Discorder CITR-FM (Radio station : Vancouver, B.C.) 2006-09-01

Item Metadata


JSON: discorder-1.0050258.json
JSON-LD: discorder-1.0050258-ld.json
RDF/XML (Pretty): discorder-1.0050258-rdf.xml
RDF/JSON: discorder-1.0050258-rdf.json
Turtle: discorder-1.0050258-turtle.txt
N-Triples: discorder-1.0050258-rdf-ntriples.txt
Original Record: discorder-1.0050258-source.json
Full Text

Full Text

The New
liTirnaciuate wfwf. *!fffitt*
& Novillero (Oct 21)
Young and Sexy
FRIDAY     ^m^,
www.sealedwithakisspresents.com SEPTEMBER 12 006
David Ravensbergen
Guest Editor
Kat Siddle
Art Director
Will Brown
Copy Editor
Marlo Carpenter
RLA Editor
Kimberley Day
Review Manager
Jordie Sparkle
Layout & Design
Will Brown
Alanna Scott
Graeme Worthy
Shrewdness of Apes
Will"Coco The Talking Gorilla"Brown
Arthur"Curious George"Krumins
Dan"Diddy Mack"McCash
David"Dian Fossey"Ravensbergen
Alanna"Gorilla in the Mist"Scott
Kat"Helper Monkey" Siddle
Caroline" Au Pair Orangutan"Wal_er
Graeme"Howuer Monkey"Worthy
Photo & Illustration
Alison Benjamin
Megan Bourne
Will Brown
Melanie Coles
Rob Davis
Stephanie Forder
Ben Frey
Eriver Hijano
Katie Lapi
Kelly Claude Nairn
Alanna Scott
Program Guide
Bryce Dunn
Luke Meat
Richard Chapman
US Distribution
Frankie Rumbletone
Student Radio Society
of UBC
..The Gentle Art of Editing
David Ravensbergen
.. Cinema Aspirant
Allan Maclnnis
..Riff Raff
Bryce Dunn
.. Stmt, Fret and Flicker
Penelope Mulligan
.. Spectres of Discord
by David Ravensbergen
..Textually Active
Pretty Good Years: A Biography of Tori
Amos, Inkstuds: Fun Home, Night Fisher
•• Mixtape
Megan Bourne
••Under Review
Chad VanGaalen, Christina Aguilera, The
Mountain Goats, Magnolia Electric Co.,
Slayer, The Be Good Tanyas, Zaki Ibrahim
...Real Live Action
Tool, Isis, Wolf Parade, Frog Eyes,
Whalebones, Stoner Rock Summer Sounds,
Cat Power, Ninja High School
..CiTR Charts
The Dopest Hits of August 2006
...Program Guide
The Highlight: CITR Podcasting
Gentleman Reg 14
Sipreano 19
The Age of Electric
Empire Part Three 22
The Winks 25
The Dresden Dolls 27
Mixed Apes:
How To Wheatpaste 28
Baxter Rocks 29
Cover Illustration By Will Brown
Feature Titles By Alanna Scott
©DiSCORDER 2006 by the Student Radio Society of the University of British Columbia. All rights
reserved. Circulation 10,000. 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 October issue is September 17th. Ad space is available until September 21rd and can be booked by
calling 604.822.3017 ext 3 or emailing discorder.advertising@gmaiI.com. Our rates are available upon
request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings, photographs, and transparencies), or any
other unsolicited material. Material can be submitted on disc or in type or via email. As always, English is
preferred, but we will accept French. Actually, we won't. Send words to dlscordered@gmaiI.com and art to
discorderart@gmail.com. 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, except Shaw in White Rock. Call the
CiTR DJ line at 822.2487, our office at 822.3017, or our news and sports lines at 822.3017 ext. 2. Fax
us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at www.citr.ca or just pick up a
goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T1Z1, CANADA.
the Gentle Art of Editing
$ 4 Whoa, you're actually from Vancouver?
You're like the only person I know that
lives in this city that grew up here too." I've been
on the receiving end of this phrase more and
more often lately. The 'incredulous-about-Iocal-
Vancouverite-status' line is becoming a dominant
meme, clawing its way to the top against other
longstanding conversational defaults like "sweet"
and "that's cool." It feels good to be the exception,
and I rarely spoil the occasion by admitting that I
actually grew up on the sleepy streets of Coquitlam,
not far from Matthew Good's old house.
Maybe you can chalk it up to being a suburban
fraud, but I'm not really sure what to make of this
native Vancouverite business. The way people
talk you'd think I was privy to Vancouver's true,
incontrovertible soul, when in fact I'm just as
befuddled as a Nova Scotian transplant. To me
this city is a Canadian microcosm, a self-conscious
society struggling to define itself. The desire to pin
down Vancouver's essence is most odiously revealed
in statements like, "This is a world-class city," a
line chanted repeatedly over the loudspeakers at
the fireworks this summer. If there's one thing I
know about world-class cities, it's that they're too
busy being world class to announce it all the time.
With such disparity between neighbourhoods
and demographics (ie. Strathcona hipsters vs.
Yaletown lapdog-lovers), definitions merely serve
to further fragment our diverse population. Rather
than contributing to any cultural depth, identity
politics in this city are more concerned with how
successfully that dude at that show adhered to the
uniform of his particular subculture. Indie rock in
particular falls prey to this trap of seriousness and
Part of what makes working on a magazine
at a campus radio station like CiTR so much fun is
the ability to undermine this kind of unnecessary
earnestness. While providing accurate and
informative coverage of local and independent
arts and music is important to us, we also want to
have fun, to mock ourselves now and then, make
mistakes and bloody our knees and then laugh
it off. As Curtis explains in the conclusion to his
three-part fan fiction saga in this issue, the high
seriousness of music journalism can grow tedious.
Sometimes you need to disobey the dictums of
official culture—write an article on your mom's
favourite band or strap a disembodied mannequin
head onto the paw of one of those godawful bear-
that have colonized this city.
Whether you're a new UBC student picking up
the mag for the first time or a seasoned reader, we
hope Discorder inspires you to seize a chunk of this
city's scattered identity and make it your own.
David Ravensbergen, Editor
Red Cat Records
4307 Main St.
J K.    I*
New & Used CDs & Vinyl
ph. 708-9422 * email buddyt redeatea
of Discorder card and receive 20% off (jQ^ CONCERTS^
hob.ca 11
4     September 2006 BUY TICKETS AT ^
hob.ca 2|
Discorder     5 CINEMa ASPIRANT
Allan Maclnnis
25th Vancouver International Film
Festival, September 28th-October 13th
is cinema food for your soul, and is your soul hungry?
Cinema Aspirant offers glimpses of gems to be rescued
from the wreckage of your local video store.
The festival is just around the corner, so we'll be departing from
our usual auteur-centric concerns and focusing, for the next
two columns, on features to screen here.
In Between Days
As an ESL teacher, there's a certain kind of student I find rather
frustrating to work with: shy, self-conscious and a bit withdrawn.
This hypothetical student's universe, once she gets away from nagging parents and the pressure to study, consists of a boy she likes,
her concern about whether he likes her back, and not much more.
(Well, occasionally, she may also take interest in her cell-phone or
her make-up, or, when she's ambitious, karaoke, video games, and
shopping, but that's about it). How to get her interested in the present
perfect? It ain't always easy. The Korean-American In Between Days
(2006) is like some sort of remedial compassion therapy for people like
me, because it takes one such utterly unremarkable girl, Aimie, and
does something utterly remarkable with her: it takes her loneliness,
her confusion, her boredom, disappointments, and hopes absolutely
seriously, just like she does. Living in close-up with her is somehow
an oddly transformative experience, though it reminds me of much
I would rather forget about being an adolescent. The Canadian city
where Aimie and her mother have immigrated remains nameless, as
being outside the realm of Aimie's concern, and so it shall remain
here, but note: it ain't Vancouver! Director So Yong Kim is herself
a Korean immigrant who grew up in Los Angeles, and will be one
Bryce Dunn
Another month, and another batch of musical
mayhem to lay on you—let's start with the toast
of Tennessee, The Reigning Sound. They're led by the
genius Greg Cartwright, whose musical lineage goes
back staggeringly far, and has a hold on the garage
rock cognoscenti so tight it's hard to escape. With a
new album's worth of tracks recorded at the famed
Goner Records empire, two cuts made onto a 45 that
showcases the RS signature sound: a perfect blend of
country, soul and rock and roll that never fails to inspire and impress. "Black Sheep" kicks off side one, a
cover of Bob McDiU's country classic, and on side two,
an ode to the state that bore the great Carl Perkins,
the man behind "Tennessee." As far as live recordings
go, this is a step up from previous work, and there is a
palpable energy that makes you wish you were there
sweating and singing along. (Norton Records, Box 646
Cooper Station New York, NY. www.nortonrecords.
Speaking of covers, our friends The Dirtbombs
know a thing or three about reinventing the wheel
when it comes to taking on other people's songs. No
artist or style has been spared, as they've cloned everything from The Eurhythmies to Robyn Hitchcock, and
The Cheater Slicks too. In the case of a recent single,
they cover the late lamented Elliot Smith. Their version
of "Brand New Game" (an unreleased track intended
for inclusion on his From A Basement On A Hill 2CD
retrospective) breathes new life into what ultimately
can be described as moody folk-pop. The flipside is a
Dirtbombs original entitled "All My Friends (Should Be
Punished)" which speaks cheekily to all allies of Mick
& co. and shouldn't be taken too seriously. (Munster
Records, www.munster-records.com).
I recently caught our next act, The Strays, opening for The Buzzcocks on the strength that lead singer/
guitarist Toby Marriott is in fact the son of Small Faces
svengali Steve Marriott. That famous connection notwithstanding, Marriott and band cranked out some
Brit-pop laced with seminal punk tunes that failed to
impress those in attendance, yours truly included. Not
wanting to discount them entirely, I thought I'd give
them another chance on record. The four-song EP is
decent enough, but I'm not sure I'll be giving this re-
6     September 2006
peated spins any time soon. "Kill" and "Servant of the
Gun" are songs the brothers Gallagher could have written coated with a veneer of sneer, but other than that
I'm not convinced. (45 Revolution, no address given.)
I am convinced, however, that there's still good
music on the Island (you know, the one just to the left
of us across the water). Victoria has always been a
curious city for rock and roll, but Budokan will shake
things up soon if their debut single is any indication.
Featuring ex-Bum alum Andrew Molloy, Budokan
seem to logically pick up where that beloved band left
off, right down to their revisitation of "Doll Hospital,"
a Bum song of yore that's still refreshing all the same.
Along with "Gone Back Home "and "North of Hollywood" these guys (and now gal) love power-pop a la
The Dictators, Redd Kross and close (at least in spirit)
kinfolk The Fastbacks. The tracks exude a knack for
catchy choruses and feel-good guitar. My only complaint with this is that the production sounds a little
thin—the drums don't pound as much as I'd like and
the bass doesn't boom that much neither. That being
said, you cannot fault Budokan for wanting to bring
back the rock to the Rock, and for that I'm grateful.
(Magic Teeth Records, 633 Johnson Street, Victoria
B.C. Canada, www.magicteeth.ca).
Rounding out our monthly record round-up are
locals FUN 100 and The Paper Lanterns, who share
one side apiece on a recent seven-inch. Dearly departed
Paper Lanterns offer two songs ("B-line" b/w "I Wanna
Die") of pop-punk reminiscent of early Lookout Records
bands like Jawbreaker or Mr. T Experience—smart
melodic punk with poignant lyrical content. Jolt Cola
enthusiasts FUN 100 parry with two short blasts of new
wave pop in "Pull the Goalie" and "Gimme the Chiefs."
Somewhere out there a hockey dad is proud, so much
so he has his own record label. (Hockey Dad Records,
4150 Brant St. Vancouver B.C. Canada V5N 5B4).
Onward and upward—see you next timet
Bryce Dunn's radio show Third Time's the Charm is 01
CiTR 101.9 FM on Tuesday's at 9am.    ^
of the festival's guests. Her first feature is touching, authentic, and
sad, and should be required viewing for ESL teachers everywhere. (I
wonder what Korean girls would think of it?)
Old Joy
When two men go into nature together in a movie, bad things
usually happen; I wonder why that is? Some subtle homophobia, that
can't allow men to get too emotionally intimate with each other onscreen? A need to provide male viewers with a vehicle for vicariously
working through the frustrations and resentments that accompany
their friendships? It could almost be classified as a genre: Angel's Crest
and Gerry are cut from this template, to name two films that spring
immediately to mind; Deliverance is a third, though there are two
"extra" men along for the ride. Brokeback Mountain probably could be
tied in as well, though the "bad thing" is much deferred. Throughout
the first half of Old Joy (2006), knowing nothing of the film save that
one of the stars is Will Oldham (whom I best remember as Danny in
John Sayles' Matewan), I kept worrying that it would turn into just
this sort of genre exercise: two old friends, grown somewhat apart, go
camping at a remote hot spring, and as tensions build, a killing seems
to be foreshadowed. Much of the suspense for me, watching this ever-
gentle, beautifully photographed film lay in my worry that it would
fuck up by going exactly there. It doesn't. Contemplative and rich, it
left me wanting to see more of female director Kelly Reichardt's cinema. Shots of Oregon's forests only add to the pleasures of the film,
and I'm a sucker for landscapes filmed out the passenger window of
a car, especially with a score as lyrical and lush as the one provided
by Yo La Tengo.
The Honor of the Knights
Spanish director Albert Serra's Honor de Cavalleria (The Honor of
the Knights, 2005) is in many ways the perfect compliment to Old Joy.
Using Cervantes' Don Quixote as a source text, but making something
very minimal and mood-oriented of it, the film mostly shows two men
in nature. Quixote and Sancho guide their animals through fields, as
insects hum on the soundtrack. There is little dialogue, no plot, and
next to no other characters appear. (There are also no buildings of any
sort in the film, of which I gather Serra is quite proud). The film may
greatly move those with a taste for gentle, contemplative cinema; the
compositions are often lovely and the rhythms strangely hypnotic.
Since I have not read Cervantes, and am far more concerned with
meaning than mood when watching films, I was perhaps not the best
viewer for this one. Serra will be in attendance to answer questions.
You will have some.
The Net: The Unabomber, LSD, and the Internet
The Honour of the Knights didn't provoke me to want to read
Cervantes, but Lutz Dammbeck's The Net leaves me wanting to read
the Unabomber Manifesto. It rather creepily explores the possibility
of totalitarian and/or dangerously uncontrollable aspects to the Utopian idealism that informed cybernetics, LSD experimentation, and
eventually gave rise to the internet. The filmmaker takes seriously
the possibility that Ted Kaczynski was performing a meaningful resistance against a world gone very, very wrong—he becomes a sort
of Thoreau with explosives. Not sure how I feel ultimately about the
film or its message(s), but it's thought provoking in the extreme, and
has more craft and craftiness to it than the shot-on-DV look would let
on. Best watched with an articulate friend, so you can hash it over
See you next month with more film festival notes! fl
The Honor of the Knights STRUT, FRET
Penelope Mulligan
Vancouver International Film
Festival: Krzysztof Kieslowski
Retrospective, Absolute Wilson,
Longing, Uganda Rising
A young Kieslowski
In less than a month, the
Vancouver International
Film Festival will be invading
the lives of hordes of delirious
cinephiles. And so it should.
It's the most invigorating and
mind-expanding marathon on
the cultural calendar. You can
spend September training for
it as the Pacific Cinematheque
and Vancity Theatre co-host
a retrospective on Polish filmmaker supreme, Krzysztof Kieslowski.
Best known in the West
for his socially and spiritually
loaded works of the late 20th
century—The Double Life ofVero-
nique, the Three Colours trilogy,
and The Decalogue—Kieslowski
had been prolific in his own country since the late 1960s, making
state-funded (and often state-censored) documentaries and fiction
for cinema and television. The latter medium spawned 1989's Decalogue, a 10-part dramatic investigation into the Ten Commandments.
With this colossal project, Kieslowski's extraordinary way with life's
big issues really crystallized, and shone through every film he made
until his death in 1996.
While bis films' subjects are often clearly expressed in the
titles—liberty, equality, adultery, etc.—they are dealt with in a way
that upends these words' often-simplistic associations. Oblique in the
truest sense, Kieslowsky effectively cross-sections human experience
to find the essence of well-worn concepts. When new meanings arise,
they're profound and sometimes shattering.
Most potent in this regard is A Short Film About Killing, and the
one-hour segment from which it was expanded, Thou Shalt Not Kill. A
brutal murder is immediately followed by the execution of the young
man who committed it. Both "killings" take place in real time and
are horrifying, the execution perhaps more so due to the authorities'
attempts to be clinical. The film's overtones are extremely literate—a
discussion of the penal code invokes Foucault's Discipline and Punish—but its impact is on the gut. Even more important than the
awards that Killing took at Cannes and elsewhere is the part it played
in ending the death penalty in Poland. How often does a fiction feature effect change like that?
The retrospective is huge and, for many of us, will be the first
opportunity to see any of Kieslowski's work predating The Decalogue.
Comprising over 30 films, it includes nine features, early agitprop and
even some student pieces from Lodz Film School. The series also offers
an authentic glimpse at the depressing, porridge-coloured naffness
of life in the Eastern Bloc—a look which Kieslowski was apparently
going for in order to show "the grim reality of the world we live in".
Slawomir Idziak, one of the director's frequent cinematographers,
called this aesthetic "the poetry of dirt," and used a green filter to
achieve it in later films.
Despite the cruelty, loneliness and despair on display in much
of Kieslowski's work, one always comes away galvanized by a new
way of seeing. To paraphrase Czech film scholar Anton Liehm on this
iconic director, "I don't think a despairing man can communicate his
despair. To be able to turn it into art—that takes health. And God,
what health!"
BLIND CHANCE: The Cinema of Krzysztof Kieslowski
screens September 2-24 at The Pacific Cinematheque and
September 1-17 at Vancity Theatre. For programme details
visit www.cinematheque.bc.ca, www.vifc.org or be a pioneer
and consult the print versions.
J by David Ravensbergen
Now, what were we saying about the Film Festival? It starts its
engines on September 28 and runs until October 13. Look for more
extensive coverage in next month's issue.
Meanwhile, the VIFF people have already tossed a few preview
Elements of Style
That Other Magaane from ClTRIOI-SEM
While I like to fancy myself a big picture thinker, or in my more
deluded moments, an oblique strategist, attendees of Discorder
contributor's meetings can attest to the fact that my editorial policy
tends to circle back to the same themes. If it isn't my wanton overuse
of the word "anecdotal," it's my constant lament over our magazine's
lack of hip hop coverage. I'm starting to wear a groove in the roof
of my mouth where the words, "I'd really like to see some more hip
hop features" have passed. Despite amassing a roster of witty and talented individuals to populate the Discorder massive, I really haven't
seen many words on raps that can run the gauntlet of my vigorous
quality standards.
Out of ideas and disillusioned with our leftist neo-hippie/pseu-
do-anarchist think-tank's forays into rap, I've turned, like many
desperate souls before me, to conservative politics. When the present
doesn't measure up to expectations—whether as a result of too many
indie rock features or those pesky taxes on the super-rich—it's best
to appeal to an idealized, fictional past to gain the affections of your
audience. Remember when the streets were so safe that you could
walk to school for 20 miles in waist-high snow without fear of being
assaulted by aggressive panhandlers? Well, rappers do too. I've heard
so many tales of the golden days of old school hip hop that I'm starting to wonder if there might be a kernel of truth amidst the nostalgia.
And so, with my hands waving in the air ljke I just don't care, it's off
to the archives to search for answers.
After blackening my thumbs with the ink of back issues, I'm
starting to realize that Discorder's disproportionate commitment to
boys with beards and guitars stretches back to the magazine's inception. While openness to
all genres of interesting,
independent music was
a founding principle,
indie rock will always
remain Discorder's first
love. Over a decade ago,
a group of CiTR layabouts
took stock of this axiom,
and decided that if they
wanted to see hip hop
better represented in
print, they were going to
have to do it themselves.
Enter J Swing and Fli-
pout, now renowned DJs
on Vancouver's formerly
urban radio station The
Beat 94.5 and residents
at Hollaback Wednesdays at The Plaza. The pair unveiled Elements in
May 1995, a bi-monthly hip hop magazine that picked up the slack of
their sister publication at CiTR.
I wasn't even aware of Elements' existence until a recent clean
and reorganize of our office uncovered a trove, but as I leaf through
a handful of 32-page issues stuffed with solid content, I can't help
but wonder how it flew under my radar for so long. A quick Google
search reveals little to no information, and J Swing and Flipout's
biographies on The Beat's website mention CiTR, but conspicuously
overlook their print undertakings. Too bad, because this forgotten
little mag provides the most comprehensive hip hop coverage I've
seen in a Canadian publication.
With distinctive, graffiti-style caricatures on every cover, Elements stands as a memorial to a transitional period in DIY publishing, before the internet solidified its place in the media hierarchy.
Each masthead reads like a who's who list for mid-90s hip hop; one
1996 issue (they neglected to indicate the month or issue number)
features M.O.P., Jeru tha
Damaja, Xzibit, Mobb
Deep, Ras Kass and
Ghostface Killah. Even
with the aid of the internet, it would be next to
impossible for a contemporary, volunteer startup publication to book
such an impressive lineup. Artists like Ghost-
face are protected by an
elite army of publicists,
and with every major
music magazine on the
continent scrambling
to praise the release of
Fishscale, a couple of DJs      I >^^^^^5^
from a community radio
station in Vancouver would be hard pressed to get any actual Wu
interview time.
Aside from the hand-drawn covers by the Allcity Action Team,
extensive interviews with rap luminaries, and a wide range of record
reviews, Elements featured some hilarious commentary on the lives
of student journalists. Each issue is prefaced with a little disclaimer
for missing the publication deadline, like November/December
1995's "We're sober and we're still mad late. Shit ain't ever gonna
change—Fuck it." Even with the stress of late issues and the constant
complaints of "herbs" at the radio station, J Swing and Flipout maintained the importance of wylin' out. "We come out here in the middle
of the night and smoke bud with the proctor and then get on the radio
and act up when nobody's here to stop us (but we always make sure
to stop the logger tape first)."
Since most issues of Elements likely perished in the Great Archive
Fire of 2002, the magazine is fading fast from CiTR's institutional
memory. Drop by the office and check it out before it's too late.
discs our way:
Absolute Wilson (USA/Germany)
This two-hour documentary on the crowned prince of avant-
garde theatre pretty much lives up to its title. Even the most avid fans
of American performance artist and director Robert Wilson should
find god-I-never-knew-that moments in Katharina Otto-Bernstein's
exhaustive crawl through his life and work. From a ballet teacher's
role in curing his childhood stutter to time spent in a mental hospital
following a post-college suicide attempt, Wilson spills all with his
ambling conversational style. My only wish is that some of the other
talking heads had been cut to make room for more archival footage.
Watching the creative charge between him and long-time music collaborator Philip Glass is a joy, while the tantalizing clips of his staged
pieces feel far too brief.
Longing (Germany)
Valeska Grisebach's deceptively low-key drama about marital
infidelity is the sort of film one can only see at festival time. Full of
unadorned characters and unedited moments, it reflects reality in a
way that most mainstream counterparts have neither the courage
nor the subtlety to do. Much of the story remains unclear—which
seems to be the point—and a lovely device at the end uses a children's
conversation to underscore this. The camera work is stellar and,
on occasion, so sneaky that I was hitting backscan. Highly recommended.
Uganda Rising (Canada)
If you thrive on righteous rage, then Pete McCormack and James
Miller's calmly-narrated study of internecine genocide in northern Uganda will make your day. Focussing on the roughly 25,000
Acholi children abducted to fight with anti-government rebels, the
film gives an historical rundown of the 20-year conflict which has
displaced over a million Ugandans to camps where they have been
routinely slaughtered by The Lord's Resistance Army. The Ugandan
government's ridiculously inadequate efforts to protect them, along
with the selective blindness and endless debating from the rest of
the world are predictably infuriating, but to hear children dispassionately recounting atrocities of murder and mutilation, which they
not only witnessed but also committed, beggars belief. And it's when
McCormack and Miller really dig back that the dots connect: a brief
and meticulous account of the self-seeking interference by colonial
powers in the early 20th century shows how numerous African
nations were set up for civil conflict. It's also when your anger and
disgust top out. ||
0000,00 <
"ffie most exhilarating
rock band on the planetM **,
WL      -mM ^CONCERT
1 <SEPM9*»
ti       Brand ne
and a 16 page bookk
h SEPT 12
1 i-th
O:   __*___*■■■__.'"
/ i\ IB-'          **** Whatever style The Roots take or
'  1 I ms     ""\    thev do better than ANYONE else in pc
'■   i\ 7              \                                                                 -Bter
/ p\ /Specially]
ickickle "Imagine a soulful soundtrack
to the 493 wars waging right
.'•:''now-BRIUJANT"-Detail* ;- ■
^Qn^_W_PP ^°
Slack magic*
shorten   ~j j
I Fri Sept 15- 5:30PM @ HMV Robson & Burrard I
'• • *
give   J___iS
*e hmv gift card
music • DVD • more I**"   'w\\f
c?     September 2006 Discorder     9 IValU-Pass
Use your Val U-Pass at
Receive 25% off your food bill
Sunday through Thursday
Wbrnf coo ir
No Cover, No Line B410pm ■%
on Wednesdays
No Cover, No Line B410pm
on Wednesdays & Thursdays
Doolins Irish Pub:: 654 Nelson St.:: 604.605.4343:: www.doolins.ca      932 Granville St.:: 604.331.7999:: WWW.rO]^n.COm
^      Radio One
playing The best of.
-      90's Rock
"We wrote the book on partying!"
Call us and let us help you plan your next party or fundraiser:
• Customized tickets and posters at no cost to you
• VIP privilege at all of our venues
• Catering options available
• Entertainment included (DJ or Band)
For more information call
Christine at 604.605.4328 or
1006 Granville :: 604.605.4350 :
10     September 2006 TEXTUALLY ACTIVE —
Pretty Good Years: A Biography of Tori Amos, Fun Home, Night Fisher
Pretty Good Years: A Biography of Tori Amos
By Jay S.Jacobs
(Hal Leonard)
Like many biographies,
Pretty Good Years raises more
questions than it can hope to
For example, why did
Jacobs write Tori Amos' biography when he hasn't interviewed the singer since 1996?
And why would Hal Leonard
publish a bio only a year after
the release of Amos' "collaborative autobiography" Piece
by Piece? Did Jacobs even read
Piece by Piece? And why didn't
Jacobs' editor notice that he
wrote Pretty Good Years in what
reads like two weeks, including
research time?
On a smaller scale: why
does the author avoid asking any interesting questions about Tori
Amos? Why doesn't he take a critical look at her insistence on making dubiously opaque concept albums? Why does he rely on a binary
understanding of authentic artists and sell-outs, when the real matter is a good deal more complex? And what's with the subtle misogyny
that Jacobs lays on female teen-pop stars? ("The pop music world was
evolving yet again, and the intelligent female singer-songwriters
who were all the rage just a year before were being replaced by pop
tarts—attractive, created-by-committee singers who were willing
to do any song the recSai labels would send their way" (p. IIKSsli
just me, or is Jacobs indulging in some subtextual parallels of sexual
promiscuity and musical whoredom?)
And how did Jacobs omit an entire album of b-sides from the
discography? If I, a Tori-crazed highschooler, managed to find the
elusive double album Under the Pink + More Pink in the Metrotown
HMV in 1997, how hard could it be for a journalist to find a mention
of it on www.allmusic.com? Especially when he references that very
For that matter, why do I even care about this stupid book? Didn't
I stop liking _rafififonos sometime after 1999NIbVeitus and Back? Is my
once-ardent love of songs like "Sister Janet" and "Little Earthquakes"
enough to justify reading this entire waste of pulp? Did I mention that
I used to dye my hair red when I was fifteen? Just to be like Tori Amos?
' *Aaal_fe7 have a funny soft sfwror her even as she sort of embarrasses roe, the way an ex-boyfriend might? Like the boy from high
school who seems pretty lame now but who taught you all kinds of
things when you were super-young and dumb and didn't yet know
that Sarah McLachlan wasn't the edge of the known music universe?
And you kind of want to check up on this boy every so often, see what
he's up to even though you haven't spoken for years?
Did you know that I used to passionately defend her from detractors, claiming that her lyrics were really deep though I never totally
knew what she was singing most of the time? And that I used to think
that the last line of "Professional Widow" was "gimmie love, peace,
and a heart Cadillac" until \ read the lyrics and saw that it was "gimmie love, peace and a hard cock"? And did I tell you (and this again is
embarrassing to admit) that listening to her inaccessible album Boys
For Pefe probably honed my ear in a big way when I was just a teenager stuck in a small town with no local bands, no college radio, no
Napster and no good record store? And that in some way I probably
owe a lot of my music-geek prowess to albums like Under the Pink and
From the Chotrglti Hotel? Would you be surprised if I told you that I
was going to donate Pretty Good Years to a thrift store and then listen
to some of those old songs again? And maybe even pull that box of CD
singles out of the storage space and put the Winter EP on my iPod?
And one last thing: if I ever get this worked up about a lousy
biography again, will you tell me not to expect anything good from
Hal Leonard? Will you remind me that, after all, their main business
is sheet music and not critical biographies? Yeah? You will? That's
nice of you. Thanks.
Fun Home, Night Fisher
Coming-of-age stories seem to be a particularly easy fallback for
comic storytellers to pull at the heart strings of geeky readers who
have all gone through similar experiences of social isolation and
awkwardness. And don't get me wrong, there are some great stories
in this genre: Joe Matt's heartfelt Fair Weather was a nice transition
from the usual fair that he pumps out (a bad choice of words—he
puts out a comic every couple of years and most of them are about his
porn collection). Chester Brown's duo, I Never Liked You and Playboy
are both revealing narratives that broke a lot of ground in style and
content. Fifteen years later, they still stand above in the crowd. Ultimately, comics function to tell a story, and in the indie crowd, most of
them are autobio. People write about what they know—themselves.
Recently, some newcomers have arrived on the scene, setting a
new standard and raising the bar of excellence. In Fun Home, Alison
Bechdel tells a story of her own coming-of-age and emerging sexual
identity through some of the
strongest vocabulary I have
ever seen in comics. Newcomer R. Kikuo Johnson creates his own version of growing up in Hawaii surrounded
by crystal meth, offering
the most accurate portrayal
of drug addiction and drug
culture that I've seen since
a bunch of potheads put out
comics in San Fran in the
Fun Home originally
passed by my eyes without a
glance, but after the owner
of my local book store impressed upon me just how
great this book is, I knew I
had to check it out. Alison Bechdel has previously been most known
for her comic strip, Dykes to Watch Out For. The world of comic strips is
a little foreign to me: some of them look great, but I just can't get into
the format, so Bechdel is one of those creators that have stayed under
my purchasing radar. But Fun Home comes across as personal and
revealing, and stands as one of the best things I've read all year.
Night Fisher
The story revolves around Alison's childhood relationship with
a distant father, with whom she has more in common than originally
thought. Alison creates a parallel between her own coming out in
college to her father's closeted lifestyle and its emotional consequences. Alison's discovery doesn't come through conversation with her
father, but revelations from her mother, and the relationship with her
father continues to be odd and distant. Alison shows a lot of pride in
who she is and how she came to her own sexual identity, and that is
reflected in the sincerity of the book. Houghton Mifflin, a publishing outfit that usually specializes in text books, is an odd choice for a
comic of this distinction. Hopefully it's a good indication of the quality to come out of other book publishers in the future. Expect to see
this book on every graphic novel top ten list at the end of the year,
because it will be on mine.
Most of what I know of crystal meth use in Hawaii comes from
the Dog the Bounty Hunter show, where Dog tracks down screwed-
up methheads who have jumped their $500 bail. Needless to say, it
doesn't represent well. Night Fisher by R. Kikuo Johnson, on the other
hand, exposes you to real drug culture as you witness the slippery
slope of meth addiction. Kikuo's art is very reminiscent of a strong
favorite of mine, David Mazzucchelli, who hasn't put out anything
in such a long time that most people wouldn't remember his work if
wasn't for his classic Batman: Year One.
Kikuo's tale of adolescence explores the tension between parental pressures and expectations, and the desire for some semblance of
an interesting social life. From this ground, Night Fisher accurately
portrays the madness of meth, without falling back on parody as the
movie Spun does. Kikuo employs the trope of teenage awkwardness
throughout the story, but doesn't rely on it for sympathy—instead, it
works as the thread that connects this strong debut comic together.
Both of those books are sure to delight, and if you feel inclined to
venture further into similar comics, I highly recommend Black Hole
by Charles Burns. Rather than focus on a central character, Burns'
story describes a large group of teens coping with an STD that is turning them into weird mutants. I know that it may sound kinda cheesy
by my description, but it is anything but. Another recommendation
is The Summer of Love by Debbie Drechsler, a story of adolescence from
a female perspective that can be easily lost in the male-dominated
comic world.
To find about more great comics, check out the Inkstuds show, every Thursday at 2pm on CITR 101.9fm. Our archive of on-air interviews is catalogued
for you aural enjoyment @ www.crownconmiissionxom/mkstuds.
Robin McConnell   _t
Night Fisher by R. Kikuo Johnson, Fantagraphics
11 Historically, the September issue of Discorder contains a Vancouver music directory, to fulfill the magazine's hours of community service to newly sm
by Mario Carpenter
Illustrations by Katie Lapi
and drum circles celebrating the full moon, something strange and a little bit
silly occurs once a month
(the third Tuesday) at
Our Town Cafe on Broadway and Kingsway. You,
the public, are invited to
B.Y.O.U. —Bring Your Own
Ukulele—for the Vancouver
Ukulele Circle's (www.vcn.
:a/vanukes) monthly
gathering. I showed up this
August to witness the spectacle of thirty-odd ukuleles
strumming in unison.
is attended mostly
by middle-aged, folky freethinker types—the same demographic as cyclists, Mac
users from the early 90s, and Utne Reader readers—an
even number of men and women clad in short-sleeved
plaid shirts, glasses, sensible cotton shorts, and Tevas
(functional comfort-oriented sandals from MEC are
the new Birkenstocks). I eavesdropped and chuckled
to myself at the genius of Christopher Guest et al. as
I thought of A Mighty Wind. Nearby, someone name-
dropped Brian Wilson. Somewhere else, in a discussion about the new "no carry-on" rules on airplanes
in light of the recent arrests in the UK, somebody
wondered if you could still take your uke (note that
enthusiasts say uke, not ukulele) on the plane.
Energy was gathering. You could tell they were
raring to go. Ukes emerged from their cases, notes
from pitch pipes sounding amid modulating staccatos
plucked and re-plucked in a collective tuning effort.
The Ukulele Circle's fearless leader and founder, Ralph
"The King of the Ukulele," mounted the stage, backed
by a fiddle and bass player, instructing his fellow uku-
lele-ers to "Uke and roll!" (That is a direct quote.) Everyone followed along in their songbooks, often with
a handy chord chart nearby, singing and strumming.
The first song they played, "Singin' in the Rain,"
is one of those songs from my childhood I love unconditionally. Tried as he might have, not even Kubrick's
A Clockwork Orange could sully for me the whimsy
and optimism of Gene Kelly tapdancing through
enormous puddles, having just discovered the perfect
solution to his Lena Lamont woes.
They followed it up with "Yellowbird," "Yes,
Sir, That's My Baby," and by the time they hit "Your
Cheatin' Heart," something in their carefree uke-
waves completely dissolved my Protective Hipster
Adamantium-Irony Alloy Coating. I mean, some guy
in the back— Jim was his name—had brought a kazoo. You know that crazy neck-brace thing Tom Petty
wears so he can play the harmonica and guitar at the
same time? This guy had one for his kazoo, so he could
play kazoo and ukulele simultaneously. And at the
end of each song, he'd give an enthusiastic blow
or two into his penny-whistle. Fweeee! I think my
heart grew three sizes.
On top of being Sovereign of the Ukulele
Monarchy, Ralph Shaw is a champion whistler,
like how some people's grandfathers can whistle
in that intricate, bird-like warbly way— one of
those old-timey things that somehow died out.
That Bernard Hermann song, "Twisted Nerve,"
from the Kill Bill Vol. 1 soundtrack, is a good
example. Even better is the Harlem Globetrotters
theme song, "Sweet Georgia Brown," which they
of course played that night. When I told Ralph
later how blown away I was by his whistling, he
told me that back in the days of vaudeville, there
were people who toured whose entire talent was
just whistling in a band.
Something I'd thought of when they were
playing "Your Cheatin' Heart," and was con
firmed later on when they played "Brother, Can
You Spare a Dime?" is that the ukulele is one of the
perfect sad-song instruments. It's got lugubrious-
ness covered (and what is "Your Cheatin' Heart,"
if not lugubrious?) with the contrast of the brightness of the instrument and the cartoon-sadness
of the song. But it works for seriously melancholy
songs like "Brother," too, vividly recalling the
despair and poverty of the Depression.
Along with the kazoo and the penny whistle,
the ukulele is an inherently funny instrument.
When I first heard of BYOU (by the way, I think
my friend Caroline made that term up, and not
the Ukulele Circle), I laughed uncontrollably for
a couple minutes. But as Ralph pointed out to
me, there's not really any reason the ukulele isn't
considered a serious and valid instrument, once
you get past the fact that it's small. It's not that the
Vancouver Ukulele Circle takes itself super-seri-
ously. They've fully embraced the absurdity of the
instrument and taken it a step further. Just like
the hundreds and sometimes thousands of folks
who roll out monthly on their bicycles (a mere
children's toyl) for Critical Mass are a ridiculous
spectacle for nearly everyone else, the ukulele enthusiasts found a reason to get together and enjoy
the dickens out of their hobby, cynics be damned.
Their next meeting, at 7:30pm on Tuesday, September 19th at Our Town Cafe (245 East
Broadway), celebrates the Ukulele Circle's sixth
anniversary. Smiles guaranteed.
by Meg Bourne
I think we can all agree that there's
nothing better than watching a crowd of
zombies mawl a bus full of people. When 500
zombies took over the Downtown streets for
this year's annual Zombie Walk, it was all fun
and games until a fucking idiot decided to run
over everyone. Luckily zombies stick together,
and everyone started smashing the idiot's car
to bits.
Unfortunately, the walk was cut short
this year. While last year's walk involved trips
on the Skytrain and terrorizing shoppers at
Pacific Centre, this year finished up early at
Sunset Beach. I was disappointed—I could've
walked for hours.
Regardless, the Zombie Walk always
brings good times. From a guy pulling around
speakers playing distorted metal, to a couple
with a baby zombie, to a news reporter getting
chased, the Zombie Walk is an event I think
everyone should take part in. That is, if you
don't mind undead strangers coming up to
you and pawing through your hair...
Photos by Meg Bourne
BENT Collective
by Mono Brown
Vancouver's gay community celebrates Pride
just once a year, but the Bent Collective reserves
the third Thursday of every month so that the East
Van queer community can, "Dance It. Sweat It. Get
It." Bent, East Van's non-profit queer dance party
returns this Thursday, September 21 to its home at
Anza Club (3 West 8th Avenue, at the corner of Ontario Street). Having dubbed themselves a "Monthly
Queerknological  Dancing  Committee"   on  their
MySpace profile (myspace.com/bentvancouver),
the Bent Collective does a dance party for everyone.
Bent newcomers can expect dance party themes that
range from Degrassi Junior Bent to the most recent,
Bikesexual Bent (an event especially for Vancouver's
numerous "glamorous queers with gears"). Retro,
pop, electro, rock and hip hop, compliments of DJs
Ruggedly Handsome, artflick, Dance Mix 96, and
more, plus special performances and head-turning
dance moves a-plenty. Dust off your fanny pack and
lace up your high-tops. Homos rock. $3 cover and
doors open at 10 pm.
Illustration by Alison Benjamin
Richards in
by Quinn Omori
Mistake #i: Refusing to forgo another Family
Guy rerun in order to make it down to Dick's to
catch the entire opening set by Silversun Pickups.
I did manage to get into the venue in time to see
their last couple of numbers, and while the three-
piece's thick racket of Pumpkinesque chords wasn't
exactly breaking new ground, it was good enough to
make me curse the combination of Stewie Griffin and
my own laziness.
Then the waters came. It wasn't exactly biblical,
starting as a small puddle by the main bar—something
that might have been mistaken for an unfortunately
12     September 2006
large drink spill—except it didn't stop growing. The
drains backing up at the bar slowly crept further onto
the Richard's dance floor, and while a puddle that's
mostly booze and water isn't exactly pleasant, it's much
better than puddle of something backing up out of a
toilet or several. It seemed
that the venue's plumbing
was not in the mood for rock
nor roll, as the flood at the
bar was soon joined by some
liquid   concoction   slowly
creeping its way out of the ladies washroom. And then,
just as Ladyhawk finished setting up their gear, the
show was cancelled. Fair enough, I suppose, although
it led me to my second folly of the evening.
Mistake #2: Thinking that you're brilliant as you
rush off to catch the snoozefest that was Six Organs of
Admittance at the Media Club, before finding out that
Ladyhawk and Magnolia Electric Co. were going to set
up shop at the Marine Club.
And they did. And it rocked (so I've been told).
Illustration by Melanie Coles
Jews On A Plane
by Darren Susin
When the Silver Jews park
outside Richard's in a couple
weeks, it won't be any sort of homecoming. Instead, it will be a chance
to finally see David Berman perform
songs we've been hearing for years.
Berman's tour history is sparse,
to say the least. In fact, he doesn't
really have one, save some poetry
readings and university lectures to
earn cash between albums.
When American Water
first dropped it was immediately
something special. From Berman's
stumbling voice and skin-deep lyrics to Malkmus' signature guitar,
the Silver Jews were anything but
a Pavement side project. Berman's
sing-speak style and clever wordplay separate him from virtually
every other singer. As for his stage
presence, recent reviews have Berman using music stands to hold
lyrics, apologizing to fans for not
touring sooner, and having his wife
Cassie play bass. Needless to say,
this is probably your only chance to
see the Silver Jews, so attendace is
Alf House on
East Georgia
by Patricia Matos
Whether you're looking for a new place
to go, or just like cramped spaces, the Alf
House in Vancouver's terminally hip East Side
definitely has character. Although it's a bit of a
hunt to find at first (tucked in a half-residential,
half-industrial side street), the House has seen
its fair share of both local and touring bands.
Most recently Halifax's own noisy dance punks
Sharp Like Knives headlined a sweaty, drunken
night of mostly local acts for a mere $4. Since
shows are performed in the house's tiny basement, climbing up and down the narrow stairs
while bands set up can be a pain in the ass. But it
doesn't really matter, considering the handful
of people actually living in the house are pretty
cool and don't mind if you use the last of then-
cups. Just leave their bikes alone and try not to
use the back door.
Illustration by Melanie Coles
What Ever Happened
With The Brickyard?
by Dan McCash
Nothing recaptures memories of bygone
times more than the power of smell. The rich
and complicated layers of stale beer aroma subtly
combined with the fragile bouquets of cigarette
smoke and East Hastings urine, for me, reanimates
the memory of Gastown's recently deceased venue,
The Brickyard.
The Brickyard, like so many Vancouver music
venues, has dwindled to nothing more than a fond
memory; however, rather than metamorphosing
into yet another squalid night club for under-ag-
ers, the figurative phoenix of The Limerick Junction has risen from the Brickyard's ashes.
The space has been bought out and cleaned
up by the neighboring owners of The Irish Heather
with the intention of continuing the spirit of The
Brickyard, fostering Vancouver's local music
scene. Thursday nights, especially, have taken on
the mandate of generating a welcoming band community, inviting groups from all around to play
sets alongside the Thursday night house band. The
February March.
The name "Limerick Junction" doesn't exactly evince images of a venue for experimental
music; I don't get the sense that they'll be hosting
any Dandi Wind shows anytime soon. From the
looks of the website, the production team is largely
catering to Vancouver's good old fashioned rock 'n'
roll scene. But, in good time, it should be interesting to see what develops!
For more information on live music at the
'Junction, visit www.myspace.com/sugartunepro-
by Marlaina Mah
W hen's the last time you sat down and laughed for an hour and
a half straight? If your answer is "every Sunday," then either
you're the most exasperating member of your congregation or you've
already heard of The Sunday Service at Wink Cafe (151 E. 8th Ave).
Yes it's called the Sunday Service but its not church. It's live improvised theatre and it will make your stomach hurt with giggles.
On August 19th, Ryan Beil and Taz Vanrassel celebrated their
show's one-year anniversary. The night started off with Taz holding
a mike to his cell phone and playing an archive of messages from his
voicemail, containing a neurotic Ryan worrying no one would come
to the show, or that they would bomb it, and suggesting they should
cancel the night entirely. His insecurity is entirely unwarranted.
The improv night's usual Sunday show is always jam-packed, and
the only times people aren't laughing are when they're sideswiped
by the pair's remarkable abilityte put the "theatre" back in "improvised theatre"—making you care for the characters and delivering
real moments of poignancy. This isn't your step-dad's Whose Line is
it Anyway?, this is the DFA 1979 of theatre: escapist, absurd and entertaining above all, but always based on real personalities that just
happen to be grappling with hilarious situations. At 9:00pm the fun
starts, but nowadays you need to get there by 8:30pm to get a table or
to make friends with strangers and share theirs.
In suit and tie, Ryan and Taz hosted the first portion of the night
with a lineup of comedic guests, opening with David Shumka's stand-
up routine of nervous but endearingly delivered one-liners. Ryan and
Taz followed, showing a sketch comedy video of themselves as a gangly, fruitily-choreographed but deeply committed, French-Canadian
hip hop dance crew (Fleur 2 Fresh) performing at the 'Canadian Hip
Hop Dance Championships'. Other guests to follow were sketch comics Sean and Kevin, known as the The Living Room guys, and then
David Milchard sitting on an amp, sarcastically singing a song on
guitar. Milchard also performs at Wink Cafe about once a month at
a night called It's Good to Know People. Ryan, Taz, Sean and Kevin
finished off the first half of the night by dubbing a scene from the
C-movie The Brain That Wouldn't Die, a segment nostalgically reminiscent of a live-action Mystery Science Theatre 3000.
As always at The Sunday Service, the first half of the night is
comprised of short-form improv games, and then after a quick break
the long portion of the evening ensues, with Ryan and Taz asking the
crowd for suggestions to inspire the scenes to come.
On this night Ryan and Taz leisurely broke in and out of character, moving from story to reality and at times regaling us with song.
One little ditty recounted an occasion when Ryan was heaving sick
before a show (not an uncommon occurrence, apparently), inspiring
a crowd sing-along of the chorus line, "Ryan throws up, Ryan throws
There seem to be no rules to their act. At one point, Taz threatened to leave the show and Ryan had to sing a song to lure Taz back
on stage. They stuck to the underlying theme of the night, the history
of their friendship, engaging us to no end with their freestyle form.
The crowd at Wink is an always energetic array of interesting
people, which is both a blessing and a curse for a genre that invites a
good amount of crowd participation. The cracked-out imaginations
of the audience never fail to produce a range of outrageous comments. Like two friends entertaining guests in their basement suite,
Ryan and Taz work so naturally with the crowd and the surroundings that any unexpected contributions—a sound from outside, a
projector sheet falling down, a less-than-genteel heckler—are ingeniously incorporated into the performance. A couple Sundays ago, a
young lady's cell phone rang during the longer portion of the night,
and Ryan walked into the crowd, answered her phone and converted
his conversation with the mystery caller into a major plot point of the
scene. This is how it goes, every Sunday night at Wink Cafe. Unpredictable as fuck. But whether you come to see a genre of theatre lifted
to new artistic heights or just laugh your ass off at a pair of witty,
irreverent dudes, you're gonna leave The Sunday Service on a high.
Discorder     1 3 oronto's Gentleman Reg (aka Reg Vermue of Guelph,
o and Three Gut Records infamy) is no stranger to
| the silver screen. Fans of Reg may recall that his steaming
hot 2005 video for Darby & Joan's, "The Boyfriend Song,"
was deemed unfit for broadcast (although not, ahem, for online
viewing), but since then the sweet-singing indie pop artist has found
his way back into the limelight. Reg and I exchanged emails about
his rising stardom before his live performance at the 2006 Vancouver
Queer Film Festival.
G.Reg: First I would like to acknowledge that I'm listening to
Juliana Hatfield while writing these answers.
Discorder: Easy question first: what is your favourite queer
film, and why?
The film Lilies comes to mind. It's a Canadian film from the mid-90s,
and is based on the play Les Feluettes. I first saw it on a trip to Halifax
with a friend from high school (and one of the girls from the band Jale
was working the ticket booth).
It's very passionate and theatrical and tragic, and is beautifully
shot. And I think it sticks with me because of the time in my life when
I saw it and where I was at with my own sexuality.
Recently I just saw Julie Johnson with Lili Taylor and Courtney
Love, and they're both fantastic in their roles. The script could be a bit
"better, but they did a great job with what they had.
Besides the release of your video for "Over My Head" this past
July (directed by Sara St. Onge, and stunningly beautiful),
both you and your song "It's Not Safe" appear in John Cameron
Mitchell's latest film, Shortbus. How did you get involved with
the film?
Well, I'd met John several years ago when the Hidden Cameras were
playing a show in New York. He came to see us play and naturally we
were all excited he was there, and he and I just hit it off and kept in
touch ever since. And naturally he got to know my music, and chose
my song for his film partially based on the main lyric, 'It's not safe to
be naked.' And then after he saw my video for "The Boyfriend Song,"
I think he realized I looked OK on film, and asked me to do a cameo in
Shortbus, since there's a recurring bit about an albino. I'm definitely
the go-to boy when someone needs an albino. And my part didn't get
cut, yah!! My debut on film.
by Mono Brown
Photo by Stephanie Forder
Aside from your upcoming appearance at Vancouver's Out
on Screen Queer Film Festival with an assemblage of local
musicians, what kinds of musical collaboration can fans
expect from you next?
Well, lots actually. I've been singing with some other bands lately—
Kids on TV, Republic of Safety. And I'll do more of that. Owen (Final
Fantasy) and I are always talking about making a record someday,
whenever he gets a free minute.
Joel asks me to sing with the Hidden Cameras occasionally, and
I'm starting work on the new Gentleman Reg album this fall. And
then a brand new project, which I don't want to jinx by talking about
it, will unfold shortly, and will hopefully make you want to dance
when it's through.
And of course, every night I dream that Kevin Drew will call me
up again to sing with his band.
What West Coast bands does Gentleman Reg listen to?
I always love The Organ. We have a fantastic time on the road
together, and Katie has sung with us on occasion. And of course check
out all the bands that are going to be forming my back-up band for this
Vancouver show: Bella, Woodhands, and The Fall Collection.
Any last words for G.Reg's growing Vancouver fanbase? Like,
when will you come see us next?
I'm anticipating lots of travel this fall, so hopefully Vancouver can be
included in that. But not in the winter, I'm sorry, I need light!
For upcoming Gentleman Reg appearances along the West Coast, keep an
eye on gentlemanreg.com.  §|
M ujhth Iesheit US <Ga@t^2£3L fjj^j^^
Spccidls on f remftm Beer ind 8drd Sdri
sNerve Magazine   prc^ectopuswjom
14     September 2006 OUT SOON ON SOOT!
The long awaited vinyl ol Destroyer's most
recent opus includes a full side of remixes
and new material by Loscil!
OESTftifiR p
The legendary and elusive debut album
re-issued with all new art work!
SWANUKi    .
Destroyer Dan + Frog Eyes Carey + Wolf
Parade Spencer = Swan Lake.
Out in November.
AFI - Deeemberunderground LP/CD
THE ALBUM LEAF - Into The Bue again
LP/CD/DVDA (Sept 19)
CURRENT 93/OM - Inerrant Rays Of
Infallible Sun CDEP (Sept 19)
BOB DYLAN-Modern Times LP
FUCKED UP - Dangerous Fumes T
remastered reissue
HOT SNAKES - Thunder Down Under LP/CD
Seditionaries CD
MAGIK MARKERS - Songs For Sada Jane
THE MARS VOLTA - Amputechture 2LP
Palmless Prayer/Mass Murder Refrain CD
- New Hip Hop vinyl weekly!
- New Independent, Criterion & Cult DVDs weekly!
726 Richards Street, Vancouver, BC V66 3M • Tel: (804) 687-0499
Fax: (664) 687-0488 • Email: commerce@scratclirecords.coin f
NEIL HAMBURGER - The World's Funnyman
THE NICE BOYS -s/t LP/CD ex-Exploding
NOMEANSNO - All Roads Lead to Ausfahrt CD
OF MONTREAL - Satanic Twins 180g 2LP limited edition remixes
PAJO-1968 CD
PINBACK - Nautical Antiques CD
TORTOISE - A Lazarus Taxon 3CD+DVD BOX
limited edition
TRISTEZA - En Nuestro Desafio CD+DVD
THE USA IS A MONSTER - Sunset at the End of
the Industrial Age LP/CD
Meantime LP/CD
M. WARD - Post War LP/CD
XIU XIU-The Air Force LP/CD
YO LA TENGO -1 Am Not Afraid of You and I
Will Beat Your Ass 180g 2LP/CD
final imtuv C\
Lullaby Baxter
Sept 7
- SUB Courtyard
Blood Meridian
Gallery Lounge
De La Soul w/Cadence Weapon
Sept 10
Final Fantasy
Sept 19
- Norm Theatre
Sept 21
- Gallery Lounge
Greg MacPherson
Sept 22
- Gallery Lounge
Scott Thompson (of Kids In The Hall}
Oct 3
- Norm Theatre
Ian Wright (Lonely Planet/Pilot Guides)
Oct 12
- Chan Centre
Maude Barlow - In Lecture
Oct 15
- Chan Centre
Tokyo Police Club
Nov 17
- Gallery Lounge
Discorder     15 CAPTAIN
.*TFBis Is Hazelvrflfc". "
£f__  ink
"The Crane Wife"
"Uly Allen is about to change the way you
think about pop music* > NME
"Friendly Fire"
10 songs accompanied by 10 short films. See the trailer at
Available Oct 17
'Born In The UK"
16     September 2006 For the DNA intact, Motators are best described as sounding like the sinking
of the Titanic... in something. Expect two new 7-inches of this sonic disaster to
surface/sink shortly. If it is live Mutators you desire, it's best to note that they follow
Siafu, the killer ant spirit, to the trail of being paralyzed and pregnant. This trail,
evidently, leads down the West Coast. With the aid of their chauffeur Keith, the trio
will be checking out of Vancouver at the end of the month. Before they tussle with
the border you can catch them, twice in fact: Pub 340 on the 15th and Lamplighter
on the 21st. Don't be surprised if they re-emerge after their West Coast spirit quest
as the Meow-tators, only to be seen at feline welfare benefit concerts. Siafu loves
Yummy Fur - "Policeman"
This song is cool. Neat cool.
Puzzle Punks - "VDDUV"
This song makes me smile. Seriously...It really does.
Beyonce - "Check On It"
I like to dance to this song. Real neat.
John Cage - "Music for Marcel Duchamp"
Dirt McGirt - "Lift Ya Skirt Up"
Cool fun.
Kleenex - Hitch-hike
Puke in the shape of a heart.
Doodooettes - Picnic on a Frozen River
This song is more like picnic on a frozen neat!
Grethe Agatz - "Ekkoleg"
If only children thrown down wells could sound this
Sonny Sharrock - "Soon"
Outtake from the Picture Pages theme song sessions.
Reveen- "Stop Smoking and Overeating"
Like Texas Chainsaw Massacre kind of gnarly.
Patty Waters - "Black is the Color of My True Love's Hair'
Witness 17 fake female orgasms.
Brambombs - "Mommy Said"
Summertime goodtime pigsty wedding march soundtrack.
Sun City Girls - "TNTNT"
Taken from Teen Wolf 2 .
Missy Elliot - "Can't Stop"
Hella sick.
The Residents - "For Elsie Part 5"
The Residents - "The New Hymn"
The Residents- "Godsong"
The Residents - "Final Confrontation"
Negativland - "Michael Jackson"
Philip Glass - "Rubric"
Philip Glass - Closing
14 new classics from the original SubhumaiflRliis is real fucking punk you poser
nitwits. New Dark Age Parade is every bit as desperate, powerful and pissed right
off as their seminal work; seething and urgent in a world run by fucking fools.
(the 11th was already booked for someAing?) -
o r or i _ *&** weekend part
\r r lif IP THE RED ROOM
JH   j   U;2R00WS/4DIS
\ Y r 1   11 PMiTH ARTOFf ACT
G7 Welcoming Committee Records.
18     September 2006
http://g7welcomingcommittee,com k_»
by BRock Thiessen
photo by Kelly Claude Nairn
Throughout Canada's short history it's been all too
1 common that we don't readily celebrate our own, and
Kthe music world has been no exception. Historically,
most music made in this country is routinely forgotten, greeted with
apathy and a general lack of concern. This unresponsiveness started
early in Canada, where, ironically, the composer of our national
anthem, Calixa Lavallee, set off for the greener pastures of America
when he could no longer make a living here. This set the stage for a
musical brain-drain that plagued us for many years. Yet there are
signs that Canadians do in fact care enough to reverse this negative
trend in our musical heritage. The gradual growth of the Canadian
indie rock scene into a worldwide phenomenon is one case that shows
it is possible for us to revere our music. Another recent example of this
willingness to change is the outpouring of affection surrounding the
release of a Canadian compilation. Light in the
Attic's Jamaica to Toronto: Soul Funk and Reggae
The main authority behind Jamaica to
Toronto is Kevin Howes, a.k.a. Sipreano of
Vancouver. Howes, who's been with the project
since 2003 and compiled the compilation,
is happy that we are finally giving forgotten
Canadians some long overdue respect. He
had the opportunity to see this first-hand on
July 15th at Toronto's Harbourfront Centre,
where over 5,000 people attended a reunion
concert that included the majority of the
original artists featured on the compilation.
"It's really overwhelming, the support and
the love that the musicians got after so many
years of neglect," says Howes. "I can't believe
the breadths of how far this music is finally
reaching some 30-40 years after the original
records were made—long forgotten in most
cases—and that's totally amazing."
The compilation, which ironically is on a
US label, the Seattle-based Light in the Attic,
has already amassed a series of glowing reviews
and features from the likes of the CBC, Globe
and Mail and Stylus. Even the trendsetters at
Pitchfork gave it an impressive 8.1. The buzz
is well-deserved this time around, for Howes
has unearthed a mighty collection of songs that stands tall amongst
anything in either Studio One's or Trojan's massive backcatalogs.
On Jamaica to Toronto we find a captivating melting pot of sounds
and styles coming from a highly regarded set of Jamaican players,
like the legendary Jackie Mittoo, Wayne McGhie. Johnnie Osbourne
and Lloyd Delpratt. As this group of Jamaican-Canadian transplants
began calling Toronto their home in the '60s, they struggled to play for
their new audience by blending the more indigenous sounds of island
ska, rocksteady and reggae with a heavy mix of North American soul,
funk and R&B. Among the album's 16 tracks, there are slow-paced
soul numbers like "FugitiveSong" by Jo-Jo and The Fugitives, which
has some of the most spine-tingling and cathartic yells ever put to tape.
There are broken-hearted tales of men living in foreign lands set to
dub rhythms like Noel Ellis' introspective "Memories." And then there
are songs that are simply beyond classification, like The Cougars' jaw-
dropping take on The Temptations' "I Wish it Would Rain," where the
song's uniquely minimal arrangement and heartbeat drums rival the
greatness of the original.
But Howes stresses that the immigration story behind Jamaica
to Toronto is just as essential as the music. By 1971 the West Indian
population in Toronto was nearly 70,000, partly due to strict US
quotas on immigration. When Canada relaxed its immigration
standards in 1962 and again in 1967 (with the introduction of a
"points system"), Toronto soon became a top pick for opportunity-
seeking emigrants from the West Indies. Also, Howes explains that the
thought of being drafted to fight in Vietnam if they moved to America
played another crucial role in the decision to come to Canada. For
many Jamaican expatriates residing in Toronto in the '60s, music was
an indispensable part of life, and they grasped onto this music to deal
with cultural transition the best way they could.
"It was always a love thing with these guys, and they were always
trying to be positive in the face of this big transition and adversity and
poverty," says Howes. "It was a huge culture shock for them to come
from Jamaica, which is a land of sun and surf, to -10 [degrees] and
knee-deep snow. To adapt to a new society that was running at such
a different pace than the islands was so hard, and they faced a lot of
racism, but it was amazing that they just loved the music so much.
It came from such an honest place in their hearts that they just got
involved in the music scene."
So, why is it that some outsiders from the West Coast ended up
being the ones to wake everyone up to this undocumented history? The
answer begins wtth Howes playing the double-role of music historian
and DJ in mid-90s Vancouver. During his search for old sounds, he
stumbled upon his first record from the Jamaica-Toronto scene, Jackie
Mittoo's Wishbone. Soon, other records from the scene began to slowly
materialize in bins and crates as Howes diligently searched for more
pieces to the puzzle.
His insatiable curiosity eventually got the better of him, and
he wanted more than just the records—he wanted answers. Since
Howes found literally zero information in print he went straight
to the source and started tracking down these old ghosts one by
one. Through a series of chance meetings, in 2003 he and his new
cohort, Matt Sullivan, eventually found themselves boarding a plane
to Toronto with a box of Jamaican-Toronto 45s to visit the long lost
Wayne McGhie. Here they planned to discuss the reissue of the holy
grail of funk, Wayne McGhie and the Sounds of Joy, on Sullivan's label
Light in the Attic, but the unexpected happened. As Howes dropped
45s for McGhie in his Toronto home, emotions flared, memories were
sparked and big plans were hatched. Before long, both Sullivan and
Howes realized that more had to be done than just reissue McGhie's
album, and this meeting proved to be the birth ot Jamaica to Toronto.
"When I envisioned the compilation I didn't imagine that it
would turn into this," says Howes. "I wanted to put out a CD, show
this great music and document some of the stories, but it's sort of
taken on a life of its own." The Jamaica to Toronto project will soon
greet the fall with two more installments, Noel Ellis' self-titled album
of heavy dub and reggae from 1983, and, Howes'
first find, Wishbone, by renowned organ player
Jackie Mittoo. Along wtth several more full-length
installments in the Jamaica to Toronto series, there
are also plans to compile numerous 45s with some
exclusive b-sides. And after the huge success of
the original reunion concert, a traditional soul
revue featuring many of the original players will
be embarking across Canada in the near future.
There's even mention of further documentation
with a potential book written by Howes. But
perhaps the most ambitious project is the plan to
make a feature-length documentary about the
Jamaica to Toronto experience. Howes and co. are
now in the early stages of editing a documentary
about the project, which will include contemporary
interviews, archival footage, concert filming and a
trip to Jamaica.
While all the madness surrounding Jamaica to
Toronto is certainly enough to keep Howes busy, he
is determined not to let himself be classed as a one-
trick pony. He plans to give something back to the
West Coast this fall by releasing an album under
his Sipreano moniker for Vancouver label 1777rex.
Howes describes it as an album of original material
that will incorporate a lot of live instruments and
singing into some more sample-based atmospheres.
The Sipreano album will be the 4th release on
Steve Balogh's new imprint, 1777rex, which will also be releasing
100 handmade copies of the long-lost Points Gray album (Destroyer's
Dan Bejar and July 4th Toilet's Robert Dayton) and the new Ice Palace
(Lyndsay Sung of Radio Berlin/Pink Mountaintops and Rich Trawick
of 3 Inches Of Blood).
But no matter what coast Howes is working on, his pro -ac t i ve and
ambitious attitude is a welcome addition in a time where Canadians
seem to be trying to shake off the polite apathy of the past. Howes
sums up Jamaica to Toronto and his view on Canadian music best when
he says, "It's not just a Toronto story. I see it as a huge Canadian story.
It's a story we should all embrace. It's our history, so let's learn from
it and let's celebrate it. Let's take some pride for once and recognize
what we have here."
For further information about future Jamaica to Toronto releases
please visit Light in the Attic at www.lightintheattic.net and keep an eye
out for Sipreano's album and other 1777rex releases at www.myspace.
comll777rex. it
Discorder     2 9 s
a; }l ®
£    K   I
-   „   U   Z   $   I
^   1   =
■ K   S   K
.3 i  °   s
I  | If!
i  | I  I  t
; h u ® ®
8 SIfc ■. i
I   H   Z    »   _   B'S   !
Q    tP    K   O
_•    3
M    PQ
^® 1 S~tIi
M U _       r-g S       _*
3 ".gt;l§ ■
a 6 *'
S t5 " o g 2
_> o -g -_ o ^
Is ? 3 fl §
u u <J £ > ®
_■ w  _ 3 I
B ii il 'S  &
<    §   S    «    H
ON     B   |  ij   g  —  _
l-H     S   S   •"  •§  -o   s
g, g  ® '
H   ■§   H   £-<
J 1 i
< S 6
|  I  g  |
1 & a ,
5  g  £ "
> I a -_•
«  ® |
^ J  1
by Curtis Woloschuk    Illustration by Ben Frey
Previously: The nefarious Todd Kerns escaped custody and reunited Age
of Electricl The villains invaded The Super Group's headquarters and
demanded the return of Kurt Dahlel In the ensuing melee: Chris-a-riffic
flew into a paint-fuelled ragel Ladyhawk were electrocutedl The Winks
summoned a celestial emissary to combat the vUlainsl The identity of
Kerns'puppet master was revealed!
*t A Bif Naked?" The staticky voice of Jack Duckworth was
still barely audible over the command console's damaged
speakers. "Are you serious?"
"We should have seen this coming," moaned Jason Grimmer, who
was hunkered over the console's controls. "She's been consolidating
allies for years." The Super Group's leader brought the mapping
system back online. "I'm uploading coordinates to your PDA. Take
her down hard." He ended the transmission.
"Grimmer?" One of the video monitors flickered back to life.
Onscreen, Shawn Bristow and Andy Dixon were convened around
a laptop in the headquarters' tech room. Bristow peered up at
the camera. "I think we lost communication for a while. Any
"What the hell are you guys doing?" Grimmer demanded.
"Watching this sleepy baby monkey on YouTube. Why?"
"Dude, you should totally see this shit," interjected a transfixed
Dixon. "It's, like, the cutest thing ever."
Reining in his rising anger, Grimmer gritted his teeth. "We have
ourselves a bit of a shitstorm upstairs. If you wouldn't mind joining
us. ASAP." He punched off the power button.
"Chief..." Kurt Dahle directed Grimmer's attention back towards
the heart of the compound. The Winks' starfish guardian was
lumbering ever closer to Age of Electric. The clustered villains had
prepared a counterattack, manipulating their constantly morphing
energy field into a giant, five-pronged entity of their own. "I think
we're about to see a serious throwdown."
Grimmer joined Dahle at the communication platform's banister
where they watched the altercation unfold. The starfish guardian
was the first to move, lethargically raising one of its translucent
22     September 2006
tendrils. The Kerns-controlled entity responded, waving its limbs
and growing a pair of lightning-forked fingers. It advanced, clasping
one of the starfish guardian's arms in a vice-like grip and forcing it
behind the starfish's back. Caught in a submission hold, the starfish
guardian collapsed onto its semblance of knees and unleashed a
pained wail. "Beg for mercy," demanded Kerns. The celestial emissary
complied with an impotent bleat.
"That was anticlimactic," muttered a crestfallen Dahle. The
starfish guardian began to emit undulating sobs. "I think it's
"We are so totally fucked here," Grimmer surmised.
At that moment, the compound's reinforced entrance swung
open. The battered body of a Stone Sour fan sailed through the air
and splattered on a wall like an insect on a windshield. They Shoot
Horses' Chris-a-riffic and Josh crossed the threshold. Still ensconced
in a paint fume psychosis, Chris-a-riffic widened his bloodshot eyes
at the sight of the incandescent mayhem on hand. "Colours," he
marvelled. "They've all turned into colours."
Kerns swivelled towards the new arrivals and flung his arms aloft.
Waves of flickering electricity began to peel off of the five-limbed
energy entity and collect in the villain's palms. Sensing an impending
assault, Josh and Chris-a-riffic tightly latched their hands together.
The contact instantly brought about an uncanny fusion and the pair
mystically melded together to form a fully-grown unicorn.
Kerns' jaw dropped, and took his defences along with it. Noticing
that the villain's field of electricity had momentarily dissipated,
the unicorn broke into a gallop. Kerns desperately attempted to
recompose himself. However, the lapse in concentration had proven
his undoing. The unicorn lowered its head and sent its spiralling horn
into the soft tissues of Kerns' midsection. As Age of Electric's vocalist/
guitarist howled in agony, the horn exited through his back.
Bristow and Dixon filed into the room only to see a gored Kerns
thrash through the last of his death throes, planted atop the head
of a unicorn. Dixon whispered to Bristow, "Tell me those security
cameras are working. We totally have to YouTube this shit."
*    *    *
Adrenaline started to pump as Duckworth sensed that his quarry
was close at hand. Moving through a narrow hallway, he noted
band stickers and flyers stuck haphazardly to the brick walls. Heaps
of magazines and newspapers slumped upon the floor. Naked was
obviously trying to maintain a low profile, he thought to himself.
She usually frequented classier haunts. Storming towards a closed
wooden door, he adopted his trademark scowl and mussed his hair
menacingly. A vehement kick sent the door flying open.
The Super Group's dark avenger leapt through the entrance and
found himself inside a compact office. Notices and dry-wipe boards
lined the walls. Papers and notes were strewn across countertops.
The floor was littered with CDs and newspapers. Naked was nowhere
to be seen. Instead, two twentysomethings were positioned at
computers, industriously clacking away at keyboards. "What the
fuck is this?" questioned Duckworth.
"This is Discorder," responded Alanna Scott. Spinning around in
her desk chair, she looked Duckworth up and down. "You must be
here to drop off a disc for SHiNDiG." The Production Manager looked
to the bearded man seated to her left. "Dave? Where's the best place
"Shit!" David Ravensbergen's eyes widened at the sight of the
intruder. Gripped by a sudden panic, he shouted, "He's a nicking
narcl He's a fucking narcl" The editor pulled open a desk drawer and
snatched a plastic bag filled with mushrooms. Desperate to eliminate
any evidence, he began shovelling the psychotropic fungi into his
mouth and swallowing.
"Uh, Dave..." Scott suggested, "I don't think he's a cop."
"Hey!" Art Director Will Brown stepped into the office with his
nose buried in the Rand McNally Road Atlas. "Either of you been to
Beaver Creek?"
Duckworth grabbed a pencil from a nearby desk and plunged it
into Brown's thigh. His unsuspecting victim dropped to the ground
while squealing in agony. Staring intently at Ravensbergen and
Scott, Duckworth instructed, "One of you is going to tell me what's
going on here."
With Ravensbergen still wolfing down mushrooms, Scott was
left to respond. "We're putting together our September issue." Still
befuddled by the Une of questioning, she enquired, "Who are you
"Jack Duckworth of The Super Group." Continuing to keep a close
eye on the trio, he pulled a cell phone from his jacket and dialled.
"Grimmer? I think you should bring everyone down here. This
situation has gotten seriously fucked up." Having ingested all of the office's incriminating narcotics,
Ravensbergen finally spoke. "If you're with The Super Group, that
means one of two things." He paused. "Either I'm already high or I
have to make a phone call too."
*    *    *
One hour later, a full complement of Super Group members
and Discorder staff had collected in the CITR Lounge. Despite the
dozens of attendees, pregnant silence filled the room. Everyone's
attention rested on one individual: Curtis Woloschuk. Grimmer and
Ravensbergen were interrogating the writer in an effort to discover
how their different realities had converged. "I guess I still don't
understand exactly how this happened," lamented the Discorder
editor. He then closed his eyes in an effort to fend off the encroaching
nausea and hallucinations.
"I fucked up," admitted Woloschuk. "When I was writing this
instalment, I must have accidentally used the address for the office
instead of Bif Naked's downtown penthouse." He raised his shoulders
in an embarrassed and apologetic shrug. "It looks like we have a
»ur hands."
"This is why I want copy in by the deadline," insisted a sweating
Ravensbergen. "So we have time to fact check. So stuff like this..."
He gestured wildy, taking in the room and the assembled crowd,
"doesn't happen." He swatted at the air in front of his face. "Someone
shut those fucking fruit bats up! Get me a jellysaurus!"
Grimmer pushed the hallucinating editor aside. Grabbing
Woloschuk by the collar, he earnestly intoned, "Did you really think
you'd get away with this?"
"Not really," replied Woloschuk. "I'm surprised it got as far as it did.
When it all started, I... I guess I just wanted to do something different.
I was so tired of the sycophantic shit I kept writing." He laughed. "Of
course, this ended up being completely solipsistic instead. It wasn't
really supposed to be like this."
Still exasperated, Grimmer demanded, "What the hell were you
hoping to accomplish?"
"I'm not really sure," offered the writer. "It seems like everyone
in this city takes themselves so seriously. I guess I just wanted to
have some fun. Get a laugh or two," Woloschuk confessed. "The
story ended up getting too big though. It got unmanageable. It also
got compromised. I mean, there are three dozen people in this room
and only three of us can talk because this has to come in at 1,700
words." He looked at Ravensbergen. "I'd love for Dave to be more
fucked up from all those mushrooms but there's just not space for it."
Woloschuk considered Grimmer's question again. "What did I hope
to accomplish? I'm not honestly sure if I ever figured that out." Then,
he smiled. "I always knew how I wanted it to end though."
*   *   H*
The mismatched furnishings had been removed from the lounge
and replaced by an arsenal of instruments. Bass rumbles, torn beats
and guitar squalls were heard as various local music luminaries
prepped their gear. Meanwhile, the Discorder staff had all been
outfitted with hand percussion. Woloschuk entered the room with
cell phone in-hand. "Tom Jackson should be here in about a half
hour," he announced. "He's bringing the mescaline and the hoboes."
Seeing that everyone appeared ready, he enquired, "Any idea what
we should play?"
"Slow's 'Have Not Been The Same'?" suggested intrepid Discorder
reporter Quinn Omori.
The proposition met with a unanimous round of affirmative
nods. In no time, the lead guitarists started into the seminal song's
signature riff. After an epic build, the drummers kicked into a
stomping rhythm. A wall of hand percussion was soon assembled in
support. Grimmer uttered the song's first burst of soulful "ooo-ooo-
ooo-ooo"s. When the vocal hook sounded itself a second time, a chorus
of twenty had his back. An onslaught of instrumentation waded into
the fray. Removing the mic from its stand, Grimmer hunched over
and bellowed, "I need a cool chance to make my troubles go away."
For at least one night, everything was alright in the Vancouver
visit us at
Discorder     23 t^I#
'If you buy one indie-electro, hip-hop, white funk, dance crossover album this year, we guarantee this will be it!' -nme
Featuring the singles Over and Over, Boy From School, & Colours.
Available in fine retailers and as a digital download.
www.hotchip.co.uk  ^|
Featuring the single VOICES
space comfcaosin    QQ    Of")    f)(\
www.saosin.com     \J ^S • JLml KJ m \J \J
A Chat with Todd and Tyr of
XPLORING THE WlNKS* STUDIO and performance space,
Castle in the Clouds, one finds
evidence of the band's love of
^ornamentation and creativity everywhere—mostly, one
suspects, due to the ministrations of Tyr Jami, the
cellist and co-founder of the band. Winks dolls and
brightly coloured costumes from Tyr's fashion side
project, Parlour Treats, line the walls. A ceramic
sculpture of a puzzled head with twisted wires
and plastic roses jutting from the open top sits on
a shelf, amidst vintage.sewing machines and computers. A clown marionette dangles from mounted
antlers. It seems best to see the Winks perform in
their natural environment—though Tyr usually
brings tinsel and confetti and other props to concerts, too. As Todd McDonald, the mandolin player
and the other half of the Winks core, remarks, "It's
comforting for us to have lots of decorations and
make each stage our home for 40 minutes."
I am very sad and very happy that the Winks
are soon to leave Vancouver for Montreal. They
bring something to the cultural scene here that is
quite precious; I will miss them dearly, and wish
them well. Like Adrian Burrus, their current
drummer, I try to focus on how good the move
will be for the Winks. "I think it will be great for
them," he tells me.- "They've been here for a very a
long time. And it makes sense in Montreal—I see
big things for them there; the new album sounds
terrific." Burrus and Winks' saxophonist Tim Sars
will be voyaging to Montreal with the band starting mid-September. "It'll be our first time touring
as a four-piece, ever," Tyr tells me. "For our [2005]
Australian tour, we couldn't afford to bring everyone and we picked [previous percussionist] Paul
Patko, because we were going as a rock band and
thought it would be good to have a drummer."
Although Tim Sars would love to keep playing
with the Winks, he has too many commitments to
other projects to relocate right now. Among other
bands, he plays in the swing group Sweet Pea, is a
member of the Saltines, and has his own project,
the "dirty reggae funk" unit, Orange Monkeys, in
which he sings and plays sax. He is soon to be a father, too—"the baby is due March 4th, so he'll be a
Pisces, just like me." Sars and Burrus will return
to Vancouver in October, while Todd and Tyr stay
on in Montreal.
Asked why Winks lyrics tend to the abstract,
Tyr explains that she doesn't always want people
to know what they're singing about. "It started
when I was journaling, when I was a lot younger,
and I would write things in such a way that people"—mostly her two sisters, Parlour Treats partner Jasa Baka and Kaethe Sabr—"wouldn't be able
to figure out what I was talking about if they read
it, sort of to protect my privacy? And with a song...
You know, you feel that all these people that are listening to it, and it's like, really personal? You don't
really want everyone to understand what you're
talking about, so you make It a little bit more poetic
and make it a little harder to uiulersiand.^S^O"
There are other reasons besides snooping
sisters not to explain magic and mystery. As Charlotte's Web author E. B. White said of analyzing
humour, it's "like dissecting a frog. Few people are
interested and the frog dies of it." Todd expresses
it slightly differently—he doesn't want "to feel
ripped apart, like a skeleton"—but the point is the
same. Questions about the practicalities of being
the Winks miss the point of what the band is all
about. "I don't like people even knowing we drive
to the venue. I like the idea of showing up on a
cloud, if that makes sense... I think some people in
the audience sometimes don't like us because they
think we're trying to do what we're doing, like it's
a matter of struggling to make pop songs with a
cello and mandolin and being really weird? But really, we don't spend any time making up a world
for ourselves, it just sort of comes out... I like the
idea of propelling this fake world that comes out by
Tyr feels much the same. "I like creating a
strange little alternative to reality, like, how Todd
and I met at fishing camp because we caught the
same fish and bumped into each other? It's true!"
Tyr tells me, sweetly, and Todd laughs.
Tyr's part of the audience favourite, "Snakes I"
("he fell into the ocean/Then I had a headache/We
watched him drown/ Melt, melt, melt, melt/ into
the universe") is about Jasa moving to Montreal
four years ago. "It was almost like someone dying."
Tyr is very much looking forward to rejoining her
sister. "I'll miss Vancouver at some point, but right
now I'm just really excited about the change in
scenery. I'm really happy about it. and I'm looking
forward to new things." The Winks' past performances there were very well-received, and Tyr tells
me that Jasa "sees one cello player a day walking by
there—here you don't really see that many."
Todd's sections of "SnakesI" developed while
he was looking for song names on an online video
game archive for pieces he was composing with fellow mandolinist Alex Lerchz. "I saw a game called
'Snakes!' so I started playing some chords (Dm, G,
Bb, Dm) and yelling 'Snakes!'" (Todd illustrates,
doing a little seated dance and pointing into the
air for an exclamation mark). "Alex thought it was
dumb, but when I played it for Tyr she instantly
began writing lyrics. The same happened with my
part of the song. It kind of wrote itself while I was
imagining a scene of a woman scrubbing a floor of
an apartment above a pub in the mid 1800s. She
and her children had been abandoned, and the
bartender/owner of the pub proposed to adopt the
children and make her his wife. At first she found
him disgusting, but she accepted, as she had no
choice. As time passed she grew to love him and
was proud of her home and family."
Intuition reigns in the castle of the Winks.
Songs are woven from varied coloured threads,
creating incongruous harmonies that can only be
explained so far. Tyr's favourite song on the upcoming disc, "Correct," has three different lyrical
parts. Tyr explains, "Adrian's vocals are about taking a girl out for lunch who was kind of a feminist
and not being sure if it was .okay to pay for her bill.
My part's about playing in a Nirvana cover band
aijid throwing people off my cello chair so I could
play and asking people not to throw beer at my
Tyr glances at Todd, and he takes over. "My
part is having things you really want to talk to
people about, but just making small talk and not
Continued on Page 27
Discorder     25 HEAVENS
AVAILABLE 09/12/2006
the first full-length album from
AVAILABLE: 9.12.2006
26     September 2006 really getting to them." I ask him whether all three
verses are tied together by a theme of being "Correct," but he doesn't think so. "I originally named it
'Lamborghini,'" he tells me. For no particular reason; probably because it felt right. The Winks trust
their instincts.
Tyr likes "Correct" because it is fresh, because everyone contributed to the composition,
and because "it has tapdancing in it." Tyr taps. Onstage, Tyr, with bleached hair and fishnets, presents as an elven flapper (she is much enamoured of
the 1920s). She bows her cello with such grace and
poise as to exude an utterly unique and compelling
charisma. She tells me she has been playing cello
since she was seven, and divides her time outside
the Winks between nannying, busking Bach's unaccompanied cello suites, teaching cello, and raiding fabric dumpsters for Parlour Treats material,
which she then handcrafts. "It's a very busy life,
and we do a lot of work, but it's fun," she says. Few
22 year olds in Vancouver are likely as busy.
Todd has his own solo side-project, Prince
of Wails ("like wailing on your guitar in front of
dozens of people"). It can be found linked in the
Friends section of the Winks' Myspace account,
www.myspace.com/winks. Playing at Castle in the
Clouds, he sways with gangly grace over his mandolin, and kneels to work pedals and create sheets
of textured noise; he is the Thurston Moore of the
mandolin (or perhaps the Lee Ranaldo). While
Andy Dixon takes over for the Winks' side-project, Tights, Todd does the electronics on all Winks
songs, and currently covets a Moog.
If anyone in town has not yet seen the Winks
live, their September 3rd event, Twins, will see
duets perform at the Castle in the Clouds. Aptly
named - it's a fortress of art in the midst of much
that is grey - the space is located at 152 West Hastings. Parlour Treats clothing and Winks memorabilia (and maybe even some antiques) will be on
sale, and Tyr promises "prize packages" for lucky
attendees, who are encouraged to dress up as
Twins. On the 4th, the Winks will participate in
the Only Magazine block party, and an Ironworks
gig is planned for the 15th ("the last Vancouver
show for a very long time."). Check for updates at
Asked about the move, Todd says that it
doesn't really matter where he is located - all places seem more or less the same - but he jokes that
he will probably miss the "romance of the damp
Vancouver winters. But we'll be trading it in for
the romance of the sharp cold winters of Montreal.
It's more dramatic, you know? There, you can actually, like, freeze to death? Here the worst that can
happen is, you get damp. You catch a cold." Todd
slumps in his seat to illustrate illness, then perks
up. "I think the sharp cold of Montreal will sharpen us. Like knives!" He grins as he says this, gesturing dramatically, then leaps up to answer the
door to the room we are in. The door is in a wall
he built.
The Winks' Birthday Party will be released
in December on Andy Dixon's Ache Records. The
title, Todd tells me, refers to "all the birthdays you
have in your life... I just had my 24th and only Tyr
and Marek showed up, but we got to eat beans and
grapes on the beach and drink gin."
Godspeed Winks 1 j|
~W. TlM,:F^
by Dan McCash
Photo by Eriver Hijano
ver since she was fifteen years old, Amanda
Palmer has scribbled away in her diary with an
imaginary audience in mind. Today, Amanda
fronts the Detroit "Brechtian Cabaret Punk" duo
1 known as The Dresden Dolls, where the audiences are now real people and the diary confessions are put to song for all
to hear. But, like so many secret spare-time poets, Amanda has another outlet to explore her day-to-day emotions: she blogs about it.
In these blog postings, no real special attention is paid to classic forms of structure. Thoughts and feelings perform free-form dives
from her fingers to the keyboard, typing from a tour bus halfway between who-knows-what and god-knows-where. With websites like
MySpace and Livejournal ushering in this new revolution of art/internet cross-pollination, technologically-aware lyrics begin to pop
up in such unfamiliar places as in the Dolls' song "First Orgasm" ("I
eat some Rice Chex / and I sit down to check my inbox").
But there is an inherent conflict at play here—how does one
reconcile the ever-distracting external world (emails, blogs, MySpace
pages and podcasts) with the inner self (the source of introspection
and songwriting)?
Amanda's perspective is that people today are more obsessed
with documenting experiences than they are with having them.
"The problem is that you can always get something done [on a blackberry], and that's terrifying to think that there's no longer going to
be a moment where you can just sit and think..." This tension is apparent in lyrics like, "God I love communicating, I just hate this shit
we're missing" ("Modern Moonlight").
Musical Transitions vs. Failed Experiments
This compromise between external and internal worlds is an
idea that runs through both of the albums Amanda has written in
the past four years, moving to the fore on her latest effort. But these
common themes aren't due to a rehashing of old ideas. Rather, this
consistency comes with writing both albums almost simultaneously.
According to the band, many of the songs that make up the body of
Yes, Virginia actually predate songs that appear on their self-titled debut.
This combination of old and new might also account for the
schizophrenic   atmosphere   that
permeates Palmer's new album.      I
Yes, Virginia's crass, crashing, Ben
Folds-esque rock-outs starkly contrast with sudden and very uncharacteristic ballads like the album's
current single, "Sing", which arguably does not fall under the categories of Brechtian or punk.
But Amanda concedes that "calling ourselves Brechtian Cabaret Punk is actually a load of crap". The way she tells it, The Dolls like
to sucker the listener into the song emotionally in order to lyrically
"punch them in the face and wake them up to realize that it is actually all bullshit."
Amanda: I had no idea "Sing" was going to be the single... Unlike
any other song I had ever written, I sat down with the intent to
write a live song that our fans could sing along to as an experiment.
Discorder: And who are your fans on this tour?
Amanda: Our fans have boycotted this tour! Touring with Panic!
At the Disco has been a generally failed experiment. We've reached
a lot of kids, but we've also confused a lot of kids... But our fans
have been coming to the film festival nights that we schedule on
every third Panic! show where we play a second set at old theaters
we book. It's been
Despite Palmer's insistence that Yes, Virginia is not really a transition, to an outsider, it would appear that their new songs bare a
certain disparity to the old. This difference is one that is much more
pronounced in the careers of Amanda's new friends, And You Will
Know Us by the Trail of Dead.
Palmer contributed vocals to Conrad Keely's latest untitled
opus, so the comparison holds: hailed as a progressive art rock accomplishment by critics, fans have been unconvinced of Trail of
Dead's new direction and their transitional album, Worlds Apart,
tanked in sales. Furthermore, after playing at the X Games on a bill
with countless pop-punk bands, Trail of Dead are finding it more and
more difficult to appeal to their older audiences. So what does this
mean for The Dolls?
After a spirited drum solo from The Dolls' Brian Viglione, a
surging mob of 14 year old gum-chewing Lululemon-clad girls begin chanting obscenities that are normally reserved for the opening
band of a Slayer concert. Hearing "FUCK YOU, YOU SUCK!" from a .
crowded room of prepubescent girls makes it hard not to question
one's artistic and musical direction.
Where originally we had seen the up sides of the new technologically-aware world through blogging and new mediums of musical
exposure, it has become apparent that, at these shows, The Dresden
Dolls are up against the dark side of technology—3000 girls txt messaging friends and listening to iPods during the Dolls' opening set,
waiting to scream and swoon over that particular boy-rock band that
reigns this week on Much Music's "request by txt" hour.
The audiences at these shows are an army of kids sporting intentionally visible thong straps and a militant obsession for fern-boy^
ish recapturing of the Gucci Rock/eye-liner image made popular today by bands like The Killers and Interpol. By militant. I mean they
march over anything that gets between them and the objects of their
affections... such as the Dresden Dolls.
According to one girl I interviewed in the line up, "I listened to
one of their songs on MySpace, but I turned it off because it made me
want to kill myself. It was weird."
But, according to Amanda's latest blog entry, the Dolls take it all
in stride as they do battle against the unmovable force that is Tween.
They have adopted covering songs from Britney Spears to Bon Jovi on
most nights with the hopes of further confusing the audience's fragile sensibilities. Where one would assume this kind of tour experience
to be of a certain band-breaking caliber, it has had the opposite effect. In such utter bullshit conditions night after night, Amanda and
Brian have had only each other to lean on for support.
In the case of the Dresden Dolls, it does appear that what doesn't
kill us can only make us stronger. Mistakes and mishaps that don't
tear the band to pieces can only make for stronger songs and heavier
drum solos. The Dolls appear to have endured the giggly-girl-gaunt-
let and lived on to blog about it. £&
DiSCORDER       2 7 Mixed Apes
v hidden Mixed Ape i, J
Mixed Apes is more than just an insanely
clever play on words. It's a musical
exchange that's been years in the making.
Officially launched with the publication
of the August 2006 issue of Discorder,
Mixed Apes seeks to cover the streets of
Vancouver in song.
To get involved, head over to
discorder.ca/mixedapes and equip
yourself with the official mix-making
paraphernalia. Now make a mix CD (or
tape, or dub plate) the best way you know
how. Write down the track listing on the
cover page, along with a description,
personal message, or your hopes for a
better world. Take your audio capsule and
drop it off somewhere public: nooks and
crannies are ideal, public transit is good,
even sporting goods stores could work.
Enjoy the warm sense of satisfaction that
suffuses your being.
If you find a Mixed Apes CD, take
it! You've just received a gift from the
universe. In order to prevent karmic
imbalance, you should then proceed to
make a mix of your own and place it in
the same spot. Make lots of copies, and
distribute them all around town.
Mixed Apes is constantly evolving.
Email discordered@gmail.com with
September 2006
telephone poles, construction walls, abandoned
buildings? Or the multi-toned stencils made by
propaganda artists (Banksy), opportunists (Shepard
Fairey), and general rabble-rousers (everyone in
France)? Well, you too can join the subversive
fun by taking part in our ongoing Mixed Apes
project(discorder.ca/mixedapes) and use the
crustiest promotional tool around—wheatpaste!
The scenario:
We want to hide our Mixed Apes in forgotten
alleyway nooks, but we're not sure if anyone is gonna
end up finding them. So, if we wheatpaste a little
Mixed Apes image (in this issue, a Mandrill!), maybe
pointing to the crack or just hanging out nearby,
people will know there's musical treasure around.
I   Making the paste:
■ There are a lot of wheatpasting recipes out
there. Most of them work, but I've found this one to
be the best by far. Make a mixture of 3 tablespoons of
' white flour and just enough cold water to make it the
I consistency of syrup. Pour the cold mixture slowly
|    into one cup of very hot water while stirring. Bring
■ it to a boil and keep stirring. When it thickens into a
clearish goo, let it cool. For even more strength, add
a tablespoon of sugar after the glue has thickened.
I Don't be afraid to experiment. After using a portion
I    you can save the rest by keeping it refrigerated.
I   Tools: |
| A bucket or ketchup squeeze-bottle filled with  |
.   your paste, paint brush, credit card, razorblade .
I Application technique: |
I          Wheatpasting   works   best   on   metal   and ■
. concrete. The main idea here is to be quick and
thorough. Once you've chosen a crack, gap, or ledge
' to stow your Mixed Ape, find a location nearby to '
I place the image. Apply a thin layer of paste to the I
| back of the image with your paint brush while it's on |
I  the ground(not too much or the ink will bleed), and a |
little to the spot where you're gonna put it. Slap it on
the wall and smooth it out, removing any wrinkles
'  or bubbles with your credit card. Then brush some '
I  paste to the edges and corners of the image to keep it I
|  secure. Slice the image up into sections with a sharp |
■  razorblade if you want to make removal by "The i
Man" especially aggravating.
You're done! Now you have a spot to share your   '-
Mixed Apes with the public. '
4 by Kat Siddle
JH|*f othing delights me more than a rock 'n' roll prof. You know, one of those profs who seems like a really cool person as well as a
kggl|)compeIling teacher—someone you'd like to talk to at a party as well as listen to in a lecture hall. They're few and far between, these
profs, and I've only been taught by a few of them during my extended stay at UBC. They are the profs who tell you about the bands they used
to be in, the ones who let you write papers on T.A.T.U. and The Onion, the ones who stand at the front of the class dressed all in black and tell
you to go see that new Johnny Cash biopic cause it's actually pretty good, though the music's still the best part. I have had a handful of really
excellent profs at UBC, including Stephen Guy-Bray, the third-funniest man in the world; Janice Stewart, devoted lover of Johnny Cash; and
Derek Gregory, who really knew how to make the ancient city of Ur come alive. But thanks to space restrictions, I've been forced to narrow the
field down to the most rock 'n' roll prof at UBC.
When I took Children's Literature with Dr. Giselle Baxter back in 2003, it didn't take me long to realize that Dr. Baxter was easily the
coolest person in the class. She dressed like the missing fifth member of Ladytron (still in their monchromatic Communist chic period then)
and made us read five different versions of Little Red Riding Hood (spoiler: it doesn't always end well for Red.) By the time we got to Junk, a
young adult novel concerning heroin addiction and squatting in mid-80's Bristol, I was smitten. If I was ever going to be an academic, or even
an adult, Dr. Baxter was someone I wouldn't mind being like.
Recently, Dr. Baxter acted as the faculty sponsor for UBC's student-lead seminar, "Sex, Drugs and Rock 'n' Roll: Popular Culture, 1970s
to Today". She still teaches Children's Lit regularly, and occasionally appears in the media to discuss issues in pop culture. This August, I
asked her about her academic focus on decidedly non-academic subjects. I found out that, like so many smart-yet-cool people, Dr. Baxter spent
several years in the student radio gutter, hosting her own show and writing for the student newspaper. Go figure.
Hi Dr. Baxter. Last year, you contributed to a student-lead
seminar that discussed "sex, drugs and rock 'n' roll", and
it seems like you've done a lot of other academic work on
pop-culture topics. What made you choose to focus on this
My own interest in this material comes naturally to me; I was named for
a pop singer (Gisele MacKenzie, one of the stars of Your Hit Parade back
in the 1950s), and was a radio programmer at Dalhousie University
for two years at the start of the 1980s, during which time I also wrote
a record review column for the student newspaper. My academic focus
on it probably had its origins when I was teaching at Dalhousie in the
mid-1990s, just before moving out here. I was asked by a colleague to
give a guest lecture on women in rock music, and worked up a whole
presentation with sound clips and lyric sheets; that became the basis
of a couple of colloquia I've contributed to in the English department
here. My actual area of specialization is British Modernism, but the
nature of sessional teaching (I'm about to start my 10th year as a
fulltime sessional at UBC) means a limited amount of control over what
you teach, and what you mostly teach is composition, especially first-
year composition. The thing about first-year composition is that you
are introducing students to the principles of university level writing,
but they are in a variety of disciplines, with a variety of aspirations, so
since I a) know little about macroeconomics or microbiology and b)
have little interest in either, I try to find research topics that will tend
themselves to the development of research skills while interesting
Illustration by Rob Davis
both the students and me. I decided to use popular culture a:
ground, and so will have people look into advertising and branding,
cultural production and the creation of mass phenomena, gender
issues in popular culture, etc. So far it has worked very well.
I take it that your parents were also really interested in music
and culture. Do you think their influence encouraged you to
engage with it? Do you talk to them about music at all?
My mother certainly was interested in it, both in popular and
classical music, so much of my initial love of music I owe to her. She
probably tolerated some of the early preteen pop I liked, for example
the Monkees, more than she actually "liked" it, but she was certainly
willing to let me play it, and while we couldn't afford a lot of records,
I could play the radio as much as I liked (which was virtually all the
time when home). After American Graffiti came out (which I saw on its
first release), we listened to multi-episode histories of rock 'n' roll on
the radio, and she actually admitted to liking a lot more of the stuff
aimed at younger people than what people her age were supposed to
listen to. She wasn't nostalgic. I can't say I ever tried some of my more
esoteric tastes in industrial or harder rock music on her (though she
does know Johnny Cash's "Hurt" was written by Trent Reznor), but
she liked a lot of the more melodic new wave, also a lot of the "classic"
60s and early 70s music my brother and I listened to, The Who, etc.
(also to Johnny Cash's prison concert records, which my brother had,
and which he and I had memorized; we would sing together a lot). She
watched Soul Train with us in the 1970s! She read some of the reviews
I wrote. She encouraged me to take guitar lessons in my early teens.
She probably had much more influence on my love of classical music,
but was tolerant of and interested in my love of popular music, and
encouraged me in doing radio.
That's so awesome that you've done student radio! Please tell
me about your radio show. What kind of music did you play?
What was it called?
I started radio in 1980, doing a record review on Thursday mornings.
The first record I reviewed was Public Image Limited's Metal Box.
You must understand this was pre-tech radio in a lot of ways: egg-
carton soundproofing, turntables, vinyl records. I took on the job of
cataloguing the thousands of records, and became record librarian, so
that the next year I got my own show, two hours on Friday afternoon.
I mostly played punk and new wave. It hadn't caught on broadly in
Halifax, and I was very young and felt an almost missionary-style
enthusiasm about bringing it to people. I gradually found my voice
and became less "serious" about it. I loved doing mixes, sorting out
five or six songs that went well together. Sometimes I'd do a special
show, for example one feat-ring the history of The Clash, but mostly
Required Listening
The Who, Quadrophenia
The Clash, The Story of the Clash (still the best introductory
Nine Inch Nail:
Could Have Beet
Patti Smith, Horses
The Velvet Underground, The Velvet Undergrotmd and Nico (the
Gold collection is pretty good; live MCMXC11I is worth checking
out in the two-disc set)
Neil Young, live Rust (the double set, not the single record edit)
Joy Division, Unknown Pleasures and Closer (or just get the boxed
set, or the Permanent compilation)
David Bowie, The Rise and Fall ofZiggy Stardust and the Spiders
from Mars (or the ChangesOneBowie compilation)
Warren Zevon, Learrung to Flinch (the best unplugged record
in existence)
- Joan Jett and the Black Hearts, The Best Of
Soft Cell, The Very Best of Soft Cell
Sex Pistols, Never Mind the Bollocks, Here's the Sex Pistols
Bryan Ferry and Roxy Music, Street Life
Bob Marley and the Waiters, Exodus (anything, realty: the debt •
of punk to both reggae and glam cannot be underestimated)
Hole, live Through This
Bauhaus, Crackle
Required Reading
Never Mind the Bollocks: Women Rewrite Rock edited by Amy
Raphael (Also republished as Grrrfe; Viva Rock Divas)
Lipstick Traces: A Secret History of the Twentieth Century
by Greil Marcus
England's Dreaming: Sex Pistols and Punk Rock by Jon Savage
PsychoticReactionsandCarburetorDungby Lester Bangs (guerilla
rock journalism, with heart)
Touching from a Distance: Ian Curtis and Joy Division by Deborah
Curtis (an intimate memoir by an industry outsider, the widow
of one of rock's iconic figures)
Tainted Life by Marc Almond (much of rock writing privileges a
white, male, heterosexual point of view; here's the other side)
Rotten by John Lydon
A Riot of Their Own by Johnny Green (Clash tour manager),
Required Watching
Quadrophenia ("not* any of the concert films, the 1979 movie
with Phil Daniels)
Rude Boy (just out on DVD; lots of archival Clash performance
Westway to the World (Clash documentary)
The Filth and the Fury (Sex Pistols documentary)
Sid and Nancy
The Doors (if for nothing else, for Crispin Glover as
Andy Warhol)
Velvet Goldmine
24 Hour Party People
The Hunger (early Bauhaus performing "Bela Lugosi's Dead",
otherwise vampire shenanigans with David Bowie, Catherine
Deneueve and Susan Sarandon)
Apocalypse Now (music as a reflection/definer of the Zeitgeist;
you will never listen to the Stones' "Satisfaction" or the Doors'
"The End" the same way)
Do the Right Thing (for the same n
I'd play a really eclectic assortment: Joy Division, New Order, U2 (then
really young and not that famous!), The Boomtown Rats, Joe Jackson,
Blondie, Japan, Gary Numan, The Pretenders, Talking Heads, Depeche
Mode, even Adam and the Ants, lots of others, even some "older" stuff
like David Bowie or Roxy Music. We were still on closed current then
(I was at CKDU at Dalhousie) and weren't always all that professional;
we'd have joke contests on the air. But we loved what we were doing,
we learned a lot, and we loved this period of all this new music coming
out. I sometimes really regret I didn't make more effort at pursuing a
career in radio but then I probably wouldn't be here. S|
Discorder     29 k
arey Mercer of Frog Eyes
Stoner Rock Summer Smash
August 11
The Waldorf Hotel
Ahh. The blessed stoner rock gig. The welcoming smell of beer and leather jackets. The familiar sight of long-haired men nonchalantly nodding their heads in appreciation. And of course the
awesome, satisfying crunch of that low-end guitar
tone. First up on this four band-bill is duo MMF. It's
certainly refreshing to see a female playing guitar
in a genre typically dominated by men. Theirs is a
seriously rocking sound, boiled down to the pure
essence of stoner with pleasingly stereotypical
song titles such as the awesome "Astral Messiah."
Next Hundred Years go for a more adventurous and refined approach to songwriting, even
nudging towards Tool-esque proggyness at times.
Definitely the most accomplished and interesting band of the night, they finish their set with
the brilliant instrumental "Uma," complete with
violin accompaniment. The sound in the venue
tonight is superb, but Hezzakya seem to have decided to sacrifice high fidelity for sheer teeth-rattling volume. Guitars aloft and balls out, they tear
headlong through a relentless barrage of riffage,
fuelled by testosterone and beer. They only stop for
breath in order for the singer to share the important message "Get wasted, but don't drive." Always
keen to comply, I'm pretty drunk by this point and
I'm certainly not driving—I'm cycling. Sadly and
somewhat curiously, about half of the crowd has
left by the time Hypnopilot take the stage. Maybe
Hezzakya scared 'em away. Still, this Calgary trio
seems pleased with the attendance: "All we get
back home is about eight confused emo kids standing at the backl" Busting out a fuzzed-up groove in
a similar vein to Fu Manchu, they even manage to
get some folks boogying at the back. They also do a
very respectable rendition of Black Sabbath's "Into
the Void," giving a nod of acknowledgement to a
man that all of tonight's performers owe a great
30     September 2006
debt—the forefather of stoner rock, Tony Iommi.
Wolf Parade
Frog Eyes
August 20
Commodore Ballroom
Replace "stoner rock" with "bourbon-soaked"
and you have Whalebones, who opened the show
sounding Uke Seattle's answer to Black Mountain.
Surprisingly good, Whalebones exuded the kind
of intense emotion usually seen in more seasoned
bluesy bands.
Frog Eyes weren't entirely impressive unless
they were playing something loud and catchy.
Anything remotely mellow just sounded like sound
check, as the milling of the crowd could be heard
above much of Carey Mercer's frenetic vocals. Both
he and Spencer Krug, doing double duty that night
with Frog Eyes and Wolf Parade, hyperactively entertained but failed to command the audience for a
chunk of their lengthy set.
Thankfully, Wolf Parade took no time at all
entering a room full of ravenous fans that were
treated with two killer new songs and one EP-
worthy tune. These guys are pretty ridiculous in
delivering exactly what you hear on record, with
the addition of sweaty enthusiasm and unwavering energy. "We Built Another World" and "Dear
Sons and Daughters of Hungry Ghosts" were like
kicks in the head, and Dan Boeckner and co-vocalist Krug's warbled shouts could be heard from the
alley outside. By show's end, shirts came off and
bands jumped on stage to beat the crap out of any
stillness anyone had left in them. It's refreshing to
finally see a band five through spotty live reviews
and prove they're so popular for a reason.
Patricia Matos
August 22
GM Place
I was satisfied with Isis—more than satisfied,
even. The hard and heavy attack of three guitars
was expected, but I was caught off guard when it
started to mutate into jazzy, exploratory parts, wtth
a keyboard providing background atmospherics.
In cavernous GM Place, the result was a maelstrom
of shifting textures, which incorporated the vocals
as a textural element (no specific lyrics could be
made out) and was strangely compelling. I enjoyed
these subtler aspects, while the biggest crowd approval came when the songs erupted into abrasive,
punishing climaxes.
If Isis met with only a lukewarm reception,
every aspect of Tool's performance was greeted
with rapturous devotion. The diehard fanbase
which made up most of the crowd raised the energy level to a breaking point even before the band
took the stage: the unveiling of Danny Carey's
massive drum setup prompted a round of cheers
and applause.TooI's trademark combination of
deep mysticism and crude humour was on display
right from the start, when Maynard James Keenan
issued a friendly greeting of "Hello, dickheads!"
The mysticism was more apparent in the nature of
the plain stage setup: draped in white, with amps
stationed in the background near a similarly white
backdrop. But after the lurching opener "Stinkfist"
faded out, psychedelic projections illuminated the
stage's purpose as a mere screen for the concert's
companion visuals. Images of DNA molecules
whirled around during "Forty Six & 2"; later on, a
montage of star charts and other paranormal material accompanied "Rosetta Stoned," an epic tale
of being abducted by aliens, but forgetting to bring
a pen to write down their message.
Every track was played out to perfection,
whether fairly straightforward ("Sober," preceded
by a frenzied drum solo and wall of noise) or more
intricate ("Schism," with its jilted time signatures).
Maynard was surprisingly physical on stage,
stomping in circles, leaning into his screams, or
playing with his cowboy hat. "Lateralis" was a spiralling nine-minute journey, after which the band
reposed on stage and soaked in the roars of the
crowd. They then rose for an encore of fever-pitch
intensity: "Vicarious" and "Aenema" were never
so powerful, and the Tool fans of Vancouver were
never so complete in their worship.
Simon Foreman
Ninja High School
August 11
50/50 Arts Collective (Victoria)
The only shitty thing about seeing Ninja
High School is having to argue with your friend
for the rest of the night about whether or not they
were being ironic. And that's about as fun as arguing about whether or not Peaches is sexist or Dave
Chappelle is racist. These conversations almost inevitably end in one person yelling, "Holy shit, stop
thinking so much and fucking enjoy it!"
Generally finding myself on the receiving end
of this exasperated battle cry of fun, I was pleasantly surprised by my reaction to this band.While
some bands struggle to classify their particular
brand of indie-pop-post-rock-pre-post, Toronto's
Ninja High School seems to have it bang on: hardcore dance-rap. With one boy manning a small
beatbox/Korg/iPod contraption, cranking heavy,
catchy beats reminiscent of the early days of Def
Jam [See Krush Groove, 1985], the dance part was
a giveaway. Another guy stood on speakers, hid
under chairs, pulled his shirt over his head, and
generally skittered around while yelling out the
verses and slogany choruses that justify the rap in
their website's description. And the hardcore} Well,
that was left up to a somewhat quiet, awkward girl and an attractive Asian guy with sweet dance
moves and charming between-song banter.
With what can only be described as team effort, Ninja H.S. transformed the stage of Victoria's
50/50 Arts Collective from a sanctuary of awkward sincerity into an electric dancehall of. . .
okay, now I'm just getting carried away. But there
was dancing. And yes, I did fucking enjoy it.
Mayana Slobodian
Cat Power
August 27
Richard's on Richards
Fans of Cat Power have a difficult time
reconciling themselves with her live show.
Her eleven-year career has generated volumes
of schizophrenic concert anecdotes. Past
performances have been spectacles of alcoholism,
anxiety and breakdowns. But they've also been
theatres for tender, achingly beautiful music,
sung with the disarming voice only Chan
Marshall has.
And so a certain ambiguity hangs over
anyone on their way to see her. You can never
be quite sure which Cat Power you're going to
get. Some condemn Marshall for what she's been
known to front on stage, finding her style of nonperformance a betrayal. They're searching for
her songs amongst half-played, nerve-crippled
attempts. Others seem to have almost a voyeuristic attitude towards Marshall. They wouldn't
entirely mind witnessing one of her infamous
train-wrecks. They want to see just how tragic it
can be.
At her Vancouver show on a Sunday afternoon, an eager, all-ages crowd received the lucid
Cat Power. This is probably due in no small part
to her recently established sobriety. AU eyes narrowed onto the drink she carried on stage: tea.
She greeted the crowd with a smile and, after a
pause for her typically confusing guitar tuning,
strummed into The Greatest's "Love and Commu
Her voice was striking; a full croon, flushed
with reverb and blue, deceivingly too expansive a
sound to emerge from the small woman, perched
with her old electric guitar. The simplicity of her
finger-picking arrangements was given ample
hollow space to echo and resonate through the
still audience.
While playing piano, Marshall had her back
to most of the crowd, her face only visible as a
reflection in the polished black of the instrument.
This left the majority with only the sounds to
entertain, and the performance was clearly moving enough to overcome her essentially shrouded
Unsurprisingly, she stopped several songs
mid-way to tweak the sound. The audience accommodated the pauses, seemingly not wanting
to tamper with what was an elated performance.
During "I Don't Blame You," Marshall stopped
midway, requested a change, and then repeated
the verse with, "You wanted to hear that sound/
But you didn't want to play..." which left the air a
little tense. But it became clear that this was a Cat
Power that truly wanted to be there.
After an a cappella rendition of one of her
father's songs, with the whole of Richard's on
Richards snapping along, Marshall left us in
smiles, holding her thumbs and index fingers
up to form a heart. This was a Cat Power show,
lacking the graphic imagery of her past, instead
aiming for a higher plane, something less sympathetic and more empowered. You may not have
heard this, but you should see her. She plays her
songs wonderfully.
Mike LaPointe   |l
NmVjq^SVESTlJAL^ 2006
Transformations of Culture; an annual international FESTIVAL OF MEDIA ARTS, CULTURE AND ELECTRONIC MUSIC.
* Music & Visual Series located at: Open Studios
[#200 - 252 East 1st Ave], featuring: Deadbeat
Live PA, Keith Fullteron Whitman, Jan jelinek, Circlesquare, The Mole, PhU Western, Mike Vernusky
Calamalka, Michael Red, Helix Resonator, Maximus
+ Clearcall, Jacob Cino DJ Set (& Third Eye Tribe),
Tusk DJ Set, Lee Hutzelak, Si-Cut DB, HRDVISION,
MitcheU Akiyama, Sinewave, Seekers International,
Tomas Jirku, Rob Warren, Danjel Van Tijn, Granny Ark,
* Exhibition & Film Installations located at: Video In
Studios [1965 Main Street] Featuring Installations by:
IsabeUe Jenniches, Derk Wolmuth, Veronkia Bokelmann,
Lynne Sanderson, Slobodanka Stupar, Mark Cypher, Ju-
lien Clauss, Victoria Scott, Pierre-Andre Sonolet, Richard Wright, David. J Johnston, Jennider WiUet. Films by:
Modulate Collective, Crumple Zone, Rae Staeson, Abel
Konya, Arlene Ducao, Brigitta Bodenaur, Stephanie
Loveless, Sachiko Hyashi.
* ArtCamp the "un-conference" located at: Great
Northern Way Campus [555 Great Northern Way].
Festivals runs Sept 19-24, Music & Visual Series: $15
in advance/ $20 at the door/ $45 for a 4-night pass, Tre;
Zulu, Scratch, SOMA and online at newformsfestival.com.
Exhibition & ArtCamp are free. Visit www.newformsfestimL
com for performance dates and times.
Hip Hop-R&B-Reggae <
J SWING - FLIPOUT highballs
80's & 90's Alternative Classics - British - New Rock - Dance
$3 HIGHBALLS - $4 CANADIAN     ^£^g
Thursday, September 14th h^jyp2_____t"*h      Thursday, September 21st
& THE BOOK OF LISTS     ( I   Mm   w^
Thursday, September 28th
Top 40-R&B-Hip Hop
Dance-Old Skool
FiTfTYs    J-SWING rBm
Top 40 - R&B - Hip Hop - Dance
NOUVELLE VAGUE - 09/05 | SUBTLE - 09/17 | RANK 1 - 09/20
Get on the VIP/Guest list + Event/Party/Fundraiser bookings
w/ Silverstein, Moneen, and He Is Legend
"he transcendent new album, feati
^Vestax vhOmm *l±JG K8DER REVIEW
SLAYER, THE BE GOOD TANYAS, ZAKI IBRAHIM ________________________i
m. ,21
KL '  '
MW" t iv
b_ Ife-
$f S*
m •
t.m u
(Flemish Eye)
Having charmed Calgary
crowds in clubs and on street
corners for years, Chad VanGaalen discovered a larger audience with 2004's Infiniheart.
Gathered from an extensive
back catalogue of home recordings, the debut disc offered an
assemblage of intriguing curios
from a songwriter with an idiosyncratic, if not entirely original
approach to his craft. It's odd
to consider that the folk/found-
sound melange that Beck
revolutionized in the mid-90s
could be rendered so quaint in
the following decade. Yet there's
a distinctly nostalgic quality to
VanGaalen's tact.
Lending an idle ear, listeners
might easily envision the multi-
instrumentalist setting up shop
on a tree-shaded cabin porch
with an array of guitars, keyboards, banjos, samplers, harmonicas and drum machines.
However, any sense of bucolic
whimsy is rendered null and void
by VanGaalen's penchant for
surrealist lyrics that evince his
talents as a visual artist. While
his past fantastical indulgences
are reined in on Skelliconnection
(there's not a blood machine in
sight), it's clear that many dark
and haunting muses lurk in the
woods surrounding that imagined cabin of song.
"Flower Gardens" opens
the album's account with an
uncharacteristic hail of wailing
guitars and stuttered vocals.
As a declaration of intent, it's
a decided step down from the
twitchy appeal of Infiniheart's
masterful "Clinically Dead."
However, VanGaalen quickly
rights his listing ship with the
windmill pop hook of "Burn 2
Ash." From there, the album flits
between spacey ballads ("Rolling Thunder"), instrumental
oddities ("Viking Rainbow")
and dustbowl stompers ("Wind
Driving Dogs").
The closing triumvirate of
songs boasts Skelliconnection's
finest moments. Constructed
around VanGaalen's lilting
falsetto, "Graveyard" is an affecting portrait of life's final ceremony. Dynamic "Dead Ends"
offers an anthemic assessment
of an irreconcilable relationship.
Finally, the fragile "Sing Me 2
Sleep" assuages and reconciles
all earlier insecurities and tensions—specifically "Gubbbish's"
insolent refrain of "I'm never going to sleep."
For all of its melodic inventiveness, there are instances when
Skelliconnection proves inexplicably uninspiring and wilfully
distancing. There's certainly a
wealth of talent of display here.
However, a touch more cohesion
and restraint may be required
before VanGaalen emerges as an
artist of true consequence.
Curtis Woloschuk
We were on our way home
from Homo-A-Go-Go in Olympia when I first heard "Ain't No
Other Man," the newest single
from Christina Aguilera's double
disc retrospective, Back to Basics.
Due to an excess of FM radio stations along the 1-5, our party
was having trouble transmitting
an iPod through the rental car's
stereo system and had resorted
to Top Forty radio, where "Ain't
No Other Man" currently ranks
third best. Ignorant of Aguilera's
ability as executive producer of
Back to Basics, I remained firm in
my stance that for "Ain't" Aguilera earned her spot at the top
of the pops. So certain was I of
Aguilera's pop rock prowess that
I saw Will Brown's review copy
of B2B in the Discorder office as
a winning chance to share the
fortitude of her music with the
"Ain't No Other Man," it
turns out, is a deceptively good
hit single, a red herring for a
diluted, misguided tribute to the
musical legends of R & B—assuredly anyone but Aguilera.
Coupled with Aguilera's inability to recognize her professional
limits before she tackled the
production of B2B, the album's
greatest flaw is Aguilera's' indecision about whose basics she
wants to return us to. "Ain't" set
aside, Aguilera seems only able
to return the majority of her
fans to the time before we liked
her, for me sometime during the
summer of 1999 when I was going to smash the radio at my part
time job if "Genie in a Bottle"
came on one more time during
my four hour shift. Aguilera's
short, modestly remarkable
musical career may not merit a
retrospective like Back to Basics
just yet, but "Ain't No Other
Man" actually deserves the customarily excessive radio airplay
that has defined her divahood
since Christina Aguilera. It's just
so good. Ugh.
Mono Brown
Get Lonely
I found the last two Mountain
Goats records a bit disappointing. Sure, both We Shall All Be
Healed and The Sunset Tree had
their moments, but the overall
lack of brilliance gave reason
to believe that my days as a fan
were coming to an end. That is
until John Darnielle promised
that his new record, Get Lonely,
would be some real next-level-
sad-bastard shit. The prospect
of having some new headphone-
material for those dark winters
filled me with such joy that I
figured old Darnielle deserved at
least one more chance.
Thankfully, Get Lonely lives
up to its title and is the type of
album that will always be there
for you when wallowing in self-
pity is the only option left. Even
though cellos, vibraphones and
some drums are here to keep
you company, the instrumentation is actually relatively sparse.
Darnielle still sticks to the good
ol' guitar and voice combo as he
tells lonesome tales of friendless
giants, bitter old lovers and the
trials of waking up in an empty
bed. Lyrically, the album is one
of his strongest, as he embraces a
series of bittersweet resignations
and views solitude with ambivalence if not approval. Lines like,
"The first time I made coffee for
just myself I made too much of
it/But I drank it all just 'cause
you hate it when I let things go
to waste," from "Woke Up New,"
show Darnielle at his most painfully observant.
Unfortunately, like his last
two efforts, this album lacks
some of the intensity of his older
work, and Darnielle's delivery
is sometimes a bit feeble, making some tracks slip by without
much notice. While Get Lonely
has a unique focus it will likely
leave fans like me waiting for
Darnielle to top his crowning
achievement,   2002's   Tallahas-
BRock Thiessen
Fading Trails
(Secretly Canadian)
Like many, I'm not-so-se-
cretly a fan of anything Secretly
Canadian. Antony and the
Johnsons, Danielson, Songs:
Ohia, the Impossible Shapes—I
like them all unabashedly. And
because of my affection for much
of the Secretly Canadian roster,
I feel obligated to admit that I
had a tepid first date with Fading
Trails, the latest LP produced by
Magnolia Electric Co. Perhaps
my lukewarm response had
more to do with great expectations, since Fading Trails itself
boasts both a winning line-up
and guest appearances by the
likes of Andrew Bird. Besides
that, Secretly Canadian has
backed Magnolia Electric Co.'s
principal, Jason Molina, with
nothing shy of fervour, promising to release five more Molina
albums along with Fading Trails.
Due on shelves September
12th, Fading Trails is a conscientious folk album in an era of
sing-a-long ensembles and folk-
infused musical cross-pollination. Songs like "Don't Fade On
Me" and "Memphis Moon" are
pretty, honest, and introspective,
and the album itself achieves a
simple, uncompromisingly consistent folk sound—refreshingly
reduced to elemental acoustic
guitar progressions inflected
with percussion where neces-
In an interview with Billboard
this past June, Molina divulged
that Fading Trails is comprised
of nine songs culled from the
recording sessions in which he
produced the five other releases
due out on Secretly Canadian—
somewhat of a surprise,
the album plays from end-to-
end as if it were itself a twenty-
eight minute piece with minor
variations. I think that the slow,
waning mood of Fading Trails
will make it a good companion
when the rainy season arrives,
but until then I'll chock up my
disappointment with the release
to its length (the album ends just
when you fed you're getting to
know it) and its momentum,
which fades off during "Talk to
Me Devil, Again." That the album left me somewhat wanting
was perhaps Molina's overall
intent, seeing as he has a slew
of new albums to follow. But I
think I'll still need more time
to get to know and appreciate
Fading Trails before I'm ready to
move on.
Mono Brown
Christ Illusion
Recently, there has been a
trend amongst the old stalwarts
of heavy metal (namely Slayer,
Iron Maiden and Anthrax) in
embarking on tours exclusively
playing their 'classic' (i.e. older)
material. By doing this they run
the risk of turning into a kind of
Las Vegas-era fat Elvis, merely
trading on past glories. Also, it
encourages often unfavorable
comparisons between their
'golden age' and their latest material.
Slayer, however, have answered any doubts about their
current form by releasing then-
strongest album since 1990's
Seasons in the Abyss. Perhaps it's
not just a coincidence that this is
the first album since Seasons... to
feature original drummer Dave
There are many typically
brutal and intense tunes to be
found within the ten tracks,
"Jihad" and "Supremist" being
particularly noteworthy.
As always, their prevailing
lyrical themes concern war, religion and a helluva lot of anger.
In the context of the post 9/11
world, their unflinching approach to these topics has helped
to create an urgent and vital
album that confirms their relevance in contemporary metal.
Hello Love
If you were looking for something fresh and new out of the
Be Good Tanyas, you can probably stop reading now, because
the local gals aren't straying far
from their comfort zone on Hello
Love. Their newest record splits
the difference between the darkness of 20O3's Chinatown and the
(mostly) more upbeat affair that'
was 2000's Blue Horse. Sticking
with what works isn't necessarily a bad thing, however.
Like their previous two releases. Hello Love has its fair
Discorder     35 UNDER REVIEW CONT'D
share of covers and traditional
songs. This time around the
band tackles tunes by (among
others ) Mississippi John Hurt,
Sean Hayes, the Carter Family, Neil Young, and Prince. The
more classically country songs
turn out predictably well. Their
rendition of Young's "For the
Turnstiles" is one of the record's
highlights, as the On the Beach
tune gets some thicker instrumentation for Frazey Ford to
wail over. Conversely, one of
the record's few missteps is the
album closing performance of
"When Doves Cry," which falters
because, in spite of the banjo,
it strays a bit too far from their
usual sound.
There are two types of bands
worth listening to: the type of
band that succeeds in constantly
moving in new directions and
the type of band that succeeds
in staying the course. Being the
latter isn't likely to win over anyone who wasn't fond of their first
two releases, but the Tanyas are
bound to keep current fans (or
anyone who appreciates quality
country music) smiling.
Quinn Omori
(District 6 Records)
Having spent i
South Africa a couple years ago,
I had the chance to get a glimpse
of the exciting music scene there,
particularly the hip hop emanating from the country's urban
centers. I also got a chance to
meet Toronto's Zaki Ibrahim,
who was down making connections with SA-based hip hoppers,
singers and artists. Having spent
part of her childhood in Cape
Town, Ibrahim's visit focused on
writing and reconnecting with
her roots and her family,
A couple of years later, Zaki
Ibrahim is still working towards
her dream, weaving politics
and positivity through her lyrics, and performing in front of
crowds across Canada and internationally. Flourishing in the
uncharted space between defined styles, Zaki Ibrahim shows
off many dimensions of her talent on her 2006 EP Sho. Sometimes accompanied by piano or
acoustic guitar, more often singing over heavy hip hop beats, or
beatboxing, scatting, and
experimenting with a sound
reminiscent of Portishead, Zaki
has a voice that can do it all. At
no point does Sho seem overly
produced, and the live tracks like
"My Joy" are particularly raw.
Zaki bills herself as a woman
of the world, 25 years old and
tripping between four conti-
and three cities in particular: Vancouver, Toronto and
Cape Town. This exposure to an
array of influences, cultures and
styles means that Zaki Ibrahim
is a young artist with a unique
profile, a powerful and soulful
voice, and a freshness that can
bring a tired ear back to R & B.
In July, Zaki was in Vancouver
headlining a show with South
Africa's Tumi and the Volume at
The Plaza, and her performance,
following on the heels of Toronto
artist Isis, left the audience spellbound. It left me thinking one
thing: The world is ready for Zaki
Ibrahim. Bring it on.
stage_left 4|
Contribute to Discorder!
Write a story!
Review a show!
Review an album!
Draw a picture!
Take a photo!
Find out more by sending
us an email!
Words & Letters Bo- discordered@gmail.com
Art & Photos 6o- discorderart@gmail.com
lip awAioxuddaae
fne awfor\
CD0UTi|I0B_R10, 2006
Y"lsLmight call Shane Neiken the Roy Orbison of Main
«*•• J|g|ji|f.or at least the Nick Lowe of Mountain View
Cemetery, where he works in the crematorto^ite's blessed
with a great blue voice, a sly sense .^urnour, and a knack
g||Niraing melodic pop that walks tt#|wie line between
rock and country...songs that are elegant; tragic and
hilarious, sometimes simultaneously." Jjle Province
Mint Records Presents:
The CBC Radio 3 Sessions
Arriving in late September, "Mint Records Presents: The CBC Radio 3
Sessions" is the latest compilation created by CBC Radio 3, a collection of
15 songs by Mint artists recorded live
in the CBC Radio 3 studios. Hear previ-; „£cSci£d_3 S(,sriorai       «____]
ously unreleased recordings by such    K^l'"*
artists as fieto Case, The Organ,       ' W^^_W^^^im^^^ %
Psmo, Carolyn Mark, Young and Sexy, m ^t*_^_-_tjpf. rr^t
Roadshow participants The New "•■_^_WwkSl
Pornographers, Immaculate Machine, Oa?»;
and Novillero. To find out how to get   j  .'0;''"^J^"* &  ■'   '   '■'•'■
your FREE copy of "Mint Records        4_m   ■,__%_____
Presents: The CBC Radio 3 Sessions," (J|k_JL____H_Jr' JFs'.
please go to www.mintrecs.com! y^^i"*^y^^5SaR^,!
4307 MAIN
1972 WEST 4th
36     September 2006 CITR CHARTS!
////////////////////////////Strictly the dopest hits of August
i _ * p <_ i
5 s a •§> 3 j
a _.-_ S «, o
; ao is .- °
" 5 ,u "_ w> 3 i
[.# Artist	
 .Label j
j 1    The Jolts*
Comets on Fire
j 2    Vincat*
I Like Their Older Stuff Better
Kill Rock Stars
| 3    Joel And The Last Of The
The Tong Dynasty
The Husbands
There's Nothing More Than I'd Like...
Junior Boys*
In The Morning
j 4   Shout Out Out Out*
Not Saying Just Saying
The Knife
Silent Shout
j 5    The Sadies
In Concert: Volume 1
Fond of Tigers*
A Thing To Live With
Drip Audio
j 6    Various Artists*
From Jamaica to Toronto...
Light in the Attic
Leather Uppers*
Bright Lights
'    durse Sleep ' """"      '   '   '
Drag City
1 7   Bonnie "Prince" Billy
Venetian Snares
Cavalcade of Glee...
Planet Mu
1 g    Nomeansno
AU Roads Lead to Ausfahrt
Ant Acid Audio          F
| 9    Chad VanGaalen*
Flemish Eye
The Bronx
i 10 Blood Meridian*
Kick Up The Dust
Screaming Eagles*
Enemy Gold
1 ] _   Ladyhawk*
Amps for Christ
Every Eleven Seconds
|12  Sonic Youth
Rather Ripped
Ska Cubano
Ay Carambal
113   Various Artists*
Leonard Cohen: I'm Your Man
Verve Forecast
Camera Obsura
Let's Get Out of This Country
;14  Panurge*
Walking in the Fog
Last Gang
The Sword
Age of Winters
|15  Girl Talk
Night Ripper
Cansei De Ser Sexy
Illegal Art
Kg Dada
|16  CSS
Erase Errata
Kill Rock Stars
117  Peaches*
Impeach My Bush
The Paper Cranes*
The Looks
Last Gang
i 18  Six Organs of Admittance
The Sun Awakens
Chairman Plow's Little Red Book
Drag City
Ij9 Mr. Plow*
Radio Birdman
Zena Beach
= 20 The Dudes*
Brain Heart Guitar
 H__ |
Jim Noir
Tower of Love
121   BarboPond
Ticket Crystals
Post War
Carla Bozulich
|22  M.Ward
Tokyo Police Club*
A Lesson In Crime
|23  The Bicycles*
The Good the Bad the Cuddly
Fuzzy Logic
Body Stories
Kill Rock Stars
i 24 James Kochalka Superstar
Spread Your Evil Wings and Fly
Tilly and the Wall
Bottoms of Barrels
Team Love
125  TheNymphets*
The Friends of CiTR Card
Show it when you shop!
The Regional Assembly of Text, 3934 Main St.
The Bike Kitchen, 6138 Student Union Boul. (UBC)
The Kiss Store, 2512 Watson St.
The Eatery, 3431 West Broadway
Slickety Jim's Chat N' Chew, 2513 Main St.
Locky's Collectibles, 3972 Main St.
Magpie Magazines, 1319 Commercial Dr.
People's Co-op Bookstore, 1391 Commercial Dr.
Rx Comics, 2418 Main St.
Spartacus Books, 319 West Hastings St.
Audiopile, 2016 Commercial Dr.
Beat Street, 439 West Hastings St.
Red Cat Records, 4307 Main St.
Scratch Records, 726 Richards St.
Vinyl Records, 319 West Hastings St.
Anti-Social, 2425 Main St.
Burcu's Angels, 2535 Main St.
ll     friends@citr.ca
Discorder     37 GUIDE    I    I
You can listen to CiTR online at www.citr.ca or on the air at 101.9 FM
Pacific Pickin'
the Browns
Suburban Jungle
Cute Band Alert!
the Sai urday Edge
Third Tmv's
The Charm
Ska-T's Scenic
Morning After Show
These are the Breaks
Parts Unknown
"GIVe 'hmi THC Boot
W^^I^AUt l)OWK
Democracy Now
Let's Get Baked
Car>e» Pasi Track
Native Solidarity News
En Avam La Mosique
Radio A Go
0EU&JG&& T83EA50NS
Nardwuar Presents
Necessary Voices
JPROIECt', 1 RjBVg-tftlON
Son of      Uncom-
Flex Your Head
Sometimes I  Fdll-in
Salabio Minimo
the Jazz Show
Nights .
Shadow jugglers
Synaptic Sandwich
Vengeance is Mine
Hans Kloss'
Misery Hour
I Like the Soubbles
Conception Rmjio
AtlRAX. JfesTACl^S-
The Vampire's Bali
Beautiful arresting beats and voices
emanating from all continents,
corners, and voids. Seldom-rattled
pocketfuls of roots and gems,
recalling other times, and other
places, to vast crossroads en
route to the unknown and the
unclaimable. East Asia. South
Asia. Africa. The Middle East.
Europe. Latin America. Gypsy.
Fusion. Always rhythmic, always
captivating. Always crossing
borders. Always transporting.
Reggae inna all styles and fashion.
blood on the saddle
Real cowshit-caught-in-yer-boots
38     September 2006
British pop music from all
decades. International pop
(Japanese, French, Swedish,
British, US, etc.), 60s soundtracks
and lounge. Book your jet-set
holiday nowl
QUEER ¥N_(__lk)
Dedicated to the gay, lesbian,
bisexual, and transexual communities of Vancouver. Lots
of human interest features,
background on current issues,
and great music.
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.
Join us in practicing the ancient
art of rising above common
thought and ideas as your host DJ
Smiley Mike lays down the latest
trance cuts to propel us into the
domain of the mystical.
_____________ MONDAY
BROWNS (Edectic)
Your favourite Brown-sters, James
and Peter, offer a savoury blend of
the familiar and exotic in a blend
of aural delightsi
A mix of indie pop, indie rode,
and pseudo underground hip hop,
with your host, Jordie Sparkle.
Hosted by David B.
Underground pop for the minuses
with the occasional interview
with your host, Chris.
LET'S GET BAKED w/matt & dave
Vegan baking wtth "rock stars"
like Sharp Like Knives, Whitey
Houston, The Novaks and more.
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.
NEWS 101 (Talk)
A volunteer-produced, student and
community newscast featuring
news, sports and arts. Reports by
people like you. "BecometheMedia.''
W.I.N.G.S. (Talk)
Womens International News
Gathering Service.
KARUSU (World)
Vancouver's longest running
primetime jazz program. Hosted
by the ever-suave, Gavin Walker.
September 4: Yet another
birthday to celebrate! This time
trumpeter Gerald Wilson. Eighty-
eight years young and still leading
his distinctive band to this day.
Tonight a Wilson classic "Moment
of Truth" with his star-studded
band from L. A.
September 11: It's that time of ;
year... school/education/ftin
etc. tonight our two-part jazz
education feature that's fun
and entertaining. First is the
famous recording by the great
Leonard Bernstein called "What
Is Jazz"... It's funny, analytical,
and perceptive and... wait for it...
September 18: Part two of our
back to school series is the relaxed
and informal "An Introduction  •
to Jazz" narrated by the late
alto saxophone giant Julian
"Cannonball" Adderly. It's great
to hear jazz history directly from
someone who was part of the
September 21: One of the
great short-lived bands in jazz
history and their one and only
recording. "The Pepper-Knepper
Quintet". Pepper Adams, master
of the baritone saxophone and
trombone great Jimmy Knepper
with pianist Wynton Kelly, bassist
Doug Watkins and drum giant
Elvin Jones. Standard-setting
All the best the world of punk has
to offer, in the wee hours of the
PACIFIC PICKIN' (Roots) Bluegrass, old-time music, and its
derivatives with Arthur and the
lovely Andrea Berman.
Open your ears and prepare for a
shock! A harmless note may make
you a fan! Hear the menacing
scourge that is Rock and Roll!
Deadlier than the most dangerous
Sample the various flavours of
Italian folk music from north to
south, traditional and modern.
Un programma bilingue che
esplora il mondo della musica folk
Movie reviews and criticism.
En Avant La Musique! se
concentre sur le metissage des
genres musicaux au sein d'une
francophonie ouverte a tous les
courants. This program focuses
on cross-cultural music and its
influence on mostly Francophone
Join the sports department for
their coverage of the T-Birds.
Up the punx, down the emo!
Keepin' it real since 1989, yo.
Salario Minimo, the best rock in
Spanish show in Canada.
Trawling the trash heap of over 50
years' worth of rock n' roll debris.
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.
__________ WEDNESDAY-
ANOIZE (Noise)
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, fused-out garage mayhem!
activist news and spoken word
with some music too.
First Wednesday of every month.
Developing your relational
and individual sexual health,
expressing diversity, celebrating
queerness, and encouraging
pleasure at all stages. Sexuality
educators Julia and Alix
will quench your search for
responsible, progressive s
over your life span!
Two hours of eclectic roots music.
Don't own any Birkenstocks?
Allergic to patchouli? C'mon in! A
kumbaya-free zone since 1997.
(Hans Kloss)
This is pretty much the best thing
SWEET 'N' HOT (Jazz)
Sweet dance music and hot jazz
from the 1920s, 30s, and 40s.
WE Ali FALL DOWN (Edectic)
Punk rock, indie pop, and
whatever else I deem worthy.
Hosted by a closet nerd.
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).
Music of the world, with a special
dance around African drum beats.
My passion is music from the African Diaspora. Catch up on the latest
and reminisce on classic spins.
Experimental, radio-art, sound
collage, field recordings, etc.
Recommended for the insane.
RADIO HELL (Live Music)
Live From Thunderbird Radio
Hell showcases local talent...LIVE!
Honestly, don't even ask about the
technical side of this.
____________■ FRIDAY
Email requests to:
Top notch crate digger DJ Avi
Shack mixes underground hip
hop, old school classics, and
original breaks.
RADIO ZERO (Eclectic)
Independent Canadian music
from almost every genre
imaginable covering the east
coast to the left coast and all
points in between. Yes, even
David "Love" Jones brings you the
best new and old jazz, soul, Latin,
samba, bossa and African music
from around the world.
Music inspired by Chocolate
Thunder; Robert Robot drops
electro past and present, hip hop
and intergalactic funkmanship
Beats mixed with audio from old
films and clips from the internet.
10% discount for callers who are
certified insane. Hosted by Chris D.
Dark, sinister music to soothe
and/or move the Dragon's soul.
Hosted by Drake.
_____________ SATURDAY
Studio guests, new releases,
British comedy sketches, folk
music calendar, and ticket
A fine mix of streetpunk and old
school hardcore backed by band
interviews, guest speakers, and
social commentary.
Vancouver's only true metal
show; local demo tapes, imports,
and other rarities. Gerald
Eattlehead, Geoff the Metal Pimp
and guests do the damage.
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy and Paul.
The best of music, news, sports,
and commentary from around
the local and international Latin
American communities.
OUR WAVE (World)
News, arts, entertainment and
music for the Russian community,
local and abroad.
An exciting chow of Drum n' Bass
with DJs Jimungle & Bias on the
ones and twos, plus guests. Listen
for give-aways every week. Keep
feelin da beatz.
101.9 FM has some hot new initiatives, one
of which rhymes with "Rodblasting"
by Duncan M. McHugh
First and foremost, we're a campus radio station, representing the students
of the University of British Columbia. CiTR is committed to bringing you music
and voices that aren't represented in mainstream commercial media. That means
independent and local bands, as well as spoken word programming from a variety
of viewpoints. Since 1937, when UBC's radio society was formed, students have
been playing records and broadcasting to campus. In 1982, we hit the big time
(well, medium time) and began broadcasting in FM at 101.9.
We're also one of only three community radio stations in the city. But what
does that mean, "community radio station"? Well, it means anybody, including
a schmo like yourself, can come to the station, get a tour, get trained and get
your own radio show! How cool is that!?! Year-long memberships are just $35 for
community members and $20 for students.
CiTR is also a member of the National Campus and Community Radio
Association (NCRA), a non-profit national organisation made up of over 40
stations committed to volunteer-based, community-oriented radio broadcasting.
We're even hosting the NCRA's national conference in the summer of '0 7. Prepare
for the invasion of hundreds of radio nerds!
On top of all that, CiTR is the publisher of Discorder, the fabulous magazine
you're reading at the moment. With all of these phenomenal accomplishments,
we could be content to rest on our laurels. Unfortunately, we found that our
laurels were, in fact, thoroughly rested. So we're busting out two (2!) exciting new
projects, guaranteed to make the CiTR Experience better than ever.
Project A: "CiTR On Demand"
Our first big initiative coming this September is called "CiTR On Demand,"
which is a fancy way of saying "CiTR Podcasts," which in turn is a fancy way
of saying "CiTR radio programs recorded and converted into compressed digital
files available anytime for download on the World Wide Web, or 'Information
Superhighway,' if you prefer it old school." We prefer it the fancy way.
Basically, we'll be uploading mp3s of all our shows to our website, where
they'll be waiting, patiently, for you to listen to them whenever you want. Say you
were hoping to catch your favourite CiTR show but got stuck at work with a boss
who insists on listening to Jerk FM? Problem of the past, my friend. Get home,
download the show and enjoy at your leisure. What a world we live in!
Even better, using space age RSS technology, you can subscribe to your
favourite show and your computer will download the latest episode as soon as it is
posted online. Actually RSS isn't all that space age-y; RSS stands for the very non-
futurocosmic Really Simple Syndication, which is a type of computer code that
you don't need to understand to love. Use iTunes or a similar music application
and RSS will set you up the new episode when it goes online—It's as easy as that.
All the details can be found at www.citr.ca/podcasts.htm
Protect B: "Friends of CiTR" card
We here at CiTR are pretty popular. If we still got yearbooks, they'd be full
of signatures of people who are totally going to stay in touch with us over the
summer. Anyways, talk is cheap, so we've made our friends put their money where
their mouth is: Hence, the "Friends of CiTR" card.
For a measly 15 bucks (only five if you're a CiTR member), you can use your
card to get discounts at over a dozen quality, independent, local establishments,
like records? Bam: get a discount at Vancouver's better record shops. Do you eat?
Boom: get a discount on sushi at the Eatery. Do you clothe yourself? Explode: get a
discount at Anti-Social. Hell, need a way to get around to all of these great shops?
Snakes-on-a-plane: get your wheels ship shape on the cheap at the Bike Kitchen.
Yes, it's that awesome. Pick up your card at CiTR's offices and make sure to
show it every time you shop.
And hey. Friends of CiTR, thanks for the solid. You guys are rad. For more
information, surf on over to www.citr.ca/friends.htm.
All this and we are re-launching our CiTR.ca website, complete with
streamlined design, show profiles and a gallery of old CiTR posters and Discorder
covers. Obviously, it's an amazing time to check out CiTR 101.9FM! I may even
pay my membership dues this year!  5|
Illustrations by Melanie Coles
Discorder     39 Zui u   Recommendgd   €artrr_rer-Prrc-kng   ant?" ^
I Am Not Afraid
Of You and I Will
Beat Your Ass CD
CD $16.98
Return to Cookie
Mountain CD
surveyferJ^Mte'Ia Tengo as a key figure in American
rock as well as an overview of aesthetic trends in post-
Velvets pop music generally, of which Ye la Tengo is
arguably the most representative and sJyJJfeiJ-G»PrteinT5Srary
exponent. While rJeJ^ttot*rflftJ*S$ert playing and
JiispM«HlfflficT^iich after twenty years plus active
presents this experienced and confident group in magnificent form, students will leam about the prjnejr^_Me#>""'*'
cation, craftsrjereonshtojj^efefp^wfitlng and good
^; with past Yo La Tengo releases,
Iffim Not Afraid of You and I Will Beat Your Ass also
presents cogent instruction in the near-lost art of creating a
full-fledged album, one withiSutj^JjatmK^',*j3fog^sion
and roundedness. Thisart requires equal maturity and
^emSnlfopen-mindedness, which have become the
hallmarks of this well-loved group. Other key themes
include: Creative Marriages, Pop MusicoJggstJrends in
Contemporary JudajgBr^wfJff^ff^quencing, the "Indie*
Scene, David Mansfield, and Community.
CD $16.98
Get Lonely CD
Lesson Theme: Lost Love. John Darnielle is one of the
mrjs%fflr|g^ja^f»1ff^nSinporary popular music. A
4Rjrp5^ he chooses and speaks every word deliberately,
conscious of its effect. Consequently, this module explores
this truly moving subject with great iriftslggftce, skill and
care. It presents ang|^idJHp!e^wWloiwliness, from
its deepest, most pitiful lows to its prosaically subtle,
everyday expressions. In a gesture of group empathy,
students will also be asked to disclose their own stories of
heartache and sorrow, becoming emotionally open to the
gr^^^sate^eilf'Tnnermost selves. Although painful and
"ISflflelginp;, lf}is module will have a transformative result for
the class, providing perceptive insight into one of hun^^s
most demanding, often puzzling persQraJ^af^^tfsTBfiier
key themes include: Baseball and Literature, Existential
Oread, Folk Singers: New and Old, and True Confessions,
CD $16.98
So This is Goodbye CD
Lesson Theme: The New Modernity. The German philosopher and sociologist Jurgen Habermas once famously
argued that modernity was an unfinished project. Holding
onto the emancipating possibility of rational-critical communication, Habermas contended that the enlightenment
tradition is often too-hastily dismissed at the behest of
postmodernist theory, such as Derridian deconstruction.
This module critically examines Habermas contention in
terms of contemporary electronic pop, re-contextualizing the
notion of "the modem" in the historical present. The Ontarian
Junior Boys' excellently icy, much anticipated second
"iSRrvgm provides a cogent framework for this important
topic. Some questions for students to consider inclup&Ajg^
Junior Boys retro or visionary? Are they house, pop, both or
neither? What is the cultural significance of the synthesizer?
What does the aesthetics of crooning signify? Other key
themes include: The Canadian North, Air Travel, Nomadology
and Nostalgia, Cyberspace, Frank Sinatra, and
Lesson Theme: The Future.
With its forward-thinking,
often surprising sound and style, this^pj_*^w!)|f^|s"
students to question the broader aesthetic status quo of
..fiGmempetftypoiular music. Perhaps more than the other
modules offered here, students will be most eager to
conduct wide-ranging, group-directed diajpgugji&ef Msterr-'
ing to this strikim|yj|ngya)i»and coot synthesis of soul,
pos£jB6fe*B#$0?rtnediscussion point might be the
TSstory of falsetto in popular music, moving from Western
to non-Western musical traditions. Another topicjgg|y&«»
the ever-changing roll of gutera|piQSf*ewsia1fflflieuse
of "effects^exJaisJft'expiffllgTOibral dynamics as musical
•HofflTTWier key themes include: Afro-Postmodernism
versus Neo-Afro-Romanticism of Neifter, Shoe-Gazing as
Soul or Soul as Shoe-Gazing, David Bowj&.-aWWItlxr
Big Thing Phenomenpa..**'*!??'"*'
CD $16.98
Damaged CD/LP
Lesson Theme:
This module presents
instruction on thejpjjtetefaes*
^otmeodreffiphasizing the
notion of the beautiful and the
aesthetics of Americana in
contemporary cultural prodjjjiont^laB^ffil'will be lulled
eduraJjgrjaJly by the soothing, dream-Jike quality of the
music. Deep thoughts of great emotional complexity
offering personal insight are sure to Hfiyipft f°r ft to
addition, because of the excepjpjgygjafil^ef Damaged,
the group's tenth full-length, musicological instruction is
also provided in terms of lyrical imagery, song craft,
arranging, musicianship and production. One discussion
point might be the rhetorical use of nostalgia by Ktat
Wagner, Lambchop s mats-songwriter. Other key themes
jjeJua^^esta Coloration, Dreaming, Metaphor, the
American South, Literariness, "Alt-country", and Heartache.
CQ/LP $16.98
We Are the
Pipettes CD
--Retrospection as
Momentum. From The Go!
Team to Christina Aguilera
OutXast, popular music of the past is more and more,
self-consciously on the horizon for contemporary
musicians, with Brighton's The Pipettes one of the latest
groups to look backwards musically, expertly combining
light disco, 60s girl group pop, riot-grrt and indie-rock,
while moving forwards. No simple historical pastiche, The
Pipettes' sound is unmistakable fresh-and infectious.
This module examines the changing shape of postmodernism as expressed by popular culture. Students will be
asKed to consider if the postmodern has become less an
issue of theoretical exposition than an everyday aspect of
contemporary life. Or perhaps ^j^unstead no longer
describes the historical present at all, needing to be
replaced. Other key themes include: Phil Spector and the
Girl Group Sound, Northern Soul, Post-Feminism and
Contemporary Music, Synchronized DancingjsJes**'**"
Deconstruction, and Irony and Critique: How Fun Just
Might Change the World.
CD $16.98
How They Fly CD
I  essonTI
--Sensitivity. The module
presents a lesson on tfrplllll"
of presence in music. Thi^bj^suif--
toio^ffi^rtiffl^^rve rational
'"often given to explain the sense of
meaningful emotional resonance conveyed by poputjrsji<)(«sSB<*»
music. Singer-Songwriter andjfrpfleader Ma Nilsen's
soothing voige atone is a^vTviddemonstration of the intangi-
-*f1ffle?w affect, the compelling power it has to move listeners. Students will be gently awed by her songs' deliberated^
ness, tenderness and quietude, also bjy]grj3a»_*ta^e^^
dedication to moojJjnj_feetif»g, ait necessary components
for the expression of presence in all its delightful elusive-
ness. One important discussion might centre on a debate
between the metaphysics versus the materjrfl^oipresenee,
another on the potentiaJcojtjsdirtieirBT^iess as a kind
c£pkj^pfe@B!ef^tnemes include: The Waterboys,
Tonality and Atonaiity, The Pastoral in Pop Music. The Beans
and the Enigma of Group Improvisation, and Julie Doiron.
CD $14.98
Fading Trails CD
Lesson Theme: The West. This j
module takes on the popular,
Jftw^fetfCBotJi a concept (a
sometimes bittersweet notion of pure possibility) and a
geographical reality (in and around the vvestgpjcortier trTHTe
North American continent). Students rffieencouraged to
reJeBtssB-how this seemingly simple notion has diversely
inspired countless musicians and other kinds of artists, from
writers to film makers. On this beautiful new recording, a
thoughtfully subdued, Jess noisy chaflp*o1ff1fTOntpast
efforts, Jason Molina and his Magnolia Electric Co. serve as
an excellent case study for students to investigate. Recorded
at different studios, including Steve Albini s Electric Audio
Studio, David Lowery s Sound of Music Studio, and at the
famous Sun Studio in Memphis, Tennessee, Fading Trails is
also-tjedd opportunity for group based work, comparing
and contrasting the different imaginings of the notion of The
West thereby presented. Other key themes include: Heil
Young, Melancholia and Catharsis, Guitar as Poetry, The
Western as Noir, and The Trials and Tribulations of Prolific
CD $16.98
Then the Letting Go CD
Lesson Theme: The Unknown. Over the course of his
celebrated career, Will Oldham has cultivated mystery.
Taciturn, he has employed many aliases, including Bonne
"Prince" Billy, his most recent pseudonym. He hasjlsojakisj
on different musical approaches, from full-on guitar rock to
spare acoustic balladry to lushly orchestrated country pop.
H^ftlSjjBing lyrics, although consistently thoughtful, also
suggest many different points of view, confounding autta^,
certainty. Despite their richness and brilliance, the different
perspectives represented -BftlEffSst work still never manage
^MMff0<A the truth of Will Oldham. No fixed identity is
forthcoming; he remains an enigma. With Then the Letting
6o, his latest full-length, this module fakesonjje.subjectof
mythmaking in contemporary music. Other key themes
include: the Troubadour as Trickster, the West as Exotica,
Bob Dylan, Famous Beards, Poetry as Deception, and the
Inscrutability of Charisma.
CD $16.98
Post-War CD/IP
i Theme: Iraq. Despite much
Invaluable pitfc^aentto draw from,
including luminaries Dylan, Lennon and
Springsteen, for example, taking on a
multifaceted and somber raa^jgjjd tapir"'
with due genuineness remains no easy job
for a pop musician, even if approached via metaphor. Perhaps because
songwriting is imperative to his effort not slopneering, M. WMd-'S"*""'"
Post-War is a great achievement in thj5J^pe®tfWeflc°eWs module
offers an excellejjtjM^siarffor*sfudints to not only discuss the
,.<&fflp!exln"e*s(tfTne current Iraq conflict itself but also to examine the
issue of politicized popular culture: does it add to or detract fromg)^«»«»
issue on hand? This module is sure to be thejjjalieaily cofittoversial,
even though i^^uJcaJ^araetepisitigTilyaccessible, indeed first-rate
majUsspeetsflJfnerlcBy themes include: Finger-Picking Guitar, the
""Declining American Empire, Concept Records: Past and Present, What
Makes a Top Ten Pick, and Guest Musicians: Pros ajrlitoBS?*-" ""'
CDAP $16.98
Skelliconnection CD
Lesson Theme: Tlie Outsider. This module charts the impact of
multitalented, self-contained, idiosyncratic singer-songwriters on
popular music, in terms of both actual achievemente^yts^fpBSP""^
cally. With his second Sub Poj^jJoBe^fotfle^mT^gifted Chad
Vangaalen is a great contemporary example of this kind of artist. Like
•fjtt'nWo! Ins kind, Vangaalen records and produces himself at home,
typically playing all the instruments, freely following his somgjjnjas""*"*'"'
eclectic creative impulses. StudentswJTjjyftaHiflgiSRocompare and
contrast Vansa_(g^fc«i«rri1m1!ar near-preternatural pop music
^jaytsJaWBoffipast and present. One important debate might be
between setf-editing versus uncensored expression. Another ~^Skfbflf
discussion topic might be the enabling availability of accessible
music-makingtechnology^hj^hasthtsimluenced the bedroom
music^o&OthertlSfffwmes include: Diversity and Abundance in
Pop Music, Alienation as Muse, the Calgary Stampede, New
Media/New Times, and Mike Oldf ield.
CD $16.98
Lesson Theme: The Carnivalesque. This module explores the notion
of the carnival as developed by the Russian literary theorist and
philosopher Mikhail Bakhtin. According to Bakhtin, the carnival is a
special temporal-cultural zone in wlTJj^uaffiBhsfrf^Srules are
briefly suspenrJerLJiypiealfy marked by frolicking songs, unruly dancing,
««e)*?rStgtnTcostumes and other assorted irreverent tomfoolery.
Students will be inspired to dance and sing along to the flamboyantly
up-beat songs on Awoo, the third, arguably most accomplished yet
full-length by thi Torojtoiteed^upfvtffth its focus on fun, this
module is sure to be a class favorite, for the students and instructors
alike! Other key themes include: the Dionysian versus the Apollonian,
Queering Popular Music, Francois Rabelais, Orchestral Pop, and the
Paradox of Licensed Transgj^^k»»*«**
CD $16.98
Other Topics:
KBJS -Kefis W_5 Here
PAJO-1968 _JHnT__Me-Singtes,8-ides
THE AUUM LEAF-Into the Blue Again andUve
-J-OTSMm-Btha/OrlExpaided)     BHS-T BEAR-YeNaur House
BU-XKEYS-MagJcPohon JHEMP1JM-Pieces of ft»
THE THERMALS-The Body, The ^^,Z__"_t _
Hood, The Machine ^JgJJBMOW-TI„<tatsider
HRWWiaiST-lteFiitureCrayon XW MO-The Air Farce
FED MUSK -Tones of Town BCHAHBBUBBBl -Meadow
CURSWE-Happy Hollow BASEfc-TffJAXX-Crazy Itch Radio
Go, Let Me Bo
BY TABUHA OSLER opening September w
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
| ML...
i Thurs and Fri 10:30-9:00


Citation Scheme:


Citations by CSL (citeproc-js)

Usage Statistics



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


Related Items