Discorder CITR-FM (Radio station : Vancouver, B.C.) 2004-02-01

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  4307 j\f.
New & USed cn-Ht^S
Nate Denver's Neck by Natalie Vermeer p.l 1
The Peter Parkers by Jason Grimmer p.12
The Front by Dave Gwilliam p.14
Josh Martinez by Jennifer Wong p.l6
Raking Bombs by Susy Webb p. 18
All State Champion by Emily Kendy p.20
From the desk of... p.6
Fucking Bullshit p.6
Riff Raff p.7
Panarticon p.8
Strut, Fret and Flicker p.8
Under Review p.21
Real Live Action p.22
On the Dial p.24
Charts p.26
Datebook p.26'
Kickaround p.27
The cover was designed by the talented
Shannpn Bennett and uses a photo of The
Front by the lovely Michelle Mayne. The above
photo, taken during an editorial meeting, was
captured by Chloe Lewis.
Duncan M. McHugh
Ad Wrangler:
, Jason Bennett
Production Manager:
Graeme Worthy
Editorial Assistant:
Susy Webb
RLA and Under Review Editor:
Kimberley Day
Layout and Design:
Duncan, Graeme, Susy, Kim,
Chloe Lewis, Dale Davies
and Shannon Bennett
Jason, Kim Koch, Kat Siddle,
Hughie Tuscano and, as
always, fhe Ubyssey
On the Dial:
Bryce Dunn
Luke Meat
Esther Whang
Matt Steffich
US Distro:
Frankie Rumbletone
Lydia Masemola
Radio Society of the University of British Columbia. All
:riptions, payable in .advance, to Canadian residents
SA are $15 US; $24 CDN elsewhere. Single copies are $2.
>r money orders payable to DiSCORDER Magazine. Please
© "DISCORDER" 2003 by the Studen
I rights reserved. Circulation 17,500. Subs
are $ 15 for one year, to residents of the I
I (to cover postage). Please make cheques <
| make gifts papyable to Duncan McHugh.
i DEADLINES: Copy deadline for the March issue is...oh, let's say February 18. Ad space is available
I until February 23 and can be booked by calling Jason at 604.822.3017 ext. 3. Our rates are available upon
t 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
t unsolicited material. Material can be submitted on disc or In type. As always, English is preferred, but we
f will accept French. Actually, we won't. Send email to DiSCORDER at discorder®club.ams.ubc.ca.
I From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well
i as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the
I CiTR DJ line at 822.2487, our office at 822.3017. or our news and sports lines at 822.3017
f 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
m and write #233-6138 SUB Blvd., Vancouver. BC, V6T 1Z1, CANADA.
Presented by www.tigerstone.tv /
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Children Of Bodom ■ Hey you! The one one reading this
space. Why not advertise in
Our magazine has a circulation of
17,500 and we distribute from
Vancouver to Victoria to Seattle.
Contact Jason for more info:
discorder maqazine@shaw.ca
\Q    Jisro^e^
by Duncan
Editing a magazine is sort of like being in a doomed
love affair. At the beginning, everything is dreamy
and exciting and new. You can spend hours with
your new lover, not even thinking of the time, simply
basking in a reflected amorous glow. But love is
fleeting, and eventually, being doomed, you're left
feeling distant, alone, awkward and frustrated, a bitter shell of your former self, defenseless and starving,
and cold and disoriented. At least this is what editing DiSCORDER was like.
If you apply the relationship metaphor fully,
DiSCORDER has been a fucking slut. I'm the fifth editor of DiSCORDER since September 2001. In that time,
DiSCORDER's had Lindsay Sung, Barbara Andersen,
Chris Eng, Merek Cooper and myself as editor.
That's a lot of frantic blood tests, my friend. Fret not
though, because as of next month DiSCORDER will
have a caring, passionate editor, by the name of
Kat Siddle. Kat has a show on CiTR ( "Dim Sum"),
she's short and jet-lagged—but (but!) ready to be
the sort of editor that DiSCORDER has been waiting
for. Lord knows the magazine needs it.
As of this issue, our staff is made up of an ad
guy who's worked on two issues, a brand new production manager (still figuring out the intricacies of
InDesign and the voodoo of DiSCORDER's computers), a one-off interim editor and a hodge-podge of
various art directors. I guess what I'm trying to say is,
please be patient with DiSCORDER. The magazine
has been on the rebound (seriously), but things are
going to get stable: new editor, new production
manager, new ad guy, new art director; things are
looking up from here. Uh, yeah.
Speaking of this issue, I think we've done okay,
given the chaos. DiSCORDER is, sometimes criticized
for its lack of diversity, but in this issue we managed
to feature two hip hop interviews, with Josh Martinez
and SHiNDiG winners The Front. We also managed
to cover two local bands: Raking Bombs and All
State Champion. And then there's Moncton's
Peter Parkers (interviewed by The Nasty On's Jason
Grimmer) and some dude from San Francisco
named Nate Denver. Yee haw.
In other news, DiSCORDER's amazing new
website is up and mostly running. It was designed
by outgoing editor Merek and art director Lori
Kiessling, and took a very, very long time to complete, so you best be paying your respect. Go to
http://discorder.citr.ca and revel in the beauty of
its exquisite web design. There are even message
boards, where you can leave all sorts of messages,
or something. Anyways, it's all very exciting.
Also, we're looking for some help from readers. For the next issue, we're going to be doing an
interview with Nardwuar the Human Serviette to
commemorate the release of Ripple Rock, the new
album from his band The Evaporators. In the spirit of
Nardwuar-style interviewing, we're calling on readers to provide us with obscure facts and questions
with which to confront Monsieur Nard. Submissions
should be emailed to discorder@club.ams.ubc.ca
Finally, please keep in mind that DiSCORDER
is always looking for volunteers. We need writers,
reviewers, photographers, designers, cartoonists, proofreaders, sushi chefs, human flies (that's.
Graeme's joke, I don't get it) and fancy dancers.
If this sounds like your bag, drop us an email at that
address up there.
Okay, that's it for me. I hope you enjoyed my
one issue at the helm. It's not the greatest issue ever,
but none of us really knew what we were doing. And
the mescaline didn't really help     ** ^>fjf
Hello! I'm back, fresh from my winter holiday! I'm
allowed to take a holiday, aren't I? Apparently
DiSCORDER lost hundreds of dollars in advertising
and hundreds of readers because of my absence
last month. Sorry. Like I said, I was on holiday.
I was in. Finland with my old pal Jarkko Ruutu.
You may know him as #37, the top sniper on the
Vancouver Canucks NHL hockey team. I know him
as my good buddy from the old days. I met him a
couple of weeks ago in the Canucks' locker room,
and he immediately invited me to go back with him
to his homeland.
You may find it hard to believe because of
Ruutu.'s finesse game, but Jarkko can get pretty
wild and crazy. Don't get me wrong, though. He's a
perfect gentleman. He let me use his hockey shorts
as a pillow on the plane, and he sang Cradle of Filth
songs in my ear to help me fall asleep.
The plane ride was long, but once we got to
Helsinki, I knew it was all worth it. It's a beautiful
place, and the people are so friendly. After meeting the Ruutu family, Jarkko and I immediately went
Although we get along famously, Jarkko and
I don't have very much in common. He likes milkshakes and clogs, and f like martinis and stilettos.
There are two things that we both love, though:
death metal and skating.
Jarkko, of course, is a professional skater. I just
do it because I love it." I've always loved it. There are
kids these days that are into it because it's cool right
now. That's fine, but I wish they'd learn the basics
before trying the tricks they see in the magazines.
At least they're actually trying to skate, I guess
some kids are iust into the skate lifestyle, which is
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pretty lame. I know skaters look cool, and we've
got the best gear, but unless you love to skate, it's
all a front.
I'm not that good, but my heart's in it. I love
cruising, feeling the cold wind in my face. I also love
seeing people kill it. Jarkko is seriously amazing. He
throws down the biggest hammers I've ever seen.
Jarkko started skating in Finland as a child, so he
knows where all the sweetest spots are. He took me
to the underground ones, and some of them were
super gnarly. I had to take a seat when the tranny
was too gnar. I just chilled and watched Jarkko
shred it.
We spent most of our holiday cruising, just stoked
on living, but I'll never forget the trick Jarkko pulled
in Tampere. He was skating so fast—switch, if you
can believe it—and I wasn't sure what he was going
to do, when all of a sudden, he did a quadruple toe
loop/triple lutz combination. I practically cried, it
was so sick. I'd never felt so alive! Skate or die! Well, here we are back in action
once more with choice seven-
inch cuts of only the finest quality, vinyl vittles to get the juices
flowing and the party showing.
It's a small sampling this month,
but it's lean, mean and definitely
not lacking in flavour.
Getting ya started is a foray
into the funk, the latest offering
from the Daptone staple of artists,
Charles Bradley And The Bullets.
I'm admittedly a bit of a Johnny-
come-lately when it comes to
this stuff, but I had the chance
to see another of the Daptone
Records combos, Sharon Jones
And The Dap Kings live last year,
and after her explosive performance I have been converted.
So when this new slab came to
my attention I had to check it
out, and it's got a groove that'll
make you move. The two tracks
provided, "Now That I'm Gone"
and "Can't Stop Thinking About
You" are soulful shakers with
great flutter-pickin' guitar lines
and bouncing bass, with Charles
Bradley's crooning voice sealing
the deal. A necessary addition to
the record collections of funk soul.
brothers (and sisters) among you.
(Daptone Records 115 Troutman
St. Brooklyn, NY. USA 11206).
Crooning is not something
the guys in The Ka-nives are
known for, nor would they
admit to, if asked, but instead,
according to the press release
that accompanies their seven
inch, they "...pissblast their way
new vinyl
by bryce dunn
through the forgotten corners
of rock's foundations like meth-
infused marmosets." Well I've
never seen a meth-infused marmoset before, but if that's the
kind of tagline they have to use
to sell records, I'm your sucker.
Indeed, etched on to slick black
wax are two tracks of unrefined,
fun-filled fifties rockers that need
no explanation other than...well
there is nothing to say. "Weasel"
is a cover of Joe & The Furies
tribute to meth-infused marmosets, and "Dear Dad" is a Chuck
Berry number about a letter to
a father about how he's acting
like a meth-infused marmoset.
And if you believe that, then
who's the sucker now? (Lance
Rock Records 370 Bruce Avenue
Nanaimo, BC Canada V9R 3Y1).
And last but not least a
tag-team effort from two acts
from Montana, The Volumen,
who chime in with "Lady Cop," a
seventies-rock spoof that doesn't
grab you right away, might take
a few listens to get the joke, but
the flip side offered by No-Fi Soul
Rebellion in the song "Church" is
a indie-rap treat with Casio beats
and handclaps in the vein of Har
Mar Superstar or Reggie And
The Full Effect with a dose of The
Make-Up, if only for the gospel
flavour reflected in the lyric: "If
all good things left you in the
lurch, come on children, let me
take you to church." (Wantage
USA P.O. Box 8681 Missoula, MT
USA 59807).
Can I get a hallelujah? No,
OK how about "See you next
time?" Sounds good. Until then...
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q. J$&w*r^ July Fourth Toilet
Friday 28 November
Pots Pub
There was a slanted wind blowing
through Pat's, with all three of the
night's acts working that nice,
quivery territory between "they
can't be serious" and "oh, but
they are."
Arriving in time to catch a chunk
of opening band Rock'n, I recognized art scene chameleon
David Young. As the neck of
his guitar ejaculated a stream
of fireworks. I wondered: "Was
that performance art or is he just
happy to see me?"
Local stand-up outlaw Paul
Anthony followed, in the persona
of a rocker whose bandmates
had all quit. This man can transform himself so brilliantly that
he's unrecognizable from one
gig to the next. Air guitarring his
way through a valiant, one-song
set, he was a marvellous, spindly
cartoon with the high yelp of a
stadium dinosaur who's blown his
vocal chords.
The headliners didn't so much
begin, as infiltrate the room until
the whole crazy assemblage was
onstage in a cloud of incense,
bells and chanting. Unless you
consider theatricality a through-
line, no two July Fourth Toilet
shows are alike and many have
no set list. This one was a seamless
barrage of liturgy and catharsis,
with members costumed as high
priestesses, burn victims and god
knows what else. I felt like we
were watching asylum inmates
who'd gone off their meds and
into art therapy. And yet...chaos
did not reign. The group had
invented a fabulous beast and
would ride it till it broke.
Although a host of talented
artists and musicians make up the
Toilet family (this show featured
nine of them), the band's engine
is the mind of frontman Robert
Dayton. Tonight, he warbled
and genuflected with frightening
intensity. In his little furry bonnet
and knee-length skirt, he reminded me of the street woman who
used to sing on the platform in
Camden Town tube station. He
taps into something that I can
only describe as an aggressive,
but endearing naffness which
never asks to be taken seriously but must be protected at all
costs. Vive la Toilette.
Thursday 15 January
Frederick Wood Theatre
K. is for Kafka-a writer with such
a powerful gift for portraying
bureaucracy in all its absurdity and horror, that his name
has spawned an adjective. What
makes spending time in Kafka's
landscapes such a twisted pleats   <i\$CO fis
sure is the very thing that was in
short supply in the writing and
delivery of this play: levity.
Subtitled Kafka:      A
Passionate Life, K. was written
by Martin Tullnius, artistic director of Denmark's Kaleidoskop
Theatre, and had its premiere
in Copenhagen in 1999. Tulinius
himself came to Vancouver to
direct local actors in a co-production with Rumble Productions
and Theatre at UBC. so one can
assume that this mounting represented his original vision.
The play focuses on the final
.three hours of Kafka's life (he
died of tuberculosis in a sanito-
rium at age 41), events unfolding as a fever dream in which
everything that tortured him in
reality — authority figures, father
phobia, sexual urges and the
capriciousness of his literary muse
— pays a final nightmarish visit.
In the rather extensive programme notes. Tulinius states that
"the use of wordless scenes is
important in creating the dreamlike atmosphere that is found in
the writing of Kafka." Amen. But
that didn't stop him from loading
the play with expository verbiage
until it groaned and buckled
under the weight. The non-verbal
interludes weren't much help
because they were often cliched
and represenfational — you
know, lots of choreographed
marching about by the business-
suited Ensemble. I was spending
too much time just watching the
actors cope.
Norman Armour gave a
clean, strong performance as
the dying man's autocratic physician; as did Karin Konoval in the
role of his sexual and intellectual nemesis, Lilith. I did find them
both a bit textbook and generic,
but then they were probably just
trying to get out of it alive.
The pearl in the oyster was
James Long in the title role. He
understood the character so
deeply and surrendered to it so
completely that he became a
barometer for what was wrong
with the script. As an actor. Long
seemed as hampered by the
play's ballast as Kafka was by his
absurdly totalitarian surroundings.
At one point (when no one was
required to speak), he dropped
to the floor and gave us a brief
flash of Gregor Samsa — the
bloke from "Metamorphosis" who
turns into a giant bug — then
scampered up a wall on the door
handles and hung there, exuding angst. It was sublime until he
began to spout reams of ponderous text.
There was much to admire in
Tulinius's chic, cleverly designed
set, and his Danish team's dramatic special effects, scary lighting design and video projections.
Too bad the play was nearly over
before all this stagecraft was set— j
free to work some visual-magic as
a wall toppled, the floor opened
up and everything folded in on
But I expected more.from
this. I wanted to be left tingling
in space by the effortless slope
of characters and situations into
bizarre extremes. I think the term
for that is Kaflcaesque.
Guy Maddin alert!! If you missed
Cowards Bend the Knee when
it played at last year's VIFF,
you should be at the Pacific
Cinematheque when it gets a
screening on February 7 as part
at Moving Pictures: Canadian
Films on Tour. Maddin's peep-
holey melodrama is exactly one
hour long, making it a good ten
minutes too brief for general
release, so this could be a rare
big screen chance. Same goes
for his feverish six-minute opus
which precedes it: The Heart of
the World.
Another Cinematheque
treat will be three features and
three shorts from sad-eyed comic
genius Buster Keaton. Just watching him move is a rapturous experience. Actually, that's all you'll
need to do because the films are
silent. They run February 26-28.
In memorium—Vancouver's heart
of weirdness, late-night gathering
& final occult holdout. The Sugar
Refinery. Every obituary is personal, and so here I write my own
experiences of the Refinery, for
its formation of a particular time
& space out here on the West
Coast of the world. • tV
1995—Drifting & stoned
through the greyscape of downtown, slicing slides with friend
ssiess, I ran into a street vendor
of black and whites on Robson.
Chat followed on photography,
and he drew us the secret map to
his exhibit at the Sugar Refinery.
It was a few weeks before we
managed to find the place,
tucked away via the back-alley
entrance off 1115 Granville.
Inside, our teenage prayers for a
secret bohemia were answered.
Obscure furniture and seating
arrangements, art displays at
crazed angles, & a serving of
booze that required a friendly
chat and a 'forgotten' beer on
your table (or couch)—all this
set the tone as chess, smoke, talk
and music layered late into the
night, the dawn, the morning.
Eclectic owner, playwright,
actor, cook, bartender and
sometimes poet Steven Horwood
lived in the back of this subcul-
tural beacon. Around 5am he
would mosey on up front, cowboy hat over the brim of his scalp,
pull out the loud '50s microphone
and shout "Fuck Off. All of ya'.
Get the hell out." Wild applause,
screaming... Then: "I mean it. Get
the fuck outta here." Eventually
we would shamble out the door
to another drizzly dawn, Steven's
words echoing in our stoned
brains... waiting for the first bus in
the all-night Subway.
1997—1 begin DJing @ the
Refinery, guesting on Robby
Luv Dub and Jess' Knee Deep
deep house night on Tuesdays.
Late into the night the grooves
drop from atop the raised DJ
booth to the left of the stairs.
People dance atop church
pews, school chairs, couches.
Sex in the bathroom, lines on
the counter. The fan is eventually installed, blowing fabric to
the heavens and smoke up &
away, the furniture is rearranged
each week, the place is under
constant renovation, art persists
on the walls—photography,
paintings, drawings, sculpture,
junk, garbage. The decor and
the art merge to become one.
Plays are performed, jazz and
bands and DJs dominate night
after night of late-night speculation and connection among
the city's denizens. Otaku holds
court. The Refinery becomes the
spot to bring the out-of-towner,
to meet in secret before a rave.
to plan [NWR], to crash after one,
to see and hear and absorb and
soak—to soak the inside things
after soaking all that rain. To soak
what we thought culture should
be in this Northern eddy.
1999—Too many public lines,
I guess; the all-nighter DJ spin-
outs end, the furniture becomes
a little more sane, tables begin
appearing, the couches make
their way into a front-room,
Steven seems to be around less
8. less, living somewhere else
where he doesn't have to argue
patrons out of his bedroom.
Food appears that is seemingly
regulated, the kitchen kicks into
high gear, & the perogies begin
to gain a certain notoriety. The
Sugar Refinery becomes respectable, yet matures like a good
wine, rich with experiences.
200072001— Several shows
at the Refinery during this
era. Radioart with [The User's]
Silophone.net in Montreal;
numerous experimental electronic shows including the launch
of Tapestry and A/V Lodge.
The Refinery even has its own
decks for awhile, in the new,
carpeted booth cut out of the
wall. It's a reliable mainstay in
the Vancouver underbelly when
all else drops from sight—the All
Good Cafe disappearing at the
end of the '90s, the rave scene
dead, rock venues lacking,
good clubs gone (Celebrities,
Graceland). The Beans play a
24 Hour show that goes down in
legend & makes us all proud.
2003—City Inspectors close
up the Refinery, thus reaffirming
No Fun City, even under a leftish
City Council. Everyone knew the
Refinery had changed. Horwood
was, and still is, in Montreal, where
rents are cheap and weird nights
are still to be found. The Refinery
by now had been sold by
Horwood. The irony is that, in the
eyes of the City, it should have
been for the better—the place
was cleaner & more organised
that it ever had been. Yet it was
not enough, some bribe was late,
the sound of spectacle
by tobias v
some Inspector missed his or her
chill-pill or anal latte that morning.
Yet its closure—whether forever or
pending relocation—will mark an
era in the Vancouver renaissance
known as "The Nineties."
The Refinery might move,
but the location holds the magic.
Alley-entrance. Up the narrow
stairs. Gazing out at the sky and
stars at 4am on a sudden dawn.
The '90s—a sudden burst
that will catalyse the energy of
thiscity as it becomes a cosmo-
Around 5am
he would mosey
on up front, cowboy hat over the
brim of his scalp,
pull out the loud
'50s microphone
and shout "Fuck
Off. All of ya'. Get
the hell out." Wild
applause, screaming... Then: "I mean
it. Get the fuck
outta here."
politan destination. Better believe
it. Unlike the '80s, which mourned
the loss of Vancouver as a backwater of paradise in true industrial
fashion, the '90s was a paradox,
striving to internationalise the city
and its talents while still aiming
for the lo-fi profile. Whatever the
aims, here's the result: two separate articles, read & seen in NYC
in January, name Vancouver
(along with Toronto 8. Melbourne)
as one of the future cities of the
world. High technology, relatively tolerant populations, strong
immigrant communities, clean air
and water, and natural beauty.
A perfect leader city, ready for
the next level of rape. Vancouver
so far has been mainly property
traded by the Yuppies. Now the
global rich have their eyes on
this waterfront wonderland.
Like Manhattan today, one day
Vancouver will only be rich, richer,
and richest.
•Jji-»<}$ WW-.
ilyl^^ffi^i1 By Ben Lai, even the photos.
For over 10 years the Halifax Pop Explosion (HPX) has
been the premiere music festival In Atlantic Canada. Fans,
scenesters, and musicians alike all flock to the city each fall to
check out some great music at fantastic venues. I love Halifax.
I love seeing shows. Following this logic I Just had to go to the
Halifax Pop Explosion.
Thursday, October 30
My adventures at HPX 2003 started at The Khyber Club, made
famous to non-Haligonians by the album Down at the Khyber
by ex-Thrush Hermit front man Joel Plaskett. The Khyber is much
smaller than I anticipated; it has almost the same dimension
as our Sugar Refinery. I spotted Mike from The Meligrove Band
(whom I've met on several occasions before) milling about, so
I decided to have a chat with him. He told me that their band
will be playing last tonight and they've been very busy touring
and working on a new album (don't they all say that?). As
for the difference between HPX and other music festivals like
North By Northeast and New Music West. Mike commented.
"It's better for the bands. We get treated better and they actually pay us to play."
Ottawa's Chris Page got on stage first. It's a guy with his
electric guitar. He sang well and played well, but the set was
so boring. Every one of his songs was the same. I found myself
paying more attention to the traffic outside the window of the
Khyber than to his music. He reminded me of when bands
have encores and only the lead singer comes out to song
solo with his guitar. Cool at first but after two songs everyone's
going, "Where the fuck's the rest of the band?"
The Coast Guard was on next. They are an indie-pop
band based in St. John's. Their songs were cute, catchy and
had good rhythms so I enjoyed them quite a bit. I found out
from their lead vocalist Rhiannon Thomas afterwards that she
lost her voice half way through the set but I honestly couldn't
tell the difference. Very promising band; maybe they will
be the next big thing to come out of Newfoundland since
Hardship Post.
The Meligrove Band ended off the night at the Khyber. I've
seen these guys many times now and I adore their danceable
songs and driving guitars. As always they dished out a good
rock and roll show but could have benefited from a bigger
audience - it was late Thursday night and the Khyber was emptying out. By the time the Meligrove Band was finished it was
already well past 1 AM. It was too late for me to check out any
other show so back to the hotel I went.
Friday. October 31
One cool thing about HPX was that they had quite a few all-
ages shows on the menu. On Friday I decided to check out
one of these early all-ages shows at a venue called the Cedilh.
which is an Internet cafe by day. This place was packed with
teenagers in Halloween costumes. A band called This Message
Will Self Destruct was performing in the middle of the crowd
as there wasn't a stage area. They sounded exactly like ^
what I would expect from an act called This Message Will Self
Destruct - heavy punk-metal with screaming vocals. It was a'
good. fun. energetic set, the only problem was that the vocalsk'
did not come through too well on the sound system. S
Oh God was next. The HPX program guide said, "(You'll \
be) scared to death as you shake your ass and watch out-;
for glass." Well, not really. They were loud and they jumped
around a lot. but nothing special.  The highlight of their set. :
was at the end when one of the guys in the band dived into
the crowd and promptly fell to the floor. "That fucking hurts!" t  '
heard him complaining to his bandmates after the set. That's
the price you'll have to pay to be a rock star I figure.
After getting a bite to eat I went to The Attic. This large   r
club had been remodeled for fhe better since the last time I
was there; they've made the area In front of the stage much "■
bigger.  When Toronto's blueScreen appeared on stage the
place was virtually empty, which was unfortunate because
the band was quite good. Their brand of atmospheric rock
was aided tremendously by the ethereal and haunting vocals-   .
of Delphine Roussel. Musically they reminded me a bit of early
Lush, which was more than okay.  By the time local folk-rock^
act Dusty Sorbet and the Rusty Wheels got started the Attic"
was starting to fill up with people in Halloween costumes. One
guy had a chipmunk on his shoulder ("Chip" on the shoulder.
Ouch). Dusty and his gang didn't do it for me. I spent most ofcj-
their set time chatting with blueScreen and discovering that
there was more to the Attic than I originally thought. When we ■.'
walked down one set of stairs we stepped right into a meat-   '
market type dance club, filled with teenagers rubbing against. ~
one another and dancing to R Kelly hits. What the hell? I
As exciting as it was to watch half naked girls grinding .
each other I decided to head back upstairs for some live
music. When I first heard the name of the next band. Golden
Dogs. I assumed they'll be a 70's inspired classic rock outfit. I
wasn't expecting an indie-pop rock band. They were excellent .-
. and had a diverse sound. They hooked people into dancing
to their catchy songs, cool riffs and perfect harmonies. Lead !
vocalist/guitarist Dave Azzolini was very animated as a front *
man, gesturing to the crowd and being very entertaining.
And I was pretty crazy about the keyboardist Jessica Grassia's
screaming backup vocals too - it worked with the rest of the
material brilliantly.
Run Chico Run was next at The Attic.  Even though I Hke
these two Victoria boys I Just had to leave, as I wasn't going
to miss seeing one of my current favorite bands. Broken Social   '
Scene, at my favorite venue. The Marquee Club. By the time I ~
got to the Marquee BSS were already well into their third song, k
As expected, this Canadian ubergroup was as wonderful as
always. Beautiful, loud, chaotic and subtle all at the same
time, what grabbed me most was how comfortable with each
other they all seemed on stage. The highlight of the night for
me was the song "Almost Crimes" with Kevin Drew dueling
vocals with Amy Milien (from Stars), who sang the parts originally done by Emily Haines (from Metric) on the album.
Coast Guard
8a?ed Irt Halifax, This Message Will Self Destruct is William."    .
'r Erving on atufTOtiTebl§rRoChman on bass, and^/ocals, Ross _
Larkin on vocals andispoie) bass and Eben Hicks ongijj/jfc :; \
AHere are some questra^posed to Tobias.       k-y kk'jg~ .?
DISCORDER; Who are you are what do you play?
TObku: Job'qs Rochman. I play bass, sometimes guitar with     '-
ari octave pedatand sing.   *.. *''-'^^^
Can you describe your music?  -
We plcy infectious anttpasslonate dqoce musicVtffh# .
%r aggravated guitars, too much feedback and lots of
'••   Where did thename of the band come from? .       -*&-*?
• Wedidrt't pickthenameto'tlpour hats to any pop culture, - ~
it just describes us well. At the end of oufsets we are usually
,:    bloody, sweaty and unable to continue playing; we breaks
~ Y.p'iqt£Hfl|ng^g»^ N©:one really gets-the — '. i
".."^ncirTwfoLwhaO^ V^^lv-L
Who*% the best thing about being in a band?
S^ngoribbpting ond boftjwing and stroking myegoJiSS--*
reqHy low self-esfeerhv But, the best part of being in "this"
k"-.   bdnd is. that I've never been in any band where everyone.....
h.-". kpn'the" same wave length with so much deditfatlerfrand*''**
no inner-confflcts or tension.
When someone mentions the city "Vancouver",, what Is; the
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£*. J^Mdfcrih. Jpasnydrag. Or Scratch Records.
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and Darryl on aVuTntTttsjtuMljgthebqrid after IfwIwgfeSje^^
Saturday November 1
Saturday night began for me at The Seahorse Tavern; which is a
small and cozy bar. Ermine, originally from London, Ontario, was
entertaining the crowd. They are a hard rock band a la Tool,
decent but pretty unmemorable - except for the couple of songs
with the violin which was moderately refreshing. I headed over to
the Khyber (which was only a block away) to check out Tacoma
Hellfarm Tragedy afterwards. They are a moody and mellow 3-
piece alt country/folk band from Guelph, Ontario. Their simple,
accessible songs weren't bad at all. Tyler Messick & the Museum
Pieces was up next and they got uninteresting fast. Way too pretentiously artsy for my taste. After enduring two songs I was back
at the Seahorse watching the end of Dean Malenkos' set. They
seemed like a neat little punk rock band - dime-a-dozen - but
still fun to watch. About half an hour later Contrived appeared
on stage. This high energy band got the crowd involved with a
sing along during the beginning of their show and never let them
go. Kudos to them.
After Contrived I was back at the Khyber to scoop out Cuff
The Duke. Dave from The Golden Dogs was here just to scout
them out and the boys from Tacoma Hellfarm Tragedy described
CTD as "Sonic Youth meets Johnny Cash" so my expectations
were astronomical to say the least. Luckily they were excellent,
providing the packed crowd with a rocking set. One of their
greatest strengths was the variety in their music, ranging from
old-style country hymns to psychedelic rootsy numbers.
Back to the Seahorse I went after Cuff The Duke. Being so
hyped by their label Sonic Unyon I was looking forward to seeing Kitchens and Bathrooms. This Hamilton trio's heavy handed
approach to art-rock was quite respectable but overall it wasn't
the kick in the ass I was hoping for. Gaffer, supposedly "one of
the most beloved rawk bands in Eastern Canada" played next
and this was going to be their last show ever. They started their set
stumbling when they messed up halfway through a song. "That's
why we broke up!" one member joked. These guys are crazy
loud - too much forme after three solid nights of music,
that I saw the lights at the Seahorse flicker during some of their
more intense parts.
On my way back to the hotel, I bumped into Jeff from Cuff
The Duke. We talked about everything from Sloan to the General
Motors Plant in Oshawa to why Haligonians are better partiers
than Vancouverites (my theory is that they drink more alcohol
and smoke less pot). The one, thing we both agreed on was that
this Halifax Pop Explosion was definitely one worth coming to. Yay
to the folks who put it together. Yay to Halifax.
\0  d>\Zc*r&*f NATE DENVER'S
Yes, he has a neck; it houses his spinal chord!
By Natalie Vermeer.
Nate Denver's Neck is a one-man show from San Francisco. I saw him
open for The Dirty Three last May and have been fascinated ever
since. He appeared on stage in a scary skeleton mask and black
cloak and the crowd backed away! Later he removed the skull face
to reveal a black hooded mask and attached a cardboard scythe to
the end of his guitar. His last look was a painted dead man face with
a cardboard axe. Of course, it wasn't just his appearance that was
captivating; his songs consisted of banter between his cutesy folk
persona and his metal roars and recorded sounds. I still remember
some of his lyrics including a song about an angry, neglected stuffed
hippopotamus that he ate and later stabbed through his own
stomach to kill! Anyways, I found his rhymes and insane stories-terribJy.
clever and I finally emailed him this past November to see what he
was up to. He was just headed out on tour and kindly answered my
random questions when he returned home...
DiSCORDER: Where are you headed on your tour?
Nate Denver I circled the US dragging a sword the entire way
so I could find my way home if I got lost. I did not get lost, but I
did pet a raccoon.
How long are you gone for?
As long as there are monsters in my room, which turned out to
be one month.
Who is joining you? |Ih^S^
Casiotone for the Painfully Alone. He nearly crashed three times and
he snores so loud it sounds like he's screaming, but other than that,
he is a great tour companion. Last night, a house guest crashed into
my parked car and exploded the headlight.
How do you divide time up between Total Shutdown, Dig that body
up... it's Alive and your Neck?
Masterfully. P.S. Dig that body up.Jt's Alive is dead.
Does Zeigenbock Kopf freak you out, even just a little?
Negative. I'm not afraid of Germans and Zeigenbock Kopf does
not have permission to freak me out. The tattooed member is very
talented. I am confident and comfortable on a dance floor and will
gladly annihilate any or all of them in a competition.
Is there a possibility of others Joining Nate Denver's Neck?
How dare you. Two people have tried to join and they were
defeated. Solo bands are wonderful because there is no dissenting
voice and no ego to compete with so the individual can create the
best music anyone has ever heard in the history of time. Ten million
elephants could not stop me.
How do you decide on who can contribute to your records?
How did you hook up with Mick Turner and King Crab records?
My friend Mark was looking at the Dirty Three site and saw a King
Crab link that was asking for demos. He suggested I send a Total
Shutdown demo. TS was already set up with Thin The Heard and
impressively wealthy, so I secretly sent my CD. Mick emailed me a
few weeks later and my brain ran down my spine and smothered my
heart in order to produce an appropriate shock in my human body.
The Dirty Three are mega.
What is the significance of your "neck"?
My neck houses my spinal chord and if it is twisted too far to the left
or right I will cease to live.
What Instruments can you play?
i cannot play any instrument well enough to claim I can play it.
When did you start playing them?
My dad bought me my trumpet when I was 11. My mom bought me
my guitar when I was 13.1 cut woodshop to buy a bass at 17.1 rarely
cut class, but I still received bad marks. In college I received good
marks, but I didn't play much guitar.
What music did you grow up listening to?
Pete the Genius.
What inspires your stage costumes and changes, including the scythe
and axe ends for your guitar?
I don't like going to most shows because they are often really boring
so I put together something I think I would enjoy watching. I am
finished with my Christmas shopping.
Have you ever performed (as Nate Denver's Neck) without your
Many times. The first year I performed I had no costumes. The first
time I put on the armour was at a brightly lit coffee shop. My dad
was there and he was delighted. I touched the excellent writer Beth
Lisick's baby's head and thought she'd be cross with me, but she
What Is the last dream/nightmare you remember having?
I had a pet koala but it meowed and purred like a cat.
I felt very happy.
Do you prefer tunnels, doughnuts or McDonalds? Why?
When I need to get through a mountain I prefer doughnuts, because
they give me the energy needed to dig. When I need to get to the
Arc de Triomphe I prefer tunnels. And when I forget that I don't like
McDonalds and have been convinced by my stomach that I like it, I
like McDonalds.
(Do you have any idea why I would ask that previous question?)
Yes. That is my favorite part of the album, [editor's note: If I had the
energy, I would get rid of this deplorable in-joke. But I feel very weak,
so it stays in.]
How do you stay balanced between good and evil (or are you)?
I try to follow the golden rule and I don't do murdering. Still,
sometimes I am a real jerk. llsifl^'
How many recordings do you have out?
There is one Nate Denver's Neck CD; The second CD will come out
someday. There are two Total Shutdown albums, two 7"s and several
comps. The Tilt Mode Army movie Man Down has two songs by Mark
Whiteley and I.
When can we expect you back to Vancouver (or even Seattle)?
I like Vancouver very much. If you invite me, I will come.
What was Wes Borland [ex-Limp Btekifl's Halloween party like?
It was great. The house was decorated very well, there were lots of
extravagant costumes and Wes and his wife Heather are really fun
and nice.
~ What is your favorite honor movie of all time?
When a Stranger Calls Again.
What Is your favorite kind of dougnut?
Where do you get your stories from?
The deepest depths of heaven.
Nate Denver's Neck will be playing hen as soon as we
Invite him back.
By Jason Grimmer
Photos by Nicole Legault
Back in 1999 my girlfriend and I moved to Halifax for a year. Nice
town but kind of a slow lifestyle, if you know what I mean. We drank
a lot because there was nothing else to do and we really liked to
drink a lot. We used to get really excited when The Peter Parkers from
Moncton, New Brunswick would come to town and saw them about
five times that year. Back then they had way more of a Slint feel to
them and each show was better than the last. Their singer Remi was
always so sweaty after each show. He reminded me of a bus driver.
Not that bus drivers are sweaty-
Last summer, the Nasty On got to play with them in Saint John, NB.
They were so-o-o-o good. Noisy and all over the place.
Anyway, I got a copy of This Is Sity Music, their debut full-length, in
the mail around Christmas and was quite impressed. That's how this
interview happened... I am not fucking around, I liked the album and
then set up the interview, just like that. Things like that can happen,
believe you me.
What are your names, what do you play?
Remi Cormier (guitar, voice, keys, bass), Stephane Doucet (bass,
keys, guitar), Errol Girvan (the scene, guitar, drums, bass), Cameron
Murphy (drums like a mofo, voice, guitar, bass), Chasity Alward
(voice, keys, bass).
How long have you guys been together? Any other releases?
Remi: Since September 1995. Me and Stephane started up the band
our last year of university. Errol joined in late '96 early '97 and
Cameron joined sometime in '99. Chasity has appeared on virtually
every Peter Parker recording since our "Evolve Or Get Kicked Out
Of The Continuum" 7" that came out in '97 on Sappy Records. Chas
officially joined the fold in late 2001, early 2002. Our first full length
tape was called Playing the Field. We've had a few compilation
releases and a few EPs: The Urchin EP and The Toledo Chapter EP.
I hear some MBV, Spiritualized and Swervedriver in your music. What
are some bands you consider influential?
Remi: So many...Fred Neil, Billy Nicholls, Van Morrison and Skip
Spence, MC5,13th Floor Elevators...The Jesus and Mary Chain,
Blonde Redhead, Mercury Rev and Swervedriver. Sometimes the
actual history of our band is an influence.
Cameron: ...Pixies, Mark Gaudet, Primal Scream, GBV, Sebadoh, The
Tan Hill Weavers and Flaming Lips...
What shit are you listening to now?
Chasity: ...Yo La Tengo. Bright Eyes, Papas Fritas (makes me feel
Remi: The Pretty Things. Lately though...Baxter Dury, Luna, The
Nasty On, The Organizers (from Saint John, NB), Test Tone Channel
(Moncton, NB), The Burdocks (Halifax, NS), Radio 4, The Rapture,
Liars, Oneida, Josh Rouse. I'm really kickin' the snot out of my Thrills
CD, Rex, Scott Walker, The Band, Simply Saucer, Califone, Knife in the
Water, the Monkees re-issue of Head. VU, Bruce Springsteen. That's
just a few.
Cameron: The Best of Uncut 2003 CD...Hamel On Trial(track 1 )and the
Westerburg Tune (track 4) "Blow my hair back." As well, as always.
The Cure. And lately The Flying Burrito Brothers, CCR. Fre Neil, Primal
Scream and the Pale Marys Intimate and Interactive.
Don't most of you live in the same house? Tell me a bit about this
Remi: At the moment, it is just me and Stephane, but at one time
four of us were living here. It's Rick and Tara's (Elevator) old place.
Our landlord is Larry — Tara's dad — a super nice guy who gives us a
sweet deal for a home and jam spot. We have been living together
on and off as a band for the last nine years or so. Sometimes two,
three or four of us. It's not for everyone. Some friends of ours from
Ottawa that used to be in the Wooden Stars told us they tried it once
for a few months and they were nearly at each other throats. We
have just been lucky I guess. We don't mind.
This Is Sity Music is a great album. The use of piano and banjo is really
nice. Tell me about the recording of the album.
Chasity: Good times...sometimes I wanted to kick ErroPs bum though.
Remi: We recorded it little by little a*er the course of a year and a
half. Hardly any stress and the guy who recorded it, Kyle McDonald,
was a real patient man. It was a lot of fun. We kept adding stuff
to the recording as ideas came in. I really like the backdrop of the
album. It felt like we were really able to get a lot of our ideas out this
time around. Kyle really dug the music which made it easy to do
and redo stuff. He was just as excited with the making of the album
as we were.
Who writes the songs?
Chasity: Remi is our main writer... the root of all the madness, one
could say. That being said I think everyone has creative freedom and
- has a scry in whatever is done.
Remi: Most songs start out as an individual idea. It is usually pretty
loosely structured by the time it is brought to the jam room. We all
work at it together to complete the song. Some songs are written
with little input from other members. I kinda prefer both methods
as it makes for more songs in less time, [but] everyone feels the
satisfaction of being creative within their own parts. The end result
of the song is usually dictated by the person who first came up with
the original idea. We switch around on instruments a lot because
we just prefer that everybody gets a chance to express themselves.
Not everyone works at the same pace. This is probably why we have
lasted so long with so little fame and fortune. It makes for a slower
turn around on stage (we are getting quicker) but, ultimately, it is in
the best interest of the members of the band and hence in the best
interests of the lovely folks that buy our music and come see us live.
What are your day jobs?
Chasity: I'm a team leader at a call center. This is Moncton...did you
really have to ask?
Remi: If I told you, I'd have to kill you. All I can say is the following:
my job is so much fun that sometimes I think that I should be paying
X amount/hour to work there. All my friends are envious of me for
working there. It's a really, really good job. Errol is a graphic designer
and Stephane works at the same great place as me.
Cameron: I am your friendly neighborhood tow truck dispatcher
man. I pee with my hands on my hips.
What's It like living In Moncton? Favorite local bands? Where do you
usually play?
Chasity: It's pretty cold right now....
Remi: Living in Moncton has its ups and downs especially when it
comes to playing music. Over all, I'm glad we live here. Rent is cheap
and we get to play shows once in a while. More and more bands
from afar are making their way once again to the city. My fave
local acts... Test Tone Channel, Heimlich, Posture, The Mean, Mario
Poupette and the Chevettes, The Pale Marys, The Feedback Scars,
Hope, Iron Giant, The Dead Fucks. I went to see Earth AD last night...
amazingl Tons more that will come to mind 30 seconds after I send
this off. We are really lucky to have all the talented people we
do in this city. We have a lot of great visual artists in Moncton as well.
We usually play at Doc's, the Paramount and the Manhattan.
Cameron: Monkey town can be a hard go. It can toss your salad
right out of the bowl. The winter is abhorrent, love the Acodians,
the fall, glorious. Good hash, cheap rent in drafty old houses. The
minimum wage is the pits (third world). Call center saved my ass.
People here are like friendly strangers. It's the most unique place I
have ever lived in. Haunted and twisted, and makes for good art. I
have to say I am most definitely a lot better for having met the three
other guys and the lady. They are gems. They save me time and time again. That's all I have to say. See you tonight. Love C.
The second to last time I visited Moncton I got to see Mark Gaudet
[ex-Eric's Trip, Elevator] do a solo show at 53rd and 3rd. It was a pretty
fucked up experience, very overwhelming with him pounding away
at the drums while singing along with tapes he was playing with a
ghetto blaster. He covered "Outlaw" by The Cult that night. He's
pretty awesome. Are there any other "hometown legends" that play
Moncton regularly?
Chasity: Julie Doiron-Claytor...although she doesn't play regularly. It's
great when she does.
Remi: Yes, bless their little hearts. Julie and Elevator and all other
affiliated bands do make it down at least once or twice a year
to grace us with wonderful performances. It is really nice to see.
Especially for someone like Julie, who does her fair share of touring
outside of Canada. -r.wi **»
Tell me the "Jason Pierce" story.
Remi: Long story short. We thought it would be cool to make some
T-shirts exactly like that Spacemen 3 T-shirt that says "For All The
Fucked Up Children Of This World" except replace Spacemen 3 with
The Peter Parkers. You have to understand that only seven or eight
were made at the time. Anyway, our friend, Mark, who was booking
Spiritualized in Toronto, was cooking up a BBQ meal for the band
before their show that night while wearing a T-shirt we had given to
him as a gift.Well, Jason noticed the T-shirt and was pretty surprised
to see it. He didn't know what the hell was going on!! Who are these
guys? Where are they from? Where the Hell is Moncton NB? How the
hell!! What the Christ!!! He actually asked Mark if he should sue us!
Luckily, Mark explained that it was all pretty harmless and it was more
an homage the anything else. The fact that Mark was laughing about
the whole situation no doubt helped defuse it. After he understood I
think he felt flattered so he gave Mark a Spiritualized T shirt to give to
us. It is a little too large but it's the gesture that counts.
In Vancouver there Is a tendency for bands to smoke a lot of pot.
Unfortunately, there are also a lot of funk bands. Do you have
that problem in Moncton? Do you guys use "Jazz cigarettes" for
inspiration? Are any of you "Jib Rats"?
Chasity: I don't know what jib rats are but if they are anything like the
rats in Detroit you keep them to yourself... but yeah, we get stoned.
Remi: We have a lot of jam bands in the area. I wish we had more
funk bands. Luckily, the "VERY FEW" good ones persist and the "not
so good ones" pack it in after they realize that they DON'T get
showered with joints on stage by adoring fans and get laid 15 times
a night. It makes me wanna ditch my wah wah pedal and I love
my wah wah pedal. Cam told me a really funny happening while
partying with a jam band one night but it's unfortunately too long for
this interview. You really had to be there to appreciate what goes On
upstairs with some of these folks.
You're all pretty attractive. Do you "make it work on the weekend"?
Who does your hair?
Chasity: Errol does most of the work; with Remi coming in a solid
second lately...ha ha....as for the hair thing, Remi was born with
"special hair" that only I can cut...and I usually give Errol a yearly
trim...Cam actually goes to a professional and Steph, well, not much
going on. I cut my own but I may have recently found another
woman who I trust with scissors to my head.
My uncle once gave me a T-shirt that said "I caught crabs in P.E.I."
Three things were strange about this: 1) I was 12 at the time. 2) There
was a picture of a lobster trap on the shirt, which I don't believe
is used to catch crabs. And 3) PEI doesn't really have a crabbing
industry, does it? Do you guys ever play in PEI? How far do your tours
take you? Do you think you will ever make It to the west coast?
Remi: Man, If I had a dime for every time I've been asked that
crab question. I'll tell ya what I tell the rest of the lot; If they (PEI)
don't have a crabbing industry, they should really consider getting
one. I've heard great things about it. Crabs lead to a crabbing
season which in turn leads to jobs, export, commerce, burning
down government buildings and, finally, reaUy goofy T-shirts for your
relatives to wear and buy as shitty Christmas presents for the rest of
kin. Everyone wins... except the crabs of course. Sure, we've played
wonderful PEI once or twice; both times in Charlottetown. The furthest
west we have ever gone is Windsor, ON. We certainly hope to make
it out west some day. I think it would be a lot of fun. Financially, it is
such a leap to go that far but almost everyone that we know that
plays in a band from here to Ontario has done it, so I don't see why
we couldn't.
How much of your set list is derived from older recorded songs? Do
you still play songs you played three years ago? How much do you
play that is newer and unrecorded? Do you usually stick to a set list
or do you play whatever you feel at that moment?
Remi: Very few old songs make it to new set lists. No particular
reason. I think we kinda think of if as looking to the future. I believed
the oldest song we played was "Somatic," written in 1998, but that
one has been off the set list since 2002. We play new unfinished,
unrecorded songs quite a bit. It takes me forever to write the lyrics so
it would take us forever to play them. I just make up words as we go
at times and mixed them in with places in the songs where I do have
a few lines written.We often play without a set list but usually have an
, idea what we are doin'.
Upcoming tours? Upcoming albums? New songs?
Remi: The Maritimes in May, Ontario/Quebec in September. We
would like to start recording again after our May tour. New songs,
as quick as we can pop'em out. We like to have new material for
our sets as often as possible. People notice and we love that they
do.Me and Chas are doin' a little acoustic thing called The Colonial
Quarrels. It's a mix of gospel, protest and love songs and is a nice
change from The Peter Parkers. Peter Parkers songs can sometimes
take a while to write while CQ stuff comes a lot quicker. It is a simpler
writing process.
You sound pretty content. Any lowpoints in your career so far?
Remi: Yeah, sharing a stage with Nickelback and some bunch
of freaks from Australia called Crash Palace...Crash is right; Pilot
to Gunnerl We got double booked with them. It was right before
Nickelback got really huge. Getting into occasional fights with each
other sucks pretty bad too, but we always seem to work it out. It is to
be expected in nine years.
Mark from The Cinch visited Moncton a couple of years ago. While
there he went to Magnetic Hill (a Moncton tourist trap that involves an
optical illusion where you it in your car and it seems like you're being
pulled uphill when you're really gliding downhill) and came back a
changed man. He will not talk about it. What goes on there, will you
break the silence?
Remi: I think it is all in the water. This city is built on a swamp or heap
of garbage or something like that. I have been here almost 13 years
and I still can't figure out the vibe. If it's not dirty old man tryin' to pick
you up at Victoria Park while you are walking home, it's some guy
pullin' a Ginsu on ya while bein' whacked out on PCP. This place is
now a part of us and does affect the music we create, hence the
title of the album.I've actually have done the Magnetic Hill thing a
few times; usually with friends in bands from out of town. I don't make
the recommendation either! You guys all know about it...sorta sick if
you ask me! We still love yas coming down to visit us, though. I'm glad
that it does have some weird sort of allure to outsiders. Everybody
always says how friendly they find people from Moncton while on
tour. I say "Thank God the city where you're from is even more jaded
than here." Our album is a product of being in Moncton for too long.
The funny thing is that we are not going anywhere anytime soon.
For more info, check out www.thepeterparkers.com
l3-&k«-^ by Dave Gwilliam
It was early November of 2003, when Ben Lai, the ever-enlightening
organiser of CiTR's annual battle of the bands — SHiNDiG —
approached me with a brief description of the first "hip-hop" band to
enter the competition. The Front, he told me, was a collective of local
Vancouver musicians with a unique approach to urban sound. His
review left me wanting to know more, and within a week of so I had
the opportunity to watch them in action in the semi-finals.
I was left awestruck. Observing The Front, I witnessed the superior
fusion of hip-hop and funk. As Dr. Dre and the Neptunes, to name a
few, progressively refine the genre with invigorating production, the
raw essence of hip-hop seems to be fading. In a world of marketing
hype and big booty. The Front offers a refreshing new outlook on what
music, especially hip-hop, can be. The passion and commitment is
outwardly evident when watching the collective perform, but beyond
that there lies a strong devotion to rockin' a party.
While many of the SHiNDiG performers and observers were surprised
to see such a different sound enter the competition, what was more
surprising was the frenzy that erupted in the crowd when they came
onthe stage. The Railway Club was thumping, and the crowd filled
out, bewildered. The Front was good, and despite the long-standing
emphasis on indie rock at SHiNDiG, there was no room for frontin'.
In early December the final competitors showed down with all
the flair and creativity they could muster... in the end The Front
emerged victorious. Feeling surprised, but blessed, the band was very
appreciative of what the journey had given them. It was probably
one of the most challenging experiences they had encountered as
a young band. In retrospect, I realise that I was instantly a tan... finally
l could bob my head, and shake somethin' with my girlfriend. Now
understand that no one in the band has been shot nine times and
there are no child molestation charges pending; as individuals they
are grounded and sincere which manifests itself in their music. The
sound is unique and their stage presence is powerful. Sit down and
chat with Alan, Benjamin, Chris, Jarret or Jess and you will instantly
bear witness to the passion for music that runs constantly through their
It was roughly a month later, on an overcast day in Vancouver
[editor's note: Overcast? Vancouver?!] when the members of The
Front arrived on the UBC campus to chat.
Welcome all to CiTR. The Front is in the house — please introduce
, yourselves.
Front: Benjamin Arce, vocals; Jarrett Martineau, vocals; Allan Ollivierre,
keyboards; Chris von Szombathy, bass; and Jess Conn-Potegal, drums.
For those who are unfamiliar with the band, could you describe your
Chris: Well, recently a few reviews have compared us to The Roots,
but aside from the live accompaniment, I'm not so sure we're that
Jarrett: Yeah, I've also read we're like a local Spearhead, or a Jurassic .
5 sound, but these come from people that seem unfamiliar with the
genre. You know it's cool, but we don't really feel it that way. The
range of sound tends to go beyond a strictly hip-hop label.
Jess: I think that it's a very unique sound due to the diversity found
in each member's background. Everyone's individual repertoire
contributes to give the music a very innovative feel.
Chris: We all have our influences, [for me] groups like Kraftwerk, etc.
Jarrett: Yeah, the first night of SHiNDiG, people seemed surprised to
see me wearing a Modest Mouse T-shirt.
Ben: I've always been very strongly influenced by hip-hop, funk and
soul, so amalgamating musical tastes seems appropriate.
Chris: I play with other free jazz groups, one in particular called Jazz
for Robots, but this is my first venture into the realm of hip-hop.
But I don't feel comfortable labeling you guys as a hip-hop group-
Jess: With a ten year history as a D J playing dance music, I try to
approach the drums in a dance-oriented kind of way, as opposed to
a break beat or house. It has seeped into my soul. I shoot to supply a
dance groove, but at a tempo that allows Ben and Jarrett to rap...
beats that will get your head nodding and your ass shaking.
Allan: My personal background with gospel music creates a soulful
sound to the music as well.
Jarrett: I really feel our music can appeal to a wide audience. At one
of our shows an older woman of about 75 approached me in a very
complimentary way... "I love your music... and... could you guys play
at my birthday party!"
WeU, I think it transcends a few boundaries... let's not confine you
guys to the limitations of hip-hop. What was the initial experience like,
coming together and forging your sound?
Jarrett: Ben and I had known each other for a while, performing
with an unofficial collective of hip-hop artists called The Lost Tribes of
the Sun, but we weren't really a group... more like a cross-national
connection, with everyone working towards fulfilling their aspirations.
But this was a more traditional hip-hop crew and Ben and I both
expressed interest in performing with a live accompaniment.
Ben: I knew Allan and Jarret knew Chris, and so in April of 2002, we
went looking for a recording space to experiment. We knew Jess had
a studio, so it was a very natural o
Jess: We had talked about doing something funky, but had left the
idea alone for a while. When we finally all came together it was a
pretty amazing experience. Allan starting in on the keys, then Chris
rolled with a smooth beat, and I picked it up from them. Ben and
Jarrett literally just jumped in on the rhythm. On that first day we
probably laid done two or three tracks.
That's very cool, to Just rip into it like that...
Chris: We had all been doing our own thing, working to constantly
better our skills. When it came time to groove, it seemed very easy
and professional, each member supplying a sound technical
understanding. It made us very confident in our ability.
Being dubbed a hip-hop group brings many connotations. Even more
so when you are called "The Front," can you elaborate on the name?
Jarrett: The hip-hop connotations of the word definitely play out as a
sort of joke. Everything about our style is very real... The music is very
up front and in your face, but it can also be very laid back depending
on the situation.
Ben: When I heard it I immediately thought of the hip-hop feel, like the
opposite of real. But what we produce is anything but that.
Chris: But of course it is an elaborate front to fund our excessive coke
■}\ <hs<-©c^« With hordes of aspiring independant musicians seeking exposure, can
you describe the SHiNDiG experience?
Jarrett: SHiNDiG was awesome; I still can't believe we won. After
reading a little ad in the Georgia Straight that seemed to call out for
a hip-hop band, we thought, fuck it, why not... We were just going to
run with it, even if we could make a good impression we weren't sure
if that would be enough to carry us through.
Chris: I knew a lot of the other musicians and we all had a great time
battling it out. Everyone was very supportive. We were interested in
having fun, and testing out something in front of a live audience.
Jarrett: We weren't thinking that it was like: "Oh, they don't want
us there, so we'll have to prove something." I felt there was a great
camaraderie between the bands... It was more the media that
created the indie rock vs. hip-hop thing.
Jess: It was just great to be able to perform with the range of
competitors that SHiNDiG brings out. It is not that often that we will
appear on a bill with such a wide variety of musical sounds.
Allan: I felt we thrived during the competition. Personally, I am very
competitive so I was loving the battle aspect of it.-1 felt it took our
performing to a higher level.
Ben: We are pretty familiar with the limits of the hip-hop community,
so this was less of a traditional rap battle, which was perfect because
it allowed us to display all sorts of things and experiment on the spot."
We were totally feeding off the crowd reaction
Jarrett: We aren't pretending to be all things to all people, but we
also don't want to be one thing for only one crowd. SHiNDiG's crowd
and judging panel was so diverse that we take the win as a huge
I noticed a lot of UBC students in the crowd... Did you know you had a
following on campus?
Allan: Everyone was great,, and it came as ■
people ready to get down with us. I really f<
atmosphere fueled us a lot.
surprise; lots of party
el the energy of the
Ben: This is where hip-hop seems to influence us the most...
definitely want to ensure that the crowd is feeling us.
Jess: We also want to connect with the audience. That's why the
name is funny, because we're really not fronting, just genuine guys
getting funky. %M&S3&
The forthcoming album. Signs of Ufe, sounds great. Can you describe
the transition from the stage to the studio?
Ben: It was definitely a challenge. Sometimes you get used to hearing
things over and over again, but with a live band it seems much more
intricate. What's cool is that each song reflects the diverse character
of the band.
Jess: There were some trials and tribulations, as this was a first time
for many to actually record in a proper studio, you know... time is
moneyl Blue Wave was so helpful, and most of the tracks were done
without any looping and limited editing. It was such a fertile ground
to foster creativity; many of the songs were arranged in a sort of live
performance style.
Allan: I like to think its one of those albums that you can listen to over
and over again and hear something new every time.
A quick read of the album indicates that religion and family play a
large part in your creative process. Describe, that Influence for us.
Ben: Family plays a huge part. All our families are very supportive. Our
parents have given us the opportunity to experiment and with each
family having a distinct background, musically and culturally, we
have developed a strong respect for diversity.
Jess: My family has always been supportive, to the point where they
used to come out to raves to watch me spin...
Allan: My family was always perceived as a Jackson Five. My parents
raised me with a love for gospel music. Our evangelical background
influences my life a great deal. The emotion and passion around the
church community inspires me.
Ben: If we ever have beef with one another, it's like a divine drive that
pushes us to check our shit at the studio door. We all know what we
are here to do, so when it is time, we don't mess around: when we
leave the studio it's nothing but love.
With the independant music seen being so competitive, CiTR's music
director — Luke Meat — wants to know what keeps The Front from
Ben: One thing, that is fairly common, is our devotion to the music. It
comes first. It's a desire to perform at the highest level, when the band
is together, there is no room for nonsense... just a pure love of the art.
Jess: I feel we approach our music very openly, taking everyone's
influences into consideration. Maybe it's that optimism that allows our
creativity to explode.
Chris: Because we are all so different individually, and represent
a wide variety of musicians, we don't allow each other to get to
deep into our respective cliches, without a strong smack to the
head....Keeping one another in check, while not inhibiting anything.
The word "panties" is thrown around a lot these days. What are your
feelings on its usage?
Jess: I happen to like that word very much.
Chris: I can't say that I do like that word... I would prefer if "panties"
weren't even involved.
In the legendary mud-wrestling
showdown between Ned Carter
and Wheezie, who would
victorious? [editor's note:
All: Nell would definitely
take all)
The Front's CD
release Is at the
Piccadilly Pub on
February 9. The Front
will perform with Josh
<>  -fe>C<Afcf^ by Jennifer Wong
Josh Martinez is a friendly, rambunctious, intelligent "underground"
MC who's just trying to make a life in this business called music. He
tours non-stop around the world, most of his time is spent between his
new home in East Van and on planes, tour vans and hotels across the
continent and abroad.
With an almost cult like following in Canada, and respect and
recognition all around the world, through his collaborations with
virtually every established underground hip-hop artist on the
continent. Josh Martinez is a force to be reckoned with. His new
album, released on his newly founded home grown label, Camo
Bear Records, is in heavy rotation right now on college radio stations
across the country. The album, appropriately titled Buck Up Princess,"
is a bluesy musical mish-mashed step up for Josh, a culmination of
years on the road and the basic message to "stop whining and get
on with Hfe." Working with well known producers, guest artists, long
time friends and a whole slew of drunken Halifigonian miscreants (DJ
Moves, Awol One, McEnroe, Scratch Bastard, Wes Bonifay and Maker
among others), this record is the next generation of rap music done
straight up and guaranteed to make you stop and think twice.
DiSCORDER had the chance to sit down with Josh (not his real
name) in his neighborhood on the Drive recently to talk about music,
subversive humour, his new record label and all the things that make
him tick. The interview was conducted in the frigid rain on a hangover
Sunday, wedged between chain locked metal furniture on the patio
of Cafe Roma, who chose to play Marvin Gaye's "Let's Get It On" as
the soundtrack to our talkative escapade. How appropriate.
So you've just come back from tour. You were in the states, right?
Yeah, we just got back a few weeks ago. At the end of November,
we were in California, Colorado, and then we went down to the fun
states: Mexico and Arizona.
How do you like America? As a Canadian, do you ever have any
problems? I hear you're actually banned in two states?
Yeah (laughs), it's a good question. I don't usually have any problems;
it's a fun time. And yeah, I'm in trouble in Texas and Indiana. Not
banned, per se, just arrest warrants. But I still go to Texas, for some
k there, from the
You know, it's weird. I get a really mixed response, especially in the
southern states. There are weird pockets, I'll never quite understand it-
-in California, Southern California, I can draw like, a thousand people
in one night, or we'll do 4 shows in the Los Angeles and sell them all
out-and I mean, I just sit there and think "you've got to be joking!"
There are more people down in Southern California than there is in
most of Canada! It's very funny, I don't know why. I guess it's partly
the Internet but it's also maybe because I've been touring relentlessly
in new places. We get a good response.
Yeah, you do tour a lot; most of the year, right? And as for fhe Internet,
you have a bit of a love/hate relationship with the Internet, don't you?
You've been known to say that you don't like the Internet or whatever
else, but at the same time, you and other underground artists need
that outlet to be able to get your music out.
Absolutely. The Internet is how I got out there, there's no question. I
would blame or praise the Internet endlessly because it's changed
the way music is delivered or how people get their music.
So what do you think about downloading?
Well, I support it. I do it myself, relentlessly. It's terrible! I mean, I know
it's wrong, if you include me in the research with people who've
stopped buying CDs; yeah I'm one of them. Maybe not so much now
because I get access to the CDs I want because my friends make
them or whatever but also, the bottom ine is that I've been broke for
so long it's just...well. A: it's no excuse and B: it's just a good reason to
get a lot of good music.
So what about you, on the flip side, as an artist, trying to make money.
What do you do when you're trying to pay rent and you have kids
coming up and saying, "I haven't ever bought a record off you but I
have all your mp3sl" How does that make you feel?
(laughs) I love to get that. I hear that more than enough, to be
honest. I mean, sometimes you wanna square off and say, "Hey you
fuck, this is how I live, pay up!" but I mean, there's a difference these
days. People my age [26], we saw life before the Internet and grew
up with cassette tapes and all that shit, you could tape over stuff and
make mix tapes but you could never mass produce in a way that you
can now. Today you can burn a CD in two seconds and you can get
it from anywhere in the world, every song ever made, anywhere, by
anyone. That doesn't make digging any more interesting; it takes all
the mystery out of it. We come from a generation that just finished
digging, kids that come out now don't have to look, their whole
musical experience has been typing in an artist or song title in a white
box and getting all the music. It's like an automatic subscription.
And you know, that's why when people like myself suddenly get a
following, I get to go places I've never been before and people know
all my songs and that's absolutely terrifying. And it's good too, I guess.
It's a weapon, something that can be used for good and for evil,
and I really am trying to take an active interest in making what I say
not just come from someone throwing words around but from some
honest, positive observation-whether it's funny or dirty or whatever
it is, just putting it out there so that when people are repeating it; it's
something that's worth repeating. I'm not an ideologue anymore. I'm
not like "fuck pop culture" anymore-l love the new Jay-Z, it's fun and
listenable, I "mean, I can't hate on things like this anymore; it's life, our
What are the last five songs that you downloaded?
Lately, I've been into two very exclusive kinds of music. I've been
listening to a lot of doo-wop, a lot of 1955 early rock 'n' roll, very
minimal and with such beautiful harmonies. Also, '70s space and
psyche rock. It's all really new to me. Stuff like The Seeds, 13th Floor
Elevators, Sonics and the doo-wop with The Infatuators, The Cadillacs
and on and on. I use the Internet fo research because I'm trying to
iearn as much as I can-the new album is a bit bluesy, it's a bit rock,
these days I'm driving towards new kinds of music. There's nothing
really new anymore, as far as "original" original; everything's just a
fusion of something else and that's why The Whjte Stripes are really
neat, or The Strokes, suddenly they came up as fusion of a bunch
of these different things that just resurfaced in a different make up
and wham, you have this new kind of music. I'm just trying to push to
make rap music. I do like rap; I like using words that are phonetically
Do you still listen to a lot of hip-hop? (Reference to the original version
of the "Nightmares" on his new album, where one line reads, "I don't
even listen to hip-hop, really, I listen to reggae."-later edited in the
Buck Up Princess version.) A lot of hip-hop artists these days are
saying "I don't listen to hip-hop anymore, hip-hop's dead and gone,
the stuff that's coming out now isn't worth listening to. A lot of hip-hop
artists say they're listening to blues or rock, going back to different
Well, you know, you've got to change. I mean, as a human, you're
just growing. With hip-hop, it blew my mind for ten years and gave
me things that culturally made me what I am right now. Hip-hop, to
me, is raw energy whereas a lot of other music is refined energy, more
emotional. If you listen to a rock song, it's often a lot more charged
up, the melodies are in there and they grab you at a place where just
words don't. You've got a beat, you've got words, and then you've
got a "joiner" in the beats and words, the glue„which essentially, is
music. I like a lot of kinds of music, inevitably you have to listen to
other kinds of music as you grow up or else you're just a punk. Life
doesn't stop when you're 18 or in my case, 26, although I'm 23 for life;
I've been 23 for yearsl Since I was 21 years old, I've told people I'm
[io <i»*<-*<*^* 23. It's the ultimate age.
So what happens when you're 30?
Oh man, when I'm 30? Botox maybe, time to stop boozing, stop
floozing, stop having those late nights (laughs). No more carrying on in
foreign cities and the local rallies.
You have a lot of friends here from Halifax now, a whole crew of
people working together and living together. 1 notice that most of the
people involved with your album are people you've known for years
and people who you've been working with for years. Is it a Halifax
connection, something you're doing on purpose to keep everything
together, or is it just coincidence?
Ah yeah, the Halifax crew. We're a bit of a cult, really. I've been
unbelievably lucky my whole life. Since I was in high school, I've
been surrounded by my best friends, who are still now making life
advancements, making artistic movements. Growing up. everyone
was hilarious; we were into music and culture and making things'
interesting ond everyone had their own separate little hustle, you
had an actor or a juggler or DJs up the ying yang. Everyone makes
this, that and the other thing, and I was and am just blessed with the
fact that my closest friends are also the most talented people who
exist. I've been all around the world, I've been lots of places and
I've ended up realising that my closest friends and the people I work
with are still here; I've never had to look anywhere else. Halifax is so
amazing and talented, for some reason. A little blip on the radar, you
Was it a conscious, collective decision for y'all to move out here or
did it happen in stages?
Oh no, it's been going on in stages and it's still going. People have
come out for a week, moved here, stayed for a while, went home-it's
hard to make it out here and it's real expensive. None of us are skilled
in an employable trade, we're all artists, knuckleheads, boozers and
professional miscreants, and there isn't really an employable man in
the group 'cos we're all too nuts! All of us hustle and work so hard but
having to create your own hustle means it takes a long time to pay
Halifax has had a lot of talent out of It, a lot of the Canadian content
we're seeing is coming out of the East Coast. Why do you think that is?
Well, if you want to track it back-the US underground college rap
scene, the part that split into Anticon and then def jux, which are
essentially the same thing, which is "nerd rap," as far as everyone else
was concerned -when it first started, [it] started in Halifax.
And how about your associations with Anticon? Is that done and was
It a good experience?
On a musical level, yeah, we're done. I think we are different humans,
geographically and whatever. Also, association-wise, it was getting
to be a huge burden to be a part of Anticon. I wasn't feeling,
necessarily, the politics, but more so, I wasn't feeling the back lash
that comes with being attached to Anticon. It's a stigma that Anticon
has, that this is "nerd rap" or "white boy rap," and if there's one thing
I've always explained is that I don't listen to white boy music; I make
soul music and that's the music that grabs me. Whether or not it's
white boys making it, I mean, you've got blues and '70s and jazz,
and the soul isn't race-related. White boy rap, by stereotype, it's un-
rythmic, it's whiny, I don't come up that way. I come up with rhythm
being critical. You can't get away with having a crappy flow and
everyone worked really hard-there were two generations-the first
one was Buck 65, Sixtoo, Moves and Gordski, who are the old guys,
and then it evolved and came up to me, Kunga 219, Tatichi and
Scratch Bastard, who's amazing and was just here recently-l guess
people are still finding out that being a businessman and being an
artist are two different things.
Speaking of being a businessman, you've just started a new label-
-you were involved with Low Pressure and now you've established
Camobear. How's that coming along?
It's a better fit now. Low Pressure was great, I mean, we all lived
together and had an amazing time and made amazing records and
we're still friends right now as a result of not being in a record label
together. I mean, we lived together and were all friends. It was just
hard and too many things involved and it ended up being too much
of a conflict. We figured, why do it this way?
Anyways, we've got two Factor grants in the fall, which is hopefully
going to be the beginning of a long and fruitful association with
Factor and getting money for free, We take what we can get; we're
not running a record label for four years on no money. It's going to be
interesting to see what we could do WITH money. It's starting to come
up. To be Jionest, we're a force to be reckoned with before we
even do anything substantias [sic]-we're sitting on something that's
valuable for everyone; it's partly mutual self-interest.
Camobear is a bit funny, because at least originally it's hedging at
least a bit on my personal success and the success of my record,
because that'll bring about opportunities to the collective and brings
up a bit of credibility as well. At the same time, we don't want it to
be just my label. I mean, I want it to be a label where I put my music
out but I also, I want to have artists, and to that extent, we have
Kia Kadiri, Awol One, The Goods, Kunga 219-who has an incredible
album he's about to drop-the Pissed Off Wilds album, Sirens Echo
which is two ladies out of Portland, Oregon who have the hottest shit
ever, they haven't even met Kia yet and when they do, it's gonna be
an explosion of ladies who can make good rap, powerful, musical,
all that stuff. And yeah, after putting through all that we can move
into other stuff, rock, hillbilly, I don't care. I just want music that's
interesting and different. Once we get started, there's no limit to what
we can do as far as musical direction. If we can prove that we can
make music go and get it where it has to go, then the possibilities are
Do you take yourself very seriously?
Yeah, you know, I do. Very seriously. I think humour is the most serious
thing you. could ever talk about. I've seen people use humour as a
weapon and I use it very much in the same way. I like to laugh a lot
and I don't like being told what to do—if you can make me laugh
and tell me something, I'll listen. You can trick me with humour, and I
like being tricked, that's the magic of it. Humour is a way to slip in so
many messages, and that's what I'm real serious about. Subversive
humour in the sense that it's being used against us in everything all
the time: advertisements, the media, everything-it's all designed to
boil you down to a receptor or whatever and if you can work against
it-use the rules of advertising against itself-then you promote positive
messages jnside of appealing content, bright colours and the musical
Alright. We're wrapping things up. Why don't you tell me a quick story,
something for the kids back home!
(laughs) A story! OK, great. What can I tell you? Probably anything!
OK, I'll tell you about our failed investors, ha ha. I would name names
but I don't even know them at this point. I'll just give pseudonyms.
One is a porn star, one is Charlie the Chicago Drug Lord-he's not
. really a drug lord, just some guy who lives in rural Illinois who was really
into underground hip hop, came out to see a few of our shows in
Chicago and got real close to us, said he was gonna give us....
Josh trails off at this point; a patron from inside the restraint comes and
sits down with us to offer some of BC's finest. The story has no ending;
he makes it clear he's not someone who's looking to finish his chapter.
With a new album, new record and a full year of tour dates and new
opportunities. Josh Martinez has established himself as ari artist who'll
be here long enough for a million stories over.
Josh Martinez plays with The Front at their CD release party. February 9
at the Picadilly Pub.
ft-tex"*^ For months I was intrigued by Raking Bombs' name on gig posters.
When I fnally heard their record, the bizarrely titled. You are the
Resliazjiox, unlike 001100110,1 knew I had been interested for good
reason; It instantly reminded me of Ex-Models. Lead vocalist Tome
whispers, shrieks, begs and pleads, his voice inescapably intense.
Jason's powerful jazz/death-metal drumming anchors guitars that
alternate between precise technicality and deafening feedback.
Dave's bass playing is both melodic and insistent with programming
providing texture throughout. Raking Bombs' sound is incredibly
original: this is post-punk with soul. So far the boys seem to be on the
up and up. They toured Western Canada this past summer, and have
played with the Blood Brothers and Red Light Sting, among others.
I was lucky enough to have Raking Bombs over to my house for an
evening. We talked about Bjork, university, fhe government and,
eventually, their band.
DISCORDER: OK, so who's the leader of the band?
Raking Bombs: [Laughter then stunned silence]
.  Yeah, It's a Irlck question.
Tome: It's a collective.
Dave: Each person does their part.
Jason: And each person has an equal say in the direction of the music.
So how do you feel that this collective outlook Inf uences your sound?
Jason: Well, someone will come in with an idea, and we'H each add
our Individual perspectives. So this communal sense comes together to
create the f nal product... as much as I hate to use that word.
Walt a sec, aren't you guys all total capitalists? You just got Into this to
make money, right?
Raking Bombs: [laughter] Yeah, for sure...
Now one thing that keeps coming up Is that Jason comes from a different
' background than the rest of yob guys.
Luke: Well, I think that's because us three have all known each other for
about two years, a bit longer than Jason, so we all have been inf uencing
each other for a while now.
Tome: Me, Luke and Dave have been together for a while now and been
influencing each other and g owing from each other. Jason Is new, and
he's added a very new; interesting and amazing spark.
So you feel now Is Ratings Bombs' moment In time.
Luke: Well Raking Bombs wasn't Raking Bombs before.
Jason: It was The Raking Bombs. [Laughter}
Dave: When Jason joined the band, with this jazz and death metal
background, he had a different perspective on what songs should look
like. So us three had been
playing together and inf uencing each other for three years, and then he
came in and just messed it pit up.
Tome: He has. in a sense, completed an unholy unit. And I mean
"wholey," with the "wh."
Now you realise that that's the title of the ortlcle...[Laughter] So why the
name Raking Bombs?
Jason: Its open to interpretation, ^k^s^,
Kind of esoteric? I know that's not the right word. But there's a word that
sounds Hke "esoteric" that means It has multiple meanings, that K can
mean different things to different people.
Tome: Yeah, it's not esoteric, esoteric means its kind of available to only a
limited group of people;..
Well, I would say your music is kind of esoteric as well, in the sense that
you have a reaUy dWeront sound, its not easy music to listen to. Its very
challenging. Do you see your music that way?
Dave: When I isten to our music I hear all the other music we listen to. We
all listen to such a wide variety of stuff that I think we have a pretty good
knowledge of certain areas. People that listen to our music might Ike it
right away, but other people it might take a bit more time...
Who do you think are the main groups that have inf uenced you?
Raking Bombs: Pink Floyd, Drive Like Jehu, Fugazi, Hella, Nation of Ulysses,
Lightning Bolt...
Jason: Ummm...
Dave: Well, except for you...
Jason: Yeah, I don't care for much of that stuff.
Luke: Shut the fuck up. [laughter]
You guys are so cute. Usually In Interviews one person will just take over
and do all the talking, but you guys are all waiting for each other to speak
and encouraging each other.
Luke: Well we're all nice guys.
Jason: Except for Luke, he's a prick. No seriously, he isl He broke my
cymbal standi) Twice! Then he laughed at me.
Was he freaking out during a show or something?
Jason: Yeah he kicked it, and almost took my head off too. So how would you guys describe your live show?
Luke: Its hard to say because it's such a blur. Being lost in the excitement
of something as amazing as music is just so...
Dave: I never remember anything. People will be like, "Hey, did you see
what Tome did?" And they're like, "But he was right next to you, swinging
his microphone around!" But I have no idea, I'm just in this zone, and
everything is a blur.
Tome; I think its representative of our music, in the sense that...Ah, I keep
saying, "In the sense that..."
Don't worry, I'll edit H out. [secretly planning not to edit it out]
Luke: Its kind of like doing a drug, when you go off into some world that
you can never describe, and never imagine when you're totally sober.
It's a different state, you don't need to think about it, you just go there.
I And you play music.
Tome: Yeah, I think that if you came to our show and you were deaf, and
,you were to watch us, you could picture what we would sound like.
Jason: It just kind of happens.   "^pl|§fp
So how did you all meet?
Jason: Oh, it's a long saga, a love story.
twos talking with a friend recently, and we decided that finding the right
band Is kind of like falling in love. It's just so hard to find the right people,
and then when you find them. Its just like "Fuck!" You just click, and it feels
Jason: That's how I felt when I first jammed with these guys.
Dave: Liar! You were all businesslike! He was like, "I need to know one
thing. Do you guys want to get signed to a major label?" And we were
like, "Uh, no..." And he was like, "OK, good. Let's play."
Oh, so you guys aren't looking for major label success?
Jason: Oh, totally! [laughs]
Luke: We try not to think of the word "success." We try to just do what we
do. We always want to be writing, and we always want to be playing.
It would be cool not to have all these other jobs to worry about all the time...
Jason: But could you appreciate music then?
Luke: On our Christmas break, when we were aU just working a few days
a week and had time off school, we got nothing done. Now that we're
back at school we're working like crazy. .
Dave: We work well under pressure.
Jason: I think we need that balance. I think we need other things in our
lives to function.
Tome: That's true, but we also procrastinate like fuck.
OK. one more question. I know you guys have been playing together for
a while, but I think you might be relatively new to a lot of people. So they
might not know what you sound like. How would you describe the way
you sound?
Jason: We're post-categorical, [laughs]
Luke: No we're not! [laughing really hard]
Tome: One of our friends described it as...
Jason: What was ft, a printing press about to explode? Like this big,
beat-up eld printing press all rattling, and nuts and shit are popping out of
it, and it's just about to fall over, but something's stopping it.
Dave: There's a bunch of steam and stuff, screws coming loose and
things breaking, and you think its gonna explode, and you should go tell
someone, but it's fun to just sit there watching it. But it doesn't explode, its
just kind of teetering on the edge.
You are the Resliazjiax. unlike 01100110 Is available at Scratch. Check out
the boys' weirdo website at www.therakingbombs.cjb.net
Emily Kendy
While 12 pm is considered afternoon by most, it's the crack of dawn
for musicians. k:.
"I've never done an interview during the day before," says a blurry-
eyed Dan Sioui, the singer of local sweat-rock band. All State Champion.
He butters his muffin with a dazed expression. "I think I know why.
"In a comer of Bambo's Cafe, across from the Cambie, we wait for
the other band members to arrive. Eventually, Wes Cook (bass) ambles in,
alert and firm of handshake. He is soon followed by drummer Todd "the 'o'
makes the first 'd' silent" McConkey who hands over the requested
pictures, which are to accompany the interview. There are three out-of-fo-
cus shots of McConkey and Sioui.
"Where's me and Tim?" says Cook, alluding to McGuinness, guitarist
and MIA fourth member. McConkey shrugs, indifferently, returning to his
story of how Ween, apparently, self-recorded their first album over top of
a cassette tape of the Doobie Brothers.   JjepǤ
While this interview was meant to cc-inside with the band's September
release of their debut full-length. Is It Nothing to You, the release date was
pushed to February, by their Santa Monica label. Five One Inc.
On this particular semi-sunny Sunday, the band talks about the
painful wait, how they ended up with a US based label, and sorts out once
and for all who wears the pants in their relationship.
DiSCORDER: How come the album was pushed back?
Dan Sioui: We were bumped. The label had other releases scheduled.
Todd McConkey: We also had trouble getting our visas and passports
together, which we needed, in order to tour.
Why aren't you on a local label?
McConkey: Nobody wants us.
Sloul: It's funny after all this time, it's LA willing to help us. In Canada, it's
bands like Nickelback and Hot Hot Heat [that have support]. There's
insurance there. If you're not playing
a popular genre, there's less support.
Wes Cook: It's a risk.
Sioui: We're a risk.
Cook: I wish Tim was here, he'd have something to say about it...
How did you guys hook up with Five One inc.?
McConkey: A friend of a friend. Sioui: We're the only North American
band on the label. There's a band from Japan called Eastern Youth, and
a couple bands from Norway, one called Sister Sonny, which is basically
electronic pop.
How do you guys fit in?
Sioui: We don't fit in. Kenji, the guy who runs the label, just really likes our songs.
One of the last interviews I read of you guys, you were having some
serious van troubles. Do you have a new tour van now?
Sloul: No. No new van yet.
McConkey: It's okay, but it needs to be hosed out. That's no joke, either.
How would you compare your music to your lour van?
Sioui: What?
Cook: We're precise. Our van isn't.
Sloul: Do you want us to compare how they're the same?
McConkey: We over-heat a lot, and something always smells bad...
Cook: Exhaust leaks.
Sioui: We're both driving. That sounds good, doesn't it?
Cook: We're both striving to the next level.
McConkey: Oh, man.
Sioui: We've both broken down...
McConkey: That sounds like we cry together, and hug, like the Chili Peppers.
Sioui: This is a hard question. Are there going to be more questions like this?
How was working with Jesse Gander [Operation Makeout], on the album?
Sioui: If it wasn't for him we wouldn't have a record. He's a great guy. He
loves music and wants to help bands. It's rare.
What did you learn during the recording?
Sioui: We played to a click track land learned]. We weren't very good at
keeping time.
McConkey: Thanks.
Sloul: We ALL weren't. We had more time with this record. Used different
amps and things, but tried to keep the intensity of a Five show.
Are you guys really into the technical side of making music?
McConkey: When we play.
Sloul: Go by feel.
McConkey: The best songs write themselves, the trick is to not think about it.
Sioui: We have so many songs we've recorded, since the EP [released in
2000], but we were never happy with them. We're fussy.
McConkey: And we keep writing songs that are more relevant, so
old songs disappear. But I'd rather have it this way then have a shitty
recording you wish didn't exist.
Do you remember your first show?
Sloul: Yeah. It was at the Brickyard. On a Wednesday night, with Joanie
Loves Chachi.
Were you nervous?
Sioui: Yeahl I still get nervous. Sometimes I barf before shows.
McConkey: I wish I got nervous.
You guys have any backstage cheer, or pre-show warm up?
Sloul: We try to stay away from each other.
Sloul: We're four very different people.
McConkey: Tim has a short attention span.
Cook: He's a spaz.
Sioui: Todd's the angry dad. When he gets mad, it's like "Uh oh. Dad's
mad." And he throws things at you, keys, and drums.
McConkey: Dan's the worrying mom.
Sioui: I guess I am. Wes is...just an amazing bass player with the weirdest.
most obscure bass lines.
Cook: I'm the least obscure of the band.
Sloul: But your parts aren't simple.
McConkey: If people play their parts on their own, you don't have any
idea what song they're playing.
Sioui: It's because we don't write with chord progressions for the most
part. They're too boring.
How do you write. If you don't write with chord progressions?
Sioui: It's basically a bunch of riffs. We put our parts together like g puzzle.
What do you think to yourself, when you wake up on a good day?
Cook: That I'm lucky to do what I do, that I'm healthy. That I live in B.C.
McConkey: I don't have very many good days.
Sloul: He's not even kidding. I think, "Yay! Someone's helping us put out
a record."
What do you think, when you wake up on a bad day?
Sloul: I hope the record comes out.
Can you give me an All State Champion lyric to finish off the Interview?
Sloul: "I'll lie on the tarmac and wait for death to stop this plane."
That's kind of depressing. I'd like to end on a light note...
McConkey: The painful wait.
Sloul: Buy our album so we can fix our van. Thank you.
AM State Champion will be playing Rock For Choice. Feb 6. Their CD
release party Is February 21, at the Brickyard.
lO   ^ISC©**^*^ recorded media
Matt Mays
(Maple Music)
Just when you thought that Nova
Scotia had had its moment to
shine. Matt Mays shows us its alive
and well. He slaps us west coast
snobs in the face with his self-titled
debut, with his own style but with
an oh-so-East-Coast feel.
This is a man who loves his
hometown of Dartmouth, and
you can hear and feel it in every
song. He takes us around his
block, around the tree-lined "city
of lakes." It has remnants of his
countrified Guthries days but with
a slightly stronger rock flavour. A
comparison to young Petty isn't
too much, it's justified.
The first time I saw Matt
Mays, he was opening for Sam
Roberts and no one recognized
him, or El Torpedo. El Torpedo is
the band that accompanies him
on his live gigs; they add such a
vitafity that I wished they would
unite and record with Matt as the
lead singer. By the end of the set,
they seduced the crowd, got an
enthusiastic standing ovation, and
sold more CDs and signed more
autographs than any unknown
opener I've ever seen.
Actually, 'unknown' is
inappropriate-sort of. Matt is big
on his own East Coast turf. With
the amount of East Coast Music
Award nominations he's gotten
and the amount of praise poured
down on him, it's surprising that he
doesn't have a bigger following
on the West coast.
—Parmida Zarinkamar
The Rhinos
Year of the Rhinos
(Rainbow Quartz)
Did anyone else hate it when
you were a kid and your parents
put KISS fM on the car radio?
Well. I popped in this CD, and
flinched: instant flashback to pre-
adolescence in my family's beat-
up Toyota.
Granted, at times the
Rhinos are bearable. But for the
most part, this band sounds like
watered-down and mediocre
Beach Boys. Cheese-dripping
and cliche and painfully lacking ,
something you can't quite
put your finger on. Attitude?
Creativity? It's like Christopher
Cross, I don't want to listen long
enough to figure it out.
—Parmida Zarinkamar
If you like the slow of Low, the
drama and control of Godspeed,
You Black Emperor! and the
eerie vocals of Trish Keenan of
Broadcast, you could totally love
This album seems to
become fuller with every listen.
Rick  Atverson's  hesitant  touch-
sensitive keyboard-accordion
sounding vocals are amazing
with Courtney Bowles' dreamy,"
melting voice. This album is the
perfect soundtrack for holing
up in your bedroom with lots of
pillows and lit candles. One of
my favourite tracks is amazingly
simple-"An Ideal History"-which
is two and a half minutes of wind-
up jewelry box sounds. It can
sound demented and creepy or
innocent and comforting.
"Temporary Things" stands
out too as it in some way reminds
me of Nine Inch Nails' "Hurt":
but somehow Rick's whispered
vocals sound more necessary
than Trent's. I keep expecting
the simple but haunting "Hurt"
keyboard downward scale. I
actually tried mixing the two songs
together but I needed to slow
down "Hurt." If could totally work
In some parts, though, I swearl
What else can I say about
this album but that it seriously
becomes better with every
repeat: which is pretty amazing
because I liked it right from the
—Natalie Vermeer
The Minds
Plastic Girls
(Dirtnap Records)
With so many good bands
coming outta Portland these
days, (Hunches, Triggers, Epoxies,
Electric Eye etc.), it's a wonder
how anyone can keep track of
'em all. Add The Minds to the
list and try to stop the bum rush.
Combining the aforementioned
Epoxies knack for synth-pop
goodness and a singer with a
cheese-grater throat to give
songs like "Night Drive" and "Hot"
just enough punk rock mozza for
the Rip Off records purists, and
you got yourself a winner. Nice
Adverts cover, too.
—Bryce Dunn
(Nerve Records)
Well if you can get past lovely
cover vixen Meghan...l SAID, if
you can get past Meghan what
you hold in your sweaty palms is
the first (and only) claim to Mission
fame, a bar-room brawl set to
music for the most ADD-afflicted
rock and roll fans among you.
Yes, allegiance to Motorhead.
and the Dwarves is recognized,
but I'd venture these guys (and
gal) listen to a little Boston and
maybe even some Outkast
(although they'd probably never
admit to it publicly). Me. I can
shake it like a Polaroid picture
to these tunes just fine, but if you
can't make it on the floor, next
best thing is let to SpreadEagle
kick your behind down onto the
cigarette and beer-encrusted
carpet that Meghan finds herself
laying in after too many nights of
rockin' revelry. Wait a sec, are you
even listening to me? You're still
googly-eyed over her, aren't you?
—Bryce Dunn
The Mountain Goats
We ShaH AH Be Healed
There are few Mountain Goats
fans who don't miss the old days
of John Darnielle's voice, backed
only by tape hiss and frantic guitar
strumming, all tied together by his
stories and sense of humour. With
their last album, Tallahassee, the
Mountain Goats fundamentally
changed, moving to a production
studio, with a band to boot. Initial
reactions were mixed, but most
came to the same conclusion—
this is still Darnielle, and there's still
a spark to the music that makes
it Mountain Goats, and so we
still love it. Well, with We Shall All
Be Healed, the same approach
as Tallahassee's is in effect, and
so again we have to wonder if
his songwriting and expanded
recording techniques will be able
to compensate for anything that
he might have lost along the way.
Recorded in one 10-day session, it
feels a bit rushed, but with Darnielle
that's almost a good thing. While
the humour seems to have mostly
died away, the songs are still
structurally simple, even if they're
now more texturally complex. This
tends to leave the songs sounding
a bit shallow at first, but given that
the most popular complaint with
the Mountain Goats is that all
the songs can sound the same,
WSABH comes out as surprisingly
successful. Darnielle mixes some
of his earSer sounds on songs such
as "Home Again Garden Grove,"
and also successfully introduces
new sounds that the Mountain
Goats have never before
explored on songs such as "Mole."
Even though the songwriting skills
of the Mountain Goats may not
be good enough to compensate
for the humour and atmosphere
they used to have, Darnielle is
still undoubtedly able to paint a
thousand pictures with his words,
and that's what counts.
—Soren Brofhers
The Barmitzvah Brothers
Mr. Bones' Walk-In Closet
(WeeWerk Records)
I think I should really start telling
people I'm from Guelph, Ontario
(home town of the Constantines,
Royal City, and King Cobb
Steelie to name a few), because
maybe they'll finally start taking
my music seriously. Or will they?
The Barmitzvah Brothers are
three teenagers from Guelph
whose musical style can only
be described as grab-bag. This
means that they occasionally
sing in Hebrew (for the Tun of it),
and choose to root their songs in
bizarre sounding household items
and synths rather than the more
popular guitar. Furthermore, it
seems that they're a group that
actively avoids pigeon holing,
since none of them are Jewish,
one is a girl, and no one really
knows if the songs are to be
taken as serious or not. As a
result it almost seems too easy
to label them a teenage novelty
band, trying to garner attention
based on their birthplace and
unique sounds, but their musical
virtuosity and songwriting skills
are simply too great to be cast
aside so easily. They really have
to be admired for their ingenuity,
their musical exploration and
for their fun-loving approach
to song writing, not to mention
their storytelling lyrics which often
come off both intimate and
innocent. In the end. Mr. Bones'
Walk-in Closet is an endearing
album, but I have a feeling that
it's going to be overshadowed
by the subsequent recordings the
Barmitzvah Brothers put out.
—Soren Brothers
Sfreeghtiight Manifesto
Everything Goes Numb
(Victory Records)
When I chose this CD, I was in a
blue mood... I'll admit, I was a bit
sad that the school term was over
and the Christmas break was at
my doorstep. I wouldn't be
seeing my friends everyday and
I would be working my poor little
ass off. But as soon the first few
bars played, I was like, "Screw
friends! I have music!" Yes, this
album was definitely a picker-
upper. Six male band members
manage to skillfully choreograph
bass guitar, uh... "normal guitar,"
baritone sax, tenor sax, alto sax,
trumpet, trombone, drums, and
vocals into a kick ass sound that is
neither overwhelming with noise
or reminiscent of scarring grade
eight band class memories. Titles
like "A Moment of Silence" and
"The Saddest Song" will sure fool
the hell out of you, but in a good
happy way. I would recommend
each and every song—no matter
what the title—of this album to
anyone, anytime, anywhere.
The songs aren't in-your-
face either. Tracks often start
out soft, slow, and wonderfully
rythmic, shoot up to some mad
mad playing, then ease back
down, then shoot back up, then
ease back down... It's a rockin'
balance that keeps listeners on
their toes. They sound a lot like.
No Doubt before Gwen went
ghetto fabulous. If No Doubt had
unprotected sex with Sublime,
they would probably name their
baby Streelight Manifesto (not
minding the custody battles,
child payments, etc..) Uh...yeah.
Unprotected sex bad, Streelight
Manifesto good.
End This Week With Knives
We Are So Transparent
(Hell or High Water)
They mix hardcore with emo and
something tortured, yet deny
resemblence to other bands
in their genre. A first thought
is that they may remind you a
little too much of a west coast
version    of    the    St.Catherines
band, Alexisonfire. But don't be
so ignorant. Listen hard and listen
well to this little work of art. You'll
hear a diversity that well reflects
their personalities; a little bit of
something sweet, a little more
of something violent, but a larger
part of purity in rock.
—Niki Reitmayer
April March
(Pias America)
April March. AKA Elinor Blake, is
cool for the following reasons: 1)
she pretends she's French, 2) she
worked as an animator on Pee
Wee's Playhouse, 3) she was an
animator and writer for The Ren
and Stimpy Show, 4) she is the star
of an upcoming a comic book,
and 5) her latest album. Triggers,
is wonderful. For her second solo
effort, the Californian chanteuse
teamed up with producer
Bertrand Burgalat to create a
modern interpretation of '60s
French pop. The result is a stylish,
swirling sound that makes full
use of the possibilities of stereo,
moving from the spy music of
"Coral Bracelet" to the synth-y
rock of "Somewhere Up Above",
and staying nearly perfect the
whole way.
The Thrills
So Much For fhe Cffy
I have to admit that I was a
bit skeptical early on, what
with the recent onslaught of
rhyming "The" bands (The Kills,
The Stills) invading my eyery
orifice. However to my surprise,
"Dublin's The Thrills debut album.
So Much For The City, wasn't half
bad. In fact, it was about three
quarters good. Listening to them
was like listening to '70s radio
in your Californian motel room
just as the sun is setting, and all
you want to do is cry yourself to
sleep. A bunch of Irish lads singing
about Santa Cruz, sunshine and
Hollywood? Crazy talk! Evidently,
they had spent four months in San
Diego writing this album. I can't
help but compare lead singer
Conor Deasy's vocals to that
of fellow panting exhaustionists
Bright Eyes' Conor Oberst and
Death Cab For Cufie's Benjamin
Gibbard. Despite this dreary
disposition, songs like "Santa
Cruz (You're Not That Far)," "Big
Sur," "One Horse Town" and
hidden track "Plans," make this
record enjoyable with dancing
pianos and delicious build-ups.
With a wide array of instruments
(banjos, organs, pianos and what
appears to be a slide guitar). The
Thrills keep things interesting and
spirited at the best of times. At
others, I can't help but become
bored with balladry. I want
to love them. Really, I do. But
everything else makes me feel
like I hit "repeat."
—Patricia de Matos
Sufjan Stevens
Greetings   From   Michigan,   the
Great Lake State
(Asthmatic Kitty)
Ah, Michigan, land not only of
historic race riots, husks of industry,
and  mysterious  seepages,   but
also avant-folkist Sufjan Stevens,
who on his third album. Greetings
from Michigan, the Great Lake
State, rushes to the defense of
his maligned home state (ie.
"Ontario has T.O., but Michigan
has B.O."). Shifting between
two camps in the beastiary of
bedroom troubadours—the quiet
shuffle of the rainy day pretty boys
(Nick Drake. Smog before the
brackets), and, in wild polyphonies,
of brass, woodwinds, and voice, a
nicely ramshackle take on the
mod composers (Jim O'Rourke,
Eric MarthewsJ-Stevens calls on
the only form that will do: the
concept album. And while many
records fold under the weight of
their concept, here it's the trump
card. If you are cool with Stevens'
voice, which can get a little cute
at times, the resulting conflation
of pervasive Michiganiana,
wonderfully epic track titles
("Detroit, Lift Up Your Weary Head
[Rebuild! Restore! Reconsider!]")
and unfolding moods and themes
will pack each passing song with
a little more of whatever it is that
you may be looking for: scorching
oboe riffs, anti-Globalization
fodder, sad beauty, maybe just a
new record to throw on while you
clean up the house.
—Basil Waugh
Raising the Fawn
by fhe warmth of your flame
(Sonic Unyon)
For an EP. it blew my mind.
It's reminiscent of so many
more bands I know and love,
Radiohead, Sigur R6s and local
band Stabilo, to name a few.
I'm not sure I could quite do
this EP justice, as it is beautifully
conceived beyond words. Singer
John Crossingham of Broken
Social Scene is the essence of
Raising the Fawn, and with by
the warmth has proven himself
to have one of the most haunting
and intriguing voices to come
out of the Canadian indie rock
scene. And I'll tell you, I'venever
been a fan of the banjo, but
now I check such opinion. The
vast array of instruments used in
the production of this EP, running
through banjos to xylophones,
all manners of acoustics and
electrics, together contribute to
the emotionally powerful and
ethereal qualities of the songs..
And although the track list
numbers only five, with a running
time a little over 26 minutes, it's
comfortably in the range were
it can be left on repeat for a
while, as I frequently find myself
doing. The song that stands out
the most on the EP is the last,
"country home," a toast to the
old fashion and recorded in lo-
fi. where Crossingham's voice
steeps to new levels of melody
and grandeur. I'd definitely say
that Raising the Fawn is a band to
look out for in the coming years.
T.\4*^> live reviews
Three Inches Of Blood
Goats Blood
Fuel Injected 45
October 31
The Brickyard
I started getting excited about
this show at about two in the
afternoon on Halloween. As I
wandered the depleted aisles
of Value Village searching for a
"depressed housewife" costume,
I looked across the room, and
who did I see but a few of the
members of Three Inches of
Blood, who were also searching
the racks. My spirits, lost in the
crush of last minute bargain
hunters, soared. Costumes,
I realized, make for a good
show. Now, I'm not a metal
aficionado, but I am a huge fan
of Halloween. The spirit of that
black holiday set the tone for
my evening, and my enjoyment
of bands I might not always go
to see.
Goats Blood played first.
There was some nice violin
action going on above the
predominantly heavy songs
and rhythms, which made for
some interesting listening. Fuel
Injected 45 took the stage next,
wearing all white, and I am
now fully aware how frightening
that clinical look can really
be. Between songs the singer
spoke sweetly, giving candy out
to the audience, but as soon
she started singing she was a
woman possessed. The huge low
voice that came out of her was"'
overpowering. I half wanted to
run up to whoever was about to
bite into the chocolate bar or
Jollypop that she had given out
and wrench it from their hands. Jt
could be poison; you can't trust
her, not with that voice. I haven't
heard any reports of mysterious
illnesses, but you can never be
too careful.
Lastly, the highlight of the
evening, a just home from tour
Three Inches of Blood. Honestly,
I can't even remember if they
were wearing costumes now.
I think they were, but my focus
was entirely on the songs and
the energy of both the band and
the audience. The crowd was
glad to have them back home,
and this on top of an excess of
both candy and beer made for
a good set. There was plenty
of pushing; I saw a little bit of
shoving, and at least a couple
of people were doused in beer.
What more could you want
from a Halloween show? By the
end of the night I believe the
metal gods had been satiated
for another year, as was my
craving for miniature chocolate
. bars. On a last note, awards for
best costumes go to, in no order
other than that in which I saw
them, Tron, Pee Wee Herman,
and the retiree jogging couple.
Unfortunately there are no
prizes, just my eternal reverence.
Angela Friesen
Joel Plaskett Emergency
Leeroy Stagger
November 12
Green Room
For some, choosing between
this show and the Broken Social
Scene show was one of the
hardest decisions of their lives.
For me, it was one of the easiest.
Since moving to Vancouver I had
been waiting for one thing, and
one thing only: a Joel Plaskett
Emergency show.
The night started off with an
excellent performance by Leeroy
Stagger. Just something about
that voice drags you into his
music, which all in all is rumoured
to be significantly better than in
past months.
The Joel Plaskett Emergency
didn't waste much time before
taking the stage and beginning
their set, which lasted almost
two hours and did not leave
anyone unsatisfied or wishing he
or she had gone to Richard's on
Richards that night. Joel Plaskett
was absolutely fantastic, not
missing a single note, going all
out with those guitar solos that
are so familiar to Thrush Hermit
fans, playing requests, improvising
lyrics and tossing out witty banter
between songs that was actually
There were many highlights
in the set, including audience-led
backing vocals and a multi-song
section of '70s honky tonk covers
(think Lefty Frizzell), leading to a
'90s R&B cover of R. Kelly's remix
to "Ignition". Probably the most
memorable point of the show,
however, was Joel Plaskett's
haunting solo acoustic version of
the Thrush Hermit song "Before
You Leave," from the band's final
album, Clayton Park.
Nothing could have possibly
made this show better. With the
intimacy of such a nice, smaH
venue packed with Joel Plaskett
fans and great music, the band
ended a perfect night with an
energetic "From The Back of
the Film," another Thrush Hermit
favourite among all of the '90s
East Coast music scene fans. And
there were a lot of us.
Kimberley Day
Hot Hot Heat
The Unicorns
November 17
Croatian Cultural Centre
The drive across the city in a
torrential downpour didn't stop
me from seeing Hot Hot Heat, but
it did prevent me from catching Vancouver Island's much
talked about The Unicorns, which
I regret. Regardless, it was still a
great line-up. Metric were on
stage when I arrived at the Croatian Cultural Centre. It was a post-
punk fury led by an energetic
mini-skirt clad keyboardist, Emily
Haines. Emily is a natural leader
on the stage, rocking it out hard
with confidence and style. The
crowd embraced Metric and
displayed their love with ceaseless dancing. ,
The quiet lull between Metric
and Hot Hot Heat was killed off
by scenesters bopping along
to a mix tape of The Streets.
The Walkmen and The Clash.
Just when it felt like a Luvafair
resurrection, the lights dimmed
and the crowd surged to the
stage and jumped in time to
the swaying of Steve's big hair.
Racing back and forth from one
end to the stage to the other. Hot
Hot Heat showed us why they're
so... hot. Though short, the set was
mostly the best from Make Up the
Breakdown and the sound was
tight. The kids ate it up like candy.
Whether it was the bouncy
keyboard intra of "No Not Now,"
the perky "Get In or Get Out,"
or the popular "Talk To Me
Dance With Me," watching Hot
Hot Heat feed off their fans felt
more like a giant sing-a-long 80's
dance party than your typical
impersonal concert. When the
kids screamed, "I love Victoria!!"
Steve sheepishly grinned and
said, "I love Victoria too". Smiles
abound, Hot Hot Heat plain
rocked the casbah.
I've come to realise that,
musically, we live in an exciting
time. There's that buzz in the
air and an intensity at the
shows that, for a while, I never
thought I'd get to experience.
Vancouver's live venues may
be shrinking, but the music is
increasing and it's not stopping.
What I saw that night proved that
the Canadian indie rock scene is
nowhere close to dying.
Robyn Hanson
Arab Strap
Malcolm Middleton
November 23
Richard's on Richards
First off, who would've guessed
that an arab strap was a sex
toy? I suppose someone who
has listened to Arab Strap's
lyrical content, or for that matter
someone who's wondered
why Belle and Sebastian make
reference to it, but still I had
no clue. That being said, there
were no sex toys anywhere in
sight as Malcolm Middleton,
half of Arab Strap, opened up
the night with his solo acoustic
music (which was more or less
lyrically paralleled with Arab
Strap's music). For example, his
final song, which was probably
the best, had him returning to
the thought that his songs are "all
shite" and that he'd amount to
Needless to say, it was a
bit of a change of pace when
Sparrow hit the stage soon
after him. I actually thought it
might be Arab Strap coming up
because of all the fog they were
pumping to make a mysterious
or dour atmosphere in Richard's,
but instead it was these sunny
popsters, whose music was
something like the Starlight Mints
with maybe more keyboard and
less guitar. Just try to imagine a
smiPng keyboardist pumping out
quirky bouncing songs backed
by cello and violin and you get
the Idea.  "Is. >.;ix
When it was time for the
headliners I could hear a few
people chatting about the
drunken nature of the lead singer
Aidan Moffat, and I started
wondering myself what kind of
evening we'd be getting from
these Scots. Arab Strap came out
. as a 7-piece band (as opposed
to the two core members), and
were all so sober that members
of the crowd were even buying
rounds of shots for the entire
band, which were (mostly) turned
down and left by the side for
- thirsty concertgoers.
Being sober, they were
musically all there and more.
They had great moments with the
live drums (as opposed to their
usual electronic blips) trumpet,
cello, violin, and guitar all working
together as one, but I couldn't
help but shake the feeling that
some of the music's, core was
missing. Such a major aspect of
Arab Strap's music is rooted in
loneliness, fear, and feelings of
ineptitude, which didn't really
come across all that much with
the performance, as opposed
to their recorded music. As a
result I found the concert feeling
a bit less honest, and a bit more
generic, even though there's
no denying the beauty of their
sound, and their sheer talent.
Maybe I'm just a sentimental
fool and can't appreciate
good music when I hear it, but
somehow I missed the thought
of two guys sitting in a dark room
in Scotland, playing around and
trying to make as emotionally
powerful a sound as they can
together, in an attempt to
overcome severe depression.
Soren Brothers
Sondre Lerche
Adrienne Pierce
November 24
Richard's on Richards
For this show, Adrienne Pierce
was the opening act, and she
took the unusual route by singing
a capella for her first song. It was
a nice surprise. Pierce comes
across as a melodic singer/
songwriter, singing in a soft tone
with a childlike innocence.She
was armed only with a guitar and
drifted through her repertoire. The
highlights of the set were a song
called "Sylvia" and the highly
requested "Arizona". Her quiet
demeanour was a nice change
of pace from the hectic world
Sondre Lerche brought
a healthy dose of charm to
Richard's on Richards. This
was the first time that Lerche
headlined his own North
American tour. It was a treat
to have Lerche perform in
Vancouver again. Without props,
a fancy light show or back-up
band, he was just a guy with an
amp, guitar and smile.
Lerche's songs take on a
new life on stage, there is an
upbeat vibe and energy. He has
a smooth voice that reaches high
notes effortlessly. He must be an
old soul because he manages
to channel vocal stylings and
melodies from past eras. His
phrasing is unique, where he
plays aroundwith melody and
vocal delivery.
Lerche opened the set with
"Dead Passengers". Highlights
included "Don't Be Shallow",
"You Know So WeH", "Sleep on
Needles" and "Single-Hand
Affairs". The audience was also
treated to a few new songs.
One of the new tracks, "It's
Over", grabs your attention right
away, sounding both lovely and
melancholy live.
Lerche had a great stage
presence, keeping the crowd
entertained for over an hour. He
was in a playful mood, telling
stories and dishing out witty
remarks. When someone in the
crowd cat-called to him, he
cheekily responded with, "No
animals allowed". He even'had
some audience participation at
the end of "All Luck Ran Out",
leading a sing-along of na na
nas. The big fans in the crowd
anticipated this concert tradition
and were providing back-up
harmony throughout the song.
Lerche shook things up a bit
when he used the distortion
pedal on "Sleep on Needles".
He was mellow one moment,
rocking the next. Ironically, he
labelled this dynamic display
as "soft rock". The only rival to
Lerche's voice was his killer guitar
The crowd response was
huge that night. After the encore,
the audience didn't budge
and kept on cheering and
stomping until Lerche came out
and graciously took a final bow.
Four words (on a button that
an audience member gave to
Lerche) can sum up the evening:
How sweet it is.
Emily Khong
Hidden Cameras
The Gay
November 25
Richard's on Richards
Duncan came late, so I agreed
to make a few comments about
The Gay, who opened up this
wonderful concert. I think it's
safe to say that Vancouver is
slowly becoming the supergroup
capital of the world, third only
to Duluth and Copenhagen.
The Gay features members
from Vancouver Nights,
Superconductor and the Beans.
Alone, they are lost, powerless
and lack direction. Together as
a group, they are found, strong
and have direction.
This event was quite eventful
because I met Randy Iwata from
Mint Records. His goatee makes
him looks sinister. Sign me up!
The Gay have the greatest
shirts. It's like the Bay logo, except
it says "THE GAY." GENIUS! And
after all that goodness, you'd
think I'd be let down. NOT
SOI Every band should have
an accordion. That girl was
awesome. The songs were full of
wonderful melody and a great
spirit. The crowd loved it. Buy the
album, you jerks. TAG. Take it,
It's true, I came very close to
sleeping through The Hidden
Cameras' show. However, thanks
to some benevolence from
transit gods, I arrived just as the
nine-member Toronto collective
was starting up with "Golden
Streams," the first track on their
latest album, the excellent The
Smell Of Our Own. The song, a
gorgeous ode to the delights of—
ahem—water sports, provided
the band with the first of many
opportunities for spectacle.
Bathing the stage in yellow lights
and throwing dozens of yellow
streamers into the crowd, even
the most prudish audience
member was left longing to be
peed on (okay, maybe it was
just me).
For the next song, two male
go-go dancers, allegedly found
on the street according to head
Camera Joel Gibb, joined the
fray. By this point, the stage was
now framed by two beautiful,
soon-to-be-nearly-naked torsos,
with everything—from projected
song lyrics to the cloth cut out
banners favoured by churches
to musicians dressed as sailors
and rabbits—in between. The
enthusiasm of the band was
so great that a Vancouver
audience was coaxed into
dancing for a whole song ("I
Want Another Enema," no less),
as directed by band members.
That was probably the most
unexpected spectacle of all.
As for the music itself, the
Hidden Cameras performed
magnificently. Most songs were
from The SmeU Of Our Own and
2001 's Ecce Homo, but there
were a handful of new songs,
all of which sounded great live.
More than anything else though,
it was great to be see a band
make use of the full potential of a
performance. They even played
a song blindfolded; it was pretty
Notes From Underground
The Skinjobs
A virgin In Hollywood
Ms. T's Benefit
November 28
Pat's Pub
Ms. T's Cabaret burned down
and nobody gave a shit. Or so I
thought. I was told some bands
butted heads with Donna, Ms. T's
owner, but as much as I screwed
over that poor woman, she never
held it against me. She let me
play there every time to almost
empty capacity, and on Friday,
a lot of recognizable bands were
at Pat's Pub to pay their respects
too pretty decent venue.
The Badamps had to
cancel due to a case of mono,
(Badamps and Revisionist,
sittin' in a tree ) so A Virgin in
Hollywood opened up the night.
A Virgin in Hollywood. Oh yes.
Didn't my band handily dismantle
them at last year's SHiNDiG?
They sound a lot heavier since
that fateful evening, but that girl
has got some pipes, and now
she's hiding it behind a guttural
screech. I really like the new
direction, but I hope Elisha can
find a balance between singing
and screaming.
I was surprised by how much
I enjoyed The Skinjobs. They had
some hard-driving art-tinged
punk tunes. And it was fun. The
songs were upbeat and the
dancers were a nice touch (I
think one was checking me out).
I can see them getting some
acclaim, if they haven't already.
Notes From The Underground
were clearly the most musical
of the three, and the tightest
ensemble of the evening. The
four-piece laid some finely
crafted pop tunes, and the
crowd dug them, as did I. Metric at the Croatian Cultural Centre
So let us raise our glasses and
toast Ms. T's one last time. I miss
the bath house already.
Jon-Rae and The River
Jauary 8/9
The Brickyard / Pat's Pub
On« purely empirical level,
Vancouver is getting worse. The
Olympics are coming, CN is
fencing in the eastside train yards
with razor wire, and Jon-Rae
Fletcher, Anne Rust-D'Eye, and
Ryan Sawatsky have moved to
Toronto. But for two bittersweet
nights in early January, we were
able to forget the trials and
tribulations wrested upon our fair
city, as we were transported into
the not-so-distant past by the
sheer magic of Jon-Rae's music.
A friend rested his head
on my shoulder during one set
and mused, "Do you remember
when this used to be every
weekend?" I sighed, thinking
back to early Jon-Rae shows
at Ms. T's, the like or which will
never bejeen again. Jon-Rae's
heartfelt, sometimes disturbingly
authentic brand of country music
is truly unique. Over and above
his incredible songwriting, the
chemistry of backing band The
River is something that cannot
be replicated. Vocalist Anne
and guitar virtuoso Ryan are now
in Toronto with J-R, but bassist
Steve Hubert (The Fireside Room),
guitarist Darcy Hancock (The
Metic), drummer Ryan Peters
(The Mennonfles) and violinsit
Kim Koch (Sparrow) remain in
While the group hadn't
rehearsed together in months,
onstage it was if they'd never
been apart. The perfectly-timed
sloppiness, the "Are they or aren't
they?" Christianity, and the sheer
emotional intensity that define
the Jon-Rae show were all at
optimum levels. Darcy's soulful
guitar stood out in particular.
His expressive melodies wove
in and out of Jon-Rae's vocals,
combining with Kim's violin and •
Anne's impassioned back-up
singing to create a sound that
was at once densely layered yet
never too heavy.
Both nights were packed
with friends and fans, often one
and the same. There were tears
both on and off-stage. It was
over all too soon. We can only
hope for another West Coast visit,
and dream of the Vancouver
that once was.
Susy Webb
Mando Diao
Orchid Highway
November 29
Piccadilly Pub
Hadn't been to the Pic since the
summer, so'it was good to see
some things hadn't changed
(still dark as hell, small stage, and
puke in the urinals), but I digress.
Orchid Highway, you would think
your time in London would have
at least taught you how to dress
better (leather, or is that pleather,
pants?) and not to cover "Hush."
That's something I would expect
from that band that plays the
Brit night at the The Cellar. Wait
a minute, maybe you are that
band? Oh in that case, don't quit
your day job.
Clearly the night belonged
to the headliners (who Orchid
photo by Grace Ma
Highway could not
even take a stab at pronouncing,
there's gratitude for ya), and
despite 90% of the crowd having
read the little puff piece the
Straight presented as reason to
check out the latest Sweden has
to offer, they did not disappoint.
Taking us on a "Sweet Ride" of
Kinks-inspired garage or injecting
us with some "Motown Blood,"
was the expressed purpose of
Mando Dlao' s trip across the
ocean, and of course to show us
why there is always a need for
more organ solos (he was a bit
buried in the mix, one small gripe
of the Pic's sound system).
They saved "Sheepdog" for
the halfway mark, and almost
didn't get through it when singer/
guitarist Bjom Dixgard crashed
headfirst into his amp. No matter,
he was saved by the breakdown
provided by his partner in rhyme,
Gustaf Noren. They served up
other cool tracks from Bring 'Em
In like "Mr. Moon," "The Band,"
and "Paralyzed," and finished
with an isley Brothers-style rave-
up which wrapped up the show
at the punctual hour of 1AM.
Those who stuck around got a
little more of DJs Lee Modem and
Zumatt's trademark grooves as
they'd been spinning throughout
the night, keeping the great
Swedish rock tradition intact.
Bryce Dunn
Coheed and Cambria
Jamison Parker
January 17
Richard's on Richards
A dark rain fell on downtown
Vancouver and a myriad of
clubbers as they cluttered the
streets on this Saturday night,
scampering off to the same old
clubs to dance to the same old
music. But little did so many of
these faces know that just down
the street, the city was home, for
a night, to the great excitement
that has come to encapsulate
indie-rock fans of today. After the
release of their second full length,
(n Keeping Secrets of Silent Earth:
3, Coheed and Cambria have
set the stage for further touring
and returned to Vancouver at
Richard's on Richards. Two hardly
known bands: Jamison Parker
and Vaux opened up for Coheed and Cambria, while Bear
vs. Shark decided not to cross the
border as the other supporting
Jamison Parker presented
themselves as a two piece with
a drum machine and melodies
that ached to do something new.
Vaux consisted of a six piece with
strong stage presence and a
nifty light show and fog machine,
while trying to do something that
so many emo-punk bands are
spitting out these days. These
openers had moments of intensity
and appeal, but overshadowed
themselves with a lack of
anything that the audience
could really eat up.
Coheed and Cambria
brought their progressive rock
sound at full force as they
stepped on stage to the fantasy
intra track to their new album.
The Ring in Return, and blasted
away with the complex and epic
sound of the following title track
to the disc. One might wonder,
what makes this band so original
arid interesting, other than what •
may appear as a stolen LOTR
theme—but is actually nothing
of the sort. It's the fact that this
band's guitar work, vocals, lyrical
theme and musical cohesiveness
are simply amazing. Though lead
singer Claudio managed to fowl
up a few words and wasn't 100%
on vocals due to being sick,
he still dished out an amazing
Fans cried out singing along
to the band's extraordinary
lyrics, which are based upon
Claudio's complex and artistic
epic of fantasy writings. This
series of writings explains the
strangely enticing names of the
band, its albums and events and
characters such as those who
grace the bands name. With this
geek theme aside, the band put
on a powerful show and dished
out everything expected from
the crunchy emo sounds and
complex guitar work off their first
album to the progressive and
varying themes of the new one,
which made for a great set for
fans new and old.
Coheed and Cambria
showed that they could carry
over technical, melodic and tight
sounds to the stage with a great
effort and show, and left their
fans waiting for them to headline
this summer's Warped Tour. This
will be a welcomed vacation
from Richard's where touring
bands don't even know the
venue is 19+, and where a 10:30
band curfew has been instated
so that the dance party can get
under way. If you're looking for
a great sounding band to take
you "off your feet, Coheed and
Cambria are a sure catch.
Jason Falkner
January 22
Orpheum Theatre
Travis kicked off their U.S. tour
here in Vancouver. This was the
Scottish band's third visit to Vancouver; the fast time was back in
2001 when they opened for Dido.
Their return was long overdue.
Jason Falkner set the mood
for the night and energized the
crowd. He was literally a one-
man show. He took over the
stage with his electric guitar and
a microphone. Some may know
Falkner from his days with the
bands Jellyfish and T.V. Eyes.
For those in the audience who
didn't know who he was, he won
them over by the end of his set.
He had a spunky stage presence
and upbeat and alt-rock songs
were his speciality. He played
along with CD tracks of his album
in the second half, with the
vocals taken out, so his backing
band was supplied by the stereo
system. From the crowd reaction,
they enjoyed every crazy second
of his performance.
For the rest of the night,
Travis kept the energy level up
by treating fans to almost 2 hours
of music. In a live setting, the
new songs like "Quicksand", "The
Fear", "Peace the Fuck Out"
and "The Beautiful Occupation"
came across as more rich, dense,
loud, and rockin' then their studio
versions. Things evolved even
more when lead singer, Fran
Healy yelled and screamed;
it was almost painful to watch
the raw emotion spill out of him.
because both his face and body
looked contorted. This was a
nice change of pace from the
other material. Older favourites
were revisited as well. The bassist
Dougie Payne shared lead vocal
duties on "Turn," prompting the
question: Why doesn't he sing
more often?
The highlight of the night had
to be during the encore. Healy
came out alone on stage and
asked the crowd to be silent for
"Flowers in the Window". The
scene was set as Healy proceeded to play an unplugged version,
singing the song without a mic. It
was wonderful.
There were many
memorable moments during
the show. Healy did just about
everything that night from
clipping his nails on stage to
donning a scarf around his head
for a fan. Healy really does say
the damdest things! He talked
about wanting to become a
woman for a night, and talked
about his stage towel that was a
lovely shade of brown: "Lovely for
wiping your bum."
The boys of Travis prove that
a little emotion/energy/humour/
talent goes a long way.
Emily Khong
The Dirtbombs
The Gung Ho's
The Sights
January 22
Commodore Ballroom
I was pretty disappointed when
they decided to move this show
from Richard's to the vgcuous
Commodore. Seeing The Dirt-
bombs last year at The Crocodile
in Seattle (a venue much similar
to Dick's), the band really got
chummy with the'crowd, the
sound was better, and atmosphere was everywhere. Well, the
band tried to get chummy with
us, bassist Jim Diamond sang "I'm
Through With White Girls", then
proceeded to illicit marriage proposals from a couple lucky ladies,
but the sound was so muffled you
couldn't hear half of what was
being said. The set was plagued
with bad sound from the start, and
there was very little atmosphere,
but the band made the most of
it. Before I go any further though,
gotta send a heartfelt apology to
my bras in the Ho's, 'cuz I missed
their set, I'm sure they were at their
most rockinest. Strolled in a couple
songs into The Sights set, and man,
what a change from seeing them
only six months prior when they
opened for The Datsuns, no bassist,
different keyboard player and lots
of new songs, mostly branching off
into psych-rock territory and not
as melody driven as the material
from their last album, Gof What
We Want, of which they played
"Don't Want You Back" and
"Nobody", the soulfully epic closer
from the record. The Hammond B3
was a nice touch too, but could
have been higher in the mix, as
it had to perform double duty as
bottom end and melody at once.
It was only fitting that
The Dirtbombs kicked off the
evening with "Start The Party"
from Dangerous Magical Noise,
because partying is what they
came to do and we were more
than ready to do our part. New
addition Ko on second bass
added more punch to Jim's
already rock solid four string, and
the tag team of Pat Pantano
and Ben Blackwell on drums
allowed for some cool fills and
toward the end of the set, Ben
took his turn at Keith Moon-style
theatrics, by tackling Ko as she
tried to get behind the kit. Of
course all Mick had to do was
smile and play, smile and play.
Lots of tunes were played from
the new record, including "Get
It While You Can", "Thunder In
The Sky," "Motor City Baby",
and "Earthquake Heart", which
had Rich Hope and I taking turns
singing the back-up "Baby!" parts
to each other like we were giddy
fan boys. We got plenty of soul
covers from Ultraglide In Black like
"Underdog", "If You Can Want,"
and "Kung Fu" with additional
mood lighting for extra spookiness.
I love how they rip the bass lines
from "Bela Lugosi's Dead"! Also
in the set was "Cedar Point '76",
their rockin' ode to pinball, and
only one tune from Homdog Fest,
"I Can't Stop Thinking About It",
which I settled on only after yelling
myself hoarse trying to get them
to play "Granny's Little Chicken".
The encore was definitely worth
the price of admission alone
— when Mick started singing the
first line "I was bom an original
sinner..." the crowd was on its
knees! "Missionary Man" by The
Eurythmics! Fucking brilliant! And
The Elois garage-pounder "By My
Side", over the top!
Next time The Dirtbombs
come to town, don't miss the
boat, and hey guys, next time
bring more swag! We want merch,
Bryce Dunn •
.ji<&*«*"r> v^f
9:00AM. 12:00PM
All of time is measured by its
This show presents the most
fecent new music from around
the world. Ears open.
Reggae inna all styles and
Real    cowshit-caught-in-yer-
boots country.
British pop music from all
International pop (Japanese,
French, Swedish, British, US,
etc.), 60s soundtracks and
lounge. Book your jet set holiday now!
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver. Lots of
human interest features, background on current issues, and
great music.
Rhythmslndia features a wide
range of music from India,
including popular music from
Indian movies from the 1930s
to the present, classical music,
semi-classical music such as
Ghazals and Bhajans, and also
Qawwaiis, pop, and regional
language numbers.
10:00PM-12:O0AM *
Join us in practicing the
ancient art of rising above
common thought and ideas
as your host DJ Smiley Mike lays
down the latest trance cuts to
propel us into the domain of
the mystic-al. <trancendance
6:00AM- 8:00AM
Your favourite brown-sters,
James and Peter, offer a
savoury blend of the familiar
and exotic in a blend of aural
Underground pop for the
minuses with the occasional
interview with your host, Chris.
A show of radio drama orchestrated and hosted by UBC students, featuring independent
works from local, national and
international theatre groups.
We welcome your involvement. <sandboxtheatre@hot
A chance for new CiTR DJs
to flex their musical muscle.
Surprises galore.
Join me - Dallas Brodie - for
stimulating talk radio about local, national and international
STRAIGHT TALK: smart, informative, current, provocative
GET: fence sitting, conspiracy
theories, reflex anti-Americanism, lefty whining or fluff. -
MY ASS alt.
Phelps, Albini, 'n' me.
Listen to Selecta Krystabelle for
your reggae education.
9:00PM-12:00 AM
Feb. 2: Two famous birthdays
tonight:   saxophonists   Stan
Getz and Sonny Stitt. Getz
your guide to
has been featured recently
so Stitt gets the nod. Sonny
on alto saxophone in magnificent form with his short-lived
working band...on a very rare
Feb. 9: Pianist/composer
Andrew Hill tonight with a
previously unissued date
from 1969 which has become
the most talked about record
of the year. Spiky, innovative
and as new as tomorrow,
Hill leads an all-star nonet in
"Passing Ships".
Feb. 16: Drummer/leader Art
Blakey in his final Blue Note
recording. Trumpeter Lee
Morgan returns to the rold
and Wayne Shorter on tenor
saxophone is on fire here in
the 1964 edition of the jazz m
essengers.. ."Indestructable".
Feb. 23: In honour of Black
History Month: one of
Max Roach's most provocative, controversial and
socially significant recordings. Mr. Roach with a great
band and his vocalist Abbey
Lincoln and the "Freedom
Now Suite".
Hosted by Trevor. It's punk rock,
baby! Gone from the charts
but not from our hearts—thank
fucking Christ.
DJ Christopher Schmidt also
hosts Organix at Club 23 (23
West Cordova) every Friday.
6:30AM-8:00 AM
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
Top 5 bands Parmida Z. (host of Unpack
Your Adjectives, Thursdays J2-1 pim.),^^s
thinks It would be fun to be In/ but knows
that she would look horribly awkward:
5. the Strokes-, Black Rebel rvibjfcprc'ycle." vjj
Club... and all other trendy, cooWodfangjj
4. DurapJDtiran, the Cure... and all-oth€Jr^
reunitingJPs brit pop bands
3. The Darkness
2.4tn&m^^^l\ would be a double      ;
most dangerous criminal!
FILL-IN alt.
11:30AM- 12:00PM
Movie reviews and criticism.
Where dead samurai can program music.
«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
Produced by the Service
Empbyees International Union,
tune in for news, views and
stories relating to the labour
industry and its affiliates, coast
to coast from Vancouver to the
shores of Newfoundland.
Join the sports dept. for their
coverage of the T-Birds.
Up the punx, down the emo!
Keepin' it real since 1989, yo.
es»cap»ism n: escape from
the reality or routine of life by
absorbing the mind in entertainment or fantasy.
Host: DJ Satyricon.
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.
6:00AM- 7:00AM
Bringing you an entertaining
and eclectic mix of new and
old music live from the Jungle
Room with your irreverent
hosts Jack Velvet and Nick
the Greek. R&B, disco, techno,
soundtracks, Americana, Latin
jazz, news, and gossip. A real
10:00 AM-11.30 AM
Experiments, Collage, Plunder
All your favorite hits... are not an
Luke Meat irritates and educates through musical deconstruction. Recommended for
the strong.
Independent   news   hosted
by award-winning journalists
Amy  Goodman  and   Juan
Cycle-riffic rawk and roll!
Primitive, fuzzed-out garage
Socio-political, environmental
activist news and spoken word
with some music, too.
<necessaryvoices@telus. net>
(First  Wednesday   of   every
Vancouver's    only industrial-
electronic-retro-goth program.
Music to schtomp to, hosted
by Coreen.
Your ears have never felt so
Roots music for folkies and non-
folkies... bluegrass, singer-songwriters, worldbeat, alt country,
and more. Not a mirage!
10:00AM-11:30 AM
Music inspired by Chocolate
Thunder, Robert Robot
drops electro past and
present, hip hop and inter-
galactic funkmanship.
Ever told yourself "I can't even
boil water, let alone cook a
chicken or stir-fry vegetables!"
Let Chef Marat show you the
way to create easy meals prepared in the comfort of your
Own kitchen/bechelor pad or
car. OK, maybe not the car.
Wouldn't want to spill anything
on the upholstery.
Crashing the boy's club in the
pit. Hard and fast, heavy and
slow (punkand hardcore).
Comix comix comix. Oh yeah,
and some music with Robin.
DJ Knowone slaves over hot-
multi-track to bring a fresh continuous mix of fresh every week.
Made from scratch, samples
and just a few drops of fame.
Our tables also have plethora
of guest DJs, performers, interviews, giveaways, Strong Bad
and the occasional public
service announcements.
5:0OPM-6:0OPM alt.
Local Dave brings you local
music of all sorts. The program
most likely to play your band!
Viva la Velorution! DJ Helmet
Hair and Chainbreaker
Jane give you all the
bike news and views
you need and even cruise
around while doing it!
No Birkenstocks, nothing politically correct. We don't get
paid so you're damn right we
have fun with it. Hosted by
Chris B.
The best in roots, rock 'n' roll
and rhythm and blues from
.   1942-1962 with your snappily-
attired host, Gary Olsen.
February 5th - Transit
February 12th - A New Hope
February 19th - Mongoose
February 26th - The Gung Ho's
March 4th - The Rebel Spell
11:00PM- 1:00AM
An old punk rock heart considers the oneness of all thingsjand
presents music of worlds near
and far. Your host, the great
Darykani, seeks reassurance via
6:00AM- 8:00AM
Trawling the trash heap of over
50 years' worth of real rock 'n'
^M   discord roll debris.
Email  requests  to:   <djska_
Top notch crate diggers DJ
Avi Shack and Promo mix the
underground hip hop, old
school classics and original
The best mix of music, news,
sports and commentary
from around the local and
international Latin American
A volunteer-produced,
j student and community newscast featuring news,
sports and arts. Reports by
people like you. "Become the
Media." To get involved, visit
www.citr.ca and click "News
David "Love" Jones brings
you the best new and old jazz,
soul, Latin, samba, bossa and
African music from around
the world,
Hosted by DJ Noah: techno
but also some trance, acid,
tribal, etc. Guest DJs, interviews,   retrospectives,   give-
• aways, and more.
12:00AM-2:00 AM
Dark,   sinister  music   of  all
genres to soothe the Dragon's
soul. Hosted by Drake.
Studio guests, new releases,
British comedy sketches, folk
music calendar and ticket
8AM-9AM: African/World roots.
9AM-12PM: Celtic music and
A fine mix of sfreetpunk and
old school hardcore backed
by band interviews, guest
speakers, and social commentary.
Vancouver's only true metal
show; local demo tapes,
imports, and other rarities.
Gerald Rattlehead, Dwain,
and Metal Ron do the damage.
From backwoods delta low-
down slide to urban harp
honks, blues, and blues roots
with your hosts Jim, Andy and
From doo-wop to hip hop,
from the electric to the eclectic, host Michael Ingram goes
beyond the call of gospel
and takes soul music to the
nth degree.
9:00PM-1 1:00PM
Cutting-edge, progressive
organ music with resident
Haitchc and various guest
performers/DJs. Bye-bye
civilisation, keep smiling blue,
where's me bloody anesthetic
"noiz terror mindfuck hardcore like punk/beatz drop
dem headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I
free da jazz..." Out.
Hqrdcore dancehall reggae.
Hosted by Sister B.
DJ profile
Frank Rumbletone
Rumbletone Radio
A Iternating Wednesdays
Describe your show:
Fuzzed-out 60's Garage Sex-plo-
Record played most often on your
The Gravegigger 5, Tiki Tones. The
Tonics, Highs in the
Last record you bought?
Toe-Rag Studios compilation with
The Kaisers, Billy
Childish, Lenny Dee's Organ fantasies and Party with Klaus
Musician you would like to
Someone who likes fuzz, twang,
fine tuning, feedback, shaking
maracas and distorted sexual
Favourite show on CiTR?
Motordaddy Radio, 3rd Times the
Charm, Caught in the Red
Strangest phone call received
while on the air?
The guy who called and said,
"Why does your show keep
fuckin' with my head!" And the
other guy who called and said,
"I don't know what you're playing
FILL-IN       |
THE                         FOR THE
SHAKE (RR)                RECORD (TK)
RADIO .       1        EN AVANT
CHIPSWITH       1        SAINT
everyth«q<po>   | TROPEZ (PO)
LOCAL KIDS      1          PEDAL
THE    **$??
.   (DC/EC)
(EC) -
CH=children's • DC=dance/electronic • EC=eclectic • EX=experimental • FR=French language • GI=goth/industrial • HC=hardcore • HH=hiphop • HK=Hans Kloss • Kl=kids • JZ=jazz
LM=live music • LO=|ounge • MT=metal • NO=noise • NW=Nardwuar • PO=pop • PU=punk • RG=reggae • RR=rock «~RT=roots • SK=ska • SO=soul • SP=sports • TK=talk • WQ=wor1d
7S $&>«+*»n\ •"^»i£vsr
To submit an event
to datebook send info to:
6 V/A*
•8 JOEL*
11 APPROACH*   ■
16 V/A
27 V/A*
33 V/A
»mber Albums
Saturday 31
Friday 6
Wednesday 11
Star Collector
Mates of State
The Dolly Ranchers
The Walkmen
The Ryecatchers
@ Brickyard
Rae Spoon
The Decemberists
® Media Club
You Know The Rules
8 pm (doors) @ WISE Hall
The Countless Jibes
Sister Sounds (Remixes) Globol Symphonic
Sunday 1
Playing Enemy
Rock for Choice featuring:
9 pm ® Richard's
International Playboys
.   @ Brickyard
Uphill Battle
Fuel Injected .45
Thursday 12   .
The Basement Sweets
Saturday 21
Life Through One Speaker
A Javelin Reign
No-No Spots
® Richard's
Radio Killer
Paper Bag Sampler: vol. 1
Paper Bag
7 pm @ Underwear Farm
10pm@ Brickyard
Friday 13
® Cobalt
Dangerous Magical Noise
In The Red
Right to Rock! featuring:
Return of the Fucked
Monday 2
Groundhog's Day, fuckers
The Golers
The Inebriators
Faces of Eve
Fine Options
Pink Abyss
@ Pic Pub
The Grails
® Pic Pub
Chutes Too Narrow
Sub Pop
Wings Of Monarchs
@ Pic Pub
Vic Lipucci
Splitting Adam
Dan Swinimer
® Media Club
Run Chico Run
Notes from Underground
@ Media Club
@ Pub340
Secret Wars
Tuesday 3
Ghosts O' Great Highway
Jet Set
9 pm @ Commodore
Saturday 7
@ Richard's
State of Shock CD release
Fluffy Star
Ego Tripping At The Gates.
Saturday 14
@ Media Club
DFA Compilation # 1
8:30 pm @ The Drink
The Evaporators
Prude Juice...
@ Brickyard
Rock for Choice featuring:
Los Furios
Riff Randells
Sunday 22
Les Yeux Noire
Janis Zeppelin
Smartin Up!
Wednesday 4
® Richard's
Wherever 1 Am 1 Am...
Too Pure
Black Rice
Thee Goblins
1 Can't Stop
Blue Note
Rachael Yamagata
Che: Chapter 127
@ Brickyard
Monday 23
9 pm @ Commodore
Billy the Kidand the Lost Boys
British Sea Power
Soft Abuse
10pm@ Brickyard
New Town Animals
Scratch 'N' Sniff
Teenage USA
Rock for Choice featuring:
Wednesday Night Heroes •
® Richard's
The Birth Of Cruel
Thin Wrist
Honeysuckle Serontina
Three Dots
All State Champion
@ Pic Pub
Tuesday 24
The Sand And The Stars
Drag City
End This Week With Knives
No-No Spots
Super Furry Animals
Teaser [EP]
Teenage USA
® Pic Pub
Tuesday 17
® Richard's
7:30 pm @ Video In
The EvaporaJors
The Flairs
Los Furios
Thursday 26
B.Y.O.P Calgary...
Saved By Radio
Thursday 5
Means to An End
Riff Randells
Ruff n' Tuff Jam
Permission To Land
Pigmy Love Circus
Vincent Black Shadow
Thee Goblins
@ Richard's
Five Suns
9 pm @ Richard's
@ Media Club
7 pm (doors) ® Mesa Luna
Friday 27
"Live at the Cellar
Cellar Live
Rock for Choice featuring:
Monday 9
Wednesday 18
Clumsy Lovers CD release
This Is Sity Music
Carolyn Mark  .
The Front
@ Media Club
Paper Bag
Barley Wik
Red on the Leftie
Josh Martinez
® Pic Pub
@ Richard's
Sunday 29
Rocky Horror Punk Rock...
10 PM ©Railway Club
Dillinger Escape Plan
Degenerate Introduction
Tuesday 10
Friday 20
Red Light Sting
gallons of void
Cyclop Media
Chocolate Soup
@ Pic Pub
Drive-By Truckers
9 pm ® Richard's
Rant Music
® Pic Pub
The Locust
@ Mesa Luna
Indie Home Jobs
1 Mongoose
2 Billy and the
Lost Boys
3 The Plutonics
4 Second
5 The Rebel Spell
6 Magical Glass Tears
7 Roadbed
8 Married to Music
9 The Basement Sweets
11 Emerald City
12 Little Luann
13 Salmon Arm
14 Pete Campbell
16 Man Down
17 EXP
18 The Clumsy Lovers
19 Screwtape Self Titled
20 Mermaid Engine
White Plastic Deer
Breaking down the barriers
that break down your music
Expression in Layman's Terms
These Autumn Leaves
World's Gotta Go RoUnd
For Rent EP
Across the Bridge
My Cool Heart
I'm Alive
After the Flood
Another Man's Gun
to be
concert venues:
misc venues:
1131 howe
cafe deux soleils
2096 commercial
ridge cinema
3131 arbutus
3611 w. broadway
video in studios
1965 main
917 main
green room
868 granville
695 cdmbie
record shops:
455 abbott
active pass records
324 w. hasting
the main
4210 main
bassix records
217 w. hastings
marine club
573 homer
beatstreet records
3-712 robson
pat's pub
403 e. hastings
black swan records
3209 w. broadway
pic pub
620 w. pender
crosstown music
518 w. pender
railway club
579 dunsmuir
futuristic flavour
1020 granville
1036 richards
highlife records
1317 commercial
the royal
1029 granville
red cat records
4305 main
66 water
scrape records
17 w. broadway
sugar refinery
1115 granville
scratch records
726 richards
WISE club
zulu records
1972 w. 4th
Ht    &\Wi
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of aw sue  LAlAlLnilnL W\\i\l lUMl    vnm
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UfUcw,^   we're   repnnfinj -K* {*«(• one. The Noise Map ftyteople^Lsa*
Secret Wars CD
m gg£t
There are 10 reasons this record
is worthy of your attention: 1.
This record is equipped with a .
song called "Ceasar's Column" —
that alone implies it has guts. 2.
Oneida will impress you with their
use of gongs — a rarely employed percussion accent. 3.
Like early Trans Am records, Oneida still use a live drum-
mer for their syncopated fills. 4. "Secret Wars" is body   b|
music — your body will react to it. 5. You have a soj^fjtPT .•
for Gamelan riffs transposed for the electric guitaj^Qiai^-
and yang — feedback and synthesizer. 7. Theirjfejpus and
sublime record "Anthem of the Moon" was losffrmroreak^
up. 8. Sonic euphoria does less damage than jltiif
Redefining modern psychedelia, a track like "TmHHrrter
Shaker" could spice up your uncle's hippy comlfPte,
slideshow. And the number 10 reason to dig Secret Wars is
no one can hold the Lotus position forever — give^fflffelf
a break and a"treat with this remarkable record!
CD 16.98
Different Cars and
Trains CD
Once we could keep it in stop;
The Notwist s Neon Golden
sold by the BMW truckload -Mfg
and the Germans buitd therrjftpjt-
cious! For a band that used to play heavy metal (no really),
Neon Golden offered the right mix of electronic music and
guitar pop: it was the prajfe^ajpow. sojj||jf But lo, the
-people wanted more, more andSmore. Thusf moralhan a '
stopgap release, this five track CDEP should keejitfijis*
' happy while fhe next albunfff cooked jftttethe studio and
OB the hard driver-featuring two remixes by Console (which
is actually the alter-ego of a Notwist member, but who's
complaining),Jfifii^jDur Tet with Manitoba (yes, excited
music fans, togefiier} and one by Loopspobl. Tidy, effi-   A
cient, smart: The Notwist are a high performance vehicle.
FANTOffl;,       I
Delirium Cordia CD
Delirium Cordia is an almost
. aftwls ||jWnfection of the
ear drum that extends into the
brain. Scientist^ have yet to dis-   ;
coveis#ie sour#of this enigmatic |
Illness. Someargue it is a virus,
otrj|rs suggest it is passed genetically. First symptom?? \
inifjude uncontrollable head banging and generalizedjjerkJl
body movements, with occasional dissociative episodes. %
ViGfms of Delirium Cordia report feeling overcorrMp   \
nervous energy^lashes of thoughtful revere and an^^^to
suppicate to a mysterious fig ure known as "Fantenrat'TBa®
Schists have yean provide a rational explanation fbrfttfjfeb
sur®ingiMfaQplMjc-like symptom. Hours of^udy have-
fail#% uncovk any'^rtion of "Fantomas" in the hfstfjrf5''
of krfe*diseasesv,One research attempt involved the close■ ^
observation of patieritS;,receivif%!*rfia^entJojypj^liB^fe#
CordialAfeng with the Syr^tor1^ire^f^h%rffJ^^gpSpi-
tal staff reported patients wS^ing^oufld thjpB&ious
diseases w^d^iietJy^i^tering^^mselv^sT^PoB,
Patton, Patto^^TOeol^comrnug^maM'stupefied
by this mysteriouw||Qgorf^^^^ttj(F^fj
Heron King Blues
If American popular music is struc-
Itured like the human psyche, then
Califone are the unconsdbusanf/
Wilco are consciousness^$K?iof
Wilco's creativity, they-fJiifflick from the abstractions and
free-play that maKfJralHone 's music so elusive but significant.
This is an issue of location What Califone does is both deeply
mysterious and ill|i§ly familiar, the first level of encodinpf;
placed over the awesome power of pure impulse drives. Barely
repressed matenWeij8r0raSl%|nd then drifts into dreamy
ephemera, a loosely evolving ambience. For example, the
Heron King itself is a <frean|figijre, a social-psychological
apparition only appreciated tangentially. Or put another way,
Califone are as if the Sun City Girls played beautifully. Both N
groups share enormous breadth and a shifting balance of
improvisation with composition, but while the Sun City Girls
often screech and clang, Califone play like a lullaby, gently
revealing a rootsy Americana!from the inside out. Wisely,
Calif one let the blues fill out the rest.
If You Cant Beat
'Em, Bite 'Em CD/LP
That Weird War is a super group
is really beside tfie point. And
since Hagerty split this ain't even
true anymore lasides. MorVimpbr-a
tant, the Svenonious-Mae axis is still present and dutiful. And
in actualJ^j#» some dude namedBlunner, Weird War
proper is^lrcuialiy now the.lermer Scene Creamers. Go figure.
What is truly important islnjft'tWfcsophomore recording
proves (again?) that thelsvdlufioft dbesjiav#a fjfflky rock   I
and roll backbeat. Okay;sire, t|fe aesthetics as revolution Jf
— but at least it isn%j|p.ut«|h asleslhetiCs. tjjin 68-looks ||
finelon a t-shirt, birt^p this rnajce aTuckjngJference?   M
More like bistro chit-chat than a battle cryfcrXdisatfected^
multitude that wj|PSfewnj today, thus® wilrd War has
one message tagpsplitjlze; it tsthts:Dur ^nicffin is'our y
worst enemy. Irj^hep/prds, if we want to change the world j
^^Smvs,fm$^m^!\«. man,we"d better get to it.
Apropa't CD/LP
Searching for f^-r^ts, Scott    .
Herren has feft ftfSjpa ffjfiSpajn.-
Frankly, the result couftTp$ourraF^
better. For sojrfllreasolljrarst;
Savath & Sairalas was under-appreciated wheo iftame out^fesame    ;
i-fate will ns|J)efall this great^Wi recording, which has a devet^
oped sajiB and acM>mplisM^nstrumentatiorT.;ffls aTnatwe^
:^w.;^ke the forv%)-thiii^t|g hip hop of Prefi§i3Sf*~.
Savath & Savalas Js a^zle^^more laidback affair, this
#neMtuting voca% by^ppth Herren and the Catalan singer-
' sorj||per Eva fuyutMm»,%id has a gentle, breathy
voir^Sjii^'the thing'1&M!|Pj^|jWstening"-<ir headphone ■
plajla^^fMrif thisIpfecOTKs^a^^ate im^essjpjjofajp^.
riou^A^ftus^hemm.sOT^fe^'il^dible here, with
all tfilsK^imMa as "l^rJ»=Alml>(Fvar's use of colour —
glorio^ke&jlerjf|j»^eauli^Vj/i^suppbrt playing from
some wA^tyf €Mi^bTTa^cia|®rA^rop|jrls something
to savor.WBfeSBttf EBRUARY r^kJ^
Fans Only
CD/LP 19.98
J5J; iaofjMfles ii a melt of tie |||ik:k,;:||
nods, mw art wxA wmt%  I
Need something for
those lazy Sunday
j ajfternoorjsj.spent lying
around the house?
%ve yowmflalkhe -
Camus, Kafka and
Kierkegaard chapbooks
^majjiy^nTes pv^l|ayMou curtealgpina ball upfront of the fire a/id exhausted hoi||lwJiyour
collection of Smiths, Nick Drake and Scott    ~t
Walker albums? Haveyott watqhefi Jpushmore so
many times that yotfcan fedte all the lines with
the sound turnefrown? Wilt this s'dfemn ennu%.
ever have a reprieve?^ CheW up indie-rocker for**
iPUfeve a real treat for youl Just as good as a ' 4
I'lpg lost J.D. Salinger short story, we've discovered the-home^op«i;COllection of perermii|&«F ■■
faves Belle and Sebastian and it feature^feg^
candid momeny'jjie history of this s^® "|
: fe*e-pop groypfatlng all the way backlo1|ieir
glorious days circa If Your Feeling Sinister! This
I collection of;bothiwdioand video artifactsWover^
3 two hour^bng andje^hiies about 75 clips incriJd-
ing unreleased songs or covers not available anywhere else. The'llvrfjSotage comes^fjjllp^
Glastonbury, Bowfle Weekenderj^atnbersands,
the Coachella festival and many other sources.
kW tJ^||iBj|amKrtacludj3liv,e penojji^eSjiii^
\. airajnt®?iews%BHtish, French, Arrieiicanj^j^^
: Brazlanl/, as well as aisoiight-^lter lEpe*^.^'
Scottish TV p/ogra|n.abB|| the fend entitled
"Don't Uook'Bo^n'.Wes, yo^r Sundays'will be
> heavenly for evermore!!-.   "
CAMERA OBSCURA-Underachievers
Please Tt^M&d^fr/^
^W^MEilSA^iHNELS 3 & 4- s/t IT
' IlRANCAfSyi^liMy Nos. 8 & 10 Live at
V/A: Sounds^fiD||ressure - Volume 5
THE HAFLE^RH^I^rmalll 2cf|^
BOBBY CONlfcl^o%e|ai|^itPv
GHOST: Hypnotic Unde|WorWCfflm «b&
CORHEU^%^p|i&n|^B|p ^^
DICY I^CAt-'Jus* l4scal ClEraV
SECRET|IOMMY-MaHi«ril WsJt    *
DIMlft^lBKBifoirTlie H»ll$e . -
Wfi^l we had last left off with
Brighton's Electrelane they
were busy supporting the release of
jh$rjjtellar'deba|Rock R To The
, MlfW^yith a single record they had overnight gone from a
smalttftne^raup with a handful of T to the darlings of
London's emerging spacerock revival set. So, with their
sof^tpfjJfflre release on the launch pad, it's ali in who's getting
In, 'cos this orbit is about to get even wider! Recalling the
glory dayjjjif The Faith Healers. Moonshake and Laika, we
recomi^pi} this record for all those who always wished
Stereolab had stuck to the noise in their filters. Great!
local music extravaganza
Wings of Monarchs CD
A n avant rock cabinet shuffling has prod
Mand greatest signing to Flyer Records i'
Things Done and Left Undone CD
Ripple Rock CD
1 H ■   SI
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232
Hon to Wed 10:30-700
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00


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