Discorder CITR-FM (Radio station : Vancouver, B.C.) 2004-11-01

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&%®%(YX    *.*S^\*-s.  L
%$/t$&*i$&' 01  • DiSCORDER NO-VEMBER! 2004
Shock City Maverick
The former Antipop Consortium member
and rival to Andre 3000 for Coolest Artist
on E3rth honours. Beans' cold fusion
party music flawlessly pairs classic Warp
Records-Stjte IDM with alien synth, crisp,
glitch-beats, addictive electro-grooves,
and Bambaataa-style headfuck/funk.
[2LP also available!
Feel Good Lost
" $I6/\E»U forgot It In People was not t
Winchester Cathedral
3 in guitars,
loaded With melodies and overflowing with
harmonies, if s not just their best alburn yet.
,wwi.dbpe*iess, rts almost too stirring to -
bear - especially in one sitting... in one
fell swoop this precious record almost
completely negates DJ Shadow's whole
career."- NNNNN, NOW
[2LP also availablel
PURCHASE! (While supplies lastj
Collecting The Kid
A limited edition collection of instrumentais,
remixes, b-sides and special projects
from one of hip-hop's most innovative
and risk taking artists, Company Flow
veteran EL-P, and his equally innovative
label. Definitive Jux.
Darby & Joan
"The third soio album from The Hidden
Cameras' frighteningly bfonde guitarist is
his best yet Not only is his pop-and folk-
inflected songwriting stronger than ever,
but his sound has been infiltrated and
Hashed out by members of the
Constantines, Royal City and Kepler."
Mississauga Goddam
Mississauga Goddam proves (Joel Gibb's)
mastered the distinction between his
band's live spectacle and the careful art of
crafting a lasting (and lisienable) artefact"
Robyn's fascination with America and
American music has formed Spooked, which
presents the US as a terminally spooky place.
Within the fluorescent glow of strip malls, suburban sprawl, and dubious politics, theres a
palpable eeriness that infuses the album with
a gravity that extends from beginning to end.
[LP also available]
PURCHASE! [While supplies last]
Last Exit [2CDI
"It's ihrillingiy obvious ffiaf Junior Beys have
made one of the year's best albums."
9/10- NME
vworidofetectrr>pop... *
"The brave nt
"Ks hod to believe there win be i
record than Last Exit released this year."
^"-5 stars-UNCUT
"Canadian buzz act of the year, and for once,
that lag is we/tamed." ~ EXCLAIM!
[2LP also available]
Live At St. Ann's Warehouse
(DVD/CD $20,981
A 2-disc set with a live DVD and CD.
Aimee Mann's first ever DVD, "it presents a
full concert featuring never before released
brand new songs, interviews, backstage
footage end more. Twelve of the songs also
appear on the accompanying live CD.
This 70+ minute CD collects Min«sfty%
early 12" singles and adds four previously
unreleased tracks from the same period
Classic trax from the twisted mind of Al
WTO PURCHASE! (While supplies last]
Give Up
Death Cab For Cutie's-Ben Gibbard and
Dntel's Jimmy Tamborello collaboration
as The Postal Service has produced ari
acclaimed album of - breezy electronic
pop that updates' classic '80s synth-pop
;   with contemporary beats.
'   [While supplies last]
Favourite Colours
Imagine if The Byrds had
Heart Mother or if Hank v
always dropped acid before
tune. The  Sadies' fsvourit
A Strangely Isolated Place
"Ulrich Schnauss's sophomore is nothing
■ ■   short of spectacular. This is one or the
more notable electronic albums of the
year."- Exclaimt-fajPatso available]
rock, bluegrass and old tr
[LP also available]
Solid Steel Presents
Amon Tobin Recorded Live
The fourth release in Ninja Tunes Solid Steel
mix series finds Amon Tobin presenting some
of he lush,' jazzy downtempo dassics and
heavy drill 'n' bass anthems with Amorvized
custom mixes of tunes' by The Velvet
Underground, Dizzee Rascal and Jurassic 5.
Warp Vision: The Videos
-W#*2^k" :
[DVD/CD $22.98}
An anthology of 32 groundbreaking
videos from the pioneering electronic
music label. Warp Records. Artists
include Aphex Twin, Squarepusher and
Prefuse 73; directors include Chris
,. Cunningham and Jarvis Cocker, tt also
contains a bonus 55-minute History of
Warp mix CD.
At The Organ
[CDEP $12.98]
Scott McCaughey and his sonic frontiersmen
are joined by the mighty men of Wilcox Peter .
Buck (HEM), Ken Stringfellow (the Posies),
and Rebecca Gates (Spinanes) on this mini
album containing 7 tracks and a video.
PURCHASE! (While supplies last]
I tel 604-738-3232 • www.zulurecords.com  • DiSCORDER NO-VEMBERI2004
FROM CiTR 101.91m
ISSUE 2lb^5
Kat Siddie
Q and Not U p. 10
Jason Bennet
Graeme Worthy
Pink Dot Green Dot p. 13
Leeroy Stagger p. 14
Chroma Books p. 14
Bands, Schmands p. 15
Dale Davies
Hank and Lily p. 17
Dear America p. 17
Susy Webb
Dirtbombs p. 20
The Death ot Rock and Roil p. 21
Sex Love and Stars p. 22
Vampyra Draculea
Kimberley Day
Dale Davies
Graeme Worthy
Jason Bennet
Kimberley Day
Vampyra Draculea
Graeme Worthy
Dale Davies
Susy Webb .
Kat Siddle
Kimberley Day
Vampyra Draculea
Jason Bennet
Jordie Smith
Gerald Deo
Chris Walters
Gordon Au
Bryce Dunn
Luke Meat
Susy Webb
Chris Walters
Matt Steffich
From the Desk ot... p. 6
Strut Fret and Flicker p. 7
Rift Raff p. 9
Do it Your Damn Self p.?
Textually Active p,23
Under Review p.24
Real Live Action p.26
Charts p.30
Program Guide p„32
Finding Joy p.35
By Date Davies
Duncan McHugh
Lydia Masemola
as usual.
Frankie Rumbletone
Lydia Masemola
© DiSCORDER 2004 by the Student Radio Society of the University of British Columbia. Ali
rights reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents
are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies
are $2 (to cover postage). Please make cheques or money orders payable to DiSCORDER
Magaane. DEADLINES: Copy deadline for the Jancember issue is November 18, not that any
of you will care. Ad space is avaBabfe untS November 28 and can be booked by calling Jason
at o04.822.3017 ext. 3. Our rates are avaBabte upon request. DiSCORDER is not responsible for
loss, damage, or any other injury to unsolicited manuscripts, unsoHcited artwork (including but
not limited to drawings, photographs, and transparencies), or any other unsolicited material.
Material can be submitted on disc or in type or via email. As afways, English is preferred, but we
wili accept French. Actually, we won't. Send email to DiSCORDER at discorder@ciub.ams.ubc.
ca. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well
as through al major cable systems in the Lower Mainland, except Shaw in White Rock. Call the
CiTR DJ fine at 822.2487, our office at 822.3017, or our news and sports fines at 822.3017 ext. 2.
Fax us at 822.9364, e-mail us.at: citrmgr@mail.ams.ubc.ca, visit our web site at.www.citr.ca or
just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1, CANADA. Red Cat Records
New & Used CD s & Vinyl
ph. 708-9422 * email Imddytredcatca
As you flip through this magazine in some half-hearted attempt to distract yourself from the outcome
of the Presidential election, trying to suppress your feelings of dread and anxiety, you might notice
that a bunch of our articles are way shorter than usual. Tiny, snack-sized articles, not unlike those
leftover Halloween chocolate bars you've been compulsively eating since Kerry conceded (thanks,
Ohio, for making us gain, like, 40 pounds).
There's a few reasons for this.
1) After the perfection of the three-minute pop song in 1963, human attention spans have
gotten shorter and shorter. Those of you willing to listen to an entire Animal Collective
track are anomalous freaks, and I'm tired of pandering to you.
2)Our writers are physically weak and anemic and in the interest of keeping them alive for
a few more months, I'm going to stop demanding the customary 6,000 words.
3)1 don't think any of you read past the first 500 words of any story anyways.
4)At the first monthly post-mortem and open brain storming session, people asked for
shorter articles, the kind seen in almost every other magazine on the planet. And
since I love DiSCORDER, and everyone associated with it (albeit in a hate-tinged
familial sort of way), I'm giving you guys what you asked for.
5)l'm rather tired and feeble myself these days, especially since Susy Webb left to start
her own free newsprint magazine, DisCHAOS. Frustrated with by our refusal to go all-
analog (and our recent decision to forgo the old cut 'n' paste), Susy stole our light
table and left, in its place, a strongly-worded letter of resignation spray-painted on
the floor. I have to admit that tension had been building for a while: CiTR was not
especially supportive of her new Naturist lifestyle, and refused to turn the heat up,
even on the coolest of fall days. I wish Susy all the best with her new magazine: we're
totally gonna miss you Sooz, and if you steal any of our advertisers I'll fucking kill you.
6)Actually, that was a lie, we get along like squirrels and nuts. We just really like the name
DisCHAOS, come on, you know you love it.
The (now blatantly fictitious) launch of DisCHAOS, coinciding with the (not so fictitious) Only magazine
and a (hopefully not a pipe-dream) something-something from the former team of WOOI at good
ole' Emily Carr, brings the number of free music and arts magazine in Vancouver to an all-time high.
Nevertheless, I think the ever-new-and-constantly-improved DiSCORDER will soar above them all to .
new heights ofdemi-journalistic excellence. Expect a couple of new columns next month, including
one by our hi-larious art director Dale, alongside the usual lOxradness you've come to expect from
Vancouver's original pointless free magazine!
Transcend Mainstream Mediocrity
:~*^*^w£tra-i£fc^%^ ^J^^^^y*^M^kiSis^^' ■ CiTR 101.9fM presents...
A battle-of-the-bands extravaganza
Tuesdays at the
Railway Club
579 Dunsmuir Street at Seymour
Nov. 9th: The Casanova Hayboys/Foster Kare/The Rub
Nov. 16th: Dandi Wind/The Little Death/Evoi-Hearted
Nov. 23rd: The Philharmonic/Ponderosa/Mohawk Lodge
Nov. 30th: TBA/Vancougar/TBfl
Props to these extra special sponsors:
Wednesday 20 October
Crush Champagne Lounge
When a high art activity like contemporary
dance is pulled off of the concert stage and into
a nightclub, all manner of chemistry is possible.
Viewers are at liberty to get sozzled as they
watch; choreographers learn to sculpt their work
for a more capricious attention span; and the
whole thing can feel like a train station where
everyone—audience and performers alike—has
gotten off at the wrong stop but wants to hang
around and see what happens. Sadly, that
pleasant sense of infiltration and displacement so
evident at The Royal pub didn't make it through
the door when the Small Stage series moved to
Crush. Nonetheless, the quirky programming and
high level of artistry are more than intact.
The night got off to a tongue-in-cheek
start as dancers Carlos Chang and Anastasia
moved from tango to salsa with devastating
precision and cool. They could have charmed
the fake tans off the venue's regular patrons, had
any been present. There was also a heightened
club vibe in Martha Carter's "The Spell Remains",
in which performers Lina Rtzner and Amber Funk
Barton were a pair of techno-heads driven to
keep dancing long after closing time. Barton
seemed especially possessed. You could almost
see the music coursing through her body as it
rippled and spun.
Some of the artists used dance to map
out a psychological landscape—with varying
degrees of success. As a study of neurosis,
Amanda Sheather's "The Problem Box" was too
literal for my taste (perhaps it was the mime), but
Fitzner created an intriguing atmosphere with her
solo, "Speaking in Red". She suggested a circus
performer or a music box dancer going through
a backstage existential crisis.
For eliciting a direct gut reaction,
though, nothing surpassed " 'A million tiny robots
in my head' ". Sonja Perreten s
trying to vomit up whatever was tormenting her
as she dragged her fists up her body, whipped
her head and repeatedly dropped to the floor.
Meanwhile, disturbing animations travelled
across a screen behind her and the music of
Radiohead, The Locust and Roger Tellier-Craig
created a mood of tortured bliss. Perreten
commissioned this choreography from The Holy
Body Tattoo's Dana M. Gingras—no wonder it
was knockout—and danced it with a passion so
like Gingras' own that it was uncanny.
Amid all the kinetic heat,
choreographer Kathleen McDonagh's "the
quiet and the small...a digital dance" required
a massive geardown. It was quiet; it was small;
and was set to a lovely composition for harp. I
longed for a touch of eccentricity in Andrea
Gunnlaugson's performance, but alas, there was
only a resolute flatness which made the small
idea disappear altogether.
The evening acquired a genuine
cabaret feel when a louche supergroup
composed of battery opera's David Mcintosh,
Radix Theatre's Paut Ternes and Max Murphy
of The Greasy Kings ambled onstage to bring
us "Bob's Lounge". With Murphy on baritone
sax, Mcintosh on vocals and both in bathrobes,
they performed a Vegas-era Elvis number with
manly stoicism. This was followed by an insane
collison of Roy Orbison and the Third Reich as
a lederhosen-clad Ternes did the Schuplatten
to "In Dreams". It was glorious. The other loose
cannon was Toronto-based multidisciplinary guy,
Peter Chin, who stuttered and fluttered his way
through an hilarious parody of an artist jryftigV
to synopsize his entire life in nine minutes in the
appropriately titled "Everything".
As an outreach programme for
contemporary dance, these performances are
a brilliant idea and I'd love to see one at The
Media Club, or the Brickyard, or Richards, or
Sonar... D
info: http://shindig.citr.ca/
Holy Allah, are we ready for this. After
s^#ftig as a rough cut at Cannes in 2003, Vincent
Gallo s new film, The Brown Sunny, gets its theatrical
: premiere this month at the Pacific Cinematheque.
Painter, musician, composer, actor,
filmmaker—the moody Renaissance man who
achieved cult status in 1998 with Buffalo 66 has been
composing for films since 1981 and acting in them
since 1984. His first as director, in 1986, was a delictously
obscure piece called If You're Feeling Froggy, Jump.
After Buffalo, he formed a band, toured, broke it up
and then spent two years building the recording studio
SU^^^yo birth to his 2001 solo album. When.
In its finished form, Gallo's third and latest
film is said to look gorgeous, so the controversy still
billowing around it may have to do with content.
The press release speaks of "the frankest portayal
of male sexuality ever seen in American cinema"
and an internet trcriHJjf-^ts at what could be a very
memorable motel scene.
The Brown Bunny is, among other things, a
story about lost love, and it's also very much Gallo's
creature. He wrote, directed, produced, designed,
d.o.p.'d, edited and starred in it (opposite Chloe
Sevigny). It seems the only thing he didn't do on this
one was the music. But Gordon Lightfoot is on the
soundtrack. Of course you'll be there.
The Brown Bunny plays The Pacific Cinematheque
Nov  19-22 and 24-25 on a double bill with Russ
McEtwee's Bright Leaves. VA/K/A
i straight
Sometimes it's all in a name. Seriously, I look at
some of the stuff I get to review each month,
read the name, and come to the conclusion that
eitherbands don't give a rat's ass that their name
should actually mean something comparable
to their music, or that you're completely blown
away that a band with a such crstupid moniker
is actually that good. Let's take Pterodactyl, for
example. This one's gonna be easy, I think. C' mon,
naming yourselves after a dead prehistoric bird?
How can they even look at each other every
night on stage knowing their name elicits images
of fantastical winged creatures that bit the dust
centuries ago? Well, their music is quite the eye-
opener, three songs that are quite spastic and
furious at times, reminding me of local Ritalin
kids. The WPP. If they actually sang about their
namesake, maybe I'd forgive them but I'm sure
they just strings words together that don't make
much sense for the sake of musical "art". Either
way, they seem to have friends who enjoy them,
as they namedrop several bands on their way to
extinction. Bye-bye, birdie, (no label info, http://
by organ and Dan's guitar; "This Is How They Beat
You Down" is a tittle more morose, but through
very little instrumentation Dan's voice bellows
and begs to be heard. (Bent Rail Foundation,
P.O. Box 2283 Birmingham, AL USA 35201).
Friday, During the Day
Mugstar, four fellas from jolly ol' England,
fall into this same trap: whatever the hell their
name means it's got absotively nothing to do
with their sludge-core stylings; imagine the early
AmRep Records stable of bands (Cows, Tar, God
Bullies etc.) but even more densely layered with
guitar, making the vocals undecipherable, as on
the track "Flavin' Hot Rod", which is probably
"Flamin' Hot Rod", 'cuz it wouldn't be proper
English, righty-o? "Man With Supersight" is the
instrumental flip, again super heavy and thick
like the sandpits that swallowed up our first band
mentioned here. (Critical Mass Records, no
address, but I'm assuming British origins.)
Hand delivered by the folks (okay, it was
just Sean) at Global Symphonic is the latest opus
to late night shredding of vocal chords and
skateboards, a split release from S.T.R.E.E.T.S. and
thrash-metal outfit Rammer. Vancouver's answer
to Nazareth-meets-Tales Of Terror just get better
and better with each release, as dual guitar
harmonics cranked to full crash head on with
larynx-ripping metal from Toronto's beasts from
the beer-bong basement. Bonus points awarded
for the "looks like a twelve year old did some
doodles during history class" cover art, but Sean,
you might want to have a word with your pressing
plant, as my limited edition pink copy is actually
a bright and shiny red. Not that I'm complaining,
mind you, but the collector kids who shift units
on Ebay might. (Global Symphonic, I forgot their
address, but check www.streetsrock.com for
-   4POT
Moving on to Dan Sartain, who needs not
explain his God-given identity, two songs of torch-
burning ballads adorn the newest vinyl addition
to his burgeoning resume. "Who's Sorry Now?"
has a younger Nick Cave-like feel, punctuated
Last but not least. The Pour Slicks rev up
and peel out with four songs of rockabilly punk
that sound awfully good for a bunch of Parisians;
wait a sec...these guys sing in English...hey, I
recognize one of the dudes...it's Jon Von of The
Rip Offs (old San Francisco punk band). Well I'll
be a monkey's uncle, so that's what he's up to
now. As it turns out, I checked out their website
and found out the rest of the band ts originally
from the States, and their new home was a result
of a wrong turn made on their way to California.
Well they're making the best of a bad situation
(makes their car hobbies more like jobs, things
are dam expensive), by churning out toe-
tapping ditties about girts and having no money
to support their hot-rod habits. This is their debut
45, so don't know readily available it is, but you
can always try...(Born Bad Records, 17Rue Keller
75011 Paris France.). Take it easy kids, and always
buy vinyl! D
These simple projects are not only creative, but
insanely useful. Use them as decor for your own
fridge, or as personalized gifts for all those people
you're obliged to give presents to (the season
for tast-minute gifting is soon upon us, after all).
Or go political and convert your housemates by
writing slogans on them (the magnets, not your
roommates). Plus, you can finally replace the ugjy
free magnets that come in the mail advertising
things that you will never need, like Real Estate
When working with magnets in any large
quantity, you may wish to work on a cookie tray
or other magnetic surface. This will prevent them
from sticking to one another when their glue is
still wet. Speaking of glue... you can use a hot
glue gun, but beware: if a surface is too smooth,
the glue may peel off. You're better off using an
all purpose white glue called 'More Than Great
Glue', available at craft and hardware stores.
It's quite strong and dries clears You will find it
necessary for bubble magnets, but it works for the
other projects too.
Unfinished magnets come in a variety of.
forms. For most of these projects, you can use
either small button-shaped magnets, or magnetic
strips Cut into smaller pieces. Or recycle some free
pizza magnets. Some magnetic strips come with
one adhesive side. This w9T not be strong enough
to hold any weight, so just use glue, you slacker.
These are probably the most widely-seen of
all these magnets. Maybe they're a little too
common, but I feel that they can be redeemed
by the coolness of the image that you use.
You will need:
Clear glass bubbles that are flat on one side. Get
them from craft stores and dollar stores. They're
easy to And but usually sold in large packages—
just throw any excess in youe fish tank.
A photocopied image. Photocopies are
preferable to computer printouts because the ink
bonds better with glue, and won't smear.
Glue. Use the aforementioned 'More Than
Great Glue'. Dumb name, but it works really well.
Magnets. Either button-shaped or a piece
of magnetic strip*
Scissors or a 1/2 inch hole-punch. Get them
from craft stores or steal from work.
1) Cut each image into a small circle slightly
smaller than the flat surface of the glass (this is
where a 'A inch hole-punch comes in handy).
2) Glue the image to the glass. The glue
needs to be thick enough to fill the uneven areas
on the bubble, but not so thick that it makes a
huge mess. It might take you a few tries to get the
perfect amount (maybe that's why the bubbles
come in such big bags). Make sure there dre no
air bubbles between the paper and glass. Let dry,
then glue the magnet to the back of the image.
Contain your excitement and let them dry before
putting them on your fridge.
You will need:
Ceramic tiles. Available by the square foot from
tile stores. The paint works best on white ffles with
an unfinished surface. Don't use glazed tfles.
Paint. 'Porcelaine', made by Pebeo, is
special ceramic paint available at art or craft
stores. The black-out liner comes in a smalt tube.
The colours come in small bottles, and can be
Paint brushes: different sizes appropriate to
what you're painting.
1) Paint images onto the tiles—and don't
bother breaking the sheet up first. Your images
might have to be simple since the tiles are so
small, unless you are very talented. Or, you can
paint one large image across a bunch of tites for
a cool, broken effect, or make each tHe can an
individual letter of a word.
2) When paint is completely dry, break the
sheets apart and glue magnets to the back.
These are really easy but th£ results are really
You will need:
Magnetic sheets: adhesive on one side, from craft
and art stores. Try Urban Source on Main Street.
A computer print out, photocopy, found
image, or whatever. Keep the paper thin— this
will lessen the chance of the image peeling off
the magnet.
Scissors. You really should have several pairs
by now. Do not use your sewing scissors for this.
Clear adhesive laminate. Optional.
1) Peel back the back of the magnet to
reveal the adhesive. Stick your image on starting
on one end to avoid air bubbles. You can either
Nave ellyour images on one large sheet of paper
to avoid waste, or you can cut them out, a little
larger than you need them to make things easy.
2) Cut out images and wow your friends with
your amazing abilities.
A thin clear adhesive sheet can be put on
top of the image if you feel that they need more
protection. However, it seems that a single layer
of paper is the least likely to peel off later. D
The Seamrippers Craft Collective is having
a craft farl Saturday, November 13th from 3-10
pm at 436 West Pender (at Richards). Admission
is $2. It should be an amazing opportunity to seex
what people are creating in the city. Stay for our
dance party after the for {1 Tpm-late, admission
$2-10 sliding scale). And our website is finally
working, so please have a look at our workshop
calendar and see what events we have coming
up. www.seamrippers.ca.
If you have any questions or wish to
participate in the upcoming fair, contact us at (604)
689-SEAM (7326) or seam_ripper@excite,com. Q and Not U are a D.C. band, and they'd
be the first to tell you. Born and bred in the U.S.
capitol's legendary punk scene, this trio wears its
1 allegiance to Dischord's back catalogue on its
sleeve while representing the best, most forward-
thinking music currently on offer from a label
with a venerable tradition of groundbreaking
bands. Q and Not U takes Fugazi's angular post-
hardcore.as their sonic foundation, but they've
also embraced a similarly uncompromising do-
it-yourself philosophy and commitment to both
political ideals and restless creativity. Stylistically,
Q and Not U's adventurous palette incorporates
frantic math-rock, new wave hooks, dubbed-
out dance beats, breezy tropicalia, avant-noise
breakdowns, and an unflaggingly artful sense of
melody derived from an impossibly diverse array
of pop music. Without a doubt, Q and Not U are
one of today's best indie/post-punk bands, and
their following has gone from cultish to downright
huge, largely thanks to their phenomena
shows and relentless touring schedule.
After bassist Matt Borlik left the
in 2002, the band decided to
themselves as a three piece, and the e(
leap between their immediate, aggressive
debut album No Kill No Beep Beep
ambitiously expansive and melodic Dif
Damage marked the unpredictable and
intriguing talent that have since made them
the powerhouse they are today. Q and Not U's
newest album. Power, marks another shift in their
sound, adding a heavier dancefloor emphasis
to their exciting rhythms and eloquent, off-kilter
lyricism. Just prior to their recent Vancouver show,
I met up with guitar/keys/vocals man Harris Klahr
for some discussion.
DISCORDER: So, how's your tour going?
Harris Klahr It's going wed. A tour is, you know, a
How was recording Power different from recording
Different Damage?
We recorded in New York instead of in DC,
with our friends Pete and Rafael, who are in El
Guapo. It was recorded onto computer and
not onto 2" tape. It was a very sectioned-off
recording. It used to be that all three of us would
go in and everyone would be there for every
:: 10::
step of the way, and on this recording, because
of scheduling things and wanting to give people
creative space; there were days when we
recorded the basic tracks and then John went
home to D.C. Then Chris and I had six days of
working separately, and it would be me and
Rafael working on keyboard things, and one
day we'd work on vocals. We weren't hearing
the thing as it was happening. It was nice, it
gave everyone creative freedom to try things
without anybody looking over their shoulder. A
lot of times ideas seem a lot more wild when
they're unfinished than when they're done.
ting Matt Borlik
pro's   a   much
^j| first album and
mffferenf Damage
V feel you
guys adjusting to me mree-piece format,
experimenting. Power seems like a more refined
version of what you were experimenting with, Hke
you've found the right groove now.
That's interesting. You're the first person who's
said that. To me, it seems that Power was a
logical record for us to make. Different Damage
was a really shocking record for a lot of people,
because they knew us from just being a four-
piece. They were like, "Wow, this is so different,"
but we were like, these are just all the things we
wanted to do as a four-piece, but we weren't
allowed to do, because Matt was so set in his
ways—which is part of why we aren't involved
with him anymore. I can see how Different
Damage can make a context for Power, but for
me, it's like all three records point ineach other's
So, If that's the case, where do you see your sound
going from here?
I have no idea. We've been on pretty much a
record-every-two-years pace. Chris has talked
a lot about trying to do a record every year, but
I think part of why each record can be its own
thing is because it takes so long to make. And
we're not writing for those whole two years. I
mean, between the last two records, we didn't
write for a year and a half because we were
just on tour all the time. We put out a single last
summer, but the way we write, it's like we want
to put a record out, and it takes, like, two months
and it all comes pouring out.
A lot of people have said they think your new
album sounds dancier than things you've put out
before. Do you think that's true?
Well, yeah, it was a conscious decision. A lot
what we're into, collectively, is a lot of dance
music, a lot of funk and soul. For me, t was into
really into Funkadelic last year, which is a band
I never really understood the appeal of. I was
like, "Yeah, it's cool, but..." And then, this one
record in particular just blew my mind—Tales of
Kidd Funkadelic. It doesn't have any hits on it
or anything, but it's just got some of the most
incredible keyboard and synth playing. There's
this ten-minute long organ/synth duetthat Bernie
Worrell and George Clinton play, it's really—it
just fucking blew my mind last year. Chris got
really immersed in Prince's music last year.
I noticed a lot more falsetto on the new album.
That's definitely part of where it comes from.
This is how we work. We're all really avid music
fans, and each of us, every year, tends to get
into one thing really specifically. That gets
everyone else excited about it—we'll listen to
the records together and one of us wiH be Hke,
"Listen to this insane chorus where all the vocals
are backwards." A lot of what we were all really
interested in this year was some dance music.
The band has a link to voter registration on the
website, but there's not really a lot of sloganeering
In your lyrics, which I think is Interesting and
refreshing. Is that a conscious choice?
Yeah, well, mixing music and politics is an
interesting thing. It wasn't necessarily a conscious
thing, but I think the lyrics on Power are pretty
political, some of the most direct lyric-writing
we've done. The idea of sloganeering is boring
tome. There's tons of 80's hardcore records that
are all about how Reagan sucks, and you never
listen to them anymore because—well, why
would you? Reagan's not president anymore.
So, it's like any art really, it's about trying to make
something timeless that's also contemporary.
Do you think, personally, that musicians or artists
have responsibilities, given their position?
Well, I think musicians and artists have a
responsibility to push themselves to make the
best art and music that they can make. In terms
of political things, no I don't. I don't begrudge
anyone for doing it and I don't begrudge
anyone for not doing it. I'm psyched when
people are making political statements in a
really public forum. Like, I'm excited that Bruce
Springsteen will tour to support Kerry and not
Bush every night and, I'm sure, alienate a large
part of his fanbase. To do that, I can stand up for
that as a great thing, but t don't believe that art
is only for one thing. I'm into escapism, too. This
is the perfect time for escapism, in a way. I think
it's good to have a balance.
Something that's been ready divisive among my
friends right now is that Le Tigre signed to Universal.
But on the other hand, they've got a single on the
radio now, and they're not even singing on It, it's
just quotes of activists talking. What do you say to
something like that?
Well, I don't know. There's the argument where it's
kind of like a sellout, but at the same time, their
message gets out to more people. But I don't
think I'm necessarily in a place to judge it.
I dont want to ask you to judge
another band's actions, either.
It's weird. Sometimes it troubles
me that everything that's
good in the world has to be for
sale. At some point, everything
is for sale, but at the same time, I'm making
music that's for sale. You're the first person to
bring up to me that their signing to Universal
was in any way bad. I've heard nothing, no
rumblings about it aU. We were actually talking
about it. Moo, "Man, the '9Q's are over, nobody
cares about it anymore." HARRIS KLAHR ON POWER, LE TIGRE, A|       1-ORY OF BORING
Saelan Twerdy
I guess a lot of your opinion on this issue depends
on whether you think their new album Is good or
I'm not a huge fan. I appreciate what they're
doing, and I've always been glad that they're
there, and are a voice—now definitely in
the mainstream—for radicalist feminism and
women working with electronics, which I think
is always a good thing. There's a long history of
that, reversing gender roles and transforming
electronic media. It's kind of a classic artistic
voice and I'm glad they still exist and they're
there to do it.
You guys have an early single called "Hot and
Informed" and I was reading an interview with
you recently where you said that you wanted
your fans to be hot and informed rather than
cool and uneducated. I thought that was realty
interesting and I was wondering if you could
elaborate on the difference between being "hot
or "cool".
The idea [for the single] came from a lecture
Chris attended in college. His professor was
talking about being hot and informed, and how
the 20m-century idea of being "cool" is kind of
about being detached and "above" things.
At the time when we were playing, and even
now, we. want people to be really present, to
really be there. I think everyone who plays
music wants their audience to be really, really
involved in their music and have it be important
to them. Playing, we've always felt that the
audience is as much or more a part of the show
than we are.
I actually wanted to ask you
about that, because you guys
have a great reputation for
your VNe show, so I wanted to
ask you what it is about your
music that makes tl work so
weU in the live situation.
When we started, it was all
about playing live. We didn't
make a record for a few years, until two years
of the band being together. When we started
in the late '90's it was classic for a band to get
together, have six weeks of practices, and then
make a record and end up really regretting it.
We didn't want to do that, so we really took our
time, and made sure that we were together,
and played all the time. We've been a band for |
sk and a half years and we've played over 400
shows^ John, Chris, and I have really fallen into
this. We have a really good dialogue on stage.
What are some of the best live shows you've
I saw Goldie play in '97 in D.C. It was after
Metalheads, but before his weird second
record, Saturn's Return, came out. He played
all of Time/ess live. No drummer, all sampled
drums, and it was one of the greatest things I've
ever seen. I saw this band Trenchmouth play in
Chicago. Kind of a no-wave dub band from the
mid-90's that I really loved and was one of the
bands that really galvanized Q and Not U early
on. I saw them play when I was in high school
and it blew my mind. I don't know if it would
blow my mind now, but the musicianship was
amazing and the singer had the best stage
moves I'd ever seen, like these karate chops
he would do with cymbal crashes—it was
incredible. I saw Fugazi ... at a summertime
show in Fort Reno in D.C. ... and they really
blew me away. I saw Suicide play about a year
and a half ago and it was really, really great.
It was weird, Alan Vega was rapping a little
bit, and it was pretty crowded, people were
really excited to see them and they fucking
cleared the room. All these people left. At the
first song, I was like; "This is really weird." They
were playing all this '80's soundtrack rock, all
this really chugging stuff, and I was like, "I don't
know about this," and by the second song, I
looked around, and all these people had left
and I was like, "This is great, this is what Suicide
is famous for—being really antagonistic and not
giving people what they want." Once that had
clicked into my head, I got way into it. There
were only a handful of people left and it turned
into this insane dance party.
There's been a lot bands from the early '80's—
I'm thinking of Wire and Mission of Burma and
Suicide, too—that broke up and now they're
back together and putting out albums. If s cool,
like there's no longer such a feeling of "only
young people can play punk rock."
Thinking of
Goldie —I
don't know,
that's not the
kind of band
■you typically
hear name-
checked from
in a band like yours. There's a tot of new bands
coming out and all they want to talk about is
Gang of Four.
Well, Gang of Four's great, tooi
Totally, but every time I read an interview with
you guys, you're always talking about the most
interesting and unusual bands. I remember
reading about John's love for Bread and Caetano
Veloso. I guess this musical omnlvorousness is
part of what makes your music so interesting.
Well, you how when you ask people what kind
of music they're into and they say "everything."
it means they don't like music. "Everything but
country," that's a classic answer, but we're
just crazy about music and records. You know,
one of the highlights of every tour is getting to
go Amoeba Records in L.A., like we were out
there In LA. this spring. We were there for four
days and we went to Amoeba three times. It's
not unusual for us to drop three, four hundred
dollars there. They have everything. Touring is
almost an excuse to go record-shopping, in a
way, all over the world. You just find out about
the most incredible stuff.
Have you read any good books lately?
Yeah, I've been reading this book very slowly
called The Magic Mountain by Thomas Mann,
and it's really long and really boring, but I tend
to Hke boring movies and generally slow-moving
artworks because it gives you time to think
about other things and spur your imagination
info other realms.
So, if you're Into boring, do you Hke Andrei
I love Andrei Tarkovsky. His Sculpting In Time book
is one of my favourite books ever. I saw Solaris
when I was in college, and it blew my mind,
it made me seek out all his other movies. I'm
trying to think about other boring books and
movies that are good. There's Antonioni—I like
his Italian stuff and Blow-Up, but some of it's also
kind of bad. Like labriskie Point. It's really long
and kind of a classic European took at America
in away that I find to be somewhat obnoxious.
Speaking of America, there's that election next
week. Even as a Canadian, I'm pretty anxious
about it, so I can only imagine how Americans
must feel.
Yeah. We're playing a show, election night, so I
guess it'll either be the greatest show ever; or the
worst. I'm pretty confident, though. Historically,
if there's an incumbent, he would have a huge
lead right now, and the polls are showing pretty
much a dead heat. Generally, the tie goes to
the challenger in American politics. And those
polls are misleading, too, since they only poll
"^IRcSty voters" who are homeowners, who voted
in the last election, so on.
I think the deal here is that so many more people
are going to vote this time than tost time.
Yeah, well last time was the lowest voter turnout in
the last 50 years, and I think this time will be more
akin to the '92 election where Clinton came in
which involved a big youth mobilization. I'm
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Some news for those of you who do not live at
CiTR: a green dot is now being used to demarcate
records that are classified as "Femcon" (think
Cancon, if all Canadians were women.) If a green
dot can be responsible for so much debate, just
thank god it's not pink.
This tale begins at the "Women's Hands and
Voices" conference that convened during the
NCRA's (National Campus and Community Radio
Association) annuaTTfieeting this past summer in
Edmonton. CiTR's own Parmida Zarinkamar is
responsible for moving the proposal, which was
initially based on the seemingly simple idea of
increasing representation of women in music
by adopting the regulatory structure of Cancon
(Canadian Content). As the proposal is not yet
binding, each radio station decides if and how
they would like to implement the recommended
minimum of 30% Femcon (defined as meeting 2 of
the 4 MPWR components: "music, performance,
words and recording by women, as well as self-
identified"). Zarinkamar feels that because "the
NCRA constitution and CiTR's own constitution
have social justice and social responsibility written
in," it is the responsibility of independent media
to enforce the Femcon initiative. "The day we
[independent media] stop challenging and
provoking is the day we're not doing our job."
Surrounding the proposal is many a
confused radio station; some falsely believe
that this standard is already enforced in the
Cancon fashion, others are confused as to how
to implement the recommendations, and still
others have no plans to adopt Femcon in the
near future. CiTR is one of the few stations that are
implementing the recommendation for a 3-month
trial. All parties involved readily ddfW that 'the
Femcon proposal needs work. By Zarinkamar's
admission, the proposal is vague. However, it is
recommendation and not legislation, and will be
clarified if the CRTC (Canadian Radio-Television
and Telecommunications Commission) does
choose to adopt the notion of Femcon.
If Femcon is legislated, CiTR's Program
Coordinator Bryce Dunn fears this will be "just
another nail in the coffin towards making
shows more defined." While the proposal may
be progressive, this progress will occur at the
expense of creativity. Dunn would prefer that in
the long run the "spirit", rather than the mandate
of Femcon be enforced.
The phrase "the personal is political" can
be interpreted to mean that personal choices
give rise to political phenomena. This places
most of the responsibility for change with
grassroots initiatives. While women face less
discrimination in today's music world, difficulties
do remain. In an interview in 2000, the Canadian
DJ Misstress Barbara notes, "Each new female
DJ or producer gets inspired by the other one,
by actually realizing that it is indeed possible to
become one, and since we're more andmore,
then there might be hope to get even more in
the future." The ground has been broken, and
increasingly we are seeing more and more fruits
of the germination.
So as the influx of female talent steadily
rises, one would expect a correspondingNhift
in media. Not that I'm trying to promote a fair
world or anything, but it would be an injustice
to artists to make them wholly responsible for
changing something that they never created.
It doesn't take'TOOlong to realize that Individual"'
choice and social constructs mutually impact
each other. Where does final accountability lie?
No one wants to detract, from the music.
Artists primarily want recognition for their art, not
their gender. Femcon would certainly increase
representation of musical females, but would it
simultaneously stigmatize? It depends on how
stigmatized the artists currently are. For some,
the stigma of being a female artist is always
there, so the addition of a sticker to note this is
a neutral action. Femcon could even be viewed
as de-stigmatizing because rather than specialty
programs/showcases there is incorporation
with Mancon playlists at large. Incorporation
into most would be seamless, although some
genres have few female-driven contributors (ex.
hardcore, reggae). These are exempt from the
recommendations. It is unfortunate because
these are the very genres where Femcon could
make the most impact.
Here lies the essential difference between
Femcon and Cancon, which can be fulfilled in
most genres. The ultimate goals of the Femcon
proposal remain more diffuse than those of
Cancon. Additionally, most involved with
implementing Cancon identify as Canadian
and have a collective interest with raising the -
profile of Canadian talent. However, Femcon
draws upon the gender lines, where interests and
priorities are varied.
It's hard to disagree with Dunn's assertion
that if a community feels underrepresented then
it is the responsibility of independent media to
reflect these ideas. Community-based campus
radio policy is rife with public responsibility. But
doWt these stations also have a responsibility to
their volunteers? The stated purpose of CiTR is
to be a place where "anyone can express their
creative ideas through the medium of radio,"
not a place where people tell you what to do.
Proponents of Femcon suggest that
there is more than enough material available
for programmers to retain artistic freedom.
However, the intrinsically controlling mandate
of the-proposal is limiting. Former campus DJ
Tom Metuzals, who has gone on to a successful
career with the CBC, has said of his experience
with CHUO at the University of Ottawa, that it
was "a breeding ground for kids looking for stuff
to define themselves. A portion of my identity
came from these bands, and by having a
community around it, the station provided me
with a social circle and structure. That place was
not only my vocabulary, it was my daily bread."
Could it be that increasing the definition of
programs will detract from the self-definition of
misanthropic radiophiles?
Anguished circular reasoning seems to be
Femcon's only guarantee. If it's purpose is to
provoke and incite discussion, then the proposal
has succeeded admirably. Zarinkamar declares
that, "The more you argue, the more you think
about it." On the note, I leave to you to decide
for yourself. At the very least, I think consensus
can be reached on two aspects of this debate:
a) that it is a real fucking tragedy when over
50% of the population is maligned as a special
interest and b) that it is time for CiTR to attend
her mother's little helper support group in order
to kick the anxiety-induced Valium addiction. STRANGE SERENADE
With renewed major label interest and
support both home and abroad, it looks like
Victoria's principle exports, formerly limited to
marijuana, squeegee kids, and Hot Hot Heat,
are now expanding to include another musical
breakthrough—namely, Mr. Leeroy Stagger.
In the late '90s, Leeroy cut his teeth with
his group the Staggers, a teenage punk outfit
spawned from the Little Fernwood scene, the
all-ages epicenter in the heart of Victoria's
oldest neighbourhood. At the Little Fernwood,
many of Victoria's young tried to impress a small
community engrossed in the scene politics of
the day (i.e. shortpant-wearers standing around
trying to out-jade one another). The bands that
came out of this scene—faced with a fan base
they couldn't possibly impress—either became
impervious to apathy or disbanded. Hot Hot
Heat went the former route, and took their
show off the island. In 2002, they took Leeroy
along on a cross-Canada sojourn that opened
him to the limitless possibilities of expanding
beyond scene borders.
It was during this tour that Leeroy made
the transition to solo artist. Victoria veteran
Tolan McNeil (who would soon back Leeroy's
live outfit on guitar) recorded the Six Tales of
Danger EP. In two years that have passed since
the'first EP was recorded, the singer/songwriter
has kept busy. There have been shows in
LA supporting HHH and a headlining set at
the Rivoli at this year's NXNE music festival in
Toronto. On the home front, there have been
opening slots for The Pixies and Modest Mouse
(all in support of the ftftepse of Dear Love this
past spring, his first full-length solo effort on the
Victoria-based Magic Teeth record label).
It seems that one full-length a year fert't'*
enough. This winter marks his sophomore effoffV j
Beautiful House, recorded and produced py
Danny Michel, and co-released by Magic Teeth
and Vancouver's Boompa Records. A video for
the debut single. Just In Case, is already on
Much Music rotation.
Leeroy has endeared himself to damn
near everyone in the local music community.
His energy bridges the gap between Victoria's
often sequestered musical worlds. The kids
support his journey towards rock stardom,
while the old guard collectively treats him
like the cool younger brother they never had.
The result is a live show that unites audiences
rather than splinters, includes rather than
compartmentalizes. And people actually seem
to have fun at the shows.
My David Eggers quip aside, there is
something to be said for Leeroy's smarts.
Creativity rests in the ability to soak up what
surrounds you: siphon, refract and reflect. In this
sense, Leeroy Stagger has grown by leaps and
bounds this year; the follow-up to Dear Love is
a wonderful showcase of his songwriting ability.
On that note, I'll take a cue from the lyrics to
"Just In Case," and shut the hell up. D
It's Sunday, which provides a particular cozy
containment unto itself, but then we are also at
tiny Chroma Books. It is newly autumnal outside,
inside it's dark. Friends and other listeners scatter
and settle into chairs and onto the floor. Jeff has
a drum, Jonah, a stand-up bass. Ryan sits on an
old apple crate rigged up with scrap wood. The
"23," a self-made stringed instrument rests on his
What comes next is called experimental
acoustic, or free improvisation, or punk. There
are silences and screeches and the long airy
ghost notes of Jeff's trumpet. Jonah drags
his hand down his bass. Ryan tacks things
sporadically, there's a spasmodic ringing of bells.
What we have is sound fucked up, a refusal of
story lines, the solitary and heroic enunciations of
deconstructed instruments.
Surrounded by the colorful anarchy of used
books is where this makes sense. Brassnotes and
bells, the screeching bass. With no formalized
distance or gallery setting, it's so obvious the
nature of what we are watching is play—-they
are playing. Jonah plays his stand-up bass with
a crumpled up can. "I am inspired by music
that serves the imagination of the person
making it," he says. He listens to gospel and old
blues. "I am more interested in musicality than
Jeff plays the drum, mostly by running
his fingers down a stick balanced vertically
on the 'drum's skin. Jeff tells me he began
experimentation in high school. He stretched out
or messed up the jazz songs he learned for gigs.
The more I press him for theory, the more I get the
idea that he starts in another place altogether.
About the origin of his tiny sound duo with Tim
Olive (they amplify noises like paper crunching)
he says, "In Japan the apartment I shared with
Tim was very small and we had to be quiet"
and "I find the less noise there is, the more you
can listen." Like Jonah, he refers to intuition and
emotion when trying to explain the style: "I think
a lot of people play the music they admire rather
than playing what comes natural for them."
Jonah was originally inspired by local Victoria
punk shows: "It seemed genuine, sincere, it had
heart and soul in it." Like all the musicians, they
have played or currently do play in bands. Ryan
is punk tonight though, pulling the strings off
his bass, chucking instruments onto the floor. It
looks like madman's logic. The random histories,
catalogues of knowledge and collections of
paintings knock up against each Other on the
shelves. It's a pattern made by chance and
pleasure, culture and luck.
For the second set three new musicians take
the stage. Each plays recuperated or modified
gear. Kenny hunches over his increasingly
infamous "New Suitcase," an amalgamation
of amplifiers, speakers and mics built into the
body of a 1940s suitcase. He plugs cords into the
telephone operator's circuit board. Kenny, who
answers consumerism and laptop passivity with
his recycled consumer electronics inventions,
says his latest can be thought of as a sound
sculpture or an instrument. "It can be loud and
droning. That night, I wanted to leave space
for the others and accent their sounds." Josh
stands in front his antique modular synth. It has
an upright board that makes the instrument
look like fake-future technology. Speedy from
Victoria rests a contact mike on the body of a
banjo. It microscopes the plings and plucks of
the banjo's strings. Together, they build a slow
and insistent electric composition. It is offset only
by the organic sound of water running when
Speedy goes into the back room for a piss. The
night ends with a six person jam—a stand-up
bass, suitcase, synthesizer, 23, toy drum, banjo
jam. I keep expecting a scandalized bourgeoisie
to storm the door and huck tomatoes, but they
don't. Outside there's the falling leaves, and
inside there's books and noise and tea. D
Chroma's upcoming shows:
Small ensemble Improvisation every Tuesday.
This week Jessie lubot on violin, pave Sikula on
guitar, Skye Brooks on percussion.
Later In November. Sinoia Caves with Josh
Look for. Jeff Allport with Bridget from Hamburg,
Germany: TBA. Jonah Fortune and Ryan
Mitchell-Morrison with Infinity Mattress. Kenny
Roux at Reverie: Noise City at reverie.aaeol.
Josh Stevenson In the above and with Jackie-O
Motherfucker DiSCORDER NO-VEMBERI 2004
ryan Mccormick
art by eli
Mention "solo act" and the first thing that comes
to most people's minds is a singer-songwriter
cradling an acoustic guitar. Others might picture
a hip-hop or electronic musician. Or a lonely
man at the Kitten Theatre. What they probably
wouldn't picture is an artists from the less familiar
side of Vancouver's solo performance scene.
Mark of the Beats, Collapsing Opposites,
Gordon B. Isnor, the Rain and the Sidewalk, Man
Meets Bear, and other local "monos" experiment
with music that is inventive and often considered''
strange. While their final products might sound
different, their methods are similar: they all write
and play songs outside the usual singer-songwriter
mould, by adding synthesizers, programming
laptops, or utilizing any other devices possible.
DiSCORDER set out to ask some of these
DIY musicians to tell us what it is Bee to be in a
"One Man Band". (Unfortunately this elicheds
phrase turned out to be all too literal: we couldn't
find any women performing this kind of music in
Vancouver. Which doesn't mean that there aren't
any, necessarily. And don't write to us saying that
we left out Dandi Wind, because they're a duo.)
Things you never hear in a one man band:
- "What's SHE doing here?"
- "Let's do the background vocals now."
- "Fuck you, I quit, I do have a microscopic shred
of dignity left."
- "OK, listen up: the dividing of the 11 beer tickets
is to be settled soggy biscuit style, best-of-seven."
-"They're not animals, they're.'the sigrts of the
Things you hear instead:
-Imaginary voices {instructing you to kill)
-Tumbleweeds blowing through fields of chirping
-That sound Macs make when you turn them on
It's a pretty silent lifestyle, folks. At times I
get frustrated and alt the band-forming plans I
ditched start to return and I threaten to break up
with myself and cite creative differences. And
then there's avoiding becoming full of oneself:
I personally find most post-band-break-up solo
albums, where no other egos are present to say
"No," horrible and indulgent. But it comes down
to DIY economics, 2004-style: I can't afford a
car, PA system, amp cabinet, turntable setup
and fancy studio hours. And I don't need it and
can still rock shows and tracks, which justifies
my belief that no one should have to afford it
anyway. I also inherit the invaluable cultural
tradition started by those badass minstrel dudes
in the '20's with accordions attached to their
wrists and cymbals attached to their ankles.
One-Man-Bandship vs. The Industry: Three
1) INVESTMENT: Being a solo act means 100% of
the band comes from you, which means you
must make a very large personal investment to
the project. For me, I sometimes have trouble
distinguishing between my band and my self,
and this has had dangerous consequences for
my ego. On the other hand, I can feel completely
responsible for and proud of everything that
happens. This is the DIY ethic pushed to the
I extreme.
2) NETWORKING: Since a solo act only has one
person in the band, there is only one person's
friends / family / pets out there spreading the
hype around. For those shows where your parents
are the only audience that shows up, a solo act
has an audience of two where a seven-piece
band might have an audience of well over ten.
3) PRODUCT: Performing alone opens 4jp
tremendous opportunities for sudden decisionmaking during a performance. Options include,
but are not limited to, song extension, song
deletion, improvisation, and song insertion. Ad
Hbbing lyrics and extending sections of songs
on a spur-of-the-moment basis are important
aspects of my performance, and would not be
possible with a band unless all the members were
psychically linked.
loften imagine that it's easier to make money as
a solo musician, not dividing the cash five ways.
No ego battles, hurt feelings, scheduling, the only
drug problems you have to deal with are your
own. Groupies only have one option; I found that
. out the hard way at a leather & bear bar I played
vrecw>ttylh,San Francisco. It's a great feeling being
in a band, having a gang, insulation, friends.
Rock audiences (and booking agents) generally
have a better reaction to bands. I often feel like
novelty. Touring is easier for bands, dealing with
situations that arise, e.g. ending up at a sketchy
crack head's house in Seattle after the show.
I've been working alone as a solo musician for
most of my musical life, mainly for lack of anyone
to play with and the social skills to change
that. I started playing out with just guitar, then
laptop and synthesizer. I'm really excited by
the plethora of great solo and duo acts around
these days like Grand Buffet, Cex, Schaffer the
Darklord, Warbler, Xiu Xiu, P.S. I Love You, etc.
I find solo acts tend to be more entertaining,
more engaged with the audience, and more
musically satisfying than bands.
It wasn't any sort of plan to be a one man band,
but being too shy to meet people to collaborate
with (and a bit too annoying for anyone to
really want to), it came about out of necessity.
Not having bandmates to tell me what kind of
sefl-indulgent nonsense t-was writing probably
wound up shaping my songwriting style more
than I'd like to admit. (Although it can also be
nice to bounce ideas off of others. Especially if
they come up with better ideas than yours.)
It took a while to figure out how to play
live (being too easily bored and not talented
enough to do a traditional singer-songwriter
thingy). Eventually I got a synth with a built-in
sequencer, so I woundup playing Hve by singing
and playing guitar along with pre-sequencecf
backing tracks. (Why this appealed to me more
than using backing tapes is beyond me).
Performing alone has benefits. It's great
not having to line up other people's schedules,
divide up any money made from the show, argue
over set lists, put up with other's drug/alcohol/
tardiness problems, etc, but playing with a band
would let. you spread out the pressures and
responsibilities I guess (although I naturally leech
off of my friends for transportation, connections
for getting gigs, etc. anyway).
More recently though Wayde Compton
and Shannon Hallett have become a part of
The Rain and fhe Sidewalk's performances
(making it unclear if TRATS is a solo act with a
couple of very regular guests, or a band led by
a megalomaniac), so I'm fortunate enough to
get the best of both worlds. Wheee!   "
I feel Hke I'm actually part of something much,
much greater than can be comprehended.
Western music has over the past few hundred
years gone in cycles of complexity, going
back and forth between improvisation and
composition. Now that the technology is out
there for the irJidividual to create a full live sound
on his or her own, we're seeing all the Wax
Mannequins and Mayor McCas, and Collapsing
Opposites rising up fo reach sonic bliss without
being tied down by other people's schedules.
Not that this hasn't been a long time coming,
though—Hawksley Workman played all of
the Hnstruments on his first album, Phfl Elvrum
{the Microphones/Mt. Eerie) writes his albums
out and sells them as sheet music, and that's
not even going into hip-hop or electronica.
Actually, scientifically speaking, I've calculated
that at this rate of one man band formation, in
15 years' time, there will be enough one-man
bands to reach from the earth to the moon and
back again, twice. D
Intrigued or concerned? Reach out fo these
lonely souls at the Soto Act showcase featuring
the Rain and the Sidewalk, Collapsing Opposites,
Man Meets Bear and Mark of the Beats at the
Butchershop Gallery Friday Novembers*.  DiSCORDER NO-VEMBERI 2004
 : j
\i««ar America.
Dear America,
Since that fated day when the Twin Towers fell
and our collective sense of security crumbled
like so much poured concrete and steel girding,
we have watched your struggles with attentive
concern. As you prepare to elect a new
leader on November 4th, we wish to use this
opportunity to express our deepest sympathy
and solidarity.
Your European forefathers and foremothers are
the ones who brought hundreds of thousands
of Africans to the New World as slaves. These
same people created spirituals by marrying
tribal rhythms with Christian hymns, which
eventually became the blues, which eventually
became rock 'n' roll. Which is the reason we
are sitting here today in Vancouver, with all
three hundred and thirty million of you in our
hearts and minds.
While progressives have rallied around Senator
John Kerry, in his eyes we see little hope. Kerry
offers no real promise for change, and even if
he did, entrenched state and business interests
would thwart him at every turn. Kerry's election
means slow death, a filthy, hypocritical struggle
dragged out over the next four years as
more Middle Easterners die, more Americans
undergo gluteal augmentation surgery, and
more school cafeterias hand over responsibility
to Pizza Hut.
We don't see ourselves as typical George W.
Bush supporters. We are neither right wing,
nor fundamentalist Christian. We shop at Wat-
Mart only occasionally and we do not drink
Coca-Cola from gallon jugs. However, we
Of DiSCORDER Magazine are pragmatists.
Bush's re-election will heighten international
tension, intensity the war effort, and continue
the untrammelled consumption of fossil fuels.
Another term under Bush wil hasten the
inevitable collapse of the unsustainable North
American lifestyle. We welcome this collapse,
as we welcome all positive change. The way
we live today is doing ourselves, not to mention
the rest of the world, no favours at ali.
Since the start of Operation Enduring Freedom,
the Republican-dominated US Congress has
been rumbling about reinstating the draft. With
the American death toS rising and enlistment
dropping, something wil give, probably sooner
than we imagine. The Vietnam War taught our
nations many lessons, including the lesson that
in times of strife, the clever come to Canada.
The late '60s and early '70s brought many
cultured, intelligent young men from your
nation to ours. In 1989 NAFTA formalized fhe
easy trading relationship our countries cherish,
and we at DiSCORDER see little practical
difference between grain, frozen french fries
and attractive youth.
In conclusion, we wish President Bush the very
best of luck. We wish you well with your wof
effort, your draft, and that delightful ranch.
Canadians are an optimistic and hospitable
people. We share the American spMt
emblazoned on Ellis Island: "Bring us your tired,
your weak, your huddled masses yearning
to breathe free." To you, dearest and closest
sister nation, we have this to say: Bring us your
talented, your creative, your handsome, your
homosexual. We welcome you with open arms
and legs.
DiSCORDER Magazine
"Hank &. Lily" are Hank Pine and Lily Fawn, two
very special and innovative creatures (and
friends of mine) who've used their sonic and
comic (as in comic book) talents to take the
bore out of Vicboria. They recently embarked
on a cross-Canada tour to promote the dual
release of their latest album and comic book
(the fdrmer is a soundtrack to the latter).
As their website attests. Hank & Lily cite their
influences as "too many horror movies, wh/skey.
Batman, Ween, Joy Divison, Butthole Surfers, The
Residents, deer, cotton candy, Clara Rockmore
and Leon Theremin, copious hallucinogenics,
and the moon." All this adds up to a brand
of music that they describe as a mix of "the
Cramps, weird swamp sideshow circus music.
Dr. Seuss, psychedelic country, Danny Elfman,
The Pixies, Screamin' Jay Hawkins, Calexico, and
Dixie's Death Pool." Hank is the "cello playin',
goggle wearin', whiskey drinkin'" half of the
band, while Lily, who identifies as half-deerIhcff-
giri and reportedly "fell out of some scary lullaby
fairytale from 1923", commands the drum and
saw. As for their comic book tales... well, they're
dark and beautiful and dreamy and weird and
Nghty Original ...you just gotta check 'em out!
(see end of interview for websiteJpM. -» <
Hank^/ped back responses to my email interview
questions from a crowded kitchen al a dinner
patty in Edmonton, their latest tour stop...
DiSCORDER: What came first, fhe comic or the
Hank: The comic began before the music, but
the two are entwined Hee that medical symbol
caecephus, or whatever it is, the snake and the
How well does your music translate into
interpretive dancing?
We have always worked interpretive dancing
into our act, as you well know, Mr. Seamus.
My favourite is the elaborate contact dance
performed on this tour by Buck the reindeer,
(Uty's father) and Daisy the southern belle {Uy's
mother) that tells the tale of Lily's creation
with lush tones and swirling movements.
Other favourite moments involve the random
appearance of an Elvis impersonator who
performs a whirlwind serenade flanked by the
two necrophilac nurses.
And then there is Bubba French the alcohofic
dancing circus bear. Unfortunately, his dances
usually end in him mauling a hapless audience •
member. So far, there has been interpretive
dance at almost evely/singte show.
There are a tot of closed-minded people out
there who might never be exposed to gloriously
weird art such as yours. If you could force any
celebrity, religious group, animal or town to read
your comic or listen to your music who/what/
which would you choose?
Any staunch Baptist named Dwight who lives wi a
town in Alberta called Manhville. Hell, I think we'll
play Mannvnie on this tour on the way back just
for Dwight, whoever he b. Lily picks an aardvark.
She can't seem to tangle the emotional status
of an aardvark, and she'd really like to.
Which city do you think has the most potential to
nominate the Hank & Lily comic as Comic Book
of the Month?
Crank City. The Robots love us there. Failing that,
the whores of New York have all expressed
desire to offer us free handjobs. If that ain't love,
what is?
How has your homebase of Victoria (or the West
Coast In general) influenced your output?
The warm climate and tall dark frees created us.
Even though lily is scared of putting her head
under the water... the ocean and lakes have
inspired many songs including "Foetus Lake,"
"Hermit in the House of God," "the Lonely Song,"
"Black Pine Trailer Park" and "the Tofino Song,"
obviously. Basically, these first two albums are
about where we are from and what we see on
the horizon. But, as far as musical inspiration
goes, all the weirdest bands come from Victoria.
When we're there, we don't seem strange at all.
.We didn't even realize we were strange until we
got to MannvHIe. Just a few examples: David
P. Smith, the accordion country genius; Dixie's
Death Pool, Daddy's Hands, Run Chico Run, Frog
Eyes {which use to be Blue Pine, Lily's old band),
Pigment^Bhicle, Carolyn Mark, the Unicorns,
Pong, Panty Boy, Atlas Strategic. Dear God,
there are too many... but you get the point.
What do you smell like before/after a show?
Not to give away too many secrets, but we have
an elaborate pre^-show ritual which involves
much smoke and various incenses. After, there
is the sweet smell of man-sweat, as well aM
the herbal facial toners and aroma therapy
products that Lily makes.
Do you see Hank & Lily taking on new multimedia
directions In the future?
We are working on the short films when we
get back. We have a great director, Panos
Cosmatos (www.sweetleash.com) fined up, and
we are very exerted about making the ultimate
tour movie. We also recently joined the internet
world. However, the end result of the "Road to
New Orleans" storyfine, the comic, and the next
five albums wilf be the feature-length animated
movie. It is our primary goal right now; everything
we do is with this movie in the back of our
minds. Since we're entertainers that love movies
almost as much as live performance, we are
duty-bound to make THE. MOST ENTERTAINING
\ MOTIOti PICTURE EVER MADE. After that comes
put, we've already started lining up writers
for our TV variety show, which I'm sure will be
cancelled after two seasons, and wfll hopefully
Ifve ih iritomy. Don't get me started on the action
figures. Screw multi-media, we're shooting for
Omni-media. D
To check out more about this dynamic duo, visit
Enchanting photos, illustrations and audio clips
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the Dirtbombs are roClCand rol. Searfitessfy fysfrig soul, garage
rock, and various elements of the Jdiomrsffetoryoj^mal*g9tt«*
Own, this Detroit quinf^^spewed out their brand of itafrdraljehesf"
R&B onto an en • rastic audience at Richard s on Richards T*«o "
drummers maintained vt heavy bcrckbeat, augmented toy f
| bass players, one wBh *
the inimitable C
heavy distortion. One singer/guitar player,
generatesbno Mick Collins took position
I front and centr^, d1qs#^ frpaudience with his Otis Redding voice
I I^dir^old school rock and roll guitar sound.
'"     AJ 8fSi, St was touch and go as to whether this interview would
^sdctud^^ajppen or riot. The band arrived late. The Richard's on
18chQfWstaf> would not let me backstage to talk to the band. It
^^ras,'p>p»n1i f ran into a member of their road crew outside while
havft^g a cigarette was I able to get in to speak with them. See,
'■ £?93Qf pastihe imposing metal backstage door, I finally found
the Olrfeornbs'as they packed away their gear hurriedlyunder the
-Ciac^fe^|feaC#»e Richard's staff, who were eager to empty the
; place^^^^^&iodate the bridge and tunnel crowd who they
hope v&M the cMa after the show. I entered the small backstage
room whf&efhe Cfrf&pmbs bass duo was smoking cigarettes and
drinking bolfjed wateMo replace the gallons of sweat that they
had spilled ogsfe^l^Vmanaged to ingratiate myself by plying
them with exoH$ Canadian cigare'tes As^f ie$tjft>>ihe)' obviously
felt comfortable around me, knowir^lhcft as I was a fellow smoker
they could safely disclose rncsre Intonate details than they normally
would. Christ, smoking is so*f1§llSf2
The cast of characters is as follows   .
Ko Shih: This lady bass ptayer^.jSroteably the most 'rock',
as it were, of the Dirtbombs. Standing $totot|aj|||feg or so, she
makes up for it in exuberance—wicked 'oroillplljlreience, wicked
distorted bass riffs. A real firecracker. Prone to sarcasm and irony.
Underestimate her at your own peril.
Troy Gregory: The less distortion loving of the two bassists.
A member of Detroit's rock combo The Witches. Friendly and
Mick Collins: The Dirtbombs' mastermind and frontman. Soft
spoken and considerate. Expressed great relief that I was not
Nardwuar there to ask him questions such as, and t quote: "So, tell
me about your masturbatory habits!" (Said in a spot-on imitation of
the Human Serviette).
After some preliminary conversation, the interview begins.
Ko: You didn't record that, did you?
Discorder: No, you can trust me. I'm a man of my word. I'm here to
make fhe Dirtbombs look good.
Trey: Well I, for one, have no problem saying that I smoke potl
Ko: I know, why don't we do a joint interview right now? Not that
kind of joint interview...
Okay, wicked. So, where's Big Jim Diamond these days?
Ko: Big Jim Diamond is back in Big Detroit City!
Trey: Jim quit the band. He asked me to fill in for a couple of shows
and then ended up quitting.
Is he off doing the Phil Spec tor thing?
Trey: Yeah, pretty much.
Ko: if you mean like killing people, and then getting into arguments
with his chauffeur, then putting them under citizen's arrest, no, but
on the other hand ...
Trey: He hasn't sicked two dogs on Don Kirshner yet.
i fltyMtn more In term* of the 'Wad of Sound', reverb drenched
production thing. * '-•
Urey: Yeaft, he's one of the few people in Detroit doing production
who are. also in love with reverb.
P^Af fhfc point Richard's on Richards staff enter to remind the
bands to pack up their gear and begin vacating the premises.
Ko: We've got to get our asses in gear! Wait a minute, ■
allowed to say "ass" on C.B.C.?
Well, I'm not C.B.C., I'm college.
Ko: So I'm allowed to say 'ass'?
Yeah, 9 you really want to you can say "ass", "stilt", "fuck", "cunt".
Ko: I don'tmind the word "cunt", contrary to popular female belief,
I don't think that it's that bad of a word! Now "panties", on the
other hand... I hate that word. It's a terrible word!
This last record was strongly influenced by 70's glam rock, Hke T-
Rex, some Gary Glitter, Sweet, et cetera. On Ultraglide In Black, you
had the soul thing going on. What do you have planned for fhe next
one? What kind ot stuff have you been Dstening to these days?
Mick: Oh, it's not based on what we're listening to at any particular
moment. Years ago, in '92 when I had the idea for the band, J
made of the type of albums we were going to do. So we're still
doing the list, basically. Actually, the next full-length is a singles
comp. The next new Dirtbombs LP is going to be bubblegum.
Trey: We did a split for this German label which is our Krautrock
You mean like Can, Faust...
Trey: Yeah, yeah, it's close to that. Our Dirtbombs interpretatioi
On the In The Red Records website, there was a quote from you
saying that Dangerous Magical Noise was supposed to be strongly
influenced by Yellow Magic Orchestra ...
Mick: Now that really was a gag, although I am a huge Yellow
Magic Orchestra fan. I'm sure there was an influence there on
one song or another because Y.M.O. is one of my all time favourite
bands. I hold Y.M.O. in the same regard that most people hold
the Beatles
Also, there was one thing that I was curious about. On your records,
one hears a lot of super fuzzed-out bass or guitar that sound like
a horn section. Was that a conscious thing or did It just sort of
Mick: If the song calls for it. if it's a song I wrote, then usually fuzz
is just fuzz, but on Ultraglide there were songs where there was
originally a horn section there, so I just had the fuzz do it. Usually,
though, when I write, fuzz is fuzz. There's no attempt to make it
sound like a different instrument.
On your section of the Dirtbombs website. It Isis your favourite
book, (Umberto Eco's) Foucault's Pendulum, and web links Hke fhe
Charles Fort Fortean Times website and various anti suppression-of-
information sites. There seems to be a common thread of cabals
and hidden knowledge. Are you actually into thai stuff?
Mick: I'm not a conspiracy theorist, no. it's just a hobby, the whole
unexplained phenomena thing. I kinda dig all that, but it is just a
hobby. It's not like I have a serious belief that the'Uluminati exist or
anything like that, it's just humorous, that's al.
Trey: I come back and you guys are talking about the Jttuminati! The
Process Church of the Final Judgement is next.
What's that?
Trey: The Process Church of the Final Judgement? Look it up. There's
a lot of really good stuff on the internet about it.
What's ft like being on the road together?
Ko: I hate these guys! (Laughing)
I take it that back in Detroit, you don't ail live together in a big house
like the Monkees?
Mick: The Monkees!
Ko: No, if we Jived together in a big house, I would be the only one
left alive, if you know what I mean. I would have killed them all.
Judging from what you're saying, could one say that Detroit is a
tough town?
Ko: Nah, It's beautiful. Think flowers, puppies and bunny rabbits!
Bunnies all over the place.
So fhe Dirtbombs don't get into flreflghts with, say, fhe Michigan
Ko: No, those guys are too far away. They're way out in the middle
of nowhere.
Mick: Yeah, I think that they're not around any more. They've
There's a noticeable automotive theme in your music, as is your
song "Motor CHy Baby," for instance. Is that mostly a Detroit thing?
Mick: Can't be helped. (Laughs)
Also in the song "I'm Through With White Girls," on the album version,
you guys are in a (Ford) Granada. On the Hve one, it's a Torino ...
Ko: It depends on where we're going ...
Mick: Jim Diamond wrote that one, and he sang if. He's suit the
lyrics to wherever we were playing at the time. When we were in
England it was a Ford Cortina.
But all Ford products?
Mick: No, in Germany it was si
of thing.
3 kind of Mercedes roadster kind
How was ihe U.K.? Were N.M.E. and Melody Maker, all those papers
writing about you?
Mick: Nah, they don't like us.
Do they ignore you, or give you bad reviews?
Mick: No, they just ignore us. We don't exist as far as they're
concerned, which is fine by us.
Trey: We've been in the N.M.E. before...
Mick: Yeah, but we're out of fashion this year. I think we'll all have to
start wearing Dashikis to get noticed by them.
Ko:Yeah!l! 0 DiSCORDER NO-VEMBER! 2004
Ah Vegas: that giant playground for adults where
ail your wildest fantasies can com© ^trwe. They
usually don't (at least not without a price, be if
financial or moral), foul the chance fe there. With
its long history of indulgence ,and debauchery,
this "city of the damned" seems hke fhe perfect
setting for a weekend of wild, frenzied primitive
rock and rofl. And like Vegas, rock and roll seems
to be caught is some bizarre state of eternal
youth, white the keepers of its throne become
aging parodies of something once great and.
VS^jt^i Even the ad'm0r0jia£ir\e Las Vegas
Rockaround mirrored the somewhat sad state
of garage rock and S^M^ff^eRging hipsters
desperately trying to ho'd on to the glory days
of a once vital time and place. Here then is my
pccd)3t%~of the weekend that killed Rock 8. Roll.
The Gold Coast Hotel and Casino has the distinct
honor of being recognized as the place that no
one really wants to bother with. Too far off the
strip for the wandering gambler, and not fancy
or themed enough for glam-seeking, name-
dropping resort goers, wth no kid's amusement
angle to rope in the families ... just guest rooms,
a casino, some banquet rooms and one hell of
a parking lot. As a result, the Gold Coast now lets
itself, with some reluctance, be overrun twice
a year by mobs of Chuck-wearin' Pabst*swillin'
vintage-clothed hipsters gathered together for
weekends of drunken rock and roll madness:
Viva Las Vegas in May, and the Rockaround
in September, both events organized by Tom
Viva Las Vega's focus is Rockabilly in all its
various incarnations. It also plays host to one of
the most respected traditional rot rod gatherings
in North America. The Rockaround, formally
known as the Las Vegas Grind, showcases more
garage & 60's influenced sounds, though there
were some unsuccessfufdttempts to merge both
Rockabilly and Garage in previous years.
This year's Rockaround lineup included such
'60's maverics as the Downliners Sect, the Seeds,
the Monks (not the '80's "Drugs In My Pocket"
Monks, but the band of Americans in Germany
during the '60's Monks) plus a calvelcade of
garage new schoolers including The Chesterfield
Kings, The Greenhomes, A-Bones, The Dragons,
Fortune & Maltese, and others. To round out the
full weekend event, DJs from well respected
record labels like Norton, Crypt, Dionysus & Telstar,
and burlesque events filled the otherwise dead
space between bands. Also part of the festivities
were the merch room full of records & swag,
and the Lady Luck club which featured more djs
and burlesque, mnning^vtdndem with the main
Partner in crime, Tim and I arrive in Vegas
the night before Rockaround begins. Tim, a
seasoned Vegas weekender professional,
quickly navigates us through the airport and
onto a shuttle which takes us to the Gold Coast
at a fraction of the cost of a cab. Tim explains
that there is no point in reserving a return trip
for the shuttle as they never come to pick you
up. The plan is to change clothes, see the sights, ■
gamble and have a few drinks while walking
the strip. Once on the strip. It didn't take long
fo realize that sticking to any kind of vegetarian
diet here is out of the question. Food options
are pretty much limited to casino eateries
competing for the cheapest prime rib dinners,
and convenience stores that offer alcohol,
cigarettes & snack food. We head toward the
older, more interesting end of the strip, poking
our heads into various places for drinks, cards,
and '80's cover bands along the way, our final
destination the Westward Ho. Tim proceeds
to lose the rest of his gambling budget for the
trip, but reserves just enough to join me in a
fabulous Vegas style dinner a 3/4 pound, two
foot long mega-dog washed down by a 27oz
99£ margarita. Ah, Vegas.
warehouses, mostly full of construction materials,
empty, two storey industrial buSdTngs, and the
odd tire store or tool supply shop. Essentially, 0
Vegas is this big movie set. Behind it is backlot
and nothing else.
If I had seen and done only all that I had on
Saturday and nothing else, I would have gone
home completely satisfied. After puffing my now
-sorry ass out of bed and meeting up with Tim,
Jeff & Matilda, we share a cab to the Double
Down Saloonto catch an afternoon show with
The Rne Lines, Okmonics, Kiflers Kiss and The
Flakes. Our first-dayrat-^chQOl excitement had
put us there an hour ahead of schedule, so we
decide to check out the neighborhood. Just
up the street from the DD we find the Hofbrau
House, a replica (or so they say) of the famous
beer hall in Germany. After litres of Oktoberdest
brew, and a stellar ompah band cover of "I'm A
Believer" we headed back to the Double Down
to arriving just in time to miss The Fine Lines, but
catch the Oknonicks.   .
Woke up far too early for my own good.
Saw That Tim wasn't going to move for some
time so I headed out to look around a bit. From
the vantage point of the Gold Coast, in full,
unforgiving daylight. Las Vegas is ugly. Stripped
of the lights and flash, it looks like a pile of bones
in the middle of the desert. Walking parallel to,
but a few blocks behind the strip, I discover, well,
nothing. I mean, there was nothing at all except
The Doable Down:
The Double Down is that kind of place you
hope to find in any city you end up in. The kind
of place that you're almost afraid to watr Wp.k
but are happy as hell that you did. It's a shithole,
a tiny, low-ceilinged bar in the back of a strip
maO. The inside is made up of terrfcte spraybomb
artwork, no stage, and the worst bathrooms I
have ever entered in my Hfe. Some artful person
had relieved themselves on the back of the toilet
behind the seat. After the initial repulsed recoit
at the sight of the pile, I can't help wondering
how the belt, one could position ihemsetverto
achieve such a placement. Back on the room.
The Okmonics take the stage and begin the
string of one-two punch stompers that set many
a heart aflame. Next up are the-much darker
and modern styfihgs of Killers Kiss. A no less
impressive band than their predicessors but a bit
beyond what some garage purists are prepared
to take in. Giving the people what they want,
plus a whole lot more—that's the pure Garage
genius of The Flakes. The beauty of the whole
show, however, isn't just the bands. It's that it
provids us with something that the Rockaround
seemed to be missing. The festival, with its spit
and polish, security guards, gogo dancing/and
nice venue locale lacked the urgency and grit
that comes from the second generation,' punk
fused garage of new. A big thanks goes out
to the folks at the Double Down for having fhe
insight to run the show, without it, the weekend
may have suffered form impending mediocrity.
After seeing countless bands, memorable
sets by The Reigning Sound, The A-Bones, the
Orongutones, Barrence Whitefield, The Monks,
Deke Dickerson and the 5,6,7,8's, drinking cases
of cheop, American beer, and eating the worst
food imaginable, it was hard to imagine ever
doing such a weekend again. But of course, as
goodbye's were being said, the question arose.
"So, again next year?" The answer that came
from Jeff was what we were all thinking. "Maybe
a different weekender next year. One with not
so many old people." D S^XLOVEANDlmRS
street in, you know, a month.
fuch Access with Canadian press; it is really helpful to have that represents.
Was your new album intteencedby your surraundlngs? I know you auvs wrote ff a Hltte dHferenffy ^
endearingrecords at New Music West
November 11
The Media Club
695 Cambie Street
with special guests:
Sex love and tears! If it doesn't make you wanna
fuck then it isn't what we want. I want babies born!!
There seems to be a pattern between the presence of
introductions on Heart and Set Yourself on Fire. Is there
a correlation? Is there a reason Set Yourself on Fire
seems much darker?
The world is very dark right now. This is a protest record,
I mean it still has the sex and love, but it is darker
because our world is darker. There is imperialism going
on, people are taking over other peoples countnes, the
world is a scary place.
On that note... what's your favourite flavour ol JeH-o?
Banana is my favourite flavour of jello, because it
reminds me of my friend Bananlyl
AARON BOOTH   11:45-12:15 | Toronto ^"oS?0
PAPER MOON   11:00 -11:30 j Winnipeg
Music available from these artists:
9:30- 10:00
n phoenix, bomp recording artists:
raised bv wolves • dirty blonde
wvw.ende0rfng.com  info@endeanng.com
Districted by Mapi^gtidnwide/Universal Music Canada
Its like the blues itself having a peacerw n
Words and Music
Paul Morley
Using Kylie Minogue as a focal point, British rock critic Paul
Moriey examines the place of pop music in pop culture... or
something like that. Almost every page of the book features
Kylie in fictionalized sequences that describe the pop singer
scantily clad, driving a sports car towards an unidentified city.
In a tone of worshipful admiration, Morley decribes her applying
lipstick, making out with the granddaddy of Japanese noise
experimentalism, Masami, and lecturing Morley himself on
The book quickly reveals itself as a masturbatory exercise
in postmodern wordplay, instructing us more about Moriey's big
fat crush on Kylie than anything else. Admittedly the book has
useful sections, 30-page-long swathes that list important events
in the music world alongside general information about pop
culture. But then out of left field comes crap like this: "Celebrity
is making itself up as it goes along. / Celebrity is invented by the
media. (As if you didn't know that.) / Celebrity is made up out of
boredom and disappointment..." This goes on for SEVEN PAGES.
I could be into this if,njsitemized musings were pithy or original,
but quite frankly, they aren't.
Morley isn't always such a self-indulgent writer; his writing
for New Musical Express during the seventies and eighties was
consistently groundbreaking and influential. Even today, his
reviews and articles are generafly informative and interesting.
Perhaps the scope of this project just sent his head into orbit?
Page 120 leads one to imagine that this may be the case: "I was
an influence on pop writing over the last twenty years or so—as
much as The Velvet Underground and Iggy were influences on
a certain type of rock. I say this not saying that it is necessarily
something to boast about, but simply as fact. I was... as far as
I can tell, the most influential of all rocb(pncN^-writers.'' This is
quite possibly the case, burin Words and Music Moriey's ego
gets in the way, obscuring the message of the book.
I admire Moriey's experimental writing techniques, and
there's no denying that he knows a hell of a lot about music.
However, the book's format is so head-buftingly inconsistent,
the writing style so willfully complex, as to render it inaccessible
to the general reader, myself included. One thing I agree with
Moriey about: "Can't Get You Out of My Head" is a ridiculously
amazing pop song. In fact, this book inspired me to download it
off Kazaa. We'll see if I'm tempted to put on a short silver dress
the next time I take my 1993 Pontiac Sunbird out for a spin.
Susy Webb
Venus as a Boy
Luke Sutherland
Bloomsbury Press
No, it's not a Bjork single from 1993. It's the third novel by
Scottish musician and writer Luke Sutherland, a gritty modem
fairytale of London's underworld that depicts intense brutality
and extreme beauty, with very little in between. At least,
that's what it attempts. For a book filled with drugs, violence,
transvestite prostitutes, and life-changing sex, it was surprisingly
unmemorable. It's Sutherland's weal characterization that
undoes the novel's admirable ambitions: while the story is largely
driven by the protagonist's quest for love, the objects of his
affection are too one-dimensional for the reader to care much
about the outcome of the romance. Skip this one in favour of
Patrick McCabe's Breakfast on Pluto—another novel narrated
by a crosS'dresser who leaves his small, isolated community to
take his chances selling sex in London. Though very similar in
premise, and just as violent, Pluto easily eclipses Venus with its
deft characterization and striking, fearless humour.
Kat Siddle
Stained Glass Sourcebook
Quarry Books
First, something I must get off my chest -1 hate books that don't
credit an author or group of authors. The damn thing didn't write
itself, did it? And a whole publishing company is probably too
many people to get consensus on anything and most of them
can be presumed to know nothing about the particular topic
at hand.
That said, I don't hold it against this book unless I'm looking
at the authorless cover.
Stained Glass Sourcebook could more accurately be
called a general glass arts sourcebook, as virtually everything
shy of glass blowing is covered here, at least in basic form. There
are loads of tips for beginners trying to hone their skills, as well
as step by step instructions for various projects with detailed
photos to show you what it's supposed to look like (which is
often not the same as what yours looks like.) Those of us with a
little more experience, if not wisdom, will simply ignore those and
screw things up according to our usual habits (remember kids, a
multitude of sins are removed by grazing and grinding or hidden
with wide soldetlines).
The best part of this book is the artist profiles, covering
various specialties in glasswork and loaded with many jaw-
dropping pictures of their work. From simply stunning to boldly
graphic to mind-numbingly complicated and exquisite,—
geometries to curves I swear are impossible to cut by normal
methods, traditional to cutting edge modern glass art, functional
objects to the purely decorative sculptures, there is a photo to
inspire anyone in here. These artists are going far beyond the
pretty but boringly traditional glass panels you may have seen
before.lt almost makes me want to give up my foolish and
probably delusional rock star aspirations to open a glass studio
instead. Almost.
While I'm gushing here, I'd also like to commend the
photographers who managed to capture the works so pristinely
for this book, bringing out not only the general ideas but also the
subtleties of the glass' textures usually only seen close up and
at the right angles. (Usually stained glass is a bitch to get on film
depending on the backlights^.)
Stained Glass for the First Time
Art Glass Originals
Sterling Publishing Company
Another no-author book. At least this one fe credited to an actual
glass studio where actual individuals worked on it.
Anyway, this one's more aimed at the beginner and less aimed
at people Mke me who just want to ogle pretty pictures (though
that need is fulfilled a little at the end). Stained Glass for the .
First Time gives a couple of dozen detailed project instructions,
all small enough to not freak out the soldering-iron-phobic too
badly. There is but one project discussing the production of an
actual panel, but they forget to discuss the most important pari
- how to hang the damn thing up after you're done. Mind you,
myself and countless others figured that one out for ourselves,
the readers of this book will too.
For some reason there's a couple projects mentioned
twice both in terms of how to copper foil and solder them and
how to use lead earning instead. Once would have sufficed. A
couple other shortcomings: it's nfce that they talk about copper
foil overleaf, a technique where you put lines of solder in places
other than joints between glass sheets and thus allowing you to
do some really delicate work, however they overtook the matter
of copper foil adhesive deciding to unstick itself at random
intervals. Some explanations of why certain types of earning
were chosen over others for certain projects would be nice
There are lots of pros to this book also, especially for the
nervous novice. The projects are small enough to be cheap
enough to allow lots of practise at this stage (unlike the $3001 just
blew on glass for a trio of windows for my parents' house), there
are good details of ways of breaking glass, and I appreciated
the tips on glass etching which I haven't tried yet. And there are
a few gorgeous photos of finished professional panels, simpler
than those of Stained Glass Sourcebook to be sure, but lovely
nonetheless and probably much more within the reach of a
novice's ability.
All in all, it's a decent start.
Rachel Schutt-Mesrahi's "Emerging Self
(Self Portrait)" from Quarry Books' Stained Glass Sourcebook.
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6th Sad UJtxard, The tUitnessses
legendary Drugstore Cowley*
12th Cadeaux, fake Caps f
14th Drunk Horse, S.T.fi.€.€.T.S.,   |
¥aii€©«ear £
16th Blood Meridian, ladyhawk,
Send Sinister
6th Choremee* The Na No Spots,
The Freexepops, ftakelite*
13th Frag Cues, Subtle
26th Ihe Sadies, The Leather Uppers*
f f th Infernal Majesty, Omega Cram,
Divinity, tlfideujmaker
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Death From Hoove 1979, Vietnam* UNDER REVIEW
4 or 5 times through, though,
it becomes the best Delgados
album ever, and you wonder
why no one else understands
them as well as you do.
Soren Bros.
Ariel Pink's Haunted Graffiti
The Doldrums
(Paw Tracks)
There's a definite vogue
for "outsider" music in the
underground these days, and
it's not hard to see why. In
a world where our lives are
ever-increasingly colonised by
market values, it's a blessed
relief to hear music created
without mercenary motives.
Now, while Ariel Pink isn't insane
or mentally handicapped, he's
still as "outside" as you might
want him to be. Until Animal
Collective happened upon
him during a West Coast tour,
this Los Angeles native was
recording in relative seclusion,
and had been releasing his
music on home-burned CD-R's
for years. Thankfully, some of
his material from the last few
years is finally getting a proper
release on Animal Collective's
Paw Tracks label—the first
of the label's releases to not
feature any Animal Collective
members—and it's gorgeous.
It's interesting to note that
graffiti was the preferred
aesthetic inspiration for the
French Art Brut movement-
some of the earliest proponents
of so-called outsider art—and
the day-glo scrawls of Ariel
Pink's Haunted Graffiti would
do the Brufists proud, sublime
and untutored as they are. The
songs on The Doldrums were
recorded in Ariel Pink's home
with guitar, bass, and keyboards
(the drums sounds are,
unbelievably, created entirely
with his mouth), and the sound
is damaged, lo-fl dream-pop,
nearly muffled by effervescent
blankets of reverb.
Ariel appears on his website
with Aladdin Sane-style face
paint (seemingly drawn over a
photograph with magic marker)
and Bowie might not be a bad
reference point for the weirdly
unique vocal melodies and
otherworldly range of croons,
whispers, and howls that
come drifting out of this album
in multi-tracked layers. The
naked, unselfconscious quality
of the vocai delivery calls to
mind intense avant-pop acts
like Xiu Xiu or Frog Eyes, just as
the cough-syrup haze of guitar
and keyboard noise bears
comparison with Avey Tare
and Panda Bear's first album,
or even the more pastoral
psychedelia of the Jewelled
Antler Collective's circle of
All this wouldn't be worth
much if fhe songs weren't
good, but the melodies here
are undeniable: naive, wistful,
melancholy, genuinely personal
and, yeah, haunted for sure.
This album is, admittedly, not
for those who prefer their music
polished or precise (it actually
sounds like it may have been
recorded inside a sock), but for
lovers of four-track recluses and
contemporary psych-pop, this
is a must-have.
Kimya Dawson
Hidden Vagenda
(K Records)
Kimya Dawson's music is
what Riot Grrrl would sound
like if it were folk rather than,
well, Riot Grrrt. On her newest
release, Hidden Vagenda,
Dawson combines her
signature low-fi sound with
high quality production and
confessional lyrics to create a
fresh, unexpected sound. Her
particular aural aesthetic—
that is, her low-fi/high quality
sound—gives you a sense of
being whispered to, albeit by
someone somewhat potty-
Dawson's musical style is
based in a folk tradition, with
the instrumentation built around
acoustic guitar, and generally
augmented only by a little
bass and snare, resulting in a
clear sound that complements
her deceptively child-like
voice. On Hidden Vagenda,
Dawson deals with everything
from death fx^ globglizatjpn to
racism, pop culture, and issues
of identity. In most musicians'
hands that would result in a
depressing, didactic album,
but Dawson avoids that fate
by keeping her lyrics specific
and infused with an ultimately
optimistic worldview. It's her
sense of humour, though, that
lets her get away with things
like dispensing advice on how
to raise children ("Having
been fucked is no excuse
for being fucked up") and
making outright comments on
white hegemony ('"but prima
ballerinas now we know aren't
always white / a million people
saying something's so don't
make it right'"). The production
is very deliberate on this album,
and while I would have liked
to see Dawson's vocals take
center stage in sections with
harmony, I think I can safely
assume that the balance here
was a conscious choice.
Ultimately this is a record
about survival, which fe what
makes it universal. It's clear
that music fe something Dawson
does to survive, and it's that mix.
of desperation and hope that
drives Hidden Vagenda. As
•she says on "Singing Machine":
"it's not just on the radio, it's
not just on the video / it isn't all
downloadable, there's music
everywhere." If only it could ali
sound like hers.
Lesley Hoytes
Death From Above 1979
you're    a    Woman,    I'm    a
The last time I read about a
band trying to amalgamate
different musical styles in an
effort to express their complex
personalities and "influences",
the band in question was Jet. I
scoffed—just you're doing now.
I thought bands that try the "we
are Everyband" thing on their
debut and think that they're
brilliantly unicfue are doomed.
But I was wrong... or at least, I
found an exception.
Each time I listen to You're
a Woman, I'm a Machine, I
think, "Golly, who are these
hip Montrealrres?" Cause
they're clearly not Jet. Death
From Above 1979 is a band
of a thousand catchy faces:
there's handjobbing pop, rock
headbanging on the border
of emo, and some very sex-
ay electroclash. I can only
wonder what they'll go for next,
because really they could pull
off whatever they want.
There's hardly a bad song
on the album, but the highlights
are undoubtedly "Black History
Month" and "Sexy Results". The
latter has utterly consumed
me. 1 play it for everyone:
roommates, co-workers,
; parfygoers, DiSCORDER's
hardworking staff, the innocent
bystanders at CiTR's booth
at clubs week. It just doesn't
get out of your head, or stop
sounding amazing. The whispers
in French are a smooth touch. If
I was a Suicide Girl, rhfe_would
surely be my theme song.
The real question is this:
will they still be cool once
you fork out some ridiculous
sum, wait in line with some
young skateboarding
whippersnappers, to see them
open for Billy Talent? Ouch.
Parmida Zarinkamar
The Delgados
Universal Audio
(Chemical Underground)
.1 think the Delgados were pretty
accurate to describe this as
their "pop" album. It's similar to
the rock of Peloton, but without
the somewhat sinister sound. As
song titles "Is This All That I Came
For" and "The City Consumes
Us" suggest, this isn't exactly
a feel-good album either, but
it follows in the footsteps of
Hate with happy songs put off
balance by depressing lyrics.
Also in typical Delgados fashion
(at least as far as my experience
has served me) it's an album
that's only slightly interesting
on first-listen, with just a couple
songs that are immediate
enough to attract more listens
("Girls of Valour", and "Keep on
Breathing" in this case). After
Never Had a Daddy
(Collective Records)
With their premier release,
Never Had a Daddy, the St.
Louis based twosome Femme
Fatality combine funky electro
beats with cancerous Goth
vocals. Throw in some sporadic
moments of comedic white
boy rapping, and it's enough to
elicit a full-out, fishnet-shredding
dancing frenzy.
Not only does Femme Fatality
make for the dancing, but with
lyrics like, "I'm not the type of
player who hollers 'cause I want
head /I'm the type of player
who hollers cause I want her
dead" they ruthlessly indulge a
Johnny the Homicidal Maniac
sense of humor.
Many of the tracks on
Never Had a Daddy deal
with murdering girlfriends and
groupies. (Hence the band's
name.) It's one sick, inane, and
egocentric little album. Don't
take Femme Fatality seriously,
though. Just relax and allow
the merciful force of satire to
ethically satiate your twisted
Jamie Langen Neubacher
And the Big Red Nebula
(Ninja Tune)
Though I still have some
reservations about a band that
represents itself with a cartoon
image of a spaceman with
a finger for a face, Ninja Tune
is a respectable label, so I felt
this duo deserved a listen. So
the idea, I guess, is that these
guys got into a spaceship,
went far, far away, and then
came back with some kind
of alien band who also plays
electronic music. This would be
glorious if the music actually
DID sound like aliens had made
it, with entirely unpredictable
structures and unfamiliarsounds
(i.e. more than a bass through
a vocorder). Nonetheless,
Fingathing succeed in putting
together a catchy album.
Sometimes formulaic, but still
catchy, and just weird enough
to tie in the alien space theme.
Soren Bros.
Alberta Crude
(Saved By Radio)
It is in the tradition of storytelling, of story as history already
passed, as the myths that spring
from living — it is from this place
that Tim Hus comes to us. As
a commemoration of the
status, Hus has created a love
letter to the province whose
history he has appropriated.
His country croonings and
guitar/stand-up bass/fiddle lineup convey a certain sadness of
that in-between place where
one can see the inevitability
of the future as it meets the
fading memory of the past.
Hus' appeals to an ideal, simple
mindset that only familiar
bedtime stories can evoke.
As one whose history is the
prairies, Hus casts me into a
nostalgia that previously lay
dormant. I realize how universal
my history is by how keenly
I feel the Canadiana in the
banjo callings, remembering
a childhood where CBC was
the only television station, and
hockey the only sport save for
the rodeo. And then I realize
that these peculiar recognitions
differentiate my history from
others, a history that Hus and I
(Sonic Boom Recordings)
When it rains, it pours. Fans of
analogue instrumentation have
.the opportunity to indulge their
sophisticated tastes not only
with Rob Sonic's latest release
(see review), but with the
newest recording from Seattle's
Pronounced Ee-Koo, this
Japanese-American girl/boy
duo met in 1996 in Olympia.
Michiko Swiggs was in the
digital music program at
Evergreen College at the
time, but Kento Oiwa, a lifelong collector of vintague
equipment, quickly steered her
copious talents along a higher
path. Reacting against the
main genre of the city's music
scene, the two began making
unusual music, fusing genres
and styles in an undescribable
but always danceable fashion.
IQU have toured with diverse
acts such as The Flaming Lips,
Chicks on Speed, Mouse on
Mars, and Looper, testament to
their unusual, irresistable sound.
Sun Q combines elements
of funk, disco, Kraftwerkian
electro, and shades of
Stereolab. Kento plays a mean
theremin, Michiko rocks the
Vocoder, and you can't help
but smile, dance, and agree
that sushi is so, so much better
than french fries.
Susy Webb
Lamb of God
Ashes of the Wake
(Prosthetic Records/Epic)
So, these guys are the salvation
of metal—or so says their press
release. I doubt that, as metal
needs no saviors, despite what
one might think listening to
"commercial radio. But these
Southern gents certainly do
rock pummelingly hard, albeit a
bit squawk-grunty in the vocal
department (which is all the
rage in—heh heh—metal these
That said. Ashes of the Wake
is a decent disc. Lots of guitar
and bass riffs, punchy drums,
and lyrics that are probably antiwar—if you can decipher them.
Not exceptionally different from
the crowd, and the songs sound
similar since they use almost
the same opening riff on each .
one, but sometimes energy is
more important than anything
else. Put this disc on when
you're pissed off (at Dubya
or whatever) and groove on
the Rorschach test that is your
perception of Lamb of God.
Jaga Jazzist
(Ninja Tune)
Jaga Jazzist is a 10-piece
Norwegian band reported to
sound like "Charles Mingus with
the Aphex Twin up his arse".
Excited? So was I. Especially
when I saw the cover of Day
boasting a remix by Matthew
Herbert, whose special blend
o.f jazz and electronica had
previously piqued my interest.
However, this EP is a foolish
way to introduce yourself to
the incredibly tight sound
of the Jaga. The remixes by
Matthew Herbert. and Dat
Politics are scatter-brained
electronic blips of songs that
clearly have greater potential
in their original forms. The title
track "Day" is also featured
THREE TIMES on this EP, once as
an original, once as a Herbert
remix and once as a live piece.
Bringing us to the only true
highlight of the EP, the three
end tracks which are ail Jive
recordings. These songs started DiSCORDB? NO-VEMBERI 2004
r m
: \ ^r   M W Hi _
%3te~. Bands wlthouf dancing bunnies fucking SUCKiJ!"
to give me a taste of what the
Jaga Jazzists are capable of,
and it was righteous. My advice
is that if you're interested in
Jaga's 'nouveau jazz,' go grab
their critically acclaimed A
The Mooney Suzuki
Alive And Amplified
To paraphrase the lyrics from
"Legal High": Once you
were someone's loyed,^grv©/
Makin' your way through that
stage/When ya hunger for
some kinda substance/But ya
just unloved and underage.
Okay, I ain't the latter, but I'm
certainly the former—what
the effin' happened to my
Moonles? Did they discover
the missing link between bad
late sMies hippie rock and
early seventies soul and forget
they're just four gangly white
kids from New York? They were
once my loved one, when
they came on the scene with
their Estrus records debut, rife
with scorching tributes to British
garage greats The Pretty Things,
The Who and others, then they
started to change. And Electric
Sweat, while a progression into
cleaner production, and some
rehashed songs here and there,
still maintained a vibrancy that
kept songs like "Oh Sweet
Suasannah" spinning regularly
on the ol' hi-fi. But after
listening to this album, I'm left a
little disappointed—somehow
I can't help but cringe when
lead singer Sammy James Jr.
sings "Loose And Juicy"; Isaac
Hayes he ain't. Other songs
like "Hot Sugar" and "Messin'
In The Dressin' Room" suffer
that same white-boy soul
syndrome, and with pretty
pedestrian lyrics to boot.
There are a few moments
when the old Mooney Suzuki
shines through on cuts like the
aforementioned "Legal High",
"New York Girls" which is the
album's poppiest number and
the title track, but overall not
the album I was hoping for
and not even the Matrix (yes,
the production team behind
Britney et al.) is "gonna blow
my speakers and my mind" like
the song suggests.
Bryce Dunn
Six Organs Of Admittance
The Manifestation
(Strange Attractors)
I was gonna start this review
off with something about how
Devendra Banhart called Ben
Chasny, a.k.a Six Organs O'
Doo-Dah, the "king of psych
folk," but I thought going
down the "awesomeness by
association" routesold Chasny's
prolific brilliance a wee bit short.
Dude's put out a lot of seriously
tripped-out goodness, Oar$jt*-:
Strange Attractors has done
us all the favour of re-releasing
what might be his best work,
plus more.
In 1999, BaDaBing released
the song "The Manifestation"
on a clear, one-sided 10" vinyl.
The song is over 20 minutes
long and goes through multiple
movements, apparently based
on our distance from the sun. It's
all laid out in the liner notes, and
if you can make any sense out
of it, well, uh, congratulations.
The song itself is one of Chasny's
more claustrophobic journeys,
moving from dark drones to
dense acoustic guitar TagasJV
with extra vocals by Jennifer
Juniper Strafford, who wins my
award for "most Syd Barrett-
lyric-esque name." It's the Dark
Noontide album all rolled into
one song, but maybe a little bit
Also, the b-side of the
original vinyl simply featured
Mike Mills' vinyl etching of the
sun, the sound of which Chasny
recorded, adding only a short
vocal appearance by fellow
folk weirdo David Tibet, and
DIV/OtCE SERIES #t-WUW.ACHER|C0im.€0r1/d1vorcn^
WW mil ■«FJr^#ji^ *%_ *wm   #^.11  ,
some of his most gorgeous
guitar work yet. It's simple and
direct, making it the perfect
breath of fresh air after the first
song, and this time it's the key
changes that are based on
our distance from the sun. See,
that's what makes Chasny the
king. Some people see psych
as adding some trippy noises to
their songs, while some people
see it as a lifestyle choice.
Laura Veirs
This record lives up to its title.
Carbon Glacier contains an
album worth of material that,
for the most part, tries to find
warmth and feeling in the
coldest of environments, and
for the most part, accomplishes
this task. Veirs' honest and just
plain real voice goes a long
way in making you believe in
her sincerity. The songwriting
is great as well. "The Cloud
Room", with its soaring chorus,
propulsive drum, and sparkling
keyboard, is positively sublime.
She also effectively evokes
imagery and feeling through
lyrics. "Snow Camping" does
just that: "I saw the violet turn
to night/I saw the water turn
to ice/a thousand snowflakes
hovered around me/the wortd
aglow". It ali comes together
in "Shadow Hues", however,
in which she describes her
isolation from a relationship:
"though I am dark 'bout the
ways of wanting/though I am
dark I'm still a child/gonna dig
a coal mine, climb down deep
inside/where my shadow's got
one place to go/one place to
hide..." This, with an eerie vocal
harmony contribution by one
Karl Blau, makes this song utterly
affecting, and the album's
harrowing centrepiece. Full of
moments such as these. Carbon -
Glacier is a gorgeous album,
best listened to on a cold, quiet
night, many of which await us.
Robert Ferdman
The Waking Eyes
Video Sound
(Coalition Entertaiment/Warner)
Video Sound is the major label
debut from Manitobans The
Waking Eyes. The foursome
formed from the remains of
local Winnipeg favorites The
Pets and Novillero and signed
with Coalition Entertainment
soon after. After listening to the
first angle, "Watch Tour Money",
I was expecting another
garage-rock flash in the pan.
However, as I persevered 1 was
pleasantly surprised to discover
that this album watts. I was most
impressed by the band's ability
Otia, produce a varied sound
using solid power chords and
classic-rock riffs. Conversely,
they create a darker punk rock
energy through the second
track, "Beginning". The Waking
Eyes produce a sound echoing
the melodic sensibilities of the
Beatles white maintaining the
harder edge of an Iggy and the
Stooges. Video Sound is sure to
please those who appreciate
SUNN Oft) - No irip to California is complete without a visit to
your unhoty master $for style advice.)
solid, straight-up rock 'n' roll.
David Bronk
Rob Sonic
{Del Jux)
As founding member and Vice-
President of the Vancouver
chapter of S.P.A.G. {Satisfy for
the Preservation of Analogue
Gear), I sometimes have a
hard time indulging my love
of quality hip hop. Having
disgraced the S.P.A.G. name
in the past by possessing a
touch-tone phone (problem
since rectified), I must remain
ever-watchful of detractors
who seek to discredit myself
and other S.P.A.G. members at
every opportunity.
So was I ever thrilled to
discover the sweet beats and
saucy vocaT styftigs of NYC's
Rob Sonic. Sonic is one of
those rare triathletes of fhe rap
world, producing, playing, and
rapping all on his lonesome.
His sound stands out thanks
to unique instrumentation:
Telicatessen features superb
manipulation of the beloved
Roland Juno-106, ARP Odyssey
and Utile Brother, Korg MS-2000
and of course, the Mini Moog!
Sigh. Truly a man after my own
lrrfeWgent lyrics revolve
around the unsustainability
of high-density urban life,
fhe life and times of a failed
delicatessen owner, and
Sonic's critical musings on
American foreign policy. While
the beats are made with old-
school equipment, the sound is
fresh and experimental, rather
than nostalgic. Teffcatessen
is danceable through and
through, perfect to listen to
while dialing your rotary phone,
writing a letter rather than an
email, or kicking bdck and
watching a slide show. Or, you
i know, if you're just in the mood
for some excellent underground
Susy Webb
Sunn O)))
White 2
(Southern Lord)
Sunn's    been    making    their
droning bass doom for a while
now, but, as their newest and
most varied release proves,
there's always room for a bit
more bleakness. "HELL-O)))-
WEEN", the first and shortest, at
14 minutes, is familiar territory,
with molasses riffs and power
bass drones. It's the sound
of a woolly mammoth being
consumed alive by a tar pit.
Next, "bassAliens" changes
things up. The bass emerges in
pulses from the murk of echoing
guitar and ambient bells until
some sort of electronic noise
brings a crackling surge of life to
these abyssal depths. Speaking
of abyssal (if I had a n'ickle...),
"DECAY2[NIHIL's MAW]" tops
everything by being possibly the
scariest thing I've ever heard.
Mayhem' s Attila Csihar provides
their most perfect vocal yet, a
trance-like recital of a chapter
from something called the
Shrimad Bhagayatam, which,
on the even-more-bugged-
out tip, is over 5000 years old.-
Meanwhtte, the music is a sonic
black hole, sucking light into its
endless darkness.
Now, when you wanna get all
your cult buddies together and
read some Aleister Crowley, a
perfect soundtrack exists, and
your goat can save his death
bleats for another occasion.
US Election
Bush vs. Kerry
(Fox News)
Fuck. I hate these goddamn
manufactured pop bands.
Honestly, is there even any
money left in this shit anymore?
What about reality TV? Doesn't
anyone watch reafity TV
anymore? What was wrong with
it, anyways? It was real people,
real, genuine humans, just
going through shit. Everyone
who's so down on reality TV is
just a bunch of snobs.    3
But these guys, vast^poy'
bands are another story entirely.  \
They just got chosen because
they can dance. They can't
even dance that good.
The Pixies
September 6
Plaza of Nations
Waiting for the Pixies to start
their set was insufferable, until
you noticed the T-shirt of the
guy in front of you. He was
wearing a Dave Matthews
Band T-shirt that said "Summer
Tour 2004" and featured a
picture of a streaking brown
bus. This was remarkable for
two reasons: i) the brutal, yet
gleefully satisfying, coincidence
that Dave Matthews chose to
represent his tour with a graphic
of a streaking bfown bus (last
August a tour bus leased by
the Dave Matthews Band
allegedly dumped 800 pounds
of liquid human waste while
traversing a Chicago bridge,
subsequently dousing in shit 100
people below who were on a
boat tour) and ii) it made you
wonder what the hell some guy
in a Dave Matthews Band T-shirt
was doing at a Pixies show.
Seeing that T-shirt made
you realise how popular the
Pixies had become since
they broke up in 1994. The
Pixies reunion was eagerly
anticipated by hipsters and
music snobs, naturally, but also
by frat boys and other people
who make going to big rock
shows intolerable. The following
show review was written by
the guy in the Dave Matthews
Band T-shirt:
Dude, the Pixies' show
was AWESOME! Seriously, it was
like $60 or something, but it was
totally worth it to see the fuckin'
Pixies. They started things off
with "Bone Machine" which
so sweet it made my nipples
hard (does that make me gay
or something !?!) off the album
where the chick shows her tits. It
was sweet. Frank Black rocked
out, Joey Santiago rocked too,
but he was more chillaxed.
At one point he even stuck a
fit c'rgarette in the end of this
guitar while he played...so
They played lots of other
great songs: "Monkey Gone To
Heaven," "Caribou," "Broken
Face," "Velouria," and others.
Kim sang "Gigantic" and it
freaked me out cause she
looks like my auntll My aunt's
like 55. Kim should lay off the
smack, big time. I was bummed
she didn't sing "Cannonball,"
but it was still a good concert
The best part of the night
was when they played the
song from "Fight- Club." It was
wicked—rad 'cause everybody
was singing along and the song
sounds way better five.
There was also crowd
surfing and stuff, but I was too
:: 26::
far away to join in. Someone
was even smoking weed. It
was so crazy. The encore was
"Debaser" and the crowd
literally shit their pants it so
awesome. Pixies...fuck yeahll
That  guy  in   the   Dave
Matthews Band T-shirt
Married to Music
September 17
Croatian' Cultural Centre
8:00pm is early for a show.
Especially an all ages show. It
means that from the time I get
off work at 6:00 I have 2 hours
in which to properly eat, get on
the bus and inebriate myself in
preparation of 4 hours of "we
only serve water" and "no ins-
outs" punk rock fun.
Well, with four beers, 2 slices
of pizza and enough urine in
me to make me consider the
practicalities of a catheter
bag I made it on time for the
opening act. Married to Music.
Playing the "welcome home"
show of a month long tour,
M to M seemed tired, but still
managed to stir up a bit of a pit
playing some super solid rock
with screaming vocals and lots
of energy (look for lots more of
Vancouver's Married to Music
as it seems that SNFU's Chi Pig
was impressed enough with the
band to take them on a cross-
Canada tour).
Removal eventually followed up and entertained me a
little with some nifty slides and
a nice cover of Edgar Winter's
"Frankenstein". For those of
you who don't know. Removal
is a purely instrumental act
from Vancouver -and they
communicate to the audience
with phrases, projected onto
a screen, such as "Hi we are
Removal from Vancouver, BC".
It kind of reminds me of those
guys that try to make you buy
sign-language cards in the
While I thought about this,
I saw a girl with a Mohawk so
big that it wouldn't stand up
by itself, no matter how hard
she tried, then DOA came on.
Holy cow, DOA sucks. All the
energy is gone. Their drummer's
fat and his chops are just too
polished to be punk rock. Plus,
just shouting out "George Bush
is an idiotl" is, at this point, akin
to saying "*insert city here* is
our favourite city to play in!" It
just gets a positive reaction from .
the crowd; there fe no actual
cognitive process behind it. I
leaned against the wall.
SNFU, headliners of the night,
are, however, still, fun. Chi Pig
(who I think is the only original
member) is a'niaaiac. He must
have spat on like a dozen kids.
These guys still have a few drug
induced years ahead of them.
It was worth the beeriess waft.
And I was outta there by 12am.
So, all in all, here's to more all
ages shows in Vancouver!
Dave Gaertner
SHiNDiG Week Three
Ten Miles Wide
Ken LaTour
September 28
Railway Club
You go skydiving because you
want to try new things. You go
to a Thai restaurant because
you want to eat new things.
You go to Shindig because you
want to hear new things. So
why was everybody playing it
safe last Tuesday?
Ten Miles Wide has a great
frontman, a big, burly bearded
fellow not unlike the big, burly,
bearded fellow from Nashville
Pussy. The sound was textbook,
opening the Black Sabbath
crate and putting their own
stamp on a genre that js the
most pure and decent form of
music we have left, and that,
my friends... is metal. This music
was treated with respect and
dignity by this rugged three-
piece. The female drummer
(another Vancouver female
drummer? Is there a tree they
grow from?) was pretty basic,
but overall, it was great. My
friend saw them before and
said they were a little off this
time around, but what the hell
do I know?
And who has to follow that?
A five-piece band led by Ken
LaTour. Soft, slow, tuneful songs
accompanied bya wonderfully
tuneful violinist. As nice a
performer Ken LaTour is, I have
to take a shot at the music. The
lyrics are a little suspect, and
the voice is a little thin, but the
songs are strong enough to
support those knocks against
it. It would be nice to mix it up
a bit as well. Almost every song
had the violin in it, and all the
tunes were pretty darn slow.
And who has to follow that?
Evol-Hearted, a four member
indie rock outfit featuring the
superior drum work of Julie
Steemson, also a member of
Black Rice. This band plowed
through some intricate guitar
passages and interesting song
structures, but honestly I felt
their influences bled through a
lot, especially one song, which
I swore to friends was a Modest
Mouse cover. They were tight
and talented, but they could
be a lot more adventurous with
their songs. Great blueprint,
The ballots were tallied arid
Evol-Hearted won. That hurt.
Also, great job on the sound,
Snow Patrol
September 28
Commodore Ballroom
Snow Patrol stirred up a storm of
anticipation and moved their
second Vancouver gig to a
larger venue.
Putting Hanson and other
family bands to shame, Elsley
kicked off the night with their
entourage of 3 sisters, 1 brother,
and a bassist who was "just a
friend". In a short set, they had
a solid sound with sophisticated
melodies   well   beyond   their
years. What makes the band
stand out fe their swirling duo
vocals. Their guitar and drum
beats are like intros to great '50s
tunes; this combo made songs
sound both -familiar and new.
They're oh so dreamy to say
the least, with beautiful "music
box" synth keyboards. One of
the best songs was "Escaping
Song"; the vocal line moved
like a carousel and cascading
piano keys as the backdrop.
Their last song, "Marvellous
Things" was moody, harder
and melodic, a great way to
convince you that there really
are marvelous things out there.
[Writer's note: Inspired by
the old claim that "the Eskimo
language has 100 different
words for snow", this review of
the headlining act wiH contain
as many snow references as
Snow Patrol on duty tonight.
The Irish lads had the daunting
task of melting away the chilly
cynicism of "can the band
perform?" The crowd must
have mistaken the Commodore
for a football stadium 'cause
there was a sea of flags
representing the boys' roots:
Britain, Scotland, and Ireland. A
snow storm couldn't have kept
this ecstatic crowd away.
It was hard to pinpoint what
musical styling they would
display tonight, especially
with the military-like speech
audio clips that were played
before the band took the
stage. This was no quiet winter
wonderland. It was more of
a blizzard of alternative rock
mixed in with some anthemic
The band rocked amongst
the snow-white stage lights,
except for some parts that
dragged on like shovelling
through 5 feet of snow.
Snow Patrol opened with the
Rye Coalition at Richar3p£$n Richards, October 06 -
Photo by Michelle Mayne energetic "Wow". Singer Gary
Lightbody beamed a smile for
most of the night, stopping only
to make small talk between
songs and to ask if anyone in
the crowd could throw a pair of
hiking boots onstage because
apparently, the stage was as
slippery as ice.
A definite highlight was
the beautiful keyboard driven
"Same", where the melody
swayed and swelled and the
audience happily sang along.
The band proved that not
every snowflake is alike and
showed their quirky side with
"Somewhere"; the song had a
cool but odd synth sample beat
with Lightbody's syncopated
singing on top. It was a nice
warm departure from the rest
of the set.
Lightbody said that his dad
always told him to end a show
with a cover. A snowball surprise
was thrown into the mix when
the boys did an alternative take
of Beyonce's "Crazy in Love".
Crazy, indeed. Their mountain-
sized hit, "Run", was reserved
for the end of the night. This is
one of those songs that would
have to be heard in surround
sound of a stadium crowd
'cause the droning melody just
begs to be sung.
Snow Patrol managed to
dig up a heapful of light fluffy
fun for a weekday night. Let it
snow, let it snow, let it snow.
Emily Khong
SHINDIG Night Four
Mark of the Beats
The Sore Throats
October 05
Railway Club
If  you  haven't  come  down
to the Railway Club to check
SHiNDiG out, you should. Or
don't, but then me and all the
other cool kids will snub you.
And you don't want to  be
snubbed, do you?
Night four was, I felt,
somewhat weak. Opening was
Mark of the Beats: a one-man
smorgasbord of sound.
I'm amazed that one
person can produce such an
inconsistent array of genres in
such a short time, running from
punk, to rap, to techno, etc.
I'd like to say that I liked it, or
that it was successful, but I'd be
lying. The ideas are good, and
might one day coalesce into
something enjoyable, but it's
not there yet.
Philharmonic took up the
middle set, and while, a week
removed, I can't remember
why, I do remember really
liking them. They seemed a
collection of virtuoso musicians
—the bassist in particular. I
had a mental image, during
their set, of the bassist as Keith
Richards, 15 years down the line
—totally strung out, wasted, but
stiH showing those occasional
flashes of absolute brilliance
that lead to albums like Exile on
Main Street. Not that this band
is the next Stones, but more
that this one guy in particular is
really; really good.
The Sore Throats closed the
night, and well, is it better to
say nothing than to be mean?
Let's try and couch this as
constructive criticism: 1) Pop-
punk is over. It was something
of a travesty to begin with,
and there's no reason to keep
it kicking. 2) Insulting your
bandmates at all times, for
everything, just makes you look
like a jackass. 3) Not even Bon
Jovl deserves the cruel fate
of that cover. 4) You should
ensure that all bandmates can
be heard in the mix. 5) Loud is
not the same as good. On the
plus side, they all looked pretty
good up there...
Steve Tannock
Badly Drawn Boy
October 05
Commodore Ballroom
I was full of expectations the
night I headed down to the
Commodore for the Badly
Drawn Boy show. Was he going
to be an ass? Drunk? Sensitive?
Full of himself? All of the above?
Having heard enough tales of
Damon Gough's live theatrics I
was sure that this kick-off show
for the One Plus One is One tour
was going to be riotous.
So it began as the windows
blackened themselves and Bob
Kemmis stepped on stage. I
could feel the evil circling like
giant waves of electricity as if
I was Skeletor standing atop
Snake Mountain. The depravity
increased as I noticed that
Kemmis' drummer resembled
a younger, slightly uglier,
PM Collins. Then his guitarist,
unveiled himself to me as a
hideous Elvis Costello, and if
that wasn't enough, Kemmis
himself shined forth as a disease
ridden Tom Petty!
What spirits of malevolence
filled this place? From the
comer of the stage I could
suddenly see looming the dark
and squinty eyes of the source.
Damon watched on as the stale
sounds of Kemmis faded out,
waiting for his time. He strode
out confidently with a full band
including a violin and a cello,
and for once he seemed...
content. Could this be? Were all
my expectations for naught?
However, I had been
deceived too quickly, as
Damon explained to the crowd
that his first set was going to
consist only of One Plus One fe
One, from banal start to watery
finish. I had expected that most
of his material was going to be
centered around this album,
but to hear him tear apart all
the other music he had written
up until this point as "shit that
could have been composed by
a moron," I was just confused.
After all, it was The Hour of
Bewilderbeast that had me
coming to this show at all.
The first set began and
finished relatively uneventfully.
Damon's stage presence was
meager, and there was very
little energy coming off any
of the new songs. He then
disappeared for a good while
and came back for a second
set in which he played only a
couple of the more melodic
songs of yore ("The Shining",
"Once Around the Block").
The grandma hours of Translink
allowed me to stay only for the
insidious first half, but the man
behind me was kind enough to
e-mail me with his thoughts on
the second. And so now I leave
you with the words of Dave:
"My experience? Amazing. I'm
biased as I've been a BDB fan
for many years and bonded
with his music with two ex-
Ebony Bertorelli
October 07
Commodore Ballroom
Following up the release of their
latest CD, The Art of Live, prog
metal masters Queensryche
swung into town to prove it isn't
just fancy post-production that
made that album sound so
Act I of "An Evening With
Queensryche" consisted
of a collection of familiar
Queensryche songs old and
new, what one might call their
"radio hits," in so far as there
were arty. Included were some
rarities like "Last Time in Paris"
and the band's first ever original
song, "The Lady Wore Black."
Geoff Tate and company
played wonderfully with razor
sharp performances that
showed the end result of years
of honing their craft. (In the,
interests of pretending to be
objective, I will say that while I
thoroughly enjoyed the whole
show, there were a few old-
time Queensryche fans that
were pissy about "sell-out radio
hits crap" making the first half of
the show suck, but we all know
they probably loved "Sign of
the Times" and "Silent Lucidity"
as much as the next guy—until
they found out the next guy
loved it. Popularity breeds
However, much as . the
crowd reacted in the expected enthusiastic headbanging
manner to the first set, what
they were really hungering for
was Act II—a performance of
the band's landmark concept
album Operation: Mindcrime
in entirety, the first time this has
been done in fifteen years; How
hungry for it were they? The
roar of the crowd overpowered
the first half of opening song "1
Remember Now." Realty.
Not only did Queensryche
play the music, they also largely
acted Operation: Mindcrime
out, with Pamela Moore doing
double duty on backing vocals
and as Sister Mary and an actor
playing the central character
Nikki when Tate wasn't singing
the role. There were some other
little skits surrounding the show
as well involving commentary
on record companies and
other media exerting control
over how you perceive music
as a product, and lots of creepy
video helping to enhance the
music and set the mood.
One might ask, why perform
Dkfbowbs ot Richard's cm Mchawls
Ptote by Anita I. finder
Operation: Mindcrime again 1
now/fifteen years after the last j
full performance? The answer j
is that this was prompted both j
by the continuing pressing 1
relevance of the topics of j
media control and corrupt j
politics at any cost, as well as j
a probable desire to whet the i
fans' appetites for Operation: j
Mindcrime It's release in the I
next year or so.
Also, performing Operation: \
Mindcrime live indubitably j
gets the band back into that \
frame for writing said sequel. j
which fe far from finished. Also j
whetting fans' desire for the I
new album was a sort-of video j
for the first single of the sequel, I
"Hostage", being played in lieu ]
of an encore. It should be an I
interesting disc, by the sounds j
of it. J
Cot the sttwy on why StarSt*
OesperaRon was, a no-showr
seems the powers that be
thought thot it being im early
show an1 al it wasn't worth their
time to play, so they say, *c«e
Obd forbid we need to pafiute
stench of goddamn floekWie*
as opposed to BtMsty's new
perfume which- I'm sure every
suburban cougar that came
through the doors after Ihe
show was sporttn'.
whatevs, we show up at
the urgent cat ot tovety Kim to
see a fine stilt formed outside,
and no action inside, forty-five
minutes pass, and fire Ponys
hft the stage What gives? in
that amount at time, instead
of watching the pant dry on
the JSngemcHls of the servers, we
could have shook some action
with a cool band from LA',.
Weff tftar* oeodness for the
second coming of The Volctold
TetevMoa Heads, whoops, f
mean the Ponys, They kept _$
entertained and bobbing out
heads to the post-punk N.Y.
beat, even, tho' they be irom
The W*ioV CHy. Ihey played:
a few song* from their debut
album, laced W8n Romance,
my favourite bemg "fat kwf
wtth 9s clever "And Then He
Kissed MeH-styted int», as writ
as the Mm Jones *8>wfe "let's
KM Oursehres", "Sad Eyes" and
the norviP song "Prosthetic
Head11 that had a cool carnival
ride feBytwcvdKfttven melody.
They seemed pterty stoked fa
be there, os their flest attempt
** crossing Canada's border
was rwted because one of the
members was noted tor cable,
fraud some time ago; let's hope
they motor! back ogam soon.
Seams since January's
Commodore appearance,
more people ace getting* h%»
to the Detract tip, as the dance
floor got packed nice and tight
far what turned out to be an
even better show than last visit
The {Hrfbernbs kicked oft w#ft a
Dwy Gregory {of Use wBchosj
an boss duties this right, as Kg
Mm Diamond was chtfei' back
in the Motor Oy. no longer a
Oirtbomb, but sf» committed to
fhe cause of producing great
Inen it was time to "Start The-
Party'*, as they putted out songs
ftamaB three albums, Bidvding
"Granny's Uf*e Chicken", thank
Christ 'cuz Iblta may remember
me sawawkin* for thai number
ta no dvaJ at the t
so ] shook my N
ft was worth i
S^erybody took time t
e$p. Hfie Ko attiaxt fc
looked positively
at firnes, Aleck's I
rapturous applause, c SEALED with A KISS
Tuesday November 9th @ Richards onNteh&nte^^
LES SAVY FAV (French Kiss Records-NYC)   ^£^
Doors 8pm advance tickets at Zulu .Scratch,Nol^e.RedCat
Wednesday Novernfeer 10th @ The Red Room (formerly The Drink)
TED LEO/PHARMACISTS (Lookout Records NYC)  ^
THE REPUTATION (Lookout Records) & YOKO CASIONOS       ~_
JDoors8pm advance tickets at Zul,ut.Scratch,Noize,RedCat ^t^^wa
Friday November 12th @ Commodore Ballroom
DEATH CAB FOR CUTIE (Barsuk   Seattle)
STARS (Montreal)
J)oors 8pm ***SQL n OLlT***^^^ „^„ ^^^
Wednesday November 17th @ Mesa Luna
ISIS (Ipecac Records)
THESE ARMS AftE SNAKES (ex Botch/Kill Sadie Jade Tree Recoitfe)-
All Ages/Bar with I.D
feJBoors at 7pmadvance tickets at Zulu,Scratch,Noize^ledQa^^
Friday November 19th @ Richards on Richarete
LAI BACH (Industrial legends from Slovenia)
^Doors 7pm 10:30 curfew advance tickets atZuJu,Scratch,Noize,RedCaH
Monday November 22nd @ Richards on Richards
PINBACK (Touch and Go - San Diego)
NEIL HAMBURGER (Drag City) & THE ADVANTAGE (members of Hella)
bPo°Ji8£rn aivance tickets at Zuiu.Scratch.Noize.RedC&t
G- Sunday November 28th @ The Red Room-308 Richar-eis-^
LALI PUNA (Morr Music-from Germany-members of The Notwist)
ALIAS (from Oakland-Anticon)
DUO505 (aka B.FIeischmann-Morr Music).,,,
jbd5Qp[s 8pm, advance tickets at Zulu.Scratch.Noize.RedCat
F Wednesday December 8th @ Richards on Richards
PINK MOUNTAINTOPS (ex Jerk with a Bomb)
LADYHAWK & THE BOOK OF LISTS (members of Radio Berlin/Secret Three^
JDoors 8pm advance tickets at Zulu.Scratch.Noize.RedCat    -
SundayDecember 12th @ Richards on Richards
ARCADE FIRE (Montreal  Merge Records) & guests
Doors 8pm advance tickets at Zulu.Scratch.Noize.RedCat DiSCORDER NO-VEMBERI 2004
"FinJin9 joif
ky>   LukJl   RZmSJZtf  mebeme.co was their teaser cover of "War
Pigs" which they turned into
"Thunder In The Sky" for the
encore. And just like that, it was
wham, bam.thank you ma'am.
But still no merch? Expect your
website to be flooded with
T-shirt requests, 'cuz the city
of Vancouver wants to be
Bryce Dunn
SHINDIG Night Five
October 12
Railway Club
OK. A week and a half away
from this show to collect my
thoughts. Sol I remember
having a conversation with a
friend who once took in a live
show and danced at a club on
the same night. He was telling
me how much fun he had
dancing, something he hadn't
done in years, and how bored
and frustrated he was viewing
the.show. It's time for me break
down and put on my dancing
Basement was last, but I shall
tackle him first. (Literally!) The
best part was the beginning of
his show. His music played, the
stage was bare, save for the
two mannequins and the faux
keyboard, which was expertly
put together, and he stood off
to the side. That was cool. But,
what the trick? The demon goth
sounds. The dreads. The crazy
voice. The JACKET and the old
school Ministry shirt! Ministry?
Come on, manl Put on a Creed
shirt for some irony, man. MAN!
Ponderosa. I can't even use
real sentences describing this
band. Guy had shirt off. Hair
big and nice. Sounds rocking
and country-ish too. Singer ask
friends to dance. Me not want
to. Me too mad. Harmonica
good. I in Bizarro world where
hello is good-bye and this band
wins SHINDIG round. Why this
Man Meets Bear. Guh. Shuh.
Okay. Mr. Bear. This was yours to
win. This was yours to win. This
was yours to win. This was yours
to win. I've heard your stuff and
I love your stuff. Why didn't you
play any of those on this night?
Why did you instead take the
road less traveled? Like seriously,
no one travels that road. There
were honestly points of beauty,
but there was also twenty five
minutes of drone and dirge. You
are personable and a good
singer and you hide it alf behind
that damn computer. Always
with that damn computer!
October 23
Commodore Ballroom
I missed Hall Social because
I was judging at an Iron Chef
competition in Gage. I have
no regrets about it; the food
was great, and judging from
other concertgoers. Hail Social
The rest of the evening
was one of pleasant surprise
and mild disappointments.
I wasn't expecting much
out of The Secret Machines.
Though ther newest album is
very good, it can get a bit...
onanistic at times. The live
show, I am pleased to report,
is very different; the opener
of the set (and the album),
"First Wave Intact" kept the
enthusiasm and energy of the
original. The drummer retained
his ultra-kinetic style and
frenetic pace, which had the
blazer-clad crowd shedding
their stoic ways and actually
move their feet. I was stunned.
I didn't know the rest of the set,
but it was still enjoyable to listen
to and watch.
Interpol themselves were
a bit of a letdown. Although
their return to Vancouver was
laudable in and of itself (having
had their guitars stolen the last
time they were here would
be an acceptable excuse to
never return), the set was, well,
lukewarm. It was surprisingly
danceable, with a couple
breaks for the hipster crowd to
revert to their statuesque poses
while singing along with Paul
Banks. They opened with "Last
Exit," and the highlight of the
set was definitely the "Obstacle
l"/"Evil"/"Say Hello to the
Angels" triad, which had the
crowd unashamedly moving
and singing along.
Overall, a solid set, but
there was one minor fault: Sam
Fogarino, the drummer, was
shrouded in smoke the entire
set, and his drum kit wasn't on
risers. I'm a big fan of watching
drummers, and not being able
to see him was problematic.
Also, I wanted them to
play "Specialist" or "Song
Seven," and despite repeated
crowd requests, they didn't. No
grudges, my ass!
Gerald Deo
PJ Harvey
Friday, October 30
Vogue Theatre
Despite the fact that I ended
up missing a bunch of the show
because I was stuck at work,
PJ Harvey's recent concert
was still amazing. It's been
a decade since Harvey was
last in town (opening for live
[of "Ughtning Crashes" fame]
no less. By the way, fuck Ed
Kowalczyk. I've always wanted
to say that in print.), and she
has consistently put out stellar
albums. Well, consistent except
for this most recent one, Uh Huh
Her, which I'm not crazy about,
but maybe that's just me.
Having read The
Vancouver Sun review of the
show I can tell you that Harvey
played songs off of all of her
albums, and because I got
the setlist for the show I can
tell you that she opened with
the lead track from her new
album "The Life and Death of
Mr Badmouth." She also played
two encores, both of which
were superb.
For me, though, the best
part of the show was just being
in the room with Harvey. The
Vogue's wide stage was kept
open for her, with the other
musicians (and two drum kits)
off to the side. Though she
didn't say much and she kept
her small frame fairly stationary,
Harvey commanded the
room's attention. Occasionally,
she would pick up a guitar
nearly as big as she is and fill
our ears with gritty strumming,
making the most of superb
sound. And she played "Meet
Ze Monsta," which was enough
to make my night.
It was a fantastic
performance and one made
all the more sweeter when
contrasted with the screeching
bustle of a pre-Halloween
Granville Street. Come back
soon Polly Jean, and I'll book
the night off of work.
Me at Zulu, Highlite and Redcat Records
  . 13m ar Matone's (Victoria) o
H. Nov. mitat|»eameFf (Vlplarta) -
Sat. Nov, 30tft at the Oacy Oak Room-^iMt Age* (Vicfbi
~oY, $Alb Buffalo Jtaora (#arfcCOtfv«V)~
Shout Facta*
Concrete Igloo
The folded Palm    .
-   MistakesEm^f^Ev^ryone   i
Absolutely Kosher
This Island
Shake If You Got It
Ready, Set.. Do
RedCaf v
MM&OL ■••.
* I^^^^^R^O"
Advance And Vanquish
Warning Shot
'JftM(BJffi>. 1   -     	
Burned Mind     <.
Bakelite  -•
SubPop  •
Sound Document
Real Gone
Apples And Synthesizers
F&n\A Basement On The Hill
Ghostly International
The Tigers Have Spoken
Abattoir Blues/The Lyre Of Orpheus
; Rfc*-*.'?
All These Interruptions
*S&ilti$hole You
The Frog Tape
Skin Graft
Mississauga Goddam
*          Live in oslo
Vagabond Lullabies
Mary Had Brown Hair
Stones TrtfdP^>>?
A Grave Beginning
Sonic Swirl
Darby And Joan
Three Gut
Defixiones WiH And Testament
DtPiO  •
Big Dada
She Like Electric
Goodnight Nobody
Pattern 25
*Denotes Canadian Content
Figure 1. Labels
01 WPP
he has the technology
K-H^^^P^^?^ ^^Bl^;*^^5^^^^^
02 Gangbang
03 The Tomster
04 Vancougar
05 John Johnson
Keeping it Riel
Haa lah lah
Roughin' it
For the Wasj*£
S^tfe Vimona GT
L v-  • *wy             ft      jl
07 Mandown
08 Lee Uvingston0 -
SHort and Sweet Music
09 Muarena Helena
-±M*% - ^Sp^fe*'            ',Jfy'*%:tffJ*s
—     ?
1 do but do you?
anza club
3 w. 8th ave              604.876.7128
active pass records  324 w. hasting
C?   n   A    TZj           a
315carrall                604.685.3922
audiopiie records     2016 commerdll^^^
r—%    r—"   JL\   I |             /L\
butchershop floor
195 e. 26th ave         604.876.9408
bassix records          217 w. hastings
cafe deux soleils
2096 commercial      604.254.1195
beatstreet records   3-712 robson
3611 w. broadway    604.738.1959
biacJc swan records  3209 w. broadway
917 main                  604.764.punk
crosstown music       518 w. pender
868 granville             604.739.7469
highlife records     * ^17 commercial *
455 abbott                604.685.7777
the main fM
- J&WmWr^          604.709.8555
red cat records' rJ^P^n^ppt    -,
marine club
573 homer                604.683.1720
scrape records         1;Fw. broadway
media club
695 cambie            . 604.608.2871
- scratch records.   r*^&richards
pat's pub
O40JMI- hastings          604.254430^. -
zulu records               1972 w, 4th          njfm
pic pub
^oW&pWam        604.682:3Sif
pub 340
340 cambie              604.602-0644
railway club
579 dunsmuir             604.681.1625
1036 richards            604.687.6794
66 water                  604.683.6695
WISE hall
1882 adanac            604.254.5858
mesa luna
video in studios
1926 w. broadway    604.733.5862
1965 main                604.872.8337 PROGRAM GUIDE
All 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.
In two hours, I take the listener for a spin—musically—
around the world; my passion is African music and
music from the Diaspora.
Afrobeat is where you can catch up on the latest
in the "World Music" scene and reminisce on the
classic collections. Don't miss it.
email: uget_afrobeat@hotmaS.com
British pop music from all decades.
International  pop  (Japanese,  French,  Swedish,
British, US, etc.), 60s soundtracks and lounge. Book
your jet set holiday nowl
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 Ghazais and Bhajans,
and also QawwaHs, pop, and regional language
10:00PM- 12:00AM
Join us in practicing the ancient art of rising above
common thought and ideas as your host DJ
Smiley Mike lays down the latest trance cuts
to propel us into the domain of the mystic-al.
Your favourite brown-sfers, James and Peter, offer a
, Sfiwsojfy blend of the farrtfar and exotic in a blend
of aural delghtsi
Wanna hear t^musicthat drives the Discorder war
machine? SuppHmenf your ma^f readrhg with
an aural dose of that super-sonic magazine from
FILL-IN aft.
Hosted by David B.
Underground pop for the minuses with the occasional
interview with your host, Ch&.
:: 32::
A.show of radio drama orchestrated and hosted
,1|f, t|BC students, featuring in^^endent works
'#6pi"j3cal, national, and international theatre
y$j$^rj$s. We welcome your involvement.
A chance for new CiTR DJs to flex their musical
muscle. Surprises gafe*#'*1
Join me - Dallas Brodie - for simulating tats fddio
about local, national and international issues*
0$.0F NITE DREEMS oft.
SOtAWZATlOt* *Rv\ ;.
&3QHU-7 30PM
PheJps, Albini, 'n' me.
wusmm radio
Listen  to  Selecta  Krystabeie  for your  reggae
y^OpM-T23O0AM   "
salute one of the masters of the
rJto saxophone, whose birthday is-tantgh*;..
Lou Donaldson ts 78 years old and sti fourinin.'
Tonight a Jr-
hve date with his working band of the
Qtprft Giant
s that melded «»ansrjng trumpet master
. St Hardman and drummer Leo Mcfrk (aka idrfe
Lau and the&ortcl&rar it up! The
catted "Wed Bt
Max Roach fe on tonight w8h a ; '
band with two
men from Memphis, trumpet
genius Booker tittle and a clear toned h
saxophone master George Ccteman. \fyeetr
j^Ray Draper plays tuba dn arranged several
of the tunes and the wonderful bassist Dr. Art
Davis rounds out this sJt^iuaJ band. Max The
Magnificent tonight!
Now. 13:
"The Straight Horn of Steve Lacy" fe all about
-kjcy% position as one of the greatest soptit&#f>i
saxophone players in the history of jazz This is
a definitive disc that features charles davis on
jsarione saxophoone; John ore on bass and-,
drum great i^^laynes. Lacy Plays Compositions
by charlie parke, monk and cecil taylor.
Nov. 22:
One of composer/arranger and super star Quncy
Jones' early triumphs is our feature album
cafled *Thfefe<i^lfeelaboufld^,AbigbarKl
presentation with sidemen Hke basest Charles
' -SSR0US, vibist MM ^wksorvpfejmstHcrnkJprws,
Zoot Sims and so many more.
Nov. 2*
One of the finest and saaTy short lived working
bands was this one ied by feorrtbone
pioneer JJ. Johnson J.J.'s compositors and '
an angements and Ns trombone playing make it
oJ happen and inspire;his-then young band with
Clifford Jordan on terw^cwophane and Freddie
Hubbard on trumpet and others on "J JLS§§|$jff
Alt the best the world of punk rock has to offer, in the
wee hours of the morn. Hosted by Trevor.
DJ Christopher Schmidt ateo hosts Orgartx at Club 23
''l^yfest Cordova) every Friday.
sound   collage -jBed.
Scperftnental,   radkxxt,
recoralngs, etc. I^cramend/ss&arthe insane.
lute Meat irritates and educates through musical
d^&aislrujelksrl. Retamm^ied for the strong.
THE SHAKE 0*.   "*
||d%?grident   news   hosted   by   award-winning
journalists AttityGaodman and Juan Gonzalez.
Cycle-riffic rawk and&M40
f^roifiws. ftjtswchaut garage mayhem!
Bluegrass, old-time music and its derivatives with
Arthur and "The Lovely Andrea" Berman.
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
CJLY - Kootenay Co-op Radio profiles 30 creative
enterprises in Nelson with markets and clients
Movie reviews and criticism.
Canadian authors, fiction writers and noveffists
interviewed by James O'Heam.
Where dead samurai can program music.
«En Avant la  musique!» se concentre sur le
metissage des genres musicaux au sein d'une
francophonie ouverte a tous les courants. This
program focuses on cross-cultural music and its
influence on mostly Francophone musicians.
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-I'm Metis!), the show wiH feature
music and spoken word as weH as events and
news from Indian country and special- guests.
Contact me at jlscudel@ucalgary.ca with news,
even listings and ideas. Megwetch!
Join  the sports dept. for their coverage of the T-
Socic^politfccl erivlonmental activist i
spoken word with some music, too.    '"•
SV^edn^sflfefyotevery month.)
►AY att.
*^8PM-8J00PM   '
Vancouver's   -only industrial-electronic-retro-goth
jarfgjrarr* Music to sctt^Mp to, hosted by Coreen.
8:O0PM-9:O0PM att.
A sex positive fortnightly news magazine, hosted by
?^®tefegfOham. wvAv.primalradb.net
Up the punx, down the emol Keepin' it real since
1989, yo. flexyourhead.vancouverhardcore.com
es»cap»ism n: escape from the reality or routine
of life by absorbing the mind in entertainment or
Host: DJ Satyricon.
It could be punk, ethno, global, trance, spoken
word, rock, the unusual and the weird, or it could
be something different. Hosted by DJ Pierre.
6:00AM- 7410AM
Developing your relational and individuat sexual
jjf^djfj^expressing drver^Eaelebrating queemess
^^mmmxaging pleasure of al stages Sexuality
educators Julia and Af^^-jqw^neh your search
for responsible, progressive sexuality over your life
span! <www.juiceboxradio.com>
ROOfef^wsic for folkies and non-folkies... bluegrass,
singer-songwriters, wortdbeat, alt country, and
more. Not a mirage! <fofcoasis@cancida.com>
11:CflPM-3fc0B*tt    '
This is pretty much> fhe best thing on radio. ••  „
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-try 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
the car. Wouldn't want to spill anything on the
FILL-IN 1:00PM-2:00PM
Crashjr^fhe boy's club in the pit. Hard and fast,
heavy and slow (punk and hardcore).
Comix comix comix. Oh yeah, and some music
with RobtHsgi!."'
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 1
announcements. <eno_wonk@yahoo.ca>
5:0OPM-6:0OPM alt.
Local Dave brings you local music of all sorts. The 1
program most likely to play your band I
Vivala Velorution! DJ HelmetHairandChainbreaker §
Jane give you all the bike news and views 1
you need and even cruise around while doing it! 1
<www.bikese»^^a^l£^. *-S
Now in it's 15th and final yedf, your most reliable
source for Indie Pop. ThanSps to all the regular 1
Jisteners overthe years! Tune in for an entertaining
farewell tour.
The best in roots, rock 'n' raj and rhythm and
blues from 1942-1962 with your snappily-attired f
host, Gary Olsen. <ripitup55@telus.net>
Live From Thunderbird Radio Hell showcases local |
talent... LIVE! Honestly, don't even ask about the 1
technical side of this. This month's listings:
Nov. 4: Ken Latour (a shindig band)
:^8p^lT?The Sore Throats (also dsftindig band)
Nov. 18: The Ultimate Power Duo (From Edmonton).:.
11:00PM- 1:00AM
An old punk rock heart considers the oneness
of all things and presents music&kworlds near
and far. Your host, the great Daryl-ani, seeks
reassurance via <woridheat@hotmail.CQrna^^p
David "Love" Jones brings you the best new and
old jazz, sou). Latin, samba, bossa and African
music from around the world.
-rjos**£ by C^Noah; techno but atsa some
'trance, acid, tribal ole. Guest DJs, interviews,
retrospectives, giveaways, and more.
fcOOAM- 8:00AM    2
Trawling the trash heap of over 50 years' worth of
real rock 'n* roS debris.
EmciS»eauesbto:<d;^J@hotmaiLaom>     r*
^^py|b#i«Ep^^0' i^lp^i^
1Z-0WM-2:00PM " '<
Top riotoh crate digger DJ Avi Shack mhm #&:
underground hip hop, "<kl school classics and
origrinafbreaks.-* ^
M||p^^^^ AND ARTS
^•^^wnteer-p^Jduded. student and community
- r^^o# featuring news, sports and arts. Reports
fcy people fiee you. "Become the Media."
2.-O0AM«4:O0AM   ;
Dark. sinister music of to soothe and/or move the
Dragon's soul. Hosted by Drake-.'
<thevampiresbaU®yahoo.ca> t   •
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 hardcore
backed by band interviews, guest speakers,
and social commentary. www.streetpunkradio.
com <crashnburnradio@yahoo.ca>
Vancouver's only true metal show; local demo
tapes, imports, and other rarities. Gerald
Rattlehead, Dwain, and Metal Ron do the
!   300PM-500PM     DiSCORDERWp^EMBERI 2004
j From backwoods delta low-down slide to urban
j   harp honks, blues, and blues roots with your
I   hosts Jim, Andy and Paul.
|   5:00PM-6:00PM
: The  best   mix. of   music,   news.,.sports   and
I   commentary   from   around   the   local   and
I   international Latin American communities.
!   «:00PM-7:00PM
I Each show will make you feel as though you're
I listening in on conversations between political
I insiders. As well, this guest and caHer-driyen
! programs its guest from opposite ends of the
\ corridor of public argument against one another
I  in ho-holds barred debate that takes you behind
today's headlines.
An exciting chow of Drum n' Bass with Dj's MP &
Bias on the ones and twos, plus gusts, Usten for
givawas everyweek. Keep feelin da beatz.
9:00PM-1 1:00PM
Cutting-edge,   progressive  organ   music   with
- resident Haitchc and various guest performers/
DJs.  Bye-bye civilisation,  keep smiling blue,
where's me bloody anesthetic then? http://
"noiz terror mindfuck hardcore like punk/beatz
drop dem headz rock inna junglist mashup/
distort da source full force with needlz on wax/
my chaos runs rampant when I free da jazz..."
Hardcore dancehall reggae. Hosted by Sister B.
DOdance/electronic • EC-eclectic • EX-experimental • FR=French language • GI=goth/industrial • HOhardcore • HH=hiphop • HK=Hans Kloss • JZ=jazz
LM-live music • LO-lounge • MT-metal • NO-noise • NW-Nardwuar • PO=pop • PU-punk • RG-reggae • RR-rock • RT-rooh • SK-ska • SP-sports • TK-talk • WO-world  Alpdergimwd^eroes -^afejm fer,feri§ otJazzw®,
St Germalrf, Comport Records, anil Ben Waft.
yrategrcHJOCt Heroes ipiges. ft©#^^;stemping. |®Hse'
to jf^ay downtempo; ft'&sro 4voni%^ld8 pietfteua
tracks have fceen acclaimed % a whte vaReijf sof-
selectors, tndluding fte likes # (^^x, ~Andre^
Weatheratt &Gilles Peterson t&$anfe cjafy a fiWr^
Mark Rae
Second solo effort from former &ae and
Crinste iwsribe/, atid Grand Central
records founder Mart? Raa. Features
contritHJiions from fong&ma vocal' -
collaborator Veba, vocalist Pete Simpson
(J-Walk, Sufrburst Band) and producers
Rhys Adams and Lance Thomas.   -
Newest Installment in the influential and
successful breaks mix compilation series
mixed by Hybrid. Features tracks and
remixes by The Chemical Brothers, Orbital,
GusGus, Luke Chable, Dylan Rhymes, Evil
9, Li'l Louis and Andy Page and Lee
Way Out West
Tnird fuNengm a&um from Bristol, BK
base&tsregressive fiorrefi^oaesVltoy Out
between intenTattonal DJ's Nick W&reft . -
(Global UfflJerp^oond) and Jody WistemotT,
and former Peter Gabriel, Tano Maas, and
Starecase vecaMst 0mi.,
Luke McKeehan
Nordic Trax presents Many Shades of House
"The love affair continues this latest Nordic
Trax gem 4.5/5 DJ Magazine. A compilation
for the casual music fan and devoted
house-head alike. Includes tracks from
house music heavyweights Traublemen,
Harley & Muscle, Marques Wyatt, Swayzak,
Halo Varga, and Demarkus Lewis,
$18 99
$1 Q.99
newlniBic now available at
788 Burrard Street 604.669.2289 music for our timW
He Has the
Technology CD
This is MY tenement The
I last of the only ones who
could knock me backwards
into MY OWN grave. I will
not be here long but I will fight! Fight!! Fight!! This is
•NOT grey. This IS my last tarantula beltbuckle betrayal. Too many times I have seen it coming and not
done a thing about it Changing will not make it better
nor will champagne...spelt with a 'Q' or spilt on your
rug. This party was over the minute I got here. The
minuet was ON the very second your party of ten
departed. If Dylan was a thousand years younger and
bom bionic he would sound like this. Ladies and gentlemen, presenting He Has The Technology by
Vancouver's own, IHE WPP. New hot tales of dismayed bravura and detached passion. Just one more
fucking reason, MAN.
CD 16.98
Blues/The Lyre
of Orpheus 2CD
We cant think of many
(if any) Hck Cave
records that start with the
same kind of full bang as Abattoir Blues, kicking off
with a big noisy riff like the kind Primal Scream might
throw down to help set the mood. In a sense, this riff
thematically underpins the rest of the album: each
song isn't equally rocking and there are ballads enough
for the thin man to emote, but the pace is overall brisk,
often in a soulful way. The lyre of Orpheus, on the
other hand, lays back to the degree the other is forthright, with few moments that shake the cage. This is a
much moodier and mellower recording, with sparer
arrangements and less amplification—a series of
laments to contrast the grittier bombast before. A theatrical darkness surrounds both, of course, and this we
nave come to expect from the always erudite Cave,
whose gloomy intelligence time and again seeks the
shadows beyond the pleasure principle.
2CD 19.98
Tepid Peppermint
Wonderland: A Retrospective
The highlights of 10 years, 8 albums and 2 eps, ali
suffering for their excellence, collected in a 2 disc
tome. The history of the misunderstood Anton
Newcombe, west-coast pallbearer of rock 'n roll's shiny
casket, rolling out the goods with songs about women,
drugs, being Anton Noire embe, and drugs. Listen to
the first albums by the Dandy Warhols, The Warlocks
and Black Rebel Motorcycle Club and you can hear
the coins jingling in their pockets — change from the
bills Anton gave them to go buy his bread with. 38
songs influenced by the Stales, VII, JAMC, Simon &
Ride. Actual rock 'n roll. This is neces-
The Tigers Have
Spoken CD
sary madness.
2CD 24.98
Wow, where did the last seven
years go? Apologies for the
obvious cliche\ but it seems not that
long ago that Neko Case's fledgling \.
career as a cowpunk songstress was just starting out, and lit- ^
tie did we know that between then and now Neko would create
a musical oeuvre without peer: three studio albums, an album
with Carolyn Mark as the Com Sisters, and a recorded-at-
home album, not to mention her involvement with the New
Pornographers. And now, Neko offers another twist a live
album. Recorded with some of her favourite people — The
Sadies, Jim'n'Jennie and the Pinetops, Brian Connelly,
Carolyn Mark — in Toronto and Chicago, The Tigers Ham
Spoken is perhaps Hoke's most assertively intimate album to
date. Why? Because the shroud that necessarily accompanies
studio albums is not there; this is Neko standing six feet in
front of you at the Matador in Toronto at three in the morning.
Rendezvous CD
Sadly we report that that thiswfll be
the last ever Luna recojfjjp foj» "
Deal Wareham and co.! No# hell
its ok let the tears fall tgply ffjojjupjf
eyes, let them rain dsjjjKte fSBr
rus of your sorrows Now, I am going
to break your heart^afn —Dealt fM Act bceak up the bajirjV
so that he could jam-again w%|^m^#§^»B<ietahitt
(they remain his Vanjpuser baidl), but instead cites the rejjfK
lar stagnation that comes witjjf playing wiffi jhe same pj^w ?
for many many years^rJsc||rM like with the erjJpaaW~~°°
Galaxie 500 break-up, Hg|pprj^ something at 1
its powers—to move on to another project*
creative energy! Dont wonyr^
IhrnJoarwu with Luna's sublime!
trademark streamline spacey guitar breezes.
CD 16.96
Shake The Sheets
There is an endless army of popular I
phony-baloney pop punk bands
packing the airwaves, wholly lacking
personality and spirit, like so many robots repeating a series
of gestures in some enormous manufacturing plant, this time
fabricating culture not machines, realizing the dour prognostications of the Frankfurt School in gross detail — beware the
Culture Industry which abounds in our hearts and minds! Can
punk rock still kill fascism? Ted Leo seems to hope so. His
commitment is encouraging and his tunes are damn catchy.
His is a driving and bright pop punk sound, with good song
structures, keen lyrics and a late English punk flair, even edging into all-out Mod, which is refreshing after the abundant
deadwood of mainstream Emo, referenced above, and the
quickly atrophying dance-punk sound also popular of late. Tod
Lee's own somewhat retro-ness comes across in comparison
as more of a dedicated workmanlike style than as a primarily
fashion-derived turn, and this sounds good to our ears. Big
ups to the troubadour who cares to Shake The Streets.
Mere comes the mainstream?
S ^ijjeide»'(rfi»tbj»-<*and
i Aio^iportanuy fj;^
^|fi^lic$vabjs once. Butjto ejdraC
. ^ w,I^Slo9fl«r^tejjf UTO&S^
.,_ k««*™Hni.wjlllorever be shrouded inmys-   atoaysbeen aboot raising consciousness, particularly about
f&Sowmg up his sublime 2GQQ breakthrough epic  ■ sexuai and gander politics. In honestly pursuing this man-
on the Hill CD
Released almost exactly a
lyear after his unt&nely
death. Elliott Smiths final
CD 16.96
s8, this collection of recordings represents
at a moment of transition — he had severed ties with
his major label and longtime producer. Sadly Smith
could only provide us with a hint of what direction {fee
sessions S&uJd go if completed by his hands, instead
family and friends lave dftected the album, mixes and
sequences Rega><fJ^^[%^ba1%a^o^ia^liyi
date, at some point it was inevitable thai Le Tigre woakt-
||ns: ifldess* mast ->- ccpteSd «nth the «morphous ShMrm~
wed^ojbn of a complreiat f^jifref j^g$ tf\efefc^the| \
<y$at9!3#i$s flight be^ld^ai^fplSre'sfrew^cttw
j| j&cie^npiit is% intelJl^ anidf^i-rJ^eiWd^tee;|
hpte group, not a a|s$$tB$ion ejNbe npket^^i,. &)${
himself would have v$n^&M^$& rtgpNg Vj^AJVnq| m^^f^mm^mMMm
ings offer a resolution to f^^^g^^^^^^^^^^0^^?f^M^^^^m ,
discography. The songs on fi
offers a cleaner, brisker and more streamlined
UN are much sparer than Figure S. and itfeets at once sound than before, emphasizing the quick hooks and good-,
more adventurous; confident and warmer than rts pre- time beats, but old fans of the edgier, jwisier and oftefM
decessor, featunng a fr^eli^ spin%urM^^ prJMSitlguib^^ they
sweet-pop to fingerpicked ael^ic gmrWm'^^MX^ fer%Mv« rvjbe tfte/#oih*## -
—»<ihes of sound. Likethe best pf his not navegiven ta ngn before. Checkthe feedback
is comfr||^3tar^ *
CD 14.98
its sadness; if s
Smith's tragic fate, if
of his work. All of his tradi
sad voice, a fixation on
melancholy—delivered in a i
stands among his best Fond
CD 16.96
>-Vas tie group Jaerar^'All yBjfffjierJ p KnowlM/vs^vir'to ■'
||^rJie^pi^nTOv|.'*Mr /JllW if JU^ mm? if
Just Beyond The River CD   I
Furthering our well detailed love for the rfrtnteresf||
todays 'outsider-folk' that includes
mmmm Jjyi§MMI # /
For Trees DVD + CO # d _
it In a dreamt m*<iream, the we%tfm^m& in y _
°Wmi For rr^i^de|tff^it^^te|^rrrjaricef|om'
tite enigmatic songstress Chan Marshall aJta. fiat Jtara/ls I
tr|&s|iffof n^_M^m0^t^M^e^^^a^^m^h' J
efck f^makerMark Bortlifl«| and tfiil v|$§cocl BVfpeu^; -
A&sf^r hg^ jn the te^^^ 'k
P§|erseret^i^with this c^teefpiro^ovfs&nd ma&i- j ';
^pm^e^t«akt^o^^r^|ase Yea An Free. Serir^sJy.tW*;
*"*" fioifl&gtC^m petmi^,t^|f|^a^lk^tePjiia( liT|,)
grove 'of t|^j^j^uoed^re^^^^Ts|^r3m Bjjittiw«ki 1
€'  ia2bi^e^^^f^\i^^__n'^^^a.soTt!itoo
jp for the te^gat-etfr^nfans Of the Tour *»t?»e»rec»rd-| $
ing.~Wpaily, for yodr ©utslaerjbffee tables the)* ll^afloftBOBS; §
^^^^r^or^fepirtfeMlffen.r^Jhngttier£o-   m^^^_^M^^^^^^
rioWlclousncmelancholy sound of forefathers Fairport ltl M^^Ta^w^WeMp•-^
Convention, Incredible String Band and even early        DVD + I^dBjBES^ ■'
Robert Wyatt. The 11 banjo drive ballads of this his ■■ Jiltw^'grf^iiwffir   '
sophomore release are stoic and creek with very simple   |NCD|VllNu i^Ur^w^AIH YOl
enchanted charms as they were recorded in a honest     _.      „   ______]
Sigur-Ros - Von Bfffpe of early aSSS^ \
Yeah Yeah Veahs ^W We What RrxkOT T<n^^t|tt \J
Pavement- Croolir^fa, Crook«IBata2n|^Pei^^W
SrjftPiiATriim-to Y^Warrt Hew Wave CO 1»
Various- DFA CoJpEm #2 3CO
CMe-Forest CDf
tut. .w nn. uiunw JdmGuliak-TStafcBandlSSongsCD
HOUY GOUGHRY TheAnomoanon-Joji CMP
SlOWly Bllt Surely CD/LP AnHwvandtheJoJww-^
Having sun&a couple of super sweet duets with Mr.  !■!•-■■■*■■ 2CB (KranlyH)
Jack White of The White Stripes, everyone's Blues Ex|)loskm - Damage CD
favourite Headcoatee Holly Golightly has become a well Razoriite-Up All mte CD
known and well loved voice around the world. Shrwly     Aimee Mam -Live at St Arm* Warehouse 2CD/DVD
Bat Sorely is her lucky 13th album featuring 12 great     -^ ____,____,  lr-,cn/QaHHl«.^m«^r«Jak»^
new swinging tracks of primal striped down r^b garage 7?Z?~?  2iOc»Io?rSc w
blues rawk! Featuring some of the best vocals going      Wgltl^-lwiwfSa^a^Saie)
Holly and her honest blue collar group of rockers make   hon and Wine - Passing Afternoon GUP
music with soul that grooves while also providing the     Mmus Five-At The Organ CD
perfect tonic to spike your house party punch! Enjoy.     Various - Hard Hearted Woman - THb ToIM—*» hwfrtrtm 0
■ and others, we would like f 6 introduce you m
an amazing folk singerjrom the shores fjj-"
Bfanate delicate baru|:
tone live in a room by none other than
of Fourtet! James' voice, although not as deep and
rounded as Bert Jansch, is hushed and brooding and
very good, accentuating the highly emotive range of
these absorbing songs. Enjoy.
CD 16.96
November is newmusicc!^
Why hibernate through the winter? Get out to all the gigs your ears can handle!
Zulu proudly offers NMW Wristbands - your musical ticket to 250+ Bars and
25+ Venues this November 10th-14th! Stop by.
Zulu Records
1972-1976 W4th Ave
Vancouver, BC
tel 604.738.3232


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