&t8co*®<$!9l Man 2006 That +2 magazine from CITR 101.9 FM _D__jHI)^ BUY TICKETS AT hob.ca Imam m% __\wt- wAMlmm«_vm K________________&0 ' — ■ mimim______m_mv_^,-,itmi^_mm_mxmHMm.mmm | purchase tickets (3Q80QS n hob.ca or ticketmaster.ca 604-280-4444 2 May 2006 Editor David Ravensbergen Ad Manager Caroline Walker Production Manager Alanna Scott Art Director Will Brown RLA Editor Kimberley Day Layout & Design Will Brown Alanna Scott Datebook Editor Chris Little Will"Chauncey Danger"Brown David"Creepy Uncle"Ravensbergen Alanna"Bird Flu"Scott Kat"No Life After Discorder"Siddle Graeme"Hot Pants"Worthy Caroline"Snarky Bitch"Walker Charlotte Bourne Marlo Carpenter Arthur Krumins Photo & Illustration Zoe Alexander Guillaume Boucher Ben Frey Beth Hamill Davida Nemeroff Nicole Ondre Lauren Scott Terry Stewart PhieuTran REGULflR:z The Gentle Art of Editing by David Ravensbergen Eaters Digest by Coral Short Riff Raff by Bryce Dunn Strut, Fret and Flicker by Penelope Mulligan Cinema Aspirant by Allan Maclnnis Spectres of Discord by David Ravensbergen Textually Active Mixtape: Islands by Nick Diamonds andj'aime Tambeur Calendar by Ben Frey Under Review CiTR Charts Program Guide Program Guide Bryce Dunn Charts Luke Meat Distribution Lasse Lutick US Distribution Frankie Rumbletone CITR Station Manager Lydia Masemola Publisher Student Radio Society of UBC THE Mohawk Lodge by Ben Lai [elodic Energy Commission by Allan Maclnnis KeepirtgTrack of the Railway by Curtis Woloschuk Club lsThe Hive Part Two 1 QJoel Plaskett, Not An Emergency -*- S * by Ian Gormely "Final Fantasy 24. 24. O T7" O T A T by Chris-a-rffl My i_»A<_» MV Diary Cover Photography by Davida Nemeroff ©DiSCORDER 2006 by the Student Radio Society of the University of British Columbia. All rights reserved. Circulation 10,000. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deadline for the June issue is May 22th. Ad space is available until May 24th and can be booked by calling Caroline at 604.822.3017 ext 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs, and transparencies), or any other unsolicited material. Material can be submitted on disc or in type or via email. As always, English is preferred, but we will accept French. Actually, we won't. Send words to discordered@gmail.com and art to discorderart@gmail.com. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 FM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.3017, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at www.citr.ca or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T1Z1, CANADA. ™E GENTLE ART °FEDITING After the arrival of Rockin' Ruby last month, this column is in danger of devolving into the print version of The Learning Channel's 'A Baby Story," but I just can't resist making the announcement: I am now the glowing uncle of a brand new baby, Madeline Raven Linton—in print already, and not yet a week old. I hadn't expected to meet her for another month, but my sister was struck down with some pregnancy complications that demanded immediate uterus evacuation. My family anxiously gathered around a hospital bed in Seattle for several days, waiting for the labour-inducing hormones to do their job, but Madeline was just not interested in existing yet. Finally the magical and mysterious (not to mention hideously painful) process took hold, and my wee niece was expelled into the world just as Bob Marley's "Exodus" came on the stereo. For real, it was purely coincidental. Now I know Bob's music is the great adhesive that holds humankind together, but seriously, when did he get the power to call infants forth from the womb? Speaking of uncanny powers of conjuration, this month's feature story has got me thinking a lot about Dungeons & Dragons. I was never allowed to play D&D when I was young, for fear that I would utterly lose touch with reality and remain trapped in my role-playing persona forever. It's kind of like when your parents told you to stop making that disgusting face before it got "frozen" in place, except roughly five times more bizarre. I can only imagine my mother's fearful vision of an innocent young David hideously transformed into Sagnor the Barbarian, dispatching neighbourhood children with a battleaxe in his insatiable quest for gold and experience points. Editing.the Owen Pallett article opened an old wound, forcing me to recall a wasted childhood not spent dutifully studying necromancy, transmutation, evocation and the other D&D schools of magic. But when I think about my unfortunate friends that have fallen victim to the life-simulating vacuum of World of Warcraft, I'm pretty glad I didn't roll those perfidious dice when I was a kid. One RPG that I did fall in love with (with parental authorization of course) was the Final Fantasy series, specifically the 3rd instalment (FF 6 in Japan). Pallett's musings on the game's co-existing themes of love and the apocalypse brought a rush of memories flooding back, of late nights spent levelling up and wading through the storyline's overwhelming pathos. In honour of that marvellous game we present Final Fantasy on our front page, where Owen Pallett has the distinction of being the first human to grace the cover in quite some time. We're hoping to appeal to a whole new demographic that likes magazines about people and music rather than rocking chairs and mittens. If you're one of those intrepid readers, don't be dissuaded by my role-playing geekery—read on! David Ravensbergen, Editor Red Cat Records 1307 Mtiin St. New & Used CD's & Vinyl ph. 708-9422 * email buddy®redcat.ca Discorder 3 EATER'S DIGEST Coral Short The Han's Den 651 East 15th Ave, Vancouver, B.C., (604) 873-4555 (Behind the Park on Kingsway & Fraser) Junior the Lion was born in the African Lion Safari near Oakville, Ontario, before moving to a farm in Manitoba with his owner Henry. Henry went on to become the proprietor of Nuffy's Gourmet Donuts on Bridgeport Road in Richmond. One day Henry drove up to Fraser and Broadway to the One Love Cafe with his beloved Junior, now dead and stuffed. Henry's friend Ken, who named the One Love Cafe to symbolize his love for his wife, his mother, Bob Marley's song and "the love between us all, as we are all one," was looking for a new logo for his restaurant: something Canadian yet exotic. When Henry drove up with his fierce and proud stuffed lion, Ken thought to himself, "this is it!" On the 9th day of the 9th month of 1999, the newly revamped Lion's Den was born. The storytelling that goes on in this fine establishment is only one of its eccentric charms. Fellow diner Caelie and I met outside and entered a hard-to-open yellow door at the top of some green and red steps. There are two knobs on the door, so make sure you use the bottom one to avoid confusion. We walked into a cozy, friendly small cafe with leopard print tables and chairs. A retro Pac-Man machine sat beside us, and reggae music played on. We started with the "Caribbean drink," which turned out to be ginger beer and a Jamaican grapefruit mixture. I imbibed the concoction, which was so gingery that it almost burned my mouth, but in a pleasurable way. Caelie enjoyed the equally delicious fruity Ting. The yellow and red menus contain not only Caribbean and Japanese food but fusions of both, with some Cambodian thrown in. Our humungous meals totally contradicted their "small" description and five dollar price tags. Caelie had the Cambodian shrimp stir-fry with noodles, and I had the ackee and salt fish. Caelie's noodles were cooked in an unfamiliar way, leaving them slightly hard in a sesame sauce with succulent shrimp and a wide array of vegetables. The meal came with a distufbingly delicious plain iceberg lettuce and tomato salad smothered in Italian dressing. My meal was mostly purple-tinged rice with kidney beans, with bright yellow ackee—a pear-shaped tropical fruit from the Caribbean with a warm and soft texture—and salt fish that wasn't actually so salty. The prices were totally reasonable and the meals turned out to be very filling indeed. Ken came up to us and initiated a secret handshake with fists all on the same level, intoning "not above you or below you, but with you." He followed this cryptic greeting with a rendition of the Junior the Lion story for the entire restaurant to enjoy. Junko, Ken's wife, suggested the parfait for a post-storytime dessert. Delicious fruit explosions of fresh orange, apple, banana, rice krispies and vanilla ice cream topped with whipping cream and chocolate sauce. Sounds like a visit to the dentist and a stomach-ache, but it was amazingly good After ensuring that allhisnewcustomerssigned the calendar (some days are indecipherable scribbles from all the first-timers), Ken said goodbye to his rasta and musician customers with "Have a creative evening!" And they responded with "Happy 4:20!" as that day was the 20th day of April. I ain't lying. 4 May 2006 «m Bryce Dunn Back from baby break (thanks Davel) with an armful of wax, so let's get right to it. The Ciaoculos are Italian tub-thumpers The Mojomatics joining forces with the Ike and Tina of the new millennium, otherwise known as King Khan and BBQ, to spit out two R&B-laced ditties that bear uncanny resemblance to each other. Not for lack of originality, nay, but rather a case of divine artistic vision. "Walk On" bumps and grinds to the Bo Diddley beat, breaks into a gallop near the end and halts abruptly. Their take on Dee Clark's "Hey Little Girl" starts off nearly identical, but stays the course and still makes you want to shake it. You may be quick to dismiss, but don't let these guys pass you by—take this for what it is, a good party record. (YaMsakana Records, 51 Rue Renaudel, Rouen, France 76100 or www.yakisakana.tk). Attendees to the Dirtbombs/Black Lips tour last month were treated to not only one of the finest fine rock and roll performances in recent memory, but a special commemorative split tour 7" was also on display for the musically savvy (read: geeky) for purchase. On it I was pleased to discover The Dirtbombs rendering a stellar version of Eurythmics "Missionary Man," which has undoubtedly made Annie and Dave the subject of the latest VH1: Where Are They Now? series (ok, maybe not, but a man can dream can't he?). Anyway, it rocks out with their two drumkits out. The Black Lips patented "flower punk" is in full effect on the flip with a track called "Make It," which I originally mistook as "Naked," so it goes to show I should pay more attention to lyrics. A little bit country, a little bit rock and roll, but all Lips just the same—snatch this up if you can, 'cuz once they're gone, they're gone, (no label info, sorry.) Just when you thought the lupine fad was over, Sydney Australia's sons of Sabbath Wolfmother hit the ground running (for the bong), and deliver a seventies classic rock pastiche on their latest single "Mind's Eye," complete with Kansas-style keyboard breakdown, lead (Led?)-heavy guitar and wrapped in a Frank Frazetta (Molly Hatchet fans know what I'm talking about) illustrated sleeve. The other track, "The Earth's Rotation Around The Sun," is a bit of a throwaway, as it's just an esoteric instrumental, but these guys seem to be on the verge of something big, as evidenced by their sold-out show scheduled for later this month. If you're one of the lucky ones, you'll witness greatness, or just another band with Wolf in their name. (Modular Records, www.modularpeople.com). Not since the heyday of The Mummies and their epic "Whitecaps Pt.l & 2" has there been a band so bold as The Christa Min to use a whole seven inch for just one song, but that's exactly what these mysterious locals do with "The Devil And Tex Wilson". Structured around a hypnotic three chords (that for some reason brings The Scientists to mind), some eerie organ and occasional "vocals," the song actually grabs you by the scruff of the neck fairly quickly, and the flow of the tune rises and falls powerfully in all the right places. The real Christa Min would be proud, even if she only likes Silkworm and the Seattle Mariners. Artwork by the ever-so-humble Nic Bragg puts the cherry on this garage-blues sundae, so dig in! (available to finer rekkid shops locally or at CM shows?). A tale of two local labels to end this month's tabulation of all things turntable-friendly—Seeing Eye and La-Ti-Da Records are making the scene. The former are the new kids on the block with an eye for the underdog, in this particular case Ottawa, Ontario punk'n'roll combo, The Million Dollar Marxists. Two new New Bomb Turks-in training cuts from these criminally under-appreciated cavemen blast outta the swamp with the likes of "I Don't Wanna Evolve" and "Mystery 0". Me like to smash! Me like to make loud noises with guitars! Me going nowhere with this! Me likey! (Seeing Eye Records, P.O. Box 88202 Chinatown Vancouver, BC Canada V6A 4A5, www.seeingeyerecords. com). The latter are still-fairly-new kids with a new release from one- man band extraordinaire Skip Jensen. Montreal's bastard offspring to Hasil Adkins and Howlin' Wolf lays down "Honey Child," "Too Far Gone" and "No Good Man Blues" with aplomb, showcasing his instrumental dexterity as well as his penchant for songs that hit hard and stay strong. You won't find these tracks on his recent full-length Abscond, so best find this clear-vinyl gem before they disappear. (La-Ti- Da Records, www.latidarecords.com). Enough reading, now get out there and get these rekkids! Go! GO! strut, fret ™flickef Penelope Mulligan A Streetcar Named Desire Ballet British Columbia Queen Elizabeth Theatre Thursday April 6 Choreographer John Alleyne creates movement so succulent that watching his company dance can be almost hypnotic. This wasn't enough, however, to compensate for the fact that his interpretation of Tennessee Williams' play felt decidedly off-beam. In choosing to make the piece a study of one of modern theatre's most elegantly messed-up characters, the Ballet BC Artistic Director may have given Simone Orlando the role of a lifetime—her Blanche Dubois is complex, compelling and danced to artistic and technical perfection—but he also sidestepped what is arguably the play's molten core. Stanley Kowalski and his wife Stella share an animal attraction that should give any production of Streetcar an overwhelming sexual charge (the title, after all, comes from the couple's metaphor for fucking). Alas, there's no room for this relationship in Alleyne's busy version. Most noticably, he commissions a story adaptation that fleshes out events from the past which are only tantalizingly alluded " to in Williams' script: the closeted homosexuality of Blanche's young husband and his suicide after an exposed affair. The multiple flashbacks were unnecessarily distracting as they jostled with a present already loaded with more scenes than The Nutcracker. Even more problematic was a crucial piece of casting. You can't just put a muscular guy in an undershirt and expect to get Stanley Kowalski. Though Donald Sales is a terrific dancer, it was telling that he was only impressive during solo passages, when relating to a partner wasn't an issue. In fact, Sales was singularly impervious to anyone else on stage. As for Courtney Richardson, her warm, richly sensual portrayal of Stella was wasted on him. In contrast, Edmond Kilpatrick was so plugged in as Blanche's gentlemanly love interest, Mitch, that there was provocative chemistry with anyone he came near. In his duets with Orlando, he seemed to be constantly challenging the self- deluding Blanche to be who she really was. Kim Nielson's economical design consisted of a few strong set pieces that dominated the stage when needed, and Tobin Stokes' live jazz score was mostly a good fit. But the groundwork was never laid for the play's dramatic climax—Stanley's sexual violation of his sister- in-law—so, appropriately enough, it never really happened. Civilized foreplay on and around an oversized bed ended abruptly when Blanche crawled underneath it like a child playing hide and seek. It was oddly stunted, but then so was her sexuality, and Orlando's rendering of the character was intriguing precisely because it kept her in a state of high anxiety. She was damaged and inconsolable, and in a weird way, her exquisite struggles would often threaten to pull the frustrating piece into some kind of focus. At one such moment, I decided that simply calling it "Blanche" would fix everything. On a gut level, though, I was longing for someone to holler "STELLAAAA". THE PLUGHOLE As no preview tapes were available before deadline, I'm flying blind this month and recommending a couple of films unseen. One packs serious pedigree and the other makes my antennae vibrate, so both are still good prospects. Whether you have fantasies of becoming a war correspondent or just want to stay stoked as an engaged, enraged citizen of the world, The Troubles We've Seen: A History of Journalism in Wartime should be tugging at your sleeve. The 1994 British/French/German co-production only recently got a North American release, but its subject—the ethics of war zone reportage—shows no sign of losing relevance. The fact that it predates the recent glut of hot topic political documentaries could make it even more interesting. Shot mainly in Sarajevo in 19 9 3 during two trips made by director Marcel Ophuls (son of Max Ophuls, revered creator of such mid-2 Oth century eurogems as The Lovers of Montparnasse and Lola Monies, if you'll pardon the digression), the film intersperses siege footage with interviews whose high-profile subjects include journalists, philosophers and war criminals (Slobodan Milosevic should be a grimly interesting talking head). Humour and satire provide the leavening agents via vintage movie clips. The 224-minute experience is unlikely to contain any empty calories, but there will be a 15-minute break for pee, tea and stretching. The Troubles We've Seen plays The Pacific Cinematheque on May 17,18 and 23 at 7:15pm. I first learned of Clive Holden's massive art project, Trains of Winnipeg, when one of his 14 short film poems aired on Zed. A visit to the website revealed that the film cycle component spans 40 years and is also accompanied by a book and an audio CD. Threaded together by the notion of a train journey and given sonic heft by Christine Fellows and members of The Weakerthans, the segments include as subjects murder, suburban madness, the grit and bang of Winnipeg's rail yards and the filmmaker's brain-damaged brother, whose vocabulary shrunk to nine words as the result of a stroke. I get the feeling that the Vancouver Island native has done something really important with all this and am glad that the Cinematheque is offering a big-screen chance to take a look. Trains of Winnipeg: MPSm Poems plays May 31 and June 1 at 7:30pm. CINEMa ASPIRANT Allan Maclnnis Is cinemafoodfor your soul, and is your soul hungry? Cinema Aspirant offers glimpses of gems to be rescued from the wrechige of your local video store. Peter Waxkins and Punishment Park Imagine this scenario for a film: right-wing Christian conservatives have seized control of the US government, and anyone who criticizes their agenda or their unpopular war overseas is regarded as an enemy of the state. The civil rights of leftists and dissidents are suspended and they're herded into kangaroo courts, found guilty of treason, and given a choice between a lengthy prison term or enduring a 50-mile trek through a desert obstacle course, while national guardsmen and police-in-training hunt them down. During the tribunals, the dissidents hurl their protests against their government and its evil war on deaf ears—the conservatives accuse them of hating their country, and whatever they say only further convinces the tribunal that these are dangerous subversives. Communication fails to occur; polarization is terminal. Did you imagine all that as happening in a contemporary setting? One certainly could, but the above is in fact the premise of a little-seen film from 1970, Peter Watkins' Punishment Park. Its release on g DVDin2005wasthefirsttimemostpeople—including B devoted cinephiles such as myself—had heard of it, and its director, expatriate Brit Peter Watkins, is far from well-known. Because of Watkins' uncompromising commitment to his ideals and probing criticisms of mass audio-visual media, he has been branded a paranoid and ignored for most of his nearly 50 year career. Even devoted film geeks often know only one of his films, his confrontational pseudo-documentary about the probable effects of nuclear war, The War Game (made in 1965—almost 20 years before Threads or The Day After). The War Game was produced and then buried by the BBC, when they realized just how horrifying a film he'd made. Watkins went on to make the rarely screened cult hit Privilege for Universal, which played at last month's Big Smash festival (Universal have no plans to release it on DVD). Watkins left Britain soon thereafter, to seek a climate where his work would be more warmly received. He has since worked in Sweden, the USA, Denmark, Norway, France, and Canada; It was there, in 2003, that he met Oliver Groom, of the Toronto-based distribution company Project X. Thanks to Groom, at age 70, Peter Watkins—who now resides in Lithuania—may be finally finding an audience. As of this writing, three major Watkins films are available on DVD through Project X: Punishment Park, Edvard Munch, and The Gladiators. Groom says of Punishment Park that "many [viewers] are surprised at how effective and topical it still is and wonder how it has remained undiscovered for so long." Aspirants are urged to explore Watkins' other work on their own (note that Edvard Munch was described by Ingmar Bergman as a "work of genius," ■sB. I and is one of the few "lives-of-the-artist" films that ■%S|G«i**f d°es justice to its subject matter). kO^jBP Like many of Watkins' films, Punishment Park II situates itself in a grey area between documentary and fiction filrjamaking. As Watkins notes, "The young people in the film were radicals, and some of them had already been in prison for their beliefs." The views they express are largely their own, and much of their dialogue is improvised, as is that of the conservative tribunal members and police (many of whom were actual conservatives or former police). The premise of the film is based on actual law—the McCarran act, a "draconian U.S. legislation [which] provided for the setting-up of places of detention (in effect concentration camps) for those accused by the government of subversion." The formal aspects of the film also have much in common with documentary filmmaking; camerawoman Churchill was told to "make it look like news footage," and Watkins ■*M» often had her jiggling her handheld 16mm camera to give the film a gritty authenticity. Interestingly, some audiences at the time believed they were watching actual events taking place. Watkins notes that "when Danish TV showed Punishment Park, the Danish press reacted in anger against the U.S. for having such an iniquitous system, then had to retract when they realized that the film was a constructed fiction.... Why the Danish press should have been surprised by this, I'm not sure, since they should have been aware that all film and TV is constructed, that in many senses every audio-visual act is a fiction—including the evening news." Prospective Project X releases include The War Game and Culloden, on one disc, followed by The Freethinker, based on the life of August Strindberg. Groom would also like to release Watkins' The Journey, a 1987 international production about the nuclear arms race, but since the logistics of preparing a 14 % hour long for DVD release are somewhat complicated, he recommends we not "hold our breath." See http://www.torontobritpics.com/pxd.htm for more. People interested in media complicity in frustrating participatory democracy, impoverishing public awareness, and promoting corporate and right-wing agendas are highly advised to explore Watkins' media statement online at http://www.mnsi.net/~pwatkins/ , where he also writes at length about his films. I'll have more to say about Punishment Park at Blim on May 30th, where I'll be playing the DVD, followed by a discussion. Punishment Park is as intellectually exciting a film as you're likely to see this year. :<*fflm Ravensbergen FUCK ALTERNATIVE1 w mw's*ss p- to ite mdkian of Vancouver's great j » d^mfy-to-mid80s, My Dad's Ast * xitrf £hepastsixm°n^- ___ _>*w&_^_nho**fc ilb«R_ Worfoj >*«eati«i *0be«i tickets at seratctiiuin.red cat, highlite ► rax*** HOME fj_VHtf '*____& k Birds Of Wales Dan Mangan Benjamin Keith May 23rd | Richards on Richards tickets at scratch, mkurcd cat, highlife | 1 a night in the red light district" with 'ULTRAVIXEN PEEPSHOW and guests Thursday, May 25th THE PENTHOUSE A Javelin Reign The Red Blanket Fakeshark Realzombie BA Johnson Cadeaux Fun 100 Hot Loins and guests ey SI Don*t They? Picastro Son Tranzmitors The Jolts f uck Me Dead Music Waste Benefit guests TBA CASBAHT guests TBA The Weather Paper Cranes Parallels Your Local Music _r Movie Expert ^THURSDAY* uTWMfJIMI •_fe^^___lW W^ "^^^^fe^l"' a. ~ r _* "__JIJ Brand rffiWfroqfij album. / jm» MU V 1 Enhanced CD includes^ *^_____k the video for "Countir#W^^T [ Vans Warped Tour JULY 18 W_ Mj|il RWtfFsl? 1 f f M W* I 15 THE HEW i it 1 ? $ "*«** W0 ;T ili.fr 1 • *** pop f/iaf marked his bt In Concert mflY 25 epffmus/ca/ statement" .-fl?'0 Artfcfc To Mrofch" "Pagan pop genius from oufer space ...Jf you want to be rocked so hard that your teeth shatter then Wolfmother are ihe band tor you" -NME [$10?9] Includes me first single "Woman"! In Concert mRY27 THE [IfJill HI NEWAMSTERDAIVfS 1 Story Like A Scar E Ml tdie _^§5 r k K, vo*?%L ^Nr*j|| Hprrre mt/sfe of The Mew Arristerdams ■bears the distinct sound of an indie ||Vef in reflection. With a heavy heart, m Matt Pryor sprinkles in couplets for lipast lovers and corner bars over §gti__9-iotr rqck frocks that breathe and shimmer."- Rolling Stone I AVAILABLE NOW I In Concert fTIRY 24 Features the single X&tch MyDlseim* 1. Paul Simon - Boy in the Bubble No sense in skirting around the indelible influence Mr. Simon has left on me. This is the first song on the first album (Graceland) that truly leapt out at me as a youngster. I will never forget the memories that this song, and the rest of the record conjures up every time I put it on (which, in order to preserve its sanctity, is a rare occasion). 2. Donovan - There is a Mountain This song follows nicely, with its groovy, upbeat bongo beats. No other song can own the flute the way "There is a Mountain'' can. I like the imagery. WestCoastyl 3. M. Ward - Paul's Song M. Ward breaks the rhythm of 20+ year old tunes with a song released just last year. Heartbreakingly sweet, "Paul's Song" embodies the truth and sadness wrapped up in the life of a performer on the road. 4. Jim Guthrie - You Are Far (Do You Exist)? This is one of my favourite songs of all time. Jim Guthrie crafts such perfect pop gems. He's a Canadian treasure, and his records get better all the time. I blatantly steal all my shit from this guy, and this song in particular. And now he's in Islands! 5. Sparks - Achoo This really takes things up a notch in the party that is Side A. Sparks are, essentially, two brothers from LA, who began in the early 70s playing hyper rock n' roll, going on to influence Queen. This is off their 4th record Propaganda, and it climaxes with a furious flurry of multitracked sneezing put through a manic blender of gated delay effects! How cool is that?! These guys are still at it, and just put out a new record, Hello Young Lovers. Check it out. 6. Chet - Track 03 from Kau'ai Sadly, I don't know the name of this song, but it's gorgeous. Ryan Beattie has a masterful voice that moves with such ease and grace. They hail from Victoria and they're incredible. Check them out. 7. Bob Dylan -Balladof A Thin Man (live version) from No Direction Home This mega-coffee-chain-affiliated release doesn't need any accolades from me, but I don't care. The sound from this recording is so fresh and this is the best organ playing in rock music. 8. Penguin Cafe Orchestra - Pythagoras's Trousers There's so much music I'd like to put on this mixtape, but if there's one group I have to mention, it's Penguin Cafe Orchestra. They were an instrumental orchestral pop group from England that made incredible music in the late seventies and early eighties. This song was playing when a good friend came over to my apartment one day, and after standing at the doorway for the entire duration of the song, he began to cry. 9. Gino Washington - Puppet On A String Gino Washington is a 60s soul singer who came up at around the time of all the Motown greats. Instead of joining their ranks, he did it on his own and was subsequently much less known than his peers. Notoriously tardy, he showed up late for a gig supporting the Stones back in the day, and they had to play before him! 10. Elizabeth Cotton - Freight Train This was the first song I heard by Elizabeth Cotton and it blew me away with its simple, direct arrangement and beautiful and masterful finger picking. She started getting recognition in her late sixties after years of playing quietfy in her home, or the Seegers' home, coincidentally where she worked for years as a maid, stealing away to play on (Pete Seeger)'s banjo. 11. Cannibal Ox - Atom One of my favourite things about hip hop is the clever wordplay involved. Can Ox drop this f-bomb: "This ain't the space race, so why you rushin'?" 12. Fatlip - "What's Up Fatlip?" This is maybe the most honest, self-effacing song in rap music. Fatlip tells it like it is, and self-deprecates overtop an insidiously catchy beat. 13. Viktor Vaughn - "Let Me Watch'' withApani B Apani B is an unbelievable MC and is completely underrated in underground rap. She gets her dues here, one-upping MP Doom's Viktor Vaughn in a no-holds-barred battle of the sexes! 14. Jaylib - "McNasty Filth" The late Jay Dee and his collaboration with the prolific west coast producer Madlib yielded my fave off the record, featuring Frank N' Dank, Toronto- via-Detroit party rappers. If you want to start a party, put this fucking record on. 15. Man Man - Van Helsing Boombox These guys are really really awesome. They just put out a new record. Check it out. 16. Brian Eno - Discreet Music Okay, it's 30 minutes long and would probably take up most of side A on a real mixtape, but fuck it, this song is the birth of ambient music as we know it. Inspired by Erik Satie and an interesting turn of events in his own life: after a debilitating accident, Eno was left bed-ridden. A friend came to visit, bringing with her a record of 18th century harp music as a gift. She put the record on the turntable right before leaving but the volume was too low and the left speaker not connected properly, making it virtually inaudible. The music became, in Eno's words, "the ambience of the environment, just as the colour of the light, and the sound of the rain." . 1. J Dilla - Lightworks This is off the new Donuts album by Dilla. He's my absolute favorite hip hop producer of all time. He gets a kind of black magic quality to all his beats that I find totally mystifying, and I think his passing is one of the saddest things to happen to music in my life. ander Ebenezer Obey - Ewa Wowun 2. Chief Com OjumiRi He's the big name in the African Juju scene. I like the hypnotic quality that he achieves without the layered guitar that is common to most African pop music. It's a bit psych-folk too, but much darker and more danceable. 3. Toby Driver - In the 1.1. library Loft This album of soft, pretty guitar based music is perfect to listen to when you try to fall asleep but aren't quite ready. It's the right state of mind for this beautiful, non-melodic sound. 4. Leos Janacek - On the Overgrown Path One of the few 20th century classical composers who does melodic music I can get down with. A Czech composer who claimed to get his inspiration from the speech patterns of his native language, Janacek manages to keep it very personal and not too nationalistic. 5. Deerhoof - Spirit Ditties of No Tone I wasn't super into these guys before their newest record, but this one has everything I like from pop music. Lots of noisy stuff, amazing drums, and incomprehensible lyrics. 6. Fanfare Ciocarlia - Doina si Balaseanca This is from an album of gypsy music that I absolutely love. I started playing the clarinet so that I could try to play this kind of stuff, but it will be a long time before I can even pretend. It starts off somber and lush, and then jumps into the craziest upbeat dance music ever. The trumpet playing alone is worth the price of the album. 7. Stevie Wonder -1 Was Made to Love Her This is the one of my favorite pop songs of all time. The younger Stevie has a quality to his voice that nobody has ever captured, despite entire generations trying their hardest. Some might think the lyrics in this are a bit facile or trite but when he sings it, I believe every word. 8. Think About Life - Paul Cries Martin has been around Montreal for a while now doing different stuff. This is the first time I heard Graham and Matt I'm so glad they all got together to make one of the best things to come out of this city in a long time. Not to mention they are the sweetest people you could ever hope to meet. 9. Benjamin Britten- Cello Suite #1, First Movement This is absolutely the most moving piece of solo cello music imaginable. I actually find a lot of his stuff unlistenably boring, but this one is so huge and beautiful that I can listen to it a hundred times in a row and it loses none of its power. Arvo Part's Cantus for B. Britten is also really great, but didn't make this mix tape. 10. Cadence Weapon - Lisa's Spider Not a lot of rap comes out of Edmonton, or at least I don't hear any of it, so it's really surprising that Cadence can emerge from the scene there such a mature and original artist. I love his punchlines and his wordplay and his beats are realfy something else. 11. Company Flow - The Fire in Which You Burn Slow I'm the living circle circle dot dot [now I've got my cootie shot—ed.], nobody can touch me. 12. MF Doom - Hero vs. Villain This is off the Operation: Doomsday record, which completely blew my mind when I first heard it. My cousin Ben played it for me a long time ago. He somehow has the inside track on the best unheard hip hop, despite living in Guelph, Ontario and not owning a computer. He told me about Warcloud too, who is amazing and should be found and listened to. 13. Gonzales - Gogol I wasn't a fan of his whole half-jokey rap persona, so it came as a double surprise when I went to see his show at last year's Pop Montreal. It's quite frankly the best instrumental music to come out since Penguin Cafe, and that was decades ago. This song has everything I love about Erik Satie, but manages to avoid any copycatting. Stunning. 14. Daniel Johnston - The Monster Inside of Me Daniel Johnston was a shining light when me and my friends were first starting to make home recordings back when I was a kid. I didn't know anything about his personal life, but they had some records of his at CFRU (the Guelph college radio station) and I loved them all. This song is from the gorgeous Laurie EP and manages to keep all the charm of his earlier songs while being much more melodically and lyrically advanced. 15. Erik Satie - Prelude de la Porte Heroique du Ciel This is perhaps my favorite piece of music ever written. Erik Satie is my favorite composer and he originated a lot of ideas that have influenced many if not most of my favorites who have come since. This one isn't considered one of his major works but there is a quality to it that hits me right where it counts. If I can make one recommendation to anybody, it's to listen to Satie's music, please. Discorder 9 y___J__&?o7.?JI pre Fri May 5th: Fear Zero, The Nextl-rShirf^ Ryan McMahon & Tarll 7pm / @The PIC PUB, 622 West Pender Street Sat May 6th: Whitfield, Orchid Highway, Cinderpop &Shukov/8pm <§ The LAMPLIGHTER 210 Abbott Street Thu May 11th: Pressure Kill Common Style, In Medias Res, Counting Heartbeats & Open Parachute! 18pm @ The LAMPLIGHTER Thu May 11th: Superbeing CD Release Party/8pm @ ATLANTIS, 1320 Richards Fri May 12th: The Painted Birds (formerly Spark That Screams) wl Elias Tour Kick Off Party & Glim Project 8pm @ The MEDIA CLUB, 695 Cambie Fri May 12th: Michael Chase, Andy Collins Tour Kick Off, Madisen & Philippe I9pm @ The BACKSTAGE LOUNGE 1585 Johnston Street, Granville Island Sat May 13th: Madison's Panic, Dan Mangan, Drew Danburry & Aubrey Debauchery 19pm @ The BACKSTAGE LOUNGE Sat May 13th: Crystal Pistol wl Billy + The Lost Boys & The Flairs Double CD Release Party + The Smears 4pm-9pm ALL AGES SWW @ AZURE 770 Pacific Blvd (beside Plaza of Nations) Tix @ Zulu, Scratch & Red Cat Records Sat May 13th: Billy + The Lost Boys CD Release Party wl Pepper Sands, New Years Resolution, Treacherous Machete + Orchards & Vines 18pm @ The LAMPLIGHTER^ Fri May 19th: The Flairs CD Release Party wl Todd Kerns, The Turn & The Furios 8pm @ The LAMPLIGHTER Sat May 20th: Lions In The Street EP Release Party wl Grass City + more 18pm @ The LAMPLIGHTER Fri May 26th: Astoria, Rod Bum, Dan Swinimer & Jason Wilkinson 9pm @ The BACKSTAGE LOUNGE Sat May 27th: AU4 wl special guests 8pm @ The LAMPLIGHTER rockst*rM ENERGY DRINK M§1 10 May 2006 pnder stipfamain $5 qwmk $ WI1C Wfljf fc downtown eastside concert crawl $15 weekend passes available at limelight video, scratch, zulu & redcat june 1st-4th Get full show details at: imuproductions.com CITE 00?.9PM C_^___< Chris is a nice fellow. I should be helping him out instead of vice versa for a change, and talking to Ryder Havdale would be pleasant. I've known Ryder for many years now, beginning when he was in the band Second Narrows, continuing while he was part of Kids These Days and now with his latest project called The Mohawk Lodge. And hey, we could meet at the Fringe Cafe—they have an excellent selection of beverages there. So plans were made, drinks consumed, and a delightful chat ensued. Discorder: The current lineup of The Mohawk Lodge is different from when you first started. Ryder. The Lodge has always been about community, it's always been a bit of a collective. We started the first recording in a cabin by a lake, laid all the beds over a weekend. And then I just brought the 8 track to friends' places, apartments back in the city. So it wasn't really a band in the beginning, it kind of came together as a whole bunch of people, and we ended up with seven people on the record. After the record was done, we ended up playing as those seven people in the band, but on the record a lot of people only played on a couple of tracks. It didn't need as many people for the style of music, so we tried to part it down a bit, due to touring and who could go on the road. It's a different lineup. It's pretty exciting right now, we got Arch from Readymade playing guitar, Cory [Price] is still on guitar, Rob Qosephson]'s still on drums, Ben Labelle on bass. Would you agree that your live shows rock harder than they did before with this roster? Yes, It has definitely gotten more rocking. It comes from the people that are playing in it now. Also, when we were playing with acoustics, there were all the sound problems on the stage with the acoustics feeding back. Now we're just strictly electric, and turning it up. The first record was me learning how to sing. The first record was actually an excuse to write a whole bunch of songs that I can sing to. The next record is going to be the next step. So is there a new album in the works? There is. It's called Bloodlines, the tentative title. It got started after our tour out east in September. Darryl'Neudorf is playing drums on it, and laid all the beds for seven tracks. We came back and have been recording since—did a couple days at the Hive, and also took it up to Lyrically has your music changed? Is there a general theme to the album? Rockl [Laughs] It's still very sincere and honest—to me anyways. Life and Death. This is Chapter 2. Some of the songs were written in fits of frustration or moments of clarity. Actually it's funny because a couple of songs on the last album were about my current girlfriend, and it was a bit of a battle to win her. But we've been living together for two years now, and sometimes comfort is a crutch.'You can only write so many happy songs—J prefer the sad songs. And you seem to be showing ei your vocals. n more assertiveness and confidence with When will the album be released? It's going to be ready for the end of summer. Finishing it with Darryl first week of June, around North by Northeast. We're going to go out there for North by Northeast and stay for a week and mix the record. - ' We like to have three months to prepare records, so it'll probably come out September 1. You created White Whale Records, what sort of work do you do with that? I pretty much run it all. I had a couple of interns that helped out at different points for a couple of days-a week. Everything from website to mailouts to booking shows. Right now I'm working for Endearing [Records], so the Whale gets taken care of at night. Currently there are six bands on White Whale Records, and your own band The Mohawk Lodge is one of them. How do you devote your time equally and make everyone happy? It is hard to focus on your own band when there are five other bands wanting the same amount of time, and you have to be very diplomatic about where you are going to put your energy. But what it comes down to* is that the label matches the energy of the band. If the band is going on the road that's our priority, making sure they got the press, and that they got everything they need. We do have a publicist actually, so I don't do everything. Ken [Beattie] at Killbeat does our press. At times things come up that priority for a certain band. We sort of just fend off everything as it comes in. What is the ultimate plan for The Mohawk Lodge, where do you want to take the band? The thing I love about The Lodge is that it's my project and I'm totally open to it taking any new direction that it wants to go, with new people playing and different sounding records. I feel it's got a long life ahead of it, and I'm not going to be satisfied until I got a whack of records under the belt. Right now with The Lodge we're looking to license [die records] around the world, and just set it up so we can tour and be musicians frill time. That's my goal. Right now you guys are probably the tallest band in Vancouver, [Laughs] I never thought of it that way. Well, we are all working on our posture. If I actually sorted my posture out, we might actually be the tallest band in Vancouver. The Mohawk Lodge will be playing May 6th at the Media Club with Great Aunt Ida, Heartwarmongering and The Metic. Ulustmtion by Phieu Iran Discorder 11 «S^ SL/PS AWAY- -^THE_RESURGENCE OF ELODIC ENERGY COMMISSION J was a young punk kid into DOA and the Subhumans when a friend lent me a decidedly odd local LP, The Migration of the Snails, on which his relative, George McDonald, had played. A theme album, it featured song titles like "Gastropods in Transit" and "Escargot," and had bizarre, snail-related album art The music reminded me of prog rock and Tangerine Dream at times, psychedelic rock at others, but had an arty, ethereal quality that defied easy pigeonholing, and 1 had no idea what some of the instruments listed on the back were (Khaen? Gas and steam bass? DelatronicsP). The strangeness of it stuck with me—but I didn't spin it more than twice, and went back to listening to the Dead Kennedys. ^lt^Im^^ Flash forward 23 years—23 years filled with musical and psychopharmacological experimentation—and I'm standing at Cathedral Square, listening to a city-commissioned art project by Mercury Theatre HI. George McDonald is playing a homemade theremin as part of a space-noise jam, but I don't recognize his name. A few months later, local musician Dan Kibke introduces me to George, in the audience at an Acid Mothers Temple show at Richards 1 Richards, but I'm preoccupied with practicing my Japanese by offering Makoto Kawabata a "special''.cookie and still don't clue in. A few months later still, Dan plays me a disc George is on, and the penny drops: "Wait a second—didn't these guys once record an album called The Migration of the Snails?" And so the old adage is proven correct: when the listener is ready, the musician will come, in this case in the form of the Melodic Energy mmission. Vancouver's best-kept psychedelic secrets re-released their first two LPs, Stranger in Mystery (1979) and Migration of the Snails (1980) on one disc, Moonphase Compendium, in 1997. Last year, the core members of the band, Don Xaliman, George McDonald, and Randy Raine-Reusch, alongside a host of non-local collaborators, released a well-received new CD, Time Is a Slippery Concept, on Xaliman's "indy audio video studio" label, Energy Discs. They're now set to actually try to get heard in the city that spawned them. Describing their music is no easy feat. It's pop music to be sure, and spacy, but difficult to pin down otherwise. Raine-Reusch, who makes a "full-time career in the music biz" as composer, musician, and writer, lists influences from "the Beatles, Hendrix, Pink Floyd, and the Dead," to 'African and Indian music, jazz, and blues." He's fronted a 30-piece didjeridu orchestra and has associated or played with avant- gardists as diverse as John Fahey, John Cage, Eugene Chadbourne, Mats Gustafeson, Jean Derome, and Pauline Oliveros. If you think you're getting close to being able to categorize him, note that he also played various world instruments on Yes' The Ladder and on Aerosmith's album Pump (I), organized festivals in Borneo and has collaborated with Cirque du Soleil, Ann Mortifee, and Alpha YaYa Diallo. Like Don Xaliman (who recently "performed on faglung—a Filipino stringed instrument—for the Governor General of Canada at the Chinese night market"), he is fond of traditional instruments from other cultures. On the new album he is credited with playing flutes, saling, balimbing, shakuhachi, dizi, duduk, and more —a pretty diverse list, given that the overall texture of the disc is electronic. In case you still aren't clear on just how difficult the MEC are to type, there's a rap tune too ("Beehive Jive"), and a track, "For Sure," that evokes Led Zeppelin's "Battle of Evermore," with Xaliman's mystical vocal stylings—at least up until it starts to sound like an Indonesian gamelan orchestra. These guys are slippery indeed. Raine-Reusch, as accomplished a musician as he is, points out that Don Xaliman is "really the core of it all. We all do our own thing and get together when Xaliman calls us." Xaliman, who also plays guitar, keyboards, and writes the band's lyrics, described his process via email: "Over the years commissioners at improv sessions have been enticed to display; a heightened state of creative bliss and it's sonically frozen in time," and added to Xaliman's sound library. Xaliman "restructures the cream to form a composition that never existed before. It's really an extraction process. Harmless, but capable of enhancing or distorting reality. That's why some people refer to our music as psychedelic: we have found ways to create psychotropicafly appearing musical soundscapes with and without actually consuming the elixir. 'Psychedelic' refers to the experience the listener receives, rather than the experience the musician is having. It's really just about painting mystical, magical, sonic scenery...At times the sound is made up of many layers of almost subliminal instrumentation. I use that method to create full and unusual ambience rather than just throw a bunch of reverb, effects into the mix." Xaliman's sources for the new album were recorded over a 20 year period, and include recordings he made of "2000 drummers at the Plaza of Nations and 100 people chanting Ohm in Kits House," to which Randy added dulcimer and George, theremin. As he says, "there ■ are well over 2000 musicians on this album." The band owes much of its popularity in "European space-rock circles" to Del Dettmar, who, Xaliman explains, "learned his chops from playing sheets of synthesized sounds with Hawkwind for their first five albums." Dettmar was in BC to make some money planting trees when he struck up a friendship with the MEC and "helped put the music together for the first two albums. He had a British analog EMS Synthi, the same synthesizer Pink Floyd used on Dark Side of the Moon, and is a true wizard with a wand—a woodsman double-headed axe with a big bass string clamped to the handle. Melodic Energy Commission was fortunate to have a brief ride on his cloak-tail, and even though 12 May 2006 we never sounded much like Hawkwind, we were well received for our imaginative textures." Their long out- of-print LPs fetch hefty collectors' prices in Europe, and their CDs are easier to find in stores there than here. Another reason Vancouverites familiar with the MEC, as Xaliman explains, is that they've "rarely performed live as the Melodic Energy Commission, either here or anywhere else." In 2005, they did a "music and laser improvisation at the Planetarium," called 'Nearly See Clearly,' which Xaliman recorded and may yet release. Otherwise, they hadn't performed with all three core members since the mid-1980s, when they opened for Captain Beefheart and his Magic Band on their farewell tour at the Commodore Ballroom. Xaliman proudly reports that the band received a "heartfelt standing ovation and an encore," got to say hello to the Captain, and were compared to Gong by one of the band members. They also had fun eating the food and drinking the beer on the Captain's rider. I asked Xaliman about his philosophy of music. "Music has the potential of moving energy within our being and altering moods. It's like a movie where you get caught up in the comedy, adventure and dramatic ride. We want you to leave the theatre feeling that you experienced a good story and will come back someday. Like after an invigorating sonic massage. A refreshing vacation to the space between particles of time." As one might gather, there is a fondness for hippie culture in Xaliman, who likes "its tribal integrity and [the way its] morphed itself into a colourful street and village culture." He says, "along with every other cultural influence that's swayed me, I am part hippie, part techno-traveller, and an alien crossbreed." Raine-Reusch concurs: "a lot of the ideas of the early hippie movement I still live with: peace, harmony, the need to preserve nature....I have a hard time with all the greed and war in the world at the moment." Given their music and values, one might be surprised to discover that the members of the band I talked to are not, in fact, big fans of drugs. Raine-Reusch's mother was an alcoholic, so he "stayed away, except for a short and disastrous foray." A Taoist since age 15, he has "focused on deep meditation and trance" in order to enhance his perceptions. Xaliman likewise says that he is "not into doing drugs," and prefers thinking of their music as "Otherworld Music," rather than "psychedelic." (He coyly adds however, "I sometimes partake in sacred herbs with psychoactive properties.") During the peak of their live performances in the early 80s, they did drink a fair bit of alcohol, Xaliman notes. This phase was documented on a cassette called M=E/C2, and a rare 45 rpm single, distributed mostly in California and Scotland. "I never liked the mixes but the music truly rocks," Xaliman says. "Recently I transferred the raw tracks to digital and am looking for a spot of time to mix them properly. They are so different that I may think up another band name for that project..." George McDonald is "presently working way up north in Alberta, searching for oil," and could not be reached for comment. Don says "he's built the most amazing theremin and is anxious to perform with it and his electric guitar," and will definitely be involved in future MEC projects. One release to look forward to, Congenial Twist, will be coming out this summer. Xaliman describes it as "joyous, mysterious instrumentais made with unusual sounds and instruments... composed for a magic and reptiles show. It will have an accompanying storybook for kids." Xaliman is also interested in video and visual art, and has been "intermittently exploring photography and graphics for posters and album covers, recently for Mantravani Orchestra, Orchid Ensemble, Richard Hite and the recent designs for Melodic Energy Commission." Some of his work can be seen on their website, www.melodicenergy. com. The band is hopeful that the internet will pave the way to their becoming better known; though Neptoon and Zulu stock their discs, most of their sales have, as of yet, happened through their site. Raine- Reusch's website is at www.asza.com. JMP3s of a few of their tracks are available at http://www.myspace.com/melodicenergyci Musical adventures await. rlljl NOISE CONSPIRACY lj_h-__7J_l „.„.._„ _______*___ THE FEVER SATURDAY, MAY 20 EARLY SHOW - Doors 7:00 pm -19+ with ID Tickets available at Zulu, Scratch, and Red Cat. ______ SUNDAY, MAY 21 ARCHITECTURE IN HELSINKI FRIDAY, MAY 26 EARLY SHOW! Doors 7:00 pm -19+ with ID Tickets available at Zulu, Scratch, Red Cat, and at the door. TUESDAY, MAY 30 H PNOTIO PARTY - 05/17 | EMERGENZA FINAL - 06/011BUCKCHERRY - 06/02 SPANK ROCK - 06/07 | BURLESQUE NOT BOMBS - 06/09 AMPSTOCK - 06/141 LONDON ELECTRICITY - 06/15 DMC CHAMPIONSHIPS - 06/251 DONALD CLAUDE - 06/29 WEEKLY EVENTS I Play TUE Electronic beats Di NOAH, NIGEL RAY, DANA D ►4STEL_yjAGER/ CUERVO/CORONA UOLLAItACI. WED HiP H<>P - *&B - Reggae J SWING - FLIPOUT 4 HEINEKEN - $2 HIGHBALLS 4.75 ALIZE iSa THU Block Rockin' Boris & Dance Classics DI CZECH - VINYL RITCHIE 2 HIGHBALLS - $4 CUERVO 4SLEEMANS StXY ^i» minAvs ~!$L PM Top 40 - R&B - Hip Hop - Dance J-SWING (THE BEAT) & DI DAVE SAT Top 40 - R&B - Hip Hop - Dance DJ TANNER ■ *_t Illustration by Guillaume Boucher I Get on the VIP/Guest list + Event/Party/Fundraiser bookings 604.646.0064 WWW.PLAZACLUB.NET 881 GRANVILLE STREET PQ 55 1 <§! 1IIIU1 ii -1 'IK. ®* I 3S*?*Sl«_f illilllli lit ill ■flill _•&{:§ gill fi q PCS £<§§> I Iff j _j .««« I §.- @s $ si Hit ill li Ij _>_|^ dial1- Islililii &