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 august 2000
free
that out of hand magazine from CiTR
Zubot & Dawson
(Isan Clifford Gilberto B'ehl Bid of the Monochrome SeT)
( & Scarlet's Well Death Metal Bumbershoot and more! )
LOCAL BANDS!
This is your LAST CHANCE to fill out
applications for our 2000
Local Music Directory! (p.7)
^jFor info on SHiNPiG! 2000, see p.25)^ hoLg pnde!
Celebrating
our spirit!
euents
Saturday, July 59 - noon to 6 pm ■ HOLY PRIDEI PICNIC IN THE PARK
A fun-filled day of wacky games & races for adults, kids & dogs! Food vendors & a beverage
garden. Prospect Point Picnic Area, Stanley Park.
Thursday, August 3 - 6 pm to.l am ■ ELECTROLUSH piesenls DINA MARTINA
The first Vancouver appearance of Seattle's delicious Dina Martina.
Lava Lounge, 1180 Granville.
& DJs. Commodore, 868 Gram
■Friday, August 1 - Sunday, August 7 ■ 7™ HEAVEN*
TBB Productions presents the official Pride after-hours parties with top-name DJs. Vane
Public Library, 350 W. Georgia. For more info: tbbproductions.com
Saturday, August 5 - II am ■ PRIDE INTERFAITH SERVICE
Join members ol all faiths as they celebrate the spirit of Pride. St. John's United Church,
1401 Comox.
Saturday, August 5 - 9 pm to cZ am ■ HOLY PRIDEI BALL*
Interactive Male presents THE party of the weekend with New York's fierce ruling diva, Kevin
Aviance, Justine Tyme, MC Joan-E, DJs Marc Tattoo, Rex West & Jamie J (San Francisco).
Enterprise Hall, Plaza of Nations.
Saturday, August 5 - 9 pm to e am ■ MASQUEERADE*
Flygirl & VPS present a gay & lesbian carnival with DJs Tracey-D & Dawna Montell (Los Angeles),
and the Public Dreams performers. Commodore, 868 Granville.
Sunday, August 6 - noon sharpi ■ HOLY PRIDEI THE PARADE
The city's largest, most colourful and absolutely most fabulous parade. Denman Street to Sunset
Beach.
Sunday, August 6 - 3 pm to 8 pm ■ HOLY PRIDE! THE PARTY
Celebrate with the House of Venus, Jackae Baker, DJs Chiclet & Jamie J. Beverage garden.
West End Community Centre, 870 Denman.
Sunday, August 6 - 7 30 pm to E am ■ SPIRITUAL PATH TO THE
FABULOUS OUEER PALACE
A dance party for youth under 25. West End Community Centre,
870 Denman.
i Erin Hamilton, Chi Chi LaRue,
Sunday, August 6 - 8 pm to ie 30 am ■ SALVATION*
Cabin Boys presents the official Pride Sunday night party wi
DJs Dickey Doo & Steve Travolta (NYC). Commodore,
868 Granville.
Sunday, August 6 5 Monday, August 7 ■ 7™ ANNUAL PRIDE CRUISEY-T*
Sunday 'Denim & Leather' cruise boards at 5:30 pm, and Monday
'Pride Party' cruise boards at 4:30. MV Britannia, north foot of Denman.
Monday, August 7 - II am to d pm • PRIDE BRUNCH
Wind down your Pride weekend & enjoy a bountiful brunch menu at the newly reopened Romano's
Macaroni Grill, 1523 Davie.
Global-    ^
^^^    HanetOutcom
O ROGERS       Wjl
H  no
CrwWtcHt5e> Grtftfenf
manline*
wmM4MM
wnp]
<m in
- *u4dmaJ- < eeVmiERSTFCETVANCOUVERCANADA
Features "at least ^ ja** greatscu
CineMuerte
Bid of Scarlet's Well & The Monochrome Set
B'ehl
Bumbershoot
Clifford Gilberto
Isan
Death Metal in Vancouver
Zubot & Dawson
Regulars
Dear Airhead
Vancouver Special
Radio Free Press
7"
Strut  &   Fret
Under Review
Real Live Action
Charts
On the Dial
Datebook
Cover
editrix:
barbara andersen
ad rep:
maren hancock
art director:
jenny watson
production manager:
christa min
photo editor:
ann goncalves
art and design:
jenny, christa, chad christie,
|   randall mindell, wynne waring
photography and
illustrations:
sarena bryden, ellinda siu
production: bree baxter,
bleek, paul crowley, hancunt,
daniel jurnove, katie riecken,
anthony schrag, wynne
waring
contributors: bleek, julie c,
c, jason d, steve d, jamaal
, trevor f, hancunt, jess j,
niko k, doretta I, godfrey I,
imie m, christa m, luke m,
labby r, girish r, tobias v,
on the dial:
charts:
julie colero
datebook:
|   barbara andersen, christa min
promotions coordinator:
distribution:
matt steffich
us distro:
mr. germany 2000
publisher:
linda scholten
4
4
5
7
16
18
20
23
24
26
The weekend before production I had my only vacation of the
summer. "Forget this shit!" I said, and I did. Production
Monday I was all rosy-cheeked and happy. The down side, of
course, is that i didn't prepare the magazine at all and by
Wednesday afternoon (that's mere hours before heading to
the printers) we still didn't have a cover. thankfully jenny
wasn't doing the 24-hour flake routine and she came up with
something. it's all about the trolls standing on the record
players. Pantone 346U forever! Photo by Sarena Bryden.
© "DiSCORDER" 2000 by the Student Radio Society
of the University of British Columbia. All rights reserved.
Circulation 17,500.
Subscriptions, payable in advance, to Canadian residents
are $15 for one year, to residents of the USA are $15 US; $24
CDN elsewhere. Single copies are $2 (to cover postage, of
course). Please make cheques or money orders payable to
DiSCORDER Magazine.
DEADLINES: Copy deadline for the September issue is August
16th. Ad space is available until August 23rd and can be booked
by calling Maren 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. Send e-mail to DiSCORDER at
discorder@club.ams.ubc.ca.
From UBC to Langley and Squamish to Bellingham, CiTR can
be heard at 101.9 fM as well as through all major cable systems
in the Lower Mainland, except Shaw in White Rock. Call the CiTR
DJ line at 822.2487, our office at 822.3017 ext. 0, or our news
and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail
us at: citrmgr@mail.ams.ubc.ca, visit our web site at
http://www.ams.ubc.ca/media/citr or just pick up a goddamn
pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1,
CANADA.
printed in Canada
Monday July 31
FRESH JIVE, NORDIC TRAX & BASSIX Present
MARK FARINA (c      	
with TBONE & LUKE $15 door only
nordictraxWT* BASSIX   (Q)
Thursday August 03
PRIDE WARM UP @ GROW
with DICKEY DOO
Saturday August 05
DINO & TERRY @ FEVER
Sunday's at Sonar
Spectrum entertainment presents.
THE CROSSFADE tumtablist series
Aug 06 VIN-ROC
Aug 13 P-TRIX
Aug 20 APOLLO
Aug 27 SHORTCUT
Sep 03 Z-TRIP
Wednesday August 16
UP IN SMOKE TOUR
AFTER-PARTY @ GRANDE
TBA - DONALD GLAUDE @ CLUB XFM
Wednesdays Thursdays
§fe grande     grower
V cherry bombs Dear
Airhead
DOWN WITH
TRANSCRIPTION   ERRORS
Hello! I was in Chicago when I
heard the interview I did with
Christa ran. When I heard you'd
used the painting (self-portrait) I
felt sort of weird; I did it when I
was about 15, in my parents'
house in North Van. Strange that
if would be published about 25
years later. Only one small prob-
lemo with the piece; and totally
understandable. I wasn't collecting info on other peoples'
scenes; "in the bathroom-type-
stuff." I was collecting info on
for
icle
"Canada's zine culture magazine" Broken Pencil. You know,
reading material kept in the
bathroom? Thanks for your support of my project!
Light-heartedly,
DOWN   WITH   POETRY
this is a barbara love poem,
Today, my arm hurts
the way it would if you typed for
But I see ali of you typing, and
You never seem to be in pain.
I want to dance the Puerto Rican
House-boy Dance of Joy for you
but I am afraid Christa will get
or mad
or both
It is always good to fear poets...
There's nothing to a poem, just a
bunch of people doing
overly pretentious things.  But
doing them well
All this typing just made me even
Anthony Schrag is charming as hell,
as you can tell by this poem. He also
writes "serious" poetry, and his first
book is called Moving Pictures, published by Creenboathouse, and it will
be out this month. In case you're curious, Anthony is a babe But sometimes he's totally gay and wears
white jeans and toenail polish.—
Prod. Man.
UP WITH IRRESPONSIBILITY
Dear Airhead,
I made a note to myself a while
ago to the tune of "there is no
such thing as pure transcription."
I can't recall when or why, but I
think it had something to do with
all the face-burningly dull homework I continue to avoid.
Summer is the worst. I make
a lot of "ultimate" statements like
that, but it really is THE WORST
because I start feeling things like
happiness and pleasure and section of bad omens in the world.
When things are going well I
tend to let go of the neuroses
which hold my lifestyle together.
The damage that can be done
by a few weeks of enjoyment is
really quite astounding. I think
I'm going to fail a class or two; I
don't think I really care.
Happiness turns "A" students
into drop-outs. Summer is the
Love always,
H. Apropos
Vancouver
local cds!
ZUBOT AND DAWSON
Tractor Parts: Further
Adventures in Strang
(Black Hen)
Yeah, that's "Strang," and no, I
either. What I do know is that
Steve Dawson and Jesse Zubot
have rounded up an impressive
group of musicians and musical
instruments to put this extremely
quirky and eclectic, primarily
instrumental CD together. Onetime Georgia Straight cover-girl
Veda Hille co-writes and sings
one of the songs, but what really
impresses me is reading through
the lists of instruments played on
each track. Guitar, mandolin,
organ, tuba, bass, trumpet,
Hawaiian slide guitar, fiddle,
space echo, hurdy gurdy, and
sure, but how about "$15 roadside synth" and "fish"? File
under folk, but don't expect that
to signify "traditional" or any
thing you can plunk along with
on the old nylon-string guitar.
www. zubotanddawson. com
VEGA
Demo EP
(Independent)
What
shave
ed young band made up of former members of Velour3 and
The Liminals, as well as a
"teenaged wunderkind drummer" and "turntablist extraordinaire." As you might expect from
a band resulting from this collision of catchy retro-style popsters, minors, and forward-looking
electronic types, there's a variety
of stuff on this so<alled EP. (At 8
songs and close to 40 minutes,
this CD is what folks like the
Beatles used to call an LP. The
"L" meant "long"—how things
have changed!) Some tracks are
'60s-ish hook-filled and slightly
wicked; there are some funky
bits tossed in the mix, a snippet
of a classic comedy routine and
then of course there's the clever
turntabling. While all of this
diversity increases the chances
that there's something for almost
everyone here, it also makes it
difficult for the band to have a
defining sound in the usual sense
of the word. But then again,
remember how those old Beatles
albums used to have the readily
identifiable John, Paul, George,
and even Ringo songs? Maybe
Vega's on to something here.
Listen to their songs for free at
www.bluecrow.com/members/vega
VARIOUS ARTISTS
Northern Lights, Volume 1
(Tinderbox Productions)
Don't be dismayed by the fact
that 14 of the 17 songs on this
compilation are already available on other CDs, or will be
soon. For one thing, even /
haven't heard all of them yet.
(Did you catch that,
Cinderpop, Veda Hille, and
Marq DeSouza?). For another, this is one of those truly
deserving causes—all proceeds
are going to a project for street
youth, "I'm Dangerous With
Sound." Perhaps it needs adding
that there are some very worthy
contributions here. There's the
already pretty famous (Hille and
is online with a gorgeous new website.
archived issues, distribution details, advertising info, and more up-to-date fun stuff
including web-only interviews!
this month: Peaches, Bahamadia, and god
knows what else.
www.ams.ubc.ca/citr/discorder
check us out, send us some mail!
Brundlefly), the recently positively reviewed in Vancouver
Special (Star Collector and
Pepper Sands), the wonderful
and not always sufficiently
appreciated (Coal and Circus
in Flames), as well as good
stuff from Rich Hope,
Cinderpop, Jack Tripper,
Waltz Darling, DeSouza,
Mark Crozer, Fear of
Drinking, and Satsuma.
Never mind how broke you are,
you really ought to buy it.
www. eyeteaser. com/tinderbox
local demos!
by jamaal
Hey, kids. How goes in the land
of the locally-musically-interested? Things are good here. This
month's crop of demos provided
me with much entertainment, be
it from quality or from complete
disregard for the pursuit of quality. Either way, I had myself a
month of satisfied grins and actual out-loud laughter. Not bad for
the shiftiest job at DiSCORDER.
Okay, the shitiest column; I never
have to proof-read.
RANDY was perhaps the
only band in this month's column
that provided me with neither
grins nor laughter. This Duncan
collective's basement-beat, synth-
pop thing created for me an
atmosphere of complete neutrality that never even bordered c
ultimate clubhouses. ([250] 526-
6898)
Most favourite tape of the
month goes, hands down that is,
to a fellow from Quesnel by the
name of JAY A. BECK. It was
fitting that I should listen to his
full-length, Light of Green, the
day after attending the Ween
show, as genre-hopping was certainly in the mix. The word
"eclectic" springs to mind.
Anyway, I loved this tape, and I
want the world to have access to
it, though I fear the uncultured
among you may not possess the
mental capacity to appreciate
the Simon and Garfunkel
influences that thread their way
through the album. Keep your
ears and eyes open for this up-
and-comer. (481 Dennis Rd.,
Quesnel, BC V2J 5W7)
And now to the mean-spirited section of the column:
MELINDA GIDALY, of
Vancouver, is a Quiet Loathing
Girl for whom I have one word:
Boo-fucking-hoo! Rambling folk
misery pisses me off, especially
now that I'm trying to get off the
pot. Apparently Ms. Gidaly
plays around town, and if I ever
walk info where she's doing her
thing, the world will be a much
more miserable place.
<merrywitch@hotmail.com>
And now to the laugh-ouMoud
section of the column: MICHAEL
DAVID JEANNEVOL, of New
Westminster, submitted a single-
song ditty that had me saying,
"People still make music like
this?" I could describe it as bad
'80s synth-reggae-pop, but I
think the title should be enough
to deter you: "(I Love You) More
Than I Feel." Come on, be real
for a moment. ((604)889-2321)
Our last demo this month
should help give you a sense of
the state of my backlog: THE
HEATSCORES' Ruin X-mas.
Yep, just rolled around to that
one. So if you sent me a tape
last week and you're choked I
haven't got to it yet, fuck right
off. As for Saskatchewan's
Heatscores, this tape rocks in a
very serious surf-punk kind of
way. I like it so much, I'm
already anticipating next
Christmas when everyone else is
playing their dorky carols and
I'm cruising through town in my
Corolla hatchback just cranking
these beautiful bastardizations
through a stereo willing to sacrifice itself for the ongoing sins of
others.
www. heatscores.dynamiczone. com
Jamaal
engaged. It just <
rried o
I. Great for internet cafes and
have you filled out the
LMD application yet?
page ?...
7  «-molxW- i Radio Free Press
How do you like this?
While Sam is off merrily
prancing around England,
he's left me with the full weight
of this column on my shoulders.
He's probably relishing boiled
potatoes and chips right
now—laughing about Canada
over a pint, sitting across a
table from Scott Walker. So
what can I, myself, tell you
about zines this month?
Let's begin with Vancouver's
Does This Make Sense To
You? #3. Oddly enough, this
issue was placed in the hands
of the usual editrix's sister, J,
while Vanessa was off gallivanting     around     merry    ol'
England. Sound familiar? Inside
you may find a couple reviews
of Slam City Jam written in short,
to the point,   rant style.  Also
reviewed    is    the    film    New
Waterford Girl and   1 3 other
movies. Much of this is hand-written (though not all of it), giving it
the look and substance of a
young teen zine (and I've seen
hundreds of those) though I think
the authors are older than that.
This is good, but I truly believe
these kids are capable of much
better.     (2030     Larch     St.,
Vancouver,  BC V6K 3P4)
Perhaps something
along the lines of Robot
Power version 18.5, put
out by the screwballs at
Asian Culture magazine
Giant Robot. Why these kiddies need to create a half
legal sized, photocopied
fanzine is a mystery, but it is
a refreshing, indie-oriented
thing. The nerd stories are
awesome, and the article on
the positive medical benefits
of drinking your own piss
was lovely. Legends of the
punk underground Cynthia
Connelly (photographer)
and Calvin Johnson (Beat
Happening, K Records, Halo
Benders, etc.) are interviewed in
a very concise manner, as are
several skateboarding heroes.
They also speak with somebody
who was a Power Ranger (urn...
yippee?), and a riveting blow-by-
blow of a guy who was very
constipated. It's enough to bring
tears to my eyes. Yeah, you're
sold now! ($4 US, PO Box
642053, Los Angeles, CA
90064)
Get your paws on that, and
your thumbs on Thumb #1 1
which includes freakin' fine interviews with electronic artists like
Michael Fakesch, Plone,
Schlammpeitziger, Flowchart,
Pole, Pluxus, Emperor Penguin,
Volume AII*Stars, and Wisdom
of Harry (whew). Thumb has
consistenly been one of my
favorite zines, mainly because of
the clean layout and the fact that
ekeseeesm
editor Eric Mast's taste ii
mirrors my c
his r«
's kick. Eric often ask:
Dm s opinion on
the albums and the result is precious if not merely funny. ($2,
PO Box 40572, Portland, OR
97240-0572)
Train Wreck #5 is a production of Michael B. McCleod.
In TW5 Michael presents a format and intelligence similar to
Dave Fisher's Filler zine from
Ontario, and that's high praise.
Great coverage of Silver Jews'
David Berman, Make Up,
Swearing at Motorists, and the
Ghetto Defendant & All City
Records labels. Plus a swell Star
Vehicle tour diary and plenty of
pithy reviews. ($2, PO Box 652
Sydney, NSB1P6H7)
Speaking of reviews, there
are buttloads of them in the
newest Agree to Disagree
#8. This issue explores the bands
The Infiltrators, Trial, and
Flashlight as well as just being a
good punk resource. Dig in.
(Free around town at with-it locations. PO Box 56057, 1st Ave.
Postal Outlet, Vancouver, BC V5L
5E2)
What? You don't see what
you need here? Well quit
whining and just pick up the
new, jam-packed Broken
Pencil # 13 with hundreds of
Canadian zine reviews and
tales of folks who do things
their own way, on their
terms. Radio Free Press wants
you to get involved. Send
your zines and recorded zine
articles for the radio show.
Contact us about doing an
RFP show sometime. Get in
touch, meathead! E-mail me
at bleek0@yahoo.com for
more info & check out the
new RFP web page at
http://hello.to/radiofreepress.
Read something today, idiot.
Web
pages
www.giantrobot.com
www.brokenpencil.com
www.agreetodisagree.com
www.audiodregs.com
Happiness
by     M i y u
If you don't give people your phone number, you won't expect
them to call. If you never ask someone for something, you won't
get an answer you didn't want to hear. If you have no one to
count on, you'll never be let down. The best way to combat loneliness is to cut off all forms of
THE MIRROR CONSPIRACY
Brought together by their mutual love of Brazilian composers Antonio
Carlos Jobim and Joao Gilberto, Eric Hilton and Rob Garza return with
'The Mirror Conspiracy'; an album influenced by many an evening listening
to Sixties movie soundtracks and rare library music from Italy and the UK.
Thievery Corporations' bounty is an endless treasure chest of ideas old,
new, borrowed and cool. The Mirror Conspiracy skips through reggae
dubplates, lounge muzak, breaks, beats and bossanova along the way.
INIAIPI zooo
by trevor fielding
CINEMUERTE HORROR FILM
FESTIVAL
June 29-July 8
Pacific Cinematheque
I 'm never again allowed to complain that
there are no good movies playing in this
town. An international horror film festival? Two blocks from my house? That's
right up my alley. Literally. Granted, I
don't really know anybody else who likes
horror movies, but it's not so weird to go
see them by yourself... is it?
Last year, when the CineMuerte festival was at the Blinding Light!!, I didn't
get to see a single film, and I really
wanted to see Nekromantik. Banned in
BC? Damn right I want to see why.
This year I managed to see five
movies in all. Not the one I really wanted
to see, though: Lucio Fulci's The Beyond.
Of all the movies playing, this was the
only one I had ever heard of.
What I did see was Who Would Kill
a Child?, a Spanish movie from 1975. A
man and his pregnant wife travel to a
deserted island full of demonic, eerily
beautiful children. Sort of a lot like
Children of the Corn. Me and Mike went
to this one and were pretty surprised at
the lack of gore; we figured that a horror
movie festival would be swimming in it.
One good scene was the guy mowing
down kids with a machine gun, and also
his wife's unborn child turning evil and
ripping up her insides. "That's dirty!"
cried Mike as thick orange-y blood trickled down her legs. Not a great movie,
although I really liked some of the camera work, where shadowy figures would
slip by in the background.
Next was a film called The Vij. A
Russian movie from the '60s. They don't
know who directed it or what year it was
from, but this was the best movie I saw at
the festival. "Vij" is Russian for witch. This
movie was about a witch and a seminary student It starts a little slow and has
a lot of bawdy, drunken singing—apparently all Cossacks drink vodka all the
time—but it's a very good mix of genuinely funny and genuinely creepy. It was
dubbed in English but subtitled in the
weirdest language I've ever seen. Not
Russian. Good movie. If I'd bothered to
fill out the little evaluation sheets they
gave out, I'd have given this a 4 out of
5. The Vij was preceded by a very cleverly done local short called Figments.
After I ran home, wolfed down some
chicken, and choked on it, I sprinted
back to see a British film called Terror.
Apparently this 1978 movie was an
homage to Dario Argento's Suspiria, a
movie I own but have never watched. It
wasn't half bad, full of pretty girls in the
horrible styles of the late '70s getting
utterly terrified in a number of freaky situations. That part was well done, but the
"last of their line threatened by the family curse that couldn't possibly be real. It's
just a myth... or is it?" plot was pretty
contrived. There was a short film afterwards, titled, I think, Mumbo Jumbo.
Not great, although the scenes of
gravedigging (filmed in total silence
except for shovel scraping) were cool.
One of those where the end is really
I missed a couple days, and then on
Friday, to kill time before our band's first
show ever, Mike and I went to see Mark
of the Devil. The first film ever rated V for
violence, this 1969 German production
was supposed to graphically depict brutal torture to the extent that barf-bags
were handed out. And yes, they reprinted the original bags from the original
1969 screenings. Mike and I didn't get
bags. We got there late. We also left
early, after the vaunted tongue scene. A
woman, you see, gets her tongue ripped
out. The dude who introduced the film
went on and on about it, as did the program. This was a pretty harsh movie,
especially for 1969, but I thought scenes
other than that, like the popping thumb
or nails in the bum, were grosser. Not a
bad movie, even though we missed the
last half.
The last movie I saw was a recent
German film called Schramm (1993).
"Pure filth," the program called it. That
about sums it up. The director introduced
it, and he was exactly the sort of snooty
Sprockets-type German director-type guy
you'd expect. I couldn't find him afterwards to tell him what a weird fucking
fellow he was. He deserved it though.
Schramm is a disjointed—not to mention
disturbing—look at one man, a serial
killer I suppose, and all the incredibly
bizarre things he does (kills Jehovah's
Witnesses; fucks an inflatable torso;
drugs his hooker neighbour friend) and
imagines doing (waking up with one leg
a bloody, goopy stump; having the den
tist carve his eye out with a scalpel).
Then there's the thing I couldn't tell if he
actually did or just imagined—hammering nails into his gross, limp, flabby little
cock. All these things are filmed extremely graphically—quite realistically, I might
add—making this the goriest movie of
the lot. I suppose this is art. Art is a very
subjective thing, you know. The real challenge is remaining objective while watching a guy hammer nails into his dick.
Herr Direktor called Vancouver "the middle of nowhere," to many peoples'
annoyance.
It may be the middle of nowhere, but
Vancouver is now the site of a phenomenal yearly event that ought not be
missed. I can't say all the movies were
great, but next to the tripe that major studios churn out—sans plot, sans unpredictability, sans value of any kind—it
was definitely a privilege to see them.
Hell, just to have the opportunity. Back
when horror movies of quality were coming out in theatres, I was a very squeamish little kid. Nowadays I get to see
very, very few horror movies that aren't
on a small screen. To pass up an event
like this would be a dumb move, despite
my girlfriend's objections. Bless the
Pacific Cinematheque and the organizers of the Cinemuerte festival. I hope
they're still selling t-shirts when I get my
next paycheck. •
■ Jl
DISPLAY
IMAGES     1W Ml
Vancouver:
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(at Davie)
(604) 893 8696
theAw6&t*tffli$ni^ance & electronic music
cd, vinyl, cassette | men's &womens clothing
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dw open one year at our Vancouver locatior
> ***fr«siJ- 2 A friend     of    mine    has
declared a moratorium
declare a moratorium on cute.
No, wait, I'll allow it for one
more month. I would like to be
able to purge cute out of my system entirely, and quickly, but I'm
unsure whether that would be
possible. I've been down with
cute for so long now, it's in my
blood. It's rather Pavlovian—I
see cute things, and I want to
own them, touch them, be near
them. I hear cute music, and I
get all stupid and happy. I can
see now that this is not as it
should be. A tough exterior is
needed if I desire to take on this
world and succeed in life.
Because of these life-changes
that are now in order, I must
prepare to give up candy, comic
books, cartoons, and other such
extravagances. The first item i
The
Powerpuff Girls. Not content to
stop at being cute, these cartoon girlies take it to a new
level: they're cute-iful. Because
they must un-become a part of
my life, I will take this opportunity to get out some good props
to them before I learn to hate.
Life is all about the hard stuff,
right?
The Powerpuff Girls are so
amazingly cute and clever that
they've inspired a league of
indie-credded rockers to write
songs about them. Before you
can get your hands on tracks by
Cornelius, Devo, and some
guy from Olivia Tremor
Control, you can rush the
shops to get the BIS/APPLES
IN STEREO single. Pressed on
cotton-candy pink vinyl, this
gem finally offers up the
Powerpuff theme song in an easily accessible format. I was pretty chuffed to finally get to hear
the second verse of this catchy
theme. As far as I'm concerned,
Bis handed the Powerpuff Girls
street cred when they recorded
this track for the series, and my
love of the Girls grew out of my
love of all things cute and Bis.
(See why this way of life has got
to go? It's sickening, isn't it?)
The Apples In Stereo, a band
which has never been a love of
my life, actually got on my good
side with their song "Signal In
The  Sky  (Let's  Go)."   It's  an
extremely catchy ode to everybody's favourite crime-fighting
girls... who I will just have to
learn not to love. (Kid Rhino,
www.kidrhino.com)
Less cute than those pesky
Powerpuffs, but special in its
own way, is the new single by
K., also known as Karla
Schickele. Known for her roles
in Ida and Beekeeper, Karla
goes it alone this time out. "Not
Here" is a slow, simple song
that focuses on the power of
Karla's voice. She is backed up
by violin, clarinet, and piano—
not your average pop song! The
b-side is a Low cover, again
very moving and sparse, but I
don't quite see the point. I've
always been struck by the similarities between Schickele's
voice and that of Mimi Parker's,
so this cover doesn't do too
much for me. Maybe die-hards
will think differently of it all. Still,
this is a very sweet-sounding single, one for quiet nights spent
alone. (Tree, PO Box 578582
Chicago, IL 60657)
THE CANDIES have a cute
name, but the band neither
looks nor sounds cute. I bet you
Our annual directory, chock full of contact numbers and
addresses of bands and the businesses that support
them, will be in the September issue. The deadline for
entries is August 15, 2000.
I 1
jYOUAREA(Checkone): |
I _BAND/MUSICIAN_PROMOTER I
I     RECORD LABEL/DISTRIBUTOR _ LIVE MUSIC VENUE
I    MANAGER/AGENT STUDIO ZINE OTHER
(eJaborotebelow)
j   NAME: I
■   DESCRlPnON(15wofdsorless):
C0NTACT(S):_
ADDRESS
I PHONE:.
I EMAL _
I   URL
FAX:
j FlU.THKCHjTANDMAl/FAXrTTOUSE£FOREAugusrl5/2000|
1    233-6138SUBBfvd,Vancouver,BCV6T 1 Zl fax: 604.822.9364
think that means they're my new
favorite band, right? Wrong!
These Italian post-rocka boys do
not turn my radio on. I found it
distressing to listen to yet another record whose secret to success was all about the slow...
slow... slow... chaos! That has
been done a million times over,
and I'm not down with hearing
it again. The Candies are an
Italian band, so maybe no one
knows how to translate "Post-
i holiday with
Maulfes
Rock is SOOOO Over" for
them. Maybe Italians are just all
big Steve Albini fans. Maybe
they ride their scooters through
the canals singing "dada-
daDUN" atonally for 13 minutes for fun. Whatever. Maybe
I'm just frustrated by a music
and a culture that will never
understand me and will never
accept me into its loving arms.
(Teenage USA, PO Box 91-689
Queen Street West, Toronto,
ON M6J 1E6 /Ee:lettro, Via
beltramo 15, 21010 Arsago
Seprio (VA), Italy)
I guess what gets me down
is all the book-learning it's going
to take to turn my life around. If
cute is out so is most of my
vocabulary. I'm going to have to
smarten up to toughen up, and I
am not going to be allowed to
laugh at clever band names any
more. I guess, then, that the time
is right for me to appreciate
THE MAULIES—pretty soon I
will have to sneer at this all-girl
group with the utmost disdain.
For now, though, I'm more
than content to enjoy their fine
pop stylings. "Rude Limey" is
a very catchy song about a
foreigner who's lost his charm
in the eyes of these ladies—
isn't that always the way?
They seem so dreamy until you
get to know them... but I
digress. The Maulies do a hot
cover of a Kinks song,
"Gotta Get the First Plane
Home," and although I can't
say I've heard the original, I'm
sure that Ray Davies and company would be content with this
rendition. The b-side, an instrumental, is good, but not nearly
as entertaining as the two vocal
tracks. The Maulies have some
strong-voiced ladies in their
posse, and the band should continue to show that off. This is
excellent garage-pop music.
(Hub City, PO Box 1223,
Greenbelt, MD 20768-1223)
Want to know what's going
to make my transition from cute
to the real world that little bit
less painful? Electronic music.
Not that shit that's all about the
fancy-pantsing dancing kids, but
the stuff made by dreamy
German nerdoids in over-priced
apartments, intended to reach
the ears of their fellow intelligentsia. It's all about the indoors
scene, or something. Whatever
the case may be, JEAN BACH
gets very busy on a new four-
song single, enlisting the help of
many to do some weird stuff.
The first track, "Jean Sans Le
Playback," has some intensely
huge beats and a whole hive's
worth of sounds to keep ears
confused. There are clicks and
cuts, '80s synth-pop beats,
vocal samples, beat variations,
and a healthy dose of
spazzzzzz. This is the kind of
music that would be a bitch to
dance to. Jean Bach is all about
messing things up, fooling with
create aurally stimulating tracks.
The beats are confused, but the
intention is crystal clear—Jean
>s to c<
elec
tronic trouble. (555 Recordings,
PO Box HP41, Leeds, UK LS6
4XN)
Okay, so I'll be hard-core
(possibly straight-edge) by next
month and will report concisely
and un-swooningly about all the
hot new vinyl. Please note that I
am allowed to dis Italians
because I am one. I heard that's
how the logic goes. Also, feel
free to look for these records in
Vancity before wasting postage
or internet efforts. Tough lovin'
MON-SAT11AM-7PM
SUN 12PM-6PM
www.singlesgoingsteady.coi
GARAGE, Ol!, SKA, HIP HOP,
HARDCORE, EMO, ANARCHO-PUNK
LPs • 45s • CDs
New & Used
COME VISIT VANCOUVER'S HEADQUARTERS FOR NEW VINYL
TOP $ PAID FOR PUNK VINYL BID OF SCARLET'S WELL & THE MONOCHROME SET
BY BLEEK
You won't remember this article. If things continue to run as usual for Bid, Scarlet's Well
will be as criminally overlooked as his original band The Monochrome Set. This is a travesty.
This is injustice of the most predictable sort. An artist
who should be hailed above and beyond Morrissey,
Oasis, Pulp, and many other British swellheads. A
songwriter whose talent rivals Costello, Momus,
Dylan or Brel.
"Visual to the extreme, this album is the most
amazing collection of well<rafted songs we've been
given to enjoy (and ponder on) for a long time. With
music ranging from the pure '60s pop to the operetta
aria, and with lyrics which could have been written
by Byron's eccentric uncle, this is a... what?" (Henry
The Pole, 1999)
The Monochrome Set began back in 1976, answering an ad placed by Adam Ant (yes, it's true) which
read "Beat on a bass with the B-Sides." It's a long
and winding tale, but to make it shorter, several band
members formed and reformed again through the
decades and still exist as The Monochrome Set to this
day. It's just that they're on some sort of hiatus for
god-knows-how-long. The brilliance of Bid, main
singer and writer, has always been the strength of
the band. Bid's lyrics have always been profound,
hilarious, skillful, and consistent. Sometimes this
remarkable brilliance would almost lift its head above
water with the forgotten near-hits like "The Mating
Game," "Jacob's Ladder," "Wallflower," etc. The
problem was that they just did not squeeze into any
popular or even unpopular category long enough to
gather a fan base smart enough to love them.
Mr,ny of us havp bf~^mp familiar with the recent
Songs For The Jet Set series of '60s-style twee-pop,
released through JetSet records via Mike Alway's If...
label. The first album in the series was produced by
Bid himself. The subsequent work, which stands up
pretty well, disappointed Alway, and unfortunately
seems to have divided the two pop geniuses somewhat, though neither party will speak ill of the other.
Last year, Bid, and more recent Monochrome Set
members Orson Presence and Tony Robinson,
released a daringly cinematic and complex concept
album under the band name Scarlet's Well. The
record hardly saw the light of day in any review mag
save for a tiny mention here and there. The album,
Strange Letters, features songs by Bid, "sung by a
motley crew of young girls, demons, shrews, captains, and sundry werewolves. It is the first in a series
of albums about Mousseron, a sickly village situated
somewhere east of the Azores, and only slightly north
of the Styx."
What the hell was Bid thinking? Major labels (of
course) would have considered such material "commercial suicide." Spain's Siesta label seems all too
impressed with the eccentric series. A new album has
just been released, tided The Isle of the Blue Flowers,
which continues on the ^H I ' * ^m * 4 I Jl Jl '^PJJJJ PJJJJ with the classical meaning
same fictional/fantasy path PJJJJPJJJJ^^^^^PJJ^^^^^^^^^^^^PJJJ PJH of "avant-garde," but
So clearly evident are Bid's ^^^^^^^^^^^^^^^^^^^^^^^^m <Jon't think I can be before
honed writing skills that in Mousseron the ancient, the mysterious, the anyone if no-one else is
a just world he would be wonderful, where the church's spire points going to follow, not that I
compared with the likes of to the heaven like a vast burned corkscrew, want it anyway.
Kurt Weill, Noel Coward, and the reflected sickle of the harvest moon How many Scarlet's
and perhaps Gilbert & sails upon the black water of Scarlet's WelL Well albums will there
Sullivan. I can think of Mousseron the fairy foul, where elaborate be?
many artists that I love, rituals and magical incantations are pre- It's open-ended. Some may
Many I have great respect served to guard the house from pale spec- think that this is a little
for, but there are few that I tres who peer in through the window, who excursion; far from it. I
can honestly consider to be mop and mow at the lattice, who lurk behind can't see myself doing any-
truly great songwriters who the lintel of the door, who leer at you from thing else for the foresee-
set their stories to the best of the fish soup. Mousseron the bay of goats, able future. I had planned
the better pop music. And where plague port sea-shanties burble on the general gist of 8/ue
saying this hurts. the dock and vile vergers skip lightly on the  Flowers before I completed
Bid    surfed    to    my treacherous cobblestones. (Demetrius, 1898)  Strange Letters and like-
webzine one day and saw wise       have
my reverent retrospective of The Monochrome Set
and left a nice email. I tried again and again to mail
back in reply but could never get through. Eventually
album.
II me about the origins of
( up and didn't think about it much more. Upon
hearing of the new Scarlet's Well album, I thought I
should try and feature this album in some way more
revealing than a simple review. It finally occurred to
me that I should try to ask Siesta records for Bid's
address and they complied with flowery acclamations and cordiality. God bless them. I mailed Bid,
and he agreed to answer a few questions stating that
he has not been interviewed since the '80s!
Philistines, all of you!
DiSCORDER Can you tell me about your
work with Mike Alway and the Songs for
the Jet Set 1 compilation?
Bid: Mike and I had obviously worked together
when at Cherry Red in 1982/83, then at Blanco Y
Negro. Over the years, off and on, we did the odd
thing together, Mondo (by Would-BeGoods) being
the only album. The Jet Set was different in that it was
to be the first of a few projects we were to collaborate on, but he had many difficulties with record companies. I grew rather tired of this and was also rather
unhappy with the idea of continuing only in the same
vein as the first album. He has continued with his
brand of pop, and since my departure has collaborated with Louis Philippe. It is, naturally enough, my
opinion that the Jef Set 1 album is more interesting
than his subsequent products. II may seem now that
I wanted the project to go in the direction of Scarlet's
Well, but not at all, just to be a little more original. But
like I said earlier, there's nothing wrong in his
approach or in what he does.
Can you tell me about your connection to
Siesta records?
I had produced Songs For The Jet Set Vol. I, a Mike
Alway project for Polystar (Japan) in 1996, and this
was licensed by Siesta for Europe in 1997. In 1998,
Mike and I parted; a little later I conceived of
Scarlet's Well, did a deal with Siesta, and since then
it's been great. I'm sure that I'm the nutter on the
label, but they seem quite happy.
How do you feel you fit in with the rest of
the Siesta roster?
Siesta are a completely independent label, self-
financed. I really have no idea where Scarlet's Well
fit in, in any category—I suspect that this complies
sketched out the ne
What can you t
Mousseron?
Well, I wanted a name for the village that I was setting this stuff in, and I thought that, as a setting, either
Dorset or Brittany fitted the bill. Both rather quirky
and untouched places, but with "histories." Some of
the village names in Dorset are in French (or Latin)
anyway, so Mousseron it became. We also have a
cat called Mushroom [mousseron is slightly old
French for mushroom), who is very vile and stinks.
It's a fairly standard literary ploy, to set a succession
of "works" in a town village area. See Lovecraft,
Bradbury, etc.
So Scarlet's Well is your own invention and
not a former fictional land?
Yes! In fact, just recently when searching for Scarlet's
Well on Northern Light, I found that there is a "Scarlet
Well" near Bodmin (Cornwall), known for magical
properties, or something. I'm sure I will encounter a
Mousseron at some point
What was the impetus for Scarlet's Well?
(a) Monochrome Set: I was tired of being in a band
and the restrictions it imposed on the material.
(b) Mike Alway: I didn't want to go in the direction of
a succession of compilation sampler albums.
(c) I wanted to run my own show without any artistic
reference to any other partner, band member, etc.
Standard "I'm going solo" stuff, really, but the main
difference being that I was not initially intending to
sing (or write all the material) on the Scarlet's Well
albums, though I have ended up doing so. This project is not about any individual but an atmosphere
generated by the whole. I wanted to have the freedom to change singers when it felt right to do so,
and two singers from the first album have been
replaced. This may not happen on every album, but
this is not a band solo project, it's an open-ended
musical with partly ever-changing cast.
How did you manage to obtain those
young girls for singers in Scarlet's Well?
Lester Square has for the past 15 years or so worked
as an art teacher, recently at girls' schools (I think
he's got the best record for passes in the UK). I got
Alice, Laura, Lucy, and Zarif from his school. Florence
Is the Moat your own studio, and is that
'what Simon Turner (as Monday Sinclair) is
referring to at the end of "1910 Cotton
Candy Castle" from Algebra Spaghetti
(Another Mike Alway project similar to the
Jef Set series but with a "children's fantasy
pop" direction) when, at the end he sings
"take me to the moat"?
No, The Moat Studios are owned and run by Toby
Robinson. Since producing Mondo there, I have
done all my recording and producing at The Moat,
mainly because he buys me crisps. I'm sure "1910
Cotton..." is an old song, Mike usually does a few
covers. Maybe Simon added a line. Don't know why.
Were you also the backing band for Bad
Dream Fancy Dress?
Nope! We really didn't have much to do with El,
apart from the WouId-Be-Goods records. It may be
that Girlfrendo (as are, I am told, Beaumont, another
recent Siesta signing) are influenced by an El "sound"
which was in turn influenced by a side of The
Monochrome Set.
Can you say what the current state of The
Monochrome Set is?
Not split up, just resting. I don't know if we'll contin-
ue, no immediate plans.
Where do you feel The Monochrome Set fit
in the '80s? Post-punk? Power pop? Did
any genre claim you as one of theirs? Does
it matter?
New Wave. When The Monochrome Set started, it
was in a period when we were surrounded by bands
who all had a new sound and who were all different
from each other (two examples being Wire and
Blondie. I mean early Blondie), this was what New
Wave meant. Post-punk is very incorrect, as punk
came after this New Wave developed in the mid
'70s and included a harder sound, which itself developed into punk. I think that most of the bands labeled
as punk are in fact New Wave. We definitely didn't
want to associate with anyone. Some bands, however, took the opposite view. Example: "We Vibrate"
by The Vibrators was originally a mid-paced song
which went breakneck when they figured they might
sell more The list is endless.
Describe The Monochrome Set fan and the
Scarlet's Well fan.
I wouldn't know the typical Monochrome Set fan.
Anyway, we've been releasing records since 1979,
so I'd guess it varies. The biggest selling album in
France was Misere; in Japan it was Dante's Casino;
and in UK/US it was the first two albums. We were
No. 1 in Bolivia with "Eine Symphonie Des Grauens."
I thought all the ex-Panzer crews went to Argentina.
I'd like to think that the typical Scarlet's Well fan is an
old lady who likes fig rolls.
What's the most celebrated band you
played with, and how did the show go?
By "played with," you mean supported, shared the
headline with? I've not played with any other band
as a musician. Well, we haven't done much of that,
usually only when it's a bandfest special event kind of
thing. The last one we did was at La Cigalle in, er,
1990 with John Cale and The Feelies. I think that
year we also did a crappy do in Berlin, but with a lot
of bands and a lot of venues. Needless to say, we
got up to all kinds of amusing capers.
So here's where I have to ask what capers
you guys used to get up to?
I'm only going to give one example. I mentioned
«4«VU/1^ Berlin (this is not very interesting): It was a music festival, many bands,
a few (indoor) venues. Some of the other bands were staying at the
same hotel. We go off and do the gig, can't remember how it went, or
who played before or after us (we went to Berlin to buy Russian souvenirs, just as we played in Athens to buy sandals), got back, found no-
one at the hotel, broke into the kitchen (stole the key), made ourselves a
fry-up, looked at the register, found Hole listed as staying, borrowed
the hotel keys for their room, broke in, rifled through their belongings,
found a paperback, tore out the last page, found a passport, put a salami slice in the middle, put all back as untouched, went back to kitchen,
did washing up, replaced all keys, left all as untouched, went back to
rooms and played cricket with oranges and baguettes.
I'd like to give you some names and have you tell me your
take on these people or bands, please.
Momus
I've only met Nick [Currie] once (I think), when he came in to the Jet Set
session. He wrote one of the songs and was showing us the structure. I
spoke to him once on the phone a couple of years later. He struck me as
a very nice chap. I've heard some of his stuff, it's quite good.
Morrissey
He's not bad, but a bit repetitive.
Simon Fisher Turner (aliases The King of Luxembourg on El
records, Monday Sinclair on the Reverie label, Loveletter
on Songs for the Jet Set and the If... label and SFT when
solo.)
As a singer on easy listening, or as an artist in avant-garde? Can't sing
to save his life but a great character. Extremely nice person.
Scott Walker
A singer with a very good voice. Interesting in his choice of direction (I
am reminded of Sinatra's "Watertown," quite rare now I think).
Louis Philippe (Long-time Mike Alway mainstay and another Songs for the Jet Set producer with aliases such as
Today's Pop Symphony, Wallpaper, The Great Chefs of
Europe, etc.)
A talented musician and writer, though I don't know a lot of his stuff.
Jarvis Cocker
Made a very interesting TV program about eccentric artisans, don't really know his music work apart from the one song, which they always
play.
Oasis
Ultimately worthless.
Blur
Same, but they strike me as more interesting people.
Of the above, I only own the Walker/Brel {Scott Walker sings Jaques
Brelj album.
What's the most obscure reference made in one of your
songs?
Oh, dear. A lot of them are obscure in that they're about unnamed people. I don't know.
What exactly is your connection to Indian kings?
Well, I'm from the oldest section of the Brahmin caste, and there are a
few (well, about 30) kings in the family tree. Kings don't exist in India
anymore, it's a democracy. However, it's still technically an offence for
the British Queen to step on my shadow. Yes, indeedy.
What was the actual quote from Andy Warhol concerning
The Monochrome Set?
I don't know! I didn't do a lot of interviews then, the rest went. Think John
Cale liked us at the time as well. Lester was also in a performance art
group at the time, so he knew Warhol a bit.
What does your record collection consist of, or is that too
big a question?
Not such a big question; nothing really. I used to have a whole bunch
of stuff from the late '60s and early '70s, but I seem to have lost a lot of
it. Most of the records belong to Florence (the wife), so it's Steely Dan,
Camel, Caravan, also some French stuff, Hot Club, Brel, Gainsbourg. I
really don't listened music much! Besides Anthony Adverse, The
Sneetches, King of Luxembourg and the Raj Quartet.
Weren't   The   Raj   Quartet   you   guys?   What   other
Monochrome Set songs have been covered?
Yes, The Raj Quartet was myself doing a throw-away single for El.
There's been a lot of covers, but Lester (aka Tom Hardy) knows most of
them—I don't keep track. There was one odd one, by Lida Husik on her
Fly Stereophonic album, for Alias Records, of "Eine Symphonie." She
recorded her vocals and some instrumentation over the original, but
then refused to admit it. "Cover" indeed.
What is musical genius?
A musical genius is someone who creates one or several great works of
art in music. You could extend this term to be collective. You could say
that, collectively (but not individually), The Beatles were a genius, and the
same could be said of Brecht & Weill, Gilbert & Sullivan, etc. As an art
form, music is unusual in that it's common for talented people to get
worse as they get older, perhaps because it has become more collective,
and perhaps because it's more intertwined with entertainment than the
other arts. Still, it's difficult to comprehend how great writers such as
Bowie and Dylan could have become so truly crap.
My comments regarding other bands may seem a trifle nasty, in
fact I don't think Blur or Oasis are crap, they have written some okay
songs. However, I do think that they just fall into the category of once-
split-upwho-were-they category; I may be wrong. • I like B'ehl a lot   I think you
should    too.    B'ehl    is    a
Winnipeg quartet whose current   members   are   Melanie
piano, organ, moog and vocals,
Chris Hiebert on drums; Allison
Somers on guitar, piano, flute,
and vocals, and Bob Somers
(Allison's husband) on bass and
electric guitar. They are masters
of well<rafted pop tunes and
put on an entertaining live show
as well. The album Bright Eyes,
released in 2000 on Endearing
Records, is the follow up to the
1997 CD Only A Paper Moon.
What's in a name? The
band was originally christened
"belle" (French for beautiful) on
a poster, but they wanted to
avoid any possible pretentious
associations, so they changed
the spelling.
The following is taken from
an e-mail exchange with Chris.
DiSCORDER What are
your first childhood memories?
Chris Hiebert: I think the earliest thing I can remember is
scooting around my parents'
basement with my brother in little red VW Beetle pedal cars.
They didn't have horns, and the
pedals were like metal stirrups,
so they really dug into my feet,
but it didn't matter because cars
meant freedom, at least to me.
Sure, it was only freedom to
drive in little circles and figure-
eights in a basement trying not
to hit each other, but if sure beat
RUNNING around in little circles and figure-eights.
What led you to choose
music over other pursuits?
There's something terribly satisfying about music. Listening to
music can temporarily take you
to a different place/time in your
mind and can be such a powerful experience that you can't
stop thinking about it. Playing
the music that makes people
obsess is even more pleasing
than simply listening. It's pure
joy to create an original piece
of... oh, heck, it's just fun to
rock.
What is your song writing
process like?
Either Melanie or Allison will
come to practice with a melody,
basic structure and lyrics. She'll
play it for the rest of us, and
we'll gradually work out our
individual parts. I'm afraid I
can't go into more detail about
how Mel or Allison come up
with the melody/lyrics because
that's a big secret.
Who are you listening to
right now? Who inspires
you musically?
As a band, we all agree that
That Dog was one of the finest
bands around and that Retreat
From The Sun was the most
amazing album ever. We're all
pretty big fans of Weezer,
Juliana Hatfield, The Sundays,
ond Mary Lou Lord. Personally,
I've been digging back into my
musical past and listening to
such gems as Jane's Addiction
and Iron Maiden. But that's just
How would you define
yourselves musically?
We're mainly a pop band. I will
go out on a limb and say that
we've probably got some
folk/country in us and a bunch
of rock as well. We'd like to
have coordinated dance moves,
fat beats and rhymes, but we
If you weren't making
music, what would you
see yourselves doing?
I think I would be holding my
head in my hands and sobbing
uncontrollably at the thought of
only working my 9-5 job, with
nothing else in my life to make
me happy or give me hope that
one day I might not HAVE to
work the 9-5 job. Maybe I'd
take up painting or something.
I will guess that everyone else
would do the same thing. I
might be completely wrong, but
that's my guess and I'm sticking
to it.
Why did you only release
covers of Palace's "New
Partner" and The
Magnetic Fields' "100 000
Fireflys" on the Japanese
album?
The
(Id   be   to   "push"
ts." The actual answer
t
Knotty Bov
tfreatJ SttifC
Go get Knotty Boy - the most whoop-ass
dread wax and shampoo your dreads
could ever wish for!
Vancouver: The Under ground t> f
EC Electri, Lettuce * JJ: HempHo
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Scat-He Vain ialon t
call 250-537-0058.
when we approached Quattro
Records in Japan about releasing the album there, they suggested that they would want
something to make the Japanese
release different from the North
American release.
Have you read anything
interesting lately?
Aside from this fantastic zine
about landscape architecture
that Bob had a hand in releasing (incidentally, it's called Berm
and Swale, and it makes you
think about things you might not
have ever thought about otherwise), I read a magazine called
Schwing! which is all about
rockstars playing golf. It made
me want to be a caddy.
What was the last thing
that made you laugh
hard?
Listening to my friend Colin's
Jabba the Hutt imitation. Damn,
that guy just cracks me up. I'm
laughing even now! Don't
believe me? Too bad!
What makes you cry?
Going anywhere but Winnipeg
and trying to find a good
slurpee. Cripes, it's hard enough
just to find a 7-11, but once I've
store, it always contains the
crappiest slurpees! What's so
hard   about  making a good
You know what else makes
me cry? Puppies.
What makes you get out
of bed in the morning?
It sure as heck isn't my job, other
than the fact that if I don't go to
work, I can kiss my sweet house
goodbye. Maybe it's the cat
leaping onto my chest demanding to be fed. Yes, that's usually
what does it.
Do you have any obsessions, fetishes, skeletons
in the closet you want to
share?
I love old Volkswagens, golf,
video games, movies and bourbon, all equally. That is to say, a
lot..
Bob and Atlisi
share
Melanie is an awful big fan
of the Rheostatics. You know,
like a REALLY big fan. I hear that
she's even gotten her PLANTS
liking the Rheostatics. A lot. Oh,
and she likes bourbon.
Pretend we're in a bar
and that we've been introduced by a mutual friend.
Tell me a story that you
think is amusing, one that
I'll remember when I'm
sober and will consequently make me remember you.
Oh hi Doretta. Nice to meet
you. Hey, did I ever tell you, oh
wait, of COURSE I didn't tell you
because I've just MET you!
HAHAHA! Oh, this bourbon is
going STRAIGHT to my head!
Anyways, this is the freakiest
thing. I heard about these twins,
separated at birth. A friend of
mine told me this after seeing a
TV documentary about twins. I
can't remember where they
were from originally, but that's
not important. So these two guys
end up getting shipped off to
opposite ends of the planet, one
went to Europe and the other
went to some island in the South
Seas. They never actually knew
each other, since they were separated so early in their life. The
European one was raised by a
strict Nazi family, and of course
indoctrinated with all the beliefs
that come with being raised as
a Nazi. The other one was
raised in a devout Jewish household. So fastforward to something like 30 years later. They
find out about each other, and
are going to meet for effectively
the first time. After they meet,
they end up hating each other
because of their individual
beliefs. But the freaky thing is...
when they first met at the airport, after 30 years, they were
wearing THE SAME JACKET!
Same brand, same colour, the
SAME DAMNED JACKET!
Oh man, every time I think of it I
get the shivers... •
e, and, to a lesser extent,
>n. I'm pretty sure they
rchifecture and dirt as
'    «UMDl*u1^   < BUM BERSHOOT
A Survival Guide
by Val Cormier
101
-   Bad   news   for
*
j::;:,::y.:».:»;.:;,
those who dig out
yj
?-
> >
door        festivals:
>:
<<
there's not enough
■1
ft*
grass on site. Great
*
Si;-
news: no portapot-
^
It's been called "the mother
of all arts festivals," and it's
practically in our backyard.
In case you haven't heard the
news, a huge extravaganza
erupts every Labour Day weekend just down the 1-5 in Seattle.
Spread out across Seattle
Center's 74 acres (right by the
Space Needle) you'll find
music, theater, dance, film and
video, literary arts, comedy,
kids arts, performance arts, fine
arts, crafts, and culinary arts.
Sound overwhelming? Doesn't
have to be. Too expensive,
especially with our sucking
Cdn. dollar? Not at all.
I spoke to Reenie Duff,
Programming Director for
Bumbershoot and the WOMAD
USA festival (held in Redmond,
WA end of July). This is
Bumbershoot's 30th anniversary "larger than life spectacle," and she promises it'll be
bigger and better than ever.
Let's face it, music is the
main focus of this festival.
Always has been, always will
be. The full smorgasbord
menu is on the website
(www.bumbershoot.org), but
just off the top of her head Duff
was able to whip off this par
tial list: Modest Mouse, Sleater-
Kinney, Ozomatli, Ronnie
Spector, Joan Jett, Sugar Ray,
Ani DiFranco, Tracy Chapman,
George Clinton & P-Funk All-
Stars, Savage Garden, Ben
Harper, Maceo Parker,
Motorhead, Colin James, Joan
Osborne, Iris Dement, Jimmie
Dale Gilmore, Freakwater,
Compay Segundo (from Buena
Vista Social Club), Abdullah
Ibrahim, Zap Mama, Jonathan
Richman, and Southern Culture
On The Skids.
Holy shit, Batman! How am I
gonna see even a quarter of
this? Reenie offered these tips for
newbies (vets take note, you
might learn something too):
- Get a lot of rest before the fes-
- Book your hotel room now, or
warn your Seattle chums you'll
be looking for a crash pad.
- Dress code: comfy walking
shoes, fanny pack, sunscreen,
sunglasses. Be prepared for all
kinds of weather.
- Download the schedules and
maps from the website and
scope out your days in advance.
- Be open to exploration.
Unexpected moments are often
the most memorable.
- Bring a good attitude, lots of
water, and don't forget to dance!
- Buy two or four day passes online
(see website) for deeper dis-
And what about that big
bad American dollar—will we
get any bang for our buck? "You
won't get this much entertainment anywhere in the nation for
$12(US)—and you can quote
me on that!" Duff promises.
All   great   advice...   and
- Don't like crowds? A Zen go-
with-the-flow attitude will help
you through the inevitable bottlenecks near the International
Fountain and Center House.
Never be in a rush to get anywhere. Set reasonable goals
(say, one or two really hot bands
per day). When it all gets to be
a bit much, find some relative
peace on the fringes of the site.
- The food booths (and gawd-luv-
those-Americans there's plenty)
rock. You will be well fed for only
$4-7 US. Check out the pesto
salmon! There's a 24-hour QFC
nearby on Mercer to save even
more and stock up on water. The
beer gardens also rock but more
for the atmosphere than the quality of the brew.
! Best s
facilities with least g  \   '
lines:    Opera    House.  £
- Take a brain break from
the music overload and watch
some film, dance, spoken word
and such (more suggestions
below). There's always interactive
creative stuff to do. I've really dug
the mural painting and giant drum
circle in past years. You'll never
look the same way at those bongo-
hippie kids again after you've
whacked on a drum for a few min-
- No Seattle friends to crash
with? Cram as many as you can
(discreetly, bien sur) into a room
at one of the cheaper motels
near Seattle Center like the
Seattle Inn, or try one of the
downtown hostels like the IYH
at Pike Place Market.
- Get the hell away from Seattle
Center at least once during the
weekend to get a better taste of
the city. The Monorail ($1.25
each way) will take you into the
shopping district and from
there it's a short stroll to Pike
Place Market, which is a very
cool place to hang. Other recommended neighbourhoods:
Capitol Hill, University District,
Fremont/Ballard. If you have
extra shekels burning holes in
your pocket, you might want to
check out the Experience Music
Aloha St
Mercer St  ,
Project,   the , - cYit *
weird slug-like
building that's on «flHgR|
the edge of Seattle gg
www. emplive. com.
Contrary to rumour, all of ^
the usual venues, big and
small, will be open and not
undergoing renovations
during Bumbershoot 2000.
One new feature at this year's
B'shoot will be a comedy stage.
Mostly LA comedy-club types,
but could be fun. The Battle of
Bumbershoot DJ/Turntablist
Competition goes straight for
the younger demographic, as
does Teatro Circo, a circus and
spectacle near the fountain
which will feature trapeze, high
wire acts, and fire dancers. The
whole dang family will dig
watching Bandaloupe dance
down the side of the Space
Needle (yes, you read that
right) as they did in 1996.
Those of us old enough to
remember the halcyon days of
Seattle     0iS,uei
Saturday Night Live will be
gathered at the Wedding Stage
to watch Father Guido Sarducci
perform two ceremonies per
day on a three-tiered cake. On
the last night of the festival, this
cake will be set aflame! Let's
hope the marriages performed
there last longer.
Eye-poppingly corporately
American, yes, but like the buffet
experience, you don't have to eat
it all, nor should you. Where else
will you find so much talent in one
small area over four days? •
[September 1-4, Seattle Center:
www. bumbershoot. org]
guy—a Black Santa. He doesn't bring presents, he
comes in and takes stuff. It's all black and white, and
everything is reversed—and this transsexual was giving
Black Santa a blowjob! It's not graphic,
rto
HYPERACTIVE PORNO STAR AND FULL ON NINJA by Girish Rambaran
The mood and atmosphere you set with soundtracks
makes it more rich. Creating atmospheres, and
making up images and scenes—give the track a
dramatic thing; a value-added thing.
Who are you listening to right now?
'm really into Mos Def.
A Iso known as Florian Schmidt, Clifford Gilberto
/I lives in a swanky, expensive part of London
-Z M.called Shoreditch, right around the corner from
label-mates and friends Riz Maslen (Neotropic) and J.
Swinscoe (Cinematic Orchestra). His girlfriend sent
his demo tape to Ninja Tune, and they called him
back within a couple of days. He is the son of a
Costa Rican father and German mother. His favourite
shoes are these hard-to-get Nike webbed surfer type
things. He was in town for the Jazz Festival. Some
music then, yes? His debut album is called I Was
Young and I Needed the Money.
Clifford Gilberto: You're kidding?
No.
Alright. "Restless" is one of my all time favourites.
It's one of the last tracks I did, and I'm glad it's the
first track on the album 'cos it takes away a bit from
this whole hyperactive stuff that follows. It puts it in
perspective and goes "Okay, it's not all about
Squarepusher-style drum breaks."
My favourite tracks on this are the less
hyperactive ones.
And they're the ones that are more listenable anyway. That's actually where the new stuff is going:
much more relaxed and less about being extreme for
the sake of being extreme—which is alright. I was
just trying to see how far I could go and still keep it
together—being free and break it apart and still have
it all glued together so it's recognizable as a track.
How much of the album is sampled?
Most of it is sampled, from albums and stuff. I'm
always trying to sample stuff that isn't obvious... for
obvious reasons. Mr. Scruff has done this track, "Get
A Move On," a really good track, a real classic but
it mainly consists of two samples. And he's sold it to
France Telecom and Volvo for adverts and 80% of all
the money goes to Sony and EMI. So you know...
Let's talk about some of the soundtracks
you've done.
I did one for a film called Black Christmas with 3X. A
Belgian short film—really weird, far out there. It's the
story of Little Red Riding Hood in the 22nd century.
God is an evil policeman who kills tourists. There are
n the film. The first scene I saw was this
but I was thinking "How low am I? I'm doing porn
soundtracks!" But I watched the rest and it's a good
film. Very controversial. And then I did one for an
Italian film called The 10th Victim... [A 1965 sci-fi film,
one of his faves of all time. He did it as pan" of a club
night at J. Swinscoe's called "Loop," where one would
spin records over one's film of choice projected on a
huge wall in an old church. Cliff took the opportunity to
write a whole new soundtrack for it.] A lot of the music
I did for that film is going to end up on the new
album. The title track is going to end up on the new
Ninja compilation called Xen to mark the ten year
anniversary. I'm into albums that tell a story, not just
a collection of tracks. I also want to make sure the
next album is quite short—45 minutes. You can easily digest it and not forget the tracks.
Why do you think peeps like to write
soundtracks?
the new Infesticon album on Bid Dada. I'm
really into Jason [Swinscoej's stuff—but I'm trying to
find my niche in Ninja and not sound like Jason
and Amon [Tobin].
What about your earlier influences?
John Coltrane. "A Love Supreme" was for me a
total milestone in my musical career—something
that I'd never heard before that blew me away. I'm
into Charlie Mingus. I'm not sure if I'd have liked
him personally but he's a good bass player. Jaco
Pastorius was a great bass player. Elvin Jones is
one of my all-time favourite drummers. I saw him
two years ago in London—it was fucking amazing.
Describe your sound.
I don't know. I've given up on it. I've tried. I was
calling it 'Gabber Jazz.'
Jonathon Moore is calling it 'Speed Jazz.'
Yeah, Speed Jazz, Lounge Core... I don't care,
man, whatever you want to call it.
But you're at the Jazz Festival now.
I know, I always end up at jazz festivals, and I feel a
bit out of place. I don't mind, but you always end
up being the freak show, you know: "We've got all
this nice jazz and we also have THIS!" And that's
you call it jazz, or nouveau jazz or acid jazz, you
just shape people's perception of the music, and they
will see it in a certain light. The next album is going
to be much more eclectic, everything that's influenced me so far: acid house, electronic body music,
jazz, Hawaiian guitar music. I think there's a place
for everything—you just have to find a way to get it
all together, and you create something new. The new
album will be out, hopefully, in February. • - Robin: We're glad about the Thailand thing though, r
■henever we eat Thai we choose food
Have either of you been in bands which have
worked with more traditional instruments, or is it
— all about the electronic gizmos for you?
T: I used to play timpani and triangle in a school
orchestra—does that count? I especially used to
. love the booinNNGG! thing you can do by running
your hand across a recently-struck timpani skin... but
I think that was a bit of an unorthodox interpretation ^
of the percussion score for "The Blue Danube."
R: It's about gizmos, although they don't have to be
electronic. There are a few good funny noises you
can obtain acoustically.
Is isan a bedroom project, or do you envi-
' sion a more social direction to your music? Is
the music you make for yourselves or for
others?
T: Bedroom project. I do my tracks for Robin and my
friends to enjoy. If someone gets to hear it because a
label has been kind enough to release a track or tracks
then that's cool, and then if someone likes it, I swell up
with pride (which no amount of dieting seems to have
resolved).
R: I think of it as being for public consumption, but
only if Toe thinks they'll like it.
You talk of "indie cred" on your website and
warn against creating anthemic chart-toppers by
accident. Would it really be so bad?
i T: It would be fantastic to create a chart-topper accidentally or
deliberately. I often think about using my kit to rustle up a summer dance-floor filler, but on one hand I wouldn't know how
and on the other I'd probably dislike the music you have to
make to have a hit. The other downside is you could be a one-
hit wonder, and I don't think I would sacrifice the good, steady,
mortgage-paying job I have now for the pressure of having to
succeed following a hit.
i sa n
by Julie Colero
Spanish label often guilty of dishing   out   sickly-sweet   Euro-pop.
Luckily, isan is not poppy, despite
the Euro habitat. The two UK gentle-
■n responsible for the isan sound get
busy with the old-school (ai
school) gear, piecing together entertain-
ing and pleasant electro melodies worthy
of repeat listens. Kind enough to indulge me
in an e-mail interview, this is what the men of
isan have to say about the music they make.
DiSCORDER  ISAN: Integrated Services
Analogue Network—did you pick this
- name aware of the fact that there is a
city in Thailand named Isan? How exactly
does your version of ISAN figure in to the
music that you make?
Toe: We weren't aware of the "International Society
for Autonomic Neurosciences," either. We started with
ISDN and swapped "digital" for "analogue." The "ana-
  logue" part is very important as we use analogue synths
as much as possible, as is the "network" part as we
don't live near each other. However our music exchange
"network" is more Royal Mail than TCP/IP.
Who do you like to compare yourselves with? Who
do you align yourselves with in the music scene?
R: We try not to align ourselves with anyone, really. We're not
unfriendly, but enjoy a solitary life in our own lonely furrow.
You have done a few remixes, one for Seefeel on the
Warp compilation and a new one for Piano Magic.
What can you do for other people's songs? What can
they do for you?
T: What we do for other people's songs is hopefully make the
song sound as though it was squeezed through our heads and
then through the bits of string that join the bits of kit together in
our studio. What other people's songs do for me is refresh my
creativity. It can get to be a bit of a struggle to create an isan
song from scratch, and I frequently go for weeks without producing anything worthy of committing to mini disc—but when
somebody provides loads of remix material as a starting point it
really gets me spinning in the studio. My favourite is still the
Seefeel remix, as we only had the original track on vinyl to start
with (for most remixes you get all the tracks separately), and we
were much better able to keep the essence of the original but mix
in a healthy dollop of isan.
How is isan a two-person project? Do you come up
with your songs together, or do you share ideas and
half-formed songs with each other? Can you go it
alone, or would the sound be completely different?
T: 95% of the tracks are created totally independently. But I
couldn't go it alone because (to pinch a phrase from Robin)
we've got built in quality control—if a song of mine isn't
approved by Robin then it goes in the bin. There would be no
point in trying to release it separately because if Robin doesn't
like it then it must be rubbish.
What would make a live show for isan possible? Can
you modify your gear to suit a live performance, or
does your gear limit your possibilities?
T: Gear and life-style choices limit my ability and desire to work
live. Only for John Peel would I do it.
R: The potential benefits (t-shirt sales?) outweigh the drawbacks
(punk rockers spiffing at you).
What are your favorite pieces of musical gear? How
dependent are you on computers? If not at all, do
you see them as a help or hindrance to the type of
electronic music you make?
T: Nowadays, I mostly only
a computer for basic sequencing
and then play layers by hand
the top. I also use my PC for making or capturing space n
then fiddling with them in a sample
editor. My favourite piece of gear i
studio workstation because it h
many knobs, sliders and flashing lights that
people   who   come   into   my   studio  go
"ooooh!" and "aaaah!" like people watching fireworks. They can scarcely believe that a
i being can operate such a piec
complex technology with the  proficiency I
demonstrate.
R: I don't know how to work my studio workstation as well as Toe does; I'm one of the people
making firework noise. I prefer a nightly grapple
with myKorgMSlO.
Do you attack your gear with ideas in mind,
or do you let the gear dictate where the
songs go?
T: I treat my gear with a lot of respect, the analogue 	
stuff always instills an amount of fear because I could
never recreate a good sound if I lost it. Robin's got an
instinct for it though, once he even had to talk me through
using my Yamaha CS-5 over the phone... in other words, 	
the gear dictates the songs, but I help in the translation.
R: This is why we treat the gear with respect. It writes the
songs for us.
How did your various labels find you? Did you —
shop your music around, or are you well connected in the scene?
'.'■'■ T: Robin just seemed to know the right places to
§ send our first couple of demos, and from our first
single on Wurlitzer Jukebox, labels would then get in
touch with us.
1| Your sound is very uncluttered. Is that the
l| influence of the 4-track, or is that your own
* desire to keep the music minimal?
used to run out of ideas after 4 tracks were filled.
Now I've got 8 tracks, and I still run out of ideas after
tracks are used, but I can fiddle with the sound a bil
srwards... that's why "salamander" sounds c
bit more developed than "beautronics" I think.
R: It's also become a deliberate thing, though. There':
a degree of elegance to saying what you mean without the need for whistles and bells (which anyway go
on tracks 9/10).
What is your favorite drum-machine setting?
|||| T: Off. I hate my drum machine now. I like to craft
drums and drum-loops using other tools.
R: Dead slow/stop.
What do you want people to do with/to your music?
Is it for dancing, or listening, or blissing out?
T: I used to think listening only, but recently we got paid by the
Performing Rights Society (who usually pay us for any radio airplay, TV or DJs playing our stuff) for karaoke usage... I can only
imagine people must be humming along.
R: I dance to our music, splay legged and ungainly. I also iron _
to it. I'd recommend it for the full range of domestic chores. I've
also done a bit of bricklaying to it recently. •
IZ.   <UMCl*<A^
ZJD00 L TO DEATH
The Chuck Shuldiner "Death* Benefit at The Columbia Hotel
by Luke Meat
ft huck   Shuldiner,   vocalist  of
^^ A Death and the man many credit with founding death metal
and grindcore, faces an uncertain future
after being diagnosed with pontine glioma, a rare type of brain tumor. Recent
reports have indicated that he stands
roughly $70,000 short of affording the
experimental surgery that could save his
life. This dire situation prompted metal
bands and venues to unite all over the
world to raise funds to keep this great icon
alive. On June 30th, the Columbia Hotel
hosted 15 local metal bands as a benefit
to raise funds for Shuldiner's cause. This
event sparked an unusual interest in me,
having been a lover of metal for many
years, and realizing I had been sadly
neglecting our prolific local metal scene.
Nostalgically recalling my younger years
of getting ridiculously wasted and air-gui-
taring to Slayer, it occurred to
event might be the perfect
to revisit this lost youth. It
endeavour to interview all
bands on the bill. Sadly,
as I discovered that
evening, I cannot
metabolize ethanol as
well as I could in my
earlier "horn-raising"
days. My well-intentioned but misguided
and Brett Easton Ellis as lyrical material.
When asked about the references, they
did agree that metal is still an excellent
source of literary education. I must admit
the first time I heard Samuel Taylor
Coleridge was in "Rime of the Ancient
Mariner" by Iron Maiden.
Beer consumption: 1
Perseverance
Yaaaaaahhhhhlll! scale: Perseverance
are instrumental.
Varg released: "Shit, like, that isn't very
cool to me; he's just a fuckin' murderer
like anybody else. He should stay where
he is."
The show: Perseverance are a three-piece
from Nanaimo, BC. Onstage they master
the meshing of old-school "galloping"
metal with intense double-kick
pac
i  of  <
beers per band got the
better of me in the end.
The result: I only made it
through the  "
bands before becoming a danger I
myself and those
around me, not
to   mention   a
less-than-objec-
tive    journalist.
My deepest anc
foremost    apolo-
bands I missed; I know you guys rocked,
and I have learned my lesson.
That being said, I somehow managed
to briefly interview the nine bands
I did see. I asked each lead singer
to give their best metal
"Yaaaaaaaaaaaaaaaaaahhhhhhhhh!!!",
and I asked if Varg Vikernes should be
released from jail (Varg Vikernes was the
founder of the nordic black metal band
Burzum, who killed the singer of rival
band Mayhem, allegedly for not taking
his Satanism seriously enough).
Gristte Chewer
Yaaaaaahhhhhilli scale: 7 out of 10.
Varg released: "I think he's an idiot
myself; Nazis are fucked."
The show: Gristle Chewer played a tight,
assaultive set, citing such authors as
George Orwell (with a brilliant tune called
"Ignorance Is Strength"), Douglas Adams,
track, "Whore," stood out—a reference to
a club promoter who monopolized them
out of many Nanaimo gigs. Pity though;
these guys are amazing.
Beer consumption: 2
Devit's Tower
Yaaaaaahhhhhlll! scale: 6 out of 10.
Varg released: "He's a prime candidate
for the forensic institute. Phil can take care
of him." (Phil, guitarist of Devil's Tower,
works at a psychiatric unit.)
The show: Devil's Tower are flat out in yer
face metal, baby! Up there kickin' ass not
givin' a fuckin' shit!
Beer consumption: 1.5
Crown Of Thorns
Yaaaaaahhhhhlll! scale: 9 out of 10.
Varg released: "Why not? I mean, he's
made so many wonderful albums from
jail. I think he's done his time."
The show. Crown of Thorns opened with
a Death cover which was very appropriate, considering they were very reminiscent of that band themselves. They also
did a song based on the Evil Dead trilogy.
Whoo-hooo! The lead "throat" Reek
Havoc and I reminisced about the TV
show Brisco County Jr. (starring Bruce
Campbell    from    the   aforementioned
Beer consumption: 2.5 (I realized I was
slurring my words during this interview, so
I figured I should take it easy. I then failed,
somehow, to take my own advice.)
Human Resistance Program
Yaaaaaahhhhh!!!! scale: 8 out of 10.
Varg released: "Real Satanists don't do
that kind of shit."
The show: H.R.P. are of the new metal
ity but Death is still in their soul. Drop-
D guitars and heavy bass make them
stand out from such untalented morons
Beer consumption:] (In case you're keeping   count,   the   total   is   now   at   8.
I am getting very,
very drunk now.)
Hurt
Yaaaaaahhhhh!!!!
scale: 10 out of 10.
Varg released:
"Keep him in jail.
Whatever, that's
kind of harsh."
The show: Hurt is
the only band on
the bill that I had
previously,
treat.
These guys are
almost of the "death-jazz" variety, remi-
of John Zorn's Naked City. A
ith hands faster than Houdini.
Beer consumption: 1  (Thish ish fugginn
GREAT, MAANNNN!!!!!)
Goters
Yaaaaaahhhhh!!!! scale: 8 out of 10.
Varg released: "He's the guy who burnt
churches? Well, as long as nobody got
hurt."
The show: During the Golers set I fell
down. I do remember, however, a good
stinky rock 'n' roll set, not necessarily
Death-like but fast and heavy all the same.
By this point, the Columbia is starting to
get very busy and loud.
Beer consumption: 2? (Note to self: gravity sucks.)
Aberration
Yaaaaaahhhhhlll! scale: 10 out of 10.
Varg released: "A good friend of ours
was murdered a few years ago, and murder... it's just not right."
The show: Aberration were definitely the
most vocal band that evening (that I saw).
Alice in Chains meets Chris Cornell, but
not in the bad way all you skeptics out
there are thinking. Very honest singing
with a rumbling low end that kept your
head bobbin' in time.
Beer consumption: 1 (I decide to stay closer to the bar so as to avoid actually having to walk in order to obtain more beer.)
Abuse
Yaaaaaahhhhh!!!! scale: 8 out of 10.
Varg released: "No comment."
The show. Abuse, according to their interview, want to piss off as many people as
possible but believe that everybody
should have a good time anyway.
"Punishing" doesn't even begin to
describe the musical and verbal onslaught
we as an audience received. I have the
word "tendonitis" written in my notes. I
don't know if it's one of their song titles or
what I thought they would get from playing that fast. I'm seeing these guys again
real fuckin' soon. You should too, dammit.
Seer consumption: 2 (Approaching blackout phase. Body ceasing to obey orders
from brain.)
It's at this point that what wisdom I
had left prompted me to flag a taxi and
get my drunken metal-addled brain home.
Despite my remorse at missing the end of
the show and the extreme pain I was in for
the next day, I can honestly say that the
evening was a huge success and a lot of
fun. Vancouver has a thriving metal scene
with a lot of outstanding bands that
deserve much more coverage and acclaim
than they typically receive. The atmosphere was dynamic and charged, and the
general attitude was strikingly amicable,
intelligent, and peaceful. Each band felt a
deep affinity with Chuck Shuldiner and
Death and felt very honoured to be playing that evening. It was a truly worthy tribute. If you haven't had a nice dose of
metal since you were an alcohol-saturated
juvenile delinquent, I strongly urge you to
check out the local metal scene. You may
just find yourself air-guitaring despite yourself. Just go easy on the beer. •
Die nasty On / The
mora Hug 3 la.aapm)
RVR1HRERD
nnug4l.
THE 5RB01ES0RE5
' unwii / plus guest-
h$7«> door
Tlit Panto Raid
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THE RIPWR0Z tmonrreall
Frf Hug u is:oopm)
Sat Rug 12 iSOHm}
THE SUKRSUEKERS
INC 0BT50BS / IHf PR0BC5
Sun Hug 13 IB:
BOB IBB
lAf^Uled Bug IB IBiOBPtn)
MEM ORB TIDE
sat aug IB lampm)
—VRour
127
frl Bug 25 S Sntflug 2B (3pm)
THE MURDER UTV OEVILS
im release; port t/) TWO BIGHTS!'.
Wed Bug 30 (8:00pm)
—hbthebt
HEAVY METAL Sundays
NEW MUSIC Mondays
PHAT Tuesdays
$1.49 Wednesdays
don't you want to help him? ISffJ^S^^oTsfgrav) 1   '  I    (
Dawson
Further Adventures in "Strang" by Val Cormier
Jesse Zubot and Steve Dawson are two
happening local roots musicians. As a duo
they've made a big dent in the Canadian
folk/roots scene with their debut CD release
Strang (for which they scored a Juno nomination). "Strang" is also the snappy word they've
coined to describe their music, which combines
elements of jazz, blues, bluegrass, and reggae.
Their new release Tractor Parts: Further
Adventure In Strang adds electronica to the mix
and features guest spots by local talents Brad
Turner, Veda Hille, and hurdy-gurdy player
Pierre Imbert. DiSCORDER caught up with these
busy boys recently and sampled suspect
at a South Granville bistro.
DiSCORDER You two have both been playing professionally since your late teens
and have interesting musical backgrounds. How'd you come to be here?
Steve Dawson Well, I grew up in Vancouver,
started playing guitar at 13 or 14, worked
my way back from Led Zeppelin and Hendrix pretty
quickly. Got into Chicago blues and stuff. I went to
Berklee in Boston for a couple of years after high
school, originally to study jazz, but
I ended up getting into different kinds of stuff there
like bluegrass, western swing, ragtime. Gillian
Welch     and     David     Rowling:
Nashville   and   got   into   that  rootsy   kind
ie back here, started playing in rock bands that had cajun, blue-
grass, blues influences. That's kinda
turned into what we're doin;
I hear you come from a musical family,
Jesse, and from Saskatchewan, too.
What's that like?
Jesse Zubot: Well, it's quite a lot different. I
grew up in a town of 75 or 100 people, and
then I moved to a farm with about 4 people. I
was there until I graduated from high school.
During that time I played with my dad in a few
country and rock bands in that area. He has a
lot of old jazz and blues albums, which is what
I used to listen to a lot growing up: John
Coltrane, Ry Cooder, Howling Wolf I also took
classical training on violin at Medicine Hat
College. Every week I went there for basically a
whole day and played classical music. When I
got into high school I never practiced and got
into lots of trouble, so at that point I started on
guitar and drums. I started a hard rock band,
played gigs. Then I realized I wanted to be a
, but I didn't want to play classic
I took the violin and started playing different kinds of stuff on it. I came out here
3 Cap College in the jazz program. I started to play a lot, mostly
with  Steve and our band The
Spirit Merchants. We toured
a lot with that, kinda got
led out, and started
drifting    into    c
kinds    of    musi
id. We finished it,
people like it a lot.
That was Strang.
We didn't really
plan to play gigs. It
pened,       then      we
played tons of gigs, and
.   So   that's   basically
erything!
Here it is, guys: the obligatory "musical
influences" question.
SD: I don't think there's any particular groups or
albums that you can point to and say "that's what we
do", but, say, Bill Frisell is putting out a lot of albums
that have a rootsy feel, and they're melody-based.
We have some things in common with that. We listen
to a lot of different stuff, and if all kind of seeps in.
What's in your CD player right now?
SD: Hound Dog, which has David Hidalgo (Los
Lobos) and a guy from Canned Heat, I think,
a really trippy blues kind of album. I really like it
for the sonic quality, just like weird blues with
distorted violin solos. Right now I'm listening
to a lot of old Hawaiian music from the '20s.
I really like Latin Playboys and albums with production by Daniel Lanois or Mitchell Froom.
The Ron Sexsmith album is really interesting for
textures and stuff. I like older, traditional music
and also new stuff that's playing around with
sonic experimentation.
JZ: My tastes change from month to
ith, but I'm listening to a lot of
Howie B... his solo stuff
unique.    And    a    guy
ailed  Squarepusher a
lot. Been listening to the new
Apple, it's pretty cool. And then
jsic, like avant-garde jazz. A
mbeats and programming is what I'm
ight now, rhythmic music.
Using "Strang" as both a CD title and a
concept,  was that something  you  sat
down and planned?
JZ: It just kinda popped out. It was a word that
worked  well  and   described  what we were
doing. Other people think it's more of a big deal
that we do... like, a word that isn't really a
word, but it's just there.
SD: It's a good way to say that we're trying to
do something a bit different, a little bit hard to
define. It's just a term
that doesn't really
anything and it changes
definition as we change
what we do,  I guess.
Is   there   a   reason
why you've chosen
to keep it instrumental only?
SD: That's what the band
is, an instrumental group.
We both do other stuff
where   there's   singing
involved. We'll sing a
song   or  two  live,   but
that's just not what this
thing's all about.
Do you see yourself
moving   into   more
songs?
SD: Not really. I can see having a guest vocalist, like
what Veda did on this album but just as a guest thing.
JZ: I find it really weird that people always
expect vocals in the band, like, that's just one
instrument in the band. Why does that always
have to be there?
SD: And I find about 60% of the time lyrics are
really mundane or just so repetitive and so not
interesting that I can't understand why they're
there in the first place. There's a lot of bands that
I just can't figure out, like, they've obviously just
got the words there for the sake of having a
singer. I understand to a certain degree, the popular music market is not going to allow an instrumental group to succeed, right? It's just not in
the cards. I understand that's going to make
everybody want to sing. But... not us, I guess
[laughs]. It's not that we're rebelling or anything,
either, it's just what we do.
JZ: Uh, hey, is this chicken done? 'Cause it
tastes a little...
Well, it tastes okay to me. But what do
I know?
JZ: Yeah? Okay. Will you get sick if it's not done?
SD: It doesn't look that bad. If it was bad you'd
see it really pink and bloody.
JZ: Okay. Sorry about that. Umm, what were
you just saying?
That most lyrics are bad.
JZ:   Well,   I  think there's  more  instrumental
groups that are succeeding these days, like
Medeski,   Martin   &   Wood,   jazz   like  John
Scofield, Metalwood. And most new electronic music doesn't hove vocals. If it does, it's a word
that's looped or phrases that repeat or something. I think that's good, because why not?
It just d<
erything all the time. There's even a lot of
indie bands that are instrumental, like Tortoise,
The Beans, Huevos Rancheros. I think there
should be
vocals either. I'm starting a new band where I'm
going to be singing most of the stuff, so I like
them, but for what we do, they're not supposed
to be there, really.
Would you say your focus is on melody?
SD: It's very melodically c
When   we're   recording   I'
always looking for catchy
things from a pop prodi
tion    perspecl
ments take that
role. It's a lot different from jazz in that there's a lot of thought
put into what notes are going to be on that
recording. There's still a lot of improvising, but
there's more thought put towards the melody and
the hooks.
Do you think college radio will  ever
embrace Zubot and Dawson?
SD: We got quite a bit of airplay for our first album
without really pursuing it that much, so we're going
to pursue it this time.
JZ:I think that the music's different enough to
slide into that college scene a little bit because
we do play clubs sometimes and we do play for
young audiences.
SD: And the weirdest people come up to us and
say they like us. Everyone from punk music fans
to old people who like bluegrass.
JZ: Even a friend of our bass player's, this rapper
from LA, we met him once and all he did was talk
about how he liked our music. For some reason,
there's this weird edge to the music that is still kind
of cutting as far as pop culture goes.
You've done well on the folk circuit,
festivals and what not. How do they
react to the music?
SD: Well, it's not so edgy that it freaks people
out, but it's got a pretty wide
range of potential. We do
lot of different kinds of shows j
'here, we're going
tone if down a bit, and if
e    playing    a    club    in
Calgary we're gonna g<
We're  able  to  chameleon
id a bit that way and appeal to
different audiences. But yeah, a lot
of traditional  kind  of people get
weirded out, especially the bluegrass
people. Our instrumentation is kind
>f "bluegrassy" in that we've got fid-
slide guitar. A lot
the stuff we play is from that angle but it
sounds different and it's not something that
they've heard before. But if they're open to
music and interesting stuff, thi ,
How does this new album differ from
your last one?
JZ: It's a little tighter overall, and there's more of
a consistent bass sound, more bottom-heavy,
which may be a bit more cutting-edge than the
last album. I think there's more depth and the
arrangements are a bit deeper. It's just
mature, a little bit more together.
:hestrated because we spent
more time and money in the studio. We spent
time making sure it was interesting, a lot
of layers going on without overdoing it. It's still
to the point where I feel like we can recreate
everything live, we can get the gist of the album
with a 3-piece, and we're playing
percussionist. It's more of a gi
intricate
Where did you come up with
some of your musical
ideas like having '
gurdy, tuba, Veda Hille
festivals,
really. Meeting people at festivals, playing
with them. That's how we met Veda. Jay, the
tuba player, we met one night at the
Winnipeg Folk Festival, in the middle of the
night. Pierre, the hurdy-gurdy player, we
met at a festival up in Whitehorse. It's really cool that we get to meet cool and crazy
people like that. With this album I had some
things already in mind, like the hurdy-gurdy
I pictured being there right from the beginning. The other people on the album are
guys that we know from around here: Chris
Tarry and Brad Turner are guys that we
You've got your own studio?
JZ: 24-track digital, some ADATs, pre-amps,
effects units, whole bunch of instruments,
sampling machine... basically a good little
project studio. Between us in the past year
we've probably recorded four or five
albums for other people there that'll be coming out soon. Sweet Papa Lowdown, Bob
Kemmis, Jeanne Tolmie (singer from Big
Yellow Taxi), a song with Kinnie Starr for
her new album, and a bunch of stuff with
Francois Houle for a play which may go on
an album in the future.
SD: The other cool thing about digital recording is that we've been able to send tapes
around. Part of two tracks were recorded up
in Whitehorse, we fired off the tapes, they
recorded and sent them
back down. And people
have done the same with
us; they send tapes down
to us and we send recordings back to them. It's pretty cool and hopefully we'll
be able to do more of that.
Digital tape is so cheap,
and we've got enough simple, high-quality gear to
make good-sounding stuff.
How about your label,
Black Hen Music? Is
that a growing
empire?
SD: Right now the label
consists of us. We're it!
We've got somebody
working for us now who
does publicity and promotion. We're putting out
projects like Bob Kemmis and Sweet Papa
Lowdown on our label, but not offering much else
at the moment. We're really going to focus on
making this new album successful and use that to
approach a distribution company to plug our
whole label. That would be great to be able to
offer that deal to other artists.
What's your take on th
local music scene? Do
you think it deserves the
rep, or rather, rap it
gets, especially from
musicians who'i
moved away?
thing about it. I don't
nk there's any prob-
with it; the oniy problem is maybe people get too
igh, kinda sit around and don't
do very much [laughs]. We've been
ito a few times, played and
recorded with people ther
cool and all, but personally I think
there's just as many really creative
artists in Vancouver as anywhere I've
been. I think the problem maybe is the
dustry. They need to have more A&R
people come here and they need to help
of these people out who have lots of talent
and a unique sound. There's lots of stuff going
on, lots of cutting-edge stuff we've talked about,
but nobody has the backing to make it
id get it out there.
What about the audiences here?
SD: I think the audiences are really good here.
I don't see a problem with the li
Look at a place like the Railway that's packed 4
or 5 nights a week. I don't think that moving
somewhere where there appears to be a better
scene is much of a solution. Like if you go to
Austin where there's bars everyw/iere—people
go, "Wow, it must be so easy and great to be a
musician here." But I know people who've gone
id they're making maybe $30 a
night, 3 night:
JZ: I think it's easier to make money here
SD: I think you can make a living anywhere you
location     doesn't     really     matter.
Obviously Medicine Hat would be
harder than here, but if you'
touring, what difference does
it make? I think
cian the responsibility is to get out there and promote
your music and get people to hear it. Whether or not
your hometown is totally supportive or not, really
shouldn't matter that much. It'd be nice to have a really nurturing scene here, which there is sometimes, and
there isn't other times. I think it's just easy to sit in a
town and get bitter and say how bad the scene is.
Is world domination a possibility?
SD: We've really focused on Canada in the last
year or two because we've had success doing
festivals and stuff, so we're still riding that.
We'll definitely be approaching labels and
trying to hook up with a support system in the
States in the future. And Europe, too.
It's just hard to find connections. But we've got
a grant to go over to Slovakia in September. It'd
be really awesome to go over to Europe once or
twice a year and make money. I don't think it'd
be much of a stretch to do that.
JZ: We've got a couple contacts there; we met
with a label in Berlin last summer that's really
cool. They do Chris Whitley and David Lindley
and John Prine, but they were totally into our
stuff. It's just hard getting stuff going with guys
on the other side of the world
If you could jam with anybody, living or
dead, who would it be and why?
JZ: I'd like to jam with Tricky, that would be pretty fun, I think. Even though he probably wouldn't
want to. And, uh, maybe like [Jean-Michel]
Basquiat, that painter, he used to play music a
lot and it'd be fun to jam with someone like that.
Just because his mind was really open, I think.
Maybe Bill Frisell, Tom Waits. And Howie B. Oh
yeah, and Trent Reznor from Nine Inch Nails.
SD: I'd really like to play around in the studio
with David Hidalgo, a multi-instrumental guy
who's with Los Lobos. He's
a virtuoso, but is really into ,
experimenting with acoustic I
and electric sounds. Maybe
with a produce
Mitchell Fro
like to play with si
illy   old,    dead^
guys.    I    would've
kind of famil-
fth his style. I just think
'd be a lot of fun and he's just
crazy. But he's dead. •
[note: no digestive tracts were harmed during the
creation of this interview] Strut & Fret
My
the
SHIRKA URECHKO
pineappleheartofgoldpea-
cock
Wednesday, June 21
The Blinding Light!!
Whatever Shirka Urechko's reo-
sons for setting her live performances in a cinema, the choice
is inspired. Far from being merely convenient for works which
involve video, it's almost site-specific in that she seems fueled by
the spooky sacredness of the
place.
A melange of sound, dance,
visuals and performance art—all
created by Urechko—pineapple-
heartofgoldpeacock is a luscious
and gritty mouthful of a show.
The screen was already awash
with images of ocean waves (or
was it whirling pineapples?) as
Urechko stepped onstage bearing the titular fruit. Although the
pineapple is regarded by many
cultures as a symbol of hospitality, this one seemed to be causing
her no end of distress and frustration. She hissed, scowled and
grunted at it like a demented
Carmen Miranda, all the while
twitching and rippling as if trying
ssfully to slip out of her
own skin The tortured lower
limbs and clubbed feet would
have tipped me off to an apprenticeship with Kokoro even if a
programme note hadn't mentioned it, but her upper half was
a different story—it moved like a
break-dancing snake. Perhaps
the fruit here represented temptation because she only calmed
down after she'd cut into it and
had a good wallow. Slicing it
into rings, she punched her fists
through the flesh and shoved the
rinds up her arms like bracelets. I
got so thirsty watching her.
Looking at the on-screen
pineapple at one point, I saw
that it had been impaled on the
spike of a turntable and wondered if the sound we'd been
hearing was the resultant scratching of the record underneath.
As we cooled ourselves out
on Powell Street during intermission, both stage and dancer's
body were mopped clean of
pineapple juice and we returned
for the peacock section. The
movement here was less
fraught—more joyous even, but
as in the first half, Urechko
wrapped her strong technique in
a disguise of wild abandon.
Clutching huge bouquets of the
bewitching feathers, she fanned
them out behind her and
pranced in subtle homage to a
topless showgirl at the Follies
Throughout, she kept an
almost perfect balance between
the images on-screen and her
own live cavortings. One never
overpowered the other because
they were never in competition.
The video simply added a parallel layer to what she was doing
in the flesh. It was like a footnote
to her psyche, or a dream diary
on film being screened by a
phantom projectionist.
Appropriately enough, she never
interacted with it.
For some reason, the video
images evoked the films of Derek
Jarman. It may have had something to do with the quality of the
light or the recurring image of a
person emerging from baptism to
make an offering—in this case,
Urechko from water and sand,
handing us an hourglass or
belching mud from between her
grinning teeth. It was both impish
and disturbing.
My one niggle was that I
jld have liked to hear her
:e punctuate the techno-
oured soundscape more
n. It would have strengthened
connection between the
sounds and her inner life.
If you missed this woman,
pray that she'll come back to
your favourite little cinema. It's a
wondrous place for live theatre.
COMPAGNIE MARIE
CHOUINARD
Dancing on the Edge
Festival
Wednesday, July 12
Vancouver Playhouse
"Holy shit." My friend was the
first to speak as we left the theatre. I'd be inclined to leave it at
that, but for those of you who
missed this, I'd like to try and
elaborate.
Marie Chouinard is a
Quebec choreographer who
formed her company in 1990
after 1 2 years as a solo performer. At last year's Dancing on
the Edge Festival, she presented
a 20-year retrospective of her
work, ranging from the shock-
value statements of her youth to
the confidently crafted icono-
clasm of the more recent past. I
missed that show (apparently,
one short piece consisted of a
dancer simultaneously drinking a
glass of water and peeing into a
bucket) but can recall her prancing like an Egyptian frieze across
a stage in Europe, wearing a
strap-on. So of course I was curious to see if packets of interna
tional acclaim meant that her
work had gradually become
more "accessible."
On paper, the programme
looked almost genteel—two
ensemble works, the first of
which was entitled "24 preludes
by Chopin"—but on stage, it was
clear that within this deceptively
classic structure, Chouinard's psyche was as marvellously unbuttoned as ever.
Her interpretations of the preludes were highly eccentric, with
the dance often seeming to work
in counterpoint to the moods usually invoked by these familiar ditties. But mostly she just amazed
us by showing the places the
music had taken her, and then
pulling us in by the gutstrings. In
one bewitching segment, a quartet of women spent the entire
length of a prelude undulating
like flames in front of one of the
footlights.
Chouinard's troupe dances
with technical brilliance and volumes of passion. It's fascinating
to watch the pristine syllables of
classical and contemporary
dance being so skillfully mutilated.
But it was with the second
piece, "A World to Shout," that
the lid really flew off. For 40 minutes, the stage was inhabited by
the floppy black sensations that
can't be described, only felt—the
things that make you sick with
unease as they thud softly around
the pit of your stomach or fill you
with scary elation as they flicker
at the edges of your eyes. The
nine dancers were in control of
every muscle and bone in their
bodies, but such was their craft
and artistry that it seemed the
choreography was being wrung
out of them as they popped,
locked, rippled and thrashed. At
one point they began cackling as
the dance collapsed into contorted tableaux. Some passages
were almost filmic; pairs of
dancers pulled each other across
the stage, one holding a position
while the other laboriously
dragged the entire shape into the
wings to be followed by another
pair. It was like a travelling
human buffet in back projection—beautiful and really
unsettling. Louis Dufort's electroa-
coustic music of scavenged
sounds wasn't pretty, but it made
a perfect short-wave broadcast
from this primal energy field.
All hail to Liz Vandal and her
audacious costume designs. She
has a wonderful way with transparent fabric and strips of strategically placed black tape. The
women looked innocent and at
the same time, thoroughly corrupted. I only wish that the men
(who spent the evening in serviceable black trunks) had been
as wildly attired.
Marie Chouinard choreographs from the place which has
never been tamed by language,
and anyone who buys into the
dictum "In the beginning was the
word" needed to see this programme. •
"tin an unchained spirt, a free spirit and my Intention is to
make sure this one go es out across the world to satisfy the
musical and spiritual hunger of the nEstlon" —Buju Elanton
In Stores Aug 22
Appearing Live August 30
@ the Commodore Ballroom
Brr"-.
lC    *UUS±AA/J-    2  Under
Review
ssEEEBBaiasraa
ARCHERS OF LOAF
Seconds Before The
Accident
(Alias)
The Last Waltz is The Band's
concert film and album documenting the group's final performance. A group of men calling it
quits to pursue solo projects.
Let It Be is The Beatles'
concert film and album documenting the group's final performance. A group of men calling it
quits after realizing they have
outgrown their image and sadly,
themselves.
Although there's no movie
(yet), Seconds Before The
Accident, The Archers' posthumous live album, follows in the
tracks of both of the aforementioned breakup albums.
Recorded throughout last year's
White Trash Heroes tour, several
tracks (particularly "Fashion
Bleeds") recapture their powerful
live magic, reminding me why I
made the effort to see these guys
five times. However, when they
attempt older songs, (eg. anything off the fantastic Icky Mettle
debut) they sound sluggish, tired,
and wanting to be anywhere but
onstage. The audience nonetheless sound like they're having a
blast, and if you've ever seen
bassist Matt Gentling thrash in
time to the music or singer Eric
Bachmann spit every syllable,
you'll know why. Unfortunately, if
"Seconds" is to be the Archers
Of Loaf's "swan song" they may
have to make an accompanying
film to truly document their melodic velocity onstage.
Luke Meat
BELLE AND SEBASTIAN
Fold Your Hands Child,
You Walk Like A Peasant
(Sub Pop)
Yeah, yeah, yeah. Belle and
Sebastian this, Belle and
Sebastian that. Oh! The great
melodies! Oh! The haunting lyrical beauty of the lyrics! Oh! The
"arty," "collective" feel of their
aesthetic production! Blah, blah,
blah.
(Of course, the only reason I
am saying this is so that the rest
of you won't get this CD. I want
every Tom, Dick and Harry to forget about them so I can pretend
I'm the only one that knows
about them, and they're not the
biggest known indie band the
world has ever seen. It's better
thinking of them that way. I
mean, what were we to expect
with this album? It's Belle and
Sebastian!)
Anthony Monday
D.B.S.
If Life Were a Result We'd
All Be Dead
(Crap)
Though this album of songs from
various 7"s, released and aborted, doesn't quite live up to the
brilliance of the two recorded in
between, an average d.b.s.
album is still better than virtually
anything else out there.
Musically, this album shows the
band wearing its Lifetime and
Jawbreaker influences on its
sleeve, and lyrically it marks an
awkward transition between the
unflinching politics of / is for
Insignificant and the intensely
personal nature of Some Boys
Got It, Most Men Don't. While
not particularly relevant in light
of what the band has produced
since, If Life Were a Result... is a
must for the hardcore fan, as it
documents the evolution of the
sound we all know and love
Godfrey J. Leung
GRANDADDY
The Sophrware Slump
(V2)
I like beer. Oh boy, do I like beer.
And I like skateboarding. And I
think beards are pretty nifty too.
So two years ago, when I found
out that Grandaddy was a
band of bearded skateboarders
who drank lots of beer, I was
really excited. I chugged my hi-
test, wiped my hairy chops and
skated down to Zulu to buy
Under the Western Freeway. I
figured I should choose my music
the same way I choose my
friends—according to common
interests. And it paid off;
Grandaddy's first major release
was more than I had hoped for. It
brought wobbly falsetto vocals
together with lo-fi organ and VIC
20 sound effects. And it made it
sound divine. On the ride home
from countless long road trips,
Under the Western Freeway
rocked the van gently along its
way. It was a good companion
when all of the other companions
were passed out in the back.
It's the year 2000 now, and
my beard is a distant memory. I
drink less and I skateboard less.
I've changed a little but not a lot.
And Grandaddy has changed a
little too. Their second album The
Sophtware Slump is more mellow
and mature than its youthful predecessor. The defining elements
are still there, but a layer of stu
dio polish has muted some of the
raw hormonal energy of two
years ago. It's all part of growing older, I suppose. I don't drink
a case of beer and then flip-off
the cops anymore. And
Grandaddy doesn't write
crescendo wonder-songs like
"AM 180" anymore. But
Grandaddy still writes great
songs—songs about broken
household appliances, lost loves
and waking up drunk in a park.
Grandaddy still writes songs that
make me stare into the night and
thank the stars above for good
companions, skateboarding, and
beer.
Jamie Maclaren
THEE HEADCOATS
I Am the Object of Your
Desire
(Buff Medway)
The final drop from the sweatiest
of garage punk bands has been
unleashed. And I mean old
sweat; sweat baring the odors of
biologically processed moldy
beers, sweat that literally hits the
crowd at a live show of Wild
Billy Childish and his Headcoats.
Following their final concert at
Tufnel Park Dome, Thee
Headcoats will be no more.
Their eyes are disintegrating,
their teeth are turning to glue,
allegedly. / Am the Object of
Your Desire is your last chance to
hear pure, beautifully dark rock.
Your last chance to let Billy crawl
into your mouth. Well, that is,
until Childish and his new projects, Swedish Erotica and The
Friends of the Buff Medway
Fanciers Association (or The
Buff Meds for short) take us in
again.
Namiko Kunimoto
KID TWIST
El Musico
(Independent)
Vancouver ex-pat Eugene Ripper
(aka Bruce Charlap) simply refuses to disappear, and instead
comes back in another musical
incarnation every couple of years
or so. This time around, the
Halifax resident has teamed up
with bassist Tim Stewart and
drummer Marty Coles to form this
trio, Ripper's first since the
demise of his psychedelic pop
combo, Dead Head Cool,
over six years ago.
Kid Twist creates a
melange of sounds on this eight-
song charmer. A little bit of rockabilly, psych, surf-instrumental,
country, a good helping of pop,
and a dollop of blues make the
trio's repertoire on this album perfect barroom fodder. I envision
these guys playing behind chicken wire in your local redneck
drinking establishment to great
appreciation—and a couple of
thrown bottles. That's not to say
then
isible, i
just good time music for relatively simple folks. Naturally, this
means you shouldn't even think
about buying this album if you
are looking to be cerebrally challenged. It is good summertime-
drinking-a-brew-on-the-front-stoop
kind of music, though.
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78 *<y^ 2000 DAMIEN JURADO
Ghost of David
(Sub Pop)
I hate Christa Min. Not because
she is a talented, beautiful
woman who is all joy. Not
because she is, without trying,
more of a poet that I could ever
be on any given day. No. I hate
her because she is always right.
Last week, as I mumbled grumbled stumbled down sad and
gloomy because I had not heard
from some guy I was (I admit it
now) only half in love with, she
said, "Don't worry. You'll fall in
love next week."
As usual, she was right, and
as usual, it's the most pure kind
of love: he's beautiful, talented,
sad and wonderful. He likes
being quiet in my house, especially at sunset. He's called
Damien Jurado.
The first few songs come
across with all the lonely honesty
of Texas. As if every sad cowboy
crawled into my CD box and
sung in unison. I could practically hear the cicadas creaking in
the red dirt. But he moves
beyond the boundaries of that
dusty state, and goes liquid. A
dull piano replaces the guitar,
and something a little more
urban enters his voice—a whole
city of displaced cowboy ghosts.
Like the title, Ghost of David,
I imagine every note he plays,
each static filtered sample of his
voice through an old radio, is the
footstep of some lonely dead
creature. The entire CD is a monument to something or someone
ephemeral, ethereal.
But it maintains the honesty
of the earth he stands on; it and
he does not dissipate into some
airy tirade. The variance
between songs—some verging
on the noise-like—keeps the CD
interesting and as honest as a
broken hearted man can be.
Those who don't know me can
laugh at my fetish with this kind
of man. Those who do, will only
shake their heads, I know, but
how can I resist?
How could I turn down a tribute to the all ghosts inside us? All
the ghosts that are quiet, occasionally angry. All the ghosts that
are broken hearted and beautiful, with a square jaw and a
cowboy hat.
Anthony Monday
JURASSIC 5
Quality Control
(Interscope)
Hitting #1 of both the CMJ and
the Gavin charts, backed by
Universal Music and Interscope
Records, the latest release from
}5 doesn't need further acclaim.
Quality Control's catchy lyrics,
breakbeats and "rhyme rocking"
of four MCs are worth the hype.
Heralding from LA, the four MCs
and two DJs (Cut Chemist and DJ
Nu-Mark) met at the Good Life
Cafe at an open mic session.
Formerly members of Rebels of
Rhythm and The Unity
Committee, the group came
together in 1993 to release
Unified Rebelution, and then
went on to produce the J5 EP in
1997. Like the EP before it,
Quality Control is perfect summer
music. The tracks are diverse,
ranging from laid back beats in
"Improvise" reminiscent of the
"Concrete Schoolyard," to swing
beats in "Swing Set." More
accessible than some recent
turntablist ventures, J5 still keeps
a genuine beat.
Namiko Kunimoto
MARSHMALLOW COAST
Seniors & Juniors
(Kindercore)
"File under faux-na'if la-la-la, "
warns CMJ. I, however, find their
use of bells, an out of tune piano,
and deadpan singing endearing.
Marshmallow Coast borrows from The Pastels, Daniel
Johnston, and, most noticeably, fellow Athens, GA scen-
esters Neutral Milk Hotel, but
the end result is all their own. A
product of childlike innocence
and spare instrumentation,
Seniors & Juniors is a lo-fi masterpiece and a testament to the
undeniable power of the 4 track.
Song titles include "Off to
School," "Creative Writing,"
"Little Pythagoras," and "Home
from School," as if you needed
any more prodding to check out
this album.
Godfrey J. Leung
M'LUMBO VS. KOBALT 6
Spinning Tourists in a City
of Ghosts
(Unit Circle)
This is a sample-licious disk of
what appears to be liv^generat-
ed compilation-styled music.
When I say "compilation" I mean
that each track is definitely complied in an almost avant-garde
pastiche sort of way. Utilizing live
guitar, flute, english horn, and
synthesizer, the sounds come off
as sometimes ambient, sometimes chaotic, sometimes pastiche weirdness. This can be a
trip into noise, or as the last jam
"All You Have To Do Is Relax and
Listen (And Let Your Subconscious
Do the Rest)" de-evolves, blissed
out trip-ambience. Radio samples
abound, as do clips from The
Orb and the piano chords from
Robert Miles' "Children-
played by a band member...
chanting monks float around the
periphery with mad laughter,
BBC newscasts with gongs and
hip-hop scratching run through a
delay flanged out overtop of a
manic sitar and synthesizer.
What is this shit? The photo on
the inside cover of the
band/group/ducklings show
what looks to be a cross between
ex-hippie metalheads, nerds, and
plain freaks with a Kurt Vonnegut
Jr. look-a-like on the far left. But
who am I to judge by appearances? This is one weird listening
trip, and it's worth your trip to
hunt it down and out.
Tobias
MIKE O'NEILL
What Happens Now?
(Perimeter/Universal)
I'll be honest and admit that I
chose this CD to review for two
reasons: I was a fan of The
Inbreds, Mike O'Neill's for
mer project, and I also wasn't
sure whether or not I wanted to
lay down any part of my greasy
paycheck for Q'Neill's new CD.
Now I'm facing the predicament
of writing a review without
sounding as if the main reason I
don't like What Happens Now?
as much as I liked the Inbreds is
because it's not the Inbreds. It's
not really a predicament,
because What Happens Now? is
very much like the Inbreds' sad,
bass-and-drum-based pop, only
with more instruments per song
than O'Neill ever attempted with
his former project. Oh, and it's
not nearly as enjoyable as anything the Inbreds released during
their
MR. DIBBS
Turntable Scientific^
(four ways to rock)
Strange turntablism rife with
movie samples and enticing
drawn-out scratches whose zings
remind me of Star Wars lasers.
According to the liner notes, this
mix was originally released in
1995 and is now considered an
"underground hip-hop mixtape
classic." Well, it's pretty damn
good and well worth the CD
release. The skillz of Mr. Dibbs
are original, and the tempo &
quick record changes as well as
mood swings provide a roller-
coaster listening experience that
delves from jazz riffs to Scooby
Doo samples all mixed together
with a breakbeat. Good shit.
SLUM VILLAGE
Fantastic Vol. 2
(Atomic Pop)
This is my vote for album of the
summer. The beats done by the
one and only Jay Dee provide
a chillaxing backbone for the
songs, though the whole album
may not be the best lyrically. As
familiarity breeds favoritism, the
tracks on the album I was feeling
most were "Climax," "Get Dis
Money," and "Fall in Love" all
ones I've heard before. Other
tracks were just too booty for me,
especially "Hold Tight," featuring
hip hop's #1 guy who fell off, Q-
Tip. Regardless, this is some
great summer music—nothing too
heavy or too intense—so go and
cop the album.
Jan-9
THE TARBOX RAMBLERS
The Tarbox Ramblers
(Rounder)
Everyone's looking for their folk-
country-blues roots these days:
people who rarely see a healthy
tree much less the backwoods
are buying up old Folkways
recordings and driving to
hicksville looking for musical
inspiration. Boston's Tarbox
Ramblers have done their
homework, and like a generation
of folk revivalists before them,
their holy grail was Henry
Smith's Anthology of American
Folk Music.
The great thing about the
Ramblers is they've got the old
country drone down pat.
Traditional tunes aren't about
catchy hooks and splashy solos;
they are about endurance. Find
a good couple of chords, grease
your wheel, and stick to that
groove for as long as it takes.
Haunting standards like "Oh
Death" and "The Cuckoo" are
mixed in with originals like "Third
Jinx Blues," and it all comes out
flat and dirty, with a little fiddling
to boot. It's no surprise that onetime upstart folkie Spider John
Koerner plays with these guys
a lot. The Tarbox Ramblers take a
little while to grow on you, but
anyone who covers "St. James
Infirmary" deserves my attention.
Anna Friz
VARIOUS ARTISTS
Cavestompl Vol. 1
(Cavestomp)
The other morning, while lying in
bed with Julie after some baby
making, I decided to throw in the
new Cavestomp! disc to get our
day started. Julie, exhausted from
the torrid exchange of body fluids we had just participated in,
was in no mood to listen to a
three year-old garage rock concert. But by the time the
Swingin' Neckbreakers
kicked in on track four, she was
stompin' around the room like a
fucking neanderthal! When The
Nomads ripped        into
"Primordial Ooze," she looked at
me and said, "Dear boyfriend,
fuck our boring service industry
jobs for a day. Let's go break into
the premiere of the new
Flintstones movie Viva Rock
Vegas at the Colossus and I'll go
down on you like Alanis
Morrisette! This Cavestomp CD
is making my shirt chafe my front-
side, if you know what I mean.
Let's commit indecent acts all
Excited at the prospect of a
day off work, I briefly pondered
her plan, realizing immediately
that it could not be consummated. I turned to her and said, "My
dear Julie... the sight of Billy
Baldwin and his bumbling ways
would—as Ice-T has been
known to say—cold spoil the
erection, ruining any chance of
me being able to salute like a
good soldier. Besides, if we were
to get caught, we would probably get locked up like Pee Wee
Herman where we would surely
get taken advantage of by the
other inmates, and I'd be willing
to bet you can't listen to old
Question Mark and the
Mysterions in the pen." She
agreed, and we ended up watching some German porn and licking sauerkraut off each other's
stomachs all day.
"Julie's" "new" "boyfriend"
VARIOUS ARTISTS
Down to the Promised
Land
(Bloodshot)
The Bloodshot Records 5th
anniversary collection is a testament to the intense recording
activity that label has overseen.
Self-described as "the home of
insurgent country," Bloodshot has
brought the likes of the Waco
Brothers, Alejandro
Escavedo and Andre
Williams to our CD players, not
to mention luring some prime
Canadian content like the
Sadies and Neko Case to
moonlight down south.
So you would expect this
twoC:D set to be a hot item; but,
sad to say, it's not. Alt. country is
prone to mediocrity as much as
any other kind of country music,
and while these songs may be
too hard for Nashville, too many
are too straight for me. (Not to
mention Sally Timms, who I
found really annoying opening
for Freakwater, is all over this
album). Where is the cowpunk
we know and love? I always
thought "insurgent" meant a
band wcsn't afraid scrape a little shit off their boots, but most of
these honkytonk victims just
stepped in something nasty. Why
is everyone channeling the
Rolling Stones and not ole
Hank Sr.? I guess all you need
to be insurgent in this country is
to buy some leather rodeo jeans.
Having said that, there are
some pretty stellar exceptions:
Trailer Bride plays hard and
fast, as does Split Lip Rayfield
(with a gas tank bass); Robbie
Fulks pulls off a nice little country swing tune anniversary tribute; the Waco Brothers cover of
The Who's "Baba O'Riley" is
worth fast-forwarding for; and
few non-Bloodshot bands like
Giant Sand make guest
appearances as well. Either you
worship at the altar of alt. country and love this, or else you stick
to the individual bands you know
will deliver and bypass the
honkytonk blues.
Anna Friz
WEIGHTS & MEASURES
Weights & Measures
(Matlock)
I recently watched a show in
Seattle where the singer lost his
voice and couldn't finish the set.
A kid from the audience was chosen at random to fill in, who just
yelled into the mic because he
didn't know any lyrics. While
one might suppose that this
would completely ruin things, it
turned out to actually be okay-
sounding and much funnier.
My point, I'm pretty sure, is
that vocals brighten things up,
just like plants in your apartment.
It's the finishing touch that
Weights & Measures, a
three-piece from Ottawa, could
maybe use. Just a few, here and
there; they don't even have to
make sense because really, most
people never bother to figure out
what their favorite bands are saying. If they did, lots of bands
would be out of work because
their lyrics are stupid.
As it is, W&M's self-titled
album is highly musical and rocks
with the precision of, say, a Swiss
train driven by robots. You might
actually be able to set your watch
by it.
Their halting sound is aggressive, emotional, and very tight.
Never deviating from a strict guitar/bass/drums setup, and all the
better for it, the band enjoys coming up with song titles as iengthy
as their chord progressions. If
now were Christmas time I'd say
"It's the perfect stocking-stuffer for
the aggro post-rock math head
on your list." Given that it's
August, I'll go with "Pack up your
sunscreen and walkman, and
head to the beach with this ideal
summertime soundtrack!"
Paul Crowley
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MAD CADDIES
GROOVIE GHOUUES
GRADE
THE STATUS
Sunday, Jury 2
Grandview Legion
"Phony tears instead of rage, pretend you're sensitive so you get
laid."—Spazz, from "Campaign
for Emo Destruction."
I love Amy from the Groovie
Ghoulies. I love her band. I love
her vampire teeth. I love her big,
frizzy hair. She is so rad. She
even plays the drums like a fuckin'
riot. I want to marry her someday
and have a whole batch of punk
rock babies who will grow up
and start a band that won't suck
as much as Grade. But I'm getting a little worried ..
If I don't get off my duff and
act soon, Kyle, the singer from
Grade—a wolf in Gap clothing if
I've ever seen one—will don his
black cape and magic, black
emo trousers and swoop in from
Emo Land (a province in "The
Country Where All Bands Suck")
wooing Amy back to the "sensitive artist den" with his perfectly
groomed hair and black, ribbed
turtle-neck sweater. At his lair,
Kyle will introduce her to his
neighbours in The Mad
Caddies and The Status The
Status guys will take their mouths
off The Black Halos' cocks in
order to say "Welcome to 'The
Country Where All Bands Suck,'
Amy. We hope you have a pleasant stay" and then everyone will
break out the chips, pop, and
Mighty Mighty Bosstones
records so they can celebrate the
capture of another victim.
I cannot let this happen. If I
do, it will not take long before
emo vampire Kyle and the rest of
his bandmates convince Amy to
trade in her Kiss belt buckle for a
Boy Sets Fire one, and she will
end up in the front row at the
Warped Tour, singing along to
every band. The girl of my
dreams will be gone forever, and
I will be left crying in the rain, like
so many pathetic emo kids.
raddis gababa
SUBMISSION HOLD
FLYING FOLK ARMY
A LUNA RED
Sunday, July 2
DANSpace
This show, a benefit for two
Vancouver animal rights activists,
was held in a tiny room full of
anarchists. I walked all the way
from my house and got a sunburn.
Those who try very hard to
be fashionable and fail tend to
despise those who try very hard
to be fashionable and succeed.
Hating A Luna Red would be
too easy—Jack Duckworth's skintight Killing Joke t-shirt might be
justification enough. Hipster jealousy aside, A Luna Red is a great
band, and they put on a hypnotic
performance. Duckworth played
bass as a lead instrument to surprising effect. His blurry fingers
never seemed to be hitting the
right notes, but it worked. Pedals,
keys, and some guitar made up
the rest of the drone synth din. All
the most aesthetically pleasing
nostalgic references (Swans,
very early Cabaret Voltaire)
are in place, so it's only a matter
of time before A Luna Red and
their fancy-ass design sense conquer those of us with less attractive clothes.
Flying Folk Army contrasted strikingly with the previous
band's Attitude. They didn't use
mics or amplification. They smiled
and joked. Their extremely dance-
able spin on worker's revolution
had crusty punks doing boisterous
jigs. Even a reworking of Boney
M's "Rasputin" seemed completely honest, fresh and without irony.
This ensemble has spirit and guts
and passion—and, more importantly, joy. Revolution doesn't have
to be depressing.
This was the first time I'd seen
Submission Hold play in years
and years. Memories of cold
North Vancouver canyons and
tortuously long bus rides float up
when I try to recall earlier performances; ahh adolescence. The
time lapse meant that I was blown
away by the band's evolution into
a chillingly tight outfit. Flute has
been incorporated into their
songwriting with ease and beauty. Submission Hold have always
been good; now, however, they
are simply amazing. The fact that
they have absolutely no phoniness
or attitude makes them even more
ethereal and bizarre—at least to
someone like me who has to deal
with music industry bullshit every
single day. In between songs they
talked about killing bosses. I don't
really have a boss, but I might as
well get it off my chest anyway:
fuck you House of Blues, rot in hell
EMI. Don't go to the Commodore;
don't buy the CDs we review.
Make your own culture.
Inoshishi
DIANOGAH
JOEL R.L. PHELPS/TIM
MIDGETT
VERMILUON
Wednesday, July 5
Breakroom (Seattle)
Vermillion consists of a mini-
Jason Newstead, a teenage
Tim Midgett with a bowl cut
and glasses, and two other guys
who don't look like famous rock
stars. They sound post-metal—like
mullets frolicking in David Pajo's
backyard. Fine. But then came the
wah-wah. What is wrong with
people? It's called a "wah-wah"
pedal for Christ's sake. It ruins
bands and lives.
Two guitars, two microphones, Joel R.L. Phelps, and
Tim Midgett. They played
Silkworm songs, old and new,
a Comsat Angels tune, and a
few of Phelps' songs that are more
beautiful than nature itself. I couldn't have been happier. Okay, I
exaggerate. I could've been happier—if only I had held an ice
cream cone in one hand and
Steve Albini in the other while
watching the show.
Dianogah are jerks
because they didn't cross the border. Well, I'm sure it wasn't their
fault, but you can bet that there
would have been more than 1 2
people at the show had they
played in Canada Land. I could
tell that their set was going to be
good. I heard "What's Your
Landmass?" as I was walking out
the door, but I can't confirm it
because we had to leave and
make the long, dark drive home.
Chris
THE REVEREND HORTON
HEAT
HANK WILLIAMS III
Friday, July 7
Commodore
I had no idea what to expect from
Hank Williams III, as I had
never heard of him before and
neglected to read The Georgia
Straight's insightful article until
after the show. To be quite honest,
I missed a good portion of his set
due to an unfortunate transportation mishap, but according to my
friends who did see the whole
thing I missed out. What I did see
was impressive and unexpectedly
punky (however, had I read the
Straight article, this would not
have been so unexpected). My
friends have implored me to mention that the guitarist from The
Jesus Lizard was one of the
members of Williams' band, and
to them, at least, this was extremely impressive and went a long
way to selling them on Williams.
Now, on to the Reverend.
Wow. These guys played a
marathon with an original set of
over an hour and an encore that
seemed to go on forever (in a
good way). When the band first
took the stage all I could think was
"Fuck, these guys are old," but I
should have known that that only
means they are more experienced. These guys know how to
work a crowd. From the between-
song comments to Jim climbing on
Jimbo's stand-up bass, the band
put on a show. I spent the whole
set in the sweaty, sweaty, very
aggressive mosh pit (no joke) with
some idiot behind me shouting
"Save me, Reverend!" and being
whacked in the forehead by the
cowboy hat belonging to the guy
in front of me. Despite these trying conditions, I experienced one
of the best shows I have ever
seen. The show's pinnacle was a
10-minute-plus rendition of "Big
Red Rocket of Love" in which all
band members played wicked
solos. This song showcased the
band's performance knowledge
as they teased the audience into
thinking that the show was almost
over only to pick it back up again
and again. Definitely the highlight
CV
BLACK HEART PROCESSION
SHANNON WRIGHT
RADIOGRAM
Saturday, July 8
The Brickyard
On a cloudless, bright summer
day, the last thing you want to see
is a band that doesn't smile, right?
Wrong.   As   I   walked   to   the
Brickyard that evening, passing
by flowery-patterned dresses and
trendy fold-up scooters, I was looking forward to the blue, depressing  coos and  drones  of Patt
Jenkin's musical saw. Saw. Yes, a
saw. That's right, a saw. The man
plays a saw. He plays that saw
damn well, too.
The first band on for the
night, Radiogram, cranked out
a full set of loose-fitting country-ish
songs. An accordion and a guest
singer, Shelley Campbell, made
me write "country-ish" instead of
"country." Though slowing down
and departing from the influential
themes of twang occasionally, the
lead singer's crooning and whining only made me feel as though
I was the middle passenger in a
beat-up old pickup on a Friday
night, chewing straw and looking
forward to a night of watery beer
and cow tipping.
Shannon Wright had this
wicked little toy that showed the
octaves of her electric piano and
lit up on each note as she hit
them. Made by Wurlitzer, contact
them. Anyway, you could see as
she hit the keys that a lot of the
black keys were lighting up—
black means minor chords, and
that means evil. Evil. With her hair
covering her face 80% of the
time, she bounced between her
guitar and piano, occasionally
accompanied by her expressive
drummer. Many people were surprised that a cute little redhead
could be so bizarre and scary, but
at the end of her set everyone got
a little bumper sticker saying,
"Shannon Wright kicked my ass."
Black Heart Procession,
armed with an accessory palette
of strange and wonderful sound
making devices (including the
drummer's thunderclapping sheet
metal), brought their slow-paced
and darkish soundscape melodies
sad-sounding enough to make the
skid doorman cry. Definitely a
group that will never get the exposure they deserve. The sounds
they weave within their modest
melodies are produced with care
and precision—less of an incision
and more of a complement. Well
done. The band did a one-song
encore before slipping off the
stage and out of Vancouver. After
the show I went home, had a
glass of water, and cried myself
Mister Bot
WRETCH LIKE ME
THE ROOFIES
Tuesday, July 11
Starfish Room
This show was fairly sparsely
attended, possibly thanks to the
hefty $18 price tag. Even though
I didn't have to pay, it was well
worth it. Ahem.
The Roofies opened things
up. Three girls and All roadie
Bug Phace on drums, playing
pretty basic four-chord punk. The
singer certainly impressed me:
nice pipes. Their show was somewhat listless, perhaps because no
one stood within 30 feet of them.
Nonetheless, they were far from
bad.
Also from Fort Collins, CO
(adopted home of All and site of
their studio and label, O&O) was
Wretch Like Me Fronted by
former My Name yelper Abe
Brennan, this band was fucking
phenomenal. Called by some the
Black Flag of O&O Records,
this band has a sound rather similar to All but with bizarre song
structures and tempo changes.
Tight, tight, tight, despite missing
a member and having Stephen
Egerton filling in on guitar. What
made this band's set was Honest
Abe. Get me some of whatever
this guy was on, man. A human
whirlwind, this dynamo leapt
about the stage like a marionette
in the hands of a spastic child on
the high seas. Showmanship to
the nth power. We may never
know, however, if his aborted flips
were on purpose or not. Only his
chiropractor knows for sure.
Headlining, of course, was
All. This, as you may know, is my
favorite band around. Their
Descendents incarnation, anyway. Topping Wretch Like Me
was no small feat, and frankly,
they didn't. The vast bulk of the set
was from the new Problematic LP,
which is by no means their worst,
but the loudest roars greeted dips
like
the
"Carnage," "Dot," and "She's My
Ex." Not a Milo-era tune in the
bunch. The set included the gradual revelation of Chad Price's
sweaty butt-crack and the worst
attempt at stage-diving/crowd-
surfing ever.
So they left the stage, and we
all waited for the inevitable. A
pleasant surprise, though, even
for those of us expecting the
encore to be the high point. The
band switched around: Stephen
on drums, Bill on guitar, Chad on
bass, and Karl on vocals. This
lineup, much more energized
than the standard, tore through
"Coolidge," "Nervous Breakdown,"
and their great rendition of "Rebel
Yell." An amazing performance
all around, followed by a second
encore, with All in their correct
places, where "Crazy" and "I'm
Not a Loser" ended the night with
a bang. As I say, they're my
favorite band, and I tend to cut
them up in my reviews, but this
band blew me away tonight.
Even if I had to wait 45 minutes
after they started for them to do it.
Trevor Fielding
LEGENDARY PINK DOTS
Wednesday, Jury 12
Richard's on Richards
Strange things have happened to
Vancouver since last year's
Legendary Pink Dots concert.
The bus system changed its name.
The phone company did the
same. The Starfish Room ceased
inflicting its particular (lamented)
brand of crowd dynamics/ventilation problems on the young and
hip. And amidst all these seemingly trivial or unrelated changes,
the goths got all mellow
People were smiling at this
lamely attended show. They were
dancing. They were wearing
colours. For the first time in three
LPD shows, no OD'ing girls collapsed on me. It was SO WEIRD.
You know what else is weird?
Edward Ka-Spel is the only dirty,
ugly, barefoot old crazy man in a
dressing gown who regularly
makes rosy-cheeked 22-year-olds
swoon in amorous bliss. And I'm
one of them! Jesus Christ, I have a
picture of the man in my kitchen.
How he manages to sire new fans
in every generation frankly
escapes me. During the show, I
struggled to remember how or
why I became devoted to LPD's
death-prog oeuvre, but I knew all
the words to "Citadel" and even
did the "six six six" hand gestures.
Louder and more dissonant
than usual, the Pinkdots cranked
through trancey, extended versions of new and old material.
Sometimes they were really off.
Sometimes they were astounding-
ly on. I was delighted to see the
reappearance of violin—albeit
limited by technical difficulties-
gone since the days of Patrick Q.
Paganini. The weirdest moment of
the evening had to be when
Edward wandered into the audience for a group hug, blathering
the mic. Sing while you may,
indeed.
Barbara
MASADA
Saturday, Jury 22
Meany Theatre (Seattle)
The music industry is entirely
ridiculous. Luckily, I escaped the
cocktails, cell phones, and the
mediocre standard of music by
fleeing to the Meany Theatre on
the Univeristy of Washington campus to see Masada.
The problem is that no one in
the free world has the authority to
talk about this band—not the people who used the concert to
impress their dates by playing "I
Know More About John Zorn
Than You"; not the Associate
Professor of Music who gave a
pre-show lecture and sang augmented melodies (what a jackass); and certainly not me (also a
jackass), a college student whose
vocabulary count is less than most
ESLs'.
If I said that Joey Baron made
great drummers look like babies
sucking their drumsticks, that the
power of Douglas' and Zorn's
horns was as if they stole the
breath out of everyone and used
it for themselves, that Cohen's
that drew pictures, that Masada
couldn't have been tighter even if
all of their hair had been braided
together, you still wouldn't understand. You had to have seen it.
Christ Almighty, you wish you
Christa Min
zD
•AASftUAJ-
ZDOO DiSCORDER GOES TO THE JAZZ FEST!
My "I don't know anything about jazz" statement <
me well. I attended the 15th annual du Maurier International Jazz
Festival Vancouver with an open mind and open ears, learning as I
watched and listened. I missed 3 days of the festival, which is produced by Coastal Jazz and Blues Society, then saw 25 shows in 7
days. Almost all of them sounded musically professional, to my
untrained ears, handfuls were great, and two left me utterly satiated.
Maybe it was the fact that I hadn't recovered from a virus—hell,
maybe it was the alignment of the planets that week—but I found the
festival felt like it was lacking a pulse. Without realizing I was even
listening—and looking—for it, I couldn't find the vibrancy that is crucial to the success of any event. I would have preferred to attend
fewer concerts and enjoyed them much more, rather than restlessly
propel myself from show to show.
Restlessness proved to be a great motivator, as I found myself
stimulated and challenged by music that I'm largely unfamiliar with
and by musicians who played their instruments imaginatively and
wholeheartedly. This is an entirely subjective list, in no particular
order, of bands that I'd go out of my way, and pay, to see again:
Butcher/Durant
Monitor Trio
Tramontana & Schioffini
Moore/Phillips/Honsinger
Italian Instabile Orchestra
Phillips/de Joode
Chris Gestrin Trio
Moore/Lee/van der Schyff
Omar Sosa
Rob Armus Quartet
Alberta Adams
Bebel Gilberto
Tristan Honsinger
Many of the shows had a high "accessibility factor." This was the
only aspect I consciously listened for: whether the music "could" be
heard by someone who'd never attended the Jazz Fest, or who hadn't been exposed to this type of music, or just wanted to expand her
listening landscape. It's a safe bet that 50% is indicative of the festival as a whole; one reason there are so many free shows is to introduce people to jazz in all its variations. Crucial to the accessibility
factor is a minimal amount of intellectualizing, by musicians and audience alike. This "you're cool because you listen to jazz, but we're just
too cool because we understand it" snobbery is an instant turn-off, a
one-upmanship that belies the whole idea of openness and creativity.
As do attempts to define the music itself, which can be only loosely
categorized as "free jazz," "straight-ahead jazz," "world music-
flavoured," "percussion/piano/string-based," and other similarly useless terms. I heard little musical deconstruction this year; of course,
that could be because I missed a lot of shows, didn't stay for complete
sets, and spent the seven days surrounded by people yet often entirely alone.
As always, I was grateful and content to be alone, especially
when I wanted to make a quick exit. Here, in no particular order, is
a subjective list of bands that I wouldn't see again if I was paid to:
Lincoln Center Jazz Orchestra with Wynton Marsalis
Martin Mayes
Los Mocosos
Ricki Lee Jones
Buckley/Batchelor Quintet
Nils Landgren's Funk Unit
Although these bands did nothing for me, I noticed the audiences
were appreciative, as they were at all the shows I attended. A
JazzFest audience is atypical of Vancouver—relaxed and generous—
and the performers respond in kind. They deliver lots of music, little
banter, and no "Hey, Vaaaaancoouuuver, how ya doin' out there?!"
These unexpected joys are the lifeline of a festival, the often indirect pleasures that keep people coming back annually. It wasn't just
the lack of rock star antics, the largely packed houses, or the glorious
weather that persuaded me to attend yet more concerts, even when
I felt saturated with sounds. It was realizing that I'm finally comfortable not only in all the venues, but in all the atmospheres as well. I've
been listening to music that apparently falls under "jazz" for eight or
nine years now and have been attending the festival regularly for
just three years. This was the first year that I wasn't intimidated by the
music or by the fact that I'm not part of the target audience. I'm not
a WASP male, I don't play an instrument or study music, and I noticed
very few Asians in attendance, either as musicians or audience members. I cannot credit the Jazz Fest for creating a non-judgmental, non-
intimidating, non-whatever-one-needs to-be-comfortable environment.
I created that largely on my own, and it took longer that it did when
I began exploring other subcultures, arts-related or otherwise.
I'll attend the festival again partly because I enjoy the challenges
it presents me with, personal, aural, visual, emotional... this year, I
noticed the simple beauty of a trombone and how noise can become
music and music becomes indistinguishable from a plethora of
sounds. In the middle of the second show I saw Marilyn Crispell (of
Crispell/Strid/Houle) play a piano solo near the end of the first set.
It was sublime. A short, gentle piece of music that could so easily be
lost amongst the thousands of sounds that I heard, and that stays with
me two weeks later, sums up all my reasons for continuing to listen to
"difficult" music—even if I can't dance to it.
Devina Naran
ANDY MILNE'S COSMIC DAPP THEORY
Sunday, June 25
Performance Works
Andy Milne is just another pussy Canadian. The 33-year-old pianist
started his Cosmic Dapp Theory because "I wanted to use it to tell
passionate stories, promote peace, and inspire collective responsibility towards uplifting the human spiritual condition." And why not?
That has always been a prime function of jazz, even when acid is
added. With his Cosmic Dapp theory, Milne has retained that essential element of blending structured rhythm with improvisation that
made his previous ensemble, New York's M-BASE Collective, so
exciting and groovy.
At this recent show I found Milne's leadership to be slightly heavy
handed sometimes, his band sounded a bit submissive to his dominant keyboard playing, but hey—what the fuck do I know? Fuck all!
He had an MC, Kokayi, with him—and people, this acid jazz was
very JAZZ—so it was fascinating to hear how different rhyming
sounds when done within a jazz form—not just with some horn
breaks and some funky Ron Carter bassline, but in the middle of a
sonically challenging modern jazz piece. Sometimes Kokayi went
from rapping into scatting, and I had never considered the natural
relation between the two until I heard that. The flow was perfect. One
problem: Kokayi kept air-bassplaying (like air-guitaring). Now, no
matter how jazz-cool you are and how accurately you're miming it,
playing air instruments puts you right in the middle of a Kim
Mitchell video, and who wants to be there? Further bitching: during
the last song the bass player went into a Pat Metheny wank that
went on too long, conjuring up images of unicorns dancing in dew-
dappled forests while beautiful female mimes in white bell bottoms fed
them fruit. I did really like the AMCDT though. Drums, bass, keys,
gorgeous vocals from a gorgeous vocalist (Vinia Mojica), a harmonica—and no guitar! Yeah! Fuck the guitar. One last thing: I didn't
find out who the DJ was that played between sets, but he was great.
Again, a little too mellow for me, but he had a great acid jazz selection. I would go anywhere this guy is spinning, preferably with lots of
Quaaludes.
Hancunt
BRAD MEHLDAU TRIO
Wednesday, June 28
Performance Works
This trio opened for some drunk fool two years ago at this festival and
was back again at the same place, but this time as the headliner.
During this period, Brad Mehldau has received many praises: passionate, soulful, evocative, beautiful, brilliant. He's all that and then
some, but...
They started off with "The More I See You," and it seamlessly
morphed into "Dreams Monk." Very nice. This was a very good concert, but when comparing their performance from two years back, it
was a little more subdued, their collective playing has lost some of its
intensity. However, the soul, the essence of the group is the same:
very emotional and deep. For an encore they performed that Nick
Drake classic again, "River Man," which always kills me. Still, it
wasn't as good as the first time.
Girish Rambaran
CLIFFORD GILBERTO
JACKSOUL
DJ SPOOKY
THE NEW DEAL
Friday, June 30
Commodore
Ah, Jazzfest at the Commodore: no smoking, overpriced drinks,
doorstaff with attitudes and a generally lame vibe. Fun fun fun.
Actually I was really looking forward to seeing at least two of the
acts on this bill. Unfortunately things didn't work out quite so well. I
got to the Commodore in what I thought was good time to catch the
show; however, much to my chagrin there was a significant lineup. I
waited patiently even though I could hear the show going on inside,
until I finally made it to the door. Of course, at that point the doorman
decided to stop letting people in for a while, I guess the lineup was
looking a little short for his liking. "Wow," I thought, "the show must
be sold out!" My suspicions were confirmed when I found out that
they weren't even letting in any Jazzfest volunteers. By the time I finally did get in I had waited all the way through The New Deal's set
and DJ Spooky was just starting to play to a half empty room! The
place was nowhere near capacity. Great. Thanks. Anyway, Spooky
played for an hour and a half, about two thirds of which was self-
indulgent wanking. I was so looking forward to his set (after seeing
him last time he was in town) that when he started wasting my time I
could barely contain my irritation at his stupid noodling. Loser. Up
next was Jacksoul Ooooh. Yay. Twenty minutes of cheesy pop-funk
from this annoying Seal-wannabe and his poser band was about all
I could take. After the fourth open-shirted Christ pose I had had
enough of stinky old Monterey-Jack soul. As much as I wanted to see
Clifford Gilberto, I just couldn't take any more of Jackcheese. Since
there were no in-out privileges I walked.
JM
OMAR SOSA
GONZALO RUBALCABA
Saturday, July 1
Vogue Theatre
Seriously, I have never heard anything like it. Jarret—like expression
of the soul, Monkish minimalism, Silver-like banging. Omar Sosa
is a complete pianist. Powerful and emotional. He is a leader and a
participant; he takes control and gracefully relinquishes it. Humble is
he too, standing and walking swiftly to the sax man, Sheldon Brown,
to give him a big hug after one of his maddening solos. I love such
fuzzy moments.
Sheldon Brown plays the soprano sax and the oboe with such
authority that at times I thought he was the leader. Plaintive, gentle,
mad, still, are good words to describe his playing.
Elliot Kavee is this short, long haired, hippie-like man who simply
grooved with the others. When it was time for a solo, he broke out of
all the shackles and was free to just RELEASE with immense energy.
Will Power is the MC who bounced and swayed and stood in
awe of the band's chemistry. His genuine free-styling rap is simple but
effective: "I grew up with God and nature as my religion, but next to
me were the rats, the roaches and those damn pigeons, but it was
cool, I think you know what I mean, but I had never seen green, I had
never seen green, I had never seen green."
Mr. Bass man, Beoff Brennan was integral for those hip hoppy
tunes: solid, deep, and relentless.
Indeed the Omar Sosa band played so many styles of music that
night: hip hop, latin, classical, and straight up jazz. Such rousing
rhythms and gentle swaying songs. I think this Omar Sosa performance was too good to open for Rubalcaba, but I'm glad he did
because I wouldn't have heard him otherwise. Next time will be better.
As for Gonzalo Rubalcaba, his piano playing is "technically
brilliant," and he can improvise 'til his heart's content—which he did.
However, this trio was too sedating after the crazy Sosa band. The
drummer and bassist were there to simply keep the rhythm up for
Gonzalo to showcase his talent. The one time they all played together as a band was to play a good rendition of "A Night in Tunisia."
That was the highlight of their performance. A real group effort. I'm
not into one-dimensional jazz unless it's a solo concert.
Girish Rambaran
IMPROVISATIONS FOR ORCHESTRA
Sunday, July 2
Vogue Theatre
I give the finger to introductions.
Standing Wave is Vancouver's all-star team. Francois
Houle, Peggy Lee, Sheila McDonald, Marguerite Witvoet
and Lauri Lyster are nuts. Houle abandons his mouthpiece and
blows through the barrel of his clarinet. Lee can't get through a performance with her bow still intact. Witvoet brings a tool box with her
and clamps the strings on her piano. They're crazy, straight from the
loony bin, I swear. But hell, they're good. They played the works of
Canadian composers who would have nothing but silent marks on a
staff if it weren't for the support of Standing Wave.
Mr. Derome and Mr. Armanini, please accept my sincere
apology, but I can't remember what your compositions sound like.
I'm sure they weren't bad, but my mind was blown after "Oswald's
1 st Piano Concerto by Tchaikovsky Minus One in B flat Minor." John
Oswald exposed Tchaikovsky for the jerk that he is by cutting up
Tchaikovsky's No. 1 and creating his orchestral version of
Plunderphonics™
Oswald mocked Grieg's prancy-oss Peer Gyntand Tchaikovsky's
melodrama. While the CBC Orchestra played the predictable symphonic crescendo, Paul Plimley played an oh-so-suspenseful chromatic scale. John Oswald is seriously hilarious. Strangely, me and
the guy beside me seemed to be the only ones having a good chuckle over Oswald's masterpiece. Everyone else was busy stroking themselves for being intellectual.
Paul Plimley: props to your magical fingers and your polka-dot
shirt. If I were your piano, I'd love the way you felt me out.
Christa Min
a nm^mm CHANGE MUSIC FESTIVAL
(CMJ)
July 20-23
Various Venues, Seattle
Have you heard? Music is, like,
totally changing. Because of the
Internet!
Julie C, Christa, Jamaal,
Barbara, and Steve DiPo surfed
into Seattle on a tidal wave of
bad food, hormones, and industry freebies to get their paradigms shifted. All of them (except
Christa and her Minor Threat volleyball kneepads) probably envisioned three days of getting as
drunk as possible without paying, but the actual event consisted mostly of walking around the
city in a state of damnable sobriety, watching Julie shop for backless tops and comic books. Here
are some of the bands they saw.
SUPERSUCKERS/ZEKE/HIM
Opening night at the l-Spy and I
hit the open bar hard, washing
away the pain of my car's
demise. High-balls in America
are ridiculous. Openers Him
were pretty good for an instrumental funk jam band. Zeke
were a wall of noise, though
who's to blame remains unclear,
given the fact that the sound was
shit. So bad, in fact, that I didn't
understand a single word
Supersuckers front-man Eddie
Spaghetti said, not that it
stopped me from singing every
word of every song these rock
gods put forth for my personal
enjoyment.
Jamaal
SICK BEES
Revelation number one: The
Sick Bees are two ladies. (This
is interesting and/or significant
because a long time ago I wrote
a review of their 7" that focused
entirely on issues of gender
dimorphism.)
Revelation number two: The
Sick Bees are damn fine. They
have that self-confident love of
rock that makes ladies open their
mouths and sing loud instead of
hiding behind Hairdo and Pose.
To all lady drummers I say: hit
them hard. You're doing it for the
rest of us. Starla (sounds like the
name of a Miranda July character, don't it?) and Julia play
heavy and never slouch. I mean
that literally. It always awes me
when peeps approach stage performance without shyness (faux
or no).
Remember Star Pimp?
Truncate and Melvins-ize and
you've got these bees.
Barbara
WELCOME
Conferences are: the malarial
chill of air-conditioning, styro-
foam coffees, disorienting hotel-
issue carpeting, lined regiments
of uncomfortable chairs, craned
necks clutching programs, all
bathed, tinnitus-like, in a shrill
alarm of fluorescent light. It
would have taken a boasted reincarnation and appearance of
Martin Luther King Jr. to get me
to dip my ass in that masochistic
brew. Coming up just short of
this threshold, alluring marquees
like "Dawning of a new era:
what is the future of the Internet?"
were, and remain, painfully
exasperating. Elected to join the
tourists in watching traffic on the
1-5 instead. Also learned, from
context, what a "bullrail" was.
Come the night, darkness,
cigarette smoke, and rising
blood-alcohol levels reveal what
those fluorescent tubes never
show: fringe details of music's
marketing and distribution may
Change, but the last word
belongs to the ever-enduring live
performance—even the minds at
work here refrained from scheduling a mass-download party to
cap off daily events Maybe next
Bands showcased at the
Crocodile played beneath a
charmingly cock-eyed, silver
cardboard star, which swayed
that little children's-mobile sway
to the evening rock; though I suppose there is no definitive proof
that it was not actually a webcast
hologram. Welcome was one
of them. They are a three-piece
with two guitars who must have
left their bassist for dead somewhere in Montana. He is not
missed. From there, their trebled
journey begins with some familiar picking of minimal post-rock
weaves, bends, and dangled
harmonics. Then, you climb up a
hill and approach the animated
evil of Lake of Dracula, with
the simple and fat, yet sometimes
surf-lilt drumming. Now, you're
still on Lakeshore Drive, where
you'll again notice the drunken,
belligerent mumbling of a jilted
iron-worker, oscillating in volume
and coherence, come wafting
into the vehicle: that's the manic,
obtuse and chiseled guitar... the
Satanic Nerf edition. Then, as
the crow flies, you head North
(or the Idea of it anyway) where
you'll find the slightly syncopated curves make the open, discordant punch a little more
interesting than the freeway.
When you stretch your legs,
you'll probably tell yourself that
you're glad you made the trip,
but you best be takin' a different
route back. Y'know, fer interest's
sake.
Steve DiPo
JOEL R.L. PHELPS
To phelps (v): I. To stand motionless with your mouth open at the
front of the stage, fists clenched,
tears streaming down your face.
See also "phelpsing."
Some of us have become a
wee bit blase of late. We don't
put the same amount of energy
into our phelpsing as once we
did; it's sufficient to sit against a
wall and think, "How can he
sing 'Now You Are Found' every
night without having a nervous
breakdown?" An even more
important question is how a man
of such startling artistic integrity
and passion found himself participating in an industry conference. This is religion, not
business.
Oh, and apparently "Joel"
drinks Budweiser.
Barbara
DEATH CAB FOR CUTIE
Death Cab for Cutie packed
the house for Saturday's show,
giving the crowd that feel-good
pop rock that's way too hard to
come by these days. The band is
from Bellingham and has got
their fellow Washingtonians on
board for the wild ride that is
rock stardom. I suspect that this
band should be big world-over
and am not sure what's holding it
back. The songs have a distinct
Built to Spill flavour, but are a
bit less chaotic. The guitarist
stuck in his chair all night, thanks
to a broken foot, but that didn't
stop him from rocking out. Death
Cab's new CD is one of the best
rock records I've heard so far this
year, and the live show made me
iike the band even more.
Me C.
BOTCH
May I be so lucky a
Botch the new kings of hardcore? Please? I can give you
more than a few good reasons
why, if that's what you're looking
for. They rock, and they
jerks. They experiment with
sounds that aren't traditionally
hardcore They don't dye their
hair black. They have girlie-tees
for the masses. Oh yes, Botch
will rule the hardcore world.
Botch played to a very enthusiastic but small crowd on a
Saturday afternoon, at an all-
ages show. I was down about
not seeing The Blood
Brothers, who also come with
a weighty dose of hype on their
back, but was content with seeing Botch belt out the hits. I'm not
sure if Botch have quite the
over potential that Refused
enjoyed a few years back, but
the band's willingness to exploit
a bit of new technology within
the hardcore borders was quite
a treat. The guitarist worked
some real wonders with his pedals and other multi-buttoned
gear, looping and manipulating
one of his riffs beyond recognition. Quite forward-thinking! I'm
not convinced that this is a band
I could listen to at home, but am
positive that the next time I see
Botch on a Vancouver bill, I'll be
up at the front!
Julie C.
JUNK RECORDS
SHOWCASE
We went for familiar faces and
comforting rock V roll at the
Junk Records showcase. I can't
remember the name of the openers because they sucked, thoi
they have a lot of mindless punk:
for fans. Jet Set never made it
over the border because they're
stupid, and there is no shortcut to
Osoyoos through Washington
State The Hellside Stranglers
rocked, though the crowd
seemed to be in one of those valleys that plague enthusiastic people from time to time. Luckily,
when The Spitfires blew in the
door fifteen seconds before
going on stage, a spark was lit
that blazed right through The
Dragons' kick-ass set to finish
the night. More beer, gear-humping in exchange for ride-getting
from The Spitfires, and
back in Canada. Thank
ness. Home is where the drugs
Jamaal
-   •A**rUAj-
ZDOO CiTR
Charts
The monthly charts are compiled based on the number of times a CD/LP ("long
vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist
was played by our djs during the previous month (ie, "August" charts reflect
airplay over July). Weekly charts can be received via e-mail. Send mail to
"majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"*
1 Jurassic 5
2twilight circus dub...
3 murder city devils
4 pole
5 Ida
6 slicker
7 dilated peoples
8 huevos rancheros
9 sonic youth
10 belle & Sebastian
11 amon tobin
12 senor coconut
13 oval
14einsturzende neubauten
15weakerthans
16 future bible heroes
17kid606
18arab strap
19 blonde redhead
20 stereolab
21 land of the loops
22 kinnie Starr
23 rick of the skins
24delgados
25gruesomes
26 new bomb turks
27 billy bragg & wilco
28°den
29david kristian
30pedrothe lion
31 les sexareenos
32 livehuman
33 mc paul barman
34 legendary pink dots
35 sleater-kinney
august long vinyl
quality
dub voyage
in name and blood
3
will you find me
interscope | gene defcon
the platform
el muerte del toro
nyc ghosts & flowers
fold your  hands child
supermodified
el baile alaman
ovalprocess
left and leaving
i'm lonely ep
down with the scene
elephant shoe
melody of certain...
first of the microbe... elektra
puttering about a small land up
tune up violet inch
here   comes... independent
the great eastern chem. underground
nightmare scenario epitaph
mermaid ave. vol. 2 elektra
hey 19 teenbeat
scratch
matador
tiger style
hefty
interscope
. matador
ninja tune
emperor norton
thrill jockey
g-7
merge
jetset
touch    &go
progress ep
live! in the bed
elefish jellyphant
how hard is that?
a perfect mystery
matador
matador
august short vinyl
3 bartlebees
4 selby tigers
5 riff randells
6kepler
7 jean bach
8 k.
9 unwound/versus
10 bis/apples in stereo
11 radio berlin
12 mooney suzuki
13 q and not u
14michelle gun elephar
15 hot hot heat
16 the moves
17dja-trak
18 teach me tiger
19 spitfires
20tremolo falls
patty duke covers
flight fright
sidewalk
s/t
between still sheets
jean sans le payback
s/t
split
powerpuff girls
heart of industry
s/t
hot and informed
s/t
s/t
slick black cat
s/t
lookout
top quality r'n' r
magic marker
telstar
stones throw
fantastic
faint
1 magnus
2 coupon
3 lollies
4 birthday machi
5 metic
6belriose
7panty boy
8 les saints
9 riff randells
10 nasty on
august indie home jobs
dragon style
11 n
/ hedro
12 jay a. beck
13 boy vs. girl
14 heatscores
15 river rats
16p:ano
17dreamy angel
19 symphonic ensemble
20 jumpstart
new cassette - all of it!
green card marriage
the torch
sea hag
sweet sixteen
lester bangs
heap wonder
ophelia
baby yer a troll
all of november, most of October
laundromatte queen
boxing day blues
worthwhile
this is what we listened to...
legendary pink dots a perfect mystery • nrg ensemble
bejazzo gets a facelift • negativland the willsaphone stupid
show * engine kid angel wings • megadeth rust in peace •
silkworm lifestyle * branford marsalis trio the beautyful ones
are not yet born • god is my co-pilot tight like fist • torn ze
postmodern platos • melvins ozma • american music club
san francisco • chicks on speed will save us all! • black flag
damaged • belle & Sebastian fold your hands child, you
walklike a peasant • travis the man who • mark eitzel
songs of love • birthday party junkyard • squeeze greatest
hits • michael jackson • public enemy enemy strikes black •
nina hagen nunsexmonkrock • the misfits • mc paul barman
how hard is that? • the missy x trout mask replica replica *
the body lovers part one of three
...andcitr 101.9 fm bien sur
Knock Em Dead - Advertise with DiSCORDER!
Our September Issue is our Biggest & Baddest
of the year with our special pull-out
Local Music Directory! You know you want it!
September issue ad deadlines:
booking: august 23rd artwork: august 29th street: September 1st
call maren at 822.3017 ext. 3 for tough lovin
ZZ £^£H®3© On The Dial
SUNDAYS
ARE YOU SERIOUS? MUSIC
9:00AM-12:00PM   All of
time is measured by its art. This
show presents the most recent
new music from around the
world. Ears open.
THE ROCKERS SHOW 12:00-
3:00PM Reggae inna all styles
and fashion.
BLOOD   ON   THE   SADDLE
3:00-5:00PM Reakowshit-
caught-in-yer-boots country.
CHIPS   WITH   EVERYTHING
alt. 5:00-6:00PM British pop
music from all decades.
SAINT   TROPEZ   alt.   5:00-
6:00PM    International   pop
(Japanese,  French,  Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your jet
set holiday now!
QUEER   FM      6:00 8:00PM
Dedicated to the gay, lesbian,
munities of Vancouver and listened to by everyone. Lots of
human interest features, back-
great music.
HELLO INDIA   8:00-9:00PM
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,
Ghazals,   Bhajans   and   also
Quawwalis, etc.
THE    SHOW 10:00PM-
12:30AM Strictly Hip-Hop —
Strictly Underground — Strictly
Vinyl. With your hosts
Checkmate, Flip Out & J Swing
on the 1 & 2's.
THE CHILL-OUT ROOM
12:30-2:00AM Time to wind
down? Lay back in the chill-out
room. Trance, house, and special guest DJs with hosts Decter
and Nasty.
VIBE 2:00-6:00AM The
Sunday Night Vibe bringing you
the very best in funky and vocal
house spun live by your host
Delacey. For the true house
lovers out there this is the place
to be.
MONDAYS
SALARIO MINIMO 6:00-
8:00AM Spanish rock, ska,
techno and alternative music—
porque no todo en esta vida es
"salsa"!
BREAKFAST     WITH     THE
BROWNS   8:00-11:00AM
Your favourite brown-sters,
James and Peter, offer a savoury
blend of the familiar and exotic
in a blend of aural delights!
Tune in and enjoy each weekly
brown plate special.
Instrumental, trance, lounge and
POP SCENE alt. 11:00-
1:00PM
GIRLFOOD alt. 11:00-
1:00PM
FILIBUSTER 1:00-3:00PM
Oppressed instruments released
from captivity! Obscure sounds
acoustic and electronic, with
your hostess Anna.
A WALKABOUT THE WORLD
3:O0-4:00PM
EVIL VS. GOOD 4:00-5:00PM
Who will triumph?
Hardcore/punk from beyond
the grave.
WENER'S BARBEQUE 5:00-
6:00PM Join the sports department to hang out with Wener,
the Freight Train and the 24
Karat Goldman.
SOUPE DU JOUR alt. 6:00-
7:30PM Feeling a little French-
impaired? Francophone music
from around the globe, sans
Celine Dion.
AUDIO VISUAL alt. 6:00-
7:30PM Critical theory, debate
and dialogue on art and culture,
set to a soundtrack of breakbeat, woHdbeat and other eclectic sounds.
PIRATE RADIO alt. 7:30-
9:00PM Formerly "Love
Sucks," now at a new time.
THE JAZZ SHOW 9:00PM-
12:00AM Vancouver's longest
running prime time jazz program. Hosted by the ever-suave
Gavin Walker. Features at 1 1.
Aug. 7: Birthday features this
month beginning with multi-reed
genius "Rahsaan" Roland Kirk
live in Copenhagen.
Aug. 14: Hezekiah "Stuff" Smith
with the Oscar Peterson Trio.
Aug. 21: William "Count" Basie
and his band at the Montreux
Jazz Festival.
Aug. 28: Jazz pianist Kenny
Drew in a rare session with legendary saxophonist Joe Maini.
VENGEANCE IS MINE 12:00-
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our
hearts—thank fucking Christ.
PSYCHEDEUC      AIRWAVES
3:00-6:00 AM
TUESDAYS
WORLD HEAT 8:00-9:30AM
THIRD TIME'S THE CHARM
9:30-11:30AM Put your
hands together for the rock 'n'
roll riot! Put your hands together
for the rock 'n' roll riot! Let's go!
BLUE MONDAY        alt.
11:30AM- 1:00PM
Vancouver's only industrial-electron ic-retro-goth program. Music
to schtomp to, hosted by Coreen.
CONTEMPORARY 1:00-
2:00PM Music and poetry for
THE  RELATIONSHIP  SHOW
2:00-3:30PM
HIPS TITS UPS POWER 3:30-
4:30PM     Featuring     That
Feminist Collective from CiTR.
ELECTRIC AVENUES 3:30-4:30
(last Tuesday of each month)
THE MEAT-EATING VEGAN
4:30-5:00PM
10,000    VOICES 5:00-
6:00PM Poetry, spoken word,
FLEX YOUR HEAD 6:00-
8:00PM Hardcore and punk
rock since 1989.
RADIO ELLINIKATHIKO
Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
16*"
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3
4
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SUBURBAN JUNCLE
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WORLD HEAT
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THE RELATIONSHIP SHOW
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THE ONOMATOPOEIA SHOW
Black Noise
A WALKABOUT THE
WORLD
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RHYMES &
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STRAIGHT OUTTA
JALLUNDHAR
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VENGEANCE
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27 «u«^W ZDOO 8:00-9:00PM Greek radio
CIRCLES 9:00-10:00PM From
there to here, from now to then
and back again. Shiva to
shava. Sense. Nonesense.
Sound to silence. Samsara.
VENUS FLYTRAP'S LOVE DEN
alt. 10:00PM-12:00AM
loveden@hotma i I. com
SOULSONIC WANDERLUST
alt. 10:00PM 12:00AM
Phat platter, slim chatter.
AURAL TENTACLES 12:00-
3:00AM Ambient, ethnic,
funk, pop, dance, punk, electronic, and unusual rock.
WEDNESDAYS
THE   SUBURBAN   JUNGLE
7:00-9:00AM    A perfect
blend   of  the   sublime   and
absurd, with your refined and
exotic hosts Jack Velvet and
Carmen Ghia.
FOOL'S   PARADISE   9:00-
10:00AM Japanese music
and talk.
THE      NORTHERN     WISH
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local
ANOIZE 12:00-1:00PM
THE SHAKE  1:00-2:00PM
FREE RADIO PRESS 2:00-
3:00PM Zines are dead!
Long live the zine show! Sam
and Bleek present the underground press with articles from
zines from around the world.
MOTORDADDY 3:00-
5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat."
RACHEL'S SONG 5:00-
7:30PM Info on health and
the environment, consumption
and sustainability in the urban
context, plus the latest techno,
trance, acid and progressive
house. Hosted byM-Path.
AND SOMETIMES WHY alt.
7:30-9:00PM sleater-kinney,
low, sushi ... these are a few
of our fave-oh-writ things.
REPLICA REJECT alt. 7:30-
9:00PM  Independent and
from an ex-host of Little Twin
BY THE WAY alt. 7:30-
9:00PM Let's give alternative
media a chance—VIVA
VINYL! 7"s new and old, local
cassettes and demos.
FOLK OASIS 9:00- 10:30PM
The rootsy-worldbeat-blue-
grass-polka-alt.country-cajun-
conjunto show that dares call
itself folk. And singer-songwriters too.
STRAIGHT OUTTA JALLUND-
HAR 10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Cliakkh de phutay."
HANS KLOSS' MISERY
HOUR 12:00-3:00AM
Mix of most depressing,
unheard and unlistenable
melodies, tunes and voices.
FIRST FLOOR SOUND SYSTEM 3:00-6:30AM
THURSDAYS
END OF THE WORLD NEWS
6:30-8:30AM
REEL MUSIC 8:30-10:00AM
Soundtracks   and   classical.
THE ETHER TABLE    10:00-
11:30AM Everyone loves a
girl who knows her Merzbow.
Phone-in marriage proposals
encouraged.
CANADIAN LUNCH
11:30AM-1:00PM From
Tofino to Gander, Baffin Island
to Portage La Prairie. The all-
Canadian soundtrack for your
STEVE & MIKE 1:00-
2:00PM Crashing the boys'
club in the pit. Hard and fast,
heavy and slow. Listen to it,
baby (hardcore).
THE ONOMATOPOEIA SHOW
2:00-3:00PM Comix comix
comix. Oh yeah and some
music with Robin.
RHYMES AND REASONS
3:00-5:0OPM
CULTURE CAVITY SEARCH
5:00-5:30PM
REELS TO REEL 5:30-
6:00PM Movie reviews and
criticism.
OUT FOR KICKS 6:00-
7:30PM No Birkenstocks,
nothing politically correct. We
don't get paid so you're damn
right we have fun with it.
Hosted by Chris B.
ON AIR WITH GREASED
HAIR 7:30-9:00PM Roots
of rock V roll.
LIVE FROM THUNDERBIRD
RADIO    HELL 9:00-
11:00PM Local muzak from
9. Live bandz from   10-11.
HIGHBRED VOICES
11:00PM-1:00AM
PLUTONIAN NIGHTS 1:00-
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
http://plutonia.org
FRIDAYS
SHADOW AT DAWN 6:00-
8:00AM With DJ Goulash.
CAUGHT IN THE RED 8:00-
10:00AM Trawling the trash
heap of over 50 years worth
of real rock V roll debris.
SKAT'S SCENE-IK DRIVEI
10:00AM-12:00PM E-mail
requests to djska_t@hotmail.com.
THESE ARE THE BREAKS
12:00-2:00PM DJ Splice
and A.V. Shack bring you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-
lain trip, focusing on anything
with breakbeats.
BLACK NOISE 2:00-3:30PM
Essays,  poetry,  social com-
from a Black radical perspective. If you can't take the heat
listen to 195.
NARDWUAR THE HUMAN
SERVIETTE PRESENTS...
3:30-5:00PM Please keep
on rawkin in the free world
and have a good breakfast.
Roc on, Nardwuar and
Cleopatra   Von   Flufflestein.
NOOZE & ARTS 5:00-
6:00PM
FAR EAST SIDE SOUNDS alt.
6:00-9:00PM
AFRICAN RHYTHMS alt.
6:00-9:00PM David "Love-
Jones brings you the best new
and old jazz, soul, Latin,
samba, bossa & African music
from around the world.
HOMEBASS 9:00PM-
12:00AM Hosted by DJ
Noah: techno, but also some
trance, acid, tribal, etc. Guest
DJs, interviews, retrospectives,
giveaways, and more.
SHITMIX alt 12:00-3:00AM
The Shitmix council convenes
weekly. Chairman: Jamaal.
Correspondents: DJ Marr, the
delicious yet nutritious Erin,
D.C. Cohen, the Rev. Dr. K
Edward Johnson and Wine-
Jug Hutton.
SATURDAYS
THE MORNING AFTER
SHOW 3:00-6:00AM
THE LEO RAMIREZ SHOW
6:00-8:00 AM
THE SATURDAY EDGE
8:00AM-12:00PM Studio
guests, new releases, British
comedy sketches, folk music
calendar, and ticket giveaways.
8-9AM: African/World roots.
9AM12PM: Celtic music and
SOULSISTAH RADIO 12:00-
1:00PM
POWERCHORD 1:00-
3:00PM Vancouver's only
true metal show; local demo
tapes, imports and other rarities. Gerald Rattlehead and
Metal Ron do the damage.
LUCKY SCRATCH 3:00-
5:00PM From backwoods
delta low-down slide to urban
harp honks, blues and blues
roots with your hosts Anna,
Jim and Paul.
RADIO FREE AMERICA
6:00-8:00PM Extraordinary
political research guaranteed
to make you think. Originally
broadcast on KFJC (Los
Angeles, CA).
SOUL TREE alt. 10:00-
1:00AM From doo-wop to
hip hop, from the electric to
the eclectic, host Michael
Ingram goes beyond the call
of gospel and takes soul music
to the nth degree.
PIPEDREAMS alt. 10:00-
1:00AM
TABLETURNZ alt. 1:00-
4:30AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I
free da jazz..." Out.—Guy
REGGAE LINKUP 4:30-
8:30AM Hardcore dancehall
reggae that will make your
mitochondria quake. Hosted
by Sister B.
ewiwi.
ntfu. SHINUG/
r«tcto*4 W*     -fc,eM* zv, - us» ^ 8'^ •
LOCAL
BANDS!
Believe it or not, it's almost time for SHiNDiG!
2000 to get underway. Sena in your tapes for
an opportunity to play CiTR's annual rock W
roll deathmatchl loss your tape, contact info,
and bribes to Julie by September 15th.
Call 822.8733 for the sitch.
"I Just Wanna Be A Rock Star
SHiNDiGl 2000
#233-6138 SUB Blvd.
Vancouver, BC V6T1Z1
also... if you or your business
want to sponsor SHiNDiG
2000, give us a call!
zs^t^Amm^ Datebook
SUBMISSIONS TO DATEBOOK ARE FREE!
en] to 822.9364,
I SAT 26 Dementia Feedbog@Blinding Light!!; Walker@Morine Club;
Murder City Devils@Brickyard
SUN 27 Nicaragua: No Pasoran@Blinding Light!!
MON 28 Cotton Candy, Diary of an A//en@Blinding Light!!
TUE 29 Cotton Candy, Diary of an A/i'en@Blinding Light!!
WED 30 CITR PRESENTS BUJU BANTON@COMMODORE
BALLROOM; Mondo Punk@Blinding Light!!; Hot Hot Heat, Ninety-
e, Ersatz@Brickyard
I THUR 31 Bo Diddley@Commodore Ballroom; Vmy/@Blinding Light!!;
'  Cris Clark@Marine Club
FRI JULY 28 Mickey Hart Band@Commodore; kd long, Sting@GM
Place; Unified Theory@Starfish Room; CITR PRESENTS PUNK
OUT OR PUNK OFF: FLASHLIGHT, SIDE 67, BABBLEFISH X,
WISECRACK@BRICKYARD; The Beans@Sugar Refinery
SAT 29 Carreg Lafar@Rogue Folk Club; Buttless Chaps@Sugar
Refinery
SUN   30   Korn,   Papa   Roach,   Powerman   5000@GM Place;
Molestics@Sugar Refinery
MON 31 And You Will Know Us By the Trail of Dead@Brickyard
TUE AUGUST 1  Lonely Boy, Satan's Oio/ce@Blinding Light!!;
Millennium Project@Sugar Refinery
WED 2 CITR PRESENTS SUNNY DAY REAL ESTATE, NO
KNIFE@RICHARD'S; Mooney Suzuki, Nasty On, Orientals@Brickyard;
Lonely Boy,   Satan's  Choi'ce@Blinding   Light!!;   P:ano,   Donkey
Engine@Sugar Refinery
THUR 3 Tower of Power@Commodore; By A Thread, Farewell
Pency,    Someday    l@Brickyard;    Psychotropic:    Cause    and
Effect@Blinding Light!!; The Radio@Sugar Refinery
FRI 4 Summersault 2000@BC Place; Psychotropia: Cause and
Effect@Blinding   Light!!;   Operation  Make  Out@Marine  Club;
Saddlesores, lnstrumen@Brickyard; Under the Table@Sugar Refinery
SAT 5 Blinding Light 2 year anniversary party@Blinding Light!!; Joel
RL Phelps, MarkOSugar Refinery; The Birthday Machine, The Radio,
DJ Aural@Vancouver Japanese Language School; Salteens@Marine
Club; Come Ons, Panty Raid@Brickyard
SUN 6 Superstar: The Karen Carpenter Story@Blinding Light!!; Loud,
Bambooing,   Almost   Transparent   Blue@Vancouver   Japanese
Language School; Experimental Electronic@Sugar Refinery
MON 7 The Queers, The Lillingtons, The Explosion@Graceland
(Seattle); Ripcordz, Chapter 3, Blue Collar Bullets@Brickyard
TUE  8  Dandy Warhols@Starfish Room; Causey Way, Metic,
Level@Brickyard; Stephen Kent Jusick in person@Blinding Light!!;
Opening night: You're Never Too Old (8pm)@Sugar Refinery
WED 9 Lee Krist in person with the "Big Film" series@Blinding
Light!!; Hawaiian Night@Brickyard
THUR   10   BY08@Blinding   Light!!;   Roadbed@Marine  Club;
Painkiller,  Snake Eyes, Last Angry Man@Brickyard; Abizelleh
Mazl@Sugar Refinery
FRI 11 Michael Almereyda's Another Girl, Another P/anet@Blinding
Light!!; Steve Earle and the Dukes@Commodore; Noxema Girls,
Team Strike Force@Marine Club; New Waveaoke@Brickyard; Dixie's
Death Pool@Sugar Refinery
SAT 12 Michael Almereyda's Another Girl, Another P/ane/@Blinding
Light!!; Ray Condo & His Ricochets@Marine Club; Supersuckers,
Datsons, Probes@Brickyard; Bruno HubertOSugar Refinery
SUN 13 Bob Log lll@Starfish Room; Michael Almereyda's Another
Girl, Another P/ane/@Blinding Light!!
MON 14 Earth Crisis, In Flames, Skinlab, Buried Alive@Graceland
(Seattle)
TUE 15 James Benning's El Valley Centro@Blinding Light!!
WED 16James Benning's El Valley Cenfro@Blinding Light!!; Dr. Dre,
Snoop Dogg, Eminem, Warren G@GM Place; Less Than Jake, The
Ataris,      Zebrahead@DV8      (Seattle);      Removal,      Unclean
Wiener@Brickyard
THUR 17 Rheostatics@Commodore; Dream Deceivers, Heavy Metal
Parking Lof@Blinding Light!!; Dashboard Jesus@Marine Club; Liars,
Chick Magnets@Brickyard
FRI 18 Rheostatics@Commodore; Thomas Mapfumo & The Blacks
Unlimited@Richard's;  Dream Deceivers,   Heavy Metal Parking
io/@Blinding Light!I; Roswells, Beekeepers@Marine Club; Agent
Orange@Brickyard
SAT 19 Bantam RoosterOPicadilly; Chris SmitherOW.I.S.E. Hall;
Dream Deceivers, Heavy Metal Parking Lof@Blinding Light!!; CiTR
PRESENTS   BYRON   LEE   &  THE   DRAGONAIRES,   SOUL
SURVIVOR STEEL BAND@COMMODORE; Reverberators@Marine
Club; Asland Underground, Che Chapter 127@Brickyard
SUN 20 Hospital play live to Begorfen@Blinding Light!!
MON 21
TUE 22 Craig Baldwin's Rocketkitkongokit, Wild Gunmon@Blinding
Light!!
WED 23 Craig Baldwin's Rocketkitkongokit,  Wild Gunman©
Blinding   Light!!;   Israel  Vibration@Commodore;   Dive  Kissers,
Federation X, Run Chico Run@Brickyard
THUR 24 Paul's Paf/o@Blinding Light!!; Victory Gin, Red Scare
©Marine Club
FRI   25   Cheap   Trick,   Nash   Kato@Commodore;   The  Atom
SfriJces@Blinding Light!!; Normality@Marine Club; Murder City Devils
CD Release Party@Brickyard
MmwjMMhyMa^^
Amsterdam Cafe 302 W. Cordova St. (Gastown)
Anza Club 3 W. 8th Ave.  (Mount Pleasant)
Arts Hotline
Astoria Hotel 769 E. Hastings St.
Bassix 217 W. Hastings St. (at Cambie)
Backstage Lounge   1585 Johnston  (Granville Island)
Black Dog Video 3451 Cambie St.
Black Sheep Books 2742 W. 4th Ave.  (at MacDonald)
Blinding Light 36 Powell St.
Boomtown #102-1252 Burrard (at Davie)
The Brickyard  315 Carroll St.
Cafe Deux Soleils 2096 Commercial  (the Drive)
Cambie 515 Seymour
Caprice Theatre 965 Granville  (Granville Mall)
Celebrities   1022 Davie St. (at Burrard)
Cellar Jazz Cafe  361 1 W. Broadway (downstairs)
Chameleon Urban Lounge 801 W. Georgia (Downtown)
Chan Centre 6265 Crescent Rd. (UBC)
CiTR Radio 101.9fM 233-6138 SUB Blvd. (UBC)
Club Vesuvius 1 1 76 Granville St. (downtown)
CN Imax Theatre 999 Canada Place
Columbia Hotel 303 Columbia (at Cordova)
Commodore Lanes 838 Granville St.   (Granville Mall)
CNB Skate and Snow 3712 Robson St.
Cordova Cafe 307 Cordova St. (Gastown)
Croatian Cultural Centre 3250 Commercial Dr. (at 17th)
Crosstown Music 51 8 W. Pender St.
Denman Place Cinema   1030 Denman St.   (West End)
Dr. Sun Yat-Sen Garden Main Hall 578 Carroll St.
DV8 515 Davie St.  (downtown)
Fifth Avenue Cinemas 21 10 Burrard  (at 5th)
Firehall Arts Centre 80 E. Cordova  (at Main)
F.W.U.H.  Beatty 552 Beatty St. (downtown)
683 7200
876 7128
684 2787
254 3636
689 7734
687 1354
873 6958
732 5087
878 3366
893 8696
685 3978
254 1195
684 7757
683 6099
689 3180
738 1959
669 0806
822-3017
688 8701
682 4629
683 3757
681 1531
682 5345
683 5637
879 0154
683 8774
683 2201
662 3207
682 4388
734 7469
689 0926
687 7464
Frederic Wood Theatre (UBC)
Garage Pub 2889 E. Hastings St.  (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 41 24 Main St.  (Mt. Pleasant)
Hollywood Theatre 3123 W. Broadway  (Kitsilano)
Hot Jazz Society 2120 Main St.  (Mt. Pleasant)
Hush Records 221 Abbott St.
Jericho Arts Centre   1600 Discovery (Pt. Grey)
Jupiter Cafe & Billiards   1216 Bute (near Denman St)
La Quena   1111 Commercial  (the Drive)
Lotus Sound Lounge 455 Abbott St.   (Gastown)
Luv-A-Fair   1 275 Seymour St.   (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion 7191 Granville St. (Richmond)
Moon Base Gallery 231 Carroll St. (Gastown)
Naam Restaurant 2724 W. 4th Ave. (Kitsilano)
Neptoon Records 5750 Fraser St.
Orpheum Theatre Smithe & Seymour (downtown)
Otis Records 1 176 Davie St.
Otis Records 1340 Davie St.
Pacific Cinematheque   1131 Howe  (downtown)
Palladium   1250 Richards (downtown)
Paradise 27 Church  (New Westminster)
Paradise Cinema 919 Granville  (Granville Mall)
Park Theatre  3440 Cambie  (South Vancouver)
Piccadilly Pub 630 W. Pender  (at Seymour)
Pitt Gallery 317 W. Hastings  (downtown)
Plaza Theatre 881 Granville  (Granville Mall)
Puff/Beatstreet 4326 Main (at 27th Ave.)
Puff #14-712 Robson (at Granville)
Purple Onion   15 Water St. (Gastown)
Queen Elizabeth Theatre  Hamilton & Georgia
Raffels Lounge   1221 Granville  (downtown)
822 2678
822 9364
872 5665
322 6057
738 3211
873 4131
662 7017
224 8007
606 6665
251 6626
685 7777
685 3288
608 0913
738 7151
324 1229
665 3050
669 5414
647 1161
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
The Rage 750 Pacific Blvd. South  (Plaza of Nations) 685 5585
Railway Club 579 Dunsmuir St.  (at Seymour) 681 1625
Richard's on Richards  1036 Richards St.  (downtown) 687 6794
Ride On 2255 W. Broadway; 2-712 Robson St. (upstairs) 738-7734
Ridge Cinema 3131 Arbutus St.  (at 16th) 738 6311
Scrape Records 17 W. Broadway (near Main) 877 1676
Scratch Records 726 Richards St. 687 0499
Seylynn Hall 605 Mountain Hwy. (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby) 291 6864
Singles Going Steady 3296 Main St.  (at 17th) 876 9233
Sonar 66 Water St.  (Gastown) 683 6695
Starfish Room   1055 Homer St.  (downtown) 682 4171
Starlight Cinema 935 Denman St.  (West End) 689 0096
Station Street Arts Centre 930 Station  (off Main) 688 3312
Sugar Refinery  1115 Granville St.  (downtown) 683 2004
Theatre E 254 E. Hastings (Chinatown) 681 8915
Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473
Tribeca 536 Seymour 688 8385
Tru Valu Vintage Robson (downstairs) 685 5403
Vancouver E. Cultural Centre  1895Venables (at Victoria) 254 9578
Vancouver Little Theatre 3102 Main  (Mt. Pleasant) 876 4165
Vancouver Press Club 2215 Granville (S.Granville) 738 7015
Varsity Theatre 4375 W. 10th  (Point Grey) 222 2235
Vert/Futuristic Flavours 1020 Granville (downtown) 872 2999
Video In Studios  1965 Main  (Mt. Pleasant) 872 8337
Vinyl Rekkids 76 W. Cordova (Gastown) 689 3326
Vogue Theatre 91 8 Granville (Granville Mall) 331 7909
Waterfront Theatre  1405 Anderson  (Granville Is.) 685 6217
Western Front 303 E. 8th Ave (near Main) 876 9343
Wett Bar 1320 Richards (downtown) 230 6278
Whip Gallery 209 E. 6th Ave (at Main) 874 4687
W.I.S.E. Hall  1882Adanac  (the Drive) 254 5858
Women In Print 3566 W. 4th  (Kitsilano) 732 4128
u
«^MAj-
ZDOO MniHtHiiHarmuacg m
Join Spectrum Entertainment's
email list anil you are
automatically entered into
a draw to win the following:
- a Jurrasic 5 Quality Control CD
- a Triple 5 Soul T-Shirt
I - a $20 gift certificate redeemable
at DV8 Lounge (515 Davie)
- a $20 gift certificate redeemable
at The Burrough (307 W. Hastings)
- a pair of tickets to all Crossfade
events in August
- a pair of tickets to see KRS-ONE
- a pair of tickets to see ILL-A-MENTAL
Send email with "subscribe'
in the header to
SpectrumEnt@home.com
Leftcoast underground hern SftsfiBr is a card-carrying
~2mber of Z heavy weight hiphop crews: he is 1/3 of the
psupergrtv .ilrmg with S^fisfla
and fifes Ofe^l and a founding member of Oakland's
f&sftret jSaeate®.   gteEiftr first gained underground
notoriety aft   :    efea»ii t| uis "Boxcar Sessions" LP and
worldwide attention as a result of his vicious lyrical
being braadt.i'.        •■ inuntries
via Up Radio Show.
WITH GUEST:
Q®CB@L7K7
(BATTLE AXE RECORDS)
(SWOLLEN MEMBtfc!
-mssm
© RICHARD'S on RICHARDS (iomrichardsst.)
ONLY $10.00 AT THE DOOR * DOORS @ 9PM.
HO ADVANCE TICKETS * ARRIVE EARLY TO ENSURE ENTRY.
mmm
M IMP
mmr mmm
-^ msmmm
'. <lfllKPBBBnR.IBP|M0»11ITIN
j-swiuonjunnjuinif
n        DVS
, *   . -SUN0AYS-66WATERST.-
B08RS§8flOPH
^^ MBNITE GORFEWIH EFFECT.
*   m dUmmn
strait    -X      I""u M"K"   DVfl u
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I
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o
N
Modest punk rock? ItSraa     \
Mature punk rock?
Punk rock that sounds
good in the car? Htm.. Let's put it this way; If
your punk rock record collection starts with the
Mbwrtenwu and Husker 08, rather than Mustard
Plug and Total Chaos, then certainly The
WEAKERTHANSare your (doctor's?) bag!12 sharp
songs that resonate with honest rock aesthetics,
simple and direct imagery, and hooks that veer
away trom the "Garage Doors" mold.
Recommended
CD 16.98
MASADA
Live in Sevilla
CO
W
I
R
E
After MASADA s recent
"stand up and cheer"
shows in Vancouver, we
expect this CD to fly off the shelves, and it should.
Moreover, with a high, clear recording quality and
some excellent performances, including a seven
minute "show stopping" drum solo by Joey Baron,
this latest live CD is a perfect way to become introduced to MASADA's terrific back catalogue, or
another cherished recording for those already
familiar with their work. While their studio work is
often celebrated, in a way MASADA's most appropriate context might be live, where their near-telepathic interplay, fantastic energy, ingenuity, and
sheer musicianship becomes especially pronounced, spurred on by the responsiveness of their
audience and each other. All in all, it's hard to find a
better band working the avant jazz scene.
CD 16.98
UP BUSTLE AND OUT
Master Sessions 1 CD/2LP
It seems like everyone is putting out a Cuban
inspired record these days but so few seem to
capture the revolutionary spirit that the country was
built on. With song titles like Kennedy's Secret Tapes
and Carbine 744,520...Che Guevara, Ninja Tune's
UP BUSTLE AND OUT play Cuban music with the
rebelliousness it deserves. Recorded in Havana with
traditional instruments and then assembled in
Bristol to add in some smooth beats, Master
Sessions 1 is the Cuban record you've been waiting
to hear. Viva la Revolucion!
CD 16.98    2LP 19.98
ISOTOPE 217
Who Stole the I Walkman?
CD/LP
styles and make them walk around. The effect is
that their music becomes like a massive secondhand store — you never know what you'll find, but
you'll want to take it home anyway. Yet this isn't
pastiche for the sake of pastiche so much as a
good-natured effort to generate newness from old
sources. Except not as retro, more as unfinished
business. The best part is that they do it with zeal
and have fun, collapsing the boundaries between
out improvisation and studio finesse, while avoiding
the dour air of seriousness that can often accompany similar experimentation. No matter what, with a
line-up as capable as theirs, ISOTOPE 217 plays on
through. AVAILABLE AUGUST 8'"
CD 19.98    LP 14.98
SPRING
The Last
Goodbye cd
As debuted on CiTR's
AiSaint Tropez radio
show, Spring are the latest
sensation to rise from the Barcelona lounge pop
underground. Styled with a Scott Walker-like self-
maintained sheen that recalls the early glory of
Saint-Etienne's catalogue, this full length is the
perfect distraction to the ordinariness that is life.
Bossanova, cool string-pop, and '60s synth, all  ■
combine under the lights and gels, recalling the 1
summer romances, parties, cocktail soirees, salon
"how do you do's", and yes, even nice old "Come
at my pool" invitations. Por La Jeunesse!
CD 16.98
Bridging the drear isolationism of Joy Division
with the ethereal bliss of
the Cocteau Twins and My Bloody Valentine,
London's PIANO MAGIC operate within a well-
steeped sonic canvas — while still discerning new
patterns for an inventive brooding listen. Two years
ago Arab Strap captured our collective conscious
with their sonorous blend of stark realism. Today,
PIANO MAGIC has the right stuff. "At first I wasn't
sure if I liked this record, then it seduced me.
Nightly seductions, gentle happy/sad seduction".
CD 19.98
IDA
Will You Find Me cdap
With impeccable performances, brilliant
production and wonderful songs, Will You
Find Me is easily IDA'S best and most accomplished record so far It's hard not to love what
they've done: Sweet, gently folk, harmonious,
and nice in all ways, yet still informed by a deep
sadness and total sincerity. Bands like Low and
later Spinanes come to mind as well as, in a
way, Everything But The Girl, and maybe even,
although just faintly, early Style Council or
Sade. Plus, for this recording, once destined for
major label release, the core group is joined
occasionally by supplementary musicians, playing everything from viola to Dictaphone, and
then some The overall effect is soothing and
enchanting, with an overarching, pleasantly
American feel. This is sure to be a popular critic's choice at the end of the year.
CD 16.98    LP 14.98
JIMI TENOR
Out of
Nowhere
CD/LP
overly epic orchestral introduction will slip into
sexy, sugar sweet 70s soul and you'll have forgotten what the hell it was you were listening to.
Somehow this album morphs under your nose
marrying "the high drama of Lalo Schifrln to
music reminiscent of a sense of alien abduction
somewhere in Nevada." Recorded with a 60-piece
Orchestra in Grand Theatre Lodz, Poland, Aphex
Twin and Squarepusher now have a labelmate
who's hot on the trail of out weirding even them.
CD 19.98    LP 16.98
SHELLAC
1000 Hurts cdap
Much-anticipated tight and angular workouts
from these angst-ridden recalcitrant roll-
models, perhaps figureheads, even. But it's a
well-deserved cult of personality. Basically, if
rock riffs could lift cars, these characters would
be chucking around big trucks with ease. Or, If
math rock were taught at music schools, they'd
hold the definitive seminar and give lots of
homework. Or, even, if Albert Camus was an
unemployed failed bodybuilder who lived in a
one-room basement-suit apartment and had no
friends, his profound sense of frustration and
moral emptiness would be SHELLAC.
AVAILABLE AUGUST 8'"
CD 19.98    LP 19.98
JETS TO BRAZIL
Four Cornered Night cd/lp
With the invention of photography we are now
able, frame by frame, to capture motion over
time. Close your eyes a sec. Imagine the action of a
yellow and red firecracker exploding. Take this
propulsive split second occurrence and break it
down a bit. Imagine its coil of paper unravelling,
slowly buckling under heat and fire. Think of the
gunpowder spark, randomly igniting in the air. Dust
flies unordered with trajectories uncertain. Boom!
Sound unwieldy breaks silence. Open your eyes,
JETS TO BRAZIL are back! AVAILABLE AUGUST 8TH
CD 16.98    LP 16.98
Various
ATTITUDE 3" cd
Despite a nearly uncomfortable level of main
stream saturation and subseguent mediocrity,
on the one hand, and a well-rehearsed, almost
empty moral panic, on the other, hip hop is remarkably on the brink of new things — it's like it needed
to get overblown to inspire fresher thoughts. For
example, the Quannum crew are producing good
shit, and groups like Jurassic 5 aren't afraid to
bring back a little positivity, while this new collection. Attitude, is just way out left-field, shrugging
off conventionality like last year's FUBU jacket. t4
artists, including Kid606. Christoph de Babalon,
Lesser, Dat Politics, and Matmos, seriously fuck
up classic NWA tracks, dropping a little digital
deconstruction, and maybe updating the bigger picture in the process. What is the spirit of hip-hop
anyway? Recommended.
3" CD 16.98
WILiOUJHAM
All Most Heaven cd/lp
So here's the concept: WILL OLDHAM wrote a
bunch of songs and then entrusted his producer,
Rian Murphy, to realise and record them as he saw
fit. The result found artists such as Jim O'Rourke,
Bill Callahan, Laeticia Sadier. Rick Rizzo, Archer
Prewitt, Edith Frost, and David Grubbs, to name-
drop some, helping prepare backing tracks that
OLDHAM later finished with vocals. Hmm. okay.
What else do we need to say? The line up starts
here. AVAILABLE AUGUST 81"
CD 14.98    LP 12.98
Other New Releases:
SAUL DUCK- s/t CD Music from acute angles. A nice local debut.
SMOG- Strayed CDEP/7" New material from a favourite modern lover.
L'ALTRA- Music of A Sinking Occasion CD/LP From Chicago, horn infused post-rock.
URSULA 1000- All Systems Are Go Go CD Italian lounge meets German electro!
RANCID- 2000 CD/LP A punk rock piggy bank!
FUTURE BIBLE HEROES- I'm Lonely (And I Love It) CD New Wave Magnetic Fields!
SASHA AND JOHN DIGWEED- Communicate 2CD Electronica wizardy from these two alchemists.
ANI DIFRANCO- Swing Set CD An ER like a hug.
765-HER0- Weekends of Sound CD Northwest popsters return!
OLIVIA TREMOR CONTROL- Presents Singles and Beyond CD At last a collection of singles.
CHRIS MILLS- Kiss It Goodbye CD Alt-country singer-songwriter... on Sugarfree!
DAVID GRUBBS- The Spectrum Between CD/LP new Gastr Del Sol available July 31st
■V*^^*****-** »«......* IMI'M «.l*l*» *«*\J|      ♦***       //
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Sattctdatfti at 3fi*H.!
! FLOPHOUSE J£  AUGUST 5™
MAl^ CPOZEfc  AUGUST 121
L AUBUPW AUGUST I91
1972 W 4th Ave,
Vancouver. BC
V6J1M5
tel 738.3232
STORE HOURS
MontoWed   10:30-700

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