Discorder CITR-FM (Radio station : Vancouver, B.C.) 1984-12-01

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3771 W. I0TH AVE 1874 W. GEORGIA      420 E. &R0A&WAY
22*3556 689-5071 874S6II December 7984
DISCORDER a guide to CITR 1m 102 cable 100
December 1984
Vol. 2 No. 11
And SNFU 19
Shindig  .9
GUIDE 25-28
EDITOR: Chris Dafoe
& CIRCULATION: Harry Hertscheg
ACCOUNTS: Linda Scholten
Cover: Robert Van Acker
CONTRIBUTORS: CD, Dean Pelkey, Mike Johal, Julia Steele, Pat Carrol, Jennifer Stockand, Susan Catherine,
Ammo Fuzztone, Mark Mushet, Dave Ball, Michael Shea, Patrick Mokrane, Larry Theissen, Bev Demchuk,
Mike Dennis, Filbrant
LAYOUT: Val Goodfellow, Robert Van Acker, Dave Ball, Pat Carrol, Trish Blanche, Rob McDonald, Harry Hertscheg
PHOTOGRAPHY: Dave Jacklin, Robert Van Acker, Eric Whittaker, Jim Main
DISCORDER a guide to CITR fr
at otrica'5 mm cmuKits
1 jotf wonted to s*e if tWoi tated kite what I
tWgM it dta."	
*WUw yesterday I oot salad oWwno on my sleeve!
fed I s&id, wow Ive o4 so.Ua dres&inj  oti  my
*5on'i toAK to  me rieKT  now,   CooKia.   Tm  tryine to
rtmomW how   many times I went to -Hie bathro©*n
c/o CITR Radio
6138 S.U.B. Blvd.
Vancouver, B.C.
Phone (604) 228-3017
DISCORDER—A guide to CITR—is published monthly by the Student Radio
Society of the University of British Columbia.
CITR fm 101.9 cable 100.1 broadcasts its 49-watt signal in stereo throughout
the Vancouver area from Gage Towers on the UBC campus. For best reception,
attach an antenna device to your receiver. CITR is also available via cable in
Vancouver, West Vancouver, North Vancouver, Burnaby, Richmond, Coquitlam,
Port Coquitlam, Port Moody, Maple Ridge and Mission.
DISCORDER circulates 12,000 free copies at selected locations throughout UBC
and Vancouver—and beyond. If you're interested in either advertising in
DISCORDER or having some copies dropped off, call (604) 228-3017. Twelve
month subscriptions are available at the following rates: $9 in Canada, $12 outside Canada. Send cheque or money order payable to 'DISCORDER'. Unsolicited
manuscripts, photographs, cartoons and graphics are also welcome, but they
can be returned only if accompanied by a self-addressed return envelope carrying sufficient Canadian postage. We do not assume responsibility for unsolicited
DISCORDER and CITR offices are located in room 233 of UBC's Student Union
Building. For general CITR business enquiries or CITR Mobile Sound bookings, call (604) 228-3017. The music request line is 228-2487 or 228-CITR.
A&A Records & Tapes
Arts Club on Seymour
Black Market
Bronx Clothing
Cafe Zen
Camouflage Clothing
Check-It-Out Clothing
Collector's R.P.M. Records
Concert Box Offices
Duthie Books
The Edge
F°451 Books
The Gandydancer
Kelly's Electronic World
MacLeod's Books
Montgomery Cafe
Odyssey Imports
Railway Club
Studio Cinema
Vancouver Ticket Centre
The Web Clothing
Whittaker's On Seymour
Afterimage Photo Service
Basin Street
Cabbages & Kinx Clothing
Deluxe Junk Clothing
Firehall Theatre
Golden Era Clothing
Minus Zero Leather Works
M.S.R. Records
Phunk 'n Hair
Pow-Wow Clothing
Re-Runs Recycled Apparel
The Savoy Nightclub
Sissy Boy Clothing
Smilin' Buddha Cabaret
Video Inn
The Waterfront Corrall
Zeet Records & Tapes
A & B Sound - Car Stereo
Bikes On Broadway
Changes Consignment Clothing
Collector's R.P.M. Records
Highlife Records & Music
Kelly's Electronic World (Oakridge)
Neptoon Collectors' Records
New York Theatre
Octupus Books East
Vancouver East Cinema
Vancouver East Cultural Centre
Western Front Lodge
A Piece of Cake
Cafe Madeleine
Dunbar Theatre
Duthie Books
Frank's Records & Books
University Pharmacy
Varsity Theatre
Video Stop
The Video Store
West Point Cycles
Bill Lewis Music
Black Swan Records
Broadway Records & Tapes
Bullfrog Studios
The Comicshop
Deluxe Junk Clothing
The Eatery
Hollywood Theatre
Lifestream Natural Foods
Long & McQuade
Mushroom Studios
Neptoon Collectors' Records
Octopus Books
Ridge Theatre
Scorpio Records
X-Settera Select Used Clothes
Yesterdays Collectables
Zulu Records
The Bay Theatre
Bayshore Bicycles
Breeze Record Rentals
Camfari Restaurant
Denman Grocery
Downtown Disc Distributors
English Bay Book Co.
Little Sister's Book & Art Emporium
Manhattan Books & Magazines
Melissa's Records & Tapes
A&A Records & Tapes
(Park Royal)
Kelly's Electronic World
(Park Royal)
Sam the Record Man
Deep Cove Bike Shop
A&A Records & Tapes
Cubbyhole Books
Paul's Music Sales & Rentals
Sam the Record Man psiss^as^ss^^:
307 WXordova/Gastown DISCORDER a guide to CITR fm 102 cable 100
Dear Airhead,
The misogyny that is so evident in
DISCORDER only serves to turn
people away from CITR—people
who otherwise might be interested in
alternative music.
Almost all of the albums mentioned in DISCORDER are from all-male
bands. Most of the writing is by men
and about men. Females are rarely
mentioned, and if they are it's usually a put-down to build up the ego of
the writer.
And why do the CITR airplay lists
include such a low percentage of
bands with one or more female
members? The inequality of the
CITR lists (albums and singles) is as
extreme as those of the most sexist
mainstream radio stations.
So why should a person who
believes in equality be interested in
listening to CITR when you obviously
offer so much of the same discrimination that we get everywhere else?
Adele Hawley
Okay, let's deal with these observations and conjectures one by
one. First off, CITR and DISCORDER are not misogynist media. We
do not promote nor do we intend
to promote hatred or distrust of
women. We like women. We like
men too.
c/o CITR Radio
6138 S.U.B. Blvd.
Vancouver, B.C.
V6T 2A5
Further, we try to choose programming based on merit, not on
gender—and we do play lots of
music by female artists. But let's
face it, there are more male recording artists than female, simply
because too many otherwise talented female musicians allow
themselves to be dragged down
and discouraged by the false and
outmoded notion that popular
music is a "man's game." It
doesn't have to be but women
must continue to take the initiative, because the most that men
can do is offer encouragement.
Finally, if you are sick and tired of
men writing about men, we invite
you to do some writing for DISCORDER. Please, if you are
serious about this, you will act.
We're waiting.
Dear Airhead,
I have been wanting to write in
ever since all the reaction to Greg
Rum's letter to you a few issues
back. I thought the time was right
now that I see a review of the new
Portion Control album Step Forward
in the latest issue of DISCORDER.
I am a dedicated listener and for me
"industrial music" does not present
any problems. I agree with Greg that
your station and a lot of people in
general are failing to take notice of
an innovative, exciting new type of
music. How an album like Severed
Heads Since the Accident could immediately be filed in your library without ever being played I'll never know.
Around the time of the Greg Rum
controversy I remember reading a
review of Nocturnal Emissions
Drowning in a Sea of Bliss by Steve
Robertson. This appeared to me to
be a vain attempt to show your willingness to give this type of music a
chance. However, had you listened
to Nocturnal Emissions latest release Viral Shedding and reviewed it
I'm sure your review would've been
About the Portion Control review
there were a few points made I agree
with but also a few things I don't.
First, Step Forward is not a waste of
time or money. Although the album
may not be as good as some of their
other material they still remain one
of the most exciting bands in
England. The new album is not boring, homogenized, disappointing, or
limp. It is a hundred times more
valuable than the new Bowie album.
I was glad to read that Stimulate
Sensual is one of the reviewer's
favorite albums but he might be interested in listening to the album /
Staggered Mentally or Hit the Pulse
as these are, I believe, Portion Control at their best.
R. Burmingham
Regardless of whether or not we
agree on Portion Control, it's nice
to hear from you. Industrial music
is on the rise! I heartily agree with
everything else you said except
Severed Heads (who no longer get
the airplay they deserve because
some kind soul ripped off CITR's
copy). Oh well, good taste in
music, bad taste in role models.
Step Forward is growing on me,
but I remain highly suspicious of
the direction they are taking; and
comparing Portion Control to
Bowie is a bit unfair to both, don't
you think?
I continue to hear from numerous
people that Viral Shedding is a far
more worthwhile effort than Drowning in a Sea of Bliss. While I still
maintain that the latter is poor
value for the layman dollar, I willingly look forward to hearing Viral
In response to the query regarding
the propriety of personal mail rearing its intimate head in this column,
specifically correspondence addressed to one Chris Dafoe in the last
month's issue, I'd just like to say...
well, Chris doesn't know if he's ready
to get married. Further personal mail
should be addressed to:
Dear Chris
6138 SUB Blvd.
UBC, V6T 2A5
Hey, we're all friends aren't we?
Dear Airhead,
Your rag smells worse than the
garbage that's been sitting in our kitchen for the last month and a half.
The only thing DISCORDER is good
for is killing flies and starting fires.
putrid example of a Hollywood-style
gossip column. Congratulations
Ammo, for dropping more names in
one sentence than (I am sure) has
ever before been accomplished.
Please hurry December's issue as
I have already burned the November
issue along with Guy Fawkes, and
the flies are getting way out of control here at the Plaza.
Scary Failure
You asked for it, well here it is...
The all-new, highly inflammable,
insect repellant DISCORDER with
lemon scent. And get this...you
can even eat it, with few resulting
side effects. DISCORDER is no
longer simply a magazine, it's an
essential survival tool. Don't ever
go into the woods without one.
Oh, by the way, how's this? There
was Dancer and Prancer and Cancer and Vixen, Comet and Cupid
and Donner and Blitzen. Quite a
few, eh?
0LS3kBL?O& December 1984
DISCORDER a guide to CITR 1m 102 cable 100
-¥••¥•* *-¥■•¥■■¥-*-¥-¥- * **¥ •¥■
Picture this if you will. You are sitting at home watching a repeat
of a rerun when suddenly your television begins to whine and an airraid siren starts to howl. As fast as you can, you enter the nearest
fallout shelter, only to discover it is occupied by a bunch of clean cut
youths dancing around to the latest top forty hit. Looking at your watch,
you decide you have enough time to race back to your place and grab
some records of your own. But you only have time to pick out ten
records. The only ten records that you will have to play for at least
15 years. Which records will they be???????????
duced by John Leckie. Song titles tell the
story of this album: "That Fatal Day," "In
a Crowded Room," "Another Man's Sin,"
"Heaven," "Total Corruption," and the list
goes on.
Red - King Crimson. Just a personal
favourite. The album influenced my
musical taste when I heard it in 1979. I
went into music heavily. I like every song
and named my cat after "Providence"
which in turn was named after a hilarious
movie starring Dirk Bogarde who will play
Robert Fripp in my upcoming film.
Secondhand Daylight - Magazine.
Another album of major influence. When
I first heard "Back to Nature" in my
friends' van outside at Langara's parking
lot, I was transplanted into the 1980s from
1967. The album is a gradual build into
801 Live - Phil Manzanera. All-star cast.
Great Eno influence and the record was
a steal at $1.98. A great rendition of "Third
Uncle" and "East of Asteroid" will be
great to listen to when I'm ready to do the
DA. I took with me to the bunker.
The End - Nico. First, honourable mention to "Chelsea Girls": this was the
hardest choice to make. More dark music
to feel shitty. Another all-star lineup with
every song being great. "Secret Side" still
is so sad to listen to on a rainy day that
it makes you feel good.
Egon Bondy's Happy Hearts Club
Banned - Plastic People...Prague. A
Sirs & Madams
Soes, I read the DISCORDER and was
intrigued by the Bunker Beat sheet. Then
I heard the advert on your station which
I could not capture over the cable for a few
days. Since I have always wanted to restrict my musical preference, this seems to
be a good time to do so.
My choices are:
The Madcap Laughs and Barrett - Syd
Barrett. I figured that I'd cheat right off the
brat. Now I know this is a Harvest re-
release of two of his earlier albums, but
I'm only gonna count it as one. I love the
crazed innocence of the man in question.
Songs like "Octopus," "Baby Lemonade,"
and "Gigolo Aunt" could all be children's
rhymes. Alternately, "Long Gone," "Dominoes," and "Rats" study deeper, darker
thoughts. Also a good version of James
Joyce's '*Golden Hair" and stunning
inner-liner pictures which make you just
wonder how bad off Syd really was/is. Is
Czechoslovakian band originally called
The Plastic People of the Universe. Formed in 1968, they have lived a semi-legal
existence and led the underground movement in Czechoslovakia, drawing influence from Frank, the Captain, and The
Mothers as well as the Fugs and the
Velvet Underground. This is their first
album (1973).
Duane Trovato
Music For Films - Brian Eno. I like this
Big Science - Laurie Anderson. She's
a lady.
The Smiths - The Smiths. They're homosexuals and that's quite amusing.
Before and After Science - Brian Eno.
This one because it's good.
Closer - Joy Division. Sad but true.
Lamb Lies Down - Genesis. Two big
records and a story! Oh boy!!
Taking Tiger Mountain - Brian Eno. It
has good music on it.
After The Rain - Terge Rypdol. It sounded better than other records.
Faith - The Cure. This record started well
and finished too.
You Gotta Say Yes To Another Excess
- Yello. Amorphic to the point of a subtle
resilience both affirming and denying the
reverberating cry of Voltaire's "Voila." It
says 'Je Suis,' 'Become' and would have
made Kierkegaard weep in despair.
Mike Guest
the rumour true that sick Syd now lives
in a flat in England with the drummer of
the Boomtown Rats?
Sabotage - John Cale. The title could be
used as the bunker's national anthem.
Then, when the fallout has subsided, we
could use "Mercenaries" to get riled up
to conquer those from other shelters who
may oppose us. Only then could we claim
superiority and begin to force people to
do what we want them to. The concert
here is still fresh in my mind.
Produkt - DePress. This is a band which
probably nobody knows about. However,
DePress is aptly named because of their
rivaling and surpassing of Joy Division in
terms of doom and gloom-depression-
pop. They come from Norway with a lead
singer who escaped Poland. His name is
Andre Nebb and he sings in English,
Polish and Norwegian. This is their second album which is more Anglo-oriented
than their first, probably because it is pro-
SKI PANTS from Spain
Khaki Colour
Knit Bottoms      $12.00
Straight Bottoms $14.90
Navy Blue
Black, Blue,
Red, Green
334 W. PENDER • 669-8843 DISCORDER a guide to CITR 1m 102 cable 100
of the
Just when the hallowed Scene
was about to cough up its rattles,
Hallowe'en ups & donates fresh
blood to the old flesh. At John
Barley's 2 Yanks in studded leather
were haranguing this local Chick
when she tells 'em to Fuck Off and
one of 'em smacks her face,
cussin' at her, "Canuck bitch!"
Mad Dog reports the hush that fell
over the the kinky room. The disco
mirrorball shudders to a stop and
15 guys proceed to loom from all
directions unto ye epicenter of ye
meteorological disturbance with
witchy-lookin' eyeballs and impeccable visages of gore like some
Living Dead rerun. In short, M.D.
sez "they got the living shit kicked out of them and all the bartender could do was yell "DON'T
meanwhile the ubiquitous ENIGMAS laid down the rock 'n' roll
rules up at the monsters-only Railway Club; truly exportable musical
produce, they are hot to trot and
fully pro. I hadn't heard them in
many moons and Paul MacKen-
zie's sax playing has broken thru
the Rock Barrier in the meantime.
This "neighbourhood pub" was
splittin' its seams with famous
monsters; best costume prizes
went to a headless ghoul, a water
heater, a cave woman, two androids and the Grim Reaper. The
tiny dance floor was almost
dangerous 'cause The Enigmas
sure can play fast! After two kick-
ass sets the sweaty patrons
demanded "more, more, more!"
And we got "Have Love, Will
Travel" and a truly insane wank-off
featuring irrepressive guitarist Mike
in "Psychotic Reaction." The
L-O-O-ONG version. After that,
who could ask for more, more
MORE!?....hey, I missed the REAL
don't even know if I was in it! But
Babs Chulah was, mashing her
cake with a fork which sent my pals
into convulsions when they told me
about it....also missed the flag-
burning at the U.S. Consulate the
day after the election, but I've sent
my photo and resume to the National Crime Intelligence Section
(250 W. 7th Ave.) already, so the
country can be protected from me
in case I do something bad....VICTOR COLEMAN not at all natty in
a beige fisherman knit sweater,
reading his poems aloud at Octopus East Nov. 1. Whatever happened to the wierdo who used to piss
everyone off at Western Front,
blowing on a leopard-skin kazoo-
sax? Is NO-ONE taking drugs anymore....Catching Flak Dept.: Ace
grantwriter CORRY WYNGAAR-
TEN OF Video Inn poked my chest
at the Tupperware Party Nov. 6 at
the PIG, complaining about my
slagoff in last month's THNCK. She
insists no censorship was involved
in pulling Stokely Seip's promo
video off Cable 10, just the "S&M
approach" was thought to appeal
to the wrong type of viewer and
they didn't want to sell memberships to such people. "Don't get
me wrong," demurs Corry, "I got
more out of pig-fucking (as in porno videos) than anyone I know." I
can't understand doubletalk, unless I start to doublethnck, and that
burns up braincells like crazy, so
I try to avoid it....by the way, Nora's
blast. Lots of guys there, acting like
jerks. How much beer does it hold?
Favourite question. I far prefer
comfortable lies like BARB
DANIELS telling us "I bake a pie
for my family every day!" and
ORAF taking pictures blind of "the
premier art event of 1984." As if someone's been keeping track! How
cynical....not like BOLERO LAVA,
whose music and lyrics entwine in
a positive vibration: "All I want is
Merry Christmas]
to live" (INEVITABLE) when I hear
them at the Savoy. B.L. has come
a long way since winning the CITR
Battle of the Bands and despite
their derivative influences (Steve
Miller?) they have some well-
wrought tunes worth listening to
and yes, buying; despite an unreadable cover their new single is
into its second pressing at MO DA
MU, sparking interest at three major labels so far....by the way, their
guitarist PHAEDRA was the
mystery guest wearing the leather
bondage jacket in last month's
THNCK. Congratulations to all the
winners of the new release—the
contest is now closed....I'm only
sorry they didn't record "Western
Rage" which is I thnck the best
song they've written...after the gig
showed up at Mad Dog's Golden
Era store for a beer and explained
his song New York Johnny to me
...look elsewhere in this issue for
stories on THE WAREHOUSE
SHOW, but just because I'm not
mentioning it doesn't mean I.didn't
have a wonderful time seeing KISS
OR KILL opening night by Josie
Kane et al, or BRAIN DRAIN by
Lola MacLaughlin of EDAM. At
press time I am anxiously awaiting
the weekend's orgy of new music
at Western Front MUSICITY and
more performance at the WAREHOUSE SHOW. But the biggest
blast of the month will be the
BLOWOUT at Grandview Legion
Nov. 30th, capping off a splendid
month of ART CITY, something
Vancouverites can be proud to call
their own. Congratulations to the
ad hoc committee and all the burnt
out volunteers....R.I.P. to Mink;
with friends like yours, who needs
enemies?....Cec English has just
bought into Bill Barker's PROFILE
SOUND studios. He's the man
responsible for the excellent clarity of Moral Lepers' TURN TO
STONE and many other fine local
productions, including live sound
at CITY SPACE'S historic soirees
....BOPSTERS drummer Britt
Hagerty had his jaw broken by
Langley cops lately—they were
dragging him in for bad taste, wearing red nail polish with green
eyeshadow and plastic jewellery!
After reading his novel SAD PARADISE I suspected he was a closet
romantic...people there's no room
to slag in this issue: my wife; Bill
Vander Zalm; Mark Grady; Hedy
Hopper, Walt Dizzy; Gerry Barad;
and Lupus Yonderboy. On second
thought, here's a last minute slag
of Lupus, who Mike Johal interviewed recently on CITR regarding
his part in KISS OR KILL. You're
right old boy, it "can't necessarily
be criticized as entertainment." I
look forward to your next interview,
on "National Socialism and the
Miracle of Cancer"....all gone now
....say bye-bye....no, not da-da....
—Ammo Fuzztone I December 1984
DISCORDER a guide to CITR 1m 102 cable 100
Another month of packed
houses, empty glasses (oops,
sorry), and fine local music as
Shindig celebrated its third month
at the Savoy with no less than
twelve bands.
My Three Sons, Out of Proportion and Eighth Day started the
month off in the Round Two Semi-
Finals. Eighth Day seem to suffer
from some image problems and a
general lack of energy on stage.
Their set wasn't too bad, in a jangly
sort of way. But the competition
came down to Out of Proportion
and My Three Sons. MTS took a
page out of the Doll's book with a
set of inspired white boy rawk. A
strong, nagging vocal performance
boosted Out of Proportion's set, but
in the end it was My Three Sons
who advanced to the Shindig
Finals Dec. 10.
Immoral Minority opened
Round Three with a less-than-
memorable hard-core set. They
were followed by Second Language, who really failed to generate any excitement with their set of
bar rock. Someone remarked that
they were "really tight," but then,
tight's not enough these days.
The Observer sees the regular
competition draw to a close as
CITR's Battle of the Bands
heads into the finals.
"Neither band was a match for
Rhythm Mission, who are back
from the grave with a new lineup.
RM's highly polished energetic set
sent them off to the Semi-Finals
Dec. 3.
Monday the 19th saw Jump
open with a set of music that was
derivative to the point of annoyance. (Shades of the Beatles and
Fleetwood Mac made Jump sound
like the house band on Name That
Tune. (Just kidding, but was that a
cover of "Boogie Nights" by the
Bee Gee's or am I just hearing
things?) Various Artists (you've
probably seen their records
around) won the night with a strong
set of fast pop, rounded out with a
couple of slower blues numbers.
Figures of Speech played a good
set, but just didn't come across on
stage. The live show needs some
work, but Figures of Speech show
a lot of promise.
The last regular Shindig of Nov
ember was, to say the least, filled
with surprises. Soldiers of Sport
broke up several days before the
show, and had to be replaced by
the Reptiles. Then, as if that
wasn't enough, Ministry of Ambiguity's bass player showed up
pissed. So, they packed up their
stuff and went home. That left only
the . Jet-sonz (formerly Univus)
who failed to come across live with
the punch they displayed on their
"Lonely" demo. Too bad, but maybe next time. The Reptiles won the
last place in the Semi-Finals Dec.
3rd—not too shabby for a band
who didn't know they were playing
until 6 p.m. the night of the show.
This leaves us with but two Shindigs left in this competition. They
—Third Round Semi-Finals
featuring The Reptiles, Various Artists and Rhythm Mission, competing for a spot in the Finals.
—And, of course, the Finals,
December 10 at the Savoy, featuring the winners of the last two
Semi-Finals, My Three Sons and
Red Herring. COLLSCTOKS T&M.
DEC. 27
wuse af caffiHiANs
the: bill afwbhts
DEC. 28
THE ENffctoflS
DEC. 29
ke^ fftWOTift-
$6.50 $7.50
3 DAY PASS: $18.00
DISCORDER a guide to CITR 1m 102 cable 100
Talk, Talk, Talk to Dean Pelkey
It's a typical wet, grey, Vancouver
afternoon and I'm already a half
hour late for my appointment with
the Beverly Sisters. It's not a
good way to begin an interview.
Especially when you're going to be
dealing with six guys who call
themselves "sister." On their
home turf.
After talking my way past an old
man at the door and climbing several flights of stairs I find myself in
a dim room face to face with Don
Jones and Niko, Va of the Beverly
Sisters. Missing were Vince Clark,
Jackie Duncan, Ewan MacNeil,
and Dennis Newton. Surprisingly Don and Niko aren't upset with
my tardiness having spent the past
half hour coloring with pencil
crayons. No, they don't have a
fondness for the pastimes of childhood, but rather it's an attempt at
trying to add a bit more color to a
series of posters promoting the
Be/s just released EP, The Beverly
Sisters. Just one more step in being in an independent band, it
Niko for one, agrees. "I think
everyone should go through it. If
you don't you lose track of what's
going on. It's good to know what
it takes to get things going. I hope
we don't always have to do this,
putting up posters and stuff..."
"I really want a manager at this
point," Don pipes in. "Someone
with lots of time and interest."
"And money," Niko laughs.
It's a familiar story for people
who have followed the grass roots
rock scene, especially here in Vancouver. Local band forms, plays a
lot of gigs, develops a following,
raises some money, records an independent single or EP and
then...? This is where the Bevs find
themselves now. Formed about two
years ago (legend has it that the
name comes from an obscure
British wartime singing group) they
gigged around town and were one
of the finalists in CITR's 1983 Hot
Air Show (the precursor'to Shindig II). Having developed a core of
fans and been up and down on
Vancouver's scale of trendy bands,
they went into Mushroom Studios
and recorded a four-song EP
which they've released on their
more Bevs page 12 DECEMBER CALENDAR
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Dada Dog label. Its initial press run of 1000 s
at present all but sold out and the band is hoping to get a second pressing done. But that question mark is starting to loom up. Where do they
go from here?
In the case of the Beverly Sisters the answer
seems to be to keep on going the way they have
been. Despite some members having outside
careers, the band is a viable concern. But as
Niko says, "having fun is definitely important but
I don't think it's very practical to try and be
fulltime in this city. We definitely want to get out
of town more and pursue that and back up the
EP and do another EP and back that up. Right
now, though, we're not making any money at it."
Talking to Don and Niko I get the sense that
the band is more than just six guys making
music. It's a collection of friends. Everybody has
a say in the direction the band takes, forming
as Niko calls it, "a democratic fascist state."
"It works well," Don adds. "We get along. We
have our flare-ups but they're never very extreme. I guess we're lucky that way. Arguments
never get very far out of hand and everybody
wants to walk pretty well the same path."
The recording of The Beverly Sisters EP was
an example of the band's harmony. When it
came to song selection everyone had a different
favorite but according to Niko, "We worked on
our four strongest tunes, you know, it was a
group decision. We already had two that were
at CITR but we felt there were a lot of other people who hadn't heard them. Plus I think we did
better versions of them."
Don nods his agreement. "Definitely. I don't
think any of us would have been happy to have,
you know, once something's recorded it's finished, and I don't think we ever considered the versions of "The Wait" and "Talk, Talk, Talk" to
be finished."
The band had originally planned to have a few
more cuts on the EP but time and financial constraints dictated otherwise. This means that
there are still a fair number of Beverly Sister
songs just waiting to be committed to vinyl. Most
of the songs are "pretty much a group production. The drummers contribute on their own. The December 1984
DISCORDER a guide to CITR 1m 102 cable 100
percussionist comes up with different arrangements. The lyrics are a lot of Ewan's," volunteers
Niko. "But Don and I write lyrics and Dennis,
the guitarist, writes lyrics."
Most songs on the EP are credited simply to
"the Bevs" which Don explains as a "decision
we made that I think works out better because
there's less unconscious ego problems. Someone will have a song and they'll think, well this
is my song, and they're reluctant... They resist
changes from other people in the band. Now it's
just everybody's and if somebody's got an idea
we're more open to it. But it's always somebody
comes up with a tune and they'll bring it to
rehearsal and the band will get their hands on
it and when it's finished it's a band tune."
The band has a wide variety of influences.
Niko lists off Grandmaster Flash, John Cage,
and The Byrds as some of his. Don confesses
that "We are such compromisers that rather
than say it's got to be this way, you take a little
bit of this R&B influence and put it in with the
funk and pop and heavy metal and it comes out
Beverly Sisters."
Just what is the Beverly Sisters' sound? Obviously it's a mixture of several things all channelled through different influences. It makes for
an interesting combination which is helped along
by their reputation as a "party" band.
"We like to party," says Don, "but I don't think
that's what we want to do for the rest of our lives."
"We want to do up, positive music, though.
Stuff that people feel good about. I don't like getting people depressed, personally. I'm not into
laying trips on people," adds Niko. "But we don't
want to be pigeon-holed either. We'd like to be
open to being able to play anything."
"I think we're going to go through some
changes. We had our real pop period and I think
the last year or so has been our funk period. I'm
not really sure what direction we're going to be
heading in 'cause we all have songs that we
haven't brought up to the band yet so I don't know
what they're going to turn out to be when they're
finished," adds Don with a shrug of his
One thing that both Don and Niko agree on
is that at present the band is probably tighter
than it's ever been. Having just returned from a
trip back East where they played Toronto, Montreal, Ottawa, and other points in between, the
road work seems to have done them good as
packed houses at the Savoy attested. The band
is particularly happy about the eastern swing,
what with the amount of media exposure they
received, especially in Toronto. According to Don,
Toronto seems to be very open to Vancouver
bands playing there and the Bevs are looking forward to a return trip sometime around March.
In the meantime, though, Vancouver has the
Beverly Sisters all to ourselves. The band
figures to keep a high profile during December
and will in fact be playing the Railway Club on
New Year's Eve, so you might want to make your
reservations now. Judging from some of the fan
mail the Bevs receive it could be a crowded show.
And it looks like the Beverly Sisters are strongly
poised to take that next big step from local faves
to...? and beyond.
nf>r person   tt><=- ^fl^0
THE SAVOY NIGHTCLUB   6 Powell St., Gastown, Vancouver, 687-0418 DISCORDER a guide to CITR fm 102 cable 100
Into the World of SNIVEL -CD
I he wrinkled business card is
adorned with the logo of Virgin
Records—two naked pubescent
girls, seated back to back. Scrawled across the front in felt pen is an
invitation to No Fun to drop by
Virgin's London offices, presumably for a chat about the band
recording something for the label.
Slipping the card back into his
wallet David M. explains: "They
thought we were from Surrey, England. When we explained to them
,that we were from Surrey, B.C., in
Canada, they kinda lost interest.
They didn't encourage us to fly
over, so I guess they couldn't have
been that interested."
That was in 1977. Nothing ever
came from the offer from overseas,
but David M. is still around, and still
making music under the name of
No Fun. Still loading up on coffee
and heading down to the studio in
the basement of his parent's home
in Surrey. Still making wry, sardonic observations on the state of
the world outside. Still plugging
away in his own, awkward, idiosyncratic way. In the transitory world
of pop music this is a miracle on
par with Dick Clarke's complexion,
especially for a band who have
never seen the light of commercial
"Well, we haven't died," says
David, explaining the band's longevity. "Look, this is just something
I do. I don't want a career." Taking
another sip from a can of Coke, he
puts on a serious look and continues: "We're basically hopeless
human beings. The evidence has
been there so long, with people
asking 'Why?' We haven't known
'why' for so long, we just do it.
Besides I enjoy going down and
doing something in the basement
that has nothing to do with what's
going on outside my door."
He's just being modest, of
course. No Fun's music is nothing
if not relevant to that nasty world
outside the basement. M. is a
genial parodist, poking fun at the
petty foibles of North American life
through his songs. The lyrics
(which, unlike most rock lyrics,
make a pretty amusing read) deal
with the standard minutiae of life
that form the basic subject matter
of rock songs: sex, death, drugs,
and stardom. M. approached these
banalities with a detached, amused
suspicion, but without coming
across as cynical or jaded. He
seems to be saying that human beings are, by and large, silly shits
who spend most of their time engaged in activities of little or no
value. This being given, there's no
point in getting too upset about it.
So as he sings, "Let's sit down and
discuss em/Things anybody could
say/Yea, we can speak, and we're
talking about the/Weather. Talking
about the Ball Game. Talking about
/the Movies.../Talking about the
more No Fun page 16 DISCORDER a guide to CITR 1m 102 cable 100
Merry Christmas
The VECC & VFMF present
California's hottest New Vaudeville! With
a rap fit for the 80's, these three groups
provide some of the most bizarre and
silly juggling, magic, music and theatre.
Uproarious entertainment is the name of
the game!
DEC. 13-16,8:30
Sunday Matinee TWO FOR ONE at 2:30 pm
Tix: $8 RESERVATIONS: 254-9578
Advance  Tix:   Black  Swan   Records,
Octopus East, Folk Festival office
"An authentic Canadian theatre
classic for kids." (Toronto Star)
Based on the ever-popular poems
by one of Canada's finest poets,
Dennis Lee, this Toronto production
has become a Christmas favourite,
winning the hearts of many a
ygungster over the last decade.
DEC. 18-23
Group Rates Available
CALL 254-9578
Theatre Passe Muraille production of
David has been talking about the mundane for nearly ten
years now. Now, what is mundane to you isn't necessarily mundane to David. Unless, of course, you wake up every morning
wanting to kill Helen Reddy, go to the rodent's fair, get held
hostage, or run in terror from the crane (no not the bird) of
fear. The point is that David makes all these things sound like
ordinary, everyday happenings. Maybe they are. Surrey is a
strange place.
On the other hand, it probably makes more sense to credit
the music that accompanies the odd lyrics. It's straight-forward
bouncy pop; nothing too nasty, nothing too loud; an effective
disguise. Or we could put it down to the man's appearance.
David M. looks so ordinary it's strange. No flashy haberdashery,
just jeans, runners and a shirt and jacket that might have pome
from the Sears' catalogue. No outrageous coiffures', just
straight black hair long enough to be unfashionable. No twisted
gleam in the eye, no snarl on the lips. David M. comes across
as a soft-spoken Everyman, stumbling through life, drinking
coffee and scratching his head at all the stupid things that go
on around him.
^ 1
■w€f * 1
f 11
David M
But there is a twisted brain inside the non-descript interior.
It comes through, not only in the songs, but in the way David
M. has guided No Fun through the jungle of the music biz.
As he says: "We do everything in a real stupid way. We do
things the wrong way according to the industry. Y'know there's
some things we've done that people in the industry really like,
and there's some stuff they really hate. Problem is, I usually
like the stuff they hate better than the stuff they like."
The things David M. has done with No Fun over the years
would cause instant heart seizure in any record exec—major
or independent. Things like doing live shows following the
release of this Ghost Paper Boy at Robin's Gay Trailer Park
cassette, but only doing two or three No Fun songs in the evening. The rest of the set if filled with stuff like Crosby Stills and
Nash's "Almost Cut My Hair" and Sir Douglas Quintet's "Mendocino." The press release for the same cassette announced
the live shows as some bar band doing a tribute to No Fun.
To make matters even worse, they only made 50 copies of the
cassette. Other No Fun antics have included a press release
with instructions on how to review the band's latest record,
interrupting on-air interviews with quiet but persistent demands
that the interviewer give them a beer, and promoting the latest
release by saying, "Well, I like the tape, but I wouldn't tell
everyone else to buy it. I mean, I don't want to force myself
on everyone."
Things like this have kept No Fun from "getting ahead" in
the record industry. Despite receiving airplay on CITR, as well
as one of the commercial stations in town, No Fun are still down DER a guide to CITR 1m 102 cable 100
in the basement. David doesn't seem to mind. After all, this
is the man who said, "I'm the negative of a rock singer. If I
even touched a rock singer he'd explode." There's a strong
distaste for the "business" of music that comes across in No
Fun songs like "Tribute to Elvis II," and "Groovy Daddy" (about
the teenage son of a rock star still living the cliched rock and
roll lifestyle. Sample lines: "Don't want your picture there in
Circus magazine, Dad./ When I bring girlfriends home
remember they're with me, Dad). No Fun seems to be David
M.'s means of taking the piss out of all the crass marketing
and pretentious promoting that goes on in the rock biz.
Besides, this way he doesn't have to worry about offing any
satin-jacketed record exec. He is the founder, owner, manager,
A&R man, marketing specialist, and everything else of his own
record label, Werewolf T-Shirt Records (Motto: Where Reality
Becomes Dreams). Through WTS he has released two 7" EPs
(No Fun and No Fun at the Disco), a single (the only thing he's
recorded outside the basement studio. Recorded at Blue Wave,
"It Came From Heaven" got some airplay on CFMI and ironically, was the worst-selling WTS release ever. So much for the
standard wisdom of Airplay=Sales...), and the Ghost Paper Boy
cassette. The latest from Werewolf T-Shirt Recordsis No Fun's
magnum opus, Snivel: 33 songs in a double cassette box set,
complete with a lyric book illustrated with various newspaper
Snivel is big;' nearly two hours of music. While the cassette
has a few slow bits, most of it is terrific: songs like "I'm not
taking Suzy to the Be-in" and "(Love Theme from) Crane of
Fear," both of which have already been heard on CITR (where
Snivel went to #1), and "Song a Girl Would Sing" and "Another
Loathsome Date," as amusing as pop gets. Paul Leahy (the
other half of No Fun for the last four years) is a versatile
guitarist, adding a little bit of flash to M.'s straightforward pop.
Will Snivel bring No Fun into the limelight? Probably not.
I get the sense that No Fun is just a little too odd for most commercial radio, and the music is a little too restrained for it to
fit into the formats of most alternative stations. And I can't really
think of a record company that would know what to do with
a band like No Fun (except, perhaps, Rhino Records. Hell,
anyone who released an album of versions of "Louie, Louie"
has to have something on the ball.).
David M. has seemed to put the thought out of his mind.
Besides, how can you make a rock star out of a man who says,
"I like living in Surrey 'cause it's easy not to get noticed."
Still, it would be nice to see No Fun reach a wider audience.
With all the pompous, po-faced stuff that passes for pop music
these days, No Fun would be like a breath of fresh air. And
I'd like to hear some of those hundreds of songs David M. has
stashed in the basement of his parent's house, under the cups
of coffee. It would be nice, but it doesn't seem too likely.
So, No Fun can be Vancouver's little secret for the next little while at least. If you want to get in on the secret, you can
find Snivel at Zulu or Odyssey or contact Werewolf T-Shirt
Records at: 13536-96A Avenue (whew!), Surrey, B.C., V3T1C8.
The package comes with the warning: "Snivel reflects only the
world view of NO FUN, and any sense of real life imparted
by the mention of anyone or anything is completely bogus."
Studio Cinema       MOVIE   GUJOE
I mel GiBspN_„Week' am^ 4 ,
November 30
(w^cards^o        gory scenes &   violence. B.C. Dir.
Frequent suggestive scenes,
WRTfWW «wwr
.»...»«..»... *c nrt   DRESS UP. BRING your rice, toast, cards, flashlites,
ADMISSION $5.00    and A FR|END. Al| ages admjtted
NO SATURDAY midnite shows   DECEMBER 15 & 22
! Starts DECEMBER 21    I   t^Mbo*—N
• —-J      ( eccciiNes^
Beings from Another Dimension have invaded your world. *•*♦«•"»*?
You can't see them...but they can see you.
Your only hope
is Buckaroo Banzai.
a bizarre comedy drama
Put it on vour family's Christmas list!
Studio (zinema
CALL 681-1732 the Town Pump
December 3
Semi Finals
Various Artists
Rhythm Mission
December 10
Red Herring
My Three Sons
and the Winners of
the Semi Finals Dec. 3
The finalists on December 10 will win:
1st Prize:  24 HOURS of RECORDING
2nd Prize: A Yamaha MT 44 Portastudio
3rd Prize: 24 Hours Recording Time
from Profile Sound
Plus Prizes from Perryscope
Commercial Electronics will be recording
the finals on their 24-Track Digital
Recording Sound Truck. Watch for the
Record this Spring on the Zulu-Bird
If you can't get tickets (available at The
Savoy), listen to CITR fm 102 cable 100
Monday, December 10 for Shindig—Live
from The Savoy at 10 p.m. December 1984
DISCORDER a guide to CITR 1m 102 cable 100
^^ l^j |" ftjs      from Edmonton
More than just lumps of clay
SNFU, who played the New York
Theatre November 10, were the best
hardcore band I've seen in a long,
long time. In my humble opinion
SNFU are in contention with early
DK's, Youth Brigade and the Subhumans (my personal favourites).
Not only can Mr. Chi Pig actually
sing but he is truly an amazing front
man. What I noticed and really liked
about SNFU was the way the whole
band moved on stage. Every member in the band had their own focus;
they didn't just stand there like lumps
of clay and allow Chi Pig to carry the
SNFU are a very exciting and intense band to see live. The show at
the York was tight and was over all
too soon. Chi Pig jumped from
speakers to the stage and rolled all
over the place sticking his legs wildly
in the air. Bunt, Muc and Jimi leapt
around and Mr. Evan C Jones looked like he would have jumped
around if his drum set wasn't in the
SNFU have been together for
about three years now. The lineup at
present consists of Muc and Bunt on
guitar, Jones on drums, Mr. Chi Pig
as "singer man" and Jimi Roid on
bass. For those of you that care, their
ages run from 18 to 24.
SNFU originally started off as
SNAFU—Situation Normal All Fucked (or Fouled) Up. Because another
band was using the same name it
was shortened to SNFU—Society's
No Fucking Use. The band members
felt that the name was being interpreted in a negative way so now
SNFU is "just a label."
"Everyone would keep asking us
what it meant and our lips got tired
of saying it so it can mean whatever
you want," says Jones, "like
Sausages Never Fry Unevenly."
The band has two songs on an Edmonton compilation called It Came
From Inner Space. They also have a
song "Womanizer" released on a
Better Youth Organization compilation called Something to Believe In.
"Womanizer" went number one at
CJSR.Jthe college station in Edmonton. But trouble came with fame for
Mr. Chi Pig: "Some feminists in
Saskatoon heard the song, probably
on the radio, and got all upset. They
most likely only heard the part that
goes 'Gonna take her home, get her
drunk and fuck her.' "
"Womanizer" is not a song that
advocates shit like that. In fact, it is
exactly the opposite.
SNFU's songs all say something
but they don't preach to their listeners which seems to be a rarity
amongst hardcore bands these
days. On the Inner Space compilation the song "Real Men Don't Watch
Quincy" is about the media twisting
things out of proportion and showing
things in a bad light—namely Punk
Rock. The other song on the compilation, "Strip Search," is about an
incident that took place in Sherwood,
Alberta, between the RCMP and
eleven little boys' bums. Apparently
some little kid lost his watch in a gym
class so the principle of the school
called in the RCMP Eleven boys
were lined up and some hairy
policeman got to peer up their anal
canals in search of the missing
With song themes like those mentioned, SNFU aren't exactly commercial radio material and, at present, are not making much money.
Whatever they make goes back into
the band in the way of gas, equipment and recording. They've only
ever played in Canada, crisscrossing the West in a blue van
driven by their roadie Otto. The band
doesn't make much money at home
as there aren't any venues in Edmonton that allow hardcore bands to
play. Consequently SNFU has to
promote their own gigs. But Edmonton has no sales tax and beer is
cheaper there.
Apparently the scene in Edmonton isn't violent and it is increasing
in size all the time. People in Edmonton realize that if they start up trouble there won't be any more gigs.
This is different from the attitude in
Saskatoon, where Mr. Chi Pig ran into
some trouble. "They made a Mr. Chi
Pig sandwich out of me. I got punched and elbowed. The crowd has
the Quincy show idea of what punk
rock was all about."
Anyway, if you missed this band
when they were in Vancouver, hard
cheese. SNFU are the greatest thing
since sliced bread. In fact when they
return to Edmonton they're playing
a benefit gig for the local food bank.
Watch out for a record from these
guys in the near future. It should be
—Julia DISCORDER a guide to CITR 1m 102 cable 100
i ill J »
* \
w^^w -    ^ th ,c November^ \
^^-^^^^^Tlr\ fOfC© *"'5 DIP TOO
nave him back December 1984
DISCORDER a guide to CITR 1m 102 cable
I he Warehouse Show—part of
that multi-media event called Art City
concluded abruptly after only five
days when the city building inspector slapped a "not safe to occupy"
notice on the premises. However, the
event was reopened a few days afterwards when previously myopic
organizers of the event upgraded the
venue to meet city building
The Warehouse Show, in retrospect, was an exhuberant purge of
form, movement, sound and colour.
Unfortunately the prevailing themes
of regurgitated propaganda reduced
it to being sometimes nothing more
than an exhibit ineloquently displaying the 'Grantree' of the avante-
garde. Economic hardship was the
common lineage between all the
works displayed here and B.C. art,
Warehouse style, has raised its
sometimes ugly head in retaliation to
the absence of adequate funding.
Despite these aforementioned atrocities, the show succeeded admirably in its feat by showcasing talent
that has too often in the past been
overshadowed by the dismally redundant and white-washed ideal of
West Coast art. If one could distinguish the fine line between art and
imitation and put aside some of the
more self-conscious attempts at
male genital glorification one could
then enthusiastically partake in this
feast for all the senses.
The artists who most effectively
conveyed their protests were the
ones who compromised neither
aesthetics nor technique. Their blaring day-glo counterparts could perhaps secure permanent employment
painting 'deals on wheels' signs for
Jim Pattison. Warehouse art for the
sake of being warehouse art is merely the ability to spray-paint oneself
into a corner.
The sometimes all too consuming
mood of recession was fortunately
alleviated by the exhibit's lighter
mood of caustically clever and sometimes brilliant depictions of the world
outside a warehouse. No pretensions
here but rather a subtlety far more
penetrating and razor-edged than
the more obvious attempts at attacking and alienating everything outside
the realm of an inflated ego.
While the warehouse itself provided ample space and light to some
of the collections' larger than life
pieces, some of the artists preferred
to bury themselves in the damp
bowels of the sub-basement to
create an ominous backdrop to
some of the exhibit's darker tones.
Like all things indigenous to darkness these pieces would shrivel
once outside their nocturnal niches.
Works like these become expendable when the artist is only able to
form an alliance with his/her immediate landscape. Again, ego becomes
a term loosely applied to the ego
materializing itself.
Let us hope that in the future the
Warehouse Show becomes the prototype of better things to come in
terms of elevating local art from the
debris of inadequate funding and
neglect in general. Let us also hope
that the tremendous public support
shown here will continue so that artists need not be wholly reliant on
government grants and might instead thrive autonomously in the
face of the beaurocratic interference
that has so far determined the role
of art in our society.
—Jennifer M. Stockand
Last month Vancouver donned a
coat of many colours and became
the Art City in 1984. For a time you
may have forgot about the never-
ending rain, the closing of the Cam-
bie Street Bridge, the holes in your
pockets and your empty stomachs...
and stimulated the senses with the
splash of colour and blast of sound
that emanated and resonated from
various locations throughout the city.
If it was Art City you forgot about,
then you missed an opportunity to
experience along with thousands of
other participants an affirmation of
this city's creative abilities and the
development of a modern cultural
(albeit mainly white and middle
class) identity. There was much to be
had out there, too much, some say,
and too much of it was too bad. But
aesthetic values and political differences aside, Art City was a success
because it sought and received the
cooperation of a multitude of differ
ent operations, groups, and individuals. Even the most abject skeptics
would agree that the sheer immensity of the undertaking was its most
remarkable aspect.
The gargantuan Warehouse Show
was the Art City centerpiece (popular
even with city officials and the fire
department), but no less important
were presentations at the Centre
Cultural Columbien, the Western
Front, the Contemporary Art Gallery,
Carnegie Centre, the new Pitt, the
Tirehall Theatre, the Coburg Gallery, NeoArtism, Presentation House,
E=MC2, Women in Focus, Video Inn,
the Vancouver East Cultural Centre,
the N(on) Commercial Gallery, and
the Convertible Showroom.
The Convertible Showroom? On
Kingsway, perhaps? The automobile
as Art? NO!...convertible: "interchangeable or equivalent; transformable; capable of being converted"
...and that is exactly what has hap
pened to the old Pumps Gallery at
40 East Cordova Street. Pumps was
once a vital centre for the arts in Vancouver during the mid and late
1970s, operated by a group of talented personalities, most of whom
departed for the more stealthy
climes of TO or NYC by the turn of
the decade. Since then the gallery
space at Pumps has been used for
storage and the odd party. Until now.
Now it is the Convertible Showroom.
Colin Griffiths, Daina Augaitis,
and Neil Campbell are the new protagonists of this conversion. They
realized Pumps' potential as a viable
space and motivated by the gathering momentum in the local arts community, decided to make a fresh start
of it. The Showroom opened on November 21st with the unveiling of a
site-specific barbed wire installation
by Paul Wong, which will be followed by an exclusive showing of paintings by artist Walter Gulezko,
December 12th. On the 15th, Toronto
video artist Ed Mowbray will
premiere his acclaimed production
of Not Dead Yet, a documentary on
the exploits of Toronto's second
generation of political and musical
Griffiths stresses the point that
Convertible is NOT an Art Gallery. It
is a space designed to present a
variety of exhibitions that are of a
particular interest, and the three
listed above are good examples of
Convertible's intent. It is hoped that
the Showroom will act as a focal
point in the local arts community to
attract artists from other cities, and,
on the other side of the picture, to
present local artists to the world.
Nothing short of an international
reputation, what?
The Convertible Showroom plans
to work in association with Epoxy
Studio, a video space located within
the confines of the Pumps and
Power building. Its first production,
White Orpheus, has just been completed and the soundtrack, White is
the Knight, is currently charted in the
CITR singles playlist. It is this sort
of collaboration that Convertible sees
as integral in developing a stronger
sense of community which will ultimately enhance its progression. Griffiths, Augaitis, and Campbell are
striving for a synthesis of art, music,
and performance that will be accessible to all. Convertible's doors will
even be open to those who regularly
shop on South Granville, and, if they
care to walk amongst the debris of
broken bottles and Aqua Velva men
strewn along East Cordova, they just
might be treated to something a little out of the ordinary.
—Michael Shea
Conceptual. Artiste. Art. Ambiguous. Meaningful. 'Abstract These
words are all part of the vocabulary
of many Vancouver performance
Elitist. Pretentious. Ego. Artistic
masturbation. Dull. These words
are all part of the vocabulary of
many Vancouver performance
Which brings us to Kiss or Kill,
Josie Kane's mega-behomoth offering to the Warehouse Show. The
poster bills it as 'a multi-media performance and environment.' Ah
yes, environment, a new word for
the first list, it's a new one on me,
that's for sure, but y'never know, it
might catch on. Then again....
(What would they be called if it
does, environmentalists?) I don't
know about the environment onstage, but after a while when noth
ing terribly exciting had happened
the environment at audience level
was getting pretty polluted with
Tucked away upstage left were
the three sources of sound, Daniel
Werger on keyboard soundtrack,
Scott McLeod on guitar soundtrack
and Josie Kane on vocals and being conceptual. Pretty simple stuff
but it wasn't bad, if only in comparison... Meanwhile, much was
afoot on the rest of the vast stage.
Very much, Too much.
Some poor soul writhed on the
floor in nothing but loin-coth and
body-paint, a bit like a third-world
warrior having indigestion in ultra-
slow motion. Lupus Yonderboy,
later to be heard on CITR gamely
(lamely?) defending the concept of
performance art, put on a black
more Warehouse page 22 DISCORDER a guide to CITR 1m 102 cable 100
mask and played a thief. An assortment of fey, self-conscious, giggling nubiles acted as decoration
pieces while helping a couple of
seedy looking characters load and
unload a pair of huge weighing
scales using various toys and bric-
a-brac. Some people sat on a bed.
Others did other things. And, sweet
relief, a couple of TVs played kiddies' cartoons. Never before had I
found kiddies' cartoons so entertaining, without sound yet! The
sheer amount of audio-visual information was so overwhelming that
instead of tuning in to one interesting aspect of it the inclination was
x-io switch off completely.
I find the very term 'performance
art' somewhat presumptuous. Why
not just 'performance'? Why not
leave 'art' for the patron to decide
whether it is or not. In Kiss or Kill
the performers were largely impro-
visational in an attempt to create
a unique mood, exclusive to that
particular moment. Herein lies the
problem with it, as with a lot of performance art: it tries too hard to not
try too hard. It tries so hard to
create that mood that it ignores the
harsh realities of performer-
audience communication. Without
this, one gets the distinct impression that they're doing it for no one
but themselves.
Mood in performance can work
very well (seen Eraserhead?), as
with mood in music (heard Eno?);
the mood that Kiss or Kill generated
was, well, er, perhaps not the one
intended... The poor fools who
jumped at the chance to get onto
a stage and 'be in a performance'
must, in hindsight, surely realize
that they were the pawns in a contrived decadence for their erstwhile
been quite good. Pared down, the
whole show might well have succeeded. Sadly, it became a case
of saying so much to make your
point that the point becomes lost.
The point, apparently, was something to do with the fact that "anything Jim Pattison, chairperson of
employer(s) to wallow in. One of
the performers was later heard to
confess: "If the audience was as
bored as I was on stage, I know
how they felt."
Individually, the separate components of Kiss or Kill could've
Expo, likes, he kisses. Anything he
doesn't, he kills."
The Kiss or Kill people could've
taken a lesson form some of the
other performances at the Warehouse Show, one of which was
' 1
Mon-Thurs, 7 am -10:30 pm
Friday 7am - Midnight
Saturday, 11am-10:30pm
r Sunday, 11am - 6:00 pm
820 HOWE STREET   683-5122
Lola McLaughlin's Brain Drain, a
dance originally performed at SFU
in 1980. This piece had no music,
McLaughlin later describing it as
'an experiment in the dance making its own score.' The experiment
worked, The heart of the dance
was a pogoing motion which, in a
way, provided the rhythm that
music might otherwise have done.
This 'zombie kangaroo' effect was
apparently inspired by an early
DOA gig at which McLaughlin watched Randy Rampage generally
go berserk in trying to incite the
pogoing punk rockers to literally
greater heights. This was translated into a repetative, primal and
sparse movement over sixteen
marked squares on the stage, further embellished with finger-
snapping and coughing!
Effective, too was the latent
violence in the piece, typified by
the dancer punching the air, a
common gesture in society, sometimes amusing but always with
dangerous connotations. Having
built up the tension with the piece's
increasing complexity, we were
then supplied with light relief as the
six main performers vacated the
stage to make way for a couple of
surly 'custodians' who, in trying to
mimic them, pointed out just how
hard having fun is!
Having fun was also the key to
the mystery of Jiswop. "A way of
life?" Jiswop asks. In its present
MTV ""
4 PM-2AM
ZOO  HOURS 2pm~Upm
6        8        8 6        5        16 December 1984
form it's still not about to become
a way of life, although, God knows,
it was a vast improvement on their
live CITR gig of a few months ago.
Jiswop's 'thing', so to speak, is
semi-improvisational music using
a combination of tribal and other
ethnic influences and your basic
guitar-bass-drums. The sextet of
colourful characters go by the
names Jock Bouquet, Madam, Mr.
X (hasn't that one been used before?), Scotty Scrod, Zulu of the
Underworld and Gary Aries.
Watching them at the Warehouse Show it became immediately obvious what was wrong with
their CITR gig: they're as much
visual as musical, if not more. Exotic costumes ranged from blue skin
in a loin-cloth, through dirty white
tuxedo, to South Seas skirt and
fruit hat. However, it's not enough
to look good and act zany and
hope it carries your artistic aspirations. Improvisational music can be
fun but it often has a tendency to
slide over into cacophony. It would
appear that Jiswop is still in its
neanderthal stage of evolution,
without a clear idea of what exactly it wants to accomplish, why, and
for whom.
Still, some nice 'fairytale soundtrack' clarinet from Madam and
anarchic bongos over a steady
noise from the rhythm section and
distorted guitar made it interesting
for a while. On this occasion its
novelty aspect carried it through.
DISCORDER a guide to CITR 1m 102 cable 100
On an ongoing basis they'd better
do some serious thinking. The
candy they tossed into the audience was nice, but I prefer black
current flavour, thankyouverymuch.
The self-conscious Afra gamely
tried to instill some life into her
poetry reading, but she was by no
means helped by the headless-
chicken running around the Warehouse Show honchos. Forced by
yet another Vancouver Fire Department ruling into last-minute postponements, cancellations and rearrangements of the remaining
performances, they shunted Afra
off into a horrible corner of the VVI
lobby where the acoustics were
bad and the atmosphere as conducive to a performance as a dentist's
waiting room. (Hold it—now that I
think about it I've seen some pretty passable performances in dentists' waiting rooms.)
The problem(?) with mounting a
bloody huge art show (apart from
the fact that your legs get tired and
you need oxygen equipment) is
that you have to mount bloody
huge safety precautions. Let's face
it, the VFD does have a point. Safety requirements are there for a
reason, a good one, I might add.
Let it be a lesson learned. Aside
from that, a hearty pat on the back
for everyone involved in putting this
project together. After all, you have
to have it before you can criticize it.
—Sukhvinder Johal
PJlfflL ffl|R vik
Tix: $8.00 advance      mM
$9.00 day of showffl|
Available at VTC, CBO   ^L
and AMS Box Office       JH
with Oliver Gannon..,guitar
and Rene Worst bass
and George Ursan....drums
top det/rnour Jt.
Thur. Dec. 6
Sun. Dec. 9
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DISCORDER a guide to CITR 1m 102 cable 100
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¥A guide to CITR fm 102
w pari p ino
African Show
(Wednesday 9:30 pm-12 am)
A program featuring African music
and culture. Every week, with
news, current events and local
African music events. Feature at 11
p.m.: specific artists, the music of
specific African countries.
Fast Forward
(Sunday 9:30 pm-1 am)
The latest in the exciting and
vibrant world of experimental, independent, minimalist, electronic,
avante garde stuff. Actually, this
program is yet another alternative
to CITR's general "alternative"
sound. Keep abreast of independent cassette releases around the
world, as well as listening for rare
live recordings or more well known
non-mainstream artists. Hosted by
Mark Mushet. Special features for
the month of December:
Sun. Dec. 2:
A look at the latest releases from
Recommended Records.
Sun. Dec. 9:
The music of the Lemon Kittens:
Karl Blake and Danielle Dax.
Sun. Dec. 16:
Interview with British filmmaker
Sally Potter, soundtrack music by
Lindsay Cooper from "Rags" and
"The Golddiggers."
Sun. Dec. 23:
French independents with music
from Etron Fou, Les i, Ptose, Anne
Gillis, Bernard C, Ariel Kalma,
Pascal Comelade, and more.
Sun. Dec. 30:
Film Noir, the American Style. Double cassette compilation from
Holland's Ding Dong Tapes on the
theme of the American cinema
trend of the 40s and 50s.
Folk International
(Saturday 10 am-12 noon)
Traditional folk music from Canada
and around the world Hosted by
Lawrence Kootnikoff.
Generic Review
(Weekdays at 8:35 am and 5:35
pm. Also on Saturday and Sunday
A critique of local entertainment,
theatrical   events,   movies,   and
High Profile
(Monday through Saturday 8 pm)
Spotlighting one artist's music and
career. Refer to High Profile listing
for artists.
(Weekdays 9:43 am and 6:13 pm)
An editorial comment on current
issues open to the community. If
you have something to say, call
228-3017, ask for Doug Richards.
Jazz Show
(Monday 9:30 pm-1 am)
An evening of varied traditional and
avant garde jazz on one of Vancouver's longest running all-jazz programs. Now that C-JAZ has become "FM97" this is one of the only places you can hear jazz on the
radio before midnight. Hosted each
week by Gavin Walker. Feature
albums, artists, interviews at 11
Mel Brewer Presents
(Thursday 11 pm)
A program featuring exclusively the
newest and best in local talent with
new demo tapes, live interviews
with groups and local music figures, debuts of new released and
lotsa hot juicy gossip.
The Mid-show
(Wednesday Midnight-1 am)
The Mid-Show presents a diverse
and sound fluid mesh, from candy
to explicit, engineering a release
ghetto. Directed by the magnetic
loneliness of audio art, video art,
poetry, prose and indigenous
music, the movie soundtracks,
young and old pop and rock,
foreign lingo hits and country jostle about looking for conversation.
Listen in and get a piece of the
action. Hosted by John Anderson.
Music Of Our Time
(Sunday 8 am-12 pm)
Music of the 20th century in the
classical tradition. Hosted by Ken
Jackson, Jay Leslie and Sandra
News and Sports (Weekdays)
Local, national, apd international
news and sports. News and sports
reports at 8 am, 10 am, 1 pm, and
6 pm. Newsbreak and Sportsbreak
at 3:30 pm and 4:30 pm. On Saturday and Sunday, regular newscasts air at 12:00 noon
Playlist Show
(Saturday 12 pm-4 pm)
The countdown of CITR's weekly
top 40 singles and albums, featuring new additions to the Playlist.
Listen for Michael Shea.
Proper Gander
(Saturday 6:30 pm-9:30 pm)
Everything   but  a  well-dressed
Public Affairs
(Weekdays 9 am)
Current events and issues around
Vancouver, as well as in depth
coverage of social problems, political events and public figures.
Random Cacophony
(Tuesday 11 pm-1 am)
The second radio show in the history of civilization dedicated to
solving all of the world's problems.
(Sunday 1 pm-3 pm)
The latest and best in toasting,
rockers, dub and straight forward
reggae. Hosted by George Barrett.
Saturday and Sunday Magazine
(Saturday & Sunday at 6 pm)
Weekend magazine shows presenting special news, sports and entertainment features.
Sunday Night Live
(Sunday 8 pm)
Rare live recordings of noted local
and international artists.
Voice of Freedom
(Sunday 6:30 pm-7:30 pm)
Satirical broadcast from a mythical
radio station on a secluded American military base (Diego Garcia)
where all the records are twelve
years out of date.
{Membership Application;
I AGE   	
Y    N
Send $20 (students) or $25 (everybody
else) in cheque or money order to:
6138 SUB Boulevard
Vancouver, B.C.
DISCORDER a guide to CITR 1m 102 cable 100
7A guide to CITR fm 102
*~ PARI e -u\n
102 FM
100 cable
lliiiiill    j i—i
CITR broadcasts daily at 102 FM and 100 cable FM from 7:30 AM to 4:00 AM DISCORDER a guide to CITR 1m 102 cable 100
High Profiles are 45 minute documentary style
music specials, heard Monday through Saturday
evenings at 8:00.
Mark Perry Part II
Little Richard
Velvet Underground
Arts Underground
Cure Rarities
Fast Driving Songs
Billy Bragg
Neville Brothers
Ralph Record Label
Trade Ins Accepted
Second Layer/Sound
Kearney's Albums
Gun Club Rarities
Michael Rother
the DBs
Romantic Not Frantic
The Barracudas
The Rezillos
Banana Supreme Surprise
Mark Stewart
Hot Wax Records
Hello darlings, would you like to semanticize
with me for a while?
In the beginning (i.e. July 1984) there was Propaganda!. He felt it was humourously and ironically appropriate for a program of information
dissemination in the broadcast medium known
as radio. Got that? Me neither. Anyway, then God
saw that there were further semantic possibilities
and decided to call it Propergander!, especially
as He, with his Limey accent, prounced it the
same as Propergander!. Aside from the goon
theory of meaning a well-dressed goose, Propergander!, as the name implies, takes a Good Look
at—anything. To cut a long story short, as the
song goes, I lost my mind, and both names stuck.
Thus, in early August, with cheroot in corner of
mouth and microphones ready for a quick drawl,
the show stumbled into the vast dusty desert
knows as Listenerland.
Propaganda/Propergander is, hopefully, radio
that elicits reaction, that tries to secure an active thinking—and questioning—audience, not
a passive one merely consuming it's daily radio
fodder. It is, hopefully, a program that makes you
listen—whether you want to or not. It tries to do
this through news and public affair stories, interviews, previews, reviews, editorials, live and
recorded music and spoken voice. In short—anything. To date, the most popular items have been
Merry Christmas
live on-air performances by Emily and I, Braineater, as well as interviews with a punk reforestation activist and a local poet. Less popular items
have been some of the more political items, but
I guess we all have our quirks.        ^
Which reminds me. Feedback is important. Do
phone of write in to say what you did or didn't
like about any Propaganda show (or CITR in
general, for that matter). Taking this listener participation theme a step further, write to the
address below and suggest a feature on anything
that may be of interest to CITR listeners. If you're
an artist of some sort, or you're involved in some
project or other, and you feel you may benefit
from an interview or on-air performance or a story
on the show, let us know about it. Get involved,
even if it's only to recite something interesting
somewhere, or wrote yourself. Yes, even M.A.
honours theses, as long as they're interesting,
dig? Anyone got a trumpet-playing elephant? If
you want your radio food to be tasty, then get
cooking and serve it up yourself.
By the way, keep your eyes peeled for Propaganda/Propergander T-shirts, coming your way
in December.
Be seein' you.
—Mike Johal
6138 SUB Boulevard
UBC, Vancouver, B.C.
V6T 2A5
December 2       George Rochberg: String Quartet No. 7
Paul Dresher: Liquid and Stellar Music
Pepin: 4 Monodies for Flute Solo
Pepin: Symphony No. 2
December 9       Schoenberg: String Quartet—'1897"
Wilhelm Stennhammar: Symphony No. 1
Stockhausen: Mantra for 2 pianos
Poulenc: Harpischord Concerto
December 16      Schoenberg: String Quartet No. 1
Steve Reich: Tehillim
Schoenberg: A Survivor from Warsaw
Srul Irving Glick: I Never Saw Another
Morawetz: Who Has Allowed Us to Suffer?
December 23     Schoenberg: String Quartet No. 2
Benjamin Britten: Saint Nicholas
Gerald Finzi: In Terra Pax
PDQ Bach: A Consort of Carols
Olivier Messiaen: La Nativite
Charles Ives: A Christmas Carol
December 30     Schoenberg: No. 3
Bela Bartok: Piano Concerto No. 2*
Giacomo Manzoni: Masse*
Andriesson: Hoketus (first time in stereo)
Aaron Copland: Short Symphony
Norma Beecroft: Piece for Bob
*MaurizioPollini, piano
Hosted by: Jay Leslie, Ken Jackson And Sandra Thacker
Not only does CITR play great music, but the fingers of the station stretch and
grasp for full coverage of Thunderbird sports. From football to basketball and soccer
and let's not forget hockey, our sports team has the scoop. Why don't you get
Phone Michael Perley at 228-3017 and tell him sports is where it's at.
Gourmet Cookies
and Cappuccino
Student Union Building   UB.C.
Tel. 222-3511
VANCOUVER,B.C. December 1984
DISCORDER a guide to CITR 1m 102 cable 100
Get out y'skinny ties, it's one of
those inoffensive jangly-guitar/
eager-vocals toe-tappers a la
French Bed-Wetters or Cast of
1000's without the textures. Limp.
RED HERRING - Live at the
Straddling that well-worn line
between going out on a limb to try
something different and the safety
of 'tried and tested,' the red herr
ing stops and asks: "Which way
now?" The answer isn't on this
4-track cassette featuring "Love
Machine" and "Tough Enough." At
times it's all funky enough to make
the Animal Slaves connection,
other times you're left hanging, trying to find something to latch on to;
sometimes mildly humourous and
catchy, other times it goes on a bit.
May spark an initial curiosity but
I'm not sure it'll last.
Go on Herrings, take the plunge!
(Herrings, plunge, gettit?)
not a demo tape
$&<■        ■*>'■': '   -:
In the finest tradition of Bud Luxford and AI Hyland comes the latest
in home-brew from Collectors RPM's Laurie Mercer: UNDERGROWTH
- Vancouver '84, a 2-cassette compilation of 44 songs by 28 bands, most
of whom should be familiar in name if not music. If not in music, then
this release should be the addition to your library which will rectify that
state of affairs.
The bands cross the spectrum of the good, the bad and the downright
ug awful. Fortunately, the last category is the least abundant, and, to
be fair, some of the 'goods' are actually 'excellents.' Like the NoMeansNo
epic, "Self Pity" and CITR's no. 1 single at the time of writing, "Blind
Society" by Bill of Rights. Other high points include Emily's "Cows in
the Field" and "Doomed to Fail."
These two are followed by tracks from, amongst others, Der Mittel-
gang, Quantum Leap, Kevin Zed and Animal Slaves, making this the
outstanding side in terms of originality and variation in the music. Some
of the contributions on the 'hardcore side' are astonishingly horrendous
in both sound quality and execution, even by hardcore standards, but
connoisseurs should be quite content as virtually all of our major hardcore acts are represented.
If you're a hippy with neo-alternative visions who's into ambience,
maaan, (this is beginning to sound more like a personal ad!) then the
side which includes selections by The Courage of Lassie, Pepperlip
and Blair Petrie is a must. Lots of 'industrial' stuff here—if you're of the
'working-class' pursuasion. With tracks like Goro Martin's "Examination of a Still Object in Space," this is definitely music to which you can
(w)hole, whilst sitting on the toilet. Seriously though, this side is more
than listenable, especially after being balanced with a couple of funky
electro-upbeat ditties courtesy of Scott Devries and never-say-die Moev.
Undergrowth is or will be available at the obvious retail outlets in town,
and also possibly some not-so-obvious ones. It shouldn't take a university degree in investigative shopping to figure out where it'll be cheapest.
The most you're looking at is $12, a paltry sum for what is destined to
become'an essential record of Vancouver's music history.
—Sukhvinder Johal
Dreary. Next please....
KIM CLARKE - Barefoot Boxer
Popped this 4-track cassette into my machine and whoosh! Out
came the consumer in me. Whenever this happens I become immediately suspicious of whatever
I'm listening to, but after a few
spins of this insidiously catchy little beast I've decided it's to be
recommended. Skip the title track
(just another toe-tapper, really) and
dig "Blisters on My Heart," which
is somewhat reminiscent of the
Assembly's "Never Never" in both
style and delivery. Flip it over and
flip out to the horribly infectious
reggae-pop of "Behind My Back,"
the song that should catapult this
ex-Cinebarperson into international
megastardom. "Win" rounds off a
clean, well-produced package.
ISOTOPE - Isotope Tan
I've finally figured out what it is
about those German techno-indus-
trial bands that makes some of
them quite intriguingly mysterious.
It's the fact that they sing in German. No, don't laugh, I'm serious.
Take this band Isotope. Their cassette comes with both English and
German versions of "Isotope Tan,"
a tongue-in-cheek ode to the der-
matological effects of exposure to
radioactivity. Sparse techno-pop
with a sense of humour, but the
German version has an added
quality which enhances the dry
delivery and generally makes you
want to file it alongside the Scars'
"Your Attention Please" and France's "Two Tribes." The fact that I
don't speak German and this trio
is actually from California is totally beside the point.
—Sukhvinder Johal
We are knowledgeable in
the selection
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call 734-0411 for advice
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•Quality Used Record Selection
I^^B^             **
• NME, SOUNDS, Music Periodicals
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and Fanzines
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S     ^0^*1
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738-3232 December 1984
DISCORDER a guide to CITR tm 102 cable 100
While recent album releases have
amounted to nothing short of a deluge, the past month's single pickings
have been relatively slim. Out of the
crop, former Bauhausian DAVID J:
takes a giant step into the limelight;
with his third solo release, / Can't\
Stand This Shadow of Fear (Glass/;
UK). Driven by a howling guitar riff
you're sure you've heard a million
times before and an unrelenting
drum beat, ...This Shadow of Fear is
1984's rock anthem on the psychological horrors of nuclear war. Play
this one VERY LOUD...
From San Francisco comes an independent 7" release, Chains, by a
one-man entourage under the name
of MY SIN. Like David J's single,
Chains is taut with tension until it
comes to its frenetic end. The production is suitably raw and My Sin's
compassionate vocals are convincing enough to make you believe he's
been there and back. Write to Endless Records, 22-370 Turk Street,
San Francisco, CA 94110.
Musically less gripping but still
carrying a sobering message are the
two new singles from STRAWBERRY SWITCHBLADE and FEAR-
GHAL SHARKEY (lead singer with
the now defunct Undertones). The
Strawberry Girl's latest Since Yesterday (Korova/UK) flows along a
memorable kindergarten melody
and their SWEET SWEET voices !
make you want to sing along...until
you listen to the words. These girls
either have a great sense of black
humour or are not very happy at all.
Sharkey's unique voice carries the
tune on his first solo relase, Listen
To Your Father (Virgin/UK), an otherwise disposable song that swings
and bops its way into oblivion. It's a
long way from getting those Teenage
Kicks, eh Fearghal?
dance mixes from GINA X and
tapping and the hips swinging on
their second release, Ich Will Dich
Essen (I Want To Eat You). A pulsating bass line and a quasi-horn section keep this ultimately repetitive
drivel in a class above the sort Gina
X likes to grovel in, but, what I want
to know is when are people going to
start dancing more with their heads
than their libidos?
SAY NO MORE...the long-awaited
vinyl debuts from two very popular
West Coast groups, BEVERLY SIS- [
TERS and BEAT PAGODAS fill the
dance-o-matic void. Both feature four
songs each, are upbeat, very percussive, and naturally rhythmic.no
bunker beat in these grooves. While
the Bev's EP rocks a little harder, the
LEDERNACKEN. Gina can not
seem to tear herself away from the
lure of spinning wheels. First it was
Drive My Car, and now her latest is
a homage to Brigitte Bardot, called
Harley Davidson. Ten points and a
pair of crutches if you can dance to
either one of them. Zeus B. Held's
chest pounding production becomes
nothing less than irritating on these
way-over-extended mixes, and Gina's
sultry accented vocals are lost
amidst all the noise. CUT!...LEDERNACKEN succeed at getting the toes
BP's occasionally slip into a smarmy Calypso-like rut. Still, my vote for
Song Of The Year goes to Men &
Women. Great cover graphics, too!
MEN were on the brink of emerging j
into the popular mainstream with a
lot of class and their own distinctive j
styles. This year, it seems they've!
fallen victim to their self-indulgent!
excesses. Both have recently releas-
ed domestic EP's that will quickly
find their way to the bottom of the
bargain bins. The Banshees' The
Thorn features a new version of
Overground (originally on The
Scream LP), complete with violins
and a completely overblown production. The other tracks drone on in a
dark swill of meandering instrumentations, anchored by Siouxsie's
passionless vocals. Has she still got
a sore throat?
The Bunnies, meanwhile, seem to
be hopping lethargically to the great
hutch in the sky. Maybe it was their
record company's idea, but why
release an EP with one mediocre
single (Seven Seas) and pathetically
listless acoustic versions of what
were once good songs (Killing Moon,
Stars Are Stars, Villiers Terrace)?
Okay, so they recorded them live for
a British TV program, but any potential fans in Canada are going to think
twice before buying their next studio
project after hearing this. Also included is a 6-minute version of All You
Need Is Love complete with sitar,
tablas and whining vocals not unlike
Paul McCartney's. I don't care if
they're from Liverpool, this has got
to stop! —Michael Shea DISCORDER a guide to CITR 1m 102 cable 100
Merry Christmas
Frankie Goes To
Welcome To The
*     (MCA)
"Manipulation of children's minds in
the field of religion or politics would
touch off a parental storm and a rash
of congressional investigations.
But in the world of commerce children
are fair game and legitimate prey."
the whole Frankie phenomena could be one
giant wave of a con game for Morley and Horn
to ride on their way to the bank. Problem is, I
don't know.
And that's one of the minor annoyances I have
with this album. Just what's going on here anyway? The packaging is impeccable and everywhere you look you find more teasing quotes
similar to the one above. (This is one of the few
albums where reading the liner notes is almost
as interesting as listening to the actual album.)
But every time I read one of these gems and
somehow try to relate it to the world of Frankie
I come up dry. Nothing is ever revealed. If anything, the Frankie mystique continues to grow
without my even having heard the record.
So while it rapidly becomes obvious that there
are no secrets to be learned within the voluminous album notes, it is equally obvious that you
can't penetrate the Frankie world by listening to
their lyrics. The band has made an art form out
of coming up with a catch phrase and setting it
to a throbbing bass line (Mark O'Toole is the
Words of warning from Paul Morley and crew?
Perhaps. The above phrase appears on one of
the inner sleeves of the long awaited double
album debut by Frankie Goes To Hollywood,
Welcome To The Pleasuredome. In fact, it's placed
right next to the ad for the latest line of Frankie
T-shirts, socks, badges, and boxer shorts, all
available for only a few quid, of course. So what
I wonder is—if this is a warning, what are we being warned of? Frankie souvenirs? Or is there
a bigger picture, referring maybe to the fact that
meanest bassist to come along since the early
days of J.J. Burnel) and unforgettable melody.
Witness "relax, don't do it, when you want to go
to it/suck to it/come," or "when two tribes go to
war one is all that you can score." The title track
of this album gives us "a shooting star never
stops, there goes a super nova, what a pushover."
Not to imply that any of this is bad, mind you.
In fact it may be the beginning of a whole new
style of pop song for those weaned on video
images. Don't worry about the words, just grab
the hook-filled chorus and let your feet do the
listening. Which is probably precisely how this
album is meant to be listened to. Trevor Horn's
production is simply awesome and his aural
assault not only keeps the foot tapping but leaves
you gasping at the grandeur of some of the
sounds captured on these two discs.
By now probably everyone knows the arrangement of the sides of Welcome To The Pleasure-
dome. Side 1 has the 21-minute title opus, side
2: the singles ("Relax" and "Two Tribes"), side
3: the covers ("Born To Run," "Way to San Jose")
and side 4: four new cuts. The title song is obviously the showpiece of the album and the
covers are there more for the combined shock/
publicity value. (I have a picture of some kid out
in Surrey barricading himself in his room with
all his Led Zepplin records when he finds out that
some English fag band had the gall to cover one
of The Boss' tunes.) Side 4, however, is the most
interesting. It contains what I would consider to
be the next obvious single, "Krisco Kisses," a
song in a similar vein to "Relax" and "Two
Tribes." As well "The Power of Love" is a sweeping ballad featuring Holly Johnson's voice set
against a towering wall of strings and piano. Intriguing stuff considering the Frankie reputation.
As a musical entity Welcome To The Pleasure-
dome is quite good. But add the Frankie attitude,
the mystique, and the album becomes a curiosity, a collector's item, the household appliance
that everyone wants and needs. But still, I'm
bothered by the question: why? What is Frankie
all about? Some years ago Malcolm McLaren
tried to pull the great rock 'n roll swindle. I get
the feeling that Morley and Horn were two very
apt pupils. And I also get the feeling that I'm falling for it again.
—Dean Pelkey December 1984
DISCORDER a guide to CITR 1m 102 cable 100
The Replacements
Let It Be
(Twin Tone/US)
"Eclectic'—it's a troublesome little word at the
best of times. While it does imply a certain
broadness of taste and style, there is an underlying suspicion about "eclectic" and eclecticism
—the implication of a lack of commitment, the
mark of a dilletante. In pop music especially,
"eclectic" can be a kiss of death.
The Replacements have lived with "eclectic,"
for better or for worse, ever since last year's
Hootenanny LP, a record that ran rampant over
the various styles of American popular music.
Folk, punk, heavy metal, and psychedelia were
all subjected to the whims of the Replacements:
singer Paul Westerberg, guitarist Bob Stinson,
bassist Tommy Stinson, and drummer Chris
Mars. It was Americana in a garage, which is
arguably where it belongs.
Let It Be demonstrates similar versatility and
will, no doubt, be burdened with the same label.
But while Hootenanny earned its tag with a certain willfullness in its approach to the various
musical styles, Let It Be sees the Replacements
using eclecticism as a means to an end. If
Hootenanny was the sound of a band tossing
everything they'd ever heard into a hat and
heading off together, Let It Be is the sound of a
band using those same musical styles to explore
the differences within the band. To write Let It
Be off as just more eclecticism would be a
Paul Westerberg has a few years on the rest
of the band, and has always come across as the
most intelligent and articulate member of the
Replacements. Until now, however, he seems to
have been able to keep in step with the others.
On Let It Be, Westerberg finally shows his age.
It seems to have occurred to him that there is
more to life than taking speed, getting drunk, and
playing as fast as humanly possible. While this
is, admittedly, a laudable pastime (and reportedly
one of the Replacements' favourites) teenage
rebellion, by its very nature, grows stale. As Lou
Reed has discovered, even punks get old.
Which brings us to a very sensitive subject in
rock 'n' roll. Getting old has always been associated with becoming a boring old fart, getting
a wife, mortgage and 2.2 kids, and waxing
nostalgic about the good old days. From the Who
to the Sex Pistols, bands have sneered and spat
on their elders, often with good reason. God save
us from the aging rock star, perhaps the greatest
source of nostalgic, self-pitying, self-conscious
whining ever committed to vinyl.
With this in mind, it's kind of surprising to see
Westerberg handle the subject of age, and the
conflict between his view of life and the "let's-
get-drunk-and-rock-out" ethos of the rest of the
band, without falling into the common pitfalls of
punks grown old. Maybe it's because Wester-
berg's really not that old (compared to dodderers
like Mick and Keef,) maybe because the Replacements have never been rock stars, in any real
sense of the word. But Westerberg manages to
explore the contrast between the experience and
perspective that come with age and the energy
and enthusiasm of youth, with humour, compassion and insight. And without becoming self-
righteous or dewy-eyed.
Westerberg's approach to the topic is as varied
as the Replacement's musical side. From the
ironically bouncy pop of "I Will Dare" to the raw
anguish of "Unsatisfied" Westerberg comes
across as a man dealing with the inevitability of
aging with grace, and with his instinct and
passion whole.
The variety of Let It Be makes it seem schizophrenic at first. There is a temptation to divide
the record into Westerberg songs and Replacements' songs. What emerges, after a few listens,
is a balanced album. There is a sort of call-and-
response between Westerberg and the rest of the
band that exists both within individual songs and
within the album as a whole.
Who else but the Replacements could mix
thrash guitar and atonal jazz piano in one song?
Who else could get away with following a loungey
song like "Androgynous" with a cover of (don't
laugh, it works) Kiss's "Black Diamond?"
It works because there is a method to the
madness or (vice versa). For example, Westerberg breaks up the guitar-fuelled braggadacio of
"We're Coming Out" with a bit of hesitant piano,
as he sings, in a punch-drunk voice, "One more
time to do it all wrong/One more night to get it
half right." Likewise, the misogyny of "Gary's Got
a Boner" is answered in the next song, "Sixteen
Blue," when Westerberg sings, "You didn't understand anything sexual." There is an internal logic
to Let It Be, which comes across without sounding contrived. The Replacements have pulled
it off again.
There is one stray, unsettling thought that
crosses my mind at this point: if Westerberg is
finding himself growing apart from the rest of the
band, could Let It Be be a prophetic title? Let It
Be was, of course, the last album the Beatles
recorded together. I hope that the title is their idea
of a joke, and hope we hear more from the
—CD DISCORDER a guide to CITR 1m 102 cable 100
Frank Chickens
We are Frank Chickens
"Be not afeard, the isle of Japan is full of
noises. Sounds and sweet airs that give delight
and hurt not. Sometimes a thousand Frank
Chickens will hum about mine ears." So, as you
see, the Bard did like Frank Fowls. Over the last
few hundred years Willy and I usually have
agreed on such musical questions.
The new Frank Chickens' album named: (let's
show some imagination) We Are Frank Chickens,
has seven new tracks and three remixes of
previously released songs. Gone is the disco
dance-sound of their Ninja EP (well, almost), and
it is a much moodier sound accompanied by a
whole imagery of gansters, monsters and Samurai warriors.
FC allow us a glimpse into the Rising Sun's
soul, which I hear is somewhere beyond all the
flashy Nissan, Honda and Coke neon signs that
embellish the Ginza.
The lyrics, in English and Japanese, and the
music both have a sake-soaked feel. This makes
it very easy for all bar-mongers and budding
lushes to relate to the songs. There is a feeling
of nostalgia for older (but not necessarily better)
times when huge cities didn't cover Honshu.
My favourite is, of course, the "Sake Ballad,"
a song about someone drinking alone in a bar.
Over Karaoke, an orchestral soundtrack of popular Japanese music, the singer pours her heart
out. This is in the tradition of the Enka singer,
a custom of Tokyo's mulitiude of bars, where any
patron can grab the mike and sing about his/her
problems. (This, by the way, is probably better
than grabbing an Uzi and going for a turkey shoot
at McD's). In Japan, it seems to work as a safety vent for big-city alienation which, as everywhere else, is supposed to be hidden.
Sounds like there is a political side to Frank
Hens. They use tradition as a medium but I get
the feeling they could be latent saboteurs. Kaz-
uko and Kazumi are no geisha girls and are not
to be given away. Instead, rebelling against the
strict roles imposed by the male-dominated
Japanese culture, they set themselves as the
Chicken Gangsters. One of the new songs is called "Pikadon," the dropped flash, and is an attack
on nuclear madness. After all, who is better than
the Japanese to know what it's really like to be
on the receiving end of an atomic bomb.
Last year I had the chance to see the Poultry
live at the Venue in London. They were only the
opening act but blew away everybody else. It was
pure theatre—I'd even say Brechtian, especially
after a few pints of bitter. Two diminutive women,
two microphones, a few props and tapes. Who
needs more? As Willie said: "That's all One, their
play was done, and they strove to please us."
—Rockin' Patrick
Chris & Cosey
European Rendezvous
(Rough Trade - U.K.)
The subject of Chris & Cosey and their efforts
on vinyl since leaving the now almost legendary
Throbbing Gristle, has been of late one of confused and occasionally contradictory feelings. An
earlier review in DISCORDER of Songs of Love
& Lust by this writer left the impression of an
attempt at commercial success—largely at the
expense of artistic content. Further listening to
that disc has reinforced this impression.
Since then, however, this duo has produced
two recordings which serve notice to their listen
ers that all is not lost—the soundtrack to a video
entitled Elemental 7 and their newest release,
European Rendezvous. Elemental 7 is predominantly ambient, and, while the mindlessness of
Songs of Love & Lust is still evident, the overall
content is much more rewarding. European
Rendezvous is a collection of cuts recorded during 1983 tours in Europe with the aid of Bill Lacey,
who also had a large part to play in the visual
production of Elemental 7
With this newest release, we seem to have hit
a very happy medium. If Songs of Love & Lust
seemed like an empty sellout and Elemental 7
an artistic downer, European Rendezvous will be
much appreciated for its combination of dance-
able electronics and dark moodiness. At least
three of the nine cuts on this album qualify as
dance tunes and while the rest may not, they still
contain enough rhythmic organization to reassure anyone who might be afraid of a little hollow
ambience. Moreover, the production is superb.
The copious and informative inner sleeve notes
indicate that this recording is the product of sessions in the U.K., Italy, Holland, Switzerland, and
Germany. The consistency of this album belies
the various conditions under which it must have
been produced. It is arguably their best effort to
date. —Larry Thiessen
Bronski Beat
Age Of Consent
Bronski Beat is Jimmy, Larry and Steve (no last
names, please). The "Gee-we're-making-a-
record" sheepish grin candids on the liner filled
my heart with hope of a fun-filled disc of bouncy
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DISCORDER a guide to CITR fm 102 cable 100
dance songs. Boy was I wrong. Bronski Beat is
a band with one message, and they're using the
record industry instead of the post office as a
delivery service. This is not a cover of N.O.'s Age
of Consent. The title refers to the multi-barbed
issue of a minimum age for lawful homosexual
relationships between men. They've even graciously included a list of such ages in various
European countries as well as a Gay Legal Advice phone number on the liner notes.
Gay male sentiment serves as the impetus/inspiration for the songs of which are quite good
(Screaming). But this album fails to gain credibility due to the almost self-indulgent manner the
message is delivered. The songs are overdone,
as if overkill would make it more meaningful.
Lacking is the subtle sting of The Smiths, or the
sardonic wit of Lou Reed. There is music on this
album, but it clearly takes a backseat. It's consistent, having a bluesy feeling (feigned angst?)
and a conspicuous absence of copious synth
sounds, but it's also easily forgotten.
Who is this album for then? Certainly not Jerry
Falwell or Anita Bryant. Realistically, the up-front
presentation of gay male sentiment would most
certainly scare away (or incense) a majority of
the record-buying population. This is clearly a
"specialty record" (like a specialty beer), nor for
general consumption. If you're interested in any
of this, but don't want to spend all of your milk
money for the next month on this import album,
visit the UBC Gay and Lesbian Society office in
SUB. I'm sure they have information, and probably better music as well.
John Cale
John Cale Comes Alive
Way back when I was a child, a character
named Peter Frampton released a live album entitled Frampton Comes Alive. Now, many years
later, another intrepid soul has released a similarly titled live album. However, John Cale Comes
Alive is not likely to enjoy the same success as
Frampton's vinyl. Nonetheless, given my choice
between the two, I have no doubt which one I
would rather listen to. John Cale demonstrates
fine control over the medium of rock and roll in
the New York sort of tradition.
While Cale doesn't do anything especially
original on this album, what he does do, he does
with more enthusiasm and energy than most
musicians. An example of this is the opening
track "Oh La La," an amusing cut rather like
things done some years ago by Tim Curry, but
Cale brings more energy to this genre than was
ever offered by Tim. Likewise the cut "Evidence"
is a solid little ditty about decadence in the lives
of unwary beautiful people. Again, although this
is hardly an original theme, John's way of doing
it is far better, I think, than that of, say, Aldo Nova.
Although there are some rather forgettable
moments on this album, such as "Dead or Alive,"
and "Chinese Envoy," there are also some songs
worth checking into. Among these are the aforementioned "Oh La La" and "Evidence," as well
as "Dr. Mudd," "Fear," and "Never Give Up" on
the flip side. John also throws in competent versions of "Waiting for the Man" and "Heartbreak
Hotel" but I like the way that Lou and Elvis play
their own stuff better than John Cale's interpretations.
Anyway, this record does give one a pretty fair
idea of what John Cale is up to these days. There
isn't any one song on this record which stands
out or by itself makes this record worth buying,
but the overall quality is such that if you like John
Cale, you should listen to this album. Okay?
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The Eatery is a fine little
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DISCORDER a guide to CITR 1m 102 cable 100
five without being repetitive.
However, after listening to this album one is
left with a general feeling of dissatisfaction with
it. Which is unfortunate, because this album, like
their others, tries to simultaneously amuse, provoke and be distinctive musically...a sort of aural
menage a trois. But the questions "are high goals
enough?" and "would this be a better album had
they tried for less all-encompassing goals?" do
pose themselves. These questions are impossible to answer satisfactorily and ultimately the
question of whether this album is worth owning
or not doesn't depend on you answering them.
In short this album, though flawed, is far from
being a dog and is well worth at least one listening to (borrow it from some thinking person who
decided to purchase it), -johnny Pseudonym
The Big Express
The thinking person's pop band returns, and
it brings with it a host of topics for the thinking
person to ponder. However, there is a problem
facing the thinking person while listening to this
album, it being the question, "is this album worth
owning?" If the thinking person has heard earlier
XTC recordings then this album will sound
familiar. It has in it Andy Partridge's distinctive
vocals and lyrics, similar song ideas to those
found on previous records, and in general the
whole album could be considered to be a refinement of the XTC 'sound.' Which may be part of
the problem for a thinking person contemplating
purchasing this record—there are no surprises
in it. These songs follow much the same musical
course as that charted in Black Sea and their
other records. On the other hand many would
feel that XTC's sound is rich enough to be distinc-
Red Rockers
Schizophrenic Circus
Merry Christmas
The first time I heard the Red Rockers' "Guns
of Revolution" debut single about five years ago,
I though the Messiah of Punk (somewhere up
there) had sent us down another savior. The band
had the raw energy of the early Clash, the
political sting of Crass, and the power of Charged
G.B.H. How could they go wrong?
Money has a strange effect on people. Punks
included. After the Red Rockers signed to the
independent 415 Records label, they released
their first LP Condition Red, a dynamite record
with nary a weak cut. Then CBS Records came
along, and bought the distribution rights to 415
Records. CBS means money. CBS demands
commercially viable records from their bands.
The Red Rockers seemed to like the taste of
money, so they comply.
Subsequently, this record Schizophrenic Circus and the one which preceded it, Good As
Gold, are mush. On the latter, they tried to cash
in on the then popular country and western
sound made the rage by such bands as Rank
and File. Now, on Schizophrenic Circus they
seemed, at times, to be pursuing the R.E.M.
school of 60's sounding bands. Worse yet, in
some songs, they remind me of Bruce Springsteen. Egads! There's nothing wrong with "The
Boss," but, crissakes! Make you mind up, dudes!
In fact, the only song I really liked on this disc
was their cover tune of Barry McGuire's classic
"Eve of Destruction."
The Rockers' originals are easily forgettable.
I guess they do for AM radio, but I can't get too
excited about them. Even the record cover is
tasteless. Oh well. It's a sad thing money, t'is.
—Mike Dennis
BLsakRaofc December 1984
The 012
Let's Get Professional
It is really necessary? I think not.
My mole informs me that the latest in HIP
amongst armchair cynics and N. American critics
with their writer's-cramped fingers on the pulse
of the music scene is the everything-from-Britain-
is-boring-faddish-and-trite routine. I don't know
where this hip routine originated, but they're peeing themselves in their anxiety to get in on the
ol' bandwagon. Hence, in any review or article,
they miraculously manage to work in a dig or
three. Yawn.
Look, relative to what was happening a few
years ago in Britain, true, British music offerings
leave a little to be desired. However, relative to
the product of any other single country, and
possibly the rest of the rock world combined, I
think Britain's prolificity still makes it the place
where most interesting and original sounds originate. Call it Sukhvinder's theory of relativity if
you like. The ripples caused by the youth revolution known to the world as 'punk' were many, and
they continue to flow to this day (you just have
to look a little harder, that's all.)
Sitting on the crest of one of those ripples are
The 012.
I don't know much about the history of these
guys, but listening to this album you get the
impression that you had three guys who were
pissed off about various aspects of life, had (or
acquired) instruments, picked 'em up—and
played. Ladies and gentlemen, The 012! Simple
as that. From the band that served warning of
things to come with malicious cover versions of
"Morning Train" by Sheena Weiner Feast-on and
Elvis 'l-didn't-know-wealth-could-damage-your-
health' Prestley's "In the Ghetto" (on the Angst
in My Pants double 7" EP) comes the debut
album Let's Get Professional.
This crest serves to remind you of the original
splash back in 76. Cue the hit list: elitism, hypo-
cracy, apathy, consumerism, corporate business,
crass commercialism. Life. The 012 humour is
snide, sarcastic, cynical. The tongue is possibly
protruding from lips, but the tongue is definitely
not in cheek. They mean what they snarl: "Image is everything, at least that's what the professionals told me, let's get professional/Let's all get
together and form a mutual backslapping society
...Let's form a Limited company like that revolutionary professional Johnny Rotten." Y'get the
picture? Yes, we see, it's a garage band sale, get
your nails-across-the-chalkboard guitar here folks
and Keith Levene eat your heart out.
Move te the groove on the two cover versions
on this record, Bob Marley's "Three Little Birds"
DISCORDER a guide to CITR 1m 102 cable 100
and "Funkytown" by Lipps Inc. Where The Dread
One twitters about how life really isn't that bad
and "every little thing's gonna be alright"
because a bird on his windowsill told him so
(would you buy a used spliff from a man who
believes in talking birds?), The 012 rip the song's
wimply little heart out and bash it in with flat
drums and droning bass before hanging it up
with worn vocal chords. It's the way y'tell 'em.
Funkytown boys go 'round the outside, dance
after you've taken a chance with this album, but
careful you don't scratch ourself on That Guitar,
always That Screechy, Scratchy Guitar. Exquisite.
And so the album goes, tenaciously pounding
your ears with an attack that occasionally drifts
into unbearably even for the most masochistic,
but never long enough or deep enough to make
you want dubious respite by switching it off.
Despite its equally limited dimensions, I'd rather
listen to this than hardcore, although I'm not sure
The 012 could get away with another whole
album of similar...er, stuff. If you can't take even
one album's worth then you're better off blowing your lolly on the latest 12" by the Frank
Chickens or something of equivalent mind-
bogglingly stimulating value.
This is what you don't want but this is what
you'll get. The 012 are, in a way, the working
man's PIL. Take it, and it might bring you the
relief you wanted but ultimately never got from
the Lydon PIL, whose former antagonist is now
a protagonist, whose former anti-hero is now a
hero who's grown pretty vacant on the wealth of
belated adulation poured upon him by that great
purveyor of good taste in every urban centre—
The Mainstream Record Buyer.
The 012 will probably never go disco-funk.
They will probably never play live in Tokyo. They
will probably never achieve mass stardom. They
may even have difficulty attaining cult stardom.
They will, if you give them the chance, bring
bitter-sweet relief from your aural constipation.
Bands like The 012 are necessary.
—Sukhvinder Johai
UH]]]]/]] RECORD
DAVIE at DENMAN.    A NEAT   PLACE !  ^08297 DISCORDER a guide to CITR 1m 102 cable 100
Merry Christmas
fin ii n
The Roving Ear
...this month from Edmonton
Equal time for the capital of Alberta after last month's look at Cowtown.
The eyes of Canada focussed on Edmonton, if ever so briefly, to watch
one of the worst Grey Cups in living memory. The energy might have
been better spent looking beneath the crust of snow at.that cold, cold
city's local music scene.
While things may not be exactly frantic beneath the snow, Edmonton
makes up in quality for anything it may lack in quantity. As Vancouverites
who caught K.D. Lang and Jerry Jerry and the Sons of Rhythm Orchestra
in the last couple of months can attest, Edmonton is home to some pretty
impressive bands.
K.D. Lang has just returned from what has been described as a very
successful national tour. This in spite of not being seen by Bruce "I am
the Canadian rock industry" Allen. As readers of that glorified press
release (which shall, for the sake of propriety, be referred to only as GS)
might recall, BA was asked by the management of the Savoy to actually
wait in line to see Lang when she was playing in Vancouver. The GS's
correspondent suggested that this snub, this slight, this heresy (imagine,
asking Bruce Allen to wait in line like a mere mortal; it's too much for
the mind to comprehend) would be detrimental to K.D.'s career. Evidence
so far seems to indicate otherwise.
"Gospel Surfer" made an impact on the CITR singles chart, have returned from their Vancouver dates. No plans for a record, but the band is
keeping busy playing around town.
Back from the dead and back in the saddle: Facecrime, whose 4-song
EP Sex and Revolution received some airplay on CITR last year. The band
had broken up after the release of the record but now have reformed
as a five-piece. And Junior Gone Wild are rumoured to be getting back
together. (I didn't know they'd broken up, but, hey, these things happen.)
On the Hardcore front: S.N.F.U. returned from a successful visit to
Vancouver only to contemplate heading off towards the sea again. The
band will head down to LA to record an LP for Better Youth Organization Records. A benefit was held at the Spartan Men's Hall to raise money
for the trip down and other nasty expenses. Featured were S.N.F.U.,
Euthenasia, Entirely Distorted, Government of God and Downs Syndrome. The disc should be out on BYO sometime in the new year.
Speaking of Downs Syndrome (as we were) look for a new 6-song
7" EP from the band in a store near you. The record came out on
November 23 and should be available by the time you read this. If not—
patience. In the meantime, DS have headed off to, of all places, Saskatoon. No doubt they'll be in Vancouver before long.
Jerry Jerry and the Sons of Rhythm Orchestra, whose demo tape
Look for a January release from Darkroom, the Edmonton band who
signed with WEA of Canada. The band had the stuff ready to go for October, but the record company insisted they hold it off until after the
Christmas rush. Such, I suppose, is life in the big money world of Canadian records. The LP will be the follow-up to last year's San Paku EP.
On the live front, CJSR, the radio station at the University of Alberta,
reports great success with their monthly concert series. The shows are
held at The Yardbird Suite, a jazz club operated by Edmonton's Jazz City
organization. Once a month the venue is handed over to the radio hacks
for a night of live music.
Other venues worth checking out if you visit Edmonton include:
Scandals: This disco has played host to a number of local and visiting
artists over the last couple years. Word is, however, that the club is having second thoughts about live bands. Sources at CJSR report that Scandals' booking policy seems to change from week to week.
Jaspers: A blues club located in the city's Convention Centre, Jaspers
focusses almost exclusively on blues. Recent visitors have included
Mighty Joe Young.
Spartan Men's Hall: Home to most of Edmonton's hardcore gigs. (An
appropriate name for a hardcore hall, I think.)
Riv Rock Room: Usually home to an assortment of heavy metal cover
bands, the RRR was hosting the Enigmas last weekend. This could mean
one of two things: 1.) that the RRR is becoming more civilized or 2.) that
we'll never see Paul MacKenzie again.
I ROW     A  V  A  I  i; A  B i E
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12     N  T W  K      12 12     N   T W  K      ! 3
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I E T T ■ E I l/WjPIIIiniOl S
P.O.    BOX    330,     1755    ROESON    STREET,     VANCOUVER,    8.C.    V6G    1C9
l00 OFF
Animal Slaves
A9an<* Pe^/e
Moral Lepers ^      NoMeansNo
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House o Em.iy       WQH^
Rocking Edsels
The Grapes of Wrath
8"'°"*9r,te      S*an9^009     0o>     °*
r'y $isje«
685-8841 VANCOUVER, B.C. 876-8321
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