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Discorder CITR-FM (Radio station : Vancouver, B.C.) Feb 1, 1998

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  FLEX
MARK FARINA (SF)
fBg
PRESHA with
ANDY R & EUFSTS
FIVE 0 with
DONALD BLAUDF (SEA)
GRANDE with
THE RASCALZ
chameleon
URBAN LOUNGG
HOME  OF  %
MO' FUNK   _
DAVID ALVARADO (LA)
LAUNCH
2nd & 4th Thurs
TWILIEHT
Rossa & Lounge 4-8p
FRI JAN Ul & SAT til       THURSDAY FEB O
FRI FEB CB & SAT Ol
MILLENNIUM  ?? VERSION
PROJECT            If
Space jazz'n'funk to keep             *   Reggae, dub & dancehall from
you warm. Believe the hype.              Ryan Lee & co
SUCK            |f
Avi and crew pump out the
rare grooves.
THURSDAY FEB Ol
DOUBLE
six
SATURDAY FEB CD
LOVERS
MASQUERADE
MON; LATIN JA77 M____J____ htfFD- DJ SPUM-K
hUMBA CALZADA  fr>ARK PLACE IfQPBILLIN1   _
SUN: DRUM'N'BASS
Airtight      _
 C0HIH6SOON:	
SOUTH ASIAN MUSIC SHOWCASE, VELVET
Club: 683.6695
Office: 683.6527
Fax: 688.2552
Sound system by:
Visual styling by:
URBAN
801 W. GEORGIA STREET, (HOWE ST. ENTRANCE) VAN. BC
CLUB TELE. -669.0806 OFFICE AND BOOKING TELE. - 683.6527 FAX-688.2552
MON TO THURS 4 SAT 7PM - 1:30am / FRI 4PM - 1:30AM / SUN 8PM - 12AM
FREE B4 10PM WITH VALID STUDENT ID ON THURS, FRI & SAT
[SUBJECT TO CAPACITY & SPECIAL EVENTS] February 1998
Features
Manifold/Transsiberian
Laika
Helium
Neko Case
Issue 180
9
10
12
)e&rest Volenti ne
COLUMNS
February 1986
e d i t r i x : miko hoffman
art director: ken paul
ad   rep:   kevin pendergraft
product i on
manager:   tristan winch
graphic
design/Layout:
kenny, atomos
production: andrea gin,
ann goncalves, patrick gross, erin
hodge, kate hunt, cat m, megan
mallett, christa min, erin nicholson,
malcolm van deist, shane van der
meer, marlene yuen
photography/i Llus-
trations: jason da silva,
ted dave, richard folgar
contributors: barbara
a, daniel a, brady c, julie c,
bryce d, jack d, Jamie d, jason
d, greg e, sean e, noah g,
patrick g, pieter h, Joseph h,
anthony k, doug I, lisah, adam
m, chantelle m, janis mck, sara
m, nardwuar, ken p, evan s,
June s, dave t, stefan u, brian
w, jerome y
prog ramme   guide:
namiko kunimoto
charts: megan mallett
datebook: tristan
distribution:
matt steffich
us   distribution:
tristie
pub L i sher:
linda scholten
Vancouver Special
5
Interview Hell
6
SubCult.
7
Seven Inch
14
Printed Matters
15
Kinetoscope
15
Basslines
16
Real Live Action
16
Under Review
17
Charts
19
On the Dial
20
February Datebook
22
OMICS
Botched Ampallang
4
Good Tasty Comic
19
Cover
The lovely Mary Timony of
Boston's Helium graces our
February cover ... photo by Richard
Folgar, duh-sign by Kenny Paul.
© "DiSCORDER" 1 998 by the Student Radio Society of the
/ed. Cir<
e $15 US; $24
>ver postage, of
lers payable to
is February 1 lth.
_n be booked by
ity of British Columbia. All rights i
lion 17, 500.
Subscriptions, payable in advance, to Canac
$ 15 for one year, to residents of the USA c
CDF-t elsewhere. Single copies are $2 (to c
course). Please make checks or money or
DiSCORDER Magazine.
DEADLINES: Copy deadline for the March issue
Ad space is available until February 18th and <
calling Kevin at (604) 822-3017 ext. 3. Our r,
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.
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:
citrradio@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-o 138 SUB Blvd., Vancouver, BC, CANADA V6T 1Z1.
Printed In Canada*^
at the
WCQQ   LP3ra©QDaQD^_9
February I0fh«7:30 pm
Good food, great place.
Come check us out!
Stop by after class for dinner,
dessert, or something to drink.
D U L U M
ORE AT
SERVED
BREAKFASTS
SATURDAY & SUNDAY
UNTIL
_LLJtSiC_:H,
RASTA, SALAD,
COFFEE & BEVERAGE
AMATEUR  POETRY
READING CONTEST
LL ENTRANTS PUT IN A LOONIE,
WINNER TAKES ALL!
SPECIAL COFFEES &
DECADENT DESSERTS FOR THAT
SPECIAL SOMEONE!
FEBRUARY 13* close at 7 pm
AT. & SUN • FEBRUARY 14*- 15* 11 am - 3 pm
FEBRUARY 16* - 20th 8 am - 3 pm
THE PENDULUM • IN THE BASEMENT OF THE STUDENT UNION BUILDING, 6138 SUB BLVD.
E^§Sl©Gffi Sen Folds f ift
(^ahd(BaIfriWn^
A New Album Featuring 8 Studio and 8 Live Tracks.
• wwrp
umm kmmuMg tyred,*** CONCERTlistinc
BOSSANOVA
Bossanova EP
(independent)
It wasn't so many years ago that I
would hide in the back of a club
when I saw the band setting up
keyboards. (There were some exceptions, naturally, but for the most
part I just liked guitars better and
0
^>**__S2t
dreaded the appearance of those
retro-skinny-ties guys who seemed
to come along with the organs.)
Since then, of course, the world has
changed and I've been won over
by bands like the Magnetic Fields
and now, hearing Bossanova, I
can't remember what my problem
was in the first place.
This five-song EP is loaded with
big, in-your-face organ chords that
will make you smile and want to
drive around with the windows
rolled down. The vocals are deli-
ciously low-pitched and delivered
in a pleasantly morose style, a la
Stephin Merrilt and Morrissey,
with hints of Bryan Ferry and
even David Bowie I'm not sure
why these songs make me so
happy, they just do.
COPYRIGHT
Love Story
(BMG)
Yes, they're on a major label and
this CD (their second) has been reviewed everywhere else already
[including the regular review section of DiSCORDER]. I even saw
whole walls plastered with Love
Story posters when I was in Toronto
in September. So why am I writing
about it here? First of all, because
I am one of those boring old farts
who used to love Slow to distraction and Tom and Christian from
this band used to sing and play
. guitar in that band. Back in my im-
 ■—i   pressionable youth, I was cec-
i  tain thatthey'd be living the lives
\  of the 1970s Rolling Stones
••--_*._."   by now (just the glamorous, in-
• I   fluential, good parts, of course)
\  and it does still give me a bit
\   of a thrill to see anything that
\   they've done.
C*. Reviewing this CD is a
\ challenge, though, be-
* --a use it almost seems de-
iigned not to be described. It's not that loud,
barely post-punk sound
that Slow had in the distant past—which makes
sense — but it's also
not a sound that I
or define. This is a
CD that demands a
bit of attention, that
doesn't grab you
with obvious hooks
or singalongable
choruses on the first
listen but requires a
bit of familiarity,
ate and unexpectedly bitter lyrics,
or the facile rhymes that surface in
songs with the most difficult musical structures. Never mind the jazz
comparison — in a lot of ways,
this is more like reading good literary fiction. If all these songs are
autobiographical-sounding short stories, this is a collection that needs to
be read through a couple of times
before taking its place on the favourite bookshelf.
HARVEY SWITCHED
Studio Pimps EP
(Bugno)
Boy, this one's a favourite with the
male resident of my household!
Here's a crisp,.hard-rocking, five-
song CD that sometimes sounds
like a guy-fronted Veruca Salt,
sometimes like The Beastie
Boys, sometimes a little like The
Dead Kennedys, and sometimes
borders on the uncomfortably head-
■* like
erious
n clas
sical music than a
pop record. The
songs are all tricky,
somehow' The title
track, for instance,
embraces plenty of familiar pop cliches and is every bit as lovely and
irresistable as The Left Banke's
"Pretty Ballerina," but instead of lyrics about going out on dates, Tom
sings sweetly, "I'm dreaming of
your nasty mouth, and further
south." There's a twist of some sort
(and as often as not, some kind of
sociopolitical statement) in every
song here, whether it's pretty guitar arpeggios contrasted with liter-
Unlike many bands that walk the
difficult line between speedmetal
and punk, though, Harvey
Switched has a sense of fun, displaying some swirly psychedelic
pop sensibilities (in the second
song, "Borderline Insensitive") and
throwing in a hilarious CCR lick
three minutes into the (previously)
very rocking "Attack of the Candy
Stripers." A good time.*
Let It Come frown
The smashing new solo cd by James lha
All you have to do to WIN one of 5 CDs is show up at the CiTR
Business Office (233-613& SUB Blvd; 11 am-6 pm, Monday to Friday)
and be the first to answer the following skill-testing question.
What band does James lha play in?
First come, first served. CD out February 10th.
Name: Phone:_
ALLMAN
An Evening ol Southern    & PRIENDS
Suit Bines
Saturday, February 14 I ^
Vogue Cheafre I nSSTw
STARFISH R0(
J..J-L       mommy
fffifof THS HAtt
h#* -
spacemonueus
with special guests
I Richard's On Richards
February 244
Holly Cole
vogueTheat-eThird Show Added!
™ Thursday, February 26th
marcy playground
&    m of •mmm- with special guests
i ***-   ,-~^**        -
I Saturday February 28 The Starfish Room
E3SEXCANbYSEXCANDYSEXC/«NDYSEXCANDYSft(
| TICKETS AT ALL TICKETMASTER OUTLETS OR CHARGE BY PHONE @ 280-4444 |
5    E^SBSISB Radio
Inter
view
Chretien ... he's more worried about keeping Home
Depot hopping until we're left with even fewer trees
and that many more ugly houses in the suburbs. As
far as doing anything about it, in my lifetime, start
an American bank account and hold on to your
change when you slip over to the 'Peace Arch' to
buy new shoes at the factory outlet. An American
quarter saved is almost 35* Canadian earned.
When your drummer leaves, will you be
able to find a suitable 'harmony' replacement? Do you always 'recruit' members
from PEI?
My drummer has already left, which is why he
couldn't participate in this discussion. He wants to
become the Swedish John Williams so he's studying
composition in Northern Sweden. He is irreplaceable because very few drummers like to sing ... it's
something about those geeky headset mics from the
'80s ... remember Howard Jones? I tend to recruit
drummers from landlocked provinces these days.
Even PEI now has a 'fixed' concrete bridge.
What can you cook?
I can cook stir-fry (I watched Wollc with Yan when I
was a kid during a long strike at CBC). I'm also
fast with those pizza shells from Superstore. Oh,
and I do make a better latte than Starbucks.
down your throat but the two-piece grew out of
necessity. I started doing a few shows and found I
liked the way it sounded. You could go from atmospheric to electric shock in the space of 30 seconds.
Is Cathode Ray a real band?
What do you mean by that?! Of course not.
Cathode Ray came about because nobody could
pronounce my last name: Reagh (pronounced
'Ray') and most of my music is electric so I didn't
want to. be thrown into that huge void of acoustic-
guitar toting singer/songwriters ... which, of
course, is exactly what I am except that I lug
around an electric guitar and am partial to the wah-
wah pedal. I'm also notoriously difficult to work
with, which explains why bands come and go on a
monthly basis.
While growing up in the Maritimes, what
Vancouver 'indie' bands were you aware of?
When I was growing up, indie music was a relative
term. It seemed to include obscure, British post-punk
bands as well as people who were actually putting
out their own records. We kept up with what was
going on in Britain more than in Canada or
Vancouver. Unfortunately, Canadian music to us neophytes was Loverboy and Rush ... (let's not forget Nash
the Slash who shared many a turntable with Devo).
Wh
you (names,
ages, instruments
played, birthplace)? "^"-^^H
Richard Reagh, 29, guitar/vocals, Salmon Arm,
BC (grew up in Charlottetown, PEI); Jim O'Leary,
26, drums/vocals, Windsor, NFLD.
Richard, honestly, what is the deal behind
being described 'post-punk Memphis' by
The Harrisville Examiner in Harrisville,
Pennsylvania?
It's all a lie ... Harrisville exists and they may have a
newspaper called The Examiner but beyond that,
'post-punk Memphis' was an inside job. Sometimes
the 'media' has trouble getting its head around new
styles of music which is my moral justification for
making up quotes occasionally. I actually found 'post-
punk Memphis' written on a piece of paper in the
garbage. My old bassplayer was trying to come up
with a way to describe what we did. I forget what he
put in our old bio but I found 'post-punk Memphis' in
a recycling bag a few months after he left the band.
that
how was
your recent jaunt into
^^^**^" the United States of America?
Are you satisfied with the 'results?'
Did you actually get paid?
Our tour to the USA ended abruptly when I came
down with pneumonia. Being sick sucks, especially
when it's raining and you've booked some good
shows. We did get some press and I plan to re-book
ASAP. There are lots of places to play, but the border is a pain and getting paid is not always part of
the deal. Let me put it this way ... the shows that
were supposed to pay for this tour got cancelled.
What can you do in a world full of germ-bags?
Upon whom would you most like to exact
revenge? Why and how?
The only people I would exact revenge upon might
be the currency traders of the Bank of Canada who
make American dollars very expensive to buy. This
makes food and places to stay (except people's
floors) 'inflationary' indeed. But tell that to Mr.
Ask yourself TWO questions and answer
them.
Why is Cathode Ray only a two-piece band?
You ask that like there's something wrong with me
... like I'm musically challenged? Is there some
unwritten rule that bands must have bass players?
Next thing you know, you'll be telling me I need a
keyboard player or a string section. Not to jump
Discography:
Richard Reagh Half-Dozen ofthe Other 6-song CD-
EP (1993), Richard Reagh Puppet Anger cassette
(1994), Cathode Ray Cathode Ray CD (1997)
Contact info:
Cathode Ray c/o Richard Reagh, 527 East 30th
Ave., Vancouver, BC, V5V 2V7;
cothode@dowco.com, 604.874.6518.*>
Who are you (names, instruments
played)?
Belinda, guitar; Jude, guitar; Gordon,
drums and cymbals.
What the hell does your name mean?
It's awlM iM backwards.
State your purpose.
To fulfil.
Jude,  what   has  happened   to  you
between Grover Fur and the band we
now call Mi Novia?
They kicked me out. The
bass  player  ran
off with
my girl and married her, and now I do
this.
You played yer first gig in a cafe on
Davie Street. Was it difficult fitting
yer equipment into the place? Why
do you think cafe's are better to play
than bars?
Why play to a bunch rf drunken has-
beens when you can play to sober has-
beens in a cafe?
You guys use some incredible look-
ng equipment: Harmony
and    Epiphone
amps,
Gretsch drum set etc. Is there anything else left on yer want list?
A Clapper1"1.
Have you read any good books recently? Really?
No.
Sweeney Todd were a local glam rock
band circa 1775 that has gained fame
for having Bryan Adams as a member
but, really, their 1st album without him
(and with Nick Gilder) is their best. By
the way, on the second 'Todd1 album,
Bryan Adams successfully imitated
Gilder's falsetto vocal stylings. Who are
the 'Sweeney Todds1 in your life?
I don't understand the term ''Sweeney
Todd.1 lt1s not in the dictionary.
Ask yourself two questions and answer
them.
What's tke worst advice we've ever taken?
Rob Dayton's advice that jungle was a
good band. We went to the
Jungle/Copyright show the other night.
Come on, Dayton! And Slow, what happened to Expo 86?
Contact name and address:
Mi Novia c/o 1002 Oak Street,
Vancouver, BC, 604.732.6687.*
6      February 1998 WHERE IS
What* a mild winter we are-having. Funny, yet natural,
weather patterns are the common, reasonable explafta
tion ... end of story? Apparently, the cute, anthropomorphized El Nino has struck again, influencing meteorological events
around the globe — sometimes, quite drastically. So it's out of our
hands. According to this view, weather is only ambivalent and unpredictable, acting without intelligible reference and sense, following some
uninterpretable natural sequence and structuration. Weather is something above and beyond us. Its influence is one-way. We are at its
whim. This interpretation finds obscene and ridiculous representation
in the slick, cloying film Twister, for example. Granted, natural systems are vastly complex and I would stake no claim in comprehending the enormity of such phenomenon, but one thing does seem clear
and a little bit peculiar: this view uncomfortably rubs against environmental awareness, in that the latter requires at least some sense of
participatory influence and agency in respect to the former. Maybe I
am jumping to conclusions, as I am wont to do, but the past year's
"funny" weather coincides with a chilling and remarkably open discussion of global warming on the part of governments internationally,
yet this plausible connection receives no real attention. As such, do
we thank El Nino for allowing us to have more patio parties and
comfortable jogging weather, or do we recognize it as a possible
example of the drastically changing ecosystem that our modern lifestyles are helping to abuse and deplete irrevocably? That is, we could
consider El Nino's meteorological wake as a live approximation of
possible future weather patterns, as a scale model of like-type, providing the opportunity to rethink our behavior and influence, in such
I can provide no hard scientific evidence of my observation, of
course, but to me, the tepid winter here and the earlier extreme flooding in the prairies, etc., does substantiate the forewarning signs of
climactic change (of course this is happening globally, duh). Maybe
this is all just old news, for everyone knows about the environment,
and so on. But how much do we really know? To be certain, not as
much as international government, which is so obviously playing dumb
behind an extended phalanx of research scientists, and whatnot. If
you think the media and marketers are a cynical bunch, not much
beats the manipulative, absolutely calculating cooperative of science,
government and business — a more twisted and frightening association cannot be found. Bold-faced lying takes on new heights of virtuosity and daring with these chumps, as with APEC. This is how I understand the recent round of "environmental concern"- centered summits.
It is all such ludicrous posturing and rhetoric, such gross mugging for
the camera. They push the issue around, make promises and proclamations, but otherwise make sure not to upset any investors in anyway. The bottom line rules supreme, everything else is superfluous, so
fuck you.
This is not meant to just paint the age-old picture of a conspiratorial group of blameworthy, suited men, but this stereotype is not far
from fact — these days, especially. I think it is a testament to the
ideological savvy and control of such overt fraternities of profit-motivated cut-throats, that we commonly laugh off the suggestion that such
real organizations have an unduly and increasingly unrestrained influence in the shape and course of the world. These people are powerful high-rollers, their will is done. Democracy can be damned, as
well as the free market, even. Don't kid yourself otherwise, dear reader,
this is definitely some form of capitalist aristocracy. It is bad enough
when this axis of influence is mobilized behind the selling of ugly
sports shoes or unsubstantial pop music, but proliferating environmental ignorance is profoundly low and with dangerous consequences.
This transcends our pleasures, fashions and comparatively petty lifestyle politics. It involves the organic substance of our existence. How
can profit and private property be an issue here when they are so
often focused on simple, short-sighted opportunity? Yet such financially biased concerns are central to any higher order decision, grounding all options and subsequent developments. This set of priorities is
probably the only thing that "trickles down." To this extent, we have
learned little to nothing from human history.
For the most part, I believe us all to be still severely uninformed
about the environment, myself definitely included. This does not, however, absolve us of responsibility — quite the opposite. We should
collectively pursue this information more diligently — it is more than
valuable, it is obligingly necessary. Knowledge of this information
should address the smallest parts of our lives, it should coincide with
all our choices. And of course, the burden of establishing such a knowledge base and sense of responsibility should not be solely shouldered
by only you and me. This should be very available information. The
organizations of mass mis-information should be taken advantage of
to help with this plan, rather than the reverse situation of our advantage being taken for more insipid purposes. And policy changes,
ranging from new technology development to resource management,
should follow accordingly. Contrary to the narrow, dominant world
view and economic faith-system, there are undoubtedly many options
available to us. If I seem a little simplistic here, you're right. I think the
miserable fetishes for profit and property are standing in the way of
OT WHAT YOU WEAR
actually quite reasonable and basic questions. Our current social and
economic system enormously limits our options in the articulation of
environmental responsibility (and elsewhere too). The complexity of
this problem is significant, but the basic issue of our misaligned priorities is comparatively small. Our manifold potential is not being fairly
assessed, and our responsibility to the environment is being vastly
understated.
It doesn't help that the notion of the environment, and that of nature generally, is a complex abstraction. Or that environmental "education" is so easily half done and self congratulatory and, most despicable of all, catered to by superficial marketing campaigns, which
stage environmentalism as a set of discrete one-issue concerns (i.e.,
panda bears or rainforests). An easy way to begin to address such
confusion is to emphasize the holistic nature of all things' relationships within the environment. It is multifaceted and reciprocal, constantly changing and interacting in a diversity of ways. We should
take it somewhat for granted that the pace and scale of this interrelationship are often minute and slow, although also dramatically
altered by our clumsy arrogance — remember Chernobyl and fhe
Exxon Valdez. This is why I began by discussing El Nino. Not because I can scientifically substantiate a direct link here, but because of
what it might imply and convey: what can we learn from all this? The
weather is one interface with which we can all examine the consequences of our modernized presence on the earth. I still find it quite
eerie that our beautifully coloured sunsets are, in part, a result of
industrialization. Global warming otherwise developed with less spectacular displays, or at least nothing easy and blatant to indicate it
specifically. However, it's happening nonetheless. A reasonable level
of wear and tear is somewhat expected, but have we honestly made
such an effort? That it has gotten even to this far point is a moral
travesty, an example of profound mass ignorance, and subsequently,
of disgusting irresponsibility on the part of science, government and
business. Yup, everybody is a little guilty.
While I am advocating an increased sense of environmental awareness, I am not also affiliating myself unconditionally with any form of
retro-fixated and unwitting lifestyle parody, unbearable dogma subordination, doctrine of mastery, or superstitious, metaphysical delusions
of Gaia-dom. I don't think any of that stuff is really necessary in order
to be responsible to the environment (just as little as I believe you need
to be into drum and bass to be cool, contemporary, urban and fashionable, or whatever). This conceptual and practical area could be
re-enlivened, and taken over from the sickly, soft connotation it still
inspires. In fact, such trite lifestyle options in extreme form can be a
detriment to popular involvement, especially when social responsibility is concerned. However, for some reason people throw themselves
more readily info things that appear dangerous and then pretend that
their choice is apolitical; that this typical attitude is naively irresponsible hardly seems mentioning. Besides, the environment is all so much
more commonplace. Window dressing is mostly unnecessary. The seriousness of the issues just needs to be articulated clearly and honestly. Most people would be able to comprehend the fundamental
problems here and judge them fairly, if provided with adequate information and options. Although this is another complex situation that
quickly transcends our individuality (as in psychology, however conceived of), yet that relies on an individual level of engagement, in
order to progress. In fact, this leads me to remind you that environmental awareness can serve a useful conceptual purpose as well as a
practical one, helping to relieve mythical postmodern anxiety and
assist in washing away the self-absorbed quagmire of language traps
in any form. But not as in any simple description of opposition, control, hokey metaphor only, or even complex dialectic; yes, even the
dialectic can fit within the allowances of the environment, easily laying out its sequenced positions and motion.
A brief example of this model — still under work — progresses
from the these-days uncomfortable notion, that the environment is a
totalization. It provides a material unity that is sublimely imminent and
intrinsically substantive: through it, life can be. But it is not just a metaphysical other. It can be conceived as such, but only as a cognitive
relief, a form for the intellect, with all its tricks and turns (thus, metaphysics). It is actual and indifferent to the intellect in any such only
ideal sense. But it is deeply, organically compassionate, responding
endlessly to interaction. Yet it has no need to continually subsume
everything into its vastness because everything is the material of its
vastness already: it is not vast, it just is. All organic options are already laid out, all articulations and probabilities are already within it.
As such, there is no possibility for absolute departure, but multiple
options abound otherwise, giving ample exercise for consciousness
and opportunity for praxis. Each instance dynamically interrelates to
each other instance, referencing and resonating with change and
permanence at once. Therefore, it is significantly also ambivalent,
impartial even to our precious, human material death (meaningful
death is a human obligation and preoccupation only, but it loops
back into our conceived relationship with the world). But we cannot
simply turn our back on this indifference and uncertainty. The unique
mixture that accommodates our being can be easily upset, assuming
Jitiappifofiri-
ate for our accustomed, fundamental requirements. In this way, it has
a built-in moral reference for us to interact with and learn from. And
although it has reasonably long term sustenance potential within it, it
needs to be carefully and responsibly engaged with, in order to be
humanly useful and productive.
So, while it is humanly limited to the extent that it can and will
change independently of our conscious desiring being, it can still be
* successfully lived within, but only in appropriate and sensitive response
and deferral to its development and demands. This means more than
just "reading" homeostasis, still a reductive human tool, encouraging
the myth of manageability and, instead, establishing a relationship
informed by the ongoing pulse and drift of nature. This is where our
trouble starts and, sadly, ends, too: our operative ideology is too
often one of control. In short, the basic lesson is that the more we give
up — in terms of blindly selfish, usually destructive behavior — the
more it will give in return. Anyway, you get the idea: it serves conceptually as a reminder of our material, interconnected involvement into
something that is greater than any individual will, to which we owe
the very opportunity of life, fractured or not. There's a lot to creatively
take advantage of, of which this is only a meager, obvious beginning.
Back to the weather and a little doom and gloom melodrama. Of
course, we've taken this all for granted and now we must deal with
the ensuing, messy and restrictive consequences. Now we are on the
defensive. And so, I see just such a total unity coming, finally being
recognized, although I take no pleasure in announcing it. This unity is
in the air and water, playing out in the sky and land, moving into our
bodies. You have all seen it and felt it. The dark, forceful ugliness this
impending unity has assumed is all our fault. It is coming to us, surrounding us. We surely don't want if in this way. Sadly, its arrival is
long in developing. It has already been part of our lives for some
time, we were just ignorant, or most disturbingly of all, either forgivingly accustomed to its insidious presence, or convinced of its
unavoidability, if not outright necessity. I wish we could have chosen
to appreciate this unity in some other form, instead of having it arise
from us now like a terrible essence — literally, a foul stench. We might
be getting what we deserve. See you in the new millennium. Oh, and
happy new year...
kitty p.
MIGHTYMIGHTY
SOUNDS
341 ml
5% ale.
ska riddims, funk horns,
punk energy - oi!!
7    E^§£03IB__ TfOfJ
.,:  .;.'.<■■'*:'■
^     "'" ■        *
interview by stefan noodle
Se this Danny Jones guy, linn. What np with him? Well, he's a busy guy in local mnsic goings-on. er should I say, outside local music goings-on? Whn can say? It's hard to pin Danny
dnwo 'cause he's nnt operating by any common industry or systen rules to which I can compare or pigeonhole him. The varied artists (such as Thatch, Manifold, Devolver, The
Emptys) on his Transsiberian Music Company label suggest a mandate which avoids - or, rather, comments on - commercial and industry standards. He suggests releasing music
for the sake of the music. Who would have tbnnght? He's also a member of Manifold, who has released three albums over the past couple years. Their latest release, Chesterfield
Suite, is an album recorded entirely with various chairs as the sound sources. Iranssiberian's immediate future holds releases by Devolver, Manifold, and a compilation.
on transsiberian:
DiSCORDER: Does transsiberian try to support a particular genre?
Danny Jones: No. We've had reactions to it like
that. Somebody in a recent review of the Devolver
album was surprised that transsiberian would put
out something pop-oriented like that, indie rock ...
When we brought The Emptys CD to the head of
Scratch distribution, Keith, he was like, 'There might
be some people in the States who like [Manifold's]
The Chesterfield Suite and Thatch who might be a
little bit like, "Whoa, where's the label going with
this?"' I think if there's got to be some sort of
thread, it's quality. Definitely a side towards the
more bizarre, outside sort of music. That's my personal interest: weirder, more experimental stuff.
There is an element of commerce involved — we
want to sell some records, too. I mean, I'm not
gonna put anything out that I hate. Ultimately, I
have to like it if I'm gonna consider putting it out. It
doesn't necessarily have to be weird.
What was the reason for you starring up
your label? Did you see a lot of local talent that wasn't being exposed, or -was it
more personal?
It was sort of between the two. It was a vehicle for
Manifold to release our first tape — we made 60
CiTR
THANKS TO EVERYONE FOR
ANOTHER GREAT SHINDIG!
1997 SHINDIG WINNERS WERE
1 st The Salteens   2nd Verona     3rd Hounds of Buskerville
AND THE OTHER FINE BANDS
Denny's New Radio, Fume, Jesse's Girl, Sloppy, Threat from Outer Space,
Treecrusher, The Solution to the Problem, Karen Foster, Bless the Pod,
Perilous Tide from the Other Side, Williwaw, Knockin' Dog, Bossanova,
John Ford, The Spitfires, Surfin' Cowboys, Hounds of Buskerville, Run
Chico Run, Thrillseekers, Saul Duck, Vancouver Knights, All Purpose,
Emulsifier, Money Hungry Newlyweds, and Superchief.
SPECIAL THANKS to Bryce Dunn, Paul Kaneva, Megan Mallett,
Chris Walters, and Brian Wieser.
& the Starfish Room and especially the regular patrons & staff of the Railway Club.
/CJ/OLLE ^ MUSICWEST 98
Wrtar
CUSTOM DRUMS
greenhqijse
UNIVERSAL CONCERTS
[D^goQT[gIi      PRODUCTIONS
nx
ne
1998
BERLIE BOY
copies of it and we gave most of them away. It's
funny: there's this song that's been on CiTR's indie
home jobs chart that keeps recurring, [even though]
the tape came out in '95 or '96. And with the
Thatch release, it was stuff that was really valid,
entertaining music. Who else is gonna touch this?
It's so uncommercial, so unsellable. But if 60 tapes
got some sort of a response, why not CDs, start a
label, start something? And I'm well aware that
they weren't gonna sell like hotcakes. It's just for
me to put out stuff that I think is valid. I think the
compilation is gonna show a really large spectrum
of unknown stuff that is really great and wouldn't
otherwise get heard.
I think it shows that you don't have to follow a formula to be released.
Yeah, good music is the final say. It doesn't have to
be someone who's performing or anything. A band
is one thing, you can play live, etc. But if you're
just a recording artist and you're not interested in
playing live, you can just record. If the music is
good, a CD is just a format for listening to music.
Is the CD your main format?
I've thought about vinyl. I'm not against vinyl, but I
like CDs — it's a great format. Unfortunately, CD
players are
so    lousy.
on manifold:
For the albums novosibersk and
Chesterfield Suite, is there a formula for
writing music that you preconceived?
No. The first cassette and novosibersk were almost
compilation albums. We were going through hours
and hours of tape that we recorded over the years
and picked what we thought at fhe time were highlights. The Chesterfield Suite was definitely a preconceived piece, a cohesive unit. There was a
concept before we started with it. I don't think we
have a formula. We've had two different rehearsal
spaces and for awhile, we recorded in my brother's
basement. We'd just get together and improvise.
No restrictions, no set ideas. Sometimes we didn't
even play instruments. There's some really bizarre
stuff that hasn't seen the light of day. Most of the
stuff that's been released is more musical stuff.
Chesterfield Suite was just a grand realization we
had with the chairs. The next album will be really
musical, totally instrumental. Who knows what'll
happen after that.
So the next album will be composed
songs?
We've always improvised. When we play live, we
basically look back at the recordings and learn the
recordings after the fact, to play live. All the recordings have been pretty much improvised and then
edited later for continuity. We took the edited
recording and learned how to play that, to reinterpret it live. It's always different, because nobody
remembers exactly what they were doing.
Basically, every time we've played live, we've
played a completely different set. We don't play
live very often. Because we like to improvise, it's
sort of stressful to rehearse, trying to get a show
together. It becomes less interesting to learn songs
to play live. I've always wanted to go completely
cold, not rehearse or anything. Just go to the show,
set up, everybody bring what they want to bring,
and just play and see what happens. If it's a disaster, oh well; it's only a show.
When you play live, do you feel a responsibility to connect with your audience?
It's half self-indulgence and half a comment on
music —I think that's what Manifold is.
It's more a statement than it is a release?
It's vague. I don't know if I've ever had to sit down
and define it like that. There's an element of humour
that evades all of our work. Not really tongue-in-
cheek but just sort of a reflection of a lot of noise
music out there that's just harsh, harsh noise. Some
of it's interesting for a little while, but I wanted to
make a noise record that had some accessibility fo
it. The chair thing just came because there was this
chair at the jam space.
Do you have a reference point? Are you
inspired by certain composers or artists?
I love so much different music. I'm inspired by so
much stuff. Inspired by music that comes from the
heart and the mind. Music that's done truly for the
sake of the music; it's not to be a product, to come
out as a commodity. If you release music, it
becomes that, but it can be so much more than that.
It's not the package — how the CD looks, although
you can go nuts with that too — but ultimately, it's
putting the CD. on and the sounds, the music, what
hits your ears. Music is the one artform that's better
when you close your eyes.*
transsiberian discography:
manifold nexus western cassette ' thatch a
rival • devolver grand storm matinee • manifold chesterfield suite • emptys sea change
February 1998 thing]. He wouldn't even show up to rehearsals.
It kinda showed. He was still really good, but I
don't think he really understood what it meant to
play live.
Guy: That's actually the great thing about us. A lot
of the bands that we're compared to come from [a]
hip-hop/dance [background] and they've gotten
into something a little more organic. They maybe
have more interesting vocals or something, and
with us, it's much more coming from a rock background. Electronics come second.
When I heard '44 Robbers' [featured on
the Too Pure compilation, Pop: Do We Not
Like That?], it seemed so different from
other music at the time — it wasn't rock, it
wasn't techno, it was just somewhere perfectly in the middle ...
Margaret: That's kinda the concept, yeah. We
like a lot of different stuff and we generally try and
reflect that with a healthy dose of us thrown in as
well. I think that a lot of people have a very magpie, postmodern approach to music now, which
doesn't really work. It's like, they have a little bit of
this and a little bit of that ... I hope that we do it
with a little more feel. We have pretty diverse
record collections and we'd like to reflect that.
I tried to come up -with a description of
Laika for a friend, but there's really no
one to compare you to ...
Margaret: We're less concept-oriented than, say,
Portishead ...
Guy: We wouldn't want to paint ourselves into a
Have you had any luck with radio airplay? Any hits?
Margaret: Nah, no hits. It would be a nice thing
if we did. We do a lot of touring, [but] not really
high-profile tours ...
The relentless beating of the drums that is sound-
check begins to take its toll, and we rush for a
Julie: [Can you tell me] the basics? Who
you are, what you do, and why you do it.
[Margaret ... Guy ...]
Margaret: ... And, on the records, we do pretty
much everything down the middle; writing and
engineering. Live, I mostly just sing and play guitar,
sometimes a little bit of keyboards. Guy mostly
plays samples, [and] sometimes a little bit of guitar.
You're on Too Pure Records. Was that a
conscious choice?
Margaret: Well, I've always been, on every
record I've ever done ... I did one record on
Creation, but... I met Too Pure when they were just
starting and I've been working with them for almost
seven years now. We kind of started out together,
Do you do solo work as well?
Margaret: No. This is my second album with
Laika and then I did another album on Too Pure
with a band called Moonshake, back in 1992.
:alamity s
ikes with mighty force
fail and leave
And now, folks,
... the batteries ii
me with nothing of the r
chipmunked, jumbly stuff. Thanks to the keen atten-
tiveness of Margaret, however, the interview is salvaged, as I borrow batteries from good Photographer
Richard and things get back on track ...
We were talking about Tricky, were we
not?
[The bands played together about a year ago.]
Guy: I was remembering when I walked in [to the
Starfish Room] that this was where Tricky first start
ed turning all the lights out. It was the show where
he kept having problems with his sound, right, and
he was like, 'Turn the lights off!' So they turned the
lights off. And then he was like, 'Oil You, at the
bar, turn that light off!' He wanted the whole place
in pitch blackness. Ever since then, he's been doing
that for most of his shows.
I heard that you guys have a bit more of
an actual stage show.
Guy: With Tricky, it's a little bit more like him and
Martina, and a backing band. That kinda thing.
Whereas we're probably a little more ...
Margaret: ... of a band. That's the thing: our
backgrounds are more in rock bands, way back
when, whatever, ten years ago ... we just got a
bit bored with it and got more into sampling and
different types of music. I think that a lot of people that have been doing dance music feel the
same way, but they're
just bored of sampling,
of taking a DAT out
live ... They've been
interested in getting a
band together, but they
don't know how to dd
ally played in a band,
played with other people. Maybe the way
Tricky did things live ...
I mean, he wasn't that
interested in playing
live. He had somebody
else  arrange   [every-
Do you figure that, if you continue on as
you're doing right now, eventually big
things will happen?
Margaret: I sure hope so!
Guy: The potential's there ...
Your first record is no longer available in
Canada.
Guy: You've no idea how depressing it is to put a
couple of years of your life into an album and then
have it just disappear. I'm quite sad about it, but I
don't think it will happen with this [album], any-
Margaret: We'll see.
Every record we've put
out has been on a different label. This
[Beggar's Banquet] is
my third major label in
North America, and
I'm kinda getting sick
of it. It's really tedious,
and I'm hoping that
things will stabilize for
a while. It's a stumbling block for us.
People can't find the
knows    which    label
we're    on,     nobody
knows when anything's going to come out. It's all kind
of difficult ... difficult ... difficult ... DEPRESSING!
And now, as the interview nears its natural end,
some divine force chooses to end it all just a tad
earlier: my batteries died again, but this time, they
took the tape of my interview with them .
Unbelievable. I have never had worse luck with an
interview, and with such an interesting band to
boot! The gods were not smiling down on me, but
hopefully, despite mass confusion, flooding, and
other natural disasters we've all managed to learn
a little bit more about the wonders of Laika ...»
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9    E^gSsESS julie ColeRO
vs. CDaRy
TTmoRy
Frotd Helium
Julie: I am the second person to attempt
this interview; something went awry with
the first one, but we're giving this another try today. When you were here in
November with Syrup USA and Cornershop,
most people expected Helium to headline...
Mary: We were ... we played after [Cornershop],
as headliners usually do ... we were co-headlining
with them for the whole tour, yeah. We did headline that show, though ...
You played after Syrup USA and before
Cornershop ...
We did? OK, I forgot.
So you took turns on this last tour.
Yeah. Not anymore, though.
How many shows did you play with those
two bands?
With Syrup USA, we played two weeks with them,
all the way down to Arizona. We played about six
shows with Cornershop.
When you did the Vancouver show, the set
was great, but you didn't look like you
were having all that much fun. Is that just
the way you play, or were there other factors involved?
Um ... I don't know how to answer that. I'm sure I
was having fun. I guess it just didn't look like it.
You'd already played a show earlier that
day at Zulu Records ...
I think I was probably just exhausted.
It must be hard, when you're trying to
promote a new album, to be playing gigs
all over the place and doing interviews
nonstop.
It's pretty hard. That day we'd had a radio show, an
in-store, I hadn't gotten to eat, and then we had to
play the show. I was exhausted. I do remember having fun at that concert. I guess it didn't really show.
The set was amazing — the last song blew
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me away. It was a show that Vancouver
had been looking forward to for a long
time. It was neat to see so many good
bands on one bill.
It was fun to play with both bands.
How did you hook up with those bands?
Was it your record company's idea, or
your own?
No, Syrup is from Boston and they're friends of !
ours, so that's how that happened. Cornershop, I |
think, was out [on tour] at the same time and I think |
our booking agents arranged that. It was just a convenient thing to do because they were out there
and were going to be touring the same places, j
How do you feel your new CD is doing,
say, in comparison with your first one? |
Pretty much-the same ..'. it's selling a bit better. In
terms of sales, do you mean?
In terms of feedback. How has it been
received by the public?
I don't know. That's for other people to decide.
From the press, I just try to ignore everything that's
written about it. It's gotten some good reviews and
there are some people who just don't get it ... I
don't know. It's hard for me to say what it deserves
because I can't really tell if it's good or not. I don't
know what other people are going to think.
There was a long period of time
between The Dirt Of Luck and The Magic
City, so you obviously put quite a bit of
time and effort into the new album. The
creative process: does it rest mostly on
you, or on the band as a whole?
It's kinda both. This record was more of a shared
endeavour, for sure, than the one before it. Ash
[Bowie] and I co-wrote a lot of the songs.
Were you working on the Helium album
at the same rime as [Ash was working on]
the new Polvo album?
We recorded the Helium album and then two or
three weeks later, Ash had to go and do the Polvo
record. It was pretty much the same time.
Does that make things more difficult for
your band? Which band has priority?
I'm not sure. It makes our schedules slower, makes
the bands' schedules slower.
But it's worth the extra effort to keep him
in the band?
Yeah, definitely.
Now, I don't know how many other people stumbled upon you this way, but the
first rime I heard your music was when I
saw your video on Beavis and Butthead.
Did you have any say in that, or did they
just pick your video?
No, they just take it. You submit a video to MTV
and they can do whatever they want with it. So I
guess that's what happened.
On your latest album, I found a few
good examples of heavy metal riffs.
How do these fit in between all the magical, romantic bits? Are you the heavy
metal fan?
[laughter] Well, I can see what you're saying. I can
think of one guitar line that's kind of heavy metal —
what were you thinking of?
About halfway through the album, on 'The
Revolution of Hearts Parts One and Two.'
Yeah, okay, that's what I was thinking of, too.
Well, I don't know. I guess that it is kind of heavy.
I don't know what it's supposed to be. There wasn't really any intention, other than just a melody
or whatever. I guess that since I wrote the guitar
part, that was my fault.
I'm not trying to blame you for anything
horrible...
I know ... just kidding.
There seemed to me to be a big difference
between your two albums. The second
one seemed more like a concept album
than the first. Am I totally off-base?
This new one seems like more of a concept album?
Are you headed in any particular direction? Do you write each song individually,
or with a greater concept in mind?
Individually. When we're putting the record together, a lot of the songs have similar themes. I don't
know, though. This one, I guess people think it's a
concept album because of the artwork. Why would
you say it's a concept album?
There's a lot of recurring imagery. Words
like 'devil' and 'teardrops' give it a really
magical feel. It seems so other-worldly.
It's what I usually do when I'm writing the lyrics,
without knowing it. A lot of the same symbols pop
up in the songs. I guess it's just my vocabulary.
After all the songs are done, I'll be looking back at
them and I'll realize that there's a lot of similarities.
It's definitely not intended. It just happens. It's my
limited vocabulary. I'm not going to write songs
about random things. I write about similar things.
So does it upset you if people see The
Magic City as a concept album?
No, I just think it's interesting. I don't really know
what the definition of a concept album is. I guess
it's something that people sat down and decided
what it was going to be about. I guess that this is a
concept album ... I know that there are concepts
on it ... I wouldn't label it like that, but I can see
how you could think that. You can go any direction
with how you see the album. There's a lot of stuff
about going into outer space or, let's see, underground. Those are scenes that are on a lot of
Helium albums.
And that's just your way of seeing the
world ...
Yeah, I guess so. I just know that making music, to
me, is about that. It's about creating this new space,
creating this other world to be in for a while. I guess
it makes sense that the lyrics are about that, too.*
10    February 1998 Win!
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li.J.l.i..liUll.l.l.i....l.i.l.!*HH*l*l!-*IMlMII-l*-
smgmmm LET'S TALK ABOUT
HER BOYFRIENDS • MAOW • THE SADIES • THE USA
BY BRIAH WIESER
PHOTOS BY R'CHARD FOLGAR
12     February 1998 rriving in Vancouver four years ago via Virginia, Florida and Washington, Neko
Case brought immediate notoriety with her. She had already had a stint as
cub's touring drummer, where she wound up in a couple of bar-room punch-
outs in the southern United States involving unruly, misogynist patrons. In
1994, as part of the controversial ('cat-astrophic,' read the review) Shindig
battle-of-the-bands event, Neko was a drummer for the then-novice, and
eventually victorious, band Maow. Their garage-rock sounds and
humourous approach to music met with extreme love 'em or hate 'em reviews. The next
year, Maow went on to record a full-length record on Mint Records and later toured with
the Hanson Brothers. In 1997, Neko recorded and released a fantastic country record as
Neko Case and Her Boyfriends, titling it The Virginian, also on Mint. Not only was it
acclaimed for its authentic, traditional country songs, but also for the talented
performances by musicians from all across Canada, including Matt Murphy (formerly of
the Superfriendz), Carl Newman (of Zumpano and Superconductor), Rose Melberg (of Gaze
and the Softies), Brian Connelly (formerly of Shadowy Men on a Shadowy Planet) and many
others. Now, the best possible lasting impression is all a record and a live band like hers is
only going to leave.
DiSCORDER: Do you enjoy touring now as
a part of your own thing more than as a
part of a band [Maow]?
Neko: I actually prefer touring with Maow,
just because nobody's more fun than Corrina
and Toby. They're willing to do things most
human beings are not.
Like what?
I don't know, get naked, and get [a] photo
taken in a hot tub — well, it was actually a
bath tub. Just stuff like that. It sounds retarded and it's completely hard to explain, but
nobody's as much fun as the ladies. Not to
slag the guys, because they're great too ...
they're just used to being on the road, [and]
they don't get as excited as we do.
Another thing you've gained notoriety
for was Shindig. Were those the first
shows that you played with Maow?
They were some of the first shows. I think we
won because we were appallingly bad and
pretty hilarious about it. We knew we were
bad ... and we were unapologetic about it and
we had a really good time. We weren't there
to win and we didn't think we'd win. We
were just playing because we wanted to play
some shows. And then we won and people
were mad at us, most notably the editor of
DiSCORDER at the time, which made us really
mad, because we just won your contest and
now you're going to slag us in your magazine? We were a little mad about that — but
it's okay now, we don't care any more.
Maow is still together, right?
We are still together, [but] we haven't done
much lately.
Are there any plans for more [with
Maow], or are you going to see how this
[touring and supporting The Virginian]
goes?
We don't really know what we're doing.
We're not really a serious band. We play
because it's fun and we do it when we feel
like it. I can't speak for the other ladies.
So who's in your band right now?
The band is actually a band called the Sadies,
from Toronto. There's a guy named Dallas
Good who played with me on my last tour.
He's one of my best buddies in the whole
wide world. He's normally in Phonocomb and
a band called Maker's Mark and he plays
with his dad's band the Good Brothers sometimes. His brother Travis is in the band. He
usually plays with his dad's band and a guy
named Sean Dean [is] playing bass. [He] is in
a band called the Atomic 7 with Brian
Connelly from the Shadowy Men, [and]
they're going to be putting a record out
soon. Everyone should be excited about that
because you know it's going to be amazing.
And also [playing with me], a guy named
Mike Belitsky, who normally plays in the
Vees, who used to be called jale.
He's a fellow American!
Well, he's half and half, you see — he has no
problems at the border.
Did you have any problems at the border?
Because most Canadians bands complain
about problems.
I find the American side going back in to be
particularly annoying, but I never have problems getting into my own country and I never
have problems getting into Canada because I
have a visa. Rock 'n' roll is illegal, just don't
ever try to cross the border and play it. We've
had really bad experiences in Maow trying to
get over the border.
What was the worst one?
Just getting arrested ...
You got arrested?!
Oh yeah, they were going to throw us in jail.
They were going to give me a felony charge of
piracy. ^___^-
Piracy? For what?
For trying to get someone into the country to
work, even though that's not what we were
doing, and we ended up just thinking the
whole thing was so hilarious because it was
so ridiculous.
Neko the Pirate?
Yeah, I would have been in prison for five
years, apparently. I thought, 'Oh please, put
me in prison, go ahead, I'm in a rock 'n' roll
band that never makes a dime.'
The rest of your band lives in Toronto and
you live here. How does that work?
Well, it doesn't, really. I went out to Toronto
and I practiced with them for about three days
and then we played Toronto, which was
alright, and then we played Chicago, which
wasn't so good because I partied a little too
hard the night before and was out of breath
and nervous. Basically, when I get out of
school [this spring], I'm going to move to
Toronto for the rest of the year and make a
new record and be with them because that's
what I really want to do.
At the CD release show last summer, you
had two days of rehearsals?
Three days. I was so nervous at that show and
the sound was so bad, incredibly terrible. I
don't usually get nervous — I've been nervous
a couple of times singing live — and that was
one, Chicago was the other.
Had people that you know seen you
singing country music before?
No. Just singing in Maow, but it's not the
same thing.
Matt Murphy is all over the record. How
did that happen?
I met him a while ago. I was told by friends of
his that he was a really great country player
and that I should get him to play on my record,
so I phoned him and he said he would do it.
He happened to be here during the time we
were recording, so it worked out perfectly. And
he might come out and play on the show on
[March 13th] too, because we're on our way
down to South by Southwest [a music festival
in Austin, Texas]. So the Sadies are touring
west and meeting up with me in Edmonton
and we're going south from there [and] hopefully Matt will be with us. He's undecided as
yet, but I hope he wants to come.
He played as part of your backing band in
Halifax, didn't he?
He did. That was one of the funnest shows I've
ever played in my life. It was kind of a mess,
but it wasn't, because we had three days'
rehearsal, again. But there were points on
stage where Matt would be laughing so hard
that he would collapse to the ground. It was a
really good time. Matt's one of those people I
really enjoy performing with because he really,
really enjoys it and you feel so accompanied
on stage and you really feel lik_ you're playing
with someone else. I know that sounds ridiculous, but sometimes you feel like you're all by
CBC and college radio have done everything
possible for the record, which I can't thank
them enough for. Country and western radio
stations refuse to play my record, which
makes me incredibly furious.
Why do you think this music will not get
played [on commercial country radio]?
Because they don't have the balls to play actual country music on country radio. 'Junior' [JR]
Country in Vancouver and CISS-FM in Toronto
just refuse to play it and they give me real bullshit answers about why they won't, too. The
Americana stations in America love it. It's nice
that they'll play it down there. I don't know if
it'll do better down there than here or not. I
don't think we could possibly do any better in
Canada and it makes me feel good because
I've spent the last four years of my life here
and I don't want to leave. The fact that people
enjoy it makes it all that much harder to leave,
but I don't really have a choice because my
visa's going to run out.
You sing and drum at the same time,
right?
I do. [It's] something that took me years to
learn. I know I will never master it.
yourself on stage. He has a very commanding
personality and it's really fun to play with him.
You mentioned you're playing SXSW and
you played CMJ and other events last
year. How's it being received in the
States?
It was received really well in the States. I
ended up getting a licensing deal with a label
called Bloodshot in Chicago and then when I
played Chicago, I ended up getting a really
good booking agent and possibly some management, so it's been going good in the
States. We've been getting really good
reviews. It's going to be released there in
February and then we'll be touring there all
year, probably.
Is there any commercial radio station that
will touch this?
Did you ever consider drumming as a part
of the country music that you're playing?
No, I'm far too poor of a drummer to be
wrecking the music.of my current band.
Modest, too!
No, I'm not a very good drummer. I can't say
that I'm a horrible drummer because I like it.
Hopefully I make it look like I'm having a good
time, because I am. It's the funnest thing in
the world, but I'm no Sheila E.
If you were Sheila E, who would be
Vancouver's Prince?
That's hard to say. Probably Kleinz from Sister
Lovers  and  Jungle.   I   think   he's  already
Vancouver's Prince whether I'm Sheila E or not.*
Neko Case and Her Boyfriends play the
Starfish Room with the Sadies on March 13th.
13 im&uimsL by The Invisible Claire
Free To Fight a
the
71
'he following excerpts were culled from
the Marquise De La Claire's extensive,
personal correspondence.
"Would the anthropologists in the
audience please stand up? You
gentlemen — and ladies — might
be amused by the Golding Institute's satirical take on your favourite pastime: eavesdropping for
scholarly purposes. Sounds Of
The San Francisco Adult Book-
of field recordings deemed exotic
enough to merit the inclusion of
a complimentary Kleenex and a
warning label. Tape recorder in
hand and intent coiled firmly
around the staff of knowledge,
daring ethnographer and narrator Ryan Kerr pursues cultural insight in America's jungles of vice
and deserts of virtue. What Mr.
Kerr finds there is not for me
) disclose — let he who is -
truly motivated by scholarly interest listen for
himself. (Planet Pimp
Records, 45-1800
Market St., San Francisco, CA, 94102)
about art anymore?
Everywhere I look,
people are shrugging
off the responsibility of
authorship by claiming
their taskmistress
and Deconstruction as their de
sign. Music sung in praise of the
majesty of Creation seems a thing
of the past and in its place, we
are given the pseudonymous
fumblings of upstarts and self-
styled revolutionaries. Why, as
we speak, oriental bandits
ZENI GEVA have pillaged the
works of AC/DC and are trotting out their own smirking rendition of 'Let There Be Rock.'
As if this indignity were not
enough, they are supported by
PALACE CONTRIBUTION,
whose phoney-tender version
of 'Big Balls' destroys the
song's former dignity. Whatever commentary these brigands hope to produce could,
this writer feels, be found by
more honourable methods
than the ransacking of tradition.
(Skin Graft, PO Box 257546,
Chicago, IL, 60625)
"How ambitious the young ladies are these days! During my
happy years at school, we considered it a full term if we managed to sneak in a few games of
cards between Elocution lessons.
The delicate creatures behind
e so dedicated to
against women that they have
initiated a series of educational
7" records with which to
strengthen and inspire the female
sex. Now, whereas the Free To
Fight interactive CD project of
yore concentrated on violence
perpetrated by men, this first 7"
and the 1 1-page booklet it comes
with have as their focus violence
between women. The world-famous SLEATER-KINNEY provides one very exciting song, but
I fear its presence may overshadow the dashing CYPHER
IN THE SNOW. I advocate Cy
pher's 'Blame The Victim' because it more diredfy addresses the
issue at hand. (Candyass, PO Box
42382, Portland, OR, 97242)
"Longhairs and gamines
stake out their respective territories on the bloodied battlefield of
garage fetishism on this, the third
volume of Misty Lane's Teen
Scene anthology. The unshaven
GNOSTICS play their distorted
tremolo-pop in a key and a tempo
equally suited to 33 and 45 rpms.
THE POLYESTER EXPLOSION
demonstrate admirable poise and
ability in the manufacture of instrumental surf music.
KNURLINGS, the first of the
roundhead contingent, enjoy
themselves thoroughly on 'We've
Been Repaired' but suffer from a
catarrhic vocalist. And, finally, the
loopy POLARIS impressed me
with their exceptional take on this
overdone genre. (Misty Lane, 107-
197 Redpath Ave., Toronto, ON)
"One would think, that, in
this enlightened age, a young
man needn't make excuses for
displaying his less aggressive
side. After all, there is no
shame in behaving like a mature adult rather than a sullen
toddler. Nonetheless, Matty,
one half of the MATTY &
MAX acoustic pairing, insists
upon making light of his digression from the path of 'punk
rock' —whatever that may be.
Between songs, Matty appeases a rowdy audience with
the assurance that he is still a
bad boy and that his songs
remain, even without amplification, about 'getting loaded
and fucking bitches.' Maxwell
Carlton seems less torn between ascribed allegiances
than his friend and lingers
guiltlessly over his country-ish
ballad. (Probe, PO Box 5068
Pleasanton, CA, 94566)
"Finland is, at least among
neighbouring kingd<
ready the butt' of many
jokes and I would be
loathe to add myself
to the list of taunt-
ers;       howeve
when   a   nat
Finn attempts
speak or sing
English, there:
e English harpies Fluffy, fortunately sound
more like a Lawrence Welk
tempt at rockabilly. Adorable!
The Bimboos' male coi
parts, THE ORIGINAL
JEFFREY JAMES QUARTET,
follow a similar musical route
How amusing, those Finns
(Trashcan, 22 Meig St.
Rochester, NY, 14607)
"The perennially paired
BUNNYGRUNT and
TULLYCRAFT have already
won the hearts of many in the
saccharine scene. I fear I am
not a convert, although I can
appreciate the off-key allure of
such sweet pop songs as
Bunnygrunt's 'No Name Slob.'
Tullycraft, on the other hand,
despite the strong echoes of an
early Velvet Underground,
make me feel vaguely uncomfortable. Cursed happy people!"
(KittyBoo, PO 155043, Irving,
TX,    75015-
5043)«
th
ing  ace
charmi      ^^^^^
laughter is impossible to suppress. The
Finnish girls in   THEE
ULTRA BIMBOOS (yes,
two "o's), although di
February 1998 -ends :
nfas-
KEVIN CANTY
Into The Great Wide Open
(Vintage)
GU XIONG
The Yellow Pear
(Arsenal     Pulp    Press/
Burnaby Art Gallery)
A   N   N   -   M  A   R   I   E
MACDONALD
Fall on Your Knees
(Vintage)
CARMEN RODRIGUEZ
And a Body to Remember
With
(Arsenal Pulp Press)
February is both a month wherein
we celebrate love — St. Valentine's Day — as well as being
reputed as the coldest month in
the year in the northern hemisphere. Thus, it's the perfect time
to talk about families.
Kevin Canty's Into the
Great Wide Open is quintessential^ a story of first love. Instead
of a Wonder Years repeat or
base titillation, it examines the
'80s-protagonist, Kenny, as he
escapes from scholastic failure
and family drama through pot-
smoking, heavy drinking, and
real or imagined sex. Nothing
atypical there, save his father's
an alcoholic and his mother's an
institutionalized schizophrenic.
His paramour, Junie, is a depressed and misunderstood
young artist. Again, nothing odd
there. Difference is, she has the
label of school lesbian etched on
her permanent record and she is
actually talented. Fantasy-laden
beginnings launch an expedition
in to the vagaries of sexuality,
possibility and reality. Canty
switches viewpoints to provide
the reader with the fullest understanding of his characters' environment, with third-person omniscient asides to highlight the worst
errors. So doing, he evades the
abyss of mediocre melodrama
and shows a wisened understanding of society, which
granted Into the Great Wide
Open the honour of New York
Times Notable Book of the Year.
Ann-Marie Macdonalds
Fall on Your Knees relates the tale
of a Cape Breton family over four
generations as recounted by its
members. The sense of period detail is immaculate, with prejudices
and problems appearing without
rationalization or critical justification. Deeds, their methodology,
and their consequences are revealed gradually to evince the
truly damnable nature of their
progenitors — murderers finally
aware of their guilt. Revenge and
recrimination are abetted by the
lies each member of the family
tells themselves. Hints to the burial
plots are given, which the reluctant reader will deny until the
evidence is overtly declared and
the crime admitted. Macdonald's
careful and compelling prose
mplistic hu
cination for the grotesque. Events
are revealed to characters from
memories intentionally long-forgotten and the mysteries concerning the family's demise are revealed as the leaves enshrouding
the family tree are blown away
by truth.
In her collection of short stories, And a Body to Remember
With, Carmen Rodriguez examines how families, friends, and
individuals coped with the dislo-
is expressed by the exiled, those
who remained, the tortured, and
those who returned. Rodriguez
makes the unpalatable evocative
by her honest portrayal of loss,
whether of faith, loved ones, or
homeland. This is definitely a
must for those who want to understand the loss of national identity through tyranny. You might
also be interested in Nunca Mas:
A Report by Argentina's National
Commission on Disappeared
People, published in English by
Faber and Faber.
Another work that considers
disconnection from society isGu
Xiong's The Yellow Pear, a series of short passages set beside
his own drawings. These act as
a chronological travelogue of his
family's acclimatisation to Canadian culture after having emigrated from China. Deprivations
suffered both in China and after
ving t
icda c
trasted with Xiong'
dition, illuminating the gradual
process of adaptation to a frighten i ng ly different society.
Throughout the work, however,
there is the expression of hope
which is best illustrated through
his own art: these pieces remove everyday objects and
place them within the context of
divergence. Xiong's short missives are almost postcards that
ponder transition and are a
true, modernised retelling of
Montesquieu's Lettres Persanes.'
eating repercussions of the
Pinochet regime. Frank yet poetic,
this self-translated work — also
published in Spanish by a Chilean company — conveys both
the exquisite lyricism of the Spanish language and the otherwise
indescribable horrors of the military dictatorship. Disconnection,
both abhorred as well as desired,
Bela Tarr retrospective
The Pacific Cinematheque
March, 1997
One of the truly great directors working today, Hungary's Bela Tarr finally got
some slightly more widespread attention in 1996-
1997 when a retrospective
of a good portion of his
work toured Europe and
North America. The show
pulled into town for a couple of weeks at the
Cinematheque, giving Vancouver audiences their first
taste of Tarr's masterful work
(to my knowledge). Earlier
works, such as Almanac of
the Fall, were impressive but
showed Tarr to be a director still searching for a filmic
language. Almanac of the
Fall has a certain derivative
quality to it, bringing to
mind some of Fassbinder's
chamber melodramas,
strangely enough.
Later works, such as Dam
nation and Satantango (Tarr's
magnum opus), reveal a director at the height of his powers, controlling the tempo and
the mise-en-scene of his films
in a way reminiscent of
Dreyer. Much of the appeal
of these films comes from
watching Tarr's hyper-realist
narratives unfold — at an incremental pace. Although
Tarr's fascination with the
most banal elements of his
characters' lives has a way
of giving one the impression
that these films are "plotless,"
inevitably these films contain
a singular moment which
brings everything into focus,
which transforms loose, seemingly rambling, narratives into
complex, highly-structured
wholes — wholes which nonetheless possess a rarely-paralleled "naturalness" to them.
The results can hit you like an
epiphany.
THE SWEET HEREAFTER
Dir. Atom Egoyan
I have to admit that after Exotica I was worried. The film's
"crossover" success (art-house
and mainstream/Canadian
and American) and America's titillation with its sexual
desires and obsessions had
me thinking that Mr. Egoyan
would be steered into becoming the new Verhoeven.
Talk that Egoyan had been
"snatched up by the majors"
had me imagining films that
were bigger, splashier, more
"postmodern," more spectacular, "sexier." Wisely,
Egoyan instead opted to
make a film that is "smaller,"
more intimate, more understated. The results are impressive: Egoyan's film is rich and
moving (for instance, his use
of "the Pied-Piper of Bremen"
creates resonances both
poignant and chilling throughout much ofthe film).
Seen within Egoyan's
larger body of work, so that
its intertextuality is given full
sway, the film sends shivers:
for instance, Bruce Greenwood's transformation from
his role in Exotica to his role
here is fascinating; the characters couldn't be any further
apart, but somehow the fact
that they're both widowers
and grieving fathers keeps
them strangely, disconcertingly, inseparable. My only
serious gripe: both of the
scenes where the lawyer
was confronted by his estranged daughter via
cellphone —although obviously vital to the overall narrative — had a falseness to
them that was nearly made-
for-TV-movie-esque»
/ CONFESS
Dir. Alfred Hitchcock
LE CONFESSIONAL
Dir. Robert Lepage
The Pacific Cinematheque
August, 1997
One of the best double-features I've ever seen. Although
it is hardly necessary to know
Hitchcock's / Confess (which
might be a lesser-known
work, but is nonetheless excellent) in order to "fully ap
preciate" ie Confessional,
familiarity with / Confess
gives one an even greater
understanding of ie Confessional's narrative structure
and somehow makes the latter an even more impressive
film. Believe me.»
A. Nalpas
15   ®[Rg£__E____ realhveaction
MXPX
BRACKET
RESET
Saturday, November 29,
1997
Starfish Room
This is supposed to be a review of
the MxPx/Bracket/Reset
show at the Starfish Room. However,
due to some meathead, it is not.
I love Bracket" They are easily
one of my favourite bands. I was
unable to see them the first time
they played Vancouver because I
was too young. I have waited a
long, long time to see them live.
They started out awesome.
They had a tonne of energy and
were flowing along quite well.
While their albums offer a generous portion of mellow mixed in with
the fast, ttieir live set seemed to
focus on the fast end of the spectrum. They were playing well. I was
enjoying myself. Others seemed to
be enjoying themselves, too. What
the fuck happened?
About four or five songs in,
some loser hurled a pint glass at
the stage. The glass bounced off a
light fixture, shattered, and
whacked the singer right on the top
of his head. Naturally, he stopped
playing and walked off the stage.
The rest of the band packed it in
and walked off as well. I don't
blame them. To make matters
worse, people started heckling
Bracket. What the fuck? People
are stupid.
Shit like this does nothing to
attract bands to Vancouver. Stand
up for your scene. Next time you
see something like this, do something. Assault charges are hard to
pin on a nameless face in the
I was shocked when Bracket
came out and played a song in
the middle of MxPx's set. The audience was treated to a Bracket/
MxPx/SNFU hybridized version
of "2RAK005." I wouldn't have
done it. I guess they have more
class than me.
Dave Tolnai
HARD RUBBER ORCHESTRA
Tuesday, December 9, 1997
Vancouver East Cultural
Centre
Aaah, a blustery night consisting
of Commercial Drive 93 cent pizza
and the mind-expansive sound of
the contemporary jazz band, The
Hard Rubber Orchestra. Both
are contradictions within themselves, yet so complementary to
each other. The two events were
complete mosaics of flavour worthy ofthe finest connoisseurs of their
intended audience. Fortunately, I
will speak on the latter of the two '
(though there was a spinach, feta
and sun-dried tomato slice I must
mention).
As we sat down, our conversation was distracted by S'mother,
the pre-show to the Hard Rubber
Orchestra. This was a threepiece
ambient music display consisting
of a DJ, a drummer, a fidgeting
guitarist and various oscillating
devices. Quite a treat for the au-
Then the musical behemoth
known as The Hard Rubber Orchestra arrived on stage. They began with their arrangement of animated, rhythmic fireworks, purposefully mistimed horn lines, swirling drum patterns, and an energy
that bombarded your understanding of formulated musical structure.
Contemporary jazz warms the soul
and this ensemble of well-known
Vancouver talent does it well. Under the leadership of conductor/
composer/trumpeter     John
Korsrud, this 17-piece ball of
musical destruction dares to dance
through the unexpected, tearing at
the relatively simplistic and immature
music our culture finds security in.
After the first intermission, three
films were shown by Montreal filmmaker Jean Pkhe. Unfortunately,
I was under the impression that the
band was going to be playing
while the visual display was going
on. Granted, the films were very
good, but I was in the mindset (simply put) to hear things, not see
things. Thus I was quite antsy when
the third film began to play and I
could detect that others in the audience felt the same way. It's kind
of difficult to make such a transition when you have just been engrossed in an interactive activity as
intense as the Hard Rubber Orchestra. And they are very interactive,
indeed; they toy with you, they play
with those emotions welded in your
ears. And within a couple of hours,
The Hard Rubber Orchestra takes
these aural emotions, grabs them,
squishes them like silly putty, lights
them on fire and laughs at them.
Then they put them back as tidy as
they were found and sends you
with a swift pat on the back, back
into the cold December rain.
Cookie Flashboy 2
GLOVE AND SPECIAL SAUCE
Saturday, December  13,
1997
Starfish Room
The Starfish Room on Saturday the
13th was loud and fast and accelerating. And it was coming from
just one guy. And he only had one
acoustic guitar and a couple of
power chords. But the guy was big
and bald. And he was telling stories too. And the stories were accelerating fast. In fact, they were
accelerating exactly as fast as the
music. And you could tell that the
guy was serious, even about his
silly stories. And so the crowd surrounded Hamell on Trial with
open mouth, while the man spoke,
informed, asserted, ranted and
howled in mesmerizing crescen-
dos. And they watched him even
while he quit talking and simply
played as long and as loud and
as fast as he wanted. And they
wouid all breath a sigh of relief and
applaud.
I will never forget the story of
how Hamell got belted by John
Lennon because Hamell is a fabulous storyteller with a good ear for
audience anticipation and he gets
really worked up.
G-Love and Special
Sauce? Well let's just say that G-
Love is one slick cat, with a pretty
slick posse (he's got Iwo identical
backup singers that Robert Plant "
would be proud of). Predictably,
the show was never quite funky,
but always groovy and certainly
not a disappointment for the sold
out crowd.
Sara Minogue
PORTISHEAD
DJ ANDY SMITH
Saturday, December 13,
1997
Rage
To me, Portishead music has always been ideal background filler.
Their first album, Dummy, was always on high rotation whether it
be for study accompaniment, mellow mood evenings or as cafe fill-
in beats for those uncomfortable
silences. But in all that time I never
once actually sat down with the
sole purpose of listening to the Bristol-based band.
The support act that greeted my
arrival was the first shock that I
suffered. It was DJ Andy Smith
who was busy scratching funky
beats, slip-cuing his pleasures
away in front of a wide-eyed audience. It is only when you watch
someone perform their musical talents that you can fully appreciate
them and that night, the DJ sounds
which I've often dismissed as lacklustre indifference suddenly took on
a whole new form. My enjoyment
was only dampened by worrying
about the similarity between this
and Portishead — an incredibly
naive thought in retrospect.
It was only after Portishead
launched into their set that the
pieces started to come together.
One, and sometimes two, record
scratchers added the unique
sound to the live drummer, guitarist, bass/double bassist,
keyboardist and vocalist — an
element which is so easily overlooked when indulging in the
Portishead aural experience. It
simply amazed me how the individual sounds combined to
form the songs that had become
so familiar. It was a pure live
experience.
The music made the show and
the show will make their music
for me in the future. Absolutely
phenomenal!
Daniel Abrahams
basslines
o
by dj noah (djnoah@direct.ca)
i .	
e
Usually, when you think of
ambient electronic mu
sic, names like Future
Sounds Of London, The
Orb, Tangerine Dream, and
even Brian Eno, come to mind.
Another artist, perhaps less well
known here in Vancouver, is
STEVE ROACH. Originally
born in San Diego, he has since
moved to Los Angeles and now
resides in Tucson, Arizona. He
has been recording and performing electronic soundscapes
for over 20 years and has
gained many new fans with the
release of On This Planet, his
latest full-length release. The following is part of an on-air interview between myself and Steve,
which aired live on CiTR, November 28th, 1997.
Noah: Even though your
first instrument was a synthesizer, you don't limit
yourself to electronic gear,
do you?
Steve: I really find that particular instruments, such as the did-
16    February 1998
geridoo, can bring another
powerful and emotional aspect
fo the music, whereas I think
electronic-based music can be,
sometimes, pretty emotionless.
While that can be good, I like
to be able to crossover and create this sort of hybrid sound using both real and electronic instruments.
Do you prefer to use certain instruments as is, and
others you channel
through effects processors?
To me, the didge played dry is
not a sound that I am drawn to.
I am always running it through
the Lexicon reverb and creating
a 'big screen' image. It's much
more powerful when, for example, it has a long reverb time
and you're playing the harmonics and it's ringing out on this
large scale. I'm also constantly
creating new loops on stage
which sometimes lead to this
'400 mile wide sound' that just
envelopes you.
Because of the amount of
gear you use, do you
spend more time in the
studio rather than playing live?
I love playing live, but it is a lot
of work. I have a fairly compact
system now, that I can travel
with, and it makes me feel more
liberated than ever — as far as
not having to drag around the
old analog and moog stuff. I
don't want to be a robot just
playing back a lot of presets and
stuff, so the gear I travel with
allows me to have spontaneous
control over the sound.
Does religion play a part
in your music and/or in
your life?
Well, let's just say that I have
my own path that doesnt subscribe to any particular religion.
There's a feeling that I have always felt connected to since I
first became conscious of the
ability to be a creative person.
Why is your studio called
The Timeroom?
It's like my sanctuary where I can
feel completely safe and it's
tuned to the kind of zone that I
want to be in when I'm working
with the tools. When I'm in that
zone, there's quite often this feeling of suspended time where I
feel like I walked in the room
20 years ago and just came out
today, or I walked in two minutes ago and I've come out 20
years from now. I just feel like
when I'm in the creative process, that I'm slip-sliding around
in time and I don't know where
I'm going to end up.
Is there a method
to the
-writing of
your pieces?
It isn't
freeform
but it isn'
another road or you do a u-turn
and the entire song changes.
You used to do mountain
biking and motocross.
How does electronic music fit in with such adrenaline-filled sports?
Well, I haven't done motocross
for several years now, but they
would feed my soul and keep
me healthy. At the same time,
the state of mind that I arrive at
through the biking or some type
of adrenaline-based activity has
a very similar quality to the state
I achieve through my music. Being in the zone, so to speak,
where time seems to slow down
or speed up, and certain awarenesses become focused and really present and clear. The com
mon ground is that sports, drugs,
alcohol, or music can all bring
the 'addict' to that state of mind
that they crave, they just do it
by different means. • under
review
ANIMALS ON WHEELS
Designs And Mistakes
(Ninja Tune)
Right from the opening lines of
"Good evening ladies and gentlemen," you know this is a phenomenal album. Mind you, what else
could be expected from the likes
of the Ninja Tune clan? Designs
And Mistakes is an album of quirky
drum beats laid over lusciously organic ambience and nifty'horn
samples. The album is less a collection of songs than it is a concept. The jazzy drum 'n' bass lines
in "Toasted Bot Bop" ferry the
groove straight into the more laid-
back "Soluble Ducks" without creating a break between the two
tracks. Similar transitions are found
throughout the album and make for
smooth sailing between the beginning and the end of this ocean of
sound. Drum 'n' bass fans beware:
once you've heard this album, you
may never go back to anything you
listened to before. It's that good.
Patrick Gross
BIOSPHERE
Substrata
(Thirsty Ear)
My position on Geir Jenssen's latest release as Biosphere may
have been influenced somewhat by
its mountainous packaging and
Norwegian origins, but I remain
firmly convinced that this recording
is intended to acoustically simulate
the sensation of freezing to death.
Though perhaps not in order,
all the stages are presented: tin-
delerium, the peaceful slowing
down of the pulse, and an overwhelming awareness of the minutiae of sounds present in the gla-
marimbae mimic the lingering drip
of cavernous icicles — or perhaps
the sole surviving member of a
Gamelan ensemble struggling to
finish the performance before he
joins his inanimate comrades.
"Sphere Of No-Form" is, to me,
the sound of glaciers sliding over
land, destroying and recreating the
shape of a continent.
I could end this review with a
stupid pun about "chill-out music,"
but I will not.
Barbara Andersen
BRAND NEW UNIT
Diddley Squat
(Creative Man)
Diddley Squafs cover suits its music, with its immense colour and
energy. It's easy to get carried
away with BNU's fast tempo, energetic punk. You can't prevent
yourself from humming along every
now and then because even if you
haven't heard the album much, it's
instantly catchy and familiar
sounding. This is definitely the CD
to drum your hands to.
Song number two, "Deep
Freeze," begins with a double intro
style hit in the face — I got drawn
in, and drawn in fast, with this one.
I love the beginning of song five,
"Asshole, Stereo Control Freak,"
with its rhythmic guitar followed by
a drum introduction in a tight
I really liked this CD and want
others to support BNU because
they deserve the praise, after all
... just don't have sugar before listening to Diddley Squat.
CONGO NORVELL
Abnormals Anonymous
(Jetset)
Damn! It's been a while (their last
release was 1994's Songs to Remember Him By), but this is yet
another fine release from Congo
Norvell Kid Congo Powers, Sally
Norvell, and Jim Sclavunos (ex-
Teenage Jesus and the Jerks,
and a some time Bad Seed) are
still at the core of this outing, but
they've surrounded themselves with
a somewhat expanded line-up
tation) and they've even got a "celebrity guest-star," Mark Eitzel,
collaborating with them on a few
cuts. The album seems to be a tribute to the memory of Jeffrey Lee
Pierce (of Gun Club and Jeffrey
Lee Pierce fame) in part, as the album opens up with a lovely cover
of Pierce's "She's Like Heroin To
Me" and a later cut — "Body and
Soul" — is listed as "for J.L. Pierce."
Otherwise, Congo Norvell is
still specializing in a kind of neo-
cabaret style that can be eerie, atmospheric, lurid, erotic and
(melo)dramatic. "Johnny in the Boudoir" focuses on lust/murder/
blood in a way fhat calls to mind
Nick Cave except that Congo
Norvell's sensibility is decidedly
more melodramatic, even Sirkian
— fittingly, explicit reference is
made to Imitation of Life. "Candy"
finds Sally Norvell at her most
erotic, inviting a lover to taste her
"salty" nether-regions, in a way that
recalls Raarisian erotica of 1950s
(say, Trocchi's White Thighs).
"Brother Jack" is a showcase of Kid
Congo Powers' formidable guitar
prowess amongst showcases. Finally, the album finishes up on a
perfect note with one of the gang
("Dr. Zhivago") playing a rousing
accordion number (reinforcing that
cabaret/bistro feel of theirs) that
stutters, stops, and then explodes
into fits of drunken laughter.
Joe Bloggs
FIELDS OF CLOVER #2 zine
(halfsize, 52 pp.)
The Lower Mainland is tingling with
lots of zines and writers but unfortunately, their stuff is poorly distributed, overlooked or lost in piles of,
well ... zines. Also, zines aren't
being read or taken as seriously
as they were about two or three
years ago. I happened to find this
issue of Fields of Clover buried in
the boxes at Washout Records.
Stefan, the writer of this particular zine, has written a lot in this
issue. His writing tends towards the
personal/political axis of composition and it is truly honest and engaging, often resulting in multiple
pages of thoughts on any topic in
particular. Sure, Stefan shares his
views on typical zine topics (vegetarianism, capitalism, depression,
etc.) in that all too familiar "rant"
style, but he steps passed these
boundaries when he covers some
unfamiliar ground and goes in
depth. Plus, it contains some interesting thoughts on daily life lhat we
generally overlook. I can see.good
things coming from Fields of Clover in the future. (Send a buck to
Stefan at Willowbrook Postal Outlet, 19705 Fraser Highway, POBox
93009, Langley, BC, V3A 8H2.)
Jack D.
GOLDEN LAKE DINER
Letters Home
(Sonic Unyon)
Golden Lake Diner display a
pretty generic form of "indie rock,"
judging from this CD. The album
is released on Sonic Unyon
Records out of Hamilton, Ontario.
The music resembles that of Ottawa's Wooden Stars, but I was
disappointed with their vocals, as
they're far too inanimate. The guitar playing, on the other hand, is
very interesting and unique... maybe
the guitarist should start another band
or, if he sings... stop singing. It's not
bad, but not good either.
Gretel
HARMONIA 76
Tracks & Traces
(Rykodisc)
And everything old is new again.
This CD is one example of the rise
in interest of electronic music reissues and unreleased work. In the
late '70s, Brian Eno connected
the isolated communities of intellectual compositions with pop. It
was not a time where electronic
music was limited by a genre definition. While some tracks on this
album seem reminiscent of Philip
Glass, others bounce along with
only a simple melody played on a
synthesizer to keep it in tack, and
still others are the first stabs at electronic ambient music.
It's hard to listen to such music
without feeling the distance of history. It's harder still to review music that was made only a few
years after I was born. Songs that
were new and out there come
across as almost pop music today. I enjoyed the album. The
songs possess a soul that is not
as evident in all of electronic
Paul Kundarewich
HOOD
Structured Disasters
(Happy Go Lucky)
This is a collection of 1 1 singles (I
believe) and seven previously
unreleased tracks spanning '90-
'96 from these fidelity-experimenting Brits. Their efforts in guitar
squall and later sampling and
beats puts them in the position of
an overlooked My Bloody Valentine or Flying Saucer Attack, despite being more pop-
hook oriented. I must admit I found
this surprisingly enjoyable, considering I'd pretty much written them
off as a consumer some years ago.
Not an unequivocal yes by any
means, but they certainly could be
more widely appreciated than they
are presently If it sounds like your
cup of tea ...
Sean Elliott
JANE JENSEN
Comic Book Whore
(Interscope)
"More Than I Can" is the first song
and I think I could wreck something
in my house dancing to it, especially if my drug of choice (sleep
depravation) has kicked in or I get
an acid flashback or a contact high
off my stoner friends. "Luv Song"
is about a dream boyfriend: "He's
not jealous of your friends that are
guys and thinks their [sic] really cool."
Jane has a part-time job programming her voice at the
orgasmatron factory near her
house in Los Angeles. It was predicted in Fortune that these little
units will be California's chief export to Sweden by 2001. However, they don't know that the
Comic Book Whore morning children's cartoon is about to take off
and Jane will be lost full-time to
doing her voice overs. I hope she
still has time to program her drum
machine, walk with purpose over
the neck of her bass, riffola
distortomatica her guitar and keep
all the lonely boys happy with that
sultry voice.
Evan Symons
ALAN    LICHT   &   LOREN
MAZZACANE CONNORS
Mercury
LOREN MAZZACANE
CONNORS
Calloden Harvest
(Roadcone)
These recordings rely on the interest level of the artists' perceived
reputation to draw listeners in and
to encourage them to suspend their
disbelief. This is not uncommon,
really, but it is particularly true in
the seemingly esoteric world of
improvisation. It's hard to hear
quality sometimes. Which is not to
say that such works are only too
exclusive, just easy to shut off. Also,
this is not to suggest that there is a
total absence of real musical substance on these recordings, with
no good ideas and development,
or balance and harmony (not necessarily of the auditory kind), and
so on. But an uninformed listener
could easily and reasonably fail to
distinguish this stuff from anybody's
decent, basement recorded, improvised four-track tapes, of which
there are certainly some fine examples (like most of Loren
MazzaCane Connors' work is
taken to be, by the acquainted).
Granted, this opinion is a little bit
the result of my own private ambivalence towards such music. It's
fun to do and usually better to see
live, but for me only occasionally,
truly captivating recorded. But, I'm
still very flexible and open — why
not be?
As for the recordings, they
made me fall asleep, literally, on
my living room floor. On second
listen, I found considerable depth,
but they are generally only a good
average listen. There's lots of ebbing, flowing, overlapping, noodlelike parts, long passages, slow
changes, and general spatial atmospherics. It's all very moody
music — completely instrumental
— and overall, having a decent
sense of style and delivery, but also
occasionally boring, too. The set
of live recordings on Mercury were
particularly tranquillity-inducing,
finding Alan Licht and
MazzaCane Connors interacting
nicely; this record was my preference. While less consistent, possibly less improvised, MazzaCane
Connors' solo performed Calloden
Harvest occasionally brooded with
distorted, percussive guitar, shaking me briefly from slumber (this
recording also looks to be in reference to some dour and unfortunate
part of Irish history, according to
the sleeve notes). And exploratory
guitar is what these recordings are
mostly all about, with good reason.
Licht is a guitar playing member of
the fine and interesting band Run
On, and MazzaCane Connors is
a long-standing, under-recognized
guitar improviser and silent cause
of Portland's Road Cone records,
who put out both of these new items.
Yes, I would still recommend
these for those not interested in just
napping. There is a lot of charm to
be found here and good work to
be heard, but I must admit, I fear
these recordings are restricted
mainly to the considerably patient
or already converted. Now, this
doesn't discount the value of them
being good background music.
Mercury might also be a useful
make-out record — take note,
young, lusty romantics! And
Calloden Harvest could easily support a private sojourn down quiet
streets or a lonely stretch of beach
— attention, troubled souls! The
options are abundant, for, generally, improvised music can enable
all sorts of creative drift and fancy
for both the performer and listener.
In this way, I think these recordings
are, in the end, all about affect: a
potential platform for human exchange. And, well, if a performer
can address the emotions, I guess
they're more-or-less doing the right
thing, attempting to draw the flimsy
gap between inside (us) and outside (them) closed, or something.
B. Cran.
LONG FIN KI11IE
(too pure)
Brit-pop! It's happy, it's bouncy, it's
upbeat and even soothing. Long
Fin Killie consists of four guys who
play 1 1 instruments, including the
Bouzouki. The singer sounds a little bit like Morrissey without the
melodramatics. The composition of
instruments and production techniques makes this a splendid
Gretel
MOVIETONE
Day and Night
(Drag City)
Day and Night is the second album from this Flying Saucer
Attack side-project featuring
Rachel Brook. The album features
seven songs which all flow into one
another and feature sultry, sombre
vocals poured over a backdrop of
laid-back percussion, sparse piano,
quiet guitars, and stray clarinet.
While some may label them a
simple Stereolab and
Labradford hybrid, Movietone
really has a unique sound. Acoustic guitars that are at once droning
and folky reflect Flying Saucer Attack's influence and make Day and
Night feel at home on Drag City.
As far as tone goes, the songs have
Stereolab's instant accessibility and
loungey feel, as well as a subordination of complex changes to
soothing rhythms and pleasing arrangements of sounds.
Despite their influences,
Movietone's blending of styles —
jazz, easy listening, and folk — is
never boring and the album as a
whole is a pleasure from start to
finish. That's the great thing about
Day and Night, its strength lies in
its completeness as an album, or
as a cycle from day to night and
back again.
Joseph Haigh
THE MR. T. EXPERIENCE
Revenge is Sweet, and So
(Lookout!)
Berkeley, California's favourite
pop-punk pundits are back with 16
more songs about a girl (and some
foggy mountain top). Nothing
musically groundbreaking here,
but it serves as a good sequel to
1995's Love is Dead LP. If you like
a little humour with your hooks,
The Mr. T. Experience can cook
up something special just for you.
Favourite lyric (from "Swiss Army
Girlfriend"): "She can handle any
household chore/ And I love the
feel of her stainless steel/ When
we're rolling all around the floor/
Ouch, that smarts!"
Bryce Dunn
THE MURDER CITY DEVILS
The Murder City Devils
(Die Young, Stay Pretty/Sub-
Pop)
IGGY POP
Heroin Hates You
Seattle's Murder City Devils are
now available on a rather terse LP
from Sub-Pop subsidiary Die
Young, Stay Pretty. Finally! Some
of us diehards, hooked by a couple of brilliant 7"s (most notably,
their Empty Records "Dance Hall
Music" single) and some breakneck live shows, were really sweating it out there, cuz the album was
slated for an August release but it
didn't show up until just recently.
You wanna talk about "the
shakes"... In any case, 7ihe Murder City Devils takes away all the
pain. The album kicks off with
"Dance Hall Music" (a somewhat
inferior version to that on the Empty
Records 7", but a formidable
opener nonetheless) and really
never lets up. A new, improved
17    E^gSaEgS version of "Broken Glass" (their tribute to Ignatius Pop) is haunting,
disturbing, and sexy — the perfect
accompaniment for all of you who
are doing "the werewolf" at your
local discotheque these days. "Get
Off the Floor" throws down the
gauntlet when it comes to "indie
dancefloor paralysis." "if you're
not going to dance, get your ass
off the floor... people like you are
what the balcony's made for."
"Flashbulb" is an ode to the live,
dyed-in-the-wool, rock 'n' roll experience, an ode to its blood,
sweat and theatre. Some of us
aren't quite ready for the big sleep
yet. We're not ready to take part
in the nouveau caligarisme and the
Murder City Devils walk among us.
Speaking of Ignatius Pop:
Heroin Hates You is a recently re-
released live bootleg of Iggy and
a band that included Glen Matlock
(!) and Ivan Krai (of the Patti
Smith Group fame). The show
in question took place in the city of
Angels in 1979 at the Stardust (I
think) and although Iggy and co.
play tonnes of "the hits" ("Very Cool
Time," "No Fun," etc.) these ain't
The Stooges and this is no Metallic K.O. Iggy's 'tween-song banter is
bizarre and priceless, though, and
worth the price of admission.
NEGATIVLAND
Dispepsi
(Seeland)
This land is your land,
This land is my land,
This land ain't Pepsi'$™
Nor is it Disney'$™
But Negativland™
Are making a stand
To take back this land
With you and me.
When I watch my teevef
all I see is Pepsi™
and CocaCola™,
and this upsets me
But Negativland™
are making a stand
to take back this land
with you and me.
If it's not our Mountie$™
selling out to Disney™
then it's McDonald'$™
suing lefties,
But Negativland™
are making a stand
to take back this land
with you and me.
We can make our culture
or be passive consumers,
wallowing in sitcoms
and talk show rumours,
Or with Negativland™
we can make a firm stand
to take back this land
for you and me.
Adam Monahan
NOFX
So Long and Thanks For All
the Shoes
(Epitaph)
Now here is a group that has
been together for 15 years and
they still kick butt. NOFX,
fronted by Fat Mike, has managed to gain and sustain tremendous popularity while staying in the underground punk
scene. These guys are known for
their anti-commercialism, having called the reps at MTV, major labels and commercial radio
"assholes." Their latest CD is a
return to their traditional light-
speed punk rock sound, in contrast to their last release, Heavy
Petting Zoo, which is generally
too slow for hardcore NOFX
fans. Songs like "It's My Job to
Keep Punk Rock Elite" and "Falling in Love" help maintain the
high energy of the 1 6 track album, while "Murder the Government" and "Monosyllabic Girl"
demonstrate NOFX's characteristic sense of humour.
NOFX not only plays fast
punk; they also mix things up,
as they have done on previous
releases by adding a touch of
ska on "All Outta Angst" and
reggae in "Eat the Meek." And
did anyone know that Fat Mike
could speak French? I didn't and
I'm still not sure if he can, but
he does at least attempt the lan-
guage on the cover song,
"Champs Elysees." One must
also not overlook the
revelational bonus track.
Jerome Yang
SAM INKSTER comic
The Prod Magazine
"This product will be more useful
than Swiss Army Knives, more
popular than chopsticks." The Prod
Magazine is a super-quick comic
to read. This is quite possibly the
work of some psychopathic, super-
genius kindergartener or maybe
some eclectic kids from the 'burbs.
It will, at least, crack a smile on
your face or, even worse, make
you break out in laughter. The story
is about a computer convention that
goes awry and becomes violent
and surreal. With a distinct brand
of illustration and, well, an enigmatic
text, this comic book is worth the
read. Computer programmers, beware! (Send $1 or cookies to 1423
Hall Street, Nelson, BC, VIL 2A4)
Jamie Doucette
SOME VELVET SIDEWALK
The Lowdov/n
(K)
It's been years since I listened to
any Some Velvet Sidewalk.
For some reason, they were sort of
an early '90s thing for me — a
band that I couldn't imagine progressing, evolving (again, I'm not
sure why). Anyway, recently SVS
has come out with a couple of
strong releases that have rekindled
my interest in 'em. Generate! is a
foil studio album which shows the
SVS collective experimenting in a
range of styles: straight-ahead pop
rockers ("Consequence" is just a
great poprock gem), electronica,
dub, etc. Overall, it's a solid outing:
catchy, diverse, even passionate at
times. All lhat and it's got Nikki
McClure featured on two tracks.
I'm not really sure what The
Lowdown is. At first look, it appears
to be some kind of a remix package (it's got copy-cat artwork, it's
got some mixes listed on the back,
it came out right on the tails of
Generate!), but most of the material appears to be brand new (I
say "appears" because some of
the material that's been re-mixed
sounds as though it was gleaned
from Generate!). This whole project
is even looser than Generate! and
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shows an interest in even more diverse genres (add funk and breakbeat to the list above). Hell, you
can nearly cut loose to it! There
are some rough spots, though. The
title track involves a lame-ass rap
reminiscent of the pathetic raps that
Calvin Johnson's been known
to do from time to time. "The Rewind," an instrumental version of
the same song, is loads better. The
big surprise is "Split the Scene
(K.O. Mud House Mix)" which is
one of the better remixes I've had
the pleasure of hearing recently:
great dub bass, great beats, etc.
Tony "the frembler"
STRATOVARIUS
Vision
(T+T)
This is a fast-paced album riddled
with guitar solos, keyboards, and
the occasional harpsichord. Soaring vocals add even more melody
and the speed is controlled with
some excellent drum work. Not a
single song disappoints, from in-
strumentals like "Holy Light" to
the epic title track. Lyrics explore
the prophesies of Nostradamus
with some other concerns, like the
preservation of the environment.
Long songs maintain interest with
amazing solos and numerous
tempo changes.
Doug Lovett
TELEVISION PERSONALITIES
They Could Have Been Bigger Than The Beatles
(Velvel)
Virtually no one cares about "indie
rock" anymore, so why bother with
reissuing the TVP's on CD in North
America? They must stand the test
of time because there surely can't
be any money in it. I love their first
album and never investigated any
further, but this gem, recorded between '79 and '82, is something
to behold. Shambolic, jangle-burnt
psychedelica (including 8 Miles
High solo reference in the blazing "King & Country"), super sweet
pop and two Creation covers
("Painter Man," a German hit also
done by Boney M and "Makin'
Time," recently blasted through courtesy of Lord High Fixers) combine for a truly and increasingly rare-
to-come-by hour of musical bliss.
Leader Daniel Treacy's knack
for a lyrical hook and/or fine guitar line is constantly in evidence,
as is his genuine sense of surprisingly non-sickening whimsey. If you
hold the fledgling sounds of New
Zealand's Flying Nun label or those
of late '80s/early '90s, yes, American independent label rock, hell,
or even The Cure's beginnings
dear to your heart and have not
given this band a chance, you are
making a grand mistake. The fact
that punk-rock eventually led to
such greatness makes up for smelly
kids washing car windows at stop
lights, I reckon.
Sean Elliott
T1AMAT
A Deeper Kind of Slumber
(Century Media)
Edlund, after releasing all his anger on Tiamat's first three albums,
now dwells more into the ambient/
atmospheric style of metal (if you
can call it that) than ever. The only
upbeat song on this album slows
to a Pink Floydish journey across
wellproduced, technically proficient
background music. Ifs not all bad; it
just doesn't hold my attention enough
to warrant my recommendation.
Perfect to listen to while doing homework and ... well, sleeping.
Doug Lovett
VARIOUS ARTISTS
Cup Of Tea Records: Another
Compilation
(Cup Of Tea)
Here we go again. Another fine
album of mixed music from the
creative enterprises of Cup Of Tea
Records. Another Compilation. The
title makes it seem almost sarcastic, which would be understandable if the only compilations that
ever came out were MuchMusic's
Dance '97and Big Shiny Tunes ...
all the overplayed top 40 commercialism that has nothing to do with
the making of good music.
Enter Cup Of Tea Records, a
label committed to the future of
danceable grooves that are worth
listening to outside of clubs, where
you can actually hear the music.
Another Compilation contains otherwise unavailable tracks by the
entire cast of Cup Of Tea beat
boys, including Fruit Loop, Slick
60, Receiver, and Statik
Sound System. Notable efforts
include Fruit Loop's "Drifter" and
Invisible Pair Of Hands' "Oil,
Oil, Oil," both full to the brim with
a rolling bass line and competently
programmed drum tracks.
Patrick Gross
VARIOUS ARTISTS
Nothing Beats a Royal Flush
(Rotoflex)
With "18 classic Canadian
crapouts" that'll last longer than
any two-ply tissue and a list of
groups that read better than the
graffiti on the guys' bathroom stall,
how can you go wrong? Here's the
scoop on the poop that follows:
The Shinolas begin with an organ-fuelled orgy of delight... Vancouver's ferocious felines Maow
make Wanda Jackson proud
... If the A-Bones wrote songs
about graveyard get-downs, they
thrive in the spirit of The
Knurlings' "Cemetary
Stomp"... The Mach Ills surf
their way into your slumber ...
The Infernos set a punk n' roll
blaze and all that's left is "7 Days
of Crying" as The Brewtals are
left to mop up with their take on
The Cavaliers classic ... Instro-
kings Huevos Rancheros are
in top form and trouble is definitely what you get when you put
a guitar and drum machine in the
hands of Jackson Phibes ...
The Scatrag Boosters inject
some scuzz into their top fuel hit
... Calgary's hillbilly twangers
Curse of Horseflesh dish out
an ode to the hill Brandon Walsh
and Co. don't speak about,
namely "Skeleton Hill, 90210"...
garage maniacs The Fiends get
revved up and fuzzed out... Hungry? The Mants will feed you a
"Brass Knuckle Sandwich" of
rough 'n' ready rock and make
you dizzy enough to enjoy a
"Mind Bender" with party faves,
The Tonics ... Beer barrel brats
the Von Zippers discover "Betty
Lou's Got a New Tatoo" complete
with shakin' style ... If punk rock
pioneers The Pagans had distant cousins they'd be Montreal's
The Irritations, as evident on
their cut ... The Stinkies explode a powder keg of primal
pound ... The Spaceshits get
down 'n' dirty and Chixdigggit
close the lid on this cropper with
a quick three-chord thrasher.
With hits from start to finish, this
is one compilation you won't
want to flush down your toilet.
Bryce Dunn
VARIOUS ARTISTS
Physical Fatness: Fat Music
III
(Fat Wreck Chords)
The dreaded compilation. Sometimes I pick up compilations —
live albums or greatest hits —
only to be left with a hole in my
wallet and a lousy CD, which I
can't even trade in for credit unless I go to some shady used CD
store in the 'burbs. I hit paydirt
this time around with Physical Fatness, a collection of songs that
leaves me dancin' in my boots.
How's this for a line-up: NOFX,
Good Riddance, Strung
Out, Screeching Weasel,
Screw 32, Propagandhi,
The Swingin' Utters and
many more. Surprise, surprise, it
rocks, but I needn't tell you that.
What more do you need to
know? Well, it does go for an
extra low price for cheapskates
like myself.
Kenny
SOUNDTRACK
Trainspotting 2
(EMI)
Hackers 2
(Attic)
People are suspicious of sequels
and so they should be. Got a
good thing going? Then why not
milk it to death? On the other
hand, The Empire Strikes Back
was even better than Star Wars
and these two CDs reflect the
good and bad aspects of sequels.
Some thought actually went
into Trainspotting 2. Producer
Andrew Macdonald and director .
Danny Boyle made notes on
some of the tracks. Author Irvine
Welsh suggested the inclusion of
Goldie's "Inner City Life" and
techno artists PF Project sampled Ewan McGregor (yum!) on
their first track. A solid, workable
soundtrack, perfect for those annoying "what should I play?"
days. It veers from electronica
(Underworld, Leftfield) to
'80s pop (Heaven 17 and Fun
Boy Three). Cheers!
Hackers 2, alas, may get bonus points for having
Trainspotting's Sick Boy starring,
but this has some pretty sad excuses for electronica on it. It
makes the mistake of mixing
techno and dance, thus alienating the hardcore techno people,
who certainly wouldn't enjoy
Brooklyn Bounce's "Get
Ready to Bounce." Even the inclusion of the Orb's magnificent
"Toxygene" or Underworld can't
save this and there's no excuse
for using Moby's "Go" or yet another remix of Prodigy's
"Firestarter."
June Scudeler
18    February 1998 feb '98 LONG VINYL feb '98 SHORT VINYL feb'98 INDIE HOME JOBS
1 gert wilden
2 to rococo rot
3 modest mouse
4 the residents
5 bad brains
6 perf nme tree
Tpolaris
8 various artists
9 free kitten
|10 ec8or
hi mr. t experience
n.2 mouse on mars
tt3 plumtree
|14 sicko
h.5 3rd eye foundation
16 butterglory
stereolab
[18 strain
19 the saddlesores
GO love as laughter
El apples in stereo
E2 roots roundup
J23 nomeansno
G4 halo benders
K5 elevator to hell
B6ralph
E>7 pellucid
E8 bowery electric'
J29 royal trux
BO jen wood
bl the promise ring
B2jp5
03 kaia
B4 silkworm
35 movietone
schoolgirl report    crippled dick
veiculo emperor jones
the lonesome crowded west    up
our tired, our poor ... ryko
omega sessions victory
tide's out world domination
polaris iglu
nothing beats a royal flush      rotoflex
sentimental education krs
all of us can lie rich     grand royal
revenge is sweet ... lookout
audiotacker too pure
predicts the future cinn. toast
you are not the boss ... empty
sound of violence merge
rat tat tat merge
dots and loops elektra
bomb wedemark heartfirst
a fistfull of hollers empyre
#1 usa k
tone soul evolution elephant
rootrospective groundup
would we be alive ep alt. tentacles
the rebels not in k
eerieconsiliation sub pop
sophisticated boom bongo beat
tape yr tv bug girl sound
vertigo kranky
singles, live ... drag city
getting past the static win
nothing feels good jade tree
jp5 independent
ladyman mr. lady
even a blind chicken ._ matador
day and night drag city
1 gaze
2 make-up
3 frigg a-go-go
4 duster
5 von zippers
6 run on
7 the others
8 the primate five
9 need
10 olivia tremor control
11 jale
12 tullycraft/rizzo
13 stink
14 murder city devils
15 melt-banana
16 the 1 4 5's
17 invaders from ...
18 lake of dracula
19 the kiss offs
20 the let downs
gaze k
free arthur lee k
frigg a-go-go 360 twist!
transmission, flux up
hot rod monkey   screaming apple
as good as new matador
can't help but cry        360 twist
nova ep gi
jacky o'lantern outpunk
the giant day drug racer
true what you say  ready to l>reak
split harriet
radioactive allied
the murder city ... empty
wedge slap a ham
almost good twist like this
war Ijetween the sexes aaj
untitled skin graft
love's evidence ...     peek-a-boo
atlanta 360 twist
1 dreamy angel laiindromatte queen
2 the hounds of buskerville blowin' off steam
3 destroyer
4 london paris
5 the colorifics
6 emulsifier
7 snrg
8 touch & gos
9 something ska
10 ignition
11 l
>i.d.
12 malachi crunch
13 k-stars
14 celestial magenta
15 quonset
16 tickertape parade
17 the spitfires
18 harvey switched
19 manifold
20 verona
karen is in rome
unmatched sock
747 (now i see heaven)
up the down slide
she says
campus radio boy
mr. roustabout
viva las heathrow
unlicked cub
planet earth
drugs and gurus
in return
desert blade
audience with the pope
so lonely
killer killer
rails, floatation, aerodynamics
war towers
-k cm
1 charts
ken's Canadian lunch farewell top   10
thursdays    11:3 0a m -1:0 0 pin
1 nomeansno oh canaduh   |
2 stompin' torn how do you like it now?
3 martha & the muffins echo l)each
4 hanson brothers
5 the superfriendz
6 the vees
7 snfu
8 the gruesomes
9 perfume tree
10 propagandhi
gonna play hockey
up & running
A
beautiful unlike you & I
hey!
saturate
true
CTfrdWO iWWH
bu Jason da Siiva
19   EfggSagSE ~^T on the dial
H                 EL
1        noT9fml
SUNDAYS
ARE YOU SERIOUS? MUSIC 8:30-12:00PM
All of time is measured by its art. This
show presents the most recent new music
Irom around the world. Ears open.
THE ROCKERS SHOW 12:00-3:00PM
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE 3:00-5:OOPM alt.
Real cowshit caught in yer boots country.
WIRELESS 3:00-5:00PM alt.
QUEER FM 6:00-8:00PM Dedicated to
the gay, lesbian, bisexual, and
transsexual communities ol Vancouver
and listened to by everyone. Lots of
human interest features, background
on current issues and great music
preferences and gender identities.
HELLO INDIA 8:00-9:OOPM
GEETANJAU 9:00-10:00PM Geetanjali
features a wide range of music from
India, including classical music,
both Hindustani and Carnatic,
popular music from Indian movies
from thei 930's to thei 990's, Semi-
classical music such as Ghazals and
Bhajans, and also Quawwalis, Folk
Songs, etc.
THE SHOW 10:00PM-12:0OAM Strictly
Hip Hop — Strictly Undergound —
Strictly Vinyl With yourhosts Mr. Checka,
Flip Out & J Swing on Ihe 1 & 2's.
IN THE GRIP OF INCOHERENCY 12:00-
4:00AM Drop yer gear and stay up late.
Naked radio for naked people. Gel bent.
Love Dave. Eclectic music.
MONDAYS
BREAKFAST WITH THE BROWNS 8:15-
11:00AM Your favourite brown-sters,
James and Peter, offer a savoury blend
of ihe familiar and exolic in a blend of
aural delights! Tune in and enjoy each
weekly brown plate special. Instrumental,
trance, lounge and ambience.
THE STUPID RADIO SHOW 11:00 AM-1:00
PM Playing a speclrum of music from
Garage Band to Big Band acoustic to
electric.
NEEDLEPOINT 1:00-3:00PM Mismatched
flop rock, a quick ride downtown. Don't
miss the Snow White Float. I love the
Snow White Float.
THE MEAT-EATING VEGAN 3:00-4:00PMI
endeavour to feature deod air, verbal
flatulence (only when I speak), a work of
music by a twentieth-century composer
— can you say minimalist? — and
whaler else appeals to me. Fog and
dyke positive. Mail in your requests,
because I am not a human-answering
machine. Gotaquarter ihen call someone
EVIL VS. GOOD 4:00-5:OOPM Who will
triumph? Hardcore / punk from beyond
ihe grave.
BBC WORLD NEWS SERVICE 5:OO-5:30PM
BIRDWATCHERS 5:30-6:00PM Join the
Sports department for their eye on ihe T-
birds.
HANS KLAUS' MISERY HOUR af). 6:00-
7:00PM Mix of mostdepressing, unheard
and unlislenable melodies, tunes and
RADIO BLUE WARSAW ak. 6:00-7:00PM
Join library queens Helen G. and Kim on
their info quests sset lo only the best
HIP HOP HAVOC 7:00-9:00PM
THE JAZZ SHOW   9:00PM-12:00AM
VcmWs longest running prime lime jazz
program. Hosted by foe ever-suave Gavin
Waler. Feakiesd 11.
Feb 2: Celebration of Saxophonist Sonny
Stilt's birthday with some rare sides.
Feb 9:'The New Duets' Pianist Chick Corea
adn Vibist Gary Burton.    Musical
Chemistry at its best.
Feb 16: Chades Mingus' best loved works.
Feb. 23: Pianist Red GaHand and an all-star
band: Red's Good Grove"
DRUM'N'   SPACE      12:00-4:00AM
Vancouver's only drum 'n' bass show.
Futuristic   urban   breakbeat  at
160bpm
TUESDAYS
AROUND THE MIDDLE EAST IN AN HOUR
8:30-9:30AM Middle easslem music for
your morning drive.
THIRD TIME'STHE CHARM 9:30- 11:30AM
Torrid trash-rock, sleazy surf and
pulsalin' punk provide ihe perfect scissor
kick to your head every Tuesday mom.
There's no second chance when Kung-
Fu is used for evil with drunken fist Bryce.
Kill-yao!!!!
FIVE HOUR LUNCH 11:30AM- 1:00PM
"Have a rock n' roll McDonald's for
lunch today!"
POLYFILLER 2:00-3:30PM
IWO WORDS: AVANT GARDE FOLK.
LADYDEATHSTRIKE'SBENTO3:30-5KX)PM
Power to ihe people! Feminist news, hiphop
tracks, lesbionic rock and Asian food.
NOOZE 5:00-5:30PM Our dedicated
newsteam brings you the best news about
student life, community organizations,
festivals, arts events, youth culture, and
social/political issues.Real voices
bringing you news you won't hear
anywhere else.
RADIO ACTIVE 5:30-6:00PM Social justice
issues, Amnesty International updates,
activism and fucking up the evil corporate
powers lhat be!!!
DIGESTIVE TRACKS 6:00-7:00PM
Underground hip hop music. Live on-air
mixing by DJ Flipout Old school to next
school tracks. Chew on that shit.
THE UNHEARD MUSIC 7:00-9:00PM
Meat the unherd where the unheard
and the hordes of hardly herd are
heard, courtesy of host and demo
director Dale Sawyer. Herd up! New
music, independent bands.
RITMO LATINO 9:00-10:00PM Get on
board Vancouver's only tropical fiesta
express with your loco hosts Rolando,
Romy, and Paulo as ihey shake it and
wiggle it to the latest in Salsa,
Merengue, Cumbia and other fiery
fiesta favourites. Latin music so hot
it'll give you a tan! jjRADIO
SABROSAM
THE CANUCK STOPS HERE ak. 10:00PM-
12:00AM Listen fcr dl Canadian, mostly
independent tunes.
WITCHDOCTOR HIGHBALL ak. 10:00PM-
12:00AM Noise, ambient, electronic,
hip hop, free jazz, christian belter living
Ip's, the occasional amateur radio play,
whatever.
AURAL TENTACLES 12:00AM-VERY LATE
Warning: This show is moody and unpredictable. It encourages insomnia and
may prove lo be hazardous to your
health. Listener discretion is advised.
Ambient, ethnic, funk, pop, dance, punk,
electronic, synth, blues, and unusual rock.
WEDNESDAYS
MARY TYLER MOORE SHOW 8:30-
10:00AM Gid music of all shapes and
DIGITAL ALARM CHRONOMETER
10:00AM-12:00PM electronic. LOVESUCKS 12:00-2:00PMMusicatwork.
(Cut up mixed genres—eclectic, eleclric
included but not mandatory).
MOTORDADDY 3:00-5:00PM No indie
rock here—just some good ol'Southern
fried biker boogie!
NOOZE 5:00PM-5:30PM
Community/campus news and view
RACHEL'S SONG 5:30-6:00PM Info on
health and the environment, with a focus
on Vancouver. Topics ranging from
recycling and conservation projects to
diet, health, and consuption and
sustainabilily in the urban context.
Comments and ideas are welcome.
ESOTERIK alt. 6:00-7:30PM Ambient/
electronic/industrial/ethnic/
experimental music for those of us who
know about the illithids.
SOLID STATE alt. 6:00-7:30PM Featuring
the latest in techno, trance, acid and
progressive house. Spotlights on local
artists, ticket giveaways, & live
performances. Hosted by M-Path.
AND SOMETIMES WHY 7:30-9:00PM
halo benders, bad horsey, movietone ...
these are a few of our fave-oh-
writ things, la la la!
FOLK OASIS 9:00-10:00PM Acoustic/roots/
folk music in the middle of your week.
Focus on local and Canadian singer-
songwriters, regular features on other
regions with in-house visits.
STRAIGHT OUTTA JALLUNDHAR 10:00PM-
12:00AM Lei DJs Jindwa and Bindwa
immerse you in radioactive Bhungra!
"Chakkh de phutay." Listen to all our
favourite Punjabi tunes — remixes and
originals. Brraaaah!
OPEN SEASON 12:00- 4:00AM Mixed
bag of suprises coming your way.
THURSDAYS
THE LAST DESK 8:30-10:00AM Listen
carefully as Johnny B brings you CiTR's
classical music show. Featuring.
Canadian composers, amateur hour &
more. Radio con fuoco, for the masses.
FILIBUSTER alt. 10:00-11:30AM From
accordion lo the backwoods via swingin'
lounge sounds... this show is a genre
free zone.
MUSIC FOR ROBOTS alt. 10:00-11:30AM
Viva La Robotica Revolution.
Electronica... noiz...new wave, no wave.
CANADIAN LUNCH 11:30AM- 1:00PM
From Tofino to Gander, Baffin Island lo
Portage La Prairie. The all-Canadian
soundtrack for your midday
snack!
STEVE & MIKE 1:00-2:00PM Crashing the
boys' club in the pil. Hard and fast,
heavy and slow. Listen to it, baby,
(hardcore).
JUSTIN'S TIME 2:0O-3:O0PM Serving up
your weekly dose of Shirley Horn and
other jazz-filled confections.
FLEX YOUR HEAD 3:00-5:OOPM Hardcore
and Punk rock since 1989. http://
mypage.direct.ca/f/flxyrhed/
BBC WORLD NEWS SERVICE 5:00-5:30PM
ENTERTAINMENT DESK alt. 5:30-6:00PM
Movie reviews and criticism.
OUT FOR KICKS 6:00-7:30PM No
Birkenstocks, nothing politically correct. We don't get paid so you're
damn right we have fun with it. Hosted
by Chris B.
ON AIR WITH GREASED HAIR 7:30-
9:00PM Roots of rock & roll.
UVE FROM THUNDERBIRD RADIO HELL
9:00-11:00PM Locol muzak from 9.
Live bandz from 10-11.
SUPPERY SLOT 11:00PM-1:00AM Farm
animals, plush toys and Napalm Death.
These are a few of my favourite things.
It's all about shootin' the shit and rock n'
roll, baby.
FRIDAYS
VENUS FLYTRAP'S LOVE DEN 8:30-
10:00AM Join Greg in the love den for
a cocktail. We'll hear retro stuff, groovy
jazz, and thicker stuff too. See you here
... and bring some ice. XOXX
SKATS SCENE-IK DRIVEI 10:00AM-
12KWPM Ska inna all styles and fashion
... lfwedon'tgetyoudancing...wewill
find you... and we will KILL you...
LITTLE TWIN STARS 2:00-3:30PM
Underground, experimental, indie and
women. Jacuzzi space rock al its finest.
NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:00PM
NOIZ 4:00-5:00PM self-tilled.
NOOZE 5:0O-5:30PM
FAR EAST SIDE SOUNDS alt. 6:00-9:OOPM
Sounds of the transpacific underground,
from west Java to east Detroit. Sound
system operator, Don Chow.
AFRICAN RHYTHMS alt. 6:00-9:00PM David
"Love" Jones brings you the best new and
old Jazz, soul, latin, samba, bossa &
African Music around the wodd.
HOMEBASS 9:00PM- 12:00AM The
original live mixed dance program
in Vancouver. Hosted by DJ Noah,
the main focus of the show is
techno, but also includes some
trance, acid, tribal, elc... Guest
DJ's, interviews, retrospectives,
giveaways, and more are part of
the flavour of homebass.
UMP SINK 12:00-3:O0AM The show lhat
doesn't hate you. Friar Fritter Abfakeln
and Postman Pat alternate with Tobias'
Paradigm Shift (rant, phone-in and kiss
your mother wilh the guests).
SATURDAYS
THE SATURDAY EDGE 8:00AM-12:00PM
Music you won't hear anywhere else,
studio guests, new releases, British
comedy sketches, folk music calendar,
ticket giveaways, plus WorldCup Report
all 1:30 AM. 8-9 AM: African/World
roots. 9-12 noon: Celtic music and
performances.
UCORiCEALLSORTS 12:00-1:00PM All kinds
of music spoken word, interviews. Phone
in for comments or requests.Tune in and
expose yourself to new music and ideas.
POWERCHORD 1:00-3:00PM
Vancouver's only true metal show; local
demo tapes, imports and other rarities.
Gerald Rattlehead and Metal Ron do the
damage.
LUCKY SCRATCH 3:00-5:00PM Blues and
blues roots with your hosts Anna and AJ.
RADIO FREE AMERICA 6:00-8:00PM Join
host Dave Emory and colleague Nip
Tuck for some extraordinary political
research guaranteed to make you
think. Originally broadcast on KFJC
(Los Altos, Cal.).
LIVE! AT THE HI-HAT!! 10:00PM-
1:00AM "Live! — shows and bands—
admission $6.00 — Performers are
subject to change." Maximum Soul.
REBEL JAZZ 10:00PM-1:00AM Join
Girish for some — rebel jazz..
EARWAX alt. 1:00AM- DAWN "Little bit
of drum, bit of bass and a whole lot of
noize." Late-night radio soundclash
destined to fist you hard. Zine features,
phat experimental chunes, and the
occasional turntable symphony. "Money,
we'll rock you on 'til the break of dawn. "-
- G. Smiley
IT'S TIME FOR
INTERNATIONAL
WOMEN'S DAY
WE CALL FOR
ALL WOMEN
MEEK & WILD
TO STEP UP TO
THE MIC AND
HELP US
CELEBRATE!!'
ON MARCH
8TH, CITR WILL
HAVE ALL
W I M M M I N
PROGRAMMERS.
YOU CAN JOIN
US!
JUST COME BY
ROOM 233 OF
THE SUB AT UBC
OR CALL
NAMIKO
@822.1242
CiTR
101.9 fM
JBLU§flRD|
«W if 1.1 «•
■"fc Scratch
porch stompin'
•u t.        ifl0- fePP-n'
w toff booth1 .**.*!   ,.
jwi like it used to bs
mm i BLUES
■f«tt specials
and
women in bines
Saturdays 3-5pm
attention, all female-folk! we ^
your help!
I
1 CiTR presents our annual ON-AIR celebration
21   S5$%3aEi!__ february
datebook
FRI 30 Bran Van 3000@Richard's on Richards; Nickelback,
Jar@Starfish Room; Spirit of the West@UBC SUB Ballroom; The Hanging Garden, Kissec/@Ridge; Minority@Brickyard; Steve
Wright@SouthHill Candy Shop; Dirtmitts, Shelleycoats
Probes@Columbia; Black Market Babies, Surfdusters@Pic Pub; Millennium Project@Sonar
SAT 31 Modest Mouse, Gaze@Starfish Room; The Malchiks, Hounds
of Buskerville, Crowned King@Brickyard; Helen Gone@SouthHill
Candy Shop; Liquid Amber, Rhubarb Rhubarb@Columbia; Millennium
Project@Sonar; Bates Motel, Billy Butcher@The Pic
SUN 1 Fu Manchu, Acid King@Starfish Room; Jonatha Brooke@Purple
Onion; The Hanging Garden, K7sse(J@Ridge
MON 2 Joe Jackson@Vogue
TUE 3 Cory WeedsOSouth Hill Candy Shop
WED 4 CiTR PRESENTS: Violent Femmes, gaze@Vogue; Steve
Mitchell@South Hill Candy Shop
THU 5 CiTR PRESENTS: Perfume Tree, The
ElectrosonicsOStarfish Room; CiTR PRESENTS: Violent
Femmes, gaze@Vogue; Acetone, The Beans@Brickyard;
Eventide@Funky Planet; Ben Folds Five, Robbie Fulks@DV8, Seattle;
Versions@Chameleon; Maborosi, In the Realm ofthe Senses@Pacific
Cinematheque
FRI 6 CiTR PRESENTS: BOB MARLEY'S 53rd BIRTHDAY BASH:
The Cultivators, Boom-Daddy, Full Circle, Soul Survivors, Boombi-G,
Bounty Hunta, Mutineers@Palladium; Green Room, the Millennium
Project@Starfish Room; Ray Condo and His Richochets, Lindsay Davis,
the Darlings@Gate; Mark Farina@Sonar; Wholestep@The Pic; Clint
Burnham reading Be labour/?ead/ng@Black Sheep Books; 1001 Black
InventionsOMichaelJ. Fox Theatre; Ralf Malf@South Hill Candy Shop;
Slick@Chameleon; In the Realm of the Senses, Maboros/'@Pacific
Cinematheque
SAT 7 The New Jim Rose Circus Sideshow@Palladium; Barstool
Prophets@Starfish Room; Ray Condo and His Richochets, Blue
Heaven@Gate; Gazm@The Pic; Joe Keithley@South Hill Candy Shop;
Slick@Chameleon; Maborosi, In the Realm of the Senses@Pacific
Cinematheque
SUN 8 Eek-A-Mouse@Richards on Richards; In the Realm ofthe Senses,
Maboros/OPacific Cinematheque
MON 9 Bob Kemmis@Railway Club; Maborosi, In the Realm ofthe
5enses@Pacific Cinematheque
TUE 10 Dee Carstensen@Richard's on Richards; Les Ballet Jazz de
Montreol@QET; Jazz Mahooba@South Hill Candy Shop; Split Lip
Ashtray@Starfish Room
WED 11 The Celluloid Social Club: Lonelyhearts Revenge@Anza Club;
Steve Mitchell@South Hill Candy Shop
THU 12 NoMeansNo, Royal Grand Prix, Removal@Starfish Room;
Calfiode Ray@South Hill Candy Shop; Double Six@Chameleon
FRI 13 The New Meanies@Railway Club; NoMeansNo, Royal Grand
Prix, Closed Caption Radio@Starfish Room; Readings from Whole
Lotta Love Pae/ry@Black Sheep Books; Hot Cfub of Mars@Sooth Hill
Candy Shop, Namedropper-Chameleon
SAT 14 Holly McNarland, The Gandharvas@Palladium;
Whiskeytown, Mary Lou Lord@Starfish Room; Gregg Allman@Vogue;
The New Meanies*@*Railway Club; Ralph@Roadhouse Cotery; Sweetheart Swing Valentine's Donce@Gate; Ronnie HoyWOrd Trio@South
Hill Candy Shop
SUN 15 HumQGate, Diana Krall Trio@Orpheum; Old 97's@Starfish Room;
German Experimental Films I &. II: The Walt, The New Era, The Revolution &
Structure/Form, Animatior@Padhc Gnematfxk-ue
MON 16 German Experimental Films III & /.* Feeling and Severity & The
Wall, The New Era, The RevolutionQPacikc Cinematheque?
TUE 17 NOFX, No Use For A Name (All Ages!)@Croatian Cultural
Centre; Dave Phyall Duo@South HiS Candy Shop
WED 18 Pat Metheny Group@Orpheum; Ralph's 2nd Annual Losers
Lounge@Railway Club,   Rita  MacNeil@Chan Centre,   Steve
Mitchell@South Hill Candy Shop, South Asian Music Showcase: Kevita,
Indian Lion, DJ Goldy, Jaguar, Kelly Dean@Chameleon
THU 19 Painting Daisies@Railway Ctub; the Paperboys, People Playing Music,: Alpha Dialto@Starfish Room; Jessica@South Hill Candy
Shop; Jessica Granl-@Sou*h Hill Candy Shop, Presha@Sonar
FRI 20 Painting Daisies@Roilway Ctub; Robyn Corrigan@South Hill
Candy Shop; People Ploying Music, Alpha Diollo@Starfish Room;
Harlem Globetrotters@GM Place
SAT 21 Nashville Pussy, the Power Failures, JP5@Starfish Room; The
Vinaigrettes@Railway Club, MC Coss King; Lee Aaron/Ray Condo
and His Ricochets, Tom Comet and ChristineTaylor in the Juicy Danger Show, Justin the Professional Sneaky Guy, DJs Laslo Kovaks and
Todd Tomorrow@Waldorf Hotel; Steve Mitchell's CD Release
Party@South Hill Candy Shop; Closed Caption Radio, Celestial
Magenta@Brickyard
SUN 22 German Experimental Films /V& V Discoveries and Reflections &
Wounds, Wonders and Ws/ons@Pacific Cinematheque
MON 23 Grrrls with Guitars: Naomi Steel, Diane Barbarashi, Sheryl
Shue@Railway Club; Judas Priest@Rage; A Life Less Ordinary,
Trainsporting@R\dge; Inhale, Neil Burton Quarter@The Pic; The Legendary Wailers Band@Richards on RiGhards; German Experimental
Films I & //.* The Wall, The New Era, The Revolution & Structure, Form,
Animation@Pacii\c Cinematheque
TUE 24 Space Monkeys@Richard's on Richards; Dorothy Missing CD Release Party@Railway Club; AUfe Less Ordinary, Trainspotti'ng@Ridge; Andrew
Davis@South Hill Candy Shop; Donald Glaude@Sonar
WED 25 Steve Mitchell@South Hill Candy Shop
THU 26 Veal, Clam@Railway Club; The Crawlers@Starfish Room;
Bryan Adams@GM Place; Holly Cole@Vogue; Sean OKeefe@South
Hiil Candy Shop; The Rascalz@Sonar; Dorothy MissingOHMV Robson
FRI 27 Veal, Lindsay@Railway Club; D.O.A., Pigment Vehicle, the
Weakerthans, Karen FosterOStarfish Room; Indigo SwingOThe Gate;
Holly Cole@Vogue; KC KellyOSouth Hill Candy Shop; WWF Wrestling: Shawn Michaels vs. Owen Hart@GM Place
SAT 28 Marcy Playground@Starfish Room; Meg Tennant@South Hill
Candy Shop; David Alvarado@Sonar
[Special
KISS PROJECT
Celebrate your cold February with a
warm kiss! Dance, theatre, music, &
workshops (and call the kiss line at
606.6434 for more info on late-night
kisses!) All events at Performance
Works, Jan. 26-Feb. 22.
10th      "
WOMEN   IN  VIEW  FESTIVAL
Here's your chance to celebrate the diversity in music, dance, theatre, and arts produced by the talented female-folk at Women
in View. Networking sessions, cabarets, literary readings ... something for everyone,
venues. Info Tine: 604.257.1650.
SUBMISSIONS TO DATEBOOK ARE FREE! TO HAVE VOUR EVENT LISTED. FAX ALL THE RELEVANT INFO (WHO, WHERE,
WKEN) TO 822 9364, ATTENTION "DATEBOOK," DEADLINE FOR THE MARCH ISSUE IS FEBRUARY 1ST HI
cvcryuM£||^^gj^ jgjjjyp.;
about...
everywhere?
illl JJ£
I; • • • • • •
tfegOj
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant (Jazz on the Creek) 684 3777
Anza Club 3 W. 8th (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W.Hastings (at Cambie) 689 7734
Backstage Lounge  1585 Johnston (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th (at MacDonald) ■ 732 5087
The Blinding Light 256 E. Georgia (between Main & Gore)
The Brickyard 315 Carrall St. 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal  317 E. Broadway (Mount Pleasant)     873 1331
Caprice Theatre 965 Granville  (Granville Mall) 683 6099
Celebrities  1022 Davie (at Burrard) 689 3180
Chameleon Urban Lounge 801 W. Georgia (Downtown)      669 0806
Chan Centre for the Performing Arts 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia  (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordova  (Gastown) 683 5637
Crosstown Traffic 316 W. Hastings (downtown) 669 7573
Death by Chocolate  1001 Denman St. (at Nelson)
Denman Place Cinema  1030 Denman  (VSfest End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. .      662 3207
DV8 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
22    February 1998
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings (downtown) 822 9364
Gastown Theatre 36 Powell (Gastown) 684 MASK
The Gate 1176 Granville (downtown) 688 8701
Good Jacket 42 Kingsway (at Main) 872 5665
Greg's Place 45844 Yale Rd. (Chilliwack) 795 3334
The Grind Gallery 4124 Main (Mt. Pleasant) 322 6057
Hemp B.C. 324 W Hastings (downtown) 6814620
Hollywood Theatre 3123 W. Broadway (Kitsilano) 738 3211
Hot Jazz Society 2120 Main (Mt. Pleasant) 873 4131
It's A Secret 1221 Granville St. (downtown) 688 7755
Jericho Arts Centre  1600 Discovery (Pt. Grey) 224 8007
La Quena  1111 Commercial  (the Drive) 2516626
The Lotus Club 455 Abbott (Gastown) 685 7777
Lucky's 3972 Main 875 9858
Luv-A-Fair 1275 Seymour (downtown) 685 3288
Mars  1320 Richards (downtown) 230 MARS
Maximum Blues Pub  1176 Granville (downtown) 688 8701
Medialuna   1926 W Broadway
Mora 6 Powell (Gastown) 689 0649
Naam Restaurant 2724 W 4th Ave (kitsilano) 738 7151
Old American Pub 928 Main  (downtown) 682 3291
Orpheum Theatre Smithe & Seymour (downtown) 665 3050
Pacific Cinematheque   1131 Howe  (downtown) 688 3456
Palladium (formerly Graceland) 1250 Richards (downtown) 688 2648
Paradise 27 Church  (New West) 525 0371
Paradise Cinema 919 Granville (Granville Mall) 681 1732
Park Theatre 3440 Cambie (South Vancouver) 876 2747
Picadilly Pub 630 W. Pender (at Seymour) 682 3221
Pit Pub basement, Student Union Building  (UBC) 822 6273
Pitt Gallery 317 W. Hastings (downtown) 681 6740
Plaza Theatre 881 Granville  (Granville Mall) 685 7050
Purple Onion   15 Water St. (gastown) 602 9442
Queen Elizabeth Theatre  Hamilton & Georgia 665 3050
Raffels Lounge  1221 Granville (downtown) 473 1593
The Rage 750 Pacific Blvd. South (Plaza of Nations)
Railway Club 579 Dunsmuir (at Seymour)
Richard's On Richards  1036 Richards (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
Russian Hall 600 Campbell (Chinatown)
Scratch Records  109 W. Cordova (Gastown)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Sonar 66 Water (Gastown)
Southhill Candy Shop 4198 Main (at 26th)
Squish'd Knish 4470 Main (at 29th)
Starfish Room  1055 Homer (downtown)
Starlight Cinema 935 Denman  (Wsst End)
Station Street Arts Centre 930 Station (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
StoneTemple Cabaret  1082 Granville St. (downtown)
Sugar Refinery  1115 Granville (downtown)
Theatre E 254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
The Tower 339 W. Hastings (downtown)
Twilight Zone 7 Alexander (Gastown)
Vancouver E. Cultural Centre  1895Venables (at Victoria)
Vancouver Little Theatre 3102 Main  (Mt. Pleasant)
Vancouver Press Club 2215 Granville (S. Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Washout  1020 Granville  (dowtown)
Video In Studios  1965 Main  (Mt. Pleasant)
Virgin Mega Store 788 Burrard (at Robson)
Vogue Theatre 918 Granville  (Granville Mall)
Waterfront Theatre  1405 Anderson  (Granville Is.)
Western Front (303 E. 8th Ave)
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall  1882Adanac (the Drive)
Women In Print 3566 W 4th  (Kitsilano)
Yale Blues Pub  1300 Granville (downtown)
Zulu Records 1869 W. 4th (Kitsilano)
685 5585
681 1625
687 6794
738 6311
874 6200
687 6355
291 6864
683 6695
876 7463
879 9017
682 4171
689 0096
688 3312
681 8915
988 2473
682 8550
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
669 2289
331 7909
685 6217
876 9343
254 5858
732 4128
681 9253
738 3232 James lha
Let It Come Down
featuring "Be Strong Now"
the debut album by
James lha of
The Smashing Pumpkins
produced by Jim Scott and James lha
all songs -written by James lha
www.virginmusiccanada.com ©1998 Virgin Records America, Inc. IEW RELEASES WITH SOLD FOUNDATIONS AT ZULl
AJ SHADOW
Pre-emptive Strike
Ltd Edition 2CD/2LP
Now re-available for those who missed
out the first time, this fine abstract hip
hop handy-pack collects DJ SHADOW'S
older odds and ends with a fe new surprises: including an exquisite cut-up megamix by famed DJ Q-
Bert. It's nice, very good, convenient and cool, and helps to complete your personal library of fine beats, or start you off just right.
What more needs to be said?
2CD $20.98 2LP $1^.98
DUMP
A Plea For
_E
Tenderness CD
Mow James McNew can have any spare
mmm
time is anybody's guess. But this cur
rent Yd La Tengo member has managed
to record another great set of solo performed pop masterpieces, supposedly all while he was in his
pajamas. Well... good work, James, sounds nice to us. Another
really welcome DUMP — snicker — from this endlessly creative
multi-talent. And the cover is cute as well.
CD $16.98
MARK EITZEL
Caught In A Trap CD/LP
Mr. American Music Club is back with is third solo album, his
second in less than a year and his debut for Matador. This time
out our favourite balladeer goes for a less orchestrated and more
stripped down approach letting strong vocal melodies and slow
motion guitar stand alone. The four tracks that do sport bass and
drums feature James McNew and Steve Shelley Caught In A
Trap is an acoustic urban soundtrack for those days when the
ig looks as pretty as a cloud.
CD $16.98 LP $12.98
FREAKWATER
Springtime CD/LP
The follow-up to 1995 s brilliant Old
Paint is FREAKWATER's fifth and most
musically realized effort to date. With
picture perfect old time country
melodies and effortless one-off guitar
solos courtesy of Wilco s Max Johnston,
portrait of loves lost and lives left. Drink deep from the tin cup of
FREAKWATER because this year Springtime is coming early.
this is a sadly beautiful
CD $16.98 LP $12.98
'K£C01?DS\
VEDA HILLE
Here Is A Picture
(Songs For E Carr)
CD
Past and present meet as VEDA HILLE
interprets Emily Car's inspirational
creative works. Poetic musings and sparse instrumentation
makes this HILLE s most absorbing commission. Indeed Here
Is A Picture, and more!
CD $16.98
HISSANOL
The Making Of Him CD/LP
Featuring Andy Kerr {ex NoMeansNo) and Scott Hi
Show Business Giants), HISSANOL s sophomore release is an
intense jazzy punk bombast. Written via airmail between
Amsterdam and Victoria. The Making Of Him ought to log many
miles on your listening journeys!
CD $14.98 LP $12.98
JUNE OF 44
Four Great Points
CD/LP
Doing their best to transcend redundant titles like post-rock, the boys of
JUNE OF 44 continue to become
stronger songwriters, prefixes aside. Not to say that Fi
Points is too easy or simple in its composition. Rather, it is
strongly realized, if not being their best recording thus far, and
should be taken in terms of its own status, not as a passive
trademark. In other words: Attention unfamiliar listeners and old
fans, this is the one. Lots of ideas and good sounds.
CD $16.98 LP $12.98
OVAL-
CHRISTOPHE
CHARLES
Dok CD/LP
OVAL'S (a/k/a Marcus Propp) decon-
structive/reconstructive technique is
complementary — almost ideally so, in fact — to the unique
tonality of Christophe Charles' field recordings of bell sounds.
The resulting ambient meeting is a remarkable exchange of
more than just computer files, placing ostensibly "real"
sources within a constructed "organic" background, providing
a vivid account of acoustic possibility that can only take place
as a hybrid-form, a duplicitous form as familiar and mysterious as actual and stimulated.
CD $16.98 LP $12.98
1869W4thAve,   STORE HOURS
Vancouver BC    MontoWed io*30-7:00
w/jiu/ Thurs and Fri 10:30-9:00
Sat 9:30-6:30
tel 738.3232      sun 12:00-6=oo
UNWOUND
Challenge For A
Civilized Society CD/LP
UNWOUND have got to be the moodiest, most
angst-ridden band around. However, they
transform this passion and energy into tremendous bombast: all uncompromising, aggressive
and volatile. Yet this is somehow also balanced by an odd ennui so
modern that it can only be articulated in terms of pop culture, which for
them looks equally forward to new directions and positions as it does to
punks past failures. All this is folded into the action of the moment, and
comes out as rock and roll, and then some. Long overdue.
CD $14.98 LP $12.98
VICTORIA WILLIAMS
Musings Of A Creek
Dipper CD
VICTORIA'S first album in nearly four years is
as highly anticipated as it is good, and well
worth the wait. Quiet, mature musings that
aren't afraid to take left turns are driven down
dusty roads by John Coveratino and Joey Bums of Giant
Sand/Calexico Tales of uncharted detours that end up at the local
swimming hole are washed clean in the sweetly eccentric voice that
could only belong to VI
P
CD $16.98
OTHER NEW RELEASES TO
ADD TO YOUR BLUEPRINTS
ST. ETIENNE Sylvie cd-ep Pts. i+2
JOEL R.L PHELPS The Downer Trio CD
PRQPELLERHEADS Decks + Drums +
Rock + Roll CD/2LP
DJ VADIM USSR Reconstruction CD/12"
EPx2
DROPKICK MURPHYS Do Or Die cd/lp
SILKWORM 90-94 2CD/2LP
BEN FOLDS FIVE Naked Baby Photos CD
E.A.R. Millenium Music CD/2LP
shirsfinpii t
*^Og(^#

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