Discorder CITR-FM (Radio station : Vancouver, B.C.) 2000-07-01

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Iu I y   2 0 0 0
that H-O-T magazine from citr 101.91m
i i
ie and language to the breaking point
the line between fiction and reality
moneys place in punk rock
hip hop and the haruest
and more.
till out our LMD directory (p.fl) or DIEI 1 jm£j WOO ElRgSaHiES
Mad Professor
Reg Harkema's A Girl Is A Girl
Jean Smith
New Bomb Turks
barbara andersen
ad rep:
maren hancock
art director:
jenny watson
production manager:
christa min
photo editor:
ann goncalves
art and design:
jenny, barbara, tess dehoog,
ellinda siu, tristan winch
photography and
hamish brown, ann goncalves,
jean smith, dan zubkoff
production: bryce dunn,
david, alia hussey, cat moore,
gabby resch, katie riecken,
ellinda siu, graeme worthy
contributors: fa nia a, paul
b, bleek, pc, julie c, paul c,
steve d, jay d, bryce d,
jamaal f, alia h, oksana k,
godfrey I, sam m, Jamie m,
duncan m, christa m, gabby r,
morgan t, tesla v, tobias v
on the dial:
July cholera
barbarous ancillary
& christen minaret
promotions coordinator:
matt steffich
us distro:
mr. germany 2000
macintosh hos:
yang chang, tristan winch
linda scholten
Dear Airhead
Radio Free Press
Interview Hell
Vancouver Special
Under Review
Real Live Action
On the Dial
For English, reading of Uz Jsme Doma interview (p. 14) makes
troubling, but anyway is worth the time. once you are having
a rhythm, like of understanding the tempo or melody of
words, you are given an understanding that is maybe deep or
special. Ann, who is maybe Portuguese a lot, took pictures of
sweaty old Czech men and Jenny, who is something of
Egyptian, made cover layout.
© "DiSCORDER" 2000 by the Student Radio Society
of the University of British Columbia. All rights reserved.
Circulation 17,500.
Subscriptions, payable in advance, to Canadian residents
are $15 for one year, to residents of the USA are $15 US; $24
CDN elsewhere. Single copies are $2 (to cover postage, of
course). Please make cheques or money orders payable to
DiSCORDER Magazine.
DEADLINES: Copy deadline for the August issue is July 12th.
Ad space is available until July 19th and can be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available
upon request. DiSCORDER is not responsible for loss, damage, or
any other injury to unsolicited manuscripts, unsolicited artwork
(including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or in type. As always, English is
preferred. SendefnailtoD/SCORD0?atdiscorder@club.ams.ubc.ca.
From UBC to Langley and Squamish to Bellingham, CiTR can
be heard at 101.9 fM as well as through all major cable systems
in the Lower Mainland, except Shaw in White Rock. Call the CiTR
DJ line at 822.2487, our office at 822.3017 ext. 0, 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
http://www.ams.ubc.ca/media/citr or just pick up a goddamn
pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1,
printed in Canada Dear
Dear Airhead,
It is foreign correspondent shaw-
ster shaw here, writing to tell you
about why everything here is all
fucked up. Porn is prevalent in
Italy and can be found within the
pages of your average wood-finishing mag, as well as plastered
on bus stands. I feel that
DiSCORDER could take a cue
from the Italian pornsters, and
really spice up its image a bit.
On a similar note, in London
there are little postcards with pictures of naked ladies on them,
trying to peddle their wares.
These post cards are collectable
as well as tradeable. Perhaps
the editrix could do a little promotional pose for the wee mag?
In other news, Europe is fun
except for the Germans (who follow me everywhere—pervs!)
and the European languages. It
is, I must say, too fucking hot
and the toilets allow your shit to
be displayed to you on the actu
al porcelain, rather than in the
water... the proper place for shit
to be.
Wish you were here,
Shaw. (Italy)
Hello Chaps!
Well, I've seen it all and done it
all and got some brilliant sound-
scapes/audio project things. I've
also smoked and drunk A LOT:
this is a fun thing to do. I've
learned to laugh and play like a
child all over again—har har
har. Lots of bad teeth. Lots of
cute boys (with bad teeth). Right
now I'm on a train to go see my
old boarding school—Oh! Fun!
Not been to any clubs yet, but
thing called the "Pink
Pounder"... I'm very scared.
Must dash, out of space.
time to visit the Netherlands-
last Saturday a fireworks factory
exploded and destroyed half a
city. So far there are 20 confirmed dead, 200 in hospital,
and 150 still missing... the
whole country's freaking out. Oh
well. Otherwise, things are a-
okay. I ride my bike, I drink
beer, I buy Jip & Janneke junk
and... I can watch Powerpuff
Girls two times a day! I'm going
to Germany in a couple of days,
to Berlin & Dresden I think. We'll
see how long my $ holds out.
Did you know that an S Club 7
CD costs only $45 here?
Fantastic, eh? Tomorrow I'm
going to watch Top of the Pops
and life will be perfect.
Dutch  boys  are cute  but
o fashio
• Julie* (Netherlands)
Fuck off and die you spoiled
write to
'eccirds & apparel
102-1252 Burrard St
(at Davie)
(604) 893 8696
0#J:^est:I'&rod/r'i"Cfa'/7ce & electronic music
cd, vinyl, cassette \ men's &womens clothing
turntable accessories I event tickets & info
105-561 Johnson St >
(the Paper Box Arcade)        r*>-
(250)380 5090 'J/
now open one year at our Vancou\/
-^tl ii
'■   ** v 	
\^V      JULY 14 - VICTORIA @ The Little Fernwood
JULY 15 - COURTNEY® 1995 Stewart Ave
self titled CD in stores    JULY 16 - SURREY @ The Java Joint
$10 by mail JULY 17 - VANCOUVER @ The Brickyard
on tour -
® mn\t
Our annual directory, chock full of contact numbers and
addresses of bands and the businesses that support
them, will be in the September issue. The deadline for
entries is August 15, 2000.
, x
'    233-6138SUBBrvd.,Vancouver,BCV6T 1 Zl fax: 604.822.9364
'H ; mention this ad and
10% off all
Colour Changers
Detox Products
Glass Pipes
Rolling Papers
Downtown Location 684-PUFF (7833) ^
Puff Pipes Outta Sight Smoke Shop
712 Robson Street upstairs @ Granville
Uptown Location 708-9804
Puff Pipes Smoke Shop
4326 Main Street streetside @ 27th
see you there.
Never let it be said that
zines are nothing more
than a forum for bad
writing on lame punk bands. The
independent press, being independent and all, can be anything its creators choose to make
it. Zines can deal with the most
apparently trivial topics with
intense seriousness or they can
bring a unique lightness of touch
to heavyweight subject matter.
To illustrate this latter point,
see Appearances. This mysterious item from The Big Apple
has something to do with
cutting-edge theory publishers
Autonomedia. Issue 25 is given
over to a story called "Cool My
Daisy" by one Jim Feast. This
appears to be a loving satire on
the worlds of high art, beat poetry and post-structuralist philosophy. On the other hand, it's
enigmatic enough to make it
hard to know where fiction ends
and reality sets in. Hilarious,
thought provoking and strangely
touching stuff nevertheless. ($5
US from 165 West 26th Street,
New York, NY 10001, USA)
While we're on a highbrow
ter with a great love for planet
earth who mourns the sad divisions and destructiveness of the
planet's inhabitants. Daniel's
poems are kind and introspective affairs often dealing with
personal observations, seen and
felt through his journey on this
world. This is a 23-page stan-
tip, we should mention
Divisions (poems for the
year 2000) by Daniel Rajala,
who appears to be something of
a free spirit—a spiritual charac-
:  with   battered
I. You
old SOL
can   find   Daniel's   poetry   at
Spartacus,   Black  Sheep  and
Little    Sisters,    or    write    to
<streaker#vcn.bc.ca> for further
Keeping things beautifully
poetic, we've got to tell you
about Dream Whip This is the
product of veteran zinester, short-
film maker and indie rocker Bill
Brown. It's basically a hand-written prose mag like Cometbus but
with a whimsical melancholy all
its own. Issue 10 features 100-
plus pages on Bill's travels
across Canada and is an invaluable companion to his magnificent movie Confederation Park.
($3 US from PO Box 53832,
Lubbock, TX 79453, USA)
Travel of a different kind is
the subject of Motorcycho
#14. This is a surprisingly
charming motorcycle zine that
was passed to us by CiTR's own
Rev. Norman (of Motordaddy
fame). A must-read for all serious
bikers and a fascinating glimpse
into the most puzzling of subcultures for the rest of us. Worth
getting for the great free stickers
and sew-on patches alone. (PO
Box 1564, Point Roberts,
WA 98281-1564, USA or
<www. ratbike. org/motorcycho>)
On a rather less macho
topic is Halfbreeds, Homos
and other Heroes #1 Sarah
is 1/2 white, 1/2 aboriginal,
0% straight, lesbian or bi. Sarah
is a very complex and opinionated person with many important
i. There are
happening in this white,
patriarchal society that the likes
of us two do not get to experience up close. That's why zines
like this are important. If someone can come away from a zine
a better, more aware person
then that says volumes! ($2 or
trade from 13B Cooper Road,
Victoria, BC V9A 4K2)
Still, there's nothing wrong
with just wanting to read about
obscure bands. The Spectre
isn't that impressive initially, but
we really enjoyed the retrospective on groundbreaking
post-punks Savage Republic,
which takes up most of this somewhat sparse zine. We have a
feeling there are bigger and better things to come from this item's
creator. He seems to have an
interesting and diverse collection
of music. A little more attention
to visuals is recommended, but
overall there's a lot of potential
here. (Box 95024,
370 East Broadway,
Vancouver, BC V5T 4T8 or
If this doesn't sound like
it's for you, indeed if none of
the publications mentioned
above take your fancy, we've
got a few suggestions of
places where you might find
something a bit more up your
The Whizxbanger
Guide to Zine
Distributors! #4 has been
out for a few months now. This
is a great compendium of zine
stuff. The cover says it all: "Self-
descriptions of 150 distributors
from 29 countries. Includes zine
libraries, zine stores, dozens of
zine-friendly web pages and
many other valuable resources."
Amen. ($3 from Shannon
Colebank, PO Box 5591,
Portland, OR 97228, USA)
Stellar indie-rock magazine
Magnet #45 has reviews of
zines in its "Required Reading"
section. Whether or not this will
be a recurring event is unclear.
(1218 Chestnut Street, Suite
808, Philadelphia, PA
191074816, USA)
Finally, here's a short and
incomplete list of some other
zine reviewers for you kids:
Broken Pencil (zine culture in Canada and the world):
PO Box 203, Station P, Toronto,
Zine Guide (more of a listings paper than a review magazine): PO Box 5467, Evanston,
IL 60204, USA.
A Reader's Guide to the
Underground Press (formerly
Zine Worla): #2386, 537 Jones
Street, San Francisco, CA
94102, USA.
Slug and Lettuce (mostly
punk zines): PO Box 26632,
Richmond, VA 23261-6632,
Ten Things Fanzine (primarily punk-related): 8315, Lake
City Way NE, Seattle, WA
98115, USA.
Amusing Yourself to
Death: PO Box 91934, Santa
Barbara, CA 93190-1934,
Boston, MA 02144, USA.
Maximum Rock 'N' Roll
(mostly twee-pop & sensitive
poetry): PO Box 460760, San
Francisco, CA 94146-0760,
Barbara thinks that I'm a
spoiled brat because I've
traveled the world. I think
I'm a lucky duck and am more
than happy to collect platters
from foreign countries galore.
I've got a few new-ish treasures
to rant about (I'll spare you all
the tales of my quest for old
Smiths singles, that's just a little
bit too [as the French say] pathe-
tique...), and there were a few
gems waiting for me here at the
station upon my return. As
pleased as I am to be back in
the 'Couve, I can't help but wish
I was somewhere a bit more
exciting. Oh well, I've always
got my mountains of vinyl to
amuse myself with this summer—
if no human thrills are to be
found. Oh, yeah, and I've got
Euro 2000...
German label Hausmusik
ought to be a household name
over here, but the gods have not
been good to it as far as North
American notoriety goes.
Apparently, Thurston Moore
is a big fan of the label. That
should be enough to turn some
heads, no? Hausmusik concerns
itself with churning out post-rock
7"s of abnormally good quality.
I'd tell you more, but my pocket-
book was crunchin' by the time I
learned of this label, and all I did
was acquire one measly 7" by
an already oh-so-familiar name.
I picked up a SMOG two-song
don't really know if I ought to be
writing about it. Tough luck, Mr.
Days and Calendars, I want to
heap praise where praise is due.
Also, this might just do the trick
and get some of you into mail-
ordering mode. The two songs
on this release are awful sad,
and just as awfully pretty. "Came
Blue" is a slow, simple song sung
to the accompaniment of two
ever-repeating organ chords. Less
is eternally more in the songs of
Bill Calahan, and this song is no
exception. "Spanish Moss" is
slightly more hopeful than the a-
side, possibly only because it's
not dissecting another dysfunctional love story. Two beautiful
tracks by a beautiful man on a
lovely label. Get a mail-order catalogue! (Hausmusik, PO Box
1545, 86885 Landsberg,
If you want to indulge in
some terribly lo-fi two-track pop,
check out CURLYWURLY, a
German four-piece who really,
really want to be Mods. Micha,
Hedwig, Cecile and Frauke sing
"Frenglish Pop V Roll," which
basically means that the lyrics
are indecipherable. The poor
recording quality means that the
only thing you really get from
this four-song record is a bit of a
fun groove. It sounds cute, so I
like it. (Homesick, Gathe 59,
42107 Wuppertal, Germany)
Another cute, if slightly more
rockin', German band is
TIGERBEAT. These young men
have obviously listened to a lot
of JSBX records in recent years,
as their garage rock style has
been pinched from somebody,
anybody else. Nothing original,
that's for certain, but certainly an
enjoyable single from the 'Beat.
They like to use the word
"Funky," and the lead singer's
accent is really adorable. Some
of you go in for that kind of
thing. For those of you who go
in for well-written tunes, you
should check out tigerBeat, or
some of the other German
garage   rock  bands on  their
label. (Fanboy, Weidenallee 29,
20357 Hamburg, Germany)
ISAN, a nice little electronic
duo slowly gaining recognition
in this neck of the woods, have
got a loyal following in the magical world of Europa, as was evidenced by the multitude of
records they've got available on
foreign shores. I got a lovely little
two-song 7" while in Solex's
record store in Amsterdam.
"Parochi" and "Gentle Man" are
both extremely laid-back, sparse
tracks, a little more so than other
Isan material I've heard. If this
isn't the one for you, don't give
up. (Static Caravan, 29 Poplar
Road, Dorridge, UK B93 8DD)
Fancy stumbling upon
Canadian talent abroad! I got
my eager paws on a new single
by Halifax's THE PLAN at a
North of America show. One
of the NoA boys is keeping busy
with this band as well, rocking
out harder than he does in the
breadwinning band. The Plan's
7" features two very aggressive
emo-mathy tracks, both worth a
close listen. The vocals are
strong, the musicianship more
than merely competent—this is
very good news! (Jesus Sanchez
Records, 22 Fulham Avenue,
Winnipeg, MN R3N 0G2)
I'll admit that I'm not always
the first to get the joke, but I think
I get this whole GENE DEFCON
thing. I think. It's supposed to be
funny, right? I really didn't enjoy
The Prima Donnas'
musical output, but one
of them boys (if not
more, who knows?)
went and formed this
band, and assumed the
persona of one Eugene
Gordon Defcon. He
recruited four hot ladies
and a couple of boys to
create "Olympia's #1
Party Band!!!" I would
have to say that he was
100% successful in this.
Gene Defcon rules! The
sound is full, lots of
voices and instruments
to keep this action afloat.
They've got an organ (a party
cerned), and the girls have been
christened The Genertes. It
never hurts to give your ladies a
derivative name to keep them in
line with the party plan. Mr.
Defcon has a super ego, and
super style to boot. The four
songs on this single are all quality, all fun, all the time. The liner
notes are worth the purchase
price, just to read how Gene
hopes that the proceeds of his
single can help other struggling
artists on the Lookout! label such
as Green Day, Operation
Ivy, and The Donnas. I know
you all want more avant-garde,
un-financially viable releases
from the above mentioned
artists, so buy Gene Defcon and
support new artists! Billie Joe
needs to eat too, you know.
(Lookout! PO Box 11374,
Berkeley, CA 94712-2374)
A couple of dreamy, mellow
singles to be found on the record
shelves these days are those by
bands craft sleepy, soft, repetitive
and sparse songs worth a listen
if you're itching to drift right off (I
mean that in the best way, not
like they're gonna put you to
sleep or nothing). Airiel's a-side
features a plodding bass-line and
muted guitars, with some very
passively sad vocals. The b-side
is an instrumental. Ditto for the
Portal format. The one bonus to
the Portal single is the white
noise feed that grows and distorts the track but never overpowers the relaxed sound.
Where's the rain when you need
to stay in? (Roisin Recordings,
PO Box 289, Swindon, UK SN1
I hope that the summer sees
all of you spending quality time
with your record players and that
much happiness and rock is your
lot. I'm off to ride the bus and
my chances at true love
H.A.G.S.! •
J jJ2j WOO Are We Mad?
chattin' it up with
the Mad Professor
by oksana kolibaba
May 15th marked the return of the Mad Professor to Vancity,
performing his deep and unpredictable style of music over at
Sonar. For roughly the past 20 years, London based producer Neil Fraser has been producing his trademark dubs and
reggae-influenced tracks from his Ariwa Studios. Luckily for
us avid music listeners, the Professor keeps on pumping out his
innovative, effect-laden dubs on a daily basis.
Behind the carefully laid out mixing desk sat the Professor,
schooling the audience with his experimental dubs and bass
heavy jungle riddims. On the mic, we had Nolan trie serving
up some fine chatta, providing a solid link between the audience and the mysterious man behind the deck. The set included several tracks off of Mad Professor's forthcoming album,
Tricks in the Mix, which is a "melange of drum and bass, dub,
and some jazzy sounds... a very surprising album," scheduled to be released sometime this fall. In addition, his set featured tracks from various artists on his very own Ariwa label,
as well as Lee Perry's Boombox. As a bonus treat, Ndidi
Cascade made an appearance, which serves as a reminder
that our homegrown emcees are truly world class artists. She
broke out some sweet rhymes overtop the dub master, which
only added to the quality of this truly innovative performance.
Earlier in the evening, the Professor and I had the opportunity to sit down over a glass of sake to discuss the ins and outs
of the mad, mad world of music.
DiSCORDER How's it going?
Neil Fraser: It's goin', goin', goin', gone!
Tell me about the tour. What's going on right now?
The tour? Well, we've been touring throughout North America, east
coast to west coast. Myself and Nolan Irie, and we had Macka B in
for a couple of days, for eight days actually. More than a couple.
And he's now gone back. And today we're back in Vancouver... back
in Canada.
What was it that motivated you to become involved
with music?
Music... well, I started through a technical angle, 'cause when I was
a little boy, the most technical thing in our house was a radio. I was
curious to know where the man's voice was coming from. So I opened
the back of the radio and saw all the valve lights and flickering, and
that started a whole new curiosity about the transmission of radio
waves and radio frequencies. I was so curious that I ended up building my first radio when I was about 10 years old. And that's the root
of it all.
Tell me a little bit about your process. Technical or conceptual. What do you do when you sit down and write a
Well, there's no one method, y'nuh? I mean, it depends. Sometimes
you could start a track with a melody, you could have a melody in
your head. Sometimes you could start it with a beat, y'nuh. It varies
so much. There's no one way to hang a cat. You could hang him by
the tail and hang him by the neck. You still hang him, y'nuh?
Tell me about your latest album, Dubtronic.
Dubtronic is not really the... well okay, that was the last one that was
released couple years ago. But there's a new, new one which I'm
about to complete which is called Tricks in the Mix ss-ss-ss-ss-ss
[echoes]. Hopefully that's going to be completed next week or so... as
soon as I get back. It may be on the streets around September and
that's like ah... big melange of like drum and bass, dub, and some
jazzy sounds... yeah. It's a surprising album. As you go from track to
track your ears must be totally surprised! It must catch you totally
unaware... for to suddenly blink and think.."Oh! What's this I'm listening to again?" Yuh. That's the idea. In other words, you must never
fall into a sense of, "Yeah, I know what this is gonna be like " So it's
a really surprising album.
You're very experimental with your music. What do you
have to say about people who are fusing different types
of music together from different cultures. Some say mat
it's cultural appropriation. Is it...
...acceptable? Well, yes, I mean obviously the melange of cultures
could bring forward some very interesting things. Yuh got different
things coming together, y'nuh. You never know...
But then there's those people not giving credit to...
Well, that of course depends how it's done. If it's done like with illegal rip-off's and things, then yeah. Then that is de downside, y'nuh?
'Cause it's up to every individual to be as fair as possible. And to balance the whole ting.
Then there's those major label artists like Puff Daddy who
sample foundation tracks and all of the kids end up
thinking that the original versions of the track he's sampling is produced by Puffy... and it's not.
But I think you'll find that, despite what kids think, if they look in the fine
print, they'll see he's probably given credit. I think that right now Puff
Daddy's too big to attempt to bastardize any record and don't give any
credit for it and get away with it. He's too big for that, y'nuh? So
despite what the kids think, they'll find that it's worked out properly.
What probably they have to do is more research on a lotta these tracks
and know where he's coming from. 'E's like... I remember some kids
hearin' Puff Daddy's "I'm Coming Out." The Diana Ross tune. I played
it to some kids and they say, "Ahh, dat's the Puff Daddy song." I say,
"Nuh, what you guys gonna do. You guys haffi study dis ting." You
gotta appreciate things like production houses, like Tamla Motown,
and Philadelphia International, Platinum... all the major black production houses from the '60s and the '70s. Once you do that, then you
would understand where music is today and why certain songs are
being done. Because about 60% of the music done today is being
based on something old. It's ripping off something else. It's good to
know the source. It's also a marvelous, marvelous cultural discovery
when you haffi go ahn dig up these tracks, and you see like "For the
Love of Money." It's like an O'Jay's track with Kenny Gamble & Leon
Huff. You could appreciate the whole originality of the track.
When you started out, what was your original idea and
vision? Were you preaching to the people who were
already converted or were you trying to educate everybody?
Neither. Neither, neither. I wasn't in no preaching business. When I
started out, I was just making my opinion of music. I wasn't trying to
dominate or dictate or educate even, y'nuh? I was just going through
some experiments that were in my head, really.
Yeah. It's nice that people tune in and people appreciate it, but y'nuh,
the day I was making music, I never expected to sell one single copy.
I'll be blunt! [laughs]
What advice do you have for people becoming involved
in music right now?
Well, I think that they should kinda go back and research the golden
era of the '70s and the '60s because it's from there that the whole
thing exploded. And quite honestly, you get a lot of people writing
songs who couldn't even care what they sound like because it's quite
easy to put two words together and make things rhyme, y'nuh?
Writing a song, a real song, is a bit more than that. So I think that
really and truly, we need to get back to the standards of the '60s and
the '70s, 'cause then you had to be good to be on record. That's why
there were hardly any bum tracks from those days. Whether reggae,
soul, or even pop... even pop had a high standard of songwriting
and production, and I think now because there's so much technology
around, it's quite easy for a kid and a computer and a hard disk
machine and a sampler to jam out something. Everyone thinks, "Yeah,
yeah, yeah. I'm a songwriter." But no, I think in the name of music,
you really oughta bring the quality back.
So now that we've spent some time appreciating the
past, what plans do you have for the future?
Me? Ah... I'll just be staying on the same course I've been on. No
change in direction. •
va.com for more info on Ariwa Sounds
7n^ai®@ffi CiTR Alum Makes Good!
by Tania Bolskaya
Vancouver, BC- Like the Lord of the Manor surveying
his demesne, Canadian feature film director Reg
Harkema looks out over the patio at Havana. "There
are a lot of ugly actresses out there," says the new
darling of the film festival circuit, "and I've seen a
lot of them." He pauses to flip open his cell phone
and give a few instructions to his house-boy, Manny.
Okay, beyond the "CiTR alum" and "Canadian
Feature Film Director" parts of that opening, it was a
complete fabrication. A little sour grapes joshing, if
you will, to a guy who used to spin records late-night
on The Visiting Penguin Show and is now promoting
his first feature as writer/director, A Girl Is A Girl
(playing in July at Tinseltown). Here I am, still writing
for a college radio magazine, and he's gone and
made one fucking excellent little film. That's after
building a solid reputation as one of Canada's top
editors by doing Genie-nominated work for people
like Bruce MacDonald [Hard Core Logo), Guy
Madden [Twilight of the Ice Nymphs), and Don
McKellar [Last Night). So has hanging around TO
with the big boys of Canadian cinema spoiled the
Ladner-raised, UBC educated Harkema?
Hardly. Like his film, his discourse flows freely
and unpretentiously. Which isn't to say that he doesn't have a few opinions that fall on the impolite side
of strong. According to his press kit, Harkema got
into directing because of limitations placed on him
by the directors he worked for. "Ultimately, [I] wanted to direct A Girl Is a Girl as an editing experiment.
There were filmmaking rules that I wasn't allowed to
break as an editor. I had to become a director to
break them." Giving full credit to mentors like Don
McKellar and Bruce MacDonald, Harkema wanted
to venture into territory previously explored by innovators like Jean-Luc Godard, for whom the American
Continuity Editing System—the standard of American
filmmaking for the past 85 years—was directly in the
path of larger cinematic goals.
Like his cinematic influences, Godard and
American indie pioneer John Cassavetes, Harkema
was more interested in finding emotional truth than
obsessing over burning nicotine.
"There's a certain way of making films that's
been entrenched in the American psyche and consciousness. Hallmarks of that system are matching
shots in terms of the length of cigarettes and cutting
back and forth and close-ups, all designed to make
everything seem smooth, to suck the viewer into the
illusion of the film, make them unaware that they're
watching a film. I found that I had oftentimes to compromise a lot of performance just because of the
length of a cigarette."
To set off on his artistic journey, Harkema wrote
an initial draft of the film, which he then worked on
with Kissed scriptwriter, Angus Fraser. Once casting
had been done, A Girl Is a Girl's dialogue was
enhanced by improv work done in rehearsal, before
and during shooting.
The result is a fresh, goofy, and realistic look at
one young man's journey through the magical land
of relationships. Beyond the innovative editing
style—jump cuts and overlapping sound are regularly employed while continuity is not—the film has
an intimate and friendly feeling which lets us into
these characters' lives and allows us to believe they
exist outside their celluloid frames. Part of the characters' flesh-and-blood realism can be attributed to
the fact they were patterned after real people. (One
of the characters in A Girl Is a Girl is based on CiTR's
former Demo Director, Dale Sawyer.) But, Harkema
warns, it's not wise to read too deeply into such inspi-
"When you're dealing with characters that are
based on real people, if you're going to go anywhere with them, you're going to have to give up
the idea of representing the actual people because
you just won't be daring enough to do anything. If I
thought for a second that Trevor was based on me,
would I deliberately set out to be Canada's poster
boy for premature ejaculation? No. Once you
divorce yourself from the actual character, it's so
much easier to get into their psyche."
That isn't to say, of course, that there isn't a lot of
Harkema and his friends in the film. Characters regularly extol the virtues of vinyl ("Selling your records
is like selling your existence. CDs have no soul."),
and indie rock from the likes of Destroyer, Built to
Spill, Superconductor and The Evaporators peppers
the soundtrack. Harkema, a man who brags about
his Pointed Sticks singles and admits to keeping
decades-old receipts from Quintessence Records (the
alleged precursor to Zulu, which I wouldn't know
about because of my relative youth), was happy to
use the music of lesser-known talents in his film.
"Local bands out there—send me your stuff! We used
basically indie songs, but we used one song from a
large organization, and I will never deal with large
organizations'again. I would rather on my next film
set the music budget higher, so I can pay indie bands
more, and then just use indie music. Because it's
easy. 'Here's 500 bucks.' Hopefully, as my films get
bigger budgets, 'here's 5000 bucks for the rights to
your song.' Nice and clean. Rather than 'This is how
much for the synch rights and this is how much for the
master rights and the synch rights have favoured
nations...' fuck it, man. Fuck you, your song's not
With all the vinyl and thwarted love, the
inevitable phrase soon to be included in every
review of A Girl Is a Girl is "the Canadian High
While the two films share a love of records and
a humorous depiction of men's self-absorption in the
face of all things female, Harkema's film was actually made first. He says without bitterness, "With the
way things work in terms of distribution and who has
clout and power, his film got out first."
Comparing the two films, A Girl Is a Girl is tailored well to its smaller scale. Its 85 minute running
length and close-shot style allow the film to get deeper into real behavioural quirks, and the emotions
behind them, than its Hollywood counterpart. With
A Girl Is a Girl, Harkema was looking to do something special with film that High Fidelity doesn't even
attempt; which isn't to say he wasn't willing to enjoy
the other film. "I really liked the movie, not because of
any cinematic values, but because it's a good story,
well told, that I can relate to."
What is hinted at in that statement is Harkema's
boredom/disgust with much of the studio and independent scene in the US. While he cites Harmony
Korine's work [Gummo, Julien Donkey-Boy) as "hugely influential," he is not so enthralled with other
American voices that have been shouting (and shouted about) south of the border recently. He'd rather
be thought of as an homage-giver to the masters than
one of the recent indie crowd. About an article which
called A Girl Is a Girl "fauxGodard," Harkema counters, "It's like people used to say about the Marx
Brothers: Bad Marx Brothers is better than anything
else out there. So better faux-Godard than true Paul
Thomas Anderson or Kevin Smith, as far as I'm concerned."
His dedication to creating interesting and
provocative cinema also sets him in opposition to
much of the independent filmmaking in British
Columbia. While he is quick to cite directors whose
work he loves—"One of my big influences right now
is Blaine Thurier [Low Self-Esteem Gin). Blaine Thurier
could have made 100 great films for the money that
Paul Thomas Anderson spent raining frogs"—he has
harsh words for some in the movie business here.
"The independent film that's being cultivated in
Vancouver is of the nature of, 'Wow, look how great
and close to Hollywood standards that person was
able to make their film on that budget!' That's the kind
of film that I think is being cultivated by the powers
that be, be they bureaucrats, be they production companies, be they ditterent awards given out. And it's
not interesting. It's not cutting-edge independent film.
It's just cheap imitation. To have someone be labeled,
'Oh he's such a great independent filmmaker
because he's going to be the next Norman Jewison.'
That's not independent film, that's small-scale
Hollywood. I could go to LA and do that shit if I wanted to do that."
Though he thinks that the Hollywood style of filmmaking proliferates because it's easier to swallow
whole—no digestion necessary!—he is optimistic
about the future of film. Agreeing that the phrase
"innovative film" undeservedly frightens people as
much as "punk rock," he says of both, "Beyond the
polish and the production values it's not that scary.
But people are scared. Stuff that's polished is palatable and easy, stuff that's not, they have to redefine
their entrenched ways of thinking." This he sees as
eminently possible.
"I think that audiences in some ways are becoming more sophisticated in that they're becoming more
accepting of certain styles. At this stage in cinema's
development, in terms of mass audience popularity,
those sort of stylistic innovations are basically in the
service of style only. I'm just going to keep making
movies and hope that people catch up."
If you're interested in catching up in the near—
rather than the distant—future, check out A Girl Is a
Girl at Tinseltown this month. •
S^^zQpA,: Seppuku is a mysterious, deadly
serious ensemble from Ottawa. They
tread the dusky hinterland between
Q \    avant rock and contemporary
classical. But while the band's music
lurks in the sonic shadows where
sound can fade away into silence at
any moment, their creative mainman
Mark Molnar proved to be extremely
forthcoming and articulate over the
course of this e-mail interview.
DiSCORDER: Perhaps you could begin by giving
details of Seppuku's releases to date.
Mark Molnar: There was a demo released in early '97,
called Tissue. Then in '98 I recorded the first album [the awesome houses of earth's innocents...] for SpectraSonicSound,
which was released locally in February of '99 and nationally
in November of '99.
Who's in the band apart from you?
The Seppuku line up from '97-'98 was a trio of vocals (Mike
Hickey), metal percussion (Andrew Cant), while I played guitar/piano. In late '98 Andrew left, and Mike and I were
joined by Alistair Dempsey on contra-bass and Leigh Newton
on drums, at which point I started using my violin and cello
live, along with the guitar and piano. Since then, Alistair has
left the city for greener pastures. Mike and Leigh have done
very few shows with me in the last six months as they are
focusing on their own projects. I've been doing solo cello/violin performances of Seppuku material between the band
shows, mixing originals with covers of Iannis Xenakis, Harry
Partch, Dimitry Shostakovich, Erik Satie, Alexander Scriabin,
Prince, Tom Waits, Tim Buckley, Marvin Gaye, Billie Holliday,
Morton Feldman, Diamanda Galas and Meira Asher.
What existing label best fits your music?
Above all, it is just MUSIC. It should just be listened to the
way people listen to any kind of music. That said, the descriptions that get pasted onto the music often mislead people. I
respect and appreciate it when people hear the record and
relate it to something in their music collection, or to any loosely defined genre, but ultimately it is a misreading. Not
because what I am doing is so intangible or so far into left
field that it defies labels, but because putting it into any one
genre will alienate certain people from it. It's an uphill battle
just to get people to listen to this because they want something they are familiar with, and it takes a bit of an investment to make this familiar enough to enjoy it, so the
descriptions tend to hurt the music more than they help it on a
wider scale. I guess my problem with each of those terms is
that they are more exclusive than inclusive. I just want people
to listen to it as MUSIC, not as any one kind of music. How
they make sense of it in their own ears and heads is personal
and the less interference with that the better.
Your music has been described as avant-jazz, dark
ambient and post-rock. Which of these descriptions
turns your stomach the least?
The idea of calling it avant-jazz is affectionate, but it is a mis-
by sam macklin
take. The idea of the Avant Garde belongs to another generation, and though I respect the people who align themselves
with that tradition, it doesn't resonate with me at all. As for
jazz, I am not sure I have anything to add to that category of
music. There are phenomenal artists and musicians who are
setting new standards and taking jazz to new levels, people
like Tim Berne, David S. Ware, John Zorn, William Parker,
Peter Brotzmann, Ken Vandermark and many others. To put
me in their category does them disservice.
I really don't know what you mean by dark ambient. My
understanding of that has always been from people like Mick
Harris [Scorn], Kevin Martin [God, Ice, Techno Animal], Tricky
and others. I have profound respect for their work, but it's distinctly separate from mine—conceptually and culturally.
I have a particular problem with the use of the word
"post." When I hear people stick that word in front of "rock"
or "classical," "jazz" or any genre title, I get worried. This
tendency to reduce the past to aesthetic references and short
formulations really does it a disservice. The idea that there
has been a separation and that what we have now in rock or
punk is "meta-" or "post-" just doesn't hold up, and most
importantly, it doesn't help people to listen to the music. It just
creates a cultural obstacle. I realize when you used post-rock,
you meant it as an umbrella term, but I don't see how people
align the Seppuku material with any one group or movement.
To ascribe it to any genre leaves me uneasy, and it excludes
certain people. I am not trying to rant here, I am just trying to
articulate this so that there is no misunderstanding.
Clearly then, you have a huge range of influences
vying for creative attention. In light of this, how do
you achieve such a restrained, uncluttered sound?
The short answer is I only put in what needs to be there. Mark
Hollis [Talk Talk] vehemently warns against creating any music
unless you are sure about what you have to say. Morton
Feldman said that people should clean out their ears before
writing anything. I've always tried to start with a blank page
and go from there. I do not want to enter into an artform
unless I can leave it in a better state than the one I found it in.
I don't want to just add to the grey morass of replicating music
that fills so many record bins and clogs so many radio stations. I'm not an elitist or a snob about any form of music. It's
just that life is too short to be copying someone else. It's political, in that I over-think everything while putting it together. It
is constructed so "that the music can have its own life, its own
heart and spirit.
Producing something aesthetically powerful is
more important than paying homage to your myriad influences?
I don't feel any pressing need to reference my influences in the
music at this point as I don't want to imitate them. I want to use
what I've learned from them to do something for myself. There
is a lot of room for studying something really brilliant, like
King Tubby's methods of production or the Ohio Players' vocal
arrangements, or [Charles] Ives' piano works and then applying what you've learned to give voice to your own ideas, but
you actually have to have something to say before you can
use it as a tool or else you just end up creating a fourth or fifth
rate reproduction.
Music this restrained must be hard to replicate live.
How do you manage it?
All of the pieces on the album were written so that they could
be played by any configuration of instruments, no matter what
they are. Live, we replace bass lines with amplified sine
waves; or with samples of the natural acoustics of bells without the hammer striking metal sound; or bird sounds as frames
and cues for pieces; or voices pitched down to 10-15 Hz as
percussion fills... Often we perform tracks with completely different instrumentation and arrangements, but they always
retain the movement of the piece, and they are always recognizable. I don't like repeating the same set twice. I obsess
over it until I can come up with a way of performing it that
doesn't hinge on a reference to something else.
You seem to be suggesting that your music is quite
strictly composed, whereas a lot of it sounds
Yes, the music is largely composed rather than improvised. I
know what I want in my head, and I try to go after it without
sacrificing the piece in the process. Almost everything is notat-
ed and written in some form. Notation is a form of communication, and I notate it depending on the person I am giving it
to. If they can read music, I'll write it out fully. If they can't, I
generally give them copious amounts of notes and we work
through it together until they understand what I want from
I try to encourage improvisation within the structure and
cues of the pieces, so that the players can express themselves,
but I do not want to play "improvised music." When people
are improvising, they are expressing themselves, and they are
raising the bar each time they do something; pushing forward
and not relying on an existing vocabulary. That is really exciting. "Improvised music" I find to be rather stale and boring
most of the time. By improvised music, I mean music made by
people who find a few clever things they can do with their
instrument and then force it into any situation as if they're
doing something important or interesting. It usually ends up
being neither of the two. It should move forward, always forward. The players should always choose sounds in relation to
what they are hearing in the moment, and they should try to
add to the piece, not take away from it.
Do you have "classical" training in composition
and the performance of composed material?
I began studying with private teachers while doing conservatory and orchestra/ensemble training at the age of four. I
began with theory for the first eight months and then I started
playing guitar, violin and a little piano for composition. From
there I picked up every instrument I could get my hands on. I
can't play any wind instruments to save my life, but I can play
pretty much anything with strings attached to it. I studied privately with composers and teachers for 15 years and since
then I've been working on my own. I played in orchestras and
ensembles until I was 14, at which time I stopped playing classical music because I couldn't relate to it. I listened to my parents' record collection until high school, which consisted of a
little jazz and a ton of Motown. In high school I became incurably addicted to rock, punk and pop culture. My background
is pretty dry and typical, I'm afraid.
While his musical baekground may be dry and typical, his
own music is anything but. It's incredible that music as sparse
and understated as Seppuku's can express such extremes of
drama and compassion. Mark has several works in progress
right now and one gets the impression that his best is yet to
come. Watch this space. • 	 JEAN SMITH by Christa Min
I had a dream that Jean Smith hit me. In reality, I wait
patiently for the day when someone finally rips the
glasses off my face, breaks them across her knee and
cracks me one right between the eyes. You should hear
the things that come out of my mouth. When someone
gets a bad haircut, I point and laugh and say "Nice
haircut!" While transcribing this interview, I realized
that when I'm nervous, I talk like a car whose engine is
dying—slow and occasionally sputtering. That's what
happens when I try to think and speak at the same time.
Christ, I barely cracked a joke during the whole interview. Jean Smith, however, is charming and articulate.
Her new self-titled album is on Kill Rock Stars, and her
latest book. The Ghost of Understanding, is available
from Arsenal Pulp Press. Since this interview was conducted over the phone, Jean Smith couldn't punch me,
even if she wanted to.
DiSCORDER: I was wondering, since the first track on your
new CD has the same title as your latest book, is it a kind
of soundtrack for the book?
Jean Smith: Sure [laughs].
Because in the intro of your book you talk about the point
between order and chaos, and that's what this record
sounds like to me.
What would you call this CD? People have been having
trouble categorizing it.
Well, I typically leave that sort of thing up to somebody else. You
mean like choose a genre sort of a thing?
Yeah, like where would you put it in a record store?
I guess somewhere in with the experimental jazz type stuff. But then if
it was there, I don't know how anyone who knows what Mecca
Normal or Two Foot Flame does would find it.
There are not very many vocals—which was surprising,
because you doing a CD without vocals is like if David
[Lester] decided to start singing.
Well, it wasn't really entirely intentional, it's just the way it came to be
which is how the CD sort of built itself in a lot of ways. The whole
recording happened over a couple of days in Olympia. I took some
instruments down, and I really just found this state of mind where I was
being really relaxed and allowing the sounds to just arrive and then
thinking, at the same time, of how to leave space so that I could layer
something else on it.
So the songs weren't written beforehand?
No. The only thing that was written was the main singing one in the
middle, "Snippet From Hell."
I just want to talk a little about your book because I read
it and enjoyed it.
Good. I can't believe you've done all this stuff since we last spoke.
You know too much now. You know more than I do about this stuff. I
should be asking you questions about it!
It's been a while. I didn't know it came out in '98. I
thought it was new. There seem to be three different
points of view in the book. There's Claudine, who I think
is fictional, then there's you...
There's not really a "me" me. There's an "I"...
There's a Jean from Mecca Normal.
Oh, there's her [laughs].
Would that be you?
In the"very literal stuff, in the letters and tour diary stuff. That is me, yes.
)0 jjfy
WOO Then there's kind of someone in the middle, who I've
named "Claujean" because there are points when I'm not
sure who is speaking.
It could be Claudine speaking or thinking in first person.
It could be? You're not sure?
No, and I don't mind that kind of cloudiness. With the first book I
wrote, people would say, "What's it about?" and I would immediately go, "Whoa, that's a tough question." It's the same as "What
genre of music is this?" That's maybe not the best place to start with
trying to define it. The "What's it about?" type questions don't seem
to apply.
Yeah, 'cause on the back of the book it says "Fiction?"
with a question mark. It's like the point between Fiction
and Non-Fiction. If there is one.
Yeah, and I don't see why that can't be something that is worked with
or worked from as a point of view. In fact somebody once said, I
think I overheard somebody say, "Fiction. You know, part true, part
not true." I think people kind of expect that of fiction anyway, that it's
gotta be from some aspects of life unless it's completely from that
weird state where you're just rambling and creating a whole other
world. But typically I think most fiction comes from experience.
I think people that write fiction want to call it that
because if it is about themselves they don't want people
to think it's true.
I was never in a porn film.
That's good to know.
I thought I would get way more flack about that, but nobody seems to
want to ask me, so I have to clarify. That wasn't me.
I thought that was pretty clear. The ending confused me
the most with Claudine talking about writing the book. I
thought, "Isn't Jean Smith writing the book?"
Have you recovered?
Yeah, it was traumatic [laughs]. Do you write a lot?
Lately it's been this e-mail business. My god, every time I turn it on
there's something else to write about. Actually, I just did an interview
for RCKGRL, and that was fun, but it was all e-mail. It's this whole
new way to write, in this fairly cheerful first person, and your audience
is one other person. It feels like a different, happier, healthier way to
write because there's someone immediate that's there to receive it.
Are you writing another book?
Yeah, I have to write another book.
Is it going to be similar to the last one?
I think it will be except that I think I'm more confident... I think I'm
more confident, [louder] I'M MORE CONFIDENT now, and I'm enjoying continuing on and seeing the whole thing as process. You write
your first book, and it feels like this is your book that you are writing,
and you don't foresee that there will be other books or other years. I
tend to just be focused on the here and now, and everything seems so
crucial. I'm breaking out of that and realizing that all of these things,
the records, the tours—they're much more flexible and always a part
of o long line of activities. So it's taken me 15 years to feel confident
in that way, that things will carry on into the next phase.
So you're going on tour soon?
I go Thursday and meet up with these people and play, which we
haven't done yet, which is a little bit odd.
I was wondering how you're going to perform this stuff
live, seeing that you played everything on the album.
Well, they've got CDs, and the person in Chicago, the woman, is a
drummer, and I've seen her play, and she's really, totally creative. I'm
not normally attracted to drummers. I guess they don't cross my path
too frequently. I really liked her playing, and she responded to this
band list thing that I put up on the Kill Rock Stars site, and she knows
us and wanted to be involved, which is pretty... well, the last thing I
needed was a drummer, right? But I like her, and she really wanted to
participate. The other guy is a guy in Washington DC who saw the
same notice, and he's a guitar player, and again, do I need a guitar
player? I haven't actually talked to him yet. I go on Thursday, and
we've just been e-mailing ba«"k and forth. It's sort of become this weird
thing where we're reluctant to call. We haven't spoken. By getting
people to respond to this e-mail notice, I didn't expect that we would
never talk.
Have you asked him to call you?
Well, it just became this thing, right? Now we're just trying not to
talk. When a point occurs when we're booking flights, and it would
be handy to speak to him, we just kind of grit our teeth and e-mail.
Well, it seems you do a lot of stuff in Olympia. I remember Lois came up here a few months ago. There were
probably 50 people at that show. I've seen some shows
in Olympia where there's been so many people, even
when the show's in the middle of the week. Olympia's is
definitely smaller than Vancouver. What do you think of
the music scene in Vancouver right now?
I can't say I go out and do a lot of that because I am doing things like
writing books and working on music myself. I feel like when I'm in
Vancouver, I have this other life, and then when I go on the road it's
more involved—staying up super late and playing music every chance
you can get. So when I'm here I don't tend to go out that much. I
have to say L'm not particularly up on it. I guess the Lois thing, wasn't
it a Sunday night? I think it was a $10 cover charge, which I don't
normally go for either. Maybe somebody didn't think that through.
With you so busy with this new album, and writing—and
I know David did a solo tape and an album with Bud
Osborn—is Mecca Normal just on hold?
Well, we're making plans now. We've got one show on July 22 at
Graceland as part of CMJ in Seattle. That'll be the first show for us in
rurally, like where we're at. Not having any places to play here, I'm
wondering if that's typical; what phase is live music at? Is it coming
back? Will it ever come back? Are there as many bands out there as
there were two years ago? And what's with all this new improv-jazz
stuff, which now I find I'm kind of a part of, and I don't know whether
I'm seeing more or hearing about more people doing that just
because I'm kind of doing it too, or whether there really are more
people who are going by their own regular, proper name, and creating improv units. Does that seem like something that's happening?
I've kind of been looking for it. I've got to this point
where I only like three bands, so instead of over-playing
those bands, I just look for music that doesn't sound too
much like "music." I like that your CD fits that genre.
Yeah, that's what I'm finding too, and this has happened to me before
where I'm not looking and saying, "What are other people doing? I
think I'll do that too." I think I'm aware, in a way, of what people are
doing, but I think there's sort of a wave of people who all get to the
same point, for whatever reason, of creating a similarly defined,
maybe not similarly sounding, but I want to do really beautiful,
I think that "Root Smooth Sapling Whips" is that.
I like that it's long, it doesn't actually have an actual tune ever, and it
just goes on. Hopefully it creates a mood, it creates an environment.
It doesn't demand that you listen to words, and it doesn't have the
crazy repetition of notes. All that stuff doesn't mean that much to me
anymore. Maybe it's just something that would fit into what else you're
thinking about or lead you into thinking about somewhat more relaxed
What I was saying before about liking music that isn't
necessarily "music," I wonder why that's happening now.
Maybe it truly is something that's going on. Maybe it's this phenomenon that people are finding somehow more satisfying than these
blurbs of songs, this tuneage factor that goes on for two and a half
minutes and has this jarring effect of blasting out this repetition of
stuff. Maybe it doesn't go with the circuitry that we've recently established with e-mail and how your brain is chattering away with digital
information or techno. All that stuff is kind of strange when you think
that techno somehow aligns itself with how your heart is beating. It's
like we really are in tune with these sounds, so there must be some
reason that people want to have sounds that aren't geometrically
placed. There must be a reaction or a response that's more than just
taste driven.
Most bands I find to be either bad or tolerable.
I once did a show in Philadelphia and some poor soul came up afterwards and said he would-
"I'm not looking and saying, 'What are other people I^rwjrK^!
doing? I think I'll do that too.' I think I'm aware, in a way,
of what people are doing, but I think there's sort of a wave
of people who all get to the same point, for whatever reason, of creating a similarly defined, maybe not similarly
sounding, but I want to do really beautiful, relaxed music."
"Oh, Cod. I don't know
wh"» to say to you. guy."
But this is what I'm counting on, that there are just
several people out there,
and I will keep making
r rhos
people. It inspires me. I
don't want them all, their
feet smell. Just a few
good people. •
quite a while.
Planning to record anything?
Dave's got a bunch of new songs. He handed me a tape, and I'm
going to write the words, and everything will be back to normal
[laughs]. We're going to do a tour in the beginning of November
down the west coast. The RCKGRL conference in the beginning of
November in Seattle will be the start of the tour.
Are you going to be part of Ladyfest?
Yes, on August 6th.
Will that be just you or Mecca Normal?
That's the big question. We'll see if any of these people from the East
can make it out, and if they can't... I did a solo show at the WISE Hall
about a month ago, so I know I can do the whole thing solo. I used
stacking CDs, I played the synth, electric guitar, and sax, and sang.
And it worked. It was totally great. You really have to be focused on
what the hell is going on, but I enjoyed it. I was totally nervous, but I
got through it.
Do you do any work on the side? Non-art related?
I'm just now setting up with an agent to handle my paintings in the
States, and I'm writing for a couple of places and always looking to
do more of that if they actually pay. I'm doing, not really a tour diary,
but something from the road for Broken Pencil, and I'll try to look at
different scenes that I see from peoples' homes, in-the-bathroom type
stuff, and try and do a report of what people are thinking about cul-
Selected Discography
Jean Smith CD (Kill Rock Stars, 2000)
"Carboni Angel" 7" (Kill Rock Stars, 1992)
Who Shot Elvis? CD/LP (Matador, 1997)
Sitting on Snaps CD/LP (Matador, 1995)
"The Bird that Wouldn't Fly" 7" (Matador, 1995)
. Jarred Up LP/CS/CD (K, 1993)
Flood Plain LP/CS/CD (K, 1993)
"From the surface" 7" (Dionysus, 1992)
Mecca Normal LP (Smarten Up, 1986)
]] new
About three years ago, I showed up at the Starfish Room to see
Columbus, Ohio's New Bomb, Turks based solely on the recommendation of a friend. "What are those?" I asked, pointing
at the unfamiliar wooden structures separating crowd from stage.
"Barricades" was the obvious answer, though in all fairness my query
was born more from surprise than ignorance. Never before, nor since
for that matter, had I seen such a setup at the club. I recently had the
pleasure of speaking with Mr. Eric Davidson, lead singer of the band
that puts the "fear-for-thesafety-of-our-precious-PA" back in rock V
DiSCORDER: Let's talk about the new album [Nightmare
Scenario]. What got you thinking about third-world dictators and nuclear holocaust?
Eric Davidson: Oh, no. It was just... we're pretty bad at coming up
with album titles. It's always at the last minute and we just say, "Okay,
that's good enough." I was sitting around, watching the news, and it
was some story about a potential disaster that could happen in a
third-world takeover that was called a "nightmare scenario" if he got
his hands on a nuclear weapon.
High-tech FBI code?
Yeah, I doubt it's all that official. In Europe, they were calling it the
"official CIA code," like I'm letting nuclear secrets out of the bag. I
really think it was just a phrase somebody used on the news that I
thought sounded kind of neat.
So is this album more of a lo-fi affair than the last few, or
is that all in the imagination?
It has fewer tracks than the other records. When we got Sam last
May, the new drummer, we hadn't put out a new record in a long
time, and we knew it was going to take a while to work him in and
write some new songs because we started from scratch with him. So
when we got some down, we just wanted to put them out and we
had heard some good stuff coming out of that studio, Ghetto
Recorders, up in Detroit. We'd known the engineer for a while, he
always comes to our shows there, and he asked us to record. So once
we got there, we really liked the room sound a lot, it was coming out
fine the way it was. Usually Jim puts down two or three or four guitar
tracks, but this time we just decided to leave it the way it was.
What happened to the old drummer?
Well, it's a long story, but basically it just didn't seem like he was into
it much anymore. He's got a Master's degree and such, and I think
deep down he wanted to move on. He was very surprised; I don't
think he'd give you the same answer, but he'd missed a few practices, and there were other personal issues. You know, the usual personal and musical differences.
I love how you segue for me. Let's talk about education.
Education leads to talking too much.
Amongst other things. Have you guys all been to school?
You seem like a bunch of smarty pants.
Yes, we all graduated from school. When the band started I was
already almost done, and now we all have degrees except Sam,
who's still going back now and then
I'm not sure where that came from. It's not like you're
using big words like Bad Religion, but there's a certain
intelligence to it.
Both things I fear. I don't want to be another punk band singing about
hot rods and how much you hate fascists and girl problems I also
don't want to be like Bad Religion. You have to be aware of using
words like "vociferous" because it just sounds silly, and you only have
two or three minutes to work with. I try to walk that line. I've grown up
liking Bob Dylan's and Elvis Costello's and Paul Westerberg's lyrics,
but I also liked Iggy Pop's and the Ramones' lyrics, where they can get
a lot across in a few words and they're funny. Anytime I feel I'm being
too "vociferous," I try to throw in some funny puns and just get the
fucking song done already.
Tell me about the song "End of the Great Credibility
A couple of things happened around the same time. I saw this show
on MTV, it was only on for a little while, but it was supposed to be this
ultra-hip indie show at one in the afternoon. It was pretty good, they
would interview indie labels and smaller bands, and once they did an
interview with the guy who runs Kill Rock Stars, which I thought was
kind of ironic, being on MTV and all. Then there was all that major
label stuff that went down where Seagrams bought Universal and all
kinds of bands got dropped—some of them friends of ours—and it
was just striking me that at the end of the decade, we're still around.
When we signed to Epitaph, we got a lot of shit from little indie zines
saying that we're trying to sell out, while we've seen all these other
bands come and go, and self-righteous labels that have these very elitist attitudes that you have to stay within your own crowd. So we get
it from the punk side and we get it from the indie rockers because we
don't have backpacks or something.
It sucks to put food on the table.
Yeah, and it's not like we're millionaires or anything, but when you
live in America it's sometimes an empty cause to have. It's America.
It's a capitalist, consumer culture and eventually, if you stick around,
you're going to get caught up in it whether you like it or not. So until
I have the time and money to move out of this fucking country, I'm
going to deal with it on the level that yeah, Epitaph's a bigger label,
but they get us good distribution and all the rest of it.
So I first heard of you guys from a friend who found you
on the internet. Has that always been part of your game
Well, we're just at the age where the whole computer thing is at the
crux, or whatever. We're not part of the 17 year-old-buy-japanime-sit-
at-home-all-day-staring-at-a-screen generation. We have lives and have
sex with girls and things like this. But I have a computer, and I think
downloading music is fine and all that shit. The only thing I worry
about is, me growing up, the experience of learning what music I
liked and what music I didn't like was going to record stores and seeing the grizzled, old guy behind the counter complaining about all the
music or going to concerts and getting that physical feeling of what I
do and don't like and what kind of people I do and don't like. I kind
of fear for this generation of kids taking one song at a time off these
sites and making their own CDs with no input from anyone else. These
are the kids who don't want to go to clubs because they're so smoky
or some girl might rub up against them and give them AIDS or something so better to visit Zimbabwe on the internet.
Or hang out on ICQ.
Yeah, exactly. And I don't want to sound like the old guy either, but I
just see more and more clubs closing down and less and less live
music, and it's just kind of weird.
Okay, Mr. Segue, how's the Columbus scene?
It's pretty much dead, at this point. There's less and less national acts
coming through because the one really great club in town is gone,
and the new club the guy opened is way too big, and the stage is too
high and nobody likes to play there. The other small club in town
that's kind of cool has been turned into a fucked-up, white trash crack
house, and it's small and nasty and way too urine-soaked by now.
There hasn't been a new, good local band in probably three years,
and there's no college radio. The second-largest university in the
nation, and we have no college radio station. There's great record
stores, but that doesn't matter anymore. I mean, Jim works in one,
and he says there's been a serious decline in the last two years. No
young kids come in anymore; they're buying their music off the net for
$ 1 7 because they assume that's what a record costs.
Or not buying it at all, if they can find it. Does that aspect
of the internet bother you guys?
No, because I will move on. I doubt I'm going to do this for the rest
of my life. We're not going to lose that much money; we're not a
Rage Against The Machine or a Metallica. I doubt there are a million
kids out there downloading Turks music, but if there are, fine.
Capitalism created this thing, and now it's going to eat it up. We
probably lose $30 a year to downloaders, and I'm willing to sacrifice
that if it means kids can get access to our music. I mean, probably half
the records in my collection are "For promotional use only. Not for
resale" that I bought for $3, so I'm in no position to complain. And
certainly assholes like Metallica and fucking Garth Brooks are in no
position to complain because they're already multi-millionaires.
Tell me about some up-and-comers, bands I need to
know about.
There's a band called the White Stripes, from Detroit, that is pretty
cool. It's just a brother and sister, and they sound like a lo-fi Gories-
type band with a singer that sounds like Robert Plant. It's very bizarre.
A band called the Clone Defects, from Detroit, that is pretty cool.
Detroit sounds like it's got a bit of a thing going on there.
Yeah, there's a lot of good bands and some good clubs, but all these
bands have this weird attitude. It's kind of like Cleveland; it's very
enclosed and it's own community. The bands all think that nobody
else is going to care, so they don't even bother to try to tour or put out
too many records, which is a very Midwest or "Rustbelt" thing to think.
I like that normally, but there are some good bands up there. A band
called the Secret Lovers from Austin, Texas—I just got their record.
That's pretty cool. Starlite Desperation, whc were from California, but
they live in Detroit now, and they're cool. They sound like an indie,
faster version of Roxy Music, or something. There's lots of good bands
out there; they're just getting harder to find now that the whole "alternative rock explosion" thing is kind of gone, and the media isn't as
willing to cover this sort of thing.
Rock 'n' roll is so passe.
It's just like the late '70s. Disco's everywhere and you have to look for
music harder, and the internet doesn't really make anything easier;
you just have that much more shit to wade through. There's good
music out there, it's just that people get jaded, and they want their
own sound for their own generation. •
woo During my recent interview with
the versatile lyricist Gift of Gab
of Blackalicious, we politicked
and philosiphized about the
duality between the darkness
and light of stardom and
toothaches. It's clear that in this
MC's game, everyone who
speaks truth and never fakes is a
DiSCORDER I'm really
excited to talk to you. I'm
feelin' your new record...
it's all good.
Gift of Gab: Thanks man,
good lookin'.
It's some conscious stuff,
it's refreshing. I was
wondering if you could tell
me about the birth of the
Solesides label and its
transformation into
Quanumm Records?
Solesides was started around
'90-91. I was living in LA and
Chief Xcel was going to UC-
Davis. Out there he met DJ Zen
(Def Chang), who had a show
out there. He and DJ Shadow
and Lyrics Born would go down
to the station, and they would be
diggin'.    It   was    a    friendly
ords than you." Zen
the catalyst who pulled
everything together. So it was
like, "Yo, we got this whole pool
of talent, we got connections
with all these college radio DJs,
why don't we just pool all of our
talent together and start our own
label?" The initial intent of
Solesides was for each artist to
have their "sole side." That's
why it was called Solesides,
that's why the first record was DJ
Shadow's "Entropy" on one side
and Lyrics Born's "Send Them"
on the other side. Around 1996
or '97 we had accomplished
everything we wanted to do during that period and DJ Zen's
interests were goin' in other
directions. Qi
way of rebuilding and taking it
to the next level.
Is      Quannum      signing
up-and-coming    artists?
Definitely. We have a group
from Portland, Oregon called
The Life Savers and they're
extremely dope, so look '
their record to be
Poets Of Rhythm from Germany,
Joyo Valarday's solo record.
Lateef and Xcel have a group
called Maroons, I'm doin' a solo
project with a bunch of different
producers, Lyrics Born's solo
record is about to come out and
of course another Latyrx and
another Blackalicious record. So
we're gonna keep it comin'.
And Shadow got something coming out ?
Indeed. Shadow's doin' a solo,
and me and Lateef and Shadow
are working on a project also.
Oh word, so it's all just
Indeed, we're all interchangeable.
Were you up in the radio
station at the University of
I was for a split second because
when I graduated high school I
moved back down to LA. I'm
originally from the San Fernando
Valley, and me and X would
hook up and do stuff over the
phone—like he'd play me a
beat, and I'd write to it over the
phone and we'd commute. But
then it was just like, "Man, we
can't make music like this!" That
is when I ended up movin' up to
Davis. By then he had met Lyrics
Born, Zen and Shadow. We met
Lateef about a year after that.
I know Shadow was doin'
some mixes on the college
radio. Did X have his own
Yeah, him and Lyrics Born had a
show that they used to do for a
minute on KDVS. Back then it
and   X  i
Jazzbo—who is also one of the
original members of Solesides—
had a show, and DJ Zen had a
So you're not composing
songs over the answering
machine anymore?
No more, no more.
Are you composing down
in   Xcel's   basement,   as
shown on the record's dust
Yeah, that's where it's at. We
wrote  and   recorded   Nia all
down there.
So do you have input to
the beat making, or does
Xcel excel in that?
X is the beat department, I'm the
lyrical department; we're both
always    open     for    creative
suggestions, but for the most part
X   handles   the   music   and   I
handle the words.
I   was   gonna   ask   Xcel
what kind of sampler he
He uses an MPC and an Akai,
and that's all I'm gonna say. A
chef doesn't want to reveal all of
his ingredients, you know what I
Yeah,    you    rockin'    the
ol' Fisher Price turntable
down therel
So you guys got hooked
up with Mo' Wax through
DJ Shadow?
James Lavelle and DJ Shadow
have a very long history. They
were working together at the
same time that we were working
on   our   Melodica   EP.   James
heard it and showed interest, so
we hooked up with him like that,
and   boom—it went on  from
What's your relationship
with the hip hop scene in
the UK?
We got much love for the UK.
We love doing shows out there.
We get a lot of love, and we
show a lot of love back. It's
Latyrx put out that track
with Herbaliser, "8 Point
Agenda." That's a dope
track. I was wondering
what your relationship is
to the cats coming up here,
like Moka Only and
Swollen Members.
I think Swollen Members is
dope, yeah. I haven't really
gotten a lot of exposure you
Well... Maestro Fresh
Wes, Main Source, Michie Mee;
I haven't really gotten a chance
get out here as much as I'd
That kid is dope; he's
about to blow up, I tell
you. What are some of
your favorite emcees or
singers? You and your
crew got a real vocal flow.
It's not just blah blah blah
you know?
Well, with me in terms of
influences, you know everybody
that's dope..
It's a hard one to answer,
Yeah, 'cause there's so many of
them. T La Rock, Rakim, Big
Daddy Kane...
You don't want to leave
anybody out, right?
Yeah, you know I could go on
for days. Gil-Scott Heron, Roy
Ayres... my style is an
encompassing of all those styles
mixed in, going out in different
directions. I like to go where the
. It's
particular   style,   it's   really  a
matter     of     being     another
instrument  on   the   track   and
flowin' with the mood of the
beat, wherever that happens to
take me.
And just being the heart
You can definitely tell from
your    rhymes    that    it's
comin' from the heart, it's
flowin' like the blood, you
Yeah, definitely
How do you feel about the
popularity of negative hip
hop like Eminem? He's got
people upset on one hand
but he's also very talented.
It's comedy.  It's meant to be
comedy. But he is very talented,
I heard some MP3's of
Eminem before he was
famous and he was
rocking some positive
rhymes—more similar to
yours—but now that he's
aggro, his records
are selling.
I think that hip hop goes in
cycles. You look back at '88-'89
with the whole Native Tongue
era, Public Enemy, Boogie Down
Productions. That's happening
right now; it was a moment back
in '92, '93 when Souls Of
Mischief, Freestyle Fellowship
and Pharcyde came out. It's just
resurgences, it's little renaissances. We're on the brink of
one of those right now: you got
Dilated Peoples, Jurassic 5,
Common, Mos Def, Reflection
Eternal. It goes in cycles; it's the
yin and the yang. Not to even
call anybody negative because
everybody has a story to tell,
and everybody's story has a
right to shine—no matter what it
is. But it runs in cycles like that,
and I do think that the type of
rap that we do is coming back
to the forefront.
Do you see the hip hop
family of today coming
together, universally transcending the beefs and
Indeed. It's a whole lot of unity
in California right now. When
we're in LA we holler at Abstract
Rude, Dilated. We holler at the
Cali Agents, and everybody
kinda wants to see each other
win. Everybody's hookin' up and
workin' with each other, you
know. It's good to see things
kinda unified right now. But I
don't think that it's coming back
because I don't think that it
left. It's just different
5s that different styles
i    at    the    forefront.
I've spoken with my
great-uncle—who is a
70 year-old bluegrass
bass player—about hip
hop. He's all about the harvest, raising of vibrations
and expansion of consciousness. I say to him, I
feel that hip hop can be
the catalyst of this truth.
Indeed. It's a whole renaissance
goin' on in hip hop right now.
The momentum is beginning to
shift. If it seems like I'm not
talking much it's cause I have an
excruciating tooth ache.
What happened ?
I think I got a cavity or something, it is boomin'.
your rhymes is
so sweet «
an interview by Pro-Motion ) The Slavic musical
arrangements and
their genesis
within the fervent
communism of
provide Czech
Doma ('Now We're
Home'or'Now I
anatomy of
modern rock.
Wanek relays the
homology of this
absurdist stance
with a strong
sense of humour,
resignation and
article by Steve
photos by Ann
DiSCORDER: Do you mind if I ask you some
questions about the early days of Teplice? I'd
really like to know about Fourth Price Band,
Shanov and Do Rady, those early punk bands
and those early times where you were under
a system that... things were difficult.
Mirek Wanek: FPB, when it began, that was 1981
and especially in Teplice—I founded that band—and
in Teplice especially it was a small city and it's North
Bohemia, you know, it's not really a cultural centre.
Teplice in that time wasn't like a rock centre at all. So
the only bands we got there was these bands who
played in bars, some really just cover songs, some hits,
like, really stupid and ugly music, just unbelievable.
There were a couple of young bands, you know, they
tried to play rock but
everything was almost
forbidden. And there
wos some guy who took
about everything
talked about
,.:!h   111,
:h band has to go
ff for his per-
md of c
;. So FPB at
didn't give permit to anybody. At the same time
he was a big drunkard,
so he likes these bar
bands because they
always when he show
up—because he could
cancel the concert, you
know, because he has
that power—so they
always give him a couple of whiskeys or whatever he drank, and he
got really drunk, and at
the same time he tried to
be a poet, so he wrote
some really stupid
lyrics... just like, unbelievable. But each band
got one song with his
lyrics and they got permit. So it was kind of
strange, kind of like very
bad, but kind of funny also at the sc
that time was like coming from the
tion, just nothing like that at all, ond immediately they
were really angry, these cultural censors and police as
well. They immediately start to take care of what was
going on and so FPB played maybe 20 shows only in
their whole history, and all were illegal, so it was not
really possible to pby in legal way. And there is not
any recordings from that time.
I wanted to ask you then if there were only
negative things during this period for young
musicians, or if there were some positive
things about that time as well?
I think as I showed, it's got some tragic part but also
comic part: that's why we like so much Kafka, Franz
Kafka, because it's kind of black humour and it's absurd
which you can be depressed from or if it's too much
absurd then you kind of laugh to it because it's just
something really funny. So something similar was in that
time and I think what was good in that time—which i
don't want that it will come back again—but what was
kind of good, that always when artists are working
under pressure, under some fear, under some kind of
fight or something like that, it always gives them more
sensitivity or something. Like being more accurate and
more really straight, and more, I don't know how to
say, really sensitive for very important things ond deep
things. And also audience. Audience in that time,
because not so many bands [spoke] straight. The lyrics
were kind of like reading between the lines and audience were extremely trained on the reading in between
lines and a little joke, which probably from abroad
nobody can get, in Czech Republic definitely all these
people go, 'Oh, wow! Yeahl' and immediately they will
catch if.
So, do you find any kind of special, maybe
not relationship, but with other former communist countries, maybe when you play in
Poland or Hungary—I know you've played
some shows in Bosnia—is there kind of a
special mood at those concerts?
I don't really feel, like especially now, it's kind of long time ago, which is good. And so,
was true 10 years ago. Right now, these young people, like 17,1 8,19 {year olds],
these people ore raised kind of in normal situation so it's probably not so
much true right now, but it used to be. Definitely, there is some similar
experience, so a lot of people from Poland or Hungary, their reactions,
they catch some jokes, which if you play some older songs, so they kind
of catch these jokes foster. But it's afways very funny question. People
always ask me... if I'm here, how is the difference between reactions of
audience here and in our country. When I'm there, they ask me about
reactions of American audience. And I always say, people are same, basically you know, and reactions of people depends to sound, if they know us,
if they are open to listen, if they are kind of experienced with this kind of
music, which means if the club has kind of dramaturgy which gives raising
some audience. So it depends to these things and not so much to nationality.
Your latest album, Usi, or far* in
English... What is the significance of
either that song, or that title, as a
Actually, it is a concept, definitely. It was in
my mind a long time, actually, I was really
thinking deeply about these things ond it's about communication, about listening. The ears, it's a symbol for... [At this very point, openers jack
Assassin begin their set and drown out our conversation and so, after
checking our soft drinks at the door, we adjourn to
the band's tour van parked just outside the ver
Actually, we were not really political band, I
ever. Which means we were thinking
about human characters and relationships and   ,
that these things are kind of like a basement, c
foundation of any system. Then, if you have
socialist system, communist system, or if you
have capitalist system, or whatever,
characters and the relationships are wrong   ,
and if people are not nice to each other, if  j
they do not want to listen to each other then
you start problems. And of coi
you've got communist system, those prob-   ;
lems which in capitalist system are bad, in   j
communist system are freaky! Becaus
these people get power to kill you or pt
. jail c
these characters, like if some person
I don't know, brutal if he has power
like a communist leader he is dangerous because he can kill you with permit, with law. But... the democratic
system tries to protect, kind of—I'm kind of skeptic even of that—they
protect from too much power to that kind of persons. From the very
beginning, I was thinking that the real problem is not... [I mean] it
is! The communist system wos a real problem, but it's not the really main problem, the main problem is about human characters,
about relationships. So the very first album was named In the
Middle of Words. In the middle of words, the word 'soldier'—like
many, many 'soldier,' 'soldier,' 'soldier'—the word 'human' is alone.
If you put them on paper, like thousand words 'soldier' and you put jui
'human' it's so atone, it's just really lonely. So that's something about
have to say I see it even here in North America: people tend to be part of
buy McDonald's, everybody go on vacation on Florida, everybody watch these commercials, everybody...
you know it's like, not everybody, but a lot of people like to be like the others, they like to be like sheeps in
the mass you know. And thot was typical for communism, actually... sometimes I feel like people don't
understand that, they think that some few leaders, some few freaky leaders took power and they made dictatorship... that's not true. Like, million people vote for them. And they like to be like a sheeps and have some
leaders to care about everything and the most important thing for them, for most people, was to have something to eat, to have place to stay, and hove some work... and if they have that, they didn't really care if
they can speak what they want, if they can sing what they wont, they didn't really care about artists in jail,
they really didn't care. So that's something that I feel is
'., you know, it's just something,,.
artists talking about
things. And
Unloved World
It's hut
Right. And that is what we try to sing about, or
these kind of problems, these things, these kind of
so, that was the first album. The second album
and... it's again, something like, thot people, all over the earth—like
let's say 'Unloved Earth' or 'Unloved World'— [it's] about the earth which
is unloved by human beings, but at the same time they need it.
It's home!
Right. Then the third one was Hollywood and it was again kind of about
communication, about... this entertainment, to Hollywood, this kind of symbol for entertainment, false world. Again, about mass, you know. From
one point of view you can kind of laugh to these mass, you know, how stupid are they, that they believe in this kind of fake world. At the same time
it's something about dreaming and people just tend to dream, and if they
don't have it by their own, they want to see it on the screen somewhere—
they just want to substitute it with something. Of course it's very bad that
those Hollywood people use it for making money, you know, this kind of
weakness of people. But at the same time, you can't really laugh to these
people without understanding that mostly it's because they miss something
'H' Some old, very fat lady, you know, in her inside, she might
be, she really wants to be, I don't know, some nice girl
walking, dancing, whatever, she wants to be ballet dancer.
And of course, she can't... objectively, she can't, but it
doesn't mean she can't dream about thot. So she at least
wants to see it on some screen or something. And then,
the fourth one was Fairytales from Needland and again,
almost the same. Even [though] each is about something
different, the main is almost the same: following these
human pleasures or hopes or some disasters, or whatever like that. So Fairytales..., it's ogain like, people 600
years or 800 years ago hoped in something and they
loved each other and they hated each other, exactly the
same like now, and they made up some fairytales in
it time from their experience from their lifestyle, their
jtime They made itp some fairytales which we read
now and we say, 'Oh, that's smart, that's nice, realfy
true. That's big, true, deep/ You know we got from these
past people, we got fairytales, we can very simply say, about angels and about devils. You know, we got this personified evil and good—angel and devil, for example. So I was wondering
what—of course, in future they will get from us [some] message, over thousand years—they will get from us
something evil and something good, so I tried to imagine what kind of personified persons it will be. So this
album has 12 songs and each song is about one created person. [The title] is based on the word 'to need'
because people need fairytales and they need that evil and they need that good and they need to trust in
good and that stuff, so it's from Needland. That's the fourth one, and the fifth one is Ears and that kind of
I that with the ears: exactly that place where everything is incoming. So if you have open e.
sally get somebody else
sbody else's fears, loves, whatever—you can get feelings.
ily about ear, but it's a symbol for openness, for in-come, like radar
w. And that's what is in the main sentence on the album: 'The ears
h to fisten the other ears.' And again, Ears, on the very beginning
I had, because I wrote these lyrics, 'The ears teach to listen the
eyes.' That was my original rhyme or some line. And it was
kind of funny, absurd, that somebody who is 'Eye,' you try to
:hange him, and try to teach him to listen. But later I found, no,
lis is not the real true: the real true [is] you teach to listen the ear,
the next ear. And that ear, if it's open, will get ability to teach
In talking about the human need for mass experience,
belonging, community, how do you see yourself as a
musician, who's doing stuff with ears, in a collective,
kind of communal experience? How do you see your
band fitting into that human need?
kind of special, special kind of art I would say. It's very
abstract. Like, music itself, without lyrics. Because people can get it
directly somewhere into the heart—through the ears— but it's more
feelings. It's not really concrete message like that you can say with
like, 'That, that, that.' It's just something about feelings you know,
it's kind of add together your feeling from stage, add with feelings of
ibody who listens to it and that makes if the result, you know. You just
>me group of people something and some of them will listen, some of
will understand, and maybe some of them will get some message or
ibility or some energy to talk to other people or to be nice to other peo-
why we play music, so we don't need to say that because it's dif-
. that.
Elsewhere you said it was maybe about power, that for good
* , you need power. What do you mean by that?
. it's... maybe this is why I started with punk music even though... I
ally felt like these people with...
The mohawks.
Right, yeah. And this green hair and whatever, I never really liked this, this surface. But I felt punk music is really good for that moment, thot it gives people power, it just gives them like,
'Okay, stop sitting on the sidewalk. Stop walking without any sense. Just go! just do it, you knowl' And of
course, if you have just that, it's again dangerous, kind of, because who will say what to do? You started
with questions about FPB—and that was definitely something what I feel we kind of brought into it: some kind
of specialty that was combination between some kind of straight punk music and poems. It was really strong
and straight punk musk, and it worked together, so that was kind of mixture between strength and power,
you know, energy on stage, which has to go to wake up people; at the same
time, that really deep and nice poetry, very tender. Because energy, it goes
straight, it goes realfy fast into you. Something, maybe similar, tike maybe
it makes you start laughing, but maybe some mother tries to [give] some little kid some pills, which is healthy, but if is not [a good taste] so she puts
some honey on that little spoon and she put the pills in the middle and
'This is just honey!' and you eat it and you get some healthy thing as well,
you know. So, that's something simitar in the way that the honey is the
punk music, like straight and people can dance and they can realfy be
free in that moment, you know they really feel something, but at the same
time, they can get, even from lyrics, something nice, some nice message
or sensitivity for something nice and important.
[Tape stops. Tape is Hipped. Cell phone rings. The Sex Pistols are mentioned in a discussion of other great bands having roots within, but
eventually moving away from, straight punk music]
What t stilt feel is, that even with words, even with these melodies, it's
always the same picture how life is going. If you just print in your
mind your whole day, it's really chaotic mixture of something very
net, I don't know, you met some girl, whatever, you know, somebody on
vhotever, just nice views and then some very smelly car is going
around, whatever. In one second all these mixtures are—t am giving you really simple examples—but I
mean, even your mood changes a lot during just one day. And all these fast changes and all these mixtures
and kind of chaotic stuff of just one day... that's what we try to make a picture [of] in the song as well, you
know. So the message is in words, in pictures of Martin Velisek, which we have on the cover, in music, like
in the melody, in the structure, in the arrangement, and in the way how we perform on stage, how if we
ally or not. Each piece, each detail of this music, has to be filled
with that message what we want to say, this kind
Is there anything else you wanted to talk about?
So that is about the ears. Also, what I
hope is that we can bring here this idea
because t don't think it's so common to
think about rock music this way.
Something what would be good if people
will again start to think about and feel
ock music. I tell you, I really hate that sendee from Keith Richards: 'It's only rock
i' roll.' I hate that, because it's not true
id it's just really bad joke from him and
people—you know this might be true about
his way of rock V roll—but it's definitely not
true about our rock 'n' roll and about many
bands around who really try to be equal to
classical music or to some paintings or, what
did Beethoven two hundred years ago. It's the
be same thing. You use just different
istruments and different process to make
usic because it's modern way how to do it
and how people are able to listen now so you
use present instruments for that. But you can
have the same goals and same ability or disability or whatever. I just don't agree with that
sentence and I really want to help people come
back into feeling that this music has some sense
and there's some message and that the message
important thing—not if the band is famous,
or rich, or if these guys on stage look nice or if
they do this moving or [that] moving. It can be fun,
entertainment, but the most important thing is message and if band has no message I don't feel they have
a right to talk to people.
What else can we expect from the band in the future?
tt's never-ending story kind of, unfortunately, it's this kind of fight—it's not fight exactly—but kind of fight,.,
it's without end, you know, and that's it. That's, I feel, the role of art [forever]: it was, it is and it will be. So
I think we just keep doing what we have to... and then somebody next, hopefully, continue with that.
The next generation of fairytales.
Right! Some next ears. •
)S E&^4i®ELT Video Philter
How much do you love
movies? All of a sudden,
it seems that everyone
and their robo-dog has become
a movie expert, if not a full-
fledged online buff-cum-critic. (By
the way, if John Cusack happens
to be a secret fan of Video
Philter, he can buff-cum-critic me
any time.) When my own suburban '50s-style parents are taking
in Titus, chap-wearing Jonathan
Rhys Meyers and all, my dad
starts bandying terms like "cult
film" about, and my fellow film
students are talking seriously
about Paul Verhoeven's oeuvre,
value of being a film scribe.
While I'll admit that my folks
remained true to Richmond and
hated Titus, the cult film my
father lovingly referenced was
Grumpy Old Men, and Paul
Verhoeven's oeuvre kicks ass, I
pine for the days when there
weren't so many film kids on the
block. I can still put the masses
to shame in a film-only game of
Isaac Asimov's Superquiz, but I
live in fear of the day that I start
to spend all my time submitting
adjective-heavy user reviews to
the Internet Movie Database in a
pathetically desperate attempt to
be "published."
But as the wisest Beatle who
isn't dead yet said, all things
must pass. It's time to make my
final bad pun, take my last
cheap shot, and leave my last
modifier dangling in this fabulous rag. While my dozen years
as an on-air CiTR critic and
DiSCORDER columnist have not
always been as eloquent as I
could have hoped, they have
been shockingly beneficial to me
personally. Had I not, as a naive
sophomore unused to the wily
ways of volunteer-operated
clubs, been coerced by Mr.
Richard Vilus into reviewing a
film (which, for reasons of
past inebriation shall remain
unnamed) my career trajectory
may have been as straight as an
arrow—into oblivion. As it is, TV
Guide has still not called to offer
me my dream job as Head
Synopsis Writer. (Big fun is in
store for the gang when Ross
[David Schwimmer] does everyone a favour and whines himself
to death.) However, after years
of review films like Stop! or My
Mom Will Shoot and Deadly
Weapons, I have amassed
enough of a newsprint portfolio
as a grad student and Media
Studies Student Center employee
at Concordia University. And so
my time here is done.
Before I go, however, I
would like to inflict upon you
(because I know you're much too
polite to stop reading—I could
be that person reading over your
shoulder on the bus right now!)
my list of all-time great films.
These aren't the finest artistic
achievements or the most prestigious projects. Most v
ed in that glittering pit of evil and
degradation called Hollywood,
made to suck folks like us into
their fantasy-weaving web of
bond, beyond
me and my impeccable taste, is
an overt and unabashed joy in
their own celluloid existence.
Made by people who not only
care about film as an art form
but value it as a supreme transporter of psyche, these movies
show both their creators' intense
desire to engage and their
immense talent for doing so.
While I've seen each of these
films more than a dozen times,
their freshness and insane vitality
never diminishes.
No VCR-raised child could
understand the hardship of an
allowance-less 1 2-year-old scraping together the necessary funds
and finding yet another lame
film [Max Dugan Returns?) to
dupe your parents with, just so
you could catch that one, special
flick for the eighth, ninth, tenth
time. Then again, no one who
wasn't a kid in 1980 can possibly understand how fucking
excellent Raiders of the Lost
Ark was when it debuted here
20 years ago. Sure, as an adult,
or on video, the film has some of
the same charms—high thrills,
huge guffaws, handsome
archaeologists, nazis—but the
100-proof adrenaline rush was
a one-time offer of youth. Though
most of the folks responsible
(Steven Spielberg, Harrison
Ford, George Lucas) have gone
on to middle-age spread (pri-
jrily in the wallet and
If-satisfaction    regio
1980 they were still tryin.
coin themselves as brand name
filmmakers and entertainers in
Hollywood. Today, Raiders still
stands out as one of the best
joyrides of American filmmaking; for me, it's proof to an
N'Sync universe that in my day,
adolescent girls lusted after real
From the adolescent glee of
not-yet-Reaganite America back
to the sophisticatedly drunken
glee of its on-screen depression
years, the film which serves as
my adult counterpart to Raiders
has to be The Thin Man.
Whereas Raiders showed me a
land of non-stop action, jokes
and mayhem in a jungle/desert
setting, the adventures of Nick
and Nora Charles opened my
bloodshot eyes to an enchanting
world of non-stop drinking, jokes
and mayhem. In New York.
Glib, well-dressed and soused,
Nick and Nora have taught me
everything I ever need to know
about being fabulously wealthy,
yourself on Christmas morning.
While the subsequent films of the
series dip and bow in quality,
the lustre of the original retains
the diamond-sparkle patina of
The Thin Man's Nick and
Nora are a glitteringly intimate
dinner for two; the ensemble of
The Maltese Falcon are a
down-and-dirty party for eight.
Eschewing the laughs for hard-
edged nihilism—and the social
niceties for an unmarked bottle
in    the    desk    drawer—John
Huston's adaptation of Dashiel
Hammett's gumshoe masterpiece
is the perfect mix of studio
Hollywood professionalism and
youthful exuberance. Unlike most
of today's first time directors,
Warner Brothers handed Huston
a killer cast—Humphrey Bogart,
Mary Astor, Peter Lorre, Sidney
Greenstreet, Eli Wallach—and
let him go for it. While it may be
a little mannered for today's real-
ism-and-or-special-effects audiences, the snappy words and
taut performances of this 60
year-old flick draw me into their
nasty little cage every time.
Naked greed and a low-class
dick's personal code of honour
share center stage as everyone
tries to screw poor Sam Spade.
He'd care, except what's the
Nasty. Dirty. Brutish. Short.
These are the qualities of: a) The
Maltese Falcon, b) life in a state
of nature, c) the next film on this
list, d) all of the above. You don't
have to phone your lame friend
to know the answer is D. You
might have to be telepathic to
know I'm talking about the film
that in 1984 started me on my
punk rock rampage through Zulu
Records. You can say it has bad
acting, an unintelligible plot,
nonsensical dialogue and too
much Emilio Estevez, but Repo
Man doesn't care. As the life of
a repo man is always intense, so
too is Alex Cox's nocturnal journey across the cement-coated LA
landscape. Aside from its perfect
mix of punk rock, Harry Dean
Stanton, aliens, background
hilarity and bizarro monologues
(John Wayne was a fag I), Repo
Man was slacker before Douglas
Coupland or Richard Linklater
had finished working after
school at Dairy Queen. The perfect film for a teenager who's
looking for something unclean to
love, Repo Man's brand of
wacko-sincerity-kitsch is
unmatched by any film, save its
brilliantly deadpan east-coast
sibling, Stranger than Paradise.
It's been a long time since,
like the evening I exited the
Studio Cinema after imbibing
Repo Man, I came out of a theatre completely overwhelmed by
the film I had just seen. Maybe
it's an age thing, a working-stiff
thing, a seen-it-all thing, a heavy-
on-the-irony thing, but I don't
often get really visceral about
loved and admired Pulp Fiction
and I thought Go and Swingers
zoomed and swung, I was tipsy
over Topsy-Turvey, but the mesmerizing power of film has
faded somewhat. In the end, I'll
blame DiSCORDER for starting
me onto the wicked path of film
analysis in the first place. They
were so much easier to enjoy
before "mise-en-scene" and
"auteur" entered my vernacular.
But now that I'm burdened with
knowledge I can at least sound
smart when I'm spouting my
indefensible opinions... in a bar
near you but in DiSCORDER no
longer. •
Hey local musicians and independent
music industry types...
fill out our LMD application on page 4 and submit it
by August 15th for inclusion in our annual
Local Music Directory this September! Or die.
* I'm not only the
president of the Hair
Club for KnottyHeads,
but I'm also a client. "
16 jmJSj WOO DiSCORDER Who are you (names, ages,
instruments played)?
Lavish: We are Lavish. Gill sings, Michael plays
guitar, Sandra plays bass, Craig plays drums, and
Kieth plays another guitar.
How did Lavish find each other? And
please tell us, what is the Shrimpmeat
Michael: I put together Lavish in 1997. It was a
perfect thing 'cause I was playing drum 'n' guitar
with Craig, living with Gill and hanging out with
my ol' buddy, Sandra. Our first show was a
Valentine's day gig at the Press Club. It was Gill
and Sandra's first time ever on stage. We probably
sucked. Kieth joined Lavish in May of this year. I
also play in Shrimpmeat with Shannon from Arthur
Ellis 2000 and Regina from the Pet Faries.
Y'all were hootin' and hollerin' 'bout
goin' to Texas in one o' yer songs tonight.
Have you folks ever packed up the truck
and done just that? How do you imagine
a gig in the lone star state?
Michael: Oh yeah, yeeha, sheeyikes! Y'all might
just see us parkin' our purdy li'l' behinds onta some
stage in the of lone star next year.
Speaking of travelling... If not Texas,
where is the farthest you've traveled to
play, Lavish?
Sandra: The farthest we've traveled to play is
the tour we did across downtown Vancouver!
We played the Brickyard on a Thursday and the
Pic on a Friday. Wow, it's been rough being
together that long. We fought, the van broke
down somewhere on the way, and Craig choked
on a chicken wing.
What were the last two local gigs that
each of you have seen, and who would
you like to see yourselves share a bill
Lavish: We've seen a lot of gigs lately. Gill and
Mike saw some cool rockabilly at the new
Silvertone Tavern where the waitresses look oh-so-
cool. Craig blasted his head apart at Nashville
Pussy and Motorhead. Kieth saw the Saddlesores—
like Johnny Cash on crack.
Kieth: I would like to play a gig with Leonard
Nimoy, circa 1969, fresh out of Spock fame, when
he released a variety of spoken word ditties and
cover tunes. His call for "universal love among the
brothers and sisters" changed my life (and remains
a party favourite).
Gill: I'd like to share a bill with Luscious Jackson
and the Donnas.
Michael: It would be soooo cool to play with
Fiesly and Star Collector! Hey, guess what? We
already did.
We here at Thunderbird Hell are always
awed by cool gear and gadgetry. Please
tell us and our readers a bit more about
the digitech effects unit on the guitar,
Kieth: I have many effects pedals, but actually I
don't use them, I just carry them around so that the
band thinks I know what I'm doing, plus they help
for stage presence. So in effect, I use the effect pedals for effect only. Well... maybe fuse the Digitech
processor for the cool tremelo, plus a couple of nice
fancy chorusy, modulated things. Most of the 1001
sounds in that big blue pedal are pretty cheesy.
Actually, my favourite accessory is a pick that
Michael gave me. It is red, thin and can be used
for a variety of non-musical activities.
If you could pass one tidbit of advice on to
aspiring young pop bands, Lavish, what
would this be?
Michael: Advice? Hmm... first of all, don't get
caught up on the "pop" thing. Some people
who want to be a "pop" band
limit themselves to remain w
some sort of "pop" boundarie
We're  not totally  sure  we
could define what makes a
bad   "pop"  or "rock."  I
think we  are a  "rock"
band. Just not a loud
aggressive one.
Ask yourself two
questions   and
answer them.
Where do you work,
and if you could quit
your day jobs to play
Sandra: Yes
Craig:   I  work  on   a
computer all day, but I
have a feeling if we could
play   music   all   day   w
would   probably  have c
own studio, and I would end up
on a computer all day just doing
different stuff.
Could you make up a limerick using
words that rhyme with Lavish?
Lavish: There once was a boy named McTavish
He really was a nasty ol' sadist.
He'd gather hot peppers
and throw them at Lepers.
And he once hit me mum with a radish. •
P/oza-2000 CD
Gill Breen
Phone: 604.873.6476
Cool Struttin'
A few years ago, this lo-fi grrrl
folk (and occasionally roots-
country flavoured) pop package
would have arrived at CiTR in
the form of a hissy cassette with
a hand-drawn cover. But here
we are in the 21 st century, and
despite being the result of what
must be a home-made recording,
Cool Struttin' is a seven-song CD
with clean, slick black-and-white
cover art and not a speck of
hiss. Melody sings in a girlish
quavery way and plays guitar;
there's organ, xylophone, spring
noises, and the occasional mysterious Fender-Reverb-falling-over
type of sound but no drums.
While the artwork and some of
the song titles ("12 Cigarettes,"
"Backseat Baby," "You Don't
Own Me") might make you
expect something a little tough,
even angry, Cool Struttin' is
quiet, sweet and just a little bit
Pete Archer has had his demo
tapes in rotation at CiTR for
longer than I've been working
here, and that's saying an awful
lot. His earliest song at the station (1984), "Blade Runner,"
also happens to be the first one
included on this two-CD compilation of Mr. Archer's recordings
over the years. "Blade Runner,"
made up of guitar, drums, and
samples from the movie of that
name, is quite different from the
other 27 songs here. All of
them, whether or not they use
synthesizers, drum machines, or
heavily fuzzed guitars, would
have to be filed under "folk,"
but that's a very general description that doesn't do justice to the
Archer goes for a noisy, Billy
Bragg kind of presentation; at
least one old CiTR demo hit
("We've Paid Already"), while
gentle-toned, is overtly political;
another, a very traditional-
sounding (although original)
song of a lost ship, is dedicated
to the late English folk singer
We/come to Pepper Sands
The mysteriously-monikered
Citizen A, singer/bass player of
Pepper Sands, made one of
the outstanding appearances on
the recent Vancouver Special
(Mint Records, and no relation to
this column) compilation with the
strikingly low, confident sweeps of
her voice. Fortunately that same
track, "So Fine," reappears on
this little EP, with three other well-
produced, finely crafted pop
songs and plenty of opportunities
for Citizen A, Adam and Jay Slye
to show off a wide selection of
technical chops. The band sounds
bigger than you might expect
from a three-piece and manages
to demonstrate a good bit of
diversity for such a short CD. No
doubt this is the demo that will get
them signed some place...
local demos
Hello kids, and welcome to
another spellbinding installment
of (drum roll) Local Demos! As
always, this month's crop of
independent home jobbies was
overwhelming and at times infuriating. Whoever implied this
was going to be a glamorous
job is a goddamned liar and will
eventually have to answer
to some higher authority.
Nevertheless, here we go.
Oddest tape of the month
MCKAY and his Solo Zither
Experimentations. 'Twas noise. I
didn't know what to make of this
what   i
appreciation of sound. I tried
using it as background fuzz for
the apartment, but it really made
Erin irritable. I can't even
describe what it sounded like,
but my first instinct is to say, "Like
a zither." Somebody explain this
stuff to me. (563 W. 23rd Ave.,
Vancouver, V5Z 2A4)
from Duncan, BC, where he
weaves his personal thread into
the great folk music tapestry.
Discordant while still being
depressing, this bad boy sounds
like crap, thanks in no small part
to the whiny, poor-me vocals.
Duncan must be a shitty place to
live. (526.6898)
Yay! I liked it! BEL RIOSE,
that is, and mostly because of
the   unbelievably  enthusiastic
vocals. Whoever's singing
sounds like he could give a rat's
ass what anyone thinks of him
belting it out in the basement at
four in the morning. That's not to
say that their brand of
punky/folky rock is without its
flaws, but at this stage of the
demo marathon, I'm fairly easily
convinced, (no contact)
PAN play a kind of marketable electro-pop, with a sort
of Econoline Crush-inspired
vocal thing. That wasn't meant to
be an insult, that was me searching for some way to describe
music I clearly don't know much
about. I liked some of the songs,
didn't like others, and seem to
recall being quite pleased with
the way the electric guitar ripped
in over top of the bleeps and
blips. Apparently these guys
have now changed their name to
Sunlikestar and will playing
shows in your neighbourhood
any day now. (604.836.6888)
Once upon a time there was
a punk band called VICTORIAN
PORK who recorded a local
classic known as "I Don't Give a
Shit." They eventually went the
way of all punk bands (except
DOA), until maybe a year ago
when the band reformed (sort of)
with at least one original member and a new addition in the
person of his daughter behind
the microphone. They played
last year's Shindig and
impressed with their attitude
more than their music. Then they
recorded a demo and bugged
various people at the station until
it finally landed in my box, got
listened to and found a home in
my fireplace. Then I had to hunt
down a copy of the original
song to wash the aftertaste from
my ears. Get it? Don't.
THE JOIN walk that fine
line that separates retro music
from dated music. By dated, I'm
thinking about jam bands that
play at least one "C.C.R." cover.
It's a personal bias. Anyway, I
liked the playing (especially the
acoustic guitar) and the singing,
so I guess it was the songwriting
itself that got to me. Shitty lyrics.
One song, "Newsman," rocked
with truth, even if it was a little
judge this band, I'n
need more to go on. (r
Well, there you are. Not a
very positive month, I suppose,
but life isn't a very positive
game. Or maybe I'm not a positive person. Oh well,
got to write this dar
Hard to
afraid I
Happiness by Miyu
Sometimes you look out
the window to see if
anything has changed.
You know it's going to
rain because the clouds
are lined with gray, not
silver, and your half of
the grass isn't so green
because it's not on the
bright side. You look up
towards the sky, but it's
hard to see the light
when you're always sitting in the dark. • Under
Blank-Wave Arcade
(Saddle Creek)
The Faint is one of the new
anachronistic bands that risks
credibility. This takes me back
1 8 to 20 years with music that
picks up where bands like Soft
Cell, OMD, Squeeze and
Gary Numan ceased to be
interesting. The Faint not only
accomplish miraculous time travel with this disc, they also present something incredibly vibrant
and own it completely. Not an
easy task when you verge upon
merely mimicking the new wave
of 1981. While this is kind of
embarrassing and I show some
age, I find this the most refreshing CD of the year, perhaps.
Much like the recent S.P.O.C.K.
album which recreates the
Ultravox sound in apostolic
manner, The Faint find a recipe
even more authentic and fun to
listen to, not for nostalgia only.
Songs like "Call Call" and "In
Concert" had my heart leaping
and jaw dragging. The "Worked
Up So Sexual" track channeled
the spirit of "Sex Dwarf" Marc
Almond No foolin'! Jeez, what
Bleek Van Dyke
The Frenetics sound a lot like
an ashamed No Use For A
Name trying to be Archers
Of Loaf—that is, caught in the
transition between pop-punk and
indie-rock. To their credit, The
Frenetics have put together a
refreshing and upbeat EP, showing a flair for melody and unexpected chord changes whenever
things start to get predictable.
An unfortunate affinity for undis-
torted guitar chords plagues several of the songs and makes
them sound like, well, Fred
Penner, but overall, this is a
clever and well put together EP
from a band that seems to be on
the right track.
godfrey j. Leung
Original Soundtrack
(Emperor Norton)
I am not a Freemdoom
Twee-pop makes for fantasy-land
again with these faux soundtracks. Casting off sha
self o
, thes
nies create a child-like dream
world with musical instruments.
And yes, it is silly. Logan's
Sanctuary pretends to be a
1d   JM&j   WOO
sort of sequel to Logan's Run, the
'70s sci-fi with feathered hair.
Beautiful heroes and faceless systemic evils. The disc comes with
the whole story, so I'll save you
the rest. The music is antiquated
keyboard electronica and
groovy retro funk in the tradition
of Battlestar Go/actico-style '70s
shit and they succeed at it.
Masters of the Hemisphere include a mini-comic
book with their conceptual children's album. The story is set to
jangley indie-pop and revolves
around the idyllic village of
Krone Ishta where everything is
lovely 'til an evil dog named
Freemdoom throws sand (capitalism?) in the ointment. By the
middle of this disc I grew weary
of the name Freemdoom and the
story altogether. The moral of the
story offered here is that "everyone has a Freemdoom" and
since Freemdoom bites it at the
end, I'm a-feared that the message could be construed as "kill
your enemies." Take what you
will. Perhaps this is your cup of
tea. If so, grab your secret pal,
curl up on the beanbag chair,
tune in and cop out.
Bleek Forest Ham
Balanced on a Pin
Manitoba is the official "Slurpee
Capital of the World." Everything about that province is fucking great, including Greg
Mr. Germany 2000
Nightmare Scenario
Columbus, Ohio's favourite sons
kick out the jams in the 2G with
an absolute powder keg of a
record that surpasses both
1998's At Rope's End (that suffered from wallpaper-thin production), and 1996's Scared
Straight (which scared a lot of
people with its slickness). There's
a warmth about this record that
kicks in with the drum-and-slid-
ing-bass intro to "Point A to Point
Blank" and doesn't let up until
the final strains of "Quarter to
Four." Speaking of the drums,
notably absent from this recent
trash-fest is longtime Turk Bill
Randt, now replaced by newcomer Sam Brown, who thankfully shares the same ballistic
prowess of his predecessor, particularly on the minute-and-a-half
whirlwind of "Too Much." Up to
his usual bag of tricks, clown
prince of witty prose Eric
Davidson sets his sights on stunning pretentious scenesters on
the aforementioned "Point A to
Point   Blank"   and   overblown
indie rock trends of "End of the
Great Credibility Race" with the
line: "I wasn't Built to Spill/I
ain't no Modest Mouse/I roar
like a lion/and I don't miss a
drop." Truer words never spoken, a better band you won't
find—you need this record.
Bryce Dunn
Do Things
(Beggars Banquet)
The cover art for this album
should be, properly, a fire-
breathing dragon, or possibly a
half-naked girl with a snake's
tongue and yellow eyes. Maybe
swords, the devil; anything but
that blotchy green square. It's
too vague. Just looking at it I
would have guessed it to be
some kind of chin-stroking, self-
important instrumental music.
Definitely not the hard, guitar-riff-
ing kind of sing-along stuff that it
actually is. At this level of deception it nearly qualifies as false
New Wet Kojak's "indie
status and the presence of two
ex-Girls Against Boys members in the band seem to have
secured them some ill-placed
hype. The New Yorker called
their sound "arty and sexy" in a
recent listing, and it couldn't be
less of either.
New Wet Kojak sounds
almost exactly how you would
imagine Metallica in their
prime but on a really bad day.
Eleven tracks of drum fills, bass
solos and especially lame lyrics
(sample: "I'll never lose my
shirt/someday I'll hit pay dirt").
It's slick, it's overproduced and
you can't really tell one song
from the next. I'd like to say that
they were updating metal with
some kind of millennial touch (a
DJ? some computers?), but they
aren't. What basically amounts
to arena rock has apparently
gone underground. Can a popular comeback be far behind?
Hide that bottle of Final Net.
Paul Crowley
I always thought that Dub was
meant to go beyond its original
Jamaican roots to the point
where one could no longer
detect them, much like hip hop.
But I digress...
All praise to the original dub
alchemists (King Tubby, Lee
Perry, etc.) aside, the continued
efforts to sound like one is from
Jamaica when clearly one is not
is, in my opinion, getting rather
tired. Take the concepts of dub
and expand them further, I say,
instead of turning the past efforts
into a museum exhibit. Jazz, for
instance, was never meant to
stand still in one particular
"style," but to continue to add to
the language by pushing forward while still knowing where
it all came from. The same, I
believe, should go for dub. As
Captain Beefheart once said
regarding the blues, it's already
been done as good as it's going
to get. In other words, time to
take it to another place.
What's this all got to do with
Stefan Betke? Maybe nothing.
But to my ears his efforts under
the moniker Pole provide, if not
evidence to prove my point, at
least some hope that someone
sees this matter in the same light
and (perhaps) as a result is producing some fine sounds clearly
in debt to dub but avoiding mimicry of the original sources.
I have to admit I am a bit of
a Johnny-come-lately to the output of Pole but damn, was I
happy to finally catch up.
Somewhere between the click 'n'
pop of the latest digital detritus
and the warm bass frequencies
of classic dub with a suggestion
of melody added lies this sonic
gem. A bit too gritty to be blissfully sombient, it nonetheless hovers somewhere in between
foreground noise and background aural wallpaper to comfort one like a warm bath.
Certainly the ghost of dub
informs this space, but there's not
a rasta in sight—though the 'erb
would no doubt compliment the
Maybe Stefan Betke would
disagree with my argument
regarding a progressive stance
towards the possibilities of dub,
but with sounds this fine, I can
live with that.
The Singing Hatchet
(SeeThru Broadcasting)
Both CDs that I picked up to
review were chosen based on
their covers alone. On the front
of this one is some guy with
wacky hair and sunglasses. Of
course, that means I thought he
what to expect based on that.
Lucky for me, though, the CD is
actually pretty good. The first
song really reminds me of
Palace, but it soon deteriorates
into meldoic/folky guitar music. I
guess I say "folky" 'cause it's
acoustic guitars and anything
that doesn't have "plugged in
instruments" immediately equals
folk. But it's just pretty music that
isn't intrusive. A good CD to listen to when it's crappy outside
and you just want to sit on yer
ass and drink coffee and read.
Pretty and nice.
tesla van halen
Muy Divertidol (Very
The Latin music craze may be
most marked in mainstream pop,
but it's by no means confined to
that happy pappy world. Left-
field rock and electronic artists
are delving into the music of
Central and South America, not
just for its "exotic" appeal but
because many of its most famous
practitioners were/are genuine
Nobody has done more to
communicate this latter point
than arch Manhattanite Arto
Lindsay. Perhaps as a result of
working with Lindsay, guitarist
Marc Ribot has been making
his own excursions into Latin territory, with particular attention to
the Cuban sounds so in vogue
right now. Those expecting
something along the lines of
Lindsay's serious, sensual work
will be in for quite a surprise,
Muy Divertidoi's light-hearted feel and Ribot's apparently
quite conventional rock soloing
conjure up images of Ween
mocking Santana. "Las Lomas
de New Jersey," in particular,
compounds this impression as it
features Ribot intoning a line-byline translation of the ludicrous
On repeated listens, though,
it becomes clear that this irreverent approach is indicative of
Ribot's great affection for the
effervescence of Cuban music.
What is more, his guitar work
starts to reveal its playful, envelope-pushing subtlety. Witness
the fantastic descent into mangled Arto-style dissonance on "El
Once these elements click,
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smallmanrecords Muy Divertidoi more than lives
up to its title. A welcome antidote to both the po-faced reverence and the clueless
exploitation that blight these
sounds elsewhere.
Sam Macklin
New York City Ghosts and
Damn it. When Lee Ranaldo
reflected in monotone on Evol
about car wrecks and whistling
wheels of sand it was somehow
really cool. When Thurston
Moore plucked "I can't get laid
'cuz everyone is dead" from a
PK Dick novel for the Sister
album, I turned the headphones
up. Kim Gordon's singing about
washing machines or female
mechanics on duty on the previous two DGC releases never
fails to make me nod my head at
least three times in total agreement. And of course I want to kill
all the California girls.
These are all examples of
past lyrical and noizical perfection crafted by my favourite
band, but in NYCGF Sonic
Youth should have left the
words out and stuck to the route
set out by their wonderful instrumental SYR EPs.
I've always suspected that
Lee is really a NYC hippie, and
that Thurston's played too many
games of Raiden: just listen to
the spoken word from Lee's
Amarillo       Ramp       and/or
Thurston's Psychic Hearts album
in its entirety. But Sonic Youth
never quite stepped off the deep
end, presumably because SY is
a band and not a solo project. If
Thurston and Lee had kept their
mouths shut, SY's latest would be
a fine album: the Kim Gordon
songs are some of her best, and
the music has progressed DGC-
ly from the SYR series.
"Side2side" offers the most
frightening bassline since
"Brother James," and
"Nevermind (what was it anyway)" takes the best of SYRI's
"Anagrama," adds some KG
silliness and results in a Washing
Mach/ne-esque classic. The
opening track is more typical of
the album, however: excellent
music and terrible song writing.
Apart from Thurston's reflective
vocal dribble, "Free City
Rhymes" is SY in their top
sprawling form. Unfortunately,
on this song and the rest of the
album Thurston and Lee sound
absurd—like bad English teachers going through mid-life crises.
So sadly, NYCGF is a step
sideways for Sonic Youth, leaving me anxious for the next SYR
release but in no hurry to run
away to NYC to live in a pseudo
loft/commune or whatever like
Paul Barclay
Vol. IV
"Cute" is a word that pops
my head when I think of Scott
Garred; whether it is in Super
XX Man, his 4-track project, or
Silver Scooter, his full-on
band. Being a fan of Silver
Scooter, I jumped at the chance
to check out Scott's new album.
Super XX Man is much more intimate and minimal than Silver
Scooter, with less of the
Pinkertonera Weezer influence.
The cute factor is still a mile high,
and I like it. This is a well-executed album and dammit, I just
love how cute it is.
Jay Douillard
Sperm Whale
(Kill Rock Stars)
Joe Preston's beard is the scariest
thing   about  The   Thrones.
Christa probably likes it—the
beard, I mean—but she's party
to sympathetic hair vibrations
that the rest of us can't detect.
Sperm Whale thrives on incongruity and as a re
funny. Vocoder is s
so metal and so n<
a Luis Bacalov song,
Christa scream "What the hell!"
every time I play it. That's a
good sign.
Dub Voyage
Well, so it's 9:13 am and I am
sitting here cursing the living
blue daylights out of the Roger's
Low-Speed (aka Non-Existent)
Internet "Service" as usual, that
Wave which is more like a feeble piss in a pond, ©Home as in
that's where all the techies are...
iring c
body hair, and the only thing
instilling me with any sense of
sanity, and perhaps even tranquility, are the raindrop dub
beats of Ryan Moore's new masterpiece of visionary aural copulation, Dub Voyage. This is once
again a true dub experience,
dub-jam. You know they don't
really go for dub in SF? Well,
s Vane
with n
>n May 31, lovely non-working
inything,   and   the   only   next
lit is kind of
cheese is to sit back, spliff, scan
porn—you know, the usual. This
album is less acoustically guitar-
oriented than Horsie, concentrating instead on bass-guitar
jams and echoing dub chords,
minimally constructed into a consistent groove that is beautiful,
uplifting and sad.
Okay, so now it's June & this
CD has not left my player. It's
like an addictive solace. Let's get
into details. The first track opens
without prelude into a deep,
bass-driven jam. Then "Dub
Voyage," the album's title track,
begins, opening with trinkley bell
sounds and a piano lead into a
full-on, slow armrest noisy feedback funk. From here on, the
tempo picks up into danceable
grooves with tracks like "Heavy"
(which isn't), only dropping back
down into the slow dub mode for
the ultra-low spleen-rumbler
"Depth Charge." Here ends
what is labeled as "One" on the
CD, presumably from the vinyl
LP. Now—"Two." Things pick up
again, but always alternating
back and forth from fast and
slow jams. "K2000" stands out
as an exceptional track, with
some effect-laden percussion,
non-standard dub bassline and
more complex drumming with
added distortion for that extra
mindfuck everyone was really
waiting for. The CD ends with
"Massive," which is appropriately that: a massive bassline set
out against spacing piano-
echoes and stuttering percussion.
Well, if you like dub, you'll dig
this, and if you sit at home when
it rains or on Wreck Beach in the
sun just feeling that goody-good
feeling then you will also dig
Ego Trip's The Big
It's good to see someone putting
fun back on hip hop's agenda.
This latest compilation from the
excellent Rawkus label digs up a
treasure chest of 1980s obscurities to provide a companion to
Ego Trip's Book of Rap Lists.
Although most of tracks included
lack the rich production and
complex wordplay of today's
best hip hop, they more than
make up for it in terms of unfettered exuberance.
The brilliantly witty sleeve
notes vividly depict the articulate
energy of tracks like The Bizzie
Boyz' "Droppin' It." They also
provide insight into the historical
importance of the selections. For
instance, it's no surprise that
Lord Shafiyq's "My Mic is On
Fire" is listed in the book as one
of DJ Premier's "Quarterpound
of Underaknowledged Hip Hop
Cuts." The spooky ambience of
this pioneering masterpiece is
strongly redolent of the Gang
Starr producer's work with
Jeru the Damaja
Great stuff but the compilers
really save the best for last.
"Beat Bop" by Rammeliee
vs. K-Rob has to be heard to
be believed. The product of an
ill-fated collaboration/argument
with artist Jean-Michel Basquiat,
"Beat Bop" is an appropriately
out-of-control experiment. It comprises 10 minutes of industrial-
strength electro-boogie freakout
in dub and would be worth the
There are plenty of people
with an interest in rewriting rap
history to create an untroublingly
homogenous definition of "real
hip hop." Tracks like "Beat Bop"
and many of the others here
demonstrate that the truth is infinitely more complex and weird
than such revisionists are willing
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Richard's on Richards
Tuesday, May 23
"I wonder how much the lighting
guy is getting paid?" was the
nagging question that stuck in my
head as The Nasty On
warmed up the half-full thunder
dome that is Dick's on Dicks.
Probably more than the band
was my guess as the perfectly-
timed strobes and eerie rack lighting behind The Nasty On's
drummer made the stage more
like a laser show at the
Planetarium than an actual gig.
That not withstanding, they did an
admirable job giving the somewhat tepid crowd something to
tap their toes to at least. Some of
their tunes got a little too busy in
the time change department for
my tastes, but I have to say these
guys are doing something different that I really couldn't justify
describing to you, so just go see
them, okay?
I still feel like a jackass telling
a bunch of my friends that Holly
Golightty was going to be next
on the bill on the strength that she
had opened the show in Seattle,
and I had reliable sources tell me
so, so I felt a little better finding
out just prior to show time that
Miss Golighlly got cold feet 'bout
crossing the border and declined
the invitation to enchant us with
her most excellent voice. Which
brings us to our headliners. I
enjoyed the show a good deal
both from a visual standpoint and
a musical one. I mean, yes, everything you've probably heard
about front-person Cristina is
true—she is one tall, cool drink of
water. When not getting up close
and personal with fans at the
front of the stage, she sang her
guts out with bravado, but after
more than a few scary lookin'
grins from this Cheshire cat, my
attention turned elsewhere. Mr.
Spencer's star shone but briefly,
s he v,
the sound of his own guitar than
Keyboardist Mark Boyce gave
good keys, but was marred by a
bad mix, and "living mummy"
bassist Jens Jurgensen could've
blinked once or twice, but who
knew, so my gaze repeatedly fell
upon drummer Hollis Queens.
This gal can play, gents, and
damn well I might add, laying
down more solid beats than you
could shake two drumsticks at
and really providing the energy
and drive for the rest of the
group. And that energy was at its
peak at a few points during their
"Whiteout" and "Stereolight"
from Whiteout, the band's latest
offering, and "Ski Bunny" and "I
Dig You" from their self-titled
album, the latter seeing hubby
Jon and wife Cristina getting all
warm and fuzzy with their bad
selves. Kinda makes you forget
how much that lighting guy was
getting paid anyway.
Bryce Dunn
Arts Club Theatre
Sunday, May 28
Everybody plays the guitar.
Everyone, at some point, has sat
in their room and played
Nirvana songs You thought no
one would find out because you
kept the door closed, but come
on. Even Kurt could hear you.
The guitarists in the Vancouver
New Music Festival seemed to be
way past the drop-d stage.
Gordon Fitzell performed his
composition "Z" with a Strat and
at least a dozen pedals. It was
messed up, and I'm not sure what
it was supposed to be. Between
missed cues and awkward
silences, a mysterious electric
buzz pushed its way through the
PA. Twenty-first century and they
still couldn't figure that one out.
Of the six pieces that followed Fitzell's, three of them I
remember Ron Samworth's
"one pierced bright moment" (title
stolen from ee cummings, hence
the lack of capitalization) had
more than just one of those
moments—ranging from eerie
harmonies to metal riffs.
Samworrh conducted while sitting
down and playing guitar, using
both his necks to cue the other
guitar and bass. His enthusiasm
was appreciated.
Jordan Nobles premiered
his piece, "Nebula," written for
eight guitars and two bass guitars. It was exactly as its title
describes—sometimes glowing,
sometimes a dark shadow. As
gorgeous as it sounded, it wasn't
very interesting to watch. I
would've liked to close my eyes
and transcend into the cloud of
music, but fear of being pegged
as a weirdo stopped me from
doing so. Don't tell me you
haven't pointed and laughed at
the freaks who really get into the
I can tell you that nearly
everyone was affected by the
finale, Steve Reich's "Electric
Counterpoint." Fifteen amplifiers
hummed as I waited for the circuits to blow. The guitarists (featuring members of Hospital,
The Beans, and a bunch of no-
names... just kidding... sort of)
played Reich's short, repetitive
phrases intensely, and I thought
the show would end in electrocution and fire. Instead, after a slow
start, the show ended in victory.
Next time, lock up your precious little guitar in your room
and come out to support
Vancouver New Music and
Vancouver Pro Musica... because
w jJ2j wOO
Lord knows you're never going to
be as good as Nirvana
Christa Min
Sunday, May 28
Starfish Room
In   the    12   years   since   Vic
Chestnutt's debut, Little, he has
cultivated a staggering repertoire
of    great,    distinctive    songs.
Generously, he treated a very full
Sunday night Starfish crowd to
gems from all over his catalogue
when he stopped in Vancouver
last month. The evening didn't
Though pleasant enough,
Opening band The Willard
Grant Conspiracy were a little
on the dreary side. If your life had
a soundtrack, they played the
kind of music you'd expect to
hear as you walked down the
street after getting dumped. Not
much of a primer.
Thankfully, Vic made it out
soon enough and took care of
that pesky co-headliner ego thing
by playing onstage with former
Throwing Muses frontwoman
Kristin Hersh, the two artists
alternately playing and watching
the other perform.
I really don't know anything
about Kristin Hersh, but her songs
provided a good balance to
Vic's, and she had a large portion of the audience quite rapt
when she performed. Her voice
seemed a little strained, which
may or may not have been intentional, but she seemed quite
happy and relaxed.
Vic also seemed happy, but
not in great health. With a brace
on his arm he struggled with his
guitar work. However, his minimal accompaniment meant that
his vocals were even more prominent. With a voice like cherry pie,
he sang his wry and twisting lyrical observations. Opening with
"Sad Peter Pan" and closing with
"Isadora Duncan," Vic played all
the songs I hoped he would,
including when he was bribed
with a joint to play
"Supernatural." The show made
me a fan of Kirsten Hersh and
reminded why I used to like Vic
Chestnut! so much.
Duncan McHugh
Monday, May 29
Croatian   Cultural   Centre
The parking lot of the Croatian
Cultural Centre was littered with
mickey-toting punks as Epitaph's
Punk-O-Rama Tour rolled through
Vancouver this May 29th. A no-
ins-and-outs policy meant that
booze hounds had to get their fix
on before the show and then
hope that their buzz would carry
them through The Distillers,
The Dwarves, Bouncing
Souls and The Droplock
Murphys. But the prospect of
sobriety couldn't hold these punks
down— droves of young 'uns
came to see Bouncing Souls and
the Dropkicks, while a handful of
potbellied old 'uns braved the all-
ages spectre to see the venerable
The (also popular) Distillers
were up first but alas, your faithful
reviewer was still sitting upstairs
in the Croatian lounge watching
RAW is WAR and drinking some
distilled beverages of his own.
Second-hand reports were generally positive. One bleary-eyed
punk blurted, "Buncha killer
chicks, but the fuckin' sound
sucked—way too much treble,
worth of a band by their merchandise, then the Distillers were
top-notch (second only to the
Dropkick Murphys and their Oi-
boy jerseys). And if you can measure the worth of a band by the
looks of their members, then the
Distillers are the best god-damned
band in the world.
The Dwarves have been
around a long time—longer than
some of the kids in attendance.
They've built a reputation around
solid, no-frills punk anthems and
legendary booze-fuelled antics.
Eerie blue lighting and Gregorian
chants ushered them on-stage,
and they launched into their set—
banging out tune after tune.
Before one song ended, another
began. "I Will Deny" begat
"Everybody's Girl" begat
"Anybody Out There" and so on.
Still, as good as the Dwarvian
medley was, it couldn't overcome
the soupy sound of the Croatian
Cultural Centre. But that hardly
mattered; the kids were too busy
having fun in the pit to give a
damn. And if you couldn't decipher Blag Dahlia's words, then
you could always turn your attention to guitarist Hewhocannot-
benamed's Mexican wrestling
moves. And if that wasn't
enough, then you could always
chuckle at the two lovelies who
joined Blag on stage for a
crotch-grabbin',     face-suckin'
stage was mopped, the crowd's
true loyalties shone through. The
Bouncing Souls were clearly the
stars of the evening. Suburban
punks became Ibrox yobs as a
rousing chorus of "Ole!" greeted
New Jersey's finest. Armed with
a shit-load of catchy sing-alongs,
there was no way the Souls could
disappoint. But they almost did;
the sound man couldn't pick up
Greg Antonio's distinctive voice,
and the band displayed less life
than a platoon of plastic soldiers.
"Lamar Vannoy," "Hopeless
Romantic," "Kid," "Born to Lose"
and "East Coast" were all trotted
out, but they lacked a certain je
ne sais quoi. Maybe it was the
pre-gig buzz wearing off, but the
Bouncing Souls were pretty forgettable.
The     Dropkick     Murphys
weren't so forgettable though.
They were piped on stage by Fat
Bastard's little brother, and they
played beneath a huge iron cross
banner that looked like it was on
loan from Odin's Lav/ And they
flat-out rocked. Singer Al Barr rallied the troops with his balls-out
"We came to conquer!" singing
style. "Curse of a Fallen Soul,"
"The Gang's All Here" and
"Barroom Heroes" set the pit into
high gear. If you cut these Boston
lads, they'd probably bleed
green—as all things Celtic were
celebrated with vigour. For the
encore, bassist Ken Casey (who
sounds a lot like Cliff Claven)
invited everyone on-stage to sing
AC/DC's "Dirty Deeds Done Dirt
Cheap." Half the crowd obliged,
and the giant punk rock love-in
showed that the Dropkicks aren't
your typical Massholes. And so
ended the Vancouver stop of the
2000 Punk-O-Rama tour. Good
Jamie Maclaren
Monday, May 29
The Commodore
Notwithstanding my rancid
mood, I went into the
Supergrass show with an open
mind, hoping that the opening
band wouldn't suck. They didn't.
But they didn't set my undies all
afire either.
Jet Set were a bunch of
scruffy looking guys whose music
was unobtrusive enough, but the
word "wannabe" just kept springing to mind. Their final song
asked the audience members,
"Do you wanna be a staaah?" a
la Oasis. Ick. Answer: no, but
you clearly do. In their favour,
they genuinely looked like they
enjoyed acting famous, and the
frontman returned the effusion of
love so affectionately expressed
by an audience member. Aw,
how sweet.
Supergrass were visibly
fatigued, and singer Gaz apologized profusely for his audibly
nasty cold, but they still performed with vigour and high spirits for the last concert on their
North American tour. Their set
gave equal attention to each of
the three albums and was a
pleasing mishmash of old and
new goodies. There were a few
surprising absences, like "In It For
the Money," the title song of their
second album, but the band
made up for them by enthusiastically playing favourites like
"Caught By the Fuzz." Their performance was short, but so are
their songs. The boys played well,
and the audience seemed pretty
darn appreciative. Even if the
group had played their catchy
tunes poorly, the show would
have been worth attending if only
for the value of seeing bassist
Mick looking like a munchkin and
drummer Danny being blown
away by his wind machine.
(Okay, it was actually just a fan
to keep him from overheating, but
it sure looked cool.)
tnc«^Dr JoWP
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Wednesday, May 31
There's only one band in this
divided world that can truly bring
the long-hairs, the skins, the mohi-
cans and the mullets together,
and that's Motorhead. Okay,
maybe Slayer too, but
Motorhead has been givin' it to
the collective ear-hole for over 25
years now, and the respect they
command among dirtbags of all
types is unparalleled. With his
taste for cigarettes, liquor and all
things fast and loud, Lemmy is to
the black leather-and-tattoo set
what Jerry Garcia was to the
hairy armpits-and-patchouli set.
And at a time when 'roid-mon-
keys ride leased Harleys fronting
like they're bad-ass, it is good
that these British lads still represent the real deal. So which self-
respecting dreg wasn't excited
that Motorhead was playing a
sold-out Commodore on a
Wednesday night?
Of course, Motorhead
couldn't play without some
worthy opening bands.
Speedealer, Fu Manchu and
Nashville Pussy were set to
start things rolling. And if it wasn't
for shitty transit, shitty weather, a
shitty queue and an even shiftier
attitude from the Commodore
heavies, then this reviewer might
have something to say about
Speedealer and Fu Manchu. Still,
second-hand reports state that
Speedealer lived up to their
name, and that Fu Manchu
brought down the house in a
fuzzy kind of way.
But it was obvious that the
few people who hadn't come to
see Motorhead had come to see
Nashville Pussy. Famous for
pyrotechnics, big boobs and bigger noise, Nashville Pussy
brought the Southern goods
Eighty-foot tall bassist Corey Parks
cussed, snarled and spat, while
Vancouver native Ruyter Suys
rocked the frizzy hair like Dee
Snider. And sandwiched
between the two voluptuous vixens was lead singer Blaine
Cartwright. If you squinted just so,
then Cartwright looked a helluva
lot like Ron Jeremy, and the
whole performance took on the
aura of a wet dream. The music
was fast, heavy and good, but it
wasn't as entertaining as the onstage theatrics. Suys spun like a
top and Parks seemed happy to
endure the inevitable cries of
"Show us your tits!" For the finale,
Parks downed some moonshine
and then blew giant fireballs over
the first ten rows of the crowd.
Beavis would've loved it.
As great as Nashville Pussy
had been, there was no chance
of an anti-climactic evening. The
last fireball hadn't extinguished
before chants of "Lemm-eee!
Lemm-eee!" filled the air. And by
the time the infamous white boots
walked on-stage, the crowd had
worked itself into a frenzy.
Sensing a raucous set, Lemmy
bellowed, "It's ass-kickin time!"
and then launched into "We Are
Motorhead" in his usual eyes-to-
the-sky way. The sound was a bit
muddy, but that didn't stop songs
like "Civil War," "Born to Raise
Hell" and "Iron Fist" from rocking.
"Metropolis" was resurrected for
the old schoolers. At one point,
drummer Mikey Dee eased into a
five minute solo extravaganza
that would have made Neil
Peart blush. And not to be outdone, guitarist Phil Campbell
threw down a wonky solo of his
own. The whole show had an
'80s glam/punk feel to it, as Dee
pumped his fists for more audience appreciation and Lemmy
tore through a kick-ass cover of
"God Save the Queen." Best
Song of the Night honours had to
go to the green lights of
"Orgasmatron." After heading
backstage to suck down some
more booze and filterless Camels
(insider info has a whopping bar
tab of over 1000 dollars for the 3
members of Motorhead alone!),
Lemmy and the boys banged off
"Ace of Spades" (what else?) and
"Overkill" for the encore. The
crowd left wearing shit-eating
grins. Some of the dirtier dirtbags
probably spent their last 46 dollars on this show, but they were
probably just happy they didn't
have to sell their first-borns too.
Because it was worth it. It was
probably the rock 'n' roll event of
the summer. But then again the
Reverend hasn't played yet.
Jamie Maclaren
Vera Concert Hall,
Groningen, NL
Wednesday, May 31
I was worried about the Dutch
and their taste in music until I traveled to Groningen. I was amazed
that a city which isn't all that big,
or central, could draw as many
good bands as it does. I had
missed      Broadcast       and
Console in recent weeks, and
was not about to miss Blonde
Redhead. Sure, I could eventually catch them at home, but why
not check out the NL nightlife?
I've heard both of NoA's full-
length albums, but was way more
impressed with the band live. The
sounds these four boys make are
very carefully crafted to not make
any of the normal rhythmical
sense—they've got the start-and-
stop rock down. Each member
got to take at least one turn at the
mic, and the diversity in song
structures was well-appreciated
by the crowd. North Of
America put on a strong, enthusiastic show that made them more
than a few new fans, I'm sure.
Blonde Redhead s arrival
on stage warranted an unbearable crush in the crowd, and I
was soon forced to retreat to cooler corners of the standing-room-
only venue. At least drinks were
cheap—who can argue with $2
beer? I have always thought
Blonde Redhead an amazing live
band, and was especially
pleased to get to hear their new
material live before recorded.
There were some new ballads
which deviated from the controlled chaos I had expected, but
also plenty of old material from
the past two albums. This emotionally charged performance
was as hot as I've seen the band,
and now I'm crossing my fingers
that they'll do a North American
tour once they're back from foreign lands. You ought to cross
yours, too!
Zeche Zollern ll/IV,
Friday, June 2
I wasn't kidding when I told my
friends that part of the Europa
Ultra-Vacation plans was to track
down Mouse on Mars. My
quest led me first to Cologne, and
then, thanks to the help of the nice
men at the A-Musik store, to
Dortmund. I had nothing but a
train ticket and a piece of paper
with "Vision Ruhr" scribbled on it,
yet managed to find my way to
the coolest place I've ever been.
Zeche Zollern ll/IV is a coal mine
compound in the middle of
nowhere which has recently been
taken over by a group of artists
for an exhibition called Vision
Ruhr. I was thrilled to have a few
hours to explore the exhibits and
installations before the concert
began. Those few hours also presented me with a bit of time to
examine the crowd that had gathered for the evening—I had found
myself in the croonie mecca!
Mouse on Mars and DJ Koze
were there to interpret the whole
Ruhr scene in a digital/analogue
way; they provided the beats and
blips for a lot of happy people to
dance all night to. Mouse on
Mars played for more than an
hour-and-a-half, rarely looking up
from their buttons and knobs.
After two encores, the only way
they could sneak themselves off
stage was by mixing a little sound
collage magic with DJ Koze.
Koze mixed his scratches and
samples with MoM's dots and
loops to a brilliant end. Someone
told me that DJ Koze (that's
German for "puke") was recently
voted Germany's most sexy DJ.
Never without a lit cigarette in his
mouth, this talented young man
spun really hot house music for
over two hours to an ecstatic
crowd. When DJ #3 came on
stage, it was time to head home.
Those kids were planning to party
all night long, and I just couldn't
handle any more big beats. I met
a very nice German couple that
drove me to the train station, and
sadly bid Zeche Zollern goodbye.
I wish I'd taken pictures...
Friday, June 16
Sugar Refinery
The colon is connected to the rectum which is terminated at the
anus. In other words, your colon
is close to your ass. It is also a
mark of punctuation that has
many uses—from separating the
hour from the minutes to separating the chapter from verse when
you're quoting from the Bible,
something I'm sure you all do constantly. In Srtkh's case, the colon
signifies an introduction to, I sup
pose, their music.
I had never heard them
before, so I was prepared to listen. Their show included a visual
component—a reel of symbol-
heavy images projected onto a
bed sheet. The problem is Sitki:'s
music neither conjured up these
images, nor did the images provoke the music. I say this because
the band was behind the sheet.
They couldn't see what was being
projected. I'm sure they knew
what was showing, but I'm not
sure they knew when.
Sitki: is clearly improvisation-
al—they listen closely to each
other and successfully move as a
unit. The samples rubbed against
the guitar and percussion like
shoes on a carpet to create a static warmth but without the shock.
I wish I had been able to listen
more carefully, but I kept trying to
make the connection between the
film and the music. I couldn't find
Piano's use of the colon is
grammatically    incorrect,
j Min
3296 Main St. @17,h
LPs • 45s • CDs
New & Used
clever nonetheless. They're
their name—there's a piano as
well as a violin, a trumpet and
sometimes a guitar. They play quietly, nervously and slightly out of
tune, charming the pants off of
me. The male and female vocals
are wonderful and the lyrics honest. Their songs are filled with
hopeful sadness, and they are so
endearing that I wish I could take
them home in my pocket. ZZ. jjlj WOO CiTR
The monthly charts are compiled based on the number of times a CD/LP ("long
vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist
was played by our djs during the previous month (ie, "July" charts reflect airplay
over June). Weekly charts can be received via e-mail. Send mail to "majordo-
mo@unixg.ubc.ca" with the command: "subscribe citr-charts"#
1 huevos rancheros
2 dilated peoples
3 belle & Sebastian
4amon tobin
5 Jurassic 5
6 murder city devils
7elliott smith
8 sarah dougher
9 stereolab
10 a silver mt. zion
11 blonde redhead
12 sleater-kinney
13 calexico
14 rick of the skins here
15 bedhead/macha
16david kristian
17 spitfires
19 salteens
20nashville pussy
21 mary timony
22 i am spoonbender
23 tristan psionic
24 sonic youth
25 special guests
26 ween
27 another joe
28 mirah
29 plumtree
30 radiogram
31 sugar shack
32 masters o/t hemispher
33 billy bragg & wilco
34 residents
35 various artists
July long vinyl
el muerte del toro
the platform
fold  your hands chil
quality control
in name and blood
figure 8
the walls ablaze
first of the microbe...
he has left us...
melody of certain...
all hands on the bad...
hot rail
macha loved bedhead
in too deep again
short-term   memories
high as hell
mind the gap
nyc ghosts & flowers
first album
white pepper
you think it's like this...
this day won't last
get out of my world
i am not a freemdon
mermaid ave. vol. 2
stars & hank.
d...   matador
touch & go
kill rock stars
touch & go
ninja   tune
sonic unyon
song     corp.
east side digital
1 gene defcon
2 bartlebees
3 various artists
4 the moves
5 riff randells
6 mooney suzuki
7 tremolo falls
8 hot hot heat
9 unwound/versus
10 spitfires
11 three berry icecream
12michelle gun elephant
13 teach me tiger
14 selby tigers
15 microphones
July short vinyl
flight fright
patty duke covers
slick black cat
four songs included
west cabaret drive
remember me
magic marker
top quality r'n' r
mr. lady
al kids
17 radio berlin
20 q and not u
down to you
heart of industry
between still sheets
enter ralph wiggum
hot and informed
stones throw
1 lollies
2 birthday machine
4 riff randells
5 metic
6 nasty on
8 new hedron
9panty boy
10 boy vs. girl
11 pepper sands
12les saints
14 dreamy angel
15 sparrow orange
16evan symons
17hugh phukovsky
18 kid kordene
19 symphonic ensemble
20 clover honey
These are the Breaks
1 Jurassic 5
2 craig mack
Fridays, 12-2pm
wooden horse
3 de la soul
4 dilated peopl
5 thirston howl
i still live v,
right on
6 nightmares o
7 slum village
wax feat, de la soul
keep on
i don't know
8 moka only
9 common
10 maseo
's fucking great
the light
words + verbs
July indie home jobs
green card marriage
nachine the torch
dragon style
sweet sixteen
je ne sais pas
lester bangs
the notion
heap wonder
sea hag
smiling memories
ta mere
ill of november, most of October
laundromatte queen
the orange peeler
jesus loves me
boxing day blues
talk about me
yeah we're so blah blah blah...
this is what we listened to...
dove douglas charms of the night sky s/t • masada Ave in
taipei • swans body to body, job to job • blonde redhead
melody of certain damaged lemons • skull kontrol deviate
beyond all means of capture • jesus lizard down • embrace
• rugazi red medicine • peters drury trio when old met new
• icebreaker distant early warning • some velvet sidewalk
the lowdown • kid 606 down with the scene • nomeansno
sex mad • joel phelps blackbird • melt-banana • bad brains
• the frogs bananimals • palace days in the wake
citr 101.9 fm... these are the breaks, the shake, folk oasis,
anoize, contemporary, the ether table, pirate radio, word.
«j8hL~i. jL*. SvraU ***s&a. !bz&Jc\ JLo*r -iJb xJvUA* «J-
eVMCL6bdi- AA46t£
<jJ22syv<aj^ <d- 822.30)? «c 3 io*. tuu Jl iW
The Monoxides
The Free Release
of Energy
The brand new full length from
one of Canada's heaviest rock
Available Jul* 25th, 2000
of the mix." Toronto Star ■ Dot D»
□ither          ■P^S
The Man
The deb
Blissful atmospheres. I^H
static, odd pulses.    ■
crackles, hells.           ^■BKL.
: Djs.<
buzzing, and random voices combine
create strikingly beautiful textur es.
per for
style digital deconstructiomsm with
the Grou
nd Squad. Ha
pacific perspective.- Aporia
r^r" stest ass™ rEr zz:— jr - xmkh n- ^yr
•       d©—
SO      YOU      WANT      OUR      STUFF,
FAST,       NO       SPECIAL      ORD
BUY       IT      ONLINE
E R S  ?
Z3 E^oTivgrsffi On The Dial
9:00AM-12:00PM   All of
time is measured by its art.
This show presents the most
recent new music from around
the world. Ears open.
THE       ROCKERS       SHOW
12:00-3:00PM       Reggae
inna  all  styles and  fashion.
3:00-5:00PM Reakowshit-
caught-in-yer-boots    country.
alt.   5:00-6:00PM   British
pop music from all decades.
SAINT TROPEZ  alt.   5:00-
6:00PM   International   pop
(Japanese, French, Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your
jet set holiday now!
QUEER  FM    6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver and listened to by everyone. Lots of
human interest features, background on current issues and
great music.
Geetanjali features a wide
range of music from India,
including classical music, both
Hindustani and Carnatic, popular music from Indian movies,
Ghazals, Bhajans and also
Quawwalis, etc.
THE    SHOW 10:00PM-
12:30AM Strictly Hip-Hop —
Strictly Underground — Strictly
Vinyl. With your hosts
Checkmate, Flip Out & J Swing
12:30-2:00AM Time to
wind down? Lay back in the
chill-out room. Trance, house,
and special guest DJs with
hosts Decter and Nasty.
VIBE 2:00-6:30AM
8:00AM Spanish rock, ska,
techno and alternative music—
porque no todo en esta vida es
BROWNS 8:00-11:00AM
Your favourite brown-sters,
James and Peter, offer a
savoury blend of the familiar
and exotic in a blend of aural
delights! Tune in and enjoy
each weekly brown plate spe-
lounge and ambience.
POP   SCENE   alt.    11:00-
GIRLFOOD     alt.      11:00-
SOUPE    DU   JOUR    1:00-
3:00PM      Feeling   a   little
French-impaired? Francophone
music from around the globe,
sans Celine Dion
EVIL    VS.    GOOD    4:00-
5:00PM   Who will triumph?
Hardcore/punk from beyond
the grave.
6:00PM   Join    the    sports
department to hang out with
Wener, the Freight Train and
the 24 Karat Goldman.
FIUBUSTER      alt.       6:00-
7:30PM Oppressed instru-
released from captivity!
ith your hostess
AUDIO VISUAL alt. 6:00-
7:30PM Critical theory,
debate and dialogue on art
and culture, set to a soundtrack
of breakbeat, worldbeat and
other eclectic sounds.
PIRATE RADIO alt. 7:30-
9:00PM Formerly "Love
Sucks," now at a new time.
EEP-OP-ORP alt. 7:30-
12:00AM Vancouver's
longest running prime time
jazz program. Hosted by the
ever-suave Gavin Walker.
Features at 1 1.
July 3: Master drummer Art
Blakey and his favourite edition of "The Jazz Messengers"
in concert in Lausanne.
July 10: The Bob Florence limited edition. Pianist/composer/arranger Bob Florence's
Grammy Award-winning big
band... "Serendipity."
July 17: Pianist/composer and
jazz icon Mary Lou Williams
and her most modern recording, "Zoning."
July 24: Bassist/composer
/bandleader Dave Holland
and his monster quintet "Prime
July 31: We end the month with
another great drummer: Shelly
Manne and his fabulous group
"Boss Sounds."
12:00-3:00AM   Hosted by
Trevor. It's punk rock, baby!
Gone from the charts but not
from our hearts—thank fucking
WORLD HEAT 8:00-9:30AM
9:30-11:30AM Put your
hands together for the rock 'n'
roll riot! Put your hands together for the rock 'n' roll riot! Let's
BLUE MONDAY        alt.
Vancouver's   only industrial-
electron ic-retro-goth program.
Music to schtomp to, hosted by
2:00PM Music and poetry for
4:30PM Featuring That
Feminist Collective from CiTR.
(cifUe ;«nKup
t^m immwiii
v\ \adnv » ?k\ Aamin
Leo Ramirez
end of tne
wor(<| new*
The BRpwMS
®MISS3W ess "mas SSI
Reel Music
are you
Fool's Pewetdise
mas ©Da^EM
Tne Northern With
the ether table
%KA-r% bChftiC
pop scene
the shake
pQQo f$ee f$dt*
Black Noise
li^J'SST SS3&1W33
electric avenues
Evn.vs:. e©»©
Ch.ps v,th Everything                                                                                                                                                                                                                                                                                                     ffl&flfry
/Saint Tropez
Queer FM
Var'EastSide Sounds
Hello India
r<9L» 6>ASf 9
LWc frow...
The Show
incw&^roQYes sol
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10 J
10 '
L______..-._..__________ — __ — — — — — — — — — — -. — — — — — — — _ — — — — — — J
2if jaJZj WOO 4:30 (last Tuesday of each
10,000 VOICES 5:00-
6:00PM Poetry, spoken
word, preformances, etc.
8:00PM Hardcore and punk
rock since 1989.
8:00-9:O0PM Greek radio
CIRCLES 9:00-10:00PM From
there to here, from now to then
and back again. Shiva to
shava Sense. Nonesense.
Sound to silence. Samsara.
alt. 10:00PM-12:00AM
loveden@hotma il .com
3:00AM Ambient, ethnic,
funk, pop, dance, punk, electronic, and unusual rock.
7:00-9:00AM A perfect
blend of the sublime and
absurd, with your refined and
exotic hosts Jack Velvet and
Carmen Ghia.
10:00AM Japanese music
and talk.
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local
ANOIZE 12:00-1:00PM
THE  SHAKE   1:00-2:00PM
3:00PM Zines are dead!
Long live the zine show! Sam
and Bleek present the underground press with articles from
zines from around the world.
5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat."
7:30PM Info on health and
the environment, consumption
and sustainability in the urban
context, plus the latest techno,
trance, acid and progressive
house. Hosted by M-Path.
7:30-9:00PM sleater-kinney,
low, sushi ... these are a few
of our fave-oh-writ things.
9:00PM Independent and
innovative music and noise
from an ex-host of Little Twin
BY THE WAY alt. 7:30-
9:00PM Let's give alternative
media a chance—VIVA
VINYL! 7"s new and old, local
FOLK OASIS 9:00-10:30PM
The rootsy-worldbeat-blue-
conjunto show that dares call
itself folk. And singer-songwrit-
HAR   10:30PM-12:00AM
Let DJs Jindwa and Bindv,
Bhungra! "Chakkh de phutay."
HOUR      12:00-3:00AM
REEL MUSIC 8:30-10:00AM
Soundtracks and classical.
11:30AM "Some people
don't like Pomme Fritz, but I
do. That's because self-abuse
proposals encouraged.
11:30AM-1:00PM From
Tofino to Gander, Baffin Island
to Portage La Prairie. The all-
Canadian soundtrack for your
STEVE & MIKE 1:00-
2:00PM Crashing the boys'
club in the pit. Hard and fast,
heavy and slow. Listen to it,
baby (hardcore).
2:00-3:00PM Comix comix
comix oh yeah and some
music with Robin.
6:00PM Movie reviews and
7:30PM No Birkenstocks,
nothing politically correct. We
don't get paid so you're damn
right we have fun with it.
Hosted by Chris B.
HAIR 7:30-9:00PM Roots
of rock V roll.
RADIO    HELL 9:00-
11:00PM Local muzak from
9. Live bandz from  10-11.
11:00PM-1:00 AM
6:00AM Loops, layers and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
8:00AM With DJ Goulash.
10:00AM Trawling the trash
heap of over 50 years worth
of real rock V roll debris.
10:00AM-12:00PM Email
requests to diska_l@hotmail.com.
12:00-2:00PM DJ Splice
and A.V. Shack bring you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-
lain trip, focusing on anything
with breakbeats.
Essays, poetry, social commentary, and conscious music
from a Black radical perspective. If you can't take the heat
unheard    and    unlistenable
melodies, tunes and voices.
3:30-5:00PM Please keep
on rawkin in the free world
and have a good breakfast.
Roc on, Nardwuar and
Cleopatra   Von   Flufflestein.
NOOZE & ARTS 5:00-
6:00-9:00PM David "Love"
Jones brings you the best new
and old \azz, soul, Latin,
samba, bossa & African music
from around the world.
12:00AM Hosted by DJ
Noah: techno, but also some
trance, acid, tribal, etc. Guest
DJs, interviews, retrospectives,
giveaways, and more.
SHITMIX alt 12:00-3:0OAM
The Shitmix council convenes
weekly. Chairman: Jamaal.
Correspondents: DJ Marr, the
delicious yet nutritious Erin,
D.C. Cohen, the Rev. Dr. K
Edward Johnson and Wine-
Jug Hutton.
SHOW 3:00-6:00AM
8:00AM-12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket
giveaways. 8-9AM:
African/World roots. 9AM-
12PM: Celtic music and performances.
SAREGAMA 12:00-1:00PM
3:00PM Vancouver's only
true metal show; local demo
tapes, imports and other rarities. Gerald Rattlehead and
Metal Ron do the damage.
5:00PM From backwoods
delta low-down slide to urban
harp honks, blues and blues
roots with your hosts Anna,
Jim and Paul.
6:OO-8:00PM Extraordinary
political research guaranteed
to make you think. Originally
broadcast on KFJC (Los
Angeles, CA).
SOUL TREE alt. 10:00-
1:00AM From doo-wop to
hip hop, from the electric to
the eclectic, host Michael
Ingram goes beyond the call
of gospel and takes soul music
to the nth degree.
PIPEDREAMS alt. 10:00-
TABLETURNZ alt. 1:00-
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I
free da jazz..." Out.—Guy
8:30AM Hardcore dancehall
reggae that will make your
mitochondria quake. Hosted
by Sister B.
Loud & (Xueerf
August 5th, 2ooo
OTR's annual day of queer
programming will Le broadcast
Saturday, August 5th. If you'd like to
volunteer, contribute programming, or
need more information, contact Bryce at
822.1242. Our first meeting will be
Friday, July 1th at Loo pm at CiTR.
2S®^3I@3® Datebook
FRI     JUNE 30      Ujaku@Sun     Yat-Sen     Garden;     Susana
Baca@Commodore; Ottmar Liebert, Alma Libre@Vogue; Punk Rock
Babe-O-Rama (feat. Ani Kyd, Satina Soturnina)@Cobalt; Carolyn
Mark,    Clover    Honey,    Notes    from    Underground,    Ackley
Kid@Brickyard; Low Self-Esteem G/r/@Blinding Light!!
SAT JULY 1 The Golden Wedding Band@Sugar Refinery; Francois
Houle's Electroacoustic Quartet, Jorrit Dykstra@Woom Shakti; Jonny
Lang,  Sue Foley@Orpheum; Gonzalo Rubalcaba Trio,  Omar
Sosa@Vogue; Wadada Loe Smith, Now Orchestra@the Cultch; DJ
Wax, Mo' Funk Collective@Commodore; Lee Hutzulak@Cafe Deux
Soleils; Canada Day with the Natural Born Swillers (feat. Lummox,
Lupus, The Wet Ones)@Cobalt; All Systems Go, Mr. & Mrs. Evil,
Horace Pinker@Brickyard; Low Self-Esteem G/r/@Blinding Light!!;
Conrad, Matty, Shohei, Howard Hughes@Club 23
SUN    2    Mad    Caddies,    Groovie    Ghoulies,    Grade,    the
Stotus@Grandview Legion Hall; Bruno Hubert Trio@Sugar Refinery;
The Rest@Woom Shatki; Cesaria Evora, Barbarito TorresOOrpheum;
Paul Plimley, Mark Armanini, John Oswald, Jean Derome@ Vogue;
Sharon      Riley,      Faith      Chorale@the      Cultch;      Millenium
Projecr@Performance Works; Dixie's Death Pool, Parlour Steps, Fond
of Tigers@Sugar Refinery; Heavy Metal Sunday@Brickyard; Low Self
Esteem G/r/@Blinding Light!!
MON 3 Melody Wey, Lee Hutzulak, Michael Derrick, Fond of
Tigers@Sugar Refinery; New Music Monday@Brickyard
TUES 4 New Bomb Turks, Spitfires, Hell Caminos@Brickyard; Low
Self-Esteem G/r/@Blinding Light!!
WED 5 Capozzi Park, Donkey Engine, Young and Sexy@Brickyard;
tow Self-Esteem G,r/@Blinding Light!!
THUR 6 Delta 72, Beachwood Sparks, The Sadies@Richard's; Punk
Rock Bingo@Cobalt;
FRI 7 Reverend Horton Heat, Hank Willams lll@Commodore; Delta
72@Graceland (Seattle); Autopussy,  Ted Bundy Project,  Your
Funeral@Cobalt; All State Champion, DBS@Brickyard; Red hot &
Queer Live  Fundraiser@WISE Hall;  Gravel, Just Cause,   Even
SAT 8 Evilive, Powerclown@Cobalt; The Birthday Machine, Amy's
Rocks@Ms. T's Cabaret; Blackheart Procession, Shannon Wright,
Radiogram@Brickyard;    Double    A,    Twist,    Todd    Tomorrow,
Gnosis@Club 23
TUES 25 Del Tha Funky Homosapian, Blackalicious@Richard's;
WED   26   Wilco@Commodore;   Bottom, American   Steel,   the
THUR 27 Flashlight, BFX@Brickyard
FRI 28 Mickey Hart Band@Commodore; Lorna, Motor Psychc@Anza
Club (free!)
SAT 29 Luke SolmonOSonar
SUN 30 Korn, Powerman 5000, Papa Roach@GM Place;
MON 31 And You Will Know Us By the Trail of Dead@Brickyard
SUN 9 Prince Paul@Sonar; Deadly Snakes, The Legendary Greg
Oblivian@The Pic; Saul Duck@Brickyard
MON 10 New Music Monday@Brickyard
TUES 11 All@Starfish; Phat Tuesday@Brickyard
WED 12 Legendary Pink Dots, Dead Voices on Air@Richard's;
Saddlesores, Puritans, Bel Riose@>Brickyard
THUR 13 Travis@Commodore; Indigo GirlsOOrpheum; Sector 9,
Dr. Didg@Sonar; Melody Wey, Lee Hutzulak@Sugar Refinery;
Tacklebox, Surrounded by Idiots, The Wet Ones@Brickyard; Sector 9,
Dr. Didg, Soundtribe@Sonar
FRI 14 Spy 66, Nunstalker@Cobalt; Karen Foster, Stationa, Nasty
On@Brickyard;    Strong    Like   Tractor,    Phrapp,    Time    is    the
SAT 15 Les Sexareenos, The Come-Ons@The Pic; Rotundi, Catheter,
Jeno, Laughing Dog@Cobalt; Hot Hot Heat, Red Light Skin, Bonfire
MadiganOBrickyard;  Conrad   Black,   Matty,   Shohei,   Howard
Hughs@Club 23
SUN     16    Zubot   &    Dawson@Jericho    Park;    Heavy    Metal
MON 17 Perfecto feat. Paul Oakenfold@Commodore; Archie Crisis,
Mr. Plow, Man of Death, Joel, Brandonxxx@Cobalt; New Music
TUES 18 Phat Tuesday@Brickyard
WED 19 SPM, Morning Maker@Brickyard
THUR 20 Closure, Mr. Pink@Brickyard; Ricardo Lemvo, Makina
Loca@Richard's; Freak, Liqurd@City Limits (Abbotsford)
FRI 21Facefest 2000 (feat. Wheelie, Ashtray, Motorama, Uneven
Steps, Vim Fuego, Demonskull, Shrimpmeat)@Anza Club; The Briefs,
the Girls, the New Town Animals@Brickyard; Sweet Smell of Success,
The Swimmer@Anza Club (free!); Side 67, Liqurd, Loco, KUF@Java
Joint;   Blasphemy,   Disciples   of   Power,   Thorazine,   Crown   of
SAT  22  Masada@Norman  Rothstein Theatre;   Felchers,   Star
Spangled Bastards, Seizures, Turn Offs@Brickyard; Hightower,
Bulldog, Gnosis, Todd Tomorrow@Club 23; Punchdrunk, Disciples of
Power, Thorazine, FreakOJava Joint; Loco, Human Resistance
Program, Loco, Cereal Porn@Columbia
SUN 23 Joseph Arthur@Starfish
MON   24   Virus  2000   (feat.   Ed   Rush,   Matrix,   MC   Ryme
Amsterdam Cafe 302 W. Cordova St. (Gastown) 683 7200
Anza Club 3 W. 8th Ave.  (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Astoria Hotel 769 E. Hastings St. 254 3636
Bassix 217 W. Hastings St. (at Cambie) 689 7734
Backstage Lounge   1585 Johnston  (Granville Island) 687 1354
Black Dog Video 3451 Cambie St. 873 6958
Black Sheep Books 2742 W. 4th Ave.  (at MacDonald)  732 5087
Blinding Light 36 Powell St. 878 3366
Boomtown #102-1252 Burrard (at Davie) 893 8696
The Brickyard  315 Carroll St. 685 3978
Cafe Deux Soleils 2096 Commercial  (the Drive) 254 1 195
Cambie 515 Seymour 684 7757
Caprice Theatre 965 Granville  (Granville Mall) 683 6099
Celebrities   1022 Davie St. (at Burrard) 689 3180
Cellar Jazz Cafe 361 1 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre 6265 Crescent Rd. (UBC)
CiTR Radio 101 9fM 233-61 38 SUB Blvd. (UBC) 822-3017
Club Vesuvius 1 176 Granville St. (downtown) 688 8701
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia  (at Cordova) 683 3757
Commodore Lanes 838 Granville St.   (Granville Mall) 681  1531
CNB Skate and Snow 3712 Robson St. 682 5345
Cordova Cafe 307 Cordova St. (Gastown) 683 5637
Croatian Cultural Centre 3250 Commercial Dr. (at 17th) 879 0154
Crosstown Music 518 W. Pender St. 683 8774
Denman Place Cinema   1030 Denman St.  (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carroll St. 662 3207
DV8 515 Davie St.  (downtown) 682 4388
Fifth Avenue Cinemas 21 10 Burrard   (at 5th) 734 7469
Firehall Arts Centre 80 E. Cordova  (at Main) 689 0926
F W.U.H. Beatty 552 Beatty St. (downtown) 687 7464
Frederic Wood Theatre  (UBC)
Garage Pub 2889 E. Hastings St.   (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 4124 Main St.   (Mt. Pleasant)
Hollywood Theatre  3123 W. Broadway  (Kitsilano)
Hot Jazz Society 2120 Main St.  (Mt. Pleasant)
Hush Records 221 Abbott St.
Jericho Arts Centre   1600 Discovery (Pt. Grey)
Jupiter Cafe & Billiards   1216 Bute (near Denman St)
La Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott St.   (Gastown)
Luv-A-Fair   1275 Seymour St.   (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion  7191 Granville St. (Richmond)
Moon Base Gallery 231 Carroll St. (Gastown)
Naam Restaurant 2724 W. 4th Ave. (Kitsilano)
Neptoon Records 5750 Fraser St.
Orpheum Theatre  Smithe & Seymour  (downtown)
Otis Records 1 176 Davie St.
Otis Records 1340 Davie St.
Pacific Cinematheque   1131 Howe (downtown)
Palladium   1250 Richards (downtown)
Paradise  27 Church  (New Westminster)
Paradise Cinema 919 Granville  (Granville Mall)
Park Theatre 3440 Cambie  (South Vancouver)
Piccadilly Pub 630 W. Pender  (at Seymour)
Pitt Gallery 317 W. Hastings (downtown)
Plaza Theatre  881 Granville  (Granville Mall)
Puff/Beatstreet 4326 Main (at 27th Ave.)
Puff #14-712 Robson (at Granville)
Purple Onion   15 Water St. (Gastown)
Queen Elizabeth Theatre  Hamilton & Georgia
Raffels Lounge   1221 Granville  (downtown)
822 2678
822 9364
872 5665
322 6057
738 3211
873 4131
662 7017
224 8007
606 6665
251 6626
685 7777
685 3288
608 0913
738 7151
324 1229
665 3050
669 5414
647 1161
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir St.  (at Seymour)
Richard's on Richards   1036 Richards St.  (downtown)
Ride On 2255 W. Broadway; 2-712 Robson St. (upstairs)
Ridge Cinema 3131 Arbutus St.  (at 16th)
Scrape Records 17 W. Broadway (near Main)
Scratch Records 726 Richards St.
Seylynn Hall 605 Mountain Hwy. (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Singles Going Steady 3296 Main St.  (at 17th)
Sonar 66 Water St.   (Gastown)
Starfish Room   1055 Homer St.   (downtown)
Starlight Cinema 935 Denman St.  (West End)
Station Street Arts Centre 930 Station  (off Main)
Sugar Refinery   1115 Granville St.   (downtown)
Theatre E  254 E. Hastings  (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
Tribeca  536 Seymour
Tru Valu Vintage Robson (downstairs)
Vancouver E. Cultural Centre   1895 Venables (at Victoria)
Vancouver Little Theatre 3102 Main  (Mt. Pleasant)
Vancouver Press Club  2215 Granville  (S. Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Futuristic Flavours 1020 Granville  (downtown)
Video In Studios   1965 Main  (Mt. Pleasant)
Vinyl Rekkids 76 W. Cordova (Gastown)
Vogue Theatre 918 Granville (Granville Mall)
Waterfront Theatre   1405 Anderson  (Granville Is.)
Western Front 303 E. 8th Ave (near Main)
Wert Bar 1320 Richards (downtown)
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall   1882Adanac  (the Drive)
Women In Print 3566 W. 4th  (Kitsilano)
685 5585
681 1625
687 6794
738 6311
877 1676
687 0499
291 6864
876 9233
683 6695
682 4171
689 0096
688 3312
683 2004
681 8915
988 2473
688 8385
685 5403
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
689 3326
331 7909
685 6217
876 9343
230 6278
874 4687
254 5858
July 12th, Whistler
w/DJ Graeme
July 1 3th,
w/DJ Leanne
Brought to you by:
^^™-^^        orouqni iu you ov;
Tickets at Puff, Zulu, Black Swan, Highlife, Bestsellers (Whistler),
and all Ticketmaster Outlets/Charge by Phone (604) 280-4444, or call the Streaml_ine@ (604) 904-4207 NEW
":'.....„   JURASSIC 5
GRANDADDY,   Quality
Zl II 111
JULY 1-JULY 31, 2000
The Sophtware
Slump CD
Quality Control' this July.
The JS's are on point and the peeps are Mending tor
it JURASSIC 5 pledge allegience to off the hook, old
skoot rhymes and in-harmony refrains, lovin' you
tang time. Laying the foundation is Cut Chemist, getting deep and architechin' solid beats and crusty samples from daddy's basement crates. Ready for the
infusion on the real deal?
CD 16.98
Released for North America on Flydaddy Records,
SFA's fourth full-length Mnwg (pronounced
"Moong") features an entire bonus disc of unreleased
goodies. So get ready for that long distance pnone
call from your obsessed European cousin, because
this quirky pop outfit is the toast of the UK indie-pop
scene! Sung entirely in Welsh, this enchanting collection of ballads deftly navigates through the influences
of '60s jangle-pop, 70s riff rock, and. of course, a little bit of dreamy '80s synth work. Mellowed song-
writing and nice
full length the perfect koot
2CD 16.98
Down To The
Land: 5 Years
of Bloodshot Records 2C0
America's premiere insurgent country label celebrates
its 5th year anniversary with this epic collection of
Bloodshot Records artists, their friends and their family' Join Neko Case. Alejandro Escovedo. The Sadies.
Waco Brothers, Sally Timms, Robbie Fulks, The Old
97 s. Handsome FarnSy, Whiskeytown, and others,
plus surprise contributions from Giant Sand. The
Supersuckers. Johnny Dowd, and others! Some say
Chicago is the great mid-westem ghost-town. If so,
then these drifting spirits serve up some fine haunts!
This is like buying 30 records in one! ft even comes
2CD 24.98
:e stuff from this local
If Some are fantastic,
some pure oddball. What if
these eccentric reveries where really closer to our reality than we first thought? That would be something!
Wow. Much like compatriots The Flaming Lips and
Mercury Rev, GRANDADDY are living a post-psyche
pop dream, enchanted by tales of star-sailor pilots, with
their controls jammed, drifting into obBvion. If you dig
this, then comprehend the phantasmal burned-out
story of a Captain America toner feeling down when all
the computers crash. Symphonic space rock meets
Mystery Science Theatre. Hmm, U you understand the
evolutionary history between Sun Ra, Nel Young, and
Sonic Youth then perhaps GRANDADDY is your adap-
<e pop nichei
POLE has always been about
sound itself as much as
dub music. After all, POLE'S
Stefan Betke sometimes doubles as an engineer at Berlin's
famous Oubplates & Mastering, a studio responsible lor
mastering Basic Channel's many bottom-heavy releases.
Nevertheless, BeDw is in noway merely interested in the
technical reproducibility of bass tones. There is a compelling warmth audible in Betke s recordings that'can
only come from a more persona! and perhaps profound
connection fo dub and, again, the pleasures of sound.
And this sensibility permeates this latest record - easily
Befke's best. This is highly recommended. lor fans of
dub, digital experimentation, or even of "good" music
independent of genre.
CD 16.98   2LP 24.98
Pimp To Eat CD/LP
Kool Keith, Ice T. Black Silver and Pimp Rex, all
under amusing aliases, make up this super group
responsible for ruthless and sinister hip-hop. "sizzling
in a wave of laser beams and death rays"! Nu Gruv
affiliated Ground Control Records makes this synth
infused MC battle — with plenty of Korgs, Moogs,
oscillating Roland machines to set the tone — more
than just a good game of Oroids with phat beats!
CD/LP 19.98    Available JULY 9th
CD 16.98
latest broadcast?
e efficient groove-based prog rock of
Stereolab and Tortoise, with a delicate Parisian lounge
feel approaching that of Thievery Corporation or Saint
Etlenne UK's Broadcast have finally made good on
their sonic promise! This fuMength ties together a
diverse palate of styles, sounds and production wizardry, making The Noise Made Bv People a cool and
capable candidate for Top Ten of the Year honours. This
is thoroughly modern music!
CD 16.98
The Legendary Marvin
technology are in part
response to the functional
capacity ofthe technologies they depend on. This forms
an ambiguous relationship: On the one hand, this implies
a lack of humanity — a pure tecfmotogicai imperative
and determination. On the other hand, the truth of technology is that it is ultimately social — an embodiment of
human choices, actions, and even ethics. A document of
this ambiguity, Ovalprocess is a collection of sounds
created via Markus Popp s own, and soon to be commercially available, audio-ptocessing software.
Supposedly, Pepp's intention ts to remove the centralising role of authorial direction, instead facilitating a diversified cyborg-like user/author experience. Ironically, in
the meantime OVAL'S music has never sounded better or
as challenging. Darker, more erratic, and far away from
the typical ambient template, or any OVAL copycat,
Ovalprocess' fragmented sonic art conveys the depth-
less vertigo of Bie digital sublime. A Zulu favourite.
CD 14.98   LP 14.98
Have It All CDEP/7"
Quintessential American forlorn pop.
SOLEX- Athens Ohio
CDEP/12" Matador UK gets
to the goods.
JONATHAN INC.-Waiting for Morning CD
songwriter with ties to Zubot & Dawson.
KID 606- Down With the Scene CD Post-Soccergirl work from this talented
beat programmer.
PEDRO THE LION- Progress CDEP/10" These guys are still indie.
Various- SEXY VOICES- ITALIAN MOVIE STYLE VOL. 2 CD Obscure soundtracking.
Rothko 40 Years To Find A Voice CD/LP Drifting sounds from the UK.
Various- Constant Friction: Collaborations CD The Lo Records compilation, with Stereolab.
we blow it Like the ill-fated art-prank th$
dreamed of pulling off. New York fishing
expert and all-round impresario Joan Uirle has once
again stupefied audiences, unearthing/fabricating the
genius of bohemian songwriter MARVIN PONTIAC.
Whether PONTIAC and John are one and the same person is now pure moot magic — the music is aSve. Mare
Ribot John Medeski Evan Uirie and a host of other
rag-tagged musicians join Lurie on this Beetneartesnue
tpest Into jazzed-out madness. You never know what
you'll catch when you go fishing with John.
CD 16.98
Tune Up CD
I A lith decidedly heavy dub-bass production, KUDUS
V V STARR'S sophomore release should get the bins
shaking around your house. Tune Up to these 12 spooky
songs that showcase STARR'S apt vocal performances
and song-writing verve, as well as this local artist's
maturing confidence. Dubbed "chunknop" by STARR and
crew, the grooves on this record are loose and lively, featuring stripped down arrangements of guitar and bass,
nicety nestled in a folksier trip hop vein. Recommended!
CD 14.98
LACKAUCIOUS are among the main proponents
revamping the current indie hip-hop scene. Released
on Mo' Wax, last years' Nia was a progressive blend
of beats, rhymes and life that critics and fans alike
looked to, squaring the circle between The Last Poets
Gil Scott Heron and Digable Planets. If you haven't
already become committed, here's a 3 track EP to
persuade you, featuring fellow Quannum members
Erin Anova and Lateef the Truth Speaker as guests.
It's all superlatives, and they've earned them.
CDEP 9.98
In Name And
Blood CO/ LP
DEVM don't cut teeth-
they break thi
much to these bad boys whether you champion
the "Return of Rock" hypothesis or if you side with
the "Rock never died" school. Fuck debates. Who
wants to wear the first place school ribbon anyway? MC Devils are about action You don't go to
their shows to see their clothes. MC Devils operate
in the present. Why relive the bullshit of the past?
The switchblade is their signifier. You know what
you are getting. Put your dancing shoes on... le
Name and Blood
CD 14.98    LP 12.98
it doesn't really m
SUNNY DAY REAL ESTATE- The Rising Tide LP At last- their new release.
MY MORNING JACKET- Heartbreaking Man CDEP A new European EP from these heartfelt lads.
GIANT ROBOT- Jennifer Kissed Me CDEP Finnish post-rockers, we've seen their ads in Wire.
Sound Track- The Cooler CD Caipirinha's minimal tech meshed with warm grooves.
MATRIX- Various Films CD New on Chain Reaction.
1972 W 4th Ave.
Vancouver. BC
tel 738.3232
MontoWed   10:30-7:00
d Fri 10:30-9:00
I 12:00-6:00


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