DJ SPOOKY IS ARTICULATE, OR IS IT BETTER TO SAY THAT HE ARTICULATES'? HE EXPRESSES HIMSELF WITH his mixes and WRITTEN WORKS; IN CHARACTERIZING of GIDDY CONFUSION AND EXCITEMENT WITH THE conditions OF CONTEMPORARY LIFE, while DISPLAYING an informed, HISTORICALLY LOCATED, SENSE OF PLACE AKin ...^p THE PROCESS, a COMMON SENSE ALSO: OLIVIA TREMOR CONTROL, |Hfc UULUHIHlb,30 secOND MOTION PICTURE, SPEEDBUGGY, THE ELECTROSONICS, kaneva and spacekid. plus: save the cbci .o \, April 1997 Issue *171 Features Save the CBC 30 Second Motion Picture Oiivia Tremor Control Eleorosonics/SpaceKid/Kaneva/SpeedBuggy DJ Spooky The Colorifics 7 10 13 14 16 20 4fe editrix 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 production tania a, chris eng, anna friz, erin h, yuka mflcami, stu, tristan winch photography/illustrations barb, Jamie bilan, shawn contributors 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 charts megan Im, barb datebook popcorn girls distribution matt stettich us distribution megsie discorder on-line ben lai publisher linaa scholten Columns Cowshead Chronicles Vancouver Special Diary of Jonnie Loaf Boy Interview Hell SubCult. Basslines Printed Matters Seven Inch Between the Lines Under Review Real Live Action Charts On the Dial April Datebook 19 19 21 21 22 24 27 29 30 I RODE THE BUS ALL THE WAY OUT TO UBC AND ALL I GOT WAS THIS LOUSY COVER. GRAPHIC DUGHSK3N BY KEN. 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 1176 GRANVILLE ST, G08-GATK APRIL CALENDAR FRI. 4th BRICKHOUSE WITH GUESTS SAT. 5X1-1 BALL II THE ATROCITY EXHIBITION ONS SCANTY WEAR FASHION SHOW/ FRI. nth THE SADDLESORES VANCOUVER POLK KIOSKS. TAROT. PERFORMERS MUSIC FESTIVAL ^m^m^m^m^m^m^m^m^m^tm PRESENTS FROM SAN FRANCISCO FRI, iQth NOISE THERAPY QUEAZY GASIVI FRI, 25th MUSCLE BITCHE WITH | GUESTS. LN FRANCISCO I rSEL *ELEi___fi2 ETS: -nCktfMASTER. If I W MHiHV#t, 11/ BLACK SWAM I W I ' :'■' . I- *P—mmmml SATr I2t MUSIC WASTE DBLE CO RE LI ZOLTY CRACKEI SMAK HOMECOMING SHOW _ SATtJ9th | COLORIFICS WITH GUESTS SA^, 2*9th •ea«(_©i_«*£K c«-c«_i<_ fcgo^ai FROM SAN FRANCISCO TEMPEST STONY PLAIN RECORDING ARTISTS HE PAPERBOYS S___> ROIMIMY SCOTT'S SPRING & SUMMER ^LRJ^Gf*A A/O E/JA/D SLJXM * EVERY MONDAY (STAgf^8.PM) "o ROUGHCUTS S S]0gfcfP P E R S c% HOSTED BY nn"y"n "g"*•**' ■ J^m &C0USIIC OPEN STAGE FOR BANDS (O'R°0'lvl-™_,,Hs R 0 VID E D) NO COVER'EVERY TUESDAY MO COVER! THE BROWN DERBY INVITATIONAL JAZZ AND JAM FESTIVAL PLAYERS AND SAND INFO; 680-1250 APRIL 15th » CD RELEASE FOB JUICE 7:30 -10:00 pm w&C sm-mam- WEDNESDAYS APRIL. _2"<* •> B«*« • 18th CFOX PEIVlOLI3TEtM DERBY CUTTING EDGE NEW ROCK I***-**?"1 HOSTED BY GRAHAM SCOTT __U_l__k_____ VIDEO RELEASE FOR S.P.M. SOUND PRESSURE MANIFEST, H ADLEY, _. co release for EVIL ROY SLADE D.D.T. FLUX,& HIP HOP MECANIX TrPfP NOISE THERAPY DE,s,i_3__c______i_il,DGE CFOX DEMOLISTEIM DERBY FINALS L, 4PM -6PIVI VIRGIN M EGASTORE Site Of $11fitly Music for The Pimp In You. r—^ [\r SNEAKER PIMPS BECOMING X SOUNDTRACK THE SAINT FEATURING: ORBITAL, MOBY, CHEMICAL BROTHERS, UNDERWORLD, DURAN DURAN, DAVID BOWIE AND MANY MORE! SURE -'li'M.IHHl ■BhUlTIMEDIA • MORE ARD 604.669.2289 Visit our cafe on the upper level. VIRGIN MEGASTORE dear m 233-6138 SUB Blvd., '"'■ *t . a6wfehead chrorucles e airhead 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 policy. 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 neighbourhood. 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! MarcosX "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 PARDY HARDY! ON SALE THIS MONTH: 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: UPER FPJENDZ" "•"■ "V" "^POSTERST I • 5 SLIDE SHOW VINYL LPs | AGE OF ELECTRIC • 7 MAKE A PEST CDs • L5 POSTERS • 2 T-SHIRTSj FAXED HEAD __-»«. kl M (ft. tan *f »<H $14.9] tt NUMDEKMiE«PoWitde.lfLw[ieiefWM«»^iM*'iii^a DEM0UT10ND0UR0DS r(Ury(Jefl$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 ntupgrod with only HAVEN'T KEN TO SCRATCH LATHY? 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. LATCH 1-MAI,ORCttl ... \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! special 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 playlist THRILLSEEKERS (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 .. ENTROPK'sfour song tape has a t - mos- phere swirlini chords giv ing a prog touch to a heavy, loping rhythm section ... Also laying on the ethe CLOCK OF AN 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 ^^_^_^ Mighty THRILL SQUAD 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. QUEAZY Hurk (Spark) 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/ 2742 WEST 4TH AVENUE ALL EVENTS ARE FREE! Thunderbird Radio 'NTERViE HE*-**' 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 ... nothing) Ask yourself TWO questions and answer them. Billy: 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! Rob: 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, Vancouver! 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 ... Valeria: Q: What makes you glad about Vancouver's music scene? 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. Jay: 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! Discography: '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. BC.V6G2H8. juniper daily Who are you? (names, ages. Instruments played) 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 Gould? 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 Rends/Buzzards? 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 them. 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. Discography: Juniper Daily three-song demo cassette, Stride CD. Tabloid 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' extra? 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. Rlmography: 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 •ONE STEP BEYOND w/ DJ CZECH & SEREN @ arts county fair, ubc - noon to 9pm •MO' FONK COLLECTIVE @ chameleon - 9pm Saturday april 12 •DJ LUKE & DJ WAX instore @ hmv robson - 3pm •ONE STEP BEYOND @ chameleon - 9pm Sunday april 13 •NORDIC TRAX LISTENING PARTY @ airtight, chameleon - 8pm •NORDIC TRAX CD RELEASE PARTY @ 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 rmsnaAMsuiiBi 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 creating. 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 Homecoming. 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.* Discography: 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) Contact 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, S NOT WHAT YOU 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 ...» kitty poulin FREE PIERCINGS With a jewellry purchase you receive a free piercing by Canada's most experienced piercers MACK'S LEATHERS 1043 GRANVILLE STREET 688-6225 THE EXPERIENCED PIERCERS k)4'rc fhe I'We Sftre *V\ &*jf t \iar\. ■ : (-cammed -pu\l Vtntaqi we're. jjd_*_jfc I *^ " good used pop "■frjffi Jb_» culture clothing ^■P. i/q^CQuuer broadway C/o-_fe *© « c>?ocolq*te -^•fcoirjej its* omT?Li__un[jQ -caacEtais©®(? 9S5IM1JL oaaiD \;: > ■ -OiftD00 U3M, *:ofifEEtee 11 S^SSESffi Volunteers needed. Are you un outgoing, spontaneous man or woman over the age of 19 with a never-say-die attitude and a good sense of humour? 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(403)448-4827 —Fax(403)431-2820 NO PST fvisAl gg) BSSSS NO PST HEW - USB - VM1KE GUITARS - BASSES - AMPURBtS - LAP STffiLS UNDCRUORLD • SflRRH MCLRCHLRN (with rabbit in the moon] THE CHEMICAL BROTHERS • PROPCLLCRHCRDS • MCRT QCRT MANIFESTO SULLY • THE CRYSTAL METHOD • GOD WITHIN • GAAGAGE «1 r**jtt_ 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- thin filSf 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 four-track. 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,] | 4,3JI.0 u. ya"nvTlTTl ^netf688- SUBSCRIBE TO DISCORDER | & RELIEVE ^^ CD CIT frt^^FSF^ 1 YEAR: $15 CDN $USl5 US $24 ELSEWHERE DiSCORDER, 233-6138 SUB BLVD, VANCOUVER, BC V6T iZl i3 ^mgumm i«mev 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 Scooter. 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." LE PORTER BlEHtt 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. "• mJ/0_?_ sounds M?« Daisys Santo "exit planet right" 13 song CD/ $12 ppd Santo "Sur-Lick Baby" 7" on super cool green vinyl / $4 ppd DA'Sa^CORD^6IO Cook Jt, Victoria, BC VST 3SI d^vicnetnet • disputed by FAB and Scratdi IK^vEV Pacified Cd wifh Rom for Mac Distributed fay Scratch Distribution 15 Et^SESffi 16 april 1997 I iSg 111.ill ill_3illf|.fill isSI? sfifillr|i|fi^ifft o -a ._ L If-ftfl 3 _ *c fc & s'3iT3«*3S|^»§^E6|^oo|23^o^|Psi£*<,>-S5ju*5 SlJlllillSiiiiililJlill^lSillS.&li 1 5 s B 8 * * l»ff-*I.fll* sj fc *•_ f* s « a * t o gal|s^ - _ s| g>3« ^ ii ■ __-§ _-§ »l -b i! _■ a 1 5 s -g * 1 * « 5 s g a i. i 3**» ANNUAL HOT CHIU PEPPER EATING CONTEST £t»£iU CHEAP WINGS & CHEAP DRINKS JAM WITH CRAZY DAVE & THE HYPERDRIVE I RETRO DANCE PARTY PARTY NIGHT GREAT SPECIALS X-FILES SUNDAYS SEE IT HERE FIRST 7 PM & 9PM ^__ ____■ ONLY $6.00 AT POOR | THE PIT PUB • IN THE BASEMENT OF THE STUDENT UNION BUILDING, 6138 SUB BLVD. • 604-822-6511 18 april 1997 basslines o 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 computers. 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 music, FUTURE SOUND 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 are LOW TECH HEROES (Nova 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 JOHN SHIRLEY (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. Hoadhuntor TIMOTHY FINDLEY 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 VARIOUS AUTHORS (Sceptre) 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 characters 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 more 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, baby 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 SCOTT ASHTON SWAN PRODUCTIONS PRESENTS I usod to bo normal...happy...Wolf ad}ustvdl But that was hoforo.*, A PLAY BY CHARLES BUSCH i OPENS APRIL 8 AT CELEBRITIES ALL TICKETS $10 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 departure Dave and 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 Lindsey. 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 E _______ IS r]»ci iform T^lm'i lines 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 least. WE WERE WEDNESDAY MUSICIANS (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 3A2. CAFE-TABAC (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. DAMYATA (16PP, half size) 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- 6598. 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, 10002-0142) 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, 90025) 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 CLIMAX GOLDEN TWINS 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 review CRANES Population Four (Dedicated) 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." Christian HANK DAVIS (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 bam-i 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 THEDIABOUKS Danger. Diabolikt (Dionysus) 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 Maow hHEAD Ony (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 MAKEUP After Dark (Dischord) 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. TNAK MERZBOW Age of 369/Chant 2 (Extreme) 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 MCHSTBOYZ ff (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 THINILS 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 Oh Susanna EP (Stella) 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 >ulde 60 FT DOLLS The Big. (Geffen) 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 SLOWLORIS The Ten Commandments and TWo Territories According to ... (Southern) 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 garden. 4. Isn't this jusl Ires Europeenne. Ah, good evening, Mr. Moriccone. 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 SPACE Spiders (Gut/MCA) 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. SPACE KID Cereal (Humungous) 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 SPARKMARKER 500 watt burner at seven (Crisis) 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. NK THE SUPER FRIENDZ 5//de Show (Murder) 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. TIMBER KINGS She Changed Her Name to Mashuma (Incentive) 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 UNDERWORLD 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 VARIOUS ARTISTS Oo-Kart Vs. the Corporate Giant (Go-Kart) 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. Thalia VARIOUS ARTISTS 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 VARIOUS ARTISTS Northern Circuits (Interchip 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." VARIOUS ARTISTS Plastic (Nettwerk) 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 adverflslHQltefs bv-ftttlast 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- Christian VARIOUS ARTISTS 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 "ambientpsychedelectronic- headskunkdubfunk." Appearing are Fila Brazilia, Re- bom, Global Communication, Journeyman, DJ Food, Asian Dub Foundation, RHC, Freak Power and Bandulull! All tracks provide acuteaudiosensualfootun- bendingrelaxation. Ambient VARIOUS ARTISTS Submerged Blooming Breaks and Bulging Beats (Incoming) 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. •from -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 ' '.Address 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 9TH ANNUAL WOMEN IN VIEW FESTIVAL February 20-23 Febrvory we all remember as the caffeine-infested, dreary invasion of mental collapse, emotional meltdown, inevitable breakups, breakdo* vinds, *inds, do*, BECK 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 VOICES AND VINYL: The Valentine's Slam Friday, February 14 Whip Gallery Cafe Garden Room 'Love is like a stale Twinkie, Twinkies rot ond love is mean, wholo Ding-Dong I have been.' (Alexandra Oliver, spoken word artist) 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 World." 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. BABBA MAAL 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 clothin 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 KINNIE STARR 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 mesmerizing. 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 THE QUEERS GROOVIE GHOULIES THE MALCHIKS Sunday, March 2 Thunderbird Entertainment Centre 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 broke. 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 PHILIP GLASS 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 atl." 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 MALCHIKS PORTAL B BACK ROOM SHAG 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 ELVEZ 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 OOPS MOMMY, I BROKE IT 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 resident. "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 FACE TO FACE THE PHARCYDE, VOODOO GLOW SKULiS MXPX POWERMAN 5000 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! TIM BRADY/ SMITH QUARTET 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} FREE BEDS* * Studio Hme used to record drum tracks free of charge *Offer ends July 1, 1997 Phone:(604)312-0927 •PU-Y'f GR'YOO'QOP The MOLE Sundays 7-9Pro I :JV8 I47Q An* j april'97 LONG VINYL april'97 SHORT VINYL april'?? INDIE HOME JOBS 1 various artists tea* mint mint 1 the honson brothers the hockey song essential noise 1 oh susanna shame 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 luminites 11 the evaporators united empire loyalists rwdwuar 11 satan's pilgrims the rise and fall.. k 11 coal chemicals 12 various artists shots in the dark donna 12 hayden carr^-on mentality 12 michele wong hop 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 she. 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 sS^MMrm, charts *:^ip charts SUNDAYS ARE YOU SHBOUS? MUSK 8O0AM- I2MPM All of htm is measured by Hi art. This show presents ihe most recent re* nvuc ran around re *crld. Ears open. THE ROCHES SHOW HOC-3:00PM Reggae imo dl styles and fashion. RADIO BLUE WARSAW 5.-00400PM Join 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. RADIO FR5 AMKICA 10:00PM- 12:00AM 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). NTHE GBP OF NCOHBHNCY 1200- 4.O0AM Drop yer geor and stay up late. Naked rodio for naked people. Get bent. Love Dave. MONDAYS BREAKFAST WITH THE BROWNS 8:15- 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. THE STUPID RADIO SHOW 11:00 AM- 1*00 PM Wilh your hosts the Gourd of Ignorance. What will we play today? Rog will put it away. MEKANIKAL BUFFOONERY IO0-3O0PM 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. THE MEAT-EATING VEGAN 3O0-4O0PM 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. TO CANUCK STOPS WE -L 70O-9OOPM usten lor ol Canoaon, mostly iroepenctef. hme_ THE JAZZ SHOW 9:00PM-12:00AM 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 McLean DRUM*'SPACE ok. 12O0-2O0AM Jazz, breaks & the silence in between O 160bpm. TUESDAYS LADY DEATHSTRIKE'S LUNCHBOX alt. 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 RADIO FREE WOMEN 3O0-5O0PM KXA 5:30-6O0PM News, issues, and concerns facing Muslims throughout the THE UNHEARD MUSK 7O0-9:00PM 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 SABROSAI! 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. WITCHDOCTOR HKHBA11 al. 1060PM- 12.O0AM Noise, ambient, electronic, hip hop, free jazz, christian better living Ip's, the occasional amateur radio play, AURAL TENTACLES 12.-00AM-VKY LATE Warning: This show is moody and unpredictable. Il encourages insomnia and may prove to be hazardous to your health. Listener discretion is advised. WKDNKSD AYS COLONEL SANDER'S HIDEOUT 8:00- 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/ electronic/industrial/ethnic/ 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. AND SOMETIMES WHY 7:3O9:00PM 2 Foot Flame, Low, Aden, Delgados ... these are a few of our fave-oh-wril thing s. lalalal STRAIGHTOUTTAJALLUNDHAR I0O0PM- 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! THURSDAYS 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. CANADIAN LUNCH 11:30AM-1 OOPM 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. ON ARWnHGREASEDHAIR 7:30-9O0PM Roots of rock _ roll. UVE FROM THUNDOBRD RADIO HEU 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 D6T0RTH) CttCUmY 1O0-4O0AM DJ 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 FRIDAYS VENUS FLYTRAP'S LOVE DEN 8:30- 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. SKATS SCENE-IK DRIVE! 11:00AM- 12O0PM Tune in for another Fun-filled hour of ska with hosts Julie and Ska-T. KNEPTUNES ROOM 12:00-1:00PM As Chariie Brown once sad to Schroeder: 'plink, pink, plink, all day long! Good Grief!' LUCKY SCRATCH 1O0-IO0PM Swing on the gallows pole ond git yer dose of blues in ihe afternoon. Hosts Anna and Andy. LITTLE TWIN STARS 2O0-3:30PM Jacuzzi Space rock ot its finest. NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30-4:OOPM Haw a good brunch! NATION 2 NATION aft. 6:009:00PM Underground sound system-style SUN TUE THU SAT mastermix radio. AFRICAN RHYTHMS ak. 6O0-9O0PM 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 fucked-up-ness. SATURDAYS THE SATURDAY EDGE 8:00AM-12:00PM 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. POWERCHORD 12:00-3:OOPM Vancouver's only true metal show; local demo tapes, imports and olher rarities. Gerald Raltlehead ond Metal Ron do the damage. 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. UVE AT THE HI-HAT 11O0PM-1:00AM "Live! — shows and bands — mission $6.00 — Performers are subject to change." 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 WHOM H O W 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 ProgixjrnmingNamikoKuninKto 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 datebook 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 Cinematheque... 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 Cinematheque... 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... SUBM1SSI 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- Groceland... WED 16 Taste Of Joy-Railway...TemptationOPacific Cinematheque... 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 Cinematheque... THUR 24 Kevin Kane-Railway...Miss Kitty's dj night-The Columbia... 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... events 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. 8pm. SUBURBAN YOUTH MUSIC RESOLUTION - .MISSIONS TO DATEBOOK ARE FREE! TO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO f WI- WHERE, WHEN) TO 822 9364, ATTENTION -DATEBOOK." DEADLINE F-OR THE MAY ISSUE IS APRIL 207H1 everythiftg^ nfkfkj tn jmow about... 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 6824171 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 7324128 681 9253 738 3232 UNIVERSAL CONCERTS CANADA with guests PLUTO & Cockeyed Chost Friday April 18 Qrncclnnd Doors 7pm • Show IO pm «m.»»«.. Suicide Machines & Shades Apart Tuesday, ' April 15 Graceland J JAMES THIRD EYE BLIND thursd&y, may 1 TriG rogG doors spm Fountains ol WayM with guasts m GHAINSAW KITTENS SATURDAY, APRH % m TOWN PUMP ON SALE SAT. APRIL 5! An lnl,„,..l, I--..,! -ill,... ane 3i MonJay A|>._l 2: v....««,...,. i;„.i < :..ii...,.i < \ ..i JAMIROQUAI with guest DJs Monday May 12 $0 Bettie Serwert $!0fiBffl dust BunniK !_,••»«■**■■■?*_, 5=-S_SS — S- rs:s—;-f songw.iting, a ilevw■"^L- ol a Dutch oceanlm. i*i»«-^i7Sr_^i--i len youi voyage witn a vi> soil immediately 18.88 CB 1288 IP Number One Cup Ssass. Sems f/Hif will worm t„- 7"a"edP0P| MMCB 14.98 iP 7i/rVf t/P YOUR CARS WfTH TH£S£ lATfsr Sprmg RecRi/rrs. EBVW.SVSB Zululovoti * :»J JteSeaaniCafce ^of«*perien„.tunesm(r|ls ■ <r either rome up ** m?id mkt "*u M«" F+Zm:*"££mmkmitl'1 M98C0 10.98IP Various Artists Plastic Compilation , ove, in music lond Ihe lol *ol M.„w.rkc,el»idc.^.^ ploye. Sere* I TheHertialiser BlowYoor Headphones ■Ml _»las re mixed by to these Plosli SS-f-'?s*;^SS:-i. sassfeff ■—• pottonol the funk with lM«*l"-*» 16.88 CB fa/ace Brothers lostBfves Inevitably, 14.91GB Ml/in (oh-ms) '•**•'■ 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. U.88CD "•'*•*. ond*.,,0™**"* Willi. 'tord^ei0„., S,,ed"""o ■War* 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^ ■«tyfcoSjr( 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 ORANGE-STICKERED SALE ITEM! We've tagged 'em, you grab 'EM! „„,„,. the heels ol k »»» l».«kat«WMsk«Y 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 & Other . 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 RUN ON-No Way ELEVENTH DREAM DAY 8th 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 Christiie- DIVINE COMEDY A short olbum obout Kevin- THE CRUMBS s/t OLIVIA TREMOR CONTROL Dusk ot Cubist Castle WILCO Being There NRBQ Tokyo, Live THE LILYS-Better Can't Make Vour.. ROCKET FROM THE CRYPT Stole of the Art is on Fire (reissue) SUPERCHUNK-Laughter Gun's EP Miki- * THEORB-ToxygeneEPsl+2 LIGHTNING SEEDS Sugar Coated GENE Drown lo the Deep End SUEDE-Saturday Night EP VELVET UNDERGROUND- Loaded (reis- GrantH- LAIXA-Sounds of the Satellites lOCUST/M.HARRIS/0.TOOP-the Unfinished MARTIN PHILLIPPS AND THE CHILLS- PAVEMENT-Irighten the Comers TRANS AM-Surrender to the Night ELEVENTH DREAM DAY-the 8th Brant M- LINK WRAY-Shodowmon THE MAKE-UP After Dork OPB-Slush BETH ORION- Trailer Pork VAN MORRISON-Healing Gome MARIANNE FAITHFULL-20th Century Blues Ken- RED RED MEAT- There's a stor above 0P8- Slush Oh Susanna- s/t ELEVENTH DREAM DAY-8th ANDY KAULKIN-6ft.4 and rising PAVEMENT-Brighten the Comers TRANS AM-Surrender to the Night ELEVENTH DREAM DAY- 8th THE SOFTIES Winter Pogeont LONG HIND LEGS s/t OH SUSANNA s/t CAT POWER Undercover 7 inch PETER SCHERER-Cronologio Nic- THE MAKE-UP- After Dark THE APARTMENTS-The Evening Visits (reissue) SPRINGHEEL JACK-Bank of America ep HOVERCRAFT-Akathasia MICHAEL BROOK-Albino Aligotor Ml- SHUDDER TO THINK 50,000 BC BRANTFORDMARSAUS TRIO-The Dark Keys ANTHONY COLEMAN-Self-Haters KLFTKARED Hijacking THE MOLESTICS Tropic of Hokum GERALD COLLIER-1 Had to Lough like Hell PAVEMENT-Brighten the Comers tm- THE SOFTIES-Winter Pogeont TINDERSTICKS- Nenette et Boni BROWN/SCHARIN/WARDEN- Directions in Music PAVEMENT-Brighten the Comers WEDDING PRESENT- &r Montreal EP^ £11
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1997-04-01
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Item Metadata
Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1997-04-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1997_04 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 0b5caa52-af58-4167-817e-a9e58611a500 |
DOI | 10.14288/1.0049909 |
AggregatedSourceRepository | CONTENTdm |
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