111)4111 111 Hf II fK^frnw] les jardiniers by bleek p. 10 palomas by holly mistur p. 11 andrew duke by tobias v p. 12 xiu xiu by doretta lau p. 13 international federation of competitive eating by daryl wener p. 15 lightning bolt by steve dipo p. 16 buck 65 by sam macklin p. 18 witness protection program by jason trigg p. 20 prefuse 73 by robert robot p. 21 7" p. 4 fucking bullshit p. 4 panarticon p. 5 Vancouver special p. 5 over my shoulder p. 6 culture shock p. 6 strut & fret p. 7 radio free press p 8 kill your boyfriend p. 8 i don't exist p. 9 under review p. 22 real live action p. 24 dj profile p. 26 charts p. 27 on the dial p. 28 kick around (comic) p. 29 datebook p. 30 fw»^rp lightning bolt are the ones playing the instruments, everyone else seems to be an audience member, including the guy staring eerily at the camera, this photo is by Jeff winterberg. lori designed it, and damn if she isn't earning that $100 we give her. war editor: Christa Min racism editor: Barbara Andersen capitalism editor: Steve DiPasquale community development editor: Lori Kiessling afghanistan editor: Ann Goncalves layout editors: Lori, Scott Chalmers, Ken Paul production editors: Nat Book, Rana El-Sabawwi, Sara Young, Duncan McHugh, Natalie Wnuk, Joanna, Donovan Scaefer, Samatha M, Lucas TDS, Amy Norris, Derek Boone critical theory editor: Tobias Van Veen on the dial editor: Bryce Dunn charts editor: Luke Meat datebook editor: Sara Young bubble font drop shadow editor: Andrew Bryden distribution editor: Matt Steffich distribution editor: Jay Douillard publisher editor: Linda Scholten © "DISCORDER" 2001 Py the Student Radio Society of the University of British Columbia. All rights reserved. Circuldtion 17,500. Subscriptions, payable in advance, to Conadian residents dre $15 for one yeor, to residents of the USA are $15 US: $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine. DEADLINES: Copy deddline for the November issue is October 17. Ad space is availoble until October 24 and can be booked by calling Steve 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 ortwork (including but not limited to drawings, photographs and transparencies), y any other unsolicited material. Material can be submitted on disc or in type. As olwdys, English is preferred. Send e-mail to DiSCORDER at discorder@club,ams.ubc.ca. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major coble systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.301 7 ext. 0, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@ams.ubc.co, visit our web site at http://www.citr.ca or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1 Zl, CANADA. printed ii SONSR 66 WATER STREET VANCOUVER CANADA WEDNESDAY OCTOBER 3: OFFICIAL JA RULE "PAIN IS LOVE" ALBUM RELEASE PARTY HIP HOP FOR HUNGER FOOD BENEFIT @ GRANDE Two parties in one night to set off October. $6 all night long, all students THURSDAY OCTOBER 4: MUSINCUBATOR presents LAURA DOYLE rly show** FRIDAY OCTOBER 5: COASTAL JAZZ & BLUES P s NILS PETTER MOLVAER (NORWAY) by... DJ SHORTFUSE @ CROSSFADE $8 after 1 SUNDAY OCTOBER 7: FLY GIRLS EVENT - HERSHE BAR 9PM-2AM THURSDAY OCTOBER 11: RELOAD 01 w/ RAY KEITH (DREAD, UK) plus MATTY, J-AUTO & M.C. EFFECT. 9PIW$14 door on, FRIDAY OCTOBER 12: ILL-A-MENTAL CONCERT SERIES @ CROSSFADE feat. THE ARSONISTS (NYC) - ROCK STEADY CREW e only, $10 with Mix Master Mike or Dilated Peopli THURSDAY OCTOBER 18: BOOMTOWN & 2GUERILLA Present DJ ASSAULT (Detr SONAR & HOUSE OF VENUS Present INSIDE w/ Todd Omotani, Dickey Doo plus Clarence in RM2. Arrive early to i Doors 9pm/$10 THURSDAY OCTOBER 25: NORDIC TRAX & BOOMTOWN Present HALO VARGA (Siesta,SanDiei TUESDAY OCTOBER 30: 2GUERILLA Presents KID LOCO (Velio WEDNESDAY OCTOBER 31 GRANDE HALLOWEEN!!! s of Hallow i.. JAFFA, MR. SCRUFF, COLD STEEL TOUR a WEDNESDAY - GRANDE - R&B, REGGAE, HIPHOP THURSDAY - WEEKLY ROTATION OF SPECIAL EVENTS FRIDAY - CROSSFADE - PARTY HIP HOP SATURDAY - ITISBe FROM HOUSE OF VENUS Open: 9pm-2am Club: [604] 683.6695 Sound system by: QTurbosouncf 3E^gSl®SS A departed Julie, columnist of past, I will begin a new saga of 7' sit 'n' spin with a leftover from her bag of tricks: a double wax effort of bands paying homage to TV starlet Patty Duke. Why someone would obsess over this is a little over my head, so dingbats like me have the accompanying zine to school me on her supposed "Dukeness," and bands like The Chubbies, Gore Gore Girls, and Slumber Party to serenade me with Patty-penned tributes, the aforementioned Slumber Party ("One Kiss Away") winning top prize for their Casio-beat pop and sleepy vocals. This is apparently the second volume of the Patty platter, so if you' contact: Top Quality Rock And Roll, PO Box 1110, Southgate, MI 48195 USA. That being said, fir: the gates are, The Stupor Stars, with a three song punkity rack- loved (at least in my heart anyway) bands of yore like The Motards or the Cryin' Out Louds. Simple but fun songs Wilson #C103, ( 92627 USA) 521 West ta Mesa, CA The Down-n-Outs know of the above order, especially when girls piss them off: they get revenge by writing two songs of snot-nosed garage-punk no-fi goodness ("Wreck My World" b/w "Don't Ask Me Why"). Only for those who are stereophonically challenged, and who enjoy drums that masquerade as garbage cans. (Hipsville Records, 2020 S Lowell Blvd., Denver, CO 80219 USA) Sympathy For The Record Industry (www.sympa- thyrecords.com). as their slogan states, understands the importance of both kinds of music: rock and roll. The Von Bondies from Detroit support the former, while Montreal's Del- Gators exemplify the latter. Tine Von Bondies continue the tradition of Motor City rock history with a fuzzed-out, amped-up raver ("It Came From Japan") on side A, while the flip gives us a neo-rockabilly number called "Red Head Devil." Both tracks from the sextet from Canaduh roll like a doughnut and get the hips a-swingin' with swampy R&B swagger on "Mudpit," and a cover of Larry Williams' "Louisiana Hannah." Our friends from just south of the border (Estrus Records, PO Box 2125, Bellingham, WA 98227 USA), deliver two fine specimens of 45 rpm ruckus with a four song offering from the home of good cheese and bad beer, Milwaukee, WI, and The Mistreaters. Probably written after ingesting copious amounts of both, The Mistreaters get their rocks off fucking 00 bullshit Record fairs are for nerds. Record nerds don't take showers and never cut their hair. They have a distinct odor. Their fingertips are permanently gray from dusty crates and record sleeves. Fake record nerds shave their faces or legs, paint their nails, and put on their best outfits to go to the fair. Record nerds are always looking down. The phonies are always looking around. I saw four copies of Exile on Main Street, a couple Let it Bes (which made me want to eat cake, but no time, no time for that), zero copies of Sticky Fingers, 23 Kiss LPs, 4000 Hank Williams records, one White Light /White Heat, one, no make that two Swans records (should've bought the gatefold one—gotta act fast, but too late), one Virgin Prunes record (the hazy blue one), a $50 DOA single (can't say which one it was because who the fuck cares 50 bucks worth of caring), a $45 Sarah MacLachlan record, (the first one, OBVIOUSLY the best one), no Bonus Boys singles, two copies of that Stooges record, too many Iggy Pop solo albums, one Joy Division record (the Peel Sessions), a lot of Blonde on Blondes (so I finally got one, which attracted many toothles hippu when I RECORD NERDS DON'T TAKE SHOWERS walked down the street), the yellow Cramps album, one White Album (skipped all the Beatles sections, thank Christ, that one was in the wrong place), the CS Angels' Land (sorry, the Canadian edition), three copies of the first New York Dolls LP (one was $78.95,1 don't know what the fuck), one Kiss Me, Kiss Me, Kiss Me record (that's two records, three kisses), one third of the first Mekons album (no cover, no record, one sleeve), the original Atomizer, Bruiseology (ugh), with primed sonic blasts of strangled guitar revelry and a ballad even ("One More Time"). They'll think twice before ever doing that again. The other slab comes from across the pond and in the guise of three sonic masters known as The Switch Trout from Yokaichi, Japan. Instrumentais are their weapons of choice and they arm themselves well on the song "Sonic Masters," which is almost like three different songs in one, and the false stop-start shakefest of "Machismo." I've been a fan of these cats since their debut back in '99, and they just keep getting better. Recorded in some kinda alternate static universe, the tracks just pulsate with a warm energy that is a change from the more reverb-drenched treble- tweaked bands of the instro genre. Sonic masters, indeed. Since it looks like I'll be taking over 7" duty here, I'd like to take this opportunity to encourage participation from you, the reader of this fine rag, and toss some suggestions for a ratings- example, equating records to flavours of salsa: mild, medium, hot, extra hot, etc. You guys are smart, you figure it out. Ta very much. • SEND IDEAS TO DISCORDER@CLUB. AMS.UBC.CA Cover (eh), Darklands (almost bought it again, just for the hell of it), zero copies of (I can't fucking believe it) Dark Side of the Moon (my head's probably just blocked it out by now), less Rumours than you'd think, one Mountain LP, a few copies of The Clash (all different colours), one Bobby Orr record (tempted, really tempted), not a single Walkabouts record, Robert Fripp all over the place, beautiful women (courtesy of Roxy Music), one Blasting Concept comp, Rank and Louder than Bombs and Meat is Murder (Morrissey costs too much), more than one My Aim is True (already got three of those for some fucking reason), barely any of Boston or Chicago, not enough REO Speedwagon (kidding, kidding), one Patrik Fitzgerald album, the first one, sealed (that's a lie), Headache, including the red single (that too), two copies of Lies, the worst Pere Ubu record, the best Crazy Horse record, The Spotlight Kid, and the other record I bought. I can't remember wliat else. • 4 October 2001 "... if Israel and Islam furthered the Holy War, they would be making the jump from political war. They can accept complete release because they are religious. They're religious in a triumphalist way: they use the fact that they don 'I believe in death, the fact of their awareness of the non-ending of life, to go beyond politics... we must not only forbid Holy Wars—wars of complete release—we must also refute justness, the justice of war.. .Today, the Holy War is on the horizon of our history." — Paul Virilio, Pure War (1983) WAR? "Complete release": the joyous after-death-drive embraces the utter destruction of all things. Close to 20 years ago, Virilio predicted what is now happening. But what is happening? Virilio's second warning that we must also forbid the just war, the retaliatory strike, must be remembered. For the just war—the War that the US is about to open, a Pandora's box of anthrax and nuclear winters—is Holy War. The Holy War claims ultimate birthright through its transcendental justi fication from the godhead; the Just War places a God-led "democracy" at the same helm, for who can forget Dubya's "[crusade] through the valley of the shadow of death"? Just War is Holy and Holy War is Just. Politics must be saved, thinking must happen, xenophobia and state fascism must be curbed, fanatical religion and the fanatical State checked immediately: Holy War and its equal simulacra, Just War, must be ground to a halt. As long as there is one there will be the other, and both bring about the same horrific CNN LOOPS DESTRUCTION CNN loops the WTC plane crash over and over: "I woke up this morning thinking that I might not want to listen to repetitive music ever again— the endless looping of images yesterday was enough for me for quite some time." The grid between digital music, media, politics and terrorism intersects in one blinding moment, and for a split second, the fabric of (re)presentation opens: the strategies of the media, the trance-state the looping images induce, and then the digital medium of repetitive music and disseminated state information merge to form the aesthetic (re)presentation of destruction, disaster, and terror, an all- encompassing rhetorical mega- motif, destined with one goal in mind: to sell something, fear, anger, hatred, the sponsor and the government. Buy an American flag: "The House of Representatives passed a resolution Thursday, calling on all Americans to fly the national flag." Do you see what I'm seeing? "Operation Infinite Justice" was changed because they could not sell it to the Muslims. WAR IS ART: STOCKHAUSEN Karlheinz Stockhausen, experimental electronic music composer, absolutely misquoted about the attacks, from Hamburg to the Vancouver Sun. Stockhausen was speaking of his leitmotif Lucifer as it manifested, as an allegory, in NYC. Some trashy, nihilist (in the worst sense of the word) journalist from Bild took the oppor tunity to take the cc of their context. For the record: "For a musician it seems like rehearsing 10 years for one concert and then killing oneself and 5000 people. The whole planning looked like the greatest piece of art of LUCIFER." http://www.stockhausen.org /reply to bild.html THE GATHERING: MUSICAL RESISTANCE On August 26th, electronic culture and DJs gathered at the VAG to protest the continued destruction of the Elaho. The event, titled "The Gathering" and organized by James of Soldiers of the Underground, was also a great chance to play some beats in public, featuring Primordial Nature among others (whom I tagged with, much to the appreciation of some discerning technoheads), and display some public art, such as Mediacore's Merlyn, who set up his televisual extravaganza on the steps. Today, however, attention should be turned to the Middle East: check www.tao.ca for the latest antiwar developments. SWARM: ARTIST RUN CHAOS The second annual Swarm drew massive crowds to the 17(!) galleries showcasing their work. I didn't make it out to everything, and missed Jake Hill's Dishonest Wood exhibit at the Dynamo, which by all accounts was a highlight. But from what I saw, I was impressed, including Robert Kozinuk's complex projected visuals, Diffraction, at Access; the fish mystery at Moonbase by Dean Stanton (who did it, anyway?), which reminded me of work by Winnipeg's Royal Art Lodge; the ghostly demarcations of faces, figures and shadows drawn directly onto the walls of Artspeak, by Elizabeth MacKen; Geanne Randolph, which definitely had elements of Jasper Johns; the radical and disturbing feminist work of Irene Loughlin and Laura Babak at Gallery Gachet, which featured a remake of a barn (hay, fence and all) with a black and white video of horses (I kept thinking of claustrophobia, of being penned in, of the memory of escape, and then the bound woman in the tub, outlined in red, as a "cure" for "hysteria"); Jessica Eaton's incredible photo "girl at bar with broken heart and glealivet," with The Sugar Refinery's Steven making a cameo, at The Crying Room (which also featured work by Janet Penner, Ali Lohan among others, and Amos H. on the decks); contemporary minimalism at Gallery 83, with high prices and high expectations from Ron Danneasen and Heather Lane; and ironic and entertaining political interventionist art (mattresses!), in protest to Toronto's megacity, captured on film by Kika Thome at the Helen Pitt. There was much, much more and I am missing many, many excellent artists. Many of the exhibitions are still on, and I highly encourage YOU to get out and see them before they are gone. Support Vancouver! THINK "We are not hated because we practice democracy, value freedom, or uphold human rights. We are hated because our government denies these things to people in Third World countries whose resources are coveted by our multinational corporations. That hatred we have sown has come back to haunt us in the form of terrorism and in the future, nuclear terrorism." — Robert Bowman, who flew 101 combat missions in Vietnam. He is presently [1998] bishop of the United Catholic Church in Melbourne Beach, FL. Until peace! • VANCOUVER'S SHAME Harvest of Shame (Independent) The mysterious beings who make up Vancouver's Shame write songs about things no one else would think of. Not many other bands proudly recite the names of the burbs where they don't live (starting with Surrey), or have a song whose only lyrics are, "We fucked and we fiddled and we fiddled and we fucked," or, for that matter, an icky little ballad titled "Puke Song." The percussion sometimes seems to be provided by kitchen utensils; the vocals occasionally appear to be the sound of a gruff next- door neighbour as recorded through the apartment wall. But the lo-fi-ness is carefully calculated. The opening track is built on an audio loop of a crowing rooster and slick studio trickery sneaks into some of the others as well. There's least interesting) songwriting and production in places: echoes of the Pixies are smushed in with slide guitar on "Voodoo Dog," sawed-on violin sounds that are almost Laurie Anderson-meets-industrial drive the repeating rhythmic pattern of "Meatbag," the instrumental "Fleabite" just might feature a mandolin; and "Biggest Ass" combines march-like drumming with trippy/eerie little noises. The overall effect is a weird combination of sophomoric (hell, maybe freshman) humour, faux-incompetent musicianship, clever recording techniques and even a speck of political commentary. Play this loud and your roommate is guaranteed to come running in to ask you what the fuck you're doing, t get the feeling that this is exactly what Vancouver's Shame has in (no contact info) HOT HOT HEAT Scenes One Through Thirteen (Ohev) Look at the cover photo and you might expect to hear tame sounds from what appears to be four sweet teenaged boys. Drop the CD into your machine and you'll hear something entirely different from this Victoria band: overdriven, loud, late-era punk crossed with '70s prog rock, flavoured with new wave, jazz fusion, funk, and more. Hot Hot Heat isn't the first band to play prog-punk, but their use of shamelessly new wave keyboard parts helps to separate them from the pack. So does their vocalist, who sings with a frantic larynx-snapping intensity that makes you wonder if he could possibly survive until the next song. The lyrics are scary and twisted in a No Means No kind of way, the drums rock really hard, the guitars are crunchy, and then there's that keyboard. Sometimes it lends a King Crimson kind of feel, sometimes it's more like that fake Japanese new wave sound that was big you can be sure of: every track will rock hard and be loaded with over-the-top youthful angst. Whoa! www.hothotheat.com RED RAKU Roda Leisis May (Watershed) This CD comes from Victoria, Australia, sent to us from one of our writers, and it is about as different from the previous recording as you can get. In these songs, people "lay with" each other, get their hearts broken, and carve their names into trees "no dog could piss... away," all to the accompaniment of violas, pianos, acoustic guitars and other pretty- sounding instruments that play complex, almost anti-tuneful little melodies. Singer/songwriter Clare Bowditch sings very prettily, but don't expect to hear a hook anywhere, let alone a chorus to sing along to in this tangle of pointy-edged poems set to post-folk arrange- <clarebow@email.com> • 1ISTENT0 CiTRONTHE WEB! www.citr.ca Want to look simply MADFUL / this Halloween? . V^A rry-go- AVAILABLE AT SALONS, HEMP STORES, AND ONLINE! www.knottyboy.com • drcadkits • wax • accessories • shampoo Wholesale Inquiries call 604473-9631 SS^KsSIElSS over my shoulder m mi— It's finally happened: Haruki Murakami appears in Lemony Snicket's A Series of Unfortunate Events. Well, his name appears on page 147 of book number eight, The Hostile Hospital. This trivial bit of infor- cited n inch as the trailers for the Harry Potter movie, which I saw at the theatre, not on television. 1 don't have a TV, which is why I've been doing a lot of reading at a time when everyone else is watching CNN. newest obsession. I've been getting lost in his footnotes, trying to block out the fact that in a few weeks lime, the world will likely be at war because George W Bush is insisting that those not in support of the US are against the US. I'm trying not to be upset that the most incompetent person to ever have been elected president of the United States has just received the highest approval rating ever because he elected to go to war. I'm sad because North Americans are attacking people of colour, people who have lived in Canada or the US all their lives or who escaped their home country because they were experiencing persecution greater than any middle-class racist loser has ever faced. I'm angry because everyone keeps justifying the aggressive behaviour of the United States by calling it the protection of democracy. I am not anti- American. I am anti-war, and I did not cast my vote for violence. Okay, I box off my soap- month, sed poetry Th though I pi chapbooks and though I sidored doing this column on little girls' spell books (there are a number on the market at the moment and several publishers ha* fictio the works), I A'ith a novel decided to g and a collection of essays about addiction. I had trouble focusing on poetry and I didn't think that the spell books were appropriate at this time. REBECCA GODFREY Tlie Torn Skirt (Harper Flamingo Canada) This is a very good first novel by Toronto-born, Victoria-raised writer Rebecca Godfrey, who is now a New York girl. She completed her MFA at Sarah work. But Godfrey's prose is far David Adam Richards, John about being a "pot addict" in the from the familiar and the tired. Newlove, Lois Simmie, Lorna book); Evelyn Lau chronicles a She gives her 16-year-old protag- Crozier, Marnie Woodrow, near-lifetime of bulimia; and onist Sara a believable voice and Patrick Lane, and Sheri-D Wilson Stephen Reid, one of Canada's paints a pictures of Victoria that write about alcoholism (the num- most infamous bank robbers, tells not many of us have witnessed, ber of writers who are alcoholics a heartbreaking story about his The Victoria of The Torn Skirt is or grew up with alcoholics is heroin addiction in one of the child prostitutes and desperation, not govern At the moment I'm drinking a Diet Coke, think- cmomp.ace°ncyiaBetterayS **§ °f havin8 * d8arette <>' * T^01. 0t h°^. there is nothing cliche and hoping to meet the deadline while reaching atXioresbth°ek dai^S for some chapstick. I'm a product of my society. OUS territory of burnout boyfriends, pot smoking fathers, indicative of our society's resis- most powerful essays in the a childhood spent in a cult com- tance to see alcohol as a drug— book. mune, and run-ins with the recall Michael Douglas'role as More than anything else, the penal system. The book balances the borderline alcoholic anti-drug collection of essays is about sur- naivete with a world-weary wis- tzar in Steven Soderbergh's vival and the writers themselves im. I'm looking forward to Traffic—while damning marijua- ire work from Godfrey, na. There isn't a single essay r hei Lawrence. The marketing campaign for her book is a little cheesy (the ads proclaim her and Kelli Deeth as "Literary It Girls"), but I can understand why her people are resorting to such banal terminology: the book is very fresh (even fresh sounds banal, but all words to describe a good first novel seem to be played out) and the only way for the general public to accept something new is . put i lanulia i the Edited by LORNIA CROZIER & PATRICK LANE Addicted: Notes From the Belly of the Beast (Greystone) We live in a culture that likes to be in control and pretends to love moderation but is really enamoured with excess, which is why I think we can't get enough of stories about addiction. At the moment I'm drinking Diet Coke, thinking of having a cigarette or a Tynenol or both, and hoping to meet the deadline while reaching for some chapstick. I'm a product of my society. Addicted is a collection of essays about various addictions and the people these addictions affect: Peter Gzowski writes about kicking the cigarette habit; rs. There is no glam- nly stories about the mornings after, the weeks after, the years after, and for the very lucky (or unlucky, depending on how you look at it, but I see the ability to stay alive and fight the addiction as an amazing thing), the decades after. Yes, this is a worthy collection, so I will make this bold statement (because I am addicted to sucky shows such as Survivor): forget "Reality li go for all the ut there, myself culture shock anthony monday RHETORIC FOR THE RECTUM or WHY I GAVE UP GAY. When I returned from Kuwait I dove into everything I had been deprived of for a year. If was a Caligulan orgy of western culture. I partook in everything I could—the booze, the drugs, the TV, the sex-infused daily life. I reached for anything that would fill me, and I poured into my dusty body everything it craved. I laid back and let my belly grow fat. There was me: feeding off the cum-stained fingers of capitalism, and growing ugly with the juices of want. Yes, I let my hands wander to the thighs of a man. Yes, I liked the way his tongue moved in my mouth. Yes, I found his nip- i the c I sucked right. •hair, and yes, And dammit, it was I say this not with self- e for those feelings. Well, maybe a little bit of self-righteousness. But soon, the inevitable happened, and after my sorry ass was dumped because my pathetic heart couldn't separate sex from "feelings" and I got 6 October 2001 too "attached," and was crowding his "independence" I dragged myself back into the hole of deprivation and solitude. I poured myself into work and school, visited only friends and stayed away from men and their places of whoring. I never liked gay people anyway, so this seemed a good excuse to avoid them. Now don't get me wrong. Before someone stands up and shrieks loudly into the microphone in a camp and nelly nalized homophobe"—know that I have no homophobia, internalized or otherwise, to those who feel the need to define themselves as homosexual. I mean, sure, fine, go ahead and call yourself a name, fine by my less-than-perky ass. I have no problem with "homosexuals" per se. What I do have a problem with are those stupid "gay" people The choices are plentiful. You have your pickings of Ravers, Leathers, Bears, Muscles, Pretty Boys, Drag Queens, Political-types, Bi-sex- uals, Butches. Then there are the Accountants, the Druggies, the Skaters, the Chicken-hawks, the queotcd by *r?»wL 1 Let illtl.' e a poi Imagine, if you v ers that you are a young urban fag. It is Saturday night. And you want sex. What to do? What to do? Or, more importantly, who to do? Who to do? Sugar-daddies, the Young, the Old, the Perverts, the Delusioned, the Jaded—the list goes on and on and on and on until you're practically rolling around with the scat crowd. So you chose your type and establish a presence. You're going to have to choose a bar, a local haunt—the place where for the first few times you go, you'll be fresh meat, then you'll become one of "the boys," knowing everything and anything about everyone and their boyfriend—regardless of whether it's true or not. A place where everybody already knows absolutely everything about you, especially the things you yourself didn't know—like what STD you've recently acquired, who gave it to you, and how you rid yourself of it. A comfortable and friendly place to be where everyone knows your name and cock The most prominent "gay" type these days seems to be of the genus "Muscles." So obsessed with their body, these men (months of anthropometric study have discovered) generally shave everything (everything, yes, even there) to accentuate the body. , ^ M They spend hours a b,, fro. day pumping up, shaving down and » *n* smoothing out just for ■, nancy. y°lir unnatural plea- Ju*. tap- sure. They are easy to find. Just follow the herd of thick-necked, white t-shirted, tight jeaned studs down to their bar of choice. The only problem with them is they do have a tendency to look at themselves in the mirror a little too often, spend too long in the shower worshipping their own bodies rather than yours. Muscles usually only go for Muscles. If you're not pumped, don't try pumping them—unless you're a Pretty Boy. If you do have the pre-req- uisite good looks, you can have anyone you like. The Pretty Boys are that weird hybrid of guys who can be in any category—a brightly-dressed Raver or a shaggy-haired Skater—but still manage to cross the unspoken boundaries of type and go home with anyone they want. Baby, if you've got the looks, you're set in gay culture. Stop reading this and go and get some action. The problem with Pretty Boys, though, is they tend to be so concerned with maintaining their young, Pretty Boy looks, they spend the evening not moving in case their perfectly coifed hair should fall out of place. They tend to be quite reserved and uptight. The older fags, however, are a little more daring and relaxed. With age comes fearlessness. And if you like the sight of fearless old Leather Daddies in their '60s, with handle-bar moustaches, leaping around (half naked, half wrapped in dead cow skins), I'm sure you can find the right darkened room for your evening's pleasure. Once there, you'll probably find men of all shapes and sizes waltzing around in bottomless chaps. Beware of drag queens. Men in dresses are never to be trusted. I don't care how many times they can recite Bette Midler lines in one night, I don't want you going near anyone who tapes his privates to his ass just so he looks more like a girl. My logic is if you want to sleep with a man, sleep with a MAN—a hunk-a-hunk of burning love that would rather talk about sports than anything political and/or remotely resembling social commentary. And if you are looking to discuss politics—looking to be "queer" or "pro-active" rather than "gay"—you won't find a nightclub for your type. Instead, you'll meet in coffeehouses for your once a week meeting. But don't worry, even Political Types "get it on" as much as the Pretty Boys. You'll go to the cafe, order a non-fat decaf latte with cinnamon and then discuss post-structuralism and identity politics. You, too, can revel in the irony of being part of a sub-culture that stands up and asks to be admitted into mainstream culture, regardless of their sexual orientation, and yet still defines their entire personality in terms of who they sleep with, how they sleep with them, and in which social category they found him. And after that rousing debate, eyelashes will bat, and home you'll head to have non- procreative sex. See? Everyone goes home happy. Isn't it giddy to be gay? You began your night alone, and now look at the directions it could take. No matter what type of category you want to slip yourself into, you can find hundreds of other men willing to put themselves into a box. You, too, can be a gay man that identifies himself through who he sleeps with, rather than identifying as a human, who co-inci- dentally sleeps with men. Welcome. This is my world. And you wonder why I am still single. • THE TAMING OF THE FRINGE T.he 17th edition of the Vancouver Fringe Festival wrapped last month, and I'm wondering who else noticed how different it feels now. For me, it started with a read-through of the programme guide. For the first time, not one is low-key had neighbourhood 1 the extreme but felt inclined to check out the Fringe. Oh, and let's not forget—one which would attract shift show hit n '.. In the end, I only saw six, and as it happens, they were all good in some way (a few were very good) but with one exception, it never felt like I was at the Fringe. Would it have been different if I'd seen them at Heritage Hall or the Cavern? Don't know. It's difficult to skewer exactly what it was about the productions, but let's crack open the subject of loca- apt little refuge for ; non-mainstream theatre festi val. Around 1997, it moved t< which seemed more calculated to cash in on the Drive's hipness than to and better venues, ust be said that the did feel alive and med V Fringe begar Main Street in anc around Mount Pleasant though it Fringe spi well there. Apparently, the paucity of theatre spaces on the Drive itself led organizers to look for yet another locale. Enter Karen Planden. Taking over from founding Artistic Director Joanna Maratta in 1998, she brought a vision of a bigger, better festival—one which would attract a new kind of audience who undoubtedly went to the theatre but had probably never found the wilder work off- putting. The main hurdle here though, was that the Canadian Association of Fringe Festivals has a constitution whose main tenet is that any fest bearing the Fringe TM be unjuried. The alarming alternative—breaking away from CAFF and giving the fest another name—was obviously not embraced, as Vancouver's Fringe still accepts ed as the new Fringe Central, there was also activity at the Roundhouse, the Culch, the Havana and two theatres off South Granville (the "annex" venues in the Downtown Eastside having been dropped). Maybe it was the thought of the new target audience having to walk a lot, take the bus or, heaven forbid, make its way down to Cordova Street, but by Not that I've anything against alcohol-induced .. merriment. I just marvel at how generous the corporate players become when an event is located in an area where its patrons are likely to be spending more money. bigger guns sponsorship believe it wa i the c here that the rot i. There's nothing wrong wanting to be bigger or financially successful, but to be acknowledged that a significant lade during >. In 2000, the r late the ri ire of something is changed. that Planden entertai idea of a juried festival, side bar where some ' unjuried stuff could h I kin productions basis. In any c Planden's tei Fringe administration, b< office and five venues moved that rather affluent piece of ru tico-urban real estate known Granville Island. It seemed tl nest was being feathered for new kind of attendee. But th year also saw the biggest vein sprawl ever. Although Gra \ 11If Island was now being toi 2001, the desired change was complete. With the exception of the two nearby South Granville venues, the festival was now coralled on the Island. Neater, tidier and complete with an Absolut Vodka Green Room and a Fringe Club located in the Granville Island Brewing Company. Not that I've anything against alcohol-induced s the c e player by are likely to be sp< money. Is this what's "Theatre for Everyone"? Changing a festival to appeal to those who in truth, don't particularly crank on the authentically fringey? In his programme message, current Executive Artistic Director Michael McLaughlin sees the migration to the performing arts hub of Vancouver and our goal of making art, which is often seen as a fringe activity, ral to the ile o munity." Whoa, Michael. That's realized that the "fringe" in fringe theatre meant peripheral to our lives. Perhaps it's time to get rid of that pesky F-word altogether. Go on. You know ;t 30th i a way that still feels good. But quelle horreur-people are beginning to notice and somewhere on the horizon, gentrifi- cation is probably licking its chops. Maybe one day the "Fringe" will even move back tf/scordervolunteer meeting! Wednesday, October 3 in the citr lounge, call 604.822.3017 for more information, come wreck the party. VIDEO IN STUDIOS we offer technical training in video, audio and new media production and post- production including: we also have a 2000 sq. ft. studio available for rental for production purposes, screenings and audio and music events, for more information contact Tricia Middleton at 604.872.8337 final cut pro avid xpress protools digital audio editing / sound design camera, lights and sound aftereffects photoshop info@videoinstudios.com hours: 11-6 www.videoinstudios.com mon - sat El 7[^g2SESS Trying to focus on writing attacks is particularly dif- t and if it's so late that it make i t this month I hope you'll under- Fortunately or unfortunately enough, there is plenty to write about. On the radio program I have been playing many of the interviews acquired from the Comix and Stories event held at the Heritage Hall in August. In last month's column I asked, In advance, for some input from participants on how they think it went. Good thing I wasn't holding my breath! gathered opinions from lots and lots of punks or indie types. Hardly one answer resembled another, which is refreshing. Bands like Bad Luck #13, 46 Short and Turbo Acs are featured, as well as show, album reviews. Send $2 for thi NBE3A4C4) Bonnie Day Press it ning a well-oiled machin e gal NT. came MAGGOT ZINE #1, looking fairly standard and that need to flex some punk scle have to admit that I was drawn in by the many impressively TURF MAGAZINE: 45 DEGREES OF SEPARATION. Within these 60 generous pages you'll find the wonderfully creative talents of some of the area's most gifted young writers (plus one who moved away). So with the talents of Kris Rothstein, Randal Mindell, Bruce Arthur, Carolyn Gleeson, Doretta Lau, and Nicholas Bradley, 45 Degrees comes highly recommended. Trouble is I don't know the price and stuff. I suggest you look in an independent book or magazine shop or write <bonniedaypress@hot- Lapsed zinester and Jumpstart band member Rory Mclure has finally seen the light and has spewn forth IUST ANOTHER NOBODY. Straying from his earlier attempts at music journalism a bit, Rory still writes about his personal take on what indie-rock and punk was or is and how he classic pulp advertisement, named BLACK SPECTRE MOAN NO. 2. Randy's fascinations are intriguing to say the least, and he takes the time to track down the source material and write it out in a thoroughly concise style. There's plenty to learn about early Hollywood director Erich Von Stroheim and his work on the maliciously edited film Creed. Somehow this segues into the history of the Paramount record label. Somehow it works just fine. The article "Celestial Monochord" explores Harry Smith's Black StccIi.. MoanJVo. 2" the same vein as Cometbus but more of a day-by-day account. This is like reading a month and a half of someone's personal journal and often gives one a shameful feeling of eavesdropping. It's amazing how similar •ollec ■\per. ences are. I could identify with many of the situations and emotions through waking, loving, and working with all life's peaks and valleys. The layout is so lackluster and sparse that, unfortunately, it gives off dull vibes. Some creativity is what I suggest, but what do I know? <themomingpost@hormail.com> One more item about zine crap: ZINE GUIDE #5 is available now and as a resource it is incomparable. I shit you not, you freak: 156 packed pages of this magazine-sized independent press guide. ZG takes no critical position on the thou- defines individuality through readers about their thoughts on un-popular music. What hits their favourite and least hardest, though, are the favourite zines. Mv zine finally made the "Favourites" list and is 25th in the "25 Least Having lived there for five \nthology of American Folk Favourite" list! I'm in good years, I know this opinion is vlusic, its pioneers and company though. How do you shared by many of the town's inearthed rarities, etc. Closing stack up? I think people would youth. Just out of high school, verything is the channeled be fascinated with this thing Rory's salvation is just within pirit of Lester Bangs and his even if they'd never seen a zine reach. Hope he moves here. vindy reviews. ($2 or trades before. ($6 from PO 5467 (1810 Armstrong Street, Merritt, rom PO Box 21525, 1850 Evanston, IL 60204 USA) BC V1K 1E7) Commercial Drive, Vancouver, There are other zines to talk Randy Gutley's follow-up 3C V5N4A5) <handfuls@easyliv- about, but 1 have to stop it here to last year's Spectre is the ig.com> and try to get to the others next painstakingly researched sec THE MORNING POST #3 month. Keep up the good work, ond edition, designed like a s an intimate, diary-like zine in friends. Peace! • i. Comics & Stories 2001 efinitely worth mentioning. This year the attendance was up on both the fan and the creator side. There was also the first ever Comics & Stories 2001 performance art . Aim of Vancouver's local darlings were there, but I want to tell you about the new guys. Even though I've seen her stuff around before May So's GLOOGIRL COMICS were out in full fore? that Sunday. So has a very clean and precise line with a lot of innovative angles. (I think it has something to do with her career in architecture.) They are cute little comic vignettes of advice or stream- of-May-So's-consciousness. Beautifully poetic and with great insight, So is a favourite. She even had a Gloogirl care package to go with Gloogirt's Guide to Food and Fortune'. What can I say, I respect that kind of effort. Bob had two comics for the 8 October 2001 about a bunch of friends Jiang- pressed ing out. Sounds boring, but he brush made it interesting. Pretty much about the weakness laugh,' it wasn't preachy, and it didn't take sides. I like to think comics like these just bring me one step closer to understanding hov he table was littered with comics of all shapes and sizes—it was a cornucopia. At turns simple and full of grace, you had so much to choose from. I recommend THE TALE OF THE UGLY TURKEY CHICK, a dark fable with a happy ending drawn with such clarity it almost begs to be coloured. As well as BUTTERFLY DREAMS, an anthology with an amazing tale line is fluid and confident. In what can be a pretty messy medium, Bob leaves the panels uncluttered and clean. WINE, WOMAN AND SONG was about the eternal crush. It's also Okay, so he isn't local, butTorontonian Michael Noonan comic FANCY PANTS almost knocked my pants off. A comic about various types of relationships involving sex and n this new cen- honest, funny, and really well drawn. Noonan has a great expressive style. Goofy, big and sharp, this comic was quite the gem. Pregnant Embryo Studio is left ii ised. ind '< . Their A recent transplant that gave up political cartooning in Kamloops to do a daily family Internet strip, Andi Mori has a good thing going. He first came to my attention at the Drippytoion Comics premiere with his strip FLOPNIK (available at flopnik.com). Flopnik is the adventures of Rizzo the rice cooker, Spring Chicken the chicken, and Flopnik the robot toaster dog. There are puns and sight gags galore. It's funny, charming and offbeat—pretty much everything required in a daily comic strip. Mori is a good artist and his style hearkens to nostalgia for comic strips past. Last, but certainly not least, was the horde known as The Bent Collective from Victoria. They are comprised of Nick O'Teen, Brian Fukushima, Emily Shoichet, Gareth Gaudin, and local guys Robin Bougie and Ed Brisson. You can taste all their wares in a handy little anthology they did called HEINO AND HIS BAND, or you can check out some of their solitary efforts as well. Nick O'Teen's collection of angry youth tales and service industry horrors was hilarious, not to mention interesting and intelligent. His art style is accomplished and almost realistic looking. It adds Ed Brisson's SOB STORY and FOREVER AND A DAY were good, too. I especially like the drunken bunny. Sob Story is his autobiographical stuff and it was hard not to relate to his tales of small town Ontario boredom and weirdness. Gareth Gaudin has been churning out MAGIC TEETH for a while now. (50 issues!) At times bizarre, yet strangely adorable, Gaudin's characters ; style is wonky but n and n inded n ■ of a skinnier, cruder Robin Bougie. His style is ever changing and you can pick from big comics to little comics, to comics with records, to one-panel gags. He even has comics with no dialogue. It is truly like Gareth e of the sugar gen- All in all this show was a blast. It was cheap (if you didn't buy any comics), entertaining, full of surprises and gems. Not to mention it was a great way to spend a lazy Sunday. Want to relive the experience? Check out Word Under The Street at the Main Library on September 30. Everyone you know and love will be there and it promi o be a re humdinge r ot a ime. It's free go and i nmer Tlueraune. T [fo d dl © ^ d w d 0* y t Cn i on | fe.@©-aiffi-® I @"it On i ob i I spent most of the day "it" aroi happened with a beatific of t smile on my face. It was as if wea those crashing planes had of t popped a giant tension bubble ider in mv head—there was nothing nic, left for me to fear, because tlie For worst thing that could have ty ti happened had finally hap- how pened. The world was ending. I poli /. It can be ie's privik ranted, or is the end of the abili- about certain touchy orsethanqueer.com), "The national disc, ing this tragic ever lar has produced a organizing images ind impor- of ideal cti- : hav day now that there wo. left to strive for. Hoi Discordert Creative Why? cy. That is, she willingly tence. While this can be tic assessment, particul people who feel that th hot, i i slumber, like ked my thumb raking up was of mud. The sky v By declaring The End of the World, you are opting not to participate in constructive solutions. as simple as it looks. A late-Cold no say or power over even s, it The other day 1 dreamed War childhood convinced me can aiso be a gesture of su ren- tha planes were exploding that the end of the world would der. By declaring The End o 'the abc ve Mclnnes Field at UBC. begin with an Emergency World, you are opting nc t to Hu nan flesh rained in chunks Broadcast System broadcast participate in constructive s olu- out o the bright green grass. It and end, minutes or hours later. tions. Lying back and accej ting loo ked like roasted turkey, and 1 with the gestation of a nuclear an expected atrocity is the >asi- wa rted more than anything to winter. But that sort of End est way to ensure that atr< city eat it. Reaching down to pick necessitates that the World is will occur. Refusing to give into up a piece, I realized that my objectified as landscape, nation, despair—as strong as the em- can libalism would be misinter- air, ram, and corpse count. The pahon may be—is one stra pre ed by the horrified onlook- real world is a subjective realm. of resistence. Even if our ers My anthropological The end of the world which resistence does nothing but edi cation had taught me that matters most to people is the inspire others that they can nibalism could sometimes end of their world: the end of resist as well, it is working be a pro-social act—like the the ability to create their own The symbol of the 6 ,000 Eu harist of the Christians. I reality in a way which makes dead bodies have created a poi knt w that devouring the dead sense to them. When I told my itics of "hurt feelings" w nd! coi Id be an expression of soli- boyfriend about the Sun's "End works to squash dis ent. dai ity and an attempt to absorb of Irony" piece in Saturday's Passivity and silence cone em- the r powerful and positive Mix, he laughed that the terror ing the errors of US foreign pol- qui lities. But the others would ists had stolen away an entire icy are demanded b a thi \k that I was dishonoring generation's way of dealing mourning population wht are the r deaths—or worse, partici- with and interpreting the uni- "offended" by the slightest sug- pat ng in a second, more horrif- verse. In our culture, the end of gestion that this is not a mal the world can be as simple as of good versus evil, of civili r. I r, ■ne to avoid the temptation. • to keep yourself alive and to keep resisting, check out some of the following: work is necessary and inspiring. tical assessments of news overage. Their www.indymedia.org Occasionally loopy but usually carefully researched perspective s on global events www.tao.ca/~mavworks/9n 1 racism." Help tl em! The 911 Collective of Vancouver are "mobilizing against war an www.worsethanqueer.com Critical theorist, anti-racist acti\ ist, and punk commentator Min accounts of personal and theoretical thoughts about race, repres n Nguyen has bee n publis wlutopun"? R:,;::, m^^I^and news. www.landoverbaptist.com Have a good laugh at American religious 1 ous. Humour is therapeutic. End of Irony ,i parody- site, by the wev, and it R.L Burnside Burnside on Burnside Montreal's Les Jardiniers know they're not going to save the world, so vhy not have a laugh or two while getting the kids to dance into oblivion? With a deep sense of the surreal and commitment to funky rhythms and suave French House, these tone gardeners could be elec- i:_r **--«.;_ r*» :„ « _ _._ r- :.,isl£..u. j fronic's new Sylvain Hou one of Canada' glances from Eu to Paris Martin Dumais, Jean-Francois (now off and gone on his own literal freshest exports, attracting acg$ pe's most prestigious electronic Apricot label and adding five tracks to Deny film. So will Canada take notice and embrace their ownj Jardiniers' Martin Dumais about a myriad of dumb s,£u : Please tell me would say anything spontaneous Jardiniers project Can you explain what the lyrics what I understand, they mean? It's one of my current favourtUg ugh j television jour- They actually don't mean anything, (t's.j$li:|jadly* translated ded some music. French-to-English nonsense, were veryd:&daj«t with ly.ri lly, since '% I've What wouJdyou like the listener to be left with .after hearing c for Christtanne Les Jardiniers? ect a TV that airs Depends on the context. Our live shows are pretty intense, and n the French CBC we would tike people to be drained from dancing'. On CD i like lad to do it in '99 I to think people feel they haven't lost their time and feel they partner JF to help heard something fun and original. ■sparked our col- Which bands would you most like to be touring with? e flame. We had Rinocerose. We've played with them before and have aboutthe ■Is, a similar either, though. : comfy knows same living habits and age and, sound. Wouldn't mind touring with Madon Jesus! Why Madonna? She's obviously loaded, which would make for a tour, and she has excellent musical taste. Mad^ more about electronic musk then most ravers. Can you name the best band of the *6us, the '70s, 'Sos, '90s and '00s? Hard to pm down just one. For the sixties: Can or early Kraftwerk and Iangerme Dream. Seventies: Throbbing Gristle, Suicide, ABBA. Lighties: Duran Duran, Sonic YoutJt, Coctoau Twins. Nineties: My Bloody Valentine, Curve, Vanessa Paradis and nowadays a melting pot ot everything aforementioned and lots of techno, house and Boards of Canada. 10 October 2001 20 QUESTIONS WITH P ^ I A few weeks ago I stumbled upon this band in Seattle that changed my mind about the kind of music that is being written here on the West Coast. A lot of bands that I have seen lately have been either too far left or way too far right for me to even stay past the third song. These guys drew me in within the first 10 seconds. They silenced the crowd and soothed the drunk guy in the corner. The cello first caught my eye, then the singer whose voice reminded me of hot chocolate. My respect was ultimately won over as they played on. The cello was never a gimmick; it ranged in scale and dynamic. She played with a style that was all her own and it was obvious to all she had spent a lot of time doing this. The other members played with them adding a I met with the band after the show and emailed them : 20 or so. The band is named Palomas, which is Spanish for do The band consists of Marta on cello; Lisa sings/mumbles/whispers/ whines and plays keyboard; Joel is the "percussionist;" Steve apparently speaks Latin and plays guitar. They started ot jeet for an art show that never happened... neither (heart show nor the by h*1 ly m i s t u r DiSCORDER: What role does the keyboard play during your performance? Steve: The keyboard is constantly transmitting an oscillating 12-15 hertz signal in hopes that we will either be visited by elephants or be the cause of the fabled "disco dump." Their set built up slowly with songs like "My 21st Birthday, Lifelong," and "Woody Allen," a song that was originally titled "Woody Allen Bangs His Daughter," but as they mentioned, certain forces inside the band has lobbied against that. The song was slower than most and reminded me of a ballad, which is why I vote for the original title. The best song they did was their last titled "Kuniper." Each member solely raises the tempo and noticeably twist their instruments causing a wall of melodic noise. This was much unlike the rest of their set which was mostly soft. Lisa explained that this was one of her favorites. "I sort of get to caterwaul a bit at the end and I don't feel compelled to sing that way to often" What is your favorit time signature? Joel: I'm partial to 6/8 time. It can rock, but it also has that "drinking and singing late night in a Dublin pub feel." As far as the one we play with the most I would have to say 4/4. There is a lot of work that occurs between Steve's favorites— 5/4,7/4, and 7/8—and when the songs are actually performed it's 4/4 for the audience. Steve: I'm a sucker myself for songs that change from 4/4 to 6/8 or somewhere in the middle. All dramatic like. Lisa: I'm not so good with the math thing. What the hell ai talking about? u guys : in the crowd liken if the cello. The big differ- •ords le I was watching them play I heard s< a to Sonora Pine. Probably be. i between them is also that the cello leads in this band, I ar. They hold the same mesmerizing element, but the singing is h more ethereal. This word and others like translucent, eventual, eminated, and spacious were thrown out to me by the band as >est described their music. alls. rite News Radio episode? good... the eMr. |a. tally DB Joel: The one where Lisa is worried about her decreasing brainpower as she ages and schedules her and Dave to re-take the SATs. Then Dave stays up all night and playing Defender. Lisa: The one where Andy Dick has miniature cars. Palor a band tha tl hoping to see a lot n the msicians with talent can lething without any gim- ripcad ■• iiMniaii.com^t"- ■• • n ■ iT^ ♦ www.indiepooLcom/theolaripper ENDEARING FALL RELEASES PO BOX 69OO9.WINNIPEG.MB.R3P 2G9.WWW.ENDEARING.COM.INFO(3>ENDEARING.COM JULIE DOIRON DESORMAIS a french language album from juno award winning songwriter julie doiron. sparse, warm and lovely, solo shows and appearances with eric's trip in the north west this november. CLIVE HOLDEN.JASON TAIT.JOHN K. SAMSON.CHRISTINE FELLOWS TRAINS OF WINNIPEG poems by clive. soundtrack by jason, John (of the weakerthans) and Christine fellows. HOT LITTLE ROCKET DANISH DOCUMENTARY embracing both melody and abrasion, calgary's hot little rocket evoke the dissonance of english guitar noise and the urgency of american post-punk. READYMADE ON POINT AND RED from Vancouver, this is readymade's eagerly awaited 2nd album. opar transcends old school shoegaze to create an album of sprawling urban soundscapes ideal for skytrain rides and rainy nights. PROJEKTOR RED WOLF GLASS members of kittens, meatrack and leaderhouse drop an album of bombastic and propulsive atmospheric rock epics. CDS! 1 4CND. 1 1 US. 1 3USOS. FREE SAMPLERS WITH ALL ORDERS. CREDIT CARD ORDERING, TOUR DATES, NEWS, ADVANCE MP3S AT ENDEARING.COM. 11[^§SIEMB Andrew Duke is a very intense man from Halifax. I originally met him online through Toronto's techno.ca mailing list. He was already gaining fame and widespread popularity for his worldwide syndicated radio and net show, Andrew Duke's In The Mix aka Cognition Audioworks, hosted at the time on the now defunct Streetsound.com. Andrew was obviously an articulate and intelligent guy, and soon his show became THE place to premiere a new album if you were hip in the burgeoning underground electronic music scene (whatever that is). This was 1998 or so, when everybody still answered emails and when dot.com capital flowed like waterv Now that Streetsound.com has bit the bullet and Andrew has become Station Manager of CC radio station CKDU in Halifax, he has had the chance to turn back to his first love: producing music. Andrew is older than me, he's like 30 something and married and all of that. He speaks of making music and DJing in the '80s and being a part of Halifax's early techno scene and I just nod and think, "I was in highschool at the time." But no matter. When Andrew says he is going to do something, he does, and when he said he had some new music coming out I was thinking a 12", maybe an album, but nope, Andrew has put out five albums at once on five different labels and a whack of singles to boot. His music is experimental techno, moving from challenging IDM and glitch material to strangely rhythmed crunchy beats and textures. Across five albums, it all sounds like him. He has a sound—something many artists spend their entire careers searching for. Dedication? Perseverance? Energy? If you don't know Andrew, and meet him say offhand in a bar, you will probably think he is a rather gregarious but shy Newfie who likes to talk a bit loudly, like he's tipsy. But Andrew has every right to talk all about this. So I talked to him on email. ANDREW DUKE DUKES IT OUT H 0 W T 0 M A K E I N S A N E M U S I C BY TOBIAS 12 October 2001 DiSCORDER: Your music is borderline abrasive. Psychotic, really. What are your personal demons? Hniiimi, personal demons? Perhaps: despite knowing that it is not a smart thing to do, I have a habit of, both in the short and the long term, taking on and doing too much at once so that at a certain point 1 get totally burnt out, both physically and mentally. I'm aware that we only have a limited amount of time and we have no foreknowledge of when our time will be up... so I'm constantly on the move— like a shark—and doing things, juggling the physical and the mental—way too many acts and way too many thoughts. I know we all must die and there's nothing we can do to change that, but I don't want to be on my deathbed thinking "I should have done that" or "1 should have done this"; perhaps that's how I ended up with five albums coming out in the next six months! I've always felt that there was something "different" going on with my brain (and it seems like others concur: after hearing "You're weird, Andrew, but it's a good weird," from lots of people throughout my life, and at different times in my life, so these would have been sets of people who had never ich otht .1 to take n <c\ then othe o a psy ax in September 1987 because things just more mon -vas losing my ability to function. Hediag- because wt ise perfectionist tendencies were destroy- the next on by telling me that I just had to realize that but nothing uldn't try to be perfect. Years of trying to parties we is of self-help books later (I still felt there right" in my brain), and I ended up at 30 has shifted lit worse—1 had when I was 19. 1 literally So the adaj stead of cutting down on things and tak- bigger than alw ., etc.) and things wt a workaholic in the v workaholic in my pers iterally like il : was like the thing I loi s going to be the thing t ed type of people who wanted simple lyrics that said and offered nothing. I make an effort to get some funk in my rhythmic pieces, but then add constrasting elements, oftentimes which aren't so smooth; "Crablike" is a good example [from Sprung]. Tell me a little about the Halifax scene that you come out of. What was your role in it—learning, mentoring DJs, throwing parties, I moved to Halifax in 1987 and did the Friday night overnight show on CKDU, (which] gave me a heck out a lot of time to explore all kinds of music at the station. I DJed the parties at King's College (where I was a student) plus various parties elsewhere and nights at some clubs. 'Course this all stopped when I sold all my vinyl in 1990. The first party I was involved with throwing was in 1993 with Nick Oliver (aka Nick Nonsense; for my DJ set for that party, because I didn't have a single record to my name, I relied on a few records I bought the morning of the party plus records borrowed that night from Nick) and some other people. We had an equal number of DJs and live sets—some of us DJed and played live, our concept was [to] not have one overshadow the other. We were going to continue with this style of night, but, unfortunately, one of the collective wanted out and, being greedy, went to small claims court in an effort to get ■y than he deserved; this caused things to fall apart intended to take the profits from the first party and do > and so on. I did a few parties after lh.it over the years, really substantial. Back in the early '90s, electronic music •e more about locals getting together, playing their Lirds, and having fun. This still happens, but the focus mire to headliners, and getting more and more of them, e now seems to be not about having fun, but of being ing more money than last time, etc. I had hoped back in 1993, and still hope, that live PAs would become integrated with DJs at events, but it's still not happening here in Halifax as I, and others, would like to see. The best live PA I've seen here in Halifax, Modular Men (Andrew Weeks and Justin Buckley), are doing some live PAs at var- would kill me It was November 1999 and I had just turned 30 a couple of months before and I realized that it was time to give another psychiatrist a chance. This time I was referred to a psychiatrist who, unlike the one 11 years previously, actually listened... she eventually diagnosed me with bipolar and obsessive compulsive disorder. Not that having this diagnosis made everything A-OK since then, but it did put my past into perspective and allow me to make peace with my past and a lot of the things I did that I had kept mentally beating up myself for. An example: in 1990 I owned no CDs and was still buying only records. I bought a record one day that skipped, took it back for another copy, that one skipped, took that back and the third copy skipped. Through that alone, despite ha\ ing bought only records up until that time, I decided to sell my entire collection (approximately 1000 singles and 1000 albums at the time; included a lot of rare and limited things that I haven't seen since) in the course of one afternoon. That evening I went out, bought a CD player, and some CDs and told myself I wouldn't buy any more records. A month after that I sold the CD player, all of the CDs, and all of my stereo equipment, and—feeling that the source of all my mental frustation was music— vowed, and kept the vow for almost three years—to not buy any music, and listen only to spoken word. So I'm not sure how much these personal demons affect the music I made then and make now, but it is certainly evident in my choice of song and album titles! Anyway, I definitely can see where you'd get the word abrasive in there. I thought your review of my stuff where you said, "It's like you can see the ice cream, but you can't taste it," was very apt. When I record, I consciously make sure the result is not "easy" or "nice." Now, don't get me wrong, I don't have a problem with easy or nice, in fact I love soulful sounds and things like early Stevie Wonder and other artists that are far from abrasive and harsh. But take Stevie Wonder, he'd make sure that, even though his music was smooth and easy, that he'd get some lyrics in there that weren't so easy, lyrics that maybe some might have considered abrasive if they were the ,s nights At this A nights o hav ivh.il uglits e PAs I peopk kill);; Il ing the PA for what it is—music stead of a DJ playing records—instead spend their time wondering, "Where are the records? Where's the DJ?" And some of those who attend nights only with DJs on the bill are lead to believe that DJs make the music they play (and thus the live PAs become an even stranger thing; the thought becomes, why have a live PA if you can have a DJ?); now in cases like Richie Hawtin and others, there are DJs who produce and producers who DJ, but we really need to get the live PAs and the DJs on the same bill often enough to show the dancers both sides—the recorded as well as the performed medium of electronic music. Hopefully as more Halifax- based electronic artists perform and have material released, promoters and dancers here will understand both sides more fully and we'll have a more thriving scene as a result. Andrew assembles his musical oddities using a mix of hardware (Emax II and Juno 106 keyboards, TR 606, 3 Alesis MMT8 sequencers) and software (Reactor, Sound Forge, Cool Edit, Acid, Audiomulch); some of his pieces were dubbed live to DAT, playing the Juno on the fly and sequencing rhythms on the MMT8s; others were chopped on his PC. He says that he tries to work on music as much as possible and gave me an ultra-detailed account of the process, which we won't print here, as we just don't have the space. In fact, that rule-of-thumb goes for the whole interview: you'd need a small book to encompass the monstrous emails that flew around. But don't take this rag's verbosity at face value. Prepare yourself for the following albums, all coming out over the next few months: Sprung on France's BiP_Hop records, out January; Consumer Versus User, on Phthalo (USA); Physical and Mental Health, on Folding Cassettes/( )Dial; Second Opinion: Physical and Mental Health Revisited, on io/Plate Lunch; and tracks on two compilations: 45 Seconds Of, on Simballrec, and Generation V.6 on Bip_Hop, out in April. Andrew Duke is a very intense man from Halifax. • ph°to by Ralphie P. /had the chance to see Xiu Xiu when they opened for the Beans this past summer in Vancouver. Before I saw them, they were just a band with a name I couldn't pronounce. The only thing I knew about them was that one of their members, Yvonne Chen, runs Zum Media (which put out two Beans CDs) with her brother George. Then the band took the stage at The Starfish Room, with instruments decorated with felt cut outs reminiscent of Sunday School, and played a genre-defying set which straddled the realms of irony and earnestness. I didn't know what to make of them, but I knew that I liked them. The morning of the terrorist attack on the World Trade Center, I fired off an email to frontman Jamie Stewart, without any knowledge of the mass destruction that had occurred. I didn't expect him to answer, given everything that had gone on, but I received a reply several days later. Stewart, who according to the Xiu Xiu website has recorded with members of Devo, the Screamers and Robert Fripp, claims his most awkward stage in life has lasted from birth to present. The truth is, he was a perfectly charming interviewee. DiSCORDER: Who are the members of Xiu Xiu? (Please list full names, instruments played, ages, any other important biographical information.) Jamie Stewart: Xiu Xiu is made up of a carbon based composite that once broken down, separated in a centrifuge and examined under a microscope can be referred to as: Lauren Andrews (20), synth, bells and gongs, harmonium and guitar; Yvonne Chen (27), bells, gongs, and synth; Cory McCulloch (30), bass, guitar, harmonium, bells and gongs; Jamie Stewart (29), vox, guitar, synth, and mandolin; Mr. Robota (10,000,000), who is a drum machine and our real father/mother. Live and recording we switch around on instruments a lot. Although I wish we all had eight arms and could play them all at once. How did you come together? Cory and I had played in two bands before (IBOPA and Ten in the Swear Jar) and when Xitsj broke up we really wanted to continue to play together. Yvonne runs a record label and zine called Zum and she and I ran into eachother a few times because of that and became really good friends. Lauren used to work as an engineer at a little studio that Cory and I used to have at our house and we got to be friends through that. This is the first band that I have been in where I was friends with everybody first and it makes it fantastic. Everyone has eachother's best interest at heart and is concerned about eachother's feelings. Also we can make more fun of eachother because we know about eachother's personal lives. Where are you based? We all live in the miserable/magnifique gaping wound/flowering tomorrow of San Jose, California. What is your discography? This January we have a CD coming out on 5 Rue Christine (5RC) which is an imprint of Kill Rock Stars. It will be put out in vinyl by Absolutely Kosher. The title is Knife Play. Right now we are working on a 7" on Springman Records that will be a collaboration with Deerhoof. Summer 2002 we will be putting out an EP on Absolutely Kosher, which we are recording right now as well. Previously released music would be on compilations by the trillions that we love with hearts inflated to the trillions of psi. Where did you get your name from? Joan Chen made a movie called Xiu Xiu the Salt Doion Girl. If you are not familiar with it, it is a story that is desperate, non-conciliatory, heart breaking and makes you feel awful. How is it pronounced? That is a tough question. In the movie, Xiu Xiu, the main character's name is pronounced "Shoe Shoe" by other characters, but in an interview that Yvonne saw with Joan Chen, she pronounced it "Show Show". We usually say "Shoe Shoe" because we had been calling it that for about eight months before Yvonne saw the interview, but we always feel a little hesitant about it as we do not want to disrespect the source's creator. Who made the felt cut outs that you drape on your equipment during shows? I work at a pre-school that is part of a church. It has been there for about 80 years and some of the back closets are packed with boxes and boxes of mystery items. We were cleaning out one of them and it was full of about 100 of these super bizarre and tragically posed figures. What is their significance? I have not been able to figure out what the story that they go with is about. All of the people look very upset. Lauren and I are working on a video that uses them in a story about a dad who goads his 11-year-old son into telling him about his sex life so the dad can use the material in his performance art pieces. The son lives with his mentally disabled grandmother and thinks his dad is a pain in the ass and although he has never kissed anyone he makes up elaborate homoerotic stories just so his father will leave him alone. Are you filming right now? Lauren from Xiu Xiu is doing it on her computer as she is a genius. Is it a short? It will be a video for a song called "Don Diasco". Who is going to play the 11 year old? We are actually only going to use the felt ait outs. Lauren Has taken photos of them and will automate camera moves over them. She is doing it like they used to do cheap cartoons; taking a still shot and using the camera's motion to simulate ACTION! Have you made any other videos? We are working on putting out a collection of them right now that hopefully will be done by the time Knife Play is out. We are working on about seven or eight of them. A couple are being done by friends and Lauren is doing the rest. One is a dance video (we had a bad ass named Justin, who could really do R 'n' B style dancing, dance behind the camera as we tried in vain to follow him—amusing/embarrassing/tough to watch), a couple are animated or Claymation, the felt one as mentioned, one is set on a space ship bridge. Two are very art damaged; they are sort of funny, sort bizarre, and sort of grim. What would you start a riot over? If someone in my family was wrongly imprisoned I would bust into the courtyard and pass out shanks and bottles to all the inmates to free my kin amidst the confusion. I do not know that I would start a riot but I would participate in one if US politics continues to narrow much more. How do you feel when you go to the polls and it seems like you could just spit on your ballot and it wouldn't made a difference? The US two party system was not designed to be pluralistic. I hope when I vote that it can matter but obviously considering who is in the White House at the moment it does not. It hurts that "America" is very much bullshit and it is scary. It is overwhelming and it is supposed to be. Voting is a civic duty and being a grass roots activist is a human duty. Describe your sound. BLAH! Perhaps in my mind and I do not think all of Xiu Xiu would agree with thLs: depressing pop, modern classical, electro, house, experimental. Sometimes it is very very dense, sometimes it is very very empty. What is in your CD player at the moment? My five disc changer recently purchased from Fry's Electronics is currently home to: Jose Maceda (he is a Filipino composer who does works for like 200 people playing gongs and instruments made out of bamboo—fascinating and impossible), a disc of Chinese Taoist funeral music, a live Deerhoof record called Koala Magic, Symphony No. 8 by Shostakovich and the new Bjork. In classical music, besides Shostakovich, who else do you dig? 1 am going to mangle the spellings of most of these people: Goreyki, Ligetti, Mahler. There is a compilation disc of Russian women composers who are composing right now who are everything. It is under the title Cenia, who is the pianist who is playing them. Cinastera, Bartok, Reich, Crumb ("Black Angels" is astonishing, point blank THE BEST!). These are my big favourites of the moment. The Emerson Quartet is number one. They do mostly modern repertoire pieces but they destroy them with a stick and a dirty look. What is your musical background? Are you classically trained? No, I am pretty much self taught save two courses at community college. Tliere are advantages to being classically trained in that it can facilitate communicating your ideas to other people, but if you get mired in technique as a lot of classical wonks do, then the point of communicating music gets very small. Cory went to music school and has very consciously avoided having it prevent him from playing from his heart. He is a brilliant model for having music school teach you to listen as opposed to dictate. He hipped me to almost all of the modern classical music that I am listening to right now. Who or what do you find influential? The Smiths, travelling anywhere, the news, my neighbours yelling at eachother all the time, my parents yelling at eachother all the time, drum sounds, art movies, dance clubs, insane things children at work do and say, reading, music made by people who play it because it was/is part of their everyday life (field recordings, religious music, traditional songs) and "This American Life" on NPR What is the most insane thing a child at your work has done or said? "I am pregnant and I have twin baby boys in my tummy and they are gonna kill you, sucker!" —Natalie Salazar What are you reading right now? I have a lot of time on the train and while the children at work are napping to read, so I read all the time: A book about the history of the Hells Angels; Keep the River to Your Right, a book about a New York painter who goes and lives with a tribe in Peru who are cannibals and he falls in love with one of them; First They Killed My Father, a memoir of a woman who was a child in Cambodia during the Khmer Rouge regime; Tape Op magazine. Why do you write "eachother" instead of "each other"? I wish that I wrote it each-other. • 13E[gg£5E3ffi A-l EXTRA! * * * Fat re-releases three classics: * ** UTTER$ WILD STYLE THE ORIGINAL HIPHOP MOVIE! TgMMMMM MULTIPLEX GRAND, FOCAL LENGTH: 11 return OF THE PRECIOUS FATHERS EIGHT-TRACK WEEKEND! SATURDAY OCTOBER 27 8:30pm SO WRONG THEY'RE RIGHT 2001 W FUNERAL PARTY FOR 8-TRACK MIND MAGAZINE SO WRONG THEY'RE RIGHT: THE MOVIE AND A WHOLE LOT MORE.. EXPERIMENTAL OBSCURE B NIGHTS It WEEK COFFEE +JAIJ ALL DAY WWW.BLINDIII|UeiT.fiQM 14 October 2001 NO USE FOR A NAME Fat Wreck Chords P.O. Box 193690 San Francisco, CA 94119 USA www.fatwreck.com needs a new EDITOR (or 3) that magazine from citr is restructuring! new editorial jobs are being put together, and we need hard-working, reliable, music- loving folks to volunteer. if you have spare time, a strong command of written english, computer skills, and an independent sensibility, we need you. if you want to gain experience in publishing and learn more than anyone ever needs to know about mac shortcuts, punctuation, and the music biz, then you need us! contact barbara at 604.822.3017 ext. 3 or <■discorder@club.ams.ubc.ca* for a job description, discorder is volunteer-run, though editorial jobs include a small honorarium, individuals with previous experience with citr or other campus/community radio stations are encouraged to apply. deadline for applications is October 15. Fifteen human trash cans coming together one afternoon in Nezv York State with one purpose in mind: trying to prove they can eat hot dogs at a pace faster than anyone else on the globe. How could CiTR Sports not want to conduct an interview on that topic? I called the organizer of the International Federation of Competitive Eating not knowing what to expect. Did organizer George Shea truly believe competitive eating is a sport? Not only docs the man behind the must ani believe en I ing pizza is a competitive sport, but that it is the sport of the next century. You be the judge. DiSCORDER: Tell me about your big event, at Coney Island, and what just went down there the other day. George Shea: Well, you know, competitive eating is a sport that's been practiced for centuries, and in its most organized form, at Coney Island, since 1916. In the 86 years that contest has been run, a variety of excellent eaters have come to the floor, including Ed Crotchey, Nakagima, Frank Delarosa. But this year the entire world, and the world of competitive eating, was shocked when Takiro Kobayashi of Nagano, Japan ate 50 Nathan's Famous Hot Dogs and buns in 12 minutes. Now that is twice the previous record. What kinds of condiments are allowed in the hot dog eating contest? Well, competitors can choose to either eat their hot dogs and buns with condiments or without. They can actually eat them with anything they'd like to drink, even beer, although no one does. They could have soda or seltzer, [but] most choose water. But the really, really good eaters don't have enough time to dress their hotdogs. They are just focused on crunching the hotdog and bun, or practicing whatever style it is that will allow them to eat as many hot dogs and buns in 12 minutes as possible. Are you allowed to pre-set your condiments or does everything have to be done after the bell rings? As a courtesy to the athletes—and most of the guys that get to Coney Island are real pros, so it's really not an issue—we allow them to dress their hot dogs' buns with mustard or ketchup, but I must say that most of the guys don't use any condiments. The hot dog and bun is a difficult ensemble to eat. The bun is very dry and difficult to swallow, whereas the hot dog is dense and flavourful. What they are trying to do is to manage that bun, to crunch it down, dunk it in the water, and while they are doing that, they are usually eating the hotdog at the same time. Let's go over some of the different eating methods. Kobayashi—are we referring to him as the king of competitive eating? Well actually he is the competitive eater formerly known as, or currently know as, The Prince. So he uses the "Solomon" method, where he tears the dog in half and puts the two halves in his mouth. There's the "Washdown" method. Tell us some of the methods people use. I think that Nakagima of Japan, in 1996, brought a new style to the sport, and that was immediately referred to as "Japanesing" or "Tokyo" style: separating hot dog from bun and eating them separately. Most of the veteran eaters practice some version of that method now. But this year we saw a new method come to the floor. Kobayashi splits hot dog and bun in half, then s in his mouth on the two sides, and chews siraul almost like a conveyor belt action as it goes throat. That was immediately dubbed the "Solomon" the crowd, obviously in reference to the bibl: It is not about style with Kobayashi. There is no human alive who can eat 50 hot dogs and buns in 12 minutes simply because of an excellent style. This man has phenomenal capacity, phenomenal control, and he is just something we've never seen before. Were you absolutely shocked that Kobayashi was even able to compete at this event at that level or was he a favourite going in? There had been a lot of rumbling before the contest. Everybody thought that Arrye was the man to beat, but then the Japanese crew came over to us and asked that we made sure that we had at least 40 numbers on his counting card. I expected that we may see 30 fall. Possibly 35. When he was eating at the pace he was, and when he indeed ate 50 hot dogs in 12 minutes, I mean, 1 thought then it was impossible, I think now it is impossible. He did the impossible. He did it, but it is impossible, he can never be beaten. He is operating at a level that is far beyond the other athletes. He is years ahead. Put this in comparison to other athletes' records in different The one that immediately comes to mind is Bob Beeman's long lump m the '68 Olympics where he added 14 inches to tlie previous record. This is like that in terms of its shock value, but it >ir g@ al king. IFOCE limlt^if Matt i<i F@dl@ n° & tt 1 © nn (G)f CdDrnpot it ivi I-© Hi-nag By Daryl Wener jgjhotko by Scott Malin would be more like adding three, four, five feet to the record, Mark McGwire doubling his record, Barry Bonds doubling his record, something like that. In a way, the athletic dominance that this shows, it would be as if Shaquille O'Neil were 17 feet tall and could lean over from the free-throw line and just push the basketball through the net. He is just far and away beyond what everybody is doing. All of these men weigh under 100 pounds. In general, in North America, we think of an eating competition champion as your 6'5", 300-400 pound basic gorilla. But that doesn't seem to be who's pulling in the title. What does the ideal eating body look like? Intuitively, you would say the bigger and fatter the person is the more likely he or she would be able to eat large quantities of food in a short time. The truth is, size has absolutely nothing to do oves them with eating capacity and skill. It is a tal- aneously, ent. Some say it is innate, but I would say down his it's a skill you can enhance and foster method by over years of training. Ed Crotchey, former world champion, wrote a scholarly journal article referred to now by the competitive eating community as the "Belt of Fat" theory. What it boils down to, is that he says that a fat person is actually restricted and inhibited by the belt of fat around the stomach that pre- Sadly, that document was rejected by The New England journal of Medicine and several other journals. But I think what it says That's a very gentle and powerful method of drinking gallons and gallons of water on the days before the contest to actually stretch the stomach in a non-traumatic way. Everything you're doing involves food. Another thing people like to do, perhaps on their own time, is an alcohol drinking competition, maybe a beer contest. Is that something you'd ever consider pursuing or is that just too dangerous? I think that it's clear that the federation has been looking for a liquid-centered sport for years now. Obviously the idea of a beer drinking contest comes up, but we have summarily dismissed that on many occasions. I think that a soda or juice or milk or water drinking contest doesn't have the magic, and we have to reject an alcohol contest for the safety reasons. I do want to say that a new associate member of the federation does what they call the Beer Mile. They run a mile while drinking four beers. It's really more of a club than it is a contest. Another thing that I saw that caught my mind is a woman finished third in the Coney Island contest, so women can compete. It's not a sexual racist event. There's no Title Nine in our event because we don't separate women from men. 1 think the reason we don't was highlighted by Takaka Okasaka last year when she beat the entire American field. She ate 22 and one half hot dogs and buns. So many women compete. The only rule that we have about who can compete is that you have to be over 18. Where are you going to take the sport from here? In Japan Kobayashi won an event that had a $100,000 purse. You don't have any prize money in your competitions. Nathan's Famous Hot Dog Eating Contest is about patriotism and show of skill. It is not about money. The only prize is a year's supply of hot dogs, which is 480 hot dogs and buns and obviously possession of the coveted Mustard Yellow International Belt. So that is glory and honour enough to motivate the guys. Give some last words to an individual who doesn't believe that this truly is a sport. Early Greeks believed that lightning was a weapon of Zeus. Lightning's heat exceeds 50,000 degrees Fahrenheit (three times hotter than the surface of the sun). Its speed is 90,000 miles per second (one hundred million feet per second). Thunder is always associated with lightning. Thunder is the shock wave created by super heated air in the lightning channel. It's wrong to say lightning can be 'stopped" or prevented. It is a totally capricious, stochastic and unpredictable event. — National Lightning Safety Institute DiSCORDER: How did you and the oth< first hook up? Brian Chippendale: We both went to th< nn Inl that pi. ed bass And v vith somebody from Black Dice? No, this was with another guy—that happened later. What happened was that we started playing with him on bass and actually me and the guitarist didn't real- we stopped. But then 1 eventually left the guitarist oiu\ then about six months later me and Brian just tried it again out of the blue at the end of 1994. When I think of Providence I think of, first, HP Lovecraft and Brown University, and just generally a kind of quiet, conservative place, you know? What's it like? Oh God, these days it's absolutely frustrating. It's become a weirdly popular town... with all sorts of levels of people. I mean, I know probably 20 sort of, like, hip, post-college people that have moved here just in the last month or so... just the last couple years has been this influx of post-college people. And what do you think the appeal is? I don't know. I kind of think some of it is the fact that for the last couple years there has been a lot of music and a lot of art coming out of here. But when I first came, it was just sort of like a desolate town, there was sort of like a rock scene—I mean, I came here for school s kind and i like i u>ol that seemed kind of, like, that's where vas seeming to happen. I mean, there were ore that like Six Finger Satellite, and Drop .ere—they've been around for awhile—but nds, a lot of that is sort of the collision of zity people that have decid- "Lhtie ixed v :ty."\ r that lat is Fort Thunder and how is it connected with all s scene, and the School of Design and everything? t Thunder is basically, like, in 1995—September 1 guess s when we got it—me and my roommate tor a bunch of lkman, we were just looking for a warehouse space felt it was like a fort \wc both laugh]. And also 'cause Lightning Bolt had formed before that and so it was also sort of the place where Lightning Bolt lived. But it kind of grew. I mean, when we first started out, it was our final year in 'rizity for both me and Matt which basically meant that we dropped out of school right after that: we didn't actually finish. So we started out just having some shows. 1 think the first show that we had there was Karp, Karp played. Karp! I loved that band! Yeah, Karp was amazing. So that was the first show, and then the second show was like US Maple and The Scissor Girls. So that was good. I mean, that was all in 1995, back when Karp was amazing and I thought that US Maple was pretty amazing at that point—I'm not so into 'em anymore. But it was kind of like, we were 'rizity kids and our audience was pretty art school associated and we kind of started making elaborate posters for the shows we were having... I was a printmaking major. Oh, that's what you were doing at school. Yeah, like, the actual album cover, about 1300 of the vinyl out of 2000 (have] been silkscreened. So if you have the CD, that's a photograph of the silkscreened album. So that was my major in school so that's kind of how I make my living too is mostly just doing prints. And then Fort Thunder just kind of grew. We were actually just evicted this summer. I was away on tour. That's why it's frustrating now: Lightning Bolt doesn't have a place to play; I don't have a place to silkscreen; we don't have a place to have shows. What was the deal? What happened? Over the past two years, there's been a company slowly buying all the options for the buildings—it's like a 13-acre mill complex with like 13 different owners and like a whole bunch of different buildings, like 20 different buildings or something. So basically, we kind of as a group, and a lot of other people too, decided that we wanted to try to stop this complex from being torn down and turned into like a supermarket. But because we suddenly had to draw all this attention to ourselves, the other city people came in and we basically got evicted because a) we were living illegally, and b) we'd been decorating the place for the last six years or so, and the Fire Marshall has declared it a complete Hretrap. I've seen the pictures on the internet. It looked like a lot of visual information, and I wanted to ask you about the kind of aesthetic of the bands and even the art, it seems to mesh together and make sense together: it's sort of this spastic, demented, kind of juvenile wrestling world. It seems linked GMT 16 October 2001 to some of the stuff that Skin Gr Skin Graft has definitely been a v Yeah, but also sort of simple. I mean, you know, Fort Thundi we were just collecting lots of trash all the time and ju putting il up and building our own little world. It's ve much based on like, "We're in here. We don't need anyboi else. We're just gonna make everything from the ground up I mean, we weren't growing food or anything like that, b we probably would have been if we didn't live in a parkii lot or something. There's also an ironic superhero thing happening as we Like, with the art, and even your song titles—"13 Monster and everything—it all seems to border on the fantastic ai the mythical in some really goofy kind of way. Yeah, that's real too. Another thing about Fort Thunder is Mi there's a lot of comic book guys in there: we draw a lot comics. We put out a free paper of comics in town—a ne can try and be the front man." 1 don't know, ched, and I understand that shows have to element. And I think that's another thing ab< that people understand that. bored.... That'; other bands felt I important, but the Lightning Bolt, nu ke i t. 1 mean, people |US us, with Fort Tluinde m Fort Thunder is, act use which doesn't hav ivched about it. One Fort Thunder gu >ne kind of refust "Brian. I'm gone," like basically he had just moved to New York. We had two more shows coming up and he owed money, like he'd blown up other people's stuff and he just moved away, he moved away for like nine months. So we didn't record this record that we were gonna do, but we had a bunch of songs then, and then he eventually came back—he had worked for this artist in New York named Saul Le Witt—and he'd made like $10,000, Brian had. He came back and he was like, "I want to try this again." So then he came back and then we had a few new songs and What about this bass rig? Has he got one now thai Not even. We've been having as many problems as ever. Ride the Skies: when I listen to that record, it's there's more energy than any recording could ( Who put it to tape and how did it all come ab. The guy who we recorded with was Dave Ach recorded a 10" tor Black Dice that has sort of spa bunch, and he'd heard our first record which w, ed or probably three-quarters recorded by me and right channel tape deck and 1 think part of ed on like a walkman. The first 7" was records Dan St. Jakes who sings in Landed and play Onlyville Sound System. He was this guy who fire at some point. There was this one classic Dead, Men's Recovery, Forcefield show where lit the whole top half of his body on fire. Jesus Christ! With white gas or what? He covered himself with Vaseline, and then... I don't know what the [fuel] was, but it was kind of a classic point in Providence's like, "Oh my god! This place has really gone too far." That was kind of the height of when it really felt like there was a lot of bands and a lot of crazy shit was going on. Landed opened up and Lightning Bolt didn't play—this was probably about two, two and a half years ago, I'm not sure—and Landed opened up, and of course Dan St. Jakes comes running out and he's on fire, the whole top half of his body is on fire. Actually he burned his lips off, he really fucked himself up. The second band was Forcefield which at that point was just two people: it was like a Moog and a lot of oscillators and just weird noise stuff and they had a scooter parked outside with a pipe and like a weird plastic tube coming club-that was the second act. The third act was Men's Recovery Project who was actually kind of the tamest thing of the night: they just played their weird stuff, they just had a show. And then the fourth thing was Drop Dead, and Drop Dead is just putting apparent that possibly hold. Were you guys just reco Yeah, we just got back fr out? ghetti writing n Providence, either gonna be a new rt release, we haven't figi [Achenbach] again, and to your question earlier: is half record- on like a left something that you just I've read that you're ar d by this guy s bass in The there's some phenomen drums going on there. Yeah, that was really he lit himself on Landed, Drop record like in '98 or some Dan St. Jakes we fell apart 'cause the ed t the s • do* so (tl the ski by them. And that w petitive with Dan St. "Fuck! They're so nu as the show. I mean, 1 felt com- akes and Landed, 'cause I was like, ch crazier than us!" Landed always ha people like running a round, sort of like Black Dice, vou know ut and kicks the first person in the nut play the goddamn d Lightning Bolt is jus can get to. 1 was always pissed 'cause ' rums and I'm trapped back here," an t the two of us and we don't have th But I heard you do back flips and shit, and you v off of the other Brian's bass rig and land on your di and start playing the beat immediately. mprov band, but on th linkage between the bas ther Brian had blown stuff and he'd basicall money, and this was h and there was a note out of in the irning But that's no fun. That's where the sound comes from, when you're pushing things. eah, just from the recording, you can tell that that • ass sound is jumping from that thing, it's just so Anything else you want to mention about the duo? You can say something about if anyone wants to buy Lightning Bolt a building in Pro •thing •rful . By Steve DiPasquale 17Et^g5J®2£ Just recently, moments of much needed introspection have started to crop up sporadically amongst the pneumatic hoochie mommas and ostentatious pimp daddies of MuchMusic's rap programming. A song with the mislead ing ly joke- y title "Pants on Fire" has started making occasional appearances, creating disconcerting interludes of bleak pathos to break up the formerly endless stream of bad attitudes and bragging. A snail's-pace beat crawls into earshot preparing the ground upon which a dry, deadpan rap lays down a numbing tale of break-up bitterness. Meanwhile the "star" of the piece ambles around an under-lit urban every-place, wearing non-descript clothes and a look of hunted pensiveness. It's a perfect introduction to the unusual, but increasingly public, world of Buck 65. Buck, or "Rich" as he invited your humble correspondent to call him during our disappointingly impersonal email exchange, is perhaps the best known hip hop artist to emerge from Halifax, Nova Scotia's vibrant scene over the past decade. He summarizes his Eastern Canadian origins like this: "I've been on the radio in Halifax since 1989 (CKDU), preaching my old-school ass manifesto. I guess people lis- up have a good code of ethics. Plus I put a lot of people on—playing their demos and having them on to freestyle. There was even this blind Muslim guy that would come up and read his rhymes (from) Braille live on air. It was ill." Most significantly for today's indie hip hop heads, Rich hooked up with <\n MC named SixToo to form the group Sebutones, whose astonishing 50/50 Where it Counts LP was at the frontline of an aesthetic revolution in underground rap music. Beginning with a disconcerting excursion into sampledelic abstraction, the album goes on to reach levels of lyrical anxiety still rarely matched elsewhere. 50/50 reeks of outsider isolation and yet a number of posses across North America were coming to similar conclusions at the same time. These included Ozone Music (Mike Ladd, Cannibal Ox, Sonic Sum) in New York, Rhyme Sayers (Atmosphere) in Minnesota and—most famously—Anticon (Sole, Dose One), a loose conglomerate of Suburbanite oddballs who found their spiritual home in bohemian San If there was a common thread running through albums like 50/50, Sonic Sum's the . Ove and Sole's Bottle of Humans, i through hip hop. Rap n is this: redemption ; is normally por- influ- on young people. And yet, for many, the associated culture has provided something to believe in while the musical form has been an object lesson in combining discipline with open minded ness. This is a theme that i Rich's heart, as he explai taught me how to be open n ducer, I've had to be open t kinds of r ugh that pro i very deep in "Hip hop has minded. As a pro- listening to all • find breaks and so on. 1 kept my mind open with things like books, films—all kinds of art. Hip hop has taught me a lot, generally. Politics. People skills. All about the world..." For people like Rich, hip hop is not a lifestyle accessory or a means of adolescent rebellion but a guiding principle and a source of therapy. Indeed, this therapeutic aspect of rap music is one that Buck 65 has accentuated and pioneered, perhaps more than any other artist has. His latest album Man Overboard— released, appropriately enough, by Anticon—is a tour deforce of emotive beat science. Produced and written by the man himself, and housed in enigmatically sparse cover art, it presents a thorough baring of Rich's soul—revealing bereavement, bad love and—of course—the redemptive powers of hip hop. in his sensitive musician, Rich has nc fessing to the autobiographical nature of his work. "I think personal is good," he says, "People connect with personal." However, he's more cautious on the question of whether he helped to bring angst-ridden MCing into vogue. "I've never considered that I could be in any part responsible for a trend," he pleads, "Maybe people are just feeling and responding to the same things as I am." The principle here is ewe that rappers often pay lip service to but rarely follow through on. In mainstream rap, the guiding mantra of "keeping it real" means little more than conforming to a set of social standards and expectations. To many underground rap fanatics it means simply this: honesty. Rich displays few of the social or stylistic airs that would mark him out as a true head, but his love of hip hop culture can't help but become apparent because it's so deeply rooted in everything that he is and does. "All I know how to do is be myself. I can't help it," he states. "And when I see people pretend to be something else, it makes me sick. I love who I am." These last comments relate to something yours truly has argued previously within these pages: that the apparent, and oft-criticized, 18 October 2001 ing array of cassettes, MP3s, CDRs, 12"s and import CDs. In fact, if anything, the unconventional way in which these songs come to see the light of day actually seems to help build a buzz around them. Take the unusual genesis of his latest full-length. "Man Overboard was made with an SP-1200 and a four-track in 1998 at the "artiness" of contemporary underground hip hop is nothing of the sort. Instead it seems to this writer that indie-rap's tendency towards self-conscious wordiness and abstraction is merely the natural expression of people whose lives are steeped in hip hop culture. Words such as "honesty" and "natural" may not hold much currency in the post-modern marketplace but work that other critics consider contrived and clever-clever seems disarmingly art/ess to me. The apparently angular complexity of today's beats-and-rhymes avant garde 1 life Mtn it There will usually to the sami be ler tie yellow something ngs( ething ike'...this< to r the such- -sucl si ng...x oxo Rich.' I uti Of r isy for rapr to . It's e avoid this unlocked •\pla h's life is—naturally— straight-up rap addict 11v listen to hip hop at , "Just old stuff from 'erything. But for pure long ti lother Sim the e: rely n ssary e of a o munity comprising various, admittedly intelligent and thoughtful, individuals. Sole summed it up with characteristic wit in a recent lyric: "Crying is experimental/Babies are geniuses." Or as Rich puts it: "I'm honestly not trying to push the envelope. I just want to express myself as effectively as I can, which I guess is sorta like keeping it real." Yes, it's old fashioned, and maybe unrealistic, to suggest that art just flows unforced from the artist/vessel, but acknowledging this view of creativity is still fundamental to any real understanding of the music. It's also one that Rich seems particularly keen on. "It all happen-. n methods, "I tact until placed in the live arena. That is to say keeping it real (of any definition) doesn't necessarily make for an entertaining show and most live hip hop is as boring as hell. Having said that, some people are born entertainers. In Buck 65's case, the application of a little judicious thought to the standard live rap setting creates an ideal context for simply doing his thing. "If possible, I do most of the show from behind the turntables with the mic in a boom stand," he explains, "I just do what I can to make people smile and stuff. I try to balance the DJing with the MCing because not too many people can do that. I also have sexy dance moves I pull out from time to time. And above all, I like to try to create some intimacy but it's not always easy..." It must be getting easier to get a crowd on his side, though, because people love this guy. Having gained quite a reputation among committed B boys and girls, Buck 65's commercial :ord called Boy-Girl Fight. P,GF wasn't even done when I got a call from SixToo one night telling me that 'Your new slut is on the Internet.' I flipped. I was already pretty heated because Man Overboard was already all over the internet. I figured I'd fix all those bastards by scrapping both records and combining them into one super-Frankenstein record! So J did. Yet another year later, it finally came out." Now the album is finally about to see a domestic release on Sunrise Records, which will mean that the many new Canadian fans Buck 65 is going to garner over the following months Garfunkel, Lucinda Williams, Tom Waits, always a lot of Miles. 1 could goon... I listen to d keep telling you my thoughts xnit Man Overboard and the fel- or the rest of this magazine. But really needs that kind of public- that this unassuming rupting the low behind it ity. Something tells nv hip hop star is going to steady stream of MuchMusic's jiggy-ass video flow more and more in the immediate future. Be prepared for heavy outbreaks of honesty. • and \ shell o ioks like a pulp- ■19E^gSGSS[aB I first saw the Witness Protection Program when they performed at Shiiidigllast year, where the energy of their set completely blew me away. They play their own brand of heavy, post-hardcore rock V roll that bulges with the soul and fury that sets true punk apart from the imitators. I sat down inside a toy castle in the children's section of a bookstore with two-fifths of the WPP to try to gain some insight into how they rock so hard. We ended up discussing Fugazi, bloody guitars, and Bob Saget. DISCORDER: You played Shindig! last year and made it to the semi-finals. Did Shindig! change your lives? Your band? Did it mean nothing whatsoever? Ryan (guitar, vocals): 1 enjoyed the guy that heckled in the back for every band. Steve (bass, vocals): Good kid. Ryan: Other than that 1 don't know if it was much of an effect. How did playing for an audience that actually submits its comments to you differ from your regular shows? Ryan: I liked the comments. Steve: I never really noticed, so it doesn't make any difference Ryan: I think we're going to str out pieces of paper and people show. all o nd Steve: 1 guess that would be better. People usually there with their mouths open when we're playing. Ryan: Pointing. Steve: Laughing. They don't even dance? Steve: Hardly any dancing. Ryan: Sometimes they're frightened of Steve. Any spent getting out of the way of Steve. Why is your name the Witness Protection Program? [Because of] The Steve Martin movie My Blue Heaven, or is it just a name? Ryan: Just a name. Do you think you would testify against suspected felons in return for immunity? Would the band? Ryan: We're not allowed to say. Steve: No comment. Your current CD is called The Revolution That Never Was and Never Will Be. What's that supposed to mean, are you revolutionaries? Steve: No, no, no. Ryan: The truth be told, a lot of bands like to speak out about their beliefs and everything, and I guess our band either all have different beliefs, or just our own beliefs, but we don't talk about it. We're not trying to say anything, we're just trying to have a good time and help other people have a good time, I guess. So the revolution that never was and never will be is just our way of saying you can do want you want, we don't care. Lots of times, because we play aggressive music, people think we're up there trying to spread a message, but if you telling silly stories. Even if someone doesn't like your music I could still see them being impressed by the energy of your live show. What makes you want to scream and sweat so much when you're 20 October 2001 Ryan: Used to be, but you have to pract And write jumping-around oriented music? Ryan: Totally. Steve: Yeah, with lots of pauses. For me, it's way better to watch a hand if they look like they're really into it themselves, otherwise 1 don't know what they expect from anybody else around. But you don't find that the crowd itself moves around that much when you play? Ryan: Every video or photo that we have of a crowd watching us they all either have their mouths open or they're just pointing and smiling. Lots of times it's more like we're just some sort of freak show that everybody's there to see. Your website claims that you've not only broken instruments while on tour but body parts as well. Is there truth to that? Ryan: We have a lot of scars. I have a scar in this ear from Steve beating me over the head with his bass [points to right Steve: The pegs on the bass cut his ear. Ryan: There was blood, but the show's got to go on. Ever get blood on the guitars? Steve: Oh yeah. Our strumming hand just gets wrecked, so there's cuts that just seem to reopen every time. Especially on the n id. Ryan: In Idaho I got this scar here [points to arm[ and the cymbal hit me in the nuts. That hurt. Ouch. Broken bones? Ryan: None that we've actually been hospitalized for. We just walk it off. Steve: Mostly just cuts. Ryan: Nothing duct tape won't heal. You've toured quite a bit. What places have you found to be the most responsive? Or the least? Ryan: I always like going to Alberta. For some reason our shows there are really good. Steve: Same with Winnipeg. Ryan: Yeah, the two shows we played in Winnipeg were good. Did you headline? Ryan: No, we played with Fugazi in Winnipeg. Yeah, we headlined over Fugazi, they opened for us, it was great. Did you get to hang with Fugazi? Nice guys? Steve: Super nice guys. Ryan: We're huge Fugazi fans. It was rad, just to be able to see them play and then to be on the bill and hang out with them as well. Steve: The most impressive thing about them is they practice what they preach. Like, they'll load everything themselves, and they're just in a minivan, not some tour bus or crap like that. They're just normal guys who come up and introduce themselves. Ryan: We already knew who they were, their names and everything. Like, "Hi, my name's Ian." Ryan: Yeah, that's totally what happened, too. We're hanging out and he's like, "Hey, I'm Ian" and I'm like yeah, no shit. It was cool. In terms of bad shows, nothing really stands out. Ever been really heckled or anything? Ryan: 1 think a lot of people get the wrong impression of us when we play, they'll think we're really mean, aggressive guys. But it's more of an inside joke to us, everything like that. Have you ever ended up in any really mis-billed shows where that especially happens? Steve: This one time... Ryan: Pennsylvania. Steve: We played in Harrisburg. I think the loudest person those people had ever heard was like DC Talk or something. Ryan: It was a tour where a lot of our shows were getting cancelled, so we were just kind of taking what we could get. We ran into this band called the Calicos, this rockabilly band, and they said we could get on one of their shows. So we show up at venue and it's this underground Christian coffee house. It w pretty sketchy for us to be there. Before the show the Calic guys come up and they're like, "You guys are going to have to turn your amps down real quiet" because there's all these middle-aged parents with their kids running around. So we're like, "We can do this." They were going to pay us really well. You played our whole set, with all of our songs half as slow as they Did you still scream? Ryan: No, we were singing through it all, backing vocals and everything. And then the last song we decided we were going to play the song how we normally would. And then we got You didn't make it through the whole song? " Wl't think so. Ryan: Pretty close. That was a mis-billed show. Did you manage to sell anything there? Ryan: There [were] two kids that felt bad for us because they understood that we shouldn't have been playing that show. They bought stuff. What's up with the song called "Mary Kate and Ashley Olsen"? Are you big Full House fans? Do you think that Bob Saget is a funny man? Steve: I don't know about Bob Saget. Ryan: I can tell you a story about Bob Saget. A guy at my work was at this film festival party, and then he went to this after- hours party and Bob Saget was there, snorting cocaine. I know, I almost cried when I heard that. Come on, think about the twins! Have you seen Dirty Work? He actually directed that. Steve: Really? Ryan: I think Bob Saget's a pretty funny guy, you can't judge him off America's Funniest Home Videos. So is the song title just a non-sequitur, no reference whatso- Ryan: One thing about us is the way we title our songs. We'll write the music, we'll title the song, and then we'll write the lyrics. A lot of times our titles will evolve into something else. I think that one started off as something about Uncle Jesse and then we made it into Mary Kate and Ashley Olsen. Actually when our CD was coming out the guy that put it out in the States didn't want us to put that song on it. In case their vast corporate empire comes after you? Ryan: Yeah. But I figured, if they sued us that would rule. Steve: We'd have no problem with that. What does the band have against vinyl? Too much of a hassle to put out? Ryan: We would love to put something out on vinyl. Steve: I guess we haven't had the opportunity. Ryan: Our next release is hopefully going to be a 7" and a 3" disc. But it all depends on... there's no way we have enough money to do something like that. What's the deal with your record store? Is it going to be a full-blown establishment? Ryan: Full blown, it opens on October 1st. I'll have everything there, vinyl, CDs. What's it called? Ryan: Teenage Rampage, 19 East Broadway. Right below Funhouse Tattoos. What band is ruling Vancouver right now for you guys? Steve: I have no idea. Even if there was one I wouldn't know. Ryan: I'd say Three Inches of Blood. They're going to win Shindig!. That light show. We should get a light show. Steve: It's a done deal. Ryan: We're going to get a light show. Any other short term plans for the band? Upcoming shows, Ryan: We're playing at the Cobalt with Trail Vs. Russia next Saturday [September 29th]. And then the Langley civic centre on the 19th of October. • Check out the Witness Protection Program's website at www.lis- ten.to/wpp. Go see them at the Cobalt. Try to make them feel better by dancing a little. PREFUSE 73 Peanut Butter + Chocolate = Scott Harren By Robert Robot Illustration by Scott Chalmers Hip hop and electronic music go together like peanut butter and chocolate. We all know the two forms share like beginnings, but they have for the most part evolved differently. When the art forms collide, often the finished sound is like some peanut butter with electro treatments (a la Roots Manuva) or some chocolate with MCing on top (a la Kool Keith with the Prodigy). A fan of both genres, I haven't found an artist who embraced the two equally until I discovered the music of Scott Harren. Harren, aka Prefuse 73, is truly unique. His first releases under the names Delarosa & Asora and Savath & Savalas were released by Schematic and Hefty records to name a few and were generally categorized as (sorry) IDM. A few months back, Prefuse 73 released a follow-up album to his Estrocaro EP on Warp records called Vocal Studies and Uprock Narratives. Under the name Prefuse 73, Harren has incorporated the "southern style of hip hop in which the music scene in Atlanta is based on" into his already tried-and-true methods of music making. Hailing from Atlanta, a city that has fostered the likes of Outcast, T-Roc, DJ Faust and others, 26 year old Harren comes off as more hip hop than electronic. Over the phone I asked Harren what his newest album sounds like: "To me it's hip hop, even though it is different than your standard hip hop instrumental track." With hip hop heavy weights like MF Doom, Aesop Rock, Mikah Nine, and Dose One providing vocals, one wants to call Vocal Studies and Uprock Narratives hip hop. But electronica makes its presence known on this release. Harren cuts up and fragmentizes the vocals; lyrics remain intelligible, although the samples often splice syllables a pho down the middle. What mood as it does lyrical grammed hip hop beat; never letting the listener the audience's attention. The album is smooth, • low-end sounds, perfect for introspect] that imparts as much iformation, a sound that combines pro- ils used as accompanying beat, used to a rhythm and thus keeping /ith not many high paper-like soundtrack to everyday More a fan of Broadcast than the electronic side of Warp records, Harren is actively avoiding being pigeon-holed. His next single, Harren tells me, will be much different from his Uprock Narratives album. Adding further to Harren's unclassifiable nature, he recently finished a tour with Nobukazu Takemura and Tortoise and is friends with Sam Prekop of the Sea and Cake—who also makes an appearance on the album. Having only been to Canada for the first time recently, Harren has toured extensively in Europe and the excited States. Unlike so many disappointing hip hop acts, Harren tours with a full band, allowing each member to bring something new to each show. "I can't just DJ or play with my laptop, 1 have to do something in real time or else I feel like I've ripped everyone in the room off," he says. Whether Harren's music can be described as post-hip hop, a postmodern hybrid, or even illbient is irrelevant. Any recording where styles and influences are seamlessly incorporated with such mastery as to make peanut butter and chocolate seem like the most natural of combinations has got to be shit hot. • ALSACE LORRAINE Through Small Windoxvs (Darla) This album definitely grows on me. Not because it reminds me of the rolling fields of France— to which this band owes their name—fresh . cheese or baguette, or the smell of tilleuil and lavender, but perhaps like a good wine it saturates the blood, flowing its warmth through the body, lulling away the day's edge. This wine would be light and fruity, just like Alsace Lorraine's airy soft melodies, floating, vocalist Caitlin Brices's breezy voice, the accompaniment of piano and dows—perhaps this, the origin of the name of the album—as you pass by in the sunny world; space music even, and maybe not quite Provence, but we can dream. Cato THE BUTTLESS CHAPS Death Scenes III III (Lonesome Cowboy Music) It's the devil's face laughing at me, he thought, staring blankly at the twisted, half dead cactus. The loss of blood was making him see things. Billy sort of crawled his way—by meagrely grasping the ground with his bloody hands and elbows, dragging his now useless paralysed legs behind him—along the sandy dirt below the unrelenting fireball in the sky that was normally the sun. He had no real idea why, but he was trying for the rolling stream ahead of him...his last resort, perhaps. He had been the quickest draw in the county—until the new sheriff rolled into town, that is. The rest of Billy's posse were now in jail or six feet under. He had holed himself up in a ranch at the far north end of town, by the casket maker's shoppe. It was a shame he had to kill the ranch's proprietor, but he and his ranch hands weren't about to let Billy take the ranch without a fight. Cattle rustlers had been a real problem lately, and the poor saps saw Billy, a lowly cow stealer, and gave him guff. The sheriff was gonna hafta kill him before he'd ever go willingly behind bars. Besides, there were lots of good places to mount a single-man ambush around these paddocks. Somehow, the sheriff had managed to get around the back of the paddock Billy was hiding in and told him to drop his gun and give hisself up. Billy didn't ever "give hisself up." Billy spun around to face the sheriff, who was about ten lengths away 22 October 2001 from him. He drew his sidearm, aimed and fired in one fluid motion. There was no mistaking it though, Billy had heard a shot go off before he even finished pulling his trigger. The bullet lodged deep in his stomach. The pierce of cold metal was foreign to him. "Shee-it." Billy fell to his knees and stared into the gun smoke from his shot. His sudden light-headed- ness made it impossible for him to keep the grip on his six- shooter. It fell silently from his sweaty hand to the hay pile at his feet. The smoke cleared to reveal the sheriff was the quickest shot in town. Billy had man- get hm ied li lead even before his haystack of a body hit the ground. Billy liked it when he got 'em in the neck— it produced the biggest-puddle, next to being shot in the stomach, of course. Billy had to get patched up. This wasn't good. He imagined Becky's soft face. Everything changed when she was murdered. Human lite held little some time. He now sought joy in others' pain—but he saw it as revenge. Chances were eventually he'd get the sonufabitch who done it. Maybe it was better now if he just went and died quietly. After all, now he was gonna join her in heaven....Billy l the c water when things started going fuzzy. He suddenly felt cold. Then hot again. He struggled to look back to where the sheriff lay in a heap, face first in a cowpie, down by the paddock gate. Billy saw the meandering deep red trail he'd left behind him. He didn't want to keep going, but somehow the water seemed more important—perhaps somethin' that could clean him, quench him, heal him. Billy was parched. Blasted, unrelenting sun. He wished he he'd heard about, in that place with them ee-gloos. Billy looked up at the sky to curse the sun. He must have been really out of it by then. He swore he could see a glittery ball suspending from the sky where the sun used to be, casting beams of light into his face, off t little puddles of moving light on the sandy ground. Was this the good Lord's idea of a joke? Billy gasped, "Damn you," waving his limp, blood- soaked fist in the air just as the blood foamed up in his mouth and he collapsed to his stomach, face first in the water. A vulture landed on his back... Spike DA BEATMINERZ Brace 4 Impak (Rawkus/Virgin) Da cute little Beatminerz have surfaced like the Doozers from Fraggle Rock and are still building a name for themselves. Now on the Virgin-affiliated Rawkus records, Da Beatminerz have always stayed low key, like sea shells lacing Black Moon's classic Enta Da Stage and joints for Duck Down records. However, the accomplishments of Da Minerz—a five-man clique consisting of Evil Dee, Mr.Walt, Baby Paul, Rich Blak, and Chocolate Ty— never really gained them the notoriety that a platinum hit with Jay-Z might have led to. On their debut Brace 4 impak, the MC roster includes the underground's finest such as Jean Grae and Apani B Fly who stand out like erect nipples on "Shut the Fuck Up!" With appearances by Naughty by Nature and The Flipmode Squad, the line separating ground" is blurred. As producers, Da Beatminerz focus on the beats (the liner notes even list which samplers were used for each track) and the lyrics sometimes fall into the shallow end of the MC pool. On "Hustler's Theme," The Last Emperor's typical thug life verse doesn't quite live up to the high energy of the beat. "Bentlys and Bitch's" chorus becomes repetitive and braggadocio. The gritty groove of "How We Ride," feat. Heather B and Freddie Foxxx, Foxxx has a history of knocking female Emcees. With the rhyme "I'd rather bounce to Jerz and rock with Heather B than fuck with fake ass niggaz that ain't like B." He proves that even the soft spot for a female who can spit fire. Even though this album is lyrically lopsided, the Beatminerz level things out with their ability to dig up gem quality beats. Momo DJ NIGHTMARE SIT . (Five Kingdom) Out of nowhere—Vancouver— Jason Cushing aka DJ Nightmare has constructed a post-apocalyptic broken beat manifesto that encompasses drone-laden howl-scapes, acoustic riff- driven hip-hop beats, psychotic effects- processed record scratching and wailing violin squalls. Suspected samples from cult classic THX 1138 hide among and experimental scraper laden city with dark streets and pale citizens. The dirt seeps from the disk and settles into the grit of the fingernails where repeated washings only rub the skin from the hands, drawing blood. The work is partially reminiscent of Vancouver's Mediacore collective^—if they enjoyed hip-hop— and definitely sips tea with Coingutter, and on a larger scale close cousins include Lustmord and DJ Shadow. A family destined to crumble under its own dismal appreciation of the depressive nature of being fucked over in a small box, Nightmare breaks open the dreams that many of us are having these days: nuclear war, anthrax, and men in white suits. GAVIN FROOME Post + Beam (Nordic Trax) Deep warm jazz dub house and controlled sparse open: as I sit and listen and watch to a world of madness, Gavin's album roots me to a melancholy rarely heard in today's beat-and- drinks driven house scene. Sitting and reflecting through my ears, I am attuned to a talent and a musical beauty that sifts time through sounds, deep basslines awash with no particular angst that carry me through reveries and remembrances. When you hear poetry, shells fortified everyday in the ceaseless protection of the frag- begs -'sponst the s . Gavi .' Van. Of c : that mid jxpect usually of a large, sky- has returned with an album for the listener that does not ignore the feet. An album that spawns the dancefloor and the armchair and the discerning house and techno DJ alike. Emotional, complex, jazzy, downtempo, yet also at points thumping, Gavin's album is deserving of some true musical praise for its breadth and what it risks. For whenever electronic music steps out onto that limb where it claims to be what traditionalists call "music"—representative of some facet of universal humanity—it risks coming off either as pretentious or as a cheap mimicry of some other "established" genre, such as jazz or funk. Such is not the case with Mr. Froome. This is deep house music, and Gavin Froome has reinvented it all HEFNER Dead Media (Too Pure) At first, listening to the new Hefner album was amusing. How does one react to fifteen different keyboards and vocal effects that would make Simon Le Bon blush. What the hell were they thinking? Was this the kind of desperate material that Darren Hyman was resorting to after putting out five records in as many years? But then it started to sink in: gold, gold, gold. This process is best illustrated by my friend the Ate- Dog (so named for one of his nastier habits), who had this senseless aversion to eggplant. Then one night I snuck some of the purple goodness into this dip and he thought it was boss. Then two nights later, he ordered some of it in his 'Beirut Surprise" and within a week he was breading the Italian variety in his very own kitchen. My senseless aversion to 15 different keyboards was overcome thanks to first-person narratives about the fourth man on the moon and how he quit space for art (depicting space) and a song fittingly called "When the Angels Play Their Drum Machines." Then I heard the aged voice of auxiliary player Jack Hayter laying down words like pauper and grubby in that thick English accent and then they sampled Amelia Fletcher's voice in this absurdly suggestive way and then the JUNO- 106 got good and the Roland SH-1 was tolerably musical and then it was gold and funny. Randal Minded THEHISSYFITS Letters from Frank (Top Quality Rock and Roll) This album packs a strong punch in a fake-fur glove. It is tionships gone awry, the women who live them, feel them and gather up the courage to finally leave them. In the span of the album the music is somewhat redundant, but I have a feeling that's intentional. It's by no means boring, and the harmonies of The Hissyfits are pure genius. The opening track "Something Wrong," sets the mood for the rest of the album with haunting lyrics irrationally imposed on catchy melody. My personal favourite is the deceptively sweet "Doin' fine," because of the fabulous Lou Reed impression by Princess. This is possibly one of the best chick-rock albums to appear on the indie scene in a long time. Rann E DANIEL JOHNSTON Rejected LInknoivn (Gammon) My friend Daniel is back again, maybe you know him from the Kids soundtrack. This time he has made something that I actually enjoy. The last effort, Fun, lost all charm that Daniel once had through gross over production. Although Rejected Unknown is far from lo-fi, it was recorded in Daniel's garage. It preserves the awkward schizophrenic cleverness that fueled his past recordings. Brian Beattie provides a wonderful pop soundtrack to the madness. Plus it is chock full of Daniel's art. Well done. Jay Douillard (soj3o.it ■\\\9 v'iv\WXc\yM<*cV^r)£> i-0^ S*Moi©r"\V> £D i^UnnidAo v% Za*\] cc,A •O;tk-Poroscv @D \<<e\\y cWVfc . tflte ° , (yT) OMton. VicOa^U (Aorbtky) tWs J JPr.'i ° © J?. CAfW SOh, © cV^v'kc^ ® ***« t\t*& U I —- Tr''sh Mywdtajs (j£) s<p cw\er (Q \j a^o? cVerv\onS JSP T-tCcnsV, vce\,\y , PERNICE BROTHERS The World Won't End (Ashmont) This record furthers a style that rests upon a songwriter allowing realism in voice and lyric narrative, to follow parallel with elegant and biting pop melodies. With inherent honesty and beautiful phrasings Joe Pernice chronicles tlie simplicity of relationships and the awkward complexities of the individual. His talented backing bad (including his brother) work as a coherent and slick transmitter to his rather tainted pop masterpieces. It can really catch you off guard how genuinely good this music makes you feel, all the while the blistering sentiments of songs like "7:30" and "Bryte Side" snap and rip at your heart. Pernice is a unique artist more so for his words than for his music (which by no means lacks style or range), but his writing is bril- lagery and procla- Vlth 111! like " MC ret which s indi\ n be a differen sidary labt the fabulo all right. Sitting stoned like a jewel-eyed baby" and "Throat open to the cut of the winter, if only just to feel alive." Few bands and/or singer songwriters can offer seraphic tunes and true-blue poetics to the listener, but the Pernice Brothers have most definitely produced a work that balances that act. Sterling Riots ROOTS MANUVA Run Come Save Me (Big Dada) V/A Big Dada Compilation (Big Dada) POETS OF RHYTHM Discern/Define (Quannum) If you purchase only three albums during the rest of your life, here they are! For starters: son of a preacher man Rodney returns with his second full length LP which is just as fabulous and groundbreaking as and his debut EP Juggle Things Proper. It's so Fucking A!!! Once you have bought the album and listened to it and masturbated with joy check out the hilarious video for "Witness the Fitness" at ninjatune.com. For fans of the aforementioned Roots Manuva comes another splendid piece o' wax featuring Roots and his collegues at UK underground hip hop imprint Big Dada. From the madcap spasms of frenchy rappers TTC, to the trip cLOUDDEAD, to the sexy aggression of Ty, this record is bound to please even the most jaded underground hip hop fanatic. It is immediately apparent that many of the MCs have been influenced by the Manuva debut of Germany's Poets of Rhythm. Previous Poets offerings can be found on various compilations, including one of my favourite tracks for two years running, "I've Changed My Mind" which features Lyrics Born and is included on the Quannum Spectrum sampler, so 1 was delighted to read in the liner notes that Lyrics Born produced Discern/Define. I thought the record would be a bit more bombastic with Lyrics at the helm, but the opposite occurred. At first I was a bit stunned as to how mellow the album is, however after repeated listening, I realized that the Poets are after a brand of modern funk that's truly modern. For the most part, they avoid rehashing old grooves (a habit that many modern funk bands subsist on) and on some tracks they adopt a melancholic downtempo housey feel, almost. Fabulous, phenomenal, funky space grooves troui heav- Maren Hancunt TIMEBLIND Rugged Redemption (Orthlong Musork) The first time I met Chris Sattinger (Timeblind)—in San Franscisco in 2000—1 was munching on sandwiches and recording what was to become an "interview" with everyone sitting around—Kit Clayton, Sutekh, Safety Scissors—in DiSCORDER. It was Sattinger who, despite the comedy duo of Joshua and Seth, interjected priceless comments at the perfect time; and at the time I had just just heard Sattinger's exper- " EP c i Orthlong r the rest of Musork, which bl SF's experimental noise-techno out of the water save for perhaps Blectum from Blechdom red of Si tekh's ■ork. Sattii Redemption, like comments, intraiects between a mules" rm hop pace v the "hop". ed—perhaps torn apart, rel hop, d'n'b, ai lost g beats a ing demanding high pro ord, I like it thank-you. From techno ing hard and atonal techno (as well as some hardcore and ambient projects in the early '90s) to freaked out non-genre step, and we can all be thankful that labels like Kit Clayton and Sue Costabile's Orthlong Musork are around to distribute sounds that are unpredictable, difficult to classify, and essentially intertwined with an incredibly close attention to the aural world. Sattinger breathes a fierce dedication to charting the junctures between what was then and what becomes now through bold sonic moves that spin the matrix of referential sets, flickering sounds like a poorly lit theatre, singeing neurons that conjure everything from his classical saxophone training to the roots and bulbs ib, hip hop and n n'has labia WHISKEYTOWN Pneumonia (Lost Highway) An individual of habit is a curi ous creature, one that will take very long walk just to get high. take very long walks. 1 nigh the high gr, warped beyond contention: a Sick Mind Is At Work, and whereas Warp-ed beats sound like Warp, Sattinger sounds like that becomes, and even partial references to the home of the Snauss must now be dropped. "Rastabomba" was dub but at Id H-I.l I uthei Alberta and watch, as the sun would set over any of the towns I could have been in. I would stand in those fields, headphones pouring. Now I'm back in the city, and now I get high the r ofofmyapar building. Watching the city glow with its own setting sun, I listen to this album from Whiskeytown. To begin with, I heard Ryan Adams' solo album, and that was what I listened to in the fields. His album Hcartbreaker is a horse-sized pill for loneliness. But now Whiskeytown are defunct and disbanded, and at \erv leas •ners the fields, alone in Lock yours put Whiskeyto v ha irldlg O Q az ~z. a. < OCTOBER LINEUP !! 2nd Disco Incognito Mr. Plow OASIS 9th Six Block Radius Flipswitch Tomas 16th Motorcycle Man The People Vs. Funk Vuggy 23rd Ether's Void Mermaid Engine Bestest 30th Rhythm Stone My Buddy Dave Silt \ SHINDIG! runs every Tuesday at the Railway Club, starting September 11th and sprinting hard to the marathon finals on December 5th. THANKS TO OUR SPONSORS! -™ chart ft- SOOTJ nizne gj northbynortheast ■■•■. m HIVE ayouedrums.com straight mmm Not Just Another Music Shop Seaside Studios t)1GR0€k Beatstreet r\TREBAS Cj institute plays were both startlingly unoriginal. Her musical talents are about it), it would have closed the show perfectly. As it was, r V^^ —^7 »* f\ *> 1 I il I A savvy, but for the most part, safe-looking crowd, Jacques ri-*Hi iix/m 1 vQI MVC not the only assets her fans this was the moment that those launched into "Dreadful action enjoy. In addition, we're in no doubt who people are here to see, unfairly casting a shadow in attendance took home with them. Simply fab! Qitentin Wright Domesticity" and a scrofulous little ditty called "I Love You Through The Smell." He V_y over the other members of the New Pornographers. It's not the THE TIGER LILLIES Wednesday, September 5 7 live music reviews list of his filthy, twisted pastimes REBECCA GATES books, unless they are used to MINT RECORDS'10TH with Stevie Nicks and Debbie Vancouver East Cultural in "terrible." His compositions ALYSSA RHODES produce on Alf slideshow, are ANNIVERSARY Harry. Centre can also tell stories of horrifying MARK SZABO always on ominous sign at live shows. Seeing one perched atop the keyboard on the right side of slen- the stage as Rebecca Gates came talk on made me worry. But just . but looking at her arms should have Friday, August 31 Coming on like a super If our world should collapse into sadness, deftly balanced with a Wednesday, August 29 Starfish Room Let's talk arms. Mark has der arms and when they the) say; "Wemaybesma Commodore Ballroom record label would appear tc charged Tiisfc-era Fleetwood Mac, they have the chords, us guitar pop its timeless appeal. ", bly did them no favours but few some kind of post-apocalyptic Auster's The Country Of Last Things—we'll need some first- They'd be like little carnivals humour so black that you choke in disbelief. And a few of the slow ones could be real wrist- slitters if if weren't for the hair- of-the-dog healing power that he brings to them. Take the bleak look at the defined tend( is in provided enough reassurance to er festival would norm,ilk' re and beautiful "Alone With The these forearms and you will see know the good tilings coming. thai 1 will fry hard and my arms Her arms said: "We are firm and fun seeker. Hie good news that the appeal of this sold- Jjjj Most' trips home, however, erupting from the rubble and be Moon." Lyrically, it's a paeon to hopelessness but musically, it's will do ,1 good |ob plavin ? this graceful and we know what we who've always had enough as sad and sweet as the last standard guitar so that c.i rhev «r,vATl\"Vt'WOl,lt,,U'V,,r thestreii"th ol the i K ,ei to _ talk of the Evaporators' quality hunger and humility to watch dance at a '50s high school prom. songs from paper sheets. K [ set from three hours earlier. and listen before telling their sto And then there's that elderly will be bitter but will s nind Better yet, her upright bass "Yo lon'l *d | k Adapting brilliantly to a large ries. People like—oh, never opera diva voice of his—amus- suig'hein Willi ,'!!.''|lw. about I Am Spoonbenderexc II, style), even Nardwuar was mind. You know who you are. We all have our lists and the allatonce. sound like more than limb ripping through his arms. They elsiesl ^^'I'lfshou-biTl'l'V'i' upstaged by a guest appearance U)( by Thor. The mighty Canadian Lillies are definitely on mine. Overall, the show felt jollier l.ut sometimes, nut s for said: "We are here Ixh ause ot the up that the Smugglers do Adrian Stout would be waltzing than the last time. That one left 2291 West Broadway @ Vine 24 October 2001 THE NEW YORK SKA JAZZ ENSEMBLE TWO AND A HALF WHITE MALES THE MAD BOMBER SOCIETY Friday, September 7 Marine Club In a building that conjured junior high dance memories, I couldn't stop bopping to the rocksteady beat. Kudos to Ska-T for a show well done. The evening started with Edmonton's Mad Bomber Society. They were sharply dressed, I was impressed. They were accomplished and bouncy, and an excellent start. The horn section was swinging, tight and fun. I enjoyed them more than the next band. Not that Two and a Half White Males were horrible. They're great musicians and all, but I found that musically their sound was chaotic and all over the place. They didn't come across. 1 couldn't dance to it. But that's just me. 1 was still dazzled by The Mad Bomber Society. Eventually The New York Ska Jazz Ensemble ensembled and blew my mind. The joint was finally hopping and you couldn't help but move. They had it all from the sexy slow sway to the start and stop of the moon stomp. Man those cats could play. The greatest thing? Everybody was there and everybody was having a good time. The jazz purists rocking, the punk kids jumping. The old ladies shaking and the too cool twitching. I can honestly say a fun time was had by all. Maybe bring them out in dro I'm already there. Robin F THE FANTOMAS ATOM SMASHER Monday, September 10 Richard's on Richards Mike Patton has a thick neck. So does Henry Rollins. And Mike Vallely. They all have thick arms, too, and heavy fists. Patton used his fists to conduct the band and clasp the snake stands while he sang like Callas. Rollins and Vallely use their fists to grip pencils and write horrifi- cally bad poetry. Patton writes beautiful lyrics, "MUH-muh- muh-muh-muh-muh-MEEE," being his most poetic line, since stealing lines from Destiny's Child doesn't count. I couldn't sleep after, the show. I thought of gongs and afros, and I kept giggling because The Fantomas are funnier than The Frogs. I tried to think of Atom Smasher and his boring laptop, but it didn't work. I rolled around for a bit with my eyes closed, then got up at six and stared at the planes. Christa Min BELLE AND SEBASTIAN JONATHAN RICHMAN Thursday September 13 The Orpheum To me, the concert didn't start with Jonathan Richman. It started with the line up outside The Orpheum, which stretched on for three blocks when I arrived at 6:20. Doors at seven, show at vill I know eight and people had been waiting to get prime general admission seats since about four or five p.m. I suspected that the people at the very front of the line had been there all afternoon. Jonathan Richman was a fun opening act. His funny lyrics and goofy stage persona had me amused. He was endearing. The girl behind me was in love by the end of his set, which included Richman punching the air, walking away from the microphone, and removing (not too much) clothing. People cheered and sang along, and more than one person confessed they preferred Richman to Belle and Sebastian when the show was After a lengthy ii Belle and Sebastian plus a whole ensemble of musicians took the stage. I don't know why, but I didn't expect there to be a string section and an entourage. What was 1 thinking? If the band was going to be able to replicate their multi-instrument album sound on stage, they were going to need a little help from their For a moment, things were beautiful. Then a whole lot of losers rushed the stage and people started to stand because they couldn't see. I was highly annoyed because I spend enough time standing at other shows and I'm short and can never see anything. Also, why stand when you can sit? After threatening the lives of several standees, I moved to the balcony and quit my whining. Aside from wanting to throttle the people behind me who were talking the entire show (why pay almost 40 bucks to be at the show if you're going to talk over Stuart Murdoch's glorious voice), things on the balcony were good. When Murdoch launched into "The State I Am In," I felt tears forming in my beady eyes. Tears! I'm usually a robotic jerk at shows. I had a brief fantasy of following the band from city to city and anticipating Isobel Campbell's shy vocals. This didn't last too long though. Reality kicked in. The band left without doing an encore. Sure, they let people dance on stage with them (we got to witness some dude do perfect splits and some girl's ass), but they didn't even come out and acknowledge the unprecedented display of emotion by the audience. I don't think I've ever seen so many snotty kids on their feet, clapping and cheering. A whole audience of robotic jerks came to life and the members of Belle and Sebastian didn't even come back to wave good-bye. The house lights came on and we realized that there was going to be no more. Sure, I liked tlie show. Things were tight and the music was beautiful. But I have to say that I was disappointed. The very greedy person in me wanted more! More! And because I'm not an orphan in a Charles Dickens novel, I expect my selfish wishes to be granted every time. Doretta Lau MIKE WATT AND THE JOM AND TERRY SHOW STATION A The Starfish Room September 16,2001 Gawd, for all the tons of times Mr. Watt has been in town over the last three years, I guess the last time I saw him live was all the way back when he was playing the second stage at Lollapalooza, at least six or seven summers ago, touring on his solo debut, Ball-Hog or Tug Boat? The short, 40 minute hit of Mike Watt turned me off the performer who was once one of, if not the best bass players going in all of punk rock fiefdom. Problem was the sound was bad, the stage was too small, all the rock festival snots who had recently been switched onto Watt through the Eddie Vedder- voiced minor-hit "Against the 70s" and then crowded the front of the stage and talked during his set, leaving us HREHOSE and Minutemen fans to grumble amongst one another near the back of the unmoving throng— mainly about the crowd's dichotomy and how Watt pandered to the mass of FM radio bastards in front of the stage. 1 finally relented when I found Watt was to play the Starfish shortly after I missed his support role for J Mascis back in July. After all, the 'Fish is one of my favourite acoustically-sound rooms in the city—perfect for getting the full THUMP of that infamous chunky bass riffage. I arrived midway through the set of the opening band which is quickly becoming Vancouver's answer to Hiisker Du—or maybe even an early Dinosaur Jr.—stationA. Their distortion-heavy set was the perfect primer to the full-blown bass-blast with which, I increasingly hoped as my anticipation built, Watt would redeem himself in my mind. It didn't hurt that stationA's strong following had already started to fill the dance floor with slightly inebriated head-bobbers to culminate with as full a dance floor as I'd seen in the 'Fish on a Sunday, by the time Watt hit the stage, in as long as I could remember. The nice thing about Mike Watt is that he doesn't frig around with long soiindchecks. A mere 10 minutes after stationA departed the stage, Watt was already well into the first song of his nearly hour-and-a-half set. He didn't contain himself and his trio—rounded out by a pair of former Pair of Pliers players (known collectively as the Jom and Terry show when backing Watt) Jerry Trebotic on drums and Tom Watson on guitar and vocals (who would sing d. boon's lead vocals whenever it came time to cover another Minutemen classic)—to just his solo repertoire, either. While he started out with a mix of tunes from Contemplating the Engine Room, the first two fIREHOSE mm A NEW MORNING THE (INTERNATIONAL) NOISE CONSPIRACY .■ Mm classics, he carried on to a cover of Richard Hell's "Mine, All Mine" as well as a small handful from that now-infamous star- 25E^3l®aS studded solo debut like "Big Train," "Chinese Firedrill," and "Tuff Gnarl." Through the entire set, Watt literally spat out his vocals upon the entirely enthralled front row, sweated up a storm in his long- sleeve red flannel lumberjack to Coca-Cola or car manufacturers, Mike Watt is still reveling in his youth, his love of music and the positive energy that longtime fans have showered upon him to and ethic as he has ever been throughout his lengthy perform- rtbicci gates it Ihestarlisti room, by barb yamazakl. als: stationA, his band, his roadie, the bar, the hooker, the Mike Chilton HOT LITTLE ROCKET Monday, September 17 The Sugar Refinery Strangely, the coffee at the Suga Refinery was not so good tha Monday night. Foi Little Rocket's Vancouver ti stop made things right aga Thanks to the band's bowli Hot had a pretty good idea of what to expect from them, and nobody was disappointed when they got up and did their post- punk thing. Hot Little Rocket divided their melodic assault into two reasonably long sets, the first of getic. The whole evening was tight, with complex and solid percussion provided by Regina emigre Joel Nye. My cynical escort wondered aloud whether bassist Mark MacArthur and Wedderburn practice their spec- mirror, but that's really no criti- band do/.ing off Oil stage, anyway? Meanwhile, guitarist Aaron The bulk of the songs were from Danish Docun Little Rocket's recer length on Endearing Records. With a formula characterized by the entire band can bring out away at all of the right moments. Principal songwriter Smelski's old band, Sky Suspended, were frequently compared to My Bloody Valentine, but Hot Little Rocket takes that sound in new directions. Both of the band's ' nry, Hot back- makin tl. ir once-meaningful1 anthems iar with the Calgary four-piece Michael Schwandt CiTR DJ PROFILE Luke Meat Anoize Wednesdays 12:00PM- 1:00PM R [ B R (t B R 1 tl B i \ ! f Q i I i\ 1 F B S A ecord played most often on ou ReecC Metal Machine A orbetomagus, Bunclrn Hair T ecord you would save in a ie) My El Topo Soundtrack o Oth are pretty valuable (but ecord that sliould burn in h don't know the actual name at say, "That was last year b ook that you would save in ■rtle the Turtle by Dr. Seuss (f /orst band that you like: lave been known to jump ai too much to bear. rst record you bought: ueen, The Game. ast record you bought: avuio Fun With Elvis Onstage lusician you'd like to marry ira Jane O'Neil for the mum avorite show on CiTR: eakfasl with the Browns (brin trangest phone call ever rec guy who asked me "What plied, "A noisy noise annoy your show: lusic, Keiji Haino, The Book of 'Eternity Set Aflame and iaf Long ire: a Apple Records or Tlie Industrial Records Story compilation, mly to me I think...). ell: .. tlie one with those pre-teen "Destiny's Child" look-alikes ov, m the EIGHTH grade..." Barfalicous. afire: ossibly the best book about turtle-stacking). ound to (Corn's first album when my white, suburban angst iling; Lydia Lunch for the pegging. 5 June back!!!), Hans Kloss. eived on-air: kind of a noise annoys an oyster?" I said, "What?" and he s ail oyster!" and then hung up. • ZEN GUERRILLA JOHN FORD HOTWIRE Tuesday, September, 18 Starfish Room Sorry to say I wasn't too impressed by the openers, even with the name change I think this was a case of good musicians wasting their obvious talents in a mediocre band. On the contrary, John Ford set the mood right with their driving, Replacements-meets-Flamin' Groovies extendo-jam rock. For surrendered to our girlie screams for more, knocking out "The Seeker" while we knocked out the drummer as he dove headfirst into our flailing arms. Pity this show had to happen on a weeknight, as there should have been way more people there, but I don't think anyone walked out disappointed, and besides, would you want to argue with a six-foot plus giant who says we have the best rock and roll scene in Canada? Okay, that I thmk about it, that's realized that all you need in this crazy world is a Roxichord, a drum set, and a busty sweater clad girl in the front dancing up But who saw it? Only me and circus folk. Belle and Sebastian can almost fill the Orpheum but Quasi can't fill the Richard's on Richards dance floor. Fortunately, Sam and Janet did the obvious thing; they took the crowd on a journey to a place where it rains all the time and everyone has no shoes and holes The; and d s duo Th lb, ti bi fourteen again, lantomas at richard's. photo by jay. linly debatable, but I still a band that maintains a relativt ly low profile locally, it was co< to see a band actually gears from begi n these ids. -headlin something in the air, oi alley, all right?'Nuff said. Bryce Dunn QUASI THE MAGIC MAGICIANS Thursday, September 20 Richard's on Richards Sometimes I feel like no one Magic Magicians were tight, driving but not very memorable... yet. When Quasi came on I ditched the friend I was with, came to the front and, oh, what's the term... oh, yes, rocked out. How can Janet Weiss drum and dance at the same time? Why are there so many duos? Why are pale ales so darn tasty? I loved three things about the concert. One, the fact that Quasi songs are addictive. Two, Janet can drum like a muthafuc- ka. Lastly, going to this concert was like going to my first school dance, except the crowd was like the girls and the band was like the boys. They were so far away from each other at the beginning but as the show developed, they slowly creeped closer and started half-dancing, eventually getting some enjoyment out of it. Fun had by all? Yeppers. Chris-A-Riffic : llo\ tell a tha NORDIC TRAX FALL 2001 RELEASES IN STORES NOW NORDIC TRAX NT022CD/2LP R30t€ 1 NORDIC TRAX NT018CD | - - - •*• '23 VARI0US ARTISTS / MIXED DY LUKE MCKEEHAN '-!33 'LAZY TRANSMISSIONS' ALSO AVAILABLE FROM NORDIC TRAX: NT014CD/2LP NECESSARY PIECES 2 VARIOUS ARTISTS NT010 CD / 2LP MOBILE VILLAGER GAVIN FROOME NT007CD NECESSARY PIECES VARIOUS ARTISTS 26 October 2001 October Long Vinyl October Short Vinyl October Indie Home Jobs 1 team mint vol. 2 2 bombay 2: electric... 3 roots manuva 4 llorca 5 zen guerrilla 6 new town animals 7 quasi 8 stereolab 9 beans 10 spiritualized 11 buttless chaps 12 dirtmitts 13 dub pistols 14 coal 15 freeworm 16 spookey ruben 17 solex 18 almost transparent blue 19 ivy 20 guess who 21 real mackenzies 22 jamiroquai 23 duotang 24 jerk with a bomb 25 motorama 26 twilight circus dub... 27 dj serious 28 built to spill 29 fugu 30 superchunk 31 the strokes 32 basement jaxx 33 fantomas 34 stationA 35 the rondelles mint run come save me big dada new comer f c omunications shadows on the sun sub pop is your radio active mint sword of god touch and go sound-dust electra crane wars zum let it come down astralwerks death scenes 1 II III independent the dirtmitts sonic unyon six million ways to live a&m beautiful afterburn independent vegetation=fuel outside bed hi-hat low kick and hard bop matador s/t independent long distance nettwerk shakin' all over sundazed loch'd and loaded honest don's 2001: a funk odessey epic the bright side mint the old noise rocket powder volcanic dub dim sum ancient melodies.. fugu 1 here's to shutting u is this it rooty the director's cut the wasp factory shined nickels... scratch independent sound king warner minty fresh merge rca xl ipecac flyer k 1 the evaporators honk the horn 2 red hot lovers s/t 3 the pattern feverish 4 new town animals lose that girl 5 removal/joey shithead 3 of 10 6 the exploders 7 the vultures 8 tijuana bibles 9 planet smasher 10 hot dog city 11 the pinkos 12 andy votel what's what and... alcoholic lady mexican courage infalet to 45rpm citiwoman to my valentine girl on a go-ped 13 five eight/clemente the kids v\ □ rock.. 14 step sister 15 electro group 16 lost sounds 17 les sexareenos 18 sunset valley 19 hacksaw 20 enon shoeshme line of sight 1 + 1= nothing ruby d parade on my rain she's got my back listen (while you talk) nardwuar redline gsl mint removalmusic teenage usa dirtnap trophy jump start proshop empty twisted nerve mood swing red hour omni empty telstar sea level independent .elf starter found... 1 three inches of blood 2 six block radius 3 the lollies 4 joel 5 Vancouver's shame 6 red hot lovers 7 solasis 8 i just wanna beer 9 a girl named sue 10 xeroxed brother 11 amarillo stars 12 garnet sweatshirt 13 the metrics 14 closer than kin 15 coupon 16 girl nobody 17 pet fairies 18 rnc potbelly 19 hummer 20 the switch conquerors... kill to hide be my bad boyfriend heart x 50' woman what's for dinner fuck or fight digiworld Victorian pork odd fragmented s/t american woman sand crawler stand up 2001 alone boner for betry horizontal latest thing las vegas laser child HOW THE CHARTS WORlT) The monthly charts are compiled based on the number of times a CD/LP ("long vinyl"), 7" ("short vinyl"), or demo tape/ CD ("indie home jobs") on CiTR's playlist was played by our djs during the previous month (ie, "October" charts reflect airplay over September). Weekly charts can be received via email. Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts" • Advertise with DiSCORDER. Call Steve DiPo at 604.822.3017 ex. 3 or 604.329.FUNK Local Music Have you sent CiTR your band's demo tape, but you're still not on the charts? Your tape is sitting in a pile. A large pile that needs someone to listen to it. CiTR is looking for a volunteer demo director. Call Luke at 604. 822.3017 ex. 1 for more information. Vancouver local music needs you! 27E^g£EESffi SUNDAY ARE YOU SERIOUS? MUSIC 9:00AM-12:00PM All of time is measured by its art. This show presents the most recent new music from around the world. Ears open. THE ROCKERS SHOW 12:00- 3:00PM Reggae inna all styles and fashion. BLOOD ON THE SADDLE 3:00-5:00PM Real-cowshit- caught-in-yer-boots country. CHIPS WITH EVERYTHING alt. 5:00-6:00PM British pop music from all decades. SAINT TROPEZ alt. 5:00- 6:00PM International pop (Japanese, French, Swedish, British, US, etc.), '60s soundtracks and lounge. Book your jet set holiday now! QUEER FM 6:00 8:00PM Dedicated to the gay, lesbian, munities of Vancouver and listened to by everyone Lots of human interest features, background on current issues and great music. RHYTHM INDIA 8:00- 10:00PM Rhythm India features a wide range of music from India, including popular music from Indian movies from the 1930's to the present, classical music, semi-classical music such as Ghazals and Bhajans, and also Quawwalis, pop and regional language numbers. THE SHOW 10:00PM- 12:00AM Strictly Hip Hop- Strictly Underground-Strictly Vinyl. With your hosts Mr. Rumble on ihe 1 & 2's. TRANCENDANCE12:00- 2:00AM Join us in practicing the ancient art of rising above common thought and ideas as your host, DJ Smiley Mike lays down the latest trance cuts to propel us into the domain of the mystical. <trancendance@hot- mail.com> FILL-IN 2:OO-6:00AM MONDAY 6:00- SALARIO MINIMO 8:00AM Spanish rock, ska, techno, and alternative music — porque no todo en esta vida es "salsa!" (Temporarily moved to Tues. 8-9PM.) BREAKFAST WITH THE BROWNS 8:00-11:00AM Your favourite brown-sters, James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delights! Tune in and enjoy each weekly brown plate special. Instrumental, trance, lounge, and ambience. FILL-IN alt. 11:00-1:00PM GIRLFOOD ah. 11:00- 1:00PM PARTS UNKNOWN 1:00- interview with your host Chris. STAND AND BE CUNTED 3:00-4:00PM DJ Hancunt wants you to put your fist to the wrist—you know EVIL VS. GOOD 4:00-5:OOPM Who will triumph? Hardcore/punk from beyond the grave. WENER'S BARBEQUE 5:00- 6:00PM Join the sports dept. for their coverage of the T-Birds and some other goofiness, giveaways, and gab. FILL-IN alt. 6:00-7:30PM REEL TO REEL alt. 6:00- 6:30PM Movi, for CONTEMPORARY alt. 6:30 7:30PM Words ( jackasses. WIGFLUX RADIO 7:30 9:00PM Since we can't go into advertis ing, we thought we'd go intc radio. Our blurb sux, but our show don't. Tune into Wigflux Radio with your hosts Vyb and Krystabelle. THE JAZZ SHOW 9:00PM- 12:00AM Vancouver's longest running prime time jazz program. Hosted by the ever-suave Gavin Walker. Features at 1 1. Oct. I: From Chicago (via Memphis) the MJT Plus Three, a wonderful and still fresh sounding group from the early '60s in a newly discovered and previously unreleased disc featuring alto saxophonist extraordinaire Frank Strozier. Oct. 8: We celebrate the birthday of one of the great masters of the baritone saxophone, the late Pepper Adams, in a rare early disc called Critic's Choice. Oct. 15: Bassist/pianist/composer Charles Mingus wih a large mble of his irdings, Let My Children Hear Music. Oct. 22: In honour of his concert here in Vancouver (Oct. 30), Keith Jarrett (piano), Gary Peacock (bass) and Jack Dejohnette (drums) are presented in selections from Jarrett's latest Whisper Not. Oct. 29: "Zoot Sims" was one of the hardest swingin', yet lyrical tenor saxophonists in jazz. Tonight we celebrate his birthday by airing his no. 1 Sims recording Down Home. VENGEANCE IS MINE 12:00- 3:00AM Hosted by Trevor. It's punk rock, baby! Gone from the charts but not from our hearts—thank fucking Christ. PSYCHEDELIC AIRWAVES 3:00-6:30AM TUESDAY PACIFIC PICKIN' 6:30-8:00AM Bluegrass, old-time music, and its derivatives with Arthur and "The Lovely Andrea" Berman. WORLD HEAT 8:00-9:30AM An old punk rock heart considers the oneness of all things and presents music of worlds near and far. An eccentric and eclectic journey for open minds and the good of all. Not to be missed. Your host, the great Daryloni, seeks reassurance via <worldhear@hotmail.com>. THIRD TIME'S THE CHARM 9:30-1 1:30AM Open your ears and prepare for a shock! A harmless note may make you a fan! Hear the menacing scourge that is Rock and Roll! Deadlier Sunday Monday Tuesday Wednesday Thursday Friday Saturday 7 8 9 10 11 I 12M 1 2 3 6 7 8 9 10 11 | 12" 1 2 3 4 5 REGGAE LINKUP ARE YOU SERIOUS? MUSIC ROCKERS SHOW BLOOD ON THE L SADDLE CHIPS WITH I Po I SAINT I p0 EVERYTHNGL—J TROPEZ I SALARIO MINIMO BREAKFAST L~ WITH THE BROWNS PARTS C UNKNOWN STAND AND BE CUNTED(CF) EVIL VS. GOOD MEAT EATING VEGAN(Ec) PACIFIC PICKIN' THIRD TIMES THE CHARM U ELECTROMAGNETIC PUSES CPR BBC WORLD SERVICE SUBURBAN JUNGLE FOOL'S PARADISE L THE NORTHERN WISH TE RADO FREE PRESS E MOTORDADDY E BBC WORLD SERVICE END OF THE WORLD NEWS s PLANET E LOVETRON CANADIAN LUNCH T* RHYMES & REASONS BBC WORLD SERVICE CAUGHT IN THE RED T£- SKA-T'S L SCENIC DRIVE THESE ARE THE L BREAKS LEO RAMIREZ l* SHOW NARDWUAR PRESENTS BBC WORLD SERVICE THE SATURDAY EDGE SOULSISTAH RADIOL: POWERCHORD CODE BLUE 8 9 10 ' 11 12™ 1 2 3 10,000 VOICES (Tk) QUEER FM TE RACHEL'S SONG CiTR NEWS (Tk) ELECTROLUX HOUR CONTEMPORARY FLEX YOUR HEAD POP GOES THE [i7 WEASEL OUT FOR KICKS W RHYTHM {_____ INDIA WIGFLUX RADIO1- T5 THE JAZZ SHOW TK ON AIR HE | WITH GREASED HAIR FAREASTSIDE SOUNDS | Rts VENUS^ FLYTRAP TRANCENDANCI ¥ SOULLfl SONIC WANDERLUST Ujt7 LIVE FROM... h~* THUNDERBIRD HELL ~w\ AFRICAN RYTHMS RADIO FREE AMERICA TE SYNAPTIC SANDWICH HIGHBRED VOICES VENGEANCE IS MINE! HANS KLOSS' MISERY HOUR BREAKING \E_\ WAVES IN YOUR HEAD SOUL TREE FILL-IN AURAL TENTACLES PSYCHEDELIC AIRWAVES FIRST FLOOR SOUND SYSTEM PLUTONIAN NIGHTS PIPE DREAMS |Hh/Dc EARWAX REGGAE LINKUP ' Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop Hk= Hans Kloss • Ki=Kids • Jz= jazz.* Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk Re= reggae • Rr= rock • Rts= roots I 28 October 2001 than the most dangerous criminal! <3rdxcharm@home.com> BLUE MONDAY alt. 11:30AM- 1:00PM Vancouver's only indus- trial-electronic-retro-goth program. Music to schtomp to, hosted by Coreen. (She's back!) ELECTROMAGNETIC PULSES alt. 11:30AM-1:00PM (DJ Psionic back in action!) PARTICLE 1:00-2:00PM Incorporated into the soul are the remnants of digital sound. Unleashed, cryptic economies accelerate the sound particles through slates of Becoming, breaking the flesh, whirling, hydra-head, rhizomatic sky. CPR 2:00-3:30PM buh bump... buh bump... this is the sound your heart makes when you listen to science talk and techno... buh bump... THE CUTE N' CUDDLY SHOW 3:30-4:30PM Christina returns with a show for the little listeners out there —kid's songs, stories, special guests and more. ELECTRIC AVENUES 3:30- 4:30PM Last Tuesday of every month. THE MEAT-EATING VEGAN 4:30-5:00PM 10,000 VOICES 5:00-6:00PM Poetry, spoken word, perfor- FLEX YOUR HEAD 6:00- 8:00PM Punk>Hardcore>Metal>Bandana- thrash>Fastcore>Straightedge as fuck. Since 1989, yo. http: //flexyourhead .vancouver- jctivist news and spoken word heap of over 50 years worth of vith some music too. real rock V roll debris. SKA-T'S SCENE-IK DRIVEI 10:00AM-12:00PM Email requests to <djska_t@hot- 9:00PM Greek radio. (On hiatus 'til further notice.) A WALK ABOUT THE WORLD 9:00-10:00PM VENUS FLYTRAP'S LOVE DEN alt. 10:00PM- 12:00AM <loveden@hotmail.com> SOULSONIC WANDERLUST alt. 10:00PM-12:00AM Phat platter, slim chatter. AURAL TENTACLES 12:00- 6:00AM Ambient, ethnic, funk, WEDNESDAY BBC WORLD SERVICE 6:00- 7:00AM THE SUBURBAN JUNGLE 7:00- 9:00AM Bringing you an enter and old music live from the Jungle Room with your irreverent host: Jack Velvet and Nick The Greek R&B, disco, techno, soundtracks, Americana, Latin jazz, news, anc gossip. A real gem! <suburbanjungle@channel88.com> FOOL'S PARADISE 9:00 10:00AM Japanese music anc THE NORTHERN WISH 10:00AM-12:00PM Spike spins Canadian tunes accompanied by spotlights on local artists. ANOIZE 12:00-1:00PM Luke Meat irritates and educates through musical deconstruction. Recommended for the strong. THE SHAKE 1:00-2:00PM RADIO FREE PRESS 2:00- 3:00PM Zines are dead! Long live the zine show! Bleek presents the underground press with articles from zines from around the world. MOTORDADDY 3:00-5:00PM "Eat, sleep, ride, listen to Motordaddy, repeat." RACHEL'S SONG 5:00-6:30PM Socio-political, environmentally :helssong@lycos.com> POP GOES THE WEASEL 6c30-7:30PM AND SOMETIMES WHY alt. 7:30-9:00PM sleoter-kinney, low, sushi... these are a few of our fave-oh-writ things. (First Wednesday of every month.) REPLICA REJECT alt. 7:30- 9:00PM Indie, new wove, punk, noise, and other. FOLK OASIS 9:00-10:30PM Roots music for folkies and non- folkies... bluegrass, singer-song- writers,worldbeat, alt. country and more. Not a mirage! <folkoasis@canada.com> STRAIGHT OUTTA JALLUND- HAR 10:30PM-12:00AM Let DJs Jindwa and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay." HANS KLOSS' MISERY HOUR 12:00-3:00AM Mix of most depressing, unheard and unlis- tenable melodies, tunes and voices. FIRST FLOOR SOUND SYSTEM 3:00-6:00 AM THURSDAY BBC WORLD SERVICE 6:00- 8:00AM END OF THE WORLD NEWS 8:00-10:00AM PLANET LOVETRON 10:00- 11:30AM Music inspired by Chocolate Thunder, Robert Robot drops electro past and present, hip hop and intergalactic funkmanship. CANADIAN LUNCH 11:30AM- 1:00PM From Tofino to Gander, Baffin Island to Portage La Prairie. The all-Canadian soundtrack for your midday snack! STEVE AND MIKE 1:00- 2:00PM Crashing the boy's club in the pit. Hard and fast, heavy and slow. Listen to it, baby (hardcore). THE ONOMATOPOEIA SHOW 2:00-3:00PM Comix comix comix. Oh yeah, and some music with Robin. RHYMES AND REASONS 3:00- 5:00PM Back in full effect, Jan-9 and DJ Hedspin. LEGALLY HIP alt. 5:00-6:00PM PEDAL REVOLUTIONARY alt. 5:00-6:00PM Viva la Velorution! DJ Helmet Hair and Chainbreaker Jane give you all the bike news and views you need and even cruise around while doing it! http://www.sus- toinability.com/dinos/radio OUT FOR KICKS 6:00-7:30PM No Birkenstocks, nothing politically correct. We don't get paid so you're damn right we have fun with it. Hosted by Chris B. ON AIR WITH GREASED HAIR 7:30-9:00PM The best in roots rock 'n' roll and rhythm and blues from 1942-1962 "with your snap- pily-attired host Gary Olsen. <ripitup55@aol.com> LIVE FROM THUNDERBIRD RADIO HELL 9:00-11:00PM Local muzak from 9. Live bandz from 10-11. HIGHBRED VOICES 11:00PM- 1:00AM PLUTONIAN NIGHTS 1:00- 6:00AM Loops, layers, and oddities. Naked phone staff. Resident haitchc with guest DJs and performers. http://plutpnig.prg FRIDAYS BBC WORLD SERVICE 6:00- 8:00 AM CAUGHT IN THE RED 8:00- 10:00AM Trawling the trash kVck abound t t.\o\x.f loo \ THESE ARE THE BREAKS 12:00-2:00PM Top notch crate diggers DJ Avi Shack, DJ Splice, and Promo mix the underground hip hop, old school classics and original breaks. Fresh tracks, funky beats. THE LEO RAMIREZ SHOW 2:00- 3:30PM NARDWUAR THE HUMAN SERVIETTE PRESENTS... 3:30- 5:00PM Please keep on rawkin' in the free world and have a good breakfast. Rock on, Nardwuar and Cleopatra Von Flufflestein. CITR NEWS AND ARTS 5:00- 6:00PM FAR EAST SIDE SOUNDS alt. 6:00-9:00PM AFRICAN RHYTHMS alt. 6:00- 9:00PM David "Love" Jones brings you the best new and old jazz, soul, Latin, samba, bossa, and African music from around the world. HOMEBASS 9:00PM-12:00AM Hosted by DJ Noah: techno, but also some trance, acid, tribal, etc. Guest DJs, interviews, retrospectives, giveaways, and more. BREAKING WAVES IN YOUR HEAD 12:00-2:00AM SATURDAY FILL-IN 2:00-6:00AM BBC WORLD SERVICE 6:00- 8:00AM THE SATURDAY EDGE 8:00AM- 12:00PM Studio guests, new releases, British comedy sketches, folk music calendar, and ticket giveaways. 8-9AM: African/World roots. 9AM-12PM: Celtic music and SOULSISTAH RADIO 12:00- 1:00PM POWERCHORD 1:00-3:00PM Vancouver's only true metal show; local demo tapes, imports and other rarities. Gerald Rattlehead, Dwain, and Metal Ron do the damage. CODE BLUE 3:00-5:00PM From backwoods delta low-down slide to urban harp honks, blues, and blues roots with your hosts Jim, Andy, and Paul. ELECTROLUX HOUR 5:00- 6:00PM RADIO FREE AMERICA 6:00- 8:00PM Extraordinary political research guaranteed to make you think. Originally broadcast on KFJC (Los Angeles, CA). SOUL TREE alt. 10:00-1:00AM From doo-wop to hip hop, from the electric to the eclectic, host Michael Ingram goes beyond the call of gospel and takes soul music to the nth degree. (Welcome back Michael!) PIPEDREAMS alt. 10:00- 1:00AM THE RED EYE alt. 1:00-4:30AM EARWAX alt. 1:00-4:30AM "noiz terror mindfuck hardcore like punk/beatz drop dem headz rock inna junglist mashup/distort da source full force with needlz on wax/my chaos runs rampant when I free da jazz..." Out.- Guy Smiley REGGAE LINKUP 4:30-9:00AM Hardcore dancehall reggae that will make your mitochondria quake. Hosted by Sister B. JbL. 29E^§2®£i3£ FRI SEPTEMBER 28 jt king@the silvertone tavern; mother of pearl@van. east cultural centre; big sugar@the commodore; breakin' the bank (mobglob fundraiser)@wise hall; mat the alien@sonar; the birthday machine, xiu xiu@sugar refinery; wi kight, stefan smulovitz, nic bragg, vera gamboa, object, 3epkaao, dj aural, loscil@video in; Victorian pork@railway SAT 29 witness protection program, trail vs. russia, the metic, the idiom@the cobalt; kim barlow, undertakin' daddies@capi- lano college; uzume taiko ensemble@norman rothstein theatre; ms. honey dijon@sonar; the radio, fastidious blind man; dj tobias and construct, artificial intelligence, Jovian francey, cid and eric, kim cascone, jetone@video in SUN 30 buck 65, q-burns abstract message@sonar; buttless chaps@sugar refinery; true originals@the backstage lounge (granville island); stevie vallence quintet@st. wesley's church MON OCTOBER 1 sigur ros@st. andrews wesley church; masa anzai, ron sam- worth, dylan vanderschyff@sugar refinery TUES 2 CiTR PRESENTS SHINDIG! DISCO INCOGNITO, OASIS, MR PLOW@THE RAILWAY CLUB; sense field, honeysuckle serontina@starfish room; parallela jazz with masa anzai@sugar refinery WED 3 moe@the commodore; uncle bomb@sugar refinery THUR 4 1 NS1 PI D@silvertone tavern; southern culture on the skids, slim cesssna's auto club@wett bar; hawksley workman and the wolves@richard's on richards; flamenco de la mai- son@norman rothstein theatre (oct 4-7); booti dharma, lo-fi love@starfish room FRI 5 nils petter molvaer@sonar; apples in stereo@richard's on richards, the sound of things to come@w.i.s.e hall; vetta chamber music@w. point grey united church; nevermore@columbia hotel; bif naked, live on release, static in stereo@the commodore; millennium project@sugar refinery; iva bittora@the cultch SAT 6 turf birthday party, the battles, the birthday machine, the ewoks@ms. t's; basement jaxx, ugly duckling@the commodore; shikasta, the farrell brothers@the pic pub; coal, sin- forosa@sugar refinery; explosive rage disorder, meat locker 7, nevermore@red lion (victoria); coal, sinforosa@sugar refinery SUN 7 the pink show@the cavern (&1 1 th-1 5th); diana krall@the orpheum; ubc opera ensemble@chan centre; the real mcken- zies@the boot (whistler); mixmaster mike, swollen mem- bers@the commodore; hayden@railway club MON 8 el vez@richard's on richards; the faint, radio berlin, now it's overhead@starfish room; contrail@sugar refinery TUE 9 CiTR PRESENTS SHINDIG! SIX BLOCK RADIUS, FLIP- SWITH, TOMAS@THE RAILWAY CLUB; soul manifesto featuring rodney jones@richard's on richards; beaux arts trio w/menahem pressler@vancouver playhouse; ben folds, citizen cope@the commodore; parallela jazz with masa anzai@sugar refinery WED 10 blue rodeo@the commodore; alien ant farm, pressure4-5, dredg@starfish room; sista monica@yale hotel; dave sey- mour@sugar refinery THUR 11 bs2000@starfish room; eye of newt collective@sugar refinery FRI 12 les projectionnistes plus two@western front; eugene skovoronikov & the west coast symphony@christ church cathedral; the arsonists@sonar; jonathon inc., flophouse jr.@sugar refinery SAT 13 shankar, zakir Hussain, vikku vinayakram, gingger@the vogue; marduk, kataklysm, amon amarth, diabolic@studebakers night club; 54-40@the commodore; the strokes, moldy peaches@richard's on richards; soul thanksgiving 2001 @first baptist church; felchers, trash train@the pic pub; san pedro circus &magic cordoba@the mint (seattle); kelly churko symphony for a marred man in /apan@sugar refinery SUN 14 steven osborne@vancouver playhouse; all state champion, glasshead, complete@starfish room; the supersuckers, flash bas- tard@richard's on richards; paddy keenan@rogue folk club MON 15 st. germain@the commodore; post no bills gig poster exhib- it@tart gallery ('til nov. 6); namely Vancouver (book launch)@sugar refinery TUE 16 CiTR PRESENTS SHINGDIG! MOTORCYLCE MAN, THE PEOPLE VS FUNK, VUGGY@THE RAILWAY CLUB; jon spencer blues explosion@richard's on richards; parallela jazz with masa anzai@sugar refinery WED 17 afro celt sound system@the commodore; jimmy rankin, maren ord@vogue theatre; cameron dulworth@sugar refinery THUR 18 girl nobody, hinterland, spygirl@purple onion; dave say & kevin elaschuk quintet; dj assault, dana d, kevin price@sonar; kenny glasgow@richard's on richards; fond of tigers@sugar refinery FRI 19 esse cook, SAT 20 ie last of thi d.o.a. orphei 'heritage hall; atalie r aster@the bif naked@the vogue, : pub; v. 10); fire...where there is smoke@scotia dance centre (until n old reliable@sugar refinery SUN 21 femi kuti & the positive force@the commodore; chris friesen@sugar refinery MON 22 laundry@the laundromat TUE 23 CiTR PRESENTS SHINDIG! ETHER'S VOID, MERMAID ENGINE, BESTEST@THE RAILWAY CLUB; oysterhead, the north mississippi allstars@the orpheum; readings with trish kelly (7pm-10)@sugar refinery WED 24 the suicide machines, ensign@starfish room THU 25 lNSlPlD@ms. t's; steroelad, fugu@the commodore; pheonx wisebone@music & more on main; starfly, davey's locker, stam SUBMISSIONS TO DATEBOOK ARE FREE. FOR THE NOVEMBER ISSUE, THE DEADLINE IS OCTOBER 30. FAX LISTINGS IN TO 604.822.9364 OR EMAIL <DISCORDER@CLUB.AMS.UBC.CA> pede queen@starfish room; vue, hot hot heat, notes from underground@the pic pub; trish kelly readings, parallela jazz with masa anzai, smoke rings@sugar refinery FRI 26 power clown, nunstalker@the cambie in nanaimo; preston school of industry featuring spiral stairs, the shins@graceland (seattle); jp carter@sugar refiner SAT 27 orchid ensemble@capilano college; myra melford trio@nor- man rothstein theatre; power clown, nunstalker@the cambie in victoria; mixmaster mike@bc place stadium; rheostatics@the commodore; vague demons@sugar refinery SUN 28 hamid drake, william parker, fred anderson@norman rothstein theatre; kronos quartet@chan centre; pernice brothers@starfish MON 29 Irish kelly, 10 alun piggins@sugar refinery TUE 30 CiTR PRESENTS SHINDIG! RHYTHM STONE, MY BUDDY DAVE, SLIT@THE RAILWAY CLUB; keith jarrett, gary peacock, jack dejohnette@the orpheum WED 31 frankenbooty@honey lounge; conan's hellfire chariot ride to victory halloween gala, and you shall know us by the trail of dead@starfish room; voodoo halloween boat party@the m.v.abitibi Special Events REFRAINS A BUNCH OF NERDS ARE GATHERING ON SATURDAY, SEPTEMBER 29, AT GREEN COLLEGE TO PRESENT PAPERS ON NERDY MUSICAL TOPICS. CHARLES MUDEDE [THE STRANGER) IS A NERD, MICHAEL JARRET (PENN) IS A NERD. STEVEN SHAVIRO (UW) IS A NERD. BRADY CRANFIELD (SFU) IS A NERD, JANNE VANHANEN (HELSINKI) IS A NERD. THEY'LL ALL BE THERE. IT IS FREE TO BE A NERD. LISTEN AND LEARN. SHINDIG! CITR'S ANNUAL BATTLE OF THE BANDS HAPPENS EVERY TUESDAY AT THE RAILWAY CLUB. GO AND HECKLE AND TELL JOKES FOR BEER, OR GO TO SEE SOME OF VANCOUVER'S NEWEST AND OLDEST BANDS. 30 October 2001 Get your Groove on!! Tix @ Highlife, Zulu ■ | Tix & info www.up2treamentertainment.com or 604 904 4207 The Outside Is In October new sounds at zulu SMOG Rain On Lens CD/LP SMOCs Bill Callaghan is like I a sadistic documentary film- ' maker cursed to create the same movie about the same doomed love affair again and again and again . This time around, though, his unflinching stare into the broken heart of mundanely failed romance is interrupted. There's rain on the lens and, with his view obscured, the director is forced to take a step back and survey the scene without the mediating barrier that his camera provides. The results suggest that a few cracks are appearing in tlie frozen sea within him. Still, this is another chilling SMOG production. CD/LP 19.98 LAMBCHOP Tools In The Dryer CD Slang for odds and ends scattered around the house, the phrase TOOLS IN THE DRYER is here evoked by UAMBCHOP s Kurt Wagner as he clears out some audio gems from his home recordings cupboard. Spanning LAMBCHOP's nine- year career, these 16 tracks capture B-sides, alternate- takes, live materials and the odd remix - not bad for a band that started 'making noise in their bedroom'. Enjoy! CD 19.98 VINCENT GALJLO When CD After demonstrating his considerable musical talents on the score for his film Buffalo 66, VINCEMT GAILO received numerous invitations to compose discs for the world's elite record companies. Assiduous research revealed that this Renaissance man was not new to the game of music composition, and had in fact previously worked with Jean Michel Basquiat and John Lurie in an experimental combo, Grey. The stakes were raised. GALLO's name on a contract seemed a sexy sure bet. AVAILABLE OCTOBER 9. CD 19.98 MOLDY PEACHES Moldy Peaches CD A potty-mouth Beat Happening? A one-record Shimmy Disc Revival? But such '. retro-underground referencing won't help us bite to the hard center of the MOLDY PEACHES enigma, because this NYC duo is creating a serious stink in the over-ground right now. For once, the hype is justified MOLDY PEACHES' mixture of lo-fi aesthetics, puerile humour and excellent songwriting is seriously charming. Fans of early Ween take note. CD 16.98 FOURTET Pause CD |#ieran Hebden is a key member of FRIDGE, a British Impost-rock three-piece with genuine talent. As FOUR TET, Hebden spends time alone at home with his PC. thoughtfully cutting and combining sounds, producing tracks for the transnational urban electronic cognoscente. But, with a style that is at times reminiscent of DJ Shadow and Beck, this record will undoubtedly end up in homes everywhere, following a trajectory enjoyed by other recent laidback discoveries, like Prefuse 73 or Kruder And Dorfmeister. for example. Memorize this name now. FOUR TET AVAILABLE EARLY OCTOBER. CD 19.98 FRIDGE Happiness CD Guess what! Post-rock is a ^Hkp* 4% uniquely British phenome- I non that was seized by American bands in the late '90s. It's odd to see UK acts copping inspiration from the diluted US take on this most derided of musical sub-categories. Odd. and in the case of the instrumental trio in question, very entertaining - like a reflection that's sharper than the fuzzy object it echoes. Those of you who've heard FRIDGE offshoots like Rothko and FOUR TET will already know what we mean. Those of you who don't are in for a treat. track listing: 1. Smog 6. Fridge 2. Lambchop 7. Bill laswell 3. Vincent Gallo 8. Money Mark 4. Moldy Peaches 9. Ralph Stanley 5. FourTet 10. Radio Berlin BILL LASWELL Filmtracks2000 CD A collection of evocative soundtrack music, that also serves as a great introduction to the musical breadth of this prolific artist. An eclectic mix of drum'n'bass, rock, jazz, dub, and funk takes a detour through India, the Middle East, Africa and Asia, ending up somewhere in big city America. Featuring such great musicians as Ginger Baker, Nicky SkopeJitis, Bernie Worrell and Jan Wobble. Soothing stuff for troubled times. CD 19.98 CD 16.98 MONEY MARK Change Is Coming CD/LP MARK returns to his old ways! Back to the Keyboard Repair Shop where his antenna has collected a steady stream of new ideas for pretty funky keyboard jams. Hammonds, Acetones, Vox, Rhodes, and Moogs.. .you name it - MARK'S got 'em. You may remember MARK'S wild style on the Beastie Boys' In Sound From Way Out or Check Your Head - the vibe here is similar. Pure and simple, these gritty instrumentais have been informed by 50 years of roasting soul-jazz scores. Highly cinematic in nature. Change h Coming is easy listening for modern method actors! 16.98 CD 14.98 LP RALPH STANELY Clinch Mountain Sweethearts CD Fresh from his successful appearance on the 0 Brother, Where Art Thou? soundtrack and his own best-selling compilation Man Of Constant Sorrow, this collaboration pairs the old master with 15 of the top women performers from country and pop, including Dolly Parton, Joan Baez, Gillian Welch, Iris DeMent, Pant Tillis, Sara Evans, and Lucinda Williams. Enjoy the romance! AVAILABLE EARLY OCTOBER. CD 16.98 RADIO BERLIN The Selection Drone CD/LP Imagine this impossible experiment. Gather all of your favorite Cure, Siouxsie and The Banshees, Joy Division, Echo and the Burarymen, Wire, Gang of Four, and, uh, Fugazi records, and play them all at once. The result would probably be a horrible clashing mess. Thankfully, however, RADIO BERLIN has already done this gathering and playing process for us, generating a remarkable synthesis that slips through time. This second full-length is like RADIO BERLIN'S already great debut, SIBLING, only better in all ways: louder, harder, surer, more dynamic, darker, sexier - everything They're Vancouver's premier post-hardcore '80s revisionary revivalists, indeed. CD 10.98 LP 10.98 OTHER STUFF THAT THAT YOU MIGHT LIKE: THUNDERBALL SCORPIO RISING cd Sanctioned by the Thievery Corporation, this is James Bond lounge! SOLEX LOW KICK AND HARD BOP CD Stolen sounds, scratched CDs and phone conversations inform Matador's Dutch sound collagist's latest SECRET CHIEFS BOOK M CD Two words Mr Bungle KINGSBURY MANX let YOU DOWN cd Fragile pop melodies lap the shores of Great Lake Neil Young. CLINIC INTERNAL WRANGLER CD Inspired by Can and Joe Meek, Coltrane and Suicide . check into the Clinic! HANDSOME FAMILY TWILIGHT CD Underdog folk-country par excellence! DYMAXI0N X4 +3 = 38:33 CD This is Stereolab's favorite band. Akin to a spacerock version of The Fall! THE DREAM SYNDICATE THE DAYS OF WINE AND ROSES CD Released with of bonus material - this still is one of the finer post-punk albums out LOVE AS LAUGHTER SEA TO SHINING SEA CD Ex-K Records favorites, LAL offer some hit it or quit it no-wave punk. MURDER CITY DEVILS thelema cdep/io Get your dancing shoes on! ZEN GUERILLA shadows ON the sun CD/LP Sub Pop's legends return with an ultra-heavy onslaught. BEULAH THE COAST IS NEVER CLEAR CD These darlings of hush pop return with their much- anticipated new full length! ALL PRICES M EFFECT UNTIL OCTOBER 31,2001 A ZULU OSMOSIS Watch for details as our 1972 West 4th Ave location is expanding! More room for specialty New and Used vinyl and premium New CD stock! r*m w~~* rs/c Jester JSbaWt Zulu Records 1972 W 4th Ave Vancouver. BC tel 604.738.3232 www.zulurecords.cor STORE HOURS!
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2001-10-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 2001-10-01 |
Extent | 32 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_2001_10 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | 32c42e06-5aaa-45b5-821e-238af5cae6f0 |
DOI | 10.14288/1.0049928 |
AggregatedSourceRepository | CONTENTdm |
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