< 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
- Library Home /
- Search Collections /
- Open Collections /
- Browse Collections /
- Discorder /
- Discorder
Open Collections
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) 1993-03-01
jpg
Page Metadata
Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1993-03-01 |
Extent | 28 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1993_03 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 94aee4be-0834-4c5a-baa6-01daad2d1f64 |
DOI | 10.14288/1.0049905 |
AggregatedSourceRepository | CONTENTdm |
Download
- Media
- discorder-1.0049905.pdf
- Metadata
- JSON: discorder-1.0049905.json
- JSON-LD: discorder-1.0049905-ld.json
- RDF/XML (Pretty): discorder-1.0049905-rdf.xml
- RDF/JSON: discorder-1.0049905-rdf.json
- Turtle: discorder-1.0049905-turtle.txt
- N-Triples: discorder-1.0049905-rdf-ntriples.txt
- Original Record: discorder-1.0049905-source.json
- Full Text
- discorder-1.0049905-fulltext.txt
- Citation
- discorder-1.0049905.ris
Full Text
Cite
Citation Scheme:
Usage Statistics
Share
Embed
Customize your widget with the following options, then copy and paste the code below into the HTML
of your page to embed this item in your website.
<div id="ubcOpenCollectionsWidgetDisplay">
<script id="ubcOpenCollectionsWidget"
src="{[{embed.src}]}"
data-item="{[{embed.item}]}"
data-collection="{[{embed.collection}]}"
data-metadata="{[{embed.showMetadata}]}"
data-width="{[{embed.width}]}"
data-media="{[{embed.selectedMedia}]}"
async >
</script>
</div>

https://iiif.library.ubc.ca/presentation/cdm.discorder.1-0049905/manifest