Discorder CITR-FM (Radio station : Vancouver, B.C.) 2002-08-01

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Issue 232 • august 2002 • That Imaginary Magazine From CiTR 101.9fM|
Events at a glance:
Under the Volcano by Barbara p.7
Sunset on Broadway by Brian Disagree p.10
Black Rice by Erika Jane p.l 1
6955 by Paul Loughlean p.l2
The Quails by Duncan p.13
The Cinch by Ben Lai p.14
Bottleneck by Val Cormier p.15
Archer Prewitt by Nic Bragg p.16
Bratmobile by Chris Eng p.l8
Bumbershoot by Val Cormier p.20
Vancouver Special pA
Fucking Bullshit pA
Strut, Fret & Flicker p.5
Panarticon p.6
Radio Free Press p.7
Kill Your Boyfriend p.9
Over My Shoulder p.21
Under Review p.21
7  p.23
Real Live Action p.24
Charts p.27
On the Dial p.28
Everyone in Vancouver is a rock star. If
they only knew that they all had the same
guitar. Lori Kiessling and Paul Loughlean
dragged unsuspecting people off the streets
and onto the cover. Photographs and
design by Lori and Paul, www.pulite.org.
outgoing editrix:
Slug Bait
incoming editron:
Chris Eng
ad rep:
Steve DiPo
art director
Lori Kiessling
production manager:
Geoff Rowley
editorial assistant:
Donovan Schaefer
real live action editor
Duncan McHugh
layout and design:
Lori, Paul Loughlean
Lori, Ian Pickering,
Andrea A, ChrisEng
,, Duncan, Ubyssey
on the dial:
Bryce Dunn
Luke Meat
. Us
Matt Steffich
us distro:
Richard Trimble
publisher lady:
Linda Scholten
© "DiSCORDER" 2002 by the Student Radio Society of the University of British Columbia. All rights |
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to DiSCORDER at discorder@club.ams.ubc.ca.
From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through  I
all   major   cable   systems   in   the    Lower   Mainland,   except   Shaw   in   White   Rock.   Call   the
CiTR DJ line at 822.2487, our office at 822.3017 ext. 0, or our news and sports lines at 822.3017
ext.   2.   Fax   us   at   822.9364,   e-mail   us   at:   citrmgr@mail.ams.ubc.ca,   visit   our   web   I
http://www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-61 38 SUB Blvc
couver, BC, V6T 1Z1, CANADA.
. printed in canada
TUE TACTICAL progressive grooves WED GRANDE
ound system by:
mjrbosound r-r«f^ \\ CT^
vq ti co live r JliJecaql - \  fucLiiiq bull/shit
local reviews by Janis McKenzie
bullshit by Christa Min
Their email address doesn't lie—
The Cinch do indeed rock.
Singer Jennifer Smyth's lines dip
at the end in a mewing, sneering, smart-ass way, and with the
harmonies from guitarist Katliy
Dube the overall effect reminds
me of the B-52s and a long line
of tough girl bands from the
Shangri-La's to The Donnas
and Rondelles. Over the course
of these five songs the drums are
furious and the guitars just don't
let up—there's simply no room
for any slow or wimpy filler
here. And after the four originals
is yet another pleasant surprise:
a high-energy Jonathan
Richman cover with a guitar
that mimics that classic Iggy Pop
piano sound.
Mount Pleasant play a kind of
tight,    sometimes    rollicking
roots-rock flavoured with early
Neil Young (and occasionally
hints of Crosby, Stills, and Nash
too). Maybe it's some kind of hot
weather-induced madness, but I
could swear I've heard at least
You"—are just so darned catchy
that hearing them once at a live
show is enough to make them
stick in your head? Never mind
because those are the two standout tracks in any case. "Always
Something" is almost poppy, in
a bleak, hopeless, Badfinger
kind of way, while "Hard to
Find You" is sweeter but every
bit as melancholy.
Stand Up For Your Mother
Stand Up for Your Mother is made
up of entirely different ingredients: glossy spun sugar layered
with pianos and female ethereal
voices, heart-felt male singing
with countrified acoustic guitar,
and soaring boy/girl vocals over
anthemic instrumental arrangements, and slightly fucked-up
pastiches of found sounds.
Sometimes the band makes you
think it should be on Sarah
(home of the most precious and
introspective of indie pop outfits) instead of Mint, and sometimes it messes with you by
putting in something hard and
fast or even funky. What's most
surprising is how many of these
(and other) different things can
happen in just one song—some
Stand Up for Your Mother is made up of entirely different
ingredients: glossy spun sugar layered with pianos and
female ethereal voices, heart-felt male singing with countrified acoustic guitar, and soaring boy/girl vocals over
anthemic instrumental arrangements, and slightly fucked-
up pastiches of found sounds.
part of this EP before. Were a
couple of the songs on an earlier
release, or did Mount Pleasant
used to have a different name?
(Their website didn't offer any
clues.) Or could it be that the
songs in question—"Always
Something" and "Hard to Find
morph from one thing into
another at least three times over
the course of five minutes. No, I
take it back. What's most surprising is that whether playing a
complex trifurcated epic or a
two-minute indie pop-rocker,
Young and Sexy manages to
The three guys in Conrad have
described themselves as "gormless" and "cranky," but neither
of these is a description that
comes to mind when you actually hear them. Instead you notice
a kind of laid-back (and very
composed), sad coolness, both in
the pulled-back arrangements
and airy vocals that are a little
reminiscent of Lloyd Cole.
Closer scrutiny reveals surprising and fresh snippets of lines
like "I wanna smell all your
magazines" (to name just one,
from "Paisley"). Alas, there's no
lyric sheet to help you follow the
story line of "Sister's Wedding"
or pick out the words that are
tucked in under the instruments
on the other songs. But if the bits
I made out are any indication,
it's certainly worth the effort.
Hour Glass House
I have to confess that I've never
seen Flophouse Jr., so after I first
put this CD into the machine it
was a shock to discover that the
band is made up of just two people. They don't sound stripped-
down, like a rootsy variation of
the White Stripes or a less abrasive version of The Crabs.
Rather, Flophouse cleverly combines high-tech and urban
angst-ridden plucking-on-the-
back-porch elements for a
quirky/pretty and surprisingly
full sound. Jon Wood's lead
vocals are the only ragged thing
here (not unlike Ken Beattie's
from Radiogram)—everything
else is smooth.
www.flophousejr.com •
Last weekend, I flew to
Washington, DC to see
Minor Threat play. Live. It
was absolutely amazing.
I guess I need to explain
some things. Most of the world
is under the impression that
Minor Threat broke up in 1983.
This is not true. In 1983, Minor
Threat was becoming dangerously popular. Ian MacKaye and
the boys didn't like it. They
loved playing together, but they
didn't like their growing popularity. They didn't want people
to buy their records or pay
money to see them play. They
didn't want to record music or
play shows for strangers. They
played music because they
loved it. They didn't do it for the
fame, fortune, or chicks. They
did it for themselves. So they
faked a break up.
The truth is that Minor
Threat has played together
every second Sunday of every
month in Ian's parents' basement for the past nine years.
Lyle Preslar was never an
A&R rep. Steve Albini, who happens to be pretty good pals with
Minor Threat—Ian and Jeff
Nelson in particular—agreed to
include Preslar's name in his
"The Problem With Music"
essay, that was first published in
MMR#133. Albini wrote that
Preslar was an evil A&R rep
who preyed on young, talented,
bands. Albini lied. Ian and Jeff
asked him to spread the rumour
about Lyle so that no one would
ever suspect that Minor Threat
was still together. They figured
that no one would believe that
He has the energy of a 15-year-
old boy. Even Steve Hansgen
was there to play some of the
songs. When they played "Out
of Step" I got so excited that I got
on top of some guy's shoulders
and jumped into the air and
touched my toes like a cheerleader. Oil the way down someone kicked me in the taco by
accident. It hurt like hell, but I
didn't notice until after they fin-
The truth is that Minor Threat has played
together every second Sunday of every
month for the past nine years.
MacKaye and Nelson associated
with someone who stood so blatantly against the DIY aesthetic.
MacKaye's other band, Fugazi,
also started as a device to cover
up Minor Threat's existence.
I was invited to the Minor
Threat basement in DC because
Ian wanted to come out. He
called me and said that he was
tired of hiding. Well, let me tell
you, that Minor Threat was, and
still is, one of the greatest and
most influential bands ever. The
show was insane. Brian Baker
has not aged an hour in 10 years.
ished playing. I was so mesmerized. My hand hurt, too, because
I socked Henry Rollins in the eye
when he tried to start reading
his poetry in between songs.
That wasn't very nice of me.
Sorry, Hank.
Listen carefully: Minor
Threat is NOT releasing a new
album. Minor Threat is NOT
going on tour. Minor Threat is
NOT going to play any shows
for the public. They will NEVER
EVER sellout. They are
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Cinemuerte International
Horror Film Festival
Saturday, July 6
Pacific Cinematheque
Made in 2000, this one has been
on my most wanted list for
awhile, but it wasn't the horror
aspect that sent me panting off
to see it when it finally got a
Vancouver   premiere   at   this
year's Cinemuerte Festival. It
was the thought of Claire Denis
directing Vincent  Gallo  and
Beatrice Dahl to a soundtrack
by the Tindersticks.
In terms of both structure
and content, the film has apparently divided audiences wherever it's played—in the
revere-it-or-revile-it manner of
Michael Haneke's Funny Games
or Lars von Trier's Breaking the
Waves. With dialogue in both
French and English, it vibrates
with elegantly self-conscious
style and steers fearlessly
through some memorable
scenes which are messy, horrific, a bit hard to watch or all
three. Really though, I can't see
what the fuss has been about—
unless it's that nothing in Denis'
highly respected body of work
(of which only 1999's gorgeous
Beau Travail and 1996's sad and
lovely Nenette et Boni have
shown here) quite prepares us
for Trouble Every Day.
Gallo plays Dr. Sean Brown,
an American medical researcher
ostensibly honeymooning in
Paris with his new bride (Tricia
Vessey). His anxious, hawk-
nosed visage already signals
that he's got trouble as their
plane descends into the digital
grid of the night city where a
former colleague is having troubles of his own. Leo (Alex
Desoas), a scientist daylighting
as a General Practitioner, has
been studying an affliction
which causes its sufferers to
turn cannibalistic after a certain
stage of sexual arousal. The scientific community publicly
scorns his work, but he has a
large stake in pursuing it, as his
wife (Dahl—and she's terrifying) is an afflictee. Sean desperately needs to reconnect with
Leo, since he too has the sickness and is upset at the notion
of it coming between him and
his innocent, perfectly groomed
Beginning in dimly-lit,
claustrophobic close-up, the
camera jump-cuts lazily among
seemingly unconnected scenes:
sex in the cab of a taick; a man
feverishly digging a hole in the
woods; a feral, blood-stained
face. Plot elements keep disappearing down rabbit-holes only
to be revealed much later as
they simultaneously unravel.
Meanwhile, each fragment is so
engaging that I'd already
accepted the possibility of never
knowing what the hell was
going on. It's not until about
three quarters of the way
through that the dots finally
connect, and then they do so
with the soft, satisfying click of
tumblers in a big lock.
A couple of friends
remarked afterwards that they
were no longer sure if Gallo
could really act—and I know
what they were getting at. In a
sense, he was still the guy from
Buffalo 66, but with a doctorate
in biochemistry and an even
bigger problem. Yet I wonder if
that's precisely what Denis had
in mind when she cast him.
The disease and its effect on
the behavior of all concerned is,
of course, a ripe metaphor for
psychosexual dysfunction, and
Denis gives us plenty of opportunity to mine the parallels
without being too obvious. In
fact, the film does quite the balancing act. It teeters on the cusp
of indulgence (all those long,
panning shots of skin), set dec
over-achievement (even blood-
spattered walls look like
Basquiat paintings) and utter
humourlessness—but never
topples. And the seductive,
weary chic of that soundtrack
eats you alive.
Dancing on the Edge
Wednesday, July 10
Firehall Arts Centre
On Tom Waits' Alice, there's a
song called "Poor Edward." It's
about a man who has another
face on the back of his head—a
woman's or a young girl's—
which  he's   told   should   be
removed. But he and this face
are inseparable and he's driven
to suicide. Seeing Eve was like
watching one possible interpretation of the song played out
with a wealth of historical
analysis and a happy ending.
In her first full length work,
dancer/choreographer    Cori
Caulfield investigates the "displacement and diminishment"
of female archetypes in Western
civilization and the effect this
has had on the social order and
the psyches of both male and
female. Caulfield herself didn't
perform, but assembled a cast
of five dancers to play a posse
of such archetypes who pay
corrective visits to a sixth—an
arrogant male Humanities prof
named Christopher Adam, who
opened the piece by handing
round reading lists and
addressing the audience as if
we were his students.
Thereafter, a voice-over narration (by Caulfield) traced the
origins and subsequent perversion of Aphrodite, Athena, Eve,
Mary, Pandora, etc., with text
drawn from such heavyweight
sources as the Bible, Greek philosophy, Joseph Campbell and
Carl Jung.
This sort of highly conceptual, text-based framing
device—however clever—can
be deadly in dance, but
Caulfield really made it fly. This
is partly because what we were
hearing was so bloody fascinating and partly because
Caulfield's voice was at once
scholarly and seductive. The
dance was never dragged down
by the text, but either bounced
along on top of it or climbed
around inside it. Besides,
Caulfield has a well-justified
confidence in the power and
originality of her movement
vocabulary. In her solo work,
she has often pitted it against
meaty ideas, to the enhancement of both.
As the repressed academic,
Dean Makarenko revealed
impressive acting and comedic
skills. In face, body and voice,
he was reactive to each of the
figures who haunted him. First
of these was Eve—and was she
pissed! Wearing nothing but a
fig leaf and one trouser leg,
Andrea Gunnlaugson made the
First Lady muscular and dangerous as she leaped, spiraled
and frequently slammed the
stuffing out of Makarenko. And
they just kept coming, alone or
in groups, to play havoc with
his misconceptions: A virgin-
whore-mother trio (Sommer
Thome, Day Helesic and Rachel
Anderson) who morphed into
skanky street dancers; Athena
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who scooted around on roller
skates; and his TA (with whom
he was having an affair) who
appeared dressed like Bo-Peep.
The pivotal figure in his enlightenment, however, seemed to be
Mary (Kathleen McDonagh)
who entered with only her gently undulating torso in light.
Once Chris had accepted that
the Mother was more than just
an incubator—in a wrenching
and sensual duet that hinted at
rebirthing—he was able to truly
integrate all those mythological
females into his psyche. Whew.
Propelling it all was the
musical score, most of which
was commissioned from composers Ted Hamilton and Mark
Taylor. Its techno bent was by
turns hard, ambient and melodic, and underscored the fact that
despite their age, Eve and her
arch-sisters still have some
unfinished business with our
Dancing on the Edge
Friday, July 12
Vancouver East Cultural
Even that "k" was irritating.
There was nothing in the production to justify the eviction of
a perfectly good "c." Like those
misplaced umlauts that pepper
the names of headbanger
bands, it was an affectation. So
Spektator with a "k."
Created by battery opera
directors David Mcintosh and
Lee Su-Feh, the piece was overloaded with stylistic and verbal
baggage which smothered
whatever it was they were trying to say. Some of the baggage
items were, in themselves,
attractive and well performed,
but they collapsed like empty
gestures. We were given lots of
provocative, deliberately mannered foreplay in the programme notes—one interesting
come-on being that it was
"inspired by cockfights, sports,
animal husbandry and sex." In
a sense, the company delivered,
because all these things were
dutifully referenced.
The proceedings were set
up like a cockfight but refereed
with the tongue-in-cheek decorum of a fencing match or a
duel. The ref (Mcintosh) was in
evening  dress and  the con
tenders (dancers Susan Elliot,
Billy Marchenski, Jennifer
Murray and Ron Stewart) had
"seconds." The actual sport
played out like some esoteric
form of non-contact wrestling.
The audience was given score
cards and invited to place their
bets at intermission. The fights
were prefaced by a long section
in which the dancers scraped
and clucked like barnyard fowl
in a Modern Dance class.
Perhaps this was meant to suggest that competitive sports
treats its participants like animals.
Adding another layer to the
already device-heavy show was
a narrator (actor Louis Chirillo),
who spoke Mcintosh's text with
a cultured, trans-atlantic accent.
Some of what he said sounded
quite profound, but once you'd
unraveled the verbiage, most of
it floated away. There seemed to
be no particular reason why it
should accompany this performance. In any case, another
voice was a bit superfluous,
since someone was usually talking, grunting or screaming.
There were, however, some
things that deserved to be
sprung from the prison of this
pretentious work. The four
dancers, for a start, whose
strength and skill were used for
naught. Even as actors, they
seemed directionless—in both
senses of the word. And the
song interludes were very
appealing. Sung acapella by
Mcintosh and musician Chris
Grove (who otherwise provided some very fine saxophone
accompaniment), they featured
wonderfully absurd lyrics set to
tunes that were either pretty as
an English country ballad or
vaguely liturgical.
But then there would be
long, tedious bouts of choreography performed by Su-Feh, in
which she appeared to be endlessly recycling a few of her
martial arts moves.
It isn't often I see a production which makes me feel that
the only appropriate response is
cretinous incomprehension. Yet
this isn't the first time battery
opera's work has bored and
annoyed me. Someone must
really, really like them, though,
because the company has won
the 2003 Alcan Award for
Dance. •
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5 DiSCORDER panopticon
the sound of spectacle by tobias
America's Army: The Virtual US Army
Violent video games have long
been suspected of increasing
our predeliction toward murderous violations of flesh. This
remains to be convincingly
proved. In fact, in most "First
Person Shooter" (FPS) video
games, the violence is mythically codified (Quake), conducted
against historical evil—recurring Nazi thematics in
Wolfenstein and many imitators—or ambiguous. The violence is called into question and
operates primarily as a cathartic act of fantasy in an ethically
ambigous imagination. The FPS
Counterstrike allows the choice of
playing as counter-terrorist or terrorist, thereby playing the violence inherent to both sides. The
game derives from Half-Life,
which features the starring role
as a rogue scientist who faces
the entire US Army and Special
Ops Divisions after a supernatural, time-warping experiment
goes awry. There is no moral
high ground; Half-Life interrogates the righteousness of the
US Government as its forces
attempt to kill you as the last
surviving witness. Today, questionable and questioning ethics
in video games have become hijacked by the real US military.
In the post-9-11 world, the virtual realm of violence is to be
forcibly fed the "With US or
Against US," newly minted
logistical ethics. The latest FPS,
America's Army, is timely born
from the real harbinger of
world destruction, the US
Army. There are some slight
changes from the traditional
FPS. For one, no one can play terrorist. You always play the
"good guy." A player on Team
A will always fight as a US
Army soldier and fight players
on Team B depicted as terrorists. But that opposing Team B
"terrorist" will see themselves
as Army and Team A as terrorists. All firefights are at once
battles of doppelgangers, where
the only difference between real
friend and foe is "perspective."
Indeed, this is exactly what US
Army spokesperson Paul Boyce
said: "As far as you're concerned, when you see the
enemy approaching you, they
are the enemy. It's all a matter
of perspective." In the real, a
question of perspective is both
required and denounced. For a
certain, narrow perspective is
enforced through not only the
separation of US-defined Good
and Evil but the justification
and cause of either; on the other
hand, a broader perspective is
denounced by all sides when
one begins to question all sides
and their "perspectives."
On the virtual battlefield of
America's Army, one can do no
wrong and everyone is Right.
The virtual acts as the violent
training ground for the real by
completely destabilizing ethics
into a comfortable suspension
of not only disbelief, but trans-
dimensional judgement. The
virtual and the real are dimensions of contradictory control,
where appearances in either
realm become the real—the
other players look like terrorists, despite the fact that they
believe they are Army; the
dark-skinned man at the end of
your gun is an Afghan terrorist,
despite his US or Canadian citizenship. Both appear as terror
ists despite contrary claims. The
only way to end the quandary and
to squash ambiguity is to shoot.
Shooting the "enemy" without
question is now a state sanctioned and approved act. The
US has decided to move
beyond disregarding the
Geneva Convention and has
approved execution without
trial. The appearance oi the virtual is the real, and all threats to
the contrary must be eliminated. The virtual prepares for the
actualized violence of the real
by completely reversing, and
thereby undermining, present
moral quandries. In the virtual,
we cannot question if "the
enemy" is friendly or not: they
are simply "the enemy." It is, no
doubt, the Army's goal to bleed
the virtual uber-ethlcs (which is
actually a lack of ethics) into the
real, thereby carefully training
an entire generation of young
videogamers to unquestioning-
ly follow the violent, "morally"
based edicts of the US military
government. Dissent to this
strategy will not be tolerated. In
the virtual, "Operations punishes the player by kicking them
out of the game if they shoot a
teammate or break the rules of
engagement. If the player
returns, they are confined to a
tiny cell at Fort Leavenworth,
complete with a harmonica
playing 'Swing Low, Sweet
Chariot.'" Comments over the
Afro-American signifiers of the
prison-song aside, how does one
not shoot a  teammate in  this
And how does one manage
to shoot a friendly in the real?
With the world's best technologies determining precision kills
of correctness, allowing us to
avoid moral ambiguity? Flip it
over, change the barrel: how can
one not do so with the advent of
appearance ethics that grants me
a leave of responsibility by commanding me to shoot in order
to stifle question? And perhaps
this explains the "friendly"
casualties in Afghanistan? After
all, everyone has the appearance of a terrorist in America's
Army. Let me repeat that: in
America's Army, everyone appears
as a terrorist. We are seeing the
apparent rise of logistic simulacra. If we dare to pose the
question, "How does one tell
which side is good or evil?," we
are appearing as a terrorist. And
only terrorists ask questions.
Questions are the new friendly-
fire: you are hurting your own
if you question. American dissenters are terrorists. For what is
shooting one's "teammates" in
the virtual but the only possible
questioning of the real and of
appearances? Dissent will also
no longer be tolerated in the
real. The new Department of
Homeland Defence ensures a
pure ethical opinion in regards
to dissent—a question is a
friendly shot, it must be dealt
with as insubordination—
through the fear and paranoia
of an unprecedented US network of snitches, whose purpose is to report questions and
those who pose them.
In the virtual of America's
Army, bullets make no sound,
and only leave red dots on the
victim, very much unlike the
gore of recent First Person
Shooters. In fact, the regression
of violence in the virtual arena
is reminiscent of killing
"Injuns" in '50s Westerns. And
that is where we are returning,
is it not? The virtual opens historical simulacra with a polished ethical veneer of black
and white. The Cold War is now
the War on Terrorism, every bit
as ubiquitous and uncontrollable, and yet just as deadly; the
Department of Homeland
Defence is the new McCarthy
Communist hearings; and
America's Army does one up on
falsified news and patriotic Red
Fever films—for it teaches us
how to make violence a virtual
game, one sanctioned by the
government, and displayed in
cartoon-like glory where everyone can be the cowboy with the
white hat.
But this is no game. It is all
horribly, horribly real.
A Call to Action
HACKERS, now is the time to
search and destroy. Servers
await your skills. •
Until the End, Compadres. ro
zines. etc. by Bleek
After acquiring recent
issues of The Idler, Modem
Drunkard and Slouch,
among others, I couldn't help but
ponder the apparent celebration
of dysfunction. Then, thinking
back, a few other zine titles came
to mind that seem to confirm my
suspicions. Consider names like
Deviant, Guinea Pig Zero, Sod
Awfl, Lowbrow Reader, Maggot
Zine, Retail Whore, Recluse, The
Beautiful Dead End, Just Another
Nobody, King of the Hill of the
Mentally 111, Off Kilter, Sob Story,
Aborted Society, Adverse Affect,
Ghetto Chicken, Broken Glass
Barbed   Wire  Street  Fight,   I'm
Just check the website for info:
www.idler.co.uk. You won't be
San Francisco's SLOUCH
has more in common with half-
legal sized zines but is dressed in
a beautiful, glossy cover. Inside
Slouch is oh-so-embarrassing
proof that major mags just bite
when it comes to creativity and
humour, not to mention the
voyeuristic aspects of this little
rag. One writer relates a tale of
overhearing a voice mail number
and eavesdropping on it every
day, and another lovely story
conveys the delicate life of a shy
pooper and the lengths she'll go
to hide the fact that she ever sat
1522 Lafayette St., #1 Denver (a
good place to drink, / know), CO
For those of us on the more
proactive end of negative living,
the newest HANGING LIKE A
HEX magazine is available.
Besides carrying gobs of great
articles, interviews (Les Savvy
Fav, Majority Rule, Chuck D,
Rocket From The Crypt, etc.),
music, book, comic and zine
reviews, HLAH supplies us with
important tips on shoplifting
from corporate megastores. Yep,
that's right, they're making no
bones about it. They figure if
these greedy SOBs can pollute
our   environment,   propagate
Johnny and 1 Don't Give a Fuck,
Riding the Rubbish Heap, Attention
Deficit Disorder, Wank, and on and
on. Even Stay as You Are suggests
a sort of anti-progression or
malaise. My own Speck Fanzine
itself connotes  insignificance.
Zinesters come off like a psychiatrist's wet dream. I suppose I
should feel guilty about encouraging such negative swill, but no,
I just think its kinda funny. I
mean while every goddamn billboard, television, computer and
radio is pumping out images of
the colourful "good life," I like to
think of failure. I know you do
Let's think about Britain's
THE IDLER magazine. The stated idea of this mag is to offer
entertainment for "those who
live to loaf" (the logo sports a
snail). To slam this point home,
issues have featured wonderful
tales of terrible jobs and important highlights on the futility of
trying. And given the hundreds
of pages (255 to be exact) of great
articles, interviews, reviews and
loads of quality content, you'll
find plenty of diversions to keep
you on your ass instead of doing
something ridiculous like planning for the future. This sucker is
hard to get, though, and I'm not
sure where to send you to find it.
on the can. Another article n
ages to avoid cliches aplenty
when recommending Chomsky.
What separates this indie product from its "professional"
cousins is the amount of real fun
there is in reading it. Again, this
zine wallows in the absolute
wonder of positive triviality
without pretension. Check out
Slouch at www.glpuch.net or
write to 610A Cole St., Box 22,
San Francisco, CA 94117.
Perhaps the finest example of
all that is "wrong" in the world is
a zine that encourages irresponsible alcohol consumption, namely MODERN DRUNKARD. A
Twelve-Stepper's nightmare, MD
offers drink recipes, a look at
famous lush heroes, and good
arguments for bad living. When
you step back and think about
the ruined families, wasted
potential, alcohol related deaths...
well, you know, it warms the
heart. I can imagine that a zine
like this gets more hate mail than
some lame-ass Satanist rag.
Kinda shows you where society
is at in the present. So if you've
got a problem you don't want to
face take a look at Modern
Drunkard for inspiration at
http://go.to/thedmnkard. If
you have any drunk-related writings or pictures they are looking
for contributors. Send stuff to
slave labour, and drive down
wages then fuck 'em. There's a
great article on the state of zines
now that the "revolution" has
died down. Write to Ryan
Canavan at 201 Maple Ln., N
Syracuse, NY 13212 or <hang-
To round out the topic of
dysfunction, look no further than
the comic artist. Jesus, what a lot!
You can smell the alcohol on
these folks from blocks away.
When they get together watch
out, and check out the
new anthology of (all?) local
comic artists in DRIPPYTOWN
COMICS 2002.1 laughed, I cried,
I wondered who was an avant
garde genius or a refugee from
the asylum. I was going to name
them all here, but it's a long list
and I haven't had my coffee yet,
so just look for Drippytown
Comics around town (first) at
indie comic and book shops. If
that doesn't work you can go
to www.drippytown.com or
write to PO Box 78069, 2606
Commercial Drive, Vancouver,
Next month, more imports
plus the new Faggo and
Sockamagee. Send your zine and
lots of money to Bleek c/o
DiSCORDER, #233-6138 Sub
Blvd., Vancouver, BC V6T 1Z1. •
Working for progressive social
change can be exhausting. We
live in a society which—despite
its democratic ideals—actively
discourages political consciousness and mobilization. For
myself and many of my friends
with leftist beliefs and commitments, the past year has been a
time of particularly intense
fears, anger, and despair. As
nations remilitarize and governments dismantle the hard-
won but barely adequate
remains of the welfare state, as
repressive new laws are
unveiled and the corporate
world steps up its dirty tricks,
it can be difficult to find hope.
Art, says local writer and
activist Wayde Compton, one of
the organizers and performers
at this year's Under the Volcano
festival, can provide an antidote
to the pessimism that many
people feel when confronted
with the massive task of social
justice. "The liberal-capitalist
concept that society must be
based on hierarchy and competition is brutally cynical and
pessimistic," says Compton. "I
think artists of all sorts are in a
good position to counter that
viewpoint, by virtue of being
hopeful and socially-inclined
people." Compton, the author
of Bluesprint: Black British
Columbian Literature and
Orature, published this year by
Arsenal Pulp Press, took up the
task of programming the spoken-word component of Under
the Volcano's 14th Annual
Festival of Art and Social
Change. The writers he selected
for the Malcolm Lowry stage
include author, perfomer, and
Xtra West columnist Ivan E.
Coyote and San Francisco novelist Peter Plate, as well as Junie
Desil, Joy Russell, Ryan
Murphy, Jordan Scott, and
Michelle Kenny.
Longtime festival coordinator Meegan Maultsaid agrees
with Compton, and has selected the musical performers for
the festival accordingly.
"Peoples who do activist
work—like all the groups who
participate in our info fair and
workshops—have soundtracks
to their lives, and often music
can be a source of inspiration."
Festivalgoers this year will be
treated to a wide-ranging musical palette that includes protest-
folk group Flying Folk Army,
local hip-hop crew Lost Tribes
of the Sun, Algonquin/Cree
vocal group Nechiwagan, G7
Welcoming Committee hip-hop
fusionists warsawpack, and
in.-my more. "A lot of the artists
I book are straight-up political
in their content," Maultsaid
says. "Others are doing cultural
resistance work, albeit in a
more subtle way, or through
direct action in their communities. Ideally I like when artists
have a perfect marriage of both,
but I also work with people
who aren't necessarily "political" but do have an analysis
and an understanding of the
mandate of the festival."
In keeping with Under the
Volcano's stated theme this
year—"All Power to the
People"—many of the workshops on-site will be centred
around practical strategies for
surviving and combatting the
dangerous policies of the BC
Liberal government. Seniors
Network BC, the Aboriginal
Women's Action Network, radical youth education collective
Check Your Head, Red Wire
Magazine, the Filipino-
Canadian Youth Alliance, the
Victoria Anti-Poverty Coalition,
and women's prison abolitionist group Joint Effort are among
the groups participating in the
educational component of the
Dire and depressing issues,
including the looming US
assault on Iraq, are on the table
for Under the Volcano. But
despite the seriousness of the
struggle they are involved in,
the festival's organizers stand
by their commitment to art and
celebration. Compton says,
"Under the Volcano is a beautiful thing because it foregrounds
the cultural, creative, celebratory, and joyous side of leftist
beliefs, and I think that's important, because leftists can be very
apocalyptic, dour people (for
good reasons) a lot of the time.
But Under the Volcano has
always felt, to me, like sort of a
glimpse of what the whole
point of struggle is, a microcosm of a society where social
responsibility and pleasure are
not in contradiction, but are
actually mutually dependent.
"Anarchism and socialism
should be fundamentally about
gratification, just as much as
they are fundamentally about
justice, retribution, compassion,
sacrifice, and those other serious things. We need a redistribution of wealth, but we also
need a redistribution of joy in
this society." •
Under the Volcano's 14th Annual
Festival of Art and Social Cltange
will be held August 11 at Cates
Park in North Vancouver. More
info can be found at
www.tao.ca/~ifolcano. featuring get free
a tuneful shot of psychedelia that a panting NME described
as "a perfect synthesis of the Beatles and Nirvana...we're
not kidding this is a record that you MUST own"
price in effect until Aug 31st, 2002
www.emimusic.ca   www.thevines.com
788 Burrard Street, Vancouver
comics and graphic art by Robin
Jim Ottaviani
(GT Labs)
You know, there are a million
and one things to like about
comic books. You've heard my
many accolades before. But the
best thing about comics isn't the
flashy colours, the crazy art or
the fantastic storytelling; to me
it's the potential to educate. Jim
Ottaviani's anthology DIGNIFYING SCIENCE does just that.
Ottaviani is obsessed with all
things scientific. Unlike his
other comics about science,
such as Two Fisted Science and
Fallout, Dignifying Science is all
about girl scientists.
What an excellent idea for a
comic book. I like how he starts
things in familiar territory. One
of the few girl scientists I did
know of is Marie Curie. But I
bet you didn't know her daughter also won a Nobel Prize for
her research, 10 years after her
mother won her second Prize.
I then learned about the silver screen actress Hedy Lemarr
and her contribution to science:
she discovered the technology
behind different band waves—
i.e., the stuff that makes your
cell phone work. The majority
of the stories follow the same
basic plot: how various women
have made contributions to science only to be ignored and
bypassed by their male counterparts. But with each progressive
story the tone changes for the
The next story is about Lise
Meitner, a German physicist
Franklin. She helped figure out
the structure of DNA while
scrutinizing the structure of
coal. Franklin's story is the
same as Meitner's: her male
peers got the Nobel Prize
instead of her. After this story,
though, the writing ceases to be
about women scorned and
more about women of science.
The  best  story  is  about
tion and subsequent befriending of her first orangutan. It's an
extensive lesson in the habits of
orangutans. I can't help it, but
when something teaches me
about something I don't know
about, I'm smitten. I knew
absolutely nothing about the
orangutan until now.
You would  think that a
book about science would be
who, due to her Jewish background and the incoming Nazi
regime, was forced into exile
after helping figure out how to
extract atomic power.
Then     there's     Rosalind
Birute Galdikas, a woman who
is still alive and studying the
orangutan (and a member of
the Archaeology faculty at
SFU!). Ottaviani allows us to
accompany her on her observa-
would've broken me.
Nonetheless, a book like this had
to be made and I'm glad for it.
The most important part of
this book, though, is the artists.
If the artists weren't as well-
chosen and accomplished, this
book would have fallen by the
wayside. Ottaviani picked
familiar and new artists (which
were, in themselves, a discov-
hard to understand—not so.
Each story is really easy to
digest and Ottaviani does an
excellent job making these
women's lives interesting and
moving. As well, in the back of
the book there is an extensive
bibliography for the curious
and there are pages and pages
of annotations. We learn more
about each person and what
happened to them after their
story was told. Most of them
moved on and refused to be bitter, which was surprising. I
would like to think that the science world is a lot less gender
biased these days; a brain's a
brain, regardless of who has
it. Some of the things those
women had  to put up with
ery) alike. The Hedy Lemarr
story was illustrated by Carla
Speed McNeil. Having not seen
her series Finder before, I found
McNeil refreshingly talented.
Clean and concise—with a
romantic comic sensibility—her
eye for detail and her character-
adding touches really made the
story moving. The story of
Rosalind Franklin was illustrated by four different people to
convey four points of view. It's
an interesting idea that works
quite well. The story is told by
Rosalind's friend Adrienne
Weill, and her part is illustrated
by Stephanie Gladden.
Stephanie comes from an animation background and her
expressive and fluid Disney
like style adds softness to the
tale of another forgotten girl
genius. The other three artists
are Donna Barr, Linda Medley
and Roberta Gregory. Linda
illustrates the story from the
perspective of MF Wilkins, the
head scientist. Medley portrays
Wilkins' disgust over a woman
in his lab by not drawing
Franklin a face. Subtle and succinct. Mary Fleener does a pinup for a female mathematician
and Jen Sorenson brings indie
cred to Lise Meitner's exile.
Ottaviani condenses a life story
that's short and sweet. Without
these great artists and interesting storytelling techniques this
book would be unappealing. I
found this book fascinating and
I wanted to share it with other
After reading this book I
was reminded of when Roberta
Bonda» went back to her hometown of Sault Ste.-Marie,
Ontario. She spoke to our class
and she was honest about her
high school experience. She said
that no one encouraged her to
take science classes or pursue
any of her scientific interests.
She was told it was a man's
field and that she should pursue other career choices—ironic
because the town was now honouring her as the first Canadian
woman in space. Dignifying
Science should be in every
library of every school.
Ottaviani has written an accomplished and great book. •
'Black City" is a tremendous album. Its 12 tightly-wound, retro-punk tracks mix the brooding sensuality of
Girls Against Boys with the dark atmospherics of Joy Division and the hip-shaking drive of latter-day
Primal Scream. Throw in cool lyrics like "I'm not your toy for penetration" and smartly subversive titles such
as The Truth Is F**ked' and 'We've Been Planning This For Years', and - to borrow a phrase from
The Hives - DOLL could well prove to be your new favourite band. KERRANG (KKKK)
w. ^ Sunset On Broadway are equal parts hardcore and equal parts emotion. It can be said that all forms of
music are emotional, but I have never, ever heard a band as emotional as Sunset On Broadiuay. I'm not
going to lie—I've only seen Sunset On Broadiuay play once. It usually takes a couple years to get me
interested in interviewing a band, but the first time 1 saw Sunset On Broadzvay play lfelt so much emotion coming from the lead singer Ron and the band as a whole that I had to speak with them. People who
are not in tune to being humane might call being emotional a curse. I call emotion one of the most important aspects of being a human today. That being said, I liave no band references to point you to, but you
can expect to have a passionate sound experience when Sunset On Broadiuay meet your ears. I call that
a good thing.
bv Brian Disagree
Chris Booth: Guitar
Tom Hillifer: Bass
Kevin Webster: Drums
Ron Lo: Token Asian/Vocals
DiSCORDER: Ron, at a show you mentioned that you were a fan
of video games. What was your first video game system?
Ron: Well, I've been playing video games for a long, long time. My
first video game was probably the Atari system when I was like five.
I played Joust and Hangman and Choplifter, too.
Chris: My first video game experience wasn't actually mine 'cause
my parents didn't have the money at the time. My best friend growing up when I was a little kid had a Commodore 64. So it was all
about Wizard of Wor—that was a rockin' good game. What was the
one with the chessboard?
Ron: Uh... Archon.
Chris: Archon. It was all about Archon.
Ron: Actually, for me it was that way too. My parents didn't have
that much money when we were growing up, but my cousins were
kind of well off and they had the Commodore 64.
Did you get more systems, the newer systems? What happened
after that point, did you become addicted?
Ron: Yeah, I guess you can say I'm an addicted video game fiend. I
have the Xbox, the Game Cube, and the Playstation 2. I've had the
Dreamcast, I've had the Playstation, I've had the Nintendo, I've had
the Super Nintendo. I've pretty much had every system; that's
where I spend all my money pretty much. I play video games. I'm
pretty much a geek. I spend a lot on the computer too. I work on
the computer, so I spend a lot of time on the computer.
Chris: I'm kind of a minimalist geek. So I've done away with the
home based systems, now it's all just about the Gameboy Advance
so 1 can take it where I want to go. *
Ron: We're thinking about bringing video games with us on tour.
Kevin the drummer is not too obsessed. He likes certain games. The
systems right now that are hooked up are Xbox, Playstation 2 and
Gamecube. Final Fantasy is our game. I bought the PS2 so I could
play Final Fantasy 10.
Chris: So we could get song material.
Ron: Yeah, that's where I got the song material from. We fell in love
with Lulu and Riku. Chris and I spent 60 hours playing that game,
trying to get everything. There was this time when there was this
thing you had to do where you had to skip lightning and basically
the screen would flash and then you'd press the X button and we
spent five hours and we almost had epileptic attacks.
Hey, anyone listening to this interview has to keep in mind: Chris,
he likes the D&D. He's one of those guys that will go into sewers and
pull out the swords and fight each other. [Laughs] No, just jokin'.
Chris: I'm dressed in a black robe right now, and I'm muttering
Ron: Yeah, what's that group...
Tom: Three Inches of Blood.
Ron: Not Three Inches. What's that's group that hangs out and has
the all-night battles?
Chris: The losers?
Tom: Society for Creative Anachronism.
Chris: Yeah, a group in Victoria does it. It was really cool, they make
these swords and if I was living in Victoria I would totally be doing
While listening to your song "New Year's Eve" I couldn't help but
notice that being completely happy for you doesn't happen very
often. Am I correct?
Ron: There are few times I really actually enjoy myself. I don't go
out very often. I'm not a very much of social person. You can probably link that back to video games and playing video games and
being a geek all my life. I'm really uncomfortable around people. So
I'm not really much into partying because I don't drink and I'm not
really into the drug thing.
Chris: Although that song came about because of drinking.
Ron: Yeah.
Chris: We drank obsessively that New Year's Eve.
Ron: That's where the lyrics for that song came from because it was
one of the days I actually really enjoyed myself going out and those
happen really rarely. It was incredible. I didn't have to drink, I wasn't inebriated in any sort, but I had an awesome time and I had lots
of fun with my friends. Most of the time having fun with my friends
meant playing video games, so it was nice to get the other aspect of
hanging out with other people in different scenarios.
In your song "Thank You," you are telling someone that you will
make them proud. Could you tell me about this life-changing
event in your life that you are speaking of?
Ron: It's supposed to be my parents because they put a lot of pressure on me. They made a lot of sacrifices for me to have opportunities. They left Mainland China where they had... there's not a whole
world of opportunities, but they had good jobs. They were doing
well. My dad was successful. He was very intelligent, he was doing
well at a school there and everything, and they gave up all that up
for my brother and I. For a long time I didn't appreciate what they
did to me and how they treated me because I was caught in a cultural dilemma. My dad works 16 hours a day and he doesn't really
interact with society, so he doesn't know what's going on. He still
has the viewpoint as if he is living in China and he puts me under a
lot of those kind of cultural restraints. Now that I've lived on my
own, I see the world differently. There was no specific life-changing
moment. I don't really think I have ever said "thank you" for what
they did to me so I wrote that song about them.
At the end of your song "Just Cause" I couldn't help but keep
wondering what makes you struggle and want to survive in life.
Could you tell me what it is?
Chris: What song is that?
Ron: "Thomas Crown Affair." We have different names for every
song because I don't really tell them the song names so they're surprised, that's probably the first time they've ever heard the name of
that song. But the perspective on that song is that I don't like to
preach, I don't like to use the word "you" at all in our songs. I want
to do more self-indulgent... not indulgent... self-investigating
things. I'd rather use the word "I" and question myself before I
question someone else. So "Just Cause" is my observations about
people jumping onto causes, and whether or not they had the conscience, the intelligence and the knowledge to do that or were they
just doing it because it was a fad?
In your song "I Wait" I couldn't help but notice that you are feeling the same as I. It seems to me that you are wondering when
you will pass on and life will finally end and if you'll leave on a
good note or a sour note. Is this true?
Ron: That's not more like I want to see what's on the other side,
that's more of my perspective on anxiety. If anyone has had anxiety
they kind of know, I guess, depending on the extremities of it. I just
gave anxiety kind of a personality in that sense. When I used to get
them [anxiety attacks] I used to get them quite often and I'd be on
my guard. I would have to wait every night and see if it would come
and whether I was going to be able to make it this time... That was
kind of my battle against myself: I am sticking up for myself and
saying, "This is it. I'm going to take it on. I'm waiting for you. Come
on, bring it on."
What do you think started your anxiety attacks?
Ron: Drugs.
Chris: I'm kind of in the same boat as Ron. Ron and I have talked
about it a lot and I think for both of us it was originally caused by
taking lots of things that were affecting chemicals in our brains.
Once you've had one I think that the anxiety attack itself is enough
to bring on another one.
Ron: And you're on edge.
Chris: Yeah, and you're totally on edge and so you are kind of just
waiting for the next one to happen, kind of preparing yourself. But
at the same time in the preparation you are sort of bringing one on
and the first time is a major cause of any more that follow.
Ron: I think both Chris and I have matured enough and have gotten grips on it hopefully.
Chris: I think touring was a big thing. I was really afraid of that.
Ron: Yeah, I was afraid of touring too.
Chris: And we did it and we were fine. That was great. •
10 AUGUST 2002 // you haven't heard of Black Rice by now, you will soon.
Their live shows are powerfully disarming, their candor
honest, and their love for music unmistakable. Black Rice
is a band with ballz. I had the chance to sit down with two
ol the members ol Black Rice to find out just what makes
this band so unique.
DiSCORDER: Introduce yourselves please.
Jeff: I'm Jeff Lee and I play guitar and sometimes sing.
Joel: I'm Joel Tong and I also play the guitar and sometimes sing.
Who's missing?
Joel: We are missing Juli Steemson, our drummer, who is starting to
sing now, and we are permanently missing Craig Wallace who was
our bass player, but he left the band. We have Morgan, our new bass
Joel: He might sing as well.
How long have you guys been together?
Joel: About two years. Jeff joined Christmas of last year.
Jeff, had you been in other bands before?
Jeff: When I first met these guys I was in a band called Mercury the
Winged Messenger. When that band broke up Craig asked me to
join the band that was originally called Bronze—but we changed
the name to Black Rice.
Why did Craig leave?
Joel: He got accepted into the Canadian Film Center. He is doing a
director's workshop, so he will be in Toronto for at least six months.
Jeff: He is an awesome filmmaker, and that's his first love, so when
he said he was leaving...
Joel: It was a kick in the teeth, but a nice kick in the teeth.
Jeff: Yeah, it was like a sock-foot kick in the teeth by your big
Joel: It was more like a gentle rubbing of toes on your teeth.
How did Morgan end up becoming your new bass player?
Joel: We thought it wouldn't be the same without Craig, but the idea
came up to get a stand-in bass player—someone to play with and
maybe do a show with when we really needed to, and then when
Craig got back in a year or six months then we would pick it up
with him again. We were sold on that idea and then we ran into
Morgan and he was cool with playing with us. Then Craig started
talking about never coming back, but by that time we were okay
with it.
Jeff: A big difference for me was how into it Juli was. When Craig
left I didn't really think that the band would keep going, but Juli
plays with another band, Panurge.
Joel: Local pop sensation Panurge.
Jeff: She plays in the back-up band, but she was really into playing
rock and roll and punk rock and hardcore. She seemed so into it that
I was like "Well, you know, if everyone is still into it we might as
well keep going." I like playing guitar and I like hanging out with
these people so why not?
Where did the name Black Rice come from?
Joel: We were Bronze for a while and we really liked Bronze, but
then it turned out that ex-members of Karp had formed a band
called The Bronze in Seattle, and we figured that it would be hard to
compete with them so we had to think of a new name.
Jeff: As far as I remember it was like "How about Black Rice?" "
Yeah ... okay."
Joel: Nobody really cared; I think we had already tired ourselves
out the first time we had to come up with a name. One night on my
way to practice a vision from the black rice god said to me: "Name
the band Black Rice."
Jeff: It seemed Asian in a super kickass way.
Craig and Jeff both came from punk and hardcore backgrounds,
and I know the rest of the band has been involved in bands of
various styles. How would you describe Black Rice's sound?
Joel: That is the toughest.
Jeff: You want me to give my theory of what you guys sounded like
before I joined the band?
Joel: Are you going to bring up the Red Hot Chili Peppers and
Shellac again?
Jeff: Yeah. I had seen a lot of their shows as Bronze and I am good
friends with Joel, so when I described them to other friends of mine
I was like [Joel starts to laugh] "The only way I can describe them is a
cross between Red Hot Chili Peppers and Shellac," and I guess that
was partially just to confuse people. How can you sound like that?
Joel: But it was true.
Jeff: There were elements of both, some really interesting guitar
work mixed with some very heavy down tune rhythms and hardhitting drums.
Jeff: When I came into the band, first of all, I wasn't a huge Shellac
fan like the other three people. I think we all listen to all kinds of
music and I wanted to bring more of a mixture but make it more of
a refined sound. What we have been trying to do recently is make an
overall sound where we all have more of a hand in writing the songs
and have an overall, recognizable sound, even though we are drawing bits and pieces from all of our different influences. The newer
songs are a bit more coherent as being written by a band instead of
an individual.
Joel: It is a big mix of all kinds of music. At least to me it doesn't
sound like anything else that other people are doing. It is definitely
By Erlka Jim  Pbotot ly Lori Kiessling
getting a lot clunkier these days. Strange time signatures; it is a little more mathematical.
Jeff: The band has been—not necessarily anti-distortion—but it
seems like a lot of bands try to cover up with big amps and super
fuzzy distortion. I think that you can still have balls without having
your fucking gain cranked up to 11, contrary to what Spinal Tap
would have you believe. Turn down the suck. [Laughs]
So what bands would you say have influenced your sound?
Jeff: When I came to the band I knew everybody in the band was
into Rocket from the Crypt and to me there is not enough bands out
there that sound like that—bands that are rock and roll but that
don't sound like the Strokes or the Sex Pistols; they sound different.
Not to say that I want to sound like RFTC, but I wanted to do rock
in the way that they do it.
Joel: It comes down to balls really.
Jeff: Yeah.
Joel: Balls with a "z."
Jeff: It is still rock, but it doesn't sound like everything else that you
hear—whether it's on the radio or whether it's at a punk show. I
guess I can't not mention Rye Coalition, because I am always just
trying to emulate their ballz.
Tell me about your songwriting process. Where do the ideas come
from for the lyrical component to your songs? They seem to me to
be very intricate and complex.
Jeff: We have written a couple of songs lately that were based on
concepts. Our hit single "Into the Night" is a battle between vampires and vampire hunters, and then recently we wrote a song based
on an Asian folk tale that Joel had read.
Joel: It was about this poet who had fallen in love with a poetess
that was also a princess. Basically she dies, he gets really upset,
and he ends up clinging to her grave, until he dies and all that's
left is ivy.
Jeff: We turned the poet into an outlaw and the princess into a ghost
town and the ivy into a rose. The story is so elaborate that we had to
write the song in two parts.
Joel: It's got two movements.
Jeff: It's our "Free Bird."
Any plans to put out an album soon?
Joel: We just recorded a lot of stuff with Jesse Gander over at Rec-
Age. We did another recording with Juli's friend Kreg from Bison.
We recorded the songs that had been done without Jeff, so we will
have a demo at our next show until we get the full-blown album
out in the fall. •
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w.catmobilerecords.com/ DiSCORDER: Could you introduce yourself? How did you
meet each other?
Julianna: The Quails are Jen, who plays guitar and sings, Seth
who plays bass guitar and sings and me, Julianna who plays
drums and sings. So Seth and Jen met through the punk scene
in Washington, DC when they were mere teens, almost 15 years
ago... when Seth had hair.
In 1997, my old band, the Electrolettes, went on tour with
Jen's variety show, the Cha-Cha Cabaret. I have to confess to
being a pretty shy person before this trip and not having so
many friends. Jen was huge to me! She practically beat the crap
out of this jock in Chico on the first night of our tour. And so
smart, and politically-minded, and fucking funny. I just hadn't
met anyone like her before and I really wanted to be her friend.
As luck would have it, Jen and I moved in together in San
Francisco, into a tiny little flat that had little to recommend it
beyond a decent-sized kitchen. Seth had recently graduated
from cooking school and the three of us would frequently convene in this kitchen to sample his incredible cooking and listen
to new wave records and dance in our socks. Then we decided
to play music together to get out in the world. We're nerds, really. The Quails are a story of three terminal, passionate dorks
finding one another.
I've read that your name comes from a store in San Francisco.
Could you explain the name's significance?
The store in SF is called Never Ending Quails. It's a live poultry
shop in Chinatown. The name of the place stood out to us when
we passed it on our bikes or on the bus because of its beautiful
sign. But it turns out the quail is the California state bird as well.
And they're kind of nervous and maybe a little clumsy, traits
the band The Quails can't relate to at all.
You were in Vancouver recently as a part of a short west coast
tour with the No-No's. How did the rest of the tour go? Did
you dance your asses off every night?
The rest of the tour was super fun. We played the very best
show of the tour (aside from Vancouver, of course) at our
favorite, super fav home homo bar, the SF Eagle. Jen, in fact,
danced her ass off the ground, hoisted onto the shoulders of
two of our stronger friends, guitar and all! Oh man, it was awesome! Seth's amp got freaked, Julianna's drumset got freaked,
which isn't easy. It was perfect, sexy mayhem.
The Quails are a hot trio out of San Francisco,
California, featuring Julianna Bright (Electrolettes,
Red Eye) on drums, Jen Smith on guitar and Seth
Lorinczi (ex-The Vile Cherubs, ex-The Evolution
Revolution, ex-Circus Lupus) on bass, with all
three lending their voices to the effort. Their debut
album, We Are the Quails was released a few
months ago, and they have a song on the Kill Rock
Stars compilation Fields and Streams. This interview was conducted by email.
At that show you played a lot of songs that aren't on the album.
How much new material do you have? Are you headed to the
studio any time soon?
Many of the songs we played in Vancouver will be on the album
that's due out in just a few weeks, called Atmosphere. We recorded
that record in December last year. We're going to be touring a lot
in the coming months which will leave little time for writing, but
we have several new songs already and we've talked about trying
to record again at the beginning of 2003.
As far as I could tell, one of the new songs sung by Julianna had
a Smiths quote in it. Is this correct? Any significance to quoting
Sure, we're fans of the Moz. The song I sing that lyric in is a protest
song. There's always the potential for an eye-rolling response you
know, when you write political songs. None of us wants to be perceived as a caricature of some washed-up, maudlin songsmith. So
I suppose it pokes some fun at that caricature, in the midst of an
angry, hopeful anthem.
Two of the songs at the show really stood out for me: "More
Gender, More of the Time" and "Yr Heart is a Muscle the Size of
a Fist, Keep Lovin', Keep Fighting." To me, they seem pretty representative of the message or philosophy you have. Could you
tell us about those songs?
"More Gender, More of the Time" comes from an essay our friend
Dean Spade wrote on being a tranny boy in the face of so many
assumptions regarding gender and sexual practice. (You can find
the essay, "Cocksure," on makezine.org, a great political resource
on the web.) So the song goes "We want full freedom and participation, for all comers and configurations." It's about freedom,
specifically sexual freedom, and freedom from confining gender
rules. And it's also about being an ally to rule breakers on these
fronts. The chorus from "Yr Heart is a Muscle the Size of a Fist"
comes from a sticker Jen's roommate had on her door. Jen wanted
to make it into a song after this same roommate and her date were
hassled on the street for holding hands. So the chorus is an encouragement to our pals, and frankly, ourselves. The verse is an argument with the harasser: "Say your little piece. I'll dodge your
boring lies, and lock fingers with my friend, little lovers will rise."
The   Quails
by Duncan McHugh
Seth, when you lived in Washington, DC you played in a bunch of
bands with very different sounds than the Quails. How do you find
playing with a much poppier band? Is it a San Francisco thing?
Seth: I'm not sure if San Francisco has anything to do with it, especially as I hooked up with one of my oldest DC friends for this band.
But I'll admit that some of the bands I played in back in DC were
overtly "anti-pop." When I try to describe the music I play—both
then and now—I use my friend Alec MacKaye's explanation: It's not
so much that it's rock, or punk, or whatever you want to call it. It's
more what it's NOT: The mainstream, insincere, boring.
What was it like recording with Tim Green?
Seth: Predictably incredible. I have a special perspective on Tim:
We've been friends since I was three years old. Back then, we would
listen to Monkees records, and sometimes destroy the records we didn't like (I think Wings fell into this category). Hands down, Tim has
the best musical mind of anyone I've ever met. He makes recording
effortless; I'm pretty obsessive about bass sounds, but when we
record I let him take care of everything and I never regret it.
Julianna and Jen, you have put out several zines and Seth, you were
in a film recently. How do these other art forms relate to your work
with music?
It's exciting to do creative work. Painting, cooking, knitting, writing,
sewing, music. We all suffer from a panoply of interests, so it's lucky
to have something like a band to focus our energies into. And in the
end it opens doors to the other stuff. Because, of course, you need art
for your record jacket, or essays for the zine you want to take on tour,
or handsome matching outfits to wear to the show, or delicious
snacks for your friend's art opening, or some knit wristbands to spice
up your crapped-out thrift store clothes.
Is there anything else you'd like the readers of DiSCORDER to
know about?
We'll be playing Ladyfest San Francisco and DC in July and August.
The DC show will kick off a short tour on the East Coast. And we
were graciously asked to join Sleater-Kinney on tour this September
and October. You can find out the dates for those shows on the KRS
website. Speaking of websites, we're finally getting ours together.
You'll find us, appropriately, at http: / /thequails.com. We're hoping
to feature lots of friends' work on the site, and to have links to lots of
inspiring addresses. Also, as mentioned above, the new record will be
released in August. We may or may not sell it through the website,
but we'll have links to places you can find it.
And finally, when do you think you might be in Vancouver next?
Seth: As soon as we are invited back: ASAP! I used to play in Canada
10-odd years ago and have missed it since. Like my friend Ralf said:
"They're just like us... but they're Canadian!" •
13 DiSCORDER I overheard this conversation at
the Piccadilly Pub during New
Music West this year:
"Did you manage to see The
Cinch? I've never heard of them
before, but they were amazing."
"Yep. I'm glad I made it here.
Everyone told me to check them
The two people carrying out that
discussion were not from
Vancouver; otherwise they would
know more about the band they
just saw. The Cinch is one of the
hardest-working acts in town,
playing more shows than just
about anybody else, and converting listeners to fans with their fun
brand of rock and roll. The band's
first big break came when they
won CiTR's SHiNDiG! in 2000.
Their competition that year
included the likes of Operation
Makeout, Witness Protection
Program, and Trail vs. Russia.
Their victory was no small feat.
With a new five-song EP topping
the charts at CiTR, I spent a good
part of one Friday night chatting
with all five members of The
Cinch: Kathy Dube (guitar,
vocals), Mark Epp (guitar, vocals),
CC Rose (drums), Jennifer Smyth
(vocals, percussion, guitar), and
Geoff Thompson (bass).
DiSCORDER: Tell me about the history of the band, like how you guys
got started.
Mark: How many years ago did it start? Three? Four years ago?
Kathy: [Laughs] It did not!
Jennifer: [To Kathy] How long have you been back?
Kathy: Ah, three years. Three years, yes.
Mark: Me and Jen and Kathy got together acoustically and did a couple of
open mics. We always kind of knew we wanted to go electric, so we started
looking for people to play with. First we have Matt from the Nasty On playing bass for us, and a guy named Todd that played in a lot of bands playing
drums. And then Matt quit to do Nasty On full time, and then we got Geoff,
but before that we got CC on drums. And then we recorded an EP, which
sort of came out in May, and this is where we are right now.
You were the grand champion of CiTR's SHiNDiG! in 2000. What did
you think of the whole experience?
Kathy: It was really good for us because at the time we just got CC. So all
of a sudden we were getting performance experience. And we kept coming
back and winning rounds. [Laughs]
Mark: We're just really happy to have a place to play.
Kathy: Yeah, it was awesome.
Jennifer: It was a real shock. We didn't know. We didn't think we were
going to win.
Jennifer: No.
Kathy: We were outside smoking and when they announced the winners we
were like "No."
Jennifer: We didn't believe it. No way.
Kathy: Trail vs. Russia.
Jennifer: They were great.
Mark: They were so good. Great band.
Kathy: And Operation Makeout. And Joel.
Jennifer: They were all amazing.
CC: And we had just got together.
Mark: Yeah, our first SHiNDiG! show was CC's first show.
And your new EP was recorded using the free studio time from winning
Kathy: Yes, at Mushroom Studios.
Mark: We did four songs at Mushroom, and we did one song at the Hive.
There're five songs on the ER It's just a short one.
How did you like recording in a studio?
Mark: It was the first time for us in a studio. We were so overwhelmed at
first. It was such a nice room.
The      Cinch
Interview by Ben Lai
Photos by Andrea A.
Kathy: So fancy, we didn't want to leave.
Jennifer: They have really good video games. Playstation!
Mark: And they were super nice people. All the people at Mushroom were
just awesome.
The album came out Stutter Records. Can you tell me about that?
Kathy: It's affiliated with the Nasty On. Jason and Allen created the label
called Stutter, and they asked us if we want to be a part of it. We loved their
band, and Notes From Underground joined too. And we are kind of sticking
Mark: It's a lot of just working together as bands, but Jason and Allen are
spearheading a lot of it and doing a lot of stuff to get it going.
You guys play very often around town.
Jennifer: Every couple of weeks.
Is playing so often something that you wanted to do? Are you worried
about over-saturation?
Kathy: I think we accept shows when we really want to play with a certain
band. And we really love performing. And we learn a lot when we perform.
But we are at a point now where 1 think we're going to choose maybe less
shows because we want to play more out of town.
Jennifer: And have time to write new songs.
Have you toured outside of Vancouver?
Mark: Kamloops and Vernon.
Jennifer: It was this warehouse in Kamloops. All-ages. It was the first time
we played out of town and our first all-ages show. And the second night we
played at a house party in Vernon. It was a lot of fun.
Mark: Kamloops was my sweatiest show to date.
Jennifer: You were wet in every picture.
Mark: It was 35 degrees or something in Kamloops that day. It was just
Are you going to be touring soon?
Kathy: Probably going to be small little ones.
Mark: At the end of this year.
How far are you going to go?
Kathy: Probably the States, Seattle, we have some contacts there. And
Mark: Definitely Edmonton and Calgary. Just sort of do mini-tours for now.
We want to do some recording in August with Jay from the Spitfires. We are
going to work on our full length and hope to have that out early next year.
You have songs written for your next album already?
Jennifer: Almost.
Mark: On the go. A couple more.
When people talk about your music, they often compare you to the
Velvet Underground. Any comments on that?
Jennifer: Thank you. [Everyone laughs]
Kathy: There is definitely an influence for sure. We have a lot of influences.
What kind of influences? Anything in particular that you draw from?
Kathy: I think we listen to a bit of everything; whatever comes out is what
it is. We don't try to be anything.
Mark: I think we all sort of bring in different influences. We all like the
Velvets, and things like the Stooges, and, you know, the Pixies. There are
obvious things that we all like. But then everyone sort of drops in different
areas. I come from a lot of the '80s stuff like The Cure and Echo and the
Bunnymen, that sort of stuff. And then Kathy knows her R&B a lot more,
like Tina Turner and just good old R&B stuff. Jen knows the words to every
song ever written. She knows every show tune. Any musical that's on TV—
she'll sing along.
Jennifer: [Laughs] I don't know how I do that.
Mark: It's incredible. And CC's got the metal edge. She's now actually reading the Motley Criie book. Geoff's got the very classic background. He
knows his Zeppelin and DC and Motorhead, but he is very indie-spirited.
So yeah, I guess it all sort of comes together. We don't fight too much over
the stereo.
When not doing interviews with DiSCORDER Magazine, what do you
usually do on a Friday night?
Kathy and Jennifer: Practice.
CC: Maybe catch a show after that.
Kathy: And maybe drink a beer.
Okay. That was not the exciting answer that I was looking for.
Kathy: [Laughs] Oh, we got nothing.
CC: Parachuting?
Jennifer: Yeah, we go parachuting and bungee jumping. [Laughs]
Let's try this then: If the Cinch did not exist, what would you be doing?
Jennifer: I'd probably be in front of a mirror at home with my hairbrush
singing into it.
CC: I'd probably be a one-man band. I'd probably have a drums tour. Just go
Geoff: I'd like to work with children. [Everyone laughs]
Kathy: I knew he was going to make something up like that.
Mark: I'd still just be doing four-track stuff and things like that.
Kathy: Lonely. I'd be lonely.
CC: Kathy would be sitting at home drinking beer. Crying in her beer.
Kathy: Saying "Why can't 1 be with a band?"
Is there anything that you want to tell our readers?
CC: Come see us live.
Jennifer: Yeah.
Mark: Yeah, and you can dance to us. It's okay. •
14 AUGUST 2002 Bottleneck is a new band with a recently-
released CD which sets itself squarely in
the alt-country/Americana camp. Its members have been active on the local roots
scene for many years. Two members of
Bottleneck (Scott Smith and Jeremy
Holmes) backed up Butch Murphy in a former incarnation of Bughouse Five and,
with drummer Liam MacDonald, continue
to exercise their considerable playing
chops most Saturday afternoons at the
Railway Club jams.
Discorder chatted with Robyn Carrigan
and Scott Smith, Bottleneck's vocalists
and songwriters, and took a run at penetrating the ethereal veil of the songwriting process.
DiSCORDER: Who wants to field the "history" question?
Scott: Guess I will. Robyn and I met when we used to play in
Auburn — I still play in that band. While I was still in Bughouse
Five I had this catalogue of songs that were very personal, things
that couldn't really be done in that band. Butch Murphy's a great
lyricist, anyway. I needed a band to do this stuff, so I asked Robyn,
and also asked Jeremy, who was also in Bughouse Five, and Liam,
who I knew from the jams at the Railway. It started very casually, a
gig every once in a while, and when we started recording this CD I
thought we had something really good, something that should be
our focus. As the band went along, Robyn started taking a bigger
role. I originally thought it would just be my songs, but then I realized she has all these great songs and it'd be stupid not to use them.
So you both write—did you divvy it up half-and-half, or use the
strongest songs when you recorded the album?
Scott: I think we used the strongest songs. Live, we were doing
about 60/40 and that's what came out on the CD. We co-wrote one
tune, "Hate To See You Cry."
Robyn: Even though we don't co-write as a rule, I think we influence
each other. Our songwriting styles are quite compatible. Since I've
joined the band I've written specifically in a Bottleneck style, as
opposed to songs I write for myself.
The first piece I ever wrote was called "The Picnic." It consisted of
starting out in the treble keys of the piano (the lovely sunny day
part) and gradually working down to the bass end of the piano for
the storm part, then back up again when the sun comes out. I was
about four. I mentioned this to another musical friend, who
informed me they had written the same song with their sister called
"Birds and Thunder." I started with lyrics at about age eight when
my friend Brenda O'Brien and I wrote a musical comedy called the
Farkel Family, based on something she saw on Saturday Night Live,
about a very obese family who consumed and threw a lot of cream
Since then, I've had many bands—Daisy Duke, Robyn Carrigan
Band, and played solo. What I found in Auburn was that, with Scott,
the melody lines we would pick would be the same, or we'd play
them in harmony at the same time, so I thought we had a sympathetic musical ear.
How about you, Scott? Have you been writing songs a long time?
Scott: In Grade 8 I started writing songs. I always sang them, but I
never had much confidence in my voice. It's only in the last few
years that I'm becoming known as a singer, instead of just a guitar
player. Bughouse Five is probably the most recognizable band I was
in. I play with Mac Pontiac, Pete Turland Band, Auburn, and I
played with the Surfdusters way back.
Robyn, you're from Nova Scotia. Did you have that East Coast
kitchen party thing going on in your childhood?
Robyn: Yes, there was a lot of music in my family, in the house. I also
had classical piano training, did Royal Conservatory, went to university and studied voice. In Pictou County, where I grew up, at least
within my family, music was considered to be a really important thing,
and was strongly encouraged. I had both sides of it: the Celtic/coun
try side, and also the classically trained stuff, along with pop music.
Scott, you grew up here. Were there a lot of musicians in your family?
Scott: Not that I know of. I think I had a great-uncle who was a jazz
musician. I grew up in Burnaby, started playing guitar when I was
12. Rock and roll stuff, you know.
When did you get more into roots and country music?
Scott: I'd say through the Rolling Stones and Bob Dylan, who were
favourites since grade 8. The first Rolling Stones songs I liked were
the ones everybody likes, and then I started getting into the country
ones, like "Dead Flowers," "Sweet Virginia." And that leads to Gram
Parsons, and then Gram leads you to Merle Haggard, and that leads
to bluegrass and it just goes on like that. After awhile you love all
this music, and it all started off from liking this English rock band.
Robyn: It was on the radio too, and my next-door neighbours were
really into country music. My parents weren't into country music,
my brothers influenced me with Simon & Garfunkel, Bob Dylan.
Gordon Lightfoot was a huge idol of mine as a child. I'd go to my
neighbours and listen to Merle Haggard, Loretta Lynn, George Jones
—the music I wasn't allowed to listen to at home. It was the forbidden country music! [Laughs] That type of music has such great
singers, so I was attracted to it for the singing, for the voices, the stories, the simple songs and the playing.
Do you find that the choice of your main instrument affects your
songwriting, and do you have any set pattern in writing?
Robyn: I use the guitar as a writing tool, although voice is my "main
instrument." For me, lyrics and melody often come together. I'll have
a theme, or notion, about what I'd like to write about. Sometimes a
rum of a phrase will come to me. Other times it's a hook. You know,
you're playing along, and there's a melody. But they very often come
at the same time.
Scott: I've written songs in a number of ways, but the ones that
always end up the best are the ones where a hook line comes at the
exact same time as the melody: either part of the chorus or part of the
refrain. The ones where you try and put an idea that you want to
say to music turn out okay, but they never turn out great. The ones
where there's some element of luck involved are the good ones for
Another question about songwriting: are you scribblers? Do you
sit and work at it, or do you wait to be hit by inspiration?
Scott: If I don't have an idea, then I don't work on songs. I work on
pedal steel, or dobro, or something else that I need to work at. But if
I have an idea for a tune, melody, bit of lyric, then the practicing of
the instrument stops and I work on that. That could just take a few
hours or it could take a week to get that song done.
Robyn: I've written songs in lots of different ways and on lots of different instruments. Each instrument lends itself differently and has a
potential for all these songs to come out. "High Prairie" on our
album, for instance, is a banjo song. I don't think I would've written
it on the guitar. I will, however, tool away at songs. I will write a
song and keep it around for a while and play it. If I don't like it I
won't necessarily discard it; I'll re-use part of the song for another
song and recycle it.
Scott: Oh yeah, I do that too.
Robyn: I call it farm songs for the major songs —like farm teams for
the major teams, you know? It's been fun working with Scott
because he's a great sounding board. I'll play a song that I won't be
crazy about, and he'll pick out something about it that he likes. So it
gives me inspiration to keep at a song if there's something to hold on
to. However, that being said, the best songs I've written have come
out of really dramatic situations and very intense experiences. When
you have those, it's not something you can recreate or reproduce.
Your heart gets broken again and boom, out come all these wonderful songs.
You've just answered part of my next question about what inspires
Robyn: Yes, bad relationships! Or just that exploration of emotion
and self, and the human quest for evolution.
Scott Everything on our CD pretty much was written from the "dramatic situation" standpoint. However, "Jay Woods" was inspired by
my work at a youth detention centre, a prison for 13 to 18 year olds.
That tune is a composite of stories I've heard there. There's no guy
named Jay Woods—I couldn't name him under the Young Offenders
Act anyway—but he's a real person in that everything in that tune is
something that somebody's said to me. I wanted people to hear that
experience. What you read in the paper is usually just about how
young offenders should get more time [in jail] and somehow that'll
magically rehabilitate them and magically stop crime. The reality is
that most young offenders in jail are kids from foster homes, kids
who are addicted to drugs... most of them have been sexually and
physically abused.
Have you ever played that song for the kids you work with?
Scott: I played it for some of them. One girl said: "Yup, that's it."
by val cormier
That's probably the biggest compliment I've ever got on one of my
Do you draw on experiences of others, or do you tend to keep it
more personal?
Robyn: On this album, I think most of the songs are relationship oriented, although "Abilene" is actually about missing Nova Scotia.
And it came to me in a dream, that one: Dave Alvin and Alejandro
Escovedo were standing on either side of a hospital bed. I was lying
in the bed, and they were singing this song to me. I woke up and I
wrote this song. Then, a couple of years later, Dave Alvin came out
with an album, Blackjack David, with a different song called
"Abilene" on it. Wasn't that weird? And here's another strange thing:
Abilene makes almost a perfect equilateral triangle between
Vancouver and Nova Scotia on the map!
I've written other songs—not on this album—about Nova Scotia. I
wrote about the Westray mining disaster because my neighbour's
husband was killed in it. At one point I wrote quite a few politically-
oriented songs that were from a personal viewpoint. But they're not
all autobiographical. Most of my songs have other people crying on
my shoulders, telling me things. It's a combination of all the relationships and situations, you draw a little bit from everything.
What other songwriters do you currently admire?
Scott: Ron Sexsmith. He's my favourite songwriter right now. For a
few years now.
Robyn: For a while I was listening to a lot of Iris Dement and
Lucinda Williams. Matthew Sweet, because I like poppy things too.
I like old Kinks. Because I play the accordion, I listen to a lot of old-
timey music. Local songwriters influence me, too: Flophouse Jr.,
Jeanne Tolmie, Linda McRae, Shelley Campbell. We all hear each
other's songs all the time. Neko Case is a goddess!
Scott: Rich Hope, Butch Murphy. Both great songwriters.
What are your thoughts on the local scene? Is there really a scene?
Too many whiners?
Robyn: Musicians will always whine, of course, anywhere you go.
That's probably the nature of being artistic. I think the scene in
Vancouver is fantastic. The only thing I would whine about is the
lack of live venues. And going out to see live music is not generally
a huge cultural draw in Vancouver because it's very sporty, a newer
city. But I think it's a musician's job, in a way, to make themselves
popular. You have to inspire people and entertain them.
Scott: One thing I've found is that there's nothing to be gained from
putting other bands down or being competitive with each other. The
more you praise other bands that you genuinely love, the more it
just helps everybody. If I tell people how great Radiogram or
Flophouse, Jr. are, I'll do that. I wouldn't refrain from doing that
because they might steal my gig. If we work together and help each
other out, then everybody benefits. At a lot of our gigs, it's mostly
musicians. We go see bands we like, then they come and see us, and
soon. •
Bottleneck's upcoming gigs include Grizfest (Tumbler Ridge) August 2-4,
the Railway Club August 14, and the W.I.S.E. Hall September 14.
http: / /bottleneckband.tripod.com
15 DiSCORDER Prewitt's Dark Horses
"In Archer you have it all—mystique, wit, and liberation." —Francis
"Some praise today's singer-songwriters for turning phrases and
having all the pretty chord changes. Certainly this talent can garner
such extol, but I do not court such folly! Instead, I slept by the river
Prewitt and it swept over me." —Jonathan Mannet
"Chicago native Archer Prewitt was raised on a diet of Catfish and
Crawlers, for his songs are informed by the beauty below the mud of
today's popular music." —PJ Henderson
"Archer Prewitt (The Coctails, The Sea and Cake) has just completed
his third solo outing—his first under the Thrill Jockey Records banner! Three is the moveable feast served to the exquisite corpse before
the new wine." —Nino Piero
"I see some kind of Calvino-esque thing happening here. Like a mirror reflecting an invisible possibility—true, Utopia is no place—but
its birds know these songs." —Colette A.
"Look beyond the triviality of modernity, for there are the grasses
and greens on which Three's dark horses graze! Praise him."
—Georgina Wyatt
by Nic Bragg
16 AUGUST 2002 DiSCORDER: Based on the quantity of personnel cropping up
on your record, one would think you had an open door policy
running with the studio. How were the songs on Three hammered
Archer Prewitt: The band now comprises four people: Mark
Greenberg, Dave Max Crawford, Chris Manfrin and myself. We had
most of the material worked up for shows and tours and it was
solid. Steve Goulding had written drum parts for more than half
the material before moving to New York, so he was flown in to play
those songs. The basics for 16 songs were done in less than three
days and then the month long process of recording vocals and
numerous overdubs were done off the studio clock at Mark's
Mayfair studio/garage where we share a load of mics and equipment. Max and I worked long hours every day to make the deadline
for Thrill'Jockey. It was exhilarating to have an obsessive partner
to work with. We had a great time. Mark helped a lot when he
could. The guitarists, horns and vocalists came in at different times
and did their parts. No isolation booth made for very intimate
relaxed sessions. The strings were recorded at King Size the first
day of mixdown with Paul Mertens conducting his arrangements
fresh off the plane from England where he toured with Brian
Wilson. Very exciting stuff.
The arrangements on Three are neither spartan nor overwrought.
I think especially of the flutes on "Two Can Play" and the stuff
off "No Defense" and "Behind Your Sun." Was there any temptation to over use the talents of Paul Mertens, or at the onset were
you hoping for a fine balance?
I like to use arrangements sparingly. I wanted organ and other more
humble sounds for the bulk of the record. The songs that want a
bigger sound seem to demand it. But we went into the thing with
only a few songs getting the grand treatment.
Congrats on "Sister Ice"—that is something nice.
Thank you. Many people like that one. Kelly and Nora made it for
me. I heard ladies singing on that from the beginning. I've been
doing falsetto for years when we play it live.
On Three's final number "The Day To Day" you drop the phrase
"terminate your charms." One gets the sense that you really pin
down your themes for this last track. Some time has passed since
the recordings; the ideas have taken flight to roost with the listener How has your perception of the record changed as you've seen
things reach fruition?
The record takes on a life once the proper sequence has been arrived
at. It feels right. And then the placement sets up a flow of moods
and the lyrics take on new significance. Sort of like binding a booklet of short stories, I guess. I could fuss over the songs for a while
longer or remix a few, but I'm happy with the thing as a whole.
The pop psychologist is fascinated by the notion of the b-side.
Traditionally, the darker side of the singer-songwriter is felt on
the flipside. The subconscious? Well, we now know this is probably a leap; however, outsider culture tends to revere this dark
freedom. What is Three's potential b-side? A cover?
We had a song mixed and ready for the album, but it just didn't fit
with the others. It's called "We Go Alone" and it's darker for sure. I
don't know what we'll do with it. I like it enough to want to release
it in the future.
I ran some background checks, called the numbers and read the
critical press. Most praise you as a soul giving to the future, a man
out of this time. I find this a bit depressing. What do you say to
those that imagine you more influential 20 years from today?
Well, I'll be old then, won't I? I don't need to be influential. I'd like
to be heard by a few more people, but I don't have grand ambitions
for world recognition. That's just not going to happen. I'm flattered
by the "soul giving to the future" line. Oh my. I'll just keep working
and let the people say or listen as they may.
The role of the singer songwriter is so historically informed. You
are either a nature boy who stumbled out of the woods and onto
the stage, or the (east) village bard taking the cultural temperature. How does the construction impact you?
I like reading and talking about the legends rather than forming my
Canonization is out of style. The music industry does not want any
more canons—they have enough long-range guns. There is an established elite of songwriters, an American voice. Music is a fleeting
art form. Agree or disagree.
Style is fleeting; the dressing of the flesh of music. Popular
music is always draped in the sound of the times. The elite seem to
write great songs (or seviceable ones) and dress them in the production of the day.
Occasionally someone will define the style to come and if it
strikes then most follow. It is heartening to think of the music on the
radio as fleeting.
The phrase "well-mannered" comes up with notable frequency
amongst Prewitt debaters. Songwriters of a certain school thrive
on antagonism—Lou at his best taking aim with the New York
Streets, Cale at his best taking aim at Lou, Chilton fuelled by spite
for the industry, etc.—are you free from it?
I'm not having the chip on the shoulder. I find it tedious and a waste
of energy. I keep up my guard and if pushed will react in an aggressive way if I must. I try not to. What's the point? I wish Alex Chilton
would write some good songs again and quit trying to maintain this
stance of contempt. I get angry when I think about it. Ah, let him
I was interested by the reference to Roy Harper cropping up somewhere in your biography. Some argue his seminal moment was
his "Another Day." How does your own ode "Another Day" sit
beside his? Both are open to interpretation, but bonds breaking
never sounded so sweet. I particularly like the dramatics of your
last verse—the gorgeous crescendo praising "lightness"! Has this
number been in your songbook for long?
Thank you. It is a fairly new song formed from a fragment of an
ancient song that I never wanted to let go. I love Harper's "Another
Day." It's a haunting masterpiece. I actually didn't know his title
until after I titled mine. I just listened. Ah well, it's a good title and
good ones can be put to use more than once. I don't feel my "ode"
can sit beside his. Perhaps they could relax in the same room.
I'll be frank. There is a certain sadness that hits when I think
about Roy Harper. He seems like an odd fellow, and I can't disassociate him from that album jacket with him embracing a tiger
rug. An ironic image? The last embrace with a lost lover, or a portrait self parody for a singer songwriter living the highlife. His
muse burned out quick. I can't imagine you courting the highlife.
An odd genius, yes. Thankfully. Too rich for the blood of the masses. Too erratic. I myself have gone to some extremes at times. One
never knows what could come with the high life. It may be interesting to be very financially set. It may be a nightmare. My leaning
is to keep it lean.
Actors relish the role of the foil. The foil is the dark horse. The contrasting character that spurs the plot when the protagonist falters.
Some have argued you work as a foil to Prekop in Sea and Cake.
I don't cultivate my personality for public consumption. We are
The week your record came out, I was invited to dine with some
friends. The meal was sumptuous, but more importantly, your
name came up in association with tennis. The hosts argued that
your rogue stylings were based on '40s star Berliner Morgenpost.
This is bunk, and I will save you the retorts. Have you ever played
or do you follow the game?
I've volleyed in younger days. Don't know the first thing about the
sport (or any sports for that matter). I like unstructured lot ball. A
game of 21. That I can handle. Can't hit the hoop, but it's fun trying.
And conversation must have hit quite a lull for that to come up over
David Grubbs is literally back up in the saddle with the amazing
Ricketts and Scurvy. It is nice to see him extolling the virtues of a
more progressive pop production. What is your relation to this
Well, everyone seems to intimate that I'm anachronistic rather than
progressive. I'd like to think of Three as taking more chances than in
the past, and that has a lot to do with collaboration and growth
through process. I like to make things sound fresh and exciting in
the production end of things. The songs tell you what they need.
Chicago has a history of craftsmen—a Frank Lloyd Wright attention to detail. Its music culture celebrates the architect spirit to
assemble collaborative trades, all working towards the grand edifice. Chicago has successfully divorced itself from New York and
LA. Do you ever see yourself moving away from her Eden?
Interesting analogies you have! I don't see myself leaving for some
time. I just bought a house here. I love Chicago. It's a no-nonsense
working town with few pretensions. It's also the murder capital of
the US.
Laura Nyro recorded her first record at 18. That is pretty wild really. The only 18 year olds recording today are those orphaned to
the mass industry. At what age did you produce your first recording—your first real flirtation with giving of yourself?
I think I was 21 or 22 when a recording was committed to vinyl. 18
for cassette.
I am interested in the background to your Genoa Songs recordings. Was producing the EP part of your vacation plans?
Yes. The whole story is roughly recounted on the packaging. My
friends Monica and Tony had graciously set the whole thing up.
Very good people over there. A wonderful time. Half the days swimming and cooking and then recording. The first song developed on
the spot with a brief jam. Lovely giant old house overlooking the
ocean that supposedly was a nunnery at one time.
Was the nunnery part of the national trust heritage sites? Genoa
Songs seems so sparse compared to White Sky. How did the space
affect the results?
Apparently not, as it seems the building is to be torn down. But yes,
it is a sparse recording. We used the ambience to our benefit. Lots of
room sound. The atmosphere helped inform the songs. I chose to
do songs that would work on a more stripped down scale. Guitar
and voice.
I get the impression you have integrated art/music production into
your daily routine. Do you work on numerous projects simultaneously?
Yes. Always have. My mother is like this as well, with long lists of
daily errands and priorities. I'm fairly restless and I don't do so well
on extended vacations. I'm not manic, however.
A Scottish playwright recently completed a play called Soft Boy
about a school lad given a rough ride. The title refers to British
slang "soft touch" as someone who can run with the punters and
hard men. How did your Sof Boy comic come about? Is it still on
the drafting table?
I first started printing Sof Boy to be peripherally a part of a comic art
show in Chicago. Some of my heroes were in the show. I served wine
and had my "minis" available. Dan Clowes, Gary Leib, Chris Ware
and others were very kind with their encouragement and I went on to
make a second issue. This got the attention of Drawn & Quarterly and
Fantagraphics. I went with D&Q and am desperately trying to finish
the long overdue third issue. Perhaps out this summer or early fall.
What can you tell us of One Bedroom, the forthcoming Sea and
Cake release?
It's reeling good to me. I've been listening to the finished thing. An
odd beast. Kind of a marriage of The Fawn and Oui. Some programming and postproduction and attention to details makes for a very
hi-fi album. And Sam's voice and lyrics are really fine. There's a Bowie
cover to end the thing. I'm happy with it and puzzled by it.
See you in the countryside. Take care.
Bye. •
17 DiSCORDER Mainstream culture's biggest mistake with Riot Grrrl was its assumption that after it had been
given its moment in the sun, it would just have the good sense to roll over and die. Never was it
proven more wrong than in the case of Bratmobile.
Eleven years after their first show, eight years after breaking up, and two years after re-forming
(with all three of the original members—Allison Wolfe on vocals, Erin Smith on guitar, and Molly
Neuman on drums), Bratmobile haven't returned as a pale shadow of a band, content to ride their
reputation and sell a smattering of albums under the name they had established for themselves in
the '90s. On the contrary, they are more focused, vitriolic and energized than ever; unapologetic
activists and straight-up rockers. Higher production values and back-tip musicians expanded the
range of sound on their 2000 come-back album, Ladies, Women and Girls and proved to spectators
that not every band that returned from Limbo was obliged to offer as pathetic and generally-worthless a contribution as the Sex Pistols. Their new album, Girls Get Busy adds back-up vocals to the
mix, keeps the politics current and kicks the living shit out of those who said that their come-back
was bought with a ticket that read "Good For One Album Only."
Brattish children get accused of acting out and not playing by everyone else's rules; Bratmobile
have made a career out of it. A decade ago they told the media they "ain't gonna be yr press darlings/I'd rather be fucked and throwin' things"; this time out they're letting everyone know, "We
don't listen to what you say... Girls make music, we're here to stay. Alright?"
punk for The Rest of Her Life:
An interview with Brotmobile's
Allison wolfe
by   chris   ca^
DiSCORDER: Two of the songs on your new album—"Shop For
America" and "United We Don't"—address the change of attitude in America, post 9-11. Not only that, but they carry an attitude that runs completely contrary to the one in the popular
media. How has it gone over?
Allison: You got it. I find that at our shows, people are really psyched about those songs. I mean, we've only been playing "Shop
For America" live, but as time goes on I think people more and
more are finally not being afraid to express that they know what
Bush is up to is total bullshit. You can't believe the hype. The
media's parroting the current administration, which is completely
right-wing. They totally took advantage of this tragedy—of all
these people dying—and have been using it to exploit their right-
wing agenda and to push all sorts of "1984" policies right through.
It's really scary—I think we're living in a really scary time—especially living in Washington, DC where it's pretty conservative.
People just ate that shit up. They bought it hook, line and sinker,
and to me it was such an obvious lie. I couldn't believe how flag-
waving cowboys were running amok all over DC and the US. I
couldn't believe it. It was almost laughable except it was scary. And
so, I just felt, as an artist of some sort and being in a band, the least
we could do was write a song about it. I mean if you're not just
absolutely rioting in the streets about it the least you can do is write
a song. And I've been going to protests, and I've been spray-painting, and I've been wheat-pasting, you know? But we have to do a
whole lot more. There's people like Michael Moore and Howard
Zinn and Noam Chomsky, and a lot of people speaking out about
it that I'm really grateful for, but I think we need a lot more musicians speaking out and so, a friend of mine and I in DC, we've started a group called Bands Against Bush. It's pretty informal, but it's
like "Rock Against Reagan"—we're trying to bring the whole
"Rock Against Reagan" sentiments back.
As one of the bands that's credited for kick-starting Riot Grrrl,
how hard was it to keep playing the same style of music after the
movement started declining?
I guess it's been kind of hard because people try to treat everything
like it's a fad, like it's a commodity. "Oh, it comes and goes; we buy
it, we sell it; it's out, it's not; it has no value anymore." In this
extreme capitalist economy, people's creative energy just turns into
a commodity; it's really sad. And especially with Riot Grrrl—in a
lot of ways it parallels or it means feminism. To me it meant young,
punk rock feminism. So it's like, how could feminism just be a fad?
If sexism is a fad, then I don't think that feminism can be the
answer to it; it's not easy. So yeah, it's been kind of hard, especially in the late-'90s when everything became "singer/song-writer"
and "sophistication" and "shoe-gazer" and whatever—it was a
hard time to exist. At that time, Erin and I were doing Cold Cold
Hearts and then we started Bratmobile again, and a lot of people
are weird about the minimalism, but I think that's cool and I just
want to be a stripped-down punk rock band. I think that's cool.
And I think we have changed over the years—people try to say
"Oh, they're just the same," and it's like, "No, we're not." If you
put the records right next to each other, it's not the same.
Your last two albums have showed a consistent swing toward
more professional production, and, with the inclusion of Audrey
on keyboards, a fuller sound. Were those intentional choices?
Yeah. Molly and I had the idea to start playing with Audrey, as of
the last record, and I'm really into all these bands that are using
keyboards now—I was always really into '80s music anyway, so
it's kind of cool. I feel it gives it a more new-wavey aspect which
I've always been heavily influenced by. You know, bands like Bow
Wow Wow, the Go-Go's—even though those didn't necessarily
have keyboards. The Human League, Duran Duran. So it was really exciting to me, plus I've always wanted to have help with
singing. I've always wanted someone to help me with backups,
and Erin and Molly have great voices and they'll do it on the
record, but I don't think they feel comfortable doing it live, so it's
great to have Audrey helping out in that way—filling out the
sound a little and making it a little bit different because I don't
want to be resistant to change; I want to be a punk rock band, but
I want us to be able to grow and change a little bit.
Feminism has already moved into a self-described "fourth wave"
past the third wave that included Riot Grrrl. Bratmobile tends to
get lumped in with third wave musically, whereas Sleater-
Kinney are held at the forefront of the fourth wave. Does it bother you that you're cubbyholed as a Riot Grrrl band while your
friends and contemporaries are seen to have somehow moved
past that?
Well, yeah, in a way it's weird because I think that the first wave of
Bratmobile was influential to a lot of the bands who are so popular
now, but Corin, who's in Sleater-Kinney, was also part of the whole
Riot Grrrl thing; so was Kathleen, who's in Le Tigre. So in a lot of
ways, sometimes people will pretend like we're old and those guys
are new or young or something and it's like, "No, we were all there
together." And, I mean, sure—we reformed and kept the same
name, but I don't think the music we're doing is exactly the same.
I also don't feel the need to be totally trendy and just keep up with
the tempo. "Oh! Now we have to be sophisticated!" or "Now we
have to have samples!" I mean, we have keyboards, but it's 'cause
it's fun but it's still punk. I don't feel like we have to be a drum-
machine band because to me it just wouldn't feel real; it wouldn't
feel right. I mean, I'm fine with those bands doing it, but I think
the media just tends to grab tokens. Like any marginalized group,
they treat it like there's not enough room for all of us. "There's only
room for Sleater-Kinney! They are the only girl band that deserves
any respect." or "Le Tigre is the only girl band that exists right
now." And it's not fair to anyone. Those bands didn't ask for that
characterization either.
In "I'm In The Band," you use the line, "And I'll be punk for the
rest of my life." Will you be?
I think I might be. If I don't get my butt back in grad school, I might
have to be. [Laughs] •
18 AUGUST 2002 saEEis
O    O
Are you a local band or musician? We are now
accepting entries for SHiNDiG! 2002. Send
in your minimum three song demo of original
material (all styles welcome) for an opportunity to play CiTR's annual rock 'n' roll death-
match! Toss your demo, contact information,
and anything else you want us to see in an
envelope and address it to:
SHiNDiG! 2002
c/o CiTR Radio
#233-6138 SUB Blvd.
Vancouver, BC V6T 1Z1
Questions? Interested in becoming a sponsor? For
ore information please visit www.citr.ca. Tou
can also callus at 604-822-1242 or email Duncan
at duncanmm@interchange.ubc.ca
Deadline for entries is August 30!
4305 Main St.
Pll. 708-9422
Fax 708-9425
wstur ' limes'T-siirn'MffiB
Surl Counrtv Punk Canadiana Lounge
Hiilbillv Garage Psychedelic AJt-Rock Blugrass
19 DiSCORDER Bumbershoot. The Merriam-Webster dictionary tells us it's a word
which came into the English language sometime in the late 19th century as a combination of bumber (alteration of umbr- in umbrella)
and shoot (alteration of -chute in parachute). It's basically another
word for that Pacific Northwest implement known as the umbrella.
It's also the name of one of America's biggest and most vibrant
arts festivals, described on their website as an "artrageous four day
party where Carnivale meets Concert Hall... the greatest showcase of
eclectic and excellent art, a place where 2,500 artists stalk the stages,
grace the galleries and generally choreograph one of the most fun,
wacky parties on the planet." Thirty-two years after its inception it's
still going strong, and is, despite the sorry state of our currency, one of
the best bangs for your concert-going buck this Labour Day weekend.
Of course "arts festival" implies the visual as well as the audio.
It's all there, and it's all good. At Seattle Centre—oops, Center—(the
park around the Space Needle) there will be 20 stages and performance spaces, including a film festival, circus stage, b-boy break-
dance stage, contemporary dance, comedy club, art galleries, poetry
and literary stage, small press bookfair, electronica showcase, hands-
on art for kids and adults, parades, spectacles and much more.
Sound overwhelming? It can be, but it's a much mellower crowd
than you'll find in many US cities. If you really hate crowds, there's
still lots to do and see on the fringes of the site at the smaller venues.
For you Bumbershoot vets out there, there are a few new things
to do and see. This year, admission to The Children's Museum is
included in the cost of your ticket. (Go play with your inner child.)
Admission to the nearly Experience Music Project museum will be
half-price with a Bumbershoot ticket. (Go play instruments.) The
Comedy Club, while not new, moves to the roomier Charlotte Martin
Theater this year. CenterCircleSpin (new in 2001) returns and moves
into the Snoqualmie Room to allow a larger audience to watch local
b-boy and b-girl crews spin, pop, lock and groove.
I've noticed construction on the Seattle Center grounds during
recent Emerald City visits, so I checked with Bumbershoot's media
guy about that. Doug Cavarocchi replied: "The old Bumberclub
building was demolished shortly after last year's Bumbershoot. They
are building a new structure there that will not be open inside during
the Fest, but we will use the roof for a Polynesian-themed food, beverage and art area we call the Tiki Terrace. Mostly visitors will notice
BUMBERSHOOT       Sl   O   O
still    Boc-kin'
in    the    free    world
by val  cormier
how much bigger and greener the center of the park feels. The
grounds should feel much less crowded as a result of this new open
I also asked him about what different security measures we
might see, if any, this year, especially given the press Seattle received
recently about being a prime terrorist target. "There will be changes,"
he said, "but not really anything that the visitor will notice. The big
things your readers should know is that all bags are subject to search
at the entrance to the Key Arena, and anywhere on the grounds for
that matter, but there will be a definite search point at the Key, and
that in general we are discouraging folks from bringing large bags
with them."
Of course, Bumbershoot is best known for its jaw-dropping list of
musical acts. Hundreds of them, from a large and diverse range of
genres. Send grandma off to see Lou Reed while you chill with
Blackalicious. Wyclef Jean to Wilco, Jerry Cantrell to Jewel—there
really is something for almost everyone. On one day alone
(September 1) you can see Everclear, jazz giants Ramsey Lewis Trio,
very aging scenesters Dave Davies and Dave Edmunds, Lifehouse,
Sonic Youth, an Electro-deck electronica showcase, local heroes
Modest Mouse, South African activist and author Breyten
Breytenbach, roots rock faves Buddy and Julie Miller, the Antibalas
Afrobeat Orchestra, superb songwriter John Wesley Harding, Austin
darling Kelly Willis, almost-locals Death Cab for Cutie, and Linton
Kwesi Johnson. (Whew again.)
Some advice from this hard-core B'shooter: pick one or two
shows a day that you must see and would line up for. Line up for
those early, dig the shows, and the rest of the day is absolute gravy.
. Try some of the smaller stages and especially the ones located near
beer gardens. The beer's not great (when will they ever get a decent
microbrew sponsor?), but the locals are friendly, and the onsite food
vendors are yummy and fairly priced.
As with most festivals, smart planners can score a discount on
advance tickets. Before August 23, four-day passes run at $48. Even
with the worst-case scenario ("Let's drive down to Seattle today, shall
we?") you'll still only get dinged for $20 at the gate for a single day
ticket. Not bad for one of America's best-run and beloved urban arts
festivals. See you there. •
Bumbershoot takes place August 30 to September 2 at Seattle Center.
It's a comic.
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8pm • Thursday
'            August 29
1        Performance Works
I        {i2i 8 Cartwright, Granville Island)
Jl   CiTRica.?**
Thursday, Aug 1
Friday, Aug 2
Saturday, Aug 3
Thursday, Aug 8
Friday, Aug 9
Saturday, Aug 10
Thursday, Aug 15
Friday, Aug IB
Saturday, Aug 17
Thursday, Aug 22
Friday, Aug 23
Saturday, Aug 24
Tuesday, Aug 27
Thursday, Aug 29
Friday, Aug 30
Saturday, Aug 31
The Beauticians / Audio-Lava
Clay George / Keith Rose
Belinda Bruce / Kevin Kane
The  Beauticians  /  Paddy  Ryan
Beather  Griffin  and  Good Wood
Jack Harlan / Nicole Steen
Loose Acoustic
Kingsway  /  Jani  Jakovlc
Ranch Presents... Hopetown, hosted by Shelley Campbell
John  Guliak  / Amy  Honey
Tom Rolliston / Ford Pier / Oalal Lames
The   Buttless   Chaps
JP    Carter    Trio
Coal  w/ guests
For booking info contact Amy Honey: amyhunniedhotiiiail.com
THE MAIN 4210 MAIN ST. &  26TH V5Y 2A6 604.709. 8555
20 AUGUST 2002 Min
recorded media
Profit Prophet
(G7 Welcoming Committee)
With a clever homonym for a
title, Che Chapter 127s latest
recording, Profit Prophet, delves
into the dark world of political
corruption, abuses of power
and inequality. The album
sleeve is peppered with
anti-establishment contacts,
Adbusters-type graphics, and
empowering quotes from the
likes of Che Guevara and
Assata Shakur, who states,
"I advocate revolutionary
changes: an end to capitalist
exploitation, the abolition of
racist policies, the eradication of
sexism and the elimination of
political repression. If that is a
crime, then I am totally guilty."
This quote is an apt representation of the views expressed on
Profit Prophet. Now I will discuss the music.
The chunky riffage is reminiscent of Tool and Deftones,
with a squirt of punk ass shit.
Crafted and rehearsed with diligent care, the sound field
remains at a consistently high
altitude of vigor, though I
would  like to suggest some
improvements. Though rambunctious vocalist Meegan
Maultsaid sports a powerful set
of lungs, she does not capitalize
on the tonal variety offered by
the human voice, the most
dynamic musical instrument on
earth. Undoubtedly concerned
with intensity, Maultsaid
expends a fair amount of time
at the top of her smooth range,
but song after song, I found
myself dying to hear her voice
distort naturally. It is an irreplaceable tool of intensity for
this type of music, just listen to
the greats.
Doug Harrison
Much to his girlfriend's amusement, a recent gig poster
described Jon-Rae Fletcher as
"brilliant and enigmatic." While
the everyday toilet-using, beer-
swilling, dirty-sock-wearing
Jon-Rae may not live up to
these monikers, his most recent
recording certainly does.
Fletcher's newest release is
made up of six original songs
that had been written long ago,
but never recorded. Here the
positive effects of aging (think
wine, cheese, women, etc.) are
readily apparent. The songs are
infused with the powerful combination of timelessness and
maturity that typify the very
best of alt-country. Jon-Rae
describes his biggest influences
as "a broken heart and a hopeful heart," but for those of us
who are unfamiliar with his
personal life, useful points of
reference are Neil Young and
the Palace Brothers. He is
joined on this album by
the River, a backing band
composed of several Vancou-
ver/Kelowna luminaries. While
all the music was written by JR,
a sense of cross-pollination is
apparent, making this album
incredibly warm, rich and
organic-sounding. The old
cliche about the whole being
greater than the sum of its parts
definitely holds true. Standout
tracks include "The Dreamer,"
in which Emma Pierce sings
harmonies that cannot be
described as anything but perfect, and "Young Man Faces Old
Death," which showcases JR's
incredibly powerful vocal/lyri
cal skills. Guitar work from the
notorious Ryan Sawatsky (The
Mennonites), violin from Kim
Koch (The Olden Days,
Academy of Excellence), and
gorgeous piano flesh out Jon-
Rae's simple songwriting brilliantly. Rumor on the street has
it that Fletcher has rejected a
recent offer from Mint Records.
I doubt it will be long before the
deal he's waiting for arrives;
until then, pick up a copy of this
hand-made, limited-run album
from the local wall at Zulu. I've
secreted mine away, and am
planning on making a fortune
on eBay when Jon-Rae goes big.
Suzy Webb
Terrible Hostess
This would be Mint's latest
variation on the neo-country
theme. Carolyn Mark often
sounds like Natalie Merchant,
but her Room-mates take her
much further toward twang
than 10,000 Maniacs ever went
(apparently they actually are
her room-mates). Some barroom swing, some plaintive
moments, and some full-on
hoedown as well.
Unfortunately, this CD just
doesn't go down as smoothly as
the inevitable comparison,
Neko Case. The song structures
on Terrible Hostess are a little
awkward, and Carolyn is not
always dead on. I have heard
that Carolyn is excellent live so
I'm assuming that she has tall-
en victim to the usual poor-
translation-to-plastic pitfall. I
hope Mint doesn't come looking for me. I did enjoy the
Room-mates. They are a solid
(Sonic Unyon)
The true test of a journalist is to
say something about a band
that hasn't already been said.
The only things that have never
been said about the Pixies are
lies. With that'in mind, I feel
pressured to inform you of the
following facts: Frank Black's
entire musical output has been
stolen in one way or another
from the Concert For Bangla
Desh; Kim Deal has described
her most formative experience
as living in an NYC dumpster
for three weeks with Adrock;
their first album was produced
by Phil Spector on a three-week
coke binge; and the lyrics for
Surfer Rosa were composed during a collaborative seance
between Lester Bangs and John
While none of these things
tells you a single iota about
their new release, culled from
the outtakes of their first album
Come On Pilgrim, that should be
of little consequence. The Pixies
are one of the most revered
bands in the indie world; in cer
tain circles their albums carry
the same weight as the Bible;
and they have tribute bands
carrying their flame on into the
new millennium. You know
you need their new album. You
know you're going to go out
and buy it and, frankly, this is
something you'd be well
advised to do since it is the
greatest album the world has
ever seen.
No word of a lie.
Chris Eng
Drifing Into View
(Nordic Trax)
There are excellent house
albums, full of soul, of grit, of
swing, of funk, of a depth
beyond the motions of the
dance that calls forth a panoply
of spiritual adjectives. Then,
there are people who strive
mighty hard to approach this
sound, this feeling, but just
aren't getting it. Unfortunately,
this CD is of the latter. Morgan
Page is the Diana Krall of
house music. You might take
that as a compliment. If so, stop
here—you'll probably like this
album. For there is nothing to
complain about throughout the
Latin-percussion melange of
post-jazzy lounge house beats.
It sounds fine, rolls along. But it
has no zing—unlike Gavin
Froome, who plays with the
very essence and structure of
house music. It is not surprising
then  that  Page  works  with
over mv a
book reviews by Doretta
The Cult of Me
I promised my editor and production manager that this
month's column would not contain the words "I" or "me," to
which they responded "Yeah
right."They are wise and know
my weaknesses better than I do.
I just can't help myself. I just
write what I know and I know
me better than I know anyone
else. But they're right. I'm supposed to be writing book
reviews, not diary entries about
my trip to New York or how
much I dislike the word "urban"
when used as an adjective.
To make things more difficult, during last month's production day, editorial assistant
Donovan reminded me that
Dave Eggers writes that the
most interesting people are self-
obsessed. I am neither saying
that I am interesting or self-
obsessed. Rather, I am drawn to
the idea of "The Cult of Me,"
"me" not being myself, but the
personas we all create for public
It began with the media.
Columnists wrote about the
minutiae of their lives, from
hangovers to starfucking
opportunities, and expected the
paying public to eat it up.
Funnily enough, many of us
did. We can't help but want to
know what our neighbours are
up to. A guilty admission: I
read a certain column every
week because it makes me
angry that precious space is
being devoted to such bad writing. I don't mind flakes, but I
sure hate bad writers.
So Donovan is right. Or
should I say, Dave Eggers is
right. Self-obsessed people are
interesting. Look at television's
Sex and the City. I must admit
that I watched 30 episodes of
that show in two weeks. Chalk
it up to research or severe brain
damage. After a while, Sarah
Jessica Parker's Carrie comes
off as a whiny writer with too
many pairs of shoes (not that I
should be pointing fingers
here), yet there's something
magnetic about her. Carrie's a
writer, letting us into her crazy
New York life and telling us all
the random down-and-dirty
details. (Side note: she writes
for a living, but some items in
her wardrobe could pay my
rent for the year.) If a column
serves as a diary in some cases,
then the television version of
Candace Bushell's Sex and the
Maybe you dig self-obsession as well. Maybe you also
can't help but slow down when
you see the Saturday Globe and
Mail. All those columns! Maybe
you read this column for the
book reviews, or maybe you
read it for the navel-gazing
crap. Perhaps you say to yourself "Dude, I could write better
than that. She's such a flake."
Good. Go out and get yourself
a column or make your own
zine or claim your own patch of
made it impossible for anyone
or anything in the shots to be
recognizable. Friends pointed
out that they could tell the little
person in the commercial was
me by my bad dance moves. I
thought nothing of it. It couldn't get any worse. How wrong I
was. Just as I thought the whole
thing was over, I drove past a
giant mural on the side of the
television station's building.
There I was, sitting atop a
wrecking ball, my hair tucked
Dave Eggers writes that the most interesting people are self-
obsessed. I am neither saying that I am interesting or self-
obsessed. Rather. I am drawn to the idea of "The Cult of Me."
"me" not being myself, but the personas we all create for
public consumption.
City column is like a diary with
sets, good lighting and great
Yes, I can't help but love
glimpses into other people's
lives. I am addicted to online
journals, especially ones belonging to girls who watch a lot of
movies, listen to a range of
music and have boy problems.
Zines that relay personal information are great too. The best is
the autobiography, king of self-
confessional literature. I want
very much to read Toby
Young's How to Lose Friends and
Alienate People, which takes the
reader into the world of New
York media.
cyberspace. You'll need to do
something because (cue the collective groans) it's time for a
story about me!
Last summer, as a favour to
a friend, I went down to a certain television station in
Vancouver dressed as a construction worker. I proceeded to
lug pieces of wood around
while the cameras rolled. I even
did a stupid little dance. They
paid me in bread and cheese. I
don't even like cheese.
When the commercials
came out, I was relieved to see
that the tech people had run the
images through a program that
behind my ears. I thought, no
way, that's not me. I was pretty
far into denial-world when one
of my roommates said "Hey
Lau, sit on any wrecking balls
A Very Lonely Planet: Love,
Sex, and the Single Guy
(Arsenal Pulp Press)
Ryan Bigge's non-fiction book,
A Very Lonely Planet, is everything I love about zines, online
journals,    and    self-obsessed
columns in one book. Bigge
used to publish Single Guy Zine,
"a  Xeroxed  magazine  filled
with short essays, Cosmo-like
quizzes for men, cartoons, bad
advice, quotations about love,
music reviews, and intentionally bad poetry." The book is a
send up of self-help books,
complete with definitions of
different types of single men
(Nerd, Peter Pandemic, Dull
Man, etc.) and excerpts of
other self-help volumes, including one by Bigge's own
Though the book includes a
lot of personal information, it
never strays into the too-much-
information territory. It is funny,
perfectly nerdy (there's a
wicked section on music and
Bigge's now defunct indie rock
band) and clearly written. I read
the whole thing in one sitting.
Sometimes with a book that
draws so heavily on the personal, it becomes important that the
reader either identifies with the
writer, or doesn't mind his perspective. Bigge's persona in the
book—shy, slightly awkward
and very funny—is endearing.
If he had an online journal, I'd
read it. He does have a website
is dial-up modem friendly and
includes a story about how
Bigge crashed a party at
Douglas Coupland's house.
All this talk makes me
think about this one time at
band camp—oh never mind.
Enough confessing for this
month. •
21 DiSCORDER vocalist Colette on two of the
tracks. Colette's recent album,
produced by Angel Alanis, was
another example of marketing a
personality over talent. Although
Colette has a beautiful voice,
she rarely has anything to say.
The vocals are neither extensive
nor meaningful nor passionate.
Perhaps this is my failing; perhaps I cannot get into the laid-
back groove. Perhaps. Maybe I
could appreciate this three
years ago, when Kruder &
Dorfmeister were a revelation
and loungey-jazz was just starting to kick across the airwaves.
But times have changed—and
so should the music.
tobias v
When it's Dark and it's Summer
I have never won a colouring
contest in my life. As a child I
entered countless competitions
at drugstores and malls, all in
vain. So imagine my excitement
when my entry was chosen at
"The Colouring Contest Show"
(July 22, Sugar Refinery, Little
Wings with Olden Days). I
blitzed for the stage just like on
The Price is Right, blinded by the
lights and deafened by
applause. I was so busy bowing
that I could barely accept my
prize, which turned out to be a
copy of prano's new CD.
Thankfully, 1 recovered from
my excitement enough to slip
When it's Dark and it's Summer
into my Discwoman for the
walk home. It has not left it
since. This new offering from
Nick Krgovich and crew is a
group of startlingly beautiful
keys-based compositions. The
a tmospheric, a rty-bu t-accessible
songs are at times suggestive of
Sigur Ros, and often call to
mind a (thankfully) twee-free
Belle and Sebastian. Notable
contributors include the
extremely talented Larissa
Loyva who sings superb harmonies and plays various
horns, and Veda Hille, whose
accordion fills out three tracks.
Although it seems almost inappropriate to break up such a
unified album, the fifth song,
"Worry," deserves special mention. This subtly haunting,
bass-driven layering of organ,
Rhodes and CDJ is combined
with stellar drum programming. Lyrics like "Too tired to
even cry today... we've gone
beyond the best of love" flesh
out a song that is at once infectious and affecting. Indeed,
those two words could
describe the entire album. In
conclusion, all I can say is
thank you, Nick and com-
padres. If this album is the payoff for years of unrewarded
toil in the field of colouring
contests, it was well worth
waiting for.
Suzy Webb
Let's Get Ready To Crumble
(Upper Class)
Snappy, summery synth pop
that makes my head bob. I taste
the flavours of Sesame Street and
the Beach Boys. It's easy to
imagine the Muppets busting a
move to these songs. One man
band Matthew Adam Hart
writes songs that could easily
slip into the realm of annoyance, and yet somehow never
do. Melodic to a fault, but it's
okay because I can't stop grinning. A fine craftsman.
Keyboards, drum machine,
stringed instruments and other
sounds that may or may not be
electronic make appearances
(the liner notes give no clues),
with Matthew's vocals being
the constant. I like every song
on this CD. An excellent guilty
pleasure which I highly recom-
You know something? I like
good old country classics. I
mean, I LOVE good old country
classics, especially from the
hills. Call it Country. Call it
Country Rock-a-Billy. Call it
Country Rock-a-berry or Sheriff
Rockerfeller, don't make a goddamn difference to me, pal. Call
it whatever you want. But, be
warned this CD will have you
hollerin'. Not unlike the
Supersuckers did with their
Must've Been High brand of
country gravy, but with more
gusto. In fact, this CD is a real
nugget. And trust me fella, I
CiTR DJ Profile
Christine G.
Saint Tropez
Alternating; Sundays,
Record played most often on your show:
Technically, my theme "Saint Tropez" by Bngitte Bardot—but that doesn't count! As.of late, definitely the Nuggets
II box set.
Record you would save in a fire:
Do you mean one of my favourite records of all time or something that I own that is extremely rare? If it's something that is rare or at least of sentimental value—then it would be my vinyl copy of the original soundtrack to a '60s
film called Smashing Time, given to me by Bob Stanley of Saint Etienne! If it's in regards to one of my favourite
records of all time it's probably a toss up between Beatles' Revolver, Birthday by The Association or Rio by Duran
Duran (see "worst record I like....")
Record that should burn in hell:
Having worked m a record store for many years I've been subjected to some horrendous stuff. Any avant garde jazz
liscordant loud indie rock. (Sorry, I think I've just pissed off a large percentage of Disconhr's readership!)
Worst record you like:
!  Hmm... there's many One that springs to mind is called Cupid and Psyche 85 by Scritti Politti—definitely over-pro-
I duced '80s white funk/new wave.
I  First record you bought:
| The first 45 I distinctly remember buying was Pink Floyd's "Another Brick in the Wall"—kind of heavy for a 9 year
j old kid. The first full-length I bought was Bom Late by Shaun Cassidy.
'   Last record you bought:
I buy in bulk! My last spree included Doves' Tlie Last Broadcast, Nico's Chelsea Girl, XTC's White Music, Hellacopters'
Grande Rock and the compilation Disco Not Disco 2.
Musician you would most like to marry:
like this question! For many years it was Jarvis Cocker of Pulp—now I can't decide between Julian Casablancas
from The Strokes or Nick Royale from The Hellacopters. Nerds are out—rockers are in! But all musicians are cool
and sexy in their own way!
Favourite show on CiTR:
This is a sad fact but I don't get CITR on my stereo at home so by default I have to pick former show "Lipgloss
and Cigarettes" when Brian was doing it on his own without me. Is that overly biased?
Strangest phone call while on-air:
There was an angry guy who used to request BBC world service and would tell me it was supposed to be on during the time of my show. •
22 AUGUST 2002
know my twang.
Don't believe me? Well you
can blow it out your rear end
for all I care. I'm just tellin' a little story of how these fine
young men from the hills came
about. Or at least how their
name was chosen.
Now, where these boys
come from is just about a stones
throw away from the mighty
Alouette dam. Whonnock to be
exact, which is damn near
halfway between Mission City
and "The Stag," a corpse-run
barber shop, out in Haney. A
real man's barber, albeit a very
ancient barber. A place where
daddies take their lil' tykes for
a trim once in a while to reposition their man-roles within their
happy Haney families.
The boys in the band
appear to have fresh haircuts
every time I see them. Could
this be the work of The Stag
itself? Their neatly trimmed
coifs add to their overall appeal,
considering the fact that they
also make one helluva racket,
just as the Alouette dam does
every so often when the lake
water pours down the massive
cleavage of the cemented
monolith which milled the
water into volts and in turn
powered the young lads' guitar
amps as they practiced the
same damn songs which appear
on this goddamn compact disc.
Confused? Bear with me.
The dam also powered the
surprising finale of the major
motion picture, We're No Angels,
which starred Sean Penn and
Robert De Niro. I bet, when the
time came for locals to be cast
into the highly comedic script,
the band marched straight
down there to the site of the
casting line. To become big
shots for a time. Big Shots in
A casting line is also known
as a Reel. The Stag is a macho
and somewhat disturbing place
for a haircut in Haney. So you
see, there you have the truth
about the band's name. The
Stag Reels.
They actually have a whole
different story behind the name.
I just wanted to use the word
And the word Haney.
Black Diamond
Few artists can pull off a double
CD set without offensively
pointing out most listeners'
television-stunted attention
spans. Pink Floyd's The Wall is
the indisputable exception, and
surely there are others. With his
new album Camphor, composer,
guitar player, sampler, Indian
drummer, vocalist, bassist,
Hammond organ player, harmonium player, producer
David Sylvian wriggles his
way towards the base of the
exception list. In building The
Wall, Roger Waters and David
Gilmour knew that if they were
going to make it stand, they
needed a variety of textures
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u besides the old Strat, bass, and
lungs, so they got symphonies,
synthesizers, pianos, electronic
warblings, samples of old men
grumbling about weird things,
and children responding to
them in sweet innocent voices
etc; David Sylvian has decided
to expand the list by adding
tabla, bass conga, tamboura,
Moroccan clay drums, bass clarinet, short wave radio, and a
producer named Rain Tree
Crow, among others. Even guitar wizard Robert Fripp from
King Crimson pays a visit to
track seven disc one and wonks
a few woodles from his alien-
mind-fingers. What results is a
multi-layered, multi-textured
melange of new age, world-
esque, Lorena McKennit-ish,
Miles Davis-onian, monk-
mumbling goulash. And it's
actually good.
Douglas Harrison
Keep it Coming...
(Fat Possum)
Don't expect this CD to blow
you away with surges of high-
octane blues. Judah Bauer gives
the Explosion bravado a well
deserved rest and just kicks
back with Keep it Coming...
The latest CD from Twenty
Miles, led by Bauer from The
Jon Spencer Blues Explosion,
sounds like it was recorded on
a back porch with some friends
as the sun set over the
Mississippi, when in fact Bauer
produced the album in his
modest New York apartment
with a who's who of Big Apple
scenesters. Regardless, he does
capture the laid-back feel of an
impromptu backyard jam. He
progressively gets bluesier and
doesn't just (dare I say) explode
with as much blast as his other
band. Instead, Bauer eases you
into his musical fold, demonstrating a natural talent for
blues guitar.
Working his way backwards to the root of his influences, Bauer starts off Stones-y
with a penchant for Keith
Richards' riff style on "Mend
Your Heart" and gradually
incorporates more John Lee
Hooker in "Fix the Fences" and
"I Believe." What he lacks in
vocal bluster, Bauer more than
makes up with his guitar technique and, just like Mick's better half, part of his charm is that
he isn't a classically trained
Everything about this listen
is easy, so if you want to rock
your way through an all-
nighter, don't put this CD on.
But if you're shattered from the
night before, put Keep in
Coming... in the disc player and
let Twenty Miles help soften the
Sarah Rowlands
(Illegal Art)
"Now, sample broadcast programming..."
Short, sweet, and to the
point, Wobbly, a.k.a. Jon
Leidecker, rips apart a "sample
CD" from a corporate broadcasting network—the sort of
business that advertises
playlists hand picked for various demographics to ensure the
most homogenous and advertising-friendly blend of muzak-
crap possible, from Top 40 to
Country. Wobbly, like a net-hac-
tivist pinging a website to the
crash point, responds to the
call... now sample broadcast programming ... alright, sez Wobbly,
let's bring 'em through the
grinder—and the result is not
just a messy noise of angry anti-
corporate frustration but a
hilarious and subtle reconstruction of intros and extros and
pop music and country, all fitted rather nicely onto a compact
3" CD that provides some listening relief from Today's
Contemporary Crap. Classic
moments include remixes of
"Staying Alive"—magni f icently
ripped and hashed into abstract
d'n'b and obscure hip-hop
rhythms—and a real mangle of
Garth Brooks country into
fucked-up broken beats.
Indeed, it is the energetic realm
of the broken and mashed beats
which dominate this album, but
never in an aggressive fashion—much like Chris
Sattinger's work as Timeblind
on his recent album Rugged
Yet let us not forget that this
work is political to the core.
"Wobbly" is a name with historical threads right back to the
days of serious fin de siecle agitation, the nickname for nothing
The Black Monk
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less than a member of the IWW,
the Industrial Workers of the
World, one of the most successful activist-unions on the planet and one of the most
dedicated to international
socialism, to the One Big Union
and to "Abolition of the wage
system." And yet Wobbly perhaps gives the all-so-serious
IWW a little twist with his perverted and wicked—yet potentially destructive in all the best
modalities—sense of humour. A
deep, head-back-and-tilted
laughter, perhaps a Nietzschean
laughter, that rips apart
"Christian Music" into a repeti
tious never-ending sound of
Heaven... y'know, the old joke
about Heaven, where everyone
is singing with harps all the
time, i.e. it would be rather repetitious and boring... Although
perhaps in this case Wobbly
does better than most
"Christian Music" and actually
makes his re-sampling
hilarious—which is also something the IWW needs to learn:
the humour necessary for fighting The Man, and this humour
comes from realizing that the
bourgeois, although powerful,
elect, and dangerous, are also
notoriously stupid. [Quote of the
month!—Ed.] The "broadcast
programming" disc proves it—
who would seriously believe
that a "new adult contemporary
mix" would double audiences
overnight, as the disc claims,
when radio audiences have
been declining for over a quarter of a century? The joke is
priceless: and so is this CD. Visit
www.detritus.net/wobbly to
get your hands on one of these
beautiful gems, a hewn diamond that, although beautiful,
cuts through the most impermeable of solid bullshit.
tobias c. van Veen
by Bryce Dunn
Well, there's a drought
in 7" land this month
with only TWO
worthwhile slabs getting the
nod from yours truly... the first
beat-a-riffic platter "Mary Anne
Lightly." It's been a while since
we've heard from these
Englishtown, New Jersey flower
children, but boy is this good.
For those unfamiliar,
The Insomniacs' city
of residence has an
ironic influence on
their '60s-inspired
garage pop sound,
with dashes of soul,
R&B and psychedelia
when the mood
strikes them, linking
UK groups like John's
Children and The
Pretty Things together with The
Strawberry Alarm
Clock and The Seeds.
For this particular
outing, a bit of the latter influence peaks
out on these two cuts.
"Mary Anne Lightly"
starts out with a bang, a fuzzed
out guitar lead breaks into
a nice jangly chorus, then fades
out with a swirling piano-tinged
ending, and the flipside, "Big
Sensation" has that same
tripped out feeling but with a
great melody to carry it along.
Wrapped up in a trademark Art
Chantry designed sleeve,
you've got enough biff, bang,
and pow to tide you over until
the next release. (Estrus, PO Box
2125, Bellingham, WA 98227
Call it a blessing for Boston
and a curse for the rest of North
America, but Bean Town continues its fine tradition of churning
out some the best hardcore/
punk rock this nation has ever
seen, and PANIC leads the current charge with an explosive
six-song debut entitled Dying
For It (with another EP just been
released since writing this). The
buzz around these guys is warranted, as each song lunges out
at you at breakneck speed, only
to catch you off guard with a
catchy breakdown and punchy
production to seal the deal. The
songs are short, but long
enough that the messages of
alienation and determination
get across in a few throat-searing lines, as is the case with
"Strength In Solitude" and "I
Walk Home The Same Way
Every Night." As well, Panic
boasts ex-members of the much
heralded The Trouble (who
bring the punk) and American
Nightmare (who bring the
"core"), so you're in good
hands. (Bridge Nine, PO Box
990052, Boston, MA 02199-0052
I'll try to fill up the rest of
my allotted space hereby telling
you about a gig I went to back
on the 26th of June. A
Wednesday night at Richard's
On Richards was the setting for
Three Inches Of Blood,
Drunkhorse and The F**king
Champs and I have to say, the
turnout was pretty impressive.
3IOB were barely able to catch
their collective breath after just
returning from their cross
Canada/US tour, but the gods
of Valhalla were kind to our
metal-loving misfits, who riffed
away a fantastic set, complete
with new material ("Deadly
Sinner"   =   nice!),   and   some
pyrotechnics, courtesy of Jamie,
whose trusty broadsword came
to fiery life not once, but twice
during their set. If you have not
seen these guys yet, you are a
poor excuse of an ore, and 3IOB
have a song for people like
Drunkhorse, from Oakland,
California came across slightly
more mid-'70s boogie-rock, and
although I own no Led
Zeppelin records, I
found myself giving
them a "Whole Lotta
Love" as they blazed
through their set, particularly impressed by
the Bonham-esque
drumming style
of the shaggy-haired
skin-basher, and the lead
singer/guitarist, who
had me almost yelling
"Stillwater!" (Inside
jokes, you hate them,
don't you?) after every
song. The headliners,
and neighbours of
Drunkhorse from down
the pipe, The Effin'
Champs got all technical
on me with their "bedroom
metal" stylings, and while they
weren't the most exciting band
to watch (I think the only thing
moving on guitarist stage right
were his fingers), they pulled
out a couple of neat moves by
inviting the singer of
Drunkhorse to sing half a number, (and being all instrumental
metal band, this threw some
fans off, I'm sure), and when all
three members picked up guitars and jammed away on the
same harmonic chords for
almost 10 minutes, a glorious
wall of sound was the result,
which had the poor bar staff
running for things to stuff their
ears with. For myself, a pleasant
ringing in the aural canals was
my companion for the drive
home and for a calming
slumber later on.
See you next month, rock- r*€:al live oci"ion
live music reviews
Saturday, June 22
Railway Club
I don't remember Judah Bauer
being that sexy the last time
he played at Dick's on Dicks
with The Jon Spencer Blues
Explosion. But maybe that's the
point of Twenty Miles—a
chance for Bauer to kick out his
own carnal knowledge of the
Looking like he had a total
rock 'n' roll makeover, Bauer
had traded in his geek chic
Buddy Holly glasses for a more
'70s electric cowboy look with
vintage bronco-buster boots
and a floral ranchero shirt. Time
apart from Spencer is definitely
working for him. Hell, even
Keith needs a little time away
from Mick.
Music? Oh yeah, about the
music. Well, let's see... he
rocked! Though at times he
seemed a little self-conscious as
the front man of his own three-
piece—this despite (or maybe in
spite of) having his own private
dancer up front, who was of the
ruby-haired-beauty persuasion.
For the most part, his banter
was inaudible ramblings, but I
did manage to make out something about sleep deprivation,
which makes sense considering
both JSBX and Twenty Miles
put out new albums this year.
Despite being tired from the rigors of rock and tongue-tied
from nerves, his almost slippery
smooth guitar playing and
his rough-around-the-edges
singing voice still made for a
perfectly imperfect show.
For those who got there
early, Matt Walker from
31/07/02 Down Under was an
added bonus, playing some
very bluesy lap slide guitar
with Bauer's brother, Donovan,
on drums. Walker would later
become an integral part of the
Twenty Miles set, as Bauer kept
calling him up as a lap slide
musical crutch. Walker rounded
off songs like "Only One," lending an even more swampy
southern feel to Bauer's sound.
Another reason the Twenty
Miles revue was such a success
was the change in scenery. I had
no idea The Railway Club
served any greater purpose
other than last call. All this time
I thought the small darkly
cloaked  space up front was
used for puppetry rehearsals.
Such is not the case. The cruise
ship layout actually worked out
nicely for everyone. The regulars, who were disappointed
that Big John Bates would not
be performing, could retire on
the outside deck, while others
spilling out from various
venues could unwind in the
back, leaving those of us who
love all things Bauer to enjoy
the show.
After his set the hapless
Judah had to boot it out of The
Railway without getting to
know his mystery lady with the
crimson locks. The poor sod
had to return to his tedious day
job as a rich, sexy New York
rock star. Gotta pay the bills
somehow. While that may not
be something the average working stiff can relate to, surely
Keith can identify. Yes, in the
end, it always comes back to
The Stones.
Sarah Rowlands
Saturday, June 22
Vancouver East Cultural
I should really like Ken
Vandermark, but I don't.
There's something about his
big-bodied playing that gets on
my nerves: it's just so damn
manly, or something. I've seen
him a few times now, so I'm not'
being dismissive without evidence. Biased, maybe, but not
uninformed. You see, at some
point in every gig, he inhales
real deep, his already large
frame visibly growing, and then
blows real hard, and for a long
time. Sure, fine, way to go, it's
very impressive, wow. Peter
Brotzmann does it too, one of
Vandermark's chesty influences. However, it's also routine, and this seems to
undermine the claim that
Vandermark's kind of jazz otherwise makes of itself: that it's,
well, kinda free. Now, I am
being unfair: Vandermark is a
handy target for an issue that I
think is larger and widespread.
And, in honesty, I was late for
his show this year, so I probably
missed something. True, what
little I heard and saw was good,
better than when this same
group played the Anza Club
some time ago. Really, it's hard
to fault the playing:
Vandermark on sax, Jeb Bishop
on trombone (ah, yes, Jeb
Bishop—worth the show
alone), Kjell Nordeson on vibes,
Ingebigt Haker-Flaten on bass,
and Paal Nilssen-Love on
drums are all top-drawer musicians. So maybe it is my issue,
my problem. In that case, please
accept this as another glowing
review—hooray for Ken!
However, I must conclude that
there is something to free
improvisation, the clarion call
of the avant scene, that is akin
to pushing against a self-
imposed barrier. With its by
now unmistakable sound,
it's hard to tell what's free
and what's (unintentionally?)
rehearsed. For example, Derek
Bailey always sounds more or
less the same, and he wrote a
book on the subject. I suppose
it's like watching baseball,
something else I don't get: lots
of time waiting for the basically
predictable. Crack, the crowd
goes mad, the announcers wax
poetic, and the fans pencil
another figure in the big book of
received tradition. And here is
what eludes me: in this case,
does tradition make contemporary work stilted and undead,
or does it imbue it with a source
of purpose? Probably both, and
this is undoubtedly the problematic good free improvisation, and maybe all good
jazz, explores. This particular
evening, however, I'm not sure
how the exploration was going.
Good? You bet. Free? Only
maybe. Of course, these guys
were playing tunes, not just
improvising, but the point's
worth raising, especially when
presented with some of the best
in the league—aren't they the
ideal target for the trickiest
Sunday, June 23
Performance Works
Having already seen the
Orquesta Goma Dura's sister
act, Hard Rubber Orchestra, I
knew I was in for a great show
at Performance Works that
night. I was right. As vocalist
Ivan Rodriquez told us early in
the show, Orquesta Goma Dura
provided us with "the very best
of Latin jazz." John Korsrud's
ensemble passionately played
their way through two stunning
one hour sets of fabulous energetic salsa music, with hypnotic
rhythms and truly awesome
playing by the entire ensemble.
As with HRO, everyone seemed
to get a chance to shine with
solos, and several of the compositions were written by band
members. Two of my favorites
were by bassist Al Johnston:
"Start Without Me" and his
salsa tribute to Frank Zappa,
"Frankness," which is actually
from the CD of his other band,
Grupo Jazz Tumbao. I
also loved the piece saxophonist/flautist Mike Braverman
wrote called "Romanian Salsa,"
combining musical elements
from two very distinct musical
traditions to form a really cool
They played differing styles
within the general genre of
Latin music, with some mambo,
some more fluid almost traditional jazz, and even a Cuban-
flavored cover of the Beatles'
"Hey Jude." The configuration
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of the large ensemble changed
throughout to fit the piece, and
they kept the energy flowing
throughout the entire show.
The one problem seemed to be
more to do with the audience.
Performance Works had covered virtually the entire floor
with tables and chairs, leaving
only a tiny area at the front for
dancing, and conductor
Korsrud expressed his annoyance with this set-up very early
in the first set. Rodriquez and
his fellow singer Edwin Marcos
goaded the crowd throughout
the show to get up and dance,
with occasional success, but I
suppose the combination of the
small dance floor and the shyness of the audience precluded
much dancing. There was one
couple that did spend fhe
majority of the vocal numbers
dancing, but apart from them,
dancers came and went, which
clearly irked both singers
immensely. Korsrud commented that usually they have the
opposite problem—so many
dancers he gets shoved out of
his position at the foot of the
stage. However, I'm sure this
difficulty will disappear at their
next show in Vancouver at the
Commodore on August 8, so if
you love salsa and love to
dance, show up for a really fun
Vampyra Draculea
Friday, June 28
Richard's On Richard's
I think I was the last one to realize the The Walkmen were a no
show. Sure, there were only
about 10 people in the club, but
I figured I just showed up early.
There is some hype surrounding this band, but I never got to
see if it is deserved or not. I'll
On to the opening band—
which became the headliners—
764-Hero.   Their   indie   rock
sound seemed too noisy for the
mostly empty venue. The level
on the lead singer's mic was
too low throughout the set.
Consequently it was hard to
hear any melody above the guitar, bass, and drums. I was left
with a disjointed sense of what
they must really sound like. All
I can say is... you can see them
at Bumbershoot! Chances are
you'll get a better show.
Moving along backwards,
we had Alarm Bells, the opening band. They look like high
school kids. I thought, okay, as
long as they don't sound like
high school kids. But as they
played on, it was obvious there
is variation in their songs. They
appeared a bit uncomfortable
on stage, as when the lead
singer stepped away from the
spotlight during a song in
which he sang alone on stage,
but it was rather endearing.
They have this garage band
sound going on, but all of a
sudden there will be a slow
song with big vocal emphasis.
Those long, drawn out notes
brought Noel Gallagher to
mind. (This thought was
recorded and then removed
from my consciousness.) Alarm
Bells, however, were more
polite. When the singer thanked
all their friends for waiting outside in the rain to get in, I wanted to put him in my pocket and
take him home. A final thought
for bands: shyness is nice, but
shyness can stop you from selling all the CDs you ought to.
Say your name a couple of
times so your growing legions
of fans can track you down.
Sunday, June 30
Performance Works
Now here's a band that really
didn't want to play their encore.
Drinks in hand, they slowly
lumbered from behind the stage
to play one last tune with little
spark. After two long sets of
nice work, though, I suppose
it's fair to want to call it a night.
And the bizarre, excessive stage
set up at Performance Works
was sad enough to make any
fair-minded person say "Forget
it, I'm going back to the hotel." I
mean, it looked like a fucking
Juno Awards ceremony. And
what's with the digital video
projections? Come on, can't we
just have the jazz, please,
unadorned and without distractions? To say the least, the DJ
who played before and after the
band, his dyed blond head happily bobbing to the kind of
jazzy house that's keeping old
jazz labels in business today,
really put everything in perspective. Alas. Anyway, the
band was very good: Rob
Mazurek on cornet, laptop and
Rhodes, Jeff Parker on guitar,
Chad Taylor on drums and
vibes, and Noel Kupersmith on
bass. Oddly enough, perhaps
the best thing about them was
that they were kinda slack. For
example, at one point Parker
unexpectedly started banging
out a cowbell figure, bringing
Taylor's carnival rhythm to a
boil, even if the band wasn't
totally ready for it at first.
Besides, sometimes perfectly
ace playing is eerie, stilted and
boring, a simulation of life that
only George Lucas would enjoy.
Then again, sometimes it's like
witnessing angels blowing kisses to the innocent, something
both magical and sweet as hell.
These guys were somewhere in-
between, and maybe this was
the most Chicago-like thing
about them: a kind of "let's go
to work" attitude. This had
everything to do with they way
they played, I figure, and not
really just their songs, although
they were good as well. You see,
they can be hit and miss on
record, and I'm still waiting to
be really impressed by
Mazurek's playing—being prolific isn't the same thing as
being interesting, you know.
But live was nice. At times, they
reminded me of Vancouver's
own, sometimes shambling
Tony Wilson Band. They
played several long, groove-oriented songs, some concise, amiably melodic tunes, and, I think,
a Tortoise cover for the faithful.
One piece by Kupersmith, in
their second set, really stood
out; it flowed around nicely and
had great atmosphere, Taylor
leaving his kit to play some
tasteful vibes. A few more like
that and I'd have completely
forgiven the laser light vodka
advertisements forever flashing
pink and orange in the corner
by the bar. Then again, if I had
the cash, a few vodka drinks
would've made me forgive
them, too. As it was, two beers
and two sets later, I walked
home a satisfied fellow.
Friday, July 12 and Saturday,
July 13
Sugar Refinery and Blinding
Noriko Tujiko's Shojo Toshi was
one of the most pleasant surprises of last year. An obscure
experimental pop gem created
by an enigmatic Japanese
woman and released via
Austrian digital noise label
Mego, it seemed destined to fall
between those pesky cracks in
the music media's rigidly segmented architecture. I read
absolutely no press coverage of
the album other than a rather
mixed review in "modern
music" bible, The Wire. And yet
it seems that everyone in this
particular city who happened
across the recording found
themselves at least a little bit in
Noriko's music pits stuttering, sliced up computer noise
against pure, melodic vocals
and synth-lines. It's easily the
poppiest part of the Mego roster and yet, aesthetically and
ideologically speaking, fits perfectly in with the label's vision
of psychedelic punk prankster-
ism via laptop tinkering. The
LP's cover pits our heroine
against various icons of
Japanese and Western square
society (soldiers, salarymen)
armed with an array of whimsical weapons and tactics including a space-age pistol that fires
baguettes. It suggests a world
where beauty and play are
favoured over work and functionality. Likewise, the music
uses glitchy textures and saccharine melodies to disrupt the
smooth running of digital
workflow and modern pop
music's po-face pretentiousness. It's a great joke—no wonder people fell for it.
Noriko played two shows
in town, on consecutive
nights—the first at the Sugar
Refinery and the second at The
Blinding Light!! Cinema. The
former performance came with
an appetizer in the form of
Mimi's Ami. This new local trio
(two electric guitars and one
electronic laptop) appears to be
the latest incarnation of accomplished sad-rockers The
Birthday Machine. They stay
pretty close to that band's Low-
influenced blueprint but with
the added bonus of skittering
electronic beats a la German
glitch-pop acts like To Rococo
Rot and Lali Puna.
The songs are superb and
the inclusion of computerised
elements is a great idea but the
two parts didn't quite gel on
this occasion. It remains to be
seen whether this constitutes a
bad thing or not—much great
music of the last decade or so
has thrived on contrast and
made a virtue of its apparent
wrongness. Perhaps the contrast needs to be more contrast
ed, the wrongness wronger;
perhaps they should use
acoustic guitars. Just a thought.
There really aren't any such
suggestions you could offer
Noriko Tujiko (who definitely
thrives on musical contrast/
contradiction, by the way). Her
songs are so fully realised, so
perfectly addictive, so artfully
skewed that it's truly uncanny.
For her performances in
Vancouver she seated herself
behind a table loaded with the
requisite black Mac laptop, a
small mixing desk and (nerd
alert!) a Korg midi controller
(which she puzzlingly neglected to use on either occasion).
But the real revelation was her
voice, which seemed rise effortlessly from her birdlike frame
welling and swelling to flood
the room with melody so spine-
tingly that no recording could
ever do it justice.
Her sets introduced a host
of new material even stranger,
more accessible and downright
better than those the capacity
audiences had come to hear.
Most of the songs were in
Japanese, all of them were wonderful beyond my ability to
describe them. No hyperbole
intended—this is being written
long enough after the show for
any short-term hysteria to
abate—Noriko's Sugar Refinery
performance was the best thing
I've seen all year (Anti-Pop
Consortium at Sonar coming a
close second). Amazing that it
came from an unassuming, little-known Japanese artist seated behind a computer.
Her performance the next
night at The Blinding Light!!
was proceeded by some performance art. Let's not even go
there. Seriously. Let's just say
that this context made Noriko's
music all the more precious.
That said, the second show
was not quite as stunning as the
first—Noriko's     voice     was
slightly ravaged by the previ-
25 DiSCORDER ous night's performance and
the less intimate setting made
it harder for her music to
fill the room satisfactorily.
Nevertheless, it was complimented by visuals created especially by local "video zine"
creator Meesoo Lee—including
some particularly well chosen
scenes from The Shining, slowed
down to suitably nightmarish
effect. Meesoo's interpretation
of the music seemed to have
something to do with childhood, dreams and (loss of)
innocence. Simplistic perhaps
but, for practical purposes,
damn effective.
The second show also finished perfectly—with a rendition of Shojo Toshi's
magnificently ecstatic "White
Film." Hearing this was one of
those experiences that makes
one vow to be less tolerant of
mediocrity—specifically in live
music and generally in life. This
is perhaps the most important
thing that music can honestly
claim to do. I'm forced to conclude that, in spite of her obscurity, Noriko Tujiko is an
important artist. Won't someone just give her a prize or
Sam Macklin
Wednesday, July 24
Sky Church, EMP (Seattle)
Before reforming this year, the
last time Mission of Burma
played was in 1983. Since then,
their legend and influence have
grown disproportionately to the
meager amount of material
released prior to their initial
demise. My biggest fear was
that MOB would try to update
their songs, involve some of the
technology now available to
today's experimental, art-damaged artists. That would be a
shame because, production-values aside, old MOB records still
sound great today.
After a solid, if lacklustre
opening set by Silkworm, MOB
took the stage. I can't remember
which song they opened with,
but as they began to play, all my
reservations evaporated. They
may have looked older, but
when I shut my eyes and just
listened, I could have been
standing in a small Boston club
circa 1982. They were loud and
jagged and visceral and melodic. You could see they were
working hard and having a
blast doing it. Even the dreaded
"new song" sounded good.
Two hours, two sets, and two
encores later it was over.
Piss Malkazv
Wednesday, July 24
Graceland (Seattle)
After seeing Mission of Burma,
my smokin' hot date and I
headed over to Graceland to
catch the Country Teasers. The
Teasers play messed-up music,
sounding something like The
Fall fucking Hank Williams.
The band was loose, and
looked more than a bit volatile.
The singer was absolutely
loaded, playing guitar infrequently while he steadied himself with the mic stand. It was
the punkest show I'd seen in
ages. Every once in a long
while, when the band managed
to lock into a groove, you could
hear greatness, but for the most
part, the Teasers could barely
hold themselves together. I've
seen them when they were
playing it straight and for sheer
entertainment value, this was
much better.
Piss Malkaw
Saturday, July 27
Piccadilly Pub
Another roarin' night, courtesy
of the Pic Pub and the Fireball
Freakout. To my own grief, I
missed two great bands, as the
crowd definitely let the last two
bands know that they had better be as skilled in the art of ass-
kickin' rock and roll as the previous acts or there would be
Shikasta, being from this
very country itself, albeit to the
right side of it, shared with the
audience about an hour of pure
rock revelation. Skilled to the
limit, these boys kicked out
some serious action. The
singer's bass, of Travis Bean SG
variety, pounded some glorious
rhythm to the cadence of the
drummer's kit. My mind
remained transfixed on the
Travis Bean until the band
stopped after their very first
number to introduce a lovely
and voluptuous "groupie" they
had met prior to the show. They
must have been partying in
Whalley then. Only Whalley
could produce such a vixen. I
know, I lived in Whalley. When
she had told them that she was
going to do a dance for them
before the show, she meant it. Oh
daddy, did she dance. Another
guest decided to declare his wild
drunkenness and dedication to
the sport of rock and roll.
This fan was of Indy-Day-
One variety and his red-leather
golf-tan affirmed it, so the band
called him "Red." His red-golf-
shirted paunch was decorated
with the same beer and nacho
medley that resided within the
man's white bushy moustache.
The band let him belt out a
couple of tunes to the accompaniment of a rambunctious,
gospel-influenced number. Red's
15 minutes of fame were flyin'
out the door as the crowd jeered
him. The singer/guitarist asked
"Red" if he would care to shut
his lip. And he did, and the
crowd cheered as he made his
way to his mini-van and counterattack escort. The dancer, it
seems, was welcome for the rest
of the show. So the three of
them—the lady and the band—
continued the glorious sounds
and movement of Vancouver's
best rock show to date this year.
Black Diamond
wemm iljve at
the Sugar Refinery
w    m
i      ra
at         : i
Sat Aug. 10th   ^1
J     Show starts
V      at
r            10:30pm
26 AUGUST 2002
Tlie Smugglers
Tfte Epoxies
Boss Martians
Mark Kleiner
Power Trio
Baron Samedi
Star Collector
Operation Makeout
Tlie Mgsterons
The Hoodwinks
The id l^otel
Waldorf I
and more,
k 604-878 '
AUG 30 thru SEPT 1
www.rumMetoiie.coin :licintyt
what's being played at Ci'
August Long Vinyl
August Short Vinyl
Chris' Top 20 Life-
Changing Releases
1 Nasty On
City Sick
1  Get Hustle
Who Do You Love                 Gravity
1  Billy Joel
Glass Houses
2 Billy the Kid and the Lost Boys Strong Like Prawn
Teenage Rampage
2 Cato Salsa...
Picture Disc            Emperor Norton
2 Iron Maiden
3 Yeah Yeah Yeahs
Touch   and   Go
3 The Organ
We've Got to Meet           Genius
3 Falco
Rock Me Amadeus 7"
4 The Cinch
4 The Agenda
Are You Nervous?           Kindercore
4 Motley Crue
Shout At the Devil
Teenage Rampage
5 The Chrome Yellov
t Co. s/t                                 Northern Light
5 Ramones
Rocket To Russia
6 p:ano
When It's Dark...
Hive Fi
6 The Evaporators
Honk   the   Horn               Nardwuar
6 Dayglo Abortions
Feed Us A Fetus
7 Nashville Pussy
Say Something Nasty             Artremis
7 The Cleats
Save   Yourself                     Longshot
7 Suicidal Tendancies
Join The Army
8 Daggers
Right Between the Eyes                Sloth
8 Scat Rag Boosters
Side Tracked     Zaxxon Virile Action
8 Dead Kennedys
Bedtime For Democracy
9 Riff Randells
9 Riff Randells
How Bout Romance               Lipstick
9 Bangles
Different Light
10 Operation Makeout
Hang Loose
10 Various Artists
Modern Radio...       Modern Radio
10 Color Me Psycho
Pretend I'm Your Father
11 Tender Trap
Film Molecules
11  The Riffs
Such A Bore                               TKO
11  NoMeansNo
12 Mount Pleasant
12 The Lollies
Channel Heaven               Evil World
12 Ice-T
13 Deadcats
Bad Pussy
Flying Saucer
13 Mea Culpa
Corporate Nation                     Empty
13 NWA
Straight Outta Compton
14 Tijuana Bibles
Custom Made
Tear It Up
14 Gene Defcon
Baby Hallelujah        Modern Radio
14 Ministry
Land of Rape and Honey
15 Pixies
Sonic Unyon
15 Bottles & Skulls
1 Am One                                   TKO
15 Muffs
New Love 7"
16 Gossip
Arkansas Heat
Kill Rock Stars
16 Mirah
Small Scale                                        k
16 Specials
17 Hellacopters
High Visibility
17 Stereo/Ultimate
split                                           Popkid
17 Bikini Kill/Huggy Bear
split 12"
18 DJ Spooky
Blue Series: Optometry       Thirsty Ear
18 The Spitfires
Juke   Box   High                     Glazed
18 Sleater-Kinney
Call The Doctor
My Way
19 Destroyer
The Music Lovers                  Sub Pop
19 Neko Case
The Virginian
20 Three Inches of Blood
Battlecry Under...
Teenage Rampage
20 Kung Fu Killers
s/t                                                 TKO
20 Bangs
Tiger Beat
21 Herbaliser
Something Wicked
Ninja Tune
22 Silkworm
Italian Platinum
Touch and Go
23 EL-P
Fantastic Damage
Definitive Jux
24 Sonic Youth
25 People Under the Stars
Murray Street
26 Capricorns
In the Zone
27 Belle and Sebastian
28 Space Monkeyz VS. Gori
az   Laika Come Home
The monthly charts are comp
led based on the number of
times a CD/LP
29 Carolyn Mark
Terrible Hostess
("long vinyl"), 7" ("short vinyl"), or demo tape/CD ("indie
-)ome jobs") on
30 DJ Shadow
Private Press
CiTR's playlist was played by our DJs during the previous month (ie, "August"
31 Various Artists
Paris Lounge 2
Wag ram
charts reflect airplay over July). Weekly charts can be received via email.
32 Bratmobile
Girls Get Busy
Send mail to "majordomo@uni
xg.ubc.ca" with the command
"subscribe citr-
33 Various Artists
Fields and Streams
Kill Rock Stars
34 Guided By Voices
Universal Cycles...
charts." •
35 White Stripes
White Blood Cells
We distribute our monthly magazine all around the Lower Mainland, Victoria, Seattle, Bellingham, and
Olympia and have a subscription base that spans the globe. We are also unbelievably cheap. Ring Steve
Dipo to learn how you can join the party: 604.329.3865       <diSCOrder@yahOO.COI11> OM
9:00AM- 12:00PM     All of
time is measured by its art. This
show presents the most recent
new  music  from  around  the
world. Ears open.
3:00PM   Reggae inna all styles
and fashion.
5:00PM Real-cowshit-caught-in-
yer-boots country.
5:00-6:00PM British pop music
from all decades.
SAINT    TROPEZ    alt.    5:00-
6:00PM     International    pop
(Japanese,    French,    Swedish,
British, US, etc.), '60s soundtracks
and lounge. Book your jet set hol-
QUEER    FM       6:00-8:00PM
Dedicated to the gay, lesbian,
bisexual, and transsexual communities of Vancouver. Lots of
human interest features, background on current issues and
Rhylhmslndia features a wide
range of music from India, including popular music from Indian
movies from the 1930s to the present, classical music, semi-classical music such as Ghazals and
Bhajans, and also Quawwalis,
pop and regional language num-
FILL-IN     10:00PM-12:00AM
2:00AM Join us in practicing the
ancient art of rising above common
thought and ideas as your host, DJ
Smiley Mike lays down the latest
trance cuts to propel us into the
domain of the mystical. <trancen-
8:00 AM
BREAKFAST        WITH        THE
BROWNS    8:00-11:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of the familiar and exotic in a
blend of aural delights!
11:00-1:00PM Local Mike and
Local Dave bring you local music
of all sorts. The program most likely to play your band!
GIRLFOOD alt. 11:00- 1:00PM
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
FILL-IN  3:00-4:00PM
5:00PM A chance for new CiTR
DJs to flex their musical muscle.
Surprises galore.
6:00PM Join the sports dept. for
their coverage of the T-Birds.
CRASH THE POSE alt. 6:00-
7:30PM Hardcore/punk as
fuck from beyond the grave.
REEL TO REEL alt. 6:00-6:30PM
Movie reviews and criticism.
MY ASS alt. 6:30-7:30PM
Phelps, Albini, 'n' me.
Original rude gals, skanksters,
bad boys, big men, and sing-
jays. Join Selector Krystabelle for
raw roots, dub-fi dub and some
heavy dancehall sounds.
12:00AM Vancouver's longest
running prime time jazz program.
Hosted by the ever-suave Gavin
Walker. Features at 1 1.
August 5: In honour of of alto saxophone    master    Phil    Woods'
Vancouver Festival show (Aug. 10
at the Orpheum) we present a very
special date from the mid-'50s that
still sounds fresh.
August 12: Smooth Groove is a
wonderful date by a forgotten jazz
guitarist named Ray Crawford...
once you hear this you won't forget
August 19: Above And Beyond by
trumpet king Freddie Hubbard is,
in his words, "my best playing on
record."   Live  at  the   Keystone
August 26: Baritone saxophonist/composer/arranger Gerry
Mulligan and one of the best big
bands, The Concert Jazz Band
recorded live in Paris.
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our hearts—
thank fucking Christ.
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
9:30-11:30AM Open your
ears and prepare for a shock! A
harmless note may make you a
fan! Hear the menacing scourge
that is Rock and Roll! Deadlier than
the most dangerous criminal!
BLUE MONDAY alt. 11:30AM-
1:00PM Vancouver's only indus-
trial-electronic-retro-goth program.
Music to schtomp to, hosted by
FILL-IN alt. 11:30AM-1:00PM
Where dead samurai can program music.
CPR 2:00-3:30PM
Buh bump... buh bump... this is
the sound your heart makes
when you listen to science talk
and techno... buh bump...
LA BOMBA (First three Tuesdays
of every month) 3:30-
4:30PM Last Tuesday of every
month, hosted by The Richmond
Society For Community Living. A
variety music and spoken word
program with a special focus on
|Rk "
ANOIZE      r°
THE SHAKE     fe steve & mike     \j£
RACHEL'S     [nT
PLANET       [E
SKA-T'S      L
10 '
10,000 VOICES (Tk)
ON AIR       LI
LIVE FROM...   "-
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Hk= Hans Kloss • Ki=Kids • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk
Rg= reggae • Rr= rock • Rts= roots • Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world
28 AUGUST 2002 people with special needs and
10,000 VOICES  5:00-6:00PM
Poetry,   spoken  word,   perfor-
8:00PM Up the punx, down
the emo! Keepin' it real since
1989, yo.
http: //flexyourhead. va ncou ver-
alt. 10:00PM-12:00AM
alt. 10:00PM-12:00AM
and beyond! From the bedroom
to  Bombay via   Brookyln  and
back.   The   sounds   of   reality
remixed.    Smile.    <sswander-
6:00AM It could be punk,
ethno, global, trance, spoken
word, rock, the unusual and the
weird, or it could be something
different. Hosted by DJ Pierre.
7:00-9:00AM Bringing you
an entertaining and eclectic mix
of new and old music live from
the Jungle Room with your irreverent hosts Jack Velvet and Nick
The Greek. R&B, disco, techno,
soundtracks, Americana, Latin
jazz, news, and gossip. A real
gem! <suburbanjungle@chan-
10:00AM Japanese music and
FILL-IN     10:00AM-11:30PM
ANOIZE 11:30AM-1:00PM
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
THE SHAKE 1:00-2:00PM
3:00PM Zines are dead! Long
live the zine show!
"Eat, sleep, ride, listen to
Motordaddy, repeat."
Socio-political, environmental
and spoken word
/vith s<
:, too. \
Tune in Fridays at 5PM for the
Necessary Voices Lecture Series.
August 7: Stephen Lewis from
UNAIDS speaks on the importance of education and UN and
Canadian shortcomings in international aid.
August 14: A show featuring the
music of electronic artist Speedy J.
August 21: Mike Rupert (four
parts) on the corruption of the
Bush family. Mike Rupert is a former narcotics officer who, after
discovering the CIA's involvement
in the drug trade, became an
investigative reporter.
August 28: Mike Rupert continued.
FILL-IN 6:30-7:30PM
(First Wednesday of every month.)
9:00PM Indie, new wave,
punk, and other noise.
FOLK OASIS 9:00-10:30PM
Roots music for folkies and non-
folkies... bluegrass, singer-songwriters,worldbeat,  alt country
and more. Not a mirage!
HAR 10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
12:00-3:00 AM
8:00-10:00 AM
11:30AM Music inspired by
Chocolate Thunder; Robert Robot
drops electro past and present,
hip hop and intergalactic
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and slow (punk and hard-
2:00-3:00PM Comix comix
comix. Oh yeah, and some music
with Robin.
LEGALLY HIP alt. 5:00-6:00PM
(On hiatus.)
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike news and views
you need and even cruise around
while doing it! www.sustainabil-
No Birkenstocks, nothing politically correct. We don't get paid
so you're damn right we have fun
with it. Hosted by Chris B.
7:30-9:00PM The best in roots
rock 'n' roll and rhythm and blues
from 1942-1962 with your snap-
pily-attired host Gary Olsen. <rip-
RADIO HELL 9:00-11:00PM
Local muzak from 9. Live bandz
from 10-11. hrtp;//www.stepan-
1:00AM An old punk rock heart
considers the oneness of all
things and presents music of
worlds near and far. Your host,
the great Daryl-ani, seeks reas-
i   <worldhear@hot-
hop, old school classics and original breaks.
2:00-3:30PM The best mix of
music, news, sports, and commentary from around the local
and international Latin American
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
8:00 AM
10:00AM Trawling the trash
heap of over 50 years worth of
real rock 'n' roll debris.
Email requests to <djska_t@hot-
12:00-2:00PM     Top notch
crate diggers DJ Avi Shack and
Promo mix the underground hip
SERIES 5:00-6:00PM
August 9: Richard Bocking speaks
on the perils of genetically modified foods.
August 16: Dr. Vandana Shiva
speaks on the global water trade.
August 23: Mike Rupert continued.
August 30: Mike Rupert continued.
9:00PM David "Love" Jones
brings you the best new and old
jazz, soul, Latin, samba, bossa,
and African music from around
the world.
Hosted by DJ Noah: techno but
also some trance, acid, tribal,
etc. Guest DJs, interviews, retrospectives, giveaways, and more.
HEAD 12:00-2:00AM
THE        SATURDAY        EDGE
8:00AM-12:00PM     Studio
guests, new releases, British comedy sketches, folk music calendar, and ticket giveaways.
8-9AM:     African/World  roots.
9AM-12PM: Celtic music and performances.
for a full hour of old and new
punk and Oi mayhem!
Vancouver's only true metal
show; local demo tapes, imports,
and other rarities. Gerald
Rattlehead, Dwain, and Metal
Ron do the damage.
CODE BLUE 3:00-5:00PM From
backwoods delta low-down slide
to urban harp honks, blues, and
blues roots with your hosts Jim,
Andy, and Paul.
SOUL TREE 6:00-9:00PM From
doo-wop to hip hop, from the
electric to the eclectic, host
Michael Ingram goes beyond the
call of gospel and takes soul music
to the nth degree.
FILL-IN 11:00PM-1:00AM
THE RED EYE alt. 1:00-4:30AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem headz
rock inna junglist mashup/distort
da source full force with needlz
on wax/my chaos runs rampant
when I free da jazz..." Out.
—Guy Smiley
Hardcore dancehall reggae that
will make your mitochondria
quake. Hosted by Sister B. •
www.citr.ca date boo l<
what's happening in August
TO 604.822.9364 OR EMAIL
Tlie Secret Three (record release)@Sugar Refinery (early show); The
Locust, The Blodd Brothers, Arab on Radar, Lightning Bolt, The Get
Hustle@Graceland (All-ages, Seattle); Lucky Dube@Commodore;
Kit Clayton, Mitchell Akiyama@Video In; Beck@Moore
(Seattle);" Indians@Mariners; Exploding Cinema w/ Mike
Hoolboom@Blinding Light!!
Destroyer,    The    Battles@Pat's    Pub    (403    East    Hastings);
Indians@Mariners; The Notes from Underground, The Gay & Space
Hump'n@Blinding Light!!; Mr. Rumble, U Tern@Robson Square;
City Planners@Grandview Auditorium
Reggae Night@Raglan's; Kinski, Beans, Jazz for Robots@St.
Andrews Wesley Church; De La Soul, The Flaming Lips@Summer
Nights at the Pier (Seattle); Indians@Mariners; Bookmobile: The
North American Tour@Blinding Light!!
John HiattOCommodore; OK Go, The VinesORichard's
Rise Against@Croation Cultural Centre; Archer Prewitt@Crocodile
(Seattle); Dokken, Firehouse, Ratt, Warrant@Showbox (Seattle);
Mariners@Exhibition; Maldoror@Blinding Light!!
Spreadeagle, Countache, The Patients, Hate Mail Express@Ms. T's;
Jon   Auer,   Kevin   Kane@Railway;   Luther   Wright   and   the
Wrongs@Richard's; Mariners@Exhibition; Maldoror@Blinding
Slick 60@Richard's; Orquesta Goma Dura@Commodore; Amon
Tobin,    FCS    Morth@EMP    (Seattle);    Mariners@Exhibition;
Maldoror@Blinding Light!!
Dance Party Party, Triple Word Score@Ms. T's; Big John Bates,
Naked and Shameless@Railway; Rascalz@Commodore; Captured
By Robots, Pleaseasaur@Sit and Spin (Seattle); Mariners@01d
Comiskey; Burning Man Rev Up@Blinding Light!!
SAT 10
Clover  Honey,   The   Polys,   Shirmpmeat@Silvertone  Tav
Blackalicious@604    Hip    Hop    Expo;    Nora    Jones@Sonar;
Mariners@Comiskey; Mother of Pearl@St. James Community Sq.
Blinding Light!! Unplugged: 4th Anniversary Party@Blinding
SUN 11
Alicia Keys, Donnell Jones@GM Place; Reggae Night@Raglan's;
Mariners@Comiskey; Under the Volcano: Leonard George, The
Derby, Lost Tribes cf the Sun, Nechiwagan, Ache Brazil, Company
of Prophets, Flying Folk Army, Warsawpack, Molotov Mouths,
Sphinx, Earth on Fire, Sailani Sharma, The Fierce Folk Revolution,
Wade Compton, Eye-dentity, Che: Chapter 127, The Stunts, Kathara
Collective@Cates Park; Ann and Joel's Wedding
MON 12
Bearded Lady@Sugar Refinery; Sylvie@Mesa Luna
Mum@Richard's; Red Sox@Mariners
WED 14
David Lindley, Wally Ingram@Richard's; Angelique Kidjo, Corey
Harris@Commodore;    The    Makers@Pic    Pub;    Sylvie,    The
Perms@Brickyard;     Red     Sox@Mariners;     2001:     A    Space
Odyssey@Blinding Light!!
DJ ?uestlove, Ursula Rucker@Purple Onion; Andy White@Railway;
Red Sox@Mariners; Hard Drive w/ John Zerzan@Blinding Light!!
FRI 16
The Search for Animal Chin, STREETSOBlinding Light!!; Facefest,
FacePlant's 10th Anniversary@Anza Club; Steve Riley and the
Mamou Playboys@The Royal; Bottleneck, Tennessee
Twin@Railway; Rye Coalition, Golden@Graceland (Seattle);
Trooper@Commodore; Yankees@Mariners; Search for Animal Chin
w/STREETS@Blinding Light!!
SAT 17
Sanne Lambert, Salmon Arm@Ms. T's; Dave Alvin and the Guilty
Men@The Roval; Cornelius@Richard's; Bocephus King@Railway;
Vankees@Marmers; In the Sandbox w/John ZerzanOBlinding
30 AUGUST 2002
SUN 18
Little Feat, Stephen Bruton@Commodore; Deke Dickerson and the
Ecco Fonics@Marine Club; Reggae Night@Raglan's; Moby, Azure
Ray, Dirty Vegas@Plaza of Nations; Yankees@Mariners; Superstar: The
Karen Carpenter Srory@Blinding Light!!
MON 19
Misfits@Commodore; Leftover Salmon, Standing Wave@Richard's;
Shaggy@Plaza of Nations; Mariners@Tiger; Japanese Avant Garde w/
Ian Toews@Blinding Light!!
WED 21
Mariners@Tiger; Landscape and Interference w/Ian Toews@Blinding
Mariners@Tiger; BY08@Blinding Light!!
FRI 23
Colorifics, Blackfeather@Railway; Retrograde, Unwritten Law@Snow
Jam; Mariners@Cleveland; Strain Andromeda The [s;cj@Blinding
SAT 24
Mofo's 4-0 w/ Shrimpmeat and guests@Ms. T's; David P Smith,
Buttless Chaps@Railway; Michael Gira, Suffering and the Hideous
Thieves@Tractor (Seattle); Dropkick Murphys, Closure, Honeysuckle
Serontina, Moka Only, Pennywise, Swollen Members, The
Kickovers@Snow Jam; Mariners@Cleveland; The Precious Fathers,
The Eyelickers@Blinding Light!!
SUN 25
Mariners@Cleveland;   Reggae   Night@Raglan's;   The   Human
Highway@Blinding Light!!
MON 26
MLB goes on strike. Maybe. No World Series. One more month until
NHL hockey starts up again, thank Christ.
Mariners@Metrodome; Radical MavericksOBlinding Light!!
WED 28
Hot Snakes, Beehive and the Barricudas@Richard's; MarinersOHHH
Metrodome; The Man With A Movie Camera@Blinding Light!!
Morrissey@Commodore;    Cherry    Valence@Pic    Pub;    Maceo
Parker@Richard's; Mariners@HHH Metrodome; Christiania, You
Have My Heart & Safe Haven@Blinding Light!!
FRI 30
Jack Tripper, Hissy Fit@Railway; Wyclef Jean, Nappy Roots and 4th
Avenue Jones; Peter Parker, The Gossip, The Pattern, 764-Hero, The
Itals, Kristin Hersh@Bumbershoot (Seattle); Royals@Mariners; Anti
Queer Films: 1950-1990@Blinding Light!!
Apecial event*
On Friday, August 30 there will be an all-night
rollerkate party at the Stardust Roller Rink in
Surrey, midnight until 6AM. Shuttle buses will be
on the case. Check out www.cinemuerte.com or
call 604.708.3519 for more information.
Look, if you have to choose, you should skate
rather than die. Do an acid drop instead of dropping acid and bet on the Bones Brigade over
STREETS. Not that it's a contest. It'll be a party.
after they show Animal Chin at the Blinding
Light!! on Friday, August 16, STREETS will play
live. I met Animal Chin, you know. He was very
friendly and Chinese.
Kit Clayton, Sue Costabile, Mitchell Akiyama, Ben
Nevile, Mr. Rumble. U Tern, tobias, the Beans
(featuring visuals by our own kickaround artist
Scott Malin), Kinski, Sweatshop Union, City
Planners, Jazz for Robots, and many more at
various venues, August 1-4
place* to be
bassix records
217 w. hastings
pic pub
620 west pender
beatstreet records
3-712 robson
railway club
579 dunsmuir
black swan records
3209 west broadway
richard's on richards
1036 richards
blinding light!! cinema
36 powell
ridge cinema
3131 arbutus
3611 west broadway
red cat records
4305 main
chan centre
6265 crescent
scrape records
17 west broadway
club 23
23 west Cordova
scratch records
726 richards
917 main
66 water
commodore ballroom
868 granville
sugar refinery
1115 granville
crosstown music
518 west pender
futuristic flavour
1020 granville
teenage ramapage
19 west broadway
highlife records
1317 commercial
Vancouver playhouse
hamilton at dunsmuir
lotus hotel
455 abbott
video in studios
1965 main
the main cafe
4210 main
western front
303 east 8th
mesa luna
1926 w. broadway
wett bar
1320 richards
ms. t's cabaret
339 west pender
WISE club
1882 adanac
orpheum theatre
smithe at seymour
1300 granville
pacific cinematheque
131 howe
zulu records
1972 west 4th
604.738.3232 LttMf^^
Local Music Directory
Our annual directory, chock full of contact numbers and
addresses of bands and the people and businesses that support
them, will be in the September issue. The deadline for entries is
August 15, 2002
Send your vital statistics in by fax or email:
i« i! ii cn
Frank Black & The Catholics    Frank Black & The Catholics
Devil's Workshop    Black Letter Days
SUNCD082-2     SUNCD081-2
Frank and his Catholics recorded so much damn great music they ["
asked if we could put out two new-records. How could we say no?    1
Available at Zulu Records as of Aug. 20 for $14.98 each XzMM
Dale Morningstar
I Grew Up On Sodom Road suncdo79
From out of the Gas Station comes a new solo recorc
by the Chippawa Cowboy, Dale Morningstar.
AUGUST 09 VANCOUVER, BC @ Sugar Refinery
PO Box 57347 Jackson Station Hamilton ON Canada L8P4X2       orders@sonicunyon.com summer wind, the wind of change
When It's Da*
and It's Summer
Attention indie rockers: don't
let this local outfit's understated slow-pop escape your attention. Sure, When It's
Dark... might sound dour to lazy ears but given the attention it
deserves, P:AN0 s debut album reveals itself as a gloriously
subtle, prodigiously accomplished classic in waiting that
evokes a startling range of ideas and emotions. Packed with
memorable tunes, imaginatively arranged and beautifully
recorded this is an impressive debut release from the Hive FI
imprint - a label that seems set to take the North Western
Scarf-Rock aesthetic to a world that doesn't yet know how
lucky it is. Features appearances by Veda Hille and members
of Jerk With a Bomb, Radiogram and The Beans.
CD 12.98
Dub Come Save Me CD
Nominally a remix of his acclaimed album Run Come Save
Me, Root Manuva's latest release is, in fact, a vast
improvement on anything the UK's premier (only?) rap icon
has produced thus far. An invigorating mixture of abstract hiphop, digital reggae and laptop tinkering, Dub Come Save Me
manages to encompass everything that has been good about
British music and society in the last decade (including the
Super Furry Animals!). Brittania waives the rules, old chap.
CD 16.98
Music for interventions...! admit I was curious. At the bookstore, leafing through a copy of some "worse case scenario" chapbook, I skimmed the index looking for a solution to
my rash of sonic doldrums - but sadly, no relief presented
itself. I knew the contours of this darkness intimately. No
amount of hope wagered could summon a new tune to the
horizon, and so I became remote. Luckily, my intervention
came at the hands of Merge Records: salvation from
Destroyer, Gothic Archies, Imperial Teen, Radar Brothers,
East River Pipe, Lambchop, Portastatic, Crooked Fingers,
Ladybug Transistor, and others. Survive and Advance!
CD 9.98
By The Hand Of The Father CD
Well known in this neck of the woods, Alejandro's brand of
Americana road songs has earned him a reputation for
amazing intimate live performances. The ever-charismatic storyteller entertained local audiences just last month, giving them
a sneak preview of his recent recordings for this theater project. These aren't heady compositions, just a group of songs
bound by a united theme, cast and story - and in the typical
Escovedo voice, incredibly compelling! We've had many
requests for this title; we did what we could. Hope you like it.
Auditorium CD
You know, VEDA HILLE is
a pro. It's only too bad
she'll probably have to wait
for her retirement years
before the Vancouver City
Council smartly renames a street after her. Oh well,
they'll catch up, and they should. Her Jane Siberry
mixed with Tom Waits (or is that Sandy Denny and
Tim/Jeff Buckley) songs are so completely competent
and full of ideas that, well, we can do little more than
happily shake her hand and exclaim, "Great work, Veda,
keep it coming!" And this recording captures what some
feel is the ultimate test of any performer: live performance. Or, in this case, two of them, actually, both
recorded at the always-lovely "wooden box," the
Vancouver East Cultural Centre. As they say, it's "all
good." Now, to whom do we send our "Veda Hille
Boulevard" petition?
CD 16.98
Songs From the Big House CD
The noir aesthetic - typically conjuring visions of
overwhelmed detectives, worn down by the cynicism of crime and the complexity of vast urban sprawl
- is in fact something extra, something independent of
any specific genre. Although, like a virus, it always
needs a host to inhabit, the detective genre is only one
of many. Songs From the Big House (coincidentally,
older slang for jail?) seems imbued with the dark spirit
of noir. Not as a possible soundtrack, or as 50s cliche,
but as noir itself. There's a narrative continuity to this
recording, an arc, a subtext of anxiety. It has humidity,
a thickness, weighed down by a heavy midnight sun.
The big band is well used, the songs advanced, the
playing sophisticated, and like all good noir, it burns
slowly beneath the surface with a heat that could set
fire to the world. Recommended.
CD 16.98
Gantz Graf CDEP/12"
We tend not to throw the term "Bad Boys" around.
When we say it, we like to mean it. To us, it has
a kind of metaphysical potency, an Absolute-ness
(although, to be honest, we're also joking - we'd never
succumb to that Idealist dead end). However,
Autechre receive the title completely. For example, it
seems like their past few releases could've been alternatively named, "Fuck You," "Fuck Off," and "Go to
Fucking Hell." What we mean is that each one has
been a challenge: to listeners, to critics, and to the tradition they're clearly disrespecting. Musically speaking, the latest EP could've been fairly called, "Fuck This
- We Fucking Mean It." It's good, and it's also unexpected - there's singing (no really, listen for it)! Plus,
there's a DVD with some pretty impressive animation.
So turn the laptop off, pal, and come on over.
CD 19.98
CDEP/12" 12.98
MUSIC IN THE AFTERNOON: Free Performances/Ambience at Zulu!
Mitchell Akiyama (Substractif) Here as a guest of the New Frjrrre Festival, Montreal
resident Mitchell is a cohort of Tim Hecker and will be glitch rocking the new minimal techno aestnetic!
Tlie Secret Three (Hive Fi)
Plus Opening of 8 TITS new work by S.P. Bunan
Northern &
Industrial CDEP
Nights for rambling need no invitation. You walk on through the
corridors of the city's abandoned
warehouse district. During blue-
collar hours these streets are animated with the sparks of
machinery, but now under the magical dusk, a cool, welcoming
air hangs. When will the street rats come out and play stick-
ball? You continue until you come across a suitable partner for
dialogue: an enormous elephant that shows it's wear; the elements have transformed this discarded film prop. When questioned, its replies take the form of music - light, lyrical passages
of guitar, bass and batteria, offset by near-imperceptible organ
tones and vibes. Clearly, the elephant has sway with The Secret
Three! Matching the meditative sensibilities of Bedhead with
the jazzier elements of mid-period Sea and Cake, Northern &
Industrial is a handsome debut from these Sugar Refinery regulars. Go forth and take the magical dusk!
CDEP 9.98
s/t CD
C'mon, let's take a long, cold
left turn outta the hot city
traffic and keep drivin' 'til where
way outside of town.
Alright...now picture the New York talkin' blues of Lou
Reed, combined with the cool mystery of R.E.M. circa
'Murmur'. Mix in a bit of all-over-the-place rockingness of
the Pixies, alternated with the quieter moments of Sonic
Youth. Add in a respect for the history of rock 'n' roll that
rivals Lenny Kaye in it's fervor, and you've got yerself
this...the self-titled debut album by Vancouver's live crazy
horses, The Notes From Underground.
A magazine? Yes, a magazine, a beautiful art magazine,
/Aeven, with photography, drawings, and a multimedia CD.
You see, we're at the point in history where we should give up
completely the lines that keep the different arts in place (and
here we ARE suggesting that pop music, in this genre or that,
is art, full on - why not?). Not just ideas, these lines are based
in part in geography and architecture, too: this boutique, this
neighborhood = art; that store, that neighborhood = pop
music. Well hell, we don't think so. Certainly this doesn't represent the lifestyle or interests of anyone we know. And so,
HOMESICK VANCOUVER, featuring new work by Mia
Thomsett, Chris Gergley, Amy Lockheart, and more. Come
check out the new moves by a new wave of local artists. First
in a series! Limited, hand-numbered edition! Also, don't forget,
Zulu's own corner gallery - we do what we can.
dance-friendly listens for what comes after the
dinner parties... (orgies, a nap?).
Guidance Hi-Fidelity
House Vol 4
The newest installment in this ever-popular
smooth house series - features the newest
soulful groove producers!
CD 19.98
Slinky Planet
Tokyo Japan 2CD
This double disc is your first class passage
to Tokyo's jet-set club culture. A heavy head-   m*-
2CD 32.98
Head Kandi
Beach House 2 2CD
Welcome back the return of one of the finer remixers infused with
a double shot of the late night spirit and sensual house.
2CD 29.98
CD 12.98
There's a Twilight Zone
I episode where a famous rock
guitarist falls into a funhouse
mirror at the peak of his career.
He enters what seems to be a
fantasy world where rock is fully domesticated. The guitarist, based on Duane Allman, is made to change his
loose, soulful style to accommodate the marketplace: from
rootsy to L.A. studio slick. This sad situation stymies rock;
it becomes shallow, diminutive and professional - hardly
worthy of the name. But there's a twist: by falling into the
mirror, the guitar player actually fell out of time, becoming
a hapless observer to the wicked course of history. With
this discovery, he manages to break the mirror and reenter
the real world - only forty years later! Thus, having learned
a valuable lesson, he picks up his guitar again to help lift
rock from its doldrums. Well, we made all that up, of
course. But what is real is Weird War, the hot new project
featuring Ian Svenonius and Neil Michael Hagerty. That's
right, this is no Twilight Zone, The Make Up meets Royal
Trux. Oh yes, uh huh - rock music, rock music, rock music.
CD/LP 19.98
Ost- CQ CD Coppolas (Roman) debut soundtrack -
Italian 60% pop.
Bugskull- & The Big White Cloud CD Songs for
Blood Meridian- s/t CD Matt Camirand (ex-Black
Halos) debut solo effort.
DJ Jazzy Jeff- The Magnif icient CD/21P The best.
Jawbreaker- Etc CD/21P Odds and Sods
B. Fleischmann- Tmp CD More of the Moni
Red Light Sting- Our Love is Soaking... Cdep/12"
The Stooges- s/t and Fun House LP Re-issued!!
Radian- Rec. Extern CD/LP New signing to tmi
RJD2- Dead Ringer CD/LP New Def Jux, better than
American Death Ray Music- Smash Radio Hits
Gogogo Airtieart- Exiteuxa CD
Various- Electroclash 2CD
j PanofHte
Fi) Songs to do your ironing to... Parra stop bv to getsfte kinks otrt before a laur wrth Jerk With A Bomb! I
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604.738.3232
Mon to Wed 10:30-700
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00


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