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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1997-11-01

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Film Fest Wrap-up
Delta 72
Miranda July
edi t ri x : miko hoffman
art director: kenny
paul ad rep: kevin
pendergraft graphic
malcolm van deist, kenny,
tristan winch, atomos production: tania alekson,
Julie colero, anna friz, andrea
gin, ann goncalves, patrick
gross, erin hodge, malcolm,
christa min, katrina mcgee,
sara minogue, mark szabo,
eric thorkelson, shane van der
meer, tristan photography/i LLustrations:
barb, jason da silva, ted dave
barbara a, Julie c, brady c,
sharon c, bryce d, jack d,
glenn d'c, sean e, greg e,
sean er, kiley f, gth, garth a,
noah g, patrick g, andy n,
pieter n, sydney h, thomas h,
anthony k, blaine k, namiko
k, paul k, doug I, stu m,
siobhan mc, nardwuar, erin
n, hans p, mark s, suki s, dave
t, shane v, brian w programme guide: namiko
kunimoto charts: siobhan
datebook: tristan & miko
distribution: matt
steffich, sean raggett u s
distribution : tristie
di scorder on-L i ne :
ben lai p u b I i s h e r : linda
Cowshead Chronicles
Interview Hell
Seven Inch
Printed Matters
Under Review
Real Live Action
On the Dial
November Datebook
Botched Ampallang
Good Tasty Comic
Miranda July, as photographed by
Barb Yamazaki at Yoyo A Go Go in
Olympia, Wa this past summer.
Graphic duhsign by Ken Paul.
© 'DiSCORDER" 1 997 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 $2 (to cover postage, of course).
Please make checks or money orders payable to DiSCORDER
DEADLINES: Copy deadline for the December issue is November 5th. Ad space is available until November 1 2th and can be
booked by calling Kevin at (604) 822-3017 ext. 3. Our rates
are available upon request. DiSCORDER is not responsible for
loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material.
Material can be submitted on disc (Mac, preferably) or in type.
As always, English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ
line at 822-2487, our office at 822-3017 exl. 0, or our news and
sports lines at 822-3017 exl. 2. Fax us at 822-9364, email us at:, visit our web site at http:// or just pick up a goddamn pen and
write #233-6138 SUB Blvd., Vancouver, BC, CANADA V6T 1 Zl.
Friendly Competition  •  Jolces-For-Beer  • Amazing Prizes
9:30 PM
J^go^Sgi] PRODUCTIONS d 7"_"s; K$&4 -^ virV<s; s_
Last! AL&wA ftw& Tvl.
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cles   "
today i put on my best shirt before heading to the bus stop to get the
#4 which will take me downtown and to work, today i put on a clean set
of pants; not that i wouldn't anyway, but today i made sure, made sure
they were extra clean, straight from the dry cleaner's, a clean press
down the centre of each pant leg, the cuffs solid and distinct, shaving,
i held my head back making sure i got every stray hair above where my
collar would sit, made the lines on my short sideburns just right and
even side to side by putting my hands up to either side of my head and
measuring by sight with one eye closed, today i used just enough gel to
hold my hair in place without getting the wet look i hate so much,
today i'm ready to meet her. i'm ready to meet her and say hello and
make my first impression stick like never before, as i stand here now,
waiting for the bus to come, i know that i will make her love me —well,
maybe like me at first, then who knows, my hands feel like steel as i
grip my briefcase, waiting for the #4 which will take me downtown to
the office, they feel heavy and solid as if i don't even own them anymore,
bringing up my left hand to my face, i see the lines that make this hand
my own, the veins running through it, the blue lines that feed back to
my heart, the skin that has been scarred so many times, cuts requiring
stitches from fights and sports, self-inflicted wounds from pounding
the walls late at night as it rained outside, hands bruised from hitting
the pavement late at night, falling out of bars at closing time, mine are
the hands of a man. the hands of someone ready to go. the hands of
someone loving, secure, strong and careful, these hands are the hands
of a man ready to give out his love, today i'll meet her and she'll see
these hands, and she'll know from them, more than my face could ever
say. i've stood next to her before and have wanted to tell her how
beautiful she was. just to tell her. nothing more, there have been many
i've wanted to tell, just to tell them, how they've made my day by just
being there, the smell of them, tell them and then just walk away, expecting nothing, today i'll make her love me. today i put on my best
shirt, today i know she'll notice me. today's the day she falls in love
with me.
V/A-Cinema Beer Nuts
Mustard Plug
"Evildoers Beware"
Sophomore release from
Michigan's ska-punk kings.
"The Smell Of Victory"
"The Complicated Futility Of Ignorance"
Mew Jersey Hardcore, west
Prices: CD-S10 LP/CS-S7 Video: $12 Beer Nuts-CD:$8
RECORDS     pg box 7495, Van Nuys, CA 91409
Who are you (names,
instruments played)?
Ryan Seven, drums; C.C.
Voltage, bass; Mr. Dean O,
guitar; Jay-Sinn, vox.
State your purpose.
To use our special purposes.
What -was it like playing a straight-edge gig
in Surrey with Trial from
Jay-Sinn: Don't remember,
too drunk.
Jay-Sinn, lead singer of
The Spitfires, -were you
not also drummer for
The Fiends? If so, you're
pictured on their CD;
how come you don't
play on it?
Jay-Sinn: I've never
drummed in my life.
C.C, tell us about your
competition, The Idols?
C.C: Our competition, The
Idols, who were in fact Sid
Vicious' band during his
short stay in New York, have
disbanded.  I believe that
would have been about 1 7
or 1 8 years ago. The Spitfires have had no competition
since that time. I think there
might be another band using
that name now, but of course
I wouldn't know anything
about them.
Are The Spitfires the first
band in Vancouver to
cover The Devil Dogs?
Ryan: I believe it was The
Devil Dogs who were the first
band in New York to cover
The Spitfires.
Make up a fairytale involving The Black Market Babies and The
SpaceShits, please?
Once upon a time there was
a baby named Blackshit.
Blackshit was a shy boy. He
wanted to fly to space, but
the market was full of others
with the same intentions. One
day a large spaceshit landed
in Blackshit's yard. Blackshit
couldn't believe his eyes. A
spaceshit full of blacksnakes.
Blackshit and the
blacksnakes bonded and became one. Soon after, their
babies were born. They
named their babies the
Blackshit spacebabies and
displayed them at the local
market. The end.
Ask yourself two questions and answer them.
Is Ryan single?
How many women does it
take to satisfy Jay-Sinn?
None. Jay-Sinn is gay, and
Ryan Seven is no longer single.
Anything else to add?
Catch us at the Columbia on
November 1 st with The Go
Devils    and    The    Hell
2 demos, looking for a
C.C. Voltage, Apt A-3551 Main
St., Vancouver, BC, V5V 3N3/
It was suggested to me that I should write something controversial.
For the life of me, I couldn't think of anything. This seems like an
impossible task these days. What with TV and the internet, who
can keep up with the latest limit to sensible judgment or decorum?
Sometimes I miss the good old days when people wanted to beat me
up just because I had a punk hair-do ... well, not really. But that was
still the time of the bomb, the last really generally recognized terrible
global influence (with more pow than any other). When I was younger,
I thought nuclear war was inevitable  Out of fear and concern, I be-
being both anti-war and pro-punk was exclusive or mandatory, but it
was welcome The fear of the bomb was significant enough to pressure evenly across the cultural board. On a peace walk across Alberta, in protest of cruise missile testing, my fellows and I were put up
by many otherwise conservative people. We all became united under
something profoundly controversial; some protested, many were in
favour, but everyone had an opinion of the bomb — it was an unavoidable reality. And so, what happened to the bomb? I suspect it will
unpleasantly turn up again, for the time being, however, it doesn't stir
up much controversy On the other hand, I could easily write something offensive to some particular group or another, but such simple
belittlement is hardly controversial, only occasionally topical and not
worth the effort — a sort of pathetic Larry and Willy kind of anti-
politically correct attempt at generating controversy. Now, if only critique could be controversial, then I might have a starting point (and
indeed, maybe I do).
I suppose that in certain sectors the right critique could be at least
ire-inducing: for example, in the generally hermetic world of big-name
contemporary art. But controversy here is not unlike an excessively
verbose dinner-party, fashion mistake or witticism blown way out of
proportion, or often just really predictable or average, but with some
effect nevertheless (like paint enemas). In any case, all this is supported by a willingly complicit and rehearsed in-audience who is committed to the grossly, highly coded type of self-involved acting up usually endemic to these still exclusive practices. And if controversy doesn't
take place in practice, it will be located retrospectively, by this extended support cast — such well-trained excitement and concern. But
really, it's like a game or any clique: isolated but influential. Academic theory development and application is also seemingly island-
bound too. Or at least the popular advertising-speak type version is
lodged firmly within itself, becoming a turgid home for less tactful
school-bound adherents, deliriously chasing an endless one-upmanship
race to no place particularly useful. Of course, high art discourse is a
fine example of academic theory exegesis, otherwise know as competitive back-slapping or knifing, often for no overtly demonstrable
reason other than being "it," or the gratuitous embellishment of private selection. But theory could be easily turned anywhere in the search
of art, why not? How quickly the I or eye becomes reinscribed in the
time of endless movement and insecurity.
Sure, I'm being a little simple here. There is a great deal of relativity to all this. But who really cares who's the bad boy or girl of art?
There is good work, to be sure, but recognition, one way or the other,
is still more significant than talent Recognition, as in fame, is the
prize. I can think of many "unknown" bad boys and girls — really
bad ones who produce really good stuff — and it would be all right if
they stayed that way, almost for their own good (and there is a difference between community level recognition — which I gleefully endorse — and just stupid mass fame; as if there is some objective
measure of value at work here, other than money). Once it becomes
job-bound, and not just something done otherwise, art loses some of
the liltle-special-something it can still demonstrate on occasion and
becomes a bit dead on the branch. It is lack of opportunity that grinds
people down, not lack of fame. But I guess we are left with the text, no
matter what; is this how we justify claims of the death of the author, or
whatever? I guess it was far too hopeful for the ready-made to have
made it necessary for art to become less instituted in the academy,
formal art discourse, and best of all, the business of art and more an
off-hand part of our lives; even though the ready-made is purposeful
only within such locators, becoming another voided revolutionary
moment to reinvent (it's interesting to note which revolutions become
dry heaves and which are starved out). But we still have our stars and
important works and people still think that fame is the most important
form of redeeming validation. Remember, however, you are the gallery: "Can you tell the difference, I can't tell the difference." Oh well,
people gotta work, I have no guff with that, actually. It's not just the
money aspect, it's the lifestyle stuff that loses proportion, that becomes
a means while it pretends to be an end, when it should just be.
All this is true with any subculture really, from the fancy-dressed to
the rag tag. Pretentious posturing and obsessive self or other aggrandisement are like plagues, creating hierarchies and divisions, sapping joy,
stymieing any attempted honesty, and killing community more surely
than any lack of funding. And these restrictions are often enforced
under the misleading guises of enlightened rightness, progressiveness
and coolness, becoming wasteful acts of psychic terrorism, fusing an
aggressive passivity with an indignant chauvinism, all in the service
of a purported complete lake of faith This "lack of faith" is not a
paradox, it is a denial. In any case, it's nice to see people care for
something, but it's scary to see that something become a weapon or a
blinder. Dance music, indie rock, noise rock and hip hop subcultures
— to name a few — are all similarly proving to be just as genre-
reclusive and worthlessly self-referential as the world of high art. And
as these genres dig deeper into themselves, occasionally diligently
resuscitated by tireless fans who otherwise couldn't be bothered to
fight for much else, they become bulwarks of odd conformity And
what propaganda: there is an infuriating tendency to superficially
mix 'n' match without blending or challenging anyone or anything,
and promoted as profound and dramatically significant when, in fact,
it is commonly half-attempted, and moreover, hardly a new enterprise
in any respect. It's funny when something can mean so much and
nothing at all, all at once. A sign of the times. A weird, pointless self-
immolation that endlessly begins and ends a particularly impoverished cultural landscape with a turn. It lingers like a material thing,
but presents itself as a harmless diversion. While I enjoy my favourite
music as much as the next person, there is more to life than my own
choice and enjoyment. Try APEC on, for example.
Anyway, I'm more interested in discovering some topic that would
really shake most people up, yet something that is other than Princess
Diana dying or a twisted automobile-involved murdering and maiming spree; these topics are more like "sad news" to non-participants
and I wouldn't want to dis-service or disrespect the victims and immediate relations in either case. Besides, I'm after a topic a little more
righteous — not so typical and private — although, in both of the
previous incidents, they can easily expand into massively complicated
general issues, with serious trailing questions and implications. Particularly in the case of Diana, who was a culturally powerful and
symbolically charged person and whose death directly involved the
media, implicating our media-supported cultural voyeurism. Big events
like Diana's death, or even the bomb I waxed on about previously,
can provide a window of opportunity to critically reflect on our present
course and choice of actions, a time to re-examine our responsibilities. Hey, even APEC might be used to introduce debate regarding
the blatant immoral conduct of certain governments, and the foreboding trend towards massive trans-political, capitalist fixtures and agreements, with their subsequent portioning off of the world's work force
and purchasing power, in a demonstration of unmitigated power and
Monopoly-type logic that will eventually affect everyone, one way or
another. And I am not being idealistic when I say that these guys are
as crooked as the day is long. But with APEC being so uninspiring
and all, I'm forced to look elsewhere. You see, I want something really
juicy — you know, something really controversial.
This isn't some misguided lament for the loss of available crises, as
there really is no shortage of trouble in the world, although the narrative guidance that the term crisis provides might increasingly be an
encumbrance, turning complex problems into stereotypicalized black
and white scenarios (a point well argued by the engaging Dan Savage in the October 16th issue of The Georgia Strait). Nor is this a
simplistic attempted recalling of those old-school meta-narratives, imposing right and wrong from above, as they were reported to have
done back in the authentic days of modernism, with its simple class
problems, authors, organic cultures and works of art. Although a
Habermasian argument could be waged here, protesting the baby-
and-the-bath-water tendencies of contemporary theoretical — or
postmodern — discourse. There is often a pat dismissal of general
patterns, an under-recognition of large power blocs or influences, and
a trend towards total infatuation with the transitory and the particular,
to the degree that the social fabric of semblance and context is rendered only whimsical and insubstantial, and subjectizing relatively
durable thematics are reported to leave no impression whatsoever. I
mean, as-if this shit just got up and left because we wanted it to, or
because we can dis-allow it with our theories. Of course, going too
far one way or the other is bound to be problematic. At any rate, a
responsible, flexible and sensitive incorporation of both the particular
and the general seems to be reasonable, as a sort of obvious, almost
interminable, compromise in the designation and appreciation of social and cultural events in the world. And on and on, 'til I'm blue in the
face, and no one's listening — a more accurate demonstration of the
type of death encountered by meta-narratives: like screaming under
water. Yes, this is not about the death of controversy, but a mediation
on the controversy of the nonplused. Hang on, more to come.*
mr. kitty poulin
Learn how with:
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ipanjtaefcr ^.Y*^
Risotto seems to be an amalgam
of the tomato art and down
tempo songs on Underworld's
Second Toughest in the Infants
and most Chemical Brothers
and Crystal Method tracks,
with a touch of what I consider
to be Fluke. Their singles "Absurd" and "Atom Bomb" come
courtesy of the California
Breakbeat explosion, and are
slightly formulaic and familiar
sounding. The album is salvaged
for me with track seven, "Amp,"
which put a smile on my face as
did the rather moody last song,
"Goodnight Lover." It appears
that after eight years, Fluke is
having an identity crisis between
the Prodigy's shock value and
the Chemical Brother's hard hitting Urban Breakbeat. I truly
hope they can break free and
continue to make tracks like the
Atomic 5 version of "Atom
Bomb," which sel them apart
from most other electronic artists
by m-path
I have always found Fluke's
music to be contemplative
and happy yet not saccharine
On the evening they played in
Vancouver, their stage setup was
expansive and they added a
singer, Rachel, to the performance, which I feared would detract from their music Fluke has
a very distinct sound which seems
to have been catalysed by the
breakbeat scene and their US
touring partners, The Crystal
Method, from the California trip-
hop label City of Angels The performance was too close to rock
'n' roll techno for my liking. It
would be nice if we could leave
the "Are you ready,
Vancouverrrrr?!" beer-bottle-in-
hand behaviour behind But it
seems that Fluke might not agree
with me. The following is an excerpt of the pre-show interview I
did with Fluke's Mike B.
m-path: What is this
'make mine a 99?' Is it an
ice-cream cone?
Mike B With 'Groovy Feeling'
I lost count of how many n
years, we've always trie
something different With 'Bullet' and 'Atom Bomb' you're
seeing a slightly harder side to
us Fluke music really knows no
boundaries Some people may
be surprised with the new album
'cause it starts off with 'Atom
Bomb' and then goes off into
we made Back then w
n  remixing aw
:h their own r
apt at the time —
happy feeling a
it just rolls off the J
'd giv,
t-up-and-dance [music]
s definitely more upbeat
than Otto
When you look back to
the time when you
were maf
white labels
Daft Punk, Underworld, and
Leftfield have, although we've
been doing it longer than they
have Perhaps it's because we
have a sort of perverse attitude
[towards] our music: we haven't
done ourselves any favours
Do you prefer playing
clubs or 'raves'?
We never played raves in England because they consist of 10
000 people in a field [which
is] illegal We played ir
regulation that they've been u
ing to interfere with the n
[is so much that] you can't
/eel the
Are there any other issues
that concern you?
Not overly so  We're not a politically-minded band   It's more
think there is a lot of humour attached, really, if you listen carefully enough.
What do you think of the
shift away from storytelling rock 'n' roll songs to
electronic music lacking
I think ii
think we have this disdain for
rock posturing:  'Look at me,
'm the lead guitarist' —
^ery egotistical and people have done [it]  before   Our music is there
for the individual to take
that they v
When we first started play-
ve, we almost tried to
(The Ultimate Collection)
Volunteers needed.
Are you an outgoing, spontaneous man or woman over the age of
19 with a never-say-die attitude and a good sense of humour?
We are a non-profit society that helps young offenders and children
ages 8 to 18 who are at risk of getting in trouble.
Spiritualized® sjh
with guests ACETONE     EARLY S HO V
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November 8
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Arts Club Theatre
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ntimate      and      in      your      face
m with special guest Holly McNarland II ^ god streefwffie
gasoline tour
November 12
Starfish Room
Colin James
^lolin Linden
^wUHitm otter gns!   if
RobbenFord .
with guests BRACKET  _■.
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Tickets @ TicketMaster op charge by phone 280-4444 op order online at http//  I hizuo has something for- the punhs, the
Lteens, and the dance set. Come join Dauid
Hammer's anarchist party and get into
and I say, 'Hey, let's go to my place.' What is that? Oh, 'There's too
many cars in this world,' I don't know why ... And he says, oh I
better not translate that (laughs).
DiSCORDER: Why do you call yourself the Shizuo?
David Hammer: Shizuo means total enlightenment and the
enjoyment of life and all that. But it also means total destruction.
It is dualism. That is also the structure of this album, more or less,
the concept of this album.
Who's Shizor?
That is my new girl singer
Is she on the album?
No, not yet, but on the next one. Shizor vs. Shizuo is an example
of dualism; it is always fighting against each other.
What are your influences?
That is a good question. I don't know. My influences you can listen to ... you can listen to the music and then ...
Like the Cramps?
Yeah, I did a Cramps cover version, 'New Kind of Kick.' My album
is a compilation of my influences. I am getting inspired everyday.
My influences are dirty dogs, sex, drugs ... no, I try to create a
good live feel — a good anarchist party feel.
How did you get involved with Digital Hardcore
We were all school dropouts when I met Hanin (Elias). My parents
forced me to go back to school in evening courses — that is
where I met Hanin. But then my parents totally gave up on me
and moved away so I got a whole flat to myself and then I invited Hanin to live at my place and [she and Alec EmpireJ formed
Atari Teenage Riot. At that time I was still working with my hardcore band. It was called 'Nuff Said, but it was a shitty hardcore
band because our drummer was into Iron Maiden and our bass
player was into Red Hot Chili Peppers. I only wanted to make
hardcore stuff like Sheer Terror.
Did your hardcore band ever put out stuff?
No, because the bass player used to deal hashish and we had
these Arabian gangs in Berlin — now I think it is not so bad anymore — they once came to our rehearsal studio and kidnapped
him for two days and he never wanted to come back. Worst of
all, our hardcore singer all of a sudden wanted to do hip hop,
and then with techno coming up in Berlin I didn't want to play
guitar anymore. I said, 'Fuck ... uh ... shoot' and I bought myself
a sampler. I also got inspired by Alec Empire and by techno.
Do you have any side projects?
The whole Shizuo is a compilation of side projects. But my most
important side project is Give Up which I [doj with the lead singer
of the Golden Showers. They are a garage band from Berlin, but
they all moved to Albuquerque and reformed. It is the two
singers: he is an Arabian guy and his girlfriend, she's American. 'A
New Kinda of Kick' is actually sung by the bass player of the
Golden Showers. She just came to me and I was totally on acid
and this guy brought her in ...
You're German, but you lived in London?
I used to live in London for a time because I had to leave Berlin. I
had some trouble there, but now it is gone. I'm living on the road
now, which is good too.
Was it army trouble?
No, the army doesn't want me at all. I don't know why [sounds
perplexed). Why doesn't the army want me? It is kind of frustrating. It was more like local trouble.
When you were in England, were you influenced by the
breakbeat stuff?
I got really inspired by drum 'n' bass. Right now I've created a
new direction in music, it is the next step from Tech Step — it is
called Fuck Step, but that has already advanced to Fuck Stop.
Shizuo is moving on, faster than you can think. But the whole
point is to give yourself an infrastructure so you don't feel bad for
behaving bad. And it is something for the real punks. The song
'Punks' is totally stolen from a band called Life Sentence. Basically
it is just two samples, but it is for the punks
Did you like that old hardcore aesthetic, how it was completely removed?
I used to when I was young.
It was like its own culture, it didn't interact with the mainstream.
It did, I thought out of this came grunge.
But when hardcore was happening, it didn't; it was ignored
in the early '80s.
Not in Berlin. In Berlin it was the only thing that was there and it
got taken over by techno after a while. In the [early) '90s, techno
in Berlin got really huge and for good reason because in
beginning it was really good, the new techno stuff. But that
also from Detroit mostly. Underground Resistance. In Berlin it
the only thing that was there, this hardcore, heavy metal kind\af
stuff. Then you have this problem of Berliners having this identi
ty crisis all the time. So it is very hard to form a band in B
Golden Showers, they were good, but they are just trying to have
this garage sound which has already existed. German people,
most of them but not all of them, just try to achieve a sound
which has already existed; I think that is totally boring. Most of
the electronic musicians in Berlin, for instance, try to achieve the
London drum n' bass sound. But why should you try to create a
London drum 'n' bass sound which already exists? If you can buy
the record it is already over; people in England are playing dub
plates even before the record comes out, so there is already a
totally different sound going on in the clubs.
Can I get you to translate your comics for me?
Yeah! This is the German version?
Yeah. Why didn't you put the really naughty ones in the
American version?
No, Mike D actually censored it. It is not actually Adolf Hitler, it is
Sadolf Titler. I am usually a comic artist but nobody wants to buy
my comics. I am into comics all the time. That is what I am originally from, but Berlin people are so uninspired they just tell me to
fuck off. I just put [them) in my booklets because it is better than
any computer graphics. This translation ... they don't really have
a story because I can't really concentrate that well for stories.
Oh come on!
This girl, she has a really mean boyfriend. If he were to know she
was on this cover he would kill me. This her dog, she calls her
dog Beer and she actually looks like that. That is why 'Anna
Mondo,' because her name is Anna and she is this really harsh,
queer girl. And then comes this boy who says, 'Look I've got some
heroin,' and she says, it is like a German expression, 'Put your
dick away' and she is thinking, 'Oh so young and so clean.' [we
laugh) This is Sadolf Titler's girlfriend.
Eva Braun?
Raver Braun. The other one I couldn't put in with free tickets for
the Mayday, but you don't know what Mayday is
Yeah, we saw some of it on TV here — wait, no, that was
jort of the same thing?
No, but the same people or§a****t^eit. Mayday is some big rave and
the Love Parade is some fascist bullshmoing on in Berlin. Everyone
is like 'Sieg Bass!' This is Sadolf Titler intNiath and he says, 'I'm
right with you' and he says, 'Sieg Heil, now^m shooting back'
and she says, 'Oh, Sadolf! And then he has a good idea, 'Hey,
ialomona, now I know what we do with the job sV
try.' Then the bell rings and he says, 'Oh it rang\ I think it is
that is the best friend of Sadolf Titler.l'Hey I have
also broug^t«^QU two nasty Hitler youth boys which I caught while
smoking pot.' AftBshQis the two Hitler boys^dO they are all
going to have a lot of fury'TrB'tesicall*** m ili'fflscist comics. After
a while I was just doing porn corVcs, nut it is so censored I can't
do a damn thing. I think [Grand RoValftook all that out.
But the comics and th<
Yeah, okay, the comic
serious music going
that. It is about this
who wants to do thai
Do you like living
Not so much. I want
ness, I'm in pain and
to be in Germany, it is always
so much, you pretty much lose all of yl
make ft
you should havejhis
of enlertainment o
 hard/but take it easy*
otherwise you cramp yourself, antK
There is hit after hit on this record.
got more of this conscious-
let the fuck out of everything. And
i pain. When you tour
social contacts. I
What's going on here?
Well she says, 'It is itching funny' And this is what kids say, you
know if you're in a class and somebody says something really stupid and all the girls say, 'Ohh ... so bright' and that's actually me
Nepal. I am also looking for total enlightenment. There is always
fighting between the Krishna conscioi^ness and total terrorism.
So you are this duality?
Yes, but I think many people have thlt now because they are
trapped in their boring life and just dorft know how to get out,
but somehow they are aware of it; thei/ don't know what to do
about it so they just accept it. I think tMt is the worst you can do.
It should animate you to fuck the rul^— like that one song from
Dub Narcotic. You know that?
Yeah. You listen to a lot of American underground bands?
I always buy a bunch of recorirs and that is what I listen to then.
I listen to a iot of oldies. I w^on a Cramps trip, but now I listen
to Curtis Mayfield a lot. Oyrne Stooges, I like the Stooges — they
are very nice. Right no^rthis album for me, I am totally somewhere else. I alreadydi^he Fuck Step stuff; thi^l more like a pop
record for schooUd
A teen dance iraze.
Exactly. I want to reach the teens [sna^_[with thi one. With the
next project I \\nt to reach thg^nce floor; I vlant to hit the
disco. It should comPnul jiuBffif everything goes Vne.
Any last words?
Keep on fighting. No. Give up but don't give ir
Shizuo plays the Starfish Room with labelmates Atari**     __
Riot and EC80R on Tuesday, December 9th. Bring your earplugs. the Mpvfnrfi. highlights
TF*    t/i
Fri. October 31st
Saf. Nov. 1st
PLUS m DAY/   M*e_*      *-«
Fri. November 7
Sat November 8
Wed. November 12
November 27.28 & 29
roving bunch of hard
ened cinephiles to check
oul the action at the 16th Annual
Vancouver International Film Fey
tival. From September 26 to October 12, 1997, this rough and
tumble gang sat through nearly
264 films {that's over 500 hours
of film!) representing virtually all
four corners of the globe. The following are excerpts from their
journals ...
Took in Errol Morris' brand
new one: Fast, Cheap and Out
of Control. After The Thin Blue
Line and A Brief History of Time
this film, in a sense, represents
a return to Morris' earlier signature style circa Vernon, Florida
and Gates of Heaven. Similar to
those two films, Fast, Cheap and
Out of Control is a documentary
composed of interviews with four
"quirky" individuals: a lion
tamer, a mole-rat specialist, a
topiary gardener, and a robot
scientist. The documentary also
features all kinds of cinematographic fireworks (especially
some atmospheric Super 8 footage) and lots and lots of archival footage (sci-fi "b" flicks, circus shots, etc.). E.T. found the
whole effect dizzying but intoxicating nonetheless — some of
the "big cat" scenes (shots of
Dave Hoover's' apprentice sticking her head inside a tiger's
mouth, etc.) in particular had her
flat-out freaked. In my mind, the
project didn't quite add up sat-
isfyingly. Morris clearly was interested in pitting the "old world"
(lion-tamer, topiary gardener)
versus the "new world" (mole-rat
specialist, robot scientist), and allhough this holds a lot of potential in today's technocractic
world, the results aren't all that
gripping. (Tony "the trembler")
Youssef Chahine's Destiny,
hyped as one of the festival's
"big films," was easily my big
disappointment for the festival as
a whole. VIFF's catalogue blurb
by Nick Roddick of Sight and
Sound reads: "if there is one film
that ought to have walked off
with the Palme d'Or, it is ... Destiny" and "an utterly passionate
denunciation of religious extrem-
Jsm" and "by the time it reaches
the end ... it has built up such a
head of steam, such a pure kinetic energy and celebration of
the human spirit, that one realizes one has experienced a very
special piece of filmmaking." All
for a film that it is about as passionate, as moving, and as politically dangerous os You Can't
Stop the Music, but nobody ever
i^ave the Village People any
honourory awards at Cannes.
By the film's mid-way point, the
punters had had their fill: the audience erupted, tossing snacks
and beverages, tearing up seats,
waving their fists, and yelling
"Crap! Crap!" at the flickering
images. (Joe Bloggs)
Patrick Keiller s new one,
Robinson in Space, is a follow-
up to his "brill" London (1994).
Again Keiller recounts the ex
ploits of an unnamed narrator
and his friend and former lover,
Robinson. Again the film is composed at some kind of crossroads between documentary
and non-documentary (in this
case: "narrative") modes of representation. Whereas London
was a witty and astute examination of "the problem of London" in the modern era, and
especially in the Thatcher/Major era, Robinson in Space tackles the "problem of England" at
the end of the Major era.
Keiller is fascinated with the
figure of the flaneur, but whereas
in London he utilizes a
model with its fascination for the
urban/suburban environment, in
Robinson in Space he draws
considerable inspiration from
Defoe's Tour Through the
Whole Island of Great Britain,
and thus the Narrator and
Robinson criss-cross the island
with the use of a car, making frequent stops along the way to
engage in derives in order to
examine the political/economic/cultural state of the UK.
London, in spite of its economy
of means, has a tremendous
depth to it; Robinson in Space is
terse and downright dense — a
demanding cinematic essay —
and it shows a slight shift away
from an emphasis on the aural
to an emphasis on the visual: its
sound mix is generally simpler
than London's, its cinematography is much grander, much more
meticulously framed. Similar to
London, its picture of Britain is
bleak, depicting a Britain increasingly subservient to multinational economies and their
rightist, city-based, high finance
acolytes, a Britain become a homogeneous consumerist nightmare, a Britain out of touch with
its history. (Joe Bloggs)
As it turns out I spent much of
the week catching films forming
the VIFF's "Pre-Millenial Tension:
PosNW.W. II British Cinema"
series: on this particular night
the featured "pre-millenial" film
was Hell Drivers (1957). Cy
Endfield's gritty, breakneck,
pedal-to-the-metal classic featuring dream-girl Peggy Cummins
(of Gun Crazy fame) was
marred only by the fact that one
or two of the reels were missing (!), creating a rather severe
jump-cut. (Joe Bloggs)
More "pre-millenial" action: this
time Val Guest's cinemato-
graphically-breathtaking The
Day the Earth Caught Fire. One
of those films that simply must
be seen on the big screen because of its wide-screen look, its
tints, its detail. Despite its sci-fi
hokum, the film still manages to
get under your skin and its paranoia is contagious. (Joe Bloggs)
Yet more "pre-millenial" action,
yet another impressive film from
this series: Brownlow and
Mollo's // Happened Here is an
"anti-narrative" that is largely an
exercise in transforming modern-
day, 1963 Britain into a hypothetical, late-1940s, Nazi German-occupied Britain — with disturbingly convincing results.
(Joe Bloggs)
An Ambiguous Report About the
End of the World is a classic example of a director not knowing
when to say when^The film kicks
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off with an utterly stunning
apocalyptic scene where a
town's population is decimated
by a bizarre wolfpack attack, a
scene that is notable among
other things for its tremendous
restraint. However, from this
point on the film quickly loses its
focus, moving through an absurd
amount of plot twists, tempo
changes, emotional tones. Confused and frustrating.
Prisoners of War is easily one
of my festival highlights. It's a
very simple project, consisting
strictly of archival footage from
W.W. I (mainly from p.o.w.
camps) that has been tinted
throughout and temporally altered. Nevertheless, the film really builds up a head of steam,
creating a fascinating commentary on how the Great War
changed the social fabric of Europe utterly, making the 20th
century as we've known it possible. One of the film's most engaging resonances is the one
it creates between the beginnings of mass warfare's dominance and the dominance of
the image. Nice music, too.
Mesmerizing and powerful.
(Eddie "The Plague")
Inside/Out is Rob Tregenza's
latest: an art-film meditation on
the psychiatric hospital. The film
was introduced by Tregenza
himself, who gave this irritating
"this film is really complex, so
you can't possibly understand
all of its facets, but don't let that
put you off" intro. Don't be so
sure, Rob. Pretty vacant.
(A: Nalpas)
Mother and Son contains some
of the most impressive cinematography I've seen in years —
and cinematography that is
used to effect. Sokurov employs a complex and lyrical
visual language in order to
greatly heighten the story's (a
son attends to his dying mother
in and around a secluded cabin)
I just made it for a packed
showing of Guy Maddin's Twilight of the Ice Nymphs, which
was "funny" and "entertaining,"
but not all that whole or rewarding. Whereas earlier films like
Careful had a tremendously well-
realized aesthetic — one that
was loopy and absurd, but nonetheless "made sense" — Twi-
lighfs aesthetic is terribly arbitrary. (Eddie "the plague")
I was lucky enough to catch
Ishii Sogo's multi-media Mach
1.67: Films Live in Vancouver.
The program consisted of a
number of Sogo's films (spanning much of his career) "remixed" by the man himself and
then accompanied by live musical accompaniment by
Onogawa Hiroyuki. Part I
was intoxicating as hell: post-
apocalyptic biker sequences,
anarcho-industrial punk shows
broken up by riot police, highspeed highway footage,
anarcho-militias training to
"strike back" against the West
after a nuclear holocaust, etc.,
all accompanied by insanely
loud, throbbing, industrial
noise, etc.
This is the kind of thing that
ought to be done with the film
medium more often. Part II had
some similarly great moments (a
"paranoid businessman" sequence, for instance), but didn't
pack the wallop of Part I. Plus,
Part II included this rather ridiculous erotic slides segment that
really broke up the evening's
momentum. Sogo has a remarkable ability to convey the
manic, visceral atmosphere at
anarcho-punk shows, and those
re-mixes matched with
Hiroyuki's compositions held the
greatest rewards (and also
scared off a lot poseurs — ha,
ha, ha). (A. Nalpas)*
UVE ATARI 2600 »
r»n o-rrreuoiPQ: 12-RP_1 MFSOAY-SATJU)AYagr DiSCORDER had the opportunity to chat with Jason Kourkounis, drummer for The Delta 72, on the
heels of the release of their scorching-hot, smash-hit The Soul of a New Machine record and just
prior to their upcoming Vancouver gig with Man or Astro-man? A number of line-up changes over
the last couple of years have served to greatly strengthen The Delta 72's already formidable
dynamic range: Kourkounis came to the band after a stint with Mule; bassist Bruce Reckahn joined last
year after having been a part of one of The Goats' last incarnations. The Soul of a New Machine shows
off this "new" line-up's passion and fury, and their increased musical range, to great effect. Expect
sparks (and swing!) when the band pulls into town with their legendary live show on October 30 at
the Starfish Room.
I came across a German distribution company's
web site where they were advertising some of
your releases. There's this quote that was part
of the layout that I thought I would pass on
to you. I have no idea what it means because
I don't speak German, but I thought you'd be
interested all the same. This is just a fragment:
'von MULE iiberzeugen bei DELTA 72 mitzus-
pielen.' [laughter] So I take it that 'iiberzeugen' is you, Jason, and I wonder how you feel
about that?
I guess I'd like to find out what that means before I
Well, it's either really good or it's really bad ...
I'd imagine that if it's coming from a distributor that
there's probably a bit of hyperbole involved. But I
hope it's good so I don't have to go over there and
kick their asses, or something.
'Cause you guys have a couple of gigs scheduled over there, right?
Yeah, we're hoping to play the two shows that
we've got scheduled and that's about it —
Germany's sort of a drag. (It'sl apparently one of
those countries that has really lost its enthusiasm for
rock — so fuck 'em! (laughs]
I was wondering how you feel about that:
these days the big trends in music, according
to the magazines, etc., are all heading towards
dance and techno and electronic and electronica. Do you feel that these trends put you in a
14  i\om:miu;k im>7
strange position as a band? Do you feel that
rock 'n' roll is an 'anachronism' these days?
No, not really. Not any more than it was in 1976
when disco was king. I don't know, we'll have to
see ... I'd imagine that the whole electronica-what-
ever-you-wanna-call-it craze is ... well, I don't think
that's it's going to disappear, but I don't think it will
be able to continue with this kinda hype. I don't
know if it can sustain that kinda thing ...
As a band, do you think this puts you in a
good position or a bad position? Do you get
the sense as you're touring the country that
the enthusiasm for what you do is waning or
do you feel that when you arrive in a city
people are so sick of all of this other stuff
that's being pushed on 'em that maybe they
appreciate what you guys are doing that
much more?
I think a little bit of each. Maybe there aren't as
many people willing to just come and check out a
band that they're not familiar with just because
they're not interested in hearing a rock band anymore. So I'm sure we lose on that end. But at the
same time, when people actually do come out and
see us I think it probably helps — I would hope that
we stand out a bit from a lot of the acts that are
rolling about these days.
I wanted to ask you about this essay that's on
the back of the new album: who's John
John Sinclair? He was the Minister of Information
Oh, Christ! The John Sinclair? Oh, wow, that
threw me ...
You know, the guy that went to jail ...
Yeah, the White Panthers ... That's wild, that
totally didn't register with me. So that's kinda
nice to have John Sinclair on your side.
It was very flattering, and he wrote up a really good
piece, I thought.
One of the big points that he makes in the
essay has to do with 'swing:' how important is
'swing' to The Delta 72? How important is it
that people dance at your shows, and that kind
of thing?
It's really important, actually. It definitely helps us
'give it up,' when we know that people are in the
mood to cut loose a little. It's definitely weirder
for us when we're freakin' out on stage and people are just staring at us. Usually, even if the
crowd is just kinda standing there, they're attentive and appreciative —and that's great — but
we would definitely encourage people to try and
cut loose a little.
Yeah, at a certain point in time it seems like
that element was lost in a lot of indie rock, and
it gets kinda depressing. Sometimes you go to
see bands that you really like and it's hard to
understand why there are people there that
obviously must like the band, but they don't
groove to it at all — they don't have that kind
of a reaction.
I don't know why that is, really. I'd hate to think that
Fugazi was that influential [in a negative way), but it
seems like ever since that whole 'no (slam) dancing'
thing ... people just took that shit too seriously A
lot of people would be at shows and even if you
were just pogoing around there would be people
going [uptight tone of voice], 'You're invading my
space!' All this kind of bullshit.
Yeah, I know. Like you're not supposed to
touch"anybody or anything — no contact! That
whole communal aspect of going to shows
[that was based on the tactile element to seeing a live show] was lost.
I think The Delta 12 would definitely hope to get
that back somehow, you know
So tell me about the recording of the new
album. For one thing, the production sounds a
hell of a lot better on this album, I don't know
if you would agree with that ...
Oh, most definitely I don't think that there's one
thing with this record that we don't think is better
than the first record
One of the things that I really like about it is
the whole 'collage' style to it, the way you
guys cut together fragments of songs at
times — I think that pays off really well. It's
not something that you see generally, and it
doesn't seem like a gimmick. Did you guys
feel like you had a better idea of what you
wanted to do?
Most definitely. The first record we recorded about
two and half weeks after I joined the band, so that
was pretty rushed. This record, Bruce joined the
band. Bruce 2nd I had been in bands before and we
work really well together Bruce is a much more
adept bass player, he's got a lot more ideas and a lot
more style, so (his joining] opened a lot a territory
for the band. . We were a lot better prepared and
we'd been playing a lot of the songs live for a couple
of months before we went in ... And working with
Bob Weston was great, he was really cool. I was a little worried about it because some of the bands that
he's recorded, I don't think the recordings sound all
that great. But when we got in there he was very
enthusiastic about the whole project. For example, I
told him that I wanted to sound like Mitch Mitchell
or John Bonham, something like that — Keith Moon-
sounding drums — that wavelength. So he went out
and found a book with some photos from recording
sessions and checked out the mics and the placements and stuff — and that's how we set them up.
It really helps when the engineer is enthusiastic
about the project rather than just going through the
motions and collecting his money. And I think that
he really had a good time doing it, and he thinks that
this is the best work that he's done to date.
It sounds amazing. At times I think that you
sound like an entirely different drummer on
this album, and it's obvious that the atmosphere that you guys were playing in was just
that much better, and at the same time you
guys are getting the mix that you ought to be
I think that this is the band's record. The first record
was primarily Gregg's project. When I joined the
band, half the songs were already written and then
we whipped up a few before we went into the studio and it was really rushed. This record everybody
contributes quite a bit, and I think it just came
together better. I mean, I like the first record a lot,
but I think that"this record sounds like The Delta 72
— I'd like to think that it sounds like us and no one
else, because I think we've developed a sound.
Has anybody responded to your call for suit
designs? [The liner notes for The Soul of a New
Machine read: 'Wanna design a suit for us?
Send us your ideas.']
I think we've had one or two. They're sitting at
home in the PO Box. We haven't really had a chance
to look at anything. We hope that some more people send stuff. We don't have any more good ideas.
Well, I'll do my best to help you out with
this article. Do you guys have any preferred
Polyester. Because it dries.
What about Gore-Tex' [laughs]? You know,
because it 'wicks away your perspiration and
it breathes,' right?* Big Miss Moviola
DiSCORDER-. What do you think about the
apocalypse, Miranda July? [Is it] pre-mil-
lennial frenzy which is only beginning to
Miranda July: I don't have to make a connection between the millennium and yoyo?
Well, the reins are yours, but general
impressions are fine.
Hmmm. It seems like as it gets closer and closer to
the millennium there'll be more surveillance and people watching each other 'til it gets to the point where
everyone has surveillance devices and cameras.
Then, at that point, it'll be obvious that everyone
can't be everywhere at once watching the screens
where the cameras are projecting back to. So then
the people will realize that the surveillance cameras
are just the same as our eyes. Everyone has the cameras, everyone needs their eyes to watch them —
you might as well just use your eyes. That turning
point might come right at the millennium.
Which is only three years from now.
Yeah, well I think that's all it takes.
Do you think such shedding of technology, with the realization that we can use
our bodies instead of machines, will happen on any other levels? An organic revolution, maybe? One less elevator)
No, I think it will be a combining of technology and
biology      [pause]
Like a cyborg post-human sort of deal?
Shit. Uh. Well ...
Why don't we talk about something else.
Your work, say.
OK, yeah. Maybe I answered that question.
Great. Where would you like to begin?
You used to do a zine.
[It was called] Snarla, but that was a long time
What matters to Miranda July today?
I can tell you about Big Miss Moviola! Do you
know about that?
A bit, but you can crank it all the way.
OK. It sort of connects into the surveillance idea It
seems like there needs to be a lot more mechanisms
in place to support people — especially women —
watching themselves. And watching is an OK thing,
not just at points of crisis or self-surveillance as
defence, but as a really positive thing. [The] Big
Miss Moviola basic concept: if you're a woman
and you make a movie, you send it to me and I
send you back a tape with ten different movies
made by ten different women, including your
movie. It's like a chain letter. It just goes forever as
I compile more and more movies.
Gee ... it's a popular feminist notion to
regard the camera as an invasive tool.
Because women are constantly being
watched by men, film only extends this
into the worst sort of voyeurism.
Maybe that's true, but what that's done is make
women so self-conscious, watching themselves all
the time, that they can be turned into this roulade
That means that women are so good at controlling how they're perceived and manipulating
being watched. Therefore, they're really good
watchers themselves,  'cause if you're always
-there's never just one
voice, it's always ot
least two-or there's two
voice* ond  >»e  *in9
■hot I'm reolly thinking
is Ihe space between
lhem; Ihe thing that s
not being said.  But I
can't say that, becouse
m  ,,'s unspeakable, so oil)
Si can do is frame .t by
the conversation  that
s isn't working-'
watching yourself being watched ... you become
an expert. That expertise can equal expert at making a movie.
What sort of films do you get from people?
All different kinds of movies. From semiprofession-
al to 13-year old girls who only showed them to
their friends. Fifty-year old painter women. Oh ...
all kinds of people.
It's cool that you get such diversity. Are
you based here, in Olympia?
I live in Portland.
I've been talking to plenty of
Portlanders today, and it seems like
there's a very strong arts community. Do
you feel very involved in the growing
scene there, or are you not so interested
in that kind of thing?
I think there's a lot of space in Portland. If you have
a really good idea you can pretty much maintain
that frame of mind that you had the really good
idea in — usually without being interrupted for as
long as it takes to complete the project. Whereas
I'm from San Francisco, where you're constantly
receiving so much information — which is a great
thing — but it's distracting.
You must have been concentrating enough
— your new album just came out, didn't
Yup.     ,
So sell you.
[laughs] Well, it's really great. It's my first album.
I bought a copy yesterday, so it better be
Wow! Thanks! Yeah ... oh ... shit, I really should
come up with something. This is sort of a problem
right now — I don't have my press kit ready Do
you have any ideas?
I've always been partial to parades ...
and banners.
Banners? [loudly] More banners! We need way
There was a part of your show that I
found especially interesting. You taped
mics onto the table and you were whacking the bejeezus out of them. It was interesting to see an inanimate object used as
an instrument.
That was the first time we did that piece. It just
seemed like to be in conversation with the things
you're in conversation with all the time — a lot of
them are people Maybe some of the things are in
your head, and maybe you're relaying information
to the things that are secretly alive. I don't mean
that in any sort of esoteric way. I just mean that
you're constantly framing and controlling yourself.
So slapping a table is a conversation, and on
another level you're slapping yourself. I have bruises all over my hands from what I did yesterday
There is something that comes back.
I think that's what is particularly unique
about your work. There is always a conversation going on: response-recall that
most spoken word doesn't mess with.
Poetry is often this painfully confessional
'I' thing going on. You avoid that.
That's just how it is in my head. I think I'm always
... there's never just one voice, it's always at least
two, or there's two voices and the thing that I'm
really thinking is the space between them; the thing
that's not being said. But I can't say that, because
it's unspeakable, so all I can do is frame it by the
conversation that isn't working.
About your collaborations: you did the
Margie Ruskie 7" with The Need — do
you have plans to work with them again,
or with others?
Yes, definitely. That was really good with them, and
right now I'm working with Donovan, which is totally interesting because he has a sampler. A lot of
our stuff is sampled, which I've really gotten into.
That whole open range of variation ...
What's Donovan's musical history?
He's in this other band called Ida Sessions. He's
done music his whole life, but mostly on his own. I
think I'll just keep working with different people. I
have my eye on various people but they don't know
it yet [laughs], so I'll keep my mouth shut."1
Contact Big Miss Moviola, POBox 14284,
Portland, OR, 97293 Citroen comments on their ferocious performance the other night at the Starfish
Room, Nic and Vera's post-wedding celebration:
Vera: You wanna know the truth behind that? It
was the one show where we were the most drunk.
All four of us. All together at the same lime.
Pat: /don't think so ...
Nic: I was pissed.
Vera: Nic and I were. I couldn't stand up there.
Pat: Speaking for myself, I wasn't that drunk at all.
I think it's because we hadn't played for a long
time before that. Except Fish ... he played with his
other bands.
Vera: See, I blame it on the alcohol, at least for
Nic and I.
Nk: I won't blame it on the alcohol, but I was really pissed.
Vera: Me too. I can't think of any other reason.
Nk: My mom's gonna be reading this, by the way.
My mom thinks that I don't drink. I don't know, man
... Il was becouse, like, those were the songs that
we decided to write for lhat show. That's how we
approached the show, you know? We didn't have *
very much Hme to practice for that show, and that's
why it was maybe more creatively edgy.
On their non-musical/human influences:
Vera: Frank Lloyd Wright architecture.
Pat: That's a good answer. I like really good ind*.
trial design. Nice chairs.
Nk: Yeah, I'm influenced by my entire built
environment. I'm interested in the
which   space   is   manufactured,
example, in this band, our idea is
play in spaces. I haven't told them
bul I really want to play in supermarkets.
Pat: U2 did that already.
[U2 can be heard blaring i
the background.]
Nic: Oh really? Then that
can't be on there [jabs a
knobby finger at the recording device].
Pat: I like the idea of play-
ing in a non-traditional
place. It gets really boring
playing in a bar all the time.
It's always the same thing
wouldn't want to play
field or something like that either.
I'm not some kind of dope-smokin'
hippie. I'd like to play in a parkade.
I think thal'd be cool.
Vera: [laughs] Parkade?
Pat: I ihink that'd be wicked.
Vera: With cars in it?
Pat: Sure. If we're loud enough we
Andy: In an underground parkade, or ...
Pat: An underground one. A top floor one would
be too much like the Beatles playing on the roof.
Nic: Where would I like to play?
Vera: I don't think he asked that question, but
anyway ...
m  novkmi'KH im>r
I tht
The following passage contains brief excerpts from an extended interview with Vancouver rock band Citroen. To clarify the
characters: Fisher is the tight-lipped, heavy-hitting drummer for Citroen as well as a number of other bands. Pat, the other half
of the rhythm section, plays the bass like he's looking out a window: serenely, thoughtfully. Nic is Pat's younger brother
the most vocal ofthe group'on and off stage. Like Nic, Vera is on guitar, but while his playing style is structured with all the
lines and angles of a bridge, hers ebbs and churns like something alive and unordered beneath the elevated framework.
Nk: I'd like to
play af the
Museum of
Pat: In which
though? I'd like to
play in with all the little shelves of things that we
pull out. You know, that big open space where all
the big things are.
Vera: I'd be afraid to break somelhing.
Nic: I think our songs would take on a lot more
meaning in those kind of environments, 'cause just
so much of what we do goes over people's heads
They just don't get it?
Nk: That's what I've heard. You're entitled to your
own opinion, but that's what I've heard.
[Fisher returns, sits down, makes himself comfortable]
Nk: [to Fisher] Who are you influenced by, other
than music?
Vera: Non-human.
Fisher: [a drawn out contemplative pause, r
Vera: That's a drummer's answer.
Pat: Under the influence.
the interviewer has some personal problems to
Nk: I was thinking, one of the things I realize is I
could do it 'cause it givej me the ability lo screw
around wilh other things. For example, I'm not really inlo performance and performance art, but
music is a performance, and in that performance
there's olher things you can touch upon in a totally
non-obvious way, that satisfies them for yourself,
personally, without having to, like, odhere to it. For
example, we've talked about things like architecture, design and stuff like that, and I think you can
ploy music with those ideas in mind without having
to, like, all of a sudden pursue architecture, without
actually having to do it. You could do music and try
and articulate your ideas about other things. That's
my answer to the question. Maybe I thought of a
different question in my head.
Well, that makes sense to me.
Nk: Hmm. I bet. [In] a lot of the songs that we
write, there's one idea in it that's actually relevant
— that's the reason why the song became, and it
doesn't have lo be a very brilliant idea, but around
that idea you construct stuff, musically, like sound
and whatever, to the point where that idea, where
the people creating it can see it in the song. But
s a song that eilher gets played live in a
club or gets played on a radio and it takes
illy different thing. I don't wonna
too 'new age' in saying it's like
in outlet, cause it's not an outlet. I
don't feel like I need an outlet, but 1
get the opportunity to screw
ith ideas. That's what I
think the music I respect has, as
well. I'm done. For now. [looks
down at my notes and jabs at
them with a knobby finger]
What's that say?
On intimacy in music:
Vera: Are we a couple?
Nic: We are now. I guess.
Vera: I wouldn't consider playing
music an intimate experience, with
Nic. More collaborative.
Pat: I don't think, as a band, we open
ourselves up to the audience ...
outside of it. We were
friends before the band.
We don't use the band to act out our intima-
Fisher: I think we used to be shy.
Pat: I think we're snobs.
On the possibility of the integration of
food and music:
Pat: As I get older, I do see it happening more.
Nk: Whal, live music and food?
Pat: Yeah. I don't have the energy to go and, not
just dance, but even fucking stand up anymore.
Vera: But do you eat food while you're ...
Pat: No, but I could see it.
Vera: It was like that at the old Cruel Elephant,
when it wos on Granville Street. It was a kind of
Pat: They keep it at a very profes
Nk: That's right. You know, my m<
.nal level,
s gonna read
When asked if 'they're taking it lightly:'
Vera: No, we are taking it lightly ... [screeching
fits of maniacal laughter from the next table distort
the questions and answers for a minute, but we
do learn that Vera's dad was a member of a
Vancouver cover-band, the Ex-Patriots, and that
Pat: Where's she gonna get a DiSCORDER from?
Nk: I'm gonna show it to her, man. Your mom's
gonna read it.
When asked if they're shy:
Nic: I don't think we're shy.
Nk: Yeah, it wos like that. You'd go in there and
you'd get your meal ticket...
Pat: Where, at the Cruel Elephant? Did you ever
eat there?
Vera: Yeah.
Nk: I think we're moving away from it. Maybe as
Pat gets older he moves towards it. But, like, the
supper clubs and things, it had a brief coming-back
a while ago, but it's almost dead forever.
Par. But it depends on the music. For example, I had
dinner while listening to a live jazz band a while
ogo. On the dinner train from hell. I didn't really
enjoy it. There was a band and there was food and
there were a lot of old people there. Very old people.
Nic: In New York there are still supper clubs.
They're mostly old-time performers, but you go and
order, and then they play three sets. You just can't
do that anymore because it doesn't work. I'd like to
see it come back, but it won't.
Pat: I don't think people could eat to us. We're
too loud.
I ate to you. I had a submarine sandwich.
Nk: When we're not playing music in the practice space, a lot of times we're talking about where
we're gonna go for food afterwards. But if you did
eat to us, it'd be like a futurist dinner.
Pat: Il would be an oyster floating in a man's hat.
Nk: Except halfway through it, you'd realize that
you were bathing in blood all along. That's the
cruel reality of what we're obout. There's limits to
multiple-disciplinary practice. I once saw a band
[who] had their entire rider put on stage. You
know, like, the food that they got and stuff? And
they ate it while they played.
Pat: Who was that?
Nic: King Missile.
Vera: It's practical.
Pat: Maybe I'm showing my age now, but I think
that the Butthole Surfers were one of the greatest
bands in the world, for doing just crazy shit on
stage. It became a performance. Musically, I think
everyone kind of hates them, [but] they did some
really cool stuff. And I think that's cool.**
Citroen play with Windy & Carl, Pipedream and
The Electrosonics at the Brickyard on Saturday,
October 25th. SEhmo*-*™
Stu Wan9
v   *rv The first of the autumn viruses has hit me right
between the eyes, so this
edition of the 7" column is a
little briefer than usual But
don'l hesitate to send in your
short vinyl releases, I may
very well be more enthusiastic next month.
strike me as being a strange
cadre of professionals. Their
packaging is very post-new
wave and ironic. They have
excellent production and
marketing sense. They can
play their instruments and
know   how   to   write   fast,
bouncy songs that tread the
wire between slick and raw;
moreover, they manage to
maintain a decent level of
originality. Clocking in al
only 3:01, their single in
remembrance of that fine fine
evening leaves a positive
impression and an odd aftertaste. (Volcano, address
PHOBIA'S Enslaved EP is
speedy death metal garnished with segments of spoken word. The song lyrics are
unintelligable at first, but the
large foldout poster is there to
enlighten: Phobia's members
are anti-authoritarian, anti-
racist, anti-Christian, and pro
animal. (Slap a Ham, PO
Box 420843, San Francisco,
CA, 94142-0843)
On Nordic white vinyl,
the self-described MASTERS OF THE HEMISPHERE chart out their
Icelandic holiday via "Bat"
and "on the streets the key,"
two inoffensive, sweetly
shallow pieces. MOTH's
pop purity is somewhat disturbing — no one can be
this innocent. These boys
must be hiding something
beneath    their    cableknit,
clean-scrubbed exteriors.
(Kindercore, PO Box 461,
Athens, GA, 30603)
As with black metal,
world music, and early-twentieth-century avant-garde, I
am not an expert on ska,
particularly the modern
underground variety. It all
sounds vaguely similar and I
have a great deal of difficulty telling the good from the
bad. The fanatical devotion
il inspires in aficionados
confuses and disorients me.
However, this reaction is typical of the uninitiated. So, if I
have nothing to say about
song 7", just chalk it up to
my ignorance and find a
ska-literate individual for the
real deal. (Sike, PO Box
1054, Holyoke, MA,
Magnified and reduced
by inches, by the shimmery
and slow JUNO, begins
with   piano   before   falling
back onto the familiar and
well-worn trail of gazey,
croaky rock. I must admit that
something about this recording made me scrawl "Our
Lady Peace" and "Moist"
in my little reviewer's notebook, but il is a subtle undertone and not a full-frontal
similarity, thank god. "Pablo
Y Zelda" grows oul of a
. drumroll into a similar
swooning anonymity. (Jade
Tree, 2310 Kennwynn Road,
Willington, DE, 19810)
hese songs were
recorded live at Delta
Studio, Rome, June 1966,"
reads the back of the OTHERS' record I found in my
mailbox. Now, I am not
entirely sure. Part of me is
convinced that this must be
a typo, bul I have no solid
evidence that it is not genuine mid-'60s, Italian
garage rock. The sound is
dead-on and fhe photos are
convincing. But I wondi
it's not an elaborate attempt
at nostalgia-mongering —
an excess that members of
the "garage scene" have
been known to partake in.
Perhaps the strongest testament to the Others' authenticity is that they don't make
me want to throw up; in fact,
they're really quite good.
(360 Twist!, PO Box 9367,
Denver, CO, 80209)
Pick o' the month is the
explosive SAINT JAMES
INFIRMARY release from
Allied Recordings. Energy,
devotion, and politics detonate the Punk/HC bomb with
shattering results. The tempo
gets slow and preachy on
"bsadd," but the remainder
kicks and screams with directed ferocity. Tape samples are
layered between tracks and
go far in rounding out the feel
of the disc. This is a real work
of art, an aural firecracker.
(Allied Recordings, PO Box
460683 San Francisco, CA,
by dj noah (
It seems a bit ironic that
a club that opened its
doors a decade ago —
the Rage nightclub — has,
over the past months,
played host to some of the
most popular underground
artists of today. First, THE
rolled into town. They set up
their laboratory and dealt
out their drug to over 1,000
"musical junkies." After this
opening night of CHEMISTRY, the list of PAs reads like
a dj's dream: Hardfloor,
Dubtribe, and Rabbit In
The Moon are just a few
of the acts that have injected Vancouver's club
scene with some much
needed adrenaline. They
are artists whose recorded material has been
played at raves and clubs
for years, but who only in
the last year have come
to our city to perform live.
in   iNOVKMIIKIl 1»»7
The most recent additions to this list are FLUKE
Both of these acts performed
in Vancouver within seven
days of each other, which
is unusual for us but an everyday occurrence for our European counterparts. In
fact, it's common to
have artists of this
calibre playing
somewhere in
Europe  every
few days. This
is largely due
to    the    sheer
number of artists
that  live  overseas.
Canada   has   not   been
known as a "hot bed" of
techno artists, but the numbers are growing.
On Wednesday, September 17th, Mars nightclub
played host to a band that
has been recording music
for over eight years now.
They had some success with
"Electric Guitar" and "Slid,"
but didn't break through into
the mainstream until "Atom
Bomb" was released on Virgin Records.  I'm talking
about Fluke, a British group
that performs with  anywhere from four to
1 1   members on
stage.     Their
show treated
us to the core
members  of
the    group:
two    singers
and   two   engineers  who  mostly
loaded the songs on the
computer and didn't really
do much of anything else. I
was somewhat disillusioned
with the show. I have followed this group from the
days of their white label releases like  "Thumper,"
right through to their full-
length releases Six Wheels
On My Wagon and now
their latest one, Risotto. Musically, Fluke has progressed
from warm and funky to
dark and in-your-face.
The energy in the music
was there, but it failed to ignite fhe crowd. While a
core of 50 or so crowded
around the stage and
showed their enthusiasm, a
lot of the audience seemed
unmoved by the performance — but perhaps it was
caused by confusion. After
all, the female singer looked
a lot like Liam Howlett, the
singer for The Prodigy.
She had flaming red hair
done like horns, and gave
the crowd evil sneers and
stares, just like Liam. Fluke's
music had a similarity to The
Prodigy as well. I've never
been one for imitators.
The following week, on
METHOD, and The Aphex
Twin played to a near sellout
at The Rage. It seemed like an
odd trio to put on the same bill,
but the combination did work.
It was the first time I had heard
Linoleum, and the most I can
say is that they didn't bore me.
The Crystal Method have
been around  for a few
years, and last
played in Vancouver at a party at The
Vogue Theatre. Theirs
is a pop sound withir
the rave and clu
scenes. The music is inoffensive and easy on the
ears, but it all seems to be
based on the same formula. Their live shov
seemed like one long
that had a lot of breaks and
transitions in it. And I don't
think that you can play a
keyboard and be slamming
it down onto its stand at the
same time — a dead giveaway that you're not actually
playing live. The dance floor
was a sea of dancing people though, which in the end
is what really counts.
Last but not least,
Richard D. James, aka
The Aphex Twin, dished out
his unique brand of techno
on September 25th at the
Rage. Using keyboards and
other musical equipment that
he built himself, he managed to create a sound that
surpassed the equivalent
songs on vinyl or CD. The
music was complex — at
times chaotic — and far from
formula. Through the darkness, as there were literally no lights on the stage
one could make
out his head, but the rest of
his prostrated body was
hidden by monitors. He
performed the entire show
lying on his side or his front.
This was enough to catch
the crowd off-guard, but
throw in two eight-foot
teddy bears dancing
around on stage and
you've got an eccentric
show that will have people
talking for months, if not
years. It was the complete
opposite of the flashy laser
light show that accompanied The Method, but it
suited his musical persona. Richard's show
truly was art.* TONY BURGESS
The     Hellmouths     of
Bewdley: A Fiction for
Girls & Boys
Silence Descends: The
End of the Information
Age, 2000-2500
(Arsenal Pulp)
Death Writes: A Curious
(Arsenal Pulp)
that it may be conquered by
spirituality. This enlightenment
occurs after an apocalyptic
period that forcibly detaches
the wealthy societies from
their informational nexi, thus
creating a Utopian future contrary to the hopelessly unchanging collapse of Orwell's
Oceania in / 984 and the intransigent hedonism of
Huxley's firave New World.
Case makes an admirable
first effort, but lacks the matu-
In a period that closely resembles the period shortly before
the French Revolution, when
corruption in government is so
assured it's expected, a book
like George Case's Silence
Descends can be greeted with
welcoming arms. The
memory of Louis-Sebastien
Mercier, whose L'An deux
mille quatre cent quarante,
rive s'il en fait jamais (Year
2440: a dream if ever there
was one) was banned by the
royal censors of Louis XVI for
its discussion of republicanism, is refreshing.
The reviewer from Quill &
Quire, quoted in the press release, is reminded of Aldous
Huxley and George
Orwell, and there are elements of those writers within
rity and spite of his European
Darlene Quaife's Death
Writes considers another fascination of modern society:
it's a series of quotations
about and by Death. Far from
form a wonderful aocompaniment
to this expose of our ubiquitous, overworked, and oft-despised guardian angel. It's far
cheaper than most self-help
books and infinitely better
Then there's the traditional
view of death as the gravest
insult. Set in and about the
real town of Bewdley in Ontario, Tony Burgess's collection of macabre tales, The
Hellmouths of Bewdley, is a
gruesome, vulgar, and sickening collection of murders
and fatal accident a la
Edgar Allan Poe Guilt
abounds, indiscriminate of
truth, while misery permeates
every single microbe on the
page. Burgess displays strong
misanthropic tendencies
firmly contemptuous of the human animal, but all this seems
laid down — intentional, an
overt attempt to disgust the
sensitive reader and tantalise
the hateful one. After the third
g °^3ias#*SScs
being exceedingly morbid or
senselessly violent, it's an
amusing, culturally introspective journey into views about
death as well as interpretations on how Death thinks
about society. Funerary practices and terminology are discussed with appropriate lev-
tale, however, it loses the power
to offend and it becomes trite
and boring, which is unfortunate really, but as they aren't
contiguous, this fact is inconsequential. Burgess creates
intense images that evoke
powerful responses wifh surprising wit occasionally. Un-
the novel. Similarly written in
a period of economic and
social distress, when morales
fell to the will to survive, Silence Descends is an attack
on the excesses of a society
gluttonous for information.
Stanislaw Lem took a similar approach, with different
results, in Memoirs Found in
a Bathtub, but Case's novel
is bereft of Lem's humour. In
lamenting the decadence of
popular culture, Case sees
ity which brings enlightenment, both intellectual and
humourous, to an all-too-serious subject. Quaife doesn't
spare current opinion from
ridicule, nor does she view
current scientific research on
the subject (visible as news
clippings in the second section). It is, above all, a learning experience of one of the
most frequently discussed, but
least understood, phenomena. Cathie HahneTs illuslraHons
fortunately, it stays too
closely allied with the hor-
ror-for-its-own-sake school
of writing to make this work
succeed. Still, if gorefests
thrill you, this ought to be
help CiTR
and PROTEST cen-
smoke 'jcj-
It's time you tried
Bl§cK Sheep Boojcr
"Sick ond Beautiful," the first single released off this oh-so-dtigst-
lilled album, is most definitely a
good representation of the olbum
as a whole I can say this because
a number of the Iracks sound virtually indistinguishable
I'm not saying lhal the album
is so repetitive it will put you lo
sleep, merely that some of the
songs will ("Cheeky Monkey" in
I don'l want fo totally turn you
off the album, ihough — Artificial Joy Club is a strange mix
between The Dandy Warhols,
Garbage, The Rose Chronicles and Lenny Kravitz
(Strange? Yes! But, pretty good )
The lead vocalist - Sal (one
name, like Cher, Madonna.
Enya, etc ) — has a voice like
Shirley Manson meets Kristy
Thirsk Her vocals are richly textured One minute she's yelling
with rage, the next she's whispering like a scared little girl.
My favourite song, "I Soy," is
a girl-power song about not giving a damn about the guidelines
society sets down for you It's
somelhing you can play when
your parents come to visit, lo put
ihem in tfjeir place without shocking them into a catatonic stole.
The guitar has a really funky '70s-
esque waa-waa going. I dig it.
So, although ihis band still
needs lo develop a greater sense
of self in order lo overcome it's
problem with boring repetition,
the album's still pretty cool Besides, they're good Canadian
Erin Nicholson
This is a hard one It took me a
month lo get the cellophane off
of Ihis CD. I couldn't just give up
because I am old enough to remember when David Bowie
was still good. At some point
every icon who survives being
cool must spend the rest of their
days trying to be as cool as they
were This doom is more painful
for the talented.
David Bowie ruled the '70s
with an image that embodied the
future. In 1983, he cashed it all
in with Let's Dance, a record lhat
was so "now" it should have had
a sell-by dale. Since then, he's
been trying to catch up, retreating inlo pure celebrity while his
records got worse and increasingly painful in their attempts to
stay relevant. Trying to cozy up
to the cutting-edge kids with Tin
Machine while David Bowie
robots made most of his public
appearances (hint: they're the
ones that look waxier). I introduce
here the law of artistic credibility: C-xTt V p3 + TF - 4H, where
T is talent, t is timing, p is promotion olher lhan self-promotion, H
is hits, and TT are the number of
public appearances with Tina
Inexorably, his cool and credibility slipped away I shunned
new records for fear that the
stench would taint those of his
albums lhal have stood up I
stopped dressing exactly like him
This is why il took me so long to
even listen to this. First impression Iwo or three songs that seem
to be good, one obvious stinker,
new styles passably adapted lo
fit the future he does not lead;
maybe I'm hoping too much, bul
perhaps that lump sum from the
Prudential Group will one day
mean thai he can slop trying so
damn hard to be cool Similar in
many ways to Scott Walker's
Till on Drag City, but of course,
much less cool. I will probably
keep it, I can hide it inside the
SoundandVision box set
Mark Szabo
Mr. Wizard
(Fat Possum)
Soul On Fire
(Fat Possum)
Admittedly, my introduction to the
what limited until I managed to
see Mr Wizard live 'n' up close
just last year. After listening to this
disc, I'd say my appreciation for
said genre is growing Nine
songs recorded at different locales over a two-year stint showcase everything from R. L.
Burnside's soul-bearing
croonin' blues to rockin' boogie
blues (with the help of the Blues
Explosion and R. L.'l own
Now The Neckbones from
Oxford, Mississippi take it to a
new level on their 16-track effort,
delivering a distinctive southern
rock blast on tracks like the lead-
off cut, "Dead End Kids," "Hit
Me," and "Keep Driving," to the
Chrome Cranks-inspired, riff-
heavy "Crack Whore Blues" and
the experimentally noisy "Skronky
Tonk." The blues still remains a
primary influence and songs like
"Dolly" and "Shouldn't Call Your
Man a Fool" are proof in the
pudding. Try these releases, as
well as some olher Fat Possum
artists, for the next time the blui
Bryce Dunn
The Virginian
This is quite the departure for Mint
records. While the label has
flirted with country twang before,
artists such as cub, gob and
The Smugglers seem more true
to their realm. True, Neko Case
moonlights as the drummer/vo
calist with local band Maow,
which is more representative of
their sound, yet her debut is a
rare bird in the Mint catalogue
Case & Her Boyfriends blow
the dust off ihose old country 78s
for inspiration with affection. The
Virginian jumps from the moon- •
shine-rewed hillbilly to early period Loretta Lynn-like ballads
with ease Case's backup, Her
Boyfriends — count 'em, all thirteen — consist of members of
some of the more well-known alternative bands in Canada. An
added bonus is mandolinistjohn
Case is the complete country
package Penning tunes thai emphasize her vocals, she fires on
all cylinders. Jumping from ballad to rockabilly to swing and
roots never seems to faze her
Case joins the fraternity with
smart country pop such as "Timber" ond the infectious "Honky
Tonk Hiccups " Worth the purchase of a Stetson and a stomp
around the turntable Well, the
disc player.
Pieter Hofmann
Adam And Eve
Five years and four albums after
fascinating Brit-pop shoegazer
fans with such epics as "Black
Metallic" and "I Want To Touch
You," Catherine Wheel has finally returned with another
memorable album. While fans of
Catherine Wheel's earlier work
may have been disappointed by
the last two albums, Adam And
Eve is a return to the simple forms
and melodies that once worked
Gone are the pseudo-metal
songs and fhe cheesy ballads,
which are replaced by rich,
acoustic layers of phased guitars
and Hammond organs backed
by a subtle rhythm section which
no longer tries to dominate the
music Mature songwriting is evident throughout the album. The
few heavier songs are reminiscent of B-sides from Chrome, a
sort of indie-Brit-pop sound, while
the dynamics of "Ma Soliluda"
and "Here Comes The Fat Controller" are as addictive as the rest
of the album, in an obscure,
catchy and elusive way.
Patrick Gross
Egomania (Love Songs)
Cobra Verde is from Cleveland, OH. Cobra Verde includes
members of Death of
Samantha (who here remembers D. of S.? Who here remembers who "Samantha" was?)
Cobra Verde, as many of you
probably know, is Guided by
Voices' rock 'n' roll engine.
Years ago I caught CV in "the
windy city," when they opened
up for GBV They laid down a
rather moving sel of melancholy-
tinged, pure gui-tor rockers — a
performance marred only by the
fact that Mr Petkovic had apparently been stung by something
Steve Albini had said/written/
done and insisted on slagging
Mr Albini between songs
throughout much of the night This
stunt was tiresome, to say the
least But aside from that, CV did
not fail to rock the house. GBV
then came on and "bil" (hard). I
walked out after two-three songs,
not wanting to further tarnish
what had promised to be a fine
evening  That was then ...
Cobra Verde's Egomania
(Love Songsj comes hot on the
heels of their first album with
Robert Pollard as GBV Expectations are (probably) high (in some
circles). And CV delivers (al
limes) Egomania has got some
great songs: "A Story I Can Sell"
is hands-down one ofthe best guitar rockers to come out in years
(they're certainly not breaking
any new ground on this one, but
it's got riffage and hooks in
spades), "Slill Breaking Down"
(with guest work from Mr. Pollard)
is a GBVish pop gem, etc At
other times there are hiccups,
though "Leather" starts oul with
a really nice stripped, blues line
and the song's got a lot of bite to
like a Cult tune (honestly), 'cause
of Pelkovic's strange, Ian Astbury-
like wailing "Underpants" I just
don't get ot all — it might be some
kind of swinging '60s thing, I'm
just not sure It's all a bit off/on,
but there are certainly more "hits"
than "misses" here. There are 10
songs and probably six of 'em
are good and solid. Note: crappy
cover art
Tony "the Trembler"
Living City
Vol. 3: Unexplained Joy
Hydroplaning on a Sea of
Independent (2 King Street
West, PO Box 57053, Hamilton, ON, L8P 4X1)
Being the goliath operation that
DiSCORDER is, sometimes things
get lost in the mix. Despite the
fact that these records have gone
un-reviewed for the better part of
a year, itwas inevitable that CDs
like these would eventually make
their way out of the muck and into
our review bins. They're good
enough, smart enough, and
doggone il, people will like them.
Awash in influences ranging
from the breezy pop of The Association (you know, "Up, up
and away, in my beautiful balloon ...") to light sambas and
swinging jazz numbers, Vancouver's Colorifics debut on CD
with an excellent collection of
uptown, upscale songs Lush with
retro-references, these songs sound
like ihey belong on a record from
1967 instead of 1997.
Guitarist-songwriter Bernie
Boulanger (once of The Rattled
Roosters) and vocalist-songwriter Lindsey Davis bring together a warm and airy style lo
their writing. Boulanger's guitar
twangs and chimes and noodles
while Davis' voice floats above
the songs, neither too schmaltzy
nor too restrained through this relaxing, yet upbeat music It's varied enough not to be classified
strictly as "lounge," and it's interesting enough to wont to hear this
record many times over
"Quirky" is an overused
word, and often the product of
an unimaginative description of
a band, but if the shoe fits, let
Whaleman wear it I know next
to nothing about this Hamilton
based group, but I know that I
like them a lot. While most of the
songs on this record  use two
,   the
ed  ba:
rounded out with marching band
drums, harmonica, and tuba
Think Inbreds meats The
Rheostatics with Jad Fair on
Generally, Whaleman are
sparse with their arrangements,
but generous with melody Coming from nowhere with these I 5
songs and into my regular rotation of albums full of sheer pop
bliss, Unexplained Joy is an unexpected surprise The albums'
variety of song-structures and fun,
lazy atmosphere make it one of
my favourite Canadian releases
this year— unearthed or otherwise
Brian Wieser
New York City
(Other People's Music)
Third string, second-hand, first
wove punk rock. The kind of a
band that's great in a bar while
the pills fight it out with the beer.
Sample lyric: "I wanna go to
New York City 'cause they tell me
it's the place to be." Formed in
1977 in London, Ontario, by
1979 they had packed up and
left for ... Torontol Buyer beware
if you Weren't there.
Mark Szabo
HERE I AM zine
24pp, quarter size
It looks like Jason Schreurs of
Schtuff zine has taken a try at
the personal zine format and,
well, I'm impressed. It's rare to
find zines of this style nowadays
with such rage and intensity as
Jason has handwritten on the chaotic layout of Here I Am (it looks
like most of the stuff was written on
the pages of a pocket address book).
Jason tackles his dilemmas
and v
ning  s
honesty and the ignorant people
and situations he encounters in
his life. Some of the stuff is written as if moments after these
events had occurred, allowing the
reader to sop up some of the leftover hurt that he feels daily.
I feel close to Jason when I
read this zine because his desperation, honesty, and bravery
are sincere and real. Sure, the
layout is a little rough, the handwriting gets hard to read and
Jason tends to ramble on and
repeal himself a bit, but when
was the last time you truly fell
someone's rage on paper? Send
stamps, (c/o Jason Schreurs,
7110 Westminister St., Powell
River, BC, V8A 1C6)
Jack Duckworth
Psycho Babylon
In three short words, I like it. Psycho Babylon has that great,
unpolished, casual sound combined wilh good musicians, good
musical variety and unpretentious
lyrics. The combination of guitar,
percussion, trumpet and oboe on
Irack three would alone make the
album worthwhile and it is not
alone The tunes on this CD seem
to come from a band that likes to
play and is not particularly concerned with slicking to one style
The result is a relaxed, almost
improvisational, sound that some-
limes makes you want to laugh
and sometimes makes you want
to grab your guitar and play
along I particularly like all the
little sounds in the background
ranging from Sean Macdonald's
coughs to what sounds like a very
quiet trumpet with a mute to the
use of keyboards and programming If eclectic and irregular
noises make you smile, Psycho
Babylon is for you And hey, if
you're just looking for a fun collection of slightly out of the ordinary songs, you'll probably be
smiling loo
Sharon Coward
A few tunes into the new Jesus
Jones' album, Already, I realized it was nothing too thrilling.
By the time it ended, I absolutely
despised il.
Jesus Jones, unfortunately,
chooses to put the emphasis on,
not the songs, but on flashy production. What's the point of, a
"well recorded" album if you
can't bear to listen to the music?
Production should enhance the
songs, not be a substitute for them.
They play mostly mainstream,
keyboard-oriented pop, and
throw in some horrible ballads
and some token techno and ambient stuff. They use a lot of processed drums and percussion and
weird noises. They've got two
guitarists in the band, but you'd
hardly know it. Apparently the
guitars aren't quite as important
as those fancy sound effects. And
Mike Edwards' voice reminds me
of The Scorpions' Klaus Meine.
Geez, this album really stinks.
Fred derF.
love Scenes
Love Scenes' packaging and
music are very different. The
packaging is warm, almost glowing with pictures of Diana Krall
looking like a 1930s Hollywood
.  The
i the
olher hand, is quite cool. The
collection of love songs, both won
and lost, feels like a Vancouver
winter: green ond verdant but
somehow subdued. With Krall on
piano, Russell Malone on guitar and the everywhere Christian McBride on bass, the playing is light and easy. It's a good
album, but unlike her previous albums she sometimes doesn't quite
hit the mark on all of the songs.
She doesn't miss it by much and
it bears up to repeated listening.
Paul Kundarewich
Under Triple Moons LP
The satisfaction I felt upon acquiring this collection of ancient LPD tracks has nothing to do wifh the
music contained therein Rather,
my archive fever (the impulse thot
fattens my vinyl collection while
it slims my purse) rejoiced becouse it had another piece to add
to the jigsaw puzzle To know the
present, you have to know the
past, right? Right.
I like making connections —
and there are threads to be pulled
from these hollow-sounding,
poorly recorded songs, threads
that reach 1 5 years into the future and attach themselves to the
fuller, more overtly majestic Legendary Pink Dots of today
Future achievements notwithstanding, the Legendary Pink Dots
of the early and mid-1980s are
a curiousity: experimental, but in
a strange, fluffy, poetic way, completely unlike iheir stark/stiff/mechanical bedfellows of the era
Edward Ka-Spel is an amnesiac elf, his voice floating over
video-game blips, organ riffs,
and quiet washes of noise. Heavy
effects succeed, to a minimal degree, in obscuring the budget of
the rest of the gear Pinkdots conquer time's and technology's ravages by grace of their extraordinary lyrical and melodic talents.
Flash forward a decade or
so: I went to their recent Vancouver show and was perplexed by
the audience's collective refusal
to dance. I'm obviously not party
to some crucial ettiquette - back
to the boob for me.
Recuerdos de Lactancia
Do you like the hummable punk
sounds of NOFX? If so, the easy
rockin' tunes of Los Mas
Turbados could be your ticket
to happiness. The two bands
sound similar, which is no coincidence considering that NOFX's
Ryan Greene produced
Recuerdos de Lactancia This
Spanish band combines stout
drumming with hard driving guitar to create a sound that is definitely danceable   All the songs
are written by lead singer
Fernando Garcia Verdugo, who
writes the songs half in Spanish
and half in English. Los Mas
Turbados reminds me of the way
punk used to be, when Green
Day and Bad Religion ruled
the airwaves and punks everywhere had something to cheer
about Is Recuerdos de Lactancia
worth a trip to Spain? Hmmm
Maybe not, bul a trip to your
favourite record store should
This trio combines punk rock with
a bit of technology Hence, they
are more interesting than the average band and you don't get the
feeling they are jumping on the
electronic or old-school synthesizer band wagon Female and
male vocals, fast and catchy, they
sound like they'd be fun to watcn
(with most bands you can almost
visualize the boredom) The always good Steve Fisk adds his
magic touch to a couple of tracks.
The downside of Fanfare is the
mintues). It also gets my vote for
the worst packaging.
Miss Lola Twin Stars
52pp, half size
"Please be aware that I don't
know of what I speak. I'm a
bullshit artist at best so although
I think I know what I'm talking
about, rest assured, I don't,"
warns the introduction to this particular zine. For the most part, I'll
have to disagree with Dan —
Paraphernalia contains some
pretty good stories about lazy
summer, times gone by, and
his relationships with other
people in his life and how he
deals with them.
These stories made for
good reading due to the fact
thai Dan is a pretty good writer
Part two of his zine covers some
philosophic ideas and thoughts
that come together with his refreshing sense of humour and his
apparent "zest for life" (kind of
like Kerouac) I quite enjoyed
it The later half of the zine
focusses on excerpts from his
childhood diary, drawings, and
a confusing but humourous interview between Dan and some of
his friends, which was a little
harder to read Regardless, I think
this is definitely one of the better
zines to come out of Vancouver
to date, (c/o Dan Siney, 4178
Fairway PL, North Vancouver,
BC, V7G 1Y9)
Jack Duckworth
(Nuclear Blast)
Straying far from their death
metal roots, Pyogenesis now
calls themselves alternative. There
isn't much emotion here. It's quite
toned down from Twinahblood
and miles from Sweet-X-Raled
Nothings, nof to mention their
Osmose debut. The song topics
bore me: Tim's speakers, the
techno scene, European pop
songs. The music is somewhat
catchy, but too toned down and
the songs are too short to hold
my interest. The cover of Purple
Schultz's "Sehnsucht" is kind of
interesting. Other than that, I
wouldn't recommend this unless
you're interested in seeing how
much Pyogenesis have changed.
Seems like more than four years.
Doug Lovett
Hand of Hope
(Goodlife/Burning Heart)
Regression is a decimating
dump truck versus kitty cal wrecking-spree consisting of all that is
good in metal. The vocals are
frothingly barked, like a pil bull
being poked through the fence
with a stick. The music? Think
about Carcass, only not so
wussy. Belgian edge-metal (metal
without the drug fbve ... who
knew?) with lyrics that are pure
hardcore.  Monstrous  riffing
that flows together like some
beautiful river of acid rain.
Flee or perishi
Breach will always throttle
my neck like a plastic chicken and
make me like it. Frantic gravel-
filled vocals struggle to scream
dominance over head-chopping
guitar and kick in the head percussion A lot of great musical
pressure is cooked up by Breach
in this fashion Much is owed to
the production, which does a fine
job uniting these rival forces into
a ravaging blitzkrieg that will
leave you lying in the street wondering who you are.
Moonflower Plastic (Get
Out of my Wigwam)
The whys and wherefores of his
(and everyone else's) departure
from Guided By Voices are of
no import. Of note, however, is
the fact that a number of terribly
affecting songs in their vast catalogue solely (and still more collectively) bear the Tobin
Sprout name.
His second LP further cements
his position as a surprisingly (to
see him) sweet voiced and most
fine singer/songwriter. Sadly,
many folks who, for whatever
unforeseeable reason, do not
like GBV, presumably will/have
not give this gent a chance.
Sprout's more conventional, if
not absolutely "hi-fi" or "normal," style should certainly hold
appeal outside of his previously
reached audience. Hell, "Get
Out of My Throat," the lead-off
track, recalls "Nowhere Man"
or "Run To You." If those aren't
populist, I don't know what is. My
only complaint, and believe me
it's minor, is that a few of the
songs use programmed drums
which lack the immediacy of the
real thing.
These are beautiful, if somewhat sombre, pop songs performed simply and delivered from
the heart. Being cool isn't exactly
foremost in the minds of 40+ year
old fathers, thankfully, and the
lack of pretence is welcome
Sean Elliot
Static & Silence
Anticipation is something to be
wary of, like the trip to Mexico
you took last fall In the months
leading up to the flights you imagined every minute of the sensual trip, right down to the smooth
native skin against yours. The
problem is that your imagination
created a better holiday than you
could ever live, so no matter what
happened in Puerto Vallarta, it
couldn't compare.
I've been waiting for a new
album from The Sundays since
seeing them in Arizona three
years ago. Harriet and the boys
did The Cranberries long before anyone else, and seemed to
settle quietly back into the shadows while the mass-media hyped
everyone but them.
The Brits are back and Static
& Silence, which I have been trying not to anticipate for fear of
being let down, was worth the
wail. With orchestral arrangements and a ghostly flute supporting the usual guitar, bass and
drums, the music's true purpose
is to frame Harriet Wheeler's singing. Her voice ranges from fragile whispers to angelic aria, like
on "Summertime" — a perfect
summer song, light and airy, sun
rays; I'll be glad to listen to it
A full moon hangs in the blue-
black sky. Static & Silence evokes
a more simple life: the joy of being a child, staying up all night
to watch Armstrong step out into
black ("They're dancing around/
Slow puppets silver ground/& the
world is watching with joy"); the
heartache of a breakup ("you're
ch/ though you'r
w Rail-
Hall on
There is nothing new here, to
be sure But Static & Silence delivers what I wanted it to: sweet
simplicity The Sundays float their
music in the crisp autumn breeze;
let it rush over our skin, ring in
our cars Simple is good, and
sometimes anticipation isn't so
White Hassle
White Hassle is ess
stripped down, more r
road Jerk: Marcellu
vocals, guitar and h<
and Dave Varenka banging on
pots and pans The CD
seamlessly combines their own
tunes with a couple of covers. The
last two Railroad Jerk albums
were great and this continues the
boy's and Matador's pursuit of
excellence Bravo!
Miss Lata Twin Stars
Glitters Is Gold
(All Saints)
This is a compilation of recordings for All Saints Records,
which is apparently the current shelter of Brian Eno,
Roger Eno, Harpo Eno,
and Harold Budd Jah
Wobble turning poems by
William Blake into
worldbeat seems exquisitely
wrong. Like a Jeff Koons
sculpture, it leads off the CD
for easy skipping. The rest
is smooth sailing from the
crew of the SS. Ambient I
took this lo work (to boost productivity). Taylor, who is
aid it v*.
;ked what
/vith r
re/ & i
cry"); the warmth of
the summer sun ("we'll be hand
in hand down in the park/ with
a squeeze & a sigh & that twinkle in your eye").
ambient r
ambient music was I explained that it was music
meant to be part of the background; pleasant music to do
other things to He came back
a little later and asked if ambient music was supposed to be
boring. I replied that, yes, it was
Mark Szabeno
Jason da SiLva
n^gai®___ realliveaction
Monday September 8
Starfish Room
Backroom Shag opened lo a
surprisingly empty  Starfish
Room,  utilizing that kick-ass
sound system to its full effect. Unfortunately, volume ain't all that
counts and the boys came off as
mediocre hardcore — not too
original rock so it was a bit of
a  relief lo know ihey were
soon playing their last song.
Next up was Subtracter -
don't let the cool name fool you.
This Toronto-based band had a
super clean sound and obviously
had spent more time in the garage lhan the first band — but
once again, the air was tainted
with crappy rock ballads and
other just rock stuff, so yuck! But
that's when all the shit went
down. Back Room Shag's little
barage of buddies started to
heckle. First, they just commented on Subtractor's lead
singer's striking resemblance to
Kim Mitchell (which may have
been warranted). But then the
peabrains started flopping their
guns and yelled stuff like "homo"
and "faggot."
Next thing you know,
Pansy Division starts their set
with o couple high-energy, super-
pop-punk tunes aboul hockey
hair and morning boners. But I
can't say much more 'cause all
too soon the Back Room Shag
Buddies started moshin' —
which just ain't what it used to
be — and bashin' some poor
bastard who was just trying to
get into Pansy Division. Finally,
the bouncers intervened. But I
just split, 'cause those fuckers
left a bad taste in a lol of people's mouth.
Pink Kitty
Wednesday September 10
Pacific Coliseum
Going to see Atari Teenage
Riot at the Pacific Coliseum
made me feel like a 13-year old
going to see Def Leppard. I
was sooo excited to finally see
one of my favourite bands, although the venue and the prospect of who would be attending
the show scared me. Luckily, witnessing the Beck show (which
was a lol like watching TV with
a bunch of people you don't like)
mentally prepared me for my first
big show in eons.
Atari Teenage Riot were superb. The Digital Hardcore aesthetic triumphed over the Coliseum's horrible acoustics (most
likely 'cause they had Shizuo,
their own sound engineer). Although o lot of electronic artists
fail miserably live, ATR came
across like (gasp!) a band. Not
only did they sound greot, but
Hanin Elias, Alec Empire and
Carl Crack were all up front
jumping around. Judging by the
audience's reaction, my guess is
that 99% of Ihe people there had
no idea what was going on.
Alec Empire almost smashed a
mic stand on someone's head,
but was slopped at the last
minute. Too bad. I have to admit, I was expecting to be disappointed. I can't imagine whal
it will be like to see them in a
small venue. Everyone better
prepare, because they're really
loud — standing-beside-a-jel-
airplane kind of loud!
Lala Twin Stars
Sunday, September 14
Starfish Room
I was annoyed at being subjected to Twilight Circus (aka
Ryan Moore), which was a one-
man (or monkey?) drum V dot
show. No sanctuary here. Just a
young man in cutoffs and a straw
hat playing drums and smiling.
But oh no, then he gets up and
dons a bass guitar and I really
have to go to the bathroom for
a while. I return to discover lhat
Twilight Circus has brought one
of his friends up on stage now
to help him by clapping his
hands ota mic stand. Their
feigned  goofiness  eventu-
Silverman steps up to his
keyboard enclave and does a
good deconstruction of
Kraftwerk     and     Eno/
Moebius while making a fish-
face at his machines.
Finally Edward Ka-Spel
and his boyz bring the noise.
Niles van Hoornbloer, dressed
in a psychedelic smoking jacket/
pyjama/alien fez outfit, plays a
variety of electronic and traditional .wind instruments (sometimes Iwo at once — impressive).
Behind this character's bleats
and blats, Ka-Spel rhapsodizes
in fine form, but he appears fo
have become smaller since
1991. Perhaps lo offset this, he
physically attacks someone in
the front row at one point, proving that he has more virility than
any of the pony-tailed-and-reek-
ing-of-Pine-Sol muscle men in the
LPD rocks with live drums,
adding extra spunk to their
newer material (1997's Hallway
Of The Gods is rather low key).
Highlights of this show were
"Spike," revamped versions of
their classic "Just A Lifetime," the
ancient "Poppy Day," the
anthemic (yet anaesthetic)
"Green Gang," and von
Hoornblower's disappearing/
act. A fantastic show that I'm
glad I wasn't drunk for.
No other orchestra combines
rock W roll, electronica and children's music as well as LPD
(okay, MBV and Wire tie for
second place). In the words of
Mr. T, "I pity the fool" who
missed this gig.
Sunday, September 21
Web Cafe
The attendants of the Web Cafe
show seemed to be in recovery
mode, perservering survivors of
the Sleater-Kinney Takeover at
the Starfish Room the night before Riot grrrls and indie rockers quietly filled the Web, talking about fashion and last night's
events. Polite attention was paid
to The Lookers, a pop-rock
melody-type band from Portland.
They were neither hated nor
loved. Unable to accept that kind
of audience apathy, The
Evaporators "rocked" with
catchy guitar tunes, group choreography, and a lot of sweat-
ridden polyester. Yes, the Evaporators are really good, really fun.
But no, Mr. Georgia Straight
reviewer man, they did not upstage Sleater-Kinney. Weiner
Schnitzel can't upstage vegetarian chili. When veggie chili did
serve itself up, it offered cayenne
pepper and Mexican jumping
beans, all served with a side of
ketchup chips. We loved it!
Watching Carrie and her great
guitar moves would be worth the
ticket price alone. Sleater-Kinney
are so good that even bad metallic sound (from the ugly-trendy
cafe interior) can't shake their
super intense performance.
Lady Deathstrike
Thursday September 25
Starfish Room
Serves me right going to Luna
for strictly nostalgic purposes.
Yes, he is Dean Wareham, but
Luna ain't no Galaxie 500,
never have been, I knew that already. Going to see Luna was
similar to going to a frat party. If
I had gone to a frat party, I
would have at least enjoyed the
music out of relief. Two of them
had hair, two of them didn't.
Princess Mothball
Thursday, September 25
Electronic music occupies an
odd ploce in the hearts of many
of us. While it is the music we
choose to listen to, we don't
want too many other people
to listen to it. There is something about collecting "underground" music that makes us
feel cool, like we are into
something lhat the ordinary
person on the street isn't.
While this is certainly an elitist point of view, it does have
popularity is synonymous with
being a sellout. After all, wilh the
exception of Roni Size and
Orbital, very few underground
dance bands have managed to
claw their way out of anonymity
to the engulfing masses without
giving up their integrity. One
needs only to look at poser sellouts like Prodigy or the
Chemical Brothers If I see
Keith Prodigy on one more
magazine cover, I think I'll be
sick. If it's on MuchMusic or the
cover of Spin, you've already
missed the boat. At least Daft
Punk have a sense of self referential irony. But I digress ...
Aphex Twin strikes me as
being in a particularly tough
spot. Trying to moke a living as
a non-commercial, cutting-edge
electronic band is a bit of a paradox. Richard D. James' live act
is the performance art enactment
of this puzzle; while lazer beams
shoot across the stage, only the
top of James' head is visible from
behind a solitary monitor, his
face bathed in the cool blue light
of his Macintosh. Come to think
of it, his music is, too: warm,
symphonic cascades are infused
with breakbeat terror, melodies
of childhood bliss attacked with
a mutant Radio Shack drum machine. Why do some underground musicians succeed while
others are swallowed up in the
depths of consumer homogeneity? I always hate reading reviews in which the reviewer says
something like "genius is close
to insanity," because of course
that means that someone is going to be branded a genius. Lei's
face if, there are probably only
Iwo or three geniuses alive right
now; maybe in all of history
there have only been 20. I'm not
going to soy that Richard D.
James is a genius, but he cer-
Garth Giesbrecht
Saturday, September 27
Starfish Room
This was a good show. Mostly.
Goober    Patrol    plain
ripped. They played with incredible energy and managed to amuse the hell out of
me with their British accents.
There's something about listening to somebody, realizing
they're speaking your language yet still only under
standing about every 5th
word. They seemed genuinely
happy to be there and they kept
everybody interested with their
Fat Records-y punk.
I first saw Ten Days Late
about four years ago in
Kamloops. I didn't like fhem. I
seem to remember that fhey were
pretty metal and that fhey scared
the hell out of me. For some reason, I'm intimidated by females
in fish-net stockings screaming in
such an angry fashion. It's amazing the difference a few years
and a few new musical trends
can make. They're no longer
metal and their singer's been replaced by Courtney Love.
They insist it's the same girl but
deep down I know that this is
just some demented US Government conspiracy to bring
Canada down by slowly forcing
Hole upon us.
Now, Down By Law
What can you say? They were
awesome last year and fhey still
are this year. They had a new
drummer and he did a pretty
good job. They cranked out a
few new, a few old and a few
from Dave Smalley's Dag
Nasty era. It was really good.
One thing confused me, though:
how can a guy stay so positive all night? He had drunks
kicking him in the teeth,
drunks spilling beer on him,
drunks asking him to play
songs he didn't really want to
and drunks telling him how
much fhey loved him. I sure
as hell wouldn't be able to
handle it.
Dave Tolnai
Thursday, October 2
My mission to assassinate a
modern pop icon went awry
when my weapon of choice,
the super-deadly pepper
spray, was confiscated at the
door by angry bodyguards. I
decided that I would have to
rely on stealth and martial
artistry to eliminate
Morissey from this world.
My concentration on the task
at hand was broken when
opening band Elka took the
stage. Their dramatic flare re-
enforced the notion that flamboyant rockers all must die.
Elka are virtual unknowns in
Canada, as they have yet to
release anything domestically. Their set was visually
entertaining, but not enough
to dissuade me from carrying out my job.
When Morissey took the
stage, there was a rush to the
stage which made me think
others had the same intentions on their minds. Alas and
alack, these were just the true
suedeheads whose excitement could no longer be repressed. The mob of diehards
at the front of the Orpheum
made it impossible to get
close enough to the Mozzer
to do any damage,  so  I
succumbed to standing
back and enjoying the
show. Yes, I did enjoy the performance. Even though he's
getting on in years, that
Morissey is still the master of
the superb mix of melancholic
voice atop rockabilly tunes.
To my great surprise, he even
dared perform a Smiths
song or two. The last song of
his set was interrupted by numerous kamikaze fans who
were willing to risk life and
limb to touch their hero.
Morissey was obliging to
most who made it onstage. By
the encore, however, it was
clear to see that there truly
were obsessives as deadly as
I in the crowd. "Shoplifters Of
The World Unite" was marred
by much frantic pushing and
clawing. This overzealousness
was rewarded with the loss of
Morissey's shirt, his microphone, his balance, and his
stage presence. Quite an exciting evening for all involved.
Julie Colero
Friday, October 10
Okay, first thing's first. I arrived at the Rage to find that
it was not Limp Bizkit who
were opening. This was a big
stroke against whoever their
replacement was, considering I had every intention of
enjoying the Limp Bizkit set.
The band who opened was
Lowercase, a three-piece
from god knows where
whose only similarity to
Limp Bizkit was the fact that
their name also started with
the letter "L."
Lowercase's 25-minute set
sounded more like one continuous song with the same
quarter note beat on the kick
drum played throughout.
They came off as looking
very much like balding
(some of them at least),
middle-aged, family types
who drive mini-vans and
have 2.2 kids.
Early on in the Faith No
More set, a girl did manage
to make it onto the stage and
dance around before being
escorted off. Mike Patton
didn't seem too impressed
and said that the next person
who did that would get the
mic shoved up their ass and
made several gestures to illustrate his point.
It was a decent show with
songs primarily from the last
two albums. To the band's
credit, the new material
comes off very well when
played live and the crowd
seemed very appreciative of
it. The only downside was the
price. I couldn't help but feel
that the crowd didn't get their
$30 worth after seeing the
show, but maybe I'm just getting cynical after having seen
too many shows. nov '97 LONG VINYL nov '97 SHORT VINYL nov'97 INDIE HOME JOBS
114 superchunk
|l5 the tonics
mono men
|17 shonen knife
1 coldcut let us play ninja tune
2 helium the magic city matador
3 ec8or all of us can l>e rich... grand roya
4 negativland ipsdesip
5 lonesome organist collector of cactus ..
thrill jockey
6 shizuo shizuo  vs. shizor grand roya
7 julie doiron loneliest in the mornijig   sub pop
8 the smugglers      Iturtty holly convention lookout/mint
0 pee chees games people play  kill rock stars
[10 neko case & ...     the Virginian mint
hi groovie ghoulies re-animation festival lookout
|l2 lake of dracula   lake of dracula skin graft
|l3 various artists     fame whore apathy
indoor living merge
looking for the good times lance rock
have a nice day ... estrus
explosion mca
[18 man or astroman? made from technetium touch and go
10 mocket fanfare
120 ida ten small  paces    simple machines
Bl l)eatnik filmstars  in hospitalable merge
(22 the delta 72 the soul of a new ...    touch and go
dots and loops
electronic sound
10 million hours
kill rock stars
E3 stereolab
|24 crescent
125 refrigerator
[26 miranda July
E7 spring heel jack busy
p8 polvo shapes touch and go
129 pizzicato five happy end of the world   matador
130 the need the need chainsaw
pi brand new unit diddley squat            creative man
izmo tarantino cringe independent
|33 ken ishii jelly tones r & s
134 the pietasters willis hellcat
135 the urtamed youth an invitation to ... estrus
1 von zippers
hot rod monkey screaming apple
1 plumtree
in the sink
2 the primate five
the nova ep                             g.i.
2 blisterene
michael hunt
3 the matt from uncle, friends to none          lance rock
3 hounds of buskerville
4 the ids
locked in a room                 hive
4 the papillomas
5 the fiends
she looks outta sight   dionysus
5 violet
i step on all the cracks
6 juno
magnified and reduced ...jade tree
6 the stupes
7 sloppy seconds
where eagles dare           get hip
7 steep
silex mandy breeze
8 the Ixjbbyteens
hey roxy                   super teem!
8 gaze
preppy villain
9 jale
true what you say   ready to break
9 jp5
fuzzyhead pills
10 wash
top secret                             push
10 dorothy missing
welcome the earth
11 stump wizards
no brakes                         get hip
11 oh susanna
12 murder city devils
three natural sixes    hopscotch
12 cool hand luke
come to me
13 thrush hermit
giddy with the drugs      murder
13 touch & gos
campus radio boy
14 phobia
enslaved                    slap a ham
14 the spivees
johnny come lately
15 guided by voices
i am a tree                  needmore
15 daddy's hands
statistic wigs
16 tullycraft/rizzo
split                                   harriet
16 kreviss
17 vehicle flips
terminus                           harriet
17 the beans
Italian vases
18 sofa
canyon (fade)         constellation
18 michelle wong
19 celestial magenta
clivedon                  independent
19 tickertape parade
audience with the pope
20 ovarian trolley/hazeJ split                              candy ass
20 the floor
better men
K cm
the      show
3 u n d a y>     i
lord tariq & peter gunz
2 gang starr
3 cocoa brovas
4 rascalz
5 cm
6 alkaholiks
7 kardinal offishal
8 hakim
9. reflection eternal
VjO epmd
top     ten
0 p m -1 2 a tn
deja vu
ya know my steez
won on won
northern touch
live at the tunnel
naughty dread 2
guess who's back
fortified live
back in business LI*_^
what    we   listened    toooo
man or astro-man? • the smugglers • me first
and the gimme gimmes • helium • mocket •
the need • lync • cornershop • the drags •
frank Sinatra • the lookers • mture bible heroes • les oaxter • polvo • geraldine fibbers •
intaeds • the vees • coldcut • the molestics •
dj spooky • pee chees • the sonora pine • john
fahey with cul de sac • change of heart •
tullycraft • the uphill gardeners • some velvet
sidewalk • b'ehl • art t>ell • CiTR • eta •
pecola / smallmouth split 7"
available now $5.00
they're relatrely the sarr.e
all ports in frequent seas
cd 810.00
teenage USA reccrixgs
689 Queer. St. 7/ Bo: 91
Toronto. Or.tar.e Canada
T.6J 1E6
'416 7C3-9320
ta 703-9317
Distributee by Sonic Unyon SUNDAYS
All ol hme is measured by its art litis
show presenh ihe most recent new music
Irom around 4w world Ears open
Reggae inna oil styles and loshion
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and listened lo by everyone Lots ol
human interest features, background
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features a wide range of music hom
India, including classical music,
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popular music hom Indion movies
hom the 193CS lo the 1990's, Semi-
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Songs, elc
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11:00AM Your favourite brown sters,
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PM Playing a spectrum of music from
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Mismatched flop rock, a quick ride
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4:00PM I endeavour to feature deod air,
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Sports department for iieir eye on the T-
Mix of most depressing, unheard and
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Join library queens Helen G and Kim on
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27 The life and works of Elisabeth Smart
Listen tor al Canoaan, mosly raependent
longest running prime lime jazz program
Hosted by he ever sum: Gam Wdker.
Nov. 3: Alto saxophonist Phil Woods
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Nov. 17: live from Ronnie Scott's club the
Kenny Clarke-Francy Boland Big Band
Nov. 24: Drummer/Leader ond Max Roach
ond his quartet "live"
DRUM'N1 SPACE 12:00 2:00AM
Vancouver's only drum 'n' bass show
Futuristic urbon breakbeat al 160bpm
ALIEN BREAKFAST 8:00-9:30AM Bringing
you contact with It* unknown sonor
wodd of AuskxJia as well as uncovering
some hidden local gems Come find your
future favourite bands before they
become huge distant stars Hosled by
Daniel Abrdorn
Torrid trash rock, sleazy surf and
pulsatin' punk provide the perfect scissor
kick to your heod every Tuesday morn.
There's no second chance when Kung-
Fu is used lor evil with drunken fist Bryce
"Hove a rock n' roll McDonald's for
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A combination platter of feminist issues,
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RADIO ACTIVE 5:30-6:00PM Social justice
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Meal the unherd where the unheard
ond the hordes of hardly herd are
heard, courtesy of host and demo
director Dole Sawyer Herd up! New
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RITMO LATINO 9:00- 10:00PM Get on
board Vancouver's only tropical fiesta
express with your loco hosts Rolando,
Romy, and Paulo as they shake il ond
wiggle it lo the latest in Salsa,
Merengue, Cumbia and other fiery
fiesta favourites Latin music so hot
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NAKED RADIO al. 10*0-12:00AM From
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•Vl ploy it Genre-busting, cutting-edge
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12:00AM Noise, ombient, electronic,
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Ip's, ihe occasional omoteur rodio play,
Warning: This show is moody ond unpredictable Il encourages insomnia ond
may prove to be hazardous to your
health listener discretion is advised
Ambienl ethnic, funk, pop, dance, punk,
electronic, synth, blues, ond unusual rock.
10:00AM Girl music of oil shopes and
-12:00PM electronic
LOVE SUCKS 12:00-2:OOPMMusicatwodc
(Cul up mixed genres • eclectic, electric
included bul not mandatory).
MOTORDADDY 3:0O-5*O0PM No indie
rock here* just some good ol' Southern
fried biker boogie!
Community / campus news and views.
and environmental issues.
ESOTERIK 6:007:30PM alt. Ambient/
experimental music for those of us who
know about the illilhids
SOLID STATE alt. 6:007:30PM Featuring
the latest in techno, trance, acid and
progressive house. Spotlights on local
artists, ticket giveaways, & live
performances. Hosted by M-Path.
future bible heroes, ida, miranda
July... these are a few of our fave-
oh-writ things, la la la!
FOLK OASIS 9:00-10:00PMAcouslic/roors/
folk music in the middle of your week.
Focus on local and Canadian singer-
songwriters, regular features on other
regions with in-house visits.
12:00AM let DJs Jindwa and Bindwa
immer*: you in radioactive Bhungra!
'Chakkh de phufay." Listen to all our
favourite Punjabi tunes — remixes and
originals. Brraaaah!
THE LAST DESK 8:30-10:00AM Listen
carefully as Johnny B brings you CiTR's
classical music show. Featuring
Canadian composers, amateur hour &
more. Radio con fuoco, for the masses.
FILIBUSTER alt. 10:00-11:30AM From
accordion to the backwoods via swingin'
lounge sounds... this show is a genre
free zone.
MUSIC FOR ROBOTS alt. 10:00-11:30AM
Viva La Robotica Revolution.
Electronica... wave.
CANADIAN LUNCH 11:30- 1:00PM From
Tofino to Gander, Baffin Island to Portage
La Prairie. The all-Canadian
soundtrack for your midday
STEVE & MIKE 1:00-2:00PM Crashing the
boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby,
JUSTIN'S TIME 2:00-3:OOPM Serving up
your weekly dose of Shirley Horn and
other jazz-filled confections.
FLEX YOUR HEAD 3:00-5:OOPM Hardcore
and Punk rock since 1989. http;//
TARTS ON ARTS 5:30-6:00PM alt. Tune in
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Movie reviews and criticism,
Birkenstocks, nothing politically correct.
We don't get paid so you're damn right
we have fun with it. Hosted by Chris B.
Roots of rock & roll.
9:00-11:00PM Local muzok from 9.
livebandz from 10-11.
SLIPPERY SLOT 11:00-1:00AM Farm
animals, plush toys and Napalm Death.
These ore a few of my favourite things
It's all about shootin' the shit and rock n'
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10:O0AM Join Greg m the love den for
a cocktail. We'll hear retro stuff, groovy
jazz, and thicker stuff too See you here
and bring some ice XOXX
Ska inna all styles and faston... even some
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LICORICE ALLSORTS 12:00-2:00 All kinds
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Underground, experimental, indie and
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NOIZ 4:00-5:00PM self-tilled.
Sounds of the transpacific underground,
from west |ova to east Detroit. Sound
system operator, Don Chow.
AFRICAN RHYTHMS olt.6:00-9:00PM David
"Love" Jones brings you the best new and
old Jazz, soul, latin, samba, bossa &
African Music around the world.
HOMEBASS 9:00-12:00AM The
original live mixed dance program
' i Vancouver. Hosted by DJ Noah,
I foe
of the
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word celebrating all
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m getting involved
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n with
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DJ's, interviews, retrospectives,
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LIMP SINK 12:0O-2:30AM The show that
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and Postman Pat alternate with Tobias'
Paradigm Shift (rant, phone-in and kiss
your mother with the guests).
Music you won't hear anywhere else,
studio guesls, new releases, British
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at 11:30 AM. 8-9 AM: African/World
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Gerald Rattlehead and Metal Ron do the
LUCKY SCRATCH 3:00-5:OOPM Blues and
blues roots wi'h your hosts Anna and Andy.
hosl Dave Emory and colleague Nip Tuck
for some extraordinary political research
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"Live! — shews and bands — admission
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Underground hip hop music. Live on-air
mixing by DJ Flipout. Old school lo next
school tracks Chew on that shit.
REBEL JAZZ 11:30-1:00AM Join Girish for
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EARWAX alt. 1:00AM- DAWN "Utile bit of
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Late-night radio sounddash destined lo fist
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Page Music Distribution
20 Railside Road • Toronto, ON   M3A 1A3
phone   416.383.080B    • fax   416.383.0303
as zfgm&m november
OCT FRI 24 CiTR presents The Cramps, Guitar Wolf,
Demolition      Dollrod@Graceland Mo'      Funk
Collective@Chamelion... Weeping Tile, Veol@Starfish... Scott
SAT 25 Windy & Carl, The Electrosonics, Citroen,
Pipedream@Brickyard... Don Byron's Bug Music@Starfish... Mo'
FunkCollective@Chamelion... Everclear@Graceland... Byron Lee
and the Dragonaires@PNE Showmart...
SUN 26 Legends of the Hit   Parade with Jack Cullen@Birch,
Capilano College Performing Arts Theatre...
MON 27 STEALTH Tour: Coldcut, DJ Food, Kid Koala@Sonar...
Grrrls with Guitars: Melanie Dekker, Evani Goll, Linda Kidder,
Robin Toma with Wendy Jane Bollard@Railway Club...
Thrillseekers, The Salteens@Railway Club
WED  29 Show Business Giants@Railway Club...  Brad,
Heodswim@Slarfish.   The Leahy Famify^Massey Theatre...
THU 30 Man or Astro-man?, Delta 72@Starfish... Dunhill Alley
Cats  Hell'oween  Scramble@Nootka  Studios...   Barstool
Prophets@Studebakers.    Jethro Tull@Massey Theatre...
FRI 31 The Colorifics@Chameleon... Opening party: Thee Goblins,  Destroyer@The Blinding Light. .   "Glamaoke"@Railwny
Club...   10 Foot Henry video release party w/ Glimmer, Blue
Veil@Starfish... Noise Therapy CD release party@Studebakers...
Naked For Jesus CD release party@HMV Robson... Hissy Fit,
JP5, Blammo@Brickyard...
Hi-Fi Perspectives@The Pit Pub... Pixel Peep ShowOThe
Blinding Light... Green Room@Chameleon... Evil Eddie@Sonar...
"Glamaoke"@Railway Club... Lhasa@Starfish (early)... Barstool
Prophets@Starfish (late)...
SUN 2 Pixel Peep Show@The Blinding Light...
MON 3 Tanya Donelly@Starfish...
TUE 4 CiTR PRESENTS SHINDIG!: Black Market Babies,
Vancouver Knights, All Purpose@Railway Club...
KMFDM, Pig@Rage.    Fly@Starfish..
WED 5 Geraldine Fibbers@Slarfish... Great Big Sea@Rage...
Foo Fighters, Talk Show, treble charger@UBC Rec
Centre    BY08@The Blinding Light...
THU   6   Helium,   Cornershop,   Syrup   USA@Starfish
ACETONEORichard's on Richards... Legends of the Hit Parade w/ Jack CullenOChan Centre... Funk Da
SAT 8 Neko Case & Her Boyfriends, Auburn@WISE Hall...
Celestial Magenta, Mecca Normal, The New l-2@Brickyard...
Funk Da Licious@Chameleon... Jar, Resurrection Mary, 69
SUN 9 Johnny Cash@Paromount (Seattle, WA)...
TUE 11 CiTR PRESENTS SHINDIG!: Emulsifier, Money
Hungry Newlyweds, Superchief@Railway Club.
WED 12 Jazzberry Ram, God Street Wine@Sfarfish... Moist,
Holly McNarland@Orpheum..*.
THU 13 The Grifters, Anders Parker@Starfish...
FRI   14 Coal,  Palace  Flophouse@Cafe  Deux Soliel...
SAT 15 Mr. Wrong@Starfish... K-CI, Jojo@QE Theatre...
SUN 16 Galo Evening of Sex and Chocolate@Herilage Hall...
The Ventures, The Surfdusters@Richard's on Richards...
MON 17 Sarah McLachlan, Madeleine Peyroux@GM Ploce...
TUE 18 CiTR PRESENTS SHINDIG! Semi-finals!: Verona,
Sloppy, The Solution to the Problem@Railway Club
WED     19    Readymade,    Bossanova,    Electrosonics,
THU 20 Ricardo Lemvo, Makina Loca@Starfish...
FRI 21 Uz Jsme Doma, High Llamas@Starfish... Lee "Scratch"
Perry@Sonar (early show)... Soul Crib@Chameleon...
SAT 22 DDT@Starhsh... Soul Crib@Chameleon...
SUN    23    Steve   Lacy@Starfish...    Simon   Townshend
Band@Richard's on Richards...
TUE 25 CiTR PRESENTS SHINDIG! Semi-finals!: Bless the
Pod, Bossanova, Hounds of Buskerville@Railway Club
THUR 27 The Ruins@Starfish...
FRI 28 Juliana Hatfield@Starfish... Slick@Chameleon...
SAT 29 Metalwood@Chameleon... MXPX@Starfish... The Tea
Parly, Econoiine Crush@PNE Forum...
evqythjfl&1 nppA tn know
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant [Jazz on the Creek) 684 3777
Anza Club 3 W. 8th (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge   1585 Johnston  (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th (al MacDonald) 732 5087
The Blinding Light 256 E. Georgia (between Main 4> Gore)
The Brickyard 315 Carrall St. 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant)      873 1331
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities 1022 Davie (at Burrard) 689 3180
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre for the Performing Arts 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordova (Gastown) 683 5637
Crosstown Traffic 316 VV. Hastings  (downtown) 669 7573
Denman Place Cinema  1030 Denman (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Can-all St. 662 3207
DV8 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova  (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings (downtown) 822 9364
Mora 6 Powell (Gastown) 689 0649
Gastown Theatre 36 Powell (Gastown) 684 MASK
The Gate   1176 Granville (downtown) 688 8701
Graceland   1250 Richards (downtown) 688 2648
Greg's Place 45844 Yale Rd.  (Chilliwack) 795 3334
The Grind Gallery 4124 Main (Mt. Pleasant) 322 6057
Hemp B.C.  324 W. Hastings (downtown) 6814620
Hollywood Theatre 3123 W. Broadway (Kitsilano) 738 3211
Hot Jazz Society 2120 Main (Mt. Pleasant) 873 4131
It's A Secret 1221 Granville St. (downtown) 688 7755
Jericho Arts Centre   1600 Discovery (Pt. Grey) 224 8007
LaQuena   1111 Commercial (the Drive) 2516626
The Lotus Club 455 Abbott (Gastown) 685 7777
Lucky's 3972 Main 875 9858
luv-A-Fair  1 275 Seymour  (downtown) 685 3288
Mars   1320 Richards (downtown) 230 MARS
Maximum Blues Pub   1176 Granville  (downtown) 688 8701
Medialuna   1926 W. Broadway
Naam Restaurant 2724 W 4th Ave (kitsilano) 7387151
Old American Pub 928 Main (downtown) 682 3291
Orpheum Theatre Smithe & Seymour (downtown) 665 3050
Pacific Cinematheque   1131 Howe (downtown) 688 3456
Paradise 27 Church (New West) 525 0371
Paradise Cinema 919 Granville  (Granville Mall) 681 1732
Park Theatre 3440 Cambie (South Vancouver) 876 2747
Picadilly Pub 630 W.Pender (al Seymour) 682 3221
Pit Pub basement, Student Union Building (UBC) 822 6273
Pitt Gallery 317 W. Hastings (downlown) 6816740
Plaza Theatre 881 Granville (Gronville Mall) 685 7050
Purple Onion   15 Water St. (gastown) 602 9442
Raffels Lounge   1221 Granville (downtown) 473 1593
The Rage 750 Pacific Blvd. South (Plaza of Nations) 685 5585
Railway Club 579 Dunsmuir (at Seymour)
Richard's On Richards  1036 Richards (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
Russian Hall 600 Campbell (Chinatown)
Scratch Records   109 W. Cordova  (Gastown)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)
Sonar 66 Water (Gastown)
Southhill Candy Shop 4198 Main (at 26th)
Squish'd Knish 4470 Main (at 29th)
Starfish Room   1055 Homer  (downtown)
Starlight Cinema 935 Denman  (West End)
Station Street Arts Centre 930 Station (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
SloneTemple Cabaret  1082 Granville St. (downtown)
Sugar Refinery   1115 Granville (downtown)
Theatre E  254 E. Hastings (Chinatown)
Thunderbird Enl. Centre 120 W. 16th St. (N. Van)
The Tower 339 W. Hastings  (downtown)
Twilight Zone 7 Alexander  (Gaslown)
UBC Grad Centre Gate 4 (UBC)
Vancouver E. Cultural Centre   1895 Venables (at Victoria)
Vancouver Little Theatre 3102 Main  (Mt. Pleasant)
Vancouver Press Club 2215 Granville (S.Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Washout  1020 Granville  (dowtown)
Video In Studios  1965 Main  (Mt. Pleasant)
Vogue Theatre 918 Granville  (Granville Mall)
681 1625
687 6794
738 6311
874 6200
687 6355
291 6864
683 6695
876 7463
879 9017
682 4171
689 0096
688 3312
Waterfront Theatre 1405 Anderson (Gr
Western Front (303 E. 8th Ave)
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall !882Adanac (the Drive)
Women In Print 3566 W 4th (Kitsilano)
Yale Blues Pub 1300 Granville (downtown)
Zulu Records 1869 W 4th  (Kitsilano)
He Is.)
681 8915
988 2473
682 8550
822 0999
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
331 7909
685 6217
876 9343
254 5858
732 4128
681 9253
738 3232 IF   HIP-HOP   WAS  A  GAM
Thn Fifffi
__f H
'he Firm___~"he Album
The Firm...The Album is the must-have hip-hop album of the year.
Three of rap's biggest names - Nas, Foxy Brown and AZ
produced by Dr. Dre & The Trackmasters - take it to the street.
Wait no longer. Sumy l/itifaA Atotmet H6e> (fyock,
Iki, %wemfoi At tyke!
• As Performed
By Ariel M cd, lp
friends of Slint rejoice. The mulli instrumen
tolisl David Pajo hos finally stepped oul
from ihe darkness and inlo the shadows, produc
ing a rewarding ond remarkable collection of
slow builders and humbly romantic, graceful
mood pieces; this record deserves your undivided
attention Dark without being lonely or forebod
ing, Ariel M is highly recommended for new
listeners and old acquaintances alike Thank you,
David (and yes, he does play everything)
16" CD  lr-ip
• Tides Out cd-ep
All the anticipated elements are present in this
ed release by our old friends, Perfume Tree. This new
filly minute EP finds these tasteful World Dominalors con
lemplating the thriving diversity endowed by tidal event-
space ond the slow infinite organic movement of transformation ond recurrance Dreamy guitars, soaring vocals, res
onate bass, hefty beots and a line
supply iheir inquires wilh enduring ond intelligent sub
stance; o very satisfying listen. Welcome back.
1298 CD-EP
• Carbine 344,520... cd-ep, 12"
More big bottomed culture fusion from these Ninja Tune nomads Up,
Bustle And Oat's latin styled ion funkmess and dubbed out remix
experimentation is inlectious and adventurous, as this EP generously
demonstrates They know how to craftily string a diverse sel of musicol
elements into a big happy, uptempo, global uniformity, without losing
ony beat, swing and momentum The breaks are head nodding good, and
the acoustic guitar is especially compelling. Throw this one down
9" CD-EP, 12
• Rat Tat Tat cd, lp
Opting for a more droney lake on their unique infectious
brand of pop, Butterglory have delivered their most
complete record to dote1 Songs stretch out as the grooves
slip slowly by » a meandering fall listen
16*CD 12"LP
• Star City cd, lp
REX* 3 cd, lp
The days are getting shorter a
the lei
and the wind finds its voice. The voice you hear in your head is
the soundtrack for the approaching solstice The voice you hear
is Rex. It drenches you in wet sounds coloured brown and burnt
orange and your fractured selves are gathered together by the
worm glow emanating from the speakers Outside the wind
blends itself into the chorus and carries you into winter. Oh
Rex. Oh beautiful Rex.
12" LP
Bug Girl Sound's
new electro/ambient architect
holds court for an instore
engagement at Zulu
Friday November 14th
It's lime to leave the planet. Pell Mell, in love with the astral
plone of atmospheric guitar, bass, drums and organ, pack your bags
with this new outing of complex instrumental sojourns rich with
melody, texture and hooks. Bonus air miles apply os Star City is
destination on the post rock planet!
CD   12" LP
Virus Alert! You have jusl discovered a new presence
within your system - all files are presently being
infusing with a very high grode sonic mixture of
electro industrial properties. Mainframe has iden
lified cEvin Key (ex Skinny Puppy) as its
mastermind, bock up is gone, all data now reconfigured os per Download III - marvelous.
• Rented Rooms cd-eps
These much loved dapper romantics are a Zulu favourite, and
we are not alone; ihere is an audience of like minded, equally
teoiy eyed supporters wilh us. The Tindersticks' theatrical music is evocative ond thoughtful, carefully constructed
ond arranged to resonate wilh a total aesthetic sensibility:
crumpled notebooks, wine stains, smoke filled back rooms,
beaten antique couches and desk lamp sparseness. Ah yes,
reclusive-ness, introspection and quiet smoldering melodrama has never been so sensitively recreated and caterede lo.
Oh the tortured pleasure, don't stop!
998 CD-EP Pts. 1 & 2
• Tone Soul Evolution cd
from Denver, and sporting the some pop sensibilities as fellow
Coloradoites Olivia Tremor Control, the Apples In
Stereo enter the vaudevillian pop arena with a delightful
culling of whimsical pure perfect pop lor now people. Assertive
and deep, Tone Soul
• Joya cd, lp
Stop. Go Rush Relax You need
to relax. You have twenty minutes I   	
unwind and just enough lime to listen to
this jewel from Mr. Palace himself,
he first strum of
ol' Will's guitar, you feel os if you hove
just slipped into a warm both ond lime
stands still. The CO is over so you push
repeat and play it again. And again. And
again. The day is on hold. You ore hold
You have relaxed.
WCD   12,8LP
• Blood Meridian cd
Educated industrial noise makers, Numb are
one of Vancouver's underground international
successes. With wisdom ol diverse electronic
landscapes, Blood Meridian is a vista
into placid div
Holy shit, hip hop and rock guitars! Why, that's crazy! Well, not according
to DJ Shadow, for one. The hot showboat of progressive hip hop (with
checks and nods to hip hop history, of course) shows off here thai he is
willingly able to rock the house. And so, hip hop and guitars becomes great
beats and catchy hooks, and everyone goes home smiling. DJ Shadow
knows the score. So, include yourself in the picture and keep up with his
new cool thing: it's on him!
9n CD-EP, 12"
VET   MAPF   PAV<fcl  MOBY I Like To Score CD
• ••TCI    I'll/IXC   l\ttlO.   EAT STATIC Science Of The Gods CD, 3LP
SHANE MacGOWAN Lonesome Highway cd-ep ROBERT WYATT Shleep CD
RESIDENTS Our Tired, Our Poor... 2CD comp       JOYKILLER in CD, LP
GUITAR WOLF Planet Of The Wolves CD, LP      BARDO POND Lapsed CD, LP
JOHN ZORN The Parachute Years 7 CD box set    BLACK GRAPE Get Higher CD-EP Pts. l & 2


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