Open Collections

 < p'J>s# .-iprciob* fvtf*»«n ^M
'JQ^..^'**** *1f^Pm '
r *vm&*s,&**i
::.:%   «*<   '*   *_*   *LI
•ft *.*)* ■   r- .
l^jy* t*  =■•   -
,.*•**
pb ** »A it« «** ******,W1 tf ■-.,.0*>H    lilWHJll'
yuuii
AND TO COMPLETE THE 'UPCOMING SHOW MOTIF;
JAWBOX
GRIPPE
CD/CASS
JAWBOX
NOVELTY
CD/LP/CASS
:  as _>v- ?■'_   i <*        '  *
■ 'I'lrlyl1!   '1
"tUGCSr
POND
PON0
CD/LP/CASS
"AN INTOXICATION, HYPNOTICALLY
SWIRLING MIX OF SWING DRUMS AND
ACCIDENTALLY FEROCIOUS GUITAR-
-MELODY MAKER
TREEPEOPLE
JUSTKIDDING
CDAP/CASS
"THEY'RE EVERYTHING DINOSAUR JR. WISH THEY COULD BL1
*0 HOUSE
•'TREEPEOPLE ARE ONE HELL OF A BAND"
-ROCKET
TMEGITS
FRENCHING THE BULLY
CD/UVCASS
"PUNK ROCK THIS PASSIONATE CANNOT BE IGNORED"
.THE ROCKET.
DIRT FISHERMEN
VENA CAVA
CIMCASS
"IMAGINE DEBBIE GIBSON POSSESED BY KISS"
"IF YOU'RE FOND OF WELL-CRAFTED TUNES WrTH AN EDGE
(WALKABOUTS, FASTBACKS, FOR EXAMPLE) VENA CA VA IS
JUStTHETHWa
-ROCKPOOL
am
THE FUN CARGO RECORDS WAY OF STAYING REGULAR! Q.
■o
V)
lowest prife& best $$ for your stuff
r*
P
</>
m Wm
US
YAWN!
Dear Airhead,
I'm writing in regard lo Mr. Sean
O'Leary's letter in the Jan' 93
issue. First off, I agree that
Sparkmarker are a great band, but
in my humble opinion, I don't
feel they are "perhaps the only
great band*' in Vancouver. I guess
Mr. O'Leary doesn't attend any
gigs outside the downtown core,
because if he had, he would have
noticed some other great bands
such as B.N.U., Grave Mistake,
Seamen, Sludge, Thumbscrew,
Cat's Game, Face X Off, Ten Feet
Tall, Rusty Nails. Strain (whom
Kim also plays for!) etc...etc...Or
maybe Sean doesn't support these
beforementioned bands because
most of them aren't from Vancouver, and probably aren't much
into the enviro/political thing as
Sparkmarker are. I don't know, I
listen to music for good music's
sake, and I'm open to alot of different kinds ie. hardcore, punk,
grind/death metal, thrash, grunge
and even rap, so as you can probably guess, I hear a lot of different
lyrical content in the music, and
though some might be un-p.c,
sexist and downright degrading
(ie. GG.Allin, Dwarves, Ice-T,
Mentors etc.), I take them for
what I consider them to be entertainment! For me music is either
one of two things 1) great! or 2)
Shitty! So be it, "nuf said. Mr.
O'Leary also went on to slag the
"Nappy Dugout" for it's name
which of course means "a vaginal" So what, at the shows I've
attended there, I haven't heard a
hell of a lot of females complaining about the sexi st, hidden mean -
ing of the name. Maybe someone,
including females would care if it
was called "The Open Twat" or
something like that. But it isn't,
so why bitch? The Nappy Dugout
is the only place putting on all-
age hardcore/punk gigs every
weekend and they are huge asset
to our hurting little scene. As for
Shakey's head not being in the
right place, the way I see, he's
done and is doing a hell of a lot
: for the scene than Sean
O'Leary is doing by bitching
about a stupid name. S o put up or
shut up! Get out and support the
local bands and the local scene!
See Ya', Peace, Love and
Granola
LU' Mike Hunt
Satanville, A.D.
Dear Mike Hunt. "~
Why don't you guys just exchange
phone numbers, already, and quit
squabbling in these pages which
we hold so sacred for more meaningful topics.
Al K. llolic
SOAPBOX
Dear Airhead,
I am taking a political science
class right now that is excessively
dull. It is so dull that instead of
listening to anything that is said,
I draw endless series of bunnies. I
draw fat bunnies and old bunnies
and bunnies that have been genetically altered by the U.S. Army
so that they can deliver important
and secret messages. This type of
abominably obsessive
cupulsiveness is antisocial, and
irrelevant to anyone except for
The discorder writes artical s
like I draw bunnies. Most of your
publication is elitist and impermeable to anyone outside your
charmed little circle. Do we really need reviews of shows at the
rockcandy in Seattle, gli b and obscure references to Chappel Hill
N.C. and inteviews that consist of
unpopular band name dropping?
I do believe that discorder and
CITR should promote new music
but only in a way that does not
make you looklike snothead (temporarily) downwardly mobile
collage kids who stroke their vicious little egos in a furious quest
to make others look like sheep.
Why don't you run a contest
for who can take a photograph of
Ihe rudest looking vegetable? Or
have a suggestions column for
What you can do with your empty
packages of cornflakes (you could
ask all the bands you interview
this and see what they say!).
Maybe have a something on cool
and cheap bars to go to (a Guys
Guide to the Flipsides type
thingy). Diversify. On the other
hand maybe you be interested in
printing some bunny pictures.
Yours Forever and ever,
Andrew Kitching
Vancouver, BC
Dear Andrew,
rm sorry to say but we at Discorder don't do this magazine
month-in and month-out solely for
you. So, (ta-da.lightbulb) maybe
the reason why Discorder seems
'elitist" and "impermeable" to
you is because you don't have the
slightest fuck as to what's going
on within music circles today.
Sorry, man, but even you aren't
as cool as you would like to think
I would like to submit your
quote in regards to interviews consisting of "unpopular band name
dropping" as Exhibit A. From this
alone Fm lead to believe that you
don't have a clue as to what Dis-
cdrdcr' s mandate/content consists
of. "Unpopular bands," in terms
of commercial success, are all
that this magazine deal with—
even Mitsou (a, heaven forbid,
French-Canadian artist!) and
Mudhoney (who will probably be
dropped from Reprise in the next
year because of failure to move
major-label amounts of their new
album) are unpopular out of their
respective levels. So, for Discorder to run articles on bands
that are unpopular to you, or ourselves,  is probably a pretty
Secondly, as the editor, I
feel that it is important (not that I
have to justify it to you , or anybody else) to review shows from
Seattle and make references lo
Chapel Hill. N.C. By not doing
so Discorder would then be writing for one audience, the local
readers, therefore making us elitist and impermeable to the readers
outside of Vancouver. On more
than one occassion bands have
played in Seattle and neglected to
cross the border to play our fair
city, so this, in itself, is more than
shows. As far as your imperially
stupid suggestions go (photo
C/O B13B SUB BIvl.
Yiicimr, B.C.
YBT2A5
MM!I=M._
contest. ..guide to cheap and cool
bars), I've never condoned the
patronizing of a bar for the sheer
lack of anything to do, nor have I
ever known a bar to be "cool" or
"cheap." People die nightly because of drinking drivers, drinking
walkers and, simply, drinking.
Personally, I couldn't think of
anything more sheepish. Maybe
it's time for a sheering, Andrew?
CALL TO ARMS
Hey, Discorder Readers.
A couple of months ago, two
strange things happened. First, my
sister Scout got employed out B .C.
way. Then, I got hired as
Programme Director at CHRW, a
3,000 Watt station in London, Ont.
These events seem to have had
little correlation, until I looked
back and realized that 3 of my
favourite releases of 1992 wen-
Cub, Coal, and The Sweaters.
(None of which seem to be avail-
ableon this side ofthe mountains.
Dammit !!!) This led me to ask
the rhetorical question that "If
stuff this cool is coming out of
B.C., what else is being produced
out there that we don'l get to
hear?"; An early morning chat
(Very Early: I had forgotten the
time difference) with Narduar led
to his suggestion that I render the
question un-rhetorical by asking
it the very pages of Discorder
magazine.
So: Whaddaya got? I'm
speaking specifically to bands/
artists out there who produce indie
CD's/Cassettes/7-inches that they
think are pretty damned good We
probably will, too. We broadcast
at 3,000 watts, and we report to
CMJ and National Chart. If you
call us, we'd be glad to tell you
how you're doing if your play is
at sub-chart levels. In short, we're
interested in what you sound like.
Our address is:
CHRW 94.7 FM
Rm.245
University Community Ctr.
University of Western Ontario
London, Ontario
N6A 3K7
(519)661-3601
Thanks, and I hope to hear from
You,
James Roccbi
Programme Director
brought to you by the creator of bound and gagged (Caliber Press/lconografix), Michael Aushenker...order by phone @ 313-455-3599. CANADA'S LARGEST AND BEST KNOWN RECORD STORES m.
__Wtr*Wrt
\
Trade licks with some ol the best minds in the business. The Music West
Conference brings you 3 full streams of programming in 1 intensive weekend.
lllfll'li'ill-llliWIiMEWI
Advanced seminars on the business of music. Love 'em or loathe 'em, 95% of the world's music distribution is in the
hands of 6 major record companies. Get detailed insider info on how it's done from the top players in the industry.
Guitar Player Magazine presents an extensive series of clinics for guitar players. Learn first hand from famous
players and the most respected instructors in the business. Plus, workshops with loe Walsh, Alex Skolnick
(Testament) and Seymour Duncan.
mmnmrn
Stan Kulin - President of Warner Music Canada. Robbie Robertson -ex The Band,and legendary
songwriter. Peter Jenner - manager extraordinaire from Pink Floyd to Billy Bragg, and The
Disposable Heroes of Hiphopcrisy. David Loiterton - Managing Director of MMA Music,
Hong Kong.
[■': :;;_M,aJ
International hitmakers and top songwriting instructors discuss the agony and the ecstasy
of honing the craft without losing the inspiration. At demo critique sessions, delegate's
songs ore personally critiqued by record and publishing company talent scouts.
S u i
2 0 3-
rnby
TrVHJSIC
WEST
M q y 7,8,9
Vancouver    Trade     &
Convention     Centre
For more information:
P     H     0     N     E    F A C S I M I L E
604.684.9338 604.684.9337 DESERT WOMAN
by Karen Rempel
The needle is climbing inlo ihe red zone. I glare at it and jam the gas pedal to the floor. Fucking piece of shit. I want
to make it to Las Vegas tonight, get the divorce started. Why didn't the jerk fix the goddamn radiator?
My thoughts fly back to the garage. Another Saturday, limmy jamming with his nowhere band, more interested
in getting stoned than playing music. I am excruciatingly bored with the whole thing, and pissed off because he's still
doing drugs. Why didn't I say something right when he started? It's loo late now. All I want is for things lo be like when
we met Wildly in love, great sex, and no drugs. I blame everything that has gone wrong since then on the drugs. I'm
"Let's go home now," I suggest
"Go home? We haven't even started yet. Besides, I jusl opened a beer." I know what will happen next. He'll finish
the beer and open another, and on it will go until the party ends and everyone else goes home. Only then will he be ready
go. Well fuck that shit
"I want to go. Right now."
"Well go then. Take the car."
I swallow my pride. "I want you to come wilh me."
"I'm not leaving."
The long-buried rage swells in my throat. I 've made a point of keeping calm for the past four years, never letting
him know that anything bothers me, wanting everything lo be good between us. When I finally notice thai the gap is
widening, it's too late; I don't know how to go back to the turning point and make it come out different. Each time I
try, and fail, my depression grows. Until now. Somehow it has changed, transmuted
into overwhelming anger. I can't keep il in any more. I'm going lo explode.
I spin away from him and slam out ihe door. The bang gives me no
satisfaction. "Fucking Asshole!" I scream al the top of my lungs. Now my throat hurts;
infuriation is just beginning. I jump in ihe Rabbit, digging in my purse for his car keys.
I lis house keys are on the chain loo. Well let him worry about it. I start
the car, trembling with fury. I don't know what to do. I need lo do something. I've got
it! I'U divorce ihe bastard.
Momentarily relieved at finding an answer, I rush off, Vegas bound. I only stop
once, to get gas, a road map, smokes, and a six-pack of Coke. I wanl to maintain my
momentum, hoping the relief wiU last. But an hour of fighting traffic to reach the
outskirts of L.A. rekindles my anger.
At least here on ihe number fifteen I can floor it; there are no olher cars around
to get in my way. I look at the needle again. It's halfway up in the red now. My throat
raw, I swaUow the scream. The asshole was too lazy to even fix the
goddamn car. Memories flood my mind...
"When are you going to take the car in?"
"I'U do it afler work tomorrow."
The next day, "Did you lake the car in?"
"Nah, I stopped by the garage for a few beer after work."Translation: he was out of pot and had to go find some,
ihen hang out wilh his friends to smoke it.
"WiU you do the dishes tonight?"
"Sure, as soon as the game's over." Then ihe phone rings. "Gotta slop by the garage, I 'U do them when I get back."
Of course he never does.
"Let's go to a movie tonight."
"Can't, babe, I have to rehearse."
The tapes in my head spin faster...WUl you? I want lo. Let's. I can'l. Come back. I have to. Don't you. Yes, but.
Won't you. Why. Why. Why
I reach for a cigarette, but the pack is empty. Groping into the glove compartment, I glance at the red. Not far
to go now. My hand finds the new pack. Pulling il out, my ring snags on a baggie. What's this? Peyote buttons. Whal
the hell is limmy doing wilh peyote? He's even worse than I thought. Now I reaUy need a cigarette. Inhaling deeply,
I wait for the smoke to duU the ache in my chest. Instead, it intensifies, as the words in my head get louder.
If he can do it, then I can too. Why should I be the only one to sacrifice and worry and plan and take care of things?
How come I never get to have any fun? I glance at the baggie on the seat beside me. I quickly grab a handful, guUtily.
They feel just Like mushrooms that have been silting in the bottom drawer of the fridge too long; dried and wrinkled.
I swaUow one, downing it wilh Coke. I wonder how many to take. 1 swaUow a few more. There are only five left in
my hand, so I swaUow them too. That'U leach him.
GRANVILLE
COMPA  N  Y
Vancouver's DOWNTOWN Bookstore.
Located under the historic
Commodore Ballroom.
850 Granville St., Vancouver, B.C. V6Z 1K3
Phone : 687-2213
Open 7 days & 7 nights
I wait to see what wiU happen, my attention shirting from the road to the needle in the red. It's almost at the
top now. The words spin faster. Try ing to ignore them, I look around. For the first time I notice the desert, surrounding
me as far as I can see. I'm suiting to get jumpy, imagining movement al the edge of my
vision. Scurrying black dots, flashes of light What have I done? I Ught another smoke; calm down you idiot.
I'm sucked back in now, the words engulfing me. I shouldn't have taken ihe peyote.
That's right, you're stupid.
It's not the end of the world, I can handle it
How would you know? People overdose all the time, go insane.
Fuck off and leave me alone.
What's the matter, Alice, am I scaring you?
No you're not scaring me. You have nothing of value to say and I refuse to listen.
I wrench my thoughts away, see the needle. It's right al the top. Now what do I do? I try to remember what
happened the last time it overheated. Steam was everywhere, I remember that It took a gallon of water to fill the
radiator again. I don't have any water with me. WiU Coke work? Probably not I guess I'd better pull over, let it cool
down.
I uke my foot off the gas, coasting to the side ofthe road. The moment I stop the heat descends on me, pouring
through the open window. I think about stories I've heard, of people dying in the desert. That won't happen to me;
I've still got five cans of Coke left. My head is starting to swim though. I better find some shade. There's a big cactus,
maybe that wiU work. I grab the Cokes, my smokes, and the car blanket
My boots sink a little inlo the sand, grains covering the toes. I love these
boots—just like the Walking Dude's—wom-down heels, the leather scuffed. I
imagine the sound he makes, clocking along the pavement in the dead of night Shit
I do not need to be thinking about Stephen King stories right now.
I look up just in time to prevent my nose from being speared. Ha. I spread
out the blanket in the shade, facing the car. I want to keep it in sight, make sure it
doesn't disappear on me. 1 hear a scurrying behind me, jerk around, visions of black
widows crawling up my spine. Nothing there. Must be my imagination. But now I
start thinking about rattlers, and scorpions. Don't they Uve in places like this? I walk
around the cactus, peering for signs of said malevolent creatures. Nada. Ha.
I sit down again, open a Coke, light a smoke. That peyote must be shit, I don't
feel anything. The smoke from my cigarette drifts upward, coiling into dragon-
shapes, shifting colours from red to gold to green. Okay, maybe I feel it a little. It's
kind of cool, really. The sand looks wUd, Utile puffs kicking up and whirling down,
spinning around. Oh. What's it doing now? It's a fucking tornado, tearing around
the cactus, higher and higher until I can't see the car. I blink; that's better. It's just
my imagination again.
You fucking bozo, relax, enjoy the trip.
What do you think I'm doing?
You re fighting it. Don't fight, sink into it.
I'm not fighting it, I'm cool.
Yeah right. Man are you stupid. Cool is the farthest thing from what you are.
Yeah, but..
What's a yeahbut? Close relative of a rabbit?
And off it goes again, the words in my head starting up wilh ferocity. Who are these voices?
No you're not; I know you, Mrs. Polanski.
I'll have no lip in my class. Write "1 will not be rude to Mrs. Polanski" fifty times.
Ha, ha, Alice got in trouble. You're jusl stupid, aren't you Alice?
I'm late, I'm late, for a very important date.
Who's your date for ihe prom, Alice, Fatty Adrian? I bet you can't wait to kiss old Fattie.
I try to drown out the voices with song lyrics. "I've been waiting so long, to be where I'm going, in the sunshine
of your lo-o-o-o-ove." "Love me two times, I'm going a waaaay."
Hey Alice,when areyou going lo do somelhing wilhyour life? Don'tyou thinkyou'realillleoldto be changing
careers again?
Fuck off, all of you. I won't listen.
But you can't help it, Alice. We're here lo stay. Don'tworry, we 11 never leave you. We'reyourfriends. "We
lo-o-ve you, and we know you 11 love us too."
Never. Never, never.
Youl! see.
"I need your love, to keep me happy. I need your love, baby won't you keep me happy?" My God, what have
I done? I don'tneed anything from you. Get out! I can'tbear it Bul the voices keep whirling around, faster and faster.
Everyone I've ever known. Every book I've read, song I've heard, movie I've seen. AU these words, notone of them
mine. Not even one. An eternity of voices. Why not one of them mine? How can I exist if not one is mine? Where
am I in all of this? How can I breathe with all these people in my head? No peace, not even a moment's relief. I can't
stand it Let me breathe. Please? For a minute? I can't fight the weight of all these people anymore. But if I give in
they'U suffocate me. What can I do, what can I do? It's too much...I can't do it I give up...Kill me then. I surrender.
Blackness descends. "This is the end. My only friend, the end." The blackness descends. Blotting oul the
words, blotting out me. "Goodbye, cruel world, I'm leaving you today, goodbye, goodbye, goodbye"...There's
nothing left; it's
all gone now. Only the black remains.
I float in the black. Cold. It doesn't matter.
h this death? It doesn't matter.
Am I here? Itdoesn't matter. Ssh...
The black cloaks me in her icy embrace, I float
I open my eyes. The black crouches over me, but there are holes in her garments now. I see pricks of light
shining through them. And striding away from me goes ihe shadow of the desert woman, long black hair swirling
behind her.
I strain towards her, hand outstretched. Don't leave me. She is gone.
I feel the blackness within me. I am here.
6E_g^°EE_g^ <Sj&Z3£Me3J
>
^
1250 RICHARDS
688-2648
THE ORIGINAL
DR.   MARTENS
LADIES  AND  MENS   FOOTWEAR
JOIFIEGT    *F**E-0*SrI    ENGLANI
with BOUNCING SOLES for EXTRA COMFORT
available  at
the Dr. Martens Stores
1208 Robson Street phone 689-4998
Metrotown Shopping Centre phone 431-7993
Aritzia
1068 Robson Street ,,/,„„,■ 684-3251
Oakridge Shopping Centre phone 261-2202
Metrotown Shopping Centre phone 435-7975
Park Royal Shopping Centre phone 926-7666
Hills Of -Kerrisdale
2125 West 41st Avenue phone 266-9177 ON      SALE      THIS      MONTH
g TREEPEOPLE • m Mt% $885 ip/oss am cd
SUPERCHUNK • On to m. $7.96 IP/cass; $13.72 CD
SCREECHING WEASEL•wgfe $a85tp/cass; $12.83 cd
JAWBREAKER • ewuaa $885 IP/cass; $14.60 CD
ROCKET FROM THE CRYPT • to Nmf...$U5 IP/cass; $14.60 CD
DRIVE UKE JEHU • One life Jeto... $8.85 LP/cass; $14.60 CD
COFFIN BREAK • mm.. $885 IP/cass; $14.60 CD
GREEN DAY • Ke/jM $885 LP/cass: $12.83 CD
HANSON BROTHERS • Gross Misconduct..$a85 LP/cass; $12.83 CD
JESUS LIZARD • liar. $885 IP/cass; $12.83 CD
MYSTERY MACHINE • Gtod $7.96 cass; $13.72 CD
DON'T FORGET
THE HOT NEW SCRATCH
LABEL 7" SINGLES:
HUMP: Low Pile Capet
KREVISS: Unvexei
W
31T A CAMBIE STREET
VANCOUVER. B.C. CANADA V6B 7*W
phone/fay: rt_cw)egT-OHg8
PHONE
291-0049
VOLUNTEERS
NEEDED
Are you an outgoing, spontaneous
man or woman over the age of 19
with a never-say-die attitude and a
good sense of humour?
We are a non-profit society that
helps young offenders and children
aged 8 to 12 who are at risk of getting
into trouble.
If you have about three hours per
week available for at least the next
six months we'd really like to hear
from you. We believe that one-to-one
interaction with a well-adjusted adult
can improve the behaviour of a
troubled child.
Interested? Please call us today. S SECRETS   ENTRUSTED
TO A FEW
BY JUDITH BEEMAN
Greetings, fellow readers! This
month I have for your perusal two
beautiful books oonceming a very
ugly subject, the Holocaust
On her 40«h birthday Eve gets
a tattoo. Nothing strange there, many
people do something kicky like this
on special occasions. Here's the
catch: Eve etches the number
500123 onto her arm; the identity of
a female concentration camp victim
during Hitler's Germany. So begins
the outstanding history lesson of
Eve's Tattoo (Vintage, $12.50) by
Emily Prager.
Why would Eve do such a
thing? She writes a successful column for a men's mag not unlike
Esquire, lives in New York with her
filmmakerboyfriend, Charles C&ar,
and leads a normally frantic NY
exi stence. As her friends can't help
but remark, she's not even Jewish!
Eve is fascinated by the Holocaust and has many books on the
subject which her lover insists she
keeps hidden in a comer of then-
bedroom as if it were pom material
which should be locked away. Eve
can't fathom how hatred could be
nurtured as it was in Germany during Hitler's reign.
Eve has a photograph of three
women taken in a death camp: two
of the subjects turn away; the third
glares with a mixture of hatred and
sadness, showing her arm to the
camera's eye. Her ID is 500123.
Eve found this picture a few years
back, and has no idea who this wom
en is. She decides this women, who
she dubs "Eva Klein," will not have
died in vain and that she. Eve, will
cany on her legacy so people will
not forget the horrors of the war.
So, is Eve crazy? I don't think
so but it is debatable. As her friends
see her new marking they are both
fascinated and horrified (Charles
leaves). The book continually finds
Eve in situations where she has to
explain her tattoo. Each time she
tells a different, yet plausible, story
about who the original bearer of the
number was. By the end of the tale
we find who "Eva Klein" really
Eve's Tattoo mixes astounding facts about the Holocaust with a
black humored look at love and convictions. After reading this book I
zoomed over to the library to track
down Prager's other books. They
Clea and Zeus Divorce: I got
through about 20 pages and had to
stop. Completely different from
Eve's Tattoo, this is a very busy
novel about a married showbiz couple about to break up. I found it a
supreme letdown after reading her
new work. However, fans of quick -
paced com edie writing might enjoy
this.
A Visit From the Footbinder:
A collection of five short stories.
Emily had been an editor with the
National Lampoon and some of the
humor one would associate with the
adolescent-frat boyishness of NL
comes across in these stories, especially "The Lincoln-Pruitt Anti-
Rape Device."Nudge-Nudge Wink-
Wink tired yuks. Then Prager
turns around and writes a tale
of great sensitivity in the title
story about a young Chinese
girl about to have her feet
bound. Go figure.
Art Spiegelman's father,
Vladek, is cranky and set in
his ways. Heand Art can hardly help but argue when they
get together. In many ways
the two share a fairly typical
father/son relationship. However, Vladek is a survivor of
the death camps in Germany
during the war — the two
have been coming to terms
with this all their lives.
Maus: A Survivor's Tale
(Pantheon, $ 15.00) is the true
history of the Spiegelman
family during the war and
beyond. Art studied his family story
with his father and then retold it
with "cartoon" art. Last year Maus
won the Pulilizer Prize for literature. In Af_i_5, Jewish people are
portrayed as mice and German's as
cats, this way one reads the story as
if it were a fairy tale between make-
believe characters while still learning of the atrocities that went on
during WW2.
Aside from the personal history of
this family during the war we find
Art trying to come to terms with his
dad (an important part of Maus).
Many sons and daughters of concentration camp victims grew up
traumatized; even Art who was born
after the war was over. Maus is a
stunning book which attempts to
pick up the pieces of a family crushed
by the war and ir
The Reading Railroad series at
the Railway Club is a smashing success. The third reading will beMarch
15 with Al Purdy, Leslie-Hall Pin-
der and Wyckham Porteous/Patty
Fraser; the musical guest will be
Harold Nix. So far, the highlight
for me was seeing Art Bergmann
solo with an acoustic guitar during
the first performance. This mix of
music and words is great and the
Railway is a perfect setting. During the National Book Festival this
Spring the Reading Railroad will
hosl additional readings April 24,
25 and 26.
Comix-A-Go-Go took place on
January 23rd at the Smash Gallery.
This benefit raised 585 dollars for
the Milt Gross fund which helps
cartoonists "in need." This is the
charitable arm of the National Cartoonists Society in the States. Thanks
again to cub and Potato Head for
playing, 12 Midnite for the space,
and all you wonderful cartoonists
who showed your art. Kinda puts a
tear in my eye. Yer beautiful! Next
year Wl, I promise.
Keep an eye out for POP I, the soon-
to-be-open shop at 154 W. Hast-
ings. Opening day: March 16. Aside
from comics, books and mags there
will be a coffee/juice bar and video
rentals! Run in part by Scooter (the
guy with the purple hair from the
Comicshop), this shop is going to be
a very happening place. Good luck,
guys. AND, ahem, subtext is
pleased to announce that Chester
Brown will be discussing his great
comic. Yummy Fur at POP! sometime mid April (most likely Sunday
thel8__.Jookforit).
Chester Brown is indeed coming
to the westcoast! He will be signing
at the Comicshop (2089 W. 4th) on
April 10, in Seattle at Fallout on
April 17, and in Victoria at the new
comix shop Legends (date tba). He
will also be heading down to San
Francisco and LA. Chester's Yummy Fur is a mix of autobiographical
remembrances of his teen years and
truly bizarre sci-fi stuff (ie. The Ed
The Happy Clown saga has to be
seen to be believed). If a subtext
rave isn't enough to get you interested let me try this...Ed The Happy
Clown is going to be made into a
movie by Bruce MacDonald (Rood-
kill, Hwy 61).
LOCAL 'ZINE NEWS
Have you found Gee-Zuz. It's a
new, local, music magazine that
you actually have
to...sputter...gasp., buy. And considering it's only about a buck
(depending where you buy it) it's
not a bad deal. Fairly well done
with loads of concert reviews,
opinionated ideas and a minimum
of obnoxiousness (like a Discorder writer should talk).... Also selling for a buck or so is BUNYON #2
which is out now. It's produced by
Rob Dayton who is very pleasant
and I plan to support him by buying his stuff although it's still pretty rough around the edges for fussy
old me. Nicely packaged in a poly-
bag...naughty sticker,
too.. .su b text was bribed last month
by Shane who left his tiny 'zine
along with the 7-inch single of
"Na na Hey Hey Kiss Him Goodbye," a musical salute to an ex-
hotshot goalie the Canucks once
had (trust me I didn't already have
it). Well, I believe the palm-sized
'zine is called Sponge... to be honest it was so small I've misplaced
it around my pad. I remember it
was filled with incomprehensible poetry and had obviously
been lovingly made.... Artemisia is a combo art gallery/bookstore which stocks an amazing
collection of obscure 'zines.
Where else in town can one get
Teenage Gang Debsl They are
located @ 156 East 7th (by Main)
phone'em at 873-5440.
AAAU*
WHAT ] BEAD TI IS MONTH by Balph Alfonso
RALPH
lOv*
Ever wonder what People Are
Reading? I do. Ralph Alfonso,
way kool author of the wondrous freebie poetry explosion
called Ralph, took the time to
write and tell subtext.
Like everybody else I find that
the older I get the less time I
seem to have to put aside for
serious reading, so these days
I like to go through several
sources at once; kind of like
channel-hopping through paper.
During the last two
months, I've enjoyed Kicks!, a
great 5O's/60's trash rock fan
zine edited by the ulti mate rock
couple: Billy Miller & Miriam
Linna (They're in a band together. They edit a fanzine together. They run a label together.). They once stayed at
my place when I lived in Toronto and, oddly enough, I've never heard from them since. I got
it at Track Records (who also
carry Cryptic Tymes, a kind of
local equivalent).
The subject of comic
books can get me going for
hours, but I'll be positive and
say I like Eightball, Magnus,
Grendel, Mr. Monster, Madman, E.C. Reprints, and Spawn
(well, we're not all perfect).
Book-wise, I just got Mostly Harmless by Douglas Adams, Heart of the Woridby Nik
Cohn (his Ball the Wall compilation proves why he was the
ultimate 60's Mod-rock journalist), Beyond Co-Dependency by Melody Beatty (you'll be
surprised), plus TheArtofBlue
Note and California Cool (two
amazing books with page after
page of 50's jazz LP covers).
A cool newspaper to get
is the weekly European, a kind
of Euro USA Today that covers what's happening over
there with more meat than you
find in the local papers (no
comment). You have to keep a
world perspective on things
which, if you can read French,
I would recommend picking up
the Thursday edition of Liberation down at Manhattan Books
(you can find it on the French
newspaper rack on the 2nd
floor). It's their weekly Arts
round-up & a pretty cool poser
item to casually have lying
around.
Ralph is available by subscription @12 issues for 12 First
Class stamps or monetary
equivalent: $5.16. IE PIT PUB • IN THE BASEMENTOF THE STUDENTUNION BUILDING, 6138 SUB BLVD. • 604-822-6511  hat is an "excess" of free speech? On the surface It
would seem to be a contradiction in terms. Afler all,
the First Amendment to the Constitution of the
United States guarantees freedom of speech and
expression and, as such, it would seem to be the salient
feature of a democratic society. However, in the late 20th
century this idea is being challenged and new lines are being
drawn.
U.S. President George Bush decried the civil disobedience of the AIDS activist group ACT UP when, in 1990, they
entered St. Patrick's Cathedral in New York City and disrupted the service of Cardinal John J. O'Connor, whose
much publicized virulent stance against the gay lifestyle and
pro-choice advocates of the Women's Movement is believed
by the members of the ACT UP to endanger the lives of
millions of people. Bush described the action as an excessive
use of free speech, igniting a storm of media and public
reaction to the tactics of ACT UP. The result was intended
to divert the public's attention away from the group's objectives to the "disrespect" all God-fearing church-going Americans are supposed to believe has taken place.
In this example we can see the extent to which the
Reagan-Bush administration will go to selectively dictate
the "proper" use of the First Amendment and to subvert the
outcome to suit their end. We have yet to hear Bush, his wife,
or any person connected to the government apply the concept of "excess" of free speech to any of a myriad of organizations or individuals who are daily perpetrating physical,
psychological and social harm on people with AIDS or in
high-risk groups. These are the people who are in the greatest need of support and protection. Every day they lose jobs,
health insurance, homes, families and futures to a disease
that cannot yet be cured and whose questionable origin
ought to be the number one concern of all conscious Americans, but somehow is not.
The objective of this work is to attempt to deal with the
presentation of information and the manipulation of news to
ensure a predetermined outcome. Considering the special
interest of organized intelligence, organized religion, organized science/medicine, organized crime/entertainment and
the media as a conduit forthe propaganda machinery of all
these groups, the average person has virtually no chance of
determining the truth about anything. We are thoroughly
narcotized by the constant flow of "infotainment" and are
rendered incapable of developing progressive attitudes or
taking meaningful action. Lies of omission, misinformation,
disinformation and the maintenance of "plausible deniability"
are the uses to which our freedom of speech are being
employed, and very much in excess.
Ya know, even Mega-goof Mustaine or weekend Maoists
Consolidated, self-appointed voices of self-appointed, part-
time, disgruntled American youth could take some lessons in
eloquence from this Tischler guy. "A series of audio collages
which can be thought of audiographs capturing the subtle
interplay of media and madness in the United States at a
particular point in time" is how New York's Tischler describes his debut Extreme/Cargo release, Excess of Free
Speech. Tischler recently responded to some questions for
Discorder.
Discorder: After reading your
liner notes I would like to ask
you what you make of the "Cop
Killer" controversy? Or xenophobic skinhead bands like
MOD, Skrewdrlver or Jack
Tragic? How aboutthe Madonna
or GNR circus? Would you say
in the case ofthe corporate acts
(ICE-T, M, CNR) that they've
gauged society's in/tolerance of
their well-thought-out "freedom
of speech excesses," trading it
for cold hard cash?
Stefan Tischler:'. would tend to
classify all these questions as part
of a whole. In my view, there has
been a long-range conditioning of
American society to initially focus on examples of aggressive stupidity, such as the racist skinheads
or Andrew Dice Clay for example,
and then to moralize them, while
at the same time titillate the public, with "acceptable" examples
of the same thing redecorated as
Schwarzenegger or Stallone, as
heroic brutes in other words. The
marketing of heavy rap or xenophobic skinhead bands come at us
and we are preconditioned to ac-
12 E_£^3i£r0S^
cept them as "dangerous" so that
the animalistic or machine-man
exploits of the above film giants
can be profitably marketed. In other
words, we are culturally programmed to be attracted and repelled by the same qualities with
cosmetic cues to elicit our love or
Furthermore, a grey area has
been created in which to explore
the purpose of allowing some steam
to be let out of the American pressure cooker and keep the people
diverted. Has Madonna gone too
far? Is Ice-T inciting teens to kill
cops? Of course the corporate
masterminds have gauged the impact of these events in advance
and have calculated the height,
width and depth of the public's
reaction to the media's run and
the payoff in cash. I believe lhat
the "Cop Killer" circus became
pretty transparent early on; the
record company was sending out
promos in little body bags. When
some police benevolent groups
began to threaten boycotting the
company, they yanked the record
HP I mmi
and promptly put Ice-Ton the <
of Rolling Stone in a cop uniform,
lo continue the "contro-
I see Madonna and
the whole M phenomenon
as a product of organized
crime, pure and simple.
The entire American entertainment business is
completely controlled and
operated by it. They created an industry around
the Marilyn image (carefully tended and kept alive
for just such a purpose
for decades), applied the
moral and titillating
axiom, and served up a
shell which just barely
sings, dances and performs, supposedly making all her own decisions
with incredible business
acumen. Bullshit. The
proof that she is a completely fabricated entity
is that she projects not an
iota of desire. She and
Michael Jackson, "managed" by the same company, are completely il-
They use the news media
to track their supposed
outrageousness rather
than the entertainment
media, bringing them together in the grey area of
infotainment. There is an
office which disseminates
the latest about them daily
and each new outrage is
plotted out many months
in advance. The wide
reach of the organized
dustry has preconditioned
the world, to the very last
inhabited outpost, to crave
more of this absolute sham, and to
ShouId extremist, right-wing, blatantly pro-violent music play a
rolc/cxist in democratic society?
My immediate reaction would be:
ugly music, ugly message, get rid
of them. But what "democratic"
society could you be referring
to? If it were possible to list all
the extremist, right-wing bands
worldwide next lo blatantly pro-
violent racist/sexist acts committed daily, in the US alone, it could
put the thing in perspective. At
this point in the evolution/de-evolution of civilization the tug-of-
war between competition and cooperation passes for democracy.
The bigger, louder, uglier noise
and weapons win. It is very easy to
conclude that man's "basic instincts" are the law of the jungle.
Just observe and listen. In a democracy, supposedly, all points of
view which are focused on the
greater good of all are heard and
considered. Is there anyplace on
earth that is, in actuality, functioning this way?
hyUnyd Uliana
the interests of the community
rather than the individual?
I believe the artist should
feel responsible for the
work being done; that it
should be conceived and
executed with a total
tency. Clarity of vision
and genuineness of purpose will determine its
success. This sometimes,
possibly often, involves
considerations of the
community, but not al-
At what point can censorship exist and play
a healthy role in a pure
democracy?
In a pure democracy censorship would be irrelevant, but this is all theoretical. In our police-obsessed, utterly
compromised...the industry of dissemination
and presentation of information is now perceived to be the means
of social control. And to
a large degree I think it
is. The great triangle of
show business, politics,
and crime all connect to
define a field of battle:
whoever can put over the
most effective campaign
reaps  the  reward   of
and their voting potential, buying potential,
whatever.
The is
eofce
Realistically, the only responsi- In theory, the only responsibili-
bilities the music cartel have are ties artists have are to theni-
to their stockholders. What re- selves and to those who invested
sponsibilities do record compa- in them. What social responsi-
nieshavetothepub- bilities would
lie?
you
"I »e Maiossa t
'whole M pkmmmm u z product of q;
pm* sad staple. The cadte Americas «
companies have the responsibility of making memorable recorded works available at affordable prices. Sounds good, huh? It
would appear that they generally
fail at this. Instead they present us
with enough shit to make future
landfill for thousands of years to
come, and continuously and enthusiastically dupe the public into
believing that they are responding to the public demand. It is not
the public but the market researchers and image makers who are
deciding what we will be listen-
ists have to the public?
Artists are traditionally an irresponsible lot. If they were to become responsible to the public
they are no longer artists but social workers. The artist, the poet,
and the madman were described
by Shakespeare to have a common mania which was attributed
to being overly influenced by the
moon. I think the lover was also in
there.
Do you think that the notion of
responsibilities are foul as they
carry some level of restraint in
sorship itself, at times,
becomes a bogus one.
The idea of somehow reshaping reality by subtle
fiction and the use of
fiction within daily reality blurs
the lines to the degree that it is
only the very acutely observant
person who can clarify. It isn't
just what is left out that constitutes the manipulation—at times
we are given as much as 98% of
the facts—the 2% eliminated, how-
:ver, would change the whole perception ofthe facts, if included.
A couple of years ago one of
the infotainment shows treated
is to a quarter-of-an-hour, or so,
of a provocative look inside of a
"special medical facility," connected to the military, where killer
viruses are "studied," supposedly
to better serve humanity by the
big guns of science in their relentless pursuit of "uncovering nature's
secrets for the health benefits to
mankind." We were shown everything from clean rooms to safety
suits on security tracks. We were
told about the various organisms,
viruses, and such which are "many
times more dangerous than the
AIDS virus." The thing we aren't
being told is that these viruses are
being genetically engineered in
order to allow for species jumping to that genua affecting certain animal group* w_l be able to affect
previous immune group*, including
humans.
Another example can be found
in the idea of sham confrontation.
When Bush was nominated for the
Republican candidacy in late 1987
there was an unprecedented satellite
interview with Dan Rather, Managing Editor of CBS News, in which
Rather attacked Bush for his connections to the Iran/Contra scandal
This, nearly a year before the elections, was a carefully staged event
whose purpose was to create sympathy for Bush, and to dramatically
move the unobservant public into
believing that poor George was being put through the madness of the
media. The following day there was
much talk about this "attack" on
Bush. We were effectively diverted
from the real issue, and that was that
Bush was a more likely candidate
for impeachment than President
Do you feel that your daim of
excessive censorship allows for
more anti-establishment artists to
exist, or does it pave the way for
more mediocre, status-quo bands
who say naughty words and play
the "parental guidance sticker"
Again, as in the area of news, the
issue of censorship in music or entertainment in general can be one
fraught with strategy: the mountain-
movers of the music business are
able to create news out of their products and get zillions worth of free
advertising. The general public becomes confused about "acceptable
limits" and easily falls prey to the
ploys of advertising departments.
So what can we expect with the
Clinton Administration? If I'm
not mistaken, the American artistic community is welcoming the
new administration. It seems
strange, however, as Mrs. Al Gore
spearheaded her own witch-hunt
a few years back. What's up?
The face of things will be different,
but that's it I don't hear anyone
suggesting that the National Security State should be dismantled or
that even one of Reagan or Bush's
many power grabbing policies will
be overturned. No. Everything's in
place for a continuation of all of the
above, and much more; the Democratic Party got in by making itself
into a more palatable Republican
Patty. Clinton, in fact, was linked
with Bush in a Geraldo Rivera story,
that was nicely ignored, as having
cooperated with a CIA drug running
operation which made use of a certain Arkansas air base during the
Contra operation. I like to think that
the people of the US will force its
paid employees in the government
to address its real needs, but when
they are so effectively manipulated
how can they focus on The Big
Picture?
Now that the Gulf War is on
again it ought to be clear to the
American public that the shift in
purpose for the military and the defense industry from the Communist
threat to the third world is in place.
Rather than outrage at the obvious
aggression of "the world's only remaining superpower" against a country whose military power is practically wiped out, the American pub-
c again, by
a media barrage against the "inexplicable defiance" of Saddam Hussein and the glamour of a new administration and its promise to revitalize a failed economy. No one is
seeing the connection: the only way
to revitalize the US economy is by
increased needs of the defense industry. Clinton is right behind the
Bush policy, but the public is being
diverted by the public relations' attempt to signal a return to the sixties
and the Kennedy myth. They've even
got Bob Dylan out there. Hey,
Bob...whatever happened to "Masters of War"?
Is the answer still
blowing in
the wind?
"In all my works I strive
to combine tke cerebral witk tke
aesthetic, themusu-aimth the non-
musical, the surreal witk tke organic. I employ my imagination
sic aad in and of themselves.
Regardless, do you think samples
I never thought of samples as sub-
version. I believe in the use of any
sound source which can serve the
conception of the whole work. It is
irritating to me to constantly have to
deal with the trend-oriented aspect
of composing. Early on it was the
trend to be "technological," then
"electronic," as opposed to "acoustic,*' then "industrial" as opposed to
r. They then proceeded
to market the category as a purely
generic one, inviting many unemployed session musicians to become
composers. I didn't find that they
were looking to expand audio horizons as promised. Now I don't care
about any of these considerations.
I'm producing work to satisfy myself and with little or no thought of
achieving status in the official music business. My current CD is an
attempt to discover relationships between media and music and the use
of special effects and how they may
affect the biological, psychological, and political sensibili-
positional techniques in tke nope
of revealing fresk sonic terrain."
Theoretically, Sting, Paul
Simon, David Byrne, and others,
inventors/discoverers of Third
World musics could incl ude a similar quote on their record inserts.
Why do you believe this applies
more to your own objectives and
philosophies than it does theirs?
The only thing Sting, Paul Simon
and David Byrne are doing, besides
treating us to megadoses of their
unbelievably limited voices, is to
dress up their sound with pseudo-
World Music. When I speak of "fresh
sonic terrain" I am not thinking of
the practice of plundering the Third
World, but the sonic territory that
our imaginations can explore out of
this world. What I meant here was
that instead of the dictatorship of
formal musical composition I try to
explore a new compositional approach with each work in the hope
that each work will sound substantially different. If I can come up with
a previously unexplored (by me)
mode of operation, I can leam a new
compositional approach.
Now that Paul Simon and David
Byrne have discovered the
Third World do you believe
that "fresh sonic terrains can"
still "exist"?
Are they only f *p f\J
generated?
for critics by and large. As I said, I
like to mix up all the sources to
hopefully produce a work of singu-
What is your connection with
electro-composer Blair Petrie? Did
you not collaborate on some
projects? Could you please give
us a bit of your recording history,
not only with Blair but as a solo
composer, with Port Said, etc.?
What is the Cinematics Series?
Blair Petrie is a good friend with
whom I collaborated in 1986 to produce a cassette called Gorgons and
Gargoyles. I started producing and
performing music with Port Said.
There was a single, "Indian Ocean,
Voyage 2," and four album length
cassettes, as well as a couple videos
and compilations. The Cinematics
Series were five potential soundtracks for films. The idea was to use
film as a reference point to create
credible mental movies.
Would you or would you not say
your objectives in creating musical expression have changed over
time? How so?
In the years with Port Said we were
working toward getting a record label and being acknowledged by our
peers as well as the music buying
public. Our Wend was evocative of
the European experimental albums
of the mid-seventies and it prefigured the avalanche ofthe "new age"
as yet (in 1981) unknown in the US.
Who do you
admire    from
Canada? From Vancouver?
Having a pretty wide variety of musical tastes, I admire a great many
musical talents from Canada, from
John Oswald to Joni Mitchell. From
Vancouver, besides Blair, I haven't
really met very many composers or
musicians. The people whom I know
are from every possible walk of life
and they have either not made their
talents public yet, or I don't wish to
feed their egos by mentioning them.
What function do artists like
Merzbow, Zeni Geva, The Haters
& death metal bands serve?
I don't listen to death metal or to too
many noise artists. I think it is really
difficult to make work of lhat nature
worth the pain of listening. I suppose the function that they serve is
to fill out the spectrums of possibilities of sound experiences for those
who are into audio S & M.
Is there such a thing as an inaudible or subconscious sound?
I do think that there are inaudible
and/or subconscious sounds. Even
in my own works I sometimes am
amazed to find that sounds I can
recall are not really there but only
implied. If you are referring to sounds
picked up by tape decks left in open
fields which pick up voices and
glossolalia unheard by the human
ear, I do believe that it is possible,
although I haven't heard any of it
Name some of your contempo-
r i e
SORED VERSION
PARENTAL
whor
that
vided you be-
ways of get-
Most people
who "study"
music formally are either subtly or
overtly taught
been done."
Your use of samples on Excess
of Free Speech is extensive, particularly voice samples. Samples
of their own, play a large role in
the production of popular mu-
ADVISORY
EXPLICT LYRICS
admire?
I like a great
many works
by a variety
of people.
Most of the
longer mak
ing m
With the Cinematics Series I hoped
to define an area of my own. I foolishly took the music industry seriously in its stated promise that the
new category of instrumental music
would be a constantly changing and
evolving category for the adventur-
have moved
indirections
thatdisinler-
estmcAfew
have become
too successful for their own good. In
the area of sound sculpture I sometime like The HaflerTrio, although
they seem to be going for shock
effect now. Also about one in every
ten of AsmusTietchens' albums does
somelhing for me.
The last CDs I got were by some of
my label-mates like Paul Schutze
and Mo Boma. The last LP was by
Mango Santamaria.
Your label-mate Bryn Jones
(Muslimgauze) dedicates hb 1990
release INTIFAXA in thb man-
ner: "Total commitments the Palestinian cause, direct action of all
formsjustifiedrnow <k> you react
to such a slogan? Shock value?
Gimmick? Both? Do you feel
musicians should be dabbling in
areas wbcremaybe they Aonktat
(I.e. political sloganeering)? How
do you see Stefan Tischler fitting
In/not fitting in as a political com-
MARCH
Hike Muslimgauze. The slogans are
packaging but I have no doubt that
he is sincere about it Although the
musical experience doesn't require
the listener to accept his commitment, I guess he wants us to know
that the political aspect is important
for him. I'm sure we share certain
views about imperialism but I don't
sympathize with religious f an atici sm
of any sort. Also, the tendency to
call-lo-arms for a cause is a very
tricky thing. If one can justify it for
one's own cause it is also automatically justified for one's opposition.
I don't see myself as a political
commentator. I have a definite viewpoint, but I design my works around
the total sound experience, addressing the concrete as well as the abstract. If my current works were just
to get my politics across I would put
out a pamphlet. I do think it's valid
to express viewpoints. Listeners
are not required to agree but perhaps to be stimulated to thinking.
In any case, there is a long and
healthy tradition of music/sound
works with social or political over-
Did you have a religious upbring-
I had a moderate amount of exposure to religion. My grandparents
were all Russian Jews and basically
secular. I was able to see quite early
that adherence to religious doctrine
was antithetical to living life with
imagination and tolerance of others.
Judaism, Christianity, and Islam have
put a brace on our brains. I believe
that religious tribalism is a divisive
force and that most of ihe problems
of the worid can trace their sources
to the slavery propagated by monotheistic religions. And the business
aspect of organized religions make
a mockery of all the moral preaching. Mostly, religions deal in power
play and scapegoating.
That said, I can only add that
all the suffering that religion has
wrought has resulted in some amazing art, music, and literature. I would
like to think that someday we will be
able to transcend the need for religious doctrine and live in harmony
with an instinctive respect for the
value of life without the chains, but
business has a way of perpetuating
itself.
Contact:
Extreme Records
Cargo Distribution
POBox 147
Preston 3072
Victoria, Australia
REUBEN
KINCADE
PLEASURE
ELITE
EDDAPALOOZA!
CLAY PEOPLE
JUMBALASSY
BENEFIT FOR
DEATH
RENEGADE
SAINTS
FRIDAY MARCH 12
MOLASSES
& HUNGRY
YOUNG POETS
SATURDAY MARCH 1*
LOAF & GUEST
OPEN AT 6PM
SEVEN DAYS A
WEEK	 Just what is Negativland and why have you heard that name so frequently without hearing music just before, just after, or during that mention? Well, lemme
draw you a picture.
Say, for instance, you are Negativland—Mark Hosier, David Wills and Richard Lyons—living in the Bay area around San francisco. You like to fiddle
about with neat sounds. A few independently released LPs ensue, all works of an incredible, almost obsessively meticulous, organization of sounds. Chris
Grigg and Don Joyce join Negativland's current line-up via the "Over ihe Edge" drop-in live radio show on KPI-A, Berkeley. Albums like 1987's Escape
From Noise and 1989's Helter zStupid get wider availabi lity through SST Records. Both albuna make "The Best ofYear"lku by critics across North America
onably popular as proponents of what can only be described as a new form of music. Their deft use of sound and humour separates
risons lo the often humourless industrial genre, and dieir media manipulation experiments have said a lot about today's culture.
court case. Casey Kasem plays a large part in
and Negativland bee
So, in 1991, Negativland releases a single
lhat "covers" a U2 song in a way thai only they
can do. However, the massive powers that be in
the music industry decide this relatively small
underground group musl be dealt wilh and proceed to launch lawsuits against Negativland and
SST, basically for having the gall to put out the
single. This results in a mammoth can of worms
being opened up, showing the seediness of the
music business, at Negativland's expense
Negativland also find themselves victims of outmoded copyright laws that do not take into account the new technologies.
So now, 1993 finds Negativland broke, but
unbowed, on the heels of a new LP, Free, due out
il and followed by a tour (something they
irt dates. But I'll let
Mark Hosier: It's funny lhat these days we never
end up sitting around talking about things, like
how fun different weird noises are and stuff that's
a good deal of what we actually like to do, 'cause
we're always talking about lawsuits, copyrights...
Discorder. Yeah, it seems you've been kind of
busy the last couple of years with that?
Mark Hosier: Well, yeah, il's getting to be a year
and a half now, and I can easily say it's going to
drag on at least another year, and I wouldn't be
surprised if it crops up again. I wouldn't be
surprised if someone else decides to go after us for
some other record we do in the fi
Let's start with that. You put out a release in
August of '91, the U2 two-song single; it's quite
the package. Okay, this is the thing that opened
a big can of worms here.
Oh, opened them right away! Generally, whal
everyone knows aboul the U2 thing turns o
wrong. It's like the game of telephone, where the
story's been repeated so many ti
had it quite right to begin with I
distorted that...and that's actually why we did the
magazine, The Letter U and the Numeral Two,
because we realize it is a story worth telling;
a tale worthy of being told. As well as
there was no way we could rely on the
media to convey what had really happened because it was far loo complicated, and the media is not very good at,
or interested in, conveying comple:
Some could argue that it
conveying the truth.
WelL.yeah.
Essentially, The Letter U and the Numeral 2 is
a 96 page booklet and about a 25 minute
compact disc documenting the case and communications arising out of the case that Island
and Warner-Chappcll launched, not necessarily U2 the band themselves.
No, not U2 the band at all, though they certainly
came to be involved whether they wanted to or
not. It's presented in chronological order and it is
our attempt at an objective presentation. I don't
believe there is, in fact,
any such thing as ob-
happened: no commentary
interesting, what's important, what the issues are,
who the villains are, if any, et cetera, et cetera.
And that seemed to fit with our whole, you
know... No one in Negativland is very comfort-
"Wcl!, we're making this Faustian bargain with
the devil, but we do it because we're promoting a
larger idea lhat's somehow subversive to who
we're working for?" Or is U2's management, in
fact, insulating them from reality so they don't
able with telling people how to think. Certainly even know it? And if you read the
there's a lot of social-political stuff in our work, the Edge, that is one argument that could be made.
as well as a lot of silly stuff in our work, but we do They really don't realize 90% of what's going on
lhal serious stuff [so that it] comes across in a way around them, who's working on their behalf, and
that isn't like we're trying to shove our point of who's going out and suing people for them in      for Casey Kasem. As fa
view down your throat. order to protect their interest.
He inspired the entire project.
How did you obtain the tape?
A couple of different sources. There's two sets of
tape on there, even though they're mixed together
to sound like one tape. The dedication to the dead
dog Snuggles was given to us by a fan al a show
we did in Portland. Subsequently, a friend of
mine, a musician named Steve Fisk, gave ti
better copy of it which is what we ultimately use
And then ihe part where he's actually I
about U2, you know, "These guys are fi
land and who gives a shit," that's
friend of ours in LA who i:
Let's see, the principals involved in this are What was the timespan between the actual
you, David Wills, Chris Grigg, Richard Lyons, lawsuit that was launched against Negativl
Don Joyce, SST Records-. to when the band U2 actually found o
Which U solely owned by Greg Ginn. Some the release? Was theretjm
people don't necessarily realize that there's no Idon'treall_~
committee making decisions there oi
-.and Warner-Chappcll, which is the publishing arm of Time-Warner. So, essentially, what
it is with relevance to U2 is that Warner-
Chappell publishes l'2's songs.
Yes. As well as being the publishing arm of the largest media
n the planet, that sort of
works into it as well.
...and Island Records, which
headed by Chris Blackwdl.
Well, sort of, he's the president and il
was begun by him. He sold the company u
Polygram a few years back and that's one
the many interesting footnotes to this whole
tale; Amnesty International and Greenpeace,
whose promoters are U2, are now working to
make a profit for a company that is owned,
ultimately, by a defence contractor. Philips owns
Polygram, Polygram bought Island, and if you
■ the only band that's currently
making a lot of money, I believe, is the group U2.
In fact, that whole Zoo TV lour, as
it they knew about it as
r three months later. If you read the
magazine, Chris Blackwell is saying that U2 was
pressuring him to drop the lawsuit, and he's
saying he won't At the same lime lhat's happening we're Ulking lo writers who say that U2
doesn't even know about it, leading us to believe
that Island Records has realised that they've
screwed up, publicity-wise, and that they want to
make sure all the blame falls on Island Records
and not the band So they're lying and playing
l of good cop/bad cop routine with U2
as ihe good cop and Chris Blackwell, or
Island Records, as the bad cop. So, I
ow. The first time
'e really became clear that they
knew anything alall was quile
few months later in
spring of '92.
■, the Snuggles
of people
be the only
jotten a hold of the U2 stuff. The
f, Howard Stem actually broadcast
all of the obscenity edited oul. But the fact
that Casey was talking about U2, as you correctly
deduced, was what gave us the idea to do the
whole project
I imagine that if he'd mentioned anybody instead of V2~
Van Halen! ZZ Top!
-.you still would have been sued, if it was a
large, corporate band?
Who knows.
Who knows! The work would have taken an
entirely different form. And the concept grew
more out of the Casey Kasem thing than any-
ls that right?
Yeah, that was the seed of the idea and then il
sprouted until we started thinking about it
, and adding
c buying consumers, don't look further perceive it as U2 suing us even though it
than the album cover where U2 put their little true but, in fact, if you read the language of the
speil to support Amnesty International. lawsuit, which is printed in our magazine, it's
I'm not against lhal or anything but it's ironic, clear that they arc suing us on their behalf. They
perhaps a lot worse than that, hypocritical. Ilasks talk about the damage we're going lo do to U2's
one of those interesting questions, does the group image.
U2 actually realise lhat, or just not care? Do they
realise it and say, That's the impression I got reading over the
I heard the gems of what resulted i
U2 concept, in 1989, when you were ir
MontreaLB-knd of mine taped it off Radio
McGill. Mnded quite different
Yeah, wc^g t exactly uke what we do live and
1 like that on the records, and we
I like our records live. Most of
e approach each little area we're work-
I unique medium, if you want to call it
riive shows are very structured. I mean
lot of improvisation within the struc-
z know exactly which sections are which,
I the radio shows are extremely different It's
opposite in that we know the materia! we
ive, we have a theme, but as far as how it all
>mes together that's toully unknown. Of course,
on the radio show we also have the input of the
Let's go back to the U2 thing. So, you put out
this book, a documentation ofthe case, which
resulted in $90,000 in court costs.
Ifyou look at the book the actual costs in damages
to Island Records was approximately $45,000.
The rest is an amount lhat SST is claiming they
spent on manufacturing the release, advertising,
and their employee's time. He [Greg Ginn] claims
it is $90,000, we figure it's close to about $63,000.
SST has never accounted lo us properiy on how
they came up with that figure, bul then again
they've never properly accounted to us for any-
We were very strongly led to believe that
SST would split the losses in some way that was
fair. A number of things were said verbally, also,
the lawyer who handled the case, a fellow named
Michael Blaha, actually told me on the phone,
"Don't worry, SST will settle this fairly wilh
you," and instructed us to sign the out-of-court
settlement papers before we were to go out and
work out the settlement It turns out that
anytime a lawyer's representing two different groups of people who are both
being sued you always have a potential
conflict of interest—Blaha was representing
both of us in the suit against Island Records and
Warner-Chappell Publishing. He's supposed to
draw up an agreement lhat would preclude either
party from turning around and suing each other.
He, as far as we can tell, either out of stupidity or
out of conspiring with Greg Ginn, and it's hard to
know which, didn't do that or let us know that was
something important
So we signed this agreement that left us
wide open. The settlement should have protected
everyone but we were toully naive; we did everything we could to be cooperative including
giving them a brand new record when they
asked to replace the U2 record [the Guns EP].
What Greg Ginn says in public is lhat we lied and
we're fucking them over, victimizing them and
just ripping them off, and that we agreed we
would pay them for any losses that arose out of
SST getting sued for anything we did We did in
the past, but this situation made it different; oneof
which Greg Ginn insisted we put our publishing
the record instead of U2's, which is
wrong because it is a cover version. He decided
nol to apply for a proper licensing form for when
l of a song, and that's part
of what we got sued over. He told us he'd been
warned by a lawyer not to put the record out but
he didn't tell us until after we were sued. On
top of that their lawyer told us that SST
would split it fairly with us.
With other records we might
have toully agreed that we were
iult With this particular
_E>>*- yVio-aF-e record we felt that the decisions SST made, and
how Ihey handled the release of the record, that
they had some responsibility. We were proposing
a fifty-fifty split and, for some strange reason
which we will never understand, you'd have to
talk to Greg's psychiatrist, he refused to talk
to us or negotiate anything! He just gave us
ultimatums: "you pay all of it and that's it;"
"fuck you;" "talk to my secretary;" and "I've
got a business to run here, I'm not interested
in talking about this." The very reason we
signed to SST was because it was a company
lhat would never do anything like that and
you could talk to them. Greg really should
have talked to us, we could have been willing
to take a different split if he'd negotiated.
So, instead of negotiating with Negativland,
and trying to come up with some agreement, he just put up a legal wall.
Well, no, he became kind of a busy corporate
guy: "I can't deal with it, just sign the fucking
indemnification agreement, give me all your
money from all your releases you've ever
done and, by the way, where's yournexl two
records?" We'd been talking about doing a
new release forSST and here they are expecting us to give them our next release and sign
away all of our earnings, forever. The agreement they gave us lo sign is worded in such
a way thai it would allow them to take as
much money as they wanl from us for as long
as they wanl. Il was a very poorly written
agreement.
Subsequently, we've found oul from
quile a few lawyers who've looked at the
case and said "You should have foughl the
case, you would have won," that a number of
law firms we have spoken to would have
been happy to take the case for free, or a
reduced rate, because it was such a great case
and it could have established new law. Basically, ihe way lhat we went along with SST's
handling of the suit we missed a chance to
establish legal precedent, and that's, in the
bigger pictu re, the worst tragedy of the whole
It is a big tragedy but, from the perspec-
tiveofbeinga band, that's not what you set
out to do with the release in the first place.
So how could you have predicted that it
would turn into such a monster?
Well, we couldn't have, of course not. But on
the other hand, we try to do smart things.
People seem to have an idea lhat perhaps
we' ve done what we do for publicity reasons;
I don't know why making an ethical and
moral decision to leave your label and handle
this in this way is a publicity move. I think
we've been good at taking situations that
have arisen, and adjusting to 'em, and doing
somelhing that is interesting, creative or fun.
We never expected the next release would be
a book about us being sued, bul once the story
developed beyond a certain point it became
obvious that was the next idea. It was like,
"Let's make a book! I've always wanted to
make a book!
So, essentially, here you are with this release and I notice that Casey Kasem is
publicly saying he's got no problem with
Negativland's use of his tape.
Well, he said he was embarrassed by it but
that he understood this was an issue of free
record we felt that the decisions SST made, and
how Ihey handled the release of the record, lhat
they had some responsibility. We were proposing
a fifty-fifty split and, for some strange reason
which we will never understand, you'd have to
talk to Greg's psychiatrist, he refused to talk
to us or negotiate anything! He just gave us
ultimatums: "you pay all of it and that's it;"
"fuck you;" "talk to my secretary;" and "I've
got a business to ran here, I'm not interested
in talking about ihis." The very reason we
signed to SST was because it was a company
lhal would never do anything like that and
you could talk to them. Greg really should
have talked to us, we could have been willing
to take a different split if he'd negotiated.
So, instead of negotiating with Negativland,
and trying to come up with some agreement, he just put up a legal wall.
Well, no, he became kind of abusy corporate
guy: "I can't deal with il, just sign the fuck ing
indemnification agreement, give me all your
money from all your releases you've ever
done and, by the way, where'syournext two
records?" We'd been talking about doing a
new release for SST and here they areexpect-
ing us lo give them our next release and sign
away all of our earnings, forever. The agreement they gave us to sign is worded in such
a way that il would allow them to take as
much money as they wanl from us foras long
as they want It was a very poorly written
agreement.
Subsequently, we've found out from
quite a few lawyers who've looked at the
case and said "You should have fought the
case, you would have won," that a number of
law firms we have spoken to would have
been happy to take the case for free, or a
reduced rate, because it was such a great case
and it could have established new law. Basically, the way that we went along with SST's
handling of the suit we missed a chance to
establish legal precedent, and that's, in the
bigger picture, the worst tragedy ofthe whole
It is a big tragedy but, from the perspec-
tiveof being a band, that 'snot what you set
out to do with the release in the first place.
So how could you have predicted that it
would turn into such a monster?
Well,wecouldn'thave,ofcoursenoLButon
the other hand, we try to do smart things.
People seem to have an idea that perhaps
we've done what we do forpublicity reasons;
I don't know why making an ethical and
moral decision to leave your label and handle
this in this way is a publicity move. I think
we've been good at taking situations that
have arisen, and adjusting to 'em, and doing
something that is interesting, creative or fun.
We never expected the next release would be
a book about us being sued, but once the story
developed beyond a certain point it became
obvious that was the next idea. It was like,
"Let's make a book! I've always wanted to
make a book!
So, essentially, here you are with this release and I notice that Casey Kasem is
publicly saying he's got no problem with
Negativland's use of his tape.
Well, he said he was embarrassed by it but
lhat he understood this was an issue of free
speech. You know, free speech doesn't mean
you have to like what the other person is
saying. Of course, privately, his lawyer said
that they would sue us and Island Records if
they ever gave the copyright to us, or if we
ever released it We went on a tour last fall
and everywhere we went we gave out Casey
Kasem's address and fax number—by the
way he's changed the fax number since we
put out the magazine [see the box]—so, now,
Casey Kasem has actually gotten enough
letters from people that he's sending out a
form letter in response to people. So irate
Negativland fans are getting a form letter
from Casey Kasem which implies he never
even said what he is actually quoted as saying
in the magazine. He is now saying that it is
not about censorship, it's aboul piracy, and
thai Negativland stole this music and these
tapes and using them illegally! It's ihc most
disingenuous thing I've ever seen!
Jesus! So basically Greg Ginn, Casey
Kasem, and the lawyers are saying one
thing and doing another...
And you have a grooplike U2 who, at least in
principle, say one thing and do another as
well. It's part of what makes the whole story
so entertaining.
It's kind of ironic, too, that their Zoo TV
tour is doing exactly the same thing you
Well, how about lhat! That's right, they're
Zoo TV tour is infringing on copyright in a
massive way every single night! They've
been touring now for about a year, using live
video feed s taken off a satellite and mixing in
their own pre-recorded video and stuff, but
they're also feeding in live images from the
networks, putting it in a new context and
broadcasting it out to thousand and thousands and thousands and thousands of U2
fans, who pay $35 each night to see ihem.
They're certainly not asking permission for
lhat. It's fine that they're doing that, I find it
very interesting.
So what's happened since then? I guess
the Edge didn't give you the money you
asked for to start the label or else you
wouldn't be as broke as you are.
In fact, he never responded to us ever again
after that [Mondo 2000] interview. We sent
him a whole package with a proposal and a
budget and said, "Look, if you're not interested, fine, you're not duty-bound to help us,
but we think it would be a really great idea. It
would be hilarious and great publicity but if
you don't want to help us just let us know so
we're not left hanging. Because we're in an
incredibly desperate situation." Of course,
he did just that, leave us hanging.
You haven't heard anything from the U2
camp since the magazine came out?
We have, kind of indirectly. Someone we
know, who is a manager, has written in a
letter and gotten some answers, sort of. It
seems lhat they're still concerned with the
public perceiving them as being bad guys in
the situation. And that if wc have any creative
ideas of how they could help, that doesn't
involve them lending us money, then they
might be interested. I don't understand that.
I believe I read they grossed $96,000,000, or
suit, that we should be intimately involved.
We should have followed our instincts at the
time to pursue other avenues to deal with
Island, but we were convinced by SST that
there was no other alternatives. And since
SST had themost up-front liabilities it seemed
fair enough to let them handle it
Anyway, once you're sued by somebody you can't just ignore it. A lot of people
have said, "Well, Mark, why don't you just
forget about it or throw it in the trash, it's just
a piece of paper?" That was my feeling too,
but I found out that when you're sued you're
sucked into thi s system; the legal vacuum has
sucked you in there with the dirt and the lint
and you can't get out. You have to respond to
the rules of thesysletn.If you don't, the other
side wins and gel what is called a "default
judgement."Then ihey would get everything
they're demanding, and SST is demanding
$90,000 from us and our next two records.
Presently, SST is not paying us any of
the royalties from any of our records, they're
withholding all of that, and they have also
succeeded in stopping us from selling our
magazine. The magazine was doing quite
well: we were on our way to gaining the
position of being able to run our own label
again and putting out our next album. Luckily, we were able to sell out the first pressing
and pay off the people who we borrowed
money from, with ten percent interest.
What's happening now is that we've
actually found free legal help. It's not completely free but in the legal world it's pretty
close. We pay phone bills, faxes, postage and
Xeroxing costs—the lawyer's time is free.
We actually have the assistance cf a pretty large
law firm, $400 an hour lawyers free, and, as
lawyers go, they seem very helpful in getting
together odrcaseon how to respond toSST. But
the idea that we've been drawn intothis.baving
happened-)
.The copyright
s and the stuff [in th Aase] are basically, as
GregGinnwouldsay.a"   iokescreen."Really,
W«
> publicise some of the   rty, icky side of this
lovely business called maec, and I think that wi
just have this fascinatic
that aren't supposed i
always fun. But
for exposing things
Lposed..and that's
also trying to argue
ehigh-faluting ideas ke the copyright law:
what's wrong with il aad what's wrong with
corporations controlling our culture and telling
people who are creative what they can or can 'l
do. Though we were under attack for one
record, essentially w||were under attack
for our entire way of working. We've been
aking records using bits and pieces of
for
of a form of self-<   fence
argue this positi<
standpoint, instea<
rial or corporate s
| NEGATIVLAND DISCOGRAPHY
Okay, these releases are put out by Negativland, solely. If you f    chase these titles
Negativland gets all of the money.
I ALBUMS:
Negativland (See\and00l)CD, 1980
Points (Seeland 002) CD, 1981
A Big 10-8 Place (Seeland 003) CD, 1983
VIDEO:
No Olher Possibility (Seeland 005) 60 minutes, VHS, 1989
MISC.:
"Christianity Is Stupid" T-shirt (Seeland T01) L, XL
"Negativland Is Stupid" button (Seeland B02)
All available from:
Negativmailorderland
109 Minna #391
San Francisco, CA 94105.
Write to them for more information. ^^
These releases, although great, al press time arc on SST Records. Sothepurchasin
any of these items will, in turn, give money to Greg Ginn, not Negativland. Negaiivl
is NOT involved with, nor instigated, nor support^H " t-shiri
Escape From Noise (SST 133, RecRec 17) LP, CassS
Helter Stupid (SST 252, RecRec 29) LP, Cassette, CD^
Guns EP (SST 291) 12", Cassette, CD, 1992
"Vol.1: JamCon '84" (SSTC 223) Cassette only, 1985
"Vol.2:Pastor Dick" (SSTC 901) Cassette only, 1990
"Vol.3 :The Weatherman" (SSTC 902) Cassette only, 1990
" Vol.4:Dick Vaughn/Moribund Music of the 70's" (SSTC 904) Cassette only, 1990
Not available:
U2 single (SST 272) 12", Cassette, CD, 1991
i book was kind
a legal, manage- WITH SPECIAL GUESTS
LOVE BATTERY
AND
7 YEAR BITCH
SUNDAY
APRIL 4
ii SI. MUSIC HILL
Tickets available at all TICKETMASTER Outlets,
Track Records, or Charge By Phone 280-4444.
NO LIQUOR LICENSE IN EFFECT AT 86 ST. MUSIC HALL Uy mingled in your back alleys for longer than you
\Kxild like to believe They're latestdfenng, Word
Flc_lS«tt_,« a firestorm of strategcau
and is thehandiwokcf Rhys Rilber, Jchn McRae,
and dins Petenon. They have put together a
tourtd lhat ■ unprecedented: angelic in grace,
powerfully destructive, and tbtotute.
Di*»d_-:E_f__n the name Will and what doe.
it al mean?
JchmWewere looking foraname for quitea while,
it 0x4 i_ a while Kt come up with a tide for the
whole project. We came ix> with Will because it
has many meanings whkh are pretty accurate
mainly stemming from inner strength, but ever
then it's literal like ike dupasal of one's possession!
after death. We feel that me Will project is almni
somelhing cfpermanence, like an epitaph, it wil
probably exist long after we finish doing it. I think
that is the main reason weallcame to ihe agreement
of lhat name, it j__seen_d to fit the sound.
Chris: From the Crowleyian definition to ihe
definition in the dictionary it implies a deliberate
About a year before Pearl of Great Price was
released there were > few boodcj? of your early
works around town. How long have you been
working on this project?
Chris: Since 1987 .Weputtogetheraclemo around
1988 vriien we stated writing songs. That's what
we call the dark yeats. We didn't eat and we had
about two pieces af gear. So the first album is just
a collection of the dark years material.
JchruFortunately.at the time, all three of us lived
togethersoeven thou^i we wmked quite indepen-
dendy, rather lhan a traditional group practicing,
we were constantly around each odier to kind of
rub offon each other. We were on similar parallels
so we had a dance to work it over for a few years
and lake from the collection of songs we were
doing. So when Pearl came out it was quite dated
for us. It was maybe two or three of our naive years
but we still thou^it it was necessary to put it out,
kind of as a starting block.
't really seem like Will has a distinct
'. 3tl987.lt seems like it has
one of diose timeless sounds, especially with the
use of Gregorian chat _s.
Chris: It's classical instrumentation. It's something that's been around for a long ame, and our
choice of using that type of sound is deliberate; it's
esthetkah/ pleasing and it _ timeless. We don't
really want to fall into any sort of trend, we just
want to create something that will last.
Howdoyoufedacout the whole tccknoupheaval
and how electronic music has become accepted
by the masses.'
Chris: Sometimes 1 find myself wondering if it's
even music at this point. It's become something
that's more of" a manufacturing and marketing
process than an actual nusical work
Do you consider yourselves apart ofthe dectratv
k scene or doyou remove yourselves from that,'
Gitis: We're a part of it in that we're usingall the
cutting edge technology. We're using the best
tools available, that's where the similarity ends, f
think that instead of creating something that
soun<_ like an electronic album we're trying to
make it sound as seamless and natural as possible.
We wane the machinery itself to be invisibk-to
jt-temi up with the image and feeling.
I asked two separate DJs at CiTR what they
thought of your album, one said that your album
sounded too electronic and the other said that he
was amazed diat you did it all via technology.
Qui_ He was probably the smarter of the two
Pau^hs] because 1 don't think of electronics when
John: It's self referential to almost the point of
hypnotic 1 feel each song daws an attention and
evokes an emotion, it's not something lhat relies
on getting people moving or dancing. The only
time 1 heard someone tell me they heard it in a
cldb, it confused everyone and made them go for a
Chris: And then there were some people
dancing like you don't see people dance.
A few people were just shaking hard to it.
or negative There's no middle ground with the Will
sound, it desk with absolutes. I preferi
just because they fee! they have
ie telling me they like it       I don'tsit there and ny and hitkey and make itperfect.
1 think ifs perfect in in imperfection, you know?
Thafs the w_y we work; every step of die way.
. separate publication* you have been cc
John: In ihe beginning I w
doing this and I just atsumed the role along with the
graphic- It wat important for me, and for all of us, to
have a balance on the first-bum because we didn't
Ywnt someone getting tired of listening to the loud
guy.so we wan ted itto ha veabrealcaba la nee between
darkness, and lijjit, and voice, and instrumentation. I
diink ifs the winding down instrun_n_- after the
Moon lhat put the previous nng into perspective. It
almost makes more sense to
have the equal balance. I agree
wilh you, I think "Souk ofthe
Valianf isanotherbridgesong
W___ going into the next album,
and I feel thafs representative
cf the type of sound to expect
ftom Will in the future.
I*, _JL___/ JL__«/ So, do ycu feel there is
power in written word?
John: WiU is far beyond written or spoken word; ifs above
and beyond any sort of earthly
:ntional way of -linking. For us ifs a spiritual
telease.an exorcism ofcreative des auction and beauty
all rolled intoone. We all have the same vision of that
sd in the km and moral value* cf
responsible for all of the nusical composition, engi-        p_xd to Dead Can Dance and Laibach, or a hydrid
neenng and arranging. 1 alio do the art direction and        of the two. What do you think of this compariaon?
give the overall graphic look
to the band's visual identity.
So you design your own
John: Yeah, I work with John
Dennison who is an eccentric collector friend cf mine.
He's a fascinating guy. He
reminds me cf mysetf-Oyears
later. We have such similar
parallels, we node really well
together. He _ a brilliant
photographer and between
the woof us we have a really good lwdring relation- Chris: Comparisons are fine, they're used all the often
ship. He's the type ofpeison well be using to the very when people are at a lack of words to describe it
end. themselves, but being compared to both cf those
bands is a compliment
The new album sort of reads Idee the Book of John: Yeah, I would take thatas a compliment 1 have
Revelations. Do you find a lot of inspiration from a lot of reject for Dead Can Dance and Laibach. I
the Bible? have most of iheir releases and enjoy everything
John: I don't think inspira-
Chris-. Fascination.
John: I think ifs the perversion and darkness cf some of
the religious scripture that is
facinating but 1 think that
would be more relevant to
Peari^Grau Price. With this
EP we hada few more outside
influences: I started reading
about fetishes, astrology and
science, and magic Word
Flesh Stone has mote of a con-
fidentsound to it, I think ifs
a bridge to our next project
which will he even stronger.
Ifs obvious that there is
more of an emphasis put an
vocals this timearound, even
with the inclusion of the
lyrics in thisalbum, 1 understand that it was an accident
that the lyrics didn't get
printed with Pearl.
John: Ifs a shame that they
didn't get printed the first
thing 1 feltwould be good for
the people who can't perfiapt
decipher some of the ranting
andraving; it may have justified some ofita little bit more
So you have a litde more
confidence in what you're
John: I think.*). When we
did nVn'Tstalburnthere were
no practices, Fd never been
in a band before, I juststepped
in and out and there would
be a song on tape. We did
lhat song for song. Sometimes Hike the randomness
and looseness. That was a refreshing feeling to j_it to
devastating end.
rm going to read this quote for you guys: "TJu_u<
are to understand that the end andgood angels dwell
near one another, and yet
there is the greatest immense
distance between them. Far
the heaven is in hdl and the
htU is in heaven, and yet the
,,,     one is not manifest to the
I j     other; and although the <W
yf     should go many trillions af
'      miles desiring lo enter into
fi     heaven and see it, yet he
j^     would still be in hell and not
4m     seek." — Jakob Bohome.
Do you believe
there is a barrier between
good and evil or do they accentuate each other?
John: I think there is a hal-
Chris: There is a necessary
duality to everything, and we
express that in our sound from
the li^itest to the darkest
They coexist, certainly.Some
lines in John's songs touch me
like the disciples of damnation here in the heart of hell.
Ifsa matter of ifyou have togo
fer wilh one you have to go far
with the other. But there's
always the balance, you never
Doyou consider yourselves
fallen angels or bearers of a
in lhat way. Pearl ws
thinkdunng\^WF!e_iStor_weallkindagrewupand
got a litde better at what we do.
Chris: Musically, ifs punctuating the oratory much
better too.
What about melodic vocals?
Qui-As it stands 1 guess you can call them vocak, but
Idon'tlookatthemmatway.They'remorelikeapiece
unto itself that has been under-scored with die nusic
tosuitthe in_geiy_.I prefer oraitory.
Jchn: Or even treat them as another instrument with
the looseness cf the human error. Will nusic is so
Photo by John
they've done from the beginning to now, and I feel ifs
okay to compare Will to Dead Can Dance and Laibach, loosely. I feel we draw from the same well of
influences and those two bands have achieved
something that is an inspiration to us.
Two song) that stick in my mind are "Epilogue,"
from the first album, and "Souls of the Valianf' on
this album whkh, as br as Fm concerned, is your
beat piece to dare. Do you believe in power without
Chris: Yeah, sometimes words aren't needed and we
know it So an instrumental happens because thafs
the way it was meant to be. "Souk of die Valianf is
particularly my favorite because it has such great
John: I set us as pure extremists
and visionaries in ot» own reatra
cf waking, withoutcomparison
to any thing remotely similar.!
don't consider the WiB project
apart ofanyscene or rnuskmcMe-
mertt I feel we're at home with
-v^   people who have the same re-
•'_j__s sPeafc,arBand*eMre;peop!e
''■"'aTH  •*»nave*a:'«T>eP«>*|flor
M determination.
R. Dennison*!
_ Wil a shake of a fist to the
a__ghty_a _»J_ng back of the dammed souls!
Jchn: One problem that has arisen with response to the
Will project is thar people are not listening rigjit wo it
and thinking about it and, perhaps, construe somediing
such as aailege. Or that Tm this voice cf descent in
contempt and mockery, and sarcasm. I really thrive on
cynicism snd I think there's really nothing wrong wah
a_c ing questions. Ifspeaple who assume what they are
being told and what they are reading as truth.
They're content with being passive ^ectators or
sheep waiting to be kad where they end tp, or where
their soul's destination lays. For all they know it
could all be a lie.
Ifibro to ignore the refipot- overtones of your album...
society ib not just ex
some th ing -latpetmeates the very fabric of society
to what people think is n^it, and wrong.
Jchn: Ikindcf derive,and extract,and _kecertain
liberies with the lyrical content of WilL I'm «
glorified plagiarist, I'm die fast one to admit it, but
Pm the first to point out that irist necessity with
the stuff Tm deriving from like literature or pamphlets. I do it in a fragmented way, much like
collage in a visual sense. I rake litde scraps cf paper,
cc ideas, or phrase*, or things like power wottk, and
write them on bigger pieces of paper and sort them
out All ofasudden diey become books and books
become volumes. If s just a proem of extracting;
perhaps taking out of context some ofthe terms
and phrases di reedy from the auipcure-
In a way do you fed society has become numb
tourism,or "   "
words, because of the at
pting technology.
John: There's a big difference between us and
the majority of borrowing going on in popular
elect)
c We're
iking it
and doing it because of the lack of creativity.
Wesample stuff from classical musicians because
we don't have the means neceaary to have
fifteen or twenty classical musicians doing all
those parts for us.
Chris: We're reinterpreting everything we take
in. Ifs not like we're taking in a whole bar of
something, adding a disco beat and la la la we
have a new piece.
Does it bother you that your album has
received such critical acclaim in the States
and Europe and yet you almost seem to be
invisible in your home country, even city.
Chris: The Canadian music scene is like a
person who is hard of hearing, you have to make
a lot of noise to get dieir attention.
- Johmltwasalogicalstepfbrustogetadealin
Europe rather than here. In Europe they have a
certain open mindedness and appreciation for
the arts and theatre and, pethaps, they hear it
Chris: People here aren't used to powerful imagery, especially in musfc. They want to be
appeased more than anything.
John: I think a lot of people in Vancouver don't
want to be challenged, they don't want to
perceive things in a different light They're
comfortable with what's going on now and not
really in teres ted. So, we're just going todo what
we do and perhaps over time people in Vancouver will recognize it. But, then again, out
hometown is just one town and if just one
person likes it, and it's the right peison, it's
better than a whole town of wrong people
liking it.
Chris: 1 enjoy the pnvacy as well. I just like
blending into the woodwork here and quietly
going on with my business.
Do you see yourselves doing live performances
or are you strictly sticking to stwSo?
joy playing live a lot! I wanttoplaylive
nd in fact, probably won't pby again
until the timeoornes when we can do a Will show
or a scaled down tour. We have a lot of planning
todoand thatt_«S3 lot d time, thafssomething
Jcriru'To crea te dat epti spec lacle, to be what we
logical Move for us would be to start by shooting 16
mm film to givepeopiean inside look atus first, and
perhaps do another full length CD^ We know
there's a need to do a tour, 1 don't just want togo
around tootin'our horn ro getfree boose, riders and
pocket change. I don't particularly like the kka of
pimping my ass like a rock and roll band. Fd like to
do shows with live classical musician acconpani-
ment 1 think there's a lot cf thinff we'd like to do
but ri^it now we have to take thirty step by step,
just kind of build on what we're doing now. I think
that a time will come when ihis whole project will
prove triumphant
"Foll'nch-mfc to beweake is miserable doing or
suffering: but cf this be sure, to do ought good
never be our task, but ever to do ill ow soul
delight, as being the contrary to his will whom u*
rejist,"— Milton
JANUARY   ,£:; VANCOUVER
SPECIAL
Ti(tixiii^_i^]:<LTii:<LVj:<
THE INTRODUCTION
Hey, I've said it too..."Discorder
sucks,"and thenl learned thatit's
volunteer run and anyone can volunteer so I quit complaining. S ure,
it's a clique but so are you and
your friends. And, yes, everyone's
a critic but you can't just listen to
what your friends say. Anyways,
at least something is happening.
On to the reviews.
THE REVIEWS
Q: Does every band in Vancouver have a name that starts with
the letter 'S'?
A: It sure seems that way.
For example, Stovebolt
play emotionally-heavy, angst-
powered rock. Definitely unlike
any other Vancouver band, they
provide a much needed breath of
fresh air for this stale scene (and
they're cute too). Features ex-
Sparkmarker bassist, Darren, and
Dave, the singer who means it
when he says "FUCK YOU."
Seed are Victoria/Vancouver transients from Onionhouse
and a raging maniac of a drummer
(you just have to see him) from
back east I hate to compare this
band with anyone but they're sorta
like Drive Like Jehu with more
pop and fizz. They have a demo
released but it seems to be sold
out 'cause can't seem to find it
anywhere.
Sineater hail from
Kamloops but they play here
enough to be local—you might
have seen them open for Drive
Like Jehu a while back...maybe
you didn't. They havethatcatchy,
crunching, sing-a-long style
rockin' punk ala Big Drill Car,
Bad Religion, Down By Law.
And they, unlike most Vancouver bands, have the punk initiative to tour outside of their city.
Thumbs up.
Q: Are there any bands that don't
start with the letter'S'?
A: Yes, here are two:
Fuck Pavement, here's
Horsey! Max, Mark and Pbnyboy
huddled around a 4-track for hours
on end in their basementand created
a tape that's pop-jerky, noise-happy
and all-around musically delightful.
Pick fave tune: "Settle down"
When listening to the Red
Sugar, Mt-dicm_,CD,Ne_Young
instantly springs to mind. Guitar
intensity and emotion weaving in
and out of frustration, pain and
happiness. Quite noticeably a
product of much thought and time,
check it out
OPEN DOORS
Also, be sure to check out the
South Wall, an all-ages collectively run coffee-house that puts
on shows once a month. Located
at the Lonsdale Rec. Centre in
North Van (where Fugazi played
summers ago), the shows are $4
and 80% of the door goes to the
bands. A place definitely worth
supporting, call Tricia for more
info. at 980-8289.
I would also like to mention
the existence of a new record
store that very few people seem
to have noticed, called Blast
Records. Located just a hop
and skip East of Seymour [430 w.
Pender], Blast carries some great
new and used records/CDs and
hosts all-ages shows (benefits for
the food bank or just free shows)
on the odd occasion. Recently the
Melvins played there as well as
Facepuller, DSK, and
Sparkmarker, so check it out and
find out what you're missing
THE TAG
This column has been relatively
swamped with demo tapes lately
and, to be fair, I like to give each
tape I review a fairly good listen
so I'm a bit behind. But I'll get
around to reviewing everything
by next month. Really. The first
demo is from a Swiss band called
Intoxicate. The vocalist.
Marcel, assures me that Intoxicate has been formed from the
ashes of his old band, Dioxin,
which means very little to me
since I don't have a clue who
Dioxin were (wasn't there a
Vancouver band called Dioxin?).
Intoxicate play mid-tempo to fast
hard-core with metal overtones
and semi-melodic vocals, although the singer's voice is a bit
too flat and whiny to pull it off
well. The lyrics consist of
typically vague social commentary that is easy to agree with
because it doesn't really say
much: Nazi's are bad, nuclear
war is bad, pollution is bad—
maybe this is just a case of lyrics
not translating very well into
English. The demo's called
Mushrooms of Fire and you can
reach the band at: Intoxicate, c/o
Fabiana Domenig, Haldenweg
19,7000 Chur, Switzerland.
It's good to see that that
centre for decaying old people
and satanic activity is still
churning out bands on a regular
basis, among them being the Sour
tape from King Salmon. Along
with Hump (who've justreleased
a 7" on Scratch records). King
Salmon carve out a groove of
meanderings and distorted,
screeching walls of noise that rock
and make you cringe at the same
time. Fans of noise damage from
such bands as The Cows and The
Bastards should find bliss in this
trashy grunge with dopey lyrics.
Write to: King Salmon, Box
40122, Harbour Square Postal
Outlet, Victoria, B.C., V8W 3N3
From a completely different end of the musical spectrum
comes Second Guessing's
Forgiveness is the fragrance of
the violet on the heel ofthe shoe
that crushed it. It's sort of mellow electro-pop with hypnotic
overtones, not quite ambient but
definitely soothing. With a little
more polish they would almost
remind me of Lush (sorry, no
female vocals though). Send for
thetapeat 3573 West 16th (bsmt),
Vancouver, B.C., V6R 3C2
Either because my ranting
in last month's column actually
worked, or because I'vejust been
lucky, very few bands sent in
extensive promo packages this
time around. The Pleasure
Elite Candyass Goes Stompin'
tape is theexcep tion andlreceived
several pages explaining to me
how great the band is. Their self-
proclaimed "unconventional"
musical style sounds more like
Faith No More up the ass to me:
complete with heavy rifting,
technically varied song structures
and a carbon copy vocalist The
music supposedly deals with
themes of lust, alienation, and
corruption but their treatment of
said themes is so superficial and
simple-minded it's obviously just
some kind of an attempt to give
themselves an "intense" image.
I'm sure this band will impress
anybody who'sentire experience
with underground music is based
around Lollapalooza. Contact c/
o Soozy Bridges, 2619 Western
Ave., Seattle, WA, 98121
The Sister Lovers sound
like a bunch of old high school
buddies who got together to sing
tedious pop tunes. Albeit It's not
actually all that bad, just completely forgettable. Their School
Sux tape is available from #102-
1705, W. 10th Ave., Vancouver,
B.C., V6J 2A4. Not unlike the
Sister Lovers, the Lonesome
Canadians wherein Shindig
and, although I never saw them,
they produce a jangly guitar-pop
sound with a slight country twang
on their Yikes! (spanked) tape. The
songs are all fairly quirky and catchy
but (here's not much bite to them.
Write them c/o Lionfish Management Suite #40-1831 Robson St,
Vancouver, B.C,V6G1E4
Imagine whacked-out raw
sounding, 60's-influenced folk-
pop and you'll have some idea of
what Sick Sick Yeahl's
Inglorious Monum! demo sounds
like. It's too whiney for me to
listen to more than a couple of
times but you might want to check
them out at 1254 E. 8th Ave.,
Vancouver, B.C- V6G 1E4.
Mint recording artists
Windwalker are back with an
offering of four newly recorded
songs. They're all well-crafted
tunes that have enough rough and
raw edges to display Windwalker's
more rockin' side—with the slow
build-up of 'Tou Don't Want It"
working particularly well. It won't
really shake up anyone's world
but you may want to check out
the demo by writing to the band
at Windwalker c/o Mint Records,
#699-810 W. Broadway,
Vancouver, B.C., V5Z 4C9
Got a demo? Got any news?
Let's make Vancouver a bit more
user-friendly 'cause there's a lot of
people but not much happening.
Contact "Vancouver Special" c/o
Discorder, address it specifically to
either Kim or Tom ifyou wish. See,
ya!
THE BEST IN LIVE
RHYTHM & BLUES
EACH NIGHT
681-YALE
mmsimmm
Mar. 2-6  JIMMY THACKERY &
THE DRIVERS
Mar. 8-13  AMOS GARRETT
Mar. 15-17   NORTON BUFFALO
Mar. 18-20   SHERMAN ROBERTSON
Mar. 23-27   PINETOP PERKINS W/ THE
DEMONS DU JOUR
Mar. 30-Apr. 3   KENNY NEAL
mimMum'SMS:
SATURDAY 3-8 PM / SUNDAY BLUES MARATHON JAM 3PM - MIDNIGHT
JACK LA VINS JAMS ARE SPONSORED BY MOTHER'S MUSIC AND THE DRUM SHOP
OPEN EACH NIGHT FROM 9:30 PM TO 1:30 AM OPEN WEEKDAYS FROM 11:30 AM
18 ES^G_!__f-} m up. One can now
buy 7" records at SK, count 'em,
SIX local record stores: Track
Records, Scratch Records, Zulu
Records.South West Sounds (anew
all local store in the Robson Market!), Blast Records and, thanks to
hep employee Rob Spaikmaiker,
Sam's on Seymour! That's pretty
damn good, so spread out and buy!
Sun with Kreviss, why don't
ya? One of two brand new local
singles from Scratch, this is Kreviss'
first single of their very own. "Unveiled," the A-side, is what I've been
waiting for from this female [plus
onemale. Ed.] mega-group. Afuzzy,
melodic plodder that is sung rather
beautifully, the bubble bursts back
to Kreviss-notmality on the shriek-
noise rock of the B-side's "You
Think." Good single. Is that Lion's
Bay on the cover?
Victoria's Hump, also on
Scratch, is now infamous for their
opening slot on the Ween gig wherein
they caused the "Cruel Elephant
Rio_"No bloody wonder, this single
is just annoying,noise bullshit! And
I think it wrecked my
turntable....(Scratch, 317A Cambie
St., Vancouver, BC V6B 2N4)
And keeping up with the
Maritimes rock explosion, another
all-fern aleband.Jale.have released
their first single on Cinnamon Toast
Records of Nova Scotia. Unfortunately, as was the case wilh the
Eric's Trip single, this suffers from
real bad sound quality and the two
songs on it almost had me snorin'.
The Cinnamon Toast catalogue describes them as a "wall of guitar
grunge! "71 think somebody should
introduce these salty chicks to our
own West Coast rockers Kreviss to
find out what a "wall of guitar"
really means. I will admit the B-
side, "Sweetness," is much better,
coming eft like a teenaged Sonic
Youth. Overall not that thrilling but
worth it for the Canadians at least.
(Cinnamon Toast, 2464 RoWe St.,
Halifax, Nova Scotia, B3K 4N1)
From the increasingly busy En
Guard Records of Montreal comes a
4-song EP from Crash 13. Another
rough recording from the east, it's
obvious that the singer is a Mark
Arm disciple what with all foursongs
coming off like a power-pop version
TM
of Mudhoney. The tunes are OK, but
nothing really riveting or catchy. I
think Crash 13are missing thepower
in their power-pop. (En Guard, 1671
St. Hubert, Montreal, PQ. H2L 3Z1)
So what's the deal, I gotta cross
the international date line to find
some good music, or what? I guess
so, cuz Japan's ultra-hep surf nerds,
Jackie and The Cedrics, rock!
Four blastin', high end surfin'
ins tram entals in the fine tradition of
America's own Phantom Surfers.
Great packaging and hilarious photos make this a very fun and worth-
while purchase, indeed. (Estnis.P.O.
Box 2125, Bellingham. WA, 98227,
USA)
I r_3se   j
LGWlteJ
•MARY DOES NOT LIKE DORM FOOD"
They can surf in Lubbock as
well, you know... The Nose Gremlins have proven that. A 6-song EP
of fast, up-beat surf-punk in the writing style ofthe Ramones. With their
strength resting in the 3
instrumentals, 1 think the Gremlins
should stick to ihe non-vocal numbers for now. High points: way
rockin' drums. Low points: vocals.
(Beakmo, P.O. Box 4424, Lubbock,
Texas, 79409, USA)
One of my fave bands. The
Moods, have a new single out on
Germany's Screaming Apple and
it's a great record. The songs "We
Are Your Fear" b/w "Never Got
Thru" are amazing, tight-rockin'
rave-up R 'n' B ditties. "Never Got
Thru" is classic boogie woogie a la
good Yardbirds or Crawdaddys. Required listening. (The Moods, 405
West Washington, #237, San Diego, CA, 92103, USA)
Ok, now for some big name
punk rock. How 'bout the new split
singleon Touch 'n' Go starring The
Jesus Lizard and Nirvana? Can't
get any bigger than that can you,
little man? The Jesus Lizard song,
"Puss," kicks some heavy ass with a
brutal cyber-rock attack complete
with grate-guitar, peaked vocals, and
throb-bass complemented by excellent production. Very groovy.
Nirvana's song "Oh, The Guilt," is
good but not as astounding as ALL
of their past work. Cobain might
have had a cold the day they re-
SNOWBOARDS & CLOTHING
2951 W 4th Ave 739-9791
corded this. The Lizard triumph.
(Touch and Go, P.O. Box 25520,
Chicago, II, 60625, USA)
Jawbox equals head-bangin',
angsl-fill-d, short-haired, new age
punk! Great for parties! This DC
sound reminds me of our own
Sparkmaiker! The Aside, "Jackpot
Plus," is a hit! Good single, glad I
own it! (Dischord, 3819 Beecher
St.. NW, WDC, 80007-1803, USA)
The legendary White Flag
are joined on a new single by some
of the members of the Muffs (who
got signed to Warner Brothers!),
whose beautiful voices make these
two, already awesome, rock 'n' roll
songs better. Talk about pop bliss,
this is it! Lead singer Kim Shattuck
isa'90'scrossbctween Wanda Jackson and Biondie, except Kim writes
even better songs. You gotta get
this. (Sympathy For The Record Industry)
Garage purists, perk up, I got
a bone for ya. It's a Canada vs.
USA 7" featuring four groups from
the international garage scene.
From Canada: Kingston's The
14th Wray and Vancouver's The
Worst; and from the USA: The
Overcoat and The Falling
Spikes. I've said it before and I'll
say it again...The Overcoat
SUCK!! The Falling Spikes fare
better, providing a crisp and cool
surf instrumental that picks the
fro
the
dust...slightly. On the Canadian
side The 14th Wray kick it off wilh
a good original that could be taken
off any '60's garage compilation:
melodic psychedelic-punk with a
great sounding organ. Vancouver's
Worst contribute "Creepy Thing "
(again). It rocks and has a greal
guitar solo but the song's already
been released on a single earlier
lasl year. Why in the hell would
you release the same song twice?
Anyhow, the Canucks win it.
(Moxie Records, 2200 Orr Lane,
Eugene, OR, 97405, USA)
Lucky Records of Seattle
have three new ones out, the first
being the long-awaited second
single from Calgary's Huevos
Rancheros. "Cindy With An
'S' " is the Aside and it is ties
smokin' instrumental greatness.
The B-side features two more instrumental covers: the slightly
over-covered Link Wray tune
"Branded" and the Mono Men's
"Reptile." And expect big things
from this Cowtown group as they
just got signed to C/Z Records of
Seattle [Hammerbox, Treepeople
etal]l
Lucky's next hit comes
from the all-girl Japanese
combo, Supersnazz (now on
Sub-Pop). Crazy garage-rock
and roll here; the A-side is a
scorching original called "I
Wanna Be Your Love " while
the B-side holds another overdone cover ofthe Sonics' "Boss
Hoss," and "The Witch." However, Supersnazz add a hilarious new twist to "The Witch-
by singing it in Japanese (the
others are done in English,
sorta), which makes up for the
seemingly thousands of time
I've heard this one covered.
Lasl from Lucky is Bum's
fifth(!!!) single this year, and
probably their best yet. I cannot
get enough of this totally fantastic band and the catchy-as-ever,
power-pop that has made Bum
so famous. "At The Well" is the
amazing title song that makes
me dance, sing and be happy.
The B-side is equally superb
with Bum covering the rock and
roll gem "Pool HaU Richard,"
originally done by The Faces.
PREDICTION: Bum will be
signed to a major label by December 15, 1993...and I'm taking bets. See you next month.
(Lucky Records, P.O. Box 4636,
Seattle, WA, 98104, USA)
VS Clrc.       "Consider The Alternative"
-O     DESIGNS    <*
Fogg's Captive Bead
Jewellery Company
•Piercings    •Jewellery    •Wholesale
"no attitude"- guaranteed
Phone: 322-8924   Fax: 325-2111
5055 Inverness St. Vancouver BC V5W 3N7 1 school of fish
HUMAN CANNONBALL
School of Fish's sophmore effort
ranges from the non-sensible to the
sublime, and the gamut from gutsy
hard driving rock, to dynamic
quirkiness and lilting mellowness. Produced by the band
and Mat Wallace (Faith No ,
More, Replacements).
jesus jones
PERVERSE
The point for Jesus Jones is not to take the easy,
boring option, but to mix the influences in the way
that peoples' record collections are mixed, to try
and do something a new way, contrary to the norm.
Why? Because progress is more interesting, more
fun and more to celebrate.
m LOW POP SUICIDE
On The Cross Of Commerce
low pop suicide
ON THE CROSS OF COMMERCE
On The Cross Of Commerce is Low Pop Suicide's first full-
length release. Since their formation, Low Pop Suicide
have developed into an unsettling and powerful trio. The
music is free wailing garage rock with a touch of Ministry-
style slamming brutality. Includes remixes by Dave Ogilvie of Skinny Puppy fame.
THESE TITLES ON SALE NOW! Hump
Cruel Elephant
Friday, February 5th
"But I thought they didn't play!?"
Yeah, well you're wrong. It goes a
hole something like this...
Big Gulp hit the stage firsL
Originally from Calgary, this now
local trio opened with a blazing first
three songs, one of which was rumoured to be a Siouxsie and the
Banshees cover. The crowd was into
it, the band was into it, I was into it.
Unfortunately, after this the band
decided to steer into Red Hot Chili
Peppers territory so I ducked downstairs to the bar to get a few gulps of
Next up: Hump. This band
sucks. I'm sorry, but if I had known
that this little combo included a naked, 6 foot, 90 pound shadow-boxing loser, I would have either shown
up late or stayed downstairs. As for
during the tunes, the naked Uttle
geek was less annoying. From the
looks on theirfaces the collection of
Vancouver's finest law enforcers
were equally impressed. To make a
terribly long and boring set short,
the geek decided to piss on the audience. Bad move. As the bouncers cleared the stage the cops
decided to close the bar because
the promoter (in a typical hunger
for money and Bruce Allen dis-
regardforpauonsmanner)over-
sold the show, booked shit like
Hump, and filled The Elephant
way past opacity. Everyone had
to leave, line up, and re-enter
while the cops counted heads.
Rock n' Roll preschool style.
By the time Ween climbed
the sacred stage, only 80 of the
original crowd of over 250 were
present to witness these current
college faves. And Dean and
Gene Ween did not disappoint.
Playing only 35 minutes, due to
the massive delay. Ween made
the most of the show ripping
through "You Fucked Up" and
"Don't Get 2 Close (2 My Fantasy )." "El Camino" and the classic "Pork RoU Egg And Cheese"
had the crowd drooling with
child -Uke acceptance. Me? I dug
it. But I recognize that Ween is a
two-man project worthy of enjoyment, not idolatry. Whether
you Uke them or not they're making
a lot of noise. And if you are one of
the 170 or so who went home before
Ween hit the stage, my main man
Gener sums it up best" you fucked
upL.you really fucked up!"
Justin Love
Consolidated
New Fast Automatic Daffodils
Graceland
Thursday, February 11th
ConsoUdated came f ul l -on like Donkey Kong, kickin' rhymes as a comment on the times where government Ues and we let hate pervade by
the inactions of the masses.
Graceland was damn near fuU
when they launched the onslaught
with "Tool and Die" from their
Play More Music CD and the
crowd immediately started to
groove—whether or not they Us-
tened to the words could be debated. Consolidated seemed to be
more entertaining with their messages than they were last time,
possibly a result of them getting
tired of the non-stop assault-type
thing they have been doing, I don't
know. It was, however, much more
refreshing to see a fuU set of points
put forth with dynamics rather than
the usual high-powered assault.
There were more guitars in the
mix this time, with some songs done
in the standard punk trio setup; this
was alio a welcome change from the
last show. Consolidated also laughed
a bit, parodying techno and Jello
Biafra (Sherboume does a great
Jello!). Most of the set was from the
new CD but they threw in some
older stuff like "Unity of Oppression" and "Friendly Fascism."It was
a very Uve show.
Natch, afterwards there was
the standard talk session which spotlighted some left-wingers jamming
their feet in their mouths promoting
violence and stifling of free speech
in reference to the anti-racism raUy
and subsequent brouhaha, Questions
to be asked: What would the crowd
have done to the skins if they got to
them, and by harming them, would
the crowd have been any better
than the skins? Some people noted
this as well as the fact that one of
the annoying things about true free
speech is you have to let the people you hate speak, if you want to
speak totally freely. If you' re about
preventing opposing viewpoints
you're no better than a Neo-Nazi
or a fascist. There was also support for animal rights in the discussion and the lifeforce display
near the entrance.
The New Fast Automatic
Daffodils were mighty good, too,
what with their brand of Manches -
ter-type groove. They managed lo
get dis seel in the discussion, where
the band was faulted for the unfortunate tragedy of possessing penises. Gee, now I feel bad for owning one!
Mofo
The Melvins
Superconductor
Town Pump
Tuesday, February 16th
So...there we are, right. And she
says, "Got a ticket to see the
Melvins tonight. Wanna come?"
So I says, "Melvins? Sure, what
thefuck." And I'm thinking, "With
a name like The Melvins they
should        be
pretty    cool.
boom, boom,
boom, boom,
boom, boom,
boom ba-da
boom,boo-ooo-
haul back and
smash the
fucking things
like they're
rabid dogs going for his throat
or some shit.
Yep. You get
the picture.
Superconductor puts
pretty late and only caught the tail-
end. Instead we sit there nursing the
tenth or twelfth beer thinkin',
"Fuckin' heU," boom, boom, boom,
boom, ba-da boom, BOOM "Let's
get the fuck outta here. Theseguys,"
ba-da boom, ba-da, ba-da, ba-da,
ba-da, boom, boom, BOOOOOM,
"SUCK."
Next time Superconductor is
around, drop in and see them.
Guinness boyz
Superconductor
Elvis Love Child
Atomic 61
Planet of Spiders
Cruel Elephant
Friday, February 19th
Last December I had the pleasure of
seeing Steelpole Bathtub with Atomic
lhat if Atomic 61 hadn't missed their
fetry and been able to {day a full set,
they would have stolen the show. Well,
the brash quartet from Portland/Seal-
tle did steal the show ihis time with yet
Carol
Uncle Tupelo
Freedy Johnston
The Cruel Elephant
Thursday, February 18th
Ever since first hearing No Depression about two years ago, I
have been looking forward to seeing Uncle Tupelo Uve. Even the
thought of being hassled by Meat-
Boy at the door of the Elephant
wouldn't keep me away from this
gig-
I arrived in time to catch
about half of Freedy Johnston's
set, a coUection of listenable roots -
rock tunes. Freedy himself was a
fairly down-to-earth friendly guy,
and with a stock "rock" band backing him up, he sounded similar to
John Hiatt. As one might expect,
Alex Varty was soaking up the
action close to the stage, which
isn't surprising since the Straight
had raved about Johnston's album
for the past two weeks.
I have always found listening to Uncle Tupelo to be a personal
and introspective experience rather
than one that would translate weU
into the atmosphere of a nightclub, even though the band can
unquestionably play loud and hard.
The crowd seemed content to be
enthusiastic spectators instead of
obnoxious co-participants in the
evening, and this seemed to suit
the band fine. Several songs off
their aU-acouslic CD, March 16-
20, 1992, were rearranged with
the fuU band or guitarist Jay Farrar
on solo electric. It was these qui-
etermoments where Uncle Tupelo
shone, as the lyrical content of
Midwestern despair, lhat Jay and
co-lyricist Jeff Tweedy specialize
in, took precedence over the music, especially in "Moonshiner":
"If the whole world is a bottle/and
life is but a dram/then the bottle
when it's empty/it sure ain't worth
Rory Tait
another ridiculously short set-
Planet of Spiders opened the
evening with their tight pop sound;
catchy songs with a few surprises
here and there. Sick Sick Yeah also
showed up, prepared to fill in for the
border-snagged 61s, and picked up
where the Spiders stopped. I'm
not even going to attempt to use
the word "fusion" here because
having polka, "Louie Louie," The
Irish Rovers and Lenny Kravitz in
the same sentence is surely breaking some code of ethics. It
shouldn't, however, scare ya
away. Just to see a mandolin
played through a wah pedal is
worth the admission price.
Whatever happened to longhaired weirdos?
The first two bands did
very Uttle to prepare anyone for
the onslaught of Atomic61. Their
sound is unmistakable from their
"Rip" 7" or Heartworm release
but it is much improved. Bigger,
badder and darker than ever, they
make the heralded Seattle scene
look like a bowl of luke-warm rice
pudding. More distortion, together
with brilhant new members on bass
and drums will make anybody
wonder why these guys didn't
headline the show. I have a feeling Elvis Love Child felt the same
way. Elvis Love Child's stage
show is hilarious with some wonderfully entertaining video
footage. Send these guys some
money so the bass player can get a
real strap (unless you enjoy seeing
a bass player lying on the ground).
Elvis Love Child seems more Uke
a project than just a band. Definitely an evolution worth
watching. Groovy, heavy and
highly compatible with that Uttle-
known band from Washington with
short 20 minutes sets.
Let's get one thing
straight...concert promoters Usten
upl Should you ever decide to
host Atomic 61 anywhere in this
city let them headline. That way
somebody will be able to see for
themselves why A61 will soon
be appearing on English and Australian compilations; their new
album, Tinilis, will be out in May.
If you missed them this time,
that's ok ay, some people blinked
almost doing the same. I won't
give Atomic 61 the Kiss of Death
award, meaning they probably
won't be next in a string of northwest sensations. That's perfect.
They are, after all,
Popkln
Kevin Fraser
Perfume Tree
Sandra
Lockwood
Performance
Works
Saturday,
February
20th
Zulu recording
artists. Perfume
Tree performed to
a crowded house,
and when I eventuaUy found this
crowded house it
was just after
Sandra Lockwood had left the
stage. So I asked, how was it?
Was it good for you? The consensus seemed to be that it was
heavy, styUng depressant music.
Perfume Tree had done
a great job of transforming Performance Works' big room into a
multi-lay ered, textured backdrop
for their encompassing sound
using cloth hangings, "ambient
video" by Truth Channel and one
whopping, weirdling sUde show
by Kathryn, creating what came
close to being a total musical
experience. Jane TUley's ethereal vocals, Pete Lutwyche's
driving noise-guitar and Adam
Sloan's steady dub-bass combined in a complex musical tapestry. Their new drummer
worked well, bringing that "Uve"
element that Perfume Tree lacked
before in their sound, even boldly
going into a strange solo along
wilh the drum machine. While
most of the crowd just stood and
watched, many got busy, twisting and turning, burning stomach-churning activities.
The show concluded
around 2:30 a.m. with the
crowd kinda straggling away,
reluctant to leave; the sound,
the visuals, the smoke
effects...pretty damn good,
hey? Yet, I feel that the people in Perfume Tree are more
musicians than performers:
they're into their sounds, their
ambience, their thing, more
than they're into putting their
egos up front. The degree of
professionalism in the set-up
and the slick visuals and effects impressed me; the ideas
are there and they're swift, essential ideas. I look forward
to their new direction: more
abstract...happening.
Stone' Woman
JANUARY   j_A CELL
Slo-Blo
(Estatic Peace/DGC)
This is a Hoboken, NJ band and hoo
boy, you sure can teU they're from
the east coast! They felch from the
best on that side ofthe planet; I heard
influences (or rip-offs, depending
how you look at it) of Dinosaur Jr.,
Television, Buffalo Tom, Sonic
Youth, and a host of other bands
from within the blast radius of NYC.
Once you get used to the very
regional sound it's not a bad album.
The songs aU tread the dangerous
water of crossover territory, and Ihere
IS an annoying smattering of
seventies prog-rock.
The disc packs no serious
punches, but it's a good enough
Usten. This band could be one of
those bands that wiU either crossover
right away, hke Pearl Jam, and
immediately get hated by the oh-so-
fickle alternative crowd, or they
might hit it big after a few albums,
THEN get hated by the oh -so-fickle
alternative crowd (like Soul Asylum
or the Lemonheads). This ut the first
release on Thurston Moore's big
new label. Let's hope he can look a
Uttle further than the northeast for
acts, otherwise it could be
pigeonholed as the pals-of-Thurston
label.
Mofo
DINOSAUR JR.
Where You Been
(WEA/Blanco y Negra)
MYSTERY MACHINE
Glazed
(Nettwerk)
The only difference between Where
YouBeenandGlazedis that Dinosaur
Jr., after a decade of somewhat
benchmark releases, has NO excuse
for putting out naive, self-indulgent,
guitar rock-star bullshit like this.
Paul t Brooks
ELVIS    COSTELLO    &
BRODSKY QUARTET
The Juliet Letters
(Warner)
I think there is nothing more boring
*■¥■**** + •*•¥■■¥■■¥■■¥■
than a siring quartet (even Kronos
Quartet, which I like). The only thing
more boring lhan that is an Elvis
CosteUo album with more than one
ballad on it. There should be a law
restricting Elvis to one ballad per
LP. The Juliet Letters combines both,
so you'd probably be able to figure
out whal 1 think of it.
They started out with a reasonably
cool idea: seas of hopeless romantics
writing letters to JuUet (as in Romeo
and)Capulet in Verona, baring their
soul baggage to an imaginary person,
seems to be the sort of hopeless,
desperate act that would interest
Elvis C. But 1 think it would be
neater to use the actual letters than to
write songs based on the concept
Wotking with the string quartet has
obviously helped him expand
himself musically, but to teU you the
truth, I reaUy couldn't give a damn.
The EC fans probably think I'm
being a dink by now, as do the
classical fans, and you folks might
get a real charge out of this. Frankly,
it is fine music for doing the nasty,
reading, or curing insomnia to, I just
think it's the king of self indulgent
thing some lunkhead Uke Sting
would do.
Mofo
VARIOUS ARTISTS
A sides: A Compilation
From Singles Released by
Crass Records
(Crass)
Crass Records  founder  Penny
Rimbaud writes in the liner
that "this compilation should finally
bury Ihe slupid myth thai punk was
a mindless aberration on the face of
pop music." Furthermore, writes
Rimbaud: "these iracks represent a
period when the 'music business'
lost their grip, a period when the
people took back what was rightly
theirs..." WeU, I don't know if this
disc will change the opinions of any
of punk's distracters, the music
contained here is relevant to the
already converted, but the period of
time these cuts are cuUed from ('79
to '82) definitely was a time when
the "fuck em" attitude reigned
supreme. Anything was possible and
some damn exciting sounds
■■■*•¥■■¥•■*■.-*■*■¥■■*■■¥■■¥■*■>*•**•*
-.•v.*****..*.**.*.*
MOFO'S PSYCHOSONIC PIX O' THE MONTH
One of the best things about having this silly
little column is the total freedom to go way
off the subject and encourage totally stupid
acts. Consider this: awhile ago, Iput out this
goofy little sampler on a whim. Well, I got a
pile of responses, which is more than terrific.
The source of my beef came when I went to
mail out said tapes. The package was a hair
thicker than the 2 an thickness limit, said
one of the Posties, and, therefore I had to pay
parcel postage. "Fine and dandy," I say,
"what's the toll?"
"$180 phis tax," said be.
$3.01! lust to send a little cassette to New
West? 1 have personally sent tapes, in the
past, across the country for a mere eighty-
four cents! They had no problem getting
where they were supposed to go. Go figure.
So I said hide that and dropped them
off myself. But there were tapes that needed
to be sent out of town, so I sent them. Here's
the Iricker: there were two tapes that had to
go to (be States, and anticipating astronomical postage rates, I was forced to deal with
humans again. Imagine my surprise to find
out it cost me $134 to send said tape to New
York City!!!! "What gives?" I said, wondering why it cost less to send to the Big Apple
than twenty blocks away.
"It just is," said she.
I then called the post office to find out
what the deal was. I found that the reason for
the difference was that Canada Post, a monopoly, was not enlightened enough to have
a "small packet" class for mail; a look at the
package requirements reveals a large grey
area precisely where a simple cassette in a
simple mailer fits.
Needless to say, I'm pissed. Not only
with the above foofaah,but with subsequent
calls to postal stations and outlets which
gave me figures ranging from $120 to $5.50
for the New York packet I also found out
that sending the tape to New Westminster
would take seven days!!!
So, in a totally irresponsible act of
v_dictiveness, I encourage you to take an
envelope, a stamp, and a piece of meat (I
suggest one of the cuts butchers lovingly
refer to as "variety meats." You know, kidneys, liver, etc.). Slice said meat min (so that
the entire package is below that ever precious 2 cm thickness) and send it to an
address you know doesn't exist, or, better
yet, the minister in charge of Canada Post.
That way you don't even have to use a stamp.
22
By the time the letter circulates through the
system it should have a great stink going on.
No, wait a minute, don't. That would seem
childish and petty and I'm above fomenting
systemic sabotage, aren't I? Right
But anyway...
The letters keep pouring in! Greetings to Peter Hopper in Straight-Pollutin'
Victoria! Also got an interesting scribblin'
from Ethan Minovitz in Van. Ethan write-
Dear Mofo (thafs how I know you):
As a CiTR veteran (news department, 1980-
85), Tve been meaning to get in touch with
the station for along time, and your columns
of January and February finally persuaded
me to write! Enclosed is $5 so that I can get
your Psychosonic Psampler (yes, we news
junkies like music, too).
So which show (if any) do you play
your "psychosonic pix" on? Td sure like to
hear them if I have the chance.
A few words about the cheeze 1 collect Yes, I have the Odd Couple record,
too—always did like "When Banana Skins
Are Falling." But you might be interested in
some others. Is it okay to send tapes of the
vinyl with a photocopy of the label? I'd like
to keep the originals.
One of my faves is Tmln Love with
John Travolta" by Sandy, a Dutch group that
tried to imitate Abba. It came out on 45 with
the lyrics "In all my dreams he calls me baby/
He calls me honey and a daisy." Another is,
hke your Capitol Programming Aids, a DI
disc—only released by the VS. Air Force.
One side's lame pop (Robert Goulet Bob
Newbarf), while the other is what passed for
mod with the Air Force (Oliver, The Association). You hear a snippet from the beginning and another from the end, with artiste
supplying the filling: an appeal to get up in
the air (no mention of killing or being killed
in Vietnam).
Also of greal importance and value—
what's more, it's CanCon— is a 7" 33 of
Wayne, of Shustcr, doing snappy i
forGulfservicestation:
This one dates from 1969, with a bonus
FULL-LENGTH version ofthe "Gulf is Happening" radio-TV jingle. Something along
this line is a 45 by Mitchell Ayres and his
Orchestra for Number 7 cigarettes, with both
sides offering the (pre-Surgeon-General)
Number 7 theme, "Who Cares."
Speaking of themes, Dr. Ballard put
out a 45 some yean ago, with the Herman
Apple Quintet providing "Variations on the
Ballard Beat" (actually, "Where, Oh Where
Has My Little Dog Gone."). Among the
versions are cha-cha, fox trot and (oh, boy)
rock and roll! And Gord Badanic (later withe Debutantes, Go 4 Three) once played my
45 of Trail, B.C." on air. Unfortunately,
every 30 seconds, the song plugged "Radio
Station CJAT." Guess who issued it?
Last but least, there's the 1965 RCA
Victor LP "Molly Camp Sings?" Apparently, Camp hailed from Montreal and decided to ape Allan Sherman by giving pop
standards a Jewish flavor. Instead, she kept
the words and stuck a fake Yiddish accent on
"Yesterday," "How Dots That Grab You,
Darling?" and "Get Me to the Church on
Time"—an oxymoronic tune.
Anyhow, hope your tape is still available, and please let me know if you do on-air
psychosonics. I'd be glad to spread my cheeze
around!
Sincerely,
Ethan Minovitz
Vancouver, B.C
P.S. I co-host a show on CFRO-FM, "Anthology of Jewish Music," where from 9 to
10 a.m. Sundays, you can hear the occasional slice of kosher cheeze (such as "Nose
Job," by the Dehvoods, or "Matzoh Man," by
the Yiddish People!).
Well, Ethan, thanx for putting in
the effort (and the fiver, I forsee a tape
in you near future)! I currently do not
have a show BUT am seriously considering it due to the response. The
masses wil! be informed when the
powers that be have spoken. Sending
me a tape of yer stuff will work fine
and if you can send graphics all the
better! That goes for anybody out
there, too! It is very tough to part with
something truly odd, I know! But to
save you some of the aforementioned
ridiculous postage fees, send the tape
without a case (it'll be thinner), OR
drop it off in my name at CiTR. Be sun-
to include an address if you want me to
return the favor. You've got a great
selection, Ethan! I'm drooling already!
All of you other sick Uttle monkeys can write me, and/or send tapes/
moolah to:
Hey, Mofo
CIO Discorder
#233-6138 Sub Blvd.
Vancouver, B.C
V6T2A5
Got a whole pile of great stuff this
month, most of which I got at diis ridiculously cool shop on Kingsway: Collectors
Boob and Records (648 Kingsway) has
roughly 15,000 records, easily. Naturally,
they have 15copies oiRumoursby Fleetwood
Mac, 'n' shit, but they also have tons, and I
mean TONS, of weird records!!!! They also
have 45's, old magazines, comix, and other
odd stuff including six boxes of marching
band LPs! The prices vary but there are lots
of deals to be found. The last four records of
the "Psixpak" I was lucky enough to get
there. Without further ado..
Dracula Disco — Gerry Bribosa (Pblydor)
Another one of those incredibly original idea
like Teenage Frankenstein, Scan-o's, and,
well. Haunted Garage. This is string disco at
its worst What music of the night these
children make, folks! I fully blame our fto-
duction Manager, Deborah Bolingbroke-
Price, for donating this one. Thanx!
Cheezability rating: 88
The   Real   Comedy   Of...   —   Skip
Slephenson(Laff)
Some of you older folks might remember
Skip from Real People, the mother of all
average-folk -doing-weird-th in gs-or-with-
weird-defotmities type shows. Rumour has
it he': a comedian, so, of course, he capitalizes on the show by putting out this (much
like Iran Tarkenton did with his novel. Murder AtThe SuperboM. Yes, 1 own a copy).
This is very safe, mom V pop, chetzball
comedy where sex is described as "doing it,"
so you know you've got a grade A piece o'
crap here. This is only for the hardcore
aficionados of Skip and the Real People
Cheezability rating: 45 (fetish Hem)
Hear How To Plan Tke Perfect Dinner
Party — Gaynor and Dorothy Maddoi
(Carlton)
This is the third "Hear How" LPI own, put
out by Carlton in the late '50s. Gaynor, a
hereditary gourmet and contributor to
Reader's Digcst(\), and his wife, Dorothy,
"The Perpetual Hostess" (who perpetually
mentions her femininity throughout the
LP), trade quips and retorts as they tell you
how to throw a soiree, complete with recipes. Gaynor, author of The Safe and Sure
Way lo Reduce, details recipes that would
make yer average calorie counter plotz: no
less than a pound and a half of butter is
used in five recipes!! Animal rights people
will thrill to the veal dishes and potato
balls (those poor potatoes!). Contrary to
popular rumour, Carlton is NOT reviving
the series so forget about seeing Hear
How To Start Yow Local Chapter of the
Crips or Hear How to
Do An AssistedSuicide
(with Jack Kevorkian)
on the shelves.
Cheezability rating:
100 (I will pay CASH
for other titles in the
series, folks!)
Great Adventures —
Baretta (Wonderland)
You can almost smell
the excitement as the
hijinx of Detective
Baretta are told with
zeal. Apparently,
though, they could
only afford one voice
so he struggles to portray the narrator, the
criminals, and not to
mention the task of tackling both dimensions of Baretta! And even though
Robert Blake's puss is all over ihe cover
he is not on the LP! I guess the label
thought his ugly mug alone would sell
this turkey. Cool ad inside for iron-on
transfers of Bionic Woman and Donny
and Marie.
Cheezabl-ty rating: 75
Donay Most (United Artist)
It's the Most, to say the least!! Ralph
from Happy Days (as the sticker on the
sleeve proudly extols) literally plows
through ten ditties written, (mercifully)
not by him, although Barry Manilow
and Alan O'Day ("Undercover Angel")
wrote a couple. Unlike other celebrity
LP's his vocals aren't covered by piles
of backups; for most songs. Most stands
alone. "Rock Is Dead" will probably be
on the next Psampler. This would've
made "The Pick..." if it wasn't for...
Cheezability rating: 95
Hi Guys — Ted Knight (Quality)
Youch!! I Flipped when I saw this one!!
Ted, in total Ted Baxter (Mary Tyler
Moore Show) mode, supported by
backup vocals stylings of The Poops,
pulls off the best celebrity album I've
heard since Tht Odd Couple Sings! He
knows he can't sing to save his life so he
hams up each and every tune, including
"I'm In Love With Barbara Walters,"
"Male Chauvinist Pig," "Hi Guys," and
ten other songs! You can tell he had a
ball doing this one. The only shitty
thing about this is he doesn't get to sing
all of "Cover Of The Rolling Stone," all
he gets to do is the chorus and some
yapping. An added bonus: none other
than David Foster appears on keyboards
(must have been lean times for Dave). A
"Psychosonic" classic!
Cheezability rating: Off The Scale!
And that wraps up another month o'
goodies. Keep those letters coming, and
look out for Psychosonic Psampler Volume Two, out next month!!! Don't forget to send me your tapes!
Next Month: TELLY!!!!!!!! lyrically and musically. Witness
Annie Anxiety's "Bathed Wire
Halo" cut-up Burroughsesque
sampling; very Nurse With Wound-
ish, reaUy. This compilation is full
of gems typical of the times. There is
the classic Conflict by Conflict.
"This side, that side. That side, this
side. What side? any side...", and
plenty more from the likes of Honey
Bane, Zounds, Poison Girls, Dirt
and numerous other un-commercial
artists who probably wouldn't have
had the chance to record if it wasn't
for the open -mindedness of labels
like CRASS.
The music en A Sides may be ten
or more years old, the concept of a
"best of" collection may be
questionable coming from a label
like CRASS, but as long as we hear
is governed by corporations like
Sony, and as long as what we feel the
need to wear gros sly over-sized (very
wasteful lads) clothes just to feel
secure among our peers, then the
message here is totally relevant and
necessary. "There is no authority
but yourself."
Norm van Rassel
THERAPY?
Nurse
(A&M)
From Dublin comes Therapy?, a
band whose sound more resembles
American heavy noise, guiurs V
sample bands, and UK bands like
Fatima Mansions, than most of the
crappy acts coining out of Ireland
lately. The music hits you like a
thick, raw, slab of beef: wet and
meaty throughout the ten songs. The
titles are a good indication of what's
in store: "Teethgrinder,"
"Accelerator,""Petversonality,"and
"Hypermania," to name a few.
Actually, any band searching for a
good name could use any of the song
titles on Nurse.
The music stands up to multiple
listenings well. I must have heard it
eight or nine times now and it still
sounds new. The high energy level
of this disc leaves you hunting for
yer Ritalin every time. Production is
topnotch, and they manage to avoid
the Ministty-type distorto-vocals
lhat are way too cliche these days.
Mofo
GAS HUFFER
integrity, Technology, and
Service
(eMpTy)
With the follow-up LP to Gas
Huffer's debut eMpTy hit. Janitors
of Tomorrow, these thirteen
runaway-train garage-rockers stomp
in that crazed jungle rhythm Gas
Huffer has made a trademark. If ya
buy the vinyl ya geta hilarious comic
book complete with pro art from all
four members of the 'Huff, and the
fine cover concept is equally
impressive. Hits: "Do The Brutus"
and "Sand Fleas" (even if the latter
does sound a Utile like Girl Trouble
doing "Viva Las Vegas"). Uncle!
Grant Lawrence
VERVE
The Verve E.P.
(Vernon Yard Recordings)
With a name like Verve (sounds like
Curve), these four individuals from
England could only have emerged
in 1992. The overall sound of this
EP—which is exclusively released
for North American consumption—
is a bit like an extremely toned-
down, slower, mellow version of
My Bloody Valentine. The EP,
however, has a promising start with
"Gravity Grave." The vocals are
nicely woven into the guitar licks,
creating a surreal-like effect and a
damn catchy chorus only strengthens
the overall impact on the listener.
Unfortunately, the remaining four
tracks fail miserably in trying to
achieve thesame sort of effect. "She's
A Superstar" sounds straight out of
a playlist from one of those "up to
date" fossil-rock radio stations,
whilst "Endless Life" does nothing
at all.
I suppose the ten minute "Feel"
best summarises most of the EP: a
set of mellow, if not completely
boring, guitar riffs and vocals going
nowhere. At the end of this ten minute
song I was thanking my lucky stars
that this was just an EP and not a full
length album!
The Groove Kisser
VARIOUS ARTISTS
Hodge Podge Barrage
(1+2 Records)
So I'm stuck in a pagoda with Tricia
Toyota listening to this crazy
compilation of some of the finest
Japanese garage combos to invade
our shores since Gamora. But not to
be outdone are the cream ofthe crop
of stateside talent also. Going
through the American contingent
first, some of the bands appearing
have stuff that you can find elsewhere
(eg. Stumpy Joe, Girl Trouble,
Fastbacks, Devil Dogs and Young
Fresh Fellows) but there are
exceptions, good and bad. The band
Dog, from Chicago, open up with a
blistering guitar attack called
"American Dream," the Mono Men
offer a forgettable version of the
13th Floor Elevators' "You're
Gonna Miss Me," Jeff Dahl gives us
the classic Dead Boys' beat of "Third
Generation Nation," and Marble
Orchard an d the Chesterfield Kings
just plain suck, but luckily the
Raunch Hands do "Mess Around"
and everybody's happy again.
Now for our Eastern
counterparts, we begin wilh the
Beyonds who give punk and
psychadelia a good kick in the nuts
and come up with "Bobbish Man"
until Mutant Monster Beach Party
hold Bo Diddley hostage, forcing
lum to "I>>The Qam" until he pukes.
The Long Gone Daddy O's perform
some broken English rockabilly with
"Train Done Gone," the 5.6,7,8's
chum out Ralph Nielson(sic) and
the Chancellors "Scream" and Fifi
and the Mach HI turn "1 Wanna Be
Sedated" into "I Wanna Kiss." Wait,
it's not over yet The Cop-Ass-
Grindcrz fall "In And Out Of Grace"
(yes, Mudhoney!) and the American
Soul Spiders turn outthesurpri singly
weakest cut, their rendition of the
Beach Boys' "Surfer's Rule," but
the Sleez Sisters make up for it with
"Bubble Bomb," complete with '78-
style guitar chops.
However, the highlight of this
comp has to be the surf-stomping,
Mosrite-wielding trio known as
Jackie and the Cedrics who benefit
with two cuts here. The incredible
"Dick Dale Medley" and "Banzai
Diamond Head" are simply amazing!
Phantom Surfers watch out, these
cats are smokin'! All in all, a quality
release from an up and coming
Japanese label whose address I'd
give you but it's just too damn long
to write ouL
Bryce Dunn
YOUNG FRESH FELLOWS
It's Low Beat Time
(Frontier/BMG)
Does anybody rememberthe Young
Fresh Fellows? Does anybody recall that they too are from Seattle?
Does anyone remember their past
SEVEN albums of pure rock 'n' roll
genius? Yes, It's Low Beat Time is
their eighth release (not counting
several mini-IPs and "hits" compilations) and il is an extremely bi-
zarre, rather epic-journey of arecord.
With 16 songs in all, it spans musical horizons from jazz, psychadelia,
pop rode, southern-style funk-spiced
soul and blues, right down lo straight-
out, gutted rock and roll.
MUSIC FANS ALERT: it's
all here on the Low Beat. The record
is evenly split with side one offering
the thought-provoking, disturbing
and ridiculous, while side two offers
the care-free, feel-good,
zippadeedooda raunch. It's Low Beat
Time also contains what is probably
the greatest collaboration I have
EVERheard put to vinyhThe Young
Fresh Fellows covering the classic
"Green Green" with 75 year old
Rufus
Thomas singing! Il's incredible! My
spine tingled
so badly it
hurt. Get this
album for an
immaculate,
absolute,
pedigree
rock and roll
action. Plus,
it's hard to
find so here's
the address:
Frontier, P.O.
Box 22, Sun
Valley, CA,
91353-0022,
USA
Grant Lawrence
LS. UNDERGROUND
The Grape Prophet
(Blonde Vinyl)
"Ellis was an orange picker in the
groves of Southern California. He
was the overseer of all the hired
hands at Colonel Peckesen's orange
grove. All was well until one day a
note was handed to Ellis instructing
him that all the hired hands had left
for the grapevines up north to heed
the call of the Grape Prophet. Under
the Colonels orders, Ellis left the
orchard to find out more about this
Grape Prophet and hopefully return
home with his fellow workers befotthe orange crop was spoiled."
Probably unfamiliar to most, LS.
Underground is the musical voice of
Mr. Mike Knott (whom some have
called a musical genius but I prefer
to call him "Pope"). Grape Prophet
is LSU's fourth release and Mr.
Knotts ninth, if you include all his
previousincarnations.LSU/Knott's
infectious sonic discord is nowhere
more apparenlthan on this, arguably
their best release to date. Those
familiar wilh the Knottoikos may be
able to pick up the underlining
storyline played throughout the
album, those unfamiliar will be left
in a dizzied display of rapturous
dietofrenetic noise...although I'm
sure you'll enjoy the journey.
The Reverend Norman
INTERMIX
Phaze Two
(Third Mind/Relativity)
Techno is the Spam of industrial
dance music. 1 mean, they call Spam
meat bulpreciouslittleofil is actually
meat(that jelly stuff sure ain't). Rhys
Fulber and Bill Leeb (who use up a
whole bunch of good band names by
putting oul tracks as Delerium, Noise
Unit, FLA, etc.) give us their second
Uttle take on techno with Phaze Two.
It's alright, but you can't get into a
full LP of it, however by using a
whole lot of neat noises and more
than two notes it puts them miles
ahead of jokers like U96, T99, and
Quadrophonia.
Phaze Two is more of the same
stuff Fulber and Leeb have done
before, but even when ihey are
slumming, Intermix is still tons better
than ninety percent of the techno
crop. Check out "Get Religion,"
"Funky Hell," and "Monument,"
especially.
Mofo
DIATRIBE
Nothing
(Re-Constriction)
According to Websters, diatribe is a
continuous argument. Whal has that
got to do with this really cool EP?
Fuck, nothing. Although two of the
four tracks arc produced by Lee Popa
and Nivok Ogre, the ones not
produced by them are fantastic. "The
Other Side" is one for the record
with a sound a la Revolting Cocks,
Henry Rollins, and the Young Gods
(even though I've used that allusion
a lot). Ihc tunes are harsh, yet have
a subversive quality to them. They
could be harder, however. Diatribe
sound like they're holding back an
aggressivemalcvolcncc underneath
the  surface.  They're  ready to
It's nice to know that San Jose
can pump oul a good industrial band
and not just Califunk, chlorophyll-
laden carbon copies of Red Hot
Urban Dance Tendencies. Lead
singerMarc Jay's voice is raw, grilty
and undistorted...I think, while the
bass guitar lays it on pretly thick, yet
works well. I'd love to see Diatribe
if they came to town, of course the
way this town's been going, the
venue's probably going to bum
down, or somelhing Uke that, before
they got here. (Remember KMFDM
and Pigface everybody?)
Trip
sr. Oh, the cruel
imen and hai lets from Chicago:
ti Washington DC JAWBOX
in AIL AGES show at THE
GOOD BOY PRO!
PRES€NTS'
the cruel elephant
BROTHERS AND SISTERS, THIS IS HERE TO NOTIFY TO SATAN AND THE
CONCERT-GOING PUBLIC THAT the cruel elephant AS WE KNOW, IS
CHANGING YET AGAIN And we are accepting this change with
open arms and hearts, shunning the forces of evil, as nothing of
god or man's creation can come In the way of the cruel
elephant._amen. Blessed be the followers of music and partakers
of all that Is good and right, as your patience and devotion has not
been served In vain. LOCATIONS OF SHOWS WILL VARY FROM
VENUE TO VENUBII No longer will only the aged few be allowed to
witness the joys of a cruel elephant event as we will again be
provlding ALL AGES shows as It should be.amea Also, as age and
experience does have Its rewards, we will be providing the public
with licensed venues, in order to experience the sermons with the
great elixir*. But the cruel elephant's reputation of bringing the
best in local and International *alternafive* bands will live oa as
this Is not an end but a new beginning... hallelu|ahl Join hands,
brothers and sisters, and re|olce for this Is the Easter of our lives,
now it is assured the cruel elephant will live on ad infinitum. Read
oa so you will not weep_. tuesday march 9 and every tuesday
(that's once a week, my childrenl) at THE FABULOUS COMMODORE
we can all pay homage to the spurn of punk rock... that's right,
DISCO"! with RUMPLESTEELSKIN live and two 24-foot video screens
showing some of the best visuals that the 70's had to offer, drink
specials galore, and the traditionally cheap cov
elephant loves you so much sisters and brothers
lujaN... Iriday march T2 touch and go recording ar-
TAR with dischord recording artists fn
with Vancouver's SPARKMARKER. This
STATION STREET ARTS CENTRE (930 Station St., behind the old
American Hotel on Main St.) Doors at 6:30, Show at 7:30. Advance
tix at the usual outlets. A Good Boy/Timbre Productioa.. Saturday
march 13 the funk/disco takeover of the world continues with
RUMPLESTEELSKIN and OMNIBOL. this will be a licensed show at THE
STATION STREET ARTS CENTRE, 930 Station St.. Doors at 9pm. show
at 10... Wednesday march 17 from NYC, punk legends THE DEVIL
DOGS with popllama recording artists from
SMUGGLERS with nardwuar recording artists from west
in a rare live appearance: THE EVAPORATORS with THEE GOBLINS
and the legendary JEF. This show will be ALL AGES at the NAPPY
DUGOUT (Across the street from Luvafair, alley entrance) doors at
7pm, show at 7:30 advance tix at the usual outlets... Saturday
march 20 zulu recording artists from Vancouver in a CD release
show for their full-length album Magnum Opiate LUNG "pretty
amazing shit here... great In a demented way'-MRR "Lung are a
seething vat of guitar meltdown* - Sun w/ ZOLTY CRACKER w/
PLANET OF SPIDERS w/ TIM RACINE and special guests at THE
STATION STREET ARTS CENTRE (930 Station St.. behind the old
American Hotel on Main) LICENSED, Doors at 9pm, advance tix at
usual outlets... Saturday march 27 egg recording artists JACK FEELS
FINE with very special guests at the STATION STREET ARTS CENTRE
(930 Station St.) doors at 9:30. show at KLthis is the vision of the
future, dry your eyes now people, as we all feel this great release.
When you open your heart, you find sometimes that the flow of
love that comes in to fill the void that used to be your soul, well, fo
be so quickly brought back to life can be overwhelming. Just rest
and relax as you are in good hands, all is well, amen. But let it also
be known that the good people at GOOD BOY PRODUCTIONS are
still the only way to get into contact with the cruel elephant: (604)
254-3344 for a fascinating recorded message that will answer any
questions you may have. Blessed be sisters and brothers, for the
cruel elephant loves you more than you could ever know, no
matter how stugjd you are. Love. Peace. Live Music.
tr 4-302 West Second Avenue
Vancouver, BC V5Y1C8
Phone 254-3344-Fax 254-7239 MARCH 93
LONG GROOl
/ES SO,
1 WEEN
PURE GUAVA
ELEKTRA
2 SLOAN
SMEARED
DGC
3 KING MISSILE
HAPPY   HOUR
ATLANTIC
4 MUDHONEY
4 SONG EP
REPRISE
5 LUNG
MAGNUM OPIATE
ZULU
6 POOH STICKS
MILLION SELLER
ZOO
7 CHIA PET
3 SONG EP
KOKOPOP
8 MYSTERY MACHINE
GLAZED
NETTWERK
9 RAGE AGAINST THE MACHINE
RAGE AGAINST THE MACHINE
EPIC
10 THE FALLOUTS
THE FALLOUTS
SUPER-ELECTRO
11  GUMBALL
WISCONSIN HAYRIDE
COLUMBIA
12 ICECUBE
THE PREDATOR
PRIORITY I
13 LUNACHICKS
BINGE AND PURGE
SAFE HOUSE
14 BELLY
STAR
SIRE
15 BONECLUB
BEAUTIFLU
IMAGO
16 DOGBOWL
FLAN
CARGO
17 FLIPPER
AMERICAN GRAFISHY
DEF AMERICAN
18 JACOB'S MOUSE
NO  FISH  SHOP  PARKING
FRONTIER
18 RIPCORDZ
THERE AIN'T NO H...
EN GUARD
20 COME
ELEVEN: ELEVEN
MATADOR
21  SKATENIGS
STUPID PEOPLE SHOULDN'T.
MEGAFORCE
22 VARIOUS ARTISTS
HUM BUZZ THING
FIR STREET
23 GRIMACE
QUAGMIRE
BONG
24 WILL
WORD FLESH STONE
THIRD MIND I
25 VARIOUS ARTISTS
DISCO CLASSICS 2
EPIC
26 GRENADINE
GOYA
SHIMMY-DISC
27 INTERMIX
PHAZE TWO
THIRD MIND I
28 PRONG
WHOSE FIST IS THIS...
BMG I
28 FRONT 242
FRONT 242
EPIC
30 BRAND NUBIAN
IN GOD WE TRUST
ELEKTRA
31  SMUGGLERS
ATLANTA WHISKEY FLATS
POPLLAMA |
32 BRIAN ENO
33 FUDGE
34 DWARVES
38 TAD
36 ZUZU'S PETALS
37 PAMELA CAMPBELL
38 HEAVENS TO MURGATROID
39 THECLAVENS
40 HENRY ROLLINS
41 JAWBREAKER
42 BETTIE SERVEERT
43 GBH
44 JULIAN COPE
45 OFRAHAZA
46 SOUL ASYLUM
47 THE GITS
48 STEREO MC'S
49 BIOHAZARD
50 HEDD
EP
SALEM EP
WHEN NO ONE'S LOOKING
A NIGHTINGALE SANG
HEAVENS TO MURGATROID
THE CLAVENS
ROLLINS SPEAKS
BIVOUAC
PALOMINE
CHURCH OF THE TRULY WARPED
OPAL
BRILLIANT
SUB-POP
SUB-POP
TWINTONE
BURNSIDE
PROSPECT
SHADY DEAL
IMAGO
TUPELO
KIRYA
GRAVE DANCERS UNION
FRENCHING THE BULLY
CONNECTED
URBAN DISCIPLINE
FUTURIST
ISLAND
SHANACHIE
COLUMBIA
C/Z
GEE STREET
ROADRUNNER
TRIPPER
MARCH 93 SHORTIE GROOVES 35
■WELCOME TO MY CASTLE" NARDWUAR
■DEBBIE SPEAK" LANCE
■LOUIS RIEL*
■CRUSADER'S THEME"
3 SONG CINNAMON TOAST
"YOBLONDIE*/ "BARBIE U.S.A." DIONYSUS
"AT GERMANY" SCREAMING APPLE
PEP
1   KREVISS
CHOPPER
GIRL TROUBLE
i   RED AUNTS
I   FASTBACKS
I   ROCKIN' ROD
'   THE MUMMIES
I   AGENT ORANGE
FUDGE
I   SEBADOH
PEARL JAM
CRAYON
SQUIRT
VELOCITY GIRL
I STEEL WOOL
I   VARIOUS ARTISTS
DQE
MONOMEN
POND
SPARKMARKER
MULE
ERIC'S TRIP
CODEINE
THE FINGERS
CALAMITY JANE
CHEATER SLICKS
SQUIRT / ECCENTRIC S
"UNVEILED-/-YOU THINK" SCRATCH
"WHITE SUMMER" ANIMAL HOUSE
"WORK THAT CROWD" eMpTy
"BIG CANS"/"THE VIBRATOR SONG1    HELL YEAH
■THEY DON'T CARE "
■LADY JANE"
■JUST A GIRL-
"THE ELECTRIC STORM-
OREO DUST
POPLLAMA
RRS
■WHO KILLED RUDOLPH'
3 SONG
"EVIL KNEIVEL"
"CRAWL"
"BROOM SAUCE"
BOSTONOT
■MASTURBATION.
■OVER THE EDGE'
TREE
'FISTFUL OF G<
M HELL-
FACE THE MUSIC
FEEL GOOD ALL OVER
LANCE
T/K
FINAL NOTICE
1/4 STICK
■BELONG" NIM
"HARD TO FIND" SUB-POP
"...ON MY NERVES"           BAG OF HAMMERS
•LOVE SONG" / "BELIEVE* TIM KERR
■NO CORRESPONDENCE" ESTRUS
SPLIT RED  ROCKET
DIALIN' FOR CELEBRITIES
BY EXCUBUS MANSLAUGHTER
Well, Spring has sprung but 1 have
grown stale, bored...alas, even
dreary. Allhough grass is growing
and flowers are blooming 1 have
fallen into a puddle of sludge, which
isn't too bad but this joke is done to
death. So, kids, this will be the last
column installment of "Dialin' For
Celebrities." For all of you gasping
out there, the dream date contest is
still in effect and, who knows, 1 may
still show up on occasion to sink my
teeth inlo some alternative monkey's
butt. However, "Dialin' For Celebrities" is gone. Why? WeU, Ole'
Excubus was at a small party (incognito) and a group of fresh face college kids were commenting on the
column. My ego boosted, I listened
in, and to my dismay not only did
they like it but decided to do it right
there. YEAH.RIGHTTHERE.They
24 E_R_J5___XtS"rt
picked up a phone book and made a
crank call. My god, have they no
principles, I mean I did it in the name
of investigative journalism but these
kids were just one step ahead of "Is
your refrigerator running?". To those
kids out there trying to find celebrities,bothering people overthe phone
isn't the trick; getting printed in a
paper, that's the trick.
So it's over, and none too soon.
But for all you kids worried about
those alternative tips, fear not, I'll
stick my nose up Scooter's butt and
get them out occasionally. Who
knows, maybe even emerge with a
new joke or column. But before I go
for a sabbatical, here's my two bits
In regards to the Pixies breakup, many are now calling them the
"Saviours of Rock'n'Roll," how-
ever.if this is true then Kim Deal must
bethe"BatteredWifeofRock'n'Roll."
Ineverliked Black Francis.The Pixies,
yes, but Black Francis, no. When the
Breeders emerged I think most of us
realized that Kim Deal is beyond any
legendary status the Pixies will ever
achieve. Yes, I like the Breeders more
than the Pixies, but 1 also like orange
more than purple. So Black Francis
[Frank Black] have fun solo (yeah, it'll
be good, the big guy has got talent).
Justrememberthereis atleastone self-
righteous, ignoramus, campus radio
paper writer who thinks that maybe
you fucked up and are losing a good
thing. So all you kids out there in bands
leam from this: if you're going to be an
asshole, at least get rich and famous.
1 have also noticed lately that
many people are still struggling with
this alternative thing. Please try to
relax. There is plenty of time before it
goes out of style... or is there? And to
the fine Uttle lady who used foul
language in reference to myself after
hearing me remark, "Man, 1 hate Peart
Jam. Why aren't people sick of them
yet?" Look, honey.theyain'tthatgood
and you ain't that good lookin' so
mind your P's and Q's and stop cutting
class and hanging out in Metrotown, at
least get as far as GranviUe.
And that's it, maybe....who
knows? Just remember, when the
phone ringsitprobablyisn'tme, you're
always more alternative than they are,
"Doomklaxun is old school," I am an
asshole, and "clean sheets mean a lot
to a guy who sleeps on the floor."
Ciao, my Utde elfin loaves, and
Goodnight Sammy D..
P.S. For everyone who bought Marco
drinks, thanks.
MUCH S3 SINGLE 1
III
mm
1     1 BLAISE PASCAL
■SPOTLIGHT KIDD* I
2 STRAIN
■BEHIND THE WALL*
3 ELEPHANT'S CHILD
■MINE*
4 HUEVOS   RANCHEROS
■REPTILE*
5 MEET DAISY
•UTTLE ZEBRAS*
6 STOATERS
•EDGE OF THE WORLD*
7 SURFDUSTERS
'HEADLESS BATALUON* I
8 ONE
"WIDE  LOAD* I
9 ORBIT IN BLOOM
"PEACE IN THE AIR*
10 GRAMES BROTHERS
■INDOOR TIME" I
11 MOVIELAND
"CAKE*
12 PAISLEY SUITCASE
•STAND AND FIGHT' 1
13 THE   LEMONS
•IN   MY  WAY- I
14 DRAG THE RIVER
■DRAG THE RIVER" 1
15 HOWARD VS. WILLY
■DEEP IN THE PARK" 1
16 TOUCH AND GOS
■NETTIE'S PARTY* 1
17 CONTEMPT
■GRANDFATHER CLOCK" 1
18 ROCKIN' ROD
■GODZILLA- 1
19 32 TO BASE
•SOMETIMES Y" 1
20 TWELVE EYES
■CRUMBLING  STONE- 1
I 21 THUMBSCREW
"TRENDY HIPPIES*
22 AGING YOUTH  GANG
■BABY  BOOMERS" 1
i 23 DARKEST OF THE HILLSIDE THICKETS
"DIGGIN'UPTHEWORLD"
24 MEXICAN POWER AUTHORITY
"GRASS HUT"
I 25 SHE
"SHE    SAID" 1
I 26 MOVIELAND
•RANT* 1
I 27 12 MIDNITE
HOTROD CADILLAC GIRL" 1
I 28 RUMPLESTEELSKIN
■FREE YOUR SOUL" 1
1 29 WINGNUTS
■1 HATE MY JOB"
1 30 LUNG
"SUB" 1
31 CARPE DIEM
•HEAVEN'S ESTATE" 1
32 SCOn ROBINSON
■FOLLOW YOUR BUSS" 1
33 VINAIGRETTES
■1 WAS SAVED" 1
I 34 THE HAYMAKERS
■CHURCH ACROSS THE ROAD* I
I 35 LOTUS EATERS
■GOD" I
DOYOU REMEMBER ROCKrfROURADIO?
DISCORDER CHARTS 10 YEARS AGO.
1 SIOUXSIE AND THE BANSHEES
A KISS IN THE DREAM HOUSE       POLYGRAM
2 DOA
WAR ON 45
FRINGE  PRODUCT
3 STRANGLERS
FELINE
EPIC
4 DEAD KENNEDYS
PLASTIC SURGERY DISASTERS          FRINGE
I    5 RANK & RLE
SUNDOWN
SLASH   (US)
I    6 IGGY POP
ZOMBIE BIRDHOUSE                       CAPITOL
I    7 BAUHAUS
THE SKY'S GONE OUT               POLYGRAM
I    8 FAD GADGET
UNDER THE FLAG
MUTE
9 WALL OF VOODOO
CALL OF THE WEST                       I.R.S.(US)
| 10 MISSION OF BURMA
VS.
ACE OF HEARTS(US)| I
HI
IL       lUSLI^-J                    _<3
'<T^vlL_.„jTrT
1   ll
Si
Ma
ip ■
4\
HEAT-UP
1     \feiM
4m3S
IS^rlL ^J£^~
REtEASE— a***jtjiiP^I,^~-*<YnT\\ ^~~-^A■ )
LEVER               1?       V^T]|75b                    Tt-sJjl                  f>*-^.
ON THE DIAL
SUNDAYS
ARE YOU SERIOUS? MUSIC 8:00AM-
12tt)PM All of time is measured by ts art
Mcet broadcasting shuns art lor incestu-
most recent new music from around the
world. Ears open. Hosted by Paul
Steenhuisen and lan Crutchley.
THE BRUNCH REPORT 12:00-12:15PM
CiTR News, Sporls and Weaiher Depart-
THE ROCKERS SHOW   12:15-3:00PM
Reggae innaaJ styles and lash ion.George
Barret, Mite Cherry and Peter WiHiams
atemate as hosts.
SOUL CHURCH 3:00-5:00 PH Alternating
Sundays with Brent Argo. Vancouver's
only program devoted entirely to African-
CanarJan and African- American Gospel
music Your rotating hosts are Vence Yeh
and Dave Langille (every second week).
BUCK MUSIC 6:00-8.-O0PM Everything
fromthe African-American tradtion:Blues,
Gospel, Jazz, Soul, R&B, Funk, Hip Hop,
and current Dance Trade. Mouldy vinyl to
shiny CD's. Your host, Lachlan Murray.
LULU'S BACK M TOWN 8:00-9:00PM Tune
in as your hosts Vinnie Carpei and Sonny
Prince play some of the hottest crooners
on wax. Names like Tony Bennett, Sammy
Davis, Jr., Engefcert Humperdinck and
many, many more...lo_ of great cuts and
plenty of polyester.
GEETANJAU 9KW-10.-00PM Geetanjaliisa
one-hour radio show which features a
wide range of music from Inda. This includes classic- music, both
THE AFTERNOON REPORT 1rOO-1:15*»M
News, sporls and weather.
MEKANKALOBJEKTNOBE1:15-3:00PM
CiTRs only al industrial / technical / etec-
every week. With your dj pel, June Rhys
Filter hales all of you.
SOMC SALAD 3:00-4:00PM Hostedby Clay
STRAIGHT OUTTA JALLUNDHAR 4K»-
5:00PM Lei DJ's Jndwa and Bindwa immerse you in radioactive Bh-ngra!*Ch_*h
dephutay".List6ntoalourfavorile Punjabi
tunes - remixes and originals. Brraaaah!
THE OTR DMNER REPORT 5:00-5:30PM
All the latest on campus: news, sports, an
edtorial commentary and more. Weekdays with host lan Gunn.
THUNDERSTRUCK 5:3M:00PM CiTR's
weekly wrap-up of everything anyone
needs to know about U.B.C. Thunderbird
sports. Hosted by Trevor Brawdy.
BOXER SHORT BOYZ 7*W:O0PM Justa
couple d guys who like lo wa* around in
their boxer shorts with their big fat guts
hanging out Jerome Broadway and Garnet
THE   JAZZ   SHOW   9:0OPU-12:00AM
Vancouver's longest running prime time jazz
Gavin
TUESDAYS
THE MORNMG SHOW 7304:15AM Hosted
by Antje Rauwerda.
BLOODONTHESADDLE1:15*00PM Country music to scape the cowshl ofl your boots
to With yer host-pole Jeff Gray.
UVE FROM VENUS 3:00-:00PM Women-
made music and stuff, hosted by Jane Tilley.
LOVE LOVE SURE SURE 5:30-6:00PM
HOSTS KENCHIRO. NAOMASA, NAOKI
AND BOB (AKIO), TAKASHOKU UNIVERSITY STUDENTS, PLAY THE GCCO MUSIC AND THE COMEDY.
MEET IDA BEAN 6:00-7:00PM Rap, hp
hop,and Super Dope Lyrics- so fry thai youl
do 3-5 just for getting caught listening to tha
stuff. Requests are taken...) you can get
through on the phonal Ida Bean's on the tipl
THE UNHEARD MUSIC 7:0O-9:00PU Meal
the unherd where the unheard and the
hordes of hardy herd and heard courtesy of
host and demo director Dale Sawyer. Herd
up!
AVANT-PIG 9:00PM-12_OAM Alternating
Tuesdays with Wolf at the Door. Now three
hours ol funky, ambient noise-piggery with
Pete Lutwyche and Norm.
WOLF AT THE DOOR 9.O0PM-12:0OAM Alternating Tuesdays with Avant-Pig. The latest in dance music and interesting drama
every second week. With Lupus Yonderboy.
AURAL TENTACLES MIDNITE UNTIL
THE MOON DROPS Fun for the whole
family to enjoy! Weird chunks of news,
odd pieces of tuneage, Pierre and the
2AM WWOD.
WEDNESDAYS
THEMORNINGSHOW 7:30-S:15AM Hosted
by lan Gunn.
PLANET ROCK 12:00-1:15PM Sit back, dig
while we do it to you in your earhole. Stone1
Woman gives out tha funk, tha hip hop and
tha dub: music lor your mother.
NORMAN'S   KITCHEN   3:0O-5:00PM
Deitotrenetic Sonic Fidelity) Watch for our
monthly "Norman's Big Envelope-o-stuff
EDSVUE, POP.6 730-9S0PII Roots of
Rock W Rdl-I you donl get into Rock Yi'
Rdl Heaven donl blame me! Hosted by
EddeJ.
UVE FROM THUNDERBBO RADIO HELL
9:00-11:00PM   Local muzsate from 9.
U* banz play r>a blues Irom 10.
Mvch 4: Sister Lovers
RADIO TRANSUBSTANTIATION YEAI
11PM-1AM Alternating Thursdays with
Gigablast. This month tOtAI NiHLiZm,
mad, glad and bad. baby, we're flooding
ENTERTAINMENT 9K»-12:00PM Only the
third Rado Program in the history d
Homo-sapien kind to be dedcated to solving aid Ihe world's problems. Radio that
believes in confusion, noise, peace, love,
aggression and maybe even EVOLUTION. Top 701.
OPEN COUNTRY JOY 12KXM.-00AM,THE
FIRST WED. OF EVERY MONTH. Donl
let the ?#?%?@? fool you.
b*on fathoms down, so lest thou wishes!
and Major Major E. Whimeyer. Do not go
gently into the good night rave, raVE,
RAVE   against   the   dying   light!
MEGABLASTI 1:00AM-WHENU STOP US- skis, ce
from Dave Emory's Radio Frm America
Series.
HOMEBASS 9S0PM-12: MAM Dope jams
and fresh beets for a groovy evening with
DJ Noah on the wheels d steel
UMP SB* 1230AM Morning Th_mor_i
Limp Sink tries comprehemUy. Hosted
by the G4. players.
Fire Pipe - This month _ the Fire
Pipe, we wi be delving into the depths d
' ' ^ back
some weapons to give out i you can spel
this month's mystery hoi
month: Flitter and Pal e>
Iranian music. This show is dedicated to
Iranian music ranging from traditional,
fdk, dhnic. mystic, dd and contemporary
pop. Music d various parts d Iran ie.
Azerbaijani, Kurdish, Lori, etc. are covered. We really like to hear from all of our
Isteners to be able to gear the show
towards their tastes. Hosted by
Mohammad.
CANADIAN LUNCH 11:00-1:00PM Toques.
plaids, back-aeon, beer, igloos, snowmobiles, beavers & Brian Mulroney. If you
love Canada, tune in and eat your lunch to
Canadan music. Previously Coralation.
POPGUN 1:00-3:00PM "Why donl you love
ME as much as I love YOU ?"
FLEX YOUR HEAD 3:00-5:OOPM
-—HARD JINX—-
—-ERIC CORE-
GET IN THE RING 5:30-6:OOPM Join Mike
and Brian every week lo hear them lag
team the issues with guests from all over
the           political spectrum.
OUT FOR KICKS 6:00-7:30PM No
Birkenstocks.nothing politically correct.
We donl get paid so you're damn right we
have fun with it. Hosted by Chris &
FRIDAYS
THEMORNINGSHOW 7_0-8:15AM Hosted
by lan Gum.
VENUS FLYTRAP NETWORK OFLOVE8_0-
Doctor, Capt State and Dd) Mania gal
naked, smother themselves in extra virgin cartouche grape seed oi, tape their
tunes. Whether they be aboriginal, instrumental, thrash Metallica, or blues & jazz.
Wild painfully honest hilarity 'ouch*.
Skeene's the music, Conway, the voice.
The whole is edging the limits.
LO-R 1_0-2:30PM lo-fi.
FUNKkT RAP INNA DUB STYLEE 2:30-
3:30PM Bootsy says Ts time to get yours!"
go bobbing for Japanese oranges in battery acid and Worchestershire sauce. This
is only tentative so donl get your dander
14). OK I?!?.
Feb. 5,19: The Doctor Kidare Show
Febi 12,26: fire Pipe
SATURDAYS
THE SATURDAY EDGE 8-0AM12-0PM
Now ii Is 8th year on tw air. The Edga on
Fok features music you won! hear anywhere else: new releases in Ihe realm d
Celtic Fok and Roots; studio guests; Brteh
ie Light!
firmly in cheek.
PROJECTIONS 5-30- 6:00PM Projections:
news, music, and reviews of alternative,
Hollywood and locally produced films on
hosted by two actual film students, Jason
and Bhajans, and also Quawwalis, Fok
Songs, etc. Hosted by J. Dhar, A. Palel
and V. Ranjan.
RADK5FREE AMERICA 10tt)PM-12:00AM
Join host Dave Emory and cdtoague Np
Tuck fa some extraordinary political re-
searchguatanteedtomakeyouthinktwice.
Bring your tape deck and Iwo C-90s. Originally broadcast on KF JC (Los Altos, California).
MONDAYS
THE MORNING SHOW 7304:15AM Wake
up with the DTR Moming Show. Al the
news, sports and weaiher you need to
start your day. Plus whafs happening at
UBC each day with UBC Digest, a fealure
interview and more. Topped off with the
BBC World Service News at 8O0AM,
live from London, England.
BREAKFAST WITH THE BROWNS 8:15-
11:00AM Your favourite brown-sters.
James and Peter, offer asavoury blend
of the familiar and exotic in an excitingly luscious blend of aural delights!
Tune in and enjoy each weekly brown
plate special.
THE STUPID RADIO SHOW 11:00 AU-1_.
PM Music that proves yes, this is Monday.
■And so they asked me...* With noon feature Crucifix In Your Ear".
SUN        MON        TUE        WED
ARE YOU
SERIOUS?
MUSIC
BRENT
ARGO/
SOUL
CHURCH
GEETANJAU
I—"—*-
DON AND
GOURD'S
STUPID
RADIO SHOW
MEKANIKAL
OBJEKT
NOIZE
SONIC SALAD
JALLUNDAR
MADONNA
DEATH
WATCH
BREAKFAST
BLOOD ON
THE
SADDLE
BROADCASTING
LIVE FROM
VENUS
DIGITAL
ALARM
CHRONOMETER
NORMAN'S
KITCHEN
IN THE GRIP
OFINCO-
FLAMING
CATERPILLAR
BOXER
SHORT
BOYZ
THE JAZZ
SHOW
THE FINAL
FRONTIER
WOLF AT
THE DOOR/
AVANT PIG
MAPLE
SYRUP &
BACK BACON
THE REAL
DEAL
ENTERTAINMENT
TALES FROM
THE INFINITE
LIVINGROOM
THU
•ivMiiin.iiViiaa
COUVDETAT
iiWMMsM ■!J.AliJ-_^W.JJffjifj.1BMTJAllM T
OUT FOR
KICKS
LIVE FROM
IHUNDERBnO
RADIO HELL
MEGABLAST!
VENUS
FLYTRAP
INTERNTL.
CROOKED
NOSE
SLIDE
FUNK..DUB/
NARDWUAR/
NOIZ SHOW
THE
SATURDAY
EDGE
COCKTAILS
WITH DARYL
AND
SUSI
8
9
10
11
ebee)12
1
2
3
4
5
6
7
8
9
10
11
12
1
2
3
4
ness thing ol sel and others, han African
house party. Stories, music, dance fun. Welcome! Your hosts: Umerah and Ma*ele.
THE SATURDAY MAGAZNE 5-0-530PM
UBC- weekend news. Al the -test news,
sports, weather, a movie review, featue
report snd more. News wli Luc Dinsdale;
Doug Rfchards has sporfc.
M EFFECT 6«HJjOO**M The Hp Hop beat
and nuttirr buB. Wih hostPDS.
THE HEIMLICH MANOUVRE 8-0-10:00PM
GROOVE JUMPING 10flH_U MAM Terry
and John alemaCng weeks wih Tom and
Justin
Acute title blurb
■tore aid a sligft
gels some kind of
WHOM   &   HOW
ARTS SHAWN BOUCHARD
BOARD CHAIR HARRY HERTSCHEG
CURRENT AFFAIRS IAN GUNN
DEMOS/CASSETTES DALE SAWYER
ENGINEER RICHARD ANDERSON
ENTERTAINMENT        CHRIS CHEN
MOBILE SOUND
DRU PAVLOV
MUSIC
SVEA SJOBERG
NEWS
IAN GUNN
PRESIDENT
DRU PAVLOV
PRODUCTION
JUSTIN LEIGH
PROGRAMING
ADAM SLOAN
PROMOTIONS
A.O. CHAPMAN
SECRETARY
CORAL SHORT
SPORTS
TREVOR BRAWDY
STATION MANAGER LINDA SCHOLTEN
STUDENTENGINEER BOOTSYSLOAN
VICE PRESIDENT HEL£N GOOOLPHIN
VOLUMTEER COORDINAT-B     JOWRUSMN
BUSINESS UNE
DJ UNE 604/B22-2487 (UBCCiTR)
NEWS UNE   604/222-2487 (222-CiTR)
FAX UNE 604/822-9364
ENVOY ID CtTRFM A H*wwkipafto.bytv*** *•*_'>»««>««<iwOxd
ocra* tap «< tad.
»TiVJ=-=T»T«
MONDAY 1 Oliver & the Bements at the Yale... Shannon Gunn Quartet at Hogan's Alley...
Bladerunnen The Director's Cut (7:15) and Alien (9:30pm) at the Ridge... IntemationaJ
Toumee of Animation at the Starlight (7 & 9:30pm)... Amelia! The Concert at the Waterfront
Theatre... Accidental Death of an Anarchist at Secret Spas Theatre...
TUESDAY 2 Jimmy Thackery & the Drivers at the Yale... Biohazard with Sick of It All and
Fear Factory at the Town Pump... Zoo Bar with DJ Vernell at Graceland... Bladerunnen The
Directors Cut (7:15) and Alien (9:30pm) at the Ridge... International Toumee of Animation
at the Starlight(7 & 9:30pm)... Amelia! The Concert at the WaterfrontTheatre... The Kat Who
Would Be Kool at Station 58... Accidental Death of an Anarchist at Secret Space Theatre...
WEDNESDAY 3 CiTR PRESENTS WINDWALKER WITH THE PASTIES AT THE TOWN
PUMP... Jimmy Thackery _ the Drivers at the Yale... Chris Startup & Oliver Gannon at the
Alma StreetCafe... Swoon (7:30pm) and The Living End (9:25pm) at the Ridge... International
Toumee of Animation at the Starlight (7 & 9:30pm)... Amelia! The Concert at the Waterfront
Theatre... The Kat Who Would Be Kool at Station 58... Accidental Death of an Anarchist at
Secret Space Theatre... Joanna Rogers exhibition Spot at Vancouver East Cultural Centre
(until the 30th)...
THURSDAY4JimmyThackery&theDriversatthe Yale... Ron JohnstonattheAlmaStreet
Cafe...Crash Vegas withChange of Heartatthe Town Pump... Little Eagles ot Si be riaatChrist
Church Cathedral... Mascall Dance International at Vancouver EastCultural Centre... Swoon
(7:30pm) and The Living End (925pm) atthe Ridge... IntemationalToumee of Animation at
the Starlight (7 & 9:30pm)... Amelia! The Concert at the WaterfrontTheatre... The Kat Who
Would Be Kool at Station 58... Accidental Death of an Anarchist at Secret Space Theatre...
Barefoot in the Park at Jericho Gym... Collections Couture at Prospect Point Cafe...
FRIDAY 5 Jimmy Thackery- the Drivers at the Yale... Tim Brady at the PittGallery... Tony
Trischka & Ken Hamm Band at the WISE Club... Little Eagles of Siberia at Christ Church
Cathedral... Mascall Dance International at Vancouver East Cultural Centre... Time Will Tell
(7:30pm) and The Tune (9:30pm) at the Ridge... International Toumee of Animation at the
Starlight (7pm, 9:30pm & midnight)... Amelia! The Concert atthe WaterfrontTheatre... The
Kat Who Would Be Kool at Station 58... Accidental Death of an Anarchist at Secret Space
Theatre... Barefoot in the Park at Jericho Gym... Springrites '93 at Performance Works
Granvilie Island (until April 3)... Vancouver Storytelling Festival at St John's United Church...
SATURDAY 6 DOA, SNFU, Lunachicks and the Hanson Brothers with guest MC Tiger
Williams at the Commodore... Apache Indian at BC Enterprise Hall... Jimmy Thackery & the
Drivers at the Yale... Splatter Trio at the Pitt Gallery... See Saw at Vancouver East Cultural
Centre (2pm)... Mascall Dance International at VancouverEastCuItu ral Centre (8pm)... Time
Will Tell (7:30pm) and The Tune (9:30pm) at the Ridge... International Tou mee of Animation
at the Starlight (2pm, 4pm, 7pm, 9:30pm & midnight)... Amelia! The Concert at the
Waterfront Theatre... The Kat Who Would Be Kool at Station 58... Accidental Death of an
Anarchist at Secret Space Theatre.^ Barefoot in the Park at Jericho Gvm... Vancouver
THE  BLANK  GENERATION
Storytelling Festival at St John's United Church...
SUNDAY 7 Above Ground at Hogan's Alley... The Flirtations at Vancouver Playhouse...
International Women's Day Cabaret at Vancouver East Cultural Centre... Time Will Tel
(730pm) and The Tune (930pm) at the Ridge... International Toumee of Animation at the
Starlight (2pm, 4pm, 7pm & 9:30pm)... Barefoot in the Park at Jericho Gym... Vancouver
Stoiytelling Festival at St John's United Church...
MONDAY 8 Amos Garrett at the Yale... Robin Shier Quintet at Hogan's Alley... Une
Exposition de Fer Blanc at Vancouver East Cultural Centre... Time Will Tell (7:30pm) and The
Tune (9:30pm) at the Ridge... International Toumee of Animation at the Starlight (7 &
9:30pm)... Accidental Death of an Anarchist at Secret Space Theatre...
TUESDAY 9 Disco night with Rumplesteelskin at the Commodore... Amos Garrett at the
Yale... Zoo Barwtlh DJ Dickey Doo at Graceland... Zulu Spear at the Backstage (Seattle)...
Cowboy/Native Culture Show at Vancouver East Cultural Centre... Time Will Tell (7:30pm)
and The Tune (9:30pm) at the Ridge... International Toumee of Animation atthe Starlight (7
4 9:30pm)... Accidental Death of an Anarchist at Secret Space Theatre... The Kat Who Would
Be Kool at Station 58...
WEDNESDAY 10 Amos Garrettatttie Yale... Ray Piper Projectat the Grunt Gallery ...Tin
Sandwich at Vancouver East Cultural Centre... Time Will Tell (7:30pm) and The Tune
(9:30pm) at the Ridge... International Toumee of Animation at the Starlight (7 & 9:30pm)...
Accidental Death of an Anarchist at Secret Space Theatre... The Kat Who Would Be Kool at
Station 58...
THURSDAY 11 CiTR PRESENTS WALTMINKWITH GUESTSATSTATION STREET...
Amos Garrett at the Yale... Time Will Tell (7:30pm) and The Tune (9:30pm) at the Ridge...
International Toumee of Animation at the Starlight (7 & 9:30pm)... Accidental Death of an
Anarchist at Secret Space Theatre... The Kat Who Would Be Kool at Station 58... Barefoot in
the ParK at Jericho Gym...
FRIDAY 12 CiTR PRESENTS TAR, JAWBOX AND SPARKMARKER AT STATION
STREET... Amos Garrett at the Yale... Francois Houle 4 at the PittGallery... Dirty Dozen Brass
Band at the WISE Club... Nancy White at Vancouver EastCultural Centre... Sven Gali with Ten
Seconds over Tokyo and Class Action atthe Commodore... Hard Rock Miners at Breakers
(Point Roberts)... Gas, Food, Lodging (7:30pm) and Singles (9:30pm) at the Ridge...
Accidental Death of an Anarchist at Secret Space Theatre... Barefoot in the Park at Jericho
Gym... The Kat Who Would Be Kool at Station 58...
SATURDAY 13 Rumplesteelskin with Omnibol at Station Street... Amos Garrett at the
Yale... Bugs Inside at the Pitt Gallery... Rick Scon & Nathan Curry at the WISE Club... Nancy
White at Vancouver East Cultural Centre... Barney Bentall & the Legendary Hearts with Boy
onaDolphinattheCommodore... Hard RockMiners at Breakers(PointRoberts)... Gas, Food,
Lodging (7:30pm) and Singles (9:30pm) at the Ridge.. Accidental Death of an Anarchist at
Secret Space Theatre... Barefoot in the Park at Jericho Gym... The Kat Who Would Be Kool
at Station 58...
SUNDAY 14 Ensemble Alcatraz Music of the Middle Ages at Knox United Church (5600
Balaclava)... Nancy White at Vancouver East Cultural Centre... Lindsay Buckingham at the
Commodore... Gas, Food, Lodging (7:30pm) and Singles (9:30pm) at the Ridge...
MONDAY 15 The Sundays with Luna at the Commodore... Norton Buffalo at the Yale...
Until the End ot the Worid (7:30pm) at the Ridge...
TUESDAY 16 John Lee Hooker at 86 Street.. Norton Buffalo at the Yale... Zoo Bar with
DJ Vernell at Graceland... Until the End of the World (7:30pm) at the Ridge...
WEDNESDAY 17 The Smugglers with The Devil Dogs, The Evaporators, Jef and The
Goblins at Nappy Dugout... Norton Buffalo at the Yale... Lori Freedman & Graham Ord at the
GruntGallery ...Flesh and Blood at VancouverEastCultural Centre... The Lover(7:30pm) and
Last Tango in Paris (930pm) atthe Ridge...
THURSDAY 18 Sherman Robertson at the Yale... Flesh and Blood at Vancouver East
Cultural Centre... The Lover (7:30pm) and Last Tango in Paris (9:30pm) at the Ridge...
FRIDAY 19 She rm an Robertson at Ihe Yale... MartinCarthy_ Dave Swarbrick at Ihe WISE
Club... flesh and Blood at Vancouver EastCultural Centre... Dance land at Station Street Arts
Centre... Spike & Mike's Festival of Animation at the Ridge (6:45 & 9:15pm)...
SATURDAY 20 Lung with Zolty Cracker, Planet of Spiders and Tim Racine at Station
StneeL.. White Zombie with Monster Magnetat the New York Theatre... Sherman Robertson
at the Yale... Vancouver Men's Chorus with Ihe Seattle Men's Chorus atthe Orpheum... Bad
Manners at the Backstage (Seattle)... Danceland at Station Street Arts Centre... Hesh and
Blood at Vancouver East Cultural Centre... Spike & Mike's Festival of Animation at the Ridge
(6:45 & 9:15pm)...
SUNDAY 21 Paul Weller at the Commodore... Vancouver New Music Ensemble's
Complexity and More at Vancouver East Cultural Centre... Rory Block at the Backstage
(Seattle)... Spike & Mike's Festival of Animation atthe Ridge (6:15pm)...
MONDAY 22 flesh and Blood at Vancouver East Cultural Centre...
TUESDAY 23 Pinetop Perkins with the Demons du Jouratthe Yale...Zoo Barwith DJNoah
at Graceland... Danceland at Station Street Arts Centre... Flesh and Blood at Vancouver East
Cultural Centre...
WEDNESDAY 24 Pleasure Barons featuring Country Dick Montana, Mojo Nixon, John
Doe& Dave Atvin at theCommodore... Pinetop Perkins wth the Demons duJourat the Yaie...
Kate Hammett-Vaughn & DB Boyko at the Grunt Gallery... Danceland at Station Street Arts
Centre... flesh and Blood al Vancouver East Cultural Centre...
THURSDAY 25 Pinetop Perkins with the Demons du Jour al the Yale... Danceland at
Station Street Arts Centre... flesh and Blood at Vancouver East Cultural Centre...
FRIDAY 26 Pinetop Perkins with the Demons du Jour at the Yale... Danceland at Station
Street Arts Centre... flesh and Blood at Vancouver East Cultural Centre... Spike & Mike's
Festival of Animation at the Ridge (6:45 & 9:15pm)...
SATURDAY 27 Tribal Dynamics at the Pitt Gallery... Pinetop Perkins with the Demons
du Jouratthe Yale... Dance land atStation Street Arts Centre... flesh and Blood al Vancouver
East Cultural Centre... Spike & Mike's Festival of Animation at the Ridge (6:45 & 9:15pm)...
SUNDAY 28 Leon Rosselson with Paul Ubana Jonesat Vancouver East Cultural Centre...
Spike & Mike's Festival of Animation at the Ridge (6:15pm)...
MONDAY 29 CapllanoCollege Music Dept3rdAnnualVocalShowcaseatVancouverEast
Cultural Centre...
TUESDAY 30 Kenny Neal at the Yale... Zoo Bar with DJ Vernell at Graceland... Guns n'
Roses at BC Place... Brand X at the Backstage (Seattle)... Danceland at Station Street Arts
WEDNESDAY 31 Blair Lewis Group at the Grunt Gallery... Kenny Neal at the Yale...
VENUES VENUES VENUES VENUES VENUES
Access Gallery
#26-448 Seymour
Alma Street Cafe
2505 Alma (at Broadway)
Artspeak Gallery
#3-3110West Hastings
Cafe Bergman
52 Powell (Gastown)
Cafe Django
1184 Denman (at Davie)
Commodore Ballroom
870Granville(GranvilleMall)
Contemporary Art Gallery
555 Hamilton
CruelElephant
23 West Cordova (Gastown)
86 Street
Plaza of Nations (BC Enterprise Centre)
Glass Slipper
185 East 11th Avenue (at Main)
Hollywood North
856 Seymour
Isadora's
540 Old Bridge (Granville Island)
Latin Quarter
305 Commercial Drive
Maximum Blues Pub
1176Granville (at Davie)
Nappy Dugout
1248 Seymour (at Davie)
Or Gallery
314 West Hastings
Paradise Cinema
919Granville(Granville Mall)
Park Theatre
3440 Cambie
Picadilly Pub
630 West Pender
Pit Pub                           basement, Student Union Building (UBC)
PittGallery
317 West Hastings
Queen Elizabeth Theatre
Hamilton at Georgia
RailwayClub
579 Dunsmuir (at Seymour)
The Raven
1052 Deep Cove Rd (North Van.)
Ridge Cinema
3131 Arbutus at 16th
RockCandy
1812 Yale (Seattle)
Sandy Cove
1554 Marine Drive, West Vancouver
Smash Gallery
160 West Cordova (at Cambie)
Speedy O'Tubbs
Fairview, Bellingham
Starlight Cinema
935 Denman
Town Pump
66 Water Street (Gastown)
Vancouver East Cultural Centre                        1895 Venables
Vancouver Women in Focus Girllery                      849 Beatty
Varsity Theatre
4375 West 10th Avenue
Video In
1102 Homer
Waterfront Theatre
1405 Anderson (Granville Island)
Western Front
303 East 8th Avenue
WISE Club
1882 Adanac (At Victoria)
Yale
1300Granville(at Drake)
NO KIP7ING! THE AAAIN REASON
I'M   HERE   IS THE    SCENE,
NOnr THE   BANP!
26 S_R_il__-^_*i^ frHIHiiWH-l
DJ SOUND WAR
Chapter III
FRIDAY APRIL 23 & SATURDAY APRIL 24
SUB BALLROOM, UBC
6:00 P.M. T012:00 A.M.
ENTRY F<
DRM
(ONE
ENTRY
FORM PER
PERSON)
NAME
ADDRESS
CITY
POSTAI
.CODE
PHONE#
STAGE NAME
GROUP NAME
CHECK THE CATEGORIES YOU ARE ENTERING:
□ DJS □ MCS □ DANCERS
□ GROUPS
□ MC     □ DANCER    □ OTHER
YOU ARE A:
'IF YOU ARE ENTERING AS A GROUP, PLEASE SUBMIT YOUR ENTRY FORMS TOGETHER WITH YOUR CASSETTE
aw
• The DJ, MC and Dancer competitions will take place on Friday, April 23 starting at 6:00 p.m. sharp.
• The Group competition will take place on Saturday, April 24 starting at 6:00 p.m. sharp.
• All contestants must perform at their scheduled lime.
• The order of performance will be decided by Thursday April 22, 1993.
• All contestants must check in by 5:00 p.m. the day ofthe competition.
• Contestants may enter in more than one category (DJ, MC, etc.).
• Contestants will receive free admission both evenings.
• Contestants are expected to treat provided equipment with respect Contestants who abuse equipment (for
example: dropping or throwing microphones) will be automatically disqualified.
• All entries will be considered for competition as space permits.
• DJs will compete individually in elimination rounds until a winner is declared.
•DJs will pe      n in rounds of 1 to 3 minutes in length (1st round = 3 minutes, 2nd round = 90 seconds, 3rd
round = 60 seconds).
• DJs must use the supplied turntables and mixer.
• DJs may use tapes and other sound sources but must supply a list of equipment to be used, with their entry
form, which will be approved or revised by the judges as they see fit.
• DJs will be judged on: technique, timing, originality and audience response.
• MCs will compete individually in elimination rounds until a winner is declared.
• Contestants may use any rhythm or backing track they wish in the first round (up to a max. of 5 mi
• MCs will perform to a choice of rhythm tracks of 60 to 90 seconds in length in following rounds.
• MCs will be judged on: delivery, lyrical content, originality and audience response.
■jw_i_ijmi-i4i
• Dancers may compete individually or in teams.
• Dancers must supply a music track of a maximum of 5 minutes on cassette or CD.
• Dancers will be judged on: technique, timing, originality, presentation and audience response.
• Groups must submit a cassette with their entry forms to qualify. Tapes should be about 5 minutes in length,
to give us an idea of what your group sounds like. Tapes will be judged on musical content, not sound
quality.
• Qualifying groups will perform for a maximum of 5 minutes in one elimination round with the best groups
continuing to the final round.
• Groups will be given a maximum of 5 minutes in the final round.
• DJs must use the supplied turntables and mixer.
• Sound checks for Groups will take place from 12:00 p.m. to 4:00 p.m. Saturday April 24th on a first come,
first served basis. Groups that require more than the basic setup (ie. two turntables, a mixer and a mic) are
encouraged to sound check.
• Groups will be judged on: performance, originality and audience response.
SEND YOUR ENTRIES TO:
OR PHONE 604-822-3017 OR FAX 604-822-9364 BY APRIL 15, 1993
 ■•"■ •""•*■*• hxm •^l«»"tU«h good newb praise him halleluliah GOOD NEWS!!!
FREE SNOT OF JESUS
BOOGERS OF OUR LORD & MESSIAH
SCIENTIFIC FACT! ^ BIBLICAL PROOF!
JESUS
"CHRIST"
SCIENCE PROVEN! "& SCRIPTURAL PROOF!
SEND FIVE DOLLAR LOVE GIFT TO
INTERNATIONAL SECULAR ATAVISM
IN CANADA- P.O. BOX 1776 STN."A" VANCOUVER, B.C. V6C-2P7
IN U.S.A: P.O. BOX 69243, PORTLAND,  OREGON, 97201
S_3^«
LORD OF
LORDS!
I SCIENTIFIC FACT! SCIEN-TERRRIFFIC FACTMI'S
FOR FREE STICKERS OF THIS AD SEND A S.A.S.E. 1869 W 4th Ave..
Vancouver. BC
V6J1M4
CANADA
tel 604.738.3232
ZULU PICKS'0 THE MONTH.
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
Unsane
®  Singles 89-92
The Unsane have always been a band to talk about
— not only for the shocking cover art on their
releases, but also their music that has the same
unnerving effect as a Brian dePalma film. What the
now-legendary Big Black did in exposing the horror
of the underbelly of American small-town life.
Unsane also do. However their terrain is different —
they take you on a loud and noisy trip into the urban
jungle, the heart of New York City and the twisted
remains on the American dream. riir
14.98cd/9.98cass
Poster Children
® Tool of the Man
Every month it seems like we must have a dark
horse, a record we really tike, but just don't want to
saddle with our expectations. All we can say is that
their two previous albums. "Flower Power" and
"Daisychain Reaction" were both amazing, as is their
live show, so won't you just let them have a little
space in your heart. $/\[F_
14.98cd/9.98cass
Firehose
®   Mr. Machinery Opera
No one could have predicted in 1991 how prophetic
the title "Flyin the Flannel" would become in 1993.
Sort of like how The Who song "My Generation"
became an anthem for disaffected youth in the
sixties. So are Firehouse prophets of our generation?
Let's see if "Mr. Machinery Opera" is a contemporary
"Tommy". "Quadrophenia". or Pete Townsend's "Iron
Einsturzende Neubauten
®  Tabula Rasa
Long before the term "industrial" was applied to
hardcore dance music like KMFDM and Ministry.
there were true practitioners of experimental music
that more closely represented the term. Along with
groups like Test Dept. and Throbbing Gristle.
Neubauten used power tools and metallic objects
with tape loops and guitars to create sound that lay
the groundwork for many groups that are now able
to call up the same sounds on samplers. This is the
first major label release in North America from this
legendary Berlin group. SALE
16.98cd/9.98cass
808 State
®  Gorgeous
Of all the groups that arose out of the Manchester
scene of 1989/90. 808 State is the group that has
consistently put out good albums and furthered the
advancement of ambient-techno-dance music,
while maintaining the lowest media profile. Go
figure. SALE
14.98cd/9.98cass
Superchunk
®  On the Mouth
Yet another release from those laidback kids from
North Carolina. If you're a regular Zulu Ad shopper
you'll know that we love these guys and that we
advertise every album, single, and EP from them,
and we're not going to stop until they become huge
international superstars.     16.98cd/9.98cass
Best Kissers In The World
®   Puddin
This band from Portland has been called the heir
apparent to the throne vacated by the Replacements
and Soul Asylum as the "great American rock'n'roll
band". Nothing fancy —just great songwriting and
tots of fun. super high-energy rock songs packed
With catchy hooks. And when everyone else is trying
to sell you on the next big. Faith No More. Metallica.
Grungorama. that's nothing to shake your stick at!
SALE
12.98cdep/8.98cass
Robyn Hitchcock
®   Respect
When Robyn picked up the torch from "the Vegetable
Man". Syd Barrett, in 1976. little did he know that he
was destined for the same cult status. Except every
year Robyn puts out another of his great pop albums
and Syd tends his garden in Northern England.
SALE
14.98cd/9.98cass
SALE
14.98cd/9.98cass
Belly
®  Star
We won't try to compare Belly to
Throwing Muses, even though the
lead singer/guitarist was a
founding member of that group (as
well as The Breeders), but we will
say that this is a well-crafted,
introspective pop record that gets
better with every listen.
16.98cd/9.98cass
springtime — the scent of
daffodils in bloom, the sight of geese
returning from down south, and the
crack of the ball on the bat. That's
right, the amazing Zulu softball team
is gearing up for another exciting,
fun-filled season. No million dollar
deals or tempermental superstars,
just some people who love to play
the game, dammit. But we need
teams to play against, so if your idea
of a good time is playing mixed,
slow-pitch softball against a bunch
of slackers, then give us a call at
738-3232.
OTHER STUFF
All prices in this ad are in effect
until March 31.1993.
Remember. Zulu is an official
TicketMaster outlet, capable of
helping you with all your
ticket-buying needs.
Zulu also has CD listening
booths. While you are perusing
our huge selection of new and
used cd's. you can take any of
them for a "test drive". Ask at the
store for details.
ZULU NUS:
"Where there's rage, there's hope"
Lung
® Magnum Opiate
Magnum Opiate is the debut full-length CD on
Zulu Records from Vancouver's Lung. Clear the
wax out of your ears and listen to these comments: j
"Pretty amazing shit here... great in a
demented way." maximum rock'n'roll
They like to wreck stuff.' snipehunt
"Lung are a seething vat of guitar meltdown, severe enough that bands like
Helmet and Sonic Youth should develop a dandy crick in their neck from
looking over their shoulders." Vancouver sun
Produced by Don Gordon and Ken "Hiwatt" Marshall. Available at A&B Sound.
Sam's. Scratch. Track. Blast Southwest Sounds, and Zulu
LUNG CD RELEASE EVENT
Saturday March 20th • station street
COAL ^^
Thursday March 18th • Pit Pub. ubc