatest aspects of recent
indie rock and pop coalesce in these five guys and their
dense, complex songs. And with all the shows they play
around town, no one has an excuse for missing out.
Up next was A Place to"Bury Strangers, whom some
have dubbed "the noisiest band in New York." Sounding vaguely Uke Joy Division playing through the Jesus
&Mary Chain's effects pedals, A Place To Bury Strangers shredded ears and blew minds with searing, viciously
distorted songs from their self-titled debut album. The
visceral music was matched by ambiance: the band
eschewed any house Ughts, instead having the sole iUumi-
nation come from stark, blurred visuals projected onto the
stage. That is, until those images.faded and erratic strobe
Ughts aimed squarely at the performers further intensified
their assault on the senses. It was brutaUy beautiful, and
fucking brilliant.
If anyone had any energy left after the two stellar openers, they made sure to dance it out when Holy Fuck fired
up their sundry array of gear. To fuel their seriously funky
organic grooves, they employed everything from tradi-*
tional drums and bass to toy keyboards to some weird
thing they kept pulling filmstrip through. In between aU
the crescendos and releases, rhythms mutated and evolved
under the careful button-pushing and knob-tweaking of
Brian Boreherdt and Graham Walsh. The improvs were
good, but it was the tracks off their latest release, LP, that
really got bodies moving and prompted numerous high-
fives between fans on the dancefloor. Folks, it just doesn't
get much better than this.
Simon Foreman
The Hives
+ The Donnas, The Hits
Richard's on Richards
February 22 '
If the Hives ruled the world, everything would be in
black and white. If I ruled the world, I would make sure
everyone saw the Hives play Uve. I went to this show
with no doubt in my mind that it would be rad, and sure
enough, the Hives did not fail to disappoint.
The opening band of the night was local darUngs, the
Hits. Known for their signature white-T-shirt-and-jeans
look, the Hits also got some of their loyal fans to don
their uniform for the night. And even if you don't know
aU of their songs, the Hits know how to rock, how to roU
and how*> have a good time on stage.
The Donnas were the second band to take the reins.
Though I was initially not too fascinated by this band, the
Donnas succeeded in showing Vancouver that girls too can
be blessed by the gods of rock. They've come a long way
since that timid cameo in Jawbreaker and haven't seemed
to lose any steam along the way. Playing tunes from their
latest album, Bitchin', these girls played with confidence
and proved that rock 'n' roll is not just a boys' club.
And finaUy, the band that knows just how awesome
they reaUy are, the Hives, took the stage. Looking sharp
in their black and white striped attire, these Swedes
deUvered an unforgettable performance. Their over-the-
top stage antics would have seemed gimmicky if any
other band attempted them, but the Hives make it work
because it comes naturaUy to them. The band pleased
the audience by playing most of the songs off of their
latest, The Black and White Album, but did not forget to
include favourites from Tyrannosaurus Hives and Veni
Vidi Vicious.
These finely dressed men know exactly hpw to put on
a show; they got the girls screaming and the guys just as
excited. By the end of it, I just wanted the whole thing to
start over again. My personal pick for best show of the
year, and it's only spring.
The Parallels
The Royal Unicorn
February 22
One might be excused for thinking that the thread of
commonaUty between the three bands tonight would be
retro sounds if it wasn't for the more obvious experience of
abysmal sound quaUty tying them together. Hands down,
the audience would be hard-pressed to identify a worse
venue for sound than the Royal Unicorn. HeU, the audience would be hard-pressed to understand much of what
was being said onstage tonight
Openers the Green Hour (yet again performing as a
trio, minus a bassist) managed to sidestep the sound issues
by using them to their advantage, adding an extra layer of
fuzz to their sound and transforming their usual acid-pop
symphonettes into more of a Sunset Strip snot-rawk snarl,
circa 1966. They performed an efficient (read 15-minute)
set, which included two boss new songs arid left punters
craving more.
The TVees were the new kids on tonight's block, and two
things became immediately apparent: their bassist looks
exactly like Alexei Sayle and their singer probably has the
best set of pipes in town today. By this point, though, the
PA was sounding more Uke your local ham-radio operator
picking up Red Foxx's ghost and anything said between
numbers was up for interpretation. Despite some of their
material straying into mod-by-numbers territory, the
TVees deUvered a soUd set of energetic beat music, which
overcame much of the technical Umitations.
The ParaUels' retro take was considerably less idiosyncratic than the first two openers. Unfortunately, sorrieone
had to fare least favourably tonight, and it was them. Not
that their performance was anything less than their status
as one of Vancouver s top Uve draws entails, but the soundman, at this point, had lost the battle for coherency with the
monitors. There came a point about halfway through the
set where the band sounded like it was playing three different songs simultaneously. No mean feat, that. While the
ParaUels do write some top tunes and perform them with
the requisite amount of verve, they'U probably be filing
tonight's gig under "not our best show ever."
In aU, tonight's show was one of this year's great could-
have-beeris and probably worth another try a few months
from now-^-at a better venue.
Darren Gawle .
The Mountain Goats
+ Jeffrey & the Jitters
Richard's on Richards
February 22
Dick's was absolutely jam-packed quite early in the
evening, making it tough to find a spot by the time
herky-jerky, Wolf Parade-esque Jeffrey 8c the Jitters
finished off. It should have been no surprise, though—
John DarnieUe, under his Mountain Goats moniker, has
had quite a whUe to build up a fervent fanbase over his
16-plus-album career. This year's Heretic Pride, lauded
as one of the better Mountain Goats releases since DarnieUe made the transition from ultra-lo-fi ditties to fuU-
band studio compositions, was definitely part of the draw
for tonight's entertainment.
With such a wide body of work for the Mountain -
Goats to draw from, some people couldn't help but be
a tad disappointed that DarnieUe neglected this or that
old favourite tune of theirs. Indeed, more old selections
would have been welcome, especiaUy since one girl in the
audience had on a Hospital Bombers shirt (a reference to
AU Had West Texas's hilarious "The Best Death Metal
Band in Denton"). But the songs that were performed
were expertly executed, from the brand new "Michael
Myers Resplendent" and "Autoclave" to two cuts from
The Sunset Tree, as weU as some fairly obscure material.
Stage banter was frequent and funny, hinting at deep
personal problems DarnieUe has struggled with in the
past, but also mocking them in a way that displayed a
great sense of humour about himself and the world.
What's more the man was a firebaU of energy, cracking wide smiles almost constantly, inviting occasional
sing-alongs from the crowd and high-fiving fans in the
balcony and up front. His capable backing band-clearly
enjoyed themselves as weU, as. songs alternated between
warm and touching, and tongue-in-cheek.
Good cheer—and alcohol—was shared equaUy
between the performers and the audience (DarnieUe
accepted a beer offered by a fan at one point), making the
evening, all in aU, a truly deUghtful time.
Simon Foreman
Discorder   21 POGALYfTIUA
!lirn..'.t!',:t.:y:'::i •■>■■: | .    •• • :.;■/■. r-:;,-; ;.-'j.:',::.i.,'.\;
 ..v.-kn k.|..i:r: • •=■	
32   April 2008 THE MOST
The, CampftUu, Tout,
MAY 11
a, Justin Rudedge
HlSr ?$^k  wli'
BE1B j
with special guest
Lord Yeggs
p i R.eSS^SF
MAY 29
Discorder Youxan listen to CiTB^a^^ air at 101.9 FM
Wednesday        Thursday
mmmm Sunday
TANA RADIO (Worid) 9-1 Oam
A program which targets Ethipian people and aims at encouraging education
and personal development in Canada.
KOL NODEDI (World) 11 am-12pm
Beautiful arresting beats and voices emanating from all "continents, comers, and
voids. Seldom-rattled pocketfuls of roots
and gems, recalling other times, and other
unknown and the unclaimable. East Asia.
South "Asia. Africa. The Middle East. Europe. Latin America. Gypsy. Fusion. Always
rhythmic, always captivating. Always crossing borders. Always transporting.
Reggae inna all styles and fashion.
(Roots) 3-5pm
Real cowshit-caught-in-yef-boots country.
Alternates with:
SHAMELESS (Eclectic)
Dedicated to giving any local music act in
Vancouver a crack at some airplay. When
not playing the PR shtick, you can hear
some faves you never knew you liked.
British pop music from all decades. International pop (Japanese, French, Swedish,
British, US, etc.), 60s soundtracks and
lounge. Book your jet-set holiday now!
Alternates with     $jj&t%.t*' .,
Welcome to St Tropez! Playing underrated
music from several decades!
QUEER FM (Talk) 6-8pm
Dedicated to the gay, lesbian, bisexual, and
24    April 2008
on current issues, and great music.
RHYTHMSINDIA (World) 8-9pm
Rhythmsindia features a wide range of
music from India, including popular music
from the 1930s to the present, classical
music, semi-classical music such as Ghaz-
als and Bhajans, and also Qawwalis, pop,
arid regional language numbers.
9-1 Opm
The one and the only Mondo Trasho with
Maxwell Maxwell—don't miss it!
Join us in practicing the ancient art of
rising above common thought and ideas
as your host DJ Smiley Mike lays down
the latest trance cuts to propel us into
the domain of the mystical.
______________ MONDAY
(Eclectic) 8-11am
Your favourite Brown-sters, James and
Peter, offer a savoury blend of the familiar
and exotic in a blend of aural delights!
Fun and independent music supported by
a conversational monologue of information, opinion and anecdote focussing on
the here, the now, and the next week.
Hosted by David Barsamian.
Parts Unknown, an indie pop show that
marshmallow sandwich: soft and sweet
and best enjoyed when poked with a
stick and held close to a fire.
LETS GET BAKED (Talk) 3-4pm
Vegan baking with "rock stars" like Laura
Peek, The Food Jammers, Knock Knock
Ginger, The Superfantastics and more.
A national radio service and part of an
international network of information
and action in support of indigenous
people's' survival and dignity. We are
all volunteers committed to promoting
Native self-determination, culturally,
economically, spiritually and otherwise.
The show is self-sufficient, without government or corporate funding.
NEWS 101 (News/talk) 5-5:30pm
Vancouver's only live, volunteer-produced student and community newscast.
Every week, we take a look back at the
week's local, national and international
re hot!.
m from a fully in
m CiTR si
media perspective.
WINGS (Talk) 5:30-6pm
SOME SOUND (Indie Rock) 6-7:30pm
RADIO FREE GAK (Indie rock)
THE JAZZ SHOW (Jazz) 9pm-12am
Vancouver's longest running prime-time
Jazz program. Hosted by the ever-suave
Gavin Walker.
Features at 11pm.
Mar. 3: One of the most outstanding
bands at last year's Jazz Festival was
the Bad Plus. They are an acoustic piano
trio with a difference: They don't play
Gershwin, Porter and Kern. They play
their own originals and compositions
by contemporary composers like David
Bowie, etc. Pianist Ethan Iverson and
company ai
Mar. 10. Alto and tenor saxophonist Sonn
Stitt was one of the most misunderstood
players in jazz. Called an imitator of
Charlie Parker on alto and Lester Young
on tenor, Stitt was neither but an original
player who took no prisoners and was
second to none. Tonight, a rare item by
Stitt: "The Hard Swing."
Mar. 17: Another great exponent of the
alto saxophone tonight in the person of
Phil Woods. In honour of St. Patrick's
Day, Mr. Woods is half-Irish (the other
half is French-Canadian). This is Woods
at his best with his "European Rhythm
Machine." Recorded at the Montreaux
Jazz Festival.
Mar. 24: The gentleman who does our
show's theme: Trombonist Bennie Green
; is our feature tonight. Mr. Green plays
with tenor saxophonist Eddie Williams,
the legendary pianist Sonny Clark, bassist Paul Chambers and drummer Jerry Segal, plus one tune by master bop vocalist
Babs Gonzalez.
Mar. 31: Tonight, a hot driving band of
players from LA who were not your
typical West Coast cool band: These guys
sounded New York tough! Trumpeter Jack
Sheldon, tenor saxophone great Harold
Land, legendary pianist Carl Perkins and
drum genius Frank Butler all led by the
swinging steady bass of Curtis Counce.
One of the best jazz groups ever.
Going on 8 years strong, this is your
home for all the best the world of "punk
rock has to offer.
PACIFIC PICKIN' (Roots) 6-8am
Bluegrass, old-time music, and its deriv
atives with Arthur and the lovely Andrea
FILL-IN (Eclectic) 8-9:30am
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 dangerous criminal!
(Eclectic) 11:30am-1 pm
An eclectic mix of Canadian indie with
rock, experimental, world, reggae, ounk
and ska from Canada, Latin America and
Europe. Local bands playing live on the
Morning After Sessions.
GIVE 'EM THE BOOT (World) 1-2pm
Sample the various flavours of Italian
folk music from north to south, traditional and modern. Un programma
bilinguecheesplora il mondo delta mu-
ARTS EXPRESS (Talk) 2-2:30pm  •
REEL TO REAL (Talk) 2:30-3pm
CAREER FAST TRACK (Talk) 3-3:30pm
FILL-IN (Eclectic) 3:30-4:30pm
Tune in each week to hear Daryl Wener
talk about the world of sports. I'll discuss
everything from the Vancouver Canucks
to the World Rock Paper Scissors Cham-
. pionship. Your calls are welcome and I
hope you enjoy listening.
FLEX YOUR HEAD (Hardcore) 6-8pm
Punk rock and hardcore since 1989. Bands
and guests from around the world.
8-1 Opm
The best rock in Spanish show in Canada since 2000. None of that tropical
stuff here. No aceptes imitaciones!
Trawling the trash heap of over 50 years'
worth of rock n' roll debris. Dig it!
AURAL TENTACLES (Eclectic) 12-6am
It could be punk, ethno, global, trance,
spoken word, rock/the unusual and the
weird, or it could be something different.
Hosted by DJ Pierre.
8-1 Oam
Live from the Jungle Room in his Top
Secret Eco-Pod complex high in the
Cascade Mountains, join radio host
Jack Velvet for an eclectic mix of music,
sound bites, information'and inanity.
Not to be missed!
POP ROCKS (Electronic) 10-11:30am
ANOIZE (Noise) 1U30am-1pm
An'hour and a half of avant rock, noize,
plunderphonic, psychedelic, and outsider aspects of audio. An experience
for those who want to be educated and
DEMOCRACY NOW (Talk) 2-3pm
(Rock) 3^5pm
Primitive, fuzzed-out garage mayhem I
CANADIAN VOICES (Talk) 5-6:30pm
AND SOMETIMES WHY (Pop/Eclectic) 6:30-8pm ■ DDT7F "D A fll/" «»*T ANSWER THIS
™ Includes Tokvo Police Club's new CD Eleohant ShelHDe\uxe ^"""
Includes Tokyo Police Club's new CD Elephant Shell {Deluxe
I   Edition with bonus CD), T-shirt and autographed poster.
CiTR's charts reflect what has been spun on the air for 2007. Artists with stars alongside their
names (*) are from this great land o' ours. Most of these platters can be found at finer (read: independent) music stores across Vancouver. If you can't find them there, give our Music Director
a shout at 604-822-8733. His name is Luke. If you ask nicely, he'll tell you how to get them. To find
other great campus/community radio charts check out www.earshot-online.com.
First Wednesday of every month.
Alternates with:
(Eclectic) 6:30-8pm
All-Canadian music with a focus on
FOLK OASIS (Roots) 8-1 Opm
Two hours of eclectic folk/roots music
with a big emphasis on our local scene
Don't own any Birkenstocks? Allergic tr.
patchouli? C'mon in! A kumbaya-fret
and other grotesque and socially relevant artifacts from 1965 to today, with a
particular emphasis on Vancouver's freak
flag with pride.
Experimental, radio-art sound collage,
field recordings, etc.
Recommended for the insane.
JUICEBOX (Talk) 10-11PM
Developing your relational and individual
sexual health, expressing diversity, celebrating queerness, and encouraging pleasure at all stages/Sexuality educators
Julia and Alix will quench your search for
your life span!
(Hans Kloss) 11pm-1am
This is pretty much the best thing on radio.
8-1 Oam
SWEET AND HOT (Jazz) 10-12pm
;ic and hot jazz from the
Sweet treats from the pop underground.
Hosted byOuncan, sponsored by donuts.
WE ALL FAU DOWN (Eclectic) 1 -2pm
Punk rock, indie pop, and whatever else I
deem worthy. Hosted by a closet nerd.
INK STUDS (Talk) 2-3pm
Ink Studs focusses on underground and
indie comix from publishers like Fantagraphics, Top Shelf, Drawn and Quarterly and more. Each week, we interview
a different creator to get their unique
perspective on comix and discuss their
own interesting and upcoming works. No
creator too big or too small to be interviewed. The talent interviewed ranges
from the legends of alternative comix to
some kid who has only put out a couple
of minis, all with somehting new and interesting to share to the reading public.
Zoom a little zoom on the My Science
Project rocket ship, piloted by your host,
Julia, as we navigate eccentric, underexposed, always relevant and plainly
cool scientific research, technology, and
poetry (submissions welcome), myscien-
Alternates with:
Psychadelic, acid punk, freakbeat, prog
(LiveMusic) 9-11pm
Featuring live band(s) every week
performing in the comfort of the CiTR
Lounge. Most are from Vancouver,
but sometimes bands from across the
country and around the world are nice
enough to drop by to say hi.
LAUGH TRACKS (Talk) 11 pm-12am
Laugh Tracks is a show about comedy.
Kliph Nesteroff from the 'zine Generation Exploitation, hosts.
RAW RADIO (Hip Hop) 12-2am
FILL-IN (Eclectic) 8-1 Oam
Canada's longest running Ska radio
program. Email requests to:
djska_t@hotmai I .com
Top notch crate digger DJ Avi Shack
mixes underground hip hop, old school
classics, and original breaks.
RADIO ZERO (Eclectic) 2-3:30pm
We play an international mix of super-
fresh weekend party jams from new-
wave to foreign electro, indie rock, baile,
booty, club rap, juke, disco, Bollywood,
dancehall, and whatever else we feel
Join Nardwuar the Human Serviette
for an hour and a half Manhatten Clam
Chowder flavoured entertainment. Doot
doola doot doo... doot doo!
NEWS 101 (Talk) 5-6pm
Vancouver's only live, volunteer-produced, student and community newscast
Every week, we take a look back at the
week's local, national and international
news, as seen from a fully independent
(Sports) 6-1 Opm
(Soul/R'n'B) 10-12am
The finest in classic soul and rhythm &
blues from the late '50s to the early 70s,
including lesser known artists, regional
hits, lost sould gems and contemporary
artists recording in that classic soul style.
(Eclectic) 12-2am
________M SATURDAY    "
Now in its 22nd year on CiTR, The Sat-        .16
urday edge is a personal guide to world
& roots music—with African, Latin 17
and European music in the first half,
followed by Celtic, blues, songwriters,
Cajun and whatever else fits!
(Punk) 12-1 pm
A fine mix of streetpunk and old school
hardcore backed by band interviews,
guest speakers, and social commentary.
POWER CHORD (Metal) 1-3pm
Vancouver's longest running metal show
on the air. If you're into music thafs
slightly into the heavier/darker side of
the .spectrum, then you'll like Power
Chord. Sonic assault provided by Metal
Ron, Gerald Rattlehead and Geoff the
Metal Pimp.
CODE BLUE (Roots) 3-5pm '
From backwoods delta low-down slide to
urban harp honks, blues, and blues roots
with your hosts Jim, Andy and Paul.
The best of mix of Latin American music.
NASHA VOLNA (World) 6-7pm
News, arts, entertainment and music for
the Russian community, local and abroad.
(Dance/Electronic) 7-9pm
The eclectic radio show Shadow Jugglers welcomes you to braoden your
musical knowledge with DJs MP,
Socool, Soo & guests. Shadow Jugglers
works across musical genres including electronic and club-based music,
presenting genres rarely introduced
into mainstream musical culture. Travel
through world sounds. Respect
Every show is full of electro bleeps,
retrowave, computer generated, synthetically manipulated aural rhythms. If
you like everything from electroAechno/
trance/8bit music/retro '80s this is the
show for you!
(Hip Hop) 11 pm-1 am
Hosted by J-Boogie and Joelboy, promising listeners everything from the latest
tracks, the classics, the rare and the
obscure, current events, and the special
features of peeps coming into the studio.
Most importantly listeners can expect to
be entertained... church.
No Kids*
Crystal Castles*
The Ravonettes
Beach House
Fake Shark, Real Zombie*
Sudden Infant Dance Syndroi
Plants And Animals*
Forest City Lovers* \
The Superfantastics*
DJ Co-Op*
Thee Silver Mt Zion Memorial...*
The Breeders
The D'Ubervilles*
Vashti Bunyan
The Better Beatles
Adam Green
Jason Collett*
Tuxedo Moon
Chris Walla
The'Creepy Creeps
Vampire Weekend
Sons And Daughters
The Penguins*
Times New Viking
Chris Walla
Xiu Xiu
British Sea Power
The Sword
Come Into My House
Crystal Castles
Lust Lust Lust
Zebra Zebra
2 many Babes
Oracular Spectacular
Pare Avenue
Haunting Moon Sinking
Choose Your Destination
WeHave You Surrounded
Trouble In Dreams
Let The Blind Lead Those...
Love and Circuits...
Co-Operation Version 4.0: AYO, Technology
13 Blues For Thirteen Moons
Mountain Battles
We Are The Hunters
Paper Planes
Somethings Just Stick In Your Mind...
In The Future
Mercy Beat
Sixes And Sevens
Seventh Tree
Here's To Being Here
Vapour Trails
Rowers Forever
Live @ The Western Front
Distance and Time
Field Manual
Last To Leave
Vampire Weekend
This Gift
Had To Be
Rip It Off
Bottled Lightning Of An All Time High
For Emma, Forever Ago
as an ex-anorexic six sicks exit..
Field Manual
Women As Lovers
Do You Like Rock Music?
Gods Of The Earth.
Last Gang
Secret City
Out of This Spark
In The Red
Out Of This Spark
Dicristina Stair...
Hook Or Crook
Rough Trade
Arts & Crafts
Crammed Discs
Team Love
Ninja Tune
Green Door
Jagjaguwar     -'-"Slf!
Hydra Head
Kill Rock Stars
Rough Trade
The Social Registry
Alien 8
Discorder   35 Why LiveMusicVancouver?
Show listings you won't find anywhere else
Artist profiles & audio samples just a click away
Calendars and maps to over 600 local venues
Show archives easily searchable by artist, date,
venue, or promoter
Greg Fraser, former lead guitarist and songwriter
of the legendary 80s Canadian metal band
BRIGHTON ROCK has teamed up with former
BR bassist Stevie Skreebs to carry on
where they left off - 80s party hearty metal
fall of big choruses, hooks, harmonies,
and no apologies for having a good time.
Debut CD includes "Jackhammer"
mixed by Beau Hill (Ratt, Warrant)
Rosters, bios, web links and contact info for hundreds of
local bands, choirs & other ensembles
Hundreds of profiles for local music-related businesses
Easy access to show listing via your cell phone
Updated continuously by thousands of users
just like YOU
.1 **_!.
comprehensive live music listings
Take Action Now
Educate and Empower Yourself
with these sites:
Tibet Information Network \ tibetinfo.org
Tibetan Government in Exile - tibet.com
Tibet Justice Centre - tibetjustice.org
Human Rights in China -hrichina.org
26    April 2008 by |
Nat Jay
In' 2001, far far away from New York where hip hop culture was born, seven Vancouverites
got together to form Sweatshop Union, a collective of hip hop artists made up of four local
acts: Dirty Circus, Innocent Bystanders, Pigeon Hole and solo act Kypriosi The initial goal
was to pool financial resources to create a compilation and get their music out to the fans.
Litde did they know that in the next few years they would sell tens of thousands of albums
worldwide and open for acts like the Black Eyed Peas and. Swollen Members. Now on the
verge of releasing their fourth album, expected this Summer, a couple guys from the two-
time juno-nominated Sweatshop Union, Kyprios and Mos Eisley, sat down to talk about
their careers so far, their thoughts on the current industry and their hopes for what's ahead.
0 Vancouver is about as far removed as it can be from where hip hop originates. How did seven
Canadian guys get into hip hop and really connect with it as a genref
Mos: How we got into it definitely varies individually. For me it was mosdy by accident. I was
in Germany when I first got into hip hop—I went straight from listening to Queen and Phil
Collins to the Chronic and Ice-T and Body Count and other hardcore rap, and I can't really
explain how that happened. My cousins listened to it when I was litde, but I thought it was
stupid~I just didn't get it. Then when I was about twelve, it took on a whole other meaning.
Kyp: In the early 90s, there was some exciting underground shit coming out of New York and
Los Angeles, and it hadn't quite permeated the pop culture. You had to seek stuff out in order
to find it: certain DJs, certain radio shows, certain people that had records. Back then, when
that music came out and you got it, it was sacred and it was special, because not everyone had
access to it and not everyone knew about it. But you'd find a common love and camaraderie
between people who did have it, and that's what brought the seven of us together.
9 Living in Vancouver, was it difficult to find artists to look up to as mentors?
Kyp: Vancouver had some really dope MCs. When I really got into hip hop at about 16,
1 met [the guys] from a group called Q_Continuum, who were freestyling outside a pizza
joint on Robson, and I was really into freestyling and rapping. Then I knew the Rascalz and
another group from Victoria, so for me there was a scene in Vancouver and people that I
looked up to and respected. But was it built in?. Was there a foundation of people coming to
check for Vancouver shows? No, not at all. .
O Sweatshop Union is comprised of four separate entities. How did the idea develop from
when you first got together?
Kyp: It was a way of pulling resources together to make a compilation and get music out
there and then it ended up being this thing where people wanted to see it live, and it became
bigger than we thought.
Mos: We put out the first version of the record on our own and we hoped it would be an
organic process, and it worked out that way. We were doing a showcase and Kyle Kraft and
Mad Child (of Batdeaxe Records) were there. After that they put us out on Underworld as
a kind of testing ground to see if we could do it and then when we did, they decided to put
us on Batdeaxe.
JP You guys had the opportunity of touring with Black Eyed Peas in the past. What was it like
to get a taste of the hardcore mainstream ?
Mos: The only thing I can compare it to is the first couple Swollen Members runs that we
did, because Swollen was really big at the time and there was 1,000-1,500 kids a show. Then
we had our own shows with 150-200 people. And then we did Black Eyed Peas, where there
were 2,000 young girls at every show and it was mind-blowing.
Kyp: It was one of those things that had such an impact on us as far as getting booking and
selling records and just getting in front of that many people every night.
Mos: And watching them too. As much as people wanna hate on them, their live shows
are nuts. Everything they were doing with a band was what we wanted to do and they were
really, really good at it, which made us wanna do it better.
9 These days, mainstream hip hop seems engulfed in consumerism, endorsements, bling and
women, but you guys seem more focused on the music.
Mos: We all want things and I can't knock anyone for wanting things, but I think for us, the
musicis more important. I think that if we were all getting a bunch of money, we'd talk about
that, but we don't have those things. There's other stuff that's more important to us.
Kyp: Our music has been labeled as conscious music, but generally our songs just have a
point to them. We're actually trying to say something as opposed to just showing off. There's
always a narrative and that's what people identify with and maybe that's what makes us
different. T<_J.-^M
9 You've said that your last album, United We Fall, was the first one that everyone in the group
liked. How so?
Kyp: At that point, we had enough power over the music and enough control over how we
made it and what we were doing that we could finally make the music that we had in our
heads. When we got to United We Fall, everyone was way better at their craft from being in
the studio before and knowing how to use the tools they had.
9 The last album contained a lot of socially relevant topics. Can fans expect the same on the'
new record?
thing that we've never done. We had kind of evolved ourselves into a corner where we didn't
■wrant to talk about our personal Uves too much. So on this record there's a bit of that. There's
some effect of going through our work for the past couple years and what we've experienced.
It's a lot more personal in that way and a lot less political overall.
9 Seven guys in one group—that seems like a lot-t coordinate.
Kyp: Management does a pretty good job these days with that. Not everyone lives in the
same city now and even getting together for meetings can be teeth pulling. So there's a lot of
correspondence that goes on through email, a lot of decisions get made through email, Kyle
does the booking for us. Dates come in, deadlines come in, and you just live accordingly.
9 So is Sweatshop like a big brotherhood?
Kyp: Yeah, definitely a brotherhood. I mean, there can be litde spats where you get sick of
one another after beingin a car for eight hours, but I think everyone really actually likes each
other, which helps.
Mos: It's interesting because as much as it's a Union, it's definitely a union in the actual
dictionary term. We didn't really know each other going into it—some of us did, some of us
didn't—and it took quite a while for everything to smooth out. There are certain people in
the group that wouldn't naturally make sense as friends, and when we're not on the road, we
don't really kick it that much. But with us being professional and getting to know each other
to the point where we don't take things personally, once you're on the road, it's gravy.
9 What are the goals for the upcoming year with the new record?
Kyp: To be on the road and share it with as many people as possible and get people excited
about it, to breach as many borders as possible. We're trying to build hi the United States and
it's working slowly, but surely, to get overseas. I think those are realistic goals that excite us and
that we're striving for. We're not sitting there waiting for a record deal—we want to be able to
be fiercely independent in the sense that we have control of what we do and how we do it and
where we do it. And we just want to be able to take it as far and as many places as we can.
9 Hip hop is such a rapidly changing genre stylistically. Do you feel like Sweatshop will be able
to adapt or do you feel like it has a shelf life?
Kyp: I do. I kinda think there's a shelf life. I mean, there's a few people that are doing it
now—god only knows how old Jay-Z is, but he's been able to adapt and to stay relevant.
But for me personally, I don't know how relevant a white kid from the North Shore at 45,
rapping about being broke and still living with Moms is gonna be.
Mos: I think it's about staying ahead of it instead of trying to chase it, and what that entails
is almost stepping outside the hip hop cubicle. Hip hop is built to move. It's built to add any
kind of "music to it and it'll work And the secret to it is being one step ahead and Ustening
to the new music outside of hip hop that's coming in and letting that influence you. That's
reaUy tough and I don't think a lot of rappers know how to do that.
0 How long do you see Sweatshop Union continuing along this path?
Kyp: If this record does reaUy weU and starts generating a lot of success and it comes to the
point where people are Uke, *Ybu gotta come to Europe, you gotta come to Tokyo, you gotta
come to AustraUa, you gotta come to New Zealand," weU I'U ride the fucking thing 'til the
wheels faU off. But reaUsticaUy, there are four groups in this band and everybody is strong
enough and capable of making music and having a foUowing on their own. It's tough for
seven people to spUt that pie up with management, with booking, with legal issues, with
accounting. So at some point you have to be reaUstic and know that seven men can't make a
Uving doing this the way that we're doing it, unless it bdJft.
Sweatshop Union will be playing the Lamplighter on May 5.
Mos: There's a couple tunes. It's stiU B
" music, but it's more personal, which is some- ITS A VERY GOOD YEAR
Walk It Off CD
Tapes 'n Tapes prepare to do
the near impossible — match
the magical rock genius that
forged one of 2006's finest
releases The Lorn To do this they
have upped the ante and hired legendary sweet ears producer Dave Fridmann (Flaming Lips, Mercury Rev et al)
and sequestered themselves in a no-nonsense environment known as Ihe studio" to vigilantly stalk out greatness. The results speak for themselves and solidify the fact
that these four guys from Minneapolis know a good riff
when they come acfess it Cornering an Intensity only
match by the likes of Modest Mouse, Built to Spill and
Sonic Youth, Walk It ON bolts out of the gate with the
blistering sidewinder guitars of "Le Ruse", which in a proper universe would bj|jft«.soundtrack to your favourite heist
chase flick. Elsewhere, Walk it Off explores the sound of
duty distortion and some of the most kick ass bass drum
thunder to date. For instance, check the depth of "Say
Something Back." Mission Accomplished!
CD 12.98
Trouble In Dreams
Youngsteref$$dsters: get ready;:
to feel grand again. $(f!ft   I
not David Bowfc foing5* -
Shakespeare in the park, and it's J§PC
n^our English professor professing lewd nothings
beneath your Second-storey Strafehcona walkup window:
it's Ban Bejar! Vancouver's most quixotic crusader and
his faithful band are back once agafnjevelling lances
• against tft§ dinosaurs of rock classieSfe with a quiverfu ll
of quote-perfect lyrical^juipsat the ready. If you thought
they sounded relaxed and confident on Rubies just wait
until you heartjie-meitingly easeful chemistry that happens
when Fisher Rose is beating the hell out of the skins,
blowing great gusts of wind into the theater curtains of
your ears. They're having fun, people. Word on the street
is that they're even a good live band, now. Ted Bois has
gone Vangelis on the keys and Nic Bragg is a fucking
force on the e-bowed melodic guitar leads. He cannot be
stopped. I am cursing in the ad copy because this is so
good. I'm not the kind to tell you what is true, but I am
telling you to buy this album. Buy it now.
CD 14.98   2LP 20.98
Volume 1 CD
n Qhe' is Zooey Deschanel,
Oindie boys' movie-star crush
of choice. "Mm" is M. Ward, the
rootsy guitarist. Together they
pose as a great lost Seventies
AM-gold couple. Their acoustic vibe conjures up a time-
travel fantasy of key parties, hot tubs and Chablis-crazed
groping behind the spider plants. If this is your kind of
i thing, you will love this record, because Deschanel and
Wand definitely know their mellow, tn every song, they
sound like they wish they were cruising in their Le Car, hitting the beach at Martha's Vineyard with James and Carly
to pound strawberry daiquiris and sing "Mockingbird.'
Whoops — don't want to be late for that Mo Udall rally!
Lazy souls will compare her to Dusty Springfield, but
Deschanel s voice also has sweetjjpuntry curves that
evoke Lynn Anderson, Jennifer Warms and Linda
Ronstadt. For better, not for worse, Deschanel doesn't go
for the sassy comic edge she brings to her movies (we've
: had enough sass, haven't we?). In these songs, she's just
a girl standing in front of a boy asking him to love her. And
if Ward could resist, he must have a heart of stone, or
maybe just a switchblade-packing girlfriend..
Reality Check CD
CD 14.98
This brash French trio's sensationalist pop is
built around filthy-tongued wit that dees tor
2008 what Serge Cainsbourg did for 1989; call it
shock-pop. Back then, all it took was a few moans
into a mic—today you've got to drop the c-word
in a love song. These are jaded times, and nobody's more jaded than a
Teenager, but that doesn't mean these kids don't have a soft side. They're in
love with idea of dreamy, irresponsible youth {i.e. themselves), and that
means kisses stolen under soft-focus Sofia Coppola sunsets as much as it
means catty putdowns, hedonistic drug use, underage thuggery, and confused, meaningless screwing. Think of them as Larry Clark's Kids transported to today's Paris: ironic, amoral eiectropoppers that revel in their own
thrilling, illicit superficiality..    ,
CD 12.96
Dig Lazarus Dig! CD
Nick Cave and his Bad Seeds are bad men, but
they live a good life. Such is the province of
those rare individuals on whom both God and the
Devil smile. Every time they go to make an aibutJi,.
they can change their suits, but they'll never arrive |
at the party looking less than dashing. Last seen out to public under the
barely-evolved Stoogian guise of Grimterman, heroically {proving that dirty
old men can make lobotomized caveman noise as well as dirty young men
can, Nick Cava And The Bad Seeds hit the elevator button straight back up
to the cerebral penthouse suite with their fourteenth album. Dig, Lazarus,
OlglU The obsessions are thrsame (oodles of sex; a bevy of dangerous
women, often clad in red; death, literature, religion and a generous bellyful of
laughs), but this time out, NCBS are wielding the twin weapons of control
and ambition, and it's no exaggeration to say that Cave has never been so
funny, so suave, or so feverishly imaginative. A full-scale triumph.   »
CD 14.98
s/t CD
Hercules & Love Affair springs from the ornate
imagination of one man, Andrew Butter, a
fancy-dress wearing resident of NYC for a decade,
but brought up in Colorado. Despite the fact that
his music sounds more disco-decadently NYC than
the rock outcrops of his home state, Better's esoteric, stylish obsessions
have been apparent since he started making music for dance performances in
college, like a remake of Gino Soccio s Runaway done in the style of
Kraftwerk. That particular re-imaging still stands as aaapt example of the
music Better's making today: a pulsating, glamorous, elegiac mix of classic
disco influences, live instrumentation and modernist, mind-spangling electronic production. Hercules & Love Affair's album is also drenched in lush
vocal performances, most notably the familiar melancholic croon of Antony
(of the Johnsons, but also jewellery designer/DJ Kim Ann Foxman and
CocoRosie collaborator Nomi). Produced by Butler together with Tim
Goidsworthy of the DFA, Hercules & Love Affair is a unique, deeply satisfying and insanely catchy piece of work — miss if at your peril.
CD 16.98
Tlie Last Tycoon CD
Throughout the hectic years of songwriting,
recording and touring with Peter Bjorn and
John in support of their infectious breakout album
Writer's Block, Peter Moren s pen never rested, g
Out of that prolific imagination emerged an intimate
collection of songs that see their writer pondering the difficulties and resolutions of everyday life and the ever-present confusion of approaching late
adulthood — according to Peter, the usual lyrical psychobabble, but with a
direct and honest approach." Recorded and mixed over two years in tiny
apartments and rehearsal studios in Sweden and the U.S., The Last Tycoon
features a decidedly more acoustji, low-key side of Peter than fans of 2007':
ubiquitous indie anthem "Young Folks" are used to hearing. Built around the
basic foundation of Peter and his guitar, the album has a distinctly homemade feel that feeds from the folk singer-songwriter tradition but still incor^
porates strings, synthesizers, vibraphones, percussion, a musical saw, and
even a drum machine or two.
Street Honrsing CD
,kay, put the name aside for a minute, because
i^ick Buttons are not just a couple of pranksters.
This Bristol duo started out making uncompromising
noise to force your brains out your ears, but they.ve
swiftly, matured into a far more nuanced beast. Jfsr'^H
stitt noise, mind you, and probably not music you would wantjKltet high to
(unless enduring frightening flights of panic and paranoia is «||%iing), buj it
emanates an eerie ambiance that's hard to shake long after ^W6®^^^J
stopped playing. Like Black Bice used to do in their heyda^»«k Buttons
create pleasant moments of chiming euphoria and perky trftjf-rtvythms before
violently shattering them with a dense attack ot nightrnaThsft'drofJes. ThejF'
pummeling sound experiments capture a twisted serjge of machme-&SSm'. :
melancholy that simultaneously conjures up the prehistoric pulse of tfte||asf; '
with the doom and gloom of a post-Armageddon |p§e. Recommended for
. fhe^dventurous.
CD 16.9$
Attack and Release CD
Last year, Gnarls Berkley's sound scientist, Brian
'Hanger Mouse" Burton, asked Tin Black Keys to
write songs for an album by ike Turner Wher^mw
died in December, so did the project, butjts ijKJLtfg
took root. Burton was drafted to produce the next  ■
album by the group from Akron.-Ohp and the result is the Keys most mulb-
colored set: A psychedelic hybrid of -mtaqe SOflfne/n R&B, brutish 8H»sn
Invasion rock, and country blues that calls to rnifto race-blurnng Seventies
badasses like Jim Ford and Tony Joe White. That s great for the Keys, who
are often obscured by the shadow of fellow.^wesfem dr^ir&andtfuitar duo
the White Stripes. Sure, minimalist stonipers.like 1 Got Mine' and "Rendknber
When (Side B}," all raw rock rifts and cymbal sizzles echo eany Jack *n* Meg
But "Psychotic Girl" is something else with its banjo opening and spook-
house choir. Ditto the Memphis soul of "ta^no* "Oceans and Slisams,"'
which show vocalist Dan Auerbach  . a first-rate upaafer of otd-.sc'wol trad -
tion: Note to Amy Winehouse: book these Hides for a collaboration,
CD 14.98
Mountain Rattles CD
Kim and Kelly Deal return after far far far too long
long long a lay off with what is the most surprisingly fresh faced back to basics Breeders record possible! Ok, you may or may not have been potty
trained when their classic outsider evil-twin-to-
Oolittle debut ftw/was released, but sorely by now you would have frequented
enough mix tape parties to know that the Deal's are responsible for some of
the most envelop pushing pop on the planet. Mountain Battles furthers this
legacy with its adventurous sonic palate taking aim at all that is stagnant and
fluff in contemporary rock. With more hooks than a cool-today Cape Cod bait
shop, Mountain Battles is a thrilling ride into territories only touched upon by
seasoned vets like the Deals! Stop by and give it a listen as this is a pre-requi-
site listen in advance of their late May Richards appearance!
CD 12.98
Clinic-Do It! CD/LP
Apples In Stereo - Electronic Projects For Musicians CD
Cat Empire-So Many Nights CD
Sian Alice Group-59.59 CD
Witch-Paralyzed CD
Colin Meloy-Sings Live! CD
Plants and Animals-Pare Avenue CD
Man Man-Rabbit Habits CD
These New Puritans- Beat Pyramid CD
DeVotchKa - A Mad & Faithful Telling CD
Crystal Castles-s/t CD
Ghost-Overture CD
Tegan Moore
Light Duly Filing for
Diaphanous Supplies
Small wan sculptures ly Tegan Moore
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
Mon to Wed   10:30-7:00
Thurs and Fri 10:3
Sat              9:3
Sun            12:0


Citation Scheme:


Citations by CSL (citeproc-js)

Usage Statistics



Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            async >
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:


Related Items