Discorder CITR-FM (Radio station : Vancouver, B.C.) 1997-04-01

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OR    IS    IT      BETTER      TO  SAY      THAT    HE
HIMSELF       WITH       his    mixes    and    WRITTEN
conditions     OF CONTEMPORARY        LIFE,
while DISPLAYING     an informed,
PLACE AKin   ...^p
THE ELECTROSONICS, kaneva and spacekid. plus: save the cbci .o
\,  April    1997
Issue   *171
Save the CBC
30 Second Motion Picture
Oiivia Tremor Control
DJ Spooky
The Colorifics
miko hoHman
ort director
kenny paul
ad rep
kevin pendergraft
production manager
barb yamazakf
graphic design/layout
tania alekson, atomos, erin
hodge, ken paul,
barb y
tania a, chris eng, anna friz,
erin h, yuka mflcami, stu,
tristan winch
barb, Jamie bilan, shawn
james b, nelse b, brady c,
christian, michael c, christina,
qlenn d, chris e, anna f, karen
f, gth, alia h, jen h, pieter h,
sydney h, Joyce i namiko k
kenny. daria I, john I. sean I,
lloya, janis bmc, adam m,
Joseph m, kris r. dale s,
sheldon s, June s, aave t, jim v,
brian w, brian w
program guide
namilco kunimoto
megan Im, barb
popcorn girls
matt stettich
us distribution
discorder on-line
ben lai
linaa scholten
Cowshead Chronicles
Vancouver Special
Diary of Jonnie Loaf Boy
Interview Hell
Printed Matters
Seven Inch
Between the Lines
Under Review
Real Live Action
On the Dial
April Datebook
O "DiSCORDER" 1997 by th* Stud.nt Radio Society of
tho University of British Columbia. All right« r.i.rv...
Circulation 17, 500.
Subscription!, payabU in advance, to Canadian residents
aro $ 15 for ono yoar, to re«dent, of tho USA aro $ 15 US;
$24 CDN oUowhoro. Single copies aro $2 (to covor portage, of course). Please make checks or money orders
til March 23th and can be booked
by calling Kevin at (604) 822-3017 ext. 3. Our rates are
available upon request. DiSCORDER is not responsible for
loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to
drawings, photographs and transparencies), or any other
unsolicited material. Material can be submitted on disc
(Mac, preferably) or in type. As always, English is preferred.
From UK to Langley and SquamUh to Bellingham, CiTR
can be heard at 101.9 fM as well as through aU major
cable systems in the Lower Mainland, except Shaw in
White Rock. Cal the OTR DJ fine at 822-2487, our office at
822-3017 ext. 0, or our now. and sports fines ot 822-3017
ext. 2. Fax us at 822-9364, e-mo_ v ah citi«unixg.ub«.ca,
visit our web site at hHp://www.ains.ubcca/media/c_r or
just pick up a goddamn pen ond write #233-6138 SUB Blvd.,
Vancouver, BC, CANADA  V6T1Z1.
P r i n t e d     In     Cnnnon
FRI.  4th
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MUSIC FESTIVAL       ^m^m^m^m^m^m^m^m^m^tm
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ETS: -nCktfMASTER. If   I    W
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I ' :'■' .   I- *P—mmmml
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HOSTED  BY  nn"y"n "g"*•**' ■ J^m	
 APRIL 15th » CD RELEASE FOB JUICE 7:30 -10:00 pm
APRIL. _2"<*  •>  B«*«  •   18th
H ADLEY, _. co release for EVIL ROY SLADE
Site Of
$11fitly Music
for The
Pimp In You.
r—^    [\r
ARD   604.669.2289
Visit our cafe on the upper level.
233-6138 SUB Blvd.,
'"'■ *t
. a6wfehead chrorucles e
Dear Airhead,
i'd like to commend
DiSCORDER on your newfound
dedication to finding the
crummiest writers on tne planet.
Between the Lines is written by
the two biggest brainiocs since
Sean Raggett or Coral Short.
Damn it, even Trish Kelh/ is better than these two, and that isn't
saying a whole lot.
Christina claims that she
ond poor little busy bee Andrea
are just loo darn bogged down
with the trials of everyday life
to review any "music/fun"
'zines. Now isn't that what most
'zines are about? By keeping
this policy, not onfy are they
denying your readers with a
whole whack of information,
they themselves are missing out
on a lot of realh/ good writing.
I admit, many of these "music/
fun" 'zines aren't worth the
paper and toner wasted to print
them, but there are so many
hidden gems out there. Gems
that will get neglected by this
Christina goes on to say we
should check Factsheet Five or
Terminal Shitty for our "music/
fun" 'zine inspirations. Unfortunately, Factsheet Five is as
easy to read as an accounting
textbook and Terminal City just
flat out sucks. I've ohvays (for
ten years) turned to
DiSCORDER for my 'zine and
music cravings and unfortunately, DiSCORDER is getting
stacked next to the toilet in my
house more and more. Not just
for a little loaf-pinching-light-
reading, either. (OUCH!)
It's kinda funny that "music/
fun" zines are denied exposure
but anything with the return address #33-345 E. Broadway
gets a glowing review. Now
I'm sick of lame 'zines too,
and I could really give a fuck
about the "hot band du jour,"
but I also don't have a single
spare second to waste on
another 'zine done on a shitty
old typewriter with those cute
little paste-on stars featuring
writings by a myopic, angry,
young girl who's discovered
that by calling herself
"RiolGrrrl" she can be right
all the hme. Gender politics
are extremely important to
me but the vast majority of
these zines — and I've read
a lot of them — do nothing
but increase hostility and
schism. If you grrrls really
want a revolution, buy a
fucking gun or two. I did. No
more Mark Lapines in my
Regarding the review of
the Soy not Oi cookbook in
last month's Between the
Cheeks; since when is it "not
punk" to brew your own
beer? BEER IS PUNK. There
is a growing faction amoung
us punk rock beerhounds
who make intelligent, coherent, and socially responsible
decisions about which beer
we drink. NO MATTER how
boozed we are. "FUCK
MOLSONI" is a simple three-
syllable statement that is easy
to say even after 12 micro-
or-home-brewed masterpieces. No matter how
pissed I get, I still have a
brain and taste buds, okay?
Don't talk like you know,
beacuse you fuckin' don't. I
don't care if you aren't SXE.
Straightedge kids haven't yet
cornered the market on being full of shit. The point Soy
not Oi was trying to make was
that by brewing your own, you
are totally outside the corporate >
deothbeer structure. Don't even '
try and convince me that isn't
punk. No dipshit edge-kid can
convince me I'm wrong ond neither can a self-righteous RiotNrrd
nepotist. In fact, the only thing
Andrea and Christina have convinced me of is that they are a
couple of card-carrying morons.
Dale Nixon
Wall, a big hollo to y'all.
This is your annual report from
that musical foreign correspondent — Marcos X (of Ngoma
fame). Last time I was down here
NAFTA was big news and co-
incidentally, the band I was
playing in consisted of US,
Can., and Mexico. This time the
UN is obout and I'm playing
with Brazil, Guate, Italy, US,
Germany and a super wicked
drummer from the UK whose
band there (Easter House)
reached #15 on Billboard. I
never heard of them and he
didn't bring any material down
so I'll wait to get back to hear
Guatemala is attracting
more and more international artists every year. This year just before I arrived, one of the Tragically Hip was around and being from Canada, got o lot of
questions about 'em.
Well, being forced to have
a short trip this year, as my landlord of nine years decided to sell
the house ... and it sold. So I've
got to return and deal with that.
Unfortunately, it's also where
Ngoma practices too ... so moving ... yuk!
"no i'm just lookin' 'round, thanks a lot./ i gotta be going now. will i get
caught?" (freedy Johnston "on the way out")
the dairy experiment was a bust, i tan see that now. clearly, and while it
wasn't supposed to be a sad documentation, some found it disheartening,
especially one certain province reporter who's opinion i respect for reasons
i'm still sorting out. and to him this column is dedicated.
from the side he saw her, his eyes just caught the sight of her, somehow she
was seemingly rolling by him. she moved as if on wheels and said hello as
she passed by him. he wasn't even sure at first if he even knew her, but she
knew him. then it came to him, who she was, he knew now where he had
seen her before, she was much taller than he had ever really realized before
and this, for some reason, threw him off a bit. her thin frame and boyish
looks suggested someone much younger than himself and for a moment he
felt very old. turning, he watched her continue down the street and round
the corner disappearing from his view, and it was then that he became scared
he'd never see her again, catching his reflection in a store window he looked
at himself like he had never done before, mirrors at home had always been
unkind to him, reflecting the bad side every time, the whites of his eyes
turning gray with the passage of time, the road map that was his face, his
hair that was turning white and seemingly receding at a rather alarming
rate, it was now, though, as he looked at himself clearly in the store window
that he realized he looked better than he thought, maybe she saw something
he never could, pulling up to the window he studied his face and brought
his hands up to it. confidence rushed through his body as it never had before, standing back he surveyed his clothes and the frame they were attached to. turning from side to side it became clear to him that he was not as
sickly as he had once thought, he had style of a sort, where he got it from he
didn't know but he liked it nonetheless, the deficiencies he had once stood
before and cursed had now all but disappeared and he felt good, at least for
that moment, where did she work? could he find her again? the piss and
vinegar of a younger time had returned for a visit and he felt like he could
conquer the world or the very least ask her out, if he could find her again,
not if, he would find her. silent he decided that the next words out of his
mouth would be ...
gth ...
mm ©.©(una cac^y
Labour? Why bother?
All you gotta do to win one of
Universal Records' Hercullan
prize packages is show up at the
CiTR business office (233-6138 SUB
Blvd. UBC; 11 AM-6PM. Mon-Frl),
answer the skill-testing question
and choose your prize:
I   •       5       SLIDE       SHOW       VINYL       LPs
FAXED HEAD  __-»«. kl M (ft. tan *f »<H $14.9] tt
DEM0UT10ND0UR0DS r(Ury(Jefl$pMcefpr.-«»-) $9.S7Li>$14.92CD
FM EMHEIT' feu** fed. f-mzr kmm I feir thmet miimtr $ 15.79 0
FOLK IMPLOSION ° hii-uotic* (Job. Devil' ta4~.43.94 7" $7.90 CD
SLEAT1R KINNEY  Dig Me to {April 7 opproij. $10.94 LP $1341 CD
PALACE MUSIC toeteMttolnvldk^Mmm
HALF JAPANESE   lot fe- (Jd For, -*,bn...Jeje4.....)9.l7 L» HUI CD
HELIUM .   No Go/fan ftfoy'ro lyiif) $tm
SILKWORM  Dereitper [ft* im rifhfj. $9.17 If $15.79 CD
with only
Well then you haven't vet enjoyed oun .„_
in the O display bint. No longer locked up with only
the ipinei in view, all the CDi are now out loryou to
ink up, handle, dudy, appreciate the art...ond know
whot you're getting, we are happy to make this long
overdue improvement for yow.
... \t% know your I-moi! oddrew ond receive weekly
catalogue! and Wo efeout all Ae (awed relt«»ei
Wore yow Mp blend*! Save mmvf I Shop fron the
coarfortiofy»wco»puten}iwrlSemla»e»«g<to Vancouver!
by dale sawyer & janis mckenzie
X Aokin9 °big buzz
l\Xl around town these
I V 1 days is Steveston's
THE BEANS. This semi-im-
provisational ensemble has
been entertaining local audiences lately with gigs at the
Sugar Refinery, the Starfish
(opening for David
Thomas and his Two
Pal* Boys), and even the
1996 CiTR Christmas party
(held in the province of Gig,
in Albania, just before all that
anarchy fuss went down.
Who knew?). Well, I've heard
their tape and all I've got to
say is that The three Beans are
a bunch of buck-toothed,
hairy, big four-eyed, smelh/,
obnoxious, ostentatious dogs.
That is, if I'm to concur with
the answering machine message playback in the cut "We
R the Beans," and, well,
sounds good to me. But then
again, so does their music.
Fans of Slint will hold The
Beans dear, and some cuts on
the ten-tune cassette give me
the same floating, aquatic
vibe as does Tortoise So
now they've been pigeonholed, what more is there to
say, except thot The Beans i
"a bunch of slack-jawed, butt-
fudging homos who never
even heard of good beats "
Just so I don't wrong The
Beans unfairly, I'll end off with
something I wrote: (ahem)
Bean, Beans/The musical
fruits/The more's I hears/The
more's I salutes.
So, as a way of saving
my valuable time, (which
could be better spent on
much more worthwhile endeavours, such as watching
scrambled porn way up in
the channels), and as a way
of saving your valuable time
(see above), I will cop out
and just encapsulate some
of the cooler tapes I'm about
to smear all over the CiTR
(ex Tami, Gloriosa) is back;
even the Thrillseeker himself
was surprised to see we had
an earlier tape of theirs
(thanks to our efficient espionage department). Anyway,
these guys really know how
to fuck around with the pop
formula, with "Ghost" being
as weird a song as you'll ever
hear. "Theme from
Thrillseekers" has great earh/-
Floydian Acetone,  ond
"Summer" is revived in a different,  lazier take    ..
song tape
a t -
chords giv
ing a prog
touch to a
heavy, loping
rhythm section
... Also laying on
the ethe
UNDEAD FAN, ex-m e m
bers of Lester and Naked
For Jesus Gone are the
bombastic alternative soul-
scrapings, in place of twisted
vocals and guitar with delay
effects that decay into eternity,
although the tape itself isn't
actually that long. FEROCIOUS dishes up four tracks
of whack, giving Ween a run
for its money as purveyor of
godly anthem rock with helium-powered vocals. Victoria's B.H. put the fun back in
punk, where it belongs, in
stead of in Albania
Suckerpunch is 15 low-rent
hardcore punchlines, good
for more than a few chuckles
as you stick your head in the
hole you just punched out of
your motel room wall. And
finally, ANI KYD (anyone remember Spanking Betty?
Okay, so it's a stupid question) has risen out of the ashes
(bad, tasteless humour is my
forte) wifh a bone-melting
four-song tablet that will
singe the hairs right off
your gi-gi as soon as she
lets fly with that whisky-
treated stentorian
voice of hers. Listen-
g to "Lost" and
Left Holding the
Bag" leaves me
drenched, all
the while thinking, "How
does she get
her voice to do
I* She looks so angelic on the cover (same picture as was hanging in the
lobby of the ^^_^_^
Horo Comet Tomorrow
(Ape No Kill Ape)
Roxanne, Steve, and Gord,
the heart of Thrill Squad
(and before that Oo Four
Three, and before that, The
Debutantes) and probably
Vancouver's longest-living
youthful pop trio, have upped
fhe volume with their current
lineup, including one-time
punk rocker Colin Wilcox on
guitar. Here Comes Tomorrow,
their second CD, brings us six
of their biggest, brightest,
loudest songs yet, so if you
don't like well-played, boisterous, yet glossily-produced
power pop — and I know
there are some of you out there
— consider yourself warned.
I still remember the first time I
naively played Queazy's
demo, "Anguish," on my CiTR
show, Girlfood. Good band
name, I thought, expecting
maybe something lo-fi and bitter, but poppy, and then got
knocked out of my chair when
that machinegun guitar kicked
in. If I'd seen the cute
Japanimotion girl and photos
of kitties inside the CD, I would
have been even more
suprised, because this certainty isn't cuddlecore! These
three girls rock as hard and
clean as anyone else I can
think of — although singer/
guitarist Laura clearly could
noodle if she wanted to, the
band shuns such self-indulgent
behaviour in favour of punctuating the nearly relentlessly
loud songs with occasional
playful (yet tasteful) snippets of
sound effects, including baby
giggles in the middle of the
fiercely hard-rocking (and only
53 seconds long) "Ugh." I
plan on leaving this one in the
CD player as a special surprise for that punk purist huv
band of mine — he will be delighted!
hesnutt cancelled his show, lois was never
i*t doing any press," and we ran
I as t ^ igjj t-of   production.
yhoo, let's look on the
how to ose the word "coin '51e?n?Slceniiitt^ffied her best to explain
It the concept of postmodernism could be
barb's notion of what friends should be, and
analogy ... for the most part, ken's ob-
mr. art bell continued to grow and we all
tristan had met someone "new," but alas,
and is rarely altogether true, he did,
pply us with a tasty picnic/midnight snack
f bagels, soda pop and candy, all of which
lear the air a bit after kevin and miko nearly
fi$t-fight over the Diimmy. despite kevin s
iribe miko wjth a cookie, the pruny-haired,
ived grouch pouted fbr daysr.,-. and so did
hp was fooled hy the wrong bummy^..
tkept us goin'during this loser issue:
lent • railroad jerk • built to spill •
lamb ♦the beans • descendents • bedhead •
itatics • tullycraft * magnetic fields •
mplosion • rasputina • Cibo mat|o •
lou lord • marine girls • 2 foot flame •
lys late • v/a little darla Has a treat for
I. 6 (darla) •v/tf something cooi(cher
hi fives • v/a disco sucks (che) •
[■duly three • white town ♦small
factory * face to face • autechre • tsunami
(remember them?) • windy & carl •
6    ojril 1997 Save fhe CBC: Choose Canadian identity over American 'pap' culture
by Brian Wieser
In the face of commercial media which can only
feed the mosses wilh whot the mass producers
want consumed, public radio is not only a good
idea, it's essential. While the CBC is not exactly
free from fie necessary evils lhat commercial radio
faces (i.e. record company pressures and the occasional pandering to a lowest common denominator audience), with the freedom offorded by
non-commercial broadcasting, CBC's radio networks must exist, or the negative effects on developing Canodion talent will be dramatic.
The CBC has reached the point where it has
overextended its capabilities and taxpayers' desire
to pay for it. With two notional television networks
(CBC in English and SRC in French) and two specialty channels (Newsworld and RDI) in addition to
CBC Stereo (the fM network) and CBC Radio (ihe
AM network), the Mother Corp.'s substantia! subsidy requirements hove placed it near the front of
the chopping block from federal deficit cutters
(well, what would you prefer: less money for universities?). The cuts that were onnounced lost
December were so severe that one in three (obs
will soon be eliminated from the organization.
The CBC does not appear ready to reduce the
scope of its operations. As a result, the implications on radio programming due to staffing reductions are as undesirable as they are inevitable.
Independent Canadian music has benefited
greatly from three CBC Stereo programs in particular: Nightlines (hosted by David Wisdom, Friday
ond Saturday late night), Brave New Waves (hosted by Patti Schmidt, Monday to Friday from midnight to 4am) and Realtime (hosted by Leora
Komfeld 7pm to midnight every Saturday) have
been responsible for on enormous amount of exposure lhat is only given elsewhere by campus/community radio — equally essential forums, but wilh
less money ond clout and therefore, a smaller listening range ond more limited abilities.
Independent music labels in Canada have benefitted greatly from the aforementioned CBC programmes. "CBC were the first to play either
Murderecords or Cinnamon Toosl music," soy
Colin MocKenzie, who works with both Cinnamon
Toast ond Murderecords, whose rosters include
Plumtree, Rebecco West (both on Cinnamon
Toast), Sloan, and Al Tuck (both on Murder).
"Brave New Waves wa* very supportive from the
get-go, having bands in to be Interviewed os wed
as doing sessions (hat not only allowed the bonds
to record new material, but olso gave hem a little
money which in turn mode It possible for them to
"Some ofthe band* involved with Murder and
Cinnamon Toast hove hod some oir pfoy on 'commercial stations,' [but] o great mony more have
not. These bonds ond records do get exposure in
larger cities due to collage radio, but as far os
the smaller communities, the only access people
have to our musk is trough the CBC. It pisses
me off that the CBC may die because the axe is
coming down from the urban minds ond not from
the smaller regions who are the ones that really
need it. If the CBC trashed their non-
classical/jazz programming, the only olher venue
for developing artists on Murderecords and
Cinnamon Toast would be college radio, and
some infrequent specialty shows here and there
Over the past five years, Mint Records has
grown into one of the larger Canadian independent labels, with a roster including cub, the
Smugglers, and Huevos Rancheros. Mint's Bill
Baker has this to say about ihe CBC: "The network
has done an immeasurable service for us by providing access to nation [and world]-wide radio
ond shortwave broadcasts, which have done wonders for raising our profile. Besides getting our
music on the radio, they've also token on active
role in pursuing us for interviews. Not to mention
he fact lhat hey actually have programming that
appeals to our (target) segment of the population/market, whereas our American pals have a
greot deal of trouble getting access to anything
dose to this in their country."
A* much a* o fixture some of ihe programs
have been, ihis does not mean they will always
be around. The world of radio is fickle, and nothing enhances dii* more (hon budgetary strain. If
there were concellafions to BNW, NigMines, or
Realtime. Bill thinks Mint "would lo*e acces* to
national airplay, plain and simple. College radio
would still make up most of our airplay, but without
ihe CBC, we would not be accessing your aver-
oge folks the way we are today. I mean, my Mom
fistens to CBC."
Would the end be in sight if we were in a world
without the CBC to promote indie-rawk? Fortunately,
there are some government programs lhaf musicians
can benefit from, like FACTOR and other grants for
touring and recording, which do not depend on the
existence of the CBC. "I think if the Federal
Government sat down wilh Canadian commercial
radio and pounded out an agreement lhat each sta-
progrom one full hour to "new* Canadian
musk, the whole geography of "alternative" music
would change — as was proved by the mighty
Nirvana," Colin suggests. "Perhaps Dave Bookman
at CFNY ("modem rock" station in Toronto) could
program a syndicated show across the country. It
would be a start and would educate a few folks
who in turn could ihen develop somelhing a little
more reflective of their own region."
No matter how successful such a plan could
be, it wouldn't likely replace what we have now.
Bill adds, The CBC is a unique entity lhat is precious to the Canadian identity. It is greater lhan the
sum of its ports, and it must be preserved. We have
the unique situation of being a relatively young
country, and as such, our national 'identity' is still
On shoky ground combined wilh the fact lhat we
are a stone's *hrow away from the most powerful
media outlet in the world — the USA — which
already inundates our culture/media wilh its own
content and identity. An entity like the CBC is very
Important as o tool to bolh foster ond protect our
notional identity, heritage, etc. This applies to every
area of Canadian cultural endeavour, be it dance,
opera, indie rock or David Suzuki. It's all important ond it is essential that it all be given airtime."
Even though cuts have already been
onnounced (and politicians have pledged not to
cut ony more), it's never too late to show your support for the CBC. Contact the Friends of the CBC
at 1-888-679-7778 and find out how you can
help iheir lobbying efforts; write a letter to your
Member of Parliament or to Heritage Minister
Sheila Copps (and it's postage-free!) to let them
know your opinion; or most importantly, listen to
ihe CBC and tell your friends to do the same.*
Internet: http://www.ilap.com/savecbc/
ALL EVENTS ARE FREE! Thunderbird Radio
Rich, cm you please explain your 'connection' to the
Viletones. You played with a Viletone!
Funny you should ask. This question makes me think
of certain ex-members of this band who seem unable
to do anything but try to make a name for themselves
on the strength of being a former Black Market Baby.
People so obsessed with the past obviously have no
confidence in the future, so the answer to your question is NO!
Jay? Say something.
(eerie silence ... begins to mumble something ... then ...
Ask yourself TWO questions and answer them.
0: What's your sign?
A: Well, my astrological sign is Scorpio, but my 'sign'
would have to be tht sign on the people mover at
Save-On-Foods. It depicts a man falling a great distance and says. 'Please hold on to the rail at all times'
Q: Why do you do 'that thing you do?"
A: Acceptance is the word. You see, all I've ever really
wanted is to be loved and accepted. This word is so
full of hate and spite that I often feel like a stray dog
without a home, freezing in its coldness. So I've set
out to be everybody's best friend, wagging my tail
behind me!
Q: What do you want to be when you grow up?
A: Dead.
Q: How arc Black Market Babies different than other
bands that gig regularly around town?
A: We're good.
Who ire you? (names, ages, instruments played)
Rich Jones (guitar, vocals), Billy Hopeless (vocals), Rob
Hunter (bass, vocals, percussion). Jay Millctte (guitar).
Valeria Fellini (drums)
Billy, what's with your cub obsession? You even
bought some of their underwear?
It's not just because cub are an insane, high-energy,
as-punk-as-they-come. self-destructive band spewing
out obscenities. Oh no, it's much deeper and sicker
than that! When I listen to their music, they speak
directly to me, telling me what I must do! So if I've
ever done anything that offended or hurt anyone, it's
not my fault. I can even hear them now:
'oooweeeoowec cha-cha.' I have said too much! I'm
sorry, Mistress Lisa — don't punish me! Please! I am
forever the son of the cub
Speaking of cub, where did you first meet ex-cub
drummer Valeria?
Billy: Well I'm told that Valeria first saw me when I was
standing on the corner doing my job as a street whore,
But I paid no attention to her and thought she was
just another John. But, as I recall, the first time our
eyes met I was just a young lad with my face pushed
up against a chocolate shop window. I guess she
thought I was all wide-eyed and drooling over her but
actually it was the chocolate! Mmm, chocolate!
And Valeria, since we're going down memory lane,
where are the members of the Speed Queens, your
brief-lived 'early '90s combo?'
My second Vancouver band, the Speed Queens, was
formed by Michael and lain from Kamloops. BC.
Michael went on to form the great Blaise Pascal, now
sadly busted up. The Speed Queens busted up after
three shows because no one knew who we were, and
when we told them, no one cared. Besides, apart
from Iain's lyrics, which he sang in a deeply eccentric
way, we sucked imperially. Our bass player, Steve,
was a good musician with experience, but he was
with a bunch of amateurs. At our most illustrious
show at the Town Pump, my bass drum rolled off the
stage. All 11 members of the audience stood well
back and let it bounce onto the floor. Thank you,
Hello, Rob, the bassmeister. You're from Fort St John.
Another Vancouver music fixture, Rob Dayton, is from
that fair town. What can you tell the readers about
the secret life of Rob Dayton?' And Valeria, (yes. you
again) what yarns can you tell about the John?
Well, I don't remember a lot from those days. I mean, it
was sooo long ago, but I will never forget the day I
saw him. I had heard all the legends: that he was covered in hair, ate children, etc. But it was his howl that
I found most frightening; its high pitch still haunts me.
He was moving very fast so I didn't get a close look,
but he was all sideburns and hair as I remember and
his eyes were wild like a raccoon full of buckshot. Later,
he apparently changed his name to Robert 'Plant'
Dayton and started a Led Zeppelin cover band ...
Q: What makes you glad about Vancouver's music
A: The diversity, degree of good musicianship, the
peculiarities and eccentricities of the individuals on
the scene! Seeing bands play tonnes of benefits, right
from my first exposure to Vancouver's punk/glam/rock-
abilly crowds at the Savoy, where a huge line-up of
groups played to raise money for a cat's vet bill, to present-day where, on International Women's Day,
Sparkmarker listed off 10 or more organizations for
women to be aware of and support.
Q: What makes you mad about the scene?
A: Not enough of us get out of our practice spaces, go
down to a show and support the acts by not scamming
in on the guest list and buying local products. I know
lots who do, but I would say not enough of us are
making the effort necessary to strengthen and unite
our scene.
Q: Why did the Black Market Babies choose you as
their newest guitarist?
A: (eerie silence ... begins to mumble something ... then
Q: Do you think the Vancouver music scene is a healthy
A: (eerie silence ... begins to mumble something ... then
Anything else to add?
Beware of cheesy Clash-influenced wannabes. We are
the youngest, loudest and snottiest!
'Retro World'/'Tuned-out Tokyo' 7" (Devil Doll) produced by the lovely and talented Joe Keithley. Taken
from our forthcoming full length release.
Contact name and address:
Rich Jones (662-8664), #1203,-1225 Cardero St., Van.
juniper daily
Who are you? (names, ages. Instruments
Paul Snepsts: vocals, guitar (21), Johnny Martin:
guitar (23), Brad Pitzel: bass (21), Shane Wilson:
drums (22)
How did Juniper Dally hook up with
'Nettwerkers' Vincent Jones and Mlchele
Paul: I met Michele years ago in Toronto. She was
then half of Lava Hay doing a weekly thing at the
Cameron called Lava Hay's Living Room.' She
then set sail for Vancouver where a record deal
with Nettwerk awaited. Through Michele I met
Vince, then part of the Grapes of Wrath. Years
later I was in my own band; Vince was there to
help us record our first demo. We played around
town for half a year or so, and then enlisted
Vince's help once again to produce and record our
debut CD, Stride.
You opened up for Change of Heart on your
Ontario tour, right? Is there any difference
between BC and Ontario audiences?
Change of Heart was our first gig on the tour. We
didn't have any experience playing on the road,
and hadn't played for over a week with the travel
time, so it was in some ways too bad we got to
open for them in that state of rustiness. The gig
was great though. It was a very small room, but
somehow Change of Heart were able to fill it comfortably with sound as opposed to blowing the
roof off the place.
The issue of audiences is a touchy one.
Ontario audiences have a reputation of being
rather cold and unreceptive. It's a reputation
undeserved from our experience. In fact, they are
very warm and receptive. We tend to want an
'event' before we'll part with our entertainment
bucks whereas people in Ontario are more open
to seeing live music on a regular, more local
level. It's common for Vancouver bands to have
to leave the area to achieve any success as a
rule. Our audience seems, temporarily at least,
far less receptive than Ontario crowds. Perhaps
it's part of some cynical pattern that will soon
correct itself?
Are there many other bands in Vancouver that
use VOX AC3Cs? Does the 'Daily's' preoccupation with this type of amp stem from Johnny's
friendship with Greg Watson of the
The AC30 is not often seen at the indie level. They
demand a certain amount of care and upkeep,
and they tend to be very temperamental. Besides,
they are pricey. The preoccupation comes as a
result of their unmistakable tone.
Oh, and Greg Watson of the Fiends doesn't
use the AC30, so no, it doesn't have anything to
do with Johnny's friendship with Greg.
8     april  1997 Oh, Shane, what exactly was your Involvement with Oh Susanna? Has the major label
'bidding' war over her ended yet?
Shane: I played drums on her demo a few years
ago and that was the only time I ever met her. I
also played on the new Juniper Daily CD, Stride.
Actually, we recently performed on the CBC-TV
series Terminal City (airing date April 12th). Oh,
and Oh Susanna gave me food poisoning from the
Chinese food she bought me.
Hey Brad, please tell DISCORDER readers
about yerself.
Brad: I'm the token computer dork in the band,
taking care of Juniper Daily's posters, faxing and
crap. Before that, I was involved with Euphony, the
fledgeling attempt at an Internet music magazine.
Ask yourself TWO questions and answer
Q: Describe your music to DiSCORDER readers.
A: Our music is the kind of guitar pop that it takes
a few listens to sink your teeth into. It's not in-
your-face, super-catchy, three-chord pop. It's not
pseudo-cerebral, intelligence theme-rock. It's not
steaming hot, adolescence neo-punk. There's
nothing wrong with any of these types of music,
but they're not what Juniper Daily is about We've
just tried to write these good pop songs that are
strong musically and lyrically as a whole.
Q: Whafs in the crystal ball for Juniper Daily?
A: Over the next few months, we are going to start
up the PR machine and get marketing this record
of ours. A short tour through the interior and
Alberta in April will kick off another cross-Canada
tour in May or June. Sometime between now and
then, we hope to create our first video for none
other than Blood Boiled.' Come out and catch us
live on the next few months. It's going to be a
great time for us as a band and hopefully we will
build up a base that enjoys the music.
Juniper Daily three-song demo cassette, Stride CD.
Who are you? (names, instruments played)
Two songs were recorded under the name Tabloid in
1996: "Doom," which is currently on the CiTR 101.9
fM playlist and will be on the soundtrack of Terror
Within, and "I Don't Care About The Beatles Reunion,"
which can be found on the internet. The musicians
involved in this project were Mark Andrews (Mo),
drummer of Strange Union; Rob Cook, ex-guitarist of
Strange Union; and Kerr Anoid on bass and vocals.
Playing Drums is Marko, the most recent musician to
join Tabloid.
How influential has the province of Ontario been on
your musical or social development?
I have no social skills and know nothing about music.
I just influence myself and couldn't care less if people
tell me that I write music wrong. The way I see it,
music is neither right nor wrong, it just is.
Has Vancouver treated Mr. Kerr of Tabloid fairly?
Have Dead People been supportive?
Because Vancouver is surrounded by mountains and
the mountain gods don't like letting dead people pass
them, there are lots of bored, dead people hanging out
in the Vancouver area looking for something to do.
They seemed to gather around me at first because I've
had numerous near-death experiences and they
thought I was one of them. When they realized that I
was alive they started helping me out by climbing
inside people's minds and convincing them I have talent. I sold the Terror Within movie script, which should
be filmed sometime in 1997 after I give it a drastic rewrite. When I play concerts, dead people fill up the
venue and climb inside the minds of the audience,
convincing them I sound great and they like my music
If you could pick the lifeform you would like to be
reincarnated as, what would it be? (i.e. hamburger,
tree, etc....)
I don't know what would please me to be reincarnated as, but I do know that my greatest fear is to be reincarnated as a dandelion. You sprout from the ground,
have a short childhood, age, your hair turns white,
then someone comes along and pulls you from the
ground to blow your head off.
Kerr, you've appeared on the X-Files and in Prom
Night III — what's it like to be a 'punk' extra in film
and television? Any interesting tales of being a 'punk'
Today, several buds and I got accepted to play a
Russian punk band in The Sentinel TV show. Debora
Harry of The Extra Solutions Group called me up and
told me she had someone looking for some local band
to play in the show and she referred me. Since I don't
have a band, I talked to Dixie Bear Duggan and Clint
Bodnar of The Ebola Monkey to fake guitar and drums,
plus Shawn Murray from Scabie Nation. We'll be under
the name Tabloid because we had to pretend we were
a real band.
Which band do you like the best: Journey, REO
Speedwagon, or Styx. Please explain your answer.
I'd have to say Styx because when I was a child I saw a
Styx album and wanted to grow up to be as pretty as
the blonde dude in the band. When I got older I no
longer desired to be pretty and it really disturbed me
when I found out that I was.
Ask yourself two questions and answer them.
Q: What do you think is the greatest threat to society?
A: I feel our current monetary system is obsolete.
Everybody must concentrate on pieces of paper and
metal in order to survive. Each successive generation
must be larger than the previous one, so the majority
of the population can survive and prosper while the
people who either choose not to worship the money
god or don't have the right amount of luck must
become the seedy underbelly of society. I think the
only reason our monetary system has lasted as long as
it has is that nobody's even attempted to figure out a
new idea that might work, probably because
humankind hasn't evolved to that point yet.
Q: What offends you?
A: I don't know if I'm offended by anything, but there
might be something which I can't think of at the
moment. One thing is certain: the outdated concept
of bad words I find completely nonsensical.
Terror Within should be released in various film festivals sometime in 1997. The Drainer has been rejected
by a few film companies, but will get sold and produced sometime in 1997.
Contact name and address:
A message can be left on the Tabloid internet site:
http://www.siwash.bc.ca/seaside — second building
from the right in the second row.*
Live from Thunderbird Radio Holl
can bo hoard Thursdays from 10-11
pm on CiTR 101.9 fM!
Upcoming Highlights:
• April 3 - Wrought Iron Smile and Soy
• Aprif 10 - Dissent and Burden
•April 17 -Bottom 12
• April 24 - Faorpuller
friday april 11
@ arts county fair, ubc - noon to 9pm
@ chameleon - 9pm
Saturday april 12
instore @ hmv robson - 3pm
@ chameleon - 9pm
Sunday april 13	
@ airtight, chameleon - 8pm
@ chameleon - 8pm
9    ®(£g£2_I_!__ by Lori Kiessling
I'm staying up all night trying to type
out an Interview I did via mail. And mall
Is such a great thing especially from far
away friends. 30 Second Motion Picture
are made up of members of Shotmaker
and Okara (plus one), two bands I loved
seeing packed Into small spaces full of
energy, music and old friends ... back in
Ottawa. 30 Second Motion Picture are
Matt C, Matt D, Caroline and Tim ...
What's so great about the Police?
Matt C The Police were the perfect rock band.
A lot of people who read this will already
understand that. If you don't understand it,
sorry, but I can't explain it to you.
Talk about Influences and Inspiration.
Tim: In my opinion there are very few good
bands these days ... so I'm impressed when I
thing I like. Having fun outdoors
(bike, ski, camp) inspires me.
Matt C I get inspired by really great bass players who sing incredibly (Sting, the Police).
What sorts of things are Important to you?
Matt C: Making music and singing is really
important to me. Life experiences — good
and bad — are really important they keep me
Tim: Life and the health of the earth. (That
sounds cheery, doesn't it?)
Caroline: I'm the kind of person that expects
quality in everything. So when I find a friend
or a material object that makes me stoked I
value that. I think it's important to respect
other people in every aspect of life because
that's how I expect to be treated.
Tim: Because Matt D isn't here, I'll answer for
him: his family (he's a dad).
How did you learn to play guitar?
Caroline: I acquired an acoustic guitar on my
16th birthday. My sister tried to school me,
but she was impatient. Tim helped me learn a
lot ofthe basics and even showed me a blues
solo. I have various teachers scattered across
Ontario, also. The first few things I learned
were Screeching Weasel riffs.
Tim: I'm self-taught. A Led Zeppelin guitar
book helped.
Whafs happening In Ottawa right now?
Caroline: Right now, the streets are icy from
freezing rain and the bakery across the street
from me closed down. Not a pretty picture for
a city that's usually quite nice.
Favourite Ottawa hang out
Tim: Gatineau Park rules. It's only 10 minutes
Caroline: I stay in my room a lot, but I also like
visiting local tourist attractions. There's a new
worm sculpture here that makes noise when
you walk by it.
Matt C: I enjoy hanging out with Team Bar at
the Dominion Pub.
What cities have you had best/worst experiences playing In?
Caroline: In Almonte (small farm community
outside Ottawa) the kids threw snowballs at us
when we were loading the van after the show.
They hit Tim in the head and I yelled at them.
Matt C: The best shows are with good friends
and nice people.
How do you feel about drum machines?
Tim: I think we should replace Matt D with
Favourite books!
Tim: Many people will think this is dumb,
but I really like Douglas Coupland, especially
Microserfs & Life after God. i'm pretty into
reading plays. Faves include William
Streetcar Named Desire and Pinter's
Caroline: The Member of the Wedding and
The Square Root of Wonderful are up there
on my list. They're both by Carson McCullers,
an awesome New York woman from the '50s.
I also adored Kicking Tomorrow by Daniel
Richler cause it's about crazy, reckless youth.
Matt C: 71*0 Years before the Mast by Richard
Henry Dana Jr. Romeo and Juliet by William
Shakespeare. Joseph Conrad's Heart of
Darkness and The Rime of the Ancient
Mariner by Samuel Taylor Coleridge. Books
are fun.
Do you know anything about Vancouver?
Tim: You can mountain bike (Matt C says that
mountain biking is lame) and snowboard
almost all year round. That's amazing.
Caroline: The farthest west I've been i
Chicago, so I don't know much about
Vancouver except that it rains lots.
Matt C: I know I have a couple of really good
friends who live there and I miss them very much.*
SHOTMAKER: split with Mr. Nobody/ 2 7"s
(Kung FuV split T with Watershed/ LP (Great
American Steak Religion)/ split LP with
Maxamillion Colby (Nervous Wreck Kids)/ n
LP/CD (Troubleman)
OKARA: 9 song demo/ 2 7"s (Sweaky)/ full-
length (Spectra Sonic Sound)
Shawn Scallen (scallenOcyberus.ca)
http://www.cyberus.ca/~scal I en
c/o Spectre Sonic Sound Records, Box 80067,
Ottawa, ON, K1S 5N6, ph/fax: (613) 23-SOUND
PAWEMENT s ii|s M&in argtffts, rejlresentaUon::iconstit|tes a
subject thi*«gh rtffectiohs&f the repfesentallonal
Lframework through which the subject Is represented. The framework establishes the necessity of repre-
sentatiorf through, and by, representation, while also obtaining legitimation — and thus power — through the
process of its own coming into being. These activities simultaneously constitute a structured system and a process; it should be understood as both at once. The framework In question is encouraged by/as popular culture,
with its modern, associated qualities of commodification,
consumerism and caprice, etc. (all of which have not always been qualities.) Values accumulate around any manifestation or expression of meaning that is engaged In negotiating popular culture, giving an added character and
identity of affiliation that states: this is popular culture,
subsequently pushing any meaning into a dialogic domain
of association with a redeveloped appearance of access
and accessibility. All representation that takes place here
carries this self-referential circularity of entanglement and
reiteration within it, even the marginalized or under-represented. The notion of the "margins of society" should
not be exaggerated by being romanticized or mytholo-
gized. Positive things may also be achieved by an introduction and acceptance into popular culture; without caution, however, important critical distance and mobility
may be significantly lost. This is a process of restriction
by Inclusion, where representation becomes contained
within popular culture — this Is exactly the power of constraint and subversion it imposes on the general condition of everydayness.
What has happened in tandem with this Increasing
process/structure of incorporation is the development of
a particular sense of audience self-awareness — which
presents its own problem. This is manifested In a curious,
contemporary wisdom: wording Is important, but reading is the real position of power. Correct or not, this simple idea greatly problematlzes expression through representation. It constitutes a generalized popular reference,
typifying a common perception of the present, invoking
a postmodern character, facilitating the dissolution of
centers of meaning, subject, truth, etc. Although this implies many progressive opportunities, It also has an associated and often unaddressed set of disempowering aspects, the most important of which is that real freedom is
easily obscured by false consciousness, especially in so
far as audience self-awareness is cast as freedom to be as
an audience.
False consciousness is a disputed concept that has lost
significant viability, partially in response to the growth of
postmodernity. But postmodernism is a contested idea
itself, one that implies an often one-sided representation
of openness. However, a mass of free-floating and interactive texts may be seen as applying as many obligations
and conditions of order as they do openings and mobility. The appearance of openness masks rules of order that,
itit|tes a      strangely, persist into postiiodernism's common re|>re-     world) — the sensatk
I into postmodernist's cc^K^on repre-
sen&Uc*rif:;of/as dislocated vagueness; Ah asfSeeih)f having
a narrative is that when it Informs, it also establishes the
parameters for some type of order. If anything, postmodernism should carry the idea of over-determination; and
not much else. It is a complex strife with contradiction.
Regardless, false consciousness still caries a notion of ideological obscurantism, which describes an imposition of
one way of seeing things over all alternatives. The structures I am examining here work to Include options so as
to limit their potential, by allowing options to enter into a
set of established conditions (consumer capitalism). This
appearance of freedom is propagated continuously by the
culture industry through the assertion of Its generous
inclusivity (promotion and extenuation of the definition
of the framework of representation that constitutes popular culture). This appearance is also corroborated, again,
by the prevalent postmodern sense of a centreless free-
for-all, which is something ideally meant to encourage
the removal of constraints, but is being taken advantage
of by capitalists wholesale, albeit in a surface version only.
A "knowing" audience may be a misnomer.
Another effect of this process is the equalizing of value
of all representations of expression, a result of popular
culture's persistent intervention/inclusion as a forum/
medium and a form/message for representation. Individual distinction Is threatened by the vastness of the
combined, yet still alienated voices of expression (persistently problematic, even for the ambiguous non-subject/subject of postmodernism, rather than from just mass
society). Yet there is a bias installed here: the empowerment of the reader works co-operatively with the levelling of value to devalue critical expression and encourage
relationships of engagement based almost entirely around
privatized pleasure; no other type of engagement seems
viable. In so doing, private pleasure is placed in conflict
with social responsibility — as a diversionary strategy or
another effect of the dominant logic of representation? A
moral panic is commonly invoked to cloak this activity —
your freedom Is compromised by any limitations placed
on your enjoyment (read as popular culture). This is usually a false conflict — an imposed dichotomy — although
it can become dangerously real. That popular culture is
an important site for capitalism, not only in terms of profit
but mass participation, further complicates this already
very complex area.
This effect happens within a relationship that progressively expands the opportunities for private pleasure, a
very contested topic, subject to all sorts of restrictions (there
are more questions than answers, especially here). Private
pleasure does not simply rely on centres of meaning for
positive justification, the relationship is much more complex — often antagonistic — although it is, strangely, almost too easily motivated and mobilized. There is an abstract relationship of placement, constituted through/as
language via the body (a language world and a physical
wortS) — 8i*|sen%tion of centtvlcssness is related to tl
dynamic. SfiriilarlyNhat is oftertinvolved-fn conflict withtri
popular culture Is an unrecognltlon of some transitory
moral basis, however dispersed and intertextual it may be
— ah unnamable/namable pressure, a *Vumour of truth,"
some form of influence is manifested. Unfortunately, it invariably plays out through the dominant logic of representation, which provides a self-supporting field of reference and justification; It becomes the moral reference. Despite the claims of this popular culture-type version of
openness, an enriched and enlivened culture can be much
more open. Committed effort is required to help it develop.
Such are the problems I have tried drawing attention to:
the constraint of the dialectical relationship described in
the previous essays, as well as the misleading array of representations contributed by the rhetoric of postmodern-
ism's collusion with capitalism through popular culture.
Within popular culture, any organization of meaning
is an ongoing process of re-negotiation and coexistence,
of simultaneous presence and lack, image and referent.
Again, what Is unfortunate is that this same dynamic
destabilizes active and socially conscious organizing for
change — or even just having fun removed from
commodification — especially when popular culture is the
primary forum/form for activity. At some point the rules
of the game changed. Popular culture is not the domain
that it once was. Let's leave it behind. Now is the time to
develop more responsive strategies of popularization and
organization (importantly, to take full use of technological advances by getting inside them, from the start). Working towards this, (necessary) critical involvement must
do more than flirt with the tensions inherent in popular
culture. Popular culture relies on tension to maintain an
appearance of constant innovation. We are all helping to
maintain this appearance of activity by not utilizing the
potential that is around popular culture as it exists today,
to move beyond it. If representation draws itself into a
self-justified existence that supports a logic that establishes its own continuation, then change must be motivated from without as well as within; potential is imminently outside as well as within contradiction.
In this modern age, style is increasingly a dead opportunity, a rigid obsession with the code. Irony recuperates
a weak defiance, a shambles of complicit involvement; its
viability is self-centered and limited. Much more can be
accomplished by disrupting popular culture through explicit action; action that is impetuous, that is nameless
and impertinent, that is not just style. Start with but do
more than expand the topic range of popular culture as a
form/forum, always question its definition(s). The goal is
autonomy within a redeveloped culture of responsibility,
against commodification but in favour of expression —
all the culture, without the popular. Examine the situation you find yourself in, contemplate its potential, and
become dedicated. More to come, hang on ...»
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Olivia tremor cootrol
by Jim Van der Meer ••   •
After hours of attempting to pierce the
seemingly impenetrable security ot the Beck show I finally met
the Olivia Tremor Control. I was exhausted and they were apologetic
We talked about rock and roll and Gastr del Sol.
lyrics and what the chords are or whatever. And then there
are other people, like [Will] in fact, will wake up right out of
a dream and plug into the four-track and whatever starts
coming out is the song.
Will: Yeah, you go more on a feeling than any-
DiSCORDER-. I was kind of surprised by Beck's self-conscious
rock spectacle. Do you think that if a band gets too big that the
rock parody thing doesn't work any more?
Will: I have no idea.
Like U2 doing the Village People.
Will: Yeah, that's pretty freaky. I don't know if it works, but
the whole stadium thing is really weird anyway.
I was wondering about your concepts. You seem to work with
what one might call 'dream-scape,' rather than technically formal techniques like a band like Gastr del Sol might do.
Will: Oh, they're great. I'm so glad you mentioned them right
off, but I won't go off on them.
No, go off.
John: It seems that they're as lyrical as we are even in their
instrumentals. They're great at creating moods.
Will: Cinematic.
Their work is more formal in its musical arrangements. What I
meant was that your stuff is more ...
Will: Haphazard. Yeah, we look at it more as a project, not as
a live band. We prefer to just sit around. We like to switch
instruments, so John plays bass, live, but he might not even
play bass on the record. I'm trying to answr the question.
I don't think I've asked the question yet. How do you come up
with a song if it isn't grounded in a musical arrangement? You
seem to base your music on more of an idea and I was wondering where that comes from and how you build on that.
John: A lot of it has to do with the four-track. Some people —
before they record — they make notes and write down the
John: Rather than writing a
horus then a verse then a chorus.
Will: For example, a song like 'Opera House' was written eight years ago and it was, like, stream of consciousness
lyrics but it's a 'rocker,' you know what I mean? It was written and then played and played so we all knew it over years.
But 'Green Typewriters' was made up by successive days.
Like, it might start with a backward cymbal, there's no song
starting it, so then it's like, 'So what are we going to do with
these backward cymbals?' Then when we're done it's like,
'Wow, there's a song underneath of that, where did the
backward cymbals go?' and it's been erased because we've
added so much over top of it. You might just be in the mood
to start with a weird sound and then eventually a song
comes out of it rather than sitting there playing a guitar
with a 'la la la' in mind.
Rather than jamming until something comes out of it.
Will: Right.
Where is that going? Are you ever going to drop the string instruments and go into full electronica?
Will: Yeah, the next record. We're not going to drop the string
instruments fully, but ... .
John: It's going to be more of a blend. There's a group
called The White Noise who put out an album in '69 called
Electric Storm and we just heard it recently. We've been
discovering a lot of electronic works from the late '50s and
'60s. What [White Noise] did is they studied how to do all
that type of [electronic] stuff but then they put out this
psychedelic pop album. They learned how to use all these
effects and studio techniques in rhythm and they used all
of these effects on great pop songs. It seems like that's
the new direction, blending the two rather than just a pop
song with a few effects here and there; instead, the effects
are the pop song.
Do you bring the four-track tapes to the studio because the
album doesn't sound like four-track?
Will: A little of both. You'd have to go through the album
but some are eight-track and others are done on a cassette
John: And then we'd take the tapes to the studio and do a
few overdubs.
Will: It's like what [John] said, you just wake up and roll over
and there's the guitar. If it's got three strings on it, that's
fine, then you get something you like. You play a riff and
suddenly it's a song, or it's not, there's sounds anyway.
Is it hard to bring that to a live performance?
Will: Incredibly, as you could see. What we try to do live is
play the songs, and we try to do overdubs live. There's clarinet, and therimin, there's tapes being pulled in and stuff to
add effects but we're not trying to do it just like the record.
John: Instead of trying to rehash the concept of the record,
we try to make each individual show a concept.
Where are you trying to push pop?
Will: Olivia is definitely pop mixed with 'the sounds' but ...
Are you trying to hold on to pop and run with it?
Will: I don't think we're necessarily holding on to it. We have
songs for the next record so I know it will be songs, but once
that's done ...
John: I don't think we're ever going to let go of the pop songs.
We're going to work harder and harder at having a really solid
pop song there but then envelope it with all these sounds
that put you in a completely different world rather than just
following the lyrics or the melody or whatever.
Will: We even thought about recording the songs for the next
record and then releasing an album at the same time that
has all the sound effects, but nobody's going to get two CD
players and play them both so then you'll just have a rock
album and that's out.*
Ipunk, hard core,]
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Scooler: bass
Tony Koelwyn: drums
Wendy Young: guitar/vocals
Mike Boegh: guitar
Wilfi the addition of an analog keyboard
to die bond's already ihick stereophonic
chiming and guitar driving sounds, Koi
climbs another level above what is already
one of the best sounding bands in
Vancouver. Even as a two-guitar, boss and
drums combo, they have an incredibly full,
sparkling pop sound lhat is sometimes reminiscent of the layered drones ol Stereolab and Ivy.
Koneva's live sound is captured well on record, ond vice versa.
With members assembled from eaHy '90s groups like Friday Kills,
Delve, Honey and MC Escher and the Fresh Prints, Kaneva came
together in early 1994. After many months of practicing, they held
their first performance late lhat year at an after-hours gig with
Speedbuggy and the Real McKenzies. Throughout '95, the band
continued ta practice, playing the odd show and preparing ta record
for o release lhat never came about.
Support for the scene has come from rodio stations like CiTR,
CJSF, CoOp ond numerous publications, but Mike and Tony (who
previously drummed for Friday Kills and Delve) believe that a high-
powered radio station playing local music would be beneficial "I
think the scene has matured a lot since Coast (the AM-band new
music radio station in Vancouver lhat existed between 1991 and
1993), and if it came back they would have more local music to
support," says Tony.
Mike olso suggested lhat some kind of new music magazine
would be helpful. "Another thing that's locking is somelhing fiat covers all different elements of the scene. Vancouver needs an amalgamation between somelhing like Terminal City ond DiSCORDER to
reflects ihe scene as it is, involving a bigger circle of people. Noting
against Terminal City or DiSCORDER, but a broader approach."
Unfortunately, events designed to give exposure haven't exoctly
worked in Koneva's favour. CiTR's Battle of the Bands competition
"Shindig" eliminated them in ihe second round and ihey were unable
to get into MusicWest in 1996. This was all right wi*h Mike: "I didn't really have a high opinion of it. The best ihing is ihot it was ihe
spawn of MusicWaste. Originally, MusicWest was a good ideo wi"h
the indie bands to begin with, but they've lost sight of that."
it seems lhat Kaneva has sight of itself and whot ihey
want to sound like. Further, they know where ihey want to proceed
wilh the bond; as Tony summarized, "As far as it can go "
Spacekid began when Dennis left his Vancouver home for
Toronto in 1995, acquired a grant from FACTOR (a government
organization that makes money available for recordings and
videos), recorded a demo tape there, ond subsequently distributed
lhal tope. He soon returned home ond had an easy time assembling o band. Right away, his old friends Nick and Andrew osked
to be a part of the project. Shortly after lhat, Tony from Kaneva was
odded as their drummer.
By the time the band came together, the Spacekid tape alreody
hod o buzz obout it lhat lead to small write-ups in national moga-
zines ond oppearonces on chorts at university and alternative radio
stations across the country. Dennis explained, "We're flattered by
[the attention] — sometimes we've hod some good reviews. If someone likes the music, lhat's good, bul we don'l put it out with expectations of getting feedback or even getting people ta like it. We like
it, that's why we do it." Andrew adds, "We don't have dreoms, but
we're having fun. Every practice we hove is fun. But when the fun
stops, that's it."
Dennis continues, "It's equally a social thing as well as music for
us. I like the fact that we know each olher, ond ihe attitude to music
is not so serious."
'Right now it's nice what seems to be hoppening with all the
bands, there's this nice community lhat's been built," says Andrew.
"We're going to Nelson [to play] wilh Speedbuggy and others, and
bands are getting together and helping eoch other out, and setting
up shows."
Sharing drummers wilh Kaneva certainly builds a sense of community. Tony admits that "It's very tiring, but very rewarding ond fun
in different ways playing different types of music. The rock drummer
in me comes out in Spocekid."
As Nick describes his playing he says, Tony just wishes he had
one orm and nine pedals."
"Or nine arms ond one pedol like a Hindu god," quips Koneva's
When it comes to music or bod jokes, Dennis puts it well when
he says. That's a good thing that we can be cheesy and laugh af it."
Dennis Pyo: guitar/\
Nick Waldron: bass
Andrew Pyott: guitar
Tony Koelwyn: drums
"I know shit about computers," says Dennis Pyo. "And I can't flick
beer bottle caps."
Not exactly a battle cry for this technologically capable, angst-
driven generation, but neither is Spacekid. Whimsical songs written
by Dennis often refer to pop-culture icons like John Hughes, whose
early '80s movies "almost defined lhat time period — the mindset."
A song like "Molly Ringwald," perhaps iheir best-known tune, is an
example of this approach. As a loose-sounding four-piece power-
pop group wilh such carefree lyrical influences, the band is somewhat unique in this city.
Eric White: bass/slide guitar/vocals
Clare Kenny, guitar/vocals
Curtis Hobson: drums and percussion
Heather Campbell: guitarAeyboards/vocals
Heather Campbell has been a witness to ond a participant in
Vancouver's scene since the late '80s. "Back when I was in garage
bands there was quite a tight scene. It was really cohesive [and]
ihere were lob of places ta get shows. Then ihere was a real hole for
about three years, from '91 to '94. The Savoy dosed, a place called
The Waterfront lhat used to be good closed up, and then the York,
[but] the past few years I've noticed it's come back together thanks
to people like Simon [Hussey] — he's a new Nardwuar. I perceive
things as getting belter."
14   april  1997 Storting out in bands like The Worst and eventually playing in
Honey wi*h Wendy from Kaneva, Hea*her's experience wi*h music hos
been consistently positive. "I've played music since I wot a 9-year-old
giH, it's kind of o life-long thing. The high points in life are being on
stage and having people enjoy your music, it's supergreoH Plus, The
Electrosonics are a realty light bunch. We hong out together even when
we're not practicing; it's my social group os well."
For Gaire Kenny, the band has been equally familylike. "I had
never been plugged in before this band," says Claire. In those three
years, she's learned "everything I know. I now know how to moke
shredded walnuts look like meat!"
Just os wilh Spacekid, socializing and lifestyle is a large part of
why ihey are playing music together. As drummer Curtis Hobson
says, "You can't lose yourself in the newspaper or in politics or your
job, it's always art and culture. It's the spiritual factor for me — nothing takes you out of the drudgery of daily existence like art."
Asked why he plays music, Eric White jokes, 'Like Leonard
Cohen said, 'It's not a choice, it's a verdict.' Plus, we get to spend
lots of money on nifty toys!"
Mixing art wilh iheir musical toys practically defines the carefully textured sounds of The Electrosonics, which are influenced by the
more ambienteounding British pop groups like The Jesus and Mary
Chain and Spiritualized. As well, there ore influences from others
that rely on vintage keyboards, including Moogs, Rhodes, Roland
Strings ond Acetone keyboards.
Being part of a community outside of the band has been important too. For Claire, working together to put out a CD is "on opportunity to have something out there that you could send ta your mom
and reinforce the sense of community. Every time I go out ta see a
show anywhere in town, I always see olher bands ihere and we
hang out. It seems like things are getting a little bit tighter."
Dedication to o sound, to a band, and to o larger group of people
are oil components of bands like The Electrosonics, but there is a more
personal reason why such groups ore so dedicated to their craft. Curtis
explained flings this way: 'Join a band, you'll see. Go to a show
[ond] lose yourself in the music. You can create your own world.'
Simon Hussey: guitar/vocals
Chris Walters: drums
Olga Goreas: bos*
Joe Cassidy: guitar
Chugging along for a few years now, Speedbuggy have been moving wilh a full-on throttle. Now lhat they con be heard on two 7"
records, one self-released compact disc, a Squirtgurweleased CD
ond ihe Tiddfyw'mks compilation, os well as Squirtgun's compilation
CD (More of Our Stupid Noise, which includes new material from
Lou Barlow, Eric's Trip, Treble Charger and others), the band has
been able to make something of a name for themselves across
Canada wilh two tours as far east as Montreal.
The band has enjoyed its relationship with Squirtgun, as Simon
Hussey explained: "It's the perfect scenario to be in. The band is just
an extension of our lives, and it's nice: it's cosual, which is important.
We don't want to get lost in the crap, and Squirtgun is just a nice,
mellow label and it works well with us."
For aU lhat will come to Speedbuggy from across this country due
to ihe Squirtgun affiliation, Voncouver is still the community behind
the band. For four years now, under a variety of incarnations (wilh
membership lhat has since gone on to join Kaneva, Spacekid and
others), Speedbuggy has progressed and developed as part of the
city's growing local scene.
The gears really picked up a year and a half ago wilh the
addition of Joe Cassidy (formerly of The Many, and olso with The
Liars) on guitar. This change energized their music and helped
them gain some recognition when they went on tour. But for Simon,
the local community is what is most important. This was a primary reason behind *-_g
starting Chester's.
"At this point in time there's a lot of cool
bands and I thought if would be an impor- V jli
font thing, [like] a time capsule when there's ^?v
a lot of cool bands to put out there. And
when Lee Maslin [from Squirtgun] talked to
me, he'd never heard of a single band from
Vancouver except for Moist and he figured
that's all there was. When he heard us he
thought we were the only ones, but there's
"There's not as many 'rock' bands
around. In thot way the city isn't looking elsewhere for inspiration, and Vancouver's a
focus of new music. For the last ten years   I
we've been overshadowed by Seattle and   I
there's been a lot of shit music, thot really  I
gross 'rock' music [wilh] a lot of people hying to emulate what was going on down south, and they forgot lhat
we have the ability to do our own thing."
With their second cross-Canada tour behind them, and a third to
follow this summer, Speedbuggy is getting a good chance to show
the rest of Canada that they, like olher bands from Vancouver, have
the ability to do their own thing too.
Vancouver is like ony other cily in so many ways. There are boom
and bust cycles in everything from construction to fashion trends, os
there ore cycles for ideals such os support of local music. Koneva's
Mike Boegh has noticed recently "a concerted effort to go out and
look for local bands and stuff they released ond actually buying it
instead of just going to local stores and just looking at it.' Is this a
sign of growing health in locol music? At the very least it's o symptom. There are cloarly a lot of people ready to support local mush
and it seems lhat many dubs hove token notice, opening their dooi
to local bands. However, the club scene is still far hom that perfec,
nurturing safe-haven for bands lhat we could all idealize.
Simon from Speedbuggy sees a lack of stability in the club scene:
"Right now local dubs are competing with parlies for attention, ond
os a result dubs hove to be more competitive and go for (he tried and
true — cover bands and out of town bands — and it makes it hard
er for new bands to get started. I think it comes in waves, and we
need a stable situation. There's always boozecans opening up, but
nothing stable. There's clubs, but [ony given club] may shut down
next month.'
Dennis from Spacekid also points out thot not onfy are there "not
enough places to ploy, but there's not enough people in Vancouver
who go out. Three quarters of people who go out to shows are in
olher bands, or friends. No one goes out to see a band they've
never heard of unless they're regulars ot a bar. I don't know if that
happens in any scene. And whether lhat's a good thing or a bad
thing, I don't know."
Whot does Simon feel is most important about locol music?
'There's nothing important about it — it's just enjoyment, and you
can place importance on your enjoyment, the spiritual entertainment. It's just fun to go out to a show ond hang out with your
friends and drink beer; that experience of going out is enriched.
Thot whole time-honoured tradition of having a good time, it's just
made that much better by having good bands. If you can go out on
a weekend and there's a bond that speaks to you, thot toucf. i
you, then oil the better, ond that's greot — you've got to deft, e
what's important for yourself. "•
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18   april  1997 basslines
by dj noah (djnoah@cyberstore.ca)
What the Funk is going
on? It looks like
1997 is going to be
the year that funk ond techno
merge into a mind-melting form
of music lhat bridges the chasm
between vibrant and sterile. Funk
(as in rvnkadelk I) used live musicians with guitars, drum kits,
ond horn sections, while techno
is primarily mochine-manufac-
tured music, created mostly with
the use of samples, loops ond
Homework (Virgin) is ihe tide
of the full length release by DAFT
PUNK, the dynamic young duo
of Frenchmen Thomas Bangalter
and Guy-Manuel de Homem-
Christo, who are revolutionizing
music with their unique combination of techno and funk. This double vinyl groundbreaker is nothing short of brilliant. Most times,
when artists try their hand at funk-
no (funk and techno), it can sound
quite dated end cheesy. Not so
wilh this pair. "Da Funk" oozes
funk from a 303 while harsh,
grating sounds are belted out
from "Rollin' A Scrofchin'," one
of my favourites on the olbum. It
is this writer's opinion that
Bangalter and Homem-Christo
are destined to be placed
among the reigning royals of
techno: The Orb, FSOL,
Sven Vath, Hardfloor,
Leftfleld, etc. ...
Sticking ta the funky side of
LONDON have enlisted ihe serv-
of longtime hip-hoppers
mix the powerful hit "We Have Explosive" (Virgin). Their Plostik Formula
remixes use more recognizable
hip-hop drum loops but still maintain the raw edge of the original. Even though "My Kingdom' was the first single from
the album Dead Cities, the
second single is going to be
nd will surely^e an
influence  to those recording
hip-hop and techno alike.
The latest in the ongoing saga
of THE ORB is Toxygene (Island).
The "Toxic Genes mix" bounces
along at 111BPM and has a
slight East Indian-sounding influence. Somewhat slower is "Delta
MKII," o techno-dub trock lhat
displays Alex Patterson's ability
to use an entire 32 trock board
(at least) for one song, wilh many
of ihe sounds overlapping yet not
overshadowing each olher. For
those of you that need speed,
check out Kris Needs' remix on
Ihe flip sidel If "music is God's
voice" (Brian Wilson), then surely
The Orb are divinely influenced.
On the home front, PARADIGM SHIFT is the latest work
to come from Vancouver's
Subconscious Communications.
It is a compilation of local artists
lhat include Phil Western (aka
Cap'm Stargazer), cEvin Key
(of the now^lefunkt Skinny
Puppy), and Kone (from North
Vancouver). In case you missed
it when if came out in 1993, the
first single on Subconscious is on
here, with ihe rest of the album
consisting of unreleased frocks.
If you like your music aggressive
and unrestrained, then this is for
you. Be warned, however, that
this is not for those who don't
enjoy industrial-influenced
sounds. Perhaps listen to it before
buying, keeping in mind lhat you
would be supporting our flourishing local electronic artists.
Vanoucver is not the only city
bearing witness to a burgeoning electronic scene. Montreal,
Toronto, Burlington, and
Gananoque ore four eastern
Canadian cities lhat have provided material, along with Vancouver, for ihe NORTHERN
CIRCUITS (Interchill) compilation. It is a collection of ambient
and ambient-dub Iracks that has
brought together Canada's most
influential down tempo artists. The
biochemical beats, soothing
sweeps, and textured tones of ihis
inter-planetary mosaic combine
to form a powerful mix.
One album that I have to talk
about, even ihough it is far removed from anything else that I
play, is "Trip Tease" The Seductive Sounds of TIPSY (Asphodel
Records). This group of musicians
(1^ in all) were brought together
by Tim Digulla ond David J.
Gardner, and the album was produced by Naut Humon Naut is
ihe co-founder of Asphcdel and
has been involved in music since
ihe mid-'60s, making a n-jme for
himself as a founding men ber of
ihe ground-breaking elecronic
band Rhythm A Noise This
full-lenglh release from Tip.*>y is
like a mix of lounge, Polynesian,
and "moon" music. The complex
layers of percussion, guitars, and
other sparkly sounds put a modern twist on a sound that conjures
up images of guys wearing
skinny black ties and girls wearing tight skirts. Perhaps this album
could be ihe soundtrack to o '90s
Rum Meyer film?
Next up is the newest addition to Spider Records in Toronto.
The self titled REZZ is a project
created by former Seattle resident
Peter Goikaris. This album provides some serious mind candy.
It draws on elements of industrial,
techno, and ambient music and
is great for home or radio use.
Unfortunately, most of the compositions are only Iwo or three
minutes long, making it difficult
to use in a club situation, unless
your sets are just os f***ed up
as this CD. I highly recommend
it as a mind opener for those of
you who are stuck in formula
"four on the floor" material.
Check out "They're Forming"
(track 8) — if is a killer drum ond
bass/techno trock lhat will send
shivers down your spinel
Another group with a current
self-filled release on the market
Zembia). This CD came out in late
'96 and is a well-produced piece
of work lhat uses ethnic sounds
and techno beats (that's origi-
nall?). The redeeming qualify in
this release is that the Middle
Eastern and Goo influences are
used to enhance the tracks, nof
to overpower ihem.
Dipping in to the ever-expanding ocean of drum and bass, this
month's highlight is BREAKBEAT
SCIENCE, a compilation of the
most influential ond groundbreaking jungle artists of today.
It comes to you courtesy of the
makers of the Volume ond Trance
Europe Xpress series. From one
of the youngest (Ed Rush) to one
of Ihe oldest (Soul Slinger), this
double CD takes you on a
rollercoaster ride through some
of the most experimental tracks
you will ever hear. There are representatives from almost every
style of jungle on this product,
and it is fhe first in a series that
will explore fhe nether-regions
of breakbeat and drum and
bass. If you haven't been turned
on to jungle yet, this is an ideal
vehicle to toke you into the fu-
City Come A-Walkin1
(Eyeball Books)
City Come A-Walkin' is a
punk rock novel. A seriously
Punk Rock novel. It is exactly
the kind of novel you'd expect
from a man named Shiriey —
the kind that forces you
to pick the gravel and
asphalt from your
bloodied hands every
time you put it down.
It is a story shaped by ;'i
a brain addled by /
stage dives, fried by
hair dye and
assaulted by music
loud enough to interupt brain
synapses. It is a world wound
up on sleep deprivation and
unnamed pills. A pbce where
the street itself, roused by
abuse and its own psychosis,
mashes cars and bad guys
with animated water manes
and rampaging taxi cabs.
The writing itself is a rapid fire
assault on the brain, mirror
ing the casual violence of the
plot line by mauling any lingering suspicions the reader
might have had that the world
is not a violent, greed-filled
sewer where grace must always be paid for with pain
and blood.
City Come A-Walkin' is
what   you
how much of his terrifying vision has come true in the last
15 years.
The premise of Findley's
Headhunter   is simple. Kurtz
slightly complicated by a
deadly plague and by the fact
that the protagonists are
mostly mentally ill and the antagonists are depraved child
abusers, but basically it's
quite simple. Send Kurtz
back to the Heart of Darkness where he belongs. The
only problem is that the
only people who realize
that Kurtz is a freak are
heavily medicated and perceived as unreliable by
anyone powerful enough to
accomplish this task.
Perception is the key to
this amazing novel. Findley
writes from the viewpoint of
the mentally ill with grace
and insight. The scenes of
the     ill
view of reality than any of
those attempting to "cure"
them. Findley shows us that
sanity is relative, and what
passes for sanity is usually
less perceptive than the alternatives.
Disco Biscuits
Disco Biscuits is the literary
equivalent of munchie food,
being quick, easy and greasy.
Fun to eat, but nutritionally
suspect. It has the slightly eerie vibe of a Sunday afternoon spent chilling out with
people that have spent the
weekend doing way
might expect if Jim
Jarmusch had shot Terminator
using a Punk movement (a
fact attested to in William
Gibson's forward) and those
that dismissed him in the early
'80s — when this book originally appeared — as a raving lunatic probably aren't
perceptive enough to notice
pages of Joseph
Conrad's Heart of Darkness while a schizophrenic
medium is perusing the pages
of that novel in a public library in Toronto. And so the
cold, calculating, amoral insanity that is so easily mistaken for rational intelligence
is unleashed once again on
the world. OK, the plot is
are reported with the same
weight of reality as the delusions that pass for reality in
more "normal" characters. It
is these characters that provide the only warmth and
comfort in a world controlled
by the twisted and the gothic
and they easily have a clearer
drugs than you have. Their
rants concerning their
chemical and sexual accomplishments are entertaining, but tinged with the
inevitable disillusionment
of the come down.
Martin Millar's "How Sunshine Traveller Lost His Girlfriend" is an amusing poke
with a sharp stick at the
pseudcxiquarian impulses of
the ecstacy inclined and
shows why his novel-length
works are worth reading.
Similarly, Dean Cavanagh's
"Mile High Meltdown" comes
very close to being worth
the price of admission by
itself. A wonderfully short
sharp take on the pervasiveness of outlaw chemicals set to a purely English
jungle beat. Irvine Welsh is
good with "The State Of
The Party," but it is another
tale about Scottish junkies
— enough said.
Generally, the collection is
at its best when describing serious uncut, drug-induced cra-
ziness, but it
loses morn e n t u m
when the
tone shifts to
the political
or moral aspirations of the
"Rave Scene."
However, if
you set your brain to automatically edit out anything that
sounds even vaguely like
"somewhere back in the late
eighties when we really
thought the music would
change the world," the rest of
it is a perfect read-on-public-
transit kind of book."
19 Effigssssm Wc.lcler \w^ ^^^^^OL     XXX |L/ ^
In case you've been living under the proverbial
rock for the last year, kids are sipping martinis in
unheard of numbers and good luck finding cocktail attire ol a Value Village anywhere in
Vancouver these days. As some people get disgruntled at the generic quality of heavily hyped
so-called alternative bands (can you tell the difference between them?!), music from a more
sparkling era has (alas) become trendy  Tired of
low-fat, no-smoking, and no fun, hedonism is in,
Wilh the monthly Blue Lizard Cocktail Club
and the weekly Gin and Sin night at the Niagara
Club, "lounge" style and music is the trendy thing
Local bands' releases, such as the '20s-inspired
Molestics' Tropic of Hokum and the '60s-slyle jazz
pop of the Colorifics' Living City, are hot off the
. With lindsey Davis' smootl
I usod to bo normal...happy...Wolf ad}ustvdl But that was hoforo.*,
CALL 331 -9979
The Colorifics' blend of jazz, pop, folk and
twang, The Colorifics will probably be able to survive once the lounge crowd has moved onto the
next big thing. I interviewed The Colorifics'
Lindsey and Bernie (who came in later, still alive
after badly cutting his finger trying to slice sugar
cane!) in Lindsey's Water Street apartment.
Lindsey started singing at a jazz festival in
Quebec two years ago and after she had moved
out West, they asked her to play at the jazz fest
again, so she had to put together a band. She
had been singing with country swinger Ray
Condo 'and it was in all the brochures at the time:
'Lindsey Davis and the Swingin' Dukes,' because
of his band at the time." He
decided he didn't want to do it at the last minute
because he didn't want to back up a singer other
than himself. So she phoned guitari:
Bernie Boulanger (of Rattled Roosters
fame) and two members of The
Minstrels and they ended up playing at the jazz festival
Quebec. After "scandalou
relationship break-ups" that
George (who both now
live in San Francisco and
are in the Friends of
Dean Martinez), Bernie
and Lindsey's relationship began and The
Colorifics were born with
the addition of Jason
Lasalle   on    bass   and
"Drummers have been a
bit of a problem," says
She admits the band'
wasn't their  idea;
■ from famous local art guy
Lincoln Clarkes. He also gave
Lindsey the name of the tune that
got an awful lot of airplay at CiTR:
"'Now I see heaven/from a 747,' he just
leaves it on my answering machine [and says]
'Now work with it!'" He is also involved with their
video for "Soda Pop," for which they received a
Factor grant.
The sound quality that I liked so much on the
CD was achieved by recording in Bernie and
Lindsey's brick-lined Water Street pad. Another
factor was Bernie putting his guitar "amp facing
the piano — under the piano — so sometimes if
you can hear a kind of an organy sound, overtones of bells, it's because it's resonating in the
I asked Lindsey what inspired The Colorifics to
do the music they do and it came back to the jazz
fest in Quebec — they obviously had to something
within the genre. George suggested they add
'60s pop to the mix, so it was simple and under
standable to everyone, not just to jazz improv
enthusiasts. The artists they first drew inspiration
from and also did covers of include Chris Isaak
("cause he's kind of jazzy, fwangy poppy"), Nick
Drake (who died in the '70s from overdosing on
antidepressants in England), and Julie London.
"Plus, Combustible Edison was just coming out at
the time we were starting, so we were listening to
that a little bit too and, personally, I have this thing
for kind of a gypsy flare; somebody said 'Baltic
folk.'" I was happy to hear that Bernie also shares
my enthusiasm for Cole Porter, who "writes amazing, timeless music; super, well-crafted songs."
One of the originators of the Blue Lizard
Cocktail Club, Edward, lives upstairs from the
Water Street couple; Lindsey remembers when
she, Bernie, Edward and Justine (Maxine
Von Mink), would "get together and
talk about how great [it would be]
if Vancouver had a place
'here you could go out and
not have to be bombarded
by loud noise and have
a good time, too; that
as the basic essence
if it ... They said,
'We don't know any
okay, I know The
Molestics, I know
la Za [Velvet] —
she's amazing;
Kinnie Starr, she's
Velour and Lux,
who were already
together and doing
heir thing." Having
said all that, Lindsey
doesn't want her band
to be seen as just a
lounge band, but she can
understand why they are
called lounge. "I don't want to
say because we're lounge that
won't play country, because we
don't want to be limited — we do have
some kind of folky jazz to us," Lindsey explains,
referring to the Nick Drake CD playing in the
background. "We want to have more staying
power and substance, because music is an art for
us, it's not just a quick cash trend."
When asked why Living City wasn't released
on the Blue Lizard label, Lindsey said that the Blue
Lizard wanted them to appeal to the "hardcore
cocktail crowd," and the band didn't want to narrow the options. She also feels it has become
more of a fashion show with not enough pride in
the performers. She would have loved to have
seen a photo taken of all the performers together
in front of the Waldorf, a la "A Great Day in
Harlem," the famous photo taken in Harlem of a
lot of the jazz greats in the '50s. •
20   april  1997 between:*™
gOQSUVWXYZ aeaeaeae strength density unifi
I fflsStWeaSn by Christina
I am at a point in my life
where I om really happy
and into appreciation of
pretty much everything. Take
that as a hint that if you send
me a zine, I will be pretty receptive to its content. I am
hoping that this will keep up
into the next millennium atthe
(48pp, quarter six.)
The author wrote this zine as
a means of dealing with the
death of a longtime friend.
Rather than deal with the immediate feelings of loss and
grief, the author chose to recount the experiences with
her friend from the past, specifically focusing on a crush
that she had on him in elementary school. Composed
of diary excerpts from when
she was younger, this zine
takes an interesting perspective on death. It
was kind of neat
to   know   that
there are people who have
the ability to
look   at   the
good  memories that a person  left behind  when
they die.
I was
also delighted to see that
Michelle was comfortable
printing her diary entries from
what could be referred to as
her "teeny bopper" years.
This zine was well presented,
clearly layed out and all and
all a good read. Send twenty
five cents and a stamp to:
Michelle Cross, 920 Pine
Street, Kamloops, BC, V2C
(16pp, mini)
I got about 35 mini-zines from
the creator of Cafe-Tabac the
last time I checked my mail. I
really enjoyed reading each
of them. As a collection, the
author writes what I would
say is the zine equivalent to
a Future Sound of London record — somewhat
trippy and surreal, with high
points as well as lows. A collection of sensory journeys
that leaves you confused, yet
very satisfied. Cafe-Tabac is
a short poem combined with
imagery. Like most minis, the
aesthetic value is very strong.
Beautiful. Send a dollar and
see what you get back: 50
Storey, Regina, SK,S4X1L4.
(16PP,     half
This zine reads
like long-form poetry. It is absolutely
periences sitting on a
field with a bunch of
kids with whom she
has never really connected and from there,
she begins to explore
vari- ous events and aspects
in her life. None of the separate elements in this zine are
heavily connected to one another; nonetheless, the zine as
a whole is pieced
together with remarkable artistic
unity. It is difficult to
articulate how
much enjoyment
this zine brought
me. Sera, Box
4056 MSC, 3001
Broadway, New
York, NY, 10027-
FERN #11
(24pp, half size)
Somewhere in the
houses of most zine
kids lies a box of letters that have been
written but never
sent. The content of
such letters varies
from person to person; however, a
common trait of all
these collections is
that they are writings that will never
be read by others.
In Fern #11,
Kim has printed a
collection of letters
that she has written,
but not sent. A lot
of these letters are
focused on her
Barbara Anderson — grizzled femme of the 45s —
is currently off table dancing in the land of the rising sunt
During her absence, I have cordially been invited to play Girl
Friday, which suits me jusf fine.
The glee of commanding o public forum is nosebleed heady —
especially as I require some audience participation.
After much deliberation
(and Kabalarian wisdom)
I've decided to change my
namel Whoopedy whoop
for you, fine, but I'm flirting
wilh the perils of numerology here. Those in the
know assure me lhat one
poorly chosen vowel will
saddle me with life-long
boils and agonizing leg
cramps. Help me avoid
such a fate! Contact ihe station! Pretend there's a prize!
My first name is Stu. The real
question is ... What's my last?
While you're mulling, I'll examine a painfully appropriate
split single from the State of
Cheese. The TEEN IDOLS share
plastic wilh MULLIGAN STU —
churning out two rave-up teen
anthems a piece. Bolh bands play
loud and friendly pop-punk suitable for driving quickly to.
Mulligan Stu give a raucous stovepipe-jean salute to The Primitives' classic "Crash" for bonus
points from me. Teen Idols wildly
tear apart the crankshaft. Full to
burst wit piss V vinegar, it's the
short/fast/really really simple
aesthetic gloriously at work.
(Rhetoric Records, PO Box 82,
Madison, WI, 53701)
Also making like bananas are
two young maritime labels. The
east coast is still doggedly spitting out fully formed pop senso-
Hans, ond STATE CHAMPS are
no exception os they head
squarely down Pavement Way.
truly is the sincerest
form of flattery, "You'll Love
the Epcot Palms" will have
Malkmus & co. blushing
down to their bootheels.
THE MOTES generously
provide Iracks oodles better lhan iheir past faux-in-
duslrial sludge. "The New
Physics" (co-released on
iheir own wee label) winds
college-boy rock across an
uncertain, barren, quantum
landscape and back
around the Mobius strip as
a computerized voice mumbles
warnings about metaphysics. Perfect for watching fractals spin. A
Nova Scotia fishing village lurks
in the fuzzed-out guitar and
thrummy bass mix of the second
song ... I just don't know where.
Yet. Paydream Records, PO Box
29057, Halifax Shopping Centre, Halifax NS, B3L 4T8/Ant
Records, 93 Normandy,
Truro NS, B2N 3J6)
STISISM is garage-trash at its
goriest. In honoured campy tro-
dition, band members hove
adopted ghoulishfy foolish names.
Singer Mikey Plague insists he is
the "Bocon Man;" on skins is Stu
Pendis. (Note: Pendis is not an acceptable entry into the surname sweepstakes. Neither is D. Baker) Perverted
raunchabilly to dissect
your bassist by, if the
ketchup-drenched cover is
ony indication. (Intensive
Scare Records, PO Box
142, New York, NY,
KACTUS provide one
fast song and one slow
song chiming with sweet
Pastels bells. Adorable Japanese muffin-heads leading the flotilla of lo-fi J-pop sailing cheerily
across the warm Pacific seas.
Watch for Iwo more Iracks as ihey
put ashore on California's Pop
Jingu comp (loosely translated as
"Pop Shrine") with a sloop of
olher dandies from the burgeoning Tokyo scene. (Sonorama
Records, PO Box 25952, LA, CA,
More charm-pop! The PUSH
KINGS earn a royal razz for
gooing their feel-good syrup all
over my roommate's record
player. Blasted horn section
slicked up his poor needle beyond
repair! But maybe I'm expecting
too much from these rosy-cheeked
Harvard lads. Their excellent donation to lost year's Jaboni Youth
compilation spent weeks rewinding on my car stereo ... greedy
ol' me wanted more. Sigh. Time
was ulfro-catchy polished twee
like "Macy, Macy' woulda had
me grinning through the cavities.
I'm obviously losing my youthful
optimism. Pray it's nothing a good
root canal and some Push Kings
on steady rotation won't fix.
(Sealed Fate, PO Box 9183
#120, Cambridge, MA, 02139)
G FORCE I am ready to chat
pleasantly about — and not just
because ihey're from Langley. The
single-side release (Boysl Have
your canary warble, your ginsu
slice or your frito lay, but don't
waste waste waste ihe lovely clear
[I] plastic) lurches into a bumpy,
Cramps-y joyride through ihe
dank and musty bowels of a
heavy metal swamp. The vocalist
has his jaws full of Spanish Moss,
which is fine on the bayou, but
by slower and (dare I say) prettier track number Iwo, the rasping proclamations of doom are
wearing a bif thin. (Anonymous
Records, #103-5360 201 Street,
Langley,  BC, V3A 1P7)
Please lay fhe four sides of
double 7" end to end, sit back,
and let this duo gently release their skittering crystal
chickens info your home.
Switching channels on an
interplanetary feed, fragments of melody connect
wilh Gamelan brolhels to
jig wierdly across the ribs
of mechanical giants. In this
pastiche of found sounds,
loose guitar ends, orbiting
barnyards, bright
psychedelica and jazzy
bass riffs, 50,000 men wearing
pink rubber boots squeak carefully past a Venusion gymnasium.
A Hindi spiritual chant hovers
near car parts being systematically dented. Someone is flossing
iheir teeth with fiberglass. Rapid-
fire cut V paste jumble allows hic-
cuped musical fragments to frame
ambient scrapings in a wiry celebration of soft metals. Very good
stuff indeed. (Fire Breathing Turtle, 1810 A North 40th, Seattle,
WA, 98103)*
2i E^gauisiii under
Population Four
You know, I'd almost forgotten
how depressing the Cranes
were. From their previous albums,
you'd ihink you'd remember jusf
how similar ihey are to watching
a documentary aboul child
obuse. Alison Shaw's little girl
voice lhaf sounds os ihough it's
been through childhood trauma
is fine ihe first time around, but
I'm just not enough into self-loathing right now to fully appreciate
Population Four\
Frankly, this is also the weakest album the Crones've ever released, paling after the likes of
Loved and Forever. I remember
when they were discovered by
The Cure and then took after
The Cure's self-depreciating but
dramatic moodswings within
their melodies.
I hate to say that I'm disappointed with this LP, considering
that I really enjoyed their past
efforts (if "enjoy" is a word that
can be used to describe the experience). However, compared
to, say. The Cranberries, as
far as music that's good to listen to when you're feeling sorry
for yourself goes, the Cranes
ore still a cut above. It's just lhat,
geez, you kind of feel like killing yourself after a while. But
then, as Matt Groaning once
said, "Suicide is a powerful
solace; one gets through many
a bod night with it."
(Relaxed Rabbit/DROG)
"I made my first records as a 16
year old high school kid in New
York. Over 35 years later, I'm still
looking for my first hit record.
Only I'm not looking very hard
any more. In fact I'm hardly look-
So begins ihe liner notes to
Hank Davis' Blue Highway, a
retrospective collection of three
and a half decades of recording.
They ore the words of a victim of
the most cruel of ironies; of a
musician with sufficient talent to
make the rent, but not enough to
make a name. And yet, somehow, avoiding embitterment.
Hank Davis has been a youthful, sneering Elvis Presley of a
rock and roller and a
turHenecked, academic, urban
Dave van Ronk folk revivalist.
He has played the blues,
rockabilly, and country and west
ern. He has sounded like Elvis,
like Johnny Cash, like Hank
Williams. The portrait painted
by Blue Highway is of a man who
22   april  1997
who has olwoys been ot least one
step behind the vonguord. His
melodies hove been borrowed
from others; his lyrics have been
unexceptional and stondord. But
this is a man who hos played his
music for 35 goddamn years,
and he has played it well and
played it honestly.
His songs tend to be derivative, but the musical traditions on
which he hos worked have always involved a great deal of
borrowing from obers. And some
of the tracks on 8/ue Highway
really do stand out: "Drawin' To
An Inside Straight" is a tight piece
of Johnny Cosh rockabilly, and
fhe folksy blues of "Treat o
Stranger Right" is certainly as
good as any run-of-lhe-mill worly
Bob Dylan tune. His version of
"Got My Mojo Working" has a
definite Them feeling. 'Low
Down Moanin' Dirty Lonesome
Feelin' Blues," recorded in 1961
with fellow Columbia undergraduate Art Garfunkel, is a
solid piece of early rock ond roll.
And "Please Don't Steal My
Truck* is either unforgivably
cheesy or slyly ironic — I still
haven't quite figured out which.
It's probably both.
On "Poor Boy," Honk Davis
sings "Would you be mine knowing I'm nolo star?/living with me,
put your dreams in a jar?/Could
you learn ta drive in a second
hand car?" These could be the
words of either courtship or introspection. Certainly, they are
the words of a musician who,
while labouring in obscurity,
has remained true to himself
and ta his music.
Adam Monahan
Danger. Diabolikt
The Diaboliks are a real cool
outfit from swingin' London, with
the emphasis on "cool." They are
very much a part of the London
Garage scene, which is based
around the Frat Shack nightclub
and Toe Rag Recording Studio.
With a firm foot in the past
(think of Nancy Sinatra in
Corman's "The Wild Angels"),
The Diaboliks play their '60s
punk with on empowered woman's '90s viewpoint; 'I know he'll
never leave me with his ankles
tied in chains," they sing on
"Slaveboy," which has a touch
of The Velvet Underground's
'Venus In Furs' to it. The Velvets
get another nod on iheir (vocal)
version of 'Guess I'm Falling In
Love,' not to mention some Nico-
esque background vocals on
some of the material. 'Come on
ond suffer!" says Bobz as an inlro
to 'Wily Ihe Wild One,' on uncovered Pebbles type obscurity.
The self-written stuff really shines
too (the olbum is 3/4 original
material). The full spectrum of
garage sounds can be heard
here: Medway style arrangements, fuzz guitar ond even some
Spec tor-like echoey background
vocal effects.
While ihey have the dress
sense of Josle and the
Pussycats, ihe music on The
Diaboliks first long player proves
lhat ihey ore not style over sub
stance. They sound like ihey could
easily fit onto one of the Girls In
The Garage '60s compilations
and have in fact done just lhat,
appearing as a "mystery
trock* on Volume One of the
CD version of lhat series
(Romulan Records).
I'd recommend this record to
anyone who digs garage rock in
general but particularly to ony
fans of The Delmonas, Thee
Headcoatees, The 5-6-7-
8's, The Trashwomen, and
(Handsome Boy)
Nirvana ... change of
Heart The Tragically Hip
... They're all prominent on
Ozzy. Yeah, I know it's a cardinal sin to compare bands, but
groups like hHead make it difficult not to. Blend Nirvana's
chaos ond anger with The Tragically Hip's more straight-ahead
rock tunes, odd a pinch more
pop and you've nearly got
hHead ... and a zillion other
"modern rock" bands.
They've got some half decent
tunes, ihe best undoubtedly being "Teasing," which sounds remarkably like Popskle an exceptional but relatively unknown
(ot least on this side of ihe world)
Swedish pop bond. "Bellybutton"
and "Cockeyed" clearly appear
to be attempts of diversity, incorporating clean, jazzy, heavily
processed guitars, horns and sax
Hmm ... a suspicious resemblance to Change of Heart.
And this Noah fella needs
his mouth washed out with
soap! My my, such flowery language. What would his mother
think? Oh well, at least it will
impress the kids.
Fred derF
After Dark
Given the choice between this
album, recorded live in London
at ihe Fine China, or ihe equally
recent K records Make Up release, I would glodly choose ihe
K records one. Inside the
Dischord joaket, it reads: "A leading magazine critic was heard ta
cry out: These ore not the symbols which ihe market responds
ta ..." If the alleged critic wos
referring to ihe relro 70s pseudo-
style sexist lingo, then yes, I am
not responding. The music sounds
great, yes "it rocks."
However, I could hardly
start enjoying the songs when
the between song banter would
go into overdrive on ihe word
"baby." "Baby, let me tell, baby,
you look so good, baby (followed by appropriately sounding '70s grunts) I understand
that this is a schtick, but it still
annoyed me. I also could have
gone without the 12 different
versions of the photo featuring
the gloriously apathetic Make
Up faces. If you are blessed with
greater tolerance levels than myself, please go ahead ond just
enjoy the tunes.
Age of 369/Chant 2
Merzbow. How does one put a
handle on his music? How about
"ominous, dissonant noise?" That's
a description bound to please just
about everyone.
This time out, Merzbow hos
given us o double CD extravaganza, which is a repackaging
of two of his earlier albums. The
liner notes consist of pictures of
women from softcore porn mago-
zines layered with bizarre material. Very effective ond evocative
as art pieces, but not ta tell you
what's going on, if anything, beyond screaming and chainsaw
noises. The bottom line? There's
noting too new here. People lhat
hated Merzbow before are not
going to find this is his mainstream sellout album, and people who loved him before —
well, you're still going to love
it. Diamanda Oalas fans,
toke note.
Mr. Chris
(Grand Royal)
The boys from Ween have come
out to whet our listening palates
with this CD on the Beastie
Boys' label. I take it to be a good
listen for someone with a
hardcore ear, given its songs like
"Second Hand Smoker* and
"Rock, Stock, Borrel." However,
for this listener, the highlight of
the CD is "American Made and
Duty Free." With a western
twang, this band shows lhat they
are talented and witty musicians.
With lines like 'I got big ol' arms
ond a pack of smokes, ond shoulder mode for size — for a pretty
little giH with a face like yours a
big ol' baby eyes,' one can't help
but feel sorry for the farm boy
who loses his girl to "some big
shit from San Francisco." I recommend getting //for this song
John Steed
Oreon Fields In Daylight
(Mag Wheel)
The first Hme I heord The Nils'
1985 Sellout Young EP, I knew I
hod discovered somelhing special. Apparently, this Montreal
bond has olso had a profound
effect on others, hence this 28
song, 78 minute CD. It includes
Iheir 1982 Now demo, ihe Sellout Young, and Paisley EPs, ihe
CBC Brave New Waves session,
ond compilation tracks (including their great tune from ihe
Something To Believe In
comp), ond o few unreleased
tunes as well. In fact. Green
Fields In Daylight archives virtually everything they've ever
released with the exception of
their 1987 self-titled Rock Hotel/Profile Records release.
To me. The Nils deserve to
be included in the same privileged category as Husker
Du, The Replacements,
and Soul Asylum. For some
reason, though, they never
seemed to get the recognition
they deserved.
This album is a must for oil
longtime Nils' fans, but hopefully
it's also an opportunity for many
ta discover, for the first time, the
greatness of the legendary
Nils. Get itl
Fred derF
Oh Susanna EP
Oh Susanna's new CD offers
eight tracks of sweet, rich, deep
brown melodies, all simplistic and
beautiful to listen to. Soothing
and soulful, gentle guitar plucks
behind lilting vocals almost
trick you into believing that
Suzie Ungerleider is a native
of Arkansas.
Instead, the singer/songwriter resides here in the land
of bagels and espresso. Her
lyrical and musical style is not
unlike Michelle Shocked ■
work on Homestead: sort of
blue and rootsy. The short
length of the CD leaves me
with only one complaint: itwas
r befor
The Big.
The 60 Ft Dolls hail from the
dingy town of Newport in
Wales, making them part of the
so-called contemporary Welsh
pop explosion. Outside of a
couple of tracks. The Big 3 is
pretty samey sounding. The
more varied and contemplative
song "Buzz" and the catchy
"Stay" were my favourites off
the CD but not much stood out.
Geffen publicity describes the
band as having o "scrappy
musical joie de vivre, and of-
the-moment attitude that recalls
rock's unrefined origins." This
enthusiasm doesn't make up for
some lacklustre melodies or
uninspiring lyrics.
Kris Rothstein
The Ten Commandments
and TWo Territories According to ...
Quiet calm dark and smoky. Evocation of mystery. According ta
the Memom-Webster dictionary,
"any of several nocturnal slow-
moving tailless arboreal primates." Obscure references to
Canada. Trumpets blare a call to
arms over rattling timpani. Then:
1. Don formal evening wear.
2. Dance like this is a Ralph
Bokshi cartoon.
3. Stroll languidly through the
4. Isn't this jusl Ires Europeenne.
Ah, good evening, Mr.
5. Man, those cats can swing.
6. Action, odventure.
7. Now it gets odd.
8. Goodnight, goodnight.
Same crowd os Guh —
more controlled, more atmospheric, less experimental, no
bagpipes. Angelo
Badalomonti comparisons not
inappropriate. Most enjoyable.
Adam Monohan
I don't ihink I can possibly express
the love affair lhal I om having with
ihis album. I threw it into ihe CD
player and after he first five seconds
I hod ta turn it off because I got so
excited cbout ihe amazing ihing hat
was going to happen ond
(dammitl) I hod ta get ta dass.
I con't find anything wrong
with Spiders.  I must be slipping.
Much of the versatile album
has a Spanish flavour, but it also
has a slight lounge thing going
(just enough to moke it cool, not
enough to make it cheesy). The
music is thickly layered, with
funky wah-wah, Flamenco-esque
guitars, and strong vocals.
They've got horns, they've got vibraphones (okay, they've got a
really good synthesizer), they've
got a hidden track about a chick
who is scared of spiders. They
top it off with a techno deal. Have
I mentioned lhat I love this album?
Space has the coolest rhyming schemes lhat I have seen in a
remarkably long time. Their lyrics are terrific as well, providing
us wilh tales of Charles Manson
("Charlie M"), 'Mr. Psycho,' a
"Neighbourhood" full of crazies
whose addresses match their
quirks, a stalker ...
Okay. I found whot is wrong
with it. The sleeve is covered in
big hairy spiders. They have two
legs loo many for me to accept
them. I hate spiders. But I love
Spiders. Go. Buy. Now.
Cereal is the best thing I've heard
in ages. I was already a big fan of Voncouverbosed Spoce Kid's
earlier released demo, 'Molly
Ringwald,' which I played for oil
my friends but I could never find
out who sang it. "Molly
Ringwald" is a one-song tribute
to '80s pop culture ond the entire Cereal album continues lhat
trend. Space Kid play good Co-
nodian pop in the Sloan vein
with dever, catchy lyrics and solid
instrumentation. I *hink my favourite song is "Slog;" after all, someone hod ta write it. One song
includes ihe refrain "Supersonic
groovy cool man, like a con of
spam." If doesn't get any belter.
Kris Rothstein
500 watt burner at seven
This album is heavy and basic
and good. Check out "Sawedoff But
Silent," -where Sporkmarker start
to sound like Fugazi. Actually,
ihey do on a few tracks, and
sounding like Fugazi is never bad
in my books. Beware of trock 1 2,
a soundtrack of spoken word: do
not be fooled into believing lhaf
your phone is off the hook, lhat
Sparkmarker's new release it definitely worth listening to, ond fhe
local band is worlh supporting -
- hey do their share of supportng
the community.
5//de Show
The olher band of pop boys from
Halifax is back with another slob
o' hits. Slide Show picks up
where ihe band left off on their
last full-length release Mock up
Scale Down. There are a few
advancements, their sound seems
refined a little, but overall it's that
same poppy sound with lyrics lhat
sometimes make reference to
Canoda. I actually found a few
sleepers on this album, a few
songs that sound a little awkward. However, songs like "Up
and Running" and "Forever a
Day" keep you up and going in
true Super Friendz fashion.
Much of the same, if you enjoyed the Friendz on Mock up...
or Play the Games not Games,
you will still love this album.
Overall, another fine release
from Matt Murphy and Co.
She   Changed   Her
Name to Mashuma
Being from Victoria, I
thought I'd give these Garden City rockers a listen —
after all, after 21 years living there, who better lhan I
could appreciate the nuances of their island-based
pop punk? How right I was.
First of all, let me jusf say
this: when these boys start
rocking, they rock hard.
Unfortunately, when they
stop rocking they sound like
ihe Barenaked Ladies.
And equally as unfortunate,
those particular songs take up
about half the olbum. Also, ihe
album plays out like 1 8 frocks of
Victorian in-jokes.
While you don't have to be
from Victorio to appreciate songs
like "Speedway," and "When
Lorry Wins ihe Lottery," it sure
helps. If you ore from Victoria,
definitely give this a listen ond a
lough. And since they recorded
the immortal 'Pop Punk Bond In
Spain,' I will forgive them for writing, "Chick Bond."
Mr. Chris
Read's Giri
(Wax Trax/TVT)
You just can't get enough Underworld ever since you bought the
Trainspotting soundtrack. Well,
there's more. "Pearl's Girl," ihe
stand-out track of Second Toughest in Ihe Infants, is remixed here
along with a couple of
unreleased Iracks. First is "Pearl's
Girl (Tin There)," which is a noisy,
hord trance version of "Tin There*
which appears on the super
Wipeout XL compilation. This
track is the goods.
"Peorl'sGirl (14996 version)" takes snippets of Karl's
lyrics and echoes them over
more pounding hard trance.
Another good cut.
"Puppies" is slower, pulsating
trance with rambling, indistinguishable, distorted lyrics. It's
only 3:50 minutes long and
doesn't really go anywhere;
sounds like B-side filler.
"Oich Oich" is a mid-tempo
Irock wilh dubbed-out lyrics. The
track starts out mediocre, but ihe
track builds and builds with
added lyrics and guitar melody.
By the time you're halfwoy
through the cut, you really start
to dig it. In fact, if I was putting
together the Second Toughest...
album, I would have traded
"Oich Oich' for "Rowla."
"Cherry Pie" has greot
pounding electro drums. Good
acid house with some tweaked-
out ocid lines. Cool track.
"Mosaic* is also good. Il has
lhat lovable cricket sound from
*Rez" and a keyboard part lhat
is a bit jazzy lhat reminds me of
Jay Dee's 'Plastic Dreoms."
As you can tell by now, I give
ihis EP ihe thumbs up. Neverthe
less, it would have been cool for
more drum and bass remixes
becouse it is the jungle style
which mokes Pearl's Girl so outstanding.
Brion Wright
Oo-Kart Vs. the Corporate
Looking for a deal? Go-Kart is
prepared to offer you one. Their
jacket advertises 28 songs and
over 20 tracks with unreleased
stuff from the Lunachicks,
Weston, and Berserk. Still not
sold? Well, our Go-Kort hero
doringly states, "pay no more
lhan $3.99." For less thon four
bux you should be able ta find a
band to your agreement; like say,
The Wives, Stressmagnets,
or The Trickbabys. To further
entice you, they've added weird
facts about eoch band (perfect for
those unfortunately in search of
so-called indie cred), plus a fairly
weak cartoon, and a Buttsteak
song called "Men Who Pause"
(very witty). If may be an obvious for the consumer support, but
there are worse ways of trying to
get attention.
Mushroom Jazz — mixed
and compiled by DJ Farina
(OM Records)
Chicogo export Mark Farina
is one name lhat's synonymous
wilh today's underground House
music culture. Very much a Chi-
town native, Mr. Farina has
rocked himself up wilh roughly a
decade's worth of DJing experience spinning everything from
mid-'BOs Industrial, to soulful go-
rage, ond deep jazzy house. A
man known for his eclectic tastes,
he has upped himself one by representing the world of down
tempo, acid jazz, ond funk on
ihis mixed CD compiled mainly
of Iracks licensed from smaller,
American indie labels, thus presenting us with his own self-
coined term, "Mushroom Jazz."
With his foundations now set
in San Francisco, Mark has
launched OM Records exclusively for his Mushroom Jazz releases, one of the first being this
here CD which more than exem
plifies those eclectic tastes by
blending hip/trip hop, acidic
jazz, and straight up R&B into
one seriously FUNKY mix.
Some of the artists thrown
down are Julius Papp, Apollo
Grooves, NYC whiz-kid J-Uve
with his debut single "Longevity,"
os well as some smokin' vocal
cuts courtesy of Naked Funk
featuring Valerie Etienne, and
Chicago's own Paul Johnson.
This CD would be a nice departure from traditional 4/4
mixes, as Mark brilliantly demonstrates what can be achieved
from using stroighMjp R&B vocals,
big ass bass lines, and phat
breaks within an impeccable 45
minute mix.
If the beots aren't enough to
grab you, there's a bonus CD-
ROM thrown in which features
interviews, various web links,
and your own personal mixing
station. More bang for your
buck, most def.
g smiley
Northern Circuits
Place under ambient. ~60 minutes of heaven-etched tracks by
all Canadian artists. General
mood — relaxation in the glorious chill rooms of our land or
dancing softly beneath ihe wide
open starry sky on a warm summer solstice. The beats easily
transfer you off to your planar
peace. Nothing rises to a scream.
Exceptionally gracious tracks include Adam Shaikh's Tail,"
Pilgrims of the Mind's
"Sandcostle," and Drift's "Fog."
To tell you the trulh, I was
rather cynical about picking
this one up. Nettwerk hasn't
exaciy set new ground as for
as new music is concerned
recently. Truthfully, I think hey
actually took three or four
steps bock with such notably
tasteless excrement such as
Peace, Love and Pitbulls
or Papa Brittle
It looks like they pushed
PLP and Papa B. back into ihe
'80s crapden where they so
22-3017 (ext3) for info
mercifully deserve to be. Taking
a lesson from ihe guys who put
out Ihe Wipeout XL CD, ihe album art features Japanese manga
ond Chinese characters all layered on top of computer drown
pop-art. Hey, for what's basically
a techno CD, the nerdstuff sells ...
But wait, Underworld's
'Pearl's Girl' and the Chemical
Brothers' "Loops of Fury?"
Highly unoriginal, as "Loops"
was already featured on the
Wipeout CD and Underworld,
well, they're everywhere now.
New acts such as Sully, The
Crystal Method, and
Propellorheads — they give
rise to a new level of audiobliss,
akin to Wipeout introducing Daft
Punk and Photek to our computer-saturated world. The best
track of them all by far is
"Raincry" by God Within; lhat
track alone makes up for the fact
lhat this compilation comes out
three years too lore to be regarded as "wilh it."
Now bock to my Diogenic
spiel, why the hell is Garbage
in here? No band deserves lhat
much exposurel It's like seeing ihe
i of the Simpsons
!  Ther
other episodes out there, show
them dammit!
Anyways, on the whole, if the
discerning techno-uwanabuyer
wants a good listen, the compilations by the Warp label are still
the best of the lot but this will do
for the North American uniniti-
Stoned... Chilled Groove
(S.O.U.L Vibration)
Special music to soothe your
tense muscular regions. Someone
asked why, if I dislike modern
society's Irving in a landscape of
metal, concrete and wire, do I
enjoy electronic beats so much.
'Cause many artists can bring
forward ihe pleasure tones transforming cold metal into a heat-
generating source on o cold
night. Out of the ugliness comes
great beauty.
On Stoned ... Chilled ...
Groove, you will only hear
headskunkdubfunk." Appearing are Fila Brazilia, Re-
bom, Global Communication, Journeyman, DJ
Food, Asian Dub Foundation, RHC, Freak Power
and Bandulull!
All tracks provide
bendingrelaxation. Ambient
Submerged     Blooming
Breaks and Bulging Beats
There's only beauty on this compilation.
Somehow jazz ran into a synthesizer vibefiend and cannot
disengage. If you're looking for
a compilation with more beats
per second than ambient provides, and you enjoy jazz, vocals
and/or dance music, try this. It
cries out "spring" and "buds" all
over. C'est un beau jardin. I don'l
have a lot to say, 'cause I'd rather
enjoy the music, dance and let
you figure it out.
But while you drift through the
universe, pick this up for some listening to. This music will find a
home wilh space children trying
to integrate wilh earth mortals.
-iiBik I
Q YES! I am still a pathetic little
weenie. So send me a CiTR t-shirt!
----■Mill IUhlHII'M'-MHII'l—
! j
■       NC7TAVAiLABLI5INALLSlZES*PHONli;«M242      •
• (a s) • (a M) • (□ i> a (xl) • a (xxi.)
a Purple        U Brick □   Black
Q Navy Blue   U Burgundy      Li  Red
Q Denim
'Name         '
I City
_ Province ,
_. Phone.	
I Postal	
I-Send $15 to CiTR to have a t-shirt mailed to youi
l__.r_e__k_ _™__ _£. __ L_ ______ __»__ __n__ _$__!
23 nm^smm realliveaction
February 20-23
Febrvory we all remember as
the caffeine-infested, dreary invasion of mental collapse, emotional meltdown, inevitable
breakups,  breakdo*
*inds, do*,
Thursday, February 6
UBC Student Rec Centre
Believe itor not, a February Thursday evening in the SRC gym was
truly where it wos at, with two
turntables and many microphones. As he jocks pumped iron
in weight rooms below, Beck
worked the crowd.
Mr. Hansen and friends, including quick-wristed DJ Swamp,
were swamped by many lights
hitting the kitsch beach back
drop. They seemed a surreal
caboref. Punch and Judy on
Speed glowing in the dark hall.
There were carefully orchestrated
moments when the entire bond
would freeze, only one hand still
flicking on drummer or DJ. Beck
was a robot-dancing Jon Spencer, a glam rock cowboy in the
encore, when the band donned
animal masks.
A wide range of material was
covered in ihe 1 hour 45 minutes
of punk funk: most of Odelay ond
much of Mellow Gold, including
"Loser" of course. Riots ensued
at a Mexico concert when he
wouldn't do lhat one; poor, self-
cursed guy. It wos scorey to be
in the some room as someone
who handed up a college portrait of Beck inscribed simply,
"He's a Loser."
Even first olbum One Foot In
The Grave mode an appearance,
during a solo, acoustic interlude.
This saw eccentric Beck talking a
lol, pondering the mysteries of
new age, and playing gems like
"Asshole' ond 'I Get Lonesome."
Such poignant numbers were a
relaxing break from the new evolution of "The New Pollution,"
"Devil's Haircut" and other
Odelay offerings. Beck said,
'This ain't disco, it's rock V roll,"
ond it's be nice to see some new,
mellow songs. He did say in an
interview that it was hard to put
slower, franker tracks on the new
album, what with the Dust
Brothers (now Chemical
Bros) as producers because their
house wos like a constant party.
This performance's brilliance
was confirmed by Beck's ironic
point lhal this UBC show was the
first date of his West Coast lour
(let's face it, University Blvd. is
hardly Haight Ashbury), which
was taking o while to sink in.
James Bainbridge
Valentine's Slam
Friday, February 14
Whip Gallery Cafe Garden
'Love is like a stale Twinkie,
Twinkies rot ond love is mean,
wholo Ding-Dong I have been.'
(Alexandra Oliver, spoken word
24   april   1997
Upside Down Production's
'SlanvBam-Jom-A-Ramo' inspired
o sexy new insight into the St.
Valentine's Day celebration. Il
reminded us of the Pagan origin
of the Festival of Love, rejoicing
in the energy of uninhibited expression. Just as the Pagan tradition called for an exhibition of
love in its rawest form, this slam
poetry competition beckoned us
away from the lonely commercialization thot Valentine's Day
hos become. It captured a collage of meanings about the
beauty of human emotion that
those mass-produced Hallmark
greetings foil to convey. The
Whip provided ihe perfect atmov
phere for vocal invention in its
newly expanded space. Poetic
themes and content matched the
eclectic art deco ond rummage
sole decor in the studio-style cafe.
We were there to observe the
qualifying round for Vancouver's
1997 Slam Poetry team, the dedicated effort of James of Upside-
Down Productions and Graham
of the Vancouver Slam Poetry
Association. Those who make the
team will be contenders at ihe
North American Performance
Poetry Action Competition in the
US. Becouse of the significance
of this event, spoken word artists
engoged ihe audience wilh original and enticing representations
of their work. Semi-finalist Jenn
Griffin appealed to dejected single women as she cried out:
"John-Boy Walton — ihonk God
for you ... you wouldn't grab my
ass unless we were engaged!"
Andrea Thompson won he grond
prize of 16 dollars for her titillating associations between lust and
a shot of tequila.
To conclude the night's talent,
Alexandra Oliver and S.R.
Duncon bolh offered trademark
samples of their poems. Steve
mesmerised us with the nostalgic
story of "Mrs. Morgan Chose the
DJ. Martin spun ocid-jazzy-
funk tunes ta an appreciative audience and kept the groove between performances. The rhythm
in bolh the music and the poetry
created an excellent ambience
and satisfied ihe soul. However,
what impressed us the most is the
active interest in co-ordinating
such events which contribute to
Vancouver's art scene. Without a
doubt we ore looking forward to
attending the next spoken word
Jen Hills and Joyce Indig.
Saturday, February 15
Vogue Theatre
Cigarette companies lhat support
the arts get a bod rap. Certainly
it gives exposure to their product
— after oil, who can think about
the jazz festival without thinking
of the du Mourier logo? — but
nevertheless I think thot du
Mourier is rather like a sheep in
wolf's clothing. It is because they
cough up all this dough that I can
see free jazz in Gastown in June;
ond get exposure to lesser known
bands without all the fluff and
hoo-haw of big promotions.
A few weeks ago, Babba
Maal came as precursor to the
jazz festival. What a fantastic
show that was! From Senegal,
members of the band combined
traditional African drumming
sounds with influences of jazz.
If there were ten people on
stage, there were a hundred.
Drummers dancing around to
the music brought the audience
into the show, so thot we were
not merely spectators. A few
seats dancing — you had no
choice, because the band carried you along. The bright col-
of thei
looked brilliant as they spun
around and jumped to the beat
of the drums. Best of all, the
dancers and musicians seemed
to be having fun.
I even saw one of my philosophy professors there dancing in his seat.  Nietzsche
would have been proud.
John Steed
Thursday, February 20
W.I.S.E. Hall:   Women In
View Festival
"Is anyone else being affected
by that big white ball growing
in the sky?" Kinnie asked after
her first song. Most of the audience yelled out yes, the almost-
full moon was screwing them up
too. Kinnie Starr is always
talking to the audience, jumping off the stage (none too
gracefully, she pointed out) and
discussing the cycles of the
moon and her mood swings.
Despite forgetting the lyrics to
several songs she performs all
the time, it was a great show.
The W.I.S.E. Hall was a
friendly venue and it's always
a welcome treat to hear Kinnie
unencumbered by her band.
She is superb on her own, although she likes constant interaction with people. She invited anyone to come up on
stage to sing or read anything
they were working on, an offer one woman took her up on.
Kinnie did a combination of
songs on her rented Mexican
Stratocaster, performed some
spoken word pieces and read
some new poetry which
kicked ass.
Kris Rothstein
and shutdowns. Plus it rains
more and is colder (relative, we
convince ourselves, to anything).
Alas, there is for me one annual
saving groce for February. It's
Vancouver's Women in View
Festival, 0 showcase of women
in the oris ot a bunch of venues
across town. I had the chance
to catch a couple readings and
performances to get a taste of
the diversity of stufff to see.
On February 20th, os part
of the First Nations Performance
Series, BC writers Eden
Robinson and Jeanette
Armstrong read ot Green
Thumb Studios, a sort of evening
of the-verteran-and-the-new.
Robinson is a recent graduate of
the M.F.A Creative Writing program af UVic, ond has just hod
her first book of stories, Troplines,
published. She's a hilariously
funny woman in person, ond so's
her writing. She read from a novella about o girl dealing wilh the
fact that her Mom's a serial killer,
featuring a dog nomed Picnic
who humps cows "steady as a
Mom who lops the head off the
neighbour's dog while it embeds
its teeth in her daughter's forearm
... all aside a nice, white picket
fence. Robinson later gave us
more of a taste of her quirky sense
of humour with a puppet show/
opera in her native tongue, albeit she confessed, in limited
vocob, "because I'm just learning." Keep an eye out for two
more books to come, for which
the contracts have been signed.
Jeanette Armstrong is a well-
known Okanogan performance
poet, novelist, singer, storyteller,
teacher, you-name-itversatile artist and outspoken advocate of
Native rights. She's the author of
a novel, Slosh, several award-
winning children's books, a collaborative book on the Native
creative process, and has recorded an album called Indian
Woman, for which she was nominated for a Juno. She read to us
from her collection of poetry
called Breath Tracks, poems
smelling of Earth and the past,
poems of courage, anger, grandmother's wisdom, and not lacking in humourous commentary on
heavy stuff (ie: "Watch out for
them good looking ones in cowboy boots, darla. They never take
'em off. Them are things you can't
ignore," from ihe poem "Music
the Tyrant Dances to"). An artist
who writes primariy in her
Okanogan language, and for her
people, Armstrong's words nonetheless transcend boundaries, imagined and otherwise.
On February 22nd, I
dropped by the Cultch to see a
few more shows at the Festival.
The afternoon series began with
a Courage Project reading of "I
Sing, Therefore I Am," a story by
ture, rape ond imprisonment before coming to Conoda ta moke
a life for herself and her child.
Following that wos a solo dance
performance by Denise
Lonewalker, also a First Notions Performance Series event.
Lonewalker's "A Tribute to Anna
Moe Aquosh" is 0 powerful statement about one woman's fight for
Native rights in America in the
'70s. Aquosh was a Micmac
woman from Nova Scotia ond an
octivist within the American Indian Movement. Her murder in
1976 revealed the corruption
and conspiracy within the FBI
long-since well-known to Native
people. Lonewalker's riveting
piece, set to spoken word laid
overtop reggoe and jazz, used
the imagery of horses in a journey through rage, abuse, and
silence to empowerment. Totally
I got one lost taste of courage
ot the Festival, from "A Leg to
Stand On," written by Rachel
Wyatt and starring Linda Roino.
This comedy/musical/dance
piece tells the true story of o
dancer and her experiences, following a crippling bock injury
within the medical system. Here,
medical instruments ore phallic
symbols, colourfully-garbed fi-
esto-nurse hallucinations promise
pinatas full of new legs for busted
plastic dolls, and he patient spins
around in her wheelchair while
scenes of her past dancing stardom swim across the front of her
white hospital gown. Eighties
aerobic instructors even make an
appearance in those tragic rainbow bodysuits ... Plenty of
laughs for a satisfying Sunday
morning. Alos, I exited The
Cultch to a sunny afternoon
putting the bookend on another
great Women in View Festival,
and I figured shitty February
was pretty much over.
Heather Hermant
Sunday, March 2
Thunderbird Entertainment
Every Hme I go to an all-ages
show in North Van, things get
weirder and weirder. This time
around the show was in a fully
functioning bowling alley. The
stage was set up in the middle
of the alley across four lanes
and the place was bathed in
black light. Thoughout the show,
on either side of the stage, people were glow-in-the-dark bowling. Weird.
If you haven't seen The
Malchiks yet, in one of their
seemingly hundreds of shows,
you'll probably be pleasantly surprised. The Malchiks are a locol
10-piece (on this night anyways)
ska band. They ploy with a confidence lhat must come from the
fact that the number of the band
members rivals the size of the
audience. The singer started the
show with a gigantic four-foot
bellyflop onto ihe floor and he
didn't slow down for the rest of
the night. Half of he band ended
up playing in nothing but boxer
shorts and they seem to have
found some new, ond frightening,
uses for eleclric tape. Weird.
Next up were ihe Groovie
Ghoulies who surprised me. I
haven't liked their recorded stuff
all lhat much but they played really well. Itwas solid, tight, completely non-threatening melodic
Punk Rock. I really enjoyed it. I
would hove even bought one of
their CDs if I wasn't completely
After a long break. The
Queers were up. They picked
up a greosy-haired-teenoger guitarist from somewhere and were
acting like a four-piece tonight. I
guess Joe Queer con't hold his
own for their live shows.
Anyways, ihey played well and
almost every song was a crowd
favourite. However, there was no
life to their performance. Joe
Queer just sort of stood there and
played. He didn't move. He
didn't laugh. He didn't talk. There
wasn't a single break between
any of the songs. The onfy time
he smiled was when somebody crashed into his mic
stand and whacked him in the
face. It looked like somebody
had just run over his dog or
killed his mother or something.
Itwas depressing.
Dave Tolnai
Monday, March 3
Vogue Theater
One of the masters of modern
music brought himself and little
else to the Vogue — except for
some stripped down arrangements of his repertoire. Why, you
might even describe "Minimalist"
Philip Glass' evening of solo
piano as rather, well, minimal.
Gone were the layers, leaving a core of often sombre, very
Much has been said about
Glass' playing. Virtuolry every
critic whose reviews graced the
press kit felt compelled to point
out ihe composer's lock of virtuosity on the keyboard. I can't
help but wonder why anyone
expecting an evening of delicate, nimble piano work would
be reviewing this show in the
first place. It's pretty obvious
Glass has never tried to be the
next Arthur Rubinstein.
Instead, he aims to come up
with compositions that are all
The first set of the evening
was comprised of "Mad Rush,"
and "Five Metamorphoses," a
set of pieces pulled from scores
for both the film, The Thin Blue
Line, and a stage adaptation of
Kakfa's Metamorphosis. Both
had their moments, but seemed
to grow a bit stale.
After the intermission. Glass
played a short piece from his
operatic collaboration with
Allen Ginsburg, Hydrogen
Jukebox. Glass explained he
likes to take any opportunity to
ploy instrumental versions of the
work when Ginsburg is not
around to recite the poetry.
"He's such a wonderful per- former, often people don't even
notice that there's any music ot
The piece "Wichita Vortex
Sutra" kicks off with an uncharacteristic gospel or anthem-like
intro, ond it established the tone
for a more dynamic second half.
In particular, his "Six Eludes* for
the piano seemed like the most
developed part of ihe program.
Oddly enough, ihey're port of a
work in progress.
The sparse arrangements of
some of ihe older pieces were
inevitably leu grandiose and ultimately less impressive lhan ihe
original, more fully realized versions. One of the immediately
tangible pleasures of Glass is ihe
mesmerizing yet simple interaction between the voices and instruments in his ensemble work.
Still, he delivered a good
cross-section of his material to
make for a solid evening —
though perhaps not as earth-
shaking as, say, the opening
night of Einstein on the Beach
20 years ago.
Michael Chouinard
Wednesday, March 5
Starfish Room
Back Room Shag burst open
wi"h a sweelly-oggressive, worry-
free exuberance lhaf overcame
the unsuspecting crowd. This
young three-piece immediately
had their shit together and displayed a fresh innocence, feeding off each other's energy, thoroughly enjoying every heavy,
non-threatening vibration. Their
style is a blend of many: a non-
grunge Nirvana, North American Ash, Sonic Youth-influenced, a bitSoundgarden-ish,
Green Day sound, yet maintains a sweet authenticity. They
like to stray from the hard stuff as
well, but ihey haven't perfected
it yet, and are best and clearly
most comfy when heavy.
Portal B set a new post-job
anthem, pre-death march tone
with their first song appearing to
aim for a dark, mellow White
Zombie goes punk. They
strayed back and forth from a surf
punk/Rancid sound to an ominous, contemplative tone. It was
difficult to find a common thread
from song-to-song, but ihe best I
can do is to ask you to imagine
an early Offspring basement
gig, experimenting in all directions towards ballads, aggression, and even Maritime sounds.
They lack an edge, using soft
chords lhat could sound harder,
but when they "find themselves"
— pick a sound then perfect it —
it'll come together with the charisma and talent they possess.
Portal B might have made
an attempt at between-song chitchat and humour, but The
Malchiks made a career of it,
clearly pumped for entertaining
the entourage of fans they
brought with their friendly, party-
positive sko. Led by an incredibly manic personality, bom to be
a showman, singing in a Rob
Schneider from Saturday Night
Live busker-in-the-subway-tkit
style, The Malchiks' stumbled
through their set, fiddling around
between songs as if at their own
private porty, but then providing
crowd reinforcement wilh each
lively song. The brass section was
an energetic bunch lhat played
around wilh a very tight rhythm
section which included guitars,
keyboards and drums. Chaos
and randomness provided a contagious festival-like surrounding.
Doria Lysy
Wednesday, March 5
Richard's on Richards
I was so excited about this gig
that I slept badly for weeks in
advance. El Vex, El Groover
coming to Vancouverl The last
hours before ihe concert were
ogony, knowing he was out ihere,
somewhere in the city, and I had
ta wait to get a glimpse of his
vinyl-clad greatness.
And he didn't let us down.
El Vez and his entourage blew
onto ihe stage in full combat fatigues, aviator sunglasses and
uzis, unfurled the flag of the
United Farm Workers Union and
launched into a rousing James
Brown cover: "Say it loudl I'm
brown ond I'm proudl"
"This is the glitter-rock revolution!" El Vez declared with a twist
of his hips. He put Gary Glitter to shome in his platform combat boots, one-zip-for-action
camo jumpsuit with massive flares
and bouffant Elvis do; not to
mention the gun-totin' El Vettes in
combat go-go boots and camo
mini-skirts. Not that these looks
lasted more lhan ten minutes: El
Vez managed seven costume
changes during the close to Iwo
hour set, from sequin shirts to
glow-in-lhe-dark serape pants to
a red vinyl jumpsuit. One ten
song marathon medley required
three different pairs of pants and
shirts: he must have had the
seams attached with Velcro so he
could whip off eoch consecutive
pair wilh a single swipe and fling
them away to reveal even flashier
pants underneath. The most titillating change took ploce on stage
behind a backlit white Che
Guevara flag.
The sweat was flying onstage
as El Vez and the El Vettes (how
do ihey do it in those silver platform sandals?) jumped through
high-impact aerobic choreography lhat gave new meaning to
"sweatin' to the oldies." The energy expended on stage far
outmatched that of ihe riveted but
subdued audience. El Vez milked
his cult status for all its worth: the
endless supply of white towels to
wipe off his sweaty chest conjured up days of Elvis in Vegas.
The seduction of women in the
audience was pure tongue-in-
cheek trash, too — he knelt on a
speaker in front of one woman,
wiping his neck wilh the signature white towel and asked, "Are
you as wet as I am?"
El Vez was more lhan just glitter and gimmicks, though. He
managed to find a unique balance of camp and substance.
Playing mostly tunes off his most
recent album G. /. Ayf Ayl Blues ,
El Vez worked his way through a
high energy set loden wilh irony.
His lyrics pack a political punch;
his parodies and re-workings of
Andrew Uoyd Webber, Elvis
and Randy Bachman tunes
are truly clever. Clearly El Vez is
on a mission to empower and liberate Mexican-Americans by
reinventing himself as a cult hero
and over-the-top stereotype: he
really is Elvis become Che
Guevara. He celebrates Mexican
history in tunes like "The Ami of
Obregon" and "The Cuauhtemoc
Walk," immortalizes political heroes like Cesar Chavez and
Emiliano Zapata, and sings
rousing anthems like "Power to
the People" and "Viva La
Raza." "Chicanismo" (to the
tune of "Little Sister") is a rallying cry for Latinos everywhere
to dare to defy race and gender discrimination.
Of course, the whole El Vez
phenomenon would be incomplete without Priscillita and Lysa
Maria, a.k.a. Those Lovely El
Vettes, and the super-tight backup
bond of scruffy white boys who
transformed "La Cucaracha" into
The show ended a little after
midnight, allowing plenty of time
for adoring fans to swarm the
merchandise table and get autographs. The El Vettes hod won
over my affections by the end of
the show, so I avoided the mob
of women surrounding the Man
in Vinyl, and zeroed in on
Priscillita (in red vinyl hot pants
and go-go boots) for an autograph. I always was a sucker
for a woman who could handle a big gun ...
Anna Friz
Friday, March 7
Block Sheep Books
This is an uncensored performance; it could get nasty," Kirby
McCarron warned ihe small audience before launching into a
poem about listening to his
mother masturbating.
McCarron is a member of
Oops Mommy, I Broke It,
a local collective of young poets. The group appeared at
Black Sheep Books, along with
poet/songwriter Rick
Keating, as part of the shop's
weekly reading series.
McCarron was right — it
got nasty. As fellow collective
members Angela "Sycl"
Crockett, Ghost and Duckie
each took their turns, they wove
a tapestry of alienation and
despair, occassionally pornographic and often spiteful.
Ghost (aka Bill) and Duckie
(who offered no other names)
seemed to share a fascination
with hell and its most famous
"I am the god of hell," began one of Ghost's long and
ponderous rhymes, while
Duckie warned, "I'll rape your
mind ond steal your soul." Evidence of too many hours spent
playing Dungeons and Dragons,
perhaps, but harmless enough.
And then there was Donovan
Wishart. When the evening was
over, the members of Oops
Mommy ... were eager to point
out lhat ihe 1 8-year-old poet was
not one of their number. Apparently he hod just wandered in and
asked permission to read.
When he did, he managed to
find a little somelhing to offend
everyone. Wishart's oeuvre consists of works with titles like "Useless Fuck,' 'I Wanna Be Your
Anarchy," "Hey Girl," and perhaps his defining statement,
"Fuck ihe World." It seems young
Donovan fancies himself on incorrigible bockjss with o nihilistic
streak "I am evil," he warns,
"stay clear of my wrath." On
"Hey Pig," he directs his inipo-
tentwralh toward the police: "I'd
like to put a fucking bullet in your
heod, fucking pig."
Now, there's somelhing to be
soid for youthful nihilism, but even
McCarron, with his unsubtle
blood-and-sodomy verses, said
he was offended by Wishart's
blatant sexism and misanthropy.
When I asked him what motivates him to write, Wishart, clad
in a pot-leaf cap and a pro-
heroin t-shirt, answered, "Society, messed-up emotions of love
... and drugs."
I enjoy attending these readings but, to me, spoken-word
poetry is a bit like watching television. Reading a poem is an
active experience: it sits there on
the page and challenges you to
take ihe time to discover its intricacy and depth — or lack
thereof. A spoken-word piece allows for little interpretation; it
comes and goes before you have
enough time to fully absorb it.
This evening took the form of
a round-robin reading — sort of
like channel surfing. If I had control of the remote, I would have
kept it on Rick Keating's channel
all night. Allhough he recited one
poem, he sang most of his material, accompanying himself on
acoustic guitar. Keating's pleasingly gruff vocals contrasted
nicely with his pretty, ringing
chords. Leaning forward as if to
sing into an invisible microphone,
he kept time by topping his foot
on the floorboards.
The 47 year old Keating's
sometimes-bittersweet lyrics had
everything the words of the
younger poets, for the most part,
lacked. They were mature, reflective and emotionally honest. The
closest he came to the existential
angst of the Oops Mommy ...
crew was "This Is Not My Life,"
in which he sang, "Where the
hell's my country house, my car
and my pretty wife? ... This is mot
my life." Of course, he was playing ihis for laughs, using irony
where a lesser writer might use
sarcasm. This was my first exposure to Keating's work; I hope it
is not the last.
As for the members of Oops
Mommy ... their hearts are certainly in the right place. They
publish a magazine called Slice,
which provides a forum for the
writings and artwork of Vancouver's disenfranchised youth.
"It's a good magazine," said
Ghost. "It helps out some of the
street kids."
Oops Mommy ... is hoping
to appear at the next
Lollapalooza ond the collective
has plons to release books and
a CD in the near future. Let's hope
they develop poetic to match iheir
John Lucas
Sno-Core Tour
Saturday, March 8
Whistler Conference Centre
Years and years ago, I thought it
would be really cool to have a
concert tour wilh bands and
skateboard/bmx demos, the two
things lhat go hand in hand so
well; thankfully, the Worped Tour
was born. (If only I had lots of
moolah to start something like
thot). Now comes the Sno-Core
Tour, a roving bandwagon bringing together a bunch of bands
along with snowboarding at
major snow destinations across
North America.
Power-man 5000 started
things off. They did absolutely
nothing for me. They were o little
cheesy. Their set was short, which
made way for surprise guests
MXPX, who are a trio from
Bremerton, Washington. Their
sound is nothing new, but they
did bring a nice, refreshing feel
to the room. They rocked outhard
and talked a lot to the crowd.
Their songs started to sound the
same, but my only real lament
was that they didn't play their hit
single, "Move to Bremerton".
The Conference Centre was
starling to fill up when Voodoo
Glow Skulls hit the stage.
They are trombone, trumpet,
sax, guitar, bass, drums and a
singer who ran all over the place
shouting what sounded like "ow
ow ow" into the mic all the time.
They were fast, but I couldn't understand the lyrics well and
things became a great blur because I was quite tired from
boarding all day.
I made it into the crowd for
The Pharcyde. I was first introduced to iheir sound earlier in the
day at a friend's house, where
everyone was pretty stoked on
The Pharcyde experience to come
later that evening. They didn't
disappoint. I'm not yer hip-hop
kind of guy, but these guys were
slick and, most of all, they were
good. All of my images of hiphop come from the idiot box, and
these guys smashed all lame preconceptions I may have had
about the genre.
After a short break and a
product toss of corporate goodies. Face to Face took the stage.
They flat out rocked. I was witness to some of lhat snowboarder
angst everyone was telling me
about as the kids kicked out the
jams for these guys. They managed to play fast, furious and
melodic to precision, drawing
mostly from their self-titled release. They walked the walk. Just
before two kids smashed into me
on their way to ihe stage, they
shrieked, "It's our songl" as Foce
ta Face struck ihe first chords to
"Blind." Itwas a fun show and a
perfect weekend highlighted with
some unbelievable runs on ihe
old snowboard. Yippee!
Sunday, March 9
Van East Cultural Centre
Not knowing Britain's upstart
Smith Quartet, I assumed they
would be following the trail
blazed by the Kronos Quartet. And I was right. There wasn't
anything in their set wilh Canadian guitarist Tim Brady lhat really struck me as groundbreaking.
My comments, ihough, should
be better thought of as a spoon
of honey rather than a bee sting.
Kronos is, after all, as fine as
group to model yourself after os
any out there. The five players did
manage to make some rather interesting sounds, some of which
were performed only by the quartet, some by Brady and some by
all on hand. These collaborations
were by for the strongest ond
were well-chosen as a fitting climax to the show.
Gavin Bryar's piece "After
the Requiem," for strings and
guitar, was particularly chilling.
It was written for Bill Frisell to
perform in honour of Bryar's
friend, Bill Cadman, who had
been killed in the Lockerbie air
disaster. I haven't heard the original yet, but as I am on absolute
Frisell nut, I have to say Brady
did just fine.
The finale to the show was
Brady's own, "Dance Me to the
End of Love," in which the guitarist tapped his way through a
variety of pedals, evoking pianos, organs and some surreal
mandolins, all the while being
backed by the pulse of the quartet's strings.
If you know Stave Reich,
you could take his piece for
Kronos, "Different Trains,"
stack it underneath his piece
for Pat Metheny, "Electric
Counterpoint," and the result
would sound a lot like this. In
a word — dazzling.
Unfortunately, some of the
concert's earlier pieces, in particular, Rene Lussier's "Roche
Noire" (featuring a sample of
wheeler-dealer Brian
Mulroney's singing) and
Christos Hatzis' "Nunavut"
were sketchier. The sounds of
the tapes used in these works
provided only background ambience rather than a real starting point for compositions —
nice ideas which really needed
more fleshing out.
I admit I originally heard
there was supposed to be a
piece by Michael Nyman
(one of my favourites). This
probably would have made the
lineup of music stronger. However, I should give the Smith
Quartet and Brady an extra
round of applause precisely for
picking some work by lesser
known composers.
Michael Chouinard
25 E^a_es__ STUDIOS
Digital R*cordin
& Editing F^cilii}
* Studio Hme used to record drum tracks free of charge
*Offer ends July 1, 1997
Sundays 7-9Pro   I
:JV8   I47Q An*     j april'97
1 various artists
tea* mint                                 mint
1 the honson brothers
the hockey song   essential noise
1   oh susanna
2 ofco motto
super rela*                       warner
2 reel big fish
teen beef                                  mojo
2 gaae
preppy villain
3 gob/another joe
split                              landspeed
3 inbreds/plumtree
split                                                   pf
3  kinnie storr's bk lounge
devil's daw
4 Us
this is teen-c power! grand royal
4 mecca normal
parts In april                                 k
4  bock room shag
the back of your head
5 the softies
winter pageant                            k
5 dj food
sonic soup                                    mlo
5 mismo
tarantino cringe
6 heavenly
operation heavenly                    k
6 catpower
fuct                              undercover!
6  squeeky
ten twenty-three
7 the make-up
sound verite                                k
7 sparkmarker
sawed-off but silent         sub pop
7  plumtree
In the sink
8 bis
Infinity plus                                    k
8 built to spill
untrustable                         warner
8 thrill squad
out of touch girl
9 wed* hille
spine                          hxdependeni
9 teen titans
mare songs, less music   peekaboo
9  jpS
fusayhead pills
10 the hi fives
and a whole lotta you      lookout
10 violent nine
punkabilly rules..              little boy
10  kid champion
11 the evaporators
united empire loyalists     rwdwuar
11 satan's pilgrims
the rise and fall..                         k
11  coal
12 various artists
shots in the dark                donna
12 hayden
carr^-on                            mentality
12   michele wong
13 the timber kings
she changed her name..Incentive
13 songs* ohia
one pronunciation_secre-y Canadian
13   jackass                              reality bites In sania barbara
14 various artists
time machine                        stoMip
14 various artists
dumbrock vol 9 A  IO              vital
14   lisa kucharski
walking along the edge
15 the molestics
tropic of hokum          blue llsard
15 placebo
sailor boy                ship _.  anchor
15  the trish kelly experience
loose lips sink ships
16 mode
bedaaaler                               mca
16 junior varsity
go! to the Ice cream., peek a boo
16  superstar
secret heart
17 underworld
pearl's girl                     wa* tra*
17 poopiehead
big red poopie eater   peek a boo
17   the wlngnuts
hate my job
18 god is my co-pilot
the best of.                   atavistic
18 kitty craft
it's stupid                         soda girl
18  plump
cold feet
19 various artists
welcome to lotus land           map
19 neil hamburger
special radio station.,    drag city
19  celestial magenia
the first one
20 the squirrels
scrapin for hits                poplust
20 silver scooter
1353                                     swlngllne
20  head trophies
epidermal hiatus
21 <U>naeofefeaU+elo*is  ship to shore                              k
21 submission hold
garlic for victory!       independeni
21   technicians of the sacred
restless spirit
22 pavement
brighten the corners      matador
22 white trash debufevites
my guy's nemo is rudotf     two-o-slx
22 daddys hands
statistic wigs
23 toledo
fist-rets & cigarettes    moonshine
23 peatmos
earl grey tea                 sonorama
23 dbs
break It
24 various artists
violent world...                  Caroline
24 rugboy/grltty kitty
split                                kindercore
24  the colorifics
?•**? (now ( see heaven)
25 oval
94 dlskont                thrill Jockey
25 snowqueen
travesty befalls..                 smilex
25  added height
down the highway
26 descendants
everything sucks             epitaph
26 bunnygrunt
johnny angel                 septophilia
26  dreadruwi
all hail the word flesh
27 various artists
smooth and wild vol 1 blue liaard
27 duster
45 hole                                    olam
27  ltd 49
vitamin k
28 OTti-fU*******!
die for-            new red archives
28 another girl
growing cold                          bmg
28 hissy fit
29 spacekid
cereal                           humongous
29 king friday
north Carolina                    no idea
29 bllsterene
michael hunt
30 sk«w»klng pickle
the green album         dr. sirange
30 damien jurado
trampoline                         sub pop
30  petrolia
sweet Industry
31 various artists
in defense of animals    Caroline
31 drake tungsten
six pence for..             peek a boo
31   br oca's area
between the lines
32 H fi and th* roadbumers wlne.women ond sux        victory
32 ultrabreakfast
wlshiist                            catapult
32 readymade
dreamt I fell from you
33 the »ountain goats
nothing for juice                  ajax
33 the nightcaps
gamblers game           rendezvous
33  pestSOOO
break my heart
34 sook-yln lee
wings W guns                      aulu
34 micro mini
this Is Jennie          collective fruit
34   wandering lucy
baby eyes
35 team dresch
captain my captain      candyass
35 the buckets
beer belly                        slow river
35 destroyer
karen Is In rome
charts     *:^ip
charts  SUNDAYS
I2MPM All of htm is measured by Hi
art. This show presents ihe most recent
re* nvuc ran around re *crld. Ears open.
Reggae imo dl styles and fashion.
lum _ Wen for another month of travels.
Bring Confetti!
QUEER FM 6O0-8O0PM Dedicated to
the gay, lesbian, bisexual, and
transsexual communities of Voncouver
and listened lo by ewtyone. Lots of
human interest features, background
on current issues and great music
from musicians of all sexual
preferences and gender identities.
GEETANJAU 9*00-10:00PM Geetanjali
features a wide range of music from
India, including classical music, both
Hindustani and Carnatic, popular music from Indian movies from the
1930's to the 1990's, Semi-classical
music such as Ghazals and Bhajans,
and also Quawwalis, Folk Songs, etc.
Join host Dave Emory and colleague Nip
Tuck for some extraordinary political
research guaranteed lo make you think
twice. Bring your tape deck and Iwo C-
90$. Originally broadcast on KFJC (Los
Altos, California).
4.O0AM Drop yer geor and stay up late.
Naked rodio for naked people. Get bent.
Love Dave.
11O0AM Your favourite brown-siers,
James and Peter, offer a savoury blend
of ihe familiar and exotic in a blend of
aural delights! Tune in and enjoy each
weekly brown plate special.
1*00 PM Wilh your hosts the Gourd of
Ignorance. What will we play today?
Rog will put it away.
Two shows became one! An hour of
Mekanikal Object Noize (industrial/
nois/techno) and an hour of Skintight
Buffoone7 (lounge, jazz, brilpop)
june scudelefOmindlink.bcca.
I endeavour lo feature dead air, verbal
flatulence (onfy when I speak), a work ,
music by a twentieth-century cop oser
— con you say minimalist? — and
whatever else appeals to me. Fog and
dyke positive. Mail in your requests,
because I am not a human-answering
machine. Got a quarter ihen call someone
who ares.
usten lor ol Canoaon, mostly iroepenctef.
Vam>mft longed running prime time jazz
program. Hosted by ihe ewr- suave Gem
Wafer. Features (til.
Apr 7-Trumpet ace Freddie Hubbard
Apr 14- Tenor sax giant Gene "Jug" Ammons
Apr21-Trombonist/composer     Slide
Apr 28- New from oho saxophonist Jackie
DRUM*'SPACE ok. 12O0-2O0AM Jazz,
breaks & the silence in between O
11:30AM-1 .OOPM Join forces with a
samurai warrior gone wrong. Fill your
bento wilh feminist asion altitude. This
month interviews with The Third Sex,
Trish Kelley, and Sleater-Kinney!
UCORKEAUSORTSak. 11:30-1:00PM An
eclectic music show. Phone in and
KXA   5:30-6O0PM   News, issues, and
concerns facing Muslims throughout the
Meat the unherd where the unheard
and the hordes of hardly herd are
heard, courtesy of hosl and demo
director Dale Sawyer. Herd up!
RITMO LATINO 9:00-10:00PM Gel on
board Vancouver's only tropical fiesta
express wilh your loco hosts Rolando,
Romy, and Paulo as they shake it and
wiggle it to the latest in Salsa,
Merengue, Cumbia and olher fiery
fiesta favourites. Latin music so hoi
it'll give you a tanl ||RADIO
NAKED RADIO ak. 10:00PM 12:00AM
From Thelonious Monk to Meridith Monk
... we'll play it. Genre-busting, cutting-
edge jazz and other experimental
sounds, plus informative label/artist
features. Join Mike and Sean.
12.O0AM Noise, ambient, electronic,
hip hop, free jazz, christian better living
Ip's, the occasional amateur radio play,
Warning: This show is moody and unpredictable. Il encourages insomnia and
may prove to be hazardous to your
health. Listener discretion is advised.
10O0 AM "Dude if you 're e playing pretty
girl music in my Comoro! Dude'
LOVE SUCKS 12-00-2-OOPM If vou can't
make sense of it, and lhat bothers you,
go somewhere else. We use scissors.
HEliO INDIA 2O0-3O0PM A discovery of
Indian culture, its music heritage and
literature along with a touch of the latest.
MOTORDADOY  3O0-5O0PM  let those
who ride deride!"
ESOTBBK ak. 6:007:30PM   Ambient/
experimental music for those of us who
know about ihe illilhids.
SOUD STATE ak. 6:00-7:30PM Featuring
the latest in techno, trance, ocid and
progressive house. Spotlights on local
artists, ticket giveaways, & live
performances. Hosted by M-Poth.
Foot Flame, Low, Aden, Delgados ...
these are a few of our fave-oh-wril thing s.
1260AM Let DJs Jindwa and Bindwa
immerse you in radioactive Bhungra!
"Chakkh de phutay.' Listen lo al our
favourite Punjabi tunes — remixes and
originals. Brraaooh!
FILIBUSTER al. 10:00-II:30AM Bad hill
blood, spy music and an accordion fetish.
Caution: high in fibre!
MUSIC FOR ROBOTS ah. 10*00-11:30AM
Electronic-Noiz-New Wave-No-Wave.
Ride the Gamma rays inlo the future.
Fem-bol, electronic hostess.
From Tofino to Gander, Baffin Island lo
Portage la Prairie. The all-Canadian
soundtrack for your midday snack!
STEVE & MIKE 1O0-2O0PM Crashing the
boys' club in the pit. Hard and fast,
heavy and slow. Listen lo il, baby.
JUSTIN'S TIME 2:0O-3:O0PM Serving up
your weekly dose of Shirley Hom ond
olher jazz-filled confections.
OUT FOR KICKS 6:00-7:30PM No
Birkenstocks, nothing politically correct.
We don't gel paid so you're damn right
we have fun with il. Hosted by Chris B.
Roots of rock _ roll.
900-11 OOPM Local muzak from 9
Uvebandzfrom 10-11.
Apr 3-Ro» Iron Smile from Victoria
Apr 10-Burden t Dissent
Apr 17-Boftom Twelve
Apr 24-Focepuller
Morgan le Fay brings you ihe latest info
and tunes in the realm of electro/
industrial _ synthcore. Hard beats to
invigorate your late night angst. Last
10:00AM Join Grog in the low den for
a cocktail. We'll hear retro stuff, groovy
jazz, and thicker stuff too. See you here
...and bring some ice. XOXX
TtlESIS 10:00-11:00AM Tune in for
discussions, interviews _ information
relating to people who live with physical
& mental challenges.
12O0PM Tune in for another Fun-filled
hour of ska with hosts Julie and Ska-T.
Chariie Brown once sad to Schroeder:
'plink, pink, plink, all day long! Good
the gallows pole ond git yer dose of
blues in ihe afternoon. Hosts Anna and
Space rock ot its finest.
PRESENTS... 3:30-4:OOPM Haw a
good brunch!
NATION 2 NATION aft. 6:009:00PM
Underground sound system-style
mastermix radio.
David 'Love' Jones brings you the best
new and old Jazz, soul, bin, samba,
bossa & African Music around ihe world.
FOR THE RECORD 6:30-6:45PM Excerpts from Daw Emory's Radio In*
America Series.
HOMEBASS 9:00PM-12:00AM The
original liw mixed dance program in
Vancouver. Hosled by DJ Noah, the
main focus of the show is techno, but
also includes some trance, acid, tribal,
etc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass.
UMP SINK 12.-00-230AM Hosled by the
G42 players. 'The show lhat doesn'l
hale you.' with your friendly pals Friar
Fritter Abfockeln and Postman Pat.
Alternating wilh Dr. Killdare
Contact: limpsinkObroken.ranch.org
LUCID SOU 2:30-4:00AM Dr. Killdare
plunders even further into the wee hour
doing what hecan lo keep securityguards
and 7-11 clerks awake. Waywayway
deep dance stuff ond other hallucinafying
Music you won't hear anywhere else,
studio guesls, new releases, British
comedy sketches, folk music calendar,
ticket giveaways, plus World Cup
Reporfal 11:30 AM. 8*9 AM: African/
World roots. 9-12 noon: Celtic music
and performances.
Vancouver's only true metal show; local
demo tapes, imports and olher rarities.
Gerald Raltlehead ond Metal Ron do the
THE SHOW  6O0-8O0PM  Strictly Hip
Hop — Strictly Undergound — Strictly
Vinyl With your hosts Mr. Checka, Flip
Oul _ J Swing on the 1 &2's.
"Live! — shows and bands — mission
$6.00 — Performers are subject to
EARWAX ak. 1O0AM DAWN 'Little bil
of drum, bil of bass and a whole lol of
noize". Late-night radio soundclash
destined lo fist you hard. Zine features,
phot experimental chunes, and the
occasional turntable symphony.
"Money, we'll rock you on 'til the
break of dawn." - G. Smiley
Board Chair Harry Hertscheg
Current Affairs Michael Gumey
Demos/Cassettes Dale Sawyer
Engineer Richard Anderson
Entertainment Chris Alison
Mobile Sound Ken Orchard
Music Megan Mallett
President Ryan   Ogg
Production SobhanMcCradcen
Secretary Heather Hermant
Sports Slavko  Bucifal
Station Manoger Linda Scholten
Student Engineer Fern Webb
Traffic Sarah Stacy
Vice President Justin Ho
VolunteerCoordinalor John Ruskin
29 april
MARCH FRI 28 The Colorifics-Railway...The C.C. Soy Quar-
♦et-The Purple Onion...The Conspirators of Pleasure/When I
close My Eyes©Pocific Cinematheque...
SAT 29 Scud Mountain Boys/Oh Susanna-Starfish..Coal-
Whip Gallery...Kub Shaker/Headswamp-Gracebnd.. Jewel/
The Rugburns-Massey Theatre...The Colorifics-Railway...Trench
Ant/The Malchiks/Hounds of Buskerville-Gate...Velour 3/The
Liminals-Highland Pub. ..2% Cherry/The Clock of an Undead-
Van Press CLub.Junk-The Purple Onion...The Conspirators of
Pleasure/When I Close My Eyes@Pacific Cinematheque...
SUN 30 Jeru the Damaja/DJ Shadow-Richard's on
Richards... Primrods/lnstan Psionic-Piccadilfy Pub...Almanac
of Fall/Family NestQPacific Cinematheque....
MON 31 De la Soul-Richard's on Richards...Counting Crows/
Ben Folds Five-Orpheum (sold oul)...District 1-Stone Temple
Cabaret...Grrrls With Guitars (Oh Susanna, Laurel Albina,
Kathy O'Neill & The Dirtmitts)-Rairway...Majid Kiani-Norman
Rothstein Theatre...
APRIL THE 1 Suburbia featuring the V8 Collective-Helen Pitt
Gallery...Mary Jane Lamond-WISE HalL.SFU Sludent
FilmsQPacific Cinematheque...
WED 2 Cheap Trick/Silver Jet-Sfudebaker's...Paul Hyde-
Railway...Cranes/Rasputina-Starfish...The Monster@Pacific
THU 3 Paul Hyde-Railway...Duncan Sheik/Jill Sobule-Town
Pump...Gonzalo Rubalcaba Trio-Starfish...Dyke Words (Terrie
Hamazaki, llene Mitchell, Irit Shimral)-Lolus Club...Miss Kitty's dj night-The Columbia...SFU Student FilmsQPacific
FRI 4 Veal-Railway. John Donlan-8lock Sheep Boob...Crows/
Man of...©Pacific Cinematheque...
SAT 5 Spirit Merchants-Railway...Hellenkelbr/Autobahn/Fluid
Ounce/DJ Noah/Hiro Hauato-Graceland...Mother Trucker/
Closed Caption Radio/Melt-Starfish...Kathryn MacLeod-Black
Sheep Boob...Crows/Man of...©Pacific Cinematheque...
SUN 6 JLG by JLG: December Self Portrait/Germany Nine-
Zero/Alphaville@Pacific Cinematheque...
MON 7 Gregory Scofield-Bbck Sheep Books. JLG by JLG:
December Self Portrait/Germany Nine-Zero/
AlphavilleOPacific Cinematheque...
TUI 8 Catherine Bennett-Women in Print...
WED 9 CiTR PRESENTS Lefs So Bowling/Malchiks-
Starfish..Speed Bump/Royal Farm-Railway...Stealing
BeautyQPacific Cinematheque...
THU 10 Built to Spill-Starfish...Ronnie Hayward Trio-
Railway...Miss Kitty's dj night-The Columbia...XXXSpocejunk:
Video and Film by Shawn ChappelleOPacific Cinematheque...
FRI 11 CiTR PRESENTS Man...Or Astro-Man?/Pulsars-
Town Pump...Arts County Fair (5440, Big Sugar, One Step
Beyond, Pluto, Mudgirl)-Thunderbird Stadium...Bughouse Five-
Railway...Modern Rock Circus (Silverchoir, Local H, Age of
Electric, Handsome, Mollie's Revenge, Huevos Rancheros)-
Plaza of Nations...Pele Julu-Gafe...Jamie Reid-Black Sheep
Boob...Bolshe Vita/Junk Movie@Pacific Cinematheque...
SAT 12 Thatch/Manifold/Cornshuck Cowboys-Van Press
Club...Mae Moore-Town Pump...Bughouse Five-
Railway.. .Macka B/Mad Professor-Starfish Room...Modern
Rock Circus (Sban, Matthew Good, Pluto, Super Friendz,
Green Apple Quicbtep, Mystery Machine, Hanson Brothers,
Gob, Cranbhaft)-Plaza of Nations...New Wave-ooke-Picco-
dilly Pub...
SUN 13 The Senator's Snails@Pocific Cinematheque...
MON 14 Presidents of the United States of America/Redd
Kross-Rage...Temptation@Pacific Cinematheque...
TUE  15 Descendents/Shades Apart/Suicide Machines-
WED 16 Taste Of Joy-Railway...TemptationOPacific
THU 17 Taste Of Joy-Railway...Dyke Words (Janine Fuller,
Tonya Yaremko, Dorothy Seatonj-Lotus Club...Miss Kitty's dj
night-The Columbia...
FRI 18 The Molestics-Raifway...Shonen Knife/Pluto/Cockeyed
Ghost-Graceland...Jesse Cook-Starfish...Power to the People
(Bud Osborne, Pete Schweitzer's Strange Alice)-Black Sheep
Boob...The Garden/Paper Heods@Pacific Cinematheque...
SAT 19 Citizen Fish/Submission Hold/Sharb KillAhe Ovation-Pitt Meadows Rec. Hall (12460 Harris Rd)...The Garden/
Paper Heods@Pacific Cinematheque...
SUN 20 CiTR PRESENTS Pavement-Vogue ..The Outpost/
Bitches@Pacific Cinematheque...
MON 21 Fast Folk Underground (Babe Gurr, Jelly Farm, Voh-
age Padj-Railway.. Jane Siberry-Van East Cultural Centre...The
Outpost/BitchesQPacific Cinematheque...
WED 23 Kevin Kane-Railway...Matthew Swee»-Roge...Day
of   Forgiveness/Neon   Tales/From   ScratchdPacific
THUR 24 Kevin Kane-Railway...Miss Kitty's dj night-The
FRI 25 Veda Hille-Railway...Ride/Thanks for Each New
MorningQPocific Cinematheque...
SAT 26 Veda Hille-Railway...RideAhanks for Each New
Morning©Pacific Cinematheque...
SUN 27 Woyzeck/lt's Always Better Where We Are
Not©Pacific Cinematheque...
MON 28 Grrrls with Guitars (Janine Brocewell, Michelle
Gooding, Danielle French, Judy Atkin)-Railway...Woyzeck/
Lost Landscape©Pacific Cinematheque...
TUE 29 2 Left Feet-Railway...Social Distortion-Vogue...
WED 30 Indian Summer/FortressQPacific Cinematheque...
DYKE WORDS — a bi-weekly reading i
with readings and performances by local artists.
Every: second Thursday, at the Lotus CJub 9PM.
iissionS1-4, Hosted by Karen X.
SUBURBIA — Art for and about the burbs by
lective -(She-i Kasparov. Dwight Koss.
tt Rumak. Kevin Sctimidt. Scratch.
Kirsten Tayler. Daniel Vogel.Julia York}
GallerV. Aoril 1. 7-10PM opening recepL
STEALING THUNDER - UZUME TAIKO ENSEMBLE With special guests: Snake in the Grass
vq Tbeatre and the Paula Ross Dancers at
,_ .ancouver East Cultural Centre. April 23-26.
everythiftg^ nfkfkj tn jmow
everywhei^u nefeS'fo go
The Abyss 315 E. Broodwoy (side enlronce)
Anderson's Restaurant [Jazz on ihe Creek)
Anza Club 3 W. 8th (Mount Pleasont)
Arts Hotline
Bossix 217 W.Hastings (at Cambie)
Backstage lounge  1585 Johnston (Gronville Island)
Block Sheep Books 2742 W. 4lh (ot MocDonold]
Cofe Deux Soleils 2096 Commerciol (the Drive)
Cafe Vieux Montreal  317 E. Broadway (Mount Pleasont)
Caprice Theatre 965 Gronville (Gronville Mall)
Celebrities  1022 Dovie (al Burrard)
Chomeleon Urban Lounge 801 W. Georgia (Downlown)
Club Mordi Gras 398 Richards St.
CN Imax Theatre 999 Canada Place
Columbia Hotel 303 Columbia  (al Cordova)
Commodore Lanes 838 Gronville  (Gronville Moll)
Cordova Cofe 307 Cordova (Gaslown)
Crosstown Traffic 316 W. Hastings (downlown)
Denmon Place Cinema   1030 Denmon  (West End)
DV8 515 Davie  (downtown)
Edison Electric Gollery/Cafe 916 Commerciol (the Drive)
Firehall Arts Centre 80 E. Cordova (alMain)
Food Not Bombs Voncouver
Frederic Wood Theotre (UBC)
Goroge Pub 2889 E. Hastings (downlown)
30 april 1997
488 6219
684 3777
876 7128
684 2787
689 7734
687 1354
732 5087
254 1195
873 1331
683 6099
689 3180
669 0806
687 5007
682 4629
683 3757
681 1531
683 5637
669 7573
683 2201
682 4388
255 4162
689 0926
872 6719
822 2678
822 9364
Gastown Music Hall 6 Powell (Gostown) 689 0649
Gastown Theotre 36 Powell (Gostown) 684 MASK
The Gate  1176 Gronville (downlown) 688 8701
Graceland  1250 Richards (downtown) 688 2648
795 3334
iry 41 _4 Main (Mt. Pleosont) 322 6057
Hemp B.C. 324 W. Hastings (downlown) 6814620
Hollywood Theotre 3123 W. Broodwoy (Kitsilono) 738 3211
Hot Jozz Society 2120 Moin  (Mt. Pteosont) 873 4131
It's A Secret 1221 Granville St. (downlown) 688 7755
Jericho Arb Centre  1600 Discovery (Pi. Grey) 224 8007
LoQuena  Uncommercial (the Drive) 2516626
The Lotus Club 455 Abbott |Gostown) 685 7777
Lucky's 3934 Moin 875 9858
Luv-A-Fair  1275 Seymour (downlown) 685 3288
Mars  1320 Richords (downlown) 230 MARS
Maximum Blues Pub 1176 Granville (downtown) 688 8701
Niogora Hotel Pub 435 W. Pender (downtown) 688 7574
Medioluno  1926 W. Broodwoy
Odyssey Imports 534 Seymour (downtown) 669 6644
Old American Pub 928 Main (downlown) 682 3291
Orpheum Theolre Smithe _ Seymour (downtown) 665 3050
Pocific Cinemotheque  1131 Howe  (downtown) 688 3456
Paradise 27 Church (New West) 525 0371
Porodise Cinemo 919 Granville (Gronville Moll) 681 1732
Park Theatre 3440 Combie (South Voncouver) 876 2747
Picadilly Pub 630 W. Pender (ot Seymour) 682 3221
Pit Pub basement, Student Union Building (UBC) 822 6273
Pitt Gollery 317 W. Hastings (downtown) 681 6740
Plaza Theolre 881 Gronville (Gronville Moll) 685 7050
Purple Onion  15 Water St. (gastown) 602 9442
Raffels Lounge  1221 Gronville (downtown) 473 1593
The Rage 750 Pocific Blvd. South (Plozo of Nations) 685 5585
Roilwoy Club 579 Dunsmuir (ot Seymour) 681 1625
Richard's On Richords  1036 Richards (downtown)
Ridge Cinema 3131 Arbutus  (at 16th Ave.)
Russian Holl 600 Campbell (Chinatown)
Scratch Records  109 VV. Cordova  (Gastown)
Southhill Candy Shop 4198 Main (at 26th)
Storfish Room   1055 Homer (downtown)
Starlight Cinemo 935 Denman (West End!
Station Street Arts Centre 930 Station  (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
Stonelemple Cabaret  1082 Gronville St. (downtown)
Sugar Refinery  1115 Granville (downlown)
Theotre E 254 E. Hostings (Chinotown)
Thunderbird Enl. Centre 120 W. 16th St. (N. Von)
The Tower 339 W. Hastings (downtown)
Town Pump 66 Water (Gastown)
Track Records 552 Seymour (downtown)
Twilight Zone 7 Alexander (Gastown)
UBC CINEMA (located in the SUB)
UBC Grad Centre Gate 4 (UBC)
The Underground  1082 Granville (downtown)
Vancouver E. Cultural Centre  1895Venables (al Victoria)
Vancouver Little Theolre 3102 Moin (Mt. Pleasont)
Vancouver Press Club 2215 Granville (S. Gronville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Woshout 2412 Moin  (Mt Pleasant)
Video In Studios  1965 Moin (Ml. Pleosont)
Vogue Theotre 918 Granville (Granville Mall)
Waterfront Theotre  1405 Anderson  (Gronville Is.)
Western Front (303 E. 8th Ave)
Whip Gollery 209 E. 6th Ave (at Main)
W.I.S.E. Hall 1882Adanoc (the Drive)
Women In Print 3566 W. 4th (Kitsilono)
Yale Blues Pub 1300 Granville (downlown)
Zulu Records 1869 W. 4th (Kitsilono)
687 6794
738 6311
874 6200
687 6355
876 7463
689 0096
688 3312
988 2473
683 6695
682 7976
682 8550
822 3697
822 0999
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
331 7909
685 6217
876 9343
254 5858
681 9253
with guests
PLUTO & Cockeyed Chost
Friday April 18
Doors 7pm   •   Show IO pm
«m.»»«.. Suicide Machines
& Shades Apart
Tuesday, '	
April 15
Graceland J
thursd&y, may 1
TriG rogG doors spm
ol WayM
with guasts        m
An  lnl,„,..l,  I--..,! -ill,...
ane 3i
MonJay   A|>._l   2:
v....««,...,. i;„.i < :..ii...,.i < \ ..i
with guest DJs
Monday May 12 $0
Bettie Serwert
dust BunniK
5=-S_SS —
S- rs:s—;-f
songw.iting, a ilevw■"^L- ol a Dutch oceanlm.
len youi voyage witn a vi>
soil immediately
18.88 CB 1288 IP
Number One Cup
Sems f/Hif will worm t„-    7"a"edP0P|
MMCB 14.98 iP
lATfsr Sprmg RecRi/rrs.
Zululovoti *
^of«*perien„.tunesm(r|ls     ■
<r either rome up ** m?id mkt "*u M«"
M98C0 10.98IP
Various Artists
Plastic Compilation
,  ove, in music lond Ihe lol *ol
ploye. Sere* I
_»las re mixed by
to these Plosli
sassfeff ■—•
pottonol the funk with lM«*l"-*»
16.88 CB
fa/ace Brothers
'•**•'■ is indefol.goW,
*MJ un ond challenge r„re ZT     ^ "0' Su«"r your
BL Burnside
Mr wizari
Against Bays match wits and grits on this «ij
engaging "title bout ol the century." Sparring admirably,
these two collective musical geniuses tun through 8        ___■■_■_.
Hacks ol body shots, heod butts ond Ihe odd bellow the belter lot aui
amusement ond goty edification (the lesson is rock, otgh). Alter Ihe sn
clears, it is us that ate Hat on out backs, grinning toothless ond di
it's all lor charity no joke, these boys ore big hearted too.
"•'*•*. ond*.,,0™**"* Willi.
'tord^ei0„.,       S,,ed"""o
Velour 188
Songs from the Rain Hater ep
Featuring the mercurial talents of Hit Nam* ii Alive v
Matt Hudson this EP arrives to us as a biilliant shot in the dark
Innocently newborn, Velour 100s debut coils through an angelic
and ottnosphetic terrain, alerting one's happy /sad netve ends to
their unravelling private vistas Put youi ieelets out lor this one.
18.88 CD-IP ^™
"npress ony Ti/uona bross.i
Recent Staff Picks!
ie member
orro)'of 7* singles^
tompiloiion iroclcs.
»M«- ■rotfc.r,
t_ the search would be left
os graciously intervened by pulling oul o compilation lhal
es us through Ihe smaller morsels within fhe P-*~     ~
__uliful musicol sloble.     AVAILABLE APRIL
16.98 CD 16.981.51P
April Sale At Zulu
Fill your mitt with
these pop fly savings!
Throughout the month of April,
there's 1000 + select import CDs
reduced in price! The savings
start at 20% OFF ANY NEW
We've tagged 'em, you grab 'EM!
„„,„,. the heels ol k »»»
vttecon bluesman _.L        ^^^^^^^^^
Bumsid. slurs the mag" ^
-»f-WX'liirs«t.Uhowlsand slides
eon row muddy moonshine, ■■*
waydown the highway of sin witti nine
" -   nmleed to raise
ie. Damn tight
pce-rock smokers.
the helllite in evM^B	
he's got the blues' _
16.88 CB 1288 IP
.     Notables:
Bowery Electric-Beat CD/2LP
Morphine Like Swiming CD/ Cass
■ PhotekNi Ten Ichi Ryu CD-EP/12in
Dinosaur Jr. Take A Run ot the Sun CD-EP
Air Liquid Neu Frankfurter CD-EP/ 12in
Forbidden Dimension-Widow's
Walk CD (available April 8th)
Mick Harris- Overlood Lody (Drum and Boss) CD
Broiniac Electro Shock for President CD-EP/ 12in
Helium- No Guitors CD-EP/ 12in
JOHN FAHEY- City of Refuge
VARIOUS-United Mutations
DR. ROCKIT The Musicol Sound
AUTECHRE -drastic Slide
F.S.A/ Roy Montgomery- Goodbye
WINOY+CARL Antortico
DIVINE COMEDY A short olbum obout
Cubist Castle
WILCO Being There
NRBQ Tokyo, Live
THE LILYS-Better Can't Make Vour..
the Art is on Fire (reissue)
SUPERCHUNK-Laughter Gun's EP
GENE Drown lo the Deep End
SUEDE-Saturday Night EP
LAIXA-Sounds of the Satellites
PAVEMENT-Irighten the Comers
TRANS AM-Surrender to the Night
Brant M-
LINK WRAY-Shodowmon
THE MAKE-UP After Dork
BETH ORION- Trailer Pork
RED RED MEAT- There's a stor above
0P8- Slush
Oh Susanna- s/t
ANDY KAULKIN-6ft.4 and rising
PAVEMENT-Brighten the Comers
TRANS AM-Surrender to the Night
THE SOFTIES Winter Pogeont
CAT POWER Undercover 7 inch
THE MAKE-UP- After Dark
THE APARTMENTS-The Evening Visits
SPRINGHEEL JACK-Bank of America ep
MICHAEL BROOK-Albino Aligotor
Dark Keys
THE MOLESTICS Tropic of Hokum
GERALD COLLIER-1 Had to Lough like
PAVEMENT-Brighten the Comers
THE SOFTIES-Winter Pogeont
TINDERSTICKS- Nenette et Boni
Directions in Music
PAVEMENT-Brighten the Comers
Montreal EP^ £11


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