Discorder CITR-FM (Radio station : Vancouver, B.C.) 2002-03-01

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 .-•• ' ;:■ •"■.-■       -. • ■
Rodney Graham
Capozzi Park
Alberta Slim
The Intima
The Fucking Champs
DJ School
The Organ
and more
MARCH 2002 ~^*tKEHE3[®
TH(   PURSUIT   OF   Pl€RSUR€       -—S2&& ^^.u^^a ^.cw.™,^        Wlllii       ! PIIJ  !
"moldy pcachcsji
J 1 <r—%r~< K.'^VV? y—'—^C^Jljl
DANICL     ■5=:= I
TON -~l
live in concert
MARCH 8      _ _
COMMODORE      . _
11 lit)
*m Luke
Back by popular demand
with guests
Tickets also at Znta and Hlefcltfe
at Zulu, Highlife and Noize
?Tonv fieviri bandj
PURCHASE TICHETS gQB&flQ AT hob.ca OR ticketmaster.ca tig. Features
the organ: discorder interview hell p. 10
alberta slim by val cormier p. 12
mark szabo of capozzi park by christa min p.
the intima by jay douillard p. 14
the politics of dj school by TOBIAS p. 15
rodney graham by brady cranfield p. 16
the fucking champs by black diamond p. 18
hydrogen bonding in... by cyrus b. p. 19
dear airhead p. 4
Vancouver special p. 4
fucking bullshit p. 4
strut and fret p. 5
panarticon p. 6
kill your boyfriend p. 7
radio free press p. 7
7'p. 9
dj profile p. 11
over my shoulder p. 20
under review p. 21
real live action p. 23
culture shock p. 25
on the dial p. 26
kick around (comic) p. 27
charts p. 29
datebook p. 30
Design by Robin Mitchell, art by Derek Root.
Woo! The lad on the bicycle is centre spread
superstar Rodney Graham.
Barbara Andersen
Steve DiPasquale
art director:
Lori Kiessling
production manager:
Christa Min
real live action editor:
Ann Goncalves
under review editor:
Sara Young
editorial assistant:
Donovan Schaefer
Lori Kiessling, Christa Min,
Robin Mitchell
Kiran Dfianoa, Mark
Fernandes, Dave Gaertner,
Duncan McHugh, Sabrina,
Keith Turkowski, TOBIAS
on the dial:
Bryce Dunn
Luke Meat
Ann & Barb
Matt Steffich
us distribution:
© "DiSCORDER" 2002 by tlie Student Radio Society of the University of British Columbia. All
rights reserved. Circulation 17,500. Subscriptions, payable in advance, to Canadian residents are S15
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postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine.
DEADLINES: Copy deadline for the April issue is March 13th. Ad space is available until March
20th and can be booked by calling Steve at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited manuscripts, unso-
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Send email to DiSCORDER at discorder@club.ams.ubc.ca.
From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as
| through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ
' at 822.2487, our office at 822.3017 ext. 0, or our news and sports lines at 8223017ext. 2 Fax us at 822.9364,
e-mail us at: citrmgr@mail.ams.ubc.ca, visit our web site at http://www.ams.ubc.ca/media/citr or just
pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 CANADA.
printed in Canada
Events at a glance:
RIZK. First
"--rs 9pm /Cover $6
VMASSi    ~
2nd anr
*-'-■* Doors 9pm / Adv
ix, Highlife, Zulu /$12 @ the
ilusive 4 hr set - Guarant
are 9pm/$ 14 Advance @ Zulu, Booi
FWUH, Scratch, Sonar (no s/c)
TUESDAY MAR 12 - Brand New Nightl
The Dutch house legend. PI
Doors 9:30pm/Advance tix
FRIDAY MAR 15 -- Brand New Night!
ition with B-MAN & KRAFT and FWUH Hip Hop Shop. Trimming the fat off
lairs. Doors 9:00pm/Co      "
Feat. E-SMOOVE, the legem    ,
by Superstar Diva LATANZA WATERS. Exclusive enc
Main Room: DJs £
QTurbosound dear airhead
Hi Barbara,
too disappointed. Maybe i
Just   typing   the   artk
interview up for the web
the body" too much (yikt
but I appreciate anyway
ideas you mention in your pre- While I do not doubt the
amble    to   our    interview.    1 intentions of the cartoonist, it is
thought  you  might  possibly important to point out the flaws
find  it  interesting.  I've been in  these  drawings  that,   left
meaning to type it up for the unchecked, would  lead  new
website, but it's several thou- skippers the Lower Mainland
mpenetrable (put
lepth regarding s
:. fail
>t be:
e only reason rock skipping
't bigger than skateboarding
V tot
■ (lis-
site (they're based in the UK, if their rocks "up" after contac
nto that helps), so if you're interest- with the water. If one of thest
,sn ed, you might want to look it hypothetical initiates were K
,1U, up_. follow the lead of Mr. Malin'i
,nt That's it, and thanks very cells, they are destined to givt
uf,,/ much once again. up the sport entirely for lack o
ul> satisfaction. Haying said this,
the Best wishes, will now go panel-by-panel U
r is Poillt °ut tlltJ«' Raw??
. of Michael c lira Panel number one innocu
Dear Airhead,
Unfortunately, the
band running across it). Every
buck knows that it is the shales
and slates that are best for skip-
choosing, the skip-
has lost up to
from his/her total
*s a figure
least five meters on
the shore. While this is fine and
good for fair skipping conditions, it just doesn't cut it for the
off-road conditions so obvious
in the background. Since the
probability of positional uncer-
a frame from the
contested kick around
energy falls U
dart through e
rain drops will it take to slant
the stone to a hopeless angle?
This leads into the problem
from  panel  t
, thro
.) off-r.
conditions without the sliglitest
alteration to conventional style.
NO NO NO! First of all, when it
comes to off-road, it's gat to be
thrown helicopter style. The
way the depicted participant is
tossing, there is no way that the
cobble could have enough spin
to overcome the retarding force
of the water whence it touches
down. Secondly, in these condi
the under
If panel four is to be taken
seriously, readers of this comic
are going to think that its proposed technique should result
in an actual skip. Such a
sequence puts the ULLS back
into BULLSHIT. When these
s tail
bad ii
i think less
So what harm c
this? Humans have likely been
engaged in the sport of stone-
skipping from the outset. Even
though it has outlasted all
sports    through   all   history,
skilled practitioners are declining at an alarming rate that parallels the sagging recruitment.
First-timers could succeed at
the outset given the right
instruction. This success is
immensely satisfying and
would likely result in a huge
popularity spike. Rock-skipping is free, sustainable and
extremely bet-worthy. Best of
all, it takes no athletic ability.
For these reasons, it would proliferate in the absence of misinformation. This will not happen
until awareness is drawn to the
seemingly harmless directives
like that which fell from the pen
of Mr. Malta.
PS: If anyone is interested, I am
in the middle of organizing the
World Rock Skipping
Championships of the World.
The WRSCW will be held at
Spanish Banks in June during
low tide (Date TBA). For more
information, email:
PPS: The last tw(
rather agreeable.
demand your copy.—Ed.
va ri coMvcr AiyeciQl
local reviews by Janis McKenzie
Unnatural World
(Tinderbox Productions)
Mark Crozer sings smo<
and usually softly, with a t
Drake, but when the electi
tar and d
is kick n
Campbell around town in her
role as stylish and sophisticated
president of the RANCH Society.
For this EP (a taste of a full-
length CD to come out in the
spring), Campbell gathered
members of Radiogram, Coal,
Flophouse Jr., Bughouse 5, and
Bocephus King in her living
than the Truth" and "I Cant Get
You Off My Mind," you might
be reminded more ofBadfinger
and Big Star. (The keyboard
intro in "A Tragic Man"' is distinctly more Beatles-y.) But
whether it's a stripped-down
post-folk or catchy layered pop
tune, Crozer's lyrics are full of
images of waves, tides, the sky,
and precious glimpses of light.
Is It You?
Even   if  you've   never  heard
Auburn, vou might have seen
singer/songwriter    Shelley
4 march 2002
and laughin' back-
.lise, tliere's a feeling of
tnd cohesiveness that
ill those contributors
overflowing ashtrays
sweet, and untrained-but-vvord-
ly-wise as any Appalachian
child-bride singer taking her
first steps to the Grand Old
Rock and Roll Needs a Kick in
the Eye!
Imagine, if you dare, a husband
and wife musical two-piece who
A 2 of a Kin
(and 1
will take note), 1 doi
tions like this deter r
tening to the CDs that come in.
was a rollicking country-blues-
rock first track with—most
shocking of all—very familiar
vocals. As it happens, this husband and wife team, Marian and
Donnie Lochrie, used to front a
band called BMX, one of
Vancouver's great pop hopes of
the mid-'90s. Kick in the Eye
has BMX's striking girl-and-guy
quirky/glam vocal sound, this
time combined with energetic,
cowboy-boot-stomping songs. If
you remember BMX you'll be
pleasantly surprised by the transition; if you've never heard
Marian and Donnie before,
download a track from their web
site and find out why they
caused such a fuss the first time
www.kickintheeyemusic.com •
It is clear to me that The
Eagles are one of the worst
bands of all time.
I know everything there is
to know about music in the last
30 years. EVERYTHING. I'm
amazing. Eagles fans don't
know any better. They just settle
on the Eagles because of a delicate combination of close-mind-
edness, laziness, and stupidity. I
know that none of you like the
Eagles. You're thinking "I only
wlio no one else knows about. I
I'm going to tell you about
some of the greatest bands ever
to make music. And don't say
you've heard of them because I
know you haven't. Don't say
you liave their records because
you don't. So listen.
The greatest band to ever
come out of England was called
Soft Pussy. They were four fat
Chinese girls who only recorded
one 7" in 1974. They were
absolutely incredible. On
November 4, 1974 they played
their first and last show in the
basement of lead singer Labia
Chow's house. Soft Pussy had
two guitars, bass, and drums,
and they all sang at the same
bullshit by Christa Min
time. Tlie first song they played
was from the 7" they had finished a week before'the show
called "Want to Sex You." The
song was so explosive that the
circuits in the old house couldn't
handle all the power, and a fire,
originating from the outlet in
Labia's basement, started to
burn. The fire spread quickly,
but no one noticed because of
the n
■mg ii
"Want to Sex You." Thev
thought it was all part of the
show. When the song ended,
Labia turned around to look at
her drummer and screamed
when she saw the towering
flames. Everyone trampled on
each other trying to get out the
door, then they watched from
across the street as the house
burned down. All of the 7's were
lost in the fire. Except for two.
One of them belongs to me and I
can't tell you who gave it to me
and told me this story because of
legal issues that are sure to arise
after you finish reading this. Tlie
other 7" belongs to Colin
Newman. He lived down the
street from Labia. He always
heard Soft Pussy practicing from
his bathroom window. He talked
to Labia sometimes, and she had
told him about the show. Colin
Newman came to the show,
alright, but he left before they
even started, with the 7" he stole
crammed in the ass of his pants.
In 1977, Newman and his band
Wire released a little album
called Pink Flag. I know you
have it, you HIP, INDEPENDENT, ARTISTIC readers. Take
that baby out and listen to
"12XU." It's a great song. It's a
great song because COLIN
SOFT PUSSY. It is an exact rip-
off of "Want to Sex You." All he
did was alter the title a little. I
don't know what happened to
Soft Pussy after that fire. Maybe
we should ask Colin Newman.
Look, I'm a nice person. I'm
not going to keep all these
secrets to myself (except for tlie
Soft Pussy 7" which is locked in
a secret safety deposit box), so
here are three ESSENTIAL,
albums you should own, if
you're lucky enough to find
them: Cockoldry's Affarica, Billy
Barf and the Vomitones' Soggy
Mattress, and Metal Lick's Feeble
Grind. You don't know anything
about music until you liear those
albums. Trust me. I'm the best. • /strut & fret
performance/art by Penelope Mulligan
The Other
Saturday, January 12
The Roundhouse
With an opening scene which
could have led into nothing
more than an immaculately art-
directed piece of contemporary
dance, The Other suspended us
in an arctic waiting room. A carpet of fur covered the entire
playing area and the sound was
of a giant buzz-saw cutting
through glacier. A huntress
moved slowly across the land-
hermit, but as she dragged her
burden into the wings, the scene
shifted and a traveler appeared
at the other end beside his pile of
battered luggage. A customs officer entered, pushing his counter
ahead of him and the traveler
opened a trunk to take out a
wild-eyed woman who made
me think of Ophelia. Her wrists
were bandaged. At this point, I
knew these people could be
trusted and felt the chattering,
literal part of my brain get up to
go wait in the lobby.
Montreal-based Pigeons
International has been creating
sensually and imaginatively rich
dance theatre since 1987.
Conceived, choreographed and
directed by company co-founder
Paula de Vasconcelos, its latest
work was inspired by an excerpt
from a Portuguese novel/ The
company states that they consider stage direction to be a form of
scenic writing—a big hint as to
why there's so little truck with
linear narrative, and more
importantly, why that works so
Characters from vastly different times and places would
appear, at first in separate
vignettes which hung in a void
(lighting design played a vital
part here). A fairy tale queen
searched for meaning beyond
her royal role while her dwarf
king was trapped in his raging
pomposity. The traveler and the
wild-eyed one had a boisterous
showdown of Slavic drunkenness. A tap-dancing customs
officer would periodically skitter
across the fur. Fragmented and
dreamlike to be sure, but at
some deeper level I was connecting the dots and wondered
if waking life also unfolded like
this—ripe with possibilities in
the split second before we start
trying to make sense of it all.
The meltdown revolved
around the notion of the Otlier
; who could penetrate
the layers of imposed identity—
a kind of antidote to the ego. The
characters began pairing off in
surprising couples. The queen
found a lover and a shaman in
the hermit who in turn met his
soul-brother in the drunken
traveler. The huntress stripped
the king of his garments and
raised him to his full height
(he'd been walking around on
shoe-clad knees). In one fabulous image, the traveler held the
ends of wild-eyes' wrist bandages and unraveled them as he
tore across the stage, which by
this time had become a road traversed by lunatics.
Their physical theatre talents already established, the
cast—Celine Bonnier, Gregory
Hlady, Anne le Beau, Rodrigue
Protean, Carla Ribeiro, Bruno
Schiappa, and Paul-Antoine
Taillefer—started revealing their
dance chops. Le Beau was a particular standout in a powerful
modern solo and the entire
group erupted into a euphoric
blast of East European folk
dance. The most comical scene
was also the most subversively
liberating: the motley gaggle
laughing its way en masse
through a customs interrogation.
The best theatre inspires us
reminds us to keep dream fragments in our pockets and jingle
them like loose change. It offers
escape only in the very best
sense: the nourishment that
results from a wild upheaval in
priorities. There are books, films,
etc. that do this as well—which
is why I tend to group things by
flavour rather than by medium—but when live theatre can
take us to those places without
the technical freedoms of film or
the imagination gap of the printed word, it's perhaps the biggest
accomplishment of all. It's early
days yet, but I'm betting that this
one makes my top 3 list for live
performance in 2002.
Saturday, January 26
Vancouver East Cultural Centre
It was good to see The Electric
Company back in the territory
that made Brilliant and The Wake
so memorable. With a visual and
conceptual set-up that was both
dreamlike and intellectually
wiry, Flop looked to have everything going for it, Something
wasn't right though, and despite
its strengths, I was wringing my
But I don't want to go all
misery guts on this without saving that there was a fabulous
piece of theatre trying to fight its
way out of here. The story's
skeleton was sound: three partners in an architectural firm are
on the site of a long overdue project. Mere hours before the ribbon-cutting ceremony, they're
still discovering critical glitches
and much is revealed about their
relationships with each other
and to the creative process itself
as they attempt to smooth them
As the partners Cooper,
Crowne and Mclure, David
Hudgins, Kevin Kerr and
Jonathon Young were a physical
theatre dream team—brilliantly
synchronized and inventive. I've
long admired director Katrina
Dunn's ability to powerdrive
choreographed theatre and Flop
contains some of her best work
yet. In one hysterical sequence,
the   architects   were   sucked
through an air duct. This was
executed against a whirling vortex projected on the upstage
wall, complete with actor-generated sound effects straight out of
a vintage cartoon. The hijinx
were given a dark undertow by
the notion that this was the only
connection between two of the
building's wings. It felt like The
Three Stooges were loose in
Kafka's Castle.
The production's greatest
gift to itself was the set, and I
kept wishing that the creators
had trusted it more. Designed by
the company along with Adrian
Muir, Michael Gall, and Robert
Parke Harrison, it was dominated by a big, rusty-looking girder
which the performers worked
with manic energy and skill as
they swung from it, balanced on
slid from classical to contemporary ambient and Muir's dingy
light turned it all into a
metaphor for the furnace rooms
and dark stairwells of the imagination. It was so evocative that
only the lightest touch was
needed to flesh out the script—
and it was here that the writers
should have backed off a bit. Tlie
show would reach escape velocity only to keep grounding itself
with plot clutter which felt at
odds with where the whole
thing wanted to go.
As written, the character of
The Client (Kim Collier) was
part of the clutter. A graceful,
tomboyish young woman, she
snuck around the site instilling
panic in the partners. All of her
hissing and shushing from the
balcony and flitting in corners
grew ponderous and irritating.
Besides, it was hard to buy her
type as someone rich and eccen-
was, by the way, a flying house.
We were told that she kept sabotaging the project because she
was secretly afraid to fly, but she
was much too vague to embody
any of this and so the psychologizing felt perfunctory. It might
have worked better had she
been some tweedy old bluestocking with an Amelia Earhart
fixation. As it was, the flying
business seemed inconsequential and bogged things down.
The company states that
they were "inspired by the beau
tifully absurd works of Rube
Goldberg—the cartoonist who
became famous for his illustrations of impossible inventions
that achieved the simplest task
through the most complicated
means." Inspired is good, but to
actually use the Goldberg contraption as a model for developing a script probably wasn't
such a great idea.
When it comes to things like
gender, race, and body parts, I'm
a bit of a ghettophobe. If there's
a point to be made, then my battle yell is more likely to be "disperse and subvert." Nonetheless,
the festival of solo female performers known as 2000 Women
is irresistible. Now in its second
year, the event has expanded to
5 days and will feature 13 artists
in dance, film, multi-media and
Being a solo act has obvious
advantages—decisions needn't
be discussed, touring is usually
cheaper and it's so easy to
schedule rehearsals—but there
are also unique challenges to
being on yer tod in the spotlight,
and I'm always intrigued by
how indiv iduals pull the viewer
with what they've chosen to
If you've seen the very stylish nude calendar produced as a
fundraiser for the event, you'll
have a passing familiarity with
the ladies in the line-up. There
will be theatre pieces by Jennifer
Anderson, Shannon Cluff,
Espirito Santo Mauricio,
Jennifer Mawhinney, Krista-
Lyn Morrison, and Juno
Ruddell; multi-media works by
Salmon Avalanche, Bonnie
Davis, and Melissa Montgomery; and films by Dena
Ashbaugh, Tammy Bentz, Lisa
G, and Gosia Santor.
2000 Women runs from
March 6-10 at Studio 16 (1545
West 7th Avenue). There are varied programmes nightly at 8pm
with 2pm shows on Saturday
and Sunday. Preview night on
Wednesday, March 6 will feature
5-minute tasters of the live performances as well as screenings
of the films. For full schedule
details, look for a brochure,
phone 604.736.0185 or go to
2000women.com. •
ever wanted 'im?
wax • shampoo • rasta hats • apparei
Be a dread model and get free dreads!
March 24-25/02. Call 604-473-9631 for more info.
5[stFHs3l@3£ ►onqrtieoM
the sound of spectacle by tobias
Democratic rights, if they are to be
concrete rights, niusl be based on the
expression of tonus ot social difference and the freedom of expression
and association ofojipressed groups.
Unfortunately, national security in
the Canadian and other contexts
operates by precisely attacking the
democratic rights of these groups.
Kinsman, Buse, and Steedinan,
"How the Centre Holds," in
Whose National Security?
The gloves are coming off in all
sectors, and one of the most
potentially powerful masses—
the student population—is
awakening once again to fight
the bitter war against tuition
increases. A singular, insulated
stniggle, evident when just this
past year, the CFS embraced
with unbridled enthusiasm
Gordo's (false) promise to maintain the tuition freeze. To be so
incredibly short-sighted, and not
comprehend the scope of the
t  regul,
, fiscal, .
Study and job subsidization programs that allowed the average
student—i.e., not the rich, BMW-
owning variety -to achieve a
;: Wake
The tint
■   Palest,,
is a group who "come
option is hopelessly lost. The
"militant" First Nations move-
seen the
of Work
not even the greatest threat!
Resistance means grasping the
network of oppression...
Power to the First Nations
With Stephen Owen's grandiose
equation between militant First
Nations and Palestinians sweeping Vancouver Sun headlines
recently, it is time to unravel the
roots of this logic. Owen makes
good on his justification for militancy: with generations of poverty creating an unsustainable
livelihood for many First
Nations peoples, it is no wonder,
standing of the Eurc
North American korporate kul-
ture of the konsumer. What is at
stake here is not simply money,
or land-reforms: it is an entirely
different way of being, of living
and relating. Want to learn more?
Phone Video-In Studios
(604.872.8337) and ask to book
the Warriors on the Water video.
Then drop by and watch it—for
While I cannot speak for what the militant First
Nations movement is. I give it the fullest
respect for being a strong, intelligent
movement that sees its goals in a broader
agenda beyond simple referenda and treaties.
What is at stake here is not simply money, or
land-reforms: it is an entirely different way of
being, of living and relating.
policy to Canada's "silent" geno-
backwardness." While I cannot
speak for what the militant First
Nations movement is, I give it
the fullest respect for being a
strong, intelligent movement
that sees its goals in a broader
agenda beyond simple referenda
and Ii
v  It  is
a people, a heritage
I a land
Vancouver's Black Crack
Part II
Vancouver's cultural wasteland
for the flowers that manage to
grow in the cracks of Gordo's
pavement, the more I come to
realize that there is an entire
underground network of healthy
foliage—some who have never
seen the sun, others sunflowers
at this very moment—who are
desperately seeding their petals
and seeking a sunny field. With
every passing Spring, the
resilient Northern flora grows
one step closer to cracking entire
fissures of blacktop. One such
hardy flower is the beautiful
debut release from Kris
Palesch's Active Pass records.
(And before I continue, I must
that the current
trend of naming
tracks and labels after geographic landmarks is a great way of
putting us on the map.)
Stephane Novak,a.k.a. Pilgrims
of the Mind, has created a
panoramic deep-house EP that is
expertly detailed in its production of sound and groove. With
deep basslines anchoring solo,
dubby synthesizer riffs and a
jazz piano which presides over a
strong kick, Urban Fever is a stellar record from a mature producer that more than launches this
label as a purveyor of music with
emotion, funk, and intelligence.
Seattle's Fried Funk +
Seattle—much like Vancouver—
has also launched into the limelight with its fresh labels. The
most notable is Squid Records,
run by the maniacal duo known
as Jacob London, a.k.a. Bob
Hansen and Dave Pezzner,
whose sense of humour is, without a doubt, the weirdest in the
history of house music. With
track titles such as "Gutterballs"
you've just got to wonder what
happens to all that BC bud when
it crosses the border. The most
brilliant release so far is Slom
Time. This EP has everything:
solid production, a catchy sam-
floor-slamming Random Factor
(a.k.a. Carl Finlow) remixes,
making it a crossover hit for
house DJs who want to move
into grooved repetition or for
techno DJs who want to slam the
backbone of the funk. And I can't
help but mention a little something from Craque, alias
Mathew Ross Davis, called the
Trolling for Olives EP. This East
Coast indie pressing of eclectic,
minimal electronica is reminiscent of the diversity that made
Fat Cat records a sound collector's wet dream. According to
soundartist ssiess, it is like driving a marshmallow car—not
too pleasant, because it is a bit
sticky, but still really cool as the
rubbery, marshmallow palm
trees are dancing outside your
sugar-window. Also of note is
the stellar Context 09 by Mexican
artist and member of the Nortec
Collective, Murcof. I've been
waiting quite some time for
someone to redefine minimal
techno with dramatic tension, a
dose of silence, sampled cello,
and stellar production. Well, this
record has done that and more...
Up and Coming
Signal and Noise returns to the
Video-In March 21-24 with a welt
of experimental audio and video.
Watch for Tomas Jirku March
29—he's a Toronto-based Force
Inc/Substractif minimal house
and experimental techno artist...
check www.shnimtribe.com.
Until Gordo is Gone! •
festival of video and soun
1965 frik jrbcySt
6 march 2002 Lill
comics and graphic art by Robin
Two weeks ago my friends
and I went to the Alternative
Press Exposition in San
Francisco. Two days of nothing
but alternative comics from all
over the continent. I managed
to pick up hordes of minis and
indie press what-have-yous but
it sucks because the odds of you
finding any of the stuff I'm talking about are next to nil. So
instead I'm going to wax ecstatic about someone you see
One of our stops that weekend was The San Francisco
Cartoon Art Museum. They
have an exhibit called "Life is
Strange and So are You," a retrospective and inside look at
Dan Piraro—more commonly
known as the brain and fingers
behind Bizarro. You've seen it, I
know you have (it's in the Sun).
Bizarro is a one-page gag strip
full of wit that's beautifully
drawn with heaps going on.
The comics page in any paper is
usually a complete waste of
time, but Bizarro stands out.
Piraro started Bizarro 16
years ago, putting out a collec
tion once a year. Similar to The
Far Side, Piraro challenges the
reader to think. For example:
sign makers on strike, their
picket signs blank. He also challenges you creatively by forcing
you to dredge up old art school
terms so you get the argument
between Picasso and Escher.
He's a humourist for all walks
of snob, but his sense of kid is
still firmly intact. Interspersing
Where's Waldo?-type strips with
puzzles and parodies of other
newspaper strips, he challenges
you to stretch your imagination.
There isn't a single one that
doesn't elicit a laugh. He also
uses that dry wit to make you
contemplate consumerism, the
NI?A and New Ageism. He also
takes all in pop culture we hold
dear and rips it apart.
Intelligent and non-pandering,
Piraro leaves you c
The exhibit mostly consisted of his original strips, with
clever commentary in accompaniment. For instance, worried
that one too many Family Circus
parodies would get him in trou
ble, Piraro was only encouraged
upon discovering that Jeffy
Keane was one of his biggest
fans. The exhibit also showed
off the covers for his collet lions.
I had seen them lying around
the store where I work and they
just didn't translate. It was hard
to tear my eyes away from the
originals: vibrant, bright oils
applied with almost sadistic
But that wasn't even the
piece de resistance. On one wall
stood two huge oil paintings. At
II1 by 6', they were utterly
entrancing but it had nothing to
do with how big they were.
They    were   both    religious-
themed but peppered with a
billion little things, Piraro managed to accomplish the impossible. I stared at his paintings
for longer than two minutes.
The colours were stunning and
practically shouted at you.
More realistic and less stylish
than his comic art, it blew me
away. I have a whole new
respect for the man. Clean,
clear, big, and concise, it was
just how I like my art. It was
also very different from his regular crazy Bizarro stuff.
Unfortunately, there is no book
of his paintings available yet.
It's sort of a hobby. He does
have 16 books of his comic
strips available, though.
While I was there, I managed to get a hold of his Sunday
Treasury which is big and full of
colour. That's when I really
learned all about the man that is
Dan Piraro. Did you know that
he has a plethora of symbols
hanging around all of his strips?
Find the upside down chicken.
Find the rolling eye. Find the
. He has
games to
to tell,
poems to read
out  loud.  He
holds your atte
ition. You
yer Biza
ro like yoi
the re
I of the
comics ii
Like  I
said, I ha
ve a
lew appreciation lor the
>. Tin
c.   lilt
Tip Hor
ming a
the Hippo who played with The
Who. Piraro owns a 1980s
Vespa and boy do they abound
even staged "The All-Mooch
Tour" where he imposed on his
fans, traveled the world and
then wrote a book about it,
There's just so much to look
at, even in one panel. His people and faces exude definite
character. They couldn't be
more expressive. One of my
favourite pictures is on the back
of the book. It's just a lady, licking her cat. The cat is dangling
with a look of such disdain. You
glance over to the woman with
the huge tongue licking the cat
and you know what's going on
in her head: "...I hate my job, I
hate my job, I hate my job." It's
just so weird, completely funny
and entirely engrossing
I stopped reading the paper
a long time ago. You can really
only take so much of the cute
animals/adorable kid racket.
It's nice to see that there is still
someone out there doing smart
stuff. So do yourself a favour,
go down to your nearest used
book store, shell out the 5
bucks, his name is Dan Piraro.
You will stretch those grey cells
and you will laugh your ass off.
(You didn't need it anyway.) •
odio fr<
zines. etc. by Bleek
A Radio Free Press
Guide to zine sighting.
Believe it or not, there are some
things that even I don't Icnow—
even when it comes to what
makes a zine a zine. I've been
running across small photocopied tracts of sorts that are
somewhere in the realm of indefinable. Small two-to-four page
things with barely a hint of
direction or purpose. Yet somebody took the time to print a
tiny leaflet of splotchy photos
with nary a clue as to what we're
supposed to derive from it.
Zine? I don't know. Title? Not
i. At ti
i the
street recognizes my very
famous face, jumps at the chance
for a little notoriety and slips me
their little publication for review.
However through further exploration I read the wonderful
"good news" that God loves me
but I'm going to Hell. Then it
occurs to me that this is not a
zine at all! So what separates the
coffee shop newsletter, product
catalogue, political flyer or nut-
ball propaganda sheet from
what we generally recognize as
a zine? Often the differences are
minimal, ranging from those
rough   little   things   that   are
almost zines to magazines that
have "graduated" to full colour,
glossy covers.
One little thing that measures all of 7cm x 11cm is called
BIBLE SKY (not made by God
this time). Handwritten and
very short, it is full of sentimental content, including a "how to
make wine" page. The editor is
Amber from Box 313, New
Denver, BC VOG ISO (and I don't
even know where that is). This
one I'll have to put in the "quite
nearly a zine" category I just
made up.
During my recent jaunt
through Puerto Vallarta, I found
this veritable zine. With all the
appearance and structure of a
regular half-legal photocopied
zine, i.e., exactly the size of my
own fanzine, 101 CIENTO UNO
is completely in Spanish (big
surprise there) and covers an
interesting range of topics
including the cover story about
the philosophy of Nietzsche,
music, and movie news. Even a
review of the comic From Hell.
Plenty of ads too in this hip
Mexican rag which I'll have to
label "effectively zine-esque."
(Astro publications, Fermin
Riestra 1517, Col. Modema,
Zona     Centro,     CP     44190,
Guadalajara, Jalisco, Mexico)
We can be assured that
NIGNE is a proper zine, and
until further notice I'll label it a
proper zine in function and format. This one mysteriously
appears in places like Zulu
Records and the CiTR offices—
among other locations, I'm sure.
A zine for politically aware
eccentrics, Nigne takes a look at
the current "war-to-end-all-
wars," interviews Scooby Doo's
Velma (was that really her
name?), and includes some
Orwellian and Huxleyan predictions of future world maladies
and a helpful guide on how to
eat bananas (perhaps now I'll
finally get it right). <world-
So all that territory is almost
sorted out, but now we contend
with those zine-like but far more
complicated publications. A few
of our faves have moved on to
glossy covers and may have ad
reps even. I mean, where do
underground-ish but pro-jobby
things like 2600: The Hacker
Quarterly, Thumb, Giant Robot,
Bust, Your Flesh, Grooves or (Aint
Nothin' Like Fuckin') Moonshine,
and many, many more go? Are
they stili zines or have they
evolved into magazine land? Do
they feel relief at not having to
call themselves a fucking zine
anymore? Do they go glossy to
appeal to advertisers or was it
the aesthetic goal from day one?
Do I ever wish to go pro or do I
know? Too legit to quit? I think
I've got a hit song here. Where
do Punk Planet, Maximum Rock N
Roll or even Discorder fit in? Is it
a barcode that creates that separation? A READERS GUIDE TO
($5 bucks to Canada, $4 to the
States. Write to PO Box 330156,
Some of my fave glossies
have fairly new issues that are
on the hippest shelves even as
we speak. During my recent trip
to Mexico I took along one of the
most perfect music magazines;
displays that grubby chamois
cloth called Iggy Pop and inside,
the magazine always features
hundreds of very informed
reviews and interviews with old
punks and the newest upstarts.
There's like 288 juicy pages of
invaluable info on many of the
swellest unpopular music.
If that wasn't enough there's
also another fat mag of modem
rock called SKYSCRAPER with
tons of music info. The recent
issue, #10 is one of the best yet,
with persona] favourites like Le
Tigre, Ladytron, and Arab on
Radar. This also features that
pincushion named Iggy Pop,
plus Destroyer, Hope Sandoval,
Tindersticks, Lost Kids, and
Experts in the topic of asshole journalism, CHUNKLET
returns to the magazine rack
again with this issue focused on
all things shitty. Shitty live
shows. Shitty rock poses. Shitty
jobs and just anything that
Chunklet finds shitty. Neil
Hamburger shows his cheesy
1  this
• ell a
Zine World because the word
"zine" became so popular with
so many major players.
rather condemning look at Bob
Crane (Colonel Hogan)'s
promiscuous philandering. I
laughed a bit too hard at the
misheard lyrics of Led Zep.
There are just a million good rea
sons to get this magazine, especially if you have some negative
fascinations inside your skull.
Maybe you'll want it for the
interview with The Fucking
Champs or to read about the
final days of Don Caballero.
Maybe you'U want it for the
interview some guy named
Nardwuar conducts with photographer Bev Davies, eh? So
many hours of reading pleasure
in this thing, really.
Another zine(?) that's come
Smallville to Metropolis is
COOL BEANS. Every issue for a
long time now, comes with a CD
with the oddest variety of indie-
rock, punk, noise and just weird
recordings. Tlie current CB is the
drugs, alcohol, and sobriety
issue with Lee Ranaldo interviewing William Burroughs,
Rob Crow of the band Thingy,
Pinback, and Heavy Vegetable,
Robert Dayton on drugs (a
reprint from our city's Terminal
City), interviews with Hood,
Loners with Boners, Fluff Girl,
Ben Weasel, Ursula Rueker, and
lots more crap. Easy reading and
a sort of loser, creatively retarded layout (shit, who am I to talk).
If that weren't enough, new
copies of digest form publications are available too! Look for
the new Sound Collector, Copper
Press, Little Engines and
Badaboom Gramophone'. Zines?
Probably not. Zine-like content?
Almost assuredly. I guess it's all
a matter of making up your own
mind about these things. •
7ELF^°£®iffi ^Ipifaqili
get into it
music, movies, more.
or complete rules and regulations. HMV reserves the right to limit quantities and terminate contest at any time. Limit one entry per customer.     WWW. H M V. C 0 ITI 7i
by Bryce Dunn
Okay, forget what I said
about February, March
is already here biting
me in the ass. So without further ado, here's the latest
onslaught to the hit the wheels
of steel in the last little while—
starting with MATT POND PA,
the PA standing for Pretty
Average, I assert from listening
to this three song effort. The A-
side sounds like most of the
Elephant 6 roster, all shimmering strings and harmonies
galore, whereas the B-side gave
Whew, gag reflex intact, I
need something to take the
edge off and I think I've found
it in TRACKSTAR. Two songs
of tongue-in-cheek pop from a
member of The Aislers Set
among others. "The Chord" is a
bouncy song about some
bands' attempts to bridge politics with pulsin' beats. Think
Sloan meets early Superchunk,
and you'll get the idea.
(Omnibus Records, no address
Now, Boston has been her-
Simple Plan" gets some help
from a classroom of pre-schoolers to sing the chorus, and "You
Wouldn't Be A Piece Without
Your Moustache" kicks off with
this line about Tom Selleck and
it made think of my friend CC
Voltage who dressed as
Magnum PI for Halloween last
year—the irony of that just
made me laugh. (Big Wheel
Recreation, 325 Huntington
Ave. #24, Boston, MA 02115
Speaking of Mr. Voltage, his
ft Juke Box
8 Alone
me uneasy Dexy's Midnight
Runners flashbacks with its
banjo-laden introduction.
Maybe the full-length has
promise. Check it out on...
(Polyvinyl Record Co., PO Box
1885 Danville, IL 61834-1885
Drive-In Records from
Grand Rapids sent us a couple
THIRTEEN split, of which The
Clientele piques my interest
with its subdued, minimalist
take on Tindersticks or a
kinder, gentler Nick Cave.
Clock Strikes Thirteen clocks in
with a cover of the aforementioned group with more of a
Euro sixties pop feel. I'm dropping the needle on the second
seven inch from THE MABELS
from Melbourne, Australia and
I'm hearing a lone voice singing
over top a lone acoustic guitar... and now I'm taking it off.
I'm flipping over now to the
sounds of the same song done
up like Stereolab (read: droning guitar effects)... and now
I'm taking it off. (Drive-In
Records, PO Box 888211, Grand
Rapids, MI 49588 USA)
aided over the years for its
innovative hardcore scene (and
on a side note hardcore labels
and their packaging), so it
comes as no surprise that CAVE
IN meet both of those expectations. I seem to remember them
having a bit more bulk in earlier efforts, but when you are
rubbing shoulders with heavyweights like Converge and Isis,
someone has to bow down, so
Cave In decided to head to
more melodic emo-turf and
trade sweaters with Thursday
and Hot Water Music for their
two songs ("Lift Off" b/w
"Lost In The Air"). (HydraHead
Records, PO Box 990248,
Boston, MA 02199 USA)
A band from neighbouring
Somerville, MA also understands the thought behind good
packaging and good emo and
they are called PIEBALD. They
are also the group who thought
up the best album title in recent
memory with If It Weren't For
Venetian Blinds, It Would Be
Curtains For Us All. So with this
legacy to upliold, the boys of
Piebald deliver a cool pair of
crunchy, melodic tunes that
stand up to the test; "Just A
combo THE SPITFIRES have
just unleashed a hellion of a single in "Jukebox High" b/w
"Alone." Just enough power
and melody to keep your fist in
the  air,  but   the   asses   still
r for
their upcoming testimonial of
rock 'n' roll signed, sealed and
delivered by your Spitfires
coming soon to a jukebox near
you! For now, chow down on
this platter courtesy of...
(Glazed Records, PO Box 82006,
Columbus,  OH  43202  USA)
And riding off into the sunset for this installment is
MIRAH, with a tribute so to
speak, of all things Spaghetti
Western. The song "Cold, Cold
Water" done two different
ways, but both tipping a ten-
gallon hat to The Rifleman et
al. An abundance of stark guitar rolling like tumbleweed
alongside crescendo-iiig percussion and gin-soaked vocals
proves a nice touch to this concept recording. (K Records, PO
Box 7154, Olympia, WA 98501
I'll be back in the saddle in
April, so stay tuned... •
Mark Kleiner Power Trio
Love To Night
CD S12ppd
young and sexy
stand up for your mother
Gaga for Gigi
CD S12ppd
The Tennessee Twin
Free To Do What?
CD S12ppd
MINT RECORDS no. box 3m. Vancouver, bc v6B3Y6MINTRBCS.COM thunderbird interview he
What was the most you ever got paid for a show? How did it compare to your worst job?
Sarah claims she made more money working at the K-Mart Kafeteria
than from playing for The Organ.
Are keyboard bands just 1980s cliches like grunge was a tired
Black Sabbath rip-off? Please elaborate in refined English like you
were comparing Mozart to Beethoven.
We're not a keyboard band. We're an organ band. There is a difference. The organ weighs approximately 2500 lbs.
Should Kreviss reform with 10 keyboard players? How would they
compare to The Organ?
We would prefer Kreviss to reform with say, 20 bass players.
Apparently the Vancouver City Council was going to pass a rule saying clubs downtown had to turn down their bass. A newly expanded Kreviss should show up at City Hall and show Puil and his
friends how it's done.
Have any members of The Organ ever had shows on CiTR? Please
describe and include whether the show still exists and if not, why
the show has been discontinued.
Hmmm. Sarah X went from sophisticated news glory to debauched
late night trash, with the now defunct Dead Air Show, which featured
Katie and ex-companion Barb as smut solicitors. The show was discontinued due to, uh, irreconcilable differences. Check the police file.
Have the Organ been recording? (What, When, Why, How, Who...)
The Organ recorded our brand new 7" at Bryan Adams' studio and
the basement of the Argyle hotel, Abbott and Hastings Street, surrounded by teams of hungry mice with water seeping through the
sidewalk and falling on our heads. We also recorded some of it in
Tara Nelson's bedroom. We perform our best when we are surrounded by Tara's panties and brassieres. Pick up the record at
Scratch records or through our website: www.mernbers.shaw.ca/the-
What bands would The Organ like to play with and where/why?
Moxy Friivous, Gowan, and Art Bergmann on the 2003 all-Canadian
Snow Jam Tour.
The Organ boasts members of the infamous Full Sketch who had
a CD out. Is it still available? Is Barb Sketch now a famous artist in
Hollywood and snubbing your very existence?
Yes, the CD is still available while limited quantities last. Barb Sketch
is now in suburban California. She's long forgotten her Canadian
roots and lives on a ranch with her man and a team of horses.
Full Sketch sold unsuspecting buyers shares in their company
SketchCo. Given the location of SketchCo, was the company the
subject of a CSIS investigation? Were payoffs involved?
SketchCo is still alive and thriving. Shares are still available at
www.geocities.com/sketchco. Thanks to everyone for keeping the
dream alive. SketchCo is a fully law-abiding company and has never
been convicted of a criminal offence.
Please provide a short glossary of new lingo coined by The Organ.
Urination station = washroom
The candy place = 7-11
The sitch = the gossip that needs to be addressed immediately
A random = an average boy whose name has been long forgotten
Word up = yeah, that's great
Word down = no fucking way
Ask yourself two questions and lie about the answers.
Question: Why is Phillipines spelled with "Ph" and Filipino spelled
with an "F"?
Answer: Because of dodgy doped up translators living life before
spell check.
Please have each member of The Organ describe their favourite
Sarah: I have a love-hate relationship with The Organ's organ. She
was my first organ, precious and beautiful, but now degenerating
into a moody, unpredictable piece of moldy wood.
Shelby: My favourite organ is my liver for reasons that are obvious
Katie: I love the organ that we use. We're like two giddy, adolescent
girls when we're together.
Jenny: My favourite organ is the Hammond B3 and Leslie that I keep
Quiet Deb: No a
10 march 2002 CiTR
D    J
Synaptic     Sandwich
Saturdays,   8:DD-lD:DDpm DJ  5yd Meconse
Record played most often on your show:
Nuw Idol's Sin, Electric Nature's It's Electric, Christian
Vogel's Whipaspunk.
Record you would save in a fire:
The Cure's "Primary" (live)/"A Forest" (live) 12" singlt
Record that should burn in hell:
worst band you like:
First record you bought:
The Great White North, Bob and Doug Mckenzie.
The last record you bought:
Bluefish, "Three" 12"
Musician you'd most like to marry:
vould like to shack up with that chick— you know th
hick" I mean it in the most politically correct way.)
Favorite show on CiTR:
Homebass or something like that. Whatever!
Strangest phone call received while on air:
Someone called me from Japan—he was a fan of the show and when CiTR
glad he could tune in over the 'net—that's not strange! •
good   times   coming back   again
(recorded by John Sutton, and featuring Jason Tait, both of The Weakerthans)
Saturday, March 23rd - KAMLOOPS @ 12th Street Studios
Sunday, March 24th - VANCOUVER @ The Sugar Refinery
Monday, March 25th - VICTORIA @ Thursday's Pub
Tuesday, March 26th - KELOWNA @ Judge R. Beans
v *9>j
' fjm
r   JK
G7 Welco
■1 Box 27006, C-360 Main St. | Winnipe
IHJI             Good stuff at htfp://www g7
OUT   03.26.02
ning Committee Records   /"JJjk
3, MB | R3C 4T3 | Canada  %*!}
velcomingcommittee.com   '• /**
With .4 _   .__*  _. r^^v^nm
Doors 6 30pm Show 7:30pm Tuc at Ticketmaster, Scratch, Zuki
■ ttrftb SobPop Recordiag? Brtd»t» ■
Beacbruood Sparks
THE PICCADILLY PUB 620 W. Pender St 682-3221
Doors 8pm Tix at door only.
with special guests
EARLY SHOW! Doors 7pm Tix at Ticfcetmasten Scratch, Zulu
eakiishow! sBOBBYCONN
Doors 7pm Tix at Ticketmaster, Scratch, Zulu
Doors 8pm Show 9pm 620 W Pender SL 682-3221 !
alberta slim
now in his 93rd year
by val cormier
12 march 2002
As was noted in the guide to the 1998 Vancouver Folk Music
Festival, Alberta Slim is The Real Thing. Had he been born
south of the border, he would likely have turned up in various
anthologies and been cited as an influence by all sorts of trendy bands.
Canada's oldest yodelling cowboy and composer of such tunes as
"The Phantom of Whistler Mountain" and "When It's Spring Time On
the Prairie" has never achieved the fame of, say, Stompin' Tom, but
his contribution to our country's musical heritage is no less important.
He even pressed his own 78s back in the 1940s, which makes him one
of Canada's earliest indie artists.
Alberta Slim (bom Eric C. Edwards in 1910) has led a fascinating
life. Bom in England, raised on the Prairies, he rode the rails in the
1930s, had his own radio shows, and toured across Canada and the US
with his circus. The Alberta Slim Circus included Alberta Slim and his
Bar X Ranch Boys, Slim's wife Pearl, Bobo the Clown, Slim's trained
horse Kitten, a high-diving dog, Susie the harmonica-playing elephant, and two donkeys—one pink and one blue.
These days Alberta Slim leads a somewhat quieter life in Surrey,
but he's still happy to perform wherever he can find an enthusiastic
audience. Over the past few years, Slim has become a mentor and
mascot of sorts to many in the local roots music community. On
February 5th, some of these younger musicians (Geoff Berner, Linda
McRae, Corb Lund, Sam Parton and more) helped celebrate Alberta
Slim's 92nd birthday, and his music, at the Railway Club.
Alberta Slim, sucking on his ever-present mints ("it's good for the
arteries") chatted with me by phone the evening after his birthday
bash. One of my first questions was about music and what he prefers
to listen to these days. Although he claims to like almost any kind of
music, he's more interested in CKNW talk shows and doesn't keep
up too much with music on the radio.
When asked whether he thought the musicians the previous night
had done justice to his songs, he diplomatically replied: "I didn't have
any favourites there last night... they did a pretty good job, but they
probably needed to practice them a little bit more."
He thoroughly enjoys the fact that his music is pawing to be popular with younger generations, but didn't seem too surprised. "I think
maybe it's the working people... this music has always been popular
with farmers, people working in the forest and the likes. They seem to
be closer to the reality of living. I also think that the higher educated
you are, you probably would be listening to different kinds of music.
"And you take the United States down there. The wide-open
spaces—they go for those type of songs! You know, ranch hands,
singing songs of places they go, the good times they have on Saturday
night. They sing the type of songs that they're living."
In other words, plus ca change...
As it turns out, Allserta Slim has met the man he's often compared
to, Stompin' Tom Connors, and is quick to point out a few differences.
"He sings quite a lot of songs, probably closer to the people and
what they do. I sing about the territory, landscape, the mountains,
more than he does. He sings about hockey games, and miners, which
I don't, and he sings about barroom brawls. He started out playing in
the bars, you know. I never liked doing that."
Alberta Slim then moved on to talk al>out life on the Prairies in the
first half of the 20th century. Considering I can barely remember what
I ate for lunch yesterday, I was fascinated by his recall and ability to
spin a tale with only an occasional nudge from his wife, in the background, to keep him on track.
Alberta Slim's parents, with six children in tow, homesteaded near
Lloydminster before 1920 on a half-section of CPR land "with thirteen
Holstein cows, four horses, and some machinery. We built a house and
bam with the help of our neighbours." Although he doesn't consider
himself to be from a musical family, Slim's dad could play the piano,
and his mom could chord on the organ. "We used to sing around the
organ nights after work, or whenever we could find time."
He learned to play the fiddle at about the age of 13, when his dad
brought a fiddle home and announced to the family that whomever
could play "God Save the King" first would have it. When he left
home his father gave him a banjo; eventually Alberta traded both the
fiddle and banjo for a horse, gaining a guitar thrown in as part of the
deal. This was during the "hungry '30s," when he rode the freights
(freight trains) for a couple of years and worked across the Prairies to
BC, teaching himself to play guitar along the way. He even worked
briefly at a hotel on Mayne Island owned by a former Klondike
By the late 1930s Alberta Slim was singing on the radio: his first
gig was on the Army and Navy Show on CKCK Regina, (sponsored
by the department store chain) singing a Wilf Carter tune, "There's a
Love Knot In My Lariat." He went on to regional fame as a 1940s version of a morning jock. As his press kit boasts, "many a farm girl
milked cows to the rhythm of Slim's runes." CKNW brought him to
BC, which eventually became his winter base while he worked and
toured with his circus.
In the late 1940s, while gigging around Nova Scotia, Slim composed a song called "When It's Apple Blossom Time In Annapolis
Valley" that, in his words, "set the whole province afire." RCA signed
him shortly afterwards. To this day Nova Scotia is where he sells the
most records and songbooks. He was very happy to return to Nova
Scotia last summer for the Stan Rogers Folk Festival in Canso.
"Nova Scotia is very good to folk singers, and some of the greatest singers come from there, like Wilf Carter, Hank Snow. The people
down in Nova Scotia don't live to make money in business—they
work to live and be happy. They're not out to talk money all the time.
They entertain themselves with house parties, and most people play
some kind of instrument"
Alberta Slim continues to perform and can still yodel up a storm,
as he showed us at the Railway Club. He enjoys touring and has
become popular on the folk festival circuit, hi the past few years Slim
has played at the Vancouver festival, Alberta's North Country Fair,
Frostbite in Whitehorse, and has his booking agent chasing down
more festivals. "But at my age I only want to play about a half dozen
a year," he concedes.
Besides performing and composing (he sang me several verses of
a new, yet-unnamed song over the phone), he keeps busy overseeing
the sale of merchandise on his website (5 CDs and a song folio) and
managing his real estate investments in the Fraser Valley with the help
of Pearl and their two children. "And biddly-boo, I'm a cowboy
Alberta Slim's secret to a long life? A brisk walk in the morning, a
sensible diet including lots of veggies, no red meat or white sugar, and
green tea "because it's supposed to be helpful."
Slim's day begins with the "Alberta Slim concoction," which, from
what I could gather, includes cod liver oil, blackstrap molasses ("that's
got more goodies in it than anything you can buy"), flaxseed oil,
ground-up garlic, apple cider vinegar, honey, and grapefruit juice. "I
drink that every morning before I go on my rounds."
"Helps to keep the weight down," says Slim, who, true to his handle, carries a trim 127 lbs. on his frame. "I think a lot of people are carrying a lot of weight around which is not good for them at all. And
they could easily take it off if they took my concoction!" "Don't you
think I could sell it?" he laughs. •
For more info on Alberta Slim and his music, or to book him for your next
hoedown, see his webpage: iuimo.albertaslim.com &tW®%%1 parr
My favourite Mark Szabo song goes something like this: "Tell me what you remember,' I'll think of the smell
first and then of the people... I remember when you came to see me you always seemed nervous and under-
rehearsed. Through the drugs I could hear you talking. I heard nothing that I would acknowledge. That never
stopped you. 'Your sister's fine, she's at home now, helping out around the house. Your mother's better, she
sends her best. She's not the same since the arrest.'"—"Since the Arrest"
I met Mark at a restaurant in Chinatown, and he managed to stuff fake meat into his mouth—despite the
microphone I held in his face—while people outside stuffed needles into their arms like thermometres into
turkeys. So I thought of his song about prescription drugs and institutions. I don't relate to the lyrics. But it's
my favourite because of the melody. Ask Mark to sing it to you. He's the intelligent and considerate one in
Capozzi Park who looks like a street bum.
1% *:'
DiSCORDER: I heard you called me a hag.
Mark Szabo: No, I never called you a hag.
You called me a hag to someone who was referring to the
review I wrote about your record.
No, I know what it was. Somebody else called me up and
they said, "Did you see the Discorder? What a hag!"
You don't think my review was positive?
I don't think a positive review uses the word "shitty" more
Fair enough. So why is Capozzi Park breaking up?
'Cause we all want to do other things.
How long have you been together?
Since 1998, I guess. When I started doing the Mark record,
Chocolate Covered Bad Things, it was just me and then Max,
gradually Marcy, and when Steve was in, it was Capozzi
So then why are you putting out a record now?
Bloody-minded stubbornness.
Yours or the band's?
Oh, mine. Mine entirely.
Who put the record [The Record of Capozzi Park] out?
Me. I hate to let things go to waste. People are in bands
either to be in a band and be known as being in a band, or
else they're in a band because they have a lot of fun playing.
Sometimes they're in a band for this dream, for the topper-
most of the popper-most dream that has led so many astray
So are you going to start another band?
I will play for food.
I heard that Marcy Emery was going to put out a CD of all
your songs with her singing them.
Yeah, she's been talking about that. She's been doing a lot of
groundwork for it. What I did was I made a little booklet. I
figured out how my songs went, if I weren't me, and figured out what chords I was playing. I really like major
ninths, I found out. I did that and gave it to her, and she's
been talking to people around town who might be interested in playing with her.
You won't be playing with her?
I don't think I should really be directly involved. I think it's
better the other way. I'm sure we're all curious to see what
I'd be like produced well. Which is exactly what she said at
Would you rather have a record produced by Brian Eno or
Colin Newman?
Brian Eno. Colin Newman—did you ever hear his second solo one, Not To? About half the songs turned up on
Wire bootlegs or live records, and just in playing with
the arrangements he demolished every one of them. You
know, like, made everything go at half tempo because he
didn't want to do that thing anymore [Makes Wire-like
guitar sounds].
But those were his own songs.
Yeah, and you have that choice with your own stuff. I've
always been pretty fascinated with that process of whereby
a song becomes something else. I always like to play things
differently, but I don't play things differently too well, I
guess. I can't really get a convincing samba...
Going back to the booklet of your songs you gave to
Marcy, how did you figure out which chords you were
| ft? CBGIiffl WW
playing for normal people? Don't you play your guitar upside-
Yeah, but I play right-handed guitars. If you're left-handed you have
three options: you can buy left-handed guitars, of which there's one
in every forty guitars, or you can play right-handed and |ust go with
the flow, and that makes sense because you can use everything, but
I wanted to be able to play every guitar, but it just didn't feel natural playing right-handed. The chords are the same, but the fingerings
are different. I think every chord has a name. The hard part was
finding some of the names for the chords. I was going down to the
music shop and browsing through their 6300 chord dictionaries and
just looking for the thing I did with my fingers.
People I play with have a hell of a time at first. Anytime I've
ever played with somebody, we'd start playing something and
maybe halfway thorough the song, they'll realize that they can't figure out what my hands are doing, and then they'll realize that it's
I'm going to draw you a square with my finger: this corner is
Frank Zappa, this comer is Eddie Van Halen, this corner is Tom
Verlaine, and this corner is Kurt Cobain, and the middle is a really sucky guitar player. Where would you put yourself as a guitar
player in that square?
I'd be probably more towards the Tom Verlaine side, of the four. I've
never owned a distortion pedal. When Superconductor first started
up, we'd play together—when it started up it was everybody who
could make themselves heard—and I couldn't hear myself because
they all had the power.
You still, to this day, have never owned a distortion pedal?
I don't think I've ever owned a distortion pedal.
What's the effect on "She Wants Fun?"
Oh, it must be someone else's distortion pedal.
It's not that you haven't used one, you just don't have one of your
I have used them, and distortion is one of my truest friends. There's
something about it being really easy—"I'll just press this button
down." People use it to show a change in dynamics, but they're just
playing the same thing.
Tell me about the last song on the album. Who is that?
Tliat's Robin Frye. He was in the band for several months. Now he
lives in Halifax.
So that was a salute to your friend Robin?
Well, he was in the band at the time, and once in, after the initiations and all, you're in a lifelong oath of secrecy.
I wasn't sure that anyone else wrote songs in Capozzi Park,
besides you.
Oh, yeah. Josh writes. Josh wrote the music for "Production Booster"
and "Statutory Holiday," and Max wrote the lyrics for that. Marcy
wrote a fair amount. Robin wrote. Steve wrote, although he didn't
write very fast. I don't think we ever finished something of his.
How about the recording of the album? It sounds like you didn't
do it all at once.
Well, we played it all at once.
I meant, did you record all the songs at one time?
No, it was over the year 2000.
All at different places?
At home, at the Sugar Refinery.
So the live track ["Now"] is actually live. I thought it was fake.
Like "Farmer John" by The Premiers. No, it was actually live.
Do you get frisked a lot?
Maybe I'm using the wrong word. Do people ever think that you
steal things because of the way you look?
Yeah, once I was at the comic shop and the portly gentleman behind
the counter decided that he saw me steal something, so he parked
himself bv the door, and I went to leave, and he went "Excuse me,
what's that in there?" and he reaches in my pocket and there's nothing there. So he checks the other pocket and there's nothing there,
and then he goes, "Okay," and goes away, and I go "An apology?"
and he just shrugged.
I thought that you would say "Yes I get frisked all the time
because I look like a street bum."
I think there's something in my carriage that implies that I might be
a disgraced member of the upper-classes, or at least upper-middle,
some kind of down-at-heels class traitor.
What's the worst word you can think of that starts with an F, ends
in a K and is four letters.
Uh, fuck.
There's another word that's much worse. Change the C to something.
Fusk. Fusk. What? You want to make me say "funk?"
I don't agree. I think that there's something great about funk. Why?
As a word especially, it's horrible.
Originally, funk was that musty smell under your privates.
Would you describe Cappozi Park as being funky?
We'refunkay. That's six letters.
So Mark, when are you going to get famous?
At my martyrdom, I think.
I think so too, unfortunately.
It's a hard thing to face. I remember being 22 or something and really wanting to do music, knowing that there's no way I'd ever make
money doing music, and then somewhere I was reading an article
about someone who was pretty big—I think it was the guy from The
Liars; he was pretty big at the time—and he started talking about
how he did the album at night while he worked his day job, and I
realized, "Oh! Everyone has a day job!" Everyone short of, I don't
know, Sonic Youth and Elvis Costello had a day job. And I went,
"Okay, this is what I'll do: I'll play music and get a day job." Max
became a carpenter, which was really smart. He's like "I want to
play music. I'd better have a useful trade as well." 1 did not do that.
I think this is the end of it. One last question and please don't lie
about it: Do you have any STDs?
Um, I used to have chlamydia. And this thing [points to his mouth],
my doctor told me it was angular cheilitis—this should not be going
on tape. It was a little split m the side of my mouth, and it kind of
scabbed, so I yanked it off, and over the space of a week it came
back with these little tendrils, and it's really freaking me out. •
Capozzi Park play their final show on March 7th with The Battles al the
Anza Club. If you miss it, there's always The Record of Cappozi Park
and Chocolate Covered Bad Things. The former members of the band are
still making music in various tight leather outfits (Clover Honey, Amy's
Rocks, Miniature Pancakes, Ackley Kid, America jr., southern acific-,
Baron Samedi and, of course, Mark).
13E[FkgSi®iffi //■/. //    /   //// I I
Six questions with four people. This is my first attempt at the ->
email interview, and I discovered there can be a nice side effect.
By breaking the band out of a group, I was able to hear all four D
of their voices. Neat! Viva technology. What follows is the °
unedited response to my email questionnaire to the members of
the Intima. A band based out of Vanolyland, Camerica, they x
play some nice music with guitars and drums and a violin. ro
The    Intima,
Andrew      / /      / /
DiSCORDER: Why are you in a band that actively tries to promote
your music (i.e., selling CDs and touring)?
Good question. I think the selling and advertising is a side product of
making music we love, travelling around with it, and wanting different kinds of people in far-flung places to hear it—this in a capitalist
society where to stay afloat financially vou have to "play the game," at
least to some extent. We didn't really start out with any sort of grand
blueprint. In the spring of 2000 we went on a brief'tour down to
California and back (with a bunch of homemade tapes), and while we
were in the Bay Area our friend George Chen offered to release something by us on Zum, the label he runs with his sister Yvonne. From
Thanks a lot for doing it, though. We all appreciate it.
do interviews anymore because they are contrary to my per-
e. Selling CDs, playing for money, and just simply operating
system is a hard reality to swallow, a necessity (we all have
i stomach), but still a pain all the same. Answering faceless
:o be read by faceless people only reinstates my sense of
and betrays my sense of things. I do like to discuss things
l>, but not through the lens of a band that is somehow in the
. and the "eve" seems to be focused on something akin lo a
sonalitv." I've been trying to create tangible things with my
imaginary ideas with my mouth.
Despite the recently popular pastime of trash-talking Olympia and
mass-migrating to Portland, I like Olympia a lot. It's a strange cross
between a less ethnically diverse Commercial Drive (with the rest of
Vancouver chopped away), an all-American city, a big summer camp
for bratty, homy art and music kids, and a hard-drinking port and logging town. Yes it's claustrophobic, inbred, sheltered, and boring at
times, but it provides a nice contrast to the big-city alienation I experienced in Vancouver and, proportionally, there are a lot of good people
here doing good things. I certainly couldn't live here forever, but
Olympia has been good to me so far.
Themba   / /
/      /
v lite.
Nora      / /
What is the cohesive element of your band?
Well, we're two brothers and a couple who are friends and share at
least vaguely similar ideas. Otherwise, we have a pretty sizable age
range, a variety of different musical tastes and backgrounds, and in
interviews you'll hear us sometimes saving starkly different tilings.
We try to operate by consensus, and we all share a desire to be a part
of this project while accommodating our individual desires and needs.
You seem to all live in different cities. How does this affect your
practices? How did the band come to be?
It makes things difficult and occasionally absurd. The band started in
Olympia; then Alex and I moved down to Portland over a year ago.
We practice twice a month, usually; one weekend in Olympia, one
weekend in Portland.
Looking at your band's website, you seem very political in nature. Is
there a common band message that you are trying to establish?
I don't know if I can pin down a common message. I've been writing
the lyrics, but that's just me. As I've said in just about every interview
we've done, I'm tired of the word "political." I feel like it too often
alienates people with its air of exclusivity. I'd like to make music that
reaches out to people in general, not just anarcho-punks or some other
sub-division of the industry of Culture. And I don't want to turn people away from us because they'll just assume that they're in for a dose
of arch moralism and unimaginative music. On a simple and personal level, I'm interested in trying to peel away the layers ol bullshit that
separate us all from one another and from the earth beneath our feet.
I also play in a fairly traditional musical group. Somehow these
themes and activities overlap, for better or worse. Having said all that,
I cheer when I see Argentines looting the parliament building in
Buenos Aires, rely on herbs to Slav healthy, usually identify myself as
on the
if their n
iVith   tl
round. I just don't like being put in a box.
What are your day jobs?
I'm a sub worker in a program for homeless kids that has two shelters
and a residential house.
How do you like your respective cities? As you all live in different
places I assume you must have certain reasons for your selections of
There's a lot going on in Portland right now, with a constant influx of
young people, and plenty of creative ferment. I'm glad 1 left the social
claustrophobia of Olympia. At some point, after living there (and pre.
viously living in Missoula, Montana), I came to the realization that if
1 was going to live an essentially urban life then I might as well
expand my opportunities for meeting new people, exploring new
places on my bike, thinking about architecture and history, and on and
on. I feel more settled here than I ever have, but then maybe I'm just
getting old.
Alex      / /      / / / /
writing you to tell y<
Why are you in a band that actively tries to promote your music?
For quite a while (while I was a depressed and alienated UBC student
living in mv parents' house in Burnaby) 1 never dreamed of doing, mu Ii
a thing—any attempt at connection with anyone, let alone people I'd
never met - seemed too terrifying to imagine. I was a big fan of zines
(still am) but couldn't fathom what drove people to spill their art, their
ideas, then most intimate toolings and expressions out onto paper and
send them all over the place for everyone to read. I still don't quite get
it, but I know that I'm a lot happier to give and receive those things
through music than when I had completely isolated myself. Now I'm
making connections with people all over the place, and have a much
stronger sense that there's a bigger community out there.
We hardly cover the cost of printing CDs, tour gas, and car repair,
so I don't feel like were being exploitative or profit-hungry at all—definitely part of a network of equal exchange.
What is the cohesive element of your band? You seem to all live in
different cities. How does this affect your practices? How did the
band come to be?
Initially I lived in Vancouver and the three guys lived in Olympia, playing together as the Intima about eight months before I joined. I was a
lonely kid at UBC commuting in from Burnaby who had the good fortune to fall in with those notorious, ruckus-raising APEC-tighling
punks, who dragged me down to Olympia one day (for it is a truth
universally acknowledged that at one time the entire crew in APEC
Alert! had crushes on the entire population of Olympia). There I met
Andrew, and soon Alex and Themba. We bonded in WTO-stricken
Seattle, I did a couple of overdubs for them, and their invitation to join
the band was my ticket out of Burnaby. I moved back home once or
twice while still plavmg in the band—one month I lived in Vancouver
and commuted down on the Greyhound every single weekend! (Five to
seven hours each way, depending how vigilant the border cops were
about my oranges). Since then, a lot has happened, including Alex and
Andrew moving to Portland. But there's a lot of overlap (socially, politically, and musically) between Olympia and Portland, and a two hour
drive really pales in comparison to the Oly-Vancouver marathon!
Looking at your band's website, you seem very political in nature. Is
there a common band message that you are trying to establish?
We're pretty different people in a lot of ways, and we certainly didn't sit
down one day and say, "Okay, this is our ideology, let's shout it over the
rooftops!" Andrew writes all the lyrics and is responsible for most of
the content of the website, so his voice is the one people outside the
band hear most, but we all have input and make most decisions by consensus. I think the band serves as a venue for each of us to express and
live out our beliefs, and meet people everywhere who share our frustrations with the world we live in.
What are your day jobs?
I work as a caregiver at a group home for four guys with developmental disabilities (plus one guy is in a wheelchair). I'm a poo-wiper-upper,
a cook, an ass-washer, a mama, a janitor, and a referee—I'd highly recommend it. Getting to know the guys has been an amazing experience.
How do you like your respective cities? As you all live in different
places I assume you must have certain reasons for your selections of
Why are you in a band that actively tries to promote your music?
I love to travel and I love to play music and in our financial position
selling CDs is the only thing that makes both of those things possible. I
also like to support the underground networks that are in place. Kids
from every town realizing that there are kids in every other town. I put
on more shows in Olympia than I play at. Good question.
What is the cohesive element of your band?
We aren't always the most cohesive people, to say the least, but we all
really like what we're doing and we've all been friends for a long time
(Nora being the most recent addition). And we all come together really
well when it comes to music. We like what we get out of it and have
fun. If I don't play music for a long time I get really twitchy and weird.
You seem to all live in different cities. How does this affect your practices? How did the band come to be?
It's been rough, that's for sure. Lots of time up and down 1-5. We practice a lot and I think that having us live in separate towns keeps us really focused at practice. We don't really have other places to go or things
to do. It gets pretty stressful too because we lose a certain element of
spontaneity and everything has to be planned out well in advance and
we don't just hang out as friends as much (which sucks).
The band came to be in Olympia when Alex and Andrew were still
living here. Andrew and I played together for years before Alex started
playing drums with us and that was the band for a while, just the three
of us. Then we met Nora and she recorded violin on a song or two and
we asked her if she'd like to move here (she was living in Vancouver)
and join. And she did. It was a little weird at first just because we didn't really know her very well and it's hard to play music with people
you don't know—or at least it is for me because I get somewhat self-
conscious. It seems like to gel musically you also have to do so on a personal level, which we did.
Looking at your band's web-site, you seem very political in nature. Is
there a common band message that you are trying to establish?
It would take us years to work out a common band message. And if we
did, it would have its fair share of addendums, corrections, and conditions. We all have pretty specific personalities and personal ideologies
but I think we all agree on some very fundamental things. Alex,
Andrew, and Nora have all really changed how I see the world (so has
being in a touring band) and I value that. Collectively, this is how I look
at it: we try as best we can to live our lives in contradiction to the pervasively oppressive conditions that surround us. We're pegged as political and radical all the time and we definitely don't strive to be
categorized like that, it's alienating and it provokes a feeling of superiority or separatism that I really don't like. It makes politics something
you're part of or not, which I don't think is the case.
What are your day jobs?
I work at a bookstore in Olympia called Orca and try to do other things
on the side. I really like doing graphic stuff for people and right now I'm
designing the poster for the upcoming 5RC Jamboree tour. It's making
me really excited.
How do you like your respective cities? As you all live in different
places I assume you must have certain reasons for your selections of
I feel like I live in both cities. Olympia can get small and Portland keeps
me from feeling trapped. But Olympia has lots of really good things
going on and strong community that I don't much want to leave. It's a
love/hate relationship, though. Tliat's for sure. •
U march 2002 Photo: Jane weitzel
Record players hove come a long way since the beginning of the. Twentieth Century. Somewhere near the end of
this bloody century, enterprising music lovers figured out ways to beatmatch, mix, and scratch vinyl records
on Technics 1200s, and the cult of DJing was born, DJing, however, hos always treaded o fine line between
art and craft. Not Quite o radio disc jockey, ond not quite a live performance, the BJ as a musician ond
turntables as on instrument-are in a grey area that oscillates between becoming an ort or a- craft. As we
enter the Binaries, DJing has formed two explicit camps: the hip-hap turntablist and the "dance DJ," Of the
two, hip-hop turntablism has managed to establish itself as an art. The international DfCs provide a way to
judge competitors, and many advanced turntablists have invented new forms of scratches and cuts-which can
now be written down using a number of hio-hop "scores." Becoming a talented hip-hop DJ takes years of practice and talent, and the hip-hop community con spot a good DJ from a bad one a mile off, But'what about the
"dance" DJs? The category itself is already problematic, for many non-hio-hop "turntablists" do not consider
themselves primarily a dance jukebox. The question is: what makes up the "art" of "dance" turntablism?
Part  I
Tobias v
The Art and the Craft of Turntablism,
The DJ  School.
1 I and
A Short Manifesto of Turntablism
Turntablism at its fullest has several different aspects of control: tac-
tile (physical manipulation of the vinyl), spatial (effects
I and processing), frequential (EQ manipulation), compositional (ordering and choice of the tracks), and auditory
(the volume of the track, and use of silence, such as in cutting). All of this is combined in the mix, which is the
blending of the records using the above techniques through the further skill of beatmatching and compositional arrangement (when to
drop the track, and how, and at what volume, and how quickly to
bring it in, etc.). The mix is an open space of possibilities, and primarily requires the automatic achievement of beatmatched records.
Advanced turntablists, such as Detroit's Jeff Mills, play with the
beatmatching structure (setting one record off by an eighth of a
beat, for example), but this is within the general beatmatch of the
two records at the same pitch. The mix defines the DJ's originality, her vision of the music, her response to the music, and not only
her interaction with the crowd, but her reaction to the record's
effect upon the crowd. A movement of Dancefloor Dialectics,
where the moment of collapse, of spectacled and spectacular simulacra, is the mix. But even this notion of the mix is one among
many mixes. The dancefloor is a presupposition, and the notion
of the crowd and its expectations a concept and a structural
desire: the turntablist learns to utilise the dancefloor-mix as one
way of lengthening tension or bringing about closure in a long
procession of mixes, each which treats the listener in a different
fashion, thereby reconstructing the expectations built up by the
crowd of the dancefloor, of dancing, of the necessity of movement, of the proper mode of accepting or rejecting, relating or
disassociating, of essentially reacting to the sounds emanating
from the speaker stacks.The mix is the aesthetic and creative
moment of the DJ, the moment when all is lost or won: a
moment of brilliance or defeat when, at the cusp of the successful mix, the tracks coalesce to become more than an amalgamation of sounds and move in orbits of power.
For DJing is a position of cultural power. With turntablism
comes a responsibility, as with any art. However, because DJing
is an aural medium, and one that pervades the senses to a powerful degree, bringing about a reaction from the audience and
creating entire sets of expectations, hierarchies, and contexts, it is
a responsibility that is infused with a particular thread of ritual
power. For Paul Miller, aka DJ Spooky, the DJ can act as a "memory selector" by juggling, cutting, and pasting cultural signifiers
into new contexts and selections, thereby deconstructing traditional references and recontextualising the present experience by
remixing the past in real-time. Such a position is a refraction node
for the dissemination of power, channeling aural signifiers that
trigger memory associations that can powerfully move an audience: the result is a ritual of remembrance or reworking of the past
to create future-memories, such as the desire of early Detroit techno. In general, the DJ can slip into two modes: that of the commercial Carnival—example: the Roxy on a Saturday—and the
deterritorialized TAZ—examples: the warehouse break-in, the forest party, the late-night one-off, the 5 hour set of a sweating house
DJ who cries when he drops George Clinton into a minimal house
The art of DJing arose in a myriad of socio-political contexts
across the globe, all of which have in common a cultural investment
in musical interpretation which, in its freest form, is the physical
embodiment of music, be it in dance or deep listening. In Europe,
such a history is predominantly that of the lower or nomadic classes (the Roma, the Irish jig). The aristocrats did not get up and move
to the orchestral scores of their conductors; indeed, they were stratified beyond compare in social hierarchies of extreme complexity
that simply never granted them the opportunity to even consider
such a radical prospect. The Western ball was a carefully constructed semi-Carnival, primarily designed to enforce patriarchal rules of
male privilege and genealogy through arranged marriage. It was
really only with the lower classes that a radical experience of music
survived. I do not wish to go into a deep analysis on this point
except to note that musical-dance culture often traces its histories
through oppressed peoples, through resistance movements, through
alternative sexualities, genders, and politics: Jamaican soundsys-
tems, the resistance to modernism of Detroit techno, the sexual liberation of Chicago house, the Temporary Autonomous Zone
anarcho-rave soundsystems, the psychedelic drug explorations of
desert and forest parties, fhe links to the politics of funk and punk.
The music will always hold its most potent liberating force at the
hands of these movements; this is why the Top 40 dancefloor is not
so much a space of liberation as it is a cage of patriarchy and capitalism, where sexism dominates in fashion and social interaction,
where advertisements are bombarded upon the audience through
visuals and through the music itself, and the DJ becomes a glorified
s highball a
)   V
'Teaching Sonic Power: the Dj School
It is the responsibility inherent with these forms of power
that bring us to the question of the DJ School. For what is
the responsibility and position of a DJ "school," a commercial and
financial endeavour, in light of these reflections? What forms of
DJing is the "DJ school" teaching, and thereby, what forms of power
are being taught and emulated? How does a DJ school teach cultural signifers and histories of other cultures? How does a DJ school
teach memory-responsibility?
The Rhythm Institute, situated in Boomtown records in
Vancouver, is a new DJ school that caters to beginning DJs. Run by
house DJ Leanne, along with accomplished DJs Jay Tripwire, Yann
Solo, Wood, Ricco, and Skinny, TRI is a good case study for the
emergence of the DJ School. TRI is not being singled out for any reason other than it is new, accessible, friendly, and—according to its
website—"the first of its kind in Western Canada." It is perhaps
worth looking at the rest of the statement present on the TRI website
before we continue as it gives a good idea of the commercial goals
and representation of the school and its mixed position in regards to
aesthetic, political, and artistic goals.
"The Rhythm Institute DJ School is the first of its kind in
Western Canada. Students receive hands-on training on how to perform all the skills necessary to become a successful DJ using industry-standard technology. Our critically acclaimed, professional DJ
instructors take you step by step through all of the latest mixing and
turntablism tecJiniques, from beginning to intermediate levels. The
best thing about DJing is that you get the chance to express yourself,
be creative and satisfied knowing that you are creating the music
atmosphere. To achieve this, it takes time, hard work, and a lot of
practice. TRI is here to help you accomplish your goals!"
The statement in itself is nothing new: it is a rather straightforward piece of advertising lifted from the corporate world. Because
of its transportation, the advertising mixes with the subcultural
roots of DJing in a very odd way: the contexts are mixed, crossfad-
ing the beats with the suits. TRI claims that it will teach you all the
skills necessary to become a successful DJ. The emphasis, then, is not
on teaching skills to learn an art, such as learning a violin; the
emphasis is squarely upon success. What determines "success" for
TRI? This is unclear whether it is successfully completing the requirements of the course (learning how to beatmatch, etc.) or, as the statement seems to imply, becoming "successful" as a DJ—and by this,
do we mean artistically or financially? Is there a difference? Or both?
TRI also claims to teach all of the skills necessary—this would
include, it would seem, talent. Or does DJing not require talent? Can
simply anyone DJ? Leanne does realise that talent is involved; yet
this is the implication behind the advertising: with all of the skills at
our disposal—including the "latest mixing and turntablism techniques," which I find fascinating, as a statement, for it sounds as if
these techniques roll off a production line or come from some DJ
think-tank—the DJ school will make you successful, irregardless—
wait, almost irregardless: there is a work ethic involved: "To achieve
this, it takes time, hard work, and a lot of practice." This is a neces
sary caveat, and a good one; yet what is being achieved?
"Success"—which perhaps can be measured as power, a very particular, perhaps even selfish, power. DJing is the "chance to express
yourself"—that's yourself in those records, and not, say, the producer's musical soul. Likewise, DJing is the chance to "be creative
and satisfied knowing that you are creating the music atmosphere"
(my italics). Much emphasis is placed on the powerful role of the DJ
as the original creator of the "music atmosphere." The lessons are for
you, you are the DJ, and the DJ creates the music—it's a tasty lead-
in that entices people to be that power-position. For you are always
satisified with yourself, and because of this, you will be satisified
with the "musical atmosphere" created by you. Are these good reasons to become a DJ—that of you? The reasons given certainly, perhaps unconsciously, latch onto several key principles: the DJ is a
node of power, and wherever there are nodes of power—however
simulated—there is an influx of desire to be that node of power; in
fact, this is the primary focus of the entire statement: be successful, be
satisified, be a D].
It's the car-ad model, the SUV tactic of DJing: be free, get out
into nature, with this metal beast... become what you worship: you
are the one I am speaking to.
It is necessary to point out that The Rhythm Institute's
Advertising statement is not particular to their business, and I do
not wish to single them out in this regard. Rather, it is reflexive of the
way DJing is being sold as a commodity of the Carnival. The marketing strategy is that of the my generation—in this case, advertised
II   I Techniques of the Trade vs. Aural Poetics
// / Upon checking into the school, the student fills out a
questionnaire that asks them why they want to DJ,
whether they are passionate about it, and what sort of
music they like. A lot of effort is made to situate the student in a context that can be utilised by the teachers for instruction.
Leanne, who is the house music teacher, explains to me that some of
her students are party-goers and dancers who simply wanted to get
behind the decks; one particular student, however, is an older
woman who wanted to learn something new, and has no prior experience with the subculture. Other students include musicians who
want to incorporate DJ skills into their instrumental capabilities. It is
obvious that the DJ school has the potential to become a truly heterogenous space of cross-cultural influences. Perhaps because of this
diversity, TRI includes a rather broadly comprehensive and condensed handout explaining the history of the area that the student
has signed up for (dance/electronic, urban, scratching). In a way,
this pamphlet is informative, as it provides historical background; in
other ways, it is a packaged commercialisation of an anterior culture, not to mention generally free information, ami leads to all sorts
of questions: why are people paying to learn about a foreign culture, and then master a skill from that culture? In the mix is an element of musical tourism along with curiousity, and it raises the
question of how and what should be taught, and why. For underneath the cultural signifers is the underlying question surrounding
the very existence of the DJ school: why are people paying to learn
a skill that has never been taught up to this point? The majority of
today's DJs are self-taught or learnt from a mentor. DJ Leanne recognises this and attributes the need for a DJ school to a breaking-down
of the previous DJ culture that provided mentors. Although I can
understand her answer, 1 find it hard to believe. Locally, organisations such as wickedhouseparty.com and blackholeclub.com have
created organised gatherings for DJs and musicians to meet each
other and learn in a supportive environment. Personally, as a self-
taught DJ, I know it is still possible to pick up decks and figure it all
out. DJ culture is alive and well—obviously well enough to sell it.
The question is, if vou are going to pay to learn from a teacher, what
are you learning and is it worth the money? •
de lias been excerpted from a longer treatise on turntablism called
ralism: The Art vs. the Craft of DJing and Turntablism," available
shrumtribe.com. Part II comes next month!
Interview by Brady Cranfield
Discorder: Tell me about UJ3RK5.
Rodney Graham: UJ3RK5 started, I think, in about '77. It was David
Wisdom, me, Jeff Wall, Ian Wallace, Frank Johnson. We were inspired
by Devo—Devo and early Talking Heads, and others, I guess. The
whole diy aesthetic, a little bit. The idea of artists', you know, music
projects. These bands were kind of exemplary at the time, I think,
for that; they were doing the most interesting things in terms of
a little bit of crossover. We started practicing in the Simon Fraser
University studios downtown where Jeff was teaching. We got to
use that space and set up our equipment there. It was a bunch of different people, for a while, jamming; including Bill Gibson, the science fiction writer—he was part of an early incarnation of the band.
The hardcore people just stuck with it and practiced and practiced.
We had a few gigs. There's this great red-letter gig at the Helen Pitt
Gallery—I would say it was one of the first gigs of its kind with the
more experimental new wave bands. Bands like E—Gary Bourgeois'
band—played that night. We were quite well received. Most of us
had never performed before. I had played a little in high school
bands, and things like that, and Ian Wallace had a little bit of musical experience, and Colin Griffiths had joined the band by then—
he'd been in bands like av and in Wasted Lives with Phil Smith.
Colin kind of became our arranger: he organized us a little bit because we were a motley group and inexperienced. But we were quite
well received, so we were encouraged. We practiced a lot and played
around town for a while, and then basically everyone went their
own way. At that time, more than half of us were already much older
than most of the people in the scene. We came from a different place
than a lot of the punk bands, I guess. We were really out of an art
school context. I mean, Ian was teaching at the art school and Jeff
was teaching at sfu at the time, so it was kind of like a slightly dilettante project. At the same time, we were quite serious: we were serious in the sense that we practiced quite a lot—three or four times a
week. And, um, I don't know.... As I said, the music was heavily
Who is Rodney Graham? He was an early new wave innovator during the heyday of Vancouver punk. He's
currently a member of the new Mint Records supergroup, Voiumizer, as well as a solo singer-songwriter.
And he is an internationally recognized visual artist with work in many major galleries. But perhaps
more than anything else Rodney Graham is immensely charming. He has a handsome and hurried, somewhat professorial style, his busy mind quickly producing too many ideas. And he is also hilarious and often
gently dark, comfortably spoofing himself or making sly and sometimes bawdy remarks. Endlessly engaging,
his conversation is like a brisk series of compelling asides, anecdotes, and facts, densely woven together,
somehow eventually culminating in well-formed narrative arcs. And all this is in surprising contrast to
the order and tidiness of so much of his completed work, which is marked by Rodney's strong sense of
design and execution. Here, his intelligence and humor remain, but his often-anxious energy is mostly out
of sight, replaced by a well-organized presentation, usually demonstrating his attachment to modernist
style. The following interview was conducted in Rodney's apartment, tastefully jumbled with musical
instruments, records and CDs, stereo equipment, books, some clean-lined furniture, and even some art —
a suitable environment for its interesting occupant.
influenced by Devo, Devo more than anything, but also some minimal music: we integrated elements of Phillip Glass, and stuff like that.
I was kind of interested in that in my artwork at the time too —a
musical component, in some way, even if it was an organized noise
Discorder: And you recorded the one thing for Quintessence
Records in 1980.
Rodney Graham: Yeah. We recorded at Little Mountain. A little ep.
And then there were some live recordings that were made, but that
was the only thing we did. And then we kind of broke up after that,
the band just dissolved. Unfortunately, we had a lot of other good
songs that we didn't record. But there's a recording made from the
board when we opened up for the Gang of Four when they played at
the Commodore—it was our most fun gig. I think Grant McDonagh
has a copy of it. At least there's a document of some of our other
Discorder. Did you tour?
Rodney Graham: No. We were going to try to organize a tour, a little
mini tour down to California, or something. We played local venues
only. But it was fun. And I learned a lot from it: like how to work in a
band context and about arrangements. Sometimes we had as many
as eight members, so the music was not really that improvised—it
was very, very organized. We had a lot of non-musicians and people
playing very simple parts. Colin was really involved in the arrangements—he was very good.
Discorder: And at the time you were already working to establish
yourself as an artist?
Rodney Graham: I'd shown a little bit in town: I had a couple of exhibitions, or something, but I hadn't really had that much experience.
Other members in the band, like Ian or Jeff, had established their
careers somewhat, but I wasn't quite in that position. I actually devoted quite a lot of time to the band. That was really my main thing, for
a certain period of time. It wasn't really until later that I got involved
in my art career—so-called. I dropped music for a couple of years —
I sold my guitars because I was quite broke, so I really didn't do
much in the way of music. And then I got involved again with Phil
Smith, playing with his band Corsage—just as a sideman. That was
in the early '80s. And then I didn't do too much after that. I did a
couple of soundtracks for a friend's theatrical performance, and
things like that. But I more or less dropped it. I got back into playing
music around the time of the early '90s, back into playing guitar.
Eventually, I started working with John Collins on an album project
around '98.1 gradually focused in on this singer-songwriter idea—a
kind of persona. I've been getting more into performance in my work
anyway—using myself as a subject in my work, or as an actor in my
videos—so I was kind of interested in tlie singer-songwriter idea as
a kind of authentic voice, of getting back to something. Even if it's
slightly ironic, you can only be so ironic when you're actually facing
an audience and singing directly. I wanted to have something kind of
immediate. And I also like the cliched idea of the troubadour. The
idea that you're traveling light, with just your guitar, or something
like that—bringing your practice down to a few elements, a few components, a few tools. The singer-songwriter thing appeals to me for
that reason. Cat Power kind of particularly inspired me at a certain
point. I saw her perform songs from her covers album at the Knitting
Factory. It was quite intense. Just by herself, finger picking a
Danelectro through a Super Reverb. I think she's a very good guitar
player. I was impressed with her, and I wanted to pursue that—she
was kind of a model for me at a certain point.
Discorder: The idea of the pared-down and traveling musician is
interesting in contrast to your actual working technique when
making music. It seems that, when thinking about the range of
your possible influences, there are equal parts of, say, the ideology
of the troubadour in contrast to the actual mechanics of constructing the appearance of the simple troubadour. I think that a lot of
that is in your recordings, and also in some of the other music you
16 march 2002 listen to as well, such as the more elaborate and orchestrated pop.
Rodney Graham: It's partly because I'm perusing this singer-songwriter idea. In a way, this is the ideal: to work the songs up on guitar and go into the studio, and then lay them down like Dylan, or
something. The fact of the matter is it's a more practical way for me
to do it. And also, I've been gravitating towards that because my
music really is kind of a hobby. I've always had a problem with my
hobbies: they become too absorbing and they take over. The idea was
to keep it like that: they could just be songs that I know that are
already kind of internalized and I could just produce them in a studio situation. But it's true that it runs counter to the way that I created the first album. That was a way of feeling my way through the
songwriting process, you know. Now I tend to pursue this idea of
writing the songs, having them more or less complete, and performing them in the studio—although I end up tweaking them later.
That's what I'm doing now: going back. So it's kind of a contradictory process, I guess.
Discorder: Is there a parallel between this creative process and
the way you might approach some of your "proper" artwork.
Especially since you're drawing yourself into a huge production
apparatus —like, for example, the video you made for the song
Rambling Man.
Rodney Graham: Right, that's true. And that's what music videos
are, I guess. In my recent video works I use myself as a performer. I
keep a certain level of spontaneity. I don't really rehearse and I'm
not an actor, so I know I have to trust a group of people to make me
"look good" or come across. And I kind of like that system for producing work because I don't have any real art school training. I studied art history, and I took a few studio courses at ubc, but I didn't
really follow through. So my technical basis for my work is not very
strong. I really leaped at the opportunity to work in a conceptual
way, where you think something through and then have an armature
that takes care of the realization of the work—basically working with
other skilled people, which is what one does when making a music
video or a film or a record. And I really like working with other people. And I really like putting myself in the position of relinquishing
control. It's like an experiment to see how much of yourself comes
through, despite the fact that you've given over a lot of control to
other people. When I make my videos, for example, I don't take over
the directorial position, it's more like I kind of see myself as an
actor/executive producer—Tom Cruise is my hero [laughter]. Tliere
are plenty of people that can direct films better that I can do. Other
artists are much better at directing, for example, like Stan Douglas or
Jeff Wall. Partly to create an area for myself—that is maybe unique to
myself—I kind of gravitated to the performance side, placing myself
in this elaborate structure. And, I guess, with the music I kind of tend
to do that, too. I start with this kernel of authenticity, this song that
you feel good about, and then you go and record it, and kind of let
people take over, let it take it's own direction. I don't have an overarching vision of what I want. That's why I like working with John
Collins and Dave Carswell—they have lots of good ideas. I like the
collaborative aspect of it, while still maintaining some sense of personal vision, you Jcnow.
Discorder Because you describe music as a hobby, do you feel that
it's closer to you?
Rodney Graham: Well, yeah, it's very close to me. But I've always
had this interest in the ideas of hobbies. I've always identified with
Freud in this respect because Freud had this problem. I did some
research on Freud for part of my work a few years ago. During the
period he was making most of his important discoveries, he was
being criticized at the time for spending too much time on his hobbies—he had all these other interests. But these interests informed
the transformation of his ideas. This was something that plagued
him for years, this criticism of being too absorbed. But what are one's
hobbies? It's something you do when you're supposed to do something else? In terms of making art, you have to draw those things in
anyway, so they cease to be hobbies and become part of your work.
On the other hand, a hobby is something that you really might want
to or should keep separate. I always have a problem with that, let's
put it that way. I'm partly doing this music in an art context—I'm
distributing it in an art context—and people sometimes don't know
how to take it in an art context. And also, sometimes I feel that that's
not really the context best qualified to judge it because I see it as just
music. But I like the idea that the lyrics of the songs or even the
melodies could reflect on my other work in some way, and create a
weird, sometimes underlining aspect, or to inflect it in some way,
you know, so that someone who deals with my work might also
have to deal with a song lyric—I like the idea that maybe there has to
be some relationship.
Discorder: Or with the composition of the record as a whole, as a
finished work.
Rodney Graham: Yeah. I don't know. But I'm a little bit conflicted
about i, because I have a hard time keeping those things separate,
and this is the criticism that Freud sustained—not that I'm comparing myself to him [laughs], it's just that I had made a study, and I
noticed that we had the same problem. And people generally just
do, I think.
Discorder Because a hobby is supposed to be a leisure time activity.
Rodney Graham: And you're supposed to only spend so much time
on leisure time activities—you're supposed to be doing your work.
And I've had that problem with the music: where I get more absorbed
in the music and I'm not able to, um, produce. My idea at one point
was to come up with a music video concept that would bridge the
difference. The Rambling Man video was an attempt to make a music
video, one that questioned the whole aesthetic of music videos. But
that's hard to do because I don't know if I have anything really new
to add to that form. There are a lot of more creative things, obviously, being done by other people already.
Discorder: But in terms of drawing yourself out as a subject for
your work, then developing your hobby into an important part of
or reference for your art persona, then it becomes a point in a larger
pattern of work.
Rodney Graham: I like the idea of not getting stuck into one version
Discorder: When you first did the Bed-Bug album, was that intended for an art context?
Rodney Graham: The original idea was that I wanted to make one
song and I was going to make a music video for it. I wanted to start
with the song first and the video later, you know, using the sequence
that one would use if one was a music producer. Obviously, the
song comes first—I like the idea of that. Then I got involved in the
process, making more and more songs, and I started thinking in
terms of an album. I had the opportunity to put it out in a catalog in
Vienna; the original version was an insert in this catalog. I exhibited—so-called—the cd in a kind of listening lounge situation I created in the museum space where I was exhibiting in Vienna. It's an
enormous, cavernous space, so I needed to fill it. I made this large
area with four headphone consoles on a carpeted area with beanbag
furniture—you could lounge around and listen to the album. So it
was a bit of an installation, as well. I exhibited the album a few times
like that, in the context of an exhibition of other works.
Discorder. How was it received in those contexts?
Rodney Graham: I think it was well received. I think people seemed
to like it. But I don't know if I was creating anything really new. The
idea has been done before: Charles Long and Stereolab did something. 1 wasn't doing anything original; I was just trying to present
the music in a context where it was a little bit of an oasis in the middle of the gallery situation. It wasn't so much of a sculptural experience, like the Charles Long piece would be, for example.
Discorder: Was the music approached, as you said, as pop music, or
was it more in terms of the type of interpretation that gets brought
to art?
Rodney Graham: I think they approached it as pop music because it
was so transparently like that—the music itself, the sound of it. It's
not really experimental; it's three-minute pop songs. I really wanted
it to be like that, and I think it was approached like that. But I don't
know if that way of disseminating music—through an art context —
is really very satisfying in the end. Even though the Bcd-Bug album
was distributed by dia, in New York—which is a museum with reasonably good distribution, for a museum, but still not as good as the
smallest independent label would have—it's not really a very practical way of getting it out.
Discorder: Getting it out as pop music?
Rodney Graham: Yeah. I kind of want to do that. So I'm going to try,
the next time I do a project, to get it distributed. Just so you know it
gets out to places. People ask me for it. It did well when I was in
Germany. It got into some local places. And I sold a few copies in
Munich—I couldn't believe it [laughs].
Discorder: I think that, when it comes to your work—it's so
thoughtful, and so methodical, and so obviously informed by an
elaborate tradition of cultivating the "perfect" pop song —that it
almost, I would say, begs to be thought about a little bit—much
more than just listened to. But it seems that there's a lot of ambivalence around pop music, where there's resistance to taking it in
those terms. Although, at the same time, there's this desire, it
seems, in the "proper" art context, to capitalize on some of the energy of pop culture. Do you find that this has any effect on either the
way you make your work, or on the way it's being received or not
Rodney Graham: You mean in an art context?
Discorder: Well, both in and out of that context. There's a hesitation
to engage with pop production, let's say, in the same way that someone might, you know, still take on a painting. But also, at the same
time, within contemporary art making, there is increasingly an attitude that is more pop minded —of trying to have something of the
overall atmosphere of having a pop culture phenomena. And this
seems to be, increasingly, an important part of art production, for
many younger artists especially. I wonder how your records and
music making exists in there. To a certain extent, it seems that the
music is starting to ease out of your work, out of the art context.
Rodney Graham: I've always loved pop music, and there's always
this idea of incorporating some of the excitement and culture of
popular music into one's work. And also the audience, the fact that
there's a broader audience—the art audience is kind of limited. But,
yeah, I feel like I'm kind of moving out of it because I don't want to
play music for an art audience. I really, in fact, have an almost dislike
for a lot of the stuff that addresses art issues, where it's a kind of in-
joke or an ironic commentary. If you examine popular music itself
you know that all that stuff has already been done—you don't need ■
an artist to tell you, you know what I mean. A lot of that stuff betrays
an ignorance of the thing that they're actually parodying. But there're
people who take it really quite seriously in their work, like Steven
Prina is a good example: he's totally serious when he's doing it
[laughter]. I respect that. And Mike Kelley, too.
Discorder: But it seems that even with their work, there's always
this difference. It's like: here's this artist and here's their range of
work —plus they make pop records! It's evaluating the range of creative work differently. At some point it seems like the art domain is
still unwilling to —or maybe unable to —get into pop music in a
serious way. Not that it needs to be, either. But it also seems like,
increasingly, there is an attempt to reintroduce, often from the
inside out, some pop spirit. Maybe it's, say, ongoing co-option, or
maybe it's the changing taste of the market. I don't know.
Rodney Graham: I think it's more like communicating in different
registers—I mean, this is a kind of naive or fake-naive way of
putting it, I guess—of using all the different ways one has to communicate, in different registers or different modes, you know. To
me, the music mode has always been one that is so important. For a
while, I was put back into the position of being a listener—which is
a good thing, too. Partly for financial reasons: I just couldn't afford
to have the equipment, at one point. When I decided to pursue the
art career, I kind of made a vow of poverty [laughs]—the music kind
of went out. So I was always a listener, frustrated that I couldn't
incorporate music in some way. And I guess—although I'm hardly
a pioneer in this—when it was more in the air, I felt like I could
enter into this. Then 1 just decided, at a certain point, to do the
music straight out, and just do it in an art context—because that's
what I do, you know.
Discorder: And it's convenient.
Rodney Graham: I had a readymade audience, in a sense. But they
weren't necessarily the most sympathetic.
Discorder: Maybe that's the audience that might be least capable
of having the willingness to engage with pop music like art—or
Rodney Graham: Well, in the art audience—so-called—there are a
lot of people who know a lot about music. And it's the same that a lot
of people in music know a lot about art. But thev are kind of separate,
I guess.
Discorder: But even with early music works that you've done,
they've been more of the "art music" type. Like your Wagner piece
[Verwandlungsmusik], which is clearly going to assimilate better
or more conventionally into the "high art" domain. But, I mean, I
believe that most people who are gallery operators or artists are
quite fluent in pop culture —because it's what they also do. While
it's an old idea, the enduring compartmentalizing is interesting.
Rodney Graham: Yeah, right, yeah.... There are a lot of shows now
about pop music. I've been in quite a few recently; group shows
mostly, some better than others, dealing with popular music. I guess
it's definitely a bit of a thing right now. But I'm just trying to do it
kind of straight. The last thing I want to do is to do songs about the
art world, or something [laughter]. I have absolutely no interest in that.
17®iFkg£5KSE by   Black   Diamond
Following up on their recent collaboration with Trans Am, The Fucking
Champs are back behind the Otaris, completing their upcoming and second Prag City full-length. I chatted with Tim Green, Champs guitarist
and sole member of ambient project Concentrick, over a grueling two-
week email session. Tim was intelligent, conscientious, and extremely
honest. With these attributes, it makes you wonder if the lads had
spent anytime whatsoever banging head and playing street- hoc key .
Contrary to popular belief, though, the Fucking Champs, while interested in heavy music and guitar composition, would rather listen to
Camel, Ennio Morricone, and The Fog soundtrack. They prefer Jeff Lynne
(of ELO fame), to "any of this NU-Metal" crap. They take their craft
seriously, aspiring to perfect their music's sound quality and post-
production techniques. The Champs are audiophiles of the most pretentious variety. And while The Fucking Champs appear to relish the return
of loud music to the mainstream and the underground, make no mistake,
Randy, they are not a metal band. They aren't even an indie, electronic-rock band. These guys are fucking composers.
The     Fucking     Champs
How old are you guys?
Tim Green: Well, we all recently became adults, and one of us is a
year older than the others.
Do you feel like what you are doing now could have been done
earlier in your musical career(s), or has it taken the experience in
music production and previous bands to filter down into what
you have become now?
1 certainly couldn't see us doing this band when we were in seventh
grade, but the band has been together for nine years now, so...
How is studio life treatin' you all?
The record's coming along. We're stopping on Friday so the Double
U and the Cherry Valance can do some records in here. Then we
have February to finish—mix and master. We're hoping to have it
out by the end of May.
Will there be any current event-type stuff on the next album?
Desert mythology, US foreign policy, CNN video stills?
The only current we'll be discussing is how much is being drawn
by our amps from the wall.
More time signature-per-song increase this time around?
There is more 6/8 on this record for some reason.
Any hints as to what the new album will be titled? What is the
theme this time around (other than 6/8 domination)?
It may be called Total Music, or possibly Physical Graffiti. The theme
will be better-sounding drums.
Wouldn't you face legalities of Bonzo-proportions with that title?
Physical Graffiti? Why not? You can't actually copyright album
names. We could call it Like a Virgin if we wanted to!
Why not call it The Majesty of Rock?
Sounds like a great idea...
What is the story of The Champs/Fucking Champs name change?
You were known as just The Champs, weren't you?
It just sounds better. Besides The Champs just wasn't cutting it anv-
What about C4AM95? I just wondered because I know whenever
I talk about you to my friends, they always ask, "Dude, why do
you keep saying 'fucking?'"
I prefer people to call us "fucking"—unless it's lucking asshole."
Is there a trace of condescension or spite in creating the music
whatsoever. That's not to say we don't have a sense of humor,
e are very serious about writing music we love. The tongue
Does heavy metal need a good dose of re-inventing?
e good underground
o be n
il band at all. There are so many idiots out there who write that
mptions could be further from the truth. These people
need to be beaten with a JCM800.
What about the guy yelling "Slayer" between every song at your
Seattle show? He was annoying, but was he wrong to yell this?
Well, he was wrong in that it wasn't a Slayer show... so there was no
chance that Slayer was gonna come on after us.
It's probably due to the lack of electronics on-stage. People's
actions are probably uninformed responses to your guitars-only
set. While you are a synth and guitar band in your collective
minds, some jerk yelling "Slayer" only hears the chug-chug and
Hagstroms a-blazin' side of you...
I think even if we never touched a synth, it would be the same case.
We write such dippy, happy parts that just aren't metal-sounding at
all. Also, metal bands would never use Kay and Hagstrom guitars.
When I saw you guys play live last time I was curious to see what
sort of clientele would show up—synth-collectors, Slayer shirts,
and/or indie nerds. Is this still fun for you guys—to watch the fan
support from three different camps collide on the dance floor?
No, but then it never was. It's still fun to play shows though.
I know whenever I play the Champs for "educated" rockers, they
like it, but I seem to get a negative or confused response from
younger rockers. Would you say that the Champs aspire to re-create music from a genre that falls into a Date/Time Category, rather
than just a Heavy Metal category?
Ah, yes: the impulsiveness and rage of youth. They may come to
understand, in time, that there is no big mystery here—we just play
music that we like—and we don't worry about genres and styles.
We re-create nothing. As far as I've heard there has been no band
that sounds like us. This is not a pompous statement, but merely an
observation. I honestly think the only reason people think we play
heavy metal is because we use Marshall stacks. Anyone who doesn't know the first thing about metal will immediately assume that's
what something is if it's loud and sometimes "chuggy."
Do you ever blame your exclusion from Korn-like, guitar band
pandemonium (i.e., Guitar Player magazine interviews, etc.), on
the "F" word in your band's name?
The main problem there is our lack of mediocrity. I suppose if we
wrote dumber songs we might get some good coverage, but 'til then,
the Discorder''s just fine with us.
Who in the band is the big-time gear collector?
We are all afflicted, although Josh is the most obsessive. I really only
spend money on studio equipment. We borrow things from time to
time—like a Fender Princeton or a Mutron Flanger. We all own Korg
Poly 61s. I have three other synths as well.
When will the Fucking Champs touch down on Canadian soil?
We are thinking about going through Eastern Canada this summer
and possibly a Vancouver show if they'll let us back in a second
time. I think the band we're touring with is banned from Canada so
that might pose a problem. If the appropriate paperwork can be
acquired then unnecessary bloodshed can be avoided.
Any Canadian links to The Fucking Champs? Favorite Rock
Groups, and/or Singers?
No, but Tim S (other guitarist) and I are big SCTV fans. I really liked
the last Superconductor album, too.
What is playing in your personal CD player lately?
Morricone, John Carpenter's Escape from New York and The Fog
soundtracks, the new Rye Coalition record—that's not out yet—and
Thee Miighty Flashlight—which is coming out this month, I think.
Does the music you play at "home" directly influence you when
you record/practice?
just got a Camel anthology, so I know that's
n somehow.
e produced numerous bands in the last few
n side project Concentrick. Has this been
a positive influence on your composition, and applied technique
as far as Champs interests are concerned?
I've been recording other people's bands for 11 years and I've
Yeah, Josh (d i
gonna work it's way i
Tim, I know you ha\
years, including your o
learned a lot about a lot of things including, obviously, recording
techniques, various approaches to song structures and string
arrangement—which is always broadening my palette of harmony.
I bought a tour shirt that had a pic of a flute player with glasses
and long hair. Who was that man??
That fanciful flautist's name is Von Hartman.
Multiple choice time.
Pick the best one:
a) Atari2600
b) Commodore64
c) lntelliv ision
Atari 2600
a) Factory Kuwahara
b) Diamondback
d) Apollo Kuwahara
a) Bush
b) W. Bush
c) Laura Bush
d) Big Bush!
Bush—she knows how to party!
of the Third Kind
a) Close Encoun
c) Logan's Run!
d) David Bowie
n featuring Ziggy Stardus
Which brand could you not live without?
a) Crumar
b) Boss
c) DiMarzzio
I could probably live without all of those, but I do like Crumar—
especially "The Performer."
Which car is the most desirable?
a) Chrysler LeBaron
b) Pontiac Fiero
c) Chrysler Dynasty
d) AMC Eagle
Chrysler LeBaron! When we were taking pictures for the last album
we stopped at a store and I saw this new Mercedes sportscar that
was called a Kompressor. It looked so cool that I took a close-up picture. I wanted to name the next Concentrick record Kompressor and
use that pic, but it vanished. •
18 march 2002 18 oast broadway
Vancouver, b.c
store hours:
"1 billy the kid Ctte lost boys
,j\ 'strong Ha ppawif
march 2002.
. 3 inches of Wood
-      'battle cry under a winter sun'
3 indies of Wood t the Wflp
toir send off show
_  streets £ the blackjacks
lilUYia tlJuil^MH*If;VJi/;lr|
the blackjacks - "s/t" cdep
punk rock straight up in the vien of the clash
and johnny cash.
the witness protection program
"tha revolution that never was. and never will be'
post hardcore/spazz/rock/punk
for fans of fugazi and refused
:: Live indie music :: HUHItfT Mondays @ Mesa Luna
: 1926 W. Broadway :: See ww\—
V   VV
"The Hi' ?s a     breaking out eve1 fi
been warned!"
; -~\ ing ri  -butbousty blac
t say you haven't
id balls-out brilliant."
.... NME
\:\fkkj it.
music, movies, more.
h 31/02 or while quantiti
right to limit quantiti
www.HMV.com over m^
In honour of International
Women's Day, I thought I'd
focus on women writers. My
first inclination would have
been to search out new writers,
specifically Canadian women in
the "literary" realm. Instead, I
decided to focus on other genres because the genre is sometimes as telling as the content. It
has long boon tradition in
English language texts to laud
certain forms of female expression: letters, journals, and more
recently, advice, sex, and social
columns. For every Naomi
Klein, who is respected for her
brilliance in recording the global picture, there are hundreds of
Candace Bushnells, Leah
McLarens, and AngeleYanors
diligently penning their version
of female experience in the
urban world. Assigning differentiated values to these journalists is, at the core, a patriarchal
exercise. Though I understand
that Klein's expose on the affect
corporate branding has on the
world in cultural and economic
terms has more global resonance than McLaren's musings
on her new fake 'n' bake look, I
am unwilling to fall into the
trap of critiquing their journal-
book reviews by Doretta
istic merit without referencing
the context of their work. In the
big, bad world of media, the
edict from up top is that women
make better social columnists
and arts writers, rather than
"you throw like
gendering of vali
our culturally ii
a girl." This
! givt
ed idea
are somehow of lesser quality. It
is this climate that forces Joanne
Rowling to veil herself with the
genderless writing name JK,
and make her protagonist
Harry Potter rather than Harriet
Before the rise of the
Brontes (who originally wrote
under male pseudonyms) and
•d   t
•  let
: only
success of Bridget Jones' Diary is
in part due to the book's salute
to the tradition of privately
recorded woes dished up as
entertainment (think epistolary
the collected letters of Simone
do Beauvoir to Jean Paul Sartre).
Incidentally, there is a stunning
scene where Britney, who has
been writing in a little book for
the duration of the film, reveals
to her male interest that she has
been writing poetry. She even
reads her poem to him and he
digs how deep she is. I'm pretending that one of the secret
themes of the movie is that
writer-nerd girls are just so hot.
Anyhow, I haven't laughed so
hard in a movie for some time.
Crossroads is comedy of the year
sometimes get panned for their
writing styles, but critics are
failing to see that they are just
twist: what was once private is
now public. Women, long
branded as private figures, are
venturing out into the world
armed with the writing genres
that once confined them to the
annuals of family history or the
realm of the forgotten. Social
power resonates in children's
fiction, but continues into the
teen years for girls. Films such
as The Craft and shows such as
Sabrina the Teenage Witch and
Buffy the Vampire Slayer play on
the fantasy of having power
and consequently worth in the
greater social structure. Female
heroes in such traditions are
usually other: they are, more
often than not, new to their
school and therefore unpopular.
The magical protagonist is also
When we feel ugly, stupid, or socially undesire-
able, this most often means that our energy is
disconnected from the earth. If you feel like this,
try to do this exercise, even if you are not
planning to do any spells. It is important to stay
connected with the earth to help get rid of feelings of depression and unhappiness.
-Girls' Handbook of Spells
lellbooks for girls.
•, yet due
, rather than public. The
So this month, after a bout
of self-punishment and severe
procrastination (I went to see
the Britney Spears vehicle
Crossroads and was probably the
oldest person in the audience,
save for a 40-year-old man who
attended the screening alone.
The Girls' Handbook of
Nice Girl's Book of Naughty
(Journey Editions)
There are a number of books foi
girls involving magic; I thinl
this has to do with voung girh
needing t(
less.   This   trope  of  i
istly power-
except for a worthy best friend
or crush. The underlying message in this genre is that as girls
we have worth, but other people don't always see it. It is a
fantasy that keeps most girls
going   through   the   toughest
Antonia Beattie's THE
SPELLS is as much an instruction book for being "good" as it
is a tool of femaie empowerment. Beattie oudines what
spells are and relays important
ground rules of non-harming.
Each spell is accompanied by
succinct instructions and Beattie
is careful to contextualize all
spells with history and pointers
on self-worth. The book is
colourful, uplifting, and clear.
The focus of the book is on
ideas of honour, compassion, as
well as on personal safety and
Deborah Gray's NICE
SPELLS is just that: a book of
spells. Gray actually uses the
word "witch" in reference to her
reader. This book has an answer
for every Cosmo problem:
"Enchanted Wedding," "Shy
Guy," and "Cheapskate Charm"
are just a few spells to get a girl
through her day. My editor
referred to the books as "out of
hand." I now possess instructions to bind a guy to me and
make him mine, but I did notice
that, unlike Beattie's all-encompassing approach to spellcraft,
Gray assumes her reader is heterosexual and her book reads
like o
than self help rr
Now I probably won't be
drawing pictures of my intended lover with sesame oil anytime soon (that's what the "Shy
Guy" spell calls for), but it's
good to know I always have a
covert option to getting the guy
in place for an "Enchanted
Wedding." But hey, whatever
happened to being direct and
straightforward, confessional
Hydrogen Bonding in Aerial Sf\i Jumps of Olympic Calibre
By Cyrus } Boclman
Freestyle  skiii
cool. Perhaps not as MTV "kool" as
least ESPN2 "kuhl." And "kewl" enough to
insors like Canada Post and Johns-Manville.
t that this
pany (like
attract "che
Honing to find
Fiberglass Pink).
Canadian freestyle star Jean-Luc Brassard recorded a rap on the
exciting life of a freestyle skier. As heartfelt as the fundraiser tune
was, it falls short of hip hop genius. To quote a few verses:
Right ab
nil n
I'm aboi
t to jump
Intel another s
trees t\
Hear me
Take Co
Half in,
This aw
t no r
xk 'n
Triple ba
ck la
That's w
Ml r
n talk
1 ivestvk
, free
You kno
it 1 m
Are the leaders of the pack
Asa matter of fact
Air force rules
Teammate and Blackcomb's World Ceip Freestyle Aerials bronze
medal winner Jeff Bean called the song "Cheesy." 1 le's just jealous.
Hip help and free lunches aside, the FIS World Cup Freestyle competition is a great feat in "snow architecture." The intricacies behind
building a jump are what I believe have attracted the science and
engineering students back to skiing on Whistler, combined with the
great deal on season's passes that Whistler offered students at UBC.
20 march 2002
A week before the competition, the aerials site was already built.
The jump had to survive not only the week up until competition but
also beyond, as many of the Olympic teams were using Whistler as
a pre-Salt Lake City training camp.
In comes the Chief of Course Brett Wood, the master of jump
building at Whistler and coach of the Blackcomb Freestyle Team. He
has an awesome nephew, who is three years old I think. They build
a site according to the International Skiing Federation (FIS, in
French) specifications.
After building the in run, table and landing, next come the kickers (the jumps). Step one: "Woody" and his team of volunteers build
a plywood form that looks like a big refrigerator box. The shape is
the basic shape of the jump. The form is passed on from competition
to competition. This hand-me down approach allows the jumps to
be consistent throughout the World Cup season for the competitors.
The basic shape is precise for each of the six kickers that are to be built:
Once the form is up, they aim a high-powered snowblower into
the box. And press <PLAY>. The snow is then bleiwn into the form
and, as it goes through the fan, the snow gets purified into a tiny
particulate powder. It is possible feir a human to go through the
blower just as easily... but the human will come out on the other side
looking like a red-tinged morning mist.
Jeff Bean and his fellow competitors get the final say in deciding
how they want the jump curve to look. They spray paint a desired
red curve on the side of the jump and then shave the slope away to
match the red line.
How does all this snow (and possibly misty human remains)
stick together? Use the force. Water molecules stick to each other by
way of hydrogen bonding. Hydrogen bonds are the electrical attractions between a positively charged hydrogen atom (which readily
gives up its electron) and a negatively charged oxygen atom (which
receives these electrons) in a neighboring molecule. The small size of
the snow particle after going through the blower allows it to contact other particles better, increasing the hydrogen bonding. The
general evolution of a snowflake is seen in the following micor-
When nature allows the sintering of the snow grains the kicker
is solid and ready for use. After flying off the kickers, the landing hill
becomes critical to the competitors as they start falling to the ground
from a height of 12 metres. With 9.8 m/sec^ acceleration for more
than 2 seconds, the competitors have a final descending vertical
velocity of around 20 m/sec. To accommodate the force of the landing the slope is "chopped" to a depth of 80cm to create a bed of
feathers to land on. As the picture shows, it is not always that comfy.
The Blackcomb landing was 7 metres shorter than specified in
the above schematic. At the end of the day no one broke a bone. •
* and technology mal^e i
Tuesdays, 2:00-3:iOpm on CiTR I01.9fm. under review
recorded media
Bridge to the Northern Lights
(Red Tide/Barsuk)
What the hell? The Smiths
reformed and moved to the
Pacific Northwest, and nobody
told me!?! But really, the shimmering, staggered guitar lines
and harmonized male/male
vocals remind me of such great,
but varied, Britpop moments as
Meat is Murder and, still later,
Chrome-era Catherine Wheel.
Funny, because when I saw
Aveo open for The Dears back
n November, they came across
e aggre
sion of some low-key American
alternapop band, like Luna or
Yo La Tengo. Go figure. Either
way, Aveo appeals to me, equally live and recorded—but I do
wish they might show some
more of the tender moments
found on this, the Oregon trio's
debut, when up on stage. But
the stage show is not up for
review here, just the recording—and, for a first effort, this
is extremely solid.
Mike Chilton
BJORK [Book Review]
(Raincoast Books)
It is rare that I read a book
about a pop star, even a very
creative and avant garde pop
star. The last book I read that
discussed anyone remotely pop
culture-oriented was the massive tome The Lives of John
Lennon. After finishing the
12,000 pages I figured that was
about enough for me, for it
seems the great majority of
(auto)biographies of public figures—especially pop stars—are
Jump-cut to two months
ago: I was going about my
usual routine of coffee and book
shopping when two amazing
things happened. First, a good
friend came across a copy of
Beck's art-book collaboration
with his grandfather, who is a
performance artist and founder
of Fluxus. Then I came across
this silky, cloth-bound volume
on Bjork, with a title page full
of very odd cursive writing
describing a very fucked up
dinner date and a massive
headshot of Bjork on the back
cover in preparation for her
"Hidden Place" video, which is
on the latest album, Vespertine.
Curious, I flipped it open,
minding the crazily coloured
patterns on the inside sleeve
and the line drawings on the
actual cover of the book itself.
Inside, I found no glorifying
biography, no painstaking and
utterly boring detailed account
of every moment of Bjork's Icelandic life, no squealing press
agent fodder. I did find page
after page of photographs—but
not of the usual type. A slew of
world-class photographers—
including Japan's controversial
Araki and the Netherlands infamous rockstar portrait-grabber
Anton Corbijn—grace the full
colour and black-and-white
pages with beautiful and artistic
interpretations of the musician:
her form, her figure, her passion,
her image, her/self: Bjork underwater, Bjork in the hotsprings,
Bjork all digitized with weird
line-drawings (by Inez van Lam-
sweerde anc) Vinoodh Matadin,
with direction from the book's
designers, M/M—the same people who did her cover art for the
DVD vid collection Voluiiienen).
As I sunk deeper into my
triple-espresso-funk, fragments
of text caught my now pulsating
eyes: Bjork interviewing nature
narrator and BBC legend Sir
David Attenborough; a short
essay on Bjork and the cyborg by
Eye magazine founder Rick
Poynor (academic eye-tick: citation of Donna Haraway's
"Cyborg Manifesto"); poetry—
and a short-story excerpt from
Icelandic author Sjon. And the
weirdest section of all: several
pages given over to people surrounding Bjork that contribute
to constructing her public image.
Surreal dreamscapes, photos of
Michael Jackson and people-
we-don't-know, Bjork child look-
a-likes, a rotted-out carcass of a
penis.... No real explanation
given for any of this—and I've
got the press release.
That's what I love about it.
Much like the Beck book, it's
not so much about Bjork as it is
about the representation of
Bjork and the people surrounding that representation: the
artists who have contributed to
her life, be they more easily recognized—such as shots from
Lars von Trier's Dancer in the
Dark or Chris Cunningham's
"All Is Full Of Love" video—or
the obscure, such as Won Choi,
a lone Bjork fan whose checklist
of Bjork triva is a bit... obsessive. Bjork by Bjork works well
on two fronts: as a book aimed
at Bjork fans, and as a collection
of photographs, art, design, and
text surrounding the curious
Icelandic enigma that is
(Hard Rain)
Vancouver's alt-country torch
has yet another set of very capable hands to be passed into, as
Bottleneck's self-titled debut
assures us. Conjure up the spirits of Patsy Cline and Hank
Willams, Sr., add a contemporary flare, both musically and
lyrically, and get ready to be
tearjerked. At least as impres
sive a debut as that of compatriots Radiogram (who snagged
so much attention for their most
recent release as to become a
minor mainstream success),
that Bottleneck deserves all
accolades heaped upon them—
if those whose job it is to heap
them are wise enough to pick
up on this dark horse. Even if
Bottleneck's affiliation to Bughouse Five is not as impressive
as the aforementioned locals'
multi-band lineage, it should
not be sufficient reason to
forego such an impressive first
step to what could, nay should,
be greater things. That, and co-
lead Reibyn Carrigan's beautiful
voice makes me melt.
A Night in Grombalia
(Transsiberi an/Scratch)
I have to admit I'd only peripherally heard of the local writer
Jim Christy's eclectic body of
writing work—a couple of
freakish noir novels set in tum-
of-the-century Vancouver, a
book of travel writings, bios on
Bukowski and Kerouac, a
novel about his days growing
up in Philly, a boxing manual
and his myriad of poetry collections—the latter being the
inspiration for this equally
eclectic spoken-word recording
Fact is, only a writer with a
life experience as seemingly vast
as Christy's could crank out this
musical tome of doomed lushes,
lonely divorcees, young punks,
the conveniently born again,
soldiering jazzers, scared youth,
jilted lovers, pensive thinkers
and other varied victims of life
contained in these dozen odes to
lost souls related in oral verse.
The accompanying music,
supplied by an assortment of
unknown locals—presumably
Christy's friends—is as eclectic
and quirky, yet sensible, as the
writer's poems. Everything from
a little bit of country, to a little bit
of jazz, to a little bit of pop helps
musically flesh out the narrative
in its meiltiple tangents.
Finally, Christy's raspy,
deep voice helps plant his spoken word in reality—much like
a drunk telling a bartender his
life story, or a patient unloading
it all on his therapist. His
chafed, hypnotic, almost soothing voice helps to draw the listener into Christy's world and
forget that the written content
can sometimes be over-the-top.
Quite possibly one of the
best spoken-word-set-to-music
creations I've ever laid my ears
upon, it has, on first listen,
made me want to find out more
and more about Christy and his
written work, which I guess is
part of the point.
Fashion for Function
(Tooth and Nail)
"Anyone heard of the Deadlines?" I asked the CiTR
staffers who happened to be
within earshot. "Oh yeah!"
offered the wise, witty and
ever-so-knowledgeable Program Director Bryce Dunn.
"They used to be a Christian
garage band, but now I guess
that they've gone and done a T-
Rex/Glam sort of thing."
Maybe I was expecting too
much from this Portland, Oregon foursome. Maybe I let my
anti-Christian bias interfere
with my doing a truly objective
review. Either way, the Deadlines just don't quite pull it off.
Since Robert Johnson sold his
soul to the Devil at the crossroads in the '20s, rock and roll
and Christianity have gone
together like oil and water,
chalk and cheese. The Dead-
have a hard time reconciling
rock and roll excess and glam-
rock hedonism with a wholesome Christian lifestyle.
It's not that the lyrics are
obviously x-ian, at least not at
first glance. Without Mr. Dunn's
comment, I may not have fig-
reads the thank-yous in the
liner notes that one begins to
notice this band's dedication to
a certain long-haired Jewish
feller. However, I think that all
that this knowledge does is
gives me a potential reason as
to why this band is a bit lame.
They're not horrible, they just
don't seem to show the true
conviction that other rock and
roll bands (of which there are
too many to note) do. In their
more effective moments, the
Deadlines sound a bit like a
cleaned-up and disinfected
New York Dolls, with dashes of
"Personality Crisis"-type honky
tonk piano. Those effective
moments are rare, though.
Ultimately, what does the
Deadlines in is that in this day
and age there seem to be a lot of
bands embracing roots-style,
back-to-basics rock and roll. That
makes for a lot of competitors
vying for the music listener's
attention. These guys just don't
have the viscera, if you will, to
attract this listener. Now, perhaps if they enlisted some help
from the Forces of Darkness,
made a Zepplin-style pact with
the Devil, that might change, but
for now I'll pass.
Micliael Staniszkis
Dawn Refuses to Rise
(Incidental Music)
Miners' strikes, ICBMs, trickle-
down economics, crack cocaine,
guerilla wars against indigenous peoples in Mesoamerica,
glass ceilings, Star Wars, and
the shrink-washing of social
services in favour of massive
ary spending. Yeah, the
'80s u
Elders of Zioi
e meeting
the challenges of 1984 Redux by
constructing a nifty simulacrum
of Test Dept., Muslimgauze,
and Adrian Sherwood, topped
up with samples of WTO protestors chanting. They also get
strangely nostalgic about the
FLQ and have songs titles like
"Disco Communiste." You
know, it's great and timely that
political radicalism has found
its way back into the art/music
community, but I can't help but
feel depressed when I hear
Maoist dogma recited over dub
beats. Somehow, the Cold War
seemed so much cooler when it
was all in the past.
Sans Souci
Kittenz and Tlie Glitz
(Emperor Norton)
Fluff. You can be indifferent to it,
as to the kind you find in your
navel. The word fluff is used to
describe   superfluous   things
lacking in content. In these supposedly hard times with new
species more gluttonous for the
depth-free. We crave the unnecessary. However much you've
denied your appreciation of
fluffy disco, we've all danced to
it or its derivatives. We know
who we are. Whether Felix
Stallings, Jr.'s record achieves
turn the page for
more under
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www.videoinstudios.com    mon - sat being purposefully fluffy and
cheesy is of little importance.
Kiltenz and the Glitz is a dance
album, nothing more, nothing
less. Surrounding himself with
scene make>rs like Pete Tong and
Junior Vasquez and remixing
countless big names is proof of
this Chicagoan's pedigree. Retro
synth chic a la Ladytron and
predecessors The Human
League is in full effect. The
beautifully inane lyrics, "Sex,
Drugs and Reick and Roll, it's
ewer, I say it's over..." by felleiw
DJ Ms. Kittin on the track
"Madame Hollywoeid," is
telling of the album's focus on
glitz sans depth. Sometimes fluff
is more important than meaning, however. Sounding often
like Daft Punk, Felix's multiple
incarnations are proof of a man
em his game and making bills for
10 years who has moved
through as many styles as he's
had monikers (7 in total, but
who's counting). Dare to
embrace your lewe of sparklers
on the cake, shameful disco
dance moves, and all things
Robert Robot
Tlie Bloody Hand
(Global Symphonic)
Frog Eyes is the band of Victo-
ria music legend Carey Mercer.
The record has beautiful cover
art but on the inside was nothing I could have prepared
myself for. Mercer's veicals are
really scary! The whole record
in fact is creepy and right out of
The Twilight Zone. The music is
really creepy '80s New Wave/
theatrical Viking music. I've
heard that this band is great
live, so I'm not giving up on
them yet. This is definitely the
kind of record that requires a
few listens before it is not disturbing anymore. The music
boxes and recording techniques
were however refreshing and
much better than the same old
same old.
haunt me, haunt me do it again
Today, in my favourite coffee
shop, the quote of the day on
the blackbeiard read: "Sentimentality is the death of art." Normally 1 would agree with such
statements, but Tim Hecker has
given this theory a run for its
money. Hecker, a.k.a. Jetone,
has created an ambient-electronic work of careful consideration
and listening. The subtle atmeis-
pherics that overlay the punctu-
ative beats of Ultramarin are
here expanded into the body of
sound, with nary a direct 4/4
rhythm in sight.
Heavily processed samples
make slight appearances before
drifting into the orchestral. Rife
with heavily-masked guitar
feedback and intimate, detailed
layerings of field recordings,
each track is an epic exploration
of its possible sonic trajectories,
taking ample time to feel the
spectrum, from low rumblings
22 march 2002
that are drawn out only at the
conjuring of a trilling string peel
to distortion that overtakes a
track that becomes too overcome with its own density of
sound. In no way is this a predominantly minimalist work.
Unlike the atmospheric beat
minimalism of Substractif
cohorts Mitchell Akiyama and
Tomas Jirku, Hecker's work is
deceptively complex and lay-
ere'd in its tonal composition. At
low volumes—and em cheaper
stereos—it passes by at times
without accosting the ear. At
higher volumes—and on goeid
speakers—it reveals its musical
brilliance, engaging the listener
in a journey reminscent of
Hecker's Arctic landscape cover
photography and track titles
such   as   "boreal   kiss"   and
perhaps speaks to Sade's recent
offerings; "the work of art in the
age of cultural overproduction"
significantly alters Walter Benjamin's overly-famous essay
"The Work of Art in the Age of
Mechanical Reproduction." As
listeners, we are offered a win-
deiw into Hecker's world: secretive, somewhat shy—yet
opinionated; balancing a theoretical inquisitiveness with a
musical appreciation that, at
"night flight to your heart" not
a strange call to Boney Ms
"Night Flight to Venus"? The
twist lies in the honest sentimentality that resonates from
these beautiful and slow-paced
soeindscapes. And so perhaps
the coffee sheip wisdom is right,
for what Hecker has created is
not  culturally  overproduced
', but
ful because of its lack of shan
tobias v
Sensory Deprivation/Dream
(Coach House)
shemld have died lemg ago—or
stuck in a wannabe framework
of avant gardism that collapses
in on itself through overt seriousness or lack thereof. To create an exciting poetry that gives
chance for pause, that opens the
mind to a multitude of networks
at oblique angles—this is the
dream, and it is with this
strange double-book (each end
is a cover: it starts at both ends
and proceeds toward the middle) that the avant garde is
simultaneously dismissed and
embraced, destroyed and dissected. (The corpse ressurected
with jolts of diagrammatic
wordplay and ghostly Lettrism.)
Certainly the influence of
the Black Mountain Poets, of
Steve McCaffrey and
L=A=N=G=U=A=G=E peietry
and Charles Olson and the
hermeneutics of Derrida's
deconstruction, swirl in fractal
peiols to the aquatics of DADA,
Futurism and Surrealism. Carefully constructed post-Lettrist
diagrams—moving past the
Letter to the machine of the letters, the technology of letters
and their processes—consisting
of eyeballs and writing-
machines, reminiscent of both
Kafka's Penal Colony and
Deleuze and Guattari's sketches, intersperse paragraphs, stanzas, and word arrangements
that strive to tell, at times, the
story of the story itself.
Pages 54-67 of Sensory
Deprivation form one long horizontal banner of poetics displayed in minature on page 68;
Dream Poetics features instructions for a piece called "Introspection," that asks the reader
to construct, using cutouts on
the subsequent pages, an enve-
leipe-style poem-inside-a-poem-
inside-a-poem reminsicent of a
Russian Doll. "Poetry" as we
know it, arguing against itself,
questioning itself, bringing its
traditions to bear upon the present and advancing its possibilities for presentation and form,
is carefully manipulated with
intricate and aesthetically precise detail, a dream poetics of
sensory deprivation, or vice-
versa, that which deprives one's
senses of dreams. It can be said
that both the poetics and the
deprivation play out the nostalgic memories of the impeissible
dream—of a time when sensory
deprivation was the arena of
poetry, a smaller canvas allowing basic movements and choices without worries of simplicity
or ignorance, when the need to
remember, counter, and take
into account the explosion of art
in the 20th Century was not
urgently necessary. But a sentimental reflection on the avant
garde this is not: all is simulacra
in this text, and the past
becomes the fertile circuitous
spacing  of  the  present   that
tobias v
Forget about the farce that Montreal's Grenadine Records has
put The Dears through with
their early recordings contractual obligation album—fact is,
this label really knows how to
sniff them out.
On this album, originally
titled Karaoke and Other Slow
Suicides, the Ottawa trio plays
simple, yet fascinatingly
dreamy, acoustic songscapes,
accented and in some cases
spearheaded by the wonderfully wavering vocals by Myles
Bartlett, who sounds like a cross
between a young John Mann, of
Spirit of the West fame, and a
somewhat less stoned version
of Thorn Yorke. Speaking of
Radiohead, a good deal of this
OK Computer and The Bends-
moody, intense and sometimes
eerie (especially on the instrumental closer, "This is Our
Team"). Seeing as this is the
trio's official debut EP, maybe
these comparisons are lofty, but
that's what my Magic Toe
Need New Body
(File 13)
Like my coweirker Christa Min,
I'm a big know-it-all. When
CDs show up in the mail and
they're by bands I've never
heard of, I'm like, "Whatever,
I've never heard of them, they
suck." Then I throw them in the
garbage, or give them to friends
in return for fixing the computer network. "Here, this band
sucks, you'll like it."
It's kind of disconcerting,
then, when I put a random
crappy CD into the computer to
test out the CD-Rom driver and
the album is actually good. I
start feeling all embarrassed
that I've never heard of the
band before and start dissimulating by pulling rock critic
comparisons out of my ass. I'm
like, "Whoah! This sounds like
a totally freaky free-form explosion of all the best No Wave
cliches mixed with the goofy
eclecticism of blah blah blah."
Then I start to feel better.
First Base
At first I wasn't a believer. I had
Operation Makeout's five-song
EP, gave it a listen and wasn't
immediately impressed. I saw
them play, yet still felt nothing.
In fact, I saw them play two
more times before something
clicked. Then I started to listen to
the 14 minute EP over and over
think of the n
tar experimen
upbeat drumming, the whole
aesthetic. I'd leave First Base in
my CD player for days, driving
my roommate's insane.
Yes, I'm now a believer. I
may still stand at their show,
with arms crossed and a blank
look on my face, but inside I'm
(Kill Rock Stars)
Her Mystery Not of High Heels
and Eye Shadow
If your favourite member of
the Velvet Underground was
Mo Tucker, then boy do we
have a couple of treats for you.
Slumber Party's Psychedelicate
(mad props for the relatively
obscure Beach Boys reference)
is a pillowy soft mesh of
twangy guitars, soft, padding
drums and nursery rhyme
meleidies. Dreamy.
Of course the absolute king
of post-Mo pop remains the
enduringly charming Jonathan
Richman. Rock snobs will tell
you that his post-Modem
Lovers work is but comparatively inconsequential acoustic guitar-heavy whimsy. This writer
can't really argue with that
appraisal other than to add that
albums like You Must Ask the
Heart and, now, Her Mystery Not
of High Heels or Eye Shadow contain some of the most beautifully
inconsequential acoustic guitar-
heavy whimsy ever recorded.
Every song is a string of utterly
beguiling musical and lyrical
non-sequiturs. Plus Her Mystery... finishes off with a new
rendition of the classic "Vampire
Girl"—sung in Spanish, to surprisingly amusing effect.
So here are some more
names to add to your extremely
short list of musicians you'd
allow to stay in your spare
room (should you be lucky
enough to have one).   Nighty
Sam Macklin
Bad Dreams
(Battle Axe/Nettwerk)
Since they, the hottest hip hop
duo to come out of Canada
ever, have gotten miles of ink
already I'll simply say this:
chunky hypnotic beats, clever
samples and loops, guest spots
from members of such revered
acts as Jurassic 5, Dilated Peoples, and The Roots, and some
of the most eloquent rhymes in
recent rap memory combine to
make Madchild and Prevail's
sophomore effort one of the best
releases of 2001 in any genre.
Stand Up for Your Mother
I didn't expect this long-awaited record to be released on the
kissy-kissy smooch-smooch
label. Mint Records seem to be
expanding their horizons from
the Lookout! wannabe days.
Young & Sexy have a duo of
voices, Lucy and Paul, that are
the driving force of this band.
The songs are well written; nice,
sweet and poppy. I've been a fan
of Y & S for a few years now and
I expected great things with this
record. Unfortunately I found
this recording to be a little too
convoluted and airy for me. I
liked the band much more when
it was a trio without drums, etc.
The use of familiar sounds of
Vancouver like the Sky Train did
add to the ambience.
Think you are
too cool?
Write for Discorder and
really, really
lame. Really.
I peal live action
Saturday, January 19
I had missed Medeski, Martin
and Wood, at the Commodore
made  i
live music reviews
inside, so when I heard John
Medeski was coming to town, I
wasn't going to be left out
again. 1 cared little that I had
The Word, and I paid little
regard to the fact that normally
I am not a fan of "Mississippi
blues." I needed to see John
Medeski up close, playing the
keys in the funky jazzed-up
way he has created for himself.
Truthfully, I did not get what I
came for'
The leader of a band that
had influenced the way 1 think
did little more than to comp the
solos of the lead and play a few
lone jaunts on his own, which
he did perfectly. But, the fact of
the matter was that John
Medeski wasn't what made this
band the powerhouse that had
more hippies free-dancing than
I honestly cared to see. This
honour belonged to Robert
Randolph, and he deserved
every second of it. Randolph
plays the pedal steel guitar,
which one normally associates
with Alan Jackson or Randy
Travis, but he certainly does not
play it in this fashion.
He kicked off the set with a
firm demonstration of his technical ability and ear for melody
that immediately got the eclectic crowd moving. For the
remainder of the set, I had a
hard time taking my eyes off
this young talent. Yet Randolph
was hardly the only source of
excitement in the band. Besides
the talented organist, John
Medeski, Randolph also had
the back-up ensemble of the
North Mississippi All-Stars.
This is the group that Medeski
originally intended to tour with
before Randolph was introduced.
Being somewhat of a drum
nerd, I was excited just to see
the double kick Ayotte set up on
stage. The young drummer
behind it was more than competent, although his inexperience shone through at points,
with mechanical drum fills and
a less-than-solid right hand that
didn't create the pocket the
solidly grooving bass player
was looking for. At one point
the drummer left his position
behind the kit to play a washboard which he had rigged
through a couple of Danelectro
effects pedals and a cry-baby
wah. Gimmicky as that might
sound, it was played quite skilfully, and held my attention
until Randolph further demonstrated his dominance in the
band by jumping behind the kit
to play a solid backup.
Unfortunately, due to
Vancouver's horrid transit system, I was forced to leave just as
the band kicked into "Voodoo
Child." It sounded groat from
the bus stop across the stroet. In
in a way that went a step
beyond the others of this crop.
They were aided by the lovely
female and male vocals with
thoughtful lyrics. Thank you
Milemarker— my night would
have been boring without you.
Monday, February 4
Richard's on Richards
Despite being a fan of Suzanne
Vega's for ten-plus years, I'd
the audience looked on jealously. I was floating.
Early in the set, she also
slipped in such classics as
"Blood Makes Noise," "Luka"
and "Pilgrimage," getting the
crowd more excited with each
tune. For some unknown reason, she kept apologizing for
her voice—the wonderfully
husky-waif-like instrument it
is—and her "rusty" guitar playing and for forgetting lyrics.
Her apologetic nature only
endeared her to myself and the
rest of the audience even more.
I just wanted to climb up on
stage, give her a bear hug and
tell her it was all cool, rhe five-
foot stage was an ugly wedge
between myself and the intinia-
Theh Vega came to a part of
behind a teenaged romance
which produced the inspiring
tune "In Liverpool"; she then
produced the joeirnal pages
from which the lyrics sprang
and displayed them to the
Richard's crowd—you could
sense an unspoken "Aawww"
as Vega started into the touching ballad.
Before the necessary encore,
Vega helped the crowd along
through an a capella version of
"Tom's Diner" to resoundingly
stupendous effect. If I wasn't
convinced I was floating
already, that moment did it. I
cunt at the railway club, photo by michelle furbacher
Tuesday, January 29
Ms. T's Cabaret
I forgot Milemarker were coming to town until the night
before the show. I arrived at Ms.
T's fashionably late to discover
the doors closed. So we waited
in the hallway and watched
people coming and going from
the bathhouse next door. After
this got pretty boring we were
let in. Then Mecca Normal
made me bored again. Granted,
David Lester has great guitar
moves. The only thing these
two bands had in common was
that the players used sports
straps to keep their glasses on.
Milemarker were nothing short
of amazing in a world gone boring. The energy was pushed to
the limits on this boring
Vancouver night: there was
even a fire show! Disjointed
guitars and synths were played
couldive wafted out of the room
on a cloud of joy there and then
and been happier than happy—
but we were all treated to a
lengthy three-song encore
before we were sent off into the
mild winter night air. Perfect.
Mike Chilton
Thursday, February 7
The Railway Club
1 arrived at the bar far
of something to do,
the flowery brown-til
The typical mesh o
crowd  began  trickl
ng  i
swayed back and forth.
The band pelted along in
traditional country style. The
drummer chugged and the guitarists played like it was as
familiar to them as breathing.
We were treated to old hits such
as "Crazy," "Fever" and
"Walking After Midnight."
Their set ended like a needle
speeding into the circle after the
last track of a Country Greats
Nothing a
iple juice
>ods and houseco
ward the stage.
opened to
in checkerboard
shirts. A brown beer and a half
later they returned to the stage;
their name was Rat Purdy.
girl, a West Coast Patsy Cline,
short-banged and plastic snake-
skin-panted; she looked nervous but gained confidence
throughout their laid-Jiack set. I
watched the creases in her
pants   trade   places   as   she
veiling. .,
iong, groc
ie long
/nig on
into their minds at the moment.
Thankfully, the masks were
soon removed and a show
ensued that felt more like being
by the pi
the ba;
r pari
.'is   pyjam
never seen her live. I think that
had a lot to do with the fact that
she barely tours and, when she
does, she never hits the
Northwest. On the first
Monday of the shortest month
of the year 2002, all this
There was no way Vega
could have done much wrong
in front of the sold-out audience
of aging Gen X-ers, the type
who don't seem to go to a lot of
gigs anymore and, as such, are
easily entertained. That aside,
Vega could've made even the
coldest cynic warm up to her
coy, yet knowing, stage presence, engaging song set-up banter and sly music selection.
She had us from the first
note of the opener, "Marlene on
the Wall," perhaps one of my
all-time favourites of hers—
after a few notes it seemed to
just be me and her singing in
duet while the band played and
Friday, March 1
Saturday, March 2
Sunday, March 3
Wednesday, March 6
Thursday, March 7
Friday, March S
Saturday, March 9
Sunday, March 10
Tuesday, March 12
Wednesday, March 13
Thursday, March 14
Friday, March 15
Saturday, March IS
Sunday, March 17
Tuesday, March 18
Wednesday, March 20
Thursday, March 21
Friday, March 22,23
Sunday, March 24
Wednesday, March 27
Thursday, March 21
Friday, March 29
Saturday, March 30
Monday, March 31
leather    Gritlin
Fond ot Tigers / Not a Toy
Bandcouver Sunday w/ Matthew Presidente
from Toronto... Michelle Rumball / John Suliak
Chad Macquarrie / Geott Berner / Brandon xxx
Bandcouver Sunday w/ Marq Desouza and friends
Exile on Main St. w/ Amy Honey
Kevin Kane w/ Jane "Inc" Anderson
Steve Dawson (Zubot and Dawson) w/ Elliot Polsky
Kevin House w/ Mac Pontiac
Bandcouver Sunday w/ Mac Pontiac
Exile on Main St. w/Amy Honey
Mikey   Manville
Steve Dawson w/ Elliot Polsky
Bandcouver Sunday w/ Janet Panic
Kevin Kane w/ Ian Jones (Pluto)
T. Paul. Ste. Marie presents...(Lit. nite)
John Guliak
For booking info contact Amy Honey: amyhunniedhotmail.com
THE MAIN 4210 MAIN ST. &  26TH V5Y 2A6 604.709.8555
23®LF\g3£E3S keys, was topped off with
kazoos, an accordion, a
recorder, a trumpet and a rattle
thingee—and amongst them all
lay a cucumber on stage, not
doing anything at all; just hanging out. The girls all shared the
vocals and at times there could
be three different melodies
going on, with another chanting on top of that.
Jams were built on normal
bits of conversation and phrases
amplified into convoluted
rhythms. "We Don't Have A
Fucking Clue What We're
Doing Here"—Julie Andrews
style—was followed by a
grooving "You Paid Money to
Watch Us Fuck Around." Stolen
pop lines were mutated and
mixed with random banter.
There was an attempt at jazz
and an offer was made to trade
hits for brown M&Ms. No
candy appeared but "Suck My
Tits" was, well, sweet. At one
point the bass player spontaneously became an advice
Other gems of the evening
included "She's the Only Dyke
in the Band," "We've Already
Played this Riff Before" and
"Housewives have Dreadlocks,
Too," parlayed in operatic. But
my favourite would have to be
"Goodbye, Sexline; Hello, Life,"
one girl's upbeat salute to having been fired from her job earlier in the week.
Hours later, when all was
packed up and the brown beer
had taken its unseaming effect
on the remainder of the patrons,
I perceived two of four Cunts
sitting teigether in a corner still
going, singing bits of conversation to one another quite happily amidst the drunken
Michelle F.
Thursday, February 7
Live progressive breakbeat
house?! What?! What the hell
was I getting myself into? Such
was my feeling arriving at
Sonar to see Toronto's The New
Deal. I decided to review this
show 'cause my friends were
going. Plus I got a free ticket,
which didn't hurt either.
Inside, it was pretty obvious that the crowd had come to
dance. Taking the stage at half
past eleven the band—Jamie
Shields (keyboards), Dan Kurtz
(bass), and Darren Shearer
(drums)—launched into their
first set.
What sets The New Deal's
live shows apart from others is
that every set is entirely improvised. The sets consist of jams
including snippets of songs that
fluidly meld into each other,
creating an omnipresent groove.
For those of us not familiar
with their music, the uniqueness of each song can be lost.
Real appreciation of the songs
and the talent of this band come
from watching the layering and
of e
song a
played. Communicating through hand-signals, Sheilds and
Kurtz seemed  to  take  turns
determining the melodic direction of a jam. Shearer, a human
drum-machine and beat-box,
brought the jams to dizzying
climaxes that comprised some
of the most exhilarating
moments of the show.
The band's tight sound
ranged from atmospheric trance
accompanied by sparse lighting
and smoke effects, to full on
breakbeat house. This gig was
the last stop on the band's crosscountry tour, and they were
clearly psyched to be playing to
the packed house. The feeling
was mutual. By the second set
the dance floor was packed, the
entire capacity seemingly
squished around the stage.
Attempting to describe the
feeling you're left with after seeing these guys is pointless.
You're just gonna have to go see
them the next time they're in
town. They're incredible, I
promise. Plus, they did an
instrumental cover of Ozzy's
"Crazy Train." How much cooler can you possibly get?
Grady Mackintosh
Friday, February 8
Pic Pub
Killer triple bills like this one
prove that the Northwest music
scene is not, contrary to popular belief, dead. There was a
fourth band which played
before Portland's 31 Knots, but
since I arrived near the end of
their performance neither I, nor
anyone who was there for the
rest of their set, had any idea
who they were. Some acquaintances even thought the mystery band was 31 Knots. The
Knots made it perfectly clear
when they came onstage with a
din of feedback, a flailing guitarist and a chunky, Hiisker Du
guitar-pop sound. The trio
careened through an eight-song
set and promptly made their
escape. Victoria's Hot Hot Heat,
fresh from a sold-out performance at the Blinding Light!
would have been even better if
there had been room for the
sold-out audience to actually
dance in front of the stage, as
the Heat's music demanded—
one reason I miss the Starfish
Room already. About seven or
eight songs later, it was two
bands down, one more to go.
The last time I saw The
Vue, they were called The
Audience and had a different
line-up. However, their equally
dancey sound recalled the pre-
safety scissors rewires the video-in. photo by tobias v.
with The Red Light Sting and
Three Inches of Blood six days
earlier, were set up in short
course and playing before too
long. They, too, bothered very
little with small talk and got
down to playing as solid a set as
the Knots, if not better. And it
passing, as well as the musical
spirits of modsters like The
Jam, meets the attitude of such
Olympia art punks like Beat
Happening, meets the snotty
in-your-face style of such dearly
departed retro-garage-punk
acts as the Black Halos and
of the Oregon quintet to be
more satisfying in every way, as
compared to my introduction a
couple of years back out at the
Brickyard—another venue I've
been missing lately. Anyway,
this show, despite the lacklustre
venue, was as good a rockfest
as this city's seen in this still
young 2002—but The Immortal
Lee County Killers was to take
place there the next night...
Mike Chilton
Saturday, February 9
Video In
If you weren't an electronageek
you wouldn't have seen this J
show unless, like myself, you
dragged along your rock-oriented chums, kicking and
drinking. Once inside, the substance abuse continued but the
kicks transformed into knee
swivels and head bobs. The
promoters managed to dress
this concrete vault of a venue
up with digitalized visuals and
mood lighting. Devotees of the
Mille Plateaux record label and
the rest of the internationally
known underground (if that
makes sense) packed the Video
In. Bay Area expatriate Mathew
Curry (aka Safety Scissors)'s
brand of minimal electonica
kept the dance floor sporadically dancing and steadfastly curious. I could have done without
Curry's David Gahan-esque
There's more than one way to sweep a woman off her feet.
■ -ar, .■
previously unreleased tracks by:
^^M^^^^^k     _—
Sarah Harmer
The Tragically Hip
Holly McNarland
Pepper Sands
Plus music from
The New Pornographers,
Sean MacDonald, Matthew
1 ^^H9^\  k                    Hvflp         f,         ^H                              ^H
Good Band & more
mk *    1      mgm
Robson & Burrard
24 march 2002 vocals—however intentionally
cheesy they might have been.
Frequent Safety Scissors collaborator Sutekh was more beat-
driven and techno/house
oriented than Scissors. Sutekh's
meisic is enough to make a
robot sweat and rust. CiTR's
own DJ Tobias and counterpart
sseiss finished off the evening
and the crowd with well-
received sets of hard techno and
effects. This music of machines
is what the kids are into. It wasn't the lead singers irreverence
or the bands look (although
Curry) but rather the music
itself that was the spotlight of
the evening. A scene is growing
Tuesday, February 12
Richard's on Richards
Loudon Wainwright III is
great. His son is more famous
than he is, but I like pops better.
He is a real performer. He had
it all, good songs, sing-a-longs
and witty inter-song banter. He
would tell little stories about
songs but, unlike most, he
made you actually care about
these anecdotes. Having really
only heard Loudon's output
from the 1970s I was a bit scared
he may have gone the way of
many other performers. But no,
lie didn't sound like poo-poo,
he looked healthy, and he didn't depress me. His new songs
were even good. He was really
amazing at taking requests.
Someone in the audience would
yell out a song, he would play
it, just like that, a human jukebox minus the quarters. At least
that is how it worked for everyone else. You see, my favorite
Loudon Wainwright song is
"New Paint" and I know it has
to be someone else's favorite. I
yelled till I turned blue, but he
never played it. He took everyone's request but mine, he even
played "Dead skunk." "New
Paint" is brilliant, why didn't
you play it, Louden?
Wednesday, February 13
The Sugar Refinery
Soolah, aka Patrick Deadly,
played some groovy tunes to
begin the first night of the
Beautiful Music festival at the
Sugar   Refinery,   and   played
between sets as well. Sadly, I
can't  remember much  more
than that. I know I liked what
he played, but my memory is
For One and currently lives in
England, did a really cool set
with two electric guitars (one
that she played nicely and one
that she bashed in order to
make atmospheric sounds) and
pedals. I liked her stuff and
bought a CD. Her CD is good, too.
The    Birthday    Machine
played their first show with
Scott Malin (The Secret Three)
on bass. There were new songs
they all sang together at once. It
Tygh Runyan and Damon
Henry from The Beans united
with Richard Folgar to form
Please Car. All three play the
bass, and the music is sparse.
Runyan also works with samples and beats. The music was
drifty, but tight at the same
time. Each bass had a different
role: the steady bass (Henry),
the tuneful bass (Runyan), and
the risk-taking, edge-of-impro-
visation sounding bass (Folgar).
I was sort of spaced out and
didn't even realize that they
were all playing bass until two
days later. But now I know, and
as the war propaganda cartoon
GJ Joe savs, that's half the battle.
Thursday, February 14
The Sugar Refinery
It was so packed in the Sugar
Refinery that I couldn't hear
what Joshua Stevenson was
playing. Nor did I see whether
he was rocking a laptop or spinning   records.  There  were  a
versations going on and I have
to admit that I got caught up in
the chatter. If I was a better
reviewer-type person, I would
have went up to the DJ table
and stood behind him with my
arms crossed, trying to steal his
secrets so I'd have something
good to report but, alas, I'm the
kind of girl who gets distracted
by crayon drawings and people
I haven't seen for a while.
When Burquitlam Plaza
(Nick from Piano) started playing, I didn't even know that
he'd started, because I was sitting behind a lamp. But my
Spidey sense kicked in, and I
listened. I liked the set very
much. Sam Macklin worked the
sampler to make pleasing
accompaniments to singing and
piano. Ida Nielson played the
trumpet. Nick did a cover of
"Smooth Operator" that is still
going through my head.
Rodney Graham's guitar
fell on me before his set started.
If my seat had been that good
when he was actually playing, I
could tell you a lot. But I had to
go back to my table behind the
lamp, so I couldn't see who he
was accompanied by. His
singing style is a little like Bill
Callahan's, and more than one
person said, "This sounds kind
of like Smog." This is a good
The crowd thinned out a little as it grew later. Too bad for
the people who left early,
because Parks and Rec (members of The Secret Three plus
Ida and Nick on keyboards)
played a beautiful set. Who
knew so many instruments
together could produce such
gentle, mellow music? The
sound of Chris Harris and Nick
singing together makes for a
perfect moment. Hurrah for
boys who can sing.
Friday, February 15
The Sugar Refinery
By the third night of Beautiful
Music, I realized that I was the
only nerd who showed up for
all three nights and didn't have
a role (like Organizer, Recorder,
Musician  or  Sugar  Refinery
Chris Harris (The Secret
Three, Parks and Rec) is Micro
Nice. The records he played
between sets (when you could
hear it over the talking) were
say the music was micro nice.
' In my world, Jon-Rae
Fletcher is a country sensation.
Fletcher's songs have a sadness
and hopefulness to them. His
songs make me feel sad and
hopeful. His quiet performance
held the attention of most audience members. I've seen him play
three other times and he was at
his best for Beautiful Music.
The Sparrow, Jason
Zumpano on keyboards accompanied by a cello and violin,
played music to dream your
own film to. The performance
brought together classical and
pop sensibilities, creating happy,
The Battles were a partially-acoustic sensation. There
were girls dancing in the Sugar
Refinery. Sure, there was alcohol involved, but they were
dancing because they really dug
The Battles. If I hadn't been a)
tired, b) self-conscious and c)
pinned to the wall by the
crowd, maybe I would have
considered shaking my ass to
the retro sound. There was even
a Peaches-cover interlude that
lasted maybe thirty seconds.
Boys singing Peaches lyrics is a
good thing, even if they don't
sing the really raunchy bits.
Doretta Lau
Friday, February 15
Ms. T's Cabaret
Despite the unhealthy level of
self-deprecatory audience interaction which chara
series of solo perforr
Broken Hearts Cabaret at Ms.
T's (check it out: held the day
after Valentine's day) was a
thoroughly enjoyable evening
of romantic post-rock indifference, continuing that venue's
tradition of supporting the new
and strange and emerging.
Barring the irritating banter and
near-constant technical slip-ups
and restarts, the performances
were invariably spectacular—
each in their own special way—
with credit owing to the always
terrific sound quality and distinctive ambience of Ms. T's.
First on was Nick
Soapdish—the youngest performer in attendance, but still
holding his own against the vet
erans with well-constructed
songs, an emotionally complex
and affecting style (all artists
who performed, with tlie exception of King Felix, were solo
singers/guitarists) and obvious
potential for much, much more.
Soapdish—in his first solo performance?—already has the ability to evoke poignancy with
precision and proved his skill
with powerful, original material.
Using an opposite technique—but equally effective—
Dylan Godwin's performance
was an exercise in calculated
histrionics, tempered and
refined by lyrics which were
both    crafty    and    uncanny.
e aggre
ith us
throughout his set, hi
whelming and also i
ing emotional sineiosity to his
presence, leaving the audience
Next up was the conspicuously straightforward Leah
Abramson, a rising star in the
Victoria folk scene and, truth be
told, a little out of place on this
bill. Nevertheless: although officially I'm opposed to unironic
emotional expression—and the
guitar in general when lacking
the sly acridity of hyper-
intellectual distortion—Ms.
Abramson's million-dollar voice
is nothing short of breathtaking.
This combined with her excellent songwriting ability and
instrumental talents makes her
eventual capture by capitalists
and removal to California saeilv
inevitable. Stardom, it would
seem, is only for the sincere.
Tyler Mounteney followed,
carrying the distinction of performing the only standing set of
the evening. Normally, doing a
Tom Waits cover would be an
automatic fail for any musician
in my books, but Mounteney
reassured us that he actually
knew nothing about Waits'
career, and redeemed himself
with a solid, confident set.
Mysteriously, Mounteney in his
suit seemed somehow the most
appropriate act of the evening
for the single green fiberglass
cactus adorning the stage.
Performing only during the
brief intermissions after
Mounteney and Paul K's sets,
spoken word artist King Felix
played his role with admirable
humility. Spoken word really
doesn't do it for me, but the
novel segment King read for his
second standing was undeniably compelling and well-written and, thanks to his dynamic
physical presence, convincingly
One of the most engaging
performances of the evening
was the inimitable Paul K, playing intelligently constructed
songs with a controlled ferocity
and balanced self-reflexivity
(for example, the final stanzas
of his last song run, mutatis
mutandis "I'm gonna keep sin-
gin' till you tell me to stop," but
Paul K avoids the amateur's
mistake of actually requiring
the audience to respond and
"tell [him] to stop," tactfully
curtailing the song after two of
these refrains). Paul K charmed
the audience with his humour
and seemingly genuine bashful-
ness, diffidently apologizing for
not playing the entire show
falsetto, as he had originally
Julian Who, the evening's
organizer and reluctant head-
liner (the show was organized
in part to promote Who's debut
album, which will be under
review by this writer in next
month's issue) enhanced his
subtle spookiness by playing
his set backlit, presenting the
audience with only his gentle
vet fearsome silhouette. Who's
stage presence and mastery of
his voice and chosen instrument
are phenomenal, and his set of
poignant, uncanny pseudo-rock
was altogether too brief.
Sunday, February 17
[Funny, witty opening  line.]
[Introduction: Something about
the   "atmosphere,"   the   coat
check, and the kinds of people
in the crowd.]
[Hatebreed: jock metal, serious bullshit, baseball caps, haircuts.]
[Slayer: amazing, 18 MARSHALL CABINETS, Lombardo,
drum riser, "Raining Blood,"
blah, blah, blah, etc., etc.]
[Conclusion: pain, teeth, age.]
[Funny, witty closing line
that relates to the opening one.]
Christa Min
A Short Kiss for a
Short Month,
or. Why I Cannot
Listen to Him Play the
I dream of time slowing
down, of it becoming something languid. Of entire
days taken up wholly by him
kissing vou between the shoulder blades. Of breakfasts
extending for weeks on end,
and never having to make beds
or call people or glance up at
the clock. I dream of things
slowly, irrevocably, coming to a
stop. Just for a moment, just for
a while. Like the last note on a
I cannot say why I want
this. I do not know. Even as a
child, I could not sit still. I have
memories of a constant stream
of parents, grandparents and
other relatives all telling me to
sit down, or sit still or just sit.
These are strong memories. I
can almost touch them—hold
them up and show them to a
itranger. I would hold them
ike a guitar.
There are other n
that are less tangible. They are
fish, they are ghosts, and they
are fog. My 10th birthday.
Boarding school. My first kiss.
These are things that are like
movies. They are like a bass
And still, there are memories that are not there anymore.
They are lost data, they are sentences forgotten, they are the
cells that the dead breathe,
they are the rotting matter of a
dying planet. They are the lost
and gone, colonized and beat-
It is a fact: to place a new-
living organism into an ecosystem will wreak havoc on the
whole net of that world. These
are things we learn in high-
school. We draw maps and
webs and colourful pictures for
Mr Slater, each little creature
joined: the bear and the butterfly
Now, in the cold Saturday
afternoon it is Vancouver Grey,
and only a crow looks into my
window and calls. This is all
new, I think to myself. These
are all the new things that
shouldn't be here. And though
the view from here is only old
moss covered roof-tops, it still
feels too new. The memories
and the forgetting have not
had time to grow, to travel
through space and colonize
new planets—destroy them.
The musical instruments needed to play the memories have
not yet been invented. It is a
sound that can only be heard
by dogs. It does not exist yet. It
is not in this time.
Time and memory and
music are all an ecosystem, this
much is the truth we cannot
learn from high school teachers. Thev area secret language,
all part
irld   -
■   fila-
of flux. I't is a coloured world,
place where all the forgotten
is not so linear. A place that is
still growing and evolving in
its own time; where every
breakfast is a living memory;
where he can kiss you between
the shoulder blades and it is a
song. • on tlie dial
9:00AM-1 2:00PM   All of
time is measured by its art. This
show presents the most recent
new music from around the
world. Ears open.
3:00PM      Reggae   inna  all
styles and fashion.
3:00-5:00PM Realcowshit
caught-in-yer-boots country.
alt. 5:00-6:00PM British pop
QUEER   FM      6:00-8:00PM
i India, including popular
6:00PM International pop
(Japanese, French, Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your jet
set holiday now!
c fio
the 1930's to the present, clas-
such as Ghazals and Bhajans,
and also Quawwalis, pop and
regional   language   numbers.
THE     SHOW 10:00PM-
12:00AM Strictly Hip Hop-
Strictly Underground—Strictly Vinyl.
'' 'ith your host Mr. Rumble on the
1 & 2's.
2:00AM Join us in practicing
the ancient art of rising above
common thought and ideas as
your host, DJ Smiley Mike lays
down the latest trance cuts to
propel us into the domain of the
mystical. <trancendance@hot-
8:00 AM
BROWNS   8:00-11
Your favourite brown-ster:
and Peter, offer a savou
of the familiar and exc
blend of aural delights!
FILL-IN alt. 11:00-1:
GIRLFOOD alt. 11:00-1
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
DJ Hancunt wants you to put
your fist to the wrist—you know
5:00PM A chance for new
CiTR DJs to flex their musical
6:00PM Join the sports dept.
for their coverage of the T-Birds.
CRASH THE POSE(formerly Evil
Vs Good) alt. 6:00-7:30PM
Hardcore/punk as fuck from
beyond the grave.
REEL   TO    REEL   alt.
MY ASS alt. 6:30-7:30PM
Phelps, Albini, 'n' me.
WIGFLUX      RADIO      7:30-
Since we can't go into advertising, we thought we'd go into
radio. Our blurb sux, but our
show don't. Tune into Wigflux
Radio with your hosts Vyb and
Krysta belle.
12:00AM Vancouver's longest
Mar. 4: Out Of This World, the
only recording by an underappreciated and sadly forgotten
master tenor saxophonist named
Walter Benton. He performs with
pianist Wynton Kelly and trumpet
heavy Freddie Hubbard.
Mar. 11: Trombone pioneer JJ
Johnson plays jazz standards
and original compositions with a
big band conduced and
arranged by Oliver Nelson.
Mar. 18: The Ornette Coleman
Trio live At The Golden Circle.
Mar. 25: Miles Davis live at San
Francisco's legendary jazz club
The Blackhawk in 1961 with
tenorist Hank Mobley, pianist
Wynton Kelly, bassist Paul
Chambers and drummer Jimmy
Cobb. Some of the best live jazz!
3:00AM Hosted by Trevor. It's
punk rock, baby! Gc
hearts—thank fucking Christ.
derivatives with Arthur and "The
Lovely Andrea" Berman.
WORLD HEAT 8:00-9:30AM
An old punk rock heart c
presents me
and far. Your host, the great
Daryl-ani, seeks reassurance via
9:30-11:30AM Open your
ears and prepare for a shock!
A harmless note may make you
a fan! Hear the menacing
scourge that is Rock and Roll!
Deadlier than the most dangerous criminal! <borninsixty-
BLUE MONDAY alt. 11:30AM-
1:00PM   Vancouver's      only
program. Music to schtomp to,
hosted by Coreen.
alt. 11:30AM-1:00PM
PARTICLE 1:00-2:00PM
Incorporated into the soul are
the remnants of digital sound.
Unleashed, cryptic economies
accelerate the sound particles
nil Pol saint |Po
PARTS      L'
w^m^av^    MAGNETIC
ANOIZE      |N°1
PLANET       [*=[
SKA-T'S       L
| Rts j
10,000 VOICES (Tk)
I Vfe
WEASEL        L—
^E      B
ON AIR       E]
I Rts |
LIVE FROM...   '—I
26 march 2002
Cf= conscious and funky • Ch= children's • Dc= dance/elecfronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Hk= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk
Re= reggae • Rr= rock • Rfs= roots • Sk = ska #So= soul • Sp= sports • Tk= talk • Wo= world through states of Becoming,
breaking the flesh, whirling,
hydra-head, rhizomatic sky.
CPR 2:00-3:30PM
buh bump... buh bump... this is
the sound your heart makes
when you listen to science talk
and techno... buh bump...
LA      BOMBA      (First     three
Tuesdays)     3:30-4:30PM
4:30PM Last Tuesday of every
hosted      by
Community Liv
music and spoken word program with a special focus on
people with special needs and
10,000 VOICES 5:00-
6:00PM Poetry, spoken word,
performances, etc.
8:00PM Up the punx, down
the emo! Keepin' it real since
1989, vo.
alt. 10:00PM-12:00AM
alt. 10:00PM-12:00 AM
Phat platter, slim chatter.
6:00AM It could be punk,
ethno, global, trance, spoken
word, rock, the unusual and the
weird, or it could be something
something different. Hosted by
7:00 AM
7:00-9:00AM Bringing you
an entertaining and eclectic
mix of new and old music live
from the Jungle Room with your
irreverent hosts Jack Velvet and
Nick The Greek. R&B,
disco, techno, soundtracks,
Americana, Latin jazz, news,
and gossip. A real gem!
10:00AM Japanese music
and talk.
FILL-IN 10:00AM-12:00PM
ANOIZE 12:00-1:00PM Luke
Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
THE   SHAKE    1:00-2:00PM
3:00PM Zines are dead! Long
live the zine show!
5:00PM  "Eat, sleep, ride, listen to Motordaddy,  repeat."
6:30PM Socio-political, environmental activist news and
spoken word with some music
too. <http://www.necessaryvoic-
(First   Wednesday   of   every
9:00PM   Indie,   new wave,
punk, noise, and other.
FOLK OASIS  9:00-10:30PM
Roots music for folkies and non-
folkies... bluegrass, singer-song-
rldbeat, alt. country
i. Not a
HAR   10:30PM-12:00AM
Let DJs Jindwa and  Bindwa
Bhungra! "Chakkh de phutay."
3:00-6:00 AM
8:00 AM
8:00-10:00 AM
11:30AM Music inspired by
Chocolate Thunder, Robert
Robot drops electro past and
present, hip hop and inter-
galactic funkmanship.
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and  slow (hardcore).
SHOW 2:00-3:00PM
Comix comix comix. Oh yeah,
and some music with Robin.
LEGALLY HIP alt. 5:00-
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike news and views
you need and even cruise
around while doing it!
7:30PM No Birkenstocks,
nothing politically correct. We
don't get paid so you're damn
right we have fun with it.
Hosted by Chris B.
HAIR 7:30-9:00PM The
best in roots rock V roll and
rhythm and blues from 1942-
1962 with your snappily-attired
12:00-2:00PM Top notch
crate diggers DJ Avi Shack and
Promo mix the underground hip
hop, old school classics and
original breaks.
3:30PM The best mix of music,
news, sports and commentary
from aroung the local and international Latin American communities.
6:00-9:00PM David "Love"
brings you the best n
ind   old
iba,   bossa,  and  Afric
music from around the world.
Hosted by DJ Noah: techno,
but also
.  Gue:
views,    retrospectives,    give-
HEAD 12:00-2:00AM
8:00AM-12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket giveaways.
8-9AM: African/World roots.
9AM-12PM: Celtic music and
FILL-IN 12:00-1:00PM
local    demo    tapes,
imports,   and   other   rarities.
Gerald Rattlehead, Dwain, and
Metal  Ron do the damage.
CODE   BLUE   3:00-5:00PM
backwoods dell
urban   harp
' Mues roots
Andy, and
RADIO     HELL 9:00-
11:00PM   Local muzak from
9. Live bandz from 10-11.
11:00PM-1:00 AM
6:00AM   Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
10:00AM Trawling the trash
heap of over 50 years worth of
real rock 'n' roll debris.
Email requests to <djska_t@hot-
with your hosts Jim
6:00-8:00PM Tune in for
ongoing coverage of T-Bird
events. Check citr.ca for details.
SOUL TREE alt. 10:00-
1:00AM From doo-wop to hip
hop, from the electric to the
eclectic, host Michael Ingram
goes beyond the call of gospel
and takes soul music to the nth
PIPEDREAMS alt. 10:00-
THE RED EYE alt. 1:00-
EARWAX alt. 1:00-4:30AM
idfuck hardec
like   punk/bee
headz    roc'
force with n<
chaos  runs
op   dem
—Guy Smiley
9:00AM Hardcore dancehall
reggae that will make your mitochondria   quake.   Hosted   by
\    i
j 1111
i I mm
27E^sas®SS straidht    iN5993|     tfSSSfa
register your band now
Grab an entry at:
Suite#300 -1062 Homer Street
Tel. 604.684.9338
Cut off date to enter is March 15th.
or email:
May 08-12 Vancouver
The West Coast's
Premiere Music Festival
Each submission receives feedback frc
at least 3 music industry professionals
I Win 25 hours of recording time at the
I world renowned Mushroom Studios
other Clinic titles:
3 EPs  CD
Internal Wrangler  LP/CD
Distortions   CDEP
Return of Evil Bill  CDEP
Second Line CDEP
Walking With Thee  LP/CD
Domino USA
The second album by
Liverpool's new favorite sons,
co-produced with Ben Hillier (Blur,
Elbow), and released by Domino USA.
With reference points as disparate as
Joe Meek, Studio One dub, The
Shangri-Las, Crime, Suicide, and the
Silver Apples, plus endorsements
from Radiohead, Rolling Stone, Spin,
A/P, Magnet, and more.
"One   of   this   year's   artists
to watch" - Rolling Stone
3 EPs  CD Internal Wrangler LP/CD
Domino USA is distributed in
Canada via Scratch Distribution.
Sun March 24th
@ Richards on Richards
Clinic   releases   are   (potentially)
available from Apollo,  Black Swan,
Boomtown,    Luckys,
Noize, Scratch,
Rampage,      Virgin
Megastore & Zulu.
www.scratcbrecords.com cUart/s
what's being played at CiTR 101.9fm
rch Long Vinyl
March Short Vinyl
March Ind
e Home Jobs
1 Stereo Total
Musique Automatique         Bobsled
1 The Spitfires
Juke Box High
1 The Accident
2 Tennessee Twin
Free to Do What?
2 Destroyer
The Music Lovers
Sub Pop
2 The Organ
We've Got to Meet
3 Mary Lou Lord
Live City Sounds
3 The Cleats
Save Yourself
3 Three Inches of Blood
Tonight we Rejoice
4 Felix Da Housecat
Kittenz and Thee Glitz
Emperor Norton
4 The Stereo/Ultimate Fakebooksplit
4 The Spinoffs
Novelty Garb
5 Cornelius
5 The Class Assa
No Justice...No Peaa
5 Sharp Teeth
Burn Return
6 Cancer Conspirarcy
The Audio Medium
6 Matt Pond
This is Not
6 The Byronic Heroes
Ant Dance
7 Zero 7
Simple Things
7 Bright Eyes
Motion Sickness Blood of the Young
7 Human Hi-Lite Reel
8 Link Wray
Golden Classics
8 Victim's Family
Calling Dr....           Alt. Tentacles
8 Ether's Void
It's Over
9 Andrew WK
1 Get Wet
9 New Town Animals
Lose That Girl
9 Second Narrows
Live off the Floor
10 Frog Eyes
The Bloody Hand Global Symphonic
10 Riff Randalls
How 'bout Romance
10 Bestest
11  Rhume
Jeu de Puissance
11  The Lollies
Channel Heaven
Evil World
11  White Lights
Your main Man
12 Hives
Main Offender
12 Tijuana Bibles
Mexican Courage
12 Roadbed
JB Fool
13 Bad Religion
The Process of Belief           Epitaph
13 The Evaporator
Honk the Horn
13 Mr. Solid
Already Gone
14 Trail Vs. Russia
The Anvil
14 Red Hot Lovers
14 The Hoodwinks
1 5 Microbunny
15 Butchies
Where R We
Mr. Lady
15 Six Block Radius
Kill to Hide
16 Sam Shalabi
On Hashish
Alien 8
16 Piebald
Just a Simple Plan
16 Bend Sinister
1 7 Dimitri from Paris
After the Playboy...
17 Cave In
17 Viken
18 Nobukazu Takemura Sign
Thrill Jockey
18 The Mabels
Shifting Sands
Drive In
18 Adios Amen
Front Man
19 Dressy Bessy
Sound Go Round
19 Various Artists
Volume One
Dut of Touch
19 Maynards
20 Just Barelys
just Barleys
20 Mirah
Cold Cold Water
20 The Plutonics
Don't Call it Love
21  Tim Hecker
Haunt Me
22 Cleats
Lost Voice, Broken Strings   Longshot
23 Sneaker Pimps
Blood Sport
Tommy Boy
24 Tanya Donelly
25 Carnations
Beauty Sleep
The Carnations
26 Various Artists
Funky 16 Corners
Stone's Throw
27 Mr. T Experience
...And the Women.
28 Controlled Bleeding
Can You Smell...
one Casualties
9 monthly charts
3re compile
d based on the number
of times a CD/LP
29 Dears
Nor the Dahlias
("long vinyl"), 7" ("s
hort vinyl")
or demo tape/CD ("ind
e home jobs") on
30 Chris Murray
R's nlnvlist was r>
nved bv ou
DIs durinn the nrevious r
nonth (ie. "March"
charts reflect airplay over February). Weekly charts can be received via email.
Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-
charts." •
604.329.3865      DISC0RDER@YAH00.COM
29 ®f£s£E®3ffi dotc:t>ooL
what's happening in March
TO 604.822.9364 OR EMAIL
cc/io@blinding light!!; fon
release partyeWISk; the |
aboriginal friendship centi
thread, black rice<iepic; h.in
vs the wild@gm place
John wolf brennan, pegg
nightiffiblinding light!!; ba
bancouver Sunday w/mac pontiac@main; nunstalker, DOA@the boot hunf«r«blinding light"; slowdrag@main; radio berlin@pic; bonnie prince
ler); the intima@zulu records (4pm); honeysuckle serontina, guff@pic billy@anacortes (Washington)
MON 18 SAT 30
racy theory mondays@sugar refinery; darryl's grocery bag, complete, sadies, beachwood sparks@pic; martin rielli, Ink doucer@richard's on richards;
r. plow, chris of the stand gtfe'mesa luna the new year, pedro the lion, seaworthy@graceland, Seattle; canucks vs mighty
TUES 19 fucks@gm place
[,l thet
; light!!; stev,
an; thre>
silence@niesa luna
1 aiaUllatiusdavsi sugarnhi
ir>, moldy peaches
dav.es, dressy bessy@p,c; ,f„ A
kyncaid w/jesse zubot, jean
nartin@sugar reft.
•ry; g
battles@richard's on richards
2$Oa> zine launch,
ing light!!; shippy@main; n
instalker, the hill
human hi-lite reel, michelle
umball@sugar ref
light!!; auburn@main; kick in
the eye@astoria; d
baron samedi@sugar refine
o@richard's   on    richards;
lames   cotton   b
clover honey, the ewoks@pic
SUN 10
METIC@PIC; daniel yoon's ;><>s(-ama<ss«iH@blinding light!!; band
hern i
cat power@richard's on richards; conspiracy
the metic, the black list, bend sinister@mesa 1
parallelatuesdaysBBU^H refiner) : subversive
enhullOblinding light!!; exile on main st. w
1  John
kings@gm place
WED 27
assertion@sugar refinery; subversive emuls
hullOblinding light!!; kevin kane@main; bon
audiolava, jack harlan@sugar refinery; jcsa.
light!!; tony vvilson quartetScellar; t. paul st
itection program, the blackjacks, streets", pic
FRI 22
;ar refinery; millencohn, home grown, bomb
irrc (all-ages'); mercedes sosa/iorpheum; subvc
r hockenhull@blinding light!!; carolyn mark e>
lagged "starr\ dviumo cafe; new town animal
SAT 23
,-, paul kellv band/'Tichard's on richards; suhvc
■r hockenhull@blinding light!!; brad muirhead'
SUN 24
refinery; clinic@richard's on richards; subve
;r hockenhull@blinding light!!; bandcouver su
cks vs oilcrs@gm place
MON 25
:y theory mondavs'."'siigar refi
Apeciof event*
at first we thought it was a joke, in fact, we're still
sort of wondering if the refinery put it on their listings to fuck with our minds, discorder ad
salesperson steve firmly believes that us maple's
talker is the greatest piece of music ever put to
wax. go see them play with jerk with a bomb at the
sugar refinery (1115 granville street) on thursday.
march 21.
part of moving ideas, an on-going, multi-venue project subtitled "a contemporary cultural dialogue with
india." this exhibit of the research done by patricia
uberoi and pooja sood on the genre of indian "calendar art" will be showing at the presentation house
gallery until march 31. check out
www.eciad.bc.ca/movingideas for more info on the
rest of the festival.
Sunday, march 3. a night of screenings and talk about
ICTV. Vancouver's non-profit cooperative community
television studio at the blinding light, support indie
lounge; hotwire, the dinks, gg dartra\-"pi<:; le BgreSshowbox, Seattle
FRI 15
chris gestrm@sugar refinery; dimmu borgir, cryptopsy, krisiun@wett barr;
modore; soldiers of the underground, organix@club 23 west; the new
.•(•I'lm-wOblinding light!!; boltleneck@main
SAT 16
golden wedding band@sugar refinery; the new ;<'<>im»@blinding light!!; kevin
house@main; the tek hers, glory holes, rod iron hau!ers@pic
unrefined@sugar refinery; the fables@commodore; the new reomm@blinding
30 march 2002
bassix records
217 w. hastings
pic pub
620 west pender
beatstreet records
3-712 robson
railway club
579 dunsmuir
black swan records
3209 west broadway
richard's on richards
1036 richards
blinding light!! cinema
36 powell
ridge cinema
3131 arbutus
3611 west broadway
scrape records
17 west broadway
chan centre
6265 crescent
scratch records
726 richards
club 23
23 west cordova
66 water
917 main
sugar refinery
1115 granville
commodore ballroom
868 granville
teenage ramapage
19 west broadway
crosstown music
518 west pender
Vancouver playhouse
hamilton at dunsmui
futuristic flavour records 020 granville
video-in studios
1965 main
highlife records
1317 commercial
western front
303 east 8th
the main cafe
4210 main
wett bar
1320 richards
ms. t's cabaret
339 west pender
WISE club
1882 adanac
orpheum theatre
smithe at seymour
1300 granville
pacific cinematheque
131 howe
zulu records
1972 west 4th
■ II
MARCH 21ST 2002
15 WATER ST.K<&ASTOWlNr/604 602 9^4: FOG
Just graduated from college and
realized that sitting in your basement getting "baked" and listening
to your increasingly scratchy Luke
Vibert and Smog "wax" is no longer
a viable lifestyle option? Well, my friend, life is but a series of
crushing disappointments, as the "emo" kids who skateboard
incompetently on your street every long, long afternoon could
doubtless tell you. Why not take comfort in the sloppy eclecticism of Ninja Tune's latest bedroom auteur, FOG. His quintes-
sentially Minnesotan angst will wrap you in a warm, if rather
mildew-y, blanket of slacker empathy and make you wonder
how indie-rap genius Dose One manages to put in an appearance on every other record of any kind released nowadays.
CD 16.98   LP 14.98
s/t CD
a new quirky hybrid record
that's quite hard to describe. It's
somehow so totally contemporary it
seems like it's from the future.
Overall not as driving as the work they've done, tj
stretching out here, each song possessing a welt developed
and often widely contrasting style. Of course, old fans are
used to BUFFALO DAUGHTER'S creative whims arid eclecticism, but this record perfects what previously s|emed a bit
more dilettante-like, less methodical. Ultimatelyjdespite considerable experimentation, the larger picture is irreverent - a
glossy and super-saturated hi-tech populism shining forth
like a radiant Utopia.
CD 16.98
Trouble Every Day
Masters of Understated orchestral beauty, the TINDERSTICKS
refocus their apefjure for this sublime soundtrack to Claire Denis'
(Beau Travail, Nenette et Boni) latest art-house hit Trouble
Every Day. Evoking the serenity of Bernard Herrman s scores,
these tracks are the petfect complement to Denis' exploration
of the vampire myth as asite of psychosexual trauma. The
surrealism of flesh and blood's unsettling beauty supported on
seemingly opposed pillars ot elegance and horror. This is the
sound of a modern vampire on the prowl - and oh yes,
Vincent Gallo plays the fangs'!!
CD 16.98    LP 16.98
Stand Up For Your
Mother CD
Oh, to watch the wee ones grow
strong and sure! Who could
have guessed that YOUNG AND
SEXY would sublimate their larval
stage as a rhythmless twee-folk trio to emerge as the big, bold
butterfly in evidence on this, their debut long-player on
Vancouver's.Mint Records? Those who've caught their live
shows of late to be sure, but for the uninitiated this album will
come as a welcome surprise. Produced by the local hit-makers
at JC/DC (New Pornographers, Destroyer), this collection of
inspired music and evocative verse should find it's way into the
heart of all who hear it. Whether celebrating the joys of good
friends and "Good, good, good, good times" or lamenting the
pain of seeing the one who broke your heart everywhere you
go, these are our songs—youno/dr old, sexy or no. The ascension is underway, my friends. Check them out now (perhaps at
their in-store appearance ofl March 31 st) and say that you
were there before they were a household name.
CD 12.98 y
Gaga for Gigi CD
The term supergroup can be used
far too often' and spuriously.
With Volumizajr, however, it's a completely unavoidable title. How else
could a band fiat has ex-members
of Pointed Sticks (Bill Napier-Hemy), Dishrags (Jade
Blade), and UJ3RK5 (Rodney Graham) be taffy described?
Pedigree asid$, of course, the music speaks ftjcely for itself:
buzzing punk (jock into jaunty new wave, with beautifully
bored vocals b| Shannon Oksanen, all buffed-Up by the fine
boys at JC/DC. On paper, this seems like a hit machine: on
CD, it IS a hit mkhine. Check it out, man.        \
CD 12.98
Walking With Thee CD
I remember as if it were yesterday my first exposure to these
magical, mystical Liverpudlians. First song, "This is good."
Second. "This is really good." Thkd, 'This is SO good." And so
on, you get the picture. Few alburrisof late have blown me
away quite so much as Internal Wrangler (their debut, in
stock) and the winning streak continues With Walking With
Thee. The scope is narrowed, refined to give this collection of
songs a cohesiveness that eluded their debut (though not to
its detriment). Think OK Computer-era Radiohead with a
sense of humour and Augustus Pablo sitting in on melodica.
A breath of fresh air amidst the smoke and mirrors of today's
CD 19.98
sale prices in effect until march 31,2002
ZULU'S Hot Tickets:
We Are the Only... CD/LP
Remember Emo Phillips? That guy was really funny. Punk
rock rules! Or emo, if that's what this is. Whatever.
Regardless of where in lands in the stable of label, we can tell
you this - this is good. Modern pop with edge (straight?) a la
Get Up Kids, The Anniversary, Jets to Brazil!
CD $16.98    LP 14.98
Scary World Theory CD
Perhaps it seems fitting that the LALI PUNA website is
'under construction' - simply put their sudden surge In-,
popularity has crowded their sonic hobbyists status! Yes,
together with the Notwist (come and ask about it), LALI
PUNA have solidified the quiet 'melancholic electronic' sound
of Germany's Morr Records, and thus triggered the motion
detectors of London's elite - Andrew Weatherall Radiohead,
Unkle etc. Fragile sounds that blend diverse palates skewing
sonic histories....beauty in the process of arriving, certainly
for LALI PUNA all is always under construction.
CD 19.98     IN STOCK MARCH 10
Everybody Hertz CD
Unlike the chumps in Hollywood,
here the original was good-but  |
the remake is better!! 'France's
retro-obsessed composers, AIR,
reach into their Rolodex for this
remix hook up featuring the likes of
International DJ Gigolo's The Hacker, On-U Sound's Adrian j
Sherwood, Mr Oizo and others! Padding the disc, a
new AIR track and vjdeb are included — further proof that at
records should be released with remix doppelgangers!
CD 16.98
Didn't It Rain CD/LP
"The singer-songwriter is oneof tn'fe most
ing and mythologized features of pop music: an
authentic voice, speaking truthfully, usually unmedi-
ated by the often-excessive spectacle of pop display and hype. This notion runs back to early folk,
country, and blues, diaJogically repeating in the
gestures of so many contemporary artists.
Fictionalizing aside, this doesn't discount the power
of this compelling theme, which sometimes serves
to beautifully frame some truly poignant music.
Such is the case with SONGS: OHIA. Listening to
Didn't It Rain, it's made clear that, mythologized or
not, this history is real enough.
C016.98   LP 14.98     \
Gutter, Voice and Vibraphone
look at Americana
Drum, Bass, Violin and Guitar
the brooding sound of San Fran!
New Romantics of song
this local quintet will charm
the pants off of any A+ft guy
March3rd March23rd March25th                               April lltti
Richards On Richards Richards On Richards Richards On Richards                         TheComodore
w/The Battles w/Kingsbury Manx w/Gaza Strippers w/ArrB-Pop Consortium & Buck 65
March6th March24th April 5th                               April 27th
Richards On Richards Richards On Richards Richards On Richards                                   Sonar
Electro is back! Big time cold grooves and vocoder!
_/*       THE BOTTl£ ROCKETS- Songs 01 SatanCD
A swell tribute to the understated songs of Doug Sahm!
ROB MAZUREK-Amorphic Winged CD
Muted horns and electro glitch from this
no Thrill Jockey's most underrated outfit returns!
Between BUU TO SPU. and MODEST MOUSE - another Northwest pop darling!
ROCKET FROM THE TOMBS-The Day the Earth Met... CD/IP
The rosetta stone of art-punk - pre Pere Ubu and Dead Boys!
Senior Coconut remixes the Latin electronica vernacular!
CAUFONE-Deceleration CD
A limited ed. live CD featuring their improvised film music!!
Zulu Records
1972-1976 W4th Ave
Vancouver. BC
tel 604.738.3232
I u.-..Wed   10:30_7:00
nd Fri 10:30-9:00


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