Discorder CITR-FM (Radio station : Vancouver, B.C.) 2005-11-01

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that magazine  from  CiTR  101.9fm
The Ordina^yBoys The Roots   Bslack Rebel Motorcycle Club Same Difference
Maximo Park Finding Joy John Peel Rain Bonnets  The Subways
Martha Wainwright The East Van Porn Collective The Paddingtons
ControllenController Doomriders CBGBs Idlewild The Pickups
How To Sing The Briefs A Really Great Funeral Broken Social Scene   Pop
Montreal Ben Rogers The Deadly Snakes   BoyGroove Death Cab for Cutie
Youth Group Arcade Fire  Wolf Parade   Bell Orchestre Constantines Hold Steady Starring    mm
Niki Brown
Ryan Egan
Matt Ellis
Josue Laboucane
Billy Marchenski
Daniel Martin
Shana Orlowsky
Melissa Robertson
Marisa Smith
Donna Soares
Melanie Yeats
Tammy Isaacson
Assistant Director
Carol Mann
Set Designer
John Popkin
Props and Venue Designer
Niki Boyd
Costume Designer
Karen Mirfield
Projection Designer
Jamie Nesbitt
Lighting Designer
Darren Boquist
Sound Designer
Joel Etkin
Production Manager
Jayson McLean
Stage Manager
Amber Cruikshank
Assistant Stage Manager
Xanthe Faulkner
Production Assistant
Carly Pullman 31
fflk&j*"Jason Bennet
■Hf  Caroline Walker
Hi    Graeme Worthy
Vampyra Draculea
Kimberley Day
Graeme Worthy
Jason Bennet
Caroline Walker
Nicole Ondre
Graeme Worthy
Jason Bennet
Caroline Walker
Saelan Twerdy
Andy Hudson
David Ravensbergen
Zach "Zach" Goelman
Bryce Dunn
Luke Meat
Karin Abramova
Torben Wilson
Frankie Rumbletone
Student Radio Society
of UBC
The Roots
John Peel Tribute
Pop Montreal
Martha Wainwright
How to Sing
Perpei^^^^^toent Disaster
Ritf Raff
Strut ^^^M^N""<:er
or P-4
Textually Active
Do if ^p^^^P3amn Self! .
Mixta pe
p. 12$|£
Under Review
p. 19-20
Real l^^ctton
p. 20
Finding ioy*'
p|$ip$der," on the cover andwsf-' *
HflllJjipfsand, as much as possftsMfgf th©
i||$abon. The rest, of course, is :
s&fhic, 7pt.
B'^|':Mstream Vera Serif, which
J»8 Acknowledge jfjnjintisfance,
HNHMIlStecrrn has made it freely available
licenced it in a manner that geeks like me
H£pifi-.Jt Is, however, not suitable to my
lHf||§i& •Shd so ' or)ly use '* f°r *^e intertextual
^^^^^rfe about the regular columns fon theak
^^^Ifc^/^tt "an  the  cover is  made  of
H^fedeaners, and isixpmaliy fiourescent pink
^HWn^lii1!- ■• '-_*i____^k
j§» moron's calencfclKdone by Mafcrt§ii|l||
'wirtch. H^'s got some excellent skill and HsfSlIj
jlie~fe qHw d coi8*S§» of flourishes and
Thanks to Zoe qij§ Phieu   and KflCopaf^
W&Sfi 'Zp^s friend Nathan, who nearly drew
the cover. Also to Ka^Rntio took pictures of ]
Jeff Helm at the last possible minute despite j
|Kp^i5odtes of work to do. Kat drew crows. 1
M' TI#pSj||f'th the background was ripped0
"from someone's copy of "fhe Royal Gchtt<0
Hm'.Q&er Stories" by Stefan Zweig. VW8tdf||
•was printed in the 80's on terrible paper wffRjjK
not enough ink and set in a face too fat tqj|
■ ever pass as pleasant to read. I suspect thjra
has some^teftetfewith Ihe reason that ^J|§§_§
- l^m^^iSCORDER's offices sotoftftU
© DiSCORDER 2005 by the Student Radio Society of the University of British Columbia. All rights
reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for
one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover
postage). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES:
Copy deadline for the Novemberjssue is October 20th, 2005. Ad space is available until October
25th and can be booked by calling Jason at 604.822.3017 ext. 3. Our rates are available upon
request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts,.
unsolicited artwork (including but not limited to drawings, photographs, and transparencies), or
any other unsolicited material. Material can be submitted on disc or in type or via email. As always,
English is preferred, but we will accept French. Actually, we won't. Send email to DiSCORDER at
discorder@club.ams.ubc.ca. From UBC to Langley and Squamish to Bellingham, CiTR can be heard
at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White
Rock. Call the CiTR DJ finest 822.2487, our office at 822.3017, or our news and sports lines at 822.3017
ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at www.citr.ca
or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA.
k ;;^pegularDiscprder^_fciiB'^
For a short time, maybe an hour or two,
things are perfect. It's midnight, one day before
the magazine goes to press. Andy, Dory and Zach
have showed at the last minute to drag me out of
an abyss of unedited text. We've gathered chairs
from around the station and somehow made
space for seven people in the Discorder office,
we're reading print-outs and debating definitions
of "roots" and "new wave". I read Andy's article
while he reads mine, and the magazine, for the
first time this month, is blossoming under our hands.
It's coming together, finally, there's a sense of the
final product we've been mutHng over for weeks.
At least, this how I see it. The art department might
have had their moment earlier, but right now the'
text department is having theirs. Despite the stress
and frustration and lingering headache that won't
desist until production is done, I have that almost
peaceful feeling of Good Work. Good work is being
done here, meaningful and fulfilling, in its own way,
work that we can be proud of when we're done.
As difficult as this position can be, I do love this part,
the actual work. Talking to promoters, answering
endless emails, chasing down late submissions-^!
won' t miss any of that. But I' II miss these unexpected
parts when the words come together and the
features all turn out weU, when your friends show
up and the things you do together are just a ffite
greater than the sum of #ieir parts. When the work
is not a burden but vocation, and everything's right
despite itself.
It's quieter now, we're dogged and close to
going home. Sitar music has been filtering in from
the DJ booth and it feels like a parody of student
radio station. There's only a few more pages to go.
I write this now m case I don't next month. For aH
the complaining I ever did about you, DiSCORDER,
I'll miss the good work you made me do.
Sincerely,      ___________
KatSiddle   Jj_W_    Hj___
Red Cat Records
4307 Main St. BEB^JtaifrDlscorder Column
Riff Raff
By Bryce Dunn t
Managed to dig up a few gems this
month while digging through the
crates, so to speak, and it seems all
our bands are from the other side of the pond, so
let's hoist a pint or two whilst we talk about our
English brethren, shall we?
First off, our lads The Paddingtons sing like
they've just stepped out of the local pub, after
a few rounds and maybe a scuffle or two, as
is probably the normal practice for a bunch
of young punks from Hull, a town noted for its
football but not a heck of a lot else. Hence, the
brash and youthful energy that emanates from
their latest single "50 To A Pound" will make fans
of The Libertines realize they're a chip off the
ol' block, catchy hooks and smarmy attitude
in check. "Against You Me" is a final flip o' the
bird to all those they've tried to appease in the
past, as they snarl, "I'm sick and tired of that
look on your face/you better leave, get out of-
my space." The guitars buzz and jerk back and
forth, Bke the glasses swinging in their arms, suds
and bodies spilling out into the street. Boys will
be boys, as they say. (Poptones Records, www.
Actually, come to think of it. The Ordinary
Boys sing about that very thing on a single that
marries the skanking fun of Madness and the
pogo-friendly pop of The Buzzcocks. Hailing from
Brighton, these guys weren't even old enough
to witness the first or second wave of ska and
punk during its heyday, but somehow they've
managed to attract the attention of The Moz
(ripping their name from one of his classic songs),
Paul Weller (who likes them so much he's taken
them on as touring mates) and ex-Specials leader
Terry. Hafi (from whom they've revived the classic
"Little Bitch" and turned it frito a punter's anthem
in their Bve sets). This most recent outing reflects
their on-going fascination with "all things two-
tone, even getting a guest "toast" from Rankin'
Junior, and it definitely makes you want to pick it
up, pick it up, pick it up. Then you can get down
to their version of The Ramones' "The KKK Took
My Baby Away" (with nice organ flourishes and
sing-along choruses) and wait for the day when
they hop overseas and do some proper gigs on
this side of the Atlantic. (B-Unique Records, www.
b-y niquerecords.com).
Coincidentally, that's just what The Subways
will be doing this month, a young trio from Welwyn
Garden City who in a relatively short time have
managed to get the British music press' knickers
in a twist. Having just released their debut full-
length, the first batch of 7 inches has given us
music fans something to listen for. "Oh Yeah"
is a three-minute powderkeg of plucky bass,
rollicking drums and slashing guitar, aH sounding
surprisingly fresh coming from kids barely in their
twenties. With a lyrical nod to the ironies of being
young, this is a tune to smash and crash around
to. The B-side is a melancholic number entitled
"I Am Young" also singing the praises of youthful
ignorance, just without the smash and maybe
a bit more swing, if that makes any sense. (City
Pavement Records, no address given).
Lastly, we travel to Newcastle Upon Tyne
and the home of Maximo Park, who derived
their name from either the Social Realism film
movement or a Cuban generaL but definitely
not a recreation spot in St. Petersburg, Florida, no
matter what you may google. On a recent single,
"Graffiti" b/w "Hammer Horror", smart, tightly-
wound pop songs with a sense of urgency are
sung by an eclectic front-man with a penchant
for early XTC and The Stranglers. The whole thing
comes off sounding unique despite the bleak
pictures painted by difficult relationships and the
grim realities of Northern life. While not always
finding the bright side, Maximo Park still manage
a smile when it counts, and these tunes should
bring one to you if you're lucky. (Warp Records,
Toodle-pip, readers!
Regular Discorder Colui
Strut  Fret
& Flicker
By Flick Harrison
Oh dear, my last stand-in for Penelope. She's coming
back from Europe next month, and won't this column be
I finally had to watch MADE IN SECRET: The Story of the East Van
Pom Collective. Unsurprisingly, it's been getting lots of screenings
around North America (hint to filmmakers: put "porn" in your title,
.then retain street cred by saying "porn" is the wrong word). It's a
feature-length pseudo-doc about a group-sex club who seem to
have created a whole new sexual identity: auto-erotic reality-TV-
Not really a documentary, more like reality TV: the film's
website claims that the porn-making collective formed only in
order to document themselves (but in this world of hoax-on-hoax-
on-hoax, maybe they're just shy). Essentially, what you're seeing is
a performance of a documentary about a performance of a porn
collective. We don't get much of the actual pom, because the
group has decided never to show it to outsiders (though, again, that
decision might just be a pretext, an excuse to keep their gitch on).
It's this careful secrecy—what goes in the group stays in the
group—that, for me, distinguishes this bunch from a video collective
in the straightforward sense. Their video-making is a complex ruse;
the committee-meeting format is a bizarre, hyper-Victorian social
lubricant. The real nitty-gritty is that they have sex together, fetishizing
the filmmaking-process as others might fetishizea soiled undergarment
or a picture of Sammy Davis Jr. in the bedroom. The movies they make
Discorder November 2005
are like painfully-slow swap parties, punctuated by votes, storyboards
and tech rehearsals which seem to excite them. One guy claims to
have kissed his first boy during shooting; the camera-operator, his
girlfriend, says it excites her. Is this an indie-media revolution, or just
foreplay? And is the double-layer of a faux-collective, created for
the purpose of documenting itself, just a hard-to-unbutton social
MADE IN SECRET, which plods a bit despite the editor's smooth
respect for pacing and flow, has a couple of clumsy intrusions by
some Wet Spots songs (an attempt to create sex-pop synergy?).
Sure, there's straightforward exposition at all times, but it's not like
Capturing the Friedmans or anything, charged with tense energy
from start to finish. But about an hour in, things get really interesting
when the camera lingers for twelve minutes on a single debate at the
collective: after watching BikeSexual, their latest film, one member
of the group is excited to show it at a private indie-pom festival in
Portland. To complicate matters, another member, who was away
during this particular production, is tongue-tied and horrified by the
proposed breach of secrecy.
This debate exemplifies the very core of the pornography
debate: the straight (but apparently bi-curious) hot chick, who wants
to show off their film, squares off with the not-attractive-by-current-
mainstream-rules, apparently-trust-challehged lesbian. The former is
just the demographic whose social status could be increased through
pornographic publicity; the latter is the type .for whom mainstream
show-biz is the most destructive and oppressive, and who sounds Ske
she joined the collective specifically for the revcluiionary internal
dynamics, not to crank out product.
The way the collective resolves this dispute—a hafr*puJting 10-
hour meeting in which they think about dissolving when they faff*
to reach consensus—says something about the benefits of such
a society, but unwittingly reveals the inherent contradiction of a
"private porn." The problem with porn is not just the gender hierarchy
which mainstream society imposes on it. It's also the commodification
of sexuality, the transformation of sex from a participatory act into
a spectatorial one. If the EVPC's movies end up gathering dustin a
drawer, or sitting at the video store next to llsa: She-Wolf of fhe SS,
what's the difference?
What ultimately disappoints about this film, however, fpSj^f-Jti©
clever "what-is real-and-what-isn't?" format belies the veryljyBlipfV'*
they claim to be pursuing: honesty and intimacy in media production.
rather than a top-down broadcast and one-way PR bullshiti^^^^te|
porn may not really exist at all makes us question their congmtfirHSrift.
Why are they afraid to show what's really sexy? Why are ^^^^^^^&
us with all this Utopian porno promise and then puffing ouli^^^^^E
minute? The challenge they throw down to themselves, *he«r cri$que
of the mainstream porn industry, could fairly be phrased thus- "Tnerl^B
not sexy. My friends and I are sexy." Is that really a revolutionary
MADE IN SECRET plays at the Pacific Cinematheque on Nov 11-12. Regular Discorder Section
Textually Active
currently inasquauradHrrrfl_T^^*
Low Art
For most people, comics are actually pretty
accessible. Free syndicated comics,
both good and terrible (good = Peanuts,
Doonesbury: terrible = Hagar, B.C., Garfield],
appear in newspapers and are read by a lot of
folks. Comics are displayed in Chapters and various
other behemoth bookstores. They're discussed in
magazines and on public radio, and infuse pop
culture at large.
But the more serious comics, the underground
comics and the graphic novels that you hear so
much about but don't see all that often ... those
are sort of inaccessible for the average person
with little time and energy to devote to digging.
And money. Let's not forget, comics cost money.
And even if you do have the money... there is the
intimidation factor. In a way, comics are a bit like
jazz music. Most people have heard true jazz, and
even more have heard the commercial variety,
but very few people are really really into it... and
around those that are, there exists a bit of a special
aura of sorts. A mystique. Except that the mystique
surrounding comic books is mostly not a cool one,
as comics nerds know well.
Therefore, I say hurrah for the internet! On
the internet, it is possible to read thousands upon
thousands of comics for free online, without anyone
knowing about all the time you waste delving into
your favourite character's lives, or even having to
worry about what you smell like when you walk into
the comic store to buy a comic.
Online publishing is always a double-edged
sword, though. The great thing about it is that it
is both easy and cheap, meaning that almost
anyone with access to a scanner and a cracked
version of a graphics program can post their work
online. The problem with online publishing is that it
is... well, easy and cheap—with print media, a lot
of crap gets filtered out simply because the author
knows that the financial risk of publishing is only
worth it if there is a market to read his or her work.
[Thus the continued success of Hagar remains
a mysery—Ed.] On the internet, artists can post
their work without worrying about if a readership
exists or not. And so you get a lot more crap. But
hidden among all the stick characters with vulgar
dialogue, talking sperm and floating cut'n'paste
heads speaking in Sand and Comic Sans, there
are gems in the world of online comics... and this
column intends to expose at least one of these
webcomic gems every month.
We'll start with Same Difference by Derek
Kirk Kim, which qualifies as a webcomic, but just
barely. Kim's work, which is completely available
^j|ne    at    (http://www.lowbright.com/Comics/
actually also appeared as a self-published book
in 2003, and Kim went on to win some of the print
comic world's highest honoursr the 2003 Ignatz
Award for Promising New Talent, the 2004 Eisner
Award for Name Deserving of Wider Recognition,
and a 2004 Harvey Award. The San Fransisco-
based author and artist, who moved to the United
States from Korea when he was eight, uses Same
Difference to explore questions of ethnicity, race,
and friendship.
The comic opens in a Vietnamese noodle
shop, where our protagonists, Simon and Nancy,
explore answers to life's great deep questions (such
as "Whoeats the shit of the fly?"). Through a series
of flashbacks and chance meetings, we find out
that both- Simon and Nancy have oddball tales of
romance rolling about their lives. Simon is haunted
by a decision he made (in high school) not to take
a blind girl to a school dance because he'd be
uncool. Nancy, meanwhile, decides to hunt down
the man who has been sending romantic letters to.
her new apartment addressed to someone else.
"It's Fun!" she tells Simon as she tries to convince
him to join her. "FIU1N! Fun!"
If you're reading this thinking, "I've seen
Message in a Bottle already, and it really wasn't
that great," don't fret. The thing is, despite the
predictable premise, Kim has such gorgeous
control of the dialogue and pacing that the story
And his control of the pen is mighty as
well. The story is illustrated in shades of sepia,
and Kim has as much control of his angles as a
film director, showing you characters through a
fishtank, characters from above, and the beautiful
landscapes of the American west coast.
Inevitably, because he's Asian (and because
his characters are as well), a few have gone so far
as to call his style "American suburban magna."
But there's very little "magna" about Kim's art style
at all. If anything, it's halfway between detective
comics and Tintin... except with a sort of wallowy
reflective air that sits dangerously close to being
overly self-absorbed without quite succumbing
to that. Same Difference is a beautiful piece
that starts loudly and finishes quietly, for more
webcomic recommendations, check out Lucas'
link page at http://www.lucastds.com/webcomic/
W0— Reslfy, I'd rtfthet
net. tf$ $otmthit\Q I
fee? realty «hsmed
about. Probobfy one of
the most $Ntm#ful
emnH of my pitiful
CiTR 101.9 FM presents... the longesl running music battle in Vancouver
The Safety Show
Fun 100
22nd  ^ot L°ins
The Weather
29th   Romance Ǥe.
Nov 1st Winner    ^4
Nov 8th Winner
Every Tuesday ni&ht, skows at 9 PM
Tlie Railway Club (Sey mour/Dunsmuir)
* Bands subject to change.
For the latest schedules and results, visit:
'Music Week
,iMtB& Difference by Derek KffkJXim
• it$tp^/www.tawto1gM<X8Tr^^ rt
Regular Discorder / Seamrippers Craft Collective
Do  it  your
own  damned
•Pattern not to scale,
these are about J/2 si;
By Georgie Russel and Gail Addison
You will need:
1/2 meter of wafer resistant cloth.
This can be oilcloth, plasticized fabric, or a
" half meter each of fabric and clear plastic. Make
sure that the material that you use is quite thin:
you want to think bonnet, not helmet. Lazy Susan,
a store on Main Street, sells oilcloth that is usually
used for tablecloths. It comes in a variety of bright
colours and patterns. Gaile and I cut up a woven
plastic bag that she bought in Chinatown.
Good scissors.
Though if you're as persnickety as I am you
probably won't cut plastic with your good sewing
Needle and thread.
Preferably   attached   to
Ribbon or tape.
Approximately 36 inches in length.
Plastic or water resistant binding tape. 24" in
length (optional)
Binding your seams will make them less likely
to leak and, if they're on the outside, prettier.
Regular binding tape should suffice.
Glue gun. (optional)
You'll see.
It's that time of year again. No, not Christmas,
not yet anyways. It's the time of year for
endless, soul crushing rain. But this little proj'ect
might brighten things up a bit. And it's almost sort of
practical. Gaile and I looked to the stylish yet practical
look of the granny set and then modified it a bit. I
believe that the rain bonnet has been traditionally
used to keep perfectly set perms in place and to
stop blue rinses from running. These are both looks
that are rarely sported by the readers of DiSCORDER,
but anyone who has gone to the trouble to flat-iron
their hair (and it seems to be very popular lately) will
attest to the havoc wreaked by the elements. So get
crafting as a nod to a generation that has better
style than any of us.
Begin by laying out the pattern on top of your
fabric/plastic/whatever. With careful positioning you
may be able to get pieces for two hats from a half
meter of material.
Trace and cut out pieces. Where the pattern
says "cut on fold," fold the cloth in half before
cutting. If you don't have enough material to do
that, sew the pieces together where the fold would
be (right sides together please. Right sides are the
front sides of the fabric, the parts you want on the
outside of the finished product).
Assemble the pieces and sew together. After
the bonnet has been put together sew binding tape
along the front edge of the brim.
The order of this should be obvious, but hey:
1) Sew the two crown pieces together, right sides
facing. 2) Sew crown to" brim, right sides facing
again, and then 3) sew the crown to the collar. Use
fairly tight stitches as this will cut down on leaks. You
can make seams on the inside, as you would on a
regular garment, or on the outside and cover them
with a binding tape.
If you. are using a layer of clear plastic over a
separate layer of fabric, you may find them slippery.
To fasten them together avoid pins, as they will poke
holes. Use bobby pins or those snappy hair clips to
hold the layers in place, since they won't damage
them. Be extra careful to avoid the needle of your
sewing machine.
If you are particularly worried about leaks,
or are expecting a heavy squall, you may want
to waterproof your seams even further. Open the
seams on the inside and apply a thin line of glue gun
glue along the stitches. It may take a while to get a
steady line with this so you may want to cover it with
a binding until you are all practiced up.
Sew the piece of ribbon onto the collar around
the back of the neck. Leave the ends free to tie. All
you need now is an immaculate tweed suit and
comfortable shoes and you can be in the running for
the best style in Vancouver.
If you're freshly made headgear isn't keeping
you dry enough you can always come to the
Seamrippers craft center to get out of the rain. We
have a brand new workshop calendar out, and
classes start in a little over a week. Friday, November
4th of the opening for Diorama-rama, a show of
dioramas. Friday, November J 8th sees the opening
of our screenprinting show. And because Christmas
is unpleasantly close, the first of our holiday craft fairs
is on Saturday, November 12th from 1-9 pm. It will
includes many fabulous wares by lots of local artists
and crafters. So please feel free to stop by: 436 West
Pender (at Richards).
Discorder November 2005 The Roots of a Modern Dynasty
by Zach Goelman
Music has its orthodox and its reformers.
Every genre has those musicians and
appreciators who are dedicated to
defining the art form, positioning it within boundaries
in order to preserve it's values and creativity. Jazz
trumpeter Wynton Marsalis asserts that music falls
into two categories, jazz and not jazz, because jazz
can be easily defined as a genre. The orthodox
► define and sanctify music out of love: the aim is to
preserve it in the form they recognize.
These people would not do well with The
Roots. By all appearences, the Philadelphia
"hip hop band" is trying to make rap music into
something that it never was, while simultaneously
working to re-inject it with a life that it once had.
Like the last descendants of a decaying dynasty.
The Roots are trying to refurnish their palace with
dignity and integrity and replace the decadent
corruption that currently reigns in the royal court.
The idea of The Roots as a "dynasty" is held
together by this dedication to both renewal and
continuity. By bringing the same diverse talent
together again and again. The Roots assure their
fans that the records will have a common appeal
P^pite the eclectic aural differences from each
to the next. The dedication to continuity remains
in the small details as well: that The Roots have
numbered each of their songs consecutively, from
theirjfirst LP Organix with track number one to their
most recent record The Tipping Point which ends
with track one hundred and thirteen. But the stellar
quality of the band's back catalogue is rooted in
more than a returning cast of characters. There is a
great deal that makes this crew legendary.
Their first major studio work was Do You Wanf
More?!!!??!. It was a wide open embrace to new
listeners, self-deprecating and relaxed, saying
basically, "Welcome to our show." The first song on
the record promises that the band "shall proceed,
and continue, to rock the mic." That might seem
to be pure fantasy for a first song, but has now
become definite prophecy as The Roots have
continued to rock mics, stages, and recording
studios for twelve years. DYWM?!l!??l has such a
distinct, enjoyable and creative sound, (described
as 'organic hip hop jazz') that The Roqts became
known as a funky live show with a wholesome party
atmosphere. There was a certain unwanted novelty
in the image of an acoustic/instrumental hip hop
group—in the liner notes of their last record. The
Tipping Point, ?uestlove rags on the record labels
for promoting this image of the band.
Enter their, sophomore record, W/adefph
Halftife. the band's response to that fun, funky,
and optimistic image. Lyrically and musically,
this album placed The Roots in a world of violent
competition, where the band seemed to Vaflong
a treacherous tightrope between creating their
music and succeeding in their musical careers. The
record portrayed The Roots being stalked by the
threatening shadow of failure, reminding listeners
that hip hop is the survival of fittest. Here, The Roots
displayed their fitness by matching the aggression
of the music with a rhythmatic assault, appealing
to a determined, troubled, and energetic passion
within the listener. This spin towards the darkness
took fans out of the bluesy nightclub and into cold
Philly streets of softly-spoken threats, a trip that
presented a strongly alternative perspective^^*
Album three. Things Fall Apart, brought The
Roots the fame and notoriety that won the group
a Grammy. This record marked a significant fusion
of their previous two records. The positive energy
of DYWM?!!!??! cut with llladelph HalDife's dark
introspection, merging the themes of positive hope
with cataclysmic failure, gave Things Fall Apart the
drama of a modern tragedy. The feel of this album
is aptly summarized irvthe hit'single "You Got Me"
featuring Erykah Badu and Eve, wherein all the lies
and games of relationships are put side-by-side
with the trust and commitment of true love. How
can these bipolar elements not tear a relationship
apart? This tension between hope and despair,
success and failure, authenticity and affluence is
the high' wire that The Roots still walk.
After the release of Things Fall Apart, it seemed
that The Roots were once again dangerously
close to being painted with a single brush—they,
were "conscious rap", the "back-pack hip hop",
successfully "alternative". Their three records were
so well done, and so well produced, that questions
arose about fhe band's future prospects. Despite
their talent and acclaim, they seemed to be
confronted with a problem: their totegrity wasn't
universally marketable. Following Things Fall Apart,
The Roots released a devastatingfy vivid live album
The Roots Come Alive! in which they recouped all
their hit* from their three records in an ecstatically
energetic presentation, but the glory of the band
seemed to be shadowed by fearsfhat they were on
the edge of the short careers typical of disposable,
spotHght-of-the-moment hip hop.
2002-saw a change of tactics. The Roots
bushwhacked their way from the top of the
underground into the mainstream on their
fourth major-label studio recording, fhrenotogy. '
Phrenology presented a straightforward approach
. ..different from the artistry of their previous work. Two
|flll|§&ff the album seemed bluntly topical: "Water"
focused on the place that drugs and cK^dtetfcfW '
S^p^^pme musical and urban community, and
*g£§ftg^y Galore" exposed the marketing of women
OSnrie cash cow of the advertising industry. The two
leading singles off Phrenology were the "The Seed -
2.0" and "Break You Off", both of which are serious
deviations from the rhythms of The Roots' past,
and instead contain melodic choruses by male
soui singers. These two songs, with their dynamic
delivery, landed the tracks on the top-40** lists. The -
message was clean The Roots are hip hop, but they
entertain clandestine affairs with rock, soul, and
pop music.
All the major issues of Things Fall Apart and all
the musical revisions of Phrenology were carried
into the creation of their latest record. The Tipping
Point. This album fused the dramatic elements
of their first three records with their successful
experience in musical exploration in Phrenology.
Bsentially, The Roots changed their narrative from
that of a band, on fhe outside of the mainstream to
that of a group now accepted within the system.
Their perspective, however, remained as critical as
ever. The songs acutely judge the poor qualify of
a lot the music flooding the scene, making subtle
jabs at the fans of pop music in the choruses of "I
Don't Care" and "Don't Say Nuthirv^^
Fundamental to their career is The Roots'
concept of themselves as more than a band, but
a crew, and in their words, a "dynasty". Time has
shown the core band-members to be lyricist Tariq
"Black Thought" Trotter, drummer Ahmir "?uestlove"
Thompson, bassist Leonard "Hub" Hubbard, and
keyboardist Kemal Grey. Another key aspect of The
Roots' career is their integrity: a trust is developed
between musician and listener. Initially, this
integrity is born of the fact that fhe band is largely
instrumental: listeners tune in believing that they
are hearing old-fashioned musical skill, and not
digitally manipulated tracks. Lyrics also contribute
*k> Hsb: Mack Thought's writing focuses on a lot of
imagery that is very public, but not cliche, arid
he understands how people relate to music, in
the song "What They Do", the band begins with
an elaborately crafted overture of fragile keys,
synths and deep rhythms. Black Thought raps "...
Creator of original sounds to send to stores / you
take home, to absorb and sweat ft out your pores /
Now who can stop the.music wrinfei'. through these •
veins? / Infinitely go against the grain, that's why
my motto's to / Never do what they do...".
There is an empathy in The Roots' work
that is vital to understanding them as more than
talented musicians. Err^aairiy, perhaps, is the basis
for what makes us human. Without our ability
to communicate feelings, we would doubtfully
succeed in forming any meaningful relationships
with society or loved ones. In a rap industry that
thrives on uniform lust and antipathy, (a.lca.sexand.
violence), a band that can be both a thunderous
force and a soft, articulate voice is a band
dedicated to a real relationship with the listeners.
By following The Rodts' career, one develops a
trust that the band wiB not let you down, and you
begin to take them as seriously as you would your
best friend. On the last track of their latest album,
Tariq's voice cracks and strains with the emotion of
his words, and listeners have no choice but to be
moved and grabbed tsy thfe simple effect. After
you've been- touched by this finale, you read the
liner notes to find ?uestk?ve smirking at you. As he
writes in the liner notes: "...some 113 songs later this
is the songs that every surface fan... and misguided
critic..*, thought we been making. Perhaps- some 7
albums later they might actually feten."
The Roofs play two shows at the Commodore
Battroom November 9. Zach Goelman will be
attending both. M
Art by Phieu Iran Where life is like a beer commercial
Tls/enirty Music? days a week!
^BRtt open _*piw$?
Friday, Nov 25,2005 at 1pm
Up Grey Cup 2005     1
Texas Hold-Em Tournament presented by
To register www.teaml040.eom
Saturday, Nov 20,2005
4pm to 7pm
Montreal's H0DD1E
Celebrate Grey Cup with
the Alouettes Cheerleaders
Also featuring performances by
other CFL Cheerleading Teams
Tickets $15
www.montrealalouettes .com
932 Granville St  | 604.331.7999 | www.roxyvan.com
Official Grey Cup Venue
Wednesday, Nov 23*|f at 5pm
Perfect Pint Popr Off Competition
Winner goes to Ireland
Thursday, Nov 24th at 8pm
Grey Cup Kick off Party
With Crown Royal Cheerleaders
Sunday, Nov 27th €M lam-1pm
Grey Cup Sunday
Win a pair of tickets to Grey Cup
654 Nelson at Granville | 604-605-4343 | www.doolins.ca
With our riewest houseband Gen X
^llfF'    ▼ -*ii___*r
Come early fortSpaghetti Wrestling at 9pm
anchwin tons qfiprkes
to reqisterichristine@cellariVan.com
lu I
Granville Er
1006 Granville at Nelson :: 604-605-4350 :: www.cellarvan
"We wrote the book on partying!"
www.granvillevan.com Regtila^ Discorder Column
yx Tape
By Mike LaPointe
For the modern human, there are a lot of
ways to die. In addition to the classics
(cancer, gunfight, piano falling on head,
etc.) the technology-obsessed society in which we
live offers many options that, up until recently, were
never even conceivable. For example, it's now
possible to get crushed to death at a Pearl Jam
concert. They never used to have that.
This is why I'm pretty angry that I was recently
almost done in by a bus. A bust The earliest humans
have been getting killed that way. Whether it's the
chariot of the classical age, or the massive rolling
boulder that I assume prehistoric humans used to
get around in, people have been getting smacked
by their transports.
But what's even more of a tragedy is that,
if I had died, someone else would've been left in
charge of the music at my funeral. And you know
how it is these days. No one parties at funerals
anymore. Instead, they're a time for people to
dress up like Robert Smith, complain about all of
the dead person's gambling debts, and cry. That's
not for me. My funeral should be a time to get
down, drunk, and dirty. If that bus had been half-
a-second sooner, some relative of mine would've
gone through my record collection, piGking out all
the Nick Drake and Elliott Smith, thinking that it was
somehow the way I wanted to be remembered.
So I'm going to set it in stone. Right here, I'm
making it clear. This is how I would've wanted my
funeral done, and how I'd like it to be. Five songs
for death:
1. "Gonna Have a Funky Good Time (Doin* It To
Death)" - James Brown
It's important to establish early that this
funeral isn't for messing around. This essential funk
beat, and the constant seductive repeat of "We're
gonna have a funky good time" will make sure
people arriving at the funeral know that they're
now obligated to get down in a serious kind of way.
Also, the title in parentheses implies that this song is
more or less how I lived my life, and I'd like people
to think that wherever I went, this beat followed with
me. As the song hits its jazzier sections, the eulogy
will be performed entirely as an interpretive dance
by someone dressed as Bootsy from Funkadelic.
2. "Monster Mash" - Bobby "Boris" Pickett
Now that James has secured the party, and
the eulogy is over, I want the congregation to really
step up the boogie. Ideally, people have had the
foresight show up in monster costumes,-and if
that's the case, then this classic by Bobby "Boris"
Pickett will ensure the flow of liquor and some eerie
action on the dance floor (which will be set up
overtop other people's graves). This will be a bit of
a special effects show: I'll have hydraulics set up in
my coffin, so that when Pickett sings, "Out from his
coffin, Drac's voice did ring" my body will spring up
to a sitting position just in time to say, "Whatever
happened to my Transylvania twist?"
3. "Wouldn't It Be Nice" - the Beach Boys
After the boogie part of the funeral, I'd like
people to take a moment to share with each
other all the great things I've said and done (the
song may have to be played three or four times to
adequately complete this). The charming nature
of this Beach Boys classic is an obvious choice,
as people can postulate exactly what I might've
done with life had that bus not turned me into a
weekend's work for the carwash. And maybe if
they "think and wish and hope and pray, it might
come true." Or maybe not, because I'm dead.
4. A Dedication: "Closer" - Nine Inch Nails
For this portion, people will be instructed
to take their seats for a very special dedication..
As a hush falls over the congregation, it will be
explained how I wanted this song to be played for
my dearNgirlfriend, the light of my life, as a token
of my love which, though I've passed on from my
physical state, wiltnever die. I want her to sit next to
my parents as Trent Reznor sings this moving ode to
true love. There will be a camera closely recording
them as they grow increasingly uncomfortable,
the tension reaching a crescendo as he declares,
"I want to fuck you like an animal."
5. "Disco Inferno" - Tina Turner
Time to get rid of this damn bodyl Time for
the main event! At this point, the congregation-will
head to the mausoleum, where this Tina gem will be
blasting with as much bass as the foundation of the
building can stand. The fire will be blazing, the heat
will be rising, the people will be dancing, a disco
ball will spin wildly in the strobe light above go-go
dancers in cages, and my coffin will be inching its
way into the inferno. The climax will be the moment
my body is completely engulfed in flames, at which
point the casket will shoot out rockets of sparks as
Tina sings, "Just jcan't stop/When my spark gets
hot" and the people continuously chant "Burn
baby burn/Bum that mother downl"
There you have it: a danceable funeral for
the modem age. No plucking at heartstrings, just
synth and bass. My only regret is that I won't be
there to break it down with them. I'll be on my way
to that great discotheque in the sky...
Legendary   New
Faces Closure
York   Club
Will They Stay or
Will They Go?
On a recent visit to New York City I
stood across the street from 315
Bowery Ave, my camera poised at
the dilapidated building across the road, trying
to capture a snapshot of the most celebrated
music venue in American music history. CBGB's,
sandwiched between Manhattan's Lower East
Side and East Village, has been hailed as the
birthplace of American punk rock, kick starting
the careers of Television, The Ramones, Patti
Smith, Blondie and countless others. Since
then the club has hosted such diverse acts
as The Police, Guns N Roses, Yo La Tengo, PJ
Harvey, and Sleater Kinney. But 32 years after
the club opened its doors it is now threatened
with the possibility of having to close them
The future of CBGB'Sr^which sands
for Country Bluegrass andr Blues—has been
uncertain since July, when the club found
out that its landlord. The Bowery Residents
Committee (BRC) would not be renewing
CBGB's upcoming lease. The BRC is a nonprofit organization that provides services,
for marginalized people, and operates a
homeless shelter above CBGB's.
It has been unclear why the BRC has
decided not to renew the club's lease, granted
the longstanding relationship between CBGB's
and the organization. Early online speculation
by bloggers about the club owing thousands
of dollars in back rent proved faulty when a
Manhattan judge ruled on August 10* that
CBGB's did not owe any back rent to the BRC.
The judge even cited CBGB's as "a major
cultural institution" confirming the importance
of the club to New York's cultural history.
But sometimes even appraisal from a
judge isn't enough to save a floundering punk
club and, as expected, CBGB's received its
notice of eviction from the BRC on September
7th: The notice followed public outcry from
music fans across the world who heard about
the possibility of the demise ot the club.
Hundreds of supporters of CBGB's held a rally
in Washington Square Park in Manhattan on
August 31st where artists such as Blondie, The
Bouncing Souls, and Gavin Rossdale came
out to show their support for keeping CBGB's
alive. CBGB's fans have also been active on '
the web, networking worldwide and setting up
numerous blogs and campaigns to save the
club, including a letter writing campaign to
NYC mayor Michael Bloomberg.
Few people would deny that CBGB's has
played a significant role in punk rock history.
Most people would agree that the influence
of the club and the artists it showcased has
spread beyond the five boroughs and across
the world. The club has inspired not only those
who have been pushed around in a CBGB's
mosh pit, but those who have been influenced
by the music and punk attitude that the club
is famous for.
Shawn Gabel, who plays guitar for the
local Vancouver punk band Bom of Ashes
speaks of CBGB's as the "epicenter of the
punk and hardcore movement," although he
has never visited the club. "CBGB's is where aH
the good bands on the ^pst Coast try to play
and where all the bands on the other coast
wish they could play," Gabel muses.
Cultural sociologist Dr. Donna Gaines
says that CBGB's provides an important social
space for youth that is essential for alternative
cultural development in cities. "CBGB's is a
Mecca for many young people world-wide,
who feel cut out of mainstream culture," Dr.
Gaines explains, " (it's) a place to celebrate
and engage in meaningful social production
and process." Dr. Gaines says that alternative
cultural and artistic spaces such as CBGB's
have been forced to close down in recent
years and move outside of Manhattan due
to increasing rents and gentrification of
Manhattan neighbourhoods. She hopes that
CBGB's won't suffer the same fate.
However, despite the overt support
for CBGB's and the club's historical and
social significance, the looming eviction
raises questions about the current musical
significance of the club. Some argue that
CBGB's has lost its prominent position wflhwi
the current NYC music scene and that it really
only remains a distant memory of cultural
"CBGB's is no longer part of the (NYC)
music and arts scene," Brooklyn-based^
musician Tim Williams says. Although he has
played at the club himself he notes that
today's bands want to play The Mercury
Lounge and other venues in New York's trendy
Lower East Side district. "Closing CBGB's is
much like a distant relative passing away,"
Williams compares, "you can remember when
things were great but at this point you know it's
for the better."
Although CBGB's future on the Bowery
remains uncertain, several rumors of its fate
have been spreading through online blogs
and message boards. One such speculation
is that the club may be moved to Las Vegas,
although this rumor has not been confirmed
by anyone at CBGB's. Another possibility is
moving the cfcjb to another New York location.
However, these possibilities ha ve been criticized
as ruining the essence of the club, defeating
the purpose of keeping the club open at aB.
"The only place CBGB's should be relocated
to is the Rock and Roll Hall of Fame," Williams
says, "Moving/it anywhere else would not only
cheapen the history of the place but also how
we think about the bands that played there."
For now though, fans and critics of
the club must wait as CBGB's challenges its
eviction notice in court within the next few
months. While the club refused to comment on
the current proceedings of the case, CBGB's
remains lease-less but open for business—
defiant in their right to rock—tike so many of
the bands the club catapulted to fame.
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/2 Recording Ari
*_.      *****
brCnClSn   bCn SOn   Hinterland&SilversunPickups
Tickets on sale at Zulu, Highlife, Scratch, Noize To Go, and the Plaza Club box office.
mm     Live Performance *>y
Clubzone's annual party. Tickets at www.clubzone.com or @ The Plaza Club box office.
Tickets at Zulu, Highlife, Scratch, Noize To Go, and the Plaza Club box offii
House - Techno - Trance - Acid - New Releases
Hip Hop - R&B - Reggae
Block Rockin9 Beats & Dance Classics
Show your Canucks
ticket stub from
any home game
and get in FREE!
Grey Cup Party
SUNDAY, NOV. 27      f
Top 40 - R&B - Hip Hop - Dance
To get on the weekend VIP list go to
plazaclub.net or clubzone.com
Top 40, Hip Hop, and R&B
iAust be 19+ to get IN)
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Released in April, singer-songwriter Martha
Wainwright's eponymous  debut is as
intimate and direct as any album you
will hear this year. A strong showcase for the artist's
distinct and expressive voice, the thirteen songs on
■te record accentuate her frank lyrical approach
■without sacrificing the graceful melodies lying at
f their heart. Focusing for the most part on herself
and the people who surround her, the intriguing
narrative style of the compositions expertly blends
passion with understanding, while the nuances
of the instrumental accompaniment effeciwily
enhance their presentation.
Sister of baroque-pop sensation Rufus
Wainwright and daughter of folk legends Kate
McGarrigle and Loudon Wainwright HI, Martha's'
emotional honesty and candid delivery hers
enabled herto forge a musical identity independent
of family association. The witty confidence she
displays on stage has also contributed to her
growing reputation as one of the brightest young
talents in the industry. As I found out prior to her
appearance at Richard's on Richards on October
13, this particular personality trait definitely extends
beyond the boundaries of her performances.
Discorder It seems that the lyrics on the album are
very personal. Are they entirely autobiographical,
or are there some elements you bring to them from
other people's experiences?
Martha Wainwright: They're pretty much
autobiographical, almost every Rne. But I try to
express them in such a way that it's not so much
like I'm an open book. I try to use poetry and
interesting phrases to make them tell their own
story, so it's autobiographical but I think through
kind of a twisted lens.
Was there any apprehension about wearing your
heart on your sleeve, so-to-speak?
Well no, and I think that using poetry helps with
that. I don't want to go out there and say, "My life
sucks, and this guy left me, and then I was walking
down the street, and then I got spat on by some
guy...". I think that becomes uninteresting after a
while. It's Bfce ranting.
I read somewhere that a let of the songs on your
debut full-length were written when you were a few
years younger than you are right now...
They were written basically over the last ten years.
Are they still relevant to you now?
_Yeah. It was very important for me to get those
i songs down on a record and sort of encapsulate
that time that I spent in the last seven or eight
years having a strange music career and working
x_ lot wtth my brother and having my own little very
underground career. I buBt up a smallifan base
and f bad three EPs, so it was important for me
to get that on a record in order to move on to the
next thing and the next stage in my Me; also, to -
sort of honour the songs and give them a chance
to be available to the masses of people that are
going to buy it. Hah!
So not Just the CDBaby crowd?
Exactly. So I was happy to go back and visit the
library of stuff that was there, f m also not an
incredibly prolific writer, so it was useful to me to
have written a lot of songs, and I think a lot of
them were good enough to warrant being put on
a record. Abo, I think that they tell an interesting
story of someone in their 20" s, rather than a record
that's all "Last year I broke up with this guy and...".
I think it's a grander, wider palette. And lastly. I atso
write the songs in such a way that I can remain
interested because I think they all have several
layers of meaning, so you can always choose to
focus on one feeling about the song for a while,
.and then a month later sing about the other side
of the song. I change the songs all the time.
That's interesting, because fhe casual listener
out there might find fhe album a bit lyrically one-
dimensional, as a lot of them deal with the passage
of time, and the tone seems fairly similar throughout.
The emotional content Is very raw and sincere,
but there seems to be a bit of negativity bubbling
through the surface in every song.
Right, but f think that if you took further, every song
is actually about hope. All of them end on an
upswing, I find. Whether it's the Oprah song {"TV
Show"], which says "Not the way that I don't.tove
you, but the way that I hate myself", but the last
line is "Not the way that I don't love you, but the
way that I love myself", or "This Life", which is a
song about listening to old country music and
finding the power through music to move on
instead of killing yourself ...I think that a lot of the
songs are cathartic—I might be inspired to write a
song whenrmtroubled by something, but through
the writing of it I generally feel a lot better. I think
that that comes out in them, to be honest.
I was wondering about the choice to put "Whither
Must I Wander" on your album as the closing
song. Did It stem from a desire to have some sort
of thematic consistency on the album or was tl a
product of some other motivation?
I think that it was a combination of a lot of things.
I think it sums up the record nicely, it's a great
ending song, and it's also really nice to take it
away from the Martha Wainwright boo-hoohoo,
woe-is-me, navel-gazing thing a bit and bring in
va more global and beautiful character. I also put
it-qn the record because I had just learnt it and
.likedit, and because I have always been asked
to sing old songs, mostly standards (and standards
that aren't too famous hopefully, because of the
way that I sing). I feit that everyone was putting
standards on ther records, everything from the
forties and the thirties, and I thought "I don't want
to do that. Let's open up the music box another
thirty years and bring it back to the turn of the
century and revisit that interesting time in music."
Obviously your family is. very musical. Can you
elaborate on your surroundings growing up and
how much of an influence that exerted on you and
your musical development?
The environment that my brother and I grew up
in was, one that embraced individual creativity
and emotional exploration, in the sense that we
weren't all sitting around m a banjo jamboree.
There was a high level of recdr* critical music
listening and an interest in experimentation, but
in a way that was behind doors. It wasn't showy.'
What I picked up from that was not so much an
ability to play with other people and jam out on
funk music. What it pushed me to do more was
put myself into a secluded, private place, with
just me on the guitar, to try and express Ihe things
that I was feefing. I never thought to write songs
reafly until devastating things happened to me—I
wasn't writing little tunes at fourteen.
Is there still a competitive musical environment in
your family? A rivalry of sorts?
I don't think so. Right now i'm a little out of the
loop, in the sense that I used to sing a lot with the
McGarrigle's before this record came out, and
with Rufus, but now it's time to do a little bit less
of that and focus on trying to set up a long career
for myself, tt's never going to be separated from
those people, and I'm glad about that because I
think there's an incredible amount of respect and
awe that we all have for one another, because
everyone's so fucking talented in their own way.
So, more than a competitiveness, sometimes I'm
intimidated and I'm scared that I won't succeed,
but I feel that with other musicians too.
Having seen the bar set so high, is there ever a fear
that it's difficult to live up to what's come before?
Yeah, I think that one of the strange ways that
I make music is I make music with an increcfible
amount of confidence and an incredible amount
of vulnerability. The way that I present songs,
especially Bve, I think there's a real side of me
that's worried that it's not good enough, or that
it's fraudulent that i'm standing up on a stage, or
that it was handed to me by my family. But then
By Chris Little
there's a part of me that itnows that it's not bad,
that it's pretty good. You have to have a lot of
confidence to get up on stage every night and
do this, so there must be some there somewhere.
Okay. So I know you're not going to Hke this next
question very much... If s about your dad...
I didn't write that song about my dad, by the way.
Wed that's a very strong misconception then,
because it's been discussed in pretty much every
single thing that I've read...
I know, because I made the mistake of telling
someone that I did and then saying it on stage.
What happened was I wrote that song based on
an argument that I had with my dad about him not
taking me seriously as a musician. In retrospect, I
think I wrote it because I was concerned he might
be right. In my mid-twenties, I was doing a lot of
hanging out and I wasn't sure if I realty wanted
to become a professional musician, i had a very
underground career and he took me aside and
said something Bee, "Look Martha, sugar, get off
the pot. What are you doing?", as any concerned
parent would do. And I, as any sort of young
person in my mid-twenties would do to a parent,
was Bee "Well fuck you. motherfucker! Who dre
you to tell me?" I think I wrote that song almost
as a battle-call to myself, to convince myself that
I was good enough. So I went into writing the
song going "Fuck you, dadl" or whatever, but if -
you listen to the lyrics it's of fci the first person, and
it says "For you, whoever you are", i don't mean
that to my dad... I mean it to whoever the person
is that's questioning me. "Bloody Mother Fucking
Asshole" came out of my mouth after I'd written
the song, and I thought it was so fucking funny that ,
I couldn't just not use rt It was an inspired moment.
So that song has gotten me into a lot of trouble
with that subject, although my father doesn't
care. I don't think he's ever actually responded
to it in that way. Anyone who writes songs knows
there's a certain amount of poetic license. And
also, you can start writing a song about someone,
especially when it's very emotional, and .you'll
feel differently the next day, but you're st! gonna
sing that song if it was well-written. And a song
like "Bloody Mother Fucking Asshole" is useful to
me and to everyone "m the audience because no
one in the audience cares who it's about for me.
They all have an idea of who it's about for them,
and that's where the song takes on its own Fife. It's
no longer about me and this argument that I had
with my add, it's about a lot of different things.
Different things to different people.
Art by Nicole Ondre
<A "In case you're wondering
who this funny old bloke is," a 63
year-old John Peel once told the
expectant young Britons watching
him on TV's Top of the Pops, "I'm
the one who comes on Radio 1
late at night and plays records
made by sulky Belgian art students
in basements dying of TB."
John Peel rarely surfaced from his subterranean program on
BBC radio, where he played unheard, unpolished music to
the British public for an astonishing 37 years. Very likely he
was the only DJ to cue Knifehandchop's "Dance FloorSeizure"
after Elvis Presley's "Teddy Bear" and blithely announce that
"If Elvis were alive today, I think he'd understand happy
hardcore" without talking codswallop. Peel just never kicked
his juvenile habit for the new and objectionable music. He
died suddenly last October at 65, four times older than most
of his audience. Now The Undertones sing on his gravestone—
"Teenage dreams, so hard to beat."
Peel is not widely known in Canada. A national facsimile
might be a Patti Schmidt/Peter Gzowski cross with a Liverpudlian
accent. Our silky Schmidt never plays a record at the wrong
speed, however, as Peel frequently did. Nor would Peel, even
at 65, need to remind Iggy Pop not to call him "sir," as did our
Mr. Canada when he interviewed the young punk in 1977.
But Peel is a legend in Britain. Even Tony Blair made time
to call him "a genuine one-off." Over 300 live gigs rang in the
first John Peel Day on October 13th, the anniversary of his final
broadcast. In the recent crush of accolades, admirers tend to
Hst the most successful bands Peel championed.
So. Early on, Peel played Captain Beefheart to
enthusiastic excess, even drove a van for him and his Magic
Band in '68. Peel dragged T-Rex to many of his early gigs,
"often with disastrous results." Brian Eno first heard The Velvet
Underground on Peel's program, and it's where The Ramones
John Peel - A Frankly
Monstrous FM Legacy
and other punks won their first British air time.
In the 1980's, Peel introduced Britain to reggae, played
Pulp before Britpop, and Nirvana before grunge. Guitarist
Johnny Marr says The Smiths learned how to make records by
playing "Peel sessions"—sets of four tracks recordedJn three to
four hours with an in-house engineer at the BBC's Maida Vale
studio. "This Charming Man" was written for such a session,
and many of the recordings on The Smiths' Hatful of Hollow
were taken from the show. When Joy Division first played for
Peel it was the only cash they had made for months. More
recently. Peel broke in electronic acts like Vitalic and Alter
Ego, covered the Groningen music festival, and shepherded
The White Stripes into Europe.
The word "immeasurable" also tends to peep up when
critics harp on Peel's legacy. So far as I know, only gods and
blue quarks are truly immeasurable, and I doubt the somewhat
stocky Peel ever bent his particle traces into 7-tuple space.
NME did give him an award for God-Like Genius, however.
Well, if "Pee\ was a god, why did he leave? Is the end
indeed nigh? More alarming, with no accurate caliber of
Peel's program, will radio ever sound so good again?
A few numbers may help. At his thatched cottage home
north of London, Peel reinforced the walls to hold 26 789 LPs. A
shed in the backyard held his 45s, another one his 7"s. Bids for
the collection have reached £1 million, and the British Library
is interested. Since the BBC hired him away from London Pirate
Radio, Peel logged 15 000 hours of air time and recorded 4 000
By Andy Hudson
sessions. In his last years at BBC, by which time the internet had
greatly expanded his audience. Peel received roughly 180 to
220 demos a week. He spent six to eight hours a day listening
to records.
His influence is tricky to track because Peel eschewed
mainstream promoters, rotations, and bought his own records.
Swamped with more demos than he could possibly hear, the
record companies gave up sending him promos. He was as
much a champion of free form radio as he was of unsigned
bands, unafraid to play a whole album or the same track twice
if he liked it enough. He was an unabashed fan, recording 28
sessions for his favourite band. The Fall. "Apparently there are
some people out there who don't love The Fall," he said once,
"I spurn them with my toe."
If you never heard John Peel, you could join the shadowy
groups who trade radio tapes and tracklistings online—the
most diligent recorder was a night janitor in Musselborough.
Better yet, there are the Peel sessions. The Culture, The Slits,
and The White Stripes sessions are a few of the choicest. Peel
was halfway through his autobiography when he died, but his
wife Sheila Ravenscroft (affectionately known as The Pig) has
just completed the project, called Margrave of the Marshes.
To me. Peel meant listening to Shitmat, The Fall, Jawbone,
old 78s, and unpronounceable death metal from Belgrade. To
radio history. Peel meant a good deal more than one hapless
admirer can possibly list on a page.
H3kW,fWkr      II      11        Nov/.«M00S
O^amnbpe-**    prc<rtA"V (X ccAlecrive.
aH   -H)W   oi -toWoas   dioramas. Rock'n'Roll!
You think it.'s cool, don't you?
You can name-drop obscure garage bands and know where "The Show" is and where all the hip people are.
Yeah that's right. I asked you. Now get off that skinny art school ass of yours and step up to the plate!
What's the matter, indie kids?
Does your guitar sound shitty?
Is your kick-petal sticking?
Is your bass amp buzzing?
Does your throat hurt?
LESSON 1: Lead Vocals
So you want to be the singer?
Or are you just the loudest one in
the band with the biggest ego and least
instrumental talent? If you want to be able
to rock it, and rock it well, you'd better be
ready for some toil my friend.
Before you can belt out the power
anthems you have to breath. To get the
most out of your respiratory system you
should breath with your gut rather than
your chest. You need to get that belly
moving in and out. If your shoulders go up
and down when you are gasping for air,
you are not doing it right. Having good air
support will help you stay on pitch and not
strain your voice.
Straining should always be avoided
because the root cause of most vocal
damage is tension in your throat. A tight
muscle is more likely to get injured and your
vocal cords are no exception. Keeping
your throat relaxed will actually help you
hit those high notes, so make a conscious
effort to NOT strain.
Warming up will also help keep your
vocal cords relaxed and limber. A 10-
minute warm up right before a show or
practice is usually sufficient. The specifics
of what to warm up on vary depending
on the vocalist, but there are two common
features of any warm up:
1) It needs to go through your entire
range. 2) Keep a light relaxed voice
throughout the whole warm up. Remember,
it's a warm up; it does not matter if your
tone is crap, as long as you stay on pitch
and keep your throat relaxed.
In addition to keeping your throat
limber, you have to keep it moist. There
is some controversy in regards to what
liquids are good and what liquids are bad
for your vocal cords. Alcohol, which is
often the liquid of choice for rockers, can
also tighten your vocal chords and dry
them out. On the other hand, there are
benefits to be gained from a couple pints.
What I find works best for me is a gradual
lessening of alcoholic content as you lead
up to the performance: start with liquor,
move to beer, and finaHy end with water.
Warm water seems to be the simplest and
most efficient liquid for keeping your throat
Now you're warmed up and ready
to rock, but first you need a microphone
and amplifier to project your voice into
the same decibel range as the rest of your
band. Some people have certain brands
they swear by for gear, but I don't want
this to be a commercial. As a vocalist your
instrument is your voice—having a good
vocal microphone and sound system
helps to bring out what is already there,
but it's not going to make you sound
good if you suck. That said, investing in
a good vocal microphone can help for
a number of reasons: 1) Do not assume
that the sound system at the gig will have
quality microphones. 2) If you have your
own microphone you only have to worry
about your own germs, or at the very least,
a smaller pool of germs. 3) By consistently
working with the same microphone you will
get to know how to best use it to get the
sound you want.
Howeverfthe most important thing a
vocalist should be concerned with when
setting up the sound is the volume of the
vocal monitors. If they're not loud enough,
you won't hear yourself and wiH over-
compensate, which can lead to straining
and blowing out your voice. If the PA and
monitors are maxed out and you still cannot
hear yourself well enough, everyone else
needs to turn down the stage sound.
by Jeff Helm
Now the mechanics of the voice and
sound system have been dealt with and it
is time for the show. This is the point where
things break down to philosophy. Everyone
I have talked to has a slightly different
approach to music performance and what
a lead singer should be. What works for
one may not work for others. This touches
on the one unifying Idea that I have gotten
from every performer: find your own voice.
Yes, you may really like how Joey Ramone,
or Bruce Dickinson, or Neil Young sing, and
it's okay to be influenced by the greats, but
don't try to sound like them. Chances are
that what works for the idols will not work for
you, and if it does, you have definite tribute
band potential. Ultimately, the best thing is
not force it, do what feels right. If you are
channeling the rock and get the impulse to
fall on your knees and howl, then go for it,
but if you're just doing it because you think
it would look cool...well, that's acttag and! -
don't know much about acting.
Once the show is done you should
still work your vocal cords regularly to keep
them in good shape. You could do regular
vocal exercises or just sing songs whenever
you feel like it, as long as you are doing
more than just your once-a-week jam with
the band. If you can afford the time and
money, getting some vocal coaching
from a professional that understands the
demands rocking puts on your voieejrwef
worth it.
Photos by Karin Abramova
Thanks out fo Cameron DSworth, Scott
McLeod, Caleb Stull, and Mary Sweet for
letting me ask them questions.
Big thanks out to Sue Leon, my vocal
coach, who taught me a lot of fhe tipsjn
- fhe drffote. ~ Boy Groove's Back,
The Backstreet Boys released a new
album last June, but if you really want
to see a boy band, go see BoyGroove.
They're not a real band. They're not even a real
boy band, whatever that means. They're a bunch
of actors playing a boy band, in the funniest satire
about the ubiquitous late-nineties trend that I've
ever seen. The play, written by Chris Craddock
and Aaron Macri, and directed by Kenneth Brown,
describes the rise and fall of a fictional boy band
called, surprise surprise, BoyGroove. Teen pop in
general, and boy bands in particular, have always
been ripe for mockery, and the idea's been done
more than a few times. But pop satires like MTV's
2gether and Josie and the Pussycats tended to be
a little dumbed-down, not quite as funny as they
should have been. BoyGroove on the other hand,
is dead-on, rigorously mimicking the sights, sounds
and synchronized dancing. Apparently I wasn't the
only charmed by this light and lovely production—
the play made this year's Pick of the Fringe and
is running nightly at the Waterfront Theatre from
November 8-18th. Thank god, I say, since I want
everyone who had to suffer through "Quit Playing
Games (With My Heart)" to see it.
Though BoyGroove skewers this ridiculous
moment in pop culture with hilarious precision,
it would be a mistake to assume that everything
the play mocks has disappeared with N'SYNC. Boy
bands may have gone the way df^he dinosaur, but
the mechanisms of fame haven't changed much.
Cookie-cutter tracks by people who can't really be
defined as "musicians" or "artists" still top the charts,
and fame appears to be handed out arbitrarily,
with little regard for talent or merit. Additionally,
boy bands have left a deeper impression on pop
culture than anyone admits—the legacy (or blight)
of reality music television.
Sure, you can blame Survivor, or The Leamfr^_
Channel or European TV trends for the takeoff of
reality TV as a whole. But in Canada, at least, the
by Kat Siddle
first music reality show concerned itself with the
creation of a boy band. When ABC's Making the \
Band debuted, everyone knew that top-selling
pop acts were manufactured, and no one seemed
to care any more. The show came near the end
of boy bands' popularity, but its creation, O-
Town, was as real as any other boy .band. The only
difference was that the process of manufacturing
had been televised. The very similar Warner Bros,
series Popstars followed, along with the crooner-
heavy American Idol and genre specialties flee
Missy Eliot's hip hop vehicle The Road to Fame.
Styles of music changed, but the process remained
very much the same.
The themes explored in BoyGroove—ambition,
image, heterosexual conformity—are reiterated on
every episode of these TV shows. The process of
manufacturing a commercial pop act has been not
only exposed but institutionalized, married to wistful
dreams of being "discovered". Television (the boy
band's true media form) is now populated not only
by pop stars who have "made it" with record deals
and top-40 videos, but by hopefuls and wannabes.
BoyGroove simply picks up on these stories where
Idol leaves off.
If you can't make it to BoyGroove, you're
missing out. The only solution would be to rent This Is
Spinal Tap or download a bunch of t.A-.T.u. videos,
because the only thing as funny as fake pop
stars are fake metal heads and Russian schoolgirl
lesbians with husbands and kids.
BoyGroove runs nightly at the Waterfront Theatre
from November 8- 18th with matinees at 2pm on
Saturdays and no shows on Sundays or Mondays,
since even pseudo boy bands need their rest.
art by Zoe Alexander Under Review
(Paper Bag Records)
Early success leads to expectation.
Expectation leads to disappointment. Controller.
Controller must regret having been so good so
When their seven-song record History came
out in 2004, it was a blast of perfectly timed death-
disco, unleashed from Toronto right as kids were
learning to dance again. It was strikingly vital; so
fresh it seemed to have been recorded on the
day you picked it up. Their sound was infectious
and undeniable. No one could stand still. So
with their first proper full-length, X-Amounts, the
pressure is on. Expectant ears are waiting for this
band to fail, and the answer as to whether or not
they deliver depends entirely on what you want
the music to do.
For the most part, Controller.controller
seems content to get your high-tops on the
dance floor. The album is rooted on dance-
steady rhythms and snake-like bass lines, slithering
throughout tbe tracks, giving the melody space
to flourish. The listener is persuaded to move by
the band's two guitarists that expertly cut hooks
like Goldflnger's laser inching its way towards
Bond's crotch.
But there is something deeper at work
throughout   X-Amounfs.    Perhaps   the   most
noticeable difference between records is lead
singer Nirmala Basnayake's voice, which has a
bolder, jazzier inflection here, making her sound
like she's actually passionate about what she's
saying..And she says a lot. controller.controller
differ from other dance-rock acts in that their
lyrics require some attention. This is established
early, on third-track "Poison/Safe" as she
demands that "You should swallow every word I
say/So you can spit them out when you cry."
If the bass drum is the pounding heart of
the band, then Basnayake is undeniably the
soul. But at the same time she thwarts the fluidity
of the rhythms, singing in jolting phrases, like
surreal scraps of conversation you overhear on
the street. Her words are evil and ominous, rarely
giving the listener the satisfaction of a rhyme.
During "Straight in the Head" she asks "You
got my back/Or you gpt the knife/Who will say
who's going home tonight?" which epitomizes
what her band is all about. Once you start to
dance, you're never quite sure if you're going to
come back alive.
But if you're looking for memorable
numbers, you're not likely to find many. There
aren't any songs on X-Amounts that will have the
same resonance as History's title track or "Disco
Blackout," both of which are rewarding even
beyond their patented danceability. X-Amounfs
can be viewed as either samey or consistent
depending on how much slack you're willing to
give the band. It's the kind of album you can just
throw on at a party and never have to attend
to, but for the private listener, the structure grows
tiring. The same beat guides about half of the
album, and some bass lines, most noticeably in
"Tigers Not Daughters" and "Poison/Safe" are all
but completely interchangeable.  .
On "City of Daggers," Basnayake asks
"Haven't you heard this one before?" and by
that point you're actually not quite sure. Though
it's a fun trip, as the record pulses its way to
a close, even the most optimistic listener will
feel that some part of their expectation is left
unrealized. This stuff is fun for now, but it's no
longer as vital as it once seemed.
Mike LaPointe
Black Rebel Motorcycle Club
I'm so sick of waiting
around for the next Britrock
flavor-of-the-month to burst
out the next dance craze! The
same jarring vocals and gyrating
dance beats have been
imitated, duplicated, and are
getting dilapidated. But what's
worse is it's mostly non-British
bands doing the duplication*.
Don't get me wrong, there will
always be a place in my heart
for that particular sound. But my
ears are over-saturated. So you
can imagine my surprise when I
heard a band that sounded like
where it was actually froml Enter
Black Rebel Motorcycle Club.
BRMC is a band who's roots
show as clear as the lyrics that
pour out of your headphones.
HOWL takes it back to the low-
key bygone era of American
heavies like Johnny Cash, The
Zombies, Velvet Underground,
and Willie Nelson (pre-Jessica
Simpson collaboration). BRMC
has delved into America's
musical heritage and allowed
themselves to be inspired by
country, roots, gospel and blues,
and amalgamated it into a
fantastic contemporary rock
album. The production is simple
and true and the songs flow like
ear medicine from the living
room speakers. The atmosphere
is impeccable. The songwriting
is honest. All-in-all, this is retro at
its finest. Yet, it isn't retro at all...
This is American rock 'n' roll—
Welcome back to the party.
Daniel McCash
The Briefs
Sfeaf Yer Heart
(BYO Records)
Remember when you were
14 years old and thought that
the quality of a band's musical
talent was directly correlated
with how funny and nonsensical
their songs were? Well, it's time to
take a trip down memory lane,
because the Briefs are back
with a new record on BYO, and
they sure as hell have brought
the humour with them. Steal Yer .
Heart manages *to be both a
hilarious and catchy punk/new
wave/pop record. You know
you're in for a good time when
the leading track is "Genital
General", a song about being a
master of, uh, servicing yourself.
The hilarity continues with songs
about  getting   hit  on   at  the
bank, zombies, and the always
amusing topic of cougars. The
song "Forty and Above", sung
by the band's newest member,
Stevie Kicks (formerly of the local
group the New Town Animals),
is an ode to women that "are-
into younger men". The Briefs do
not fail to let the rollicking good
times (rock 'n) roll.
Marielle K.
Broken Social Scene
(Arts & Crafts)
I wanted this review to be
an odyssey of music criticism.
I wanted this review to be a
journey through the heart and
soul of Broken Social Scene—a
band that has helped change
the face of alternative Canadian
music. I also wanted a pumpkin
scone at the Starbucks that I was
writing this in. But none of those
desires materialized (including
the scone). What I got instead
was an album of unabridged
energy and enthusiasm.
There were some noticea ble
differences in the progression
from BSS' debut to this new
album. This is an alternative
album that really takes its time
to give you the goods. But where
are the hooks? Everyone that
owns a copy of You Forgot it in
People knows that at the right
party, if you hum out the first few
notes of KC Accidental, six other
Converse-shod kids wili fill in the .
rest of the instruments in a kind
of hipster a capella. This catchy
qualify hangs in contrast with
their new self-titled disc: I doubt
anyone is going to be singing
along to much of their new
material. But that's not to say
that Broken Social Scene's latest
work is devoid of memorable
melody. They just take the
scenic route to its ear-melting
hooks and exploding orchestral
rockouts. This is a good album.
So check it out.
Daniel McCash
The Deadly Snakes
(In the Red)
The Snakes' previous
release Ode fo Joy, released
during the tail-end of the garage
revival fad, separated the
band from the mass of boring
rehash with their liberal use of
organ, brass and chunky piano
supporting the distinctive vocals
of lead singer "Age of Danger"
and Andre Ethier. In the Red
release of the The Dirtbombs,
Pussy Galore and the like may
give cause to brand The Deadly
Snakes "garage rock" but their
latest release, Porcella, sees them
venture deeper into a realm
that should be simply classified
as "good music". As with their
previous releases, comparisons
to The Kinks cannot be avoided
and the Snakes admittedly feed
off of their Village Green-era
(when the Kinks learned to play
their instruments). This latest
offering abides by the informal
rule that bands that have
achieved some success must
at some point introduce a string
section into the mix. For a band
whose charm comes by having
the instrumentation highlight
the dark and swaggering
vocals, creating a more dense
arrangement could have easily
detracted from the sexiness
of the whole. Thankfully, in
part due to increased vocal
counterpoising between
Danger and Ethier, the lyrics still
win out most of the time and
the momentum is not slowed. In
and of themselves the lyrics are
great and tied together with a
fatalistic thread. On "Sissy Blues"
Danger belts out, "At 5 o'clock I
just recede into the shadows, it's
a young man's job and I know
I'm nothing new," highlighting
the weariness that pervades
most of the tracks. Don't be
fooled by the association with
garage. These arrangements
are consistent, interesting and
catchy from first listen but
don't tire with repeated spins.
Essentially, one of my favorites
this year.
Science Walker
"Black Thunder"
The cover art actually says
a ton about this band. Eront
cover: a Grim Reaper engulfed
in green flames, riding a black
Pegasus, clasping a lightening
bolt in front of a purple sky.
Back cover: an eyeball with
a skull in. the middle, shooting
lightening bolts out of a green
sky. Thirteen songs. Galloping ...
soaring... lightening bolts, hellfire
and death. Yup. Great stuff. I
dig it: classic rock, hardcore,
death metal, skateboarding,
apocalyptic fantasy lyrics. No
need to get too serious or deep
here; just bang your head, enjoy
the riffs. Right on dude, that solo
was wicked. Do it again. Pass me
a beer. Awesome.
Doomriders are from
Boston and feature a member
of Converge. The album was
recorded at a studio by another
member of Converge and
released on a label owned
by yet another member of
Converge. Other members of
Doomriders are formerly of Cast '
Iron Hike and HaHraker. It's great
to know that the pagans and
the hardcore kids are learning to
get along these days. It wasn't
..qtwqys ths way y'know. I hope
more HC tads find the merit in
metal and vice versa.
There's actually more
diversity on Black Thunder
than I was expecting: ternpo
changes, singing, screaming,
and growling—lots of growling—
but not too much. There are
too many influences to list. If
Entombed listened to more Thin
Lizzy and Danzig than Slayer,
you'd be close. Fans of High on
Fire and Mastodon will like this.
Songs like "The Long Walk",
"Ride or Die", and "The Chase"
follow similar themes traversing
wastelands of fire and Ice. The
lyrics are exactly what you'd
expect them to be with lots of four
horsemen imagery and serpents
and werewolves. Others, Hke
"Listen up" and "Fuck This Shit",
are straight-up profanity and riffs.
The classic rock/metal/hardcore
mix isn't groundbreaking, but itls
very well done and the band
finds its own groove. I couldn't
pick a favourite song; it's strong
all the way. Just ride the wave of
doom from start to finish.
Travis Pastor
"We call it Idlewild. Isn't
that a poetical name?'"
Any band that names itself
after a "romantic spot" in L.M.
Montgomery's Anne of Green
Gables is awesome, no matter
what. Fortunately the Scottish
band Idlewild lives up to the
good name it borrows. Anne
with an E would surely agree.
The band's fourth album,
Wcttivngs/Prorruses, reledsed last
month across North America,
maintains Idlewild's pledge to
deliver thoughtful words set to
electric guitar and skins-driven -
melodies. From the anthen>like
"Love Steals Us from Loneliness"
to the l-can't-help-but-play-this-
on-repeat "Not Just Sometimes,"
Roddy Woomble and his mates
lavishly furnish the listener with a
glut of delicious rack songs. But
wedged between the heavier
pieces are scintillating sing-along gems, like "El Capitan",
which subtly lulls the listener with
its nostalgic piano-driven opener
only to shake and charge you to
"Stand up and Stand out."
The album drifts from the
archetypal Idlewild framework ,
doing away with punk elements
almost entirely (save for "I
Want a Warning") in favour of
something a little more down
home. Hybrid country rock songs
like "Blame it on Obvious Ways"
and "Disconnected", with their
candid use of slide guitars' and
heart-on-sleeve vocals offer
perhaps glimpses of what's to
come for this band. Bring it on,
I say.
Katherine Scarrow Real Live Action
Death Cab for Cutie @ The Commodore. Photos by Grace Ma
Death Cab for Cutie
Youth Group
October 03
Commodore Ballroom
Youth Group was the perfect
opener for DCFC because both bands
take things slow without being boring.
Making their Vancouver debut. Youth
Group had a very melodic and clean-
cut sound. Most of the set was pretty
mellow except for the upbeat "Someone
Else's Dream" and poppy "Underpass".
They're all about the details, these
guys, not your simple three-chord fare.
"Drowned" featured great slide guitar
and while "Shadowland" had lovely
guitar picking. One of the memorable
songs was "See Saw" with its awesome
long intro and oufro. The attention-getter
of the group had to be the drummer,
Danny Allen. Very dynamic on the skins,
he overpowered the rest of the band a
bit but gave the songs much needed
energy. The band played it safe, but it
took a while to get the majority of the
room's attention.
This will probably be the last time
fans will get to see DCFC in a small venue.
The new album. Plans, was on full display
tonight, starting with'"Marching Bands
of Manhattan" and the current single,
"Soul Meets Body". Ben Gibbard's soft
vocals must be a blessing and a curse
'cause tonight it was hard to hear him
clearly through the entire set. The band
let the audience do their best emo-
raoke, with older material like "Army
. Corp of Architects" and the catchy
steady beat of "Title and Registration".
The catchy upbeat chorus of "The
Sound of Settling" got some major pogo
action on the floor. These songs weren't
given any new treatmentbut the crowd
still loved it.
The band seemed more into
jamming and rocking out than
interacting with the crowd...but to
a certain point. When Gibbard was
delivering his raspy bittersweet tones
in "Expo 86", (how appropriate for
tonight) he forgot the lyrics and had
to get the audience to fill in the blank.
Also, the response was crazy when he
-mentioned Calgary in one of the newer
songs. For their encore, they played the
melancholy "Tiny Vessels" with a heavier
alt-rock fuzzed middle, and the massive
sing-along "Transatlanticism" that ended
with a grand wall of sound. Another
sweet   moment  was   when   Gibbard
came out alone with an acoustic guitar
and sang the simple but moving, "I
Will Follow You into the Dark", and to
his surprise, everyone already knew
the words. No campfire session could
come close to this. It's a testament to
how devoted DCFC fans are. I pledge
allegiance to the band...
Emily Khong
Arcade Fire
Bell Orchestra
Wolf Parade
October 07
PNE Forum
People unaware that the Arcade
Fire shares members with one of this
tour's opening bands were surprised at
the familiar faces in the Bell Orchestra.
The wintry post-rockers' strings and
horns gave off Do Make Say Think and
Dirty Three vibes, but more stripped-
down and humble—they trod their
territory well, but didn't often venture
outside it. Even if they could have been
a bit more dynamic and interesting,
their performance was moving and
maintained most of the crowd's
Sub Pop buzz band Wolf Parade
(Isaac Brock-approved!) just barely
arrived in time to set up their gear, thanks
to a traffic accident on the way. The
lack of sound check left the sound mix
a muddy mess that gradually improved.
Still, these lycanthropes from Montreal
bit into track after punchy track,
channeling the spirit of Modest Mouse
into heavy guitars, frenetic keyboards,
and drunken howls (at the moon!).
As expected, the venue was
packed full of hipsters and youngsters
eager and excited for the stars of the
show. And as expected, the eight
musicians carefully constructed an
overwhelming roar of melodrama and
pomp, with as many layers and textures
as their accompanying light show.
What occurred to me as I watched
and listened was that many Arcade
Fire songs are, essentially, dance music,
based as they are on the importance
of the steady background beat driving
everything forward (where would songs
like "Neighbourhood #3" be without
that rhythmic stomp?).
That's what brought so much
excitement to this show, with everyone
carried away by the booming march of
"Rebellion (Lies)", "Neighbourhood #2",
and all the other songs we all knew so
well. Adding to that were the myriad of
sing-along chants and choruses, when
eight people plus a few thousand more
shouted "lies, lies" or "ooh-ooooh-ooh"
with almost holy devotion. Meanwhile,
any band members with free hands
flailed about and created joyful
mayhem in the Forum, and Win Butler
even smashed his guitar mid-set! The
completely unexpected New Order
cover ("Age of Consent") as the second
encore capped it all off with style to
spare. With an end like that, this band
and this night couldn't do anything but
fulfill everyone's expectations.
Simon Foreman
The Hold Steady
October 14
Richard's on Richards
As I settled in on the balcony of
Richards on Richards to swill some beer,
take in The Hold Steady and do some
crowd watching, lead singer Craig Finn
inexplicably declared "Everyone's a
critic, but most people are DJs!" As I let
this comment sink in, I looked around
the room, noticing some strange and
incongruous behaviour from the fist-
pumping jocks in the crowd to the
spastic, dissonant keyboard stabs of the
mustached ivory tickler Franz Nickolay,
there was something strange in the air.
While my theory is that early shows are
a kind of limbo between working and
-partying that leaves people unsure of
how to conduct themselves, it could
also be that Finn's deranged ramblings
. created a metaphysical disturbance
in the audience. Lurching around the
stage and coating the crowd with a
fine salivary mist, Finn appeared to have
been granted powers beyond that of
the ordinary rock n' roll singer. Although
the lyrics were largely unintelligible, I
knew the force of what was being said
from the albums, and it was a joy to see
the words born live.
The actual music was pretty good
too; while at times it strayed into typical
bar-rock fare, the epic trashy guitar
solos of Tad Kubler on top of a pounding
rhythm section had me doing a little fist-
pumping of my own. The band played
through songs from their two albums
with total conviction, wailing hard in the
Wayne's World musical tradition. Despite
the flaunting of hard rock conventions,
little things like discernible melodies
or predictable song structures were
noticeably absent. With a less talented
band this rambling aesthetic would
quickly grow boring and abrasive,
but the tight interplay between each
musician kept the set from descending
into chaotic amateur hour. By the time
they were done their energetic and
captivating set, any psychic misgivings
about the eariiness of the hour were
completely forgotten.
As soon as The Constantines
began pounding out the syncopated
beat to "Draw Us Lines" with the help
of keyboardist Will Kidman on an extra
bass drum, I took my pint downstairs
and immersed myself in the writhing
proletariat mass. Sure, most of us
were either students or comfortably
middle class, but something about this
band from the industrial wasteland of
Ontario mobilized our every (wo) man
fervour. Fists were raised in rock n' roll
solidarity, held up straight in recognition
of something pure and defiant at the
core of this music. When vocalist Bry
Webb strained his overworked larynx
to belt out the chorus to "Working
Full Time", itffc crowd unabashedly
screamed along. There were no disco
beats to be found, and no keyboards
drenched in sunbeams. Instead there
was Steve Lambke wielding his guitar
like a weapon, crushing our heads with
his dense, mid-range jifflng. Looking
absolutely filthy in an acid-washed
denim vest, bassist Dallas Wehrle stoically
worked the low end, grabbing the mic
only to declare that we were witnessing
the "Shotgunning Beers Tour". After an
incredibly high-energy set, highlighted
by an extended rock-out on "Shine a
Light", the band retreated backstage,
no doubt hoping to shotgun a beer or
two. They quickly returned- in response
to the crowd's plaintive cries, and we
were treated to a raucous encore,
culminating in a bluesy cover of AC/
DCs "Ride On". Sweating, ears ringing,
I stumbled out into the street, only to
realize that it was only ten o'clock; my
rock n' roll glass slippers were good for a
couple more hours.
David Ravensbergen
CD - Great Vancouver
op punk band led by
luck Cherry, 1980-83. 2i
Auras My Bonnie,
id Loch Lomond.
Discorder November 2005 ^
CiTR  Cha As
DiSCORDER's monthly charts reflect what has been spun on the ah for the previous month. Reloads with stars
mean they come from this great land o' ours. Most of these platters can be found at finer (read: independent)
music stores across Vancouver. If you can't find 'em there give the Muzak Coordinator a shout at 604-822-8733.
His name is Luke. If you ask nicely he'll tell you how to git 'em. To find out other great campus/community radio
charts check out www.earshot-online.com.
Broken Social ic^ne* *   ' Broken Social Scene               ~    , Arts & Crafts
We Are Wolves* Non Stop Fat Possum
The Winks/Tights* , Spiff Drip Audio
Broadcast Tender Buttons "wc|j§f
Tangiers* .„ -*,The Family tvtyth--s •"• Baudelaire
Lightning Bolt Hypermagic Mountain Load
Adult--- -.    , Gimmie Trouble Thrill jockey
Rogue Wave Descended Like Vultures Sub Pop
Kronos    Quartet &    David   Harry PartcftfU5. Higlonl, Nonesuch „
Electric Eel Shock Beat Me Gearhead
Thrill Jockey
Saved by Ra
Last Gang
King Amos Pi
Harvey Danger Little by Little Phonograph**
* NeJj Yeung*
Praine Wmd
Gold and Green
Thrffl Jockey
CFUR'stheNewPtofc1 *
Pop Violence
Saved by Radio
live it Oof
Last Gang
The Maynards*
Break Out the Make Out
• King Amos Productions
The Runners Four
Do They Know It's Halloween?
Shout Out Out Out Out!*
Nobody Calls Unless .They Want
Paper Bag
.Witching Hour
Founts*    |
High Expectations, Low Results
Independent -
Sigur Ros
Devendra Banhart
Cripple Crow
International Noise Conspiracy
Armed Love
PaJlaschtom  c5^S§^
Skin Graft
Fun 100*
Hit It & Quit
Hockey Dad
Wolf Parade*
Apologies to the Queen Mary
Sub Pop
The Psychic Nature of Being
Fall Heads Roll
Ninja High School
Young Adults Against Suicide
The Doers*
The Plastic Bass EP
Red Cat
Hair Police
Constarrlty Terrified
Troubleman Unlimited
You Say Pattyi We Say Die!*
Hit the Boor
Sound Document
f.n.ins  JJ>_f
ty   Lukx RsmsjeiLp J, He CiTR101.9fm
tQUJ&&Mi& present
sat nov 5th t
Sonic City
sat nov 12th
@ The LAMPLIGHTER, 210 Abbott St
fri nov 18th ,
sat nov 19th
Hey Ocean!
satnoy 26th&A
MOT 10 N
fri dec 2nd
@ The LAMPLIGHTER, 210 Abbott St
jSat deC  17th%>mEA*_v_HOW
0 i TR   Oetfull #fiow details at:
f£lJ£^ imuprcwHictions.coiTi
PIo g r a m
David "Love" Jones brings you the
best new and old jazz, soul, Latin,
samba, bossa and African music
from around the world.
In two hours, I take the listener for a
spin—musically—-around the world;
my passion is African music and
music from the Diaspora.
Afrobeat is where you can catch up
on the latest in the "World Music"
scene and reminisce on the classic
collections. Don't miss it.
Hosted by David B.
AND     SOMETIMES     WHY     (Pop/
First Wednesday of every month.
ANOIZE (Noise)
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
All of time is measured by its art. This
show presents the most recent new
music from around the world. Ears
It could be punk, ethno, global,
trance, spoken word, rock, the
unusual and the weird, or it could
be something different. Hosted by
DJ Pierre.
Real     cowshrt-caught-in-yer-boots
BLUE MONDAY (Goth/Industrial)
Vancouver's       only       industrial-
eleclronic-relrc-goth      program.
Music to schtomp to, hosted by
Your favourite brown-sters, James
and Peter, offer a savoury blend of
the familiar and exotic in a blend of
aural delights!
almost every genre imaginable
covering   the   east   coast   to
the left coast and all points in
between.  Yes,  even  Montreal!
British pop music from all decades.
From backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andy and Paul.
Independent   news "hosted    by
award-winning   journalists    Amy
Goodman and Juan Gonzalez.
«En Avant la musique!» se
concentre sur le metissage des
genres musicaux au sein d'une
francophonie ouverte a tous les
courants. This program focuses
on cross-cultural music and its
influence on mostly Francophone
BqDerimental, radio-art, sound
collage, field recordings, etc.
Recommended for the insane.
Up the punx, down the emo! Keepin'
it real since 1989, yo. flexyourhead.
Two hours of eclectic roots music.
Don't   own   any   Birkenstocks?
Allergic to patchouli? C'mon inl A
kumbaya-rree zone since 1997.
A fine mix of streetpunk and old
school hardcore backed by
band interviews, guest speakers,
and social commentary.
This is pretty much the best thing on
Vancouver's longest running prime-
time jazz program. Hosted by
the ever-suave, Gavin Walker.
Features at 11:00, as listed.
Nov. 7: Tonight one of the most
important discoveries in the last
40 years never before issued
with great sound quality: John
Coltrane and Thelonious Monk
with Ahmed Abdul-Malik (bass)
adn the great "Shadow" Wilson
(drums). Amazing music from a
camegie hall concert on Nov. 29,
1957. Tiimeless!
Nov. 14: One of the best big
bands ever, the Thad Jones-Mel
Lewis Band live at the Village
Vanguard. Along with Jones
(cornet) and Lewis (drums),
Eddie Daniels - (clarinet . and
tenor). Pepper Adams (baritone),
Sir Roland Hanna (piano) and so
many more. Exciting and driving
big band jazz at it's best!
Nov. 21: The jazz crusaders (later
called "The Crusaders") were
never given the full due as an
important jazz group b the critics.
The people knew better and the
band thrived. >Fbnight the jazz
crusaders in concert on the East
Coast (the Newport Jazz Festivarr
and the West Coast (the Pacific
Jazz Festival). Solid stuff!
Nov. 28: Some of Lester Young's
greatest recorded playing.
The "President" of the tenor
saxophone on three dates with
such peers as "Count" Basie, "Big
Sid" Catlett (drums), "Papa Jo"
Jones (drums). "Buck" Clayton
(trumpet) and many others.
"Prez" at his very best!
Developing your relational and individual sexual health, expressing
diversity, celebrating queemess
and encouraging pleasure at all
stages. Sexuality educators Julia
and Alix wiH quench your search for
responsible, progressive sexuality
over your life span!
The best mix of music, news, sports,
and commentary from around
the local and international Latin
American communities.
Vegan baking w. "rock stars" like
Sharp Like Knives, Whitey Houston,
The Novaks and more.
It's hosted by Jordie Sparkle
HELL (Live Music)
Live From Thunderbird Radio Hell
showcases local talent... LIVE!
Honestly, don't even ask about
the technical side of this. This
month will probably be the best
month ever.
Cycle-riffic rawk-and roll!
Zoom a little zoom on the My
Scence Project rocket ship, piloted
by your host, Julia, as we navigate
eccentric, under-exposed, always
relevant and plainly cool scientific
research, technology and poetry
(submissions welcome).
PRESENTS... (Nardwuar)
Socio-political, en vironmental activist
news and spoken word with some
music, too. <www.riecessaryvoices.
org> <necessaryvoices®telusjTet>
All-original Canadian radio
drama and performance art
written and performed live-to-
air by our very own team of
playwrights and voice-actors.
We also welcome you to get
involved, whether you are a
professional or inexperienced...
OUR WAVE (World) listen to  CiTR  at  101.9fm  at www.citr.ca
News, arts, entertainment
and music for the Russian
community, local and abroad.
Bluegrass, old-time music and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
Underground pop for the minuses
with the occasional interview
with your host, Chris.
Viva la Velorution! DJ Helmet Hair
and Chainbreaker Jane give
you all the bike news and views
you need and even cruise
around while doing it! <www.
Music inspired by Chocolate
Thunder, Robert Robot drops
electro past and present,
hip hop and intergaiactic
Start your week ridiculously
early with Vancouver's super
awesome fun time happy radio
show. Playing all the dance-
punk, electro, rock, new wave.
hip hop, 80's, etc. sh*t that your
mom thinks is cool.
Cutting-edge, progressive organ
music with resident Haitchc
and various guest performers/
DJs. Bye-bye civilisation,
keep smiling blue, where's
me bloody anesthetic then?
Vancouver's only true metal
show; local demo tapes,
imports, and other rarities.
Gerald Rattlehead, Dwain, and
Metal Ron do the damage.
Dedicated to the gay, lesbian,
bisexual, and franssexual
communities of Vancouver.
Lots of human interest features,
background on current issues,
and great music.
RADIO ZERO (Eclectic)
Movie reviews and criticism.
Hardcore dancehall reggae.
Hosted by sister B.
DJ Knowone slaves over hot-
multi-track to bring a fresh
continuous mix of fresh every
week. Made from scratch,
samples and just a few
drops of fame. Our tables
also have plethora of guest
DJs, performers, interviews,
giveaways. Strong Bad and
occasional public service
Rhythmslndia features
range of music from India,
including popular music from
Indian movies from the 1930s
to the present, classical music,
semi-classical music such as
Ghazals and Bhajans, and also
Qcrwwalis, pop, and regional
language numbers.
Reggae inna all styles and
Primitive, - fuzzed-out garage
International pop (Japanese,
French, Swedish, British, US, etc.),
60s  soundtracks  and  lounge.
Book your jet set holiday now!
Studio   guests,   new   releases,
British comedy sketches, folk
music   calendar   and   ticket
8AM-9AM: African/World roots.
9AM-12PM:   Celtic   music   and
An exciting chow of Drum n'
Bass with Djs Jimungle & Bias on
the ones and twos, plus guests, ■
Listen for givawas everyweek.
Keep feelin da beatz.
Email requests to:
Sweet dance music and hot jazz
from the 1920s, 30s, and 40s.
Top notch crate digger DJ Avi
Shack mixes the underground
hip hop, old school classics and
original breaks.
Open your ears and prepare
for a shock! A harmless note
may make you a fan! Hear the
menacing scourge that is Rock
and RoH! Deadlier than the most
dangerous criminal!
A volunteer-produced, student
and community newscast
featuring news, sports and
arts. Reports by people like
you. "Become the Media." On
Hiatus 'til September 7th and
Join us in practicing the ancient
art of rising above common
thought and ideas as your host
DJ Smiley Mike lays down the
latest trance cuts to propel us
into the domain of the mystic-al.
THE    VAMPIRE'S    BALL    (Goth/
Dark, sinister music to soothe
and/or   move   the   Dragon's
soul. Hosted by Drake.
All the best the world of punk rock
has to offer, in the wee hours of
the mom. Hosted by Trevor.
Punk rock, indie pop, and
whatever else I deem worthy.
Hosted by a closet nerd.
Join the sports dept. for their
coverage of the T-Birds.
Listen to Selecta KrystabeUe for
your reggae education.
W.I.N.G.S (Talk)
Womens International News
Gathering Service
An old punk rock heart considers
the oneness of all things and
presents music of worlds near
and far. Your host, the great
Daryl-ani, seeks reassurance via
. <woridheat@hotmail.com>.
Sunday       Monday      Tuesday Wednesday  Thursday      Friday        Saturday
BLOOD             AFROBEAT
OK THE                (WO)
chpswihi            sainttropez
EffiiMeiPO)                  (PO)
.     BALL (GI/MT)
DOdance/electronic • DR=drama * EOeclectic • EX=experimental • FR=French language • GI=goth/industrial • HOhardcore • HH=hiphop • HK=Hans Kloss • JZ=jazz
LM-live music • LOHounge • MT=metal • NOnoise • NW-Nardwuar • PO=pop • PU-punk • RG=reggae • RR-rock • RT-roab • SK=ska • SP=sporfs • TK-lalk • WO-world
6 sftyeuEws
DM tells us that an artist is in a state
^^Knstant^^K^B^^r words,
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■fe^^ultimate destination of one's creative energies can never be reached. Rathe/; this location acts as a
ftagnjst propelling onp through, the wilderness oftreative praas^NO
searching the- horizon of his own efforts, writer, poet and singer D.C;
Bemw understands full-well the challenges of venturing out on the
rb_J:rt"p^t^aartWdsoiii; sporting his signature deadpan droit,
Beman and his clever cast of merrymakers, in^uding Stephen
iWrtPNj|ifend Bob Nastanovich of Pavement, effiark on the epic
nartatwe of Tanglewood Numbers. Steeped in the vernacular of clas-
^jejte^k, Berman's latest ballads, which outline the travails of his
^Hsaf^sl^aa in the byways of outsider culture, are as sharp as
^r^^^^^feviously penned. Conquering the dense Americana
history oat*. Barman s storytelling technique is riveting. On the last
ttery-of your lifer don't forget to die.
Romance Bloody Romance
Remix & B-sides CD '
Vicemagazjne poster boys get to the tiard and
knobby nut of the thing jbat is their.shft with this;
new collection of rocking remixes designed ts murder all dance floors evei vwhere, teaving only dust
and skeletons. And yet ve fmd-oureelves wondering
if it is possible for their patented drums with" oass- -
riff-age - a riff-age so senousty akroghfy that If can
"crack bones with a sound so crtmehy and chunky
that it stands up on its own litea'ternfyirig thing and
so fucking kick-ass that asses get Slackened with
bruises and beg for mercy wife eyert just the faintest
decibel aimed in their direction -to become any
more all-round gigantically awesome7 We Sunk
probably not no But should this stop the skinny
bearded, quaffed, tattooed, cruddy t-shirted and
much-adored lads from tack €ast from4rymg to
best their own __3P*teft no.
Descended tike Vultures CD
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||iP(9|y$ro6i§BJs to great heights. Orifiis^eleven song
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£ feet sptmdtrack to fill in the mundane spots of life - i.e.
wtalethe post«coitat morning coffee brews, the hours
spent holding Dishes tn bags waiting while your partner
cleans the aguanum, or perhaps even during that uneasy
sifent hilt as fjie-fcicycle mechanic slowly trues the spokes
on your favourite one-speed. Whatever the case, Rogue
wave is-hefe^--
If You Didn't Laugh You'd Cry CD
It iaK"s great great Holt to spot the records that define a
generation I guess it is only natural to try to whittle down
ail the releases and aB the artists down fo a few that will •
represent the current of the times AH well and fine, but at
the same time you then onty have a few hours of music on
youi balds to articulate the cumulative experience of
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complex and great records will inevitably fait through the
i racks to only one day'down the road resurface as examples of sonic genius Marah haye'ccnstantly created this
sort of record, and with this their fifth catalog they further
sol li  their status as one of the great underrated' acts io
the US. So, we mvite discover them now - what awaits is a
great folk-pop release a Spnngstesns Nebraika -just
remember what people «i tbosetimes thought of that
record!! Swift, raw arf^^^^^^^^minfidence,
this igfe defining momefrMTOrwrile^r ;
CD 16.98
LOOK INTO THE EYES OF NEW MUSIC November's Focused New Meases
fteheaisiftglty Choir ft)
In anatterrtpt to refuse creative inertia and
eaffienstJJtestiiTy, BrooWyn'ssawy Ablings, Matt and Eleanor Friedberrjer, have
consistently challenged pop song-craft conventions with their output as The Fiery
Furnaces For example, j|e|||fe! leap between i%tyea?s "ijjpplred
prog-rock masterpiece, Blueberry Brat, and the&nppecpown
garage-rock debut, Gallowsbird's Bark, was almo&l&wilrJeringly ^
■huge. Likewise, this next detour invokes an increaislrigly fe%ote aesthetic, one implausible for any other band: musical theatre. Now 0/
-gained by their dear grandmother, Olga Sarantos, on piano and vocals
|fep it in the family, kids), the dynamic duo have embarked on a dra-
itajurgical voyage through the scrapbooks.#'a%>ugh, streetwise
foenjlne, describing her experiences in mid-century Chicago. More
than an enchanting concept record or a sentimental exercise in nostalgia, Rehearsing My Choir is the next daring chapter is the nonconformist career of this; truly daring band. We salute them.
I® 16.98
VASffllBUNYAN Lookaftering CD
Itlljet often that an artist can be genuinely described as a Irving cult
legend. Vaslrti Bunyan truly can. Her past tells the story of thwarted
S||||eiebrity, folksy naively, disenchantment, long-term self-imposed
llfteaad privation, and now enthusiastic, youth-market driven redis- I
&H&Gver 35 years after her only previous album, the once underap-
ipgkjI^Jost Another Diamond Day now recognized as an under-
PPHdassic, Bunyan returns with the breathtakingly beautiful
Lookaftering. Featuring fine supporting performances by Joanna
Newsom. Devendra Banhart, Mem, Adam Pierce (Mice Parade) and
Robert Kkby (JRcfrftake), and conscientiously produced by Max    ...
tft|rj||/tookaftering is a tBuch-anticipated return and arSjeafewjl
arJhievemenL Anchored by Bunyan s sirtguTaf voice and deft finger-
picked^aj^-pjjffiar, t-okaftering offers a good balance of sparse,
inumat^^errfea?fiiadtoltef. tastefully orchestrated numbers. It j
was worth ise.wait      %
Paintings by
Carey Mercer
Oct 30th - Dec 30th
EverVour Srafidrnotfrerkwes Modest Mobsi^k.
she-lias over 80 years of experience listen-to the
latest and greatest pop musicians ot toe la^centojy
Ok seriously, another Wntf'sdW'wnoJmdws |r|$t
songs when R$$rarj%ff1i|&j$£^' than Marie
Limits CD
fame. Having already delivered amJnd numhing rnn>
ditJon of AC/DC covers as Sun Kil Moon, Kozelek
turns his attention to the rhaf»>indHheock songbook
of Issac Brock and Modest Mouse. lnterpre||i|Rj
their structures and lyncisn| Mark fas crafte^pO
j^iworidngVfflfs great sourjsi; material iBI^^^O
way that it barely resembles the orkjfpgj tfturntorfttt
of the songs. Slowed down passages of Amok's -„
angst reflections are nov. flushed ip _m0a theV
inherent poetic grace to really take tJipt ftay Cities
i§ an incredible release and a real tesfament^^^^
powerntsona—we recommend.
Ghost Pirates
Heads CD
Pirates - Mutif|pyi|||
eggs. Ivory-Pamo.
Youth - potertcyi Mamq"-tate)it Fty-tan "Saw-&.
ipeth Daisy-clave/.fldte—pan Claws-Vdujsfc. Mice-;
tadofs Pantry - s^Kr, ik&\ - jar Mar mite - woft^
Corrdpf-*oank Mint-■ssnooih CarHc^-welcome *
Shost - roses Sen ^fHbernate Gentea* wandet -, '■
sCatoh,- retease Baroque - wms Gold - pahna. Dance
- jitterbug Jail - purUtCrow-ketltei Mini-6Q '' ''■
CD 11.98
Zulu the spot with Atmosphere
Sunday November 6th 4PM
Three visibly aging veterans, feeling like they're in
the wrong line of work and
quite seriously on the verge
of suicide, have made a rejuvenating recording of meditative lamentations for those souls who cannot believe they
||fe|pg in a world of deception and compromise - yet
who still wanna rock. Troubled privately, too, the band
was almost dealt a death-blow in 2003 with the sudden
departure of founding member and guitarist/vocalist Chris'
Hannah, who left the band to pursue other interests.
Remaining members Jordy Samolesky and Todd
KowaJsW quickly found a worthy replacement in Glen
Lambert, formerly of the Portage Terriers. Mot only is
Lambert a much better-rounded musician that the departed Hannah, but his commitment to "make politics sexy"
has brought a newfound optimism (and perhaps even levity) to the once flagging band. Renewed arid, ready!
Comet Gain-City Fallen Leaves CD
Spoon- Sister Jack CDH»
Judee Sill-s/t, Heart Food CD reissue
Hella- ConcetTtration Face/Homeboy CQ/DVD
Guided By Voices- Suitcase 2 CHIP
Boards et Canada- The Campfire
%adpha»'rarlP, .
Books on Tape- Ptoosaur D^nosanr CD
The hallucinatory neo-free-folk
scene has multiplied with the
vegetable ambition of a fecund
toadstool patch. It is coming up
everywhere in gorgeous hues of red and Drawn gold.. Her8, ■.
we salute one of the ordinal agents of today's hippy sojiijd,'
- the ones with the mosr^ercmg eyes in a room packed
with visionary geniuses. Animal Collective have outdone
themselves on this densely woven new outingii^^^S
vibrates with toe wild bliss of a roving manatee libetating-
an autoharp from standai d tuning, like this aroused nek*  -
bivorous aquatic mammal, the Collective's sonic spores1 "■
exude a bold new confidence, freely combining washes ot
acoustic guitars with transcended passages of.rjjh«$& f?
voices, crazy-spirited piano and electric guitar dream-plasma. Indeed, this is a different beast than Sung Tongs, with
Avey and Panda Bear searching&yond the knowftpe_<s
of "freedom folk" to discover new music, contours as tftrs
form ever-evolves from its histonc loca^artit protest song
towards contemporary significance Wenjghly fecomrnend
Feels - its greatness cannot Ije quantified irxtije same way
that one cannot weigh all fnd#r,«iglde aft %mim «te{0 t'
phants of the workL^mttrTartd tnal^M; r/'
CD 16.98 J
Eddie Spaghetti- WdNo.2 CD
Residual Echoes-Phoenician Fni CD
TheBta_|i&$- UwOVD
DevendraBanhart-1 feel just Hke a child CDEP
Tommy Guenero- Year of the Monkey CDEP
Music in the Afternoon - GREAT LAKE SWIMMERS
Sunday November 20th 4PM
Zulu Records
1972-1976 W 4th Ave
Vancouver, BC
tel 604.738.3232
Mon to Wed   10:30-7:00


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