___Ww Weatfiefi LOW'-iyippi Cancu^i^num; Hots Can. You IKBta Minivan^ (fang Violfjicej Rockstar ]\|§ WHATj DO YOU THINK 0| THE BAND? * CiTR 101.9 FM presents... the longest ninning music battle in Vancouver NOVEMBER LINEUP 4th Body Politic Hidden Fortress The Magician 11th The Stereo Three SundayTrucker US US US i Oj-U Zombie Pistolero and His Guns Hermetic j Fur Bearing Animals ^> 2^ Language-Arts The Sappers j Lakefield ^ Evenj Tuesday nigkt, skows at 9 PM Tke Railway Club (Seumour/Dunsmuir) ,#; * Bands subject to change. For the latest schedules and results, visit: http ://shindig.citr.ca OUR GREAT SPONSORS: k/Lji .THEHIVE lll«Sl /"*■_ S~\ V i< J I. MARCH11-14 imwHiB www.amsevents.ca jjfobwmMw &%« WjhMw @<^ * mm MORGAN THIEVES CD-EP THE BUTTLESS CHAPS CARTOGRAPHY CD/LP meBamtilln' ambassadors HINT RECORDS RELEASES ARE AVAILABLE FINE RETAILERS LIKE THESE! K*iC$ RED CAT RECORDS &*&«-. u SCRATCH RECORDS TK I ZULU RECORDS Ati»»i(?] 726RICHARDS \7 ft 1972WEST4TH „_„22 VVW V« 604-687-6355 ItMSik 604-738-3232 *Js « ■ IVSiNI ntUUKiJuwww.inmtrecs.com ' .... O(0- November Production Manager Kristin Warkentin Copy Editors Joraie Yow Alex Smith Kristin Warkentin Melissa Smith Brock Thiessen Ad Manager CatherineTlana Under Review Editor Melissa Smith Datebook Editor Melanie Coles RLA Editor Brock Thiessen Layout + Design Nicole Ondre Contributors. Miranda Martini Becky Sandler Andy Hudson David Sienema Bryce Dunn Dan Fumano Alex Smith Mine Salkin Alex Hudson Rosalie Eckert-Jantzie Nathan Pike Luke Meat Aaron Goldsman Justin Langille E.E.Mason Mark Richardson Rob Willis MeUssa Smith Collapsing Opposites' November Calendar Aisha Davidson Photo & Illustration Gerald Deo - Adam P. W.Smith Ryan Walter Wagner Freddy Harder Amy Scott-Samuel Laura Hatfield Aisha Davidson David Sienema Caroline Ballhorn Louise Reimer Program Guide Bryce Dunn Charts Luke Meat Distribution Peter MacDonald CiTR Station Manager Brenda Grunau . Publisher Student Radio Society of UBC Mt. Royal playing on Four on the Floor Projects in Edmonton: Laura Hatfield photo. E£Lm ^ipped..^..**,; 4| Regulars S^^^^S^Bfei^feife^Q^^i di^cflAi liv/ □futures Zj% Vancouver's music community gets together to \honour the passing of Hegel Lobbyists drummer. Art,aji%tt'Minh&..........«.............6|| \A fosk at th^ art projetfsfbrought on, a national font by agfbup of heal Musicians., piiipbi&prs Late&ito Menu*...> 8j| VQenrtys told u. what romtars like to eat at night ^s-weaskeasome^^Sials^ftto makej'/avj,„0., Piper Davis. 1jk. i%:.$*.^.„„\ 1€|| \Locdl genre-jumping songstress gives -us tbe wownhw on what she's learning in Spain. - The HfroaiHT B^'hers..*....;....*,...!! [Dedicated roots artist^May sombre^ melancholy^ music, jbut 'this articlefyjisnt a downer* -pfom'iiei Looks TjAke Ra*||.«...„.." lfi| fIokot the environment, has shaped Canada's mi&~ mc scene and created soinjfbfourgreatest music. pang Violenca.^:... ^...k.Z.Ji$| ]Ap#hy interview witb^his local act about-their (gth$;inv(_ic andthi&m TVshow ever,- t ~,m\ Editor's Note + A Letter ©DiSCORDER 2008 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 7,000. Subscriptions, payable in advance, for Canadian residents it used to be $15 for one year; $15 US for Americans; and $24 CDN elsewhere. Single copies are $2 (to cover postage). Currently, we're" talcing a look at changing these prices to look more like rates from 2008 as opposed to our current ones which don't cover postage. If you want to subscribe send an email to our editor and we'll work something out based on current postal rates. Please make cheques or money orders payable to Discorder Magazine. If you would like to" write for Discorder contact us at editor.discorder@gmail.com. Ad space is available for the upcoming issue and can be booked by calling (604) 822-3017x3 or emailing discorder.advertising@gmail.com. Our ad rates are available upon request. If you would like Discorder Magazine in your business, email distro.discorder@gmail.com to be added to our distribution list. If you send us anything and it somehow gets broken, lost, mishandled, popped, exploded, misused, scratched, eaten or damaged in any way we won't replace it, reimburse you or do anything about it at all. That is unless we said we would before you sent it to us or we think we probably ought to as nice people. Discorder is published by CiTR, which can be heard at 101.9 FM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at (604) 822-2487, CiTR's office at (604) 822-3017 or CiTR's news and sports lines at (604) 822-3017x2. Fax CiTR at (604) 822- 9364, email CiTR at CitrMgr@ams.ubc.ca or pick up a pen and write #233-6138 SUB Blvd., Vancouver, B.C., V6T 1Z1, Canada. Hey guys: Love your newspaper, been reading it for a while now! I would love to see more interviews with the bands from the Emergency Room and that scene. Nu Sensae, the Mutators or Twin Crystals maybe? Thanks and keep up the good work! -Elijah Albright Those of you who agree with Elijah will probably be interested in looking at the interview with Gang Violence on page 18. We haven't covered Nu Sensae, the Mutators and Twin Crystals due more to circumstances than any dislike for the bands. The Emergency Room, though, has been a touchy subject for us in the media. We haven't really wanted to report on it too explicitly as we don't want it to be shut down. Same goes for some of those other fun venues that occasionally show up in Real Live Action or grace our calendar, but are only semi-legal at best. Reporting on that scene draws attention to it, which is good for any bands who are hoping to make money. People who know about them will pay to see them, buy their T's, etc. The downside is that as Gang Violence drummer Bobby Siadat points out in the interview the more everyone talks about places like the Emergency Room the more likely these places are to be shut down. However, at a certain point a venue, such as the Emergency Room, has existed for so long that it is in the public eye enough that it is an elephant in the room. Obviously, some police and city workers know about its existence. They have been sensible enough to turn a blind eye. Looking the other way will only work for so long and at a certain point the city needs to start working towards legitimizing those who are using and running places like the Emergency Room. As Siadat also points out, though the scene doesn't die with the loss of a venue. More and more musicians that I have been talking to have been crediting the tough venue situation in Vancouver with the strong music community that has built up around underground venues in Vancouver. Art and culture often benefit creatively from being on the fringes of society. Those at the edges see things and think in ways that those in more comfortable situations do not, allowing them to incorporate new ideas into music and art. On the other side of things there has been a lot of talk in both mayoral campaigns of the benefits of creating a vibrant cultural scene in Vancouver and it seems at least possible that upon election our new mayor may extend an olive branch to Vancouver's beleaguered scene, though what form that comes in will remain to be seen. City hall is the place that most decisions about Vancouver's venues are decided. This is good and bad. If it becomes easier to run venues in Vancouver, the need for places like the Emergency Room will diminish and the brilliant scene it has fostered around it will gradually fade into memory. That's the downside. What I think outweighs this, though, is the benefits Vancouver will get from having a diversity of choice for bands to play at legally. They won't have to work as hard to find somewhere to play, but easy venues will mean more bands and that will mean bands will have to work just as hard to get a step above the competition. As it still remains uncertain whether anything will come of the campaign posturing, I may be speaking to soon, but if Vancouver's music community is asked to work with . "the Man," it's not the end of the world. Cheers, Jordie Yow \pj DTSCORDFR SF.FKS FFATTIRFS WRITERS ANT) TTIITSTRATORS! Are you a writer who happens to be hopelessly long-winded? Or do you have some ideas that won't be contained within the typical review that make up the majority of music magazine articles? Are you an illustrator looking for another creative outlet for all that bottled up genius? If you are either of these things, we want to hear from you! Discorder is looking for features writers interested in writing in depth articles and illustrators to help fill our pages with beautiful things. We can't pay you, but your ideas and name will be printed for all to see. If you're keen, we welcome pitches, submissions and efforts to make contact, both timid and bold. Writers should email Jordie Yow at editor.discorder@gmail.com. Illustrators, contact Nicole Ondre at artdirector.discorder@gmail.com. Discorder Magazine I by Bryce Dunn We start this column the same way we ended the pretrials month's—with local lads Defektors. No sooner had I sung their praises last issue than they delivered another knockout punch, this time with even more emphasis on getting folks on the floor to shake what their mamas gave them. "No To The Nite" and "Torn To Pieces" both ride rollercoaster bass riffs, staccato-punching guitar licks and ragged but right drumming. It seems no other band can seamlessly draw from a number of genres and make it look so easy. This is beat-punk- garage-art-rock at its best. The Nodzzz debut dared to be not only a front runner for top spot on the turntable hit parade, but also a good candidate for a musical guest spot on cool children's cartoon show Yo Gabba Gabba with two songs of cartoonish pop fun in the songs T Don't Wanna (Smoke Marijauna)" and "We Are The Only Animals". Think Modern Lovers' off-kilter rock-and- roll melodies infused with die Dead Milkmen's lyrically-witty punk pop and you're off to good start. These San Franciscans are on to something, but musn't sleep too long: they've apparendy released more material hot on the heels of this record. World War IX somehow stepped out of their homemade time machine and into a futuristic apocalypse where simple sloppy punk rock is the weapon of choice for fighting their enemies: religion ("Jesus Freaks"), dodgy drug dealers ("Treasure Hunt") and nutty alcoholic neighbours ("Portrait Of Sobriety"). Fans of early Queers, the Nobodys and the Angry Samoans will surely dig what these Brooklyn bruisers are laying down. It comes in a cool hand-printed brown-paper-bag sleeve so after spinning your wax, you can hit the bricks with refreshments safely bidden away as you patrol your post-apocalyptic neighbourhood. Lasdy, a foursome from neighbouring Norfolk, Virginia, the Villains (not the most original name in the world and not the Vancouver ska outfit) played some mighty fine power-pop/ punk in the vein of their peers, such as Gentleman Jesse, or their predecessors, the Real Kids. The A-side "Villain" is a great mid-tempo rocker, with some gritty guitar leads, while the B-side "Favorite Song" sped along at a plucky pace and reminisced about their reckless days as youths with nothing to do and nowhere to go. Devil Dogs fans take note: Steve Baise is on guitar and vocal duties so any self-respecting fan of that legendary band should be checking this out. VD/ Defektors Hockey Dad Records, 415tt Brant St. Vancouver B.C. V5N5B4 The Nodzzz Make A Mess Records makeamessrecords@hotmail.com World War IX Red, Black & Blue Records * P.O. Box 982 ' Vernon, NJ USA 07462 The Villains TA. Records myspace.com/norfolkvillains ir% Film Stripped High (School) Fidelity: Nick andNorah's Infinite Play list by Daniel Fumano ~\7ck and Norah's Infinite Playlist is JL Va cute, fun and overall forgettable film from director Peter Sollett. Based on the novel of the same name by David Levithan and Rachel Cohn, it's a rom-' com for the indie crowd, set in the seedy late-night rock clubs of lower Manhattan and Brooklyn. Its soundtrack features a number of Pitchfork-approved bands (whose names, interestingly enough, appear during the opening credits, as though they were cast members). The film follows a group of young people on one epic Friday night, on the town. Michael Cera plays Nick—a nervous, awkward, clever and ultimately endearing character that is like nothing you've seen him play before. That is, unless you've ever seen Michael Cera appear in anything ever. Nick is a member of a queercore band called the Jerk Offs, of which he is the bassist and only hetero member. He's heartbroken over the loss of his girlfriend, Tris (the Lolita-esque Alexis Dziena), but his bandmates convince him to get out of the house for a gig in the city. Over the course of the night, Nick meets Norah (Kat Jennings), a classmate of Tris who secredy cherishes Nick's lovingly prepared mix CDs that Tris carelessly discards. To Norah, this seems to be more important than anything else about Nick They even share a favourite band: a fictional underground group with the unfortunate name Where's Fluffy?, and they spend a large part of the night trying to find the location of a secret gig the band is playing. Much like the ostensibly super-cool band Nick and Norah chase throughout the film, Infinite Playlist is fluffy. It often pushes the boundaries of believabil- ity and sometimes the plot contrivances reach the level of straight-up silly. Still, it's hard to say if any teenage romantic comedies achieve (or even try for) any kind of realism. Infinite Playlist is a fun ride through New York City. Riming on location in Manhattan and Brooklyn, Sollett makes a loving document of the streets in the City That Never Sleeps, complete with familiar landmarks such as the Bowery Ballroom, Gray's Papaya, Kate's Deli and of course, Williamsburg, a neighbourhood that has become synonymous with the hipster demographic that the movie targets. Music is central to the entire film, in more than its great soundtrack (which features Band of Horses, the National, and a great previously-unreleased song from Vampire Weekend), its equally great (if underused) score by Devo's Mark Mothersbaugh, and some fun (but brief) cameos from musicians like Devendra Banhart and Bishop Allen. Music is the main love in the lives of the two main characters, and it's the driving force behind most of the action in the film. In the end, Infinite Playlist plays out something like When Emo Harry Met Indie Sally or maybe High (School) Fidelity. The film, like the hipster kids in it, is sometimes too concerned with being cool. But it's also very likeable and genuinely funny. A music lover could do a lot worse for a fun date flick spy WOMEN VOLUNTEERS needed for our 24 Hour Rape Crisis Line and Transition House for battered women For an interview, please call 604-872-8212 Vancouver Rape Relief & Women's Shelter www.rapereliefshelter.bc.ca November •^: rvs ir v^.+. m tojects a Minivan? Collapsing Opposites and Bible Belts Tour Projects Laura Hatfield, Ryan McCormick Jarrett Samson, Alison Therriault, and Chris-A-Riffic recendy traveled across Canada. While their bands—Collapsing Opposites and Bible Belts—rock-and-rolled 23 times in 19 different cities, they were excited to be providing more than just a musical show for passive audiences. Their goal? To present a wide range of art projects which would provoke thought and encourage involvement, transforming audiences into participants in a vast nexus of interactions, sights and sounds. At each of their shows, a clown named Dr. Storey (played by Therriault) would appear, surveying audience members with questions while gathering their art and ephemera to form a collection for Whose Museum. Meanwhile, Four on tbe Floor Projects had three visual artists to join the bands on stage by placing their artwork on the drum kit. The following are some results of these collaborative efforts. -%_ Dr. Storeys Preliminary Report The study consisted of two main methods by which data was collected: the solicitation of art objects from the audience to be included in Whose Museum, and forms filled out by the audience regarding the object submitted. Results were gathered from a variety of sii Canada, reaching as far as Quebec. The focus was on the demographic commonly referred to as the "Indie Rock" community; however, selec- n of sites was sufficiendy varied (houses, bars, art galleries, backyards, etc.) to gather a diverse sample from the community. What is most ex- j citing about the data so far is that it appears to contradict a widely held assumption about this overly hyped but poorly understood community: namely, that its members are uniformly surly and withdrawn. Rather, when approached gendy and with a proposition that arouses interest, they can be quite agreeable and enthusiastic, or even downright excitable — of course, these are only preliminary hypotheses. Whose Museum is a non-exclusionary project that invites you to contribute your art and cool stuff to be included in its collection. All submissions are welcome, including but not limited to images, objects, performances and other works. Each piece acquired is cared for professionally; related records are created in a database; and works are exhibited and disseminated to the public. Over the course of the cross-Canada tour, the Whose Collection of Art received over 200 submissions, a number which continues to grow. If you are interested in contributing something, visit: www.whOsemuseum.org. Here are a few favourite submissions from the road. f November Four on The Floor Projects Four on tbe Floor Projects is a collaborative affair between visual artists and musicians that takes the form of art exhibitions hosted on a drum kit used during live performances with bands. For the current exhibition, three artists were invited to send their work across Canada: x Avery Nabata's Light Shakes straps on an'archival cassette case full of light-emitting diodes 'flashing a lo-fi light show, occasionally flickering to the beat of the music. MeUssa Cartwright's custom designed shoes, Left, Right, Left, offer the drums enough autonomy to run rampant in the night. One of the shoes actually disappeared in Edmonton, and was later found by Winnipeg band Mahogany Frog who brought the shoe to Saskatoon so it , could be reunited with its mate. ^Rebecca LaMarre's What Do You Think of the Band? teases the audience out of a potential slumber by means of a relational text piece, giving the viewer the last word. Viewers were encouraged to write and submit feedback in an envelope found at the merch table. For more information visit www.fouronthefloorprojects.blogspot.com. ^ |1 1 uy I @S '^a A few responses to the question: Mm£& ■f-^K. ^m Vancouver New Music presents %_} ™ ^m^^^^^^^^^^^m §. 1 1 Let's not chat about despair ij$ 1 JS j 29 November 2008 — 8 pm St. Andrew s-Wesley Church Burrard 8c Nelson Her artistry is inimitably bold, impossibly masterful. . No one else will go where she goes vocally. Or maybe ifs simply that no one else can. - Megan Milks, popmatters.com Tickets $35/$28 at Tickets Tonight . (www.ticketston ight ca> 604,684.2787), Zulu, Scratch and at the doof f.- 1 T$jjjj)fg~jF Part of Art & Activism: World AIDS Day ..««».« nev. music www.newmusic.org . photo by Austin Young Discorder Magazine GSS50 Rockstar Menu Those of you who have paid a visit to your local Denny's after a show may have noticed their all new Late Mght Rockstar Menu. Not satisfied with knowing what Denny's rock stars eat at night, Discorder asked a number of local acts what they eat after a gig. The answers were varied, but we have done our best to modify their description into somethingyou will be able to order from Chez Discorder, just as soon as we establish our restaurant. ("v^ry"^ Illustrations by Louise Reimer . Text by the bands, edited by Jordie Tow The PackAD's Tour Imports: The Overpriced London Experience Straight from London just after a show played to a bunch of British people who have very tight jeans and far, more money than the Pack AD (and probably you as well). Enjoy, fresh from Stans- bury's, a $3,000 cheese and pickle sandwich, but you'll have to split it. The French-Canadian Health Risk Food from immediately after playing a show in Montreal filled by some of the best looking people the Pack AD have ever seen. They'll bring you leftover poutine from hours before that's been sitting in the back of their van. It tastes good, but we hope you don't get some kind of food poisoning. Dim Sum Under A Streetlight (Only available in the summer) Streetlight recommends you play stickball on a Friday nights within bike riding distance of the Chinatown Night Market. You'll have to wait Until after the game to get your meal, but it's not far. After enjoying the Dim Sum dishes purchased from stalls, you can peruse the pirated DVDs, ninja swords and padded bras, to enhance your dining experience. The D. OA. Late Kigkt Rider Comes with all of the following: A steak sandwich (black and blue) An insanely hot, authentic Mexican taco (chicken) Grilled cheese sandwiches Boxed red wine (neither brand nor quality are important) A cooler full of Ne'wcasde Brown Ale Johnny Cash's greatest hits on the juke box (turned up extra loud) A steaming hot cup of Turkish coffee with a shot of Wiser's Whiskey Empty Love's Cat Burrito Empty Love's cat will go to Budgies and fetch you a Henry. She's really lazy though, so it takes till about 3 a.m. for her to bring it back. A soggy, six hour old Budgies burrito is still better than the shit they have at Denny's. A Late Mght Snack for When You Are 1/2 Alive ,ag_3D Sausages with butter. The GR8-2000est Sugar High Ever This meal starts off with a big bag of Sour Patch Kids that you can eat until your face goes numb. Lick the bag clean and get a couple slices of dollar pizza. You can totally double-decker that shit! Like they do in Brooklyn or some- d^K- ■ Dinner for Three (Members of the Choir Practice) Comes with all of the following: Keith Moon Over Beyonce: A dirty mix of scrambled eggs, and broken yolks smothered over organic free-range home-smoked ham. Give-Me-A-Bloody-Salad Salad: A tall glass of vodka in ice, with a splash of tomato juice, two lemons, a pickled carrot and an olive. The Black Mountain: Sizzling blood pudding, kippers, tattie (potato) scones and a side of brown sauce. November IlTvg nRTiorrl Now On Sale! Amanda Palmer with the Danger Ensemble December 10 Richard's on Richards GJjIffilJ SATURDAY NOVEMBER 29 COMMODORE BALLROOM TICKETS ALSO AT SCRAPE ANO ZULU J OECEMBER?! RICHARD'S ON RICHARDS _M TICKETS ALSO AT SCRAPE Tfflymt FEBRUARY 2 COMMODORE BALLROOM HOLLY GOLIGHTLY NOVEMBER 25 | THE BILTMORE CABARET • JAY BRANNAN NOVEMBER 20 | THE BILTMORE CABARET • CRYSTAL METHOD DECEMBER 4 | CELEBRITIES :riRTIOn.com Discorder Magazine 9 BSi^B ... ..wHRk by Becky Sandler Photos by Gerald Deo Blending genres to create uniquely beat driven, breathy, funky songs is what makes the musk of Piper Davis stand out. In Spain at the Red Bull Music Academy, she is developing her craft in hopes of making Vancouver stand out. Each fall, the Red Bull Music Academy gathers 60 participants and 40 lecturers in a major city for two sessions of lectures, performances, recording and networking. In its tenth year, the academy is taking place in Barcelona, and Davis is there representing Canada. On the suggestion of friends in the electronica community, Davis filled out the 15-page application in March and sent it in to compete with thousands of other musicians from around the world. Traditionally, the academy has attracted mosdy DJs and electronic musicians, but as Davis explains herself as "more of a crossover sort of person," she was a clear candidate for the expansion of the program. Davis' acceptance in August excited her, but she still had no idea what to expect. It seems kind of sketchy and disorganized, but I can see that it is kind of on purpose," she says. Calling from her hotel room at 1 a.m., Davis details the experience of her first week in Barcelona. It's kind of like a crash course in what surrounds music if you are doing it as a job and so it's been kind of hectic and crazy, she says. Each day, participants attend two lectures, visit the recording studio and perform at night. "I haven't been like this since I was 15 and raving all the time," Davis jokes. The lessons vary as* lecturers are given the freedom to tai- lor their time in the classroom to their expertise. Davis speaks excitedly of watching prolific reggae producers Sly & Robbie make beats. She is also happy to learn to use the readable, an electronic instrument played by moving cubes on top of a glowing table. Simply being exposed to new music has affected Davis the most. The songs of Mexican lecturer and musician Natalia La- fourcade, a Latin Grammy award winner, have motivated Davis to think more consciously about her songwriting. "I get so caught up in making beats because it is just fun just making beats," she says. "I think I am going to pick up my guitar when I get home." *J&i$& The other participants have inspired Davis to think more about the production side of musk. "I don't really care that much about sound quality, I don't really care about those kind of things," she explains. "I'm listening to these people who have really, really amazing technical skills... and just hearing the difference and it's making me consider paying a Uttle bit more attention." Collaborations are encouraged in the recording studios and Davis is looking forward to getting more involved in^hejsec- ondweek. "I am mosdy thinking about just doing vocals over other people's tracks while I'm here because I figure that is the best way for me to collaborate with people and I have the opportunity now, obviously, to get really good vocal recordings." The recordings made at the academy are available on the Red Bull Music Academy website and each participant receives a CD of the final products at the end of the session. . The memories of the session are also preserved na the media coverage given to the academy. "I didn't realize it was such a big deal,''mentions Davis, as she describes being taken to meet the press in Toronto on her way to Barcelona and being filmed .for a piece on MuchMusic. I'm not a huge spotlight-y person. I like performing, but it has been a big huge adjustment to be in front of cameras aft the time." Yet the media can provide opportunities for learning. "One person said that too many of my songs were the same kind of tempo songs," notes Davis about a review of her opening turn for Dragonette last March, a comment she says helped her improve her live performance. However, she is skeptical about the impact media makes on the promotion of music. Davis mused that readers don't often take the next step after being introduced to a musician by a media piece. "Maybe it will turn into something, but I'm not thinking about it," she says. "I think playing shows and word of mouth is probably more effective." Thus, Davis plays to as many crowds possible, trying to find where her music fits best. "I have played in between DJ sets, I have played indie- feeling shows and iiow I am trying the hip-hop thing," she says. "I played this one show at the Chapel, where there's a stage; I think having a stage for some reason makes a big difference." f^%_^rt. With the connections she has made, Davis has an opportunity to grow her music and her audience. Although she has no Vancouver shows scheduled at the moment, you can listen to her music on Myspace or find a copy of the EP she put out this summer. Keep your ears tuned to Piper Davis; she is only gettingbetfer. ^y 10 The Sumner Brothers are a family affair. The iconic image the brothers use as a logo—a man bent over his guitar with a cigarette and centre hair part—is an old photograph of one of their grandfathers, a jazz musician who had the misfortune of playing during the dying days of the jazz movement. Their tribute to a generation past doesn't end with a photograph. Jumping out as the first track on their sophomore self-titled album, "Both Back" is a song of pain, anger and frustrated longing for two deceased grandfathers. "Yeah I know it's too late, everything I love is gonna be taken away" is the song's bitter refrain. Fatalism. Hopeful fatalism. There is a light that shines through this music despite its sombre elements. The roots-country approach may sound like the ballads of a Virginian porch-step, but these guys are from Vancouver. Flannel shirts take on additional warmth when paired with a Sumner Brothers tune. Phill Saylor Wisor of the Shiftless Rounders—who opened the Sumner Brothers' CD release show on Sept. 19—found a certain spirituality to the Sumner Brothers beginnings. The Old Man of the Mountain, a New Hampshire rock formation-in the face of a man, collapsed mere months before the death of Johnny Cash. This was during the time Bob and Brian Sumner began playing music together. "[The Old Man and Cash] left their vessels and came and found Bob and Brian," Wisor said glibly. Coincidence? Yes. But this idea of transcen- dence is illustrative of what one might expect from the music of the Sumner Brothers: spiritual but not overtly religious, sombre but not melancholy, reflective but not dwelling and storied but not rambling. But let's take a step back from the metaphysical. The Sumner Brothers are two guys saddled with student debt. They subsist on the scraps offered up by the dregs of independent music and hope for a government grant on occasion. This isn't just a hobby. The Stunner Brothers have discovered the need to treat music like work. That you might find their posters from Vancouver to Hope is not accidental. They travel for.- hours postering for their own gigs. Spending hours on the computer searching for arts grants may be tedious, but when music is a full- time job, it is crucial. Not to mention the Internet savvy necessary to attract nearly 31,000 MySpace friends. Tne Sumner Brothers live to create and their music is brimming with passion. Their production creates a minimalist, open feel much like Galiano Island where the latest full-length, a follow-up to their debut In The Garage, was recorded. The brothers trade vocal duties, each delivering distinct styles that are raspy and broken but controlled and authentic. They also both play guitar, banjo and harmonica. Behind the duo are Mike Ardagh on drums and James Meger on electric and upright bass. Samantha Parton of the Be Good Tanyas also made a guest appearance on the self-tided album playing mandolin. If their recordings can at times be slighdy down-tempo, perhaps even morose, their live show is not. The brothers can sing a soulful ballad and without a moment's hesitation switch gears to make an entire hall dance to an energetic rendition of a Pete Seeger classic. At their CD release, "Pay Me My Money Down" became a foot stompin' sing-a-long. You can find the Sumner Brothers'latest album at Zulu, Red Cat, and Highlife Records or online at CDBaby.com. You can see them live Nov. 8 at the Railway Club, Nov. 22 at tbe Crescent Legion in White Rock and Nov. 27 at the Media Club. m Discorder Magazine 11 L. >- < & V- < y < a 5 < p I 5 a x < D i 2 o < o 2 1 Zw Malos @ Balmoral Jason Collett @ Richard's The Noble Firs & Princeton 8 Tbe Awkward Stage, Dylan Thomas @ Biltmore Ray Lamontagne @ Vogue Mad Shadow @ Pub 340 Versus, the Nothing @ Sweatshop mm$M \nza o/ence, Panda udios les, tbe Sweats -§ ®i ^ ^ «> *?<&> (§^*4fi: dedBy KRobo r s | i •6 p 2 | <§j 6 "I $ i 3$ I i y^N • ru ■ i t -i _f\-_\ _f\ ~n CiTH 101 .9P _\L fiffittfc /isten to CiTR online at www.citr.ca You can Sunday Monday Tuesday Wednesday Thursday Friday Saturdays 6™ 6am BBC (News) Pacific Pickin (Roots) BBC (News) ' ' BBC (News) BBC (News) ' BBC (News) • •M. BBC (News) 7 8 Give em The Boot EWorld) '■> Ink Studs (Talk) Radio Zero (Eclectic) (Metal) 2 Reelto Real (Talk) 3 Blood On The Saddle Shameless Lets Get Baked (Talk) Native Solidarity News (Talk) Rumbletone Radio A Crimes And Treasons Code Blue (Roots). 3 XT J- - T> 4 (Roots) (Eclectic) TheRib(Ecl) PrafTalk(TaIk) O Go Go (Rock)* ;$\*3&**K|j (l%tfdWU»J _ 4 WenersBBQL (Sports) 5 (Pop) Saint Tropez (Pop) News 101 (Talk) Arts Report (Talk) Fill In Pedal Rev (Talk) News 101 (Talk) The Leo Ramirez Show (World) K Career (Talk) Canadian Voices (Talk) 6 Some, Son Of S • Redoub NashaVolna 6 ■* Sound Nite Flex Your Head And '-. Sani-'i. tereosropic .Kedou t (World) i (Indie) (Eclectic) (Hardcore) (Pop/Eel) squantch (Eel) ^ J^^^jjaderbkds Sports (Sports) Shadow Jugglers (Dance) 7 R ,. F r , F ' ' C 8 Rhythms (WorM) AllAwe- some(Ecl) (Indte) (Experimental) 8 9 Mondo Trasho (Eel) Live From Thun- Synaptic Sandwich (Dance/Electronic/ Eclectic) 9 10 Transcendance The Jam Show (Jazz) Jukebox (Talk) (Lfve) 10 (f)ance) Shake A Tail Feather 11 Hans Kloss Misery Fill In (Soul/R&B) Beats From The 11 12™ Hour (Hans Kloss) Basement (Hip Hop) ia- Vangeance Is Mine I Like The Scribbles 1 (Punk) (Eclectic) i 2 CITR Rebroadcast , .CJLTiRr.Rebroadcast Aural Tentacles 2 3 4 CITR Rebroadcast (Eclectic) CimRebroadcast . CITR Rebroadcast 3 4 5 -SUJ «DAY on. Always rhythmic, ahv lys can hear some faves you never (Talk) 6-$ pm A] JL AWESOME IN MONDA5 5 i TANA RADIO c activating. Always crossinj I knewyouliked. Dedicated to the gay, lesbian, YOUR EARS BREAKFAST WITH f»6rtl#9-10am I (orders. CHIPS WITH bisexual, and transexual com- (Eclectic) 8-9pm THE BROWNS SHOOKSHOOKTA. 1 rHE ROCKERS SHO) IV EVERYTHING munities of Vancouver. Lots MONDO TRASHO (Edectic) 8-1 lam iTtf/*) 10-llam j Reggae) 12-3pm (Pop) 5-6pm of human interest features, (Eclectic) 9-10pm Your favourite Brownsters, A program targeted to 1 teggae inna all styles and British pop music J torn all de- background on current issues The one and the only Mon- James and Peter, offer a sa Ethiopian people that aims J ashion. jOj,VT cades. Internationa pop (Japa- and great music. do Trasho with Maxwell voury blend of the familiar at encouraging education 1 JLOODONTHE nese, French, Swed sh, British, Maxwell—don't miss it! and exotic in a blend of aural and personal development in 5 ADDLE US, etc), '60s sounc Itracksand RHYTHMSINDIA TRANCENDANCE delights. KOL NODEDI I Leal cowshit-caught-in-yei day now! Rhythmsindia features a wide Join us in practicing the GROUND CONTROL (World) llam-12pm 1 loots country. saint trope: Z, range of music from India, ancient art of rising above (Eclectic) ll-12pm Beautiful arresting beats and £ HAMELESS (Pop) 5-6pm including popular music common ideas as your host Fuji and independent music voices emanating from all ( Eclectic) 3-5pm Welcome to StTro pez! Play- from the 1930s to the pres- DJ Smiley Mike lays down supported by a conversational continents, corners, and voids.. ] Dedicated to giving any lo- ing underrated mus ic from ent; Ghazals and Bhajans, the latest trance cuts. monologue of information, East Asia Scum Asia Africa. c al music act in Vancouver i several decades! Qawwalis, pop and regional opinion and anecdote focus Tne Middle East. Europe. c rack at some airplay. Whei l language numbers. sing on the here, the now, and Latin America. Gypsy. Fu- r ot playing the PR shtick,; ou QUEER FM the next week. 14 Novemt er L. - ALTERNATIVE RADIO (Talk) 12-lpm Hosted by David Barsamian. PARTS UNKNOWN (Pop) l-3pm Parts Unknown, an indie pop show that has been on - CiTR since 1999, is like a marshmallow sandwich: soft and sweet and best enjoyed when poked with a stick and held dose to a fire. LET'S GET BAKED (Talk) 3-4pm Vegan baking with "rock stars" like Laura Peek, the Food Jammers, Knock Knock Ginger, the Superfan- tastics and more. THE RIB (Eclectic) 4-5pm Explore the avant-garde world of music with host Robyn Jacob on the Rib. fiom new electronic and experimental musHTtoim- provisedjazz and new classical! So weird it will blow your mind! NEWS 101 (News/Talk) 5-5:30pm Vancouver's only live, volunteer-produced student and community newscast. Every week, we take a look back at the week's local, national and international news, as seen from a fully independent media perspective. CAREER FAST TRACK SOME SOUND (Indie *«*>6-7:30pm SON OF NITE DREEMS (Eclectic) 6-7:30pm Join jolly John Tanner, radio survivor for almost half a century now heard alternating Mondays with an edectic musical mix of many eras from the '50s to today. RADIO FREE GAK ^dteHxk) 7:30-9pm THE JAZZ SHOW (Jazz) 9pm-12am Vancouver's longest running prime-time jazz program. Hosted by the ever suave, Gavin Walker. Features at 11pm. Jifev. 3: The classics and pivotal recordings continue: "Charles Mingus Presents Mingus" carried over from last month. Nov.10: The Duke Ellington Orchestra: "The Far East Suite*. *fafc!7: The Art Blakey Quintet with Clifford Brown: "A Night at Bird- land". Nov.24: Stem Getz: "Focus" VENGEANCE IS MINE 43%asf 12-2am Going on eight years strong, this is your home for all the best the world of punk rock "has to offer. TUESDAY PACIFIC PICKIN' (Roots) 6-8am Bluegrass, old-time music, and its derivatives with Arthur and the hm&ty Andrea Berman. GIVE'EM THE BOOT (World) 8-9:30am Sample the various flavours of Italian folk music. Una programma bilingue chees- plora il mondo della musica folk italiana. THIRD TIME'S THE' CHARM (Rock) 9:30-ll:30am Open your ears and prepare for a shock! A harmless note may make you a fan! Deadlier than the most dangerous criminal! FLEXYOURHEAD (Hardcore) 6-8pm Punk rock and hardcore since 1989. Bands and guests from around the world. WEDNESDAY SUBURBAN JUNGLE (Edectic) 8-10am Live from the Jungle Room, join radio host Jack Velvet for an edectic mix of music, sound bites, information and inanity. Not to be missed! ANOIZE (Noise) 11:30am- lpm An hour and a half of avant rock, noize, plunderphonic, psychedeUc, and outsider aspects of audio. An experience for those who want to be educated and EARitated. THE GREH FOLK OASTS (Roots) S-lQpra Two hours of eclectic folk/ roots musk, with a big emphasis on our local scene. C'mon in! A kumbaya-free zone since 1997. JUICEBOX (Talk) 10-11PM Developing sexual heakh,«K- pressing diversity, celebrating queerness and encouraging pleasure at all stages. HANS KLOSS'MISERY M_MR (HansKl_ss)_.lpm-lam This is pretty much the best thing on radio. ^0__^\ THURSDAY END OF THE WORLD NEWS '■ (Talk) 8-10am SWEET AND HOT (Jazz) 10-12pm Sweet dance musk and hot jazz from the 1920s, '30s and '40s. DUNCAN'S DONUTS (Eclectic) 12-lpm Sweet treats from the pop underground. Hosted by . Duncan, sponsored by donuts. WE ALL FALL DOWN (Eclectic) l-2pm Punk rock, indie pop and whatever dse I deem worthy. Hosted by a doset nerd. < www. weallfalldoioncitr. blogspot.ca> INKSTUDS (Talk)2-3pm Ink Studs focusses on underground and indie comix. Each week, we interview a different creator to get their unique perspective on comix and discuss their own interesting and upcoming works. CRIMES &TREASONS (H^hrp) 3-5pm FRIDAY SYNCHRONICITY (Talk) 9-10am Join host Marie B and discuss spirituaUty, health and feeUng good. Tune in and tap in to good vibrations that hdp you remember why you're here: to have fun! This is not your average spirituality show. SKA-TS SCENIC DRIVE (Ska) 10am-12pm Canada's longest running Ska radio program. Email requests to NARDWUAR (Nardwuar) 3:30-5pm Join Nardwuar the Human Serviette for an hour and a half of Clam Chowder fla- » voured entertainment. Doot doola doot doo.. .doot doo! < nardwuar@nardwuar. com> NEWS 38! tT__\) 5-6pm UBC THUNDERBIRDS (Sports) 6-10:30 pm SHAKE A TAIL FEATHER (Soul/R&B) 10:30-12am Tne finest in classic soul and rhythm 8c blues from the late '50s to the early 70s, ki- duding lesser known artists, regional hits and lost soul gems. ILSCETHE SCRIBBLES (Edectic) V2-2_t_n Beats mixed with audk from old films and dips from the internet. SATURDAY THE SATURDAY EDGE (Roots)F%am-12pm Now in its 22nd year on CiTR, the Saturday Edge k a personal guide to world 8c roots music—with African, Latin and European music in the first half, followed by Celtic, blues, songwriters, Cajun and whatever else fits! GENERATION ANIHILATION (Punk) 12-lpm A fine mix of streetpunk and old school hardcore backed by band interviews, guest speakers and sodal commentary. POWERCHORD (Metal) \-3pxa. Vancouver's longest running metal show on the air. If you're into music that's on the heavier/darker side of the spectrum, then you'U Uke Power Chord. Sonic assault provided by Metal Ron, Gerald Ratdehead and Geoff the Metal Pimp. CODE BLUE (Roots) 3-5pm From backwoods delta low- down sUde to urban harp honks, blues, and blues roots with your hosts Jim, Andy and Paul. THE LEO RAMIREZ SHOW (Worid) 5-6pm The best of mix of Latin American music. NASHAVOLNA (World) 6-7pm News, arts, entertainment and music for the Russian community, local and abroad. SHADOW JUGGLERS (Dance/Electronic) 7-9pm The showedebrates its seventh year on the ak. BASEMENT (Hip-hop) llpm-lam Hosted by J-Boogie and Jo- elboy, promising Usteners the latest tracks, the classics, the rare and the obscure, current events, and the special features of peeps coming into the studio. Most importantly Usteners can expect to-be entertained.. .church. < klymkiw@gmail.com> W Discorder Magazine 15 o B illustrations by Caroline Ballhorn These days, weather can't come up in conversation without being almost immediately dismissed as idle small talk. We forget in the modern era of urban supremacy that not so long ago, weather was at the centre of most people's concerns, and could be discussed with impunity. Before the Industrial Revolution, everyone and their kitchen sink Uved on a farm, and human sodety was at the mercy of the changing seasons. In a lot of ways, it makes sense that our conversations stiU revolve around the weather; most of us don't depend on it for our Uve- lihood anymore, but the effect the weather has on our moods, activities and entire consciousness is much greater thart we give it credit for. Canadians are particularly disposed to make weatiier-rdated small talk for two reasons, first and most obvious, we inhabit one of the nprthernmost countries in the world, and as a result we tend to be either feeUng cold or preparing oursdves for the cold most of the time. Second, cultural stereotypes paint us as shy, unassuming beasts who would sooner take our own Uves than meet a stranger's eyes on the bus—unless, of course, it's below freezing and you want to complain to a stranger about your commute from Surrey. In a world of fractured provinces and individuals starving for human contact, weather is sometimes the only thread that holds us together as a nation. Is it so strange that the same prindple should apply to Canadian music? It is only natural that music has been a primary medium for creating an authentic sense of community. But when did our famously atrodous climate become the common denominator for Canadian-ness? In 1963, Ian and Sylvia recorded "Four Strong Winds," now the unofficial anthem of Canadian heartbreak. It drew together the wistful summers and biting winters of the prairies, and somehow this made it a classic worth being voted the greatest Canadian song of aU time on CBC Radio l's series 50 Tracks: The Canadian Version. There must be more to Canadian cold and snow than just... weU, cold and snow. More recently, John K. Samson of Winnipeg heroes the Weakerthans has championed a brand of gritty regionaUsm that focuses on celebrating the stumbUng, unbeautiful face of his hometown, and the poetry that he finds there. At the heart of this creative ethic is—you guessed it—Canadian weather, which is the undercurrent that drives much of Samson's evocative storytelUng: the curUng player in "Tournament of Hearts," the tormented bus driver in "Civil TwiUght," the many grumpy Winnipeggers in "One Great City!" In aU of these things, Samson sees and draws out what the French caU johe-laide, or "beautiful-ugly," which is used to describe something with a character that, although not beautiful, is somehow so real and compelUng that you can't help looking at it. The sense of dismal atmosphere providing a backdrop for great music has inspked other Canadian artists to produce some of thek best work. The bone-chilUng spiritual isolation that comes with Montreal's bitter winters Uves in the Arcade fire's music, even informing the instruments they use—aching strings and echoing organs,The Be Good Tanyas, a Vancouver folk group, constantly invoke the powerful dreariness of the rain in their music, sometimes going so- far as to record songs over top of the sound of rain. Vancouver's music scene runs the gamut of perspectives on the city's cUmate, from a West-coast sun-and-surf sound, replete with harmonies as lush as the city (usually associated with the New Pornographers), to a wistful gloom (as in the case of the Be Good Tanyas) to the downright misanthrdpy of the punk and noise scenes, which are often reacting to the Vancouver authorities that'restrict the scene as weU as to the oppressive weather. Josh Rose, an abstract noise performer and Vancouverite, addressed this negativity san- guinely in an interview with Exclaim!: "It's harsh music for a harsh envkonment." Another important effect of a cold-weather climate is the mass retreat to the indoors that happens at the first sign of bad weather. While reduced activity outside of the home, and therefore a downturn in the Uve music scene, might seem Uke a killer of creative impulses, it has actuaUy helped to shape an important Canadian contribution to music: the pop collective, or what I Uke to caU the "New Pornographers Effect." Harsh winters force people to find new channels for entertainment. For the muskaUy indined, this usually entails a bunch of friends seeking warmth in someone's basement and bringing their instruments. These hours of playing music together and sharing muskaftaste are the foundations for future coUabora- tions and the formation of new bands. While this happens in warmer dimes as weU, the number of supergroups spawned across Canada in the last decade—with the New Pornographers based around Vancouver, the Arcade Fire based around Montreal, and Broken Sodal Scene based around Toronto— would seem to indicate a trend. So many of these coHectives have generated several successful solo acts and further coUabo- rations that they are essentiaUy responsible for creating entire music scenes on thek own. There's definitely historical precedent for this phenomenon. For many people, the mention of East-Coast winters still conjures the image of a ceiUdh: droves of people crowding into a kitchen, pulUng out instruments and jamming, just as a way to escape the cold. This impulse has existed as long as humans have populated cold-weather regions. While Canadian music is often defined to the rest of the'world by introspection and * soUtude, the cold climate canalso spawn a uniquely sodal and coUaborative ethic. In Vancouver, that spirit of coUaboration has had a greater impact than anyone could have reaUzed. A city that has become notorious for its crippUng lack of support for venues and performers alike shouldn't be able to sustain one of the most vibrant and prolific music communities in Canada, but in many ways this discouraging envkonment has chaUenged musicians and friends to the scene to create a self-sustaining community. The ingenuity and experimental spirit of its members are rewarded with audiences and like-minded peers. Are Canadian artists trying to find an answer to the regional, homegrown pride found in much of American music? Almost certainly not. It's time we faced the fact that Canadiana is reaUy a meaningless word that was made up in an attempt to step out from the shadow of the American music identity. Tne impact of the Canadian environment on Canadian music is just the mark of a scene that has grown up and accepted the conditions that have made it what it is—which is a pretty good way of defining identity, Canadian or otherwise. m 16 November Who's playing? When is it? Who's putting it on? Where is it? Who're they? What do- they sound like? How much are Jickets? Who's in that band? Who else does he play in? Where did they play last? When was that show? Where is that place? What band's she from? What was his old band? Has it been announced? Who're they playing with? How do I get ahold of them? Did they break up? Are they recording?' Are they on tour? Are they still looking? Where does she book shows? What kind of music is it? Who books that kind of stuff? When was that? Where was it? Who played? WHERE CAN I FIND OUT??? I.__.._____ _. -*-*- -1. LiveMusicVancouver.com comprehensive live music listings in enri «■""" «« sag**® MILITARY, 1 . FETISH BALL pdSP AWIIH DIRTY, WS X* -PANDEMONIUM, R-LIX, RjiBETTl FORDE & GUESTS ^S^^uI^IotiISd but HJ££LY ENCOURAGED SHURDM NOV 22 CLUB23WBT Qottjic B<^ 10-year Anniversary Ball ©eeadenee J)riMid£ti pne&eid cut eumingof HIGH FASHION I HIGH ENERGY COSTUMES | ART. PHOTOGRAPHY VISUALS I MUSIC i MEMORY It % DECORATIONS BY MR DARK ■! PRIZESFORBESTOUTFTIS* s, 2 ROOMS OF DANCING WIUfSB\ PHOTOGRAPHY BY ART SHOWING BY November 8,2008 ■ Club 23 West Discorder Magazine o «oTir f.,i-lifcO-,al - \U?'it n ^fe^^^^l^i^&»? PAoto fry i?yan P4fr/fer Wagner I Xith civic elections looming, ■politicians everywhere are promising to fight gang violence, but as it turns out, Sarah Cord- togfcy (vocals), Rob Andow (guitar, synths, sampler) and Bobby Siadat (drums) are. actually pretty nice! This Vancouver trio recently opened for heavyweights Mission of Burma, only a few short months after playing their first show at Music Waste 2008. I caught up With them in a dark alley behind Vancouver's Peanut Gallery. Discorder: Hey gang! RA:Hi. SC: I've been playing in bands in Vancouver for a long time, but I've never been in Discorder before! So, Rob, you went to high school with My!Gay!Husband!? SC: That's going to be our claim to fame. RA: Pretty soon it's going to be him saying he knows me. Can you describe your sound in five words or less (or more)? SC: We're not electro-rock and we're not dance-punk. We're dance, we're punk, we're electro and we're rock, but we're not any hyphenation of them. few**" r,*> BS: We're a pop-punk band. Like Sum 41? RA: Yeah, exactly! We're exactly like Sum 41. Could give us a short history of the band? RA: Me and Bobby worked together at a restaurant.We just kind of hit it off right away; we talked about Deerhoof and stuff. That was kind of what brought us together. We jammed a few times, but we 18 were in other bands at the time.We talked about wanting to do a dance band., BS: We did do a little bit of it, but we didn't know how to articulate it properly, because we didn't have the right equipment. So we put it down for like, two years. RA We jammed with a few other people during that period, trying to find people that were on the same page, but we didn't really [find anyone], so we just developed a way that just the two of us could do the music side. We did that for about eight months, just writing songs, and then we booked a show at Music Waste, which was the first time that we played live, and we played without a singer. We put out the word that we were loolring'for one, and we got a hold of Sarah. Or she got a hold of us. Sarah, you're involved with organizing Music Waste. Was that how you got together with these guys? SC: Well, I knew them from around. I've known Rob for a while. I think our old bands played together a million years ago. I missed the Music Waste show, but I heard rave reviews all around, and I heard that they wanted a singer. So I said, "I'm in!" ^MQ So you always planned on having a singer? It was never going to be a two-piece? RA: Yeah, we wrote the songs with pop structures: verses, choruses, you know. A lot of people asked us to play shows after Music Waste [as a two-piece], but we didn't want it to be a thing where people had to decide whether they liked us better without a singer. BS: I was on the fence, and [Rob] was a little bit, too. We just didn't know whether we could make it work without a singer. November il I RA: I think we were really eager to play, and we were willing to make sacrifices in order to play shows. Can you name-drop a couple of your former bands? RA: I used to be in a band called Cadeaux and a band called Skort. Both of those bands broke up because we shared members with You Say Party! We Say Die!, so everyone quit to go on tour forever. SC: I used to be in a band called Channels 3 8c 4. We've practiced once in three years, but we're playing on Nov. 6 [at the Peanut Gallery]. I also play in Ice Cream. You seem like pretty nice people. Why is your band called Gang Violence? Are you in any actual love of The Wire. I started watching it this year, and I just got really into the show. But then things started to happen in the summer here, we just started to see a lot of stuff about gangs. SC: Not one gang war, but three gang wars! [ed. I'm pretty sure it was four gang wars.] RA: It was all over the Province— every headline was like gangviolence this and gang violence that. It's so completely foreign to our lives, and yet I just want to know about it. Rob, you play a lot of instruments at once. Can you give us a rundown of what you're using? RA: I have two keyboards: an old -JjjjMiand the Concertmate MG-1, whSifis a popular keyboard in Van- ■ :T:$&j*(wbispers) Radio Shack! '.O^And I haw an MPC-1000 sampler, that's like a hip-hop production tool. I kind of play the bass notes on that, and the melody on the keyboards and guitar. It took us a while to figure out how we were going to do that. I saw you open for Mission of Burma a couple of weeks ago. What was that like? SC: It was strange. They're definitely a classic band. They said they "got a real kick" out of us. . RA: They were like "good luck, you Uttle rascals!" They basically verbally noogied us. There seems to be fewer and fewer legitimate places for local bands in Vancouver, and a lot of bands are resorting to playing semi-legal venues. Any thoughts about that? SC: Despite the odds, I think that people are making do, and there a lot of great things happening. RA: I think that it also really helps the scene in some ways. If you think about all the bands that were coming out of Victoria a while ago, that's a city where it's the same thing:, there's nothing to do and nothing going on. Everybody's really got to make their own scene. As soon as all the venues started getting closed down here, everybody started getting aggravated about it, and peoplev started doing something, something cooler. It tightens the community. Has the Vancouver music scene crystallized around this lack of venues? SC: I think it's crystallized despite it. There's a lot more work and a lot more risk involved, but it's more rewarding. Places like the ER and the Peanut Gallery are pretty -exciting and fun to go to. BS: But the more people talk about those places, magazines and stuff, this thing happens- that's Hke a cycle that will be the end of every venue. But there will be other ven- ues that will pop up. SC: We'll see what pops up in the next couple of years. - There's a lot of noisy, No Wave- influenced music showing up around the city. Is there a Vancouver sound, or is that just a lazy journalistic invention? Do you see yourselves as part of it? SC: I think that to some extent there is something that ties a lot of the bands together, but I think it's weird when we're lumping together, like, Shearing Pin* and the Mutators. To me, they're pretty different. I guess it's all coming from a similar place, and I'd like to think that we have a place in that, but this is the most pop-oriented band I've ever been in. We're not particularly noisy. BS: I consider us a pop band. That's what I love. RA: I think we share the intensity and energy those bands have. We're not just standing still, completely worried about not fucking up. It's the performance that's the greatest part about a lot of those bands. SC: But if we're talking about it being related to No Wave, there was a lot of disco and pop there. Right, so it's not really a musical genre, but more of a shared aesthetic. Got any Halloween plans? SC: We're going as urban animals. RA: We have a song about skunks and cats and r; Gang Violence plays at Di'Metric Studios (1114 East Pender) with. Women, Hot Panda and the Bicycles Nov. 15. Alternately, check out their Myspace: www.myspace.com/gangvi- olencevancouver. m Tiny Vipers Mamifler StJamesHall September 27 Making good on their growing reputation for bringing innovative American talent to town, promoters Twee Death recently treated Vancouver to two intimate performances on a cool fall night. Sub Pop singer-songwriter Jesy Fortino (a.ka. Tiny Vipers) and Hydra Head recording artist Faith Coloccia (one- third of the Mamiffer collective) crossed the border from their native Seattle to play for a handful Vancouverites in the know. In the humble surroundings of St. Jame's Hall, Fortino and Coloccia played gorgeous sets of ethereal acoustic music, creating a temporary island of serenity in the city. With Col- loccia positioned in front of the house piano, the lights were dimmed,, and she proceeded to play delicately sculpted solo versions of the songs found on Mamiffer's new record Hir- ror Enniffer. While all of her pieces were exceptional, the rolling melodies of her opening song "Annwn" stood a bit above the rest, with heavy, awe-inspiring expressions that left the crowd in a meditative silence. ,-gc^^^pT. While the majority of Vancouver's music- scene intelligentsia shamefully slept on the show, Fortino gifted those who did attend with a memorable set. As Tiny Vipers, she relies on little more than a deep, hymnal voice and an acoustic guitar to create subtle songs that gradually bloom into epic narratives. Deciding to forgo all of the material on her excellent 2007 debut Hands Across the Void, Fortino delved into a selection of rarities that can only be found on homemade CD- Rsjand YouTube- videos. Sitting on the hard pews of the church hall, it was easy to get lost in rapturous songs like "Eyes Like Ours" and "What Time Takes" and soak in Fortino's stark, poetic bend. Justin Langille Mission of Burma Plaza Club September 30 Before Mission of Burma's show at the Plaza, guitarist/vocalist and notable tinnitus sufferer Roger Miller distributed foam earplugs from a Costco-sized jar to stage-hugging audience members. This paternal gesture seemed appropriate given Burma's father-figure status in the annals of indie rock; when they* reunited in 2002 after a 19-year hiatus, it was as if they had never left off. (Fun fact: Discorder's first issue included a review of Burma's 1983 album Vs.). Having released 2 critically acclaimed full-length albums since reconvening, Mission of Burma continue to be an important force in independent music. And so, with nothing left to prove and their credibility intact (unlike many aging "reunion" acts), Burma came to Vancouver to promote : of their seminal first EP Signals, Calls and Marches. The songs from Signals formed the latter part of the set; the first half was a'grab bag of their other material, some of it unreleased. The performance was great, but seemed slightly rote, containing none of Burma's famed improvisational daring. The contributions of tape-loopist Bob Weston (who also plays in the mighty Shellac) were pretty much unnoticeable. Still, Miller, bassist Clint Con- ley and drummer Peter Prescott reminded us that Mission of Burma are known for more than sonic experimentalism—they're also a viscerally exciting power trio. The crowd danced and shouted along to well-known ragers like "Academy Fight Song," "Outlaw" and the monumental "That's When I Reach for My Revolver," but the more obscure material didn't always have that effect. This is not to say that the performance was lacking, but it was a little subdued for a band whose proclivity for ear-shatteringly loud and chaotic performances is almost mythical. Local opener Gang Violence played a ter- - rifle set to a mostly indifferent crowd, but by the time they were finished, they had won themselves more than a few new fans. Keep an eye out for this three-piece. You'll be hearing more from them. [ed. To read more about Gang Violence see Alex Smith's interview with them on page 18.] Alex Smith My Bloody Valentine Spectrum Concourse Design Center, San Francisco ' September 30. After about 15 years in near, isolation, My Bloody Valentine have arisen from their own ashes to knock the world back on its ass. Expectations were high after near-unanimous praise of their 20-odd "comeback' shows over the past three months. This one took place at the San Francisco Concourse Design Center, which resembles an airport hangar with its high ceilings and large, barren rectangular layout. Spectrum started the night off and pretty much stuck to Spacemen 3 classics, which were quite loud and immensely mesmerizing, making for a perfect MBV opener. The crowd roared when MBV hit the stage. Within seconds, they kicked into "I Only Said," which, combined with strategically placed strobe lights and pastel lasers, hit the crowd with a force of shocking magnitude. The songs off their two full-lengths and the You Made Me Realise EP were sculpted into a towering wall of mega-mie'ed Marshall stacks, thunderous drums, and dozens of guitar pedals. The show was so incredibly loud and vivid that MBV classics like "Only Shallow" and "Soon" were felt as much as they were heard. The real treat of the show, though, was the infamous wall of noise that is "You Made Me Realise." For close to 25 minutes, Kevin Shields and Co. blasted out wave upon wave of blissful white noise that had the crowd enraptured and immobilized. The white wash of sound was so immense and powerful that some of the crowd literally tried to feel the sound in the air with their hands, much in the same way you put your hand out the window of a moving car to feel the wind roll past. Witnessing this show was no mere nostalgia trip. This was the past brought to you in the present but remaining resolutely in the future. There is no other band like this on the planet right now. Mark Richardson Shindig #3 Childsplay Fur Bearing Animals Streetlight Railway Club September 30 The third night of Shindig was, according to this publication's humble editor, the most varied and interesting so far. [ed. I don't remember saying that] The competition was going full-tilt, broken up only by the institution that is Jokes for Beer, a Shindig specialty about as amusing as that Conservative party ad on the side of Celebrities nightclub. On first was Childsplay, whose name is, yes, indicative of their ages. Fashioned with studded belts worn around the hips, skinny jeans and fingerless gloves, Childsplay sounded like a modern middle-school tribute to Keith SANCTUARY —DANCE TOUR ASS OFF TO THE BEST OF THE BEST •: I 80'S I NEW WAVE I ELECTRO ; I INDUSTRIAL » SYNTH I ROCK j NOVj | DEC WWW.SANCTUABYSATURDAYS.COM CUIB 23 WEST/23 WEST CORDOVA Discorder Magazine 19 RLA continued from pg. 19 Morris. It's refreshing that some kids choose to cover "Blitzkrieg Bop" rather than beUeve Angels & Airwaves are akin to the second corning. Up next was Fur Bearing Animals, a groove- dance sensation. The act featured wah-guitar layered atop catchy beats, tight drumming and DJ Redworm's violin. They won over the crowd with dance moves that can only be summed up as "wicked-awesome." Because the night was running late, by the time Streetlight took the stage, the Railway Club had lost a sizable chunk of its audience. Singer/guitarist Basil. Waugh led the band with a frenetic performance; however, the static nature of the other members failed to keep the late-night crowd's attention. Lacking the fine tuning of microphone dynamics and instrument EQs, Streetlight managed to drift through their set with only minimal staying power. In the end, Fur Bearing Animals came out ■ on top, which is great because we all get to see more dancing. At the same time the victory is unfortunate because Childsplay emerged from their set as Vancouver's potential three- chord wonders, certainly deserving of a tip- of-the-cap. David Sienema Silver Jews Monotonix Richard's on Richards October 1 Oh, David Berman. Y>u're a tortured artist, aren't you? Your eccentric demeanour and reported suicidal tendencies make you all the more compelling to fans Eke me. Berman, if you don't know, is the man behind the Silver Jews who writes free association lyrics that make Beck sound hke a high school student trying his hand at beat poetry: And although the indie/folk/country that is the Jews' sound is catchy, it's really Berman's poetry that filled Dick's on a Wednesday mght. Maybe that's why seeing the sidnny man, his wife and the rest of the band wasn't quite Uke. the image of the Jews one conjures up when listening to their albums. Berman still hasn't ' fallen in love with the Uve experience. He has said he equates touring to selling records, and it shows. Perhaps the lacklustre performance was due to sound issues, or the fact that unless you know the lyrics, Uve shows aren't reaUy the best way to enjoy Berman's words. Regardless, the band did bang out favourites Uke "Sometimes a Pony Gets Depressed" and "Trains Across the Sea," the latter reminding the audience of the group's heyday. The Jews may also have seemed underwhelming because of the hurricane of energy, sweat and sheer volume that was show openers Monotonix. The Tel Aviv trio was everything the Jews weren't: unrelenting, playful and visceral. Other than both acts being signed to Drag City and having ties to Israel, the two couldn't have been more different. Playing on the dance floor in front of the stage with the .audience wrapped around them, Monotonix's three hair farmers beat the shit out of their instruments with such excitement that it didn't matter that the band were relatively unknown to the audience. They did every rock theatric in the book, save lighting their instruments on fire. (Monotonix asked, but the club wouldn't allow it.) When the house lights went up, the audience was left with a lasting impression of the Tel Aviv trio they'd never heard and won't soon forget, instead of the Jews they really paid to see. &>* Willis ||$Pjg«gji3p Why? Restiform Bodies Richard's on Richards October 2 As a longtime fan of San Francisco record label Anticon, I was hyped to see two acts from the imprint's original roster come to Vancouver for an evening of sonic reverie. Few other collectives have been as instrumental as Anticon in pushing the boundaries of rap and creative music over the past decade while stiU maintaining popular appeal. Reformed after years on hiatus, legendary hip-hop experimenters Restiform Bodies brought a wealth of new material to slay the crowd. Showing a renewed focus on song structure and a cleaner sound to boot, tracks like "Black FHday" and "Opulent Soul" got peeps moving on the dance floor, nodding raucously to cynical, anti-consumerist raps and electro beats. It was impressive to see front-man Passage bring his staccato, anti- . capitalist rhymes to life on stage with such precision and stamina. Rve years ago, Why? wasn't much more than the stage name of Yoni Wolf, a nerd rapper from Oakland, Calif, who spat rhymes that sounded more Uke conversation than sUck cadence. Three albums later, his solo work has become a fuU-band effort that touts some of the most unique, well-composed pop songs around. Accordingly, fashionable hipster girls sporting black-rimmed glasses formed the majority of the crowd, with only a few backpackers lurking about. Highlights from Why?'s 2008 disc Alope- November da, such as "Brooks and Waxing" and "The Hollows," got the whole crowd swooning and singing along with Wolf and his band, who were tight as heU from months of touring. Wolf played it straight-faced and coy most of the time, but the masses didn't have a hard time calUng the band back for an encore. To end the night, they laid out a couple of older tunes and the fitting farewell luUaby "Exegesis." Justin Langille Shindig #4 Language-Arts The S tumbler's Inn Railway Club October 7 :j|^^^ As we descend into Vancouver's nine-month rainy season, let us give thanks for Shindig, the city's best excuse to get drunk and Usten to bands when you would normally be bitching about the weather and going to bed early. First up on night four were Isotopes. Now listen. Baseball-themed punk rock looks great on paper—I couldn't have been more excited at the prospect of a Hanson Brothers for the baUpark set—but Isotopes didn't quite have the panache to keep the Ramones-worship- ping, three-chord rave-ups interesting. Despite some instructive banter on the emergence of Tampa Bay as an MLB powerhouse, the crowd had begun to lose interest by the end of the set. Luckily, though, that set only lasted 20 minutes. 'T Next up was the odds-on favourite, Language-Arts. Although the four-piece was heavily tipped to win, I hadn't heard anything about them, except that they sounded like Suzanne Vega crossed with Buck 65. As it turned out, this was pretty accurate, although the singer channelled more Ani DiFranco than Suzanne Vega. The band had a collegiate, music-major vibe, with esoteric time signatures and tonaUties lending a hint of prog to their hip-hop inflected folk-rock Last to take the stage was Stumbler's Inn. They played a likeable brand of country-tinged blues-rock (blues-tinged country-rock? rock- tinged country blues; even?), but by the end of their set, most of the late-night crowd had turned in. And so it went: Language-Arts was the winner, as predicted. They displayed the most poUsh as a band, even if the final product was a litde too squeaky-clean. AlexSmith Shindig #5 Ben & Gorodetsky Boogie Monster The Sappers Railway Club October 14 Our reviewer was ilLbut the Sappers won. Congrats. &*"^H3§Efl Shindig #6 Trembling _ Cargohold Lakefield Hpf Railway Club October 21 Tuesday nights—or rather Wednesday mornings—are not as flexible or forgiving as they once were. Six weeks in and this is the first Shindig I've attended. Weak Better late than never. The Railway was packed with familiar faces, I told a joke (about a dog with a hearing problem; it bombed) during Jokes For Beer, and the bands were so-so. Classic Shindig. Trembling kicked things off. They had an auspicious start, playing catchy, rhythm-driven pop music They also had a drummer with the most earnest headband you are likely to see at this year's Shindig (actually for sweat!?). This was the trio's first show in a year and a half, and towards the end of the set, this downtime became apparent The songs became less inspired and the set descended into an OK Cornputer-era. rock soup. ^lli^Sg Cargohold were up next and took the evening into a wildly different direction. A one-man band, he played dark love songs on synthesiz- - ers and a drum machine (hanging on a modified Ikea shoe rack no less). His stagecraft and outfit left a bit to be desired; a hoodie and baU cap and fist-clenching hand gestures didn't cut it. I think "this music might be a bit more engaging on record, or in a video directed by Depeche Mode and U2 video director Anton Corbijn. The high- point of the set was a cover of the Srniths'"Please Please Please, Let Me Get What I Want." It was a beautiful rendition, a capella save for some scratchy record sounds in the background. Lakefield was up last and definitely had the best energy of the night's contestants. They were also the most competitive band; they claimed to have scored a copy of the Shindig rule book used by the judges (Sample rule: "Guitar solo, -5 points''). The Nine Inch Nails stickers on one of their guitars beUed the fact that most of their songs were buUt upon pretty boy-girl harmonies. The five-piece was the evening's winner, and deservedly so • N|||?^.5S Duncan McHug UNDER REVIEW djbI Mmm Antony & the Johnsons Jto© BiMbas ^CBtac^^Tay Crocker " Lowfish JEiEfeto Iffim The Organ Bad Flirt Jolie Holland ]HED)(SpiM " Priya Thomas ^ Tori Amos Live atMontreux 1991/1992 (Eagle Records) Recorded over the course of two years at the Montreux Jazz festival, Amos' Uve performances give the album a Uving, organic feel similar to looking at old photographs from your childhood. The intimacy of the album is heightened by Amos' fuU- bodied vocal delivery and emotive piano playing, while the minimal rhythm section highUghts the introspective nature of her music. She demonstrates her creative diversity while rocking out a cover of Led Zeppelin's "Whole Lotta Love" in a way that commands a whole lotta respect. "Precious Things" contains insect-like sprawling piano that give the track a robust complexity, while incredibly loaded lyrics such as "TeU me where the pretty girls are/Those demigods/With their nine-inch nails and Uttle fascist panties tucked inside the heart of every nice girl" demonstrate her sensitivity and in- teUectual sophistication. Songs Uke "Crucify" and "Me and a Gun" are stained by a sense of personal loss and a guilty, conflicted reUgious conscience, as she notes between songs that as the daughter of a minister, her childhood involved regular and obUgatory Sunday sermons. Tori Amos'work has been the most appropriate response to Joni Mitchell's iconic 1960's poUtico-musical discourse, and without intent to slander or defame, she accompUshes what Alanis Morisserte set out to do and failed miserably at. Live at Montreux invokes pathos through a glimpse at a powerful woman who has endured the messiness of sexual relationships and personal tragedy, without yielding to bitterness or a hardening of the soul. Mini Salkin Antony & the Johnsons AnotherWorld • , (Secretly Canadian) It's been a busy few years for Antony Hegarty. Since last year, he has worn many different masks, from Bob Dylan cover artist to disco diva to multimedia musical spectacle. Now, with his band Antony 8c the Johnsons releasing their Another World EP in preparation for a new album coming out in January, Antony seems to be signaling a return to form. For the most part, Another World has an intimate feel, as though it might have been recorded in a tiny pub for an audience of 30 people. As usual, though, Antony chooses a few moments to flout aU expectations. In standout track "Shake That Devil," the hushed, spooky opening makes ar sudden about-face to become an amalgam of about three different genres, all of which are bound to blindside anyone famiUar with the Johnsons' oeuvre. (Who knew the press release description of the song as "part exorcism and part Shangri-La" would turn out to be accurate? And when did Antony get soul chops?) Not that the Johnsons were ever easy to categorize. Between Antony's unusual vocals and the band's wilUngness to step outside the comfort zone of genre, they have always resided somewhere in left field. Yet, somehow, Antony's diverse influences manage to blend evenly into the Johnsons' sound—perhaps because he has the most fluid, dexterous voice in pop music, which makes him at home in whatever musical style he sees fit to take on. Miranda Martini Anza Club Sampler Various Artists (Independent) Vancouver has plenty .of great local acts, but it lacks the musical Mecca status of cities such as Montreal, Detroit or NashviUe. Perhaps partly due to the eclectic nature of the scene, Vancouver lacks a marketable sound to caU its own. Nothing demonstrates this fact better than this recent CD created for the purpose of advertising a quadruple biU performing at the Anza Club on Oct. 11. The common feature of the four local acts featured on the disc is that aU of them sound distinctly Uke they come from somewhere else. The disc kicks off with the Dreadnoughts,, a folk-punk five piece, complete with grinding guitars and diddly-dee fiddles. Singing shanties about the sea, these locals sound Uke a Maritime band—right down to the Newfie accent. Up next is Fuzzcat, a ska band that would sound right at home in Orange -County, rubbing sunburned shoul- . ders with No Doubt and Reel Big Fish. These easygoing jams contrast with the aggressive sound of the third band, the Elixxxirs, who also play ska, but with a more percussive, rock-infused bite. Last is the High School Girls, who, incidentaUy, are neither of high school age nor female. The trio play instrumental surf rock, directly descended from Dick Dale and the Ventures: if surfing were possible in the idle waters of EngUsh Bay, their music would serve as an ideal soundtrack AU four groups carry off their sound weU, and, in the case of the High School Girls, with genre- encapsulating flair. StiU, one can't help but wish that Vancouver bands wouldn't try so hard to sound Uke they came from anywhere but here. Alex Hudson Bad Flirt Virgin Talk (Kartel Musik) Bad Flirt's fourth album, Virgin Talk, is the culmination of a lot of touring, hard work and good connections. A lot of connections: the producer of Virgin Talk has worked with other Montreal favourites Arcade Fire and Wolf Parade, Davey von Bohlen of Promise Ring provides guest vocals, and they have toured with every band from the Acorn to Zolof the Rock and Roll Destroyer. But Bad Flirt doesn't need these references; their great music is backed by sheer talent and the knowledge of how to incorporate their influences successfuUy. "Mad, Mad, Madeleine World" is the perfect album opener, with each instrument introduced separately before lead singer Jasamine White-Gluz reveals why the album is baled as an homage to innocence. Throughout Virgin Talk, her vocals maintain a breathy quaUty, even as the music shifts between pop and post-punk The first single, "Hiroshima, Mon Frere" features driving bass Unes, and a synth sample "that makes dancing inevitable. "Independence Day" seems Uke it could have been done by Sleater Kinney if they were feeUng somber, but White-Gluz uses her vocals to create a soaring and atmospheric yet Uvely conclusion. The only thing to fault the album on is the minute of sUence during the ultimate track "Finale." WhUe the last 30 seconds pack a punch, it's stiU an unanticipated, annoying conclusion to a great album. There are no average songs on Virgin Talk, and it should garner Bad Flirt the fame of which they are currently on the cusp. Rosalie Eckert-Jantzie (Mint Records) Having recently celebrated a decade together as a band, the Buttless Chaps return with Cartography, their sixth studio album of new material, and what a glorious album it is! Blending folk-country with a bit of atmospheric new wave senti- mentaUty, Cartography takes you on a soft, dream-like journey that you won't want to wake up from. Hard work and dedication have paid off for these Mint Records darUngs— they have become masters of genre blending, and it just keeps getting better with each recording. Opening with the warm textured title track which could serve as the soundtrack for driving across the Nevada desert at first Ught whUe pondering your own inner landscape, the album's theme is set. Both lyricaUy and musicaUy, what foUows is an intense and stormy but beautifuUy layered journey that wiU resonate and Unger in the body long after the last note has played out. Adding much depth is the rich timbre of singer/guitarist Dave Gowans'.voice which captures the attention of and envelopes the Ustener, whUe his bandmates weave intricatepatterns around him, seamlessly blending sounds Uke fine silk threads that wrap the Ustener in a blanket as they warm their hands by the fire. Recommended for both old and new fans alike, this is a band at its peak and Cartography^ a work of art. Nathan Pike Jay Crocker Below the Ocean Over (Artunuit Recording Kompany) Jay Crocker is nothing if* not restless. As weU as issuing his own solo material, the Calgary singer- songwriter plays in a blues band, leads a jazz trio, and has produced a slew of albums for a diverse selection of artists in his hometown. It is of no surprise then, that a desire to be everywhere at the same time seeps through every groove on Below the Ocean Over. Crocker borrows audio bits and pieces without restraint, ending up in a curious generic Umbo that is a Uttle confusing, but thoroughly entertaining. Lead track "July" begins simply enough, with a chugging down stroke groove and the rumbUng of slack bass strings. But the song quickly takes a left turn, its instrumental breaks made up of dissonant guitar feedback and random, tin- lding piano. The instrumental "Below the Ocean Over pt. 24" is even more bizarre, pairing a back-porch guitar riff with samba rhythms and sudden interjections of big band horns. At times, Crocker's arrangements have a touch of Rufus Wainwright theatricaUty, with strings and horns placed high in the mix, interrupting anything that might sound Uke a typical rock song. It's a post-modern mishmash of influences that Crocker manages to carry off weU, as he sounds at home on even the most unexpected of styUs- tic rambUngs. Alex Hudson Glowing All The Way (The Social Registry) Growing's second release on the exceUent Social Registry label, All The Way is a step in the exact same drone-ambient direction from this Brooklyn duo. "Green Flag" kicks things off with a metaUic rhythm while bUps and bleeps go on in the background. "Wrong Ride" continues the haze, and the Ustener wiU start to hunt for their old Kluster records. The Throbbing Gristle- esque sounds of "Rave Pie Only" and "Innit" wiU make any early- industrial enthusiast swoon, and "Lens Around" -brings the Aphex Twin to the party. "Reconstruction" wraps things up with swirUng loops and digital patterns. There isn't a beat to be found anywhere on this album, and that's not a bad thing. If you Uke cloudy days, staying inside and using Gravol and NyquU as recreational substances, All The Way needs to be in your coUection. Luke Meat Jolie Holland The Living and the Dead (ANTI- Records) It's said that artists who try to do something completely original are rarely as successful as those who add an original touch to an existing formula. On her latest release, The Living and the Dead, Texan folkie JoUe HoUand isn't reinventing the wheel and she isn't trying to. She does, however, bring a new self-confidence not present on her other albums, which aUows her to experiment with more ambitious and percussive arrangements. For the most part, HoUand covers famiUar territory—vocals that wind around the melody rather than through it, and an emphasis on meandering fiddle Unes. This is not necessarily a bad thing; many of the best moments on the album are trademarks characteristic of Hol- Discorder Magazine 21 land's work Spooky, brooding songs Uke "Fox In Its Hole" and "Love Henry" showcase her tremulous voice, and nearly every track contains some lyrical gem that proves both her inventive narratives and understanding of folk music are as deep as ever. HoUand sounds as though she has grown comfortable within herself, yet she manages to retain the hesitant sincerity that makes her music charming. Much of the album is devoted to exploring the inherent insecurity and fndlty of relationships, and Holland's vulnerabiUty is exposed in every Une. "That dark horse you're ridin' / Has got to carry me too," she croons at the end of "Sweet Loving Man," a heartbreaking ballad of faUed love. Not Shakespeare, maybe, but that kind of pathos is ear candy no matter how many times you hear it. Miranda Martini Ntett*ftaehtfM vttairttpei tat *»railtoife-jit-a' taa* tik||itiiiiifji Up^p%ftcknataf| ytov&mm ihoiiligtatisyao bmifctiitotjrstswrilo.wxv vBcagftfaartenriit cilfiati Will you look at all that water* FOOTNOTES. Hospital Bombers Footnotes (Saved by Radio) WhUe emulation, .mimicry and pastiche are arguably central to any music making, particularly contemporary pop music, a Une has to be drawn somewhere between inspiration and senseless repetition. Unfortunately, Hospital Bombers' debut album, Footnotes, faUs pretty clearly on the wrong side of this Une, as their infatuation with the Mountain Goats is painfuUy obvious. The Dutch four piece's vocaUst, Jan Schenk, has clearly spent a lot of time honing his John DarnieUe impression, capturing the pimply nasaUty of the indie rock icon almost perfectly on nearly every track of the album. He sings almost exclusively about bored suburban kids, loitering in basements and on street corners, smoking cigarettes and hatching doomed - plots of escape from their mundane existence—a scene more or less mined to death by their hero over the last seventeen years. "Fromuphere," the album's final track and the only song sung by back-up vocaUst Susanne Linssen, begins by counting in the band in Dutch, but then launches into her own aping of DarnieUe, which is even more uncomfortably unnatural than Schenks. Their instrumentation is reminiscent of the Mountain Goats' most recent output, forgoing the purely low-fi, acoustic aesthetic for a more lush pop sound. StiU, no amount of raw- sounding violin and tinny synth can distract from the tired, copycat quaUty of the record. This is a shame, because it seems as though this band can reaUy write songs. HopefuUy on their next effort they attempt to write some of their own. Aaron Goldsmdn 22 Lowfish Frozen & Broken (Noise Factory Records) Richie Hawtin may have a contender for his Canadian techno crown. This is the sixth release from Toronto's Gregory De Rocher, or Lowfish (which is a take on lo-fi "ish"), who, Uke Hawtin, is no stranger to the European techno circuit, having played with electronic sound pioneers such as Speedy J. Currently, that is where the similarities end; whUe the former Plastic Man's sound is becoming increasingly minimaUst and severe, Frozen & Broken is textural and layered, with melodic IDM beats that recaU the UK's Plaid. The signature style for each song is to start out minimaUy, and gradu- aUy add the aural layers in. While this would not be a completely uncommon practice in the techno community, what is unusual about this album is that aU of the songs have a definite beginning and end, rather than either mixing into one another or foUowing through on the vibe from the previous song. This in itself does not detract from Frozen & Broken, but in combination with the manner in which the songs are ordered, there is never reaUy a complete sonic upsurge, taking die release's title to quite a Uteral level. This is music to come down to; it never reaUy buUds up a vibe to keep you dancing but it is also too beat laden to sit stiU through. Any DJ worth his/her Special K knows that it's aU about the wave rather than the roUercoaster. Melissa Smith Krista Muir Accidental Railway (Indica Records) For eight years, Montreal resident Krista Muir performed and recorded her music in her Lederhosen Lucil persona: an oddbaU caricature of what some North Americans might assume to be the quintessential German country girl stereotype. As inane as this shtick might seem, Muir's brand of pop- rock performance art was a success that yielded many tours abroad (accompanied by pal Kid Koala), criticaUy praised albums and a 2006 boob that detaUed her elaborate costumes and artistic ethos. This time around, Muir has put her alter ego on hold in order to explore a plethora of personal dimensions and unique sound concoctions. Throughout these eclectic 13 tracks she waxes philosophical ("Summer Eyes"), explores dimensions of desire ("When You Were Mine" and "Take Me"), and even serenades a nosy cop on the rapturous absurdist baUad "Officer." Many of the songs on this album are whip-smart pop compositions wound so tight that they almost come off as garden variety. However, they are adorned with . enough ambient sound samples, whimsical miniature drones and colourful lyrical styles to make Accidental Railway stand out from the usual Canadian singer-songwriter crowd. Justin Langille November The Organ Thieves , (Mint and 604 Records) Defunct since 2006, the Organ have returned for fans with one final EP, a dual release from local labels Mint and 604 Records. Songs on the EP wiU be famiUar to die-hard fans, as "Let the BeUs Ring" came out on a 7" in 2005, and the remainder of the songs have previously been played Uve. Thieves is a coUection, of songs which would have comprised part of a foUow up to their 2004 album, Grab that Gun. And what an album it would have been! Though only seventeen minutes long, there are some gems contained on this short release. "Even in the Night" sets the tone for the EP, and wiU immediately draw Usteners in with the solemn finaUty of the organ, and the assurances from singer Katie Sketch that "it's going to be alright." On "Rre in the Ocean" Sketch lets loose, her voice sounding as though it's about to break throughout the piece. The organ is understated, the drums are steady, and the crescendo at the end is bittersweet, as it is over too soon. That is not to say that there is nothing that Thieves could do without. "Let the BeUs Ring" is a perfect example of what Morrissey would sound Uke as a woman: good for a cover band looking to branch out, bad for talented musicians with their own soUd sound. However, this is a sUght bUp on an otherwise superb release. The EP ends with "Don't Be Angry," a slow, mournful tune that provides a fantastic conclusion for a wonderful band, something that fans have needed for far too long. Rosalie Eckert-Jantzie and false eyelashes, the juxtaposition of nature and culture and the thematic premise of forcing something to be what it isn't is evident before even Ustening to the music. Written during a winter spent in exUe in East Germany, the titles or the tracks are not conventional song titles but rather snippets of sentences found within the lyrics. "I'U Be A Ghost For You" is heartbreaking in its honesty, as Spoon sings of a love that, although strong enough to transcend the flesh, does not negate the singer's need to equate death with finaUy finding a home. Although much of the subject matter is sinularly dark (coloniaUsm, agoraphobia, aUenation), what saves the album from being a morose, self indulgent release is that aU of it is sung in Spoon's sweetly hopeful voice, without a trace of bitterness or pity. If there was ever a testament to the resiUence of the human spirit, this is it. Melissa Smith U8M? RaeSpoon superioryouareinferior (Independent) Many CDs cross the desk of a reviews editor over the course of a month, and it is a rare day when one is so weU loved that it has been played several dozen times in the lead up to review, but such is the case with superioryouareinferior. This is the fourth offering from Rae Spoon, a deeply personal album written about the emotional and physical reaUty of Uving as a female-to-male trans- gender person in Canada. With its collage cover art containing a deer wearing electric blue eye shadow Priya Thomas Blood Heron ^Sunny Lane Records) Toronto musician - Priya Thomas' new album is a coUection of songs with a Uve, one-take vibe, which locates her somewhere on a scale between Ani DiFranco and Ben Harper, and deUvers a fuU dose of her energy, presence and feeUng. It's no surprise to discover that these songs were written on the road, and the result is an album fuU of grainy, lo-fi textures, as titles such as "Wine, Moonshine, Sugar Beams" and "FareweU Creek" suggest. In the opener, "Your Guitar, My Undoing," her acoustic guitar finds the perfect midpoint between melodic hum and infectious, chunky, percussive rhythm, whUe on "VigUante" she coats mean vocals with a bUstered layer of electric guitar. On "Had I Known, I Would Have DecUned," Thomas works more detaUed acoustic patterns which underpin quieter, reflective vocals; but even as the spectrum of emotions strays from attitude to longing and regret and back again, the raw atmosphere of this album stays constant. Although the words seem at times to dissolve into the textures of the music, and spUnters of lyrics spin out and accumulate into impressions of love, loss or anger, there are definitely no smooth edges here. Blood Heron rewards the Ustener's attention with a journey of crunchy attitude and moments of ragged grace. E. E. Mason Tour De Fours The New Standard (TotaUy Square Records) The New Standard is the second CD from Vancouver duo Tour De Fours. Opening with the rousing number "I Taste The Glue,1" one might feel Uke they're Ustening. to Nick Cave combined with some precursor to Leonard Cohen's "Everybody Knows." Another interesting track is the carnival music themed "Lights On," showcasing singer Tyler Greentree holding things together with her silky and commanding vocal presence. With its coUection of strings, piano and electronics topped with dramatic vocal interplay, this is music that seems to be trying way too hard to separate itself from the norm. Exploring the reaches of musical boundaries and blending uncommon genres in order to offer a fresh sound seems to be the industry standard, and some bands are able to puU this off with amazing results. Unquestionably, there are folks out there who would love this gothic caravan of sexy vocals and the strange musical meanderings created by Chris von Szombathy and Tyler Greentree. Unfortunately Tour De Fours just don't grab these ears in any meaningful way and if this is truly the new standard, then the future is dim for this pair. Nathan Pike W Are you passionate about punk? \ Mental for metal? Happy for hip-hop? : If so, Discorder wants to hear from you! Under Review, the album review section of Discorder, is seek- : ing music fans and aspiring writers willing to contribute reviews • on an as needed basis for the punk, metal and hip-hop genres. '. Besides the thriU of seeing your name in print and being able to • refer to yourself as a published writer, reviewers also get to keep ; the albums they write about and forage through our free CD • box. : If you are interested in contributing your skills, please submit • a review from your chosen genre. Reviews should be 200 to 250 : wQrds in length, and written from an objective viewpoint (refrain • from excessive use of first person). 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Artist Album Label j 1 : Legendary Pink Dots : Plutonium Blonde \ 2 : Various* [Ate Your Legs 3 : Stamina Mantis/Shearing Pinx* : Split 5**SP§|p?^ : 4 ; Kellarissa* : Flamingo \ 5 ; The Good News* j The Good News \ 6 ; Hexes And Ohs* : Bedroom Madness : 7 JRaRaRiot \ The Rhumb Line \ 8 j Bison B.C.* \ Quiet Earth \ 9 ; Tobacco : Fucked Up Friends \ 10 : The Buttless Chaps* \ Cartography I H i LandbfTalk* j Some Are Lakes I 12 : Blitzen Trapper : Furr I 13 j Defektors* '-NoTo TheNite/TomToPieces iRoir ; Thankless : Reluctant \ Mint ■ Independent .': Noise Factory i Barsuk j Metal Blade j Anticon : Mint j Saddle Creek i Sub Pop ': Nominal : 26 : The High Dials* [Moon Country ; Independent j 87 j The Stolen Minks* j High Kicks \ New Romance For K I 28 j Talkdemonic \ Eyes At Half Mast j Arena Rock ; 29 l Fur Bearing Animals* j Fur Bearing Animals • Independent ■30 '• Silver Jews : Lookout Mountain, Lookout Sea j Drag City I 31 : Ihe Tranzmitors* \ Live 4 Little More EP '■ Deranged J 32 : Parenthetical Girls -O^i^ '^Entanglements \ Tomlab j-33 j Fucked Up* \ The Chemistry Of Common Life j Matador j 34j Lykke Li \ Youth Novels \ LL : 35 : AU Girl Summer Fun Band \ Looking Into It \ Independent j 36 j Wire - \ Object 47 j Pink Flag j 37 j Deerhoof \ Offend Maggie \ Kill Rock Stars " j 38 j Novillero* \ A Little Tradition \ Mint : 39 : Women* : Women \ Flemish Eye j 14 j Mother Mother* \0 My Heart j Last Gang j 15 j Coin Gutter* \ Pigeonless \ Vanity \ 40 j Vivian Girls \ Wild Eyes \ Plays With Dolls j 16 j Aids Wolf* \ Cities Of Glass ' \ Skingraft ■; 41 \ What's WrongTohei?* j What's Wrong Tohei? j Independent j 17. j The Pica Beats j Beating Back The Claws Of The Cold i Hardly Art : 18 ; Portasratic S Some Small History \ Merge j 19 j D.OA.* \ Northern Avenger: \ Sudden Death : 20 : Lady DottieAndlhe Diamonds : Lady Dottie And The Diamonds I Hi-Speed Soul \ 21 : Flying Lotus : Reset \ Warp j 22 : Stereolab \ Chemical Chords \ 4AD : 23 : Various* \ The Aaargh! Annual: Vol. 3 \ Aaargh! I 24 \ Various* : Emergency Room Vol. 1 : Nomial • 42 : Menace Ruine* \ The Die Is Cast \ Men8 : 43 jWoodpigeon* \ Treasury Library Canada \ Awesome Calgary Awesome : : 44 : Brightblack Morning Light: Motion To Rejoin \ Matador : 45 ; Bears ; Simple Machinery \ Independent j 46 j Chad VanGaalen* j Soft Airplane \ Flemish Eye/Sub Pop : : 47 ; Mogwai ; The Hawk Is Howling \ Matador j 48 j Fleet Foxes j Fleet Foxes \ Sub Pop j 49 : Young Rival* • Young Rival \ Independent :25;KarlBlau \ Nature's Got Away ;K \ 50 \ You Say Party! We Say Die!* : Remik's Cube THE BEST DEALS IN TOWN FOR A MEASLY 15 BUCKS. §Kl Audiopile 2016 Commercial Dr. (or, free for station members) Scratch Records 604-253-7453 Devil May Wear Full Tilt Tuesdays People's Co-op 604-687-6355 Beat Street Records 198 E. 21st @ The Republic Bookstore 439 W. 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DEBWUNTER Microcastle CO/LP Here it is, the highly anticipated follow-up to 2007's Cryptograms alburn (Pitchfork gave it 8.9!) which launched the band into the stratosphere of hype. Microcastle was recorded over the course of a week at Rare Book Studios in Brooklyn, New York with Nicolas Verhes in April of this year. The album was recorded as a four-piece consisting of Bradford Cox, Lockett Pundt, Joshua Fauver and Moses Archuleta. "Saved by Old Times* features a vocal collage by Cole Alexander of the Black Ups, and the album also features two songs with lead"vocals by guitarist Lockett Pnndt, Agoraphobia; and 'Neither of Us, Uncertainly. WLP 14.98 .£& CRYSTAL SIMS Alight Of Night CD OF MONTREAL Skeletal Lamping CD Of Montreal's critical breakthrough, M Fauna, Are Yon the Destroyer?, catapulted I the band to the upper echelon of indie stardom, j The album landed on over 30 major year-end lists including Paste, Pitchfork, Rolling Stone, and Associated fass, and sold over 100,000 copies. A year ami a half later, of Montreal are back with Skeletal Lamping, one of the most eagerly anticipated albums of 2008. Skeletal Lamping absolutely delivers. It's a complicated and dense thrill ride packed wtth slinky grooves that demand a physical'response. It's unpredictable, completely unique, and epic. And while of Montreai'S'Slbums have always been epic, Skeletal Lamping is an unprecedented achievement that will be talked about for years. C016.98 Hand cake Car Alarm CD "The exciting sound of a well-oiled band. Car T >.( Alarm is fhe Sea and Cake's eighth full- length record. It is bracing, like the surge of ' wasabe on sweet sushi, like the slap-of cool water on a diving body, like the head-rush of a roltercoaster just leaving summit. Bracing ;--,"^6lc is most often encountered in concert. Only the^^ffesfrftterlsha^K translated the live thrill into the recording studio. Think of the greafjwdr^ffi ' hands, the Charles Mingus Quintet, the John Coltrane Quartet, the Meters or the Minutemen. For them, there was no gaping chasm between the studio and the road; the studio was just another stop, a gig, a continuous part of the flow of playing and working and creating together. Listen to the intricate intertwining strings of Sam Prekop and Archer Prewitt and you'll hear the frontfrne of a forking unit that has moved seamlessly from the stage to the studio and back. The aim with Car Alarm was to follow up quickly on Its ' precursor, the somewhat stripped down It has the breezy, open, crisp sound that The Sea and Cake have spent 15 years crafting, but Car Alarm also has a palpable edge. That's the edge of people who know each other well *jjm enough to push a bit harder, |^o aren't worried about ruffling each other's .feathers jBfJbying somethinftidttrent, difficult, intaftivs, trusting. SJrheftjing bracing. Here'tis. CD 14.98 \m ' " M - A »*"l* ">■>' .- ' There's a buzz coming up from the underground and it's the fuzzy, hissy warble of four-track recorders. As the'major label infrastructure crumbles and our outdated airwave: are overcrowded with overcompressedLand disposable digital pop, indie kids are harken- ing back to the lo-fi heyday of the early 90's with analog purism and a DIY ethic held close to their hearts. Crystal Stilts are just one of a handful of new bands (Vivian Girls, Blank Dogs, The Intelligence, Sic Alps, Times New Viking) shooting straight into the main vein of cooler-than-thou skinny i white kid music (VU, The Smiths, Joy Division, Felt), but their dour mood- rock crackles with an excitement that a garage full of reverb can't muffle. Their breakthrough show was an opening spot for legendary New Zealand indie band The Clean, whose Hamish Kilgour reportedly said they were the best thing he'd heard since The Jesus and Mary Chain. So if you're old enough (or cool enough) to remember Kiwi pop and JAMC, dig this scene before it's all dyp, out •* -v*. J|\tj THE FLAMING UPS Christmas on Mars CD/DVD Welt, they finally did ft. Six years in the making, ifs the heartwarming, mind- bending sci-fi Christmas epic from America's favourite freak-poppers, The Flaming Uns. Starring all themembers of the band, include ing visionary frontman Wayne Coyne (who also directed irje Mm) fet^fe passionate alien superbeing. Also featuring a soundtrack composed and performed by the Lips, and acting performances from famous friends like comedians Adam Goldberg and Fred Armisen It's a tale of inspiration and hallucination—youtlt laugh, you'll cry, and you'll scratch your head as you viwriderhow-a-fock band-with tjo knowledge er experience^ of filmmaking managed to produce?major work of independent dnema.. Truly, they are the Fearless Freaks. **0" -- CD/DVD 19.98 COLD WAR KIDS Loyalty To Loyalty CD We are engaging iri a great debate — is there such a thing as "classic indie rock"? Can it be made in this current era? And does the term add anything to the larger discourse around popular culture and music production? The discussion takes place in the comments ^ secttoR^irfi^^^TH^'rni^t^igs and really the fervor is extremely interesting as it attests to the sheer passion that a band like' California's Cold War Kids can elicit from their loyal fanbase. After a two year lay off the blistering band is EaeKTietterthan ever and truly capable of pennlng^iie 1 1 esSnflaltunejs thaTmsfousf further the cannons of indie r<^kaOrfhu\ \ making them potential caMtjkws? WI CD 12.98 SEBASTIEN GRAINGER Sebastien Grainger and the Mountains CD Sebastien Grainger & The Mountains is a record that reflects the majesty its title suggests. Big ___ pulls out all the GANG GANG DANCE Saint Dymphna CD s been a long wait since God's Money estab- I fished Gang Gang Banco as the front-runners of second-wave Brooklyn psyeh in this decade (if you consider Animal CoUective and Black Dice the first wave), but they haven't been wasting their time. Saint Dymphna is a much . different animal than rts predecessor: the tribal beats, spaced-out new wave synths, and incantatory dervish vocals are stilt there, but the studio gloss* has been amped way up, and the songs tightened and focused into actual - melodic pop. With "House Jam" and "Princes", the band throws balearic Italo-dlsco and grime MC Tinclty Strlder into the mix, white elsewhere incorporating modish African guitar stylings and massive, .dreamy washes of shoegaze guitar noise. More resolutely now than almost anything out there, Saint Dymphna bestrides the globe, surfing across music cultures as effortlessly as an iTunes shuffle. Gang Gang Dance is the post-everything pop of .the future: ancient arttFrnysfic drama performed with futuristic technology fey musical wizards. We consulted the oracle, and all signs point to Saint CD 14.98 le prices in effect uirMIOfctolwr 31,2008, MATTHEW HERBERT BIG BAND There's Me and There's YeuCD |5P Matthew Herbert's dazzling new album There's Me and There's Yon is the most seductive, sophisticated and subversive collec- illWH&Rretest son9s ever recorded. Blending lush jazz instrumentation, "SSo|pH>8aeals,:fascinating rhythms and a secret underground arsenal of jd .Ots^wlfsarnples, it marks Herbert's second collaboration with his big 7 band. Effortlessly wrapping deluxe avant-jaEZjfftn^^s around polemical lyrics and artfully selected noises, the album's dsppfwt theme is power and its abuses iqJjjgEgfcr. century. The album's dense mix of audacious samples includes the sound of 70 condoms bang scraped along the floor of the British Museum, a match being struck in the House of Parliament, one of t DO-nails being hammered tnto^plj^vocaJs' recorded at a landfill i and a McDonald's, and 100 credit cards being cut up, among other things. Recorded with a vast community of musicians and participants, There's Me and There's You has a declarator) on the cover signed by ali parties involved: "We, the undersigned, believe ff|pusieal can still be a political force of note and not just the soundtrack to over-consnmption"?,".."- G014.98 chords, soaring choruses, and Sebastien s voice paint the portrait of a man still climbing. While lyrically arid musically, Grainger's taken a sidestep away from the'more aggressive approach of his past musical pursuits in favor of a more reflective and personal style, he still knows how to rock ft Mien necessary.. Palling no punches, Sebastien s crafted a muscular and smart rock record that will surprise people expecting him to relive his past. Best known for his contributions as singer and drummer for Canadian dance-punk duo Oeath From Above 1979, whose decadently catchy anthems took the world by stbmvwrtb the release of their break- through record You're a Woman, I'm a Machine in 2004, Sebastien Grainger is soon to be even better known to the world as a singer and songwriter of sophisticated distinction. CD 14.98 IADYGAGA Hie Fame CD Fueled by heavy dance traefes^rf1 popping electronic beats, The Fans, the first album by the glamorous Lady Gaga, is a well-crafted . sampling of feisty anti-pop in high Quality. Already a famous female DJ in ' her own fight, Lady Gaga (nee Stefanl G stops on The Fame, injecting hard-hitting synthesizers and crashing bricks and grooves. CD 14.98 OTHER PROMISING CANDIDATES... THE JOLTS -IIAWTfEVfJiTAGtCD/LPl^wawllaWe on Vtnyl) UTTLE JOY - s/llf^ GIRL TALK - Feed The Animals CD mvritrjpw^^^ PIT ER PAT -High Time tyK^f LOO REED - Berlin: Uve at St. Ann's Warehouse CO SUBHUMANS-Death Was Too Kind CD VARIOUS - Eccentric Soul: The Young Disciples CD MAVIS STAPLES - Live: Hope At The Hideout 6ft % FINAL FANTASY - Plays To Please 10" DILLINGER FOUR - Civil War CD THE CURE -4:13 Dream CD/2 LP THE HOWLING HEX -Earth Junk LP/CD DAVID GRUBBS - An Optimist Notes the Dusk UP/CD MF DOOM - Operation Doomsday CD/2LP KMD - BLck R_st_ards CD/LP SECRET MACHINES -s/t CD CHRIS BROKAW-Canaris CD f THE DEAD C - Secret Earth CB^ THE LAST P0G0- The Last Pogo: Toronto Pur* Rock 1978 DVB SHEARING PINX/STAMINA MANTIS - split f WINDY & CARL - Songs For The Broken Hearted CD/2LP THE DEAD.C-DR503 +Sun Stabbed EP 2LP DANIELSON - Trying Hartz 2CD WILDERNESS - (k)no(wjhere CD/IP FRIDA HYVONEN-Silence Is Wild CD/LP SERBIA RYDER - Is It OK W, . JEAN GRAE - Evil Jeantask||lpp* ARCTIC MONKEYS-Late Night Tales V/A-Fly Girts! V/A - Dancehall: Tlie Rise of Jamaican Dancehall Culture MANU CHAD - Radio Bemba Sound System Re-Issue MANU CRAB -Babylonia En Giiag»#f^|^ MANU CHAO - Proxima Estacion: Esperanza THE SMITHS - The Sound of the Smiths: The Very Best Of... IAN TYSON - Yellowheatf Tj^fwsniiw.'.^ MEW ORDER - "Movement," "Power, Corruption & Ues," 'low^fe,'^aBroHiert»ood',aml "Techirtatte" DELUXE EDITIONS ZULU ART DANIEL COLUSSI The Lonely Shepard November 1-30,2008 He Zulu Records 1972-1976 W 4th Ave Vancouver. BC tel 604.738.3232 www.zu tu records .com STORE HOURS Mon to Wed 10=30-70 Thurs and Fri 10:30-9 Sat 9:30-6:30 i