jfJB ! ft^f m*<f**me fr*m CiTR /orm<? FM "mm MOTHERS BAU61T-S HOMEFRONTIIVASION" Al rW fM ,2003 _iers The KeL_ plus The Raffing Boml Doors 7:00 - Show 7:30pm -Tickets $12 adv. Scratch, Zulu, Noize, Red Cat Records. I Mesa Luna - 1926 W. Broadway jjpn Seattle Wa.: Thft BUj n Seated With ^Kiss A»d BroRr :en Wednesday Nov 12 resent A*Kiss Aad Mojswui present Social S^m| Jason Collett Doors 8:00pm - Show 9:00pm - $15 adv. ticketmaster, scraiefezulu. "@ Richards On Richards - lOSJSft^dtf St; ■% ■ irom^cittle VYA Matadoraec. artists... Pretty Girls Make Graves The Robosexuals ^fpOpm - Show 8:00pm-$12 adv. www.ficketmaster.com, zulu, scratch. @ Sonar - 66 Water St. ursday Nov 27 tQRR MpiC TOUfcfeatufing B. Fleischmann plus guests Doors 8:00pm - Show 9:00pm - $12 adv. Scratch , Zulu, Noize, Red Cat Records m @ The Picadilly Pub - 620 W. Pender St. From Scottland, Mat< Sunday Nov 23 fador rejcon^krvji artists plus guests. Doors 8:00 - SHow 9:00pm -Tickets available @ www.ticketmaster.com, zulu, scratch. Richards On Richards - 1036 Richards St Monday Dec 1 Sealed With A Kiss and House of Blues Present ThAWa1iTfteefHnd Reggie & The Full Effect From Autumn To Ashes & No Motiv Doors 6:00 - SHow 7:00pm - Tix at www.ticketmaster.com, zulu, scratch. The Croatian Cultural Centre CiTR 101.9 FM presents... our annual music DEATHMATCH! BtHNdfe "Disclaimer: Bands might not be exactly as pictured. NOVEMBER UNEUP 4th Spark That Screams Flippin' Jiggers Sarah Wheeler f S 11th: Semi-Finals #1 The First Day Elizabeth Revisionist 18th: Semi-Finals #2 The Parlour Steps They Shoot Horse. Don't They? New Years Resolution 25th: Semi-Finals #3 Winner Dct 21st Winner Oct 28th Winner Nov 4th Plus Jokes For Beer! Cover $6. Show starts 9 PM @ The Railway Club (Soymour/Dunsmulr) For the latest results and schedules, please visit http://vvww.citr.ca Additional Info: Phone (604)822-1242 Email benlai@citr.ca THANKS TO OUR SPONSORS! wwftS^r :hart '0Nh£ MMtodk Black Dog Video RECORDERS Mimta /Columbia fAcademy Fireball Productions BEAT STREET RECORDS ARC ELECTRONICS l4%QR0Efi DiSCORDER ISSUE 246 • NOVEMBER • THAT MAG FROM CITR 101.9 FM I Features The Shins by Merek Cooper p.10 Red Light Sting by Ian Gormely p.12 Peaches by Susy Webb p. 13 The Unicorns by Patrick Finlay p. 14 The Stunts by Ben Lai p. 15 Mark Mothersbaugh by Justin Gradin p.l6 The Books by Saelan Twerdy p. 18 Alexisonfire by Niki Reitmayer p.20 Regulars Covering Fire p.6 Fucking Bullshit p.7 Riff Raff p.7 Panarticon p.7 SHiNDiG Report p.8 Strut, Fret and Flicker p.8 Under Review p.22 Real Live Action p.24 Kickaround p.26 Charts p.27 On the Dial p.28 Datebook p.30 Year-end Questionnaire p.31 Editor: Merek Cooper Ad Wrangler: Steve DiPo Art Director: Lori KiessBCig . Associate Editor: Esther Whang Editorial Assistant: Karen Langhelle Secret Weapon: Saelan Twerdy RLA and Under Review Editor. Kimberley Day Layout and Design: Merek and Lori Production: Kim Day, Lloyd Cooper, Stevo, Jason Bennett and lots of other people. Very special thanks to Duncan and the Ubyssey On the Dial: Bryce Dunn Charts: Luke Meat Datebook: -ip;j5g§r Mistress Whang Distribution: Matt Steffich US Distro: pig Frankie Rumbletone Publisher: Lydia Masemola © "DiSCORDER" 2003 by the Student Radio Society of the University of British Columbia. All I rights reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents , are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 i (to cover postage, of course),. Please make cheques or money orders payable to DiSCORDER Maga- i DEADLINES: Copy deadline for the Jancember issue is November 19. Ad space is available until * November 26 and can be booked by calling Steve at 604.822.3017 ext. 3. Our rates are available upon | request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, I unsolicited artwork (including but not limited to drawings, photographs, and transparencies), or any other f unsolicited material. Material can be submitted on disc or in type. As always, English Is preferred. Send I email to DiSCORDER at discorder@club.ams.ubc.ca. I From UBC to Langley and Squamlsh to Bellingham, CiTR can be.heard at 101.9 fM as well I as through all major cable systems in fhe Lower Mainland, except Shaw in White Rock. Call the j CITR DJ line at 822.2487, our office at 822.3017 ext. 0, or our news and sports lines at 822,3017 I ext. 2, Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at www.citr.ca or Just f pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver. BC. V6T 1Z1, CANADA. I Cover The cover was a another wonderful production from Lori. Don't stare to long at the picture of Mark Mothersbaugh, it'll make you feel sick. pj mums ■;. LONG LIVE ROCK. TUESDAY NIGHTS SONAR OFFERS UP THE BEST LOCAL RAW TALENT THIS CITY HAS SEEN SINCE THE DAYS OF THE TOWN PUMP $2.00 ALL NIGHT LONG YOUR BAND GOT WHAT IT TAKES? JUST WAITING FOR THAT BREAK? ...THEN WE MIGHT BE LOOKING FOR YOU! BANDS CHOSEN TO PERFORM WILL • HAVE AN OPPORTUNITY TO PLAY LIVE IN A LARGE ROOM • PLAY IN THE SAME ROOM AS MANY OF THE GREATS (BIG SUGAR, MATTHEW GOOD BAND, NIRVANA, SOUNDGARDEN...) • GAIN EXPOSURE GET MEDIA ATTENTION • HAVE A CHANCE TO SELL MERCHANDISE ON SITE •HONE YOUR SKILLS ON STAGE • GET THE CHANCE TO COMPETE IN OUR MONTHLY BATTLE OF THE BANDS • MAKE A FEW $$$ & HAVE A FEW DRINKS INTERESTED? PLEASE SEND A DEMO & BIO TO |_SONaR AKA THE TOWN PUMP C/O AMP'd #205-1039 RICHARDS VANCOUVER, B.C. V6B3E4 I D\SCO*5>eR Hum ■|^^ Velocetle Recording Artists M M Beulab IHEIlHf^^^;^w^^ i!i«J:Hii T m i:n.'ij:i:ij mi I INDIGO MI HUB GIRLS hUTh fTAIN CIMrTh nr /'.KINTDnV ^^ I ™ ■■%# H£ft| Ear,y Show'.!! Doors Show 8:30pm Show E S SOMETHING I I CORPORATE & FO&MK LEAD SIN^EIr OF CANDLEBOX iifeU vi 1 BAM13ITS ILY THE GIEEN ROOM) ■ tickets also at zu FAT POSSUM RECORDING ARTISTS I FRIDAY NOVEMBER 7 doors 6:30pm all dgeS fir thsrseems fee ver zao • armor for sleep • beloved (us) | FRIDAY NOVEMBER 7 ft SATURDAY ■ CROATIAN CULTURAL CI TWO SHOWS! &rfr with guests eastmountainsouth IS 8PM, SHOW 9PM • TICKETS ALSO AT ZULU & HIGHLIF | MONDAY NOVEMBER 10 f MILES WITH SPECIAL GUEST »iB,L,„» LEEROY STAGGER W DOORS 9:00PM PLUS GUESTS f^ff SHOW 10:00PM IMNEVrntAf P?1f'a TICKETS AT ZULU, SCRATCH, nUllEIUUW LIFEDPiSNIRf wmm LIVE IN CONCERT FtimilUIWTHESTAIBFWJMTIttHITHLM, INCLUDING... DIZE UMMM mmm Spiritualized' with special guests | I Am^SS GrW Soledad Brothers MIGHTY TICKETS ALSO AT ZULU '-Mm- J QUEEN ELIZABETH THEAT8E | I (FORMERLY THE 68EEHI mm I PURCHASE TICKETS fiQUGQQ AT ] ¥4rH(<miiF?f- -~ UOTT-~*w^ , | FRIDAY NOVEMBER 14 fc^ Blacfcl MI5TRIC "THE UNICORNS [WLJ^WJPJSIJ IMliliUiI I COMMODORE BALLROOM I nATliRDmiOVEMBER22| HEHE]/ PLQTO #^ SffiFj ujkh/pecQlguen/ 1|«L. |1 TQMRS \ Luke Vibert Chri/ Clarh n.e.d. PJACEB I COMMODORE BALLROOM I rrchhel ynmnoRTH I RICHARDS ON RICHARDS I I« SIMPLE [Bill ESSD 1 with very special guests < | SATURDAY DECEMBER 131 IBHIQ 3Q&L I skSpI- i \w\wi\ UN I jjflii j NOVEMBER 26 ^V3fM^ COMMODORE Gi;il^n<9f^,1„, BALLROOM k.«oc* «v — I tue unoopiiT Toun eooj rcnTURinG: '"'"S^S^^^^^ I ■ .^ (^ I |—)iK">\^"*N IPLKPLinr. jwi3Km«I9 QSSgJg j™. -Ipmsm ncDenbc- S THE FULL EFTECT |« rnam nuTumn TDP5UE5 no moTiu WSm^^imfS^^i \MM | COMMODORE BALLROOM F Mffl URCHASE TICKETS $08800 AT hob.com OR ticketmaster.ca ticUetmasxer604-280-4444/1 a small Introduction The "In" Sound from Way Out. My brother's in town this week, and from England he brought many things, most notably a dry sense of humour and British chocolate. But of all the sparkly things that have piqued my interest, nothing has provided as many laughs as the Lonely Planet guide to Vancouver. Really. It's quite bizarre to read an outsider's perspective of a" place you actually live in. The music scene is described as "diverse," and they get bonus points for mentioning Jerk with a Bomb. But they definitely lose points for their one-line review of CiTR: "Alternative music from UBC—at least when the announcers shut up long enough to play something." Meow!I But really, I don't wanna take anything away from either the author of the book or the book itself—it's an impossible task to squeeze a city with a diverse population of 2.1 million into 250 pages of informative journalism. Then I thought, "Hang on—isn't that what we do? Squeezing Vancouver's music scene (and more) into 250 pages per year?" With some dodgy maths, and disregarding advertisements, it just about goes.* There's no mention of yours truly (the magazine, not me), but there is a disclaimer at the beginning, which guards that "things change, prices go up and good places go bad." With that in mind, and seeing look real cool and shit and pose like yer all bad boys). Contact info is also a must. Check next month's issue for more details. You can also check out the all-new website in the next few weeks when it will slowly emerge from months of inactive slumber like a fiery phoenix from the rained-on embers of a W-i .cu\ uiipo*>/t>fe fas/c to 3qveez^ <u city vv/f/1 a population c£ Z,) million niio 250 pages' of m fcftn afivejoc<ma/»sm that many of you. noticed the lack of a Local Band Directory this year, we here at DiSCORDER have decided to move with the times and bring you a service that isn't set in stone and will change with the changes as and whgn they happen. The all-new Local Band Directory will now be hosted online, and submissions will be taken forthwith. What we'll need from local bands will be a brief bio, a roll call of members and a really nice picture (where you can all burned-down house in the central interior. A whole new design and lots more local news to be updated weekly will be just one of the treats awaiting you at www.citr.ca/discorder. Give us a bit of time, though; we're quite lazy (but well-intentioned, I can assure you). Trust me, it's gonna be great—maybe we can even make it into the next Lonely Planet guide. Mag In this box. That time of the year is soon to be upon us again. Yes, the Christmas holiday end-of-year polls season. Yes, that's right people: woohoo! Now, I know you're all shy (or is it just that you don't care?) but in recent history, editing DiSCORDER has felt a bit like being a Japanese soldier manning a deserted island in the Pacific circa 1955. The war's over and I'm the only one who doesn't know. People, let's have some bloody feedback. Fill out the form on the inside back cover and mail it back to us. Look, here's the. address: Discfucking-order, #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1. Go postal, it's old school. And therefore super cool and kinda eccentric. You weirdo! Let us know what you think, let Vancouver know what you think. Enforce your taste on a whole city! It doesn't have to be just Santa Claus and store clerks from Zulu Records that get to make lists at this time of year. You too can feel special and cool. Prizes will be given for creative answers (if you count a special mention in DiSCORDER as a prize, that is). Truth be told, if you're struggling for best-of-year picks you could do worse than make your choices from within the pages of this issue, leading off with Devo main man Mark Mothersbaugh's art. That's right, between his soundtrack work and the odd reformation gig, the old nutter finds time to make bizarre but beautiful pieces of art, drawn mainly on the back of postcards, if the interview we have with him in the centre spread is to be believed. Of course, it could be a huge prank. Two hotly awaited sophomore albums arrived this month and we have interviews with both bands responsible. The Shins are putting smiles on faces "for miles around with Chutes Too Narrow, their stunning follow-up to Oh. Inverted World. And^ with The Lemon of Pink, the Books are building on the critical ground- swell they created with Thought For Food. Elsewhere, you'll find Peaches and Alexisonfire, Canadian favourites whose recent live shows may go down in plenty of people's top-shows- of-the-year lists, albeit both for different reasons. The local scene is held up in fine style by The Red Light Sting and The Stunts. The Stunts are veterans of Shindig/ which reached its halfway point recently and shows signs of continued success as the competition progresses. You can read the monthly roundup on page eight. Speaking of which—rdid anyone else see Gangbang a few weeks back? Was I just drunk or were they really fucking good? Answers on a postcard addressed to the editor. • (a Na/em±Te»- X003 bui^hit bv: Ch^ta'mln Do you know what Darby Crash, Townes Van Zandt, Hitler and Ian Curtis have in common? They all have one testicle! And they're all dead! If you were ever wondering, what the fuck happened to Hitler, I'll tell you, he's dead. That means he died. doesn't have heart disease yet. He made that Shaker record not too long ago, but only because his acting career had failed. He was in Scrooged, I think, but I don't know for sure because I haven't seen it. I've seen Blown for the Win, Moneyshot, and David Yow vven* crctzy anctstutck his dick in the Roasted Mnncin f?ack of Lanri b ancfirfed to serve ft- on ihe floor David Yow isn't dead. I mean, he doesn't sing anymore, but he didn't croak or anything. Last I heard, he moved to San Francisco to tie-dye t-shirts. Apparently, he was working as a chef at Tru in Chicago, preparing caviar staircases and fois gras, when he went crazy and stuck his dick in the Roasted Niman Rack of Lamb and tried to serve it on the floor. The last time he pulled out his dick in public he got arrested. He didn't get arrested this time. He just got fired. David Johansen isn't dead. He's gotten kind of fat, but he m Just like ordering off the kids' menu at IHOP, we only got room (and money) for a short stack this time 'round, but never fear, I will impress nonetheless with some decidedly witty discourse on the three flapjacks on the table. Getting things off to good start we find a Jim Diamond in the rough—the bass player of The Dirtbombs—providing the anchor for a two-song party platter recorded "raw" in a record shop in Australia. First side delivers "Pray For Pills," which chugs along nicely with a swell sing-along chorus about the need for speed (the other kind, friend); side two gets down with the funky double drummer talents of Pat Pantano and Ben Blackwell on the track "My Love For You." Don't want to assume these are covers (their penchant for pay- *fe Busty Porndexter, and he's definitely in those videos. He wasn't so bad. He makes funny noises, but he was alright. I heard that he's selling photocopiers now for over a hundred grand a year. Good for him. Ari Up was an actor, too. She did some hair product commercials in Jamaica, but for the most part, she's been working in New York, selling hot dogs at Shea Stadium. I don't know what she does in the off-season, although I did see her playing chess with Mike Piazza in Central Park last Chavo Pederast actually ing tribute is well documented), as this only makes an ass of you and me, and you and me mean no disrespect to the Motor City Babies. (Corduroy Records, 38 Advantage Rd. Highett Victoria 3190 Australia.) One thing I know for sure is that I know a great pop hook when I hear it and Broadcast Oblivion have plenty in stock on this,, their first seven-inch. How can you deny a band that boasts a former member of one of my all-time favourite punk-pop combos, Scared Of Chaka? Few bands in my mind can take two seemingly opposing styles and make such beautiful noise that it hurts sometimes just thinking about it, but that's what SOC did and guitarist Dave Hernandez takes that ball and he damn well runs with it, out of the park and all the way home. On the pair of tunes supplied here, "We Burn Away" and "Her Arsenal" eschew a little of the punk edge of the past for more Superchunk- styled song crafting, but with enough bite to give it bounce, and this comes by way of drummer Coady Willis' (ex-MCD) knack for a good, sensibly-filled beat and Andrew Church's (of The Droo Church) rock-solid bottom end. A good place to start lives right here in Vancouver. I'm pretty sure that he works at a suburban Christian bookstore in the bookmark department. I heard that he wears SST tank tops underneath all of his mock turtlenecks. He's still a punk. He's so punk that he rebelled and became a Canadian citizen. He married a nice Canadian lady and then he defected. He also roams the Downtown Eastside on Tuesday nights, feeding the hungry and passing out blankets. It's hard to recognize him now, but I know that he doesn't like to talk about Black Flag. If you see him, just buy your bookmark or take your free crusty rolls and get the hell out of there. He's a nice guy, but for some reason he's embarrassed about his past. The real mystery is what happened to Dave Grohl. Apparently, he's been singing and playing guitar in some band called the Jew Lighters for the last few years. I've never heard them. I don't understand why he would play guitar instead of the drums because he's such a fantastic drummer. I guess that means that he must be an even better guitar player. The Jew Lighters must be fucking incredible. • new vinyl by bryce dunn for a band that you will undoubtedly hear more from in the future. (Burn Burn Burn Records, 4040 Woodland Park Ave. Suite #4 Seattle WA USA 98103.) With all the talk of pedigrees, power pop pundits The FM Knives could do some name- dropping too, but they are sworn to secrecy, especially when it comes to The L'il Bunnies, one of Sacramento, California's more infamous outfits, yel methinRs there's a connection. Until I know for sure, I'll take solace from these latest solid gold Jam- inspired head boppers from a label that knows hits when they hear them. "Keith Levine" and "Valentine" are sharp-dressed, snappy punk songs that stick in the throat like the syrup on them hotcakes. (Dirtnap Records, P.O. box 21249 Seattle WA USA 98111.) Put a fork in me 'cuz I am done! • Found strolling along the viaduct, one head-shaven, Fez- wearing dancer and a crazed juggler with hula-hoop, sporting attached signs: LOOKING FOR FUN. Who are these Freaks? Nothing less than the Vancouver Fun at Last Vancouver only has seven years to prepare for the Olympics. This is a very, very short time to begin reversing No Fun City's deeply ingrained flakiness, massive entanglement of Puritan bureaucracy, and social anality reminiscent of the self-flagellating Dark Ages. Getting mediaeval is one thing—feasting, looting, fucking—but being mediaeval is not what we had in mind. Out from the bowels of Warehouse Commerical, and apparently in no official Art Catchment Area (thus shunned from SWARM and Commercial Drive) bounds the Vancouver Fun Brigade™. This anonymous, roving collective of hivemind Funsters is dragging Vancouver's dull, grey palette into the wild- ness of what Wednesday night could be! I'd like to nominate this crew for a grant of several hundred thousand dollars to do to this city what the NPA couldn't get it up for: fuck the city, all night long. And don't we deserve it. "We were given the finger by a guy at Robson and Thurlow. Neither of us can figure out how he could have found animosity in two people obviously looking for fun," says secret Funster Milkman. Then: "The Sugar Refinery had some pretentious art school types out front who asked us why were were doing what we were doing, and would not take the answer that we were just 'looking for fun' as valid." Likewise, "the people in Bin 149 were blind, the Templeton was a letdown, and the viaduct gave no response." Luckily, Vancouver does have its FunLovin'. The candy shop on Granville "invited us in, fed us cotton candy as we hula'd, cranked up the "Time Warp" on the stereo while we all danced around, juggled in the window and lip synced. This is now a mandatory stop on all Fun Brigade™ outings." And, of course Dqvie St: "People on the patio of the Fountainhead bought us Shirley Temples, and a guy from Missourri came by to chat and ask what this was all about. We were applauded by the Pumpjack, but then two boys with a sign reading 'Looking For Fun' and hula hooping in front of a gay pub is bound to be easy fun making. A friend who works there said when he got to his shift the next day, there was still talk of the fun brigade." Special mention goes to the Super Value on Davie, which featured a woman who laughed for an entire block getting up to us, and once there told us we were the pest thing she's seen happen in Vancouver in a long long long time." Agreed. Alright, with all that rain, with the Fall blues setting in, now it's time for the NEWS! We're a Big, Homeless Province Now It's good to see Vancouver & BC finally acting like the Big Province it is. Homeiessness, finally, is on the rise, according to a GVR steering committee on the matter. After years of Ontario's stranglehold on the nation's poor, BC is returning with a vengeance, opening its resources to allow privatization of the sector. The MCFD (Ministry of Children and Family Development) is no longer returning calls to the St. James shelter of North Van & the Downtown Eastside, in an effort fo allow "equal opportunity bidding" on homeless advertising, corpse transportation, and population control methods. "It's been too long that non-profit, volunteer shelters using Government hand-outs have kept BC's poor off the streets," says a source from the Premier's Office. "It's time to open up the homeless to the realities of the market, and allow business and organised crime to have a run at managing our greatest resource, the unused flesh of the province." DiSCORDER Not a Newspaper, But a Fruitstand Following failed attempts by the BC Liberals to silence The Georgia Straight for not being a "newspaper," but, according to legal experts, a "Yuppie Onshore Bakery," and potentially opening the Straight's Hippie Drug Investments to billions of dollars in back-taxes, the Province's Financial Ministery is now eyeing DiSCORDER's unpaid pyramid scheme. "We've learned that DiSCORDER has never made a single red cent," says a close source to Officials. "They the sound of spectacle by tobias v don't even cheat or steal—the protocols we stand by!" The Source exhorted, adding that "If something isn't grubbing money, then it's a detriment to the Province, and certainly not a newspaper!" Asking what DiSCORDER was, or is, or happens to be on weekends, the Official replied: "Probably a fruitstand." In any case, one out of eight staff at Panarticon agree—the Straight is a lump of trees used for advertising has-been bands & aging Latte Radicalism masquerading as cheese-dip. But it's still tasty cheese, and we here at Panarticon add our name to the Supporters, at least if it means the Straight will revitalise its crony attempts at "being hip" after realising its racket could be called off-side. It could start by buying-out an apple or two from DiSCORDER's fruitstand. Rain, More Rain The entire . community of Abbotsford, now under a metre of water, was rumoured to be building a giant "ark" dnd waiting for "The Sign." But Really...Halloween and Electricffy Hopefully a few of you bit the bullet and dressed up as Osama or Hussein for the Festival of Evil—and the always mad Parade of Lost Souls, organised by the Public Dreams Society <publicdreams.org>. Me, I went as a "Found" WMD. And I also pray that a few of you checked out Vancouver New Music Society's Electricity <newmusic.org>. Hats off to Artistic Director Giorgio Magnanensi, who has done more than his share to revitalise the connections between the avant-composers and today's laptricians.... Now if only the Vancouver club scene would stop acting' like a small-town mafia. Biting Till I Can't Stop.... • 7 I>iSc©<3>efc peri'ormance/art/i'ila by penelope mulligan Shoot Horses, Don't They? which is a seven-piece band with a horn section. With all the people it was like a party on stage. Their set was crazy, catchy, dance- able and endearing all at the same time. The voting was as close as it could get, but They Shoot Horse, Don't They? was picked to be nightly winner. If you read my little article last change, Paulisdead was ready to play and they did not disappoint. Instrumental^ fabulous with their discordant guitars and aggressive drums, they had three different vocalists which added to the diversity of the set. Leah Abramson came on shortly after Paulisdead. Very confident on stage, Leah used her beautiful voice, and guitar SHiNDiG 2003 Night By Night Summaries By Ben Lai We are more than half-way into SHiNDiG 2003 now and it has been a sweet ride. Jokes For Beer has been disastrous for the most part, but the music has been good which more than made up for all the lousy dead baby jokes I have to endure each night. On September 30, three completely different bands took to therFaSe at the Railway Club. First up was The Wreckers. They delivered a set of fun pop rock tunes enjoyed by all. A few of their more humourous songs, such as "18-Year-Old-Girlfriend" and "Amber Lynn," got" quite a few people smiling with approval. Next up on stage was The Parlour Steps. Featuring well-layered instrumentais and great harmonies, The Parlour Steps impressed many with their solid stage performance and musicianship. Even after their guitarist broke two strings near the end of their set, the band didn't seem to miss a beat. Shitfaced ended the night with a high energy and impressively entertaining metal set. The singer progressively stripped more and more of his clothing 3M»V<I OBO MyQ&fb QTldS Wfth nOftr1€S#tqf (V€ as the night went on, and by the end he was only wearing his boxers. Their songs all seemed to have a certain amount of shock value and the crowd reacted most to a catchy little ditty called "Shave Your Pussy." It was an interesting night for sure, but eventually it was decided that The Parlour Steps would advance to the next round. The next night of SHiNDiG was October 7. A Common Mistake played first and impressed the audience with their soft melodic songs. For a set that is so mellow and dark, their songs were actually very catchy and accessible. Explaining Colours to the Blind followed, and they are a perfect emo band. They were tight, the instrumentation was intricate and interesting, and the singing was first-rate. The last band of the night was They ltey$hootHots&>Po*i*i7hey2 Yes, ancHfiey ftfc *><*<& An d/es, we ft?ow rfs born qjilm \ month, you'd recall thaf I promised drama and excitement at October's SHiNDiG. Well, drama and excitement was what we got on October 14. The three acts that night were New Year's Resolution, Leah Abramson and Paulisdead. New Years Resolution, who was slotted to play first, broke their keyboard just before their "set. After all their repairing efforts failed they had to phone someone to bring in a backup keyboard. Unfortunately this backup wouldn't show for an hour and they were scheduled to play in minutes. What to do? Luckily, Paulisdead was nice enough to agree to switch their limeslots with New Year's Resolution. After a quick stage sad. Bvt JL m osdsfy&sl1) (she was accompanied by an accordion player on few of the songs) to her advantage. Except for the applause, the entire club was mesmerized and stayed silent during her lovely set. Now with a backup keyboard that sounded and looked completely different than before. New Year's Resolution was the last band to play. Their combination of heavy drums, powerful guitars and intricate keyboards made for an amazing set. As serious as some of their songs were, there were a couple that showed off their sense of humour too, especially a song about Ricky Schroder which got more than a few people chuckling. The judging literally came down to the last vote, and New Year's Resolution was declared the winner at the end. That's it for this month's edition of SHiNDiG summaries. Come check us out in November tors, more fun and excitement. On November 4 the singer/songwriter stylings of Sarah Wheeler will battle against fhe cool tunes of Flippin' Jiggers and the mellow sweet sounds of Spark That Screams. And it gets even more intense when the semi-finals begin on November 11. See you all at the Railway Clubl • SHINDIG ft held every Tuesday night at Tine Railway Club until December 2. For mora /nforma- Non please visit http:llshindig.citr.ca. SEAMLINE: An Invocation of Energy Through Tattoo Wednesday, October 15 Hastings Art Gallery If performance art can be described as the transformation of an action into art through performance, then Julianna Barabas is pulling it off in a most elegant and ingenuous way. She is undertaking, in twelve monthly sessions, to mark her body with a tattoo which will bisect it into front and back. This "seamline" began at her left shoulder, travelled down her arm, up the inside to the armpit, down her torso and leg, under her foot...you get the picture. The circuit will be complete when the line has traversed the top of her head. The installment I witnessed (#6) was called The Bridge, because it was the one in which the seam crossed from one side of her body to the other via a tapeworm-like spiral design over her pubic bone. The cosy storefront gallery where it took place was an island of light and warmth in the rainy Strathcona night and attendees were welcomed like guests who'd popped 'round for dinner. Undercutting the casual ambience like a sinister reminder of why we had come, was a white- sheeted tatjtoeisPs couch in the cenfre of the room. Barabas' cfieerful. trepidation was obviously genuine—she had already endured five sessions of this on some excruciatingly tender parts of her body—and she responded honestly to the ensuing pain, neither performing it, nor attempting to stare it down. (At one point, she commented that we ought to have as many different words for pain's nuances as Eskimos do for snow.) Inviting friends and strangers to watch seemed less like a desire to perform than to deepen her own psychological engagement. In many ways, the event had the atmosphere of a home birth— right down to the snacks and libations, supportive presence of mates, photo documentation, tattoo artist-as-midwife and, of course, the spread eagled principal player whose "caretaker" coached and comforted her throughout the process. In fact, the most formal element was Gretchen Eisler's live accompaniment on viola. A lightheaded and humourous beginning with Beethoven's Ode to Joy soon gave way to more lugubrious bowing and squeaking which battJed with the relentless buzzing of the tattoo gun. It was an interesting sonic effect, but didn't feel terribly connected with what was happening on the couch. Body modification is no stranger to performance art, but whereas it's often self- administered, confrontational and statement-driven (as in the work of Yugoslavia's Marina Abrimovic), it's the goal in itself for Barabas. Complex and deeply personal as her need for the tattoo might be, she would only say that "conceptually, the line has always been there. It was just a matter of making it visible." In this sense, seamline is more akin to the'decade-longkpfastic surgery project of French artist Orlan. Though enormously more radical (and "performed" only on film), Ortan's undertaking was, in essence, very goal-directed and also involved a practitioner (in this case, surgeon-as-arHst). For an audience, seamline . can fascinate, intrigue and even repel, but its most enduring value might be as metaphor—our goals and desires can demand much of us as we try to realize them. The seam lengthens at 8pm on November 19 (478 Union Street) as part of LIVE Biennial of Performance Art. . THE PLUGHOLE What happens in a world where everything has become corn- modified, including human interaction? One possible answer lies in the title of a play which opens here later this month. Shopping and Fucking has been a massive hit in Europe, New York and playwright Mark Ravenhill's native UK, where it premiered back in 1996. Interestingly enough, it's also been huge in Russia, where western-style capitalism charged in a few seconds after the collapse of. the Soviet empire. Pi Theatre's Del Surjik, who co-directs the piece with Diane Brown of Ruby Slippers, knows that Vancouver's theatre scene can be isolated and stresses the importance of producing works that have been rocking audiences elsewhere on the planet. Tracking three Londoners as they look for a home and family in a world made vacuous and abrasive by consumerism, the play has been called "witty, shocking, poetic" and "the vanguard of the New British Theatre." This production also has some genre-bending innovations. DJ Jason White—aka Honey Bee— will mix the music and soundscape live, while David Roberts' set design is so hot that Brown and Surjik went stumm when asked about it ("It's a secret. It's never been done before"). Brown did want you to know, however, that we can drink in our seats and lig around afterwards. All told, it sounds like this one has a lot more going for it than just a catchy name. • Runs November 21 -December t at Performace Works on Granville Island. Tkfs and Info: 604,257- 0366. 8 Novewjteer 3sx>* 1 H t>vsc,o<Deif2. >mmm The Shins' lead singer James Mercer's answering machine says: "This is James. I'm not at home today, [adopting a whispered tone] I'm right behind you." When I finally get to talk to a real person it's Marty Crandell, The Shins keyboard/bass/guitar player, who informs me that, "He was supposed to be back by now. We were supposed to have a practice. He called us. He said he was in some kind of garden." Some kind of garden? Sounds relaxing. And really, who would begrudge him the chance to relax? James Mercer is an accidentally busy man these days. The release of Oh, Inverted World blew the lid off this tiny band outta Albuquerque and the whole world looked in. Turning them from bedroom recording project to slow-burning bona fide mega-success, the world embraced this four-piece's contemporary take on '60s West Coast psychedelia and Beatles-esque pop. Last month saw the release of their second disc, Chutes Too Narrow, an album that will surely only intensify their acclaim. So when I finally reach him, James Mercer tells me of the countless interviews, the pressure of making The Shin's sophomore album, and all about a brief stint shilling for the one of the biggest corporations on the planet. DiSCORDER: Hello, we're meant to do an interview. James. Mercer Oh my God, I'm so sorry. God, I had two written down for today. Man, I've been doing four or five a day. I don't know what Sub Pop is trying to dp to me. I'm sorry I screwed that up. It's okay. So how's it going? Good. We just got done practicing. We're doing CMJ this year. I know this must be boring for you, but could you give me a brief explanation of how The Shins started? I know you were in a band called Flake. Yeah, l was in a band called Flake and we were doing punk-pop Pavement-type of stuff for a long time. It was a real collaborative effort as far as songwriting goes, but I started a bedroom recording side-project that I called The Shins. Where did you get the name from? It comes from this musical. The Music Man. The main family in town is the Shins. And so there are scenes where people are like, "Are the Shins home? Are the Shins here?" Stuff like that. I don't know, it sounded kinda weird to me, a bit strange and cool. So The Shins came Into being from a bedroom recording project? Yeah, exactly. Flake ended up breaking up in 1999 and I just kept the Shins going. We just started recording ourselves and stuff and we ended up putting together some pretty good songs. We gave a few of them to a buddy of ours who was in a Sub Pop band at the time called Love is Laughter. And he gave them over to Jonathan Pone- man and Jonathan really liked them and signed us. Which songs were on that CD? io tiovejnaiper 2/0& I think it was "One by One All Day" and "New Slang" and "When I Goose-Step." I always assumed Isaac Brock [Lead singer of Modest Mouse] had something to do with getting you signed to Sub Pop. Well, Isaac did try to make Sub Pop aware of us at one point but he never actually gave them any music. He seems to be acting as an A&R man for them these days. He is. He's actually getting paid by them. Moving on, I wanted to talk a bit about the Oh. Inverted World album and the success you had with that. Yeah, it was kinda crazy. ¥0W$$i I'm trying to remember the first time I saw you, and l.think it was on Amazon.com where it says, "If you like this, then you'll love The Shins' Oh, Inverted World." Right, yeah. I wondered if you were the first band that ever got big because of Amazon.com? [Laughs] I don't know. Yeah, Amazon has been wonderful for us because of that type of thing. I mean, shit, kids go to buy The Strokes and the first thing it says is "If you like this, you should buy The Shins." I mean, god, they probably sold a hundred thousand at least, just on Amazon. It always seemed really cool to me that although you guys have shifted a lot of records, you haven't had the same amount of media scrutiny as other big successful bands. Sure, yeah. You must be pretty happy about that? Oh yeah, definitely. The press is pretty nice to us at this point. You don't have people following you down the street? No, no, no. And you didn't really have to tour the album very much. We actually toured the album quite a bit. For the first record we toured once every three months and we'd be gone for a whole month. So that's a quarter of the whole year. It just seems like other bands are forced to be on the road for like two to three years if they get a hit record as big as yours. Yeah, we never did that. We weren't really extreme about touring. I'd go crazy if we did that. Which leads me to the next question, i read a lot about you and in interviews and songs you seem to present yourself as a bit of a home body, would you say that is correct? [Laughs] Yeah, a little bit. You don't enjoy going out? I do sometimes, but...! don't know...! just end up sticking around the house for some reason. I'm not a good party guy or something. And you even recorded the album Chutes Too Narrow in your house? Yeah, we did. Can you tell us a bit about the recording? Yeah. I used to record on a Four Track—real cheap, cheap stuff. And I ended up buying a cheap computer—a Hewlett Packard Pavillion. I bought a used soundcard fori! for two hundred bucks. And that's what the majority of the stuff on the first record was recorded on. So you were mostly your own producer? Yeah, I produced if entirely. I think we credited it as produced by James Mercer and the Shins. The best thing about Oh, Inverted World is the sound. It's got such an original and cohesive sound, the echo and the warmth. Was that something you just stumbled upon or did you go for that intentionally? I think it's just that I sat there for a long-time working the EQ and stuff that was in this program. Cool Edit Pro. I got a book that gave you the basics of EQing. So you taught yourself how to produce? Yeah. I think that the new record is a sonic improvement on the last one. I think you're right that we did get a nice aesthetic out of these effects and stuff. Were you under a lot of pressure to follow it up? To avoid the "Sophomore Slump"? Yeah, I definitely felt pressure, but you always feel pressure when you're working on recording or working on writing. You just don' t wanna let people down. But you know, when you're actually sitting there writing the.songs you don't really think about stuff like that, you're just sitting in your room alone. There's nobody watching you. [Laughs.] I just wondered if you had a moment of doubt where you were like, "Shit, these songs aren't gonna cut it, what am I gonna do?" Yeah, well, definitely. There was actually a moment in the studio where I ended up abandoning one of the songs we had brought in to record, because I just didn't like the way it was turning out. It was largely because of that. I was like, "We can't do this. This song sucks now." So we dropped it and I wrote "Young Pilgrims" to fill its place. Did you have any problems with people trying to steal stuff, and putting them online? I know Radiohead claim that someone broke into their studio and burned a CD and put them online before they'd even M mm ****- _,«*, 'Ui££ m finished them. Oh man, that would suck. I recently was burglarized and they took all my computers, even my back-up hard drive. All the original files for both records are gone. Oh, that's shit. So what do you do now? Fuck it. [Laughs] Yeah, it sucks, but whatever. At least the projects were done, it wasn't like I was halfway through them and then somebody stole them So how do you actually feel about downloading? I think we've been helped by that sort of thing. When we first started burning CDs and selling them on tour and stuff, it didn't take long until they spread all over Napster. It was like free advertising—we didn't even have a contract or anything to sell. So that really helped us hugely. I guess I don't think too much about the money aspect of it. The lyric that really stick out for me on Chutes Too Narrow is "Have I left my home just to whine in this microphone?" Yeah. [Laughs] Is that how you really feel? Yeah, like, "What the fuck. What am I doing?!" There was one time when I remember almost having a panic attack when we were first getting signed. I was like, "What in the hell is going to happen here? I'm not a musician! This is ridiculous. What is Sub Pop thinking? They can't possibly put this much trust in me." I was a mess. I don't think you should be so hard on yourself. Well, you know, I guess it's just when you're living in Albuquerque you've never really done much musically and stuff. You're just like, "Oh God, what's gonna happen? They are gonna be so disappointed, somehow." I don't know. It was just silly. And now to the question that everyone must be asking you right now. My girlfriend and I were absolutely addicted to America's Next Top Model [super cheesy reality show currently enjoying a re-run season on the Life Network]. [Laughs] Oh yeah. And one of the contestants was Marty's [Crandeli, the aformentioned keyboard/bass player/guitarist] girlfriend, is that right? Yeah, that's right. Elyse. Yeah, she's rad. And she was wearing Shins t-shirts and Marty even appeared in one episode. You saw that one? I saw them all. i was completely addicted. Oh, that's cool. Wonderful. Elsye is doing really well. She's in Milan right now. ^K, So she was successful even though she didn't win? It's huge: she's fucking everywhere. She's really busy. The show basically became a cheesy obsession among my friends. Marty got to go on the show; that was pretty a Did you guys get a lot of publicity from the show? Do you think it won you any new fans? No, I don't think so. [Laughs] No, it was just kind of an interesting little fluke. How did she get on that show? Marty and her, they do lots of wacky shit like that. They used to dress up in pink sweat pants and put fanny packs on and go down to this really stupid meat-market bar called Banana Joe's in Albuquerque. They'd get into the place and then dance all weird and just laugh. They are just ridiculous. Marty's a hilarious clown. In "New Slang," there is obviously the line, "New Slang when you notice the stripes/The dirt in your fries." But didn't you then sell that song to McDonald's? [Gives a really mischievous laugh] Yeah, it was pretty much when we first got signed. Sub Pop called us one day when we were out on tour and said, "Uh well, we've got this company that wants to use the intra to 'New Slang' for a commercial." I was immediately kinda excited, like, "Oh cool, this is great." But then Sub Pop told us, "It's for McDonald's." And we were like, "Oh Shit!" They said they'd pay us a certain number and we doubled it and added half again, and we decided to do it. We didn't even have an audience at that time. I think now we wouldn't do something like that. I don't regret doing it, but right now we're kinda doing well, so we have a different attitude toward our songs—we feel Hke they're kinda valuable. — I was amazed that they chose the song that contains the line about there being "dirt in your fries." I know, I thought that was pretty funny too. And the commercial is actually about french fries, too. Not just McDonald's—it's actually about french fries. The funny thing is that it aired for about a week and then disappeared. I don't think it worked for them. I think they wasted their money. Finally, when will you be coming to Vancouver? I think we'll be coming to Vancouver in the spring. So there you go. Hopefully The Shins will bring with them the first blossoms of spring, but until then you have the lovely new album. Chutes Too Narrow, to keep you warm. Buy it now and cuddle up—it's gonna be a long winter, but we don't mind. IvMiiT^ IV V>vSGoG.0*5£ M? m ill!! m ,M mm" Ian Gormely's on the wrong side of the tracks with The Red Light Sting The Red Light Sting are one of Vancouver's greatest musical assets. Much like The Beatles did in the early sixties, the group has been able to absorb the sounds of today's underground and convert them into a unique style. Beyond their music, band members Andy and Zoe run Ache Records whose catalog boasts releases from Hot Hot Heat, Death From Above and Radio Berlin, just to name a few. I had the privilege to talk to all five band members (vocalist Greg, guitarist Andy, keyboardist Zoe, bassist Jeff and drummer Paul) after their show at North Vancouver's Seylynn Hall. DiSCORDER: So I guess we'll start at the beginning. How did you guys all hook up and form the Red Light Sting? Greg: Well, the three of us were in a band Zoe: He's not going to know who you're talking about. Greg: Oh, okay. [Laughs.] Andy, Zoe and I were in a band called Hooray for Everything, and our original bassist Matt was in a band with me called The Self Esteem Project, we had the same drummer in both of those bands, but then he moved to Saskatoon so that kind of broke up both of the bands I was in, so I was kinda angry and writing kinda angry songs. Then I wanted to work with this guy again... this guy being Andy. And then this guy, Paul, was in d.b.s. with Andy and then Andy showed him some stuff that we were working on and he was like, "I want in on that." Then we needed a keyboard player cause I was originally going to play keyboards, but then we realized that I couldn't play keyboards and then we figured out Zoe could. So Zoe played keyboards. Andy: And somewhere along the way we picked up this jerk... Jeff. [Laughs.] Jeff: They asked me to join about a year ago through a bunch of confusing emails. Greg: It seems like so much longer. - qlsjigjg Andy: How long ago was that? Jeff: It's a year. Most of you guys are in other bands or doing your own thing. What was it about The Red Light Sting that made it the priority? Andy: I don't think it was a decision anywhere along the way, it just sort of happened, d.b.s. and The Red Light Sting overlapped a little bit. Me and Paul were in both for a few months I guess and then d.b.s. broke up, so pretty much all my time and energy went into The Red Light Sting. And from there I've had side projects. But my side projects don't really involve practicing or playing the guitar in any way so it's an entirely different thing. Do you find it difficult to write in a band with so many creative people? Andy: No. That's what makes it easy. We don't even have to do anything. We just turn on our amps.... Greg: ...and the songs write themselves. I haven't heard it before...is this a cover song? Andy: Paul juslcttcks, he counts in and we just start playing something and it always works out well. Where do you come up with your ideas for the lyrics? They've always struck me as being like an excerpt from a book. Greg: They're actually directly taken from books. [Laughs.] Andy: Almost all of them are from Stephen King. Greg: That's fucking weird, I was going to say "Stephen King's It." [More Laughs.] Andy: Wicked dude! Greg: But no, anyways...what were we talking about? Zoe: Where you come up with your lyrics. Greg: They're just there for the most part. We'll bring in the song and I'll have a couple of ideas for what I want to talk about. I'll focus on one area at first and just kind of repeat that over and over. And then I'll establish the theme kind of and then just base it around that. That's a pretty boring answer. [Laughs.] I've noticed on your website you have links to a bunch of other bands' sites and almost all of them have managed to become sort of buzz bands recently. You guys obviously have good taste in music. Andy: Well, most of those bands are our friends. We don't put links up for just any band. Yeah, it is weird that most of our friends' bands got popular and we didn't. [Laughs.] Greg: I wonder why? Zoe: We don't like to just put links to anyone. We try to keep it small, to just the stuff we respect or our friends...and we also respect what they do. Andy: I don't respect any of my friends actually...especially these guys. Has it been kind of weird with Hot Hot Heat's success recently? Andy: It's not really weird...it's kind of interesting. Greg: It hasn't really affected us, I don't think. Zoe: We're happy for them. They worked really hardk Andy: It doesn't really affect us in any way, it's just an interesting thing to happen I guess. You guys are working on a new record right? Andy: Yeah, it's done. Zoe: Done recording. Andy: Yeah, we're just working on the artwork and stuff like that. Why have you waited so long to put out a full-length LP? Greg: We write really slowly. Zoe: We didn't want to. Initially we just wanted ta do EPs. Andy: We thought the kind of music we play didn't work after forty minutes. That's why we only play for fifteen minutes. Greg: We just figured it would be too annoying. Andy: But I think that we've done pretty good with this one because we kind of switched it up a little bit. I don't think it gets boring...and it's still pretty short. How long is it? Greg: Thirty minutes. Zoe: Ten songs. All of the Ache Bands have very distinctive album art. Where do you come up with the ideas? Andy: Well, The Red Light Sting stuff we all design together. We all sit around and come up with an image or one of us brings in an image. Greg brought in the psycho image for the cover of the split and I brought in the photo of the mannequin for the next one. Greg: The third one [Our Love is Soaking in It] was like a still from a movie that the guy that runs Sound Virus did. It's just like this scene of his grandma smoking so we all thought that looked pretty cool. Andy: We hired a design team from London to do the album art for our full-length. Pulling out all the stops for this one? Andy: Yeah. No holds barred. We also got Paul McCartney to play a song on this one. [Laughs.] What? Greg: He plays three tambourines...all at the same time. Andy: You might ca!l him the tambourine man! Where did the idea for Ache records come from? Zoe: Hot Hot Heat was playing around and we really liked what they were doing but they only had a demo, and Andy had just gotten a new job where he had extra money and thought, "Hey, maybe I'll start a record label," because nobody was putting out their records. So he did that, but then he needed some help, so I ended up putting in some money and helping. We did the Hot Hot Heat record and then The Red Light Sting was starting out, so we did the split. Now it's a lot more like a business. Andy: Originally, we didn't know where we were going with it. It was like, "Hey maybe we'll do a split with Hot Hot Heat, that'd be cool," and then d.b.s. broke up and I was like, "Oh we'll release the last songs that we recorded." Then suddenly we were like a real label. Zoe: Now it's really busy. We both have day jobs, but it takes up the rest of our spare time when we're not practicing. You've got the Divorce series coming out now too? Zoe: Yeah, that's coming up, as well as the Kid Commando full-length, Femme Fatale full-length. Secret Mommy LP and Piers Whyte EP, so we're really busy. Finally, how would you describe The Red Light Sting's sound? Greg: Awesome. JK1I31I Zoe: We are like totally awesome. Andy: I would call it incredible. Greg: Are you going to elaborate on that? Zoe: Sebastien from Death from Above told me that our new record was very eclectic and thinks that it should be filed under world music. So I hope that's a good definition. Greg: Awesome, eclectic world music...The Red Light Sting. Somewhere between Maxi Priest and Megadeath. • X Nicveinriber-- Zoo3 the mmu Peaches tells Suzy Webb where to stuff it What's left to say about Peaches? By now you all know what she sounds like (electro/hip hop/glam rock) and what she looks fike (hotpants, hot body, mullet, neon spandex). You know all about the new album, Fatherfucker. that has been refused for sale by Wat-Marts all over America. You have read reviewer after reviewer-earnestly declare that Peaches' music is genuinely original and transgressive, and will endure beyond such fads as Electroclash. You may or may not believe this. However, you probably don't have the inside scoop about the crazy behind-the-scenes world of Peaches' stagecraft, which has evolved dramatically since the early days when she would merely plug her portable CD player into the PA system. That is why you should read this interview, conducted with a tired and taciturn Peaches over the phone from Montreal. How are you? Good. Are you writing this for a magazine or what? W$$Sili£& Wow, we're so famous.... So what are the questions you really hate answering and are sick of being asked? It's not really a question of what I don't like people asking. It's just a question of getting a little conversation going, and I'm sure you'll get all your information. I was actually just asking out of curiosity.... I think it's ridiculous when people ask me why I'm so shocking, because I'm not. I'm just relaying what everybody does and what I do directly, and I don't see what the big problem is. I just find it funny that people find "fatherfucker" more offensive than "motherfucker." I totally agree, our language is so biased against women. And men too! I just want to make it even, so we use all kinds of words; so we can express everything about ourselves^ There shouldn't be just one way of saying things. So instead of just-saying "bitch" about something negative, it can be both ways. I see you not as shocking, but confident, and expressing a lot of things that myself and my friends feel quite deepiy^So how do you think you got to the point where you felt safe and ready to express things that so many other people still find shocking? I think it was just seeing so much music television that was so manipulative. The images were completely hyper-sexualized, but the music didn't relate to it. I was also really into hip hop music but realizing that in hip hop and rock and roll for the last 50 years, I've been singing along with lyrics like "Squeeze my lemon 'til the juice runs down my leg," or "Big-legged woman ain't got no soul," or "Back that ass up,-" "Baby's got back".... I want straight guys to sing along with what I'm saying. It just seems like women don't have a problem with it. I'm not so much trying to put a focus on women as a focus on men. Straight guys, come out! Shake"your dicks! Back it up, that's where your g-spot is, stop telling us to back it up. Yeah, totally. H mmm... [thinking about fucking-boyfriend's ass]. So what do you do if you have a day off, and you don't have anything else to do, life play a show, or write any music, or do any stupid interviews. What would you do? Um...depends what's around me. If my boyfriend's there, I'll probably stay in bed with him. Smoke pot, whatever. Living in Germany, what's your viewpoint of Canada now? Are you just happy to be gone, or do you look back with fondness? I don't think I'll ever come back. But it is fun to visit. I don't have a problem with it. Where in Canada were you born? Toronto, North York. How did you learn to speak German? I didn't yet. I've been on the road for three years. | know some...I definitely understand it...but my grammar's horrible. I saw your show on June 16 and 17, when you were opening for Bjork. I ready enjoyed your performance, but the crowd seemed pretty tough to win over. What was the experience like for you? You get to see what a larger mainstreamaudience is like, where their heads are at. Because they don't know anything about me, they're waiting for their Bjork [sarcastically]. Bjork's power is that she can make her audience quiet for 90 minutes, whereas mine is making them go crazy, whether they're angry about seeing me up on stage, or they love it, whatever. I had 10,000 people go "Oooh!" [Peaches gasps, mimicking shocked intake of breath] when I said, "Shake your dicks." It was great, it was amazing. I'm going to tour with Marilyn Manson for a month, and I'm sure they're going to human sacrifice me. No, I bet they'll really like you. Maybe I'll get him to human sacrifice me. He'd be like. "Oh, OK, so that's part of it...." No, I bet they'd really like you a lot. Hopefully they'll have some idea, because I think what you do is something no one-else really does, so people are surprised. I remember when I first saw you I was like, "Oh my god, she's so amazing," but maybe I was coming at it from a more, I don't know, slutty viewpoint than some people. [Peaches laughs]. What is the craziest thing that's ever happened at a Peaches show? Well, Philadelphia was pretty crazy. I was playing at the Trocadero. The first thing was, I got to climb up along the rail of the balcony, and get on the DJ booth, which was like 30 feet up, and then climb back on to the stage. And that was good, because all the underage kids were up there, so they got to get a good close look at me and I got a good close look at them. And then this girl came onstage and say, "So you want to stuff me up, I've got something for you to stuff up!" And she pulls up her skirt, and I had a towel around my neck, so I put my head under the towel, pretending to eat her out. But then it turns out she had no underwear on, so I ended up singing "Stuff Me Up" to her pussy under the towel. Yeah, it was hot. Oh, can you hold on? [Peaches proceeds to give directions to her roadies.] Yeah, just put that over there, so it'll look like smoke. Maybe just a little forward. I thought it was supposed to stay there until the monitors go up. What? No, that's the one that closes and opens. Cool, can we start the show with the curtains closed? Can you, move that one over there? No. I wanted it with the other one. Alright, hi? What's your favourite song on the new album? My favourite song right now is "Tombstone," because its like a rockabilly electro song. What's your favourite song? I really like "I U She." It's just so...slutty. That one's for the straight guys to sing along. You know, where it goes, "I / You / He / Together...." So it doesn't always have to be two girls and a guy. I'm offering alternatives! That's a good way to put it. Well, I think I'm going to let you go now... [She squeals in delight] Thank you, thank you, thank you!! 3 ;. •.-^-of.pefc lilit n $■/.'• I TOO by Patrick Finley 183 nVL In the middle of Gastown, mixed with overflow from East Hastings, are The Unicorns: three boys with tears in their eyes, decked out in pink and waiting to play rock. On stage, Aiden Ginger (keyboardist/ guitarist/singer) screams uncontrollably when the lights go off and then on again. Drummer Jaime Thompson plays on while Aiden and Nicholas Diamond (guitarist/singer) playfight for keeps. This is sincere emotional rock, full of turmoil and romantic falling-outs: the essence of "puberty pop." DiSCORDER interviews Nick, while Aiden walks with an old friend, and Jaime goes AWOL. DiSCORDER: Do you think love can save the world? Jaime: Save the world from what? Nick: No...probably nobody's ever going to...[Looks up]...nobody's ever going to love us...wait, can I rephrase that sentence? I wanna make it sound better. Jaime: Yeah', you just work on something, you're the writer here. [Laughs] You guys recently moved out to Montreal? Jaime: No, a long time ago actually. I lived in Montreal for three years before moving out onto the road. Nick: I've been going to school in Montreal since 1999. Were you making music before that move? Nick: Myself and Aiden started making music about 2000 and he lived in Campbell River, and we played when I came back on holidays. I would come back in the summertime and at Christmas and we started this thing called The Unicorns, and it was just the two of us with a keyboard drum machine and two guitars and it just grew from there. We bought some nice gear and eventually he moved to Montreal in March 2003 and we started playing some shows. Then we got Jaime to join and became a three-piece, one big puzzle and now we are the best band ever. Jaime: Apparently we're better than The Beatles. Nick: And Jesus. Jaime: Well they're better than Jesus, and we're better than them. So, how does your personal geography affect your music? Nick: I was sending Aiden stuff I was working on, and he was sending me stuff he was working on and we'd piece it together like that. Then I would go back, and we'd be face to face and bring it home...yeah, it was cool; flanked by the Rockies, we survived. [Jaime leaves.] Do you use production as a tool? Or is it just there? Nick: It's not like we strive to be a lo-fi band...we're mid-fi now. Would you say writing comes before music? Nick: It all depends. There are instances where a narrative will come about, and there are times where we come up with a really good lick on the guitar or the keyboard and we'll write some words. Or there are times when it all happens at once, kind of like a bomb. They're all good, they're all different, all the songs have their own path. How would you describe your puberty? Nick: [Laughs.] That's good, nondescript. I dunno, lots of punches to the head, better than most compared to the movies I've seen. I just got picked on a lot. In terms of physical changes it was slow and sudden... puberty is chaos. How did your experiences in puberty affect your music now? Nick: It's funny, sometimes I think of The Unicorns as "puberty pop." We're growing as a band still and sometimes the songs themselves grow... always changing between voices, puberty is exciting. What CD/vinyl of yours would you put in a 100-year time capsule? Nick: Grace/and by Paul Simon. You sure you want that to go down? Nick: Yeah. You would describe your music as the love child of what? Nick: Ahhh...Fuckin' two-way action on Silver Apples....! dunno so much...Paul Simon is in there getting some action. Destiny's Child, Ace of Base...Cannibal Ox, El-P is production, fuck, I dunno, so much, everything...nothing, we're totally unique, you can't define us. How would you die? Nick: How would I die? Nobody's ever asked me that question. It's a good question. Our new album is called Who Will Cut Our Hair When We're Gone. Because your hair and fingernails keep growing? Nick: How will I die? How will I die. It should be sexually, shouldn't it? Maybe I would like to be doing something fun, creative: having sex while performing a song about drawing. And directing a film, while working in a factory. And also some pain. I should be tortured. Instantaneous. And also crushed by an elephant. But I'm not going to die, I'm immortal. P'llSfSi You don't really want to be immortal, do you? Nick: No, I just want to be 750 years old. Uke Noah? Nick: Speaking of Noah, the unicorns were shunned from the boat, they were too busy frolicking, so that's how I would die, I would miss my opportunity, having fun, frolicking. How much is your reality a fantasy? *f^&^5 Nick: How much of my fantasy is reality? A lot of it. Ready for the last question? Who should rule the universe? ■Nick: Me, motherfuckers!! No, not me...God, Jesus Christ, Krishna, Buddha.-.Hitler, just kidding...nobody. Nobody is going to rule the universe...but Hitler will. It'll be tag team. • The Unicorns play their crazy tunes on Monday, November 17 at the Croation Cultural Centre and Tuesday. November 18 at the Commodore, supporting High High Hair. You need to go. I'll be taking names at the door. Non-attendees will be severely punished. You have been warned. Don't blame me when I knock at your door. i4 hJo/eirvNfcer Xo<& rf'C THE STUNTS One of the most entertaining bands to watch during last year's SHiNDiG was the eventual second runner-up, The Stunts. This pop-punk trio was having a blast on stage and it showed. They were having fun. The crowd was having fun. That's the formula for a great show ten times out of ten. Interview and photo by Ben Lai Based in Vancouver and formed three years ago. The Stunts currently consists of Jax on guitar, Jackie on drums and Dana on bass and vocals. I had the pleasure of having lunch with them at East Hastings' Ovaltine Cafe on Thanksgiving Day to talk about their current interests and projects. DiSCORDER: Were you always called The Stunts? Jax: Dana is the reason why we're The Stunts now. We hqve another name, but then Dana became an artisan. Dana: We were called the Cunning Stunts and then I took a welding course and learned how to cut metal. But I couldn't cut the whole word Cunning Stunts because it was too long so I just got the word Stunts. So we became The Stunts. Jax: Must be a metal band, because she made it out of a one inch plate of steel! Dana: [Laughs] Plus our moms didn't like the name. Cunning Stunts. Jax: And our old guitar player kept mixing the first letters up, which is problematic at family venues. Where is the plate of steel now? I don't think I've seen it at any of your shows. Dana: Oh.... It's hanging on my kitchen wall. Jax: We heat it up and brand people with it. [Everyone laughs.] Jackie: Nice idea. Jax: Only our arch enemies will get branded with a Stunts logo that big. The Stunts: Scarring their enemies since 2003. You are going to have a CD release party at the Cobalt. Can you ten me about that? Jax: The CD is called Over It. And everyone should get over it. Six songs recorded by Jessie at Wreckage. So it's going to be a Wreckage theme night at our CD release, with Ten Days Late and Billy the Kid and the Lost Boys. That's a good lineup. Should be a good show. Jax: That's right. Should be a good show. Come early, stay late. Do you recall that we have a different theme to every show? Yes, the costumes. Jax: So you enjoyed the mad scientist theme, and the Brownie theme. Jackie: The army theme. Jax: Yeah, Sergeant Rock and the Privates. Dana: You missed the gym teacher theme. Jackie: That was a good one. Jax: We played in Victoria. We dressed like what our old gym teachers would have. Lots of whistles and visors. Sweat bands. Dana: And sweat socks up to our knees. Jax: It was hot. [Laughs.] What was your favorite theme? Dana: The Brownies. Jackie: I like the army. You guys' uniforms were so nice. Jax: I like the Brownies because we can practice our knots and fire starting and things. But I think the next theme might be pretty good. It's Dana's birthday. Dana: Are you going to tell him how old I am now? [Laughs.] Jax: I so am. Dana's turning 33 like Jesus. You know that Jesus was 33 when he died right? So maybe Christ on a cross would be a good theme. Dana: Crucifixion? Yeah. [Laughs.] Jax: I wonder how Jackie will play the kick drums with nails to her ankles. Dana: It's going to be a bit tough. Jax: But we'll be controversial with the religious right groups. Dana: What would our mothers think? Where do you get your costumes? Dana: Tickle trunks. Jax: You should see how I dress at my corporate job. [Everyone laughs.] A mask, at ail times. Dana: Sometimes it's well thought out and we shop at different stores. Sometimes it's an hour before the show scrambling looking for clothes. Jax had her Brownie costume from when she was a kid. Jax: Luckily I haven't grown much. I still have my girlish figure. Someone I know saw you playing at the Gallery Gachet. For a film by Nikola Mann. What was that about? Jax: Yeah, we were in a film soundtrack. The film's called Coming and Going to Paris. It was a short independent film shown at various film festivals. We were in the soundtrack with this new song we wrote en francais. Do you speak French? Jax: Enough. We've all taken Grade nine French. I thought I did too but when I was In Paris I was useless. Couldn't understand a thing. Jax: I saw Neurosis in Paris. We met the guy in Neurosis in the Catacombs. We were like, "Who's the weirdo tattoo dude?" So my friend went up and spoke to him and found out he was the guy from Neurosis. He was so happy. I translated all the scary things underground for him with my Grade nine French. He put us on the guest list and we saw Neurosis in Paris. Dana: That's almost as good as my brother running into Geddy Lee at The Lourve. He's got a picture with his arm around him at the Mona Lisa. Jax: That's awesome! Geddy Lee almost has the same hair as the Mona Lisa. [Everyone laughs] Normally your songs are English. Who writes them? Dana: We all do. Jax: It's an elective and collaborative effort. Jackie: Jax and Dana do the lyrics. I maybe come up with five words. Jax: But they are really good ones. Dana: Yeah. Jax: Our songs are about love gone wrong. They are not about any of our ex-boyfriends by name. Despite what they might think. Artistic license is the key. There is a song called "Killer Sports Car." Jax: It was pretty much written here on this street. [Points outside to Hastings Street.] Dana: We were in the middle of a march. It was also during a period of time when lots of pedestrians were getting smashed up the sidewalks in Vancouver by crazy drivers and sports cars. And then we had an altercation with a guy on the street just here outside the Ovaltine. He was a very busy man. Jax: Was it the guy driving the Porsche? Dana: Yes. Jax: We were marching. Holding up the street protesting. Feminist action. And that guy was the local representative of that Killer Sports Car Clan. Dana: So he made his way into the song. ThefeHs another song called "Read My Lips." I don't remember that one too well. Jax: It has cussing in it. Jackie: The word "masturbate" comes to mind. Dana: My mom's favorite. My mom told me that she went walking with her headphones, and she listened to our whole CD, even the one with the dirty words in it. Jax: That one is the favorite of our old guitar player's non-English speaking husband. Well, he speaks English a bit. And he's like, "I love that song. [Sings] mas-fur-bate to this you bas-tard. Can you play it for me? On acoustic guitar?" I'm like, "Ah...okay." Haha. Jax: Our songs are just songs about things, nothing too serious. Except that they are serious, you know, they are pro-feminist. Do you see yourself getting more involved in feminism as a band? Jax: Lots of our songs have got increasingly direct feminist content. I would really like to put the band on the back of Jackie's truck and drive around the propaganda machine. [Laughs.] But I never managed that. Dana: I'm pretty interested in playing as a feminist band. Feminist activism is important to me. Jax: Yeah, me too. As individuals. The band, the project, is more about rocking. What about you? [Looks at Jackie.] Jackie: [Laughs] Jax: We make Jackie come to work at our various activist activities. Jackie's solid because she fakes all the heat. Takes lots of heat for our big mouths. ?^S^S Dana: Some parts aren't easy. - *&itf4^ Jax: We can be archly controversial. You'll have to come to see our show to find out why. • ' "'^-v-v?5t The Stunts will be playing with Ten Days Late and Billy the Kid and the Lost Boys at the Cobalt on Thursday, November 27. 1 ^AscpfcDeR. Justin Gradin picks Mark Mothersbaugh's braifr1 Mark Mothersbaugh is a pioneer musician, a successful film, commercial and television music composer and an extremely talented visual artist. In the years since he first became famous with Devo, Mark has been mainly concentrating on his company Mutato Muzika, which has scored music for a diverse range of clients, including The Rugrats and Pee Wee's Playhouse. Most recently a sucessful collaboration with filmmaker Wes Anderson has brought Mark Mothefbaugh's music, Devo or otherwise, to a whole new generation. In between writing music, he somehow finds the time for art, art which he will be displaying in Vancouver at the Bfly Atelier Gallery at the end of the month. I called him at his Mutato Muzika headquarters, and the following is the result of that conversation. DiSCORDER: Hello. Mark Mothersbaugh: Hello. Okay, can you start by telling us what the Home front Invasion is? It's a collection of some collages that were done fairly recently, within the last year or so. The images are just kinda one man's view of the world around him and relate to the things I see out there. So it's not all postcard art? No, actually there's nothing the size of a postcard. They're all bigger pieces? They're all larger pieces. It's just my modus operandi that I carry postcard-size cardboard in my pocket everyday, to work or wherever I go. To bed with me, even—which is sad to say—but you know, I jot things down in the form of sketches or lyrics or whatever on those cards. I've been doing it for about 30 years. I've done other shows where they were referred to as postcard superheroes. The postcard just gets stuck with me. It's kind of a dated terminology. You haven't done an art tour in a really long time though, not since the early '90s? Yeah, I started a company [Mutato Muzika] about ten years ago doing music for film and TV and different interactive mediums. For a number of years it was pulling all my attention but now it's been healthy for a while. And I was able to put an art studio in my office space, so it's easy for me to write a piece of music for Wes Anderson or something and while they're mixing it or transposing it onto paper for players to play, I can go in the other room and work on this stuff. How has your tour been going so far? Pretty good, a pretty high-percentage of the shows all sell out. A number of them sell out on the first day and that's kind of nice, because (fe tff>jev*\ber 2a& . my intention with this show and the reason why it's called Home Front Invasion is 'cause-I'm making an overt attempt to climb into people's living rooms and bedrooms and wherever else you might hang a picture. So I'm invading other people's home fronts. As far as the kind of galleries I'm showing at, oftentimes it was galleries that advertised in Juxtapoz, just because I kind of like what they represent in the art world. Although a lot of the stuff in Juxtapoz magazine doesrrt really interest me, like the hotrod thing and the rockabilly thing. Like Coop's [legendary underground Los Angeles artist, famous for his '50s-style "hotrod girlie monster art"] drawings? You know what? And I've known Coop for a really long time and I really like him. I remember when I was in seventh grade, meticulously painting the Ratfink [the classic character created by Ed "Big Daddy" Roth. You know the one, that rat that drives a bloody great hotrod— Ed.] on my skateboard back in the '60s. So, I totally love all that stuff and it has a place in my heart. His thing in particular is an homage to somebody else in a way, and I see my stuff as more like—I'm kind of like a visual reporter who's going around with one of those sticks with the nail on the end picking up trash at a parade ground after the parades are over, and collecting that stuff as evidence. But instead of collecting from a parade ground, I'm just collecting off of television, off of trips to the mall, off of traffic jams, after a bad meal, after a really incredible nightmare. W&$$"~ So you're just observing? That's where my subject matter comes from. And I picked these gal- 'teries that were kind of small aneHess established rather than pressing to see if I could do images that would be more attuned to the Mary Boone gallery [in New York] or a Larry Gagosian gallery. I was looking for the galleries that make me feel like they're kindreds spirits wflh the early Devo days—when people were into it for the love of art. Yeah, It seems the original punk-scene seemed so influenced by Dada and Marcel Duchamp. I don't really see that anymore, I don't know how much of a punk/art relationship there Is now. Yeah, for what's going on in the world of music—although I write music every day—I'm really kind of outof fhe loop of pop music. Every now and then I'll work with people I'm impressed with or for a particular project but I'm not attempting to do pop music anymore. You released a Christmas record, Joyeux Mutato, on Rhino in 1999. Can you tell us about that? Yeah, that was just a fun in-house project with the people here—my brother [Bob Mothersbaugh] and Bob Casale. We'd work on something like a Rugrats movie and we needed to get that energy out of mr our head. So we'd stay after hours and just do stuff we enjoyed. It was also a collaboration with Charles Long, the sculptor. He got commissioned to do a window for Saks and he was doing these '60s sci-fi snowmen. Very abstract and gorgeous. I think it was the best window display I've ever seen in a commercial store like that. I thought Saks were really smart to get him and he had a really good response to their request. But he was looking for music that could fill the environment and I wanted to create something that had a nostalgic feel but was unrelated to traditional Christmas music. It's definitely in a different world from Bing Crosby singing "White Christmas." Although there are references to those kinds of songs in there—they're floating around like fragments in a snow globe, inside this other music. That project was just fun. I printed one up and gave it away to friends one year and then the next year Rhino said they would put it out. You guys work a lot with Rhino, then? Like the Pioneers Who Got Scalped: The Anthology CD box set. When that came out I saw it in record stores, but it took me awhile to even find out about Recombo DNA, the B-sides box set, which I thought was a much better set of discs. You know what? That happened accidentally, to be honest with you. It really had more to do with interest from specific people at Rhino. I have a basement full of tapes still, you know? Some of it might be good but a lot of it's just very private and it makes even that stuff seem very polished and mainstream. We recorded every day for about ten years and very little of it has seen the light of day, and for a good reason—not all of it is supposed to be heard. , If somebody were really to get into the chronology of the early music we made, you would see that there were a couple of directions that Devo could have gone before we ended up doing what we did. Oh, yeah? There were other interests. Do you know a band from France called Stereo Total? Stereo Total, yeah. Their music reminds me very much of some the music that Jerry [Casale of Devo] was writing when I first started working with him. It was really kind of bluesy and dirty, it sounded like the Little Rascals were playing the instruments. It was more concerned with energy and feeling than being polished and well performed. I guess we were performing it the best we'could, really. At the time we didn't know where we were going exactly. It's kind of funny because every now and then the people in Devo think: "Hey, why don't we do another record?" But then they lose interest after they think about it for 10 minutes. But if the other band members were to talk me into it, I would say, "Let's go back to some of the stuff that was more tike what Jerry liked writing in 1972." There was this period of time when he was writing stuff like "Subhuman Woman" and these songs that were really, really crude rudimentary blues. I never used the keyboard to play notes that were in tune, it was more like the way Allen Ravenstine from Pere Ubu played the synth. I was just looking for sound effects and it would create, like, a sonic gas, which would surround these caveman blues pieces. That's where I would go if I were to revisit someplace Devo was at and almost went but didn't go. We also spent years doing this kind of industrial trance music that we never released. If you could listen to it now, you would say it was the stuff that the guys who became Nine Inch Nails wrote before they were Nine Inch Nails. It happened at a time when we were in a transitional stage and we were moving towards what became the kind of really weird sci-fi pop stuff by the time we were on Enigma records. I felt it wasn't very successful when we were writing it, but, in retrospect, I like it a lot more now. Devo recently played a few shows for Tony Hawk's "Boom Boom Huck Jam" Skateboard Tour. How was that? Yeah, yeah! That was actually a lot of fun. I mean playing was fun. I was just mesmerized by the whole Tony Hawk phenomena. We were kind of friendly with all this skateboarding when we started off. We did videos like "Freedom of Choice," where we used all the old guys from the first time around. Oh yeah! That's a great video. On stage we wore first-generation skateboard gear on stage because we like the way it made us look more like automatons. Half man, half machine, and that really appealed to us, the whole gladiator skateboard thing. Although, by that point we were all old and we'd crashed so many times that we weren't skating ourselves anymore. I'd put a big hole in my head when I was a kid skateboarding. [Laughs.] Do you guys get a lot of requests to play shows these days? Yeah, we get requests to play. Sometimes we do it if it seems interesting. Everybody has other things they're doing in their life and, to be .quite honest with you, performance is something that should only be a job for 20-year-olds. Quite honestly, I'd rather leave the job up to the young kids. They're in the process of confirming their manhood, you know? It's a rite of passage for anyone that age. Richard Branson [Virgin Records label head] famously tried to persuade you to take on Johnny Rotten as your lead singer when you were first starting out. I read recently that Johnny Rotten broke up the Sex Pistols again; so maybe next time Devo plays you could get him to join lire band and sing for you, since he wasn't successful the first time around. Yeah, we should have done it the first time maybe. Maybe just for one day so he could experience Akron, Ohio. T think that would be realty funny. I'm just picturing it. Uh-huh. [Laughs.] Johnny Rotten singing.... At around the. same time. Bob Casaie and I stayed with Iggy Pop for a couple of weeks in Malibu. Devo used to rehearse in his living room for a while and he wanted to record all our songs before we put out an album. Really? Yeah, he wanted to record them first. I was kinda like, "I don't know if that's a good idea." And Blondie wanted to do "Come Back Jonee" before we ever recorded it and it made me nervous because I thought, "What if everybody else takes our songs from us?" In retrospect, though, you always think about how you'd do things different. With Devo I can think of a hundred important things I would have changed. One of the things I would have done is encouraged Iggy to do one of our songs and I would have encouraged other bands that were interested in us too. You know, we had weirder shit than that. We had people like Burt Bacharach and Carole Bayer Sager invite us over to their mansion and say, "Let's collaborate on some tunes." That's funny. Yeah, I just remember sitting there, looking at this guy in bedroom slippers and whatever other uncool stuff he was wearing. I remember being a little bit self-conscious because I had these wrestling referee shoes I found in Ohio that were, like, from the '40s, that looked really cool. But I'd worn them so much that the sole was starting to come off one of them, so it would flap like a tongue at the front. And I remember the whole time I was at his place, I kept holding my foot in a position, so that he wouldn't see that the bottom of my shoe was coming off. I'm thinking, "Did he write, 'Do You Know the Way to San Jose?' And if he did, why are we even in the same room having a discussion because I don't know if our interests are in the same area at all?" [Laughs.] So, Is Mutato Muzika your main focus now? Well, Devo isn't focused at all. We do things now and then...[coughs on something he's eating]. Excuse me, I'm getting choked up talking about this. What's going on in my life right now is that I'm doing Mutato Muzika and looking for interesting projects to do with that. I'd really like to do less TV. I feel like I've really run the gamut with that. I started with Pee-Wee's Playhouse and then did lots of commercials. My company's gone through periods where we've done millions of dollars of commercials in a year. And at different periods of time I thought that was fun. I got into the idea of putting subliminal messages in Ford and McDonald's ad campaigns. It was kinda fun, and then it got to be too easy and so it became boring. It's very rare that I'll do that anymore, .but it's easy to do. Usually, the guy who does the final mix will hear it when he's fixing it to send to the television networks. They'll notice it and say, "Did I hear a voice in there?" And if you're lucky they don't say anything to the client. But they've never fired me because of it. But I always have very important subliminal messages; I don't ever just fuck around. It's always like, "Question Authority" or "Don't trust your parentsll" [Laughs] The things kids need to know about. Right now, I've got to ask you about the Swifter commercial. Yeah, you can just change our name to De-HO. Everyone I know seems to be asking "what's with that?". [Laughs.] So, is that really you guys singing? Which would you like? Well, I think tt is, isn't it? [Sighs] Yeah. 1+iate to say it, but it is. I think it's funny. Whenever I Swifter my kitchen now, it's a party. Yeah, it'swawful a commercial that I kinda like it. Maybe we're doing the wrong thing but everybody in the band's really delighted with the idea of these songs turning into insipid products. • Mark Mothersbaugh's Home Front Invasion opens on Saturday, November 29 at the Bfly Atelier Gallery and runs until December 20. The man himself may be there to open the show or he might not. He's not sure. Whatever happens, though, there'll be lots of cool art there at a price you might even be able to afford. The Bfly Atelier Gallery can be found at 341 Water Street. You can call them at: 604-647-1019. Marie's art plus much much more can be found at www.mutato.com. Enjoy. H Div-ofc&en Words and Interview By Saelan Twerdy The Books make their music from samples, but probably not the kind you're used to. Their sounds echo the dusty twilight of Appalachia and the old-world metropolises of Europe. They have the rigor of high-brow experimental movements like sound sculpture and musique concrete, but they balance them with the wistful humanism of pop melodies and American folk music. Nick Zammuto and Paul de Jong, the two brains behind The Books, sample from instruments they play themselves (guitar and cello, primarily) as well as from their own extensive library of found sounds, and have recently added the immediately pleasing element of their own voices. Totally uncategorizable, playfully absurd, and quietly beautiful (as well as technically virtuosic). The Books stole the hearts of a very mixed audience with their sleeper hit of a debut. Thought for Food. Now with a quickly growing fanbase. The Books are poised to delight music lovers of all stripes with their second album of gBtchy, electro-acoustic sound-collage-folktronica. The Lemon of Pink. Discorder was able to contact Paul and Nick at their current home in North Adams, Massachusetts, for a conference call, in which they proved to be as charming, funny, and good-natured as the music they produce. Discorder I wanted to start by maybe talking a little about your respective backgrounds. I know a few things from reading your Nick Zammuto: Tomlab's website? Yeah. Nick: Did you look at our o i website? Booksmusic.com? Umm, no, actually. I didn't know about that. I'll check it out right now. In the meantime, can you tell me a pit about how you met and started collaborating? Nick: It was a mutual friend that brought us together, Julie Wolf. I met Julie when I was in Massachusetts—we were working in art conservation together. She ended up getting a job at the Guggenheim, so she went down to New York and I ended up going with her. Paul was one of Julie's sister's friends, so we met that way and kind of immediately started working together. We met over Shooby Taylor, really. Ever heard of Shooby Taylor? You gotta check him out. You know scat? Well, he scats over, like, Beethoven, and he holds nothing back. Paul de Jong: He was a postal employee in Brooklyn, and I don't think he ever got out of Brooklyn, but he was happy all the same. He made a couple of recordings in a local studio, but it's really worth checking out anyway. Just a total obscurity and a great oddity in the history of music and it's basically what got Nick and me together. Nick, I wanted to ask you about this hike you went on. The Tomlab website says you went "kind of crazy." Nick: Yeah, I hiked the Appalachian Trail, southbound, in 2001.1 started in Maine and went down to Georgia. I started July 1 st and finished November 9th. So what prompted that? Nick: Well, I found myself Pving in cities and I don't know exactly why, but after I was in New York I ended up following Julie out to L.A. I guess I was just a victim of the car culture out there. My life was going in a direction that I just wasn't very excited about, and I'd always wanted to hike the trail. It seemed Bke a good time to do it. So I left L.A. and headed for the mountains. It was very therapeutic. Paul: All the while, leaving me out here for five months in utter despair, in the middle of working on Thought For Food. Nick: You never told me about that, Paul. Utter despair? isSN Paul: I'm totally joking. So how long was this after you'd started The Books? Nick: Paul and I had probably been working together for at least a year and a half. We'd recorded about half of Thought For Food before I got on the trail. We finished the second half of it then in Hot Springs, where I ended up after I finished the trip. Paul: Thought For Food was all really done in starts and fits. In phone conversations, and there were short periods where we would get together. We finished up in Hot Springs, we spent some time in New York, we spent some time near Boston. Altogether, we may have spent five or six weeks in the same room. Very much unlike The Lemon of Pink. I wanted to ask you about that: In what ways was recording The Lemon of Pink different from recording Thought for Food? Nick: Well, for The Lemon of Pink I ended up coming back to Massachusetts, to North Adams, which is where we are now. Do both of you live there now? Nick: Well, we have two sort of identical studios, one here and one in New York, where Paul lives, so we can easily share files. Paul would come up here and we'd work on the album; most of the work we did together on The Lemon of Pink was done here. We probably spent five or six times as much time together on this one than on the first album, and it was all in this ramshackle apartment that we're living in now, in North Adams. It's up on a hill and it's got a nice view of town, but you look at this place and you're like. "How could anyone live here?" It's sort of attractive to me that way. Paul: One of the wonderful things about it, and that's where The Lemon of Pink distinguishes itself from Thought for Food is that the place we are in. North Adams, is very quiet and it allows you to roll the tape at any given moment of the day. So we really play together a lot, we improvise a lot, and a lot of the ideas spring from that. Nick: Yeah, the studio is right next to the kitchen, so we sort of tag- team it; one of us is cooking, the other one is making music. We go back and forth. So, you said your website was booksmusic.com? Nick: Uh, www.thebooksmusic.com Ohh, okay. Because it looks like www.booksmusic.com is a religious website. Nick: What kind of religion. Can you tell? Some sort of Christian thing about Armageddon. Okay, I'm at your website now. This is neat: living room, bathroom, kitchen...Hey, speaking of kitchen, I wanted to ask you—on the Tomlab website, it lists your occupation as "teaching art and making sandwiches". Nick: Yeah, that's what I was doing for at least the beginning of The Lemon of Pink, teaching one day a week at a local college, doing critique for some of the seniors and visual arts: painting sculpture, whatnot. Then I worked at a cafe, a sandwich shop just a block away from where I'm living now, and that's how I afforded my new computer that allowed us to make The Lemon of Pink. So, what kind of equipment were you using, then? Nick: Just a very simple set-up. A PC with a decent sound card running cheap consumer software, mostly Sonic Foundry stuff. Paul: A good playback system, but not even that fancy. A decent playback system and a quiet environment, those are the ingredients. Wow. That's actually really impressive. Nick: We've never really had an opportunity to say this, but it's something I'm really proud of, about The Lemon of Pink, that we could take a computer and just make it. It makes me feel very hopeful for the future of music. The machinery is so accessible to anybody who's interested in it, now. Paul: No fancy studio was ever needed. We do everything with the same set of microphones, and then there's the other stuff, the field recordings and the things that come from LP. But that's also pretty straightforward. It all ends up on the PC. Well, speaking of field recordings, I wanted to ask you about your sound library. I imagine it's quite extensive. Paul: Well, I always think there must be sound libraries around, other peoples', that are far, far bigger than whatever we have. It's really how you make use of it. What our memories can carry, of the library, that's really what carries over into the composition. Nick: It's Tike sort of a musical instrument. We-have this thing lying around and it's constantly growing arms and legs and changing colours. We just listen to it all the time, internalize it, and when a situation comes along that feels right, it's all there just waiting to be plucked. As to that, it seems to me that your music is more about relationships between sounds than the sounds themselves, per se. Nick: It's sort of a balance—for me, anyway. In music, it's like you're always listening to the outside, to the fringes, to the relationships. But when you're listening to the sound in itself, you have to go straight to the heart of it and find out where it's coming from and what it means. l€ Mcvernbe*- -2x*>3 wi mmm NOVEL Irs Ike constantly bouncing backana forfRT"*™ i Paul: Often, it seems that the music creates itself in the sense that, if you find the right relationships between sounds and you put them together, then it already starts resembling music, in a way. I wanted to ask you guys what motivated you to start singing on The Lemon of Pink. Nick: [laughs] I'm not sure, and I don't know—well, I won't say anything about it. But we met this musician down in North Carolina named Anne Doerner, and she was a big inspiration to us, because she's just musical through and through, she basically plays any instrument she can get her hands on. She was one of those piano geniuses when she was a kid and then ended up going off to MIT and studying math, and then has just basically lived on the street for the better part of the last twenty years playing music—all different kinds, mostly old-time American music and Cajun music. When we met her—well, in The Lemon of Pink, for example—on the first track, we had a loop going and we were like, "Anne, just sing along," and she improvised all these lyrics and we cut from that recording. The human voice is kind of the most direct way to get into sounds sometimes, because - our ears are so designed around the human voice. Using one voice as an instrument is something that's worth experimenting with, even if it's a dead end. S^^'%3 Do you think you're going to work with Anne Doerner again? Nick: Yeah, well at least as much as she can stay interested in being around us. She has the wanderlust, I guess. She's always moving around. It's kind of hard to persuade her to do anything. Paul: We did this show in Chicago, and she came along and worked with us. It was an honor, to have another way to work with her. I wanted to ask you about touring, actually. I've never seen any tour dates listed for The Books. Do you perform live much? Paul: Not really. The thing we did in Chicago was kind of a tryout. Nick: It was the first time we've performed in front of anyone, really. I think we feel more comfortable, like, making dinner for people than playing out somewhere. We're still in the very early stages of developing what we want to do in a live situation. So we can't make any promises. The show in Chicago turned out to be well received enough, though, that it makes me think that it's a viable thing to continue on with. We're going to take our time and try and develop a show that's really spectacular before we try to go on the road. So, stayed tuned. I wanted to ask you about some of the things you've done outside of recording albums, too. I understand you composed the score for a radio play? Paul: Well, this radio-maker, someone who's been making radio art for at least the last twenty years, he lives right around us. I guess he got our first album and became really interested in us. He was commissioned to do a radio play for BBC Radio 3, and he asked us to soundtrack it. And since he was so close by, we thought it would be a great way to try another collaboration. Nick: We've always had an interest in doing soundtrack work, just because we love movies. What other kinds of things have you done? I've heard about soundtracks for films, theatre, and dance, too. Paul: Oh, that would be me. That's what I've done, mostly in Europe. I've worked a lot with choreographers and theater makers in the Netherlands, mostly electronic soundtracks for their pieces, but also pieces for instruments and tape—which I prefer, cello and tape. The last thing I really did for that was in 2000 and since then I've only done a few small projects. Last year I was commissioned to do a soundtrack for the city of Rotterdam, which is not nearly as strange as you might think, creating pieces of music that somehow relate or take their inspirations from different neighborhoods in the city. I play back to them, meaning I produce a CD and I perform on location. So are you both still doing individual things outside of The Books? Nik ■ " Sift SOUND? cic Yeah, in order to stay sc I think it's important for us to be do- winter, where w n get together and think about a live perfor- ing our own things as well. I've studied the visual arts—I've only been making music for maybe the last five years or so—and I still have a really deep interest in sculpture, especially sound sculpture. I've been working on that, here and there; I think I might go back to school for that, and I have some solo audio work, some music I've made under' my own name, Zammuto, that's been released in various place. You can find it on the internet, probably. And I guess the most notable is Solutiore of Stareau, which pops up occasionally. I wanted to ask you, especially in light of Shooby Taylor, what kind of stuff you guys listen to when you're hanging out, because I imagine it's pretty eclectic... Nick: we're omnivorous. Paul: We're gluttonous listeners— Nick: I don't know if I'd say that; we're extremely poor. I haven't bought a CD in, like, the last six months, but Paul is actively seeking music all the time, so I get the direct benefit of that. Paul: There's always paths that you can follow, from one thing to another, so it's really a wonderful journey that brings me from one performer or one musician or composer to the other, sometimes in A completely unexpected ways. Most of it actually comes through J> riends, and sometimes it goes through what I read, even what I reajF about our own music. You'd be surprised how many musicians and composers we've been compared to in reviews that I've never heard of, and I was really happy to discover them that way. So Nick, if you don't buy CDs, how do you feel about, say, downloading mp3's or burning albums? Nick: I'm sort of really ambivalent about it. As musicians, we're extremely poor, so I think it's important for people who are our fans to somehow know that in order to keep making music, people have to buy the records. But it's out of our hands—I mean, I don't download mp3's and I don't burn a lot of album copies, but I know what it's like to not be able to pay rent and to really want to continue this work. It is the way music is going, though, the whole system of distribution is a dinosaur. Well, I have to say, for myself, that I first heard your music by downloading it, and I fried to buy it, but for a long time, your music wasn't available in any record stores here. Paul: It's because we're—well, we were, for Thought For Food, at least—being printed in Europe. We already have a reputation for being difficult to find, hard to get, in stores. Do you have any idea how The Lemon of Pink is doing, sales-wise, compared to Thought For Food? Nick: Well, it's doing better, I think, but it's not Britney Spears. You guys are definitely straddling a line between "academic"music and a more popular music, like a folk music, or a more accessible kind of electronic music. Do you think these kind of distinctions are real at all, or useful? Paul: Umm, no. Nick: [Laughs.] No. Just listen to anything that you can get your hands on and see how it makes you feel. ^Paul: The less distinction the better. Everything should be folk music. You know, I heard something somewhere, I can't remember where It's from but It went something like, "Hey, it's all folks music—I ain't never heard a horse play no songs." Nick: [Laughs.] My folks don't play music. So, that's just about it, but I wanted to ask you what you guys have planned for the future and what you're working on right now. . Nick: I think we're in desperate need of a break, and we just have to keep sane, so I think we're going to focus on our own work and cloister ourselves up for a while. Try to hear sound in a new way. We'll keep working for sure, but I'm just not sure what the result's going to be. This is conjecture, but I'd really like to set aside a month, maybe over the mance; try to think out of the box, figure out what we could really do. Paul: All our individual experiences in how to present things for a larger audience live are so different that we really have to get to know each other better than we do now. Nick: We'll just see what happens, what comes out of a friendly, non- pressure-filled situation. Paul: We already kind of figured out that to make a really true representation, or a reproduction of what we do in the studio on stage, is utter impossibility. Nick: It's a totally different beast. But there's an enormous amount of potential there. , Thought for Food and The Lemon of Pink are available now on Tomlab (www.tomlab.de). Information about other Books-related projects can \ be found at www.thebooksmusic.com. Reading From The Books Nick and Paul recommend a few of their favorite literary works! and authors. Daniil Kharms Paul: He was a Russian absurdist writer from the time of the ] Constructivists, I think he committed suicide or was killed in the § gulag somewhere, in the 30's. He wrote a large collection of 1 very short, extremely absurd, brilliant stories. It's just a joy every § time you read them, or re-read them. Nick: The absurd is like the back door to the profound. You know, the front door is locked, so you have to go around and | find the key in the garden. And that's what he does. D.T. Suzuki Introduction to len Buddhism Nick: I've always been inspired by Buddhist writing, and D.T. Suzuki's grasp of the English language is really excellent, which. 1 is not true of a lot of other Japanese Zen people. It's a great j piece of writing and just really fascinating if you're interested in I Zen, at all. Hans T. David (editor) The New Bach Reader Paul: Writing about music is something I keep coming back to, j because I've always been really involved in classical music, up until today. I play a lot of Bach, and this wonderful book is f a document of the life of Bach. He was a man who struggled j with things we all face in daily life, which I find inspiring. Mary B. Roseman and Mary Mills Graded Sentences for Analysis Nick: You'll never be able to find this. A friend gave it to me and now it's one of my most cherished possessions. It says on the title page: "Graded sentences for analysis: selected from fhe best literature and systematically graded for class use." You open it up and it's just numbered sentences, there's probably a thousand of them, and their sources aren't listed at all, so it's like this weird kind of automatic poetry. Nick and Paul also noted that they read a lot of dictionaries. fl T>\<>co*£>e* CRIME OF 77f£ CE/Vftffty Wmm '^0 How a twisted science experiment to produce five killer-elite schoolgirls went terribly wrong and thus formed "the only band ever." Honestly, I didn't make this up. They are the Crime of the Century. They are the only band ever. They are restless, destructive. They are the shaggy, unshaven youth let loose on society. Their guitars are revolution, their snare is the heartbeat of anarchy. Their sound is, by all means, captivating. They are Alexisonfire. * According to the internet they are the creations of a Norwegian doctor with an advanced scientific knowledge of test-tube babies; a doctor who resented the world he lived in so much that he planned to create five Catholic schoolgirls to destroy it. But somehow a vial of Agent X606 (two parts Lysol, one part Jack Daniel's) was spilt into the cloning tanks, changing what were to be girls into a breed of destructive, hard-rocking boys. So how did such a scandalous crime of distorted human-farming lead to the creation of a slightly demented rock-band? The facts are unclear but the shocking truth is out and sweeping the nation on a cross-continental tour. Perhaps I was expecting to interview a couple of drunk, pre-GaHaghers with skateboards, but who I really-met on the backstairs of the Croation Cultural Center, were two quiet, refined, Canadian boys, with skateboards in hand. DiSCORDER had a chance to catch up with Jesse Ingelevics (drums) and Chris Steele (bass) of Alexisonfire as they "inhaled" a bit of BC culture. DISCORDER: You've been touring pretty hard now. Being on the road, does it ever get to be too much? Too much stress? Chris: At first it was cause we weren't use to touring at all and being in tight quarters with each other week after week. But we're starting to learn how to be cool with each other and deal with things a bit better. Jesse: After about a week you get into the zone, you're set and you're ready and everything's going well. Chris: Especially touring parts of North America and the world we've never been to before. We've never been much outside of Ontario before, and this is our first western tour. It's just been absolutely fantastic. It's just been sold-out show after sold-out show. It's just been so much Jesse: It's our first time on the West Coast of Canada. We love it so far. We'tt be back. Skateboarding, and just the scenery and the fresh air. Like going from Calgary to Kelowna and we went right through the Rockies. We stopped at the side of the road and got out; all we could smeB was fresh pine everywhere. It was just beautiful. Just c On your tour you play a lot of clubs and some all-ages venues. What do you prefer, playing a show for the kids or playing In the environment created by the presence of alcohol? Chris: Both is really good, but definitely aH-ages. We definitely attract a younger crowd, but there is still the good amount that are of age and do drink and have a great time at the show as well. So as long as it's aU in good fun and there is no trouble at the shows, all-ages....[cut-off by Jesse]. IhP8*"*^ Jesse: Pretty much as long as it's people who aren't drinking age are able to come in as well and enjoy it, we're happy. Wed, you guys have only been a band for like a year and a half, right? Chris: Coming close to two years now in October. Everything worked really, really quick and it was just so surprising. Dallas used to play in an old band a few years before this one started, called Helicon Blue, a mullet, soft-rock band, and he met this guy that now runs our label, Greg [Below] from Distort. Uh...now that pot is gonna make me start forgetting what I was talking about. [Everyone laughs.] Yeah, so that's how we met. He [Greg] heard of our new band that started up, came out to a show, and everything started to fall in so quick after that. And now what we're doing on this tour, I never expected it. Especially to have two videos that are being played; we never thought we'd have recorded a video. Very mind-blowing. That has got to be tight—recording a video? Chris: Yeah, it's really cool. Especially with the guy we do 'em with. The director, Mark [Ricciadelli], an amazing, amazing guy. Jesse: He knows what's up. Chris: He came to our show, he loved our live music, he loved our live show, and we got accepted with VideoFACT, and then we did the video with him. He's really great to work with and the outcome was just unbelievable. Jesse: The first rough edit we loved, and we kept. It was so good. He was like,"You wanna change your stuff?" And we were like,"No. It's good just the way it is." [Laughter from Chris—I get the "goodfrmes, goodtimes" vibe.] Some bands struggle for a long time before they reach the success you guys are seeing. For example, here you are after two years co-headlining a tour with Billy Talent who have been in the game for what, eight years? What do you think is the factor that determines how successful a band will be? Chris: [Pause] Factor that determines? How many people buy your CD, I guess. [Laughs] Jesse: How well they work with each other is the main thing. Chris: And how well you manage your money, even if it's a small, small amount. Say after a show, we wouldn't dish out the money with everyone and just like," Yeah, go have a fun time." We.always put the money into a band fund and save up and that's how we can get to the shows in a working van and trailer and get equipment. It's all about...! don't know. You know what I am saying though? Yeah, yeah. Okay, your music can be pretty angey, sad, beautiful, but always really emotional. Where do you And fhe inspiration for your songs? Jesse: It's just that everybody has an individual way of playing their instruments and coming together. It gives us our own sound. We're not really trying to do anything in particular. What happens comes out and we refine things over time and get songs the way we like them. Chris: We all came from different types of music, we all had different backgrounds and some members are older. Is if true that it is George's birthday? Chris: It is. It's true. Jesse: It was Dallas' on tuesday. Chris: At West Edmonton Mall, he enjoyed his birthday. Yeah, that was a good show. But didn't we run away from that question about the whole emotional part? How we're writing the music? I don't know about lyrical wise because I don't have anything to do with that and neither does Jesse. But as far as music goes, yeah, just all different styles and influences, and just jammin'. Doing what we do. Jammin'. Fair enough. Wed, I think Alexisonfire is amazing, but I was talking to a friend of mine who was like, "Yeah, the music isn't bad, but what's with all the screaming?" Jesse: I think that when people listen to the CD, the screaming is so different to them, hearing it, it comes across as very harsh. I think it's the first thing they hear, it just gets implanted in their head that it's loud and it's angry and right upfront, and they might not likejhat. If they could take some time to listen to it as a whole and enjoy It they could change their thoughts, but I'm not sure. I'm not suwSlsO Now maybe I'm wrong, but your CD was released in Canada in October 2002 and in the States in November 2003...is that right? Chris: September.... Jesse: October 9. Chris: Oh, it was October 9? In The States? Both: Yep. What was with the huge time gap? Chris: We didn't really expect what was going to happen with our Canadian release. We weren't really concentrating on the States or anything at that time and it just took a while to find the label that we felt we would be comfortable with. And we finally found it. I know it was a bit later but I think it's a good thing. We're going to finish this tour in December, go home for hopefully two, maybe three, months and then we're going to be working on all our new stuff, getting another album out this summer. Would that be the Ambulance EP? Chris: No, we're just going to go with the full-length. We had four songs recorded and we didn't really like the one. Jesse: We.had an idea to do something but we've now just changed our minds. Chris: We're just trying to make a really, really good full-length. Well, you guys just signed to Atticus. How sweet is this deal? Jesse: Right. It's just really cool that...[cut off by Chris]. Chris: It's nice to have a clean shirt after every show. Jesse: Well, we went out to San Diego and two of the dudes from Atticus came and just hung out with us. They were really great, we had a fun time meeting them. What are the other benefits to that? Chris: Well, I guess just having clean clothes to put on. Jesse: Hopefully we will be able to get on their sampler CD or their compilation one. Are you guys signed to any other companies? Chris: Our record's also released in Japan on Howling Bull. Alright. Well, when I was thinking of this question, I kept trying to think of ways to word it so I wouldn't offend you or piss you off, but I kept falling back to the same sentence. If you had the choice, go back to St.Catherines or do a commercial, would you ever sell-out? Chris: No. We are just gonna keep-on playing music that as a band we like to play. Jesse'And just keep doing that and if they like it, they like it. Hopefully we'll keep on getting a good response. Chris: That's why we're playing music in the first place. At first you're not about shows in front of an audience, you're just playing music, what you like. You just have to keep it like that the whole time. Well, is there anything else you want to add? Jesse: It's good to be in Vancouver. Since you guys were so good with "Pulmonary Archery," maybe you could go back to Powershift (on MuchMusic) and get us back to number one with "Counter Parts..." if you can. Maybe another video might be in the works. One day... we're trying. • For more Alexisonfire you can go to www.theonlybandever.com or the mothershlp, www.bedlamsociety.com. 2D Ma/ertteer Aoc& Western Front New Music & Leisure Thief present a CD launch for H 4§» LEE HUTZULAK I Princess Builder »«.«^ ™ vv/ Todd Hutzulak I Julian Gosper I Todd Mason I Jeffrey Allport 9PM Sat Nov 22nd 2003 at the Western Front 303 East 8th Ave $12/10 (includes CD) ■,*■*.«, »»**. B~H Heritage Canadian Ivance sales: 604 876 9343 www.front.bc.ca www.leehutzulak.com mm mwwm m airw think you're up to it? id a love of publi: THE BRICKYARD315CarrallSty6046853922 NOVEMBER ******************** 1st Desarmador, 7th Sunn and guests/ 5th Tim, Far From Heros, Complete, Man Down/ 6th Novastatik, Straight Jacket, Calypsus/ 7th 20 Miles, Leeroy Stagger, Honeycow/ 8th DOA's 25th Anniversary with Thor, Hisseyfit/ 12th Nashville Pussy, Peter Pan Racerock, StinJc Mitt/ 13th Themselves, Clue To Kalo, The Drunken Arseholes/ 14th STREETS. A Javelin Rain and guests/ 15th TBA/ «<,- 16th Mono and guests/ ev^O/rpi 19th Soundawg, Raw , Daark/ **> cotS ^^sajj 20th Fuck Me USA, The Nons and guests/ * ^Peci^ 21st The Festival Of Guns/ 22nd The Festival Of Guns with The Real Mackenzies/ 26th The Harlots and guests/ 27th Race Banrten_anol^uests/ * for complete listings: wwwfirebaUprbductionscom * $S COVER • OPEN LATE • 1227 GRANVILLE STREET ZA D\*c£«oe& recorded media David Bowie Reality (Columbia) Reality is coolest where the beats are big: close listenings magnify towards nothing. Save this album for extended highway corners and late-night push-ups. Eugene Joe Yourself High," carry the duo into more adventurous territory. "Get Yourself High" has a dose of hiphop but K-OS doesn't seem to have much of a presence on the track. It's ironic how Rowlands and Simons sing the lyrics "don't rely on us to get high." Could this be their own verbal warning label for their songs? "The Golden Path" is a spacey-sound- ing story about a journey told by The Flaming Lips. A flute accents the melody, which takes on a New Wave vibe. The Singles collection does a nice job of showcasing the evolution of The Chemical Brothers from static electronic sounds to more diverse music genres. Three words found in their liner notes prove how much they love what they do: "Love Is AH". £m/7y Khong The Chemical Brothers Singles 93-03 (Astra Iwerks) This album could have been called Greatest Hits Collection: but, then again, a "greatest hits" tag is usually a sign that a band's career is over. This may just be filler for the boys until their next project is finished. The Chemical Brothers established the electronic music scene into the mainstream in the 1990s. There are 10 years worth of hits here, plus two new tracks, "Get Yourself High" and "The Golden Path." The former is notable because both Rowlands and Simons drop their vocals on the track alongside Canadian rapper K-OS. There are no surprises here. You get the original studio release of each track without a remix makeover. There are the constant big beats with repetitive vocals sifted in. You can play the whole CD through in the dark, with glo-stick in hand, and have your own rave. If staying indoors isn't your thing, pop this bad-boy into your car stereo and take a road trip. Be sure to start off with the sirens blaring in the opening track, "Song to the Siren." The Singles collection displays the various collaborators The Chemical Brothers have worked with, like Richard Ashcroft and Noel Gallagher. Out of all the hits, "Hey Boy Hey Girl," "Block Rockin' Beats," and "Setting Sun" are the tracks that you end up humming for the rest of the day. The two new tracks, "The Golden Path" and "Get 22 tfosiewber jJxb The Dambrots Especially Not Love (Bartleby) Okay, this has got to be done, so I will just go ahead and say it. This CD is painfully bad. I regularly see more interesting, clever, and enrapturing performances at any university pub open mic night. Actually, I'm more intrigued by the street singers on Granville than I am by this debut album. Both street singers and most open mic performers can exhibit a spark. This doesn't have to be a spark of genius, but it can be a spark of love for the music, or even just a spark of exuberance. Folk music can be beautiful, and has the ability to project sonic landscapes more powerful and halting than many other styles, due mostly to its down to earth nature. The power in folk music, then, lies not in complex or inventive instrumentation, but in lyrical content and delivery, both of which are severely lacking in this album. From the very first song, "Not Quite"," we are drawn in by sparse acoustic chords backed by the words "you say you have changed this time around, and I can almost believe you but not quite." Right through to the closing number "All That Heaven Allows," there's really no inspiration to be found in the melodramatic singing and poor choice of lyrics on this album. soren Brothers The Dismemberment Plan A People's History of the Dismemberment Plan (DeSoto) For every piece of high-concept or original art that succeeds brilliantly in reaching its ambitious goals, there's about a hundred or so that fall to earth like bird guano. Just look at movies; for every Memento, there are dozens of Final Fantasy: The Spirits Withins. Consisting of 12 remixes made by fans who took separate tracks from the band's songs off their website, A People's History of the Dismemberment Plan (the Plan's last album) definitely qualifies as high-concept. Though the album doesn't figuratively splatter on a car windshield, it hardly qualifies as one-in-a-hundred either. While samples and technology played a role in many of the Plan's songs, the best remixes here are the most organic ones. Drop Dynasty's twists "What Do You Want Me to Say?" into, a slinky hip-hop song that's almost as much fun as the original. Quruli adds a tribal-drums-recorded- underwater beat to "A Life of Possibilities," which transforms the song into a haunting, reflective look back at the past. The best of the bunch is Ev's take on "The City;" the loneliness and alienation of the original is retained but re-imagined with a terrific trumpet solo arid piario underbelly. It's too bad the stinkers on the album are as plentiful as the gems; Parae's "The Face of the Earth" is electro-nonsense, beats and cut-up vocals can't save Cex's "Academy Award," and ASCDI's Depeche Mode-influenced mix of "Time Bomb" drains the energy out of the original like tuition drains my bank account. Consider this album, then, a morsel to tide fans over until the band reunites (I hope); for everyone else, go buy Emergency & I and/or Change to find out what you're missing. Neil Braun Irving f Hope you're Feeling Better EP (Eenie Meenie) Irving appears to be channeling its musical vibe from another era, particularly from the '60s. The disc is full of upbeat. catchy tunes with ingrained singalong melodies and sprinkles of horns in the mix. The retro feel is augmented by the harmonious choral/group singing of the band members a la Beach Boys and Mamas and The Papas. What the 'Boys and the 'Papas didn't ha\» were the distorted guitar sounas that irving dabbles in. The nice clash of tones is apparent in the opening track, "The Curious Thing About Leather," where the full-band harmony meets up with a wall of noise. The lyrics are not profound, but short and simple, irving travels back in time on "I Can't Fall in Love", being a perfect fit into an '80s Ratpack teen comedy flick. The riff on this track could even be a distant cousin to The Strokes' "Last Nite." Even on "The Guns From Here," the electronic beats are reminiscent of '80s techno hits like "Just Can't Get Enough" and "Da Da Da." The highlight on the disc is "Please Give Me Your Heart, Is All I Need", which features a refrain sung by a duo of women, which sounds like a Swedish wet dream come true. Emily Khong The Lisa Man* Experiment American Jitters (Sympathy for the Record Industry) A couple months ago a friend was telling me of an experiment some girls did in Vermont. In his story, these girls went into a remote cabin and spent a few months there, almost never leaving the cabin. Every day they would force themselves to write music, no matter how inspired they felt, making the music something of a journal of the emotional and climatic changes of season they were experiencing during their stay. At the end of their time in the cabin, they went over all the tapes they'd recorded, and took the best of it, which they then made into an album. It was a great story, and I still believe probably true of some band. When I saw The Lisa Marr Experiment's album, I thought that I might have chanced upon this gem, which had, in my mind, reached near mythical proportions. Alas, you can imagine my expression of disappointment, anger, and eventually fear at the sounds of the first song's country rock power chords and bar singer. I was unfortunately unable to make it to the end of this album, no motter how hard I tried, and I am being honest. The music on this album may at least have been novel was it badly produced, with the grit of a bar atmosphere somehow incorporated, but instead it is polished, and thus loses any personality which may distinguish it from the rest of the second-cut mainstream feel-good country rock that you can access out there, soren Brothers Outkast Speakerboxxx/The Love Below (La Face) Remember when you saw Outkast's "The Whole World" video and thought to yourself, "can Dre and Big Boi possible get any more tacky or insane?" The answer is yes, yes they can. These mainstream rappers, part of a group usually associated with bitches and bling-bling, have stretched the limits of rap and hip-hop so far that they have created their own musical territory yet again. In this, their fifth album, the Aquemeni pair have incorporated soul, funk, disco, gospel, dixieland, and even a little electro into their already diverse sound. The album is in fact a double-CD, one by Andre [The Love Below) and one by Big Boi (Speakerboxxx); although both members appear on each. As Big Boi assures on "Last Call," Outkast isnt breaking up, they just want to show "what the two sides are about." The result is interesting, to say the least. The division of production showcases each artist's personal taste and sound, allowing the listener to distinguish influences on previous albums. Big Boi's Speaterboxxx is a more classic hip-hop album, heavy on collaborations, rhymes and booty bass. Not to say that his efforts have produced an ordinary disc, by any means. He uses everything from charging electronic sounds to a full brass section to samples of a rooster crowing. And Jay-Z. Honestly, who would've thunk... The point is that Big Boi focuses more on rapping than singing, and makes a more typical Outkast sound, his words flowing like a rhymin' river over ingenious bass lines and instrumental choruses. The shining stars are "Bowtie" and "Ghettomuzik," although "The Way You Move" has instant dancefloor appeal. The innovative mixture of sounds and samples create an exciting set of tracks that encourage you to get down. Dre, on the other hand takes his work in a completely different direction. Up? Out? Diagonally? It's hard to say. It could be described as horny-rainbow-space-cowboy, or intergalactic-sexy-ghetto- funk, or something along those lines... in the end, it's just plain craziness. Dre's falsetto features on almost every song, most convincingly in "Spread", a song guaranteed to get you hot. The climax of this disc is the fervent "Hey Ya", another dancefloor favourite, that blends everything fun you ever wanted in a song (clapping sounds, thumping bass line, acoustic guitar, and a snappy ending beckoning you to "shake it like a Polaroid pictqre") and turns it into something that is neither rap nor hip-hop nor pop nor anything else. It's just fucking cool. Sadly enough, Andre is not as consistent as his Speakerboxxx counterpart in producing the Outkast sound we've all come to know and love. Many of his tracks lack a little thug-ness and a lot of Big Boi's vocal participation. Other songs, like "Roses" arid "Happy Valentine's Day" are just plain silly, and attest to the fact that nowadays, the boys can do pretty much anything they want. The worst part about Outkast's decision to separate and work in two camps is that they have, together, made an album with twice as many intros, interludes and oytros. severely . cutting up the flow of each disc, and not providing any real musical satisfaction. Do we really need to hear Bamboo (Big Boi's son) gurgle over a faint thump of bass? Do we need to sit through a minute of Andre's horrid British accent? To both I reply: hell no. Speakerboxxx and The Love Below would be great as a half- and-half album, ten tracks each, no filler, no junk. But, since we are officially in the world of the Dirty South, I guess it can't be avoided. Shout-outs, prayers to God, and signings-off aside, the work of Antwan "Big Boi" Patton and Andre "3000" Benjamin is progressive, surprising and best of all, a little more outrageous than before. Ozomatii Coming Up EP (Concord Records) OK, first off, let's get this clear: I was duped into reviewing this CD. I was promised some association to Jurassic S and thus snapped it up faster than a garter belt thrown on a wedding night. Imagine then my shock as I played the 6-track, self-produced in-Spanish cheese-fest that is Coming Up. Surprise, confusion, distress, anger... all of these emotions arose, and not necessarily in that order. Where was the link? Back in the day, as they say, both Cut Chemist and Chali2na used to be part of Ozomatli. Like, waaaaay back, in the late '90s, when they were both starting out in L.A. On this EP, the California- based Ozo (as they like to call themselves) have hit basically every single Latin music stereotype while trying to make something new by incorporating some jazz, ska and hip hop into their sound, and occasionally trying to be political. Strangely enough, this, their first release in over two years, doesn't really work out; they sound like a group of posers. Instrumental^, things could be worse. In fact, the general "tropical" feel of the songs (except the horrendous ballad "Let Me Dream") is proof that they do have a talented brass and percussion section, namely Justin "El Nino" Poree and Mario Calire. And their collaboration with A.B. Ill Quintanilla and Kumbia Kings on the album is quite a booty- shaker. End praise here. Singing about La Morena (Ihe Brunette), el Sol (the Sun), mi gente (my people), and mi vida (my life) using lyrics re-hashed from every salsa album since 1965 just doesn't fly. No matter how many African drums or scratch DJ's you toss into the mix. Ozomatli's Coming Up is average Latin Pop trying to be top-notch World music. If it's Latin hip-hop you're looking for, try Orishas instead. Flavia on "Hear the Wind Blow," or as dastardly as on "Random Rules," or as hypnotic as the superb "Indian Summer." While some may still be angry at Wareham for breaking up Galaxie 500, my only beef is with the two Phillips' originals here, which won't really make you forget her career's early masterworks: a costarring turn in the Justine Bateman film Satisfaction, and the voice of. cartoon Jem. Jetset Records has also released Sonic Souvenirs, an EP of L'Avvenfura songs allegedly remixed by Sonic Boom of Spaceman 3 quasi-fame. While there may be traces of minor, bush league vocal-highjackery, and a few new, uh, rain sounds, there are certainly no Sonic Booms. Basil Waugh it another chance and I realized my mistake. The album is the exact opposite of our poker game: introspective, coldly hip, profoundly female, distant, and relentlessly foreshadowing an inevitable catfight. The lyrics are actually very well written; unfortunately I am a man. TVP alienates us, and the style, sound, and substance are catered to our hotter counterparts' dispositions. Despite the predominantly tranceJike tone of most of the record, it successfully feigns rocking out at times, and that girl-mind in all of us can't help but nod or tap along. It's the soundtrack of people on their way to a party, but not there yet; at other times, its sound seems to invite vacant stares out the window. Daniel Suarez Thijjirrte of the ye<ar is cr timeior "scares," arid what's npre.. scarytttiartnothbving-enou^VfTOneyfor'food? -•; '.*.'• David Usher Hallucinations (Capitol/EMI) The latest offering from David Usher is pretty much what you'd expect: pretty, lush arrangements of his songs (which remind me a lot of some of Sting's works) and Usher crooning his supposedly poignant lyrics over top. Teenaged pseudo-poet girls will love this CD. That said, it's not at all bad, you just have to be in that kind of a rainy-day, contemplative, David Usher-esque mood to enjoy it. But what I enjoyed the most was the bonus mini CD, with a remix of "In This Light" that does far more justice to the piece than the big CD's version, and two energetic rocking live tracks, including "Butterfly," which tell me that David Usher is much better live than on CD. ^-\\ '" Vampyra Draculea Britta Phillips and Dean Wareham L'Awenfura Sonic Souvenirs E.P. (Jetset) Recorded with bandmate Britta Phillips, Dean Wareham follow up Luna's suprisingly fine Romantica with L'Avventura, a collection of generally bewitching* cover songs and hormonal, cosmopolitan duets. Our curtain opens to the stab of strings, warm guitar, and our Gainsbourg and Bardot, cool as cucumbers, volleying sweet nothings, not too unlike characters in the Antonioni film for which the album is named. Although a couple covers are too straightforward, Wareham simply doesn't sound much better than The Vanity Press s/t (SOCAN) I put on The Vanity Press during a vigorous game of poker with some friends. We discovered that it sucked. To the sound of twangy guitars, electric keyboards (think The Organ), and a bored female vocalist, we quickly lost our will to gamble and turned it off. Later, though, when Danny had taken all of our money, I gave Vendetta Red Between The Never and The Now (Epic) At first listen, this album is an emo instruction book, with its heavy- ish guitars and lyrics about girls lost (the liner notes thanking Dashboard Confessional and Hot Water Music helped confirm my first impression). So I go along listening to the CD Between the Never and the Now and all of a sudden, as if breaking some sort of emo-convention, lead singer Zach Davidson starts screaming as if someone was plucking his pubes. I didn't get it. It was like all of a sudden, they realized they were emo and decided to throw in a few metal screams to make their music somehow valid. After a few songs, they reminded me of bands like Alexisonfire or End This Week with Knives, neither of which have impressed me very Vendetta Red seems to be trying to blend metal and rock, but this disc was just disorganized and uninteresting pop-influenced rock. Nothing on this album stood out as being technically impressive: the music was alright, but not challenging, the lyrics were trite and mechanical; and, when ♦he singer was "singing", there was too much emphasis on the vocals, making it all too clear that he was a little tone-deaf. Vendetta Red may appeal to some. For instance, if you are a fan of the bands that I've mentioned, are looking for a lighter alternative to nu-metal, or are mired in self-pity because your high school girlfriend dumped you twelve years ago, then this may be an album for you. Liz Hay • The Unicorns . '\h »'* ...' Who, Ml Cut Our Ha/r When We're Gone? ' r f. ",* (Aliens) '--'[/ As pink, as" toreaous,' dnd as prone* to, noisy iwtbvirsts-'Jos' hungry1 newborn" child, -The' Unicorns .have.set out from Montreal- (vlcf "Campbell RiVeci itti only one objective"to' iate you believe again They have .the; unhinged, keyboard^ * heoyy.Wspasms.; ot -..Qaajjioaf,*' the experimen'^^fi.inj'r^ciey ' of The Microphones, and. the innocent/sinister po&. perfection of non-Mpntreal-dwellers ■ Of Montreal. The Unicorns' "j magic Is bracmgly unique, twever; their seamless blend smirking irreverence and naked sincerity is coated with the rich and creamy frosting of genuine ongmaHty Their knack for perfect pop hooks will bring you ta but their charmingly off- kilter kookmess will keep you fisienlng. Without batting an eye they'll sKp in fiddles and a penny whistle next to squirming blasts of synlh-pop noise and jittery disco punk drumming coexists peacefully with sunny Beach Bays, harmonies:- The maddeningfy, catchy power- pop riffs and sing-along chorus of "Jellybones" will have you throwing your'nands.in the air only seconds before the song dissolves into melancholy fragility and breathy, repeated intonations of "this ts love/so we'll survive" And If you weren't already off-balance, the next tune ("The Clap") seems to have snucfc in off of a tost Hot Hot Heat b-side (and for once, that's a good thing] The theme song duo of "Lets Get Known" and "i Was Born (A Unicorn}" couldn't be more endeanng, who could resist o line like, "if we work real hard/we ;can get some matching clothes/for our live shows"? Who WW Cut Our Hot When We're Gone? per- • fecfly recreates the godfy fun of kids playing dress-up and the thrilling immediacy of having a show in your own kitchen. The Unicorns are as real as your life and more magical than your most twisted fantasies; albums this fresh don't come along very often Various Artists -- • W/0 In a Box; Songs for* and Inspired By Hedwlg ondthe Angry Inch •>- *;.-'• (Off Records) .' This album is" a compilation featuring Sleafer-Klnney Frank Black, Yoko Ono & Yo La tengo, V Imperial Teen and The Breeders, among 'otrjersTThatls rjghf.vWig in a'Box features more good music than «you can; handle, *prvd §ssJvjtf,qll, if yao"boy tKis, your money,will go to a goad cause m To raise runds for Ihe Hehc«- Martin institute—o supportive environment for lesbian, gay. bisexual, transgender and ques- * tiomng^yqufh between fhe ages of 12 and 21 ond their families^—over" twenty' artists "have come together to put out 16 great tracks with lyncs that will make even the most rebellious of Catholic schoolgirls blush , The Sleafer-Klnney and Fred Schneider (of the B-52s) track •"The-Angry Inch," for example, whines' about a sex.'change operation gone wrong If that s .not enough to make you want to buy the album, then surely the fact thot track 15 Is by Cyndi - lavper 'and The Minus 5" will ■. leave' yoy CDnWncWd, - ■;.-.■_<■. -■ :-"-;.;.bespite; ."several":'"'.overly mellow songs highlights of this album *. include» -Rufus Wainwrlght's beautiful cpntnbu- fton, "The Origin of Love, as wed as The Polyphonic Spree s title track.,"Wig in a Box," and Ihe conlnbulion from the Three Bens—Ben Kweller, Ben Folds, and Ben tee—"Wicked Little Town." This album is;, beautiful musically arid.' interesting lyrically, it features - artwork done entirely by students of the Harvey Milk School at the Hetrick-Martin institute, and if is so. jam-packed-with talent, my CD player exploded the minute {pressed play Kanbertey Day Wig in a Box: Songs for and Inspired by Hedwlg and The Angry Inch ts widely available In stares. If you are Interested In contributing to or finding out more about tha Hetrick-Martin Institute and'the Harvey Milk School, yov can visit their web- *■ sfte art: www.HMI.org . «. - I lUtattSL i I 5. cvm* , H. faroAVeWtoes&YS |(tv-CrV tvXSoa/j \5 wppjwtSfc* &ro*KS<W 0?G*rVO p -fKeW.W&rfte* . Secret tWe^, Werner M>f fraiec* BWe 10. C\jn* ft. ?ar*UeiortoClefe¥S w/yLokn &o\iofe 15. B«ek€<t>er3 y°i Si****/ Ruw«r» 17. CunT IS > ?ar*\ieU-Tv«S<iflty5 W- Gloria.'* ?of*CV*V*>W 2o.T«\ep*Ky (?.<9 21. Mac rfenTtac ZZ. Ron Cktto ft/* A/icO 2n.rTun+ \ 15. ?«r*tl£lflito«*d*YS H- fVtoota. 12^. Tonv U)»\So«v Jcsstzobotefe.. • |30. l*«k AV>c<*rwS«*N TKa> £«IU| Boy AftaWL Isodtit^ ariSrer'— ' -& r>lsoo*J>e£ live reviews Mogwai September 25 Commodore Ballrom I know I'm old. I only have one . Mogwai album. I don't really remember any of the names of the songs. But I've seen them live once before and it was a wonderful, mind-numbing, ear-deafening experience. This show was no different. Each song blended into the next in a seamless wave of sound. Last time I was completely unfamiliar and found myself startled by their sudden melodic crashes. This time I was prepared. This time I left my earplugs at home and we welcomed the onslaught. It was loud, it was continuous and it felt like catharsis. I wanted to start a mosh pit. I wanted to yell. I wanted to break dishes. I wanted to be entombed, and overwhelmed in a sea of Mogwai sound. I wanted everyone in Vancouver to see how this wee band from Scotland can make the noise of thousands. I wanted the crowd to shut the fuck up. I wanted the beautiful auiet moments to last forever. I wanted to hit something. I wanted to be this impressed more often. I wanted to capture what they created. I wanted them to never stop. When I was a teenager, during the halcyon days of the grunge era, I used to go to shows a. lot. Living in Sault Ste. Marie, there weren't really that many places to lash out my teen age angst. I would see nameless punk bands and grunge wanna-bes just to get lost in the throes of music. But there was always one band I longed to see, Sianspheric. Soundscapey but crunchy, they were Canada's Mogwai 8 years ago, but they never- caught on. It was a little strange now that I'm more familiar with • Mogwai's work because I felt like I should be seeing Sianspheric up there, that they should be filling the Commodore. The music was sort of like coming home but it wasn't them. The saddest thing: I finally got to see Sianspheric play this year at New Music West, a watered down, older Sianspheric and they were no Mogwai. I'm glad there are still bands out there that are slaves to the layers of noise guitars illicit. No matter how old I get, I will always love the wall of sound they create. This show was a rare occurrence in the music world, something to be savoured. As for the old lady in me, she left more than happy. One of my major concert peeves is talking during shows. You go to shows to listen, not to catch up on the latest gossip. I've had so many shows ruined by incessantly gabby folks. Mogwai took it in stride; they just drowned them out. r. fisher Damien Rice September 29 Richard's on Richards More than a few curious onlook; ers who had heard or read about Damien Rice somewhere surrounded the "Damo" die-hards at Richard's on Richards on the night of September 30, wondering if the money they had spent on the tickets were worth it. That question was pretty well answered by the end of the first song, "Delicate." The band was on. The occasionally moody Rice was smiling, entertaining and looked like he was having a great time, as did the rest of the band (Vyvienne Long on cello, Tomo on drums, and Shane Fitzsi- mons on bass). Normally, there is a fourth member, vocalist Lisa Hannigan, but she had acting commitments to fulfill and was not part of the tour. To many fans, Hannigan, with her stunningly beautiful voice, is just as big an attraction as Rice, and her absence was definitely noticed. Rice acknowledged her absence before starting into an extended version of "I Remember," a song that Hannigan usually sings. Rice nicely mixed the songs from his album O with various b-sides and unreleased tracks, such as "Baby Sister," and the always-humourous "The Professor." One of the highlights of the evening came during the middle of the set, as Rice and the band launched into a beautiful rendition of "Eskimo." The male members of the band then left the stage so Long could go solo. After finishing her solo. Long revealed to the returning Rice that something was caught in her top which allowed Rice to make a few jokes and get a few more laughs from the audience. In a rather tongue-in-cheek statement, Rice asked fans not to show her too much pity because "she had been with nine boys recently." After the laughs, the set then ended with two songs that needed no introduction to the Rice die-hards, "Volcano" and "The Blower's Daughter." Of course, the crowd hadn't had enough and cheered for an encore, which they got after several minutes of hooting and hollering. In the encore, Rice played three songs: "The Blower's Daughter, Part /AtetfrSo^ftre,saeqminQundecipherable iy*'»cs» FKpfo by Wi f?#tmay-^r HB^ • "p jH i^\ P8HE JP^ J" L~*$ \Sm? - J! H-^a fi II," "Cannonball," and ended (with a little help from opening band Pedestrian) with a nearly 20-minute version of "Cheers Darlin'," which concluded with a bit from Prince's "When Doves Cry." When the approving crowd finally dispersed, more than a few people at the. club were overheard raving about Rice's talents. At the beginning of the night, many fans at Richard's barely knew who Damien Rice was, but by the end, all of them were cheering for more of him and digging into their pockets to get more of his music. That's a successful night for any artist and definite sign that he and his band put on a great show. Wilson Wong ^•''^^^iffi Billy Talent Alexisonfire Death from Above October 02 Croatian Cultural Centre I arrived at the Croatian Cultural Centre just as locals Death From- Above were ending their set. Bad planning on my part; however, Alexisonfire was setting up and I was able to witness the hundreds of screaming teens starting to . throw empty water bottles across the mosh pit in anticipation. It was rock'n'roll all-ages frenzy, the average age of the crowd being 15. Alexisonfire is an odd band, but they have a definite, following. They would constantly acknowledge their fan-base, even including them in a spontaneous singing of happy birthday (with cake!) to the band's screamer-vocalist, George. In short, their songs are melodic punk rock. Guitarist Wade has a beautiful voice that carries the songs through, but then George incoherently screams on top of it, which, in my opinion, ruins the whole thing. Not because he's screaming, but because he sounds like he's puking. It becomes extremely annoying and hard to listen to. While I couldn't tell their songs apart or truly get into their music, there were still throngs of fans with their banded-wrists pumping, riding the mosh pit to the scream-o. As Billy Talent was setting up, the stereo was pumping Mars Votta's latest album, De-loused In The Comatorium, which I air- drummed and lip-synced to with glee. As for Billy Talent, it's not often that a band can puH off a tight sound in studio as well as on stage, especially at the Croatian Cultural Centre, but BHIy Talent succeeded! Their songs and stage-presence were solid from beginning to end. Singer Ben Kowalewicz would belt out wild screams in rock star poses while guitarist Ian D'Sa's memorabte riffs would resonate through the bones of everyone's body. Bassist Jon Gallant and drummer Aaron Solowoniuk kept the rhythm going strong. The band practically played their entire album. "Try-Honesty" brought the crowd into a singing fury as would be expected. However, I found I was rocking out to their encore of "Standing Oamkr\ Rite atffiChetfdtson Rtefiarcis in the Rain" and Fugazi's "Waiting Room." Sure, it was an all-ages show, but the enthusiasm at Billy Talent was triple what you'd find at the Commodore any night. All in all, it was an awesome end to an excellent rock show. Robyn Hanson Saves the Day Taking Back Sunday October 14 Croatian Cultural Centre When I heard that Saves the Day was touring-with Taking Back Sunday, I was immediately reminded of the last TBS show at the CCC, which wasUttered with . pre-teen girls screaming lead singer Adam Lazarra's name, and itching to touch his oh so sexy body. However, when I arrived at the show, I was relieved to see a majority of the show-goers were in their late teens and twenties like myself: perhaps old school Saves the Day faniOr-.'-. •.. followers of the Moneen experience. One thing was for sure: there were definitely less admirers of Adam than at the last TBS showcase. As Moneen hit the stage, the reaction from the crowd was the usual for the opening band: a group of die-hard fans in the pit, surrounded by a confused- looking crowd wondering what the hell a "Moneen" really is. As a Moneen fan myself, I was thoroughly disappointed by their performance. The vocals were cranked up like a pop- punk radio band, there was no Kenny-audience interaction that is characteristic of the ener- getic lead singer, and the playlist choice was limited to five or six of the group's biggest (but mostly newest) songs. Then came Taking Back Sunday, the pop-punk/emo one-album-wonder that has recently become the newest fad among junior high kids who last year were faithfully following A New Found Glory. Call them pop-punk, emo, post-punk-pop- emocore or whatever you want, their live show was rock star crap. Singer Adam Lazarra decided it would be innovative to fuck up every chorus, sing every second line and lazily drop an octave on every high note. But Lazarra wasn't the only cancer in the band's performance. The whole band was just sloppy, probably- owing to the fact that the band split up half a year ago and obtained two new members for the tour. Despite all these faults, however, the high school girls didn't seem to mind. £fesS§w Then Saves the Day hit the stage. The pop-punk foursome', started their set with their biggest hit, "At Your Funeral." The atmosphere was awesome; the whole room seemed to sing along and those who didn't know,the lyrics tried their best anyway. Although the band played their newest songs with perfection, it became apparent that the band had no intention of playing any of their older material. A token "Hollyhox, Forget Me Nots" was played with little enthusiasm as was most of their set. Their slow songs were played well, and>the ones that were supposed to rock, didn't. After a much-expected encore g^^tee emotional "Not An Exit" to finish the evening, STD left with modest waves and thanks. ^§§jeihris. Stevens 2M- fOov/er»Nber 2ao3 . Sloan Cuff the Duke October 1^^^ Vogue Theatre Remember the days when Sloan was a really good band with clever Lyrics and fresh-sounding music? Well KISS THOSE DAYS GOODBYE, because despite the minute decency of their latest album Action Pact. SLOAN WILL NEVER BE THE SAME AGAIN. " Sloan's most rece'nt trip to Vancouver brought about a show that was only worth seeing because of the opening act. Cuff the Duke. The young band from Oakville, Ontario, was definitely not familiar to the crowd of youngsters at the Vogue Theatre, and although they put on a spectacular set, they weren't as well received by the crowd as would be expected by such a wonderful performance. Having borrowed Andrew Scott of Sloan's guitar, Cuff the Duke lead singer Wayne Petti played and sang his heart out, throwing all of his energy and emotion into the songs that are infinitely better live than on CD. Cuff the Duke played a fairly long but never weak set, lacking only one thing that was present for their previous Vancouver shows: a harmonica. Look out for these guys...they are extremely talented, their take on alt-country is very original, and they're going to be huge one day. As for Sloan, the only word that can sufficiently epitomize their performance is DISSAPOINT- MENT. Immediately upon starting their set, Chrjs.Murphy—bassist, guitarist, pianist, vocalist, drum- ■meF,e>Elraordinaire—mouthed off at a wavering "fan and threat- '^en^^fo.'kltk him out of the show because of his inebriated condition. The next few songs were played with a very distracted Murphy silently mouthing to his roadies to get the fan removed from the venue. Once the fan was removed, the band picked up the pace again, and played many new songs, and every old single one could possibly think of. New music aside, Sloan only played two songs.that were neither singles or featured on beer commercials nationwide. They only switched instruments ONCE, there was no piano to be found, and they played "The Other Man," quite possibly the worst song to ever exist. Chris Murphy's drumming was so off, his fellow band members were forced to crane their necks back to closely watch his hands in order to play along. This sloppy performance was absolutely heartbreaking and ended well before curfew, but this is to be expected from a band that reached its peak a decade ago and has gone downhill ever since. They didn't even play "Underwhelmed." Kimberley Day My Morning Jacket Patrick Park October 18 Richard's on Richards In the past year, DiSCORDER writers have collectively described 'lWekrtow toov "to show up abandlhcrf's been arouwclfot- to yearsl" Cafffhe Duke crrtye VcgiKfjhecctre. Photo by kfrttberjey Oaf My Morning Jacket's shows and albums as "fiery retro-rock," "absolutely perfect," and "one fucking step closer to enlightenment." You might think our glorious little rag is on the band's payroll (hey, we could always use the money), except their most recent show at Richard's proved everything those reviewers said was completely true. A shoeless and sockless Jim James led the hirsute quintet (well, the keyboardist isn't very hairy) through a 90-minute set of loudness and beauty. The band held the crowd's attention in a vice grip from about 30 seconds into the first song, "Mahgeetah." right through to the incredibly bruising finale of "Phone Went West." How could the crowd help themselves? James's shoulder-length hair waved wildly when he headbanged and completetycovered his face when he sang—the man looked like the Addams Family's Cousin It. But through all that hair, James's live (read: non-mixed or mastered) vocals soared just as strongly and sweetly as on album. The rest of the band supported James with the force of a hurricane and the subtlety of a whisper. Even through layers of feedback, the separation between the instruments was excellent and each rang true with force and brilliance; many of the band1 s songs ended with a guitar/bass/drums jam that left the crowd slack-jawed in awe (or dancing theirasses off without care for the people around them in the case of the lady standing next to me). Standout songs included "The Way That He Sings," which sampled James' vocal harmony (I seriously doubt any backing vocal from the other band members could compare to James's) and "One Big Holiday," which blev/fhe crowd away with its fierce guitar- picked climax. As if answering an unmade challenge to show diversity beyond incendiary rock jams, James began the band's encore with a brief solo acoustic set that spellbound the crowd with its homespun elegance and beauty. James's voice still engulfed the room and he hardly needed a band to hide behind. The band did rejoin James for "Phone Went West," where James' angelic lyric "Tell me I'm wrong/ Tell me I'm right/ TeH me there's nobody elseJn the world" (which James' embellished by stretching "world" by about five extra seconds) intermingled with the band's stop-start playing to induce the crowd into awe-inspired, stop-start headbobbing. Doubtless, then, that this was the Concert of the Semester; I only hope my words here can stand next to my colleagues in doing My Morning Jacket justice. Neil Braun Kid Koala DJ Jester Lederhosen Lucil October 19 Commodore Ballroom Theiun'started when I was handed the bingo sheet. Next thing I know, the Commodore Ballroom, which I'd thought I was so familiar with, had been transformed with several round tables and rows of chairs filling up the main standing area. I find myself in something of a classy jazz venue with old trumpet jazz solos on the speakers for atmosphere, and absolutely everyone in the room is smiling. In a pamphlet that was handed out with the bingo sheet, there were short blurbs on all of the performers of the evening, as well as their friends who helped create the show we were about to see. The first opener was DJ Jester, who kicked it all off with upbeat mixing of some popular tunes (starting with the theme fromGhostbusters). His mixing was good, but what was perhaps more powerful than his music was his ear-to-ear smile and energy, which got everyone in the room cheering and beaming. Lederhosen Lucil was next up, and I'm not really even sure what to say about her. Her music was basically two synthesizers with her singing, but what came out was everything from rap to punk, reggae, lounge, new wave, or basically anything that she could think up, and she was more than happy to drastically change her singing style to accommodate all the different sounds, sometimes even more than once in a given song. Lederhosen Lucil is from Montreal, speaks with a fake German accent, and is perhaps one of the best performers I have ever seen, even giving out a health bar prize to fhe best dancer to her dance number. Scratch turntablism isn't generally seen as an especially emotional genre of music, but I feel it's fair to say that Kid Koala, or Eric San, is among the top artists of his genre, and as a great artist is able to create an entirely affecting set of music. I once heard a performer say that, "if you play for applause, that's all you're going to get," and I don't think I ever fully understood that until this night. San has amazing technique and virtuosity, and could probably make a living simply showcasing that, but instead he crafts stories and love songs, and it all feels earnest. Sometimes with DJ P-Love and DJ Jester, and sometimes entirely on his own, San was always able to keep everyone happy, and by the end everyone was clambering over each other to dance up front. It was as if all their energy had been slowly building inside them through the entire evening, until it was just too much to take sitting down, and they just had to scream and jump and twist and spin, and that's exactly what they did. The Commodore became, for that one night, something of a circus, with all different kinds of attractions, and I can say with confidence that no one left that show feeling short-changed. soren Brothers • . Sloan's Claris/V(Ufphy>pQUsm9"for a mo- rrtfcrrtfrrw b/SsecufHy guard dutfesio Sf«gaso«9 PVjQfoby!rf»W)eftebPcu3 UPCOMING MUST-SEE SHOWS If you miss these, you have no reason to live. Blood Brothers with The Red Light Sting November 09 Mesa Luna The Blood Brothers are coming back! If you ask anyone who went to the last show, this is not something you should be passing up. Dancing, yelling, jumping, and just plain row- diness are guaranteed to be plentiful. Local band The Red Light Sting will be opening, fresh off of a stop in the US that landed them in New York for CMJ. They put on a good show, just don't throw anything up on stage while they're performing. fe Vi Broken Social Scene with Stars November 12 Richard's on Richards Does Broken Social Scene even need Q^i- troducticiis| f?dther th^^e^«j^fic^'yo014^ee this shovjfMlviH simP'y.M^I^^^^^^^" liiiiif imi-ppii'Cf mm A Tribute for Ju "benefiting The iLINDA McRAE & Cheerful Lonesome i BOTTLENECK ELDORADO AUBURN J THEHAIRYBALLS i KICK IN THE EYE Pi the anza cluS 9pm m^ 03MTJTLJRIO P jCs&VC 6kftoue*4 r>ovenbw XooS J »§t*v'W^v".f mov 12™ ; ; JETS OVERHEAD TUr Uf*Y flllT ' ! FRANNY ft THE FLAMES ! ' Itflf UUI I (SMUGGLERS. MACH 3. NEW TOWN ANIMALS) NOV igl^w NOV "2 6*™ ! iJSKJl^^i/i1^! ELDORADO ; B1RU«lo!ilFLY!GMHAM BROWNE •IMMACULATE MACHIME! » the prairie dogs , aTHE VALVES: -*;( «X DOA. SUBHUMAMS, MODERMETTES)' j Info: COi| 878-COCO • RUMBlf TONI,COM SPONSORED BY PONCHO'S ROCKIN' TACOS 2tV r^cvemr>ber 1SX& TO be. Cord^<-»e4 • . 2WSVST November Long Vinyl November Short Vinyl November Charts 20 Years Ago v Mln6r,trmor. Who'&tfie'srMfesf of Ihetn'QH^- 1 Stinkmitt Scratch and Sniff Teenage USA 2 Oh Susanna s/t Nettwerk 3 Buck 65 Talkin' Honky Blues Wea 4 Sparrow s/t Overcoat 5 Ted Leo & the Flximacists Tell Balgeary, Balgury is... Lookout! 6 Kid Koala Some of My Best Friends. NhjaTune 7Dudes Beepuncher Moustache Wax 8ButttessChaps Love This Time Mint 9 v/a KIBE!:Vol. lsdtk Warner 10 Iggy Pop Skull Ring Vrgjn 11 Mark Farina s/t Om 12 Mr. Airplane Man Moanin' Sympathy 13 Mummies Death By Unga Bunga Estrus 14 Rachel's Systems/Layers Quarterstick IS Ken Nordme Wink Asphodel 16 US Maple Purple On lime Touch and Go 17JoeStrummer Streetcore Hellcat 18LFO Sheath Warp 19 AB State Champion Al State Champion Five One Inc. 20 Stereolab Instant 0 in the Universe Etektra 21 Do Make Say Think Winter Hymn Country... Constellation 22 Stars Heart Arts and Crafts 23 Tha Triumphant Scratch 24 Hawksley Workman Lover/Fighter Universal 25 No Luck Club Happiness III Boogie 26 Belle and Sebastian Dear Catastrophe Waitress Rough Trade 27 Danko Jones We. Sweat Bbod Universal 28 Ladytron Softcore Jukebox Emperor Norton 29 v/a DFAcompliafon#l DFA 30 Sloan Action Pact BMG 31 Basement Jaxx KishKash Astrdwerks 32+/- You Are Here TeenBeat 33 Cheer Accident Introducing Lemon Skin Graft 34 Guided By Voices Earthquake Glue Matador 35 The Unicorns _Who Wit Cut Our Har... Aliens Elliott Smith Pretty (Ugly Before 2 v/a Gossip/Erase Errata i ^ JBteS 3 Microphones Lanterns jm 4 Triggers Medicine M MPMiyl 5 Clorox Girls s/ r ^^H 6 v/a Fliptops/Gloryholes ■— -g§ *» Ml 7 Hidden Cameras Play "Ban Marriage 8 aLUnARED ELCTRK 1 m -*i 9 v/a Black Rebels/Nearly Deads -i m S£l 10 Stuck Ups Last Chance 1 H 91 11 v/a Explosion/Tonsils "l JP 12 Lost Vegas Neo Psych I **m' *^SrH HPI 13 v/a Low Rollers/Diskords ^m ij^j^fl HF i 14 v/a Dancing in the Dark Mm ^m I 15 Ludella Black The Pill- m fi mt 16 v/a Icarus Line/Burning Bride. 1 mr 17 Shell Gimme She M Wm 18X27 t^m ■ 1 mm m 19 Low Beam 20 Federation X Airstream and Dreac s/ § Adrian Belew kn 1 Adrian Belew 2 Hunters & Collectors qws karate. Twang Bar King The Fireman's Curse ^gm* n 3XTC Mummer H k 4 The Mekons The English Dancing Master *H m. 5 Enigmas Enigmas EP 1 iBl m 6 The Bongos Numbers with Wings f. - *Tm w ■ -1 7 3 Teens Kill 4 No Motive F 1 I 1 I 8 UB40 Labour of Love 1 i J 1 9 Anne Clark 10 The Alarm Changing Places The Alarm ■*jjH 11 Cabaret Voltaire The Crackdown 12 Nina Hagen Angstlos 13 Alan Vega Saturn Strip 14 Elvis Costello Punch the Clock 15 Green on Red Gravity Talks 16 Howard Devoto Jerky Versions of the Dream 17 DepecheMode Construction Time Again 18 Kissing the Pink Naked EIHo ft anjcf his Qiqnt feneejj, 19 Rent Boys Inc 20 Violent Femmes Squeal for Joy EP Violent Femmes c HOW THE CHARTS WORK } The. monthly charts are compiled based on the number of times a CD/LP ("long vinyl"), 7" ("short vinyl"), or demo tape/ CD ("indie home'jobs") on CiTR's playlist was played by our DJs during the previous month (i.e., "November" charts reflect airplay over October). Weekly charts can be received via email. Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts." • X? t>"i3(jO«>eR 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:OOPM-5:0OPM Real cowshit-caught-in-yer- boots country. CHIPS WITH EVERYTHING alt. 5:00PM-6:00PM British pop music from all decades. SAINT TROPEZ alt. 5:0OPM-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 10:0OPM-12:O0AM Join us in practicing the ancient art of rising above common thought and ideas as your host DJ Smiley Mike lays down the latest trance cuts to propel us into the domain of the mystic-al. <trancendance @hotmail.com> THE SHOW 12:00AM-2:00AM FILL-IN 2tftOAM-6:00AM 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 delights! THE DIM SUM SHOW 11:00AM-1:00PM 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 10 recent albums that keeps Robert Robot oblivious to Jack FM (Planet Lovetron Thursdays 10 am -11:30 am) 1. DJ Broken Window - Parallel Universe Parts 1 & 2 2. Ulrich Schnauss - A Strangely Isolated Place 3. Various Artists - Soyz Revenge 4. Kill Memory Crash - When The Blood Turns Black • •-^^feMen'n9 Bolt- Wonderful Rainbow 6. Various Artists - Digital Disco 2 7: DM & Jemini - Ghetto Pop Lite 8. The Bug - Pressure ■,, ^IftyVRSSNNl]]] - Comeouffoshowdem 10. Ghtslain PaWer-Bears as Politics 10 guilty pleasures songs that Robert Robert cant bring himself to play on the Planet Lovetron show ,>* if§§$yo.nce (Feat. Jay-Z) - "Crazy in Love" - •. 2. Heart- "Barracuda" 3. Kyle Minogue - "Can't Get You Out of My Head" 4. Outcast - "Hey Ya" 5. KLF - "3am Eternal" j ^Ipj^rything But the Girl - "Missing" 7. 2 Pac - "California Love" 8. The Verve - "Bittersweet Symphony" 9. Queens Of The Stone Age - "No One Knows" ^Hp^cy Chapman - "Fast Cdr" your guide to "TO 10l.9ni 5:00PM-6:00PM CRASH THE POSE alt. 6:00PM-7:30PM Hardcore/punk as fuck from beyond the grave. SOLARIZATION (on hiatus) alt. 6:00PM-6:30PM MY ASS alt. 6:30PM-7:30PM Phelps, Albini, 'n' me. WIGFLUX RADIO 7:30PM-9:00PM Listen to Sebcta 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. Nov 3: "Davis Cup" is the only (and rare) blue note album by the prolific pianist/composer Walter Davis Jr. In a program of Davis originals this swinging pianist brings trumpeter Donald Byrd and hot alto saxophonist Jackie McLean into his quntet. Nov 10: Hezekiah "Stuff" Smith played real jazz violin and swung wih a rawness and a passion that was unequaled in this music. One of Stuff's best recordings was this one in collaboration with trumpet giant Dizzy Gillespie. Hot Stuff! Nov 17: That Jim Hall is one of the finest living jazz guitarists is beyond question but which of his hundreds of recordings to pick for a feature? This one comes close to perfection. Recorded in Toronto with two great Canadina jazz players. Don Thompson (bass) Terry Clarke (drums) Nov 24: Serge Chaloff was one of the pioneers of the baritone saxophone and one of the first players to translate Charlie Parker's musical language to the big horn. Chaloff's life was tragic and he died in 1957. Today he would be 80 and we celebrate by playing his last and finest date called "Blue Serge". VENGEANCE IS MINE 12:00AM-3:00AM Hosted by Trevor. It's punk rock, baby! 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:O0AM Bluegrass, old-time music, and its derivatives with Arthur and "The Lovely Andrea" Berman. HIGHBRED VOICES 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! <bcminsixtynine@lTotmail.com> FILL-IN alt. 11:30AM- 1:00PM MORNING AFTER SHOW alt. 11:30 AM-12:30PM REEL TO REAL alt. 12:30PM-1:00PM Movie reviews and criticism. BEATUP RONIN 12:00PM-2:00PM alt. (starting nov. 18) Where dead samurai can program music. FILL-IN 1:O0PM-2:00PMalt 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. ELECTRIC AVENUES alt. 3:30PM-4:30PM Last Tuesday of every month, hosted by The Richmond Society For Community Living. A variety music and spoken word program with a focus on people with special needs and disabilities. 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. FLEXYOURHEAD 6:0OPM-8:OOPM 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 <bveden@hotmail.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. Aug 5: Pounding System: dub- wise and otherwise. Aug 19: Church of Hell: Mars Attacks! <DJSatyricon@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:O0AM-9:O0AM Bringing you an entertaining and eclectic mix of hew 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! <suburbcrjxigJe@dxrr)eE8iCcm> FOOL'S PARADISE 9:00AM-lO:O0AM Japanese music and talk. 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-riftic rawk and roH! RUMBLETONE RADIO alt. 3:00PM-5:00PM Primitive, fuzzed-out garage mayhem) RACHEL'S SONG 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-8:00PM Vancouver's only industrial- electronic-retro-goth program. Music to schtomp to, hosted by Coreen. JUICEBOX 8:O0PM-9:O0PM Your ears have never felt so naughty! FOLK OASIS 9:00PM-11:00PM Roots music for folkies and non- folkies... bluegrass, singer-songwriters, worldbeat, alt country, and more. Not a mirage! <folkoasis@canada.com> HANS KLOSS' MISERY HOUR 11:O0PM-2:00AM FIRST FLOOR SOUND SYSTEM 2:00AM-6:00AM THURSDAY FILL-IN 6:O0AM-8:O0AM END OF THE WORLD NEWS 8:00AM-10:00AM PLANET LOVETRON 10:00AM-11:30AM Music inspired by Chocolate Thunder, Robert Robot drops electro past and present, hip hop and inter- galactic funkmanship. <rbotlove@yahoo.com> FILL-IN 11:30AM-1:00PM - STEVE AND MIKE 1:00PM-2:00PM Crashing the boy's" club in the pit. Hard and fast, heavy and slow fpunk and hardcore). THE ONOMATOPOEIA SHOW 2:00PM-3:00PM Comix comix comix. Oh yeah, and some music with Robin. RHYMES AND REASONS 3:00PM-5:00PM DJ Knowone slaves over hot- multi-track to bring a fresh continuous mix of fresh every week.. Made from scratch, samples and just a few drops of fame. Our tables also have plethora of guest DJs, performers, interviews, giveaways. Strong Bad and the occasional public service announcements. <eno_wonk@yahoo.ca> LOCAL KIDS MAKE GOOD 5:00PM-6:00PM alt. 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 6:00PM-7:30PM No Birkenstocks, nothing politically correct. We don't get paid so you're damn right we have fun with it. Hosted by Chris B. ON AIR WITH GREASED HAIR 7:30PM-9:00PM The best in roots rock 'n' roll and rhythm and blues from 1942-1962 with your snappily- attired host, Gary Olsen. <ripitup55@telus.net> UVE FROM THUNDERBIRD RADIO HHi 9:00PM-11:00PM Local muzak from 9 til 10. Live 2& NoveivyJxr .2oo3 bandzfrom lOtil 11. www.stepandahalf.com/ tbirdhell 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 <woridheat@hotmail.com>. WIRELESS CRUELTY 1:00AM-6:00AM FRIDAYS FILL-IN 6:00AM- 8:00AM CAUGHT IN THE RED 8:00AM-10:00AM Trawling the trash heap of over 50 years' worth of real rock'n'roll debris. SKA-TS 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 diggers DJ Avi Shack and Promo mix 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 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 AFRICAN RHYTHMS 7:30PM-9:00PM David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa. and African music from around the world, www.africanrhythmsradio. HOMEBASS 9:00PM-12:00AM Hosted by DJ Noah: techno but also some trance, acid, tribal, etc. Guest DJs, inter views, retrospectives, giveaways, and more. I LIKE THE SCRIBBLES alt. 12:00AM-2:00AM THE ANTIDOTE alt. 12:O0AM-2:O0AM 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 6:0OAM-8:O0PM THE SATURDAY EDGE 8:00AM-12:00PM 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 <crashnbumradio@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 slide to urban harp honks, blues, and blues roots with your hosts Jim, Andy, and Paul. ELECTROLUX HOUR 5:00PM-6:00PM SOUL TREE 6:0OPM-9:O0PM From doo-wop to hip hop, from the electric to the eclectic, host Michael Ingram goes beyond the call of gospel and takes soul music to the nth degree. SYNAPTIC SANDWICH 9:0OPM-1 1:00PM PLUTONIAN NIGHTS 11:O0PM-1:00AM Cutting-edge, progressive organ music with resident Haitchc and various guest performers/DJs. Bye-bye civilisation, keep smiling blue, where's me bloody anesthetic then? http://plutonia.org DJ profile Gavin Walker The Jazz Show Mondays 9 pm to 12 am Describe your show: Jazz Music..the real thing...all styles and eras. Record played most often on your show? My opening and closing theme: Bennie Green's Sou/ 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 needlz Stirrin' {the wordless vocal is by the guys in the band). Last record you bought? Max Roach Parisian Sketches. Musician you would like to marry? I'm already a musician. I just want someone who has won the Super 7. Favourite Show on CiTR? There are so many good ones but two that I always check out are The Edge on Folk with Steve Edge and Are You Serious Music? With Colin McDonald and others. Strangest phone call received while on air? The lady who called and asked me if 1 was a black man and seemed disappointed when I told her that I wasn't;.. she said that she would still listen to my show anyway... thanks lady. 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. Sunday Monday Tuesday Wednesday Thursday Friday Saturday 6AM 7 8 REGGAE LINKUP (RG) PACIFIC PICKIN' FIU-IN FILL-IN FILL-IN 6AM 7 8 ' 9 | (RT) SUBURBAN JUNGLE (EC) riLL-IIN BREAKFAST WJTH THE BROWNS (EC) HIGHBRED VOICES (WO) END OF THE WORLD NEWS (EC) CAUGHT IN THE RED (RR) THE SATURDAY EDGE (RT) ARE YOU SERIOUS? MUSIC (EC) FOOL'S PARADISE (WO) 10 11 THIRD TIMES THE CHARM (RR) 10 11 EXQUISITE CORPSE (EX) PLANET LOVETRON (DC) SKA-T'S SCENIC DRIVE (SK) THE DIM SUM SHOW (EQ I 19 PM FILL-IN MORNING AFTER SHOW(EC| ANOIZE (NO) FILL-IN 12»»m| ROCKERS SHOW (RG) BEATUP RONIN (EC) THESE ARE THE BREAKS (HH) GENERATION ANNIHILATION (PU) 1 REEL TO REAL (TK) 1 1 2 3 PARTS UNKNOWN (PO) FILL-IN SHAKE (RR) j RECORD (TK) STEVE & MIKE (HC) POWERCHORD (MT) 3 CIRCUIT TRACING (DC/EC) DEMOCRACY NOW (TK) THE ONOMArOPOEIA SHOW(TK) LEO RAMIREZ SHOW (WO) BLOOD ON THE SADDLE (RT) SANDBOX THEATRE (TK) RHYMES & REASONS (HH) CODE BLUE (RT) 4 ELECTRIC 1 EN AVANT AVENUES (EC) | LA MUSIQUE (FR) MOTORDADDY/ RUMBLETONE RADIO (RR) NARDWUAR PRESENTS (NW) 4 1 ABSOLUTE BEGINNERS (EC) 5' 6 - MEAT EATING VEGAN (EC) 5 6 CHPSVOTH | SAINT EVERYTHNG<po> | TROPEZ (PO) STRAIGHT TALK (TK) WENER'S BBQ (SP) RACHEL'S SONG (TK) LOCAL KIDS 1 PEDAL MAK£GpOD 1 REVOLUTION (TK) QTR NEWS AND ARTS (TK) ELECTROLUX HOUR (EC) QUEER FM (TK) FILL-IN SOLARIZATION rnq FLEX YOUR HEAD (HC) OUT FOR KICKS (PO) THE NORTHERN WISH (EC) SOUL TREE (SO) A.S.W. (FO/EC) BLUE MONDAY (Gl) 7 MYASS(Eq 7 8 9 WIGFLUX RADIO (RG) ON AIR WITH GREASED HAIR (RR) AFRICAN RHYTHMS (WO) 8 1 RHYTHMSINDIA (WO) SALARIO MINIMO (WO) JUICEBOX (TK) THE JAZZ SHOW UZ) FOLK OASIS (RT) LIVE FROM... THUNDERBIRD HELL (LM) . HOMEBASS (DC) SYNAPTIC SANDWICH (DC/EC) 10 11 11 12AM TRANCENDANCE (DC) VENUS FLYTRAP (EC) ESCAPISM (EC) HANS KLOSS' MISERY HOUR (HK) World heat (WO) PLUTONIAN NIGHTS (DC) THE SHOW (HH) VENGEANCE IS MINE! (PU) AURAL TENTACLES (EC) 1 LIKE THE SCRIBBLES (EC) THE ANTIDOTE (EC) WIRELESS CRUELTY (EC) EARWAX (HH/DC) 2 3 1 4 3 4 FILL-IN FIRST FLOOR SOUND SYSTEM THE VAMPIRE'S BALL PSYCHEDELIC 5 6 (DC, 'EC) It V (E q REGGAE LINKUP (RG) 5 6 ^4r^ LM-live music • LO-loonge • MT-meral • NO-noise • NW-Nardwuar • PO-pop • PU-punk • RG-reggae • RR-rock • RT>*rts©te • SK-ska • SO-soul • SP-sporls • TK-ralk • WO-world HH-hiphop • HK-Hans Kloss • Kl-kids • JZ-jazz ■ska • SO-soul • SP-sporls • TK-ralk • WO-world _l 351 >i3ce*Oe& SUBMISSIONS TO DATEBOOK ARE FREE. FOR THE DECEMBER ISSUE, THE DEADLINE IS NOV 26. FAX SHOW, FILM, EVENT AND VENUE LISTINGS TO 604.822.9364 OR EMAIL <DISCORDER@CLUB.AMS.UBC.CA> Black Rice Desarmador Elizabeth Vulcan Dub Squad Sat 1 @ Pic Pub Big Sugar John Ford Sat 1,8 pm @ Commodore Something Corporate RX Bandits Mae Sun 2,8 pm @ Richard's AWOL One Josh Martinez Kaboorri Mon 3 @ Pic Pub Kevin Martin & The Hiwatts Mon 3, 8 pm @ Richard's Franny & The Flames Jets Overhead Jesse James Wed 5,9 pm @ Railway Club Peanut Butter Wolf & The Stones Throw Alistars Dudley Perkins Wildchild & Romes Wed 5, 9 pm @ Richard's The Snits Collapsing Opposites Thur 6 @ Pic Pub Indigo Girls Michelle Malone Thur 6, 9 pm @ Commodore Further Seems Forever Armor for Sleep Beloved Shai Hulud Fri 7, 7 pm @ Croatian Cultural Centre North Mississippi Alistars Fri 7, 9 pm @ Fairview Pub Lucinda Williams eastmountainsouth Fri 7-Sat 8, 9 pm @ Commodore Star Collector Magic Ass The Basement Sweets Fri 7 @ Pic Pub 20 Miles Fri 7, 10 pm @ Brickyard The Planet Smashers Flashlight Brown Jesse James Los Furios Fri 7,8 pm @ Railway Club D.O.A. Thor V Brickyard B.C. SPCA Fundraiser , features Hector and comedian Aubrey Tennant Sat 8, 9 pm @ ANZA Club s 1 mWtfk&i "HBP mm Spiritualized Soledad Brothers Sun 9,8:30 pm @ Commodore The Blood Brothers The Red Light Sting Raking Bombs Sun 9, 8 pm @ Mesa Luna A Mighty Wind featuring Mitch & Mickey, the Folksmen and the New Main Street Singers Mon 10, 7:30 pm @ Queen Elizabeth Theatre Clash-The Ultimate Hiphop Battle Tue 11,1 pm @ Commodore places t o be concert venues: misc venues: brickyard 315carrall 604.685.3922 cinematheque 1131 howe 604.688.8202 cafe deux soleils 2096 commercial 604.254.1195 ridge cinema 3131 arbutus 604.738.6311 cellar 3611 w. broadway 604.738.1959 video in studios 1965 main 604.872.8337 cobalt 917 main 604.764.punk commodore green room 868 granville 695 cambie 604.739.7469 604.608.2871 record shops: lotus 455 abbott 604.685.7777 derive poss records 324 w. hasting 604.646.2411 the main 4210 main 604.709.8555 bassix records 217 w. hastings 604.689.7734 marine club 573 homer 604.683.1720 beatstreet records 3-712 robson 604.683.3344 pat's pub 403 e. hastings 604.255.4301 black swan records 3209 w. broadway 604.734.2828 pic pub 620 w. pender 604.682.3221 crosstown music 518 w. pender 604.683.8774 railway club 579 dunsmuir 604.681.1625 futuristic flavour 1020 granville 604.681.1766 itehard's 1036 richards 604.687.6794 highlife records 1317 commercial 604.251.6964 the royal 1029 granville 604.685.7527 red cat records 4305 main 604.708.9422 sonar 66 water 604.683.6695 scrape records 17 w. broadway 604.877.1676 sugar refinery 1115 granville 604.331.1184 scratch records 726 richards 604.687.6355 WISE club 1882 adanac 604.254.5858 zulu records 1972 w. 4th 604.738.3232 Killing Joke Amen Tue 11,8 pm @ Richard's Broken Social Scene Wed 12,8 pm @ Richard's Nashville Pussy Wed 12 @ Brickyard The Battles The Human Hi-Lite Reel The Regional Hats Thur J 3 @ Pic Pub Salteens Carnations Yoko Casionos Thur 13, 10 pm @ Marine Club Fuck Me USA Ch.3&4 my! gay! husband! Fri 14 @ Pic Pub Los Furios Fri 14 @ UBC SUB Ballroom Plaid Luke Vibert Chris Clark Wed 19,8 pm @ Commodore Wassabi Collective Thur 20 @ Pic Pub Placebo Eagles of Death Metal T||f.20,8 pm @ Commodore Festival of Guns Fri 21-Sat 22 @ Pic Pub Rocket From the Tombs Sat 22, 7:30 pm @ Richard's Pretty Girls Make Graves Cobra High Sat 15,8 pm @ Sonar The Unicorns Hot Hot Heat Metric Tue 18,8 pm @ Commodore Simple Plan Gob Tue 25, 8 pm @ Croatian Cultural Centre The Hidden Cameras Tue 25, 9 pm @ Richard's Ms John Soda B. Fleischmann Thur 27 @ Pic Pub Hinterland Windows '78 Reverie Sound Revue Fri 28, 9:30 pm @ Media Club CITR Special Presentations: |j||vays..Yhe1irst bond goesfta&t'^ggpl &^JN6V«§mt$er T$£tT: -* '■Cepft*A\5tQwuw&* do KcNCtfrber Oocd Discorder >s End of Year Poll ■ Complete and send to: discorder@cluk ams. ubc.ca Discorder #W-61?8 SUB Blvd., Vancouver. BC V6T1Z1 Best Albums of 200] | I Ber* >/iu/e<» ^ Best Band of 200] i: 2- 1 Best Solo Artist of 200] 1 1 | Best Venue 1' 2- J Best Gig of Year Worst Band of Year I 1 | 1- 2- ]• .Bei* Locd/ Band of Year Worst Gig of Year | I I 2- Bert Xocss/ Album Best Record Store of the Ye&r i 1: 2' ]' What mlljou remember most about 200? ? What did you like best about Discorder in 20011 What did you like least about Discorder in 20011 pj0 drawing by andrea nunes Ind crew ipp music risTotus make lunch. Yeti_ our effort: smart, catchy and rocking, with a pop^Hure ■os For -some pej$le$owever/lihifcollection js§( welcome llpitl from trtij rs^uter^fea&vVoutptit of these Dayton, Ohio natives, - \ seeminglyissutfift racordslwery dfeer Week." "Come on Pollard," these ppople exdaaii, their vahk-^ccounts fining, "is it possible to keep abreast of every fjSY^feasejand stili^ve money for our kids to go to urjwereli^inp^aj, & fMJotjsneoirarn. for* former school teacher, HArt (foe&seent ihsensitn$ § fl| possible needs of the young -£ let dime fi parens i&#» }fmm But. on the other hand, most jtp^Si £W$ wl$S l^^pir%ildren at home > watc/ifig te^wwll s^apoodj|ii||^ peers attend school in«der to affortf.the entwe'and ever-growing GBV catalogue. For tlwse-Tare fewstubbornly committed'to the supposed future wellbe- iii of tbetr progeny, tWs 'feestdtffiackage will ilpst keep you infffljpep s|w^pBrTs^nilr9:|ffitrious career. ffe^ffc %- AVA&ABff NOVEMBER 4pp * *, Ghosts of fhe Great Highway 01 The mi imlW^ I good |§p, especially on their ,_ !astl^rea^glrig&|>)^)nte!iigent songs made us feel sad and conten^me|^#eo^^KiarJ^H^of the music. They also rocked S&b^h^aM^-w^pe4^zy Horse-like intensity. And the F^^^^^^^WWlW1681(> the Star Spangled Banner l^nftaSp flAw|etr}A[8fll| must be lurking within the mincl °wfe Korifiafc 8fce a seeret oohc^Br^ibscure future vision. His so^wcrkranfiwd^itHfiisimecuriOH^ein. spelunking into tne emotional darka^ssCto&rering W^MpIs from the collective unconscious As good & his sdt^ materoifould be though, we ;*- ■ longed Jerthe tim4nt>$amt i$Mpf that made the Red House *\ PaJatemejomitdgblB and versatds -Son Xi^ Moon takes up where I'the datkwaters-ol&efseB MARTte|l FejflcwSngjt profenjpd ptpxf|tslence fffi Anjtoon assocatecF Josh IjfetMee^^AtmA^dt^seeh ¥^f deaf of atifvay froj^Mto^M^^^^^^^^mB'a stovM8v*SB^ Mf^^^l^^i^^Pi^^^li^^op scene. Birtwlwrffjl coinM^tromallwWilaitiBez, who exudes seemingly Igtyfiofp^ jjfejKenergy^andTmaginatiori^we suspect that even better ttliigsaf^: CD 19.98 2LP19.98/^I The Sea: _Jft)EP porida might mal^you BmfeMlaml bass and fixed ^ortVand'norrrjally jitsT 'ouWtje ngw This time, r> w8l&4alking about Florida's i P^feytren & Wine EP, The Sea and The Rhythm Cidto^mthetepessenttoSubPoplhBt-nTadeuplffi^* year's amazing The Creek Drank the Cradle, thisSve.l; song disc offers more of Beam's beautiful four track , ••-* mdsie. fco-fi yet lushly textured, Beam combines the feel of Bedhead-era bedroom rock with the storytafling charmof American folk nfflsfe.These highly personal songs run the gamut of traditional tbeoqjel^ently mod- . ernized with a wash of layered guitar aajL^vocals, each song more subtle and compelling than-ffte>fa$t. Iron ft Wine will make you think twice about the swampy state. CDEP10.9& THEDWFBOMBS Dangerous Magical Noise Detroit rock city is swaying into the midnight grind as steam anrfcsmoke mix with the unsMfrendering fog andMstthaf cradles the denizens of oKibsfiketheB % SMMJje Greystone Ballroom, the Forest Club, ProSB-' - Show Bar, Flame Sfiow Baf, Cozy Corner, and tha mast * ; significantly flw^Sue Bird ton. Surely, you've ha(fijj£** aoout-thefakebdxalHSBfoe Bird—the one trd^jft^ bumped to thlssSinds of Ellington and BelderteOkiil Mayfleld and Gaye, Stooges and the MC5. Today WsS legendary oldJyurlteet is^omplng the next wave of' 1 Detroit musJG history — Dangerous Magical Noise — the breakthrough album from Mick Collins (rockls most underrated rocker) and his Dlrtbombg! Sorely thisfsUJej last great rock record of 2003, let it io your bricks, tefft J in your bones. CD 16.98 LP+7" 14.98 KD 606 Kill Sound Before Sound Kills ip^ %^% i Tii^P^ftlSondjlbum for Mike Pat Pai|l»^^st-averyraiog imprint Ipecac sSl ' 9^|'*NHMtepj^!&sort °* "^tip^f iSBtWpB^T^^^pSo|ecoiQ>fiaj^ gae masterpiece Pressure oft mead's Tigsdlejifc label, Kill Sound, represents his own stablMPi||| dancehall destiucttoft,«l a laptop pimks%tee Trulyf"* thfefePffer sound. AVAILABLE NOVEMBER 4TH **> Gerrnan-irtdietrontea iabetTorntafr-has^ beeri'responsible for S* sleeper hits over the-'test couple of years fetplie likes of Hoftk«Jn|Bro, Casiotone for the Painfully Alone and Angelika Kohlerman. Of all the company's surprise success stories, perhaps tne' most surprising and the most successful has been that of Thought for Food, the debut album by 1*e Books. TIM Lemon of Pink sees this mysterious outfit greatly expand upon the folktronic delights of its debut putting everything from bluegrass licks to eastern scales through the digital blender, wtBt con* - sistently confounding and beguiling results; - ■ CD 20.98 THE SHINS Chutes Too Hamwrfll.;.. GUBStAeporterafid^ Vancouver Sttckoafl Underground sluggec * Basil Waugh writes On this reiaJjvery antieipateU sopfiomore release, Am^ricaStop Modelizers fj/our friends will explain) take the »f-as-baroque-don't-fiX| it approach, but sfflf managstosJip something m and noteworthy into their tight throwback vernaj lar As much a^ I'd, Bke to think that ^S loosened ufel'm pretty eyre rfS Tift iie^aJ^Qj||pts that match -*0&n op ^-d ante, but forJp most pa^^ m, to encfcfiag efip: the -i \ gymnasfc, a welcome lanV;' anger JajjMs MeKtr'S' voie)^ I has ojply spread thrat# CD 19.96 "AVAILABLE M CD 19.98 21P 22.98 SW EFFECT UNm NOVEMBER 31,2003 oint we harMneed sjto'meraw Ivmerl^* ^^^^sMiSfeLthey % syrrmes^the test e^i^ of ■ iheN|firi8nTrKurgehce of thWaJe '7^aftd mlfPQ&ffl psnlttsuRT'ad^unk crossover style, ipntoh played bV &i£Ginej..j^e reai^n't^e^^eB^bo^i^^satis.^ lofwnlfi this ad: 'k wfioie. mm or a dozen grassy magazines couldn't win people owral effectively as one listen . to House of Jealous Lovers, which rocks by any standard The boys easily seli by reputation, wirfcrrfsMfl buBding What* is tempting, instead, is Ihe urge to .set up a^omon-1 SdMype stand in front of Zulu, handing out-pries of m Echoes to the teeming crowd of enthusiastic Rapture fans, ever-eager to assimilate the latest in New York coot And "' then together |n our Converse shoes attff^M fitting jeans, we wis alt dance and dance and dance bice total maniacs-. "'^ ~ CD 10.98 LP 19.98 otto1 new ? reteasos: ^^J&-KishKashCDAF^& My Oblivion CDep iO* Today is the Day CDep ■ Obs|acle One CDep ^rtetador) MS. JOHN SODA- White Tafting Cd (Morr Wusic) „;, *»; > SOUL POStflON -8,000,(M)0 Stories ck|U^ Hl^^p^m^V-And this is our Mpcltf qjfe Pee) L|^#ir^eflAin...imP(Too fiNStEVACID MOTHERS TEMPLE- s/t CD fSnbfop) GOfO^ZVIBOTIC MYNCI-Sleep/Holiday . C&tSBBttt#>w ALIAS- Mtt# CD/LP (Anitcfl#^ •
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2003-11-01
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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 | 2003-11-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2003_11 |
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 | 343e74cc-f1e4-4d53-a0ab-d41233940b51 |
DOI | 10.14288/1.0050276 |
AggregatedSourceRepository | CONTENTdm |
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