Discorder CITR-FM (Radio station : Vancouver, B.C.) Jun 1, 2008

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Joels the/rain/andthe/sideM)aXk/  mr. plow thewiriky ga/ngbang^
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leah/dbra4n4fOn/lr^^                               the weather rockJn the/Jolty
kldy these/dciyy thesalteeny collapsing^opposttey sarah/wheeler
clover honey trail/vy. ru&sia/ thespetroleuAn^byproducfy farxthaM)
black/rice witnewprotesttxyn/progroMV death/sevxtenee/ theysriy
fondoftigery the/penguins craw nervetubey hejira/ parity boy
victoria/, victories the batewient yweety foster hare the natty on/
Operation/ mcikeout romance bossaruyva/ theewoky readyvyvcules
trie choir practice in mediae rey deytroyer vyuytorarvia/ the front
vnyytevy vviachine/ ther.cud.Uo: the/sa^ddlesorey brandnew wntt
the/parlour stepy  4-2  better friendythaAvlovery wuytorcyde marv
varicowgar   the riff randelly  Ctfy a/l^ing^thlng^ caxdeaAW;  eXlx&y
theorgarv yow say party! we say die! '	
Over 500 bands can't be wrong. Don't-miss the fun.
Submission deadline August 8, 2008.
Send 3 original songs to shlndig.08egmail.com
Or, mall CD/cassette/minidisc to:
SHiNDiG'08, 233-6138 SUB Blvd, Vancouver BC V6T 1Z1
WEBSITE/INFO/SPONSORS: http://shindig.citr.ca
Anti-Social Skate Shop
and Gallery
2425 Main Si
2016 Commercial Dr.
Beat Street Records
439 W.Hastings St.
The Bike Kitchen
UBC, AMS, 6138 Student Union
604-822-BIKE   -
Burcu's Angels
2535 Main St.
The Eatery
3431W. Broadway  \
Hit* Boutique
316 W.Cordova
Hie Kiss Store
2512 Watson St.
Lucky's Comics
3972 Main St.
Magpie Magazine
1319 Commercial Dr. -
People's Co-op
1391 Commercial Dr.
Puncture Haus
2228 Broadway E.
Red Cat Records
4307 Main St:
The Regional Assembly
of Text
3934 Main St.
R/X Comics
2418 Main St.
Scratch Records
726 Richards St.
Slickity Jim's Chat c
2513 Main St. . .
Spartacus Books
319 W.Hastings
Vinyl Records
319 Hastings St. West
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2    June 2008 editor's noteP
Nat Jay
Cole Johnston
Production Manager
Kristin Warkentin
Copy Editors
Nat Jay
Brock Thiessen
Kristin Warkentin
Ad Manager
Catherine Rana
Under Review Editor
Melissa Smith
Datebook Editor
Kristin Warkentin
RLA Editor
Brock Thiessen
Layout + Design
Cole Johnston
; Chris Brandt
j BryceDunn
I KameronFong
j Daniel Fumano
j Darren Gawle
| Nat Jay
! Katie Nanton
! Rob Peters
I Lena Ross
i Mine Salkin
j Terns Schneider
I Adam Simpkins
| Melissa Smith,
j Brock Theissen
j Stacy Thomas
j Andrea Warner
j Kristin Warkentin
Photo & Illustration
Cole Johnston
Jordie Yow
Program Guide
Bryce Dunn
Luke Meat
CiTR Station Manager
Student Radio Society
■         THE BIZ 1
Ml LIVE action eo
©DiSCORDER 2008 by the Student Radio Society of the University of
British Columbia. All rights reserved. Circulation 8,000. Subscriptions,
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Discorder Magazine.DEADLINESiCopydeadlinefortheJuIyissueisMarch
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rates are available upon request. Discorder does not accept unsolicited
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The cliche goes, "All good things come to an end." To avoid losing my writer's integrity,
I've been racking my brain to find another way of saying it. But alas, I suppose cliches became
what they are for a reason. And so I write my last editorial as editor of Discorder magazine.
Tne ride has been a great one, with many friends made and many experiences gained, and I
am sad to see it go. But I am certainly looking forward to whatever comes next.
Of course, with endings come beginnings. Many of the artists that we are covering this
month have all closed chapters in their lives and begun new and exciting ones, with shiny t
new records in hand. Our highlight this month is funky poppers Hey Ocean! (it's been a
while since we've had a local band front and centre), who have turned the page from new
kids on the block and debut album to local veterans and a mature performance on their
sophomore album, It's Easier To Be Somebody Eke. These guys work hard, writing, playing,
touring, laughing and filling rooms across Canada they've never even been to. Our local
features, the Awkward Stage and the Clips, have both started something new by partnering
with record labels to support them on their journey. To spread our musical tastes all over the
map, our backpage Q&A features blues singer extraordinaire, Ndidi Onukwulu, who splits
her time between Toronto and Vancouver, and releases her second album, The Contradictor,
this month as well. Also on the cards for the June issue are the Jealous Girlfriends, our only
out-of-towners from Brooklyn, New York, who will be making a stop in Vancouver on June
12 during their cross-continent tour.
Speaking of new beginnings, and before I go, I would like to introduce a new addition to
the team. Melissa Smith joins us as Discorder's new Under Review editor. We welcome her
and hope she enjoys her stay. In the next few months, we will introduce our new editor, so
stay tuned.
When things do come to an end, it is important to look back and see what was gained,
what was learned and say thank you to those who helped us along the way. There have
certainly been some highlights during my time as editor of Discorder, my favourites being
interviews with Corb Lund, George Stroumboulopoulos, Hawksley Workman and most
recently, Hey Ocean!. But I have also enjoyed learning so much about magazine production,
meeting the many publicists that supply the mag with great content and the artists we
feature who play such good music. And, of course, I have had an amazing time with the
Discorder staff and writers, and would like to thank them all for the time and effort they
put into the magazine.
As for me, I'm starting a new chapter and move on to pursue my own music with great
ambition, excitement and hope. So, you never know—you may see me back here on the
pages of Discorder sooner than you think.
Stay independent. Stay local. So long, Discorder.
Discorder Magazine is seeking an Editor
DISCORDER Magazine is a special project of CiTR 101.9 FM, the campus and
community radio station at the University of British Columbia. DISCORDER is
published 11 times a year by UBC's Student Radio Society and distributed for free
throughout Vancouver.
The editor is responsible for the written content of the magazine (ie, story ideas),
collecting, organizing and editing ail text submitted, recruiting and organizing -
volunteers, managing the Discorder website, and other basic administration tasks.
The editor must also involve CiTR members in the production of the magazine,
work closely with other Discorder and CiTR staff, and communicate with record
labels, publishers, and other industry contacts.
This is a demanding volunteer position that requires a serious committment.
The editor is creative head of the magazine as well as the main organizer. The
role of the editor is to fulfill the magazine's mission/mandate as well as facilitate
the Ideas of volunteers. The editor reports to the CiTR Station Manager and will
also work closely with other CiTR staff and the Student Executive. The editor is ,
expected to attend CiTR Executive meetings and hold weekly office hours at CiTR
(4 hours per week).
As the creative director of a music and arts magazine, applicants require strong
knowledge of current independent and local music, art and culture. As the head
editor, applicants must be excellent writers with a good grasp of language, spelling
and punctuation. Experience in alternative/independent media is preferred but not
required. Knowledge of desktop publishing is an asset. Other requirements include
strong organizational and communication skills, strong initiative, leadership ability,
experience with volunteer management, and the ability to work under pressure.
This is a volunteer position with a monthly honorarium of $350 - $400 per issue.
To apply, send a resume and cover letter to Brenda Grunau, CiTR Station Manager,
at citrmgr@ams.ubc.ca by Friday, June 20, 2008, at 10:00 am.
1 Greetings record lovers! It's June already? Before I sweat
myself to death in my overheated apartment I must tell you
of the newest batch of wonders that have crossed my path.
Firstly, no sooner had I received the Meth Teeth 7" that
appeared in last month's column, than the pony express
showed up and dropped off another square surprise from
Sweet Rot Records. The local label gets down and dirty with
the Blank Its from Seattle this time around, and the results
are downright super. Admittedly, I was a little unimpressed
with this band's full length on Empty Records a year or so
back: I think their typically short and spastic garage tunes
; are better suited for seven-inch attention spans, so thankfully I'm given some proof for my pudding with "Windows
Are Dirty". A crunchy riff chugs its way through a barely two
and a half minute stretch of pounding drums and lumbering
|»ss licks, while singer Justin's trademarked "underwater"
vocal style keeps me reaching for the needle so I can retrace
my steps, 'cause who knows what the heck he's talking about?
"Divorce" is on the fiipside, and this one bounces along with
the aid of Betsy's bottom end, playing nice even though
there's a lyric about being left in the back of a car permeating
throughout. Two songs of snappy, discordant fun here and
definitely worthy of some playtime on the old hi-fi. (Sweet
Rot Records, P.O. Box 78025 Vancouver BC Canada V5N
5W1 nqfspace.com/sweetrotrecords).
From our pals at Mint Records, the denim-donning ladies
in Vancougar get us primed for the release of their upcoming full-length Canadian Tuxedo wjfh a two-song teaser. It's
"Obvious" from the first note of the title track that these gals
have a hit on their hands. With only Eden's Bangles-inspired
single verse driving the melody, the-;rest of the group fills the
space graciously with well-placed handclaps, Becca's driving fuzz bass and Megan's frolicking keyboards. "Distance"
works a similar formula where vocal interplay leads the
charge along with some crisp drum work from CC Rose.
Also, I salute anyone who can take the word "trees" and turn
it into "T-U-R-A-A-A-A-A-A-A-A-A-A-A-A-S!" and make
it sound fantastic. If these tracks are any indication of what's
to come, you should be very, very excited -I know I am.
Those of you keeping tabs on Immaculate Machine's growing fan-base can now add most of Mainland China to the list
as they've scored an unprecedented coup with a Mandarin
translation of "Dear Confessor" (from last year's Fables full
length) newly christened as "Wo Xiang Tanbai". Seems that
CBC Radio 3 head honcho Grant Lawrence joked that after
the Victoria trio recorded French versions of their perfect
pop songs, the gauntlet was laid down for an Asian adaptation. Up to the challenge and convincingly so, the band
succeeded in turning the aforementioned song into something beyond even their expectations. Now Grant is eating a
whole lot of crow AND dumplings for his efforts. Not be to
outdone, "Won't Be Pretty" is a soothing number featuring
a prominent female/male call & response vocal atop a swaying backbeat. It«ings the praises of a relationship that looks
good on paper, but doesn't always print well. However, this
single will look good to fans of the Island City combo, so
snatch it up where you can. (Mint Records, P.O. Box 3613
Vancouver BC Canada V6B 3Y6 www.n
4    June 2008
Lastly, Vancouver's noisemongers Shearing Pinx give the
East Coast a taste of what has eluded them up until now
both on record and in live formation. As you read this, the
Pinx assault will have traversed this great nation forth and
back with a stop in Halifax for the Obey Convention, a festival of the musically and literary adventurous and in tow will
be their Haruspex EP, three songs of equally experimental
sounds ready for the taking. "Negaman" blasts out some staccato riffs both at the start and finish, whilst in the middle
is a series of guitar picking, tuning twists and some hidden
vocal samples. "No/Face" is a mainly instrumental barrage
recorded live off the floor in a radio station in Davis, California while "Sinking Ship" tries to capture the Pinx in their
live element, with guitar pedals and other effects bringing
the driving force behind the frenzy. My guess is this limited
pressing of no-wave noodling has been a hot commodity with
their friends, so best give the band a call and get your copy
while it lasts. (Divorce Records, www.divorcerecords.ca).   j)
BSBBHSIBMiil It's not usual to find a CD review in die film section,
but Vancouver group Swank is not your average
band. The band's second release, 2005's The Survival
Issue received accolades for its accompanying 30-page
booklet of pulp inspired original artwork. How to top
that for album number 3, Campfire Psalms} Producer
Howard Redekopp (Tegan & Sara, New Pornographers,
Mother Mother) lends his talent, not only as producer,
but on vocals, percussion and keys as well. In addition,
a lyric book in the form of a hymnal is included which
contains a moral summary of each song. This being the
church of Swank, the tutorials are not exactly what you
might get in Sunday school. For example, the lesson for
50s-inspired ballad, "Can't You See" reads, "Cupid is, in
fact, something of a prick."
Besides the quirkiness and conceptualism that is
associated with Swank, what really sets this release
apart is the inclusion of a karaoke DVD, which can be
played as a backing track or as a Swanky sing along.
Friend of Swank, Doug Smith from The Cadaver Dogs,
refers to the DVD as Swankaoke, which is a fitting
accolade,, as this DVD truly deserves to have a word
coined in its honour. Of the 16 songs that are on the
album, 10 of them have been included on the DjVD.
Each track has been masterfully edited and stands alone
as a mini movie. The attention to detail is impressive
as the images are completely in synch with the lyrics
and paced with the instrumentation. The footage for the
videos were selected and edited by Spencer McKinnon
(vocalist and lyricist) and Kirk Douglas (percussionist
and sometimes guitarist). Spencer estimates that
approximately 20 hours were put into the production of
each video. That's roughly 8.5 sleepless days and nights
of love's sweet labour to provide a unique bonus for their
listeners. This generosity of spirit is not surprising from
the band, who often donate their time and talent to
various benefits.     #	
m/johncougarisgod A
•► When asked about the video compilations and
copyright clearance, Kirk explained, "The archive is called
Internet Archive: Moving Image Archive. It is a Moving
Images library of free movies, films and videos. This
library contains thousands of digital movies which range
from classic full-length films to daily alternative news
broadcasts to videos of every genre uploaded by Archive
users. Many of these movies are available for downloads
It is a non-profit library for everyone. It is a public domain
site and there were no clearances needed. We also used
some dips we shot for "Hey Jeb" and "Donkey Cart," and
they were edited into the stock clips."
Campfire Psalms manages to simultaneously pay homage
to, poke fun at and critique Americana in a manner
only possible from a band who has designed its own
matchbooks and whiskey glasses. Collectively, the videos
incorporate animation interlaced with images of westerns,
50s melodrama and 60s kitsch. The exceptions being
banjo-driven "Hey Jeb" (ironic cowpokery) and ballad
"Donkey Cart" (the only play-it-straight song/video in the
compilation), which were exclusively filmed in black and
white and do not contain any extraneous footage.
The gentle sounding "Peg" is the most hilarious
selection, with lyrics about a person who goes off their
medication and drives around in a Winnebago with
a giant leg atop it. To add to the tragicomic lyrics,
the video contains parade photos interspersed' with
dancing hot dogs and a psychedelic Scooby Doo-style
animation of the Winnebago, complete with leg. "Never
Been Born" is a rockabilly refrain that depicts frenzied
dancing, crosscut with melodrama and reckless driving.
The anthemic "Shoot at the Devil" acts as a political
allegory with its contrasting scenes of clean cut square
dancers (including Bo Peep pantaloons), church folk and
guns, particularly in an animated scene in which the
word "Gospel" dismantles itself into a box of dynamite.
Despite, or perhaps because of its postmodern
contrivances, Campfire Psalms works as a concept for
a world in which almost everything is referential and
things rarely are black and white. Despite its tongue
often firmly in cheek (or elsewhere), it is a mature
offering with dispossessed tales of poverty and fear that
rise above through spirits of one kind or another. In
the world of Swank, pathos and humour coexist, with
some whiskey-fueled proselytizing thrown in for good
measure. Call the congregation -the official baptism by
Swankaoke is on Friday, June 6 at The Railway. Amen. \
Discorder   5 Textually
Riot On Sunset Strip: Bock & Roll's Last
Stand In Hollywood by Domenic Priore
[Jawbone Press, 2007]
"I say the Strip is manufactured in
Japan and shipped here in small parts,
then it is reassembled by a committee of
pot smokers."
-Jerry Hopkins (Los Angeles Free Press) as quoted in
Riot On Sunset Strip.
Riot On Sunset Strip is a deceptively compact work
of immense breadth and scope, focusing on what
author Priore describes as an "artistic Mecca"
and "the center of the rock 6c roll universe" hyperbole.
So exuberaht is the editorial position promulgated over
the course of the book's 288 pages that it's difficult not to
feel, that Priore might have a point. The focal point of the
book is that surprisingly brief period from 1965 to early
1967 when music and youth culture displaced the film
industry as Hollywood's stock and trade.
Occupying an unincorporated strip of land between
Hollywood and Beverly Hills, and centred on Sunset
Boulevard (hence its nickname the Sunset Strip), the
Strip in the mid-sixties was the epicentre of all the
relevant musical genres of the period - garage rock, folk
rock, psychedeUc, surf - and featured a club (or three)
catering to every one. Talent was almost entirely local to
the greater LA area, and with the region being the nerve
center of America's broadcast media industry, many
of these" bands shot to one level or another of national
prominence. To wit, there's a delicious TV still at one
point of British pop starlet Petula "Downtown" Clark
serenading an obviously stoned Sky Saxon of the yet-unknown Seeds at the Strip's Moulin Rouge club.
The music is the main focus of the book, with seven
of its fourteen chapters being devoted to a practically
encyclopaedic listing of everyone who was anyone in
Southern California during that period. Greater names
such as the Byrds, the Doors, Buffalo Springfield and
Love go without saying; while the Chocolate Watch-
. band, the Seeds, the Electric Prunes, and the Count Five
are almost de riguer. Yet it's Priore's exhaustive research
further afield into the careers of lesser-known acts such
as the Dovers, the Misunderstood, and the Sons Of
Adam (to identify the tip of a very large musical iceberg)
which underscores the Strip's role in the mid-sixties as
the doorway between a thousand Los Angeles garages
and the national stage.
The scene came to a screeching halt in November
1966, when various competing business and civic plans
regarding what best could be done with the Strip (a
retail and commercial district catering to Beverly Hills,
* for example) came to a head and the LAPD was sent
in to enforce various arcane and spurious bylaws (read:
harass the kids) in an effort to drive the scene out of the
area. The results were the four nights of demonstrations
from which the book takes its name; the fallout was the
closing of the Strip's all-ages clubs (which accounted for
most of the overall venues) almost overnight - at which
point San Francisco and the Haight-Ashbury scene
moved in to fill the cultural void. The rest is history.
I love Nada Surf. Their last few albums have been
fantastic. Whenever I create a mix CD of songs
that I want to introduce to friends, there is always
at least one track from these albums included. It goes
without saying that they are in high rotation on my iPod
as well. So I was excited to see them at the Commodore
on March 29 as I had missed them on the previous rare
occasions that they had made a Vancouver stop. As the
band was set to hit the stage, I noted to my friend that,
as big a fan as I am, we could be sitting right next to
them and I would have no idea. I didn't have a clue what
they looked like.
Being a fan used to mean knowing so much more than
the chorus of every song from an artist. 'Fan' is of course
short for 'fanatic,' and wastraditionally a more apt designation. However, our exposure to artists today is far from
what we would deem traditional. I certainly don't discover
bands from music video channels anymore, so there is
the number one loss of visual association with an artist.
Record stores don't put up posters like they used to, not
that I go to record stores anymore. Music magazines only
include photos of an artist if they are really attractive,
otherwise you just get the album cover next to the review.
So the last opportunity for a visual connection would be
album artwork. In Nada Surfs case, not a single photo
was included in the last few albums. This, however, is
where the slippery slope has turned into a free fall.
The Los Angeles Times (Feb 27, 2008) recently
reported on a study saying that 48% of teenagers bought
no CDs at all in 2007 (up from 38% in 2006). The same
report suggests that in the last year, consumers paid for
42% of the music they obtained. That was down from
48% in 2006 and more than 50% in 2005. So less than
half of music "fans" pay for the music in their possession.
Assuming that they are representative of the teen-aged
general public, then the above translates into less than
half of these owning music in a tangible form. One of the
trade-offs of increased accessibility to music seems to be
increased anonymity.
Before I could build up the steam to rail against this, I
realized something: isn't this just a return to pre-MTV?
We all know that video killed the radio star-just ask
Joe Jackson. Twenty-seven years later, we are not only
a generation removed from vinyl packaging that opened
and enthralled Uke a book, but we are actually pleased
with the thumbnail image of an album graphic that Uleg-
ibly graces the screen of our iPods.
With the same friend who attended the Nada Surf
concert with me, I also discussed the return of Duran
Duran, and tried to guess what year the Seven and the
Ragged Tiger tour came through town. We both thought
we would go to the reunion concert, but I went way over
budget on PoUce tickets and figured that would be my
last flashback splurge for a while. The PoUce, Van Halen,
The Spice Girls, Duran Duran, Led Zepplin-aU of the
bands that said they would never re-unite have aU hit the
road. Why? There has always been a market for nostalgia (who is playing at the casino this weekend?), but this
is different. It's because these acts are not competing
against today's hit-makers for the consumer's concert
doUar; because the class of 2008 can't fill stadiums. Even
the carry-oyers from the '90's can't do it. Jay-Z and Mary
J BUge, Matchbox 20 and Alanis Morissette. You need
two on one biU to try and get to capacity.
For the first time in years, major festivals in Europe
are not selling out. Today's artists have an identity
crisis. The industry's decision to churn out mainstream
hits rather than cultivate artists has led to a quick burn
for consumers. This is in-no way a criticism of the talent
of today's artists, only the machine that aims to position
them in our psyche.
If the new business model is to give away the music
and make money as a touring artist, there is an inherent
flaw in the plan, as people are more reluctant to pay to
see artists with whom they haven't visually identified. In
a few years there may only be one solution for working
musicians: turn to country music. Their fans wiU pay to
see anything. In the meantime, I am ordering my tickets
to see Pat Benatar at the casino,   t. RcelUst, a fiddler, drums and a songstress formulate
E.S.L., perhaps the only all-girl polish cabaret band
to cover the Velvet Underground and the Beastie Boys.
The group's new album, Eye Contact comes out June 3 and
E.S.L. plan to celebrate with The Fits and Cornerstone, at a
CD release party June 13 at the Western Front.
D: How did the members of ESL meet?
Marta Jaciubek-McKeever (piano/vocals): Joy and I met
when I saw her play at the Railway with the People Versus .
(Joy's previous band with husband Jake MuUen).
Joy MuUen (drums): And I was like, "Who is that girl?" I ran
up to her and I was Uke, "Oh my god, you're the coolest, can
we hang out?"
MJM: [the People Versus] played a show with us, which was
me and Cris and this trombone player. And I met Cris when
my friend Nicki's mom did this big thing at UBC for David
Suzuki that Cris was playing at. We started talking and
jamming. And then Diona just showed up at my house one
day and was Uke, "I'm looking for my wurUtzpr." Her band
was living at the house, and I was Uke, "I don't know who
you are or where your wurUtzer is, but come have some tea."
And we hit it off.
D:Yoi.veb«0Hdescribedaspimkgypsy. How do you describe your sound?
JM: I describe it as vintage. It's really nostalgic.
MJM: I always say gypsy punk, Joy always gives me a hard
time because it's not punk. We're not rock at aU.
It's pretty rough, it can get pretty...I'U say obnoxious for a
lack of a better word.  It's not polished by any means.  It's
rough, but beautiful at the same time, because we aU have
classical training. We're a tight band.
D: Tell me about recording Eye Contact. Did you work with
anyone special?
JM: We ate a lot(laughs). We ate a lot of food. It was like
sweatpants central,
MJM: Our producer was reaUy quite dreamy. We were Uke,
you're so cute, but we're so gnarly! And then we brought in
my dad to do a vocal, and that was insane. He unleashed
something crazy that day. Then the Dark sang and Chris
Smith, and Duffy [Driediger of Ladyhawk] sang.
D: Can you talk about your songwriting process?
MJM: Whenever I write, it's kind of sappy and slow, and I
just want to shoot myself. AU I want to do is write awesome
dance punk-rock tunes, but it never comes out that way.
[When we write together,] we don't reaUy try, it's just, "Let's
jam," and out comes a song.
JM: However, on this album Marta wrote most of the songs
and we kind of built the album around that.
MJM: I did write this album. "I Don't Buy It" is the latest
song we wrote together, and that's the direction we want to
go in. I love writing with them, I'm not reaUy inspired right
now to write by myself, and I think a band is really good
when everyone writes.
D: Can you describe this direction thatyou want to take the band?
MJM: Maybe a little bit more dancy, but there's a better word
for it. It's aU pretty moody. Beautiful but moody.
JM: Maybe even have a bit more of a message to it, Uke the
Divine Feminine, or things that are important right now.
D: How was your experience at Dawson City Music Festival?
MJM: It was amazing because we got flown up there, we got
food for four days straight. We were drinking coffee and
beer for four days.
D: You've all played and toured with other bands, so you've been
doing this for awhile.
MJM: Yes, but to me it feels Uke we're doing it from scratch,
because it's so different from anything I've done before.
Everytime we play together it feels so good. Some people just
gel. We just give 'er. We're not pretty girls making soft music,
we're rambunctious and a little obnoxious. $
Discorder   7 a manda Lepore doesn't know much about clothes, but her hair looks fierce. Fors<
who professes to be in the dark when it comes to couture, howeWsrj Amanita managed ■
to out-dress a packed crowd at the Biltmore Cabaret with so'muKh ease that a casual
observer could be fooled into thinking that'she does, infact, know a lot about clo(f^Wiit»"-:-
ing onto thestage with her skin-tight red dress pulled down to reveal hugCj sequined breasts,
red-gloved hands waving demurely to shrieking fans, she looked like |^pjttj^«^(ittch as a
Barbie doll come to Ufe. To hear the noise, though, you would have thought bhevras.tJup P#pjeVO
The media seems to find it impossible to mention Amanda Lepore without mentioning ■»
the fact that she used to have a penis* so here we go: yes, she wasboTQ' a llpSggfipfshe isn't
anymore. Her lips (huge, fuU, and never without a thick coat of e))^^^pfel|^^k) are
oversized Uke her personaUty. Acroiduig to Wikipedia, sheishad her forehead•la^e8,.^iSF_
hairline pulled down, her brow bone reduced, her eyes slanted twice, rjej jjreaste^iioae three
times, and her forehead, hips, and buttocks injected with siUcone. Her tin^^mst is the
result of having her ribs broken. Rather than the re$tipt of a simple obsessionj^th plastic
surgery, though, Amanda's body is a deconstructivist art piece "wJ^pB^l^^^s Judith
Butler's notion of gender as a performance. Her body is not Oaly.Jn object ofglarnour but
also a tool for chaUenging societally impose^l^fe'^^^^^^
The night wasn't just about outfits and gender-bending, however. People paid to s$c rnusiq' •
and the night's performers didn't disappoint. Opening act Cazwell got an already excised ciowi .
even- more pumped with his unique blend of disco-rap, sampling Loose Joints"Ts It All Over
My Face" for his similarly tided (but much,:5|ffi|^r^^ft%ll Over \oaJC.Facfi.^Tlie audience.
responded positively to the rest of his set - "I Saw BeyorK*"AtTS4oBpirvfehi ewefparKculariy.. •■'
well. By the time he finished his latest single, "Watch My Moutfe./'he, hSsfe played more than -,
a handful of songs, but the crowd went wild any^g^^SS
Caswell had hardly stepped out of the spotlight when $manda tispere took, to the .stagey,
The ear-piercing screams for Cazwell mofiaents earner were^otrnng'coirtpared to the wails-.
of applause Amanda brought. Her music tends to be sirflpHsfic^to die polfittof being'tongue-
in-cheek. "Champagne," her ode to bubbly; is^roos^j^thertalking^aljout-being gls&ridry•-
ous over a disco beat. Like C swell's, "Amanda's production avoids the booming hip-hop
Olm^caalism cutrently omnipresenr/ifirilub music (anyfhijvgliifom TfinBalaad io,U"-4{p to '
Annie) in favor of ft?38j8a^^Sample-heavy retro sensibility. *'   -
.vOJ^r her recent single, *My pus.>vj" Amanda trades disco for h&r*her> oiok mininraU^c
^el®fe6, courtesy^^low New Yorker Larry T« j^rflK^*,of e^ctockishand mostiaqeiitly.";
^f^Ooucer of the ^frLicky? witj^PrinGess.Supei'ltarVHe^ A^iaiida's i^notone declarative,
statements about&e^yagina mesh wit^thfe"h'a'rsh,elecVoaic,j)roduct8JB reform a."melange
Ol&wfch is both danceable and incredibh/ntting for her, As she bouncedju'p and down, grinding
: Uke a maniac, her red dress crumpled on tfie stage behind her and b-erBeda#ded vagina* out
for aU to see, I briefly coXxj^rni^^lhDyjr^^.NeW5fefi84.," ~\
After her relatively brStf_pcrfor^^ce,4ycai Qightlifc' impresario Cotton-Venus infofflaeSl
, .^H|4fcat Amanda would be kind enoygh xo stay^and meet the entire aodiept-e one-on-One.
, Aftes-fhe crowd left, I,snuck backstage with CiTR's yerjrr>wn Betti Forue to wiiere Ca^wefl
* and Amanda had retreated. In person, she didn't remind me of a blow up doll, but tafiast-
.. something perfectly made and very'expt^RMvcSjJ^jCartier^brstefcJi, or'a silk scarf by Heroes."
Classy, intelligent., and-denture, meeting, Amanda in person just cement** herlss'afr'ico^for
y the 2Jst jeentary. She is p^st-feminjst,^ost-musictanj; p$st»cclcbrity and pobtisupermodel, ,'
■' *[l|kji|HyPt8c emijS>dio.ieof: "ofthfc po&t<q$6dern'£citgeisI who lives affd W&rJhsfcsrgUttel^fti -
glamour. Also, her hair looked fierce.   9 1   -,,
f Ticktj&snai
11 h        r~">iUrM|iin
J^L*...      joutlifrn Mb ttitrol
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1 -JflLr'
Thursday, June 12
Thursday, June 19
Thursday, June 26
Thursday, July 10
Thursday, July 17
JUN     LTJ BUKEM - 06/04 | NEO-SOUL JAM SESSION - 06/06
THE TING TINGS - 06/091 ISLANDS • 06/10 (ALL AGES)| CROOKERS - 06/27
881 GRANVILLE STREET   604.646.0064
Discorder   9 ____?£>
iWvihiB ducui
m% itee? mwmmm mm ton
10    June 2008 Ve had a long, heated debate about it
one night over the phone," says guitarist/vocalist David Beckingham about
the elusive exclamation point that dangles
at the end of his band's name. "We decided
to put it on the record~and talk about it."
He looks around the room for some support
from his long-standing band mates, Ashleigh
Ball (vocals/flute) and Dave Vertesi (Bass), to
little avail. "We did. That's what we decided,"
he tries to convince them further. While the
members of Hey Ocean! may be uncertain
about the fate of the punctuation in their
name, there are many aspects of their career
that they approach with much more confidence: their sophomore record, for example,
which has been two years in waiting; their
determination to be nothing but themselves
as they draw from unlimited musical influences; their faith in each other, as musicians
and friends; and the direction of their band,
as a continual climb to the top.
Established four years ago. Hey Ocean!
has worked incessantly at becoming one of
Canada's top touring acts. Now, the band's
own brand of jazzy funk-pop can fill a room
with fans, young and old. Who are ready for
a good time~and Hey Oceanl's live show is
something to behold. Not only are they each
fine musicians, but Ball, Beckingham, Vertesi,
and the band's latest addition, drummer
Dan Klenner, have personalities that can win
over any crowd and certainly merit an exclamation point. Their track record speaks for
itself, having shared the stage with Bedouin
Sounclash, Sarah Harmer, Wintersleep and
Xavier Rudd, but it's their energetic performance that has earned them critical and
popular acclaim from Vancouver Island to
Prince Edward Island. "Even when we're doing
chill stuff, we're pretty energetic and enthusiastic people," says Vertesi.
But it's this live energy that the band has
been criticized for lacking on its first full-length
release, Stop Looking Like Music, back in 2006.
Although Hey Ocean! has sold close to 3,000
copies of the album out the back of their van,
the goal with the next release was to bring
the energy from a live show into a recording. "Something that a lot of really good live
bands strive for is, %How do I transfer this into
a recording?' It's really difficult, and it's different for everyone. But how do you make that,
happen? It's a real art," says Vertesi. Were they
able to achieve it this time around? "That's
. what I'm most proud of," continues the bassist.
"I listen to this album, and I'm like, 'This is us.
This sounds like us. This makes me feel the way
I feel when I play music with Hey Ocean!.'"
A collaborative band from top to bottom,
the members of Hey Ocean! are also a
songwriting team. And with unbelievably
varied influences, from musical theatre to jazz
to hip hop to folk music, there is something
for everyone on their June release. It's Easier
To Be Somebody Else is a combination of
animated pop numbers, funked up rhythmic
tunes, and thought-provoking, lyric-driven
ballads. While they are known for their youthful glow, this album shows a darker side, all the
while maintaining the power and intercity of
their live presence onstage; a more mature ,
approach to music that indicates their ability
for growth and longevity fn the music Industry.
This is in part accomplished due to the singer/
songwriter-esque, storytelling nature of many
of the tracks, which exposes life experience
gained since Stop Looking Like Music. The
intricate percussion of Klenner, whose talent
extends far beyond his years, also adds to the
sophistication of the the album.
Fans can definitely expect It's Easier To Be
Somebody Else to show the true colours of Hey
Ocean!. "A lot more of the live energy is felt.
In some ways, it's a lot more busy (than the
last album.) In some songs, it's a lot more raw.
And then you can also expect imperfections
all along the way. Tons of them," says Beckingham. The band feels that this approach
enabled them to capture a genuine Hey
Ocean! performance, as was the big-room
acoustic that permeates each track. On the
record. Hey Ocean! was guided along this
path by producer, Jose Miguel Contreras,
known primarily as the lead singer and guitarist for Canadian indie rock band, By Divine
Right. He has also produced several Toronto-
based acts, including The Meligrove Band, SS
Cardiacs, and The Bicycles-all rock bands.
So how does a rocker come to produce funky
pop? "We didn't want something that was
really poppy and polished. (Jose) just immediately got us and we just clicked with him," says
Ball. "I think he was a little bit hesitant to get
involved with our band because it's not what
he usually does, but it was really cool to work
with someone who was just so rad."
ui|3LComoinjg. Hour dlalfe&o   •
Windsor, ON June 6
@ Phog Lounge
Sarnia, ON June 7
@ Paddy O'Flaherty's
Ottawa, ON June 8
@ COCA Conference
Ottawa, ON June 9
@ Maverick's
Montreal, ON June 10
@ Divan Orange
Toronto, ON June 77
@ Rivoli
London, ON June 12
@ Call The Office
Sault Ste Marie, ON June 17
@ Loplops
North Bay, ON June 18
@ Jack's
Winnipeg, MB June 19
@ The Lo Pub
Regina, SK June 20
@ The Club (@ Exchange)
Calgary, AB June 21
@ Virgin Festival
Saskatoon, SK June 28
@ Lydia's (Sask Jazz Fest)
Kelowna, BC July 1
@ Doc Willoughboy's
Victoria, BC July 3
Vancouver, BC July 6
@ St. James Hall (ALL AGES)
• Vancouver, BC July 11
@ Richard's On Richards (CD Release)
After a casual first take, and getting everything he needed on subsequent takes, Contreras would encourage the band members to do
a "balls out" take, where they could let loose.
And as it turns out, says Vertesi, "Pretty much
the whole album is made up of first takes and
balls out takes."
Watching the members of Hey Ocean! interact, it's easy to tell that this band is in it together
for the long haul. Even before the release of
this album, Beckingham is already looking
towards the next. "Ithink we'll meet somewhere
in between the production of the first album,
with something a little more polished, and the
energy of the second album." Until that time
arrives. It's Easier To Be Somebody Else will
drop June 10 and Hey Ocean! will follow up
with a string of tour dates across the country,
with hopes of breaking into the States later this
year. "I'm excited to see what people think,
and I'm also skeptical and nervous. But I kinda
just can't wait for it to go out there," Beckingham admits.
Already known for D.I.Y. success. Hey Ocean!
wili remain sans label, but will release the disc
under a kind of collective called Pop Machine,
shared with Vancouver band Said the Whale.
And with a potpourri of new music, coupled with
their entertaining onstage antics, the musicians
of Hey Ocean! are determined to be exactly
who they are and make no excuses for it.
"Wejustdo whatwedo, and we've had great
results. We don't necessarily feel the need to
follow a specific route. We'll do whatever we
feel is best for us," says Vertesi.
"Basically, we're gonna be total brats, do
everything our own way and see if it works;"
adds Beckingham, with a smirk.
continued on page I
Discorder ") fhen Jeremy Ghiman (drums/violin) and Edo
Van Breeman (keys/vocals) call en route
J^S<_Ajx> Van Breeman's birthday lunch, they are
seated side by side in the front seat of Gruman's car,
who is attempting to navigate through traffic and field
questions simultaneously.
These two make up two fifths of The Clips (which also
include James Steidle on keys, Mike Jones on guitar
and Andrew Seeton on bass), whose first album,
Matterhorn, was originally released in Vancouver in
2007. After signing with«.Unfamilliar Records, the
record will be re-released on a much larger scale this
month, and it just might catapult this indie gem into
the big leagues.
As the two band members take turns dishing about
their debut album, their plans for the future and their
dream about living the rock star life (with no less than
12 camels and some alcohol-free, flavoured beverages),
one can't help but think the Clips are already living
the dream.
s the best part about record-
MSCOtfte?: What v
ing Matterhorn?
Jeremy Gruman: It was all best parts. We'd played music
together for a really long time, or it felt like a really long
time, before we actually recorded anything. There was a
sense of satisfaction, a bit of fear involved in it.
Edo Van Breeman: We recorded last summer.-Our
producer, Doug, is amazing and was also going through
final exams. He's a sound engineer at Vancouver Film
School, so we basically borrowed all the gear and put
it in Cohen's (our keyboardist at the time) garage. And
it was a tiny garage,.like 37 degrees, and basically we'd
just sweat away. We'd tried to record before, but it
didn't really work out, so we'd been trying to record this
album for two years almost.
D: How weird did it feel to be selling out shows all the
time without an album?
JG: I think the reason people like us is [because] we try
to be really energetic while we're playing, and we didn't
charge a lot for tickets, either. There would be three or
four bands, and all of them would bring something.
You'd go to see a show and it was only five or six bucks.
EVB: I think our first official show happened at the sldks
Factory. It's basically like an illegal art studio—a 2500
foot place on Commercial and Hastings. Our first show
was packed to the rafters. I think it was like 300 people
who came out^and after that we had a good audience.
0: What will it mean when your album gets re-released
this month on Unfamiliar?
EVB: What it means is that people will hear us outside
of Vancouver, and we're going to follow that up with
an appearance at Sled Island Festival in Calgary. The
album's going to be distributed through Sonic Unyon
and Unfamiliar Records, which is run by Greg Epp.
[It's] based in New York, but he operates in Canada. I'm
really excited about that because he's releasing a couple
other bands this summer, including a band called Snail
House, which features a bunch of members from the
Arcade Fire, so we'll probably be playing a showcase
with them at Pop Montreal. We do this because it's fun,
we don't focus on projected sales or anything like that.
JG: We all have jobs, and we all have Uves, and we
haven't done at all a good job of promoting ourselves
in anyway, so having the album released by Unfamiliar
Records means there's someone else who knows more
people and [who] knows what they're doing, and who
is going to get the album heard by more people. We've
had a really good time playing shows here, but we
haven't really known where to start getting someone
in Halifax listening to our music.
0: If the album does really well, is there anyway to
prepare for that kind of success?
EVB: I think part of our creative process is being
pretty relaxed and taking our time with the material.
We don't want to be rushed into a situation, or force
the situation on ourselves where we quit our day jobs.
We're all in our late twenties, too, so the dream of
success~I wouldn't say we're jaded, but things do
happen gradually, and when they do happen overnight
in the media, it's not usually the case.
JG: For the record, I'm in my early thirties, by the
way. There was never any grand plan that five years
from now we'd have Coldplay open for us. We'd love
for all sorts of great opportunities to come up, but I
don't think any of us have, oh, I don't know, insert
whatever rock star dream you'd put there.
v: Insist you've got a dressing room loaded with 12
camels and forty bottles of Evian or something?
JG: Well, actually that's our standard. Certainly
the camels part. We Uke to have a little pony show
backstage. You know animals can be so relaxing.
EVB: Just to be a bit truthful, we've never had a camel
backstage. We're pretty mild-mannered. At one of
our shows, there was supposed to be some flavoured
drinks for me, because I don't reaUy drink, and there
was just bottled water and beer. I didn't even throw
any kind of hissy fit.   t.
12  June 2008 o~pp
rVT*6 first album that Shane Nelken ever bought was
the 1976 Black Sabbath compilation, We Sold
_A_Our Soul For Rock and RoU. His parents had
given him some money to get a haircut but instead, he
got his friend to do the haircut and spent the money
on the double cassette.
School photos were the next day.
"If you could see the yearbook, it definitely didn't
look good," Nelken laughs.     - £*.££?%
Now, he is the singer/songwriter/lead awkward
guy for Vancouver band The Awkward Stage. And
somewhere in that anecdote is a good idea of what the
band is about: high school, humiliation, humour and
great rock 'n' roU music. Rounded out by drummer
Tony Koelwyn, guitarist Tygh Runyan and trumpeter
Chris Mitchell, The Awkward Stage has has just
completed its second album, Slimming Mirrors,
Flattering Lights, out June 10 on Mint Records,
followed by an album release party at the Biltmore
Cabaret June 13.
Though the young Nelken found inspiration in the
mighty Sabbath, Tne Awkward Stage doesn't sound a
lot like them. Their first album, Heaven Is For Easy
Girls, is a charming, yet inteUigent collection of 12
exquisitely-crafted pop songs that has frequently
drawn comparisons to labelmates and frequent tour
companions, the New Pornographers. It's easy to see
why, since in addition to Nelken playing in various
local bands with the Pornographers' Dan Bejar and
A.C. Newman over the years, Tne Awkward Stage's
debut album was co-produced, engineered and mixed
by Pornos drummer Kurt Dahle.
Nelken teUs the story of making the first album
"without a label, and with very meager means." With
a laugh, he says "Kurt's a friend of mine. It was sort of
a piecework thing. He would call me: 'Hey, you gotta
help me go to the dump—clean out my backyard,' and
in exchange, I would get a couple days of recording.
Between the two of us, we played the majority of the
Tne recording of Slimming Mirrors, Flattering
Lights, however, was a different story. "Just having a
little more money to spend, having the label behind
me made a difference," says Nelken. "Tne last record,
I made before I was signed, and Mint came along
after and paid for the mastering, but it was already
recorded. Tnis time around we could do bed tracks in
a proper studio, so it immediately sounds fuUer."
Another difference on this sophomore attempt
was how the songs were created. While before, Tne
Awkward Stage in effect was Shane Nelken, now it is
more of a band. "Shane would stiU make up the songs,
record them and give us the demo," says trumpeter
Chris MitcheU, who also performs with the Vancouver
Symphony Orchestra. "But then, we would all Usten
to it for a while, and come up with our own parts."
Nelken agrees, saying, "It is 100% better for that."
"Everyone is pretty proud of the album, and we're
aU pretty attached to it," continues Mitchell. Nelken
explains that "it's a lot easier to keep a unit together
when all the members do have an artistic stake in it,
and feel Uke they're part of it."
Nelken seems pleased with the direction Tne
Awkward Stage has taken. "At the beginning, we had
this rotating cast of people, aU the time. But I always
wanted a band. It wasn't ever like, 'Tnis is my thing.'
I always ideaUy wanted a group. But it's hard to do as
you get older, to convince people to leave what they're
doing and sleep in a tub in Boise, Idaho. So finally,
through a whole series of people-a lot of them great-
we've finally more or less stabilized with a great unit. I
think it's the best lineup."
As Tne Awkward Stage's lineup has evolved, so has
its sound. On Slimming Mirrors, Flattering Lights, the
band makes it significantly more difficult to draw easy
comparisons to the New Pornographers. Tne album is
ambitious in scope, with string sections arranged by
Nelken and MitcheU, and horn sections arranged by
Mitchell. It features a more dynamic range of sounds
not heard on the debut album: from the piano-pounding
punk stomp of "Hey, Modern School Girl" to the heartfelt, folksy warmth of "I Hurt the Ones Who Love Me."
"Your. Heart Serves Only You" closes with a gospel-
tinged reprise, complete wijh a shout-along refrain and
dueling guitar, organ and horns. Tne album finishes
with "Dandelion," a soft, affecting luUaby. In Nelken's
own words, "The new record tends to break two ways:
when it's soft and quiet, it's softer and quieter than the
last one, but when it's heavier it's a lot heavier."
Despite these differences between the albums, there
is definitely a continuity between them: both albums
feature strong melodies, inteUigent, thoughtful lyrics
and lush, inventive arrangements. Perhaps the most
important constant is the thematic content of the
songs. Nelken's lyrics deal with the sometimes tragic,
sometimes funny and often awkward stories of adolescence and how we carry baggage from those years long
after high school is a distant memory. Tne appropriately
titled "The Awkward Stage" (a song that was incidentally left off the first album) sums it up with the chorus
"Forget your age/ forget you're clever/ Tne awkward
stage/ it lasts forever."
It's a testament to Nelken's talent as a songwriter
that he manages to write such personal songs about
awkwardness and loneliness without sounding maudlin
or contrived, but these songs are sincere enough and
good enough that anyone can identify with the
sentiments in them, regardless of whether or not the
listener spent Junior High getting stuffed in a locker
and dunked in a toilet bowl.
"That is more the mission statement of the band in
general," says Nelken. "That's what's behind the name
of the band. I didn't set out to make conceptual records,
but that is something I feel reaUy strongly about. AncL
I know from feeling that way as a kid, connecting with
records, that's a big thing. It meant a lot to me to know
that I wasn't alone when you discover some cool song
or some cool punk rock band."
And for Nelken, MitcheU and the rest of the band,
the most rewarding part is that kids are connecting with
the music of Tne Awkward Stage. "That's been one of
the most pleasant surprises. I assumed, as a guy in his
thirties, that that would be who was going to get it, but
it's been such a pleasure and an encouraging thing that
so many young people get in touch with us."
In fact, just recently the band was elated to receive
their first handwritten fan letter. "It's from a 17-year-
old girl in California," says MitcheU, "and we're
going to do something special for this girl, because
she took the time to write to us." Nelken enthusiastically continues, "We're going to get each band
member to contribute a page, whether it's a recipe, or
a postcard, or whatever." ^;»-.:"
Nelken and MitcheU both seem genuinely excited
about.this. Tney both remember what it's like to be
17 and reaUy care about a band. And now, a kid
hundreds of mfles away cares about their band.
Nelken doesn't try to hide his enthusiasm as he
smiles. "What's better than that? What could really
be greater than that?"
The Awkward Stage will play the Biltmore Cabaret for
their CD release part on June 13.   t.
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Mt June 2008
Change is good. At least it has been for Brooklyn
New York-based Jealous Girlfriends who, since
their inception five years ago have grown from a
one-girl show to a futt four-piece, releasing 2 albums
and getting play time on such prime-timers as Grey's
Anatomy and CSLMiami along the way.
Tne band's unique sound -a sparse but powerful
marriage of clear, upbeat vocals and gritty rock
accompaniment -is a far cry from lead singer HoUy
Miranda's folksy solo-days. Unlike the rocky transitions
that have plagued other bands, though, the Jealous
Girlfriends' evolution from 2 to 3 to four members has
been relatively seamless. And going from a small local
act to a band that will be drawing big crowds on their
upcoming tour of the U.S. and Canada has been natural
enough to make any Social Darwinist proud.
Darwin is onv my mind as I settle into a quiet
corner of Chapters and dial drummer Mike Fadem's
Brooklyn phone number. Tnis could be because I have
been reading a book about cloning lately, or maybe
it is the fact that the "official website" for the Jealous
Girlfriends is nOt working, leaving me with articles
written during the band's various permutations for
background information. I feel a bit like a scientist with
a Neanderthal bone trying to find the missing Unk. It
is disconcerting."O-,..
"Not to worry!" is Mike's bolstering response to my
first, blurted question about what happened to the
website. "We decided not to pay for h. There's nothing
interesting on there." My gut reaction is to ask how this
wiU effect the band's publicity, but I stop myself; that's
not how this band roUs.
I start to get a feel for how they do roU as Mike and
guitarist/vocalist Josh Abbott begin to explain how
the Jealous Girlfriends arrived at their present-day
formation. To hear them describe it, the group's gradual
metamorphosis was as straightforward as natural
selection. "Tne way the band started, it was a solo
project," reminisces Josh. "Tne EP consisted of friends
and session musicians, and they asked me to play drums
with them...before we knew it, we evolved into a band,
and we were excited about it."
That was back when Josh was still the band's
drummer -days which ended when Mike was added to
the mix. "I kinda just joined and that was it," comes
Mike's somewhat bewildered response to the question
of what it was like to come into an already-formed
(and successful) band,' as though such an event is as
common and everyday as buttering one's toast. After
a quick pause, he adds, "Itkwas interesting cause you
kind-of come into a family and it was weird to join
in but it evolved kinda quickly and easUy." "I mean WOMEN
needed for our 24 Hour
Rape Crisis Line and Transition
House for battered women
For an interview, please call
Vancouver Rape Relief & Women's Shelter
we were pretty welcoming," adds Josh. From their
relaxed, good-humoured banter, I can believe it.
But quick and easy aren't always words that can be
used to describe what happens when four individual
songwriters, talented in their own right, get together
under one name and try to make music. So how
did it come together for the Jealous Girlfriends?
"You know it started each of us would bring our
own finished song and teach it to the others, but
now we've started writing together," Josh explains,
finishing emphatically, "It's a team."
It is touching, but I am not satisfied with his response.
Lots of bands caU themselves "teams" or "families" but
it doesn't just happen. They have to work at it; they
bicker, they squabble. I try not to sound whiny as I ask
Josh if he's sure there weren't any bumps along the way.
"It took some time to get used to singing up front after
being a drummer for so long," he concedes. But he
quickly queUs my hope for scandal: "We always needed
the new people* so it was always easier when new
people came in. Necessity is the mother of invention,
or something Uke that,". he muses, reiterating my
preoccupation with Darwin.
Unable to resist, I ask if the next phase in the evolution
of the band includes more members. "This is it," Mike
assures me, before adding pensively, "Unless we fire
Alex or somebody...we might lose numbers."   ,
While the potential for a new member might not be
in their chromosomes, the next phase in the evolution
of the Jealous Girlfriends is weU under way: as this issue
, of Discorder goes to-print, the group is kicking off a
five-week tour to promote the release of their self-titled
third album, which comes out June 3rd.
In keeping with their "take it as it comes, cause it'U be
awesome" attitude, Josh and Mike are "reaUy excited"
about being on the road -especiaUy the Canadian road
-because, as Mike enthuses, "We get to go to places we
never reaUy got to go."
One of those places wiU be Vancouver's Media Club on
June 12. A popular venue, but the boys have something
bigger in mind: "You're having the Olympics there in
2010, right?" queries Mike, who doesn't wait for an
answer as he excitedly ventures a suggestion,. "Maybe
we should play the opening ceremony."
Yes, big things are in store for the Jealous
Discorder   t_f dhol do
feraio to Hub DaucairudC?
Hello, my name is: Dave-O
When I was a kid, I wanted to: Play hockey on
the canucks
I refuse to eat: Nothing
My best pick-up line is: Hi
My favourite socks are: Wigwams
You'd be surprised to know that: In my past
life, I was Ceasar's translator
I think I could save the world from: Boredom
If I were a superhero, my outfit would be:
A loincloth
I can't believe: Nothing ~ I believe anything.
Hello, my name is: Ashleigh Ball
When i was a kid, I wanted to: Be an hobo or
an oboe. I thought they were the same thing.
I refuse to eat: At McDonald's
My best pick-up line is: Your hair is good
My favourite socks are: No socks! Bare
feet forever!
You'd be surprised to know that: I forgot to
answer this question
I think i could save the world from:
Cheese shorts
If i were a superhero, my outfit would be:
I Cheese shorts
I can't believe: I'm gonna save the world from
cheese shorts while wearing cheese shorts
Hello, my name is: David Vertesi
When I was ajcid, I wanted to: Play hockey,
test toys Iv/Pj-a
I refuse to eat: Sharp things
My best pick-up line is: That's for me to know
and you to find out
My favourite socks are: Argyle socks
You'd" be surprised to know that: Giraffes'
necks are longer thans their bodies
I think I could save the worid from: Hyperintel-
ligent shades of the colour pink
If I were a superhero, my outfit would be:
Probably made by my mom
I can't believe: They still haven't released 7he
Wonder Years on DVD
Hello, my name is: Jimmy
When I was a kid, I wanted to: Be a painter
I refuse to eat: Anchovies
My best pick-up line is: My love for you is like
runny diaherrea.. I just can't hold it in.
My favourite socks are: Women's athletic
socks (they fit me the best)
You'd be surprised to know that: I'm a loyal
Spice Girls fan
I think I could save the world from: Drum
If I were a superhero, my outfit would be:
Dave Vertesi's clothes
I can't believe: Justin has redeemed himself .
from N'Sync
18    June 2008
Dave Vertesi on Ashleigh Ball
"Ashleigh brings a lot of things to the band.
First of all, she has amazing boobs, which no
one else has. Actually, working with Ashlelgh's
been amazing, and Ashleigh and I write
together a lot. I think she brings so much
creativity and energy to our band. Whenever
Ashleigh and I write together, she always
has these ideas that are just so crazy and
awesome. There's a real raw creativity that
Ashleigh brings that I personally don't do. And
I also think live, Ashleigh Is for sure a force to
be reckoned with."
Ashleigh Ball on Dave Beckingham
"Dave-O, yeah, he'sgotcharm. He'sdefinrtely
a mixture of things. A lot of times onstage he's
got this really grounded energy and there is
fire in his eyes. He writes really beautiful songs.
For me the entertainment value in Dave is
way up there. He's an extremely entertaining
person, on the road and in every day life-it's
spontaneity. You just never know what you're
gonna get from him. Every day's a surprise.
Ladies fall in love with him all over the place,
with his sexy little voice, and his hair and his
tuque. He wins a lot of girls heart and I think
that's what makes Hey Ocean!."
Dave-O on Vertesi
"Dave Vertesi is the insomniac engine that
runs Hey Ocean!. Even when I forget that I'm
in a band, I always know that I can for a while
and fall of the face of the Earth, because I
know Vertesi is sitting there grinding the gears.
Dave writes a shitload. He's the finisher. I'll
come with an idea, be like, %Hey Tes, let's take
this for a walk in the park.' And when we get
to the park, (it's like it) went in a little mouse
with wings and came" out an elephant with
fire breath. As far as personality onstage, you
can see him do his running man with the bass
behind his head. Energy like no other. Flocks of
women around him. Young ones. And maies.
He's kind of the mother. Since day one he's
been the pusher."  &
Hey Ocean! will play an all ages show on July 6 at St. James Hall. Ihe CD release party Is
July 11 at Richard's on Richards in Vancouver. For more info visit www.heyocean.com
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July 2
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quests TheWeakertlj^ns
BfflLivennTion.com Simian Mobile disco
Richard's on Richards
April 23   :
Simian Mobile Disco is a live act worthy of a concert
on the sun. If it were possible, they'd be certain to rock
that shit hot.
The duo—-James Ford (the producer behind Arctic
Monkeys' Favourite Worst Nightmares and Klaxons' Myths
of the Near Future) and James Shaw—used to be part of
Simian, an English psych pop band. Now, the two have
immersed themselves in the dance world, most notably
on SMD's 2007 album Attack Decay Sustain Release—a
dance record embedded with such raw energy and attitude that rock fans were keen to shimmy on the bandwagon.
On stage, four columns of 15-foot scaffolding support
vertical bars of lights, and cabinets of innumerable input-
output channels are placed carefully at the centre of the
stage. The first absent-minded peeps of "Sleep Deprivation" pop out the giant speaker hovering above my head.
The momentum builds and SMD eventually throw out
beats with such frenzied intensity I look to my friend and
grin as I find myself flailing. Ah absolute circus of lighting accosts the crowd. Vertical bars flash intermittent red,
green, yellow and blue. Giant white lights move around
Ford and Shaw. It's like looking right at a lOO-watt bulb
through a kaleidoscope.
The duo's silhouettes tweak knobs and push plugs into
the cabinets on stage. Something about this seems wildly
futuristic yet paradoxically archaic: the plugs and knobs
resemble both an emerging visual and auditory art form,
and an ancient phone connector. The light show starts
altering my mind, bringing on a haze typically reserved
for the drug-imbued. And the crowd is among the most
energetic I've seen, writhing, thrusting and squinting
toward the blinding lights.
Each sneaky acid house build flows perfectly into the
next. Live renditions of "It's the Beat" and "Tits and
Acid" are thrown down with gratifying care. The sound
20    Junel 2008
is watertight. When SMD's 2006 hit "Hustler" starts
up, the mood becomes manic. The song's climax has all -
the build-up and draw-out I could ever wish for. I feel
completely bad-ass.
Much to my surprise; the encore brings on a slower,
industrial NIN-inspired track. I get totally into it as I
break out some dusty '90s moves. It is nostalgic. It is
progressive. It is accosting. It is everything I could want
out of a live electronic act. I go home feeling dazed and
special. It's nice to witness two DJs with such a blinding
love for their fans.
Lena Ross
Cut copy
Richard's on Richards
April 29
In music, finding where the buzz ends and the talent
begins can be tricky business. It can be especially difficult when bands are as hotly tipped—and already hotly
contested—as tonight's two acts: Melbourne's Cut Copy
and Jacksonville, Florida's Black Kids. In the bands' brief
careers, they've accumulated various "best new band"
honours, high-profile opening slots and even those
coveted eight-point-plus ratings from a certain three-
pronged tastemaker. Based on the night's sold-out performances, though, only one of the bands really deserves all
the high-handed acclaim, and it sure wasn't Black Kids.
Riding the wave of press generated by last year's
MySpace EP Wizards ofAhhs, the Floridians deUvered
a set that was as standard and uninspiring as'they get,
showing Black Kids have few tricks up their sleeve for
the future. Afro-topped vocalist/guitarist Reggie Young-
blood recycled the same two or three limp, Morris-
sey-tinged melodies ad nauseum. The pair of female
keyboard players added little party to the vibes with their
cliche girl-pop moves. And the non-Wizards songs were
forgettable at best, with a brutal mix turning everything
into reverb-drenched mush. Black Kids' set made for a
perfect opportunity to get a beer, smoke a cig and be glad
you didn't buy the T-shirt.
As for new wave revivalists Cut Copy, they earned their
applause and then some. Live, their Daft Punk-approved
pop highlighted all the shimmering neon glory of their
sophomore effort, In Ghost Colours, and easily warranted
all the raving. For a good 45 minutes, the electronically
minded indie outfit set hearts on fire with infectious
dance-rock grooves, crisp guitar lines, pulsing synths
and the kind of sweeping choruses that are committed to memory, wanted or not. Add flashing bursts of
light and three floppy-haired white dudes out to make
an impression, and you had a high-energy display that
quickly caused the crowd to lose their shit. As hands rose
in the air and movement flooded the bar—even up on
the balcony—it seemed even the most stubborn of limbs
uncrossed, with the audience absorbing each disco-riot-
disco note with open arms.
Okay, so there weren't any laser-laced pyramids or illu-r
minated crosses, but Cut Copy proved they could more
than hold their own, hype or no hype.
Brock Thiessen
Stephen Malkmus
& the jicks
Richard's on Richards
May 3
I've been to at least half a dozen Pavement and Stephen
Malkmus shows over the years, but I couldn't quite figure
out what was different about the Jicks' May 3 performance
until after the show. Then it hit me: Stephen Malkmus
now takes a knee during the rock outs.
That the elder statesman of American indie would
need to introduce an onstage rock-out rest spot is indicative of the band's new direction, which introduces longer,
looser and jammier compositions. The trademark quirki-
ness and acerbic wit is still there; it's just buried a little
deeper between solos and long refrains. If that sounds
a little un-Pavement-like— and let's face it, everything Malkmus does will always be held up to a WoweeZowee     —,
standard—don't despair. His performance of loose mate-     vdLlJnllv*
■rial still exists in the confines of pop and is just as satisfy-™ + J> H E ARWAT E R
ing as much of his Pavement work. Richard's on Richards
|   The man looks bookish at the ripe old age of 41, startingppi May 17
the show in a smart collared shirt, a black V-neck sweater
_and black specs. His haircut looks more expensive thar^_
the mushroom cuts he donned during the Crooked Rairr^,
years, but he's just as wiry and thin. It seems as though
Malkmus has been able to shed some of the weight of his
indie god status and just jam out the way he wants to—an
enviable position in any type of creative career. He's now
backed by a competent band as well, and female backup
vocals add a lotto the new material. The most notable Jick
was Janet Weiss, a former member of the now-defunct
Sleater-Kinney. Her drumming was stellar, although at
times her backup vocals were a little stiff.
The crowd consisted of many visibly Malkmus-influ-
enced young men, or Malkmen, meaning there were lots
of shaggy haircuts on awkward intellectuals giving off an
air of vague artisticness. The show's material was pulled
mostly from the band's latest, Real Emotional Trash,
which fared quite nicely in a live setting. The jam outs
were particularly decadent and delicious.
It's clear that Malkmus is a seasoned performer by
now, and the show demonstrated a high degree of professionalism. It was a tight, no frills affair—not particularly
impassioned, but great nonetheless.
Rob Peters
The Red Room
May 14
At this moment- in 2008, you'd be hard pressed to
find an artist with more buzz than Lykke Li. At warp
speed, the 22-year-old Swede has gone from anonymity
to worldwide blog darling; collecting praise, raves and an
ever-growing legion of admirers. And so she should. Li's
North American debut, the Little Bit EP, pulls the singer-songwriter genre out of its bland.netherworld and fills
it with playful girl-group pop that's anything but simple,
or obnoxiously polka-dotted. It puts a little fun into the
musical equation, not taking itself too seriously yet boasting vivid, intricate arrangements that elicit hipster dance
moves, non-ironic grins and even the occasional tear.
By the turn out at last night's show, it was obvious
Vancouver's been quick to pick up what Li's been putting
down. The pixie-like songstress was welcomed by a
packed house and left few corners disappointed. Blinged-
out with gold chains and a kazoo, Li wasted no time
breaking out her cutesy arsenal of dance moves, shoulder
shakes and hair flips. More importantly, she also brought
the tunes (both, from Little Bit and her forthcoming
album Youth Novels), which lost little in live translation.
If anything, the songs picked up some welcomed oomph,
thanks in part to Li's charming showmanship and her
tight backing band of sharp-looking Swedish lads. And
even though Li was only the opening act, she was coaxed
back on stage for an encore—a good sign that, if her full-
length is anything like this show, you will be hearing a
lot more of Lykke Li.
After this upbeat, dance-fuelled set, fellow Swede El
Perro Del Mar, a.k.a. Sarah Assbring, slowed the night's
momentum down to a crawl as she delivered an icy,
almost emotionless performance. Soon half the audience
took their cue to exit, leaving Assbring and her band of
equally sharp-looking Swedish lads playing to a half-
empty room. And as sad as it is to say, those who skipped
out didn't miss much. Like El Perro Del Mar's disappointing sophomore effort, The' Valley to the Stars, her
live performancerarely if ever made you feel any genuine emotion. The only real saving grace in her set was
when Li returned to the stage for a closing duet of Wendy
Rene's Stax classic "After Laughter (Comes Tears)":—a
song that pretty much sums up the evening.
Brock Thiessen
The odds were certainly stacked against this show due to some unfortunate scheduling. Saturday night bookings are generally carte blanche for a lively—or at least
generously attended—event, though this evening fell on the onset of the most hyped
long weekend of the year (read: everyone left town) and headliners Clinic were prodded to exit the stage by 10:30 p.m.
Arriving on stage at the heinously early hour of 7:30 p.m., Austin's Shearwater
appeared slightly miffed at the sparsely filled venue (keep in mind they were headlining the same place last year). But despite doing their best in the situation, they still
looked as bored and excited to wrap up the set up as soon as possible. Nevertheless, the band did a decent job of venturing through a healthy sampling of maudlin,
gothic-Americana tunes from the past few years.
When Clinic took the stage, decked out in their newest outfits—not only sporting their de rigueur surgical masks, but Hawaiian shirts as well—the band decided
to showcase not just a few songs from their relatively subdued new album, Do It!,
but the entire record from start to finish. Whichlsnt to say the set didn't have great
moments, like the requiem-meets-acid-fete opener "Memories," or the haunting "The
Witch," but because the album is scattered with so many mid- to slow-tempo tracks,
the entire procession didn't translate' that well to a Uve setting. After playing the
suitable, and pretty awesome, closing track "Coda," the band took a short break and
returned to rifle through their bag of tricks, digging out some fan favourites such as
"Animal/Human," "The Return of Evil Bill" and, of course, the only song that ever
came close to a hit for the Liverpudlians, "Walking Wtth Thee."
And while the show wasn't terribly remarkable, there is still something special
about Clinic: for one, their insistence on a shtick that seems more of a hindrance than
a statement. Not to mention that their label, Domino, has bankroUed five albums
that most likely will never recoup. Still, they have a dedicated, if smaU, foUowing that
wiU likely keep supporting them as long the band keeps entertaining.
Adam Simpkins        ^%Sp*S ^■fitf-T?*'*^ r.
Discorder   21 LJNDeR
(Six Shooter Records)
No matter what your opinion is regarding the current
relevance of Ladytron, you have to give the band some
minor credit for flogging its gimmick for as long as it
has. Initially interesting when first formed in 1999, the
group managed to squeeze out a few decent singles
(notably "Playgirl" and "Seventeen"), while being unfairly
Jumped in with the fleeting electroclash movement of
the time. But by the time the band had released Witching Hour in 2005 to mild fanfare, interest was lost, labels
were shifted. So you'd think that in the third interval of
Ladytron's career the band might want to shake things
up a bit. Not so.
Velocifero is pretty much what you'd expect - dual-
monotoned vocals from Helena Mamie and the human-
after-all Mira Aroyo, some mid-tempo synth-lines and
dated beats from the rhythm section (and principal
songwriters) Reuben Wu and Daniel Hunt. With the
exception of the vocal mix being kicked up a few levels,
and a much more conspicuous, clubby atmosphere to the
tracks, album number four is hardly a departure from
everything they've done before. It's not that Ladytron
isn't good at what they do, it's just what they do isn't all
that good.
Adam Simpkins
Christa Couture
The Wedding Singer and the
(One Foot Tapping Records)
It doesn't always take large doses of maturity and
natural talent to channel tragedy into art, but it does
help the audience to differentiate a great record from,
weU, the opposite. Christa Couture has both the grace
and skill to fit the bUl. Setting herself apart from the
pack of angst-ridden performers whose lyrics read Uke a
bad diary entry, Couture's outpourings are accessible yet
bursting with emotion.
With butter-smooth vocals, the Vancouver^based
songstress echoes the throaty likes of Tegan and Sara
and Jewel, but the stories are aU her own. Personal struggles with cancer, and losing an infant child are infused
into tracks Uke the deUcate and eye-watering "Cry Baby
Cry," but Couture's got hope hiding up her sleeve. She
whips it out on "A Declaration of Spring," and shows
her playfulness in a scenario she creates on "I Don't Play
Piano," in which she fantasizes about meeting her true
love at the keyboard in a smoky bar. Her playful spriti
is shown once again in the 55-second "Intro," strangely
enough Track 12, which has Couture forgetting the
words to a song, pounding the keyboard in mock frustration, and then laughing it aU off, a testament to her
sense of humour. While her first album was recorded Uve
off-the-floor, Couture's second showcases her guitar and
vocals thriving in the studio environment. Not only is
the album title apt - insinuating that Ufe and its joys
are inextricably Unked to death - so is the name of her
record label: you'U catch yourself tapping one foot all the
way through.
Katie Nanton
32  June2QQ8
(Mint Records)
Next time you are faced with a vitrioUc outpouring
of how Canadian rock reached its creative apex in 1981
with the release of Rush's Moving Pictures, be sure to
direct the tirade bearer to Young and Sexy's The Arc,
released May 13 on Mint Records. The fourth release by
these local prog-rockers reflects a musical sophistication
and maturity that is both rare and deUghtful, and may
momentarily give even the most stalwart Rush-centric
curmudgeons a pause.
The album is a natural evolution of Young and Sexy's
sound, as the songwriting is consistent with the band's
past outputs, while the enhanced engineering and
production place the record in a whole new ballpark.
By drawing on the expertise of Colin Stewart at The
Hive Studios, Young and Sexy have crafted an exceUent
foUow up to 2006's Panic Where You Find It. While
Panic is pleasant enough, The Arc has a sonic thickness
and attention to production detail that gives the album
an almost vintage, "smoky" sound, while stiU remaining
fuUy modern.
ExceUent production values aside, The Arc is somewhat bereft of catchiness, in that it is not an album
where you wiU find yourseU humming melodies or
bobbing along to the myriad interesting rhythmic structures that are offered to the Ustener. However, the band
must be applauded for the cerebral, inteUigent quaUty of
the music that it has crafted. If looking for an example of
soUd local talent that is both inteUectual and mature in
its presentation, it would be difficult to top this release.
Kameron Fong
(Jericho Beach Records)
E.S.L.'s debut album Eye Contact is a fantastical,
musical-theatrical hybrid that bridges the innocence
invoked by black and white films with the anxieties of
modern Ufe. The album opens with a rhythmicaUy-drivSn
track which is backed by earthy ceflos in a catchy, spirited "melody. The album takes a more soulful, heartfelt
turn at "Side By Side," where singer Marta Jacubek-Mc-
Keever's vocal ache resonates alongside the melanchoUc
violin arrangement. However, this album possesses more
than just a simple juxtaposition between innocence
and heartache, as it ventures into musical dramas and
swing melodies. Marta indulges her PoUsh ancestry with
"Czarne Oczy," creating a campy, gypsy-inspired sound
that .makes you want to dance around a campfire and
howl at the moon.
Duffy Driediger of Ladyhawk contributes on a cover
of NeU Young's "Like a Hurricane," giving the album a
sweet touch of masculinity amongst a plethora of lush
strings. The quartet completes the album with an att-
female cover of Beastie Boys' classic "Girls." This choice
alone should inspire immediate respect for the Vancouver group. If transcendental musicians Bjork and Elsiane
had coUaborated with 90s swing band the Squirrel Nut
Zippers, whUe on the set of a 1930s black and white film,
Eye Contact would be the result.
Mine Salkin
The Last Shadow Puppets
(Mint Records) ♦
WhUe listening to the new side-project from the
Arctic Monkey's Alex Turner and Miles Kane of the
lesser-known Rascals, it's evident that the lads have done
some comprehensive research for this outing— whUe
ruthlessly pillaging their parents' record coUections, no
doubt. A slight ninety degree turn from the scrappy,
working-class narratives of their fuU-time groups, The
Last Shadow Puppets situate themselves within the
sophisticated world of high-stakes drama and sweeping
action, replete with swelling string arrangements from
final Fantasy's Owen PaUett and a cinematic production
from Simian Mobile Disco's John Ford. Taking major
cues from some of the classier acts of the sixties (Scott
Walker, Serge Gainsborough, Love, et al), Turner and
Kane successfuUy puU of the same swagger and sonance
of the men they are emulating, causing a few problems
when the touchy issues of anachronism and authenticity crop up (which undoubtedly wiU when Ustening to
The Age of the Understatement). Ultimately, this is a
hard album to fuUy endorse due to these distractions, but
certainly a far-too-poUshed effort to dismiss completely.
Adam Simpkins
Metro Station
Metro station
(Columbia/Red Ink)
Metro Station represents everything that is -wrong with
major labels. This album characterizes the kind of music
that is dreamed up by 40-50 somethings in a boardroom
and is mearit to be marketed to suburban 15- year-olds
whUe they hang out in maUs and shop at Hot Topic.
If this band is representative of the music that is being
kiUed by downloading, as claimed by various industry
pundits, then fire up your torrent client, unless you are
actuaUy willing to pay 20 bucks for ten tracks of BUnk
182, minus the testosterone infused guitars. The album is
at least consistent, as every song foUows the same auto-
tuned formula, with a two dimensional, "louder is better"
modaUty which is so common in a lot of current music.
About the only thing worthwhUe on this steaming mass of major label feces is the highly entertaining
promotional sheet that came with it, which insludes such
comedy gold as T just sat in my room in a big hoodie
writing songs on my guitar," and a reference to Metro
Station as"reflecting the energy of our moment."If Metro
Station does indeed reflect the energy of the moment,
then the next moment can't arrive soon enough.
Kameron Fong
The Real Deal
Hungover But dead Sober
Ska and Punk were first combined during the 2 Tone
movement of the late 1970s, originating in bands Uke
The Specials, The Selecter and The EngUsh Beat. The
Real Deal's second fuU-length effort, Hungover But
Dead Sober foUows this past music trend. WhUe the
band's sound is also reminiscent of MiUencoUn, NOFX
and Sublime, the new album adds energy to punk rock's.
current state.
Originating from Montreal, The Real Deal {Ants,
Davy, Frank and Nico) formed their band in 2003 and
have rocked festival stages at Ska Fest and the Warped
Tour. WhUe their sound is not very innovative, their
blend of sarcastic, serious and siUy anthems form an
enjoyable Ustening experience. Even though it is hard
to distinguish some songs from others, the melodies are
catchy, loud and energetic. The opener, "A Gift From Us To You," sets" the tone
for the record, with its loud guitars and violent sound,
"Bomb's Away" deals with senseless violence and remains
one of the strongest tracks on the album. Hungover But
Dead Sober is an entertaining punk record that puts The
Real Deal at the top of ska punk today.
Terris Schneider
Femme Fatality
One's not Enough
(Stickfigure Recordings)
Without expUdtly promoting a drug lifestyle, One's
Not Enough is indeed enough to make anyone want to
begin leading an alternative, counter-culture mode de
vie. WhUe heavUy influenced by electro-pop, Femme
FataUty is fully endowed with other musical textures and
flavors. The album opens powerfully with "Lucky Lover,"
a modern-day dance anthem that manages to sounds
Uke both NIN and Daft Punk. The track "Come On,
Come Out" has a late '80s new wave sound coupled with
a lyrical base not unlike Strummer's protesting voice in
The Clash.
An impressive feature of Femme FataUty is its incomparable energy, cUffused throughout the entire album in
catchy, upbeat and tweaked-out electronic rhythms. The
title track explodes with hyped-up musical fervor that
would intimidate the faint of heart. The album takes a
darker turn near the end, as "Don't KiH for Me" contemplates murder, death and the unmistakable moment in
which a Ufe fades away. The final track "Win, Lose, Die"
talks about the pain of fame and the price of notoriety in
a way that is both honest and lyricaUy insightful.
Mine Salkin
vista Cruiser Country Squire
(Mint Records)
Vista Cruiser Country Squire has the rare quaUty of
serving as a pleasant aural background when played on
low, but transforms into full-throttle revelry once the
volume is turned up. This dichotomy is not surprising
from the Calgary band that formed on a dare, with a
chUdren's grade school teacher as then: lead guitarist, and
a first release (Avanti) that included a song fantasizing
about obtaining a fragment of BiUy Gibbons' (of ____
Top) beard and storing it in a safe deposit box.
The musicianship of the band is evident throughout
this sophomore release, as each of the dozen tracks are
instrumental and yet retain distinct personalities. Song
titles hold greater significance~without lyrics to rely
on, they are the only clues for deciphering the meaning behind the music. Some topics are immediately
identifiable: "Frank SUde Song " references an historical
event, and "Camino Real," a Tennessee WiUiams play.
More winsomely obscure titles, Uke "Cabbage Diablo"
(digestive problems as a result of Ukrainian food) and
"Cupcakes di MUo" (an armless burlesque performer)
entaU pestering the schoolteacher whUe nursing a weU-
earned hangover. As weU as being the most imaginatively
named, the two song titles are also the most sultry selections on the album, with guitar grooves as reminiscent
of the Cramps as they are of Dick Dale. This is perhaps
another example of the band's duaUty, as you'd be just as
likely to find Poison Ivy doing the surfer stomp as you
would Gidget.     Jrt$8gi£»
MeUssa Smith
Sea of bitterness
On Sea of Bitterness, Kick in the Eye features the
vocals of Donnie and Marian (not Marie), reminiscent
of Los Campesinos!, infused with George Thorogood's
"Bad to the Bone.". The opening track, "Worseful Life"
focuses on the band's hatred for Uving in Vancouver's
modern metropoUs. The song emphasizes that capitalism has nothing to do with humanity or community, and
that we are ruled by our consumer needs. "Red Army
Overdrive" is written from the perspective of Russia
during WWII, and acts as a moraUty tale that stresses to
never underestimate the power of the people.
The band name signifies that people have experienced
a sudden awakening that has led our current society to
criticize how consumer culture operates. WhUe many of
Kick in the Eye's songs appear to be about relationships
on the surface, the deeper meaning Ues in their impressions of the world. The group demonstrate that industries are carefully dehumanizing our world, inspiring its
audience to take a stand against corporations. Kick in
the Eye have put a lot of thought and effort into this
record, with the hope that fans wiU open their eyes and
clearly evaluate the world that surrounds them. The
music is unique and catchy, and Sea of Bitterness is an
album that deserves much praise and attention.
Terris Schneider IIW1I'^\^^^^^
International    '
Jazz Festival
868 Granville St.
Highly infectious, volatile dance music
Eclectic instrumentation and ear-grabbing percussion
* 06/21   MACEO PARKER presented by __ * °w\""5
The living pulse of funk
Explosive R&B for a new generation
Intoxicating, impassioned world music
Traditional African and contemporary fusion
Soul chanteuse and urban-music star
Urban jazz and soul
Soulful vocals with fiery guitar work
Country blues, gospel-tinged music
Extending Fela Kuti's Afrobeat -
^pftpis isn't the best jazz «
.lestivaiift the world, plea$e~°5
■pd ustickets to a teftlr™
■le."—SEATTLE T__\_\B___
-Revisting Zappa's musical mayhem
Exhilarating avant rock
| 06/28   THE BUDOS BAND
Neofunk and world music juggernaut
Genre-spanning groove stylists
Smithe & Seymour
| 06/20   HERBIE HANCOCK presented by
2008 Album of the Year Grammy (feVuiniiiil
+ Lionel Loueke Trio
Vintage chic
+Sneakin' Out
A living legend presented by
+ Laila Biali Trio 1^
uutth enortal nnpet Phil Ruivor
World's best big band jazz
777 Homer Street
pieGmasrera ~ 604.280.4444     'oastatfaar  ttoVmmHMx    ;
-Bass master at his lyrical peak
Gorgeous, evocative Nordic jazz
Alternative roots music icons
Revered guitarist defies categorization
06/23   IVAN UNS
Superstar Brazilian singer/songwriter
Superlative jazz/pop singer
Jazz guitar trailblazer and funkmeister i
e.s.t. (esbjorn svensson trio)
Sound pioneers for the 21st century
Most exciting pianist since Herbie Hancock
06/26  NATURALLY 7
Mind-blowing a cappella septet
Embodiment of vocal artistry
Virtuoso flamenco guitarist
+ Steve Dawson
Best male jazz vocalist
Hard-grooving bop and Caribbean rhythms. ©QTO H@11.
YaucanlistentoCilBanl^ air at 101.9 FM
Sunday             Monday            Tuesday        Wednesday       Thursday            Friday             Saturday
6am ll
7am I
8am 1
1pm 1
2pm I
4pm |
NEWS 101
NEWS 101
6pm 1
7pm I
ExcuisrrE corpse
8pm 1
EtTTTi            MONDO TRASHO
r FEATHER    ...
3am I
4am 1
5am |
mm___m Sunday
TANA RADIO (World) 9-1 Oam
10-11 am
A program which targets Ethipian people and aims at encouraging education
and personal development in Canada.
KOL NODEDI (World) 11am-12pm
Beautiful arresting beats and voices emanating from all continents, comers, and
voids.. East Asia. South Asia. Africa. The
Middle East Europe. Latin America. Gypsy.
Fusion. Always rhythmic, always captivating. Always crossing borders.
Reggae inna all styles and fashion.
(Roots) 3-5pm
Real cowshit-caught-in-yer-boots country.
Alternates with:
SHAMELESS (Eclectic)
Dedicated to giving any local music act in
Vancouver a crack at some airplay. When
not playing the PR shtick, you can hear
some faves you never knew you liked.
British pop music from all decades. International pop (Japanese, French, Swedish,
British, US, etc.). 60s soundtracks and
lounge. Book your jet-set holiday now!
Alternates with:
Welcome to St. Tropez! Playing underrated
music from several decades!
sttropezl 01.9@gmait.com
QUEER FM (Talk) 6-8pm
Dedicated to the gay, lesbian, bisexual, and
transexual communities of Vancouver. Lots
of human interest features, background
~ on current issues, and great music.
RHYTHMSINDIA (World) 8-9pm
84    June 2008
Rhythmsindia features a wide range of
music from India, including popular music
from the 1930s to the present classical
music, semi-classical music such as Ghaz-
als and Bhajans, and also Qawwalis, pop,
and regional language numbers.
9-1 Opm
The one and the only Mondo Trasho with
Maxwell Maxwell—don't miss it!
Join Us in practicing the ancient art of
rising above common thought and ideas
as your host DJ Smiley Mike lays down
the latest trance cuts to propel us into
the domain of the mystical.
Dedicated to all things drone
LETS GET BAKED (Talk) 3-4pm
Vegan baking with "rock stars" like Laura
Peek, The Food Jammers, Knock Knock
Ginger, The Superfantastics and more.
Explore the avant garde worid of
music with host Robyn Jacob on
The Rib. From new electronic and
experimental music to improvised
jazz and new classical! So weird it
June IB: Pianist/band le
e of them
NEWS 101 (News/talk) 5-5:30pm
Vancouver's only live, volunteer-produced student and community newscast.
Every week, we take a look back at the
week's local, national and international
news, as seen from a fully independent
media perspective.
(Eclectic) 8-11am
. Your favourite Brown-sters, James and
Peter, offer a savoury blend of the familiar
and exotic in a blend of aural delights!
Fun and independent music supported by
a conversational monologue of information, opinion and anecdote focussing on
the here, the now, and the next week.
Hosted by David Barsamian.
PARTS UNKNOWN (Pop) 1 -3pm
Parts Unknown, an indie pop show that
has been on CiTR since 1999, is like a
marshmallow sandwich: soft and sweet
and best enjoyed when poked with a
stick and held close to a fire.
CAREER FAST TRACK (Talk) 5:30-6-
SOME SOUND (Indie Rock) 6-7:30pm
RADIO FREE GAK (Indie rock)
THE JAZZ SHOW (Jazz) 9pm-12am
Vancouver's longest running prime-time
Jazz program. Hosted by the ever-suave
Gavin Walker.
.Features at 11pm.
June 2: As Jan Festival Month is happening we present one of the stars of
■ this year's event bassist/leader Charlie
Haden and his Quartet West with
tenor saxophonist Ernie Watts, pianist
Alan Broadbent and drummer Larance
MarablefMarable will be replaced by
Rodney Green at the Festival). One of
the groups finest recordings is 'Haunted
Heart'.  '
June 9: Guest appearance of the Jazz
Festival's media director, the ebullient
Mr. John Orysik. John with Gavin will
highlight many of the performers at Jazz
Fest. 2008. Don't miss this show.
of his finest recordings with his 'classic
quartet- including alto saxophonist Paul
Desmond. "Jan at Oberlii}" is an essential Brubeck recording that will blow
you away!
JUNE 30: We end the month with
one of the most extraordinary
bands in Jazz History: pianist Keith
Jarrett, bassist Gary Peacock and
drummer Jack DeJohnette. Nothing more need be said.
Going on 8 years strong, this is your
home for all the best the world of punk
rock has to offer.
Bluegrass, old-time music, and its derivatives with Arthur and the lovely Andrea
GIVE 'EM THE BOOT (World) 8-9:30am
Sample the various flavours of Italian
folk music from north to south, traditional and modem. Un programma
bilingue che esplora il mondo delta musica folk italiana.
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!
(Eclectic) 11:30am-1pm
An eclectic mix of Canadian indie with
rock, experimental, world, reggae, ounk
and ska from Canada, Latin America and
Europe. Local bands playing live on the
Morning After Sessions.
FILL-IN 1-2:30pm
REEL TO REAL (Talk) 2:30-3pm
Movie reviews and criticism.
A national radio service and part of an
international network of information and
action in support of indigenous peoples'
survival and dignity. The show is self-
sufficient, without government or corporate funding.
WINGS (Talk) 4-4:30pm
Tune in each week to hear Daryl Wener
talk about the world of sports. I'll discuss ■
everything from the Vancouver Canucks
to the World Rock Paper Scissors Championship. Your calls are welcome and I
hope you enjoy listening.
FLEX YOUR HEAD (Hardcore) 6-8pm
Punk rock and hardcore since 1989. Bands
and guests from around the world.
8-10pm ,   . '
The best rock in Spanish show in Canada since 2000. None of that tropical
stuff here. No aceptes in
Trawling me trash heap of over 50 years'
worth of rock n' roll debris. Dig it!
AURAL TENTACLES (Eclectic) 12-6am
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.
i'H$iHUv JUNGLE (Eclectic)
8-1 Oam
Live from the Jungle Room in his Top
Secret Eco-Pod complex high in the
Cascade Mountains, join radio host
Jack Velvet for an eclectic mix of music
sound bites, information and inanity.
Not to be missed!
POP ROCKS 10-11:30am
ANOIZE (Noise) 11:30am-1pm
An hour and a half of avant. rock, noize,
plunderphonic, psychedelic, and outsider aspects of audio. An experience
for those who want to be educated and
DEMOCRACY NOW (Talk) 2-3pm
Primitive, fuzzed-out garage mayhem!
CANADIAN VOICES (Talk) 5:30-6-
AND SOMETIMES WHY (Pop/Eclectic) 6:30-8pm
First Wednesday of every month.
Alternates with:
(Eclectic) 6:30-8pm
All-Canadian music with a focus on
FOLK OASIS (Roots) 8-1 Opm
Two hours of eclectic folk/roots music,
with a big emphasis on our local scene.
Don't own any Birkenstocks? Allergic to
patchouli? C'mon in! A kumbaya-free
JUICEBOX (Talk) 10-11PM
Developing your relational and individual 1019FM
sexual health, expressing diversity, celebrating queemess, and encouraging pleasure at all stages. Sexuality educators
Julia and Alix will quench your search for
responsible, progressive sexuality I
(Hans Kloss) 11 pm-1 am
This is pretty much the best thing on radio.
8-1 Oam
SWEET AND HOT (Jazz) 10-12pm
Sweet dance music and hot jazz from the
1920s, 30s and 40s.
Sweet treats from the pop underground.
Hosted by Duncan, sponsored by donuts.
WE ALL FALL DOWN (Eclectic) 1-2pm
Punk rock, indie pop, and whatever else I
deem worthy. Hosted by a closet nerd.
INK STUDS (Talk) 2-3pm
Ink Studs focusses on underground and
indie comix from publishers like Fantagraphics, Top Shelf, Drawn and Quarterly
and more. Each week, we interview a
different creator to get their unique perspective on comix and discuss their own
interesting and upcoming works..
Zoom a little zoom on the My Science
Project rocket ship, piloted by your host,
Julia, as we navigate eccentric, underexposed, always relevant and plainly
cool scientific research, technology, and
poetry (submissions welcome), myscien-
Alternates with:
Psychadelic, acid punk, freakbeat, prog
and other grotesque and socially relevant artifacts from 1965 te today, with a
particular emphasis on Vancouver's freak
flag with pride.
country and around the world are nice
enough to drop by to say hi.
LAUGH TRACKS (Talk) 1-2pm
Laugh Tracks is a show about comedy.
Kliph Nesteroff from the 'zine Generation Exploitation, hosts.
IC 11:31
FRIDAY   steveedge3@r
FILL-IN (Eclectic) 8-1 Oam
Canada's longest running Ska radio
program. Email requests to:
EXQUISITE   CORPSE  (Experimental)
Experimental, radio-art, sound collage,
field recordings, etc.
Recommended for the insane.
(Live Music) 9-11pm
Featuring live band(s) every week
performing in the comfort of the CiTR
Lounge. Most are from Vancouver,
Top notch crate digger DJ Avi Shack
mixes underground hip hop, old school
classics, and original breaks.
Betti Forde has been a pro DJ for over
a decade. She's deejayed throughout the
world in places like Paris, Berlin, Rome
and Malmo. From 1998-2002 she hosted
the infamous Stand & Be Cunted (as DJ
Hancunt) on CiTR, and she couldn't be
happier to be back with The Broadcast,
showcasing women in music.
RADIO ZERO (Eclectic) 2-3:30pm
We play an international mix of super-
fresh weekend party jams from new-
wave to foreign electro, indie rock, baile,
booty, club rap, juke, disco, Bollywood,
dancehall, and whatever else we feel
Join Nardwuar the Human Serviette
foran hour and a half Manhatten Clam
Chowder flavoured entertainment. Doot
doola doot doo... doot doo!
NEWS 101 (Talk) 5-6pm
AFRICAN RHYTHMS (World) 7:30-9-
RAINBOW GROOVE (Dance/Electronic) 9-10:30pm
Getting you in the mood for the weekend, DJ BFAD presents a kaleidoscope
of funky grooves for your mind, body &
(Soul/R'n'B) 10:30-12am
The finest in classic soul and rhythm &
blues from the late '50s te the early '70s,
including lesser known artists, regional
hits, lost sould gems and contemporary
artists recording in that classic soul style.
(Eclectic) 12-2am
Beats mixed with audio from old films and clips
from Ihe internet 10% discount for callers who
8am-12pm v
Now in its 22nd year on CiTR, The Saturday edge is a personal guide to world
& roots music—with African, Latin
and European music in the first half,
followed by Celtic, blues, songwriters,
Cajun and whatever else fits!
(Punk) 12-1 pm
A fine mix of streetpunk and old school
hardcore backed by band i
guest speakers, and social commentary.
POWER CHORD (Metal) 1 -3pm
Vancouver's longest running metal, show
on the air. If you're into music that's on
the heavier/darker side of the spectrum,
then you'll like Power Chord. Sonic assault provided by Metal Ron, Gerald
Rattlehead and Geoff the Metal Pimp.
CODE BLUE (Roots) 3-5pm
From backwoods delta low-down slide to
urban harp honks, blues, and blues re
with your hosts Jim, Andy and Paul.
The best of mix of Latin American rr
NASHA VOLNA (World) 6-7pm
News, arts, entertainment and music for
the Russian community, local and abroad!
(Dance/Electronic) 7-9pm
This eclectic show welcomes you to
braoden your musical knowledge with
DJs MP, Socool, Soo & guests. We work
across musical genres including electronic and club-based music, which are
rarely introduced into mainstream musical culture. Travel through world sounds.
Every show is full of electro bleeps,
retrowave, computer generated, synthetically manipulated aural rhythms. If
you like everything from electro/techno/
trance/8bit music/retro '80s this is the
show for you I
(Hip Hop) 11 pm-1 am
Hosted by J-Boogie and Joelboy,
promising listeners the latest tracks,
. the classics, the rare and the obscure,
current events, and the special features
of peeps coming into the studio. Most
importantly listeners can expect te be
entertained... church.
Htsy ocean!
-alba** release -bur
Sunday July 6th, 2008 Friday July 11th, 2008
7:00 p.m. 9:00 p.m.
Both shows Hey Ocean! w/ guests
Tickets at Zulu and Ticketweb
U mrM
Discorder   25 CITR CHARTS!
Ooops, looks like we missed last month's chart! So, just to keep you,
dopesthits of the month were, here's....
MAY 08
Tha Sword
The Green Hour Band*
Crystal Castles*
Fuck Buttons
Fake Shark, Real Zombie**
Chad Allan And The Reflections*
No Kids**
Los Campesinos!
Flat Duo Jets
The Kills
Cadence Weapon*
Billy Bragg
The Mae Shi
The Black Keys
Kerosene Daydream
Duchess Says*
Nick Cave And The Bad Seeds
Trouble In Dreams
Gods Of The Earth
The Green Hour Band
Crystal Castles
Street Horrrsing
The Good
There's Good People In The City
Kensington Heights
Lullabye Death Jams
We Have You Surrouned
Choose Your Destination
Zebra Zebra
Get Awkward
Earth Sciences
The Good
Do The Earthquake 7"
Welcome To My House
Hold On Now, Youngster
Two Headed Cow
Midnight Boom
David Shrigley's Worried Noodles
Rabbit Habits
Secret Lawns
The Legend
In The Future
Body Language
Paper Planes Remixes EP
Mr. Love & Justice
Attack & Release
Manoeuvers 2: AXollection...
Anthologies Des Trois Per choirs
Mountain Battles
Lust Lust Lust
Northwest Passage's New Era
Half Human, Half Live
as an ex-anorexic sk sicks exit..
Dig, Lazarus, Dig! 11
Because Her Beauty Is Raw...
In Tune Saskatchewan 2008
At War With Walls And Mazes
Seventh Tree
i the loop on what the CiTR's charts reflect what has been spun on the air for 2007. Artists with stars alongside their
names (*) are 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 them there, give our Music Director
a shout at 604-822-8733. His name is Luke. If you ask nicely, he'll tell you how to get them. Tofmd
other great campus/community radio charts check out wwW.earshot-online.com.
The Green Hour Band*
Last Gang
In The red
Ecstatic Peace
Paper Bag
Chicken Ranch
Paper Bag
Youth Club
Fryk Beat
Drag City
Upper Class
Team Shi
So Called
Sonic Unyon
The Last Of The Bad Men*
Ghost House*
The Gossip
The Sword
A Faulty Chromosome
Fight Of The Conchoids
Does It Offend You, Yeah?*
Urban Surf Kings*
Stephen Malkmus And The Jicks
The Microphones
The Long Blendes
The Green Hour Band
Kensington Heights
Arts & Crafts
Arm's Way
Elephant Shell
Sadlle Creek
Teenage Head With Marky Ramone
Sonic Unyon
In Ghost Colours
The Mice Of ML Career
Crystal Castles
Last Gang
From The Valley To The Stars
Control Group
Hail Destroyer
Luyllabye Death Jams
Musicworks 100
Musicworks Mag
Because Her Beauty...
At War With Walls and Mazes
There's Good People In The City
Sub Pop
The Good
Live In Liverpool
Brampton Indie Arts Festival
Pumpkin Pie Corp.
Earth Sciences
Paper Bag
Gods Of The Earth
Trouble In Dreams
As An Ex-Anorexic Six Sicks Exit..
Paper Bag
Do You Want To Talk All Night?
Flight Of The Conchords
Sub Pop
You Have No Idea-
Bang Howdy Partner
Water Curses
No Sleep At All
Seventh Tree
Could We Believe In Magic?
Thing Of The Past
Reason To Believe
Real Emotional Trash
Machine 15
The Glow: Ft 2
Rough Trade
Stainless style
Zebra Zebra
Team Shi
Southern Lord
Pork Belly Futures
Cordova bay
26    June 2008 rd_d_ oru™
Nat Jay
With a soul that she is happy to bare onstage, a knock-out voice and a connection
the blues unlike most of her age, Ndidi Onukwulu is a force to be reckoned with on the
Canadian music scene. A past CBC Galaxie Rising Star and Maple Blues Society New
Artist of the Year award winner, the songstress releases her second album, The Contradictor, this month on the Jericho Beach label. Her honesty is refreshing and her perspective
endearing as she talks about her past, present and future in musicv A sophomore recording
can be a nerve-wracking experience. Did you have any fears going into the recording of The
You bet it most certainly can be nerve-wracking. In this particular case, however, it
fearful situation. The songs on this record are songs I wrote and had been working on for a
year and a half prior to going into the studio. Because I had worked with them that long I had
the melody, arrangements and the main guitar lines ready to go. So it was a matter of development. Because I took my time with the writing process, I went into the recording process
confident in the direction each song was going to take.
0 You have been honoured with several awards in the past. What kind of expectations do you
have for the next year of so?
Expectations? Well that is a tough question. I just want to play. I want to make music that all
humans can relate to and identify with, sing songs with beauty and heart and then to play for
as many people as I can for as long as I can. So really I suppose the only thing I can hope for
is to have this record perhaps open up a few new places for me to do what it is I do.
0 A great deal about aperformer's success has to do with stage presence, which you seem to have
a ton of. Is this something that has always come naturally to you or do you have some influences
that helped you learn how to win over an audience.
1 have no idea how to win an audience over. I really just live in that moment and shut out
thoughts that can lead me into trouble, and I'm as honest and open as I can be. I suppose that
would mean that it does come naturally to me. However, sometimes I can connect, sometimes I can't—it really depends on the environment and the audience. [There is certainly a]
natural energy I was born with; but the actual process and the connection to the crowd'is a
learned thing that, well, is learned entirely in the moment.
tl You play with some talented, experienced musicians, like Madagascar Slim. What's it like to
work with a veteran, in practice and performance?
Slim is amazing to play with. I could not have been blessed with a better mentor. Working
with people at that level is such a hugeTearning experience. Just being around that kind of
craftsmanship and artistry really pushes me to well go to different levels within myself. I am
very, very lucky to play with the people I play with.
tl A lot of artists tend to have a darker side to their personality and you admit to being one of
them. Is it difficult to bare your innermost thoughts and feelings onstage?
No, not at all. I mean, all I have are my thoughts and feelings, and really I don't mind sharing.
I generally tend to say things everyone else wants to say but just doesn't. I suppose it's my job
to be open and honest and frank about what goes on inside because we all feel it. It can be
hard for many to articulate and sometimes just knowing that someone else is going through
the same thing as you can make it less of a lonesome experience.
il You say that you can sing in many different styles, but that you connect most with blues.
What is it about blues music that speaks to you?
It's the pain I identify with the root sounds, the freedom of it, the story of it. I guess its in
my soul. I have always been drawn to rough voices, slighdy out of tune, with heavy licks, and
stories. Stories of heartache, break, hardships and life.
il Your father is also a musician. What musical lessons has he taught you about your career?
My father was not a part of my life. I don't really know him, so truth is he has had nothing
do with my career or my drive. I walked this road on my own.
il You have split your time between Vancouver and Toronto for many years. What do you find
is most different about the music industry in each city?
Toronto is really a commercial eity. It's where the money is, so those looking for more of a
pop/indie sort of career end up there. Vancouver is really artistic, and the drive of most of the
artists here is extreme edge-pushing, which I deeply respect. Each city has its perks: Toronto
is an extroverted, business developer, scene maker; Vancouver is an introspective, creatively
driven, boundary-pushing platform. * „ 7? JjH
il Do you prefer one over the other?
Yes, I prefer Vancouver. It did, however, take me ten years to figure that out.
9 You also lived in New York for a while when you were younger. What kind of influence has
that had on your music?
New Y>rk, New Work—it seems like a dream now. That was a tough town. It perhaps helped
me grow a thick skin. **0J5»-''j^
il You will be playing on June 25 at the Commodore. That's a big room to fill with great sound.
Are you very excited to play there?
Actually the Commodore show is part of the Vancouver Jazz Festival and I am playing
with Sean Kuti. It should be interesting. He has a big, big band. My musical set up for this
show will be unique: I will be playing with drums, guitar, violin and mandolin. So it's quite
a contrast to the afro funk explosion that will be happening on the same stage. I like that-
-creating contradictions. It's going to be a lot of fun. I am going to be doing a CD tour in
September with my band of fantastic musicians, so that will be more of a straight ahead
affair. I love to play. I would play a show just with a tambourine if it meant I could party on
the stage. I'm very excited to play—VERY!!! f^^^^l
il Blues is not exactly a mainstream, radio-friendly genre. How does a blues artist make a
living in today's music industry?
Well, I am not specifically a blues artist, I think that's just sortof where my soul lies. But I
believe in sound and trying to melt together and shatter the concept of genres. To create an
new sound is my ultimate creative goal; to develop push and figure out how to build new
concept of "blues," which may very well ruffle some feathers, but hey, that's what this world
is about. My new record really isn't a blues record. It hovers somewhere between cabaret, jazz
and blues (maybe even a bit country—who knows). I work hard and create honest songs and
play my heart and soul out on whatever stage I am lucky enough to get to play. So that's how
I make my living: by working very hard to give energy to everyone and anyone who needs
or wants it.
il The Contradictor is about "contradicting the anguish with a full, upbeat resonance," and also
talks about non-conformity. Why do you feel the need to go against the grain ?
In life we all need to go against the grain. Well, at least that is my personal opinion. We need
to experience and go into uncomfortable zones in order to be able to connect to our deepest
levels, and in turn, to connect to the world. All around us there is turmoil and anguish-
places with no grain to go against. To sit around and try and placate people/ears that have
everything they need is not the way to evolve. Evolution involves taking risks and being
willing to be completely shut out and ripped down, but knowing inside yourself that you
are taking something to a new level. Now I am not even close to there yet, but I'll get there
eventually. The more uncomfortable I make myself, the deeper I go.
v You worked with some amazingly accomplished musicians on this record. What did you learn
from them in the recording process? ^^^^P h&W$t
Phew. I don't even know if there are words to describe what I have learned from them. I
mean, it's great to be at the level where people as distinguished as the players [on my album]
want to play with me. The whole record was recorded live off the floor (everyone playing
together), which, for me, is a first. My first record was done in a rather fragmented way. No
one was ever in the studio together, so this was a lot of fun. A few of them even play my
rotating band of characters. It's great to work with people that have been around the block.
And this process was great because I was heavily involved: not only did I write the songs
(with the exception of a cover), but I was arranging as well. I was also involved in the mixing,
mastering and various production.
il Did the album turn out the way you had hoped? In your eyes how does it compare to your
first album, No, I Never?
It is a bigger record, so it's the next stage. Did it turn out the way I had hoped? You know,
it's a solid record and these are my songs, and-it simply is, which is great, because not a lot
of records just are.
il What plans and goals do you have for the new record?
I hope to play the pants out of it.
Ndidi Onukwulu plays the Commodore Ballroom for the Vancouver International Jaz
Festival on June 25.
The Mice of Mt. Career CD
Andy Dixon makes constant hard work and
busyness seem effortless. Not only is he
super prolific and diverse in Ws interests and
practices, simultaneously taking on multiple fully-
realized music projects (such as SecretMommy and Winning), a graphic
and web design business, visual art, and running a record label (Ache),
but the quality of his output in all areas is also consistently high. Indeed, it
is very high. Plus, a sweeter guy would be hard to find. What is perhaps
most impressive,, however, is that Dixon keeps improving, never content to -
rest on his past achievements. Tha Mice of Mt. Career is the latest example — excellent as. always — of his increasing effort to combine electronics with live musicians and singing. Good work, dude.     ' Hsjcfe* ■.
CD 12.98
The Arc CD -iTc
Ten years in and still going strong, i
Sexy, featuring ffie truly artful voca
Pittman and Lucy Brain, have achieved a "music
lovers" mesurity on The Arc, their forth full-length. [
On their website, Mint Records, Young and
* Sexy's home base, checks influences such a:
Convention, The Zombies, Led Zeppelin, and The Go Betweens, and that
makes sense to our seasoned ears. Rather than use these references as a
kind of "style" pastiche, mind you. Young and Sexy embrace and absorb
these now-canonical groups, drawing sensibly and intelligently from them,
getting into the "inner logic" of their music. The result isn't a patchwork of
"sounds like" songs but a mature, wholly original, and skilful synthesis.
Like the artists they love, Young and Sexy have made an album to Jive
CD 12.98
Arm's Way CD
With both the past success of Return to the
Sea, Islands' adventurous debut, and the
unruly, well-loved specter of the Unicorns to contend with, Nick Thorburn and the rest of Islands
have much to take on. It is surely a mixed blessing to have such a strong back catalogue so early in a musical life, which
can as easily cripple as empower an artist's future work. Another challenge
is the ever-changing field of "independent" pop music itself, which is
marked by growing eclecticism, greater levels of musical competence,
increasing professionalization (for good and bad) and, if lucky, rising commercial success. With bands like Animal Collective on one side (centrifu-
gally) and Vampire Weekend on the other (centripetally). Islands have
opted go "big" on Arm's Way, with more advanced arrangements, more
diverse instrumentation, and - maybe most of ail — more of a sense of
theatre. What remains throughout, of course, is Thorburn s enormous yet
quirky talent. We recommend bringing Arm's Way in for a hug.
CD 14.98
Evil Urges CD
Phew. Has it really been three whole years since
Z, the last My Morning Jacket full length? Ok,
sure, there was a killer double live album two
years ago (feel free to insert your own "double live |
album" cliche, reference or joke here). But we
frothing masses are In need of some new material, damn it. For the uninitiated, My Morning Jacket hail from Louisville, Kentucky, which was once a
hub of some of the great indie rock/post-rock bands of the 1990s (see:
Slint, Gastr Del Sol, Will Oldham, David Pajo). Perhaps more important,
though, is that Louisville is also the home of down south, country-fried
rock. My Morning Jacket have managed to pull this musical background
together to create a heady mix of bad ass alt-country and indie rock (with a
small dab of shoegazing), all topped with Jun James' distinctive warbled
croon. AVAILABLE JUNE 10m.
Fleet Foxes CD
I mind groups like CSNY, The Band. The Birds
and. of course, Dylan. Here at the tail-end of the
hippy/baby boomer/neoliberal era, which,
amongst many other things, has given us Individ-'
uallzed "Hfestyte* politics, there is an urgent need for some new form of
"we're in it together" awareness. With their tuneful folk-rock and lovely -
group harmonies, which seems much more thamsimple retro-revisionism, Fleet Foxes sincerely express the "collectivist" aspirations of 60s
counterculture. Of course, there is no heavy agenda here: any "politics,"
such as they are, are embodied in the spirit of the band and their music.
What's key is that the. Fleet Foxes produce sweet, sweet music that's
genuine and moving. While, as Neil Young recently argued, music is no
longer able to change the wortd, if done well and right, such as Fleet
Foxes' Sub Pop debut, we argue it can still speak the truth. And a little
sweet, sweet truth is what we need right now.
CD 14.98
Thing Of The Past CD
The Thing of the Past plays like a research
project, a dairy entry, and a mix tape —
something between the three. Following the.
"sleeper success" of 2006's To Find Me Gone,
Andy Cabic and his band have decided to produce a carefully chosen collection of cool covers (if you'll forgive the alliteration), drawing from lesser-known songs from the late 60s and early
70s, including material by Michael Hurley, Biff Rose. Vashti Banyan,
Townes Van Zandt, Garland Jeffreys, and Hawkwind. Rather than try to
recreate these tunes in a strict or verbatim way, as if enacting a kind of
"nostalgia jukebox* Cabic and crew instead gently introduce their own
music sensibility into the matefialrgivmg the tunes a personal, yet stiff
informed and faithful, new life.
CD 14.98
Lookout Mountain, Lookout
Following at last 2005's
indie-rock veteran David Herman s latest tor    j
Drag City, the self-described "foe-heroic" (whatev-1
er that means) Lookout Mountain, Lookout Sea,
features his current touring band, which includes his wife, Cassie
Berman, on bass and vocals. As always, Berman is engagingly erudite
and articulate; much of his appeal,.especially in his post-Malkmus phase,
has always been his highly literate, if classically "stacker-esque" lyrics.
This time, however, father than inward and inscrutable, Berman is exercising what he claims to be a fairly newfound "outward" view, which he
describes as "epic." To him this means entering the world, attempting to
address it In all Its everyday complexity and challenges. But no matter his
scope or orientation, Berman is always insightful and pithy, and increasingly musical. ■ ~M&£§_Ws
CQ/LP 14.98
A Skin/A Night CD/DVD
CD 14.98
Well, well, well. As if The national haven't
done enough for their fans already. What
with non-stop touring and several jaw-dropping I
records in a row, you'd think they'd take a
break. Instead, they're now serving an amazing
CD/DVD package. Check ft out: the CD is a collection of B-Sides7live
tracks and demos — enough jams to satisfy all you National die-hards.
But the real gem of this set is the DVD documentary by Vincent Moon,
which chronicles the band as they recorded the highly-regarded — and
top-selTmg — album, The Boxer. Shot in a gorgeously moody style that
complements the aesthetic of the album, the documentary gives amazing
Insight into the creative process that went into recording the most
acclaimed record of 2007. This is essential viewing and listening for all
s, which, increasingly, means most everybody.
Rook CD/LP
ot off the heels of the mucho-
blogged about Palo Santo,
Shearwater present Rook, a much
more ambitious effort than its predecessor. The band has added a
plethora of new instrumentation to their already formidable
rock arsenal, including strings, a brass section, and what
appears to be a small choir. Yowza! Talk about upping the
ante! Recorded, as the band puts it, in "the Echo Lab in
Argyle, Texas, among barred owls, pet donkeys, coyotes, and
the ominous sounds of gas wells being drilled in the near
distance," this distinctly "Americana" environment is evident»
in their new, huge, often cinematic sound. Heady yet heartwarming, Rook is the perfect soundtrack for your summer.
Trust us.
CD 14.98/LP 16.98
lie Down in the
Light CD/LP
You know another year has
passed when Will Oldham
unveils yet another record. But are we complaining? No,
ma'am, we aren't. Lie Down In the Light is his sixth full
length under the Bonnie "Prince" Billy moniker (he's got a'
good half dozen more B. P. B. releases if you include
Superwolf, Sings Greatest Palace, and his multiple live
recordings and EPs). Basically, the man stays busy, which is
lucky for us. Lie Down in the Light isn't as consistently lazy
and lovelorn as 2006's The Letting Go, if that's what you're
after, but there are a few duets with Vancouver's own Ashley
~ Webber (Pink Mountaintops, The Organ) that should have
all the sunburned lovebirds singin' in fhe moonshine.
Otherwise, the rest of the record is pretty (and prettily)
countrified, reminiscent of past favorites Ease Down the
Road and Sings Greatest Palace. Can't wait 'til next year....
CD/LP 14.98
Natalia Clavier- Nectar CO features Thievery Coiporation
Ocote Soul Sounds and Adrian Quesada-The Alchemist
Manifesto CD features members of Dap-Kings and Antibalas
ErsiArrau- Friend For Life CD
Tun Fife- Fair Ainl Fair CD
The Gossip-Live In Uverpool LP ami OVD
Millencolin-Machine 15 CO
Various- Soul Messages From Dimona CD Another Numera
Group winner!
The Cure-Trie Only One CD€P/T
Mateohn Middleton - Sleight Of Heart CD
The Rambtta'Afltessafas ^
Winning -Could We Believe In Magic? CD
The Raconteurs -Consolers Of The Lonely 180g2LP
Pemywise-Reason To Believe CD/2LP
Elvis Costelto-Momofuku 180g2LP
Kevin Ayers And The Whole Worid -Hyde Park Free Concert
The Long Blondes- Couples CD/IP
PortJshead-Third 2LP
Aimee Mann-Smilers CD
CD/DVD 16.98
The Byros- Live At Royal Albert Hall 1971CD/2LP
Jaguar Low-s/t CDEP
My Robot Friend
A Collection of Recent Work by
Rebecca Chaperon
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232


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