tt®cor£>($9% That discreet and professional magazine from CITR 101.9 FM Red Cat Records r mmm&mmm * GREAT AUNT IDA VIEWS SOUNDTRACK THE BUGHOUSE 5 DAVID P. SMITH RODNEY DECROO HEW RELEASES Some things on the red cut stereo... RY COODER 'My Name Is Buddy'-Actually inspired by in house legend OEERHONTER-Cryptograms CD $19.50 Buddy the cat (RJ.P.X Imagine Che (as Buddy) riding the rails and HERALD NIX DEERHOOF - Friend Opportunity CD $19.50 ' sparking socialist revolution in Is middle America. $20.99 CD CAMPER VAN BEETHOVEN - Telephone Free Landslide Viclory CD $23,99 (Impoil) THE VIOLET ARCHERS ARCADE FIE, Neon Bible CD. $16.99 Deluxe CD $19.98 RICHARD BUCKNER-Meadow CD $199 TRANS AM-Sex Change CD $17.99? IP $15.99 OF MONTREAL - Hissing Fauna Are You The Destroyer CD $16.98 FLOPHOUSE JR iH MOUNTAMTOPS Single Life/My Best Friend 7' IP $5.99 RED CAT ART SHOW-March 2007 lost Time' KAREN FOSTER - information Go The Heard CD $13.99 LP $tE99 photos by Hana Macdonald, Jaynus O'Donnell, Carmen Wagner, DO MAKE SAHHINK- You, You're a History in Rust CD $14.98 CD Ryan Walter Wagner -- opening Friday March 2nd 8-10 w W8ca«f>(gsn MARCH H2007 I Editor the Gentle Art of Editing i DAVID RAVENSBERGEN Regulars j Art Director ARLIER THIS MONTH, WE RECEIVED _ Call from Online media is making serious incursions into the ! WILL BROWN E a print shop offering us a quote to print our territory once held by print, and it's getting harder The Gentle Art of Editing 3 magazine. Accustomed to solicitors from phone to convince businesses that their money is best ; Ad Manager Cinema Aspirant 5 companies trying to con me into signing up for spent on a piece of newsprint. Many companies I CATHERINE RANA Allan Maclnnis a new strings-attached contract, I didn't pay it already have relationships with other papers in : RLA Editor much heed. When we followed up on the call the town, and it takes a wily ad rep to lure them away \ DANNY MCCASH Spectres of Discord S next week though, the numbers looked good,, from their established outlets. Still, with enough j Datebook Editor David Ravensbergen and we decided to investigate further. I asked if savvy and can-do spirit, it's possible to get by and . I DANNY MCCASH ; Review Manager Textually Active 6 I could come pay a visit to their shop, to inspect (this is largely theoretical) turn a profit. I CHEYANNE TURIONS Adverbs, Inkstuds their equipment and try to sound knowledgeable For the Epoch Times, however, things are a about plates and ink. They gave me an address in I Layout & Design Riff Raff 8 little more complicated. As an outspoken anti- ! WILL BROWN Bryce Dunn Burnaby, and I strapped in for a bicycle ride out to Chinese Communist Party and pro-Falun Gong j ALANNA SCOTT the wastelands of Metrotown. paper with branches in over 30 countries, they've Copyright! 8 After navigating the surprisingly efficient received a lot of attention for their critical editorial ! Production Team Greg McMulkn BC Parkway bike path, I arrived at a nondescript stance. According to the newspaper staff, some of | WILL BROWN that attention hasn't exactly been friendly. They I MELANIE COLES Mixtape 9 storefront, and began to suspect that I'd made The Dangerous Summer | CHARLOTTE NOBLES a mistake. The low-lying building looked like it told us the Chinese Consulate in Vancouver has | CATHERINE RANA Calendar 20 maybe had room to house a few photocopiers, taken a special interest in Epoch's ad sales, going | DAVID RAVENSBERGEN The Lions but not the sprawling majesty of a web press. so far as to "suggest" that businesses "choose" to | ALANNA SCOTT Entering the office in search of clues, I was greeted advertise efsSwtee?I dSn't want to get involvdotn I CHEYANNE TURIONS Real Live Action 28 with a glass of water but no print shop—I was at someone else's beef, but I suddenly feel likejnaybe Under Review 34 the office of the Epoch Times, not their affiliated Discorder doesn't have it so bad. j Photo & -lustration printing press. As we set out to mend the mistake Political intrigue aside, we've decided to give CiTR Charts | REANNA ALDER 37 and recalibrate my bicycle for coordinates further the new press a shot. It's a little unsettling to turn TheDopestHitsof February 2007 i WILL BROWN along in North Burnaby, I decided to find out how our labour of love over into unfamiliar hands, but ! THE LIONS Program Guide 38 a fellow publication was faring in the newspaper I'm sure this issue will turn out beautifully, barring j JAKE MADISON any Commie interference. But then again, we are | SHARLA MANN The Highlight 39 j TYLER MOUNTENEY CiTR Spring Bash Ad sales are a sore spot for most publications. several years behind on our Illuminati dues... I KATE ROSSITER j ALANNA SCOTT j LAUREN SCOTT IRI6F David Ravensbergen, Editor ] ANDREW TAGGART [email protected] ! BROCK THIESSEN features I Program Guide | BRYCE DUNN Shearing Pinx ; Charts Noise music that cuts the fabric of spacetime I LUKE MEAT in a neat zigzag pattern. Mr 10 ] Distribution I AMANDA MCCORQUODALE Briefs by Lauren Scott j US Distribution | CATHERINE RANA | CITR Station Manager Vancouver on Blast: Paul | LYDIA MASEMOLA ; Publisher Devro & Justice If a bourgeois hipster dances to baile funk in j STUDENT RADIO SOCIETY Discorder is looking for an Art I OF UBC Vancouver, does it make a sound in Brazil? MT Director and a Production Manager. 1777rex Steve Balogh unearths music from the Production Manager Responsibilities: I Art Director Responsibilities: 18th century. W- 22 • Liaise with the print shop on a monthly i Commission work from basis to schedule press date, delivery photographers, illustrators, and artists. Individual Poetry Slam date and printing specifications • Draw, photograph, paint. Championships • Schedule meetings and deadlines. ' Typeset and layout magazine. An incomplete introduction to slam poetry for • Assist Art Director with layout of » Time commitment: Two monthly those who are used to music. 24"** magazine from initial stages through to meetings, preparation for production final proofing and sending files to print, and one production weekend (30+ COVER ART BY WILL BROWN • Time commitment: Two monthly hours approx) ©DiSCORDER 2007 by the Student Radio Society of the University of British Columbia. All rights i Honourarium: $100 reserved. Circulation 8,000. Subscriptions, payable in advance, to Canadian residents are $ 15 for one year, meetings(l 1/2 hours each approx.) to residents of the USA are $ 15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage). Please make and one production weekend (30+ &S_8_ discorder.ca cheques or money orders payable to DiSCORDER Magazine. DEADIUMES: Copy deadline for the April issue issue is March 19th. Ad space is available until March 20th and can be booked by calling 604.822.3017 ext hours approx). 3 or emailing [email protected]. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including • Honourarium: $50 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 [email protected] and art to [email protected]. From Apply by March 9th with resume and 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 cover letter to [email protected]. 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. SEALED WITH A KISS PRESENTS www.sealedwithakisspresents.com HOUT

- FRIDAY MARCH 23 gf jg THE COLUMBIA «.«» V APRIL 2-THE MEDIA CLUB The Apples in stereo WITH GUESTS iliCH 27 WHITEYjfe FROM ENGLAND ^W^P THE MEDIA CLUB

SOULS

SATURDAY MAY 12 *UVE WITH SPECIAL GUESTS COMMODORE BALLROOM ©strike anywhere tkBW THE LOVED ONES STMICflAWO WITH GUESTS TENDER FOREVER MAY 6 H WAY 27 M RICHARD'S ON RICHARDS I RICHARD'S ON RICHARDS v£/ mm I SATURDMfiFfr

* PARTY FlNAi^SHtttw RATJ4TJ4T 120 DAYS DESPOT IJ TV ON THE I MARCH 12 - ORPHtfc\_i_^Sfc I MARCH 28 - RICHARD'S OH RICHARDS I 1 SATURDAY MARCH 24 1

TICKETS FOR Alt EVENTS ON SAtE NOW AT ticketmaster 604-280-4444, ZULU AND SCRATCH iJSC ^^Mm^^^SW: W*k_

IS CINEMA FOOD FOR YOUR SOUL, AND IS YOUR SOUL HUNGRY? CINEMA ASPIRANT OFFERS ClNEMaASPIRANT GLIMPSES OF GEMS TO BE RESCUED FROM THE WRECKAGE OF YOUR LOCAL VIDEO STORE. Allan Maclnnis

Burroughs, Hassan-i-Sabbah, and juggling; there's ample sex and violence and several varieties of Roeg magic mushroom on display (though I would caution against the use of amanita muscarial). While Psychology it may not interest those lacking nostalgia for the excesses of the 1960s, the film is a dizzying and memorable ride. Rumour has it that James Fox felt so psychically damaged that he retired from Few British filmmakers acting for some years after the shoot. have created as energetic and Performance was never available in a decent video version in North America, so the current striking a body of work as DVD release is a vast improvement, even if it somewhat scandalously is missing a line. During Nicolas Roeg. Known for jar­ the "Memo from Turner" sequence, Mick Jagger is seen entering- a closet with a naked man and ring edits, poetic logic, intense raising a glass; in all past versions you clearly hear him say, "Here's to Old England!" For reasons sex scenes, and occasionally as yet undetermined, the line is cut though the scene remains intact-you see Jagger's lips move, shocking bursts of violence, and that's it. at least three of his films are By the way, not that I would ever advocate drug use, but this film amply rewards you if you clean masterpieces and must-sees. your doors of perception first. In fact, just take them off their hinges and leave them somewhere peeps guiltily through a keyhole at a seance. Invoking the voyeur­ Roeg's career as director be­ safe until it's over. ism of the audience, it lends a self-reflexive element to the film, gan with a collaboration with Roeg's two other must-watch experiences are Don't Look Now (1973) and Bad Timing (1980). raising the question of what the ending really means. I would the under-appreciated Donald The former is presently being remade, but Roeg's version is so dense, suspenseful, psychologically highly recommend that you readTtoffhhg more on tKClRlm if" Cammell. Performance (1970) real, and shocking that the new version will no doubt be an embarrassment. Described as "a psychic you're interested, lest anyone spoil it for you. presents a psychedelic explora- thriller", the story follows a couple (Donald Sutherland and Julie Christie) who relocate to Venice, Then we have Bad Timing, sometimes given the subtitle _ rJon into the mind of a sadistic in part for work, and in part to help them forget about the recent death of their young daughter. "A Sensual Obsession", and sometimes the more prosaic "A gangster (James Fox), as un­ Approached by an apparently benevolent blind psychic and her sister, they are advised that their Horrifying Love Story". Art Garfunkel-yes, that Garfunkel- dertaken by a burnt-out, deca­ daughter is trying to communicate with them. The couple's varying reactions say volumes about plays a voyeuristic professor of psychology in Austria. Theresa dent rockstar (Mick Jagger). men and women, the different ways people deal with death, and about our fascination with the Russell is the free-spiritedwoma n he gets involved with. Harvey There are references to Borges, unknown. I particularly love the scene where Sutherland, as our skeptical on-screen representative, Keitel is the investigator—another voyeur—who tries to piece to­ gether how Russell's character nearly came to die, and whether the evasive Garfunkel was complicit. The film deftly interweaves at least two sequences of events: the narrative of the investiga­ 3_imtt£i__a»Mi_t__ii__ by David Ravensbergen tion and the development of the relationship that culminates in the night in question. Alex Mackenzie, of the much-missed Blinding Light Cinema, reports that a film student he knew once re-cut the whole thing and placed it in linear order, to see what it Theory would look hke. "It was as much a prank as an experiment, and quietly acknowledged in the department as a kind of noble and '^Practice nerdy attempt at an inquiry into the central role of editing in the film, using a film which in its time was recognized as a genuine This month I decided to approach the issue of International Women's Day from an archival triumph in cutting style." Men given to controlling behaviour rather than an editorial perspective. I don't have the necessary hold on contemporary gender poli­ will loathe recognizing themselves in Garfunkel's character, and tics to do a women's issue, and I don't particularly relish the thought of singling out female artists women who feel themselves outsiders will be amply sympathetic simply because they're women. Moreover, running a women's issue would serve to highlight the to Russell's. The Criterion DVD is stunning. lack of black content last month, throwing our entire editorial policy into question. Turning to the Walkabout (1971) certainly succeeds on its own terms, but archives, I'm curious to see how Discorder has weighed in on the debate in years past. I'm less fond of it. The story is about two lost white youths found At first glance, the March 1997 issue has little to offer in the way of clarification. The cover and accompanied through the outback by an Australian aborig­ image features a drawing of a woman who looks remarkably like Marilyn Manson, with the words ine. Thematically, the film deals with civilization, sexuality, and "Women have addictive needs / Unique, powerful, destructive / Angry and natural / Will you the noble savage. Eureka (1984) is full of energy and chutzpah, control or respect us, pork chop?" emblazoned across her chest. Unsure if I should identify as pork and you'll be shocked at how many faces you recognize (Gene chop, I read on. Two pages in, Kitty Poulin's essay "Where is Not What You Wear" tries its best to be Hackman, Mickey Rourke, Rutger Hauer, Joe Pesci, and again, a manifesto but ends up closer to academic spam. Theoretical doublespeak is woven around a femi­ Theresa Russell, who married Roeg after Bad Timing), but even it- nist "axis of concern," which is then retracted nearly 1000 words into the article. "I am, however, defenders regard the film as flawed. The Man Who Fell to Earth postponing the bulk of my analysis of this very complex matter for next month," Poulin remarks, (1976) is perhaps Roeg's most famous work, since it stars David before continuing on in her bulky analysis. Nearly halfway through, she gets down to the business Bowie, but I confess when last I visited it, the film seemed a vast kMlefromM_rchl997 of defining her terms. "Very generally, Feminism is based on the consideration and extenuation and scattered mess. An extraterrestrial Icarus story with some of excluded topics; as well as working towards redeveloped conditions of social/cultural/economic are in control and those who fascinating ideas, it bites off more than it can chew, and then existence that may somehow, more responsibly, represent avaried constituency." Suddenly recon­ are controlled, those who are spits it out every which way. sidering my plans to go to grad school, I reach for the March 1999 issue. in for the music and those Roeg's most recent work can be divided into two categories: In the Grumpy Old Dog column, Blaine K explains that the role of women in the music industry who are out for a buck." While lesser films that are, at least, still recognizably his: The Witches, has changed drastically over the last 50 years. The writer locates the change with Madonna, who Britney Spears' recent behav­ Insignificance, Track 29, and Cold Heaven. And then, as Roeg aged progressed from a label-created sex kitten to a self-determined artist. "No one makes decisions on iour doesn't exactly illustrate and began taking TV work, we have his lacklustre and generic her behalf. If Madonna wants to be thought of as a sex symbol, it will be on her own terms," Blaine the strong female presence in Heart of Darkness adaptation, and stuff with titles like Full Body explains. The next example hasn't quite stood up to the test of time. Courtney Love is cited as an­ contemporary music, there is Massage (yecch). Fans continue to wait for a return to form; other female triumph, who has morphed from a "foul-mouthed druggy" into a "glamorous, custom no shortage of artists and writ­ some say Two Deaths (1995) is it, but I haven't bothered. IMDB built movie star." I've seen some photos that suggest her transformation wasn't quite complete. ers who do, and they appear on buzz is strong for Adina, currently in pre-production, but Roeg is Blaine's point, though, is that "the best indication that women have found a definite, incontro­ the pages of Discorder every nearing 80. I'd be surprised, though delighted, to see him pro­ vertible place in the music industry is that there are good women artists and bad ones, those who month, J) duce another major work. «. TEXTUALLY ACTIVE

shuffle when the reader realizes that, yes, they are being spoken to, but LjLQlQjrjpC Adverbs whom is speaking? Handler takes the lead, spinning his reader across a ' by Daniel Handler postmodern dance floor of existence. It is this movement, this allowance Harper Collins, 2006 for mystery, that allows Adverbs to be so literally engaging. c. turions What is dancing? At its most basic, it is swaying back and forth, either alone or with a partner. While reading is a solitary activity, it is essentially the delicate following of another's footsteps, and so reading, like dancing, is both the private party and the tango. Daniel Handler's Adverbs is a tango where toes are stepped on and faces smash into one another. This is not to say that the story is graceless—Handler lays a deli­ cate path, curlicuing through seventeen chapters of adverbs, exploring possible ways to love. What makes this dancing, this reading, tricky and Inkstuds awkward are the names—they recur. Billed as a novel but appearing to be Mary Fleener, Phoebe Gloeckner and Pia Guerra a collection of short stories, Adverbs is composed of a cast of characters that stretch from New York to San Francisco, all of them in the midst of In recognition of International Women's Day, the Ink-studs focus on considering imminent disaster, from failing relationships to volcanic ac­ some of the great female cartoonists this month. While largely a boy's tivity. These many characters masquerade as one another either because club, the comics field boasts some fantastic ladies who make some su­ they are the same person in a different adverb, or merely the same name perb books. Mary Fleener elates readers with her unique mix of cubism, in an adverb all their own. Sometimes the reader is obviously taking thick black inks, and drug-fueled madness. Phoebe Gloeckner's brutal the hand of the same Helena, gracefully dipping her through chapters honesty makes for an uncomfortable read that both shocks and delights. marking different manners of love. Other times, a common name could As a counterpoint to these two pillars of alt-comics greatness, Pia Guerra be just that, and the connections between one Joe and another are but has found acclaim in her own ventures in the more mainstream comics the consequence of a desperate human need to connect dots, or to dance world. despite an abundance of left feet. Mary Fleener's main collection, the Fantagraphics release Life's a The point, it would seem, is that small things, details, knit together Party, collects some of the finer autobiographical work from her earlier a disparate whack of us. Beginning with an adverb that tells a seemingly Slutburger series, published by Drawn and Quarterly. Heener's's style is inconsequential story, Handler quickly draws his dance partner into close reminiscent of Real Stuff s Dennis Eichhorn, but her work clearly show­ reading, giving Adverbs a life of continuity by virtue of detail. "Because the cases her own unique talents. One of my favourite things about reading characters do not engage in a cohesive plot through the myriad adverbs, Fleener's comics is that no matter how crazy and debaucherous things it is the white noise that tells the larger story. Each adverb could stand get, she is able to have a good time through it all, and makes sure the alone and complete, but they are not standing or alone; these adverbs reader enjoys the journey as well. shimmy, the mess of them, together. Random details bear responsibility On a slightly darker side, Phoebe Gloeckner's books provide a realistic for the magic that makes this novel work. These details encourage the look at the seedy underbelly of society. I first got to know her art through reader's dancing feet to fall surprisingly into pattern, and this nonlinear, the fantastic anatomy drawings she did for a couple of Re/Search books, tumbling narrative is, after all, about just such a miracle. What are the including a cover for J. G. Ballard's The Atrocity Exhibition. The main chances?! Well, they are very small, and yet these small things, the ways thing that attracts me to her work is her ability to tell a gruesome story. things get done, are where Handler draws our attention. Gloeckner's topics run a gauntlet from heart-wrenching stories of incest and abuse to the results of a lifetime of drug addiction and prostitution, Through the dizzy twirling of the larger story, with its tangled mess of showcasing her ability to really get into the minds of the characters. names and limbs, the reader is offered a key. Handler accepts responsi­ Many readers will find Gloeckner's stories too disturbing, but I think bility for the storyteller's voice, but this story is not an entirely fictional that's why her work is so important. She really breaks down reader ex­ one. Citing authors and novels and encyclopedias, reference is made to pectations towards "funny books". In contrast to her dark creative out­ our actual world. Yet, it is unclear whether Daniel Handler of "Truly" put, Phoebe has a more lighthearted online presence. Going through her is Handler or merely a character with the same name as the author. blog, you get to see Phoebe the Professor, bringing such creative notables Daniel Handler speaks directly to the reader, revealing his identity as the as Harvey Pekar and Alison Bechdel into her class to pass on their cre­ nameless voice that sometimes interjects in the lives of other adverbs. ative expertise. ?ij*^; C Yet, when he then tells a fantastical story about diamonds, this claim For a lighter journey into the comics world, I thought I should men­ lK|# ||l| to reality is revealed as dubious. Imagination and the verifiable world tion Pia Guerra, one of Vancouver's most renowned cartoonists. Working

sfffl: cMte CWffiSiffl Li fflollL tfol Ci j|fi

'liJ.clJLriv't, P» VINYL & CD'S * ELECTRONICA. & DANCE * ROCK AND/OR ROLL * IMPORTS lllNGLES

as the primary artist on the highly successful Y: The Last Man, Guerra has cemented her role as one of the top mainstream talents. Somewhat ironically, Guerra, a female cartoonist, illustrates this story about all the men on the planet dying of some mysterious illness, with the exception of Yorick and his pet primate, Ampersand. Avoiding the traps of adolescent Tmuv fantasy, Guerra employs a more realistic style to describe the disappear­ ance of the male species. Her artistic progression over the course of Y is • iTfrMtlP.l impressive, recalling the vivid work of Vertigo greats like Mike Dringenberg on and Steve Dillon. Downtown's NEWEST These are just three examples of great female creators. If you feel like exploring further into the world of women cartoonists, I highly recom­ m mend checking out people like Julie Doucet, who has earned the distinc­ CD & Record Store tion of being the only cartoonist name-checked by Le Tigre. She has since «--0«*' left comics to create some fantastic books of collage and experimental 00000 art, maintaining her status as an important modern artist. Rebecca Dart, ISMlil one of Vancouver's best and brightest, recently had her Rahbithead series reprinted in full in Harvey Pekar's anthology, Best American Comics 2006. for Music Sandwiched in between the work of Ivan Brunetti and Chris Ware, Dart's A book ranks as one of the best comics to come out in recent years. For something along Gloeckner's darker lines, check out Debbie Drechsler or Lovers local Miriam Libicki, whose exploits in the Israeli Defense Forces make for an engaging read. For the month of March, Inkstuds will be interviewing some of the top female talent in comics today. Check out our past interviews at www. inkstuds.com and listen to us every Thursday at 2pm on CiTR. f s JTff; I..BI, Robin McConnell h www.remixrecords.ca (604)681-0044 1228 GRANVILLE ST. .1 tmifvii _1 (Just off Davie Street)

Anti-Social Skate Shop The Bike Kitchen Hitz Boutique Puncturhaus Scratch Records and Gallery UBC, AMS, 6138 Student Union 316 W. Cordova 228 Broadway L 726 Richards St. 2425 Main St. Blvd. 604-6623334 604-708-8100 604-687-6355 604-708-5678 604OT1KE The Kiss Store Red Cat Records Slickity Jim's Chat and Audiopfle Bun u's Angels 2512 Watson St. 4307 Main St. Chew 2016 Commercial Dr. 2535 Main St. 604-675-9972 604-708-9422 2513 Main St. 604-253-7453 604-874-9773 604-873-6760 Lucky's Comics The Regional Assembly Beat Street ieiords The Eatery 3972 Main St. of Text Spartacus Books 439 W.Hastings St. 3431 W.Broadway 604-875-9858 3934 Main St. 319 W.Hastings 604-683-3344 604-738-5298 604-877-2247 604-6884138 Magpie Magazine 1319 Commercial Dr. R/X Comics Vinyl Records 604-253-6666 2418 Main St. 319 Hastings St. West 604454-5099 604488-1234 People's Co-op Bookstore 1391 Commercial Dr. 604-253-6442 www.dtr.cQ/friands

A Friends of CiTR Curd scores you sweet deals at Vancouver's finest small merchants and supports CiTR 101.9 FM, Show it when you slept copyfight! Bryce Dunn A new breed of jerk *m threatens creativity by Greg McMullen

How many times have you seen a really innovative new prod­ I'm back! Did ya miss me? Of course you did. Why, without uct or idea and mused to yourself, "Damn, why didn't I think of my monthly musings on music that matters you'd be stuck pon-' that first?" For most people it ends there, but a new breed of jerk dering the strange wonders of the universe, or at the very least is using intellectual property law to re-write history and claim the why Britney shaved off all her hair. But first ask yourself this: bad news bears. Coached by The Ramones, The Riverdales and ideas of others as their own. Meet the patent troll. This nefari­ why did The Badamps have to go and break up on us? Even other teams with memorable names, The 'Topes are taking the ous creature works side by side with the sample troll, employing though they sneakily resurrected themselves for a final FUN 100 . big league by storm, so batter up and keep on swinging boys! underhanded tricks and vexatious legal action to take cash from four-band blowout, they cheated us out of getting to hear more (Isotopes Punk Rock Baseball Club P.O. Box #78046 Vancouver, deserving creators and deposit it in their own slimy pockets. of their perfectly crafted pop-punk finery. Good thing they snuck BC Canada V5N 5Wl). Patent trolls are the more visible of the two villains, thanks to me a copy of their posthumous Two Face EP before finally calling Up next to the plate is a new one from two-gal/two-guy punk the drastic impact they can have, cm financial markets. There are it, in the words of The Queers, a day late and a dollar short. rock combo The Bayonettes, who dutiful readers will recognize two variations on the patent troll scam". The first is sleaziest: Speaking of those New Hampshire heavyweights, The Badamps from Discorder back issues. Their latest prophetically-titled EP lived, breathed and shat The Queers in order to perfect their own claims We're Doomed, but not before we pogo our asses off to the 1. Look for a successful product. sound. Who says you can't rock it like it's 1996? Meaty hooks, punchy pop of "Take this Pill" and current fave track "Let it Go". 2. Find some element of that product that isn't patented, then dirty looks and all the more reason why songs like "Highschool There's a lot of good bands coming out of Toronto these days, apply for a patent on it. Sweetheart" and "Milkshake Murder" should be anthems for and The Bayonettes are right up there with the best of them—let's 3. Apply for an injunction and sue. teen angst, instead of whatever flavour of the month' screamo hope there's a full length in the works. (Deranged Records, www. is in vogue these days. (It's Alive/Black Market Records, www. derangedrecords.com). blackmarketrecords.org). Lastly, and speaking of T-dot, Torontonians Fucked Up were Since said break-up, former members have gone on to forge recently in town to give the West Coast a slap upside the head other musical friendships with their peers, including newest with three shows of manic rock 'n' roll. In the midst of the may­ (and possibly first?) baseball punks The Isotopes, who re­ hem, lead vocalist Pink Eye slipped a copy of his side project into cently recruited free agent Kyi Sharpe to their roster. A two-song the hands of yours truly. On The Bergenfield Four's four tracks, seven-inch is the start of the campaign to get The Isotopes on there's a distinctively lo-fi Black Flag feel that runs through the proverbial scoreboard, and from the sounds of "Around the cuts like "To the Judge" and "Dear Slumlord". "My Sweetheart" Horn" and "You Gotta Freeze", it's a solid home run for these is the one that slows things down a bit, almost reminiscent of Killdozer's plodding pace. If I remember correctly, the copy I had was only a rush-job, and there'll be a proper release some­ |s ISOTOPES time in the future. If they keep the rip-off Crass cover art intact, the record should get some nods from the punk rock elite. I can't help thinking that the guy pictured on the cover looks like my friend Al from Kingston who died a few years back—coincidence? I dunno. (Lowdown Records, 7 Walmer Road, Apt.1810 Toronto, ON Canada M5R2W8). Jj

This kind of patent troll doesn't hope for a courtroom victory, because if the case ever goes to trial it'll be laughed out of court. Trolls rely on fear and confusion to force the victim to pay a settlement. Shareholders don't like uncertainty, and vying with the chemicals that give medicinal herbs their unique properties, hop producer extraordinaire, has been accused of stealing entire someone else who claims to own a key part of their product is not then patent those chemicals for industrial production. In some songs from a Norwegian musician, with damning evidence being a risk they like to take. Preferring to avoid a legal confrontation, cases, the indigenous groups have been told they are not allowed posted to YouTube and other sites online. unsuspecting companies succumb to the threats of the patent to sell traditional medicines, since they infringe on patents. The world we live in today is different than the world pat­ troll, paying out for rights to a patent they shouldn't have to Discorder readers will likely be more interested in the actions ent and copyright laws were meant for. Originally designed to worry about. of the fiendish sample troll. These enemies of creativity buy up give creators a chance to profit from their creations before the Remember how corporate execs were terrified that Blackberry huge libraries of songs by other artists, then wait for remixers, vultures descended, the vultures have since turned the tables. email access, their drug of choice, was going to be shut off after mash-up makers, and hip-hop producers to borrow a bar or two. By abusing the complex formalities of the law, the trolls have some kind of legal dispute? Research in' Motion, the Canadian When Jay-Z asks us to justify his thug, a sample troll is there, created a sad state of affairs in- which you're better off hiring company that created the Blackberry, was accused of patent in­ flanked by two lawyers in bulletproof vests, waiting to collect a lawyer than a musician if you're hoping to produce the next fringement by a smaller company that had earlier patented an his dues. The worst offender is Armen Boladian, whose company number one hit single. essential part of the email delivery system RIM used. They weren't Bridgeport is currently demanding cash from Jay-Z. Bridgeport We copyfighters tend to complain about big corporations, and developing their own Blackberry-like device, but saw a chance is also known for something eyen more evil—stealing the rights with good reason. They're up to some-nasty things in the copy-, to profit from RIM's success. The Blackberry case is a classic ex­ to most of funkadelic George Clinton's recordings by forging his right and patent fields, from applying DRM restrictions on what ample of the second kind of patent troll. This breed goes out and signature on a contract. This is a double insult: not only are cre­ we can do with our music to suing their customers. However, patents a heap of unpatented ideas, with no intention of actually ators punished for using even a tiny portion of Clinton's work, they can also be the victims of intellectual property bullying, developing a product. The troll waits for a company like RIM to but Clinton himself receives nothing. and it can cost them billions. What we should really be pushing stumble onto their patent turf with an exciting and profitable The second type of sample troll is both better and worse than for is an intellectual property regime that does what it's meant new product, making them a ripe target for a settlement. the first kind. This sample troll does create, often making some of to—encourage creativity, protect artists and inventors, and let the While big corporations are occasionally the victims of this the biggest hits in pop music. However, unlike Bridgeport, trolls people who make something exciting profit from that creation. kind of patent extortion, they often engage in trolling them­ of this variety don't even pretend to play by the rules. They take Everyone could benefit from a system of intellectual property selves. Bioprospecting is a variation on the first kind of patent what they want, incorporating it into their own music without laws that operate with the protection of the creator in mind. troll, and it's a regular practice of-biotech corporations the world so much as a tip of the hat to the original creators. This kind of Little guys and megacorps can work together to push for reforms over. Biotech patent trolls look to indigenous medicine, finding scandal hits even the biggest names in music—Timbaland, hip­ sb that the weasels like Bridgeport are run out of business. S Dangerous

Sitting Still -R.E.M. All That Matters - Pointed Sticks Sorry Somehow - Husker Du Ivory City - Julian Who Pachina - Listening Party J Remember When I Loved Her - The Zombies Music is My Boyfriend - The Hidden Cameras Get into the Groove(y) - Ciccone Youth Dear Discorder readers, Necromancing - Gnarls Barkley That's Pep - Tortoise & gonnie Prince Billy The following is an introduction by way of a mixtape. Most This Ain't No Picnic - The Minutemen of you out there have never seen our band, being that we have Jawbone - The Band played only a handful of shows in this incarnation. A few of John Henry -. Woody Guthrie you may remember our previous band the Regional Hats, and I Can't Love You Enough - Loretta Lynn and Conway Twitty quite a few more may know of the other projects of which our I Don't Want to Spoil the Party - The Beatles members are a part (the Parallels, Ghost House, Moses Inglis, Apology Song - The Decemberists The Tranzmitors). Over the last many months we have been What a Day That Was - Talking Heads up in our studio fitfully putting to disc the tunes for our new Kid Heaven - Johnny and the Moon album. We feel that this mix can be looked at as a selection California - Joni Mitchell of the music which has been on the minds of the five of us Random Rules - Silver Jews while working on this project. Some of the songs are by artists Oh Carol - Rockin' Horse to which we all are incline-. Others represent the whims of Kiss Me On the Bus - The Replacements the individual members, their tastes and concept of the band. In a Lonely Place - the Weather More specifically, some of the songs have been chosen for the Some Velvet Morning - Nancy Sinatra and Lee Hazelwood feeling which they convey, others the story'that they tell, more All the Tears That I Cried - Kirsty Macoll & The Pogues still for the sounds on the recordings. We hope however that Andalutia - Crooked Fingers the mix is able to at once convey some idea of our intentions April Skies - The Jesus & Mary Chain J) and be enjoyed on its own as a mix. The mix can be found at upstarthifi.com/mixtape. As the process of recording moves along we will be posting some of the work in progress at myspace.com/thedangerous- summer.

Yours Truly,

Jesse, Katie, Mick, Mike, Tyler The Dangerous Summer

PHOTOS BY ALANNA SCOTT AND TYLER MOUNTENEY T'S ALWAYS AWESOME WHEN YOU discover a local I band with a sound you've been craving for a long time. It's like, thank god somebody is doing this. Shearing Pinx play noise-rock, and they put a spring in my step after seeing them the first time with the Mutators at the Cobalt. You've got Erin and Nic on gui­ tars and Nic singing, and then Jeremy drumming. Heavy If you haven't seen Shearing Pinx play yet, reverb on the vocals. Improv-y jammy bits amid Arab they're affording you the opportunity several times on Radar/Erase JErrata/early Sonic Youth-esque no-wave over in the next little while. Their MySpace (myspace. punk. And they are tight. Even in the most seemingly cha­ com/shearingpinx) is a bustling cavalcade of upcom­ otic parts, they're all making eye contact with one another. ing shows, recordings, and projects. Their merch table at shows is jam-packed. There's always a plethora of new songs. They're all in a handful of other bands. Vocalist and guitarist Nic (who you may recognize from Channels 3 & 4) also runs the record label Isolatednowwaves (myspace.com/ isolatednowwaves). They're also active participants in the ex­ perimental noise night, Fake Jazz Wednesdays, which happens weekly at the Cobalt. How many recordings do you have? Such as... power went out, and the whole group of people that were Nic & Erin: 35. J: In Flux; Teen Community, Totally Rippedl, Mongst, there just refused to let it not happen, you know? Everyone N: A bunch. Aerosolconstellations. was talking about going to parkades. I've seen some shows E: It's like one and a half recordings a month. N: Both the Channels bands. just get hitched on something, and people just ditch it and go,. J: Black Dicks. 'Ah, fuck it. Let's go get high.' People really made it happen.

Jeremy: One full-length, and then the rest are all splits and Are they all different kinds of music? Have you guys played at the Emily Carr parking lot? stuff. E: You could probably pull out the same influences for all of J: Not as Shearing Pinx, no. Nic and I— them, but... N: We played as Black Dicks. And where do you record? J: Some of them are a lot mellower. J: And that was really awesome. Really awesome space. N: In jam spaces. J: We've recorded at the Hive before, and we're going-into Lab What made you guys decide that you wanted to do a Yeah. I hope that there's lots more shows there. It's Monkey at the end of next week. noisy project together? good. It's always kind of like, guerrilla. You don't know N: It actually started more like that, and then we started do­ if it's gonna happen. ^tfKffh-3^ J: Yeah. And it attracts an interesting crowd, too, like people That's a lot of recordings. You've toured, too, right? ing...like, our first few releases were just all jams. you don't normally see out. Certain events have been good You're just, like, a super-busy band. E: Jeremy was, I think, holding us down from being a lot more for that. The Fake Jazz thing has been really good for that. J: We haven't toured super much. Just one real tour down the noisy. Not back, but stopping us from turning into a noise Especially a lot of older people, who were maybe doing stuff coast and back. A few jaunts over the weekend. But not as thing. So now it's turned into something a little bit more ap­ like this 10 years ago, and just thought it was dead, come out much as I think we'd like to. proachable at times. and been really inspired to start doing stuff again. N: We've never been gone for more than eleven days. J: We already had noise bands, and I wanted to learn how to play drums. I couldn't really play when we firststarted . E: None of us could really play. And the Cobalt's always good. But you're gonna be, right? Coming up? N: We really like Portland, too. It's one of our favourite places. J: Yeah, this summer. N: It's not all booked yet, but we wanna do six weeks in the What can you tell me about Isolated Now Waves? US of A. J: It's pretty awesome, and it's been around—how long has it How many times have you guys played there? J: The first week of May, we're gonna be doing 5 or so dates been around? Seven years? J: Three. with Varge. They're kind of a rad band. N: 2001.1 started mostly CDRs at first. The first 50, 60 re­ E: I think we were gonna try for 4, and then it never happens: leases were mostly just my old stuff that had been just on tape N: I mean, even In Flux played there before Shearing Pinx, that I wanted to put on CDR to finalize documentation of old and that was awesome, and we met a lot of our good friends. Where would you really like to play? bands that I had before I moved here. Mostly really limited, Even when Channels played there, it was awesome. I love that N: The East Coast. Anywhere east of California. like 2 to 10 copies of some things. And then a few years went town. E: London. Tokyo. by, so I did more, like 20 copies, or 40 or 50.-Mostly just a way E: Yeah, I think Portland is responsible for Shearing Pinx. N: Germany. For sure. Lots of kids in Germany get in touch to release my own projects, and then branching out, getting with us. other bands involved, which is good. Eventually, that's what I'd like to do—put out records for my friends. We have a com­ How so? Do lots of kids from other countries And you guys on pilation which has been in the works for about a year, an LP E: We jammed with Hustler White after playing down there MySpace, too? with 12 bands on it. Shearing Pinx are on it. A couple other with In Flux, and Nic and I both fell in love with playing gui­ J: Yeah, MySpace has been amazing. Lots of people from Vancouver bands, but it's mostly other out-of-the-country tar, and— Germany, the UK. It's been really good for kind of bringing bands, like in the US. N: Yeah, we just wanted to play guitar in bands, and we were people out of the woodwork, I think. People in their bedrooms just like, that's it, we're just going out and we're fucking start­ kind of fiddling around. ing a band. And then I introduced these guys and formed the E: Especially in the genre of music that we play in, it's quite band. N: Fxxxing Lion, Night Wounds, Metalux, Paradise Island, J: Yeah, Nic and I had known each other kinda for a while, difficult to findloca l people who are interested. Vholtz, PRE, Hustler White... J: Yeah, but there's definitely a pretty good tight thing going yakking about music. on in Vancouver. There's a really healthy scene going on. Fake N: Jeremy was in the background in one of my movies. This rs has definitely brought that. And do you do all the art and stuff yourself? movie that we shot in this coffee shop that he was working N: Yep. There's a craft table at home. at. You could see him in the back with his big long dreads [all J: That's what we were doing before we got here. All spray- laugh]. So what happens at Fake Jazz Wednesdays? painting. J: It's all over the place. Generally, it's anything kind of free open music. So, there's been performance art stuff with cos­ Man, you guys have so much energy. tumes, there's been, of course, tons of noise bands, electronic How was touring, the eleven days that you guys went? J: When you think about it, there's lots going on in town right stuff, lots of free jazz lately. Even some weirdo jammy Mars N: Really good. We didn't want it to end. The only thing that now. It's pretty good. Volta shit sometimes. sucked was the heat. Like, record fucking temperatures. It was E: It's awesome that there's so much enthusiasm. Everyone's '< 47 degrees in Sacramento. You had to run from the car into really supportive, for the most part. the nearest shady air-conditioned house. J: Yeah, and even that people just are coming out to events like I heard In Flux played. J: Yeah, I thought I was gonna die. We played a basement show this, you know? Some nights at the Emergency Room there'll N: First show in over a year. one of those nights, and halfway through the set I started get­ be, you know, 50, 60, 70 people. Even at Fake Jazz, there will ting cold shivers. be from 50 to 100 people on random nights. And I remem­ So, you guys are all in In Flux, and then you formed... E: That was the basement show where Sacramento had a ber doing shows with different bands with Nic 4 or 5 years ago, and shit, you'd get 20 people if you were lucky. I guess we E: No, except Jeremy. brownout, and so there was no power, and the power was be­ can thank a lot of bands that kind of have been going big, like J: They're just In Flux. Just those two. But there are a million ing run in from a van parked in the alleyway beside the base­ Lightning Bolt, Black Dice,-Hella, Animal Collective. They've side projects. We made a list a few weeks ago, and I think there ment, and then you've got a basement full of 30 kids, and one brought a lot of different people to this stuff, ft was 9 or 10 different projects stemming fromus . tiny little fan that we're trying to point at Jeremy. J: That was a beautiful display of perseverance, because the 1, A BRIEF HISTORY OF PAUL DEVRO 2. RUINED BY JUSTICE

by Quinn Omori

ILLUSTRATIONS BY ANDREW TAGGART ENTROPICGARDENS.BLOGSPOT.COM PHOTOS COURTESY OF SALON DES BOURGEOISIE e'and my brother [Erik] went to Vancouver—we bought some Wu Jl Tang and- some Black Moon records and we went back and grabbed a record player from my grandfather's shed, took it home and just started scratching from there,

v MEET PAUL DEVRO for the first time, he doesn't about upcoming and ongoing projects—between bites of Bon's turntables and a mixer out of a bunch of cereal boxes. He W:com e across the way you'd expect. For a guy who $2.99 breakfast special—he's quick to praise his peers while employs the genuine tools now, and they've taken him farther makes his living throwing booze-drenched parties and spin­ downplaying his own contributions. It's also abundantly clear than a kid "scratching" records on a cut-out Cheerios package ning the underground's latest anti-hits, he's extremely soft by the way he talks about music that he's found his calling—a could possibly have imagined. spoken. He's self-effacing in a way .that betrays his attention- fact that's affirmed when my interview tape has long since Devro's current itinerary includes orchestrating a podcast grabbing skills as a DJ and producer. As he excitedly speaks stopped and Paul recalls being nine or ten' and constructing of "cumbia, baile funk, and meringue" for XLR8R magazine,' managing an April tour for Fox N' Wolf that the man best known for his work with for Get Up, Get Down, and Saturday I was at the sees he and fellow Vancouverite Tyler Fedchuk M.I.A. is set to put out some of Devro's Columbia." The Kids at the Columbia (which was opening up and down both North American recordings. "I'm doing this New Order originally held at the Met), was the first party in coasts for the Swedish pop duo, and a host of remix. I play didgeridoo and accordion Vancouver, that turned a former dive into one of other high profile gigs. "I'm playing Fabric in and these other things on it, and I got the city's hippest weeklies. And it's a trend that May with Blaqstarr, Switch, Sinden, Diplo and Wes—he's in Australia right now—he Devro continues every Saturday night, as he DJ Mehdi. That'll be crazy," he says of the world got some aboriginal kids to record the co-presents Salon des Bourgeoisie at the Royal famous London night spot that will see him vocals," he says with excitement. I fol­ Unicorn Cabaret. sharing a stage with some turntable royalty. In low up by asking if the track will be Ten years ago, if you told a local that the between, he might find time to work on some out on Diplo's Mad Decent imprint, top floor of the Woodward's building—located in new production projects or a mix to follow up and get an overly modest response Canada's poorest postal code—would be selling his successful Toma series. that might reflect Paul's small town as a million dollar penthouse suite, you would've The latest mix in the set, Toma 3, collects upbringing. "I think he's going to put been laughed at. The response might've been sim­ 35-minutes of Brazilian baile funk, and has * it out if it's good," he quips with a ilar if you'd looked into your magic 8-ball and told garnered comparisons to Diplo's genre-break­ shrug and a smile. "If it sucks..." them the city's trendsetters would be lining up on ing Favela on Blast. The disc also gave Devro Port Alberni, British Columbia a Saturday night to get into a cramped Chinatown an opportunity to give something back to the isn't exactly a hotbed of progressive bar, but that's been the scene since "Salbourg" community that he borrowed the music from. sounds, but it's where Paul (then still settled into its latest digs a couple of months ago. "There were a couple baile funk CDs out. And known as Paul Pierre Devereux) got Paul spins regularly along with his brother Erik people were getting flack, like 'you're not giving his start. "Me and my brother [Erik] and a rotating collection of the city's finest, and to the people.' People weren't even putting prop­ went to Vancouver—we bought some the night has also managed to host a multitude of er track names on the CDs (in a rather dubious Wu-Tang and some Black Moon re­ just-below-the-radar talent that might otherwise effort to keep the musicians ungoogleable)," he cords and we went back and grabbed skip Vancouver for larger and more standard met­ notes. In addition to taking the obvious step of a record player from my grandfather's ropolitan locales. Over the last half a year, Steve listing Toma 3's featured artists properly, the shed, took it home and just started Aoki blew through town for a set, Uffie dropped record's release party doubled as a fundraiser scratching from there," he says of some verses with Feadz, and DJ Funk performed for the Two Brothers Foundation. his musical roots. The pair slowly ac­ what Devro described as "the best DJ show I've "I was just looking for fundraisers in that quired more equipment while honing ever seen." And in a coup d'etat for both Devro community and I found Two Brothers and this their craft, before Devro took his tal­ and the city's club scene in general, Salon des guy Paul Sneed (the foundation's director) and I ents to the people. "I had a couple of Bourgeoisie is hosting a French invasion on March emailed him and he was super down for it." The parties with underage drinking and I 25th at the Caprice. The party sees Pedro Winter money raised helped the foundation convert worked at this place called Cloud 9. It bring his Ed Banger Records roster through on a a house in Rocinha (Rio's largest favela) into was this seedy bar...I was 17 or 18 or North American tour that boasts a scant six dates a school house, and an additional dollar from something," he states, fondly recall­ and a headlining set by Justice. every sale of Toma 3 goes to help Two Brothers ing the gigs he played before moving Paul speaks with his usual excitement about with future and ongoing projects. If things keep to Vancouver in 2 001. the forthcoming visit by these electro-jugger­ going according to plan, Devro might be able to "I went to school in Burnaby for nauts, and when I catch up with the French fete- see the fruits of his philanthropy for himself. "I a couple of years, so I moved there makers later in the week, it's clear that Devro's should go. Hopefully I can go with Wes [Pentz, and I started DJing at DV8 and I had enthusiasm spans the Atlantic. . a.k.a. Diplo] sometime," he responds when I ask a Tuesday at Crush with Jason (better if he's had a chance to travel to Brazil. known as mylgaylhusband!) which Salon des Bourgeoisie takes place every Saturday at Diplo's name pops up repeatedly in our was really cool," he says. "For like a the Royal Unicorn Cabaret (147 E. Pender) and Toma hour-and-a-half long conversation, which is month there, I had Grime on Tuesday 3 is available in stores and on turntablelab.com. ** not surprising, since the two genre benders [at Shine], 686 on a Wednesday, the share a similar production style. Additionally, Met on Thursday, then Friday at Shine o -

^r »

ml , • \ \\ eg ' t

T'S DIFFERENT FROM EUROPE, AND especially from Paris, be- was a bunch of friends. When I met them I cause people in Paris are acting like they know everything," they were all into music and things, and Xavier de Rosnay says of the few shows that he and Gaspard they had this small label, and at this mo­ Auge have played in North America.. "We just had people in ment they were putting out a compilation. front of us who just came to party, and this is the best crowd And so they asked everyone around them you can get, you know?" to make some tracks," he explains. The Apparently nobody told him that getting people to move DIY spirit of the compilation led to Justice in Vancouver is about as easy as getting the rain to stop falling. n o pairing up to make music for the first time, Although, if there's anyone who can remedy the city's collec­ although according to de Rosnay, the re­ tive affliction of unnecessary immobility, it's de Rosnay and sults were anything but spectacular. "We Auge. They bring their dance tour de force, Justice, to the usu­ did it together and it was really crap," he ally uptight confines of the Caprice nightclub on March 25th. says with a laugh, before noting with some The pair hooked up in 2003, when de Rosnay was wel­ »»S4 relief that the track in question is probably • comed into Auge's social circle through a former girlfriend. "It lost to most people's ears. "I think they sold

Discorder 15 J like 70 copies of that compilation. It's really hard to get." Undaunted, the guys were soon back at work, crafting a new collaboration that would lead to their big break. "We did 'We Are Your Friends' like two weeks after that compilation," de Rosnay explains. "We went Stripping away everything but the chorus of Simian's "Never Be Alone", Justice's home-pro­ duced treatment turned the electro-folk track from a low key toe-tapper to a synth-laden club anthem. A short time later, the tune was on heavy rotation at the world's hippest dance spots, eventually falling into the hands of the founder of France's premier independent electronic music label. "We met Pedro Winter, the boss of Ed Banger Records, I think one month after to the hotel doing 'We Are Your Friends.' And so we released our first record three months after starting music, which was kind of a good surprise," he understates. That "good surprise" led to a deal with Ed Banger, as well as a torrent of remix requests. "I trunk the electronic music world is really a special world. Because when you get lucky, and went' you are requested to DJ and make remixes quite fast," de Rosnay muses, speaking to Justice's quick ascension from obscurity to in-demand producers. In the last four years, their profile has grown steadily, as the pair has lent their unique sonic vision to almost a dozen tracks, rang­ ing from the relatively obscure to some of the pop world's most famous artists. Label mates Vicarious Bliss were the first to get a retouch, but the Justice stamp has also graced songs on YouTube by everyone from fellow dance acts like Daft Punk and Soulwax to music industry titans hke Britney Spears. The attention certainly hasn't tempered the group's artistic reach, however. A remix of Franz Ferdinand's "The Fallen" would've been rendered unrecognizable if it weren't for the inclusion of a few repeated samples of Alex Kapranos' chopped and screwed vocal lines. to see the As a bit of a self-aware jab at themselves, the song came tagged with the subtitle "Ruined by Justice." Perhaps to the relief of popular music's more conservative fans, these pop delinquents haven't had much time to tinker with other people's creations as of late. "There were some remixes we really wanted to do, but we didn't have time to do them," de Rosnay notes of the past year. He and Auge have forgone hiring their services out as of late, thing, and opting to complete work on their own record instead. The as-yet-untitled LP, due out later this year, will be the duo's first full-length, though the public has already had a taste of what's in store from a handful of compilation tracks and the Waters of Nazareth EP. But while the aggres­ sive rumble of the EP's title track and "One Minute to Midnight" is in full effect on new songs like the pre-release 12-inch, "Phantom", listeners are also in for some different sides of Justice. this is when "D.A.N.C.E.", which serves as the record's official first single, trades the pair's'trademark hard beats for funked up bass lines and disco strings. "D.A.N.C.E.' is a special track on our album. We chose this to be the first single just because we loved it and we wanted to say that the album is not going to be exactly what you expect about us," says de Rosnay. The single also we discov­ swaps the vocoded clips that usually serve as a Justice track's only vocal contribution for a full-on children's choir that the pair recorded while in London. In a rather fitting coincidence, the finished product shares the aesthetic of "We Are Your Friends". Their breakthrough hit was recently re-released, becoming the first taste of Justice for many of Europe's mainstream music fans when the accompanying video skipped its way up MTV Europe's chart. The clip ered the / even snagged the "Best Video" title at the MTV Europe 2006 Music Awards gala, much to the chagrin of one Kanye West. Apparently, Kanye doesn't care about French people making dance music, as he felt com­ pelled to bum-rush the stage when it was announced that "We Are You Friends" and nothis beef with own "Touch the Sky" would be taking home MTV Europe's top video honours. Ironically, de Rosnay was en route to West's hometown of Chicago for a Justice gig when the ceremony was taking place. "We thought we wouldn't win, but when we landed in Chicago we got off the s plane and saw tons of text messages saying 'Congratulations,'", he says with some lingering disbelief. Completely unaware that the world's most famous college dropout had stolen their Kanye." spotlight with a wide-eyed rant, concluding that "if [he] didn't, win, the whole awards show loses," the pair headed to their hotel to find out how the ceremony went down in a rather un- rockstar-like fashion. "We went to the hotel and went on YouTube to see the thing, and this is when we discovered the beef with Kanye," de Rosnay recalls, laughing about the fact that Ed Banger comrade So Me was in Copenhagen to collect the award on their behalf. "It was so funny to see our friend being aggressed by Kanye West," he says, before noting that he was rather relieved to have missed the entire escapade. "I had to watch the thing like five times just to understand what he was saying. At the moment [it happened], I just would've looked so 4 o'-' v. dumb, saying 'Aha Kanye, thank you.'" Something tells me he wouldn't have received a polite "You're welcome" in return. Though their record is done and set for an early summer release date, de Rosnay and Auge are still full steam ahead. Undoubtedly, we can expect a few more hits and non-hits to be "ruined by Justice" (though probably not a "Gold Digger" remix), and the pair continue to play shows from Philly to France and everywhere in between. To say that Justice is riding high would be an understatement, but from what I could gather from Xavier de Rosnay, they could still probably use one favour when they drop in on Vancouver this month: if you show up, make sure you come to party, jc " AfJIIBfiLAS

In stores 3/6 i _*_ §•*% #••.

in STORES i-zn-tn

*^^H^^^i^^S45i^X13 cm TOUR ruts SPRIIIG WITH _W_WmJ^$*i cniTi.E necnpnmmn min nruinHTGn:

KF • 0 '

ANTIBALAS have hit a new creative peak with "Security" fusing their renowned afrobeat grooves with a new, height­ ened sense of melodic lyricism and texture, thanks in part to I producer John McEntire of Tortoise. Hi XLR8R called Antibalas "the baddest on the block" and Pitchfork wrote, "They lead the pack". Elsewhere, Rolling Stone, The NewYork Times, m New Yorker and a slew of others have taken serious notice. On tour this spring, check Anti.com for dates.

Discorder 17 wmt FEvmrAbrnmn FOR SFLPABBTI WEEK March 14th to 18th 2007 rE TIME VENUE DESCRIPTION

WEDNESDAY March 14 6-8pm Doolin's 3"* Annual Guinness Perfect Pint Pour Off Competition with Vancouver's finest CeltidFest Barmen

7-9:30pm Roxy Amadan, Portland,Oregon, A South Irish Band, high energy, and Pcgue-influenced

DURING 7-10pm Irish Cellar Brody, a new your, hip band stacked with professional musicians

8-9pm Doolin's Sionnaine irish Dancers

ST.PATRIEK'S 9pm-12am Doolin's Murphy's Laugh, Celtic Fiddler-singer duo

10pm-3am Roxy Troys "R" Us WEEK 10pm-2am Irish Cellar GEN X Wednesdays with X-Radio playing The best of 90's Rock — some Celtic too

THURSDAY MARCH 14-18 2007 March 15 7-9:30pm Doolin's Canucks v St Louis 7-9:30pm Roxy Ballyhooley, 4 pc Traditional Celtic band

7-10pm Irish Cellar Whiskydicks, young versatile high energy 5-piece band

9pm-12am Doolins Halifax Wharf Rats playing Atlantic East Coast music with rock flair

10pm-3am Roxy

10pm-2am Irish Cellar Featuring RADIO ONE, It'll kick the Brit out of youl

FRIDAY March 16 11:30am-3pm Open for Dublin Brekkie St Paddy's Eve

FOUNDING 7-11pm McGllHcueWy's High Octane Celtic Punk Rock Band & a Surprise Guest Artist SPONSORS OF SATURDAY March 17 11am-3am Doolins Special guests Daniel Lapp, Sybriatic CELTICFEST String Band, Tarkin, Shona Le Mottee Band VANCOUVER 12pm-3arn Irish Cellar Special Guests Brody and Oliver Schroer Streets, Shona Mottee Band and DJ Joseph Michael O'riley

12-5pm ROXy X-Radio

DOOLIN'S 5-8pm Roxy Daniel Lapp Band IRISH PUB

SUNDAY March 18 11:30am-2pm Doolins Open for Dublin Brekkie lr ^>« h$ IT.PftBBYI PftRABE

1-5pm Irish Cellar The Sabir Sisters, 6 piece band with 4 fiddling sisters

1 -5pm Roxy The Wheat In the Barley 4 6-9pm Irish Cellar Triumph Street Pipe Band Concert Fundraiser

5:30-8prn Roxy Celticfest Wrap-up The Paperboys followed by Midnight Cowboys

FOUN i OF CELTICFEST VANCOUVER

Doolin's 654 Nelson St I 604,605.4343 I www.doolins.ca The Irish Cellar 1006 Granville at Nelson | 604.605.4350 | www.cellarvan.corn The Roxy 932 Granville St | 604.331.7999 | www.roxyvan.com CiTR 101.9 Presents its Spring Bash! Mi^^ralM iCircus In Flames!

AT THE LAMPLIGHTER ESTABLISHED 1899 ABBOTT 8 WATER Scratch-Zulu-Red Cat! sMo-Jm). 822-1242,

PATRICK WATSON FUJIYA + MIYAGI JOHN WATERS Close To Paradise Transparent Things A Date With John Waters

.. jxmmeepslttiD Danceabte kraut-pop, with Before John Peel died- The _bum_ a heartfelt and as ei» of the best! dustbowl electronics, head-scratching ryrics and before mum's lineup touchingly bizarre compilation in the world, Ml haw made orchestral rock and dreamy droves erf cute Brits lovmg changed around- before of love songs selected by the the album _at they always baflads, with a gospel finale. every minute of "ft* the rest of the world trwd legendary filmmaker himself. promised to. -toidon to copy their sound.. "Go ahead, turn up the volume Combining lyrics worthy of a Play It loud, wfflt headphones] p*dMwk rattng: 83 (include* Feel Ba go-go dancing? Mt thesis andrraafc so irresistibly *; reworked tracks, spawned Wlkwetowateh.Gob9b»gof ft«tyitwffl1i«danc-f!aors 1 from the band's debut -JohnWrtss for years to come. 1 album Tfesterday Was 'QTRD3 Dramatie; Today Is Okay"

1972 West 4th Ave ph: 604-738-3232 CD: CD CD CDEP CD vmrwjukirecemis.com $16.98 $16.98 $16.98 $12.98 $16.98 2LP MLP $20.98 $12.98

in stock March 6ft

I*t?«r DistributionFusacmB RECORDS

«».«.« o Is r* TH 1 1 N 3 The Cobalt | Caledonia , Foste r Kare , Bison Tw o Dolla r Tie s @ Pu b 34 0 @ Wi e Medi a Clu b | Th Bra t Attack , Ri o Bent 2 hooker s @ Pub 340 Po p Levi , Su n Aris e @ Pat Look s Goo d t o M e @ Pia; Club | Sebadoh , Th e Ben t Moustache ® Richard's on Th e Lamplighte r | Ro d Radio ® The Media Club \ Forgotten , Moder n Mendozza , Las t Plagu e @ Railway Club @ The Commodore Ballroom Elvi s Perkin i n Dearlan d CIT R Sprin g Bash ! @ Stewart ® G M Plac e Stat Republic ® The Redroom Th e Win d Whistle s @ Th, T V o n th e Radio , Subtl Pub | Ladyhawk , Saturda j Richards Jaso n Martin , Yesterday' s

CM ~_ Os ® >o 1 w 1 i © 1 N 3 6 9 H Black ® The Commodon a n @ Th e Ukrainian He e Fogg y Hogtow n Boy s nj a Spy , Soun d o f th e zabeth , Th e Cap May v e an d Mathematics , i t Cause , Th e Golers b34 0 ie Anza Club \ Co-Pilots , n @ Backstage Lounge mmodore Ballroom \ 'arm , Bor n o f Ashe s @ t Lamplighter arta , Moneen Attac k llroom stsid e Deat h Squa d @ indows78 , Unde r th e iritofTheWest ® The 1-1 53 3 U A w £ iS e £ a S6z^g 1 t J & .S m

00 in . N OS

1 _ i|. 2 8 .5 * 1111

^ 5.ti i t The Pic Pub | Kamakaz i Priestess , Prid e Tige r @ Plaza Club | Paol o Nutin i @ Richard's on Richards Crow d @ Pub 340 Hawaiia n Bibles , Londo Spy ® The Lamplighter Mutators , Twi n Crystals Cheerleade r Camp , Th e Pockets ® Pub 340 Shearin g Pinx , Moder n Creatures , Shavondr a Brickhouse , Conswaell o @ Th e Lamplighte r | Dwarve s @ Plaz a Clu b Coffe e an d Cigarette s @ WhyteHott ® ThePicPul @ CiT R 101.9 F M Radi o | Th e Hote l Lobbyists , Yo u Sa y Party ! W e D i Night , Slush Bloc k Coll a o ||| g I z-s Is rn

«*1 _, m 2 ] •31 i I 1 1 S Q | ® e 2 ^ c _ -8 s _! S - I 1 11 1 "§ ^ o s The Red Room cifer , Th e Peopl Verse s nX , Ho t Loin s @ The espot ® Richard's on chards

_ -a« ir y M e i n Eden , ShEAri r ibalt | Ratata t 12 0 Day s 1 •*•_ A 9 fH ti « S _ Q « zsa *• 9 m 43 o IN. 1 M 9 s . o 5 iff _ o _l^__fi O s - o O O « P H ® 9 £ u CD il. I 2 ill t ' 1*£ _ 1-a {39 § 1 <3 c ft- S i ££i lisp o 2 g 1 a 5 § a si & CO II cc i 1 2 (£ If B &

> -S Io I i p © a I | Blo c Party , Fina l Fantas y Theatre 1 11 Christin a Aguilera , Th e Pussyca t Doll s @ G M Plac e Smoot h @ Th e Orpheum u ? 3 i s e I1I ._• 00 IA l «« 1 1 . TH N 1s §i g • I fi II 1 P 3 •8* Richard's on Richards | N o Communit y Hal l Beaks , Ba s Megadet h @ Pacific Coliseum | Th e Zombie s @ Cheerlead t Lamplighter Shi t Shirley s @ St . Jame Twi n Cry - 8 mm

mtmmn lmmm$

WEDNESDAY, APRIL «

J-SWING & DJ DAVE

Get on the VIP/Guest list + Event/Party/Fundraiser bookings 604.646.0064 WWW.PLAZACLUB.NET 881 GRANVILLE STREET Unearthing V Lost Gems o with 1777rex

PHOTOS BY QUINN by Quinn Omori OMORI AND COURTESY OF 1777REX

to Steve McBean (of Black Mountain/Pink Mountaintops) keyboard stabs, that in retrospect foreshadowed Vancouver's 1777rex will be on hiatus after the release of the second about Ex Dead Teenager." The formed, which Balogh describes now characteristic no-wave sound. The record is currently in Anemones EP, Come Down Like a Cloud. Although there's noth­ as 1777rex's one "hit," is a collection of songs that Dayton McBean's hands getting remastered. In the time between the ing currently slated in the label's future, Balogh is at least cau­ penned to perform with Bejar under the questionable moni­ release of Points Gray and getting the wheels in motion on tiously considering some potential releases. ker, A.I.D.S. Ex Dead Teenager, Balogh has managed to put out two more "My friend Hollie Brown, she's always been really private "They made the record, but Dan quit the band because recent creations. about her stuff, but she's started to play house shows recently he didn't want to play shows in a band called A.I.D.S.," says "Again, it just comes down to friendships. And Sipreano and her stuff's really beautiful. She gave me the sewing ma­ Balogh of the group's very brief existence. "Then talking and Ice Palace—both those groups of people were not going chine [that Balogh uses to stitch up the sleeves of each CD-R], about it over the years, Robert thought it was a good record to be releasing anything on their own," he notes of 1777rex so I'd like to do something for her if she's interested. If Mark and wanted it to see the light of day, and Dan agreed that if releases three and four. "Kevin [Howes a.k.a. Sipreano] nev­ Szabo ever started writing songs again and wanted to put some­ [Robert] changed the name of the band he'd give his blessing er would've finished something unless I said, 'I want to put thing out, I would do that in a hot minute. Maybe the Prancing to it." The collection of "downer folk gems" showcases a side this out.' And for [Ice Palace's] Lyndsay [Sung] and Rich Cat stuff that Carey Mercer did for a while. We'll see." of Dayton that might be lost on most people, including any [Trawick]—who just got married—making music is just part No matter whathappens, Steven Balogh will keep making Destroyer fans looking for forgotten Bejar jewels. "People love of their relationship." The latter release collects seven qui­ music. There's not the same guarantee with 1777rex, but you Dan, but it's mainly Robert's project, which is mainly why I etly captivating songs that come out of left field if you've got can be sure that any future release will be something that you wanted to put it out, because it's different than everything else Sung's contributions to Pink Mountaintops and Radio Berlin uld've missed otherwise. Keep your ears open. that he's done," explains Balogh. The label is also set to expose or Trawick's former membership in Three Inches of Blood a side of Steve McBean that's probably new to many of the in mind. While the Sipreano LP is more characteristic of its 1777rex's releases are available at Zulu Records or by mail fans that follow his work. author, the downtempo mix of sample collages and live in­ order at myspace.com/1777rex. The vinyl-only Anemones LP will "They were one of the best punk bands this city has ever strumentation is still a shift from the lauded Jamaica to Toronto be out soon on St. Ives. S produced," says Balogh of Ex Dead Teenager. A slightly dif­ compilation that he curated last year. ferent beast than either of McBean's current outlets, Ex Dead With its one man staff taking a six-month leave from Teenager created spastic blasts of noise, often punctuated with Vancouver to write and record with his own band in Montreal, AN INCOMPLETE INTRODUCTION TO SLAM POETRY FOR THOSE WHO ARE USED TO MUSIC jf by Sarah Buchanan ILLUSTRATIONS BY REANNA ALDER

AM TEN MINUTES LATE FOR the Last Chance Slam, which is the Inside, I wedge myself next to a photographer who is I first event of the International World Poetry Slam. Tonight's crouching on the ground. It becomes clear that I am in the winner will ascend to the weekend rounds of official slam­ way. This does not seem to be a problem. The poems are quite ming, meaning that they could win the World Championship, varied; heavy poetry about chemotherapy, light poetry about meaning that the bar is packed, and I have to wait. Slam poets a man seeing his landlord's penis, and poetry I don't under­ are. a new breed, emphasizing performance rather than the stand about being covered in blood, but still like anyway. I am written word, competing in venues all over North America nodding, others choose to wave fists or yell. for the chance to claim the title of Slam Master. One by one I am especially impressed by a man whose name I cannot they perform, get judged, and rejoin thecrowd. Let me be clear pronounce, a small hairy man who takes the stage near the about one thing: this is a sport, and loose clothing is recom­ end of the night and speaks in a rolling, silky voice. I find out mended. later that he is Anis Mojgani, and has won a lot of things. But From a quick Scan of the crowd outside, I conclude that right now, I have no idea, and I am shocked. slam poets are mostly hot people who smoke terrible ciga­ I head to the bar and shove my little notebook inside my rettes. Peter Jackson's, Players, Export A—perhaps this is part rubber boot, where it escapes somewhere on the floor of La of a lyrical semiotic system that I have not yet grasped. Or per­ Rocca. This is embarrassing because there is weird shit in haps the mostly American competitors had hopped across the there (in the notebook, not La Rocca), including a terrible dol­ border that very morning, ran out of smokes, and promptly phin sketch and one song lyric which is also terrible. The dol­ bought the cheapest shit they could find. As they rant and rage phin may in fact be mistaken for a curvy line. So if you found poetically with lit cigarettes in hand, I imagine them instead it, don't look. holding a tightly rolled Drum, or a slender Benson & Hedges, Anis won the night, but the final prize went to claustro­ or a balled up sweater clenched in one hand. phobia, which is what sent me home early. Being in the way became more uncomfortable as time increased, even as the enjoyability increased at a similar rate. I often like to use the equation below for determining when to go home. Feel free to cut it out and bring it along to events around town.

I Where d = discomfort; t = time (hours); e = enjoyability. \

If dt > et, our spectator must conclude that leaving is a better option than staying. Where dt = et, our spectator be­ comes caught in violent indecision, and must mill around the bar buying expensive beer. Due to my increased discomfort and lack of beer money, I decide to go home. On the second night of the competition, I arrive at Rime two hours early. Lounging next to me is Steve, one of the many competitors from Texas. There are so many Texans that they claim an entire corner of the bar, convincing me of one1 thing: Texans love slam. Steve assures me that he will not be drinking before his performance tonight, but will order a lemon tea at exactly seven o'clock. He stays true to his word, checking his watch to make sure. The Texan poet next to him The poem is so well also orders tea, convincing me of another thing: Texan slam- masters love tea. executed that I do not I am just settling into a seat when a large man in a suit approaches me and asks if I want to judge. Slam competitions are always judged by randomly selected audience members, even get distracted which I have just learned an hour ago on Wikipedia. I tell this man that I cannot judge for three reasons: looking at his penis,

' 1) 1 am writing about the event. behind the stage which soon becomes packed with surprised i 2) I have only ever seen one slam in my entire life. i Commercial Drive-goers who walk by and see Casey's penis, i 3)1 plan on drinking quite heavily. and stay. The poem is so well executed that I do not even get distracted looking at his penis. A young woman steps up after He shrugs. "So what?" He has a point. I accept the giant Casey, nervous as hell. "I can't top that," she admits. "Then laminated score cards, and he moves on to convince the guy bottom it!" yells a faceless voice from the audience. to my left that his list of reasons not to judge are also bullshit. I head to Richard's afterwards to try to catch Deerhoof for This is what makes slam poetry democratic, and refreshing, an "early show." Doors are at six, which really means seven- and also scary as hell. thirty, and the show is at seven, which means standing around As it turns out, judging is quite difficult and involves drinking overpriced beer until well after nine. Everyone looks more motor skills than I normally possess after 6pm. I have pissed off. only three seconds from the poem's end to decide on a score, The friend I meet up with has forgotten the tune of the flip two laminated cards around to the right number out of song she just wrote, and immediately leaves to remember it. I ten, and raise these numbers high in the air, where they will be start to get bitter about hanging out with musicians, because booed and heckled unless they are exactly ten. I am generally I have been hanging out with poets all weekend, and the poets out of breath, and spill beer all over myself twice. The highest seem to be coming out on top. They don't cut each other up, score I give is a 9.7, the lowest a 6.8, which receives a reply of talking about how "their first poem was better." They don't "Ooooooooh...are you kidding? Are you deaf?" Other remarks have to dress up in gimmicky safari outfits to hide the fact that include "Who made you God?" and my favourite, "Fuck you." their act is lame. When poetry is lame, there is no hiding it. I am relieved when a new crop of judges steps in for the sec­ Also, poets come up with really great sex words that do not ond round. I decide that judging sucks, and I am uneasy with include "fuck" and "make love", which musicians seem kind the whole process. It's like trying to hit a bullet with a rock. of stuck on. Then there is the matter of heavy gear, and poets I try sticking around for the Erotica Slam, but at 12:30am having none of it. Under the warm glow of beer signs upstairs, it shows no signs of starting, so I decide that it makes more I compose a list of pros and cons, and decide that I would rath­ sense to go home and read porn in bed. er watch poetry. Did I just say that? I can't believe this. I would Friday begins with the Anarchy Slam, an event.in which rather watch poetry. the poets are allowed to do what they are not allowed to do in On a sunny Saturday morning, it is just me and Ansel official slams. Some of these things include: Appleton, who is drinking a tiny macchiato and eating a tiny cookie. Last night, I almost ran into him as he paced frantical­ »playing the accordion ly back and forth next to the water cooler before performing. »using props, including audience members and/or body partsA t that moment he was deciding to ditch his poem completely »covering other people's poems and memorize a new one. He looked worried. This made me »two people reciting the same poem together, with one of worried, which I think made him even more worried. Today them yelling certain words to make them stand out more. he looks less worried, but still has an air of frantic energy that I like. I ask him a lot of naive questions, and because he is a The first performer is Casey, and he asks if anyone minds sport, he answers them all. »»» him getting naked. Nobody minds. There is* a giant window J I take it poetry doesn't exactly pay the bills these days. do with Slam. I went to Urbana, I went to the Berkeley Slam, Actually, it does. I don't have to work much anymore. Touring I made it to finals at least one year, and I lived successfully off can pay alright, especially on the college circuit. poetry for a while. I'd like to try something new. The college circuit? Like what? Yeah, it's just taking off. You can make up to a thousand bucks . Well, I'm finishing a manuscript. on a really good night. In a bar, maybe fifty bucks, and some Can you tell me what it's about? beer. First kisses. Wow. That's a lot. Awesome. Yeah. I'm hungry. Me too. At this point, I lose focus due to residual peanut swelling, and cannot give a proper account of our conversation. . We walk across the street for sushi, at which point I eat I had no idea what to expect from the much-hyped final peanut sauce by accident and feel uncomfortable. I am allergic round on Saturday night, but I was suitably impressed. There to peanuts. I only have so much time before my ears swell and was cheap beer—good beer—and popcorn. Everyone was in I have to go home and throw up. The pressure is on. good spirits, even the line-up of last-minute hopefuls snaking around the block. Why did you change your poem last night right before The big names were all there. Buddy Wakefield, two-time walking on stage? world champ, performed a stunning poem that nobody seemed It had to do with the poets before me. I felt like the subject to like as much as I did. Andrea Gibson was the clear crowd matter had already been addressed that night, and I needed favourite, receiving two standing ovations compared to a com­ something fresh. bined total of none for the rest of the poets. Anis Mojgani had me spellbound again with his rhythmic incantations about Is this a common slam thing? fish. Slam poems often get bogged down in dense subject mat­ Sometimes. I often write poems the morning of the slam, like ter, relying on pain more than pleasure to score points. Anis on Thursday. I think you judged that one. avoids this, and stands out for it. Ed Maybre came away with first, storming through an I remember the poem, a delicate admission of his first impressive set of poems that shocked and rattled the predomi­ "I love you" to a punk girl he never kissed. While the female nantly white, upper middle-class audience. He wrote his son's judges loved it, the male judges seemed to think he was a name on the inside of his wrist and kissed it before starting pussy, and scored lower. each piece. The room went dead quiet each time he finished, out of breath. Is there a lot of strategy involved in which poems you I had to take a walk before being able to speak after the use? Like, there have to be a few poems you know are finals. It was too intense. If I organized a slam, I would have an really kick-ass. intermission halfway through, and project little fluffy clouds The bottom line is, if you go to Worlds, you have to have seven onto a giant screen for the audience. Even the after-party poems, and they'd better all be incredible. was a bit too intense for me. People kept going into this huge trailer in the front yard and closing the door and then run­ Huh. Do you plan on doing this for a while? I feel pretty close to retiring. I've done everything I wanted to ning back out again ten minutes later. Everyone who wasn't doing that was dancing. I lasted an hour and then got really hot, so I walked home through the damp industrial parks of East Hastings. I can understand the attraction of the slam scene, now Under the warm glow that I have seen the best of it. It's like the punk rock of poetry, bursting out of a scene that many fans wouldn't touch with a ten-foot pole. Poetry readings? No thanks, I'd rather gnaw off of beer signs upstairs, I my own arm. One can only hope that this new enthusiasm for poetry will lead to a wider appreciation of the small, subtle compose a list of pros poems being read in bars across the continent, and not just and cons, and de­ the flashy theatrics of slam. «. cide that I would rather watch poetry. Did I just say that? I can't be­ lieve this, I would rather watch poetry, IJwi Long & McQuade TBURSDAY MARCH 01 - SHEARING PINXJERRORBIRD, NIHILIST PAim FRIDAY MARCH 02 • LOBBY GALLERY Closing Party! w/TBA

+ University 2007 SATURDAY MARCH 03 - 3 to 6pm NEW ORLEANS ALE SIARS 8pm to dose AARRGH! RECORDS Presents: CHET CD RELEASE PARTY with g [free clinks during the month ofMarch\ THE CHOIR PRACTICE

SUM! MARCH 04 - CLIPD BEAKS (TIGERBEAT 6}, BASKETBALL, %k CHEERLEADER CAMP, TWIN CRYSTALS Tuesday, March 6:7*9 p.m, Thursday, March 22: (Time - To Be Announced) MONDAY MARCH OS • DA SPOT! (Weekly Hip-Hop) RHEK, MOVES, ELJ (VICTORIA) (NORTH VANCOUVER) LUCKY, PIKZ, S0NREAL, and DJ PHONOGRAPH Textural Drumming with Bob Gretsinger Sibelius (link with Bruce Hanson tram Sibelius USA Pro Tools lot with Dan "Seabass"Mkn Tuesday, March 6:7-9 p.m, THURSDAY MHOS OS • ART IN THE DARK! MARIA IN THE SHOWER, (IANSLEY) Thursday, March 22:7-9 p.m. TRECHEROUS MACHETE, WHYTE H0MRLESQUE Electronic Drum Clinic with Kyle Bedemskj (SURREY) YamahabrumClinkwithMikeMkhalkow FRIDAY MARCH OS • THE PARLOUR STEPS, THE FEBRUARYS, Saturday, March 10:2-4 p.m. - (VANCOUVER/ARBUTUS) Tuesday, March27:7-9 p.m. THE INGftEDIENfS Men andGmtwith (VICTORIA) Black Sabbath's Vmnvtppw SQCAHWorkshopwithTerryO'Brkn

f^fli&lafch 11:1 -4:30 p.m. Tuesday, March 27:7-9 p,m. (0AICRIDSEAu1S?3M§pv SATURDAY MARS! 10 * 3 to 6pm NEW ORLEANS ALE STARS Canadian Print Musk Book Fair Guitar Clink with k t ettn r I6HT DRAGON, CIRCUS IN FLAMES,

Tuesday, March 13:7-9 p.m. Wednesday, March 28:7-9 p,m. (VICTORIA) (SURREY) MuskIndustryQ&A with Michael Burke Guitar Clink with Dave Martone SUNDAY MARDI 1I - JAKARTAH, JASON CLACKLEY, THE FALL OF SUMMER, KEEP IT SECRET, THE ALIBI Thursday, March 15:7-9 p.ra. Wednesday, March 28:7-9 fun. (location To Be Announced) (VANCOUVER/ARBUTUS) Recording Work ii. wah J0C7lrV Workshop with Terry O'Brien MONDAY MARSH 12 • DA SPOT! (Weekly Hip-Hop) RHEK, MOVES, Garth Richardson & Ben Kaplan JAN MAN ond GUMSH0ESTRUT Thursday, March 29:7-9 p.m, Thursday, March IS: 7-9 p.m. (NORTH VANCOUVER) (SURREY) lauImprovandSaxInteraction withaJazzBand TIDRSDAY MARSS IS Pro Tools Basics with Campbell Byga and Boss Taqgart i, NINJA SPY, SOUND OF THE SWARM Tuesday, March 20:7-9 p.m. Friday, March 30:7-9 p.m. FRIDAY MARCS IS n 1 LMK^I (VICTORIA) (NORTH VANCOUVER) Gaitar Set-Up Workshop with Scott Oakte) Jaslmprev with Dennis isson SATURDAY MARCH 17 • 3 to 6pm NEW ORLEANS ALE STARS 9pm to dose SKULL SKATES Party TBA TO REGISTER: Wa Email - Please send an wier l to the store at which the seminar is Wag held. MONDAY MARCH IS * DA SPOT! (Weekly Hip-Hop) RHEK, MC

1B§ For full clinic descriptions ^H E*EEm| B visit www.long-nicquade.ee n ^H WEDNESDAY MARCS 21 • EAST SIDE DE * jl TWO DOLLAR TIES, WARBIRDS TIDRSDAY MARDS 22 • TBA

FRIDAY MARCS 23otto6pmNEWORL

ilii , 1 f 9pm to dose KILL RHYTHM, JUST CAUSE, GUEST 1 | i s l S J f I 1 1 SATURDAY MARSH 24 • RENDER CD Rei

MONDAY MARCH 28 DA SPOT! (w "

THURSDAY MARCS 20 - CRAYONSMITH, THE POISON DART, OLD BRIDGI 1 m •Long&McQuad e FRIDAY MARCS SO - THE HIGHBALLS, THE ELIXXXERS -^m] MUSICAL INSTRUM ENTS* SATURDAY MARCS SI • 3 to 6pm NEW ORLEANS ALE STARS www.long-mcquad e . c o m 9pm to dose GENGHIS TR0N +GUESTS 210 ABBOTT ST * www.tbelampli^iter.ca 104.681.6666* 18 HISTORIC GASTOWN REAL UVE *•! ACTION

Neko Case at The Commodore, February 13 PHOTO BY KATE ROSSITER

didn't hear any "black metal" as advertised on their MySpace page) instead playing gentle, child-like pop. The set was fairly lacklustre, the band a bit restrained by their own whimsical FEBRUARY 2 pretense. Often when bands employ that sort of pageantry Richard's on Richards it's to accent some eccentric dynamic residing within. Here it Deerhoof beamed into Vancouver on February 2nd didn't quite ring true and came off a bit like a school play. I'm to play a set for a sold-out crowd at Richard's on Richards. being a bit hard on the fresh-faced starlets, likely out of jeal­ Locals Hot Loins christened the proceedings, ripping into an ousy. They did have charm, and the occasional bright chorus, impressive set of damaged synth-punk and noise. Alternating but the performance wasn't great. between terse and restrained passages with emotive drunken Deerhoof did not disappoint, delivering an astonishing caterwauls, and then releasing the tension with crashing, performance. Their set was made up of songs from nearly all combative guitars and keys laden over powerful drum fills, their albums, showcasing the many facets of their dynamic the boys made a lovely racket. Perhaps a step or two out of music. The highlights were numerous, but the seamless open­ their comfort zone, they're probably best seen in an East Van ing salvo of "The Eyebright Bugler", the new single "+81", dive where they can preach to the converted, but a strong set and particularly "This Magnificent Bird Will Rise" was sen­ nonetheless. (Banter - Crowd member: "Where's your lead sational. The power trio format played to their strengths as singer?" / Donruss [Vocals/Guitar]: "Wow, I don't even have a performers, and keyboard parts from the records were filledi n comeback for that, [pause] I killed him.") Good guys. aptly, either by guitar or drums. Satomi Matsusaki anchored Los Angeles's blackblack hit second and offered juxta­ the performance with sturdy bass, her distinctive vocal style, position to-the anger and catharsis of Hot Loins. After they and expressive hand gestures to match the lyrics. It was ap­ set up, I thought the trio were too good-looking to be any propriately cute, but never cloying. In fact, Matsusaki's vocal sort of credible noise band (the bassist/vocalist and drum­ styling and the band's overall pop craft provide the perfect mer might as well have been Mischa Barton). They returned framework for Dietrich and especially Saunier to lay out their dressed as a tiger, an African Sikh, and Jeff Daniels' character explosive, improvisational attack. in The Purple Rose of Cairo (a safari theme) ready to show up Deerhoof live is the work of three musicians pulling in my prejudice. Turned out they weren't really a noise band, (I different directions until it sounds like they're about to fall apart, only to come crashing together at the band's poppiest moments. What masks as chaos is undeniable synergy. This, coupled with their infectious exuberance, make them a pre­ mier live act. Mike Fodor

\mmmtomm®m HH FEBRUARY 7 Carnegie Centre FEBRUARY 8-10 Time Flies Festival, Ironworks One of the primary exponents of an eccentric school of free vocalisation, British imp&tW&m Phil Minton has a range of clicks, pops, tweets, gurgles and cries at his disposal sufficient to bewilder the most devoted phonetician. In his mid 60s, Minton performs at a compelling level of physical intensity, his feet twitching and head jerking as, seated, he uses his whole body to produce the desired sounds. Minton came to Vancouver to perform at Coastal Jazz and Blues' Time Flies festival, alongside fellow UK improviser and saxophonist John Butcher, Toronto drummer Harris Eisenstadt, and locals Peggy Lee and Torsten Muller. For three nights, the musicians played in rotating combinations, often pushing their instruments be­ The Shins at The Commodore, February 19 yond normal boundaries. Danish guitarist Hasse Poulsen oc­ PHOTO BY JAKE MADISON casionally played his guitar with a bow—or a Slinky. Butcher produced effects with his horn that often didn't require him to blow into the instrument. Seattle-based violinist Eyvind Kang impressed me in particular; he was extremely gifted at tread­ ing a line between free playing and almost folk-like themes, passionately stated. There were moments that didn't work. Poulsen seemed off the third night, and Dutch pianist Cor Fuhler, though clearly FEBRUARY 7 Richard's on Richards gifted, appears not to have mastered whatever skill it is that allowed his fellows to sense when a piece is ending. These are Before heading off to Richard's on Wednesday night, I small things compared to the exquisite beauty of the music; decided that I should do a bit of tappity-tapping on the good * it can be a revelatory experience, to be present as improvisers ol' interweb to see what's what in the world of Of Montreal. craft organic and unique compositions out of little more than As it turns out, their current success is being both praised their attentiveness to each other and their craft. and despised due to an incident in which Kevin Bairnes sold The high point, though, occurred before the festival the rights to "Wraith Pinned to the Mist and Other Games" to proper started, at a sparsely-attended free show at Main and Outback Steakhouse. Reports stated that Bairnes later regret­ Hastings' Carnegie Center. Wearing a floral shirt and spec­ ted the sale, and that it had all boiled down to being hopped up tacles, Minton led and performed alongside a "Feral Choir" of on anti-depressants at the time. six Vancouverites, including a man in his 50s in a bandana, I arrived just in time to hear Vancouver's own vinyl sweet­ reminiscent of Jodorowsky in full beard, and an instantly lik­ heart Trevor Risk wrapping up his set. Nice, but this trend of able older woman with a turquoise scarf around her head and Dick's-on-Dicks showcasing local DJs as the opening act of a bright pink one around her neck. As the seven produced an their concerts is mildly disheartening. None the less, Mr. Risk unclassifiable and ever-changing tapestry of sound, a few of did an excellent job of fluffing the audience for the main act. the Carnegie's more downtrodden regulars ventured in, and There was a strange crew at Richard's that evening, which in­ then back out, stirring free coffee and scratching their heads. cluded several girls who were dressed for the Plaza on a Friday A gruff male attendee skeptically muttered to his buddy that night. I briefly wondered if they had heard of Of Montreal BRIEF the people on stage were a "bunch of cuckoos"—but stayed to from the steak house commercial. watch. Toward the end, Minton led his choir in a little dance. When I first listened to Hissing Fauna, Are You the As things quieted, I briefly mistook the gurgle of the coffee Destroyer? I thought it sounded like over-produced, 80s radio, machine behind me for part of the performance. pseudo glam-rock rip-offs, but I quickly forgot all that once the band took the stage. In fact, it took me several songs to real­ As the applause died down (surprisingly loud for a crowd fjjfS JKST IH of perhaps 20), a middle-aged woman in the row ahead ize that there were no drums (although others, I am told, did turned to me and looked up, looking not at all like an art geek. notice, and were not too impressed). The band wore a sparkle- "I liked it," she said, with just enough emphasis on the word tp tastic array of costumes, looking as though they had dressed suggest that you could call her crazy if you wanted to, "but..." this way more for their own pleasure than in any attempt to Then she smiled, looking somewhat puzzled. And that was the show off to the crowd. Bairnes treated the audience members best part of the night. as well-received dinner guests, and he was simply so pleased Allan Maclnnis they were having a lovely time. The show was energetic and lovely but part way through I couldn't help but crave a little less glam-rock, and a little more "Mimi Merlot". Thankfully, Discorder 29 J FEBRUARY 17 The Plaza I've never been real big on Grizzly Bear. I mean, Yellow House received a few listens around the house, but it never really struck me as transcendental or anything—a fact that left me questioning whether I was the right Discordian for this review. I feared my cynical, old-man tendencies would get the better of me, causing an onslaught of scathing remarks to litter this review—and my mailbox. But after cuddling up to Grizzly Bear at The Plaza, February 17 the stage at the band's second appearance in Vancouver, I can PHOTO BY BROCK THIESSEN safely say I now "get" Grizzly Bear and have no need to bring any hostility into this write-up. So let me explain why last month's show converted me into a bit of a gushing fanboy. First off, Grizzly Bear dispelled my preconceived notion that their live show would become some self-indulgent, free-form exercise. They kept things to the point during the evening, giving room for a bit of experimenta­ conducted not the band but an unmoving crowd were at all Apparel-clad tween used, her last ounce of strength to hold tion but neyer straying too far off course. For this I have to give sides. Then again, Grizzly Bear does make drug music, right? herself standing, teetering on the stage before Mercer. the band high fives. Second, instead of relying on a bunch of So as I peddled home after the show, I contemplated The music stopped. The crowd collectively held its breath vocal effects, these guys actually sang, and sang quite well—a how all my negativity towards the band had been flipped on in bewilderment. Russell Mercer wiped a tear from the fan's reminder that Grizzly Bear's four-way harmonies outdo the its head, and a thought came to me: maybe first impressions cheek and what happened next is the stuff of legend—the vocal loops some other bears use in their collectives. Third, the aren't that important after all. modestly dressed rock star belted a melody from his vocal band turned up the rock, maybe not to 11, but, for my wussy Brock Thiessen chords so beautiful I swear he channeled the song of Apollo ears, that's fine. As the four players worked through a set himself. Simultaneously, Mercer smashed his hand across the mainly taken from Yellow House, they often turned the album's strings of his guitar, releasing from his body a kind of radiant strings and production tricks into crunchy guitar tones and healing energy. some mighty big drum sounds, which brings me to my last As if mimicking a scene from the faith healing televi­ piece of praise: Grizzly Bear's man behind the kit, Christopher HmE_^______mmmmmmmmmmmm. sion sermons of Benny Hinn, the girl was released from the Bear (not sure if that's his Christian name or a rock pseud­ FEBRUARY 19 - ^ISill shackles of her mortal wounds, as her cuts and broken hopes onym). Bear drummed like he's been studying under Michael Commodore Ballroom mended before our very eyes. Karoli for years, repeatedly pushing the band's songs into a Probably the most memorable part of seeing The Shins From that point, the drummer quickly counted the band much more intense, rock 'n' roll territory than heard on re­ perform at the Commodore was when Russell Mercer, the into a booming rendition of "Kissing the Lipless", the final cordings, such as during the concert's climatic closer, "On a frontman and central nervous system of the Oregon-based song in their set. Just as the last chord was strummed, the Neck, On a Spit". group, reached down to an injured and near-crushed-to-death entire band vanished in a cloud of vapour. Just as we left the However, I do have a few minor grumbles about the night. girl in the front row. His hand reached down and linked to hers and the young girl effortlessly ascended out of the crowd, as Commodore, my friend smugly pointed out, "I guess Natalie The Band's take on my favourite Phil Spector song, "He Hit if escorted by two angels. Battered, bleeding, and covered in Portman was right. The Shins really will change your life!" Me," came out a bit too sludgy for my tastes, and the weird a mixture of her own tears, sweat and vomit, the American Danny McCash w electronic bits could have been pushed up in the mix more. Also, the show hit somewhat of a lull at the three-quarter mark, causing loud chatter to rise in the club, but maybe the high quotient of weirdos in the crowd were talking for com­ pletely different reasons; I have no idea. With all the strange­ ness I witnessed that night, anything is possible. Numerous make-out sessions, violent rock fists and some maestros who mention ^DISCORDER and get I 5 ^ off J anything in the store..

LORNE ATKINSON'S

3155 m BROADWAY

I "38-9318

J Final Show for A

Farmer. "Seeing FUN 100 play with a hundred kids singing "like we weren't going anywhere, and I felt like I had written along instead of a PA was so incredible. It was like that scene all the pop-punk love songs I could." It's a style he found very in Another State of Mind when Minor Threat is playing a show limiting to write with in the first place. In the time between where the sound man doesn't show up and they play anyway, The Badamps' new release and their previous records, Thomas February 3 and the vocals as sung by the entire crowd come through with went on to perform solo as a folk singer, and with another, Mount Pleasant Community Centre perfect clarity. Except Minor Threat had politics, whereas FUN more intense punk band he fronts, The Jolts. New projects 100 are about having fun." Likewise preoccupied with enjoy­ are also possible in the future for FUN 100, and their reasons "It's kind of funny how a band is always more popular ing themselves, Fanner and his band, who had come all the for breaking up aren't too different. According to Dyck, "We after they break up," says guitarist Dylan Thomas, after his fi­ way from Calgary to open the show with an energetic mix of couldn'); keep up what people expected of FUN 100, and more nal performance/reunion show with his punk rock band The indie punk and underwear, were an excellent way to kick off line-up changes were looming on the horizon, something we Badamps. To sum it all up, the Mt. Pleasant Community Centre the night. didn't want to deal with." was an unlikely place for the end of a Vancouver punk era on As great as the concert was, the fact that it was the last The final show for FUN 100 nearlyy|jdn't happen. Come February 3rd. It was at this unusual venue with no stage that show for two of the four bands gave the night a tint of nostal­ midnight, after a few noise complaints from the pleasant citi­ two local bands with a loyal following—The Badamps and gia. "We never really had lots of luck as a band," Ryan Dyck, zens of the neighbourhood, equipment failure and an appear­ FUN 100—played their last shows, while guests The Doers and vocalist and keytarist of FUN 100 explains, "But we still did ance by the RCMP sounded the death knell of any party. The Sudden Infant Dance Syndrome rounded out the proceedings. what we wanted, so it turned out to be a fitting last show." last thing anyone heard from FUN 100 was that they only had When "community centre" and "all-ages punk show" The two retiring bands were just there to go out having a good time for one song. "They were about to shut it down, we were get put together in the same sentence, there's bound to be time. "I've never had so much fun. People genuinely seemed told we couldn't play at all, but we managed to squeeze in 4 expectations of a young audience with crossed arms bobbing into it, and it was a great way to end it," says Thomas. They songs. When I told the crowd that we were allowed to play up and down. Instead, the show went from your average rock- played some songs off their new EP Two/Face and brought one song, I was lying," recalls Dyck. The music came from a-thon to a giant mosh pit, with a band somewhere in the back some favourites that hadn't been played in years, such as the crowd, who burst into song on their own, then turned to middle of the melee. These kids just took it to the next level, the ever-popular "Banned from the IGA". backing music for FUN 100's set, which included an extended going as far as to knock mics onto the bands. "It was amaz­ Thomas explained his reasons for ending the band on the drum solo to "Hot Popular Girl". Meanwhile, Mount Pleasant ing," says Sudden Infant Dance Syndrome guitarist Craig mic in front of everyone, claiming it was due to his feeling, Community Centre organizers began to take the amps and mics away until the lights came on and the power was cut. "Everything I wanted to happen at our last show happened, and it was more memorable than playing the same set again," PHOTOS BY IRALEIGH ANDERSON Dyck said. There was crowd-surfing galore, Dyck hanging from raf­ ters (those rafters were asking for it), smashing of keyboards, girls crying when toy keys were lodged in their eyes, and a visit from the Vancouver Police Department to break up the show. "It's a shame that FUN 100 never really got to play," Thomas laments. "Though in a way, it was probably a more memorable show for them and us. It was pretty cool to see everyone singing their songs even though they were told to stop." Jonathon Brown S u »ER REVIEW THE BIRD AND THE BEE, THE BLANKKET DEAN BRITTA, EXPLOSIONS IN THE SKY, OH NO, MALAJUBE, PETER BJORN AND JOHN, SECRET MOMMY, AMY WINEHOUSE, YOUTH GROUP

diculous human endeavours. life, must be making his own band's best works spanning Dean and Britta follow in Explosions in the Sky cer­ The Bird and the Bee The Blocks Recording Club, ends meet, no problem. And from their 1978 inception the fine tradition of lovers tainly start off its latest effort Metro Blue based in Toronto, is an offi­ so, one hopes, the same is through to 1983. This is ab­ making music to make love with, appropriately enough, The Bird and Bee are a cial, tangible result of a need happening in the east of our solutely the best era of a still- to. Like Lee and Nancy did an explosion of sound. AU of jazzy pop duo, and their self- for community within indus­ country, because the music relevant band, and it's worth in '68, Back Numbers boasts a Sudden I Miss Eyeryone be­ titled album has a very mis­ try. With the motto, "Don't that Blocks is making is im­ noting that these songs eleven songs full of sweet gins with an ascending surge leading "Parental. Advisory: try, do!!", the club gathers portant. And gorgeous. stand the test of time despite nothings, love dust, and of grinding guitars, before Explicit Content" logo on members bent on doing mu­ A founding member of the fact that they weren't fuzzy wuzzies—a bewitching dissolving into the familiar it. This is probably because sic, dirtying hands as much Blocks, The Blankket is one compiled with the benefit formula Dean and Britta first soundscape of albums past. of the song "F*cking Boy­ as they can along the way. man, Steve Kado. These cov­ of hindsight. However, with explored on their last outing, "The Birth and Death of the friend", which is essentially At Blocks, the people who ers hearken back to his child­ tracks in common with the L'Avventura. But unlike their Day" and the 13-minute a jazzy pop song, except that record, produce, distribute, hood, a place where music upcoming singles collection, debut, Back Numbers' sonic "What Do You Go Home To?" the chorus contains a shock­ and promote the music are was scarce, but Springsteen the greatest hits compilation souvenirs are of a more elec­ appear to have personalities, ingly casual and seemingly the same people who make it was nonetheless played on War and Peace, the Polish-is­ tronic nature. Along with despite being mere arrange­ pointless use of profanity. For the audience, what this the car stereo as Kado fell sued greatest hits compila­ production vet Tony Visconti ments of chords. Each song Even in the liner lyrics the actually translates into are in and out of sleep in the tion Greatest Shits, the re­ (David Bowie, T. Rex), they feels like part of a greater word is written "Peking". beautiful and strange arti­ back seat. Obviously, these cently reissued (with bonus have added an array of digital continuous whole, and the What I can't figure out is facts of sound to be gotten on covers come from a place of tracks) War on 45 EP, and touches to back Dean's dis­ band stays true to form with why anyone would want to the cheap. As the people at love, but what Kado. does is the reissued versions of their tinctive guitar work, giving their epic storytelling formu­ limit their audience, even by Blocks explain, "We believe not really an honouring of first two albums and an early the album a unique sound la, bleeding each track into the minuscule amount that that working together we can their traditional form. These seven inch, one might ques­ of its own and effectively dis­ the next. the parental advisory might, accomplish far more than we Springsteen covers explode tion whether this long out-of- tancing themselves from the It's the kind of music that when they don't even want ever could working apart and "the Boss, totally re-imagining print collection really needed Luna years. makes it feel okay to day­ to write the word in full. And further, that by moving clos­ songs that are very, very clas­ to be reissued. If you're al­ While Dean's contribu­ dream about ethereal scenes once you have the parental er to a co-operative economy sic. The charge of creative ready a big fan of the band, tions are significant, it's Brit­ like unicorns prancing in advisory, why not just run we're helping in whatever bankruptcy often leveled you know whether or not you ta who really takes charge of fields or deep-sea adventures. with it and fill every song small way we can, to mini­ against cover versions is here can justify the purchase, but Back Numbers. She sings the That is, if you're into that with cursing? mize the harmful effects of totally unfounded. Be Your If you're as confused as I was, lead on the majority of the al­ kind of thing.AU of a sudden, That might have helped, capital in the world." This is Own Boss reads like an ex­ definitely start here. bum's tracks and showcases the memory of what it feels because The Bird and the Bee DIY, no fucking joke. periment as much as it does Justin Banal a dynamic vocal range, as on like to hear a solid, optimis­ work in a kind of pedestrian Perhaps an explication a memory, and this may be the moving rendition of Lee tic and unpretentious album jazz-pop reminiscent of La­ on this alternative economic another reason The Blankket Hazelwood's "You Turned returns since The Earth is Not dytron, but without much philosophy is The Blankket's covers Springsteen—his im­ Back Numbers My Head Around". The re­ a Cold Dead Place came out edge. The best songs are ones Be. Your Own Boss, a mini age is culturally tied to ideas Zoe Records work of "Family Conference" more than three years ago. like "I Hate Camera" and "I'm album of man-of-the-hour of freedom, and this small "I probably kept going be­ (a track the duo originally Instrumental albums have a a Broken Heart", where the Bruce Springsteen covers. collection is an explication cause I was interested in scored for the film The Squid tendency to fall by the way­ music actually feels like it has Known for his anti-corpo­ on freedom of form as much her—if I'm being very hon­ and the Whale) into "The Sun side, victims of monotony, some substance. Even then, rate politics and an ability as it is anything else. These est with myself." These are is Still Sunny" displays Dean but these crashing cymbals it's all so gentle and breezy to capture the working class covers haye wings of their the words Dean Wareham and Britta's most sensual and- layered walls of sound that the album feels like fall­ struggle, Springsteen's mu­ own right. once said about Britta Phil­ vocal interplay to date. After won't let Explosions in the ing asleep in a warm bath. In sic is a strangely appropriate c. turions lips in the Luna documen­ 20 years of Dean Wareham Sky's name rest. sugar. In an elevator. bedfellow to the Blocks' co­ tary, Tell Me Do You Miss Me. albums, Back Numbers is the Patricia Matos Neale Barnholden operative logic. That Blocks In the scene, he explains how most adventurous in ages, does business differently Bloodied But Unbowed the only thing, or in this case proving both his and Britta's than much of the music in­ Sudden Death person, that held Luna to-. L wells are far from dry. Etienne D'aout Be Your Own Boss dustry should not preclude This is an excellent collection gether in those last few years TS Brock Thiessen Dare to Care Blocks Recording Club them from being successful by the band almost univer­ was his wife Britta. And after I just. You know. Wanted to. in more traditional ways, like sally credited with coining listening to Back Numbers, Like. This one. So much. And r It is an old cliche, but neces­ 0s$m!__mmm being able to pay their rent. the term "hardcore". The one gets the impression she's sity is rightfully said to be at AllofaSuddenI that way I could have spelled Springsteen, for all his de­ album is a modern reissue still what keeps him going. least half the motivation be­ JMiss Everyone out for you the proper term, pictions of typical American of a 1984 collection of the* On this soothing album, hind all of our spectacular, ri­ Constellation neither French nor English, YOUT H GROUP i

for the practice of making a Plumes" sounds like the of Oh No's beats bring a kind Michael and Janet step back. sharp and soft at the same anti-electronic electronic music good through good soundtrack to a racing video of laid back, smoke-a-blunt The real Jacksons are making time, subtly echoing into the album," using the patched- music-making practices. The game where you have to drive atmosphere to the forefront, noise. background and envelop­ together analog sounds re­ word, my friends, was (and a cloud along a magical sky­ heavy on subdued piano riffs Andrew Webster ing the multitude of sounds corded from non-electrified admittedly, to some degree line, shooting rainbow lasers and bopping funk drumming. around them. Layers build instruments. Guided by these still sounds like) M-A-L-A- at cackling gorilla puppets. For the most part Oh No's upon themselves without Herbert-esque restrictions J-U-B-E. That definition, And then. You go back. beats on this album come Writer's Block ever reaching a pinnacle, on recording and a blip-bloop though, fits either of their To "Etienne D'aout." Only from Gait MacDermot, the Wichita/V2 without ever exploding and glitchy aesthetic, Plays deliv­ preceding LPs, Le Compte softer. And longer. Than the composer of the score for the To an unfamiliar listener, the dispensing their energy com­ ers on the promise of the big complet or Trompe l'Oeil, bet­first time around. I hardly Broadway musical Hair agd a first few moments of Writer's pletely, preferring to stop concept with an album that ter than ft' Wtbetr most think, despite my disappoint­ renowned jazz musician. The Block could lead them to be­ short, leaving the listener in bridges the gaps between me­ recent release for Dare to ment, that the rift in tone infusion of jazz and funk on lieve they are about to embark want of more. Funny, then, chanical and human, digital Care Records, a four-song EP that makes Etienne D'aout Oh No's tracks are, no doubt, upon a wispy, pretty, easy- the sense of satisfaction de­ and analog. It's folk music for entitled Etienne D'aout. less than what Malajube has a by-product of being around listening, electronic-experi­ rived fromi t all, this constant robots. Remember Trompe I'oeil, been in the past means the his older brother and soaking mental something-or-other. motion, these highs and lows, Ironically, because of this the little album that could band saw the EP as an at­ in some of his influence. Such expectations are im­ this exercise in opposites. Full strict set of rules and limita­ and did see Montreal's Ma- tempt to rebirth themselves The rhymes on the album mediately and vehemently and gracious, this is no lazy tions, Dixon has provided a lajube onto more short lists in the way that some artists are pretty much on par with confounded by a roaring, optimism. much richer soundset than than the Rankins have Ju- do in the wake of success. I any west coast underground rhythmic assertion to the Third time around, Peter is found in most electronic nos? Well, if the most cele­ guess," though, we will have compilation. Nothing that contrary—the epic has be­ Bjorn and John have found music. Drawing on the skills brated release by this French to see with what sort of trick will have you silently spitting gun and it is unclear whether their epic in the ordinary, and of a wide range of Vancouver Canadian pop-rock quartet they will come up with next. bars to yourself while taking the listener will be laughing this is simply and superbly a talent, Plays escapes drum was (at least an eponymous) Mono Brown a piss. Still, it is nice to hear or crying by the end. This is a well-crafted pop album. This machine purgatory with a trick of the eye, their Etienne Murs, Cali Agents, Wild- sound that rolls, soars, chugs is music for keeping stride 1 selection of traditional in­ D'aout stands out on a first, child and Wordsworth drop along, rolls over again, never down the street on a sunny strumentation and found/ listen as some sort of trick Exodus into Unheard Rhythms their contributions. LMNO is stopping, never wavering, if day, gliding down the hill made instruments. From the of the ear. Like the reproduc­ Stones Throw on the album, but his track perhaps only for a moment. on your bicycle en route to bass clarinet to the autoharp, tive motifs that ornament its I am a hill believer in the doesn't hold a candle to the Such a moment merely hints the beach, having a whistle- from bicycle wheels to bubble cardboard sleeve, this baby talent of the Jackson fam­ verses that he used to spit at an assured sadness just be­ along with your morning wrap, there are sounds here seems, uh, hastily birthed. ily. No, not the Gary, Indiana on the Beat Junkies mixes. low the surface, tricking you cuppa joe, and everything that I've never heard in mu­ Perhaps to say so might be Jacksons, but the Oxnard, Buckshot's track, "Get into believing you're about in between. Refreshing and sic before. overstating the case, seeing California Jacksons. Oh No, Yours", is probably the best to be let down, however will­ uplifting, Writer's Block, of Plays is not without its as only four songs populate nee Michael Jackson, is the on-the album in terms of lyr­ ingly, only for the motion to course, demonstrates any­ faults, which are mostly the EP, two of them being latest family member to drop ics, while Vast Aire's oppor­ be reborn yet again. Okay, thing but. found in the vocal experi­ reproductions-of the EP title an album with Exodus into tunity to bring some credibil­ fine: it is springtime incar­ Erika Holt mentation on a few of the track, "Etienne D'aout." Both Unheard Rhythms. Oh No ity is severely missed—skip nate, slapping you firmly on later tracks. The vocals on the version radio and the re­ is the younger brother of that track. 'Oh No himself the back and allowing you to "Kool Aid River" sound like mix maman "Elton D'aout" underground beat maestro gets on the mic only three breathe again as though you Plays Aphex Twin and Fall Out redeem the release's wane in Madlib and son of 70s soul times over the whole album had forgotten how. Ache Records Boy had very ugly children. whimsy from earlier albums, singer Otis Jackson. but he holds his own; he There is a lot going on Secret Mommy, AKA The positive hip-hop verses and "M Pupille" manages to Oh No's Exodus into Un­ doesn't need any gimmicks here: deep and chunky bass­ Vancouver's Andy Dixon, in "I Can't Get Down," with be both energetic and reflec­ heard Rhythms smacks of the like his older brother to keep lines, catchy yet unexpected is not afraid to tackle a big lines like "I'm a part of this tive without being too much tireless crate-digging his older your attention. melodies, cascading tonali­ concept. The idea guiding world / like the trees of the of either. Remix or not, "Fille brother is famous for. Many LaToya, Jermaine, Tito, ties. Vocal harmonies sound Plays was "to create the mdst earth," seem out of place in a project like this one. stunning follow-up to Wine- ries" that make up Youth These small flaws are not house's spotty but endearing Group's "Sorry", the second enough to befoul the album debut, Frank, right? track on their latest album, and its playful assembly of Just one question lin­ Casino Twilight Dogs. De­ musical weirdness. This is gers—what version of the spite—and perhaps because one of the most interest­ disc are you going to end of—the song's mammoth ing cut-up, glitchy albums up with if you can find it reams of apology, I happen to I've heard in the past year, at your local record shop? be playing "Sorry" on a loop and in a year that includes The UK release comes with as I write this review. 3ALEE- releases from Coldcut and eleven tracks, starting with Granted, I am feeling a Squarepusher, this is no the soulful stomp of "Rehab" little droopy about love at the small praise. Secret Mommy and ending as Winehouse moment, so I'm technically has created an album that is blows over the Impres­ in a prime position to review 3 "NOT YET interesting, engaging, and, sions-inspired strut of "Ad­ a band as canonically emo as defying convention for the dicted." The initial Canadian Youth Group. The Sydney- glitch genre, listenable and pressing weighs in at a slight based quartet grew out of fun. Plays will be in heavy ro­ ten tracks, leaving off the Canberra's indie scene, and tation, for me, for some time latter and finishing with the has since gained mainstream to come. Motown shuffle of "He Can success with their support of Greg McMullen Only Hold Her." But accord­ Death Cab for Cutie on a ing to Amazon.ca, the do­ 2005 North American tour mestic release now features (sorry, Discorder cred, but Back to Black the same number of tracks I'm sweeping any remain­ Universal that our Commonwealth ing shards of you away by Everyday, music fans are hit cousins enjoy. Of course, we openly admitting that I at­ with claims about how pira­ both get screwed out of the tended and enjoyed the Van­ cy is killing the music indus­ beautifully stripped-down, couver show on this tour). To try. Everyday, as this dying acoustic take of "Love is a ice the cake, Youth Group's industry scrambles to find a Losing Game." The bonus cover of Alphaville's "For­ solution, music fans have to track that rounds out the US ever Young" appeared on the five with the consequences. version of the record brings 2005 O.C. Soundtrack, slow- I can only imagine it's this the tracklist that our Yankee dancing them to mainstream scrambling that somehow neighbours enjoy up to a full success. explains why Amy Wine- dozen tunes. I'm neither a fan of cov­ house's fabulous new record, Confused? So am I. ers nor The O.C, so I'd ar­ Back to Black, ended up with You'll want to get a hold gue that "Forever Young" three release dates and three of Back to Black somehow, is one of the weakest tracks different track listings. but I'm a bit hesitant to sug­ on Casino Twilight Dogs. Across the pond, in Octo­ gest that you pick it up at the Overall, it's a well-produced, ber of last year, this record store, since who knows what thoughtfully-crafted record, was unleashed to an im­ you're going to end up with. but it lacks that layer of acer­ pressive amount of fanfare. I'm sure you have "other" bity necessary for music of Apparently, it hit Canadian ways of getting music nowa­ this genre to really fly. The shelves in December, al­ days, anyhow. You can make album is at its best with the though with a rather lack­ up your illicit downloading playground hum of "Daisy- lustre publicity campaign and quasi-legal home taping chains," the cuddly squish behind it, you'd be forgiven if to Winehouse if she comes to of "Under the Underpass," you didn't notice. While the townT)y buying her a Rick- and, yes, the Gilgamesh la­ brain trust over at Universal stasy (her favourite cocktail). ment of "Sorry," but the rest Canada were busy figuring Or, if you don't want to en­ of the record is too gentle in out ways to push the new courage her drinking habit, its delivery of heartbreak to Hedley record, Winehouse's maybe just toss a wadded up make any memorable state­ profile was elsewhere grow­ twenty on stage. I guarantee ments. Maybe it's hard for ing by leaps and bounds, fill­ that it's about twenty-five the shy kidsJn Youth Group ing pages of both the NME times what she gets from an to, like, talk too loudly about and English tabloids, her album sale anyhow. their feelings, and stuff. Still, album skipping its way up Quinn Omori I'd give this record bigger ups the charts. Since the majors if it helped "me cry so good, are always ready to strike but its radio-rock grooming when the iron is hot, a US Casino Twilight Dogs has neutered the possibility release was quickly slated for Ivy League Records of attaching strong emotion the middle of March, a full "I'm so sorry. So sorry. to the music. five months after its UK re­ I'm so terribly, terribly sorry. Jackie Wong ft lease date, eight weeks after I'm so sorry. So sorry. I'm so the record hit #1 in Britain, terribly, terribly, sorry! I'm and after anyone in America so sorry. So sorry. So terribly, who had got wind of the ini­ terribly..." tial hype had grabbed it off If you blanked out after of LimeWire. But enough the second "sorry" back nitpicking, we music fans there, you might find your­ should just be happy that self a little worse for wear in we can finally purchase this choking down all the "sor- [•U1H 1 Do Make Say Think* You, You're A History In Rust 2 Of Montreal Hissing Fauna, Are You The Destroyer?

Camera Obscura ff Looks Could Kill Strictly the Wincing The Night Away dopest hits of 8 Julie Doiron* February 2007 CiTR's charts reflect what has been spun on the air for the 12 Dead Meadow Burnt Oak Records: You And Yours previous month. Rekkids with Fans Of Bad Productions stars (*) mean they come from this great land o' ours. Most There's No 666 In Outerspace The Music Appreciation Society Presents Vancouv Canada Council For The Arts of these platters can he found at finer (read: independent) 19 The Dolly Rocker Movement A Purple Journey Into The Mod Machine 20 The Boredoms music stores acorss Vancouver. 21 Deerhunter

If you can't find 'em there give 22 Geoff Berner* The Wedding Dance of the Widow Bride the Muzak Coordinator a shout 23 Arcade Fire* 24 Apostle of Hustle* National Anthem of Nowhere at 604-822-8733. His name This is an Ad for Cigarettes is Luke. If you ask nicely, he'll Endless Summer Editions tell you how to git 'em. To find 28 Neko Case Live From Austin.TX other great campus/community

radio charts check out 30 Sohic Youth The Destroyed Room www. earshot-online, com. 31 The Dexateens 32 Mother Mother*

Chemikal Underground

Dig Your Roots Creative Jazz

35 The Good, The Bad, & The Queen

36 Explosions in the Sky All of A Sudden I Miss Everyone

37 Steve Reich Reich Remixed 2006

39 Million Dollar Marxists* Zero Culture Stumble

40 Menomena Friend And Foe Barsuk

41 No Luck Club* Prosperity Igloo Cartel

42 Clinic Visitations Domino

43 The Winks* Birthday Party Ache

44 The Gruesomes* Live In Hell Richochet

45 Pop Levi Blue Honey Counter

46 +/-Plus/Minus Let The Record Show Absolutely Kosher

47 RJD2 The Third Hand XL

48 Bloc Party A Weekend In The City Vice

49 Johnny Cash • Live in Austin TX New West

50 Residents Tweedles! Mute

Discorder 37 nwjDE You can listen to CiTR online at www.citr.ca or on the air at 101.9 FM wmrmrnmmm

••••SUNDAY cades. International pop (Japa­ trance cuts to propel us into the like Sharp like Knives, Whitey riety of innovative and interesting March 19: The Mingus big band nese, French, Swedish, British, US, domain of the mystical. Houston, the Novaks and more. works from the 20th and 21st cen­ live in Tokyo recorded on New etc.), 60s soundtracks and lounge. [email protected] NATIVE SOIJDARITY NEWS turies, with an occasional neglected Year's Eve of 2005. This band TANA RADIO (World) Book your jet-set holiday now! DISASTERPJQECE THEATRE (Talk) is keeping alive the legacy of SHOOKSHOOKTA (World) SAINT TROPEZ (Pop) A national radio service and part KARUSUtWorM) Charles Mingus. This band burns KOLNODEDI (WorM) QUEER FM(M) of an international network of THE JAZZ SHOW (Jazz) and would be the kind of band Beautiful arresting beats and voices Dedicated to the gay, lesbian, mm__m MONDAY information and action in support "Vancouver's longest running Mingus would have if he were still on the planet. Mingus lives!!! emanating from all continents, bisexual, and transexual com­ of indigenous peoples' survival primetime jazz program. Hosted corners, and voids. Seldom-rattled and dignity. We are all volunteers March 26: The oddly titled band munities of Vancouver. Lots of BREAKFAST WITH THE by the ever-suave, Gavin Walker. pocketJuls of roots and gems, committed to promoting Native called The MJT Plus Three was a human interest features, back­ BROWNS (Eclectic) Features at 11pm: recalling other times, and other self-determination, culturally, hot little band of Chicago-based ground on current issues, and Your favourite Brown-sters, James March 5: Only the Blues pits two places, to vast crossroads en route economically, spiritually and oth­ players who all moved to New great music. and Peter, offer a savoury blend of jazz masters in a jam session erwise. The show is self-sufficient, York in the early 1960s. They to the unknown and the unclaim- context. Modern jazz great Sonny RHYIHMSINDIA (World) the familiar and exotic in a blend able. East Asia. South Asia, Africa. without government or corporate recorded several albums before of aural delights! Stitt (alto saxophone) and swing- Rhythmsindia features a wide funding. breaking up, and Make Every­ The Middle East Europe. Latin era great Roy Eldridge (trumpet) range of music from India, in- . LIONS AND TIGERS AND body Happy was one of their America. Gypsy. Fusion. Always NEWS 101 (Mc) spar on four long tunes backed eluding popular music from the BEARS.,.(EcIecf.ic) rhythmic, always captivating. best. Drummer Walter Perkins A mix of indie pop, indie rock, A volunteer-produced, student and by pianist Oscar Peterson and Co. Always crossing bwrders. Always 1930s to the present, classical and bassist Bob Cranshaw were and pseudo underground hip hop, community newscast featuring March 12: Today is a sadly transporting. music, semi-classical music such the Modern Jazz Two (MJT) and with your host, Jordie Sparkle. news, sports and arts. Reports by famous day in jazz history, as it as Ghazals and Bhajans, and also the Plus 3 were pianist Harold THE ROCKERS SHOW (Reggae) ALT. RADIO (Tcdk) people like you. "Become the Media" marks the 52nd anniversary of Qawwalis, pop, and regional lan­ Mabern, alto saxophone master Reggae inna all styles and fashion. Hosted by David B. W.I.N.G.S. (Talk) . the death of the most important guage numbers. Frank Strozier and brassy trum­ BLOOD ON THE SADDLE Womens International News musician in modern jazz history: MONDO TRASHO (Eclectic) PARTS UNKNOWN (Pop) peter Willie Thomas. One super (Roots) Gathering Service. alto saxophone master Charlie TRANCENDANCE (Dunce; Underground pop for the minuses band! Real cowshit-caught-in-yer-boots SON OF NITE DREEMS (Eclectic) Parker. We honour "Bird" by Join us in practicing the ancient with the occasional interview country. UNCOMMON PRACTICE (Clas­ playing some important record­ VENGEANCE IS 1MIPJE (Punk) art of rising above common with your host, Chris. CHIPS WITH EVERYTHING sical) ings by his working band that All the best the world of punk has thought and ideas as your host DJ LET'S GET BAKED W/MATT & DAVE also featured trumpeter Miles to offer, in the wee hours of the (Pap) Smiley Mike lays down the latest (Edectic) All the classical music you don't Davis. Bird lives!!! morn. British pop music from all de­ Vegan baking with "rock stars" hear on mainstream radio! A va­ ______M TUESDAY •m*>m______\ FRIDAY

DEMOCRACY NOW (Talk) CUTE BAND ALERT! (Eclectic) PACMC PICKIN' (Roots) Independent news hosted by Bluegrass, old-time music, and its SKA-T'S SCE1SIC DRIVE (Ska) award-winning jounalists Amy derivatives with Arthur and the Email requests to: Goodman and Juan Gonzalez. lovely Andrea Berman. [email protected] CITR 101.9 FM: Official RC1VIBLETONE RADIO (Rock) HIGHBRED VOICES (World) THESE ARE THE BREAKS THIRD TIME'S THE CHARM Primitive, fuzzed-out garage mayhem! (HipHop) Sponsor of Good Times (Rock) NECESSARY VOICES (leak) Top notch crate digger DJ Avi Socio-political,enviromental activ­ Shack mixes underground hip by Robert Robot Open your ears and prepare for ist news and spoken word with a shock! A harmless note may hop, old school classics, and origi­ some music too. make youa fan! Hear the menac­ nal breaks. AND SOMETIMES WHY ^£^fc> No, we're not talking about Good Times, that dynamite mid-sev- ing scourge that is Rock and Roll! RADIO ZERO (Eclectic) enties (Pop/Eclectic) i>& V sitcom (although Jimmie "J. J." Walker is pretty sweet). We're . Deadlier than the most dangerous talking about all the events CiTR Radio provides our audience all criminal! First Wednesday of every month. year round. On top of the unique and unparalleled sonic gold we [email protected] THE CANADIAN WAY (Edectic) MORNING AFTER Independent Canadian music transmit over the airwaves, publishing this infamous magazine SHOW(Edeefic) JUICEBOX (Talk) from almost every genre imagin­ every month, and hosting Shindig, Vancouver's annual battle o' the bands, this GIVE EM THE BOOT (World) Developing your relational and able covering the east coast to year the CiTR good times just won'^ stop. From June 11th to 16th, CiTR and our individual sexual health, express­ Sample the various flavourso f the left coast and all points in be­ friends at CJSF and Co-op Radio will be hosting the National Campus Community Italian folk music fromnort h to ing diversity, celebrating queer- tween. Yes, even Montreal! Radio Conference (NCRC) 2007. For almost a week, Vancouver will turn into a south, traditional and modern. ness, and encouraging pleasure [email protected] Un programma bilingue che es- at all stages. Sexuality educators AFRICAN RHYTHMS (World) playground for Canada's campus/community radio sector with visitors descend- plora il mondo de^^^p^ftlk Julia and Alix will quench your David "Love" Jones brings you the ingon our fair city from all corners of our country and beyond. In preparation for italiana. search for responsible, progressive best new and old jazz, soul, Latin, the multitude of events we have planned for NCRC, we, like any business-minded sexuality over your life span! BESNERIC RHYME (Talk) samba, bossa and African music organization, made a very important decision: to throw a party. As usual, an Interviews with contemporary www.juiceboxradio.com from around the world. FOLK OASIS (Roots) eclectic group of artists are on the bill to delight and strike glee into even the Canadian poets. We'll talk about www.afiicanrh5ni1msradio.com glummest of hearts. For a measly ten bucks, you'll not only be entertained, but line breaks, construction bosses Two hours of eclectic roots music. SHAKE A TAIL FEATHER (Soul/ named Phil, and the invitational Don't own any Birkenstocks? Al­ R'n'B) will also be helping to support the conference, much of which is open to the pub­ you. lergic to patchouli? C'mon in! A lic—including an impressive list of live shows soon to be announced. So bring kumbaya-free zone since 1997. I LIKE THE SCRIBBLES (Eclectic) REEL TO REAL (Talk) Beats mixed with audio fromol d your friends, call your folks, and get down to the Lamplighter on Saturday. Good HANS KLOSS' MISERY HOUR times are guaranteed! Jimmie "J. J.," Walker isn't. Movie reviews and criticism. (Hans Kloss) films and clips fromth e internet. EN AVANT LA lVlUSIQUE (French) This is pretty much the best thing 10% discount for callers who are En Avant La Musique! se con­ certified insane. Hosted by Chris D Line-up: centre sur le metissage des •THURSDAY •^•SATURDAY francophonie ouverte a tous les Midnight Dragon [Dirty Boogie Rock] courants. This program focuses • "Loud, dirty, and always ready to git down, Midnight Dragon are Vancouver's THE SATURDAY EDGE (Roots) on cross-cultural music and its trashiest boogie band." influence on mostly Francophone Studio guests, new releases, Brit­ ish comedy sketches, folk music musicians. SWEET 'N' HOT (Jazz) calendar, and ticket giveaways. Circus in Flames [Noir Country] Sweet dance music and hot jazz WENER'S BARBEQUE (Sports) GFJNFRATIONANNILHILATION from the 1920s, 30s, and 40s. A "garage string band" with a "unique but rooted musical vision." Join the sports department for (Punk) their coverage of the T-Birds. DUNCAN'S DONUTS (Eclectic) A fine mix of streetpunk and old FLEX YOUR HEAD (Hardcore) Hosted by Duncan, sponsored by school hardcore backed by band Junior Major [Hot Girl Pop] Up the punx, down the emo! donuts. interviews, guest speakers, and "Stripped down, poppy, noisy, and fun." Keepin' it real since 1989, yo. WE ALL FALL DOWN (Eclectic) social commentary. Flexyourhead. Punk rock, indie pop, and what- • www.streetpunkradio.com Date: Saturday, March 10th, 2007 ever else I deem worthy. Hosted by SALARIO MENIMO (World) [email protected] Venue: The Lamplighter at 210 Abbott St., Vancouver Salario Minimo, the best rock in a closet nerd. POWERCHORD (Metal) Spanish show in Canada. CRIMES & TREASONS (HipHop) Vancouver's only true metal Doors: 9pm (Show at 10pm) CAUGHT IN THE RED (Rock) MY SCIENCE PROJECT (Talk) show; local demo tapes, imports, Tickets: $10 in advance at Zulu, Scratch, and Red Cat Trawling the trash heap of over 50 Zoom a little zoom on the My Sci­ and other rarities. Gerald Rattle- Still have questions? years' worth of rock n' roll debris. ence Project rocket ship, piloted - head, Geoff the Metal Pimp and Contact CiTR Promo Gal, Mya B, at [email protected]. Digit! by your host, Julia, as we navigate guests do the damage. PLUTONIAN NIGHTS (Eclectic) eccentric, under-exposed, always CODE BLUE (Roots) AURAL TENTACLES (Eclectic) relevant and plainly cool scientific From backwoods delta low-down It could be punk, ethno, global, research, technology, and poetry slide to urban harp honks, blues, • trance, spoken word, rock, the (submissions welcome). and blues roots with your hosts unusual and the weird, or it could [email protected] Jim, Andy and Paul. be something different. Hosted by PEDAL REVOLUTION (Talk) THE LEO RAMIREZ SHOW (World) DJ Pierre. AFROBEAT (World) Music of the world, with a special The best of music, news, sports, Art Director. ______WEDNESDAdancY e around African drum beats. and commentary from around My passion is music fromth e Afri­ the local and international Latin Drawing, Photographing, Typesetting, Learning, can Diaspora. Catch up on the latest American communities. SUBURBAN JUNGLE (Edectic) and reminisce on classic spins. OUR WAVE (World) Helping, Sharing, Coordinating and Liaising. PLANET LOVETRON [email protected] News, arts, entertainment and (Electronic) EXQUISITE CORPSE (Experi­ music for the Russian community, With host Robert Robot. One part mental) local and abroad. Production Manager. classic electronics. One part plun- Experimental, radio-art, sound derphomemixnmatch. Two parts collage, field recordings, etc. Rec­ Coordinating, Drawing, new and experimental techno. ommended for the insane. An exciting chow of Drum n' Bass One part progressive hip-hop. Mix LIVE FROM THU1VDERBIRD with DJs Jimungle & Bias on the Typesetting, Helping, and add informative banter and RADIO HELL (Live Music) . ones and twos, plus guests. listen Photographing, Sharing and news for taste. Let stand. Serve, Live From Thunderbird Radio for give-aways every week. Keep and enjoy. Hell showcases local talent...LIVE! feelin da beatz. Liasing also. [email protected] Honestly, don't even ask about the SYNAPTIC SANDWICH ANOIZE (Noise) technical side of this. (Dance/Electronic/Eclectic) Luke Meat irritates and educates LAUGH TRACKS (Talk) BEATS FROM THE BASEMENT [email protected] discorder.ca through musical deconstruction. RAW RADIO (Hip Hop) CONCEPTION RADIO (Talk) tl Recommended for the strong. Discorder 39 HAVE YOU HEARD NEON BIBLE? Zulu asks the question and ARCADE FIRE POP LEVI JULIAN FANE BESNARD Neon Bible The Return ts Our New Quarters CD LAKES CD/Deluxe CD Fotm Black any people know, but few will come forward and tell The Besnard Myou that Vancouver is the perfect city to go incognito I erhaps this is the most anticipat­ in. We have long been a safe haverrfor stars tofiomestiad | ed release of 2007!! Well, we Majick Party CD Lakes are The P in, as our streets, cafes and stores offer all the anonymity can now with utmost confidence tell alling all Children of The to relieve a soul living a very public life. So, here is the new Dark Horse CD you that Montreal's little band that CRevolution! We know it,s record from international electronica pop star Julian Fane magine a sonic landscape could will not disappoint on this, their sophomore release! gonna take some special swagger to shake you out into the a.k.a. Vancouver's best kept secret. It is nearly impossible Ishaped by an eerie aesthetic falling somewhere between Following up one of the best indie debut albums of aftime street in your boogie shoes, spaceman. We know that to see Julian around town, especially as there are conflict­ a David lynch phantasmagoria and the tranquil mise-en- would be a near impossible task, yet this band of merry music when you hear the words "GJam Rock" you sometimes ing reports as to who he actually is, how he styles himself, scenes of the Italian masters Fellini and Arrtonioni. makers have let the blooms of 2004's Funeral go to seed only cringe and long for the Stardust Electric Warrior days of and what exactly he does to occupy his time while not cre­ Dreamy and inviting, yet also haunting and estranged, to have the new rushes of Neon Bible robustly come up. For old. But we also know when a good thing comes shining ating some of the most sublime electronic pop songs this is a place where fhe mind opens and unfurls a steady the new epic the combo hasn't drastically altered their uniquely through the stars down the milky way of ecstasy and into around. What sort of mind would come up with composi­ stream of piercing images to animate the night A flaming emotionally charged sound, but instead developed it into our jukebox in the name of Pop Levi!!! Oh lord, sweet lord, tions that manage to synthesize the playful bounce of The dark horse gallops across your field of vision, it's hooves refined revolutionary rock amber through more interesting thank you for the new messiah for the man not afraid to get Magnetic Fields, the blissed-out tones of NBV and the thundering a loneliness in the clouds, and with it a slow instrumentational choices including mandolins, psycho strings the balls loose and thus freely conjure up a heady brew of angelic vocal delivery of Sigur Ros? We can only hazard a dirge and an elegiac ballad the fuels the fiery breeze of and delicate acoustic guitar motifs. Cementing this brooding sexuaity charged party-power-pop reminiscent of the days guess. Our New Quarters offers ali the clues you need! 'The Besnard Lakes. The curtain sheet sways like a lost mass is Win's familiar caterwaul vocal delivery that acts as a when platforms and plaid- and shag and shag and shag Jover.s tangled hair and with it an enticing melody comes bombastic call to arms to overthrow the oppressive structures ruled the dance floor. Pop Levi (not his real name) knows CD 16.98 forth fo seduce and kill. You toss the bedside orchids that and ennui of modem society. There are few banrJs^Bygljg-^k; that rock music is supposed to be dangerous, instinctive, cradteypiJelref in magic into fte-aifcaod they float that can match Arcade Fire's raw emotional quotient, add their enigmatic, and like the wick in a powder keg, a fuse to amongst a miasma of angelic voices whispering theatrical grandiosity and unique ability to connect with their ' destroy everything standing between you and pleasure. EXPLOSIONS IN "Disaster* to which you reply in chorus "Devastation". audiences, and it quickly becomes obvious why they have risen Just one listen and you wil! be at the Black Majick Party in TNE SKY Tonight you are caught in the wake of the Besnard to the top of the. world's rock Parthenon. Neon Bible sounds no time! Lakes—- theress nothing you can do — give in. like a band comfortable with their glory—yet willing to make All of the 8 CD 16.98 havoc with the spotlight! Enjoy! AVAILABLE MABGH ff Sudden I Miss CD16.fl| CD 16.98 Deluxe CD 19.98 DO MAKE SAY Everyone CD THINK hirty seconds* all you'll j I TED LEO AND THE Tneed to believe in the tr^t/Kly-tiirried-rnaiesty of AU of a You, You're a Sudden I Miss Everyone, the long-awaited fourth album FQR^UREXDUISm PHARMACISTS from Explosions in the Sky r&M ea^ these moody History in Rust Texans have become e ling *arc*i Si 3'ers of instrumental Living With Tlie CD rock sublimity. The hands-over-your-face, drop-to-your- CONSIDBUM: Living CD knees opening track is only the beginning of the dominat­ o Make Say Think are one Air-Pocket Symphony CO ith his latest, Living with the ing powers! this record. Recorded by John Congleton Dof me most consistently inventive instrumental rock Living, Ted Leo delivers that (The Roots, The Mountain Goats) at Pachyderm Studios in W bands of the past decade, and one of the most self" The Pink Mountaintops-Single Life existentialist ethos to a new crop of rude boys, For their fifth rural Minnesota, the album is a massive leap forward, realised: DMST members themselves have recorded, mixed , full-length release Uving with the Living, Ted & Co. wipe clean showcasing a broader instrumental range and their most and mastered alt the band,s work, developing a highly orig­ the slate that once held names like Weller, Strummer and focused, efficient songwriting to date. It's also within arm's inal and finely detailed approach to audio production. Yea, . r Bragg and indulge some of their farthest-reaching musical length of matching the overwhelming glory of their leg­ You're A History In Rust Is the fifth record by Bo Make ambitions. "Amy Bound" and "la Costa Brava" evoke the endary live shows, trading in the crystalline production of M. Want -To Go Home CDEP Say Think and a brilliant extension of the band's unique melodic spirit of Andy Partridge, Ray Davies and ArgyBargy- The Earth Is Not a Cold Bead Place for a paint-peeling sonic narrative. Anchored once again by f ingerpicked Minus The Bear-Interpreciones Del era Squeeze, while "Colleen" is Ted's most successful medita­ intensity that ite the fines between studio and live perfor­ acoustic guitars, these compositions trace erratic circles tion on pop music yet. "A Bottle of Brickie clinks pint glasses mance. OrsoCO around a flickering, elusive centr^i$h;;swarms of percus­ with The Piques and captures Ted conjuring up the rhythms of sion and horns that swirl like mo^amund an astral CD 16.98 The Frames-The Cost CD his Irish ancestry. And stretching his boundaries further still, * campf're Tte-WHanio n©n-linea'i\ wi be familiar tofan s songs like "The Tore and the Toreador", "The Lost Brigade", of the band, as DMST has been honing this kind of overlap­ Bobby Conn-King For A Day CD and "The Unwanted Things" find Ted taking his falsetto in new ping, multi-thematic eW^Sow since their inception. PGSIX directions, with vocals that caress each composition with the With History In Rust they'we: rjeScfatf a new peak of decon- Calla-Strength in Numbers CD greatest delicacy and grace. Along with the punk sound and , - structive talent. Never academic or self-indulgent, DMST Slightly Sony energy found in Ted Leo and the Pharmacists, previous works, Sondre Lerche-Phantom Punch CD coBtiwueW^ustain meir tradition of authenticity and artful- CO Living with the Living finds seal, funk arid R&B injected into Trans Am-Sex Change CD/LP the trajectory. As we've learned from those artists, vital, irnpas-1 .O. Sb is on sioned music is often the direct result of aiSfre political climate, Pformerly a key playeri Elvis Perkins-Ash Wednesday CD and Living with the Living is a shining example of that truism. CD14.98 NYC's lata, revered psych- AVAILABLE MARCH 6™ supergroup The Tower Money Mark-Brand New By Recordings {which aiso spawned the h CD 16.98 MV7EE and Samoa luhelskl). As such, 1 Tomorrow CD Myth Takes CD ing traditional fingerpicking balladry deep into interior The Silos-Come On Like the Fast space long before anyone coined the term "freak fofk", and s dance-funk-punk contin- Lane CD APPLESIN his powerfully mature style made his earlier records big Aues to mutate !!! (JEM favourites with the Zulu staff. Now signed to Drag Sty The Knife-Marble House CDEP STEREO Chic Chic) prove their principal M records (home ot Joanna Newsom, Bonnie "Prince" Bffly, place as the predominate voice actl Smog, WUte Magic, etc.), P,G. Six is presenting their Mick Harvey-Motion Picture Music New Magnetic on the deconstructed dance magnum ^pus, a folk-rock masterpiece that exemplifies ftodr scene! Wi? thump, CD rCD everything that's great about Drag City music: Slightly shake and a bit of KG-inspired boogie, NYC's fl! have fol­ Ileai d Apple Robert Schneider Sorry is wise and worldly, willow-thin and lonely and then David Bowie-various reissueslimit ­ lowed up 20Q4's now classic Louden Up Now (2004) with MhI haas lead his heavenly pop suddenly fat with organ tones andchoral harmony. It's a ed ed. CD -one of the finest records of ttisyoun g year. band through over a decade of timelessiy real and deep set of songs tn the spirit of John Loaded with genre shifting post-modem anthems that melodic indulgency and along the way touched the hedU?Wl*«**i Fahey and Nell Young, well-playeCfelf-produced, and Southern Culture on the Skids- keep you on the phone with their catchy familiarity, Myth many a loyal Zulu customer. One such music lover is Hijah gjmmick-free.AraietreasuFef-..- • Takes is a massive achiwemeBWtpmposition as over the Countrypolitan Favorites CO Wood, who when in town before the tens would keenly frequent ^wtiesef if.Bumefous dancefloor raves it captures a rare our bins looking for that new blast of pop urgency. Finally, as CD 16.98 High Llamas - Can Claddeis CD playfully experimental spirit and good time energy, Oigthe head of his own record stable Mr. Wood can fervently support low end rumble of the bass-heavy psychedelic album open­ his longtime love of the Elephant 6 pop sound and the studio er "Myth Takes" as *eps the New Music-esque ambience wizardry of Schneider and his fellow HO, Beach Boys and of Myth Takes, closer Inf inffold — clearly Myth Takes Pavement-influenced pats! This is the Apple's fifth release of re not mistakes. Highly Recommended. Zulu Records "hyperactive fuzzy indie rock and surreal bubbfegum, splashed CD 16.98 STORE HOURS wtth colors bright enough te g%ftln the dark" — if this don,t 1972-1976 W 4th Ave make you 'eel warm inside nothirg will' Recommended for those looking for that lost Olivia Tremor Control feeling! Vancouver, BC 4 Fli. 10:30-9:00 CD 16.98 tel 604.738.3232 Sat 9:30-6:30

SALE PRICK ON SALE UNTIL MARCH 31,2007 www.zulurecords.co