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 THAT 100% EVIL-FREE MAGAZINE FROM CITR 101.9 FM IHE KET_k BA3R)
* £r
-lirf.^s^
p^6
^3S ^
-T"  -*^V^-^
sr^-.H^
T/a
**s    s~*/A
Experience the
BETA BAND £#MF
Sunday, October, 24th
at Richard's On Richard's
SKUNK ANANSIE
"POST ORGASMIC CHILL"
Produced by Andy Wallace (Nirvana, Jeff Buckley)
Sonic Warfare fed through
speakers. Absolutely Rivoting.
- Q Magazine
Skunk Anansie kicks your head
in, then soothes you down.
- Guitarist
Sharp insights, stadium sized
choruses - Its the album of
their career. - Heat
Featuring On My Hotel TV, Secretly, and the
electrifying first single CHARLIE BIG POTATO.
mr Local Features!
COOLDOWN
9
Hospital
10
Radio Berlin
13
Radiogram
15
Bossanova
16
Submission Hold
18
Local Music
Directory
Inside!
editrix:
barbara andersen
robert horsman
ad rep:
maren hancock
production manager:
tristan winch
graphic design/layout:
rob, joe dark
production:
nick bradley, mike godwin,
ann goncalves, christa min,
cat moore, gabby resch,
anthony schrag, erin shaw
photography &
illustrations:
casey b, andrew dennison,
joe denardo, chris frey,
steven horwood, evan lee,
marc mousseau
contributors:
nic b, mike c, julie c, pc,
brady c, glen d'c, bryce d,
robin f, anna f, hancunt, John
h, bill k, janis m, Jamie m,
christa m, nardwuar, gibby
p, erin s, evan s, thomas,
coreen w, quentin w, nat x
programme guide:
anna friz
charts:
julie colero
datebook:
barbara
distribution:
matt steffich
mac daddy:
dale lum
us distribution:
dr. tristan
discorder on-line:
any takers?
publisher:
aaron nakama
Columns!
Vancouver Special
4
Seven Inch
4
Interview Hell
6
Kill Your Boyfriend
8
Palinkas Eats
8
Louder Than A Bomb
8
VlDEOPHILTER
20
Under Review
24
Real Live Action
26
Charts
29
On The Dial
30
September Datebook
34
Comics!
Good Tasty Comic
29
Cover!
Submission Hold = good. Photo = Joe
Denardo. Design = Rob.
© DiSCORDER 1 999 by the Student Radio Society of the University
of British Columbia. All rights reserved. Circulation 15 000.
Subscriptions, payable in advance, to Canadian residents are $15
for one year, to residents of the USA are $15 US; $24 CDN
elsewhere. Single copies are $2 (to cover postage, of course).
Please make cheques or money orders payable to DiSCORDER
Magazine.
DEADLINES: Copy deadline for the October issue is September
15th. Ad space is available until September 22nd and can be
booked by calling Maren at 604.822.3017 ext. 3. Our rates are
available upon request. DiSCORDER is not responsible for loss,
damage, or any other injury to unsolicited manuscripts, unsolicited
artwork (including but not limited to drawings, photographs and
transparencies), or any other unsolicited material. Material can be
submitted on disc (Mac, preferably) or in type. As always, English
is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in the
Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line
at 822.2487, our office at 822.3017 ext. 0, or our news and
sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at:
ail.a
s.ubc.c
http://www.ams.ubc.ca/media/citr or just pick up a goddamn pen
and write #233-6138 SUB Blvd., Vancouver, BC, V6T 1Z1,
CANADA.
printed by Canadians in Canada Vancouver
Special
local CDs!
REMOVAL
Hello, my name is irrelevant
(Wrong)
My feature CD of the month,
because a) they're having iheir
record release party on
September 1 Oth at the Brickyard
(and you should go) and b) they
really rock Removal must
have commercial radio station
music directors scratching their
heads (or maybe banging them
against a wall). It's a metal band
made up of three guys with the
smarts and wherewithal to
produce their own records and
tour successfully across Canada
without an outside manager
They pack the clubs even though
they don't get any press or radio
play, and, what is perhaps even
more surprising, Removal hos no
vocalist. Of course this means
that there will be no embarrassing Robert Plant/Ozzy
Osbourne like posturing and
preening, and that parents will
have to find a non-lyrics-related
excuse to keep their kids away
from this dangerous-sounding
stuff You will hear somelhing
menacing in these songs (or
should I say pieces? They're
mostly wordless, of course, and
identified only by number), as
well as almost unspeakably
heavy Somehow the absence of
a singer lets you really feel the
songs, and remember that the
best part of Led Zeppelin was
the drums, and the best part of
Black Sabbath was the power
chords  Removal is pretty far, er,
f-c
tho:
dinosaurs of rock, however
Imagine a runaway train of post-
Metallica metal without the
embarrassing lyrics and with
some sampling thrown in and
you're a lot closer. And, as I
said, you should go see them.
(2612 Eton St., Vancouver, BC,
V5K 1K1)
SIOBHAN DUVALL
Siobhan Duvall
(Independent)
A lot of female musicians think
reviewers are being lazy by
comparing them to other female
musicians, so I'll start out by saying that Siobhan seems to have
gone to the Stiff Little
Fingers, Clash, and
Buzzcocks school of songwriting and playing Now that's a
very good school, but I have to
add that this CD also owes a lot
to the Shangri-Las, Elastica,
and Blondie traditions, ond
these are all good things too.
Unlike many of her peers, Duvall
sings, writes songs, and plays a
speedy guitar in her own tight little three-piece, also unlike many
of her peers, she seems shamelessly willing to trade on the way
she looks in a flashy cutaway
dress Well, why the hell not?
She's a one-time member of the
Bombshells, a band widely
remembered (for better
often with indecipherable lyrics
One, called "1," has an attractively wobbly (and catchy) vocal
line, the last, called "Can't Stand
You," features a lengthy talking
bit near the end that puts a post-
Heavens to Betsy/Bikini
Kill type twist on the traditions
of the first girl group days, but
did make me (sentimental
fooM) long for a bit more in
the way of backing vocals
(<fonfondv@hotmail com>
<http://members.tripod.com/
Siobhan_Duvall>)
local demos!
Oh, the angst, pain, and pretension of the singer/songwriter
How can you help but the love
the contradiction. Singer/songwriters are hurt, depressed and
unloved, but somehow they hove
enough self-confidence to sing
about themselves, and they want
everyone to hear them. For s
*e)  r
r their
tude
and look than for their musical
prowess, and her photos really
are appealing Duvall sings 4
petulant, hard, fast, aggressive
and girlish songs on this EP,
,   I   r
,ved   n
>  thar
enough self-involved demo tapes
this month. The summer tends to
be a downer for the unhappy.
Chicken scratch also seems
to be characteristic of the
singer/songwriter. I'm not sure if
this guy's name is Robert Ian
Merre or Robert Ian Herre
Maybe it's neither Nonetheless,
I was actually taken aback by
the first song on his tape. I dou
ble-checked to make sure it wasn't a cover, and I rewound the
tape and listened to it again. His
voice sounds quite different on
separate songs. Sometimes it's
low and drawn out, other times
it's scratchy and strained.
Believe it or not, he actually had
the guts to cover a Fugazi
song He slowed down "Bed For
the Scraping" and played a
blues strum while he crooned (2-
3318 Main St., Vancouver, BC,
V5V 3M7)
Cover songs on a demo tape are
usually not a good idea unbss you
change the song drastically or your
voice or skills on an instrument are a
lot better than the original. Clive
Goodinson does a few too many
covers on his demo His originals
aren't bad, but he does sing very
loud I think I'm just not too excited
because he tries to sound like
Ron Sexsmith (<goodin-
son@hotmail.com>)
Now, if you haven't heard
this man before, you need to go
buy his CD Mark is the saddest songwriter in the city, and I
managed to get my arms
wrapped around his latest demo
tape Somehow I managed to
erase the first song on the tape
Idiot. If I were this talented, I
wouldn't be that sod. Another
complexity of the singer/songwriter is that you have to be
careful not to make them happy
or else they might lose all their
talent. (773 E Pender St.,
Vancouver, BC, V6A 1V8)
This is a guy that you know.
He's David Lester of Mecca
Normal. He has put out a solo
tape called The light changed
before I could blink. Beautiful,
endless guitar work. I saw him at
Yoyo A Gogo, and he's got the
moves down. Helicopter strums,
knee action, and facial expressiveness. (Get to the Point, 304-
1320 Salsbury Dr., Vancouver,
B.C., V5L4B3) •
H a p
I»lnen     * v
M   i
v   o
Meeting
l>eop(e is like standing
on  a door
Wat.
Welcome
You stan4t letting your
feet drown and
wafce foo
*t>rin*s. But for you, it's nof like <r*aki
W an
lr*t>ressio
n. You are r(ow(y sinking I
ower, frot n
» one
notice*.
This              is
Depression*
7
inch
This monlh I spent all my
cash money on comic
books instead of vinyl.
Thank goodness people send me
free stuff. I'd rather be outside in
the sunshine, but I guess that staring at a computer screen is the
next best thing. I hope all of you
who spent your summer working
hard are taking the time to do
fun stuff, too. Co play some soccer! And remember, all of you
about to go back to school —
student loans are best spent on
brand new records!
I hate the REATARDS This 7" is
shit. This is a horrible, horrible
piece of nastiness. If you're into
crass young punks making bad
garage rock, you will probably
love this record. The vocals are
painfully hoarse and gravelly,
and the lyrics are suggestive
enough to make you a wee bit
squeamish I am not down with
this so-called prodigy of "hate-
fuelled rock" (thank you, mister
press release) singing about a
young girl who obviously wants
4 September 1999
to get it on with him. He can tell.
He's all about the rock, and he
knows when the girls want to
grab his bits. Vomit? Vomit I
also cannot tolerate incorrect
spellings of simple words, so a
title like "Your So Lewd" doesn't
BY JULIE COLERO
The WONTONS is a saucy
Texas band spawned from such
garage rock enthusiasts as the
l-4-5s and Junior Varsity
The a
n this
top-notch, with the whole thing
done up like a Chinese take-out
r^>
the WOMTCtfS
•^ifti *extsaspi<:v?
do much to help the cause. Don't
do this Don't waste your time on
this kid. Just don't. (Empty, PO
Box 12034, Seattle, WA
98012)
which is generally a-okay by me.
I don't love this
record, but it'll
do. It's got it all
love song, a dis-
song, and the all-
essential novelty
"do our dance-
song. Right.
"Please excuse
my brains...
AAAHHH!"
(Peek-A-Boo
PO   Box   49542,
Indus
Austin, TX 78765)
The EYESORES and the
IDITAROD are two bands that
I've heard of, but couldn't say
why. Where they come from is a
mystery, but they've turned up on
a new single on the Brentwood
Estates label out of Rhode Island.
There seem to be some shared
members and ideas between the
two bands, and so the music
flows quite nicely. Both bands
sound very, um, pretty. The
Iditarod offers up two slow, sad
songs full of slightly dissonant
strings and other clever instrumentation. The second song is
an Eno cover, "The Fat Lady of
Limbourg," which sounds really
good with an accordian and a
strong female voice. The
Eyesores offer up a mammoth of
a song, something mixed up
between country and waltz,
promising but for the repetition.
Stick to the Iditarod side. These
bands are both doing their best
to sound like bands like Ida,
Beekeeper, and the Rachels
— they haven't quite got it down
yet (Brentwood Estates, PO Box
2062, Providence, Rl, 02905)
The song "Detour" by BIS is
not so hot. Why they chose it as
a single for the new album is a
mystery to me ... It may have
something to do with the fact that
it is a collaboration with super
indie woman Lois. She helped
to write the song, and sings
some of the soulful, crooning
bits. This is a weird piece of r&b
type tuneage, and I just don't get
it. The b-side on this release is
also pretty weak, a big-beat
electro-nightmare with weird hip-
hoppy vocal samplings and
Manda Rin singing some important social message or other. The
record player was kinda washing out the lyrics, so all I could
figure on this one was something
about "hey, I'm just another girl."
Well, their packaging is getting
very ultra-styley, and they're still
very cute, so I guess I don't hate
them for this ... I'll still be front
row center stage when they turn
up here this month. (Wiiija, 17-
19 Alma Road, London SW18
1AAUK)
The best offering this month,
by far, is the new SOLEX single.
I love this lady. Liesbeth Esselink,
straight outta Amsterdam, is all
hot on the upbeat electro scene.
She rules. Big time. The Aside,
"Randy Costanza", has an
amazingly cool guitar loop, and
the feel of a '60s soundtrack
playing out-of-doors with birds
singing and dancing right along.
high, silly vocals,
but once again, I
don't know exactly what Solex is
singing about.
The two b-side
tunes are also
quite excellent.
"And On" has got
piano and flutes
added to the
happy beats, and
"Call Me Mista"
is all about being
silly, with
squawky     horns
can do no wrong,
in my books. I look forward to
the full-length album, probably
coming very soon. Check it.
(Matador, PO Box 20125
London, W10 5WA UK)
Oh, and for all of you who
can't be bothered with picking
up singles, be decent enough to
get the new HEAOCOATEES
album, Sisters Of Suave, which
has all their hot stuff from the past
few years which was only available on 7-inchers and the like.
They do crass like crass should
be done. Is good, I like. ' AND
THE
INNOCENT CRIMINALS
TUESDAY, SEPTEMBER 21
* -V    ■ + * *~
BURN TO SHINE LISTENING PARTY
FRIDAY SEPT. 24 8:30 PM AT THE UBC PIT PUB
IN CONCERT 0CT.12 AT THE ORPHEUM
MM AVSILWIE: THE WILL TO LIVE. FIGHT FOR YOUR MIND, WELCOME TO THE CRUEL WORLD
ir
Gomez
Liquid Skin
"After a mellow hour with Gomez, you'll feel like
you've cozied up with artists ranging from Phish to
Tom Waits, Beck, Pearl Jam and The Greatful Dead."
- Toronto Star
"Meet Britian's greatest living space-rock hootenanny band"
- Rolling Stone
Album available September 21,1999
w. virginmusiccanada.ci
Vf- Padio
nter
view
Who are you?
Sunday Shopping
Guitar,   whining,   5'8"
with a wheezing disposition
and a little fuzz on my breast.
Godwin Peak: Rumbling and
rambling, too tall for love, baby,
and a comfortable mat to run your
fingers through.
Free Willie: Just the right size, drums,
and hairier than a Greek.
Does Sex in Sweden hold fhe record
for the most gigs wifh Facepuller?
I thought we had the record number of shows
with Motorama! Honestly, it's because they're very
mellow guys, and the best damned band on the
planet. In their honour, we have put in our 1999
mission statement to crush one of their songs into a
Sex in Sweden flavour.
How much of Sex in Sweden is 'empty'?
Sweden is 3/4 empty. It is mostly ice and elk and
mountains, much like Canada. Sex in Sweden is mostly an
empty, vain experience because the women are all gold
diggers, much like [those in] Canada. A Swedish guy ccme
to our show at the Astoria and told us that. He said, 'Oh,
sex in Sweden is nice, but just for a week, and then after
that, the women just want more from you. You give them
something and they say, "Why didn't you do this last week?"
It really is horrible. Really.' But I don't believe it. I think sex in
Sweden is beautiful and free and everybody should try it at
least once in their lives, much like [in] Canada.
In        the        song        'You        Wanna        Know
Why/ you say the line 'Go the fuck away!' Does
everyone leave fhe bar when you sing this song?
Have you ever really puked while singing this song?
Everyone should leave the bar if they hear someone yelling
the line 'go the fuck away.' Sensible advice? You bet. We
no longer play that song due to the fact that it provokes
unheralded quantities of bilious bilge to issue forth, and
this bilge is quite something.  [It's]  somewhat like
ambergris, actually, only instead of coming from sperm
whales, it comes from me. And, being a valuable
commodity in constant demand, we have secured
worldwide rights in perpetuity concerning this song,
and anyone caught performing or in any way
trying to profit from this song is subject to a
massive bombing campaign. Sadly, some ignore
this warning, and many have died horribly.
The last time that I personally vomited while
performing   this   song   resulted   in   the
expectoration]   of  21   grams  of the
material,   the   value   of   which   was
appraised     by     a     commercial
commodities     broker     in     the
neighbourhood of $4 million
US. Imagine having to insure
your own puke. Puke is
gold to me, man, but
the     taxes     are
killing me.
What did you do wifh fhe $4 million?
Obviously, we've spent it all on recording costs! That and we
set up a charily house for runaway mink because the perfume
industry keeps ripping their glands out. Save the mink! Use
Sunday's sputum instead I Okay, really, we needed that
money because every time we play the Starfish Room, the
bartenders steal all of our money, I swear it was af least
$15,000 the last time alone.
Are you part of fhe bridge and tunnel crowd?
No. We have moved beyond cars, on to rocketry. We are
planning to set up a launch pad in order to send fungus
back into space, back where it came from in the first place.
Hopefully, we will be able to colonize magic mushrooms on
Mars. Rockets full of mushrooms crashing on Mars, a giant
red psychedelic planet of war. We are also sending these
missiles to every country in the world, spawning flipped-out
rock bands everywhere: Frisky in Finland, Naughty in
Norway, Dirty in Denmark, Fresh in France, Swinging in
Switzerland, Porno in Poland, Horny in Holland, Lust in
Luxembourg, Lascivious in Libya, Jiggy in Jamaica, 3 Jerks
Like You ...
Do    you    practice    with    broken    strings    in
anticipation of your shows? And, speaking of
things that break, what happened when Sex in
Sweden 'bought' drinks at the Cobalt?
We break strings all the time; you get used to it. As for the
Cobalt, the Cobalt sucked. The goddamn waiter, this was for
Facefest, so we finished playing, and Mr. Plow is on, and
the goddamn waiter was keeping all the change for the
beer, so we bought our drinks from the bar, no big deal
right? But the goddamn waiter has a problem with this,
which is shit, and then they get all testosterone on us, the
bouncer's 'You wanna go?' right, and Sunday ends up in a
choke hold.
How do we know if the drummer that played on
Live From Thunderbird Radio Hell is really your
drummer? He usually plays 'masked,' but we
saw him unmaskedl Huh?
Well, really, they're not the same person. For some reason
we can't seem to keep a drummer for any length of time.
Death, insanity due to syphilis, penury, actually Phil just had
a sex change and joined an all-girl band. It's Phyllis now.
We've had several people sit in with us on our recordings
and luckily, that masked villain, 'the phantom,' has made it
to most of our live shows. It's a pain in the ass really, we're
constantly putting want ads in the music sections of all the
local papers. Maybe we should have advertised in the Pride
directory. But now we have Willie. He's solid, he's versatile,
he's gonna be our drummer forever.
Contact:
Sex In Sweden
Box 2621
Vancouver, BC
V6B 3W8
Phone: 708-0278 [Godwin]
Discography:
Smorgasbord (EP) July '99
LWeAction\ Nov. '98
Punks Look Like Jerks From Outer Space (EPj Jury '98
took for Drugs in Nov. '99
6 September 1999 Love
Superchunk
Come Pick Me Up
$15.99 CD
Abstract-pop luminary Jim
O'Rourke agreed to twist the
dials and offer his ear to the
ever-evolving Superchunk
sound. The result of this 3
week stay in Chicago is
Superchunk's startling new
album Come Pick Me Up.
Mekons
VIRGIN MEGASTORE SOMETHING FOR ALL OF YOU
comes in chunks
and so
does music
Where Were You
$15.99 CD
Continuing the series along,
here is part 2 of the (possibly) ongoing Mekons series
containing rare and unobtainable tracks recently pulled
from in between Sir Jon
Langford's eye teeth.
Orange 9 mm
Pretend I'm Human
$15.99 CD
Space riffs, meets hip hop,
meets some shit you've
never heard before.
Sale Ends September 27th
The Magnetic Fields
69 Love Songs
$45.99—3 CD SET or
$15.99 EACH
The compositions on 69 Love
Songs are some of Stephen
Merritt's most ambitious and
diverse work to date honoring
his time tested themes of life,
loss, hope and beauty. Other
Merritt projects include the
6ths, Future Bible Heroes and
the Gothic Archies.
Kristin Hersh	
Sky Motel
$15.99 CD
Kristin Hersh's third solo release
offers up 13 new Hersh-penned
songs dealing with parent guilt,
masochism, sadism and deliberate
irresponsibility, being lucky, being
cursed, better drugs and so on.
Free motel key chain while
supplies last.
Today is the Day
In the Eyes of Good
$15.99 CD
"If you think you've honesty,
frustration, and aggression in
music, and you haven't heard
Today is the Day please make
the proper adjustments to
your listening habits."
—GUITAR MAGAZINE
MEGASTORE
MUSIC MOVIES BOOKS SOFTWARE
jy VlRGINIVIEGA.COIVl I      Monday to Thursday 10 am -11 pm | Friday 10 am - Midnight | Saturday 9 am - Midnight | Sunday 10 am -10 pm
Robson & Burrard* 604-669-2289 Louder Than
A Bomb
It sounds like a cliche, but I've
heard il said many times that hiphop has come full circle It seems
to me that this has finally been
proven true A couple of months
ago I discussed the way in which
tfie corporate lackeys of the White
Supremacist - Capitalist Patriarchy
(thank you, bell hooks) have used
popular culture, and hiphop in particular, as a means of both profit-
mongering and social control
While I maintain this to be true, I've
always felt that the real strength of
hip-hop lies in its grassroots basis
Part of whal has historically made
hip-hop so compelling to so many
people is the DIY attitude ond anti-
corporate sentiments inherent in the
culture Just like the Black railroad
employees of the early decades of
this century who bootlegged blues
records for brothers and sisters
without any other access to them,
rap has always had the bootleg
and the home studio mix tape at its
cenlre. This is how it went from a
local phenomenon to an national/international force before the
industry got its head around it
Even the structure of the culture itself
is anathema lo the concept of corporate ownership (i.e. graffiti as
public art, and the idea of constructing a song by taking pieces
and samples of other people's
music without paying the companies royalties) My point is this:
despite the overwhelming marketing power of the corporate music
industry, there has always been a
small core of die-hard indie hip-
hoppers who kept the original spirit of hip-hop alive. Despite the
wave of minor label purchases by
the Big Five, new indie hip-hop
labels keep popping up, and a few
artists still go their own way Many
people in tfie game talk about resistance, few actually live it. From
their beginning about 14 years
ago, Public Enemy have always
been hip4iop's most articulate and
revolutionary voices. With their latest release, There's a Poison Going
On, they have once more proven
that their pro-black, pro-indie,
power-to-the-people message is
more than just talk. After arguing
over artistic and financial control
for five years in court, they have
finally ditched Def Jam (owned by
one of the Big Five) and returned
to their indie roots. The entire
album was made available for purchase through Atomic Pop, an
independent internet distributor, as
an MP3 two months before the
US streel date (so far there is no
Canadian release dale), with a single ("Swindler's Lust") downloadable for free You can now order
the album in several downloadable
formats as well as standard CD.
They retain full control of content
and responsibility for marketing
and distribution and the financial
benefits are seen directly by the
artists rather than tfie measly 10%
one might be lucky to squeeze out
of a major label (after costs, of
course). By once again giving a
big "Fuck You" to the corporate
capitalist machine PE and a select
few other artists have brought hiphop back to its roots and its true
strength. From bootleg cassette to
MP3: self reliance and artistic freedom could well be on their way
back-
Palinkas
Eats
UNFORGETTABLE   PIZZA
450 West 8th Ave.
I don't know if anyone remembers, but the last time I wrote
this column I bemoaned the
closing of Unforgettable Pizza.
Well, it looks like I should get
an intern or an assistant to
check the facts for me because
it turns out that the pizzeria is
still open. Completely by
chance, I was at Cambie and
8th and stumbled upon
Unforgettable's new location
For my error I apologize, and
am making Unforgettable the
subject of review this month
Unforgettable Pizza is now
located at 450 West 8th, in
the bottom of one of those
annoying condo/loft buildings. But don't let the location
wig you out. You may have to
brave all the outdoor store
shoppers and SUVs in the
area, but it is definitely worth
it While there seems to be glut
on the market of crappy pizza
joints providing nothing but
cheap  eats,   Unforgettable's
8 September 1999
focus is on quality. Each pizza
is a lovingly hand crafted masterpiece. You can stop in for
slices, which are actually hot
and spiced to taste, or you can
get delivery. The problem with
delivery is that you have to live
fairly close, and sometimes the
jk/deliverer is out
1  the
> you
leave a message and wait for
him to get back to you. A small
inconvenience, really. If you
are ordering a whole pizza,
the two I recommend are
Unforgettable's Vegetarian
and the Gulf. The Vegetarian
hos roasted garlic, eggplant,
green onions, artichokes, feta,
and sun-dried tomatoes. The
Gulf has smoked salmon,
capers, green onions, and dill
Damn, those sound good
There is a wide selection to
chose from, and the vegetarian is provided for as extensively as the carnivore. As far
as cost goes, a ten incher goes
for around twelve bucks, a
fourteen incher for about sev
enteen and slices for about
two Admittedly not the cheapest in town, but do you really
want to eat cheap, crappy
pizza all the time?
I still remember the first
time I went to Unforgettable,
about six years ago This was
shortly after it first opened on
Burrard. A friend and I were
picking up another friend after
work, and we had some time
to kill, so we wandered in.
Two slices and a Brio later, we
were in love. Every visit since,
we have been greeted with
smiles and friendly conversation. There is nothing finer
than getting good food, and
having the owner and his wife
remember you, even if you
haven't been in for a while.
For this — and the good food
— I will always return to
Unforgettable.
Inside Unforgettable's
menu it reads "Truly a unique
and memorable culinary experience". Truer words have
never been spoken. •
Kill Your
Boyfriend
MIMVmRlIM
My first experience with
Graham Chaffee was
when a friend of mine
was showing me the extent to
which comic artists are influenced by art. The book was The
Big   Wheels,  the  first of two
Fantagraphics books drawn by
Graham Chaffee, a comic artist
who is greatly influenced by
the work of Edward Hopper.
Of the two, The Big Wheels
is my favourite. There's such
a strange quality about it,
almost   the   same   quality
found    in    Batman    -    The
Animated Series. The mix of
'40s style and sophistication
with   the   personality   and
technology of the '90s is so
familiar, yet so novel. It's a
large  book,   allowing   the
reader to see the eloquence
of Chaffee's brush strokes —
which aren't as dense as
those of other comic artists
who use thick brushes. These
brush    strokes    provide    the
impression that everything is
curving and flowing seamlessly.
The   story,   which   is   actually
many stories, tells of the people
surrounding   your  or anyone
else's day. Chaffee's tale first follows a bum getting a coffee,
and then quickly leaves him to
focus on the waiter who serves
him. From there, Chaffee pursues the waiter on his trip home
from work, the sister he wakes
up, the courier who passes her
on the street, and so on. At
times, this lack of continuity can
be a bit confusing, but dialogue
comes in at the right places
(only to disappear with the next
person examined). Ending with
a Gershwin classic and images
reminiscent of Metropolis, this
story leaves you with poetry.
The simplicity and sparse dia-
\\m^t\~rVr*
logue leave you with the same
feelings of expectancy, change,
and sadness that are always
apparent in Edward Hopper's
art.
The other book, The Most
Important Thing & Other Stories,
revolves around a poem about
the masses by Lenore Henry.
Each group of stanzas is accompanied by a short story illustrating Chaffee's take on the poem.
It takes place during the same
retro/modern period as The Big
Wheels. Even though each story
concerns a different bunch of
people, the plot lines still manage to intertwine and end in a
completely different way and
place than one would expect.
The characters sway as the
poem choreographs them to an
unheard tempo. It ends with a
meeting of three animals dis-
important thing" is to
humans. It's a hopeful and
intelligent   ending    which
usual, the art is beautiful,
although not as smooth and
refined as in Chaffee's first
book. The images, however,
are dead on. In one story
the continuity is unbroken
but the chaos of war is
made shockingly apparent.
The art lends itself to the
story in a way unique to the
comic form; Chaffee is
almost a master at this.
These two gorgeous
books are easily lost in shelves
and shelves of comics, much
like the author himself. They
were published in 1993 and
1995, respectively, and I've not
seen anything from Chaffee
since. This bothers me. I wish I
knew more about him because
;r who could convince
s that c
artist/wi
the ma-
legitimate art form, capable of
being just as literate as the latest
bestseller, I think Chaffee would
be that person. •
DISCORDER IS HE
CHECK OUT BACK ISSUES
SEND    US    SOME    MAIL
www.ams.ubc.ca/media/citr/discorcl/discorcl.htm DOWN
one lovely summer evening,
Hancunt met with Miss
Benny from Vancouver band
Cooldown. They were having a
lovely time, until robert shea
from Map Music came along ...
DiSCORDER: Is Cooldown moving from a
duo to more of a collective, with
additional members?
Benny: Yeah, it's moving that way, just because
we want more outside influences; I want to head
away from a smooth, mellow sound — I like that,
I still want to keep that sound and Greg and I are
still going to work on that stuff — but we're going
to collaborate with more people.
How did Cooldown form?
I was in an another band before this for not very
long, a Goth band. That's not what I was into but
they promised that we could write in a different
direction. I did those shows and I started writing
some music [which was more]  like what I'm
doing now, and Greg was really into it but the
other members didn't wanna.
So it was natural.
Yeah. Greg would give me a loop, and I'd take it
home and do stuff with it and then give it back to
him, and it's a good writing process. I like doing
it that way.
How did you hook up with Robert Shea,
Map Music slave?
Greg lived in this building, he went on a tour
with Numb, he played drums with Numb and
they did this tour through the States. Robert went
with them, and Greg started telling Robert about
this project that he was doing, and Robert was
really interested, and that's it. It's funny, because
I was trying to send my stuff out, and I read an
article in the Georgia Straight about this local
electronica label, Map Music, and thought, 'I
wonder if I should send it to him ...' and then it
ended up that Greg knew him.
You're an accomplished piano player.
Are you going to add your own
keyboards to the new album?
Yeah. I might, because I've written most of the
keyboard lines myself. It's like chewing gum and
walking, right? It can be done.
[Benny and I talk about cheesy
manufactured pop stars.] Have you ever
had offers like that?
Yeah.
Oh please, tell us about that!
Well, I got an offer to be a Japanimation type
singer.
No way. Like total Sailor Moon? And
sing what, with who?
Sing by myself, Sailor Moon type songs. Really
Did you consider it?
Well, it was presented to me in a different
fashion, and then after a few meetings and stuff
it [became] clear to me what the project was
really about.
Tell me more, that's so funny! Did they
get somebody else? Is that product out
now? That bar code that could have
been you?
Yes, it's not exactly the project that was presented
to me, but it's very similar. A lot of people were
saying, 'That was a bad career move, you could
have gotten known for that!' and it's like, yeah,
known   for   how   long   and   for   what?   Zero
Like Debbie Gibson. She had some
integrity though, because she wrote her
own songs and played the piano.
She did, she had talent.
Benny and Greg came to me last year I thought
wow, great, this is what I want to do, I don't want
to do as much electronic studio stuff.
Benny: Producers like Greg are into doing the
writing and everything but they have busy lives
and they don't want to make all the sacrifices that
are involved with touring and live shows. I mean
Greg is totally into doing the writing and all that
stuff to a certain degree, but he thinks it's OK to
have one rehearsal for a show. Whereas I come
from five nights a week rehearsing, and you have
to be really tight to do a show because people
can see right through you. So we're still going to
collaborate with him and others, and also solidify
the band. We're still looking for a drummer, a
multi-instrumentalist and a back-up vocalist.
How do you feel about performing live?
Benny: I like it, the interaction with people, it
gets a different effect, a different vibe and
feeling. I like using different stage personas, I can
dress myself according to how I feel, whether I
am feeling sweet and lovely or totally vile.
Because of all the production that goes along
with the EP Ether, I'm sure people will be quite
surprised by the different format live; it becomes
altered right away just because it's live.
Your debut EP, Ether, was heavily
reviewed. What were the best and worst
things that people said about
Cooldown?
Benny: This one woman said it was all very
good and then she [added], 'Miss Benny's vocals
are as pleasurable as they are painful.'
People say that about P.J. Harvey too.
Benny: The next album is going to be more
upbeat and more edgy, still keeping the
attachment to the EP, that feel, so I think we're
going to have a couple of remixes of songs from
Ether on the new album. And I'm writing songs
on my little QW70 machine. I took it to Europe
with me and I learned a lot. Now I've got some
groovy stuff happening. I'm going to dump it on
Phil's computer, hopefully, and he can play with
it. We're working on a video for one of the
songs, one that I wrote about myself at home.
When's your first full-length coming out?
Then
You know what cracks me up about
Britney Spears? She looks exactly like
Debbie Gibson. I'm like, 'Britney, you're
so dumb. Don't you see what's
happening? Don't you know you're
going to be 23, doing B & E's to support
your coke problem?' Do people just see
you and go, 'Oh, you're so marketable
because you're pretty and you're young
and you're blond and female'?
Yeah, and I get in really bad moods about it
sometimes, when things aren't going well. Fuck,
there's people making a million dollars with zero
talent. I have so many friends that are so fucking
talented and record labels wouldn't look twice at
them because they're not physically marketable.
It makes me sick.
[We are joined by Robert Shea of Map Music...]
We're off topic. We were talking about
the new Weird Al Yankovic and how he
looks like Alanis in all the photos on the
sleeve of his new CD.
Benny: Remember the video we saw him in the
other night?
Robert: Yeah, it was kinda goofy though. I like
it better when he covers other people's songs.
Like 'Taco ... Grande ...'
Benny: That was an old one, though.
[Hancunt is still bustin' out...] I want
some      chimmichangas      and      some
enchiladas ... Hey, since there's three of
us,   why   don't   you   ask   Robert   one
question? I'm all about threeways these
days.
Benny: OK. Robert, what's the most exciting
thing you've done lately?
Robert: The most exciting thing that I've done
lately was completing the video for 'True Form'.
Because we didn't know if it was going to get
completed.
So what does the future hold?
Benny: Cooldown is gonna go more my way.
As opposed to ...
Benny: As opposed to anyone else's way. No,
we're just going to increase the numbers and turn
Robert: Our idea the whole time was to create a
band with them involved in the writing, recording
and playing live. Not just have it a studio project.
I've wanted to get out of that forever. When
So you're still recording.
We're still writing. There are a few songs that are
done, and a few songs that I'm writing with other
That is yet another advantage of being
on a small label; things get done faster.
Yeah. Then we have Robert with the whip; he's
cracking  the whip,  getting  all  these  people
involved.      He     does     it     all.     Promotions,
management, all that shit, he does it all. Besides
being a complete pain in the ass sometimes, he's
OK. He really looks out for our best interests, for
my best interests, he's trying to make it as good
as it can be. Because, in a way, a small label's
best interest is the same as yours.
You've   been   showing   off  your  new
video on Much.  How much  does the
video have to do with the song?
It's just a view that Jason France had; he was
listening to the CD and he had a distant vision of
a video, and so there it was. I was away and I
had a bunch of messages on my machine when I
came back saying, 'Hey, your video's getting
played!'
So is it exciting, do you feel like a celeb?
It's exciting; I don't feel like a celeb yet. I need
MORE!
You spend most of the video in a funky
car — I love it that you are actually
driving it. BRING   THe
Article by Brady Cranfield, photo by Evan Lee
The members of Hospital are such nice young men, so
happy, friendly, and polite. However, put them on
stage with their instruments and they'll produce the
most enormous, high-volume noise they can manage. But
this noise is music to their ears, and I would agree with
them. Composed of Kelly Churko on guitar, theremin,
vocals and electronics, Ben Wilson on drum machines,
vocals and electronics, and Masayoshi John Anzai on saxophone, vocals and electronics, Vancouver artists Hospital
are inspired by the harsh sound creations of such
Japanese noise-mongers as Merzbow Yet despite its highly abstract character, the members of Hospital approach
their work with the same offhanded enthusiasm that any
group of musicians might have. Noise is, for them, only
one mode of musical expression among many. But the
choice of noise is not accidental. In this sense Hospital's
music can also be read as a broader comment about the
conditions of its place and time of creation. Their work
can be seen to reflect a modern sensibility derived in part
from the mixing of socalled high culture with the codes,
products, and processes common to contemporary popular culture. The outcome here is a form of popular appreciation that we often take for granted as part of everyday
Western life: a kind of laissez-faire deconstruc-
tion. Hospital thus becomes evidence of a self-
reflective way of making and living through
culture that is both very flexible and abstract but
also very particular and simple. At a time when
capitalist relations are becoming further integrated and all-embracing through advances in high
and biological technologies, and solace and freedom are more often sought within specific cultures
than attempted through one grand culture,
Hospital's choice of expression makes perfect
sense. Noise, indeed. In other words, Hospital's
noise music might be the most appropriate soundtrack for the uncertain coming of our next historical era This is not to just represent a pessimistic
view, because also within Hospital's clouds of
sound are an urge and an imperative to transcend difference through difference. Here's what
Hospital has to say:
DiSCORDER: How did Hospital begin,
what is your history?
Kelly: We all met at Vancouver Community
College music school, essentially.
Ben:  We've been  in lots of bands together
Masayoshi  I guess o
comes from the noise s
i, the Japane
n for Hospital
Ben: Which Kelly got us into.
Masayoshi: Because Kelly went to Japan.
Kelly: I started getting into Merzbow and stuff
like that. I moved to Japan, I lived there for a year. After
the first year I came back to Canada for a summer and we
recorded the CD. We released the CD and then I took it
back to Japan for another six months and distributed it to
stores and various people around Tokyo. Then I came
back, again, and I've been here for four months.
Ben: So in September of last year ...
Kelly: September '98, Hospital began.
Ben: After talking about it for a few months.
Tell me about the label Noisebludgeon and
more about how your recording came together.
Ben: Well, when Kelly was on his first trip to Japan, he
wrote us and we talked and he said that when he comes
back he wants to do a CD and some performances, and
basically form a band, a noise band. We thought, 'Since
we're going to do it independently let's just start a label
anyway, and we'll see how it goes' — a small, no risk situation.
Kelly: We recorded on a
onto CD at SFU and ther
Regina to master it. He se
was back in Japan again,
production.
assette four-track. We put
rve sent it to my brother i
t it back, but by that
> these guys took care
■f the
The sound and style of Hospital is very specific
and intentional. What is your agenda? Do you
think of Hospital as an opportunity to get outside of traditional ideas and practices of music,
or do you see Hospital as a negatively critical
evaluation within such ideas and practices?
Masayoshi I guess what we go for in Hospital is electronically altered extreme frequency manipulations
Kelly: Our music, in general, has become more and more
extreme since we've met. Every group we've played in
has been more and more extreme. The three of us used to
play in a band called Cesspool — which had visuals as
well — that was kind of like John Zorn's Painkiller, and
Hospital is just the next step. We're not trying tc
■othoi
i of c
what
> into. We're not trying to make a statement or trying
ss people off, it's just the direction we've gone in.
Nor are we trying to make a statement about the
c today. I think I'm pretty happy about what's
music, and I imagine these guys are too.
ust something else. It's also something
ne too often, at this time and in this city.
ely new thing, this pure, harsh noise. It's
going on in music
Masayoshi  It's
that doesn't get dc
Kelly: It's a relati*.
0
T
NOISE
h e
$ p
T   A   L
interesting to do it, for us.
Masayoshi: And it's really fun.
Ben: We're learning.
Kelly: It's liberating.
Masayoshi: It's cleansing for the soul, in a way [laughter].
Do you feel that the degree of formal technical
and theoretical musical training that you have
in any way informs and enables your excursions into noise-based music, or do you think
that anyone and everyone can validly make
such music?
Masayoshi: I think that anyone can make music [laughter].
Kelly: Or 'such' music, but you definitely have to have a
sensibility ...
Ben: ... of musicality.
Masayoshi: Everyone has their own different sensibilities.
Kelly: We come from a very educated background.
Masayoshi: Sometimes it pops in, in structural ideas or
description of ideas or something, but it's not very techni-
cal, really.
10 September 1999 Ben: I'd say that experience with free improvisation would apply to this music more than any technical thing that we've learned in school.
Masayoshi: You're essentially just going with the
moment.
Ben: We certainly learned nothing about free
improvisation at school [laughter].
So are there any direct compositional concerns for Hospital or is your music more
based on improvisation? Do you even
bother to qualify and differentiate these
notions when making your music?
Masayoshi: We all have experience playing in
other projects and with other people. Essentially,
in any combination of people, music is basically a
sense of communication, how everyone gets on
the same wavelength, or whatever, in trying to
produce something together. For me, with these
guys, we just happen to have a similar vision, an
overall idea of what we're trying to do, whereas if
I was trying to do the same kind of thing with different people, it would probably come out differ-
ently.
Kelly: Getting back to the composition aspect, a
lot of times we talk about form before we do a
piece, and sometimes we have mini scores or directions talking about timbre, frequency range, duration, combinations of players, and sometimes it is
completely free. Sometimes we have a plan and
sometimes we don't; we like to mix it up a little bit.
Ben: It's definitely free improv based, but with
Masayoshi: Magnify and amplify [laughter].
Does Hospital self-identify with a tradition
of artists that use noise in their work?
Certainly Merzbow comes to mind, but is
there anyone else that you may also take
inspiration from?
Kelly: We take inspiration from everything. Of
course we all love John Zorn a lot. For me, he was
the guy that got me into all the Japanese stuff in the
first place. I would have never known about
[Japanese noise] if it wasn't for his Japanese label
Avant. From there on it just fans out like a big tree
— from Zorn you can go in any direction.
Ben: If your interest is strong you'll search it out,
Kelly: Definitely also Japanese bands like the
Ruins, the Boredoms and Otomo Yoshihide.
Ben: Maybe going in another direction, as well,
stuff like Yannis Xenakis, more 'academic' electroacoustic stuff from years ago, decades ago.
Masayoshi: Late period Coltrane.
Kelly: Anything, we love pop music too.
Aside from Hospital, you are all individually very involved with the local underground jazz scene. Tell me about some of
your many other groups and associations.
Ben:  Masayoshi and  I are in a  band called
Meathook Ensemble with people that we went to
school with. That [band] is lead by a bassist named
Travis Baker, who writes pretty much all the material. It's highly composed jazz/classical and free
improv stuff.
Masayoshi: I lead my own group, Amour Fou,
then I play bass in a band called Reflector, which is
a more groovy, funky kind of thing with electronic
spaces, and then there's Ujaku, the Naked City
cover band, which we're all in.
Ben: I also play in a band called Broken Record
Chamber, which is a free improv electronic thing,
more ambient. We have a CD coming out on Spool
records, a Vancouver label.
Kelly: We are in many bands with a lot of the play-
■■
*_MM_H_**_ai ■■■^■^^H MmSMMBmBm
some structure.
You guys have some codes to communicate with, and that is one of the ways
that any training that you have comes
through — you guys are very disciplined.
Kelly: We've played together a lot for the last five
Masayoshi: I think that the training obviously
Kelly: It's the jazz improv sensibility compared to
pure noise bludgeon [laughter].
Ben: Which a lot of people do, just making noise
for the sake of making noise, which is fine. Maybe
it's an anger thing, or whatever. We like to have
other elements too.
Masayoshi: To keep
Kelly: We do like to g
Masayoshi: Just not <
Ben: But in a way I don't see a difference between
this and more accepted forms of free improv, even
the most avant garde of free improv. This is just
more of the same.
Kelly: [We] just magnify certain aspects.
ourselves interested,
o berserk.
tpla)
vith,
: in Vancouver [laughter].
Ben: But I want to put a stop to that, I want to meet
Kelly: We all want to open it up, to have all the
scenes get together.
Ben: This city could be so strong.
Masayoshi: We're all conscious of that, but for
me, how much can you do in a week? I do want to
play with all my good friends, but I also want to
play with all these other people that I don't even
know. For me, to meet Robert Dyke was a great
thing and really opened me up to some of the older
guys.
Kelly: It takes time, but we are definitely open to
Ben: I love to see a band in Vancouver that I've
never seen before and go, 'Oh my god, they're
great, I'm so happy to see this band.'
How do you feel about Vancouver in
terms of audiences? Do you think that
people here are into music like Hospital
makes, or do you think that you might be
better received elsewhere?
Kelly: We can't play in Vancouver very often. We
just played a show and we were pleased with the
turnout, but a group like [ours] should tour.
Ben: I think that there are a lot of good listeners in
this city. It's really nice to have people you've never
met say to you, 'Oh, I really enjoyed the show.'
Or just even show up to the show — that's enough.
I think that some people are opening their minds.
Things will get better and it will come to the point
where a band like Hospital could play somewhat
regularly and have people come out.
Kelly: It's growing, slowly but surely. And it's
artists working; we have to help each other out,
nobody is going to help us out.
Finally,    what's   on    the    horizon    for
Hospital?
Kelly: We've got Japanese tour happening in
October and we've got some new CDs coming out,
one [of which is] a split CD with a Japanese noise
artist called Facial Mess, on Noisebludgeon. •
think smiley, think small.
new album. ALKALINE', available now.
On tour across North America, with GOOD RIDDANCE, beginning in October.
Available September 28th:
FOREWORD, the much
anticipated follow up to
NEEDLESS TO SAY',
one of EXCLAIM MAGAZINE'S
top ten punk albums of 1998.
CHOKE ON TOUR WITH STRUNG OUT
Sept. 23 San Francisco. CA
Oct. 2
Winnipeg. MB
Sept. 24 Portland. OR
Oct. 3
TBA
Sept. 25 Bellingham. WA
Oct. 4
TBA
Sept. 26 Vancouver. BC
Oct. 5
TBA
Sept. 27 TBA
Oct. 6
Toronto. ONT
Sept. 28 TBA
Oct. 7
London. ONT
Sept. 29 Edmonton. AB
Oct 8
Ottawa. ONT
Sept. 30 Calgary. AB
Oct. 9
Montreal. QUE
Oct. 1    Regina. SK
Oct. 10
Philadelphia. P
smallmanrecords
PO Box 352.905 Corydon Avenue • Winnipeg. MB. Canada R3M 3V3
' tel 204.452.5627 • CDs $12.00 PPD
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FAT WRECK CHORDS P.O.  ROM 1R3RRR SAN FRANCISCO CA  34110 Seems like the best bands in Vancouver are the
ones which get the least attention from the
locals. If they do get people coming to shows,
it is generally assumed that they're not from around
here. Radio Berlin's 1998 demo tape managed to
excite local music pessimists like myself. I frightened
the band by trying to interview them at a bus stop
outside of Miss Ts Cabaret. I assured them that I'd
be the only one who'd come out sounding like an
idiot. I couldn't stop laughing during most of the
interview. Jack, Josh, Chris and Warren, who
comprise what is probably the least pretentious band
around (though they actually have the talent to act
that way if they wanted to), smiled politely as I
laughed hysterically, but it wasn't my fault, I swear.
I tried to act normal. It must have been the drugs.
Who writes most of the lyrics?
Chris: Jack and I write the lyrics.
Jack: We split them. Whoever sings writes the
lyrics.
What are you singing about? I can't hear
what you're saying on the tape. Are they
love songs?
Chris: Some of them are love songs, yes. Tragic
love songs. Love gone terribly wrong.
Jack:    Yeah,    they're    pretty,    I    don't    know,
melancholic.  I wouldn't say they're upbeat or
anything.
What do you think of the Vancouver music
scene?
Jack: I don't know, it's just kind of Rock. There's that
alterno-west-coast-hard-rock sound. We were into the
punk scene and more into all-ages kind of stuff.
Radio Berlin and Cappozi Park, who you're
playing with tonight, are two of the few
Vancouver bands that people actually come
to see.    Most local bands, people just
happen to be there.
Jack: Exactly. They happen to be at the bar or
something and they're like, 'That's cool,' and they
forget about you, like, next week.
Josh: There's not really a lack of bad music in
Vancouver. There are lots of like, different, good
bands, but I mean, there's definitely a lack of support.
Chris: There's a lack of good venues as well. There's
not a lot of all-ages shows going on, except for the
fact that Jack and his sister Denise are spearheading
the all-ages scene in Vancouver [laughter].
Can you tell me about the all-ages Co-op
that you have going?
Jack: Well, we basically got sick of like, no bands
coming to Vancouver that we thought were good.
Well no, there's lots of bands that won't play bars
and the Vancouver bar scene is kind of like lots of
Vancouver bands and a couple, like, bigger touring
bands from the U.S. We just wanted to offer a venue
or like a collective of people that could do shows like
How come you don't play live very often,
compared to other Vancouver bands?
Jack: We don't feel it's necessary to play every
week We usually try to get out of town a lot. We go
to the States quite a bit. We won't be playing for a
couple months because old [Josh] here is going to
be on tour with his other band. We'll be playing
again in November.
Chris: He's playing for Ricky Martin, actually.
Jack: I like it when I see a band once in a while,
they play every couple of months and you get
excited to see them. Not like, 'Oh, they're playing
again.'
What's your favourite Vancouver band?
Chris: Uh, (We Be) Birthin' Cows.
Jack: I like the Automovement because of Conrad's
Josh: Ersatz.
Warren: What's the question?   I didn't hear it.
Favourite Vancouver band.
Warren: [Pause] I don't know [laughter].
Before I saw you live, I heard your demo
tape, and I was really excited, and I said to
my friend, 'I wonder what they're like
live?' She said, 'I'll draw you a picture/
and this is it. Is it accurate?
Josh: 'Drummer faces! Pensive!'
Chris: Oh Warren! Awesome.
Jack: 'Twitch = Love'???
Josh: Emptiness, despair?
The pedals and the rhythms that you use
are obviously characteristic of early eighties
music like the Cure. I don't think that sound
ever died, but hardly anyone nowadays
reproduces it. Why do you choose to?
Jack: I don't know, we kind of like those kind of
bands, like Joy Division and Echo and the Bunnymen.
Chris: We've all been in predominantly hardcore
bands  for a   long  time and  we've  been,   uh,
suppressing our yearnings to be in really sensitive,
emotional bands [laughter].
I know Jack was in Slough of Despond
which is totally different from what you
play now.
Jack: I was only in that band for a little while. I was
just kind of filling in, I guess.
Josh: Warren is formerly of (We Be) Birthin' Cows,
of Coquitlam fame.
What did they sound like?
Josh: They were just ... all I can say: awesome.
Jack: Pretty much. 'Awesome' sums up (We Be)
Birthin' Cows.
Do you. Josh, feel suppressed because you
always have to play your toms in Radio
Berlin? Is Jerk With a Bomb your outlet to
get to hit the snare?
Josh: [Laughter] No, no, actually they're not forcing
me to play the toms. Yeah, it's really my own choice.
But I may just be thinking that it's my own choice
because it's been so indoctrinated in my mind by
these horrid megalomaniacs.
Chris: We make him subliminal sleep tapes.
Jack: 'Play the toms ...  Play the toms ...'
that for travelling band;
Do you think that in order to play all-ages
shows the band has to already be well
known?
Jack: No, a lot of people go out just because it is an
all-ages show, and people know, like, what to expect.
Chris: A lot of people who are able to drink in bars
and stuff [prefer] the atmosphere of all-ages shows
because, maybe, they don't want to drink or smoke
cigarettes. That's usually more of what an all-ages
show has to offer.
Josh: It's really hard to say, though, because people
just don't show up. For no reason. I mean, that's fine.
It's not like you can go to people's houses and force
them with a gun to go to a show, but sometimes it just
seems like it doesn't necessarily matter if the band is
well known or not well known, or local or not local.
It just depends how the general mood is that evening
in all of Vancouver. There are lots of 'I just wanna
stay home and read' moods.
But don't you think that bands who
demand only to play all-ages shows have it
kind of hard? Bands like Fugazi can do that
pretty easily, but when you're just starting
out and you don't play bar shows,
especially in Vancouver, it's pretty hard to
get a gig.
Jack: We're trying to start something, kind of like a
standard. When people see a show by the Co-op,
they'll know what we're trying to do, and they'll
come see it because they might be missing out on
something good.
What's your Co-op called?
Jack: Seven Segment.
Josh: 'Warren — sex, sex, sex, sexy!'
Jack: My hair looks more like I'm from the movie
The Warriors. I don't know if that works.
Josh: I like the drawn-in-purple faces.
Warren: Who drew it?
It's a secret. Sorry.
Warren: They're dead!
Chris: No, it's very flattering.
Anything else you'd like to say?
Josh: We have a couple records coming out.
Who's putting them out?
Josh: There's a 7" coming out very soon.
Jack: On Reassemblage. They used to be called
Fragil, but they changed the people that are running it.
Jack:  It's based  in Olympia, Washington.  It's
distributed by Bottlenekk and K Records.
Are you getting a lot of good response in
the States?
Jack: Yeah, I think so. We get asked to play there
quite a bit. The guys from Bottlenekk in California
are going to help us with some shows on the tour.
The Audience, from Sub Pop, are helping us do stuff
when we go on tour in the fall.
What else do you have coming out?
Jack: An LP on Reassemblage as well.
Chris: And also the CD version of the LP and the
7" is going to released [by] LoveundRomance ...
Jack: ... which is Julie and Shahera from Zulu.
And then we got a split 7" on Project Icarus from
Australia with this band called Kid Commando.
They're the Swedish Jon Spencer.
Chris: We were just offered acid, by the way,
which is the first time [it's been offered to me] since Upstream ^ Entertainment
For many years now the gang at UPSTREAM has been enjoying live improvisational music. Until recently travelling south of the
border was the only way to witness these incredible musical adventures. We decided it would be easier (and more fun!) to bring
these adventures to us and share them with everyone here at home.
Now more than ever before we are awash in accomplished bands incorporating a range of genres and unified by a commitment to
improvisation. These bands vest every performance with vigor and creativity, they don t play the same songs note for note, night after
night. These groups are stretching, allowing their inspiration to move them into new musical realms. Thus creating a vibrant fusion of
musical styles that are unlabelable, pioneering and difficult to classify.
We hope our efforts lead you to appreciate the many wonderful bands currently playing across America and now here in Vancouver!!
Join us, we re UPSTREAM not mainstream!
Sept 16th   $12
Richards on Richards
Z,en Tricksters
3 Sets 1 Acoustic 2 Electric
Sept 18th  $10
Lava Lounge
Formerly the Gate
Sept 28th
Sonar
no
A Psychedelic Fair with New York City s
ZEN TRICKSTERS.
These bonafide road warriors stun audiences all over the States with their renditions of Grateful Dead classics. Combine
that with some mystical melodic ballads
and hard rockin* originals the TRICKSTERS
do not disappoint! Sept. 16th offers the
first UPSTREAM Psychedelic Fair with fire
juggling, liquid lights and lots of smiling
faces.
Disco biscuits
ALL THAT is New Orleans* most fun,
grooving and, at times outrageous new
funk band, whose eight young members
draw on hip hop, rock, brass band and
funk sources to create a truly fresh
sound, SOUSAPHONK!
ALL THAT is comprised of members from,
DIRTY DOZEN BRASS BAND,
REBIRTH BRASS BAND
and DJ DAVIS.
The DISCO BISCUITS are onto something and
even they dont know what it is! They
always push the proverbial envelope to
make music with an intoxicating pulse. Its
music you cant resist dancing to, with
shuffling styles, shifting tempos and startling interludes that expose the bands wide
ranging influences. Indeed the DISCO
BISCUITS have come up with a new musical
style TRANCE-FUSION a sort of Rave theatre
thats based in Techno as much as rock.
Audio recording welcome and encouraged!
Outlets: HighLife, Black Swan, Zulu, Puff, On Top Bike Shop, All Ticketmaster Outlets/charge by phone 280 4444
Request it @
CiTR mum
101.9 fM   For More Information Call the Stream Line: (604) 904 4207
Tcl.(604) 708 9855 *>&
For those not in the I
know, what other I
bands have you, and I
the other members of I
Radiogram, been in? I
'e been in the Emptys \
id Sourpuss, a punk rc
band. I was a punk rc
inger. Randy was in the I
Emptys with me. Steve was |
Red   Sugar,   as   wa:
Randy. John, our lap-stee
player, plays in Jonathan
:. and Swank O'Hara. Mike,
r keyboard player, also plays
lo. Jack is in Jonathan Inc., he's
busy guy.  Where does that
ive us? With Ida, who plays in
! Beans as well.
>  whose   main  focus  is
Radiogram?
I   the   !
brought everyone together.
Emptys never officially broke up,
but what happened was that I had
batch of songs that I
didn't want to do in the 'rock
band format. I wanted to use
different instrumentation. I
wanted some violin, some
rordion and trumpet. I wanted
tew feel, a chance to play with
ferent people. Radiogram
started out as a solo project. I
recorded stuff with Steve, the
drummer, and then Randy joined.
We played as a three-piece
through the winter at the Sugar
"efinery. Gradually, over the
/inter, [everyone else] joined. All
I a sudden, at the end of the
/inter, we were a six-piece band.
It's quite a full sound on
your recordings.
' stuff still missing,
5 the
II there
We had Jesse Zubot t
play some violin, and that worked
really well. We had some stopd-
up bass. Shelly Campbell, who
plays in a band called Auburn,
a terrific singer, she's coming
sing some back-ups. There's
going to be about 20 people
playing on this album. I wanted
something a little more lush.
The Radiogram sound —
who are you borrowing
from or working with?
Where did the new direction
e from?
[Ken gestures], probably :
i from those old '70s story
songs, some of it from country stuff
I've been listening to in the last
four or five years. I don't know if
the songs gel together,
songs are more country,
are pop songs.
Over the years, I've been a big
Neil Young fan. I'm a fan of the
Red House Painters, Rex, Mercury
Rev.
Is this music that you're
taking bits and pieces from?
Not consciously, that's for sure. The
way I've been writing songs, I just
walk around and lyrics and the
melody just come to me. I walk
around with an orchestra playing
in my head. I've got my notebook
with me, and I'll write the lyrics
down. Once I've got the lyrics
down, the song sticks with me. I
haven't even physically sat down
with a guitar yet to figure out the
chords or the key [for some songs],
which is strange. I'm not a very
good guitar player at all. I play
okay rhythm guitar, but when I
was singing with punk rock bands,
I would write lyrics. At some point,
I picked up the acoustic guitar. I
started to want to write my own
songs because I was writing all the
lyrics. I'm trying to surround myself
with people who can play really
well. I know that I've got these
nuggets of songs, melodies and
lyrics to build on.
and [from] that, I'll get thi
four lines that I really like. I
really overly political, [except for
the politics of love. Subject matter,
I don't know ... I had a rough year
a couple of years ago which
me pretty disillusioned. I was a
to work that out through mu:
that's for
Do  you   have  country
you?
Yeah, I'm from Winnipeg, ar
life. Never Garth Brooks, popular-
type country. That's like saying
that if you like pop music, you like
Whitney Houston,
listening to Neil Young, I liked the
country stuff that Elvis Costello did.
Everyone's had their forays in
country.
What's the feedback been
like from your participation
in the Dominic Radio
compilation?
People like the song, and think thi
packaging is amazing.
And finally, what's it like
being a dad?
It's great. I'm definitely a dad, a full-
time dad. I look after the kids, work
evenings, and do [Radiogram]. That's
what's made recording this record
hard. It takes a while, especially
when there's so many people
involved. The hardest thing is just
trying to maintain a balance
between being a father and doing
my music, which is really
important to me. If I didn't have
that outlet for my music, I don't
think I'd be as good a father. It's a
part of who I am. My kids are
great, yeah. •
The subjects of the songs
sport something of a
country feel. Where is that
coming from?
A friend of mine once said that
[writing lyrics] is like ticker-taping.
I just sing whatever comes to my
— Sew/imp
^ QPKIALS
Q/l/fowJag
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VANCOUVER - NANAIMO      	
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15   E^g£5®3j_ In the hands of a novice, a device remains a device; in the hands of a master it becomes the       McBeal's nod to Barry White? It's a safe bet [that] stocks
in Bill Withers just soared.
heal point of a new Style.   In the music of Bossanova We See this principle at Work.  All the The Isaac Hayes revival is predicated upon a parody of his '70s
dr ... i     , .     .1      i   . .     r ,i / _ /■_ l    L _L 'make-out king'persona, so I don't hold a very high opinion of it. Hot
evtces of pop composition prevalent m the late part of the century — polytonaltty, polyrhythm,       Buffered So/is^ne of my _-, time favorite rec^rds „ has a very
dissonance — are what might be considered to be the tools of music in the popular Style's sincere, emotional quality to it. His seduction numbers from that era
are gentle and sweet, not predatory. I suppose later albums like Juicy
trade. But it takes the daring verve of the likes of Bossanova to fuse these non-formal elements       Fruit are more open to that interpretation, since by that point he had
i ii .r.    j        I . j    .        __.__, _L     !•__ • • r more or less become a parody of himself. I just wish people would
into a coherent, organically unified style, a style in which the listener ts never conscious of any       pay ^ aftentJon (o J| |jkey„Hung Up Qn' My Baby„ from Jough
Strained Synthesis.   Here,  pop mUSIC reveals its true charms,   the Cardinal virtues of in-depth Guys, one of my favorite instrumentals of all time. But if Isaac is okay
with it, then I don't see why I should care. At least now he can pay
listening and its effervescent lure to sonically enhance our experiences. With economic use of      off his debts.
ij. j r       -.      // / J J n Il ki Briefly explain your roots back to Boston. What are the
quad-dimensional arrangements of guitar/bass/organ and drums, Bossanova (trans.: New       noticeab|ePdifferrences between there and here in terms
Beat) are what we need to catch on to, because their music, like life, is hard to describe and       of how they perceive local music. Do you ever feel
Vancouver's local music scene has a multiple personality
personal to a high degree — and most importantly, full of meaning.
by Nic Bragg
DiSCORDER:  Could  you  please  outline  Bossanova's
current personnel configuration?
Mike Boegh; bass
Heather Campbell; organ, Arp
Tony Koelwyn; drums
Greg McDonald; keys, guitar (he's the new kid)
Chris Storrow; vocals, guitar, keys
With less than a year left in the decade, modern music
seems to be fizzling out. It seems pop 'songs' are
becoming more and more crammed with  'sounds.'
Digital samples. Soundbites to soundbytes. I think you
guys are just hitting your stride, you had an early pop
conception and went with it. Do you concur?
complex?
From the fall of 1994 to the 1996 I went to school in Boston, and
worked for a brief time at Sub Pop while there. Differences in
perceptions of the local music scenes are fairly pronounced. I have
found Vancouver musicians to be cynical and arrogant in comparison
to those in Boston, where people are very supportive of each other
and the scene. I didn't experience the cliquishness and animosity that
I do here. Experimentation was accepted and encouraged. But for all
the enthusiasm, there wasn't a lot that excited me at the local level.
Most of the bigger groups had left town.
One thing that I missed about Vancouver was the diversity, so I
would consider Vancouver's multiple personality complex to be one of
its stronger attributes.
As a Teenbeat artist, you've taken your music outside of
the city for recognition. How did your relationship with
the principal
id dynamics
Chris: Il appears as though the studio is taking o
instrument in a lot of the music. It's more about so
than   harmonic   progression   and   melody.   It
'Jabberwocky' — all the cadence and pattern of reguli
but filled with empty signifiers. But this is no slight, it's just ar
observation. We're definitely more traditional in our approach, a
blood and guts ensemble who tries to write a song before we get
caught up in the production aspect.   We've tried to bring together
certain elements that we hadn't heard in combination before, and
it's taken a while to turn it into something cohesive.
Are you analog?
I suppose we are, but not out of principle. We have yet to wrap our
heads around digital technology and make it work for us. We fear
change.
I know when you think 'groove,' you think Isaac
Hayes/Barry White groove. Is soul still present in
Bossanova?
I would like it to be more prominent. There's a little bit of soul, in the
vein of Archie Bell and the Drells, but we don't have that sensual ,
'thumping of a heartbeat' groove. We're either too white or not
trying hard enough. Some of the chord progressions have their roots
in the music of Isaac Hayes or Curtis Mayfield, but we don't sound
anymore like them than the Velvet Underground sounds like Motown.
How do you feel about Isaac Hayes' revival, or Ally
Mark Robinson come about, and how important is it for
local band's to look beyond our skyline?
I met Mark when I was working at Sub Pop, and asked him if he
would be willing to design the artwork for a CD that I was planning
to make. He agreed, and liked what he heard of the finished
product, so he asked us to record some stuff for the label. We gave
him one song for the Teenbeat Sampler CD, and he's still waiting for
more (I think). It's taken me quite some time to record something I'm
happy with.   It's still a learning process for me.
I don't know how important it is for others, but it was important
for me to look beyond the city because: a) I didn't get the sense that
there was a lot of interest in the kind of music we're making, and
that there were any labels in town that would deal with us. b) I'm
more interested in recording than playing live, and I wanted to
disseminate our music as far and wide as I could. I get more
satisfaction from knowing that someone on the other side of the
country enjoys what we're doing than I would as a member of
Vancouver's 'best live band.' It feels more objective if the appreciation
comes from outside the scene. I like the idea of it appealing to other
bedroom music listeners like myself.
What do you make of the Easy-Tempo revival? I know
you really get into the organs and keyboards of the
Italian composers.
I think it's great, I love the sound of the organs, the strings, all that
16 September 1999 great funk/jazz stuff is a breath of fresh air. The production value
are amazing, really warm and lush, much better than what wa;
happening in North America and Enlgand in the '60s and '70s.
What sort of keyboards have you added to your sound
over the years?
There hasn't been much change, we've pretty much stuck to combo
organs. For recordings we've borrowed stuff like Arp and Juno
models.  A recent addition has been a huge Hammond home organ
with lots of colourful burtons, which we hope to use to great effect.
A lot of reviewers state that you capture the 'sexy sound of
pristine bouncy pop.' Your sound makes me think of wood-
grained dashboards, stylish motorcars, leather seats in a
board   room   office,   late-deco   glassware   and   the
architecture seen in Fellini films. Are these touchstones
right?
Since I don't have a very visual imagination, I'll have to take youi
word for it. I gladly accept any association with Fellini. I'd love to
capture the exuberance of a Fellini movie in the music.
What do you make of pop music in Britain? Music there
seems far more ambitious than in North America. British
pop is grandiose and swank, while American pop has
that Fastball-like bubblegumminess.
I suppose I do like British stuff better than what's happening or has
happened over here for the last few decades. They're not as postmodern or reductionist as the American acts, who seem to like to
work with narrower parameters and mine some very specific element
from the musical canon, pop or otherwise. The seminal artists in the
British scene, VU, Byrds, Bowie, Bacharach, Scott Walker, etc. are
more in line with my tastes. Here, the lineage seems to stem back to
hard rock and heavy blues, which I find less interesting. I love a
good chord progression and melody and that whole sense of
grandeur that North American bands tend to shy away from. Perhaps
I've read Tom Jones will drink a dose of peach schnapps
before each set, just to get things smoothed out. Do you?
No, I can't drink because it dehydrates me. I try to sing a few bars of
a Brook Benton song to get things flowing.
Your live sets featured a lot of covers from quite a diverse
pool — all the way from Scott Walker to The Magnetic
Fields. Are you a fan of Stephen Merrit? He's managed to
create quite a stir releasing records that are consistently
recorded from his home. Do you think this aesthetic of
bedroom recordings is still viable, or has the market
place become swamped with lo-finess?
Although I only own two of his records I really enjoy them. As a
person who has a horrible time with lyrics, I can appreciate his skill.
The production of his records is perfect for the material. As long as
the medium complements the work I think it will transcend any market
saturation that may occur. Lo-fi is uninteresting and contrived when
artists release half-baked ideas and then hide behind its flag, making
claims about how 'pure' the music is, as if the means of recording
offered a veritable window to their soul. It's an easy way to deflect
criticism. I have a much bigger problem with stuff that has boring
songs or arrangements than with the fidelity issue.
You've made past allegiances with other local bands
such as The Electrosonics. Are they still recording, here
or in London?
They're back in town and have just mastered a new EP that should be
coming out sometime soon on Drive-In records.
Is there other bands you're aligned with?
Our sister bands are Disco Tex and his Sex-O-Lettes as well as Space
Humpin' $19.99 (our Italian soft porn soundtrack cover band).
You just arranged a show for Australia's Cannanes at the
Purple Onion. How did this come about? What do you
make of the local promoting biz, and local venues?
it's perceived more as a folk art form here, rather than a living,
breathing one that has room for innovation and artifice.
British pop bands such as Stereolab and The High Uamas
have recently both detoured into Brazilian woodwind
sounding beats. Beck also sights the Brazilian sounds as
an inspiration on his Mutations LP. Are you a fan of this
sound? Sergio Mendes?
I am definitely a fan, but I am far from possessing a comprehensive
knowledge of it. The Gilbertos are great, they have some of the
greatest percussion tracks I have ever heard. Right now I am listening
to Emuir Deodato, who plays this Curtis Mayfield/jazz-fusion music
alongside more traditional latin rhythms.
Your voice while singing is really quite deep. Early
reviews pitched the Ian Curtis and Jacques Brel names
around, but now there seems to be a greater range than
just the tenor. Is the quality of the voice important to
your pop compositions?
I think it's important to have a good range, because it can be pretty
monotonous to hear somebody croon his or her way through a set of
music. Now I can sound like Bernard Sumner as well as Ian Curtisl
For some songs the quality of the voice is important, because it has
to compensate for a weak melody. The stronger the melody, the less
stylized the vocal has to be. I actually prefer to listen to our songs as
instrumentals.
For the past year I have been corresponding with a guy named Adam
from S.F. who plays in a band called Timonium. He was on tour
•vith the Cannanes and asked me if I would set up a show for them,
had never heard a Cannanes song in my life, but was very happy
to meet them. Really swell people.
I think the lounge at the Purple Onion is my favorite place to play
right now. It's one of the only places that has any atmosphere. The
Waldorf and DV8 are my other favorites. Most of the venues in town
feel like beer halls or sports bars to me. The Sugar Refinery looks
like fun, but I've never played there.
How did your recent Showcase trip to Toronto come
about? What was it like and do you think music/media
events like North By Northeast or Music West aid young
bands?
We applied to the festival and were accepted at the last minute. We
got stuck playing in a club a million miles away from Queen St. and
all of the other venues. But it was fun, we looked upon it as a holiday.
Those festivals are pretty ridiculous, they always accept the worst
bands, and treat everyone like crap, but they're better than nothing.
The part I really despise is that everyone expects them to be an A&R
feeding frenzy, that it's their big break, which is a complete joke.
The festivals encourage this kind of delusion. The aspect I enjoy is
having the opportunity to play to people who you wouldn't see you
otherwise.   I think that is the only benefit you can derive from it.«
17 smgsmsz The door leading up to Jen and Andy's house has a big sticker on it which reads, "Beware: Vicious Beasts." Andy, Submission
Hold's bass player, met me there, accompanied by Bill and Suzy (the two vicious beasts I had been preparing myself for). Bill
and Suzy are two very energetic, grown-up puppies who promptly barked and licked and did all kinds of puppy things to let me
know that the sticker on the door was there to scare away creepy people (cops, for instance). As I was ushered into Jen and
Andy's home, / was instantly welcomed with an offer of dinner. I'm not one to turn down free vitties, and the scalloped potatoes,
quiche, and blueberry dessert helped replenish the energy I'd lost on the bike ride over. After dinner, I found a comfortable chair
and sat down wilh Andy, Jen (Submission Hold's lead singer; a woman whose vocal range could give Ronnie James Dio a run
for'his money), and Steve (the guitar player, a man who likes to dress in zebra-print and impersonate Rudy Sarzo). No,
Submission Hold is not a metal band, but they rock ten times harder than your average one-man sequencing rock band. Moreover,
they're good cooks and very nice people. Their new album /Waiting For Another Monkey to Throw the First Brick, out now on
Ebullition Records) can be purchased at any one of their shows. Our chat was accompanied by a pleasant cacophony of barking
dogs and trumpets, which proved thai their house is alive with the sound of music (sorry) even when there is no show going on.
DiSCORDER: Introduce yourself and name
your favourite vegetable.
Andy: My name is Andy. Potato.
'itto work with.
. Hi. My favourite
TPRPflW's Wand
ink of all the wonderful ways
you   can   prepare   a   potato.   Today  we   had
scalloped potatoes and we also had a tofu quiche
sort ot thing with a potato crust.
Jen: Very nice. I'm Jen and I love alt vegetables
except for eggplant ami rod
Steve  My nam© is Stove and. since potatoes are
taken, I'll be sophisticated and go with asparagus.
Ail: Oooohhhhhh
First question: boxers or briefs ... no, jusf
kidding. Okay, you guys have a song
called 'Flag+Flame=Fun.' How did y'all
celebrate Canada Day? Kerosene and a
match?
Andy: Were we?
Jen: When is Canada Day?
The first of July.
Andy: I don't know what the heft we were.
Jen: We live for the moment.
Steve: That question is so, like, two months ago.
Jen. We burned a flag this morning. We don't
know what we did two months ago. Web played
at la Quena doing an anti-Canada Day thing.
I was out last night with my roommate
and he was remarking how much more
commercial Commercial Drive is getting.
Is gentrification alive and well in East Van
or are the bricks that occasionally rain
through the window at Starbucks a sign
that the monkeys still have control?
Jen: That segue was a nice little introduction to
our new record which is on ... [everyone laughs]
Andy: When I moved here, it was, like, families
and punks. The punks moved to a place because
it was cheap. The punks and other sorts of youth
who have disenfranchised themselves needed a
cheap place to live.
Steve: I think there's a pattern where this happens.
.^Very often, it's inhabited by some sort of ethnic
v group, or families and whatnot.
'X   Jen: Well, they used to call this area Little
'     ighf?
av: So when the punks moved in, we
e at odds with the people who lived
e before, and then the next bunch of
it,    the    artists    and
people looking for low rent   and a kind of hipg;
:  place, and we were at odds with them. You know:?|
H'What the fuck do you think you're doing coming
here and wrecking our neighbourhood?' And then I
the yuppies came and the Starbud^s and ...
Steve: Once the artists and musicians are there,
ihen it's hip and   bohemian.
Well, my roommate and i noticed how
the dykes are vanishing and places like
Bukowski's are popping up.
Andy: I always wanted to go into Bukowski's
and act like Charles Bukowski, you know? Just
piss on tables and get into fights and barf all over
the place. When I moved here back in the day,
you'd see posters that said 'Yuppies, fuck off. Go
back to the West End' and stuff like that. At the
time, they were just moving in. Then, last year,
the   same   pasters   came   up.   We've   been
threatening these yuppies for ten years and
nothing seems to have happened.
Jen: I think a lot of those people come down to
this area, now, because it's safe for them. It's
been sanitised enough. But what's really funny is
this vicious circle aspect of it all. It appeals to the
yuppies because it's bursting with life and energy
and creativity thanks to the punks and the families
ond   the   ethnic   diversity   and   the   lesbian
community  So they come here and immediately
want to shut it all down. They just want to take
control of it and st«$j»ftt and rip down the
bushes in Gtrandvtew Park and get rid of the
vendors, the buskers, the panhandlers. They just
get rid of all the life. They kill it
Cops, politicians, or bosses: who's the
slimiest?
Andy: If you're referring fo bosses as heads of
corporations or multinationals, I'd say they are
the worst.
Jen: They call the shots for the politicians and
the caps.
Steve: When you're in that kind of a position
you know what's going on, and you're
manipulating it. You've made a conscious effort to
be there. 1 look at politicians as being employees
of the multinationals. All of the prime ministers,
except for a couple, have been corporate
lawyers. They know who pays their bills.
Andy: Not to say that cops aren't that far off.
Look at this [Andy displays a bruise on his arm].
i got pinched by a police officer at the anti-
Aerospace demo last week. He pinched my ear,
too. %
Steve: They've got their badge numbers on
velcro. What the hell is that?
Andy: They should have badge numbers for
cops like football players have on the backs of
their jerseys. Big, with names.
I read a quote a while back that stated:
'You know the state of hardcore is sad
when Atom and His Package is popular.'
Do you think Atom is bringing on the
ruin of hardcore or are you guys down
with the Package?
Andy: Atom is a sweet n*
the success in the world!
Jen: I think it's funny that some people say punk -—r
MUAic
bandsmusictansdesignersptiotograptiersillustratorsprGmoterszinesradiQlabelsdistrifiutDrsvenuesstors..
Illustrations by Steven Horwood.  Header by Ken Paul.
Adri
One person and many synths,
tweaking downtempo beat oriented grooves.
604.686.0450 (pgr) (Adri)
adri@mineralmusic.com
All-Star Schnauzer Bar
Brosse is a goose, goose
means greedy.
818 Hawks Ave., Vancouv*
BC, V6A 3J4
604.251.1446 (Libby)
allstarschnauzer@hotmail.c
Arts and Krafts
Noizy experimental.
Vancouver, BC
604.263.5858 (Anirtak)
katrinanoiz@hotmail.com
Askmasters
?
1st Ave. RPO POBox 56001,
Vancouver, BC, V5L 5E2
604.608.0908 (Vern/Nathan)
604.253.6620 (fax)
askmasters@netscape.net
www.capitalpunishment.
bc.ca/
The Blue Berries
The Stray Cats meet the
Barenaked Ladies for some
rootsy blues.
#205-5550 Yew St., Vancouver, BC
604.816.2684 (Barry Bergkvist)
604.267.9971 (fax)
Bounty Hunta &
the Mutineers
Original dancehall reggae live
band with roots, hip-hop &
techno influences.
#305-1855 W. 8th Ave.,
Vancouver, BC
604-738-0633 (Jeff Moulds)
bhm@idmail.com
www.bhm2.com/
Bystander
Classic rock.
1st Ave RPO POBox 56001,
Vancouver, BC, V5L 5E2
604.253.6543 (Nick)
capitalpunishment@netscape.net
www.capitalpunishment.
vancouver.bc.ca/
Camillo Flamand Area
Code #613/Crapped Out
Soundings
Lo-fi soundscapes made with
found sounds/tape hiss and
standard/non-standard instru-
516 Constance St., Victoria,
BC, V9A 6N4
250.380.9227 (Speedy)
12"s; COs & mixtapes in
. all. genres of urban
dance & electronic
musicWe carry US P
domestic releases, ano
imports from around the
world. In addition to
^^entfel^s^^gso-
hove o large backst*
"floods of used vi
. house
techno -
p(£g|essive
downtempo
rare groove
hip hop
dub
cofry: dj , gear &
accessories. SHURE
cartridges   &   styli,
B00MT0WN
victoria • Vancouver ■*■ «st. 1993
102-1252 BURRARD ST (ot DAVIE)
1999 Local Music Directory Capozzi Park
More a soap opera than a band,
featuring bald leather-winged
drummer. It's eclectic pop!
773 E. Pender St., Vancouver,
BC, V6A 1V8
604.253.5043 (Max/Mark)
Celestial Magenta
Fanning the flames of pop
Repoman meets Breakfast Club
604.502.0393
604.324.8080 (fax)
celestialmagenta@chickmail.com
Chitk Magnets
If Buddy Holly played in the
Ramones they'd be called the
Chick Magnets.
PO Box 59, 1 895 Commercial
Dr., Vancouver, BC, V5N 4A6
604.241 4955 (Dave)
wwwgeocities.com/SunsetStrip
/Disco/3978
Civil Tongues
Folk noir.
#303-1728 E  2nd Avenue,
Vancouver, BC
604.254.1503 (Hugh Fisher)
whiz@axion.net
Clover Honey
3 noisy popsters  Fuzz & harmonies. Frenetic, ass-shakin'
pop. Shindig! '98 winners.
604.685.0535
(Anita/Lauree/Amy)
604.709.3141)
cloverhunnie@hotmail.com
www.eyeteaser.com/cloverhoney/
COAL
Dreamy dark western goth pop
C8-238E.10th Ave.,
Vancouver, BC, V5T 1Z5
604.871 0055 (Nicole)
604 875.9971 (fax)
coal@istar.ca
www.amproduclions.cc-m/ecoal.hlml
Darkest of the Hillside
Thickets
Theatrical HP. Lovecraft melodic punk antics.
#302-1015 W 13th Ave.,
Vancouver, BC, V6H INI
737-HATE (Toren Atkinson)
thickets@uniserve.com
www.holycow.com/thickets/
Donkey Engine
Multi-effect processors.
1st Ave RPO POBox 56001,
Vancouver, BC, V5L 5E2
604.253.6543 (Steve)
donkeyengine@yahoo.com
Dorothy Missing
A variety of guitar driven pop,
compelling lyrics, memorable
352 E. 20th St., North
Vancouver, BC, V7L 3A7
604.986.0872 (Sara Mitchell)
604.904.0927 (fax)
dmissing@vcn.bc.ca
The Dreaming
Sultry vocals layered over a
three piece groove, all tightly
held together with duct tape.
#207-1949 W. 5th Ave ,
Vancouver, BC, V6J 1 P6
604.731.1696 (Matt Heximer)
604.682.6769 (fax)
bam@portal.ca
Dredger
4 gnarly youths rocking the BC
suburbs. OUCHi
POBox 47014 City Square,
Vancouver, BC, V5Z 4L6
604.709 8222 (Onov
Production)
dredger@usa.net
drenched
took for upcoming releases
from drenched. Deep & sexy
cutting edge  N. VV Recording
Artists.
8813 20th Ave. NE, Seattle,
WA, 98115 USA
drenched@scn.org (Jonny)
Drop Modulation
Funky, housey, ambient disco
dub. Live knob twiddling!
Guaranteed not to leave a filmy
Vancouver, BC
dropmodulation@teamlounge.com
(Jovian Francey/Tom
Szymanski)
www.teamlounge.com
members.tipod.o*rrv'dn^„rTiodubior\/
Charlie Drown
goth/industrial/metal to the
extreme, female fronted
Anarchy.
805 Baker Dr., Coquitlam, BC,
V3J 6W5
604-252-1241 (Elemental
Awakening)
604-469-2092 (fax)
www.charliedrown.com/
Drunk
Often imitated, never duplicated  Over a decade of rockin'
hard at gigs you're never at
604.936.9196 (Darren)
604.936.9196 (fax)
Experiencing Difficulty
Spontaneous tribal spazz-jazz
604.466.3756 (Rich)
604.264.9958 (Jer)
expdiff@ranch.org
sine.ranch.org/expdiff/
Fart of the Dying Pig
Marlon Brandon tribute band
with 80s heavy metal samples,
lots of laughs, and sexplay
#34-1455 W. 8th Ave.,
Vancouver, BC, V6H 1C9
604.738.5899 (Tractor Pulls
Records)
$ BASSE.
EQUIP-
turntables needles headphones slipmats cases/bags house club downtempo
breakbeat jungle/drum n bass hip-hop progressive breaks & beats trance techno
rare groove videos mix dj tapes mirror balls gift certificates
gemini   ibchmcs   ortufon   Numartc   sony    shvrje    ^Vestax   sraNron
217 w. castings st [at cambie]
r,bc,c
0604689L7734 fx. 604.689.7781
mail orders avaiaUe.
e-mail: bassix@netcom.ca
First G
Pop world rock.
623 E. 6th Ave., North
Vancouver, BC, V7L l R4
604.983.9171 (Parlatroppo
Records)
Flutter
4456 John St., Vancouver, BC,
V5V3X1 (JJ. Astor)
Francophobes
East Van punk rock since
1997... on Spawner Records.
1358 E. 61 st Ave., Vancouver,
BC, V5X 2C7
604.322.7174 (phone)
francophobes@hotmail.com
www.spawnerrecords.com/
francophobes/
Freon
independent transmission specialists and monobrow defectors.
#3-1752 E. 12th Ave.,
Vancouver, BC, V5N 2A5
604.875.9941 (Andre)
geeklordl971@hotmail.com
www.geocities.com/sunset/
vine/2298/
Fridge Art Tiara
heart, cry. tears, better, sleep
song, soothe, whisper, call
acoustic, smile, forget, remember, escape, heart.
810 English Bluff Rd., Delta,
BC, V4M 2N5
604.943.5091 (John H)
henvilli@hotmail.com
www.geocities.com/Nashville/
5183/
G42
experimental/industrial/noise
etc.
1010 Seymour St., Vancouver,
BC, V6B 4Y4
604.451.0242 (D.Scott
Abfackeln III)
604.608.0632 (fax)
info@g42.net
sine.ranch.org/g42/
Glen Scott
New CD-Pointing At It.
Electoinic punk, super 8 and
slides. No samples or
sequences
#204-334 E. 5th Ave.,
Vancouver, BC, V5T 1 H4
604.876.8974 (Glen)
604.681.9150 (fax)
Gradient Profile
Representing the Collingwood
district with Metal, Techno,
Ambient, Jazz.
3076 E   25th Ave, Vancouver,
BC, V5R 1J4
604.292.5189 (Rob Matharu)
Haitch C Soundcraft
sine fuzz loop pup jazz bzzt
beep
604.466.3756 (Rich)
hcee@vcn. bc.ca
sine.ranch.org/hc
The Hell Caminos
The party that you weren't invit-
6617 181 St., Surrey, BC, V3S
8E7
604-574-4228 (Mike Hawk)
hawkrocks@yahoo.com
Here continues the great
Canadian tradition of energetic
party rock.
2053 Stephens St., Vancouver,
BC, V6K 3W2
604.643.0558 (Susan Mide)
here@heresounds.com
Hissy Fit
PO Box 3507, Vancouver, BC,
V6B 3Y4
604.687.6860 (Gisele)
604.687.6827 (fax)
grignet@direct.ca
www.eyeteaser.com/hissyfit/
hospital
Harsh noise, dense textures,
extreme frequencies.
POBox 12-345 E. Broadway,
Vancouver, BC, V5T 1W5
604.708.3531 (Masa Anzai,
K.Churko)
604.650.3115 (pager)
noisebludgeon@hotmail.com
Idiot Savant?
No quirks, no gimmicks, well-
with c
id played. Pop rock
1131 Lily St., Vancouver, BC
604.251.1207 (Ken Paquette)
kpaquette@home.com
Introvert
Moody semi-electronic post-
post-punk art-pop.
#151-2416 Main St.,
Vancouver, BC, V5T 3E2
604.875.8841 (Trevor)
Isotopia
Nuclear-sonic Groove Groop.
#1-2046 W. 15th Ave.,
Vancouver, BC, V6J 2L5
604.734.5034 (Daryl)
JP5
Evil burlesque firing on all cylinders! If you can't take the heat
stay out of our underwear!
PO Box 60069 Fraser PO,
Vancouver, BC
604.258 3416 (Joe Keithley)
jp5@suddendeath.com
Last Chance
Sort of like late 80s Straight Edge
hardcore but we're not X'ers.
Maple Ridge/Pitt Meadows
604.465.1152 (Dave)
phronomophobia@hotmail.com
Lavish
2 boys, 2 girls and a station
wagon full of raw pop/rock.
#2-102 W. 18th Ave.,
Vancouver, BC, V5Y 2A5
604.873.6476 (Jill Breen)
mgbreen@smarrt.com
Liars
Turbo indie rock.
#3-1752 E. 12th Ave.,
Vancouver, BC, V5N 2A5
604.875.9941 (Andre)
geeklordl971@hotmail.com
Look Inside
Punk/hardcore.
1637 W. 62nd Ave,
Vancouver, BC, V6P2G1
todi23@hotmail.com
CD contains pilots, lawyers, gay cops,
sex, drugs, George Peppard, border
disputes, apocatypse(s), Capozzi Park.
773 E. Pender St., Vancouver,
BC, V6A 1V8
604.253.5043 (K)
mi novia
1002 W. 10th Ave.,
Vancouver, BC, V6H 1H8
604.732.6687 (Jude or Gord)
minovia@hotmail.com
www.stepandahalf.com/minovia
Mind Gallery
Instrumental progressive rock.
3318 E.27th Ave., Vancouver,
BC, V5R 1P7
604.430.3180 (Anita Langley)
mindgame@bc.sympatico.ca
Money Hungry
Newlywedz
Dance pop rock orgy. Our emotions will rock you into grinding
multiple orgasm.
604.730.0090 (Jason Van)
604.734.9897 (James)
Morning Gold Fix
Quasi-electronic genre-busting
604.264.9958 (Jeremy)
ccws@home.com
sine.ranch.org/mgf/
Moto Rama
The story of a trusting little boy
and the big wish that came true.
Box 21618-1850 Commercial
Dr., Vancouver, BC, V5N 4G9
604.873.4909 (Marcus)
fast_7@hotmail.com
www.motorama.net
1999 Local Music Directory Myopia
Radio Berlin
Vancouver, BC, V6G 1T2
The
Revolutionary 8-track
weather driving songs.
ditions
Crushingly furious grind from
New-wave/post-punk a la old
604.682.2860 (Marq
Mixing System
1907 E.40th Ave., Vancouver,
11298 Burnett St., Maple
Vancouver
Cure, Joy Division, Echo and
DeSouza)
Several old 8-track cartridge
BC,V5P Ul
Ridge, BC, V2X 6N9
1358 E. 61st Ave., Vancouver,
the Bunny men. Several records
solarbaby@canada.com
decks routed to mixer, punching
604.879.0958 (Glenn)
604.467.9854 (Rojerk)
BC, V5X 2C7
coming out in summer/fall.
members.home.com/solarbaby/
between programs of original
604.327.0975 (Anthony)
604.463.4004 (fax)
604.322.7174
1682 Frances St., Vancouver,
source material.
tiefisher@yahoo.com
604.463.6373 (Lev Longlongtime)
myopia@anti-social.com
BC,V5L1Z4
Somahuzo
604.264.9958 (Jeremy)
edie.cprost.sfu.ca/~hempell/tie
stick_emup@yahoo.com
www.listen.to/myopia/
604.255.0550 (lack Duckworth)
Happy guitarist wanted! Smash
ccws@home.com
fisher/
radioduckworth@hotmail.com
through limiting barriers to find
Wayside
New Town Animals
www3.bc.sympatico.ca
ourselves. Have FUN playing
theAllPurpose.com
Toomuchtalk...
Corporate-pop-punk-glam rock.
Rock'n'roll
/sevensegment/7SG
personal originals.
Pre-apocalypse cyber-folk for
Pop world rock.
#304-1 687 W. 12th Ave.,
#103-1529 E. 3rd Ave.,
2806 E. 2nd Ave., Vancouver,
ages 6 and up.
623 E. 6th Ave., North
Vancouver, BC, V6J 2E4
Vancouver, BC
Reverberators
BC, V5M 1E3
#407-1939 Lee Ave, Victoria,
Vancouver, BC, V7L 1R4
604.738.0074 (Mark)
604.258.7559 (Stevie Kicks)
Insturmental surf reverberations.
604.251.1091 (James Gay
BC, V8R 4W9
604-983-9171 (Parlatroppo
mbelsito@interchange.ubc.ca
#2-1966 York Ave., Vancouver,
(ex-Added Height)
250.598.0734 (phone)
Records)
www.wayside.dhs.org/
OCEAN3
BC, V6J 1E3
papernet@hotmail.com
jon@theAHPurpose.com
Diverse, dynamic, high energy
604.737.8162 (Frank)
www.theAHPurpose.com
Transvestimentals
Wonderbread
band.
604.738.9050 (fax)
Steve Wright
GLAM-poparama-a-bop-bam-
Producer, remix artist. Big fat
Vancouver, BC
Vancouver's newest vein of
Third Eye Tribe
boom!
analog.
604.937.0259 Uay)
Rheem Ruud Family
singer/songwriter. A must see!
Live electronic hip-hop/dub jun
4361 W. 10th Ave.,
604.681.0606 (phone)
604.874.6409 (Matt)
Drive-by recordings of space
#5-2057 W.2nd Avenue,
gle breakbeat techno trip-hop.
Vancouver, BC
604.608.0632 (fax)
ocean3@death-star.com
food, with wings. No user ser
Vancouver, BC, V6J 1J5
446 Union St., Vancouver, BC,
604.224.5450 (Bernie/Polly)
wonderbread® 101 Orecords.com
viceable parts inside.
604.736.7676 (phone)
V6A 2B6
transvestimental@hotmail.com
1010records.com
Pet Fairies
604.255.2475 (phone)
604.739.0936 (fax)
604-254-3468 (Jacob Cino)
onlinerock.com/musicians/tran
Death Lounge — to satisfy all
rheemruud@hotmail.com
diem@smartt.com
cino@vcn.bc.ca
svestimentals
Zuckuss
your deep dark cruel desires.
www3.bc.sympatico.ca/RRF/
www.thirdeye.bc.ca/
Star Wars inspired porno
#14-1656 Adanac St.,
Strugglers
Twelvepoint
grind.
Vancouver, BC
The Riot starters
No samples hip-hop WW
Threat From Outer Space
Crunchy power pop with more
4193 Windsor St., Vancouver,
604.253.2785
We'll puke on you, we'll fuck yr
recording artists.
Funk, fusion, hip-hop, improv.
hooks than a Labour Day fish
BC
scylla2@yahoo.com
mom and smoke while huffing
604.681.0606 (phone)
7920 Frobisher Dr., Richmond,
ing derby.
604.875.1454 (Duncan/Dungar)
gas.
604.608.0632 (fax)
BC, V7C 4NC
917 12th St., Kamloops, BC,
dungar@hotmail.com
Philta
#6-741 Admirals Rd., Victoria,
strugglers@thestrugglers.com
604.274.4328 (Tameem
V2B 3C3
Original west coast style hip
BC, V9A 2N9
thestrugglers.com
Barakat)
250.376.0969 (Robert Hill)
hop.
250.995.1820 (Xero Fetus)
604.272.3795 (fax)
250.314.5175 (fax)
#102-4580 Sidney St.,
fetus42@hotmail.com
Subway Thugs
anabchenub@home.com
skrwnybob@webtv. net
Vancouver, BC
members.tripod.com/~Memora
Rockin' streetpunk. Our fans
604-437-7870 (Eastside Smoke
bilial/index.htm
can beat up your fans.
Tiefisher
The Way Out Theres
Productions)
2843 St. George St.,
Some sparse country + western,
Distasteful slop rock with horen-
philta@idmail.com
Road Bed
Vancouver, BC, V5T 3R8
spacey + atmospheric
dus lyrical content. Not fit for
Members of KD and GP putting
604-876-1 274 (Rob)
interludes, and uplifting all-
minors or people w/heart con-
Placer Sweet
Year 2000 metal/rock.
on a Clinic in Rock.
934 W. 15th Ave., Vancouver,
604-609-0660 (Mike)
604^.09-0661 (fax)
5770 Broadway, Nanaimo,
BC, V9V 1 E9
250.751.2448 (Tyler White)
BC, V52 1R9
604.734.6607 (Super Robertson)
604.292.8189 (Shockk)
warboots@direct.ca
www.streetpunk.net/st/
4th Floor-1 77 W. 7th Ave.,
Vancouver, BC,
604.873.1914 (Katie Polsky,
\
placersweet@hotmail.com
The Shermans
Surfdusters
Surf + twang instro rock for
executive director)
604.876.4104 (fax)
Plan Orange
A local pop intrusion.
your dances + parties.
info@pmia.org
Punk rock.
604.530.2900 (Vincent Dahl)
4337 Percival Ave., Vancouver,
www.pmia.org
#106-400 Smithe St.,
604.253.2181 (fax)
BC, V5G 3S4
iOit             i
Vancouver, BC, V6B6H1
604.298.3322
//        ^V
\v\W\
SOCAN
604.735.4653 (Diana)
singleseven
surfdust@direct.ca
^\W \
One of Canada's Performing
604.488.1490 (Nick)
Two anglophones and one fran
yfP
\&7    "    \
Rights Societies. We collect
planorange@thedoghousemail.com
cophone uniting Canada
SvelteoOO
*^'        • \
license fees from music users
through sound, at least we're
A phat, nifty, sonically charged,
and dispense the revenues as
The Probes
trying.
melodic indie rock band that
\
royalties to SOCAN writer
Rock 'n roll! The devil's music,
132 W. 12th Ave., Vancouver, BC
may ripen to impregnate your
\*   * * *
and publisher members.
played the way God intended it.
604.602.0070 (Laura Schultz)
ear.
\—
/
4th floor-1 201  W. Pender
5945 Arlington St., Vancouver,
singleseven@mail.com
#6-3223 Findlay St.,
V
s
St., Vancouver BC, V6E 2V2
BC, V5R 4N2
www.homestead.com/single-
Vancouver, BC, V5N 4E6
\T_r
>^
604.669.5599 (Dorothy
604.255.7747 (Michael
seven/main.html
604.874.3009 (Scott Hurst)
^               \
Allen)
Dammitt)
Slick 60
Hip Hop influenced Heavy
shurst@artschool.com
or smashogany@hotmail.com
s
allend@socan.ca
the_probes@geocities.com
www.geocities.com/SunsetStrip
otWr /Vv*s<^lWr^o04
/Backstage/1769
Metal (West Coast style).
Tanglefoot
Nyberg Instruments
2916 140A Street, White
Rock/poporiginal-great
High quality handmade
Quick To Blame
Rock, BC
harmonies - 3 siblings: Noah,
BC Music Industry
BC, V5T 4P4
stringed instruments.
(Northwest Hardcore) aggres
604.640.2601 (Derek Zabel)
Beth, Beki.
Foundation and Museum
604.618.8555 (Marcus
Bouzoukis, steel-strings, cit
sive straight-forward punkrock.
604.535.2404 (fax)
2675 Mackenzie St.,
An incorporated, non-profit,
Rogers)
terns, bagpipes.
POBox 331, Belfair, WA,
slick60band@yahoo.com
Vancouver, BC, V6K 3Z9
volunteer-run society AND
or 604.875.9927 ext.22
6320 Bond Rd., Hornby
98528, USA
members.tripod.com/~slick60/
604.739.3094 (Laura Parsons)
registered charitable organi
mrogers@amproductions.com
Island, BC, VOR 1Z0
360.277.01 30 (Mike Dupont)
694.443.1954 (pager)
zation. To recieve a list of BC
www.amproductions.com/cin
250.335.1727 (Lawrence
ciss@oz.net
SMAQu-2
laura@novacomm.com
MUSIC Hall of Fame
estir
Nyberg)
Hip-hop hummpin', huge beat
www.magma.ca/~genhend
inductees enclose a SASE.
nyberg@island.net
Quonset
boomin', jazzy spazzy party
PO Box 56002, Vancouver,
Pacific Music Industry
www.island.net/~nyberg
Fever dreams from a dried-up
pummpperz'
Tendonitis
BC, V5L5E2
Association
oasis.
604.685.0635 (Kris / DJ-B.)
Fast, heavy, relentless, instru
604.299.7201 (phone)
Provinical non-profit member
Look Sharp Talent
948 Keil Street, White Rock,
philsopher72@hotmail.com
mental grindcore beef.
604.327.7778 (fax)
ship association;
Management
BC, V4B 4V7
5741 Lanark St., Vancouver, BC
recording/touring funding,
/ represent an independent
604.538.7203 (RC Johnston)
Solarbaby
604.327.4585 Uesse)
Cinestir Productions
directory, workshops,
band from the Fraser Valley
604.536.4431 (fax)
Iggy Pop meets John Lennon.
dungar@hotmail.com
Music Video Production
newsletter, awards show,
called mindfloss-album was
#105-1775 Pendrell St.,
48 E. 6th Ave., Vancouver,
released June 16,   1999.
1999 Local Music Directory 6124 USA
206.324 6650 (Crazy
Pinoy/Lost+Found)
206.860.4052 (fax)
hiphop206@aol.com
www.crazypinoy.com/
Seven Segment
We book all-ages shows I
local and touring bands:
post-punk, new wave, har
', goth, electro
.82 Fra
s St., Vai
^UXrux^rS
2938 Fraser St., Vancouver,
BC, V5T 3W2
604.685.1229 (Leah Sharp)
604.739.9818
(evenings/wkds|
604.685.0244 (fax)
Ishar
oil.c
Gene Dexter
Co-partner @ Crazy Pinoy
Promotions   Vice president @
Lost-hFound Recordings, Int'l.
213 Martin Luther King Jr.
Way, Seattle, WA, 98122-
BC, V5L 1Z4
604.255.0550 (Jack
Duckworth)
604.709.0033 (Denise
Duckworth)
seven segment@hotm ail. con*
www3.bc.sympatico.ca/se'
ensegment/7SG
The Organization Man
An ongoing ever-evolving
performance/audio visual
enterprise, more fun than tl
20th century.
creosote@smartt.com
p ^ot^er^^^s_
The Truth  Channel
Free.form.psycho.son i<
multimedia.freak.out.Ii
Base  60 Web
Technologies
Web design.
#305-1 855 W.  8th
Ave.,   Vancouver,   BC,
604-738-0633  (Jeff
Moulds)
jmoulds@idmail.com
www.bhm2.com/moulds
Eye Teaser Graphics
Press/media  kits,
posters,   websites,   stickers,   t-shirts,   CD graphics and CD
604.687.6860 (Gisele,
1999 Local Music Directory
Terry)
604.687.6827  (fax)
Ken  Paul
Graphic Design  that
will make you look
sharp!  Part-time bowling companion  as  well.
604.258.9024 (Ken)
longhaul@intergate.bc.
Warboots  Design
Camp
chew  bubble  gum  and
kick some ass;  and I'm
all out of gum.
604.876. I 274  (Rob)
warboots@home.com
Doug  Jines  Pubco.
Donkey donkey donkey
donkey war.   Tristan  has
fancy plans,   and pants
604.977.3340  (Tristan)
dougjines@yahoo.com
Keen  Cartoons
Boundless
All your combine
needs.
1630  E.  Georgia  St.,
Vancouver,   BC,  V5L
2B2
604.254. 1716
(Richard)
604.258.3251   (pager)
UnWall  Photos
Punk  rock  photos  for
the  anti-masses
604.267.9977  (Richard
Seismic  Shift Media
Everything  you've
heard is  true!! Internet
marketing and web
design  services  at your
disposal.
lil.C
I   (Ke
n)
Snatch  Photos
A little lady with a big
lens. Funkyand affordable photographic  ser-
604.734.0716  (phone)
Stella  Pictures
A  realisation  of image.
Photographing   film,
dance,   music  and  'par-
604.734.0716  (Ms.
Hesslin & Mr.   Horwood)
CFRC 101.9 FM
Queen's University
Carruthers Hall, Queen's
University, Kingston, ON,
K7L 3N6
613.545.2121  (phone)
613.545.6049 (fax)
cfrcfm@post.queensu.ca
www.queensu.ca/cfrc
CFRO 102.7 FM
Co.op Radio
337 Carrall St., Vance
BC, V6B 2J4
604.684.8494 (phone
604.681.5310 (fax)
cfrocoop@vcn.bc.ca
www.vcn.bc.ca/cfro/
CFAI 101.1 FM
165 Boulevard Hebert,
Edmundston, NB, E3V 2S8
506.737.5060 (phone)
506.737.5084 (fax)
cfai@nbnet.nb.ca
www.franco.ca/radio_com-
munautaire/cfai
CFAK 88.5 FM
Local El.4 (exterieur),
2500 boulevard de
I'Universite, Sherbrooke,
PQ, J1K 2R1
819.812.8000 x2693
(phone)
819.821.7976 (fax)
cfak@callisto.si.usherb.ca
callisto.si.usherb.ca:8080/
cfak/
CFBU 103.7 FM
500 Glenridge Avenue, Si
Catherines, ON, L2S 3A1
905.641.5550 x4537
(ph«
905.641.7581  (fax)
SK, S7K 4L4
306.664.6678 (phone
306.933.0028 (fax)
cfcr@broadwaynet.con
www.lights.com/cfcr/
CFFF 96.3 FM
t Univ
rtlty
Trent Uni\
Peterborough, ON, K9J
7B8
705.748.1777 (phone)
705.748.1795 (fax)
trent_radio@trentu.ca
www.trentu.ca/trentradio/
CFJU 90.5 FM
CP 969,
Restigouche.Ouest, NB,
EOK 1 JO
506.284.3041  (phone)
506.284.3292 (fax)
cfjufm@nbnet.nb.ca
CFRT 107.3 FM
CP. 692, Iqaluit, NT, XOA
OHO
819.979.4606 (phone)
819.979.0800 (fax)
CFRU 93.3 FM
University of Guelph
U.C. Level 2, U. of Guelph,
Guelph, Ontario, NIG
2W1
519.824.4120 x6919
(phone)
519.763.9603 (fax)
cfru.fm@uoguelph.ca
www.uoguelph.ca/~cfru.fm
/
CFSM 550 AM
St. Mary's University
5th Floor Student Union
Building, Halifax, NS, B3H
3C3
902.423.1739 (phone)
902.425.4636 (fax) 250.721.8702 (phone)
250.721.7111  (fax)
cfuv@uvic.ca
cfuN
:o/
CHMA 106.9FM
Mount Allison University
#303.152a Main St.,
Sackville, NB, E4L 1 B4
506.364.2221  (phone)
506.364.2233 (fax)
mta.c
v.mta.
a/chma/
CHMR 93.5 FM
Memorial University
Box A.l 19, Memorial
University, St. Johns, NF,
A1C 5S7
709.737.4777 (phone)
709.737.4743 (fax)
CHRW 94.7 FM
University of Western
Room 222, UCC Bldg.,
U.W.O., London, ON,
N6A 3K7
519.661.3601 (phone)
519.661.3372 (fax)
chrw.fm@julian.uwo.ca
CHRY 105.5 FM
York University
#413.4700 Keele St.,
North York, ON, M3J 1 P3
416.736.5293 (phone)
416.650.8052 (fax)
chry@yorku.ca
www.yorku.ca/org/chry/
CHSJ 700 AM
335 Union St., Box 2000
Terminal, Saint John, NB,
E2L 3T4
506.632.2222 (phone)
CHSR 97.9 FM
University of New
Brunswick
SUB, UNB, Fredericton,
NB, E3B5A3
506.453.4985 (phone)
506.453.4958 (fax)
chsr@unb.ca
www.unb.ca/web/chsr
CHUO 89.1 FM
University of Ottawa
#227.85 University Ave.,
Ottawa, ON, KIN 6N5
613.562.5965 (phone)
613.562.5848 (fax)
chuofm@uottawa.ca
www.uottawa.ca/~chuofm
CISM 89.3 FM
2332 Edouard Montpetit,
Bureau C1509, Montreal,
PQ, H3C 3J7
514.343.7511  (phone)
514.343.2418 (fax)
CiTR 101.9 FM
University of British
#233-6138 SUB Blvd.,
Vancouver, BC, V6T 1Z1
604.822.3017 (phone)
604.822.9364 (fax)
citrradio@mail.ams.ubc.ca
www.ams.ubc.ca/media/citr
CIUT 89.5 FM
University of Toronto
91  St. George Street,
Toronto, ON, M5S 2E8
416.595.0909 (phone)
416.595.5604 (fax)
ciut@campuslife.utoronto.ca
www.campuslife.utoronto.ca
CIXX 106.9 FM
Box 4005 Fanshawe
University,  1460 Oxford
St. E., London, ON, N5W
5H1
519.453.2810 (phone)
519.452.3139 (fax)
CJAM 91.5 FM
401 Sunset Avenue,
Windsor, ON, N9B 3P4
519.971.3606 (phone)
519.971.3605 (fax)
www.uwindsor.ca/cjam
CJLX 92.3 FM
P.O. Box 4200, Belleville,
ON, K8N 5B9
613.966.0923 (phone)
613.966.1993 (fax)
cjlx@LoyalistC.on.ca
Check out DJ Girl live
every Saturday afternoon
Open mic every Thursday
Visit Our Website
www.bluntbros.com
phone: (604) 68-BLUNT (604)682-58681
317 West Hastings Street, Vancouver, B.C. V6B1H6 f
CJMQ 88.9 FM
Box 2135 Bishop's
University, Lennoxville, PQ,
JIM 1Z7
819.822.9600 x2689
(phone)
819.822.9747 (fax)
cjmqnews@ubishops.ca
cyniska.ubishops.ca/cjmq/
CJPN 90.5 FM
Sainte.Anne, 715 rue
Priestman, Fredericton, NB,
E3B 5W7
506.453.2731 (phone)
506.453.3958 (fax)
cjpn@nbnet.nb.ca
CJRM 97.3 FM
308 Hudson, CP 253,
Labrador City, NF, A2V
2K5
709.944.7600 (phone)
709.944.5125 (fax)
afllabra@cancom.net
CJRT91.1 FM
150 Mutual Street, Toronto,
ON, M5B 2M1
416.595.0404 (phone)
416.595.9413 (fax)
admin@cjrt.org
cjrt.org/
CJSE 89.5 FM
CP 607, Shediac, NB, EOA
3G0
506.532.0080 (phone)
Carleton University,
506.532.0120 (fax)
Ottawa, ON, K1S 5B6
cjse@nbnet.nb.ca
613.520.2898 (phone)
613.520.4060 (fax)
CJSF 93.9 FM
ckcu@freenet.carleton.ca
TC 216, SFU, Burnaby, BC,
V5A 1S6
CKDJ 96.9 FM
604.291.3727 (phone)
1385 Woodroffe Ave.,
604.291.3695 (fax)
Algonquin College,
cjsf@sfu.ca
Nepean, ON, K2G 1V8
www.sfu.ca/cjsf
crockfd@algonquinc.ca
CJSR 88.5FM
CKDU 97.5 FM
Room D 09, SUB, U. of A ,
6136 University Avenue,
Edmonton, AB, T6G 2J7
Dalhousie U., Halifax, NS,
403.492.5244 (phone)
B3H 4J2
403.492.3121  (fax)
902.494.6479 (phone)
cjsrfm@gpu.srv.ualberta.ca
902.494.1 1 10 (fax)
www.ualberta.ca/~cisrfm/
ckdufm@is.dal.ca
is2.dal.ca/~ckdufm/
CJSW 90.9 FM
Room 127, MacEwan Hall,
CKGN 89.7 FM
U of Calgary, Calgary, AB,
23 chemin Brunetville,
T2N 1N4
Kapuskasing, ON, P5N
403.220.3902 (phone)
2E9
403.289.8212 (fax)
cjswfm@acs.ucalgary.ca
www.cjsw.com/
CKAJ 92.5 FM
3791, rue de la Fabrique,
(CP. 872 Centre ville),
Jonquiere, PQ, G7X 7W4
418 546.2525 (phone)
418 546.2528 (fax)
CKCU 93.1  FM
517 University Centre,
705.335.5915 (phone)
705.335.3508 (fax)
ckgn.fm@nt.net
CKIA96.1  FM
600, Cote d'Abraham,
Quebec City, PQ, G1R
1A1
418.529.9026 (phone)
418.529.4156 (fax)
CKIC 93.1  FM
P.O. Box 431, Wolfville,
staff picks
^ +L    recent releases
sfl-fej
3296 Main St./17th
876.9233
I  we carry garage, oil, ska,  1
1   hip hop, hardcore, emo,   1
anarcho-punk LPs, 45s,
CDs - New & Used
i_H__
TOP $ PAID  FOR  PUNK VINYL
100% CANADIAN OWNED AND OPERATED
1999 Local Music Directory NS, BOP 1X0
902.542.2287 (phone)
902.542.3901  (fax)
CKLB 101.9 FM
CP.  1586, Yellowknife,
NT, XI A 2P2
403.873.3292 (phone)
403.873.2158 (fax)
fft@franco.ca
CKLN 88.1  FM
Room A74, Jorgenson Hall,
380 Victoria St., Toronto,
ON, M5B 1W7
416.595.1477 (phone)
416 595.0226 (fax)
CKLU 96.7 FM
API, 935 Ramsey Lake
Road, Sudbury, ON,
P3E.2C6
705.673.6538 (phone)
705.675.4878 (fax)
chef@cklu.isys.ca
www.cklu.isys.ca
CKMJ 106.1  FM
CP. 430, Cheticamp, NS,
B0E 1H0
902.224.1242 (phone)
902.224.1579 (fax)
ckjm@atcon.com
CKMO 103.1  FM
3100 Foul Bay Rd,
Camosun College, Victoria,
BC, V8P 5J2
250.370.3658 (ph,
250.370.3679 (fax)
ckmo@camosun. bc.ca
www.camosun.bc.ca/~ckmc
CKMS 100.3 FM
200 University Ave. W,
Waterloo, ON, N2L 3G1
519.886.2567 (phone)
519.884.3530 (fax)
ckms@web.net
Dtserv
Brio.
a/
-cki
sinfo/
CKNA 104.1  FM
29 Chemin D'en Haut, CP.
9, Natashquan, PQ, GOG
2E0
418.726.3284 (phone)
418.726.3572 (fax)
ckna@quebectel.com
www.chebucto.ns.ca/~cor
mier/ckna.html
CKON 97.3 FM
2 Belmont Street, Cornwall,
ON, K6H 4Z1
613.575.2100 (phone)
613.575.2182 (fax)
CKRG 800 AM
2275 Boyview Avenue,
Toronto, ON, M4N 3M6
416.487.6739 (phone)
416.487.6779 (fax)
CKRL 89.1 FM
250, Grande Alle ouest,
Bureau 801, Quebec City,
PQ, G1R 2H4
418.692.2575 (phone)
418.640.1588 (fax)
CKSL 91.9 FM
Student Association,
Portsmouth Avenue,
Kingston, ON, K7I 5A6
613.544.5400 (phone)
CKUA 94.9 FM
4th Floor,  10526 Jasper
Ave., Edmonton, AB, T5J
1Z7
403.428.7595 (phone)
403.428.7624 (fax)
ckua@oanet com
www.ckua.org
CKUL 99.7FM
Rm. SU 164, 4401
University Drive West,
Lethbridge, AB, T1K 3M4
403.329.2335 (phone)
403.329.2224 (fax)
ckul@uleth.ca
home.uleth.ca/~ckul/
CKUM 105.7 FM
159 Avenue Massey,
Centre Etudiant, Moncton,
NB, E1A 3E9
506.858.4485 (phone)
506.858.4524 (fax)
ckum@umoncton.ca
CKUR 760 FM
Student Union Bldg,
University of Regina,
Regina, SK, S4S 0A2
306.58
306.58
812 (phone]
812 (fax)
CKUT 90.3 FM
3647 University, Montrec
PQ, H3A 2B3
514.398.6787 (phone)
514.398.8261  (fax)
CKUW 95.9 FM
Room 4CM1 1,515
Portage Ave., Winnipeg,
MB, R3B 2E9
204.786.9782 (phone)
204.783.7080 (fax)
ckuw@winnipeg.freenet.mb.ca
www.winnipeg.freenet.mb.
ca/ckuw/
CKWR 98.5 FM
P.O. Box 216; 56 Regina
St. N., Waterloo, ON, N2J
3A3
519.886.9870 (phone)
519.886.0090 (fax)
ckwr@worldchat.com
CKXL91.1  FM
340, boulevard
Provencher, Sain
MB, R2H 0G7
204.223.4243 (phone)
204.233.3646 (fax)
envol91@escape.ca
fact
CLCR 101.5 FM
4901  46th Ave., Camrose
AB, T4V 2R3
403.679.1541  (phone)
403.672.5252 (fax)
clcr@augustana.ab.ca
COQC 600 AM
1200 McGill College, Ste
300, Montreal, PQ, H3B
4G7
514.874.4040 (phone)
514.393.4659 (fax)
CRFM 89.9 FM
Box 5001 Canadore
College, North Bay, ON,
P1B 8K9
705.474.7600 (phone)
705.474.2384 (fax)
CRSG 88.9 FM
1455 De Maisonneuve
Blvd., Suite 647, Montreal
PQ, H3G 1M8
514.848.7402 (phone)
514.848.7450 (fax)
CRSJ 104.1  FM
Box 5050, Tucker Park,
UNB Saint John, Saint
John, NB, E2L 4L5
506.648.5667 (phone)
506.648.5667 (fax)
venoe v5>
Anza Club
3 W. 8th Ave., Vancouver,
BC
604.876.7128 (phone)
Astonia
769 E. Hastings St.,
Vancouver, BC, V6A 1R3
604.254.3636 (Ari)
Brickyard
315 Carrall St., Vai
604.685.3978 (Jay)
Cafe Deux Soleils
2096 Commercial Dr.,
Vancouver, BC, V5N 4B2
604.254.1 192 (Paul)
Cellar Jazz Cafe
361 1  W. Broadway,
Vancouver, BC
604.738.1956 (phone)
jazzcel@aol.com
Chameleon Urban
Lounge
801  W. Georgia St.,
Vancouver, BC
604.683.6527 (Adrian)
Columbia
303 Columbia St.,
Vancouver, BC
604.683.3757 (phone)
604.689.0428 (fax)
Lava Lounge
1 176 Granville St.,
Vancouver, BC
604.605.1 154 (David)
Palladium
1250 Richards St.,
Vancouver, BC
604.688.2648 (phone)
Picadilly Pub
620 W. Pender St.,
Vancouver, BC, V6B 3G2
604.682.3221  (phone)
Pit Pub
6138 SUB Blvd.,
Vancouver, BC
604.822.651 1  (phone)
Purple Onion
15 Water St., Vancouver,
BC
604.602.9442 (phone)
604.602.1270 (fax)
The Railway Club
579 Dunsmuir St.,
Vancouver, BC, V6B 1Y4
604.681.1625 (phone)
Richard's on Richards
Upscale nightclub and live
venue with 2 floors,
gourmet kitchen.
1036 Richards St.,
Vance
, BC
604.687.6794 (Kari
Berdahl)
604.687.5798 (fax)
info@richardsonrichards.com
www.richardsonrichards.com
The Starfish Room
1055 Homer St.,
Vancouver, BC
604.682.4171  (Keith)
604.682.1331
Sonar
15 Water St., Vancouver,
BC
604.683.6527 (Luke)
Sugar Refinery, the
Secret Three Fryer Tuck The
Beans Radiogram Sean
MacDonald Debris Young +
Sexy Jazz-electronic pop.
1 1 15 Granville St.,
Vancouver, BC, V6Z 1M1
604.683.2004 (Steven)
Tribeca
536 Seymour St.,
Vancouver, BC, V6B 3J5
604.688.8385 (Stuart)
The Wett Bar
1320 Richards St.,
Vancouver, BC, V6B 3G6
604.662.7707 (phone)
604.662.7997 (fax)
1999 Local Music Directory re.kid \c^be/s
1010 Records
Vancouver, BC
604.681.0606 (phone)
604.608.0632 (fax)
info@1010records.com
www.1010records.com/
Capital Punishment
Corporate rock.
1st Ave RPO POBox 56001,
Vancouver, BC, V5L 5E2
604.253.6543 (Nick)
capitalpunishment@netscape.net
www.capitalpunishment.
bc.ca/
Crusty Records
Crusty Is As Crusty Does compilation, Chick Magnets full
length, more to come ...
PO Box 59, 1 895 Commercial
Dr., Vancouver, BC, V5N 4A6
604.241.4955 (Dave Crusty)
crusty_records@hotmail.com
Gruv Records
Indie record label. Hip-hop.
13306 82B Ave., Surrey, BC,
V3W 0P5
604.671.0874 (Marvin)
gruv98@yahoo.com
Longshot
Label and distro specializing ir
#606-233 Abbott St.,
Vancouver, BC (Mike)
604^5090660 (phone)
604-609-0661 (fax)
888-SKA-BEAT
mikeio99@home.com
LoveundRomance
Radio Berlin coming sc
very sad music shortly
thereafter...
4576 56A St., Delta, BC, V4K
3C6 (Julie)
LoveundRomance@hotmail.corr
Mag-7 Music
Lo-fi recordings — all styles —
indie, techno, acoustic, art rock
etc.
#102-1555 HoweRd.,
Kamloops, BC (Martyn A.
Jones)
250.377.0174 (phone)
250.314.5175 (fax)
skrwnybob@webtv. net
Map Music
Westcoastelectronicculture label.
#608-1027 Davie St.,
Vancouver, BC, V6E 4L2
604.602.1038 (fax)
info@mapmusic.com
Noble Music
Indie label out of Windsor, Ont.
#6-129 Eerie St, Windsor, ON
Complete music production and promotion
'M^~ fi*" •   Record, Mix and Master
HH^S ;       •   24 tracks analogue/digital
"^ |       •   Automation w/total recall
•   Pro gear, pro musicians
•   CD one-offs
•   Wide selection of instruments
•   Full-length CD's or promotional demos
Songwriting, vocal and composition training
•    Studio recording/mixing training
Blowoutyear-end' rczt&y!
$1000 weekly lock-out
$200 24 hr lock-out
Ask about our local band promotions!
Calljay
(604)879-1448
(Richard Noble)
noblemusic@hotmail.com
www.esse.com/
Procrastafarian Records
Small label looking for experimental, innovative home
recorders, any style.
46-1345 Davie St., Vancouver,
BC, V6E 1 N5
604.688.4872 (Roddy Fraser)
wecooshla@yahoo.com
Sinusoidal Records
Platform for Sinusoidal
Collective releases. Free
Distribution for the Masses.
604.466.3756 (Rich)
604.466.3756 (fax)
604.264.9958 (Jer)
sine@ranch.org
sine.ranch.org
Van Ricter Records
Tfie premier North American
industrial rock record label!
Roster includes Testify, Gug.
#905-50 Stephanie St.,
Toronto, ON, M5T 1B3
416.591.9293 (Gina Bianca)
514.288.7766 (fax)
760.320.4474 (Squid
McCreodie)
vrichter@netcom.com
vr.dv8.net/
Vit Vit Records
Independent, Canadian gems.
604.263.5858 (Katrina)
katrinanoiz@hotmail.com
rTekid shops
Bassix
217 W. Hastings St.,
Vancouver, BC
604.689.7734 (phone)
Beatstreet/Puff
4326 Main St., Vancouver, BC
604.708.9804 (phone)
Boomtown
#102-1252 Burrard St.,
Vancouver, BC
604.893.8696 (phone)
Crosstown Music
518 Pender St., Vancouver, BC, V6B 1V5
604.683.8774 (phone)
F.W.U.H.
552 Beatty St., Vancouver, BC
604.687.7464 (phone)
Futuristic Flavour
1020 Granville, Vancouver, BC
604.681.1766 (phone)
Hush Records
221 Abbott St., Vancouver, BC
604.662.7017 (phone)
Highlife Records
1317 Commercial Dr., Vancouver, BC
604.251.6964 (phone)
Neptoon Records
5750 Fraser St., Vancouver, BC
604.324.1229 (phone)
Noize
540 Seymour St., Vancouver, BC
604.681.7007 (phone)
Sam the Record Man
568 Seymour St., Vancouver, BC
604.684.3772 (phone)
Scratch Records
726 Richards St., Vancouver, BC
604.687.6355 (phone)
Singles Going Steady
3296 Main St., Vancouver, BC
604.876.9233 (phone)
Vinyl Records
76 W. Cordova St., Vancouver, BC
604.689.3326 (phone)
Zulu Records
1 869 W. 4th Ave., Vancouver
BC, V6J 1M4
604.738.3232 (phone)
1999 Local Music Directory DiSCORDER
'That pathetic shitrag with
no significant impact in the
local mediascape' from CiTR
101.9fM
#233-6138 SUB Boulevard,
Vancouver, BC, V6T 1Z1
604.822.3017x3 (Barbara
Andersen, editor & Maren
Hancock, advertising)
604.822.9364 (fax)
citrradio@mail.ams.ubc.ca
www.ams.ubc.ca/media/citr/
discord/
Five Minute Major
A hockey flavoured fanzine
covering punk, HC, and metal.
1358 E.61st Avenue,
Vancouver, BC, V5X 2C7
604.322.7174
fiveminulemaior@hockeymail.com
www.angelfire.com/bc/fivemi
nutemajor
lcky Poo
The official zine ofthe Whado
kids. Music & fun.
POBox 106 Station A,
Vancouver, BC, V6C 2L8
604.254.2441 (Jenny Smyth)
icky_poo2@yahoo.com
www.geocities.com/SunsetStri
p/Lodge/4239/
Papernet Catalogue
'Unsigned bands, labels!
(especially Garage Electronic):
Interesting music gets written
up FREEH All compilations
reviewed.
2806 E. 2nd Ave., Vancouver,
BC, V5M 1E3 (James)
papernet@hotmail.com
www.npsnet.com/endymion/
People of Innsmouth
Lovecraftiana, Thickets news &
fan mail, interviews w/creative
types
#302-1015 W.13th Ave.,
Vancouver, BC, V6H INI
737-HATE (Toren Atkinson)
thickets@uniserve.com
users.uniserve.ca/~darkest/
Recycled Rubbish
Zine that has interviews with
punk bands and crap like that.
And other good stuff.
610 Salsbury Drive,
Vancouver, BC, V5L 3Z9
604.254.1563 (Todi Maguire)
recycledrubbish@hotmail.com
Rubber Popsicle Factory
Visual refreshment
piclurebook, jam-packed with
artwork of popular culture to
create a surreal feast.
#34-1455 W.8th Avenue,
Vancouver, BC, V6H 1C9
604.738.5899 (Owen
Plummer)
Sockamagee!
B-mov/es of the finest calibre,
rock and roll from Vancouver
and beyond. $2
2037 Stainsbury Ave.,
Vancouver, BC, V5N 2M9
604.874.0338 (Steve
Richards)
Trashmaven
Tall tales of sin through the
eyes of a beer drinkin'
maneater! Free, send S.AS.E.
PO Box 60069 Fraser PO,
Vancouver, BC,
604.258.3416 (Gerry-Jenn)
trashmaven@hotmail.com
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vn
1999 Local Music Directory is dead because some music they don't like is
popular. It seems very selfish. There are so morty
kids out there who are listening to whatever they
like. If you're going to go back to the original,
loose sort of definition of what punk/hardcore is,
then Wesley Willis and Atom pretty much fit the
bill.
Okay, but your music definitely has a
strong political slant to it. Would you
guys ever play, say, the Warped Tour to
get the message across to more people?
Steve: If they organised it in a radically different
way than ft is being done now.
Andy: tf it wasn't being sponsored by Vans.
Vans, a long time ago, put out this shoe.
It was like a canvas shoe that was co-
sponsored    by    Coors.     It    was    the
Vans/Coors Light Silver Bullet shoe. It
had the beer wolf on it.
Jen: Coors are notoriously homophobic and
sexist and they would not hire people of colour to
be in their ads.
Andy: With that in mind, [then] no, we would
not play the Warped Tour.
Jen: We did go on that Return of the Read
Menace comp, though.
Steve: Chumbawamba was on it and I'm pretty
sure it's being distributed by some people we
would normally not deal with. With the AK Press
comp, we sat down and had a discussion about it
because we were under the impression that it was
coming out on Honest Don's. All the money,
though, is going to something that we strongly
believe in. AK Press is full of good id<
people need to find out about. Music is <
-~*r1ot more universal than anarchist literature.
Who does all the artwork? Is that
Jen?
Jen: Yeah.
What's with all the hearts?
Jen: Our logo, a heart breaking the c
Somebody once, what'd they think it meant?
Andy: Love is the weakest link [laughter]
Jen: Yeah, it means compassion, love, empafl
— all these things will break our chains.
What's   up   -with   the   shows   in   your
basement? Are they gonna keep going
Steve: That woj completely unplanned.
pharmaceutical. People aren't making
Andy:  We went on a West Coast tour and
money off of it. And we jusf started to
Manner Farm toyred with us and, while they were
compare gorlic to so many other things
playing, I'd incite the crowd and hit the drums
Besides, it keeps vampires aw<jy,
and  they got into doing  that when we were
playing.
Despite all the heavy talk, Submission
Jen: Dragging Phil away from his drums white he
Hold is really a bunch of sweethearts.
was still ploying.
Catch  them now,   because one day,
on?
Jen: S<
This
It's too expensive
been suggest
a little intimidat
people live, but kids have come up to rr
shows and said, 'It's cool the way you guys have
it set up.' And just so everyone knows, you're all
welcome. Unless you're dunking and being an
asshole; in winch case, you're not welcome.
What's up with all the stage guests when
you guys play? Particularly the Under
the Volcano show [where a ten-person
human  pyramid and a  fire-breather
helped fill the enormous stage]?
Jen: That's only when members of Manner Farm
are around.
soon, the stock market is _
far. And, one day, the cops will beat \
up the wrong immigrant. And; oi
day, our bosses wilt make us stay a
extra hour too long. Our basements i
will be teeming with garlic and some
monkey is gonna throw the first of
many bricks, That day, Submisi
Hold will be the soundtrack h
revolution. That day, my ,
friends, we will win.   • M Video Philter
It's the most wonderful time
of the year Christmas is for
people who like people, but
fall is for those of us who'd
rather sit in the dark and commune with images of people
created by light and projected
to
The
Hollywood studios, who every
year do a most faithful imitation of Aesop's The Ant and
the Grasshopper by squirreling away their best product
from February until August,
finally put on their feast of
quality pictures from
September to December. Some
years the repast is heartier
than others; this year's banquet — including a battered
Brad Pitt and some wicked Tim
Burton — looks quite sumptu-
In addition to the best that
commercial American filmmaking has to offer, the
September/October crux
brings a global bounty of celluloid   to  Vancouver  theotre
1999 the 18th instalment,
screens films for every taste,
interest and stomach. While I
can't say lhat I'm impressed,
ole
yf,lr
see at the festival, my success
ratio stands at about 75% —
pretty good considering my
sampling of the festival's offerings is usually closer to gorge
than nibble.
This year, between
September 24th and October
10th festival-goers will hove
an extra-large sized 250 films
fo chew on The VIFF web site
will have a film guide available around September 10th,
and tree-based program
guides will go on sale
September 17th. For tons of
information — including
venues, box offices, prices
id during the festival a bi-
val mood, I suggest cruising
around Videomatica or your
local independent video store
and checking out some ghosts
of festivals past. The above-
mentioned Mecca of video at
Fourth and Burrard ingeniously
places "Selected by the VIFF"
stickers on the front of relevant
boxes to aid your shopping.
Gracing the new releases
section right now are a duo of
films that played the festival in
1997. While many moviegoers seek out the VIFF to get
away from the genre trappings of mainstream cinema,
there is no rule which says
that international and independent directors can't play
the  genre   game   too.   From
weekly
n-lir
magazir
Ihe
Vane
go to www.viff.org right nowl
(Or you could finish reading
this.)
To get yourself in the festi-
Russ
Ale;
Balabanov's Brother adopts
many conventions of the gangster film. By placing them within the context of the crumbling
post-communist Russian economy, Balabanov gives the
tired genre a gritty, nihilistic
edge    Brother is the not-so-
unfomiliar story of a young
man who makes his way to
the big city to join his bratz,
a big-time crime guy Of
course, joining the Russian
Mafia isn't as easy as it looks;
Understated performances,
especially by the brooding
lead Sergei Bodrov Jr., add a
delightful chill to this
Moscovite tale.
Whereas Brother shoots it
out with gangster cinema, the
French film Clubbed to
Death does a merry dance
with the "night-on-the-town"
sub-genre. While it has all of
the rhythms, ond as little of the
depth, of a great music video,
Yoland Zuberman's story of a
young girl accidentally inducted into the thriving rave scene
on the ethnic outskirts of Paris
is a grooving way to spend 88
minutes. As the girl, Elodie
Bouchez has little more to do
than grin from behind a mane
of wild brown tresses, while
the Chemical Brothers, Daft
Punk and Massive Attack
pump in the background.
Immigrant life in France and
heroin addiction are superficially discussed, buf the real
pull of Clubbed to Death is its
mix of heightened emotion
and moodily-lit hand-held visuals custom-made for thirty second attention spans
For a stylish genre feature
with a little more going on
between the beats, check out
Abel Ferrara's The
Addiction Culled from the
files of the 1996 festival, this
vampire flick mixes heavy
Catholic overtones with heavy
philosophical discussion.
Luckily, it's easy on the eyes
and dripping with fabulous
performances. Lily Taylor plays
a New York graduate student
who is vampirized by
Anabella Sciorra on her way
home from the library one
night (remember that on the
way to your car some rainy
black evening). Her metamorphosis from holier-than-thou
doctoral candidate to amoral
bloodsucker is used as an
opportunity for the image-conscious Ferrara to say what he
really feels — Humankind is
Evil without the Divine Grace
of God. Or something like
that. The Addiction's visual
homage to Nosferatu and
German Expressionism (lots of
long, dark shadows) is
enhanced by its gorgeous
colourlessness.
If you're not in the mood
for Uzis, block-rockin' beats or
blood-soaked visages, perhaps you'd like a British sampling from the coming-of-age
genre on your plate. Screened
during     the      1993     VIFF,
Buddha of Suburbia is a
guffow-per-minute adaptation
of Hanief Kureshi's novel of
the same name, which tells the
decade-long saga of an
Anglo-Indian boy making his
way in the world of 1970s
suburban London. While I had
to endure four hours of perma-
pain at the Ridge Theatre
(before the new, slightly-less-
uncomfortable seat installation), you can have the
pleasures of your own couch,
fridge, bathroom and pause
button as you watch young
Kareem go from Bowie-worshipping masturbator to
Thatcherite actor, with references to dog spunk, Billy
Idol, Indian corner shops,
and Kipling in between.
Naveen Andrews, seen a few
years ago in The English
Patient, plays "Creamy" with
a combination of smirk and
innocence appropriate for the
Carpe Diem '70s.
To all the festival virgins:
make much of time. Not every
festival offering can be as fun
as Buddha of Suburbia or as
provocative as The Addiction,
but, like they told you at
Kindergarten snack time, you
can't know that you don't like
it if you don't try it. Dive head
first into the heaping platter of
filmic delicacies and let your
stomach sort it out. •
UBC'S Cheapest
Computer Store
4424 West 10th Ave
> Consignment
> Buy & Sell
> New & Used
> Cheap Service
CaPs Computer Warehouse Inc.
4424 W. 10th Ave 222-9500 &
3083 Grandview Hwy. 437-5551
Go See Cal! THE    18th    VANCOUVER
INTERNATIONAL FILM FESTIVAL
Sept  24 to  Oct  10,  1999    •    300 Films from 50 Cou
VISA
AIR   CANADA
Megacities (Austria, 94 min.) Michael Glawogger's film is an
enthralling and subjective tour of some of the world's margins, from
Manhattan crackheads to Mexican chicken-feet sellers to Bombay
prostitutes, all seen with the director's engagingly warped perspective.
He puts his camera where tourists dare not. See it and be implicated.
Desert Blue (U.S.A., 90
min.) A "who's who" of
indie cinema-Brendan
Sexton III, Christina
Ricci, Casey Affleck-
star in Morgan J.
Freeman's wonderfully
eccentric look at the kids
of Baxter, California,
population 89, a desert
town thrown into a tizzy
when a truck carrying
possibly hazardous
material crashes on the
highway.
A    Girl    Is    a    Girl
(Canada, 87 min.) This
feature debut from one
ot British Columbia's
most celebrated editors,
Reginald Harkema, is
the story of a young
man's search for love
and companionship,
featuring a brilliantly natural and riveting performance by newcomer
Andrew Mclntyre. With
short.
Stuff (Canada, 87 min.)
A contemporary, surreal
fairy tale that plays like a
mystery thriller/black
comedy from director
James Dunnison.
Twenty-two-year-old
Philip, having killed his
domineering mother,
embarks on a quest into
the bowels of the city to
restore the power to a
magical ring he possesses.
Tsuru-Henry (Japan, 85
min.) Okinawa's foremost director Takamine
Go offers another mind-
bending trip into the
archipelago's mythology, music, history and
insect life, this time in
the company of a lady
blues singer/broadcaster and a young karate
champ...
SAME PLANET • DIFFERENT WORLDS
Sex: The Annabel
Chong Story (U.S.A.,
86 min.) January 19,
1995: Annabel Chong
sets a world record by
having sex with 251 men
in ten hours. What transformed Grace Quek, a
22-year-old USC undergraduate in gender studies, brought up in a strict
Singaporian Catholic
family, into an outspoken sex queen? Gough
Lewis finds out...
Better Living Through
Circuitry (USA, 85 min.)
Clint Alberta brings new
Uon Reiss' hip and hypnotic documentary
smells like teen spirit as
it delves deep into the
world of the electronic
music craze, introducing
some of the rave scenes
leading lights, including
The Crystal Method, DJ
Spooky, Moby, Roni
Size & Reprazent,
Electric Skychurch and
many more.
Deep Inside Clint Star
(Canada, 89 min.) Clint
Alberta brings new life to
documentary with this
cinematic joy ride up
gritty urban streets and
down dusty reservation
roads, as he and his
young Aboriginal friends
talk about sex, life, love,
abuse and 500 years of
oppression. With:Rapt
and Happy (Nova
Scotia, 17 min.), Emily
Vey Duke and Cooper
Battersby's whimsical
look at love.
Existo (U.S.A., 94 min.)
Loaded with excellent
music, sharp humour
and biting social observations, Coke Sams' film
is a saucily subversive
musical, part Rocky
Horror and part The Last
Big Thing.
Fundamentalist
Christians have taken
control of the US and
outlawed art. Existo, legendary performance
artist, returns from
prison to do battle with
the Right...
Juha(Findland,78min.)
This new feature from
redoubtable Finn Aki
Kaurismaki (Drifting
Clouds) is based on a
novel by great Finnish
writer Juhani Aho. The
story is about a young
wife who is seduced
away from her hardworking husband by a
Russian Don Juan, but
Kaurismaki has made it
as a silent film (with fabulous music)!
Full Blast (Canada, 93
min.) Locked out of the
mill and with their bar
band falling apart, four
young adults in
Bathhurst, New
Brunswick, face a future
where nothing is certain
except substance abuse
and lobster poaching... A
brutally realistic debut
feature from Rodrigue
Jean-known at VIFF 99
as a New Brunswick Dirty
(VIFF 98). With: Island
(Ontario/Cyprus, 10
min.), in which a man
becomes spellbound by
reflections and shadows;
a sensual experimental
short by Irena Joannides.
_&_fc^_'£
Johnny (Canada, 85 min.) The first
Canadian film to follow the vows of Dogma
95 is Carl Bessai's emotionally raw character study of a leader of a group of squeegee
youths whose efforts at making a video
allow for his maniacal director's ego to flourish. With: Strictland (British Columbia, 17
n.), Kris Choi's visual investigation of
entrapment and angst in a mediated world.
Criminal Lovers (France, 90 min.) From
French bad boy Francois Ozon (Sitcom,
VIFF 98) comes this look at a teenaged
girl named Alice who likes to play
games-games of seduction, violence
and murder... A deliciously adult twist
on Grimm Bros, territory., sophisticated and
stylish.
Cross Harbour Tunnel (Hong Kong, 93
min.) Lawrence Wong's wild indie feature
boasts four interlocking stories (Mystery
Train-style), one of them a wicked parody of
Tsai Ming-Liang's Vive I'Amour, all of them
funny and unpredictable (Part in Tagalog).
Japanese Horror
From demonic twins to killer videotapes!, the VIFF is proud to present a series of Japanese honor films at this year's festival.
guaranteed to chill you to tho bono...
(d. Nagasaki Shunichi)
(d. Tsukamoto Shimyai)
Gemini (Japan, 84 min.) Tsukamoto (Tetsuo) Shinya adapts
an Edogawa Rampo story about an upright doctor imprisoned and replaced by his demonic twin. Motoki Masahiro
leads a starry cast; Tsukamoto films in his patented kinetic
style.
5Sr__
VIACOM CANADA
BCTV   ,v
Be\so\6 Hedges
The VancouverSun
TriGRxk
ROGERS
BCTEL
44 Mobility
Budget
FecOs.
101
m wmMM mmm
Hew Album In Stares How
TIRED OF PLACING ADS IN RAGS THAT
NO ONE READS?
When you advertise with DiSCORDER, you're advertising with the most
cost-effective magazine in town, plus the comforting reassurance of
knowing that no matter where you go, there you are.
DiSCORDER is Vancouver's CiTR Radio's programme guide. We are
Vancouver's longest-running, widely distributed (over 300 locations in
Vancouver, the 'burbs, Victoria, Bellingham, Seattle and Olympia) and
most beloved (we're free!) indie music magazine. Best of all, we  have
the cheapest ads of any major magazine in town.
Call Maren at 822-3017 (ext. 3)
to book your ad today! •f &e Happy Like Lionel!
QeOOK: September ZZ
»  ART: September Z%
SmETS: October 1
foraToOP TIME phone Maren @ Ul-$0\7 (ext.
Wanna See Tricky live? Then Tell us why we should Let You
In 15 Words oj-~ Less.'.'.' The Two Most creative Answers will
Each Win A Pair of Tickets to See Mr. Tricky Himself on
Sept. 27 & a Copy of Tricky's latest Release Juxtapose.
Courtesy of Your Friend (And Ours) UNIVERSAL CONCERTS-'-'-'
Enter via fax: 822-9364;
mail: #233-6138 SUB Blvd,
Vancouver, BC V6T1Z1;
e-mail: citrradio@mail.ams.ubc.ca;
drop it off fo the above address.
lease specify "Tricky Contest" in
the heading, and include your
name & phone #. Enter as many
times as you like! Winners will be
contacted by phone.
Deadline for entries is Sept. 20.
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Review
ALBUMS • ZINES • RECORDED MEDIA
DEHUMANIZED
Problems First
(New Red Archives)
Wow! Real, live black people
playing punk rock! That's right,
kids, 2 of the 4 members of
Dehumanized aren't whiteys
leave it to a pinko-lhemed label
to challenge the structure of the
white, male, heterosexual, "let's
hop on our skates and go get
some pussy" world of today's
punk. This album is, as might be
expected from something that
actually challenges the established norm, imaginative, intelligent, and full of all kindsa good
stuff It's fast, old school
punk/hardcore that preaches
almost as much as Jimmy
Swaggart. No macho posturing.
No football team choruses. No
NOFX riffs No nonsense. Just
smart lyrics coupled with good
songs. Plus, one of the songs has
a lyric that goes, "Fuck stereotypical families, 'cause mommy's
killin' the kids." And there's a
picture of a lynched baby (send
your death threats to a band like
Limp Bizkit, 'cause the picture
ain't real) So you can just stick
that in your pipe and smoke it.
gibby peach
ANI DIFRANCO AND UTAH
PHILLIPS
Fellow Workers
(Righteous Babe)
I used to be something of an Ani
Difranco fan. Not a rabid
groupie — I don't own more
thai
3 albun
- but I
fond of her sound, she was
catchy, bold, young, etc. I lost
interest in her sound a few
releases ago. It's not that she's
sold out or whined about stardom (although she has done her
share of the latter), it's just that
she isn't saying anything new,
and these days I'd rather hear
Having said all that, I did
perk up and pay attention to her
first collaboration with folkie and
long time Wobbly Utah
Phillips This is the second
installment of that collaboration,
and thankfully Utah remains in
the foreground while Ani focuses on production. Utah is a
clever old storyteller with a talent
for balancing hyperbole and
understatement; he is also a man
with solid political integrity
whose stories reveal a seldom-
told American labour history.
Interspersed with original stories
and songs are covers of traditional favourites like labour
activist Joe Hill's "Pie in the
24 September 1999
Sky," and John Brill's "Dump
the Bosses" The Internationale at
the end lays on the sentiment too
thick for my tastes, especially
with the sappy folky beginning,
but this is, overall, a well-meaning piece of oral history that is
worth picking up if you can get
past the pouly pose on the front
SARAH DOUGHER
Day One
(K)
Ms Dougher is on my good
side to stay This new solo album
was all it took I liked the
Lookers, but lost interest when
Sarah played around with Corin
from Sleater-Kinney in
Cadallaca Things got back on
track when she joined the fabulous Crabs, and now I've got
this album to swoon over. It's a
low-key gem of a record that
charms you inside out. Sarah's
voice takes a bit of getting used
to, but her lyrics will strike an
instant chord with most people.
She sings about the difficulties of
love and life, which, I know,
sounds awfully run of the mill,
but it works. Trust me I like that
she's let us all in on her secrets.
They're keepers.
Julie Colero
FALLING SICKNESS/DYSENTERY
Falling Sickness/Dysentery
(Sub City)
See, there's this place called
Chiapas. Ever heard of it? It's a
province in southern Mexico
where a whole bunch of Mayans
(those crazy people who, a
long time ago, erected really
fancy cities and communicated
with Martians) have, basically,
taken it in the ear thanks to the
Canadian, American, and
Mexican governments. For the
people who live there, the ability
to grow corn has meant the ability to eat. The North American
Free Trade Agreement, a big,
bad, shitty trade deal (remember
Mulroney?), won't let them grow
their corn. So, they can't eat. On
the eve that NAFTA came into
force, the levee broke The people of Chiapas took up arms and
began to fight back
Unfortunately, they've met almost
table resistance from
n-funded death squads
and corrupt Mexican politicians.
Despite the odds, though,
they've continued their struggle.
Their rallying cry of "Ya Basra"
(enough is enough) echoes loud-
<, tha.
Tho
fine folks at Sub City have
added their voice to the cry.
They've decided to send a portion of the proceeds from this
album to a group called Schools
for Chiapas This group is helping. So you should buy this
album, because you're a really
good person. Right? You'll be
providing educational assistance
to kids who need it And if
you're a Buddhist, a hippie, or
even a yuppie who shops at
Capers and drives a Subaru,
your karma will get a nice shot
in the arm So you'll buy this,
okay? Oh, by the way, this is
one of the finest, fastest, bestest
punk rock albums I've heard in
a damn long while. Both bands
make you want to assassinate
the prime minister Got that?
Now go buy this album Do
yourself a favour.
gibby peach
FANTASTIC PLASTIC
MACHINE
International      Standard
{Luxury Re-mixes) (US)
(Emperor Norton)
They're Fantastic!
They're Plastic!
And I'm going to walk down
the aisle in a bright blue wedding dress, dancing the two-step,
jiving to the happy sounds of the
Fantastic Plastic Machine
Okay, maybe I won't. I don't
look that good in blue, but anyone who wants to hear good,
fun (that's FUN, boys and girls,
FUN) music, pick up some FPM,
GUH
We Are Sunburning
BRIAN CRAM
The Play Ethic
(Unmanageable)
Frank Zappa was once quoted as saying "Jazz isn't dead, it
just smells funny " That's a good
place to start describing GUH,
an eight member ensemble hailing from Toronto
Anyone fortunate enough to
have caught a slightly scaled
down version of the group on
their "west coast tour" encountered a playful and humorous
unit not so concerned with the
eternal question "What is Jazz?"
as much as with the inherent spirit of the form My impression of
them was one of a wandering
band of minstrels detouring from
a Fool's Day parade while communing with the spirits of Sun
Ra and Rashaan Roland
Kirk Add to the fact that perhaps their most distinctive feature
is the inclusion of Bagpipes)!) in
their line up and you just know
your senses are in for something
"funny." In fact, having fun with
music is a large part of their spirit Yet at the same time this is no
fool's offering — they present
We Are Sunburning was
recorded live in Toronto last year
at The Gas Station and, despite
a dubiously recorded s
The Fantastic people make
some lovely musics. It's like
being warped back to fhe '60s,
with all the amenities of the '90s.
No cold war, either! They sort of
sound like a French [interesting,
considering that the band's lone
member is, in fact, Japanese
—ed] version of St. Etienne,
and I mean that in the best possible way. FPM give us that continental swing of this genre of
music; a little more sexy, a little
more dirty, a little more interesting, a little less concerned with
sound — but more
with feeling, a little m
It's an all night go-go dance
party, and all your friends are
there with the Fantastic Plastic
Machine, they're all ready for a
swell evening, and you'll arrive
right on time.
Dress well, things are going
to get sexy.
Anthony Monday
then
off rather
,ed
dally
well. The compositional duties
are well divided among the various members showing off the
diverse range of influences and
approaches. The inclusion of
Gil-Scott Heron's "Whitey On
The Moon" is an ironic choice
given the recent 30th anniversary celebrations of the Apollo
1 1 landing.
GUH horn player Brian
Cram's solo effort continues in
much the same vein as the
ensemble including the spirit suggested in the album's title. It features more of his fine multi-brass
instrumentalism but with, perhaps, a more spartan approach
to composition and arrangement. Some of the pieces are, in
fact, excerpts from various commissions for the theatre. With
many of the members from GUH
making cameo appearances
here, The Play Ethic makes a fine
companion to We Are
Sunburning. It might all smell a
bit funny, but sounds a whole lot
of fun.
PC
GUITAR WOLF
Jet Generation
(Matador)
You'd think that after four
records, these Tokyo greaseballs
would've learned a thing or two
about recording techniques and
not made an album that sounded
like it was recorded at the bottom of the Grand Canyon with
amps on eleven. But ya known
what? I don't think I'd have it
any other way. For these men,
rock'n'roll is loud, unapologetic,
and in your face from beginning
to end, and if you're disgusted
by it, you'll be kung-fu'd into
next week by Guitar Wolf's
kamikaze screams, Billy's bass
rumblings, and Toru's drums
pounding your brain into mush. I
am hearing some more toned-
down and melodic moments in
songs like "Teenage UFO" and
"Refrigerator Zero " However,
it's their version of "Summertime
Blues" that brings it all back to
the biff-bang-pow that Guitar
Wolf fans will know and love.
Bryce Dunn
HAUJOBB
ninetynine
(Metropolis)
I slip in the new CD I am supposed to review — haujobb —
and I begin to make my lunch.
And then I see it — the brand
spanking new IKEA catalogue,
there, on the kitchen table. I
have always suspected one of
my roommates of being a yuppie, but this was one step too
far. What was the IKEA catalogue doing in my house? It is an
affront to all the "vintage furniture" and "knick-knacks" and
"collectibles" that I have worked
so hard to find and cultivate into
the   sordid   wrecks   they   are
So I flip through the catalogue while my bagel toasts,
keeping an ear out for the music,
letting my sub-conscious do the
reviewing. And once my yummy
bagel is done and the catalogue
is all flipped through, it hits me.
Haujobb is just like IKEA furniture in that it is something that
takes social trends and uses
them for its own evil purposes.
There is no heart or feeling
behind it — music for yuppies.
Perhaps I am not being
clear. I listen to the "good" techno bands — Moby, Q-burns
and the Abstract Message
— and they are like my furniture.
They have history, stories to tell;
they're different, they march to
their own programmed beats.
They have character. Haujobb is
like IKEA furniture; it feels mass-
produced, there's nothing original or groundbreaking about it,
yuppies buy it thinking it's special, and it's not.
I'm not saying there's anything wrong with minimalistic
electronica, hell no. But these
guys just don't go far enough for
my tastes. Then again, I may not
quite be their target audience.
I'm not a yuppie.
Anthony Monday
NOBODYS
generation xxx
(Hopeless)
At least Nobodys aren't fooling themselves — they really are
nobodies. When you write lyrics
that would make Charles
Bukowski blush, back them up
with a measly three-chord range,
and then mix them together wilh
the lowest of lo-fi sound production ... well, then you get some
music that even Frances Bean's
mother couldn't love. But that's
what punk rock is all about: you
throw your middle finger high up
into the air, you sing fast and
loud about fat hookers or blow
jobs, and 10 000 pimply-faced
Beavises run to HMV to buy your
CD. Hooray for free speech and
free enterprise! It's reassuring to
know that there will always be a
market for the immature wank-
ings of disenchanted youth.
But let's be fair. Even I enjoy
the odd beer and porno mag
once in a while, and Nobodys
do play their music rather competently at rather impressive
speeds Hell, I even found myself
humming along to some of their
more catchy tunes, like "Dead
End Job," "Joe's Sister," and
"Ain't No One Getting Laid." So
it ain't all bad. If you do like
your punk done rare, and you're
a big fan of Andrew Dice Clay,
then listen to this CD with your
tongue in your cheek (or is that
between two cheeks?)
Jamie Maclaren
SATINA SATURNINA
Clitoris Goddess
(Independent)
Satina Saturnina Come on,
say it with phonics people. Now
that we've got that down, here
comes the hard part: listening to
this album in its entirety. Don't
get me wrong, I dig it. I just
imagine it would be a lot easier
to take if there were accompanying graphics. Sped up, many
songs, particularly those under
14 seconds, sound like killing a
really bad demon in a really
cool video game.
I was initially drawn to the
album after seeing that track 8
was called "Super Sluts." Rock
on! Other favourites of mine
include the title track, "Clitoris
Goddess," and the anthemic
"Steak Barbie" (I'm allowed to
call it anthemic because there is
a built-in clap track). My vibe on
this album is that Satina
Saturnina are better seen, better
felt, than heard through headphones while riding the number
10 Downtown. A show from
these characters would surely
of us to "clap hands for Barbie,
clap hands".
Erin
THE SCI-FI WITCH DOCTOR
inter the Now
(Phatt Phunk)
No local electronic artist has
had more of an impact on the
electronic music scene than
Noah Pred, aka The Sci-Fi
Witch Doctor. It's safe to say
he is the James Brown of electronic artists Since moving
to Vancouver about two years
ago, the Sci-Fi Witch Doctor has
released his own 1 2", played at
countless clubs and raves, and
promoted his own events and
music relentlessly The culmination of his work is his debut CD,
Enter the Now, on the California-
based label Phart Phunk. Enter
the Now is an extremely polished release worthy of any
major label. The album has a
definite West Coast trance feel,
yet a clear definition of styles
would be unfair and undeserved
of such a well constructed full-
length release. Enter the Now
contains many "ethnic" samples,
wonderfully layered percussion,
forays into techno and breakbeat, and several party favorites
like the 1 2" single "Body Mind."
My personal favorite is the techn-
odelic "Strange Data." The Sci-
Fi Witch Doctor is clearly an
artist. One of his major goals is
consciousness raising through
music. He accomplishes this
through clever samples, the use
of a hemp CD sleeve, and, of
course, the music itself. Noah
Pred is certainly an artist to
watch for in the future and Enter
the Now is wonderful for both
listening and dancing.
Thomas
SCREECHING WEASEL
Emo
(Panic    Button/Lookout!)
Recorded in the span of nine
days during the US East Coast's
infamous blizzard of '99, the
dozen songs that make up
Screeching Weasel's eleventh
album (not including the 1997
EP and the 1994 split album
with Born Against) are the
ones which Ben Weasel says are
the best songs he's ever written.
I'd tend to agree with him.
Perhaps one of the most straightforward and applicable of 1999
album titles, emo is a couple of
parts emo ("emotional" hardcore, of the variety of Fugazi or
Promise Ring/ a couple of
parts Weasel-brand hardcore
punk (which, in the past, has
mode up 99% of the band's output), and a dash of "fuck you"
attitude. Sure, the sound is not
exactly what you'd expect from
this band, and sure, the final output on this album may not be to
many Weasel fans' liking ... but
I tell ya, this album will be
looked upon in future days as a
landmark album because of its
groundbreaking nature.
Whereas past Screeching
Weasel albums have been flat-
out hardcore or pop-punk a la
NOFX or any number of SoCal
"punk" bands, this album takes
a different approach: all twelve
songs have the somewhat raw
energy which comes from not a
lot of practice before takes, the
soaring arrangements typical of
emo hardcore, and a palpable
sense of anguish not many punk
bands can pull off with a straight
Since Ben Weasel doesn't
have the range to sing the signature emo vocal phrasings, he
tries something which hasn't
been done much in the genre
before: he lets the lyrics do the
talking. While popular emo
bands such as Promise Ring
write nonsensical lyrics and let
the feeling come through in the
Weasel play it pokerfaced with
the
Is and w
lyrical content as: "I can open
my eyes and just be glad I'm
here/ My worries disappear/
And I have made choices that
come back to haunt me; they
always will/ I've seen nothing
but emptiness in front of me for
what seemed like years/ Just let
Mike Chilton
URSULA 1000
The Now Sound of Ursula
1000
(18th  St.  Lounge  Music)
Unafraid to be tagged with the
slightly reviled Lounge-core tag,
this one man project has the
usual ultra-mod go-go girl packaging with predictably swingin'
song titles like "Leggy" and
"Mambo 1000." Still, despite
the overpowering aroma of
1996, these funky pop instrumental are still worth checking
out  if the  names  Easy Tune,
Emperor Norton or
*********** Records mean
anything to you Though lacking
the stylish savvy and cultural
trend-spotting those labels generally present, this is still the perfect album for doing the dishes
to And, since such albums are
often resumes for movie soundtracks and advertising work, you
can be sure that there will be a
bright future for Ursula 1000.
Quentin Wright
ANDY WHITE
andywhite. compilation
(True North/Cooking Vinyl)
Words that might appear in an
average Andy White review:
troubadour, Dylan, Irish, battered acoustic, Bragg, Billy,
political, fiercely. Get the picture? In fact, although these provide useful pegs to hang his
folky pop on, they barely scratch
the surface of describing the
sounds on this excellent 15 year
retrospective collection. This
Irishman made his name performing ranting Bob-athons such
as the epic "Religious
Persuasion," both looking and
sounding as if somebody had
done just that. Later songs, however, explore more varied styles
and like Billy Bragg, the ones to
return to are the ones that obey
at least a couple of gold rules of
pop. The most recent offerings
here, the lush "Something New"
and "Whole Thing," show just
how far he has come while still
keeping the old passionate fires
burning. In short, this is a perfect
antidote to both the insipid
singer-songwriters of recent
years and the vile "Celtic"
scene, either one of which I
would be happy to see taken
into the back alley and given a
good kicking.
Quentin Wright
VARIOUS ARTISTS
Four Dots
(Montesano)
This compilation, courtesy
Bellingham's Montesano label,
features up-and-comers from the
"four dots" of Halifax, Seattle,
Moncton and Bellingham. The
point is to show that the two for-
>p-y.
Y! Si&j h&sgt
us keep your purple
nd yellow rajblic bikes
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e l:ti!TI!tllg. Tifor W 4-8pm ^^H*'
57 Agronomy rd. @ UBC Q*^«jp p
ubc.ca/cluus/bikecoop/ soiUBcTfltf (822-2W3)
mer music "buzz" towns of
Seattle and Halifax have not
been hurt by the over-marketing
of their music scenes, and, in
fact, are still thriving. The inclusion of Bellingham and Moncton
proves that these towns have
benefited from the larger cities'
.nd ha*,
inspired to produc
scenes of their own
■althy
. This
potentially interesting study in
cultural implosion and subsequent rebuilding.
The album features the likes
of such established names as
Elevator Through Hell (or
whatever their name is this week)
and Purple Knight, and likewise features  such   innovative
Death Cab for Cutie and
Halifax's North of America
Most tunes hover somewhere in
the realm of straightforward '70s-
style pop-rock, '80s British-influenced pop, or good ol' '90s-style
shoe gazing rock. The only significant divergences come from
the garage bounds of the aforementioned Purple Knight and the
dreamy keyboard-based sounds
of Seattle's Twin Princess
Most songs on this album are, at
the very least, above average At
the top of the pile are some very
innovative and danceable tunes.
Particular standouts include
Thrush Hermit's '70s-influ-
enced butt-shaker "Everybody's
Gotta Move," Moncton's the
Peter Parkers' equally rhythmic "A Different Kind of Stride,"
and the not-so-dancey, but solid
MOR tune, "Apathetic Regimen"
by Bellingham's 5 Gears in
Reverse
The fact that the profits from
the sales of this compilation go
towards The Mitchell Ross
Children's Cancer Fund is the
final no-brainer that you should
buy this album if you are even
the slightest bit curious about the
current state of these "hip" cities'
scenes.
Mike Chilton
VARIOUS ARTISTS
Punk-O-Rama 4
(Epitaph)
Okay kids, here's a lesson
When you buy the
latest Limp Bizkit CD at your
neighbourhood Megastore,
you're paying $ 1 8 for 13 songs
(that's $1 .38 per song) And
those songs suck. When you buy
the latest Epitaph compilation,
you're paying $6 for 25 songs
(that's an amazing 24 cents per
song!) And you know what?
They're all pretty good. Sure,
some bands like Gas Huffer,
Osker and Gentleman Jack
Grisham don't rock like the oth-
but    that
|USt
Refused, 59 Times the Pain
and H20 sound even better. Of
course, you can't go wrong with
SoCal stalwarts like
Pennywise, NOFX and Bad
Religion And Tom Waits has
got to be the unlikeliest yet punkest punk of them all.   So there's
hardly earned dollar.
Suppose you like the Bouncing
Souls and you want to buy their
new CD, Hopeless Romantic
Well, I've got news for you Jack
and Jill, it's pretty awful In fact,
one of the only two good songs
is featured on Punk-O-Rama. So
you've just saved yourself another $18. Now multiply that $18
by 25 songs, and you've saved
yourself a whopping $450! And
here's the bonus: each song on
this compilation sounds different
from every other song. So you
don't have to change the CD
after ten minutes of the same
repetitive drivel. You can listen
to Union 13, Zeke
Dwarves and Agnostic
Front all in a row without babysitting your CD player. Now,
considering all the money I've
just saved you, you might feel
the urge to thank me. Don't mention it kids — just call me your
friendly Punk Rock Non-
Consumer Watch Dog.
Jamie Maclaren
ii,.   r,i -]
next monlh
in  DiSCORDER
OUR 200TH iSSI/E! KS-VET-I/NPLKNNED
SURPRISES KWftiT! PREPARE FOR BEAl/- I
COUP DE RETRO NOSTKLGiR KCTiON!
the Heibalisei
Ska yog Tie and the
Epitones
Sway zak
Uaiine Research
Guided by Voices
25   E^gSffiESffi Real Live
Action
rubbing, the lecherous lyrics, the
"pussy is good." He was revved
up enough to lead the
Countdowns into a big loud chorus, skinny chest sweating, ribs
showing through his unbuttoned
H.s
mng  i*
zing,  *
LIVE MUSIC REVIEWS
DAVE DOUGLAS
Charms of the Night Sky
Vancouver   East  Cultural
Saturday July 3
I wasn't Ihe only one who felt
that trumpeter Dave Douglas
was the main event of the Jazz
Festival this year. There seemed
to be an over capacity crowd in
attendance to see this popular
Vancouver favorite perform, filling the aisles as well as taking
up all the seats And it was
worth the crowd Charms of
the Night Sky, featuring
Douglas plus Mark Feldman on
violin, Guy Klucevsek on accordion, and Greg Cohen on bass,
played some of the finest music I
have ever heard, with no exaggeration. The overall mood of
the performance was laid back
and good-natured. Douglas in
particular seemed to be in high
spirits, joking with the crowd
and the other players. There
also seemed to be a jocular one-
upmanship in place between the
various well-executed solos by
the individual players. Feldman
in particular really took off,
showcasing his tremendous talent without becoming excessive
or overwhelming. Although
Cohen, sadly, stuck mainly to his
role as timekeeper for this drum-
merless quartet, Klucevsek and
Douglas also got the chance to
display their skills with some fine
solo work. In fact, it was during
Douglas' solos that I appreciated that even great players
noticeably improve. He seemed
even more inventive and varied
than when I last saw him earlier
this year at the Starfish Room
with his more rocking jazz-
focused quartet. But the emphasis this evening was definitely on
Douglas' role as a composer.
His particular kind of pan-genre
between abstract work to more
dreamy, melodic, and straight-
ahead pieces. In general, the
works played seemed strong
and interesting with many good
ideas and were occasionally
humorous and unpredictable
without becoming cute. And,
although they played a good
variety of songs and had a
decent length of set, as far as I
was concerned they could have
played for much, much longer
However, I cannot say the same
for the opening act Castor et
Compagnie. This Montreal
based troupe, lead by Joane
Hetu, did have some very good
moments and they certainly and
26 September 1999
admirably did their own thing —
a kind of free cabaret - but I
found lhat they were still somehow too weird ond silly lo be
easily enjoyed I am a fan of
"difficult" music, but Castor el
Compagnie had a particular
aesthetic sensibility that was a
bit much If they weren't obviously such greatrfnusicians and
performers, I would have found
it difficult to get into them to the
extent I did at all. Believe it or
not, I'm not actually trying to be
dismissive. I didn't dislike them
so much as I just didn't fully dig
them Okay, I'll confess: it was
the drummers' stupid hat and
bad choice
strike and kick me while I was
down I kept wishing they would
play material from Crooked
Rain, Crooked Rain or Brighten
the Corners to lift the fog and
wipe out the vestiges of US
Maple, but the old hits were few
and far between I suppose it
was a good show for those who
could stand U.S. Maple and for
those who have heard Pavement
play their older songs before.
For me, however, it was a night
I'd rather not remember
the chocolatey baby
JON      SPENCER      BLUES
EXPLOSION
n old pro, but
imagining ol' Andre sliding it in
anywhere kinda turns the stomach
A short beer break, and Jon
Spencer, Judah Bauer and
Russel Simms fire up the stage
No stacks of black amps — the
boys like vintage equipment,
including an old Moog
Theremin. They churned through
a tightly orchestrated set that felt
like an extended medley of hits
from Acme and Now I Got
Worry. Unlike their studio
sound, JSBX are scrappy and
totally distorted live. Jon
Spencer's Elvis wobble came
through loud and clear, but the
lyri<
ble. For pure rock V roll style
PAVEMENT
U.S.   MAPLE
Thursday,
July 15
Vogue
The opening band, U.S.
Maple, was the most annoying, ridiculous, disgusting band
I have ever heard. Never before
have I been so repulsed by a
band. Never before have I had
such a lack of respect for a
band. Never before have I been
so pissed off by a band that it
completely ruined my night. It is
U.S. Maple's fault that I did not
enjoy this show.
Possibly the reason I was so
saddened by this concert is
because I fear I will never be
able to communicate to you,
DiSCORDER readers, how truly
horrific US Maple is. I fear I
cannot pass along the stupidity
of this band without recommending you listen to the band
yourself A pathetic 45 minutes
of uninspired, uninteresting,
unlistenable noise-art (if you can
call it art). Suffice it to say that
US Maple was a disappointing
disgrace to everyone at the
Vogue that night, as well as to
Pavement live seemed to
be far noisier than on record,
and more noise was simply not
what I wanted to hear after U.S.
Maple.  The noise seemed to
ANDRE    WILLIAMS    AND
THE COUNTDOWNS
Wednesday, July 21
Vogue
A tepid crowd greeted the
Countdowns not with
applause but with a hush.
Unfazed, the L.A. three-piece
plugged in and ripped into a
short warm-up set that was part
blues, part rockabilly, part rock
'n' roll all glued together with
lots of distortion. With the Elvis-
esque posturing of the lead
singer/guitarist and the maniacal head-banging drummer, the
Countdowns jarred the crowd
out of its early evening lethargy.
Just in time for the much-
hyped arrival, James Brown
style, of Andre Williams He
started off vaguely obscene in
his suit and commodore cap,
growing progressively raunchier
as his frequent trips backstage
got him drunker. It's impressive
that a man his age can shake
his skinny ass that hard and pull
off songs like "Pussy Stank" (an
ode to unwashed genitalia with
its plea to "give it to me raw").
Is he an old blues dude or is he
a pimp in disguise? We become
less and less sure ...   the crotch
points the Blues Explosion wins
hands down for the big poses,
black leatherette pants, and
especially Judah Bauer's glam
cowboy look. Skinny white boys
got the blues, doin' the roots
cock-rock thing that is so high
energy we can't resist.
The Vogue was jumpin' by
the encore, Jon wailed "Lemme
hear you say YEAH!" And,
unlike the Make-Up show at
the Starfish the night before,
everyone roused themselves and
yelled back. I later found out
that the band had all their
equipment stolen after the show
that night, and, between that
and the cavity search at the border, my guess is we'll be driving
south to see them next time.
Anna Friz
THE KINGPINS
SKAVOOVIE AND THE EPI-
TONES
THE DUCKY BOYS
Thursday, July 22
Starfish Room
Math. I hated that fucking class.
All that thinking hurt my brain.
Daily, I'd volley questions like
"When will I ever use this?" at
my math teacher. I am, howev
er, beginning to understand
what all the torture was for.
Math comes in handy every
now and then Don't believe
me? Check this out:
Boston + punk rock =
Dropkick Murphys ripoffs
(in other words, Clash and
Damned ripoffs; not that that's
really a bad thing).
Under-21 band members +
Canada = stupid, juvenile refer-
>  the
rnpti*
I   of
Ducky Boys + opening
slot = mild enjoyment.
Next set of examples:
Bunch of boys + microphones = dumb sexist banter
(not appreciated).
Song about Starbucks + title
"Coffee Sucks" = smiles all
around (appreciated).
Skavoovie's stage moves +
his relatively young age = future
career as Las Vegas Mel
Torme impersonator.
Skavoovie and the
Epitones + middle slot =
enhanced enjoyment.
And, just to make my old
math teacher, Mr. Pott, happy,
here's some more math fun:
Another bunch of boys +
one girl = more sexist banter
with girl giggling along.
Scripted between-song chat
+ lack of song "Lot's Wife" (from
their new album Let's Go To
Work) = much disappointment.
Whole lotta energy + better
dance moves than Skavoovie =
somewhat redeemed band.
Kingpins + the late, late
slot = tired Gibby at work the
Math skills can be, as I think
I've shown, quite valuable. On
a related note, I have it on good
authority that the Kingpins were
prancing around our beloved
CiTR the very next day, yapping
on eel phones and arranging to
play golf at the university golf
club. For goodness' sake!
gibby peach
VIOLENT FEMMES
RON COLBURNE
Friday, July 23
Vogue Theatre
Long hailed as the godfathers
of geek rock, this Milwaukee trio
has blazed so many trails it
would seem impossible for them
to do anything new and still
wow the audiences. So the next
obvious progression \
lething
Did    (
'  the
Yup, you guessed it, the
Femmes pulled off an
UNBILLED Greatest Hits show!
No band formed in the '80s that
is still touring seems to let the
chance slip by to mention the
fact that that they will be playing their hits — just look at all
the reunion shows. But the
Femmes had the balls to come
out of the gates unassumingly,
yet hard, by belting out classics
like "Hey Nonny Nonny,"
"Country Death Song," and
"Blister in the Sun" in rapid succession. Suffice it to say, everyone was either up and dancing
or crowding the stage.
Then, after a bit of a lull during which they played a couple
of their ballads, they brought out
five extra musicians, who I
believe lead singer Gord Gano
dubbed the "Horns of
Distinction." They played various doctored horns and homemade instruments There was
even an accordion player! The
"horn" section accompanied the
band on a couple of epic bluesy
songs laced with melodic noise.
They worked the audience and
the 'Femmes into a frenetic tizzy
and then promptly left; they
would return.
The Femmes then turned it
up another notch. All fell quiet,
a spotlight fell on Gano, and he
crooned out: "Do you like
American Mu— "... the crowd
roared I felt both elated and a
little sad at the same time. They
ripped into "American Music,"
the tune which I had hoped they
would (as they had in the past)
leave for the finale. In the back
of my mind, I hoped the rest of
the show wouldn't be anti-climactic, especially since the tour
was being billed the "American
Music Tour."
A few tunes later, they
played their new song for the
South Park movie, then tore into
the anthemic "I Held Her in My
Arms," followed by "Gone
Daddy Gone" (featuring wicked
vibes by bassist Brian Ritchie)—
I was in heaven. The fact that
they followed that up with "Day
After Day" was the cherry on
top. The second last song of the
set reintroduced the "Horns of
Distinction" out for a noise-core
jam, which included the playing
of a conch shell.
The Femmes came out for a
one-song finale jam, which featured a bugle (played by the
drummer), a didjeridoo, and a
theremin inside a cat-in-the-hat
hat (both played by Ritchie).
In sharp contrast to the controlled mayhem of the Femmes
was the understatedness of the
Ron Colburn. It was just him
and an acoustic guitar ... pretty
gutsy. He held it together
through his set of eight nondescript songs. Eventually, the
audience warmed up to him in a
fairly big way, giving him lots of
cheering. Despite some chuckle-
heads sitting on the floor in front
of the first row yelling: "Oogie!
Oogie! Oogie! Oi! Oi! Oi!",
Colburn was not phased one
bit; he seemed too high on
cloud nine to be affected. Even
if Colburn didn't win me over
with any of his songs, he sure
won my respect.
Mike Chilton
aaiflMSHja v_ WORD OF MOUTH   TOUR
Thursday, July 29
Richard's on Richards
Wanted: Hip-hop Cred.
Will   trade   like-new   indie
cred.
Anyone selling?
Wow People dancing,
singing along, raising the roof
— this was all new to me, but
very welcome. I'm awfully used
to standing in the back, sort of
bobbing my head with maybe a
toe tapping, but I couldn't help
but get caught up in the interactive experience that was the
Word of Mouth Tour.
Breakestra broke out the funk,
the Beat Junkees exhibited
some mad turntable skills, Cut
Chemist did his scratching
thing with live musical accompaniment, and the Dilated
Peoples busted out rhymes
and swapped lines with local
underground faves Swollen
Members. Then came J5 —
so wicked Five MCs and Cut
Chemist on the decks, and the
crowd was just eating it up. The
night ended with some posse
battles and turntable wars -
how much talent can you fit on
one stage? Tons, judging by this
Please, those in the know,
teach us all more about the wonder that is the new hip-hop
Quality entertainment, this.
Julie Colero
ARLING & CAMERON
Sunday, August 8
Chameleon Lounge
As grand entrances go, a deadpan speech on the philosophies
of ornithology followed by half
a dozen bird impressions is
probably not being considered
for the forthcoming Alice
Cooper tour. When immediately followed by a stunning display of classical theremin
playing, though, the opening
becomes almost like an Arling
& Cameron mini-manifesto.
Put simply, they take their
kitschy surrealism VERY seriously. The beauty and virtuosity of
the theremin performance was
so great that at first it threatened
to overshadow the remainder of
the show. However, three songs
into the performance proper,
and the early evening Monday
night crowd was hopping
around like it was 1:15am on
Friday. These Dutch masters of
playful future-pop twisted an
hours worth of techno nursery
rhymes around multiple musical
styles, finishing the show with
their anthemic take on stomping
glam, "We Love to Rock."
Performed entirely seriously, this
is the sort of joyfully absurd
song which might give them the
means to attain the sort of popular credibility that the B-52s
once held, and, with a Gap ad
in the works, we may be looking   forward   to   a   string   of
Letterman appearances and
cameos on The Simpsons. Why
not?
Quentin Wright
JULIE  DOIRON AND THE
WOODEN STARS
NINE MILES TO
MORGAN
Wednesday, August 11
Railway Club
I find it difficult to quickly
think of another artist who
has brilliantly stood up to the
test of time and continued to
put out beautiful, thoughtful,
Doiron has. Every artistic
step this woman takes
astounds me, and I felt so
blessed by the opportunity to
TRICKY WOO
SPITFIRES
DATSONS
Thursday, August 12
Starfish Room
After reading Mike Usin,
review   of   this   show   in
"game" works, to the terrific
avant jazz of Masada, to the"
extreme, postmodern cut-ups of
Naked City — all the while
staying inventive and viable,
never derivative. As equally
diverse as Zorn's many accomplishments,       his
I   her
I this
Julie wowed me at her last
show in May for nearly two
hours with her cute shyness,
light acoustic sad songs, and
willingness to accommodate
her audience's every wish
(including some Eric's Trip
songs). I remember how the
audience held its breath to
hear the sweeping courage of
her*
— so quiet you could hear ice
cubes tinkling in glasses
Those who skipped the fireworks finale to show up early at
the Railway Club were first treated to a very emo performance
from the Alberta group, Nine
Miles to Morgan, and then a
nice chunk of music from the
Wooden Stars. Nine Miles
often delved into many other
emo bands' sounds, but surprised me with their rare enthusiasm. The Wooden Stars'
performance concentrated mainly on material from their new
record, The Moon. I was sent
reeling from their perfect singing
and impressive, talented, smart-
is-more musicianship, but I could
nof help wishing each song was
their last so I could finally hear
Julie Doiron.
She appeared alone, before
a very, very loud crowd and
began to play. By listening
closely, I was able to follow the
simplistic goodness unfolding
before me, but between songs
the crowd made it impossible to
hear a word Julie spoke. I even
missed hearing her confusing
request for people to "become
uninhibited" and begin dancing, a request soon fulfilled by
about ten intoxicated view-
obstructors. However, she and
the Stars were able to produce
a blanket of calm, soothing
musical understanding that
wrapped up my girlfriend and I.
They sent us to a dim, sleepy forest where the trees play songs
for animals as the flowers and
grass hum along. I closed my
eyes and would have fallen
asleep if it hadn't meant missing
the concert.
tfie chocolatey baby
Straight I have to agree with him
about the reaction of the crowd
at the Starfish. How much
blood, sweat, and tears does a
band like Tricky Woo have to
shed for people to take notice?
Granted, there were those of us
who were electrified by their
performance, but it still begs the
question: What happened to the
Spitfires? I've seen these troublemakers numerous times and,
although they kick ass 99% of
the time, this evening they were
in the land of the one-percenters. I hope that they're not
getting burnt out (they are
known for playing frequently on
the local scene), but, in any
case, they did pull out an old
chestnut — a cover of the Devil
Dogs' "354," which always
rocks the house with me.
The Datsons, from
Montreal (replacing originally
scheduled openers the
Mooney Suzuki), cranked out
some impressive mod-style rock
that had one guy stunned
enough that he planted himself
firmly in he middle of the floor.
Every Jam-influenced power-
chord and high stepping
bassline was met with appreciative applause.
Bryce Dunn
UJAKU
Vancouver Little Theatre
Wednesday,   August    18
When enough time has past for
us to look back with some objectivity, I feel that John Zorn will
stand out as one of the most significant composers of our era. I
can't think of anyone else that
so ably takes on as many styles
and forms as Zorn — from classical  chamber  music,  to  his
becomes submerged in the hearts and minds
of subsequent generations of
music makers, towards who
knows what end. This brings us
to Ujaku's adept celebration of
the music of Zorn's Naked Cily,
held in the basement theater of
the beautiful Heritage Hall on
Main Street. Composed of local
jazz players, including
Masayoshi John Anzai on saxophone and vocals, Ben Wilson
on vocals, Kelly Churko on guitar, Travis Baker on bass, John
Raham on drums, and Robert
Dyke on keyboards, Ujaku takes
the influence of Zorn to the next
degree: total hardcore tributary
emulation. Ujaku capably took
on their subject with obvious
enjoyment, ripping through several dozen hard and very short
but complicated tunes, and a
few longer, more temperate
numbers that gave the players a
chance to stretch out and the
audience some time to breathe.
I never fully appreciated the
humor of Naked City until this
show. Churko's introduction of
the often-ridiculous name of
each song especially brought
out the intentional absurdity of
the works. Ujaku is not simple
tomfoolery, though. Much serious and difficult labour must
have gone into the note-for-note
transcriptions of Zorn by
Churko. The audience in attendance was justifiably impressed
and entertained. Just one suggestion, though: Ujaku should
further polish their act and play
some of next years' skateboarding festivals — the kids
would eat this shit up, and
Ujaku could make some quick
Brady Cranfield
SEPTEMBER
LISTINGS
THURSDAY. SEPT. 2
MARTIN TIELLI
BROWNING
COAL
FRIDAY, SEPT. 3
KELLY WILLIS
OH SUSANNA
AUBURN
SATURDAY, SEPT. 4
CIBO MATTO
THE RADIO
SUNDAY, SEPT. 5
BIS
BLURTONIA
MONDAY, SEPT. 6
QUEENS OF THE
STONE AGE
OTHERSTARPEOPLE
WEDNESDAY, SEPT. 8
ALESANDRO
ESCOVEDO
THE CIRCUS
IN FLAMES
THURSDAY, SEPT. 9
KRISTIN HERSH
FRIDAY, SEPT. 10
LONNIE JAMES
CLOVER HONEY
SATURDAY, SEPT. 11
VEDA HILLE
ZUBOT & DAWSON
TUESDAY, SEPT. 14
VOODOO GLOW
SKULLS
THE MALCHIKS
CROWNED KING
WEDNESDAY, SEPT. 15
MOGWAI
GANGER
THURSDAY, SEPT. 16
CHIXDIGGIT
FRENZAL RHOMB
FLASHLIGHT
FRIDAY, SEPT. 17
SUPERCHUNK
CLOSED CAPTION
RADIO
SATURDAY, SEPT. 18
BIF NAKED
TUESDAY, SEPT. 21
GODSPEED YOU
BLACK EMPEROR
LABRADFORD
FRIDAY, SEPT. 24
NOISE THERAPY
SATURDAY, SEPT. 25
THE SMALLS
SUNDAY, SEPT. 26
MIKE WATT
THE LIARS
THURSDAY, SEPT. 30
SUPER FURRY
•SEPTEMBER
27 T^gssmm ?/%&/?&*
SICK OF IT ALL
BAD RELIGION
MUSTARD PLUG
MELVINS
MAN OR ASTROMAN
THE WEAKERTHANS
AFI  AND MORE...19 BANDS IN ALL
PUNK ROCK VIDEO/CD COMPILATION
cinmsuunu      hr639-cd
THE FIRST THREE VOLUMES ALSO AVAILABLE: CINEMA BEER NUTS HR623VIDEO/CD    CINEMA BEER GOGGLES HR608-VIDE0   CINEMA BEER'JE HR603-VIDE0
HOPELESS RECORDS PO BOX 7495 VAN NUYS, CA 91409    WWW.H0PELESSREC0RDS.COM
NEW FROM        NEW FROM
HOPELESS
SUB CITY
SCOOI-CD SAMPLER
SC002-2XLP/CD/CS
-KAP
HR636-LP/CD/CS SC003-LP/CD/CS
MAILORDER PRICES: VIDE0-S12 CD-$8 ail prices postage paid ih im us, aoo 25% outside of tk us. CiTR
Charts
WHAT'S BEING PLAYED ON 101.9 FM
HOW THE CHARTS WORK
The monthly charts are compiled based on the number of times a CD/LP ("long
vinyl"), 7" ("short vinyl"), or demo tape ("indie home jobs") on CiTR's playlist was
played by our djs during the previous month (ie, "September" charts reflect
airplay over August). Weekly charts can be received via e-mail. Send mail to
"majordomo@unixg.ubc.ca" with the command: "subscribe citr-charrs"*
1 tricky v*.
2 various artists
3 wooden stars
4 saddlesores
5 belle & Sebastian
6 clover honey
7 fantastic plastic machini
8 electric frankenstein
9 mr. bungle
0 the planet smashers
11 scanner
12 various artists
13 moby
la 1000
sept '99 long vinyl
transsiberian
matlock
18 lilys
19 negciviarKJ/chumbawarnba
20 david kristian
tigermilk
...clover honey
em pyre
independent
emperor norton
how to make a m
California
■inster       victory
life of the party                      stomp
lauwarm instrumentals        sulphur
all points in
sweet chin
play
the now sound of
enter the now
v2
. eighteenth st.
everything is possible!    luaka bop
keep in unreal                 ninja tune
zero population growth         darla
21 i
olor
22 francois houle 5
23 lung leg
24 nobukazu takemura
25 bis
26 art of noise
27 kelly joe phelps
28 livehuman
29 plaid
30 pietasters
31 cibo matto
32 blue hawaiians
33 the flaming lips
34 chicklet
35 atom and his package
beneath the v
stay down
in the
:ular
maid to minx
social dancing
the seduction of cl
shine eyed mister zen
monostereosis
restproof clockwork
stereo type a
savage night
the soft bulletin
making love
seeland
matador
thrill jockey
grand royal
8... universal
fat cat
nothing
hellcat
interscope
satellite
sept '99 short vinyl
1 the wontons
extra spicy!
peek-a-boo
2 huevos rancheros
wild turkey surprise!
mint
3 the catheters
the kids know how to r
ock       empty
4 the kamikazes
all-night cram session
zaxxon virile
5 the tentacles
the touch
k
6 smash up derby
blow all the hell!
zaxxon virile
7 mates of state/fighter d
split
omnibus
8 jackson phibes
old devil moon
reanimator
9 petty crime
s/t
slampt!
10 subway thugs
s/t
oink!
11 magnetic fields
i don't believe you
merge
12 piggy
calypsos to please...    c
nnamon toast
13 solex
randy costanza
matador
14 the parcels
s/t                         brenlwood estates
1 5 fatal ftyin' guilloteens
danger west!
peek-a-boo
16 los infernos
the outlaw           alternative tentacles
17 marine research
s/t
wiaiwya
18 north of america
bayonet point
montesano
19 from bubblegum to sky
my thousand years...
eenie meenie
20 reflector
blue skies
xiper brigade
Sal Ram Top
10
1 coldcut & hexstatic
timber
dk recut
2 pressure drop
silently bad minded    stereo mcs mix
3 bitin sauhrey
oceans and rain
displacing the priest
4 yabby you
love thy neighbou
jesus dread
5 milton nasimento
ludoquevooepodic
ser dube da esquira
6 freddie hubbard
first light
best of
7 terry collier
big city
tc in dc
8 mr. fingers
closer
classic fingers
9 akasha
Spanish fly
cinematique
lObaba
gatri mantra
rgveda
sept '99 indie home jobs
2 radio berlin
3 full sketch
4 John ford
5 swank o'hara
6 the radio
7 victorian pork
8 david lester
9 clover honey
10 team strike force
1 1 les saints
12 sex! in Sweden
13 Canadian
lew electric riot
15 yachtsmen
16 svelte
:itrus concept
18 forecasts farewell
19 (the)polo convoy
20 pepper sands
distance
soundtrack
shitkicker
no one has a clue (but you)
kinder surprise
uh-oh
the light changed...
talk about me
bomb at the party
bridge and tunnel crowd
music of canada
teenage blues
catch that summer breeze
the five alive song
tremble and flood
behind the red sun
what we listened to...
solex, guided by voices, cibo matto, iqu w/ miranda july ( +
barbara's noiz show remix thereof... girls on dates ///-deed), hot hot
heat, judas priest, kool keith, the boys, sweet trip, tiger trap, hud-
son talcons, boy vs. girl, jerk with a bomb, tricky, holiday tlyer (nice
legs!), v/a hate people like us, v/a the new women's music sampler,
the butchies, antarctica, mecca normal, jsbx vs. dub narcotic sound
system, propagandhi, reducers st, the bodies, lynyrd skynyrd's
greatest hits, public enemy, beltones, Hollywood brats, rahzel, iron
maiden, single gun theory, art bell, sweet patti schmidt,
psychedelic furs, belle & Sebastian
Good Tasty Comic
<jdasilva@eciad.bc.ca>
29 m&msis On The Dia
YOUR ON-AIR GUIDE TO CiTR 101.9 FM
SUNDAYS
ARE   YOU   SERIOUS?   MUSIC
8-30AM-11-00PM   All of time is
measured by its art This show presents
the most recent new music from around
the world. Ears open.
THE ROCKERS SHOW 12.-00-3:OOPM
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE 3:00-
5:00PM Reakowshit-caught-in-yer-
boots country.
LIPGLOSS& CIGARETTES alt. 5:00-
6:00PM British pop music from oil
decades.
SAINT TROPEZ alt. 5:00-6:00PM
International pop [Japanese, French,
Swedish, British, US, etc.), '60s
soundtracks and lounge. Book your
jet set holiday now!
QUEER FM 6*00-8:OOPM Dedicated
to the gay, lesbian, bisexual, and
Vancouver and listened lo by everyone. Lois of human interest features,
background on current issues and
great music from musicians of all
sexual preferences and gender iden-
HELLO INDIA 8:00-°:00PM
GEETANJAU      9:00- 10:00PM
Geelanjali features a wide range of
mate, Flip Out & J Swing on the 1 &
2's.
THE CHILL-OUT ROOM 1:00-
4:00AM DJ Clutch spins hip-hop...DJ
Decter spins lechno. So chill oul with
us. Hove o nice day.
ic from India,
music, both Hindustani and Carnatic,
popular music from Indian movies
from the 1930's to the 1990's, semi-
classical music such as Ghazals and
Bhajans, and also Quawwalis, elc.
THE SHOW 10K)0PM-1K»AM Strictly
Hip Hop — Strictly Underground —
Strictly Vinyl Wilh your hosts Check-
KONDAYS
BLUEGRASS FOR BREAKFAST 6:00-
8:00AM Back in September.
BREAKFAST WITH THE BROWNS
8:15-11 .-00AM Your favourite brown-
slers, James and Peler, offer a savoury
blend of the familiar and exotic in a
blend of oural delights! Tune in ond
enjoy eoch weekly brown plate special.
Instrumental, trance, lounge and ambience.
BLUE MONDAY alt. 11:00AM-
1:00PM Vancouver's   only indus-
trial-eleclronic-relro-golh program.
Music lo schtomp to, hosted by
Coreen.
THE ETHER TABLE alt. 11:00AM-
1:00PM If o collective of Belgian
salanists ever put reverb on a flock of
geese, I'll find it and play all 28
minutes! Dark ambient and experimental and noisy and cheesy
SOUPE DU JOUR 1:00-3:00PM
Feeling a little French-impaired?
Francophone music from around the
globe, sans Celine Dion.
A WALKABOUT THE WORLD
3:00-4:00PM
EVIL VS. GOOD 4-00-5-00PM Who
will triumph? Hardcore/punk from beyond the grave.
BIRDWATCHERS 5*00-6:00PM Join
the Sports department for their eye
on the T-birds.
POLYFILLER alt. 6:00-7:30PM
LADY DEATHSTRIKE alt. 6:00-
7:30PM
PIRATE RADIO 7:30-9:00PM For
merly "Love Sucks," now at a new
THE JAZZ SHOW fcOOPM-12flOAM
Vancouver's longest running prime time
jazz progrom. Hosled by the ever-suave
Gavin Walker. Features ot 11.
Sept 6: "The Great Jozz Piano of
Phmeos Newborn Jr."
Sept 13: "Ozboppin": Pianist Mike
Nock and his quintet
Sept 20: The great Leonard Bernstein
explains "Whot Is jazz".
Sept 27: Jamaican born alto saxophonist Joe Harriott double quintet
and indo-jazz fusions.
VENGEANCE IS MINE 12:00-
3:00AM Hosted by Trevor. It's punk
rock, baby! Gone from the charts but not
from our hearts — lhank fucking Christ.
PSYCHEDELIC AIRWAVES 3:00-
6:00AM
TUESDAYS
X-l 6:00-8:00AM
WORLD HEAT 8:00-9:30AM
THIRD TIME'S THE CHARM 9:30-
11:30AM Torrid Irasluock, sleazy
surf and pulsatin' punk provide the perfect scissor kick lo your head every
Tuesday mom. There's no second chance
when Kungfu is used for evil wilh drunken
fist Bryce. Kiltyaal!
TRAGIC ANIMAL STORIES
11:30AM-1:00PM Toles of puppy
love gone awry, and of baby ducks
crossing the street, all backed up by a
sad soundtrack of various indierock
bands for your own enjoyment and
education. Cry in your beer, please.
ECHOES FROM THE SUGAR CUBE
FACTORY 1-00-2-OOPM
BELT OUT THE BLUES 2:00-
3:30PM Music for families and little
people.
THE SLIPPERY SLOT alt. 3:30-
5:00PM
SKINTIGHT BUFFOONERY alt.
3:30-5:00PM
BBC WORLDNEWS SERVICE 5:00-
5:30PM
RADIO ACTIVE 5:30-6:00PM Activism, issues and fucking up the corporate powers that be.
FLEX YOUR HEAD 6:00-8:OOPM
Hardcore and punk rock since 1989.
http://flexyourhead.
vancouverhardcore.com/
SAREGAMA 8:00-9:00PM
RADIO ELLINIKATHIKO 9:00-
10:00PM Greek rodio filling in for
La Bomba for the summer.
WITCHDOCTOR HIGHBALL alt.
10K)OPM-12.-OOAM Noise, ambi-
ent, electronic, hip hop, free jazz,
Christian better living LPs, the occa-
SUN
TUE
THU
FRI
SAT
reggae linkup
are you
ROCKERS
SHOW
SI©©]) ©JJ 5__3
SA35_513
___■_______*___)'_'
Breakfast
with the
Browns
•WOlUa>fcl*AT
mmm/
the _th_i table
soupe
_ WiLKilOUT
THr WOBlc
llELLO  IMDU
Gi*T*tfJ*t,!
The
Chill-Out
Room
evil vs. good
POtL¥rHL__._V
Cevly De«thstrike
S-l
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■ffffiJH ©_______-_
MJAWS AJJ!fflAi
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VENUS FLYTRAP'S LOVE DEN alt.
10:00PM-12:00AM Join Greg
in the love den for a cocktail. We'll
hear retro stuff, groovy jazz, and
thicker stuff too. See you here ...and
bring some ice.
AURAL TENTACLES 12:00-3:OOAM
Warning: This show is moody and
unpredictable. Il encourages insomnia and may prove to be hazardous
to your health. Ambienl, ethnic, funk,
pop, dance, punk, electronic, synlh,
blues, and unusual rock.
WEST COAST POPPIN' 3:00-
6:00AM 100% west coast rap.
Huge giveaways, with your host like
no other Shawn Powers.
WEDNESDAYS
SUBURBAN JUNGLE 7:00-V*OOAM
A perfect blend of the sublime and
absurd, with your refined and exotic
hosts Jack Velvet and Carmen Ghia.
SPIKE'S MUSICAL PINS AND
NEEDLES 10:00AM-12:00PM
Spike spins Canadian tunes accompanied by spotlights on local artists.
Weekly "Vintage Vancouver" segment lakes a look back at this city's
musical past.
BABYLON AFTERNOON  12:00-
DJ IN A COMA 2:00-3:OOPM
MOTORDADDY 3.*00-5:00PM "eat,
sleep, ride, listen to Motordaddy,
RACHEL'S SONG 5:10-7:30PM Info
on health and the environment. From
recycling and conservation projects lo
diet, health, and consumption and
sustainabilily in the urban contex - plus
the latest in techno, trance, acid and
progressive house. Hosted by M-
Path.
AND SOMETIMES WHY alt.
7:30-9:00PM sleaterJcinney, low,
sushi... these are a few of our faveoh-writ
things.
BY THE WAY alt. 7:30-9:00PM
Let's give alternative media a chance
- VIVA VINYL! 7"s new and old,
local cassettes and demos.
FOLK OASIS 9:00-10:30PM Featuring the latest local and international
releases in folk/roots/world music,
phone interviews, in-studio guests and
more. Requests always welcomed!
STRAIGHT OUTTA JALLUNDHAR
10-30PM-12.-00AM LetDJsJindwa
and Bindwa immerse you in radioactive Bhungra! "Chakkh de phutay."
Listen to all our favourite Punjabi tunes
— remixes and originals.
HANS KLOSS' MISERY HOUR 12:00-
4:00AM Mix of most depressing,
unheard and unlistenable melodies,
THURSDAYS
FIRST FLOOR 3:00-6:00AM
AGAINST AU ODDS 6:30-
8:30AM
REEL   MUSIC   8:30-10:00AM
Soundtracks and classical.
FILIBUSTER alt. 10:00-11:30AM
Part accordion-tinged musical
meanderings, part experiemental
weirdness, wilh a little bad hill blood
thrown in for good measure.
STAND AND BE CUNTED alt.
10:00-11:30AM DJ Hancunt
urges women to get down with iheir
cunts while listening to women in
jazz, funk, rap, soul, world beat,
disco and beyond.
CANADIAN LUNCH 11:30AM-
1:00PM From Tofino to Gander,
Boffin Island lo Portage La Prairie. The all-
Canodion soundtrack for your midday snack!
SIEVE & MIKE 1-00-2.O0PM Crashing
the boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby,
(hardcore).
ONOMATOPOEIA 2:00-3:00PM
Comix comix comix oh yeah and some
music. Wilh Robin ond Jules.
RHYMES AND REASONS 3:00-
5:00PM
CULTURE CAVITY SEARCH 5.00-
5:30PM
SHAPE UP alt. 5:30-6:00PM
REELS TO REEL alt. 5:30-6:0OPM
Movie reviews and criticism.
OUT FOR KICKS 6*00-7:30PM No
Birxenslocks, nothing politically correct. We don'l gel paid so you're
damn right we have fun wilh it. Hosted
by Chris B.
ON AIR WITH GREASED HAIR 7:30-
9d0PM Roots of rock & roll.
UVE FROM THUNDERBIRD RADIO
HELL 9*00-11:00PM Local muzak
from 9. Live bandz from 10-11.
COCKED AND READY alt. 11:00PM-
1:00AM
RADIO SATYRICON alt.
11:00PM -1:00AM Nocturnal
transmissions/trip jazz. "To hip for
own damn good, Daddy-O!" -Slish
PLUTONIAN NIGHTS 1:00-
4:00AM Late night vinyl. Occasional skips. Cheers.
FRIDAYS
SHADOW AT DAWN 6:00-
8:00AM with DJ Galosh
CAUGHT IN THE RED 8:00-10:00AM
Trawling the trash heap of over 50
years worth of real rock V roll debris. Stick out yo' can.
SKATS SCENE-IK DRIVE! 10d0AM-
12:00PM E-mail your requests to
Djska T@hotmail.com
THESE ARE THE BREAKS 12:00-
2:00PM DJ Splice brings you a
flipped up, freaked oul, full-on,
funktified, sample heavy beat-lain trip,
focusing on anything with breakbeats.
Versatile at any style.
UTILE TWIN STARS 2:00-3:30PM
Underground, experimental, indie and
women. Jacuzzi space rock at its finest.
NARDWUAR THE HUMAN SERVIETTE PRESENTS ... 3:30-
4:00PM Nardo will be back soon,
so hang tight, kids.
NOIZ 4:0O-5:00PM self-titled.
BBC WORLDSERVICE 5:00-5:30PM
FAR EAST SIDE SOUNDS alt. 6:00-
9-OOPM
AFRICAN RHYTHMS alt. 6:00-
9:00PM David "Love" Jones brings
you the best new and old jazz, soul,
Latin, samba, bossa & African music
from around the world.
HOMEBASS 9:00PM-12:00AM
Hosted by DJ Noah: techno, but also
some trance, acid, tribal, etc. Guest
DJ's, interviews, retrospectives, giveaways, and more.
SHIT MIX alt 12:00-3:00AM No
beatmatching. No crossfading. No
indiefascism. No progassblasting.
No Phish. Just a mix.
SATURDAYS
THE MORNING AFTER 3:00-
8:00AM Two meatheads talk about
piss for five hours, interupted by thai
classic Marshall slack sound lhat is
Canadian rock music.
THE SATURDAY EDGE 8:00AM-
12:00PM Studio guesls, new releases, British comedy sketches, folk
music calendar, and ticket giveaways.
8-9AM: African/World roots. 9AM
12PM: Celtic music and performances.
POWERCHORD 1:00-3:00PM
Vancouver's only true melal show;
local demo tapes, imports and other
rarities. Gerald Ratllehead and
Melal Ron do the damage.
LUCKY SCRATCH 3:00-5:00PM
From backwoods delta low-down
slide to urban harp honks, blues
tunesters and crooners in the blue
degree. Blues and blues roots with
your hosts Anna and Barry.
RADIO FREE AMERICA 6:00-
8:00PM Extraordinary political research guaranteed lo make you think.
Originally broadcast on KFJC (Los Altos, CA)
GROOVE JUMPING alt.
10:00PM-1:00AM
PIPEDREAMS alt. 10:00PM-
1:00AM
SOUL TREE alt. 1:00-4:30AM From
doo-wop to hip hop, from the electric
to the eclectic, host Michael Ingram
goes beyond ihe call of gospel and
takes soul music to the nth degree.
EARWAX alt. 1:00-4:30AM
..."noiz terror mindfuck hardcore like
punk/beatz drop dem heodz rock
innajunglislmashup/distortda source
full force with needlz on wax/my
chaos runs rampant when I free da
jazz..." Out. -Guy Smiley
REGGAE LINKUP 4:30-8:30AM
Hardcore dancehall reggae that will
make your mitochondria quake.
Hosted by Sisler B.
CiTR
LOI.9  TM
NaoM» Sider
The Radio
Lavish
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BEUUocfRANDELUS
September 28
The Dreaming
CEROCK
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CCCM
Spa
door
PRESENTED BY:
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Greenhouse Studios   §|||i,
31   E(£gSEE3£ lAsrnzaj* www.ticketmaster.ca
OCTOBER 5
OCTOBER 12
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SATURDAY OCTOBER 16.
TOMMY HILFIGER
PRESENTS THE
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'RICHARD'S ON RICHARDS
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SMASHMOUTH
FOR ADDITIONAL INFORMATION CONTftCpww.lenn}l(ravitz.coin
iPnMncel
:•*'.?••*/•
LIVE AT GENERAL MOTORS PUCE
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OCTOBER 14th - THE VOGUE - Tickets on sale Sept 11 280*4444   7ygycg^ylds7sg/9j__» www.ticketmaster.ca
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FALL TOUR
iAnAfW.phish.com
SATURDAY SEPTEMBER if
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LIVE AT GENERAL MOTORS PUCE
M«liM:»-
Veda
Hille
with guests
Zubot & Dawson
Tickets also at Zulu & Highlife
SEPTEMBER 27.
manic STreei
Ml_d_i_i_l^ CM!
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TRICKY
II     II v—i1 ^    f
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STROKE
DJ GENASIDE 2
RICHARD'S ON RICHARDS
plus VELVET 6 SPECIAL GUEST OJS
,#g__        Futuristic Flan Datebook
SUBMISSIONS TO DATEBOOK ARE FREE!
TO HAVE YOUR EVENT USTED, FAX AL THE RELEVANT INFO (WHO, WHERE, WHEN) TO
822.9364, ATTENTION "DATEBOOK." DEADUNE
FOR THE OCTOBER ISSUE IS SEFTEMBER 15th!
PRESENTS SHiNDiG: Cheshire Blue, The Dreaming,
Spacerock2000@Railway; John Bottomley, Linda McRae,
Wyckham Porteous@Richard's
WED 29 Hissy Fit, Sweaters, Tree Crusher@Brickyard
THU 30 Ben Folds Five@Rage; Natalie MacMaster@Vogue;
Super Furry Animals@Starfish; Joanie Loves Chachi, Insect
Gods@Brickyard
FRI OCT 1 DiSCORDER*s #200th issue: Rejoice man!
FRI SEPT 3 Orchid Ensemble@Dr. Sun Yat-Sen Classical
Gardens; Silent Treatment@Marine Club; Kelly Willis, Oh
Susanna@Starfish;    New   Electric   Riot,    Cuckoos,    Nasty
on@Brickyard
SAT 4 Circus of Dreams@Maclean Park, Cibo Matto@Starfish;
New Waveaoke@Brickyard
SUN 5 bis, Blurtonia@Starfish
MON  6 CiTR  PRESENTS: QUEENS OF THE STONE
AGE@Starfish, Telepoetics@West Spanish Banks
TUE 7 ITF DJ Championship (feat. Wax, Asterix Pump, Surgery,
Verse, judged by Vinrock, Shortkut, Apollo)@Sonar
WED 8  Alejandro Escovedo, Circus In Flames@Starfish;
Facepuller@Brickyard
THU 9 Phish@GM Place; Kristen Hersh@Starfish; Destroyer,
Lonnie James, Donkey Engine@Brickyard
FRI 10 C Average, Swarming Hordes, HIMSA@Breakroom
(Seattle, 21+), Jungle, Lonnie James@Starfish; Removal, Karen
Foster@Brickyard
SAT 11 CiTR PRESENTS: THE ESSENCE OF T/ME@Cafe
Deux        Soleils;        CiTR PRESENTS: THE MAKE-OUT
C_UB@Blinding Light
Mo'Funk Collective@Chameleon; Gavin Froome@Sonar; The
Retards Are Winning (feat. Riff-Randells, Come Ons, Canned
Ham, surprise guest)@Good Jacket; Silent Treatment, Version,
Umbrellaheads@Columbia,      Veda      Hille,      Zubot      &
Dawson@Starfish; Ten Days Late, Siobhan Duvall, Clover
Honey@Pic;     Alice     CooperOOrpheum;     Royal     Grand
Prix@Brickyard
SUN 12 Reggae Cowboys (Coop Radio benefit!)@Richard's
MON 1 3 A-Team Upcoast Summer Tour (feat. Aceyalone,
Abstract Rude, Tribe Unique, DJ Drez, Phys Ed)@Sonar
TUE 14 CiTR PRESENTS SHiNDiG: Naomi Sider, The
Radio, Lavish@Railway, Voodoo Glow Skulls, Malchiks,
Crowned King@Starfish; Blood Worm, Volatile@Brickyard
WED       15      Voodoo     Glowskulls,      Crowned      King,
Existors@RCKNDY        (Seattle,        all-ages!);        Mogwai,
Ganger@Starfish
THU 16 CiTR PRESENTS: CHIXDIGGIT, FRENZAL
RHOMB, FLASHLIGHT@Starfish; The Marianne Turbo,
Version, Polo ConvoyOBrickyard
FRI 17 Superchunk, Closed Caption Radio@Starfish; SMAQu-
2, Fryer Tuck, Gospel Space Juice@Brickyard
SAT 18 CiTR PRESENTS: ALL THAT@Lava Lounge; Green
Room@Chameleon, Radiogram@Sugar Refinery; FEAR
(seriously!)@Breakroom (Seattle, 21+); Bif Naked@Starfish;
Darkest of the Hillside Thickets, Jesse's Girl, Pet Fairies@Brickyard
SUN 19 Kool Keith w/DJ Spooky@Richard's
MON 20
TUE 21 CiTR PRESENTS SHiNDiG: Belle Bete, The Riff-
Randells, The Reverberators@Railway; Labradford,
Godspeed You Black Emperor@Starfish; Blue Ontario,
Suplex@Brickyard
WED   22   Manic   Street   Preachers,   Remy   Zero@Rage;
Bonaduces, Singleseven, New Hedron@Brickyard
THU 23 Exotic Erotica@Brickyard
FRI 24 Wyrd Sisters@VECC; Vue, Come Ons, Hot Hot
Heat@Brickyard; Noise Therapy@Starfish
SAT 25  Dalai Lamas@Chameleon; To-Ka Project@Sonar;
Cesaria   Evora@Vogue;   Straight  Faced,  Thirty  Foot  Fall,
Retreads@Brickyard; Smalls@Starfish
SUN 26 Laurel & Jan@Centennial Theatre Centre; Word on the
Street@Library Square/CBC Plaza; Mike Watt, Liars@Starfish
MON 27 Tricky, Stroke, DJ Genaside 2@Rage
TUE 28 CiTR PRESENTS: DISCO BISCUITS@Sonar; CiTR
E   S   P   E   C   I   A   I   S
E   V   E   N   T   O   S
The    M a k e - O u t    Club
Local writer, performer, and activist Trish
Kelly brings her Fringe Fest play to the
Bunding Light September 11-19. Music by
Radio Berlin, Kim Kinakin, The
Automovement. Call 257-0366 for info.
,OOL LOCAL BANDS, THE THRILL OF COMPETITION
DKES FOR BEER, TUESDAY NIGHT MANIA!  THI
Railway Club is hc
) CiTR's annual bati
Take   Back   The   Night
women is goin on
Vancouver Art Galle
8212 FOR INFO. Despite th
)LENCE AGAINST
R 25TH AT THE
pm. Call 872-
^i'm#iii;i^iii«iw_TOFm
raSR
Amsterdam Cafe  302 West Cordova   (Gas Town) 683 7200
Anza Club  3 W. 8th  (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Astoria Hotel  769 East Hastings 254 3636
Bassix 217 W. Hastings  (at Cambie) 689 7734
Backstage Lounge   1585 Johnston   (Granville Island) 687 1354
Black Dog Video 3451 Cambie 873 6958
Black Sheep Books 2742 W. 4th  (at MacDonald) 732 5087
Blinding Light  36 Powell St. 878 3366
Boomtown  #102-1252 Burrard (at Davie) 893 8696
The Brickyard  3 15 Carrall St. 685 3978
Cafe Deux Soleils  2096 Commercial   (the Drive) 254 1195
Cambie 515 Seymour 684 7757
Caprice Theatre  965 Granville  (Granville Mall) 683 6099
Celebrities   1022 Davie  (at Burrard) 689 3180
Cellar Jazz Cafe  361 1 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W. Georgia 669 0806
Chan Centre 6265 Crescent Rd. (UBC)
CiTR 101.9fM #233-6138 SUB Blvd (UBC) 822 3017
Club Vesuvius   1 1 76 Granville (downtown) 688 8701
CN Imax Theatre  999 Canada Place 682 4629
Columbia Hotel  303 Columbia  (at Cordova) 683 3757
Commodore Lanes  838 Granville  (Granville Mall) 681  1531
CNB Skate and Snow  3712 Robson 682 5345
Cordova Cafe  307 Cordova  (Gastown) 683 5637
Croatian Cultural Centre  3250 Commercial   (at 17th)  879 0154
Crosstown Music 51 8 W Pender 683 8774
Denman Place Cinema   1030 Denman  (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Hall 578 Carrall St. 662 3207
DV8 515 Davie (downtown) 682 4388
Fifth Avenue Cinemas  21 10 Burrard (at 5th) 734 7469
Firehall Arts Centre  80 E. Cordova  (a* Main) 689 0926
F.W.U.H.  Beatty 552 Beatty 687 7464
34 September 1999
Frederic Wood Theatre  (UBC)
Garage Pub 2889 E. Hastings  (downtown)
The Good Jacket 225 E. Broadway (at Main)
The Grind Gallery 41 24 Main   (Mt. Pleasant)
Hollywood Theatre  3123 W. Broadway  (Kitsilano)
Hot Jazz Society  2120 Main   (Mt. Pleasant)
Hush Records 221 Abbott Street
Jericho Arts Centre   1600 Discovery  (Pt. Grey)
Jupiter Cafe & Billiards   1216 Bute (near Denman St)
La Quena   1111 Commercial   (the Drive)
The Lotus Club 455 Abbott (Gastown)
Luv-A-Fair   1275 Seymour  (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion  7191 Granville (Richmond)
Moon Base Gallery 231 Carrall St. (Gastown)
Naam Restaurant 2724 W 4th  (Kitsilano)
Neptoon Records 5750 Fraser St.
Orpheum Theatre  Smithe & Seymour  (downtown)
Pacific Cinematheque   1131 Howe  (downtown)
Palladium   1250 Richards  (downtown)
Paradise  27 Church  (New Westminster)
Paradise Cinema  919 Granville  (Granville Mall)
Park Theatre  3440 Cambie  (South Vancouver)
Piccadilly Pub 630 W. Pender  (at Seymour)
Pitt Gallery  317 W. Hastings  (downtown)
Plaza Theatre  881 Granville  (Granville Mall)
Puff/Beatstreet 4326 Main (at 27th Ave)
Puff #14-712 Robson (at Granville)
Purple Onion   15 Water St. (Gastown)
Queen Elizabeth Theatre  Hamilton & Georgia
Raffels Lounge   1221 Granville  (downtown)
The Rage 750 Pacific Blvd. South  (Plaza of Nations)
Railway Club 579 Dunsmuir  (at Seymour)
822 2678
822 9364
872 5665
322 6057
738 3211
873 4131
662 7017
224 8007
606 6665
251 6626
685 7777
685 3288
608 0913
738 7151
324 1229
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
708 9804
684 PUFF
602 9442
665 3050
473 1593
685 5585
681 1625
687 6794
738-7734
738 6311
877 1676
687 0499
Richard's on Richards   1036 Richards  (downtown)
Ride On 2255 West Broadway; 2-712 Robson (Upstairs)
Ridge Cinema  3131 Arbutus (at 16th Ave.)
Scrape Records 17 W. Broadway (near Main)
Scratch Records 726 Richards (downtown)
Seylynn Hall  605 Mountain Hwy (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby) 291 6864
Singles Going Steady 3296 Main (at 17th) 876 9233
Sonar 66 Water (Gastown) 683 6695
Starfish Room   1055 Homer (downtown) 682 4171
Starlight Cinema  935 Denman  (West End) 689 0096
Station Street Arts Centre 930 Station  (off Main) 688 3312
Sugar Refinery   1115 Granville (downtown) 683 2004
Theatre E 254 E. Hastings  (Chinatown) 681 8915
Thunderbird Ent. Centre 120 W. 16th St. (N. Van) 988 2473
Tribeca   536 Seymour 688 8385
Tru Valu Vintage Robson (downstairs) 685 5403
Vancouver E. Cultural Centre  1895Venables (at Victoria) 254 9578
Vancouver Little Theatre 3102 Main  (Mt. Pleasant) 876 4165
Vancouver Press Club 2215 Granville  (S. Granville) 738 7015
Varsity Theatre 4375 W. 10th (Point Grey) 222 2235
Vert/Futuristic Flavours 1020 Granville (downtown) 872 2999
Video In Studios  1965 Main  (Mt. Pleasant) 872 8337
Vinyl Rekkids 76 W. Cordova (Gastown) 689 3326
Vogue Theatre 918 Granville (Granville Mall) 331 7909
Waterfront Theatre   1405 Anderson   (Granville Is.) 685 6217
Western Front 303 E. 8th Ave (near Main) 876 9343
Wert Bar 1320 Richards (downtown) 230 6278
Whip Gallery 209 E. 6th Ave (at Main) 874 4687
W.I.S.E. Hall   1882Adanac (the Drive) 254 5858
Women In Print 3566 W. 4th  (Kitsilano) 732 4128
Yale Blues Pub  1300 Granville (downtown) 6819253
Zulu Records 1869 W. 4th  (Kitsilano) 738 3232 CANADA'S LARGEST AND BEST KNOWN RECORD STORE
568 SEYMOUR ST.
ALL THESE
NEW TITLES
tfl
0 .
Hailed as Tricky's best album since
Maxinquaye, Juxtapose features collaborations with DJ Muggs (Cypress
Hill) and Grease (DMX). Includes the j
first single "For Real".
§1
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The last great powerhouse rock n' roll 1
band return with their long-awaited
album featuring "Teenage FBI". With I
Do The Collapse, GBV are once
again ready to rock!
<Dl
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SEYMOUR
STORE HOURS
MON-FRI 9-9
SAT 9-6
SUN 11 -6
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Fusing metal, punk, and hip-hop, I
11 Limp Bizkit return with their sopho-|
more album Significant Other -
the only place to get "Nookie".
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Addiction, Ben Harper, Beastie Boys, f
Rage Agaisnt the Machine, Chris Isaak,|
Butthole Surfers and more!
ML
You saw them at this summer's |
Warped Tour, now check out
Fenix TX's high-energy self-titled]
debut release.
a, j*.
!■«
ML
Folk Implosion consists of Lou
Barlow (also of Sebadoh) and John I
Davis. Their latest release One Part|
Lullaby features the first single
"Free To Go".
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August Everywhere features a lush |
sound and an inviting depth of songwriting that will hook any listener.
Featuring the lead single "Below
Sliding Doors".
^IN CONCERT^^
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Debut solo album from the vocalist/harmonica]
player for Blues Traveler. Zygote is a blues- 1
rock masterpiece and gives fans of Popper's 1
amazingly fluid harp playing a chance to hearl
the big man sing from his vast catalogue of 1
unrecorded songs.
SfVtNDUST
CD
After being featured on the main stage at 2 ofl
this summer's loudest festival tours (Warped Y
Tour and Woodstock), Sevendust release theirB
second album featuing guest appearences by |
Chino (Deftones) and Skin (Skunk Anansie). |
MATTHEW GOOD
BAND
Beautiful Midnight
Sept 14
CHRIS CORNELL
Euphoria Morning
Sept 21
BILLY BRAGG
Reaching the
Converted
Sept 21
NINE INCH NAILS
The Fragile
Sept 21
SLOAN
t Between The Bridges
Sept 21
www.samsCD* com It  VOU.   thillk Jerk With a Bomb was some crazy Atlanta
Olympic headline, or that Flin Flon is a new foot apparel.... If you think Isotope 217 is a '60s
b-movie, and Folk Implosion's a hippie fantasy, then you probably believe Quasi is only a word you use
while theorising about a seemingly drunk friend.... If J P5 is how your boss refers to your productivity, and
Freakwater's a new-age cologne.... If Red Stars Theory is only something you remember studying in
Astronomy 101, and to you, The Magnetic Fields is only a seminal book by some crusty surrealist, or if Royal
TrUX is your idea of an imperialist moving company. Then you need serious help. But serious help can be
expensive. Why not stop by Aulll, and get your life in order.
ISOTOPE 217
Utonian
Automatic CD/LP
Delving deeper into '70s era
Miles Davls-intluenced psychedelic funk-rock-jazz jams and   |
even turthet away from any
remotely post rock sensibility, this latest trom Chicago's
ISOTOPE 217 is, well, quite groovy. Some around the store
have even been inclined to suspect that actual "heavy bong
hits" were very possibly involved in the creation ot this tar out
record. Whatever the inspiration, it's all good to us, man.
CD 16* LP 14*
FOLK IMPLOSION
One Part Lullaby CD
Referencing Serge Gainsbourg. the West Coast idyllic sounds
of Van Dyke Parks and Brian Wilson, and ttletr own gumy
urban street beats, this. FOLK IMPLOSION'S third full length,
comes across as the evil twin to Beck's Odelay. Full of groove
and haunting low-end drone, Lou Barlow and John Davis (the
brains behind FOLK IMPLOSION) get back with the stuff that
made the Kids soundtrack so catchy. Recommended.
CD1698      Available Sept 7th
JERK WITH
A BOMB
Death To False
Metal CD
This former Ex-Dead Teenager
local duo makes a place for
themselves at the table of good music done right. These
handsome punk sweethearts produce a smart and appealing
kind of tolk-punk-pop hybrid; a sound somewhat similar to
that loose "roots-punk" turn that affected many bands in the
'80s (and indeed fostered the Pogues) But these boys are
also very modern-minded, coming from contemporary hardcore, straight-up pop and even jazz, as much as anything else.
Awkward labelling aside, the key point here, of course, is the
damn fine song writing. Catch them live to witness the magic
of their simultaneous drummer/keyboard player, the Silo1
CD 8s8
JP5
Hot Box CD
Turn your stereo into
with this scorching t*
k!0n
JOEL R.L.
PHELPS
Blackbird CD
L23
chances are you've seen the members ot JP5 around town by day,
but come sundown, there is only one way you can catch a
glimpse ot their verve — under the hot lights ot their flaming
rock'n'roll show! These guys suck up more electricity than a
hydroponics operation' 13 lucky songs
CD1498
QUASI
Field Studies
CO/IP
Kbadung ba
as Elliot Smiths
king band". QUASI became
instant Zulu taves with their great
Featuring Birds release last year. A '
perennial staff's pick, QUASI s songs capture a i
emotions and feelings, while employing diverse instrumentation and oddball arrangements Get on boafd while the elevator is still on the ground floor!
CD1698    LP12*
RED STARS
THEORY
Life In a Bubble
Can Be Beautiful
CD/LP
Dreamy post rock that tastefully
fills up the spaces that other likeminded bands might assume
to automatically indicate good composition. Mogwai kind of
comes to mind as well as such post-Slint, post-psychedelic-rock
bands as A Minor Forest, but as filtered through the tranquil,
laid-back and pleasantly repetitious direction typical to that found
on Darla records Blissed Out series. Features members of
Modest Mouse 764-Hero Built to Spill and Lois Maffeo
CD1B98     LP1498
horse. Recently spotted on stage
for a spontaneous encore with
his old band Silkworm in many minds I
work has surpassed the more rock centi
mer peers. Other contemporary poetic s
mind, such as Smog or Will Oldham, bu
whose classic ballads in particular can t
PHELPS playing. Another Zulu lavourite.
CD1698
THE MINDERS
Cul De Sacs & Dead Ends CD
Capturing that eternal '60s Byrds-fike jangle, THE MINDERS
have quickly climbed the indie ranks along side the tkes ol
Apples In Stereo. Neutral Milk Hotel and Olivia Tremor
Control Driven by Keith Moon-ish manic drums and Vo»
fuzz-guitar, Cul-de-Sacs & Dead Ends mixes equal amounts of
instinct, ambition, harmonious abandon and introspective sell
question, to arrive centre stage in glorious fashion. 15 years
ago they would have been superstars, today their just college
TA's having fun!
CD1698      Available Sept. 7th
FUN FLON
Boo-BooCD
Astap
MAGNETIC FIELDS
69 Love Songs #1,2,3 CD/Box Set
3CD w/76 page book
"The concept is Love. And what greater way to celebrate love,
I than through songs. Yes songs and plenty of them. And who   I
better to explore this bountiful topic than the insightful, sardonic, clever and deep voiced Stephin Menitt. Originally planned to  I
be a revue that would tour higher scale hotel bars and dinner
clubs, the Love Songs series more wisely became three individual CDs or one limited edition box set, which includes a revealing interview vvfth Merritt about his thoughts on this project.
Old and relieved tans will find things in fine form and new listen
ers will have the opportunity to get a good idea of what's going
on. And everyone will learn that much more about this so
beguiling and consuming affBetion called love.
CD16»ea. ltd. box set 49*
3CD w/76 page book
FREAKWATER
End rune CD/LP
More heartfelt good country
tunes from these Kentucky
veterans, Catherine Ann
ARAB STRAP Cherubs cd-ep/12"
ELASTICA S/t CD-EP/12" They ruled uk
NICK LOWE The Doings 4CD Box
Set Finally a bookend to his twenW "ars solo pop
TECHNIQUE You + Me cd-ep
New chill-out sounds Irom Creation Records
GUS GUS V.I.P cd-ep/12'*. .. •..
MOMUS Stars Forever 2CDs
DIVINE COMEDY The Pop
Singer's Fear.... cd-eps weutaio.
orchestrated pop -tram todays Scott Walker!
FAIRPORT CONVENTION Meet Me
On The Ledge   2C0 A nice -etrospect-ve look at
with Richard Thompson's latest lull length Mock Tudor1
STEREOPHONICS I Wouldn't Believe
YOUr...   CD-EPS Harmless harmonies, heavenly highs,
holy lows...
TINDERSTICKS Can we start again
CD-EPS Elegance intact The Tindentlcks are back'
Various MODULATION AND
TRANSFORMATION 2 cd ,
LONNIE JAMES  Dee-0  CD The sweetest M
DEEP REDUCTION  S/t  CD The new project
from Radio Birdmans DenlzTMl!
THE MELVINS The Bootlicker cd
SOME OF OUR
CURRENT FAVES
AT WORK
BRADY AND HOME
BRQKEBACK Field Recordings trom....
SND Make SND Cassette
BASEMENT JAXX Remedy
SUPERCHUNK Come Pick Me Up
U-ZIQ Royal Astronomy
JERK WITH A BOMB Death to False
SONNA These Windows Are Pistons [
CD-EP Uplifting post rock a la Aerial M
CHRISTINE
SUPER FURRY ANIMALS Guerrilla
BASEMENT JAXX Remedy
1   U-ZIQ Royal Astronomy
various artists ULTRA CHICKS VOL. 4    HELLACOPTERS A
NERO The Dune Concept Album co   YEYE mo-pit**
A new outfit trom Louisville sure to garner the Raygun press    TECHNIQUE You
hounds.
Various PEBBLES VOL. 12 CD biow
IP SPENCE Oar (reissue)
staple in the DC cognoscent   |
Mark Robinson u
mastermind behind alt the
TEENBEAT records in your collection, as well as the bouncy
new-wave sounds of Unrest and
Olympic Death Squad. Thi
is a must have for all fans ot bright, crisp, w
"Neat pop" as we call it. Boo-Boo is the perfect elixir for a
good game of badminton! Get with the beat, grab your rackets and let's swat thai shuttlecock around the yard!
C01698
GRANT M. MIKO
RICHARD THOMPSON Mock Tudor     MARINE RESEARCH Sounds From
GUIDED BY VOICES Do The Collapse the Gulf Stream
NIGHTMARES ON WAX Carboot Soul JULIE D0RION +WOODEN STARS s/1  I
BROKEBACK Field Recordings
IQU WITH MIRANDA JULY Girls on
Dates
FLIN FLON Boo-Boo
QUASI Field Studies
NIC
EAST RIVER PIPE Gasoline Age
ROTHKO s/t
TRANSAM Who Do You Think...
Soundtrack BOOK OF LIFE
MY MORNING JACKET The
Tennessee Fire
TWO LONE SWORDSMEN Stay Down |
SHAHERA
Various RETURN OF THE GRIEVOUS JERK WITH A BOMB Death to False
ANGEL (GRAM PARSONS TRIBUTE)   Metal
NolA     ARAB STRAP Cherubs EP
THEE HEAOCOATEES Sisters of Suave |
HOLLY GOLIGHTLY laugh It Up!
U-ZIQ Royal Astronomy
ROB Musique Pour Un Enfant Jouet
time filled out by Ste*
and Eric Heywood It seems that
with each record FREAKWATER get closer to the dusty,
unadorned spirit ot country music This doesn't just amount to
some tributary rehearsing of the well-worn choices of their predecessors Nor is anything posed in their work to criticise as
timely alt-country bandwagoning. What is true about
FREAKWATER is that they approach country with an offhand
form of sincerity that would be difficult to stage. So is it country first and music second, or the grey bridge called life in
between.
CD1698    LP1498
ROYAL TRUX
Veterans of
Disorder CD/LP
In 1992 the BOYAl TRUX
Isttppet) by Vancouver and performed before a small-bewildered crowd. Post-blues practitioners, the ROYAL TRUX have made a career out of rolling for
broke, and that night, as with the thousands that must have followed for them, was no different. Their unchanged sound
remains instinctual, convulsive as only beauty can be, and never
Static — because if you're stay static, soon you'll be wearing a
target on your back! Recorded in their backwoods Virginia compound. Veterans of Disorder is the psyched-out blues beacon
from the paranoid landscape that is modern society.
CD1698    UM498
JUUE
MARINE RESEARCH Sounds From
The Gulf
WOODEN STARS The Moon
BIS Social Dancing
PLAID Restproot Clockwork
DAVID KRISTIAN Beneath The
Valley...
Soundtrack THE ACID HOUSE
FLAMBIG LIPS The Soft Bulletin
SOLEX Randy Costanza 7"
KEVIN
GUITAR WOLF Jet
PETE HAM Golders Green
ROB Musique Pour Un Enfant Jouet EP SILENCERS Cyclerific Sounds
various artists THIEVERY WATTS *.
CORPORATION "DJ KICKS"
EP
1869 W 4th Ave.
Vancouver. BC
V6J1M4
tel 738.3232
STORE HOURS
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00

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