Discorder CITR-FM (Radio station : Vancouver, B.C.) Feb 1, 2006

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tober-t  Uockwo*-d-Junior  A T I el      P I  fi k faung  ani $,exv  R~0iffl a (lCe   Love  and   Mathematics
r   r  I   U  e       I   I   g e  r    Dress  Rehearsal    U JS  S t. I   0 )f  6   I     F U "n    1 0 0   Ca d e n ce  We a po n
Philip    GlabSS   Test  Icicles  A.K r 0 n / r a  (111  I y Tortoise   and   Bonnie    PrUce'   Bifly
JDavidY.ongeL3Uyri3 J/V, K.   Top, Ten  T h fi. W'&a t h e r   The  Toujh. &   Lovely   U  T eg
Da  V I  S The  Futureheads   S  11   I fl  (I   I  g      R  C I  f 0 S  D  e C I  I V C    C 3 n    M U S I C
Critics   Date  Musicians?   Can   Music   Lovers   Da
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OVerS?    Can We Date At  All?
i-s still cool,  right ? CBlaSIiniKllSHlili) c one e b t s«
PURCHASE TICKETS @QO0QQ AT hob.ca or ticketmaster.ca 604-280-4444 DISCO
David Ravensbergen
Jason Bennet
Caroline Walker
Graeme Worthy
Kimberley Day
Graeme Worthy
Caroline Walker
Graeme Worthy
Jason Bennet
Caroline Walker
Andy Hudson
David Ravensbergen
Sarah Spencer
Michelle Chua
Alanna Scott
Julie Colero
Zoe Alexander
Zoe Alexander
Will Brown
Tim Chandler
Dory Komfield
Nicole Ondre
Phieu Tran
Caroline Walker
Alanna Scott
Bryce Dunn
Luke Meat
Lasse Lutick
Frankie Rumbletone
Student Radio Society
of UBC
J! i_ri
February 2006
by David Ravensbergen
Riff Raff
by Bryce Dunn
Strut, Fret and Flickr
by Penelope Mulligan
by Weakhand,
Real Uve Action
and on the web., discorder.ca
CITR Charts
Under Review
Program Guide
Ladyhawk and Pride Tiger
by Julie Colero
Shindig     2005     retrospective     and
by Chris-A-Riffic
Valentines's Feature:
Why Music Nerds Should Not Love.
Essays by Mme. Kane, and Quinn Omari
by Luke Meat
Greg Davis
by Caroline Walker
by Curtis Woloschuk
Ariel Pink
by Saelan Twerdy
Notes on this Issue:
Ok, it's 2006. So we should be living on the moon or something. But we're not.
We are, however, using sans-serif fonts. Today, it's 'Trade Gothic', a bold and uncompromising
face that reeks of speed and modernity. I've been using it for all the column and section headers.
The feature-headers are in 'Blockhead', the handdrawn font for people who are too lazy to draw
and scan and clean up and redraw when the title of the article is changed. It's alright, it's not
amazing. The body font, is as always. Century Gothic 7pt. This month's cover wasn't so much drawn
as it was generated. I ran an actionscript from levitated.net, and saved a slightly altered version
of the resulting imagery as an xpm file. I consider the xpm to be an amazing piece of Ingenuity. I
then hand-ASCII'd the heart onto there, because I was thinking about Valentine's Day, and David
and Caroline thought I was being an asshole for not using colour at all. Kat Siddle drew the Sock
Monkeys, and Weakhand (who it's awesome to recieve a phonecali from because we speak in
codenames, or., he does), did the calendar. Thank you everybody.
© DiSCORDER 2006 by the Student Radio Society of the University of British Columbia. All 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 (to cover
postage). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES:
Copy deadline for the March issue is February 18th. Ad space is available until February 22nd and
can be booked by calling Jason at 778.883.7561. Our rates are available upon request. DiSCORDER
is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork
(including but not limited to drawings, photographs, and transparencies), or any other unsolicited
material. Material can be submitted on disc or in type or via email. As always, English fe preferred,
but we will accept French. Actually, we won't. Send email to DiSCORDER at dlscorder@club.ams.
ubc.ca. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as
well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call
the CiTR DJ line at 822.2487, our office at 822.3017, or our news and sports lines at 822.3017 ext.
2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at www.citr.ca or
just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
By David Ravensbergen
Growing a beard is about more than just facial decoration—it's a lifestyle
choice. What originally began as something of a playoff beard, grown during the
tedious months of composing a mammoth research paper on American fiction
and psychoanalysis, has since taken on a life of its own. Each new day yields
another reason to avoid trimming my bristles; from Black Mountain comparisons to
the drunken advances of beard-admirers at the Pit Pub, I just can't bring myself to
shave. Perhaps it's because my essay still feels incomplete somehow. At the end of
such a long endeavour, there's always some material that just can't be included;
much like cutting features from a magazine, it's tough to see a good quote go to
waste. There's one in particular, a little gem from Don Delillo's first novel Americana,
that'd I'd like to rescue from obscurity and share with you:
"Every man wants to grow a beard before he dies. It's one way of saying fuck
you to everybody. Look, I'm nearing the finish line. I want a beard. It cheers me up
". just to look at it in the mirror."
Granted, the character in question is an aging, embittered advertising
executive, and I'm a youthful idealist who doesn't particularly want to say "fuck
you" to anyone. But I do take a quiet pleasure from seeing my own hirsute reflection,
and I think that Delillo truly captures the complex psychological resonances
of facial hair, or something like that. Perhaps I've just been reading too much
psychoanalysis—it's even been leaking into this issue. If you look hard enough, you
can see the mechanisms of the unconscious at work all throughout this month's
features. Ariel Pink's deranged compositions are clearly a result of the transference
of childhood trauma into his art. Although we've tried to aid the healing process
with our mixtape feature, the psychic faHout of Shindig's controversial decision.
would best be dealt with in group therapy. Then there's Ladyhawk and Pride Tiger,
whose ongoing debauchery reeks of indulgence in Freud's death instincts. You
get the idea, When it comes down to it, i'm just really excited to leave my paper
behind, and begin my tenure as the new Discorder editor. I promise next issue all
this psychoanalysis will stop, just as soon as I castra...cut off this beard.      x  x
Red Cat Records
4307 Main St.
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Mew & Used CDs & Yinyl
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TUESDAY feb 21st
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SATURDAY mar 4th
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a sheep at the wheel
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Brooding, jkpgl^^mestral
CiTR   Get full show details at:
101 o2p.^pito,oductions.com |
n   www.cltr.ca OTpPpwpPf David Yonge in The Damned
Over the years, David Yonge
has wrestled automobiles, viofently
dismantled appliances, hurled his inner
child down the stairs, drunk paint and
performed in a funeral home. He also
plays in Rock'n, a wonderfully wanky,
80s-style guitar band. All of these diverse
pursuits sit quite comfortably under the
heading of Performance Art—in fact,
viewed that way, they make a lot of
Yonge calls his latest work
"performance art disguised as film." Two
years in the making. The Damned is set a
century ago in Vancouver, and features
the artist himself as a man haunted by a
bestial creature which he realizes he is
becoming. How he resolves his torment
is extremely disturbing, and can be
given many classic interpretations—from
atonement and purification to merging
with the primitive. Lest we bog down in
the heavies, there's an alternate ending
that's short, tragic and hilarious.
The 40-minute film is meticulously
produced, and Yonge shows the
same attention to set, props and
costume as in his live work. Both he and
cinematographer Shawn Bristow evoke
the period in a spare, almost sensual
way, and it's strangely moving to imagine
how much of the city we inhabit was
wilderness back in 1905. The fact that
we'll be viewing it all in 3D promises an
eerie, textured experience.
As usual, Yonge puts his body on
the line, even though the film medium
would have allowed him to fake it (in a
couple of scenes, he ran the very real
risk of being either shot or incinerated).
But this is consistent with his assertion
that he made The Damned in the spirit
of performance, and only opted for film
to avoid dragging an audience around
B.C. to the far-flung locations.
But Yonge may be downplaying
his move into filmmaking. He has always
created striking environments from which
to assault us with the apparent simplicity
of his actions. The layers only start peeling
away in the moments after a piece
ends. Already, it's clear how film is both
liberating and refining this voice.
The Damned will screen at Video In
on Saturday, February 25 at 7pm, 9pm
and Midnight.
Remember when Zed really blew
your hair back with astounding short films
from all over the world? We're not sure
why the show went a bit limp, but do
know that indie gems are still out there—
and many of them are animations.
One place to find them might be
the Ottawa international Animation
Festival. The largest of its kind in North
America, the OIAF issues a yearly "best
of" compilation, which, at only 11 films.
reveals barely a tenth of what screens
during the four-day fest. -Ihe true
standouts share a deep assurance about
what it is they're actually saying. Form
. and technique (uniformly excellent) are
simply an extension of this: A puppet
animation from Poland is 17 riveting
minutes of Faustian horror, while a 3D
monochrome piece from France has a
chorus of KermiMike creatures trying to
resurrect their dead creator (who bears
an uncanny resemblance to the late
Jim Henson). From Great Britain comes
a hyper-real evocation of London, in
which a delightfully quirky Japanese
girl "settles in" to a soundtrack featuring
the bewitching Joanna Newsom. An
experimental/abstract piece from
Germany was so visceral that my usual
unresponsiveness to the genre just
Curiously, only Canada, Europe
and the USA are represented in this
year's traveling showcase, but the Euro£
North American divide still makes for
some interesting comparisons. The 80-
minute programme is well worth a look—
and though you can't watch it at home
in your jammies, you don't have to go to
Ottawa either.
The Best of Ottawa 2005 screens at the
Pacific Cinematheque on February 9 and
13 at 7:30pm. xSxxx
By Bryce Dunn
«=       TUESDAY MARCH 7 «
™jf      MO«WJ|HECTRE, a«a«oijw, UBC        2;
The Tough & Lovely
The Futureheads
So I'm giving our new editor Dave an ulcer as we speak, rushing
to meet an already passed deadline and keep my head off the
chopping block, but trust me, I wouldn't have it any other way. How
can you pass up the chance to read about these fabulous pieces of
plastic every month? Stomach ailments be damned!
That being said, i begin with Top Ten, a fantastic outfit from the
Bay Area, featuring the mighty Tina Lucchesi (of too many bands to
mention here fame). Tina and her cohorts knock out four top-notch
rock and roll gems that fall somewhere between her previous bands
The Bobbyteens' glam-pop and Deadly Weapons' punk. Really, she
oughta have a trademark or something permitting no one else to
use that formula—it's a sure thing, baby. "Never Get Enough" and
"Don't Ever Leave" are catchy, rough-around-the-edges pop songs
that employ some great guitar work from former Deadly Weapons
member Erin McDermott. A cover of Richard & The Taxmen's "Now
We're Through" features a locked groove ending laid down by bassist
and subject of The Tourettes' classic tune "(I Hate) Richie Bucher," and
cemented by sexy drummer Layla LaDucci. Coupled with a reworking
of NRBQ's "I Want You Bad" (which in itself is a fun Raspberries-style
power pop tune), these tracks make perfect additions to the themes
of young lust and loves lost prevalent in a lot of Lucchesi'ssongwriting.
Bonus points for the baseball theme trading cards that come with the
record. Trade 'em with your friends! Collect them all! Best of all, no
stale gum included. (Lipstick Records, no address given but email the
band, toptenbabes@gmail.com for more info.)
Fans of The Detroit Cobra* and lovers of soul music will definitely
want to get their mitts on The Tough & Lovely, a Columbus, Ohio quintet.
"Tough & Lovely", their de facto theme song, is a gut-busting good
time for singer Lara Yazyac; who channels early Tina Turner while her
band smokes and burns alongside. "The Lover's Curse" relents a little
in the vocal department, but swihgs like The Everly Brothers meeting
Mary Wells for an all-night rave-up. Just when you thought the craze
had run dry, there seems to be a plethora of groups keeping the torch
lit for this style of garage soul, and The Tough & Lovely are among the
top of the heap. (Spoonful Records, www.spoonfutrecords.com or
Lastly, we've got the latest from the Sunderland sons of quirky
pop. The Futureheads. "Area", (written by guitarist Barry) is slated
to make an appearance on their forthcoming sophomore LP, and
it's a chip off the old familiar block; full of the three-part harmonies
and layers of post-punk sound evident in most of his repertoire. "We
Cannot Lose" gives bassist Jaff a kick at the can wtth positive results,
but "Help Us Out" is the stand-out here. With guitarist Ross at the helm,
the tune speeds along with jagged leads played with such a sense
of urgency that it makes you want to spin it over and over, helping
them out to make it your next new favourite song. Comes in a die-cut
sleeve with a poster to boot, and worth the price of admission. (WEA
Records or go to www.thefutureheads.com for more info}.
That's rt for nov/—I'm off to buy Dave some Maalox! See you
. next month!     x „ Purple is the new pink, and Pride
Tiger is the new Thin Lizzy
by Julie Colero
So there's this amazing Ladyhawk. t-shirt
making the rounds, designed by Steve Hubert, the
band's spiritual guide. It's a self-portrait of Steve,
more than a little Rushmore-hero-looking, in a very
Cosby-esque sweater, holding a microphone up to
the heavens. I have it on lead singer Duffy Driediger' s
word that this shirt, when worn, gets guys taid. Every
time. Lady luck follows not orilylaelyhawkfollowers,
but the band itself. Ladyhawk was the opener on
Black Mountain's fall U.S. tour, and was picked up
by the band's U.S. label, Jagjaguwar. After three
gruelling weeks on fhe road, the band decided
to take a much-needed break to write a few new
songs and re-record their debut album. This break
came to an end late January, as the boys teamed
up with fellow Vancouverites Pride Tiger for athree-
day mini tour, gracing Victoria, Vancouver, and
Whistler with their presence. The Vancouver show
was huge, the other two, not too shabby. I tagged
along for the ride, and took in as much as I could
about eight dudes who are pretty fucking adept at
having a good time wherever they go.
Friday started nice and slow with a sunny
ferry ride from the Tsawwassen terminal to Schwarz
Bay. I was afforded the chance to meet the Hawks
and Tigers over White Spot fries and gravy (not as
good as they used to be, i'm sorry to say), and was
quickly caught up to speed on the trials and tribs
of the touring life. Driediger was more than a wee
bit groggy, as he'd spent a recent night waiting on
the floor of a Vancouver hospital to have a nasty
ear infection diagnosed and dosed up. Not one
to spoil the fun, though, Duffy was going to give
things his all to keep the tour oh track. Huddled
ofer a table with jSharpies inlhand, he was busy
producing high art for the Saturday flight show,
which/was rumoured to have ajprpjectcf. Also busy
drawrig unflattering portraits ofriis bandfnates was
Ladyliawk drummer Ryan Peters, whose rendition
of guitarist Darc^fJancock garrjered rr/ore than a
few guffaws, and a later debate as to the origin
of Darcy's reputation as the most haggard of the
The Pride Tiger boys managed to elude me for
most of the trip, gathering only briefly on deck for a
gloriously lit photo shoot. It should not have surprised
me to note that all in the band were familiar faces,
as Pride Tiger is made up of S.T.R.E.E.T.S. and Three
Inches of Blood alumni Sunny Dhak, Matt Wood,
Bobby Froese, and Mike Payette. I'll let you sortauj|j
the who's who for yourselves...
Soundchecks went off like a charm, and
before anyone knew it, the Lucky Bar was full to
overflowing with concert-goers eager to catch
a glimpse of Vancouver's finest. Victoria band
(with Kelowna transplants) The Greatest Explorers
in the World started the night off right, getting fhe
crowd bumping and grinding (I wish I was kidding).
Ladyhawk followed suit, doing their best on a night
when Duffy was struggling to stay upright. Often
visibly out of breath between songs, Driediger kept
it together long enough to provide a wonderful
introduction into the world of Ladyhawk for myself
and the other uninitiated in the crowd. The band
was much tighter than I had expected, having
heard that they were more in the easy-going
free-rockin' vein of things. Instead, the crowd was
treated to a solid, if slightly sordid-sounding, bluesy-
rock set. What proved by far the most impressive,
though, was the side-stage presence of friends and
Tigers, all of whom knew the words to every song
by heart. You've got to have something special
going for you to inspire dedication like that.
By the time Pride Tiger hit the stage, everyone
was in full party mode. If Ladyhawk was tight,
these guys were, uh, tightest. I guess that's what
you get when you take your job seriously, but not
too much. Guitarists Dhak and Froese didn't even
spare each other a glance before lighting up the
most intricate of dual guitar solos, and, so far as a
layman could tell. Wood's drumming was bang on,
as were Payette's bass lines. And all this after hours
of pre-show drinking down by the water.
After the show, we were offered up a
Ladyhawk mansion retreat, complete with an
algae-infested hot-tub, or a quiet night "just chilling
out" with a school-friend of Wood's and the Pride
Tiger guys. The quieter option sounded the wiser
of the two, and so it was off to the suburbs. Upon
entering the house, buddy Stu invited us to make
ourselves at home, ripped off his t-shirt, and headed
straight to the living room, where he proceeded to
crank Thin Lizzy to maximum volume. It looked as
though the plan to do some PT interviewing wasn't
going to work out, as the boys were all hooked up,
chum-style, singing along at the top of their lungs,
for pretty much the full Lizzy back catalogue. The
night was a conversation write-off, but a pretty
good taste of what was to come...
I awoke Saturday morning to the PT van
taking off, with the boys intent on getting an early
start to the day. Not only was the band playing, but
they were also playing host to the Vancity show.
Froese, Dhak and Payette are shared owners of
Bloodstone Press, a union shop and kickin' party
venue, a business they've built, according to
Payette, "from the fuckin' gound up. It started with
a press in my basement at the Georgia St. House.
We just bought a press and started doing shirts for
bands and stuff. It eventually grew into what it is
how and we never borrowed money off of a bank
or our parents or anything." So there you have it.
■beams really do come true.
*^k But ^3^^ttireall__or a foggy version ofj^
for fkecdndifflhe te6ttef|^the day was spent
handing around Victori#i^S^ss«tadyhawke^^Kl
fheijpriiourage, doing <fjj|i|plti£elebrityjAting
(David "Suzuki! Too shy to
snap a pic!) and record
shopping. Although the
exact number cannot be
confirmed, it is rumoured that
guitarist Hancock invested in
the entire Midnight Oil back
catalogue at Lyle's Place,
a purchase not particularly
welcomed by roomie Peters.
It wasn't until Amanda got a
little distracted and started
driving us along the scenic road to Nanaimo that
I got in some quality Q and A time with Duffy and
Ryan. We joked about bassist Sean Hawryluk's
affinity for Dungeons and Dragons and his desire
to share his obsession with everyone within hearing
distance, but talk quickly turned serious when
the subject of the band's ever-impending record
release was breached. "We had to re-record it,"
explains Driediger. "We recorded it first about a
year and a half ago, and sent it away, and we
got on our label [Jagjaguwar], and they were like,
'well, we really like the songs, but we don't think
that the recording does it justice,' and I kinda felt
the same way. They gave us money to re-record it,
so it was like, why not?" Asked about what exactly
was at fault with the original recording, Peters offers,
"it was just too same-y." Driediger explains, "We
recorded it all live, did it really fast, and it sounded
shitty, but not in a good way. Our new record
sounds shitty, but in a better way." Both recordings
were done with Colin Stewart of the Hive, with the
only big difference being that the new one was
recorded in part at the band's jam space. "We
dragged the 500-pound reel-to-reel down to our
jam space. That was the hardest part," says Peters.
This strenuous effort is rumoured to have paid off,
as those who have had the chance to hear the
recording, not due out until some time in May, are
convinced of its greatness.
"When the album comes out in May, that's
going to be a new beginning for all these songs,
because we'll have to tour them for a year. That
could be frustrating," says a level-headed but still
somehow optimistic Peters. "There are a couple
of songs that we didn't quite nail on the second
recording because they mutated, or maybe
evolved, past the point of..."
"...sweetness." finishes Driediger. It seems the
two are in sync with the way these things go. But
truly, optimism pervades. The band, in its current
incarnation, has been together for more than two
years, and their enthusiasm at eventually having
their music heard outside of just concert venues
is clear. Driediger jokes, "It's better to have our
expectations low. We're not the best band you'll
ever hear, but we are the most unprofessional.
That's my motto." Somehow it's hard to take this
nonchalance too seriously, as easy-going as all
four dudes seem to be.
Ladufeawk are all childhood friends from
Kelov^pfAs tfl^ryluk explains, "We started the
bancffljriginairy bfcking Duff up for a couple shows
at Paw Pub.l^flHthe second show we decided
weO J|dejd«e: band name, and not just be Duffy
Dried^fcj& tJis&^Duff hq^j^op load of namofa
that yv$ -tall Wwt through and short-listed j^H
Ryan Peters as conceived in the medium of
Sharpie pen by Duffy Driediger
favourites. Ladyhawk didn't necessarily appear on
all our short lists (I don't think it was on mine), but
after a few days of thought we all figured it sounded
the most like us, and it was short and sweet. No
"the", and it was easy as hell to remember. We are
very much in love with birds and ladies too, so that
helped us settle on it."
Ladyhawk @ Bloodstone. Photo by Marcie Larson
On Saturday night I left the bands to their own
business, as there was no need to interfere with a
quality home-town party. Bloodstone's warehouse
was packed to the max by 11 pm, with eariy-birds
treated to a tour of the premises and offered first
dibs on the six kegs of beer. The show seemed less
about watching the bands than being seen and
chatting it up with those in the know (the show was
strictly word-of-mouth). The party went off without a
hitch, with nary a copper in sight and little damage
done to the space. The only problem, and this a
minor one, was that one guest smuggled popcorn
inside in his toque and managed to get it every-
every-everywhere. Sticky beer floors made that
one a bitch to clean up.
Sunday, afternoon I was picked up by the
Ladyhawkers, all pretty colossally hung-over, and
we were on our way up the mountain. The ride
was peppered with tales of tours past, with large
amounts of praise heaped on Black Mountain's
Josh Wells, who kept things together on the fall
tour. "I felt so bad asking him every morning
for directions," says Hancock; as Hawryluk later
explains, on top of playing every day after an 8
to 12-hour drive, Wells also acted as four manager
and mapped out the bands' routes. The band
holds Black Mountain in the highest of esteem, and
Driediger suggests that "they could drop the stoner
rock bullshit [and still be hugely successful]. It's like
the lowest common denominator."
i After arriving and loading in at the Boot
BHkthe drinking began. Soundcheck was nixed
|^ptn|>a|&pf Ladyhnwritand Pride Tiger en route.
llllyMoio by Julie Colero Members of Ladyhawk and Pride Tiger raising a glass to Punk Night. Photo by Julie Colero
in favour of a two-band dinner, slightly more
pricey than planned, as the night's openers, The
Wednesday Night Heroes, had run off with all of the
food vouchers. A round of caesars was ordered,
and we toasted the final stop of the tour with a
rousing, "Here's to Punk Night!" Everyone was
pretty psyched to see what kind of crowd the less-
than-obvious Calvin and Hobbes-esque poster
would round up.
Dearest of Pride Tiger fans, please, by
no means believe that I'm short shrifting your
homeboys. It was more than a tiny bit tricky getting
all four guys in the same room at the same time,
and things didn't really take shape until pre-show
time on Sunday night. It turns out that PT often has,
according to Payette, "a bunch of lesbians at our
shows because they think we're a gay band."
The band's name has a much more complicated
origin, though, which in Payette's words, goes
something like this:
"We'd watch Thin Lizzy videos and have these
things called Wizards' Councils on Sunday nights
where we'd get together and drink Pride Pops,
which are Okanagan Spring Apple Ciders, and
just get totally fucked up. [We named the band]
after 'Ride the Tiger', a Dio lyric from "Holy Driver".
We talked about it for, like, six months, and then
we jammed. It probably wasn't that good, but we
thought it was awesome. Our first jam was like, 8
hours. We Wrote "Far Out", that was our fist song.
It's not on the new album. Only the 'Iocs' know
those gems."
Although singer and drummer Wood was
willing to go along with most everything I presupposed about his band, the others were less
eager to get behind my all-too-one-dimensional
view of them as a "party-rock band". More
appropriate terms thrown around over the course
of the weekend were "thrash rock", "boogie rock",
and, ever-so-mysteriously, "glue-rock". As to the
flood of Tiger bands on the Vancouver scene at
the moment, what sets PT apart from the rest was,
originally, a 'y' in*t,he 'tiger'. The issue can now be
pinned down more concretely to the fact that
"we're such good-lookin' fellas," according to
Wood. There's not much disputing that...
The Saturday night show at Bloodstone was
meant to be a CD release party for PT, but things
got a little messed up the week prior to the shows.
"It's such a long and terrible story," states Wood.
"We had a record company contractual litigation
difficulty, so unfortunately we couldn't put the
record out. We've spent the last month trying to get
it ready for last night, but last minute it didn't work
out." It turns out that Froese and Dhak are locked
up in a contract with US label Roadrunner because
of their affiliation with Three Inches of Blood. "We
were the fools," grumbles Froese. "We signed our
souls. We're Roadrunner artists, basically." And so
the waiting begins. "They have first rights to the
band, to hear the band and possibly sign it. And I
don't think they will."
The album was recorded at the Hive and at
Bloodstone with Jesse Gander, "the sweetest dude
ever". Gander "fronted money for us to get the
goddamn thing mastered,".says Payette, "only
to find out less than a week later that we can't
put it out." The fact that things came together so
quickly took everyone in the band by surprise, as
PT has really only been together in its current form
since S.T.R.E.E.T.S. and Three Inches returned from
their summer tours. "There's no rush," according to
Froese, to get the album out there.
When it comes to songwriting, PT has a
different approach than Ladyhawk, eschewing
personal lyrics for inside jokes about each other,
and songs about the band van and practice
space. "It's really deep stuff, you know. It's blue
collar, man," asserts Wood. As to the band's
purpose, says Payette, they just want you to "put
your beer up in the air, raise your can of beer on
high. [We're] that kind of party rock."
That's pretty much the course that Sunday
night took, with fluorescent beers sloshing around
onstage and off, and girts in small shirts and dudes
in toques rocking out whilst picking up. Some may
have been there because of previous run-ins with
S.T.R.E.E.T.S., a band that tours constantly but has
next to nothing-available to buy. "It's totally cult,"
explains Payette, "We recorded our last album
Philip Ste
three years ago, and it's our best work, and
there's maybe, like, 100 copies floating around.
It's so stupid, but kinda cool, though." One Whistler
fan in particular made a point of personally
congratulating each and every one of the eight
musicians on how rad their work in S.T.R.E.E.T.S. had
After three successful nights, there was
nothing left to do but get completely wasted.
Yours truly called it quits at a respectable 3 a.m.,
but, as my interview tapes attest to, most of the
others stayed up until it was time to leave at 7 the
next morning, interviewing each other on subjects
as diverse as celebrity urine consumption and, uh,
And so "there are many, many things that
spending three days in the company of near-
strangers can't explain, as eager as the boys all
were to talk. The secret Iqnguage of Gnar continues
to elude me, as does the origin of some very creepy
cat-calls the Pride Tiger boys use to keep each
other in line and on the drink. It wasn't until I got
back that a friend chose to shed light on Duffy's
pre-Vancouver Chicago sojourn, and the record,
never released, that he recorded there with Tim
Rutelli of Red Red Meat fame. To be honest, there's
a lot of back-cataloguing that I didn't get around
to, but gladly encourage curious readers to search
out, with help from Deer and Bird records and Hive
Studios, just to name a few sources. If you're not
piqued by back catalogues, no fear, as you've
now got the heads-up on two very promising spring
releases, and two very excellent bands to view from
front and center at every possible opportunity.
Check out Quinn Omori's review of the Bloodstone
Press show at www.alscorder.ca
by Mike Rinsma
Out of all the art forms, I can never decide if I like music or film
the best. As a result, whenever I watch movies I pay close attention to
the soundtrack, and similarly, when subjecting myself to MuchMusic,
I focus on the fragmented visual accompaniment for each song. For
me, nothing is more artistically pleasing than a harmony between
the two forms, where both visual and aural mediums unite to create
something greater. My search for this perfect unity has ultimately led
me to the works of Philip Glass, whose hypnotic compositions for the
1.983 film Koyaanisqatsi bring the interplay of the audible and the
visible to new heights.
Philip Glass emerged as a successful composer during the late
60s, pioneering the subtle melodies and soundscapes of minimalism
with contemporaries Steve Reich, La Monte Young, and Terry Riley. The
term 'minimalism' is often criticized for its ambiguity, since the limited
range of notes and melodies in minimalist compositions typically
contain a wealth of tonal variations. The use of mathematical formulae
is the genre's governing trope, taking basic melodic structures, or cells,
and expanding them through structural manipulation. Phase shifting
is one such technique, in which cells of identical material are played
simultaneously, with each layer running at a slightly different tempo.
This creates a swelling echo effect, as the growing disparity between
each melody spawns a dissonance that attacks the listener.
Aside from the analytical use of frequency ratios and static
drones, minimalism gains its impetus from the influence of non-western
music. As a young composer struggling to find his own voice within
contemporary classical music. Glass moved to Paris in 1960 to study
with the renowned professor Nadia Boulanger. While in Paris, Glass
encountered the work of sitar legend Ravi Shankar for the first time,
eventually transcribing his compositions into western notation for use in
the films of Conrad Roods. Inspired by the techniques learned through
this rigorous process. Glass began to explore the music of Northern
Africa, India, and the Himalayas, incorporating these traditions' use
of repetition into his own compositional style. In Koyaan/sqafs/, Glass'
multicultural methods reach their zenith, illustrating the potential for
the reinvention of rhythmic structures and melodies in the encounter
between different cultures.
Koyaanisqatsi takes its title from the language of the Hopi, a
native American nation, and translates roughly as "life out of balance".
Directed by Godfrey Reggio, the film unfolds as a series of collages
suggest an uncanny similarity between the constructed systems
of industrialized life and slower, natural rhythms. In one sequence,
cyclic Indian melodies are interwoven with accelerated shots of
New York City traffic patterns, creating an overwhekrting impression
of the city as a living, breathing organism. As the apocalyptic tones
of the repeatedly chanted Hopi prophecies indicate, technological
growth has become maBgnant, expanding in conflict with ecological
Although there is a palpable sense of doom throughout the
film, this interpretation of Glass and Reggio's multifaceted work is too
simplistic. Koyaan/sqafsi excludes dialogue precisely so it can avoid
land of didactic tone. When Philip Glass" comes to the Queen
-lizabeth Theatre on February 23, the live exchange between the film
and the full orchestra should reveal the work as far more complex than
simply another tedious critique of modernity. According to Glass, the
immediacy of a live performance emphasizes the complementary
elements of the visual and musical forms, creating the possibility of
new interpretations. Like two dancers whose contrasting, simultaneous
movements occasionally come together and join to move in parallel,
the divergent roles of the film and the soundtrack meld to create a
unique whole. For those lucky enough to attend the live performance,
Koyaanisqatsi promises to be an artistic feast, with musical styles and
cultural perspectives from around the globe.
Philip Glass and the Philip Glass Ensemble will be performing
Koyaanisqatsi, February 23, at the Queen Elizabeth Theatre
and juxtapositions between images of urban and .traditional life,
avoiding dialogue in favour of the suggestive orchestrations of Glass.
Long, repetitive pieces transform slowly over time, hypnotizing the
listener and allowing the music to work on a level beyond conscious
analysis. Backed by a steady, driving pulse, the unfolding images
art by Phieu Tran SHINDIG! has always been about one thing:
- trylhg shit out (that, and drinking that stout beer that
tastes like winter). My favorite moment of Shindig
was when I saw Trevor Thompson (AKA The Rain And
The Sidewalk) for the first time. I left after six minutes.
I escaped outside and thought, "That scrawny, long
haired son-of-a-bitch cannot sing!!" Then former
Terminal City. music editor John Cow convinced
me of the man's genius, and I realized how tight-
assed I was about the whole thing. Trevor was the
most bizarre thing I ever saw, and I'm still pissed off
by how I reacted to him. I remember seeing Dandi
Wind for the first time, and how no one in the crowd
knew what to make of her (God bless that leotard-
wearing, audience-attacking temptress). And
' Gang Bang! so snotty and all thumbs, but different
from anything I've seen. And Hejira, who weren't
everybody's cup of tea, but won a lot of converts
during their Shindig performances. That's what I
remember. I also remember voting against a certain
band whose members will never let me live it down.
So SHINDIG! has been criticized for being too
safe this year. I concur. But you must understand,
a weird thing happened. Last year, Ben Lai got 90
demos from hopeful bands; this year he received
a third of that. So we organizers all started puking
blood, and asking every cool yet eligible band we
knew to play Shindig. For the most part it was great,
but it also kind of backfired. Shindig sort of turned
into a "What's Hot" showcase, and it stopped
being a refuge for Motorcycle Men and Panty Boys.
Round 1: (Nature of Things/Fun 100/Lise Monique)
I predicted a Hot Loins/The Weather/CRAN final
even though that might have been impossible.
And another thing—we should pay close attention
to the way we treat singer-songwriters at this event.
They seem to have less chance to win a round than
singer-songwriters with a backing band. Fun 100 won
the first match over the underrated Nature Of Things
(who contained members of last year's Shindig entry,
Le Petit Mori), but I really liked Lise Monique. Her songs
were quiet but interesting. I haven't seen her name in
a while, so I hope she's just plotting her next move.
Round 2: (The Jolts/Go Ghetto Tiger/Likely Lads)
This year's Rain and the Sidewalk has got to be Go
Ghetto Tiger. It's the project of ex-RADIO bassist
Marquo Blacquiere, and it's a tough listen. I'm still,
trying to digest the elevator dance music they
concoct, but I'm getting there. They lost out to pop-
punkers The Jolts, who were my guilty pleasure of the
whole tourney.
Round 3: (Rock'n/Windfall/Avatar)
Night three was spent with my friend Caroline, and
what did we do? We sang and danced to every
Rock'n song (they only have, like, eight but they
are all gems). The others didn't'sfond a chance,
although Japanese Pop outfit Windfall were quite
unique in the "no one has played this kind of music
at Shindig before" sense.
Round 4: (Hot Loins/Andy Collins/ The Belushis)
Hot Loins were awesome on night four. They .
were the most interesting of the 27 bands. We
all have our favourites, and they are mine. That
frickin' keyboard sound is -so cool. The guitar
parts are so off and sloppy and perfect. And the
drumming! And the green ginch! Had to be there.
Round 5: (Elias/the Hunter Cometh/Peter LeGrand)
Elias won the fifth night. They formed after the folding
of the band Second. I have always criticized bands
with a keyboard\vocalist who sets up front centedj
I said it about Hot Hot Heat and I say it r
keyboard looked so enormous and clunky. S_t it ort|
to the side so I can concentrate on other things, likeff
your well-crafted tunes and the rest of your fine band.
Round 6: (The Weather/The Smokes/The Woods)
Stellar bands like The Weather come around once
every 100 years. Their songs aren't incredibly bizarre,
but their approach is unique. I can't say enough
about Rick, the bass player; he is such particular guy
when it comes to where he plays in the song. And
name another band that has one guy dedicated
to playing the bass drum. They won night six. My
car was in the shop, so I celebrated with four beers.
Round 7: (CRAN/Romance/Tomster)
And this leads me to the first upset in my mind.
Romance seemed hell-bent on beating up on bands
from Abbotsford or anywhere near it. CRAN was first,
and his performance was awe-inspiring. Thatguy was
nervous. I've only seen him play to crowds that loved
him and sang along with his songs, but that bloody
crowd was not having it. He oversang, shouted at
hecklers, and he did this over-the-top spin move that
hardly dented the frosty glares of the crowd. I was
like, give him your love, dammit!
Round 8: (You Say Party! We Say Diel/Crossbone
There was a lot of brow-furrowing when the fantastic
You Say Party! We Say Die! was allowed to enter our
little contest. Some critics cried foul at the thought
of an established band being at Shindig, but I say
/ 2   t 11   /
rhe innovative and
hroat singer from
Zanada's Arctic
"she's like Edit h Piafor something, totally emotional" -Bjork
Includes Ancestors featuring Bjork
dSSBSr    I
"553 ■
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1972 West 4th Avenue
604-738-3232 <-- art by Will Brown
. fuck that shit. We asked them because we thought
they could add a dose of class to our little ma and
pa show. We were correct. They won night eight
Round 9: (Astoria/Corsair/The Safety Show)
Night nine's winner's The Safety Show (members
of the Robosexuals, minus the drummer) had
the best introduction to any set in the history of
Shindig (I'm stretching). They started from the
smoking room of the Railway Club, walkie talkies
in hand, screaming RED LIGHT! GREEN LIGHT! On
the strength of their intro alone (well, maybe a bit
more than that), they beat out competitors Astoria .
and Corsair. Corsair were quite a sight to see.
They were a goth-ish rock group with a cellist and
a tuba player, so I was intrigued when they laid
out a nice groove in the first song. But after that,
it sounded like they were all soloing at once.
Semi-Flnal 1: (Fun 100/The Jolts/Rock'n)
Semi-Final     #1      was     a     wonderful     rock
spectacle. Who do you vote for?
First we had the tight rock riffs of The Jolts
(who played quite the amazing set that
night). Next up was the spastic spectacle of
Fun 100, who played well, but they saved
the best for last. And then there was the . orgy
of the senses from Rock'n. They all tried to
one up each other, and the audience was
not disappointed. Fun 100 squeaked out
the victory. If the three bands play a show together
again, please go.
Semi-Final 2: (Hot Loins/Bias/The Weather)
Hot Loins and The Weather...on the same
night. Hot Loins set up on the floor, which was
great idea, but they played quite sloppily. I've
seen them play much better. Elias and The
Weather stuck to their game plans, with both
bands playing sets that were much like their sets
in the first round. The Weather was elected to
go on to the finals. I love the scarves and I love
the posters and I love the cheesy intro music
they  i
at every one  of their shows.  Sigh.
Semi-Final 3: (Romance/You Say Party! We Say
Diei/The Safety Show)
You Say Party! We Say Die!, in my opinion,
didn't have a hope in hell. Let me speculate:
it seemed like their underground buzz and
their warm reception on the Pitchfork pages
might have poisoned the home reaction.
Just saying. Romance had some wonderful
songs, but You Say Party also backs up good
songs   with   an   energetic   show.   Just   saying.
Behold the Finals: (Fun 100/Romance/The Weather)
FUN 100 played the most wonderful show of their
lives. They dressed up like their favourite Vancouver
Canucks from the 1994 season. Ryan Dyck was
deranged that night. He shook and shimmied
and fell and hit himself and cavorted and then
crashed into the-drum set and into the arms of
his brother, Bruce. I smiled for a week after seeing
that.  Romance played a solid set^pf tbtkified
pop songs. The knock on Romance seems to be
their lack of energy. Granted, they just go out
and play and not much else, but their songs
are sturdy enough to stand on their own.
The Weather ended off Shindig with nicer posters
and more energy. They are the most diplomatic
and neutral band. They seem to play just for the
joy of playing, and we all had fun watching them.
SO! Romance won. Most people
were shocked. Shocked the hell out
of me. Some people (I know who you all are, you
rottens!) went so far as to boo and then went off to
Robson Street to pillage. Not nice. I implore all the
wonderful young bands of Vancouver to get their
songs just right and send it CiTR's way so Ben Lai
and I don't have to work so hard this year.
Thank you.
They had their Showdown on the stage at the Railway.
Now, it's time for the rematch on your fashionably antiquated cassette player!
So, do the awesome thing, find these tunes however you manage to, record them onto casettes,
and get ready.. For a
.Hindi* finmut mixta?.
01 The Sultans j
03 PrideTiger
06 PrideTiger
07 PrideTiger
Hide Good Psychedelia.
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naSimone   |    Do What You Gotta D
'$  O   €)   **    £
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res everywhere!) and try to find
Get ftesh!
Fuga* | EpicProUem
0,     GutarWHf
|  Loverock
The Hand
Sleep Tight, M.
ry Reeves
Lightweight C
01     New Order
n |  WeAreGIa
ganes |   Beni
The Spits
0,    TheOamre
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umCo,  |  123
Redlight Emily Kane
We met at a gig some years ago: I was a small-time music writer,
and he was a rusty musician looking for a band. At first, half of our
connection was based on our shared love of music. Similar taste and
mutual attraction lead to nights out at the Railway Club, or nights in
listening to P.J. Harvey and Peaches. I made him mix tapes and he
bought me the Postal Service on vinyl. I'd never had a boyfriend who
liked the same music I did. It was thrilling. "If only he was actually in a
band," I'd think to myself. "That's the only way our perfect love could
be even better." Of course, I could never be in a band, as much
as I wanted to. I had no sense of rhythm and people winced when
I hummed. But he had talent. He liked the stage. He had to find a
band. Eventually, after we'd been together for a long time, he did.
And I didn't Hke them.
It wasn't like they were bad, objectively speaking. It was just
music that I wouldn't listen to. Which would have been fine, but at the
time I made a living judging other people's music. How does a music
critic date a musician? A great person comes with all sorts of flaws,
which may include divergent taste (the horror!). And it's no secret
that creative genius doesn't necessarily make for a good partner. I
like Pete Libertine's work, but wouldn't bring him home to meet my
mom, you know what I mean?
As great as my boyfriend was, I had trouble turning my critical
urges off. And I couldn't shake the feeling that refusing to hear his
band critically was to dismiss him as a serious musician. But perhaps
most importantly, I realized, I was using music to align myself personally
as well as professionally. My musical preferences were as significant
to me as my politics. They helped define who I thought I was. This was
Should A Critic
Date a Musician?
probably a much-delayed response to being a musical loner much
of my life, the one kid that no one would let near the stereo in case
she'd replace MuchDance 2000 with some weird crap no one had
ever heard of. Ironically, it was this early isolation that made the first,
feedback-drenched stages of our relationship so exciting. And now
my two great loves diverged before me as my man took on a musical
project that I just didn't get. "What the hell?" I asked myself. "Wasn't
he supposed to be in The Kills or something? And why do I care so
What do you do when you love your significant other, but you
don't like their band? When someone starts out as Nick Zinner but
turns into Nick Lachay? I'm still with my boyfriend, and he's still with his
band, so we must have worked out the tension somehow. Maybe I
just got over myself. I still get the odd twinge whenever he pulls out his
Flying V, but it's no worse than the vague impatience I feel when he
hogs the remote. Just another idiosyncrasy that you learn to accept,
because really, you don't have it that bad. In fact, you actually have
it pretty good.
Music writers will always be drawn to musicians. Critics will always
lust for artists. It's the nature of the business. So here's my advice to
you, Discorder readers, about how to deal with hating the band.
1) Figure out what you dislike about the band.
Determine if your partner perhaps has the same misgivings. If the
things you hate about the band—the stupid outfits, the songs about
unicorns and hobgoblins, the V guitars—are what he or she loves,
maybe the whole band operates at a level of irony you've never
dreamed of. You hope.
2) How involved is your partner?
Is she the main songwriter, or is she in the horn section? Does he come
up with the lyrics, or just fill out the bass? Know this and you will know
how deep you're buried. If you hate the band and your sweetie is
the driving force behind it, there may not be hope for you. If your
boo is just along for ride, maybe he just likes being in a band (even
if it is a neo-Celtic jam band). At this point, you can stop worrying
about his bad taste and start worrying about how you're going to
get through the gig without anyone noticing you.
However, even fringe players can be really attached to a project.
If your sweet love is really into his or her band, maybe you should
just shut up about it. If they've held your hair back while you
vomited, done karaoke because you thought it would be "fun," or
suffered through your eclectroclash-and-legwarmers phase without
complaint, maybe you should suffer silently.
3) Suffering for love is good.
The western ideal of suffering for love doesn't explicitly encompass
sitting through your beau's set of Indigo Girls covers, but trust me,
Romeo and Julliet never knew pain JflSe ^this. Enduring more gut-
wrenching agony than Tristan and Isolde, and all in the name of
love—isn't that the most romantic thing you've ever heard?
4) Maybe You're Wrong
What would music be like if everyone listened to all the naysayers
who encouraged them to focus on "better" projects? Besides, I bet
if Pitchfork gave your girlfriend's band a good review you'd actually
give it half a chance. Hey, it worked for Kelly Clarkfon, didn't it?
5) Observe the Following Rules
•Lying Is Bad: You don't have to pretend to like the band.
• Discretion is Good: Be honest, but be nice. After all, you're probably
working on a really crappy screenplay right now, aren't you?
•You do have to go to a reasonable number of gigs.
•You don't have to poster if the posters are ugly or have hobgoblins
on them. If you do poster, and get caught, pretend you're being
paid to do so by the headlining band.
•It's shallow to jump on the bandwagon if the band suddenly
becomes the next big thing, though it will be easier to say "I'm
dating the guitar player" in public.
Above all, you should remember that
6) Rock and Roll is all about making the Wrong Choice
If you're dating someone in an East Van reggae band, chalk it up to
trendily self-destructive behavior, like drug abuse or Ugg Boots. Do all
your friends hate him? Even better! x*x*x
Quinn Omari
"It's not what you're like, it's what you like."
High Fidelity's Rob Gordon spoke those words, and while I
can't think of any friends who live by them, for music lovers, there's
a fairly large consensus out there that it's a lot easier to connect with
someone who shares a love for the same music as you.
That may be true, but trust me, it's far nicer to get involved with
someone with different taste, or even someone who doesn't like
music much at all. It's counterintuitive, I know, but as music lovers,
it's dangerous to connect with someone who loves the same kind
of music as you. Call me a pessimist, but eventually you're going to
break-up. And, when you do, you're going to lose ownership over
all that wonderful music you shared. Let me be clear, that's not
"ownership" in the "I'm so indie, and you don't deserve to listen to
that band" way; not at all. We all (I hope) want to see our favourite
musicians get a little bit of well deserved recognition, but with deep
interpersonal relationships, it's different.
A friend of mine summed it up best after breaking up with a
recent romance: "Oh, and one more thing, TV on the Radio were
my band first."
In relationships, you share things. That fact is all well and good,
but when you enter splitsville you're going to have to divvy up
whatever makes it out of the fire. I've got no problem if you want the
Ikea desk, coffee table, hell, half of my money (though, to be fair, half
of zero is zero). But, I want the following back: Ryan Adams, The Jesus
and Mary Chain, Cat Power, and all those records you "borrowed"
for too long. If I'm going to get drunk and mopey and shout along
to Morrissey, I don't want you doing it too. Even more to the point, I
don't want to run into you (and God forbid, your new boyfriend) at
the Stars show.
The thing about music is that it's not flowers or a box of
chocolates. It doesn't die, it isn't devoured and forgotten, and you
sure as hell can't take it back. Once you put that Stone Roses cut
on that mix cd, and a week later let the whole record get copied
from your computer to her iPod, you've lost it. And, every time you
hear "She Bangs the Drums," you're not thinking of Ian Brown or John
Squire, you're thinking of how that song, that band and their music,
got stolen from you. The Stone Roses (and they're just a random
example), of course, have thousands of other fans aside from you,
but it's that one fan you helped create that's the kicker.
I'm going to assume L'm.not alone among Discorder readers
when I say that record shopping is one of my favourite things to do.
And, you know what? When I've just been ditched by my formerly
significant other, I want nothing more than to stick some headphones
Splitting Up
Means Splitting
Up Our Records.
1n my ears and head down to Scratch or Zulu. You know whatelse? I
don't want to run into you. In a recent article on Tiny Mix Tapes, the
writer summed up his very opposite feelings as follows:
"This is why it is such a beautiful thing when you can walk through
a record store with the person you are totally crushing over and watch
as they stop at all the sections you were going to stop at."
Maybe he's right, but I'd much rather know that I can head
down to.my favourite place to blow money on records and not see
that after the storm.   x x VANCOUVER'S #1 NIGHTCLUB
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25ifzUiE Jah Wobble & the English Roots
Band @ Plaza
Luciferian Conquest, Joint Chiefs,
Onslaught @ Asbalt
Kurt Elling @ The Char) Centre
Broadband Noise, Catch A Fire ®
The Pic Pub
The Furios cd release ® Railway
Orange Orange, Tenant, As We
Burn to Death @ Video In
Mitch Woods & The Rocket 88s®
The Yale
Derek von Essen opening @ The
Kleinsteuber Gallery
Contra Dance ® St. James Hall
Winterfest @ Media Club
Video-Blim Slow Dance Party! @
Video In
Devin Townsend Band cd-release
@ Red Room
ZulaFest night #3 @ Rime
Theatre Cares Week @ The Waterfront Theatre
Bury What's Dead @ Asbalt
Lagoons, Babysnakes @ Pat's Pub
The Parallels, Paper Lanterns @
Pub 340
Chaz Royal Valentine's Burlesque
Roadshow @ Lamplighter
Perpetual Dream Theory cd
release w/ Danny Echo @ The
Western Front
Jay Tripwire @ the Lotus
Seamrippers' Pompom Party @
They Shoot Horses Don't They? cd
release w/ Hank and Lily, Hot
Loins ® Art Space
Mice Parade, Tom Brosseau, Precious Fathers @ Media Club
The Modelos @ Rime
Soloplexus @ Mars Bar
Rippin' Rattlers @ Malone's
Art of Dying, Point Five Zero @ The
Boiler Room
Sinned, Trifecta @ Pub 340
The Wilders @ St. James Hall
Connie Kaldor @ Van East Cult
Time Flies Improvised Music Festival
@ The Western Front
Terry Francis ® the Lotus
Hot N' Horny: Vancouver Dyke
March Fundraiser @ Lick
The Trews @ Commodore
Priestess & Early Man @ Red Room
Goeff Berner Band w/ Kevin House
Nada Surf, Rogue Wave @
The Damned @ Video In
Survey Cez, Kasey Anderson, The
Bluegills @ Mars Bar
Paul Toledo cd release @ Media
The Draft, mandown, Fuck Me
Dead, Leper @ Pub 340
Spygirl @ Railspur Alley Outdoor
Concert Stage      O C
Akron/Family @ Media Club
Brazilian Mardi Gras Carnival 2006
@ Commodore
Mr. Plow @ The Asbalt
a javelin Keiga fetal Butchery,
Re-Entry @ The Columbia
Damage Inc., Jones Bones @ The
Cadaver Dogs, 12 MIDNITE ® Pub
Mitch Woods & The Rocket 88s @
The Yale
Dani & Lizzy's Birthday Jam @ Pic
Larry the Cable Guy @ Orpheum
Japanese Cowboys ® Lamplighter
_____»   l
Misanthropy Gallery Renovation Fundraiser w/ Revolution
Dance Hits, Love and Mathematics, Fun luO @ Misanthropy
(new location 156 W. Hastings)
Winterfest ® Media Club
Vancougar, Betty Kracker, Rumsfeld @ Pub 340
Hinterland w/ Cinderpop, Parlour
Steps @ Railway Club
ZulaFest night #2 @ Rime
Tennis Pro, We Wrote the Book on
Connectors, Manplus @ Mars
Reign @ Malone's
Theatre Cares Week @ The Waterfront Theatre
Raised by Apes, Dirty Sanchez, @
Suzanne Summersgill opening @
The Petri Dish
Habersham @ the Lotus
Anything That Moves: Trans Youth
Drop In Fundraiser @ Lick
Motion Picture Soundtrack, Ben
Sigston @ Media Club
Sparrow, Romance, Great Aunt
Ida, Love and Mathematics @
Richard's                     '.$'\; O
Rippin' Rattlers @ Malone's
The Black Maria, Brodies Donation
@ Croation Cult
The Black Halos @ The Lamplighter
The Flairs, The Smears @ Pub 340
Connie Kaldor @ Van East Cult
Time Flies Improvised Music Festival
@ The Western Front
They Shoot Horses, Run Chico Run,
Hot Loins, Sticks @ Ukranian Hall
Reliant K ® Croation Cultural
The Jane Fair/Rosemary Galloway
Quintet @ Cellar
Goeff Berner Band w/ Keviin
House @ Rime
Stay Tuned @ Mars Bar
Goatsblood, Trail vs Russia, The Approach, Golden Phoenix @ The
Mud River, Whiskey Jacks, Chucka-
nut Drive @. Pub 340
The Toasters, Westbound Train,
Satori @ W.I.S.E. Hall
Desyn Masiello @ the Lotus
controller.controller, You Say Party!
We Say Die!, Meligrove Band @
Bend Sinister @ Pat's Pub
Strunz and Farah @ Commodore
Pride Tiger @ Pub 340      Q
The Jolts @ The Asbalt     yj
James Community Hall
Candye Kane @ The Yale Hotel
Larry the Cable Guy @ Orpheum
Winterfest @ Media Club
e.s.l. cd release w/ Hard Drugs,
Sean Wesley Woods @ Marine
Pat Trovers @ Richard's
Great Big Sea @ Van Centre for
Performing Arts
The Heartbreaker Revue @ Red
ZulaFest night #1 @ Rime
Wil, Shaun Verreault ® The Pit
Theatre Cares Week @ The Waterfront Theatre
War of the Worlds cd release @
Tokyo Lounge
Basic Embroidery @ Seamrippers
Heartwarmongering @ Rime
Buddy Guy, Curtis Salgado @
Leeroy Stagger and the Sinking
Hearts, Blood Meridian ® The
Media Club
The Blind Boys of Alabama @ The
Vogue Theater
Time Flies Improvised Music Festival
® The Western Front
Double cd release party for The
Buttless Chaps, Young & Sexy
w/ The Doers @ Red Room
Cue Up ® Video In
Orquestra Goma Dura @ Rime
State Of Shock, Denderah, LTG,
The Ingredients @ Buffalo Club
Craig Cardiff, And Guests @ The
Media Club
Philip Glass @ Queen Elizabeth
Terrence Simien @ The Yale Hotel
Matt Pond PA, Youth Group @ Red
Tourist, Porn on the Cob, Mister
White, The Mercutios @ Buffallo
" - weakhanded@gmail.co
Available For Commissions.
Threat From Outer Space, The
Februarys, The Feminists, Paint,
Robert Wilson ® Railway Club
Open Jam @ The Asbalt
Dead Meadow, Pink Mountain-
tops, Blood Meridian @ Red
How Does Your Voice Sound Workshop @ Western Front
Vicious Circle, Panty Party Knife @
Pic Pub
Dr. Roid's, Onslaut @ Columbia
Gord Grdina's Box Cutter @ Rime
Theatre Cares Week® The Waterfront Theatre
Eric's Faceplant Karaoke @ Pub
Needle Felting @ Seamrippers
Fera ® Marine Club
Time Flies Improvised Music Festival
@ The Western Front
Terra Grimard @ Rime
Eric's Faceplant Karaoke @ Pub
How Does Your Voice Sound Workshop @ Western Front
Art of Beatz @ the Lotus ,
Black Umfolosi ® Capilano College Theatre
Burlap @ Blarney Sone
The Wedding Present, Tim Fite @
By Storm: Hornby Island Artist Collective @ Rime
Lee Lindsey, Sam Bradley @ Fair-
view Pub
How Does Your Voice Sound Workshop @ Western Front
Eric's Faceplant Karaoke @ Pub
Wook & Soo @ the Lotus
Animal Collective, First Nation, Barr
® Commodor (tix honoured for
Richard's show on 3rd)
Melissa O'Neil, Rex Goudie @ Van
Centre for Performing Arts
How Does Your Voice Sourld Workshop @ Western Front J[
ar Was Done By "Weakhanc
weakhand/ - Weakhand Is
Stars, The Thurston Revival @ Croatian Cultural Center
Theatre Cares Week @ The Waterfront Theatre
Laura Smith ® Buffalo Club
Solidus, Innocent Bystander @ The
Media Club '
Knitting ® Seamrippers
Ariel Pink's Haunted Graffiti ®
Video Valentine: Atlantic Canadian Animation @ Video In
Let's Get Layed, Bacon, Lost in the
Sun, Mongoose @ The Pic Pub
Valentine's Day Ball & Lingerie
Fashion Show @ The Plaza
The Knitting Circle: performance
art discussion group @ Western
SLITS 2- Pain is in the eye of the
beholder @ Western Front
Fear Zero @ Pic Pub
Dylan van der Schyff @ Rime
Double cd release: Shiver, Pedwell,
GLIM Project, Solidus @ Media
Hedley, MXPX, Faber @ Croatian
Cultural Centre      O Q
Artwork Above This Calend
Sonata Arctica @ Richard's
Theatre Cares Week—Hearts Alive:
Passionate Theatre in an Age of
AIDS @ The Waterfront Theatre
Ion Zoo, Stephen Bagnell,
Carol Sawyer, Clyde Reed, Paui
Rueker® The Cellar
Hard Rock Miners Singalong @
Railway Club
Jah Wobble & the English Roots
Band @ The Plaza
Gord Grdina Trio @ The Cellar
Upgrade 2.0 @ Western Front
Salt Spring Workshop Sextet @
Squl Berson (Trio) @ Cellar
Archer Prewitt @ The Media Club
Dilated Peoples, Little Brother,
Defari, DJ Skratch Bastid @
Aeroplane Trio @ The Cellar
Tony Wilson, Carsick Drip Audio
double cd-release @ Rime
Ruthie Foster, Eric Bibb, Campbell
Brothers @ The Chan '
Nikolaj Znaider (violin) .Robert
Kuiek (piano) @ The Chan
sleddogs, Cherelle Jardine @
Railway Club
Intro to Sewing Workshop @
October Trio @ The Cellar
Shift 3 cd-release @ Rime
Theatre Cares Week @ The Waterfront Theatre
Jambalaya Band, Bob Kozak, Ed
Gacek ® Kopernik Lodge
Blind God @ Rime
Sevendust @ Commodore
China Syndrome, Hurricane Kitty,
Mr.Fuji @ Backstage Lounge
Set Your Goals, Shook Ones, In
Stride, Barricade, Alcatraz @
Video In
Raw & Cooked @ Western Front
Supergrass, Pilot Draft @ Richard's
Skank City Shredders @ Rime
• • •
ooo Sports Channel on Granville St.
European Champions League   • UEFA Cup
Molson Canucks Hockey • FIFA Cup
Any other sports -
ask vour bartendei
Doors open 7pm
Dont let this guy plan your fundraiser
Let us help you!
• Figure out the date
• We provide the enterta
• Our flair bartenders &
s^pirill entertain you
• You keep all the cash
654 Nelson at Granville | www.doolms.ca | 604-605-4343
After-"     -^|
To bookyo^^indraiser
call Dianne at 604.331.799.
or Dianne@roxyvan.com
_ Garage wed - rn: Dr. Strangelove
Sat; Does Your Monkey Bite / DJ Junior from Jack FM
Sun: Camground "C" Country that rocks with Byron James
932 Granville:: 604.331.7999 - www.roxyvan.com
You want to rip it up on the weekends?
This voucher entitles you & 9 of your friends
to party at the Cellar on the weekend!
Contact Mike Tedham for your VIP privileges at
604.605.4357 or mike@cellarvan.com
"We wrote the book on partying!
www.granvillevan.com *g_3fe
It's your typical "move to New York to follow
your dreams" story. Only this tale doesn't have a
Midnight Cowboy-style ending.
Described as "four extremely nice, sincere
and well-rnannered young men from rural
America who came to New York City in 2002 to
make music," the Akron/Family made three home
studio demos before attracting the attention of
Swans founder, poet, and Young God Records
owner Michael Gira. Not only did Gira release
Akron's first two albums, but he also requested that
they become the backing band for his own solo
project, Angels of Light.
One impression you get when you hear
Akron/Family's music is that of total happy
abandonment. No Wave Noise blends into four-
part harmonies while The Band plays on. Their live
shows have been described as orgasmic chaos.
Talking to Akron member Dana Janssen on the
phone was more like a jovial chat over pints at the
local, rather than an interview.
Dana Janssen:Bonjour?
Discorder Bonjour Dana? J'mapelle Luc Meat.
Ahhhhhhhhh! Monsieur Meatl [laughs]
Comment ca va?
I can't speak French man! [laughs]
How are ya man? I'm so glad we finally got to
hook upl We were playing phone tag for a week
or so.
Well, did you hear how dramatic it was the last time i
you called?
I heard you spitted coffee att over your crotch?
[maniacal laughter] Yeah, my phone was across
the table and I heard it ringing and I was like, "Oh
shit, I know who that is." I did this dramatic leap
acipss the room but unfortunately there was my
coffee in my lapl
I'm sorry to have caused you such pain. Will the
Vancouver show be your first time in Canada?
By Luke Meat
No! I'm in Montreal now! We played last night and
Toronto the night before, it was fucking amazing!
I gotta tell ya, the Canadian crowds, dude ...
they're the best we've ever had! Seriously! In
Montreal these cats can fuckin' throw down! You
guys have some pretty high expectations too,
man. It's our third time here, we love Canada.
What about the West Coast? Do you guys throw
Uhhhhhhhhhhhh....! dunno, Dana. Vancouver's
reputation as an audience has been compared to
a rug on Valium sometimes.
[laughs] I understand. There's a bunch of hippies
out there, you guys are all stoners...
Well you guys have a song called 'Future Myth'?
What you just said is the Urban Myth'! [both laugh]
Does the Akron/Family record every Jam they do?
How 'rehearsed' is the band?
No, we don't record everything, though we love
spontaneous improvisation. We think that's the
truest form of music. We are very, very rehearsed
but we do improvise a lot. The live show is really
That leads me to ask, what are we going to see on
March 4th at The Media Club?
Ohhhhh man! It's gonna be off the hook man, it's
gonna be great. For example, last night before we
started, the DJ was playing "Hey Ya" by Outkast
and we said to the crowd, "We're not gonna start
playing until you all start dancing to this!" and we
started jamming along to it which led to a noise
jam, which led to a song. It was great.
Michael Gira has always scared the shit out of me.
1 love his music, and the Swans always struck trie
as the type of band who If you didn't Hke would
fuck you up sonically regardless. What Is the
difference between an Angels of Light session and
an Akron/Family session?
Playing with him is different, because, well, it's a
different kind of music. He's mellowed out a lot,
he's like 51 or 52. Apparently he used to be kind of
an ass. He was really difficult to work with, which
was why there were constantly revolving cast
members of the Swans, but he's just very specific
and he cares a iot about his music.
Did he approach you or the opposite? 3.
We approached him. When we were sending out
CDs we specifically sent one out to Young God
and he got back to us immediately. He came out
to about four shows, and he was like, "We should
work together."
Since you share a label with Devendra Banhart,
does Akron feel an affinity wtth the so-called
"freak-folk" movement? Bands such as Sunburned
Hand of the Man, and Six Organs of Admittance...
is there even a "freak-folk" movement?
I dunno man, maybe there is! I guess with the
term "freak-folk" it's like writers and critics need
something to compare us to, so they find a bunch
of bands that are kinda the same, but not really,
Killer Whales [cd release party)
Hung Jury Christa Min
Friday, February 3rd        nepai
Your harmonies are incredibly clear. Does the
band actually warm up vocally before practice?
Y'know it's funny, our first practice space didn't
have a PA. We were sometimes just trying to sing
over the amps. A lot of the time we would just go
to the studio and practice with just our voices, so
a lot of the record came out of that.
Okay, one final question. You do know that
comparisons to The Beatles have been brought up
in reviews...
[sighs] Yeah...
That's a pretty tall glass of water to choke back.
How do you feel about it?
My Mom read me this review of us once and she
said, "The best thing about people comparing
you to The Beatles is that you sound nothing like
The Beatles!" [laughs]
The Akron Family wilf be blinding us with love at Ihe
Media Club on March 4th.  _hh
The Railway Club
68s   58?     7:29PM " TICKETS *6 + S/C AT ZULU, SCRATCH, RED CAT, ANDCITR     (JNTardJ
V§j£ <<5_l>       INFO: 604-822-1242 - WWW.CITR.CA - WWW.NMtDWUAR.OMW IWffefij &m§ is Saying u &
Sovnfe a Chance
Ben Vida and Greg Davis @ the Butchershop. Sarah Spencer photo
by Caroline Walker
The dying embers of the Butchershop Gallery provided the
space on January 8th for three distinct musical partnerships: Greg
Davis and Sebastien Roux's duel de Powerbook, Davis and Ben
Vida's (floor) resonating work, and Vancouverites Andy Dixon and
Lee Hutzulak's subtle electronic mash. The laptop was the common
denominator of the evening; as this unassuming instrument becomes
standard, it is fascinating to consider how it shapes interactions
between artists and audiences. After the show, I caught up with
Davis to hear his perspective on the electronically expanded music
community, collaborations, changing ideas about the laptop, and
his own evolution in a world of sound.
The concept of space has been irrevocably altered by the
rise of the internet. Forget Montreal—the internet is the new "it"
city. Beneath the virtual urban debris of celebrity blogs and porn,
a primordial ooze of creativity leaches its way to the surface, and
coalesces at any location with the proper connectivity. Musically, this
meta-community permits geographically distant collaborative efforts,
such as the recent cross-Atlantic Paquet Surprise from the American
Davis and the Parisian Roux. Although I romantically envisioned a
star-cross'd blog entry bringing these disparate artists together, their
story actually began in the traditional manner of artists, with one
crashing at the other guy's pad. Davis, who now lives in Minnesota,
met Sebastien two years ago after playing a festival in Paris, and
upon completion of his solo European tour, he made good use of
Roux's hospitality. When Davis got back to Chicago (where he was
completing his undergraduate degree in jazz studies at DePaul), the
two began a sound file exchange. The resulting album was released
on Carpark Records at the end of 2005.
Sonically, the music is without a familiar structure, but with my eyes
closed in the dim laptop glow of the Butchershop, I felt wrapped up
in a rich blanket of sound and psychological warmth that countered
the physical chill of wet Vancouver air. The music guided listeners
on a journey of flowing organic texture to unexpected destinations.
Given that Davis completed a Master's degree in composition, it's
not a shock that he would find such innovative musical structures.
While Davis' touch is definitely felt on the album, the collaboration
with Roux (who works at the famed computer music institute IRCAM:
Institut de Recherche et Coordination Acoustique/Musique) allowed
for the emergence of sounds and patterns that Davis alone wouldn't
have considered. The distance of thd^S^W|s^plion removed the
pressure of time, so each artist was fre^K__pl'"^^w^'nd before
sending it to the other.
"Being a solo musician^^^^^i^, n !? is so easy ~> "Wife your
own home studio and r^pofd. You car) Itve ^^J^^B&^^W^'^
small pressed labels, get yo^^m^KourTopeopie withoiy^^^^aa
scene or a community. It's nice, though, to feel a part of the mulrcKS*
community and play with other people; but I've always been such a
perfectionist, and have such specific ideas, that I have to do rt myself.
But over the last few years I've been really satisfied with collaboration
and it refreshes my mind for my solo work." Aside from collaborgjta&g.
already available with his good friend Keith Fullerton Whitman (aka
Hrvatski), Steven Hess, and Sebastien Roux, some recordings with Ben
Vida (aka Bird Show) will hopefully surface in the next while. Bird Show
was also on the bill at Butchershop. His late 2005 release on Kranky,
Green Inferno, is meditative in its own right but pales in comparison
to the live experience.
For their current tour, Ben asked Greg to be a part of Bird Show's
performance, and the duo provided the aural zenith of the evening.
The two played off one another for an unspecified length of time, that,
due to the hypnotic nature of the experience, J could not accurately
quantify. The drone of Tibetan singing bowls and the percussion
of bells created a living sound, while the incorporation of Vida's
keyboard and Davis' laptop added interest and a welcome mix to
the cultural appropriation. Such improvisational meditations refuse
to be fully captured by a recording; the feeling of air conducted
through the wooden floor of the Butchershop and into the body of the
listener cannot be replicated. Had Vida and Davis existed in separate
spaces, the music would have undoubtedly morphed into something
entirely different; their unique live sound depended on them sharing
that space/their energies interacting with the tones they created. No
system of file exchanges could replace this—the social function of
music is in no way threatened by electronic advances. Technology
and this new connectivity merely offer another way of doing things.
This new complementary method of music-making was showcased in
the purely laptop-based performance that followed between Roux
and Davis. ilifp^*
The laptop is a rather strange instrument. It really has no particular^
sound or attitude, nor is it obvious to the audience what relationship
exists between the musician's touch pad and the emanating music'.
Yet the computer has an unparalleled capacity to create unique
and complex combinations of sound from many sources. So does
Davis feel that the computer is gaining respect on par with traditional
instruments? "I thought so for a while, but I think it's over. There wasa
period when people didn't mind going to a show and seeing people
sitting behind a laptop. I've always made it my mission to prove that
I am actually doing something with the laptop when I perform. There"
are a lot of people that are really lazy about performing live with a
laptop, and it's easy to do because people can't see what you're
doing. But if [the audience] knows your music well enough, they can
fell that it's just a track from the CD." In an effort to demystify the
instrument, as well as quash the stereotype that computer musicians
are a secretive and misanthropic lot, Davis is exceptionally open
about the processes and software he uses. "In the end, they are just
tools. A lot of people think that if they use the same soffwqre they'll
be able to sound just like me, but that's not the case at all. You moke
l^our own music and figure out your own solutions." While furthering
^k laptop's drive for recognition as an instrument, Davis' own
musraafevolution continues. "As far as pure laptop performances, \'r.
gettingItolly tired of it. More recently I've been trying to incorpota**-"
Jve instrurrWBfe and only using the laptop to add colour or sounds *
that you can't get from anything else." Davis' waning interest in the
laptop may owe more to his experimental nature than any concern
about the status of laptop-as-instrument..
Alongside his openness about process, Greg is the antithesis of
the secretive electronic musician in his private life. Prior to speaking
with him, I toured his blog, which, unlike the more removed, cerebral
variety, is filled _wifh personal experiences, pictures of family dinners,
and home-grown organic vegetables. This is a genuine guy with an
open-mindedness that extends far beyond his musical adventures.
He often travels with a digital recorder, regularly on the prowl for
a sound that "perks his ears up." "I've always taken recordings all
over the world, like taking pictures. An aural memory of a place... I
recorded some great sounds in Arizona last week. Me and Sebastien
were hiking around this pond where my parents live. The first twenty
feet were frozen but the centre was still unfrozen. We were sliding
these rocks across the ice and, I don't know how to describe it but, if
you bang on a slinky..."
Despite   being   frequently   tossed   in   the   burlap   sack   of
" ^folktrorilca," Greg has absolutely no respect for the genres created ,,
by journalists. Greg formerly recorded under the name Asterisk, b<J
decided to begin using his own name just prior to releasing Arbor._%_M
Carpark, and says it allows him to do whatever he wants bec.gjplk
'whatever the sound, it's all him. And sound, with due respeojj^ f_J|i»
path broken by John Cage, is everywhere, and everywhere is'music.
Having a firm grasp and appreciation of the experimental masters on_a
whose shoulders he now stands, I asked Greg whetjier he-is1 <$_hr.'.&$ *
by the pressure to create something ent^eJjs^f^T^^^W^IlE^W' ^
think that now that the world of soyg^ro v**te^cvgf ^ wj^faft|P&
goes, what do I do? Well, I'll just d^w'^FrTao and get to s^r^ :?|r*
some things out. I've always felt^ftdT^b r ,acrt »st^fc^a,:^^mk^^^S
and there are not too many ite-*:
always new combinations qjjjifi?
music and sound, it's imporraritie
music and sound for what it is <
differentiate. For me, it's about s
arid things 11 .* or and tunneling it
h ^^^fe^fc;
genre anefjM ■$*$?
dh "fffee Enigma Notst 0>®®tr
A decade has lapsed since Destroyer's Dan
Bejar appeared on the Vancouver music scene
armed with a rapier wit, dextrous wordplay and
a penchant for assailment. In that time, devotees
have seen him move well beyond the four-track
tinkering and bedroom-born folk of We'll Build
Them a Golden Bridge and City of Daughters. With
a full band enlisted, he recorded seminal Thief and
Streethawk: A Seduction, elevating his music to
new anthemic heights. With the release of the latter
album. North American music pundits began to
routinely laud Destroyer. The eccentric songwriter's
response? Dissolve his band and undertake a
sabbatical in Spain and Montreal.
Upon his Vancouver return, Bejar unveiled a
new Destroyer line-up at the Blinding Light!! Cinema.
While certain audience members implored him to
play "Sublimation Hour" and other standards, he
instead led his troupe through the bombastic song
cycle that would constitute his fifth album. This
Night. For some alleged fans, the evening was their
1965 Newport Folk Festival. It would hardly be the
last time Bejar dashed expectations or confounded
his audience.
Erudite and verbose. Destroyer songs can
undoubtedly alienate for the casual listener.
Among the dedicated, Bejar's lyrics provide a
labyrinth of reference, an inner mythology which
kindles the struggle to unravel the Destroyer code.
Consequently, Bejar has become a figure of
mystery, even though he's commonly seen riding
his bike or downing a pint at a local show. Perhaps
he's best thought of as the enigma next door.
The dearth of interviews furthers his reclusive
image. Via email, Bejar explains to Discorder that he
actually doesn't receive many interview requests.
When they do arrive, they're often courtesy of
weeklies looking to promote tour dates. "Those
interviews are, for the most part, really painful," he
says. "I do them as a favour to [Merge Records],
and because some small, sad part of me still
believes that more people will come to our shows if
I do them." He offers, "I still think the more a career
is cultivated by constant media attention, the
more it's gonna die by that same sword, meaning
the constant lack of media attention."
Bejar can expect more appeals from the press
in coming months. Destroyer's Rubies, his seventh
proper album, will see release on February 21st. A
North American tour with Magnolia Electric Co. will
commence shortly thereafter.
Rubies' cover depicts Bejar in a domestic
repose which seems reminiscent of Bob Dylan's
Bringing It All Back Home. "I did think it could have
a similar quality to that tradition of early Dylan or Tim
Hardin or Leonard Cohen album shots," he agrees.
"Hopefully it's more candid. I have no memory of
[the picture] being taken. I also just like things with
real pretty light and shadow."
While the album packaging evokes storied
troubadours, the ten songs within take their cues
squarely from earlier Destroyer records. Completely
abandoned are the synth explorations found on the
occasionally maligned Vour Blues—an undertaking
Bejar describes as having felt like "an aside, or a
break, from the get go..."
"The underground rock music scene was
feeling particularly loathsome to me in 2003," he
recounts. "This Night had already ruffled enough
feathers amongst the few thousand people who
purported to care about Destroyer music. So
everything after that was open season." This attitude
by Curtis Woloschuk
is exemplified by. the telling line in "What Road":
"Your backlash was right where I wanted..."
"Your Blues was a product of me wanting
to posit myself in the tradition of 'vocalist,'" Bejar
explains. "As in, the kind of record that would
be put in the 'vocalist' section of a particularly
thorough used record store." With an air of self-
effacement, he says, "That idea got absurd pretty
early on. I discovered I couldn't really croon." In
accordance with his unconventional warble, he
and producers JC/DC went the "perverse" MIDI
route for instrumentation. "I wanted to make
a record really emptied of sound but still full of
Despite the innocuous intentions, the resultant
album proved Destroyer's most challenging release
to date. No less contentious was the subsequent
Notorious Lightning and Other Works EP, which
found Bejar and Frog Eyes calamitously remoulding
select Your Blues tracks. This release voided any
preconceptions of what constitutes a Destroyer
What awaits listeners on Destroyer's Rubies.
"Five old guys jamming drunk at the Legion," says
Bejar, "Except one guy maybe thinks he's in Spain
and the Inquisition hasn't happened yet." To fulfil
such aspirations, Bejar drafted past collaborators
Nicolas Bragg (guitar), Fisher Rose (vibraphone/
trumpet), Scott Morgan (drums), Ted Bois (piano/
organ) and Tim Loewen (bass). On the familiar
line-up, Bejar comments, "There are a handful
of people that I envision working with again and
again, in whatever permutation."
This Night has been described by Bejar
as "the sound of the band waging war on the
songs." Intriguingly, three members of that era's
line-up contribute to the new album's far more
composed undertakings. "On This Night, songs
went off in directions I had definitely not foreseen,"
says Bejar. "I knew for Destroyer's Rubies, I wanted
something breezy and easier on the soft/loud
dynamic." However, he refutes any suggestions
that he actively reined in mavericks like Bragg and
Rose. "Since I can't really play an instrument very
well, my tendency is to drift on the 'overplaying' of
people who have the capability to do so."
Given the contrast between Rubies and
its immediate predecessor, the question arises
whether Bejar sees each album as a reaction to,
as opposed to a progression from, the previous
record. "There was a fixed band that recorded
Thief and Streethawk," he explains. "For This Night,
the line-up and studio completely changed.
The sound of an album is always dictated by the
Destroyer players."
"I don't think the last three albums were
specific reactions to what came before," he
specifies. "This Night happens to be the closest
thing I've done to the kind of rock record I like
listening to, which is probably why it's my favourite
Destroyer album. Your Blues was an idea I had.
Destroyer's Rubies is a little less obvious in where it
falls. People say somewhere between Streethawk
and This Night." Of the new record, he suggests:
"[It] was probably the most effortless, downright
thoughtless record Destroyer's done. Hopefully that
comes across on tape."
Amidst the 9'/2 minute sprawl of opener
"Rubies," Bejar scolds, "Typical me, typical me."
Indeed, this album is trademark Destroyer. Morgan
retakes the drum stool for the first time since
Streethawk and doesn't miss a beat. Bragg reprises
his distinctively skewed guitar work from This Night.
Bois' skillful turn on keys recalls how much the
Destroyer complement has missed Jason Zumpano.
And, of course, Bejar's inherent lyricism permeates
the whole proceedings.
Rubies is also infused with new elements of
humour and revelry. Bejar envisioned the album
as a live-off-the-floor recording. "My delivery
and phrasing have loosened up," he admits, as
is evident in lines such as: "Have I told you lately
that I love you?/Did I fail to mention there's a sword
hanging above you?" Hearkening back to Bejar's
aforementioned affection for "light and shadow,"
Rubies freely braces a pensive song like "Looter's
Follies" beside the rousing "3000 Flowers" (which
features a "monster riff" by modest axe-man
Despite previous experiments with strings
("Trembling Peacock"), Bejar did not consider
using orchestral arrangements for Rubies. He was
tempted, however, to include "a chorus of soul-
revue style ladies echoing every line that gets sung
on every song on the album." Where did that whim
go? "I chickened out in favour of the neutered
little choir that chants stuff every time a chorus is
supposed to happen."
On occasion. Rubies is markedly reflective.
For "Painter In Your Pocket" and "Watercolours Into
the Ocean," the calendar turns back to 2002 and
1987. Previous Destroyer albums are repeatedly
name-checked. This is not a new tack for Bejar. For
example, listen to how the "new ways of living" on
This Night's "Modern Painters" expand into a full
song on Your Blues.
Bejar says such tendencies are instinctive
elements of his creative process. "I would never
stick something into a song just as an in-joke," he
says before swearing, "No really! Referencing
yourself tends to occur when you're someone that
does something. There's always gonna be an idea
that you're never quite done with. I'm bound to
stumble into the same kind of images 'cause that's
what makes the kind of thing I like 'the kind of thing
I like.'"
Due to their recurrent imagery, references,
and themes. Destroyer records are occasionally
labelled "concept albums." It's a tag Bejar shuns
earnestly. "I know how I write," he says, "I know that
simply coming up with a concept and working it
effectively to its conclusion is an invalid form of art-
making. [That's] why there's so much bad shit out
there, or why people might get dazzled by the idea
of 50 records for 50 states."
"Writing is good when it stumbles upon good
words (poetry), a hint of melody that is memorable
and hasn't already been trampled to death, and
a style of phrasing a tiny shred of which can almost
be called your own," he opines. "Then, if it happens
to house some idea that gets sustained from
beginning to end over the course of 40 minutes,
that's cool too." Playing devil's advocate, Bejar
concedes, "I guess Your Blues and This Night had
pretty definitive approaches to production and
sound. Maybe that's why someone would say they
were conceptual. But that's a musical thing and
I'm not really qualified to talk about that stuff. Nor
am I really inclined to."
On Thief and Streethawk Destroyer railed
against music industry and culture. Recently, the
theme hasn't provided much inspiration. Even
Rubies' references to the "wealthy American
underground" serve a more functional and poetic
"I know that phrase comes up twice but it
is in a very off-handed way," notes Bejar. "I just
noticed embarrassingly recently how generally
rich American hipster culture is—and not 'rich'
as in 'The language of Shakespeare is rich.'" But
Bejar insists his indictments against bipsterdom owe
more to songwriting than social critique. "In '3000
Flowers,' 'As the wealthy American underground
wept' really does flow nicely after 'Like a woman, /
was kept.' I think it all conjures up more images of
birthright than 'music industry.'"
Uncharacteristically, Bejar recently unearthed
a few earlier Destroyer songs. A one-off reunion of
the Thief/Streethawk line-up occurred in 2004, and
his autumn openers for The New Pornographers
featured songs off the same albums. Without
nostalgia, Bejar says the reunion wouldn't have
happened "if it involved more than two practices",
and calls the back catalogue support sets a
"marriage of convenience."
"None of this will happen again," he assures,
the old songs have since been "returned to the
earth." "I'm all for abandoning songs," says Bejar,
to the chagrin of those listeners interned in the
past. For listeners who treasure new advances.
Destroyer's exemplary new album will prove
art by Nicole Ondre NEIO CASE
ffc|   CONftssoR
SWINGS imslFL-oof
Robert Lockwood Junior
December 4,2005
The Yale
'Robert Junior' is the only survivor of the
group of bluesmen who were born in 1915 in
the same 100-mile radius. His contemporaries
were musicians like Muddy Waters, Memphis
Shrt, and Sonny Boy Williamson, and, the
sheer fact of his continued existence all
these years Idter means that when he comes
to town to play some music, all advantage
should be taken of the situation. Lockwood
was still amazingly vital, and despite the
Yale's occasionally awkward 'deep' layout,
his performance Was intimate, with just him,
his guitar, and a bass backup as he played
a typical blues line-up of his own songs and
classics of the genre.
The best thing about Lockwood,
however, was his presence. Whenever he
spoke, it was terse but captivating. As an
example, after one song finished, he looked
out at the audience. "Some of you up here
might not know too much about me." Pause.
"Because it's been fifty years since the last
time I was here." Pause. "And I'm mad about
it." And then he launched into another song.
You just can't buy the chemistry that makes
that variety of smooth.
The sad thing about Lockwood is also
the great thing about him, which is that he's
still around. In the case of his show at the
Yale, it meant that a ninety-year-old roots
bluesman has made it into times when cell
phone calls and, horrifyingly, conversations,
interrupt music sets. It only happened once
on December 4th, but that kind of thing just
shouldn't happen at all.
The show opened with a version of
"Love in Vain", which was incredible; in the
case of Robert Lockwood, it's not actually
exaggerating to say that that was the closest
you could ever come to hearing Robert
Johnson play that song live. Johnson was
actually the one who taught Lockwood
how to play the guitar when Lockwood was
eleven, so it wasn't too surprising that the
Robert Johnson Songbook made quite a few
appearances in the songjtst, all handled very
well by Lockwood. The actual songs blended
' into one another after a while, creating some
kind of gigantic blues song: a huge rambling
odyssey about the usual blues themes. The
effect of this happening was, as you can
imagine, pretty startling.
Robert Lockwood Junior on tour seemed
like it might just be a bit of a curiosity, a museum
piece going around the country playing the
expected standards, and unfortunately,
that was partially the case. The fact is that
Lockwood really is a very skilled musician with
a serious amount of performing magnetism,
and for a whole variety of reasons, a show by
htm is not to be missed.
Neale Bamholden *$|g*
Read more reviews about recent happenings
in Vancouver at www.dfscorder.ca The growing pains of Ariel Pink's Haunted Grafitti
In November of 2004, I conducted the first
interview that Ariel Rosenberg (aka Ariel Pink)
ever did over the phone. Last week, on the eve
of his newest release. House Arrest, I called him
again to talk about his life and upcoming tour.
After having grown up a "cheeseball goth" in the
hills of LA, the son of Jewish-Mexican immigrant
parents (his father is a successful dentist), he spent
six years holed up in his one-bedroom apartment
in the outskirts of Beverly Hills recording countless
cassettes and CD-Rs on incredibly shitty equipment,
never expecting anyone to pay attention. A lot of
that work is stunning, unhinged genius. Completely
whacked-out, damaged, emotionally naked
baroque pop that sounds like every hit pop song,
commercial jingle, and punk racket from the 60's
to the 80's, coming in and out of focus on an FM
radio band, heard while dreaming, or half-awake.
Even when you're fully lucid, listening to albums
from Ariel Pink's Haunted Graffiti series (an as-yet
unfinished collection of 10 releases) is like trying
to parse dream logic. The layers of fuzz and hiss,
are impenetrable, but the lingering emotional
atmospheres are poignant and haunting' JusljJike
the dreams you only half-remember, they seemHb
be hinting at something essential and important
that remains tantalizingly out of conscious reach.
That is, when he's not singing about how much Vie
likes getting high in the morning. Did I mention mat
he doesn't have a drum kit, so he beatbeisdlalt
the rhythms?
The story goes on, of course. He got notised
by Animal Collective, signed to their Paw Tracks
imprint, and sent on tour in support of a reissied
version of The Doldrums, an album that \e
originally recorded in 1999. Since then, his sister
suffered an accident that put her in a coma, his
girlfriend left him, his mother and aunt, refugees
from Katrina, moved into his apartment, ani in
every conceivable way, Ariel has been forfced
to confront the world. The picture I manage!! to
form of him during this conversation has him at a
crisis-point in his life. He's uncomfortably lucid\(if
still heavily self-medicated), creatively blockep,
an obvious fuck-up and misfit forced to deal
with the prospect of unexpected (and ultimately
dubious) success, mildly delusional but definitely*
endearing. His obsession with music and its history
(particularly with home-tapers and eccentrics like
himself) is as obvious as his alienation from any kind
of visible scene or hipster community. Essentially,
he's facing the quandary that, at the age of 27,
just as his opportunity has come along, he might be
unable to cope with the life of a touring, recording
musician (a professional musician, in other words),
and he may not have anything left to record. The
main subject of this conversation turned-out to be
what he's going to do with himself from now on.
So, you're not going to take a band with you on
this tour? You're just going to do ft karaoke-style?
Yeah...completelyhalf-assed, no preparation. But it's
going to be in a much more natural environment.
Because I've done that for three years and, you
know...it's not going to blow anybody away, but
it's a more appropriate representation of the
Do you Hke playing live? Wtth people or without?
It's not so much even a playing Ave thing, because
I play with people around all the time, and I
can jam and jfjst play in my apartment and do
whatever I want. And it's not like I can't do that in
front of people. It's usually just a sound thing. And
I have to figure that out. If a band offered itself
up and they'd already learned all these Ariel Pink
songs and they wanted to be my backing band,
that would be ideal. I'd sing for them.
I was listening to House Anest on the way over
here and it's just so obvious how difficult it would
be to get a band to play it. There's so many layers,
and every one of them is you. You can really feel
the hours that you spent by yourself tinkering wtth
That's the thing, man. Why play live at all? I'm giving
it one more year, that's what I say, and then I'm
not playing live on anybody's dime.
How are things going with Paw Tracks?
It's like a schedule. Every six months, put out an
Ariel Pink record. Anal then promote it. And now I
gotta record nej/vlsnit, right? But I don't have the
fucking timeJ/fspent nine months out of the last
year tourpfg, and now I'm looking at moMffin
half oyhat for this year. Granted, I'vehda all this
time/TO get my shit together, butbefon't have my
shjftogether. And now that's^ot to go on pause
ogam now that I'm on toy^ff now it sounds like I'm
/just all sour grapes, butlmvactually really excited.
by Saelan Twerdy
slate and got rid of my grudges with anyone in the
family. My isolating myself like that was a product
of some sort of childhood trauma. Now that I'm
more willing to acknowledge that, I might be
less inspired for it, but that doesn't bother me. It's
almost like making art is a means to an end for me.
The day that I don't do it anymore will be the day
that I'm finally happy. It'll have achieved its goal,
so to speak. I set out to purge something, not just
Can you see yourself doing anything other than
recording music?
No. I mean...I've done some very bad life-planning,
I think. But it's amazing that people actually think
about things in that sense when they're so young.
There's always ways to make a living, but I don't
have any professional aspirations other than
making music. I don't want to work for anybody,'
man. I don't take well to a fixed environment.
What have you been listening to? Is there anyone
around that you relate to in a personal way, that
you feel is on the same level as you?
Yeah! I'm always listening to stuff, man. Have you
heard gjiy Harry Merry yet? One dude! He's
i, and
From what I've heard, you've got just tons
like milk crates of tapes of recorded material
they want to keep putting out albums like
would you be happy with that?
That's the question, isn't it? And I'm putting oui
stuffbn otheVlabels, too. Basically, anybody that
wants to put out stuff is allowed to. I'm certainly
I not looking foK any record deals, but there's
\ apparently a lotSpf labels and artists that want
'and can release mVstuff. And I'd be more willing
th go with a label that^wanted to put something
ouWith as little investment from me as possible.
Because I can't have my aftentions driven to that
kind ot\stuff. I can just give them, the artwork and
the recordings and have them do everything, and
have it enaXthere. Because my commitments are
just way too rfogny right now.
Have you recorded anything lately?
Oh, yeah. I record all the time. But lately, it's taken
a turn, I guess. I'm not so much recording on the
fly anymore. Either I'm artist-blocked or I'm more
cautious about what I'm going to do. I was much
more self-indulgent in the past. I also feel an
enormous amount of pressure, to deliver it now,
whereas before I never had to worry about, like
a deadline or a date of release for anything. I just
put it out. I was able to make it because I knew it
wasn't going anywhere. With a distant dream, of
course, but...sorry, I'm really stoned.
Do you think there were things in your life before
that were inspiring you that aren't there anymore?
Yeah, I do. I think a lot of bad things that I wasn't
dealing with. I actually believe that my making
music for as long as I did so relentlessly was the
result of my not dealing with certain traumatic'
family issues when I was younger. I feel like...after
my sister got in the accident, | really made a clean
Art by Zoe Alexander
sshe's a fucking genius, just like unbelievable, out
of this world. And he happens to be a good friend
of mine, too. But only after I discovered his music.
And I'm like a drop-dead, total, gushing fan.
I've been listening a lot to the Associates, and
all my friends, like John Maus, Chaz Mountain,
Supercreep, Bubonic Plague, Indian Jewelry. I
tried to get Indian Jewelry to come on tour with
me as my support act, but I've got a booking
agent now. It's like, what the fuck's a booking
agent? They want their artists. So I'm going to be
going on tour with the Psychic Ills. Half the tour is
them and half the tour is with Belong, who's on
Carpark Records.
Were you actually under house arrest at any point?
No! I'm just earless. I haven't had my car since June.
It got impounded for unpaid parking tickets. That's
another thing I've said goodbye to. No more cars.
And now there's a warrant out for my arrest, since
, I missed one court appearance. But what's the'
point? I don't wanna drive anymore!
So, I want to talk a bit about the home-taping
gurus that you mentioned last time we talked. The
guys that inspired you. What do people need to
know about R. Stevie Moore, for instance?
He's the only guy in rock n' roll that has decided to
take the daily snapshot, to the point where there's
so much material you can pretty much account
for every day of his life, in specific years. You can
listen to it, it would take you like, three days to listen
to all of it back-to-back. Distillations of afternoons
spent trying to get the thing together. You can
really get a senseaf the time and place, and how
long it took for rock and roll to become itself, to
do itself. He was there, he was keeping track since
1967, when he was 14 or 15, all the way through
now. And he leads this musical heritage life, his
dad's a hero, he played bass on everybody's
album. Stevie met Elvis Presley when he was five, in
* the studio. He actually got to be on a Jim Reeves
single, "You Love Me, Daddy", as a five-year old.
So, for me, he's like royalty to me. The fact he's
been neglected even slightly as much as he has is
beyond me. I can't believe The Wire never wrote
something on him. You just go back far enough
and ask who was the first to do this, who was the
first to do that, and he was doing freaky fucking
shit, man, since day one, he made the fucking
freakiest music, way before The Residents. And it's
not like a calculated art form, it's the real thing
and it stands decades. I can't think of any other
example of anybody that's created so much
quality music and so much quantify and has
survived the 80's.
You're so into the Cure, though, and all kinds of
great 80's bands. Do you think the shift in the 80's
was objectively bad? What do you think actually
Video, dude. Video consciousness. It took it to
a whole new level. First of all, MTV pretty much
just changed the politics of pop music, the way
people even bandied around about it. The whole
outlook became different. It's a total medium
change. That why the old guard, like the Eagles
and Pink Floyd, all these others artists, had to
consolidate themselves to it, but it was foreign to
them, this new digital age with drum machines
and stuff. And younger, cooler, funkier people from
a different walk of life that were actually making
a name for themselves in the only industry that
they could potentially survive in, which was music,
people like Dave Stewart from the Eurythmics.
They helped them along. He was songwriting with
Tom Petty and Bob Dylan, all those crap records
from the 80's were produced by him. What I'm
saying is that rock and roll, why nobody survived
the 80's, is that everybody ducked out for a
second because they were out of their comfort
zone. Bands like Led Zeppelin had nothing to lose
by just pimping out...
Hey, sorry to interrupt, but I just had a thought: do
you like Robert Wyatt?
Oh yeah! So good.
If anyone survived the 80's...
Yeah, him and R. Stevie Moore, I see them as kind
of the same thing. Except he's the British one. But
he's not so much of a home-taper...he's actually
much more dignified. He dealt with being crippled
like a fucking god.
He has such a generous spirit. He's not the least bit
And he's so creative. The music gets him by. He's
got a healthy outlook on things. That's what
the music should do. It should keep you sane. It
shouldn't make you more insane, it shouldn't be
bringing out your bad side.
What you said earlier, about music being a means
"* to an end for you...
I can't foresee myself not recording. That's just the
facts. But I could stop at any time, that's the way
I feel. I wouldn't be worse for it, if that's what I
wanted to do. But I also have a lot of respect for
what I think is the vital element in the music that I
love, which is something that I think is fleeflng in
every artist. It's like a stage in their development.
Not at the beginning, but two or three steps away
from the beginning and everything after is shit,
it's like the song-and-dance routine. So I'm very
skeptical about proceeding if I don't have that
element of not knowing, of the innocence you
have when you first start doing, stuff. If I get too
comfortable writing stuff that's just going to be
boring, then I'm not going to keep doing it. They
say it's good to change your medium every ten
years or so. You should try all sorts of things. I like
to do stuff, to create. But even if I didn't want to
do that, if I wanted to sit and watch TV all day, it
would just be because I want to be happy. x _ UNDER REVIEW
Cadence Weapon
Breaking Kayfabe
(Upper Class)
Edmonton isn't exactly a
hotbed of hip hop. Growing up
in the 1980s, the primary source
for dope beats and rhymes
was The 8/ack Experience in
Sound, a program on the local
campus radio station helmed
by the late, great DJ T-E-D-D-Y.
It's only appropriate then that
the greatest hip hop record
to ever come out of E-Town, if
not western Canada, is his son
Cadence Weapon's debut
album Breaking Kayfabe. That
might seem like a faint praise but
it isn't; C<?dence Weapon has
crafted a promising-yet-flawed
record which is truly original.
Undeniably, the strengths
of Breaking Kayfabe are his
self-produced beats. Breaking
Kayfabe challenges the listener
with its layered, sometimes
chaotic and nearly constantly
shifting sample-heavy textures.
Instead of subscribing to the
conventional, endlessly looped
and unchanging beats of most
hip-hop. Cadence Weapon's
rarely static soundscapes often
switch up unpredictably during
the course of the track, as in
"Turning   On   Your   Sign",   the
strongest cut on the album.
The record' s major problem,
though, are Cadence Weapon's
raps, which, for the most part,
employ pedestrian flows and
cadences. Those looking for elite
emceeing should lookelsewhere.
He told me in December that this
is because some of the material
here dates back to when he was
only 14 years old, and that his
next record is on another level.
Nevertheless, his raps show a ton
of promise because, at the age
of 19, he exudes charisma and
has already cultivated his own
distinct personality on the mic.
In "Oliver Square", he makes the
nightlife of Edmonton actually
seem quite amazing. Take it
from me, that's a mind-boggling
Graham Preston
Test Icicles
For Screening Purposes Only
I guarantee that at
least a quarter of this, band's
potential audience will discard
them because of their name.
Matching the sophistication
of The Well Hungarians, it's the
kind of moniker that will doom a
band to perpetual obscurity. So
it's lucky for this London trio that.
when spinning For Screening
Purposes Only, the sheer stupidity
of their name is the last thing on
your mind. In fact, this album
gloriously lobotomizes, reducing
you to a glazed-over state of
thought-paralysis, in which the
only two actions you're capable
of are howling and dancing.
Test Icicles get to know
you with opener "Your Biggest
Mistake." (which, for the tame
listener, could be the act of
pushing Play). They present their
ultimatum through a hardcore
blitzkrieg of hornet-sting
guitars and banshee screams,
clutching you by the throat
and dragging you through
nine circles of sonic inferno, a
chaotic world from which (as
it is shrieked repeatedly) there
is "No Escape". Only the third
track, a brief organ intertade, .
offers any refuge. Test Icicles
are not going to give you any
breaks. Either you get on board
or you get the fuck out. There
isn't any in-between. By the time
the album's pairoTsingles arrive,
"Boa vs. Python", and "Circle,
Square, Triangle", the teicteS:
have already invoked a kind of
Faustian power. Surrendering to .
their brand of evtt is irresistibly
seductive. Fans of all genres can
fall victim to their sound, as they
span indie, hardcore, dance,
and even old-school rap, often
in a matter of seconds. "Circle,
Square, Triangle" is the most
straightforward mutant of the
album, pouncing with rusty razor
guitars and, miraculously, even
accommodating handclaps
for a moment or two while your
body is in the throes of total
dance-conversion, the musical
equivalent to an exorcism.
This album has a truly
mammoth sound, and due to its
frantic production, some of the
subtleties are shrouded. The ear
reacts to songs like "Catch It" with
immediate panic, but this track,
along with most of the album's
gruesome roster, saves the best
tricks for the attentive listener.
This is the kind of demented fun
everyone is waiting for, and it'll
last you for however long you're
willing to sign your soul away. It's
an album gripping in its intensity,
but still sophisticated. And you
never would've guessed it. I
mean, the name of the band is
Test Icicles. Seriously.
Mike LaPointe
Tortoise and Bonnie 'Prince'
The Brave and the Bold
Well, here it is indie-rockers,
the dream collaboration of
Tortoise and Bonnie 'Prince' Billy,
together at last. 2005 was an
inventive and iconoclastic year
for Will Oldham: first re-recording
his own pseudonym, then
releasing a surprisingly splendid
live album, and now a covers
album with some of his old-time
friends. The album reinterprets
an eclectic assortment of
songs by artists and bands that
have been an appreciable
influence on Billy and Co., from
Bruce Springsteen's "Thunder
Road", to The Minutemen's "It's
Expected I'm Gone" and Richard
Thompson's "Calvary Cross".
Elements of both Tortoise and
- BPB can be heard in the original
songs, particularly the fascinating
lyrics on all of the tracks chosen,
indicative of Oldham's own
innovative writing.
The bands present a
varied reading and re-assembly
of all of the songs. The Brave
and the Bold traverses through
different   moods:   a   low-down
blues number, a crazy rocket
synthesizer piece, to crashing
and screaming feedback and
abrasive electric guitars. Their
haunting and creepy version of
"Daniel" takes the song far from
the sugary-sweet melancholy
of Elton John's original teary
serenade, using distorted,
gravelly vocals and a strange
scratching and grating loop. For
me, this is the stand-out track on
the record (though on a personal
note, it is the song my brother
was named after). The light-
hearted ditty "Pancho" by Don
Williams takes the album down
a much happier trail, despite the
heartbreaking lyrics. However,
this is quickly juxtaposed with
the" blaring bass fine intro and
chaotic electric guitars of "That's
Pep!" by Devo.
Complex haunting and
seemingly evil in certain places,
this album is not an easy listen.
However, the skilled adaptation
of the originals is testament to
the mastery and versatility of
Tortoise, and the ability of Bonnie
'Prince' Billy to keep his voice
infinitely intriguing,
'xxlx Sarah Spencergggg^
CiTR's charts and reflects what has been spun on ihe air for the previous month. Rekkids with stars mean they
come from this great land o' ours. Most of these platters can be found at finer (read: independent) music stores
across Vancouver. If you cant find 'em there give the Muzak Coordinator a shout at 604-822-8733. His name
is Luke. If you ask nicely he'll tell you how to git 'em. To find out other great campus/community radio charts
Label           u y,^^^
BeH Orchestre*
Recording A Tape The Colour of
The Light
Rough Trade       Li
The Cripples
Lady Sovereign
Vertically Challenged
Chocolate Industries
Clorox Girls
This Dimention
Smart Guy
1 Love Guitar Wolf...Very Much
N a mack
Windy and Cart
The Dream House
Everything is Under Control
Ninja Tune
Secret Mommy*
Very Rec
The Black Halos*
Alive Without Control
Liquor And Poker
" T&*
Calvin Johnson
Before the Dream Faded
The Broken Record
Golden Dogs*
Everything In 3 Parts
True North
Dandi Wind*
Concrete Igloo
Remix EP #2
Acid Mothers Temple & The
Cosmic Inferno
IAO  Chant  From   the   Cosmic
For the Season
Wooden    Wand    and    the
Vanishing Voice
Troubleman Unlimited
Zombie Night in Canada 2
Rich Hope and His Evil Doers*
Rich Hope and his Evil Doers
Marino Audio
We Are Wolves*
Non Stop
Fat Possum
Tender Buttons
River City Tanlines
All 7 Inches Plus 2 More
Death From Above 1979*
Romance    Bloody    Romance:
Last Gang
Jan Jelinek
26 The Alley Dukes*
27 The Orb
28 Saint Etienne
29 Ennio Morricone
30 Richie Hawtin*
31 Ghost House*
32 Hinterland*
33 The Vertical Struts*
34 The Doers*
35 Silver Jews
36 Test Icicles
37 Akron/Family/Angels of Light
38 The Advantage
39 We Are Scientists
40 Morricone-Youth  . .
41 The Tranzmitors*
42 Shalabi Effect*
43 Deerhunter
44 LHrich Schnauss
45 Elefant
46 Arab Strap
47 Foster Kare*
48 Kate Bush
49 Aids Wolf*
50 Carsick*
Northern Rednecks
Okie   Dokie   It's  The   Orb   On
Tales From Turnpike House
Crime And Dissonance
DE9: Transitions
The Picture Plane
The Vertical Struts
The Plastic Bass EP
Tanglewood Numbers
For Screening Purposes Only
Elf Titled
With Love and Squalor
Silenzio Violento
The Tranzmitors EP
Turn It Up, Faggots
Far Away Trains Passing By
Sunlight Makes Me Paranoid
The Last Romance
In Formation Go the Heard
The Lovers LP
Pop Echo"
Red Cat
Drag City
Young God
Country Club
Lovepump United
Drip Audio Ryan Adams
'29' is the third album in a trilogy released by Ryan Adams.
A solo album of all new and original material.
WIN a RYAN ADAMS 12" vinyl
trilogy collection featuring: 29,
Cold Roses and Jacksonville
City Nights
So, Universal gives us this stuff.
You want the stuff? Just email
discorder@club.ams.club.ubc.ca with
something other than "super huge
penis" in the subject header. And a
picture of a manatee. We like those
David "Love" Jones brings you the
best new and old jazz, soul, Latin,
samba, bossa and African music
from around the world.
In two hours, I take the listener for a
spin—musically—around the world;
my passion is African music and
music from the Diaspora.
Afrobeat is where you can catch up
on the latest in the "World Music"
scene and reminisce on the classic
collections. Don't miss it.
Hosted by David B.
First Wednesday of every month.
ANOIZE (Noise)
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
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.
Real        cowshit-caught-in-yer-boots
BLUE MONDAY (Goth/Industrial)
Vancouver's only industrial-electronic-
Don't Let Student Voices Fade Out.
For 62 years, CiTR 101.9 FM radio has provided the most dynamic
programming on the airwaves.  Broadcasting from the Student Union
Building, CiTR has welcomed and trained thousands of UBC and
community volunteers who have used their experiences to launch
successful careers.  Harry Hertscheg, donor and Chair of the CiTR
Board of Directors, is calling upon alumni and former community
members of the station to support the CiTR Capital Campaign, which
will raise funds for major upgrading of broadcast equipment, facilities,
and a new Podcast service called CiTR On Demand. "Your contribution to one of Canada's truly independent community radio stations
would ensure that CiTR continues to provide an important service to
UBC students and Greater Vancouver communities."
To make a one-time donation, contact UBC Development Coordinator
Angie Smashnuk at 604-822-5345, angie.smashnuk@ubc.ca, or visit
www.supporting.ubc.ca, and keep CiTR on the airwaves.
retro-goth program. Music to
schtomp to, hosted by Coreen.
Your favourite Brown-sters, James
and Peter, offer a savoury blend of
the familiar and exotic in a blend of
aural delights!
Independent Canadian music from
almost every genre imaginable
covering the east coast to
the left coast and all points in
between. Yes, even Montreal!
British pop music from all decades.
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts'Jim,
Andy and Paul.
Independent news hosted by award-
winning journalists Amy Goodman
and Juan Gonzalez.
«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
Experimental, radio-art, sound collage,
field recordings, etc. Recommended
for the insane.
Up the punx, down the emol Keepin'
it real since 1989, yo. flexyourhead.
Two hours of eclectic roots music.
Don't own any Birkenstocks? Altergic
to patchouli? C'mon in! A kumbqya-
free zone since 1997.
A fine mix of streetpunk and old
school hardcore backed by
band interviews, guest speakers,
and social commentary.
This is pretty much the best thing on
Vancouver's longest running prime-
time jazz program. Hosted by the
ever-suave, Gavin Walker. Features
at 11:00, as listed.
Feb 6: We salute Black History
Month with one of the great
and still controversial recordings
in jazz history drummer Max
Roach's "Freedom Now Suite".
Singer Abbey Lincoln and tenor
saxophone pioneer Coleman
Hawkins and all of Roach's working
band make this a powerful, angry
and moving document for our
Feb 13: Miles Davis and Gil Evans^l
rendition of Gershwin's "Porgy
and Bess" was the peak recording
of the Davis/Evans hook-up. Evans'
arrangements of this music take it
in a different direction and inspire
Miles to some of his most deeply
emotional playing.
Feb 20: "Mingus Presents Mingus"
is considered by many to be
the great bassist/composer's
most significant recording. Just
four people including bass
clasrinettist/alto saxophonist Eric
Dolphy, trumpeter Ted Curson
and drummer Dafffiie Richmond
add up to absolute dynamic
Feb 27: "Consequence" is a
previously rare album by master
alto saxophonist Jackie McLean.
(It has just recently been re-
released). McLean alongside front
line partner, trumpeter Lee Morgan
is one of the best blends in modern
jazz. McLean and Morgan backed
by a hot rhythm section including
drummer Billy Higgins cannot miss
and they don'tl
Developing your relational and
individual sexual health, expressing
diversify, celebrating queerness,
and encouraging pleasure at all
stages. Sexuality educators Julia
and Alix will quench your search for
responsible, progressive sexuality
over your life span!
The best mix of music, news, sports,
and commentary from around
the local and international Latin
American communities.
Vegan baking w. "rock stars" like
Sharp Like Knives, Whitey Houston,
The Novaks and more.
A mix of indie rx>p, indie rock, and
pseudo underground hip hop, with
your host, Jordie Sparkle.
(Live Music)
Live From Thunderbfrd Radio Hell
showcases local talent... LIVE!
Honestly, don't even ask about the
technical side of this. This month will
probably be the best month ever.
Cycle-riffic rawk and roHt
Zoom a little zoom on the My Scence
Project rocket ship, piloted by your
host, Julia, as we navigate eccentric,
under-exposed, always relevant
and plainly cool scientific research,
technology, and poetry (submissions
A national radio service and part of an
international network of information
and action in support of indigenous
peoples' survival and dignify..We
are all volunteers committed to
promoting Native self-determination. Listen to CiTR on-line at www.citr.ca or on the air at 101.9FM
culturally, economically, spiritually
and otherwise. The show is self-
sufficient, without government or
corporate funding.
Socio-political, environmental
activist news and spoken
word with some music, too.
All-original Canadian radio
drama and performance art
written and performed live-to-
air by our very own team of
playwrights and voice-actors.
We also welcome you to get
involved, whether you are a
professional or inexperienced...
Hey it's a sexual health show,
kind of like Juice Box which it
alternates with but the hosts are
OUR WAVE (World)
News, arts, entertainment
and music for the Russian
community, local and abroad..
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
Underground pop for the minuses
with the occasional interview
with your host, Chris.
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>
Music inspired by Chocolate
Thunder, Robert Robot drops
electro past and present,
hip hop and intergalactic
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://
Vancouver's only true metal
show; local demo tapes,
imports, and other rarities.
Gerald Raftlehead, Dwain, and
Metal Ron do the damage.
Dedicated to the gay, lesbian, •
bisexual, and transsexual
communities of Vancouver.
Lots of human interest features,
background on current issues,
and great music.
RADIO ZERO (Eclectic)
Movie reviews and criticism.
Hardcore dancehall reggae.
Hosted by sister B.
DJ Knowone slaves over hot-
multi-track to bring a 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 occasional public
service announcements. <eno_
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.
Reggae inna all styles and
Primitive,     fuzzed-out     garage
mayhem! ,
International    pop    (Japanese,
French, Swedish, British, US, etc.),
60s   soundtracks   and   lounge.
Book your jet set holiday now!
Studio   guests,   new   releases,
British comedy sketches,  folk
music   calendar,   and   ticket
8AM-9AM: African/World roots.
9AM-12PM:   Celtic   music   and
An exciting chow of Drum n'
Bass with DJs Jimungle & Bias
on the ones and twos, plus
guests.  Listen  for give-aways
everyweek.   Keep   feelin   da
Email requests to:
. <djska_t@hotmail.com>
Sweet dance music and hot jazz
from the 1920s, 30s, and 40s.
Top notch crate digger DJ Avi
Shack mixes the underground
hip hop, old school classics,
and original breaks.
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!
A volunteer-produced, student
and     community     newscast
featuring news, sports and arts.
Reports  by  people  like you.
"Become the Media." On Hiatus
'til September 7th and 9th.
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.
on mainstream radio! A variety of
innovaative and interesting works
from the 20th and 21st centries,
with an occasional neglected
masterpiece from earlier eras.
THE    VAMPIRE'S    BALL    (Goth/
Dark, sinister music  to soothe
and/pr move the Dragon's soul.
Hosted by Drake.
All the best the world of punk rock
has to offer, in the wee hours of
the mom. Hosted by Trevor.
Punk   rock,   indie   pop,   and
whatever else I deem worthy.
Hosted by a closet nerd.
Join the sports dept.  for their
coverage of the T-Birds.
Listen to Selecta Krystabelle for
your reggae education.
W.I.N.G.S (Talk)
Womens    International
Gathering Service
Monday       Tuesday        Wednesday     Thursday
CL=classical • DC=dance/electronic •DR=drama • EC=eclectic • EX=experimental • FR=French language • GI=goth/industrial • HOhardcore • HH=hiphop • HK^Hans Kloss • JZ=jazz
LM=live music • LO=lounge • MT=metal • NO=noise • NW=Nardwuar • PO=pop * PU=punk • RG=reggae • RR=rock • RT=roots • SK=ska • SP=sports • TK=talk • WO=world Jenny Lewis ami
the Watson TWins
Psychic Ills
Bins w$  I
S Dodge Oart part*".'
fe a -wetnewspa
:;v-  ...\...X\.:'W   r.,,
'OtfTself: dftgincj fdrf®je
cumbag.li0t8l to fte deep
sootrl where tnt 01% Ihtrtg holier
|£pi&i|test sfp^of teg_t on
your browns ti 3 stmbaked roof ol j
oaf front.Th pi rfoas night had un
per Yeacanrerae ibetjicrazyaH-ni
and alternat'1 9 i*" • net»een Laws Nyro s .fioan-Me A
Miracle and Dylan's NawNiVftiita, 1   skmftBlte 11 '"•. p #
'loWifiSxif countryfolk goSsip. you didn't reify notice the spi
rise rt the fact that you wire still wearing that blonde wig «|
fpSrytin the can of the Hotel Congress. Your face looked lfk§_
•/• •..;•..':,•' envelope postroartel by the lips ot ail fte cool guys
— Cottar Oberst ten Gibbard and ML Ward Maybe a change
ot address and a change of name is to order... hmm "Jenny
Lewis sounds fine. Getting out of your sack, you head downstairs to tie lounge for a plate of eggs and take a.seaf in the
boot! next to a couple of twins named fte Watsons They
come on like turtledoves in May and seem to know more aboti
you ten you do, especially some fog
Dontyou thinfe sometimes, rts wise to not grow up? Oaran...
brand new^raselrom Brooklws sfsHar Social Registry label
(Stood m&?tiMi,.4iMK_ Gang Oaace). The life piay hissed-out
•i.^wmm^^M«aUSeem $gfjrrjarfcand enchanted early, early
moir^«&rniil|§bflH»sic v*here mysterious field batters slowly
is therapeutic
and so you torm a band and agree to sing some of thi
out moleskin collection. The result is a gorgeous aibum of dark
ballads and peppered heart songs... who ever said leaving
your old self behind was hard? Recommended.
ling Ecstatic again!?! But, bat. tout why?
[excessive? Um. well. Here's the BIG OWES-
1. Four let? Of coarse I dolt realty do!* If
, '.-Jin-- fe yours, tik-'i go for it—get this
' OOkk; ■.;,•': apw And late note yes, sore, this fe 9»
:•::•:.-•!'.up-! but it'salso different, maybe better, perhaps
-more ecstatic, is this possible? Yes, yes rt is. Here's what
jj.you get: ttferything Ecstatic remade as a video eotefjon
o:' _'.. , .  • whole other CDEP of new tunes and new
rj}j&ifcj_&bm tracks, which Kieran Hebden Mr. Few
;jiiljfBgtilf 4escnbes as music fM has come from
< ■ ■      ,    1  1 started to play material from
Everything Ecstatic live,* Uh, okay. Wicked! Featuring the
, directorial work of Jodie Made, Ban WMe Kieran
~1Kmm£ Mm Evans Tom Kemp Ed Holdsworth
William Jeffers Woof Wan-Bau Kieran Hebden and
iSHup 8int and Sam Jeff ers
CD 16.98
Cat Power
The Greatest CO/LP
"Fhe straight story has it that fJJwm
walked into Big Star's legendary
Ardent Studios with a soulful co
lection of precious ballads that
piQued the ear and the interest of Memphis, legendary session
players including members of M ireen's Hi-Records band.
The curved story tells it that after years pursued by questions
of enigma, esstenty searching and serene ecteetfosra;
Marshall arrived in a pfaee where throttflh the alchemy of this
spirited collaboration her best music was to destine to happen.
Following up her masterful itm km free would never he easy,
but here •— no matter which story you buy into—Cat Power
proves she can take her feathery detached voice and haunting
. introspective sortie vision anywhere she chooses. Her latest
The Greatest offers twelve enthralling tracks that breathe with
a esof confidence and a defeats blend of sensuous soul, for-
tom blues and rambling country balladry. Promising to get your
year of toa great start, this album fe stapfy put a mandatory
listen especially if you hate being at! jammed up inside.
CD 14.98   IP 16.98
Belle and Sebastian
The Life Pursuit CD/1JVD
When if s cold and dark outside and you're looking tor a tittle tight to lift you from your doldrums, what better choice
could be made but to fay fhe new 88$ long-player on the
stereo? It's been a long time coming, this pretty pop gem from
everybody's favourite Scottish wallflowers, but proves it was
writ worth the wart, front-man Staart Murdoch has muscled   j
up the bands sound, continuing along the path that Bear
Catastrophe Waitress blazed, taking telle and Sebastian
beyond the mere wispp@||jybiown pop wettest Once
again tackling tales otl^^rt tieartbreak utf^jpatmg, not
always reliable t_$li0_nftt0&t6. Murdacti has crafted
$A0mt fMs0&&:_wbte of enlivening evert the dreariest of
Vancouver WMffftpCWfe expect a run safari Grey and
Belle and Sebastian — especially as they _m^^^m
Commodore step
Test Icicles
From the opening notes of
^ _; "• tk:o::^vawaitojfiibut
. by one of toNr^rt'tisattest new bartd§r tat Icicles make
- clear rf.at tney .i'erVf kr;o,u t-j hold a:--/rr-:nu back,
0.p:-; r.'::':.i!- «ani(§d tip -sin ;i!.«e hi' or -.it- gat'is, bu*
this.! i'. fciaif iff a •'.:,<•! ','.,j.:-,: t.   v «md turns
: :$_%. mere than a few very catchy i^ndotrt'trttcte. Thejjp
obvious singte^Circte Spselrkngte*, swWrjri ss no less .
, edgy #fan the rest of tl» reeorrl'tuft has ftg.fekfc pushings: I
you out:6t the way en route to tfte dance floor. AnotitarOOJ
standoutii {•;•••-< vsPyihoir vi-it.ncfoesrrt\.i.jp k,i a',■
second out for some <(-..c;i. yott jss! esvt avert voir eves
or eafsrfrow this perfect t<.-A:. car pile ,.. "_w obvious
referenetjprjrtts whirji jttmp to mind range fromfejlatrf:,
fav {complete^ uip^erjetable} or The Bleed ■nBwn
(acid throated voeate) and at their most %_h_pm > ." .'«
moments, a more dartgerousand even ^dsfyiishBlec
ftrt>. These kids have ae#ed one hell #a racket and
possibfy the finest mess ot the newyear. ptr«ady to
destroy your ears to this one.
CD 16.98 &E PRJCIS IN W^m WTO. FEBRUARY 28,2006
iis»-i'yDieFebM    -
i early!Ite tire
CD/WD 16.98
n troihi
CD 16,98
Ima Compound Eye(31
Bsg.fteB^i Pella||^ll^^ ^rted ihe divorce papers
is TOr«pre. Wl|rafew» dial meatt? i'» "•) infamous abd.
drinWug prog fjiiN'psych'ppp^a'n .j'sn^^fta Slwriot
into old age and walliiPlf^w his '••y;- •• ^. penssw-eheQ!
arrive? Are yso seeirOThoste? Isjhe? Mmxptr^m^^
!•:'■■ of boxes of anearthed :,!•■,-i/; this foys pnna _t poinj
from under his bed in the yparslts ;•■ i.. i-w.-i.!-i- i :jr:;
classic and unleashed it, like the large-fearted boy he is
CD 16.98
Tortoise & Bonnie Prince Mty
Brave & The Bold CD
Good friends, young friends, friends who are no longer p
young, but whs wish to remain connected to goo#Sj*Si
who expect your idols to mature with you, here is yosiWlll
Oldham s Bonnie Prince Billy self has always had a percta
cover tones (who among us did not love fhe Mere Revery E!
this time around, he enlists the help of Chicago post^oefcer;
to 88 up fhe white space surrounding fits voice. Oldham ha
way of turning ■,::•:•.■■ into gold, and does $0 with the ton !,;i:-: O 0^5
cd, offering up his special brand of weirdo magic on sen.js by artists
as diverse as Btea *tm and Lungfish Hear .1 to betteve rt, tnends.-
and then share it with those you love.
CD 16.98
The Picture Plane O)
FalloM^ op on tMr steHar debut Birter
fte Waterline hometown bliss-rockers
s tortoise
i further develop their unique
pera riant for atmospheric reck antoems
with this great sophomore releasel
r1 '      on some tntrJcately woven blasts
of dense guitar heroics and equally SBflfeg ange'■(, vQcal$,4hts ae#
so|oam should uttlmatefy vault Vancouver's b»st k- pt sowe&8c5<et '.
into a reaim alongside the other fike minded peers of your record
collection: Interpol Mogwai and fte Wariedes. Enjoy.
CD 12.98
Young aailjSexy
Panic When You Find It
ly iiekiiiboi:. are eitoer fisteri^j to
imusic or making love, but never q
atfte'same time. For them, toe two ar|
•T.uiuaiiv exclusive, in sudi that both aJ
ficnj exist in the same possible world of time and space, this way
their iwo priorities are clearly delineated and nothing pts to the way
'j' fiieir total satisfaction. I, on the other hand don,'t subscribe to this
orderly living, and was very keen to take this gorgeous pop record
oo! for a few test -rials. Combining all the flourishes of great 60s
baroque soflgwritfftg as wefi as some stunning soulful elemento,
Yewtg and Sexy s ftmic Wfeen foe FimlR performs very well in the
bedroom—especially the opening bars of their quixotic piano-led
HwtkgjawBrpa*. appropriately available on feb 14th
CD 1498
Jaret Penner "lick the Dew"
Now on until Feb 28th 2006
I   /      fl
East River Pipe
What Are You On? CD
The Gossip - Standing In
The Way of Control CD
Blood Meridian
Soldiers of Christ CDEP
Sunset Rundown
s/t CDEP
National Trust
Kings and Queens CD
Ariel Pink's Haunted
ttoase Arrest CO/LP
Lesbians on Ecstasy
Giggles in the Dark
Remixes HU
Peeals and Brass
The Indian Tower CD/IP
Matt Pond PA-Several
Arrows Later CO/LP
The Elected
Sun, Sun, Sun CD/IP
Clap your hands say yeah!
The Ladies
They Mean Us COAP
Phillip Werren - Electronic
Music (1968-1971) 2CD
Keep yeur eyes pled
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232


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