*.*.*•..'«'• Ill >M "— x'Xrsrf FRIDAY APRIL91 !tA«li SHOW: DOORS 7PM J " #ao^iif 1 SATURDAY ftPBIL 10 f Miffifi APRIL 13 Ptfy BENTI TICKETS ALSO AT ZULU RICHARD'S ON RICHARDS OrbanAMJ.*]-- ZUU> AND SCRATCH FRIDAY APRIL 16 J RICHARD'S ON RICHARDS | EARLY SHOW DOORS 6PM APRIL 21 ^- WITH SPECIAL GUESTSaaT j TKKETS AISO AT ZUUI AND SCRATCH HiWfl *l OAnPS SUPERSTARS AND THE DESERT ROSES tow that transports you to a •nt time and place, with exotic performances that stimulate all the senses." Buzzine Magazine ^'" J|l LIMITED SEATING AVAILABLE SJMSK3& • *•• iSKSfii^ "Mice to know the future it in such APRIL 27 AN EVENING OF SPOKEN WORD WITH Miliji stellastarr* with guests The Killers and evening BC0MM0D0RE BALLROOM | SATURDAY MAY 1 The Thrills EARLY SNOW DOORS 7PM ! SHOW 7:30PM WmF* Ml TOO* HON >■*■ ALL ACES TICKETS ALSO AT SCRATCH [MES^LDNA-1926 WEST BROADWAY] GENERAL ADMISSION • DOORS 8:30PM • SHOW 7:30PM If / TICKETS ALSO AVAILABLE ATZULU AW SCIUTCK 1 •••* *m VOGUE THEATRE TICKETS ALSO AT ZULU AND SCRATCH RICHARD'S ON RICHARDS lib Jiams Atso AmiAsu /rrajiut sautrcu I sirajaht COMMODORE BALLROOM| TICKETS ALSO AT ZULU (SCRATCH on evening MUSE WITH SPECIAL GUESTS BttffiMlGHT^T ■RlJBt SKIES tf»§» |COMMODORE BALLROOM| Essm ETS^tTSOft , AT ZULU AND ■'^.^MaTJSHs; CROATIAN CULTURAL CENTRE TICKETS ALSO AT ZULU FRIDAY MAY U J RICHARD'S ON RICHARDS FRIDAY JUNE 1 MAY 13 COMMODORE BALLROOM TICKETS ALSO AT ZULU AND SCRATCH IILKtU AU The New Pornographers ps RESERVED If SEATING ALL AGES <2^^0ra?os,» ^'^rVg I TICKETS ALSO AT SCRAPE *| Tickets also at Z Sain and Scratch COMMODORE BALLROOM mm^mmMmmmmmmmiSWilm, | COMMODORE BALLROOM I BBSS CLH55I l&!iH?5&^\V COMMODORE BALLROOM I ^CUNA Cojl QUEEN ELIZABETH THEATRE] fsf'15 .,/Sf7 "^ «Js» *».»» spin ^^jui $«•***> A. - {?W8«l| WW & ISBWHHI 4nom «j^8> u»«*, „««,„ $,,(„„* „„,„ ALSO COMING: THE STROKES- PLAZA OF NATIONS- APRIL 16TH THE WHITE -THE ULTIMATE LED ZEPPLIN TRIBUTE COMMODORE- APRIL 17TH I FEAR FACTORY -COMMODORE- MAY 18TH I \ PURCHASE TICKETS 000000 AT hob.com OR ticketmaster.ca tS^etmastmrWBZSiZS^y.^^^^^ 2ITU \ 2 fop 1 ticket v*trjf T&a$m to it DISCORDER, APRIL/04 a inriectoMo4cl*fell° aTjnoi.vi™ SsUipG#pripQ04/ V mm | ■ _<meMj\ . \\\ I i j \ukre J^^tes^amsfewp|l If ^^z%rt r^eplds».l 2| >J^%an}htopy^a^^^^ ^^p^^%3S^r^s^| %^pafe »te\ \ l ^fe RqrWdb MP 11 frW(GM mmlxf h ia\tpp\ef u<Sson $wm iml - WiWl KatSJ^ftlJ Susy;$|ebb l^pberly Day ;^7^ PROl|§CTION Graeme Worth^ Dale Davies Katjgdle Susy )Nebb''><S /Olivia Fetherstanhaugh Seamus fjMliven Hugh Eggerton Saef|pi*Mohindra ON THE DIAL Bryce Dunn CHARTS' Luke Meat pArEBOOK Kat^M^ distAutic^K, Matt Steffich ^s\^6TRO ireankie Rumbletone iPISBLISHER wqiewviasemola "DISCORDER" 2004 by the Student Raoflo Society of the University <SBrlti|h Qofombia. All rights reserved. Circulation 17,500. Subscrianons, payable in advance, to Canadian residents a^e $|54r one year, ti© residents of the USA are $15 US; $24 Cplfaclian elsewhere. Singe copies are $2 (to cover postage). Please make cheques or money orders pcryjSbleJa DiSCORDER Magazine. f DEADLINES: Copy deadline for unsolicited sybir9s|lons fij the May issue is April 16. Ad space is available until April 25 and can be booked by calling Jason at 604.822.3017 ext. 3. Our rptes are available upon request. DiSCORDER is not responsible for loss, damage, or any other Injury to unsolcited manuscripts, unielicsited artwork (including but not limited to drawings, php^graphs and transparencies), or any other unsolicited material. As always, EngBshJs'preflered. Send e^idil to DiSCORDER at discorder@ctub.ams.ubc.cq. From UBS to Langley and Squpshish to Bellingham, CiTR can be heard at 101.9fm as well as through all major cable systems in the Lower Mainland, except Shaw in Ivhite Itock. Cqll'the CiTR DJ line at 822.2487, our office, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.93o4 e-mail us at cifrmgr@mail.ams.ubc.ca, visit our website at www.citr.ca or just send free swag to #233-6E38 SUB Blvd., Vancouver BC, V6T 1Z1, Canada. REG ULARS From the Desk Of ^kp.4 Fuckihg^llshit p.4 Strut; Fret, and Flicker|||§ Panarticon p.6 Textually Active®23 Real Live Action p.24 Under R|«W p.26 On the Dial p.30 Charts p.32 Datebook p.34 Kick Around p.34 The Darkness p.22 Johnny Cash p.22 *R|p?aff will return next morfro! citr 101 Bfm>www.citr.ca WWJW This nrrant#SJobvefrwfp |] brouMit|fc/®jp m/ Dale Da- vies, and ftfemngpmm obsession with SterealaJD. j XHscociec £a<ho O n^. SrVwff -prrjw^ 4W charts, 5M*)wior« m P4G30000004 frefll m,^ PS: the Dead Kennedys review s really by Jello Biafra. It's excerpted from a press release he sent us. What a swell guy. He must like spring too. So it's spring again. I would have liked to have spent my time lying under the cherry trees, dozing gently while petals landed on my face. Instead, I spent the bulk of my days planning out my second- 8ver issi4£©f DiSCORDER - the first where I actually chose the content. Wasn't a snooze in the park, but it wasn't too bad either. As if Cadbury Mini Eggs, baby chicks, and a Stereolab nterview weren't enough, this April brings us the launch of our sonic spin-off, DiSCORDER RADiO ONE. If you're caught in some sort of limbo, where our WW has left you curious about a band, but unwilling to part with the dosh for a CD without hearing t for yourself, you can lay your cheap, cowardly fears to rest with a one aural dose of DiSCORDER RADIO ONE. That's right, from 11 AM to noon, every first and third Monday of the month, we'll be If laying down audio pleasures from featured artists. Under Review, and the CiTR charts. DR1 is run by a committee of DJs, so if you, dear reader, wish to explore the wonder of broadcasting, just come on by the office with your CiTR membership in hand. We're mere steps away from the DiSCORDER public access television show, I assure you. If your ears insist on straying from CiTR, check out This American Life ( ), the "documentary show for people who don't like documentaries." Even if, like me, you do generally "enjoy documentaries. Beamed out of WBEZ in Chicago, it's not news, and there's no celebrities, just random, great stories and the odd David Sedaris bit. I'm at a loss to describe it, really, so go find out for yourself. You'll be glad you did. Even though we stayed inside all month churning out this wonder of journalism for you guys, spring had its affect upon the DiSCORDER staff. We're feeling that romance in the air, especially Susy Webb, who sweetly lost her composure during her interview 11 H it l with Stereolab's Tim Gone. Sasha also got her flirt on with the lovely Mia from ElectreJane. Our Seasonal Affectedness Disorder seems to be in temporary remission as well. This whole "spring theme" is starting to feel uncomfortably like a Zulu Records Ad. But don't worry, DiSCORDER will have proper themes in the future. Right after we get over our real theme of chaos and disorder. Till then, think of DiSCORDER as a fuzzy SI' baby lamb of a magazine. (A fuzzy lamb that you want to advertise with!) Kat PS: Thanks to all the writers this month. The Dead Kennedys review is really by Jello Biafra, you know. It's excerpted from a press release he sent us. What a swell guy. I bet he likes spring too. I'm really good looking. I can't help it. My parents are good looking, too, except I don't look like them at all. I look kin_d of weird. In a beautiful way, of course. People always stop me on the street and ask me questions. "What nationality are you?" "Is your hair naturaljy curly?" "Are your tits real?" Even people I know make comments all the time. The one I get the most is "You know, you have a round ass for an oriental." The other one is "You know, you have a big afro for an oriental." Well, it turns out I'm not exactly oriental. I just found out that my dad isn't my biological father. My real fathef is Arthur Lee from the band tove. It all makes sense now. The protruding ass, the nappy hair, it aR comes from my father's side. I'm half black. Arthur Lee called me up last week. He said "I am your father." I didn't believe him at first. Then I asked my mother about it. I called her in North Korea. She started to cry and said that it was true. I couldn't really hear what she was saying because the connection was pretty bad and she was hysterical, but I'm pretty sure she said that she didn't like him. Apparently, they knew each other back in LA during the '60s. The song "No Matter What You Do" is about my mom. She ditched him fast, and shacked up with my pops, but there was an "encounter" 15 years later. She got pregnant. After the point when I was conceived, my mom's story and Arthur's story don't match anymore. My mom says Arthur went crazy and tried to burn the house down. I don't remember this because I was riding ponies abroad. He says he was just smoking outside. She says he came back a few years later, this-time with a gun. He wanted to see me, and she said no, so he shot the gun in the air. He says the gun went off by accident when he was using it to point at the stars while singing a sad song. He served a jatj sentence for some years, and he was released not too long ago. Arthur, who I've never met before, wants to "build a- relationship." I'm not really interested. I don't have any of his records. I've never really listened to Love. He says that he'll take me with him to All Tomorrow's Parties so that we can get to know each other. It feels strange to think that he could be my actual father. I don't think Arthur Lee is that good looking, but I've heard a lot of people call him a genius, which basically proves that he's my real dad. • ^£*Ni^'f^^ '■■'"■ New & Used CD's & Vinyl ph. 708-9422 * email buddy®redcat.cr PISCORDFR, A P R I LQ4 Boca Del Lupo The Suicide Friday 27 February Vancouver East Cultural Center A theatre group which suddenly finds itself sixty grand richer stands to reveal a lot about its wildest dreams, as well as its ability to balance extravagance with wisdom. Boca del Lupo, winner of the fifth annual Alcan Performing Arts Award, made some brilliant choices with the cash. By rights, adapting Russian playwright Nikolai Erdman's The Suicide shouldn't have been one of them. Despite its potent central idea, the play (at least in translation), is one plodding and untheatrical read - but in this production, imagination and artistry sent it to the moon. While visiting Mexico, the local company had found aesthetic soulmates in San Banquito Teatro and brought the troupe north to collaborate on the project. This was a good thing for Boca. Under director Sherry J. Yoon, the company has always been physically and technically inventive, but its self-conscious cleverness can be a bit off-putting. San Banquito seems to have loosened Yoon up. Apparently, neither group spoke the other's language very well, so they jus* let rip with a combination of Spanish and English that was funny, elegant and—even to non- Spanophones like myself— strangely comprehensible. The plot is full of characters so large that they border on the vaudevillian: a man is enjoying a snack when his mother-in-law mistakes the sausage in his mouth for a gun. As rumors of his death wish circulate, representatives of various causes pressure him to off himself in their name and for the first time in his life, he feels important. The cast of six varied wildly in their acting styles but whether by accident or design, style became an extension of character. In any case, the dreamlike staging accommodated them all. As Semyon, the poster-boy -for suicide, Lucas Meyers was a lanky bundle of neurotic energy; and Maiko Bae Yamamoto's studiously weird deBvery found a home in her roles as a lover and a self-appointed muse. One of her scenes, set to fractured jazz, was just short of psychotic. But it was Hispanic actor Moises Ledesma who really grew on me. Goofy, passionate and open-hearted in his portrayal of a randy neighbor, he nailed the art of acting as reacting. .When Erdman wrote the play in 1928, he was lampooning the dictum of self-sacrifice for the common good, but in this take, much of the political satire was passed over. Although there were incidental pokes at psychosocial foibles—the ridiculous lengths that people will go to fill their empty lives with meaning, the vultures who prey on them and the economic spinoffs from disaster—even these took a back seat to an atmospheric reimagining of the story itself. Events progressed almost like a series of vignettes across a set that was sparse and ingenious. Beds, tables and coffins morphed into each other and were often on a slight," Caligarian slant. When characters exited, I wanted to follow them offstage...a good sign. One scene is still playing in my head: the white-faced performers at a long, drink-laden table, celebrating Semyon and his pending suicide to a tropical lounge track. It was The Last Supper at the Copacabana. Holy Buneiel! As if the visual imagery in this show weren't enough of a gift, it also left an existential residue—something about coming to our senses just before we sell out. PI Theatre %!§$& Cloud Tectonics Friday 5 March Performance Works Cloud Tectonics is bursting with sensual poetry and wondrous ideas, but Jose Rivera should have written a poem or a thesis to express them. Instead, he wrote a play and proceeded to ram it all through the mouths of his characters. It's a shame, because the story is a Magic Realist jewel: An Angelino named Anibal de la Luna (Alexander Ferguson) picks up a pregnant hitchhiker (Carmen Aguirre) and takes her home. Ceiestina del Sol has always had an ability to slow down time or even suspend it altogether (she's actually a 56-year old woman who has been with child for two years). The climactic realization that years had passed in the span of their one night together was indeed chilling, but the love that apparently developed between them was so sketchy that it hardly registered. It was talked about a lot, however—as was the nature of time, trust and the future of civilization. 1 just found it hard to buy that such calm, cogent dissertations would issue from a woman who had beeR locked in her bedroom since childhood and fallen in love with the first man who raped her. It didn't help that director Bill Dow had his actors stand still and gaze into the middle distance every time there was a speech to be made. I began to feel as if I was watcWng> a series of audition monologues. This was especially tragic for Aquirre in the role of Ceiestina. She oozed the magical creature from every pore, and had she been encouraged to fuck things up a bit (stylistically speaking), she might have made even this script work. Ultimately though, the playwright's first obligation is to the characters. If ideas are allowed to take precedence, the actors get jammed in the middle instead of being conduits.* THE PLUGHOLE - Julianna Barabas is finishing what she started. Just under a year ago, the local artist began having her body divided into front and back with a tattooed line. Month by month, it has travelled up arid down her limbs and along her torso—kind of like icing around a gingerbread cookie. Her appointments with the tattoo artist (one of which was covered in this column back in November) have taken place in gallery spaces in the presence of an audience, but there isn't a trace of exhibitionism in Barabas' undertaking. She has simply been sharing what she describes as an intense physical and psychological journey. The final stretch should be momentous— not least because she'll be having her head done. The end meets the beginning in seamline # 12 on Thursday 29.April, 8:30 pm at the Emily Carr Institute of Art and Design (South Building Atrium). For further info, contact seam_line@yahoo.ca or phone 604-833-8492. Later this month, we'll be blessed with the second coming of Marie Brassard. I don't believe there's another theatre artist who can unbutton your psyche so deftly or leave you so primed for erjHghtenment. other theatre practitioners should be worshipping at her. feet. Last year's Jimmy was a beautiful stealth bomb that left audiences in a state of collective awe and when the Quebec natiye returns with La Noirceur—an exploration of friendship through tragedy—it can only get better. You need to see this. La Noirceur runs from April 28-May 8 at The Firehall Arts Centre. Tickets "and info: 604-689- 0926.' II? MM Micro N MMACOIiATElMAfeHIlIE I RAILWAY CLUB cHEm) SDMBLET0KE.COM 6 (604) 878-G0&0 « A NTJCOO V E R.CQM I APHIL 2 8PM ! THE DOERS THE HIGHBALLS FOND OF TIGERS IBRAT ATTACK (WINNIPEG) BEL R10SE :,r(8Tnomp)); APBIJL 3 9PM A HJSJVJEFFT FOR WJKSTJBRN tHbAt^e CONSPIRACY XHJB cisrcH THE GAY THE RADIO jMO jLTJCjR CLUB APBIL 8 18PM THE BEEKEEPERS till tit SECRET 3 - PANURGE CAMERON DILWORTH } «Mt*MtMMMM»HMM«tMMIMHttMMIM«*t»ltttMtlt*M**MMHtfM*»MMMI lHf«: COD 878-COCO • BDMB1IT0NE.COM SPONSORED BV PONCHO'S ROCKIN' TAC0S in GET ftEABflir D&milP ACCESSARIES DREAD S1MP@@ :^FlW DREAD STUFF pfflatural hair products for storting and maintaining dreadlocks! For wholesale inquiries and deadlocking appointments call 1-877-4-DREADS www.knotiyboy.com MG300OOO06 This month's Panarticon is written by the Mildew and Eyepatch Association. This month is the month of Surrealist Spring. This month is the month to finally get weird. This month is the month when a secret cabal has finally overtaken cultural production in this city. That said, the ME-AA hates deadlines. It told me that "I like to wait until 3-4am to sit naked in front of the computator and froth while yanking at chest hair and typing with my other hand, only then does the Muse visit to sit at my side and promote spelling errors." Which is why we must begin with the following lessons: Take heed! 1. Don't hesitate when you know. 2. Have as much sex as you can as soon as possible. 3. Three was distracted by two. And so it goes. Hallucinations. In the spirit of offering all Vancouver has for the impending Olympic Doom, the following constitutes a series of articulate suggestions for 2010 from the ME-AA: "First: Recycle words spoken in times of momentary lapse, listen to signals all distorted.' Next, look around you and find there are pieces falling from the table, to the nation-state ' of an unfamiliar keyboard, we look at our hands and wonder how they lost their way (only to realize it's all in welcoming the blur). Finally (& in code): a J_E butcher shop (cut all funds: reduce it to the knife) was redeemed, floating souls of the slaughtered fuel people. Haill Anti-social, Misanthropy, Placebo (a lie in the equation), TC, Jerrys Kava Kava Moment at the PNE, the insurrections of the VI, the Sugar Refinery & the All Good (RIP), Crying Room — all using parcels to fertilize the creative, and our topsoil weighs heavy from waste. Flowering beds of Krylon, farmer's art markets, and seasonal clam bakes bring good times and chance for the young folk to socialize in nervous hilarity. Every now and then The Man goes and shuts down an art party because electronic rock 'n' roll breeds rebellion, and there is no jolly. Too much living inside 'da House. "Bandits in time will not lament a thundergrunt, and plunge forward kneeding, dribbling digits while the pokes pick and peck. Vancouverites were once described to the ME- AA by Carney Folk as 'trained to enjoy mediocrity, so all you have to do is something good and you blow their minds'. / also heard tales — the town that fun forgot, or the city that makes you lose your ambition. All titles of Great Achievement in the Annals of the Apathy Movement, but when the planet lubes up, it's time to use the flow to wear down the rocks, otherwise continents crack and you wind up on the wrong end of a slag heap. 2010. "Recite after me: the cobbler elders were known to sit a youngster down and deal them the "Hope Speech." Past Spuzzum. There is no hope, son No, Vancouver never had a punk scene; we wash our cars every Sunday, we don't need squeegees or their punks. No, Vancouver never had an industrial scene — the docks were purged during the Internment Camps. Rave what? No son, TROOPER never played a rave — don't forget the Commie Profs let that happen at UBC. (& where are the Daughters? Joy McPhail?) It was. in those times of Sad Realization™ that a young person would smoke stock & realize their options were buried. 2010. Still — a drunken suckerpunch can -plant seeds on the cheek of the moon and you still wouldn't get an answer for your time. That"s the way the elders played Risk, and it wasn't ours. A fresh serviette? "The reason i bring this up is twofold," sang Wacky Bennett, kissing Zany Bill 'Zalm on the cheek, "First it brings to light a sad lack of leisure at the hands of the dominant culture's need to Achieve™ [scribble notes: achieve]: secondly it shoves aside a legacy of emotional portraiture for the warm comforts of Denial-Of-Service attacks on steady employment" [Moustache Clark sits on in rekindled Innocence, Harcourt — where the hell is Harcourt? And today: the WhiteRobotMan, G. Campbell, taking circuits out back for some internal rewiring]. "DOS will circle from the reserves: this land is not 'our' land, it's Their's, and we are just squatting it. All of it. "Grab the ass of the status quo and give if a squeeze for good measure. These suggestions come at a time of great laundry. Soon, the RCMP will be replaced with the DEA, the Premier with a Movie Star. Most won't notice the difference in the Farce. Smoke while the SkyTrain doesn't yet have Armed Task Forces confiscating all carry-on luggage. Ride while the Armed Task Forces don't yet obliterate all human- powered transport. Run while the Armed Task Forces haven't yet paved every remaining trail, with consent from UBC to return all trees to their natural state as nouveau riche Condos. Arnie is taken so be prepared for van Damme, Stallone or Kojak. "Everyone must swear an oath soon. This oath will mean everything and it will be called The Weather Report. The Weather will Sound like this: (fascist) fronts are approaching from the South, highs are reaching new lows, storms pound the streets: so hail, ye, hail, bend over and sail for the promised land—on past Abbotsford this time." [The Regular Panarticon Author would like to thank the ME-AA for this smitten contribution to increasing the incomprehensibility of Surrealism™ in monthly newspaper production. Everything here has been codified to allow newspaper distribution in Seattle. Message to our Southern Neighbours: WHO IS THE MYSTERIOUS CARO?].« SWsM^HMl www.joliehoHand.com www.anti.com U P4G30000008 H^en <=JLai6 BAND-0 MONTH CLUB Victoria seems to be an©!, bed for music these days, with the recent successes of bandsflljce Frog Eyes and Run Chico Run. The music scene is thriving and there are more groups than ever coming out of the \ government town. So who will be the next great Victoria bahjji^lf you ask around many people will tell you that it's alt-pop group ChgtsSj Chet started out with brothers Ryan (guitar/vocals) and Patrick Beattie (organ/keyboard/vocals) experimenting and playing music together, in their basement. Alison Therriault joined up because she wanted to learn how to play drums. Next came Hank Pine (cello) who workedhb way into the band after seeing them at a show. I had the pleasure of speaking to all four members of Chet before a recent performance at Pat's Pub. DiSCORDER: Where did the name of the band come from? Patrick: When we first started playing together wetod this idea sfco" having this project thqwas going to be really minimal. Just kindof drony organs, guitars and drums. Really basic things. Dreamy kind of songs. Ryan: We want to put peoplejtesleep. Patrick: Yeah. [Laughs] As odd as.tljdt.may sound. Andofl.ce we started practicing we came up with a name. We just, I don't know, got the idea. Hank: I liked what Ryan said yesterdaypbout the name. It was QsIeS he had to name a dog or something. He just picked a name as if he would<name something affectiqfiately. Ryan: Although Chet is generally a rich boy, preppy sweater, uptight- asshole kind of name. Hank: Oh the irony! Alison: We didn't reall^jpink a lot about it and that's what I'm glad about. So mdnw bands agonize over their names. We'r&jifce, "Okay, we're Chet. Whatever." A famous Chet was Chet Baker. Patrick: Yeah, we get a lot qfpiat. Alisoh:;|J|^|j^ absolutely no correlation. Hank: Except that Chet Baker sings pretty pn^yan sings pretty, so^Si lot of people think that's the parallel. Ryan: Wait until the show tonight! [Laughs] Has your music changed much from when you first started? Patrick: When we first started I didn't really know how to play the organ very weU, and Alison didn't know how to drum very well. Ryan: But I was a whiz kid on the guitar. [Laughs] Patrick: Over time we've improved technically very minutely. We're used to playing with each other more, so as a result a lot of the songs and their arrangements have definitely gotten more complex than they were originally. Hank: And Alison is a kick-ass drummer for somebody who has only drummed for a year and a half. Alison: Thanks Hank. We've gotten a lot more rockingj^^pused to be XJtgXy more dreajEny.. Is that the direction you want to be going? Is there a. goal for the band? ?H:S liSSii Alison: We.kind of go both ways. We have Jots of dreamy soiMs too. Patrick: It's a goal for us to not pollute ,tf$8Tnusic world. To nc&hange the coBjjffefive appreciation of music as so many throw-awqy^gbp or rock bands do these days. I think tha|r5-|he art-type of goaiifopthis benrtdyij 4p>rateAnd have moments of beauty. And we like melodies^! How is the music scene in Victoria? Alison: It's awesome. HanfcitSfucking^cjpDazing. There are so many good bands that.!tj|§fc unreal they^K'Wn Victoria. Rya"J;I've been shocked at how much support we get, the v enthusiastic reaction from other bands and people who come out; ; to.shows. I also just want to mention DitchRecords; they've helped j&|Sp|feey've been very supportive and sold a lot of our CDs. And helped us get a lot of good shows. ?illit^lu^p3|tore are a lot of musicians fronrMfc(& generation before us who are very supportive. A couple of guys hq^^f^&dihg^judios in their basj^ents and record a lot of focal bands h€*f|ii>tf|piily affordable and acceptjjftgjk'- Wm* Ryan: Tolari McNeil arVdgjcott Henderso^^^^^S Patrick: Toldp;f^£li|ed botyh^^MlySfe^o^^S^Sf^Karolyn Marfc'silcords. He plbys|r> her bo^idJHS^^^^^}^r»^|fe?| Ryan:jKft.wqsn'f f^ffi^^R^^^tHeS^^^'^lt^^n^ bands in . Vlctoriq^puJdh't ac|tjgt|^i^«e*i^c^i^^ Hanlcpey do it because fttey love doing it, so v^fefM^mount of records they are qwvays by;sv& || ^^MEr '-IsS^^" ^§£ Alison: For a Shitty little government tovvSWe^^^^l^jftffl^^J^ Are there a lot ofshows^^^y-^'S^^te Alison: Yeah, every,weekend there ar^.lik^pi©eiO^^^^^^^ Patrick: For the m^p^^eople comg-^j^^^^^^^^g Alison:^'sM3ll the same people buf:flfiey are qllTe^iy,errt.husiastic«^fegi Ryan: G©f nothirigr-else to do. tfe^:'-\^^^EiTO PdtriclSjKValsobeenr^flf>JM^"SsJS&6a8seak>f^f^bringaclsfVom : North America and even further away ended up playing in Victoria because of a couple of promoters who are there. It's good for the music scene in general. And we get to play with a lot of out-of- town acts and that really helps us. :$>0? Do you plan on staying in Victoria for awhile? Alison: Well... We probably won't be able to stay there indefinitely. Hank: I want to. It'll be great if we can tour the world and then come back to Victoria. Patrick: I likeJiving in Victoria, but as a band we definitely need to get out. You were mentioning before that you have recorded CDs. Patrick: Yeah, we recorded one just over a yeardgb called The Tiger is in the Window. We put it out ourselves. Recorded it with Tojoiif^ Borrowed money to get it out and get press^^Rriad gotten a lot of positive responses. We have pretty; i^^^^^tn^yjJSnbeeause we've been just doing it ourselves. So ariyti^*i^6mebQdy;g.#e's to another city in North America we brirjjJt^^gSo to a store and go "Here." And they take them? Patrick: Pretty much. In Vancouver and Victoria it's been easy to get stuff in stores. I was in Montreal last summer and I walked into this store and asked if I can consign some CDs. They took the CDs. I was really surprised, they didn't know anything aboyius, and we weren't playing in town. Fortunately there.isJ||5ge contingent of ex-Victoria people in Montreal. Hank: Montreal,. Victoria of fhe eos||||i| And you have a new album?- '^^sEaE; Patrick: I believe we are calling it Kauaf4g§i£ Kauai? Patrick: It's qn island in Hawo^fe Hank: It's irJ^^JMJipJpier. ''iWsml&X'' ' Ryan}J|dDnTjl^j£-r'd protest ff®i^^^^^®^^^Sffiere is any discrepancy between sa^^^'happ^fflOTB^-fl^^^^lies were slightly more melanchf|prf|)»§ first alb^^^B^ffl'songs about the j^Plrje things. ".'■. *,:—IgpSsfypi Patrick^aybe it's jusfl^^nCT^^^^!.it's a pretty different sounding album frpm'j|jg first onjf||g How are the songs written for-the album? | ' Patri^^^^feivrites rr«^^^^^s»g^S "brings it to the band inflg? basic form and we just kind ^f^pfbur stuff. And ! write some of the songs and do the same. Just kind of work it out to a basic format, t^^dJ©t^t1&^'qhCte^^Jot.oS^i|s^^s'off the new record we've ^OT^^i'er the te»yecir,:s6 .the|?^&if9ilt^fegone through a fair s.jdiftDynt of metamorpKSs^|i®iKi|^fjg>yery happy wiff|how it got ilgcorded.. |y** What is the best thing about being in a band? Hank: When we play, even in practice, we try to have that one moment where everything is perfect, you know? And you are not Seven there, just going through the motions. Alison: We're all good friends and it's wonderful playing music. Patrick: It's just tiffing a need for all of us basically I think. Hank: It's better than sex. Ryan: I think I would probably end up a vagabond if I weren't in a band. Alison: Yeah, he's totally not kidding. [Laughs] P4G30000010 Olflultijgl^ ^uusome fiu T^ree ond fiDfiat 8o uou (§><?{? 6^ ^Kpt cpidfJIi TO THINE OWN SELF BE TRUE: The art of Luke James Ramsey Aspiring artists take note! You could find a worse role model than Luke James Ramsey. When the first installment of his comic "Finding Joy" hit fhe Discorder office, we were all struck by its arresting visuals and heartfelt storyline. We simply had to know more about the person who had sent it. When I called him at home in Victoria, I discovered Luke is as refreshingly sweet as his artwork, and just as full of contradictions. In "finding Joy," the plainly drawn bunny stands out in the swirl of urban chaos; his story is simple, but Luke's way of telling it is not. And while the message is uncomplicated, it's also profound: be true to yourself, and happiness will follow. This theme resonates in much of Luke's work, and, it seems, in his own life. He's traveled the world and tackled several art forms. He's found a place in his local artistic community and considers himself part of a movement. And yet, as our conversation makes clear, he's maintained a sense of wonder and optimism about his work that belies his years of experience. He's as enthusiastic as they come: forget the fame and fortune, he just wants to draw his bunnies. Luke, I think, has found his joy, in making art to help other find theirs. You can check out more of his art at Luke's website: www.mebeme.com. SsRS- Discorder: Are you an art school student? Luke Ramsey: No, I've never been to art school. Just did art in high school. And then, basically, I got out of high school and traveled around the world for the past five years, going to different countries and different museums and galleries. From New York to Paris to Tokyo, wherever, just all over the place. Sort of just getting a grasp of where my influences were as an artist. And through traveling I did a lot of drawing in sketchbooks and whatnot. And my last trip to Asia really sort of hit it off for me. I went there to teach English in Taiwan and I really got into the way they have animated characters and cartoons in everything, all over the place. It just made me realize how much I like drawing cartoons, and bringing out that inner child in me. And since I was there I just did drawing all the time, I did an art show there. And then I nailed my direction in my art. That's the history of where I am right now. I like to travel; I like to see different things. But I really love the west coast, and I always come back here. So is Victoria a good centre for you to do your art? is there a big scene for this kind of thing? v^fe There is, yeah. I think there's a lot of amazing artists in Victoria. Tons, just so many and in Vancouver. It's really great. There's not a time I don't go meet a new artist doing something that I'm somewhat inspired by. So, yeah, I think it's great. I mean, a lot of people sometimes think that they've gotta make it big in the bigger cities, like "Oh, I gotta go to New York." But in those places it's all industry, it's all money. Here, it's just like, go out to a coffee shop and hang out and draw with some people. It's the best. It's fun that way. There's a lot of good stuff in Victoria for sure. %*M Do you actually do that, go out and have a drawing day at a coffee shop? Yeah, for sure. I'm really big on drawing sessions, and I love drawing with different people. I've made books with different people drawing. How did you come to be painting a toystore in Taiwan? I just went in and asked the guy. I showed him my drawings. He had cool toys in there and he was into art, I could tell. Did you do it for free? Did he provide paint? He bought my meals. His English wasn't great, but it was awesome to communicate the vibe of liking art and toys and stuff. I heard that you draw for, like 30 hours a day. It's a meditative process for me. One thing I really love about drawing is listening to music. If I can draw and listen to music at the same time, it's a bonus. What do you usually listen to? Everything. I always go back to the old stuff. I think there's a lot of good new stuff coming out, but I listen to the Beatles every day. I've been getting into Roy Orbison. I listen to the radio, too - - CFUV, which is 101.9fm here in Victoria. It's a great station. I listen to Brave New Waves on CBC at night. Cool. So do you manage to support yourself doing this, or do you need a job on the side? Well, I'm living off a grant right now, and it's the first time I've ever had a grant. It's really nice. I've living off the grant so I can do this big art show that i'm doing next month, which is on the ninth of April. It's good now... in the past... I don't make that much money off my art, I sell comic books, prints and shirts here and there. But usually what I do is either I'll work a lot, for like, six months hardcore, and save up a bunch of money, and then not work for half a year. Or I'll work 20 hours a week at a coffee shop, enough to get by and have enough time for my art. I'm doing alright. PISCORnFR, A PR 11/0* Where Is this art show happening? b if In Victoria? Yeah, it's in Victoria, from April ninth to the eighteenth. It's actually happening underneath the Value Village thrift store, like, this secret little room that's underneath it. We just sorta found it. Me, and thirteen other artists. Mainly good friends of mine, people that like to draw comics and graffetti. So it's going to be this huge installation mural built out of foamcore. And I'm really excited about it. i've been working on it for the past two months. So, speaking of other artists that you're working with [babble]. Mark Bell, Jason McLean, Keith Jones. Yeah, Keith Jones is probably my biggest influence, for sure. I did an art show with him I think there's a photo of it in the package I sent you guys. And I think I sent you a book that I did with him too. I think that Keith Jones' work is amazing. It just totally moves me. Mark Bell and Jasan Mclean totally set it off for me looking at their books and seeing where they took drawing and comic books really got me excited, because I grew up on Spider Man and X- men sort of comic books, and then seeing this loose style of drawing ., . I was really moved by that. So, I'm totally influenced by Jason and Mark, for sure. I've met Jasaon, I haven't met Mark yet. But basically, the four people I'm really moved by are Keith Jones, my friends Matt Moroz, who's coming out for the show, he lives in Montreal; my friend Zane Kozak, who I did a show with two months ago in Vancouver, and a guy called Andrew Dick who lives here in Victoria. Those guys are my biggest influences, and they're guys that I'm actually close to and draw with. And I think that's really important, to have your influences close to you. That's an unusual position. There's not a lot of artists in any field who get to interact with the people who influence them. I think it's really amazing. You become, like, part of a movement. You're present in it. I mena, I could go down to a bookstore and pick up a Picasso book and be like, "Wow, this stuff's amazing," but to actually sit down with the artist, you get so much more out of it. You know where they're coming from, there's a human element. I always like that human element. Back to when you were saying that you grew up with spider man and the x-men type of narrative comics... I wanted to ask you why you decided to use the style of storytelling that you did in Finding Joy. There's a story there, but it's a lot more challenging for the. reader, and it demands that you pay a lot of attention. The main character I usually use is this bunny rabbit. He doesn't have a name. Some people have given him names. I use this bunny rabbit character all the time because it's a simple image I got that idea when I was in Asia cause there's a lot of simple images there, like Hello Kitty. What I like to do is use that simple character and make everything around it more complicated, more in-depth so that you look into it more. I like doing that in comics, so people can look at the images and see something different each time. Whereas an x-men comic, or something, is usually pretty standard stuff. Again, that's why I love stuff by Jason Mclean and Mark Bell. Cause they're doing the same thing, pushing it to a different level. It's meant to be read and re-read; unlike a newspaper comic that's meant to be thrown- away. Yeah, for sure. And there is a narrative and words, in bubbles, but • there also stuff beyond that, like tittle heartfelt quotes on billboard or on the sides of buildings, or whatnot. I love doing that. Working the page. How do people usually respond it your style? I usually get positive responses. I just did this art show in Seattle and I had my books on display. And I just stood on the sidelines, pretending I wasn't the artist. I'd go up to people who were reading my book and ask them, "What kind of message do you think this guy's trying to promote?" People were usually bang-on with what I was trying to get at. Sometimes it's nice, too, when people have a respond that's totally unexpected. Art is for everyone's interpretation. But my message is really simple. It's just about enjoying life and being.yourself. It's not too complex for people to get. The drawings are pretty detailed, and that usually draws people in. And if they're taken in by that, they'l be into the words as well. At the end of Finding Joy, the bunny is considering getting into this hippie van. Does he ever find inner peace? Yes, he's finding joy,, he's going to find inner peace. But I think he - has to walk the walk first. You can't find satisfaction unless you're thirsty for it. Basically, until that point, he's questioning his thirst. An< in the next segment, he'll actually start getting thirsty, and start looking for joy. He'll find it, for sure. What do you think makes a good comic book? I'm a really visual person. So sometimes the greatest comics I read don't have a narrative, they're just drawings. The visual experience is what makes a good comic for me. Somehing that took time and energy. I'd like to plug Robber at Chroma books on Main Street, actually. He's all about the independent, self- published comics. He has a great collection there. I was just in a show with Keith that Jo Cook did, called Self-Publish or Perish. She had a collection of all these self-published books, and I think that those are the best books, when someone only made twenty copies and you've got one in your hand, and there probably won't be another one ever made. It's so authentic. The best books aren't mass-produced. The ones that come out of zine conventions and the ones you get at punk rock shows. Is there anything else that you want to recommend to the people who read this article? W&^~ I think the most important thing to say is that anyone can do it. You don't have to be an artist to draw or write. Anyone can make a zine, anyone can make a comic. You can make a comic for so cheap. Twenty-five cents if you want. That's why I like doing comic books. I could go do a fancy painting, and stick a thousand-dollar price tag on it, but how many people can honestly afford that? I can do a comic book and charge something that people can actually afford. That's why I have a lot of respect for grafetti artists who put their work out there on the street for everybody to enjoy. And I have a lot of respect for people who are DIY and make their little books, and shop them around, because people can afford it. And it seems like DIY is becoming more important, as our culture becomes more homogenized. Stuff like this is so exciting now, in the face of mass culture. The underground has always been the best. In music, art, anything. It's present. Of course comic books artists go mainstream, why shouldn't they, but at the same time it's nice to do things just for your friends. If anyone else likes it, it's a bonus. It's good times we're living in right now. You can live in Canada and be an artist, and you can get by. You can live comfortably, so long as you live simply, and don't consume too much. If you're just true to yourself and live a simple life, you can do whatever yoi want. W8>S P4G30000012 HOLY SHIT! CHRIS BRANT GETS PASSIONATE OVER LUNCH. There's no point in interviewing Chris Brant, founder and president of Vancouver's newest indie record label, Cazart, over a light lunch. You'll need to book in for an eight- course meal because there's no shutting this guy up. You wouldn't want to either—Chris's enthusiasm as he talks, accompanied by his non-stop hand gesturing makes it obvious to anyone around him that he is totally and utterly in love with what he's doing. With their introductory compilation. You Need This in shops now, Cazart hopes to make an announcement about the label's first band signing any day now. "I don't want the first signing to be rushed or forced" says Brant. "There are four or five bands I could look up right now but 1 want my first signing to be really cool, a flagship band for Cazart. First impressions are what everyone remembers and I want a band with a really cool sound." Reflected in the diverse musical content of You Need This, Cazart's intention is to be welcoming to all genres. "I wanted to keep it wide open in the beginning" Chris says, You Need This has hip-hop, singer-songwriter, alt-country, pop...even a lullaby on it". His mandate for all the artists that made it to the CD was that they are all bands $$&£■ ;rPll that blew him away. Although Cazart is his baby, Chris is generous in dishing out praise to the people around him who have supported him personally and professionally during the last ten months. He attributes mUch of the process to his publicist, Teresa. "We're both big fans of the Apprentice and I'm doing the Donald Trump thing, listening to my henchmen but the final decision is made by me." he says, laughing. I picture him telling some sad band that they are fired, but it's hard to keep that image when Chris is in front of me looking so excited about his work. He's all about the passion and he's all about the music. "It's great to see bands with passion who are doing it for the right reasons. I'm a small label, I don't have the time or resources to push someone where they're not willing to go themselves. I'm looking for bands that have the musicianship first and foremost, but who want to do it and understand the game. If I'm signing a band, it's because a major label doesn't want them, so what can we do to get them up to that level where the major labels will notice them? If it ever gets to the point where a band is too big for me to handle, it's the band first. If you're a fan of art, you want to see the artist make as much art as possible. If it's a musician, you want them coming out with an album a year...you love their stuff and you can't wait to hear their next release. This is about the bands and if I think I can sell 5000 CDs and someone else can sell 30,000, then I'm going to want them to go with that someone else." Cazart is focusing on local talent. "It's a lot more difficult for Vancouver bands. In the East [of Canada] you can tour for 15 nights and hit 100,000 population cities every night, here, you can't. There's Vancouver Island, Kamloops, Vancouver and then, you're driving to Calgary. It's difficult to get out and build a market. Eventually you are going to have to go through Toronto. There are so many more venues to play there and the shows are earlier so more people go. In Vancouver, people have a healthy lifestyle are« going to yoga after work and go home for their veggie dinner and then they go to bed earty because they have to go to their job in the morning. Despite this. Brant is optimistic about Cazart's future and enthusiastic about the Vancouver music community. "I have the best publicist in the city who's taking care of everything. I think you need to get passionate people on your side who believe in it and get them to promote it. The local support amazed me, I talked to Kate [Tonic Records] and told her I was doing this and I expected her to see me as competition and she gave me a big hug and said it was awesome that another person was doing this. There are quite a few companies in town that are really trying to promote Vancouver bands and the attitude has been cool, like, lets all work together. The community has been very embracing to me." Chris currently works for a major record company. It's partly this involvement in the industry that has motivated him towards starting up his own label. He's been frustrated about the things that can, and can't be done and how major record labels no longer have the luxury to grow CAZART: A RECORD LABEL IS BORN BY ELLE JAMES bands like they used to. "These indie bands aren't in a position to be selling 100,000 copies and so majors can't waste their time on it. That's not good or bad, it's just the nature of business now." When I asked him if he always wanted to have his own label, he nodded enthusiastically. "I always wanted to be in music but it wasn't until I got older that I realised what that meant." By the time he did know what that meant, it took the right question to propel Chris into action. He was out with a friend in May of last year when the question of what he wanted to do came up. When he replied with, "Have my own record label" the friend asked a second question, "Why not?" "No one had asked me the second question before. I thought about it and said, '1 can't because I'll need...oh, I've got that, and I'll need someone to....oh, I've got that too, yea, why not?' Within 48 hours I had national distribution lined up, which is the hardest thing to get and it was the first thing I got. I realised that I have the people in place round me and there was no reason not to do it." The napie, Cazart which is a Hunter S. Thompson exclamation meaning 'Holy shit...I should have known' was quick to follow. Ten months of hard work later, the Cazart launch party took place at the Railway Club. With his CiTR radio show and his position as music editor to the Point Magazine, Chris is used to asking the questions in interviews and this new attention is strange to him. He's been the focus of interviews leading up to the launch, and then when five TV cameras turned up, Chris barely had time to breathe between interviews and meetings. You Need This turned out to be a main focus of the night. Brant is excited about what he calls a 'fantastic' response to the release. "My intention was to make a big splash out there and show that this is what I'm able to pull together." Including artists like Emm Gryner, Motion Soundtrack, Stellar and Grant-Lee Phillips, the process was a huge learning curve for Brant, and he again attributes much of the success to those around him. He seems at times in awe of his network of friends. "I have a really strong team around me and I'm really fortunate, I've got an amazing graphic designer, I have another friend who's a photographer, I've got the best publicist in the city, I have another friend who is really into fashion and great with the look of things, so I have a really cool group of people around me. I'm lucky. If I don't know something, the answer is just a phone-call away which is great." When Brant started spreading the word about the CD, he almost got to the point of having to turn bands down. Sean from Jack Tripper committed a song before Brant could finish his sentence. Half an hour after he'd emailed her, Emm Gryner offered an exclusive on a new song she hadn't even recorded yet. Gryner's offer led to a complicated series of faxes between Chris and Emm's mum, which is acknowledged in a thank you in the CD liner notes. Brant has been floored by these gestures. Not only are there artists lining up to be on a second compilation, if Cazart decides to put one out, but Chris has also been surprised by offers from female friends eager to strip off for a second album cover. He laughs, "If they want to take their clothes off and have photographs taken....alright!" Before thinkinglipout a sequel compilation, Chris plans to sign some bands and put out some albums. He's aiming high and would like to see five releases before the end of the year. "Aim high and if I come out with 2, that's all that ''was meant to happen." He says, optimistically, "I want to get some momentum going." Deliberately halting the ten months of momentum that brought him to Cazart's launch, Chris has taken some time off. "I needed a week off." He said, shaking his head. "The day after the show I did a yoga class, did some errands and then I sat on my balcony, put some Marvin Gaye on and smoked a sixty dollar cigar that I'd been saving for a long time. I made a drink and watched the sun set and I didn't do anything." Brant is determined to support the indie, music community in the city he was porn and bred in. The signs are all familiar, the yoga class, the vegetarian soup he ordered for lunch... ...and perhaps he goes to bed early so he can get up for his day job? Only on the nights when there are no gigs to go to -unless ol course, the Apprentice is on. • piCrnPHER A P R I L' 0 4 ONCITR101.9FM GENEiATpN aNNiHiLaTioN An hour of punk and oi mayhem with yours hosts-g pron Kid and Andy Grotesque:? mw- AND ON THE WEB @ WWW.CITR.CA THE MORRISSEY PRESENTS IMA ROBOT-THE VUE«BLACK MOUSTACHE*SINGUS RINK SPECIALS SQUARE* bewar: mu jTH roi/to|LGOE/Tff JOflHFQflDf $5 COVER • 1227 GRANVILLE s CHICKS ON SPEED* THE WALKMEN • HORRORPOPS j EVEJRY^ THURlSDAY; ■HHaSBB. ■:*■'• PS GARAGE jPXJNK! GROUPES MODERNBfilr mvi/^-^* y*^s^.sckx »W, jks u. WA" *T*WXLVJJWS V' S9EWS THE DEBUT SOLO FROM GUITARIST & VtfCAuSt! ANDRE ETHIER OF THE DEADLY SNAKES Not entirely the same musically as the Snakes : output, "Andre Ethier with Christopher Sandes featuring Pickles and Price" features piano, acoustic guitar, bass and drums, bringing to mind the early work of LA songsmith Randy Newman and maybe even mid-sixties Bob Dylan as well. It's not entirely folky, but ifs not exactly garage rock either. What it is though, is a totally brilliant collection of songs chock full of soul. "kltmmu WAiMIRt AKB CMLMt. THIS iS AN Al.Jilll TO Um SOW AS! STILL CBEIISI ZIYIS' IffS'tW UM.' am OUT ROW! -7%^ OUT NOW! /^v. ■ft m "will sure!? bs halted as one m 2004's finest Canuek-roek discs"' Jsitr, ivmt. Ssmijis Strm0t'fy\ses>mi 8G FOR FREE MP3s VISIT WWW.S0NICUIIY0N.C0ii the north sea "a graceful swirl of lush pep and beautiful falsetto" - Ssfisy Im&ier, Vanmwer Sob m^zmt^&ri^** SONIC UNYON PO BOX 57347 JACKSON STATION HAMILTON ONTARIO L8P 4X2 PH: 90S.777.1223 FAX: 905.777.t161 WWW.SONICUNVON.COM VIDEO IN STUDIOS VIDEO PRODUCTION WORKSHOPS SUMMER 2004 + Video In Studios provides an affordable alternative for independents to learn about and produce video in a creative, supportive, artist-friendly environment. A $75 producer membership gives you the opportunity to use our production and post-production facilities, and gives you access to this summer's workshops. Camera, Lights and Sound ($205) Two-day hands-on workshop, using pro quality digital video cameras, sound recording, lighting. Saturday and Sunday: April 24-25, May 15-16, June 19-20, July 24-25, August 21-22. Intro To Post ($120) One-day intensive workshop in video post-production. Sunday: April 4, May 2, June 6, July 11, August 8. Final Cut Pro ($155) j An overview of Final Cut Pro editing software in two 4-hour sessions, plus 2 hours of lab time. Tuesday and Thursday: April 6 & 8, May 4 & 6, June 8 & 10, July 6 & 8, August 10 & 12. For more information, visit http://www.videoinstudios.com/ or phone 604 872 8337. BRITISH COLUMBIA ARTS COUNCIL afe9tfc Financially supported by the Province of British Columbia Video In Studios / Satellite Video Exchange Society 1965 Main St., Vancouver 604 872 8337 http://vvww.videoinstudios.com /=\ P4G30000014 ELECTRELANE: SEXUAL, INTELLECTUAL, UNCONVENTIONAL BY SASHA WEBB Rock it to the Moon, Electrelane's 2000 release on Mr. Lady, was an instrumental journey, characterized by delicate Farfisa organs, a driving rhythm section arid melodic guitar solos. This album earned the band widespread comparisons to Stereolab, an association they'resick of by now, but which nevertheless attracted many listeners. Complex composition and obvious talent make the association feasible, but Electrelane definitely has a sound of their own. Their newest full-length, The Power Out, (released on Too Pure and produced by Steve Albini) illustrates the group's originality and versatility. In a surprising shift, the album includes vocals on all tracks. Rarely has a band made such a dramatic transition with such grace. Lead singer, multi-instrumentalist and recent Cambridge philosophy graduate (you go girl!) Verity Susman whispers, moans and occasionally shrieks her way through the album with impressive vocal talent. While continuity is clear, it's obvious that the girls have been busy over the past four years. Every song is distinct and ambitious, especially "The Valleys," structured around a simple bass line, basic drums, and 12-member chorus singing the words of an English war poet. Throughout the album, lyrics vacillate between high intellect and everyday introspection, inspired by diverse sources such as German philosophy, 14lh century Spanish sonnets, and long hard nights of scoring babes. Their music captures, but can be listened to anywhere, anytime. This elastic mix of wit, elegance and talent makes it the perfect music for seduction. I caught up with guitarist Mia Clark before their recent trip to Paris. Their newest member, Mia joined the band at the tender age of 17, after playing the guitar for only eight months. Nervous as I was, she proved unpretentious, talkative and had one of the cutest giggles I'd ever heard. We chatted about Parisian pastry and she made sure to personally invite me to their upcoming show in Seattle. Basically we're going out now. How are you? Good thank you. Enjoying Paris in Ihe springtime? Oh, well we're going there tomorrow. You live and work in Brighton. Did you grow up there? Yeah, we all did. Brighton is said to have a very diverse music scene. Where does Electrelane fit in? Um, I don't really think we fit in anywhere. There is a very diverse music scene here, there are a lot of bands and DJ4 here, but I wouldn't say really that there is a particular scene or anything at all. I don't know if you now the band British Sea Power, it's all very sort of different music... I wouldn't say that there's a particularly strong scene, there's not really a "Brighton sound," or anything like that. You've been with Electrelane since 2000 and were already a fan when you auditioned? Well, I'd been to see them play, so yeah. Did you know it was Electrelane when you went to audition? No, I didn't know until I rang. It was cool, because I had their record so I could learn a little before I went to the audition. Did you find it easy to fit into their mix? Yeah, for sure, it felt really natural. Obviously, I can tell from your records. You were doing your A-levels at one point and Verity was finishing her undergrad in Philosophy as well. How did you manage school and band life? It was extremely hard. When I joined I was in my second year of A-levels, I was only 17... and it was really hard. I can imagine. Because I basically didn't go to college at all. We were on tour ali the time and then I dropped one of my A-levels in psychology just 'cause I found it too hard to do all this work. I think Verify found it, I mean it's even harder if you're doing a degree, and it was quite difficult, a lot of things were put on hiatus while she studied. I mean, she'd have to come from Cambridge to Brighton, all sorts of hassles, it was a four-hour trip, so it was extremely hard. We all breathed a sigh of relief when everyone stopped studying. So do you plan to continue with more school, or just concentrate on music? Well, right now it would be impossible. And I have another job as well, so I don't really see it being a good idea for the moment. . But I would be interested to return eventually. On The Power Out, your latest album, you guys use a Spanish sonnet, some German philosophy, a letter by an English war poet... what role does your academic past play in your music? Well, people often ask us what bands we're influenced by. For us, not only does music influence us, but literature does as well. We all read a lot and it was sort of natural for us to include those influences as well. Okay... so you guys are about to start your four in Paris... We're in Ppris for one show and then it's off to Rennes, it's just a really short thing You also use French lyrics, is there any sort of specific French connection? Well, the only song that's in French is "Gone Under Sea", the first one. Verity decided to sing in French for that, she speaks French fluently, and she just felt that the lyricisms, the language just seemed to fit better with the song, than wften she was trying to sing it in English. So that's why she chose to sing it in French. ORDER, APRIL'0 4 Researching the history of the Farfisa was harder than you'd expect. People own the vintage organs, and love them, and list them as an interest on Friendster, but they don't actually know anything about them. As squeezing the internet for all it was worth, I was forced into the position ridiculous of doing my research at the UBC music library. All I got from the organ section was that "electronic organs are too young to be dignified with a history." Uh, yeah. Then I hit the electronic music shelf, where I found out that... The Farfisa is a combo organ. Manufactured in the 60s and 70s, these portable, electronic organs were extremely popular with rock bands of the era. If you don't know what they sound like, just think of "Light My Fire" by the Doors. Combo organs came in a groovy rainbow of sixties colours and looked swell on television (newly colorized, of course). Farfisa, an Italian company, introduced its first model in 1965; by 1967, organ players were reportedly as sought-after as drummers. Fasfisa organs were never as popular as the now-classic Vox models. They were better-sounding but less flashy: while Voxs were as pretty as an Apple iPod, Farfisa's first models were functional and sturdy. By late '66, at the peak of the company's fame, there were four Farfisa models available The Combo Compact became a brilliant cherry red, and did quite well - apparently, it's the one "everyone thinks of when you mention Farfisa." Shor^%H\sf^ The FAST (Farfisa All-Silicon Transistorized) line of combo organs was introduced in '68. These organs were sexy and striking, but Farfisa's day in the sun was over. The Hammond organ was swift becoming the new sound of rock, and combo organs were being thrown into basements like so many troll dolls and tiny backpacks. The company was purchased by Bontempi, an Italian organ manufacturer. Farfisa is now the name of an intercom company. And thus it ends. So it turns out that the history of the Farfisa is nowhere near as exciting as the story of the Moog (see page 19). Though I did have an interesting scuffle with an overly uptight UCB libfary employee who wouldn't let me leave with a copy of Vintage Synthesizers because I don't have a library card. Fucking punk. Whores fo fhe Combo Organ: Belle and Sebastian. Blondie, International Noise Conspiracy, Pulp, Pink Floyd, Spiritualized. Stereolab, The B-52's, Sam Shepard and the Pharoes... and of course. Electrelane. If ya really need to know more, try www.farfisa.org or go to the library. And bring your card. »/ K** Is there anything in particular that you love about France? The pastry perhaps? Or the people? ifi| [giggles adorably] I just love it. You know the cakes, we tend to eat a lot of cakes, so you knowv-Imma [Gaze, drummer and founding member) has a sister in Paris, and her nephews as well, so it's really nice because we can go and visit them as well. Right, how do you manage long stints of touring that you've done before? Do you have any group strategies, or things you Hke doing best? Well, we've worked it out by now. We know how to make everyone get along without killing each other, because it's quite hard to be away with these three other people for a long time, but we've managed to work things out quite nicely. It's nice when we have days off, and can just go off and do stuff. So you guys leave Rennes on March 11lh, and then you start your US tour in Ausiing TX. Are you al all a fan of George Bush? [again, the darling giggle] Um, no, of course not! How do you feel about starting in Texas, have you been there before? Well, quite excited actually. I've been there once before when I was a child, but it will be completely different now, going as an adult. I'm really looking forward to it. There's so many good bands playing, and I like to travel so it's quite exciting. And you've spent some time in the US. You recorded you last album with Steve Albini in Chicago, and he's done work with people like Nirvana, The Pixies, Jon Spencer, PJ Harvey, and refused io work with Courtney Love. How was working with him? It was amazing, it was just incredible, he's just such a nice person to work with. We were there for just over three weeks, and everything is self-contained. His flat is part of the studio, and the flat where the band stays is part of the studio, it's really sort of intense working like that. He was just so nice, and you know, obviously really good at what he does... And has a lot of views on artistic freedom. Yeah, I think we were on quite similar wavelengths. Do you see that similar wavelength with your label, in terms of the same level of artistic freedom? On Too Pure? Yes, very much so. We have a lot of freedom over what we do. I think they just trust us, you know, we don't really talk about what music we're gonna make before we go make it. We sort of just hand over the record and there you go. But we do really like being on this label, it's working out really well. Thai's how it should be. You were talking about another job before, were you referring to your photojournalist stuff? Yeah, I'm a music journalist too. What's ihe question you've always wanted to be asked? Oh my god, that's a hard one. I really don't know. I know what I don't want to be asked. Please, go ahead. i||§*H Whether Stereolab were a big influence on us. The answer is definitely no. We love them, but the whole Stereolab influence has gone a little far. Someone else asked us the question once which was, "How do you feel being a woman making music."l thought that was pretty stupid. Yeah, thai seems pretty lame to me too. You're a photographer as well, and your art is on display at the Permanent Gallery in Brighton. Is there a lot of community support for you guys in Brighton? I don't really know. I think that in any city that you live and if you're in band, there are areas where you do feel really supported. Likewise, bands can be quite bitchy towards each other, which is why we don't really want to be associated with any sort of particular scene. So I would say that yeah, there is really good support here more just within our own group of friends. I guess my last inquiry would have to do with the link between your photography, the art by ihe rest of ihe girls and your music Do you feel there's a liaison between your art and you music? Perhaps your politics and music as well? Definitely. I think that with our first album Rock it to the Moon, Emma did all the artwork on that. Actually no, a couple of our friends Mina and Polly did some artwork in that too. They also contributed to the artwork in the album. Verity, Emma and I hav always been involved in the artwork and always will be. I don't think any of us would ever want someone from outside to come in and do that. I think artwork is quite important to a record, you can really make a link. -r^H^ i know that's one of ihe main reasons why I still buy records. Yeah, me too. It's just so much nicer, to have the whole artistic package. Will you be coming to our show? I will be at your show in Seattle, I'll be skipping school to drive out there so... Cool, that'll be excellent, you'll have to make sure to introduce yourself. Thanks for the interview and have a great time in Paris. Thanks to you too, cheers,, April 6"v Chop Suey Seattle: be there to hang out with me and my new best friend Mia. For lyrics, a complete listing ot their many single and EPs. andomer tun stuff, see «vww.efecfretone.com P4G30000016 '•••but I will remain;1 ow. article and photos by Jenn Wong Every so often, a person comes along with the capability to, through their music and words, touch lives and move hearts. Johnny Cash (1932-2003) was one of those people. In a city where art has become just another fashion accessory and gallery openings just another excuse to have a party, the memory of the late Johnny Cash proved to be everything Vancouver needed to finally wake up and feel. On February 14th and March 19th respectively, curators Neal Nolan and Peter Blue] along with the Misanthropy Gallery and Butter Magazine brought together the "... but i will remain" Johnny Cash Memorial Group Show. The show's name comes from the classic Highwayman title track, a 1985 collaboration between country legends Johnny Cash, Waylon Jennings, Kris Kristofferson and Willie Nelson; a song that embodies Cash's image as an outlaw and vagabond, an aspect of his character that has resonated strongly with younger and older generations alike. The original concept for the project came in mid-July 2003 when Peter Blue, co-curator and affiliate of the Misanthropy Gallery, stumbled upon a packet of 8X10 photo glossies of his favorite country legend in a dusty thrift'shop. After looking at the photos and realizing the.importance of 8X10's as artifacts of popular culture in general, he promptly purchased them and started distributing them to his friends. They in turn went to work retooling the images, drawing on them, painting on them, and scanning them into computers. And so the project was born. The first show was held at the Misanthropy Gallery on Valentine's Day 2004 and the artists were met with an unbelievable response, thanks in part to newspaper publicity but mostly through word of mouth. Hundreds of people lined up on the cold evening to enjoy the event, the tiny gallery was packed beyond comprehension and more people kept on coming, more than the gallery could possibly accommodate. Admission was free but patrons were gladly shown a donation box and gladly they gave. With the Buttless Chaps performing an entire set of Johnny Cash covers and wine and beer sold at the bar with proceeds going entirely towards the cause, the night was such a success that the curators decided to host one more show. The works featured in the project ranged from stunning photograph interpretations to paintings to installations. Sascha Yamashita, artist and one of the co-directors at the Gallery, displayed a suitcase filled with stacks and stacks of "Johnny Cash" (pictured above right) that anyone could purchase for $2.00 a piece. The concept? "How do you sell a $10,000 work of art?" The answer, of course, is to sell it piece by piece. On March 19th, 2004, the second "... but i will remain" opened it's doors at the former Dianne Ferris gallery on West 7th, sponsored in part by Butter Magazine. DJ's Chris L and MylGaylHusband started the night off and Mikey Manville treated the audience to his gorgeous, soulful acoustic melodies. With more space and an even larger roster of artists and contributors, the second Johnny Cash Memorial Group Show proved that this event wasn't just a one-time success story. With each person who walked in the door and wandered'through the space, it became more and more evident that this project, started because of a thrift shop finding, meant something more than anyone could ever realize. Nick Brown, media spokesperson for the show and co- director at the Misanthropy Gallery, told us a little bit about the origins of the project. "In the middle of the creation of the concept for this show, Johnny Cash died, and that tragic event catalyzed it for us. It went from a cool idea that was kicking around to something we strongly felt we needed to do. There was so much potential interest in the show even from the beginning, every day we were getting an overwhelming amount of phone calls and emails from people who wanted to be a part in this - Johnny Cash was a cultural icon who touched so many people, with such appeal - he was involved in so many different areas and still managed to stay so true to each individual thing and I think that's what the world was so drawn to." |||p "Personally," he goes on to say, "what I respect is that somebody could be in country music, could be really religious, really committed to this hobo lifestyle, this working- class ethic, serious about the rights of Native Americans, serious about people in jail and doing all these things and actually reaching out and touching ail these different types of people. Doing stuff with Bob Dylan in the '60s and '70s, reaching out to that generation, it made a lot of young people take country music seriously. And most of the people in this show are in their 20's, there are a few people closer to their 30's, but a lot of the younger ones didn't grow up with Johnny Cash. Over the past few years, even in the past five years or so, Johnny Cash had been having this renaissance, a lot of people have gotten really turned on to him. Most of the artists have every single album, these people are serious about Johnny Cash, he has affected them and that's what's important. And so it's a chance to pay tribute." Eventually, twenty-five artists came together locally and from across the United States to produce "... but i will remain." Well-known artists such as Shepard Fairey (Obey Giant) and Dave Kinsey took interest and submitted original pieces to the project. Oakland-based graffiti/tattoo artist Giant One helped out on the sidelines, while local favorites The Dark, Andy Dixon, Mark Delong andSascha Yamashita enthusiastically lent support and talent. And people started to take notice. The end result Was two visually stunning, heart wrenchingly touching tributes to the legacy that is Johnny Cash. But they wanted to take it a step further. On April 5th, "but I will remain..." will leave it's humble roots in Vancouver, British Columbia and take a trip across North America with stops in most major cities, bringing to life the lyrics of the song "Highwayman", a song about the transient lifestyle and hobo mentality that haunted Cash's imagaination. The idea is to take the show "home" to Tennessee and then return to Vancouver, where there will be a closing-out show at the very end of the tour. Neal Nolan, co-curator of the show, points out that the term "hobo" stands for "homeward bound" and the term couldn't be any more perfect for their mission. "It's 'homeward bound' in so many different ways for us," he says. "We're basically making a tour circle across North America. We have a few shows booked in the major cities but for the most part we are doing everything by ear, booking shows and making contacts while on the road and really living the transient lifestyle where we don't know what city we'll be driving through or which gallery we'll be setting up in the next day." As recognition of the project grew, so did the warmth of people's responses. "We were just getting the most unbelievable support from galleries and individuals from across North America," Nick told us. "Emails from people in Nashville, New York, Philadelphia, people asking "What can I do to help you out?" Neal and Peter are the ones who are actually going to be taking the show on tour and they have places to stay in every city they could possibly end up in, floors to crash on, people to make them breakfast, any little thing that they could ever need. This project is something that everyone has been really touched by in a different way than most shows, it's something that has really meant alot to us - Neal has quit his job, we've put our whole lives on hold to do this. Basically, we knew we had to do this and to do it properly, on a huge scale or just not at all, because it needed to be treated with a lot of gravity." More information about the show, a complete list of participating artists, and photos can be found at: www.misanthropygallery.com m* TOPPER. A P R I L ' 0 4 P4G30000018 TIMGANE IS SOOOO CJJIEU Throughout the history of modem pop music, certain groups and individuals have been known for the romantic and lustful attention they inspire in female fans. The Beatles, New Kids on the Block, and Tom Jones are excellent examples of this phenomenon, at the height of their fame inciting tears, hysteria, and the kind of belKiviortJjaWs^' absolutely fucking humiliating when you think back on it three years later. Other.lesser-known acts have certainly inspired such reactions'as well. (To see this interesting occurrence for yourself, observe the crowd any time The Organ plays). " Ideally, such behavior is the realm of the common fan. As informed, intelligent, and presumably impartial parties, music journaSsts shoyter not give way to such impulses. However, they do, as the following interview gives ample proof. But before you read on and find out what a geek I am (if you didn't know already), herejs-almle background... Since releasing their first EP way back inWPlTstereolab have become one of today's most well-respected, critically acclaimed, and commercially successful indie groups. Early on. they found that elusive holy grail of rock music: a sound that is at once completely unique and instantly identifiable. Swirly jazz guitars, juicy organs and synthesizers, a charming mixture of standard pop drums and hi-tech programming combine to deliver ultimate aural gratification. In contrast to the candy-land soundtrack tone of the musk:, the lyrics explore diverse and timely themes, from radical politics to the everyday ecstasies of gardening and sitting on park benches. Over the past two years, the group has dealt wrfh two events that could easily have proved cataclysmic: thgeacciaental death of vocalist and multi-instrumentalist Mary Hansen, and the divorce of principle members Tim Gane and Laetitia Sadier. Despite ftaH they have come back with Margerine EcSpse, an album that many are praising as the group's best work since 1997's Dots and Loops. I was lucky enough to speak with Tim about the band over the phone. However, I was not lucky enough to do it with any dignity. Hello? How are you? DiSCORDER: I'm great thanks, how are you? Oh, I'm alright... Are you OK? You sound exhausted. No, but I'm getting there. We've been rehearsing all day today, and so... But it's OK, that's normal for this kind of time. And you're still in England, right? So it's late at night for you as well. / Yeah, it's eleven-something, twenty to eleven. Well thank you so much for taking the time to talk to me, I reaUy/ appreciate It. Oh, it's nothing. I've been a really big Stereolab tan for years and If s realty Just an honour to speak with you. [unintelligible] Peeling like a total assj Sony, now I've probably made you feel all uncomfortable. By the way, I should remind you that this Is Tigerbeat magazine. ftoughsj No. it's OK. OK, so I guess you're about to start your tour at Ihe beginning of February, and your first tour date was at the QMU in Glasgow? No. it's actually in Stirling, a smaller one. It's one that we just added on. And you prefer to play In smaller places... There's a certain size that I don't like to go above. But it depends on the place. Much above 1200, to me, is too big. Ideally 600 - 800 is nice, and 400 is probably the best. I read somewhere on the internet, I think it talked about you playing twelve shows in a row in New York, at a small venue. Is that true? No, tne most we've ever done is lour or five. This time we're doing four. We like New York, so we like'to do that. We used to do that in San Francisco, two gigs in one. night at the Great Ame/can Music, cause we tend to stay in the towns we like a bit longer. / What are your preferred places to visit? I like the variety of all the different places... I don't like playing in Britain. I've seen it all before [laughs], it's so boring! "Oh great, we're going to Manchester again..." [laughing] But seeing other parts of the worm is always interesting, we tend to prefer the more southern"** European places, of course. Yes, certainly a lot more beautiful than North America. [laughs] No, touring North America is very specific, very unique. It's the pace where we tour the most, and where we've had our best times. It's always a pleasure to visit North America. It's such a place of extremes, England is so sedate in comparison. I guess... I'm Canadian, and architecturally it Is very similar to America. To me it doesn't seem that exciting, so many bland buildings ana just roods and roads and empty spaces... Yet, but when you trove* from the countryside into the city certtreVL don't even know how to explain it, it just changes so drastically. You can literally go to sleep in the snow, and seven or eight hours later wake up with palm trees. That has happened to us. Cactus, even. From Colorado to Arizona or somewhere. And where else can you do that? You can't do that in tne whole of the continent of Europe. Yeah, it is true that the natural extremes of North America are fascinating. And that's something I've always really appreciated rjireul Stereotab's music, the highs and lows, the creamy middles, etc. I don't know if that's really beernpur influence [laughing]. No, I didn't mean to suggest that North America was your inspiration... (don't know Aow we really come ap with these ideas anyways. How did you first realize you needed to be a musician? I would have been like, thirteen. I didn't really listen to music before (then, I don't really remember. I do recall some things from the telly and film, but I wasn't really a follower of the charts. I just got hooked into the whole post-punk music. I was tap young for punk, in '78 or j '791 began. It was a very brilliant period tor music, and I just became i obsessed with it. I was just so curious to find out things. Then after I a while you stop being a passive listener, and you want to actively involve yourself ploughing]. And so I did, I was in a band in school nl <f r o P n P P A P R 1 L Q 4 when I was fourteen. Nowadays I'm not particularly interested in being a musician. I suppose I playa guitar and if I were to write vj§i£\- something on my passport if would say "musician," but it's more ideas that I like, discoveries, exploring how ideas happen, and it happens to be in the music. It's wider, than just being a musician. Do you have any other hobbies or anything that you express that in, like gardening or sexual fetishes or whatever? [laughing] No I don't really have any hobbies, I guess music takes up a lot of time... There aren't many things I do that don't have anything to do with music. Of course I'm really into all that hi-fi stuff. But I've always been really influenced by many different areas of art and cinema, and art ideas have been as influential upon me as music ideas. So it's not really only music... ., It's kind of a way of looking at the world... I suppose I'm more directly connected to music, but it's not the only thing, that's for sure. Um, speaking of cinema, I was wondering if you have ever written a film soundtrack? No, not really, but I did just write the theme for a documentary about Bob Moog; I've done one or two small things, and there have been bits and pieces in films, but it's always been stuff that we've done before. But that's a funny question that people always ask: [puts on high-pitched eager journalist voteeVlGh.yout music is so soundtracklike, why don't you do more souriaTracks?" [laughing] And my answer is always the same: ''Well, nobody asks!" Really? We just don't get asked to do them. I find that so bizarre, because I've always just found your music to be so unified and emotionally moving that it would just be the most incredible film ever... I don't know, maybe it's just too much [laughing], maybe people like more neutral music in their films. I think it would have to be quite an experimental and amazing film. I would like to do something. We did do music for an art installation once, although it wasn't a soundtrack it was music that had to tit with a physical thing and enhance it. So it was kind of difficult to do, and I realty liked doing it. We did start doing a few things, but they never realty panned out. But its OK, i'm quite busy anyways, so I'm not terribly concerned. [laughing] No, I'm sure. Regarding the new album, I'm just going to ask you a totally horrendous question: how do you see it as a departure from your last album. What do you feel are the main differences? Well, I see it as being totally different, like a different personality. When we do records we don't try to repeat what we did before. Sometimes things hang over, ideas are dormant for a while and wake up again, and sometimes things recur across records, but normally we're trying to do something quite specific, and judge it by how close we got to the heart of something, how you expressed the idea that you had. So this record was slightly different than previous records, as it would be the first we recorded in our new studio [The Instant 0 in the Universe, located in the north of France], so there was a more practical side. I just set out to do something simple and catchy. There wasn't any attempt to create any "sound world," or any idea that would coherently fit the whole record, like on Sound-Dust, where I was going for a more blurred effect. It was just a collection of songs. Some were quite old in fact. In the end there is a kind of theme running through them, but it isn't one that 1 put in, I think it has more to do with the methodology of recording it. I don't see the records as being the same whatsoever. We're trying to do different things, and I think we do do different things. Sometimes it's difficult to convey... Not everyone makes music to always get bigger and better, to progress upwards in an escalating -manner. My inspirations can come from anywhere, and I just work on them in the world of doing music. I could be influenced by something from Minimalist art, or this or that, or stretching something, so I'm just trying to do that, I'm not trying to do the same thing as before. But then again. I suppose to casual listeners, who are particularly bothered by these things, it might sound similar. [aghast] I really didn't mean to say that it sounded similar! Oh. ftoughingfl*m aware of that, but in many interviews some people seem to... And that's fine, because 1 think it's more important to have a full expression of an idea that you're realty interested in that comes from yourself, then trying to second guess what people might or might not ike. Yeah, I guess It might be hard to be very successful at that... [laughing] Well, quite a few people are! But it's not really my interest. I have one question that's kind of related to that. I dont want to get Into your specific politics or anything, but the whole aesthetic of Stereolab, It's not esoteric per se, but It expresses a... critical consciousness? And I don't know if you agree or disagree with that... [laughing] Well that is quite a broad statement... [thinking to himself, "what the fuck is this incoherent bitch frying to say'?!''} I was just wondering how for you, as a kid or young adult, how your own critical sense of analyzing the world developed. Ummm... oh... Wefl tfeame mainly from being interested in art. Da Da, Surrealism. I suppose it's a bit trendy to say, but when I was fifteen I was quite interested in that stuff, I still am, and it told me a lot about the world. It came from music as well. I was very influenced by groups like Flamencists, the whole attitude they had towards music it being part of their life and an expression of the way they are, and I feel that our music is that. It is the expression of the personality of the people involved, it's not a stage act or piece of entertainment that's contrived. In the end it's what it is and what it isn't. But I'm not particularly interested in "politics," I've never voted, to me politics or being critical and so on is always connected with being creative, with some sort of art. I find that I can't divorce the two things. I sometimes have had arguments and discussions with people who feel that because Laetitia often has something critical to say about the world, which you could call political, that the music should be simplified to make the message more easily understood. But that's something I could never do or believe in, because to me the medium of the message and the message must exist properly, you can't simplify one to exaggerate the other, otherwise both can be misunderstood. and it becomes banal. Some things just cannot be simplified, and that's something that I think really strongly about. The way that we conduct ourselves, the way we make the music, is very much part of the message we give off. I'm not a missionary; s©*f m not interested in changing people's minds about things. I'm just doing stuff. Everything is open. That's the way I'm influenced by things, so maybe people recognize the freedom in that, or maybe not. A*lsaid before, it^tnot realty my concern whether people do or not, the songs, are just there. They exist as layers. OK, well thank you so much Tim, FN let you go now. Oh. alright then. Thank you so much, you're so talkative... Yeah. I know I am [laughing]. You're a great person to interview. Bye, have a good evening. ■ Thanks, you as well. aJ IN DSS-R UAINID HhOkRif h is Ti> my; \ The Moog synthesizer, invented by, you guessed it. Bob Moog, has had a revolutionary and lasting effect on popular music. 2004 is the 50 year anniversary of his famous invention: it was in 1954 that Bob Moog (at a mere twenty years oldl) founded the R.A. Moog company. As a teenager, Moog had built theremins with his father at home. An instrument composed of radio vacuum tubes, an antenna (which modulated the volume) and a metal loop (which controlled pitch), the theremin is played by moving one's hands in the air around it. All my Dad taught me how to do was ride a bike. At first, the R.A. Moog company was a part-time business. Bob completed his PhD while manufacturing electronic instruments with his wife in their small apartment. The theremin's eerie wailing had been popularized by its use in horror movie soundtracks in the fifties, and between 1961 and 1963, Bob Moog sold about 1000 theremin kits for $50 each. He also experimented with his own ideas, and in September 1964 presented a line of "electronic music synthesis equipment", or synthesizers, at the Audio Engineering Society Convention in New York City. He was instantly flooded with orders, and in 1965 organized a synthesizer seminar series in Trumansburg, NY. There he invited composers to experiment with the latest equipment so that the R.A. Moog company, now a full- time venture, could respond to their needs. Wendy Carlos, a multi-talented tranny from Rhode Island, is credited with popularizing Moog's invention. On her 1968 album, Switched-On Bach, Carlos utilized Moog synthesizers exclusively in her renditions of Bach's most famous works. While it appalled purists, it sold over a million copies, won three Grammies, and propelled the instrument into public consciousness. Moog's line expanded to include the Polymoog, the Multimoog, the Memorymoog, the Minimoog and the strap-on Liberation (heehee). Moog's instruments had made the leap from avant-garde electronic experimentation to mainstream music. But legal and financial trouble dogged the company, which almost went under in 1971. When Bill Waytena bought the company and re-named it Moog Music, Inc. Robert Moog lost the legal right to use his own name. He did not regain this right until 1996. ironically, the very reason Moog's synths fell out of favour in the eighties (and were supplanted by fully digital instruments from the likes of Roland and Yamaha) is the reason they have experienced such a renaissance today: fully analog circuitry that emits bellowing lows and searing tones that have never been able to be adequately modeled in the digital realm. Sure, it was always hard to keep the old Moogs in tune, setup patches using real patch cords, or lug the hefty monsters from gig to gig, but for purists it has always been about the sound, and nothing in the digital wortd can match it. Oh. and FYI: it's pronounced like "vogue." FAMOUS WHORES TO THE MOOG: Kraftwerk, Brian Eno & Robert Fripp, Orb, Air, Pink Floyd, Sun Ra, Suicide, Pariiament, Funkadeiic, Herbie Hancock and Chick Corea, The Who, The Beachboys, Stevie Wonder, The Doors, Frank Zappa and many, many P4G30000020 TWO FILM PROJECTORS & A FEEDBACK TONE: LEE RONALDO & LEAH SINGER B Y LUKE MEAT She's an expatriate of Canada who manipulates film like a DJ cuttin' up tha decks. He's a guitarist for the premiere noise-art-rawk band Sonic Youth. Ladies and gentlemen, one hand clapping against another makes a very nice sound for... Leah Singer and Lee Ranaldo! Discorder First and foremost, what is the Vancouver audience going to see at the Ridge Theatre on April 17th? Lee Ranaldo: Leah does a very unique film projection performance and I'm gonna be live onstage providing the soundtrack to it. Leah Singer: It's a variation on a performance that Lee and I have been doing since...'91 ? At this point it's a very interesting setting because it's music and film, and the film, which is my end of things, is performed on projectors that have been modified to act more like tools that can be manipulated, rather than a film projector being something that you slap some film on and then it's on automatic pilot. The units that I use have been modified so that I can adjust the film rate, slow things down, and stop things. I often compare it to DJs who scratch—in a way that's what I'm doing with film. It's very intuitive and I'm listening and watching and moving the film, going back and forth between the two projectors as a DJ would. Discorder: What images do you use? Leah: It's a very poetic and subjective sort of film, in that they are little vignettes, a lot of abstract things, but plenty of very recognizable representational things. They're almost like little tone poems or mood pieces and they're strung together much like a set list for a band. It's more really about shape than anything else; Lee and I give a shape and a tone to the performance. It's very much improvised, but because we've been doing it for so long, all the "happy accidents" - have integrated their way into the show. Discorder Lee, are you going to be reading at ail? Lee: I haven't decided which way we're going to go with it. It looked like it was going to be an instrumental piece, but there might be some readings as well. There was a point early on where it looked like I was trying to have it be a musical ensemble and invite a couple other players from out there, but the organizers preferred to keep if really minimalistic (sic) due to the size of the theatre and some other restrictions on their part so it's going to be a solo. Discorder: Some of your books have been published by Soft Skull Press. How did you hook up with them? ' Lee: Well, they were just getting off the ground as a fledgling publishing company and they asked me to be one the first things that they worked on. The publisher and editor at the time, Sander Hicks, was trying to use his enthusiasm for literature and punk rock to create this sort of punk-rock book-publishing company. At the time he was working at Kinko's copy shop so he was running all the books off the Kinko's machines, really guerilla style. He approached me about putting a book of all my stuff together, and I suppose in the back of my mind it was something I always thought I'd like to do, but I wasn't trying to do something like that, although I had published a few small things in different magazines and whatnot. It was basically through his energy and enthusiasm that I put the first collection together and I really started thinking about this stuff more in terms of writing that could be collected in books. Discorder Soft Skull published the controversial book Fortunate Son by J.H. Hatfield, which critiques George W. Bush. Have you seen the documentary "Horns and Halos" about the book's creation and release? Lee: No! I haven't seen it yet! Discorder In the wake of September 11th, has It been harder to get your books out there because you're dealing with a more subversive publisher? Lee:! don't think so. They are about to re-print Road Movies, which is the first book of mine that they did. Their situation has changed a lot since those early days. I don't really think of them as a "subversive" press at this point. I think they're an edgy press; I think they're a press that's grown enormously over the ten or twelve years that they have been in existence. At this point I think they're becoming quite well known for publishing a lot of quality literature and it's incredible to see the way they've evolved, which is really great. Discorder Leah, you are a fellow Canadian are you not? Leah: Yes I am! I am originally from Winnipeg. Discorder What was your transition from living in Winnipeg to being a film artist in New York? Leah: I studied journalism and photography at Ryerson in Toronto and I worked for the CBC for many years. Then I moved to Tokyo to break the spell of the CBC—y'know, I was very young and I was in what we would call "the velvet rut," and I didn't want to be in that situation at that age. I was always a traveller, so I lived in Tokyo, came back to Montreal, then moved to New York to study film, in the late 80's I got involved with improvising musicians doing improvised film work, before I had met Lee. At that time there were a lot of things going on during the weekends at very small spaces and venues, and lots of room for filmmakers to improvise and do film shows. This was kind of when Istarted working with these kinds of projectors and improvising with musicians. How I met Lee initially was, I curated a handmade- instrument festival at the original Knitting Factory, and I had Lee play one night. He was doing some homemade electronic mixing and he was using some video as an element to his performance so it kinda grew from that. Lee: We've been doing the film and music collaboration for quite a while now; most of the nineties we were doing that...We've done a lot of shows in Europe and sort of select shows here and there. We did the Experience Music Project over in Seattle about two years ago I think. As we were first getting to know each other in the early 90's we were just showing each other different work that we were doing and Leah was doing an awful lot of work with film and these specially modified projectors...Her whole way of working always involved players and musicians and things like that, so it seemed a natural thing for us to try. She'd preformed in New York with other people. On my part, I had a great interest in film and performing with film that's kind of branched out in recent years into a number of different directions, in another group that plays with films by Stan Brakhage—a late-coming Vancouver son in a way...I have a group called Texts of Ught that performs with Brakhage films. It just was something that we tried a couple times and it worked really good and we've been kind of expanding it, developing it ever since. Discorder What are some of your most memorable collaborations? Leah: There was a show we did in London, at the London Musician's Co-Operative, and it was in a huge East End loft. We were doing a film and video'performance, and the video part of it—they forgot to transfer my video to the PAL system. So before the show I was sent out to go get a new dub, and I got screwed up with taxis and public transport. I got back to the show and Lee had to start, I could hear his music as I was entering the courtyard, and at this perfect moment I turned on my projectors and it just sort of kicked in and the show happened. People had been there for a while, getting comfortable, drinking, sitting on the floor, and it was one of the most special gigs because it was very intimate. Everybody was so relaxed, hanging out. It was memorable in that the show was fraught with problems— equipment problems, everything under the sun—and it didn't matter, because again, the spirit of the show and what we do is just go with it. Discorder It seems you have your finger on the pulse of art, literature, and music. How do you feel that having a multidisciplinary outlook enriches your work? Lee: The way that I look at it is that if you're an artist, the medium is really subservient to what you're trying to do, and I've always been interested in working in a bunch of different mediums. I studied DiSCORDER. APRIL 04 fall together. Sometimes they are with people of a well-known stature and sometimes they're not, but it's interesting either way. Discorder Despite the thousands of times you've been interviewed, in the interview archives of SonicYouth.com, you've posted a mere three. I was proud to see that one of the chosen three was by CiTR's very own Nardwuar the Human Serviette. What was It that made you select that interview? Lee: (Laughs) Ahhh... An old friend...an old foe!!! (Laughs) Y'know, I think those were the only interviews we had in digital form when we were putting the website together. There really should be a ton more on the site, especially given how many interviews we have done across our career, and I think the idea is to eventually grow that section and include interviews from all different segments of our career. Lee: Well I think the music does, I mean I think that record has always been a bit.compromised just because it never really was able to put across the power and the theatricality that that music had. That music was really incredible. I listened to that record recently because I wrote the liner notes for the re-issue, and I think the music is just fantastic, anc there's still a way to greater mass appreciation of Glenn's work. Discorder Did the experience of writing the liner notes and hearing the remastered release bring back a lot of memories? Lee: Very much so. I mean, he's still writing and doing some really cool stuff, and yet, there's no doubt that the music he was making at that time was one of the peak periods in his career. That music was so mud about the experience of being in that room and being assaulted with that volume—a record translates only parts of it. ' Discorder The book Confusion is Next describes some of your early performances with Glenn Branca as rather "physical.'' In tact, Branca is quoted describing your convulsions on stage as "like a cockroach being stabbed by a needle." What's the worst self-inflicted injury you've ever gotten on stage? film in university and I've made a bunch of films, it's been one of the practices that I learned when I was coming into my own as attempting to be an artist and it's something I've just kept up with. . I've had a real education in American avant-garde cinema. Some aspects of what we do come out in that...I was trained as a painter and a printmaker and I was a musician sort of by hobby or whatever and the career sort of flip-flopped at some point when the music took off with Sonic Youth. I remain someone who does all these different things. I have some visual art and video work in a gallery here right now; I'm gonna show something in Britain at a bi-annual exhibition in two months' time; I have some stuff in a museum in Vienna right now; I'm working on a new book of poems right now— so all this stuff kinda comes about together in a certain way. Discorder How do you prioritize between your various interests and projects? Lee: Well, I suppose Sonic Youth takes precedence because it's the one that needs the most energy and the one that demands the most energy. I mean, there's just an awful lot of stuff we have to do as a group, so that one pretty much comes first and everything else kinda gets slid in around our schedule as a group. That said, I think for myself and actually for all the other members of the group, whenever we do have free time, we're immediately dropping ourselves into other projects that we're working on. It's kind of an ongoing thing. Discorder Jesus! How do you relax - or do you even relax? Lee: Sure, I do relax, but in a certain way working is the best relaxation. I mean, it's the most fun thing to do. I'd rather work than relax any day. jkkSi Discorder You've been involved in so many collaborations with so many different people. Are there still people out there you'd like.to collaborate with, but haven't had the opportunity yet? Lee: Well I suppose there always are...It's true I've had the luck to collaborate with a lot of different people and that's kind of an ongoing thing at this point. As your work develops different people come aboard, or different collaborations happen for different things. At this point I don't really have a "dream" person or group that I want to collaborate with anymore but things just kinda fall together... Interests lead one a certain way and you find like-minded individuals or other people who are in the same boat and different kinds of collaborations Discorder In that interview, Nardwuar describes what you're wearing by referring to you as the "fellow wearing Desert-Storm-ish clothes". How would you describe your personal style? Lee: I dunno, I like to dress pretty casually and make the clothes my own. I'm not really a big fashion hound, although there are some designers whose clothes I really like a lot. I guess I would say I wear a lot of blue jeans...Pretty normal. Discorder What's on your turntable right now? Lee: What's on the turntable right now? A lot different work projects for one thing. 1 was listening to the Fiery Furnaces today; I really like that record. I heard a lot of people writing about that thing, so that one is pretty cool. What else? Y'know, I listen to such a wide variety of stuff from really old music to really current music. The new Liars album has really been sort of rocking my world. Discorder: Are there any albums or styles of music you used to like that you've discovered you can't stand anymore? Lee: Well, it happens once in a while. You come across an old record that really meant a lot to you at one point in time and then for one reason or another it doesn't have the same appeal anymore, shall we say. That happens; people's tastes change. At the same time though, there's records that you can listen to for 20-30 years and never get tired of. So there's one of those for every one that you put on and say "gee I don't need to listen to this again." Discorder How old is your son Cody now? What kinds of music does he listen to? Lee: Cody is eighteen; he's a college freshman. He listens to a lot of different stuff. He likes The Liars and stuff like that. He also listens to a fair amount-of hip hop as well. He does a lot of turntable work. Discorder Is there a "guilty pleasure" top-40 song you bob your head to? Lee: Does that Outkast song count? There probably is some more. I'd have to think about it. There's always guilty-pleasure pop songs out there. M&&/1 Discorder The Ascension, by Glenn Branca, one of the first albums you ever played on, was re-released last summer. How do you feel it stands the test of time? Lee: (laughs) I dunno; last year I almost took Thurston's eye out in a nio little collision we had together...Worst self-inflicted? Usually our hands will get all torn up and bloody just from what we do with the guitars. We often come offstage with fingernails ripped off...It doesn't happen that often. We can take a bit of a beating. Discorder Speaking of your early days, are there any bootlegs floating around of recordings by your first band, Flucts? If there are any recordings out there, how would you feel about having them released' Lee: No. There are no official recordings by the Flucts that are out there. I have a bunch of stuff. At one point there was talk of releasing a record similar to that Coachmen [Thurston Moore's first band] record that Thurston did, we just never Ibllowed through on it. I think there's a good single album's worth of stuff to be released. We had a bunch of originals that were quite cool, very much in that New Wave style of the day. But there were definitely some really nice songs. Discorder On the topic of fledgling bands... How many demos do you get given by aspiring musicians each time you tour? Lee: Whether we're on tour or not, we just get floods of 'em! We listen to 'em when we can, or if there is something that seems interesting about 'em. We kinda lean more to the ones that look kinda homemade than the ones that come all slickly packaged. Discorder: On a final note, what's your favourite joke? Leah: How do you make, gold soup? Discorder How? Leah: You need 14 "carrots." wili? Discorder. How about you, Lee? Lee: Two circus clowns are walking along the fairgrounds and one says to the other, "You know, I'm going out with the two-headed tady." The other says, "Is she pretty?" and Bozo says back to him, "Well, yes and no, Leah Singer and Lee Ranaldo, will be performing at the Ridge Theatre on April JT*. P4G30000022 AIR GUITAR FOR EVERYBODY: IN DEFENSE OF THE DARKNESS By Kate Hay When I moved over here from the UK in December, The Darkness had definitely made their mark on the British music scene. They'd just finished a sold out tour, reached number one in the commercial charts and had just about every youth singing in a ridiculously high voice and practicing air guitar to their debut album Permission to Land. This made me happy. Recently though, it has me happier to watch random Canadians screech along to "get your hands off my woman mother f**cker" in various bars in downtown; proving to me that The Darkness have managed to provoke an endearing response on this side of the water too. However, something I have noticed about the Darkness's music in both the UK and the land of the "eh" is that, disappointingly, both countries have failed to avoid the seemingly timeless argument of the 'old versus the rival'. In both countries, most critics seem to agree that musically (or lyrically and aesthetically af least,) the Darkness would be placed in the same category as glam rock legends such as "Kiss" and vrfQueen". However, the issue that seems to be on the revolving table is whether or not this is a good thing for the music industry. As you have guessed, I am a fan of The Darkness and I see the their music as bringing back a style that has been long lost in fdvor of the manufactured pop music, electronic beats and hip hop that now dominates the charts. The rocked-out, lead-guitar-heavy music and meaningless lyrics of The Darkness provide ample opportunity for the youth to practice air guitar to something that isn't as 'old' as Jimi Hendrix. In fact, their debut album.arguably brings the fun back into a music scene that is turning dangerously serious. Sing along lyrics, cheesy, yet effective, guitar fifty and spiteful drums all combine to reunite any dancer with their imaginary instruments. Great fun and so what if it has been done before? Oooooo - controversial? I can almost see the English cyhifcs with their noses high in theair at this point (the Canadians are too laid back to say anything). These cynics, or so I hear, view The Darkness as a 'complete rip off of Queen, Kiss and other Glam rock legends of time past. They seem to have evoked the same mood as a bad cover version of a classic song reaching the number one spot. To the oldies, and I say this mainly in jest, the idea of a re-hash that has been enjoyed before provokes a rowdy response in defense of Freddie and his chums. It seems "that living through, and experiencing, the age of "glam rock" turns a different spin on the 'not so new' musical style of The Darkness. And before you think that I have dumped the original style gurus quicker than a bad lover, let me just say that the success of The Darkness doesn't mean that legends such as Queen and Kiss can't still be enjoyed just as much. I know that I would still put Kiss on at a party, and admittedly, I still air guitar pretty well in my room to a few Queen classics. But, and here comes the point of this rambling, I still think The Darkness are still well worth a non-critical listening ear, because, for me, they are bringing back something that was good, is fun and definitely deserves to be enjoyed by a younger generation too. So, I say, go forth, sing along to The Darkness as high and - as screechy as you can, in the street, in your car, in the bar I'm in; but for goodness sake, don't throw away your old glam rock records for that is what made the Darkness what they are a welcome return from the Dark. FACTS YOU DIDN'T KNOW ABOUT JOHNNY CASH, YOU STUPID HIPSTER He was picking cotton by age five on the farm his family received as part of FDR's New Deal in 1935. Other programs included shutting down all the banks, and only allowing those that passed inspection to re-open. Canada has never done this. It might be worth trying. As of the 2000 US Census, his hometown of Kingsland, Arkansas contained 449 people, of whom 62.14% are white and 35.41% Black. Males have a median income of $26,667 versus $16,250 for females. President Bush released the following statement when Cash died: "Johnny Cash was a music legend and American icon whose career spanned decades and genres. His resonant voice and human compassion reached the hearts and souls of generations, and he will be missed. Laura joins me in sending our thoughts and prayers to his family." Wow, I guess hipsters and President Bush have more in common than we thought. Cash's favorite piece of Scripture was Romans 8:13, which says, "For if you live according to the sinful nature, you will die; but if by the Spirit you put to death the. misdeeds of the body, you will (ve...." llfeS Johnny Cash wore black a lot, a fact you probably know already. According to him, "I decided to wear a black shirt and pants and see if I could get by with it. I did and I've worn black clothes ever since." Now, dear hipster, why do you wear so much black? We invite you to take this opportunity for serious self-examination. Pyschedelic Airwaves Tuesdays 3-6 am with DJ Chris Psychedelic and goa trance from around the world only on CiTR 101.9fm E s p a nfo l| Martes 8-1 Opm 101.9FM " S a I a r I o M i n i m o " pl <^r r,p nFP APR! r04 H^ ,-#p St|jp City Making Music Your Business: A Guide for Young Musicians By Dave Ellefson Miller Freeman Books I know what you're thinking: Megadeth's Dave Ellefson is here to rescue us and tel! us how to be awesome rock stars. Not quite. First, he insists that there's no master plan (godddmn it!). However, he does give a lot of useful insider tips on avoiding some of the pitfalls that surround the music business. There's nothing like these figures from the section on royalties to scare you back to the Taco Time: 68 cents per CD. For the whole group. And that's after theJecord company recoups their advance in '(addition to their cut. And that's not the only fiscal bad news. This itnot to say that Ellefson is trying to scare you out of a musical career to eliminate his future competition or anything. He just presents a sobering I reality check for'anyone going in. I have seen some bad figures before, but many books and other sources wrap it up in industry jargon, whereas Ellefson gives it to the reader straight. He also gives practical advice about different people your band will need to hire eventually to build your promotion/management/legal team, advice on not killing your bandmates while touring in your crappy old van, indie versus major labels, copyrights, and more. All in all, Ellefson has written a very useful little handbook to cover most stages of a musical career. Drake ftjirjj). <je{f % luforaBSty'i* Strip City: A Slipper's Farwell Journey Across America By Lily Burana Talk Miramax Books When journalist Lily Burana accepted her boyfriend's marriage proposal, she knew that she had a few things to come to terms with first. One of these was the years that she had spent stripping in New York and San Francisco. Still unsure of her feelings about the job, she embarked on a one-year, journey, stripping her way across America. The resulting memoir is fascinating. I read it one day, totally sucked in by her flowing narrative and superior eye for detail. That night, I dreamed about being a dancing girl. Not because it's glorified - Burana's assessment of her own "stripper damage" is unflinching - but because the world she creates is so complete, and her inner struggle so compelling. She's an understated writer it's not until the end of this memoir that you realize how skillfully she has navigated her risque subject matter and first-person confessional voice. Her prose sparks with excellent one-liners (like when she describes Nomi Malone of the movie Showgirls as a "googly-eyed sex whippet"). Strip City is brave, funny, and honest. It's also romantic in a very genuine way that re-creates the sometimes-faulty connections between real people. Neither a defense nor an attack, the book recounts Burana's conflicted vision of striptease in eloquent terms: "I know, and I've always known, that in the business of stripping the money is fast. What I've come to realize is that fast money doesn't equal easy money, and the difference between the two is not to be underestimated." KatSiddle A Stripperfpire^ Journey Across America I|j|"Burana EAST AREA Rock stars use the library, posers go to Chapters. finding joy is continued on page 33 J P4G30000024 British Sea Power Kaito UK February 23 Richard's on Richards The Pixies are back together and are gonna play here soon. Oh hooray. I accepted that they were over. How can I be excited about their show when I now have British Sea Power? It's not very often that I see a band that captures .ar^fcspires me with their energy and creativity. British Sea Power came on stage amid foliage and plastic birds, wearing military-ish short trousers with long socks pulled over top. They instantly perked up the crowd with "Fear of Drowning". Keyboardist/ drummer Eamon alternated a tin helmet with a plastic one while his body practically convulsed and his right eye twitched. Singer Yah seemed distracted by the owl behind him at times and liked to sing to the side of him. Before this show, I was not incredibly excited about British Sea Power's songs but found they were growing on me, like The Pixies once did, perhaps because they have a familiar comfort to them. The insane "Apologies to Insect Life" did not seem like it should be by BSP as it did not seem to fit their relaxing peculiarity. This was the second song they played and I instantly realized that it could only be their song! Their nice songs were actually just waiting to jitter with craziness! "Remember Me" became even more memorable and people in the crowd actually started to dance. Anyway, this show was for you if you enjoy thrashing branches, guitar dropping, piggy-backing, headstands, one-foot hopping, somersaulting, switching instruments and jumping jacks... as most evidenced by closers "Lately" and "Rock in A". Wow! It was a finale somewhere in between Division of Laura Lee and Trail of Dead. Oh and how can I not mention opening act, Kaito UK? I could have left completely enthralled and satisfied after these Brits screeched and wailed their way through 10 songs. I knew they would be great, but I did not expect them to be so captivating! They opened with "Go" and my head bobbed while the rest of me was stuck in an awe-struck trance. Dave screeched on his guitar like it was trying to escape him and at times it looked like he was trying to start a gas lawnmower! Nikki and Gemma's shrill harmonies and crazy, spastic fuzzy chords complimented each other perfectly. They ended with "Julian" just as it seemed all control had to be lost... I left this show with messy hair (I got hit by a flying branch) and a giddy grin on my face. What more do I really need to say? Natalie Vermeer Super Furry Animals February 24 Richard's on Richards Have you ever had a friend \ who was always trying new and exciting things and always succeeding brilliantly at them? He or she was the kind of person who made you feel lucky to have him as a friend. Well, either that, or he made you want to beat him severely. Regardless, if bands could be described metaphorically as friends, then Super Furry Animals, and their blue tanks, Welsh-language albums, and profanity-laced charting singles, would fit that aforementioned description perfectly. Quite a shame then, that the band was not fully capable of capturing their wild eclecticism and adventurousness during their show last month at Richard's on Richards. The show started well enough. The Super Furries began the show by infusing their peppier numbers with equal doses of energy and humour. Singer Gruff Rhys even sported an enlarged Power Rangers helmet during the opening salvo, "Slow Life." The band also managed to get the sold-out Richards crowd jumping to the sweet melodic blasts of newer songs like "Rings Around the World," "Golden Retriever," and "Liberty Belle." Also enhancing the performance was a large screen behind the band which played glossy and thoroughly entertaining videos (ah, the perks of signing to a major label). Best of these was "Rings," which featured power line towers becoming animate and roaming the earth. It was after this opening rush that the band made the fatal mistake of playing several slower-tempo songs consecutively. Though, individually, songs like "Hello Sunshine," "Run! Christian, Run!" and "Piccolo Snare" . were perfectly performed and unassailably gorgeous, the band's song order sapped all the enthusiasm from the previously-pogoing audience. Though the band slowly won back the crowd with the salsa- dance of "Juxtaposed With U" and the rock of "Herman Loves Pauline," and "Out of Control," the crowd didn't fully wake up until the four- songs-in-one hootenanny of "Receptacle for the Respectable." With the crowd revived from its stupor, the Furries unleashed their show-stopping finale: the Steely Dan-sampling ditty "The Man Don't Give a Fuck." Preceded by video flashing the words "All governments are liars and murderers" and images of George W. Bush and Tony Blair, the band tore through this amalgam of dance, punk, rock, and pop with reckless abandon. From the balcony to the dance floor, the audience shrieked and roared their approval. After a brief interlude, the band returned to the stage, decked out as big hairy sasquatches (or super furry animals), and finished the rousing song. Unfortunate then, that the rest of the set was not better executed; but hey, I'm sure even your most creative and successful friends have off days from time to time. Ne/7 Braun Pedro the Lion Esther Drang P:ano March 06 Richard's on Richards By the time I arrived at Richard's the opening band was already half way into • their set. I saw my friend Jill who commented, "I thought P:ano was a mellow band." What?! That's P:ano on stage? Singing these happy bouncy songs? Even getting the crowd dancing! I was definitely surprised, but I liked what I saw. Ben Lai As for me, I arrived at Richard's just as Pedro the Lion was beginning to play. This show was exactly what any Pedro the Lion fan (or anyone who has ever seen Pedro the Lion live) would anticipate. David Bazan and the band played songs from all of their old albums, and introduced the crowd to several songs from the new album, Achilles Heel. After every few songs, David Bazan would take a moment to answer questions, responding with his usual humble and honest yet witty and sarcastic comments. There's not much to really say about the music itself; it sounded great, it was filled with as much emotion as one would expect from a Jade Tree band, but it was definitely the same as any other Pedro the Lion show ever. The fans were happy for the most part, wailing their lungs out like caged maniacs. I, on the other hand, was filled with bitterness after the band left without playing "I Am Always the One Who Calls," but hey, do they EVER play it? Fortunately, they didn't show up late this time. Kimberley Day Pedro the Lion served as a strong finish Week Of Jesus. I'd begun it with the 12-minute long flogging and gratuitous Satan-screaming-in-hell-after- Christ-redeems-the-world scene in Mel Gibson's terrible epic monsterpiece. Passion of the Christ. But, it ended on a high note, precisely six, npt three, days later, with Pedro the Lion and-their sweet THE SUPER FURRY ANIMALS PHOTOS GALIN MARSDEN STILL THE SUPER FURRY ANIMALS YEP, THE SUPER FURRY ANIMALS DISCORDER A P R I L' 0 4 rapture. I'd gone to see P:ano, but ridiculously, they went on at the ungodly hour of seven fucking thirty! God, how I hate Richard's. Graeme Worthy I thought Discorder contributor Ester Whang was performing. Imagine my horror when I saw in her place a trio of sad sack plodders and grabbers from Wasington state. But they were quite haunting, performing some well written songs for an attentive crowd. They played in front of a screen that had some pretty trippy images, A nice experience all around, Yessiree. Chris-A-Riffic Blonde Redhead Secret Machines March 26 Commodore Ballroom I'm almost certain that if you were at the Commodore Ballroom the last time Blonde Redhead played, you were most definitely there for this show. Last summer, the band blew absolutely everyone away with complex music, a good melody, and fantastic, ear-piercing wailing. A level of intensity was achieved ' last time that can never be matched; evidently, not even by another Blonde Redhead show. Dallas, Texas' Secret Machines started off the night, and were quite a change from last year's ambient High Tone. The three band members played their hearts out, with the mood set by eerie, on-stage lighting. Playing songs from their new album— released only three days prior to the show—Secret Machines/., got the crowd dancing (well, at least some of the crowd... this IS Vancouver, after all) to their easy-to-appreciate catchy pop rock. The best part of their set was probably when the guitarist sat at the keyboard, guitar in hand. The worst part of their set was that he didn't play both at the same time. But hey, not every band can be Oneida. As for Blonde Redhead, is it just me or have they 'fey* mellowed out significantly in the past year? Not that they were necessarily too crazy to begin with, but wow...their set sounded alright, but wasn't nearly as engaging as one would have hoped. The band played many, many tracks from their latest release. Misery is a Butterfly, and unfortunately not enough from their past releases. They looked so good, but sounded so dull. All in all, it was a good show, it is Blonde Redhead after all, but I'm sure that there were many a fan wishing he hadn't shelled out $28.00 to see a show as good as the one from last summer. I suppose the biggest mistake of all was for anyone to go in expecting too much, but c'mon, twins! Get it together! Kimberley Day Stink Mitt Screamclub March 25th Sonar Weeks of anticipation (and belting out their raunchy lyrics in inappropriate situations) led up to this show, the first by local hip-hop hoes Stinkmitt in several months. They were joined by Olympia's Screamclub, duo MC's (and girlfriends) Cindy Wonderful and Sarah Adorable. Solid skills backed upraucous on-stage antics, and several backup dancers contributed to a stage show that was funny, energetic and entertaining. Dancers wore matching reworked 80's aerobics gear, and much to our delight, underwear was optional. The crowd was treated to occasional glimpses of lovely furry puss throughout the evening. Politics are a key element of Screamclub's message. In between songs Cindy Wonder- . ful ranted about George W. Bitch, and during a song about boobs a back-up dancer handed out zines about positive body image. All in all, their show was great in itself, and a perfect precursor to Stinkmitt. We could barely contain our excitement as Jenni Craige, Betti Forde and Dr. Do This took the stage. They opened with "Jabba the Slut," a new tune that will be released on 12" next month. This .set the tone, and the bitches proceeded to get down and dirty for the rest of the night, stalking the stage like cougars on the prow). The classic "Biker Shorts" was particularly memorable, as a hot dyke and cute straight boy, clad in the sexy spandex garments, joined Jenni and Betti onstage. Over the past two weeks, a negative Georgia Strait review has incited the ire of Stinkmitt fans. A certain columnist slagged the group . tor their lyrical style, alleging that their ryhmes merely invert misogyny, rather than dismantling it. Well honey, tell that to their predominantly lesbian and feminist audience. Did you ever consider that the girls are just out to have a good time? Femirifsm is fun, and Stinkmitt. Ore living proof. (Note: This is the same columnist who declared that 50-Cent is the future of hip-hop, displaying an obviousjy skewed view of the music world.) The evening ended with DJ's MylGayiHusband and Highstrung spinning tunes that had us shaking our booties until the club closed. Joined by Screamclub's backup dancers and two incredibly hot boys, we danced until we were dizzy, sweaty, and thoroughly exhausted. Fewer crowd members joined in the good times than the excellent DJ's deserved, maintaining Vancouver's well-deserved tight-ass reputation. Hopefully Stinkmitt will carry on with a long and illustrious career, and bring a little more sluttiness into this beautiful, if uptight, city of ours. Susy and Sasha The Last Picture Show Vague/Nerve Magazine March 13 151 W. Hastings My posse walked up the dark, narrow staircase to the sweet, sweet sounds of DJ Kamikazio spinning first Stereolab, then David Bowie. This art show/gig, co-hosted by the Vague (The Vancouver Art Gang] and Nerve Magazine was packed with hipsters of every stripe, representing both indie rock and art school crowds. The vast space itself was fascinating, with exposed pine beams, antique stained glass windows, and airy ceilings. The character-filled environment complemented the art displayed, giving the show a warmer, more accessible feel than that of ubiquitous "blank white wall" galleries. Certain pieces stood out in particular, namely Nicholas Pitt man's large wood panel painting, depicting a tech- nicolbur-striped bear climbing off the board to menace the viewer. To the artist's chagrin, his intricate striped/textured technique led many viewers to see a tiger rather than a bear, but whatever, Nick, tigers are sweet! Charlie Roberts' epic oil painting stretched along several feet of gallery space, depicting a complex post- apocalyptic scene that drew a steady crowd of viewers to examine it in close detail. S.T.R.E.E.T.S. The Gung Hos, and Chocobot rocked the house, as per usual, and my careful observation revealed the the crowd looked at the art as well as drank. I think Vancouver much to look forward to from the Vague, a recently-formed artist-run collective. Not least of which, organized sporting events in public places. The premiere event, "Capture the Flag at the VAG," had one rocky moment when CiTR DJ Rob Brownridge ("Please Rock the Door", Thursdays 6-8 AM] knocked over a toddler in a fit of overenthusiasm. But what would art be without overzeal- ousness? And team sports for ■ that matter? Susy Webb The Additive Method Giant March 13 misanthropy gallery The celebrated Oakland artist drew a diverse crowd, including graft kids, hipsters, and serious art buyers. It was interesting to observe the slightly older, more sedately attired buyers threading their way through the crowd, examining Giant's ink drawings with careful eyes, and I was pleased to return to the gallery the next day and see little neon "sold" stickers adorning almost every piece. Undoubtedly, Giant's precise, flawlessly executed neo-graffiti / neo-tattoo artworks will be stunning additions to Gastown lofts and Yaletown condos throughout the city. The show was indicative of increasing ambition on the part of the misanthropy gallery, which will be celebrating it's one year anniversary next month. While continuing to focus on promoting local talent, misanthropy is in the position (both in regards to finances and name recognition) to attract big-name artists such as Giant. Nonetheless, as evidenced by the explosion of throw-ups that appeared around the gallery that night, we needn't worry that the gallery will be leaving it's street roots behind. Susy Webb Liz Phair, she gets roasted by 'the media' all the time. Give her a break. Galin Marsden photo These are the shows that you must go see, in order to feel whole: Constantines The Brickyard April 04 (International) Noise Conspiracy Commodore Ballroom April 12 P4G30000026 G3 G3 Live: Rockin' In the Free World (Epic) Remember watching VidepHrts oh CBC and getting all excited when the new David Lee Roth video would come on? Remember getting even more excited when thfejjuitarist would start playing both necks on that crazy heart-shaped guitar?3;|hat guitarist's name was Steve Vai, and every year, he aha> fellow guitar-wanker Joe Satriani go out on their "G3" tour with a special guest (Yngwie Malmsteen this time). This is the result, and I'm willing to bet that a Y chromosome is required for full enjoyment of this album. Matthew Gruman Jim Byrnes Fresh Horses (Black Hen Music) Like all good blues records. Fresh Horses feels like home. By collaborating with fellow Vancouverites Steve Dawson and Jesse Zubot (of Zubot & Dawson fame), Byrnes has put together an album that those whose influence he wears on his sleeve would be proud of. A combination of originals, covers (ranging from Muddy Waters to Neil Young) and standards. Fresh Horses remembers a time when passion actually mattered in music. Matthew Gruman The Butchies make yr life (Yep Roc) Did someone stick a Lillix CD in my Butchies' jewel case? I'm confused. The cover art is great: a close-up of the shattered glass front of a gum-ball machine. No cleavage or midriffs or nothin'. But the songs? Let's just say that make yr life ain't smashing any musical barriers. Four albums into the game, the Butchies' current take on girl-group pop is listenable, but disappointingly generic. Lyrically and musically, there's little here to distinguish the trio from the legions of women working fhe pop radio circuit. And they didn't even enlist the Matrix (I checked the liner notes). Actually, by working for a discount rate, they could prqbably give Avril's songwriting team a run for their money, at least for a year or two. Seriously, though: kudos fo anyone who doesn't feel the need to show their tits. Now if they could just sound as interesting as they look... Kat Siddle The Ukrainians Istoriya (The Best of the Ukranlans) (Zirka Records) On a dark and stormy night in the late '80s, a group of mad indie scientists called The Wedding Present brought a strange creature to life. Half rock 'n' roll, half traditional Ukrainian folk, this unlikely beast grew and grew until it escaped captivity. It roamed the world, spawning album after frenzied album. ' Galled simply "The Ukrainians," it was too weird to be accepted, but too much fun to die. It's a true story, really. But you don't have to take my word on it - now you can find out for yourself, with the brand new best-of album. Go on, take a risk for oncein your life. You know that all that synth-pop is rotting your brain and giving you lung cancer. The Ukrainian's original songs are energy-filled and appealing beyond the obvious novelty. And their covers of The Smiths, the Sex Pistols, and the Velvet Underground? Well they've just gotta be heard to be believed. Kat Siddle Various Artists Dig Your Roots: Spoken Word Dig Your Roots: Electronic Dance (NCRA/Dig Your Roots) These CDs are both ripe, hopeful, independent, little Canadian creations brought to us by the National Campus and Community Radio Association that represent campus, community, and indigenous radio stations across the country, including yours truly, CiTR.. "But is tha music dope, J-Dog?!" I hear you saying. In a word: "Yes, you bet your indie-rock- ass it is!" The spoken word CD is good, but I gotta ask—where is the *$#@ingVANCOUVER talent??? There are some slick little vignettes on this disk along with a smattering of horse shit. But the crap is not rampant and mostly hear -the beginning fYou taking notes? We're talking "skip" button here). The thing is that as sweet as this shit may be, if you're into this at all you'll go to Thundering Word Heard or Cafe Deux Soleils' poetry slam, or peep the female-driven Coastal Tongues project, cause this stuff is meant to be heard live! Check out the 2000 National Poetry Slam champ Shane Koyczan; go see Vancouver's best kept, secret, Skeena Reece; give love to the soulful Tanya Evanson, and many others. Among the things discussed on this Vancouver- less disk are: race and gander identity politics; memory; sex and joy, compromise and resistance; and a little pretentious bullshit. too! So don't be a bastard, cop this short disk (40 minutes) of people bearing their guts on plastic — or better yet, go see some of the live shit that is all over Van City! As for the Electronica disk, I don't listen to techno. All of the tracks could have used more rapping and less beeping, in my opinion. P.S. Why are there so many goddamned people from fucking Winnipeg on these CDS? I mean. The Peg?! Come on... Jordan Sondre Lerche Two Way Monologues (Virgin) Just 21 and writing English pop ballads for us mass-market consumers from way across the Atlantic, Norway's Sondre Lerche still needs a bit of an introduction. Two Way Monologues is' a remarkable follow-up to his 2001 commercial debut, Faces Down. From the feedback I've gotten, it's one of those albums you're going spin until it sucks or you're going forget you ever bought - a love/apathy relationship. For that kind of variety of reactions, it's at least worth listening, to at the record store. The young Lerche possesses a certain duality of character : on one channel he's got that chill, limited & optimistic perspective that is so characteristic of youth, and on ' the other side he comes across as a confident, mature professional with an appreciation for a variety of sounds. Lap guitars, bongos, and wind instruments, among others, blend to together to paint this chamber-pop experiment with Lerche's dynamic character. The Norwegian musician shows an appreciation for Nick Drake vocal styling, earlier Van Morrison songwriting and a bit of an upbeat Beach Boys fee! on tracks like "Two Way Monologues" and "On The Tower." With lots of growing knowledge for song structures and chord structures, this guy does merit the critics' comparisons of his sound to great pop artists like Burt Bacarach. Maybe I'm anxious for summer, but I've bought into this groove and plan on checking him out live in May. Critically, where his voice sounds lacking in some spots in the record I've been assured that he's got a commanding stage presence. My eyes will be on Norway for a while as I expect great things from Sondre Lerche. The verdict: worth forfeiting your hard-earned hour's worth of salary to Richard Branson with a smile. , Calen Fog Hummer (Ninja Tune) Hummerts the first solo effort from Andrew Broder, a 22-year- old scenester prodigy of sorts from the Twin Cities. The album fuses jazz, hiphop, pop and electronic influences, reflecting Broder's diverse roots as a teenage punk-rocker, hiphop DJ, witty writer in graff zine LSD, and current work as turntablist/ guitarist/keyboard player with jazz-pop act, cropduster. This boy keeps himself busy, and to good purpose. Broder's massive range of skills and abilities come together on this album, resulting in an original and odd pop/jazz sound, tempered with computer bleeps, violins, scratching, and all other sorts of funky shit. At times the album is reminiscent of the Flaming Lips, and a bit closer to home, Broder's whispered, restrained vocal style calls to mind p:ano's Nick Krgovich. It is a bizarre album but a good one, and with Broder's wide range of influences a surprisingly good fit for the Ninja Tune label. Susy Webb Dead Kennedys live at the Deaf Club (Manifesto Records) 'MM I am sorry I have to be the whistle blower yet again. I am deeply embarrassed by the poor quality of their new Live at the Deaf Club CD. I* could have been a good album. But in my opinion the sound quality and remix are so lame it's not even as good as the versions on "Give Me Convenience or Give Me Death." And those mixes are almost 20 years old. If they really "spent the better part of a year" on this, I wonder what they were really doing most of the time. I don't think the artwork is as boring as Mutiny on the Bay. but it doesn't really rock my world either. To me it's a dumbed-down version of the good stuff Winston Smith and I made, but now it seems deliberately designed not to ■ offend anyone. Sad. I relayed my concerns to East Bay Ray, but as usual I never heard back. I have also been confronted several times at shows by people feeling ripped off by the Making of In God We Trust Inc. DVD. They said they felt especially burned by only 22 minutes of content, and that the karaoke section was as stupid as the elves (yes, elves) on the cover. Please, folks, I had nothing to do with this! Like the fake Dead Kennedys "reunion" tours. I did not authorize either of these projects and was not allowed any meaningful input at all. I can't double-check the 22 minutes or whatever because I am not allowed to possess the MVD releases unless I buy them from a store. I have never received copies, or even a contract, from Ray & Co. at all. Nor am I allowed to see all the books. In 1998 the other ex- Dead Kennedy's filed a vicious lawsuit against me stemming from a dispute that got ugly when I opposed putting "Holiday in Cambodia" in a Levi's Dockers TV commercial. Unfortunately, their lawsuit is still going on. I maintain my innocence, and am sickened by what they have done' to exploit Dead Kennedys once-good name and legacy since. I would like to go into much deeper detail about all this, but our attorneys have asked me not to. Let's just say it is far from over, uglier than ever, with no end in sight. So please be aware of the mentality behind all current Dead Kennedysreleases, and where the money is really going. Jello Biafra El-P High Wafer (Mark) (Thirsty Ear) This CD is a nice little treat for all you El-P obsessed collectors. The concept, of this record is exciting: pitting the biggest underground hiphop producer from Brooklyn against an ensemble of some of the best avant-garde jazz musicians -jji'New York City. The outcome? It's good, but not spectacular. I used to go to some avant-garde jazz shows in NYC but I never got •totally into the scene. Truthfully, some of it was beyond my musical vocabulary, although I dug the avant-garde musicians' consistently perfect effort to pull off a kind of jazz music that is challenging, cerebrally interesting, and original: words that also describe El-P's production style. The first four tracks feature a live jam session of the musicians. This is the best part about the album. Track 04 "Get Modal" is perhaps my favorite song of the album because I can really hear El-P's influence on the drummer. He gets the drummer to do this heavy hiphop drum pattern that is reminiscent of the patterns heard in nearly all his hiphop work. Tracks five through seven are where El-P becomes more hands -on, using his sampler or Pro-Tools to do a more sample- heavy production, . featuring re-worked loops and melodies from the jam sessions. Given the plethora of material that El-P had to choose from, it's not entirely surprising that the beats made by j|*P did not live up to the incredible material of the earlier tracks. I don't really think these last three songs work as well, but I would be disappointed if I didn't get to hear these El-P sample tracks. In contrast, they make the first four non-sample tracks stand out more because I appreciate the organic quality of an actual band. Frank Liao John Frusciante Shadows Collide With People (Warner) Fennesz uVe fn Japan (Headz) These CD's are extremely complementary (hence the double review). Both are avant- garde experiments, featuring the spatial voids too often get neglected in recorded audio , yet they appeal to much different audiences. Red Hot Chill Peppers guitarist John Frusciante is generally content working iip-. classic song structures that reflect his interest in Beatles-era pop and prog rock, bringing, bands like Van der Graaf Generator and the Beach Boys to mind. Both albums, however, feature intense moments of swirling, transient sound. Fennesz, a forceful name in the laptop music scene, puts out an amazing live album, setting the standard for other artists in that scene. Unfortunately Fennesz, like his contemporary. Pita, aren't well received over here in the gray havens. However you can find both records and hear them for yourselves at the indie music stores.around town. "Carvel," the opening track from Shadows Collide with People, a collaboration with former Bicycle Thief Josh Klinghoffer, features musicians like Flea, Chad Smith and the Mars Volta's Omar Rodriguez, is the perfect balance between experiment and Structure. John's voice has certainly gained confidence, especially in his own songwriting Since 2001 's To Record Only Water For Ten Days. Inspiring bands like Kraftwerk, the Talking Heads and Tears for Fears represent the eighties nicely. On Live in Japan, Fennesz reaches into the hard drive and pulls out samples from past albums like Endless Summer and remixes from Plus Forty Seven Degrees 56'37" Minus Sixteen Degrees 5VQ8". If you're looking for sound to improve to your summer experience- whether it's traveling to Europe or landscaping-this pair is my suggestion. Calen The Northern Pikes It's a Good life (Sextant) This album marks the return of Jay Semko, reuniting fhe Northern Pikes and completing their first new album in years. Apparently. All I know is that the Northern Pikes are "the second most important music from Saskatchewan, after Joni Mitchell" (don't ask me where I heard that, 'cuz I couldn't tell you), and that they've been around since the '80s. I haven't heard their older material (apologies to all fans), but "It's a Good Life" almost sounds like it should be an old indie rock Treble Charger album, and for that I hate it. The songs have some edge (lyrically and musically) though, and are catchy enough that patriotic fans of Can-Rock might want to look into this. What more can I say? Soren Bros. Preston School of Industry Monsoon (Matador) This record simply furthers the view that it was Stephen Malkmus who made Pavement PISCOROFR, A P R \ I' Q * great. There isn't even a fair comparison that can be made between this (the second album headed by guitarist Scott Kannberg since Pavement's break-up) and Pig Lib, Stephen Malkmus's new album with The Jicks. Where Malkmus continues to search out new musical ground and push his own songwriting and lyrical skills as far as possible, Monsoon feels like the work of someone who has all but given up, recording something without any defining features at all. Bland be thy name. Monsoon! Normally this is where I might suggest the album for hardcore fans in search of Pavement B-Sides, but honestly I'm not even sure it's worth it. At the most, any Wilco fans out there might appreciate their guest appearance on the song "Get Your Crayons Out!", but if you're looking to compare this album to anything by Pavement, be prepared for disappointment. Soren Bros. Sweatshop Union Natural Progression (Battle Axe/EMI) Sometimes, you hear a wack CD, then when you go to the PC to write and describe it, the reviewer sounds like a cynical herb. The first beat is corny, and the music is too synthetic and poppy. Simply put, anti-head nodding. Maybe it's because Rob the Viking gets away with too much quantized high hat 'patterns. As for the MCs, they sound corny too. It's not horrible; I'd be impressed by this first song if they were personal friends of mine, but... they ain't. As Battle Axe/EMI CD, I'd expect a higher level of quality control. The second beat tries to copy Moka's Ron Contour beats. There is an easily noticed bad pattern, as the group tries to "sing" melodic clever crew hooks. They shout out on Track 5, "I got news for you." I wonder what it is? Perhaps they want to tell us they're wack? I got more news fdr the reader. In the liner notes, they make a point to "acknowledge the financial support of the Government of Canada through the Canada Music Fund for this project". Yo, which website should I log on to tap into some of this fund? I mean, I can't believe people get Canadian government funds to make a mainstream hiphop CD. Just how did they manage to pull that trick? Politics, these guys are sure good at running their business, straight up. By the way, this CD is boring up to Track 7. Drums sound predictable, with no real kick to the beats. They aren't given much spice by the droning MCs, one of which sounds like Evidence from Dilated Peoples. After checking out this CD a few times through, it seems that the Union are just seeking to do some feel-good alternative-rap- type music. It would be fitting to put these songs into the generic hiphop genre, but a better category would be "Young Adult Easy Listening." Although being soft isn't necessarily bad per se. When they're trying to impress those East Van honeys, they should feel pretty confident using this album to display their skills. I'm afraid that this CD falls in between two undesirable extremes. It's not mainstream enough to sell mega loads at Virgin Mega Store, but not raw enough to please the paying customers of underground crowds at Zulu. Local hiphop icon likes J.Martinez likes to shy away from new hiphop these days, now I know why. Frank Liao Imaginary Johnny The Upside of Down (Independant) Something that always gets to me is the overuse of "nice" as an adjective. In my opinion, the word falls short of saying anything significant or meaningful - and therefore fails entirely at description. However, when I first heard Imaginary Johnny's album The Upside of Down, annoyingly, "nice" was the only descriptive word that came to mind. This debut album, created by an indisputably talented artist, presents inoffensive, emotive lyrics, simple melodies and an eccentric drum beat that does not push musical boundaries. At the same time, it doesn't harm anyone either. Johnny proudly flaunts his crystal clear voice endearingly. The faster- than-average, hollow-sounding electro beats and synthesized sounds present a vague blending of musical genres; a mix that successfully fuses an electronic hum with pleasant acoustic melodies to create easy-listening tracks that merge together and form un-interrupting background tunes. In fact, it is only the last track on the mini-album that stands out. Innovative piano melody and repetition of my favorite lyrics, "I never want to need anyone that much again," and proficient harmony captures the build-up of the song, making this track definitely worthy of a second listen. To sum up the five-track album in total, I'dsay it's sound is a little "Belle and Sebastian's older days" merged with a subtle hint of electronica. But for want of a better word, it's just "nice." Kate Hay Zombie Night in Canada Various Artists (Stumble Records) Zombie Night in Canada is the perfect soundtrack to Discorder's production days. By midnight, we all look and feel like the living dead. But when we played this psychobilly compilation, we were more evil, more fun, and we all got laid by amorous zombie babes. Strange things happened to us. Tattoo inked themselves unbidden on our flesh. Sideburns sprouted from our faces, especially mine. A frenzied double-bassline embedded itself in our spines, leading our production manager to dance around until the flesh was ripped from his bones by the centrifugal force and he was a dancing skeleton! Then our art director ate the brains of several hundred AMS Security goons, and I started drooling over hotrods. It was all a bit out of character. But 25 tracks of rockin' Canadian psychobilly can do that to a person, you know. I know you understand. Kat Panurge Throw Down the Reins (Nettwerk) Add this album to the list of local pleasures. Brimming with 60s-influenced pop gems well updated for the new millennium, Panurge have_alchemized thirteen tracks into a release you can actually enjoy all the way through. Propelled by electro beats, synths and samples, the band spread acoustic and electric guitars, and supercatchy harmony vocals over the songs like butter over bread, with more hooks than a meat market. Sure it's on the same label as Sarah McLachlan, but don't let that put you off. The proof's in the Panurge pudding, and it's all tasty. And if you're anywhere near the interweb, you can check www.panurge.net for song clips, vids, news, blah blah blah. So don't wait, check out Vancouver's latest talents-in-hiding before the rest of hipster- world does! Mr. Moo Devendra Banhart Rejoicing In the Hands (Young God Records) Before hearing Rejoicing In the Hands, I figured Devendra Banhart was a guy with a fancy name making music for people with fancy haircuts. But opening hearing Banhart's new album, I realise he's so much more than ' that. Rejoicing In the Hands sounds like it was unearthed from a time capsule. Banhart's croaking croon and delicate acoustic guitar picking has a timeless quality that transcends mere hipsterdom and reveals itself as beautiful and tender music. Not to say this music isn't weird. It can be, in fact very weird. "Because my teeth don't bite, I can take 'em out dancing, yeah I can take my little teeth out and show them a real good time," sings Banhart on "This Beard Is For Siobhan." Huh? On "Poughkeepsie" he evens does . a little homage to Elvis, running through a medley of songs with confusing but amusing results. The occasional headscratcher aside. Rejoicing In the Hands is an album full of graceful, pretty music. DM ||ure evil |. I| . ftorm the gates the new single from in stores soon brought to you by monday noon till 1pm! only on citr i 101.9fm I Mystery Girl UBC STUDENT CARD DISCOUNTS SUNDAY THROUGH THURSDAYS & MATINEES MRSITY THEATRE UNIVERSITY WAY ON WEST 10TH AVENUE 4375 West 10th Avenue 604.222.2235 CALL FOR TIMES 14A-VIOLENCE MllfflTOMff R25ACTS0V Presents., 2OTJ4 - May 27 to 30 ~ it! 1.1 Ml km ROCKI METAL! HIP-HOPIR&B ACOUSTIC! 1b Event Benefiting nourishing munity Th6D8wli#wBsenilBanil Cyanotic Removal Soolscar and mote... Cherrybomb Mi chello Carter and more... Ten Ways From Sunday te«nd m.M - ©oo Circle - »en Dollar Thompson and more... Josh Martinez a Tht Pissed Off Will fourth World Def Poetis Society and more... For show times, venues and ticket prices visit www.food4music.com or call 604-340-7266. tickets available at door or in advance - contact us! Thanks to our sponsors! [com nismnnhR Turn it T&kvbi entertainment seventhframe.com lMmw.food4music.coni for event schedule. Event details subject to change without notice, © 2004 Food4Music Events. All rights reserved. NEXT MONTH IN DISCORDER: Bryce dunn (below center) at South by Southwest. Carolyn Mark (the old man on the left). They Shoot Horses Don't They, (the women in the hats) in Ben Lai's band of the month club. The Fascinating History of Leon Thermin (The short one, bottom left) Andl more entertaining lies. ©<*eav> Raggefr v>o\ ^^^^^^^^^^^S^^^^jg^^fe^W CDS ON SALE FOR $14.99 OR LESS EREYER YOU BUY MUSIC P4G30000030 SUNDAY ARE YOU SERIOUS? MUSIC 9:00AM-12:00PM All of time is measured by its art. This show presents the most recent new music from around the world. Ears open. THE ROCKERS SHOW 12:00PM-3:00PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE 3:00PM-5:00PM Real cowshit-caught-in-yer- boots country. CHIPS WITH EVERYTHING alt. 5:00PM-6:00PM | British pop music from all decades. SAINT TROPEZ aU. 5:00PM-6:00PM International pop (Japanese, French, Swedish, British, US, etc.), 60s soundtracks and lounge. Book your jet set holiday now! QUEER FM 6:00PM-8:00PM Dedicated to the gay, lesbian, bisexual, and transsexual communities of Vancouver. Lots of human interest features, background on current issues, and great music. RHYTHMSINDIA 8:00PM-10:00PM Rhythmslndia features a wide range of music from India, including popular music from Indian movies from the 1930s to the present, classical music, semi-classical music such as Ghazals and Bhajans, and also Qawwalis, pop, and regional language numbers. TRANCENDANCE 10:00PM-12:00AM Join us in practicing the ancient art of rising above common thought and ideas as your host D J Smiley Mike lays down the latest trance cuts to propel us into fhe domain of the mystic-al. <trancendance @hotmail.com> THE SHOW 12:00AM-2:00AM RADIO ZERO 2:00AM-6:O0AM MONDAY FILL-IN 6:00AM- 8:00AM BREAKFAST WITH THE BROWNS 8:00AM-11:00AM Your favourite brown-sters, James and Peter, offer a" savoury blend of the familiar and exotic in a blend of aural delightsl DiSCORDER RADIO ONE FILL-IN alt. 11:00 AM-12:00PM Wanna hear the music that drives the Discorder war machine? Suppliment your monthly reading with an aural dose of that super-sonic magazine from CiTR MYSTERY GIRL 12:00AM-1:00PM Songs for the mystery world. PARTS UNKNOWN 1:00PM-3:00PM Underground pop for the minuses with the occasional interview with your host, Chris. SANDBOX THEATRE 3:00PM-4:00PM 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 mail.com> ABSOLUTE BEGINNERS 4:00PM-5:00PM A chance for new CiTR DJs to flex their musical muscle. Surprises galore. STRAIGHT TALK 5:O0PM-6:OOPM Join me - Dallas Brodie - for stimulating talk radio about local, national and international issues. WHAT YOU WILL GET ON STRAIGHT TALK: smart, informative, current, provocative radio WHAT YOU WON'T GET: fence sitting, conspiracy theories, reflex anti-Americanism, lefty whining or fluff. SON OF NIGHT DREAMS alt. 6:00PM-7:30PM SOLARIZATION alt. 6:00PM-6:30PM MY ASS alt. 6:30PM-7:30PM Phelps, Albini, 'n' me. WIGFLUX RADIO 7:30PM-9:00PM Listen to Selecta Krystabelle for your reggae education. THE JAZZ SHOW 9:00PM-12:00AM Vancouver's longest running prime time jazz program. Hosted by the ever-suave Gavin Walker. Features at 11:00, as listed. April 5: Innovation and blues oriented swing was what Ornette Coleman's music is, but it frightened and alienated the Jazz establishment. "Ornette!" Is Gavin's favourite Coleman record with trumpeter Don Cherry, bass virtuoso Scott LaFaro and drum master Eddie Blackwell... newly re-issued. April 12: "Apogee" is a classic from the late 70's. With two masters of the tenor saxophone... Pete Christlieb and the great Warne Marsh with a hot rhythm section that has Lou Levy on piano create this masterpiece that was produced by none other STEIiTOCiTR Iff ONLINE AT www.citEca than Steely Dan. April 19: Randy Weston at the five spot. A Hve recording by Pianist/Composer and Jazz giant Weston (he is 6ft. 7inch- es tall) with "The uncrowned king" of the trumpet, Kenny Doram and the father of the tenor saxophone Coleman Hawkins and more. This "pickup" band playing a one nighter made timeless music. April 26: In honour of Duke Ellington's birthday (Actually April 29, 1899) Gavin will feature his favourite recording by The Duke... "The Far East Suite" innovative and con- temporart and spotlighting all the great Ellington soloists. VENGEANCE IS MINE 12:O0AM-3:O0AM Hosted by Trevor. It's punk rock, babyl Gone from the charts but not from our hearts—thank fucking Christ. PSYCHEDELIC AIRWAVES 3:O0AM-6:30AM DJ Christopher Schmidt also hosts Organix at Club 23 (23 West Cordova) every Friday. TUESDAY PACIFIC PICKIN" 6:30AM-8:00AM Bluegrass, old-time music and its derivatives with Arthur and "The Lovely Andrea" Bemnan. HIGHBRED VOICES alt. 8:00AM-9:30AM PLEASE ROCK THE DOOR alt. 8:00AM-9:30AM THIRD TIME'S THE CHARM 9:30AM-11:30AM Open your ears and prepare for a shock! A harmless note may make you a fan! Hear the menacing scourge that is Rock and Roll! Deadlier than the most dangerous criminal! <bcminsbctynine@hotmail.com> FILL-IN alt. 11:30AM- 12:00PM MORNING AFTER SHOW alt. 11:30AM-12:30PM REEL TO REAL alt. 12:30PM-1:00PM Movie reviews and criticism. BEATUP RONIN alt. 12:00PM-2:00PM Where dead samurai can program music. A TALK WITH ALLEN CLEMENTS alt. 1:00PM-2:00PM CIRCUIT TRACING 2:00PM-3:30PM EN AVANT LA MUSIQUE alt. 3:30PM-4:30PM «En Avant la musique!)) se concentre sur le metissage des genres musicaux au sein d'une francophonie ouverte a tous les courants. This program focuses on cross-cultural music and its influence on mostly Francophone musicians. RADIO SEIU alt. 3:30PM-4:30PM 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. THE MEAT-EATING VEGAN 4:30PM-5:00PM WENER'S BARBEQUE 5:00PM-6:00PM Join the sports dept. for their coverage of the T-Birds. FLEX YOUR HEAD 6:00PM-8:00PM Up the punx, down the emo! Keepin' it real since 1989, yo. flexyourhead. vancouverhard core.com SALARIO MINIMO 8:00PM- 10:00PM THE LOVE DEN alt. 10:00PM-12:00AM <loveden@hotmait.com> ESCAPISM alt. 10:00PM-12.00AM es«cap*ism n: escape from the reality or routine of life by absorbing the mind in entertainment or fantasy. Host: DJ Satyricon. <D JSatyricon@hotmail.com> AURAL TENTACLES . 12:00AM-6:00AM It could be punk, ethno, global, trance, spoken word, rock, the unusual and the weird, or it could be something different. Hosted by DJ Pierre. WEDNESDAY FILL-IN 6:00AM- 7:00AM THE SUBURBAN JUNGLE 7:00AM-9:00AM |||| 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 gem! <subutxrijungfe(§dTcrTieB8xx)rn> CITR NEWS, ARTS AND SPORTS 9:00AM- 10:00AM EXQUISITE CORPSE 10:00AM-11:30AM ANOIZE 11:30AM-1:00PM Luke Meat irritates and educates through musical deconstruction. Recommended for the strong. THE SHAKE alt. 1:00PM-2:00PM FOR THE RECORD alt. 1:00PM-2:00PM DEMOCRACY NOW 2:00PM-3:00PM Independent news hosted by award-winning journalists Amy Goodman and Juan Gonzalez. MOTORDADDY alt. 3:00PM-5:00PM Cycle-riffic rawk and roll! RUMBLETONE RADIO alt. 3:00PM-5:00PM Primitive, fuzzed-out garage mayheml NECESSARY VOICES 5:00PM-6:30PM Socio-political, environmental activist news and spoken word with some music, too. www.necessaryvoices.org <necessaryvoices@telus.net> AND SOMETIMES WHY alt. 6:30PM-8:00PM (First Wednesday of every month.) BLUE MONDAY alt. 6:30PM-8:O0PM Vancouve£sY only industrial- electronic-retro-goth program. Music to schtomp to, hosted by Coreen. JUICEBOX 8:00PM-9:00PM Your ears have never felt so naughty! FOLK OASIS 9:00PM-11:00PM Roots music for folkies and non- folkies... bluegrass, singer-song-, writers, woridbeat, alt country, and more. Not a mirage! <folkoasis@canada.com> HANS KLOSS' MISERY HOUR 11:00PM-2:00AM FIRST FLOOR SOUND SYSTEM 2:0OAM-6:0OAM THURSDAY FILL - IN 6:00AM-8:00AM END OF THE WORLD NEWS 8:00 AM-10:00AM PLANET LOVETRON 10:00AM-11:30AM Music inspired igfciChocolate Thunder, Robert Robot drops electro past and present, hip hop and inter- galactic funkmanship. <rbotlove@yahoo.com> FIRED UP 11:30AM-12:OOPM 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. UNPACK YOUR ADJECTIVES 12:00PM-1:00PM STEVE AND MIKE 1:00PM-2:00PM Crashing the boy's club in the pit. Hard and fast, heavy and slow (punk and hardcore). THE ONOMATOPOEIA SHOW 2:00PM-3:O0PM Comix comix comix. Oh yeah, and some music with Robin. RHYMES AND REASONS 3:O0PM-5:O0PM 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, giveawaysrStrong Bad and the occasional public service announcements. <eno_wonk@yahoo.ca> LOCAL KIDS MAKE GOOD 5:0OPM-6:O0PM art. Local Dave brings you local music of all sorts. The program most likely to play your band! PEDAL REVOLUTIONARY alt. 5:00PM-6:00PM 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! www.bikesexual.org OUT FOR KICKS 6:O0PM-7:30PM Now in it's 15th and final year, your most reliable source for Indie Pop. Thanks-to all the regular listeners over the years! Tune in for an entertaining farewell tour. ON AIR WITH GREASED HAIR 7:30PM-9:0OPM The best in roots, rock 'n' roll and rhythm and blues from 1942-1962 with your snappily- aftired host, Gary Olsen. <ripitup55@telus.net> UVE FROMTHUNDERBIRD RADIO HBL 9:00PM-11:00PM April 1st-S.T.R.E.E.T.S April 8th - Evan Symons April 15th - Random Blind April 22th - GG Dartray April 29th - Cameron Dillworth from The Neins May 6th - Jacob WORLD HEAT 11:00PM-1:00AM An old punk rock heart considers the oneness of all things and presents music of worlds near and far. Your host, the great Daryl-ani, seeks reassurance via <worldheat@hotmail.com>. FILL-IN 1:00AM-6:00AM FRIDAY FILL-IN 6:00AM- 8:00AM CAUGHT IN THE RED 8:00AM-10:00AM TrawBng ttie trash heap of over 50 years' worth of real rock 'n' roll debris. SKA-T'S SCENE-IK DRIVE) 10:00AM-12:00PM Email requests to: <djska_ t@hotmail.com> THESE ARE THE BREAKS 12:00PM-2:00PM Top notch crate digger DJ Avi Shack mixes the underground hip hop, old school classics and original breaks. THE LEO RAMIREZ SHOW 2:00PM-3:30PM The best mix of music, news, sports and commentary from around the local and international Latin American communities. NARDWUAR THE- HUMAN SERVIETTE PRESENTS... 3:30PM-5:00PM CiTR NEWS, SPORTS AND ARTS 5:00PM-6:00PM A volunteer-produced, student and community newscast featuring news, sports and arts. Reports by people like you. "Become the Media." To get involved, visit www.citr.ca and click "News Dept." THE NORTHERN WISH 6:00PM-7:30PM nISC ORDER APRIL'0 4 AFRICAN RHYTHMS 7:30PM-9:0OPM David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa and African music from around the world. www.aWcanrhythmsradio.com HOMEBASS 9:00PM-12:00AM Hosted by DJ Noah: techno but also some trance, acid, tribal, etc. Guest DJs, interviews, retrospectives, giveaways, and more. I LIKE THE SCRIBBLES alt. 12:00AM-2:00AM THE ANTIDOTE alt. 12:00AM-2:00AM THE VAMPIRE'S BALL 2:00AM-6:00AM Dark, sinister music of all genres to soothe the Dragon's soul. Hosted by Drake. SATURDAY FILL-IN 6:00AM-8:00PM THE SATURDAY EDGE 8:O0AM-12:0OPM Studio guests, new releases, British comedy sketches, folk music calendar and ticket giveaways. 8AM-9AM: African/World roots. 9AM-12PM: Celtic music and performances. GENERATION ANNIHILATION 12:00PM-1:00PM A fine mix of streetpunk and old school hardcore backed by band interviews, guest speakers, and social commentary. www.streetpunkradio.com <aashnbumracfio®yahoo.ca> POWERCHORD 1:00PM-3:00PM Vancouver's only true metal show; local demo tapes, imports, and other rarities. Gerald Rattlehead, Dwain, and Metal Ron do the damage. CODE BLUE 3:00PM-5:00PM , From backwoods delta low-down side to urban harp honks, blues, and blues roots with your hosts Jim, Andy and Paul. ELECTROLUX HOUR 5:00PM-6:00PM SHADOW JUGGLERS 6:00PM-9:00PM SYNAPTIC SANDWICH 9:00PM-11:00PM PLUTONIAN NIGHTS 11:00PM-1:00AM Cutting^edge. progressive organ music with resident Haitchc and various guest performers/ DJs. Bye-bye civilisation, keep smiling blue, where's me bbody anesthetic then? http://plutonia.org EARWAX 1:00AM-4:30AM "noiz terror mindfuck hardcore like punk/beatz drop dem headz rock inna junglist mashup/ distort da source full force with needtz on wax/my chaos runs rampant when I free da jazz..." Out. REGGAE LINKUP 4:30AM-9:00AM Hardcore dancehall reggae. Hosted by Sister B. DJ profile kijp Robert Robot S^SP^ PtanslLovetron &4^i^®lpS^fWrsday Robert has both great taste in music and a | nifty beard! Q: What was the best mix tape that anyone gave you ever? A: I was living in a foreign country for a while, and having exhausted the local fair, I was desperate for some new music. A friend of mine sent me an unbelievable mix tape of indie rock geniuses like the Mountain Goats. Magnetic Fields, and the Sun City Girts. Not an electronic tune in the lot) a What Is your worst/biggest/most interesting vice? was on the midget Klu Klutz Klan! A: I get absorbed in a tot of things, but I really wouldn't call any a vice. Although I'm not a red-meat eating fan, I do find cuts of beef meat a beautiful thing. I have a weakness for those butcher shop poster diagrams showing where the particular meat cuts come from orrq cow. Q: If there were a Rob Robot reality TV show,., what would the premise be? A: Not a fan of these shows, but picture it.... This guy named Robert really likes music and wants to share it with everyone. He decides to volunteer at an underappreciated campus/community radio station. The viewer gets to see the exciting events that unfold while he makes his incredible dream a realty....You don'tgWany more real than getting my ass out of bed early every Thursday morning! If you want the real real then watch Maury Povich. Today his show Q: If you took all your listeners out for a night on the town, where would you go. and what would you dd there? A: We'd start off with a drink at the Bosnian's, followed by a smoke at the Persian Tea House. Drinks again with shuffleboard at the Army idjp Navy veterans' club on Main Street, then some a^ce-parl^booty- bass action well into the morning at some non-club venue. Q: What are you obsessed with right now? A: I've always been obsessed with Ultraman (Shwatchl), but musically I can't get the new Dykehouse record out of my head. You redjjy?can't go wrong with laptop shoe gazing, SUNiDAY Reggae linkup WSSsmm MONiDAY TUESiDAY WEDNESDAY THURSiDAY rJ§P8 7 $M£3 9 Are You Serious? Music (EC) WKHM Breakfast Witt|^^ IlilisipSw'TS (EC) : -1-f. t fllPf 1 !^^^SS^» RIHn Discorder • Radio One 111111 ' (PO) Parts Unknown (PO) HlghBred Vote«£i SHea» Rock Th* Third Times The Charm WSmmmrn Fill - In Beat Up Roniri (EC) Morning After Show (EC) Reel to Real (TK) A Talk With Allen Clements (TK) 3 HH 5 Chips With I Saint Tropez Everything (PO) m 7 8 9 IP ii (PO) Queer FM (TK) Rhythms India (WO) Trancendance (DC) 1 3 5 The Show (HH) Radio Zero (EC) Sandbox Theatre (TK) SBlIISJSte Beginners (EC) "jgfjp? Straight Talk \ (TK)' Son Of Night Solarization (TK) Dreams(EC) My Ass (Tic) WigFlux Radio The Jazz Show Vengence Is Mine! 'mm Gircuijfacing (DC/EC) En Avant La Radio Seiu Musique (FR) (TK) Meat Eating Vegan (EC) Wener's BBQ (SP) Rex Your Head (HC) (WO) Venus mmmi Escapism wmm WM llllljlfitacles (EC) Psychedelic Airwaves (DC/EC) Suburban Jungle. (EC) CiTR News Arts and Sports Exquisite Corpse Anoize The Shake j For The Re- (RR) cord (TK) k Democracy Now RumbleTone MotorDaddy Radio (RR) (RR) Neccessary Voices (TK) RIHn End of the World News' Spill Planet LoveTron RredUp(TK) Unpack your Adjectives Steve and Mike (HC): The Onamanapoea Show (TK) Rhymes & Reasons (HH) And Sometimes Why (PO/EC) alt. Blue Monday (Gl) JuiceBox (TK) Folk Oasis (RT) Hans Kloss' Misery Hour (HK) Rrst Floor Sound System (EC) Local Kids Make Pedal Revo- Good (EC) lution (TK) Out For Kicks (PO) On Air With Greased Hair (RR) Live From... Thunderbird Radio Hell (LM) World Heat (WO) Fill-in FRIDAY . Rll-ln Caught In The Red WSm SATURDAY ffigife Rll-ln 3£«B The Saturday Edge wKm Ska-T's Scene-Jk Drive ftte These are the Breaks Warn The Leo Ramirez Show (WO) Narduar the Human Serviette Presents... (NW) CiTR News, Sports and Arts (TK) The Northern Wish (EC) African Rhthms (WO) HomeBass (DC) |sjK|M 7 9 11 Generation Annihilation |2H|i PowerChord (MT) :; >=:-:-■ "k Code Blue •. Electrolux Hour (EC) Soul Tree (SO) Synaptic Sandwich (DC/EC) Plutonian Nights (DC) • I Like The Scribbles (EC) The Antidote (EC) 3&&i2?%m&:W®m The Vampires Ball (EC) EarWax (HH/DC) CH=children's • DC-dance/electronic • EC-eclectic • EX-experimental • FR^French language • GI=goth/industrial • HC=hardcore • LM=live music • LO=lounge • MT-metal • NO=noise • NW-Nardwuar • PO-pop • PU=punk • RG=reggae • RR=rock • RT-roots • SK< Reggae Linkup (RG) HH=hiphop • HK-Hans Kloss • Kl-kids • JZ-jazz -ska • SO=soul • SP=sports • TK-talk • WO»world mi 7 I M i 9 m' ii i 12*g I 1 P4G30000032 FORTUNE COOKIE REVIEWS! P:ano ARTiST „__ ^Si^^^&i6T»UB "seKiD-'SYStlM 03 girl nobody* 04 evaporators* . o^ronyV % "> ?G6kfiHii^WB^^^©l^^»;i'. •:■.■- 07 JEFFIE GENETIC AND HIS CLONES* 08 DESTROYER* ^'ZOWIE/NliSHT INjsCz&NAM*}-' 11 SQUAREPUSHER 12 FRANZ FERDINAND mmmmmm' 15 AIR 16 RUMORS gfp .DEERHtSDF1 19 P:ANO* 20 THE OWLS il '.TWILIGHT CIRCUS DUB SOUND SYSTEM* ^.DJG YOUR. ROG%S^fc l^l^p 23 DT'S 24 ALLSTATE CHAMPION . l§5MARYLQLJ,tORDA 27 TV GWTHE RADIO 28 LIARS ' &#*CfrSKPRDS - &-YOU NFLD THIS" * 31 PANURGE* 32 MICROBUNNY. m GHopsiig 35 PETER PARKERS* *DEnotes Canadian Content ^^^^^^^^B ALBUM tf^ ItM/ndatS^StflfeM^* The Future Isn't What It Used To Be Ripple Rock ^k^ki^r^^ *La£ed With Romance %^*,w Seawng DiSr«le BaiTi^^ffl^^S Need A Wave Your Blues ■ -" - \r^r^»lrl^^^^-^^*^ir« Uttravisror Franz FerdinarTd Pav^^^^^^^^^S Talkie Walkie The Mighty Can Fall The Den ©ur Hopes And Dreafa'-- r^' "»j||srjndatio^^*efS:^ . mi®miBm£mmi- - -mm Hard Fixed 1$ It Nothing to Y&u "BabyJBlue i CrusinV For'MlnjiRS Desperate Youth, Blood Thirsty Babes They Were Wrong, So We Drowned W^^ll^lhe Kf^| Wanous Artists * " - Thf©w Down The Reigns Dead Stars *NyRnQticHJnaeTworlG*»rV\V'- -* • 'J$ Killa mp m3M*MM This is sityMusic LABEL .Hive Ff iNBSS'EsB Indie Mint Ik-V, IrflJad'Rect Dirtnap Merge Warp Domino Record collection Astralwerks Switchblade ftive Fi Magic Marker Five one 11111111111'': ■■' Touch and go Mote fylpyJ^p/pirig •CiOzart v Nettwerk Kindling Indie ©Youwi^einvolvedinmanr gatherings ar»© Billy and the Lost Boys e V0UV)U1 nave good l^ff*- Evaporators -wflfcwill have gold J}iej^%..fii(F** bushel. © Deerhoof ©Your dearest wish will m^true. Mongoose j INDIE HOME JOBS 0.1 Billy and the Lospo^S 2.)the,RebelSpelL/. Xr * gMreaklng ^^^S^jmj^^ ?; -./Expression in Lbyrhan?sieriTis 3.) Married to Music 4.) Neck Beerd & Mass Grave 5.) Mongpp.se ''i|| 6.) CoBac^^Sp^^eS^^S ^^^^^g World?s Gotta GokRouncr Split EP .• ^hlte^ElashcJJeferv ^"-v" IS^rrcerity/Sarealmi^lSl 7.) Motorama 8.) Simon Pote ^|fe Basement Sweets ~ 10 Casey & RjTriegan y*it- ^ Little 7 Song Demo Robot Spring B^ForRentEP* ;, S^drneday ■ *\ ' " .. - 11.) Roadbed 12.) Magical Glass Tears Autopilot TheseAutumn Leaves . *The Tups* *- ,i. *' . *g!gj 15.) The Plutonics 16.)Shitfaced The Plutonics Shitfaced SI^^^S^^^S * * Emerald CitysgS M 18') Do it KoftoKnny " * * "" '• * Do it For ohrny 19.) Selvatone Selvatone 20.) Mandown fe?V- Mandowh Wanna be on the charts next month? Send your demos to: Local Dave CiTR Radio #233-6138 SUB Blvd. Vancouver, BC V6T 1Z1 pll Canada 38 32 W" *8 18 8 All State.Champion IP© Your L&gMNf** Collapsing: Opposites *0' (AS \tfP^ The Basement Sweets flour life will be happy and peaceful.© PI SC'O.R PER , APR! lA04 Continued from last months Discorder. M^-^s vu£,^or\$si all -this, wta-fc c^n f-Tind? _ P4G30000034 Ktffc *>*/*& 3J3K3J, Thursday 1 @ Queen E Theatre Stereolab »^fe"5 Thursday 15 Mice Parade Shaye Laptop Battlel @ Commodore @ Media Club (with the Square Root of Evil, Bad Feng Shui, Skrunt Skrunt, and Saturday 3 Friday 9a more) Fannypack Metric , @ the Brickyard (Hell yeah!) @ Richard's @ Chop Suey SEATTLE Friday U WASHINGTON Mystery Machine Juliana Theory Notes From The Underground @ Mesa Luna afpS The Gay @ The Media Club (aka the The Cinch Green Room) The Strokes The R.A.D.I.O. The Raveonettes ©Anza Club Saturday 10 Hawksley Workman @ Plaza of Nations Tuesday 6 (former genius) Thursday 22 and Friday 23 William Hung album comes out. @ Commodore Pixies (wanna sell me a ticket?) No, seriously. The Sounds @ Commodore Wednesday 7 @ Sonar Saturday 24 Rufus Wainwright TV on the Radio @ Commodore Sunday 11 Elizabeth Evan Symons @ Pic Pib Spygjrl Counterrevolutionaries Ronnie Artur & His Orkestrio @ Railway Club Monday 26 @ Railway Club Vancouver Folk Slam semi-finals Monday 12 @ Cafe Deux Soleil Thursday 8 Vancouver Folk Slam semi-finals The Mars Volta @ Cafe Deux Soleil May 4th (progaBcious!) Wednesday 14 The Constantines Ani Difranco @ The Brickyard 8 pm @ Queen Elizabeth Theatre PLACES TO BE V ENUES \ anza club 3 w. 8th ave 604-876-7128 brickyard 315carrall 604.685.3922 cafe deux soleils 2096 commercial 604.254.1195 cellar 3611 w. broadway 604.738.1959 cobalt 917 main j 604.764.punk commodore 868 granville 604.739.7469 lotus 455 abbott 604.685.7777 the main 4210 main 604.709.8555 marine club 573 homer 604.683.1720 media club 695 cambie 604.608.2871 pat's pub 403 e. hastings 604.255.4301 pic pub 620 w. pender 604.682.3221 pub 340 340 cambie 604.602-0644 railway club 579 dunsmuir 604.681.1625 richard's 1036 richards 604.687.6794 sonar 66 water 604.683.6695 WISE hall 1882 adanac 604.254.5858 mesa luna 1926 w. broadway 604.733.5862 video in studios 1965 main 604.872.8337 RECORD SHOPS "| active pass records 324 w. hasting 604.646.2411 audiopHe records 2016 commercial 604.253.7453 bassix records 217 w. hastings 604.689.7734 beatstreet records 3-712 robson 604.683.3344 black swan records 3209 w. broadway 604.734.2828 crosstown music 518 w. pender 604.683.8774 highlife records 1317 commercial 604.251.6964 noize! records 540 seymour 604.893.8696 red cat records 4307 main 604.708.9422 • scrape records 17 w. broadway 604.877.1676 scratch records 726 richards 604.687.6355 zulu records 1972 w. 4th 604.738.3232 | intgfinfejUfr _VflcVcV6*f*i&W^»V>xi*Cq<* ] & \<l e m o p irod.110 t ons j3 nr e in. tz. jsj THE TRAILER PARK I HI . POISO! CSUE OSS * 1 DJ THRUSHMUFF BOfJOTI ill -VAIOALEI april lOt H|| 1 Opm ffiffB^Safe** >EVERY FRIDAY >THE PURPLE ONION >15 WATER ST. GASTOWN, VANCOUVER >CALLTHE CLUB FOR PARTY BOOKINGS & GUESTLIST 604.602.9442 >OR EMAIL US AT * INFO@PURPLEONION.COM ao? meaIstoan end/ KiNGfKARMA '^SKQ A^^lp? 10^"M« jfaSEpEgSa «/,*'»4«.,l'**«K . :;**»**?£:;: 1 earty bands@8pm 1 PONDEROSA/JP^S CHOCOLATE SQtiefc Wrwmrsm SWING SETICHAMPION 11231 fel V^ ****** *»;.;^***##*3y STATEfo^stioej wBmm ^ **/«^ for spring Canadians are used to our indie musical products remaining in our borders, a few making the passage to the south with success, but these not always a source of uncompromised pride. And sadly the expression "big in Canada" seems more like a slur than a compliment. Maybe this is a side effect of our cultural protectionism, of vying to maintain a semblance of national distinction | next to our large and often bullying neighbor^Jmose cultural output is both great and horrible. But fof'al! tbis^t Canadian indie musicians grudgingly recognize mat the path to the hearts and minds of Canadians often begins on the other side of the divide. With growing recdglaition stateside, does this mean Broken Social Scene' jsp anomaly or a herald? We're not sure; it's sfilltfoO fcarty to say. That they're a good band that has built a national audience the old way (touring) and that the Canadian popular media are behind them in support is clear. Broken Social Scene deserves the attention they've earned and this new collection of dreamy and spacey "b- sides" helps again make clear why. Can they make good where others have tried but faltered? PttcbferloMi1a.com thinks so, eh. CD 16.98 MisefyfcA Our Endless Numbered Days CD Folk art enthusiasts spend their summer Sundays scouring the countryside looking for individuals who, finding time away from their fecund fields and family feasts, crudely fashion beautiful creations, as though harvested from their rich pastoral life. Aesthetically, Samuel Beam, a.k.a. Iron ami Wine, is a field worker like this, plowing the soil for rugged beauty and earthy truth, a real accomplishment for JP* Roridian (a state that seems more waterlogged than earthbound, and orange groves don't seem to have the right old-time feel besides). Riling the space left open tragically with the passing of Eliot Smith, iron and Wine has a similar gentleness and subtle pop sensibility, ideal 1 for quiet reveries and long afternoons in the sun. Forgoing the low-fidelity of Beam's first The Creek Drank The Cradle, Om Endless Numbered Dan reveals Iron and Wine in all their wealth and finery: a beam of pure light illuminating shafts of forever moving dust. AVAILABLE APRIL 6TH CD 14.98 EYEDEA & ADUTIES ipl! E&ACD Following in the footsteps of their stylisticallyfbompa- rable indie hip hop peers Atmosphere and Sage Francis by signing on with Epitaph Records^p; Rhymesavers mainstay Oliver Hart (aka Eyedea) and the always rock solid DJ Abilities drop undoubtedly their strongest effort to date. The production tire is noticeably in a different league than on previous releases, thus giving Abilities' minimalist beat style and impressive scratch techniques the chance to really lay down the foundation for Eyedea's jaw dropping lyrical flows. Definitely a candidate for fastest MC, especially given the lightning fast vocal delivery on the first single "Now", Eyedea drops the science on both sides of the rjersonaVpolitir^fe|ceand exercises impressive wisdom beyond .p8$mify*/wtf£-&p\n. magazine's so- called "em(mpWi^hos^tk^mH^\tt^6 and i crossedoverin^SJto'wnli$e^lrjgumye|fc,Anticon, ' Lex, and Def ibr^^nj^ jeafetg ||i v^ggMh "E&A", Eyedea & AbllWeehave SeUhe £3j)tygnjof 2804. AVAILABLE APBOpil j| CD 14.98 stJiis the5mnd.of history aBve arW^^tfiee&re'of ^i Big Appf^Sefnative workJvjsvji&'rMs with the official one, perhaps unique to immigrants? The remnants of a modernist impulse that has somehow withstood the storms of postmodernity, a bulwark against j$e retrograde fanaticism at home and abroad, a counterpoising of old cosmopolitanism against . the grain of market-driven globalization? A resuscitation of the critical synthesisWart and popular culture mat seemed td die after theWp$|||s of 68, a fanning of the embers of intelligenceagat^w pressure of narrow-minded entertainment, celebrating play and love opposite the • if^^gJ^EOst-llrlfit analyses and instrumentality? BloHielidbeal suggests all thisprMfiOCKING. They get betti*at)d bfter wjti each,rec&d||f more individual- izec|bufeats6ftOBuniveTsal, a|i«*|^ground power that caters|tf*<ftir mm® and bodies, |||lble to everyone but still uraefttfladar ot offi^aldon^)w on 4AD, the future stretche^l^befott flwm^w^^romising a better world: WHILE'$$m9T*s COAP 16.98 Good News For People Who Love Bad News CD With the anticipation amongst, fans raised to dizzying heights due to the four years since the release of their last full length album, I Mouse finally give the salivating unwashed masses a reason to get out of bei. After several lineup changes, founding drummer Jeremiah Green was replaced last year by Hello Sequence member Benjamin Wiekel while ex Murder City Devil slash early member of MM Dam Galucci has rejoined on second guitar, the mighty Mouse is once again in fine form on "Seed News.'..". If the lead off single "Roat On" is any indication, frontman Isaac Brock is in full control of the new band and seems to have a more hopeful outlook with sentiments echoing Lee Reed's Velvets-era refrain everythings gonna be "alright" despite it all. But with this new found hope there is still plenty of despair, suggested in track titles like "Dig Your Grave", "Bury Me With if, and the Flaming Lips/Dave Fridmann prods||dirtj!G°°d Times Are Killing Me". Anyone «#o witeSssM the4asj4s«D MM Vancouver per- formajpsJn j003 will agfefil are be&Jrian op inJhe Ave s indeel|i»| riewfl08||ppM Avi^WM-bm Brock and company I "Good News..." is Modest Mono. cxmm SEACHAM8E i , Lay Of The Land COAP A few nights ago I went out to a club and took a wrong turn on rile to the lavatories. I went through a door and found myf elf in a room with three chiefly people staring back at me. One, who was slowly counting out money, told me^lojhut up and take a seat, which I did in the corner. THgi|£L^UBftgne went over to the stereo and put on a (He whienfftaft'tOTiy. tjll you was Seachange's "Lay of the Land". "So1ed|,vrt2do you think?" he asked me. pVeB, fffvery good. Sort dftt the same tone as Interpol "atijU." "Dftft^t ever^ay^iMivord in here" he abruptly interjected.'What*Jiad j dsrje?* VVflfj^exactly were these three? Thef-queslons c^raue&ftou think they have talent?" I let out a small laijgwfc then felt a sharp prong of electricity pierce through my chest. Later I woke up outside the|elub with a copy of the disc In my leather jacket. Listenirtg to it now, I can tell you that the wailing drone i#itc of UK's Seachange sounds extremely explosive. IpF, AVAILABLE APRIL 6TH «WFl6.98 DEADBEAT Something Borrowed, Something Blue CD/LP With pioneer Stefan Betke all but aSandoningSfecrackJe-djib ship for different transportation, ScWtMontettk«t^|9r known^ as Deadbeat, has let go of ^fW^aBtttaken h» first steps toward a distinctive SdundrAftunims to4he■% cinematic structure of his 200l^S|Ji^toi| Documentaries, while not forgettinj^his^ufj-fiJcttno &* roots, Monteith gives us an abstract, auraflstfeportrait with all of the intimacy of a singer/songwriter, but without uttering a single word. Beginning witlllhe elemental dub beat, plus a few new tricks learnejtfrom sample wizard and Crakban front man Stephen Beaupre, Monteith builds and manipulatejyayer upon layer of noise and field mcordingspiakft^gmethfaig Borrowed, Something Bine p^pl^he only autobiographical record one can shak|t|efcass to. Self-reflection never sounded so good. 1 ff^ tmf t* ^0^^^"^ IPs AH You CD Looking old now, the men from Tortoise return with a new record, now ten years plus gone, the myth of post rock left long behind, with a changed musical world around us and them, not the least because of their efforts. And they have changed with the time, developing inwardly, from pastiche to synthesis, working collectively, maturely and cohesively, and with a level of expression and emotionality that seems understated on past work, often overshadowed by a cerebral air. But nothing old is left out either the music is as intelligent, well-played and produced as always, their total commitment to themusic ~ unchanged. And like TNT, It's All Around You is a complex studio album, constructed over time, building part by part, using the studio compositionally, each choice examined and purposeful, and with no loss of vitality or cinematic scope, in fact the opposite. As Thrill Jockey put it "The results of mis process are clear in the lush, orchestrated tones, intricate melodies, and densely elaborate rhythms that make It's All Around You Tortoise's most adventurous and thoughtful record to date." AVAILABLE APRIL 6TH CD 16.96 viva wm "" "^ L'AMERKAN DEATH RAY MUSIC Jp Commotion CIVtP I may be on dangerous groundT^But I'm In a lonely place. The savage innocents arWigger than life. So knock on any door and run for cover because the new 1 rebel without a cause, the king of kings i||f hra L'American Death Ray Music, Nick Ray.pas returned with a new disc that is not unlike the trueporyOf Jesse James; rife with lusty men and their party^gjrtpfcbitter victory, to be sure, but hell—theyJi^^M^ #• Venice A lot of thaJp|f|tM| around a|^p^pent.J marked by ^^^^^)«% plete lack o^PbT^4|jAl music that rjffii|r|all^| anywhere, preferring jua<H;8 hang in the air, buzzing with a vague malevolence. cLOUDDEAD's magnificent Ten, for instance sounds like a slo-o-o-w 40-minute sigh of resignation. Well, Venice —the new CD from Zulu-favourite Christian Fennesz — is the invigorating inhalation to follow Ten's enervated exhalation. Breathe it in. This is 50 minutes of absolute|f gorgeous guitar harmonics and laptop sound design.0 immediately apparent why the album was deified fcftyer a year. Clearly rennosz wanted it to be BeJeci|P|we think he's damn near succeeded. Every wasj^lltoi), crackle, echo, chime and hiss is perfectty&ibrated to give listeners spinal tingles and a ^Ifint humming in the base of their skulls. As an added incen|v#|ialso features a stunning guest vocal from DavM Sylvian, on the Scott Walker-esque "Transit". tmmB CAieatH Convict Pool CD/LP 14.98 Last year when Sweden's Nicolai Danger and , Tuscan's Calexico toura||| together they instantly struck up a wa|n|Mendship. One night on a whim they decided to try a cover of Love's classic Atone Again Or. A rousing success, it became their show stopping encoreJ'his mini release features an amazing version recorded in Nashville as well as covers from both the MlnetofMB and Francolz Breut Rounding out the releases three more sublime originals including the plaintive^de "Convict Pool." A must have for all fans of this essential band! COfjlo.98 Incoming Ion green ears: Bright Eyes/ Britt Daniel-Home: Volig^JvCDEP Shannon Wright- Over the Sun CD Of Montreal- Satanic Panic in the Attic CD Sigur Ros-Ba Ba/Ti Ki/Di Do CDEPml Howe Gelb- Ogle Some Piano CD Eagles of Death Metal- Love Peace Death Metal CD Sondre Lerche- TWo Way Monologue -cf|g Various-Soul Jazz Studio One Ska ci MuM%1f The 9th Edition CD Bonnie Prince Billy- Sings Greatest Palace; Music CD/LP Sixtoo- Boxcutter Emporium 12" Joanna Newsom-The Milk-Eyed Mender CD/LP Papa M-Single #6 CDEP Diverse-Explosive CDEP mm m mm unm april so, 2004 Zulu Records 1972-1976 W 4th Ave Vancouver. BC tel 604.738.3232 www.zulurecords.com STORE HOURS Mon to Wed 10:30-7:00 Thurs and Fri 10:30-9:00 Sat 9=30-6:30 Sun 12:00-6:00
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2004-04-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2004-04-01 |
Extent | 36 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2004_04 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | f2650d7c-ea36-4301-bde6-1cad95e23aef |
DOI | 10.14288/1.0050269 |
AggregatedSourceRepository | CONTENTdm |
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