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
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MADFUL /
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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
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audio and new media
production and post-
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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^ ♦
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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!
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MULTIPLEX GRAND, FOCAL LENGTH: 11
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SATURDAY OCTOBER 27 8:30pm
SO WRONG THEY'RE RIGHT 2001
W FUNERAL PARTY FOR 8-TRACK MIND
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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
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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
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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!
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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
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f
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1
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B
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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
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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
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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!
Discorder
Discorder CITR-FM (Radio station : Vancouver, B.C.) 2001-10-01
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