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

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 aAlso: Jalodest JYlouse,
Francois o/iouie  Modest Mouse
Ten Days Late
Railroad Jerk
Francois Houle
subcult. part
Cyndy Dall
miko hoffman
art director
ken paul
ad rep
kevin pendergraft
production manager
barb yamazaki
graphic design/layout
atomos, ken paul,
chris eng, erin hodge,
tristan winch
barb, andrew dennison,
jamie bilan, kelsey finlaysoi
lori kiessling,
andrea, barbara a,
james b, sara b,
chris c, michael c, reubt
c, sean c, christina, bryce
glenn d'c, jason d, kevin *
chris e, jovian f, gth, lee h,
jono, anthony k, namiko k,
paul k, lloyd, adam m, megan
m, janis bmc, siobhan mc, julie
m. dj noah, nardwuar, jonny
p, ken p, claire s, June s, peter
s, sara s, ska-t dave t, dan v,
jim v, brian w
Cowshead Chronk?
Diary of Jonnie Loaf Boy
Interview Hell
Printed Matters
Seven Inch
Between the Lines
Real Live Action
Under Review
On the Dial
December/January Datebook
program guide
namiko '
discorder on-line
ben lai
linda scholten
i! And what a classy cover
97\ Happy new year. Ten Days
Hy Jamie Biian, Railkoad Jerk photo
by Lori Kiessung. Graphic Duh-Sign by Ken
"I LOVE flowers!" Paul.
O "DiSCORDER" 1997 by th* Student Radio Society of
the Univer.ity of British Columbia. All rights reserved.
Circulation 1 7, 500.
Subscriptions, payable in advance, to Canadian residents
are $ 15 for one year, to residents of the USA are $15 US;
$24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make checks or money orders
payable to DiSCORDER Magazine.
DEADLINES: Copy deadline for the February issue is January 15th. Ad space is available until January 22nd and
can be booked by calling Kevin at (604) 822-3017 ext. 3.
Our rates are available upon request. DiSCORDER is not
responsible for loss, damage, or any other injury to unsolicited manuscripts, unsolicited artwork (including but
not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be
submitted on disc (Mac, preferably) or in type. As always,
English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR
can be heard at 101.9 fM as well as through all major
cable systems in the Lower Mainland, except Shaw in
White Rock. Call the CiTR DJ line at 822-2487, our office ot
822-3017 ext. 0, or our news and sports lines at 822-3017
ext. 2. Fax us at 822-9364, e-mail us at CiTR6UNIXG.UBC.CA,
visit our web site at http://wwvr.ams.ubc.ca/media/citT or
just pick up a goddamn pen and write #233-6138 SUB Blvd.,
Vancouver, BC, CANADA V6T 1 Zl.
FRI. SAT.  DEC.  27th.  28th,
MON.  DEC.  3Qth
TIX: $20
THUR. JAN. 2nd
FRI; ^AN, 3rd
17th   19th
FRI. SAT. JAN. 24th.  25th
Printed    In    Canada
-   *-\s rnnniiv cnimn nr Ti_ir llMnl/Cunn otai-ito   UM  «<___.>
EVERY MONDAY ^(STjftfifli^g PM) a
^"PT&STED  BY  aptWblJflOTtfi\iim     	
^^^^^^.^.^^^ STARTS
Jan 23rd: DAMN
Jan 16th: HUEVOS
RANCHEROS with guests
$1.99  IVION-FRI,  4PIVI  -6PIVI 233-6138 SUB Blvd.,
Vancouver, B.C. V6TJZJ
<*.. ****SSJ}.,
Here I sit — an American on my
first visit to Canada. Too
hungover to make it far from this
Granville St. hotel, so I'm shuffling through your paper. People
keep telling me long lists of famous people from Canada ...
Peter Jennings, Michael J. Fox,
etc. etc. I keep saying, "thanks
for 'kids in the hall' but can you
please take Michael J. Fox
back?" They vehemenlly say, "no,
you can keep him!"
That doesn't change the fact
that they brought him up in a
bragging way in the first place.
Anyway, we'll keep sending
the guns and racism.
J.T. COLFAX (of San Francisco)
Vancouver 29.11.96
I read the DiSCORDER while I
was traveling around Vancouver
and B.C. I have spent 6 weeks
here. One of the best thing I have
seen here is ... your newspaper.
Now i'm going back to Geneva
(Switzerland) ... maybe you will
be interested in my band: "i
MERiCANi" ...well, I wanted to
send you our CD. OK! Happy
Buy Nothing Day!
First thank you for keeping
Intermusic on mailing list. Your
magazine is great (mostly by gig
flyers inside and some inter
/ill  v
about expressions the following time when I receive
a reply from you.
I would like to get in
contact with persons who do
adverts and gig flyers (gig
adverts) in Discorder to
learn something more about
the same thing. I love doing
these thing and my influences are New Musical Express, Melody Maker and
Discorder. I am doing it for
my self an_ | am not doing
it for anyone else, bands
over here do not understand
the meaning of a gig flyer,
they do with hands or with
adhesive letters or
selfadhesive backgrounds it
is slow and doesn't look
well. I would like to exhange
the knowledge and send
diskettes for these things to
get something new— there
covered and I would like to
get to known it. Again, this
is a personal thing if you can
help it is much appreciated.
I am preparing two new
7" singles and will send
them to you free soon. I
don't expect them to be reviewed ( I know you don't
review small labels apparently
not from Yugoslavia) but will
send anyway.
Gvido Obradovic (of
I am writing in regards to the events
that occured at Rock for Choice
when Team Dresch played. I am
writing because I was sickened by
the oppressive and invasive jocklike behaviour displayed by the girls
on the dance floor who were
moshing. I would have thought lhat
because the women in Team Dresch
promote women's self defense and
safety that the space would have
been 1) safe, and 2) a place where
my boundaries would have not
been invaded. I apparently was
The moment that Team Dresch
started to play, drunk teenage girls
started to mosh; it seemed they
wanted to immitale the violence and
stupidity that can be seen at any
male-dominated heavy metal and
hardcore event. Not only should the
drunk, wannabe jocks have taken
responsibility for their actions, but the
organizers of the show should have
planned better safety precautions.
There should have not been alcohol
served at an all-ages show and if they
absolutely had to, they should have
at least been ID'ing people. There
also should have been security guards
cuz as was proven at the show,
women are abusers too. I also want
people who mosh to realize just
what their actions are saying: that
you advocate violence and are not
willing lo take responsibilly for ihe
damage lhat you have created.
andrea fernandez
box 15-199 w. hostings, Vancouver,
be, V6B 1 H4
- cowshead chronicles -
what do we need? what do we want? better yet, what do you want?
what is it that you need? the new year brings with it a wholel
new set of rules and regulations that we try so hard to adhere |
to. some self-imposed, some not. lately i have been trying
set things straight, get my house in order, as it were. setting|
individual goals, not resolutions which we all know are ideas
set to make us fail, but instead small measures of success for
myself, and only for myself, some know of my plans, others have I
no idea and could probably care less, one woman recently told me
that i wasn't very ambitious and said it like she knew what she
was talking about,  she could probably care less, one woman
recently told me that i wasn't very ambitious and said it like
she knew what she was talking about, she doesn't, but it wasn't I
really up to me to set her straight, why should i bother? what's
the point? she is, in my candid estimation, a person with very
little going on, but that's my opinion only, and what do i know?
but to stoop and try and defend myself seemed fruitless, in a
pinch i'd probably leave her stranded on a street corner awaiting her demise at the hands of thugs rather than help her so why I
should i try and bail myself out just to make myself look better
in her eyes? fuck it. but back to my ambition, i have set goals!
and i plan on carrying through with them, to the end. be the
final result, failure or success, i have recently put several
pokers in the collective fire and am now hoping one will catch|
and not burn me as i have been before, i hate to say it, we
maybe not, but it's about cash, we all need some and i could use I
a little about now. some of the opportunities seem red-hot |
while others are still luke-warm but still have potential, so
what's this all mean? well, in a nutshell, and it's somewhat old
and tired, but the time has come to stop working for other's
goals, your boss, i'm sure s/he's a good guy and you need the
job s/he provides, but get out and do your own thing, maybe you
want to make web-pages at home, deliver organic produce door-
to-door (my step-sister and her husband did in san franciscol
and recently sold their business for $30 000 us not bad) or sell
mary kay. whatever, this is your year, get on it. i'm not saying
you'll be successful but shit, try it. hell,  i may end
scouring the alleys for bottles come march but at least i wi
have given it my best shot, hope springs eternal, be your o
boss and you can smoke when you want, and maybe even sleep in
late every once in a while, have a great year, my cowshead|
followers, you deserve it. (wow. did i just write an upbe
column? shit, i'll have to try harder next month.)
what   we   listened    to*
railroad jerk, cyndi dall, hanson brothers, spent, funki
porcini, village of savoonga, lamb, rachel's, lois, lois, lois, seely,
yo la tengo, rex, heavenly, star pimp, butter 08, new model
army, social distortion, v/a • project echo, go sailor, descend-
ents, modest mouse, sloan, witchdoctor highball, aural tentacles, late night CiTR 101.9 fM and CBC's Brave New Waves,
^lajsttfii^ m&nTE& i©i te<9®
CiJcfta? 0® rafco ®m© ®0 (B^ 5x?to [paste
©stf°_ Dm ®qcG sm QKft7£7 sra_) ctbcstp 3Q ®TO
___ _D©©®K®@Ji sra_l ^x_. ©avfl__ raSjcS
_ Phone #
Mr. Dale "demo guy" Sawyer is
takin' a li'l holiday and Ms. Mallett
has moved over to page 16 for
now. Thank goodness for Janisl
local CD reviews!
Rusted Chrome Glory
A regular at the Railway
Club's "Grrrls with Guitars"
nights and veteran of years
of TV and small club appearances, Judy Atlcin (with
David Desormeaux) has finally put out a CD herself.
Slow, follcy, and full of off-
balance rhythms and arrangements, sometimes conventional harmonies, prickly-
pensive lyrics, and sung with
an assured sweet/husky
voice, the music isn't the usual
CiTR thing (as if there is onel),
but would make a nice stock-
ing-stuffer for the postmodern
folk-girl fans in your life.
Wigs 'n' Guns
How does she find the time?
Now a MuchMusic star in Toronto, Sook-Yin (also of
Bob's Your Uncle fame) has
released yet another solo CD
on Zulu. And this really is solo
— she wrote and arranged 11
of the 15 songs completely on
her own (she co-wrote two of
the others), and recorded, produced, and mixed the entire
thing herself.
Long-time fans won't be surprised to hear that, like Chester Brown's weird artwork on
the cover and insert, Sook-Yin's
voice is completely competent
and confident even as it does
disturbing things, ranging from
hauntingly lovely on a Chinese
lullaby (at least I think ifs a
lullaby), to eerie soaring and
dropping, to spitting out some
darn brutal lyrics. No one else
does spooky, disturbing avant-
garde like Sook-Yin Lee —
don't file in Easy Listen ing I
Gross Negligee
(Vinega records/Incentive)
First of all, let me confess that
I've been a fan of the
Vinaigrettes since the girl
members stuck a temporary tattoo on me (completely unsolicited,
reallyl) in the women's washroom at the old Malcolm Lowry
Room a couple of years ago.
Live, this Victoria band is an
irresistible combination of bitter lyrics, goofy antics and costumes, and apparently endless
energy — you can see some
of the goofiness, at least, on
the cover art, where the boys
and girls all ham it up in see-
through nighties (get it?). There
are lots of reasons to like this
CD with all its clever songs, its
cheerful, fast-paced, country-
ish music, back-up vocals by
Pigment Vehicle, and even
a delicious cover of "Ring of
Fire," but all this only conspires
to make me want to see them in
Vancouver again soon. Come
bock, Vinaigrettes! •
fro? in
December 4 „.
'' That .sfptiprv: manager .of
•;:* f"oiJfs:<X!5.sureyell. Shejusf:
: 'found put about my:corn-
h ::&*f/> using a .CiTR cover
,. sjieef does nof reflect well
. ::.on:the station. Every time
I walk past h<?r office, she
throws 7"s at me. Those
little buggers really hurt,
especially tie indie releases Tfcay'r-e made from
:•■*> su<sh chea*. vinyl that they
:.   .shqtter into dozens of jag-
.,ged shards upon impac f
One particularly nasty
...piece d
gave me   *r, ug)y <*•-_* -
nyfnreho  - ' £*r*k t ,v-
'from a Mint recc
leqsefl tdfd the
hopfrldbn't get vihylp^;;:-:
soning. Needless:to say,
I gOtno.sympathy.
I Nave:been: avoiding
i *: DJ pjoefjeall day. I do na*
think:she willsbe* pleased!!
i to see me. Apparently, ihe
...will have Jo. go before a
CRTC panel and explain
the rationale behind playing disco covers of reggqe:
. tunes. JHovy is she gpingJo  •■■
explain, that?   They are
gofngtpcrucify her.
the    diarv    of    ionnie    loaf   bov
•^ +> December 26 *
December IT It
ThaVe finally succeeded in acquiring the snores o
Witchdoctor Highball. Every Wednesday morning I
have been secretly reviewing the log tapes in the
hope that he fell asleep during his show. Today I struck
pay dirt! Last night, the good doctor was asleep tor
at least an hour and his rhythmic and exquisite snores
were captured on audio tape. I have made a copy ot
his snores and have begun what has turned into a
lengthy editing job. You would not believe how hard
it is to extract the occasional inadequate snore from
the multitude of perfect ones. Plus there is the odd
snort which, of course, must be removed. I will not
rest until I have distilled the essence of snore!
My editing job is complicated by the fact that
can't use any of the station equipment. Last week, DJ
Dinette threatened to kick me repeatedly in the head
if she ever saw me again. I have been slinkmg in
and out of the station ever since, and I dare not spend
more than ten minutes there. Fortunately, I have been
able to edit the tape on my answering machine^ is not
the most ideal piece of equipment, but it does the trick.
DJ Dinette's threats have also prevented me from
doing my radio show. Fortunately  my intrepid co-
host the Virgin Murray, has offered to host solo until
DJ Dinette cools down. I am a bit worried about
Murray He has taken to eating chalk in the DJ booth,
in an effort to make his voice smoother and more
melodious. I think his admiration of Jurgen Gothe has
■■ :rdone too far. I have told him that Jurgen uses a special microphone to achieve his creamy baritone, but
Myrrav. doesn't believe me.    I am, uneasy leaving
Murray otone in the DJ booth. If he chokes on o p.ece
of chalk,,! wilt be plagued by gy«t-
December 16
Today, I mailed my
ShLs g* to Path
Schmidt. She is sure to
enioy the ceramic bust
of Elvis. The postage
costs were a bU steep,
b0» Patti is worth every
penny. I mailed .t us-
£, the new D.sn«y
stamps, an irony tha»
amSure she will appreciate. I wrote her a
note on one of my
pairs of white boxer
shorts. It read*
My beloved Patti,
, pXray that ail .s well,
and that CBC budget
cuts leave you "n'
cheer to you, and the
rest of the Brave New
Waves gang   Please
accept this small gift as
atoken of my deep appreciation for /our
work. Wishing you a
delicious new year.
Love, Jonnie.
P^ I hove not y^ received a responseMo
: my fast seven fetters,
but lam sure you win
:';:   ' " reply good time.
December 22
I usually spend the Winter Solstice
blind drunk, naked, and smeared
with grapes, but this year I was
too busy editing the Witchdoctor
Highball Symphony. I managed
to overlay the doctor's snores with
other found sounds, to create a
wonderfully textured composition.
The rhythm of the snores are punctured by some of DJ Noah's
sneezes which I captured on tape
during his bout with the Istanbul
flu. I also blended in some of El
Doctor del Ritmo's trills, some of
Postman Pat's notorious farts, a
Doot-doola-doot-doo from the
Human Serviette, and a blood
curdling scream from DJ Dinette.
I also included the requisite jungle beats, and some squawks
from my electric violin. Murray is
impressed that I was able to edit
the piece on my answering machine. He says it gives me bonus
lo-fi Indie Cred. I have no idea
what Indie Cred means, but I
couldn't agree with him more.
I have sent my tape to Date
the Demo Guy, in the hope that it
will become a campus radio hit.
! also took the liberty of sending
a copy to the Poetry ViX: and:
Vixen. They are sure to include it
on the next Poetry Show. There is
nothing as poetic as the snore.
Christmas df the station was
splendid. Nardwuar took off
his touque for the first time in
years to don a Santa cap. He
,. hbbbfed about the station on
his crutches, ho-ho-ho-ing in
: a high pitched and jolly voice
and handed out purple
candy canes: to anyone fee*
cpuld catch. I have not seen
him this lively since the Noiz
Boiz incident.
We also got a wonderful
Chrishnas gift from fern and
her team of engineers They
used their newly perfected
Antenna Resonance Device
to knock out the FOX's broadcast signal, for two glorious
hours, fOX listeners were
treated to the bliss of radio
silence, fern was overcome
with euphoria and kept yelling, "This is the new sound
of corporate rock!" in between bites of her mother s
yummy fruit cake. Unfortunately, fern's device also
fried our station's audio compressor, and we will be unable to broadcast until it is
repaired. Of course, none of
us ore complaining. As fern
remarked, it is such a sma-ff
p-rice to pay for the defeat of
radio pimps.* Inters
Live from Thunderbird Radio Hell can be heard
Thursdays from 9-11 pm on CiTR 101.9 Fm
Who are you? (names, instruments
(In photo, clockwise from top left)
Clare: six-string electric guitars, vocals, Acetone
Curtis: drum kit, Korg bass pedals, Moog mono-
phonics, Rhodes electric piano, Synare sensor.
Eric: bass guitar, vocals, lap steel, Moog taurus
bass pedals.
Heather: six and twelve-string electric guitars,
farfisa and Acetone organs, Moog and Sequential
polyphonies,  Arp  monophonics,  background
Why did you ditch the French moniker?
for a few heady weeks, we were french. Les
Eleclrosoniques was the tres chic outcome of an
evening spent ruining a friend's party: we became
drunk on Mai Tais and began boorishly interrupting anybody who said something that sounded
like a band name. Everything sounds like a band
name if you put your mind to it. We played two
shows as Les Electrosoniques, amid some confusion as to whether we were actually french.
Meanwhile, we were getting self-conscious about
our dreadful accents. We liked it, but it made us a
bit uncomfortable, but we kind of enjoyed how it
made us uncomfortable, but we couldn't keep from
giggling whenever we said it. So, English.
Do you expect to get sued by the
Canadian electronic component corporation, Eiectrosonic?
Well, considering that the parts used by Eric to
construct Clare's fuzz pedal were purchased there,
they'd have a real cheek doing so. Although, to be
honest, corporate Canada has no time for small-
potatoes, trance-pop miscreants like ourselves; we
didn't even know lhat they existed until nerdboy
6     January 1997
heard about them from some other electronic
geeks. Then of course, we had to check ihem out
— their logo doesn't look as nifty as ours.
What was the best vintage equipment
find of your lives?
Curtis scored a cache of analog rhythm equipment
from famed lounge musician Ramiro, who can be
seen nightly at the Sutton Place Hotel. Heather and
Eric found an Acetone Top-8 in Value Village, and
Clare obtained a hardto-find Hoover U-SUC 2000
cannistervac from an undisclosed source.
Heather, what do you remember about
your 'garage' days with the Knightstdkers,
Smugglers and Gruesomes?
You may be misinformed as to my involvement in
this scene. I really was only a fan/observer during
this period in the late 1980's. In fact, I rather
stumbled on a Gruesomes gig at the Town Pump
by accident, and there I was first introduced into
the grotty world of '60s garage retro. In fact, this
was the show where I met members of the first
band I even played with, The Worst. The
Knightstalkers were one of the my favourite local
bands at the time, who sounded like The Shadows
of Knight crossed with The Pixies. The Smugglers
were cool, and ihey still are, but I liked ihem better then when they had more of a 'bluesy' thing
going, especially wilh their harmonica player. The
Gruesomes, of course, were Canadian garage
heroes. I saw every show ihey did in Vancouver,
had them over for home-cooked meals when they
were on tour, went bowling wilh them and The
Smugglers in the Thunderbird Lanes in North
Where did you get your OWN Printing
We actually don't have our own printing press;
what we have is a small Japanese toy lhat is, in
essence, a 5"x5" silk screener. It's colled a Print
Gocco and you can get it at Opus on Granville
Island. It lets you do high-resolution, full-colour
printing without going to the printer. Very helpful
for handbills.
Ask yourself TWO questions and answer
them, please.
Q: What does your music do to people?
A: During shows, it's kind of thrilling to see ihe little trances that people go into, and the reaction
that occurs when there's a sense of momentum and
connection. When we play, we want to give people an acute awareness of iheir surrounding and
atmosphere; we want to engage them in the surge
of a song, make their hair stand up, make them all
froth over.
Q: How did your sounds translate onto disc?
A: It was o wonderful experience recording the
EP. The recorded arrangements are pretty much
exactly as ihey're played live, wilh a few overdubs; we were so happy with the final mixes.
The Electrosonics CD EP released on Quiddity
Records and Drive-In Records. We also contributed   one   song   ("Star   Scream")   to   the
Tiddlywinks compilation on Chester's funtime
Record Collection.
Contact name and address:
The Electrosonics, Box 215, 101-1184 Denman
Street, Voncouver, BC, V6G 2M9
e-mail: electro@axionet.com
Who are you? (names, ages, instruments
The Emptys consist of two Bills, one Randy, and a
Ken all born in the late '60s ond early '70s. Three
of us sing and play stringed instruments while one
of us rings and plays skinned instruments.
Are the Emptys still on Cargo?
That's a good question. In a technical sense, the
Emptys were never on Cargo as Meatlocker
Fannoise was only manufactured and distributed
by Corgo. The label prominently displayed on our
CD is BangOn which is owned by Cargo Canada.
At present we have no idea how they feel about
our band, our video, our tour, our sales, and ref-
idum, the CBC, Canadian Airlines, etc. We
are, however, going to be recording a new album
early in 1997, so stay tuned for more details.
Describe the nicest Silvertone Guitar ever
The nicest Silvertone guitar ever made is whatever
one Randy happens to be playing at the time.
They all look so good on him.
How has Mr. Ho helped out the Emptys?
Is he really the unsung hero of the
Vancouver scene?
Mr. Ho retubed Ken's Gibson Mariner for an
extremely reasonable price, although Randy says
if you want a second opinion, Paul Basto is the
best. man. As far as being an unsung hero of the
Vancouver scene, Mr. Ho does have a signed picture of Moist on the wall of his shop so ...
If you are the Emptys from Vancouver
(isn't there an Emptys from, like,
Virginia?), whom would you deem to be
'full' from our fair town?
Vancouver is 'full' of great bands such os
Bughouse five, Stervus, Signal 30, Manifold, Red
Sugar, Bug, Chris Houston's Evil Twang, Pure, the
Stellar Joys, It's Not My Onion, Daytona, Big
Gulp, Punched Unconscious, the Dirty Harriets,
Perfume Tree and Happily Manitoba to name just
a few. Virginia, as for as we know, is as 'empty'
as always.
Do the Emptys have any 'fresh' techniques in your live act? (Hand signals,
smashing pinyatas, etc ...)
The freshest thing about the Emptys' live show is
lhat you ore very unlikely to hear any song played
the same way twice. Sometimes, we will add a
verse and olher times we might drop a bridge.
The stage has sometimes been threatened to be
overcome by pedals and lately the audience has
taken to covering what's left of the floor with pitchers of beer and shooters. We are sometimes
joined onstage by Dan Jones from Manifold who
graces us wilh melodic notes of feedback played
through his special homemade tube, the name of
which is so long it escapes me now but is affectionately known as Danny's Secret Weapon. We
are also working on the choreography for our
upcoming "Marching wilh the Emptys Show" and
we can now play three entire songs while remaining horizontal.
Ask yourself TWO questions and answer
Q: The Emptys went on tour in ihe summer. Name
some highlights.
A: We went from playing to three people in
Thunder Bay at a club which had lost its liquor
license one week earlier to playing in front of a
packed crowd with Jale in Ottawa. We also
played Iwo nights at the Horseshoe in Toronto wilh
Daytona one night and Ron Hawkins and David
Gray another night. The headlining band at our
show in Saskatoon (Moow) didn't show up so we
played two sets and gave away t-shirts to anyone
who knew the words to the Littlest Hobo theme.
The week we played in Winnipeg there was something called folklorama happening so all the bars
had extended licenses 'til 3:00am. This meant the
club owner would not let us go on until after
2:00am which on a Tuesday night was a little
short of ridiculous and made for some pretty angry
people in the audience. Some of these people
were our parents.
Q: What is coming up in the new year for the
Emptys? A: We are going into the studio (we use that term
loosely) and are hoping to release a new full-
lenglh album sometime before the fall. Other than
that we will most likely hit the road again and try
to build on everything we've done so far. We also
hove Iwo of our songs on Madison that are going
to air in January/february.
5 song cassette Coolers Are Not Bear Proof
(1995) Prairie Rails Records
15    song    CD   MeatLockerFanNoise    (1996)
BangOn/Cargo Records
Ken Beattie, 1 826 East 37lh Avenue, Vancouver,
Who are you? (names, ages, instruments
Keith Greene: guitar, age 21, vocals.
Wes Regan: bass, age 1 7, vocals.
Sean Sullivan: drums, age 20, vocals.
What's the  History of Punk Rawk in
Kelowna? The Gentlemen of Horror (Pre-
Grapes of Wrath) released a single. Who
else was there?
Keith: Well, none of us really know. Nobody in
the band was actually born in Kelowna, but as for
the Grapes of Wrath ... The Gentlemen of Horror
wasn't the first punk bond the Grapes were in.
Their first actual band was a punk band called Kill
Pigs which had all the members (Kevin Kane, Tom
and Chris Hooper). They broke up and that's when
Kevin Kane went off to form an art-rock band
called Empty Set and the Hoopers went off to form
the legendary Gentlemen of Horror which
released a 7" back in 1980. Unfortunately, ihey
only pressed 200 copies and it's impossible to get
one now. Tom Hooper also used to edit a punk
zine called Indecent Exposure, but it isn't around
today. Mind you, the Grapes of Wrath did make it
very clear that they were no longer from Kelowna
when they moved, so for a very long time they
were shunned by everyone in a band. In another
ironic twist, a member of the now defunct band
Middlesex (another Kelowna band lhat moved to
Vancouver) has just joined Ginger and become
their new guitar player.
You seem to be real gracious hosts for
touring bands passing through K-town.
How many all ages gigs have you organized and with who?
Keith: The first gig I organized was when I was in
high school and all it was was three bands from the
school itself. My band Lemming Sunday played a
really awful set of Pearl Jam and Led Zeppelin covers,
but we had a smoke machine so lhat saved everything. We broke up soon after, thankfully. The significant thing about this gig was lhat Sean was ihere
and so was Wes, long before I even knew them.
Wes: I was a young buck in grade eight when I
went to The Nothing. I was very impressed by
Keith's band's version of "Iron Man," ihe big Irish
flag and the smoke. They're signed to Sonic
Unyon, I think. They played a good version of "I
Think We're Alone Now."
Keith: The Mojo Show had The Smugglers,
Duotang, The Mr. T Experience, Alpha BMX and
The Goodtime Clubsters.
Wes: The Mojo Show had nothing to do with
Mojo, and everything lo do wilh Sex, Lies and
Videotape. I'm sure we were out of tune the
entire set, but man did we rock hard. Before the
show, when the bands and us were getting
acquainted, we had to do a 'burger run' which
involved running to the nearest McDonald's and
ordering roughly 30 cheeseburgers and a few
chicken burgers.
Keith: Let me interject by saying that Wes, in his
right-winged brain, neglected to think lhat some
people are vegetarians.
Wes: I got chicken, you little bastard! I was thinking about ignorant, non-meat eating Philistines
who want nothing but lettuce and carrots!
Keith: Oh, you humanitarian! That's why Beez (of
The Smugglers) had nothing to eat but an apple
fritter and a straw.
Wes: Straws are high in protein, and it was an
apple-flavoured fritter, lest you forget.
Are you positive the actor who plays
Tarzan the Ape Man is from Kelowna?
Wes: It has been confirmed by my mother, who
frequents the same church as Tarzan's mom. He
was raised in Kelowna, and now he fights jungle
injustice wilh a leather-bikini babe, and a very
Ask yourself TWO quesHons and answer
them, okay?
Sean: Q: In what way are the Goodtime
Clubsters like Robert De Niro in Awakenings?
A: Well, if the part of De Niro had been played by
three girls in a speed metal band, we would be
quite similar. Also, like De Niro in Awakenings,
the Goodtime Clubsters write, record and perform,
Wes: Q: Why am I so right-winged, yet maintain
an open mind and a soft-heart?
A: When I was a baby, my mom dropped me on
my head and I landed on an issue of S.C.U.M.
and I was mentally disturbed until I was twelve and
then I took it upon myself to clean the world of four
things. Left-wing extremists, country music and
America in general.
Keith: That's only three things.
Wes: Hmm?
Anything else to ADD?
Keith: Kelowna is starting to get a nice, little
music scene happening; actually, it's had one for a
couple of years now, but if you happen to be an
A&R man or even an average indie-rocker and
want to check out some really good bands, you
might wanna stop in Kelowna and check out
Wonderboy, 1-800-POPE, Edgar Wilson,
Ultraviolent, Maeve Brennan, Ponch, 7-Minute Lull
(from Summerland, but real close to Kelowna),
Alpha BMX, or the Nova Scotians. Also if you're a
touring band ond happen to be coming to
Kelowna, the Mezzaluna coffee shop is a great
place to play (check it out, 1921 Dayton).
Wes: I am changing my name to the Unirocker,
and moving to the mountainous regions just outside my old elementary school, where I will send
packages of indie-rock releases to record companies and promoters all over the world.
Sean: I'm still naked and I'm still lonely.
Chronic Sunshine Syndicate, a tervsong cassette
demo ($5ppd)
Stock, a twelve-song cassette demo ($5ppd)
Loonie Swim, Bring Your Trunks, a compilation CD
of five fine Kelowna bands ($10ppd)
Baka Yaro, a ten-song cassette demo ($5ppd)
Indigenous II, another compilation CD of five fine
Kelowna bands, avec CD-ROM!!! ($1 2ppd)
Extremely Fun Broken Plastic Records:
2625 Ross Rd., Kelowna, B.C.
VIZ 1M4, (250) 769-5853 (Keith), (250) 769-
HAPI (Wm) (The Unirocker)
With a jewellry purchase
you receive a free piercing by
Canada's most experienced piercers
1043 GRANVILLE STREET 688-6225
One day,
Fri. December _27>k
1 0:00 am to 7:00 pm
It's Christmas time, but
here at Scratch we feel
the love all year round.
All the fondest from our
three back-line Queens. L-
R: Keith, Kathy, & John.
20-90% off...
Believe it
and be there*
THE HI-FIVESo Aid A Whole loffa love $10.96 LP $14.92 CD
JOHN DAVIS  l\n kmhm $9.87 LP $14.92 CD
Melt Your Geld 7"
Blowing the no-wave revival flat off the
Elanet. this Chicago ensemble sport a
ewilaering mess of horns and style that
has to be heard (and seen) to be Believed.
At the finest stores.
MCI**: 15% OFF
Let vs know your E-moif address and
receive weekly catalogs and safe abevt all
the newest releases before vow hip
friends'. Save money! Shop from &e
comforts of your computer cbaM Send
to Kratth@deepcove.com	 MODEST MOUSE
by megan mallett
Modest Mouse has been around since 1991, when it
was Isaac Brock by himself, sometimes with others. He put out three tapes back
then, but prefers to keep those examples of his early work hidden. Modest Mouse's first
"official" release was on K Records in 1994 and consisted of three songs by Isaac and some "rock
songs," with Jeremy Green (also of Red Stars Theory), Dann Gallucci (The Murder City Devils) and John
[ Wickhart (Hush Harbour/Mavis Piggott). After playing around with different people, the Modest Mouse line up
[ solidified with Isaac (vocals/guitar), Jeremy (drums) and Eric Judy (bass). They will soon be recording at Moon
_ Music for their next Up Records release. Also upcoming is an EP on K Records. Modest Mouse play the
*. Starfish Room on Jan. 4 and an all ages show at the Magik Theatre on Jan. 5.
Do you remember the moment when Modest
Mouse came together?
Just every time we played, really. Back then when
we played it was perfect. I mean, I didn't even know
how to play my instrument, I don't think any of us
did. But it still just happened perfectly.
Was it learn as you go with your instruments,
Yeah. Jeremy's been playing forever. I remember
when I first started going to see shows, he was in
seventh grade or something and he was playing
some of those shows.
What kind of bands?
Shitty bands. Like, adolescent emo bands.
Were you influenced by any of your favourite
Sure. Thafs why you play music, you know what I
mean? You like music, and if you like music then
you're obviously going to have to have been listening
to music, which means that you've been influenced
by it, etc, etc.... I'm guessing you probably want to
know which ones.
No, I've read all the Pixies, Built to Spill, blah,
blah, so we won't go into that.
Thank you. [laughs]
But what about local bands? Is that what sort of
inspired you?
Yeah, actually. I liked seeing all the old butt-rock
bands like Tad ... Treepeople. I loved that band. They
really clicked for me ... I don't know how I ended up
doing it. I just wanted to and I am.
I don't really know too much about 70s rock or
anything, but is there a Led Zeppelin reference
on the cover of your Sub Pop 7"?
Not at all. No, thafs pure coincidence. As a matter
of fact, I think the singer from Led Zeppelin should
have never happened. I've heard that stuff and I can't
stand it. No ... I really like that picture [from the Sub
Pop single]. I love pretty pictures like that [laughs].
How did you get Calvin Johnson to sing on your
I don't know, he's a friend. He recorded the first
Modest Mouse stuff. We were, I think, the first or
second band to record at Dub Narcotic. I've known
him since I was like fourteen or fifteen, just through
going to punk shows, kicking around. He's a cool
guy. [coughs] Sorry, I've got a bad cough.
Do you have some water?
I do! I'm stoked! [pause while he drinks water] OK!
There, now we're on it!
Yeah, fully. Thanks. I got in this brawl. This guy was
beating up his girlfriend and I got in the way and got
in a fight with him and got my jaw split.
Thafs awful, but good for you!
Yeah, it was pretty crazy. I haven't seen anyone get
pounded that bad before.
Where was that?
It was in Ballard, Seattle. I was driving by with my
girlfriend, and we saw it and I was like, 'Shit, turn
around.' 'Cause he was like hitting her head on the
hood of the car and I jumped out, and I was yelling
pretty hard and I scared him and he turned around.
But he'd really already beaten her up before I got
there. He'd ripped her shirt off and ... Then he just
started pounding me on the face and I kind of
stepped out of the line of fire because he got about
six good hits on me before I got out. Then my girlfriend really punched him on the side of his head
8     January 1997
and kind of knocked him off his rocker and I jumped
in and tried breaking his neck, but people talked me
out of it. Then he took off and the girl got away. She
was all right but she'll probably be back together
with him now. Pretty silly shit.
Yeah ... About your music: it seems to have
a lot to do with driving and roads. Is that
Nah. I guess there's some songs about roads and
stuff. Let me just grab the album so I can see.
People are always saying this ... I guess it does
[have to do with roads and driving]. I mean, fuck,
the title is This is a Long Drive..., ifs got a road on
the front and on the back. The fact of the matter is
that there are so many roads that ifs hard to avoid
making a record about roads. Yeah, who am I fooling? I mean ifs a bit about that. Ifs a lot about everything, though.
roads to go to. [laughs] We drive around to go to
other roads. We're like little robots. The petroleum people, [laughs]
I've read that you're against strip malls and
Those things piss the shit out of me. Strip malls are
a waste of space. No one needs to buy all that shit
they sell. It's crazy how much stuff we've got, you
know? Too much entertainment.
What do you mean?
I don't even think people know what the fuck
they're distracting themselves from anymore. I
definitely don't. Not enough time just sitting there
thinking. You're always running water through
your head. Make sure you got your TV on, your
stereo on. You got yourself reading a book, you're
doing something. No one wants to be alone in
their head.
they make these really big parking lots because 'It's
an important place. We got this parking because,
by God, people are going to need to get there. Look
at this, this is amazing and you're going to love this
stuff. You need this, you want this stuff. This is worth
missing Seinfeld for. Come on down!' I'd say a good
60% of this town [is parking and roads.]
This is Issaquah? Have you heard of the label,
Regal Select?
Yeah! Ifs a mystery to me too. I don't know a damn
thing [about it.] But every time I see someone who
might be a drunk old school rocker, I'm like, 'Maybe
this is the person who does Regal Select.' Shit, I
don't even know if they put anything out still. The
last thing I bought from them was [a Derelicts thing]
five or six years ago. I think about it all the time. I'm
like, There's a label in Isaaquah?'
I read that you played a really good show with
Beck and Money Mark in Philadelphia.
I thought we played those shows well, considering
the circumstances... [That it was] in a huge theatre,
with a big stage. Those guys are all set up for big
stages and we just kind of stood in front of their
stuff and kind of kicked their asses.
Where do your lyrics come from?
From my head, [laughs]
No kidding, really?
No, if I knew, then I wouldn't write them, know what
I mean?
Do you have any favourite authors who might
influence you?
Edward Abbey. He wrote this book called Fool's
Progress, which is a pretty right on book. I used to
really love Kurt Vonnegut but he's kind of grown off
me. I think I've read too many of his books. People
end up repeating themselves. I ended up repeating
myself a lot on this album, because, realty, I'm pretty
obsessed with roads.
So you're not a fan of road trips?
No, they're great. But there's definitely too many
[roads]. I love them, everyone else loves them.
But I love going places more than I love roads.
Roads are weak. They cover up the spots you
want to go to. And now we've just got nothing but
Do you?
Fuck, I hate being atone in mine. But ifs kind of good
for you when you are, I guess.
Where do you buy your clothes?
[The ones I'm wearing now] I found [or someone]
gave them to me. The last pair of shoes I bought,
they were a pair of Addidas, and you know where I
got them? The strip mall. Where else are you going
to get them?
Thafs right.
You feel like you caught me, but I don't feel caught.
Oh no. Ifs cool to have these ideals, but if the
whole world isn't going to go along with you,
then sometimes you have to conform, right?
I'm not too happy with the way [strip malls are] set
up. Really, I'm not done obsessing with it, [but] what
are you going to do? What am I going to do? You can
not buy from them, but I mean, shit...
Sometimes you don't really have a choice.
Yeah. They're really into making things took vast. So
The review said that you blew Money Mark
right off ...
Well, you'd have to be slutting pretty hard not to
blow him off the stage. That guy's a fraud. Yeah,
backstage, he's like [in a nerdy voice], 'Oh, hi there
guys, took at this little gadget I got!' Then onstage
he's like [yells], Yo! MotherfucW Word up! Yo yo!' And
he was telling these jokes that were at best not
funny if he was making them up on the spot,
[laughs] It was interesting. Beck sounded great. He
had shitty people working for him, though. I got into
a fight with them. It felt good because they weren't
treating us right. But I wasn't concise enough. Kind
of like now. I ain't being concise for shit. I don't do
well on the phone.
I was thinking of driving down there.
That would have been better. I do better in person. People are easier to deal with when they're
there. I'm easier to deal with when I know someone's there.* Who are you? Names, instruments played etc,
Lana: Big arms, 'cause she drums.
Renee: Loud voice, 'cause she sings right.
Kim: (Hardcore wrist bands) I play guitar.
Angela: I play bass 'cause f can't play guitar.
Renee: And Kara [missing from interview] who
plays a damn good guitar...
Lana:... 'Cause she can't play bass.
[The non-stop giggling begins, so we pause and
order our food. Oh boy.]
How did you all meet and get together?
Lana: Three of us are from Edmonton, Kara and
Kim were in Vancouver, and we moved out
here, their band [Kara and Kim's] went downhill; so did ours in Edmonton, so we got out
here and we all started playing.
Do you all have input on ideas for new songs?
Who writes the majority of the lyrics?
Kim: Renee writes all the lyrics.
Lana: Renee writes all the lyrics with input.
Renee: In some cases, Kara writes some of them,
like she wrote 'Helicopter Head'... there's a lot
of input. Whenever there's a dry spell or something doesn't work, I just fish around the room
and we all laugh and giggle, and then I take
from their jokes and use them in our lyrics,
[much laughter] ... In some cases too — I did it
with Kara — she tells me a story, and I sit there
and dictate and put it into poetry afterwards.
On that note, who is the schmoozer and who's
the accountant of the group?
Renee: Angela's the accountant! But she also
doubles as the schmoozer.
Kim: You [Angela] are the queen schmooze
Angela: I'm shy.
Kim: How many shows did you see this month?
Lana: I think that me and Renee and Kara,
'cause we drink the most, and I think that this
leads to bullshitting. And I think that we're the
most vain.
Renee: Really?
photo: J.  Bilan
Lana: We're the dress-up dolls of the group ...
[Much giggling again.]
So you are on the heels of a full length CD, produced by none other than GGGarth. How did
you hook up with him?
Renee: This other character named Garth
Futcher, better known as 'Futcher,' he recorded
our album and we were doing it on minimum
budget, for tike $100 a day. We all had a better
idea of what it could be ... so we went straight
to IGGGarth's] door, dropped the tape off and
[he] listened to it, and he responded like right
away, the next day.
Lana: He just said, "What's your budget and let's
work with it.'
Kim: He's totally sweet. He's so nice. Yay,
Had he ever heard of you before?
Renee: No, I don't think so.
Lana: He didn't even know we were all female,
he didn't know anything. There were no pictures, just a blank tape with our stuff on it.
Any tantalizing tales from some of the
recording sessions he did with other bands?
[Everyone is laughing before I can even finish
the question.] Any gossip, any dirt, dammit?
Lana: Ugly Kid Joe? Uh ... Ugly Kid Joe was
reatly bad ...
Renee: He [an Ugly Kid Joe member] locked
himself in a room with a bit of a drug
problem, and wouldn't come out of the room
... and was really, really paranoid and blocked
ail the windows ...
Kim: GGGarth was saying that [Ugly Kid
Joe) were getting stoned off whipping can gas. That's desperate man!
You know ... whip cream? (Kim proceeds to include sound effects and
she can't seem to stop giggling about
it as we also laugh about other stories
concerning the band Heart.]
The album is called Sticky Flytrap.
Originally, you wanted to call the
album Head Smashed In Buffalo Jump
— what happened to that idea?
Lana: There's a copyright on the name.
Renee:... It became a whole bureaucratic
Kfm: Ooh, let's just leave it alone ... let'
just leave it alone ... too much red tape t<
cut through.
I saw you play at the Plaza of Nations at a
BMX contest!
Kim: Halftime show during football game!
(much laughter)
And I've heard you really rock the boat at
sea. Elaborate on some of the odd shows
you've played.
Lana: I think the boat one was the best.
Renee: This girl phones up, out ofthe blue ...
er ... this guy: 'Uh ... you don't know me,
you've never met me, but I really want you to
play my wedding.' And we're like, 'Your wedding?* 'Yeah, it's tomorrow [Halloween], and
it's on a yacht.' And I was like, 'Oh my God!'
Lana: Oh, it was a lot of fun. Open bar [sigh].
Angela: Basically, we've done weddings, birthdays, and we'll do your bar mitzvah.
Lana: We have yet to play in a mall. Malls anyone?
Everyone at once: Oh, malls!
Angela: [In a nerdy voice.] We could go shopping after.
Renee:  Being the East-side queens, we've
played like every shady boozecan that's ever
been around. Which we tend not to do so
much anymore.
Lana: What, benefits?
Renee: Boozecans! [laughter).... Yeah, we used
to be the benefit queens too.
Lana: [In an almighty voice] 'Well, at least we
know we have Ten Days Late, we haven't
talked to them yet, but they're on the list, it's
been printed on the posters, I'll phone them
tomorrow!' But some benefits are really worthwhile, like AIDS benefits and Rock For Choice,
ya know?
You've toured across Canada many times; how
are you received in some areas, any sort of fol-
lowings happening In some cities?
Lana: Quebec's really cool.
Kim: We played in this little tiny hick town
named   Rimouski.  We  never  played there
before, but everybody was just so into it,
they're buying all our stuff ... and we've never
been there before ... It was great.
Renee: Saskatoon has always had a strong following, and Winnipeg's pretty rad too ... The
Royal Albert.
How was playing at the North by Northwest
Music Conference in Portland?
Lana: That was fun, we met a lot of really cool
Angela: You can't buy beer downtown if you
don't live there.
Kim: You need a rent receipt.
Do you enjoy touring, are you anxious to get
back on the road again?
Kim: Oh yeah fer sure, I love going on tour.
Renee: And we love the road ... there's so many
adventures to be had.
Angela: Never give your address out while
you're on the road.
Lana: Yeah, not even if it's for a postcard,
because the postcard might be alive.
Renee: Yeah, I think we've decided not to use our
last names on the CD so that we dont get stalkers.
1 think it's funny, 'cause when you're a kid, you
know better what you're gonna do with your life,
then your mind actually knows. 1 swear I used to
stick all my Barbies in the van, the Barbiemobjie,
and just go for hours) Just go and go and go...
The juicy question on everyone's mind ts have
you been approached by anyone with glitter
in their eyes to try to make you stars?
Renee: Yeah, they're all fools.
Lana:   Most  of  them  are   porno   makers.
Renee: I'm really tired of hearing everybody,
right down to people that we don't even know,
saying, 'You guys are gonna be really huge, I
can't wait.' Well, here I am still waiting, still
waiting. After every show, everybody's like,
'Fuck, you guys are gonna be huge' ... it's like,
still waiting, still waiting ...
Anyone you would like to thank?
Lana: That we would like to say fuck off to?
(laughter] I'll just say one thing. Someone who
said that "We're not in it, except for the merch.
sates.' [much laughter and snickering, while
Lana tries to be serious here.]
This goes back to a show Ten Days Late
played with Rancid, where they came out on
stage with towels on their heads as a big joke.
As Lana puts it: "It's just a fact that the
opening band does not sell very much merchandise. Someone was bragging about how
much they sold, and I said, well that's cool,
but usually the opening band doesn't sell
very much, and that was ihe end of it.
Someone took it way out of context and
said that 'alt we care about is the merch.'
and then they put it in print. That's the
only person I have a problem with."
Angela: I will make sure that this particular
person gets the Ten Days Late underwear. I
want to make sure she's the first person to
get it.
Lana: Oh, final things to say? Git your cock
and balls out of yer goat-ass and listen to
Ten Days Late.
Well, with fries finished and coffees drank,
we banter on about selling more merchandise and how it's all fun and games. We went
our separate ways and I try to walk home
with my sore gut as a result of drinking cheap
coffee, or maybe it was from all the giggling.
Ten Days Late are the queens of comedy, er, I
mean rock, and check out their new CD, Sticky
Flytrap, on 2112 Records available in January,
1997. Visit The Mighty Niagara on January the
10th for the CD release party of Sticky Flytrap*
Getaway 7" b/w Death Reggae Klark Records
Out of Tune 7" b/w Helicopter Head Klark
Records 1995.
For more information, or to order merchandise, send a S.A.S.E. to: Ten Days Late,
Box 162 - 916 W. Broadway, Vancouver, B.C.
V5Z 1K7.
9 nm&xmsz Railroad Jerk?
Now, I don't normally do this, but 1 have to
.admit that I drank before going to interview Railroad Jerk. You know, just enough!
to loosen up a bit. Lori and I had to wait!
an hour for them to finish their marathon]
sound-check, but it was worth the wait*
(because they took us out for dinner before
Jthe show. We all drank beer for dinner, and
[had some Japanese food too. Marcellus
[was filming the interview (which was kind
lof unnerving) so I had to repeat a lot ofthe]
(questions according to his directions (like,
r'ask that again, but look really nervous this]
Itime"). As it turned out, it was more of ai
(conversation than an interview. '
I don't know if this is just a rumour or not,
j but last time you guys were in Vancouver, is
lit true that the drummer had no cymbals?!
I Dave: What?
II was wondering if they were stolen or if
that was planned or...
ITony: Oh! You left your cymbals ... uh ..
lDave: Oh yeah. That's true, I left them in
Tony: Seattle.
pave: Seattle, that's right.
|l was wondering because I know some
jbody who was totally amazed that you
[played with no cymbals.
I Dave: That's funny 'cause you know
Waiter: Is everyone ready to order?
Marcellus: What does everybody want?
[know I'm ready.
[Dave: Yeah, it was weird because I've never
I played without them before.
JMarcellus: So what magazine is this for?
JMarcellus: That's cool. Now I want you to
[say that again, and don't look at the
[camera. When the red light goes on just
jsay 'Uh, DiSCORDER, like you just did.' I'll
jsay three, two, one and then bang.
lUh, this is for DiSCORDER.
Marcellus: Good. OK now you can do the
I interview stuff.
|Um, I was wondering about your incorporating roots music into your sound —
[Tony: Like vegetable roots or...?
Yeah, that kind of stuff. I was wondering if
you only work with the concepts of roots
music or if you take the concepts and mess
■with them like Royal Trux used to do.
[Tony: We're into Hank Williams and stuff
I Marcellus: Devo.
?Dave: But we're into a lot more.
What contemporary music are you listening to?
Tony: We've got the new Pavement. We
like P.J. Harvey, she's really great.
Dave: Blues Explosion, Boss Hog, all of
those guys.
You mentioned some Matador stuff. I was
wondering if there is a Matador Christmas
Tony: Oh yeah.
Are you going to go?
Tony: We went last year.
Dave: They have free drinks, we're there.
Is there any gossip after all the free drinks?
Tony: There's lots of gossip always.
But nobody wants to talk about that...?
So what else influences your approach to
an album? I don't just mean like 'I listened
to this group when I was twelve/ I'm talking about in the construction of making a
new song.
Tony: I think it's all hybrid anyways. Urn,
lots of things. We don't consciously think
like 'oh, we want this to sound like this' or
Dave: Sometimes we'll hear a recording of
lething and the drum was doing a certain thing and I want to incorporate that
and we'll jam and maybe something will
come from that. An inspiration might be a
guitar part or a drum part or just hearing a
song and liking the way they're proposing
an idea and thinking 'we should try something like that.'
Tony: We incorporate more stuff in the
studio as far as being influenced by another
record. It comes out in the production.
In the studio you can go from complete
spontaneity to Brian Eno-styled track
Tony: Spontaneity is good but we always
have the songs together.
Dave: Most of the time.
Tony: Like, on the Bang the Drum EP
there's a song called "Homie Patang" [sic]
CHECK! which we recorded at Alec's dad's
house in upstate New York. We put two
mics outside and put percussion ail over
this big yard and all four of us just started
beating. Then we took it inside and madel
a song out of it.
I was talking to a busker who was playing!
*the blues just outside of this restaurant:
and he figured that most of the blues players actually started on the street Have any
of you guys ever played on the street?
Dave: Initially, Railroad Jerk was discovered by Chris Lombardi in the subway in
New York.
Do you ever get the urge to do it again?
Tony: Yeah, I'd like to do it again for fun.
We just don't have enough time.
Marcellus: OK, I'm going to ask you if you
heard our new record and I want you to
answer without looking at the camera.
And I want you to look nervous.
Marcellus:   Have  you   heard   our  new]
Um, yeah.
Dave: You should have said it sucks!
What is this video for anyway? Is it going)
to   be   shown   at   the   next   Matadoi
Christmas Party?
Marcellus: Yeah.
So I guess I should say hi to all my!
favourite stars.
Tony: Liz Phair doesn't live in New York,
though. She lives in Chicago.
Marcellus: She's going to have a baby. But!
not by me though. [
Do you guys have a video coming out for
any singles on the new album?
Marcellus:Yeah, for "Clean Shirt."
Tony: Our video for "Roller Coaster" was!
on Beavis and Butthead, and it still plays
in repeats.
Did they think it sucked?
Tony: They said nothing bad about it.
Marcellus: I think we got a lot of attention!
from it. We recently did a commercial for]
Do they show it on commercial breaks dur
ing football games?
!Marcellus: No, they didn't accept it. It was
too strange.
Too strange? ,
•Marcellus: Well, they said we could doj
whatever we want. And we said, 'Why are
you talking to us?' and they said tl^
wanted to tap into the new sound. We
said, 'Oh man, sellout, this is crap.' We did'
it anyway with a skeptical eye. Tony was
going to do the singing and they said 'OK,
have you guys got lyrics, because we'd like
it if you sang a little bit about Budweiser.'!
So Tony asked if they had any magazines;
lying around and grabbed one of their golf
magazines and read from that for the
j lyrics, which kind of freaked them out. We
(did this ad lib jam and it turned out really
■cool, we're proud of it.
Did any of you have interesting jobs
[before Railroad Jerk?
JMarcellus: I was a bee-keeper on my par
Did you get stung a lot?
[Marcellus: A few times in my youth, but
\really you've got to treat bees like human
Tony: Did you know that every time they
wiggle that it's directions to the next
Have you ever followed the directions of
[a bee?
sTony: I can't read bee.
\ Marcellus, is that your art in the lining of
the new album?
| Marcellus: Yeah, I did the inside drawings.
■ Did you like them?
Yeah. Do you draw for anything else?
Marcellus: I draw for magazines,
newspapers and I draw on sidewalks.
Dave: The New Yorkerl
I Tony: Sports lllustratedl
l Waiter: Can I get you anything else?
1 Tony: No, I think that's it.*
10   January 1997 SATURDAY,
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PO Box 3613. Main Post Office. Vancouver, BC Canada   V6B 3Y6
phone (604) 669-MINT • fax (604) 669-6478 •   email mlntrand@aol.com
web httD*//mintrecs.com
ORDER BY PHOHEWiffi'S.HG TH_B»»-M Photo by Kelsey Fevlayson
DiSCORDER: In your music you have been trying to create a new vocabulary of improvisation with classical
music instead of jazz. I think it's kind of interesting that techno music is starting to incorporate jazz in the form
of acid jazz and classical music in the form of orch-pop, which in some ways is opposite to what you're doing.
Francois Houle: When you are writing music,
when you are playing music, the question is about
finding the things lhat are inspiring to you lhat are
interesting and incorporating it into what you do.
There's two sides to it. One side is that you can
really dig deep into one specific area and discover a whole lot of new things and open up a whole
universe within one style and, on the other hand,
you can constantly adapt your playing to a whole
lot of different stylistic areas without never really
locking in on one. And developing it to its fullest.
Both tendencies are fine. I'm interested in the first
one, personally. And in the last little while I've
been focusing mostly on developing really, really
specific improvisations that are unique that explore
the uniqueness of my instrument — the clarinet.
[With] the other approach, you see a lot of people
kind of merging styles together, taking Indian
ragas and putting a hip-hop beat behind it and
mixing it up. Jazz people are doing it extremely
well. I'm thinking of people like Bill Laswell, Henry
Kaiser with world music, and a whole lot of [other]
greot musicians exploring those areas. Like John
Oswald, for example, is doing plunder phonics;
[he's] doing a lot of sampling and throwing in o
whole bunch of different musical sources together
into a melting pot.
Your sound has sometimes been
described as European.
[laughs] There is a bit of truth in it, because I have
studied classical music. So the way my ear has
been developed [and] shaped through my studies
obviously refers to European classical music and
contemporary music. But I've also listened to jazz
all my life and to me that is really important — to
work [and] develop a language that incorporates
these things. When people say that I am more
European-sounding than American-sounding —
that's a bit irrelevant to me, because what I'm trying to do is just develop a personal language.
When I'm writing my music or improvising, I'm not
12   January  1997
trying to be European or African or Japanese, I'm
just trying to find what it is inside that is the most
interesting to say, musically, and explore that.
About "exploring things musically:"
you've said before, that, to be you, as an
artist you have to ["explore" in order] to
have spiritual growth and technical
growth. Who are your influences?
I have a lot of influences. There is not one single
influence in my training because there are so many
things that I've been exposed to that I've been fortunate to discover since I've started learning music.
There is obviously some major signposts in my
development. Starting from when I was eight years
old, I really loved Benny Goodman, mostly
because he played the instrument I was learning in
my music lessons. Later on, obviously, clarinetists
— like Jimmy Guiffre, John Carter, and Steve Lacy
— play a major part because I'm playing the clarinet. If I was a pianist, I would say Cecil Taylor,
Thelonious Monk.
Now it seems everybody is influencing me.
People I play with have a major influence on what
I do. Colleagues, people who play all over the
world. I hear music every day and it's not necessarily jazz. Something that catches my ear I am
drawn to, regardless of what style or genre it is. I
hope lhat I remember those experiences, so lhat
when I am playing, I can tap into that memory and
come out with something that's transformed into
my own music experience.
What was the last non-jazz/non-classical
piece of music that you heard?
That's easy. Sardinian/Lodaneous music. It's Italian
triple clarinet: three bamboo tubes of different
length with a reed cut right into the bamboo and
it's ployed for parades, funerals, weddings, and
marches for all kinds of social events in Sardinia.
It's an age-old tradition and it's something that is
slowly becoming lost; there is not a lot of young
Ving up that tradition. I discovered
lhat music because I've been dabbling wilh playing two clarinets at the same time or two parts of
the clarinet at the same time, and when I've discovered this music I realized lhat these people had
been doing this for well over a thousand years.
That's always inspiring to realize lhat what I'm trying to do, which I thought was experimental, was
actually like a completely legit way of approaching the instrument.
As much as a few years ago I was curious
about klezmer and bulgar music. Any music, actually, lhat is folk-based, that has an age-old base, is
fascinating to a musician who's constantly looking
around for new things to generate ideas. I'm not
interested in going to Sardinia to learn triple clarinet. Actually, that would be fun to do as a project, but the idea is that this form exists and that
I've discovered it through my own experimentations wilh the clarinet and hearing some friends
telling me, 'Hey that sounds a lot like what these
guys do,' and then hearing it and hearing that
there is a parallel.
There is a performer in town, Suzanne
Vega, who thought she was doing something new until she found out her grandmother was doing the same thing.
In any style of music, there are people who develop an idea and they work on it. And you think that
you have something totally new and then somebody like your grandfather will come along and
say, 'Ah man, you know in my days, kids did that
all ihe time.' All of a sudden you realize. Or you
know you hear a record lhat is 50 years old and
it's exactly what you are exploring. It's always a
bit frustrating, but it's neat to see that this stuff still
happens. When I was a writer for my first band, Et
Cetera, I was doing a lot of stuff that I thought was
unique writing. Some friends introduced me to the
later Ellington big band music and late Mingus
stuff and Oliver Nelson and I realize what I was
trying to do was already there in their music. So
instead of saying, 'OK, well I won't do lhat anymore, because it's not original,' I just decided,
'Well, I'm going to study lhat music and look into
it,' and see what kind of solutions they had to certain ways of writing music. And after I'd done that
I went back to the drawing board and tried somelhing new.
I think it was Tchaikovsky who said, 'I
want to study all of classical music so
that I don't repeat myself.'
Yeah. That's the idea. That's where Monk was
saying, 'You got to dig and dig and dig till you
dig, you dig?' Meaning you don't know what
you're doing until you've really went around
and checked what's been happening around
what you're doing. Things that you think are
original might have been discovered a long
time before. The more you know, the better your
chances are that you're going to do something
different. Because you can't just write a couple
of notes and say, 'Hey, I'm a composer and I'm
the first one to think of writing these two notes
that way.' Chances are, somebody else has
done that already, I don't know, it depends on
what your goals ore.
Are your goals self expression or creating something new?
That's the same, I think. Everybody's different.
Everybody wants a chance to express an opinion. And in a democracy it's your right.
Definitely, in music, one of [its] powers is to find
your own personality and [have] the chance to
express that personality to an audience. That's
self expression and everything else as well. To
me that was of the most important things about
playing music: having the confidence that what
you're saying is going across and is understood
by the listener or the musicians you're playing
with. You want to develop [a] certain clarity in
your language so that you can achieve that
communication.* I t !
(  R
s     Not     What     You    Wear
e a  L  L y
I t
Have cultural standards become so flexible and riddled with
holes that subcultural style-warfare no longer serves as a
valid critical departure point... has it ever? In this regard,
have many techniques for youth culture rebellion become completely compromised? Has capitalism become so all-encompassing that style itself is under threat of co-option? Is popular culture
synonymous with commercial culture? Does a strategy of imminent critical involvement within the sphere of "everydayness" need
to be redeveloped?; A recentlypublished article by Paul Chan attempts to contend such qi I in the August/September issue of Punk , a high quality fanzine based
out of Chicago). Titled The Kids Aren't Alright: punk identity and
difference in the age of multinational capitalism, the text examines the precarious relationship of pop-culture and big business.
Chan's argument summarized is that "punks" have become removed
from the creation of their own popular history, sighting the over-
commodification of punks' popular pastimes and style-cultures as
detrimental to the autonomous formation of identity. What Chan
sees as particularly troublesome is the way that "punk values" have
also become commodified and, importantly, the way that the idea
of punk itself has been co-opted. While "punkness" narrowly represents a subcultural style and identity for some, popular culture is
an important component of everyone's social world. If we develop
this notion of punk, re-recognize it more generally as rebellion —
or even further as difference or otherness, then Chan's arguments
can be usefully expanded to inform^n<?xamination of marginal or
subcultural interplay withirithe larger cultural/political/economic
context. Also, by following, critiquing and expanding Chan's arguments, some issues, conflicts and contradictions that confront
style-based;;subcultural rebellion may also be examined.
Chan suggests that simple "excommunication" is an insufficient
response to the problem as he recognizes it. Excommunication
refers here to the exclusion of unwanted participants from a subculture, castigating them as "sellouts," etc. For Chan, such attempts
to preserve the "scerie" from the influence of capital are not complex enough to recognize the contemporary structure of consumer
capitalism (late-capitalism for some). In an attempt to be more
sensitive to the present context, Chan identifies subcultural relationships to the larger "mainstream" culture as being dialectical.
Dialectics refers to a process of creative interaction where a variety of influences respond and re-respond to one another, constantly
changing and reorganizing the nature and structure of their interaction. As a particular position is established within a context of
interaction, it effects the structure of positions it exists in relation
with, and thereby creates a new context of interaction. The formation of a new context in turn influences the development of further new positions, and so on. Adiaiectic is not unlike an information feedback system, where the flow of information in, out and
around the system continually reorganizes the total interconnected
constitution ofthe system itself. The information is being constantly
updated with this movement, establishing an ongoing impression
of present status that informs the formation of possible perspectives and positions of engagement (by social agents). As such, a
dialectical relationship is propelled by its own development.
Dialectical movement is fundamentally grounded in history. It
is indistinguishable from both the ongoing development of the
total cultural/political/economic context, as well as the social agents
that actively create—- that are — history (namely, all of us). This
point reflects Chan's main issue: that punk subculture exists interactively within a dynamic dialectical relationship with a broader
context. What Chan suggests is that the increasing complexity of
the cultural/political/economic world renders many punks' deeply
held attitudes and rebellious behaviour choices as anachronistic.
Chan argues that an insufficient level of serious, well-informed
discussion has taken place about the nature of such changes. Chan's
arguments fall short, however, with his neglect of the more overt
and organized political aspects of punk subculture — with respect
to attempting to establish structural difference through self-reflective consciousness raising and social activism (a level of critical
involvement that is increasingly uncommon, sadly). Chan instead
argues from an unaddressed moral position, focusing more on an
inflated value of aesthetic difference, while romanticizing small-
scale (culture-product) business. Chan's choice of position unintentionally confirms his own criticism in several ways. Chan's confusion here also offers an example of some difficulties surrounding "style-warfare" at this point in history.
In his critique Chan attempts a semiotic-based approach to examine the potential flexibility of meaning that is available through
the manipulation of the symbolic capacity of consumer goods. A
semiotic analysis examines the conceptual space between objects,
representations and meanings. Semiotics draws attention to a "gap"
that is ultimately between things and their meanings. According
to this view there is no necessary connection between objects and
what they might represent. Or, to use the appropriate language,
within the sign (a construct of both the signified and signifier), the
signified (the subject of representation) is not naturally connected
to the signifier (the object/form used for representation). Chan argues that a set of signs that represents the idea of difference itself is
being organized within the category of alternative with the specific intention of taking advantage of new public taste and market
developments — it is a market category only. Chan doesn't go far:
enough with his analysis here. Chan fails to address how dramatic
movements of style do not fundamentally alter the basic system of
operation of the economy — money mbves just the same, no matter
what people are buying. What Chan fails to adequately examine
W the nature ofthe commodity form and, subsequently, he does
not sufficiently comment on exchange relations as they directly
affect this aspect of subcultures. Exchange relations refers to the
mis-recognition of human experience and relations as being relations between things (goods). In this sense, subcultural rebellion
has become contained within the sign —the symbolic realm, it
does not critically reflect on the structure of the economy; Instead
it glorifies a romantic conception of a "knowing audience." This is
a paradoxical type of self-consciousness, limited by the irony devised to protect it, and mostly apathetic with respect to critical
engagement. There isdubious value in being content with getting
all the in-jokes only, without addressing the message-system, etc.
in any substantial way. Certainly, imminent criticism requires a
more active engagement for it to be substantial.
Chan does examine a type of movement of style within a cultural/political/economic system, highlighting the vigour with
which large-scale capitalists take advantage of subculture aesthetics. But Chan is inconsistent, neglecting a basic understanding of semiotics, and instead implies a value judgment about the
perceivable quality of popular-culture representations (this is good
and right, and this is bad and wrong). Following a semiotic perspective, it is because there is no natural connection between
any style with any ideological position that all manifestations of
style can be taken over, redefined and co-opted, by capitalists or
whomever. No matter how representations of style are appropriated and represented, they are informed subjectively — they can
be used for a variety of symbolic purposes simultaneously. Chan
seems to imply, however, that there is a natural connection between punk style and punk values. Indeed, the idea of punk values itself is inconclusively defined by Chan: what exactly constitutes punk values, how are they different from other sets of values, are there no overlaps? It would seem that a crucial shared
characteristic between punks and the larger cultural/political/economic context is an interest in taking advantage ofthe value and
creative potential of style (the sign). This is an important similarity that draws all style engaged culture together unavoidably
within the structure of the information-based marketplace. Subsequently, as a result of an economic power and technical control bias in favour of large capitalists, commerce is a prevalent
quality of contemporary style culture constitution. Obviously,
large capitalists are not the only agents in the creation of culture,
it is a dispersed and collective project. The issue of individual
and subcultural involvement needs to be further examined. So ...
Next month the issues presented here will be further taken up,
Chan will be critiqued a little more and some directions for possible "alternative" developments will be offered. Hang on ...
Kitty Poulin
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Thanks to everyone for another great Shindig!
Shindig Winners!
©The Saddlesores     ® The Malchiks       ©Harvey Switched
Meet the Other Fine Sands!
Screw Cleaner, Married, Chiens P'Awour, Satumbead, Sunnyside ttown, Hissy Fit Swollen Wobe, Backroom Shag, The Floor, Blisterine, Velour, EM Team, litter Wri, Mi legs
Broken, Pipebomb, The Shelleycoats, logic Consipiracy, Tonebursts, Million Year Picnic, I
Killed My Cat, Pates Motel Corn on the Cob. Super Chief, S- Pigs In Space.
Special Thanks!
Sarah Albertson Noam Ascher
Keith Buckingham Pan Conway
Bryce 9»m Kiley Ftthen
Olga (rorreas Christine G-roefrer
Tim Hecker Miko Hoffman
Paul Kundarewich Namiko Kunimoto
Janis MacKenzie Grant McPonough
Tara Nelson Sara O'Ponnell
Ken Paul Kevin Pendergraft
Linda Scholten June Scudeler
Scotty Stewart Evan Symons
Brian Wieser Tristan Winch
Frederico Barahona
Brad Fredrickson
Selena Harrington
Simon Hussey
Anthony Kinik
Katherine Monk
Ryan Ogg
Jane Roberts
Penise Shepherd
Chris Walters
Barb Yamazaki
The Starfish Room and especially the regularpatrons and staff
Chuck Boyle
Chris Puncombe
•aroet Harry
Tara Ivanochko
Kevin lee
Keith Parry
Sarah Stacey
Fern Webb
ofthe Railway Club
H.S.J! EaK^EEaal
_____.-     m
Life is a
fj<r VTA
r .     ,„■
Volunteers needed.
Are you an outgoing, spontaneous man or woman over the age of
19 with a never-say-die attitude and a good sense of humour?
We are a non-profit society that helps young offenders and children
ages 8 to 18 who are at risk of getting in trouble.
p^v- 5_.
Tuesday, November 5
Railway Club
Harvey Switched 's lead
singer hod a red toy synthesizer
stropped on, which he only
banged on once ("banged on:"
not playing it, but smashing keys
randomly). Otherwise, he
amused himself by playing air-
guitar. The intensity of this guy's
energy led me to decide lhat he
should vent his enthusiasm by
actually learning guitar. Harvey
Swirched's charm came from iheir
interaction with the crowd. At
first, antics such as using mic
stands for penises stunned ond
confused the crowd but offer
Harvey Switched proved itself
harmless, we began having fun.
One of the highlights from the set
included a cover of a Platinum
Blonde song. Musically, this
band was average, pumping out
fun and fast songs; their true purpose in life though, is to perform
live, and not concentrate on developing a long body of recordings. Paradoxically, if they actually win, Harvey Switched is
closer to winning recording time!
Saturnhead's poppy suburban songs warmed me up the last
time they played, but the seemingly original band just re-enacted its last show, with less spark
and joy! I felt like I was watching
an old boyfriend call another girl
wilh same cute nicknames as he
called me! This time the band
seemed less enthusiastic, and the
pop flopped — its cutesyness was
giving me a cramp. Even though
I didn't enjoy the performance, I
hope Saturnhead continues to
play since they did exhibit musical talent and were refreshingly
experimental in their approach to
making runes.
Finally, Hissy Fit. I don't
mind punkishness, it's the pain I
could do without. But staggering
home that night I found that my
ears were ringing even when I
woke up the next morning. Is this
possible? Hissy Fit thinks so. Apparently Hissy Fit is Wretched
Ethyl regrouped and both
groups are understandably popular. I admit the female lead singer
impressed me — she just looked
so damn determined. But ultimately, the pain became so great
that I couldn't tell if it was a new
song or what, it just all became
a big cloud of noise.
Sarah Stacy
Tuesday, November 26
Railway Club
This was the last night of ihe
Shindig semi-finals,  the last
chance for one of these three
bands to move on to the finals. I
heard a lot of good things about
Pigs in Space, and people
were telling me not to miss them I
The stage was decorated wilh a
Paul Bunyan-type figure, backed
by other little trinkets and slides/
home movies which were projected on ihe back wall. Pigs in
Space is a duo of noise making,
incoherent restlessness for just
under half an hour. At most times
I found ihem amusing, and ihey
would be considered "disturbing"
in Abbotsford. What do you say
when one has the mic shoved up
their moulh, while making sounds
like Satan? You soy, "What ihe
fuck, Billy?" Entertainment.
Second was Logic of Conspiracy: four people onstage including a vidinisf. The violinist
added thot touch of sound dial
seems so popular now, thanks to
Ashley Maclsaac. They reminded me of having o flavour of
The Violent Femmes, a comparison I'm sure they have heard
before. Their songs were written quite well and the lyrics
were really decipherable and
rhey fit the music fine After a
while, their sound seemed the
same from song to song and my
attention span grew short. But hey,
they played really, really well.
Alas, we came to The
Saddlesores, country-twang
with a flavour of humour, blood,
sweat and tears that only these
guys can deliver. They dress well
and they groove well. They pluck
the country-twang and make fun
of it, but at the same time they
create their own identity. Songs
like "Garbage Truck 'O Love"
and "Garth Brooks" had the
attendees hootin' V hollerin' like
real country fans (and truck drivers) do. Not only were they entertaining, but hell, they never
disappoint in the humour department, and for some reason, I understand them perfectly. So did
the judges, who decided to let
them advance to ihe finals. Their
only fault is that they played for
too long! Soddlesores! Remem-
berl Don't overdo iff Leave us
wanting more!
Ken Paul
Saturday, December 7
Starfish Room
Three bands are lined up for tonight:   The   Saddlesores,
Harvey Switched ond The
Malchiks. Bring in roving Vancouver artist Scratch as the master of ceremonies. Throw in a
bunch of suburbanites, a few
Vancouverites, place them in The
Starfish Room, and yes, you have
the 1996 Shindig finals. When
The Saddlesores look the stage
first, ihe place was about holf full.
Absent was the familiar
Saddlesores posse of fans. Nonetheless, The Saddles played their
country glam twang as good as
always, but because of ihe empty
space between them and the
crowd, their stage presence and
humour came across as distant.
Looking beyond this, these guys
played so well as a unit, they
were comfortable and their
schtick (as always) was fine
tuned. Way to go!
Next up was Harvey
Switched who came on stage to
a now full room. They are five
guys from the Coquitlam area,
who obviously pulled in a strong
following of fans along with
them. Their sound is really hard
to pin down. The singer has all
fhe facials you can imagine,
along with plenty of tongue
action, and at times he plays a
tiny keyboard strung over his
shoulder. The throng of macho
males at the front of the stage
ate up Harvey Swirched's new
wave rock fusion and gave the
band a lot of motivation and
support. Aside from a cover of
Platinum Blondes' "It Doesn't
Really Matter," Harvey Switched
didn't do much for me. As I recall from my junior high school
days, they would be described
as a "really tight band." Maybe
if I was still in junior high, I would
have found some of their set enjoyable. Oh well, I'm old.
Finally, on to The Malchiks.
A very young ska band with
about nine people, they were the
only ones who seemed to fill the
stage, the dance floor (complete
with crowd surfing) and the room
itself. They took command,
fronted by the scary looking Moil
on vocals. Atone time, Moil managed to get everyone on the
dance floor to sit down, they
obeyed his every word. They
: have only played live maybe half
a dozen times leading up to this
night, and they still sounded a little fuzzy on the edges. They
pulled off their last song of ihe
evening quite well, which was as
close to a jam session as any of
die ihree bands got to ihis evening.
The votes were tallied. Before
Scrotcri could announce the
standings, the crowd was chanting "Malchiks!" (a first for a
Shindig). Coupled wifh occasional hollers of "Harvey
Switched!" Wilh a bunch of suburban youth downtown, you had
ihe recipe for a pretty nice riot.
Oh, but don't let me scare you.
The Saddlesores won, followed
by The Malchiks and Harvey
Switched. Unfortunately, there
was a lack of female presence in
the finals (nil.) Let's hope next
year isn't the same.
Longhaul basslines
by dj noah (djnoah@cyberstore.ca)
Welcome to 1997! In
the world of drum &
bass, there is much
planned for the new year. There
is going to be a North American tour of drum & bass artists
and deejays that will see the
likes of Grooverider, DJ
Trace and possibly Goldie,
coming to a location near you.
I am hopeful that they will include a Vancouver stop on their
tour and I will have more information (who's playing, where,
when, etc ...) in February.
Jungle has evolved from its
birth as hip-hop beats at double time with emcees toasting in
the ghettos of London, to the
wide range of styles being created and played — such as
hardstep, techsteppin', jazzstep,
jump-up, darkside, artcore, and
more — around the world. It is
almost impossible to walk into a
coffee shop or clothing store that
isn't playing some form of jungle.
One particular release that is
sure to be a bomb is the compilation SHAPESHIFTER on Sour
USA Records. This jazzstep
monster features the likes of T-
Power, Elementz of Noize,
Native Bass, and 5 other artists who each experiment with
traditional jazz elements and
modern breakbeats. Even within
the jazzstep sound, there are still
other offshoots on this release
that push the boundaries of the
jungle realm. N-Jay's
"Encephalia" is a dreamy track
that will set your mind afloat,
while "125th Street" by Click
'N Cycle busts out a fat
bassline and smokin' beats that
will cause mass hysteria on the
dance floor. I suggest you get
your turntables in for a tune up
because with the versatility that
Shapeshifter provides, you are
going to put a lot of mileage on
every one of these tracks!
In the ever changing world
of techno and trance, one label
seems to go against the grain
and not alter its sound to serve
the short-term trends: Noom
Records, which surfaced in
Neckargemund, Germany. In
the four years (approx.) that they
have been around, Noom has
released 23 12" singles, three
EPs, and two compilations, the
latest of which is called
NOOMRISE This jam-packed
techno thriller has some of the
best music on it that I have heard
all year. It begins with Commander Tom's "Are Am Eye,"
which sold over 35 000 copies, and takes you on an acid
trip like no other. "Evolution" by
Mandala is the fourth track on
the CD and it was the official
anthem of the Evolution rave in
Switzerland. All of the songs
contained on this floorburner
have each been successes on
their own, and to have access
to them all in one spot is a treat
that you can't pass up.
On the home front, the first
12" on Map Records is outand it's
a gem. On side A you will find
"Mistral" from DREAMLOGIC,
a brilliantly written track that will
put your cerebral cortex into
overdrive. Dan's distinctive keyboard patches and complex
rhythm structure paint a scene
of tropical rainforests on an island paradise, until you are spir
ited away to outer space when
the song changes moods
through the subtle use of the
Roland 303. If you can tear
yourself away from Dan's track,
on side B is one of the best PILGRIMS OF THE MIND songs
I have heard. "Who Is That?" is
an energy-filled trance-inducer
that makes you feel like you are
dancing on air. With a combination of brisk beats and bubbly keys, you might have a hard
time deciding which side of this
12" to play. Enjoy the confusion.
Also flowing from the taps
of Map is the MC2 & ERRA single "Neptunian Bliss." This one
opens with the ethereal echoes
of Cristina (Off & Gone) and
then progresses into a groove
that will have techno and house
fans alike dancing en masse.
Also scheduled for release in
January on Map Records are a
MereMortals 12' and a Ml
length album.
Last but certainly not least
is "Hybrid" from EAT STATIC
on Planet Dog Records. Merv
andjoie (Eat Static) have put out
a single that will most certainly
be tearing up dance floors all
over the world. With mixes to
satisfy technoheads, junglists,
and trancers, "Hybrid" is destined to be bigger than any of
their other releases and perhaps marks the beginning of
a different sound from these
two, who were nominated Best
Dance Act in the NME reader's poll in 1993.-
..ANTHONY-                        RRE PON ROME
. Solar System Me and Miv Jones Sonic Growl    63
Pupli Get Rudv (Paul Jackson Jr.)
. Ali Ollie Wbodson
. Monty Alexander
. EmesiRanglin
Low Notes/Exodus
54/46/Congo Mar "
"       Kind Of!
A Different
ce Silver
And He Called Himself A Messenger
Horn. Is VAere Hie Hatred Is [Progetlo IV Mix}
. Cissy Houston How Sweet It Is HOB
. Nu Yorican Soul/Geo. Benson You Can Do It Baby (Maw Mixes) Grant Step 1
. Negrocan African Bird/Superstition Deep South (UK) 35
. TibPuente What A Difference A Day Made/Waw    RMM 53
. Daw VbUntin Primiliw Pas '
. Paul Jackson Jr Knighltime
. Friends From Rio Os Grilos
. An*ionyHill Prayer Did It #1
. Mazacole A.C. Especial/V
. Chanlay Savage
_ Especid/W-teh The Ride
o _Makina loco Yiri Yiri Bon
. Howard Johnson & Gravity      'Way 'Cross Gurgia Verw
. Danilo Perez Hot Bean Stmt Impulsel
. David Su My Baby VertexMus
. Doc Powell Let's Dance/Sunday Discovery
. Liw Tropical Fish Time Is Movin' Irma Iboty)
i. David Rudder Tdes From A Slraige Land/No bftidicn On Fridion     Lypsoland
Take Five Aiantic
love/Anytime Anyplace Moiaz
Blue Note
bl. Jam. Jazz     2
bl. Jam. Jazz
Blue Note
Far Out
Deep South U'(UK)
. Harvey Masor
e Smith/Michael Franti    Mow Your Hand (Remix)
Blue Note
:. Jefflorber
I. Me'Shell Ndegucellc
.. Chewlle Franltlyn
i. Joshua Redman
.. Th. N.F.L Horm
'. RayChaHes
I. AI'Taria
'.  Leroy Mafia
t. Frank V.gnola
. IsleyBros.
!. Black/Note
I. Angela Bof.ll
I. Mad Cobra
Ubiquity 70
Catherine/Cat Paws Verve 62
Mdre Me Vlbma Holer/A Tear And A Smib       Mmeridl Reprise 10
Rub It Hera, Rub It There/From A Sister    Mesa 46
Hide and Seek WB 64
Manwa (Subway Mb*) Irternofcoss 12* (UC) 52
Strong Low Affair/ All She Wants To Do... WB
Nikld Correct 72
Hofding Back The Yurs/Tears
Allergic Reaction/Double indemnity
Soul of Mine
Big long John
Concord Vista  f
Sundays 7-9 Pn
CJV8   147Q Arvj
JANUARY     1997
2. MYSTERIOUS CARGO PHAREZ WHITTED                            MOJAZZ I
5. Leon Haywood
i. Krosfyoh
1. Preston Shannon
I. Bladcstreet (Feat. Dre|
9. Belter Daze
3. Dazz Band
1. Jeremy Davenport
2. Charles Fambrough
3. Mantel! Jordan
Song For Bilbao
Ftae In The Sun
Life b Real
Tine Unlld. (Spacev Dub Mix)/East West
Ay Brother, My Enemy
I Apologize
Call Me
*c Cry Ng More
je Show Me The Way/Nobody
Why Should I Care
Dawning Dance/Cerulean Blue
I Vfauldn't Do That/Version
The Brick Wall
Flor De Moracuja/Bananeira
Jesus b lne/1 Mis You (Cm 8a_ Hom*| hnix
Girlfriend's Boyfriend
Ifs All About You/Use Your Heart
These Th re. Words
If Your Girl Only Knew (Remix)
Keep It h The Family
\foice In My Head
The dock/Midnight In Memphis
New Moon Momba/Carousel
Dance W* Somebody/Under The Slnetghs
Was It Somelhing I Did'/Just In Case
The Hunt/Delores
What's On Tonight
Summer Ma_>s_ (Maw Mix)
Vtodd Poc. 24
HeadsUo 50
Uptown/Universe   •-
Homegrown 44
Bull seye Blues
Def Jar,
GRP 12*
tt\zAtt~A*iuj;ttiWFmiv\»j£^j&tt>\TA CRASH
J.G. Ballard
j.g. bollard's crash is a lovely
detailed portrait. A reversed angle image of a '57 Chevy
painted with synthetic motor
oils tinted with bodily fluids, on
a canvas of stretched black
velvet. Welcome to a work of
fiction so bizarre the only thing
twisted enough to compare it
to is commuting into downtown
from Chilliwack. In crash,
Ballard reveals the true god of
millennial western culture: the
car. Women's bodies are
eroticized by descriptions coupling them with the stylized
designs of dashboards, steering wheels, bucket seats and
Sex and climax are sought
not as erotic adventures but as
substitutes which are safe rehearsals to perfect the performance for the ultimate intercourse; the mingling of man
and automobile in a high speed
crash. The characters in the
novel are not so much fetishists
as fanatics. The feeling of the
prose not so much Gothic, as
mystic. These strange juxtapositions bring about a disturbing
objectivity in the reader. A tense
voyeuristic feeling which is
heightened by the realization
that, when Ballard describes
the individuals who gather to
view the aftermath of a crash,
he is also describing the people who are reading his book.
Kenzaburo Oe
(Grove Press)
Nip The Buds, Shoot The Kids
is mythic. It is mythic in the
sense that when fable and fundamental understanding
merge, they create a description of reality so true that a factual chronicle of events takes on
the realism of a soap opera.
Oe is quoted in the introduction as saying, "The people I
wrote for are people of my own
generation, people who have
had the same experiences as
myself," but it is difficult to imagine a story more fundamental to the experiences of the
generations that have followed
his than this one.
The complex weave of such
contemporary obsessions as
abandonment, escapism and
marginalization make the tale
seem as though it was crafted
specifically with the current social fabric in mind. This fact
combined with the spectacular
translation make it difficult to
believe that this novel was written over thirty years ago in a
culture as different from ours as
is Japan's. Oe's work defies
comparisons for it is a standard that their works should be
compared to. Do the serious
reader in your life a favour and
turn them on to Kenzaburo Oe.
Ernesto 'Che' Guevara
(Verso Press)
The Motorcycle Diaries is a
postcard from beyond the edge
of the world. This is a book that
is fascinating on a myriad of
different levels. The straightforward, unself-conscious style will
appeal to the beat connoisseur
nybody that likes to read
other people's mail), but this
aspect pales when compared
to the magnetic pull of the
book's subject matter. The sights
and sounds of the places described are so beautifully
evoked that you have to disengage yourseif to remember that
the just-begun modernization of
Cuzco that Che laments was
probably finished over three
decades age. Even so, the
book could easily be enjoyed
as an astute and detailed travelogue. Similarly, it can be sa-
;LiiD Jj-iZZ-- _ J.CJJLE-S* 'rW'S 'AUP
rlSALfPrlOiJExi* £i!J.r* blAM
•Ulfr^iStaSttZfetti ffi_lMa^^ll i,^M^=;^;^^:
voured as an exotic road
novel where the characters
hitch rides to and have adventures in places like Necochea
and Chuquicamata instead of
the usual San Francisco or
New York.
£ R N fc *> iu
Occasionally, while reading this book, these aspects
sweep you away and you forget, briefly, just who it is
you're reading about. The
book's true magnetism lies in
the realization that this is not
just any young dreamer on a
motorcycle playing at rebellion, this is Che Guevara.
Actually, it is because all the
adventures described are so
familiar to anybody that has
ever been on a road trip that
this  book  has such  eerie
power. That a life so frighten-
ingly familiar could have
ended as his did is an unsettling, but oddly empowering,
Hanif Kureishi
(Simon & Schuster)
The Black Album is like doing acid while riding in a tire
down a steep hill. The clash
of characters and situations
is hallucinatory, the view is
disorienting, and the pace
just keeps getting faster and
faster until it suddenly stops
dead — leaving you bemused
and bewildered and lying on
the ground in a heap. Like
Shahid, the book's narrator,
we long for a stable point of
reference to orientate ourselves. However, in beautifully expressive prose
Kureishi reminds us that relativity is the sign o' the times
and anything masquerading
as an absolute is escapism in
disguise. The opposing temptations of hedonistic oblivion
and religious dogmatism both
seem to provide the answers
Shahid is seeking. He is torn
between the two until he realizes that both simply suppresses the questions rather
than provide the answers. A
good read for anybody who
is still shake from a near miss
with a fallen icon or a tumbling ideology. •
my long-suffering and
ancient record player for
November's DiSCORDER seems
to have jinxed me. The crusty
phonograph, which has played
for three generations of my family members, finally departed this
cruel, anti-vinyl world for wherever analogue stereo equipment
winds up after death. I hope he
rests in peace knowing that he
helped bring a little girl much
Since that lamentable day, I
have been suffering in the purgatory reserved for those attached
to "obsolete" modes of entertainment. Finding a new turntable is
difficult enough — it's either a
dusty thrift-store find with no guarantee of working or a $700 pro-
DJ setup — but the really hard
part is tracking down needles.
Some of the better audio stores
had a few cartridges stockpiled,
but most lhat I visited in my search
were at a loss.
Curse capitalism and its lap-
dog, forced obsolescence! A pox
on their shiny, plastic houses! I'm
going to set myself up for vinyl
even if it means rifling through
people's garbage for component
parts. Nyah nyah nyah and a
Happy New Year.
Not long after I celebrated my
first birthday, ifie BRAINEATERS
recorded their /, Braineater 7".
Thanks to Super Electro, this piece
of Vancouver musical history has
been re-released in exactly the
same form as itwas back in '79,
manila envelope packaging and
all. /, Braineater is a good reminder of punk's beginnings,
what with short songs, deranged
ideas, and less-than-perfect playing. The tin-can vocal delay on
most of the five songs lends a
spacey, mildly evil ambience to
the record. The sound owes as
much to plain old Ramones-y
dumb punk ("Fun Time") as it does
to prophetic noise violence ("Last
Date" and the title trnck). This re
issue is of definite value and interest to historians and music fans
alike. (Super Electro Sound Recordings, PO Box 20401, Seattle,
WA, 98102)
Coming in on beautiful translucent blue vinyl is a brilliant single from BILL DING. "Make It
Pretty" is so good that I find myself at a loss to describe it; my
trainspotting abilities are not yet
honed to a fine enough point. All
I know is that the song starts out
with static and eventually morphs
into a sort of asymmetrical acid
jazz fusion. "Know It Right" made
me think simultaneously of industrial, jazz, and the Moody
Blues. I can't do this record justice. If you're curious, listen for
yourself. (Hefty Records, PO Box
597844, Chicago, IL, 60659-
Catherine, Joe, and Jay make,
lo-fi rock with some very high
points. I never thought I'd say this
— it sounds so incredibly silly —
but "Jazz Mesopotamia" makes
good use of cymbals. "Hepzibah,
If A GiH" has a very interesting
lyrical theme — martyrdom —
that comes across in lyrics such
as "if she fell prey to a herd of
locusts ..."Catherine's vocals are
mixed unfortunately low on "Ice
Cues;" itsounds as if she's scared
of her own voice. Sing louder,
girl! (Elsinor Records, PO Box
5463, Bellingham, WA, 98227)
I had never heard techno
beats in a rock song until I heard
"Sister" by ENDURO. Enduro's
half of a split 7" with SHIVA
SPEEDWAY is a definitely interesting, aggressive song with grating guitar, moog, and vocals so
strained and angry that my ihroat
gels sore just listening to them. The
entire thing winds up ta a furious
climax and finally explodes towards the end. Shiva Speedway's
song, "Moonshine," is skilful,
morose, and just as angry as
Enduro's, wilh great dual vocals
and a similar spitting, thrashing
demise. (Uprising Records, PO
Box 4412, Ann Arbour, Ml,
Moogs are a bigger presence
lhan ever in indie music. This fact
defies all logic, because moogs
are bloody expensive — too expensive, one would think, for an
independent band on a tight
budget to legally obtain. My only
explanation would be that a
whole bunch of indie kids inherited old moogs from their rich,
eccentric uncles and decided to
use them in bands. VERONICA
one band benefitting from this
arrangement, making speedy, hi-
fi pop disco with a crunchy edge.
VBMN's single features a jumpy
rhythm section, har
production, a
'If I -v
i, great
fish I wouldn't complai
(PussyKitty Records, 16 Ashford
Street, Boston, MA, 02134)
Don't let OBSCURA's silvery
cyberpackaging fool you. This
duo makes mellow, acoustic folk.
Peggy Niederer has a lovely,
warm voice that carries bolh
songs. (Prospective Records, PO
Box 6425, Minneopolis, MN,
Last but not least, local men
STRAIN have released a solid,
couple of songs on a
n label. "Thes
-side, has a very metal feel
to it, whereas "Regret," on the B-
side, is more hardcore. I find it
very difficult to comprehend the
level of skill lhat must be required
to play drums this fast. (Heartfirst
Records, Bockhsrr. 39/10967,
Berlin, Germany)
Treasure your turntables,
brothers and sisters, because, to
quote Joni Mitchell, "You
don't know what you've got 'til
1 by anifrea & Christina
(12pp, quarter size)
this is Nick's first zine. It impresses me to see someone
writing a zine and getting involved in things like gender
and hardcore at the age of
14. The zine consists mostly
of rants about the ways in
which peer groups interact
with one another, specifically
the bullying that goes on.He
also expresses his frustration
regarding 7-11 's treatment of
teenagers. I thought this was
a valid point: 7-11 feeds into
the stereotype that teenager-
are trouble only. An all 'round
good first effort. Send a buck
to Nick Brown, 869 Drayton
Street, North Vancouver, BC,
(48pp, tiny size)
Andy is back with these short
introspective and comical
poems. And I do mean short.
With verses like "Grampa's
wisdom, if there's no blood
don't cry." and 'Ten pounds
of potatoes and a t-bone
steak, the good old days are
now," you gotta have a winner. For some fun winter read-
ing send haikus, "running
away from home" stories,
candy and toys to: PO Box
21533, 1850 Commercial
Dr., Vancouver, BC, V5N
(20 pp, half size)
"I'm always sorry for something," says the author of this
zine. I am glad that he is sorry
for something; however, I
think he would save himself
a lot of "I'm sorry"s if he were
to think about what he said
before publishing his
This zine is one of the most
offensive works I have read.
Chris makes valid points regarding gender roles, particu-
larly the ways in which males
and females relate to one
another. Any valid points,
however, are trivialized by
the author's comments regarding the "feminazi crew;" in response to a girl who questioned a zine author on a subject matter which she felt inappropriate, he justified his
oppressive language because
some girl advocated the
Chris also rambles about
privilege, which completely
minimizes marginalized
people. He states that he got
good grades because he
worked for them, completely
ignoring the ways in which
the education system is catered to white, middle class
males. His ignorance
tokenizes the act of being
and thinking political by
making valid (but not original) points about oppressive
crap and sex ads. 5751
Ludlow Rd., Richmond, BC,
V7C 2Z5.
(20pp, quarter size)
This much-needed zine is a
compilation of the notes that
Hollie has taken on sizism
and fat oppression. She
writes about the assumptions
that society makes about fat
people: they have no will
power, are inactive, sexless,
incompetent, undisciplined, irresponsible and ignorant.
This zine rocked my world
and I think it'll open everyone's eyes a lot. Send a buck
to Hollie B, 2024 E. 1st Ave,
Vancouver, BC, V5N 1B5.
(20pp, half size)
I would say that this is one of
the most important zines out
there. In this zine, which deals
with racism, assimilation and
immigration, the author discusses her experiences in the
way she has been shamed
into forgetting her mother culture. Anyone raised in North
American society has been
taught to feed into the negative myths about immigration
and other races.
This zine is threatening to
anyone who would deny that
they hold any values/behaviours that are racist/anti-immigrant. It forces the readers
to see their own negative con
ditioning and re-evaluate the
"I am in no way oppressive"
stance that so many take as
an attempt at being an ally
to members of oppressed
The author also talks
about her experiences as a
fat person and her feelings
regarding people who treat
her as if she were disposible,
simply because of her weight.
She describes her own steps
towards loving her body. This
is manditory reading for all
of you kids out there who think
putting a patch on your jacket
is ally work. Send $1 and a
stamp to POBox 15, 199 W.
Hastings, Vancouver, BC,
V6B 1H4.
(24pp, quarter size)
"Do you look at me and my
family as dirty lazy smelly
wetbacks? Do you see us all
together across the room and
think we're not from America
and have no business being
here?" This is just the beginning to a wave of kids getting loud and not taking racist crap silently. Bianca is one
of my new heroines, as she is
loud and proud of her Mexican heritage and will not let
racist fucks get away with trying to shame and silence her
into the American melting pot.
She lists gross and ridiculous
names and stereotypes that
she's faced and talks about
white people simplifying racism so that they don't have to
think about their own racist
conditioning and behaviour.
Send the fabulous Bianca
Ortiz $1 US at 2415
Fordham Street, San Pablo,
California, 94806, USA.
(16pp, full size)
Great art and bizzare humour and stories. What more
can you ask for in a comic?
Support your local artists.
Send $2 to Demented Elf
Comics, 3245 E. 16th Ave.,
Vancouver, BC, V5M2M8.* realliveaction
Wednesday, November 6
Starfish Room
This was the first Vancouver solo
performance for Money Mark,
who's best known as a surrogate
member of the Beastie Boys.
His funky, retro finger-licking-
good keyboard playing was an
essential ingredient in the
Beastie's shift in style from
partying pranksters to the
homegrown, wayout sound of
Check Your Head and III Communication.
Money Mark's solo release,
Mark's Keyboard Repair, is weird
and wacky but it does include
several two^ninute assortments
of sounds that could be loosely
labelled "songs." The same
could not be said of his performance, which was more show
and tell than live show. Each
short burst of inebriated sound
required five minutes of preparation. During this time, he would
explain what the devices were
and how much they annoyed his
how well you play the instrument
but simply how you play it.
For a finale, the audience was
treated to Money Mark's favourite invention: a ghettoblaster attached to flashing traffic lights and
a twirling, pocket-sized mirrorball.
Ingenius. There was a kind of encore — Money Mark packing up
all his gear from the stage.
The Lemonheads play
short, syrupy pop songs — basically the opposite of Money
Mark. Evan Dando has been
through a bit lately and now it
seems he just wants to put his
head down and play. But the
band has definately changed the
feel of Iheir live shows. Wilh the
amps cranked and a new line-up
including drummer Murph (ex-
Dinosaur Jr.) and Aussie punk
veteran Bill Gibson, The
Lemonheads are now more rock
than stroll.
A few songs off the new album, Car Button Cloth, benefitted
from the extra voltage. The single, "If I Could Talk I'd Tell You,"
"Hospital" and the cover of
Sal Ferreras of the
Vancouver New Music
photo by Barb Yamazaki
Aided by contraptions and
occasional help from his drummer
in crime, Money Mark actually
played as many instruments as he
did songs — keyboard, drums,
sampler, guitar and trumpet. The
trumpet was played by blowing
up a balloon and fastening it to
the blowhole. The aural result was
as clumsy as you'd expect, but it
didn't matter. Apparently, it's not
20   January 1997
Smudge's "The Outdoor Type"
managed to stay both sweet and
loud, as did some older songs like
"It's a Shame About Ray" and
"My drug Buddy."
But after the garage mood
had set in, it would have been
refreshing to see Dando change
to an acoustic guitar ralfter than
another eleclric, especially for the
band's crowning achievements,
such as "Confetti" ond "It's About
Time," which don't need to be
He did make some concession to his former self by coming
on stage alone for a three-song
encore. But again, the guitar was
electric and abrasive, leaving "Bit
Part" less sweet and soulful than
usual. The band rejoined Dando
for "Into Your Arms" and a great,
Foo Fighter-ish hard rock jam.
And then, eventually succumbing
to a unanimous audience request,
"Luka* got the explosive
makeover it deserved.
The strength of the
Lemonheads' songwriting is
enough to ensure a great show.
Itwas just a pity lhat they couldn't
accomodate an acoustic moment
os well as bringing in the noise.
Jonny Pearlman
Sunday, November 10
Vancouver East Cultural
Paul Grant's "a short piece"
opened the door to the varied
aesthetics, modes and moods of
each of the 25 compositions, one
composer for every year of the
Vancouver New Music Society's
existence. The gentle hum of ringing triangles and crotales gradually emerged from the shadows
beneath ihe balcony of ifie Van
East, their barely audible tones
and pitches sourceless yet ubiquitous as the performers
walked monk-like around the
audience — a fine introductory
metaphor for an evening as
restless as this was to be.
This was not music coming
from a single source (a stage,
say) but from every conceivable
direction, every muse, everybody. The performances alternated between three creators:
Gamelan Madu Sari with
their visually stunning array of
traditional Javanese instruments,
the Vancouver New Music
Ensemble, and some prerecorded soundscapes with accompanying visuals. The mood, too,
relentlessly shifted from one extreme to another. Paul Dolden's
frenzied soundscape, "VNMS
25," explored the implications of
■ 25 i
unique way: 25 instruments
playing simultaneously at 25 different tempos. DB Boylco's "The
Sinking Spell" came much closer
to a lullaby than a cacophony;
based loosely on Edward
Gorey's story of the same name,
the piece seemed bent on an eternal descent down the pelog and
slendro scales, the Javanese
rebab and sitars sounding almost
Branca-like in their eternal shimmer. Bradshaw Pack's "Without the Fear of Wind or Vertigo"
closed out the evening. Pack pilfers one of ihe chapter titles from
Italo Calvino's "If Upon a Winter's Night a Traveller" and seems
to be saying tfiatVancouver New
Music will go on fearlessly for
another 25 years. On ifie whole,
ifie evening left me breathless yet
frustrated, while trying to put the
fragments of what seemed like
2500 years of music together.
Sean Cosey
Tuesday, November 12
The CIA-constructed Robert
Anton Wilson simulacrum performed admirably. It went through
ifie morions, convincing even the
most skeptical that it was indeed
the Robert Anton Wilson. It
seized upon this opportunity to
engage its deceptive programming and steer the crowd away
from any talk concerning sensitive subjects.
As the evening progressed, it
began to refer constantly back to
two subjects: the Internet and
Timothy Leary. This was the
only indication that something
curious was occuring, as Timothy
Leary was also a CIA operative.
Wilson went on about the Internet
at length, attempting to convince
the many individuals in attendance to embrace technology.
Many seemed taken by his statements, forgetting momentarily
that the Internet is a creation of
the llluminati. At this point ifie
sion, stating that he would be
back momentarily to answer
He never returned. As the
people began to wander back
into the theatre, I sensed that
something was wrong. As the
people seated themselves, the
lights grew dim and a horrible,
shrill sound emanated from the
back of the hall. I noticed something at the back of the stage,
and peered into the darkness,
hoping to grasp a sight of whatever it was.
Suddenly a large hand came
smashing through the wall at the
rear of the stage. Green and
clawed, it reached out to grab
individuals and pull them into the
darkness. I distinctly heard chanting at this point, and decided it
would be wise to hide under my
seat. I heard the screams of
those around me and looked
up momentarily to witness doz-
of  c
were wearing
ning forward shooting people
with smooth cylindrical rods that
seemed to be emitting electricity.
At this point I noticed a strange
smell, and passed out.
When I regained c
, I*
Kited ii
my c
amongst all of the people. I
curious. Was I dreaming, or were
these people simulacrum just
like the Robert Anton Wilson
android standing before us?
Or was I simply so bored by
the inane questions and figure-
worship of the masses surrounding me that I needed to
come up with something interesting to write about? You can
through the rift in the wall. They      danceable.
never be certain ...
Rex Mucosa
Thursday, November 14
Starfish Room
Retro is it these days in the music
industry. Disco, arena rock,
bebop, Abba. If it's been done
before, it's just been done again
the exact same way. People just
can't seem to satisfy their craving for this regurgitated ear food.
Who knows? Soon our entire
culture may be back-flipping
through the pages of history. Hey,
tuberculosis is making a comeback. Why not the slave trade
and an earth-centred universe?
Obviously, I'm pretty disturbed by
all this naive, sepia-toned nostalgia. And maybe I shouldn't take
music so seriously in light of more
serious social trends. But I figure
it should tell us somelhing about
ourselves, so I do.
Thank God then for those rare
artists creative enough to use the
past as a starting point, not as
an end in itself. Producer Hal
Willner's tribute albums to Nino
Rota, Charles Mingus, Kurt
Weill and others are perhaps the
most fully realized examples of
this in the past ten or fifteen years.
The material is always being challenged from different musical
vantage points.
Fortunately, bassist and cellist
Matt Brubeck — son of Dave
— has given us wilh the Oranj
Symphonette another example
of a musician taking a very personal look at well-known music.
His band, comprised of people
who've played wilh the likes of
Bill Friseil, Tom Waits and PJ
Harvey, uses the familiar compositions of Henry Mancini as
the starting line. But the group
doesn't take any well-worn palfis.
In its Starfish Room set, the
Oranj Symphonette would make
its way through different shades
of "Moon River," moving fluidfy
from the ethereal interplay between accordionistAeyboardist
Rob Burger and reed player
Ralph Carney to a finger-snapping rhumba and so on.
Polkas would smash into dissonant free-for-all wailings and
then return to their original form.
Ska grooves would surf into the
domain of Dick Dale in a matter of seconds. And somehow the
crowd kept bobbing like lifebuoys
through every change — proof
lhat music doesn't always need
to be in four-quarter time to be
The set would cover a very
swanky, bluesy "Pink Panther," a
Naked City, collage-styled
"Shot in the Dark," and for the
last encore, a silky smooth tune,
"Charade." (All of these should
be on a newGramavision album.)
I confess to knowing nothing
about colour theory, but the
theme of the evening seemed to
be orange. The stage was lit predominantly orange. The tall, reedlike Brubeck's Peanut Butter Cup
t-shirt was obviously orange. And
I guess his music conjures up how
the world of Henry Mancini might
appear when viewed through
orange-tinted glasses.
Michael Chouinard
Friday, November 15
The key to a good funk show is
anticipation. If you've ever seen
P-Funk before, or even the funky
godfather James Brown, you
know all about waiting for the
headliner. By the time George
Clinton hit the stage, there were
about 20 guys crammed onto the
stage, finishing up Funkentelechy.
He had received quite an introduction and everyone was lhat
much happier ta see him.
The show may not have lived
up to the vintage P-Funk performances of the late 1970s, when
the whole mob was still intact, but
it sure was fun. All of the Parliament headliners, like Bootsy
Collins and Maceo Parker,
have been touring on their own
for years, but this show attracted
a great crowd. As I entered the
club, I felt like I had stepped into
the '70s. I was expecting a lot
more rap fans who had somehow
figured out where every Dr. Dre
and Snoop Doggy Dogg
song had come from, but that's
definitely not what we got.
The music flowed well together during ifie two and a half-
hour concert. The show felt like
one long song, with soul interludes and a bit of rap tossed into
the funk. A couple of female
vocalists showcased their talents
while a few of the All Stars took
a breather to get energized for
the next musical attack. It also
gave the crowd a chance to
rest, but it looked like nobody
wanted the break. I was at a
Maceo Parker concert last
year during which, after three
and a half hours of continuous
music, people started dropping
out. I think this crowd could have
made the distance.
P-Funk is more than just a
group — it is a culture. Costumes
include diapers, big funky sunglasses, dresses (for the guys),
and all kinds of other far-out stuff.
Somewhere after "Up for the
Downstroke' and "Bop Gun,"
George Clinton got a roadie to
help him rap by putting his hand
on his head and bobbing it up
and down in sync with the
bassline, while singing "Booty."
Later, when the band played a
really fast-tempo version of the all-
time funk classic "Flashlight," a
dancer dressed up as Sir Nose
D'VoidofFunk by wearing a
large fake nose, showing off
some more of the mythology
that surrounds P-Funk.
After a half hour rendition of
"NotJust Knee Deep," the show's
musical highlight, the crowd was
pumped and ready for more. Unfortunately, it never came.
Don Velan
Saturday, November 16
Vogue Theatre
I can't even begin to imagine
what this tour has been like for
the 70+ Mr. Burnside. One day
he's sirtin' on his back porch,
strummin' and lamenting about
ifie good ol' days, and the next, three young blues-lovin', garage
rockin' punks from New York pick
him up and have him play in front
of 500-800 people (most of
whom were probably still in diapers during his formidable years),
in venues larger then the population of his home town — yet, he
and the crowd were lovin' every
minute of it. As R.L Burnside
sported a wide, toothless grin
after each song, giving us some
excellent blues-boogie that made
us tap our feet and cheer with
every slide of the siring and crash
of the cymbal, and also providing some belween-song banter
that displayed a southern charm
all its own (even when we
couldn't quite understand what
the heck he was saying!)
As the boom-bap of Public
Enemy over the house speakers
caused my entire body to sway
somewhat uncontrollably between sets, nothing could have
prepared me for the sonic may
hem that the JSBX was about to
unleash, and from the first notes
of "Two Kindsa Love," itwas only
a matter of seconds before elbows began to flail ond bodies
began to collide, causing me to
flee for the safety of the aisle
where I could watch the action
in comfort. From lhat point on, it
was unbelievable how good the
show was. The Blues Explosion
did exactly lhat: explode on stage
with more fever and fury then the
last time they were here at the
Starfish Room. As the man himself said, they were there to "fuck
shit up." Everytime Jon Spencer
grabbed the mic, he shook it like
he was exorcising a demon;
Judah Bauer took flight on several occasions, even taking a turn
on the mic for a psuedo-rap on
"Fuck Shit Up;" and Russell
Simins smashed the skins like it
was his last say on earth. They
played mostly material off Now I
Gol Worry like "Wail," "Chicken
Dog," "Rocketship" and the set's
blazing closer, "Identify." But
what really got me going was
when they broke it down in the
middle of a song with the
theremin - Judah was on a
bullhorn and Russell's bass drum
had a crazy beat so phat I had
to rub my eyes to double-check
that I wasn't at a hip-hop joint!
Of course they had to do
an encore, and it consisted of
a hodge podge of stuff form
Orange. But the highlight was
definitely when they brought out
R.L. Burnside's guitar partner and
R.L. himself, who came out
slruttin' like a peacock to do a
little potty-mouthed number
that had the crowd in stitches
the entire time.
Bryce Dunn
Saturday, November 16
Starfish Room
British dub legends Mad Professor brought Babylon to Vancouver on a rainy Saturday night,
the last date of their four-week
Canadian tour. The loveable
dubsters were in high spirits
(irresistable pun), treating us to *heir
usual cover of Peter Tosh's classic "Legalise It" and a jungle mix.
The atmosphere was as
happy and har
when such groovers play. While
reggae and dub can be mistakenly perceived as just "black
sal fathers Bob Marley and Lee
Scratch Perry in an attempt to
unify all races with the use of
reverberating bass, ganga smoke
and exultations tojah. The game
"Opportunity Knocks Vancouver"
was typical of this refreshing attitude and the performance's
unique combination of enlightenment and entertainment, determination and danceability. This
game invited aspiring MCs to try
their mic on stage and lurking
record label scours to pay attention. They probably do this everywhere they dub.
Mad Professor will not forget their roots while they continue
to experiment with the likes of
Horace Andy and Massive
Attack. Their highly acclaimed
and imaginatively titled remix of
3D *CO's "Protection" — entitled
"No Protection" — brought dub's
chilled appeal to a larger audience. If anyone can do that,
expertly manipulating bassey
beats while hosting a "Soul
Shakedown Party" (Bobby M)
with a vibe straight outta
Kingstown, it's the Professor.
James Bainbridge
Saturday, November 16
Town Pump
Punk fuckin' rock. That's all I've
got to say. Well, perhaps puck
funkin' rock. Either way, Los
Hermanos Hansons put on
the most tear-ass, hardcore, spit-
you show I've ever seen in my life.
I arrived in time for Alternative Tentacles' Ultra Bide, a
three-piece Japanese-American
prog-noise band. My roommate
says that they are the logical successors of prog rock — the next
Yes or Mountain with their
amps set to 11; I say they are the
musical crossbreeding of
Nomeansno and Boredoms.
Ultimately, it didn't matter who
was right or wrong, as we both
liked ihem ond they use a toy loser gun as percussion. They may
not be the next wave of anything,
but they fill a void quite well.
And so, clad in my
Charlestown Chiefs jersey, I
carved a niche for myself at the
front of the stage, and lo, like a Iroupe
of drunken hockey players out of ihe
East, like your grandfather
strapped to a bass guitar, the
Hansons mounted the stage.
And that's when the fun began.
The audience threw beer on
the band. The band threw beer
on the audience. The girl next to
me ripped a fist-sized hole in the
crotch of Robbie Hanson's jeans.
Johnny Hanson stole a pair of
glasses from a girl. I spat on Johnny
Hanson for stealing the girl's
glasses and gave him a noogie.
Five men who were cloned from
Eddie Vedder s dead skin kept
stage diving. My roommate
broke his glasses, and I lost mine
on the floor for an agonising few
seconds. The band regufarih/ got
pulled into ihe pit. Trie bouncers did
absolutely nothing.
And it was one of 1ne best shows
I've ever been to. Despite the
amount of crowd interference, the
band played foster and better
than you could ever have expected them to. Foranorwtophour
and two encores, the Hansons
belted out iheir own learning-impaired brand of tireechord punk.
At the end of the night, all I
could think about was when the
next show was going down. I was
surfing an adrenaline wave lhat
would have felled Greg Brady
and I wasn't coming down for any
one. As for my roommate wilh the
broken glasses, he couldn't wipe
the shifting grin off his face.
Mr. Chris
Sunday, November 17
Starfish Room
Skeleton Key were ... uh ... er
... good at what they did, but I
didn't like it.
Moving along. Railroad
Jerk returned to the Starfish
Room for the third time. The first
time there was nobody there. The
second time they played with
Boss Hog and there were too
many people (and annoying ones
at that) there.
I was hoping that the third
time would prove lucky; unfortunately, the combination of the
cold and a Sunday night kept
most people at home. The question beckons, however, why a
band that is equally as good as
the Blues Explosion (who
played the night before), share
Ihe same record label (Matador)
and would presumably appeal ta
the same audience, does not
draw a sizeable crowd even after two consecutive great releases? What Railroad Jerk lacks,
(and what arguably makes them
better) is the campy, cabaret element of the Blues Explosion. But
Railroad Jerk's performance Sunday night proved that tfiey too
work really hard. Playing stuff
mostly from their latest releases,
The Third Rail and One Track
Mind, the band put on a great
performance (as usual) which
pleased even fussy me. So if you
missed the show, your loss, just
make up for it he next time — OK?
"Lala" Siobhan Twin Stars
Thursday, November 22
Sunday, November 24
Vancouver East Cultural
Two vastly different shows
aptly highlight the diversity
of productions at the venerable Vancouver East Cultural Centre.
I became interested in
cabaret music via a very intriguing CBC/German TV
co-production featuring artists like Nick Cave, PJ
Harvey and Teresa
Stratas re-interpreting
Kurt Weill songs. I've also
discovered that I have a
fondness for Cole Porter,
so I wos happy to see the
VECC presenting an afternoon of cabaret music, in-
duding songs by, of course, Weill
and Porter.
Some of the songs featured
coluratura Nancy Hermiston,
who is the voice and opera head
at UBC and has performed extensively in Germany. She was
joined by pianist Terence
Dawson, trumpeter Larry
Knopp and trombonist Gordon
Cherry, all of whom did an excellent job. Hermiston sang with
great gusto, especially during the
quartet of Weill compositions, but
sometimes she was fighting
against the piano, so a mic may
have helped. The musicians also
covered compositions by Boris
Blacher, Herbert L. Clarke
and Jose Berghmans, composers who were all influenced
by cabaret music. All of the songs
multi-media variety and echoed
today's fragmentary nature —
while the dancers performed, text
by William Gibson/
Christopher Halcrow and
video by William Morrison
flashed on a screen above and
behind them. Some of the text
was really striking; the opening
words were "we continue," but
the phrase I remember most pertains to oirports: "tombs of dutyfree." Initially, the video echoed the dancers' moods, but
as the work progressed,
unity was broken down and
as the dancers grew more militaristic and violent, the video
slower. The dancers used repetitive movements, especially gestures we all use, such as stretch-
Skeleton Key
@ Storfish Room
photo by Lori Kiessling
contained unusual interplay between the musicians, especially
Berghmans' "The Bearded Lady,"
a complex interaction between
trumpet and trombone.
A couple of days later, I went
to the first evening of a dance
work by the Holy Body Tattoo
Dance Company, comprised
of dancers Noam Gagnon and
Dana Gingras joined by
Chantal Deeble. Gagnon and
Gingras were recently part of the
New Moves Festival performing
"our brief eternity," which toured
throughout the UK ond Europe.
The work itself was of the
ing and bending. The work
started close to the floor, then
the movements became more
martial arts-inspired at the
end. The music, by Voivod co-
founder Jean-Yves Theriault,
was mostly mechanistic in nature and really brought another
dimension to "our brief eternity."
June Scudeler
Saturday, December 7
Mighty Niagara
Invariably, I seem to go to shows
in a bad mood. I don't know what
it is about me, but I always seem
to end up at the door decidedly
unenthusiastic about the
evening's proceedings. Whatever it is, I've got to keep going to gigs because by the end
of the night I'm pumped full of
happy, and I've got a busload
of fun  for whoever wants
When Maow started their
set I made my way into the converted strip-joint and found a
square foot of space to relax in.
They are wonderful. Really. I have
never seen an all-girl band so
faithfully recreate the dulcet tones
of '60s garage bands, gingerly
blessing them with just a hint
of feedback. They used to
wear cat outfits, now they
wear hockey jerseys. Not a
step backward, in my opinion.
Just go see them.
I had bounced my way
through the last set, but was not
looking forward to the Groovie
Ghoulies taking the stage. In
my cartoon-addled mind, I
ikept confusing them with
Mystery Machine. They are
NOT Mystery Machine! They are
a nilro-rewed and (true to their
name) groovie band, with a
spooky-necro feel to rhem. The
Inhumanoids liberally spread
about the stage were a nice
touch. They rocked, I danced;
they threw out frightening toys,
I cavorted; and all too soon,
they had finished their set.
Mint has been signing some
uber-cool bands of late, and
baby, this is one of them. They
are a monster-filled rocket
that's headed straight to the
top and there's nothing holding them bock. Watch out
for these folks — theyre on
the move!
I had no illusions obout what
to expect when the Smugglers
came on. I had been warmed up
by the first two bands and was
now ready for the speed-crazed
obnoxious surf rock lhat I knew
only Grant Lawrence could
give. When they mounted the
stage and started into their
garage-birthed punk rock I
was instantly seized by Sid,
the Voodoo loa of pogoing
and was ridden all over the
dance floor. He did not let go
of me until they had completed their set and I was
left tired and shaking at the
edge of the dance floor.
Mr. Chris
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21   H^gAffiES© under
Blue Pariah
How to make a Big Rude Jake
cocktail: combine one part vitriol,
two parts loss, and three parts
bile. Shake thoroughly and blow
through a clarinet into an empty
Chivas Regal bottle. Pour the mixture into a cheap polyester suit
and let stew in its own juices for
a good thirty years or so.
Theirs is the music of those
mornings when you awake
coughing, surrounded by filth and
squalor, and you roll half out of
bed to reach for one of the two
bottles on the floor: one is filled
with stale beer and the other with
piss and they're both the same
temperature, and your nervous
system is so crippled by systematic and calculated abuse that
your sense of smell can't even
decide which is which.
It is the music of the proletariat
Epicurean avoiding the rain at
three in the morning in some
nobly decrepit palace of arborite
and naugahide, nursing his
eighth cup of bottomless coffee,
and Irying to digest a $2.50 meal
of dubious animal proteins and
carbohydrates. It is the music of
the operatic dipsomaniac burping and howling Puccini arias
while staggering down empty
midnight streets.
And the songs aren't so much
sung as spat or mumbled drunk-
enly. And the horns and strings
and keyboards can caress
your head and tell you things
are going to be all right after all
or they'll slap you across the face
and tell you to get the fuck out.
And the songs've got real rhythm
and some pretty damn good lyrics. And it ain't Tom Waits, but
it ain't bad.
Adam Monahan
The Analogue Theatre
Wow! This latest LP from the
former Englishman who now
resides in Ghent, Belgium, is not
only far superior to the skank stuff
he put out in the early '90s, it
features the vocals of Jade 4 U
(Lords of Acid), thereby making Bolland the perfect inheritor of the Eurohardcore, nosebleed, trancedance tradition lhat,
today, only Hardfloor Records
has the right to hold. Not all the
tracks are at bullet-train speed,
but the aggression and the
amusement is there. The Analogue Theatre, unlike his post-rave
fodder, is a very successful blend
of ifirash trip-hop (making The
Chemical Bros, look like the
over-hyped nerds they truly are)
and ambient trance, with some
humour ifirown in.
What truly makes this album
22   January 1997
remarkable, unlike other
sophomore efforts by folks like
Speedy J and Astral Pilot,
is that in the competitive mid-
'90s, C.J. Bolland has come
out with a sound that is quite
What Would The Community
Cat Power was one of two
bands opening for Smog at the
Starfish Room a while back. Although technically a three-piece,
Cat Power is singer/guitarist/
pianist Chan Marshall's vehicle.
Touring with a version of Smog
that had been whittled down to
Bill Callahan, Chan had likewise stripped Cat Power down
to just herself. Her songs and
voice sounded great, but how
many people can pull off that
solo/guitar thing? And pull it
off convincingly? I wasn't
disappointed exactly, it just
made me want to hear the
songs with fuller backing,
with arrangements.
Unsurprisingly, I guess, What
Would the Community Think —
recorded at Memphis' Easley
Studios with the full bond (which
includes Sonic Youth's Steve
Shelley) + friends — is phenomenal. Chan's songs (plus a cou-
Smog's "Bathysphere") are
fleshed out impeccably, yet
far from baroque. The whole
thing's got a kind of diaristic
feel to it, as if the songs, ond
the sentiments, hadn't exactly
been laid down for release;
actually, it's more like a diary
that the author actually did
want people to come across,
without expressly handing it
over for inspection — which is
probably the hidden reason
behind all diaries anyway ...
le marteau
About to Choke
Poetic lyrics and soft piano fill this
album, although there are a few
tracks that may be more rock than
one might expect, at least for Vic
Chesnutt. Major label status
doesn't affect the album's
enjoyabilily; it's good in a sweet,
sad sort of way.
About to Choke's mood is
qualified by Chesnutt: "Some of
this album may be a bit obsessed
with the premise that through
death, life is nourished."
Someone told me he sounds
like Cat Stevens, but I could
hardly compare the acoustic,
humble sounds of this fifth album to the likes of Cat.
Could Ende Neu be
Einsturzende Neubauten's
Golterdammerung? There is certainly an "Umbruchsstimmung" in
this recording. Even the liner
notes suggest that something is
afoot with Herrh Blixa and Co.:
there are allusions to their 15
years of being together, Mark
Chung has departed, and N.
Unruh is going by his civilian
moniker of Andrew Chudy. Even
the music feels different — not
radically so, but noticeably
enough. There are fewer sharp
edges. After their magnificent
Tabula Rasa box set, I had high
expectations for Ende Neu. The
complexity, fullness and sense of
place that characterized Tabula
Rasa exists as but a pale shadow.
The carefully choreographed and
layered E.N. sound is reduced to
barely perceptable levels, the focus being more on the vocals.
Of the songs themselves, only
"Ende Neu," the title (Tack, establishes a clear link to the E.N.
sound, and it is also the best track
on this release. I have mixed feelings about "Stella Maris," which
features the vocal assistance of
German actress Meret Becker,
whose slightly childish delivery
detracts from the song. This is still
a better effort than most other
current releases and perhaps
could serve as a gentle introduction, for the uninitiated, to
Neubauten's world.
Ltvesongs: Third Body
Faith & Disease, a Seattle
darkwave outfit, has produced
some really beautiful music for
this compilation of live recordings
and unreleased studio tracks.
Their combination of delayed
guitar, keyboards, and operatic
vocals could have come across
as trite were the musicians not as
skilled as Ihey are. There is a
quality of subdued grace to the
songs (which include what
sounds like a traditional English
ballad and a Cowboy Junkies cover) that I have to appreciate despite myself. Listening to Livesongs: Third Body is
dark, warm  sea — slightly
scary, but still comforting.
Carwreck EP
(Ninja Tune)
Good stuff to be had here. The
Funki Porcini track itself is a
wonderful mix-up, cut-up collage
(and so is the additional Funki
Porcini track "The Fry" — cool).
The supporting mix by
Squarepusher (Tom
Jenkinson) stands up well too,
with his frenetic, sped up beats.
Luke Viebert (sometimes Wagon
Christ, sometimes Plug) lets
down in comparison.
Funki Porcini is definitely one
of the more creative artists
working the computer/sam-
ple/DJ angle, pushing hip-hop
all over the place: drum V bass,
abrupt jazzy breaks and weird,
seemingly self-deconstructing
beats. Genre boundary restrictions are increasingly recognized
as burdensome (from within),
but also symbolically/stylistically useful (with no inside/
outside distinction).
Within this surging environment of provocative, potentially
meaningful connections, Funki
Porcini is only taking advantage
of an obvious availability: drawing attention to an unconscious
negotiative process we all conduct by necessity. All he does is
add a big beat (and this is were
he shines, oh yes).
Schrei X
Had Diamanda Galas been
performing a few hundred years
ago, she would surely have been
tried c
:uted c
still not convinced she'l
this fate.
Last winter in New York, I was
fortunate enough to see her perform the material from her new
album, Schrei X, in a completely
dark Knitting Factory on Ash
Wednesday. Armed with five
microphones and nothing else,
Galas unleashed enough fury
over 45 minutes to stun even
those of us familiar with her work.
When I got up from my front-and-
cenlre seat, my knees were absolute rubber. Luckily, the album
loses none of the live show's
energy (though I do suggest listening to this with the lights off).
The piece is based loosely on
the trials of Job. God and Satan have had a card game,
and Satan would like to inflict a
variety of tortures on poor old
Job, of which the Lord approves.
The text, however, is not so much
a narrative as a very surreal, fragmented poem.
Galas uses her voice as an
instrument to conjure up images
of animal slaughter. Biblical
plagues, gang ropes and childlike bedtime terror. On pieces like
"M Dis 1" and "O.P.M." she
transforms her voice into a murder of crows or a flock of seagul Is
which would have made Alfred
Hitchcock run for cover. This is
what your worst nightmare
sounds like.
The second portion, Schrei
27, contains earlier versions of
the pieces. There is almost no text
here; instead, Galas relies on a
few more mic effects to create
loop-like textures. It's not generally as dynamic; however, the
extended version of "Hee Shock
Die," which ends the album, is
possibly the most frightening
seven and a half minutes I've ever
heard on record.
If you hove never heard
Galas, a safer place to start
might be the album she did with
John Paul Jones or The
Plague Mass. If you have
heard this incredible performer,
Schrei X is an intense and worthy addition to her catalogue. It
is an unparalleled work of horror. And it is ultimately a shriek
to wake us up to the horrors of
our world which we sadly and
routinely ignore.
Michael Chouinard
Go Sailor
I'm walking through the park, and
I come across two girls and a boy
having a picnic. They invite me
along and we chat about love
and being out of love and having fun. We hang out for the
afternoon and ride our bikes
around, pretending we are tourists in our own town. Lote in the
afternoon, as ifie sun is fading,
we drink a Cherry Crush and say
goodbye to each other. I go
home, sit on the sofa, bask in the
memories ofthe day and, sooner
or later, fall blissfully asleep. At
least, that's how this CD makes
me feel. I imagine it would probably make you feel that way too.
If you like being happy, search
this CD out. Your sense of fun will
thank you for it.
Mr. Chris
Bob Green's project, The
Grassy Knoll, makes a big,
densely musical effort to impress
on Positive. Combining hip-hop
rhythms, rock guitar, ambient
synth, noise samples and the im-
provisational structures of
jazz, there is a lot going on
within Positive's 13 tracks. Too
bad, then, that none of the elements of this '90s style fusion ever
really mesh together. Taken on
their own, the beats are hackneyed, the guitar is wonky, the
synth is dull, and the noise adds
nothing. When Green focuses on
a single element, such as the
ominously funky synth on "Driving Nowhere" or the unusually
restrained guitar on "Corrosion
of the Masses," the album is genuinely fascinating. By trying to
cram everything into one track,
though, as he does on "Black
Helicopters" and most of the remainder of the album, Green simply creates an intellectually interesting but vaguely unpleasant
mess. Knowing what to leave out
is as important as what is left in.
If Green realizes this by the next
album, the response will be much
Jovian Froncey
dance hall at louise point
Recorded during the tour for the
brilliant To Bring You My Love, this
album is blessed by PJ's voice and
lyrics and her guitarist's musical
_ • PJ'*
probably make a grocery
intensely harrowing, but ali
Parish just isn't as talented. His
rather formless and unsubstantial
compositions never make much
of an impact, despite pleasingly
raw production. The momentum
on almost all the pieces comes
from the old quiet/loud juxtaposition. Well, it worked for grunge,
I suppose, but straining to hear
only to be deafened moments
later isn't lhat much fun. Fortunately, PJ saves ifie album almost
effortlessly. Her version of "Is Tfiat
All There Is?" is definitive and gut-
wrenchingly moving. The bluesy
"Civil War Correspondent" and
"Heela" are treats for fans of the
last album. For the most, part,
though, the album only highlights
how superior PJ's own compositions are. A necessity for PJ
completists, but the casual fon
would be advised to wait for her
next solo album.
Jovian Froncey
Ifs Sydney or the Bush
The Inbreds' last album 1994's
Kombinator was good. But their
songwriting has gotten much
stronger and the Nova Scotian
two-piece, consisting of Mike
O'Neill and Dave Ulrich, have
fine-tuned their unique sound,
continuing to debunk the
oxymoron "Canadian Talent."
They have a knack for writing quaint little pop songs such
as "Wanna Be Your Friend,"
"Drag Us Down," and "Do You
Really." And their use of pianos,
trumpets, strings and harmonies
makes their songs sparkle. They
exude a certain type of innocence
and naivety as exemplified in
"North Window," with its childlike nursery rhyme melody.
It's the kind of album that
makes you feel all happy 'n'
warm 'n' tingly inside ... like
the Beach Boys or The
Beatles. It's the "feel good"
album of the year!
Fred derF
Thrang Thrang Gozinblux
Assembled from two live show
recordings made during The
League of Gentlemen's 1980
world tour, this "official bootleg"
of theory nerd Robert Fripp's
"experimental dance band" is
Fripp states emphatically at
the end of the recording that he
wants the audience to dance —
no, he REALLY wants them to
dance, seriously — but I for one
can't envision myself doing so.
Were I in a smoky club, watching Fripp wheedle his
consrructivist heart out on his guitar, surrounded by others doing
likewise, I might, perhaps, dance.
But in my room listening to the
recording on CD? No. This is
headphone music with song titles
like "Heptaparaparshinokh" and
"Ooh! Mr. Fripp!" The only thing
that separates The League of
Gentlemen from most Frippian
conceptual prog rock is the upbeat rhythm section with its punk
rock drummer, Johnny Toobad,
and New Wave bassist, Sara Lee (whose bizarre scales exercises
serve to underscore Fripp's alarmingly rational guitar playing). In
fact, this album sounds sooooo
calculated that I have the sneaking suspicion that it may be a
musical palindrome concocted by
Fripp as an ironic statement about
life in the post-modern world.
Maybe I'm not intellectual
enough to want to dance to The
Robert Fripp Band (as The League
of Gentlemen was largely billed
during the tour), but lhat in itself
begs the question: Who is?!
Twenty 2 Months
(Other People's Music)
Just like Vancouver's Zulu Records
who released a series of classic
punk CDs from bands of a by
gone era (Pointed Sticks,
Modernettes, etal). Toronto's
Other Peoples Music has done
the same for fans of forgotten
bands from Ontario circa late
70's — early '80s. The Mods
(who also went under the moniker
of The News) were a
Scarborough-based mod group
who generated quite a following
around southern Ontario and the
Great Lake states like Ohio,
Michigan ond Illinois.
During their short existence
they managed to sell 1000 copies of their debut single, open for
The Specials at the height of
the ska explosion, and star in a
movie about the demise of the
fabled horseshoe tavern called
The Last Pogo. If you're at all into
mod music or just want to hear
some great Canadian music from
ifie past, all 21 songs on this CD
won't disappoint.
Bryce Dunn
Orange Clouds Over Battery
(Jungle Sky)
Place the cool control of a chrome
wall dinner in a trippy pattern of
the immediate visual imagery of
Pierrot Premier's Orange
Cloud Over Battery Park. The CD
cover suits the jazzy, progressive
techno of ihis New York music set.
This is the kind of music you
may want to take into your soul
and let it be the very beat of
your heart. Coming from the
progressive, intelligent side of
techno, they have added their
own orange clouds of '70s clique
wilh jazzy sparkles of electronic
organs and ambient rushes of
sound. A smooth combination of
trippy patterns indeed.
Sarah Bakr
So Far
A pillar of mainstream drum 'n'
bass society, the Brit Reece has
two 1 2"s on Goldie's
Metalheadz label and has produced the latest Everything But
The Girl album.
These House-like potential
club anthems could have had the
same effect on you. Track 7 is
named after lhat mecca of pills, thrills
'n' cheese-fuelled turntables,
"Ibiza," while the press release
says "vocals on the first track
('Fed The Sunshine' — cringe) are
reminiscent of Bjork." Nice PR,
guys, but singer Deborah
Anderson recalls a cheesey Bjork,
the one with pigtails and giant
pink teddy bears.
For all these slabs of cheddar,
there is an infectuously summery
vibe. "Candles" should be
blasted out while zooming down
an empty highway on a summer's
morning, clear sky and open top.
With ecstatic, almost laughing
background treble, "Candles" is
reminiscent of Jamiroquai's foray
into drum'n' bass.
Grade: B+, could do better.
Advice to parent/guardian/manager: try giving him some bad
acid instead of all those Es or
locking him in a room with
Tricky; his remix of Tricky's
"Brand New You're Retro" was
excellent, all sped up and appropriately fucked up. Needs to concentrate more on his dark side.
Darth Voder
Chasm's Accord
This anthology oddly has the
same title and cover art as their
1985 release, but it is not the
same. It contains tracks from both
their earlier albums as well as six
previously unreleased recordings.
Rhythm & Noise's sound is
comparable to that of Throbbing Gristle, but most of
these recordings actually predate TG's. Much of the music
leans to the macabre with recurring apocalyptic themes.
Tracks range from blurring
guttural soundscapes like
"Slugpalh" to clamorous acoustic violence in "Cellar M." These
freaks used to consider audience
abduction and mobilization
crucial elements of live performances. Their live shows have
been completely interactive,
being more akin to performance
art than to typical rock concerts.
Anyone interested in early industrial and experimental music
should find this album to be quite
Kevin Dimples
Teenage Head
(Other People's Music)
This isn't a new album. It's a reissue of Teenage Head's First
album that was first released in
the late '70s. This isn't anything
lhat I could listen to very often or
for very long, but it's a good reminder of Canada's punk rock
roots. If you do decide to buy it,
however, do yourself a favour don't
look at he cover until you get it
home. You'll never buy it if you do.
Dave Tolnai
The Teen Idles
This is a release of a bunch of
songs from Ian MacKaye's first
band that were too crappy to
make it onto their original 7". It
is not the long, lost demo collection of an amazing band lhat
could have made it. It is not an
incredible display of genius of Ian
MacKaye at a young age. It is
not good sounding music in any
way. However, it is the 100th
release of Dischord records and
it shouldn't be bought for any
other reason. Personally, I don't
think thot this is the best way to
celebrate such a milestone, but I
wos only three when Dischord
started so maybe I'm just too
young ta understand.
Dave Tolnai
A Storm Of Drones
Whatyou get if you buy ihe Storm
of Drones is three discs, that's
THREE discs of ambient music!
The first is mostly Canadian-made
ambience, ond is titled the Audio disc, the second disc is the
Environmental, ond the ihird is the
The first disc seems to use
recombined samples of electronics and field recordings; the second, mostly field recordings; and
the third seems purely electronic.
In the introduction (written in part
by DJ Spooky, who appears on
disc two) the artists dissociate
themselves from "Eno-style ambient" music, meaning the "fictional
psycho-acoustic space," describing the works os "the latent
potential of morion ... the sound
of informational rain." In some
cases I think it's true -— this isn't
Eno ambient — but overall, the
three albums never stray from the
long, texlured, organic pieces
that feel like you're looking over
the ocean, watching small waves
eclipse each other. Since Eno
coined the phrase, we've had
people like the Orb, G'Park,
Muslingauze, etc. creating
a whole new structure for
ambient music.
Naut Humon, who compiled
these artists, has chosen a limited
style of ambience, one that stays
in this passive mode, to keep the
"Storm" more consistent, but I feel
like I'm getting too much of the
is Ifie m
/ of these
works, as the introduction describes, especially on Gregory
Lenczyckii's work "Temporal
Filter Coefficient", and Robert
Normandeau's "Tangram*
excerpt, where it feels like you're
in a helicopter zipping low over
city streets and watersheds.
Each artist's work on these
discs is really exceptional, but
ifie moment you put the first CD
gle work tfiat surprises you.
Lee Henderson
California Skaquake 2: The
Aftershock Compilation
This new compilation from the
best of California ska is definitely
a good follow-up to the first. The
opening track is by Venice
Shoreline Chris (hey, isn't he
Canadian?!), aka Chris Murray
from King Apparatus and,
now, the lead vocalist from the
band One. This is a track from
his solo project The Four-Track
Adventures of ... which is a
definite must-have in every
good ska collection.
This album is chock full of
great traditional-style ska, including Ocean II, whose intro begins wilh that great vinyl crackle
sound. There're fabulous horns,
such as on my favourite track by
Chico and the Hornets, entitled "What's the Name of
Cookie?" which also happens
to be one of the few instrumental pieces on the album. I was
pleasantly suprised to hear
what could be California's
next No Doubt and the
Dance Hali Crashers (before the unfortunate big label
sellouts) in the bands Lone
Raspberry and Save Ferris.
This ska comp satisfies most
ska listeners by providing what
I've dubbed "aggro-ska," with
bands like Mealticket, and Out
of Order, as well as traditional
styles of the third wave ska move-
ment, like Checkmate and
Skiptooth. It also comes complete with swing ska, such as
Seespot, and Los Hooligans,
and of course the combo spyska
that every comp needs, ihe Iracks
by Undercover Ska.
Julie Matson
(Silva Screen)
There is currently a virtual avalanche of "soundtrack" albums
available: everything from
movies, TV shows to video
games. Soundtrack albums have
become an essential marketing
tool and money-maker for the
media. Unfortunately most of
these releases are just plain boring and bad. A good soundtrack
should evoke strong images from
the film, yet should also be able
to stand on their own. The benchmark is the work of Ennio
Morricone, whose music defined whole movie genres. These
two new releases are particularly
enjoyable and worthy additions
to anyone's collection.
Coinciding with the release
of the remastered film Vertigo
by Hitchcock, a number of new
recordings of Bernard
Herrmann's film music are now
available. The collaboration between Herrmann and Hitchcock
had much to do with the success
of their films. Herrmann/
Hitchcock's A Partnership in Terror featuring the Prague Philharmonic conducted by Paul
Bateman, offers up a delicious
survey of film music from Vertigo,
Psycho to Torn Curtain. Unfortunately, Herrmann's score for Torn
Curtain was never used, the
movie execs, considering it too
dark, thus leading to the premature end to the Herrmann/
Hitchcock collaboration.
The work of composer and
band leader Gert Wilder* a
prolific TV and movie composer,
covered all genres, from crime to
westerns and even erotica.
Schulmadchen Report serves as
an overview of his scores for a
series of late '60s and early '70s
German nudie films by the same
title. These films were originally
thinly disguised as sociological
documentaries on teenage lust
and loose morals. Though
quaintly naive, it is now a counter point to the wholesome
Heimat films, and the brilliantly
angst-ridden films of ifie German
"new wave." Wilden's clever
compositions acrobatically juggle
music styles, creating a melange
of'60s rock, funk, blues lounge
and even Bavarian beerhall
music, that are just plain fun. CiTR Radio/DiSCORDER contributor*
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1 huevos rancheros
get outta dodge
2 various artiste
in defense of animals
3 screeching weasel
bark like a dog        fat wreck chords
4 the evaporators
united empire kyalists        nardwuar
5 cat power
whatwould ths community...    matador
6 descendants
everything sucks
7 the subhumans
pissed off...
essential noise
ft snfu
epitaph 1
9 johnny cash
america   1
10 hanson brothers
sudden death
essential noise 1
11 rachel's
the sea and the bells
quarterstick 1
12 various artists
heide sez
13 electric skychurch
moonshine 1
14 veda hille
independent 1
15 banco de gaia
live at glastonbury
planet dog 1
16 overwhelming color-fast
moonlight & castanets   headhunter 1
17 future sounds of bndon
dead cities
ebv/virgi   1
1ft various artists
jabberjaw: pure sweet hell   mammot  1
19 dub narcotic featuring Ids
ship to shore
20 utahphillps&anid'ifranco
the pastdidntgo...
righteous babe 1
21 various artists
into topological space       world dom 1
22 jonsp-sncer blues explosion
new i got worry
matador 1
23 the inbreds
rts Sidney or...
pf/tag/atlantic 1
24 the x-rays
double godzilla with cheese      empty 1
25 various artiste
hype soundtrack
sub pop
26 knock-down-ginger
zulu 1
27 the new bomb turks
scared straight
epitap  1
2ft various artiste
this is home entertainment liquid sky 1
29 scared of chaka
masonic youth
30 luscious jackson
fever in fever out
grand roya 1
31 various artists
wipeout xl
astralwerks 1
32 lamb
fontan   1
33 the scissor girls
load 1
34 team dresch
captain my...   chainsaw/candyas   1
35 elvez
g.i. ay ayl blues
big pop 1
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1    1 junior varsity
gol to the ice cream.
peek-a-boo   1
1     1 the colorifics
747 (now i see heaven)    1
1   2 kinnie starr
violet inch   1
1    2 the molestics
now'e the time    1
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sailor boy
ship&anchor   1
1    3 readymade
first base is sleeping    1
1   4 secret agent
no winners no losers
1    4oh susanna
shame    1
i   5jumprope
no happy songs
twee kitten   1
1    5 the stupes
devilina    1
1   6 mecca normal
paris in april
1    6 celestial magenta
salad days    1
1   7 shiva speedway/the ca
tion split
echostatic   1
1    7 the hounds of buskerville
ft elliot
hateful days
fresh bread   1
1    ft euphonix                      let's get out of these monkey suits    1
1   9 ugly beauty
1    9 wandering lucy
baby eyes    1
10 shebrews/ninian hawic
grimsey   1
1   10 mizmo
tarantino cringe   1
1   11 satan's pilgrims
the rise and fall of flingel bunt       k   1
1    11 submission hold
ed anger   1
1 12 the tower recordings
train lips
spirit of orr   1
I   12 wave
for days    1
13 sparkmarker
sawed off but silent
sub pop   1
1   13 chronometer
50 flags   j
14 songs: ohia
one pronunciation...secretly Canadian  1
1   14 spm
justify/glory to god    1
1 15 the grumpies
like any other day
independent   1
1   15 the July fourth toilet
free as a bird    1
16 submission hold
kamikaze quagga
independent   1
1   16 coal
chemicals   1
17 electric frankenstein
action high
1   17 irvin_ klawtrio
170 ways    1
16 sukpatch
carving countries
slabco   I
1   1ft gaze
19 satisfact
life abroad
k   1
I   19 mike ewanus
space is totally silent    1
20 double nelson
roomtone   1
1 20 9696
apotheosis    1
21 kactus
summer vacation
sonorama   1
1   21 the mysterons
barbeque with el vis    1
22 massy ferguson
thrill of victory
x-ray hip   1
1 22 forgotten
we are one
23 teen titans
more songs, less mu
5ic peek-a-boo   1
1 23 touch and gos
campus radio boy    1
1 24 the nonpareils
engine ep
papercut   1
1 24 mollie's revenge
i wanna b    1
25 764-hero
high school poetry
1 25 the wingnuts
hate my job   1
26 climax golden twins
microspace patrol fire
breathing turtle 1
1 26 evil roy slade
head of jesus    1
27 lousy
1  27 something ska
mr. roustabout    1
2ft the krinkles
feelin'like a crustacean      cannibal   1
1 2ft back room shag
the back of your head    1
29 absolute zero
no escape
allied   1
1 29jung robots
bustop    I
30 rrope
a thing of beauty ...
Independent   1
I 30 destroyer
karen is in rome
31 noggin/azucar
sweet baboo  1
31 un
surreal meal deal   1
32 purple knight
crocodile in the swamp
venison creek   1
1 32dirtm'rtts
fishing    1
133 the snow queen
west tone song
smilex   1
1 33 squeeky
ten twenty-three    1
34 the flies
teen challenge
empty  1
1 34 preston
planetra    1
1 35 smack dab
1 35 veronica
der criminal    1
1*  + fi+te   +  p +
1. Frutiger Roman
2. Bertold City Medium
5>.    Garish Moridc
5.     Gothic 13
In Ihe back of Ver-f
21 W. Broadway
Vancouver, Be   „ the, dial
12:00PM All of time is measured by its
art. This show presents the most recent
new music from around the \wrl<J. Ears open.
Reggae inna ail styles and fashion.
lum & helen for another month of travels.
Bring Confetti!
QUEER FM 6:00-8:00PM Dedicated lo
the gay, lesbian, bisexual, and
transsexual communities of
Vancouver and listened lo by
everyone. Lots of human interest
features, background on current
issues and great music from musicians
of all sexual preferences and gender
GEETANJAU 9:00-10:OOPM Geetanjali
features a wide range of music from
India, including classical music, bolh
Hindustani and Carnatic, popular music from Indian movies from the
1930'stothel990's, Semi-classical
music such as Ghazals and Bhajans,
and also Quawwalis, Folk Songs, elc.
Join hosl Dave Emory and colleague Nip
Tuck for some extraordinary political
research guaranteed lo make you think
twice. Bring your tape deck and two C-
90s. Originally broadcast on KFJC (Los
Altos, California).
4:00AM Dropyer gear and stay up late.
Naked radio for naked people. Gel bent.
Love Dave.
11:00AM Your favourite brown-sters,
James and Peter, offer a savoury blend
of trie familiar and exotic in a blend of
aural delights! Tune in and enjoy eoch
weekly brown plate special.
1*00 PM Wilh your hosts the Gourd of
Ignorance. Whal will we play today?
Rog will put it away.
Two shows became one! An hour of
Mekanikal Object Noize [industrial/
nots/lechno) and an hour of Skintight
Buffoonery (lounge, jazz, britpop)
June scudeler@mindlink.bc.ca.
I endeavour lo feature dead air, verbal
flatulence (only when I speak), a work of
music by a twentieth-century composer
— can you say minimalist? — and
whatever else appeals to me. Fog and
dyke positive. Mail in your requests,
because I am not a human-answering
machine. Gota quarterthen call someone
who cares.
POLYPHONIC al. 7:00-9.O0PM Usten for
all Canadian, mostly independent tunes.
Vancouver's longest running prime time
jazz program. Hosted by the ever-suave
Gavin Walker. Features at 11.
Jan. 6: Horace Silver's "The Tokyo Blues"
26   January  1997
Jan. 13: Early Sun Ra and "Jazz in Silhouette"
Jan. 20: Tenor Saxophonist /  composer
Wayne Shorter in a quartet dale, "Ju-Ju"
Jan. 27: "Homecoming", with saxophonist
Eddie Harris and pianist Ellis Marsalis.
DRUM'N1 SPACE ok. 12:00-2:OOPM Jazz,
breaks & the silence in between 0
not a free cuntry, and we're
demanding acunlabilily! Wake Up
with our collective show! Interviews,
issues, and music.
IQRA 5:30-6:OOPM News, issues, and
concerns facing Muslims throughout the
Meat the unherd where the unheard
and the hordes of hardly herd are
heard, courtesy of host and demo
director Dale Sawyer. Herd up!
RITMO LATINO 9:00-10:00PM Get on
board Vancouver's only tropical fiesta
express with your loco hosts Rolando,
Romy, and Paulo as they shake il and
wiggle it to the latest in Salsa,
Merengue, Cumbia and other fiery
fiesta favourites. Latin music so hoi
it'll give you a tan! ([RADIO
NAKED RADIO ah. 10:00PM- 12:00AM
From Thelonious Monk to MeridihS Monk
... we'll play il. Genre-busting, cutting-
edge jazz and other experimental
sounds, plus informative label/artist
features. Join Mike and Sean.
12:00AM Noise, ambient, electronic,
hip hop, free jazz, christian better living
Ip's, the occasional amateur radio play,
Warning: This show is moody and unpredictable. It encourages insomnia and
may prove to be hazardous to your
health. Listener discretion is advised.
LOVE SUCKS   12:00PM-2r00PM   If you
can't make sense of it, and lhat bothers
you, go somewhere else.
3:00PM "better a brat than a beauty
MOTORDADDY 3.O0-5.O0PM 'Let those
who ride decide!"
ESOTERIK oh. 6:00-7:30PM   Ambient/
experimental music for those of us who
know aboul the illithids.
SOLID STATE alt. 6:00-7:30PM Featuring
the latest in techno, trance, acid and
progressive house. Spotlights on local
artists, ticket giveaways, & live
performances. Hosled by M-Path.
AND SOMETIMES WHY 7:30-?:00PM lois,
malthew shipp, miranda jury, railroad
jerk ... these are a few of our fave-oh-
wril things, la la la!
Soukous, Samba, Salsa. Yes! Even Soca.
Enjoy thisTropical Daiquiri with El Doctor
del Ritmo.
12:00AM Let DJ's Jindwa and Bindwa
immerse you in radioactive Bhungra!
"Chakkh de phulay.' Listen to all our
favourite Punjabi tunes — remixes and
originals. Brraaaah!
FlUBUSeak. 10:00-11:30AM Bad hill
blood, spy music and an accordian fetish.
Caution: high in fibre!
MUSIC FOR ROBOTS ah. 10*00-11:30AM
The Robotic Revolution is coming, be
prepared: vote robot. Psychotronic
excitement w/ female automan Fem-bol.
all-Canadian soundtrack for your
midday snack!
STEVE & MIKE l:O0-2:0OPM Crashing the
boys' club in the pit. Hard and fast,
heavy and slow. Usten lo it, baby.
JUSTIN'S TIME 2:00-3:OOPM For some
cool jazz by some swingin' singers and
boppin' players, tune in and don't miss
out on some happy times!
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.
Roots of rock & roll.
9:00-ll:00PM   Local muzak from 9.
Live bandz from 10. Jan. 9: Caught in
the Act and Tabloid Jan. 30: Juniper
Daily Feb. 6: Saddlesores
Morgan le Fay brings you the latest info
and tunes in the realm of electro/
industrial & synthcore. Hard beats to
invigorate your late nighl angst.
10:00AM Join Greg in the love den
for a cocktail. We'll hear retro stuff,
groovy jazz, and thicker stuff loo. See
you here... and bring some ice. XOXX
TELESIS 10:00-11:00AM Tune in for
discussions, interviews & information
relating to people who live with physical
& mental challenges.
12:00PM Featuring the death-defying
sounds of ska — old and new — with
Julie and Scolty.
LUCKY SCRATCH 1:00-2:00 PM Swing on
the gallows pole and git yer dose of
blues in the afternoon. Hosts Anna and
UTTIE TWIN STARS 2:00-3:30 PM Kiki Liki
PRESENTS... 3;30-4:OOPM Have a
good brunch!
Underground sound system-style
maslermix radio.
David "Love" Jones brings you the best
new and old Jazz, soul, latin, samba,
bossa & African Music around the wodd.
FOR THE RECORD 6:30-6:45PM Excerpts from Dave Emory's Radio Free
America Series.
HOMEBASS 9:00PM- 12:00AM The
original live mixed dance program in
Vancouver. Hosted by DJ Noah, the
main focus of the show is techno, but
also includes some trance, acid, tribal,
etc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass.
UMP SINK 12.*00-2:30AM Hosted by the
G42 players. "The show that doesn't
hate you." wilh your friendly pals Friar
Fritter Abfackeln and Postman Pat.
Alternating with Dr. Killdare
LUCID SOUL 2:30-4:00AM Dr. Killdare
plunders even further into the wee hour
doing what hecan to keep security guards
and 7-11 clerks awake. Waywayway
deep dance stuff and other hallucinating
Music you won't hear anywhere else,
studio guests, new releases, British
comedy sketches, folk music calendar,
ticket giveaways, plus World Cup
Hepo'fat 11:30 AM. 8-9 AM: African/
World roots. 9-12 noon: Celtic music
and performances.
Vancouver's only true metal show; local
demo tapes, imports and olher rarities.
Gerald Raltlehead and Metal Ron do the
THE SHOW 6:00-8:00PM Strictly Hip
Hop — Strictly Undergound — Strictly
Vinyl With your hosts Mr. Checka, Flip
Out & J Swing on the 1 & 2's.
UVE AT THE Hl-HAT 11:00PM- 1:00AM
"Live! — shows and bands — mission
$6.00 - Performers are subject to
Happy New
Year From
Come to rm 233 in
the UBC Student
Union Building.
Training Provi.'
Arts Kiley Frithen
Board Chair Harry Hertscheg
Current Affairs Michael Gumey
Demos/Cassettes Dale Sawyer
Engineer Richard Anderson
Entertainment Chris Allison
Mobile Sound Ken Orchard
Music Megan Mallett
President Ryan    Ogg
Production Siobhan McCrocken
Programming Namiko Kunimoro
Record Librarian Tristan Winch
Secretary Heather Hermant
Sports Slavko   Bucifal
Station Manager Linda Scholten
Student Engineer Fern Webb
Traffic Sarah Stacy
Vice  President Justin  Ho
Volunteer Coordinator   John Ruskin January
IwdaT sifa*«*f still prafca&igiwstr WRmwffty
mUmm km Nl tlai *m\ pmmt as fttm
mm l|*ittfritr?m
re^rdi^Nil»g#tBOiiiy,llll, iyv_; ___
The Abyss 315 E. Broodwoy (side entrance)
Alma Street Cofe  2505 Alma  lot Broadway]
Anza Club 3 W. 8*  (Mount Pleasant)
Arts Hotline
Bossix 217 W. Hastings (atCambiej
Backstage Lounge  1585 Johnston  (Granville Island)
Black Sheep Books 2742 W. 4th (ot MacDonold)
Cafe Deux Soleils  2096 Commercial  (the Drive)
Cofe Vieux Montreal  317 E. Broadway  (Mount Pleosant)
Caprice Theatre 965 Gronville  (Granville Moll)
Celebrities   1022 Davie  (at Burrard)
CN Imax Theatre 999 Canada Ploce
Columbia Hotel  303 Columbia  (at Cordova)
Commodore Ballroom 870 Granville (Granville Mall)
Commodore Lanes 838 Granville (Granville Mall)
Cordova Cafe 307 Cordova  (Gaslown)
Crosstown Traffic 316 W. Hastings  (downtown)
Denman Ploce Cinema   1030 Denmon  (West End)
DV8 515 Davie (downtown)
Edison Electric Gallery/Cafe 916 Commercial  (the Drive)
Firehall Arts Centre 80 E. Cordova (at Main)
Food Not Bombs Vancouver
Frederic Wood Theatre (UBC)
Gorage Pub 2889 E. Hostings (downtown)
Gaslown Theatre 36 Powell  (Gastown)
The Gale   1176 Granville (downtown)
Glass Slipper 2714 Prince Edward   (Mount Pleosant)
Graceland   1250 Richards  (downtown)
ce 45844 Yale Rd.  (Chilliwack)
Gallery 4124 Main  (Ml. Pleasant)
Hastings Community Centre 2096 E. Hastings  (near PNE)
Hemp B.C. 324 W. Hastings (downlown)
Hollywood Theatre 3123 W. Broadway (Kitsilano)
Hot Jazz Society 2120 Main  (Mt. Pleasant)
Jericho Arts Centre   1600 Discovery (Pi. Grey)
la Quena   1111 Commercial  (the Drive)
The Lotus Club 455 Abbott  (Gastown)
lucky's 3934 Moin
tuv-A-Fair 1275 Seymour (downtown)
Mars   1320 Richords  (downlown)
Maximum Blues Pub   1176 Granville  (downlown)
Metropolis 10759 135th Street (Surrey)
5 Niagara Hotel Pub 435 W. Pender (downtown)
Odyssey Imports 534 Seymour (downtown)
Old American Pub 928 Main  (downtown)
Orpheum Theatre Smilhe 4V Seymour (downtown)
Pocific Cinemaiheque   1131 Howe  (downtown)
Paradise 27 Church  (New West)
Paradise Cinema 919 Gronville (Granville Mall)
Pork Theatre 3440 Cambie (South Vancouver)
Picadilly Pub  630 W.Pender  (ot Seymour)
Pil Pub basement, Student Union Building  (UBC)
Pitt Gallery 317 W. Hastings  (downlown)
Plaza Theatre 881 Granville  (Granville Mall)
Raffels Lounge   1221 Granville  (downtown)
The Rage 750 Pacific Blvd. South  (Plaza of Notions)
Roilway Club  579 Dunsmuir (at Seymour)
Richard's On Richards  1036 Richards  (downtown)
Ridge Cinema  3131 Arbutus  (all 6th Ave.)
Greg's P
The Grin
488 6219
222 2244
876 7128
684 2787
689 7734
687 1354
732 5087
254 1195
873 1331
683 6099
689 3180
682 4629
681 7838
681 1531
683 5637
669 7573
683 2201
682 4388
255 4162
689 0926
872 6719
822 2678
822 9364
684 MASK
877 0066
688 2648
795 3334
322 6057
255 2606
681 4620
738 3211
873 4131
251 6626
685 7777
875 9858
685 3288
230 MARS
688 8701
688 7574
669 6644
682 3291
665 3050
688 3456
525 0371
681 1732
876 2747
682 3221
822 6273
681 6740
685 7050
473 1593
685 5585
681 1625
687 6794
738 6311
874 6200
687 6355
733 2821
876 7463
682 4171
689 0096
688 3312
Side Door 2291 W. Broadway (Kits)
Southhill Candy Shop 4198 Main (ot 26th)
Starfish Room   1055 Homer (downtown)
Starlight Cinema 935 Denman  (West Endl
Station Streel Arts Centre 930 Station  (off Ma
St. Regis Hotel 602 Dunsmiur (downtown)
South Hill Candy Shop 4198 Moin (al 26th) 876-7463
Theatre E  254 E. Hastings  (Chinatown) 6818915
The Tower 339 W. Hastings  (downlown)
Town Pump 66 Water (Gastown) 683 6695
Track Records 552 Seymour (downlown) 682 7976
Twilight Zone 7 Alexander (Gastown) 682 8550
UBC CINEMA (locoled in the SUB) 822 3697
UBC Grad Centre Gate 4 (UBC) 822 0999
The Underground   1082 Granville  (downtown)
Vancouver East Cultural Centre  1895 Venables (ot Victoria) 254 9578
Vancouver Little Theotre 3102 Main  (Mt. Pleasant) 876 4165
Vancouver New Music Society (info) 606 6440
Vancouver Press Club  2215 Granville  (S. Granville) 738 7015
Varsity Theatre 4375 W. 10th (Point Grey) 222 2235
Vert 2412 Main (Ml Pleosant| 872 2999
Video In Studios   1965 Main (Ml. Pleasant) 872 8337
Vogue Theatre 918 Granville (Granville Mall) 257 6205
Waterfront Theatre  1405 Anderson (Granville Is.) 685 6217
Western Front (303 E. 8th Ave) 876 9343
Whip Gallery 209 E. 6lhAve (at Main)
W.I.S.E. Hall  1882 Adanoc (the Drive) 254 5858
Women In Print 3566 W. 4th  (Kitsilano) 732 4128
Yale Blues Pub  1300 Granville (downtown) 6819253
INFO (WHO, WHERE, WHEN) TO 822 9364,
27 m^u-mm 1869 W 4th Ave.
Vancouver, BC
tel 738.3232
MontoWed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
dose off vour oio yew, or
RfAc A/o/se MAKeRSt
20% OFF
40% OFF
9:00 am - 6:00 pm
10:30 am - 9:00 pm rt> \
Tie Jisepliie Wins
Experience »/lp
Soy all you wont about the recent slough of
ex-Breeders solo projects, this record is
one tasty 'bon-bon' thot merits your undivided attention. Jo Wiggs and Co. hove
created o batch of up-front, well crofted pop
songs ihot will lime you in ond drop you oul.
16^CD     12* IP
Sally Free and Easy cb-ip
All points bulletin. The UK has been
swarmed with aliens able to take on ony
shape or form. Eorthlings, be on the lookout
for pulsating guitar feedback! Their new
wave is coming our way. They come wafting
into our ears, to make us "blissed out."
They come a»r the ocean... in drones!
9* CD-EP
Bizarre soundtrack music created and performed by the always innovative Mr.
Zorn and a few of his talented friends
(Man Ribpt, Robert Quine,
Cyro Baptistal Seemingly defying
the laws of sound, this recording cohesively brings together nearly every musical
genre you can imagine.
Volume 2 co
Tight budget? Wei, we've got the perfect
ticket for you! Here's your Punk-O-
Instrumentalist cb/2ip
Pushing the good Dr. Octagon science fiction along is a finely crafted sel
of beats. Realizing this, the also good
folks ot Ma' Wax have graciously
released the unaccompanied beats as
their own item. With good reason we say.
Thanks doctor.   IMPORT
22* CD     22* 2LP
Fluorescences cd-ep
Ahh, the hypnotically bubbly groove pop
of Stereolab is so pleasant and so
charming thot we just can't get enough of
t. Thankfully, with Emperor
unci iui vuuineieiyuui runn-v- ■• -.., .
Rama pass to the hottest rock'em sock-    Tom"to Ke,«1*""'stl11 ^verberotmg
in our dreamy memories, another Er
release has come oshore... ond it glows.
n gig going! Get this, the oils!
Epitaph's lab punk rock stable all under
5* CD
9* CD-EP
Labradford cd/ip
Incorporating strings, samples and subtle
rhythms, Labradfords self-titled
GODS Ol The MldWay CD      third record explores o wide range of
Hoiling from Philly, I tell you these minimolist compositions. Blending the
Strapping Fieldhands are the textured melodicism of Prasizion
sleeping stars of the Matador camp!      with the boss-loden drones of A Stable
Their ort (gone mostly unnoticed) now -       Refereme, this record captures
matures into a light of all its own - stork,   Labradford at their creative best,
bold ond definitely passionote. Swill this     | fM £q        | 2*8 ID
well-steeped hooch par none!
Prices in effed until January 31 '97
mill's ,
Of 19961
lion the deik al1...
His Name Is Alive Stars On E.S.P.
The Make-Up Destination: Love —
Live! At Cold Rice
Dave Alvin Interstate City
Lilys Better Can't Make Your
Life Better
Barry Adamson Oedipus
Man Or Astroman? Experiment Zero
Jale So Wound
Paladins Million Mile Club
Raincoats Looking In The Shadows
I  *?4o« tke deik o[...
I Evaporators United Empire Loyalists
I Fastbacks New Mansions In Sound
I High Llamas Hawaii
I Robyn Hitchcock Moss Elixir
| Man Or Astroman? Experiment Zero
Bomb Turks Scared Straight
I Nomads The Cold Hard Facts
Of Lite
I Queers Don't Back Down
I Superconductor Bastardsong
I Zumpano Goin' Through Changes
4*om tke deik a/...
I Oval Syslemich
I Gastr Del Sol Upgrade And Afterlife   I
1 Tortoise [products]
I Stereolab Emperor Tomato Ketchup   |
| Funki Porcini Love. Pussycats And
Car Wrecks
| Main hZ
/arious Headz II: Mo' Wax
I Phofek The Hidden Camera IP
| Trans Am [products]
Tindersticks Nenette Et Boni
I The For Carnation Marshmallows
I soundtrack Dead Man
]  Richard Davies There's Never Been |
A Crowd This Big Before
I  Dirty 3 Horse Stories
I Destroyer We'll Build Them
A Bridge
I Luna No. 6 EP
I Come Near Life Experience
I Ghost LamaRabiRabi
1 Palace Arise Therefore
"hom &Wo/...
Gastr Del Sol Upgrade And Afterlife
I Labradford Labradford
Trans AM Illegal Ass 12"
Dr Octagon Dr. Octagon
Tortoise Millions Now Living Will
Never Die
Einsturzende Neubauten Ende Neu
Julian Cope Interpreter
Rome Rome
DJ Spooky Songs Of A Dead
j Come Near Life Experience
|   tynam tke deik oJ,...
Red House Painters Songs For A
Blue Guitar
2. The Congos Heart Of The Congos
3. Scud Mountain Boys Massachusetts
4. Beck Odelay
5. Wilco Being There
6 Tortoise Millions Now Living Will
Never Die
7. The Drovers Little High Sky Show
8. Joel R.L. Phelps Warm Springs Night
9. Kevin Kane Neighbourhood Watch
Ass Ponys The Known Universe
Zulu Label Sale!
This month, pick any full length CD or cassette
from our catalogue, at a mighty fine price!
CDs $11.98... Cassettes $6.98
1996 Zulu Releases
knock-down-ginger Take Out (CD/Cass)
Sook-Yin Lee Wigs And Guns (CD)
Daytona Sustain (CD/Cass)
Previous Zulu Releases
Modernettes Get It Straight (CD)
Young Canadians No Escape (CD)
Pointed Sticks Part Of The Noise (CD)
knock-down-ginger.. snowman's land (CD/Cass)
Perfume Tree A lifetime Away (CD/Cass)
Sook-Yin Lee Lav/ma's Tongue (CD/Cass)
Perfume Tree.... The Suns Running Out (CD/Cass)
Daytona Chicane (CD/Cass)
Bob's Your Uncle Cages (CD/Cass)
Lung Magnum Opiate (CD/Cass)
Coal Coal (CD/Cass)
Perfume Tree Dusf (CD/Cass)
Tankhog House Of Beauty (CD/Cass)
<5W tke deik ol..
1. Suede Coming Up
2. Divine Comedy Casanova
3. Prodigy Firestarter EP
4. Space Spiders
5. Jack Pioneer Soundtracks
6. Dodgy Free Peace Sweet
7. Kula Shaker K
8. Denim Denim On Ice
9. Barry Adamson Oedipus
10. Square Pusher Port Rhombus J
1  4W tke deik ol..
#ttw« ike deik a/...
1 Aphex Twin Boy/Girl EP
Bedhead The Dark Ages EP
1 Barry Adamson Oedipus Schmoedipus
Cat Power What Would The
1 Cocktails Cocktails
Community Think
1 DJ Shadow Endtroducing
Cyndi Dall Untitled
1 Golden Palominos Dead Inside
DJ Spooky Songs Of A Dead Dream
1 Land Ot The Loops Bundle Of Joy
Gastr Del Sol Upgrade And Afterlife
1 The Make-Up Destination Love —
Lois Infinity Plus
1     Live! At Cold Rice
Rachel's The Sea + The Bells
1 Stereolab Emperor Tomato Ketchup
Sleater-Kinney Call The Doctor
1 Team Dresch Captain My Captain
Team Dresch Captain My Captain
1 various Live At the Social. Volume 1
various Sidereal Rest                    a
1     [mixed by The Chemical Brothers]
I Qvtmtkedeikoi...
. The Make-Up Destination: Love —
Live! At Cold Rice
I 2. Squirrel Nut Zippers Hot
| 3. Trans Am Trans Am
I. No Knife Drunk On The Moon
I 5. Glenn Gould Regards [compilation]
I 6. The Frogs My Daughter The Broad
| 7. Mind Science Ot The Mind Mind
Science Of The Mind
I. Afghan Whigs Black Love
| 9. The Peechees Do The Math
I. Tanner /// Gotten Gains
I 4*(uh tke deik tt/...
1. Zumpano Goin' Through Changes
I 2. Unwound Repetition
I 3. Beck Odelay
*. The Peechees Do The Math
I 5. Wilco Being There
I 6. Railroad Jerk The Third Rail
1 7. Pest 5000 Interabang
I 8. Run On Start Packing
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