Hasta la Victoria Siempre!

Live At Carnegie Hall
Buena Vista Social Club
Nonesuch Records



It’s one of those albums that everyone absolutely must listen to, right alongside Pink Floyd’s The Wall and The Sex Pistols’ Never Mind the Bollocks, a quintessential rite of passage for all music lovers. Originally a social club instituted in the 1940’s in Havana, Buena Vista Social Club revisits the warmth of Cuban rhythm in a way that’s both fresh and nostalgic. Songs dating from the 1920’s from the heart of Cuba were revived by Ry Cooder, who got these guys out of retirement to perform together at Carnegie Hall. What we get in the end is almost two dozen talented musicians performing exotic tunes from pre-Revolutionary times, like some sort of time capsule. Ibrahim Ferrer, legendary artist fronts the 22-member arrangement, giving the entire set a gorgeous, historical, organic texture while he sings about the innocence of pre-communist Cuba.

Oasis will Shake Your Ragdoll, Baby

Dig Out Your Soul
Oasis
Reprise Records

After a three-year hiatus, Oasis has released their seventh studio album, Dig Out Your Soul, which is arguably their best work in the last decade. While the Manchester quintet has grown up a bit, their boyish wit and juvenile charms still ring strong. The album opens with “Bag it Up,” a catchy alternative anthem that carries through while Liam sings about the “heebie jeebies.” The album takes a more melodic detour in later tracks such as “The Shock of the Lightning” and the ultra-aggressive, self-deprecating tune “Ain’t Got Nothing.” So far it seems that the break has proved to be a good choice for the band, who suffered from a major decline in popularity during the early 2000’s when Britpop wasn’t favored too strongly. Fronted by two egomaniacal Gallagher brothers, Dig Out Your Soul shows some kind of soulful growth that fans like to see, even when a band’s charm was previously defined by being an asshole.

Environment is doomed, sustainability experts say
By Miné Salkin


Guest speaker Stephen Lewis told students that “this planet is doomed” at a conference advocating Students for Sustainability this afternoon at the University of British Columbia.

The Nobel-Prize winning diplomat, politician, and broadcaster said that all international and other government actions towards reducing greenhouse gas emissions, such as the 1992 World Summit Conference were ways of “getting away with the appearance of movement” in regards to the environmental crisis.

Lewis capitalized on the ineffectuality of the current Conservative government in Canada, and the capitalist framework that developed nations strive to adhere to while ignoring the tell-tale apocalyptic signs of a world in peril. He said the Harper government is one whose “agenda for the future abandoned the environment,” and that it focuses attention on propping up oil and gas companies who further the environmental decline by protecting corporate interests.


Created by the Sierra Youth Coalition and the David Suzuki Foundation, The Students for Sustainability Tour began last month to educate post-secondary students across the country on how to decrease their carbon footprint. Their message is a tough one: some of the environmental damage that has already been done is irreversible.

Quoting from George Monbiot’s book Heat, Lewis said that something must be done for the environment, otherwise we are doomed to an apocalyptic reality of irrevocable environmental and social damage that will happen within the next 40 years. “We have already seen 150,000 excess deaths due to climate change alone,” he said.


Two sides of the same coin

Motivational speaker Severin Suzuki said that the current global economic crisis is indicative of an old-world capitalist mentality that reflects its own failings, and that the reality of climate change is an impetus for both environmental and economic action.

“This crisis is an opportunity to understand how our economic system of deregulation and globalization is unsustainable. This economic system has evolved in a way that has resulted in the exploitation and destruction of the environment,” she said.



Suzuki says that we must think of new ways to create an environmentally-friendly economic system that favors the sustainability niche in the 21st century. “The environmental momentum should not be broken by an economic crisis,” she said.


Cow problem

Unsustainable industries are a large culprit in both the economic crisis and the intensification of climate change, triathlete and author of The Thrive Diet Brendan Brazier explained.

Brazier points to statistics that indicate that the cattle industry is highly unsustainable. While it takes anywhere from 2,000 to 8,000 gallons of water to produce 1 lb of beef, other protein-rich plants such as hemp only require 100 gallons to produce 1 lb of hemp seed, and are resistant to disease and don’t require pesticides.

The UN published a report in 2006 claiming that livestock animals contribute 38% more greenhouse gasses than all of our transportation combined, and are dooming us all in the environmental and economic sense.

According to Brazier, 70% of the food grown around the world is for animal feed, and it requires 9-16 lbs of grain to get 1 lb of beef. “We are creating more CO2 than we drive,” Brazier said.

Lewis ended the conference with a fearful, motivational tone. “If we don’t move with supernatural rapidity, I think there’s going to be some kind of cataclysm between 2030 and 2050,” he said.

bad religion creates harmonious anarchy

Bad Religion
September 14 2008
Commodore Ballroom



It’s hard to imagine a 15 year-old frontman Greg Graffin and his school friends deciding to form Bad Religion, the most epic, accomplished and inspiring punk rock bands. How could one envision such libertarian punk fantasies, or such immaculate hardcore harmony at such a tender and suggestible age?

The night kicked off with two nondescript screamo bands that sucked so badly that no more mention shall be made of them. It was a Sunday night, and the angry punks in the crowd kept chugging back more beer, checking the time, and impatiently pushing up closer to the front, waiting for the show to start. There was a definite sense of growing frustration; the Commodore’s decision to downsize drinks from bottles to plastic cups coupled with the fact that it was they worst night of the week in which to hammered was on everyone’s mind. Finally the legendary sextet walked onto the stage, and the body of the crowd converged to a dense square-shaped mass of excitement.

They started the show with a highly energized performance of “21st Century Digital Boy” originally recorded for their fifth album Against the Grain (1990). It’s likely one of the best songs to start out with, not just because it’s infectious and catchy, but we can all relate to Graffin’ lament that “I don’t know how to live/ But I got a lot of toys.” It also brings to mind all of our mothers strung out on valium, an sad image that is surprisingly “effectual.” Selecting from a wide range of singles, and some not-so-common tracks like “Anesthesia,” BR gave a fantastic set list that sampled from the whole 28-year span of their discography.

Three of the six band members on stage were the original founding members, and they were easily spotted. Graffin delivered a vibrant, defiant performance: his iconic finger-pointing and unrelenting stare gave him an edge to his philosophical rants. Arguing for a rejection of consumerist culture and social conformity, usually guys this age come across as being pedantic or just full of it. Even those more sensitive of loud, distorted music should venture into the lyrical world of BR. Songwriter Graffin holds a Ph.D., and his understanding of politics, injustice, and individual suffering is delivered with poetic integrity, and reinvents the idea of social responsibility through critical thinking and non-conformity.




Bass guitarist Jay Bentley seemed to have the most fun on our Vancouver stage. He jumped around and sweated the most profusely, smiling demonically like some intense, disturbing fat kid eyeing your DQ Parfait on the bus. Speaking of which, lead guitarist Brian Baker looked terribly overheated, unfit, and generally sagged instead of rising to the occasion. While performing the quintessential punk song “Come Join Us” off the 1996 album The Gray Race, Baker hogged the one fan the entire time. Come on, Brian.

Overall the show was pretty fantastic. They may be getting older, but better in the same way as a wine slowly ages to perfection. A punk wine.

some freaky ass shit

Yolk of the Golden Egg
Dandi Wind
Summer Lovers Unlimited



Dandi Wind’s new album Yolk of the Golden Egg is a sonic journey that challenges every spectrum of electronica. Caught somewhere between a surreal utopic musical vision, and something that could only have been spawned from a ritualistic love orgy between Kate Bush, Bjork and Aphex Twin’s Richard D. James, the record shows no weaknesses. It opens with “The Battle of Verdun,” aptly catching the industrial bustle of its Quebec recording locale, and moves through what seems like a futuristic, cacophonic scene of torture. Raw, edgy and highly textured, the sounds take detours through the complexity of the psyche in a way that could be likened to the spiritual despair and disillusionment of Trent Reznor, but with more emphasis on a clear articulation of ugliness. Never failing to surprise, the song “Johatsu” sounds like a cracked-out late 80’s dance exercise tape, while suggesting the theme that would should all “surrender to the machine.” The album climaxes with the final track entitled “Dance of the Paralytic,” whose bass-rich beat is juxtaposed against an ineffable wet thumping noise that brings amniotic fluid to mind. While overtly corporeal, the album points at an introspective notion in quoting Dostoevsky and the parable of the old dreamer rummaging through his dreams in vain. While its message is not always accessible, Yolk of the Golden Egg is a worthwhile musical venture for those who want something a little more violent in spirit.

malkin bowl, salkin scowl

Stanley Park Singing Exhibition
August 31, 2008
Day One



It was one of those lazy late summer afternoons that you could eat with a spoon. While most music festivals tend to have an anxious, apprehensive tension amongst the crowd, the grounds were covered by hippies, young parents, and even the occasional punk who were all sitting comfortably on the warm grass.

The Evaporators came on sharply, and started to stir up the crowd with their bare chested antics. Clad in white jumpsuits with red and blue stripes, Nardwar the Human Serviette entreated us to a good larf, exposing his wooly chest, screaming lyrics about homelessness, and countless other acts of unconventional behavior. While the set list focused on their last album Gassy Jack & Other Tales, one could argue that what the band lacks in actual musical talent, they make up for in hilariously eccentric body play. Running through the crowd with maracas and a demented grin on his face, or climbing onto the audience to create a human piano stand, The Evaporators impressed us all with their relentless anarchist spirit.

After the thrash, Deerhoof of San Francisco changed the atmosphere with their quirky alt-rock sound delicately coupled with the little-girl voice of singer Satomi Matzuaki. Rocky but sultry, the quartet rocked out with classic songs such as “Twin Killers” and other tunes from The Runners Four. Their aural quirkiness was matched by their physical gestures, as Greg Saunier and John Dietrich plucked and played in what seemed like borderline seizure-type motion.

Destroyer’s performance was weird and cacophonic, but not in the way that most people enjoy that musical experiment. Dan Bejar’s lyrics of love lost and spiritual confusion were cryptic and challenging, but his voice brings to mind a love-sick, drunken hobo. Coupled with the guitarist’s unreasonable use of tremolo, this act left much to be desired.

While the fest had its share of eccentricity, Andrew Bird and Neko Case had an altruistic soothing effect to counteract it. Bird, the singer/songwriter/multi-instrumentalist from Chicago Illinois was intoxicating as the twilight began to set in. Singing beautiful things about intuition amidst a backdrop of cello strings and pizzicato violin, Bird was one of the best acts of the night.

Following him was Neko Case, who played songs from her upcoming album due out in March 09. While she belts it out with The New Pornographers, Neko’s performance was humbling and sweet, a familiar country feeling where the singer croons softly and laughs at herself between songs. She sang “I wish I was the Moon tonight” in a way that brought to mind a modern day Patsy Cline. Sad but spirited, Neko’s voice was endearing and humble to the core, and her lyrical component was touching as it revealed the wisdom of an old soul caught in the commercialism of the 21st century.

it was about time...

radiohead
august 19 2008
thunderbird stadium



After about 4 years of worshipping the entire career of my holy grail of favorite bands, I finally caught them live, in the rain, at Thunderbird Stadium. While some 25 000 people may have been disillusioned by the ultimately shitty weather elements of the show, I will argue with anyone who stands in my way and says that it impeded the quality of their performance. On the contrary, the humid and warm summer rain gave Thom Yorke's vocals a wet, throaty texture to his usual characteristic papery delivery. Further, and perhaps I should have mentioned this first, it reinforced the dreary nature of their music, which ultimately suggests an incurable optimism that things will and have the potential to be better. To quote Voltaire, "All is for the best in this best of all possible worlds," and fuck I don't care that I got drenched because the show was bloody cathartic as hell.

The set list was perfect; while heavily weighted by songs from their latest album In Rainbows, the quartet played a range from The Bends, OK Computer, the jazzier Amnesiac and surprisingly even from their contributions to the Baz Lurhman film Romeo and Juliet.

While it may seem trivial, I would be remiss if I didn't comment on the lighting engineering of the set. Brilliant lateral lighting sequences flashed almost mathematically, emphasizing the plurality of sounds from In Rainbows, encompassing the multiple realizability of the universe.

I really can't say anything bad about this show. Who gives a fuck that the rain shat down on us all?

girls, girls, girls!

Common Reaction
Uh Huh Her
Nettwerk Records





Uh Huh Her’s debut full-length album Common Reaction is a melodic hybrid of powerful electro and indie-inspired sounds. The group consists of the musical talents of Leisha Hayley and multi-instrumentalist Camila Grey, whose female vocal pairings gives the album a sultry, organic texture. While the initial sound of the album seems merely stylish and elite, the songs move through more introspective topics that elevates them from nothing more than club music - songs such as “Explode” explore the dark sides of female sexuality, abandonment, and the pursuit of love in a superficial demographic. In fact, Hailey and Grey use this ironic notion and push it further, motioning towards a kind of glamorized version of Tegan and Sara, but through sad lyrical gestures which are camouflaged by upbeat, catchy electronic anthems. The track “Away From Here” epitomizes this world of pain glossed over by outward beauty, as they sing “What if I could change the world one day at a time/ I’d go back and stay/ Too much is gone/ Shallow in depth/ So I see everything clear.” Inspired by a PJ Harvey B-Side, offended by the notion of a love song, Uh Huh Huh moves beyond the dance scene through a shimmery, aurally pleasing display of the female persuasion.

pemberton 2008: another one bites the dust

In many ways, this year's Pemberton festival turned all of us concert-goers into experimental subjects for how a festival should be organized. During the past week, I've read several reviews in many of the local papers, but none of which captured the entire sentiment of the three-day gongshow than the headline for the 24hrs magazine which read: "traffic, dust, fun," succinctly describing the order of the weekend's most memorable elements.

After waiting in line for about 14 hours in a hot, inland dustbowl, I finally caught the Metric show on Friday afternoon. Emily Haines was decked out in a shimmery, almost space-age sliver minidress that reminded me of a futuristic Kubrickian vision. Later on that evening I enjoyed Wolfmother's metallic rampage as the band ravaged Zeppelin's hits and left the crowd begging for more distorted violence. Come nightfall, the Mount Currie stage ushered in Nine Inch Nails, the day's headliners, and the shit hit the fan. I was about 40 feet away from the mosh pit but still got tossed about and burned by rogue cigarettes as the show peaked at "Closer."

On Saturday morning we had a lovely omelette breakfast at the campsite and went back to see Black Mountain, The Tragically Hip and of course, Tom Petty and the Heartbreakers. During the show, Gordon Downie during entreated the crowd to his iconic shifty-eyed, but strangely friendly smiles while pretending to be an ape who didn't comprehend the electronic capacities of his own microphone. Tom Petty at twilight was smooth and enchanting as the crowd metamorphosed into middle-aged rock veterans who didn't have the heart to block your view of the stage. The Flaming Lips showed up with these big fucking balloon things full of confetti that complimented the band's eccentric lyrical component. To add to the confusion, they had a chorus of Teletubbies on the left side dancing and singing, a bizarre combination of weird music and even more strange scenery to make a fantastic show. The verdict? Black Mountain offered far more energy live and attracted an exodus of smelly but chill hippies and modern bohemians. Man I just love that stuff way too much.

The downside of this all is that I had to leave and miss the entire last day due to complications and major pooning out by some of my companions. I don't have anything else left to say except that getting to and from the show was a fucking nightmare, but the music was fabulous and a remedy for it all. If Pemberton hopes to be an annual event it better shape up its over-idealistic view of checking 10,000 people's personal bags to see if they snuck in booze after they've been waiting around for hours. You just can't treat people like that.