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Discorder CITR-FM (Radio station : Vancouver, B.C.) Oct 1, 1993

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  BIG CHIEF  THE PALLBEARERS   ENGINE KID   BLISS
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4 3 O     We it    Pen Jar
6  6  v  o  a  o  r,
the
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« A Musical
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"0*0«,MCo«surfan,i
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J,-rhurOct.aO+21't^ subs****8
^^•^-.^•-sr-^-1* <_3s>    About a week ago, I \
enough lo st on a FACTOR grant jury.
They call it a jury because the possible
fate, destiny or career enhancement of the
applicants for these grants lie in the hands
of a three-to-five person panel of local "in-
the-knows," as selected by the regional
representative to FACTOR (Foundation
to Assist Canadian Talent On Records).
There are seven regional reps across the
country, however some regions refrain
from jurying certain genres of music because FACTOR believes that certain regions may not have enough knowledgable
or competent people to judge that particular genre of music. For example, the Regina
region of FACTOR does not jury a "World
Beat" category. You can therefore draw
the conclusion that there are not three
people in the 300,000+/- population of
Regina to competently critique WorldBeat
music. This I find quite ludicrous, and this
is part and parcel where some of the problems lie within the FACTOR adjudication
Because I have the "distinguished"
job of editing an alternative music magazine I was selected to jury the "Alternative
Rock" applicants—a connection, but a very
weak one at that. However, the decision
for which genre the artist actually fits into
is selected by the artists themselves beforehand; there is, therefore, some discrepancy as to whether or not that artist
should be in their selected category. Regardless, a jury sits and listens to submitted demo tapes and, to make a long story
short, determines whether or not that artist
is worthy of a grant. This is an even bigger
problem. Actually, it's the principle of the
matter which really has me embittered.
Before a decision can be made as to
whether or not the applied artist will be the
recipient of a grant, the jury must reach a
unanimous decision In most cases the jury
doesn't. What takes place next is the presentation of individual theses from the
judges as to why the artist in question
should or should not receive a FACTOR
grant. Simply, one person is trying their
best to convince another that "Band A"
should/shouldn't receive a grant, "Band
B" shoukl/shouldn'L..and so on. The sad
part about this whole debate is that if your
demo just happens to be judged on a day
when a ratio of the judges are in a bad
mood, or they don't care for your brand of
music, your kiester will be back en the
street busking for change at the transit stop.
I'm not writing this because I have
any solutions or insight to the process of
distributing grants, I'm just taking this opportunity to re mind you that compromising
your principles will get you nowhere. I
could have chose to not sit on the FACTOR
grant jury. I •/touMhave chose to not sit on
the FACTOR grant jury. It was not an
honor. It was not fun. And I apologize for
using this particular situation as a learning
FACTOR
125 George St.
2nd floor
Toronto, Ontario
M5A2N4
(416) 368-8678 mappy day! CiTR's traditionally up- good as it is now. Things are clear, audible and discernible—who would've dwellers were exposed to not one, not twi
in-the-air competition has begun. guessed? This, by the way, is the key in listening to bands and, in turn, makes all devoid of any justifiable reason to e
Twenty-seven bands, three rounds,       the job of judging a whole lot easier. The air hangs a little less heavy with      judges must have had a troubled time sr.
!appy day! CiTR's traditionally up-
in-the-air competition has begun.
Twenty-seven bands, three rounds,
and too many jokes. Shindig returns to the
Railway Club every Tuesday night, featuring three local acts, battling it out forthe sake
of pride, prestige and prizes. Who will be the
winner of forty-eight hours of eight track
recording time courtesy of Deadbeat and
Renegade studios? Forty-eight hours of six-
a track recording time at Downtown
Sound Studios and a huge Mothers Music
gift certificate? And who will walk away
, with forty-eight hours of twenty-four track
recording time courtesy of Mushroom and
Bullfrog studios, and an opening slot on a Perryscope bill? Find out at
Shindig! With an M.C. like Garnet Timothy HarTy, bartenders the likes of Mr.
Grey, and celebrities such as Rupaul t. Brooks constantly milking their beers,
can you afford not to be there? Vancouver's favourite tube-steak queen,
I jane, is waiting outside, cold-chillin' with the hot dogs, and she aims to
please. Don't be late, the action gets underway every Tuesday night at 10:15.
Shindig, the Railway, and you. It's all so beautiful!
TUESDAY, SEPTEMBER 14: Get a life they told me; I was moping
around and becoming a very big pain in the ass. Taking long trips, neglecting
my editorial duties and sitting by myself on the cold curbstone of 7-11 parking
lots, nursing a cola/grape/orange Slurpee until all hours of the morning. I was
a mess. I was reeling from the effects of girl problems. I was writing poetry,
wearing the same clothes and more concerned about my hair than vacuuming
my bedroom.... But now I'm a Shindig judge and life has drastically changed:
I mope around the Railway Club with a Shaftsbury Dark Ale in my clammy
grip looking for a lonely stool to perch my hynie upon until all hours of the
moming. Writing comments about the performances of the band on each
particular night, I'm more concerned about my hair than I am the punchline
of the long-winded joke I'll stumble to the mic and tell.
Shindig is my saviour.
A year ago Shindig goers could only hope for the sound to be half as
good as it is now. Things are clear, audible and discernible—who would'v
guessed? This, by the way, is the key in listening to bands and, in turn, makes
the job of judging a whole lot easier. The air hangs a little less heavy with
smoke (people do die from lung cancer, believe it) and the Rail Club
atmosphere is friendly and courteous as usual. Garn, the Master of Ceremonies and honourary member of the Road Boners (a 4-man wrecking/bowling
crew that will take on anybody, anywhere, anytime. Call me <_> 822-3107 and
we'll roll), is almost too comfortable in his element, scolding young punkers,
declining joke-tellers and comforting those who get booed off the stage.
Here's the lowdown: Spiritual Heroine placed a disappointing and
surprising first. Strain came in second and Ripple rounded things off in third
place. This means that Spiritual Heroine advances to the semi-final round
which will take place about three years down the road! Here, in paraphrases,
is what I wrote on that night:
To their benefit (or not), Ripple sound Uke the best of years for Jane's
Addiction. Although seemingly trying too hard at times to sound Uke said
band, Ripple add an increased and slightly more innovative style to a sound
that can distinguish an original act from a bottom-feeding pablum-pop
commercial success. Ripple are neither of these. SUck and hypnotic chops,
driven by an incandescent rhythm section combi ned with a vocal meandering
which, no matter how annoying, makes for a band with a lot of potential...so
long as they keep their nose clean and avoid the trap cf listening to the radio
and trying to sound Uke their influences.
A great comment was made to me as I was trying to think of something
to write about Strain: "A band like this doesn't need a lead singer.*' Now you
can interpret that one of two ways: the music is strong enough to stand on its
own or the lead singer adds nothing to an already powerful, or inaudible,
sound. In Strain's case I think the sound is dated by a failed attempt at
capturing the aggression of youth. This sound Umits itself only by its style.
Great musicianship Individually they could probably come up with some
interesting and original ideas.
I found Spiritual Hero ine to be very uninspired, lacking any original
motivation and in dire need of a gimmick. Did I hear B-52s7 Patti Smith?
Paul t. Brooks
TUESDAY, SEPTEMBER 21: I guess it's an unrealistic dream to go to
Shindig nights expecting a pleasant surprise. On this occassion, Railway
dwellers were exposed to not one, not two...but three utterly hopeless bands;
all devoid of any justifiable reason to exist. Things were so grim that the
judges must have had a troubled time spotting anything remotely positive
to encourage these people to build on. The performers this night didn't even
have the tender ages that might render such a fiasco as forgiveable. If the
judges saw things as I did, they could only make their weighty decisions
based on how amusing and absurdly pathetic the delivery of each band was.
Gracing the stage first was Ashes What has middle 80' s earnest-
guy college rock wrought? Their singer was this pseudo-pirate
greaseball-cum-graveyard porn-video honcho who wove inspired tales of
Uttle man nothingness punctuated by countless yelps of "Let's go!" that
consistently segued into Skynyrdian high-sdioolish guitar solos. The other
axe maniac flailed with such reckless abandon I bet it was just U ke the first
time he made love to himself with the family out of the house. His intensity
really choked me up. They are no Windwalker.
Next was Hugo, a depressing, pre-fabricated, assball sludge
goofhoie rock power trio. They were partly redeemed by the utterly tuneless
vocals of the chortling guitarist he didn't seem to have a clue about
anything! The evening's sole bright spot! The remaining two thirds of Hugo
were just too wacky for their own good. The drummer's obvious pride in his
Cindy Brady soussy-blonde dreadlocks and the bassdude' s greasy Redbone
styUngs made me wish die only prize these jerks could win would be oneway tickets to Bob Berdella's basement. Ironically, Hugo went for the
laughs but proved to be nowhere near as funny as the first band. Needless
to say, they are no Cuter Than Spunky.
Last up and last place was Wretched Ethyl, a revolting smiles-
a-plenty shill-core new wavish trio. There was nothing funny about this
group. I suppose of the three, they most closely resemble a band that might
actually play a show in a non-Shindig environment. Well, guys, don't let it
happen around here! I bet they'd Uke you in Calgary.
In a better world, none of these three would get to re-create their
nightmare on any stage anywhere ever again. But in this world we are
blessed with the open and giving sweepstakes that is the Shindig Lottery.
Hugo will appear in the semi-finals. If you happen to be there, accidetally
spill a drink on one (or more!) of their cheering section...sorry lot that they
Emma Kuck
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8 _E^go____u_g[__ Be a part of the memories!
TUESDAYS at the
RAILWAY CLUB,
CiTR continues the hallowed
Vancouver traditions of musical competition,
fabulous prizes and jokes-for-beer.
Oct. 5 Oct. 12 Oct. 19
The SAVAGE HENRY     TOQUE
DUNDERHEADS THE LOVED ONE TICKLE TRUNK
HEATMISER The PIPEDREAM
SPEED BUGGY       FALCONS    Oct. 26 - tba
f_)AIMll-^-ri_g--^lJ_Bl &N6GrV)6 S1UVI0S GROUP
downtown
sound
studios This was going to be an article on an upsetting
en vironmental "event" occurring min utes away from
the headquarters of CiTR and Discorder, but it has
developed into something a bit more philosophical in the
process of writing it. Nonetheless I must begin by informing
you, the reader of these pages, just what this "event" is, and
wax philosophic from there...
AFEW YEARS AGO, the
mighty powers that be at this
bloated corporate university shook
hands with the National Research
Council's Institute for Machinery
Research (NRC and IMR
Respectively), and decided to plunk
a building down just south of 16th
and East Mall, in an area of 70 year
old second growth forest best knwon
as the University Endowment Lands.
University representatives refused
to discuss the location of the site in
a public process due to deadline
pressures (after three years), so with
almost no public announcement or
meeting, an access road was cleared
in early June, and this provoked a
response of biblical proportions.
By biblical proportions, I of
course refer to David and Goliath.
While  plenty of people of the
VSXVSXVVVVVV
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community from professors to
students pay lip service to saving the
trees, myself included, a paltry few
actually had the guts to stop the
logging of what's left of UBC's tree
stand by actually being there, quite
literally, up a tree. Over the summer,
plagued by bugs and flying squirrels,
the protestors tottered on the edge of
victory, particularily when, in July,
the UBC Board of Governors
instructed the administration to find
an alternative site within the existing
campus. But by late August, the
administration had convinced the
provincial government that the south
campus site was best, and soon the
area was fenced off, and in mid
September, the protestors were told
they were trespassers, and to quote a
rosy media advisory I was sent by
UBC Media Relations Manager
Steve Crombie, "We have informed
the protesters that we are proceeding
with the site preparation and have
askedthemtoleave. Wehavefenced
off fhe worksite to ensure safety and
posted 'No Trespassing' signs."
I GUESS THE BIG DEAL from
where I stand is both the direct
impact of clearing yet more acres of
trees from what has been a very
special green belt separating these
hallowed halls from the real world
of the big Terminal city, and the
more intrinsic problems of
acountability and what role the
average person can expect to ha ve in
these sorts of decisions. UBC is not
responsible to the public the way a
municipality is because theoretically
not enough people live here to
warrant consideration.
The "mini-Clayoquot" (as
some media types refer to this
particular protest) at UBC is only
another example, another symptom
of a larger ill affecting both this
University, and yes, you guessed it,
society as a whole. Rather than tell
you about the fact that here, in Super
Natural British Columbia, we clear
nearly five acres of land per minute,
orregail you with disturbing statistics
about what's left of the old growth
forest (or second growth, for that
matter), I would Uke to draw your
attention to a more subtle crisis, a
crisis of the way we behave and
think.
What is a University about?
We seem to be brought up to believe
it's where you go to get a good job,
pay your taxes, have 1.9 children
and a picket fence. Needless to say,
this factory /production line idea is
simply not true, especially seeing as
there are so few picket fence jobs out
there right now. Historically
speaking, University was a place for
scholars and not for credentials's;
most of us are here to get a degree,
and not to learn, which is tragic.
More tragicsti II is howthe University
administrators look upon their
domain: a big pork barrel. I find the
University's conduct over the $12
Million IMR highly dubious, and
there are numerous other examples
of this, too many to list, but the end
result has been a University
increasingly interested in research
contracts, endless building
expansion, and less and less concern
with the actual research and learning
access of the students and their
sounds an awful lot hke our society
as a whole, doesn't it? Go figure. I
know, I know, you've heard the
cliche before and there's nothing
you can do about all this so you're
going to stop reading right now.
Still with me?There are things
you can do; I mean who is the
"University," anyways? The COUP
protesters can use any support you
can give, from legal advice to
donations to even coming by and
helping out. More importantly, write
the government—this IMR facility
isn't even for University students—
and you should tell your elected
representatives whyyou're disturbed
that the University is run by a dozen
people.
THE POINT IS THAT it's up
to you to decide who's in
charge of this University and this
society. I know that sounds really
cheesy, but it's all we got, baby. One
irrefutible fact that is wonderful about
our li'l nation is politicians hate to
sweat, and assuming nothing is true
about infantile conspiracy theories
about Freemasons or theCIA freedom
of speech is actually still respected,
despite the size of our shopping malls.
I gotta stop now, before I get too
honey sweet, but just remember that
maybe twenty people have held off
our dear University of Booming
Corporations for four months, legal
action and all. Don't believe it's the
last stand of trees they take, either.
The University's latin motto is
"Tuum Est," meaning "it's yours."
Isn't it time we remind them at that? do you want tab* a AfcftfA:
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OCTOBER  Q After September's side trip to TV-
land, I needed something clear and
uplifting to chat about in my humble
little column. It is true that I was the
one defending the tube, but even the
tastiest of dishes can leave a funny
taste in your mouth. The Vancouver
International Film Festival (VIFF)
is thus my Extra (or Uke sugar-free,
chlorophyll-activated breath gum)
cleansing the stale odours left behind by my last meal.
Always minty fresh, the Vancouver International Film Festival
makes its twelfth appearance on the
screens of our home town this year
and once again it epitomises all that
is astoundingly wonderful about Uving in this city. Though the festival
is of adequate size to draw big names
and quality films, it is small enough
that it hasn't been destroyed by lost
vision or enthusiasm-numbing bureaucracy. Large enough to encompass so many screens you could not
possibly see every flick, it comes
nowhere close to the proportions of
TO (the Big Prune)'s Festival of
Festivals during which the average
movie-loving citizen has a better
chance of being run over by David
Foster than getting a seat at a screening of a popular entry. And though
the VIFF organizers claim that
they've "started to market the festival in a more aggressive, non-Canadian way," the extent of this self-
declared sell-out is "having trendier
T-shirts, [having] a tie designed, and
[making] a trailer" that is being run
in theatres around Vancouver.
The most endearing aspect of
fhe VIFF's 'Vancouvemess" is their
continued devotion to the off-beat,
fhe international, and the untried.
Again shunning all Hollywood
blockbuster extravaganzas (unlike
the aforementioned Festival of Festivals), the 230 films that will be
screened here between October 1st
and October 17th have been carefully selected on the basis of a number
of criteria (excellence, accessibiUty,
interest) of which American studio
involvement would have tallied in
the "against" column. Last year,
Festival Director Alan Franey admitted that this was in part a scheme
to distance Vancouver from other
film festivals in order to create a
special niche and therefore draw
more national and international attention to the efforts of the VIFF
instead of competing as the pale
12 Gtp^un___t_fsi
of festivals already well
established.
The other side of this desire to
highlight the unUt stems from an
obvious desire on the part of the
VIFF's organizers to demonstrate
howprovocative, how cathartic, and
how beneficial to humanity film can
be. This typically west-
coast agenda is hinted at
in the overall feel of the
festival, but it is stated
blatantly in the descriptions of two of the fea-
"Children of Fate"
is one of those programmes. Last year, the
VIFFinchided for the first
time, with Uttle certainty
of its popularity, a series
exclusively comprised of
documentaries. Happily
for both lovers of truth
cinema and the series programmer, it was well
enough attended to warrant an annual return.
Says Director
Franey, "Documentaries
are very often a hard sell
in festivals as they are in
regular theatrical release.
Canada has a long history
of excellence in fhe documentary field and Canada
has needed a showcase
for documentary films.
We're very happy that we
can confidently take that
role, based on the success
of last year's programme."
The guiding tenet
behind the selection of
films for the "Children of
Fate" series was the interest of the programmers in
"the new approaches to
ethical issues and to the
singular question of how
Ufe can be Uved more fully
in fhe face of circumstances beyond our control." Fascinatingly, the
panel found that "the pur-
suit of happiness and
1980's definitions of success are
clearly being radically re-examined
by the documentary filmmakers of
1993." (Tell lhal to the pubhcity
mongers at the Toronto festival!)
Not content to just show the
movies, take the receipts, and run,
[ the VIFF has solicited visits from
many of the visioned people behind
: cameras so that the filmmakers
i discuss their work in person.
I Nettie Wild and Alanis Obomsawin
iwo such participants and both
have created controversial films focused on first peoples issues that
will inevitably be discussion (and
brawl) starters everywhere.
Obomsawin's Kanehsatake: 270
years of Resistance examines the
I  1990 Oka crisis in Quebec while,
| closes to home but no less explo-
, Wild's Blockade focuses on
the clash between loggers and
I Gitskan natives in northern B.C.
Clear on the other end of the
I rainbow, yet just as golden, are the
motives behind the inclusion of the
"Dream Matinee" series. The VIFF
booked the hugely screened Vogue
[ Theatre,   probed   Vancouver's
[ cinephile community for the movies
that made a deep impression on them
a child, obtained prints of fhe
most popular choices, test-screened
them with some authentic modern
youths to ascertain that the pictures
had staying power, and contacted
school boards and teachers in various Vancouver communities, all in
order to "encourage families to see
films on the large screen and partia-
Notre Dame, and swashbuckler of
all swashbucklers The Adventures
af Robin Hood come to town. If
there is one thing Vancouver can be
said to be lacking in, it is repertory
cinemas. This chance to see classics
of the gUttering years of Holl y wood
on the silver screen, as their makers
intended them to be seen, cannot be
passed up.
One of the shiver-inspiring
aspects of the annual advent of the
VIFF is the opportunity the festival
provides to see films, and therefore
alien perceptions, that otherwise
would never find their way through
the optic receptors to the psyche.
This is not an aspect that will be in
much evidence on the evening of the
first ever tribute toSecond City Television (SCTV). However, the "Canadian Images" series programmer,
Alison Vermee insists that "this gUttering landmark occasion" has been
set up to honour "an outstanding
contribution to film comedy" that
has been made to the world by the
alumni of SCTV. Hosted by the ever
charming CBC DJ Brent Bambury,
the tribute will feature a panel of
stars so bright, so talented, and so
Canadian, you may not want to ask
them any questions at all but instead
invite them over to your b
obviously have too many engagements to come out and placate us
country cousins) will be interspersed
with cUps from the "legendary" Canadian television show. After the
"In Conversation" portion of the
evening, the mildly amusing
Groundhog Day, written, produced,
and directed by Mr. Ramis, will be
screened. Apparently Stripes, Honey
I Shrunk the Kids, Uncle Buck, and
Home Alone were already reserved
that day.
If Canadian kistch isn't your
mood du jour, the "Dragons and
Tigers" series will provide ample
selection of a more exotic nature.
Continuing in their "long term commitment to East Asian cinema," the
VIFF has an astoundingly good selection of films in this programme,
especially considering the current
popularity of cine ma from this market and the fierce world-wide competition for prints that goes on between the various festivals. "East
Asian films have become the flavour of the month at festivals," notes
Franey, "Starting in Venice in Spring
of 1992, almost all the prize winners
of the major awards have been East
Asian films." In addition to these
previously acclaimed works, Uke
Palm d'Or co-winner Farewell to
pate in what used to be a way of life."
Well, I ain't but a kid myself (overgrown as I may be) so you can be
sure that I'll be doing some participating of my own when such classics as The Thief of Baghdad,
Frankenstein, The Hunchback cf
for Hockey Night in Canada and a
brew or two. Q&A with the Ukes of
Joe Flaherty, Andrea Martin, Harold
Ramis, Martin Short, and Dave
Thomas (Catherine O'Hara and
Eugene Levy have yet to confirm
and Rick Morams and John Candy
Art by Cathy
My Concubine, BerUn top honours
co-winners The Wedding Banquet
and Women From the Lake of
Scented Souls, and Cannes first film
winner The Scent cf Green Papaya,
are a large number of world and
international premieres. But most
exciting of all, according to Franey,
"is the representation from young
Chinese independent directors who
represent a 6th or 7th generation of
Chinese filmmakers [and who are]
breaking with the traditions ofthe
past." Typical of this new wave of
directors is Zhang Yuan whose
Mama was a VIFF entry in 1992.
This year he offers Beijing Bastards which stars Chinese pop sensation Cui Jian and "gUdes from
documentary to fiction to fantasy
while following the travails of a
group of young people in the rock
Eastern Asia is but one geographic location represented by this
year's VIFF. Featured again is the
"Cinema of Our Time" series in
which such unlikely and disparate
countries as Iran, Portugal, and
Bosnia have entries. Of particular
interest to world events enthusiasts is Sa-Life, a compilation of
footage shot in the former Yugoslavia by a variety of filmmakers
and put together by director Ademir
Kenovic. Sa-Life made a popular
run ofthe international festival cir-
cuit last year. In time to send VIFF
attendees into the frontlines,
Kenovic has reworked and updated
the film to provide an immediate picture of life in
the ravaged republic.
Back on the escapist side of fhe barbed
wire, the VIFF will bring
Jane Campion's The
PiancAo Vancouver
screens for its western
Canadian debut. The
story of a mute mail order bride who is shipped
to New Zealand, The Piano made Campion the
first female recipient of
Cannes' Palme d'Or and
has received only positive press in its subsequent global tour.
With 233 entries, every damn person
who lives inthis metropolis should be able to seek
out and vie w afilm pleasing to their tastes. To better facilitate making
sense of the whole shebang, VIFF schedules are
available at participating
theatres (Vancouver Centre, The Caprice, The
Ridge, The Vogue, The
Hollywood, and the Pacific Cinemateque).
Those citizens fortunate
enough to have a lucrative income can purchase
the Gold pass (admission
to all screens excluding
galas) for $175. The rest
of us can buy a package
of ten tickets for $60 or a
daytime pass (admission
to all matinees) for $50.
At $7.00, single tickets
are still a buck less than
regular theatre prices.
Seniors and disabled
folks get a discount.
If you don't Uke movies,
WHAT THE HELL ARE YOU
DOING READING MY COLUMN, YOU MASOCHIST?!? If
they're your UfeUne to another,
and better written, universe,
Oct.1—17Ukemeyouwillbetwin-
kUng with the stars. totally rockin' out fast, fresh and
s, check out an
lof 7"
Who pat oat your first release?
Mike: The first LP was self-released with hand crayoned
covers...which was fun until our
fingers fell off.
What kind of response are you
getting?
Glen: Totally rocking out is a matter of driving ideas home, or so we
think. We try to write songs or
improvise around ideas we think
are worth driving home. So we've
been getting pretty swell responses
lately and it's hard to know whether
it's the ideas themselves or the
"rocking out" part people like.
Have major labels been showing
Major labels sometimes wink at
us, or maybe it's the guy behind
us. It's doesn't matter—our eyes
are propped open with toothpicks.
Are you planning on playing
Vancouver?
Probably in the spring of '94.
Truman's
were Babe the Bjjf
on an excellent if
healers all the v
who also deserve!
churning out enjoS
then Truman's V
of the gig with tt
Uve show I'vi
audience (which included such NY
luminaries as S M., Mar^iand Azalia
Snail, and a Columbia!
seemed to be ii
struck. After the gig, tl
down a friendly offer of f|<
opted for some fresh fruit j
ss the street. Bef|
I sat down as they filled
interview questions a
about wrecking instrum
stage and getting money at
ment ripped off. So if you are ii
Where's your favourite spot in
the world?
Glen: F.nsenada, Mexico. Nobody
is uptight.
Mike: Prague, for it's cultural and
unsurpassed social life. And the
Mayabell/Palenque Ruins in south
Mexico for the monkeys, jungle
falls, and ancient sacrificial rituals. The Mayans played a kind of
basketball where they sacrificed
the winner after the game. But
they believed in reincarnation so
strongly that they felt rewarded
with the opportunity to come back
as a bird or something. That's cool.
Who do you listen to?
Glen: All soul music: Boredoms,
Rodan, Sebadoh, Blues Explosion,
Sun City Girls, God is My Copilot, Axyler, Grifters, Can, Polvo,
The Ex, Caroliner, Magma, The
Ruins, Dead C, Mars, Fushitsusha,
Royal Trux.. .if we thi nk it explodes,
we like it.
Mike: I listen to my mom. Uh...also
Drivfsiafce JeliM'*&tM Humans,
Black
id, Lamp
jrathon—he
[From the Crypf'
ine with
rid 7"
something by
iNewZea-
. Someday he'll release an
full of our improved stuff.
Do you ha\
Day jobs inclj
delivering th||gs to people wit!
Mike: By day|j|feau^Mpji-profes
sional basketball players. As i
matter of fact, we challenge any •■••■
yjacker 7" (Sympathy For the
Record Industry) Aug. '93
f i c t i o
at single on theturiita-'
ble, couldn't figure out what speed
to play it at, and Uked it ff%>f| i
reason alone.Jean Smith, Mpab**! I
Normal's vocalist,has written W.lr
called "I Can Hear Me Fine", published by bandmate David Lester
and, unlike most books, it's available in record stores. The book, Uke
Mecca Normal's music is at first a
disquieting, disorienting experience,
not unpleasant. Tobehonest, Ididn't
Uke it's style at first.It seemed to
have a lot of obvious female imagery and symbolism all slap-dashed
together in book form, but then, Uke
a hot tub that's painful at first, I
gradually eased into it and got all
comfortable. There are moments in
"I Can Hear Me Fine" that'll make
you slow right down and ponder
them for a good long while. Very
illuminating and tou dung moments.
So don't be too quick to dismiss it
from your intended reading Ust. Discorder talked to Jean Smith at great
length about women's writing, rebars
and the Reading Railroad:
DISCORDER:   Did you keep a
No absolutely n<
Why not?
A lot of times I meet people who
seem like going to school has taken
four years off their life rather than
added to it. It seems Uke sometimes
it' s just a last attempt to pull things
together in a real structured way.
How did your reading atthe Raiway Club go?
It was quite scary. I was quite nervous. I hadn't done anything Mecca
Normal or otherwise in public for
quite a while. It's pretty harsh just
jumping up and launching right into
it. I'm pretty aggressive in what is
more Uke a yelling than a reading
and I certainly don't hold any
printed matter in my hand so it's
somewhat more animated than most
But are you not intimidated on
stage, alone, with just your lone
solo voice up there?
I do it regularly when Dave breaks a
string on stage, I'll do a solo thing.
Also, I did live in England for a
while teaching a woman's writing
workshop and supported myself doing fhat and doing readings. I guess
I'm used to it but it's still hard.
So how did this book come about?
Did you write on scraps of paper
whatever you got the chance?
It's a combination of all kinds of
methods. It's parts from
five or six years ago. I
put out sixty copies of a
chap-book of fiction and
some of that made it in
there; some of it is directly from songs, other
chunks were added subsequently to the main
body. It's certainly not
ness. I worked really
diligently on every ele-
The oldest parts of it are
from 86. Joelle is from
1986, that whole idea of
the young woman
who's fairly dissatisfied with her
situation one Sunday morning washing a frying pan-
There are lots of instances and
powerful images of women caught
Is Joelle someone you know? Is
It's a Uttle bit me. The frying pan
incident was based on something I
went through when I was 18 or 19...
It's a combination of events that are
specific to me but are also universal
to women really.
The writing could be -escribed as
loose and interpretive. Back in the
dark ages of writing this might've
seemed avante-garde, women challenging the masculine tradition of
writing, the male canon..
That's how I view this as well. What
is this beginning, middle or end thing.
Why does dialogue have to be so
prevalent? The novel, for however
long it's been around historically, is
basically a male construct, much Uke
history is. We beUeve history because it's written down, it's got certain
elements attached to it Uke dates and
places and actual facts, so it must be
true. But I think commonly we take
the novel for granted as something
that's been around forever, and it's
the way you tell a story. It's between
these two covers and it will have a
logical and easily digested message
but I think this is worth challenging.
(To understand the next two questions you might want to at least flip
through the book):
What's a rebar?
A rebar is Uke a metal line with ribs
along it that you use in cement structure buildings. It's usually rusty and
it provides strength; it's a reinforcement bar. It has nothing at all to do
with baking a cake.
What's with the index?
The index is Uke a systematic grid
over the whole book. The idea
was that this book isn't the easiest
thing to pick up and go through.
There'll be some troublesome
spots, some frustrations. It's another system to throw over in terms
of understanding it and I think its
a light touch too.
A wind-up
Yeah, instead of a conclusion or a
climax or anything else, you get
an index, it's the latest.
So, at least Uke a peek at Jean
Smith's new book before you
make any judgements. Rumour
has it she's reading with Exene
Cervenka somewhere in the states
soon and she'll probably be doing
more readings about town. Jean
Smith's recommendation for
some good reading?:
"Very young Jane Anne Philhps,
Black Tickets is a collection of her
short stories that you can find in
the library. She takes a lot of
chances and pushes a lot of
boundaries".
by Kirstv Smith
OCTOBER  © ENGINES
IlfCONCERT
Tuesday Oct. 12th
AT THE TOWN POMP
13 EHGHES
"Perpetual Motion Machine'
$71 $12
CD
So what's the big
deal about Big
Stat?
Just ask Teenage Fanclub, R.E.M., the d.b. 's,
the Posies, the Bangles, Matthew Sweet, and a
hoard of cool next-big-thing bands.
Alex Chilton + Jody Stephens + Ken Stringfellow
(Posies) + Jon Auer (Posies) +14 Shining
Moments = Big Star Live at Missouri University
4/25/93.
Specially priced now at
ZULU RECORDS
1869 W. 4th Avenue Juliana Hatfield is worshipped by some as a rock diva for the slacker generation. Those of
us who aren't fans don't understand all the hype.  The media has done a great job creating
a paradoxical  image of Juliana as on the one hand as a pin-up girl for hormonally-charged,   grunge-
loving boys;  and on the other,  a strong-willed woman bass-playing her way through a male-dominated
industry,  whose lyrics reflect feminist concerns. So what are we to make of her?
It's naive to think that we music consumers can cut through the media morass and appreciate
music for its own merits alone.  It's just not possible in the video age when a band or musician's looks
determine how many records are sold. And it's frustrating not being able to go see a show without a
preconceived notion of the musician(s)  imprinted on our psyches through magazine articles,  interviews
and videos. All this hubbub detracts attention from whatever music is being produced and in Juliana
Hatfield's case, it seems she's all package and very little substance. Since Juliana Hatfield got signed
to Atlantic it seems she's been cuddling up to the great hype machine that is big label music promotion.
Her face and attitude were plastered over virtually every music magazine last month,  promoting her
new CD Become What rou Ararith new band "The Juliana Hatfield Three,* featuring Todd Philips on drums
and Dean Fisher on bass. WheHiscordertalked to Juliana though,  she beefed about how pathetic the
media is. She believes that the partnership between media and artists has become something less than
reciprocal. She feels the media has taken to writing petty rumours about her just to sell magaz
and that this kind of exposure is something she could do without.  So,  here are the intimate details
of a fluffy little conversation I had with Juliana, who, by the way,  is the love-child of Oprah Winfrey
and is rumoured to have been dating a dog-faced boy and the ghost of Elvis.
DISCORDER: You sound groggy.
JULIANA HATFIELD: No...my voice just
gets Uke that.
DM yoa have a good night's sleep?
Naww.about four hours. That's about average these days, I can't sleep much.
Too much stress?
I think it's just because I've been travelling
so much, Uke all over the world, that my
body just doesn't know when sleeping time
Does it bother yoa that you have to do
interviews? Do yoo sometimes think that
tbe musk should be all you have to say?
Sometimes I think that, yeah. But interviews are a good opportunity to explain
things that people might not have understood correctly.
Who thought up tbe name "The Juliana
HatfieM Tliree?"
I think it was my idea. I think it's kind of a
bad name becauseit's hard to say, it's so
long. I wanted people to know there was a
band but I can't deal with band names. I just
think they're all stupid and they get old
really fast. I couldn't Uve with any name.
What kind of job would you get if tomorrow all your musical ability was shot to
hell?
I'd probably do some kind of physical labour where you can see the fruits of your
work, Uke window washing or ditch digging
or brick laying.
Why?
Cuz, I think it's cool..., when you workphysi-
cally...,(/ong drawn out pause of an
incomplete thought)...,thai kind of thing is
hypnotizing.
What does "Riot Grrrl" mean to you?
I have no idea. I think it's just a term the
media made up. It's just a label the media
made up...so they can talk about
something...(vague drift off).
Well, okay-.this is kind of a personal
question but what do you think of sex
without love?
(Lotsa deliberation)..! think that for some
people it works but I can't do it. People are
just different. Some people are just really
sensitive that way and you know,
whatever...people are just different.
What do you feel about women carrying
guns for self-defence?
Well, I feel kind of torn about guns because
you never know, ifyou have a gun maybe it
will help to protect you but it could backfire,
not literally, but, well...literally also, but the
whole idea could backfire and the gun might
fuck things up. You know what I mean?
Someone else might get his hands on it or
you might loll somebody you don't want to
kill. I don't know, I feel weird about guns.
They're probably bad.
Yeah, they're bad. But I walk in my
neighbourhood sometimes with keys between my fingers and I think to myself
'what's this going to do if I'm really
attacked or have a gun pointing at me?'
WeU, yeah, I' ve fantasized about that. That's
what die song "Dame With a Rod" is about.
It's about being able to defend myself if I'm
attacked. It's about killing the motherfucker
who attacks me and that's a fantasy but I
don't know if in the real world it could ever
be so simple and perfect. I understand the
feeling though. If you're ever victimized
you just want to shoot the motherfucker
because he deserves it.
(At this point _ small discussion ensued
about "Take Back the Night" happening in
Vancouver on Friday, Sept. 24 which led to
talking about feeling safe on the streets as a
woman, about Mia Zapata, lead singer of
the Gits who was murdered not long ago.
Juliana is a big fan ofthe Gits.)
Does it bother you that in virtually every
article about you, you're are referred to
as or inferred to be the girlfriend of Evan
Dando (lead singer of the Lemonheads),
when in articles on Evan you're not mentioned...
No, it's okay cuz I don't see it in every
article. I must read more articles than you. I
think people are off the girlfriend thing-
Evan and I collaborate musically a lot, so I
think that people just mention us together
because we do music together a lot. We are
connected that way.
I guess you don't see it but sometimes
there'll be these ridiculous graphics with,
for example, you sitting in a chair with
bubble hearts coming out of your head
and a picture of Evan Dando in tbe top
bubble.-
Yeah, I've seen one picture like that. One.
Have you seen more than one?
I've only seen one that graphic, but I've
seen others equally as silly.
Yeah, that one was really stupid. (Juliana is
getting heated) That one was really lame.
But when things Uke that happen I try to
forget about them. Because the media..I
don't want to give the media that much
credit. I don't want to let this upset me cuz
they're just pathetic and why should I let this
pathetic stuff upset me? I have a more laid
back attitude toward the media these days.
You just let it do what it wants?
It's not reaUty and they're lame. They have
an impossible job. You can't write about
music. Writing about music doesn't do it
justice; the job is futile. I feel sorry for these
people.
But it's not so much talking about music,
the media talks about you.
Yeah, but that's cuz the job of describing
music in words is impossible and nobody,
only a few people can do it weU and
ummm...so they have to resort to writing
about petty rumours and things. My attitude
is Uke, I feel sorry for these people, they
must have a lot of bitterness cuz they can't
do their job. If they have to write nasty
things, I understand it cuz they're bitter.
They have to get readers, so they write about
cheap thrills—that's how you get people to
Then why does it happen? Why do you
have to do it? Does your record label put
No, I don't have to do anything I don't want
to do. I just...I feel like if I do a lot of press
now at this stage, it'll helptoseU records and
then after a while I can stop doing it. Plus, I
think it gives me an opportunity to explain
misconceptions people have about me and
so every once in a while I'm able to clear
something up and that's okay.
What are you going to do today?
Today? Okay, I have a schedule. I have to do
one more interview, then I' m gonna go hein
the sun by the pool for an hour cuz I need
sun...and then I have to go buy a guitar. I
have to get another SG cuz I broke one and
I need it and then I have to go to the radio
station here (in L.A.) called KROC and
then I go to soundcheck.
Alright Jube,thanksfor talking and we'll
be seeing you in Vancouver in mid-Sep-
Yup. (click).
So there you have it folks. A snippet of
conversational heaven with our beloved
Juliana. Cut it out and sleep with it or take
Juliana's advice and trash it because it's not
reality anyway. Juliana did open up a juicy
debate about music criticism though. It is
true that music is indescribable. How do
you describe art? At best it's an approximation, an interpretation, and completely
subjective. But then, how do you ever describe anything? Words and letters are only
constructs meant to help communicate ideas.
They are at best approximations of reaUty
but without them we'd be grunting, rutting,
frustrated animals, wouldn' t we? So in describing music one is tryingtocommunicate
ideas about the music, opinions, not rigid
definitions.
Juliana strikes me as a shrewd
businesswoman who knows how to milk
the media for all it's worth, which is probably a wise t^ing since it's likely we'U be
seeing Juliana laying some bricks in the
near future. Then again, with her kind of
press and the way it seUs records she could
be playing for a long time. The sad fact is
she's filling a niche; there aren't a lot of
women headlining their own pop/rock
trios...so until then...
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30 E5_K__P5__S_l-:53 BY
The bottom must be my superior. She is the victim I present
for the night's inspection. I derive an awful knowledge from each gasp,
the tossing head, the blanching of her
knuckles. In order to force her to lose
control,Imustunravelherdefenses,breach
her walls, and alternate subtlety and persuasion with brutality and violence, playing a bottom who did not demand my
respect and admiration would be hke
eating rotten fruit.
—From Califia: A Secret Side of Lesbian Sexualit
bondage into the bondage
andsadomasochistickingdomofthe
world. The differ  iici- in genera] al
(scat or shit),
Pose," "Wrap" (buysomebulk
: wrap and let the fun fly),
Sadism and Masochism for many
years now; or at least that's what the
Kinsey report on human sexuality
contends. Chronicled in copious
amounts in western popular literature and music (remember the Stone's
"under my thumb" or Depeche
Mode's "Master and Servant" and
anything by Madonna), the pure form
of creative sexual experimentation
has been carried out by an especially
small percentage ofthe general population. Either that's true, or Mom and
Dad were very cunning in hiding the
torture and harnessing apparatus
when we were all growing up. Admittedly, here in the West the majority of straights indulge in only a
highly diluted form of pure kink.
Once a year, Mr. and Mrs. Suburbia
buy a copy of "Sheep and Rope,"
crack open the vintage case of anal
lube and go to the farm. They are no
longer the people the fun forgot;
well, for at least one night anyway.
In our hemisphere this is the general
rule, with very few exceptions. A
Goodbye W<
and welcome tc
s world of
The development of modern Japanese bondage shows a wei how sex
is not simply turn-on + foreplay =
penetration. As a historical pretext,
first contact with modern artistic
works of bondage occun-ed sometime during the Korean War. American John Willie's sexually suggestive works were products which initially washed up on the rising sun's
shore. Being much Uke a product
without a distributor, good fortune
played a role when Kitan Club, an
artsy fetish magazine catering to the
"abnormal" element of Tokyo society, began publishing Willie's bondage saturated visages. The immediate result of this merger between
East and West abnormality was a
springboard for the Kitan Club's
manifest destiny into a pure bondage and fetish magazine. This not-
so-subtle overture into high kink
was manifested in the long notorious July 1952 issue which highlighted a piece of artwork by Reiko
Kita entitled "Ten Naked Tied
While admittedly not completely
original, Reiko's modern adaptation
of tradition into a bondage image
was to harness (no pun) new followers into the growing Japanese abnormal scene.
Sounding astoundingly similar in description normally affiliated
with deeply disturbed samurai author Yukio Mishima, bondage
chroniclers claim that Reiko Kita
first encountered seme-e as a child.
"Playing in a library warehouse, he
came across such pictures by accident and was totally taken in by the
beauty of the rope. One of these
pictures displayed an almost naked
princess suspended under a pine tree,
her hands tied behind her back with
coarse rope, An ugly thug was also
pictured, sticking his hand between
the princess's legs. Anodier picture
showed a garden in snowfall, with a
stark naked young woman suspended in the air by hempen cords,
shivering with cold and shame. A
hoodlum master and a wicked hag
are shown beating the young woman
with a broken bamboo stick." According to the legend, this discovery
orSeTuTl
he learned that these pictures were
true forms of seme-e .
In case you have not surmised,
Reiko Kita and Kitan Club had more
of a connection than simply being a
contributing artist to a bondage
magazine. Reiko Kita was actually a
pseudonym for Ko Minomura, the
editor of Kitan Club. Through his
magazine, modem bondage in Japan began on its now clear and recognizable path.
Another influential magazine
appeared around the time of Kitan
Club, under the title Fuzaki Kitan,
which alternatively featured mainly
Western bondage artists such as
Stanton, Eneg and Willie. By the
inclusion of these artists, Fuzaki
Kitan had an overt western style in
its articles and representations of
bondage images. Some critics contend that the blatant western dharactr
of Fuzaki Kitan was the reason it
evolved, or denigrated depending n
your viewpoint, into a primarily
homosexual magazine. Apart from
this notable use of western bondage
artistry, traditional Japanese roots
remained through its regular por-
of which aspects Eastern enthusiasts extracted from western bondage, the following Japanese c
mentary on Willie's works refers to
fetishistic specifics. "We can see in
Willie's work that the main element
is not the actual bondage but various
other objects that are used. These are
not used merely as objects, but as
props for the attainment of certain
beauty. These objects are mostly
high-heeled shoes, long laced boots
and leather corsets. Also some new
items like old-style hobbled skirts,
which are long, tight skirts, modified with long gloves that allow both
hands to be tied together. These objects greatly pleased enthusiasts."
While this modified strain of
bondage proliferated in Japan, the
bondage scene declined in the US.
Along with the lack of success in the
Korean War and a domestic recession, interest in this harnessing variation of kink became relegated to
minor cult status, pressing artists
hke Willie into obscurity. In Japan,
which was ironically revitalised by
the Korean War, Kitan Club and
Fuzaki Kitan sowed the fertile sexual
earth with traditional seme-e and
tion in East and West are now highly
apparent. Where western bondage
seeks to benignly prop the act of
rapidly into its predictable straight penetration, the Japanese counterpoint creates an atmosphere where the sexual imagination and passion can perform creatively without the predetermined
uniting of genitals. Freedom from
the restricted notions about deviation has created a unique sexual environment in Japan; where popular
distinctions about normality and
abnormality have virtually beoome
OCTOBER   © cet
usic to m_^|      th a label rep who
*   in turn take us to meet
Helmetfor   |
much abou
had uple are still people
vfc?m$mi\l$p0Wdityhere's more contact wit
That s true 'becausethey are much *„,»;:,-, ind,
l people we found, and
people we found, a.
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rand
interest/f< I»  of WEA. Most ofthe head
honchos-.
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should tl\lJQ&$ffudience ^N°^kA\ 1 _Q _J__i
to (^(k^Cflffles^ tf^&m&M ttaey-roant to d^, and they're not tailor
ca,
treatment,
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back down to a more honest level
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Discorder: Sine* Helmet play*, here last things
have completely changed, as (ar as your record
label, and everything the band Is doing. You're
getting a lot of press on both sides; positive snd
negative. What is your view of Helmet st this
point right now?
Helmet: Well... we never anticipated all these changes
from the beginning. I think any band is happy when
the band's audience grows. We feel sort of the
same about the press that we did before positive or
negative. They're both constructive and destructive I suppose. If somebody hates, the band that's
fine. People have always hated the band and people have always loved the band. The thing that has
been a little disappointing is that some of the
people that loved the band before now claim that
since we are on a major label, our sound has
changed to their disliking. It's possible that this
album sounds less desirable to people that are
really into a grungier sound, because the production is much better. That was a positive thing. We
liked the way Strap it On sounded, but we like the
way this album sounds. It's got a lot more of the
live sound of the band and a lot more power. I
suppose the vocals are more clear.
We recorded the album at Wharton Tiers, just like
we did the first album except that we had 24 tracks
instead of 16 this time. We mixed with Andy
Wallace, and that was the only difference. That
was a different experience, but it wasn't a
completely foreign thing. We took a bit more
time to focus on specifics in each song, like a
bass part here, drum part there, guitar part
here, there, whatever. Pull things in and out
so the music had a little more depth. I thought
Strap it On was pretty one-dimensional, and
succeeded at what it was supposed to succeed
at for the most part. This album we didn't
want to do the same thing.
Beck to the label thing, Just becauae H Is such a big
topic. Doea It feel different now—I mean, Just to
Interview you, we had to go through a whole ahltload
of people who really have no idea about the music,
and really look at It from a "rocketer" sort of level.
I've got to get a photo pass to take photos of you
guys, and an eacort to introduce us to the band;
otherwise you guys would be unapproachable. Do
you feel out of contact with people?
I don't think that's true. When you come to the shows
you'll find us hanging around like we always have. We
have people helping us on the road now because we
have more responsibilities. We've been doing a lot of
radio interviews and other interviews; the band's getting a lot more attention than the last tour; we were
opening for Tad. It's been a year and a couple of
months, a lot of things have happened. When you take
your audience and double, triple and in some instances
quadruple it, obviously your time becomes more valuable to you. I haven't had any time to myself since we
signed this deal. There's no question—I've probably
done a hundred interviews in the last month or something.
But the actual record compeny itself. The fact that
the people you were signed to...Amphetamine Reptile; you guys probably could have phoned them
anytime and talked and everything would be cool.
Where with Interscope...the dilemma Is that Interscope
That doesn't matter. One ofthe main reasons
with Interscope is that they're a small label, v
How do you feel about the press you've
been getting, not just musical, but in terms
of politics? How politically correct Is it to
be on a label that is...well...their reaped of
the music is more for profit, for money
reasons?
First, let's make it clear that independent labels are
not these bastions of sacred moral ground, where
they're not interested in making money. They're
as fucking interested as making money as any
major label is, only they don't have good distribution, and supposedly there's more contact with the
band. The reason that's true because independents
are much smaller. Indie labels want to make money
as badly as major labels do; major labels are simply
these huge companies. We went with a smaller
major label.
That's what I was talking about with the
disappointment of some people, the backlash, because there are a lot of bands from indie labels
signing to majors right now. As long as the band
continues to do the music they want to do, and
they're not tailor-making something for the label,
it's a success. I don't care where I discover something, a lot ofthe music I listen to is on labels that
are completely non-existent now, or were bought
up by majors, like "Impulse;" it's a jazz label that
was bought up by MCA. So MCA distributes John
Coltrane records; it doesn't bum me out. Our
contention has always been from the beginning
that we would prefer that no one knew anything
about the band other than that they like the music
or don't like the music. We're not really into the
band photo thing. Photos appear in magazines;
people like to take band pictures. And oh, you
know, "You guys should have long stringy hair
and tattoos and be fucked up on drugs or something." We're straight, we don't do drugs, we have
short hair. To us it doesn't really matter what you
look like, it's what you do. I can get into Led
Zeppelin or Savage Republic and those are two
completely different looking groups of guys.
"...independent labels
are not...bastions of
sacred moral ground,
where they're not interested in making
money. They're as
fucking interested as
making money as any
major label is..."
contact with them. I spoke to Jimmy Aileen, who is the
president of Interscope, the day after Christmas. So I
spoke with him at home, just like calling (AmRep head
guy Tom) Hazelmeyer at home on a Friday night; just
hanging out with his wife or whatever. The contact is
very close with Interscope, closer than we would even
like it. We prefer to do what we do and have the label
hold up their end of the bargain and talk about things
that we need to talk about. As far as that goes, as far as
the head of WEA or Atlantic knowing anything about
Helmet, that's completely irrelevant.
Yeah, but it's to our benefit as well. We didn't go in and
get fucked over by a major label and that's the reason
for a lot of backlash. Hazelmeyer and I have talked
about this, the reason AmRep and Helmet have gotten
some backlash is because we went in and battled with
the whole major label thing and came out with a good
deal.
What Is your deal? What doea it entail? When they
say you have thrss million dollars or whatever It ia,
is thst money you pocket, or is that money that goes
Basically, we're making a living off the band, not much
more than a secretary at this label would be making. So
we have a small salary, but enough to live on. We have
support on the road if we need it. We have enough
money to make exactly the album that we want to make.
The figure that they gave you, Is it three million?
No, we've got a three record, firm deal and I think it all
s to around a million dollars for three
Recording, travelling, new equipment. We all
got some things fixed up. On top of that there's
obviously the video thing to contend with.
How do you feel about videos?
Well...we did videos for Strap it On, but we did
"Bad Mood" and "Blacktop" for Dope, Guns
and Fucking Up Your Video Deck volumes one
and two, so we're always interested in video.
The scary thing for me was dealing with MTV,
because obviously the quality of music you hear
on MTV is fairly low, it's the lowest common
denominator. I look at this influx of "newer"
bands that MTV is picking up on as a positive
thing. I think there's a higher percentage of good
music, coining from Sub Pop, AmRep or whatever that are signing to majors now, but there's
still not a lot of great bands out there in my
opinion, but the chance that a few good bands
like Sonic Youth and Nirvana or Rollins can get
played on MTV is encouraging.
Don't you thinkthat things get distorted though?
Most of these bands have come from more of
an underground, roots level way of getting to
where they are. Let's just say any of the big
bands, Helmet are just a participant, In the
Nirvana league, where Nirvana are a major
extreme. It almost seems now that your
record label are treating you like "rocketers"
and your new fane are going to be the ssme
way. They're not going to think they can
approach you because they see you on
MTV-
Henry Rollins was never the most approachable guy on the planet. I mean, he signed to a
major last year. It's up to the individual; if
you have ten fans at a show, obviously there's
a good chance that you get to talk to all ten of
those fans, whereas if you have 1500 fans at
a show, it's going to be pretty hard to have
contact with all of them. I am totally inlo the
contact with people. I have friends that I've
made on the road over the last couple of years
with the band. We write and we keep in touch.
They come to the shows again and again, whether
we're in St. Louis or wherever. That's something that has fortunately remained true. Obviously we have a completely different ethic than
Guns and Roses or Skid Row. What everybody
sees as the "loss" of their punk scene, this small
crowd that was into this music, I see this as a
positive thing. Why should the mass at
exposed to this garbage all the time? If w
carry this ethic of "fuck this rockstar tr
fuck this big buck attitude about everything" we
can bring it back down to a more honest level
which is what I think the whole punk thing is
about: purity in music, getting back to it being
pure music. Now what we're finding out is that
these punks are offended, they have this elitist
attitude. They don't want this thing that they
love to be available to anybody else. To me that
goes against the punk ethic. The whole idea is to
keep something pure. It's about music; its not
about your ego, it's not about how many chicks
you get, how many drugs you get or how many
people kiss your butt. It's got to be about the
music. That's what I admire about the whole
scene that we came from, but now the scene has
bitten us back. It's an ugly thing. It's only a
small percentage of people from the scene that
we've experienced this from, that have sort of
bitten us. I'm totally willing to talk to those
people about it and tell them what I think so they
can know where I'm coming from. We're doing
exactly the music we want to do, we're not doing
what Interscope wants us to do, or Warner Brodiers
or Joe Metalhead, we're doing what we want to
do. p
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CiTR
101.9 fM
N      M
o     i
n
o
r
s
with
special   guests
TERROR   T
and   the  Beat   Assassinator
FREE
PROPS MAG WITH EACH TICKET!!! FUTURE RAP by: Adam Bootsy
Muthafuckin Sloan
Well I'm gonna start things off with
one of the fastest sel ling rap records
ever, that Cypress Hill thang called
Black Sunday (Ruffhouse). As you
probably already know, dese guys
are very pro marijuana, and they
have 19 very good points in favour
for it being legalized printed inside
the album. As well, of course, they' ve
got tracks Uke "I Wanna Get High,"
"Legalize It," and "Hits from the
Bong." Considering how much its
selling, it's amazing that the PMRC
hasn't made some big fuss about it
yet. Beat-wise, DJ Muggs et al are up
to their same old style, with lots of
heavy acoustic jazz basslines and
those gritty high-pitched whines that
made them famous. The wickedest
tracks, to my ears, are "Lick a Shot"
and "Lil' Putos" 'cause they've got
some gusto to 'em. A lot of the other
tracks seem to drag, as if dese guys
have been smokin' just a little bit too
much of the funky stuff. All right, I
guess "Hand on the Block" and
"Break 'em Off Some" are cool too,
but I've heard "Insane in the Brain"
one too many times, yo!
Now on to that Bad Bad Man,
Fat Joe Da Gangsta! He's got
mega props from the rest of the New
York scene with production help
from Diamond D, Lord Finesse, The
Beatnuts, Showbiz and Chilly
Dee on his debut Represent (Relativity). Whew! But hold it, we
ain't done yet. It was recorded at
Jazzy J's studio, and there are
guest appearances on the mic by
Grand Puba, Diamond D, Kool
G Rap, Apache, Gisrno, Keith
Keith, and King Sun, yo! Things
start out hardcore with "Livin
Fat" and "Bad Bad Man" and
once you get used to his lyrical
flow its like dope. And the beats
don't quit. Check out "Da Fat
Gangsta" with the old school
Ohio Players sample—three of
them in the one song in fact, and
"I Got This in a Smash" to kick
the ass of your woofers. It's kinda
funny, Fat Joe, on the down low,
being a fat guy who ain't afraid of
talkin'about bein'fat, but the way he
does it sounds phat, whereas the Fat
Boy usedta basically just make fun
of themselves. I mean, Fat Joe does
not talk about food. He's one down-
ass nigga, and he ain't black.
Oh shit, this Diamond D
muthaphucka is all over tha place! I
think Pete Rock has definitely lost
his crown for guest miking on other
rapper's projects. So, I throw in the
new Showbiz and AG CD, Runaway Slave (London/Payday), and
there he is again! Within 40 seconds
I'm hearin' the D-man, and he also
produced three tracks on this release. When you're hot you're hot.
Anyways, checkin' tha shit
out, Showbiz and Andre the Giant
are down for knowledgin' ya over
hardcore beats over jazzy samples
for the most part. And they Uke to do
the thirty second intro beat before
the song starts, just Uke Pete Rock
and CL Smooth on their Mecca and
the Soul Brother album. Borrowed
styles aside, check out "More Than
One Way Out of the Ghetto" and
"Hold Ya Head" to get some knowledge over funky beats and "Still
Diggin'," "Fat Pockets" and "Soul
Clap" for their wickedness. As well,
check out "Soul Clap" and "Party
Groove" for some old school style
beats and raps. Its good ta hear somebody can still do it.
21 and Over (Loud/RCA) is
the debut album by E-Swift, J-Ro,
and Tash, otherwise known as Tha
Alkaholics. Dese niggas from da
west coast are basically concerned
wit brew, blunts and stunts and it
shows in their raps. Not much knowledge, but funky beats and freaky
Pharcyde-style raps (but not as original unfortunately). The first track,
"Likwit" is pretty cool with a start
and stop style of beat and rap with
King Tee guesting in there, as well
as doin' some more production on
other tracks. "Only When I'm
Diunk" uses the same sample as
EPMD's "It's My Thing" off their
first record, which is definitely good
to hear back in circulation again,
'cause its dope. "Who Dem Niggas"
is good and hardcore, but beyond
that it's a mediocre album. If yaain't
sayin' nothin' then don't be talkin'
loud, ya know, but I guess they only
be claimin' ta Uke the forty-O, so if
you're into that, cool.
On the dancehall raggamuffin
rap tip, and from Britain on top of
that, is Rumble with his debut.
Rumble (Gee Streel). Tings start off
kinda safe with "Life on a Track"
which gets down to some real business after the female singer does her
ting. Its also got a lot of the same
lyrics as the killer last track on the
release, "Booyaka! Booyaka!," with
its EPMD sample for the break. On
the whole, Rumble has a cool
dancehall style nearly rough voice
and cool dancehall beats and bass
with a rap influence in dere, but
when he tries to go all rap like on
"Look at the Kid," it doesn't sound
right (although its still a wicked
song). The real rough voice dancehall
don Tiger makes an appearance on
"All I Knows," as does Junior Reid
on "Crack Song," who did a lot of
production on the album. As a matter of fact, about half of the album
was recorded in Kingston, JA, giving it a good dose of ghetto reaUty
just by the feeling one gets by recording down there.
Oh shit, I can't beheve it!
Looks like The Bomb Squad have
whored themselves out again, doin'
the beats for Chilly Tee, a guy who
looks kinda like Snow but doesn't
even havehalf of Snow's mic talent.
Anyways, the album is called Get
Off Mine (MCA) and the beats are
dope in The Bomb Squad style
(which is gettin' kinda tired anyway) but the rap doesn't go anywhere—no knowledge, G. The only
passable track on the record is "On
the Outz," and Mr. Tee didn't even
Well it looks Uke we gots another large rap independent record
company comin' up courtesy of Sir
Mix-A-Lot Joining Rap-A-Lot
Records from Houston and Paris'
Scarface Records from San Fran is
Rhyme Cartel Records out of Seattle, distributed by Amencan Records,
the new incarnation of Def
American without the backing
of a major label but still run by
Rick Rubin. Gettin' down toda
knowledge, Rhyme Cartel has
just released a compilation
called Seattle...The Dark Side
(American/Rhyme Cartel) with
a claim on the front coversayin'
"Rhyme Cartel Records flips
the script: no grunge., just rap
andRAB.._!eatownstyle."The
most obvious track to check
out first is Sir Mix-A-Lot's
contribution, "Just Da Pimpin'
in Me." It's just what you'd
expect from him, no swearing
and a lot of braggin' and
boastin' 'bout his cars, guns
and big booty girls. The other old
school Seatown bailer on this comp
is Kid Sensation, and he's kinda
mellowed out, easin' back on his
bass addiction and slowin' up the
pace and even throwin' in a flute
loop throughout his whole track,
"Flava You Can Taste." The real
hip-hop on this release comes courtesy of two tracks from E-Dawg
and another two from Jay-Skee
They all got the distinctive Seatown-
style beats with a coupla funky fat
analog keyboard samples and way
back piano loops to keep your interest while the brothers rap about the
street. Also of note Jay-Skee's two
tracks were produced by Greg B,
who performed at a DJ Soundwar.
The rest is on an R&B tip so I won't
Now here's somebody who's
been around for a while, Umar Bin
Hassan, who's got an album out,
Be Bop or Be Dead (Axiom). Umar
goes back to the late sixties when he
was in the Last Poets (who might be
still around, they had stuff out in
' 85) and is using the same style now,
with the same style backing but now
with the help of technology. He has
redone two of the Last Poets tracks
written in the early 70's, 'This is
Madness" and "Niggers are Scared
of Revolution." The latter track has
been used well in rap. And with
good reason, with lines Uke "Pimping yours, Pimping mine, Just to be
pimping its a hell of a Une." The new
version is a near copy of the 1971
original and it even samples the
drums from the old one. Other tracks
which kick some knowledge and
butt at the same time are "PM' with
Bootsy on guitar and the second half
of the song devoted to Miles Davis,
and "Malcolm," both bringin' Umar
up to date with break beats. Some of
the other plays that appear on the
album are Bernie Worrell on the
Hammond B-3 as always, oldschool
drummer Buddy Miles, and Bill
Laswell on bass and doing the beats,
as well as producing the project.
And fi naUy we get to that nigga
from Texas who probably wasn't
even born when Umar Bin Hassan
released his first album, Scarface
has just dropped his second solo
bomb The World Is Yours (Rap-A-
Lot). Startin' things off with a good
pull on the joint, I, oops I mean he
gets into the hardcore way down
south Gumbo Frank Scarface style
with "Lettin' Em Know," and the
shit gets solid on "Comin' Agg."
"The Wall" has Brad-boy in his insane mood where he kills himself or
he gets shot or somethin'...anyways
its over a dope Ohio Players sample—yet another. Then comes my
favourite track on the album right
now, "Let Me Roll," wilh the tickin'
high hat, the kick, the clap, a little bit
of guitar way down in the mix and
some real get down on the get down
real funky bass like you ain't heard
since 1975! For real, this shit is
dope! The next track on my A-list is
"Dyin' With Your Boots On," aboul
Pf?li
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BY JUNE SCUDELER
Another indie label has
sprung up in Vancouver, well
North Van to be exact.
Factoria is run by Andrew
Amy and "is an independent
organization dedicated to using technology, networking
and world-wide postal systems to disseminate music,
mostly (although not exclusively) electronic/industrial
music. Factoria distributes
local acts such as The Fourth
Man, Deprogrammers, and
Children of Atom, as well as
Biomechaniod from Scotland. For a catalogue write:
Factoria 3139 Duchess Ave,
North Vancouver B.C., V7K
3G7.
As for new music, the
pickings have been pretty
slim. A compilation called
"Trans Europa: A Swiss Italian Techno Crossover" (150
BPM Records), features some
unreleased tracks by some familiar names. Kode IV contributed "Fight" from their
"Insane" release, The
Young Gods have two recorded live tracks, "Criez Les
Chiens" and "L'Eau Rouge,"
and the always fucked up
Pankow out do themselves
with a twisted German tune.
The unknown artists on this
CD don't fare as well; there's
a certain European
kitschiness that sounds unpalatable to my North American ears.
Clock DVA has a new
release on Contempo Records
partners snitchin' when they get
caught by the cops an all that. "Still
That Nigga, "goin back to the streets,
the dope, the guns, ya know, over
beats that you just can't fuck wit.
"Now I Feel Ya" is an "I Had A
Good Day" style track with the mellow madness blunted beats but with
a story 'bout growin' up as a young
kid, Scarface style and then about
bringin' up his own kid and beyond.
"Funky Little Nigga" features 13
year old 2 Low soundin'like a young
Scarface and claimin' his set and
doin' damn good, and there's the
Scarface freestyle track, and
then...it's all 95 proof, there's seventy minutes ofthe dope, just go out
and get it.
Yo, so here's the
breakdown...Scarface gets best rapper for his 6th album 77ie World Is
Yours, the Ohio Players get most
sampled artist with appearances on
7 songs, all from their early
Westbound years albums, and I just
gotta mention Boss wilh her track
"Deeper," one of the strongest
muthafuckin' tracks to be put out
this year, period. Oh yeah, and before I'm out, keep a look out for the
Leaders ofthe New School who
should be coming up to Vancouver
for an appearance in early November. A rap show in Vancouver? Incredible! Yo, I'm the fuckkkouttt.
called "Sign." It comes with
an exhaustive booklet that is
very interesting. It deals with
astronaut Alan Shepard's
sighting of a UFO and how
such signs are "A signal. A
symbol. A complex icon of
mind." Instrumental tracks,
such as "Signal" and "Two
Souls," are haunting, but the
vocal tracks sound dated. An
uneven release. Clock DVA
should have stuck with the
instrumentals.
From the Death of Vinyl label comes "Terra Vox:
Symptom of a Specific Culture" from Montreal. It ranges
from industrial-thrash
(Maschinenhaus) to ambient with a Chinese tinge
(Audio Sculpture Experiment). This is probably the
best release of the three and
it's Canajun! There's something for everybody and it
shows how much is going on
in this country.
A few notes...Skinny
Puppy will soon be recording their next album in L.A.
for American Records. Recently Front Line Assembly
did some recording there as
well, a disturbing trend has
started...
...Purple, who records
under the name Irrelevancy,
is selling its tapes at Boom
CDs, not at Blast Records as
I reported earlier. Pick one
up, it's interesting noise stuff.
Support your local friendly
local starving
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I    SEAMEN
Due to the fact they
are the most difficult
band to work with in
Vancouver...
it's the cheapest
tape in the store.
AUDITORY
SURGICAL
TECHNICIANS
"These shredders
pulled my face oft
to the bone."
Thrasher (USA)
"KKKK"
Kerrang(UK)
"Wow, this sh't is
blinding."
Maximumrocknroll
A moody
concentrated
collection of
_ songs, whose
f] dark tones are
matched with
equally ambitious,
brooding lyrical
JTENTION
BANDS'
If you have any demo's, CDs, or 7 inches, we will gladly sell
[your product on consignment. Call Rob at <£> 684-3722.
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■ AVAILABLE AT 568 SEYMOUR ST. (DOWNTOWN) FOUR FLOORS OF FUN . So I'm back! A loc of catching up to
do but I think I can do it...alone.
That's right, Tom's out of here, off
to school he goes with his books in
hand—maybe he'll come back and
tell as what he's learned but I'm sure
he just sleeps in the back row, so
don't expect much.
So many fanzine reviews this
month! I hope this is a reflection of
the communication within this "oh-
so cliquey" scene. Keep it up—even
if I hated your 'zine. Hopefully now
that summer is over more people
will be bored at home hiding from
the rain 'n' cold and consequently
put out a fanzine or start a band.
I wouldn't mind some nice
photos to decorate this page so if you
take photos of (local) shows and you
really like one—send it in and maybe
we could print it with the column.
To add to the punk rock debate—why is it that the Vancouver
scene is divided between all out slam
death dancing and stone cold statues? Is it not possible to dance without slamming? Sure, some one might
accidentally bump (that was bump
not slam) into you—get 100 or more
people in a room, and someone is
going to bump into you. Can't you
say 'sony' if you do bump into some-
one? I swear, I read it somewhere,
maybe it only happened
once, I don't know—but
there was a show and everyone danced (not slam
danced) had a good time and
there was no attitude, no
macho- ness and noslam-po-
lice. People respected one
another. I don't know—it
just seems that Vancouver is
stuck with two extremes and
I think a compromise is essential or maybe we'll just
have to wait till someone
really gets hurt or till we
really get bored...aghh!!!
Anyways, on with the re-
Please note that after the
name I note the issue, amount
of pages and size...
WARM FUZZY 03
(12 pgs., 5.5x8.5)
Just as the name suggests—
lg to snuggle into. I
really Uke the attitude of 'fuck you,
this is fun, if you don't Uke it don't
read it.' The content reflects their
Uves—coffee talk, music, coffee talk,
poetry, and more coffee talk. There
are some comics (Tom) and an interview (Sparkmarker) and a 'what's
up with ALL' type thing, it's free if
you can find it or send a buck for
postage to WARM FUZZY do RIEF
343 East 55th Ave. Vancouver, B .C.
V5X lN2...p.s...issue#4isoutnow.
RIOT GRRL #2
(16 pgs., #3 40 pgs 5.5x8.5)
A great zine from the Vancouver
chapter of Riot Gnxl. I don't know
what y ou' ve read or heard—but Riot
Grrrl can't be judged as this or
that.._t's one of those things that
changes on who's helping out and
doing what. I don't think you'll find
as much man-hating literature as the
mainstream press would have you
beUeve. These issues document a lot
of the frustrations of everyday sexism that some Vancouver riot grrrls
have to deal with—a real eye opener
for guys and I'm sure it's a burst of
inspiration for girls A grrrls. Poetry
and stones and 'did you ever think
of it this way?" type stuff. I can't
express how necessary stuff Uke this
is. Great emotion. It's free if you can
find it...at Blast or maybe
Spartacus?. or send $1 for postage
to RIOT GRRRL P.O. Box 1457
Station 'A' Vancouver B.C. V6C
2P7
THROW RUG 08
(24 pgs., 5.5 X 8.5)
This is the 'zine that spUt the Cop
Shoot Cop interview with Discorder.
They also interview the Bedlam
Rovers—which really interested me
as well as the Blindfold Test record
reviews with guest Scott Harbine
from Wicker Biscuit—I guess it's a
Bellingham thing, Idon'tknow. Cool
graphics and layout, even a bunch of
comics. Oh yeah, a Noggin interview to boot. It's also—you guessed
it—free! But $1 in the mail will
probably get you a copy.
THROWRUG40S9 SquaUcum Lake
Road, BelUngham, WA 98226 USA.
VAGUE if 1
(8 pgs., 8.5x11)
Cool "Barbie" cover—mocking
Vogue, get it? Vogue—Vague. (Ya,
we get it! -ed) Reviews and writings
and all the Uttle things to make a
'zine special. Lots of graphic artwork and drawings and it's all hand
written. Hopefully the next issue
will be bigger as this is just a tease.
It just amazes me how many cool
'zines are coming out of Vancouver—and for free! Send $ 1 or something special to VAGUE969 E. 10th
Ave. Vancouver, B.C. V5T 2B3.
YUM 4130)
(10 pgs., 8.5x11)
Colourful pages—pink, blue, and
orange with Archie comic strip cuppings throughout. About a thousand
insights on what bothers the editors
(Kara and Ann) or what makes then-
day. Write them and they will print
your letter. It's another case of using
too much paper when they could
easily shrink the type on a photocopier and using both sides of every
page. Still, very fresh, creative and
inspiring—makes you ask yourself
'why didn't I do that?' Survey questions and contest—I think the stuff
on the cover was chocolate syrup
and my prize should be an issue of
YUM #4—betcha I win. Send $1 to
YUM6303 Beaver Cres., Kamloops,
B.C.V2C4V2.
KNIFE 04
(60 pgs., 5.5x8.5)
WOW—I can only imagine
reading the whole thing—
jammed packed full of stories and writings and
scribbUngs and poetry and
drawings and photos and
everything else. Wow—
now that'sa 'zine! Reviews,
interviews (with Rusty of
Ceasefire), letters, talk
about coffee—too much
coffee. I don't believe people actually Uke the taste of
that black stuff, but I guess
all the vast quantities of cof-
fee-zines must stand for
something. So whether you
hke coffee or not send $2 (it
barely covers the postage
so be nice and send $3 if
youcan)to A-V/fEP.O. Box
26051 Westminster Stn.,
Winnipeg, Manitoba R3C
4K9.
FREE LOST GIRL 01
(8 pgs., 2.25 x 5.5; #2 was
20 pgs., 5.5 x 8.5)
It's taken me a while to catch up on
all the'zines, so I'm reviewing some
issues together. Lots of cool information inhere, thoughts, comments
and news cUppings on stuff that's
happening. Drawings and sketches
and a map of the USA with state by
state illegal sexual acts. Beauty
quotes, recipes (that sound scrumptious) and heartthrob photos of local
personahties (Dave Stovebolt)—
yeah. Issue #1 is completely hand
written—no photo copying(!) while
#2 is ofthe photocopy kind. Send $ 1
or find it for free—1143B, E.12th
Ave., Vancouver, B.C. VST 2J8.
MUSIC REVIEWS
SHIFT—demo
Well, Shift have now acquired a
new guitarist (ex-Thumbscrew vo-
caUst?) and changed their name to
Oversight. They played at the South
Wall on Sept. 17th and really impressed me—more powerful and
harder live than the demo. On the
tape, as well as Uve, the Youth Of
Today influences really shine, minus the excessive gang vocals. I'd
compare the hve vocals to Strain.
Lyrics are really cool too—the poU-
tics of government, school, and media as well as words of inspiration.
Definitely check this band out. Write
c/o Rob Nicholls 1450 Merklin St.
White Rock B.C. V4B5E9.
INFERNAL DEVICES/MARK-
Funeral '93
So if I gather this correctly, this is a
sort of spUt tape. Mark is that cute
Horsey guy, I don't know who
Steve or Rob are but when they are
with Mark they become Infernal
Devices. If you Uke Horsey I think
you'll Uke this tape—some real beautiful songs here, sometimes Mark's
voice reminds me of (gasp) Michael
Penn or other times an almost Bob
Dylan feel. I really dig these folk
punk bands—really fucked up lyrics too. Tapes Uke this bring a smile
to my day—no address.
HORSEY-7
With Horsey thoughts close at hand,
I should mention their new vinyl
debut. Two songs from their demo
and one new one. "Go Light" is
probably one of my favourite Horsey
songs—just brilliant, while the new
song "I* m Not The Best" didn't meet
my expectations. "Nice Lungs" is
their upbeat catchy silly sing-a-long
song that really gets you singing
along. Worth getting if you don't
have the demo—I just can't wait till
'Settle Down' makes it to vinyl. The
cool Uno-cut on the cover really
adds personaUty. c/o Trackshun Industries, 1285 E. 18th Ave. Vancouver, B.C. V5V1H3.
GUS—Rope Hunt demo
Formerly known as Seed, this Victoria/Vancouver 3 piece (with ex-
members of Onionhouse/Mission Of
Christ and M.S.I—yup, the drummer's from Toronto) blend chaos
and precision with a fine coat of
dementia. Twisted grooves that remind me of Jesus Lizard at times,
Nomeansno or even Sonic Youth
thrown in, hell—they even do a
Crucifucks cover of 'Washington.'
Kind of everywhere at once, hard
hitting and psycho—and they're
great live too! P.O. Box 8187 Victoria, B.C. V8W 3R8.
SUFFER MACHINE -Srream of
Love CD
Musically this would fall intoone of
those categories that I don't find
myself listening to—bluesy rock
stuff like Stevie Ray Vaughn..lots
of soul, I'm sure, the music just
doesn't move me. I really
Uked the bio/essay on how
the music machine really
sucks—it was really personal and made me respect
their love for making music—keep it up. If youfeel
it—drive it. 26 Upper Ave,
London, Ontario N6H
2L4.
FLASH BASTARD-
Crypt City demo
Now isn't this weird...a
band that doesn't Uve up
to their bio. Full propaganda, complete with band
photos that look like stills
out of the movie the
Untouchables and F.B.I.
"WANTED" posters—a
real Nation Of Ulysses influence, or so I thought,
but I couldn't have been
further off the mark. Sleazy
punk with a snarky attitude—for some reason I can only
think of a comparison to Slow—not
really the band but music in that
vein. Song titles Uke 'Psycho Bitch
From Hell' make me question if
they have anything deep and meaningful to sing about. Still—the bio
was cool. Tel. 228-1802 or 731-
HJOUUE—demo
This one was interesting—I wasn't
given much info on this one except
that Patrick Mitchell (from the '86
hardcore scene) is in it. That aspect
intrigued me—what to expect 7 years
later? Well...I can't compare this
tape to anything that I know of,
which really sucks as far as trying to
describe it, but is cool as far as
listening to it. Too many bands of
late have triedsodesperatelytosound
Uke their musical idols that originality is usually sacrificed. Not on this
one, 5 songs that weave their own
web and successfully catch the Us-
tener. Shit, I dunno, —sometimes
the guitar has the same sound (not
style) as Mission Of Burma, but
that's as close as I could get to comparisons—jangly, mid-tempo type
stuff—check it out. Phone Pat at
874-2875.
ALL AGES SHOWS
Saturday OcL 2nd:
The Mom my heads at Scratch
Records, 317A Cambie St. in Vancouver. Show starts at 3pm.
Saturday OcL 9th:
Sparkmarker, Bum, Ten Days
Late, and Pluto at the Hastings
Community Centre (across from the
PNE) $6 show starts around 8 pm.
Thursday Oct 14th:
Smashing Pumpkins, Shudder
To Think, and the Frogs at 86
Street; $17.50.
Saturday Oct 16th:
Bad Religion, Green Day and
86 Street; $17.50
Friday OcL 22nd:
Benefit For Bosnia with
Sparkmarker, Process and
more, $6 (this show is tentative, so
look for posters; maybe in North
Van, maybe not).
Saturday OcL 23rd:
Benefit For The Anarchy Frenzy
Debt with Naked Aggression,
SineaterO'). Mexican Power Authority, and Insult To Injury (this
show is also in the works so look for
info at cool record stores).
I am sort of questioning listing
all-ages shows that cost $17.50(read:
bands who have $5000 guarantees
and who'd rather rip-off the people
who put them where they are than
help them out), but I also understand
that there aren't that many all-ages
shows to begin with, so listing them
might help inform those who hardly
ever get to see a show—since most
of them are in those 'cool' bars.
Give me some feedback 'cause I
also reaUze that whether or not it is
Usted here, Perryscope will poster
the city and put out full page ads in
every paper, informing everyone
about it. Geez, what to do.
Anyone wondering how they
can play the South Wall in North
Van can call Jesse Gander at 980-
5202, 'cause Trish has moved and
no longer does the shows there. If
you want to help with the Gest Quest
Co-op I'd suggest going toashow—
to see what it's about and ask someone at the door when the next meeting is. And please, don't just go to
convince them to put your band on a
show—they want people who want
to help the scene not just a band.
So that's it, more stuff next
time 'cause the box is just overflowing—I guess Tom couldn't carry his
weight while I was gone—ha-ha.
Support the local scene, go to shows
and do everything I tell you.
© As is the norm with this column,
I'll start things out on a level fully
local. First up is a new slab from
the irrepressable D.O.A. As
always, those Jurassic freedom
fighters have come forth armed to
the teeth with with a ferocious
hard-rock anthem entitled "The
Only Thing Green." This time out
Shithead and co. have put forth
their long-lasting talent to help
save Clayoquot Sound (which, to
all foreigners out there, is a large
area of old-growth watershed
forest in B.C. that our moronic,
patsy provincial government has
allowed to be logged, despite
massive protests both locally and
internationally, attracting support
from such noteables as Midnight
Oil, John F. Kennedy Jr., and
Farley Mowat). Besides the rip-
snortin' slam on the establishment
musically, the single also features
informative liner notes of the
fragile Clayoquot situation, and
all proceeds from the sale of this
single goes to help the fight to
save the immenent destruction of
the Clayoquot forest. I strongly
urge you to buy this. (Alternative
Tentacles, P.O. Box 419092, San
Francisco, CA, 94141, US A). And
now back to the trite and
meaningless world of indie rock...
A local label called
Trackshun has recently released a
few singles. The first is from Pork
Queen who have presented two
sides of bizarre tape-loops,
samples and quiet (almost
soothing) noise. In other words,
not my cup o' curry.
(Coincidentally, this single could
fit very will as the soundtrack to
the fasti ng scene in Ghandi). Sorry
to brush this one off so fast,
Porkers, but I really know not
what else to say.
Horsey are, on the other
hand, a little more "mainstream"
as they are actual human beings
playing actual instruments. At
first listen I thought my Horsey
single might have been mixed up
with a Ziggy Stardust demo
outtake but I soon recognized
these local popster's demented
rhythms and vocal howlings to be
in fact, not Bowie's, but their very
own. As the single spun on, I
realized what a pre-judgemental
fool I'd been as the rest of the
little record turned out to be a
delightfully sunny listen. It quiet
and enjoyable and definitely the
local pop flavour of the month.
Whether ye be a fan of cub, Jonathan
Richman, the Pastels or Bowie, you
must pick this one up. (Trackshun
Industries, 1285 E. 18th Ave.,
Vancouver, B.C. V5V 1H3).
And then there's Shiner. A
band from Victoria who play fairly
flat, uninteresting punk/hardcore
that fails to even slightly amuse. ..The
best things about it is the Crazyman
coverart (editor and artiste of Van's
best mag todate, Gee-Zuz), featuring
a pathetic Captain America with a
black eye. (Slow to Burn, P.O. Box
8386, Victoria, BC V8W 3R9).
On the international scene,
the pick o' the month goes to the
amazing new 7" from Screeching
Weasel. The Aside's "RadioBlast"
has gotta be the catchiest, most
rockin'-est damn tune since the
"Blitzkrieg Bop" itself! Pop-punk
asshole punk at it's absolute finest!
Screeching Weasel prove here that
they are not just another bunch of
copycat punks, but indeed a fine
breed of Weasel who really know
how to write a great couple of songs
(the b-side's "Girl Next Store" is
equally rockin'). And that, folks, is
what really counts. (Underdog/
Lookout, P.O. Box 62, Prospect Hts.,
IL 60070 USA).
Label-mates to the Weasels,
the Ne'er Do Wells have all done
time in like-minded punk bands Uke
Green Day and Brent's TV, but tire-
quickly of that genre and skipped
down a decade to the swingin'
sounds of the early '60's. Falling
somewhere in between the Challengers' surf sounds and the Brit-
beat of Freddie and the Dreamers,
these cats have put out a tres-wow
6-song EP chock-full with the toe-
tappin' melodies and jangly rhythms
all set to a rockin' pace. Comes
complete in a great package with
tons to read, including an offer to
join The Ne'er Do Wells Exalted
Cadets Club! Be sure to check 'em
out live with like-wise sultans of
suave the Cocktails Sat. Oct. 2nd
and the Cruel Elephant! (Lookout,
P.O. Box 11374, Berkeley, CA
94701 USA).
And now let's slow things
down a bit with the happy sounds of
The Dentists who's latest single is
a catchy as all-get-out acoustic guitar pop thing, a little Uke Morrissey
meets the Byrds...and yeah, I Uke
that. This record, entitled "Speak
No Evil" is part of a three single
set, the other two namely entitled
"Hear No Evil" and "See No Evil,"
(duh!) all on different labels. And
after listening to this fine instal-
this literal conclusion: the Dentists remind me of a hot-air balloon; wimpy and peaceful really,
but powerful enough to lift you to
soaring heights. (The Bus Stop
Label, P.O. Box 3161 Iowa City,
Iowa 52244-3161 USA).
Whatever..let's rev the engines a bit here for some more
high-emotion from '70's style
rockers Finger. This one features
"Wedding Boots" and "Do It Feel"
and is a little more on the wankin'
side than their amazing single on
Radiation earlier diis year, but
that's OK, cause Finger still delivers the goods: Finger are your
basic rock band with basic good
songs. If ya dig the Stones, Replacements, or Uncle Tupelo,
reach for a Finger (single) now.
(Third Sister, P.O. Box 1152,
Chapel Hill, NC 27514 USA).
Also from the boisterous
scene of Chapel Hill comes the
brilUantly-dubbed Southern Culture On The Skids who have
done a killer split single with The
A-Bones. Southern Culture are a
real odd-ball combo, and like fellow C. Hillsters the Flat Duo Jets,
this insane trio cranks out some
hellishly enjoyable surfin'
swamp rock to the title of
"Rumours of Surf," and it
may just convince you that
something down there really
is fucked up. I won't say too
much about the incredible A-
Bones, since I reviewed them
last month, so just allow me
to state that I think their tune
on the single, "Gossip, Gossip, Gossip" is quite possibly the best thing these
Kicksters have ever done!
Pure rocket roll. (Bylor
Records, 633 Leonard St.,
#3, Brooklyn, NY 11222).
And now for some controversial stuff ...both tunes
off Urge Overkills new single are on their new super-
rock Neil Diamond meets
Sweet Geffen album, and
though I wanted to like these
songs for what they're worth,
how could I dig 'em if I have
no respect for the performers
involved? Yeah I'm talkin'
about the Town Pump/Urge
Overkill incident, and as far
as I' m concerned, I don' t care
what the situation (i.e. a cold
sandwich), there ain't ever
any call for racism or violence. So fuck Urge Overkill, pop don't need that kind
of shit. You wouldn't catch
Neil Diamond callin' nobody
a "fuckin' chink..." (Urge
Overkill, P.O. Box #25619,
Chicago, IL, 60625 USA).
Still got an "urge" for
some super-rock sans the attitude? Try on L.A.'s local
losers Red Kross! They play
70's riffs too, only they don't
have all the luck in the
world. ..but what they do have
is songs. Redd Kross' tunes
are as catchy as a barbed-
wire hook sunk deep into a nice,
fleshy ass...their amazing lock-on,
harmonic blast-pop blows me away
more and more with each Usten.
This single, "Jimmy's Fantasy" b/w
"Tico and Yolanda," is the prelude
to their new album, and is by no way
an exception to the descriptions
above. Disco lovers and punk rockers unite! It's Red Kross to the rescue! (This Way Up/Red Kross, P.O.
Box 803, N. Hollywood, CA 91603
USA).
And now if you' 11 allow me to
collect myself, we'll move on...the
title of the next single up for review
is "You're Making Me Look Uke
an Asshole." The band is called
North American Bison. Should I
go on? After such memorable tags
as those, I expected some pretty
creative things from this combo and
wasn't disappointed...the songs
"Broken Dreams" and "The Monster" are a couple of politically-
fuelled punk rock ragers, flyin' at
100 mph, coming off like some all-
ages, bastard-child ofthe Ne w B omb
Turks and Nomeansno, if you can
imagine that. The songs are very
wordy, basically free verse poetry
put to tight, furious music. Interesting stuff. (No Address).
Well, hey, Bellingham's answer to the International Pop Underground have made it to Harriet
Records in Boston! Hopefully you
know I'm talking about Crayon, a
very, very cool minimal beat-pop
band with sassy, sexy "Dennis the
Menace" style vocals. And that's
just the a-side ("The Snap Tight
Wars"). On the b-side these waxy
Northwesterners pull out all the
stops, turn up the volume and go
"punk" on a cover of Some Velvet
Sidewalk's "Pumpkin Patch." And
it works, too. (Harriet Records, P.O.
Box 649, Cambridge, MA 02238
USA).
Let's scoot to the south whilst
I introduce you to the very mod
Odd Numbers from San Jose, with
their brilliant new four song EP
"So Many Girls;" a wild hi-lo-fi
POW! rock'n'roll romp, circa The
Jam or the Buzzcocks. The vocals
stand out as strainingly on target,
as do the original songs and the
overall level of fun that this
drunken, criminal, power-trio belt
out. (Eight One Nine, 819 N. 2nd
St., San Jose, CA 95112 USA).
\ And now here's a band I've
always heard much about, but never
actually experienced until this single. It'sYo La Tengo of Hoboken,
NJ, with their new platter on Matador. With a name like Yo La Tengo
and song titles like "Shaker," I
frankly expected something a Uttle
more upbeat than the vinyl tortoise
race my ears encountered while
spinnin' the disc. The songs
"Shaker" and "Shame For Doing
Wrong" both came off like a plodding anachronism of the Velvet
Underground in their experimen
tal phases, complete with both Lou
and Moe on vocals. It's slow, it's
hypnotic, and in the end, it's real
good. (Matador, 676 Broadway,
NYC, 10012 USA).
And at last, from the almighty
garage of Hoboken, Telstar
Records, we have our final two
instalments of the month. First is
new one from the all-female Friggs
with famed name Ben Vaughn at
the production helm. Those hefty
ingredients in mind, this single
doesn't quite come out to the full
potential of cool that both the Friggs
and Telstar stand for. "Bad Word
For A Good Thing" and "Friggs
Theme" and amusing garage rock
tunes but fail to rise to far past that.
But then there's the Mono Man
himself, Boston's Mr. Jeff Conolly
and his infamous combo The Lyre*
who have literally vomited two
more garage stompers entitled
"Self-Centred Girl" and "What's
A Girl Uke You Doing In A Place
Like This?" onto the world scene.
It's totally derivative, I've heard it
before, it's drunken, and it's wholly
retrospective. It's also awesome.
It's rock and roll, remember you
little chunk of shit?! It's the basis,
the bottom line, the Source and
Soul for all them riffs you know
and love comin' from Porno For
Pyros, Therapy? and most especially the pop demigods themselves, Nirvana. So eat shit, Uttle
punk, and go Mono. elephant
concert productions present:
We here at the cruel elephant have a long tradition of
providing the most Interesting and artistically relevant muskr
to Vancouver audiences. Bands and performances that are
popularly termed 'Alternative* due for the most part to limited
commercial representation and the general non-conformity
of the music negates wide acceptance. These points are the
very things that fuel creativity. If a person has no limits or
taboos, creativity can flow unencumbered. This is our main
criterion we look for when presenting an act. Is it contrived or
does It display honest expression?
The cruel elephant has been providing this service to Vancouver since August 2nd, 1990 at several venues and some
people just don't understand. That's okay, we'll carry on. Now
the location is a theatre with three rooms and seating is
arranged for full view In, you know, theatre style. As always we
have been fortunate enough to have the support of the musk-
scene, as In the unannounced shows by NO MEANS NO,
DEATH SENTENCE and a barely announced CHANGE OF HEART
show. We thank these bands (especially NMN. It was so
fucking incredible, I almost cried. O.k., I did. It was beautiful!)
Just to let the public know, the Station Street Arts Centre is a
non-profit organization, which sets it apart from tbe other
venues in town. Profit is not the main objective and there are
o borders or limitations, and thus no stagnation or exploitation. Support the NEW cruel elephant, it supports you and we
love you. Every weekend is a cruel elephant weekend. Just
look at this roster of bands coming to you live. Many would not
be here at all If it weren't for the persistent nagging on our part
to get'em here, so make It worth our while, not to mention the
bands'. Just Dig It.
FRIDAY OCT. 1 - an A.T. Fest!
Alternative Tenticlea recording artists VISTIMS FAMILY   w/
Alternative Tenticle* recording artists PORCH (ex-Primua) w/
Victoria's GUS
SATURDAY OCT. 2
Chicago's Garagejazzcore  COCTAILS w/ Cargo recording
artists PITCH BLEND w/ THE NE'ER DO WELLS featuring a Green
Day and three Brents T.V.
FRIDAY OCT. 8
Nettwerk recording artists from Chilliwack MYSTERY MACHINE
play songs from their new album "Glazed* w/ WINNIPEGS
SATURDAY OCT. 9
Cargo recording artists from Montreal BLISS w/ S.O.L. (SPICE
OF LIFE) W/ guest*
FRIDAY OCT. 15
Shangri-La recording artists from Memphis THE GRIFTERS w/
BLAISE PASCAL w/ HORSEY
SATURDAY OCT. 16
Rom L.A.   ETHYL MEATPLOW   w/ from Japan, ALterncrtive
Tenticlea recording artists ZENI GAVA featuring the legendary
Metal/lndustrial/Noise guitarist Null w/ MUDWIMMIN from San
Francisco
FRIDAY OCT. 22
I TSUNAMI w/ FEED YOUR BABY HEAD w/ Toronto's FISHPANTS
I SATURDAY OCT. 23
Wrong recording artists from Victoria THE SHOW BUSINESS
GIANTS w/ Victoria's VINAIGRETTES w/ SICK YEAH YEAH
FRIDAY OCT. 29
BRAND NEW UNIT w/BOMBSHELLS w/Toronto's MOTHERTONGUE
w/ THE MELTING NEWMANS
SATURDAY OCT.30
*A Mint I* Still a Terrible Thing to Taate* 4-song CD release from
Mint Record* featuring TANKHOG, CUB, COAL and morel
The STATION STREET ARTS CENTRE is the new home ofthe cruel
elephant (est. August 2,1990). Vancouver's only live alternative venue is now located at 930 Station St. Beside (N) the new
bus station, behind (E) the Old American Hotel on Main St.,
four blocks north of the Main St. Skytrain Station, beside (S) the
Venebles off ramp of the Georgia Viaduct (Take the Main St.
exit heading east on the vladust and go straight Instead of
turning). Ample parking and close to major mass transit transfer points. Saving Vancouver from its rock'n'roll hell is a
Good Boy/Kitty Palace co-production.
Contact 604-254-3344 or 253-1390 fax 254-7239
I P.S. We also have a way way better P.A. than any previous
cruel elephant, so there
Good Boy Productions
#4-302 West Second Avenue,
Vancouver, BCV5Y1C8
Phone 254-3344. Fax 254-7239
Urge Overkill
Town Pump
Wednesday 25 August
Suede
Town Pump
Thursday 23 September
I'll be Uonest, I went to the Urge
Overkill show at the Town Pump
prepared to hate it, fully hyped to
write a negative review, if only
because I was bored, rude and
antagonized by all the hype, everything from features in Spin and
Details to the always tiresome
"BIG WORD" in the so-called
local indie-alternative under-
Problem was, Urge wasn't
that bad. For the first fifteen or
twenty minutes, they were great.
The sound was loud, powerful and
rock solid. The songs were short
sharp assault- on my ability to
stand still and not be impressed.
But then the set dragged on and
everything started sounding kind
ofthe same, kind of retro, kind of
unnecessary. Eventually a friend
started yelling in my ear, "It's a
70'srockconcert, close your eyes,
forget their kitschy lounge-disco
duds and try to tell me this isn't
Grand Funk Live, Cheap Trick
Live at Budokan, Kiss Alive Two.
There's no fucking difference."
I closed my eyes. He was
right. By the time the show had hit
its encore phase and they were
doing their Hot Chocolate i
my n
n the n
Boo Radleys album I was going to
listen to as soon as I got home than
it was on the so called NEXT BIG
THING that was still unfurling
right in front of me.
Four weeks later, I'm at the
same venue checking out Suede,
once again wilh preconceptions.
Here's a band I was prepared to like
way more than Urge Overkill if only
because so many Urge fans seem to
hate Suede's androgynous brand of
Bowie meets T-Rex meets Mott the
Hoople meets the Smiths glam-rock.
Problem was, Suede weren't really
that amazing. Great band for sure,
solid songs with a classy crushed
velvet, deeply sexy sense of style.
The set had ebb and flow, sweet and
pure quiet bits slamming up against
full-on anthemic power pop rave-
ups. But once again, my mind's on
previous decades and the slowly
brewing realization that nothing
about this latest NEXT BIG THING
is particularly fresh or new or in any
way a breakthrough. As with Urge,
I'm entertained, but forced to take a
stand, I'd have to say that Suede are
the better band. They're classier,
they have better songs and their fashion sense comes across as far more
genuine and passionate than Urge's
deep slacker sarcasm. And Brett
Anderson's androgyny is very much
the real thing. Your average
homophobic suburban North American male would do well to pay attention. But ultimately, I'm just talking
personal preference here. I always
liked Bowie and T-Rex more than
Grand Funk and Kiss. Enough said.
My real problem is with this
whole NEXT BIG THING hype,
because if that's what you're really
looking for, you missed it. My
Bloody Valentine unleashed their
rocket science sonic hurricane in the
Commodore in July '92 and pop
music will never be the same. Peo
ple are still wandering around
stunned, naked, scrambling pathetically for solid ground. The future is
now here folks. The books have
been rewritten. The 70s may be the
last decade that ever happened, but
the 90's happen to be where we are.
Wake up. Pay attention. Wealthy
cannibals want to eat your young
flesh. Don't believe the hype. The
evolution is not being televised.
Ziggy   Marley  and  the
Melody Makers
The Commodore
Saturday 11 September
Boy do I feel bad. Man, I just got this
killer cold yesterday and I've got no
end of work in the way of getting
any enjoyment out of the next few
weeks, and on top of that, sleep is at
a real minimum these days, but I
guess most people are in that situation most of the time anyways. But
shit, I paid twenty fuckin' seven
bucks for this ticket so I' m gonna go
anyways. I've been listening to
Ziggy's new CD "Joy And Blues"
for a while now and it sounds like
he's got his shit together now, so
I've just got to go. Man it's getting
cold out these days. Oh, looks like a
sold out concert tonight, and brothers be askin' if I've got any extra
tickets. Should I just make a profit
and go home and get some sleep?
Nah, fuck that, I'm gonna go see this
Goddamn, this shitty opening
act just won't quit! Man I gotta sit
down before I fall down. Aw yea,
finally the show is on the road. Yea,
now dat's a wicked riddim section!
And check out that guitarist! The
brother's got a beard that sticks out
four inches and his dreads stick out
under a large leather hat makin' him
look like a hammerhead shark.
Anyways, the place was
jumpin', the bass was pumpin', and
the Marley's riddim section blasted
through a very good high-powered
reggae set. I think all of the cuts off
the new album were covered as well
as a few of Bob Marley's and some
of the old Ziggy hits with the new,
harder sound. One of the highlights
was the cover of Bob's "Could You
Be Loved" which after awhile transformed into "X Marks The Spot."
Very well done indeed. And whenever Stephen, Ziggy's brother,
stepped up to the mic with his crazy
kinda wheezy nasal but very cool
style, the placed rocked. Yes, I'm
glad I went.
Adam "Bootsy" Sloan
Mind
Movieland
Kid Champion
Nototriousl
Monday 13 September
This was the first in a series of Monday night shows put on at Notorious! the tourist trap, under the name
Noiseprom. It's the old showcase
idea; they ticket all over town, and
with the tickets it's only two dollars
to get in. Cheap beer makes it an
inexpensive way to check out some
bands and drown your sorrows if
they all suck. On this particular occasion, they didn't.
Kid Champion were on first.
They are newly Minted, fresh and
very nervous. Thesongs were a stroll
upG. 500/MBV street; an avenue of
bees droning industriously, with the
occasional simple le ad guitar or
tempo change to part the clouds.
The singer, Vera, has a surprisingly
strong voice to cut through it all.
They're still learning, but they ARE
learning, and will get to be very
good.
Next up was Movieland, a
three piece. Every song is long (we
timed the last two; 12 1/2 minutes
total) which can be a good thing, a
very good thing, but not enough was
happening. The bassist and drummer were solid, (the drummer does
those great guppy gulps) but the
guitarist just plays chords most of
the time. He sings occasionally in a
good, non-singer voice, and does
the odd solo, but frankly, with such
a stalwart rhythm section, I expect
more ideas per minute. More fucked
up solos, I know he wants to, it's
what he stretched the songs out for.
Also, no one is allowed to jump into
their equipment anymore. Actual
clumsiness is okay, but big sloppy-
dog band showmen should have their
equipment broken by heavier implements, Uke hammers.
The last band was called
Sunken Mind. They do an angry
BlackSabbath/FaithNoMore grind/
stop/grind thing. It cleared the place
of indie-rockers but it wasn't badly
done. The singer had a high, clear
voice and clenched his fists very
tightly. Put me back in seventh grade,
give me a few bong hits and a lot of
peer pressure, and I'd be saying it
was pretty rad.
Pierre Menard
Juliana Hatfield
Madder Rose
Town Pump
Saturday 18 September
This concert was a garage band
workout at it's best. A perfect amalgamation of pop melodies and
"grungy" guitar riffs which flared
the boundary between silliness and
Madder Rose started off their
set with a few slow and melancholic
songs. However, they picked up the
pace quite a bit and ended off in a
feedback drenched frenzy. There
weren'tany really outstandingsongs,
but the whole set sounded quite
pleasing to my ears. In addition,
they seemed to be enjoying what
they were doing and the audience
responded with a decent amount of
enthusiasm.
Juliana Hatfield is a talented
musician. Her performance was sincere and honest; there were no grand
illusions, no attempts at mystifying
the ordinary, just plain everyday
stuff.
At every turn, Juliana's impeccable pop craftsmanship was
punctuated by bursts of brilliant,
melodic guitar noise which elevated
even the simplest pop hooks to cathartic, chaotic levels. The press has
given too much attention to her lit-
Ue-girl-squeak voice. However, her
strength in song writing and her ability to perform with dexterity can not
be ignored.
It was definitely a good show.
I left Town Pump knowing that pop
music is going to be safe and healthy
in the hand of these talents.
Vince
OCTOBER © I K9*ivA\ Epic Recording Artists from Seattle
ft Special Guests Epic \ 'Llj LfjPirT)
lg Artists trom Seattle LT L__JL_JLl^
With
Recording
Plus Guests, GRAVEL
THURSDAY OCTOBER 7 •8pm
The Commodore
Perryscope/Timbre co-production
withguests
REDD KROSS
& Hammerbox
THURSDAY OCTOBER 11*10 PN Q
Commodore Ballroom
TICKETS ALSO AT TRACK
r RELIGION
WITH GUESTS
i     GREEN DAY& SEAWEED
f\?4# 86ST.MUSICHAL- ^   Wead GcUV
nz+fp^
'cmce/
INTO THE I \i: YKIVIII
MODE
guest
Buffalo torn
Bettie
Serveert I
and
The Verbifies
wed. Oct. 20
iopm* Town Pump
with gue&tA
_ Smdcuf Ahutem&e* 12 • 8pm
SJhz Vxigue JJkatoe
ON SALE SAT. OCT. 2
SATURDAY
NOVEMBER 6
PACIFIC
COLISEUM
Tickets available at all _^^^^^_, outlets, including Zulu Records, or charge by phone 280-4444. SMASHING PUMPKINS
UNDER REVIEW
TIGER TRAP
Tiger Trap
(K Records)
Tiger Trap is nude up of 4 women and
they are on K records, but I do not
consider them as angry riot grrrls. Their
sound is too pretty to be put in that
category. This album contains 14 songs
played sloppily on slightly out of tune
guitars, and sang by absent minded
vocals. You should give this album a
listen despite of those things stated
above, because these 14 songs are
some of the best pop songs I've ever
heard. They all have pretty melodies
that you can hum along with, and
rhythm that you can tap your feet to.
Moreover, none ofthe songs are over
3 minutes; they are great for those who
have short attention spans.
Vine*
VARIOUS ARTISTS
Tresor II Berlin-Detroit: A
Techno Alliance
(Novamute Records)
Yes, you guessed right This is another
techno compilation but its one with a
difference; this is the Tresor
compilation. TresorRecords are based
in Berlin, Germany and have overseen
some of the changes within the techno
genre over the past few years.
So what makes this compilation
different from all other techno
releases? Firstly it goes beyond the
many Rave and "e" driven sounds of
today. That's not to say that Tresor II
falls short in providing in-your-face
beats and sounds for "E-Zug" by
Noxious and "Red Bull" by DJ HeU
certainly deliver enough poundings to
bruise your body.
The real strength of the Tresor
II compilation lies within hs more
ambient sounds. Two such tracks are
"Mystery" by K. Hand and the
excellent "Die Kosmiscben Kuriere"
by 3MB featuring Juan Atkins. The
rhythmic and sedative melodies ofthe
latter track float perfectly against the
backdrop of non-stop beats whilst
"Mystery" swirls you into a trance
with its fading in-and-out Keyboards.
There is even material with a
house-like twist to it such as "Jupiter
Jazz" by Underground Resistance and
'T.T./F.F." by Maurizio. All these
different styles not only add strength
to this compilation but prove that
Tresor Records continues to have its
finger firmly placed upon the pulse of
the even-hanging sounds of techno music
The Groove Kitser
XYMOX
Metamorphosis
(Mogul Entertainment)
Xymox sounds like a scientific,
mathematical word, so here goes:
Xymox (xi'moks) n., a musical group
consisting of only one man, imitative of
808 State and Renegade Soundwave.
There you have it, the dictionary
definition.
Ronny Moorings, the
aforementioned individual has chosen
the Kafkaesque moniker for this LP
which, upon first sounding, has the
appeal of a good club techno-
underground heavily-dubbed mix.
However, as with most ofthe genre, you
get numb from the repetition (Some of
you can argue that 'repetition is
necessary to weed out the weak shit' -
Thurston Moore)
It was okay at first listen, I diink
808 and R.S. are still better and some of
the tracks are 'Z' issue dull.
If only Moorings didn't sing...
Trip
ENGINE KID
Astronaut
(C/Z)
I checked this band out 'cause a friend
said they were soooo good live. I've
heard other people rave about it too, but
I think it's weak. Their sound is slightly
tripped out, slightly metallish, slow and
heavy, with riffs that stick in your head
only because they're so cheezy. The
music is alright but it gets lame fast
because they do the same song over
three times and then manipulate "The
Needle" by Neil Young to their
predictable formula of heavy to mellow
with singing to heavy over and over the
whole EP. I think the best part is the
"secret" nine minute avant-weird
song at the end.
Lux
RICH KIDS ON LSD
Reactivate
(Epitaph)
Epitaph is getting in a bad habit of
resurrecting over the hill 'name'
hardcore outfits, and RKL is certainly
the worst of the lot BTO iheets Kiss and
funk with Bad Religion looking over
their shoulder. I shudder to think that
this incredibly lame offering may
(Virgin)
I' m not a big fan of low- fi, its a cop out,
but overproduction is just as bad. Both
of these studio errors are designed to
mask the artists' truetalent (except when
they can't afford anything better than
low-fi). This is where Siamese Dream
leaves me stumped Smashing Pumpkin-
is chock full of talent, but they went into
the studio with this one and come out
with an album so over-produced that the
songs drown in a sea ofhi -tech boredom.
I'm not sitting in my Uttle indie "castle"
declaring the Smashing Pumpkins
uncool. I like this band. I agree with the
comments Billy Corgan has made about
the fucked up stale of musical criticism
and the lemmings that adhere to it. I'm
just disappointed with Butch Vig and
Corgan's overindulgence in the
controlroom. Songs Uke "Mayonnaise"
and "Hummer" have been pushed too
far and they suffer because of it.
However, the solos are sweet, and the
exceptional musicianship is obvious.
So why use every track in the studio to
record a four-piece? Siamese Dream is
a weak album created by a strong band.
J-itin Love
UZ PHAIR
Exile In Guyville
(Matador)
She comes from Chicago, stands five
foot two, and has one of the more distinct
vocal styles going today. She sings about
the bullshit that's gone on in all my
relationships, gets it right, and does so
with a swinging folk groove. Her name
is Liz Phair and you' d be wise to pick up
Exile in Guyville and give tracks like
"Johnny Sunshine," "Fuck And Run,"
and "Divorce Song" a spin. Check out
the mind blowing lyrics on "Flower."
Note the stellar songwriting and
powerful lyrics that make Exile In
Guyville easily one of this years freshest
releases. Albums this good are too rare
to ignore. I' m still having trouble putting
this one on the shelf.
Justin Love
ACID TEST
Drop
(Sire/Reprise)
I'm rather honoured by the fact that I've
listened to what might be the next biggest
thing out of Toronto. In the way that
Vancouver has Pure and Halifax has
Sloan, Vancouver has Acid Test.
Already on a huge label, this band
acknowledges its success to Much
Music,MTV,CFNY(Toronto'sveniion
of our now-defunct CKST 1040) and
Jana- lyn White of The New Music.
Regarding the music; it's really
good, excellently good. First
impressions produce comparisons to
National Velvet, or dare I say it, Curve,
except not as ambient Lucy di Santo's
voice is honey-melodic like Toni
HalUday's but with more of a raw-punk
edge. Some songs could pass for The
Red Hot's if Anthony Keidis was a
woman. 'Trip On This" is the obvious
stick-out here, having already appeared
on an EP. As well as "Mr. Skin" which
was featured in director Bruce
MacDonald's film Highway 61.
T' was great, t' was fun. Canadians
are where they're at Yep.
Christian
CATHERINE WHEEL
Chrome
(Fon tana)
The sophomore album from Catherine
Wheel completely changed my view
towards this band. When I first heard
Fermentl though they were just another
group of monotonous shoe gazers.
However, this time around they have
significantly improved their song
writing. There is a lot more variety in
their songs, and they explore different
sound textures. I Uke the way they create
that ethereal psychedeUa without being
boring or pretentious, and they way they
avoid sounding immature in their use of
heavy guitars. Pat Dickinson does a
better job in enunciating his lyrics which
has brought more sincerity and
enthusiasm to their performance.
Vince Yeh
16 VOLT
Wisdom
(Re-constriction)
CHEMLAB
Burn Out at the Hydrogen Bar
(Fifth Column)
Ifyou enjoy aggressive, pounding beats
and screaming vocals, you'll love this.
For my taste, this genre (hyper-aggro-
mdustrial whatzit called) has been
saturated. Chemlab has made amark for
themselves with their "Fuck Art Let's
Kill" line of leisure wear. The usual
type of fare is on Born Out al the
Hydrogen Bar, except for five different
versions of "suture," cool minute long
noise bUps.
16 Volt fares a bit better — they
do have the benefit of Skinny Puppy
engineer Dave Ogilvie and sometime
Ministry engineer, Keith 'Fluffy'
Auerbach. The music has more variance
and doesn't grate on your nerves after
awhile like Chem Lab does.
June Scudeler
MOTHER EARTH
Dig
(Capitol)
It would be easy to slag this album on
several counts: it sounds too much Uke
Jane's Addiction, it's overproduced (by
Mike Clink of Guns and Roses' fame),
and the lyrics don't mean a thing. But
these "alternative" criticisms miss the
point, for as a metal album it is nearly
perfect. Guitarist Jagor creates a
cornucopia of sounds from the fast funk
of "Production" to the soaring solo in
"So Gently We Go." He even manages
to have a jazzy groove in "Lost My
America" that isn't annoying. The
rhythm section switches effortlessly
from slow melodies to heavy riffs. The
highlight of the album is "Ram Will
Fall." Starting with a riff not unlike
Jane's Addiction's "Stop," it progresses
into an extended jam that reminds me of
Santana. Considering the amount of
musical sophistication exhibited, it is
hard to believe this is only their first
album on a major label.
Geoff Wherrett
CRACKER
Kerosene
(Virgin)
David Lowery (leader of Cracker and,
formerly, Camper Van Beethoven) once
told a friend of mine that he would quit
the music biz at age 30 if he wasn't
making as much as a teacher. Fortunately
he didn't do that, instead he formed
Cracker, a more "grown-up" band. The
psychedelic flourishes and eclectic
nature, (ska, punk, folk, Eastern) that
made C.V.B. so great, have been
replaced by a straight forward country
brand of rock and roll. Kerosene Hat,
Cracker's second album is a fine
example of this. The music is based
around Johnny Hickman's tasteful guitar
and Lowery's clever lyrics (The Movie
Star/ WeU She Crashed Her Car/But
Everyone Said She Was Beautiful/Even
Without Her Head). "Get Off This"
would sound great oncommercial radio,
if the programmers weren't so out to
This album isn't as strong as the
debut album (too many boring slow
songs). But it's still worth a Usten.
Geoff Wherrett
ZIGGY MARLEY AND THE
MELODY MAKERS
Joy and Blues
(Virgin)
Getting right down to da knowledge,
this release is a big departure trom David
"Ziggy" Marley's previous four wax
outings. The difference is that he is now
On the whole, the album kicks up much
dust and keeps reggae alive with the
help if Wilburn "Squidly" Cole on
drums, Christopher Meredith and others
on bass, Earl "Chinna" Smith and Ian
Coleman on guitars and Carol "Bowie"
McLaughlin on keyboard. Add a couple
more musicians and the female Marleys
(including Rita on one track) backing
up and Errol Brown on the mixing
console and you've got the first in,
hopefully, a long line of memorable
Ziggy Marley and the Melody Makers
Adam "Bootsy" Sloan
MEKONS
/ Love Mekons
(Quarterstick Records)
A funny thing: I once drank a lot of this
band's beer whilst in a damp basement
in Hoboken, New Jersey, while the
Mekons earnestly played on stage a
floor above me. At the time I felt pretty
guilty about robbing fellow-rockin'
rollers ofthe "goodtime-gas," but after
listening to this over-produced, lush
synth-pop crap I says good riddance to
'em! Let 'em run dry I say! Let them
SEIZE!
While guzzling, I seem to have a
vague memory of hearing some semi-
cool countrified-Clash-like rock
emitting through the wood andconcrete,
but alas there be none of that suaveness
here. This is just some terribly
commercial British pop-slop. -Burp-!
Grant Lawrence
THE FORBIDDEN
DIMENSION
Sin Gallery
(Cargo)
Before we get into it, it should be stated
that the Forbidden Dimension is the
brain-child of former Color Me Psycho
satanic mechanic and aU around artiste
extraodinaire Tom Bagley. And, as
far as I' m concerned, Color Me Psycho's
sole album Pretend I'm Your Father is
the greatest Canadian punk rock album
ever. And so who is Tom Bagley to
think that he could ever follow up (and/
or top) such personal greatness with
anything even minutely cc
w
"Consider The Alternative"
Fogg's Captive Bead
Jewellery Company
► Piercings atThe Underground
) Robson St. 684-6398 Thurs. - Sat. week
" "no attitude"^ guaranteed
Phone: 322-8924 But then 1 suppose I may have
short-changed the power of Bagley's
darkly cryptic creative genius, for
this, the Forbidden Dimension's long
awaited debut album, is just as hot as
Color Me Psycho was at their rawest
Tom and Co. have whipped up
a hefty twenty song smorgasbord of
ghostly, ghouUshrock 'n'roll coming
off like an insane mixture of early
Misfits, the Cramps, '68-72 Elvis
with a dash of Gas Huffer for bad
luck. And with song titles like 'Tall,
Dark and Gruesome," "Bikini
Widow," and "Shrunken Heads" this
could easily serve as the soundtrack
to the next Adams Family movie.
Great performances, a great
package (Tom Bagley's original
cover art is amazing), and a great
number of songs makes this rock-
packet an easy mark for your hard-
begged bucks.
Grant Lawrence
BOB'S YOUR UNCLE
Cages
(Zulu)
Bob's Your Uncle is atrue Vancouver
28 [I^go___I__f-'-
original. From Bob's humble
beginningson Vancouver'sold-school
Criminal Records, to California's
Doctor Dream, to their ill-fated major
label fuck-over on Intrepid-Capitol,
the unmistakably eclectic Bob's Your
Uncle are back. And on a real intrepid
this time, Zulu Records. Nice move,
Bob's; welcome back.
Though Cages is not exactly my
idea of a wild hootch party, it is
objectively anear-perfect rock album.
From the always heavenly, not-of-this-
earth pipes of enigmatic leader Sook-
Yin Lee to the occasional blow-suck
of Pete Lizotte's harmonicas, backed
by the soft and hypnotic rhythm and
beat of the band, the overly superb
songs soar with musical talent and a
pure, multi-cultural insight of the real
Vancouver. One needs only tolisten to
earth-tuned songs like "Crazy Aunt
Lily," 'Tip Of The Iceberg" or the
amazingly graphic "Hong Kong Cafe"
torealize Bob's YourUncle'sseniority
as performers and artists. Bob's Your
Uncle, the true Vancouver alternative.
Grant Lawrence
VARIOUS
ARTISTS
Bloodbath At The Chinese
Disco
(Sloth/Porn Star Records)
Bloodbath At The Chinese Disco is a
great compilation of Calgary-based
bands that proves that there is more to
Cowtown than just Huevos Rancheros.
Nine bands (including the
aforementioned instrumental trio)
contribute two songs each to this punk
rock album.
Field Day kick off the CD with
tlieir great take on melodic punk and
the album never loses momentum since
every song rocks , ranging from the
hyper-fast, riff-heavy sounds of
Kentucky Fried Children's "I Wanna
Live In The Woods," to the Primrods'
slow Doors-y tune, "(Theme From)
Summer Love Clown."
The ultra-catchy, power-pop of
Chix Diggit is the best surprise of the
album, and if their two songs, one of
which is a menage a trois involving the
singer, Mila Mulroney and her daughter,
are any indication of this band's talent,
then watch out because they're going
to be huge!
Overall, every band has at least
one great song, an excellent record
that should make you forget all about
the Halifax explosion and turn your
attention westwards
Lome Baird
SHEEP ON DRUGS
Greatest Hits
(Smash Records)
The landscape blurred past, a solid
multi-coloured streak. Throaty engine
noise becoming one with the pounding
music. "Surely" lie thought, "this must
be heaven." He may not have known
where he was going but it only mattered
that he was going. Heading west Damn
fast at that. No regrets about spending
those last paycheques on the kind of
stereo that makes a car a nightclub.
Bass that starts in the small of your
back.
His passenger brushed the hair
from her eyes and turned towards him,
those same eyes alive. "What tape is
this?"
"Sheep On Drugs."
ERI
THE WET SPOTS
From Beer To Paternity
(Gripe Records)
If nothing else, this one is worth owning
just for the title. Even if you don't ever
listen to it you can leave it on your
coffee table as a conversation piece.
Then again ifyou never played it you'd
miss out on some really fun party
music. The Wet Spots out of Ontario
play a Ramonesish brand of punk rock
which doesn' t take itself too seriously.
The opening track, "Stay 19," is pretty
appropriate for these guys who all
look to be pushing thirty phis. A good
CD to sit down and play drinking
games to. From Beer To Paternity wiU
fit nicely on ray CD rack somewhere
between the Squirrels and the Hanson
Brothers.
ERI
PAIN TEENS
Destroy Me Lover
(Trance Syndicate)
BARKMARKET
Barkmarket
(Def American)
There is a legitimate reason for doing
a combined review of these two band-
outside of the reason that I don' t really
feel Uke writing two separate reviews.
That is, both bands have the kind of
sound that is definitely not for
everyone. If you Uke grinding guitar a
la Killdozer then you might like the
sound of Barkmarket For the feedback
oriented crowd, check out Pain Teens.
Let s stat with Barkmarket. This
three song promo cassette is twelve
and a half minutes of what sounds like
a talented punk band doing
improvisational jazz. The best way I
know to describe Barkmarket's sound
is to refer to the cover of their Vegas
Throat CD which shows a close up of
the throat and gums of someone in
obvious need of medical help As
negative as all of this may sound, I
must applaud the originality here. In
fact it kind of grows on you (like
cancer?). Well worth listening to a
few times, by which point you' U either
love it (like me) or destroy the tape.
Having never heard the Pain
Teens I must admit being totally blown
away. My initial notes contain about
six hundred synonyms for "this rips.
The songs follow i
full of the land of anger and brooding
darkness one might expect to find in
such a situation. The musical styles
vary somewhat from song to song,
ranging from super heavy bass and
guitar to a really touching acoustic
cover of Leonard Cohen's "The Story
Of Isaac." A ft era few Ust ens it seemed
to me that the whole album seemed to
provide a psychological profile of
someone who was abused as a child. I
must admit that listening to it was at
times upsetting and left me thinking. I
also think that this is the sign of a truly
worthwhile piece of work.
KINKY MACHINE
Kinky Machine
(MCA)
Surely if you 're going to borrow from
the past then you shou Id at least try and
dosoroelhing fresh with it or even just
try and improve on it. Kinky Machine,
on their debut album, do neither of
these things and the result is a record
that is content to wallow point lessl y in
the past, albeit a glittering one, ralher
than even try and reach for the future.
It's this sort of record that is
undermining the current British indie
scene, leading to calls of hopeless
retroism and stagnation. That's sad
because it's not entirely fair. The Boo
Radleys have taken the '60's and done
something genuinely strange with them
while Suede have taken the essence of
glamour and sleazily freoch-kissed it
into the '90's. Kinky Machine,
however, clearly revere tradition to
much meaning that songs like "Sister
Magpie" are blatant Bowieplagarisms
and "Shockaholic" sounds like aBolan
It's a shame really, because
many of the songs are actually quite
strong and with a little more invention
could have been great. "Going Out
With God" is a good example. But the
problem remains that Kinky Machine
are too content to Xerox past glories
rather than try and subvert them. All in
all, too much "Machine" and not
enough "Kinky-
Simon Hemelryk
THOMAS MAPFUMO AND
THE BLACKS UNLIMITED
Hondo
(Zimbob Inc.)
It is always a treat when Mapfumo
comes totown. His gigs have a magical
trance like feel to them. The musicians
are solidly entrenched into their
repetitous groove. Thomas Mapfumo
s his droning vocals in and out
of  |
We   I
elsewhere, riding the rhythms to the
undulating beat
Hondo is the only album of
Mapfumo's that I've heard that comes
anywhereclosetohisliveperformance
level. It's a keeper for sure. Hondo
features the same band plus some extra
horns, drums and vocals, that graced
the Commodore stage a month or so
ago. Well recorded, lyrics included
and translated. The first three tunes
stand out because of tlieir acoustic
simpleness, check out "Hondo(War)"
and "Maiti Kurima Hamubvire" (You
Once Boasted You Were A Great
Farmer) and you'll get a good idea of
the subd y that makes B Ucks UnU mited
the great band they are. The rest of this
recording is only marginally more
electric yet every bit as good. This is
African music at its best
Now for the bad news; finding a
copy of Hondo may be somewhat
difficult as the only copies I've come
across were on sale at the gig With the
exception of a certain record store on
the Drive, I haven't seen any cither
copies, although that situation may
have changed.
Norm van Rassel
SLOPPY SECONDS
Knock Yer Block Off
(Taang!)
From the moment this cassette hit my
deck, Sloppy Seconds' all-too-catchy
tunes have been in my head 24-7.
Powerful ly super-hero, hook-pop rock
'n' roll is the recipe for a Sloppy
Seconds' song, with themes rooted
firmly in the familiar trash culture/
pervert fixation. This is clearly evident
in hits like "Meyer Girl" (referring to
the all-time vixens of sleaze in Russ
Meyer movies) or "Den Mother" (I
imagine you can guess what that one is
about). Like a cross between Bum and
the Magnolias, Sloppy Seconds is for
fans of snotty, fun, all-time rock 'n'
roll.
Grant Lawrence
THE QUEERS
Love   Songs   For   The
Retarded
(Lookout)
When I first saw this album I wasn't
sure what to think about a band that
would call itself the Queers. After all
the name alone would make most
homophobes cringe, even though the
classic definition of queer simply
means different or odd from a
conventional point of view. So seeing
as ho w I' m not ahomophobe, I thought
I'd give it a spin. The band appears to
be from New Hampshire of all places,
yet they are signed to San Francisco's
Lookout Records. The same record
label as Screeching Weasel, Ben
Weasel coincidentally (or not)
produces this album. To my delight
the album is an excellent example of
toe tapping music in the pop-punk
genre. Some may say too much like
Screeching Weasel, but I feel there are
enough qualities in this band to set
them apart. If you're looking for punk
pop with serious m ean in g and poi it ic al
correctness and all that, don't bother
lookin' hare! The lyrics are dumb,
silly, twisted and simple minded, which
is exactly what makes it soooo muuch
fun!! Some of the stand outs on the
album are "Night of the Livid Queers,"
"Monster Zero," "Fuck the World"
and "Ursula Finally Has Tits." So if
you have a half an hour to shut your
politically correct brain off and listen
to 16 fun melodiously catchypop punk
tunes, then check this one out. And
don't be afraid of the name, after ail,
what's in a name? Terry
ALL
Breaking Things
(Cruz Records)
If pop rock-punk is your bonus cup of
tea, or coffee as this may be, then
ALL's newest offering "Breaking
Things" should be right up your alley.
Sweet, infectious, catchy, with
a dash of hook filled, melodic rock 'n
roll thrown in for good measure; maybe
that describes the sound of ALL. If
you've ever heard anything by ALL
ever before you' U know what to expect here, which ultimately could be the
downfall of "Breaking Things." What
ALL don't do here, or even seem to
attempt to, is break any new ground or
blaze any new trails for themselves.
And, of course while their newest
vocalist, Chad, puts in a more than
competent performance I can't help
but wish to hear the sound of former
sing er.DaveSmaUey'svoiceto ALL's
music once again.
Sure this is a record that sound-
good, but the formula seems worn out.
Maybe ALL have tun their course.
Breaking Things more than likely isn' t
about to win ALL any new fans, but
for those diehard and devout this new
morsel should satisfy your appetite for
all things allular.
Eric Rex Your Head
CRACKERBASH
77n7by
(eMpTy Records)
How could my words ever possibly do
justice for such aa incredible record?
Four on the floor, high octane, super
charged pop-punk from the word
"GO!." Amazing! Tin Toy could be
one of '93's best 'nuff said- now go
pick it up!
Eric Flex Your Head
SHADES APART
neon
(Skene! Records)
Mention the name Shades Apart to
any one but those unbe lie vabl y hip and
in the know and you'll more than
likely be met by a blank stare and a
simple"huh?." A sad but true fact for
this New Jersey three piece.
Their 1988 debut LP on
WishingweU Records, unfortunately
now out of print is > true classic in
every sense of the word. Even today it
remains timeless in sound and
execution, but somehow it was their
friends, neighbours, and peers, Vision,
that ended up receiving aconsiderabl y
larger amount of attention and Shades
Apart stayed mired in obscurity.
Dude Danger, their 1991 follow
up on the very small east coast
independent. Sun Spot, also remained
almost completely overlooked, even
though it was a solid, almost faultless
and somewhat stylistically matured
Two years passed, and although
I perhaps thought Shades Apart had
ceased to exist, I now end up more
than pleasantly surprised. Maybe with
their new release neon on the
Minneapolis label, Skene!, people will
finally take notice of this highly underrated bandandgivecr edit wherecr edit
is due!
Quality production was
obviously a top priority in recording
neon. It has more than a fair amount of
polish and a big, full, solid sound. It is
more than apparent that their roots are
strongly influenced by mid/late
eighties melodic hardcore, but there's
also no questioning the effect of a
more rock oriented direction. The
songs are tight and catchy. Backed by
rock solid drumming and some crisply
throbbing bass lines, guitarist/vocalist
Mark, sets upon layers of multi-
textured tiffing and tasteful and stylish
lead work, all brought together by a
wonderful sense of harmonization.
My favourite track on neon is
perhaps the re-recorded version of
"Storm Clouds" from their first LP,
although this could merely be the result
of it's familiarity, for the opener,
"Calling," and "Good Luck Charm"
stand equally strong.
neon may not be a record that
grabs everyone's attention from the
first time they hear it in the way the
first record could. Though, with
repeated listens it's subtleties and
nuances become ever apparent and its
brilliance shines bright A highly
recommended musical purchase.
Eric Flex Your Head
BABES IN TOYLAND
Painkillers
(Reprise/Warner)
Painkillers is a five song ep. that also
contains about a half-hour of songs
from Fontanelle recorded Uve at CBGB
in New York City. Unfortunately, the
new material consists of mostly duds
that sound as if they were salvaged
from the Fontanelle out-take scrapyard
Besides the opening stomper, "He's
My Thing," PainkiUers sputters and
sags worse than my old Dodge Dart.
After Ust year's awesome Fontanelle,
this EP comes as a major
disappointment from a potentially
ferocious band. The live set, tacked-
on as if to rescue Painkillers from total
wretchedness, may be of some interest
to those who've not had the pleasure
of catching a Babes gig. However,
even this sounds flat. For Kat-o-philes
Sean Harvey
VOIVOD
The Outer Limits
(MCA)
Overproduced. I don't give a fuck if
they're Cancon.
Bepi
CATHEDRAL
The Ethereal Mirror
(Sony)
Earache's cash cow, I assume. A little
meaner than Ozzy or Megadeth and
now available at your favourite used
record bin.
AFGHAN WHIGS
Gentlemen
(Elektra/WEA)
When the timeline for soul music is
charted it shouldn't come as any
surprise to see the Afghan Whigs
commanding a precedented position
throughout the 90s. Walking in the
cold shadow of esteemed artists such
as Sam Cooke, Smokey Robinson,
Jackie Wilson.TheSupremes, Wilson
Pickett, Otis Redding and other too
numerous to mention just for the sake
of reference, is atough, and one would
think unwanted, chore. Because the
Afghan Whigs, in their manipulation
and interpretation of soul music, must
recogn ize the black c loud and the irony
of four white guys feeling/playing/
singing soulmusic. But they do it well.
From the moment Greg Du Ui
complains "it holds my arms down/
sits upon my chest/it waves its finger
at me every night and day and it don't
rest" ("If I Were Going"), it's obvious
that Gentlemen is one giant metaphor
for love and all that encompasses: hist,
loss, passion, pain, desire, hate,
strength and sacrifice With this, their
first not on the Sub Pop label, the
Afghan Whigs have relaxed their sound
( a gradual metamorphosis evident
from Up In It to Congregation and the
Uptown Avondale e.p.) and traded it
off for more complete and constructed
songs; dismissing a signature riff or
hook lure for a downbeat swing or a
soft guitar stroll—a page taken from
the Chris Isaak notebook. Simply, the
Afghan Whigs have matured as
musicians and songwriters. They make
it very difficult indeed for the listener
to not forget lines like "Ladies, let me
tell you about myself/1 got a dick for a
brain/and my brain is gonna sell my
ass to you" ("Be Sweet") or "every
night I spent in that bed with you
facing the wall/if I could have only
once heard you scream/to feel you
were alive instead of watching you
abandoning yourself ("When We
Two Parted").
Gen'/em«i concedes itself to
the fact that it is near impossible to
avoid heartbreak. This is its raison
d'etat. And that is why it is not
uncommon to hear apology or sorrow
in the lyrics and arrangement. Take,
for instance, "Here me now and don't
forget/I'm not the man my action-
would suggest/a little boy/I'm tied to
you/I feU apart that's what I always
do" ("Debonair"). This is one of the
cleanest sounding records I've heard
md it's worth the production value
alone if not for theclosing instrumental
of "Brother Woodrow". Arranged
above the low groan of a cello and
some simple but striking piano chords,
"Brother Woodrow" flows as an
aggressive ba] lad which brings the sad
finale to Gentlemen.
However, historically and
predominant! y the genre of soul music
has been Black American. And that's
not to say that being white eliminates
the ability to be soulful, it just asks the
question of whether or not the Afghan
Whigs are recognizing and respecting
the historical past to soul music oi
mocking it as an avenue for their own
sexual libidos That remains to be heard
Paul t Brooks
MOFO'S PSYCHOSONIC PIX
Hi! It's me, the overly eclectic
Mofo. Before I take you on a
little trip with me into the amazing world of virtual idiocy, I've
gotta l'il public service announcement to lay on ya. Some
of you more aware cats may
have noticed that we have a
couple of elections coming up.
The local one is supposed to get
us a new mayor; it has wound
up becoming a stepping stone
for future provincial party leaders. The federal one is intended
to give our land a leader that
won't humiliate us by letting
our nation get it doggy-style by
the U.S.; you know what the
past trend has been on that one.
Basically, the reason we get the
shaft so often is due to the fact
that most of us can't be bothered to go down the block and
scribble on a piece of paper,
i.e., vote. Usually less than 50%
of us of voting age determine
elections, less than 20%. I hear
an awful lot of complaints about
how badly we are getting
screwed by our politicians, but
in actuality, it is those of us
who don't vote that give these
jokers carte blanche to do as
they please. Politicians are so
used to our apathy that they can
do things like Free Trade, the
UI cuts, the Senate bullshit they
used to ram through the GST,
yada, yada, yada, and know that
we won't do anything serious
about it. I think those bozos
would absolutely shit themselves if once, just once, we
made the effort and all voted. It
doesn't matter who you vote
for; Kim "Me and Brian's Shadow" Campbell' s Tories (face it,
if they couldn't fix things in
eight years, they aren't gonna
in twelve), Jean "Ghost of Governments Past" Cretien's Liberals, Audrey "Fizzle"
McLaughlin's NDP, Preston
"Pat Buchanan of the North"
Manning's Reformers (and I
thought flakes were only left-
wing), Mel (?) Hurtig's Nationals, or, god forbid, Salmi's
goofy little Rhino offshoot
thing. Things may not change
much, but at least it will be a
truer result, and the politicos
will take us seriously for once;
plus, they close the bars anyway, so you gotta do something.
I'll probably vote National, just
because ofthe screw job they're
getting from Elections Canada.
Back to the meat. This
month, I was gonna use this
wonderful guest review from
Randy, who had some interesting theories regarding The
Flintstones Read Hansel <_
Gretel...however, we had the
misfortune of losing the damn
thing!! I was crestfallen (not to
mention half a column shy of
copy). I'm banking on Randy
having a back-up of his letter,
so he can send me a copy for the
Nov. issue. If not, sorry Randy!
Good thing for me I had a few
choice new finds....
LOUISE  AKEA AND  HER
ROYAL HAWAIIAN GIRLS
Hawaiian Music From The
Kodak Hula Show -
(Kodak)
This one's from 1956, kids, so
it's a great example of primitive social rituals. Yep, the LP
was made so all of the Perry
Como-listening folks could sit
around and be dazzled by your
slides of Hawaii. We've come a
long way. Extra points for
having an all-grrrl band in 1956.
Genre: Promotional
CHEEZABILITY RATING: 58
CLAUDE   DENJEAN
AND THE MOOG SYNTHESIZER
Moog!
(London)
Lame pop tunes like
"Sugar, Sugar," "Raindrops Keep Falling on
My Head," etc., performed on a honkin' big
synth. Big Waste of Time
Award goes to these guys
for taking an innovation
and doing Muzak on it.
Cool noises, though!
Genre: Moogalicious-
CHEEZABILITY RATING: 75
L'IL WALLY
Spiewajmy Razem z Malym
Wladzeim!
(Let's Sing Together With
Lil Wally in Polish!)
(Jay Jay Hi-Fi)
If I sang along with this, I'd
probably sprain my tongue.
Plus, I'm not sure I would want
to do anything with L'il Wally!
Lyrics included (for the experienced only). Polka 'till ya drop!
Genre: World Beat
CHEEZABILITY RATING: 90
VARIOUS ARTISTS
How To Get The Most Out
Of Your Stereo
(Warner)
Yet another compilation of vastly diverse cheezy cuts surrounded by jargon about how much
effort they put into it (yeah,
right) topped off with a cover
photo of a semi-nekkid woman
presumably getting the most out
of her stereo! Best tracks are
"Singin' In the Rain" by Gus
Varney at The Giant Wurlitzer,
and "Two Heads are Better
Than One" by industrial pioneer Spike Jones.
Genre: Miracle of Stereo
CHEEZABILITY RATING:
78
Sorry there's only four
this month, but my tirade at
the top wasted a bunch o' column! By the way, if there are
any other brave souls whove
found a neat vinyl rarity and
you want to do a guest review,
feel free to send me one. All
you gotta do is keep it reasonably short and I just might
include it. Legibility
Whoa dad!
I'moutaspace! Don't
forget, I've still got a
nice canned meat treasure for the longest
distance letter. Deadline for that is Oct.
31, kids! And, the
Reader's Psampler
should be done by No-
vember's ish, so send
me stuff by Oct. 20,
'kay? Until then,
you'll have to be satisfied with one of my
first two Psamplers.
Just drop me a line
(and $5/tape, a stamp
or   two   and    your
Hey Mofo!
2054 E. Broadway
Vancouver,BCV5NlW7
OCTOBER Q} 32 RUMP
HATNG BRENDA
CAROLINE
33 ST. JOHNNY
WGHASAKTTE
CAROLINE
34 SWERVEDRIVER
NEVER LOSE THAT FEELNG
CREATION
38 TANCF MESON
TRANCE MBSON
CITY Of TUBES
38 VARIOUS ARTBTS
FREQUENCIES FROM THE..
OUTE (SANCTUM
37 IGGY POP
AMERICAN CAESAR
VIRGIN
38 URGE OVERWLL
SATURATION
GEFFEN
38 THE JESUS LIZARD
LASH
TOUCH AND GO
40 CLOCKDVA
SIGN
CONTEMPO
41 JPS EXPERIENCE
BLEEDING STAR
MATADOR
42 FLYING BULGAR K1EZMER BAND AGADA
FLYING
43 POLYGON WNDOW
SURFING ON SINE WAVES
WARP
44 XYMOX
METAMORPHASB
MOGULl
48 ERECTUS MONOTONE
CLOSE UP
MERGE
48 REALLY RED
REALLY RED
ANGRY
47 BOSS
BORN GANGSTAZ
DJ  WEST
48 SMASHING PUMPKINS
SIAMESE DREAM
VIRGIN
48 HARD-ONS
TOO FAR GONE
SKENE
SO THE CREAMERS
HURRY UP _ WATT
TRIPLE X
OCTOBER 93 INDIE HOME JOBS
OCTOBER 93 SHORT VINYL 35
OCTOBER 9
3 LONG VI
NYL50
1 THE BREEDERS
LAST SPLASH
4AD
2 SUPERCONDUCTOR
WI SONGS FOR GIRLS
BONER
3 PENNYWISE
UNKNOWN ROAD
EPITAPH
4 BUM
WANNA SMASH SENSATION
POPILAMA
5 BRATMOBILE
POTTYMOUTH
KILL ROCK STARS
8 GARY CLAH
DREAMSTEALERS
PERFECTO
7 VARIOUS ARTBTS
JULEP
YOYO
8 JULIANA HATFELD
BECOME WHAT YOU ARE
ATLANTIC
8 MADDER ROSE
SWIM
SEED
10 DOUGHBOYS
CRUSH
MM
11  KICKING GIANT
HALO
SPARTA
12 VARIOUS ARTISTS
VOLUME SEVEN
VOLUME
13 CYPRESS HLL
BLACK SUNDAY
RUFFHOUSE
14 ADD TEST
DROP
SIRE
15 VARIOUS ARTISTS
WADE-FREE VANCOUVER
CLUB GROTESQUE
16 BAD BRAINS
RISE
EPIC
17 NOMEANSNO
WHY DO THEY CALL ME..?
ALTER. TENTACLES
18 REDD KROSS
SWTTCHBLADE SBTER
POLYGRAM
18 STEREOLAB
TRANSIENT RANDOM NOBE...
ELEKTRA
20 UNWOUND
FAKE TRAIN
KILL ROCK STARS
21 VARIOUS ARTISTS
FUTURHYTHMS
MEDICINE
22 TAR
TOAST
TOUCH AND GO
23 CLUTCH
TRANSNATIONAL SPEEDWAY..
EASTWEST
24 CURVE
SUPERBLASTER EP
CHARISMA
25 BOSS HOG
GIRL POSITIVE                      AMPHETAMINE REPTILE
26 VARIOUS ARTBTS
TRANS EUROPA
NEW LIFE
27 MCLYTE
AJN7 NO OTHER
FIRST PRORfTY
28 THE BOO RADLEYS
GIANT STEPS
COLUMBIA
28 PSYCHICK WARRIORS OV..
OVBKDSPERES A SACRED...
RESTLESS
30 EAST COAST MASS CHOIR
UVE IN NY
PEPPERCO
31  ECSTASY OF ST. THERESA
FLUDTRANCE CENTAURI
FREE
1 CUB
2 DOA
YOLATENGO
FRUMPES
BRAND NEW UNIT
SHADOWY MEN ON A..
THE EARTHMEN
MAN OR ASTROMAN?
NIMROD/ ROUGHAGE
THE HANSON BROTHERS
HARDSHIP POST
HORSEY
HORACE PINKLER
SUNNY DAY REAL ESTATE
CRAYON
THE MEANIES
HAZEL
SANDYDUNCANSEYE
THE STATICS
GODHEADS-0
22 THE ODD NUMBERS
23 SONE
24 THUMPER
25 DROOGS
CHEF
27 MAGPE
28 JJUDGENOTHNG
BRIGHT BLACK
30 WARD
31 LET
HOT DOG DAY
THEONLYTHNG7'
SHAKER EP
BABES WTTH BUNNES 7'
SUMMERTIME 7'
THE JEHRNEY 7'
COOL CHCK «9 7'
SUPERSONIC r
GETTING RAINED ON 7'
BRAD 7'
SUGARCANE 7'
GOUGHT7'
KNIVES AND GUNS 7'
FLATLAND SPDER T
THE SNAP-TIGHT WARS
BURNT 7'
RHYMING LOGIC T
HEDA7'
DON'T LOOK HERE
HEY HEY 7'
FRENDSHP VILLAGE EP
TOO MANY G*LS EP
DAVIDS SLING
HARD
COME HEAVEN OR HELL
ONE BORN EVERY MINUTE
ANIMALS 7'
AUG MOUTH
BRIGHT BLACK 7*
MUSTANG 7'
ALTERNATIVE TENTACLES
MATADOR
KILL ROCK STARS
3   MIN   MILE
DERIVATIVE
SLUMBERLAND
LANCE
SCRATCH
WRONG
MAG WHEEL
TRACKSHUN
RHETORIC
ONE     DAY
HARRIET
SLOW TO BURN
MERGE
CANDY-ASS
SUB POP
SUPER       ELECTRO
WLL ROCK STARS
EIGHT ONE  NINE
CANDY-ASS
SHIVER
HITCHHYKE
SUB POP
SKINNY
MUD
SOUTHERN
1    TIGER BEAT
I WISH I HAD A NICKEL
2   SBTER LOVERS
DREAMING
»   PLAGUE Of ETHYLS
LAND   OF    LA   LA
4   REAL MACKENZIES
I  AM  A  SCOT
»   PABLEY SUITCASE
STAND    AND    FIGHT
•   STRAIN
DRIVEN
7   ASHES
ROOFTOP
•   WRETCHED ETHYL
NOTHING   TOO   DEEP
•   YIMMYYAW
PONT LAC
*<•    NGOMA
LEARN
'1    THE SURFDUSTERS
THE   HEADLESS   BATTALION
«   THE VNAIGRETTES
FISHING FOR TROUT
13   TIGER BEAT
ONE   DOZEN    HAPPY   DAYS
14   HEATMBER
SARAHS PARTY
IS   THE LEATHER UPPERS
I DON! UKE YOU (VERY MUCH)
1«    BIG TALL GARDEN
NEW   TOMORROW
17    HAZARD
BORING   DAY   IN   THE   PARK
18   PRBONERS
SEXY. HE AIN'T
1»   THE VELVETEENS
BORN  AGAIN
20   COAL
ACE    OF    SPADES
HOME    BASS
COUNTDOWN TO ARMAGEDDON
NU TROGEN
MOBY
ENGLISH MUFFIN
TWNBASS
FRD
DAC. ROBINSON
ALTERN8
WESTBAM
MIKE INK
WHITE LABEL
BATTLE  OF THE  NERVOUS
I FEEL IT (REMIXES)
ENGLISH  MUFFIN  EP I
ATMOSF EAR EP
GET FUNKY WITH ME
LUCKY STRKE (REMIXES)
DOMIN 8 (DETROIT MDO
THE MAYDAY ANTHEM
PAROLES (ORIG' MIX)
THE REMIX
THUNDERPUSSY
nIDSTRL  STRNGTH
KICKIN
MEDICINE LABEL
RABBIT  CITY
NETWORK
RADIKAL
EDGE
WHITE   LABEL
GREYHAIRS REMEMBER
DISCORDER CHARTS 10 YEARS AGO
1 BIG COUNTRY
2 HOWARD DEVOTO
LAN VEGA
4 ELVB COSTELLO
5 ENIGMAS
6 TOM TOM CLUB
7 THE ALARM
8 KING SUNNY ADE
8 BAUHAUS
10 DAVDTHOMAS*THE PEDS
THE   CROSSING
ZE
PUNCH  THE  CLOCK
ENIGMAS EP
CLOSE   TO   THE   BONE
THE   ALARM
SYNCHRO SYSTEM
BURNING  ON  THE  INSIDE
VARIATIONS ON A THEME
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OCTOBER   © SEE HOW THEY GIVE THEIR BEING
TO THE RITUAL 1 FRI CiTR 101.9 IM PRESENTS VICTIMS FAMILY WITH PORCH AND
GUS AT THE CRUEL ELEPHANT ON STATION STREET... Cruel 70s Friday
Nile Disco al the Commodore... Dyhan Roberts at the WISE Hall... Art
Bergmann al the Malcolm lowry Room (North Burnaby Inn)... The Sue
Leonard Bond at the Railway.. Jim Byrnes at the Yale... Cadillac Tramps
with Overwhelming Colorfasl at the Town Pump .. Peler Wilde at La Quena
Coffee House Mushroom Trail with The Pasties ond Upper levels al the
New York Theatre... David Young-Phil Dwyer Quartet at Hollywood North...
Boneclub with Big Gulp at ihe Hungry Eye.. Hugh Fraser Quintet ot Alma
Street Cafe... Workshop de Lyon at Vancouver East Cultural Centre... DJ
David Hawkes at Graceland... Yo-Yo Ma with ihe Vancouver Symphony
Orchestra ol the Orpheum... UBC Symphonic Wind Ensemble at UBC Old
Auditorium... 54-40 at Breakers.,. Green Apple Quickstep at the OK Hotel (Seattle).., The Love of the Nightingale at Frederic Wood Thealre...
Vancouver International Film festival opens... Making Video In multi-media
installation (until ihe 30th)...
2 SAT CiTR 101.9 fM PRESENTSMOMMYHEADS WITH cub, KID CHAMPION AND MARK (SZABO) AT THE ANZA CLUB. . The Coctails with Pitchblende and the Ne'er Do Wells at the Cruel Elephant on Station Street...
Jimmy Cliff at ihe Commodore... Art Bergmann at the Malcolm Lowry Room
(North Burnaby Inn).. Jim Byrnes at the Yaie... Marion Rose, Greg Canole
and Jerry Conote at Victoria Drive Community Halt... Amala at Vancouver
East Cultural Centre... The Sue Leonard Band ai the Railway... Cadillac
Tramps wilh Overwhelming Colorfast at the Town Pump... CiTRs own DJ
Noah ot Groceland Oovid Young-Phil Dwyer Quartel at Hollywood
North .. The Patti Hervey Trio al Alma Street Cafe... Sweel Jones with
Twilight Rituals ol the Hungry Eye... 54-40 al Breakers... Sage wilh
ITchkung! at the OK Hotel (Seattle). . Vancouver International Film Festival
conlmues... movies of the week at the Railway,.. The Love of fhe Nightingale closes at Frederic Wood Theatre... The Supporting Cast opens atThe
Metro (until the 30th[... Auslonder Video exhibition by MaiiasGrieck, Akiko
Hada, Gavin Hodge, Kaon Koyosu opens at Video In (until the 31st)..,
Belore the Generation loss: Video's Earliest Years (9pm) at Video In...
Naihan Shamuyarira lecture "Southern Africa in the New World Order" at
Woodward IRC Lecture Hall 2 (8:15pm)...
3 SUN The Spirited Row: Destrube & Young Composers Compelition al
Vancouver East Cullural Centre... Rose Chronicles at the Arls Club... Vancouver International Film Festival continues... On Line Editing: Advanced
Workshop (10am) at Video In...
4 MON Mercylul Fate with Flotsam & Jetsam and Cathedral at ihe Town
Pump... Sara Craig at the Railway... Brass Roots al Hollywood North...
Da Flava al Graceland... Vancouver International Film Festival coniinues...
The Dance Brigade's "On the Edge of the World: Goodbye Columbus* ot
UBC Museum of Anthropology (7pm)...
5 TUE GTR 101.9 fM PRESENTS SHINDIG '93 AT THE RAILWAY WITH
THE DUNDERHEADS, HEATMISER AND SPEED BUGGY... Sue Leonard Band
at the Yole... Cruet 70s Disco ot the Commodore... Noise Bar oi
Groceland... Noise Bar at Graceland... P-Funk Tuesdoys with DJ Verneil
and DJ Thomas at ihe Hungry Eye... Vancouver International Film Festival
coniinues... Eost/Wesl Performance Art Series at the Pitt...
6 WED Thrill Squad at ihe Railway... Sue Leonard Band at the Yale...
Nancy Weisslei with Chris Catotono a! the Hungry Eye... Shannon Gunn
ot Hollywood North... CiTR Hot Wednesday o! the Pit Pub... Reggae featuring CiTR's own DJ George Barrett at Graceland... Glory Stompers with
Mama's lg I otel (Seattle).,. As You tike It opens at Langara
Studio 58 (until the 30th)... Angel of History ol Vancouvei East Cultural
Centre... Vancouver Internal onal film Feslival continues... East/West Performance Art Series at the Pitt. .
7 IH&tm 101.9 fM PRESENTS BIG CHIEF WITH SIX fINGER SATELLITE AND WHEAT CHIEFS AT THE TOWN PUMP... Jazzmanian Devils oi
the Railway... Screaming Trees with Flop and Grovel at ihe Commodore...
Larry Davis at the Yale... Sub-Sonic Thursdays at the Pil Pub featuring Roots
Roundup and People Playing Music... Rose Chronicles ol Free World...
Oliver Gannon.Trio ai Hollywood North... Psychedelphia leoiuring Bootsy
Sloan at Graceland .. Noro Michaels, Fletcher Brock, Nancy K Dillon a!
the OK Hotel (Seattle)... Voncouver International film Festival continues...
Belore the Generation Loss: Video's Earliest Years |8pm) at Video In...
East/West Performance Art Series at the Pitt... Angel of History o! Vancouver East Cultural Centre... The Man with the jelly Mask at Station Streel
Arls Centre Aiery exhibition by Jacqueline Ann Cohoon opens at ihe
Soul Art Gallery .'until ihe ah) .. The Coast is Queer and Queer City
exhibitions artist arsd curator talk al the Community Arts Council (7:30pm j...
8 FRI Exene Cervenka reading followed by performance by Veda Hille
at the Malcolm lowry Room (North Burnaby Inn)... jazzmonian Devils at
the Railway... Mystery Machine wih Butiel Proof Nothing at rhe Cruel
Elephant on Station Street... Me Mom & Morgentaler ol ihe Commodore...
larry Davis at the Yole... loudon Wdinright i at Tom l$e Music Hall...
Salvador Dream at the Hung?-., Eye PJ Per'. Quartel at Hollywood North
DJ David Hawkes al Graceland. clack Cal Orchestra with Naked Onions Angel of History al Vancouver East Cultural Cenlre... The Man with
the Jelly Mask at Station Street Arts Centre... Vancouver Internationa) Film
Festival continues... East/West Performance Art Series at the Pill...
9 SAT CiTR 101.9 fM PRESENTS SPARKMARKER WITH BUM, TEN DAYS
LATE AND PLUTO AT HASTINGS STREET COMMUNITY CENTRE...
Jazzmanian Devils ot the Railwoy... Veda Hille at ihe Malcolm Lowry Room
(North Burnaby Inn), lorry Davis at the Yale... PJ Perry Quartel al Hollywood North... Friends of Jean Fortin Benefil featuring Gary Cramer,
Cuskapuni, ond Odile Monelte at la Quena Coffee House... Rose Chronicles at ihe Town Pump... Bliss with Spice of Life at the Cruel Elephant on
Station Street... The Paperboys with Paisley Suitcase al the Hungry Eye...
CiTR's own DJ Noah al Graceland... Lemons with Pop Sickle and lazy
Green Angel of History at Vancouver East Cultural Cenlre... The Man with
the Jelly Mask at Station Street Arts Cenlre... Vancouver International Film
Feslival continues... East/West Performance Ari Series at ihe Pitt... Karl
Aslrom lecture "Black Boxes and White Noise" lecture at Woodward IRC
Lecture Hall 2 (8:15pm)...
1 O SUN The Paperboys al the Railway... Vancouver Internolionol Film
Festival coniinues...
I 1 MON Da Flava al Graceland... Steve Lacy with Mark Hosier at the
OK Hotel (Seattle)... Vancouver International Film Feslival coniinues... movies of the week "Hitchcock Night" at the Railway...
12 TUE OTR 101.9 IM PRESENTS SHINDIG '93 AT THE RAILWAY
WITH SAVAGE HENRY, THE LOVED ONE, THE FALCONS... Cruel 70s
Disco at the Commodore... Cicero Blake at the Yale... Noise Bor at
Graceland... P-Funk Tuesdays with DJ Verneil and DJ Thomas at the Hungry
Eye... Vancouver International Film Feslival continues...
1 3 WED CiTR 101.9 (M PRESENTS VELOCITY GIRI AT THE TOWN
PUMP... Veda Hille and Bones & Feathers at the Roilway... Treasure wilh
The Knights of ihe Funky Round Table, Holy Barbarians Thealre Group and
The Ambiguous Orchestra at the Hungry Eye... Cicero Blake at the Yale...
CiTR Hot Wednesday at ihe Pit Pub... The Physik Cycle at Sludio Seizieme...
Reggae featuring CiTR's own DJ George Barrel! at Graceland... Vancouver International Film Feslival continues...
1 4 THU CiTR 101.9 fM PRESENTS REVEREND HORTON HEAT WITH
THE PSYCIONE RANGERS AT THE TOWN PUMP... Sub-Sonic Thursdays
al the Pit Pub featuring Spice of Lile and Mushroom Trail... Smashing Pumpkins with Shudder to Think and The Frogs al 86 Streel... Veda Hille and
Bones & Feathers al the Railway... Cicero Blake ol ihe Yale... The Physik
Cycle al Studio Seizieme...Psychedelphia featuring Bootsy Sloan al
Graceland... liny Giants with Kuli looch al the OK Hotel (Seattle)... Vancouver International Film Feslival continues...
15 FRI CiTR 101.9 fM PRESENTS THE GRIFTERS WITH BLAISE PASCAL
AND HORSEY AT THE CRUEL ELEPHANT ON STATION STREET... Lowry
Olofson oi Vancouver East Cultural Centre... los Durangos al the Malcolm
Lowry Room (Norlh Burnaby Inn) . last Wild Sons at ihe Railway... Cicero
Blake at the Yale... Buddy Guy with John Mayall & the Bluesbreakers al
the Orpheum... DJ Dovid Hawkes at Graceland... Dying to be Violent al
ihe Hungry Eye... Oktoberfest '93 al the Commodore... The Physik Cycle
at Studio Seizieme.,. Meddophysical with Silly Rabbit and Milk & Money
at the OK Hotel (Seattle)... Vancouver International Film Feslival continues... Sculpting ihe Deficient Flesh (9pm) at Video In...
I 6 SAT CiTR 101.9 fM PRESENTS BAD RELIGION WITH SEAWEED
AND GREEN DAY AT 86 STREET. . Ethyl Meat Plow with Mudwimmin,
Null and Zeni Geva at the Cruel Elephant on Station Street... los Durangos
at the Malcolm Lowry Room (North Burnaby Inn)... Cicero Blake at the
Yale... Suffering Gaels a! the WISE Hall... Dancing on Glass wilh Opium
Underground and King Singlemon at the Anza Club... Dee Daniels al Vancouver East Cultural Cenlre... Oktoberfest '93 at the Commodore... Last
Wild Sons ot the Railway... CiTR's own DJ Noah at Graceland... The
Physik Cycle at Studio Seizieme... Tchkung! af the Hungry Eye... Hitting
Birth al the OK Hotel (Seatlle)../Vancouver Internolionol Film Festival continues... Mainstreel Mylhopeio (9pm) at Video in... John Gray's lecture
"An Evening wifh John Gray' al Woodward IRC lecture Hot 2 (8:15pm) ..
\7 SUN John McLachlan ot Vancouver East Cultural Centre... Pinetop
Perkins a, the Yale. . Jimmy Buffett & the Coral Reefer 8and at ihe Pacific
Coliseum,., The Physik Cycle ol Studio Seizieme.. Vancouver International
Film festival closes,   movies of the week at the Railway...
1 8 MON Pinetop Perkins at the Yale... Stigmata a! the Town Pump...
Da Flava at Graceland... Reading Railroad ai the Roilway... The Physik
;   Cycle at Studio Seizieme...      '■ ^ __E_rV__r   ______!
I 9 TUE CiTR 101.9 fM PRESENTS SHINDIG '93 AT THE RAILWAY
WITH PIPE DREAM, TOQUE, TICKLE TRUNK... Cruel 70s Disco at ihe
Commodore... Guitar Shorfy al the Yale... Noise Bot al Graceland... P-
Funk Tuesdays with DJ Verneil and Dj Thomas al the Hungry Eye... The
Physik Cycle at Studio Seizieme...
20 WEO CiTR 101.9 fM PRESENTS BUFFALO TOM WITH BETTIE
SERVEERT AND THE VERLAINES AT THE TOWN PUMP... The Smugglers
with SubSonics al the Railway... Moxy Fruvous with Jann Arden at the
Vogue... Rose Chronicles al Wild Coyote... Guilar Shorty at the Yale...
CiTR Hot Wednesday at the Pit Pub... Reggae featuring CiTR's own DJ
George Barrett al Graceland... fashion show at the Hungry Eye... The
Physik Cycle at Studio Seizieme... Glenn Spearman Double Trio al the OK
Hotel (Seattle)... Senso (7:30& 9:35pm) al Pacific Cinematheque... Claire
Kujundzic exhibilion "Recent Works" opens at Vancouver East Cultural
Centre (until Nov, 23)..
21 THU THE SMUGGLERS WITH THE SUBSONICS AT THE RAILWAY...
Doughboys with Redd Kross and Hammerbox al ihe Commodore... TIMEllies
festival: Marty Ehrlich Quartet at Voncouver East Cultural Centre, Glenn
Spearman Double Trio at ihe Gloss Slipper, Standing Wave at the Western
Front... Guitar Shorty at fhe Yale... Morlin Simpson at the WISE Hall...
Sub-Sonic Thursdays at the Pit Pub featuring Sex With Nixon and Mr.
Weltadjusted... Psychedelphia featuring Bootsy Sloan atGraceland.. The
Physik Cycle at Studio Seizieme... Techne (8pm) ol Video In... Not Crazy
Like You Think (7:30pM) at Pacilic Cinematheque...
22 FRI Tsunami with Feed Your Baby Heod and Fish Pants atthe Cruel
Elephant on Station Street.. Moist wilh Rose Chronicles and Bum at UBC
SUB Bollroom... TIMEllies festival: Glenn Spearman Double Trio at the
Gloss Slipper, M.O.R.E, al the Western Front... Sweet Dick at the Rail
way... Guitar Shorty al the Yale... Oktoberfest '93 al the Commodore .
DJ David Hawkes at Graceland... The Physik Cycle al Sludio Seizieme..
Sweoty Nipples with love on Ice and Crawdoddies at the OK Hotel
(Seattle)... Sex & Death: In the Realm ol the Senses (7:30pm) and Matador |9:30pm) al Pacific Cinematheque...
23 SAT CiTR 101.9 IM PRESENTS UNREST WITH STEREOLAB AT THE
TOWN PUMP. TIMEflies feslival: Michele Rosewomon & Quintessence at
Vancouver East Cullural Centre, Brad Turner Quartet and Kane/Taylor Explosion al the Glass Slipper, Francois Houle & Andreas Kahre al the Wesl-
em Front... The Show Business Gionts wilh the Vinaigrettes and Sick Sick
Yeah at the Cruel Elephant on Station Street... Sweet Dick al the Railway... Guitar Shorty at the Yole... to Masgana al the WISE Hall... The
Chieftains wilh John McDermoll al the Orpheum... CiTR's own DJ Noah al
Graceland... Oktoberfest '93 at the Commodore... The Physik Cycle at
Studio Seizieme... Tsunami al Rockcandy (Seattle)... Easy Big Fella with
Durango 95 and 100 Men at the OK Hotel (Seattle)... Techne (9pm) al
Video In... Sex & Death: In ihe Realm ol the Senses (7:30pm) and Matador (9:30pm) al Pacilic Cinemalheque... Julian Davies lecture "The Rise
and Fall of Antibiotics" al Woodward IRC lecture Hall 2 (8:15pm)...
Saturday Afternoon live al Vancouver Easl Cultural Centre...
24 SUN TIMEllies festival: Hal Galper Trio at Ihe Glass Slipper, Bill Smith & David
Lee & Jim Munro at the Western Fronl... movies of the week al the Railway . Ars
Artium: Film & Video Irom FAVA (7:30pm) at Pacific Cinemalheque...
25 MON Da Flava al Graceland... Reading Railroad al the Railway...
Criminals in love at Vancouver East Cullural Centre (until Nov. 13)... Ars
Artium: Film & Video from FAVA (7:30pm) at Pacific Cinematheque...
26 TUE  CiTR 101.9 fM PRESENTS SHINDIG '93 AT THE RAILWAY
WITH BANDS TBA... Johnny V with Triple Threat at the Yale... Cruel '70s ,
Disco al the Commodore... Noise Bor at Graceland... P-Funk Tuesdays
with DJ Verneil and DJ Thomas at ihe Hungry Eye...
27 WED Leaders of the New School with The Rascals and DJ Kilo-Cee
al the Hungry Eye... The Show Business Giants al the Railway... Johnny V
with Triple Threat at the Yale... CiTR Hot Wednesday at the Pit Pub...
Reggae featuring CiTR's own DJ George Barrett al Graceland... La Terra
Trema (7:30pm) at Pacific Cinematheque...
28 THU The Show Business Giants al ihe Railway... Sub-Sonic Thursdays at ihe Pil Pub featuring Shine and Easy Access... Johnny V with Triple
Threat at the Yale... Sarah McLachlan wilh Ginger al the Vogue...
Psychedelphia featuring Bootsy Sloan at Graceland... Kitgore Trout with
House of Snacks al the OK Holel (Seattle)... Vigour (7:30pm) and My Blue
Heaven (9:30pm) at Pacific Cinemalheque...
29 FRI Brand New Unit with the Bombshells, Mother Tongue and The
Melting Newmans at the Cruel Elephant on Station Street... Johnny V with
Triple Threat at the Yale... The Real McKenzies at the Railway... DJ David
Hawkes al Graceland... Etoulee at the Hungry Eye... Boogie Brown Band
wilh Peace, Love & Guitars at the OK Holel (Seattle)... Time Codes: Recent Takes in Feminist Video (9pm) ot Video In... The Northerners (7:15pm)
and Vigour (9:35pm) al Pacific Cinemalheque...
30 SAT Johnny V with Triple Threat at the Yale... The Real McKenzies at
the Roilwoy... CiTR's own DJ Noah ot Graceland... El Sleiner with Ganja
Farmers ai the OK Hotel (Seattle)... The Supporting Cast closes al The
Metro... As You Like It closes at Langara Studio 58... Alery exhibition by
Jacqueline Ann Cohoon closes al the Soul Ari Gallery... Guerilla Televi-
sion/Pirole TV Special Halloween Party (9:30pm) ot Video In... Evenings
(7:15pm) and The Northerners (9:30pm) at Pacific Cinematheque...
William Fisher lecture "Reducing the Risk: Understanding and Promoting
AIDS-Preventive Behavior" ol Woodward IRC Lecture Hall 2 (8:15pm)...
3 1 SUN Lenny Kraviiz with Blind Melon at the Pacific Coliseum...
Quiverpuss with Faith & Disease and Dusk at One ot the OK Hotel (Seattle)...
scary movie night al the Railway... Auslander Video exhibilion by Matias
Grieck, Akiko Hada, Gavin Hodge, Kaori Koyasu closes at Video In...
The Province (7:30pm) and Evenings (9:30pm) al Pacific Cinematheque. .
OCTOBER
@ <G COCKTAILS 10:00-11 30 AM Let
Oct II: Ifs Gol To Be Funky* is tw Me ol
Horace Silver's Irslsfom lor a ma^M>el(Co-
kmbia) in twenty years Horace was one ol he
major piano mluences ol he S0*s and 60Y Hear
Honce, witi bras and great soloists, lie vocals
ol Andy Bey, and great compos trans no wonder lis abum Is on lie Jazz best-seder ks ts.
Oct 25: Marian McPArlaid is an endtessly
creaive ptanoL Heiinlueni- radio *ow called
"Piano Jazz* is a mainstay ol NP. Ra_o in tie
U.S. Her show keeps her in touch ** J lie
Will your host- Bepi Crespan and Gwg. AJter-
naing will Wolf at he Door.
AURAL TENTACLES   HOMTE • VERY LATE
ilo yet another day of heimts.
SUNDAYS
ARE YOU SERIOUS? MUSIC »:00AM-12:00PM
Al of Ime is measured by its art Most broad-
casing -Wis ail for incestuous markeknusc
This show presents lie most recent new music
from around the worid Ears open. Hosted by
Pad Sleenhuisen and lan CrulcNey.
THE ROCKERS SHOW 12:15-3:00PM Reggae
ima al styles and lashion. George Barrel. Mike
Cherry and Peter Wiliams alternate as hosts
SOUL CHURCH 1:00-5:00 PM Altemaing Sundays witi Brent Argo. Vancouver's only program devoted entirety lo Afncan- Canadian and
African- American Gospel music. Your rotating
hosts are Vence Yeh and Dave Langlle (every
BLACK MUSK 6:0O-»:00PM Everyhing from he
African-American tradition: Blues, Gospel,
Jazz, Soul, R&B, Funk, Hip Hop, and current
Daice Tracks. Mouldy vinyl to shiny CD's You r
host, Lachlan Murray.
GEETANJAU 9:0O-1O:O0PM Geelanjali is a one-
hour radio show which features a wide range of
BOXER SHORT BOYZ 7:OO-9:0OPM Justac
boll Hindustan and Carnatic, popular music
Irom Inian movies Irom the 1930's to the
1990-, Semi-classical music such as Ghazals
and Bhajans, and also Quawwalis. Folk Songs.
etc Hosted by J Dhar, A. Palel and V. Ranjan.
RAOtO FREE AMERICA t0:0OPM-12:0OAM Join
host Dave Emory and colleague Nip Tuck lor
some extraordinary poibcal research guaranteed to make you think twice. Bring your tape
deck and two C-90s. Originally broadcast on
KFX (Los Altos, California)
MONDAYS
THEMORNINGSHOW 7:3M:15AM Wake up
will lie OTR Morning Show. Al tie news,
sports and weather you need to start your day.
Plus whai's happenrg at UBC each day will
UBC Digest, a feature interview and more.
Topped ofl with the BBC World S«vic« News
at 8:00AM, bve trom London, England.
BREAKFASTWTTHTHEBROWNSI:15-11:00AM
nd Peler,
Your lei
Tine in
spedd.
THE STUPID RACK) SHOW 11:00 AM-1:00 PM
Our noon fealure is 'Crucifix in your ear1 Our
fevle of profes-onafsm is above question.
MEKANIKAL OBJEKT NOIZE 1:15-3:00PM
CiTR's only al industrial / industrial / ambient
show with different features every week. Will
your dj pals June and Ren. Rhys Fulber hates
STRAIGHT OUTTA JALLUNDHAR 4:0O-5:0OPM
mentary and more. Weekdays with host lan
Gunn
THUNDERSTRUCK 5:30.:00PM CiTR's weekly
wrafHip ol everything anyone needs to know
aboul UBC. Thuiderbird sports.
34 __££^_pU___-i_f'3
OcL 4:
im by trombonist J.J.
weakened Johnson in any way. at 69 he continues to grow as a composer and retains his
position as the father ol modem Jazz trombone'.    "Let's Hang Out' is Johnson's
latest tonight....dont miss it
Oct 11: TodayisArtBlakey'sbirthday. he
woiid have been 74...nol only is his great
drumming missed bul his bandleadiig spirit and
his encouragement of young talent. Tonight a
document of Blake/s irst trip to Japan in Jan
1961. Aifslavourile edition ofNsJazz Messengers will Lee Morgan (trumpet); Wayne Shorter
calted *1n My _te" arid is a ine showcase tor her
talents and twee of a 19 year old saxophone
wizard named Chris Potter.
SCREAMNG INCONSISTENCIES: As our tangents
krsing we take you on a lot
Jennie: 12001:00am lx
ah) from 1:00-_00am, w
TUESDAYS
MADONNA DEATHWATCH 1:00-11:00AM Bryce
and Scooter get the U.RG.E.I
HELENS HUT 11:00AM-1:00PM This monti we're
out m the yard -lor Helen's Picric! Stones, lunes.
recipes and a checked tabtedoh. Is it a date?
BLOOD ON THE SADDLE 1:15-3:00PM  Country
music to scrape lie cowshit off your boots lo.
Will yer hoet-poke Jeff Gray.
MARY TYLER MOORE SHOW 3:0O-5:00PM
WOMEN IN MUSIC AND GRRRLS IN MUSIC;
TWO HOURS OF INFO AND RAWK. YA DONT
NEED A PENIS TO BE A MUSICAL GENIUS!
CORAL AND TOSH.
MEET IDA BEAN f:00-7:OOPM Rap, hip hop.and
Super Dope Lyrics- so ly tiat youl do 3-5 just br
getting caught [stoning to lha stuff. Requests are
taken...il you can get through on tie phone! Ida
Bean's on lie tip!
THE UNHEARD MUSIC  7:00-9:0OPM   Meat (he
hardly herd are heard, courtesy ol host and demo
director Dale Sawyer. Herd up!
WOLF AT THE DOOR 9:00P_-12:OOAM Alternating Tuesdays with Stamina Daddy. The latest in
dance musk and interesting dram a every second
week. With Lupus Ycnderboy
STAMINA DADDY 9:00PM- 12:00AM Bootses on
i. Avoid contact with tie eyes and il
WEDNESDAYS
THE YACHT CLUB 11:30AM-1:15PM A nautc-
tour ol tie lour comers of lie musical world.
Drop anchor Hosted by Matt & DJ. Gav.
NOOLEY TUNES 1:15-3:0OPM Spnrwig tie best
and worst of DTP'S playlet, only the mosl onp-
n_ revests wi be remotely considered. Em-
world, regardless ol musicd danfcafon.
NORMAN'S KITCHEN J«W:00*»M Have you met
my friend PJ? How can we minuter to you?
With your host, lie Reverend Norman.
ESOTERIK S:3O-7:0OPM Esoterronsts Trip and
Gustav Uend Ehnonndustrial-goheic music
Zwecki dekondibonierung aller! Nehmnt
Y 7:0O-l:00PM Megan
Mallett and Mko Hodman play elevator music
the way it should be.
OPEN COUNTRY JOY liOWiOOAM, 1STWED.
Of EVERY MONTH. Donl lei lie 7I7H707
tod you.
TALES ROM THE INFINITE LIVINGROOM 12:00-
7:00AM, 2ND, 3RD, 4TH WED. OF EVERY
MONTH. Join Chris Pariah as he gudes you
trough he scapes and dream images of he
THURSDAYS
CANADIANLUNCH 11:0O.1:O0PM Toques.plads
badtacon, beer, 0oos and beavers. Eat your
inch every Thursday wih Skyler.
FLEX YOUR HEAD 3:00-5:001-1
-—HARD EMC—
—ERIC CORE —-
GET M THE FUNG 5:304:00PM Join Mike and
Brian every week to hear hem tag team he
■wee wih guests hom al over he political
OUT FOR KICKS t:00-7:30PM No Biikenstocks,
nohing pottcaly comet We donl get paid so
you're damn nghl we have fin wih it Hosted by
Chris B.
EDSVILLE, POP! 7:30-9:OOPM Roots of Rock W
Rol -If you donl get into Rock V Roll Heaven
donl blame met Hosted by Eddie J.
UVE FROM THUNDERBIRD RADIO HELL 9:00-
11:00PM Local muzsakc Irom 9. Uwtwi/ftoy
hi Hues from 10
Oct 14 - Glen Records showcase
Oct 21- Souipuss
Oct 21- Pi*e Thealre
RADIO TRANSUBSTANT1ATION YEAH - Alternating Thursday. 11:00-1 AM Oyl Whafs
yourgame Sherlock Holmes? tl spread yer noz
al over yer face, II bustyou up and down hese
t-igraunds, youl never pick up your teeti witi
a broken aim, an1 II tear off your legs
an' beat you over he head wih 'em!
SUMMER OF HATE 1:NAM-<ihenever we _op
Thrilling car chases, heart-stopping ight
serquences, dashing young men in tight Ring
pante. Yes we do our own stunts. Sped-hanks
to Sam OBEN, CaffeineChaite,ZevA*er, tie
pest conSol guy, James Last Justin S-kvan
and Mrs Wis lor al pitching in heir damdest to
make he show a cuddly bad of km witi a sightry
Hosled by
SUN
MON
TUE
WED
THU
FRI
SAT
ARE YOU
SERIOUS?
MUSIC
1 _ 1 = __V__^
ROCKERS
SHOW
■HJilI.U^I'M l'll't _M:r.r«_H
«-.'_._:.|.Bl-l*l.>JM-*M
THE
SATURDAY
EDGE
BREAKFAST
WITH THE
BROWNS
MADONNA
DEATH
WATCH
DIGITAL
ALARM
CHRONOMETER
SHOUR/NAVA
VENUS
FLYTRAP
INTERNTL.
C/DISCO
COCKTAILS
1 BEE NORM
DON AND
GOURDS
STUPID
RADIO SHOW
HELENS
HUT
CANADIAN
LUNCH
THE
PEAKING
CANUCK
THE YACHT
CLUB
l.l=tV_M
POWER
CHORD
MEKANIKAL
OBJEKT
NOIZE
BLOOD ON
THE
SADDLE
NOOLEY
TUNES
REVENGE OF
THE NERD
LO-FI
BRENT
ARGO/
SOUL
CHURCH
SONIC SALAD
MARY
TYLER
MOORE
SHOW
NORMAN'S
KITCHEN
FLEX YOUR
HEAD
MEGABLAST/
NARDWUAR/
NOIZ SHOW
AFRICAN
SHOW
JALLUNDAR
BLACK&TAN sMMMmMfSSsm^*9^rMr^^T^{
|LUiaLLJLaL
BLACK
MUSIC
FLAMING
CATERPILLAR
MEET IDA
BEAN
ESOTERIK
OUT FOR
KICKS
COCKTAILS
WITH DARYL
AND
SUSI
IN
EFFECT
BOXER
SHORT
BOYZ
UNHEARD
MUSIC
AND SOMETIMES WHY
EDSVILLE,
POP.6
LULU'S BACK
IN TOWN
THE REAL
DEAL
HEIMLICH
MANOUVRE
GEETANJALI
THE JAZZ
SHOW
WOLF AT
THE DOOR/
STAMINA
DADDY
AFRICAN
VARIETY
LIVE FROM
THUNDERBIRD
RADIO HELL
HOME
BASS
ONE STEP
BEYOND/
RADIO FREE
AMERICA
POP
GUN
GROOVE
JUMPING
CIGABLAST /
RADIO T.Y.
IN THE GRIP
OF INCOHERENCY
SCREAMING
INCONSISTENCIES
AURAL
TENTACLES
TALES FROM
THE INFINITE
LIVINGROOM
UMP
SINK
SUMMER OF
HATE
SOMETHING
THE PEAKMG CANUCK 11KMAM-1:00PM Ifyou
are sulenhg an identity crisis you may want tot
kite into this show more han once. Your host
Bob Winston dm**** Canada in 20h Cen-
LO-H 1:00-2:30PM rowena's back, arefce's in
dass, and bett/s come to visit! velvet does he
weekty csiema fetng-
NARDWUAR THE HUMAN SERVIETTE PRESENTS- 3:3MK»PM White ightj
THE CiTR DINNER REPORT 5:0O-5:2OPM Wih
The Voice of Reason,'our weekly look back st
he week in he news, tongues irmly in cheek.
ITS NOT EASY BEING GREEN 5:30 - -00PM
Attempting to make it on ime, Kelowna wi be
very opmiated about he stale of movies in our
ime. Guests, always
COCKTAILS WITH DARYL AND SUSI 1:00-
1:00PM   Underground sound system-style
FOR THE RECORD 6:
Dave Emory's Re* Frwe America Series.
HOMEBASS -0OPM-12: 30AM Dope jams and
FRIDAYS
SH0UR-O*AVA 7:30.9:00AM Shcur-tHiava are yENUS aYTRAPS LOVE DEN 1:15-10:00 AM
namesof two mar modes of Iranian music This Greg is your guide on your journey to Venus
show _ dedicated to Iranian mu-c ranging from Ryti^'s wotld reknown love den. Geing here
tradiSon_,k*(,ehnic,myslc,oldandcontom- is hrff he lun Remember to packs lunch, some
porary pop. IAjsc of various parts ol Iran ie. candes and msybe a wire brush. Al aboard!
Azeibaijani,Kur-sh,L-ri, etc are covered. We Love and hugs, Greg xosx
really like to hear hom al rf our .toners to be |BEENORMAL10:00-11:00AMPioneersolRadio
Souid advocatng the menlaly/physicalry ch_-
passes. Limp Sink is two. Jot J of your Limp
Sink pals as hey share heir sod- problems
wih you. Hosted by tie G42 player-
Fin Apt-
Join he Rre Pipe right hto he pyre. This monh
features he last ive Rre Pipe ever tound ii
Norh America. Tune in Sept 24 to ind out what
*Dsvid* Fitter and Postmen *Psr, your radio
friends, mil be up to next monh.
The Doctor««_,- Showing rodents: 1 Piich of Honesty
2CupsofW*ingness
42 Poinds of Reassessment
SATURDAYS
THE SATURDAY EDGE l:00AM-12:00PM Nowri
its 8h year on he air, The Edge on Fdk featores music you won't hear anywhere else: new
releases in he re_m of CeHc, Folk and Roots;
».Wid
POWERCHORD 1_15-3:00PM Vancouver's only
true metal show; local demo tapes, imports and
oher rarities. Gerald RaMehead and Metal Ron
do he damage.
THE AFRICAN SHOW 3:00-5:OOPM Ifs a mushing from al 'Africa.' Ifs an awareness hing
ol sell and ohers. Ifs an African house party,
Stories.mu-c, dance fun. Welcome!Yourhos_:
THE HEIMLICH MANOUVRE l:00-10:00PM Sophisticated radio for he alter diner crowd.
GROOVE JUMPING 10:00PM-1:00AM Saturdays
Terry. Wozzle, Jell, Warren Who will it be?
Who knows! Who cares! It rocks! Go figure.
SOMETHING 1:004:00AM A cute Me blurb wih
a subversive undertone and a slight connotation that tie host gets some kind of joke thatyou
WHOM   &   HOW
ARTS JOHN SEMINOFF
BOARD CHAIR HARRY HERTSCHEG
CURRENT AFFAIRS ANGUS WILSON
DEMOS/CASSETTES DALE SAWYER
BKtMEER RICHARD ANDERSON
ENTERTAINMENT CHRIS  CHEN
LIBRARIAN VINCE      YEH
MOBILE SOUND DRU   PAVLOV
MUSIC JUSTIN LEIGH
PRESIDENT DRU PAVLOV
PRODUCTION HELEN G.
PROGRAMMING ADAM   SLOAN
PROMOTIONS A.O. CHAPMAN
SPORTS BRIAN WEISER
STATION MANAGER LINDA SCHOLTEN
VICE PRESIDENT JEREMY PRICE
VOLUNTEER COORDINATOR JOHN RUSKN
BUSINESS UNE 604/822-3017
DJ LINE 604/822-2487 (UBC-CfTR)
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STORE HOURS
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
ON SALE
mi
urnm
■ i t-i'i -n/T-l
AT ZULU
THIS MONTH
Curve
• Cuckoo
The third full-length release by Curve,
Cuckoo, successfully places them in a
league of their own amongst British indie
pop styles. Their emphasis on percussion
and rhythm makes them more dance
friendly than their contemporaries, yet
they retain the guitar distortion and
breathy vocals for which they're known.
This album is a little more intense and
moody, but the quality is consistent with
Curve's previous releases.
U.98cd/9.98cass
Buffalo Tom
• Big Red Letter Day
One of Boston's finest is back! Long
awaited new stuff by the Buffalo Tom boys
— proving once again that they know how
to rock, Big Red Letter Day brings us a more
grown-up band playing catchy pop tunes
with   a   slight   country-folk   disposition.
14.98cd/9.98cass
Revolting Cocks
• Linger Fickin'Good
They're at it again — the only post-industrial
"super group" to become more (xipular than
the bands it grew from. Linger Fickin' (iood is
a prime example of industrial-meets-dance. It
has the brutal aggressiveness of the former
combined with the thumping repetition of
the latter. No doubt their cover of "Do Ya
Think I'm Sexy" will garner most attention,
but don't pass up the guest appearance by
Timothy "psychadelics to cybernetics" Leary.
U.98cd/9.98cass
•
Dirgy, wailing piles of distorted heaviness
hit you like a slow blow to your lower
mid-section. Grab a chair — The Melvins
are back. Houdini is their strongest and
most diverse record to date, filled with
songs both tender and massive. Indeed, a
truly mighty release. Oh yeah, did we
mention the Kiss cover version?
U.98cd/9.98cass
Dead Can Dance
• Into The Labyrinth
Get out your incense and candles, Dead
Can Dance have returned with brand new
material! They are still evocative and
eclectic, but they've travelled further east
for a more exotic influence. In between
these "trips" to the Middle East, Asia, and
even Africa, they continue to treat us to
some of their trademark sombre tunes.
U.98cd/9.98cass
Flop
® Whenever You're Ready
Flop? Who? The Pacific Northwest's best
kept secret, that's who! Seattle's pop
darlings bounce out of their major label
corner with a second release and an
exuberance unmatched in a region full of
musician's cleaning the dirt from their
fingernails. "Whenever you're ready",
Flop's hook-drippin' ditties are waiting.
Just follow the trail of Pez™ spilling out of
their pockets.
J    ■ tt.98cd/9.98cass
Madder Rose
• Bring It Down
A sleepy debut from this NYC stripped-
down rock quartet. Bring it Down features a
melodic sensibility paired against the
moody voice of Mary Lourson. In recent
shows, they blew their high-profile
tour-mates away — find out why. Enough
said, it's strongly recommended.
U.98cd/9.98cass
NEW FROM ZULU RECORDS...
Perfume Tree <§> Remote cdep
ZULU PRICE ONLY
$8.98
Remote is the follow-up ep to Perfume Tree's very successful and critically-praised Dust album released
in the summer of 1992. Here's some of what was said about Dust:
Dust is a full-length debut filled with dissonance and beauty often side by side... a great ambient pop conglomeration
complete with innovative sampling... they create a heavy ambient groove by mixing a variety of styles atop a dub bass
backbone, fusing all elements into a true organix entity... if Adrian Sherwood collaborated with Dead Can Dance, a similar
creation might result.     CMJ
Remote contains over 45 minutes of music, including three mixes of two new tracks, Sea and
Faintmagic, and a remix of Rosy Cross, from the album Dust.
COMING LATE OCTOBER
ZULU ARTISTS LIVE
MAL
Friday, October 15
Notorious
Friday, October 29
Town Pump
(--0
f\
.■ *^~
"^ <\^)£Si**SLm
;^*-r ,;, •_.-■; /' „
*:
3
w^mm
*
M:r~-u*
«*
r%
t
*
Hf-ST
Remote is also available at:
A&B Sound, Sam's, Track Records, Black Swan, Boom Records, Scratch Records, HMV (Richmond), Blast, Silver Disc (Richmond), Odyssey Records.
§ _a

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