Discorder CITR-FM (Radio station : Vancouver, B.C.) 2004-09-01

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Mista Chrin!
Andy Dixon
The Seam Rippers ipift Collective
:jjk'- ^',.>*■■■■"_■ ■■;'';
J from Finland — first Vancouver appearance
Pan Sonic
with special guests  - outhern acific + and Lawrence Sim
after show, DJs coin gutter and souns
23 September 2004
Richard's on Richards
Doors at 8, show at 9
^rg^^^     Tickets $20/$15 at Zulu and Ticketmaster
ncouver new music     604.280.3311 or www.ticketmaster.ca
Defixiones, Will and Testament
§|§    19 October 2004
Vogue Theatre  8:30 pm
ickets S30/S20 at Zulu and Ticketmastei
604.280.3311 or www.ticketmaster.ca
The Westin Grand DISCORDER
CiTR 101.9fM presents...
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'     Kat Siddle
Jason Bennet
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CALENDAR ART -,„&*>* - \
■*   by Lee Hufzutafc.-Who'j-I
will be showing work
at BLIM (23 W. Pender
St.) Sept 12. *
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\ IffMjro 7rab$tIssue of
Jones infrWJuly Issue.
lliijSpb Davies
A battle-of-the-bands extravaganza
Tuesdays at the
Railway Club
579 Dunsmuir Street at Seymour
Sept 14: Automatic Fancy/Dandi Wind/Speaking of Devils
Sept 21: The Little Death/Mandown/Salmon Arm
Sept 28: Evol-Hearted/Ken LaTour/Ten Miles Wide
Props to these extra special sponsors:
© DiSCORDER 2004 by fhe SludenJ Radio Socfety'd) the University of British Columbia. All rights
gl^^^lcif^^^OTOh 17,500. Subscriptions, payable in advance, to Canadian residents are $15 for
j one year, to C^W«r%W^^^^Cffft.$15 US; $24 CDN elsewhere. Single copies are $2 (to cover
fe|&tfcgej,! Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES:
I Copy deadline for the October isssue is Sept.24. Ad space is available until September 28 and
^j|l§MJooked by calling Jason at 604.822.3017 ext, 3. Our rates are available upon request.
CORDER is not responsible for to'% damage, or any other irfto^ro unsolicited manuscripts,
S&jja artwork (including butrisiyirnited to drawjng^photographs, and transparencies),
^^^gother, unsolicited material. Material can be subrqjjlp'on disc or in type. As always,
g^^^ljs"preferred, but we will accept French. Actually, we won't. Send email to DiSCORDER
^^P^derOclub.ams.ubcca.From UBC to Langley and Squamish to Bellingham, CiTR can be
§gH§|(Cttyl,0T.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw
in White Rock. Call the CiTR DJ line at 822.2487, our|>iri§eat 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
J www.citr.ca'^O'pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T
info: http://shindig.citr.ca/ EQB
September 16
Richard's On Rii	
J|     ^^^SuESTS'*v^i. Sunday September 19
mh- PLUSTHEKICK t.ckets for both shows also a. Zulu	
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Center the W®
Three things happened this month that set me to
1) The Cobalt closed.
2) The po-po shut down Jon Rae Fletcher's gig
the Butchershop Gallery because of the noise.
3) My housemates watched hours of Olympic
So far, I've manage to survive, despite my part-
time day job and spend-little, eat-a-lot-of-lentils
way of life. But with the condos closing in around
us, and the 2010 Oympics looming in the future, I'm
starting to worry. Surely, the cost of living in this town
is going to rise until the DiSCORDER team is cleaned
out along with the rest of the low-income scum.
And just where are we supposed to go?
Let's look at our options:
1) The interior: Hey, I enjoy nature as much as
the next person, but I need the choices that come
with urban centres. If I can't find as many varieties
of halva as there are gigs on a Friday night, I'm not
living life to its fullest. I don't even like halva that
much, but I NEED to know that there's a place
where I could get seven different flavours anytime,
if I want.
2) Seattle: It really irks me that Vancouver
and Seattle, two cities of near-equal size, have
such disparate scenes.'Seattle's nightlife kicks
Vancouver's yoga-sculpted ass: way more touring
bands, more local acts, more venues—just more
shows, with bigger and better crowds attending.
Makes us look like a bunch of vapid shut-ins
concerned solely with working out and building
So I really wish I could move to Seattle. I'd be
devoted to it the way only an outsider could be.
But it's in AMERICA. Land of guns. Big Gulps, and
George Bush Jr. Why, god, why?
3) Toronto: Seems like the most obvious move
for a bunch of magazine geeks. Too obvious, in
4) Halifax: Neat things happened there ...
about a decade ago.
5) Montreal: Easily the coolest city in Canada.
But most of us don't speak French, and I've heard
that it's hard to get a crappy part-time day job if
you're not bilingual. Maybe by 2010 I'll actually be
qualified for something besides slinging coffee and
pushing mops, but I doubt it. And we can't forget
the ever-present risk of lung cancer.
6-7) Edmonton and Calgary. After the recent
campus radio convention in Alberta, where CiTR
reputedly made many friends, I've warmed to
these cities. But still, I'm scared to live anywhere as
conservative as Alberta. Plus, mad cow.
8) Saskatoon: This city remains a total mystery
to me. Which could put it in the running, actually.
9) Winnipeg: Hmmm, let's see. Cool music
scene? Check. Low cost of living? Check. Lots of
immigrants with yummy food in many flavours?
Well guys, it looks like we've got out 5-year
plan in place. Feel free to join us. Load up your cars
and buy your ptane tickets, brothers and sisters: it's
Winnipeg 2010 for us!
Until then, ■jfe<.§|?
a Christa Min Cover Article, By Mlsta Crin
So, basically, I'm too good to
write a column in DiSCORDER
Magazine. I'm way, way too
good to write a column in
DiSCORDER Magazine. I've
moved on to bigger, better,
and most importantly, «ther,
I'm busier than ever these
days, what with the premiers
of feature films starring myself,
and the launches of magazines
I edit, lay out, and personally
take all the photographs and
write all the articles for. I host
artist receptions for solo gallery
shows almost every night,
yet somehow I still find time
to spend three hours each
evening listening exclusively to
Diana Krall records whileleallng
through the IKEA catalogue.
Don't ask me how I do it, I was
just born this way.
To be a bit more specific,
I'm currently collaborating on a
photographic essay with Anne
Geddes, featuring my good
friend Gwenyth's adorable
newborn, Apple Paltrow. My
image will grace the cover of
Chad Kroeger's upcoming solo
album. Pants My Size.
Musically, I'll continue
ghost-writing for Nelly Furtado,
Dave Matthews and Moxy
Meatloaf has been begging
my manager for a few of
my cast-off songs, ending
the 15-year losing streak my
long-running rivalry with Jim
Steinman. I'm excited about
a tribute album to Yanni I've
been working on with Anne
Murray. We've been shopping
around for the right project for
years, and this is finally it. We'll
be entering the studio with the
Matrix on the 23rd of this month.
You can reach me at my LA
number. It's on my Friendster.
This fall will see the opening
of the fashion show I'm co-
curating with Elton John as
the "House of Love." My fittle
Candle (as I like to call him) and
I intend to blow the minds of
the fashion world. I've invented
a new cut of jeans, which I call
"high-rise." Women, prepare
for'a style revolution.
Now that he's wrapping up
his tenure as host of Canadian
Idol (whose contestants I
personally hand-picked), my
sweetie Ben Mulroney and I
are working on a journalistic
memoir of his father's star-
studded career. (Smoochie
woochies Mr. Pinkyl)
The intellectual property suit
about a computer program
I invented is about to be
decided in my favour. My ex
stole it off my hard-drive in a
fit of jealousy when he found
out I was sleeping with Bruce
Campbell, and marketed a
shoddy version of my precious
baby, EZ-Studio Lite, as "Pro-
Tools." Look for it under its true
name, and including my pet
feature: an option that makes
your record automatically play
Satanic chants in reverse. All
hail the Lord of Darkness!
Read all about it on the blog
I co-edit with Leah McLaren:
ipan 'ffuc/c/ngsfand/f-fhemowe.  j Our first ad!
Originally, this ad was going to have something to do
with 'mixing' two studios together, hence the bowl
and the measuring cups those two characters are
sitting on. That*s Jesse on the left and Colin on the
right, caricatured by our pal Zoe.
But the thing is, we suck at writing "ad copy" and
there's a lot more to tell, so we figured lets just use up
this full page ad and tell you about ourselves, cause
we've been pretty quiet for a long time.
So here goes:
Since 1996 The Hive has been documenting the
independent music scene in Vancouver. We started out
in our basement with bands like The Ids, Saturnhead,
Daddy's Hands, The Beans and Ex-Dead Teenager and
continued throughout the careers of bands like Jerk
With a Bomb, Ashley Park, and Radio Berlin.
At one point, we purchased a RADAR 24 - a digital
recording unit that sounds analog (our preferred
sound) and which is totally portable. This opened up
the option to record in other spaces and accommodate
some of the sounds we wanted but couldn't get in our
stuffy basement. Dont get us wrong, a lot of awesome
bands recorded in our stuffy basement - Hot Hot Heat,
The Automovement, A Luna Red and lots more. But
now we were able to record p:ano at The Western
Front, Jon-Rae Fletcher at Video In, The Secret Three at
The Sugar Refinery, and lots of other bands in lots of
other places (including an Olympic size swimming
pool). Being portable also allowed us to record some
wicked live shows. Among them. Beans playing for 48
hours straight at The Sugar Refinery, The Walkmen at
Zulu Records, Fugazi at their last Vancouver show, and
Songs:Ohia in Washington. Most of these recordings
are available to listen to at our site.
We were starting to get some more recognized
projects, such as Destroyer - This Night, Mecca Normal
- Janis Zeppelin, and the upcoming Frog Eyes album
on Absolutely Kosher. We realized our bands were
getting bigger. And we needed to get bigger too.
In 2003 we were the luckiest kids ever, when we found
our gorgeous new 3000sq foot studio. The first thing
we did was call our friend and colleague over at
Recage Recorders and ask him to team up with us.
Recage had been recording all the other bands we
loved like Three Inches of Blood, The Red Light Sting,
Black Rice, and WPP. It couldn't have worked out
better. Through Recage we also inherited our in-house
mastering company - Northwest Mastering.
So here we are, we've been open in our new space for
. almost a year now and it's going really well. We were
recently voted Best Small Budget Recording Studio by
the readers of the Georgia Straight, and we're still
making improvements. We have two studios - cleverly
dubbed A & Bee - as well as a nice kitchen, lounge,
foosball table, lots of old Nintendo games - not to
mention a ton of really nice gear. Lately we've been
working on Black Mountain, the new Hoodwinks
record, the latest Veda Hille opus, the Doers, the debut
Despistado album for Jade Tree, and tons more.
Thanks to our wonderful dedicated clients, we've never
had to advertise. This is our first ad in 7 years, and we
mostly did it to show off the cool drawings. If we ever
do it again, maybe we'll pose wearing sunglasses,
sliding the faders all over the mixing board. And
maybe we'll hire someone to come up with some cool
and catchy tag line like: THE HIVE - SEE WHAT ALL
But hopefully not.
THEHIVE The Hive Creative Labs
f^Mtt&\ Hive Studios I Hive-Fi Recordings
' \ ^|B!r   i Garden Park P.O. Box 44514 - 2405 East Broadway I Vancouver, British Columbia Canada V5M 4R8
'*''   rjN www.hivestudios.net I info@htvestudios.net  Nick Cave
^The Bad Seeds
^Abattoir ^lues/The Lyre of Orpheus
Well kids, it's back to school again, so allow me to
give you a lesson on the three "R'"s: rock, roll, and
The Rippers, four Italians with a penchant for highspeed harmonica-honkin' frantic freakbeat. Think
early Rolling Stones and a good dose of fifties
R'n'B, catchy-as-hell hooks (with "Never Tried
Before"), and solid production (for a basement
recording!), and you've got yourself one (of
only 300 printed) helluva record. (Shake Your Ass
records, www.syarecords.it).
Also taking lessons from The Stones are our
hyper-drive The Hives, with bassist Dr. Matt
Destruction taking center stage to signal the
trademark yelp of Howlin' Pelle, as he swaggers
through the single "Walk Idiot Walk," with Chris
Dangerous dangerously close to keeping perfect
Charlie Watt time. The non-LP flip is another
fast, and nowhere is this sentiment echoed more
emphatically {maybe threateningly is a better
word) on their latest seven inch, "Fuck Disco
Beats." While the song starts and ends cheekily
with the recognizable boom-chik-boom-chik of
the drummer's beat, the song is punctuated by
blasts of guitar and the wail ot noise that results
lays the song to waste in a crumpled heap. True
to form, the remaining songs, "When I Became
You" and "Jacob's Voices," are symptomatic of
the same deranged treatment, combining the
warped sensibilities of Nick Cave, proto-punks
The Scientists, and blissful moments of chaos, still
wrapped in the shell of melody. It's like electroshock therapy for the new-wavers: snap out of
it, kids! (In The Red Records, P.O. Box 50777 Los
Angeles CA USA 90050).
Killer's Kiss must be big Poison 13 fans,
because they sure sound like they learned a
thing.or three from Austin's mighty blues-punk
spotlight on Matt as he anchors the quick pace
of "Genepool Convulsions," with Pelle barely
able to keep up, as you can hear him catch a
quick gulp of air before howling for his mommy.
These Swedes can still write darn good songs, two
albums and a suit change later..(Polydor Records,
no address given 'cuz they're big time!)
It's always good when I can hear the lyrics to
any given song, but even more exciting when I
can learn a new word to add to my vocabulary,
and soon to the dictionary. Think about it,
twenty years from now, when a time capsule
up in space containing all the cool songs of the
twentieth century comes crashing down to Earth
or whatever planet, Jhe Fe FI Fo Fums will have
capitalized on teaching kids to "electrofize" their
peers. Not only that, songs like "Electrofize Me"
and "Wild One" will stand the test of time and
j  remind people that three chords, some Sonics
records, and a shitty cassette recorder are all you
need to craft the perfect tune. Songsmiths, nay.
The FFFF's are scholars of finest studies, from which
we should take lessons. (Boom Boom Records,  ~
[  20720 S.E. 192nd St. Renton. WA USA 98058).
If there's anything The Hunches have learned
so far, it's that current music trends can get old
powerhouse. "Gotta Lotta Love" stumbles along
until it hits a brick wall of organ, then careens
back and forth with choppy guitar and drums.
"Backslider", while not a JSBX cover, is still asWsy,
if not slightly drunken, hip-swinger of a tune that
calls out to the bastard sons of John Lee Hooker
for inspiration. (Blue Bus Records, P.O. Box 31130
San Francisco CA USA 941310).
Finally, sometimes in life, in order to be heard
over the din of imitators and playa-haters, you
learn that "The Loudest Voice," as the song by
Straitjacket suggests, gets you noticed. Socially
relevant and charged with emotion, these
Portland patriots teamed from the three C's: The
Clash, Cocksparrer and creativity; the songs on
this EP are great examples of well-played, well-
performed, sing-along punk that doesn't lose
it edge no matter how mqny times you hear it.
(Dead Rock Records, P.O. Box 42301 Portland OR
USA 97242).
Class dismissed — see you next time!D Night." by David Ellingson at AION
Five years and growing, this annual celebration of
artist-run culture is all about the art, the venues and
you. SWARM lays itself over the city like a map of
an alternate universe. You can treat it like a syllabus
or just wander, letting yourself be drawn by knots of
people or by light spilling onto a sidewalk.
What began as a single evening of simultaneous
exhibition openings in and around the Downtown
Eastside expanded last year to three nights, each
in a different neighbourhood. If you want the full -
meal, start in Mount Pleasant on Thursday Sptember
9. The North of Broadway area of Main Street has
been anchored for ever by the grunt gallery. Video
In and the Western Front, but in the last three years,
the number of indie event spaces has more than
tripled. So for one night, pretend that gentrification
will never happen and cruise them all.
Aion definitely attracts with a two-pronged
photo exhibition called Unveil the Night. David
Ellingsen's monochrome landscapes have a gentle
bleakness that makes you want to roll around
inside them, while his colour photographs of urban
night creatures are documentary in style, but look
fabulously art-directed. And do go that extra mile
(literally) to the Butchershop Gallery for Art & Crime:
TheBenefits of Lax Devilry. By the eleventh hour, no
one there had returned my call, so I won't pretend
to know anything about this group show, but its
fweaky title is a draw.
As yet, SWARM still feels most at home'where
it all began, and a visit to the DTES for the Gastown
portion on Friday September 10 is fairly essential. This
year's venues even include a gallery in International
Village (Tinseltown). How surreal is that?
Meanwhile, the comforting scruff of the streets
leads to familiar spaces like gachet, where ten
artists have collaborated for an alternative take
on public art in INTERVENTION: New genre Public
Art in the DTES. Ideas for infiltrating public spaces
with art that reflects the community's real struggles
and concerns will be on view both in and outside
the gallery. At the Kootenay School of Writing, text,
sound and visual art will, converge in The Writing is
on the Wal, as various poets open their throats in
readings of concrete poetry from the venerable bill
Nowhere is the sensation of living in layers and
walking among ghosts stronger than in parts of a
city which have been allowed to get old. If you
like that feeling, then Mark Pilon's East of Oola at
The Interurban would be one to see. The artist used
to run Moonbase, a Carrall Street gallery which
apparently occupied the former site of a 1920s joint
called the Oola Oola Cafe. Pilon's show explores the
neighbourhood "as a mysterious dreamland full of
odd stories and places".
Once again. Dynamo offers itself up as party
central. Music, food, quaff and an opportunity to
meet the studio's resident artists are good reasons
to be popping in and out during the evening.
The Yaletown circuit on Saturday September
11 includes two of the city's oldest artist-run centres,
Or and The Helen Pitt. At the former, Rhonda
Weppler and Trevor Mahovsky will show three full-
size aluminium casts of a Ford Escort. Aside from
possessing visual appeal, the sculptures suggest a
healthy disrespect for the automobile. By 9pm,
prepare to hit Cathedral Park for the return of
Mercury Theatre, an outdoor spectacle of live
improvised video and sound. This year's show will
feature over 20 artists and performers in ?The New
Barbarians? The significance of the question marks
may or may not become clear on the night.
And that's barely half of what's on offer.
Maps and a full list of venues are available from
participating galleries or online at www.paarc.ca/
swarm. By the way, all events are free. Be your own
cheap date. O   .
: "Flutter" by Fred Douglas at ACCESS
VIIA full-throttle mouth music
W    Sk Vancouver New Music Festival
(y| J 20 - 23 October 2004
..ncouv.r„.„m..ic Scotiabank Dance Centre
For those with a vocal fetish, Vancouver New Music's
annual festival focuses this year on the elastic potential
of the human voice. Featuring an eclectic mix of performers, the festival is a four-day showcase of sound-poetry,
free-improv, overtone singing, electronic experimentation
and video art.
Tickets $20/$15 for each evening at Zulu and
Ticketmaster 604.280.3311 or www.ticketmaster.ca
19 October 2004
Vogue Theatre 8:30 pm
Wed. 20
Paul Dutlon
Koichi Makigami
Artist chat*
Kate Hammett-
Vaughan & Ron
Samworth (Canada)
Paul Dutton
Artist chat*
Koichi Makigami
Thurs. 21
Viviane Houle &
Stefan Smulovitz
Artist chat*
Viviane Houle &
Stefan Smulovitz
Artist chat*
Cosmos (Ami
Yoshida & Sachiko
M (Japan)
Fri. 22
Idiolalla [D6 Boyko,
Christine Duncan &
Jean Martin] (Canada)
Sainkho Namtchylak
Artist chat*
Marguerite Witvoet
Artist chat*
Sainkho Namtchylak
Sat. 23
Amelia Cuni &
Werner Durand
"I can unflinchingly say that The Doers totally tick ass." • Brand X Media
Available in stores September 14th
4307 Mom Street
Vancouver, B.C.
I6041 708-9422
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Bilut Nowl Charmer CD Out tQ.5ML
Order online at jadetree.com
Distributed by FAB, Scratch, and Sonic Unyon
The New MESA LUNA     1926 West Broadway    604-733-5862    www.MesaLuna.com
Western Canada's Premiere Licensed and All Ages Concert Venue
and "Kitchen Always Open" Restaurant
Wednesday Sept 15th
Bedlam Society presents
The Comeback Kid
With guests
Blue Monday / Figure Four
Show time 8pm
Licensed & All Ages
Sunday Sept 19th
The Girls from Calgary Birthday
With special guests
Show time 9pm
Licensed & All Ages
Sunday Sept 26th
Fireball Productions presents
Show time 9pm
Licensed & All Ages
Thursday Sept 30th
Bedlam Society presents
From New York City, Legendary Punk rockers
H3f    Show time 8pm
Licensed & All Ages
Every Friday and Saturday come and
enjoy a great dinner and dance the
night away to Vancouver's Hottest
Salsa bands featuring La Clave /
Tropicana / BC Salsa Watch Out For the Little Girls Who Knit
(and sew)
(and screenprint)
(and form collectives...)
by Kat Siddle
/ In the basement of
43d W. Pender, hidden under the
Misanthropy Gallery and Fashion
Junkeez consignment clothing, The
Seamrippers Craft Collective has
created the best community space
you haven't been to.
For those of you who
haven't figured this out yet, crafting,
or "making stuff", as I like to call it,
is pretty much the best hobby ever.
What's more fun than throwing on a
CD, sitting on the floor, and creating
unique things for yourself and your
friends? But crafting can get both
expensive and frustrating if you
don't have the space or equipment
you want.
These irritations are the
Seamripper's raison d'etre. "When I
sewed at home, in my tiny bachelor
apartment," co-founder Georgie
Russell commiserates, "I had to clear
my entire kitchen table off, lay my
fabric on the floor to cut it out, and
eat dinner with my plate perched
half on my sewing machine. I can't
• screen print in my house. And
there's no community, no one to
work with or bounce ideas off of."
After she graduated
from Emily Carr, where there was
community and studio space
aplenty, Georgie found herself
discussing her lack of facilities
with friends and fellow grads. Last
summer their frustration came to a
head. "We decided we needed a
place to work and have meetings.
because we were sick of meeting
at peoples' houses and making
their roommates self-conscious. We
needed a space where we could
sew, and it would be great if other
people had access to it too." The
collective started looking for studio
space last summer. After realizing
that a thousand dollar monthly rent
was a little exorbitant for a bunch
of fine arts grads with no money,
they started fundraising by hosting
parties, raffles and bake sales,
and by working the local craft fair
Their current space in
the basement may lack natural
light, but it does have five sewing
machines (two are industrial, one
can sew through leather), a serger,
a loom, a huge cutting table,"
tons of counter space and even
more miscellaneous craft supplies.
They're in the process of setting up
screen printing equipment. Anyone
who wants to work on a project can
come in and use these resources for
the cost of a membership or a five
dollar drop-in fee. Just think—for
a measly five bucks you can finish
that pillowcase skirt you started last
year, and you don't need to invest
in a sewing machine. Plus, the
Seamrippers are full of advice and
,"At first the collective
didn't have a name," Georgie
recalls. "We thought that 'Sluts
and Crafts' was really funny, but
it wouldn't look very good on a
grant application." I don't know
where they came up with the
word Seamrippers, but it suits the
collective's passion for tearing up
people's preconceived notions
about crafts. Particularly the
one that equates crafting with
lameness. "It's exciting to subvert
the word "craft" because it's
got a bad name," Georgie says,
clearly remembering the scented
candles and handmade doilies
of a thousand craft fairs. "Craft
is responsible for some terrible
Georgie sees the
obvious tie between the punk-rock
DIY of making your own posters
and recording your own albums,
and the more disparaged DIY of
crafting. After her academic fine
arts experience, she's also aware
of the gendered "Arts" vs. "crafts"
debate: "Emily Carr wants to be
really progressive, and open, but
it's not. It's a total boys club. My
friends and I did a lot of textile work
[in school], and we really had to
fight to graduate [having done]
"I made these official
Seamrippers t-shirts that say 'watch
out for the little girls that knit' on
the front. That's a quote from Jean
Lurcat, who founded the Lausanne
Tapestry Biennial (an international
textile exhibition). He said that
in 1965, when he wouldn't allow
women into the exhibition, because
even in textiles, women made
crafts and men made art." (Crafty
boys take note: the Seamrippers
collective, unlike the Biennial, is
open to everybody.)
After a brief summer
hiatus, the Seamrippers are back
with a grand opening show and a
full calendar of workshops this fall.
Watch the pages of DiSCORDER
for their October schedule, which
will include workshops in screen .
printing, sewing, quilting technique,
book making, cyano typing, and
specific crafts for teens and lazy
people like myself who just want to
screen print their t-shirt without lots
of excessive learning.
The Seamrippers are full
of ambition for the future as well:
"One day, we hope to completely
rip off the idea of the bookmobile
[that traveling trailer full of zines and
indie-published boks], and tour in a
vehicle giving demos and talking to
people about crafte. I would love
to figure out how to give a screen
printing demo off the back of a van
in the middle of a parking lot." From
knitting circles to collective forming
to screen printing in parking lots ...
now that's something Lurcat never
thought to watch out for! D
Craft curious? Start here:
ripper@excite.com /604-689-SEAM
DiSCORDER likes Seamrippers' DIY action so much that we're giving them their own regular column to
share their brilliant crafty ideas with the lot of you.
An Embroidery Pattern and
Two Simple Stiches:
You will need:
-An image that you love        iiEIJ
.-An item  to  be embroidered   (clothing,  bag,
pillowcase, friend, etc.)
-Embroidery thread (available at fabric stores and
craft stores)
-Embroidery hoop (roughly the same size as your
-Needles   (with   an   eye   big   enough   for   the
embroidery thread)
-Scissors (every budding crafter should invest in a
good pair)
-Transparent   paper   (tracing   paper   is   thinner
but tissue paper is less brittle and easier to
First things first, find an image that you like and
want to wear. Keep it simple and graphic. If you
are just learning, choose something with lots of line
work as this will be the easiest to trace. You can
also include words with your image as the shape
of letters looks good worked in thread.   ',T5&3£$
Trace your image onto a thing transparent
paper. I prefer tissue paper as it is softer and easier
to remove, also it is more likely to be found lying
around my apartment. You may have trouble
seeing through the paper, ideally you can use
a light table. If you don't have access to one of
these (most of us don't), you can tape the tracing
paper to the image and hold it up to (or tape it to)
the nearest window.
This done, choose where you want to place it..
Non-stretchy fabrics are the easiest to use when
you first start out. I suggest a large flat area that
has easy access from the back. Denim works
. great: skirts, large bags, and the backs of jackets
allow you the most freedom of movement. If you
choose a delicate fabric, use fewer strands of
your thread and be careful not to pull too hard on
your stitches. Pin the pattern to the fabric using as
few pins as possible. Loosen the large circle of the
embroidery hoop and place it over the pattern,
on the right side of the fabric. Place the small
circle on the underside of the fabric and fit the two
together. Retighten the hoop. If the hoop is smaller
than the image it can be moved around as you
go. For small areas and fine detaiLyou may wish to
separate some of the strands from your thread.
Start the first stitch a few millimeters from the
beginning of a line. Work your first stitch backwards
to this point. Bring the needle through again, the
same distance in front of the first stitch as it is
long. Start each stitch at the point where the one
before it emerged. This is referred to by the rather
obvious name of the backstitch. Keep your stitch
length even and pull them tightly, even if this rips
the paper. Once you have finished outlining the
image, you may wish lo fill in certain small areas
of it. The Satin stitch is the simplest way to do this.
The stitches are placed side by side over the area.
The length of each stitch can be varied to fit within
the outline.
When you have completed the outline, properly
tie off your thread, reinsert the needle through
the backside of your last stitch and tie with a few
decent knots. Then begin removing the paper
pattern starting with the large areas of untouched
paper. If the fabric you are embroidering is very
delicate, you may wish to wet it first as this will
weaken the paper. Only do this if necessary as it
can be messy. With regular fabric, the stiches will
be'surprisingly durable, so remove as much paper
by hand as possible.
I personally find this process really satisfying.
Very small areas may have to be removed with
tweezers. By this time you should have revealed
enough of the image that you are filled with an
overwhelming sense of pride at what you can
accomplish on your own!
This project complete, you may be ready to try-
something else. These are some variations:
Other embroidery stitches create other visual
effects and textures. There are lots of really great
needlework books-out there, new and uses. I prefer
craft books from the '70s as the images are simple
and they can be found cheaply at yard sales
and thrift stores. You can also try the library, or the
Seamrippers Craft Centre has a steadily growing
reference collection.
If you are having trouble coming up with a
pattern or ideas, come to our space and talk to
some crafters. There are also websites like «www.
sub/i/nesf/fches.com» which offer pattern packs
for sale and an inspiring gallery of work. D
If you have further questions, have a great DIY
suggestion or want more information on fhe
Seamrippers Craft Collective don't hesitate to
contact us.
(604) 689-SEAM        seam_ripper@excite.com SCORPER,    SEPTEMBER'0 4
From Atlantis to the Sphinx: Rediscovering the Lost
Wisdom of the Ancient World
By Colin Wilson
Weiser Books
Disclosure: Colin Wilson is one of my favorite
authors in the alternative history/paranormal
investigation field. His books are always like
a journey, with twists and turns equal to the
ones his own process of discovery took before
he could bring it to the reader, but he always
comes home at the end and makes it all make
sense so you can see the big picture he's been
giving you piece by piece from page one. By
mirroring his process of discovery, you become
much more involved with, and excited by, the
journey yourself.
Wilson's journey begins with his investigation
of what starts out as curious evidence that the
Sphinx is over 12 000 years old, then moves
through the possibilities of a worldwide maritime
civilization even older than that. Next, it looks
at how old humanity really is in the present
form, and wonders how it is our consciousness
evolved over time, which brings us to questions
of left brain/right brain modes of thought and
how creative thought relates to shamanic-
phenomena. This eventually brings us back to
theories of how those giant blocks in the Sphinx
and Pyramids were really placed, before moving
back to look at our left brain world today. Wilson
also examines how it is the current popular view
From Jeffrey Brown's "Monday Nightmare" (D&Q
Showcase). Image Courtesy of Raincoast Books
of history we are taught in schools was formed
mostly around fitting evidence to theories rather
than theories to evidence.
Questions are raised about how we
dogmatize history and knowledge, as well as
the nature of knowledge in society, and how we
use it/are shaped by it. These issues, as Wilson
concludes, are really more important than the
age of the Sphinx.
It is this theme of different knowledge     Drake
systems and ways of seeing the world that he
returns to time and time again in his books. Lest
anyone seek to dismiss Wilson as just another
one of those crackpots vpth the crazy theories
about the Pyramids (I believe they're called
"Pyramidiots") I assure you this is one of the best
researched books I've ever read dealing with
Egypt, and that includes books written by the
official "experts". He isn't making any of this
up—he's just paying attention to what others
have ignored or swept under that rug. And in
the end, I agree with him that the issue of the
age of the Sphinx is just a lens through which to
evaluate our assumptions of how we came to
be us, and'not the main point of the discussion
as so many others have gotten hung up on.
The Top 500 Heavy Metal Albums of All Time
By Martin Popoff
ECW Press
First, a note: this list is ordered by means of
online votes. There, I have now saved you the
frustration of flipping through the book randomly
and having questions like "What? Nightwish
couldn't even crack 400 but Venom is number
50? What kind of idiot came up with this list?"
(Apparently a lot of them.)
Setting aside the basically useless ranking
system—everyone can guess that Metallica will
be-number one because they have more fans
than say, Mercyful Fate, and of course ranking
systems are arbitrary and subjective at the best
of times therefore quality is not reflected so much
as popularity—the real value of
this book is in the descriptive
paragraphs for each album and
for the snippets of interviews
with the rock stars who made
them. These provide a good
idea of the impact each album
made on the metal world in
various ways, how eqch album
sounds (always good to know
for those bands you've heard of
but never heard, if you want to
avoid $20 mistakes at the store)
and frequently humorous and
sarcastic commentary from the
authour. From the interviews
we get a sense of the creative
process at times, at other times
just the usual pompous rock
and roll swagger (check out
the Skid Row entries for this),
and sometimes just a sense that
they really are amazed and
humbled that anyone cares
anymore or has ever cared
about their work.
The real surprise here is how
broadly "heavy metal" is defined—there is
everything from Nine Inch Nails to Bon Jovi to
Nirvana as well as the more obvious names.
Pretty much every subgenre is represented, so
there is a bit of something for everything. The
only thing I dislike here—my "CDs to buy" list
just jumped in size. But at least it's for artists that
sound like they don't suck, based on the info in
this book.
«l     Drawn & Quarterly Showcase
(book 2)
(Featuring Jeffery Brown, Pentti
Otsamo and Erik De Graaf)
i£     Drawn and Quarterly
Ah, Drawn & Quarterly, how
I love you. Like a Neil Young
"'WAd        guitar solo in a Joe Satriani
world, you are truly the good
shit. For the uninitiated, D&Q
is a Montreal based publisher
featuring some of the best alternative
comics creators, (or "graphic novelists"
for the  pretentious)   from  around
the world. These are the people
responsible for bringing the likes of
Chester Brown, Seth, Julie Doucet and
Chris Ware to broader popularity and
acclaim. And a hearty "well done!"
to'them for that.   In this new annual
offshoot of their regular publication,
simply titled Showcase, three up and
coming and distinct artists are given
the opportunity to, yes, showcase and
develop their talents in a book instead
of their usual strip formats:
The book leads off with Finnish     —" '■"■■■   ■
artist Pentti Otsamo's -"Life During
Wartime". The story follows a boy named Jani as
he ventures out of his hew apartment building
to explore the 'hood. Mean kids, creepy
neighbours and dead animals ensue. The art
is rendered in blacks and beiges with simple
but evocative brushwork, vaguely reminiscent
of Seth, though less detailed. I'm not sure if
this is ridiculously North American of me, but it i
. feels a bit like a foreign film. It has that slightly
detached bemusement of a Scandinavian film
-with dialogue that reads like subtitles. I'm not
certain if there was a translation involved or-if
the dialogue was simply stilted and awkward on
purpose. In any case, the emotional tone of the
story is well carried in the characters' expressions,
showing that isolation, regret and misfit-ism (I
made that up!) never seem to change whether
you're a young boy or a grown man.
Next up is Chicagoan Jeffrey Brown's
"Monday Nightmare". At first glance, this seems
like it would be the least satisfying of the three
stories, with art that looks like it was scratched
out at work between customers on the back of
company memos. This in fact is one of its great
assets, bringing pace and immediacy to the
story and serving to teach me to never again
pre-judge a comic with a "flip-through". What
can I say, I was raised on Marvel, and old habits
are hard to shake. The tone of this piece is most ■
unusual as it darts from tension and horror to wry
and almost slapstick comedy panel by panel.
It tells of a couple of shipper-receivers who
suspect that-a weird truck driver may in fact
be something more insidious, along with some
rabid dog nightmares and unrequited love. I
dunno what's fully going on in Brown's mind, but
it's pretty damn cool and I wish this story were
longer. He's definitely made a fan of me.
Lastly, there's the Netherlands' Eric be Graaf
with "Game." Uh... conveniently rhymes with
"lame." Art and story are overly simplistic, if not •
annoyingly twee. I suspect he's capable of
better work, but having never read him before,
I've no comparison. Despite some lovely panels,
including an eloquent final image, it's an all too
predictable story of a boy on his grandparents'
farm realizing what happens to the cute and
delicious animals that he likes to visit with. Gee,
we all like bunnies, Whi-tey, but some of us prefer
them with peppercorns and a demi-glaze.
So hey, two out of three ain't bad, and
overall the high stanaards that D&Q have set
with previous releases are mostly met here.
More than enough that if you want to wet your
Things a
Woman Should
Do For Free^
Plus More Sexy
and Stdrfes Ii
comics-lovin' whistle with something outside of
the bulging tights fare, you've rarely got anything
finer to drink than the cool, crisp tastiness ever
on tap from the kids at D&Q. Enjoy!
Ross Smith
S.M.U.T. Magazine
Issue 2, Spring Fever 2004
CharltonBowers Inc.
I like sex. I like thinking ab&ut it, talking about
it, writing about it, and when I get the chance
(occasionally) I really, really like doing it. Since I
learned how to read, sex has been a favourite
literary subject, from childhood forays into
soft pornography (romance novels), to an
undergraduate voracity for gender-based
academic theory.
Thusly I was thrilled when a cherished friend
gave me a copy of this new Toronto-based
publication: S.M.U.T. Magazine.
The theme has potential, but S.M.U.T. fails
to live up to any possibilities. Originality is sorely
lacking; as is decent writing, and I think they
laid it out with MS Word. The magazine's biggest-
story is an interview with Peaches. Yes. she's rad,
but the market is a tad saturated on this one.
There are several pieces of erotica, which are
uniformly horrible. Jon Pressick's "Her Strap-On,
His Ass" is a self-congratulatory piece about
that alf-too-trendy topic in straight sex. Basically
what we learn from it is that there is a mate g-
spot, and Jon Pressick likes to get fucked by his
girlfriend. Good on ya, Jonny.
But the best of the worst is the abysmal poetry.
S.M.U.T. features two contributions by Shane
Allison, who "wishes his parents were Hollywood
stars and wishes he was born anywhere but
Florida." "Dudes" is a list of 38 of Shane's dearest
wishes, ranging from "I want a rectum you can
fly a rocket through," to "I want to puke cum
■ under plum trees," to "I want to get fist fucked
by midgets" and closing with "I want a husband
to come home to." Are we supposed to be
touched or something? Christ.
In conclusion, the editors must be either
really embarrassed or really stupid. Probably
the former. In any case, the magazine was
boring enough that I ended up spacing out and
daydreaming about my boyfriend, which made
me feel a tad frisky. So maybe they achieved
their aim after all. »   ■ ■
{/Sen cJLc
I'm gonna come right out and say it: I love these guys. The Doers
knows how to have a good time. The Doers knows how to get
wasted. But mostly importantly, the Doers knows how to entertain.
You'll be hard pressed to find any band that plays with more
intensity—they grab you as soon as their show starts and never let
The Doers formed in 2002 and consists of three-quarters of
the now defunct STATIONa, which was one of the most active and
well-recognized local bands since the late '90s. The three wiped
the clean slate, getting rid of their electric guitars and switching to
acoustics. This resulted in a new sound that was even more unique
than that of their previous band. Always keeping busy. The Doers
(along with Jesse Gander) is also the backup band for Joel and the
Last Of'The Neighbours.
With a new album coming out and a national tour in the
works, I sat down for a chat with Sean Maxey (guitar and vocals),
Barry Higginson (bass and vocals), and Jeff Sebastian (drums and
vocals) over a couple of beers. .
DISCORDER: Let's talk about the new CD. Ready, Set... Do.
Sean: Yeah, Red Cat's putting it out, they're the best record label in
the world.
Is it done?
Sean: Yes, it's ready to go.
How many songs are on it?
Sean: Seventeen.
Wow. Where did you record it?
Sean: We recorded the first twelve at Jesse Gander's studio, and the
last five is our EP with Mike Watt.
Barry: And that was recorded at Blue Wave Studios with pur friend
Sean: Yeah, it's two recordings on one.
What's the difference between Mike Watt stuff and the other stuff?
Sean: That's electric, and the other one is acoustic. And Mike Watt's
Are those all your songs though?
Sean: Yep.
Barry: Well, not my songs. Most of those songs were written when I
was in the hospital but we aren't going to talk about injuries.
What new knowledge did yOu gain from recording this CD?
Barry:.it's not the first recording we've made, so it wasn't exactly a
new experience. It was more like a development.
Sean: The new CD, the acoustic part of it, the one we did with Jesse,
is definitely more straight up. We did it all live, whereas with STATIONa
we spent a lot of time with production and layering.
What was the tint thing you did after recording?
Sean: Well, the first thing we did the day after recording with Mike
Watt was break up, 'cause the Watt stuff was essentially STATIONa.
We'd already formed The Doers but we'd played live with Watt as
STATIONa, which was how we ended up recording with him. The
day after we drove Watt to the airport, Chris, the guitar player for
STATIONa, said "Well, that's definitely that, 'cause it won't get better
than that." The day after the recording with Jesse we were pretty
hung over. We recorded that in about three hours, but we stayed
up really late after recording.
Three hours?
Sean: We recorded 19 songs in three hours. With all vocals live for
fhe whole thing, Kathy [Dube, from the Cinch] sang live.
Barry: And it was all in the tiny studio that was Rec-age Recorders.
Sean: Yeah, before Jesse moved to Hive.
Barry: It was pretty cramped. It was fun. My bass amp was in the
bathroom, next to the toilet.
Jeff: We tried to not pee on the cones.
You are happy with the recording then?
Sean: Yeah. Jesse's great.
Barry: We want to record with him again, especially since he's in his
new studio and his facilities are so much better.
Jeff: He just does a good job. Great guy to work with.
Barry: See, I figured that it's sure bet that our recording wouldn't
sound like any other Jesse recordings because we were playing
acoustic instruments. But now I know that if we were to play
electrically, it also wouldn't sound like any other recordings he's
done. Not just because we play differently then other bands, but
because he's very sensitive how differently bands play.
This b turning into a "we love Jesse" interview.
Barry: Well, it's true. I'm not scared of the fact that I love Jesse.
Sean: I don't know, maybe it represents how dumb we're getting.
Weil. I got nothing for the interview really. Joel said the other day,
"You guys are just getting dumber by the year." I can talk about
Jesse for another couple hours 'cause I got nothing else.
Oh, you got something. Let's talk about the upcoming tow.
Sean: Right now we have 29 dates confirmed, from Newfoundland
ond back.
How did you manage to get all those dates?
Sean: Dave [Gowans] helped us out with booking a bunch. We've
been really lucky. People in the Maritimes have been really sweet,
and there's a band out there called the Peter Parkers. They've been
great and a band called Contrived. They're out of Halifax. There's
a guy Mike who's in the band and he's booked a few shows for us
there and then there's a band One Candle Power from Montreal.
Our friend Nick from Lungbutter was booking for us for shows in
Where's the furthest you've played?
Sean: Newfoundland, with Joel and the A Minus a while back. It  .
was us three backing Joel up, before we became the Neighbours.
Didn't we play two shows in St. John's?
Barry: Yeah, because the first show at the Ship Inn sold out. This
woman who stayed behind after the gig told us that she worked
at another venue in town and that she would ask her boss if we
could play tomorrow evening. By four PM the next afternoon, we
got word that we could play, and that show was packed as well.
People that showed up said, "I was too tired from the weekend long
music festival to see your show last night, but I was so excited to
hear you're playing again tonight that I had to come out." Word of
mouth is everything there in St. John's. They're excited about music.
They're excited about anything coming to Newfoundland. You
know, unless you're evil.
So is Newfoundland the place you're most looking forward to going
back to?
Sean: No, for me it's Montreal.
Barry: We've never played a gig in Quebec.
Montreal is famous for charging bands to play. For example, they
charge you for the sound guy.
Sean: They are at Barfly. And you have to bring you own mikes and
stands and cables, I think.
Barry: What?! We're not bringing those things on the trip... The Pic
did that to us once too.        ; ^-fa3fjg|
Sean: Yes they did, and we'll leave it at that. So how do you feel
about the Cobalt closing?
I think it'll come back somewhere else.
Sean: But it's pretty tragic. That's the best place in Vancouver to
Barry: Hands down. *&&_t$M
Sean: And Wendy's the best person that puts shows together. It's
been our favorite place to play, even if we get spit on, and we'll
play shows and the crusty punks are yelling at us and spitting on
us and saying "Fuck You" because we play acoustic instruments.
But, you know, it doesn't take long 'til we win the hearts of all those
crusties. That's enjoyable. When we were playing in Winnipeg I had
to throw my guitar at Joel, 'cause we were getting told to fuck off.
Barry: First you threw a beer bottle and it missed Joel's head by like
a foot or something. And the people kind of enjoyed that. But they
kept heckling us and Sean just whipped his guitar across the stage.
And they were sold—they loved us afterwards.
Sean: And I picked it up and it was still in tune.
[At this point. Amy and Andrew from Red Cat Records show up at
our table]
Sean: We've invited our record label down tonight. [Laughs] Do you
have any more questions? We've beeninterviewing for a long time.
Let's us have one more good question.
Why don't I let the Red Cat guys ask one:
Andrew: What do you guys think of Dewar's Scotch?
Barry: It's a blended scotch, and it's actually very smooth for how
cheap it is. It's one of those great little secrets. Once it gets out
everyone's going to buy it and drive the price up.
Sean: That's our band's drink actually. Thank you for bring that up.
$23.95, that's what I think of it. D
lie Doers wi// be playing at the Railway Club September 10*
with WPP, The Winks, Dave Gowans and Amy Honey and Chad
MacQuarrie. Their, new CDs wit be available nation wide on
September 14m. ^^^i^$_^^^^^^^^W^ -V* -r '""ilkii
pf' '      '   ~*jJ$eJr           "^_\W^^»a__%-■•
-■ *V ■^^^7^ ■ i"'^^V*\.i^T?^
9     Emily Kendy
Nasty On Myth Number One: Their name comes from a reference
to a 19lh century book of torture. "That was one of the lies we made
up," says Nasty On singer/lyrist Jason Grimmer. "We basically came
up with the name really quickly. I liked the word 'on' and then
I picked the word nasty. Later, I was like, 'God, I can't believe I
picked the word nasty, it sounds like some sort of sexual reference!' '
I was embarrassed by it, so we started making things up, like, 'Oh it
was an old blues song...'"
At a table near the window of the Pubfic on Main Street, Grimmer,
guitarist Allen Forrister, and bassist Matthew Lyons wait for their
orders of chicken enchiladas. At long last, the band is ready
to come clean about what the hell they've been up to since
declaring nearly a year ago that a second album was in the works.
The Nasty On attracted attention right off the bat with 2000's
raucous, small-city-punk rock The Lester Bangs EP. "He reminds me
of my hash dealer when I was 15," says Grimmer, on the subject
of the infamously opinionated and drug-addled rock critic, whose
mug graces the cover of the record. He describes Bang's stream-of-
consciousness writing style as "drunken rambling you hear at three
AM. It's like listening to a rock album."
The band took things to the next level with CitySick, a mature and
professional debut album characterized by short, melodic punk
songs too cute to be abrasive. Macho-rock lyrics focus on that all-
too-familiar theme: boy ditching girl. Grimmer's rhythmic words rock
with resonance: "I wasn't nice/ well Jesus Christ/ take my advice/
dump me twice." The record consistently showcases the energy
they pour into their live shows, especially on Track 8, "Caan," with
it's fast paced, uninhibited hard rock and do-or-die punk attitude.
"We scrapped it," says Grimmer. "We did the same thing with the
first album. We had 18 songs, but we had a long time where we
weren't sure what we were going to do. Personal stuff came up."
Personal stuff that came up included the loss of drummer Chad
Mareels. "Once we did decide to continue with another drummer,
we decided to scrap everything we've done [so far]" says Grimmer.
Jason Solyom. the band's long-time producer, was a natural fit.
(Sadly, Jason couldn't make theinterview due to a party in Vegas.
How rock 'n' roll is that?!) But even with Solyom on board, the band
was still unsatisfied.
"[We're] heading for more of a classic, mid-tempo sound," says
Forrister. "I don't know about psychedelic, a little bit wilder." "More
groove," adds Grimmer. "[CitySick] was really fast, punk rock. I
liked it, but it was never anything I listened to." The band's musical
influences draw from old-school rock. From Budgie to MC5, early
Alice Cooper, Iggy and the Stooges, just about anything in the
Creem magazine scene of the 70s is appreciated. Ask them if they
like new music, and they cite Guided by Voices, or the Pixies. These
guys' roots are definitely in the past.
"A lot of bands these days decide they want to be in a genre or
something, and Emit themselves," says Forrister. "Guys back then
were making whatever was good. They knew how to play their
instruments, they knew how to write songs, you know. You can't say
that about Blink-182, really, like they're power chord bands who just
don't know that much." But they're kind of funny... "So?"
Grimmer sees a creative downswing as a product of today's pop-
culture. "Since the mid-'80s, bands have been able to rely on
visuals, as opposed to music, because of music videos, so therefore
songwriting took a back seat," he says. "It became easier to market
yourself." "It's Alice Cooper's fault," says Forrister. "No one looks
back and says 'Fuck those were great records,' except us. Everyone
says, 'Ah, he was a shock rocker.' But the Alice Cooper band had
the best songs around."
"Good art, songwriting, anything, it marks a place in time," says
Grimmer, before trailing off. The waitress appears with the food, and
polite thank-yous are uttered around the table. Damnl I think to
myself. If these guys want to be rock stars, they better start working
on their etiquette.
The Nasty On hail from all over Canada: Forrister is from
Saskatchewan, and Grimmer and Lyons are from St. Stephen, New
Brunswick. "Boring, blue collar," says Grimmer, of his hometown.
"Not much to do." "Little trees," says Matt. (Take note: this is the only
coherent sentence he manages throughout the interview. I give him
the full punk-rock stamp of approval.)
"There was no music scene [in St. Stephens]'," says Grimmer. On
the other hand, "Monkton, New Brunswick is one of the best cities
in Canada for music. Eric's Trip brought that to the attention to the
rest of North America. Having toured across Canada, for such a
small town there are so many good bands there, everyone is so into
Monkton, however, didn't offer quite enough for young Grimmer.
and in the mid-'90s he moved out west. Lyons soon followed and
eventually the pair hooked up with Forrister, unofficial spokesman
for their label. Stutter Records. The label supports other local bands
such as Video Tokyo, Notes From Underground, and until recently.
The Cinch, who have moved on to Dirtnap Records, out of Seattle.
I asked what the label is working on these days: "We don't know
what's going on with Notes from Underground," says Grimmer. "I
think they were a little disillusioned with their concept of what we
actually are," says Forrister. "We're basically just a marketing tool.
We don't have any money, but we'll help out with promo and stuff."
"One of the smartest things you can do when putting out an
independent label, is not to caH yourself independent," says
Grimmer of the idea behind the record label. "It looks better to be
supported by somebody. I mean, we've helped out bands, with
contacts, it's not fike we don't do anything. They are important to
us. The bands on the label are bands we love. We want to help
them, and hopefully they can go on to something better, Ike The
Cinch have, which is awesome."
The band has already begun to record their next album, and plan
to have it out by 2005. Grimmer is even willing to use the word
"romantic" in response to the query of theme.
"I don't mean romantic in a boy/girl love way," he says. "I
just mean sort of ah..." "In a French way?" offers Forrister.
As for the idea of starting aU over again, all they can do is shrug.
"It's natural for us to evolve and change." says Forrister. "None of
us have ever really been into one-dimensional bands that stay the
same, because what's the point of that? It's just kind of sad to scrap
an entire album in between records."
"That seems to be our habit though," says Grimmer. "We get exdted
after we do stuff, 'Hey look.at all these new songs we wrote!' But we
don't record them... In the '60s, in say Britain, people would put out
singles every month, and it sort of charted how they changed. You
can't do that now, it costs too much money. So therefore we get
tiredof the songs, and scrap them."
"The system benefits us," agrees Forrister. "I don't think we've
written that much bad material. We've written close to a 150 songs,
and recorded 80or 90 of them, and released what. 15 or 19 or
something." "But that's a good.thing." "Yeah," says Forrister. "You're
getting the cream of the crop, or you know, so we think." D KEfflE_^
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nominees, releafl||Rir new
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dmiplay andHWUa:
Start The Machine
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The first new album in over 4 years
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In Concert September 25 at
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In Concert September 24
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Downtown Vancouver: 556 Seymour Si. 687-5837
South Vancouven 732 SW Marine Drive 321-5112
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Burnaby: 4568 Kingsway 439-0223
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Downtown Nanaimo: 9 Commercial Street 753-3241  P4G30000018
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Deciding on a phone interview, after about twenty minutes of
fiddling, testing and failed attempts until I speak with two out of the
three members of Champion, Alberta in their native Edmonton. It's a
pipin' hot day in drummer Tim Rechner's apartment, and the sound
of heat-stricken breathing is heavy in the background as I converse
with him and Rob Wood (guitar, vocals). Jason Stronciski (keyboard,
synth, trumpet) sadly couldn't be there. Their debut album The Silk
Purse is indeed an alt-rock gem, but it's their live show that seduces
and sinks you in. I saw them as part of CJSR's Smilin' Jay's Canada
Day Party in Edmonton, and I stole the first question from Jay's
DISCORDER: I've heard Champion, Alberta be described as "a real
place, a way of life, and a belief." It's a little town south of Calgary
Tim Rechnen Yeah, I think it's close of Vulcan.
Rob Wood: Yeah, it's in the county of Vulcan, actually.
How is it a way of life?
Rob: It isn't, really. I think that was just something Smilin' Jay
invented; it's not a way of life at all.
Even so, what's the belief system, the philosophy of the band?
[Long pause]
Tim: Well, we like to play exciting music that's somewhat challenging
and innovative and not stuff that's been hashed out a thousand
times before... you wanna add something to that, Rob?
Rob: Holy shit, it's really hot here. We're not in the best interview
mode today. Actually, I dunno. Our belief system is that we believe
in what we do, we work really, really hard at it, and put in a lot
of hours. That's our form of... uh... I dunno what. All I can hear is
Tim breathing! No, we enjoy what we do. We've all seen enough
bands and heard enough; we know that there's a lot of crap out
there. We're trying not to add to that glut of music... that probably
wasn't the answer you were looking for.
You could have just told me that you were Buddhist or something.
Rob: No, there's nothing like that in the band at all.
Tim: No, we're not Buddhist.
Don't believe in karma?
Rob: No, I believe in karma. I think individually we do... I think it's a
little harder to believe in karma when you're from Edmonton than
when you're from Vancouver. There's a different system out here, a
different metaphysical system.
You used to be called The Tom Cruise Missile, but I heard you
changed it cause you thought he'd come down on you like the
hand of God. What's the reference in the name?
by Parmida Zarinkamar, aka Parmida Z.
Rob: Um, it was from a lawsuit. I'm
very liable to be misquoting here,
but it's a catch phrase that was
applied to the lawsuit. There was a
fellow named Keith Henson in the
states who was an anti-scientology
activist. He posted some jokes on
a Scientology newsgroup, that was
like, "I think all Scientologists should
be blown up with a Tom Cruise Missile"
[Tom Cruise is a huge Scientologist], So
they filed a lawsuit against him saying
that he was making terrorist threats
- this was years ago, .mind you, before
terrorism became what it is today, which is fear-mongering - but
it turns out he was a Vietnam vet who had an encyclopedic
knowledge of how to construct explosive devises.
So they said that on the grounds that he actually could construct
a missile, he is genuinely threatening. Because they're all really
good lawyers, he didn't have the money to defend himself. So he
fled the country and sought political asylum in Canada. So that's
basically where the name came from. I thought it was funny; why
not try to get sued by the most litigious people on the planet? Tom
Cruise is, well, pretty lawsuit happy.
Now, Tim, you knew Luke Meat [CiTR Music Director, host of Anoize]
from back in the day. And he tells me that you used to drink pure
syrup Big Gulpsl Pure syrup! Defend yourself I
Tim: I gotta say that's not true! See, Luke knew my brother Chris,
they were at school together in junior high and, I think, high school.
He might be thinking of my other brother, who was a big Big Gulp
fanatic. So that could be it. I never really knew Luke in school, I
just knew of him, cause my older brother was kind of my hero so I
knew all his friends. I never really fiked Big Gulps...
Luke and your brother used to be in a theatre sports team together
called "Gary,'' and they were Alberta champions!
Rob: Really?
Tim: Yeah, I'm sure that's true, cause they're both pretty dramatic
guys. My friend Curtis kept telling me that he kept running into
Luke, so I knew he was out there, and I think I saw him in the
Kingsgate Mall about a year and a half ago. I didn't actually
meet him until we played at The Cobalt on May 1". It was quite a
coincidence that he was pumping up our band to a lot of DJs out
there, 'cause he didn't know us.
He wasl He turned me on to you guys. He told me that you sounded
like The Smiths, which was totally untrue!
ffhey laugh]
Tim: We don't sound like The Smiths at all!
Yeah, but he knew that that would make me listen to you...
Tim: Ha, right. Well, CiTR has now done more promotion and
publicity and has given us a lot more help than anybody in
Edmonton, so we definitely appreciate it.
Good, we can take the lead. Than you can give us props when
you're big!
Tim: Yeah, definitely...
Rob: Yeah, when...
You're live show is really quite entertaining. When I saw you guys
play, you were wearing matching plastic protection suits and Dims
in the background, b this a regular thing?
Tim: That was the first time we've worn the suits, but we do have
a tradition (we've been playing shows for about two years) of
using different visual artists to project things. But they keep moving
away, as it happens with a lot of creative people in Alberta. We
strive to provide an extra visual dimension to our show. Not to
distract people from the quality of the show or anything, but to
make a more complete experience.
So these artists are Just friends of yours?
Tim: Yeah, in general, they're friends of ours, and they're also very
talented local artists.
Rob: It's a good way of helping them, they don't have a lot of
avenues to get their art out into the community. Because in
Edmonton, everybody's in a band and it's the art form here, but
there's lots of people working hard in lots of different disciplines.
Tim: The music scene is thriving here, it's a good city for theatre. I'm
a painter and I'm quite serious about it. It's not the best place for
visual artists, there are not enough venues. There's a small, tight-
knit film community but it's nothing like Vancouver.
The isolation is good for the scene, isn't it? What else is there to do
but go see a show.
Rob: The funny thing is that it spoils you a little bit. In Edmonton,
there's so many people going to shows all the time... well, it's not
mandatory attendance, but everyone sort of has to go support it.
But Edmonton is getting big enough that there can be more than
one show on one night, and it didn't used to be like that.
Tim: Way better quality, too.
OK, If I can get a bit cheesy to end off here, I'd like you to
"champion Alberta" and tell me what you love and hate about the
Tim: I hate the general political consensus.
Rob: Yeah, that's the worst part.
Tim: The whole west has this problem, but I find it totally,
embarrassing that all but two seats federally elected are
Conservative, a party that has no platform for the arts.
Rob: I hate just how suburban Alberta is. I mean, Edmonton is a
disgusting, disgusting mess of a city. It's gross. Someone went
crazy with the light industrial zoning, and that's what we've got.
The architecture is the second worst thing here, along with the
suburban mentality. I'd say the third most disgusting thing is the
weather. So it goes political, architectural, meteorological, in that
Um, well, there's the nice sunsets.
Tim: Yeah, totally, on the positive side, there are nice sunsets. And as
far as "the big fish in a small sea" thing, there are benefits to that
as a visual artist. Getting funding from the government or publicity,
or whatever. You can kind of shine here. Whereas, if you're in New
York, there's a thousand bands and a thousand artists, so good
luck getting attention.
Rob: Yeah, this is a nice place to live. I'm comfortable here, it
doesn't take a long time to get to work, and it's an excellent
place for musicians to live. It's gonna get better, when you think
that Edmonton's only a hundred years old, there's no culture. It'll
get better. D
http://www.sequentialrandom'ist.org/champ'ionalberta/ m
wwr iRf m mm nm
fig. 1.1
fig. 2.
fig. 3.1
fig. 4.1
A. An epic pixilated journey across America, with settlers and oxen
rendered in black-and-amber, or black-and-green. From the days
when floppy disks were actually floppy, (figure 1.1)
B. "Whoops! That disemboweled corpse left quite a trail when you
dragged it down the stairs. Next time, be more careful." (Fig. 2.1)
C. Fan following of disaffected, '80sHnspired local band. Produces
pictures much like (Fig. 3.1)
D. Local band involving 8-track speaker-tc-speaker recordings,
hobo banjo, rawkin' guitar, eerie glockenspiel and octopus drum
beats. (Fig.4.1)
Correct answer D. But you, gentle reader, can be excused for not
knowing the answer to this question. The Organ Trail is one of those
bands that won't appear in the Straight, or even Terminal City. They
don't have a record deal, or a website. They don't have a demo
on Local Kids Make Good or a video on Zed. In fact, you may not
even hear their name again until next year. But hey, if it wasn't for
unknown amateurs, there'd be no rock stars at all. Imagine that
bleak existence! Just consider us ahead of the game on this one.
And congratulate yourself for being one of the first to know about
The Organ Trail.
DiSCORDER: Why don't you introduce yourselves and tell me what
you play (er what you mostly play or what you could possibly
play) in The Organ Trail.
Darren: I'm Darren and I play the guitar - the acoustic guitar - and
the drums and the organ.
Jeska: I'm Jeska Slater and I play the organ, actually scratch that,
I rock the organ [laughs] and the harmonica and drums and
glockenspiel... oh and jaw harp! I also hum. No one can hear me
but I swear it adds something!
Jess: I'm Jess and I plunk away on a banjo and play some
glockenspiel and harmonica and I'm sure that one day I wilt play
guitar too.
Darren: When I'm kicked out of the band.
Alissa: I'm Alissa and I mainly play the drums...
Jeska: The sex drums!
Jess: The pulsing beats.
Alissa: And "play" is the keyword there 'cause I don't know what
I'm doing at all; I've never played drums before and I don't play
except for when we practice! My mom has a drum kit so I'm like,
"I'll be the drummer! I have drums!" I play guitar in a couple songs
and that's about all!
So how important is improv to The Organ Trail?
Jess: It's everything. It's how we've written every song.
Darren: It's our mandate.
Jeska: We had to actually stop improv-ing at one point because
we'd come up with so many amazing songs in one jam session
that we'd have to say, "Okay, stop it now!" We have to practice
what we've written 'cause we want to play a show one day but it
just keeps coming out! We can't stop it.
Where did your name come from?
Alissa: We weren't even a band before the name was born.
[Jeska's] friend was like, "Organ Trail! Yeahl You guys should start a
Jess: 'Cause she bought an organ for thirty dollars at Value Village.
Jeska: Which was the best goddamn name we ever heard! Don't
you remember Oregon Trail?! You'd type in your teachers' names
and make them die of typhoid, you know? You lost popularity
based on how often your name died!
Darren: [disbelieving] You put your teacher's name on the thing so
you wouldn't have to die?
(don't remember the game so much, so I looked it up before the
interview. Anyways, I learned that If you type in 'superman', you
can't die; you could get really sick but you can never diel
[gasps all around]
Jeska: Yeah, it was all DOS commands—it was great. S-H-O-O-T!
Wed, two of you are off to explore new lands... will The Organ Trail
continue when you get back?
Jess: I think we'll pick up when we get back. I come back March.
Jeska: These ladies are going on a huge journey, they're pioneering
to different lands and they will come back with many stories to tell.
Jess is going to Africa... what do they play over there?
Jess: I'll bring home a new wacky Instrument, probably sorhe weird
udu or something... ;
Jeska: Alissa is going to Korea...
Jess: The long and short of it, we will play again.
Darren: We'H have a going-away show and then the reunion tour...
Why do you use sampled vocals, instead of singing them
Jeska: It's a visual thing! I find I would rather people just get this
really vague, all-encompassing feeling about the Oregon Trail than
it be some specific thing, narrowed down by lyrics!
Alissa: Plus, we don't want to have a singer where people are just
watching the singer, like "Oh! The singer!" like that's the main
thing... we're all equal!
Jess: And trying to figure out what to write about even just seems
like such a headache...
Do you switch Instruments during the show to maintain that there is
no focus on any one person in the band?
Jess: It's totally part of the organic process again. And because
none of us realty know how to play anything, we can play
everything! D
Well. Afissa and Jess are currently pioneering in other lands, so look
out for the reappearance of The Organ Trail in 2005. But until then,
check out: http:lljesshHI.ca/organ_trail.html Trey Spruance and Naben Wank Over the Phone
Trey Spruance is an interviewer's dream, a guy who will goes on
all sorts of fascinating tangents given a decent starting point. This
interview sprawls all over the place, so I'll give you some pointers to
help you navigate: Secret Chiefs Three is the project we're discussing,
the band Spruance started while on hiatus from the great Mr. Bungle.
Sadly, as time goes on, that hiatus seems to be looking more and
more permanent. Spruance writes everything in the Chiefs, assigning
parts to mercenary musicians like Bungle's Danny Helferz, Cephalic
Carnage's John Merryman, and Seattle avant-garde string player
Eyvind Kang. The complete list of collaborators is huge, but there's
no room here to reprint the liner notes of their four studio albums.
The latest record. Book of Horizons, was released on Spruance's own
Web of Mimcry label. It's their best album, maintaining cohesion as it
moves from dramatic instrumentais through jagged death metal to
lovely choir arrangements.
Book of Horizons is strangely laid out: the tracks are split into six
sections: "Forms," "Ishraqiyun," "Traditionalists," "The Electromagnetic
Azoth," "Holy Vehm," and "UR." Each section has a different thematic
and musical approach, resulting in an album that remains both
challenging and extremely listenable. Spruance's philosophy has a lot
do with the complexity of the music, and this interview confirmed my
suspicions that the record has more to with concentration and depth
than with fun and experimentation.
Could you explain the process of writing and recording one of these
songs? Did you transcribe parts onto sheet music for all the different
players in different locations you were using on a particular track,
knowing what the end product you were going for was? Did you
write a bunch of individual parts that you ended up assembling into
longer pieces of music in the studio?
What, you just said, "transcribe parts onto sheet music for all the
different players in different locations you were using on a particular
track, knowing what the end product you were going for was",
although only for the readers, applies to most of the record. Even
when people weren't reading I would teach them their parts one
way or another. For instance, all the stacks of overdubs for the choir
parts handled by Jesse Quattro I would lay out on a fake choir
sound, and then sing the inside parts for her. She'd learn it, and
we'd do five to seven tracks of her doing just one line of anywhere
between two to six part harmony, and then move on to the next
line & tackle that with five to seven more tracks. At the end of this
process I'd usually narrow her "choir" down to two or four tracks.
There's about zero creative freedom, which, thank God, some
people have the patience to deal with. Timb Harris and Jesse were
my main ensemble heroes. Timb's getting to where not only do I not
have to wrffe-lt out for him, I can get away with stacking parts on the
-   % wflh him. Eyvind's been doing a bunch of this kind of work up in
Seattle too. For intricate, detailed, dense stuff I'll still write it out. And
specific melodic parts like "Ishraqiyun" are monophontc and are
very nuance'drsoAYe have to sit and play those for a long time. It's
Ike that with everyone. But for these big huge sweeping stringscapes
with eight parts, Timb will just look at a MIDI file or I'D single out all the
Ines by ear one by one and we just go.
The other part of yourqoestion, the "bunch of individual parts
that you ended up assembfing into longer pieces of music ferthekr
studio" part appliesibhfje "Becfromagnetic Azoth" in its skeletal
stage. After it was pretty much arranged according to parts I'd
made ghost versions of, or had made up based on something
like the crazy assed shit I got Shahzad to do on the mridangam
[a percussion instrument], which were based on cut up stuff that
made no sense, and that he somehow managed to play perfectly,
I brought in the remaining musicians for overdubs. The Holy Vehm
was similar in construction. But I had more of an idea at the outset
of what I wanted to do "riff" wise, and just needed certain kinds of
drum parts - a broad selection delivered expertly by the madman
John Merryman.
If you really want to know the writing and recording process we'd
have to go song by song, or at least "band by band", because
there are huge differences of approach involved. But I appreciate
this kind of question a lot.
Does doing virtually all the writing and most of the studio work on
this project make Secret Chiefs Three seem like less of a "real
band" when you play live? Speaking of which, are there plans for
a tour, and how are you going to replicate these sounds in a live
environment? Who's going be in the touring band?
Yes, definitely at first there is an adjustment. But, as you can hear on
our live album "Eyes of Flesh, Eyes of Flame," it does become quite
band-like sometimes. I like that a lot. There have been moments of
SC3 live shows that were the most connected musical experiences
I've ever had. It can be lofty or low, depending. This is part of how
I justified actually splitting them up into separate bands in the real
world, basing that on this whole elaborate scheme I started laying
out forever ago. The whole aim is to get these ensembles to take
root as real bands, because the musicians bring so much more to
the music if they are really involved in it, and start writing for it. My
plan is to do a splashdown Secret Chiefs 3 tour with a bunch af the
bands - it will be a tall order, and a logistical/financial nightmare,
but I'll make it happen, goddammit. And then take them out as
commando units after that. We'll start this on the back of the next
release in.spring. I decided to just go for it, and not screw around
.   with a smaller tour. You only live once.
So it's a process, to say the least. I want people to watch the formation
of something from nothing. In my opinion, the transition from Idea to
Form to actual tangible reality is the greatest story ever told.
Your book on the process of recording Mr. Bungle's California is still
in the works. Secret Chiefs Three works with a far smaller budget
and less studio resources - have advances in digital recording
technology compensated for these losses? In other words, are you
able to record this material the way you want to?
Smaller budget indeed. $1200 as compared to $225,000. Yes, those
advances have helped - because I track in the hundreds. California
was crazy. I'm doing way crazier things than that now, but it feels
like I'm cheating. Equipment-wise all you need is one, maybe two
mic-pres, three mics, some cool old reverbs and tape delays and a
supercomputer, and you rule the universe. I simply don't understand
the "pro-sumer" market that has people buying 32 channels of
in/out when they don't even have a mixing board. Jesus, save the
money and pay a studio for a day or two to run your shit through
their board at the end. And track your drums at a real studio...
people need to stop being so proud of their stupid equipment and
get with the program. Good mic, good pre, good computer, good
ecKS>.^re astudio at IheL^egjnniajMgnd end, done. If you can afford
2" 16 track, there's nothing better. But I track in the hundreds of •
tracks on a daily basis, so past doing the drums and bass I won't
be killing myself for not using pure analog. Purists who weren't and
never wima&involved in an analog production on the scale of
Cafifornia can think what they want. For me now the game is about
finding the right way to interface with a real board.
There are a lot of audible influences in Secret Chiefs Three besides
Middle Eastern music, but that's arguably the predominant one. Can
you give a few reasons why you're so fascinated with this kind of
music? Maybe some artists for further study?
It's not Middle Eastern, r.d. Burman, the Indian film composer has
been a big huge influence. Also Ananda Shankar. I've learned a lot
about instrumentation and production from his records. I've noticed
a lot of people cqfling theJExodus cover we do a "Morricone"
sounding song. It could be general ignorance, and not knowing
Ernest Gold from Jerry Goldsmith. Maybe the one film composer
whose name people know is Morricone. I love Morricone, of course.
HonestV, Iihlnk.at.lec3tfltbst«f thehTfluence I derive from him was
arrived at second hand through people like RD Burman. It becomes
confusing: is it film music that this sounds like? So that makes it
Morricone-esque? Or are the film elements influenced by Hindi films? »'
Or weirder, Hindi film composers influenced heavily by Morricone?
No one has answers to these questions, least of all me.
As far as Middle Eastern music, a lot of time I think it's really just
something I made up in my head, because a lot of it is really weird
to an Arabic person -weirder than it is to you and me. The only
music I've studied besides Western music is Persian music, and that
has been on a theoretical level mainly. The philosophical dimensions
to Persian music are just staggering. It's possible that it's entering in
there on some level, but I don't even really know how to play Persian
songs. I have my own weird interpretation of this same music theory,
that's nowhere near as interesting and refined as Persian traditional
music itself.
It's nice to be understood, that's for sure. Any artist who tells you he
doesn't care if anyone understands him is a liar. I should know... you
can't imagine how frustrating it could potentially get if I didn't have
a good sense of humour. I would love it if people could understand
what (do more easily. Believe me, I'm trying as hard as I can to
make my work presentable. I feel a little better now that there are
at least a few people who have stepped forward who clearly have
been hit by the same material in their own right. And they agree
that there isn't really any way to streamline it more than I have
already done. I'm happy to be sharing a powerful experience with
these people... and with others, whatever the hell it is they're getting
from it.
<5ftfee €xwujan& eMse* SB utaa a teenage,
. of other luminaries that include Eyvind Kang and Billy Anderson...
quite a few interesting people involved. It's like Doom Metal from an
old Western.
What are some of the near-future plans of your Web of Mimicry label?
Releasing The Youngs, a great band from Seattle with Tim Young
and his wife Eryn, the new Sleepytime Gorilla Museum in October
(coincicBng with their tour), and a release by a bleak, beautiful,
tragic and tropicalia-tinged band called Brazzaville. Tons of stuff...
I'm also producing a band called the Tuna Helpers as we speak.
Are there still plans to release two new Secret Chiefs album within the
next year?
Spring '05!! Etch it in stone!! D
The symbolism in your packaging alone suggests a philosophical /
theoretical approach to the Secret Chiefs Three project. The Book of
Horizons package apparently took a year to complete, owing to the
difficulty of the concepts you wanted to communicate. Now, a crib
sheet of sorts to the obscure references you're making with these
images would be nice, but I'm not going to ask you to provide one'
What I will ask is if these ideas and concepts affected the actual
composition of the music, or whether they were applied afterwards.
On Book of Horizons the music is derived from those ideas. On the
Second Grand Constitution and before there was some selective    S
grafting and artificial pasting of ideas over existing material, to
be sure. Slowly but surely my interest in this philosophical stuff has
completely overtaken nearly all of my creative impulses. I suppose I
could be denigrated as operating in the realm of escapist fantasy,
but escapist from what? It's not like these things bring "happiness."
But the imagination serves as an essential piece in the puzzle of the
sacred, and that's part of what holds my attention to these so-called
"concepts." I wonder about artists sometimes. Anyone who is serious
about knowing anything other than "happiness," or the faux-humiity
of "bom, fuck, die" resignations to street-level nihilism will have to
face some transformative experiences. This I have done and will
continue to do, and thus win continue indefinitely to have material
as a byproduct!
Are there any elements of this latest record that you were dissatisfied
I should have written Jesse Quattro where it says Jesse Greere, which
is spelled wrong. I also spelled John Merryman wrong. Me and my
spelling... fucking try to chart the cosmos and can't even speB youf
friend's names right. Other than that, BoH is what it was supposed to
be, otherwise I wouldn't have put it out.
Why was Trevor Dunn absent? Too busy?
Yeah, he lives in NY now. Someone said he "quit" the band. Not that
there was any band to quit, but there might very wet have been. I
wouldn't know. I'd like to see Trevor sometime. We haven't spoken
in ages.
The Inevitable.... will Mr. Bungle ever play again?
Maybe once Mr. Bungle stops getting prayed we would be able to
play again.
Could you tell me more about the doom-metal project you're working
On right now? You mentioned you'd be playing Vancouver soon. I'd
love to have a show-date on that.
It's called Asva, and has Brad from Burning Witch and Stuart from
SunnO))) and Burning Witch, as well as freak John Schuler and a cast   #*
How many times have you read, in this very magazine alone,
someone describing the Vancouver music scene as apathetic and
Vancouver's scene, ike that of many other large metropoli,
lacks something that the smaller, more isolated cities ike Victoria,
Calgary, Winnipeg, and Halifax hold as their greatest asset: a
tight and supportive crowd of music fans and musicians; a large
community rather than a series of networks. There are so many
shows, how does one attend them all? Or keep up? Or even care?
It becomes more about choosing certain bands and venues you
dig, which leaves you knowing only a bit of what's going on in the
Enter solution: the internet. Yes, that tool that revolutionized
the indie industry, allowing bands more independence than ever
through accessibility; bands are able to reach the people directly
with their sites. Sljl^fiplt
Live Music Vancouver (aka LMV, www.livemusicvancouver.
com) is the next step in the evolution of the indie community. It's
guerrilla; it's power to the people. LVM is a free tool to be used
by all interested in local music, a means of connecting the music
community from every genre, every group. It's a database of
everything related to local music in Vancouver where ALL the
content is submitted by its users. Only one of a group of localized
websites stemming from a central database of live music show
listings, it offers a wealth of resources, including musician and band
profiles, online audio distribution, and a means of networking for
music lovers through the message board. It enables people to find
historical info on bands and bars, learn about upcoming shows,
past shows, website links, contact info, and bios. In true indie style,
musicians/labels/promoters/anything related to music can be
promoted for free. People get hooked up. Get involved. Spread
the word.
DiSCORDER played email tag with Nev Gibson, a musician
(sax in Victoria ska outfit One Drop) and the original creator/
visionary/genius and webmaster of the initial site livevictoria.
com. Also known as LiveVic, it acts as a model and partner to the
Vancouver site. Our main subject, however, is Sati Muthanna, the
LVM head honcho, with whom we mused on the Vancouver site on'
its one year anniversary.
DiSCORDER: When and how did livevictoria.com begin?
Sati: LiveVic was started as a hobby by Nev Gibson in 2001, while he
was in university studying computer programming. I believe he just
did it to figure out if he
could, and to entertain
his friends. It grew from
there, mostly through
friends, and then the punk
rock scene, which he used
as a test audience... and still
How has the site in Victoria been
Sali: It seems to have provided a
means for their music community
to stay connected, to find one
another, and for young and old
to get (back) into the music scene ' .; ?Z
without feeling self-conscious about their
age or level of ability or experience. It's provided a
voice for fans, and a place to see and be seen. Those not yet in
the loop can familiarize themselves with what's outside their doors
before they venture out. They can meet other music lovers online
and then see them at shows.
Nev: Livevictoria.com has been successful in many ways. We
have a large audience of people who come to the site for show
info. On a good day, we' II get 1000 visits to the site. The listings
are maintained almost entirely by the bands and promoters
themselves because they have really embraced the value of the
site. The most remarkable success, I would say, is the ability to
~~ bring musicians together. I have a friend who had stopped playing
music after she had a baby. She hadn't played with anyone in
almost two years when she listed herself in our musician's directory.
Within a couple of weeks she was jamming three nights a week
with three different bands. I've talked to many bands that formed
through the site Ond many that credit LiveVic as the main reason
they get shows. Additionally, the gear "buy and sell" section on the
message board has been hugely successful. I've known people to
sell guitars or other musical instruments in a matter of hours.
How has the Victoria site successfully built a community?
Nev: Victoria has really embraced the site. If you go downtown
and walk around looking at the posters on the poles you will see
that almost half of the posters up there mention livevictoria.com.
This is not a result of promo exchanges or sponsorship, it's just the
promoters and bands realizing that the site is good for the music
scene in Victoria and thus good for them. It's reinforced the
notion that even though promoters and bands may be in a way
competing against one another, we're all on the same side. When
a show does badly, it hurts everyone.
The other way it has built a community is through the message
board. After a show people will go on the message board and
post a review and discuss the show. They'll talk about funny
things that happened at the show, share pictures. Just generally
contribute and be part of the scene. When someone has
questions about planning a show, or about recording, or gear, or
finding a good teacher etc, they can ask on the message board.
In general, the community is really supportive with lots of good
[advice] and answers.
What are its faults?
Sati: You tell us. We're DYING for someone to tell us! Because
it's a different concept from everything else out there, people
in Vancouver don't understand yet that we're not loading up
material and editorializing for them. All the content is loaded by
the users of the site.
And we have so many features that people aren't aware of! It
takes time to dig around and discover what's there. And lately
we've been too concerned with providing services, rather than
making sure that the site is sustainable. We're running it from the
standpoint of music advocates and music lovers, not business
people. People tell us that we're providing too much for nothing,
but all we ask is that the site be supported, just by people using
it. There are no catches. But people in Vancouver don't seem to
take something like that seriously, since they're usually suspicious of
deadbeat musicians!
Nev: Despite the wide variety of people that check out the
[LiveVic] site, the message board has been somewhat dominated
by the metai community. Not that there is anything wrong with
that scene, but I would like to see more balance and variety. I
want the site to be a place where any musician, regardless of age
or stylistic preference, can feel comfortable. I think that sometimes
people will go to the site, and based on the message board, think
that the site isn't really for them...which is a shame because it is, of
course, for everyone.
(Now solely addressing Sati) How and when did
livemusicvancouver.com start?
Around September 2003, Nev came over to Vancouver. We met up
and found that we were on the same wavelength with regards
to the types of tools and services we wanted to see made
available for our respective music communities. I was already T>! S C O RDE tmm EPTEMBER'04
a fan of the Victoria site and we just hit it off. I've had a bit of a
festival background, so I've always been frustrated at the lack
of up-to-date info on how to contact bands, promoters, and
everyone else in the music community. I think that there has to be
a central place which introdueejHhe public to a diverse range of
Vancouver music choices.
What would you say is its function? If you were to write a manifesto,
publicly declaring the intentions, motives, or views of the site, what
would it say?
The site is designed with the intent that we harness the wealth of
info that each and every fan possesses (that means YOU, CiTR
& DiSCORDER music geeks!), and share it with others. As for
the manifesto, Nev and I. share the view that making services
available, accessible, free or cheap to artists is important. We
believe that supporting one another from within our
scene is the only way that our scene will develop
into a powerhouse on the world stage.
Besides the obvious and numerous features, what
else does it offer?
We're not dependent on a select few for their elitist
take on what's happening and what's important.
Because the site is continually updated by its
users, this site has the potential io become a more
relevant source for music news than the avenues on
which we normally depend. The "editorial" content
(on message boards) might not be as trusted
it's loaded by unscreened users, but you can
bet it'll be much more balanced. You can
then decide for yourself what to believe.
I see this site helping to develop a
generation of casual promoters, i.e.
fans taking control! Fans can take
matters into their own hands if
they feel that deserving
is not being noticed by the
powers that be. If a band feels
at a loss because they're
lacking in the social graces,
business acumer
the self esteem it takes
to shamelessly promote
themselves, fans can help
provide, we're making our way. It's really encouraging when
people recognize that just by choosing to host their website,
they're helping us. They'd rather have their cash go back
into something that's supporting their local community, which
eventually comes back to them.
Who has been supporting it so far?
Promoters... promoters coming in all shapes and sizes: actual
promoters, bands self-promoting, fans getting involved (which
is the most encouraging part). Every day I'm getting calls from
people wanting to see how they can get involved. Luckily the
site is self-sufficient, because there are actually too many people
on the site for me to keep up with. The ones
supporting us now are the ones who really
do have their ear to the ground; they're the
most important because they're the ones
ensuring that our scene's moving. We're
just expecting that all the companies/
organizations who claim to be supporters
of local music will
provide us
What faults do you see in the Vancouver music scene?
Well, the lack of bodies in the Cobalt, which a lot of people-agree
was one of this city's favourite bars! It'd be nice if people
would realize that even if you can't provide support, you can
at least spread the word so that others who have the means
can. People tend to keep their favourite hangouts secret. Sure,
they remain cool and elite, but that's not sustainable. And when
I see apathy and coolness in people, it's scary! I've learned
that that's what's kept us down thus far! People at shows who
just stand there and idly watch drive me crazy! They don't get
involved or contribute -1 mean, its LIVE music! The musicians
are feeding off you. Screw Vancouver coolness! Another thing .
which really irks me is promoters who don't work in tandem - our
crowds are currently too small to risk booking competing shows.
And bands not taking the initiative to promote themselves really
bug me. They leave it to the bar to do and depend on the bar's
regulars and then bitch. And separate cliques developing within
genres that don't draw together and support one
another as a united force.
You've talked in the past about targeting the youth... why and how? -
Kids generally have more computer access and are more
computer literate. They're anxious to get involved and learn
how things work, so that they can prepare to become a
part of the scene. I figure we put 'em to work! If you
want to help your favourite bands or promoters, let
me know and you conjoin our (informal) network
of volunteers! Let me know what you're into
and I'll hook you up!
I say we train 'em early. I'm so hyped about
all ages spaces because they can
witness the interaction between
and fans. We can show
them how musicians need their
support in order to put on a really
great show. And show
them how bands
these sites
becoming a historical
archive of the goings-on
related to music in our city.
People are already loading
their band histories, past musical
projects, and past tours into the
database. It's important that all
this info be preserved. Even if bands
don't currently have profiles, if they've
- played shows which have been already
loaded into the site, they're already in our
database...waiting to come to light!
LVM is a way to give formal recognition and
exposure to who and what we have here in
Vancouver. What we're doing now deserves to be seen
as making a significant and lasting impression. It'll hopefully
make us [the. people of the Vancouver music scene] take
ourselves a bit more seriously.
What does "independent music" mean to you?
The definitions seem to be changing, but for me it means that
the music makers are without boundaries, since the artists are
recording and selling their own music. They're perhaps still
developing or just choosing to run the show on their own. Self-
sufficient. Choice/freedom to be anything/everything. The choice
NOT to be controlled. Our site levels the ploying field so that there
are a variety of tools avajlabte to help you run your own show.
How do you fund it?
We're very determined that all the info provided on the site be
free, and that it continues to be so. Again, we're music fans
- foremost, not businessmen.. .we're kind of idealistic. But our costs
are minimal. Between the ad revenue, web hosting, online audio
i distribution, web design, and website automation services we
Qur advertising is effective and
targeted to a genre-specific
audience, so it's not as if they'd be
giving us a handout!
What good things do you see in the
Vancouver scene?
MESA LUNA! AK Ages AND licensed!!! YAY! Nothing's got me
more excited than that one. And .the string of venues opened
and reopened down near Gastown: Pub 340, Mike's, the Met,
Lamplighter, etc. If the promoters work together, we can have
mini-fests down there every weekend!
And there's some great promoters doing awesome Work within
their genres. Not to mention the stellar artists in every genre!
to hear
from fans and
see themget involved.
Most of all, I'd like them to team
that of all the important elements in our
scene, the most important is the Fan. The reason
why certain places on the musical map have solid
crowds and thrive is because their fans are respected as being
a crucial element in the equation. They get a bt more respect
for just being supportive.
Where Can people go to learn how to use the features on the site?
How easy is it to use? Where can they go for help to team to use
it if they don't know?
I'd say first go to the site and poke around. Click on everything -;-
that shows up in blue and see what comes up initSe^side panel
(generally a profile on whatever band, venue, promoter etc).
Alt of our headings are self-explanatory. All fhe content is free
and easy to access. When you feel comfortable enough to
actually get involved and load content, it takes 20 seconds to
register your e-mail address (No spam! We promise!). You'll get
a confirmation e-mail whic h will show you the way. And always
feel free to contact us via phone, e-mail or our message boards
if you get stuck. Not many do! D edfectic collective:
By Val Corwtfism
•Copperspine is a loose colleetiv^of artists, a guild if you w^?'':
dedicated toton?^n^'crft»n|©rH*tfflHfiiKc*f arid craft that flows out
of original and tangible experience. Whether generating punk,
electronica, or a loaf of bread.:l||g$nlfler is the common desire to
serve the creative muse, rather. rSatHo contrive product.
If a million copies are sold—so be it.
—Copperspine Records mission statement
The creative forces behind Vanc£$teir's Copperspine Records have
put their own spin on the cooperative experience. They refus^o^/s x
confine themselves to a single musical genre, acknowledging the
eclectic appetites of the audiophile community, and strengthening
themselves as a collective in the process. Copperspj*#feeds the
hungry minority with releases ranging from country and roots to punk
and electronica. Copperspine is as free with forms as it is with genre.
Visual artists qjf^itjisans also contribute to the collective's assault
.■-.*iii3rie£cene. A Sunday morning pancake breakfast in East Van
provided a fine setting to meet some of the Copperspine crew.
Leah Abramson, a singer-songwriter working on her third solo
CD release, also sings with folk group Dyad. Her recent European
tour which, included dates with Geoff Berner, and a growing fan
base in Germany has earned her the moniker "the David Hasselhof
of Copperspine". Leah's commitment to Copperspine has grown to
the point of becoming one of its partners, and she's in it for the long
haul. "If I could play music and help run Copperspine," she says,"that
would be pretty ideal." Common goals and approach drew her to
the collective: "We're really diverse, but there's a common attitude.
Everyone seems to have a similar outlook in terms of how they feel
about music. Maybe not in their end goals — Mongoose and I may
have different audiences we want to reach, for example. But our
attitude towards music itself is somewhat similar."
Kori Miyanishi of Dyad cut his musical teeth in Winnipeg's
hardcore scene, and discovered the banjo during university. As
you can imagine, he comes to folk music from an unusual angle. "I
see a relationship between punk and folk. Both have always been
grassroots music, played by poor people." Dyad's Appalachian
murder ballads and instrumental music do not stray far from the
strong roots and traditions of that region. Their Copperspine release
Who's Been Here Since I've Been Gone has garnered them a
following among old-school Rogue Folk Club followers and hip indie
music fans alike.
Shockker, of garage rockers Mongoose, is one of the few in
Copperspine who actually hail from this city. Raised in East Van,
he's a i 0-year vet of bands ranging stylistically from coffee shop
acoustic to industrial metal. His connection to Roger Dean Young
(Copperspine's original founder) came through his days with
' Roadbed, and Mongoose hooked up to the collective early on.
"We'vebeen together for a year and a half, had a few different
grows beyond its roots
lineups, four tours, been number T'eJgiTR and [University of]
Waterloo... Mongoose is like the black sheep of the Copperspine
rj&njj^lbockker jokes. While he describes their sound as rock 'n' roll,
he also acknowledges that it's "pretty much all over the place," on
their last release WhJtetptosstjc Deer.
RC, Shockker's partner in Mongoose, is also a partner in the
Copperspine collective. Being the good Saskatchewan boy that he
is, he's currently home for the harvest.
Chris Kelly of That- liSpr' Boy hails from rural Ontario ("Prairie
Ontario," another Copperspine member joked). He met two of
Roger Dean Young's roommates at open mics in Vancouver when
he moved here in 1998:te^jerand a fledging Copperspine became
involved with the creation of his debut solo CD, Lonely Lake. "He
knew I was recording a record and then he kept pushing me to finish
it. By that time, Copperspine was a reality, so we put it out under
that." One advantage of the collective, in his mind, is that it frees up
his time to create, and allows him to leave the details of running the
label in more capable hands. "I'm not lazy, but I find the workload
of trying to do music and make cl'ffig with my other job enough.
It works great for me, although I do feel guilty that other people
seem to be working hard." Communications with the label are
aided by the fact that his wife Heidi is very involved with day-to-day
operations. "Everything that's typed in or involves data involves me,
so he'll know or I tell him," she confirms. "But it's a big group of friends
anyway, so people will listen to each other," adds Chris.   •
Design artist Heidi May represents the growing non-musical
element of Copperspine. "Roger's idea all along was to not have it
be just a record label, and to have it be about community. From the
very beginning he's always wanted to promote any kind of artistic
"I have a passion about the identity of Copperspine. Because
of my fine arts background, I'm really conscious of the look of things.
I always get obsessed with the package and making sure that things
go together the right way. This idea of having people that are roots-
based, or punk, or electronic, but then somehow trying to have an
identity about a collective was intriguing. It gave me a chance to
apply the stuff I like and the identity behind the musicians; not only
CD packaging and posters, but I do a lot of mixed media work.
"It also gives me a chance to get away from the art world,
which can be very restrictive. I'm more of a helper, a motivator. Since
I'm an art teacher, I enjoy critlqlB^ig and debatir3gj#?3*
have no problem giving my opinion, and it's usually
Brodie Smith, Copperspine's operations manager,
confirms that Heidi is an invaluable sounding board, and
he often bounces ideas off her regarding posters and
advertising. "Heidi's been awesome for coordinatingithe,
launch of the new website."
Smith comes to the collective from Calgary, vwfe^-?
a studio engineering background. He has worked on
virtually all the Copperspine releases in some capacity
and deals with the majority of the administrative tasks
(including running the collective's Chinatown studio
space) at the label. He is also one the collective's
partners. He met Roger Dean Young in 2000 via Roger's
former band Spotted Boy. Other connections in4r$p*£ W.
local music business, including his job operating 54-40's
recording studio, have helped Copperspine negotiate
a deal for national distribution of their "boutique" label
with RED Music (owned by Sony). As he quips, "We're
like their farm team."
Brodie's passion for the music is a sentiment shared
by all members of the collective. "The whole reason I'm
involved is that the music's so good. All these bands
that have all ended up being connected, the one thing
that they have in common is that they're really good.
The thing that gets me the most excited and what I look
forward to in the future is that I truly love'dll'of these
bands. In spite of all the different music styles, there's a
really high artistic calibre, and I find it incredible that we
all managed to find one another."
His presence and accessibility is much appreciated
by other members of the collective. "When we were on
the road with Mohgoose, there were times we needed
..bjwR-Wifri radio interviews and Brodie helped us out.
We'd just call him up, and he'd work his magic," recalls
Kent McAlister was reached by phone at his
parents' home in Calgary during a break from touring
with the Corb Lund Band. Kent's debut CD Memory DISCORDER,    SEPTEMBER'04
Copperspine is a loose collective of artists, a guild if you will,
Abdicated to bringing intention to the art and craft that flows out
of original an^^^^^i experience. Whether generating punk,
i^ctronica, or a loaf of bread, the unifier is the common desire to
serve the creative muse, rather than to contrive product.
If a million copies are sold—so be it.
—Copperspine Records mission statement
Repfacer is the next Copperspine Records release. Theyaifficial launch
party will be held at fhejpieouver East Cultural Centre Sept. 11, on
a bill with tractorgrease.com artists The Seams and Ridley Bent.
Another Calgary boy, Kent grew up listening to lots of JofiirJ|^%.:
Cash ("before he became cool qQaln") and the Smalls, Corb Lund's   t
previous band. Corb's cowboy influence is evident on Memory
Replacer, which Kent describes as an crtL&msfcoming from a dark
place, dealing with past regrets, mistakes, trying to move on." He is
very happy with the sound of this CD, which, in his mind "gets the
traditional country and westernsound to a degree, but also sounds
rawand in-your-face, like our live shows." Being in the stualo with the
tikes of Brodie Smith was, in his words, "an absolute joy," so much so
that he's threatening to release an album of outtakes and jokes. "The
crazy shenanigans kept us sane," Kent confessed.
While this CD will Hkely find a home on college alt-countryJHovys.
like CiTR's Blood On The Saddle, Brodie has plans to "treat it ike a
traditional country record and work radio. We've got some radio stuff
in Saskatchewan and Alberta, rural markets who'll actually take a
chance on something like Kent'.*-'^^SmS
Kent first connected with Copperspine when he opened a show
for Leah Abramson at The Main last year. Not only is he a satisfied
Copperspine member, but he loves to plug the collective wherever
he goes. "When we're on the road we try to name-drop Copperspine
fo radio, for sure. Everybody on there is hard-working;tqr»d supportive
of each other, and it's so great fo be involved in a label where I love
what everyprie^ffcjdolng and vice versa. Fortunately, nobody has an
ego, which is really cool."
Although the Sept. 11 VECC show Is to celebrate his CD, Kent
is just as excited about sharing the stage with Ridley Bent and
The Seams, both of whom are Involved in the tractorgrease.com
collective. "I'm a really big fan of both those bands. Hopefully we'll
get some of our fans checking out these guys and vice versa." He
also feels that such a crossover is essential to the health of our local
music scene. "When you become part of a clique, you're shooting
yourself in the foot. We love to play with other bands that we like,
and in as many circumstances as possible."
The fact that this CD release will be taking place at the VECC,
rather than a nightclub, is In itself significant and representative of
Copperspine's outside-the-box. thinking. "Part of this is me taking
a gamble," Kent allows. "I loveflj^bom, I love the space, I look
forward to playing in a venue that's a little bit different, and up our
profile a bit. Maybe it's the suppressed gambler in me, since I don't
play poker."
C^ifjyayje noticing a six-degrees-of-Roger Dean Young pattern,
you wouldn't be far wrong. Besides flipping a mean flapjack,
Copperspine is his concept (the term refers In part to his days as
a coppersmith in Port Moody) and is the collective's benevolent
figurehead. 1^ Jjj^xrftfSs? old one," he chuckles. Roger moved
from Calgary to the coast in 1996. His time in The Ripping Young
Clarks with Chris Kelty and RC provided the impetus to forming this
label and collective.
"You know the point where you get married, you hit 30, [and]
you can just lie around for the rest of your flfe. It's a great ideal, doing
music for the sake of music, but there's also realities, whether it's kids
or trying to live in a city ike Vancouver. If you're going to do it, you
mfight as well try [to] take it to another level. If you beBeve in what
you're doing, there's a good chance there's someone out there
that's going to dig it somewhere else in the world."
Roger has a clear vision for not only his music, but for the
collective, especially in terms of getting the word out croumjmjrj^c-'
worid. "For rt0$m&g impetus to do music, my music, is not that it's
mainstream or even college radio. Most of the albums [that I own]
are artists that I'm totally in tune with. They might be in Tucson, they
might be in Dusseldorf. You get that connection, and there's a real
value to getting old-time out to Japan, folk-noir into Germany. To
do that you need a certain amount of structure; finding a balance
between doing the music you want and not worrying about
attracting a label. It's a nice roll of the dice that all of us collectively
as musicians were taking things a little more seriously, coming into our
own, while at the same time, the distribution thing happened. At this
point, though, it's just work. The actual nuts and bolts of a label is not
fun. Stuffing envelopes... that's what life's about!"
It's not all about grabbing the big brass ring, however. "We still
want to operate on several streams. If you want to release something
that's just goifjig^ stay in the city, or is more demo-Bke, we're all
about that too. You don't have to have the national distribution,
work it and tour it if you don't want to. It's much like the [Toronto]
recording clubs that Bob Wiseman and all those people are involved
in. We want to keep that spirit alive... potato-stamping CD covers."
In terms of future goals, Roger is adamant that the label stay
eclectic. "We're roots-heavy, but that being said, our
upcoming releases include Pellucid, which is very electronic
with sampled sounds." The flip side to this, he admits, is that
it's difficult to come up with a cohesive marketing plan.
'""iuj^rfcihk that's good, because the only thing I really care
about, as far as my involvement, is that it's music I ike."
Is this collective looking for new members? While they
disavow the notion of being a clique, they've also got their
hands more than full at the moment. Leah muses: "On a •
case-by-case basis, we'll think about it. But right now, just
putting out records by people in the collective has been a
huge job. We're still very much volunteer-run."
However, collaboration with other groups within the
local scene is a high priority, according to Roger. "The
entities in Vancouver that I'm most excited about in this city
right now include the Butchershop Gallery, tractorgrease
[www.tractorgrease.com] - collective groups that aren't
exclusive." Collaborations within the collective itself are also
an important part of their work. For example, Pelllucid and
Dyad have performed together on stage, as have Roger
and Heidi May.
Collaboration, eclecticism, a strong sense of
community, commitment to art. Add to that a stunning new
website, designed by Jeannie Smith of the Medusa Design
Group, and Copperspine seems practically unstoppable.
Once again, Vancouver gains from the westward migration
of flatlanders. Long may they run. D
Copperspine's next CD release party Is September 11,
featuring the Kent McAlister Band with Ridley Bent and
The Seams, at the Vancouver East Cultural Centre, www.
coppenplne.com I
"Highlyeffective" is cm understatement when it comes to this accomplished young gentleman. Well-known for his involvement, iff punk-rock 'dcrs^&s.*end The ReV^^wig, Ahd^ngs contributed to
Vancouver's music scene for over thirteen years now. These days he's taking a break from bands, focusing instead on his record libel. Ache RecSra%<lesign comparjyirtej^eh#try Design, and
electronic music projects, namely Secret Mommy. We chatted on Iwo separate occasions in his east-side duplex (I know you all thought lie lived in Shaughnessy, bufShafs just a armour). Together we
injected some crazy-strong espresso, and when his high kicked in Andy revealed the seven principles that allow him creative success. Formerly secret they are finally available fof your perusal and
interpretation. Do with them what you will. ..
You may recall a certain 1991 Ron Underwood film egjpSd
City Slickers. In this cinematic tour de force, cowboyfffero :
Curly teHs Mitch: "The secret to life is one thing,"
encouraging the big-city salesman to latch onto a single
interest and pursue it without compromise.
DiSCORDER readers, I think you're ready for the truth:
Hollywood lies. The people that make these films are a
bunch of mofos who know more about pricing Hummers
then they do about creativity. One thing? Hell no! Variety
is the spice of life, goddammit.
This is a fact that Mr. Dixon knows very well. Basically,
Andy is a one-stop-indie-multi-media-shop (that rhymes
too). Punk-rock past? Check. Sold electronic music
project? Check. Record label? Check. Oesign company?
Yeppers. Fledgling visual art career? Yeah, got that one
too. I asked him the question we're all dying to know: How
does he do it all?
When I found out that he does sleep at night (usually
between 3:00 AM and 9:00 AM), I was mystified. Andy
admitted, I'm sort of always working. But I don't really
consider it working. It's fun, so I don't really feel like it's work:
if s just a reaiy time-consuming hobby. Everyone's always
telling me, 'You work too much, relax!' But to me I'm not
really working. It's what I would do in my free time
anyways." HmmO I still think he might be lying about the six
In Sweden the average age of first sexual intercourse is
twelve. Andy has a lot in common with those progressive
Scandinavians, in more ways than just his blonde,
blue-eyed good looks. He started rocking out at an early
age: "I was twelve when I played my first show with d.b.s.
When everyone was into New Kids on the Block in
elementary school I was more drawn towards Metallica
and stuff like that, which morphed into punk rock. When I
first heard Bad Religion it totally blew my mind, I think I was
Andy's friends shared his mindset, and it wasn't long
before 'We decided to start a band. I was drawn to the
idea of playing guitar from being into heavy metal when I
was nine. When I was ten my parents bought me a guitar,
my friend Paul got some drums when he was elevenO
Around that time we went to our first all-ages underground
show at a place called Southwall in North Van. I loved the
intimacy of it."
That tiny punk-rock show was the second gig Andy had
ever attended, the other being Motley Crue. 'It was a big
change to see only 30 people there, so close to the
bandO the energy of it, the whole concept of being able
to put on shows by yourself, blew me away. We met the
person who put on the show, who was only five years
older than us, and we were so drawn to the community
aspect of it. I was in d.b.s. for nine years, and basically it
took up the decade of me being a teenager. Every
summer we went on tour. We broke up when I was 20, at
which time I'd already started another band called the
Red Light Sting."
I don't know about you, but when I was twelve I was in
a strange twilight phase of still being kind of into Barbie,
while really (and I mean really) getting into masturbation. I
forgot to ask Andy about action figures or jerking off! I
guess I'll save those auestions for next time.
Personally, when things get rough, I try hard to chill out.
Cold showers, commercial hip hop, teary phone calls to    *
my boy - depending on my anxiety level, one may suffice
or I may go for a combination of all three. But after
speaking with Andy, I realized I've been doing it all wrong.
I asked him what he does when his life gets insane, hoping
to hear about a penchant for bubble baths or butt plugs. I
was disappointed to hear that he just keeps going:
"I do freak out quite a bit, what with different projects,
scraping up money for label stuff, and paying everybody,
but I don't have any anti-stress ritual. Sometimes my
girlfriend, Merida, will see me stressing out, and say 'Let's
go watch a movie or something.' But when I'm like that I
can't concentrate. I'll just be thinking about what I have to
do the whole time. I just have to finish it."
Andy seemed to feel almost guilty describing his
single-minded dedication. "It might not be the healthiest
way to do it, but it's how I operate. It's what I love to do. It's
not like people who have office jobs, who are stressed
because they hate what they do and they don't know
why they're doing it. I understand what I do and I want to
do it. It stresses me out, but in a way where I don't want to
stop, I want to figure it out."
Well, I guess completing projects is fine. Not as much
fun to write about as late-night games of death tag with
the neighbour's attack dog or an addiction to pranking
Catholic private schools, but probably more conducive to
long-term success. Next time I find myself struggling to
make a deadline I'll reconsider keying those SUVs, and
maybe just buckle down instegd.    *
Legend teJIs us that Romulu$%s^|sJthe|cWnder of Rome and
jW J^en^'WbfsJiis rv^'tjro^^^^^^t*other wa$d veWal ▼
^"yJl^afWWdden to md^^onetheless^hfeljfiade it with
fe^ NKrs/rhe god of waf^^^^KwHS'aBuld resist?!), and
^bore twin s^s. Her-swr^prulraperthre^the newborn
A boys into the River Tiber!%vhere they washed ashore and
^ere taken in by a wolf. The noble wolf suckled them
alongside her cubs. As one might imagine, the wolf milk
imbued them with incredible strength, enough to found
the great city of ancient Italy.
Born into the wilds of suburban North Vancouver, I'd
expected a similarly dramatic tale from Andy, along the
lines of, "Yeah, I rock hard because my parents were Patti
Smith and that dude from the Rolling Stones. Then I got
adopted by some rappers in North Van, so I grew up with
a few different musical influences." Or something like that.
However, the iron fist of truth shattered my journalistic
"My parents are very right-brained, very logical. They're
both accountants. There was zero creative energy at my
house." Although Andy's mom didn't teach him to play the
sitar before he could walk, his parents were still "really
supportive of creative stuff. Most parents would say,
There's" no way my 13 year old is going to go on a 6 week
tour, with someone we don't know driving, sleeping on
strangers' floors.' But they loved it, they thought it was
amazing. They came to all our shows. They lent us money
to go on tour, and I'm really grateful for everything they
did for us."
An intuitive knack for charming people has more to do
with Andy's achievements than advertising or anything so
> aauche. Serendipity, skill and a good sense of humour do
■or Andy what others might need an unlimited marketing
JFbudgelftraccomplish. The growth of his designcompany
t exemplifies thisjjsiipcess: 'The Chemistry Design started
really gradually. I'^always been into art as well as music,
$qwhenjL.b.ayjf?eaed record covers and 4-shirt designs I
wouW^pd^tnem. Some bands that we played with
would ask if I could design their t-shirt, and I'd just do it for
free. I started to take it a bit more seriously after a while,
and began doing it for money. I do all the design for the
label as well. I've never placed an ad or tried to. sell
myself. It just happens. I do a record cover for a friend,
and then someone else sees it and likes it, and so on. It just
falls in my lap and I do it."
Always the careful journalist, I contacted a few of
Andy's business associates to see if there was any truth
behind what he'd told me. I started off with Death from
Above's vocalist/drummer Sebastien Grainger. The Toronto
act is a hard-rocking two piece; think Lightning Bolt or the
White Stripes (or whatever). Death from Above is
attracting attention all over the world these days, touring
internationally, opening for The Killers and performing at
Vice Magazine parties in Berlin, Las Vegas and Tokyo.
Sebastiervcclted-fne' ijjght bjtclrofter screening my call
{fee'tboughf It was hisJ^omL wlck^i nothing but glowing
praise for ArtdY. A$gfe|fwt a\>\ Deatrvffi|?ftKfc>©ve's first
i^di&HeelcinteVa six-saqg EP^eleassMMia^i*'^^
DecembetSfcibi. According Jo Sebp&lj&n  it Wfls/tna^*^*
and Zot fWrlOyken, afr/of the-#te*^d Ligta^HfegJ back
then doing it. They pushed the recoralbh«i gotNtaut 3d line'*
right people and made sure people were heating it^|||j§?0
we owe a lot of our present... success? Nbtoriety? TOW^
them. The work they did back in 2002 isstjll relevant today.
We're about to release an LP [You're a Woman, I'm a
Machine, out on September 7th], and I think that because
of what they did, there's a market for our record that
wouldn't have been so large otherwise."
As the conversation progressed, it became clear that
the relationship between Andy and Sebastien wasn't
purely professional. With a cute boyish chuckle, Sebastien
related how they got along "from the moment we met. If
I'm with him it's pretty much a joke party the whole time. I
can't say that for many relationships in my life. He's a
Thinkjpg nothing of it, I agreed that Andy was funny
and charismatic. Sebastien misinterpreted my^remark: "It
sounds like you have a crush on him." M^shockld denial
was dismissed: "Whatever. He's a dreamboat. l{^flte*iQ ^t
problem saying so. Our relationship has never sLjjed away
from homoeroticism." Note te the ladies out thdMi'tiext
time Death from Above plays VatfcbrsjWt try realty hard to
get into the back room andmakesuqEpbastien and    4
Andy have had enough to drink.
Next I contacted Matty Hopper, a long-time Ache    .
Records volunteer. This 19-year old from Tsawwassen
became involved with the label through his enthusiasm for
the local punk scene. Of Andy, Matty said "He's not a
slavedriver. He lets us work at our own pace and do our
own thing, but makes sure the job gets done. He's a really
goocTguy, funny and good to work with. It's always just
hanging out and doing stuff, but it's not actually work. It's
helping out a cause I believe in." Hmm... Matty doesn't
mention boy-on-boy action specifically, but that's no
reason to assume it isn't taking place...
There are several schools of thought when it comes to
combining art with love. Some choose asceticism,
sublimating sexuality into creative achievement. For
others, stormy relationships become subject matter: rage
and sorrow are transformed into powerful art. While that
might make for some incredible music -1 confess to being
an obsessive listener of early PJ Harvey to this very day - it's
not necessarily the healthiest way to live your life.
I was happy to find that Andy walks a more moderate
path, and shares his home with artist/designer girlfriend
Merida Anderson. The two collaborate creatively as well
as romantically, having worked ©n visual art together {for
example, the cover of HawaiP&O, ftessjeS' Secret Mommy
EP), and more recently on her clothing line Bread and
Butter (available at Aidan's space in Tinseltown).
It was indirectly through Merida that Andy did his first
solo art exhibition, at Misanthropy (from July 10th-30th).
According to Andy, "I've always been into the idea of
pdtrtSng, but never thought about doing it except mdybe
for myself. Merida recently started up an art collective
with a bunch of her friends [The Parliament of Owls], and
asked me to do a painting for a show they were doing.
Misanthropy recttty Wked it and asked about doing a full
•   show, so I said, OKO"
Entitled "Organized Crime," the show comprised three
groups.ofj^anvases, a series of screenprints (601) ono* a &&
-v.tn^jsd-rnedto wall installation. Focusing oftsrnt^ftsftjct^te'
legal an^>therwise, "Organized ■Qjfhe" investigated hovv^ll
?**  <diso;durses about dime interact witRln the art world, £
media aft|i larger society Th]|re were mysterious layers of %s
"^jojnt. djpjfftG snippets of text, afltl a heck of a lot of
peopfewiffr^nimauieads. Andy lost some sleep over this
^B little puppy: "I was ntjjyous about doing it. I've been
ploj|Sa guitarfor a long time so I'm not really scared of
scOTwne saying 'You stink at guitar.' But I don't necessarily
have fije same confidence with this. I'm just doing what I
like to do, so hopefully other people like it too." Judge for
yourself; an excellent video of the event featuring a Secret
Mommy soundtrack is available at Misanthropy's website.
Throughout our conversations, boredom and creative
exploration were recurring themes. When asked how
Secret Mommy began, Andy described how Tm always
looking for the next thing, I like to keep moving forward. A
lot of my friends who were into certain kinds of music
when we were 16 or 17 still enjoy listening to the same kind
of music now, but I can't do that. I get bored of things, I'm
always looking to evolve into something new. So I got
interested in jazz and electronicjmusic. Being that I was
already involved in so maq^aafer musical endeavors it
seemed natural that I woula try and do electronic music
as well."
\   Regarding the breakup of The Red Light Sting, Andy
expressed fond memories but no regrets. "We started that
band sixyears ago. We've ali changed so much since
then, and I just wasn't feeling it anymore. I've been
anchored to home for the past while, because of business
stuff. I can't really leave the label to tour for six weeks, it
would just fall apart... I find that the funnest point of a
band career is the first year anyways, when you're just
starting to play shows, and butldfrig up to the point of
getting recognized. But once you're there, I start getting
bored. For now, I want to not play in a band for a while. 1
haven't not played in a band since I was twelve, and I
jryant to wait and meditate carefully on what I want to do
jfppcl who with."
^ * Upcoming ^j§ase*J%om Ache Records showcase
Andy's pioneering(g|rj|!FSeptember 14th gives us Lead
Singer by BSssin.^W^jp composed of Christopher Wiflrfs.
Zach Hill (Hella)vanWr^iguel Depedro (Kid 606). This
Dizarrely soothing drum/distorted guitar/digital
something-or-other record is culled from a 14-hour improv
session in San Francisco last year. Local electronic maestro
Piers Whyte will release a full-length this fall, and on
October 5th, the Div/orce series (a collection of nine split
. ^"sijsevoted to challenging those, who pigeonhole art")
.ysftesue Volume 2, comprising Matmos and the Monitor
Perhaps Matty put it best when he told me what he
most respects about Andy Dixon: "He's taking big risks that
seem to be paying off well." These words offer .a rich
dilemma: we can either take them at face value or
imagine the homoerotic possibilities just below the surface.
Reader, the choice is yours.
J f\<\k#>\}\*9
ky   Lukje FUnnSJZ.y £jbe
iJi-esja. fiinJ'Qrje ckj
"While dialogues are
commonplace, encounters are
-Slavoj Zizek, Organs
Without Bodies
(Routledge: 2004)
Back in Montreal, I am thinking of
Amsterdam. The Dutch magnet
for tourists seeking sin... a
village of small little row housing
spreading out via canals from
the Centruum... a quiet, yet crazy
little people who calmly handle
just about anything—screaming
tourists, lost in hallucinations from
"space cake," rolling down the
streets, occasionally being fished
out of the stagnant waters'...
stoned & falling asleep in parks,
covered in mosquito bites.
Amsterdam, for it is so
similar to Vancouver, and a
model for Vancouver's future
— decriminafized marijuana
and hash, legalized prostitution.
Amsterdam also serves as a
model of possible futurity through
its failures as well as its successes:
reactionary   fringes   shake-up
aspects of the Netherlands'
"blind-eye" policies, while the
squatter elements that propelled
diversity and creative Bving
throughout the '60s into the '80s
have somewhat retreated. It is
,a symptom of the West that the
politicization of everyday life that
defines the Dutch activist has
gone into "cultural recession."
The activists themselves have
moved on—Geert Lovink and
members of the ADILKNO media
collective to teaching positions,'
academia, institutionalization—
and the moments they fought
for scrawled as nostalgic
history (such as Lovink's Dark
Fiber, MIT P: 2002). And what
generation has picked up on
the tab? The squatters are
still there, undeniably, but the
interlinked force of a generation
is not. Like an abscess, the
local disintegrates as a
space for intensified projects.
Consequently, fleeing their own
dissipating locality, colleagues
arrive from global quarters,
seeing potential in a new city
from afar—a tactical partner
may be half-way across the
earth, and the best strategy
one of distant networking than
immediate squatting.
-which sounds romantic until
the humdrum of everyday life
returns. Interplanetary internet
communication might tingle the
spine, but walking out the door
in a greyworld of advertising,
incessant traffic, puritan laws
and reinforced consumer desire
can depress even the most
insistent idealist. What can one
do when there are so apparent
few to work with? And when the
identifiable camps of "activists"
themselves are often stereotypes
and caricatures of previous
generations (neverending
"black-clad anarchist" kids
begging for street change;
Che t-shirts; punks that detest
anything but punk)?
Activists are another genre. A
generational movement is one
that breaks the "genre/ation"—
it reaches beyond a single
strata to encapsulate a society
in motion, toward questioning
its status as a society, what it
means to be a society, how
it governs itself and comes to
enact and write its laws.
And in a small way, we
might see a few steps taken to
a heightened awareness of all
those faces, those daily bodies
that ride the bus whose names
and lives we all know not, through
a governmental change:
proportional representation in
The current bet is that
the federal NDP will demand-
proportional representation
as part of their bargaining
with Martin's minority liberal
government. How will this
change the Canadian political
topography? Well, according
to vancouver.indymedia.org.
the main outcome would have
been about the same—the
Liberals would have received
113 votes (from 135), the
Conservatives 91 (from 99).
But here's the kicker: the NDP
would receive 48 (up from 19),
the Bloc Quebecois 38 (down
from 54), and all from zilch, for
the first time in Canadian history:
the Green Party 13, Christian
Heritage 1, and the Marijuana
Party, 1 . These figures represent
the actual voter turnout for these
parties rather than weighted
It is obvious that the
Conservatives   and   the   Bloq
(as well as the Liberals) can't
be too overjoyed by an
amendment that would seek to
better represent actual voting
percentages, for proportional
representation would undermine
the monolithic power of the
tracBtional parties. It will change
election campaigns too. As
"strategic voting" (voting not
for whom you want, but against
another party) becomes
senseless-—a vote for the Greens
could now actually win a seat—-
the primary parties will have
to begin addressing critiques
and issues from the previously
excluded parties. The NDP
could rise to become a strong
party in the Commons. And
quite possibly, a First Nations
party would have a chance at
introducing an entirety different
perspective on Canada as
a nation-state. Canada's
government would become
subject to sustained debate,
requiring appeals to voter-
driven issues; bargaining would
have to take place between
different parties (negotiated,
coalition government).
Ultimately, it forces an ethos of
cooperation, while also holding
the prospect of failure as the
result of irresponsibility. For
example, in the Netherlands,
the government resigned for a
year because it felt it couldn't
do Its job (and the country ran,
for a year, without an elected
government). Imagine that!
Proportional representation
in Canada just might be the
spark that introduces dialogue
between groups separated
by the machinations of
contemporary society. The
paradox of today's world is
that while we have invented
ways to compose letters and
speak to each other not
only from distance, but from
wherever we are (mobility), we
alone gesture to the familiar
crowd—the daily registers of
communication that scarcely
bridge ethnic groupings, age
divides, class and wealth gaps
(and not to mention the digital
divide). While society may not
ever singlehandedly overcome
its prejudices, which are also
wrought through its sheer size,
and in Canada, a distance
between populations that
leaves the nation-state asunder,
at the seams of its Constitution,
proportional representation may
begin to structure a means of
dialogue that better actualizes
the groupings and concerns
of its peoples. It ideally invokes
a self-critical turn of the head
that views the operations of
the State stripped a few shades
toward the transparent. Caught
in mutual whiplash, we just might
collide with each other on the
bus. An encounter.
Until then! D
^^^. n
the young person's guide
to Vancouver.
by sasha webb.
Fall fast approaches: meaning, for many of us, the start of yet
another year at UBC. Leafs falling, bookstore line-ups, rain... and
spending time on campus. Far too much time, considering UBC's
well-known status as a cultural and culinary wasteland. I spent my
first year cloistered in residence, with no affordable bus pass or
knowledge of the city. At minimum, the experience was damaging,
and even today, UBC's campus remains so isolqted that it borders
on dangerous, with little to do but study or procrastinate, both of
which often involve solitary, drunken wandering. Sure, the Pit has
a time and a place, and the Village McDonald's is now open 24
hours (sweeeetJW), but one cannot say that campus really fosters
anything more than a drunken/stoned/study-obsessed atmosphere.
The conclusion is clear: one should get off campus as much as
UBC campus has long been populated by only a few faculty
members and students in residence: today numbering about 10,400.
Our magnanimous president Martha Piper would like to change all
this, and her dreams are finally coming to fruition. The hotly debated
University Town is well in the works. Martha, a developer by trade, is
leaving her legacy in the form of condominiums and commercial
property. The bus loop is going underground and the already
reduced farm property faces further threats. According to very
obliging University Town project staff, campus occupancy should
double by 2021 reaching 20,900. The stated mission of University
Town is to "add a mix of housing, shops, parks, and other amenities
as part of a sustainable community woven into the academic
and cultural fabric of campus life". Of course, we can only hope
it will do just that but given UBC's track record with such things,
commercial space may take precedence over cultural. Things
certainly can't stay the same forever, but it's not as though the new
housing is in the price range of folks who are going to contribute to
"student culture". In fact, there are already conflicts regarding the
noise from Thunderbird Stadium during events like Arts County Fair,
and student residences potentially towering over world-renowned
nudist paradise Wreck Beach. While the kind administrative assistant
assured me that University Town would only add to the cultural
milieu, one can imagine that it won't be a milieu that necessarily
fosters live music and other louder cultural expressions.
As UBC ostensibly moves towards becoming an autonomous
cultural community, the rest of the city seems to be doing just the
opposite. Condos and other dark forces are working their magic on
our downtown core and onwards. The losses to our cultural fabric
are too shocking to ignore. Ms T's Cabaret went up in flames on July
1" 2003, ending its longtime feign as one of the most bizarre and
supportive places to watch live local shows. Bureaucratic flames
that limited their cooking capacity and liquor license scorched
the Sugar Refinery, a venue similarly encouraging to local acts
and specializing in vegetarian fare. After a long battle, the Sugar
Refinery closed in December of last year. The Starfish Room is long
gone, and the Cobalt will close down this month. The Pot Block was
torched by an unknown arsonist, and along with it went Spartacus
Books—a counter-cultural Vancouver institution. Are these many
and grievous tosses merely coincidental? Doubtful. Are the forces of
commercial development too powerful to counter?
The answer to these questions lay with us, the patrons of
Vancouver's vulnerable venues. Some argue that our city suffers
from a lack of interest. We at the DiSCORDER think such excuses are
anti-fun propaganda. Everyone benefits from a fully realized and
diverse culture: information just needs to be accessible. Especially
to those who have fhe time and means with which to enjoy the
aural pleasures of our fair city...meaning you, aimless student. We all
know that you don't really need to attend the first month of classes,
and need only be there in body until midterms.
So, get out and enjoy yourself while you still can. With your personal
wellness in mind, the DiSCORDER has amassed a qualified group of
cultural consultants to point you in the right direction.
Let's begin with a non-exhaustive list of musical/artistic venues of
interest, in no particular order:
• Mesa Luna Dine and Dance (1926 West Broadway): A
strange mix: dinner and salsa lessons one night, your
roommates' band the next. The Mesa Luna books
local acts and hosts all-ages shows. Two levels and an
incredible view from the balcony.
• The Brickyard (315 Carroll St.): In a notably harshed-out
part of town, it sets the scene for many a harshed-out
show. The bar sits right in the middle of the circular room,
which can be good and bad. Good if you want to avoid
the stage and play pool, bad if you want to see the
• The Railway Club (579 Dunsmuir St.): The upper level club
hosts local acts. Dingy, northern BC feel. Very friendly,
excellent patio and backroom.
• The Commodore Ballroom (868 Granville St.): While we
encourage you all to spend as much time away from
Granville as possible, the Commodore is still the only
place in town to catch bigger touring acts like Stereolab,
Sonic Youth and the Pixies. Ticket and beer prices are
exorbitant, so pack a flask.
• Pat's Pub (403 East Hastings St.): Worth the trip, great
local shows/drinking.
• Picadilly Pub (620 West Pender St.): Bad layout, good
• Richard's on Richards-1036 Richards: The only things that
keep this small, two-lever club from being a great venue
are the Stormtrooper bouncers and the management's
love for early shows (AKA, the "kick everyone out by
10:00pm so we can make room for the chain-belted, low-
rise-jeans-wearing mob wailing outside" policy).
• Blim Gallery (#600-23 West Pender St.): Located in one
of Vancouver's most amazing historical buildings, Blim
does everything from electronic shows to screenprinting
workshops. Check out last month's DiSCORDER for info.
• Misanthropy (440 West Pender St.): Beautifully run.
Beautiful art/ists. Check out their great website:
• The Butchershop Gallery (195 East 26th Ave.): Just
completed renovations, very ready for a busy fall season
of music, art and more.
• Commercial Drive: Ahh, the Drive. Horne to scores of
superb coffee shops, the best and cheapest produce in
town, appealing restaurants and so many other things
one cannot get at UBC. Like old people, dogs and
babies. .
•      Main Street: Hip shops, cafes; a basically scenester
paradise. You may well run into your soulmate, 20 people
wearing the same shoes and many people you don't
want to see. CiTR music director Luke Meat: "Been living
there for 10 years and now I have to dress up to do my
fucking laundry."
3l acts to watch for:
The Christa Min
Elizabeth N&jptii
The Organ (no other choice)
Black Mountain/Pink Mountaintops
Bakelite 'fi^fl
The Doers
The Notes from Underground
They Shoot Horses, Don't They?
Basement Suites
After partaking in Vancouver's cultural and social scene,
you may need to replenish and spend some time with nature.
The natrix of Vancouver boasts impressive beaches and soaring
mountains that should be taken advantage of:
• Third Beach: For the UBC resident, this is a full day
excursion. Located at the far end of the Seawall in
Stanley Park, Third Beach is the most amazing beach in
the city. It's so far you can't even see the city anymore,
but have a great view of Point Grey and many passing
tankers (filled with gross domestic product no doubt!).
Sparsely populated even on weekends.
• Spanish Banks: A mere strofl from most university
residences. At the furthermost west end is the off-leash
dog area, which most find energizing and entertaining.
Great view of the city and north shore. A few too many
BBQs in high season.
If ail these great venues and excursions are not reason enough to «
get the fuck off campus consider this: Not everyone in the world
is between the ages 18 and 24. If you miss out on the rest of the
city, you are essentially missing out on real life. Campus bars and
Granville Street are not the only places one can get drunk and/or
stoned. UBC students fought long and hard for that U-Pass and you
may as well put it to good use. The artists, musicians, and venue
owners of Vancouver need YOU! Cause there's little point in movin'
and shakin'if nobody's watching. D  AVAILABLE SEPTEMBER 7 AT
URESHOPf ?Ot oo3* (TtilKTi-rouiZ)
High Dials
Jets Overhead
August 5
Media Club
My friends, this was the show you
wish you had seen. The openers
for the night, Novillero and Jets
Overhead, are just beginning to
cause some buzz, but they're
gonna make way faster than
you can say "I thought Pink
Mountaintops was the buzz band
to see?" Well... yes they are.
But the Thursday before that
CD release party, you should
have been at the Media Club
for another fine Rumbletone
Productions show.
Admittedly, it was my first time
at the Media Club. It's cozy:
a perfect lounge with mood
lighting and a classy bar look. This
perhaps worked to our detriment:
the crowd was more silent and
reclusive than ready to spread
their love with joyous dancing to
the brilliant psych pop line up.
Also, I should say that the sound
that night was the most fantastic
I'd ever heard in a small club,
which is especially important in
this genre as shitty sound can
butcher the guitar effects and
I had heard of Novillero before
the show, as the downtown street
lamps were graced with their
posters, and they got a blurb
in The Straight. The Winnipeg
quartet hit the stage, looking
sharp and ready for action. What
impressed me the most about
them was that their seemingly
boundless energy never relented
to the mellow crowd.
There were bits that reminded
me of everything from Roy
Orbison (...er, it was a riff, not the
look) to The Zombies to Imperial
Teen. It wasn't until after their
set we found out that the lead
singer/keyboardist is actually Rod
Slaughter of the now deceased (I
didn't know, did you?) Duotang.
They left the stage sweat-
drenched, and I was left with an
all over warm fuzzy feeling.
Next was Jets Overhead, a
gang of youngins from Victoria.
Their style eased us more into
the realm of psych than pop. I
nearly forgot about the self-titled
EP they released last year until I
found that I could sing along to
"Addiction". If you don't know
about this band and you're into
the eyes-glazed over, entrancing
sonic sound, get into them. With
songs called "George Harrison"
and "Sun Sun Sun", how could
they disappoint?
As for the headlining The High
Dials, you might remember
these Montrealites from their first
incarnation as The Datsons (not
The Datsuns... the overload of
bands with similar names was
why they changed it). Lpst year
they released A New Devotion,
but more than just the name had
changed. Now they're signed
to the hot shit label Rainbow
Quartz, and they get a lot of
attention from Little Steven de
the Underground Garage. More
significantly, if you listen to their
old sound (like that of See!) to
the new CD, it's like comparing
the early to the late Beatles. The
earlier Datsons songs are simple
and short, vs. New Devotion (a
concept album), a definite step
up the sophistication ladder.
The crowd was a little nervous
about whether the main act
would make it on time, as they
were making the gruelling trek
from Calgary. But just as each
band assured the crowd, they
made it in as Jets Overhead's set
was wrapping up. Apparently,
in the last while they've had
quite a bit of automotive trouble,
eventually needing to buy a
new van. Admirably, they took
the stage without betraying the
last time they slept or took a
shower. They jumped right into
their set, armed with guitars and
sitars. The High Dials are definitely
well seasoned, because
despite looking exhausted they
maintained the energy needed
and pulled off a set of favourites
like "Fields of Glass", "The Birds"
and "My Heart is Black". The
crowd had increased in volume;
some danced well, some
danced hilariously, like flower
children rather than middle aged
yuppies with work the next day.
It was a good set, but it was
obvious that had they the luxury
of a little rest, it would have been
Overall: good times. Thank you,
Frank Rumbletone, your shows
are the bread of pop lovers
Parmida Zarinkamar
Under the Volcano: A Poem By
Natalie Vermeer
August 8
Cates Park
Families, young, old,
Tents, frisbees,
sunny weather.
Gordon Campbell     ¥zg$$rB
voodoo doll
Leftist, activist,
vegan outdoor mall
I tike The Gossip!
I will stay all day!
Dance with fun girls
and watch the three play.
But first there are workshops
and a] tents,
kids stuff, canoeing,
Hip hoppin' Dope Poets,
Euphrates and Blue Scholars,
Clann Zu from Australialike Godspeed, with soulful hollers.
Wind and jungle sounds
were made by All Purpose's
New World on Fire
played fast and loud,
the end.
Natalie Vermeer
The Dickies
Paper Lanterns
Billy & The Lost Boys
Jak Uzi
August 15
Well, the night started ominously
quiet, as most people learned of
the late set times, and had that
Jak Uzi braving the opening slot.
They tried their best to inject a
little energy into the crowd with
their So-Cal skate rock-meets-
Brit-punk stylings, but were only
met with tepid applause. That
feeling seemed to carry over into
Billy & TLB, as after a few songs.
Billy stepped up to the mic for
a little cursory greeting and her
response to "How the fuck are
you, Vancouver?" was a few
tumbleweeds rolling across the
room. Too bad really, as I was
impressed by the short, snappy
melodic punk chops being
displayed. The group saw fit to
pull out the "let's self-destruct on
stage" card, and hey, I'm all for
a little on stage smash-up, but
when I saw the drummer hurl his
sixties-era Rogers floor torn off
stage, I shrieked like a four-year-
old girl.
This was my first time witnessing
Paper Lanterns, and they had
some cool pop harmonies
interspersed in the punk riffage.
Not at all like what people had
described to me, as them being
a Screeching Weasel clone band
(though lead guitarist had tattoo
of SW prominently displayed
on arm). I enjoyed the song
"Natasha", which, if memory
serves, started off kinda fifties
ballad-esque, then kicked into full
gear with guitarist and drummer
trading vocal duties. Watch out
for these guys next time they
play, I predict goOd things.
Well it's now almost 1AM and
pop-punk royalty finally graces
the stage and is met with
thunderous applause (or as
much as 100+ people could
muster), and it was like "91 all
over again (the last time I had
seen The Dickies). Oddly enough,
their set echoed the same set
I had seen some thirteen years
ago, and yes, I realize they put
out a whole lotta albums since.
Leonard was in fine form, making
guitarist Stan Lee the butt of
more than a few jokes, prancing
around in striped tights, with the
occasional mask or hand puppet
(or is that penis puppet?) as
visual accompaniment.
The rhythm section was solid as
they scorched through oldies
like "Give It Back", "Got It At The
Store" and "You Drive Me Ape",
but touched on some newer
material, like "Howdy Doody In
The Woodshed" and "My Pop
The Cop" (from 2001 's All This And
Puppet Stew). The covers were
what got the punkers goin: from
"Paranoid" to "Nights In White
Satin" to "Gigantor", it was a
totally fun, pogo-friendly party
that won't soon be forgotten.
Bryce Dunn
Jon Rae Fletcher
August 22
The Butchershop Floor
Once upon a Sunday night, a
curious girl decided to venture
out from under her rock and
check out a show at the
Butchershop Floor on a main
street. She had been hearing
about a band called Ladyhawk
continuously for the past weeks
and needed to experience
Expecting, somehow, a Michelle
Pfeifferish female to lead with
upswept turquoise eye makeup
and feather earrings, this girl
soon realized how distorted her
expectations had been. She
The Gossip at Under The Volcano, Cates Park
Photo by Kimberley Day
instead saw four dudes rawking
like we didn't have to worry
about neighbours (rather than
melting eye shadow). Starting
off with an epic full of "ooh ooh"
chants, they progressed to a
song about Sarah having blue
eyes and a teenage love or
something song. The curious girl
enjoyed the abrupt stops and
builds and climbs and shouting
and earnest words and warped
country beats and strums.
When they were done and after
she took in some fresh cool air
doses outside, Jon Rae Fletcher
took the stage in the cave,
without The River. He was barking
and strumming and wailing and
his random sounds exclaimed
"ain't it great to be here in this
room?" The curious girl couldn't
agree more. He whistled and
sang so high; the curious girl felt a
shiver in the heat of the crowded
mass. How could he sing with
so much passion? Did he even
really need a microphone? He
covered Joy Division and he
covered Shellac but soon after
that, he announced that the
police had come and that we
had to shut down. The crowd
scattered quietly and solemnly
and schemed of houses Mr.
Fletcher could continue his set at.
The curious girl returned to her
rock and sat on it and wondered
and worried about venues these
days. Oh, how she hoped for a
hdppily ever after!
Natalie Vermeer
Aimee Mann
The Honeydogs
August 24
Commodore Ballroom
Dear Diary,
I made a new friend today. Her
name is Aimee. I have been        *
having some boy issues and the
gloomy rain was just icing on the
cake. So I thought, what better
place for a mope session than at
an Aimee Mann show? I saw her
friends. The Honeydogs, perform
first. As soon as they came
onstage, I thought I was seeing
Elvis CosteNo in person. It was just
my mind playing tricks on me;
the lead singer just dresses and
dons glasses like him. I think EMs
was in the building 'cause the
boys performed harmony-driven
retro poppy songs like his. So it
was hard to keep my bad mood
in check.
I have another reason why my
parents should get me an iBook
for Christmas: the Honeydogs
"invisible" bass player came
to life through the beats of an
orange iBook. I was wondering
why the drummer got to wear
cool old skool headphones. If
I'm not a music journalist or a
teacher when I grow up, I wanna
be a keyboardist 'cause the
band's player was so great at
improvising. I think I should have
practiced the piano more.
The Honeydogs' songs ranged
from poppy to bossa nova, to
sorta country. There was even
this lovely ballad sung to "Ms.
Anne" about a boy's experience
fighting in the war. Maybe Aimee
will bring them back for another
My first impression of Aimee was
that she was a moody girl. Boy,
was I wrong. She's quite funny,
making jokes at the expense of
her guitarist's hot white shoes
and his "wig". She walked
onstage wearing a white jacket
with a blue tie and striped shirt
underneath. I wonder where she
One of the guitar players came
out first, playing a ukulele to start
off the first song of the night,
the waltzing "Real Bad News".
My friend has made a lot of
records and her newest one
is called "Lost in Space". She
plqyed songs from that album
like "Pavlov's Bell", "The Moth",
and one of my new favourite
songs, the melancholy "Humpty
Dumpty", with a Beatles-inspired
In the middle of the long set,
Aimee treated the crowd to
two songs off of the "Magnolia"
soundtrack, "Wise Up" and
"Save Me". Both songs got huge
cheers. "Wise Up" sounded even
better live with lingering backup
vocals and synthesizers. I really
like her lyrics. Her crisp voice
easily sang of things I swear
are happening in my life...and
probably in the lives of most
people at the Commodore.
She has a great group of band-
mates, who sang wonderful
harmonies, and she switched
between guitar and bass. She
even mentioned that she liked
songs that had only four chords.
Nice. One of her guitarists did
solos in almost every song. It must
be tiring to be that good.
Aimee has been busy writing new
songs. She played some of them
like "King of the Jailhouse" and
"Going Through the Motions".
She joked about forgetting the
words to the same song and
said, "good luck to me". Elvis
hadn't left the building yet
'cause Aimee decided to play
"Telescope", a pretty song they
wrote together.
I think we have the same taste
in music. I like oldies. Amiee
ikes oldies. She brought out
the Honeydogs in one of the
encores and they rocked "Taking
Care of Business" together. She
told the crowd how she has
fond memories of playing here
last year. Maybe next time she
comes back to Vancouver, I'll
invite her over to my house and
we'll listen to Phil Collins records
and talk about boys.
p.s. I hope he calls.
Em'ity Khong
The Diskettes
Dear Nora
Cynthia Nelson
Erie Skfllng
August 29
CampaVerde Sux
(Duncan McHugh's House)
The same day The Red Light
Sting played their last show ever
(so they say), it was also The
* last show in Vancouver
Animal Collective at Mesa Luna: Every hipster and all your
friends were there. It was packed. It was genius. People
doubted that certain songs could be pulled off live. They
Photo by Brian Danin
for a while. What a good choice
I made. It was the second and
last show ever at this exclusive
venue, which is a shame since
the living room is perfect for
intimate acoustic performances.
Vancouver's Eric SkJHing made
the shortest trip to the show (I
think). He had a quick six song
set that was quieter than a Low
show. I mean it. He pushed
whispers out of his un-mic*d
throat and cranked out some
chords mostly on a ukelele.
His words were nice and his
demeanor was shy,
Cynthia Nelson came all the
way from New York and Dear
Nora came all the way from
San Francisco just play this little
house show for 35 people. We
all enjoyed them. Cynthia
was Ihe rockingest of the four
acts. Dear Nora was the pop
craft er genius (her first four songs
were absolutely amazing).
Cynthia was consistently good
throughout. Dear Nora bored
the hen out of me at the end with
a discussion about Canada/U^.
slang. That shit don't fly up
here. But Dear Nora was tall. Yog
cannot fault her for that.
The best was saved for last. I
wasn't too keen on the Diskettes
CD, but decided to experience
them live. I had so much fun at
this show; David and Emily are
fantastic. They have so much
energy and I love the way they
sing together. AH 35 of us sat
cross-legged and were amazed
by them. Their lyrics are really
good as well.
And now they're gone to
Montreal forever. They' re gone.
Forever! [editor's note: David
is coming back for Christmas.
Then he'll be gone., probably
till summer] Godspeed David
Barclay! Godspeed!
FR06 EYES...
They furnish the. shadows of my soul
with the sublime incandescence of two separatee-
albums; the limited acoustic E&O SCRIPTOR
and the monstrous revelation that is
Trembling Kreplach, this is the stuffy
~*   /^Pl&GEONI   A lean and vicious little
bird of a band, gentle in your hands, but
dangerous in your ears.   Their debut is
and it soarsl _^-"'
Never have these ears heard sounds so
sublime!   Two beautiful releases, the new COEP^
DEAD OIAMOND RIVER, with special guests
Linda Thompson A M. Ward, and the new
masterpiece, WITCH SEASON!
I am receiving telepathic signals from
ARTHUR publisher Laris Kreslins about
nThe album is amazing.  You've got a masterpiece
on your hands. I think it's one of the best
albums of 2004." Holy Halvah, Laris! You're right!
Delicate psych-folk meets glistening pastoral
electronica. Now that's a match!
coming soon: The Dead Science, The Hidden Cameras, The
Wrens, Thingy, Shooby Taylor, Optiganally Yours.Goblin Cock
Okay, Grumble Grumble, the Jim Yoshii Pile-Up <S moreUr
mm.absoluteiykosher.com * 1412 i&h St., Berkeley, CA 94710  f^^tW^^r^^^^
Feeling a bit restricted by your gear? The Langara College Electronic Music Production Program will
introduce you to a world where every instrument on the planet is at your finger tips. This program
caters to professional and amateur musicians who wish to record and produce their own work on
a level that seriously rivals commercial studios, in your own home, and very affordably. For more
information download our extensive PDF brochures at www.langara.bc.ca/emp or contact Greg
Blue at 604-644-7991 or via e-mail at gblue@langara.bc.ca These courses are offered part time in the
Electronic Music Production Program throughout the year.
Continuing Studies
The Cinch
Shake if You Got tt
Basically, we should have
written a big fat fucking article
about this band this month.
One of Vancouver's greatest
musical assets. The Cinch are
moving into the big-time with
their full-length debut on the
acclaimed Dirtnap imprint.
For those of you who aren't
familiar with their sound. The
Cinch deliver the pinnicle of
lo-fi pop. Like delicious group
sex with The Breeders and
anyone on Sympathy for the
Record Industry (94-97).
I can'tsay much more than
"buy the record," "go see
their next show," and "we're
total losers for not writing an
article about them". Or, "If
anyone wants to write one,
we'll print it next month."
Susy Webb (with notes from
Kat Siddle and Parmida
Comets on Fire
Blue Cathedral
(Sub Pop)
Recipe for making Comets on
- 1 singer. The vocal-chord
shredding kind.
- 1 bass guitar. The dirty-as-
manure kind.
- 1 organ. The get-your-
blood-pumping kind.
- 1 saxophone. The get-your-
- 1 drum kit. The heart-
palpitation/explosion kind
- 2 electric guitars. The really
loud, eyeball-melting, shit-
your-pants kind.
- Oh yeah: don't forget a
generous helping of peyote.
Yield: One generous
helping of blisteringly loud,
yet groovy music that will
attack your nervous system
and may, at times, cause
internal bleeding. In a good
Influenced by the grimy
in-yer-face blues-rock of
both Led Zeppelin and Fun
Mouse-era Stooges, as well as
the countless number of free-
form freakout psychedelic
bands of the same era.
Comets on Fire's brain-
cleansing new album is a
hurricane of a record, to say
the very least.
But don't get me wrong:
they can be nice guys, too.
They know that you need lulls
in the storm to catch your
breath. The very Pink Floyd-
ian "Brotherhood of the
Harvest" and the country-
tinged "Wild Whiskey"
definitely achieve their aim
to soothe before the record
launches into the final track,
"Blue Tomb," one of the
better album closers I've
heard so far this year. It's
a blistering rocket of sound
that takes you to outer space
and back within its 10-minute
As you may have
guessed, I'm recommending
this album. But in case you
didn't get the message, if
you're not going to do it the
justice it deserves by playing
it VERY VERY LOUD, just forget
Robert Ferdman
Lead Singer
A supergroup of sorts, Flossin
is composed of programmer
Christopher Willits (Kid 606),
guitarist Miguel Depedro, and
drummer Zach Hill (Hella).
Culled from a 14-hour jam
session that took place in
San Francisco early this year,
as one might expect, this is
a fucking weird record. The
first time I listened to it, it blew
my mind, leaving the pieces
scattered all over the place.
I was compelled to listen
to it over and over again,
and gradually picked up on
the repeated melodies and
rhythms that do in fact run
throughout the length of the
While the experience
remained intense, it
coalesced into the kind
of intensity that was
rather than consciousness-
obliterating. Layers of sound
wash over and under Hill's
believe it drumming, creating
a bizarrely transcendent
sound collage.
Lead Singer documents
three of today's most
inventive qnd original
musicians at their most
private and pure. Highly,
highly, highly recommended.
Susy Webb
Healing With Magnets
(Headphono Records)
I listened to this with the
rare mix of disbelief and
pleasure that I feel anytime I
hear indie-rock that actually
brings something new and
good to the game. Familiar
music-review adjectives
spring to mind: "sparse," "lo-
fi," "hushed..."
I could go on, but nobody
wants that. Those words
don't exactly fit, anyhow: it's
dense music, well-produced,
and has some pretty rocking
parts; It's deceptively well-
arranged, with excellent
melodic bass lines looping
around Jacob Mullen's
voice, guitar, and piano,
the kind of precise chording
and luxuriant strumming
that seem_ just right, and
Joy Mullen's solid drumming
anchoring the whole lovely
sound together. Her fills are
pretty great, too.
This group is now local,
although this record was
done in Nelson. I contacted
them and learned that
they've picked up a new
bass player and will start
playing this material and
some new stuff live soon. I
hope they get things up and
going as fast as possible. You
hope so too, believe me.
MP3 samples of this disc can
be had by contacting the
band at heailingwithmagne
ts@hotmail.com. Just be sure
to buy the album after they
send you parts of it for free.
It's only proper.
Naben Ruthnum
Tim Hecker
(Alien8 Recordings)
Mirages is Tim Hecker's aptly
titled third album of textural
noise ambience under his
own name, and his first
for Montreal-based Alien8
Recordings, who've treated
this release with the lovely,
high-quality packaging that's
become their signature. His
earlier albums. Radio Amor
and Haunt Me, Haunt Me, Do
It Again established Hecker
as a major player on the
ambient electronic music
scene, not quite on the level
of Christian Fennesz perhaps,
but a considerable talent in
his own right.
The album begins with
"Ac phale," a muted,
processed guitar snowstorm
that evokes My Bloody
Valentine heard from a block
away. These waves of noise
shift through various phases
before melting seamlessly
into the chiming, sub-marine
piano tones of "Neither
More Nor Less," a track that
draws you in with ghostly
melodic reverberations
before enveloping you in a
deep, thrumming drone, as
womblike as it is mechanical,
replete with a chorus of
drowned angels in found-
sound collage. The final
song, "Incurably Optimistic!"
suggests a bit of welcome
humour, but turns out to be
more of the same: beautifuL
minimal, engaging music that
may not show Tim Hecker to
be a master innovator, but
certainly proves his reputation
as a talented practitioner in a
genre of music that's easy to
make, but hard to make this
Joyful Rebellion
I'm undecided as to where
I stand on the K-Os issue.
On one hand, the religious
Toronto MC Kheaven Brereton
feels almost too produced,
too clean, too Sam Roberts
and Sarah Slean (who both
appear on his new album
as guests). At other times,
however, K-Os almost flies off
the radar into some really,
really great sounds.
Musically, Joyful Rebellion
is a pretty, intelligent, and
diverse album. I can't think
of many other MCs who drift
so easily and successfully
between hip-hop, swing,
reggae, acoustic singer-
songwriter, and rock.
My main complaint is that
at times the album comes
so close to a Muchmusic
sound (especially with "B-Boy
Stance" and "Dirty Water,"
the two most radio-friendly
tracks) that I feel forced into
a more critical look at the
whole album. As it stands,
though, K-Os is still a master of
his trade even if he's standing
on a slippery slope. While
he maintains his integrity
throughout Joyful Rebellion,
I only pray that he continues
to hold his ground and stay
strong with his own musical
Soren Bros
(Fractured Transmitter-Record
1995 was a banner year for
Swedish metal. At the Gates
put out Slaughter of the Soul,
which a brilliant subgenre-
fusing record that has had
a huge influence on many
bands such as Three Inches
of Blood. More importantly,
though, Meshuggah put out
Destroy Erase Improve, which
I once saw oh one of those
"Top Five Records of the
Nineties That You Must Own"
lists alongside DJ Shadow's
You, faithful DiSCORDER
reader, probably do own
Endtroducing, and you
bloody well should have
Destroy Erase Impfove as
well. It was a metal record
that was technical not just
for having intricate runs and
stop/starts of the kind found
all over metalcore these
days, but for a genuinely
musical grasp of concepts
like time displacement and
polyrhythm. You could rock
out to it while thinking "Hey,
I bet John Zorn is into this.
Christ, I have good taste."
Above all, it was an almost
flawless record. Truly a joy to
listen to.
Alas, like DJ Shadow,
every release Meshuggah put
out after their debut was a
disappointment. Chaosphere
was just OK, and last year's
Nothing was awfully boring.
But / is one of those miracle
records that sees a band that
everyone thought was past
their prime better their old
material. It's an EP consisting
of a massive twenty minute
song , the most ambitious
and successful arrangement
these crazy Swedes have
undertaken so far. There
are many moments worth
talking about, such as what
the drummer starts doing on
his snare at about the 6:10
mark and continues for an
impossibly long time, but I 'd be
more interested in discussing
these things with someone
who's had a chance to listen
to the record. So go buy it
already. This is one of those
Christmas-movie moments
of redemption: do it for your
Naben Ruthnum
Street Signs
(Real World Records)
I might be making enemies
in hip places by saying this,
but I think this CD is actually
pretty awesome. Sure it's
straight-up, polished pop
music, and their styles might
not be as interesting as those
of Cut Chemist or the Jurassic
5 (with whom their ties are
often mentioned), and some
of their latin sounds are, well,
stereotypical latin sounds
(as if most rock albums have
stereotypical rock sounds...).
But here's why I think this CD is
awesome. 1) Ozomatli covers
so many styles, exploring not
just their usual latino/afro hiphop sound, but it also delves
heavily into Middle Eastern
influences (in response to
recent American politics),
as well as classical jazz,
funk, and even South Asian
sounds. 2) It features amazing
musicians, including MC Chali
2na (of the J5), Cut Chemist,
the Prague Symphony, and
jazz pianist Eddie Palmieri,
among others. 3) It's simply
a fun album. It's clever and
it makes me want to dance.
And I hate dancing.
Soren Bros
The Roots
The Tipping Point
This is by far the most hyped
hip  hop  album  this year. DISCORDER,    SEPTEMBER'04
Had it been back in the day,
when The Roots were just a
live/jazz/hiphop outfit group
thing, very few would have
even cared. Now they are
the famous Philadelphia hip
hop collective known coast
to coast all the way from
Vancouver to Staten Island.
Running at a compact
55 minutes. The Tipping Point
features 10 exciting cuts of
pure funk.
Does anybody else think
that "Don't Say Nuthin" was
heavily influenced by last
year's hiphop anthem "In Da
Club"? If you listen closely to
Dre's beat for In Da Club, the
basic elements of his song
are also used for "Don't Say
Nuthin:" tight snare/claps,
heavy kicks, a hypnotic guitar
riff, and a mumbling emcee.
The LP closes with a lengthy
15 minute three part song.
After the first nine tracks, TTP
was running at a paltry 40
minutes long. Fortunately,
Part III is really dope and is
certainly another highlight on
this LP. ?uestlove lets loose with
his sticks and gets it together,
jazz/hip hop style, on beat
and on time, but like never
before. This drummer virtuoso
shows us why he is the illest hip
hop drummer alive. At times,
he sounds rejuvenated, like a
young Elvin Jones.
Will they go platinum with
this gem? And have The Roots
finally accumulated enough
fans and critical acclaim to
get past that mythical tipping
point to mega-super-stardom?
Only time will tell.
Frank Liao
Adam Sandler
Shhh... Don't Tell
(Warner Bros.)
This CD is sooooo funny!
Adam Sandler is probably the
greatest comedy actor of
his generation and probably
the greatest actor from SNL
and even is funnier than Chris
Farley (R.I.P.). This is his 4th
comedy CD and probably the
funniest of those four I think.
There's this one where there's
this gay robot that keeps on
hitting on the guys and trying
to get him to have sex with him
and stuff. The robot keeps on
asking them to do this really
gross stuff to him or the robot
will do to them. It's so gross
and funny. He asks them this
one time if he can suck the
robots dick and he talks about
jerking him off. It was so gross.
It was so funny the first tim© I
heard it that I totally pissed my
pants a bit.
There's this other one
where the guy with the tinniest
butthole has this fart that is so
long and it is tike a two minute
fartl It was so funny that I played
it over the phone to Chris and
Eric and they agreed too that
it was a real funny CD but they
only heard one song! Just the
one track was that funny.
There's some of the Adam
Sandler songs that he does on
^Ml _,f_
nil fe^gi* #wP
4 mwmmMmiMis u
this CD too. They're not that
funny but one has this really
funny gangsta rap song where
he is a really chicken gangsta
rapper. I think it's pretty funny
but not as funny as the ones
that aren't songs. There's also
a lot of this other one where
this old guy keeps on trying
to do dangerous things and
he gets hurt badly at the end
each time. At first it's sort of
funny but after a couple of
times it's not that funny. But
overall this CD is very funny!
II Year Old Boy
The Secret Machines
Now Here is Nowhere
While Now Here is Nowhere
does not "sound" like classic
rock, it definitely maintains
a "classic rock" feel in terms
of pacing and arrangement,
along with some notable
'70s kraut-rock tendencies.
Throughout portions of the
disc there is also sense that the
Secret Machines are about to
let "the Led" out at anytime
(particularly due to the big
John Bonham-esque drum
However there is much
more to The Secret Machines'
aesthetic: "sonic bliss" being
the first descriptor that comes
to mind. While paying homage
to some of the most innovative
and progressive "rock" bands
of the past 25 years, the CD
showcases a band that has
tapped into an array of diverse
musical influences.
Inhabiting a world
somewhere between early-
Spiritualized, Pink Floyd, Neul,
the Flaming Lips, and the
Manic Street Preachers, the
Secret Machines write big,
spacey, dynamic, melodic,
psychedelic, droney, and
sometimes cacauphanous
rock music (lest we forget
the requisite "quiet and
sensTtlvd" tracte Interspersed
throughout). [Whew. -Ed.]
Lead vocalist/bassist/
keyboardist Brandon Curtis
has a voice that handles the
material very well. Neither
too melodramatic, nor too
subdued, the vocal melodies
are consistently engaging,
interesting, and catchy. The
biggest problem I have with
the album however are the
lyrics. I wonder how a band
this musically adept can drop
so many trite, inane lyrical turds
like: "The leaves are gone/
there's ice on the river/hold
my hand to your heart and
breathe/together we won't
make a sound." But I digress.
Mark Pickersgill
The Standard
Wire Post to Wire
(Yep Roc)
Never before has an album
been such a paradox for: at
once engaging and beautiful,
and yet at the same time
confusing and uncomfortable.
With a musical style that is
definitely off-centre. The
Standard have ,earned
comparisons to Radiohead,
Interpol, June of 44, as well
as some of the finer prog-
rock luminaries of yesteryear
(i.e. Yes and Rush). Simply
put, "pop hooks" are nary
to be found on this album.
However a bit of patience
rdveals a band that plays with
a staggering array of depth
and dexterity, surveying many
of the progressive musical
ideas of the past quarter
century and creating beautiful
soundscapes along the way.
The songs themselves run
the gamut from terky rock, to
smooth fluid grooves, to piano
balladry, to lush atmospheric
pieces - and often all within
the same track. Yet there is
definitely an Organic feel to
the movements and transitions,
giving the album an almost
epic scope but at the same
time making the songs hard to
distinguish from one another.
The truly confusing part
about this band however,
is the yelpy and warbley
vocals. The singer sounds like
the bastard-orgy-love-child
of Gord Downie, Geddy Lee,
Will Oldham, Goat-boy and
that overly melodramatic
singer dude from Live. Not that
the vocals are terribly out of
place with the music per se,
they make things a little more
awkward than necessary.
I hate to be non-committal,
but in the end I view this band
like I would a rendez-vous
with an ex-partner. I don't
know whether to warm up
and embrace The Standard,
or to be slightly bitter at
them for taking away time
I could've been cultivating
relationships with other less
high maintenance bands.
Mark Pickersgill
Super Furry Animals
Phantom Phorce
Phantom Phorce is a remix
album, taking all the tracks
off of Phantom Power, an
album that received wide
critical acclaim, and returning
them in an electronic manner.
These remixes are done by a
large variety of DJs, among
them Four Tet and Boom Bip.
For the most part, the songs
are downbeat tracks, some
branching into hip hop and
a with a more experimental
feel. On the whole the record
is good, but not exceptional,
achieving what I expect from
most remixes: it makes me
want to listen to the original
songs. Interwoven throughout
the album is a humorous
anecdotal commentary from
producer Kurt Stern. Well...
the first few times I heard it
I thought it was humorous,
but it breaks the flow of the
album, and eventually proves
distracting and annoying. If
the commentary had been
left out I'd probably toss this
CD on at regular intervals,
but while it's a cute idea,
Kurt Stern's ramblings detract
from the CO as an otherwise
enjoyable experience that will
find you reaching for the skip
track button.
Jord'ie Yow
They Might Be Giants
The Spine
Universal Records)
I was never a fan of
TMBG. It's not because
I don't like their older
music, it's just that I'd
never heard it (other
than that theme
song to Malcolm in
the Middle, which I
understand isn't the
best introduction).
Upon picking up
their latest album, I
feel as though I have
joined some strange
underground club.
And, as a new
member to the club,
I just want to say
that you guys aren't
' really so special, if this
record is anything to
go by. I understand
that there's twenty
years of TMBG history
behind this album,
and it's unfair to judge
a band on one album.
So, while I won't judge the
band, I will say that this album
is simply much too indie-pop
for my tastes. It's possible that
the pop-punk stuff here is a
joke, but it's not quite funny
enough to make me laugh
out loud, and it's not quality
enough to hold up the few
really great tracks on the
album (such as "The World
Before Later On", "Museum
of Idiots", and "Au Contraire",
all clustered towards the end
of the album). Overall, I'd say
this album is probably good
enough to keep the members
of the TMBG club happy, but
if you're just thinking of joining,
this album isn't your ticket.
Soren Bros
Wagon Christ
Sony I Make You Lush
(Ninja Tune)
In Sorry I Make You Lush, Luke
Vibert's latest album under
the pseudonym of Wagon
Christ, we get an altogether
enjoyable mixture of funk, hiphop, soul, and jazz, which works
well for both background or
dedicated listening. There isn't
much in the way of innovation,
but it's obvious that Vibert
knows what he's doing. The
nice thing about this record,
though, is that it isn't merely
a collection of cut-together
beats and samples. There are
clear melodies permeating
most of the songs. Sometimes
these melodies are sung by
human voices, but most of
the time it is the electronic
instruments themselves that
assume the singing duties, and
"usually to very good effect.
As a whole, the album
succeeds, mostly due to its
ability to present a world where
man and machine can not
only coexist, but make good
music together. And it is no
problem when the machines
assume the lead role, either:
they sure can sing a mean
Robert Ferdman
The Waxwings
Let's Make Our Descent
(Rainbow Quartz)
It seems Detroit won't be
satisfied until every musical
niche has been covered
and they reign supreme in all
corners of the globe; the latest
band to seek world domination
fill the gap between The Sights'
psychedelic-stricken rumble
and The Singles' Beatles-filled
bop with promising "results.
These guys have studied under
'60s garage scholars to create
an album of noteworthy
songs, but with so many bands
crowding the halls, is there
any room at the inn? Still,
tracks like "All The Fuss", "On
For Tomorrow" which taps into
Donovan's leftover folk rock
staple, and the lead-off cut.
the tripped-out "Steady As
Starlight" give me reason to
give this ample spins at the
Bryce Dunn
The Winks
Slippers & Parasol
(Swim Slowly Records)
A few weeks ago, I finally
drummed up all my courage
and helped myself to a plate
reaction was normal; I was
almostrepulsed by it. I even told
anyone who was interested
to beware, for it's taste must
be an acquired taste to the
highest degree. But! Wouldn't
you know it, I started to <hihk
about this Spider Goulash for a
whole week. The idea of trying
this Goulash again swam in my
brain constantly until it was too
much to resist another go at
ttjis concoction. So I indulged ,
in this once more because my
work suffered and my family
was concerned. Long story
short; all I frickin' eat now is
Spider Goulash.
Al of time is measured by its art. This show presents the most recent new music from around
the world. Ears open.
Reggae inna all styles and fashion.
Real cowshit-caught-in-yer-boots country.
3:O0PM-5:O0PM alt.
British pop music from all decades.
International pop (Japanese, French, Swedish,
British, US, etc.), 60s soundtracks and lounge.
Book your jet set holiday now!
Dedicated to the gay, lesbian, bisexual, and
transsexual communities of Vancouver. Lots of
human interest features, background on current issues, and great music.
Rhythmslndia features a wide range of music
from India, including popular music from Indian
movies from the 1930s to the present, classical
music, semi-classical music such as Ghazals and
Bhajans, and also Qawwalis, pop, and regional
language numbers.
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-aJ.
Cant sleep? Need to stay awake? Here is
the healthy alternative to caffiene.'.The
Mutha*uckin show is on!!! Join Hedspin, P,
Kutcomers and special guests as they deal
doses of hip hop and info of the urban scene in
Vdncity. Guaranteed to keep that head nod-
din' to the early mornin'.
BflOAM-l 1:00AM
Your favourite brown-sfers, James and PeW$<$ft
a savoury blend of the familiar and exotic in a
blend of aural delights!
11:00AM- 12tf0PM
Wanna hear the music that drives the Discorder
war machine? Suppliment your monthly read-
ing with an aural dose of that super-sonic mag-
azine from CiTR
Hosted by David B.
l^toground pop for the minuses with the occa-
^jttMl interview with your host, Chris.     ^
A show of radio drama orchestrated and hosted
by UBC students, featuring ina^p^P^wworks
from local, national, and t^»ff»ational theatre groups. We welcome yrj|^nvolvement.
A chance for new CiTR DJs to flex their musical
muscle. Surprises galore.
Join me - Dallas Brodie - for stimulating talk -
;radrcrabout local, national and international
Phelps, Albini, 'n' me.
Listen to Selecta Krystabelle foryour reggae education.
Jazz features for the September 2004 Issue of
^scjojrder Magazine for "On.jtje Dial" From
the^Jazz Show" and Gavin WdTjcerl-O.^
Sej^^M|es^vis plays musljejpm the documentary Wmf A Tribute'To J^cfohnjlgr|i!' .^
jt?M| admired the great boxer (the first
"b^agkflg^vy^ight champiobj ond made
one of his finest latterly recordings. Davis
plays here with Herbie Hancock on keys and
John McLaughlin on guitar and others. A
stunning disc!
Sept. 13: Back to school for the nextl!r$fjfe'%
"^weei^ph "The Feature." Tonight alta':
^saxpRhor^rJrjpster and bandleader Julian
%Ca£"ndnbair Adderly narrates with musical examples "An fn|pduction to Jazz."
EducationjqYjand'entertaining, Ca'nnonball
makes jazz history easy to foljow^V.
Sept. 20: More education this time with
Leonard Bernstein wKfjoved and undefc.4**.
' s.tc«b^|a^jbnd.explains mucrrojlibe inner
^^fcS^SrfilB^^KCa sometimes funny
. andleasily understodd^a^nei^ith many
examples providec£By;some well known
jazz greats. "What if jazz" gives you some
Sept. 27: Pianist/Composer Andrew ™%Lji*&
?C!^^PJ?'fe^PV innovative and very original recordings in the sixties but none more
importanyhd^^sX&flrst for the Blue Note
called "Boc^^^^rw^ew-js^iSoed by
tenor saxophonist Joe Henderson who delivers some.cr^m^^orjk^rMl^^t^^K?.^
"ipr^rjes on Drums. Tffes^^jartkff^r^'/^
Hjr^a^Trj|s)!b^lt's punk rock, babyl Gorpten
the charts but hot from our hearts—thank fucking Christ.
D^^fetbpher^Schmidt also hjjpsfs Organix at
Club 23 (23 West Cordova) every Friday.
6:30AM-8:OOAM      :^j§_.
Bluegrass, old-time music and its derivatives with
Arthur and "The Lovely Andrea" Berman.
8:00AM-»:30AM *$#%
j>J0AM-l 1:30AM
Open your ears and prepare for a shock! A harmless note may make you a fan! Hear the menacing scourge that is Rock and Roll! Deadlier
than the most dangerous criminal!
11:30AM- 12:00PM
C JLY - Kootenay Co-op Radio profiles 30 creative
enterprises in Nelson with markets and clients
Movie reviews and criticism.
Canadian authors, fiction writers and novellists
interviewed by James O'Hearn.
Where dead samurai can program music.
«En Avant la musique!» se concentre sur le
metissage des genres musicaux au sein d'une
frahcophonie ouverte a tous les courants. This
program focuses on cross-cultural music and
its influence on mostly Francophone musicians.
Tansi kiyaw? Is Michif-Cree (one of the Metis
languages) for "Hello, How are you?" and is a
monthly Indigenous music and spoken word
show. Hosted b June Scudeler (for those who
know me from other shows-t'm Metis!), the show
will feature music and spoken word as well as
events and news from Indian country and special guests. Contact me at jtscudel@ucalgary.ca
with news, even listings and ideas. Megwetch!
Join the sports dept. for ther coverage of the
Up the punx, down the emo! Keepin' it real
since 1989, yo. flexyourhead.vancouverhardc
es» cap* ism n: escape from the realty or routine
of He by absorbing the mind in entertainment
or fantasy.
Host: DJ Satyricon.
<D JSatyrfccfl@hotmail.com>
It could be punk, ethno, global, trance, spoken
word, rock, the unusual and the weird, or it
could be something different. Hosted by DJ
6:00AM- 7:00AM
C^jJ^t^r^irtt^pdio presents a speciai^opu}
mentary on the experience ofJ|Dujh in welfare
10-.00AM-11:30AM '".^^^»^
Experimental^/iJdio^rtKSOvnd^v^ollage, filed
recordings, etc. RecommerKlecXforthe insane.
Luke Meat Wtates and educates through musical
deconstruction. Recommended for thestg&j!
lndependen.Vn©vy|||bsted by award-winning
journalists Amy Gcxxfr^drt^ffi^gn'Gonzalez.
Cyck>rifficrc%^^^jlC ^
Primitive, fuzzed-out garage mayheml
Socio-poftical^nvironmental db^fettp#^^ilE©:
spoken word with some5ff(/sj^^6&^
(First Wednesday of every monfffiCj^
6:30PM-8:00PM     ;
Vancouver's   only tafS^pB^pStrontc-retro-
goth program. MusicTfoSPr^pmr^o, hosted by
8.-00PM-9:00PM alt.
Vf^sftPsilivf/cWnightly news mga^p^iej'Rolted
^bi^Syra Ingraham^^w.primalradio.net
8:O0PM-9:O0PM alt.
Developing y^^j^^^a^id^rai^j|MfWAJpl
'ISj^S^yei^rje^rjig diversity, celebrating queer-
ness and enc^jj/raging pleasure at all.stpj^eis.
Sexuaity educators ^Jylp^H^kl^^ill quench
your search for responspe, progressive sexuaity
over your life span! <www.juiceboxradio.com>
Roots music for folkies and norv-folkies... bluegrass,
"'SJr^eV^'ngwj^rs, worldbeat, alt country, and
Music inspired by Chocolate Thunder, Robert
Robot drops electro past and present,
hip hop and intergalactic funkmanship.
Ever told yourself "I can't even boil water, let
alone cook a chicken or stir-fry vegetables!" Let
Chef Marat show you the way to create easy
meals prepared in the comfort of your own
kitchen/bechelor pad or car. OK, maybe not
*■#» cat Wouldn't want to spiH anything on the
Crashing the boy's club in the pit. Hard and fast,
heavy and slow (punk and hardcore).
Comix comix comix. Oh yeah, and some music CABLE 101.9FM OR LISTEN TO US ONLINE AT WWW.CITR.CA
with Robin.
DJ Knowone slaves over hot-multi-track to bring a
fresh continuous mix of fresh every week. Made
from scratch, samples and just a few drops of
fame. Our tables also have plethora of guest DJs,
performers, interviews, giveaways, Strong Bad and
the occasional public service announcements.
5:00PM-6:00PM alt.
Local Dave brings you local music of all sorts. The
program most likely to play your band!
Viva kxVelorution! DJ Helmet Hair and Chainbreaker
Jane give you all the bike news and views
you need and even cruise around while doing itl
Now in it's 15th and final year, your most reliable
. source for Indie Pop. Thanks to all the regular listeners over the years! Tune in for an entertaining
farewell tour.
The best in roots, rock 'n' roll and rhythm and blues
from 1942-1962 with your snappily-attfred host,
Gary Olsen.
Live From Thunderbird Radio Hell showcases local
talent... LIVE! Honestly, don't even ask about the
technical side of this. This month's listings:
Sept. 2: Brian Morris, Kent McAllister
Sept. 9: John Ford, The Sheds
Sept. 16: The Abyss, TBA
Sept. 23: TBA
An old punk rock heart considers the oneness of all
things and presents music of worlds near and far.
Your host, the great Daryl-ani, seeks reassurance
via <worldheat@hotmail.com>.
■ A   Y
Trawfttg the trash heap.of over 50 years' worth of
real rockf S||p debris, m .. j
^^^S__W^^'<pjska_t@ho1rna8.com> ■• O:
^^K-2K»PM    1
I^S^^^p^^pjgger DJ Avi Shack mixes the
underground hip hop, old school classics and
original bcep^§^
A vc^nt^^^^rot^^^^^^^^^cornnrtunity
^ri^^i^St^atumg news, sports and arts.-Reports
by people like you. "Become the Media." To get
^^^l^^visit www.citr.cd and cfick "News Dept."
c>ld|QSjQL^iaJtn, scmba/^bossa gfia/Aificafj
J$a^Jrorn around t^j5vorQ;,'iJ^^:
^^^^^^mylhmsrp^i^cdrn fi$
Otryes,giveaways, and morel
f f|lj|fHE SCRIBBLES alt.
Dark, sinister music of all gerir^to soothe the
Dragon's-souf. Hosted by Dral^^
8:00AM-! 2:00PM
Studio guests, new releases, British comedy sketches, folk music calendar and ticket giveaways.
8AM-9AM: African/World roots. 9AM-12PM: Celtic
music and performances.
A fine mix of streetpunk and old school harPcore
backed by band interviews, guest speakers, and
social commentary.
Vancouver's only true metal show; local demo
tapes, imports, and other rarities. Gerald
Rattlehead, Dwain, and Metal Ron do the dam-
From backwoods delta low-down slide to urban
harp honks, blues, and blues roots with your hosts
Jim, Andy and Paul.
The best mix of music, news, sports and commentary from around the local and international Latin
American communities.
Each show will make you feel as though you're is-
tening in on conversations between political insiders. As wel, this guest and caller-driven programs its
guest from opposite ends of the corridor of pubic
argument against one another in ho-holds barred
debate that takes you behind today's headines.
An exciting chow of Drum n' Bass with Dj's MP & Bias
on the ones and twos, plus gusts. Listen forgivawas
evervweek. Keep feein da beatz.
9:00PM-1 1:00PM
11:00PM-1:00 AM
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?
"noiz terror mindfuck hardcore Ike punk/beatz drop
- dem headz rock inna jungist mashup/distort da
source full force with needlz on wax/my chaos
runs rampant when I free da jazz..." Out.
Hardcore dancehall reggae. Hosted by Sister B.
V.O.Y.C.E. (TK)
MOSH PIT        1        DiSCORDER
f"-jfc. '
THE                       FORTHE
SHARE (RR)       1       RECORD (TK)
10CAIKIDS        1           PEDAL
1  )
^at the Railway Club——
IlliT MUSIC ©Klill hKhlUnil
PXCTioh sisgxhl si ssts
POIM OP TH5e«S ftiijTTewP-IiI*
ttiohiiDhk Lon^c Thg ieniS
Rill Chico Kin iLeisiiie siit
tW«* blo*l/fjT    SATURDAY SEPT 11
J?    »?   • , The SHOWROOM
UK) HJ> SP»1S »T*tVWPS      O Plaza of Nations
The 3rd Annual
ta^ Thurs-Fri.September 16&17
Jandek on Corwood (doc) -6 pm
Tickets only $8 at the door
Geared To Go'Gol
at The WALDORF f
Roughin it
Where have all the rude boys gone?
The Tomster
haa lah lah
Lee Livingston
Short and Sweet Music
1 do but do you?
Collapsing Opposites
Sore Throats
Urban Folk Tails
Sung Tongs
03 SECRET MOMMY                             Hawaii 5.0
Shake It If You Got It
Tyrannosaurus Hives
Mississauga Goddamn
Creature Comforts
Evil Evil
Circa: Now! + 4
Grab That Gun
Autonomy Off/On
Deux Hot Dogs Moutarde Chou
14 ATOMIC 7££*£S£t
Favourite Colours
En Hillbilly Cafiente
Yep Roc
Various Artists
The Real New Fall LP
Beggars Group
Dead Cities, Red Seas And Lost Ghosts      Mute
Kiss And Tell                                                 RCA
Le Fty Pan Am
The Slow Wonder
The Blue Curtain
Rock And Roll Kamikaze
Gris Gris
Bass player                                                 Indie
Culture For Pigeon            Troubleman Unlimited
Let' s Make Our.Descent            Rainbow Quartz
Van Lear Rose                                   Interscope
1 Got Fucked By Liberty Mutual
Alive And AmplifteeSH %
i 1*            Indie
Red Ink
The Sirens
Blue Cathedral
Get Hip
Sub Pop
You're A Woman, I'm A Machine        Last Gang
Chewing on Glass...
Slippers And Parasol
Ninja Tune
Swim Slowly
I JlitW
AC VanCity
IJE_1l?1LBOJ It's right here
Www. viff.org
Searching for the Wrong-Eyed Jesus
(UK/USA, 85 min.)
Alt-country is huge in the UK, so it's no surprise that
the first film on the subject was done for BBC's
"Arena." Andrew Douglas' musical voyage through
the American south features the Handsome Family,
Johnny Dowd, Lee Sexton and even a rockabilly
mountain priest. Quirky singer Jim White serves as
guide through the truck stops, haunting landscapes
scrapyards, mines and churches of a land in which
"stories was everything and everything was stories."
This film generously sponsored by:
Dig! (USA, 110 min.)
Anton Newcombe of The Brian Jonestown
Massacre and Courtney Taylor of The Dandy
Warhols shared a desire to tear down and
rebuild the American pop music industry.
Ondi Thnoner's fascinating film chronicles
their quest—a quest that left them bitter
rivals. "A viciously sharp essay on art, commerce, friendship and madness." —Boston
Globe <digxx>
Fallen Angel: Gram Parsons
(GERMANY/UK, 92 min.)
The first major documentary on country-rock
innovator Gram Parsons (The Birds, The
Flying Burrito Brothers, then solo) is also a
definitive accomplishment, employing a tapestry of rare footage and revealing interviews
with family, friends (including Keith
Richards), and former bandmates to examine his privileged background and trouble-
filled career. <falle>
Finisterre (UK. 58 min.)
With a title taken from an album by Britpop
band Saint Etienne (they composed the
soundtrack here), Kieran Evans and Paul
Kelly's poetic documentary is both a series of
upbeat snapshots of London and its myriad
possibilities, and a warm nod to Patrick
Keiller's seminal London. Screens with the
hilarious animated short Flatlife.       <finis>
The Five Obstructions (Denmark, 90
In 1967, legendary Danish director JPrgen
Leth made Trie Perfect Human, a short film
Lars von Trier claims to have seen 20 times.
In the year 2000, the notorious sadist von
Trier challenged Leth to remake his film five
times, with each subsequent remake directed under a devious set of "obstructions." The
result: a battle for the ages! <fiobs>
Male Fantasy (Canada, 78 n
New Pornographers band member Blaine
Thurier describes his second feature as
funny, raw, tragic, messy, absurd, dirty and
Canadian—it is a dark comedy about an
eccentric man (local crflic/artist/musician
Robert Dayton) determined to become irresistible to women and affirm his cfroflipoV
fence. <malef>
Chain (USA, 99
In Jem Cohen's Chris Marker-like mix of
avant-garde drama and documentary, generic spaces of postmodern life are joined into a
monolithic "superlandscape" that defines the
lives of two women: a Japanese executive cut
loose by her corporation while studying the
international theme park industry and an
American drifter living Illegally on the fringes
of a shopping mall. <chain>
*  V
The Time We Killed (USA, 95 min.)
Jennifer Reeves' debut feature is an impressionistic and deeply-personal cinematic
poem that operates on multiple levels—psychological, sociological, political and even
technological. Though it takes the point of
view of a so-called mentally disturbed
woman, the beautifully rendered film offers a
dear view of the world we live in now.
The Love Crimes of Gillian Guess
(Canada, 93 min.)
in his most freewheeling and irreverent work
to date, Bruce McDonald (Hard Core Logo,
VIFF 96) takes us on a wild ride into the life
of tabloid victim Gillian Guess (Joely Collins)
famous for reporting to jury duty and then
having an affair with the accused.    <loveo»
Arahan (South Korea, 1U min.)
Ryu Seung-Wan (director of Die Bad) hits his
commercial stride with a slam-bang martial-
arts actioner. A gormless young cop and a
cool check-out girl need to attain enlightenment fast to tackle the recently unleashed
Master of Absolute Evil. The great Ahn Sung-
Ki stars as their teacher.      * <araha>
Zero Day (USA, 92 min.)
Ben Coccio's directorial debut, a fake documentary about Columbine-type school slay-
ings, is unflinching in its refusal to demonize
its protagonists, two "normal" kids who, in a
video diary ostensibly shot over 11 months,
bring us face to face with the banality of evil.
• Absolutely riveting. <zerod>
©ROGERS      4J|;,    ^
The Vancouver Sun
<«fo     ©Rogers
cbc news world
3 Telefilm Canada   HONDA IN THE ZULU GRAIN September Sounds with Sheen
II top ten of theyear <
Here's the into, The Arcade v
Fin am a multi-national band'
based In Montreal, featuring
brothers Win and Will Butter.
They are. a larger group at times six players strong, with
well-employed diverse instrumentation and male ami
female singers They syntheses an that is pood with
contemporary indie rock, sounding Me a unique and
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Spree, Godspeed You! Black Emparar, and Versus A
self-produced CDEP came mrough here sorrfcie a
and had real promise Others also took note ol this
Absotutflrji Xbetier, ASdnfj and Merge ^i triad to woo the
group Dedans on ftJejpfflr tnetrfuflfeagm debut
Fmartt Improves ofi wbsrims already significant and
good wfth their past wofk, promlstog'lriat tin Aroda
Flrear«s«)niobe<w»ryii)r«'s/BWfavotS»haBd, The
is highly mcormrtfnded, AVAHJfLE SCFIEMBfR 7W>
VARIOUS      \?c |
Songs From A
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Montreal & Constellation     »I
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playersBtnanonalandmtemar- ypy^"  '"•  ■■«* '■
tioned indie music pmmoting
and supporting some key names from Genital Canada
Here is a handy introduction to all ot the great music
they have to offer Once available only as a special CD
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features unreleased and rare tracks from the enure
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Orkesta. Polmo Polpo. Hamjadup. T-Sneed Bike, fly
Pan Am, Rk SackvUle, Frankie Spare and tfie mighty
mighty Godspeed Veal Black Emperor
Rubber Factory
U Qhort sharp loud and
' exhilarating reminder ot the
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blues and rack, not back to basics, but toward" -Mojo
The second Epitaph album from B» acclaimed gurttv
and drum, delta wues-inwsed rock Aofrani Akron,
C^1ttt)ttadKl^aj«totu^Miaals toj*past
three years they have crossed1 llo* America time and
tkneragate, gaining newfm,if$iir$;rec<^s#wfc '-C-
rjtayuigSn^tores-and college mdSo^Bfco^^Thby've Jjean
afeaturedattmctkHiaianurhl!)^ ' -.
incJudMgthis summers6luesB«i8«l^<j%(aaiid *
Toronto —The Black laa* afe^\v#b*#slsplosionl
Zulu News:
4 nights of physically immersive sound
liu m uttflMitiB
sept.Hth, 12th (sleep)
i with mew
ty to somehow become^
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1972-1976 W 4th Ave
Vancouver. BC
Mon to Wed   10:30-7:00
* irs and Fri 10:30-9:00


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