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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2007-11-01

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Now On Sale!
i        BALLROOM       «
most SEitit
2    September 2007 noi^mbef
editor's nolee
Natasha Jay
Production Manager
PyrA Draculea
Copy Editors
Natasha Jay
Brock Thiessen
Pyra Draculea
Ad Manager
Catherine Rana
Under Review Editor
Datebook Editor
Pyra Draculea
RLA Editor
Brock Thiessen
Layout + Design
Cole Johnston
Pyra Draculea
Contributors        j£   "
Linda Bull
Jason Colantonio
Cameron Curtis
Bryce Dunn
Simon Foreman
Darren Gawle
Keona Hammond
J.T. James
Cole Johnston
Marielle Kho
Arthur Krumins
Maude Lachaine
Ben Lai
Dustin Louis
Marlaina M
Christian Martius
Maxwell Maxwell
Greg McMullen
Tyler Noble
Oswaldo Perez Cabrera
Mine Salkin
Michael Shantz
Peter Sickert
Brock Thiessen
Gavin Walker
Andrew Wilson
Photo & Illustration
Meg Bourne
Pyra Draculea
Simon Foreman
Cole Johnston
Christian Martius
Maxwell Maxwell
Mine Salkin
Kiarra Spenst
Program Guide
Bryce Dunn
Luke Meat
Frank Rumbletone
US Distribution
Catherine Rana
CiTR Station Manager
Ardalan Ahmadi
Student Radio Society
of UBC
Editor's Notes
Riff Raff
Bryce Dunn
What the Folk?
Keona Hammond
Calendar + Datebook
Under Review
Real Live Action
Zamo the Destroyer
CiTR Charts
The Dopest Hits of October 2007
Program Guide
The Highlight
Pop Montreal, Part 1            5
The first two nights of a five-night stint at
[      this ever-growing grass roots festival.
Sunset Rubdown
Spencer Krug uses his weirdness to bring his
latest project to the forefront of his music
Patrick Wolf
The British pop star delivers a screamingly
brilliant show, but fails to write a real Haiku.
Technotown Boogiedown
Underground dance and electronic music is on
the rise in Vancouver, and this event is out to
prove it.
Syd Barrett & Me
The influence of a mix tape and that guy from
Pink Floyd on an impressionable young music
Change is a funny thing. With it comes the good, the bad and the unexpected. Like a fancy
camera, change can leave a picture out of focus until long after the adjustment occurs. Here at
Discorder Magazine we've been through much change in the last month and it's left us all in a
bit of disarray. But as history would show, some of the finest art is produced from a time of slight
chaos, and we can all expect this to be the case here at the mag.
First off, I'd like ta introduce myself, Nat Jay, as the new editor of Discorder. In a flurry of
phone calls and meetings, I found myself putting the final touches on an issue that our former
editor, Mike "Spike" Chilton had conceived. With a degree in Music and French Languagefrom
UBC, I am definitely happy to be back on campus after a few years. Fresh from the Capilano
College Magazine Publishing Program, and as a singer/songwriter and advocate of the local
music industry, I am also excited to take on the challenge of heading up the only magazine in
Vancouver that really supports local and independent music.
I would also like to take this opportunity to thank Spike for all of his contributions to this
publication. In the short time that he was here, he achieved some significant goals in advancing
Discorder. He also left me in the capable hands of a very talented staff, including Cole Johnston,
our fabulously creative art director, and Pyra Draculea, our new and extremely organized
production manager, who fills the position with years of experience at both Discorder and CiTR
101.9fm behind her.
Speaking of change, expect quite a few changes to the pages of Discorder over the next few
months. With any new editor comes a,new vision for a publication. Though the complete
reinvention won't be in full force until 2008, we guarantee it will blow your mind.
In November's issue, we've got one notable change. Discorder was approached by Vancouver's
Rogue Folk Club about having a column dedicated to the genre. With the popularity of folk
music in Vancouver and one of the best folk festivals in the world, this made absolute sense. And
so marks the beginning of What the Folk?, this month written by Keona Hammond of the RFC
and focused on the philanthropic SONiA Rutstein and her band Disappear Fear on page 6.
Also this month, you'll see the return of Copyfight! with Greg McMullen, who gives us the
low-down on the latest copyright news (p. 11). On the cover, British pop sensation Patrick Wolf
visited Vancouver, as accounted by Maxwell Maxwell (p. 8). Other features include part one of a
trip to Pop Montreal (p. 5), and a look into Technotown Boogiedown and the emergence of the
local underground dance and electronic music scene (p.9).
Look for an exciting year-end issue coming your way next month, as we've already started
planning our December/January issue. We'll take a look back at this year in local and independent
music and throw a few more changes your way. And don't worry, Discorder—as a litde birdie
once sang—"A change would do you good."
©DiSCORDER 2007 by the Student Radio Society of the j
University of British Columbia. All rights reserved. Circulation
8,000. Subscriptions, payable in advance, to Canadian residents
are $15 for one year, to residents of the USA are $15 US; $24
CDN elsewhere. Single copies are $2 (to cover postage). Please
make cheques or money orders payable to Discorder Magazine.
DEADLINES: Copy deadline for the December issue is November
16th. Ad space is available until November 23rd and can be
booked by calling 604.822.3017 ext 3 or emailing discorder. Our rates are available upon request.
Discorder is not responsible for loss, damage, or any other injury
to unsolicited manuscripts, unsolicited artwork (including but
not limited to drawings, photographs, and transparencies), or
any other unsolicited material. Send words to editor.discorder@ and art to Material can be
sumbitted on disc or hard copy or via mail. From UBC to Langley
and Squamish to Bellingham, CiTR can be heard at 101.9 FM as
well as through all major cable systems in the Lower Mainland, I
except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our I
office at 822.3017, or our news and sports lines at 822.3017 ext. 2.
Fax us at 822.9364, e-mail us at:, visit
our web site at or just pick up a pen and write
#233-6138 SUB'Blvd., Vancouver, BC, V6T 1Z1, CANADA.
Discorder   5 Bryce dunn
Ready*for another foray into the world of wax?
First up, my good Mends Dale and Tim passed along their newest inductee into the La-Ti- Da Records
family, Ape City R&B. The two-man tornado of talent set my clear orange copy of its latest musical
offering ablaze with the aptly named "Firestarter." This was not a cover of that awful spiky-haired
English fella's electro-skronk hit from a few years back, but instead a rollicking blues-punk ditty with
scratchy vocals and an equally scratchy guitar. The flip "Wot I Say" chugs along the same path, but
just as volatile. Two-man bands are not dead—they just need a spark to light the match, and these guys
do it right. (La-Ti-Da Records, or
Garage pop sensibilities abound in our next two outings from Muck & The Mires out of Beantown,
U.S.A. and the Bishops from a ferry trip across the Mersey. The Mucks marry Dave Clark Five
harmonies with Ramones-like riffage and the results are three tracks ("All I Really Wanna Do Is Cry"
being the standout) plucked from their 2004 album Beginner's Muck for the benefit of the international
jet set. Catchy, dancey and altogether fun. (Dirty Water Records, The
Bishops deliver two cuts of Gerry & The Pacemakers-style stomp, channeled through the trademark
Medway Sound (thanks to Toe Rag Studios and head honcho Liam Watson, mastermind behind
most of the Headcoats' recordings and their family of rock'n'roll heathens). "Breakaway" starts
with a furiously fuzzed-out guitar lick and ample jungle drums supplying the back beat, straying only
briefly for a spell that quickly whips back into the main lead. "House In The Desert" really kicks the
vocals into overdrive with its nifty staccato-like (frumming, like the Gentrys butting heads with the
Greenhornes. Gotta check out their full length. (1-2-3-4 Records,
Finally, the four local ladies of White Lung smack us upside the head with their debut EP, and leave
us dizzy with their post-punk snarl. Singer Mish's sexy growl conjures up a young Jade Blade or
Penelope Houston, while guitarist Natasha slices and chops her way through tracks like 'Amy White
Out." Bassist Grady and drummer Anne-Marie (also of the Riff Randells) lock in an airtight rhythm
strike that makes listeners want to dance, particularly on the cut "Breaking Boxes." Think of a perfect
blend between Mika Miko and the Bags. These gals have hit the ground running and definitely
impress. (Hockey Dad Records, 4150 Brant St., Vancouver B.C. Canada V5N 5B4 or
hockeydadrecords). %£Q^&£. *"
Thanks for your time and this boy is outta here! j)
2 0
>- 6
Digital or film
Specializing in location shoots
4    November 2007 8V6J^SIXCe rt'J^^^^tmjn.2002, Pop Montreal has been growing steadily both
in terais of size and reputation. I had a great time two years ago at this annual
music festival, and I Was-lucky enough to visit it once again this year. With over
300 bands to check out, the|| is much to do and see.
Arriving Wednesday in Montreal, I decided to skip out on the big buzz shows and
instead spent my first night at the Burnt Oak Records showcase at Balattou. Burnt Oak
Records is a grassroots independent label based out of Guelph, Ont, and they have
many notable recent releases. The first band I saw was Griffin and the True Believers, a
mellow folk-rock band featuring members from New York and Toronto. They had some
crafty tunes and were generally enjoyable. The next band, Green Go, was definitely one
of the highlights of my festival experience. The band consists of five young musicians
doing that disco synth/dance punk thing—a trend that is becoming more prevalent in
Vancouver right now. Catchy boy/girl vocals, completely unpretentious and having a
total blast on stage—with all this Lcouldn't help but love their energy. Brides, another
band from Guelph, came up next. It seemed that most of the crowd was there to see
this group, and Brides did not disappoint. They were loud and artsy and they rocked.
I admired their effort to try something new, but found the continuous saxophone
parts a bit tiresome. The last act was folk singer Richard Laviolette, also from Guelph.
Unfortunately, Laviolette was cheated by his label, which placed him after two energetic
bands. The set was mostly forgettable,.but it wasn't his fault.
Thursday started with at O Patro Vys to catch Girl Nobody. I shared a flight with
the Vancouver band on my way to Montreal, and I was curious to see how these guys
(and gal) would fare out east. A good crowd showed up for the show and, despite some
initial sound difficulties, Girl Nobody pulled off a surreal and dreamy set. I then walked
a few blocks down the street to Club Lambi, and managed to arrive just before the
Luyas got on stage. This Montreal three-piece "super group" is composed of members of
Belle Orchestre, Torngat and Miracle Fortress. But even with the positive press they've
been getting, the crowds didn't show up for this one, and this band deserved some
attention. The French horn in the mix didn't appear gimmicky, but rather matched well
with the Luyas' dark, haunting sound and the high-pitched child-like vocals of their
singer. I then ventured to Bruce Peninsula, whose shtick is to have as many people on
stage as possible. At times, the band sounded like a big folk-rock band, but Ultimately
it wasn't captivating as the songs blended into one another. At least Bruce Peninsula
relinquished itself somewhat by showing some visual creativity and lighting the stage
with an overhead projector displaying various pieces of art. I ended my night with
Philadelphia's Man Man at La Sala Rossa, who definitely gave it all at that show and
was a ton of fun to watch.
zAnd tbdt's tuoo nigbts out of my Jfive nigbts 0/ adventure. t!More next montb! ' 0
••• ■ ■
••••#••■••   ••• w     •••
•••    _r^#
NOV 14 I NOV 15
Nuances of tribal rhythms ♦
Industrial thrash art rock +
Nov 14
Tint Gerwing
Live visuals by
Jesse Scott and
Danza & Mavaro Franco
The debut of
ring 1
Navaro Franco, Shawn Killaly
& Leathan Milne
Discorder   5 GiisfmasQawlon
Noicnibzr 16,2007 through January 15,2008
SB'MWi' __wk' 0 (')"*
 J L  *0 » i  __*
A Ghristmas Qaw! on Granite Stroof
No Line, No Cover to the Roxy before 10 pm
(subject to capacity)
jfe 2 x $25 Doolins GC for staff door prizes
■Be      ... iili^k%
^f^ Full Catering Services
*z$) "Take the Elevator Home" Party Program
^ DI Services for the Cellar
Gonf act Super Party Gick Lym Santiago
j or 604-605-4328
6    November 2007
Brhnville Entebthihment Group
We Plan, You Party"
doolin's cellar
? I
Welcome to the fiirst folk column, this
month brought to you by the Rogue Folk
Club. Who knew that after years of trying to
"get coverage for an always underappreciated,
often misunderstood form of music, all you
had to do was ask?
November is always a huge month for
music in this city. At our little folk club alone,
we've got seven concerts, two workshops and
about 30 musicians. I couldn't decide who
to write about until I spent this afternoon
stuck in traffic listening to the news. I'm
pretty sure that someone who makes the
world better instead of worse is definitely
worth talking about.
SONiA Rutstein and her band Disappear
Fear started their musical journey 20 years
ago. Throughout those years, they have
continuously confronted the hypocrisy and
apathy of our culture with a message of
openness and optimism. "When you make
fear disappear between people, what you
have is love. It empowers me to do what I
do," SONiA says.
SONiA's lyrics are political, impassioned,
honest, celebratory, positive and full of
intention. And in today's world, that's
really something. Her new album, Tango,
is a beautiful piece of work featuring 13
songs sung in Spanish, Hebrew, Arabic
and English. Its Latin and Middle Eastern
rhythms and instrumentation are a departure
for the singer, but a perfect backdrop for her
pure voice and moving lyrics.
The original plan for Tango was an entirely
Spanish album—SONiA says she's always
loved Latin music and has included one or
two songs with a Latin feel and occasional
verses in Spanish on previous albums—but
the concept morphed following an inspiring
trip to the Middle East last summer. During
her trip, the artist spent time in both 'miklats'
(bomb shelters) in Israel and Palestinian
villages and camps. "My experience last
summer, while in Northern Israel and the
West Bank was the big thing that shaped
the making of this CD. The world is in major
conflict, with all eyes focused on the Middle
East, and I wanted to share my experience
of being in a war, armed with a guitar, rather
than a rocket launcher. Music speaks from
the heart, and that is where peace Uves," she
SONiA plays the St. James Hall on
Saturday, Nov. 17. Check her out - you
won't be disappointed and you'll definitely
be inspired. For a sneak peak, downloads are
available at with 18
per cent of the proceeds going to the United
Nations World Food Project.
Another show to check out:
Irish fiddler Liz Carroll and guitarist
John Doyle bring the excitement and grace
of Celtic music to St. James Hall on Nov.
Both concerts are at the St. James Hall at
3214 W 10th Ave. in Kitsilano. Tickets are
available at Highlife Records, Rufus' Guitar
Shop or online at Call
604-736-3022 for more information. 0 R
by greg Mcmullen
"We want to see UFOs and we want to see ghosts," Sunset Rubdown guitarist
Michael Doerksen says from a cellphone somewhere in the desert between Tucson,
Arizona, and Los Angeles. He pauses, interrupted by a burst of static as the signal
struggles to reach the cellular tower, "But nothing has happened yet."
The night before, Doerksen, Camilla Wynn Ingr, Jordan Robson-Cramer and
Spencer Krug played a "pretty wild show" in Tucson, and then retired to a hotel that
claimed to have once hosted the notorious bank robber, John (Jackrabbit) Dillinger,
before he was killed in 1934. "We've been staying at a few haunted hotels, which is
pretty neat. We went to New Orleans on a day off, and we stayed at the original House
of the Rising Sun. No one got visited by a ghost or anything." The desert offered its
own brand of oddities: "We passed this roadside attraction—a mummy that someone
found in the desert. Apparently [the owner] has Hitler's car there^too. Kinda weird."
But Sunset Rubdown's pursuit of the bizarre, the supernatural and the macabre is
not just limited to the road. It also finds its way into their music. In recording their
October release, Random Spirit Lover, the band worked together in the studio to turn
Krug's songs into the fully developed spookiness found on the album. "There was
a lot of talk of horror movies, especially when we were recording 'Colt (Stands Up,
Grows Horns),"* Doerksen says. "[On the album], we just wanted to explore a lot of
extremities, from really baroque compositions and arrangements to something really
ridiculous and simple."
Sunset Rubdown began as Krug's solo project. Other musicians, it seemed, were
invited to fil^in the gaps. However, on Random Spirit Lover, the other band members,
stepped forward for a more collaborative approach. "Spencer would write a piano piece
or a guitar piece. He has most of the music, like the chord-by-chord structure for the
record, set up in his mind, and we collaborated a lot. We had more time on this record
to work together on the sounds we wanted to get. Sometimes one of us would kind of
be left alone in the studio and just come up with something to layer over top of what
other people are doing."
In the end, Sunset Rubdown was left with its most dense and complex work to date—
a far cry from the group's simple, stripped-down origins. However, this kind of intricacy
can't always be easily translated into a live performance. "We're still wrapping our heads
around this record. It wasn't recorded live. We wrote maybe half of it before we got to
the studio and the rest in the studio. So, there are songs we don't even know how to play
live, songs we don't plan on playing at all." Despite the difficulty in performing the lush
arrangements, Doerksen says that crowds are responding well to the new material. "It's
been mostly positive and pretty exciting. They like the new material. They're still calling
out for some old songs, but we're not playing too much old stuff."
While Spencer Krug's celebrity originally evolved from his success with Wolf
Parade and, to a lesser extent, his involvement with Frog Eyes, the members of Sunset
Rubdown hope that their team effort on Random Spirit Lover will shift the music
industry's focus onto their latest project. "Most of the things that get printed about
us are identical in some way," Doerksen noted. "They don't seem to want to have a
different story about us being a band. I mean, we're all musicians in other bands. We're
all pals, and we're all doing stuff, and we're all pretty productive."
While the music community that has developed from these friendships is Montreal-
based, Doerksen explains that many of its members originate from British Columbia.
"There's this community that kind of crossed Canada into Montreal, so many of us came
over the in a period of a few years. We transplanted a good portion of the Victoria music
scene—the underground hardcore scene that was flourishing in the '90s."The band was
excited to be back in western Canada, visiting family and friends in Victoria, Kelowna,
Edmonton, Calgary and Vancouver during the tour. "It's a homecoming for us. We don't
get to come out here very often so it's land of a special opportunity for us."
Aside from ghost hunting and visiting friends and family, Doerksen says the touring
schedule is pretty tight. "We're trying to take advantage of the sights we can see on the
road, 'cause we don't always get to travel like this. We try to plan our days ahead and
make it to towns on time so we can check out some sights, but it's not really always
Uke that. Most of it's just drive, unload, soundcheck hang out, play the show, go to the
hotel." In November, the band wiU be back east for a few U.S. stops, finishing with
another Daytrotter session before going back to Montreal.
Doerksen was vague about plans once the band returns to Montreal. "We haven't
thought too much about the next record. There's talk of an EP, and I think it will be less
rock oriented. I think there might be some horns involved. There's a variety of musical
backgrounds in this band."
In addition to the EP, Doerksen said the band would be eager to work on a film
project in the future. "We've said no to music videos so far, but we are interested in
cinema or composition for a soundtrack That's something we've talked about, and
I think it's in Spencer's nature, coming from a classical background mixed with an
interest in rock music. Cinema, classical music and opera are aU very narrative-based
and take you on a journey, and that's the groundwork for our music."
Though their plans may be up in the air, it's clear that the members of Sunset
Rubdown will keep hunting down the uncanny oddities of their surroundings and
converting them into musical form.  0
Discorder   7 . y|>|^'fHfe(ittgh he's- four years older than me, Patrick Wolf seems ^realty, reaQy young.'
~&\/\Jfa gtthbm to, draw something for Discorder.
' 1Airything,^I" insist *^Burty seconds; It would-be next* He's too busypaeking his
suitcase. Lam^.corduro^; satm^-^endugh weird, faded, old xdothes,. men's ancr'WOmen!sr''
,aUke,.are stuffed in it tostart 4 moderately successful Main Street vintage boutique. He
pauses and takes a sip-fiom a bottle3&f Smirnoff. T^buU. think he could afford to drink
something better' after aB, his new' CD, The Magic Position, has hit #42 back home m
the UK, he's- been on TV shows from Charlotte Church' to Jimmy KimmeL'and he is,
-.for whatever reason, one of the new faces of fashion giaat.BuAerryVfall collection.By .'
the enthusiastic reaction he's just receded from the sdld'Out crowd of dubiously-legal -
scenesters gathered at the. Plaza (half of Vancouver-s fake IDs must haveAeen in the
crowd tonight), it wont be long before he& swimming in Qxey Goose.
The show itself was excellent Wolf began with a fW for the dramatic- after opening ■
act and fellow Brit, Btahi, kit the stage, his band set up on. stage without him (acoustic '
bass, laptop geek, drummer and violintet).The lights dimmed, and as the band struck-up a *
tune somewhere between a Gypsy fuhetal dirge and an orchestral Interpol cover; Patrick
■sprung onto the stage in an ekborate^gold and white marching band jacket wtth wild. -
bottle-blond hak and ragged shorts. -3Efae crowfcl went absolutely mad and he eventually
had to stop playing and ask the audieftce to scop taking flash photography. It s Hke singing
iatp a^trobe fight," he complained (although, he didn^t'seem bothered by doing literacy ■'
that a- few songs later!) The people in the audience next-to me found this unfair, especially
consicletingthattheyU paid for a ticket to
I The Magk'Positions, intricate'and eccentric1- instrumentation?~one of its: many
djairos—va^ at times sacrificed R» the necessities or kve'-performance by a five-
person band. One of Wolf's bandmates substituted some of the instrumentation using :
samples, but it wasn't the same.- A teal glockenspiel wouH have been fanta& tic. At least
# the sparse arrangement!) Jet Wolf s older material shine, when m might bjve otherwise
. ■ been overshadowed by songs from the hew album~"*Ihe Libertine," in particular, came *
>..- As. the .evening progressed, and--Wolf switched instruments like a child with his
'toys, and the.'audience' went'progressively ".apeshit-for.what .was almost-a perfect'
show^ Highlights included a flawless rendition of ^Bluebells," complete with sampled..
fireworks for percussion, an impressive (if slightly spasmodic) punk-rock moment with
- a ukelele and'the slick electronica of *Accident*8fc.£mergency.*The concert lost some of'
its momentum during "Magpie," a duet from The Magic Pufitien, due- to the-abseriee of
the sublime Marianne Faithful! (who sangfon the record) and her sub-par replacement, ■
Bishi. In an -amusing little "fuck you" to his opening *act, Wolf used a sample from
Marianne Fairhfull to open the song instead of having Bishi sing die «4tole thing.
;■' It was an early night—-probably a good thing, since most* of the'audience, had'
■curfews—and the management had to tell Wolf his set .was just about over. Slightly
. panicked^ he told the audience, to "plptend he'd left the stage and returned, so he could
fit" in his encore? The crowd happily obliged..
-. Back in his -.dressing room, attar tlie last underage scenester has loft the,building-and'
r the usual Granville Street crowd-has massed at the doors for the usual-club night, I'm vejy
. much-aware j^iat th© five minutes Fv&been promised wish Wolf is running out quickly.
I-Can't, get him to draw somethings so X ask-for a haikjtt^hockthgly, he doesn't know.,
what that is. Alter some explanation,"he grudgingly volunteers, *haiku is- a re/striction.
- for English majors/obsessed With-Japap." I'm pretty suVe/becheatedby chopping op one
of the words, but ant impressed he figured out I was ah English maj<w. '■"".. -
- '-As"fmy time elapses, I pepper htm with a few. morerodd- b.ftle questions,* I should
probably dd'sbme kiod -of seal journalism: ask him, about the reeotd he's working on,
' or. about his-onstaksn arrest for jewel thievery a while back, or even .about politics or '
sexuality. Instead, I learn that all his makeup is from MAG,he generally, has jseawbeny
' jarn on bis toast,-but occasionally tempts fate witlrMaanjlte..and he-'Wt'a Huge drug-
user.' My fiM&'minutes'are up. Before the meanjlookmgj tour- manage* caji-find me, J
".giVe Wolfahng,teu him Hike his music, a'nd wish him good luck before heading out-
'into' the night, to somewhere I can drink and dance the night iway wsthout the feat of '
.adorably British pop stars forcing rfif.Grincfoy heart to glow three sizes*" J|
' S'o ^fifctember^QO? MMMIMSMSh
d^%n one Thursday of every month, something amazing happens at the Royal
t9^£| Unicorn Cabaret. It is an event that gathers disparate performers from the
^lllr farthest corners and deepest hideaways of Vancouver's music community, and
brings together underground dance and electronic artists with an inquisitive pubUc
for an evening of good times and great tunes. It is something new, and it is truly
something special. Recently, I was able to sit down with its two organizers to discuss
the phenomenon that is Technotown Boogiedown.
Like many great initiatives, this project came together by happenstance. Tom Whalen
and Aaron Leaf met many months ago at a Ninja High School gig, and the Toronto rap
group's positive energy acted as a catalyst for what would become a lasting friendship.
Whalen already had quite a musical history, having played with the Greenbelt Collective
and gypsy-punkers Caravan, as well as composing his own material under the name
gr8-2000. Leaf had done Uttle more than fooUng around with a computer and keyboard.
Nonetheless, the two kept in contact and eventually decided to organize a concert
together, with a "keep it cheap, keep it fun" mentaUty. And so Technotown Boogiedown
came into existence, with the Unicorn providing a venue.
What began as a one-off event has turned into a monthly showcase for talent and
innovation in local electronic music. At September's event, Whalen deUvered a laptop
set that remixed much of his lo-fi gr8-2000 songs into big-bass, funky numbers, while
Leaf, under the moniker Swords of Righteousness Brigade, combined snaking basslines
and lo-fi drum effects, with decidedly retro keyboard sounds to make some seriously
distinctive music. Capping things off were the sweaty, sultry mash-ups and samples
of Sex Attack drawing on everything from neon-spandex 80's pop hits to Ed Banger
and Daft Punk, fuelling a dancing frenzy that carried the evening to its conclusion.
October presented a completely different flavour by the dejected new wave of Culte du
Cargo and the gritty electro of the NihiUst Party.
A recent issue of Discorder quoted Better Friends Than Lovers'Mandy Hardwick as
saying that the Vancouver is "lacking a dancing land of culture." Now in the business of
attracting local concertgoers, Whalen sadly agrees, adding that it's hard to get people
moving without a larger, out-of-town act on the bill. Leaf, on the other hand, cites
examples Uke the popularity of the %-Alive and Salbourg crews, aU the way back to
the now-defunct "grime night" at Shine, as evidence that the emergence of a strong
underground dance scene in Vancouver.
As much as he respects what these indie club nights have done to get local kids
dancing, Leaf emphatically states, "We don't want to be anything fike that." Instead,
Technotown highlights musicians or groups who utilize synthesized elements
in exciting ways, or who play electronic music as "Uve" as possible. The focus is on
experimentation and spontaneity, along the lines of such artists as Dan Deacon or
Quintron & Miss Pussycat, turning a computer or an effects board into an instrument
that is manipulated as much in concert as a guitar or drum set.
In recent years, computer programs Uke GarageBand and Ableton Live have brought
unprecedented ease and accessibiUty to the formerly daunting world of music-making.
While this development has given die general public the means to begin their own
creative journeys, it may also have had a hand in stalling the development of a unified
community for underground electronic musicians; for every one artist who plays gigs
and exhibits their work, there are several "just in their basements doing their own
thing." Bringing these people-^—many of whom invoke wildly inventive ideas and
concepts in their creations-^-out of isolation and into an inclusive, energizing concert
environment is precisely what Technotown Boogiedown is trying to do.
UnUke some other local events that can be somewhat esoteric in nature, while this
concert series is a venue for experimentation, Technotown will always provide a reason
to shake a booty. So far Whalen and Leaf have provided enough variety in the roster of
performers to keep things interesting and make sure that the beats and rhythms carry
on strong throughout the show. One thing's for sure,as the evening stretches on and
the crowd grows, it gets harder andharder to stay still.
The November 4 edition of Technotown Boogiedown is slated to feature the bluesy
vocals of funk/electro artist Piper Davis, Edo (from the CUps) and his Knife-ish IDM-
pop, and Winnie the Shit.
Whalen and Leaf are extending an open invitation for performers and pubUc
interested in attending. Any local dance or experimental electronic artists interested in
being part of aTechnotown event, or ticket inquiries ($5 each), should contact the duo
at   J)
m^^m   WW*WADED.
RETROGRADE ___________7^3& :*
< Specials//Top 40 - R&B- Hip Hop - Dance
ll **MLd **"*      ENDING ALEXANDER
f \  Jr 1
Get on the VIP/Guest list + Event/Party/Fundraiser b
60**16.0364     881 GRANVILLE STREET
Discorder   9 ^toOeeling)//^^
Greg McMullen
0i?P       Tne  end  of the ^O/^,    *
>-^^ summer was a lazy time for *0$*
i 0^    poHticians, legal scholars, and the media        <(V.
mdustry'sgoonsquajds,soCopyfight!decidedtotake     £ts
^o^   a month off. However, after the brief hiatus, the intellectual
^O    property world is back in full swing. This month's Copyfight! is
a roundup of all the key non-Radiohead MP3 happenings of the    O
past month. Hold on tight, because we're going to move fast. ;i
The jury is in on KaZaA in the U.S., still out in Canada. A jury of her -^.
peers convicted Jamie Thomas, a single mother in Minnesota, of making files <?
available for download on the KaZaA file sharing service. Thomas will have ^
to pay a sum of $220,000 for infringing the rights to 26 of the songs she had "*
in her shared folder. Thomas plans to appeal the decision, and her legal team is —*•
suggesting that the judge was mistaken in his instructions to the jury. The jury ^
was told that the prosecution did not need to prove that anyone had downloaded q"
the music she shared, only that she had made it available to the public. *°
In Canada, things were moving the other way. Record industry insiders
are backpeddling on their request for an expansion of the blank media
levy to computers and iPods, fearing that the royalties collected on
those devices Would make file sharing completely legal in Canada.
Apparently they'd rather try to sue music fans than sit back
and collect money from the sales of music players.
MW    A   good   sex   WQ^
^Q        scandal always whips
Cj      the U.S. press into a frenzy, but
it hardly-makes a splash in Canada.
Patricia   Neri,   the   former   Director
General of Copyright PoUcy, responsible for
drafting the new copyright legislation (barely
mentioned in the Harper government's throne
speech), was shuffled out of her position to a
different post. It was later revealed that she was
involved in a "personal relationship" with the
movie industry's chief Canadian lobbyist.
The Canadian press yawned.
Apparently copyright law makes even
the sexiest of scandals boring.
{ON     After  the  fast-      **?
track   approval   of  their
vQ^       Avoiding
'   \j» megaplexes    and    their    nagging
^r^       copyright notices, I went to see Wes Anderson's
new  film, The   Darjeeling  Limited,  at  a  smaller
independent theatre. Before the film started, a quick ad came
up from Mr. Anderson himself, advising the audience that a short
film 'prequel' to the feature was freely available on the web. "Great," I
thought. "Wes Anderson actually understands the internet!"
After enjoying the film, I came home to try to download Hotel Chevalier, the
short. From The Darjeeling Limited website, I was directed to the iTunes store for
a free download. File not found. I tried manually searching. Still not found. I switched
to the American iTunes store. I found the video, and sure enough it was freely avaiable. I
clicked to download, only to be told I needed an American account to download the free
file. I tried creating an account on the American iTunes store only to learn that I needed
an American billing address on my credit card or Paypal account. Why did they even bother
advertising it in Canada if they aren't going to let us see it? Frustration grew.
New plan. I got an American friend to download the shorthand send it to me. Fifteen
minutes later, I opened the file, eager to see the free short that had now cost me half ah hour
of searching and failed account creation. Another disappointment-- Apple's crippleware
DRM demanded that I authorize my computer under her account before playing the
supposedly free video. I turned to Bittorrent.That too yielded a request to authorize my
computer for use with some random internet user's iTunes account.
Google eventually saved the day. I found an article in the National Post that confirmed
my suspicions— the video is not officially available in Canada, and Fox Searchlight
is not returning their calls to explain why. Further Google-rfu turned up a Flash
version of the free short, kindly posted by a User of the Mininova web .
forum. In the end, despite Fox Searchlight's and Apple's best DRM
efforts to keep me from it, I got to see Hotel Chevalier.
It's not very good.
On the horizon... 5|g
The coming months will be quite busy for copyright in Canada. Assuming no
election, the Conservatives will be tabling new legislation before the end of this
new Parliamentary session Meanwhile, legislators in the United States are renewing
pressure on Canada to ratify the WIPO treaty, making copyright more powerful for
owners and less friendly for users. For Copyfighters, interesting times are ahead.
" Fear The Ghostbuster, official
drink of Sanctuary."   - DJs R~Lex,
9      made-in-Hollywood Criminal        ^±
Code provision outlawing the use of video      (J)
^    recorders   in   movie   theatres,   Hollywood   has
*•»   launched a campaign to let us all know that our fellow
..O movie-goers are not to be trusted. Before a showing of
3:10 to Yuma this weekend, I had to sit through an industry
fear piece, showing an orange suited convict pacing on a cell
security camera. "Every day this prisoner is caught on camera,
because he was caught WITH a camera." The entire audience
was reminded that videotaping in a theatre is now a crime, and
that it is our duty to turn in anyone who looks suspicious. After
sitting through 20 minutes of ads before the lights went down
and another 20 before the movie started, how could this
extra nag be anything less than insulting? The thought
that police could be called away from their real work
of keeping us safe in the streets to help enforce
copyright is nothing short of ridiculous.
November 2007
11 was 19, heroes still came in plastic boxes and what was kept inside was not
a shiny toy or a tiny figurine, but a small cassette tape. Scribbles of handwriting,
^ capital letters, numbers and symbols proclaimmg a cassette's magical potency-
these were the talismans of youth and a memory in the palm of your hand. All you had
to do was put them into a machine and press play.
"You've got to Usten to this." Words like these were common currency. Tapes were
made with love and passion, and exchanged with infectious enthusiasm. There was
every possibility of wonder back then, when everything seemed new and uncharted in
our lives and on our stereos. Piipiil!
It was just a compilation tape—some early Pink Floyd, a few bootlegs and the songs
from his solo trajectory, but enough was there. A creative life in snapshots and an
intimation of something bigger, if the listener got it. In the end, all it took was one side
of the tape and Syd Barrett exploded into my imagination.
Soon, the modern bands of the time became nothing to me. The otherworldly
distorted echoes from Barrett's guitar made other groups with their effect pedals seem
like hopeless amateurs. He had the spirit of invention while they had an inability to
play. The child-like, English-accented words played in my ear more convincingly than a
dozen other English-sounding bands. And to my young ears, Syd played-and looked-
better than them all. Everyone else was a pretender: his lyrics stolen by Blur, his look
appropriated by Bolan and his interstellar nursery rhymes borrowed by Bowie. His
influence seemed everywhere. And all this was discovered through the early recordings
of Pink Floyd-a band I previously branded as over-indulgent peddlers of progressive
nonsense. That Syd Barrett cassette tape changed my life.
At 19,1 was converted to a world of experimental pop songs, free-form psychedeUc
jams and absurd lyrics depicting outer space, pet mice and peeping toms. The records
were bought and the bootlegs were coUected, as were the black-and-white video
footage, the books, the pictures, the posters, the chord progressions, the interviews and
the history. But the desire was never satiated. Syd Barrett's creative period was brief
and there was Uttle to it other than a handful of albums and maybe a few unreleased
tracks. It took a lot for me to admit there was no more to it than what I had gathered.
Such a love is frustrating and bittersweet. It was incongruent to my understanding of
things that someone so young and talented didn't carry on despite his later problems.
But this beUef had more to do with the dreams I had ahead of me and how Barrett
represented my own dreams of personal potential. glfsfPSS
People would spout off famous tales of Barrett's later illness as if it was a fetish of
artistic credibility, but to me this was always cruel. The sound of a broken man has
never been funny or cool, and this was the cipher through which he was judged-as a
madcap and a fool. It's easy to dissect an enthusiasm if there seems Uttle to it or no one
else understands it, and with Barrett both cases appUed. My romance came from such a
smaU place, but it grew big inmy heart, and that's what it's Uke with youthful pursuits:
no one seems to understand them quite Uke you do your own. It aU came down to a
love of his creativity, an artistic burst of musical experimentation propeUed forward
by the mquiry of a young mind. It was the intensity of youth echoed back to me as I
deUvered my own youthful appreciation.
Such a passion was born to die, both in Syd and in me. The hints of loss were aheady
there in his later recordings and forshadowed the later Ufe I was to lead. That fervor is
now but a dream from a memory, placed in a smaU plastic box, and that is aU it is. With
time and knowledge and technology between us,-the cassette tape is now defunct. It
may be left to gather dust in the far reaches of a cupboard, but that plastic box wiU stiU
be carried around with me wherever I may Uve. b
Saturday November 3rd
@ Richards on Richards
Featuring: BLACK   MOUNTAIN   •
Friday November 9th
©Pat's Pub!    f rJ>\
Saturday November 10th
@ Richards on Richards
Ota %we*de*2(k6!!
Self Titled CD (Scratch#51)
"OC is what happens when
the spiritual descendants of
the Stooges and MC5 confront vintage technology in
search of a new kind of pop
726 Richards Street • Vancouver, BC, V6B 3A4
Discorder   ii ■
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Beat Diarya
Disregard the juvenile title that is Beat Diarya—
producer Jon b. (a.k.a. Jonathan Balasz) has already come
up with his fair share of clever tides in the past, inlcuding
"Get Ripped and Try Dying"on his previous release or the
eponymous Hardly Novices featuring Max Prime. It turns
out that ingenious rappers are not yet completely extinct,
but rather a bunch of them are thriving in Edmonton,
much like most guest artists on Beat Diary a.
Jonb successfully produced an aural piece of art that
transcends hierarchy. He didn't reinvent the wheel, but
Beat Diarya is packed with unique beats, nice grooves
and skillful, no-show-off rapping. About half the tracks
are Jon b.-flavoured remixed or "warped" (basically alterations of pitch and tempo) pieces, classics»from Mobb
Deep to Lord Finesse, which are slighdy redundant,
but connoisseurs should be keen on the many references thrown in there. It gets better: collaborations with
Canadian rappers such as Mindbender and Touch. Jon
b. should continue to pursue this vein in his upcoming
productions. Let him age _ bit - he's only 21 and already
demonstrates what an accomplished producer he can
be. Balasz admits he would perhaps sign with a record
company if an offer comes up, but simply not at the price
of changing his music. Damn rightjon. Get Beat Diarya
for $5 at
Maude Lachaine
Hot Springs
Volcano Plllll
Some records don't have to be irreproachable for you
to like them. Tney are fun and easy to listen to and you
don't have to think too hard. Tney are not complicated.
Tne simple formula of Hot Springs' Volcano does what
it tries to do in an awesome way. Tne band's music picks
up garage-rock guitar sounds, propulsive drums, and an
addictively weird vocal style and makes the most of it.
Tneir indie-rock fervour demonstrates a sort of Wolf
Parade vibe, but with the voice of a Joanna Newsom
woman-child up front. Once a pattern comes out in a
song, Hot Springs sticks to it and provide few change-
ups other than hitting the hook harder and with greater
intensity each time. Tne effectiveness of the songwriting
becomes evident as the disc plays on. Most of the tracks
deliver fast, crunchy songs about random flights of fancy.
Tnis album gets a three out of five. Tne production,
completely lives up to its ambition, revealing the potential for a great live band, but leaves the listener in anticipation of bigger things.
Arthur Krumins
14    November 2007
Mark Berube
'What tbe Kjver Qave tbe Boat
(Kwalu Records)
What the River Gave the Soot is Mark Berube's fourth solo
album and it is a stunning collection of song-stories from
one of the most eclectic and inspired multi-instrumentalist
singer/songwriters this country has to offer. It's no surprise
that he also fronts the fantastic genre-defying band The
Fugitives, another wonderful bunch of local talent.
Tnis album is a soundscape of tales that Berube has
collected, experienced or perhaps overheard somewhere.
Tney are brought to life by evocative music and wonderful arrangements, including lush strings by Matthew
Rogers. Berube himself chimes in on all manner of
instruments: piano, acoustic guitar, accordion and vocals.
Also helping out on this disc are dobro wizard Ivan
Rosenberg on "Cowboys," Steve Charles playing tasty
cavaquinho bn "War Without an End" and Aaron Joyce
and his Weissenborn guitar on "Old Berlin." Tne opening track, "Cloudy Day," is a jazzy little number featuring
JP Carter on trumpet that sets the scene for the rest of
the album. "Pretty Litde Bird," a catchy and upbeat tune,
could be the soundtrack to a black and white film shot
in Vancouver's inner city alleys. It's sometimes dark, but
never depressing. Tne handclaps in "Cowboys" also add a
litde of Feist's quirkiness to the equation.
There is a lot of introspection on this album. Berube
doesn't shy away from dealing with tough issues, but he
manages to build wonderfully crafted melodies around
those issues. Take "Yebo Mama" for example, a tale about
a woman Berube remembers from his childhood in
Southern Africa. "Old Berlin" reminds travelling listeners of calling loved ones from foreign phone booths with
its guitar and piano riffs. "War Without an End" is an
unashamedly anti-war song and "Barber Shop" describes
New York and the surreal sense that people are just waiting for something bad to happen: "Tne fear in this place
needs a haircut, but the barbershop is closed."
Berube has constructed a musical gem with What the
River Gave the Boat. If you enjoy intelligent music you'll
love this album.
Linda Bull
Jens Lekman
Hjgbt Falls Over Kortedak
(Secretly Canadian) ISll
In the past, the single has been the preferred medium of
Sweden's Jens Lekman. His first album was conceived as
a miscellany of the best individual songs in his repertoire,
and the follow up was a collection of EPs, 7" singles and
compilation tracks. His latest effort, however, is a cohesive record, carefully sequenced and sonically consistent.
Hard as it is not to miss the hodgepodge nature of his
previous outings, it's even harder to deny that Lekman
embraces ambition and direction without shedding an
ounce of his charm.
Tne album opens with "And I Remember Every Kiss,"
a symphonic laudation of romantic honesty. Its ornate
strings then melt into "Sipping On the Sweet Nectar," a
bass-driven dance-pop tune that seamlessly samples the
interwoven guitar lines of Zimbabwe's Four Brothers,
as well as Willie Rosario's rendition of "By Tne Time
I Get To Phoenix." "Tne Opposite Of Hallelujah" is
the finest example of Lekman's appropriation of classic
American pop to date, and it involves not a single sample.
Tne simple pairing of a glockenspiel and string section
overtop of bouncy two-tone piano chords is downright
moving when coupled with Lekman's narrative about the
responsibilities of an older brother.
Tne rest of the album couldn't possibly maintain this
degree of consistency, but it comes close. Kortedala might
be a "depressing suburban hell" to Lekman, but the anecdotes he draws from it are simply gorgeous.
Dave Fernig
Bettye LaVette
Scene o/ tbe Crime
Once upon a time, in 1972, a struggling soul singer
named Bettye LaVette walked into Muscle Shoals Sound
Studios in Alabama to record an album called Child of
the Seventies, with the backing of the Memphis Horns.
LaVette had spent a decade recording a variety of superb
soul sides for independent labels throughout the South
and Midwest when, finally, Atlantic Record's pop imprint
Atco took an interest in turning her into a star. Unfortunately, Child of the Seventies was shelved by the bigwigs
at Adantic and, although it was eventually released in
Europe in 2002 and on Rhino in 2006, this decision cost
LaVette ten barren years with almost no recording.
Throughout the '80s and'90s,the Detroit native recorded
for labels like Motown and Chatly before returning to the
road in the 2000s. More recording efforts followed and
a compilation of her late-sixties material, Take Another
Little Piece of My Heart, was released in 2005, but it was
when the New York-based ANTI label released I've Got
My Own Hell to Raise late that year that her rebound was
confirmed. Scene of the Crime, released in September of
this year, brings LaVette full circle in more ways than
one. For starters, it was recorded at FAME Studios in
Florence, Alabama near Muscle Shoals (both of these
studios produced the Muscle Shoals style of Southern
soul back in the day). Second, backing LaVette are alt-
country rockers the Drive-By Truckers as well as veteran
Muscle Shoals session musicians Spooner Oldham on
organ and David Hood (whose son Patterson Hood
leads the Truckers and is the album's co-producer, along
with LaVette) on bass.
Last, but far from least, Scene of the Crime finds Bettye
LaVette back in her gritty, soulful prime with intimate,
gutsy interpretations of Eddie Hinton's "I Still Want to
Be Your Baby (Take Me Like I Am)," Willie Nelson's
"Somebody Pick Up My Pieces" and Elton John and
Bernie Taupin's "Talking Old Soldiers." Then there's
LaVette and Hood's original "Before the Money Came
(The Battle of Betty LaVette)," a song about LaVette's
full-circle journey, which ultimately produced this deeply
satisfying album. Thank the Drive-By Truckers and the
Muscle Shoals veterans for raising the spirit of Southern
soul from the swamps, ANTI for envisioning LaVette's
comeback and, of course, LaVette herself for coming back
to us top form.
n Colantonio
The Weakerthans
Reunion Tour
. (Epitaph)
Edward Hopper has been described as the quintessential realist painter.Though he painted cityscapes and, more
specifically, light, these portrayals take us profoundly into
the details, the very fabric of life. It is not surprising then
that John K. Samson uses Hopper's paintings as a muse
in two of the songs on the newest Weakerthans album,
Reunion Tour. On this album, Samson continues to dazzle
us with the hues of his lyrical palette. Like on previous
albums, Samson paints many of the stories in his hometown of Winnipeg. From the opening line of commuters
at Confusion Corner (an intersection where five roads
converge) biting their mitts off, to images of rain leaching prairie loam into back lanes (a prominent feature of
Winnipeg), to an entire song about curling, Samson stays
true to his roots. And like on previous albums, heartbreak
and lost love are common themes.
In the guise of curlers and cats, bus drivers and busted
dot-cemmers, the emptiness of a room and the fullness of
a window that hides an unattainable life, Samson paints
images of longing and of human frailty. "Sim in an Empty
Room,"inspired by a Hopper painting of the same name, is
one of the most poignant of these, in which a low-income
couple contemplate the failures of their relations. Looking back at the empty room they once inhabited, they watch
the shadows engulf the obscurity of their former life and
are forced to ask "if we meant it, if we tried." Equally
touching, "Relative Surplus Value" tells of a paper millionaire suddenly worth nothing, a retelling of the fate that
must have befallen many in the dot-com bust.
Although it is easy to get wrapped up in Samson's bril-
lianr lyrics, the music imparts an even greater meaning
on the tracks. The piano on "Sun In An Empty Room"
fills the hollowness of the "ninety thousand lonely miles,"
while "Relative Surplus Value" is driven by classic riffs,
reverb and power chords. On "Reunion Tour," a snare
drum moves the listener like a regiment through the realities of life on tour, and the country waltz of "Utilities" is
the perfect backdrop for Samsons look at the overburdened and under-equipped of society.
It has been four years since Reconstruction Site until this, the
Weakertans'fburth studio album.Though a long time coming,
Reunion Tour, with its beautifully painted lyrics and perfectly
complementing melodies, was definitely worth the wait
Cameron Curtis
Bend Sinister
Bend Sinister
(Storyboard Records)
This five-track self-tided EP may be too short for voracious listeners who want more, but it's big in heart Bend
Sinister's music emerges as an amalgam of various inspirational sources^ The EP starts off with the intense, high-
eneigy track "Yours Truly," tinged with a fair bit of brooding. The same feel follows into "TV War,"but at times with
a few more cheerful keys and a straightforward indie-rock
beat. On first listen, it appears that fhe beginning of the
third song, "Time Breaks Down," is still the end of the
second track, until it breaks into an uber-playful melody,
with highs not unlike a Hawksley Workman hook. "High
Horses" demonstrates Bend Sinister's ability to range from
jam-packed sound, vocal oomph and howling outbursts to
forlorn tones, slow-pulsed and spacious instrumentation all
within one song. There are litde gems sprinkled throughout the EP—for instance, the last two secret minutes of the
fifth track "Julianna," a beautifully somber ending reminiscent of a Radiohead Amnesiac number and a stark contrast
to the start of the track's upbeat, piano-heavy spirit.
Though each song has its own distinct sound, each
manages to meld into one another, marking the album as
a unified and potent listening experience. Bend Sinister
meshes its indie and prog rock tendencies into a bold blend,
crowning these local boys as nothing less than a daundess
band that doesn't need any rules to make their music.
want to run away, I want to bring you too," is propelled
forward with an overwhelming wall of guitar noise.
"Freak Out" delivers a perfect interpretation of what you
would expect of a song with this title, with two and half
minutes of dissolute, fuzzy reverb and listless vocals. The
throttling velocity of these and many of the other tracks
provides a sharp contrast to the more tribal dissonance
of their earlier work.
But Liars isn't all noisy, alt-rock intensity and strangled guitar solos. Tracks like "Dumb in the Rain" and
"Leather Prowler" recognizably continue in the sparse
rhythmic form of previous releases. "Houseclouds"
mimics pre-Scientology era Beck (in a good way) and
"Protection" delivers an affecting album finale with its
poignant pump organ and falsetto-led coda.
Liars, for all its aping of a rock pantheon suitable for
a Kenneth Anger film, still sounds contemporary and
offers an innovative mix of avant-garde abstraction,
seedy garage rock and the expected mercurial brilliance.
Christian Martius
Bands' albums are often self-titled as a statement
of intent. Considering the last two Liars albums were
labeled according to concepts based on sixteenth century
pagan worship and the discourse of two imagined characters, this new Liars album (naturally enough) represents the band's sans concept. Liars have shifted again
and this time away from the throbbing soundscapes of
Drums Not Dead and into the more traditional realm of
garage rock, complete with accelerated compositions
that conjure up images of doomed leather punks riding
on amphetamine-fuelled, nocturnal highways.
Significandy, Liars was recorded in LA and Berlin, and
the art-rock influence of both places characterizes this new
garage/kraut rock hybrid, often recalling early Can, West
Coast psychedelic punk or even the Jesus and Mary Chain's
romantic rendering of American rock and roll nihilism.
"Plaster Casts of Everything,"with its mounting guitar
and drum cycle, and the repeated screaming mantra of "I
In i^ainboiMS
After a near five-year wait, Radiohead has released its
groundbreaking, seventh studio album to fans—unsigned
by EMI and free to those who can afford it.
This album is addictive,but also incredibly short. Comparing the lengths of their collective discography is petty and
inconsiderate though. This album is but another feather in
their caps, and the new holy grail for Radiohead junkies.
The album starts with"15 Step,"a catchy anthem backed
by electronic drum loops reminiscent of the Amnesiac and
Hail to the Thief eras, and follows through with "Bodys-
natchers," a distorted and rhythmically charged track.
After that point the album takes a much more intimate
turn, when Thorn Yorke's sedating voice glosses over the
slow jazzier likes of "Nude" and "House of Cards," and
tender glockenspiel noises in "All I Need." These slower
songs bring back the warm, tingling feeling on your neck
that only a lover can produce, but with less melancholy
and totalitarian despair.
On the whole, this album is incongruent with the rest
of Radiohead's discography. Unlike OK Computer and
their earlier albums, In Rainbows seems to be missing that
metamorphic theme that resonates through each album.
But the band achieves the even more impressive feat of
coming out with such a cool and detached collection of
songs after essentially conquering the whole spectrum of
rock. Let's just hope there Isn't another five year wait for
the next one.
Mine Salkin   !
JOe Shithead & His Band of Rebels
"Joe Sbitbead & His Band of Rebels
(Sudden Death Records)
My first impression of this album was clouded by the
fact that I was in desperate need of a nap. While dozing in
and out of consciousness I was able to differentiate song to
song Joe Shithead Keithley and his Band of Rebels, 2l task that
often takes some concentration. Unlike the recent additions to my album collection, veteran punk Joe Shithead
knows how to write an album of immense diversity.
Musically, this album echoes sounds of classic rock,
ska and a style not to far removed from the punk roots of
D.OA But its full band sound, consisting of keyboards,
sax, violin and trumpet, mixed with lyrics varying from
attacking the corporations to Star Trek separates this album
from a classic D.OA album. It seems like Joey Shithead
is still trying to fuel the counter-cultural revolution. I can't
help but chuckle when hearing a forty-something year old
man spew words of anti-establishment and anarchy without the aid of youth angst, although it is inspirational to
see such determination and devotion. Much credit goes to
Shithead for staying true to his doctrines. Keithley is no
After many listens of this record I find myself humming
and muttering the lyrics to a fewtupbeat standouts. Other
than that, this album is by no means a head turner—more
of a refreshingly fun, less serious take on D.OA.
Dustin Louis
\a Cucaracba
(Rounder Records)
La Cucaracba is Weens eleventh studio album, and their
first on Rounder Records, joining fellow odd-balls They
Might be Giants. Following the well-received, but rektivery
tame and low-key Quebec, many wondered if the brothers ,
Ween had grown mellow and introspective. But Gene and
Dean have put that thought to rest with their latest album.
La Cucaracha is solid overall and it s definitely a return to the
weird, absurdist, party-oriented Ween of the past $■&&
The album is a mishmash of Gene-and-Dean eccentricity, continuing their trademark reinterpretation of
nearly everything that has ever happened in recorded
music. Influences range from the first track's Mexican
party flavour, which breaks down into squelching drum
machine, to the early '90s dance number "Friends," which
puts a dementedly cheery twist on the genre's simplistic
lyrics and synth lines. Almost every song has its strengths,
but there are a few standouts, especially the deranged
"Object," a sociopathic love jam comprised of tender
instrumentais juxtaposed with lyrical violence. A few
songs feel Hke they've overstayed their welcome, like the
11-minute prog-sprawl of "Woman and Man."
Though individually most trades hold up to some of the best
of Weeris catalogue, the album as a whole falls short of their
finest efForts.Itlacks the cohesion of Quebec, the rambling absurdity of Chocolate and Cheese and the head-scratching mangled
messiness of The Pod. Despite these flaws, La Cucaracha shows
I that Ween stillknows how to party.
Greg McMullen
Various Artists
Camobear Orange
(Camobear Orange)
Camobear Records just celebrated their five year anniversary and this CD/DVD combo showcases a whole lot
of unreleased tracks from upcoming albums along with a
couple songs released in the last year or so. On Camobear
Orange, there are cuts by Moka Only, Josh Martinez,
Sleep and Zelly Rock, Kaboom, Tachichi, The Goods,
Awol One and Chicharone. Working with a slew of
varying producers, the istyle ranges on this compilation
from swing to ska to just about anything you could fit into
a hip hop track. This album has the diversity.
There are a few joints that stand out on this album. The
brilliant instrumental from Moka Only, "Begin Again,"fix»m
his experimental album Station Agent, has a real kid back
flow with some amazing sample cutting that intentionally
messes with the listener's head like none other than Moka
can do. Another amazing track is the very original song by
Josh Martinez, "Responsibility," which blends together his
vocal presence with some very tight rapping on a masterfully
produced track. Another highlight track is Evil's "Liquor
Store," which has the artist rapping against a series of vocal
samples surrounding the theme of alcohol.
| Lasdy, the consumer gets a DVD along with this CD,
all packaged in an amazingly well-designed case in an A
Clockwork Orange, old LP style. The DVD looks pretty
slick the music videos, interviews, live performances on
it are definitely a bonus for any fen out there. Every one
of the rappers and producers on this album has real talent
that should not be missed.
Discorder   15 Klaxons
+ Mystery Jets
Commodore Ballroom
October 1
Mystery Jets were a treat, playing hooky Britrock that
almost reminded me of the Kaiser Chiefs (without any
pejoratives that might imply), but leaning more towards
indie-styled melodies than crunchy, stadium-filling riffs.
Frontman Blaine Harrison was perched atop a stool for
the entire performance and was seen using crutches,
signalling that he has sustained an injury during this tour.
However, it wasn't a huge issue, as sitting down allowed
him to focus more on impassioned cowbell smacking
and tambourine shaking, and allowed my friend and me
more time to admire his impossibly skinny pants.
Surprisingly, few in the crowd adhered to the "new
rave" aesthetic that has become associated with Klaxons,
with most people there to rock out instead of dance off.
The crowd surged during "Magick" and "Gravity's Rainbow," but there wasn't much actual dancing to be seen—
besides, perhaps, a drunk couple beside me who jumped
around violentiy like they were seeing the Sex Pistols.
Barring a few missteps (including a wall of distorted
guitar that overpowered much of "Two Receivers"), the
headliners put on a solid show. Jamie Reynolds laid
down his driving basslines with ease, and all four touring members did their part in their sweet falsetto vocal
duties. The band covered all oi Myths of the Near Future,
as well as rolling out B-sides "The Bouncer" and "Hall of
Records" to start things off.
During the booming "Isle of Her," a few of the Mystery
Jets lads provided extra percussion, while one of them
pretended to paddle himself across the stage in a huge
box. The rest of the concert was all business, but was still
a crowd-pleaser, and marked Klaxons' second Vancouver
appearance as a raving success.
ion Foreman
November 2007
w* Lavender Diamond, Fancey
Commodore Ballroom
September 28
This was fun. Essentially, all I have to do is tell you
how excellent it was to see all the members of the New
Pornographers on stage at once rocking out It was so
freakin' awesome that if Iwrote a thesis on it, I still could
barely impart unto you the awesomeness of the New P's
goin' at it with a near-sublime, rainbow-coloured sign
flashing "The New Pornographers" behind them.
I went with a friend who didn't particularly like their
latest album (a ridiculous bksphemy I will not bother
delving into here), and although 80 per cent of the songs
were from their new LP, he still had a great time. That
is the magic of Carl Newman's power-pop poster posse
(hooray alliteration), who delivered exceptionally played
live renditions of "Mass Romantic," "Sing Me Spanish
Techno" and "Letter from an Occupant," among others.
Also, seeing the rare sight of all the band's members,
including Neko Case and Dan Bejar, was enough to put
me in a happy place for a week afterward.
Tne only downside to this concert (besides that it
couldn't last forever) was the opening acts. The first was
Fancey, New P's member Todd Fancey's side project.
Although their presentation and sound quality weren't
what you would expect of a band opening for a band as
high profile as the New P's, none of their songs were bad
at all. In fact, it seemed that Fancey just weren't polished
enough to make their material sound very good live.
Tne real shocker Was the second opening act, Lavender Diamond/The lead singer for the group came on
stage and then proceeded to dedicate every song to some
hippy-dippy inanimate object (seriously, she did one for
trees, one for air and one for world peace). This wouldn't
have been terrible, but all the band members were so
obviously drugged up on god knows what that their
songs came across as just plain bad. But even Lavender Diamond's awfulness couldn't faze the overall bliss
of this concert.
Andrew Wilson
Commodore Ballroom
October 11
Turbonegro will make you cry. Why you ask? Because
you will realize that you're never going to-be as awesome
or rock as hard as them in your entire life.
Before the show even started you could feel the energy of
the fans as they thanked god that in 2002 the band rejoined
after a confusing and unwanted breakup and that now they
were about to rip up a Vancouver stage. Considering it was
their first time pkying the city, they played like it was a
hometown show, opening with "All My Friends Are Dead"
and forcing the crowd into a swarm of denim and sailor hats.
Tne Commodore Ballroom quickly became a sweaty mess,
and I'm not sure about everyone else, but I got an erection.
After the song, the ever so elegant and well-spoken
Hank Von Helvete began to tell us all that while playing the show in Seattle the night previous, he told the
American fans that Vancouver fans were way better and
that we had better prove him right, which I hope we did.
The band sounded amazing—-every song packed full
of more grinding and homoerotic power stances than
one could usually handle. But when watching a band like
this, you can't ever get enough.
Michael Shantz
No Age
+ Shearing Pinx, Midwife
Pat's Pub
September 22
Often the best shows are the ones that cut the shit—
the ones that are simply loud, cathartic rock exercises.
Take No Age's show at Pat's Pub, for example. With
only some drums and guitar, the LA. two-piece plugged
in, turned up and let loose, wasting no time on pointless
bullshit or ill-conceived gimmicks. It was the songs that
were important here, which definitely had enough quality to pull off this no-frills affair.
With rewed-up versions of "Everybody's Down,"
"Every Artist Needs a Tragedy" and "My Life's Alright
Without You," Dean Spunt and Randy Randall displayed
in the flesh why their record, Weirdo Rippers, is one of this
year's best. Tne two men's songs touched on all the right
influences, which range from scrappy Swell Maps punk -
to skewed Pavement-like pop to formless Black Dice-
inspired noise, without sounding derivative or historically
pkgiaristic. In fact, they're the type of forward-thinking
songs that will likely become benchmarks for future sonic
comparisons. On stage, Spunt and Randall also rarely stood
still as they kicked out their jams in a much rawer—not
to mention louder—fashion than on disc. On the ground,
this vigorous approach led to what could be described as
a "pit," where young men and women knocked each other
about and caused No Age to label them as "bad ass."
Tne show was perhaps a bit brief and neither opener,
Shearing Pinx or Midwife, added much to the night, to
put it politely. But seeing No Age do its thing on stage
was enough to make the night one to remember.
Brock Thiessen w^
The Fiery Furnaces       Smashing Pumpkins
Richard's On Richards
October 15
In my opinion, the Furnaces are one of the most unique
and quality bands around today.Their musical style revolves
around a distinctive brand of strangeness coupled with an
ironclad storytelling style that is achieved through lyrics
that would make a college English professor nervously
reach for his dictionary.
The cool thing about Rery Furnaces' concerts is that you
don't hear anything of theirs that you have heard before. While
they do pky the same songs with the same lyrics and tides
as the ones on their albums live, the Furnaces add massive
amounts of stylistic and structural change to the mix.
They work out a set of fragments from selected songs
in their discography, which are then re-tooled to be more
mainstream and concert worthy. They then fuse these song
fragments together to make four or five mega-songs, taking
a few second break between them. The result is a unique
and engrossing concert experience. The audience is still able
to sing along to a lot of the songs, but the thrill and joy
of hearing something new is ever present at the gig. This
method of doing things gives the audience the large doses
of rock that they want from a concert while retaining the
fluid dynamics that make the Furnaces great to begin with.
The opening band, Pitter Pat was, enjoyable as well. At
first, I wasn't sure about them, but as they warmed up,
they became more impressive. The drummer for Pitter
Pat was especially skilled and enjoyable to watch. If you
think of yourself as a fan of the Furnaces, chances are
that Pitter Pat would be a good match for you.
All in all, even if you are not familiar with the Furnaces'
work, I would still recommend going to see them in
concert the next time they come through town.
Andrew Wilson
lise Weafc*rthans
+ The Last Town Chorus
Commodore Ballroom
October 6 irf^o
r The Weakerthans' opener, the Last Town Chorus, have
essentially become Megan HickeyVsolo outlet following
the departure of her full-time guitarist in 2004. And last
Saturday, Hickey demonstrated she is more than able to
handle the band on her own, as she played, joked and jibed
with the audience, as well as gave them Canucks updates.
With her steel guitar and enchanting country-edged voice,
she definitely won over a lot of fans, including me.
But compared to Hickey's intimate performance,
Winnipeg's Weakerthans seemed rather distant—their
straight 15-song, 2-encore (mixed with a couple of
"hellos") performance being more like a CD played live
than a proper show. To be fair, the band did pull out some
pretty entertaining guitar antics, though, and on the live
version of "Sun in ari Empty Room," Stephen Caroll's
keyboards came across as even more profound.
But while bassist Greg Smith—the new guy on the team—
was dripping with sweat by the end of the show, singer-
songwriter and all-around guru John K. Samson remained
mosdy stationary. Samson is no doubt a lyrical genius, which
may explain his seemingly omniscient Buddha-like smile;
however, that Buddha-like stoicism did not give me the
chance to peer, if only slighdy, into his lyrical genius.
I seemed to have been the only one feeling like a slighted
lover,though, as the crowd positively devoured each of Samson's
offerings. Most people were more than happy just to be part
of the singalong already knowing all the words to their one-
week-old album. Even those who didn't yet know them were
certainly humming each catchy tune by the end of the night as
they filed out into the spitting rain of Granvilk Street.
Cameron Curtis
The PNE Forum
September 24
There's a reason why the Pumpkins have been around
since 1988, and the Pumpkins PNE show proved this.
The set was a well-balanced blend of all the best aspects
of their career. Starting off with an energized performance
of "Doomsday Clock" (the debut track from their latest
album, Zeitgeist), the band rocked out with "Zero" and
"Bullet with Butterfly Wings," among other quintessential Pumpkins tunes. It was the best of the past and the
present, from "Down" and other Rotten Apples songs to,
surprisingly enough, "Ava Adore" and "To Sheila" from
their most experimental album Adore.
While Corgan was missing his iconic Zero shirt, his
long-sleeved, striped replacement made us all remember
the heavy psychedelic roots of the band, tossing everyone around in a cathartic cloud, of the past, present and
future. I also particularly liked the fact that original band
members James Iha and D'arcy Wretzky were replaced by
another female bassist and Asian guitarist. Did he think
nobody would notice?
Live, the Pumpkins reminded concertgoers that, as an
album, Zeitgeist explores many conceptions of nationality—particularly those in the U.S.—and the alienation
that comes with an individual being attached to certain
values and meanings based on locality. It's for this reason
that the album is so monumental. Phenomenologist
philosopher Georg Hegel described a "spirit of the time"
as a single historical figure representing all aspects and
values of that period, and eventually when such meanings are overturned, another Zeitgeist comes to be. Tracks
such as "For God and Country" look at this phenomeno-
logical dialectic and describes how everything—including
music—is a subject to this temporality.
Mine Salkin
+ Midnight Juggernauts
Commodore Ballroom
October 21
Hipsters gone wild! Tne Midnight Juggernauts rocked
pretty hard, but the people were there for Justice. With
tickets selling out almost as quickly as a Spice Girls
reunion tour,- the Commodore was the place to be on
Saturday night. And with good reason. A live Justice
show is pretty similar to a live Daft Punk show—when
it comes down to it, it's just Justice deejaying a bunch
of their own tracks. And yet, like Daft Punk, it comes
across as much more than that. It somehow feels like a
punk rock show. Maybe it was the giant glowing cross
built intotheir synths and mixers, maybe it was the security guards struggling to keep the crowd back. But this
was no ordinary uninspired DJ set.
At times concertgoers got the sense that something
live was missing (perhaps Uffie?), and that maybe the
months of hype was driving a lot of the crowd into a
frenzy. It's true what they say: Hippos on ecstasy are
crazy and many innocent audience members have the
bruises and bloody t-shirts to prove it. When did a
Justice set turn into a Dead Boys concert? As soon as
"We Are Your Friends" started, like a Virgin Mobile
ad, the moshing was not far behind. The band got a lot
of play out of that vocal hook, as well as its Argento-
sampled noise fest "Phantom," which went on for a good
20 minutes with no complaints fromt he crowd. Justice
covered their bases with a brief, but memorable, remix of
" D.A.N.C.E." and the 2005 remix- of Scenario Rock's
"Schizo Dancer." This show may not have been worth
the $100-1150 tickets for sale on Craigslist, but it was a
good time for all. Especially the hipsters. iPspS
Cole Johnston
Discorder   17 |gh the yelss, I've DJed at almost every possible
veniMmu can imagrae—from nightclubs to weddings to
strip cute. Hell, I'll En at your Grandma's 80th birthday
if the skltta's right. TJffough these gigs, I have gained an
invaluable ImltaHi^W experience—not only about how
to rock a crowd and make sure the party gets started
right, but about life itself.
Here are a few examples:
Strip Clubs: The life lessons learned here could, in
fact, be sold in hard cover, but here's a little taste. When
a burly biker type with a 12-shot Jack Daniels buzz
tells you he wants to hear a song, you play the song—as
quickly as possible. Just get it out of the way, for the love
of God. If Mr. Fists the Size of Dachshunds hears the
Black Eyed Peas "My Humps" instead, you may in fact be
receiving some not-so-lady lumps of your own. So take
those old records off the shelf, DJ. Although Bob Seger
may hurt just as bad as a Pilsner to the dome-piece, the
long-term effects are much less serious. Lesson learned:
Know your place in the food chain.
Raves: Don't eat the blue pills. Or any pills for
that matter, especially when you're playing. Those disco
biscuits may make think your new inventive scratch
technique is blowing the crowd away, but that's probably just the blue pills. The four sober people there think
you're a total dick. Lesson learned: Drugs are bad.
Weddings: These gigs can be the worst. Make sure
you get paid well because this day has to be perfect. The
bride is always stressing, which means the groom is
stressing, which means the moms and dads are stressing.
Then you take into account that there are two families
getting together for the first time and pretending they
like each other. Then add alcohol—lots of it. Lesson
learned: Make sure you snatch a bottle of Cabernet
while nobody's looking. You'll need it.
Strip ClubS Revisisted: This is for the patrons:
she's lying to you. You have no chance. She's not leaving
with you—-just your money. How do I know? Because
she's leaving with me. Lesson learned: If you want to
find a girlfriend by looking at half-naked, sexy women
then go to a yoga class.
Now that you've learned a little about life, how about
some music? On Raw Radio, we play a lot of hip hop and
a bit of house, electro and breaks. Here is my top three
for this month:
1) Aesop Rock - "None Shall Pass"
2) Robin Dorey - "Pink Panther"
3) Babyleg - "Nowhere"
Raw Radio airs at midnight on Thursdays on CiTR
101.9 FM. For more information go to: or,
18    November 2007
Breakfastjvyith the Browns
by Peter Sicke^T
We've been on the air since September 1988. That's
hearty 1000 shows, which means some 3000 hours of
programming--prep time not included. We've missed less
than 10 shows in all those years due only to snow, strikes, or
""other ^cts of nature. We must have pkyed around 24,700
«~§bngs.|The first show has now travelled about 19 light
ye&rfe mto space, joining the millions of radio waves that
JjeaveMhe earth every second. So what does all this mean?
Not much really, except that time is perhaps zipping past
far too fast—yet we still look forward to hosting the show
every week. We started off doing our show using turntables, cart machines (basically 8-tracks) and reel-to-reel
tape pkyers, and now we're on the internet, podcasting
the show—go figure. I remember being highly suspicious
of these fancy new CD thingees when they first started to
show up at the station. Unlike vinyl, there was no romance
in the shiny little discs. Now we're starting to feel nostalgic for this medium as it's slowly being replaced by digital
data living somewhere in cyberspace.
We often get asked about the show's opening and
closing tracks.
The opening track is "Wake-Up,"written by Yoko Ono
and interpreted by Trio {Da Da Da fame). It is from a
horrible compilation called Every Man Has a Woman
that Ono issued in the mid-80s. Other luminaries on
the album are Elvis Costello, Roberta Flack, and Eddie
Money. It even features Ono's son, Sean (about 8 years
old then), singing her songs. You can hear the original
version, sung by Ono, on her recording It's Alright (I See
The closing track is "You're Wondering Now," by the
Specials, a true ska classic. You can find it on the 1979
release The Specials.
So how do we find all the music we pky? The stations
collection, our own collections, suggestions by listeners and
fellow DJs, other stations and reviews. Increasingly, artist
and record label websites have become our sources for new
material. The most important resources we have are our
notebooks. The Browns'notebooks are our record of all the
recordings that we have listened to or want to listen to.
Each release and song is recorded with our own special
rating system, which includes a brief description of what a
track sounds like (you could call it style) and any special or
unusual characteristics or features (Did they use a sackbut?
Was that a sample from that obscure Swiss movie?). These
notebooks are indispensable for our shows.
Generally the shows aren't really preplanned. We might
have a few tracks that we want to pky but the rest comes
together as the show unfolds. A song might trigger an
association which then sets off a chain reaction. If the
music seems to flow effortlessly, then so much the better.
In 2000 we celebrated our 12th anniversary with a
retrospective and a massive special edition Breakfast
with the Browns. We had a T-shirt give away with shirts
designed by ESM (Sakurai and O'Regan), graduates
of the Emily Carr Institute. For our 20th Anniversary
in September 2008 we'll be doing something equally
special, so stay tuned.
Questions? Comments? Feel free to e-mail us at
Upcoming Highlights:
24th December 2007:
"Tne Browns' Christmas Special" featuring three hours
of wonderful musical Holiday nostalgia.
Peter Sickert hosts Breakfast with the Browns on CiTR
101.9fm every Monday morning 8:00am to 11:00am.
Ashes Ashes...
by Marielle Kho
I get to be pretty emo around this time of the year. I do
not know what it is. Maybe it's the change in weather or
the beginning of a new school year (though it's not relevant this year). I already look and act pretty emo all year
round, but something about the month of October really
puts me into an unusually introspective mood.
Because of this seasonal mood change, I also notice that
my choice in tunes shifts quite a bit as well. A lot of people
are crazy about their summer soundtracks but for me, it's
all about the autumn anthems. Instead of my usual pop
punk, garage, and metal playlists, my iPod begins to take
on softer sounds, orchestrated compositions, and tracks
that are just off the beaten path. I'm usually someone that
listens to a single song on repeat for a full week. Only
during this time of the year does my listening choice have
a drastic turnover. Where I once had the Ramones, the
Bouncing Souls, and the Cancer Bats, I now have Iron
and Wine, My Morning Jacket, Trail of Dead, and the
soundtracks of Star Wars:-Episodes 1,4, and 6.
Something about music that comprises "a variety of
instruments and more organic sounds really appeals and
seems to work in accordance with the season's colours,
temperatures, and surroundings. This is something that
I've never really thought about, or at least analyzed, so
much before. I don't make this change in choice of music
too public though. You will not hear me change the type
of music that I play on my radio show too much. Rest
assured, I'm not going through some kind of life-changing ordeal. I'm simply adjusting to the season. I guess it's
kind of like when people get really keen on carols during
the winter holiday season.
I think that this year I may try to ease some of these
autumn ditties into my weekly playlist to see how well
a slight change is received. I'm sure that many others go
through a similar, if not identical, change. So, this month,
expect the unexpected! Maybe less 3 Inches of Blood, and
more John Williams? Now excuse me as I retreat to the
surrounding warmth of my room where I shall ponder the
falling of leaves, paint the colours of October, read up on
some ancient history, and knit a new and snuggly scarf.
Marielle Kho, seasonal social recluse extraordinaire.
On a separate note, a huge thank you to everyone that
donated to CiTR's annual fund drive! Your support,
whether it be financial or not, is always greatiy appreciated. And if you couldn't donate this year, don't worry
about it. I know too well what it's like to be forgetful, poor,
and downright lazy. No worries — there's always next year!
Hope you all had a spooky Halloween!
Marielle Kho hosts We All Fall Down Thursdays 1 p.m.
to2p.m. on CiTR 101.9FM.
Stereoscopic Redoubt
by Darren Gawle i%^^
Regular listeners of the show will notice that I play a lot
of material by the Collectors. To date, I've already done
one feature on the band, as well as played a Collectors
album side in its entirety. Finally, with my Funding Drive
2007 giveaway of an original Bob Masse poster from 1967
advertising the Collectors opening for the Steve Miller
Band at Kits Theatre, maybe it's time I went into a little
more detail about the band I consider to be the best of
Vancouver's psychedelic era.
The story begins with the R&B house band for the
CBC's youth-oriented variety show Let's Go, named the
Classics. The band would also record variously as the C-
FUN Classics (backing Fred Latremouille) or the Canadian Classics (for a one-off 1966 single on L.A.'s Vault
label). A 1966 lineup change brought Ross Turney in on
drums and Bill Henderson on guitar, with the original
Classics lineup of Claire Lawrence on organ and various
woodwind instruments, Glenn Miller on bass, and Howie
Vickers on Vocals. 1966 was a transitional year for the band, which they
spent writing original material and developing a unique
sound. Existing demo material from this period shows a
nascent blend of folk/garage rock, dovetailing effectively
with Vickers'belting soul vocals, and backed by the almost
Gregorian harmonies of the band. By 1967, the Collectors proved themselves capable of writing such remarkable songs as "Looking At A Baby" and "Rsherwoman."
Henderson and Lawrence's classical tuition resulted in
suite-like arrangements, which were tempered- by the
band's collective pop discipline, and honed after years
of residencies at Vancouver R&B clubs and topless bars.
A particular trait of the Collectors' songwriting became
a cyclical evolution of harmonic theme throughout the
verse and chorus, coming full circle and arriving right
back where they started at the beginning of the subsequent verse. Lyrically they would often take the original theme and head off on another tangent. This subde
sophistication was put to an almost nightmarish effect in
their 1967 B-side, Listen To The Words.
On their eponymous 1968 debut album, the Collectors also explored the contemporary trend of devoting an
entire album side to a 10-plus minute song. The result:
the 19-minute What Love (Suite) that provokes a divided
opinion to this day. While the song was received well in
San Francisco, a Uve review by The Village Voice claimed
that the best thing The Collectors could do after a New
York performance was disband!
Unfortunately, after two hit singles in Canada and
an album which attracted attention from as far away
as Europe, the Collectors reached a dead end. While in
1969 a collaboration with playwright George Ryga for
a stage production and album (both titled Grass and
Wild Strawberries) seemed a logical next step for a band
which had become no stranger to pushing the envelope
of what rock music could do, an important and intangible
element of their sound had come adrift, and momentum was already lost. Three singles released in 1969-70
(including the infectious "Fat Bird") failed to regain this
momentum and, after a final act of composing music
for the Canadian-pavilion at Expo '70 in Japan, Vickers
parted company with the band.
The remaining quartet carried on, however, reinventing themselves in 1971 as,Chilliwack...
Stereoscopic Redoubt airs Thursdays at 5:30p.m. on CiTR
101.9 FM.
The Jazz Show
by Gavin Walker
I've been involved in jazz music all of my life—playing
the music, listening to the music and living the music. My
first experience in radio started in the spring of 1980 when
I hosted a national jazz show on CBC FM for three years.
I'm really honoured now to be part of CiTR, which all
started when I was asked by Fiona McKay in 1984 if I was
interested in taking over the jazz slot on Monday night.
She had seen me play a few times in my long-standing
Thursday night gig at the Classical Joint in Gastown and
knew me from the CBC show. I told her "Sure, I'll give
it a shot, as long as nobody tells me what to play or asks
me to push music that I don't think counts as jazz." The
rest is history and The Jazz Show is now one of the longest
running shows on CiTR.
I've played all over the world as a alto-saxophonist, flutist, clarinetist, composer and bandleader and spent time
living in San Francisco, New York and my birthplace,
Montreal (for a bio: My involvement
with the CBC began when my jazz group was doing some
taping in their studio. Tne next day, a young producer
named Craig Wood called me at home and asked if I
would be interested in hosting a national jazz show. He
had talked to various musicians and they all recommended
me because of my knowledge of jazz history and the fact
that I knew and played with many important jazz heavies.
It turned out to be a nice gig with lots of perks and good
money. The show ran on Saturdays afternoons under the
moniker Jazzland. It was fun and I worked with a great
team, but we were unfortunately one of the first victims
of the dreaded budget cuts. The show was expensive, as it
involved many in-studio sessions from all over the country. So ended my stint as radio host—until CiTR.
At The Jazz Show, I try to give as much background
and info about a piece that I can, including all the
members of the band and any session stories I might
know. I think that everyone in a jazz group, especially a
combo, is important enough to mention. I never really
plan my show, except for the Jazz Feature at 11 p.m.,
but I always bring enough material to change gears if it
works (hey, that's jazz). I do emphasize instrumental jazz
as I feel that so many jazz shows play too many vocals, so
I try to balance that out. I also avoid bland "dinner jazz"
and "smooth jazz" (which is a corporate marketing term
for elevator jazz).
When I first started doing my show I'd get calls asking
me to play stuff that wasn't even close to jazz, or callers would say, "You talk too much—who cares about the
bass player or the drummer or when it was recorded!" I
don't get those kind of calls anymore, and I am flattered
to have built up a good-sized audience for what is for
me, and many others, one of the most beautiful musical
styles. I also thank CiTR for allowing me to present it
to you. Be cool.
Thejazz Show airs Mondays at 9p.m. on OTR101.9FM.
The Morning After Show
by Oswaldo Perez Cabrera
I think it was the summer of 2000 when I spoke on the
CiTR microphones for the first time.
I have always found radio interesting but misused—an
extreme waste of airtime. My taste in music has always
been odd, and I like weird harmonies; the walls of noise,
the experimentation, the blocks of sound, the madness
in music. And I have always disliked most of what was
played on the radio. To this day, I still cannot understand
why the radio stations play the same 15 songs over and
over again throughout the day. Cut the crap, already. It
wouldn't be so bad if those 15 songs were good, but they
generally suck. Depending on the station, you can listen
to Nickelshit, some band where the singer sounds like
somebody is squeezing his nuts, a pop princess screaming cheesy love songs, or you have Top 20 of the '70s and
'80s on one of the classic rock stations (but I have never
heard Joy Division or Sonic Youth on them).
Fifteen years ago I dreamed that I could play Throbbing
Grisde on the air, tormenting-all the perfumed bimbos
and disturbing all the pseudo-rockers, hillbillies and
yuppies. Then I thought that maybe I could play something with a message. I have always been attracted to
counterculture. I wanted to organize a revolution through
the airwaves. Have yojrever stopped and thought about
the manipulation to which we are subjected every day
through the radio? The amount of advertisement that we
have to hear? Commands such as buy this, listen to that,
watch, forget, do not speak, obey.
When living in Mexico, I couldn't grasp the fact that
so many people in the world were poor, sick, and starving
around the globe while a few powerful men controlled
all the money and corporations ruled our governments.
Coup d'etats, repression, torture, wars. I dreamed that
I could change all of this on the radio by exposing art
and creating awareness. I wanted to "show that the media
could do a lot more than manipulate.
Years later I was reading poetry and doing interviews
on the radio in Mexico. Then, in 1998,1 came to Vancouver and did a rock show arid a social issues show at co-op.
I read horror stories at 96.1 in the middle of the night
But it was the punk rock show, Ekos del Rock in Spanish, that opened the doors to CiTR. The Morning After
Show already existed at the time and was hosted by my
co-worker, Jeremy Baker, who had started the show back
in the fall of 1998 along with Paul Gullet.
"You came when we were on at midnight still. We
started adding the Spanish flavoured rock and punk
when you joined the show," recalled Baker. "I stopped
doing the show in the spring of 2003. Then when I left,
you took over."
Now, I am the director of the bilingual monthly newspaper La Vanguardia de Vancouver. I have published and
collaborated with several different magazines, newspapers,
webzines, and other publications around Canada, Mexico,
Guatemala and Spain. I also sit as president on the board
of directors of the Vancouver Latin American Film Festival (, which is held in September.
After nine years on the air, The Morning After Show
maintains the tradition of giving a voice to members
of our artistic community, welcoming Uve music in the
Morning After Sessions, as well as promoting shows, films,
demonstrations, art shows and public service announcements.
The Morning After Show airs every Tuesday from
11:30 a.m. to 1:00p.m. on 101.9 FM CiTR. Visit www. for more info about the show and
the bands. D
Performance works
$26/21 TUES 2 FOR 1
Discorder   19 i t/M&ezsrANt) you a&
/AT&e&£TeP /as &&&AI
Ioorn&o Md&eu Pfi/ze, t
&AL- P&6&SS <1>AJ 7#/£
host Mf»HTA*iT /ssta\.
30    No\
Die Cowboy Die
Greenbelt Collective
Piper Davis	
Stolen Bicylces Gang
Treacherous Machete    *l
The Petroleum By-Products,
Winner Oct. 23
Winner Oct. 30
Winner Nov. 6
Tuesday, December 4th
Plus Jokes For Beer!
Every Tuesday night, shews at 9 PM, $7
The Railway Club (Seymour/Uunsmulr)
* Bands subject to change.
For the latest schedules and results, visit
http ://
BREWINttCQO CiTR's charts reflect what has been spun on the air for the previous month. Artistes with stars
alongside their names (*) are from this great land o'ours. Most of these platters can be found at     0+"+|     +u      -l + l~'+
finer (read: independent) musk stores across Vancouver. If you can't find them there, give our Music     011 IU11 y   III" UUpobl I 111 o
Director a shout at 604-822-8733. His name is Luke. If you ask nicely, he'll teU youhow to get        r K|r4X/^-rYNU«r OOH7
them. To find other great campus/community radio charts check out UI   IMUVoiilUtJI   Z.UU/	
All Your Ears Can Hear: Underground Music
in Victoria 78-84
No One Will Know
Sandra Perri*
Tiny Mirrors
The Black Lips
Good Bad Not Evil
Magik Markers
Ecstatic Peace!
Sharon Jones and the Dap-
100 Days, 100 Nights
Daptone O'^pllK
Fiery Furnaces
Widow City
Thrill Jockey
Jenny Omnichord*
Cities of Gifts & Ghosts
Riff Randalls*
No One Will Know
Sunset Rubdown*
Random Spirit Lover
The Donnas
Purple Feather
Various*                'tegklT?
Pop Montreal'07
The Flying Club Cup
Ba Da Bing
Ghosts Will Come and Kiss Out Eyes
Mum                        $Hfi*
Go Go Smear the Poison Ivy
Fat Cat
High On Fire
Death is the Communion
The Weakerthans*
Reunion Tour
Wooden Shjips
Wooden Shjips
Holy Mountain
The Cynics
Here We Are
Get Hip
Ed Askew
Little Eyes
De Stijl
Harris Newman*
Strange Attractions
Audio House
Thurston Moore
Trees Outside the Academy
In Our Bedroom After the War
Arts & Crafts -
Uz Jsme Doma
Cod Liver Oil
St Vincent
Marry Me
Beggars Banquet
The Luyas*
Faker Death
Drop the Coin
CBC Radio 3: Breaking New Sound
Are They Masks?          ___^^^M
We Are Busybodies
In Our Nature
Adrian Orange and Her Band
■Adrian Orange and Her Band
' K
The Sick Ones Volume One:
Flying Saucer
New Pornographers*
Iron and Wine
The Shepherd's Dog
Sub Pop
We Are Wolves*
Total Magique
Dare to Care
Devendra Banhart
Smokey Rolls Down Thunder Canyon
.   XL
Guilt By Association
Engine Room
The Doers*
Animal Collective
Strawberry Jam
. Domino
You Could Be
Alien 8
Babylon Rules         ' T^y
Cloudland Canyon
Silver Tongued Sisyphus
Bettye Lavette
The Scene of the Crime
Flying Saucer
Stereo Total
Kill Rock Stars
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
3431W. Broadway
Hitz Boutique
316 W.Cordova
The Kiss Store
2512 Watson St.
Lucky's Comics
3972 Main St.
Magpie Magazine
1319 Commercial Dr.
People's Co-op
1391 Commercial Dr.
Puncture Haus
2228 Broadway E.
Bed Cat Records
4307 Main St.
tlie Regional Assembly
of Text
3934 Main St.
R/X Comics
2418 Main St.
Scratch Records
726 Richards St.
Slickity Jim's Chat and
2513 Main St.
Spartacus Books
319 W.Hastings
Vinyl Records
319 Hastings St. West
A Friends ef CiTR Cord scores you sweet deals
at Vancouver's finest small merchants and
supports CiTR 101.9 FM. Show it when you shop!
Discorder   31 Hfi
You can listen to CiTR online at or on the air at 101.9 FM
Tuesday Wednesday        Thursday
mm___m Sunday
TANA RADIO (World) 9-1 Oam
10-1 lam
11 am-12pm
Beautiful arresting beats and voices
emanating from all continents,
corners, and voids. Seldom-rattled
pocketfuls of roots and gems, recalling other times, and other plac-
I the unknown and the unclaimable.
East Asia. South Asia. Africa. The
Middle East Europe. Latin America.
Gyps/. Fusion. Always rhythmic,
aiways captivating. Always crossing
borders. Always transporting.
(Reggae) 12-3pm
Reggae inna all styles and fashion.
(Roots) 3-5pm
Real cowshit-caught-in-yer-boots
(Pop) 5-6pm
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:
QUEER FM (Talk) 6-8prt
Dedicated to the gay, lesbian, bisexual, and transexual com-muni-
ties of Vancouver. Lots of human
interest features, background on
current issues, and great music.
22    November 2007
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 Ghazals and
Bhajans, and also Qawwalis, pop,
and regional language numbers.
9-1 Opm
I Opm-12am
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.
(Talk)  l2-2am An odyssey into
time and space in audio.
Mmmm monday
BROWNS (Eclectic) 8-1 lam
Your favourite Brown-sters, James
and Peter, offer a savoury blend of
the familiar and exotic in a blend
of aural delights!
BEARS...(Eclectic) Il-I2pm
A mix of indie pop, indie rock, and
pseudo underground hip hop, with
your host, Jordie Sparkle.
Hosted by David Barsamian.
Underground pop for the minuses with the occasional interview
with your host, Chris.
LET'S GET BAKED w/matt &
dave (Eclectic) 3-4pm
Vegan baking with "rock stars"
like Laura Peek, The Food Jammers, Knock Knock Ginger, The
Superfantastics and more.
(Talk) 4-5pm
A national radio service and part
of an international network of information and action in support
of  indigenous   peoples'   survival
and dignity. We are all volunteers
committed to promoting Native
self-determination, culturally, economically, spiritually and otherwise.
The show is self-sufficient, without
government or corporate funding.
(Eclectic) 5-6*pm
(Eclectic) 6-7:30pm (alt)
KARUSU (World) 7:30-9pm
Vancouver's longest running prime-
time Jazz program. Hosted by the
ever-suave Gavin Walker. Features
at 11 pm.
Nov 5:"Ezz-thetics" is the tide of the
feature tonight by one of the great
jazz masters: theorist/composer/arranger/pianist George Russell and his
great group featuring alto saxophonist/bass clarinettist Eric Dolphy.
Nov 12: John Coltrane and his'classic quartet' live at the Newport Jazz
Festival in 1963. An astounding performance with Roy Haynes on drums
replacing EMn Jones. Three long
works, one never before released.
Nov 19: Walt Dickerson, a vibraphone master who has been called .
"the Coltrane of the vibes," plays with
his uartet featuring pianist Andrew
Hill on an album called To My Queen.
Nov 26: The Magrajfloent 77wd Jones
accurately describes this creative and
individual trumpeter; better known
for his writing than his playing. As a
player he was second to none.This album is a well organized date that lets
Thad, tenor saxophonist Billy Mitchell
and pianist Barry Harris 'stretch out?
_m_m_m Tuesday
All the best the world of punk
has to offer, in the wee hours of
the morn.
PACIFIC PICKIN' (Roots)6-8am
Bluegrass, old-time music, and its
derivatives with Arthur and the
lovely Andrea Berman.
(Rebroadcast    from     previous
Wednesday, 5-6:30pm) Currently
airing Necessary Voices lecture
(Rock) 9:30-11:30am
Open your ears and prepare for
a shock! A harmless note may
make you a fan! Hear the menacing scourge that is Rock and Roll!
t danger-
Deadlier than the n
ous criminal!
(Eclectic) 11:30am-lpm
Sample the various flavours of
Italian folk music from north to
south, traditional and modern.
Un programma bilingue che es-
plora il mondo della musica folk
REEL TO REAL (Talk) 2:30-3pm
Movie reviews and criticism.
(Talk) 3-3:30pm
(French) 3:30-4:30pm
En Avant La Musique! se   concentre   sur   le   metissage   des
.genres musicaux au sein d'une
francophonie ouverte a tous les
courants. This program focuses
on cross-cultural music and its
influence   on   mostly   Franco-
Join the sports department for
their coverage of theT-Birds.
Up the punx, down the^emo!
Keepin' it real since   1989, yo.
8-1 Opm
Salario Minimo, the best rock in
Spanish show in Canada.
I Opm-12am
Trawling the trash heap of over
50 years' worth of rock n' roll debris. Dig it!
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
(Electronic) 10-11:30am
Wtth host Robert Robot One part
classic electronics. One part plunder-
phonicmixnmatch. Two parts new
and experimental techno. One part
progressive hip-hop. Mix and add informative banter and news for taste.
Let stand. Serve, and enjoy.
ANOIZE (Noise) 11:30am-lpm
Luke Meat irritates and educates,
through musical deconstruction.
Recommended for the strong.
Independent   news   hosted   by
award-winning    jounalists    Amy
Goodman and Juan Gonzalez.
Primitive, Juzzed-6ut garage mayhem! RACHEL'S SONG (Talk)
(Pop/Eclectic) 6:30-8pm
First Wednesday of every month.
Alternates with:
(Eclectic) 6:30-8pm
FOLK OASIS (Roots) 8-1 Opm
Two hours of eclectic roots
music. Don4t own any Birkenstocks? Allergic to patchouli?
C'mon in! A kumbaya-free zone
since 1997.
Developing your relational and
individual sexual health, expressing diversity, celebrating queer-
ness, and encouraging pleasure
at all stages. Sexuality educators-
Julia and Alix will quench your
search for responsible, progressive sexuality over your life span!
(Hans Kloss) I lpm-1 am
This is pretty much    the best
thing on radio.
(Eclectic) 8-1 Oam
(Talk) 10-1 lam
(Eclectic) 11 am-12pm
(Eclectic) 12-lpm
Hosted by Duncan, sponsored by
. donuts.
(Eclectic) I-2pm
Punk rock, indie pop, and whatever else I deem worthy. Hosted
by a closet nerd.
(Talk)2-3pm ,
(Hip Hop) 3-5pm
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),   myscienceprojeetra-
Alternates with:
(Rock) 6-7:30pm
Psychadelic, Garage,    Freakbeat
and Progressive music from 1965
to  today:  underground, above
ground and homeground.
(Experimental) 7:30-9pm
Experimental,   radio-art,   sound
collage, field recordings, etc.
Recommended for the insane.
RADIO HELL (Live Music)
9-1 lpm
Live From Thunderbird Radio
Hell showcases local talent...
LIVE! Honestly, don't even ask
about the technical side of this.
I Ipm-I2am
8-1 Oam
I Oam-12pm
Email requests to:
(HipHop) l2-2pm
Top notch crate digger DJ Avi Shack
mixes  underground  hip hop, old
school classics, and original breaks.
RADIO ZERO (Eclectic)
(Nardwuar) 3:30-5pm
(Talk) 5-5:30pm
(Eclectic) 5:30-6pm
(Eclectic) 6-7:30pm
All types of Canadian independent music from all across our
massive  and  talented  country,
with your host Spike.
David 'Love' Jones brings you the
best new and old jazz, soul, Latin,
samba, bossa and African music
from around the world.
Sweet dance music and hot jazz
from the 1920s, 30s and 40s.
(Soul/R'n'B) 10:30pm-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) l2-2am
Beats mixed with audio from old
films and clips from the internet.
10% discount for callers who
are certified insane. Hosted by
Chris D.
Studio guests, new releases, British comedy sketches, folk music
calendar, and ticket giveaways.
A fine mix of streetpunk and old
school hardcore backed by band
interviews, guest speakers, and
social commentary.
POWERCHORD (Metal) I-3pm
Vancouver's-  only   true   metal
show; local demo tapes, imports,
and other rarities. Gerald Rattle-
head, Geoff the Metal Pimp and
guests do the damage.
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.
(World) 5-6pm
The best of music, news, sports,
and commentary from around
the local and international Latin
American communities.
(World) 6-7pm
(Dance/ Electronic)
Shadow Jugglers works across
mtisicai  genres  including electronic and club-based music and
welcomes you to broaden your
musical knowledge with DJs MP,
Socool, Soo & their guests.Travei
through world sounds such as
dub/reggae, hip hop, funk, dub-
step/grime & jungle/drum  and
bass. Tune in and visit myspace/
9-1 lpm
(HipHop) I lpm-1 am
needed for our 24 Hour
Rape Crisis Line and Transition
House (or battered women
For an interview, please call
Vancouver Rape Relief & Women's Shelter
Live TBirds action returns to CiTR for another season!
As the campus radio station of UBC Vancouver, CiTR 101.9 FM provides
comprehensive coverage of varsity athletics during the fall, winter, and spring.
In addition to our weekly staple, CiTR SPORTS FRIDAY (6:00 p.m. to 10:00
p.m.), CiTR broadcasts selected Saturday games featuring high-profile
This month, CiTR continues broadcasting its 2007/08 schedule of men's and
women's basketball, men's hockey, as well as limited men's and women's
volleyball action.
In addition, November features CiTR's continuing coverage of UBC Thunderbirds
football with commentators Tyler Noble, Ryan Sullivan and Asa Rehman.
Long-time partners Daryl Wener and Doug Richards team up once again to
broadcast men's basketball as UBC looks to return to the CIS Final Eight and
avenge a disappointing first-round exit last spring.
Wilson Wong and Howard Tsumura front CiTR's women's basketball coverage,
as the Lady Birds look to win their third national championship since 2004.
-Michael Wall returns as CiTR's hockey voice, following UBC's most successful
season on the ice in the past three and a half decades, while Jeff Sargeant and
Claire Hanna team up to broadcast Thunderbirds volleyball.
CiTR Sports also provides ongoing reports on other UBC athletic programs with
senior correspondent Jason Wang.
-Tyler Noble
CiTR Sports Director / Play-by-play announcer (football) / Studio host
Discorder   23 DON'T CATCH A CHILI
At Zulu, Music Is Your Scarf. Music Is Your Umbrella.
Ire Worts CD
La Cucaracha
How to describe Ire
Works other than to
saw it,s another blast oi
pure Dillinger? These
- trail-blazing math-metal visionaries are back with
more of the old ultraviotertce unfathomable rhythmic density, meat-grinder guitars, and howling
machine screams to strip fte skin off your cyborg
body. The Escape Flan wouldn't be at the top of
the progressive metal heap, though, if all they
were into was the muscle and mastery of technical
show-offery. As is. well-known, these- fiends war- .
ship at the altar of Patton (even if he no longer
graces them with the presence of his pipes), and
they lace their assault with that particular Bungle
brand of schizophrenic pop that'll keep you coming back.
CD 16.98
s/t CD
Formerly known as
Canada's "The
Battles'. Giantess is a
; blistering exercise in profundity, veering wildly
from accelerated rave-ups to introspective ballads
that tug at the heart (often wtth tongue planted
firmly in cheek). Giantess delivers with the poetic
grandeur of Bryan Ferry or Graeme Downs at their
absolute peak, and with the muscle & pathos of
The Soft Boys or Jesus of Cool-era Nick Lowe.
Giantess is first & foremost a relationship record
that relies on sentiments both ridiculously absurd .
& vastly astute. A British influence looms large in
Stephen Wood's brilliant songwriting — comparisons to Ray Davies & John Lennon are commonplace — in much the same way those pillars
informed Robert Pollards forays into songs.
Likewise, Giantess' erstwhile approach thrusts the
genre forward with liberal swaths of heart, wit,   ;
warmth, melody & raw power.:;
CD 14.98
How To Build
A Lighthouse
Welcome, wetGome,,
welcome! Kevin's
third solo release and first with a full band behind
him recalls the glory days of this budding
Kelowna-based popster! Dialing his classic Klnks-
meets-Banpop sensibilfty wr^-^pnetfr%,aOI
sense of the darker side of Big Star, Kane finally
shines a frftfe Jgfit into our melodious pop heaven
as his Bongo Beat debut is really a study in classic
songwriting, sublime production and defirJaieV .
crafted instrumentation. With this release you get
a sense that Kevin has come?iicirc)e to his roots
as the purity of his September Bawl et Stem
Grapes of Wrath debut as these songs capture his
near-magical sense of song craft, How to Build a
Lighthouse is sonic bliss — cathartic absorption
— amazing!
CD 14.98
* "Tiene usted una
A r cucaracha en suj
oidos?^Le esti hacienda rfartza como toco?
lie da las sacitdidas? jBaite, mis amkjos, y cele-
bre! |Es ei ^Iburartueytrde Ween! Ah, Ween. Rest
assured, dear friends, that your favourite merry
pranksters haven,t grown up a bit after 20-odd
years of off-the-wall arrtics and, brilliantly creative
songwriting. Nope, this freakshow starts with a
mariachi fiesta and keeps on rocking the South-of-
the-border vibe with a series of progressive^;'"O.
^efrdelStei on a typically diverse variety of genres, from Pet Shop Boys-es'que synth-pdpI'toHspfc^
prog, all in the service of digging elbow-deep into
the more obscene crevieelllBhe theme of
romance. Break out the bong, Weenies. The boognish abides.
CD 16.98
Hvarf/Heim 2CD
While most peopleset up a few cameras at, say,
a festival, and call it a DVD, Sigur Ros decided
they would push the boat (bus and plane) out for
their debut venture into live film, hauling 40-plus
people round 15 locations to the furthest flung_cor-
ners of their homeland to create something that's
both an Inspirational document of the band at the
peak of their powers and an alternative primer for
iceland the country they visit ghost townsj|outsider
art shrines, national parks, small community halls
and the absolute middle-of-nowhere, as well as
playing the largest gig of their career '{aril jn Icelandic history) at thek- triumphant homecoming
reykjavik show. The companion album, Hvarf/Heim
is actually two records with two covers: /tear/ )
{"Haven" or "Disappeared")[j^angsjectrie re-recording of various rarities, and Hsfe ("Home") is an
unplugged recording of fan-favourite tunes.
2CD 16.98
I Hud, and LCD
Soundsystem, Toronto'
Holy Ruck bring you
electro with a live band feet. Conceived and composed while on stage and tsiWr%,lP was brought
into the studio and unleashed like a beast, to be
recorded live off the floor. Holy Fuck also use found
sounds, to-tech battery operated keyboards and
children's toys to bring different sounds to each
track so there's aJwayVsome new surprise bursting
arpund the comer. From opener, "Super Inuit",
complete with tribal drums'and whoops, it's a fast,
frenetic and upb£8f^}dsV$f£hed^sx>mewhere
between an old-style rave and some sort of avant
guard improvisation and experimentation. Produced
by Dave Mewf eld (Broken Social Scene) and
mixed by EH Janney (Girls Against Boys!), this Oi
album is the sure&,sig.n yet that (Dance) Punk's
Motfbead ■"'   -V ' '
Long available only as a download from the Nike
music store on iTunes, DFA Records has finally got
the go-ahead to bring out the world's hippest workout
mix in a physical format so you can reformat your
physique while you freak the beat. Whether you're the
type to tote anti-sweatshop placards or the type to
line up for new dunk coJorways, you can.t deny that
this is some of James Murphy's finest work, and further proof that nobody knows disco better, wfietheO
it's meant for the dancefloor or the treadmill. It's body
jjrferirtaby, and if you%erfflortj t|f a brato personi you_
can still grasp this disc with pride, knowing that its
title and cover reference John Cage's infamous "433"
and Manuel Gottsching's forgotten krautrock opus
KME4. It's soffljBttting^r everyone, and if that still
wasn't enough, how about three bonus tracks, including the previously-rare "Freak Out/Starry Eyes"? Jog
on down to Zulu November 12*, then jog home.
CD 16.98
Shutter's Nation
London's famous Olympic
Studios is once more the
center of controversy as it
provided the sanctuary%6-
shefter for none other than UK's infamous bad-boy
Pete Doherty and his Baby Shambles to do what they
do best: make beautiful rock commentary on the con-
temporary lad culture. Written with help from Kate
Moss and featuring the guitar work of Strokes,
Hammond Jr. this is a much of developed listen than
Doherty s first Shambles release. "Delivery" takes the
early Kinks for a ride, "Side of the Road" triesjojrtjhe
noisy whimsy of the White Stripes, and There She
Goes" shuffles a Stray Cats strut into a trad-jazz club.
With a voice light on steady tunefulness but heavy on
lower-class English charm, Mr. Doherty gives the
songs a lot of attitudinal energy without giving them a
lot of heft.
CD 16.98
Some Things
Just Stick In
1964-1967 2CD
Many of us came to discover and love Vasfrti Bunyan through the reissue of her 1970 album Just Another Diamond Day,
following the ecstatic praise bestowed upon her by
new-school folkies like Espers and Devendra
Banhart. On the back of this new-found popularity
comes Some Things Just Stick In Your Mind, a compilation of early recordings that predates her folkier
material. For those who know that Bunyan s debut
^sjiroduffidj^ 0 ^
Oldham, manager for The Rolling Stones; it should
come as no surprise to h&ar.tnat her earliest demos
were compact and mainstream-friendly love songs..
The first disc gathers together early single recordings
\_mxl%%^m the Jagger/Richards-penned title
'^^^^ftftjecrjnd Is tl e minimalist resufc-df I "
^eAd^s studio time in 1964 with only Bunyan s
voice and guitar preserjt -J^gJaSc/s delight1   ."'
2CD 16.98
Matteriiom CD
Now that they've successfully torn the roof off just
about every house/warehouse party in town, The
Band That Made Vancouver Dance is moving to penetrate
every stereo in every house with a full-length album for
all you wasted space kidz. As attendees of their packed-
out shows already know, The Clips are equally adept at
cinematic drama and giddy, bootyshaking beats. Their
ambitious approach to indie-pop is as fun as it is creative, I
with a three-keyboard attack that recalls the streamlined
pop hooks of Spoon, the unpretentious dancefloor
grooves of Hot Chip, and the icy electronic soul of
Radiohead's more emotive output. It's a young sound for
a new scene; so join the party.
CD 12.98
Gassy Jack and
Other Tales CD
Led by College Radio Legend
personality/celeb marauder
Nardwuar the Human Serviette, The Evaporators sling
out one wildly infectious tune after another, luring you into
their frenetic and slightiy^urreaf wortd. Named after
Vancouver pioneer Captain Jack Deighton who got his
nickname ("Gassy") not from farting, but from talking nonstop (kinda like Nardwuar!), The Evaporators new release
will attempt to school you the listener on such topics as
how ts Shake with the Shaggy Shaker, how to do the
Eggbeater and why you should care about E.J. Hughes
CD 14.98
Untrue CD
BURIAL'S eponymous album, which began life as a low-
key release ]nfoay2p06, is now wjdejvregarded as the
benchmark release of the eve^^^nieg3ubstep genre,
picking up unanimous critical acclaim along the way, and
ending the year heavily featured in many best of polls. Now
Burial returns with Untrue, a new record.of weird soul
'rfflsRi.fflKTSvirtgrif processesspectral female mcMmml
vaporised R&B and smudged 2step garage. Vocal lines are
blurred, smeared, pitched up pitched down and pitch bent
until their content is cast adrift from their original context
and they whisper their saccharine sweet nothings into the
void. The album continues with the debut's crackle-
drenched yearning and bustling syncopations, haunted by J.J
"nte-ghosts-of-rave, but afsoreveats-sorrieflewJtoiriai treats
with a more glowing, upbeat energy. Available November 6"'
CD 16.98
Scott Walker-And Who Shall 6s ts the Ball? COEP
Atmosphere - Sad Clown, Bad Fall COEP
Robyn Hitchcock-
Vampire Weekend -
Black Dice-Load Blown CO
David Byrne-The Knee Plays CO
The Raveonettes- Lust Lust Lust CO
Hives - The Black and White Album CO
Wu-Tang Clan - The 8 Diagrams CDtp- * .'
Jay-Z - American Gangster WTmUm
Srjle and the Stymie? Band-s# CD       "  -
D.O.A.-The Black Spot CO ^v""^"
Jon Spencer Blues Explosion -Jukeliox Explosion CD
Brutal Attack
by T.Reilly Hodgson
photography Nov. 1-30
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
Mon to Wed   10:30-7:00


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