Discorder CITR-FM (Radio station : Vancouver, B.C.) 2000-05-01

Item Metadata


JSON: discorder-1.0049893.json
JSON-LD: discorder-1.0049893-ld.json
RDF/XML (Pretty): discorder-1.0049893-rdf.xml
RDF/JSON: discorder-1.0049893-rdf.json
Turtle: discorder-1.0049893-turtle.txt
N-Triples: discorder-1.0049893-rdf-ntriples.txt
Original Record: discorder-1.0049893-source.json
Full Text

Full Text

 that rolled up to the ankles magazine from eitr 101.9 fm
the moves
bowery electric
flaming lips
south by southwest
more.. Z.  SYIAA*
ZDOO Fancy
The Moves (mr. lady's latest up-and-comers)
Bowery Electric (former kranky stars make it big[ger])
FLAMING LlPS (Luke Meat vs. Wayne Coyne for more indie rock god chit-chat)
South By Southwest (everyone loves a c<xx>Musci^(jsTRYC0NFERENa, rght?)
barbara andersen
ad rep:
Julian manyoni
(maren hancock)
art director:
jenny watson
production manager:
christa min
art and design:
jenny, chad christie,
tristan winch
photography and
illustrations: casey b,
bleek, barb choit, val
cormier, jason da silva,
ann goncalves, lori
bleek, nicholas bradley,
howie choy, julie colero,
jason da silva, erin empey,
jeff helm, mike hill, Janet,
doretta lau, cat moore,
tobias van veen,
brian wiebe
contributors: tania a,
bleek, chris-a-riffic, chris c,
howie c, julie c, val c,
bryce d, anna f, jamaal f,
robin f, adam h, samuel k,
godfrey I, christa m,
penelope m, sam m, janis
mck, anthony s, queer
noise, tesla v,
on the dial:
anna friz
julie colero
matt steffich
us distro:
ann goncalves
linda scholten
Interview Hell
Vancouver Special
Kill Your Boyfriend
Louder than a bomb
Radio   Free   Press
Under Review
Real Live Action
On the Dial
Lori Kiessling decided to feed my (commercially unviable) love
of abstract, non-contextual covers with her splendid
photos of "stuff." there's something about being
electrocuted ninety times a day by the furniture in your own
office that just makes nice blurry purple pictures of boxes
and teddy bears and boys feel like the right thing to do.
© "DiSCORDER" 2000 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation
Subscriptions, payable in advance, to Canadian residents are
$ 15 for one year, to residents of the USA are $ 15 US; $24 CDN
elsewhere. Single copies are $2 (to cover postage, of course).
Please make cheques or money orders payable to DiSCORDER
DEADLINES: Copy deadline for the June issue is May 17th. Ad
space is available until May 24th and can be booked by calling
Maren at 604.822.3017 ext. 3. Our rates are available upon
request. DiSCORDER is not responsible for loss, damage, or any
other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies),
or any other unsolicited material. Material can be- submitted on
disc (Mac, preferably) or in type. As always, English is preferred.
Send e-mail 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
line at 822.2487, our office at 822.3017 ext. 0, or our news
and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail
http://www.ams.ubc.ca/media/citr or just pick up a goddamn
pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1,
printed in canada Radio
DiSCORDER Who are you and where are
you from?
I'm Shecky Green's niece and I've just come from
a grueling 7-hour hypnotherapy session where they
tried unsuccessfully to convince me that I'm Roddy
Fraser, part of the one-man act called Nude,
Drunken Scotsman Descending a Hairpiece, which
specializes in songs about suicide, despair, disillusionment, tuberculosis and agony, all with a good
disco backbeat. Or I might change the name to
Fergie Featuring Roddy Fraser.
Here's your chance to speak your piece in
a public forum. A) What was it like to be
kicked off stage at a gig that you put on?
B) How do you deal with your feelings
when you know you will be seeing those
people at future shows? C) Did it make
you want to quit music? D) Are there any
reasons that make you feel that maybe
you deserved to be kicked off?
A) Well, it helped me realize that my feelings of
persecution and paranoia were right all along, but
I also think it showed the impeccable taste and
judgement of the audience. B) If I see them again
I'll give them such a look. C) Yes, along with having no fame or money. D) No Apart from being a
few octaves off key, I feel my performance was
What's the story behind Procrastifarian
Records? Is anything to be released soon
or will you procrastinate forever?
There's a compilation that's going to be released
soon. We're still looking for a couple more weird
acts to stick on it   If you feel your music could
induce vomiting in the normal listening public,
please contact address below.
What do you think of Bobby Joe Ebola
and    the    Children    Macnuggits   from
Berkeley, CA?
Sexually: magnificent. Hygienically: there is much
Amy's Rocks
Why do you choose
to play Karaoke-style
over forming a
Thrift, although I am looking to hook up with a bass player |
What is the future of Karaoke?
I've a feeling it's going to be really big in Japan.
What is your favourite part of the recording process?
Economizing. I'm actually working right now on
being able to record without the use of any recording equipment, words, music, sound or concept.
What is your favourite local music venue
in Vancouver?
BC Place for the spacious washrooms and Ms. T's
Cabaret at 339 W. Pender which hosts on the first
Saturday of every month the Procrastifarian
Records showcase featuring acts too talented,
deranged or inaudible for other venues. Contact
me if you want to play.
Ask yourself a question that would piss
you off normally and answer it like a
Why is your penis so small?
Owing to the factors of a global economy endeavouring in a non-exclusive fashion coupled with the
hard work and diligence of ordinary working people would fully sum up my response to that allegation in a nutshell.
Anything else to add?
Yes. •
DiSCORDER Who are you (names, flavours,
instruments played)?
Amy Brannen, Guitar, Vocals, Iron Fist in Velvet Glove
Mark Szabo, One Million Monkeys with Guitars
Scott Richie (Rabo), Drums and Occasional Noises
Brian Deans, Cello
Amy Walker, Guest Recitations
Now you folks have been around the block
and you ain't new at this music thing.
Please tell our readers from where you
have come... former/other projects, for
Amy: My name is Amy, I come from the banks of
the salt marsh in West Chezzetcook, NS. Projects
include the Marsh Girls (with my two sisters), Drop
Pop Girl and Clover Honey.
Mark: My name is Mark, I come from Calgary.
Projects include Thee Crusaders, Infernal Devices,
Good Horsey, Mark and Capozzi Park.
Scott: My name is Scott, I come from Fredericton,
NB. Projects include Scream Theatre/Three Ring
Surgery, Autoerotic, See Bob Run (a play), 25<t Peep
Show, Rabo, Wholenewbrain, Insomniacs, Unco,
Blue Nose Fly and Assertion.
Brian: My name is Brian, I come from Vancouver,
BC. Projects include Vancouver Philharmonic
You've incorporated some interesting instruments into your lineup, namely the cello and
the Bo Diddley guitar. Please! Tell us about
these and how they came to become a part
of your unit.
Amy's Rocks: Cosmic forces beyond our control led
us to this pass. It has been more the drunken party
n than Venus rising in Leo which has unit
ed us. Venus rising in Amy, mostly. The ir
arrived by less random routes, they were
were carrying when we walked in.
There's a bit of a jazzy feel to  .
your set. Have any of you
dipped your toes into tho<
waters or do you all just bring  I
out   the   jazziness   in   each   |
"Jazzy: vivid, unrestrained" [Oxford  j
Dictionary of Current English). I
pose we all bring out the jazzine
each other in the sense that v
we're playing it's unrestrained. We   |
are all united by the music that has
shaped and formed us, moulded by
immortal     beings    from     Planet  |
Merdeka (you know, the c
blew up). Who invented definitions?
In three words, how would you describe
your sound to those who have never heard
Plangent parting plans.
Amy's Rocks, you have been given the task
of planning a gig, which you, of course, will
be headlining. Choose 4 other Vancouver
bands that you would pick to share the
stage with you at the show and what kind
of props (if any) you would use for your
The Dream Gig: Amy's Rocks, Young and Sexy,
Unitard, Fond of Tigers. Props might include the audience, a few ball gowns, and a hat.
Anything else to add?
Keep an eye out for Amy's Rocket, a zine.
Ask yourselves two questions and answer
Anything else to watch for from Amy's Rocks?
Yes, we will have a CD available in June 2000.
Why did the chicken cross the road?
We don't know. •
Selected Discography
Clover Honey, Go Horse Co, Lancerock Records,
2000, Mark, Chocolate Covered Bad Things, Catsup
Plate Recordings, 1999; Good Horsey, Kazue,
Trackshun Industries, 1994; Assertion, A Great
Refusal, Rented Crutch, 1998; Blue Nose Fly, Double
Penetration, Piebald Productions, 1998
Amy Brannen
179W. 18th Avenue
Vancouver, BC V5Y 2A6
>r     Hi
DiSCORDER  Who are y
Dave the Butcher, age 23, 1 sir
Nathan, 24, hokey-ass drums
ou (names, ages, instrumen
g, uh, badly...
s                                  ■   ■                                 ■                                            Dom: Metallica, Master of Puppets and Bon Jovi, Slippery When
l\/i\/nnid                                   Wet-gat them the same day.
IVI   y  V/ fJ 1 CI                                 Nathan: Motley Crue, Shout at the Devil.
J                                                                     Stefan: Stryper, Soldiers Under Command.
Stefan (the Stefilator), 25, wheedling guitars
Dave, how do you manage to sing so low? Do you us
anything to help you with this (ie. pitchshifters)? Why c
you choose? Is the Swedish metal scene still what it was in      1 was a fan in '83) but my first real record was Never Mind the Bollocks
e      the good ol' days?                                                                               in about '89 or '90. 1 never looked back. We are possessed by the
o      Stefan: 1 like North American bands better. There isn't much going on      God of thunder and rock 'n' roll when we play live.
e      in Sweden that 1 am into.                                                                       Anything else to add?
e      Dom: Definitely North America. The best death metal/grindcore bands      Make sure to check out some of our upcoming shows: May 19 at the
f      are in Canada and the US. There are some really good bonds in the      Anza Club with Goat's Blood, Hurt, Human Resistance Project and
Montreal orea, like Cryptopsy, there are some great beat bands in      another band, and May 20 at the Java Joint in Surrey with Goat's
g      Vancouver and across the prairies as well.!.. Metal is a lor more popu-      Blood, Dissent (or Wrecking Ball), Crown of Horns, and maybe the
Jt      lar in the midwest and on the East Coast than here, unfortunately. A      Maneaters. Support all local bands. We just recorded our first CD,
t-       band like ours is lucky to play to 150 people in this town; most of the       Concentration of Suffering, which will be available soon at Scrape
e      shows back East have double that amount of people. 1 think the weed      Records on Broadway, A&B Sound, and Sam the Record Man. Do
out here is too good—people are too mellow, they would rather watch      yourself a favour and pick it up. Shouts out to Hurt, Tendonitis, Abuse,
u      some guy ploy a techno CD and sip lattes than check out some real      Crown of Horns, Zuckuss, Goats Blood, All Father, Gohlers, Dissent.
'      music.                                                                                                        Drink beer eat poop! •
Nathan: The only.pub rcrawl is the Columbia Hotel. That is really the
sr      only bar in town where bands like us cati play.                                          Discography
Dave: 1 would like to gq to Sweden just to see all the crazy metal      Dilution of Pain, 1997; Ecstasy in Discord ,1998; Concentration in
1      bands coming out of Europe. But for the' style of death metal that we      Suffering , 2000
e      play, the US would be the better place to go. Canada would be fun
».       (and probably less sketchy) but the distances between places is a bit too      Contact
much for a poor band playing music no one likes.              .                      Myopia, c/o Dom leraci
3t      What was the first record each of you possessed?      1137 Renfrew Street
conjures up images of bloody battles in the days of th
Vikings, or perhaps long, chilly corridors housing sides c
dripping beef?
Dave: No! Myopia uses no major effects on vocals. On the recordin
1 think there are some slight effects (chorus, delay) on certain parts b
1 couldn't notice them so maybe there aren't... 1 worked as a meata
ter for about four years, so it just sort of wound up being my nam
'cause there are so many Daves out there.
Are there any school teachers in your band? If so, do yo
think the kids think it's c
death metal?
Dom: There are no school tec
Stefan: 1 eventually will beco
don't know what kids will be li
Iron Maiden's "Rhyme of the
Nathan: School?
Dave: Myopia contains no e
could be misconstrued as posit
If you could go on a gig-c
sol to have their teacher playir
chers in this band, check behind dcx
Tie a University English Prof. By then
stening to, but 1 already know 1 will u
Ancient Mariner" to teach Coleridg
ducational instructors or anything th
rawl seeing local bands throug
Speaking of possessed, does Myopia ever feel this way      Vancouver, BC V5K 4C1
l      while performing?                                                                               <gurth@angelfire.com> <davethebutcher666@hotmail.com>
t  /rK*y   < Vancouver
It's hard to describe
Radiogram. Their sound is
spare, slow, and somewhat
melancholy, sort of a world-
weary but gentle urban folk with
often jaded lyrics. It could be
alt.country, since singer Ken
Beattie's voice sometimes has a
Hank Williams quality, and
then there's the occasional fiddle, steel guitar, accordion, and
the clean non-commercial old-
country vocal accompaniment of
Shelley Campbell. But then the
occasional addition of trumpets
and the frankly old-fashioned
pop drumming puts a different
spin on things. It all puts me in
mind of The Emptys, which
makes sense since they have one
or two members in common, and
in fact Unbetween includes a version of the pleasant, dreamy
Emptys song, "Take Me to the
Sea." "Blues for Van
e of those
sad horns, and "Ballad of Sadie
Henry" is appeolingly sung by
Campbell. Very nice music for a
quiet day at home.
Short Term Memories
I was once in a band with a talented guitarist who used to
assure me that while "good musicians borrow, great musicians
steal." Well, pop-masters The
Salteens aren't afraid to aspire
to greatness. They unashamedly
lift catchy pop elements, using
(for instance) a guitar riff that
sounds suspiciously like something from The Byrds' "Eight
Miles High" and trumpet bits that
could be lifted directly from Burt
Bacharach or even Petula
Clark, and mix it up with the
most clean-cut white boy harmonies since the first Young
Fresh Fellows album. But, in
fact, what The Salteens play is a
particularly post-modern take on
the late '50s/early '60s style of
bouncy, happy, simple songs,
'laying the irresistible hooks
with the occasional (gleefully)
ironic poke, and wrapping the
whole thing up in a joyously
slick-sounding package, not
unlike The Crawlers and
Victoria's Special Guests. As
you might expect, a good part
of the po-mo smartness is in the
lyrics. The last song (I'll call it
"Nice Day," although it's
unnamed on my copy) includes
the calculatingly horny "I know
you think that I'm gay/But I just
played the part/So we'd get it
on, and on," sung in perfectly
angelic harmony. Ten tracks of
Diff'rent Parts: Songs
from the Backburner
(F. Flyer)
There are many cool things
worth mentioning about
STATIONa, including the fact
that they spent less than a thousand dollars recording this CD,
and that the release party for
their previous record was at a
yard sale. On top of all that,
singer/lyricist Sean has done a
darn nice job on the artwork for
Diff'rent Parts. Still, even though
it goes against my beliefs to say
straight out that any one band
sounds like any other, I have to
confess that I thought my husband had a point when he came
home and asked me, "What's
this? Dinosaur Jr.?" And
although over the course of 20
(often instrumental) tracks,
STATIONa demonstrates a range
of quirky jazz fusion, metal (both
of the Black Sabbath power
chord and noodly varieties), folk,
and lo-fi-inspired alt-rock chops,
there is a certain sameness here.
A few distort-o-pop moments
stand out, as do songs like
"Reach It," "Camping Trip," and
"By Popular Demand" (a distorted interlude less than a minute
and a half long), but this is a
very long CD, made up of songs
mainly written in '95 and '96,
and perhaps more of a document for the confirmed fan than
an introduction fc
like me.
local demos
Hey, kids. How are you? The
name's Jamaal and I'll be handling the demo director's duties
for a little while, including writing this column. I figure we
should try to get to know each
other better to start with, so why
don't I tell you a little bit about
beyond the valley.,
my musical interests and you can
decide if you still think sending
your demo to CiTR is a good
Now I like Alice in Chains
[you're a brave, brave man,
Jamaal—Ed.] but I'm not real
fancy on Rage Against the
Machine, so SLYCE INC. gets
an Adam's XXX Film Guide rating of semi-erect with a big, fat
fuck-all for originality and a none
too impressive one time through
on the CD player, (no address)
I love Frank Black, can't
be told otherwise. With The
Pixies, without The Pixies-
means nothing to me. So it was
with narrowing eyes that I read
FEATHERWEIGHT'S full-length,
Champions of the World: "Think
Frank Black meets jimi
Hendrix." In regards to what?
Your guitar playing? Come on.
Hey, I got one: "Featherweight
meets humility." Or how about:
"The Pursuit of Happiness
meets my mom." This disc does
have its moments, however, and
it's impeccably produced, so I
feel it would be wrong to completely hack them apart. I'll just
have to wait for the live show.
(no address)
I have relationship issues
with hip-hop. I always feel like
I'm putting more in than I'm getting back. Like the time Kevin
from Miccheck Productions stood
me up for my show. Bastard.
Anyway, one soul who's helped
and tiptoe around the self-impor
tant others is emcee, producer,
and entrepreneur MAGNUS.
His new work, The Fifth Business
EP, has the hip-hop balls to put
music before mouthpiece, and I
want all y'all to take note. That's
not to say the disc is without its
problems (I can't hardly hear the
rhymes, yo), but it's most definitely a step in the right direction (#287-2416 Main St.,
Vancouver, BC V5T 3E2)
When I was younger, I used
to watch all these stupid sitcoms
where the token college student
is stuck at home writing an essay
on War and Peace while all his
friends go out and get dirty
loaded. "Ha, ha, ha," I used to
laugh, "has anyone even read
that book?" Well, guess what? I
have, and the essay's due torn-
morrow, so Mom's taken away
all my pretty little demos in their
brown, paper packaging and
left me to write a column on nothing. Best to quit before the babble begins. Thanks for having
me and sorry I couldn't stay
longer. Next time. •
by    Miy
Falling in love is like throwing yourself down a flight of stairs. You bruise
a few limbs and break internal
organs. But you didn't mean to do it,
you slipped, you weren't paying
attention. Now you have to climb the
God damned staircase with no one
to hold onto except the cold metal
railing, and each step is painful
because really, you hurt yourself. •
new CD/LP out MAY I6TH M^J*
Against All Authority
■A  Heur  Roadside  Resistance" ^d'fc-i \
•Ut   n»W HR642-lp/cd      "Vw.. 'y
SS^gSiJ®3® 7
For the last seven months, I
have lived across the street
from an absolutely gorgeous
park. As it nears time to move
home once again, I've realized
that I have yet to set foot in the
park This is how I am with a lot
of music, too. I know about it,
know it qualifies as hot stuff, but
I just never get around to checking it out. I recently got a disturbed laugh when I couldn't
identify the album we were listening to at work, which turned
out to be by The Pixies. Last
weekend, I didn't recognize
Bob Dylan's voice (I'm young,
stupid and unaware that the man
could once really sing) Many
people wonder how
unaware of what came before
all of my current indie darlings. I
still have a lot of research to do,
but I tend to prefer old treasures
falling in my lap at random. It's
true, I am more than likely to
give you a blank stare if you
start going off about the best of
1967 and the resulting art
scene, but I perk right up when
we're talking about the right-
here-this-minute music! Let's see
what instant favourites I have
found for us all this month...
Hold on to your undies,
boys and girls, the fabulous
BUDGET GIRLS have a brand
new single! I strongly encourage
you to hunt down "Miso
Hornie," the most gush-worthy
thing I have heard in ages. I love
these girls so much! Teri and
Christen are two of the smuttiest
young ladies around, and they
have recorded three new songs
(with the help of a band, seeing
as how they don't actually play
any instruments.) about all the
icks and yucks of getting it on.
The Budget Girls have absolutely
terrible voices, but their lyrics will
have you giggling with pleasure.
The title track is about the girls'
favourite kind of soup (ha ha),
and features an amazingly disgusting man-wanking s
London, England E17 6NF)
Less smutty but almost as
amazing is the first single by
Ontario band BLACK CAT
#13. This boy/girl quartet
resides in a little house at the top
of Stylish Punk mountain, screaming down its music to all those
not cool enough to be in the
band who live around the mountain's base. The music is utterly
chaotic, full of thrashing guitars
and crazy keyboards. Screamy
vocals are delivered by the
ladies, which adds a pleasant
twist to a newly-found sound.
There is a metal element to the
four songs featured here, but the
keyboards keep it fun. The only
fault to this single  is that the
that Vi
ire  mixed  t<
it anything c
ly, but
>t you tr
in the
s that
it's cool! The raunchy lyrics are
wrapped up in some quality
garage-rock tunes, very similar
to the work of Thee (sadly no-
more) Headcoatees. Be thankful for the decay of civilization,
as it spawns hilarious junk like
this! (Damaged Goods, Box 671
enjoying the wrath of I
#13. (King of the Monsters,
8341 E. San Salvador,
Scottsdale, AZ 85258)
In the same vein as BC# 13,
but much more familiar to those
of us on the West Coast, is
Victoria's HOT HOT HEAT,
who have finally released a single for the masses. Containing
3296 Main St. @ 17th
LPs • 45s • CDs
New & Used
four songs from a previously
released tape, the single gives
you plenty of rock, but I can't say
I enjoyed it as much as the cassette version. The vinyl release
got souped up a bit, with extra
vocals and keyboards added on
top of the old mix, and I don't
think it works as well. Of course,
if you've never been so lucky as
to hear the original versions,
you'll have no problem with the
.. Hot Hot Heat makes
with a few loud bursts, held
together by one of the band's
best keyboard lines. "Eurenemi"
is a bit quicker-paced, and features some strong guitar work.
The packaging on this single is
quite aesthetically pleasing, and
this ought to appease all of you
waiting for the band to release
(Reassemblage, PO Box 7445,
Olympic, WA 98501)
Last   year,    MATES    OF
t their job to rock really loud       STATE released a split
without the hindrance of a guitar, using a fancy keyboard and
some heavy bass to rock out
metal-style. Once again, a very
stylish choice for the punk rock
kids. (Ache, 3279 Chaucer
Ave., North Vancouver, BC V7K
Another local band with a
new single out is RADIO
BERLIN. This two-song 7" has
been an awful long time in the
making, but it looks as though it
was worth the wait. "Heart of
Industry" is a slow,  sad song
ith Fighter D, and their
*-f,,T."'"Tr*T; 1 son9 turnec' out to De one °f
my favourites. Now, to my
great pleasure, the duo has
released a two-song single all
on their own. Mates of State
response vocals, drums, and
keyboards. There are lots of
neat little pop tricks on these
two songs, and both songs
are quite memorable. I can't
figure out what the heck
they're yelling about, but it
good    to    me.
(Omnibus, r
All ye who wait anxiously
for new material from the tried,
tested and true indie rock bands,
rejoice! Troubleman Unlimited,
happy home of Red Monkey
and other loud things, has
released a split single featuring
new songs by UNWOUND
and VERSUS. I am one of the
Unwound uninitiated, so I can't
really say how "Torch Song"
ranks on the skill scale, but it
sounds pretty good. The Versus
song, however, can and will be
ranked, in a lofty category
known as the "best thing ever"
category. "All in Doubt" is a
slow song that showcases the
vocals beautifully. This makes me
want to listen to other Versus
songs, to find out if they are as
good. (Troubleman Unlimited,
16 Willow St., Bayonne, NJ
Because I have been wearing my brain-dead dunce cap for
most of this column, I'm going to
let guest columnist Bryce Dunn
take us out with a review of the
he great? "I'm sure glad I don't
live in LA. So is the guy who
introduces The Loudmouths side
of this split, 'cuz nobody dances
to them when they play—not if
that means pumping your fist in
the air whilst downing your fav-
o-rite sudsy beverage. Then I do
feel sorry for kids in LA, as The
Loudmouths blast off two fierce
punk rockets that will get any hot
blooded rock 'n' roller movin' in
no time. The Valentine Killers
show promise with their side of
this platter, but need a shot of
creativity to rise above the heap.
The booze-charged rock gets
fuzzy after a couple listens.
Worth it for the Loudmouths."
(Empty, PO Box 12034, Seattle,
Have a good month, everybody, and don't buy stuff on
}Bay unless you really, really
3ed it! •
"Smaller Chairs For The Early
1900's" EP available now.
Be sure to catch Moneen
on tour this s
Another Joe
New album "Plasti-Scene" available now.
Live in Vancouver at The Brickyard, Friday May 5th.
Layaway Plan
On tour in May across Eastern Canada w/ Misconduct, Adhesive
and Astream.
These CD's, plus "Foreword" by Choke and "Alkaline" by Guy
Smiley, are all available for $12 postage paid.
Smallman Records
P.O. Box 352, 905 Corydon Avenue, Winnipeg, MB, Canada, R3M 3V3
For more info on these bands please visit www.smallmanrecords.com
J Louder Than
A Bomb
anyone besides me sick of the
that the
pumps i
■r there
any challenge to the notion of
global capitalism a; the final evolution of human society? It's ironic that in a society that prides
itself on "freedom" of thought
and expression the news media
is just as compliant to the wishes
of the ruling powers as any so-
called dictatorship with state-run
media. Don't get me wrong, I'm
not implying that there is some
government censor standing over
the journalists' shoulders deleting
and adding passages to their
reports. It is, however, clear that
those who have power and benefit from a particular viewpoint
being accepted as truth exercise
First, stories that "matter"
must be exciting in order to hold
people's attention and justify your
client's advertising dollars. If this
implies embellishment and
manipulation of the facts, then so
be it. Second, what happens
when a story runs counter to the
interests of your sponsors (e.g.
the way Adbusters' PSAs were
refused by all the major US tele-
orks   bee
coverage I
hear and see in the mainstream
media. Aside from the fact that
many of the same organ
that control global capita
our media, there is the g
im real-
ity that in a consumer
"news" is just another cc
ty. If you can't sell adv
with your news it's no
This, of course, leads to a
warnings "might upset our sponsors")? Look at the coverage of
two of the most recent major anti-
corporate exploitation protests in
the US: the IMF conference and
the WTO conference. The news
i from Seattle was
i to the journalistic
profession that I wanted the news
cameras to get smashed rather
than the Gap and Starbucks windows. And, of course, the issues
were never a factor. The "story"
was not the fact that hundreds of
thousands of people from many
countries had converged on this
event to highlight the fact that
constitutional rights and democratic principles were literally
being sold out to global capital.
The story was that a few win-
people „„,
the protests. One inc.„.._,
anchor was so flustered that she
railed against the protesters saying: "I... I mean it's Thursday
night: prime shopping time! A lot
of people would be doing their
Christmas shopping right now.
How are we supposed to do our
Christmas shopping?" No joke!
Same thing with the recent IMF
meeting in Washington. The
headlines and lead stories are all
about riots and problems caused
by a minority of those in attendance (in Seattle, many of those
involved in the violence had no
affiliation with the protests whatsoever... like the kid in the Gap
sweatshirt running from the Radio
Shack carrying a television
whom the news anchors
described as "another protester"!). No one questions WHY so
many people gathered there. Yet,
media fails to mention is that not
only does the IMF only aid countries whose domestic policies follow the interests of globalization,
but that it is these same forces
that were born from the profits of
colonialism and imperialism that
created the shattered economies
in these very countries. What a
wonderful system: create a
dependent economy; encourage
governments to loan it money at
interest rates so high that the
entire production of the country
can barely pay the interest (if at
all), offer World Bank or IMF
loans to fund loan payments (thus
transferring the debt from governments to private organizations) and reap the profits. Do
this a couple of dozen times and
you have a sustainable economy
of your own at the expense of a
suffering people. Isn't
at the »
3, the chai
IMF has the gall to claim that
these people are all wrong, and
that the IMF has injected cash
into the economies of so many
"Third  World"  countries,  etc.
Kill Your
One of my favourite things about
s The Gre
Search. When you find that c
comic you've been looking for, it
makes reading it all the better.
Now, / didn't have to make The
Great Search to find C. Scott
Morse's Visitations, but you will,
and it's very worth it. Published
by Image (yes, Image) in '98,
Visitations has no superheroes,
no sappy love antics and no
mindless gore. What it does
have is a beautifully rendered,
intricately woven, and heart-
wrenching tale.
The story begins with a
woman hesitantly crossing the
threshold of a church. She startles the priest inside and goes to
leave. The priest talks to her, forcing her to stay out of politeness.
What starts as an all-too-familiar
debate about the existence of
God ends in a challenge. The
priest vows to show the hand of
God in three different news items
in the daily paper. What follows
are three dark stories with creepy
and vague "Hand of God"-ish
endings that leave one feeling
rough. Personal anecdote #12: I
read this story on the bus to work
during rush hour surrounded by
the suit people and I cried.
Embarrassing, yes, but I really
wished that they had all read the
The writing is fluid and
encompasses something you
don't see enough of in comics,
especially comics from Image:
everyday life. Morse also imbues
the story with a bit of humour,
though after reading the stories
the laughter had a tendency to
stick in my throat. There's a
silence to the writing throughout
the book, kind of like walking
underwater. The only thing I didn't like was the ending. It did
seem a little pat and a bit too
Hollywood. But I'll chalk that up
to Morse's youth and animation
Now the art... let me tell you
about the art. It is utterly beautiful. Like the landscape painting
in your grandmother's living
room: warm and soft. Real time
is represented with thick brush
strokes and a confidence akin to
Chinese calligraphy. The ink is
tinged brown and lacks the severity of black. The paper is stark
white, lending the main story an
almost newspaper-like seriousness. The other three stories are
painted, with tans, greys and various shades in between. The art       Dog.
is full, lush, and thick in texture,       yet, but Morse'
yet Morse still manages to paint
in perfect detail. The effect softens up the stories as well. All the
characters have a roundness to
them that makes them almost
uses is layout. When the priest
and the woman are talking, the
panels are vertical, going from
left to right. During the three stories the panels are horizontal
going down for your letter-box
enjoyment. In the intro, Morse
alludes to the fact that he was
influenced by a couple
of Japanese film makers, so the cinematic
feel of his art is no sur-
Morse has actually
done quite a few things
while also maintaining
human drama with a
slice of sci-fi and ninjas,
and Volcanic Revolver
for old school mafioso.
He has also appeared
in various collections
and one-shots, but you
can get all that information on his website,
The last thing he did
of the newly released Ghost
n the
is poetry. •
open mic nite hosted by dino dinicob
toonie Tuesdays
with dj mike alleyne
(funk etc.) special
$2 menu
"funk with a
facelift" featuring
various funk groups
jazz with an edge'
featuring various
jazz fusion groups
Wednesday, may 3
s p y g i r I
friday, may 5
alita dupray
Saturday, may 6
bunco & the single
malt quartet
friday, may 12
bob murphy trio
Saturday, may 13
bunco & the single
malt quartet
friday, may 26
alita dupray
3611 west broad way
7 3 8.195"
cafe opens at 8 pm
—m— Video Philter
This is Vancouver, and the
summers here don't get
much hotter than a Mike
and Ike Hot Tamale—warm, but
they don't really burn. There are
some of us, however, who hate
to brave even a few months of
weather on the wrong side of
25 degrees As soon as people
are comfortable walking around
in short sleeves, I'm getting the
vapours. Thank God for movie
theatres, the last refuge of the
sweater-clad! There's nothing
like popping in, plopping down,
and refusing to move until
you've contracted frostbite in
63% of your digits. Given the
though, sometimes you just can't
bear to see Bruce Willis blow up
the building for the six trillionth
Australia and Hong Kong.)
While films have been made in
Scandinavia continuously since
the silent film era, most notably
by Ingmar Bergman, the past
twenty years has seen a mini-
renaissance   As indie filmmak-
Kaurismaeki made another film
short on dialogue and big on
oily-black comedy. It's hard to
say if The Match Factory
Girl is really supposed to be
funny, yet for all its bleakness it's
certainly no tragedy. Young Iris
Derte er Vancouver, og sommerne her dont far
meget varmere enn en Mike og Ike Varm
Tamale—varmer, men de dont virkelig brannsdr.
I interessene av d vedlikeholde en kjolig profil
denne summery sesongog fa lift naermere til
Deres indre Viking jeg foresldr at der plukke av
opp et par filmer av Scandinavian overtalelse.
Nietzcha Keene's adaptation of
a Grimm Brothers' fairy tale
stars Iceland's biggest export
after herring, Bjork, as the
younger of two sisters forced to
take to the road after their mother is stoned and burned as a
witch. Apparently it was a fair
cop, as her daughters have
each inherited part of their
maternal legacy—the elder
Katja is a master of spells and
incantations, while little Margit
has visions. Big sis vows to find
a man and, with her bag of
magic tricks, get him to marry
her and provide a home for herself and Margit. It seems that
Katja's good at what she does,
if il
s for a gc
getting   :
stroke. In the inte
taining a cool profile this summery season, and getting a little
closer to your inner Viking, I suggest picking up a few films of
the Scandinavian persuasion
It's not true that the only
things to come out of
Scandinavia are smoked fish,
ing has gone global, creative
minds in most of Northern
Europe have been just as busy
as their counterparts around the
■ting   <
DIY  i
ABBA There are curlers (the
rocks and ice kind whose asses
we kicked recently) and hockey
players and Volvos, too. Long
before Hollywood and the
MPAA sent Jack Volenti on his
crusade to wipe out all indigenous film industries to make
room for more Jerry Bruckheimer
movies, Sweden had a booming
silent film industry. Then the
moguls hired away all their talent and the native industry all
but collapsed. (For the most
recent examples of this,   see
outpost of reindeer and suicide, Finland's most
recognizable director, at least in
terms of his on-screen style, is
Aki Kaurismaeki. While his most
famous creation thus far has
been the Leningrad Cowboys
(they of the pointy hair, pointy
shoes, and Balalaika greatest
hits collection), Kaurismaeki has
been working feverishly since
the 1980s. According to the
Internet Movie Data Base, Aki
and his older brother Mika are
together responsible for one fifth
of all Finnish films made. (If it's
not Kaurismaeki, it's Swedish!)
In 1989, the same year he
made Leningrad Cowboys Go
America (of which he says, "it's
the worst film in the history of
the cinema, unless you
Sylvester    Stallone's    films"),
lives at home with her mother,
who seems to have no real feeling for her, and her step-father,
who spends his precious time
smoking, drinking, and watching TV. Iris works at a match factory to pay the communal rent,
then cooks and cleans up when
she gets home. For fun she
hangs out at community centre
dances drinking orange pop
and being ignored by everyone.
The impulse purchase of a dress
leads to more intense misery for
our proletarian party girl. As
played by Kaurismaeki stalwart
Kati Outinen, Iris' ugly-beautiful
face draws the audience in first
to her unfounded optimism and
later to her vengeful pain. The
dialogue is so sparse, when
people do speak it's with a
(mostly poisonous) potency.
The potency of magic, and
its dubious morality, is the subject of The Juniper Tree, a
1987 film from the winner of the
"Most Descriptive Country
Name"       award,       Iceland.
[§§] @  Leh1   ^"^  a^P ES£  RP55
3H|^    5£*L""   BSESI    J&Sfr MOifANS  Q   J^
between the ethereal, vision-burdened Margit and the earthily
sexual Katja. Shockingly for a
fairy tale, "good" and "bad"
are not as important here as the
misapprehension of good intentions for malevolence.
Moral ambiguity seems to
be c
/.•!!  n
t Iceland but across the
sea in fjord-heavy Norway as
well. Two recent films from the
land which begat Ballard delve
into the blank spaces behind the
blank faces which so many
Scandinavian productions—
from Garbo to Bergman to
Kaurismaeki—feature prominently. Like The Match Factory
Girl, Pal Sletaune's Junk
Mail (1996) is rife with
bleak, cold Scandinavian
I urban landscapes and
jl dead-end jobs. Roy is a
postman who, when the
mood strikes him, reads
il, dumps a
>rth  c
tunnel, and sneaks into
pretty girls' apartments.
It's the last thing on that
list that gets him into trouble as this particular pretty girl has some shady
dealings going on.
Interestingly, Junk Mail
never gets  into particu-
what c
s this,
photo by loi
because inside of ten minutes,
the girls are set up in Farmer
Johann's pad. Unfortunately for
the new little clan, Johann was
married before and the progeny
isn't too happy with his new
mama-in-law. The Juniper Tree's
Dark Age setting and interesting
conflict between the pagan
Katja and her Christian husband
are well served by barren
Icelandic vistas and beautiful
sepia-toned black and white cinematography. The great ensemble acting—not only can she
wail, little Bjork can act!—is
I obvious in the ni
that guy—but
plays out its deadpan
s"n9 humour at a brisk skip.
The sad sack, filthy charm of
Roy (Robert Skaerstad) and a
hilarious karaoke scene make
Junk Mail as much Norwegian
fun as 83 minutes can handle.
On the less rib-tickling side
of moral ambiguity is I998's
superlative police drama
Insomnia, a Norwegian film
starring Swedish superstar
Stellan Skarsgaard [Good Will
Hunting's self-centred MIT professor). Fans of Irvine Welsh's
Filth and Abel Ferrer's Bad
Lieutenant would enjoy this less
outlandish but tauter tale of a
policeman on assignment above
the Arctic Circle whose behaviour takes a slide for the worse.
Insomnia could be grouped into
a new batch of "film blanc"
works—movies like Three Kings
which adopt the anti-heroes and
moral pitfalls of film noir, but
instead of hiding them in the
shadows, they bathe them in the
brightest of lights. Throughout
Insomnia, the glaring midnight
sun which prevents the inspector
from getting the sleep he desperately needs plays a role as
big as any of the supporting
cast or the gloriously tight dialogue. Skarsgaard brilliantly lets
just a few cracks appear in his
blank Nordic visage as his path
strays farther and farther from
the straight and narrow.
If you are interested in keeping your cool this summer by
seeing other films made by and
featuring people from the lands
of   sauna   (who   all   have   the
pick one and repeat it about
thirty times: Stellan Skargaard,
Kati Outinen, Aki Kauresmaeki)
there are a few more titles to
look for. Already available is the
Swedish crime thriller The Last
Contract (Kjell Sundvall;
1997), as well as the first two
self-proclaimed Dogma 95 projects, both from Denmark:
Celebration (Tomas
Vinterberg; 1998) and The
Idiot (Lars Von Trier; 1998).
Also from the flattest country on
earth, keep an eye out at the
rep cinemas and video stores
for Let's Get Lost (Jonas
Elmer; 1997) a black and white
masterpiece of slacker-comedy.
Lastly, for the criminally minded
techno fans in the audience,
Blossi/810551 (Julius
Kemp; 1997) is a quick and
nasty jaunt around Iceland
which played to enthusiastic
response at the film festival a
few years back. It's not out on
video yet, but often indie foreign
films take a while to hit the
shelves. In the mean time, stay
cool and go Scandin
i yyv**M
a large selection ot records, cds, tapes, videos, mags, graft supplies and accesories Radio Free Press
Zinesters rejoice! The
phoenix has risen. After a
long hiatus, CiTR finally
has a brand spanking new zine-
centric extravaganza, Radio
Free Press (Wednesdays, 2-
3pm). Not only that, but
DiSCORDER has this fantastic
new column to cccompany this
epochal radiophonic phenomenon. You're reading it right now,
We're Bleek and Sam and
we should, of course, show our
credentials. We're two awkward
immigrant males and both committed zinesters. Bleek is the creator of Speck. He's been in the
indie underground zine business
of failure for more than 5 years
and has just relocated to Van city
from smelly little Merritt, BC. The
paper version of Speck may be
found at Scratch and Zulu and
some other cool places.
Sam writes for a new zine
rejoicing under the moniker Pop
Boffin. It's the latest meisterwork
1 the
nind c
.tuff. I
e fivs
I   pers.
ing as a temp postal worker to
pay off student loan debts is a
particularly fine example of
zines' ability to put unmediated
personal experience into print. If
you can get a copy for $2 from
the usual outlets or from Nettie,
1340 Woodland Drive,
Vancouver, BC V5L 353.
Also from Vancouver comes
Deviant #3. It's the latest vehicle for Robin Bougie's comic
DeWant (he does a number of
other printed thingies). It's some
of the most explicit comic work
you could hope to come across.
Uptight, porn dissin' guys like us
tend to feel naughty looking at
this thing—and if Bleek didn't
actually know Bougie we might
just wonder about the freak/perv
artist—but the undeniable fact is
that Bougie is an excellent comic
artist who always stirs up something compelling with his products. While this is Robin's
"Psycopathia Sexualis" it never
strays into the "evil" category of
Mike Diana's Boiled Angel. Send
Robin yummy cookies and $3 to
#320-440 East 5th Ave.,
Vancouver, BCV5T INI.
Keeping it slightly less local,
we move on to Ryan Bigge of
Vancouver's legendary Single
Guy zine. He's relocated to
Toronto but his defection hasn't
dulled his wit any. His 127
Days to Live #3 is a concept
zine mixing sly satire with outright absurdism. The fact that no
mainstream publisher would put
out something this
peculiar/inventive is basically
the theme. You should give Ryan
$2.50 because '
vith  c
i  the
r. Contact <rbigge@sfu.ca>
So far, the only other person
who's sent us anything is Joshua
Saitz. Not only did we receive
#2 of his rant-zine Negative
Capability, we also got a copy
of his CD Misk Toys. The alarmingly glossy mag features lots of
opinionated/confessional mater-
Urban Hermit #7 Sarah
O'Donnel writes this Come/bus-
style zine with her own very
cool fingers. Much of the material deals with street-level living,
punk ethics. Sarah's stories flow
as if someone is speaking to you
inside of a dream. Most of it
entrancing and only some of it
familiar. Send $1 and stamps to
Sarah O'Donnell, 1 122 East
Pike, Seattle, WA 98122.
, Wanna be reviewed here
and quoted on the radio? Then
send us your zines care of
DiSCORDER, #233-6138 SUB
Blvd., Vancouver, BC V6T 1Z1.
We're open to all types of pub-
which is
behind the esteemed slampiece.
The first issue tackles everything
from lesbian fiction to Buffy the
Vampire Slayer to Lydia
Lunch. It's available for $2 at
Zulu and Scratch or from
Keeping it local, Queen of
the Universe is one we both
like. It has cartoons, features on
independent film, music reviews
The "audiozi
features Josh re
ing from the zini
an accompanin
of sound effects i
sion is $4US c
the    disc    $14US(
9 4 12 2; email
Support this labour
of love/hate unless
you're easily offended by phrases like
"how about them
apples, bitch?" He's
nice, really.
Also from south
of the border comes
Renegade #8  It's
WTO hoot 'ft' holler
from November 28
to December 3,
1999. Renegade's editor
Melanie Renecker somehow
practices a snotload of restraint,
avoiding emotional or political
tainting and just presents a view
from the crowd. The text is
accompanied by pretty good,
high contrast black and white
photos for street cred. Let's face
it kids, the alternative media is
what's left of the voice of the
people. Order from Melanie
Renecker buy sending $3 US to
PO Box 23381, Seattle, WA
Also from Seattle is  The
from your zine (aboi
minutes) and give al
info. Women's issues
t like uninfor-
bands. We don't know poetry
from rat poison. And we don't
like thinly disguised corporate
propaganda. But we do like
raw editorial invective and all
those things that only the independent press can provide. •
Zine Websites
Queen of the Universe:
Speck: www.medatman.com/speck
Negative Capability, www.negcap.com
Pop Boffin: freespace.virginnet.co.uk/pop.boffin/
•rvirriirlinj I •
MOP [([(;[(
i)JJiJiJJJ_n^ The Moves
Getting With The Moves...
by Queer Noise
The Moves are three kick-ass gals based out of
Northampton, Massachussets. Sara Shaw, Sara
Cooper and Rachel Cohen play intricate, angular pop-
rock themed music that makes you want to dance and
rock out. Amidst technical difficulties, Queer Noise
spoke to Sara Shaw and Rachel Cooper about life in
The Amoves.
DiSCORDER How did you start playing music?
Sara Shaw: It was sort of a family thing. Both of my sisters went to
art school and were musicians. It was just assumed I would play
music too. I played cello since I was little and then I wanted to play
rock and roll, so I got a guitar and I gradually did other things.
Who has inspired you musically?
SS: I'm really into sixties pop, rock, and garage stuff right now, I
don't know if it's necessarily so much of an inspiration though  When
I was in high school, Team Dresch was very inspiring to me, and I've
always loved Sonic Youth, old rock records and The Who
Reviewers have commented that you have a really
unique chemistry. Does this affect you in terms of being
friends and being in a band?
Rachel Cohen: We became friends and band mates at the same
You tend to follow each other's movements musically and
your writing together is consistent...
RC: We all have distinct styles.
SS: We all write different songs, but I think we're trying to move
more towards writing them all together. I think that we definitely have
all distinct styles and we all add to it. I wouldn't say that we always
work in the same way. We have our own particular way of doing
You frequently change your instruments during song
writing and performance. How do you think this affects
your music?
RC: I'd say it has to add to it and subtract from it in different ways
because obviously we get a variety of styles.
SS: It's hard because you can't really specialize in one instrument.
Drums are the instrument that I'm least confident in and it's difficult to
move forward in all instruments when you have to focus on a few
different ones. I think it makes it more fun, but it's also more difficult,
and then in a live setting it gets to be a little bit crazy, trying to switch
things back and forth.
So does it get pretty chaotic at your live shows?
RC: Well, sometimes
SS: We actually sometimes have to practice the transitions—if we
leave it to spontaneity, it gets insane. We try to use things to fill up the
space in our set with tapes of noise and things. We're not the best at
live banter with the crowd.
RC: We're just kind of shy.
The production on your new record is very hi-fi and slick
for an independent debut. What role did you have in the
production and engineering of your release?
SS: I worked at the recording studio where it was recorded all summer so I learned a lot about the process. Thorn Monihan, the producer, was the one who I think was responsible for a lot of the sounds
on there. He was really good at working with us on sounds that we
wanted. We were really happy with the variety that he got.
RC: I agree. He was very generous with his time because we spent
a lot of late nights there.
Album reviews and articles always seem to bring up sexuality in their description of your band. Is that something
that you're comfortable with?
SS: I think that sometimes people give labels that they feel like giving—it's not that we're not comfortable about it. It's people's assumptions, I think, a lot of it We're queer but I wouldn't necessarily call us
"dyke pop-punk." I think the political side isn't necessarily what
always comes first—it's important, but we'd like to be thought of as
musicians before dykes.
Where you're based from (Northampton, Massachusetts)
10 yn^ ZDOO
has this reputation as being kind of a lesbian mecca. Has
this been helpful in promoting your music?
SS: I think so. I think people have been more enthusiastic around
RC   I agree   I think, for instance, that we wouldn't have [otherwise]
met the people who helped to introduce us to Kaia [Wilson] and Mr.
SS: I think that Mr. Lady [Records] was able to take more of an interest or knew about us more because we are from here. They've been
excellent to us. People are just very supportive around here, I think it's
maybe helped to label us a queer band.
Mr Lady is a unique label that promotes women and
queers in music and video. How do you feel about the
relationship you have with them?
SS: We're really grateful
RC: They're extremely amazing.
SS: I think they've been so helpful to us and we definitely wouldn't
have been able to do any of this without them.
What else do you do besides play music?
RC: Right now I'm in school, I guess that's a lot of my life, I'm studying to be a teacher.    Kindergarten, I hope, or First Grade. I do a lot
of art as well.
SS: I'm also in school, studying music and American Studies—that
takes up a lot of time. I also like to think a lot about recording music.
I've been trying to get into recording music on computers a little bit,
which is pretty interesting. I think lately, just trying to deal with band
business has been taken up a lot of time. It's exciting, but it tends to
get a little hectic at times. It's fun, but it's kind of crazy.
How did you respond after receiving the Advocate's best
local band award?
SS: We were totally shocked. I think the queer identity around here
maybe helped with things like that; it helped us to be really popular
in the area. I think it was really flattering.
How did you get promoted by AOL as being the new all-
girl pop band? Are there any Spice Girls comparisons
with the members of The Moves?
SS: I don't know. We're going to have to get some fancy choreography and matching outfits.
RC: Luckily, I just bought a mini skirt last night. I dressed up as Sheila
E last night for a party.
SS: I think that [the AOL promotion] came from an interview we did
with www.gurl.com, which was nice and fine, but I didn't know it
would necessarily lead to that assumption about us. Not that it's an
assumption; we all are girls... I guess you could say pop, sometimes.
RC: I don't really think it's about pop though, personally.
SS: I think we have moments, but I wouldn't use that as the main
Your sound is kind of unique, it blends different facets of
pop and punk and some songs have a distinct new wave
sound. When you started playing together, was there a
sound that you were going for?
RC: I like loud fast rock.
SS: We all had a lot of songs that we had been working on for a
while that we brought together. We never really sat around and said
we'd like to sound like this, but I think we all take cues from each
other. We all influence each other in some way, I feel that I learn a lot
from Sara (Cooper) and Rachel, I think it's not necessarily one particular sound we're going for.
What type of equipment do you use?
RC: I have a Gibson Les Paul.
SS: I have a Fender Stratocaster and Sara (Cooper) has a Gibson SG
Special. On the recording we switched around a lot to get to use
whatever guitar would work best. In live situations we have to improvise and sometimes the Strat isn't necessarily the best for loud edgy
songs, but it's too much of an effort to switch all the time. Then we
have a Fender Precision bass and a Pearl Export drum set that was
stolen from this boy in 9m grade by me, well, borrowed long-term...
What have you released so far?
SS: Three things: the 7", the record, and the Mr. Lady [New
Women's Music Sampler] track.
How can people get your music?
SS: Mr. Lady is distributed by Mordam. Independent record stores
have it, or you can order it directly from Mr. Lady, or if you come to
our shows you can buy it there.
Any touring plans in the near future?
RC: We plan to tour in August. It's going to be very exciting.
SS: Hopefully we'll be going around the US and possibly Canada a
bit. Our van is kind of broken, but we'll see what happens.
Who is the biggest mover in The Moves?
SS: I think it's got to be Rachel.
RC: Oh god... why?
SS: Everybody knows it's Rachel... • DiSCORDER Have you done a lot of press
for Lushlifet Because I don't think I read
much about Beat at all.
Martha Schwendener: Yeah, well that's the difference between being on Beggar's Banquet and
being on Kranky. Kranky's just like two guys, and
they don't have the same kind of machinery going.
What prompted the change? You just
wanted something bigger?
It's I
brain  doesn't  work
without  Beat.   No   joke—
Bowery Electric's   1996 masterpiece functions as a catalyst for most
of the good ideas that come out of this
head of mine. When I am placed in a room
with Beot's loops, rhythms, and drones, I can
do anything. I ought to credit Bowery Electric
as co-authors of most of the essays I've produced during the last three years at university.
Lushlife, the new album from this New York
duo, has a very different feel to it—/
almost want to start dancing. Martha
Schwendener,   half of  Bowery
Electric's creative team, spoke
to me by telephone.
>t of*
n the distributioi
too good. We jus
needed more money to set up a studio. With
Kranky, we were working with very very little
money and, unfortunately, with the music, as anyone who's been in a band knows, your ability to
relax and stretch out creatively is unfortunately really tied to money when it comes to recording. We
wanted to take that into our own hands and so, by
moving to Beggar's, we were able to set up a hard-
disk recording system in our house and take our
time and do whatever we wanted to. It's made our
lives a lot easier in that respect.
You're sort of Kranky's big success story.
I think Godspeed You Black Emperor is their new
success story, [laughs]
Oh yeah, I forgot about that one. I'm a little disillusioned; we've got a label in
Montreal called Constellation which does
Godspeed's stuff as well, and there are at
least five other bands that come from
Godspeed. Nobody ever bothers to talk
about anything other than them, so it's a
little frustrating. Apparently they put on a
fantastic show, so...
Yeah, we just sow them recently down in Austin. It
How long has it taken you to record
Lushlife? Two years?
The reason it's two years is partly because it took so
long to set up the studio. A lot of the software we
were getting, people were putting it out on the market, in a sense, before it was really ready, so that
there were a lot of compatibility issues. You'd get
things up and running and going and all of a sudden you'd have this crash. The whole hard-disk
recording thing is still kind of in its formative stages
in terms of who's making what. Once we started
recording, we'd hit these walls where we'd have to
go back to the company and say "this is not working!" We weren't the only ones. There were a lot of
other people out there that were in the same situation. In the process Lawrence has become like a
beta lester for software and everything. He's gotten so good at figuring out the bugs and stuff that
he can just tell companies what's wrong with them
before they release it.
I guess there's a huge gear difference
between the other albums and this one.
Yes and no... I mean, Lawrence has always been
kind of a gearhead. I'm not so much; it's kind of
split down stereotypical gender lines, unfortunately.
I wish I were a little more interested. I guess you
could say, in a really reductive way, that it's analog
as opposed to digital, but even that's not really
accurate because we did still use analog synths and
stuff tike that. We're recording digitally now.
Did you find benefits, using digital recording technology?
Oh yeah, definitely. It's been sort of a revolution in
the making for ten years or so with ADATs and stuff
like that, and all the "bedroom people," from
Aphex Twin to... I mean he's not the first one, but
he's the first person who comes to everyone's mind.
It frees you up enormously when you don't have to
shell out money every time you want to record
something and have other people as an interface
between you and a 24-track board. You think that
those people are sort of neutral and are just there
plugging in the information that you want, and it's
really not the case at all.
What are the origins of Bowery Electric?
Lawrence and I have known each other for quite a
long time. We met when we were working for
Interview magazine, and neither one of us was
making music, but we were both pretty big fans and
had similar tastes, and that's how we got together
personally and musically. A lot of people who don't
make music get a strong message from those who
do that they shouldn't, and we both feel that that's
wrong because we were the people who, when
you'd play guitar, would say "Gee, I'd like to play
guitar" and they'd say... Someone actually told
Lawrence once, a friend, I suppose I should say
"friend" in quotes, "Don't learn to play guitar, there
are enough bad guitarists out there anyway." There
are a lot of people who promote that kind of thing.
I don't know if it's a competitive thing, if they're
worried that the more people out there then somehow their band's going to fail. Everyone knows
people like that who are not very encouraging.
Sometimes it just takes meeting the right person or
the right group of people to feel enabled, and I
guess that's what Lawrence and I did for each
other: we just realized that this wasn't just something that other people could do—we could do it if
Lushlife gets people more involved. The
older albums were very mellow, there
were a lot of drones... did you get any of
your ideas for your new sound varieties
from what people did to your music on
That's a really good question. We didn't really talk
about that at all, to be honest. I guess the answer is
no. We liked what people did a lot, and there were
a bunch of remixes that weren't even on there... for
instance, they didn't put the Mark Clifford remixes
thot were on the 12 "s on the CD. We were a little
bit disappointed about that, I don't know why they
didn't put it on, but in general we were really
happy with those remixes and everything. It was a
diverse crowd, too. The only thing they had in common    was    that    they    weren't    part    of    the
Squarepushery, new electronic crowd. They were
ali people who had been in bands and had
become electronic musicians, like Colin Newman
and Robert Hanson.
Lots of unfamiliar names.
For me, at least.
Do you know Loop? The band Loop?
Well, that's Robert Hanson. He's in Main, too.
Thai's him, and then Colin Newman was in Wire,
he was one of the main guys in Wire. He's been
around for a long time. Now he's got a label called
Immersion. There were a couple other guys who
were pretty new. Dunderhead is Nigel Smith, and
Witchman—I can't remember his
they are sort of newer guys. What's interesting to u:
is thot they came out of experimental guitar bands
and stuff. It's kind of nice, since we started out playing guitars. We're kind of in a weird area where
we're not just like some of the drum and bass people, some of the people in England who have only
grown up with electronic music, who don't have
any other background at all.
Your press release talks about a hip-hop
sound. Where is that coming from in the
Well, the beats. They're all classic hip-hop beats. •
The last beat on the album is a famous one—Eric C
and Rakim, "Paid in Full." That beat has been used
by tons of people, it was even used by Milli Vanilli.
All the beats on the album are classic hip-hop
beats. The whole arrangement of "Psalms of
Survival" is a hip-hop arrangement. If you took off
the vocals you could put a rap over it. Which
Lawrence did for a mix for a European radio station
at one point! It's pretty funny. It's not so apparent to
the ear unless you're a big hip-hop fan and know
the structure and underlying bedrock of the whole
thing. Lawrence and I, like most people in North
America, have really grown up with hip-hop in the
last twenty years. Plus, living in New York, living in
Brooklyn, we're surrounded by it. We tried to incorporate it in our own way. We really like hip-hop,
which comes out of '60s and '70s soul—that's
where all the breaks are from—and we've always
liked Marvin Gaye and Curtis Mayfield and Al
Green. Particularly on this last album, we were listening a lot to the soundtracks they did like SuperHy
and Troubleman. It's one of those historic things.
We have a song on Lushlife called "Troubleman"
and that's the name of the Marvin Gaye soundtrack.
When you play live, is it just the two of
you up there on stage?
No, we've always played with a live band and
done pretty much everything live. This album creates new challenges because—well, it comes down
to what kind of budget you have and our budget
does not allow us to have a whole string section.
That's one of those things that you think about when
you're recording The thing that's nice about hard-
disk recording and sampling is that we really have
no restrictions. You can use full strings, sampling
them or using a MIDI program, but then you might
not be able to get a cellist or five cellist and ten violinists to come with you on tour. Those kind of things
ing to have to play as samples and loops.
e'll haN
ind dru
id hopefully guitar.
Some turntables as well?
We'll see. It all depends. When we go to Europe it's
going to have to be more stripped-down. In Europe
they don't have as much of a problem with that,
whereas in North America people are still really
tied to wanting to see everything happen before
them. In England, they're so entrenched in DJ culture right now that you can get up and dance
around and play a CD behind you and they really
don't care There are good sides and bad sides to
that. The good side is that you're not under so much
pressure to recreate the whole thing, but obviously
the bad side is that it can be pretty boring We're
trying to reach a happy medium. •
by Luke Meat
photos by Ann Goncalves
DiSCORDER Welcome to Vancouver! Can I present you first with this bag of rubber
insects for your dogs to chew on?
Wayne Coyne: Alright!!! Yeah! Well, they eat up just about everything—I didn't mean that they just eat
plastic bugs! [On The Flaming Lips' last album, Zaireeka, Coyne described in great detail his dogs' eating
Being a Canadian hockey fan... the cities of Winnipeg and Quebec lost their NHL teams
and morale became quite low for people living in those cities. Is there a morale problem in Oklahoma, where you live, because you do not have and have never had an NHL
Well, here and there we have a local semi-pro team and they are quite loved, but that is a weird phenomenon with a local... whatever the team is. If they do good, people feel a local pride and you do see
a sense of satisfaction about it. The team winning and nothing going on in the fans' lives... Y'know, I used
to think that was a ridiculous thing, but I don't anymore. I see it as being positive. People like to have meaning in things, even if they're fake, and I think you do it and I do it. No one wants to face up to reality all
the time, and though I'm no sports freak, I do see where they have their place.
A few reviews of Zaireeka complained that getting 4 CD players to start at once was
impossible [Zaireeka was released on 4 CDs, intended to be played simultaneously].
With rurntablism becoming as popular as it is, would you consider re-releasing Zaireeka
on vinyl?
I think that would be a good idea, only that's where it gets too elaborate. We meant the album for normal
people, not for DJ types. I personally didn't have any trouble getting 4 CD players together, y'know—phone
up a couple of friends with boomboxes, computers... I understand that it's not meant for everybody, especially busy music journalists—sometimes they listen to music the least because they have to listen to so many
With your past sonic endeavours such as the Boombox Experiments, Zaireeka, and
tonight, when you'll hand out headphones for enhanced listening... I mean, you actually get your audience involvedl Do you hate passive listening?
I think all levels of listening are great. We will play some music before and after we go on that I think is
"passive" listening. It's music that's great to talk to, to do something else to. It sets the mood, and you don't
necessarily have to be paying attention to it to enjoy it.
Like Erik Satie's concept of "furniture music," where the music is uninterrupting, and
merely tints the environment.
Right. People sometimes enjoy music better when they don't have to pay that much attention. All types of
music have a great usefulness about them. When it comes to our records—apart from Zaireeka and Trie
Boombox Experiments—I think they have a variety of stuff. Sometimes it's intense listening, sometimes it's
passive, sometimes it's just something you want to sing along with.
I hear that your biggest pet peeve is being sick. Vancouver is going
through a cold epidemic right now. Do you have a Flaming Lips
It's always best to be healthy to begin with I used to smoke but I don't anymore.
I run and ride my bicycle a lot, I eat good food, I try to be optimistic.
I spoke with Bob Pollard last summer. I asked him if it was true
that Guided By Voices "never sacrifice hummability for art-for-
art's sake." He responded, "Definitely. It's all about whether the
songs are catchy or not, and you can tell Wayne Coyne that!" I
asked what he meant, and he said, "I don't have 4 CD players to
listen to his new album." So here I am, Wayne, passing on a message I never thought I would have the chance to! Now, I'm not trying to start an indie war here, but... any response?
Well, for the record, I don't think Bob is into forcing the evolution or progression
of listening... onward. I mean, I think he's content with saying, "I like old '60s
records and I like lo-fi and I'm satisfied with that." Well, I'm not. I'm not saying
that people shouldn't be satisfied with that, I'm saying if I'm not satisfied, why
can't I explore new territory? And I certainly would think a musician like Bob
Pollard would applaud that rather than condescend on that. Thank God there
have been people in the past who pushed the evolution of music forward.
Otherwise we could still all be, uh...
Three-chord rock 'n' roll?
Right! There's nothing wrong with that, but I'm glad there's a lot of variety. I
hope to just make a small contribution, to say that there's other ways you can do
things, and it doesn't say anything bad about people who don't choose to do
that. I would never use what Bob does and what I do as a battle of ideologies.
At the same time, though, I do feel an obligation. I'm given a lot of money and
a lot of attention sometimes, and I feel like "here's a guy who can do something
right now that's never been done before," and I feel like I'm one of them. And
maybe Bob's one of them—I don't know, maybe he doesn't feel that way, but I
do! So when I get the chance, I say, "Let's go over there; let's see what we can
do with all this new technology, and all this momentum."
One thing I found interesting about The Soft Bulletin is that it's the
first use of kettle drums that I can think of on a so-called "pop"
album since Pef Sounds or UmmaGumma. Is the use of kettle
drums, perchance, the key to a pivotal album?
Oh no, no !!! [Laughing] I don't think that there is any secret way! I don't even
know if there is a way. Whatever your ideas are, and your art is, it meets up with
the times, and sometimes it just works out. I think the isolation, and all the time that it takes to remove your-
se]f from your environment to make art... People forget how scary it is to be sitting there. In our case it was
sitting there for a couple of years, and we really didn't care what was going on in the world, and we made
music that was unique to our situation. Then the day comes when you have to present it to the world and
you're like, "Oh my God, I'm not sure if people are gonna give a shit about this, or if they do hear it at
all, will they just think it's stupid?" If anybody ever realized at the time when they were making their "art"
that it was gonna be innovative or have some impact, I think they would stop and go, "Oh wait! What are
we gonna do here?" We never considered what we were doing as "pivotal" or "new"; we simply said,
"Let's do what we like." I mean, we always assume that people are gonna think what we're doing is
ridiculous anyway, so we may as well please ourselves. If the album is pivotal... awesome!
I know you're sick of this topic, but on the 90210 episode that you appeared on, the
character, "Steve" said...
[Coyne and Meat in unison]: "Gee, I don't like 'alternative' music that much, but those guys ROCKED THE
Who got the last laugh? a) Religious 90210 fans who thought you were "giggle...
weird" b) People who watched 90210 only because The Flaming Lips were on or c) The
Flaming Lips?
I don't think it had an impact in any of those ways, to tell you the truth: a) People that watched 90210 considered us as a distraction from looking at those women and "guys." Like, "When will this song be over?"
b) People like me just watched that one episode and c) For us it was a fascinating moment. I mean, these
guys call us up and go, "Do you wanna do this?" I mean, we live to do this stuff! I mean, to find ourselves
in these absurd things. But it's only absurd if you know as much as you or I do. Most people were like,
"Gee... that was... uh... great."
It was just like the Batman soundtrack thing that we did. I remember being in a theatre in Oklahoma, and
there were a couple of radio stations there, and we had to stand up and wave to the crowd. We were the
only ones who realized just how absurd this was, because we do the kind of music that we do and it's not
absurd to anybody else. I think we wrongly look at... well, not "unsophisticated music listeners," but people who don't take it as seriously as we do. I think they do, but that they simply just don't have enough time
to listen. They have jobs and kids, and when they have a couple of minutes, they listen to music that's comfortable to them. I mean, if I didn't have any time to listen to as much music as I do, I would listen to something I already love instead of trying to find new music that I might love. Honestly, if mainstream music
wasn't so loved, you wouldn't hear it all the time. We always complain about how people can listen to
Garth Brooks, but they do. Millions of people love it.
WOO Greg Dulli from The Afghan Whigs listed Priest-driven Ambulance as one of his top 10
favorite albums, right in between Loveless [by My Bloody Valentine] and Fear of a Black
Planet [by Public Enemy]. Do you feel comfortable being grouped between two such
revered albums?
Well, when we made that record, we knew the Afghan Whigs. They played their very first show
in Cincinnati with us and they were getting ready to do their first Sub Pop album. Greg really admired the
production we were doing on Priest-driven Ambulance. I think he just wound up listening to that album
a lot for those type of ideas—just to hear that sort of production—and he was trying to do those same types
of things. Actually getting your ideas as opposed to hiring a producer to get them for you. Back then, that
was everybody's reach: to be in control of your record, to get enough money to make them the way you
want to. I remember, after we played a couple of shows with them, he made us talk again about how we
made the record and so on. So I think he just listened to it a bunch and, like most records, if you hear
them often enough, parts of your life just start to get associated with it anc'
it probably does become a great. Though I don't know if anybody's record
in and of itself does that. I think it's the listener that builds it up to being
something. I'll happily sit between Loveless and Fear of a Black Planetl
If you'll let me, sure!
You've mentioned more than once in the past that you do not use
psychedelic drugs while recording. On that note, what percentage
of your audience do you think take psychedelic drugs while listening to your recordings?
Well, I don't think they really work with anybody [in the recording process].
Kevin Shields is a good example of a guy who should do less drug-taking and
recording at the same time. I think he gets caught up in the "ghosts in the
machine" process of why things work, and the meaning behind it, and "instinctual" listening and that sort of stuff. He does smoke a lot of pot. I'm not saying
that that would be the reason that he's made great music or stopped making
music or whatever. For me, if I took LSD right now I would be paralyzed in this
chair. I wouldn't be able to do anything, or have any authority over what I was
talking about. Even smoking pot raises your doubts about everything—mostly
yourself—so I wouldn't suggest it to anybody. It's easier to get high and listen
to music than create it. You can easily watch a movie on acid rather than make
With The Soft Bulletin being released so close to last New Year's
Eve, some of the lyrics added to my own "Millennium Hysteria."
Now that all the Y2K crap is over with, do you still feel that "the
sun is gonna be too heavy to lift into the sky?"
I never really looked at that [lyric] as being a millennium apocalyptic thing. I
look at them as pertaining to every human. Everybody's gonna go through
some situation where they're gonna need some kind of assistance in their hope
or their outlook. Music is one of the things that can do that. You can be in a certain mood and hear music and not feel alone anymore. All art can do that:
Was the "This Here Giraffe" single [a star-shaped CD] actually
the first ever shaped CD, like the cover says?
I think I've seen others, but I don't think it's a very good idea. I think your CD
player wants a round disc in there. That was more of a novelty purchase than
something you would want to play. Actually, that CD was Warner's idea.
Working with Warner Records, whose agenda is, "if you don't make us money, you will
be dropped," was dealing with Restless easier?
Not really. I mean, us being the total amateurs that we were, when we walked into Restless Records, that
was probably the worst part of that. Restless always gave us a lot of money as well. They gave us $ 1 0,000
to make Oh My Gawd and that was a lot of money at the time, and they always gave us total freedom.
The stress and all that came from just us being utterly naive to everything about the music industry and even
about music itself. Warner Bros, has a lot of agendas. I mean, their main one is to make money, but they
also want to do great music. They would love nothing better than to release great music and make billions
of dollars. People think that they must have some agenda—that they want to push Eric Clapton instead of
The Flaming Lips—but they don't. I mean, they put our records out, and they see what the public likes, and
they give them more of it. It's like a Doritos commercial. When we signed to Warner Bros, we already
understood that. We didn't come at it from a naive point of view, like, "Oh, these corporate assholes are
taking our art away from us." We knew going in that they were going to give us money. We supply the
music, and they try to make money off it. And that's the deal. It always has been the deal, and bands,
frankly, are stupid if they go into it thinking that it's going to be any way else. It's a big business. You can
make millions of dollars making music. It's an absurd concept to begin with, to think that a guy like me,
who really has no real skills—I mean, I have ideas, that's my skill—and these people can come to me and
say, "Wayne, you've got some really great ideas, and we think we can make money off then
"Gosh, what a wonderful world!"
Does using pre-recorded drums make the soundcheck and live show easier si
one less person to deal with?
Initially you'd think it would, but it's just another... y'know... thing. I think it's better, just cause I like the way
the drums sound recorded as opposed to the drum kit you tour around with. You gotta hope that the kit
holds up every night. Even if they can take Steven's pounding every night, they're being played in a different room every night. So with a room like this, different drum kit, different microphones, the air temperature, and how many people in the room... all these things affect the way drums sound. So by the time
you get to the concert and listen to a drummer, you're really only hearing the compromises of the millions
of factors that go into making drums sound good. Of course, on our records we don't have that; we make
them sound however we want. For a long time we always struggled with that, 'cause we think that what
we're doing with our records is not necessarily performance orientated: it's sound orientated. Steven is a
great drummer but a lot of it has to do with the way his drums sound. We're recording artists, and we bring
our recordings with us. We do perform to a certain extent, but performance is really kind of down on our
list, compared to what we do in the recording studio, which we think is where, if we do shine anywhere,
that would be where I feel we would have our best shot at saying, "Look. We're unique. This is where we
do our best work." So we decided to just bring the recordings with us and play them live. By the time we
got to doing stuff on The Soft Bulletin, to do some of those tracks live with real people playing all those
things, it was kind of a dilemma because it was starting to compromise what we would do on most songs.
Some of the sounds aren't even instruments that people can play. Some are found sounds, a concoction of
samples, insects, refrigerators, cars driving down the street. I said, "Who do you think we could get to play
the refrigerator for us?" because that's a sound in one of the songs. And you can see how you can use just
about anything in the sense of making music. It's really just a bunch of sound that you apply pitches to, and
that's how we make our music. It isn't necessarily violins, piccolos, guitars, and drums. So after a while it
just occurred to us. We don't have to carry around the musicians—we can carry around our tapes, and
we'll sing in front of them, and if that doesn't work we'll think of something else.
One final question: does the wind really come sweeping down the plain in Oklahoma?
It sure as hell does! We get tornadoes for chrissakes! •
nmm®®& wast«rel
1: vagabond, waif
2: one who dissipates resources foolishly a
self-indulgently : PROFLIGATE
Related Word dissipater, fritterer,
loafer, lounger
Every March, Austin, Texas slakes its
claim as "Live Music Capital of the
World" with a gargantuan conference
and festival called SXSW. What started
as a regional festival to promote local
musical talent has exploded into a week-
long triple festival (Film, Interactive,
Music) with talent from several continents,
franchises (NXNE, NXNW), and
wannabes such as New Music West.
I was warned that this is a conference/festival/whatever that's grown too
big for its own good in many ways.
Small wonder so many locals shun anything stamped "SXSW." But have the
industry weasels completely ruined it for
the rest of us? My self-appointed mission
was to determine whether this was
indeed true...
Wed. March 15
1 1:20 am: First experience with local public transit.
For 50 cents a trip, ya git what ya pays fer. Five
block walk to bus stop on Manchaca (pronounced
"Main-shack") and a long wait, but an air-conditioned ride to downtown, complete with LED readouts and voice prompts to tell you where in hell, or
Austin, you are. Lots to look at: passed the rococo
Toco Xpress with large woman's head emerging
from building, mini-golf with bunnies and skulls.
Sign at car dealership read: "if you have a car you
can get a job." Funny, I always thought it was the
other way around.
1 2:05 pm: Jumped off near the Convention Centre
to pick up my convention badge, spotted a group
of young Japanese who didn't appear to be lan-
1:30 pm: After asking umpteen locals and conference staff, I finally found the freaking Kinko's,
which was only a couple of blocks away, to check
my e-mail. Decide there's no way I'm carrying this
bag around all night so I get my bearings on 6th
Street (axis around which the live music rotates),
scarf down a pathetic gyros and hop a bus back to
8:00 pm: 6th Street by night! I was told this was a
quiet night for the strip because a) first night of festival; and b) spring break at U of T—fewer drunk
frat boys than usual. Still, compared to, say,
Granville or Robson streets, there was a lot of vibe
to soak up. Ran into Jeff from my fave nuclear polka
band Brave Combo and congratulated him on their
Grammy win.
9:00 pm: Found a seat at the cozy Pecan St. Ale
House for Dutch singer-songwriter Michael de Jong,
2:30 am: Hopped in cab back to South Austin and
my lumpy futon.
Thurs. March  16: The Conference
10:30 am: I somehow managed to get in gear and
downtown on time for an arranged-by-email breakfast meeting at the fab Las Manilas. Mitch owns an
indie label in Burlington, Vermont, talks real fast
(understandable for a NYC refugee, I guess) but
had some great stories about Ian McLagan (ex-
Small Faces), an artist on his roster who's just written a book about his days with Rod the Mod. He
picked my brain about Vancouver radio and also
picked up the tab.
11:30 am: Mitch and I walked over to the
Convention Centre. We'd unfortuntely missed the
keynote speaker, Steve Earle (who reportedly went
on quite the political tangent), so we ported ways
to do the Trade Show.
This was definitely the year of the "dot com,"
and what with Napster and MP3 being all over the
news, the music/tech stuff was front and centre.
Swag-wise the theme seemed to be mints, mints,
mints. A fair amount of free condoms, too—bringing a whole new level of meaning to "schmooze."
The CDs were a bit harder to find, but they were
there, mostly label compilations and even some
from countries like Sweden, Japan, Ireland. I didn't
do as well on the elusive invites to after-hours parties; I clearly wasn't high enough up the totem pole
as a simple college radio rep.
A Wastrel's Guide to SXSW by Val Cormier
Tues. March 14
4:40 am: Boarded Shuttle Express at my friend's
place in Seattle for trip to Sea-Tac, starting a long
day of cramped airplanes and bad food American
Airlines' "we've taken out seats in coach" ads are
a load of horseshit.
3:30 pm: My Austin host, Steve, picks me up at
Austin's brand spankin' new airport, which he tells
me is a recycled Air Force base. Weather is fab,
traffic not even that bad on the drive to his home in
South Austin, aka "Casa del Frog" (his record
label/decorating scheme).
9:00 pm: Dinner at Magnolia's, a popular 24-hr.
hangout in the 'hood! If only we had such an alternative to Bread Garden! No margaritas, so I had to
settle for first of many Shiner Bocks I'd consume
over the next days. Covered two important food
groups (BBQ and Tex-Mex) with a fab BBQ chicken
guage exchange students. The one dude in fringed
leather jacket and leather pants on a hot day a likely tip-off. Musicians or posers? (Or both?)
12:15 pm: I thought that getting to the Convention
Centre near the beginning of badge pick-up time
might be a good idea. Apparently not. Passed the
40 min. wait looking for anyone familiar or funny-
looking. Spotted the aforementioned Japanese
group in the performers' line next to me, also recognized Chip Taylor in same line. He's the dude
who wrote "Wild Thing" and he also happens to
be Jon Voight's brother. Wished I was in the way
shorter S-Z line.
1 2:45 pm: Joined the crowd in the hall ouside who
were purging the conference bags-o-swag. Threw
out a shitload of music magazines and ads, still left
with a bunch of compilation CDs, keychains, etc.
And the all-important conference program or
"bible" which contained the music venue listings.
who was creating some buzz as Amsterdam's
answer to Tom Waits. Better suited to a rainy winter's night at, say, the Railway, but not a bad set at
all. While exiting the venue I run into a couple
more members of Brave Combo who were loading
Scanned the program and realized I wasn't
going to be able to see Richard Buckner, the tribute
to Doug Sahm over at Austin Music Hall or even
the Damnations TX/Gourds bill over at Stubbs without a lot of walking and/or taxis. Allowed indecision paralysis to strike and contented myself with a
stroll up and down 6th, sticking my head in and
1 1:00 pm: Decided to park my tired ass at Iron
Cactus for rest of night. Ran into a guy I'd chatted
with earlier in the evening and we got into the mar-
show, so the next band up, Little Jack Melody & His
Young Turks, got a longer set. Cool trippy lounge-
jazz from Denton, TX. Fellow Dentonians Brave
Combo were last up, but didn't get started until
close to 1:30 because of major tech probs. They
still managed to put on a great sweaty set of
polkas, Latin, Tex-Mex and more. Mid-set a happy
cry of "Beatle Bob!" came from stage.
Yo, Beatle Bob! His name has popped up on
several internet music lists I'm subbed to. Bigger rep
than Nardwuar, better hair than Bryce the Shindig
emcee... The story goes that Beatle Bob attends several hundred live gigs a year, in St. Louis, and also
hits many music festivals around the US, including
SXSW. He's easy to spot with his stylish mod outfits
and unique dancing style: always up front, always
alone, and always off the band's beat. Bob's musical tastes are wildly eclectic and word is that if he
shows up at your gig, you've arrived.
2:00 am: The nazis at the Iron Cactus cut the
band's power supply, even though the late start
was their fault! With barely a pause, the band
unplugged and played on the sidewalk for a couple of numbers, Beatle Bob happily prancing
beside them.
Here, then, the Val Awards for achievement in
Best food swag: smoothies at riffage.com.
Runner-up: Pink Hostess thingies, Austin Chronicle.
Coolest non-music booth: Texas Hemp Campaign.
Best clothing swag: orange hat, Burly Bear.
Most useful swag: experience.org's earplugs with
case. Wouldn't have survived The Black Halos with-
Runner up #1: Real Jukebox's stress-relief ball.
Runner up #2: NXNW's bottled water.
Best thing you'll never see at a Canadian trade
show: free beer! at booths!
Best stickers and chat: Austin City Limits
Lamest attempt to lure customers: Molson Canadian
beer at NXNE booth.   MM
3:00 pm: After catching the tail end of a lame
panel called "Wake Up America, You're All Dead"
(Brits jabbing American technology), I stuck around
for   a   songwriter   panel   called   "How   Many
Songwriters Does It Take To...", mostly so I could
cool my heels and read the paper. Ryan Adams
from  Whiskeytown, Jim  Lauderdale,   (big-hair
Nashville upstart), Kim Richey and Terry Radigan
(more Nashville) talking biz. They finally did pick
up guitars to sing, but not before Ryan mysteriously split, which was unfortunate.
4:00 pm: Time to start working da badge. Headed
over to one of the afternoon free-food-and-bewy
parties at Club DeVille, sponsored by Doolittle
Records. Scarfed back a few Shiners and enjoyed
Trish Murphy's set before walking next door to the
Caucus Club and a party for the newly-launched
Americana Music Association. Kick-ass BBQ and
fixins. Mmm, mmm.
9:00 pm: Lack of wheels sucked yet again, and
cabs too hard to find this time of night. Had to miss
Flybanger, Marah, and Asylum Street Spankers,
among others. Took a long walk down to Opal
Divine's Freehouse, a nifty outdoor joint. Nifty until
the downpour started, that is. Jennyanykind from
Chapel Hill, NC was laying down some cool alt.
country grooves and I really wanted to see the next
act, Hazeldine. However, I overheard talk at the sound board of
delays, so I scurried over to the nearby Austin
Music Hall for some Tejano music.
What an awesome hall: big, cement, and no
chairs, but a great sound system and enough bars
to handle the crowd. Finally got to experience
some of the "Mex" in Tex-Mex, boisterous energy
up front for Rick Trevino's band. That group
marched on (literally) in army fatigues and proceeded to crank out some of the most kick-ass,
funky cumbias and rancheras I've ever heard. I was
starting to fade but really wanted to see Los Lobos,
so sat through an icky saccharine pop set by Chris
12:30 am: I was digging Los Lobos less than usual
(more tejano and less rock, please) and dead on
my feet, so stood outside glaring at the rain and
wondering if I'd ever find a cab. Turned out the
guys in front of me in the payphone queue had just
called one and were willing to share with this
damsel in distress
My two cabmates, Jason and Kyle, write for a
new alternative weekly in San Diego. Jason's business card read "Managing Editor/Paranormal
Investigator." They were way drunk But funny
drunks, so the ride back to South Austin via a couple of other clubs (we picked up a few more strays)
was amusing. Their discovery that I was Canadian
(eh?) led to Jason riffing on Kids In the Hall, Bryan
Adams, and Strange Brew while Kyle nodded in
sidekick agreement. Their mission was to find
"strong drinks," which the cabbie took somehow
to mean "strip club." Yet more amusing conversa-
1:15 am: Rolled into Casa del Frog and chatted
with Kevin So ("America's first Asian-American
singer-songwriter") from Boston, who'd arrived in
town to play some non-SXSW gigs and was couch
surfing chez Steve.
Fri. March 17: St. Patrick's Day
10:20 am: Got a ride with Steve to Kevin Russell's
(of Austin band The Gourds) home to tape an interview. Kev gave me a CD-R copy of their upcoming
release, by far my best CD score of trip.
1 1:30 am: Another South Austin pal, Matt, picked
me up for lunch. Thought I'd dust off the ole badge
and score us some free food and music, but the
Experience.org (that ugly-ass building near the
Space Needle in Seattle) lunch was pathetic.
(Wraps? at Stubbs, home of Austin's finest BBQ?
Whatever.) Music wasn't so groovy either, so we
headed over to the Austin Java Co. Very Bread
Gardenish and healthy, but huge honkin' portions,
and only $9US for two.
I'd heard Bloodshot Records was holding a
free beer-and-music hoedown just south of downtown, so we headed over to check it out.
The crowds were huge, we'd missed Neko,
and the Mekons weren't doin' it for us, so we wandered around some of the funky shops and galleries in that portion of South Congress. Wandered
into a big ole cowboy boot/hat/clothing store for
the Genuine Texas Experience. Boots out of goat
hide? You bet Found us a pour-your-own keg at an
antique store and wandered outside to check out
the St. Pat's festivities, (a boisterous oldies band—
absolutely no Irish content) Who should show up
but Beatle Bob and the attendant frenzy of fans
clamouring to have pictures taken with him.
Witnessed another of his famous dance steps, the
karate kick, which landed mere inches from the
bass player's face.
6:10 pm: Was on a bus going somewhere, (unfortunately not Waterloo Park and the Alejandro
Escovedo Orchestra/Patti Smith double bill) looked
at my daytimer and an entry marked "Atomic Cafe
HH" and completely drew a blank.
6:30 pm: While wandering down 6th, stumbled
upon a RealAudio food-n-schmooze gig, bluffed my
way in, and got the night's feeding/watering out of
the way. Live electronica wasn't too bad as dinner
music. Continued on journey eastward and found a
huge non-SXSW St Patrick's Day outdoor fest, complete with the big-ass green foam shamrock hats
that one would expect to find in this state.
7:25 pm: Badge paid for itself at last. Just walked
past a huge line of wristband plebes at La Zona
Rosa to get into Gomez' SRO set. They rocked.
9:00 pm: Vancouver's Black Halos were packing
them in at the Sub Pep showcase at Emo's. Felt like
I was in a 1979 time warp, but an entertaining
warp it was. Billy Hopeless on lead vocals did his
best Iggy Pop imitation and deserved an award for
Best Use of Microphone Cord as Simulated Drug
Paraphernalia. The crowd dug it and so did local
press the next day.
10:20 pm: Was wandering around Stubbs after
Hank Williams Ill's pathetic 15-min. set (asshole
walked after his amp "wasn't giving enough distortion") when who should I run into but the drunk
dudes from San Diego! They amazed me with their
clear and politely apologetic recall of the previous
night's cab ride. Kyle was still fuming about the size
of the cab tab. (Apparently they really only wanted
strong drinks, not a wild goose chase to find a late-
night strip joint.) Their partner in crime for the
evening was Al, a dude who works for mp3.com.
Jason introduced me to Al (and everyone else we
met that night) as "Val. She's from Canada. She's
Bryan Adams' manager." Time for more Shinerl
I 1:30 pm: During the Supersuckers set somebody
spotted a dude with long beard who looked an
awful lot like one of the ZZ Top dudes. And indeed
he was. Dude seemed quite gracious, polite, and
surprisingly able to maintain a low profile, even
with the beard. I stood back and chuckled while
the boys fell over themselves to have pics taken with
12:10 am: Nashville Pussy blasting from the stage
and I'm halfway through a 20-min. lineup for the
(disgusting) portapotties. Snarled at a coupla chicks
who attempted to illegally onramp their way into
the queue.
12:30 am: We made our way over to Emo's again:
Love As Laughter playing upstairs, Nebula downstairs. The S.D. boys were into the Jack and cokes,
but I wasn't gonna play. Sometime before closing I
saw a cab pull up outside and took that as my cue
to skedaddle back to the shack.
2:00 am: Couch-surfer Kevin rolled in around same
time as me so we compared notes on our evenings.
He'd done well busking on 6th with his pal Mary
Lou Lord. He dumped a small pile of business cards
on the coffee table; many of them from A&R reps
for Actual Major Labels. Not bad, Kev!
Sat. March 18
12:10 pm: Hemmed and hawed about going to a
much-hyped non-SXSW event at the Texicali Grill.
Even though it was in South Austin, it seemed easier, in my sleep-deprived state, to get myself downtown. Chilled out in a conference panel called "To
Live Is To Fly: The Townes Van Zandt Story." What
could've been a great panel with personal reminiscences about one of Texas' songwriting kings
turned out to be a majorly lame blah-blah taken
over by Some Agent and Some DJ. However, the
free Townes CDs they gave away at the end of the
panel made it worth my while.
1:15 pm: Seeing as I was in the neighbourhood,
dropped by the Trade Show again to pick up more
of the good swag and even got to catch some of
Martha Wainwright's set on the acoustic stage.
2:00 pm: Heard about a badge-only showcase
sponsored by ASCAP and got to Stubbs early
enough for some of their freaking amazing BBQ.
Most addictive. Sat through some standard singer-
songwriter fare of varying quality. Last up was Bob
Schneider, leader of several flavour-of-the-month
Austin bands and better known as the current beau
of Sandra Bullock. I tried to picture Bob playing
nude bongos a la her ex-, Matthew McConaughey.
Nope, didn't work for me. Bob did have an acerbic
wit, some good songs, and managed to diss the
sponsor during his short set.
8:00 pm: Decisions, decisions. Modest Mouse and
Sebadoh in a big crowded hall, or Neko Case and
Her Boyfriends in a (not-so-big) crowded hall?
Antone's (famous club which helped spawn careers
of Stevie Ray Vaughn, Sue Foley, and others) won.
Besides, one SXSW truth is "can't go wrong at
Antone's." Indeed.
First up at 9:00 was Anna Fermin's Trigger
Gospel, hot alt.counlry from Chicago. Strange fashion sense (layers upon layers, including a skirt on
top of capri pants) but great voice. Cleansing the
palate on the predominantly twang-band bill was
San Diego's B-Side Players. Funky latin/ska/jazz
fusion, made me glad I'd stuck around to save my
great spot near the stage for Neko.
Neko and band were up right on time at 1 1:00.
Oops, Neko, you forgot to zip up your dress! Heh,
heh. As expected, she rocked the joint and showed
us all why she should be the reigning queen of
1 2:00 am: I crunched out of Antone's (major broken glass on floor action) and walked over to Red
Eyed Fly to catch their last few bands. On my way
down 6th I overheard somebody put into words
what I'd been thinking all night: "it ain't the walking, it's the standing on the cement that gets ya."
Ran into Jason and Kyle at the Fly, they'd been
boozing most of the day with buddies The Dragons
and were fairly gone. Claimed they'd hung out for
lunch with Alejandro Escovedo, who was a brother
of one of the Dragons. "I didn't realize he was so
big here in Austin," said Jason. Uh, yeah...
1:00 am: The Dragons rocked, and so did their
mosh pit. After the club closed we waited forever
for a cab at a nearby hotel lobby and idly chatted.
"So, what's the most important contribution
Canada's made to the world, Val?" "Uh, I dunno...
the Canadarm?" The boyz had passes to Spin magazine's after-hours bash so I left 'em there and continued south. Cannot keep up the pace.
Sun. March   19:  full  moon  windup
1 1:00 am: My friend Chris, who detests SXSW,
saw fit to squeeze me into her busy schedule and
picked me up for a thrift-store shopping/margarita
run. Handily, both in the same strip mall. As she
said, wasn't the cheapest Goodwill in the city, but
definitely the best stuff. Dropped a wad of cash,
walked out with 3 bags of cool duds plus 4 Texas
6:00 pm: More margaritas and enchiladas at big,
noisy Tex-Mex place called Chuy's with Matt and
his posse. Stopped at Matt's briefly in search of
some, urn, Mexican greenery to prime ourselves for
the evening.
9:00 pm: Found the semi-secret location of the
monthly South Austin full moon barn dance. No
actual barn that I could see, but a hell of a lot of
friendly and twisted locals, rough-hewn stage, free
buffet ($5 admission went to the bands), byob and
much fine music. Headliners were the Gourds,
Austin's best live band (as voted by local music critics, think The Band crossed with The Pogues).
They, of course, rocked. And so did Beatle Bob,
who was front and centre. Beatle Bob and I chatted
a bit; he was interested to learn that I was with a
college radio station as he's involved with a noncommercial station in St. Louis. Vancouver will be
part of his busy road schedule next year for a music
convention (Folk Alliance). I'm still wrapping my
mind around that one...
Mon. March  20:  homeward bound
5:20 pm: after one last fine feed of BBQ at Green
Mesquite, boarded the plane home. Was seated
right behind a screaming child. Back to reality.
Have the industry weasels spoiled SXSW?
Depends. Like Seattle's Bumbershoot festival, there's
way too much music in way too short a time, way
too many people, and I missed so many acts that I
wanted to see. And some of the better venues were
too far away from the main 6th St. action. Frankly,
you'll get a way better bang for your buck and see
a lot more bands at Bumbershoot. But if you worship ot the shrines of alt.country, Texas roots rock or
indie pop, hell, you'll rarely get to see so many of
these bands converging in one place at one time.
Besides, everyone deserves to waste time and/or
get wasted in Austin at least once in their life.
Dem's good beeble.
Next time (should there be one) I'd likely make
like the locals and hang out at the non-SXSW
events: South by South Lamar, South by So What,
Fuck by Fuck You, etc. (many of the SXSW bands
play these on their nights off). 6th St. vibe is always
gratis, ditto with Beatle Bob sightings, and there's
always good BBQ and drunk guys to be found. • FEATURING P
:   J
,„  dir ******
t          (■
• house J^-'        <^ i
• techno
• drum'n'bass / jungle
- hip hop / rare groove
• ambient / downtempo
- breakbeat / electro
• trance / progressive
- vinyl, cds, mixtapes
• turntable cartridges &. accessories
• mens & womens urban clothing
102-1252 BURRARD ST (at Davie)
(604)     893     8696 boomtown@oai
tfreat) StcifC
Go get Knotty Boy - the most whoop-ass
dread wax and shampoo your dreads
j|/ could ever wish for!
I Vancouver'The Underground' f- hits
■i f- Heritage Hemp & Surf (White
I &<: Bectrk Lettuce % JJs Hemp Holto
'u Int'l Galon % Abantu Int'l Salon %
.acred Herb % Ginger Group "f- Off
listers in the Hood   SeafWe: vainS
l    9    9 Under
The Ananda Shankar
This Ananda Shankar and
State of Bengal collaboration
is a brilliant, creative blending of
Indian classical music with driven electronic breakbeats
and hip-hop. The Ananda
Shankar/State of Bengal experience is a stunning journey into
the fusion of soul which creates a
hypnotic atmosphere of tranquility and spiritual clarity. The music
is an erotic seduction for the
inquisitive intellect.
The musical project is a tribute album to the late Ananda
Shankar, who passed away after
the completion of this enigmatic
effort. Ananda's music opens up
new possibilities for the senses,
adding eclectic insight to our
cluttered, busied surroundings. It
was a poignant musical review
that I truly treasured, and I sincerely recommend to those who
need a good spiritual kick to the
Ananda Shankar was quoted as saying: "My dream is to
break barriers, any kind of barrier—thorough music, love,
affection and compassion. I
have this dream of musicians
from all over the world playing
for an audience all over the
world. When we are all here we
are one and when we go out I
am sure we will all be one." This
collaborative artistic mastery is
an example of that philosophy;
hence, it is also the perfect ambient background noise to have
sex to! Trust me on this one.
Howie Choy
I listened to local punk scientists
Another Joe's sophomore
spine tingler ten times before getting to the fifth track. Can you
get ADD from watching pro
wrestling a lot? Upon listen number 11, I'm happy to report it
was all my fault. These days you
can't do much with three instruments, but happily, like Fat
Wreckers No Use For a
Name, Another Joe honestly
writes great songs. These are all
good conflict tunes (Me vs.
Chick... vs. the Man...vs. God)
with constantly changing time
signatures and surprisingly Rowing melodic lines. Kudos to Jon,
the drummer, who, like all great
drummers, supplies the foundation with concrete precision.
One suggestion, though: Allison,
take the mic more and show up
the boys a bit.
Music for Imaginary Films
(Emperor Norton)
The future is now. The future was
yesterday. I saw the future last
house. The future was cooler in
the past. Like 20 years ago
when we were kids. Everything
is supposed to be spacey and
run by robots now, but the closest we've got to it is Arling
and Cameron. They're clever,
and every song has robots or a
lunar groove. Every song is awesome and makes me wanna be
a spacey spy girl and run
around on shag carpet while my
boyfriend waits outside in his
groovy, orange car. The songs
are obviously made for non-existent films but they manage to get
that enchanting feeling you get
from good soundtracks. This
album is cooler than you'll ever
be able to be, myself included,
so acquire it so you can be a
tesla van halen
(4 Ways to Rock)
This album gets the award for
the most uneven album I've ever
listened to. If hip-hop is one specific thing, it's a compelling
selection of grooves—sometimes
a single groove. Buck 65, the
"Maritimes miracle," raps about
a well-endowed centaur. How
cool is that? His rhymes are so
interesting that I hate to knock
him, but there are too many
stops and starts and too much
dead air. And I hate answering
machine dialogue, a la
Kathleen Hanna to Mike
Watt. What's the point? All that
aside, give it a listen. He's got
some interesting beats, especially when he manipulates that high
pitched rising tone that starts all
my old heavy metal cassettes.
Burning Mask
This marks Neil Sparkes' first project with Interchip and it's o good
one. Count Dubullah and Sparkes
join forces to produce an album
which the Count himself comes in
on several tracks to help with
From the start,
one can feel the AfroCuban vibes
mixed in with a sometime subversive club sensibility. The spoken
word found in several tracks,
however, left something wanting,
and I felt like it wasn't really necessary. I'd go so far as to say that
it was distracting. The highlights
of the album are mainly from the
percussive tracks, which are tight
and guaranteed to make someone bust out in moves they
thought they never had. I've
become a little weary of "world"
dance music—I find that much of
it is gimmick-ridden rather than
sincere, but this album succeeds
well and comes up with a rich
sound of its own. It's also worth
mentioning that the packaging is
beautifully done and displays the
abstract artwork of Sparkes himself. The liner notes also contain
a short but thought-provoking
commentary by Stephen
Wilkinson on the history of Cuba
in the latter half of the twentieth
century. With the percussion influenced by Cuban music, it might
be easy to quickly shelve this with
all of those other "world dance"
records, but I think that there are
things on this album that deserve
a little extra attention.
Samuel Kim
Out West
(Kill Rock Stars)
Hold on Hope
Two short EPs that leave the listener entertained but somewhat
unsatisfied. Two discs which
remind us that credibility does not
necessarily imply creativity and
that the line between alternative
and merely unpopular is perilously thin.
Cadallaca is something of
a post riot grrrl summit, featuring,
as it does, Corin from Sleater-
Kinney and singer-songwriter
Sarah Dougher. Their sound
marries SK's ragged edginess
with Dougher's haunting torchi-
This four-track improves on
their Calvin Johnson-produced
debut Introducing... where the
two elements watered each other
down more often than not. On the
title track here they ferment into a
potent swampy brew.
Sadly, the rest of the tracks
don't live up to the opener's
promise. Moreover, the EP as a
whole hints at unfulfilled potential.
One suspects that Cadallaca
couid be ripping up boy rock con-
a heartbroken Le
Tigre if they set their minds to it
Top marks for the cover, though,
which features the girls in Old
West honky-tonk garb.
Top marks, too, for Guided
By Voices' conciseness. Hold on
Hope manages to pack nine
tracks into 20 minutes. If only this
unconventional approach to duration was applied to every aspect
of their songs. Coming from a
band with a reputation for lo-fi
quirkiness, this is a disappointingly slick (produced by Rick
Ocasek from The Cars) and
straight-ahead effort. The set
opens in an imaginative vein with
clever ideas and strong emotions
to the fore, then descends, via
some solid indie rock, into the late
Beatles power-ballad pointless-
ness of the title track.
One could argue that these
tunes are album cast-offs and not
the best looking in point for GBV
neophytes. So why release them?
There's a lot of music out there,
and the people responsible for
both these discs have enough talent that they shouldn't let their
voices get lost in the din.
Sam Macklin
Maha Maya
(Six Degrees)
Seems like there's been a buzz
around this DJ lately. This is the
remix album from Shri Durga,
and unfortunately, I must confess
my weakness here and admit that
I haven't listened to the original.
To truly review a remix album, it's
important to understand what it
came from, but on the other
hand, if it's a really good remix, it
should stand on its own without a
reference to its original. The influence of world beat is obvious
from the cover artwork to the generous portions of sitar solos and
vocals. The drum beats and samples fit in relatively well, but I
can't help but wonder if I'm interested in the music because of its
original mixture of styles or
because of the "novelty" of the
subcontinental vibe. The State
of Bengal remix is interesting,
but after a while, the album doesn't seem to drift off of this path,
and it leaves me wanting something more.
Samuel Kim
Set Right Fit to Blow Clean
Hot damn, The Drags are back,
baby! Outta the barn and into the
speakers of any self-respecting
lover of amped-up, twisted-up,
punked-up tunage is where this
platter should matter! Effects
galore courtesy of new Drag
team member Scott add extra
oomph to an already potent
batch, and drummer Ron lays a
backbeat of monstrous proportions to songs like "This is the
Sound of Hard Rock" and
"Blacklight." Hey, they even make
a        Led Zep        song
("Communication Breakdown")
sound cool! Lay this wax down
and get back 'cuz the Drags are
set right fit to blow clean up!
Bryce Dunn
Chore of Enchantment
(Thrill Jockey)
Head down south, get yourself a
front porch on a deserted street in
Tucson, and you'll be muttering
into a 4-track in no time too. Invite
Howe Gelb, Joey Burns and John
Convertino over, and your album
will sound like this: sparse, arid
pop with twangs of alt country
and a trace of noise that is melancholic but catchy; all songs suitable for that slack time between
late afternoon and early evening.
Giant Sand fans will note
Chore sounds a lot like Purge and
Slouch, and more than a little bit
like Howe's recent solo release
Hisser. Joey and John are still the
tightest rhythm section in the
southwest, and Juliana Hatfield
sings backups on "Temptation of
Egg," which also features a
Wurlitzer riff that Beck must be
dying to sample. The five-second
snippets between songs are like
a party overheard from next
door, and when you wander over
the next day to hear the whole
song you find Howe playing to
an audience of empty beer bottles. So what does it all mean?
From the dedication to recently
deceased Rainer Ptacek to the
wedding photos in the sleeve,
Chore is all about friends present
and friends lost. Howe Gelb is, as
always, maddeningly obscure;
but Chore is Giant Sand's most
beautiful and accessible recording to date.
Anna Friz
vs. t-world
This is the brainchild of three of
the nine members of Gus Gus
As Anthony Monday put it in last
month's Under Review, Gus Gus
makes that "it-feels-like-I'm-float-
ing-and-isn't-it-beautiful" music. In
all fairness though, it is an impressive album that works equally
well on and off the dance floor.
There are lush washes of sound
throughout which build up at a
relaxed tempo. I had to listen to
this one o couple of times through
before talking about it because
the sound just seemed to pass
through me. I didn't notice the
album was over until two minutes
after the fact. This album seems to
prove Gus Gus' versatility for
both the mainstream and club
markets. If you were a fan of This
Is Normal, and you want another catchy tune like "Ladyshave,"
you're not going to find it here.
That suits the rest of us just fine.
Samuel Kim
jitVi'i-'i > t U.I i.i^Uiii
.i. 4 ti W3GLM liJil *
Rock Star God
(Sub Pop)
Oh boy, are people gonna get
nervous over this one... If you
thought their last LP was a departure, then Rock Star God is over
and out if you know what I mean.
Long time Makers fans (like
myself) will really have to give this
a good listen to see what the heck
is going on here. I'm still trying to
wrap my head around it. Groove
laden rockers are mixed with symphonic strings; heartfelt ballads
shoulder up to funky instrumental—it's a big ol' mess, hence
they are calling it a "conceptual
recording." I'd like to see how
this holds up in a live setting, but
until then, listen at your own risk.
These Makers are charting the
new course for Rock.
Sryce Dunn
Trash Icon
In the zany land of computer technology, anyone can put out a CD.
Now, one would think that it's
great that anyone who can afford
a computer can also release to
the world his or her musical inspirations. It's sorta like the zine
world: anyone who can figure out
a photocopier can create a zine.
And, as in the world of zines,
there are some great releases
really shitty ones. Unfortunately,
Harrington's musical rantings are
much like that of a 15-year old
white punk boy putting out his first
zine. This translates to music that
is boring, repetitive and done a
million times before. Trash Icon is
bad, pseudo-electronic rock.
tesla van halen
The Geometrid
(Sub Pop)
Remember the last Looper
album? I do. I bought it, took it
home, and played it some. The
first few times, it sounded pretty
cute. Soon, unfortunately, cute
became nauseating, as I got sick
and tired of hearing the same little Woody Woodpecker noise in
every single song. I traded my
Looper album in. So did more
than a few others, it must be said.
Good riddance to bad cute.
I'm not quite sure why, but I
got excited when I got a promo
of the new album. Boy, was that a
waste of energy. This one gets
tired before it hits track three.
Maybe I'm not in the mood for
cute these days (I doubt that,
though, as I'm ALWAYS up for
cute!), but this hurt to listen to. If
Stuart David's "intellectual" spoken word pieces accompanied
by annoying samples are supposed to make me happy, they
fail. I don't need to hear samples
of a modem. I don't need any of
this junk! Some of us got conned the
first time around. Let's not be
fooled again—don't bother with
the hype that is Looper. Why this
poor smart boy left Belle and
Sebastian to do his own thing
is a mystery to me, but let's all
make him regret it! Let's all be
Looper party poopers!
The Kingsbury Manx
Nice, quiet, and melancholy
indie rock a la Elliott Smith or
Bedhead with a bit more complexity. Their lovely little guitar
parts mix with sod vocal harmonies and smooth tones, a
great-sounding organ and some
strings here and there to make
for a whole bunch of very well
done songs to reminisce by.
Sure, all the songs sound alike
by the end of the record, but
you'll be too busy with your own
thoughts to care. The perfect
music to soothe those rainy
springtime homework blues.
Chris C.
Jorg Burger hails from electronic
music's spiritual home, Germany,
the country that brought us
Stockhausen,    Kraftwerk
and so much more. His back
ground on the fringes of Teutonic
techno and the chosen moniker
for this project suggest uncompromising avant gardism, while
the album's title hints at uproar
and untamed energy
In fact, this is a collection of
polite, clean-cut tech-house   The
the sort of lithe, swinging techno
pioneered by the awesome
SuperCollider, only without
the pioneering. Whereas the
English duo tear up the dance
floor with all manner of off-kilter
glitches and mutating sound
morphs, Burger doesn't let anything disrupt the flow of his liq-
uid grooves.
There's nothing wrong with
that if it's well done, and Jorg's
programs are immaculately tasteful and groovy. The best stuff
here sounds like an urbane version of Richie Hawtin's most
bloody-minded kicks V loops.
The tracks are built on insistent
repetition of delicate synth figures atop light-footed four-to-the-
floor beats.
And yet they never build up
enough steam to suggest much
in they way of danceability,
which leaves the question of
where exactly this fits into the
pantheon of contemporary electronic dance music. Want tearing, infectious beats? Try
Aphrodite. Need cutting edge
digital innovations? Check out
The Third Eye Foundation
Bit of both? Basement Jaxx.
Got some trendy electronica
snobs coming round for a dinner
party? Hey, I've got just the
record for you!
Kidding aside, Explosion is
a very pleasant sound to have in
your room. It perhaps qualifies
for Brian Eno's original definition of ambient: background
music which isn't bland or one-
Sam Macklin
Smaller Chairs for the
early 1900s
A friend highly recommended
this band to me, so I figured
they would at least have some
good ol' screaming fits, noisy
feedbacking guitars, and/or
tongue-in-cheek lyrics about
sunken ships or train wrecks or
other such subjects which I
enjoy hearing songs about. But
alas, with Moneen, it was not
to be. I'm trying my very best
not to bash them, but it's so
damned hard! Okay, calm
down. Look at the positives
here: if you like that Texas is
the Reason kind of rock, or
any of the bands on those Emo
Diaries compilations on Deep
Elm Records, Moneen are probably just as good as any of
those bands. They do what they
£*§@^a assess  ®SriM^©§s©?a
Our annual directory, chock full of contact numbers and
addresses of bands and the businesses that support
them, will be in the September issue. The deadline for
entries is July 15,2000.
YOU ARE A (Check one):
(elaborate below)
DESCRIPTION (15 words or less):
URL: _
BEFORE Julyl5, 2000
233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 fax:(604)822-9364
do well—energetic, melodic,
guitar power-chord songs. But
honestly, the genre of music that
they play annoys the hell out of
me these days Moneen's repetitive, predictable-as-hell song
structures and lyrics about being
lonely, heartbroken, pimple-popping boys make me want to
wring their necks more and
more as each song goes by.
Still, I do remember a time when
I would have probably really
enjoyed this EP, and therefore I
suggest that you ignore the last
few sentences of this review and
give a listen to Moneen.
Chris C.
(Secretly Canadian)
Panoply Academy makes no
sense. I suspect a crack pipe
was involved in the making of
this album. There is nothing stable, nothing to hold onto in their
songs.      No     choruses,      no
melodies, no time signature, no
nothing. Bars are repeated a
couple of times, and then everything   changes   and   nothing
The strange thing is that the
music's not atonal or even discordant. It's the rhythm changes
that mess me up. And the
vocals: they're not singing, they
aren't talking, I don't know what
the hell.
Perhaps I should let them
explain themselves: "it's a distraction of the worst sort, that's
Christa Min
Songs of Patrick Phelan
Death to doubled vocals. I'll
never understand the appeal of
hearing the same voice multiplied. This practice should burn
in hell along with all the wah-
wah pedals. That said, South
member Patrick Phelan's solo
debut is otherwise quite nice.
The guitars are clean, the snare
is crisp, and the melodies are
easy listening—er, I mean easy
to listen to. Okay, I'll tell you the
truth. I don't particularly like this
album. But that doesn't mean
that you shouldn't listen to it.
I know a lot of you will just love
Phelan, especially the growing
hordes of Elliott Smith fans.
Phelan, at times, sounds like
Smith's brother, but he's at his
best when he doesn't sound like
him. "That's English For Steal,"
the album's best track, features
an enjoyable muted cornet solo,
and there's no sign of an Elliott
influence... well, except for the
Don't let me stop you. Take
a listen. You'll probably like it.
Christa Min
Anomie & Bonhomie
Even in the wake of Y2K, Scritti
Politti hold true to their eighties
roots. The only difference is that
what was cutting edge in 1985
now feels a little dated. For a
comeback album, however,
Anomie & Bonhomie sounds sur-
t. You get an
songs with brit-pop choruses,
straight up pop songs with hip-
hop interludes, Prince-y
basslines, white reggae a la
UB40, and guest appearances
by the likes of Me'shell
Ndegeocello and Mos Def,
all replete with this ever-present
and lingering George Michael
vibe, but in a good way.
Nothing groundbreaking, but
Anomie & Bonhomie is the first
brit-pop/hip-hop/disco hybrid
Limp Bizkit et al., pulls off the
trendy genre hopping rap thing
with a little bit of credibility
intact. Until Deee-Lite decides
to make their comeback, I'll be
content listening to this.
godfrey /'. leung
Moma's Boy
Four nice boys from Ontario
make an album and they even
say  thank  you  to   "all   moms
1   /WUu
ZDOO everywhere" in the liner notes.
Well, I can't say anything bad
about that. I can't really say anything bad about the guitar work
on this album either—beautifully
melodic, fitting in nicely with the
poetry of the lyrics. I imagine
that some may find track titles
like "the wind is the sound of the
crying" a bit too melodramatic,
but it works fine for me. My only
minor complaint would be the
aggressive vocals which just
don't seem to resonate with the
vulnerability and emotion of the
lyrics. Great stuff, and I'm happy
t that
)  the
esteemed position of its own
sleeve      in      my      "personal
favourites" Case Logic binder.
Samuel Kim
Goodbye 20th Century
(Smells Like)
The greatest thing about SY is
that you know that they're light
years ahead of you. Just when I
got used to the dreamy instrumental and feedback lull of their
last two CDs and the previous
three SYR releases, they come
out with this. Their latest masterpiece has them taking on avant-
garde composers with a little
help from their entourage,
among them Jim O'Rourke
and Wharton Tiers. Th<
able of the composers they
tackle are John Cage (not to
be mistaken with John Cale),
fluxist George Marciunas,
and Yoko Ono. Even while
looking to the past, SY seems to
be blazing a trail unlike any
band in the mainstream, past or
present, into the future This Eliotlike paradox is apparent even in
the title, a valediction, which carries with it connotations both of
looking back and moving forward. Between the past and the
future falls Sonic Youth.
godfrey j. leung
Get Out of my World
Good god, have I been waiting
a long time for this! Now the
time is here, and I have in my
greasy mitts the latest chapter in
the testimonial to stripped down,
bare bones, wham-bam-thank-
you-Houston garage rock 'n' roll.
My life was forever changed
s;ng th
t Garageshock '97,
and after witnessing the 6 ft. plus
singer lead the charge with the
very petite female drummer beating the living crap out of her kit,
I immediately shelled out some
dough for their last LP, 5 Weeks
Ahead of My Time. Their follow
up here displays the same dangerous charms with simple but
catchy-as-hell hooks, dueling guitar wizardry, and tough-as-nails
vocals telling tales of girls gone
bad ("My Girl, the Vampire"),
the world gone mad ("Get Out
of My World"), and having no
money and being sad ("Mr. Lotto
Man"). Like a pack of wild dogs,
this bunch packs a bite, so
beware of the Shack, Jack!
Bryce Dunn
(Drag City)
EAI EA2 is exciting. Reeds meet
wires. Loops create warmth. And
the secret is Johannes Enders.
His tenor sax seems to move the
electronic; it feels as if the
rhythms (although very stable in
actuality) are dynamic. The harmonies are rich, and Enders'
solos are emotive. TTT have created a cyborg—half human, half
machine, near perfect
Christa Min
Viva Wisconsin
(Beyond Music/BMG)
I was rather upset that I wasn't
able to snatch Kid Koala from
the review bin, and so, in my dismay, I picked up The Violent
Femmes. Yes, that makes perfect sense, I know. It still amazes
me that I picked this up because
I've become a little tired of all of
the greatest hits, b-sides and live
albums which have become so
popular as of late. What is even
more frustrating about these
albums is that you can tell that a
lot of them are just thrown out to
the market because nothing new
is going on in the studio. It's
funny, then, that this happens to
be a live album featuring all of
the Femmes' greatest hits along
with a couple of their lesser-
known tunes. Sigh. I fell into the
trap again, but I guess what
drew me in was the little excerpt
on the sleeve, "October 25-31,
1998 Violent Femmes did an
acoustic tour of their home state
of Wisconsin. Two guitars, two
drums, and three voices.
Femmes back to basics, no over-
dubbing,   no   electronics,   no
that, surely it deserves a listen at
Glad to say, the band was
in fine form, and I enjoyed it.
Despite the sparse instrumentation of the trio along with The
Horns of Dilemma helping out
every once in a while, the songs
don't come out weak and empty.
Gano, Ritchie, and Hoffman
deliver without disappointment,
and the brief moments of improvisation are particularly appreciated. All that frustration, angst,
energy, and fun that mark them
are clearly evident in this album.
This album is probably better
than the previous greatest hits
compilation Add It Up since the
song selection seems to be better representative of the band.
Okay, so it's not Kid Koala; but
j fin
probably good for anyone who's
been following them since the
'80s or who has wanted to finally give in and figure out why
people like these three boys from
Samuel Kim
what we listened to: big black, american music club, pussy galore, sex
gang children, vitapup, st. etienne, treepeople, dave douglas, rudimentary peni, Jefferson airplane, beechwood sparks, mouse on mars, v/a
gimme indie rock, v/a wwf aggression, current 93
Wednesday, March 8
Fireball Arts Centre
The lights go up on ten motionless individuals Bare-chested
and whitened up, they remain
rooted to the spot but begin to
move their arms and upper torsos. As the speed and inten
I  fee
. if r
ing a field of hyper
pussy willows. The shapeless
soundscape fades, to be
replaced by driving percussion
with gulping labia undertones,
and the dancers begin a movement sequence which culminates
in a muscular riff on temple
dance. As they repeat it over
and over, they align themselves
to face downstage, expressions
impassive but so full of intent. It's
like being charged by a herd of
Vishnus. They're on a journey,
and tonight's biggest surprise
will be that they often move very
In the past, Kokoro Dance
has defined itself—and by extension, Butoh—with slow tortured
movement. One of the many
payoffs to watching them perform has been the revelations
that spill through the cracks in
your own endurance.
In their latest work, directors
Barbara Bourget and Jay
Hirabyashi have expanded the
company's vocabulary to
embrace truly beautiful configurations of dancers as well as
classical ballet—which would
seem, in a sense, to be the direct
antithesis of the internally motivated Butoh. Even the humour is
closer to the surface. Dancers
execute pretty footwork and
fluffy lifts upstage while the rest
of the group thunders anxiously
across the foreground.
But with Kokoro, nothing is
ever superficial. The cast of X-
Roads is simply working that
slow-burn Kokoro magic in a
more recognizable human context. A territorial war is played
out in a duet of fabulous back
and forth shoulder rolls. An
exhausting pas de deux ends
with the couple tenderly snuggling down to sack out like two
spoons. From one section to the
next, the piece went though
more changes in dynamics than
the company has probably done
in the rest of its repertoire combined. Robert Rosen's compelling music and Gerald King's
lighting made every stage of
their journey a palpably different
They still gave us those classic Butoh moments: in a frightening solo, Hirabyashi seemed to
be downloading the entire contents of his psyche through his
body and face. And whenever
the dancers sank to the floor,
20 yy^y ZDOO
they became a mass of straining
flesh—a hypnotic collection of
thighs gleaming through sweat-
diluted body paint.
When it was over, the theatre was vibrating with what
they had just done. One wonders what it would have been
like to see this hooped.
Penelope Mulligan
Friday, March 24
Marine Club
People, you gotta love the
Vancouver Special compilation.
If you don't, you ought to move
far, far away, and just try and
find yourself a music scene as
good as ours. Not up for the
challenge? Okay, then it's time
you learn about what our fine
city has to offer musically.
We've got this hip band, made
up of the "popular kids of indie
rock," originally from the beautiful suburb of Richmond, called
Pipedream. They work to
incorporate all kinds of fantastic
sounds into an instrumental
forum. They're smart, and a little
bit arty. They sound good in
small places like the Marine
There's this other band, The
Secret Three, who are commonly (or is that supposed to be
secretly?) known as the hottest
band in Vancouver. This three-
post-rockin' it with a sonic twist,
and they sound better and better every time they play. Who
knows hotv far the goodness
will go? At this show, guitarist
Nic Bragg even went so far as
to sing on one song, and the
result was complete crowd meltdown No kidding. The Secret
Three are that hot.
Lastly, the spotlight falls on
Destroyer If there was ever a
band who could make
Vancouver be noticed by the
music community for the right
reasons, this is it. Dan Destroyer
has some of the finest musicians
in his little organization, and
together they make beautiful
music. You may need to break
your ears in to best enjoy this
sort of musicality, but it's worth
the effort. The set performed this
night was one of the finest I
Saturday, March 25
The Marine Club
This was one in a series of gigs
put on to promote Vancouver
Special, a local music compilation released to raise money for
an   AIDS   charity.   Tremolo
Falls' contribution to that disc is
nice but suggests they might be
one of those po-faced post-
Mogwai instrumental rock
bands who plod endlessly
through dreary Slint pastiches.
It turns out that TF do the surging, atmospheric thing really
well and even dare to imbue
their songs with old-fashioned
good" status. How else could
you explain the ham-fisted stumbling from chord to chord and
three-way harmonies in which
everyone is off key? One song
contained a "bum, bum, bum,
bum..." refrain sung entirely with
bum notes. Now that's irony.
Sorry guys, I'm sure you're lovely people.
Which is more than I can
say for Jerk with a Bomb,
who fairly radiated malevolence Great! Whereas TF were
good and The Radio bad, these
Jerks showed us the ugly mark of
real talent They gave an astonishingly forceful and confident
performance that put them on a
whole new level from the other
bands on the bill.  Moreover,
Saturday, March 25
I wasn't planning on going to
this show. Honestly, I'm more of
a Luke Meat fan than I am a
Flaming Lips fan. So I was
unprepared—no earplugs, no
The Commodore stage is
the size of a God-damned basketball court, but the Flaming
Lips loaded it with so much
equipment that The Beans
couldn't even fit their drum-kit on
it. Amongst the electronic warehouse there was a television, a
giant screen, and a mother of a
gong. I'll admit to being mesmerized by the lip-synching TV,
broken strings, smoking pedals—and that riff was implanted
in my head like a bomb. The
Beans are the best band in
Christa Min
Friday, March 31
I had never seen any of these
bands before and last time I
went to the Brickyard to see
bands unknown to me, I was so
bored I ended up making the
biggest ass of myself. But I won't
digress and, really, anyone that
knows me at all wouldn't be surprised anyway. However, this
things like energy and vocals.
Their set undulated between
quirky Pavement-esque songs
and slow-building instrumentals.
In both modes, aesthetic sense,
intelligent inventiveness and
improvisational verve were all
readily apparent. Still hardly
original stuff, but well above
average. Unfortunately, it seems
the Falls have split up and only
got back together to play this
one last gig.
Let's hope The Radio follow their lead. It seems mean-
spirited to slag a local act but
good will can only go so far. A
band operating around a notion
of tongue-in-cheek retro cool
taken entirely from Austin
Powers movies would try the
patience of the most tolerant critic. Their '60s-styled easy-pop ditties horribly conflate irony with
sarcasm. Not sophisticated
enough to suggest it's ironic that
a group of intelligent college
kids should choose to sound so
cheesy, they aim for "so bad it's
they presented a sound all their
own, making comparisons hard
to come by.
Perhaps The Bomb are a
Canadian Ween, with their
idiosyncratic two-piece line-up,
bad metal/good country
obsessions, sly nastiness, eclec-
tic/unfashionable influences...
But that doesn't capture their
widescreen country-punk sound,
which swings along on a freewheeling strum V twang chassis shot through with LOUD
rasping vocals and shards of dissonant keyboard. The Silo and
One Easy Skag do for country-
rock what The Pogues did for
Irish folk and The Bad Seeds
do for torch song— soak it in
punky bile and boozy dysfunc-
The boys can't be as angry
and inebriated as they appear,
though. After all, they were nice
enough to contribute to that charity compilation. Now, the least
you can do is buy it.
Sam Macklin
but I almost went blind from the
epileptic light show. At this
point, I'm already deaf so I
won't complain about how loud
it was. Coyne said that he was
losing his voice, but I couldn't
tell the difference. I was entertained, but I'm going to stop
here because really, I'm just filling up space until I can talk
about why I even went to this
The Beans. I've seen them
play plenty of times, but this time
it was different. The Beans-
Arena Rock style—but without
the six-torn, four-ride drum kit,
without the wanking Strat, and
without the bad vocals. The
drum kit was replaced by programmed loops, the Strat was
instead a beautiful Starcaster,
and the usually instrumental
group sang harmonized vocals.
Two accordions folded, expanded opposite each other, and the
bass moved in between.
The last song, "Mortar
Board," was like an explosion—
stayed at my own table all
Very first up was Sex In
Sweden. I had promised them
that if they dedicated every single song to me I would get them
the cover of DiSCORDER. (I
guess I still did manage to make
an ass of myself after all.) Luckily
for me, they missed a song—I
doubt our beloved editrix would
have gone for that on any level.
But they were good  and  for
them played their entire set
wearing a pair of skis. It was
pretty funny that he kept falling
into the drum kit. Now, to be
honest, I prefer when they
sound more like old, old
Descendents or Dag Nasty
and less when they sound like
the Day-Gio Abortions. I
guess that's just 'cause I prefer
poppy to butt-crack rock. But
they were very entertaining oth-
I    just   don't   understand want to see the man, let alone
listen to all of his bullshit. What
a waste of time this guy is He
can play a few simple rock riffs,
and he wears a big hat. Sounds
like solid gold to me! All of his
songs are about hoi chicks and
interracial relationships. Who
needs to listen to that crap all
night long? I had suffered
through his drivel once already,
at the boring old Sloan show,
and I am ashamed that I was
there for another one. Danka
should have stuck to the Arts
County Fair stage, and kept his
frat boy fans outta the Brickyard.
Oh well, the things we endure
for our McDevils fixes...
The Devils made a point not
to get too messed up before this
Spencer Moody. Last Brickyard
appearance, Moody was falling-
down drunk (and not in the usual
endearing way), and he forgot
more than a few lyrics. This time
around, Moody knew what he
Arthur Ellis 3000 I mean I
understand what their name
means but I just can't see the
appeal. And I know I shouldn't
talk shit about the dead (it was
the band's last show) but I just
can't help it. Since it was their
last show you don't actually
have to worry about whether
you're going to see them or not
but Jesus, I wish I didn't. I'm told
they're "Prague Rock" but I had
hoped that "style had died in
1987. Musically, everyone is
talented. They know how to play
their instruments and the like. But
really, I found the vocals to be
sooooooper annoying and the
singer made hand gestures
throughout every song. It was
distracting and irritating. I did
however appreciate that they
did an AC/DC cover. Always a
bonus. But they're not together
anymore anyway.
Before I went to the show all
my ska friends warned me that
Trenchant might suck, however they didn't really. There were
definitely pros and cons to
Trenchant. They have this second
wave ska sound a la Madness,
which I'm, not a huge fan of. I
prefer my ska to either sound like
Toots or Mephiskaphales.
Technically they weren't my
favorite. I was disappointed they
don't have a real horn section,
just a saxophone and sometimes
the singer played trombone.
Horn sections are my favorite
pari. Although I didn't love them,
they were the only band that
night that got the kids dancing.
That says a lot, they were obviously catchy enough to make the
gang happy. It was just my snobby perceptions of ska that made
me like them less. I think I'll go
tesla v,
Monday, April 3
LTJ Bukem didn't show; immigration debacle, studio pressure or
alien abduction? But Blame
came, and DRS, and Rantoul the
Geordie, with boxes of records
I've been waiting to hear all my
10 years ago, LTJ Bukem
(as in Danno) sold tapes of his
mixes for a fiver at Camden
Town Tube. He pulled together a
posse of hip hop geeks, Blame
among them, and formed Good
Looking Records. Ducking the
major labels, they sent the beautifully boxed Earth and
Progession Sessions disks
around the world.
On April 3rd, 00, Blame
spun a stunning set at Sonar as a
digital clock projected 11:11
above our heads. This is the
music Star Trek sought when they
strummed future hippie tunes in
one embarrassing episode.
Here, in the future, the sub bass
rumbles through us, slow as
smoke and wide as that warship
in Independence Day. Phasers
shoot, strings vibrate and Fender
Rhodeses ignite. Coke-crazed
cymbals and gamelan clash: the
The DJs spun in darkness too
dim to read the labels on their t-
shirfs and caps. DRS braced
against the wall and bent into
the mike, the voice inside.
This is music of the body. It is
felt. People dance in a trance.
Some skank on the reggae bass
line. Some melt with the melody,
sway in jungle heat, floating on
chimes and sweeps and eeps.
Some are animated by the mad
train beats; Koyanisquaatsi-fast
motion, like a martial art, they
fling swirls of energy out while
endorphins kick in.
Blame was a master, laying
grooves from fresh acetate, no
disks with a label, scratching in
bleeps, raising the pulse up and
then down. I blissed out dancing. In the words of Faithless,
"This is my church. This is where
I heal my hurts for tonight, God
is a DJ."
Adam Henderson
Thursday, March 30
Starfish Room
There's been a movement to
suppress straight white male
poets... and while that is fine
and dandy and I understand the
theory behind it, don't let "them"
come anywhere near Luna—
Dean Wareham to be exact.
Listening to him made me want
to get in an 1 8-wheeler truck
and experience the joy of the
open road; the poetry of being
male and American and sensitive and free. Talk about instantaneous crush... maybe that's
why I liked the show so much.
The place was mostly filled with
angsty yet sensitive late-20-some-
thing guys who were all speaking, as if through osmosis, in the
same honey-filled voice as Dean.
I was in crush heaven.
It wasn't just the crushes. The
band played an awesome set,
too, despite the fact that bassist
Justin Harwood was missing,
replaced by a (thankfully) equally-talented gal whose name I didn't pick up. Perhaps I was too
busy being melted by Dean's liquid vocal poetry., he could have
been singing about cat pee and
I would have loved it.
Julie C and I enjoyed the
concert so much we skipped to
the merchandise booth to grab a
copy of their new CD—The Days
of Our Nights—but, alas, some
chick beat us out and got the last
one. Damn her and her bad hair
too...but it was okay, because
we had a great time, and
watched an awesome band do
what bands do best—entertain
and leave you with a little bit of
poetry to curl up with when you
get home.
Anthony Monday
Friday, April 7
The Brickyard
I have seen The Murder City
Devils an awful lot of times. I
go because they put on amazingly good live shows. Last time
they were here, they stunk. I had
faith that this time would be better, and that faith paid off. While
others stayed at home, whining
about shows passed, I saw what
had to be one of the Devils' best
Vancouver performances. Score
Those folks who stayed
home, however, did not have to
spend an hour listening to
stupid Danko Jones as he
strutted his nothing-stuff. Score
one for them. The tie-breaker?
The Catheters. Young musicians in tight pants always make
my day, even when they look
straight off the football field.
These jocks could rock, and they
made the night that little bit more
interesting. The Catheters don't
really do anything amazing onstage. They have this creepy-
looking guitarist of the stick-
skinny Mick Jagger variety
who seems to do it for the young
ladies, but the others are all just
kinda... there. They can play
their instruments, so I shouldn't
complain. I think I just wanted a
little more dance with my song, if
you know what I mean. The
vocals were hard to decipher,
but the singer was energetic,
which helped make the whole
experience that little bit more fulfilling.
I sat as far away from
speakers as possible during
Danko Jones' set.  I didn't
s his girlfriend ft
Funny stuff, watching drunk girls
grab rock star ass in the front
room... The band played new
material from their soon-to-be-
released Sub Pop album, and
the songs sounded okay. I was
waiting for the hits, and I got
them good 'n' plentiful. No one
can diss the Devils when they're
on, and the fire's flying, and the
beer is all around. I erased
Danko Jones from memory and
had a very rewarding evening.
Julie C.
Friday, April 14
The Brickyard
Am I ever kicking myself for miss
ing July Fourth Toilet! Not
that I'm a total perv or nothing,
but the idea of seeing Robert
Dayton traipsing around onstage
in too-short shorts intrigues me. I
saw how the crowd was reacting an hour after the offence, but
it would have been nice to see
how they coped during the
ordeal itself. I've heard that
every Toilet show is equally
bizarre, in its own special way,
and so I will be more prompt in
my arrival at the band's next gig.
Even though I missed his
band, I knew I would still see
plenty of Robert Dayton at the
show—this was his night. Robert
Dayton is king of the Vancouver
freaks, and Bobby Conn
wears the Chicago crown. The
two were destined to be good
rivals, constantly one-upping
each other...), and their bands
fit together like hand in sticky
hand. Destroyer was sandwiched between the two oddities, and played a short and
somewhat unsatisfying set.
Vancouver's current favourite
sons played well, but not as well
as usual. Destroyer either had an
off night, or I wasn't paying
close enough attention. It was
probably the latter.
I managed to work my way
through the normally reclusive
scenester crowd to catch the
magic of Bobby Conn up close
and personal. Conn is a wee little man, and he creeped me out
from the get-go. Done up in
some sort of ski overalls and a
page-boy haircut, he looked
straight off the screen in A
Clockwork Orange. His two
companions, a violinist and a
record-playing knob-twiddler,
were equally as oddly decked
out, and they all had stage presences that matched their looks.
Conn played songs off of his lat- est EP (the one that really got me
going), and a whole bunch of
songs I was less familiar with
The energy was very high, and
the crowd seemed ready for the
magic that Conn brought to
town. I, unfortunately, was a little
low on energy, and left before
the night's end. Seems I missed
out on the second bit of male
nudity when Robert Dayton
pulled Bobby's pants down on
stage. Silly boys and their bonding rituals... I walked away from
the show content and unscarred.
Wednesday, April 19
Sugar Refinery
An  outing  on  a  Wednesday
night can fall either way. On this
one, five lousy bucks would have
got you a seat in a cozy joint to
see three great bands.
Vancouver quattro The
Birthday Machine opened
things softly, playing their fairly
low-key brand of indie-rock that
sits somewhere in the space
between eerieness and pop—
some songs touch on that mood
you slip into when traveling by
train and manage to stretch you
in that same way. Moving
and thinking. But, the band's
strongest point is their ability to
complete these songs with some
interesting vocals. Composed of
three gals and a guy, the band
takes advantage of the opportu-
of the arrangements featuring a
Versus-like blend of male and
female vocals. Sadly, where
these were clearly audible at last
month's show, the house speakers delivered a noticeably muddier sound this time around.
Santa Cruz's Lowdown
were thankfully able to make it
to the Great White North on
their short race up and down the
West Coast. They filled the num
ber t\
with a
/ibe Si
"Dr. Who: The Pinball Game."
Their genealogy/inventory: toxic
fumes from wood-paneling in
basement of Degrassi synth-rock-
ers The Zits (nee The Zit
Remedy) cause them to spawn
evil cyborg twins, one of whom
is now programmed to strike
drums but, being a cyborg, only
in linear, spastic motion trajectory—a nice percussive augmentation to the awful lack that was
The Zits. Three Doppelgangers,
six different noise-making units
worn as unwanted appendages
which squeal when disturbed by
physical contact. Post-Goblins,
Pre-Boredoms, sketches of
Ween but not Winkle. Seven-
inch at present (procured), full-
length in a month. Confused
maximalism, stripped minimalism. Scope is narrow, impact is
massive. Some fled, others
stood. Goddamn, fantastic.
Local sedatives The Beans
headlined with a lengthy set of
swelling, repetitive arrangements
that were, as always, downright
hypnotic—sources confirm the
death toll (number asleep) registered five at the codo of this long
ZL yyvu^ ZUUU
lullaby. You can hit and miss
with a band that relies on varying degrees of improvisation during their set but, from my seat,
this was a fine night for musical
chemistry. Notes from the resident piano and the solitary chorus from their rendition of Neil
Young's "Like a Hurricane" lingered during the ride home.
Slept well.
Steve DiPo
Sunday, April 23
Java Joint
First of all, exactly 12 people
attended this show. GREAT job
on the publicity for this one! And
we wonder why there aren't very
many decent all-ages shows in
this town? Duh. At any rate, this
might well have been the best little show that I've seen in many,
many moons. Ottawa's South
Pacific started off the evening
right with their excellent brand of
slow, shoegazing rock. Their guitar sound was absolutely incredible, digitally processed by
the ten different effects
and volume pedals on stage.
Swelling, floating minor chords
and tasteful dissonance filled the
cold air of the room and made
the five or so of us who were
watching awfully sleepy, but in a
good way. Very, very nice. They
deserve your ears.
A tall, lanky unkempt vision
of the man took the stage next,
as the crowd grew to a mighty
count of 12. Eric Bachmann, also
known as Crooked Fingers,
made everyone in attendance
learn each others' names, and
then played songs from his near-
perfect self-titled release. Man oh
man, despite the poor showing,
he delivered the goods.
Hamilton's Tristan Psionic did
a commendable job of backing
him up, at times giving him the
rock to make a forceful sound not
unlike those two Halloween
Archers shows at the Starfish.
But even on his own, Eric is a
dynamo. Quickly plucking his
guitar strings as if it were a
banjo with a thumbpick and his
fingers, he shut his eyes, smiled,
and sang. Half the time in sad,
soulful falsetto, the other time his
familiar, raspy-voiced self,
Crooked Fingers blew me away.
The final band of the
evening was good old Canadian
indie rock vets Tristan Psionic.
Missing what I recall as a very
cute girl bass player, this version
of the band was as tight as hell
(particularly the drummer, who
made me extremely dizzy), and
they really impressed me. They
played songs that ranged from
Blonde Redhead-styled post
punk to, like, party rock jams.
They were a fun band to watch,
and didn't take themselves at all
seriously, which is something I
love to see from an indie rock
band. In summary, this was a
great evening of music which I
am  happy to have attended.
Chris C. CiTR
The monthly charts are compiled based on the number of times a CD/LP ("long
vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist
was played by our djs during the previous month (ie, "May" charts reflect airplay
over April). Weekly charts can be received via e-mail. Send mail to "majorda-
mo@unixg.ubc.ca" with the command: "subscribe citr-charts"#
may long vinyl
2 Itj bukem
3 kid koala
4 spitfires
5 do make say think
9 swollen members
10 destroyer
11 piggy
12 giant sand
13yo la tengo
14 loud
15 third eye foundation
16 noam chomsky
18arling and cameron
20 krust
21 gluecifer
23 tied + tickled trio
24 josh rouse
25 delta 72
26 cat power
Vancouver special
journey inwards
carpal tunnel syndrome
in too deep again
goodbye enemy...
furnace room lullaby
niun niggung
thief cave canem/triple crown
don't stop the calypso cinnamon toast
chore of enchantment thrill jockey
and then nothing... matador
taikoelectric independent
lost little souls merge
free market fantasies alt. tentacles
maha maya six degrees
music for imaginary... emperor norton
and the ass saw... mute
coded language talkin' loud
get the horn ep sub pop
machine is not broken
eal ea2
1 all girl summer fun band
2 v/a
3 unwound/versus
4 the spitfires
6 the real kids
7geoff farina
8 the moves
9 hot hot heat
10 tremolo falls
11 smash up derby
12 the mooney Suzuki
13 the odd numbers
14 the vendettas
1 5 policecate
16 loudmouths/valentine
17 microphones
18 radio berlin
19 loose lips
20 the riff randells
may short vinyl
may indie home jobs
patty duke covers
slick black cat
enter ralph wiggum
down to you
steely dan
blow all the hell!
thrift shoppin'
give us this day
heart of industry
magic marker
top quality r'n'r
stones' throw
mr.  lady
1 riff re
3 the birthday machini
4 the nasty on
5 swank o'hara
6 not for the crowd
7 thee goblins
8 the radio
10 the symphonic enser
1 1 kid kordene
12 coupon
sweet sixteen
3vember, most of October
the torch
lester bangs
3 one has a clue but
, hedro
14 full sketch
15 hugh phukovsky
16 reverberators
1 7 sparrow orange
18 cathode ray
19david lester
20 belle bete
golden tokens
crystal blue
boxing day blues
in their sleep
jesus loves me
el perro loco
the  orange  peeler
i light changed before i could blink
28 ai
31 crooked fingers
32 dixie's death pool
35 beachwood sparks
the need is
beauty sleep
when the work
my pal god
drag city
touch + go
sonic unyon
top ten things anthony monday
enjoys about Sundays
2 the drive
4 god
6 sex
7 scrubbing my bathtub
8 jenny
9 lactose intolerance
10 the fact that I've never seen a porno
third time's the charm
(tuesdays, 9:30-11:30 am)
1   new bomb turks
nightmare scenario
2 drags
set right fit to blow up
3 the mooney suzuki
your love is a gentle whip
4  dwarves
come clean
5   v/a
teenage   shutdown   series
6 rocket from the crypt
all systems go 2
7   dragons
live  at the  casbah
8 sugar shack
get out of my world
9 loudmouths/valentine kil
ers                                          7"
10 the powerpuff girls!
ladosi. 2)a SUaa.
Z2 E On The Dial
James and Peter, offer a
savoury blend of the familiar
and exotic in a blend of aural
delights! Tune in and enjoy
each weekly brown plate spe-
of breakbeat, worldbeat and
other eclectic sounds
PIRATE   RADIO  alt.   7:30-
9:00PM     Formerly    "Love
t al c
9:00AM-12:00PM   All of
This show presents the most
recent new music from around
the world. Ears open.
12:00-3:00PM Reggae
inna  all  styles and  fashion.
3:00-5:00PM Reakowshil-
caught-in-yer-boots    country.
alt. 5:00-6:00PM British
pop music from all decades.
SAINT TROPEZ alt. 5:00-
6:00PM International pop
(Japanese, French, Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your
QUEER   FM     6:00 8:00PM
Dedicated to the gay, lesbian,
munities of Vancouver and listened to by everyone. Lots of
human interest features, background on current issues and
HELLO INDIA   8:00-9:00PM
Geetanjali features a wide
range of music from India,
including classical music, both
Hindustani and Carnatic, popular music from Indian movies,
Ghazals, Bhajans and also
Quawwalis, etc
THE    SHOW 10:00PM-
12:30AM Strictly Hip-Hop —
Strictly Underground — Strictly
Vinyl With your hosts
Checkmate, Flip Out & J Swing
on the 1 & 2's.
12:30-2:00AM Hip hop
and R&B with DJ Klutch, techno
and house with DJ Decter Lotsa
great tracks—come smell what
we're cookin'l Stay up late and
VIBE  2:00-6:30AM
8:00AM Spanish rock, ska,
techno and alternative music-
porque no todo en esta vida es
BROWNS 8:00-11:00AM
Your   favourite   brown-sters,
lounge and ambience.
POP    SCENE    alt.    11:00-
GIRLFOOD      alt.      11:00-
SOUPE    DU    JOUR    1:00-
3:00PM      Feeling   a   little
French-impaired? Francophone
music from around the globe,
sans Celine Dion.
EVIL    VS.    GOOD    4:00-
5:00PM   Who will triumph?
Hordcore/punk from beyond
the grave.
6:00PM   Join    the    sports
department for their eye on the
FILIBUSTER      alt.       6:00-
AUDIO VISUAL alt.  6:00
7:30PM     Critical     theory,
debate and dialogue on art
and culture, set to a soundtrack
12:00AM Vancouver's
longest running prime time
jazz program. Hosted by the
ever-suave Gavin Walker.
Features at 1 1
May 1: Alternate takes from a
great Lee Morgan session with
Clifford Jordan, Wynton Kelly
and Art Blakey.
May 8: Big Train: Wynton
Marsalis and the Lincoln
Center Jazz Orchestra.
May   15:   Straight Ahe<
tenor       saxopho
May 22: Little Movements by
bassist/composer Eberhard
May 29: Grant's First Stand:
guitarist Grant Green's first
Blue Note album.
12:00-3:00AM Hosted by
Trevor. It's punk rock, baby!
>ad by
Gone from the charts but not
from our hearts—thank fucking
SHOW 6:00-8:OOAM
WORLD HEAT 8:00-9:30AM
9:30-11:30AM Torrid trash
rock, sleazy surf and pulsatin'
punk provide the perfect scissor kick to your head every
Tuesday morn with Bryce. Kill-
Vancouver's only industrial-
electronic-retro-goth program.
Music to schtomp to, hosted by
2:00PM   Poetry, piano and
3:30PM Music for families
and little people.
4:30PM Featuring That
Feminist Collective from CiTR.
10,000 VOICES 5:00-
5:00PM Poetry, spoken
word, preformances, etc.
8:00PM Hardcore and punk
rock since 1989.
8:00-9:00PM Greek radio
LA BOMB A 9:00-10:00PM
Spanish music and talk.
alt. 10:00PM-12:00AM
Noise, ambient, electronic,
hip hop, free jazz, etc.
DEN alt. 10:00PM-
12:00AM      loveden@hot-
3:00AM Ambient, ethnic,
funk, pop, dance, punk, elec
tronic, and ui
3:00-6:00AM 100% West
Coast rap. Huge giveaways,
with your host like no other
Shawn Powers.
7:00-9:00AM A perfect
blend of the sublime and
absurd, with your refined and
exotic hosts Jack Velvet and
HAR   10:30PM- 12:00AM
Let DJs Jindwa and Bindwa
Bhungra! "Chakkh de phutay."
HOUR      12:00-3:00AM
Mix    of    most    depressing,
10:00AM Japanese music
12:00PM Spike spins
Canadian tunes accompanied
by spotlights on local artists.
12:00-1:00PM DJ Hancunt
urges women to get down with
their cunts while listening to
women in jazz, funk, rap,
soul, world beat, disco and
THE SHAKE   1:00-2:00PM
3:00PM 'Zines are dead!
Long live the 'zine show! Sam
and Bleek present the underground press with articles from
'zines from around the world.
5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat."
7:30PM Info on health and
the environment, consumption
and sustainability in the urban
context, plus the latest techno,
trance, acid and progressive
house. Hosted by M-Path.
7:30-9:00PM sleater-kinney,
low, sushi ... these are a few
of our fave-oh-writ things.
9:00PM Independent and
innovative music and noise
from an ex-host of Little Twin
BY THE WAY alt. 7:30-
9:00PM Let's give aternative
media a chance-VIVA VINYL!
7"s new and old, local cassettes and demos.
FOLK OASIS 9:00- 10:30PM
The rootsy-worldbeat-blue-
conjunto show that dares call
itself folk. And singer-songwrit-
s and v
REEL MUSIC 8:30-10:00AM
Soundtracks   and   classical.-
11:30AM-1:00PM From
Tofino to Gander, Baffin Island
to Portage La Prairie. The all-
Canadian soundtrack for your
midday snack!
STEVE & MIKE 1:00-
2:00PM Crashing the boys'
club in the pit. Hard and fast,
heavy and slow. Listen to it,
baby (hardcore).
2:00-3:00PM Comix comix
comix oh yeah and some
music with Robin.
6:00PM  Movie reviews and
7:30PM No Birkenstocks,
nothing politically correct. We
don't get paid so you're damn
right we have fun with it.
Hosted by Chris B.
HAIR 7:30-9:00PM Roots
of rock 'n' roll.
RADIO     HELL 9:00-
11:00PM Local muzak from
9. Live bandz from   10-11.
11:00PM- 1:00 AM
6:00AM Loops, layers and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers, sine.ranch,
8:00AM With DJ Goulash.
10:00AM Trawling the trash
heap of over 50 years worth
of real rock 'n' roll debris.
10:00AM- 12:00PM Email
requests to djska_l@hotmail.com.
12:00-2:00PM DJ Splice
and A.V. Shack bring you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-
lain trip, focusing on anything
with breakbeats.
Essays, poetry, social commentary, and conscious music
from a Black radical perspective. If you can't take the heat
listen to Z95
3:30-5:00PM Nardo into-
views the stars. Have a good
NOOZE & ARTS 5:00-
6:00-9:00PM David Love
Jones brings you the best new
and old jazz, soul, Latin,
samba, bossa & African music
from around the world.
2:00AM     Hosted  by  DJ
Noah: techn
trance, acid, I
DJs, interview
giveaways, i
but also  .<
•ibal, etc. Guest
, retrospectives,
SHITMIX alt 12:00-3:00AM
The Shitmix council convenes
weekly. Chairman: Jamaal.
Correspondents: DJ Marr, the
delicious yet nutritious Erin,
DC. Cohen, the Rev. Dr. K
Edward Johnson and Wine-
Jug Hutton.
SHOW 3:00-6:00AM
8:00AM-12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket give-
aways.8-9AM: African/World
roots. 9AM-12PM: Celtic
music and performances.
SAREGAMA 12:00-1:00PM
3:00PM Vancouver's only
true metal show; local demo
tapes, imports and other rarities. Gerald Rattlehead and
Metal Ron do the damage.
5:00PM From backwoods
delta low-down slide to urban
harp honks, blues and blues
roots with your hosts Anna,
Jim and Paul.
6:00-8:00PM Extraordinary
political research guaranteed
to make you think. Originally
broadcast on KFJC (Los
Angeles, CA).
SOUL TREE alt. 10:00-
1:00AM From doo-wop to
hip hop, from the electric to
the eclectic, host Michael
Ingram goes beyond the call
of gospel and takes soul music
to the nth degree.
PIPEDREAMS alt. 10:00-
TABLETURNZ alt. 1:00-
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
3shup/dist       '
mpant v
." Out. ■
8:30AM Hardcore dancehall
reggae that will make your
mitochondria quake. Hosted
by Sister B.
vL&uv Qvceh v^ufJic connection
e\>e\~yj Lucsbssy evening: o-9 P>+n>
£ wnvmn pot/awn
Kssve Lpirn ro voJkpv 6-9 fr-h-
•** 101.9 fM
Thursday May 18* 2000
panel discussion
live performances at 10:00
CiTR   101.9FM Datebook
FRI   APRIL   28   Los   Habanaros@Purple   Onion;   May   Day
Cabaret@Britannia Community Centre (7pm)
SAT 29 Deep Dish@Commodore; SuperchauchOPurple Onion;
May Day Celebration of Solidarity (feat.Shango Ashe, Solidarity
Singers Choir)@Maritime Labour Centre (6:30pm)
SUN   30 4Play@Purple Onion
MON MAY 1 The Corporation@Purple Onion; Carnival Against
Capitalism May Day 2000@Victory Square (10am sharp!)
TUE 2 Women in Trades Cabaret: Hammering It Oul@Blinding
WED 3 spygirl@Jazz Cellar; Slipknot@Commodore; New Electric
Riot, Clover Honey, The Cinch@Brickyard; Norma Roe@Blinding
THU 4 Czerwone Giatary@Richards; Violent
Femmes@Commodore; Stone Escher, The 9:45, Furios@Brickyard;
Pro\e[c)t /©Blinding Light!!
FRI 5 Carolyn Mark, Rich Hope@Railway; CiTR PRESENTS
SHAGGY@Commodore;  The Ad and the fgo@Blinding Light;
Supersift@Java Joint;  Slam City Jam@Pacific Coliseum;  Alita
Dupray@Jazz Cellar; New Wave-Aoke, Another Joe@Brickyard
SAT 6 The Makers, Come Ons, Riff Randells@Brickyard; The Ad
and the Ego@Blinding Light; Slam City Jam@Pacific Coliseum;
Bughouse Five,  Rocket Fins@Pic  Pub;  Bunco &  Single Mart
Quartet@Jazz Cellar
SUN 7 The Ad and the Ego@Blinding Light; Slam City Jam@Pacific
MON 8 Hush Grrls Hush@Vancouver East Cultural Centre; Sue
Garner, Rick Brown@Brickyard
TUE 9 Rollins Band@Commodore; WTO Resistence@Blinding
WED 10 Parlour Steps, Max Serpentini (WAVAW benefitj@Jazz
Cellar, Selassie I Power, Smaqu-2, The lnstrumen@Brickyard; Voices
From the Front Lines@Blinding Light!!
THU       11       The     Darkest     of      the      Hillside      Thickets;
Furnaceface@Brickyard;    Victorian    Pork,    The    Probes,    The
Excessives, Chi, Sidesixfyseven (New Music West)@Columbia;
Emperor Tomato <etc/iup@Blinding Light!!
FRI 12 Punk V Queer featuring Tribe 8, Che: Chapter 127,
Revulva@Cultch;    Plumtree,    Salteens@Java   Joint;    Christine
FellowsOKordova  (New Music West);  Limblifter,  Veal,  DSK,
Amsterdam Cafe  302 W. Cordova St. (Gastown)
Anza Club 3 W. 8th Ave.   (Mount Pleasant)
Arts Hotline
Astoria Hotel 769 E. Hastings St.
Bassix 217 W. Hastings St. (at Cambie)
Backstage Lounge   1585 Johnston  (Granville Island)
Black Dog Video 3451 Cambie St.
Black Sheep Books 2742 W. 4th Ave.   (at MacDonald)
Blinding Light 36 Powell St.
Boomtown #102-1252 Burrard (at Davie)
The Brickyard  315 Carroll St.
Cafe Deux Soleils 2096 Commercial  (the Drive)
Cambie  515 Seymour
Caprice Theatre 965 Granville (Granville Mall)
Celebrities   1022 Davie St. (at Burrard)
Cellar Jazz Cafe 361 1 W. Broadway (downstairs)
Chameleon Urban Lounge  801 W. Georgia (Downtown)
Chan Centre 6265 Crescent Rd. (UBC)
CiTR Radio 101.9fM 233-6138 SUB Blvd. (UBC)
Club Vesuvius 1 1 76 Granville St. (downtown)
CN Imax Theatre 999 Canada Place
Columbia Hotel  303 Columbia  (at Cordova)
Commodore Lanes  838 Granville St.   (Granville Mall)
CNB Skate and Snow  371 2 Robson St.
Cordova Cafe  307 Cordova St. (Gastown)
Croatian Cultural Centre 3250 Commercial Dr. (at 17th)
Crosstown Music 51 8 W. Pender St.
Denman Place Cinema   1030 Denman St.   (West End)
Dr. Sun Yat-Sen Garden Main Hall 578 Carroll St.
DV8  515 Davie St.   (downtown)
Fifth Avenue Cinemas 21 10 Burrard  (at 5th)
Firehall Arts Centre 80 E. Cordova  (at Main)
F.W.U.H.   Beatty 552 Beatty St. (downtown)
<* ^^ 2000
683 7200
876 7128
684 2787
254 3636
689 7734
687 1354
873 6958
732 5087
878 3366
893 8696
685 3978
254 1195
684 7757
683 6099
689 3180
738 1959
669 0806
688 8701
682 4629
683 3757
681 1531
682 5345
683 5637
879 0154
683 8774
683 2201
662 3207
682 4388
734 7469
689 0926
687 7464
Dragons, Spitfires, Probes@Brickyard
SUN 28 Good Clean Fun, Reserve 34, Life Preserver, Def Poets
SocietyOJava Joint
MON 29 Supergrass@Commodore; Motorhead, Nashville Pussy,
Fu Manchu, Speedealer@Showbox (Seattle); Punk-O-Rama (feat.
Dropkick Murphys, Bouncing Souls, Dwarves, Distillers)@Croatian
Cultural Centre
TUES 30 Paying the Price, Strong Jamaicans@Blinding Light!!
WED 31      Motorhead@Commodore;     Dockers     Writing     the
Wrongs@Blinding Light!!
Templar, Default (New Music West)@Commodore; Strong Like
Tractor,  Koark,  Following Horus,  Slot 9, Gracie (New Music
West)@Columbia; Bob Murphy Trio@Jazz Cellar; Flashing Lights,
Rosenbergs, Mountain Con, Dirtmitts, Morning Maker@Brickyard;
5/eep@Blinding Light!!
SAT 13 The The@Commodore; Endearing Showcase (feat. B'ehl,
Plumtree, Salteens, Vancouver Nights, Porter Hall)@Marine Club;
All   State   Champion,   September,   Holden,   Ivan   Dury,   Dave
Dondaro@Java Joint; G.R.A.V.E.L., Freak, Tractor, Left, Warjunk
(New Music West)@Columbia; Bunco & Single Malt Quartet@Jazz
Cellar;    Gruesomes,    Riff   Randells,    Siobhan    Duvall,    Hissy
Fit@Brickyard; Sleep@6//nd/ng Light!!
SUN 14 Queens of the Stone Age, Eleven@Starfish; B'ehl, Porter
Hall@Java Joint; Father Roy@Blinding Light!!
MON 15
TUE  16 Kittie@Starfish; Vancouver Nights@Railway; 3 Doors
WED     17    Melvins,    Get    Hustle@Commodore;    Christine
Fellows@Railway; Rapture, Hot Hot Heat, Nasty On@Brickyard; El
VezOStarfish  Room;  My Son  the  Tattoo Artist,   Target Shoots
F/'rs/@Blinding Light!!
THU     18    Deltoros,    Old    Ripper,    Bad    Apple@Brickyard;
BY08@Blinding Light!!
FRI 19 The B/vd.@Blinding Light!!
SAT 20     Str8    Outta    Jullundhar    presents    "Nach    Baby
Nach"@Commodore; Joe Satriani@Vogue; The B/vd.@Blinding
SUN 21 Narcoleptic Videographer@o\\nd\ng Light!!
MON 22 DJ Food, Kid Koala@Commodore
TUE 23 SUPER SUPER 8 2000@Blinding Light!!
WED   24   Boss  Hog,   Holly Golightly,   The  Need@Showbox
(Seattle);     Bottom,     Surrounded    by    Idiots,     Dollar    Store
Jesus@Brickyard; New (Cine) Works l+ll@Blinding Light!!
THU 25 SFU Pipe Band@ Commodore; Jack Tripper@Anza Club;
Lowbrow 2000 Art Opening (feat. Sinforosa, Coal)@Brickyard
FRI 26 Plumtree, Salleens@Railway; Tight Bros, from Way Back
When, Tennessee Twin, Come-ons@Java Joint; Jack Tripper@Anza
Club; Smalls@Commodore; Alita Dupray@Jazz Cellar
SAT 27 April Wine@Commodore; Burden, Champion, Just Short
of Living, Face Tomorrow, Frontline@Java Joint; Woggles@Pic Pub;
Frederic Wood Theatre  (UBC)
Garage Pub 2889 E. Hastings St.   (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 4124 Main St.   (Mt. Pleasant)
Hollywood Theatre  31 23 W. Broadway  (Kitsilano)
Hot Jazz Society 2120 Main St.   (Mt. Pleasant)
Hush Records 221 Abbott St.
Jericho Arts Centre   1600 Discovery (Pt. Grey)
Jupiter Cafe & Billiards   1216 Bute (near Denman St)
La Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott St.  (Gastown)
Luv-A-Fair   1 275 Seymour St.   (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion 7191 Granville St. (Richmond)
Moon Base Gallery  231 Carroll St. (Gastown)
Naam Restaurant 2724 W. 4th Ave. (Kitsilano)
Neptoon Records 5750 Fraser St.
Orpheum Theatre  Smithe & Seymour  (downtown)
Pacific Cinematheque   1131 Howe  (downtown)
Palladium   1250 Richards (downtown)
Paradise  27 Church   (New Westminster)
Paradise Cinema  919 Granville  (Granville Mall)
Park Theatre  3440 Cambie  (South Vancouver)
Piccadilly Pub 630 W. Pender (at Seymour)
Pitt Gallery  3 1 7 W. Hastings  (downtown)
Plaza Theatre 881 Granville (Granville Mall)
Puff/Beatstreet 4326 Main (at 27th Ave.)
Puff #14-712 Robson (at Granville)
Purple Onion   15 Water St. (Gastown)
Queen Elizabeth Theatre Hamilton & Georgia
Raffels Lounge   1221 Granville  (downtown)
The Rage  750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir St.   (at Seymour)
822 2678
822 9364
872 5665
322 6057
738 3211
873 4131
662 7017
224 8007
606 6665
251 6626
685 7777
685 3288
608 0913
738 7151
324 1229
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
685 5585
681 1625
Richard's on Richards   1036 Richards St.  (downtown) 687 6794
Ride On 2255 W. Broadway; 2-712 Robson St. (upstairs) 738-7734
Ridge Cinema  3131 Arbutus St.  (at 16th) 738 6311
Scrape Records 17 W. Broadway (near Main) 877 1676
Scratch Records 726 Richards St. 687 0499
Seylynn Hall 605 Mountain Hwy. (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby) 291 6864
Singles Going Steady 3296 Main St.  (at 17th) 876 9233
Sonar 66 Water St.  (Gastown) 683 6695
Starfish Room   1055 Homer St.   (downtown) 682 4171
Starlight Cinema 935 Denman St.  (West End) 689 0096
Station Street Arts Centre 930 Station   (off Main) 688 3312
Sugar Refinery   1115 Granville St.   (downtown) 683 2004
Theatre E  254 E. Hastings  (Chinatown) 681 8915
Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473
Tribeca 536 Seymour 688 8385
Tru Valu Vintage Robson (downstairs) 685 5403
Vancouver E. Cultural Centre  1895Venables (at Victoria) 254 9578
Vancouver Little Theatre 3102 Main  (Mt. Pleasant) 876 4165
Vancouver Press Club 2215 Granville  (S.Granville) 738 7015
Varsity Theatre 4375 W. 10th  (Point Grey) 222 2235
Vert/Futuristic Flavours 1020 Granville  (downtown) 872 2999
Video In Studios   1965 Main  (Mt. Pleasant) 872 8337
Vinyl Rekkids 76 W. Cordova (Gastown) 689 3326
Vogue Theatre 918 Granville  (Granville Mall) 331 7909
Waterfront Theatre   1405 Anderson  (Granville Is.) 685 6217
Western Front 303 E. 8th Ave (near Main) 876 9343
Wett Bar 1320 Richards  (downtown) 230 6278
Whip Gallery 209 E. 6th Ave (at Main) 874 4687
W.I.S.E. Hall   1882Adanac  (the Drive) 254 5858
Women In Print 3566 W. 4th  (Kitsilano) 732 41 28
Yale Blues Pub   1300 Granville  (downtown) 6819253
Zulu Records 1869 W. 4th  (Kitsilano) 738 3232 BRING IN THIS COUPON TO THE VIRGIN MEGASTORE $
■    location and may not be exchanged for cash or used in conjunction with
any other coupon. One coupon per item. Coupon Expires May 31/00.
(Cashier - Please take $1.00 off the sale price)
This coupon may be redeemed only at the Vancouver Virgin
ation and may not be exchanged for cash or used in conju
any other coupon. One coupon per item. Coupon Expires May 31/00.
This coupon may be redeemed only at the Vancouver Virgin Megastore
location and may not be exchanged for cash or used in conjunction with
any other coupon. One coupon per item. Coupon Expires May 31/00.
(Cashier - Please take $1.00 off the sale price)
1 m"HJ^S&^^SsS^S Zulu Sound Foctoru-^fei
Some finely assembled listens
New Years 2000, the scene is set: the legendary lord of
lasciviousness, the baron of 'balls-out' lewdness, a
true man of action — ANDRE WILLIAMS descends upon
downtowns Penthouse cabaret for an evening rock action.
Fermenting from the scummy sediment ot that tight
evening, WILLIAMS, the Black Godfather, checks into a
A Ithough it seems like the
aromise ot aesthetic postmodernism is quickly drying
up into highly segmented formalism, sometimes a good
recording studio and begins the process of interpreting his attempt is made to "prove the promise" just the same. In
live bustin' blues magic. Calls are placed, guests include the case ot this MATMOS and RACHEL'S collaboration, the
Lux Interior, Poison Ivy, John Sinclair, and Steve result is smart eclecticism that doesn't just revel in shal-
Mackay This is what the Blues Explosion would sound        low hybridisation or stylistic pastiche. Individually recog-
like if they stick it out for another 30 years! Come and get      nised tor the calibre of their work, this joint project takes
CD 16.98     LP 14.98
The Northwest's premiere 6
piece future funk collective
arrive in style with this 9 track
sophomore release loaded with
smooth (lowing sounds that pit their live acid jazz forms
with a nice hybrid of DJ beats and remixology. This, their
tirst release lor the local Mo' Funk record label, should
please any Junk purists, as well as those clubber's looking
tor the new dish to shake their rump! Stop by, pop on
some headphones and sink into the GREEN ROOM.
CD 16.98
off in several directions at once. However, rather than just
"remixing" or "covering", an attempt is made instead to
develop an engaging synthesis that doesn't necessarily
depend on accumulated brand recognition, so to speak.
Give it a try.
CD/LP 14.98
kreleases from the good people
in SLEATER KINNEY, Janet, Corin,
Vintage clothes-closet revolutionary swagger with black
dyed straight-legged sixties style. Keep it neat cause old
noise is new again. The overall tone is rocked-out fuzz, uptempo and cool, but the underlying message would make
Guy Oebord blush (perhaps with both pride and embarrassment). Nowadays folks don't bother to look under the pavement for possible praxis, but instead dig further back into
their record collections. Is this good enough? Is it possible
to have irony and passion? How about politics and whimsy?
Who cares? It's time to party for your right to fight. Here it
comes. AVAILABLE MAY 9th
CD 16.98
Brent. Richie and Tom ai
Personally overseen by Red
House Painters songwriter Mark Kozelek, this varied t
ute record collects the recordings of Will Oldham, Low,
Tarnation, Rachel Haden (That Dog), amongst others With a
stark spacey melancholic feel, Kozelek's own contributions —
including collaborations with members ot Mojave 3/Slowdive
— cap this tender 'let's stay in bed and listen to music' kinda
record. Slipping in and out sleep, these tranquil songs offer
many rewarding listens, as they seep into one's consciousness through the filtered haze of this bed-in existence.
CD 16.98
Cheekily titled, this great Thrill Jockey release should send
TRANS AM fans into joyful conniptions as the word 'reissue' is no more the amen of just long-time Kinks and
Yardbirds fanatics. Featuring a hodge podge of tracks from
•close friends. HOEVOS RANCHEROS is their full-til
passion, but in their spare time they all enjoy very ordinary |ong out 0f prjnt 7- an(j 12" vinyl releases, most folks could
hobbies and interests. Staying sharp, the HOEVOS like to on|y ge, tnjs stutf via mal| order or 0( course atter a lengthy
relax and 'hang-out' with friends, but always concentrate on tre|< t0 one 0| tnejr iegerKjary 'non-Vancouver' stage perfor-
music. They keep their musical instruments in tip-top mances. Comprehensive sonic surgery, this oddball track
and Carrie return to work under the banner of what some    shaPe'and make sure ,nat the Farao tourin9 van ,s in mmt gathering sutures the gaps between their enigmatic full
have called 'the last important indie band' on the planet       runnin9 order Together they've driven it all over North |ength reteases!
Sounds pretty heavy...well it's not. SLEATER KINNEY shrug    America' most recent|y 'supporting' Reverend Horton Heat, pn -IC QO
oft expectations and return to the rock with a jubilant, Wnen ,heV Per,orm'l,s called a '9'fl' and the audience reac- w »»**»"
playful and rewarding vision. A confident record with tion creates enou9n heat ener9V ,0 run a smal1 generator
upbeat summertime pop written all over it.... We cheer on!   easi|V caPable <" powering all the lights in Las Vegas for
CD 16.98   LP 14.98 Z'lTao
UD 14.98
PROMOTIONAL COPY CD/LP mfM AMn npv rn °has been involved in one °'
spasmodic pop incarnation of none other than The     mWi HWU Unl UU mo0em muslc's more intw*"'*
Kids, Reggi & The FuB Effect already have one   T"e ma9'c m swun8 around ,he room' buoyed by res,less 9f°uPs and unofficial leaders of the American Op-Wave
I hands of those assembled to see a then unknown Mr. scene Originally released on double-12", Tetetwm is the fol-
RAV C0N00 on his way. "Good Singers go to Nashville low-up to last year's Sender/Receiver, and showcases I AM
0 busy that they may in fact'have to'clone    W~ Nan Walter.a singer's nothing without a band, and SPOONBENOER s filmic sounds, beats and textures. Teletwin
themselves. I don't think any pop bands have actually ,0f this ^t0 be 9reat rm 90in9t0 march efn int0 ever* also {eatures a rewori<in9 of BerH"'s new wave P°P class,c-
off-main street tavern in North America. I'm going to make a here named "Where Do Words Go!" AVAILABLE MAY 9ttt
list and start at the top, make my way down and then catch r»n 1 £ QQ
t Qeco'...Spanish for dry. The
Ofirst time I said the word
was when I ordered a Gin Martini
at the Covertino Hotel. The next
time was when I found myself disoriented and tost in the
sands of the desert. Everyone's favourite desert rockers
return to up the ante on their already stunning work on
the last Giant Sand record. Pulling some new influences
from their bag of tricks, Joey Burns and John Covertino
The spasm
Get Up Ki
secretive release under their belt. And we figure that by the
time folks hear this sophomore effort, the double-duty
introspection, and Scott Wafker-esque mysticism into
their already burgeoning tapestry of mariachi infused
folk-jazz! Recommended. AVAILABLE MAY 9th
CD/LP 16.98
cloned themselves yet...have they? Most certainly not!!
Reggi & The Full Effect — today's pristine romantic emo
pop (rather than emo-rock!), the perfect sounds for indie-
rockers into Ouija board parties. Pop the question....
CD/LP 16.98
my shadow coming back up again. Ain't no stage gonna
stranger to the RAY CONDO BAND! — now a legend,
returns with his raucous, swooping, fiery blend of rockabilly,
swing, western swing and jazz, played with fire and joy!!!
Music for the Midnight Shift
Does he have his o\
CD 16.98
Clearly the 'future sound of jazz' has many interpretations...
horns, moogs, electro-acoustics and more.
BECK- MIDNIGHT VULTURES LP This record sounds even
better on wax.
MACHA CDEP Somnambulistic waltzes and space rock bal-
lads-.-A 2ulu favorite returns.
limited edition 7" compilation...a true treasure chest.
Prince Paul gathers up Del with help from members of Company Row,
Souls of Mischief and other Hieroglyphics friends.
THE SPINANES- IMP YEARS CDEP A rosetta stone release...super early
out-of-print material!
heroics from this loveable DJ.
AMON TOBIN- SLOWLY 10" Another appetiser....rtew album
"Supermodified" mid-month.
respond to the sublime beauty of that last Beachwood Sparks record?
BUST MAGAZINE- We don't do shout-outs for mags...why not?
WILD PLANET- VARIOUS ARTISTS CD cEvin key's assembled collection
of subconscious communications
CDEP/12"/T Pick your format...different tracks on them all.
i glass at the Railway?
Have some fun and decipher this recap of recent faves...
Answers to the right!!
1. Seattle cowgirl with a penchant for George Jones & Patsy Cline.
2. Two words: first- James Dean classic,
second- something you find at the beach.
3. Fill in the blanks. Sonic Youth is to Free
Kitten, as Bikini Kill is to .
4. What Spanish speaking outfielders say
when they've got the pop fly.
5. "We're definitely not a Kiss tribute band".
6. Four verbs = Toronto's best post-rock.
7. Feline Hegemony!
8. Slang for Lotus land bungalows.
9. So humble that elephants are afraid of it.
10. Crack your flint to this washed-up fuel


Citation Scheme:


Citations by CSL (citeproc-js)

Usage Statistics



Customize your widget with the following options, then copy and paste the code below into the HTML of your page to embed this item in your website.
                            <div id="ubcOpenCollectionsWidgetDisplay">
                            <script id="ubcOpenCollectionsWidget"
                            async >
IIIF logo Our image viewer uses the IIIF 2.0 standard. To load this item in other compatible viewers, use this url:


Related Items