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Discorder CITR-FM (Radio station : Vancouver, B.C.) Sep 1, 1998

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 Your Guide to UBC's Campus/Community Radio Station, CITR W1.9 FM
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Living the Destroyer Dream With Vancouver's Own
The 1998 Local Music Directory
Musicians, Services, Venues, Distribution and"More ...
Summer Tour Diaries
On The Road with The Malchiks and The Beans
Loud
Rich Interplay of Japanese Taiko Drums, Flute and Electric Guitar
1998 Vancouver Folk Music Festival in Review
• Plus: Zines, Local Music Features, Reviews and Events  IL*WII*1I:_:_L_EHEM
UNIVERSAL I
CONCERTlst
Local Features
Malchiks Tour Diary
The Beans Tour Diary
Loud
Folk Fest in review
Destroyer
LDDKING BACK .
SEPTEmQER.l-rBT
editrix: miko hoffman
art director: ken paul
ad rep: kevin pendergraft
production manager:
tristan winch
graphic design/layout:
atomos, kenny, malcolm,
randal mindell
production: sarah efron,
ann goncalves, erin hodge,
katrina mcgee, christa min,
randal m, nathan, malcolm
van deist, shane vander meer,
fern webb
photography &
illustrations: shane bodie,
nic bragg, jason da silva, ted
dave, ann goncalves, steve
horwood, william janz, ryan
schmidt
contributors: barbara a,
tania a, nic b, paul b, brady
c, julie c, michelle c, bryce a,
shane b, glenn d'c, greg e,
sarah e, sean e, anna f,
trevor f, noah a, patrick g,
steve g, ah, andy h, frank h,
blaine k, namiko k, janis mck,
ken p, lindsay p, dave t,
tobias v, brian w
programme guide: anna
friz
charts: julie colero
datebook: miko
distribution: matt steffich
us distribution: tristie
discorder on-line: malcolm
publisher: linda scholten
7
9
10
11
12
4
4
5
5
6
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15
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16
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19
20
22
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19
Columns
Vancouver Special
Grumpy Old Dog
Staplegun ShowdownU85>
Demo Derby
Localseen<JJB>
Seven Inch
Printed Matters
VlDEOPHILTER
Basslines
Under Review
Real Live Action
Charts
On The Dial
September Datebook
Comics
Botched Ampallang
Good Tasty Comic
Cover
Nic Bragg captures the essence of
Destroyer, cover boy/band for this
year's annual Local Music issue, complete WITH FEATURES, PROFILES, AND DIRECTORY. Cover design by Kenny Paul.
© "DiSCORDER" 1 998 by the Student Radio Society of the
University of British Columbia. All rights reserved. Circulation 17, 500.
Subscriptions, payable in advance, to Canadian residents are
$15 for one year, to residents of the USA are $15 US; $24
CDN elsewhere. Single copies are $2 (to cover postage, of
course). Please make checks or money orders payable to
DiSCORDER Magazine.
DEADLINES: Copy deadline for the October issue is September
16th. Ad space is available until September 23rd and can be
booked by calling Kevin at (604) 822-3017 ext. 3. Our rates
are available upon request. DiSCORDER is not responsible for
loss, damage, or any other injury to unsolicited manuscripts,
unsolicited artwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material.
Material can be submitted on disc (Mac, preferably) or in type.
As always, English is preferred.
From UBC to Langley and Squamish to Bellingham, CiTR can be
heard at 101.9 fM as well as through all major cable systems in
the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ
line at 822-2487, our office 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:
citrradio@mail.ams.ubc.ca, visit our web site at http://
www.ams.ubc.ca/media/citr or just pick up a goddamn pen and
write #233^5138 SUB Blvd., Vancouver, BC, CANADA V6T 1Z1.
Printed    In  Canada ♦
TICKETS AT ALL TICKETMASTER OUTLETS OR CHARGE BY
PHONE   280-4444 OR ON LINE AT WWW.TICKETMASTER.CA IHMM11E1I131I   ipr«im*
CHOMSKY & HUTCH
-rgvoAven
MUSIC,
proper
PRODUCTIONS
The Coast
BRIAN JONESTOWN MASSACRE • RHEOSTATICS • LOW • CHOCLAIR WITH RELOAD '98
STARRING KARDINAL OFFISHAL. TARA CHASE. KON QEST. _ ULTRA SOUND CREW • BIONIC
• IDA • LONNIE JAMES • THRUSH HERMIT • TRISTAN PSIONIC • MOONEY SUZUKI •
THE NEW GRAND • PUNCHBUGGY • STINKIN' RICH • WAYNE OMAHA • NEUSEILAND •
CIAO BELLA • BODEGA • ORANGE GLASS • B'EHL • JOEL PLASKETT
PLUS MANY MORE OF YOUR FAVOURITES INCLUDING ADDITIONAL GUEST HEADLINERS
FULL DELEGATE PASS: $12 0 + TAX
INCLUDES GUARANTEED ENTRANCE TO ABSO
THAT IS HOM...AND THEN SOME.
BAR PASS: $50
\GES PASS: $3
FOR A FULL FESTIVAL LINE-UP, FESTIVAL SCHEDULE DR TO PURCHASE PASSES DY PHONE,
CALL THE HOM HOTLINE AT 902.425.MUSIC EXT.1
FOR THE LATEST ON HOM '98, VISIT US ONLINE AT WWW.HALIFAXONMOSIC.COM
BROUGHT TO YOU IN PART BY...
>Z&> Media Pipe
SFPTFMRFR 7R 7fi 77 '
Vancouver
Special
wwr*
BY JANIS McKENZIE
COAL
One Track Mind
(Coal Music)
Coal's spooky, sexy music has been
included in several movie soundtracks (including, most recently, an
independent film called The Widower] and it's easy to see why:
there's something about listening to
the lush, smoky sounds of this band
that makes you feel like you've been
transported to the middle of some
alternate Jim Jarmusch-like universe.
Coal describes their sound on this
long-awaited second CD as "psych-
edelic western noir" (they've
dropped the word "lounge" in recent years), but that description
hardly prepares you for the rare
combination of sadness, strength,
and hard-won wisdom in singer
Nicole's voice, or the wistful introspection in the rhymeless poetry that
makes up the lyrics. These are big,
drifting songs that generally avoid
easy hooks, instead building atmosphere out of rich, twangy guitars
and hauntingly low cool-sweet vocals. "Invisible Man" is the standout
song here (and the CD includes a
QuickTime video for it, directed by
bassist Marcus, for those of you
whose CD-ROM drives are working), introduced by an enchanting
CrampsJike guitar line. And I'll go
ahead and spoil the surprise: famed
drummer Ian Tiles sings the last
song!
DAL-DIL-VOG
Elephant Head
(Dal-Dil-Vog Enterprises)
Dal-Dil-Vog is without a doubt the
most famous band ever to toss a
CD my way: according to them,
their videos have been seen by almost a billion (yes, that's a B) people in Asia. Back in this part of the
world, they won a CFOX Battle of
the Bands contest and were recently
named one of North America's best
unsigned acts in a magazine. No
doubt the multitudes of Lower Main-
landers who go to see DDV at local
festivals (they played at the PNE on
September 1 st with Damn the
Diva) would agree, but I'm afraid
that I can't. Although Elephant Head
is supposed to sound like what the
band calls "The New World Beat,"
a combination of bhangra, pop,
rock, and funk, comparing them to
Cornershop would be a bit like
comparing John Tesh to
Stereolab. (And which one of
those has been seen by a billion
people? Hmmm ...) To me, these
songs lean too far toward MOR
adult FM radio pop and too far
away from the bhangra, but who
am I to argue? Almost a billion people can't be wrong. Nerdy critic
that I am, I'll stay at home and listen to my limited edition
Cornershop 7"s.
THE CRAWLERS
Dance Wl Dawn
(Ape Dog)
If I were a schoolgirl, I'd be waiting
until my parents were in bed so I
could climb out my bedroom window to meet up with The Crawlers, who pull out all the stops with
their Chris Isaak slide-guitar sexiness, good-natured harmonies,
snarly lead vocals, and rock steady
beat. Dance Till Dawn is loaded
with fast-paced, country-tinged
roots-rockabilly songs about girls,
first kisses, girls, trains, and girls.
To top it all off, their promotional
photo has them posing in Jim's
Harley Diner in Delta, looking for
all the world like squeaky-clean pals
of Richie Cunningham at Al's Drive-
in, and they have been known to
play at car rallies. Luckily, I'm old
enough to have my own Valiant
now and can stay out as late as I
want, so I plan on seeing them live
the first chance I get.
Grumpy
Old Dog
My phone rang one
Thursday afternoon
in August. A friend
had an extra ticket to see the
Backstreet Boys and couldn't
find anyone to go with her. I
laughed. Then I hung up. I was
worried that she might ask me
if I wanted to see the show and,
given my pledge to KEEP AN
OPEN MIND, I would have
been, at least somewhat, inclined to give the Boys a try.
But that's not the end of the
story. My friend knows Becky,
my 15-year-old sister. They happened to be chatting on the Internet that day. My friend mentioned the extra ticket and, later
that afternoon, my phone rang
again. Itwas Becky. "I'm flying
in tomorrow night," she said.
"I'm going to see the Backstreet
Boys."
I sighed relief. What a lucky
stroke. Not only did I not have
to worry about keeping an
open mind, but I would get a
chance to spend some time with
Becky.
Saturday night rolled
around and I stood beaming as
Becky left for GM Place and her
brush with the Boys. Then I
threw on my blackest clothes
and headed off to Bauhaus. It
was a perfect evening. We met
back at my apartment after our
respective concerts to compare
notes. I thought Bauhaus was
a great show. She thought the
same thing about the Backstreet
Boys performance. It was like
we had agreed to disagree ...
ethi
ngs.
Becky scanned through my
CD collection while she was
here and discovered some
things she liked: the new releases from Hothouse Flowers
and the Sundays, Norwegian
fiddle player Annebjorg Lien,
and Rose Melberg's solo release, Portola.
As for me, 1 actually
watched MuchMusic for the first
time in, well, forever. I noticed
a plethora of bands of boys,
each group fulfilling the requisite stereotypes: hyper blonde
Californian, dark brooding
Latino, jock, bad-ass, sensitive,
tender. None of them, I noticed,
wore prescription glasses —
unless those shades hide more
than bloodshot eyeballs. There
were also a great many solo
women acts and all of them
seem to perform under their first
name: Monica, Sonja, Brandy.
I didn't see any Estelles or
Bernadettes. I wondered quietly
to myself how much market research went into naming those
women.
I thought about advising
Becky to think about, even research, the corporate power
structure of the music industry,
but then thought better of it. At
the Billy Bragg show in August,
he mentioned that during his
tour through the States he'd noticed an '80s revival happening. He warned us to "avoid it
at all costs."
I went to see Bauhaus anyway. I loved it.
So much for Billy's advice.
And so much for mine.*
4     September 1998 Staplegun
Showdown
•ZINES  BYMiMiC
SPIRIT OF'72 Vol.1 No.l
8 1/2x5 1/2, 40 pages
Chris has come quite a ways since
his early days of zining with Superior Tenderness and Flavour. No
more fussing over the municipal
quirks of Victoria. No more meek
interviews asking questions about
cake vs. candy and whether the interviewee will go out with him. Relocated to the big city, Chris is older,
stronger, more patriotic, and ready
for a new zine that accurately reflects
his priorities.
Spirit of '72 is just that, a slick new
zine brought to you by the "Canadian Culture Liberation Front" that fuels
Chris' alternating angst and joiede-
vivre into an entity celebrating (and
demanding the celebration of) a
chunk of turf which 30 million of us
call home. This rag is polished to a
shine. Spiffy layouts, higher-profile
contributors and a quality showcase
of Canadian observations are delivered straight to your door in the tried-
and+rue fanzine format. The selections
are sopping with more wit and giddiness than an episode of Air Farce,
from the long-winded plea for Canadians to recognize and accept their
childhood Megan Follows
crushes, to the awarding of Cub
Scout-type badge awards to
underappreciated Canuck folk. Sandwich in a btof hockey talkand you've
got a zine no less diverse than the
country it stands for! Spirit of '72 looks
good, real good. Perhaps it will, to
quote Betsy BitcfvMuffin's column,
"transform the word 'Canadiana'
from a ninfrJetter four letter word ...
to the name brand of all things nifty."
(Send $2 to Chris Eng, PO Box
21538, 1850 Commercial Dr., Vancouver, BC, V5N 4A0/ e-mail:
cje@intergate.bc.ca)
7HEMAKEOUraUB#8
8 1/2x5 1/2, 44 pages
It feels awfully strange to be reviewing the words of a girl who was once
DiSCORDER's (and my) authority on
zines. This is a non-threatening personal zine, contrary to what I expected from Vancouver's spoken
worrrd queen, Trish. Her writing is
strong and you can see she's always
working to strengthen it. Her narratives are simple and straightforward,
allowing her experiences to speak for
themselves. Particularly engaging was
"Flight of the Butterfly," in which Trish
attempts to simultaneously come out
to her mom and court her first female
love interest. She discusses her sexu
ality ("definitively"), still struggling to
pin it down. I especially enjoyed the
poems responding to a piece Lawrence Ferlinghetti wrote about the lack
of "music" in modern poetry. Instead
of just arguing her side of the matter,
she puts her point into action. The
MakeoutClub is certainly worth your
time. (Send $1 + stamps to Trish Kelly,
Box 33-345 E. Broadway, Vancouver, BC, V5T 1W5/ e-mail:
trishkellyex@yahoo.com)
DEVIANT     (Mind's     Eye
Presents #9)
8 1/2x5 1/2, 10 pages
Robin Bougie's newest edition of
Miod's Eye Comics takes a plunge
into the realm of bizarre sexual
behavior. The art is extremely
friendly and clear as usual, and his
depictions of these allegedly true,
perverse stories apply his unfailing
ability to make light (and laughter)
of the most fucked up situations.
Robin's comics have a typically
ziney feel to them, maintained in
this case with write-ups of more
weird sex stuff. If you can handle [
the creepy scenarios, you'll find this
comic very satisfying. (Send $2 to
Robin Bougie, 525 East 18th Ave.,
Vancouver, BC,V5V1G2)*»
Demo
Derb
More groups have been
using theatre as a way
of spreading political
awareness. Bread and Puppets hosts an annual gathering
of workshops and performances
in Vermont and Wise Fool Puppet Intervention in San Francisco creates giant puppets for
street demonstrations. Art &
Revolution gatherings have
happened in various cities in
North America to bring together
people to create political street
theatre, music, dance and puppets. Here in Vancouver, a collective called Ghost In The
Machine is performing political
theatre at various events. During
APEC at UBC, the group presented a skit about the effects of
multinational corporations. The
group had another performance
as part of Vancouver's first Reclaim the Streets party, at
which people took over a street
near Grandview Park. They acted
out a piece based on Dr. Seuss'
The Lorax, in which an evil entrepreneur chops down all the
"truffula trees" to turn them into
"thneeds," a parody of how mar-
needs. Ghost In The Machine also
performed at the Under the
Volcano festival and the
Stoltman Ecofest under the Lion's Gate Bridge in North Vancouver on August 29.
August 8th and 9th marked
the fifth anniversary of the arrests
of 500 people at Clayoquot
Sound. The gathering reunited
350 people on Stubbs Island, 15
minutes west of Tofino. The event
was more of a party than a political event, although it did feature workshops on building activist alliances and local economies. Speeches were given by
MP Svend Robinson, who
was arrested at Clayoquot, and
Robert Kennedy Jr. No one
was quite sure why Bobby was
there, but he took the opportunity
to wax eloquently about the wonders of Canadian democracy.
The monotony of the speeches
was interrupted by the kick-ass
day performances of Veda Hille
and Kinnie Starr. Axe Brasil,
an Afro-Brazilian musical group
who also perform the Afro-Brazilian martial art capoiera, inspired dancing and drumming
until the wee hours of the morning. The film Fury for the
Sound, about the important role
played in protecting
Clayoquot, was also shown.
Squamish, BC, has the first
McDonald's to successfully unionize in North America. Prior to
this, the closest that employees
got to unionization was when a
Quebec McDonald's was shut
down after the employees voted
to join a union. At the Squamish
McDonald's, the process was initiated when two teenage workers approached the Canadian
Auto Workers Union. Unionizing service industry jobs, which
is difficult because of the part-time
and short term status of many
employees, could be an important way of increasing the power
of labour organizations. Meanwhile, the McDonald's Corporation has been creating their own
propaganda by creating their
"Big Mac Capital" campaign in
the US. This is a search for the
city which "enjoys Big Macs the
most," and coincides with the 30
year anniversary of the greasy
sandwich. According to the PR
newswire service, Dave Baney,
the vice president of
McMarketing, said "... during this
anniversary year, we want to find
out which city in America loves
Big Mac more than any other, and
we're very excited to see where
our search will lead." Oh, the
excitement. Too bad Canadian
cities are not eligible ...
Democracy advocates have
been getting braver in their attempts to end the rule of the military junta in Myanmar (Burma).
The All Burma Students
Democratic Front, based in
neighbouring Thailand, is calling
for a nationwide revolt against
the government, which is easily
one of the most repressive in the
world. The National League
for Democracy won the elections in 1990, but was never allowed to take power. The military
government and state-run media
are ignoring NLD's declaration
that they will soon form a "People's Parliament." The party
leader, Aung San Suu Kyi,
has camped out on a bridge for
over ten days now, because the
government refuses to allow her
to meet up with her supporters.
Recently some international protesters were arrested and deported after handing out pro-democracy leaflets in Myanmar.
If you have any events you
would like to have mentioned in
Demo Derby, you can contact me
(Sarah) in the CiTR News Room.
Also, the CiTR News department is looking for volunteers interested in reporting, writing and
announcing student/activist/artistic/sarcastic/irreverent news.
Phone the CiTR News Room at
822-5334 or email
vs@mo/7. ams. ubc.co> •
TIED TO A
DEAD-END JOB THAT
IS GETTING YOU
NOWHERE FAST?
IS LOOKING FOR
AN ADVERTISING
REPRESENTATIVE
& IT COULD BE
YOU!
DiSCORDER Maaazine is
currently looking For a dynamic and self-motivated
individual to fill the position of
lAd Rep. The successful applicant
will have good communication
skills, knowledge of and appreciation ofthe magazine, some
proficiency in graphic arts and
desktop publishing, and, YES,
an interest in sales. Deadline for
applications is October 2nd.
5   E^gSSESffi mmm mrcwji.
The folks in Forecasts Farewell are not new to the local music scene, although the band may be. Various
members of this "sometimes quiet, sometimes loud, ambient art-rock with a touch of dub" band, just formed
last year, have produced zines [jerk, Suburbanite), worked for CiTR radio, and played in other musical projects (Slough of Despond, Ruckus, The Eh-Team, and Spiderland).
They admit that they feel a bit out of place in the "local scene," wishing they lived in Chicago instead,
the birthplace of most of their
If you'd like to take Forecasts Farewell up on their offer to play at your pets' weddings/bachelor(ette)
parties/barmitzvahs/batmitzvahs, call Thor at 604.985.9271 ore-mail <chris_corday@bc.sympatico.ca>.
They are also willing to send you a copy of their limited edition (of one) CD, if you send $2 to 5831
Wallace St., Vancouver, BC, V6N 2A3.
Full Sketch is most definitely Vancouver's only all-gal
instrumental group. Known most for their party gigs,
they know how to rock the house with their Hammond
organ and minimalist guitar/drum sounds. Although
Katie Sketch (drums) is the only one of the three to
have brushed with fame (not everyone has a guitar
given to them by Bryan Adams!), she'd be lost without
her teammates, Barb Sketch (organ, guitar) and Sarah
Sketch (organ, bass).
Full Sketch played their first gig at one of (vintage
clothing store) The Good Jacket's legendary and
packed entertainment extravaganzas. Check out their
single, "Sketchersize," on CiTR's demo charts. This is
"Ham 'n' Bass."
Call the "Sketch Hotline" at 604.322.0102 or
e-mail <fullsketch@hotmail.com>.
The band describes their music as "complex, elegant, rich,
m-bodied. Light and lively; clean, versatile
flavours." Critics describe their music as "... a cryptic
jumble of foggy funk and sampled o
[Spin] and "... cyclical beats, wurlitzed keys, scratch
vocals, samples/snips/sound bites ... the air sickness
bag packaging pushes this into keeper category"
[Terminal City]. And Vancouver's favourite after-hours hangout, the [Sugar Refinery], thinks they're cool enough to play a
lular Friday night gig.
FryerTuck, originally from Edmonton (the rest of their history is dubious
hen asked about previous bands, they answer: "none that apply." Hmm ...), has been a group
r for close to three years now, but Nick (Cubase 2.5, Ensoniq ASR-10 [rack mount], Technics 1200,
Shure LP 300) has been playing with the hip hop beats since '93. The other members, Matt (trap kit, ballistics), Stephane (Jupiter 6, Space Echo, answering machine), and Move (manager) round it all out.
Look out for their upcoming CD release for Soft Favourites of Yesterday and Today, •
month. Contact the band at 604.215.1997 or at <fryerpark@hotmail.a
ImIJCijtb: Hii-isI
If you want to see your band featured In this
here section, send us something that will
make us interested! Send music, photos,
bios, candy, or whatever, to "LOCALSEEN"
c/o DiSCORDER Magazine, #233-6138 SUB
Blvd., Vancouver, BC, V6T 1Z1.
6      September 1998 MALclWS ToUR WAR/
The Malchiks are a bunch o(yovn$ energefic, ska-kids Crotn fhe xburb$ who (wished Cavovrably (second's fhe besf, rtghf?) in CiTR's vm
Shindig. Since fhen, fhey've released fheir Qirsf Cvll-lengfo, Skavanf -Gar<te, (or Spawner Records, and are cvnenflyvMmgon fheir second.
Souw'fht Seeds oQLoy/e  Vancouver fo Monfregl, May Kw- by frank HenVille
Thursday, April so, SfarCisi** Room, Vancouver, Be.
Tour began on a naked, drunken note — how
appropriate! Quite a few of our "hardcore" fans
(that is, the people on the guest list) made it
down to the Starfish to bid us farewell and hit us
up for a few beers. Frank sat in the back room,
sweating and drinking Bacardi, hoping the tour
Sunday, May s, basewjenf show, calgary.
The first show out of town was a terrible fiasco.
It was an all-ages punk rock thing, but the last
buses out to the suburbs left at 10:30 and we
played at 11:00. Seven kids remained when we
played and we sold five CDs and a T-shirt, so
we figured if we kept up that ratio of merch to
attendees and got a few more people out to
shows, we'd make a killing.
Tuesday, May s, E-****onf«n.
This show was really reassuring. Moil accidentally
caught fire and ran screaming down the street outside the bar, frightening a pack of wandering reefer
addicts. We considered cancelling the tour when
we saw a sign at an Edmonton bar that advertised
50 cent pints of Kokanee on Thursdays. Instead, a
few more enterprising members acquired a keg of
beer at an undisclosed location and we thought it
best to leave town.
Saturday, May?, Regina.
This was easily the most successful show of our
tour. We were paid really well — cash and two
handfuls of those tiny little liquor bottles that hang
on the necks of big bottles. It figured that Frank
had only been able to secure a show here on
the way to Montreal and not a return show also.
Skavenjah played before us and made us"a huge
barbecue at their drummer's house. Then we
stayed up to all hours drinking an abhorrent
amount of alcohol.
Sunday, May C7, M»nf real.
Arriving in Montreal, we reached the 100th
show of our career and the eastern apogee of
our tour. Here was our chance to play to a
crowd that has seen the best ska bands Canada
has to offer. At least we succeeded in scaring
them. Afterwards, Frank, Moil and Davey
adjourned to a surreal nightclub named the Cafe
Campus, which was featuring French-language
music night. The mix included folk tunes, sea
shanties, eurotrash technopop and selections
from various arias — which most of the club's
patrons knew and sang along with! In the meantime, the remaining members were searching for
somewhere to sleep. Helpful cops steered them
away from a pleasant looking park which had
been the site of a recent gunfight.
wednesd-y, May 20, Saska-f<x>n.
Your humble narrator has but little recollection of
this night. Rumour has it that his head was lit on
fire by Moil. He proceeded to extinguish the blaze
by banging his head vigorously against a speaker
cabinet (apparently, he forgot to stop, drop and
roll.) He then performed a drum solo, which was
extremely well recieved. His performance over, he
proceeded to accidentally kick in the front of the
bass drum whilst exiting the drum kit.
Safurday, May 2s, Winnipeg.
This, the most notorious night of the tour, took
place at the Royal Albert Hotel. Videotape
footage had to be consulted to corroborate various accounts of the evening. First, J.F.K. and the
Conspirators, one of the most laid-back first-wave
groups around, incited a dispute between two
gentlemen in the audience. One punctuated his
argument by overturning a table, and his friend
admonished him with a friendly fist to the face.
The bartender broke up the fisticuffs but found
time to sell the men offsales before they left. Then
Frank, Moil and Mike adjourned to the house of
J.F.K.'s trumpet player. When the three returned
to the hotel at five in the morning, they found
their companions vacating their rooms quickly
and preparing to leave. It seems that one of the
all-night Royal Albert beer-and-heroin parties had
got a little out of hand. A tenant had been breaking a few plywood shelves over Geoff's head
when the bar owner/bartender entered with a
couple of his portly friends and beat the unfortunate tenant to within an inch of his life. Geoff and
co. wanted to leave, but Moil reminded them that
they had been promised breakfast by the hotel.
So we threw 50 empty beer bottles out of the
hotel room window, had an early breakfast, and
departed.
■friday, May z% Vancouver.
Triumphantly, the Malchiks returned home in time
to perform at the Brickyard with the Black Market
Babies. The transmission on one of the vehicles
was completely shot and the brakes were gone
on the other. Nevertheless, the Malchiks played
an elated show. Somehow, Moil pushed Frank
off the three-foot stage. Frank managed to avoid
serious injury by landing on his face. Frank got
his revenge by utterly destroying Moil's guitar
and lighting his back on tour. The boys knew
they were back in town when they found themselves propositioned by Vancouver girls — the
only ones who are used to that funny smell. Oh,
Vancouver, we'll never leave you again. We
can't afford to.»
For more information, aHojoin the people who never
join anything, call..
681-1531
Commodore Lanes & Billiards
838 Granville Street
7 Ef^smm ^g
THE    17th    VANCOUVER
INTERNATIONAL FILM FESTIVAL
300 Films from 47 Countries
BCTel   Film  Festival   Hotline   685-8352
®
AIR   CANADA
VISA
__m
d
H.
Celebration (Denmark, 105
min.) Lars von Trier's buddy
Thomas Vinterberg has
fashioned a scathing family
reunion-from-hell comedy-cum
melodrama, shot in the raw,
vertiginous style familiar to
viewers of Breaking the Waves.
One of the most talked about
films at Cannes 98, where it
captured a Special Jury Prize.
The Kingdom II (Denmark, 300
min.) Anyone who caught the
terrific. The Kingdom knows what
to expect in Lars von Trier's
continuation-a brilliantly lurid,
preposterously scary and visually
innovative melodrama about a
haunted hospital and the assorted
doctors, patients, ghosts and
devils that reside there. Must be
seen to be believed.
Modulations (USA, 73 min.) A
crash course in hipness, lara
Lee's (Synthetic Pleasures VIFF
96) latest film explores the
growing subculture of electronic
music. Through interviews with
Prodigy, Future Sound of
London and others, Lee takes
us where the art is the pulsating
rhythm and the beat is the thing.
Acid House (Scotland, 112 min) For
those who couldnt get enough of
Trainspotting, director Paul
McGuigan delivers "pure, undiluted
Irvine Welsh" from Welsh's collection
of short stories. Three sketches
illuminate the outrageous, brutally
comic, violent and sometimes
pathetic dark side of existence in
Glasgow.
Slam (USA, 92 min.) A
landmark film, Marc Levin's
gritty prison drama is also a
passionate plea for African-
American males to take a new
direction. Mixing documentary
technique with fiction, Levin tells
the compelling story of two
prisoners who find strength
through poetry. Winner, Grand
Prize, Sundance 1998.
Urban Ghost Story (Great
Britain, 90 min.) In director
Genevieve Jolliffe's tense and
unusual coming-of-age drama a
demon may be terrorizing a
teenage girl after her near-death
experience in a car accident. Or
are the strange happenings in
her apartment just a bizarre
attention-getting scheme?
Lucky People Center
International (Sweden, 81 min.)
This fast-paced, DJ-like blend of
visuals and rhythms takes you on a
spiritual travelogue of world dance
and transcendental states. One of
the most inventive and playful non-
fiction features in years from mix-
masters Erik Pauser and Johan
Soderberg.
Zacharia Farted (Canada, 110
min.) When new ager Brian
(Benjamin Ratner) finds an
unmarked grave, he drags his
best friend on a truly quirky road
trip in search of the deceased's
identity. Director Michael Rohl's
has come up with a comic road
movie with plenty of heart and a
few life affirming tears.
Wicked (USA, 96 min.) Bored
teenager Ellie is devoted to her
father-despite the fact that her
parents arent exactly practicing a
faithful marriage. In what turns into a
sordid tale of lust mom is suddenly
murdered and Ellie transformed into
a manipulative Lotita... A gothic,
suburban thriller from Michael
Steinberg.
Relax...lt's Just Sex (USA, 110
min.) Featuring a strong
ensemble cast including Jennifer
Tilly, writer-director P. J.
Castellaneta's romantic comedy
examines the affairs and
intrigues of a group of
thirtysomething friends-a
chosen family of gay men,
lesbians and straights-and along
the way raises issues from AIDS
to rape to forever being single-
Sitcom (France, 80 min.) This
sunnily subversive farce from
the very hot Francois Ozon
plays like a French John Waters
(Serial Mom period) as it tells of
a bourgeois family's undoing
under the spell of the new pel
rat. "Like Mr. Solondz's
Happiness (VIFF 98), much too
evilly funny for the main
competition [section of
Cannes.]"-New York Times.
Beast Cops (Hong Kong, 95
min.) Two detectives from vastly
different backgrounds are
thrown together when a Triad
gang-war hit goes wrong.
Gordon Chan and Dante Lam s
hilarious and stylish tale of dark
justice gives us two cops who
must survive in a world of strong
temptations and serious
violence.
dffm 4_J«   © d
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BCTel   roots    [II]   j^&r   *»ta*   S»=S> cJk   SSTSouu*
viacom camada   The Vancouver Sun Rogers    . Fedix*. hr+i^™^ Zulu recording artists The
Beans celebrated the
beginning of summer '98 with
a week-long jaunt across
western Canada, supporting
The Inbreds in what would be
their last tour together.
Here's a look at The Beans'
first tour together ...
By Andy Herfst
Photos by Steve Horwood
Monday, June 22, 1:57 pm.
This tour should be about a week long, I think. The
necessary players are strapped in:
Stefan, broad-faced with piercing eyes, plays a
position of support. He is the pillar of the team. He
can remain motionless for hours upon end. I've
always admired that. He sculpts in his spare time.
We brought Tygh because he's ripped. Yeah, he's
got a great body. Never know when that will come
in handy. An actor and an intellectual, he will definitely be an invaluable player.
Ida, 17 and perpetually intoxicated. One of
those people who might just know too much.
We've had a few conversations, but all I can
remember of them are the way she stares right at
me when t talk, and her dazzling laugh Ida was
born with music inside her.
There's myself. Why am I here?
Still somewhat of a mystery is Steve, photographer and proprietor of the Sugar Refinery. Why did
he choose this tourney? He might have something
to learn, or to teach. For now, he is driving. He
insisted on piloting the first leg of the trip.
Picked up the van (a bgrgundy-flavoured,
extended body dune rider with a chrome grill and
spoiler) a couple of days earlier. That gave us time
to paint the Nitrous canisters with a 'cyber-death'
landscape and our team name, "Killin' Time"
('cause we're looking to upset the fastest time over
land between Winnipeg and Vancouver on the last
leg). Just slap a "New Driver" sticker on the
bumper, swallow a few dozen Gravols and we're
rarin' to go
Monday, 7:09 pm, Vernon, BC (the only place
in BC where they take Albertan money at par).
First stop is not for a show, but for a reunion.
(After a failed attempt at a dinner date with 93-
year-old Sadie Mallish, who, after peering from her
fifth floor apartment window at the surly group
gathered around the intercom replied, "No,
thanks, I already ate. Goodbye") The reunion was
with Stefan's uncle Tim Udell, a real wild-card.
Signals left when he's turning right, a 64-foot
piece of cedar balanced somehow in the back of
his grey Toyota pickup. What a piranha. Turns out
that sculpting runs in the family. The guest bedroom serves also as a showcase. Brown, ceramic
busts of various family members stare up from carpeted corners.
"I was sittin' there one night pullin' my father's
nose off ... because that's what sculptors can do,"
said Tim. Then he would tell us about his children:
"The boy made me that table. I had to drive a
bunch of nails into the legs to keep it standing. But
the boy made it for me, so I had to use it for something ..." Our eyes follow his pointing finger.
Looking out of place, a tiny potted plant, about 10
sizes too small, sits on the middle of the table Don't
think I'll ever forget that r
A DIARY OF THE MAD GRASS
.•--v..*.,,..
Entry Two
"Remember, I own you." Nic's friendly reminder
scrawled on the back of a blurry photograph. Nic,
who works for the label, has a way of making things
frighteningly clear. But he is a long way away now.
His desperate, final words to us before the departure echo: "You'll call me, won't you? Call me and
let me know how you're doing?"
Tuesday, 6:05 am, Revelstoke, BC. Stefan's
BIRTHPLACE.
"This is my trailer park, man!" he says, pupils dilated. "Those trees never used to be there! How fast
do trees grow?"
Tuesday, high noon, Rockies rest stop.
Something has gone terribly wrong here. Countless
white moths lie dying on the ground, rooves,
counter-tops — all hopelessly flapping their wings.
The locals seem oblivious.
Tuesday, 4 pm.
Crossed into Alberta, set the clocks ahead. I think
the trucker in the blue Peterbilt that we accosted at
the toll booth put a call out on the CB because
every truck we pass tries to run us off the road. Tygh
is behind the wheel now, though, and remains cool
under pressure. Always cool. He hasn't been driving
lightens my mood with a joke:
"Chicken's lying in bed with the egg, smoking a
cigarette. Chicken says to the egg, 'Well, I guess
that answers that question.'"
Wednesday, 11:56 pm. Edmonton.
In case anyone is looking, there's an emu for sale
about 50 km out of Edmonton on the #2.
Got into town a little early to do an interview for
college radio. Funny thing was that they neglected
to ask us why we were all laughing hysterically.
There is something very fucking unusual about this
place
Played the Rev. We were a hit. Didn't manage to
sell the Beans Jack in the Box, though. Might have
to discount it.
Thursday, 1:23 pm, Somewhere Flat.
Assuming a false identity, I managed to be prescribed
for 14 hours straight tike most of 'em. I think we'll
make it to Calgary.
Wednesday, 3 am, The Night Gallery, Calgary.
Played our first show with the inbreds. They're
both a little too cute and well-mannered to actuary be inbreds. It was a pleasant enough experience here. Cafgarians lived up to their reputation
as genuine, laid-back and friendly. We were a little
late getting on stage because a flash rainstorm
managed to leak onto the soundboard. The only
low point was being ripped off for cash. Tygh
numerous antibiotics and painkillers at the West
Edmonton Mall Clinic. We're off for Saskatoon now
and Stefan's behind the wheel. His Arvo Part and
Bedhead tapes lull us into sleep and we almost miss
seeing the first canola fields. Now, rolling through
the driest prairie heat in a decade, I begin to suspect
that a few compatriots have the road madness.
Steve looks around with bright, curious eyes and
asks innocently what it would be like to watch a
human get crushed by intense underwater pressure.
Tygh responds with a slurp, as a deft hand scoops
up a rivulet of drool. Ida looks at me as if I'm respon
sible for the instability that floats in the air, then
begins to gnaw on my leg. Steve then suggests a
photo-shoot in a wheat field to relieve tension.
Ever been shot with a salt-gun? Basically a pump-
action shot gun that fires a spray of salt, rather than
buckshot. When the farmer came out, we bolted
for the van. I was the only one seriously injured.
Kind of like a self-sterilizing, full body, gravel scrape.
"Shtay .outta my cropsh!" he bellowed in an
almost incomprehensible slur.
"You call these crops? I call 'em craps!"
answered Stefan. Damn right. Nothin' more than a
hundred acres of good-for-nothing, nicely organized, brown grass.
Thursday night, Saskatoon, Amigo's Bar Et
Grill.
Saskatoon. What a town! I know this will be the
highlight of the trip. We were greeted at the edge
of town by a giant billboard portraying a heterosexual barbecue romance fantasy, and a caption that
reads: "PORK. THE ONE YOU LOVE. SASK PORK."
Stopped off at the University for an interview.
The dj cut the interview short when we started
answering questions in unison. He was politely
laughing at everything we said, just in case.
Beans in unison: "We need a place to crash
tonight. Could you mention that on the air? Free pass
to the show in exchange for a floor to sleep on."
DJ: "Heh heh. Humm. Snort. So where are you
guys staying tonight?"
Amigo's is great. Take-out and live music. A luxury
cafeteria with a stage and a kickin' sound system. Nice
atmosphere. Air-conditioned to simulate an Arctic
environment. No-nonsense staff. Free dinner. Place to
crash (a series of bleak rooms blanketed in poo-related graffiti.) I still wonder what the Sask kids made of
us. Gave away the Beans Jack in the Box to the girl
dancing on the stage. By this point, the Inbreds have
shown to have a cult-like following of young women
who worship them like two indie-gods.
Top photo: Pork. The One You Love. Bottom left:
Steve at a cafe in Winnipeg. Bottom Right: The
Beans in front of an old, fancy hotel in Saskatoon.
Friday, Regina, driving away from, fast.
A strange and different place. Many people on drugs.
Many interesting architectures. The audience tonight
was small but polite. Applauded and cheered whenever Tygh mentioned REGINA, SASKATCHEWAN, or SASK
PORK. Received some interesting sexual advice from a
300-pound albino man with a point and shoot camera.
While soundchecking, the engineer mentioned how
packed the place would be this night. After we played
to no more than 30 people, I remarked to him sarcastically, "You were right We packed the place." He
looked back earnestly and agreed with me.
Monday morning, Abbotsford, BC.
We played Winnipeg. They held a rave there afterwards. We got the fuck out of there. Took us about
20 hours and a $300 speeding ticket to make it
back to Vancouver. Lessons learned this trip: the red
pistachios aren't worth it — they stain your hands,
your mouth, your clothes. And always bring Steve
on tour. He does all the driving, cleaning, picture-
taking, equipment-hauling and smooth-talking. He
can be reached at the Sugar Refinery.*
9 £^£2®_m loud
LOUD's rich interplay
of Japanese Taiko
drums, flute and electric
guitar offer something
entirely new to the Vancouver music scene.
Rhythmically fluid and
creatively harmonic,
Eileen Kage, Leslie
Komori and Elaine Stef
musically interpret "loud"
as an intensity and
strength, rather than a
simple matter of volume.
taiko music. If I put this in the
context of taiko, I see this as
breaking boundaries, but I'm not
sure that should be part of the
continuum because this really is
something different: the three of
Eileen and I have played for a
long time, but I just feel just us
coming together is something totally brand new.
So, maybe [you're] breaking your own boundaries?
Elaine: Definitely.
Eileen: Yeah, I'd say so.
Elaine: It's a really dynamic experience on a creative level and
it's like we haven't even begun
When I went to see you,
because you're called
LOUD, I sort of went expecting to see something more
in-your-face, but in fact,
your sound is more soothing ...
[All   thre
Eileen: Yeah.
Elaine: Where did you see us?
At the Powell Street [Festival.]
Leslie: We're louder in smaller
it is nice that other people can this point, I think we are ready
pick it up, too. for the next phase, which is want-
Could you describe how ing to record, and then choosing
you see your role in the which gigs to play.
community, like in terms of Can you see yourselves
playing benefits, how you doing this full-time?
feel about doing those kind Leslie: I can't, personally From
of things? what I can see, It seems like some-
Eileen: We play for events that times you have to do a lot of gross
we support. We were talking gigs. I'm not at that point,
about how we play for gigs that You prefer having the dis-
pay a lot of money or we play tance so that you can main-
for free [laughter]. tain your autonomy?
The ultimate sliding scale. Leslie: Yeah, I don't want to be-
A  Robyn  Hood  mecha- come a music machine. We just
nism ... really like to rehearse a lot. I en-
Elaine: For me, I want to do joy rehearsing, jamming — com-
something to contribute to the ing up with new stuff is really ex-
community and I hate going to citing.
meetings. It's something concrete Eileen: It's almost like the re-
to do. I mean, nobody's got any hears
money, we have to help each
other get some. It's a positive kind
of contribution.
What was it like playing for
the Prisoner's Justice Day?
Elaine: We couldn't [because of
you
fall
by namiko kunimoto
No, it was really entertaining, but it has almost an
ambient feel, if you can
ever use that word to describe taiko and electric
I wasn't even just talking
about volume. Just that I
was expecting something
more punctuated — but in
fact, it was really a harmo-
Eileen's torn ligaments in her
Eileen: Last year we did, though.
What was the first gig you
ever played?
form, but the rehearsals are
the most ...
So the making — the process — of it is the most important part?
Elaine:
Putting it together is the
part. But for
we' do
choose to perform, I think that, as
opposed to going around to every
bar in town and playing for fifty
bucks and a case of beer, just so
lots of people can hear us, we can
DiSCORDER: My first impressions of LOUD have left
me feeling like you try to
instigate change by breaking down boundaries. Do
you see yourselves doing
that musically, politically,
ethnically or any other
way?
Elaine: Well, we don't do that
intentionally, although that's an
interesting question. I sort of see
been playing for a long time, who
really connect musically, and that
all three of us [are] soloists who
play together and push ourselves
further, musically, as a result. I
really enjoy seeing us play as an
ensemble, going places that I've
personally never been. People do
ie uniqueness ofthe
Leslie: I have a divided response
on this. A lot of this is like what
Elaine says, that this is really different, but in terms of my life and
playing taiko, I don't see this as
10    September 1998
to scratch the surface.
Leslie: For me [politically], a lot
of the music I've done has been
pigeon-holed as this 'ethnic' thing
and doing this is impossible to
be pigeon-holed as ethnic, which
I really like. I mean, we are never
gonna play for Canada Day, and
that is just so excellent to me.
'Cause I've never wanted my
music to be that way, but it has
been appropriated that way before. But this music can never be
appropriated that way.
At the same time, do you
see yourselves fitting into
the local music scene?
Leslie: Yeah, sure.
Eileen: Absolutely.
Elaine: I think the more diversity in the music scene, the more
people will accept different types
of n
n the
i. It's
not just like you have your
grunge fans over there. I mean,
it's all part of the local culture
and everybody should be able
to appreciate it.
guitar.
Leslie: That's all right.
Elaine: We were thinking if we
were ever to have a theme song,
it would be really, really quiet.
But there is definitely some sort
of variety, it's not a barrage of
drums and electric guitar. The
compositional aspect comes
Well, I was expecting that,
but I guess I was expecting
something more loud.
Leslie: When we were coming
up with that name we went to the
dictionary and we were talking
about the different definitions of
loud. So there's the volume level,
and other definitions, like being
garish.
Elaine: Not being passive, sort
of an active thing. It's also comparative; for example, if you were
loud enough to be heard at the
back of the room, it doesn't necessarily imply that there was a
lot of volume.
Like an intensity...
nious, interwoven sound.
Leslie: Oh, dear, we have to
change our name [laughter].
Eileen: Powell Street Festival.
Two songs, ten minutes.
Leslie: I feel we've been play-
le where we want to do a gig,
>eria or Iceland or wherever
ne can set it in motion to do
photos by ann goncalves
Elaine: This year's set was really nice at Powell Street. We
have gotten to this point where it
is possible to hear everyone.
When you are first writing, you
are concentrating a lot on playing your own part, making the
changes at the right time and so
on, but now we have gotten really comfortable with some of the
songs. I guess that means we
It really seems like you are
working together on stage.
There is a comfortable energy, with the three of you
working together.
Eileen: Cool. We knew that, but
ing a long time.
Eileen: And we do other paid
m*-
Leslie: Yeah, this is not about
benefits, but gigs in general — I
just feel that we've all been playing a long time, so we don't have
to jump at every gig that comes
our way. And that is so nice.
Elaine: It's been a big process,
just building up enough material
to be able to perform on our own.
We accepted the gig when we
only had 35 minutes worth of
songs. There have been mixed up
periods where we haven't done
gigs because we were working
towards a particular goal. So at
that. Interesting kinds of venues.
It's more meaningful to you
to just be in the band together.
Elaine: That is something that is
one of my personal priorities.
Something I put a lot of energy
into, and it's something that is going to go on for years. So we can
make the band be what works
for us. We shouldn't feel obligated to do a gig that we don't
feel comfortable with.
When do you think that
you might record?
Eileen: Spring, or early next
year. We are just trying to get
that in motion right now." If/
■k       *£
A Rw*p of tk* V*ntt*ver Folk Mwic Ftttival 'f$
By Anna Friz
Though the Folk Fest has
been on shaky ground for
the past year, this year's
show was all we've come to
expect, with cultural and music diversity ranging from
Newfie reefs to west coast
beach dub, from frenetic
Romani fiddling to Maori pop.
Only at the Folk Fest can you
learn how to say "Check. One,
two," in three different languages at one workshop. And
though everyone wished Bil!
Richardson would come
back to MC and save us all
from Christine Taylor's apparent metamorphosis into a
tacky radio personality and
Mark Leiren-Young's thin
jokes, a good hot sweaty time
was had by all.
First Nations were well represented with Arrows to
Freedom and the Nisga'a
Ts'amiiks Dancers from BC,
Chester Knight and the
Wind from Saskatchewan,
Joy Harjo and Poetic Justice from New Mexico,
Dahnoshay from Oklahoma,
and Ulali from around the US.
Ulali win my vote for most
amazing female voices of the
weekend (and possibly ever).
Accompanied only by their
own hand drums and shakers,
these women of diverse Native
American backgrounds were a
piercingly beautiful three-
woman pow-wow. Moana
and the Moahunters from
Aotearoa (Maori name for
New Zealand) were fierce po
litical voices and their theatrical show — including members of the traditional warrior
dance troupe Tuhourangi
Ngati Wahio — were hampered only by some poppy
synthesizer.
Amampondo, from
South Africa, was the big
crowd favourite. They caught
everyone's attention on the Friday night stage with their infectious drumming, acrobatics,
the lead man's queeny commentary and the gorgeous female dancers who showed us
all that big women shake it better. On Sunday, they did an
acoustic set on the grass,
kicked off by a troupe of Mortal Coil stilt-walkers dancing
to the groove of a drum jam.
Especially tasty was the Ugandan Xylophone, the size of a
restaurant kitchen counter,
which was played by four or
five members.
My favourite "take that,
yuppies," moment (and there's
gotta be one, somehow, every
year) took place in the kitchen
area. In between stage appearances, a few of the Taraf de
Haidouks musicians busked
through the crowd, passing
their hat while playing. Some
people seemed charmed, others huffy; in the end everyone
dished out some coin. And why
not? Taraf de Haidouks are a
band composed of some of the
many musicians of a Roma village featured in Tony Gatlif's
Latcho Drom (you may remember Nicolae Neascu, the old
man who fiddled a tune about
fhe end ofCeaucescu. Their income essentially supports the
whole village. They play with
unbelievable speed and sing
with feeling, so much so that
the requisite Irish reel-o-rama
that usually draws the crowd
at the end of the day was
usurped by the pairing of the
Taraf and Quebec's stompin'
Celtic big band, La Bottine
Souriante
Two other Rom acts filled
the bill this year: Vancouver's
Los Canasteros played and
performed flamenco, while
Karshilama from Turkey
featured a seductive clarinet.
A couple of workshops allowed these bands to play
together and mingle in each
other's traditions, showing off
the great diversity of Rom music as well as the striking similarities.
•^
The staple singer-songwriters made their appearances:
Carmaig de Forest was his
usual witty self, while Coco
Love Alcorn proved that even
if your songs are low on content, a spectacular voice goes
a long way to make up for it.
Tony Bird (from Malawi) had
the opposite dilemma; vivid
songwriting was set back by
nasal vocals and droning
sameness to every song (I know
the women sitting in front of me
were hanging off every chord
he played Saturday night,
gushing in between songs
about his musical genius, but I
had to escape and soothe myself with a decadent dessert.)
Jen Paches' one-woman
band was unusual and powerful (playing piano and drum
kit together), but at times she
definitely crossed the line between intense and shrill.
Dave Alvin, who once
played in a pre-X band called
The Knitters with John Doe
and Exene Cervenka, was a
real find with his roadhouse
brand of weary blues.
Though the fest indulges in
musical hybridity (Poles playing banjo?!), there are some
hardcore this-is-the-real-shit
folk music acts. This is the stuff
that truly makes that ticket
worthwhile, the kind of music
that makes everyone forget
their leaking condos or identity politics as they join in a
rousing chorus (in Sorbian) of
"Give me an egg, give me an
egg, give me an egg, give me
better two," accompanied by
two sets of bagpipes. As Utah
Phillips noted last year, "This
is a folk fest, and you are
obstensibly the folk, n'est-ce
pas?" Roy Bailey was the
sing-along finish to the fest on
Sunday night because we
couldn't possibly be convinced
to leave politely on the heels
of a raucous La Bottine
Souriante performance, and
what self-respecting folk fest
could end without a song in
honour of a dead folk hero like
Joe Hill?*
FINGERS LOUIE
BACK ON THE STREETS
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11 um&ssms^ DESTROYER'S BREAM
' A^m ierrief it PMos i}
M        j* pon first meeting Destroyer, I was told that he is still
m m haunted by a dream he had in his teenage years. The
M m narrative goes something like this: he was swimming in
m m the warm waters of the Mediterranean, in the warm waters
^^^J that flow near Gibraltar. He sees himself from above; constantly, his shape changes with each breast stroke, as he bobs in and
out of the green water. The only surroundings are a few small fishing
boats, nets, weights and numbered buoys. Suddenly, he finds himself
paddling through sand rather than water and, with the shock of these
events, he turns over to sun his stomach, only to discover that what so
suddenly became sand was now gobs of bees! Frantically panicking
in his dream, with arms waving, he cuts through these droves of
winged beasts and strikes a solid stone plaque, only to awaken before
reading what in fact it said.
He says, "It was the sort of dream that while you're asleep, you
know it's coming. It's only a matter of time before I'd start the same
scenes over and over again. I knew what was coming. I had it some
eight or nine times over a three year period — each time trying to illuminate the words on the stone, sometimes feeling parts of it with my
hands. The bees at times were different, sometimes just wings, millions
of tiny wings ... but I kept trying to reach the stone ... to hold a light
up to it. It's this light that I think of mostly ... it burns in the dream ...
and it burns in my heart, as if I'm trying to illuminate things."
The Destroyer hi is SCOTT MORGAN W, M »M0 fer
M m COLLINS W STEVE WOOD (guitar) and D
e John Coltrane records
** basically wanted to poster me
tething that I'm not sure if I'd do
Explain your set idea for the cover and packaging of City
of Daughters.
Well, me, Scott Gubbels and Les Smolenski did the design and artwork, and we kind of wanted to hearken back to the late '60s/early
'70s singer-songwriter records. We were looking at Tim Buckley and
Scott Walker albums as well as s
things we took cues from — and tl
all over it. Looking back on it, it's s
again, but I think it turned out really w
Here in Vancouver, the only artist that occupies similar
territory to you is Mark Szabo. Are there others? Are you
both folk troubadors? Solo artists?
Actually, I can't think of anyone besides Mark. In ways, we could be
lumped together — perhaps as troubadors as you say — but in terms
of part of a larger folk community or whatever, I really have no part
or interest in that. As far as what Mark's doing, I listened to Horsey
and his solo stuff and it must have had some effect. Now he's also got
a band and, in terms of me, I don't think I could go back to playing
on my own, both literally and figuratively.
DiSCORDER: What can you tell us about the electronic
interludes on your record?
Dan Destoyer: I'm trying to think where they are — you mean the
'EMAX I,' 'II,' and 'III,' right? Those were mostly a bunch of four-track
demos that John used on his sampler. They're actually little parts from
songs that we messed around a bit with and then thought, why not use
them to cushion the songs? For example, the saxophone one is from
Scott's saxophone solo on the song that follows, and another is a
sample taken from the song that follows it.
I don't think they had any real significance other than wanting to
break up the acoustic monotony of the record. Ideally, it would be
nice to incorporate those sorts of things into the songs themselves, but
we didn't really have that kind of time and space. There's no deep
meaning to them, I just have a new-found love for the sampler.
12    September 1998
You've long championed the local comic scene[and] local
[illustrators]. What's your connection?
I really don't know that much. I have some friends who do it. There's
my roommate Blaine, who has a weekly strip called Grief in
Terminal City. And Steve who plays in Destroyer, he does a lot of
visual stuff — not so much comics, though. There's Les, of course. He
drew the cover of the album.
Many visual artists have begun to dabble in music and
vice versa. Do you have any inclinations to pick up the
brush?
[Laughs] Actually, no. I'm really feeble when it comes to thatJ
a real problem connecting my hands with my mind, every»inusic, but
visually I'm quite stunted. I think if I could do one thing, I would do
that, though, 'cause it really does blow me _H^^|
can make an image arresting.
What does your unruly ha
It must be the only sign of an u
everything about me is pretty do
has a mind of its o*
Is there an improvisation!
Unfortunately, not really. 1
been loose enough or drunkj
there, but overall it's not a:
to do, have some sort of pi
changed the lyrics of the sc
The three main thei
Heroism and the Stre|
Shit, I couldn't have s<
How influential [do I
were on the Halifax n
Ah, those [Halifax] guys d
the ground until Zumpano s\
to wage.
What exactly is your i
It's an idea that I like to play v.
erful idea and if you write a
become a very powerful song [t
motion. I'm not sure how, perh
Are you a baritone? Who are tfi_|
Am I a baritone? I don't think I qualify a
am, or where the divisions lie! Basically, il
squawk and squeak in a high register ... Lee Hazefl
a great baritone, he had a pretty distinct and outstandin
to be messed with.
Briefly, what is the sound of young Vancouver?
[Laughs] ... Crickets chirping, I guess.
The three  main  themes  in  your  music  are  Excess,
Redemption and Injustice.
Injustice, I really harp on, redemption and its possibility, yes, and i™
Local
music
Directory
illustrations b^ R^an Schmidt
musicians'
Sex! in Sweden
Extra old school punk rock
complete with gender
bending, high kicks and gang
vocals.
Box 2621, Vancouver, BC,
V6B 3W8
604.301.0147 (Blisterhed)
blstrhed@vcn. bc.ca
Adrienne Pierce
Singer/songwriter/guitar,
intense pop tainted folk?
Noir, poetic lyrics, catchy
melodies.
PO Box 2961, Vancouver,
BC, V6B 3X4
604.682.6001   (Adrienne
Pierce)
The All Star Schnauzer
Band
Songs about corn, lawnchairs
and Johnny Cakes.
818 Hawks Ave., Vancouver,
BC, V6A 3J4
604.251.1446      (Libby
Schnauzer)
Anomie
Trio that combines Eastern
roots/rock melodies with
Southern gospel harmonies.
2146 VV. 8th Ave., Vancouver, BC
604.720.1372 (Michael
Dewey)
Baked Alaska
Indie-rock guitar/drums duo
with neat, bad singing and
jangly, rythmic schtuff.  WE
NEED SHOWS!
810 English Bluff Rd., Delta,
BC, V4M 2N5
604.263.3136 (Chris)
henville@direct.ca
The Beans
Soundtracks, weddings, parties,
restaurants, bar mitzvahs,
festivals, seances, fashion shows,
birthdays, funerals, marathons,
unveilings, baptisms, pool
gatherings, shindigs, Ann Day.
We do it all.
1869 W. 4th Ave.,
Vancouver, BC, V6J 1M4,
Canada
604.943.1709 (Andy)
604.738.6772 (Tygh)
Beauventure
Alluding   to   answers   of
questions which have yet to
be asked...
1761       Graveley      St.,
Vancouver, BC, V5L 3A9
604.253.0744 (Stephen
Lyons)
604.733.0424       (Mike
Hendrix)
604.733.0424 (fax)
Bonafide
Original band. Reggae, hip
hop, metal, groove.
9600    Alexandra     Rd.,
Richmond, BC, V6X 1C5
604.207.2600 (Nick/Paul/
Bina)
bonafide@intouch.bc.ca
Bored of Authority
Our music is an unrestrained
exploration of the funking
1635     Ellesmere    Ave.,
Burnaby, BC
604.299.0558      (Paul
Steadman)
Bystander
(bistander), n. A person who
stands by but does not take
pari.
2816      Kitchener      St.,
Vancouver, BC, V5K 3E3
604.253.6543   (Capital
Punishment)
Neko    Case    &    Her
Boyfriends
She's country, and she'll kick
your ass! New album  in
1999.
PO  Box  3613,   M.P.O.,
Vancouver, BC, V6B 3Y6
604.669.6468 (Randy)
mintrand@aol.com
www.mintrecs.com/
Celestial Magenta
You should know who they
are by now.
#5-3217    Heather    St.,
Vancouver, BC, V52 3A4
604.876.7331 (Linda)
celestialmagenta@hotmail.com
www.angelfire.com/ca/
celestialmagenta/
Chapter 3
Practice on Tues.  Wings on
Wed. Late for work on Thurs.
134 A St., Surrey, BC
604.594.9438 (Rob Lord/
Darcy Webb)
Che Chapter 117
Female fronted politico-stomp-
core. Formerly Puncture.
PO     Box     21552-1850
Commercial, Vancouver, BC,
V5N 4A0
604.215.8314 (Meegan)
Cinderpop
XTC meets My Bloody
Valentine and discuss recipes.
#117-588 E. 5th Ave.,
Vancouver, BC
604.682.4014 (Kevin Ellis)
604.654.1993 (fax)
markj@nettwerk.com (Mark
Jowett)
Citrus Concept
Lazy, dazey, ethereal and
heavy... and will get you
through high school.
Vancouver, BC
604.688.1403 (William)
citrusconcept@usa.net
Closed Caption Radio
Kinetically-inclined audio
scientists bending the laws of
modern musical principles.
Vancouver, BC
604.254.3058 (Shane)
604.684.3767 (Marty)
sandyk@brickyardmusic.com
Clover Honey
Sugar & spice & songs about
dead bodies.
4-824     E.     19th    Ave.,
Vancouver, BC, V5V 1K5
604.709.3141   (Anita L.
Binder)
604.685.0535    (Lauree
Thomlinson)
604.801.5799 (fax)
cloverhunnie@hotmail.com
Coal
Smooth gothic rockers with
dark roots.
C8-238    E    10th    Ave.,
Vancouver, BC, V5T 1Z5
604.871.0055 (AM
Productions)
604.875.9971 (fax)
coal@istar.ca
www.thewidower.com/
coal.html
The Corn Sisters
Neko Case and Carolyn
1998 Local Music Directory Mark play old time, stompin'
country music with drums, a
cymbal,  a guitar,  and a
plank.
PO  Box  3613,   M.P.O.,
Vancouver, BC, V6B 3Y6
604.669.6468 (Randy)
604.669.6478 (fax)
mintrand@aol.com
www.mintrecs.com/
The   Darkest   of   the
Hillside Thickets
Rock.
302-1015 W.  13th Ave.,
Vancouver, BC, V6H INI
Toren Atkinson
thickets@uniserve.com
www.holycow.com/thickets/
The Deadcats
Voodoo-billy      cowpunk
surfers.   Skull(NY)/Flying
Saucer Recording sluts.
Box 408-1275 Haro St.,
Vancouver, BC
604.687.6138 (Mick Tupelo)
604.687.6138 (fax)
604.662.7725 (fax)
mdflysau@wimsey.com
home.pi.net/~roy/psycho/
bands/deadcats.html
Destroyer
"Excellent. Somewhat retro."
109 W.Cordova, Vane
BC, V6E 1E1
604.454.1 139 (Dan)
Devolver
Taking the rock out of indie
pop. Cleverness abounds ...
Box 144-1472 Commercial
Dr., Vancouver, BC
604.253.0275 (Transsiberian Music)
604.253.0275 (fax)
Disgusteens
Power-pop-punk. Been compared to the likes of Husker Du,
Buzzcocks, Superchunk.
2837 Clark Dr., Vancouver,
BC, V5N 2R6
604.708.9036 (Jeff McLoy)
Don D'Ercole
Singer-songwriter of hard
rock '70s metal.
1402   10620-150th  St.,
Surrey, BC, V3R 7K2
604.930.5577 (Dercole)
604.294.1151 (fax)
qckid69@aol.com
Donkey Engine
Result of reclusive reverbed
moods and swings.
2816      Kitchener      St.,
Vancouver, BC, V5K 3E3
604.253.6543 (Steve/Nick)
The Duke of Medulla
Eclectic music, mechanically
separated classical operatic
jazz,  allergy alert! May
contain traces of country and
western.   Live flames and
tuxedos!
PO Box 44602,  Garden
Park, Vancouver, BC, V5M
4R8
604.251.2073
604.688-5951 (fax)
dukeofmedula@yahoo.com
Durango's Daughter
... a ride in the rubleseat ...
but you must be this TALL to
get on the ride
North Vancouver
604.980.9239     (Derek
Charboneau)
durango@netcom.ca
www.netcom.ca/~durango/
Electroconvulsive
Therapy
electro-magnetic       data
purification
Box 715,   101-1001   W.
Broadway, Vancouver, BC,
V6H 4E4
604.709.0624 (Rob)
tntrmdicks@tsnxt.co.uk
The Electrosonics
Hypnorocktronica.
PO Box 215 #101-1184
Denman St, Vancouver, BC,
V6G 2M9
Heather or Eric
electrosonics@bc.sympatico.ca
www3.bc.sympatico.ca/
electrosonics/
Experiencing Difficulty
The     supergroup      with
problems.
sine.ranch.org/exp/
The Falcons
Instro gods — let us prsy!
#35-2137 W.   1st Ave.,
Vancouver, BC, V6K 1E7
604.732.0473 (Mike Beddoes)
604.736.6472 (fax)
fbmdeva@ibm.net
Forecasts Farewell
Post-a-rock-a that-a will please
your parents and pets-a.
5070 Arbutus St., Vancouver,
BC, V6M 3W2
604.266.3380 (Laura)
shawnl@dowco.com
Fridge Art Tiara
T-town's boy vs. girl acoustic
810 English Bluff Rd., Delta,
BC, V4M 2N5
604.943.5091 (John)
henville@direct.ca
www.geocities.com/
Nashville/5183/
Fug Dub
Oven-fresh       ice-filtered
monkey-humpin' paisley-
dream-sequenced        lip-
smackin' recycled funky
chow.
Surrey, BC
604.538.8269
wurdz@bc.sympatico.ca
Full Sketch
Ham n' Bass Girl Rockers.
Vancouver, BC
604.806.1379       (Katie
Sketch)
fullsketch@hotmail.com
G42
Industrial-experimental-
psychedelic-gothic-noise
direct from the limp sink.
1010       Seymour       St.,
Vancouver, BC, V6B 4Y4
604.681.0606 (Friar Fritter)
g42@ranch.org
sine.ranch.org/g42/
Gasm
The high definition, ultra
cybernetic sadomasochistic,
testosterone, pomocore laden
groove for today's healthy
modern humans.
250 East 59th Ave.,
Vancouver, BC, V5X 1C9
604.324.5948 (Russ Klyne)
604.324.5948 (fax)
gaze
Pop music on K records.
720     W.      19th     Ave,
Vancouver, BC, V5Z 1X2
604.943.8866 (megan)
miko@unixg.ubc.ca
www.geocities.com/
~crushworthy/gaze.html
Glimmer
6162 171a St., Surrey, BC,
V3S 3Z2
604.574.6380 (Caveman
Management)
'.cavemanpromo.com/
glimmer/
The Go-Devils
A fired-up, buzz-box fuelled,
double dose of catchy,
caffeinated punk rock & roll.
#1203-1225 Cardero St.,
Vancouver, BC, V6G 2H8
604.662.8664 (Natalie
Beaulieu)
604.251.7819 (fax)
nett@hotmail.com
Gradient Profile
Metal, techno, ambient, jazz
from the East Van tip.
3076     E.     25th     Ave.,
Vancouver, BC, V5R 1J4
604.844.5106 (Rob
Matharu)
Haitch C Soundcraft
Sine bloop fuzz beep.
604.466.1717 (Rich)
604.466.1717 (fax)
hcee@vcn.bc.ca
sine.ranch.org/hc/
Hard Rubber Orchestra
Seventeen-piece high speed
avante-orchestra. Protectors
of modernism.  "Glen Miller
would turn in his grave."
(Discorder)
604.683.8240
604.683.7911 (fax)
jkorsrud@uniserve.com
Harvey Switched
We know it, they know it and,
soon, you will know it too.
319 Songster PI., Vancouver,
217 west hastinqs street [@ Combie]
voncouver, be, Canada
® 60t.689.773t
fx. 60t.689.7781
mail orders available
TREECRUSHER
CELESTIAL MAGENTA      AMKVD
THECARTELS   rllSSYFTT   TED
MOTHER TRUCKER
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SPINNER RECOUPS CANADA.
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SELECT
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MUSIC WASTE •*, ttATURWG MoTHER TRUcia,JKSESqRLTREEcRUSHER<HSSy»T
1998 Local Music Directory BC, V3L 4L7
perfect blender!
themselves back to the surface      Newlywedz
104-441   E.   3rd,   North
604.271.8602 (Dr. Roberts)
604.608.1967       (Mark
604.760.6037 (Rich Cok)
of the Vancouver punk scene      Steel drums, sitar, vocals,
Vancouver, BC
604.730.0199 (Jers)
Richards)
psyclone@bc.sympatico.ca
with their new drumer Nicki!!     g
uitars,   keyboards   and
604.985.0008 (Norman
pipedream@thanfrastrudure.corn
Primitive rock'n'roll at its      samples. Unusual.  Weird.
Thomas)
www.theinfrastructure.com/
Headrush
Jeff Kearns
crudest and rudest!                     Butthole Surfers meets Pink
604.984.2101 (Klaus Bach)
heavy metal hard rock combo
Independent.     Original.
PO  Box  3613,  M.P.O.,      Floyd.   Come see us when
The Plantains
316  15288-1 00th Ave.,
Acoustic. Urban-Folk, etc. ...
Vancouver, BC, V6B 3Y6           you're high.
Ocean3
The   more  polite,   better
Surrey, BC, V3R 7X2
#225   13895-102 Ave.,
604.873.5441                           Vancouver, BC
A hard whatever you call it
behaved and physically fit
604.649.5523 (Don James)
Surrey, BC, V3T1P2
604.669.6478 (fax)                 604.730.0090 (Jason)
band.  They like to rock.
second cousin of Frank Black,
kikaxe@aol.com
604.682.3269 ext.8243
mintrand@aol.com                      604.734.9897 (James)
They've got fudge.
twice removed.
www.maldima.com/kearns/
www.mintrecs.com/
2505B St. John St., Port
11623 90th Ave., Delta, BC
Hissy Fit
Morning Gold Fix
Moody, BC, V3H 2B3
604.608.0191 (RyanBigge)
PO Box 3507, Vancouver,
Kiss the Ground
Marc-o-matic                         Almost as good as the Baja
604.733.9485 (A. Dennison)
rbigge@sfu.ca
BC, V6B 3Y4
Song driven acoustic rock,
True gonzo songwriting.             Marimba Band.
604.733.9586 (fax)
www.geocities.com/Paris/
604.687.6860
lush vocals, eclectic keys,
PO Box 29144, Delamont      kands@intergate.bc.ca
ocean3@death-star.com
1537/
grignet@direct.ca
alternately sweet and snotty
PO, Vancouver, BC, V6T 5C2      sine.ranch.org/mgf/
www.geocities.com/
guitars.
604.734.6607 (Shock)
SunsetStrip/Underground/
Quonset
Hookers of Fire
427     Kelly     St.,     New
Motorama
9427/
Fever dreams of those souls
As good as any shitty band
Westminster, BC, V3L 3P7
Marcos X                                It
was a jump that anyone else
caught in the shimmering heat
on the list that thinks they're
604.526.9344 (led Hamilton)
Multi-instrumentalist,      v.
ould have broken a leg
Pepper Sands
of a dried up oasis.
cool.
604.526.9344 (fax)
composer/arranger, live/     attempting.
Poly-rockassional plunge into
948 Keil St., White Rock, BC,
604.219.5938 (Ryan/Curt)
ksthgrnd@u n i serve .com
studio engineer, juggling,      4572        Quebec        St.,
the psychophonic world of
V4B 4V7
info@hookersoffire.com
griffin.multimedia.edu/~psa/
stage/road     managing,      Vancouver, BC, V5V 3L9
limitless imagination.
604.538.7203 (RCJohnston)
lessons,    versatility   and     604.874.6667 (Marcus)
#106-55   E.   12th  Ave.,
604.517.0379 (fax)
Hounds of Buskerville
Knockin' Dog
experience.                                 fast_7@hotmail.com
Vancouver, BC, V5T 4J4
Ska rhythms, reggae grooves,
K.D.'s got more class than
Box       3777,       VMPO,
604.877.0222   (Adam/
Radio Berlin
punk energy — oil
Vancouver's got grass.
Vancouver, BC, V6B 3Z1           Nagasaki Fondue
Andrea)
The DC sound intertwined w/
2163 Napier St., Vancouver,
PO Box 29144, Delamont
604.873.DRUM (Marcos X)       Sub-ambient static and/or
peppersands@hotmail.com
80's new wave: The Cure, Joy
BC, V4S 2P1
PO, Vancouver, BC, V6J 5C2
marcosx@mailciry.com                god awful fucking noise.
Division. Members of Ex-
604.252.9590 (Peter Vogler)
604.680.2604     (Super
B
ox 715,   101-1001   W,
Pet Fairies
Dead Teenager and The
scribble@wizard.ca
Robertson)
The Marianne Turbo            Broadway, Vancouver, BC,
Death-lounge: to satisfy all
Measure.
Rock and Roll survivalists.      V6H 4E4
your cruellest desires.
2188 Wall St., Vancouver,
Idiot Savant?
Kristoferson
Somewhere between The      604.709.0624 (Rob)
#14-1656   Adanac   St.,
BC, V5L 1B5
Happy, sad, mad, glad, loud
Punk-ass accordian player
Monkees and the Melvins.         tntrmdicks@tsnxt.co.uk
Vancouver, BC
604.215.4539        (Jack
music, from the band that
willing to play anything from
1222 E 13th Ave, Vancouver,
604.253.2785 (R. Michaelis)
Duckworth)
refuses to die.
barmitzvahs to baby showers.
BC, V5T 2M2                            nothing but trouble
scylla2@yahoo.com
1131 Lily St., Vancouver, BC
831 E. 14th Ave., Vancouver,
604.874.7157 (Conor)              Don't wanna change the
Randeesh
604.251.1207 (Ken Paquette)
BC, V5T 2N5,
604.872.7669 (Aidan)              world, just give you a break
Pipedream
Singer/songwriter. 1998 CD,
604.251.6354
604.879.0200 (Kimberlee
from it for a while.
Ambient anthems.
People Are You Ready —
ritaken@istar.ca
Simpson)
"Indecipherable
^—i
The Idols
Lavish
caterwauling." (G. Lawrence)
^gxe^^r,
assess  __^__s_____ss§££?a
Rock'n'roll.     Tuff    tunes
Two boys, two girls and a
What more do you need?
reminiscent of early punk
something like early '80s.
station wagon full of raw
pop/rock.
604.879.5895 (guess)
Our annual directory, chock full of contact numbers and
addresses of bands and the businesses that suooort
9230 Turtle St., Fort Langley,
604.873.6476
The Messytones
BC, V1M2S1
604.888.3803 (Chris Tait)
Lex Fulgore
Electric accordian, drums and
guitar make a messy blend of
them, will be in
the September issue
The deadline for
theidols@hotmail.com
Brooding,  industrial into
Rock, Folk, Celtic plus more!
entries is July 15,1VW,
Skinny Puppy-esque mind-
rape tunes.  Dark.  Hard.
Creepy.
4305  Prince Albert St.,
Vancouver, BC, V5V 4J8
604.877.1445       (Chris
Industry and Agriculture
Hosts of Love Sucks acoustic
| YOU ARE A (Check one
:
.—-—--n
technicians for hire. Our motto:
5633    Chancellor   Blvd,
Meseyton)
1                        _
BAND/MUSICIAN     PROMOTER                           |
nothing too illegal refused,
mighty sound fixes us.
604.739.1118 (Brady)
Vancouver, BC, V6T 1E4
604.222.tall
604.323.8612 (fax)
Midge
1                  RECORD LABEL/DISTRIBUTOR     LIVE MUSIC VENUE               |
1              _MANAGER/AGENT_STUDI0 ZINE OTHER                |
jcranfie@sfu.ca
Thee Malchiks
Unholy glam-ska with a taste
modern aggressive
523 Main St., Box 88057,
INAMF*
(elaborate below)
ikiLLeDmyCaT
Write for a PuFF 'n PLaY
for bondage —we broke our
smoke machine.   Yummy!
Vancouver, BC, V6A 4A4
604.878.0465 (Lisa Lilge)
1 DESCRIPTION (15 words or less):
Recordings pamphlet. Bands,
Second CD out in November.
bratt@conspiracy.com
i
sounds, info ...
810 English Bluff Rd., Delta,
www.conspiracy.com/
1
2558       Oliver       Cres.,
BC, V4M 2N5
midge/
JCONTACT(S):
■ADDRESS
Vancouver, BC, V6L1S7
604.943.5091 (Frank)
604.622.8865 (jiF)
604.650.7724 (Libby)
Milagro
ikmc@rocketmai 1 .com
henville@direct.ca
Jazz fusion band for hire.
Dinner clubs to concerts.
Tone Indbryn
Manifold
604.732.5617 (Brian)
j PHONE:
FAX:
Vancouver based singer/
Running the gauntlet between
J EMAIL
|URL:
songwriter and poet who
Monopoly     and      more
Minimalist Jug Band
performs original songs on
interesting games...
Washed-up guy on a washtub
acoustic guitar.
Box 144 - 1472 Commercial
bass-scowling      howling
1
#Pl-2736   Victoria   Dr.,
Dr., Vancouver, BC, V5L 3X9
beatnik punk-a-billy-mayhem.
FIliTh
IIS OUT AND MAIL/FAX IT TO US                       _
Vancouver, BC, V5N 4L4
604.253.0275 (Daniel V
#21-1190      W.       12th,
BEFORE July 15, 1999
604.872.3104 (Tone Indbryn)
Jones)
Vancouver, BC, V6H 1L6
233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 fax:(604)822-9364
604.253.0275 (fax)
604.732.9671 (Al Mader)
L.--__-__
--------I
JP5
All tits — no talent! Ultra-
vixens on a quest for the
Maow
Maow    have    scratched
The   Money   Hungry
wmmm%&
1998 Local Music Directory Randeesh    Sings    Roots
Reggae. African-Belizean-
Canadian.
RR#5, Site 13, CI 2, Gibsons,
BC
604.886.2883 (Mountain
Lion Records)
604.886.4637        (Jan
Brinton)
604.886.2883 (fax)
randeesh@sunshine.net
Reggie
Fast, aggressive, edgy, yet
melodic punk rock. Will
play for food ....or for free.
7166 Brewster Drive West,
Delta, BC, V4E 1V3
604.501.1882 (Joe or Rob)
604.533.2480 (fax)
curtish@uniserve.com
The Reverberators
Surf sounds and raucous
reverberations of the Dale &
Wray variety.
3108 W 4th Ave., Vancouver,
BC, V6K 1R7
604.657.7634 (Frank)
604.738.9050 (fax)
Riotstarters
Ever been i
bulldozer?
#6-741    Admirals   Rd.,
Victoria, BC, V9A 2N9
fetush2@hotmail.com
members.tripod.com/
~Memorabilial/
'bye
Road Bed
Analogous to a good grilled
cheese.
3076 E. 25th Ave., Vancouver,
BQV5R1J4
604.844.5106 (Shock)
Sajes Myned
Psychojazzfolkbluespunkrock
with bold dynamics and
emotionally charged vocals.
New CD "Salt" just released.
5550-1 20th St., Surrey, BC,
V3X 1Z3
604.596.6446    (Joanne
Howard)
joski@home.com
members.home.net/sajes/
The Salteens
Everyone's favourite spicy
band,   sounding  like  the
Partridge Family.
604.948.0539 (Dion)
604.984.0596 (alt. ph. #)
604.943.0177 (fax)
The Secret Three
Mood music. Instrumental.
604.739.1118 (Brady)
jcranfie@sfu.ca
Shock the Day
6162 171a St., Surrey, BC,
V3S 3Z2
604.574.6380 (Caveman
Management)
www.cavemanpromo.com/
Side Sixty Seven
Fast melodic punk with a
metal edge.
2033 E. 53rd Ave., Vancouver,
BQV5P1X6
604.322.0950 (Richard
Elliot/Ian Roberts)
Evan Symons
Computerized emotion.
1907     E.     51st     Ave.,
Vancouver, BC, V5P 1W1
604.322.9567
esymons@stepandahalf.com
www.stepandahalf.com/
The Smugglers
Celebrating ten years as
Vancouver's best rock 'n' roll
band!
PO   Box   3613   M.P.O.,
Vancouver, BC, V6B 3Y6,
604.669.6468 (Mint)
604.669.6478 (fax)
gtwelve@aol.com
www.mintrecs.com/
Solarbaby
Song based,  no frills,  no
chaser rock.
#105-1775 Pendrell St.,
Vancouver, BC, V6G 1T2
604.612.7672 (Marq
Desouza)
solarbaby@geocities.com
www.geocities.com/
-solarbaby/
Solution to the Problem
and you are not a member of SOCAN, you
could be losing out on performance royalties.
As the national performing rights society that licenses the
public and broadcast performance of music, SOCAN's
role is to distribute royalties to songwriters, lyricists,
composers and music publishers, based on performances
of their music.
For more information, contact:
of Composers, Authors and
Music Publishers of Canada
1201 West Pender Street, Suite 400
Vancouver, BC V6E 2V2
Tel. (604) 669-5S69 or 1-800 93 SOCAN
SOCAN
Lo-fi rock with harmonies and
melodies all over the place.
Vancouver, BC
604.437.7688       (Greg
MacDonald)
604.737.0586    (Jeremy
Bidnall)
probablyrecords@hotmail.com
The Spitfires
A rock'n'roll tornado.
A-3551 Main St., Vancouver,
BC
604.708.1500 (C.C. Voltage)
604.859.7994 (fax)
Strong Like Tractor
Explosive   live   foursome
combining rock-blues-punk-
hardcore-reggae-metal for
your listening pleasure.
#25-1744 Kingsway Ave.,
Vancouver, BC
604.872.3664 (MoeTractor)
stronglt@direct.ca
www.eyeteaser.com/
strong I iketractor/
Sucre Papa
Mmm ... butter.
831 E. 14th Ave., Vancouver,
BC, V5T 2N5
604.879.0200 (Sweet Clem)
604.684.3694 (fax)
sucrepapa@hotmail.com
Superchief
West coast hardcore.
New Westminster, BC
604.540.5061 (Adam)
604.532.5975 (Jay)
Boomahl @bc.sympatico.ca
www.bc.sympatico.ca/
superchief/
The Surfdusters
Stompin' rock instrumental
dance band.
4337 Percival Ave., Burnaby,
BC, V5G 3S4
604.298.3322        (Rich
Hagensen)
Ten Days Late
500 pounds of bikini bliss.
Box 162-916 W. Broadway,
Vancouver, BC, V5Z 1K7
604.872.8674 (Lana)
514.285.2423      (2112
Records)
www.geocities.com/
~crushworthy/tendayslate.html
Terra Nova
Artsy/original folk band.
#7-3345     Sophia     St.,
Vancouver, BC, V5V 3T4
604.708.8767      (Jenny
Arntzen)
jennya@direct.ca
Thatch
Early      Black      Sabbath
undergoing a lobotomy while
reworking the K-Tel blooper
catalog.
Box 144-1472 Commercial
Dr., Vancouver, BC, V5L 3X9
604.601.4962 (Paul Doot,
pager)
Tiefisher
Walkin'the fine line between
looking bored and looking
cool.
#337-71 1    E.   6th   Ave.,
Vancouver, BC, V5T 1 L7
604.879.0958      (Glenn
D'Cruze)
tiefisher@yahoo.com
Tommy Middlefinger
Pop punk.
North Vancouver, BC
604.983.2751 (Cory)
604.924.1983 (Kevin)
undermars
Four guys, seven eyes, special     Womprats
pop rock.
Suite 380-916 W. Broadway,
Vancouver, BC, V5Z 1K7
604.261.0497 (godspeed
records)
604.325.3802 (fax)
godspeed@paralynx.com
Wayside
Dynamic  pop/rock   with
catchy vocal melodies.
Vancouver, BC
604.738.4711 (Derek)
cjdeas@unixg.ubc.ca
www.interchange.ubc.ca/
cjdeas/wayside.html
We, Cooshla
Acoustic guitar, fallen arches,
receding gums, expanding
hairline, feedback horrible
sounds.
#46-1345     Davie     St.,
Vancouver, BC, V6E 1 N5
604.688.4872 (Roddy Fraser)
wecooshla@yahoo.com
Pop/rock/alternative
band. Our music will speak
for itself.
#1    13942   72nd   Ave.,
Surrey, BC
604.597.1777   (Martyn
Curley)
Graphic
de_riGnEr_r
Atomos
Pop art and Dr. Pepper.
231 Carroll St., Vancouver, BC
604.608.0913 (Mark)
604.608.0913 (fax)
atomos@planeteer.com
Eye Teaser Graphics
CD layout, gig posters, press
kits, etc.
604.916.6706 (GiseleAerry)
Ken Paul
Graphic design by Ken Paul
from concept to finish, type
to print. Posters, CD covers,
ads,     stickers,     bowling
companion.
Vancouver, BC
604.708.3623 (Ken Paul)
longhaul@intergate.bc.ca
Zygote Screen Printing
& Design
Posters, stickers, matchbooks
and more! Very affordable
and good looking.
Box 21618-150 Commercial
Dr., Vancouver, BC, V5N
4G9
604.874.8304        (Ryan
Schmidt)
1998 Local Music Directory Andrew Dennison
Photosonic
/ take photos (mainly B&Wj
of bands and drum & bass djs
at shows.
#213-1675 W.  10th Ave.,
Vancouver, BC, V6J 2A2
604.733-9485   (Andrew
Dennison)
604.733-9586 (fax)
ocean3bass@hotmail.com
miscellaneous1
B.C. Music Industry
Foundation and Museum
An incorporated, non-proft,
volunteer-run society AND
registered charitable
organisation. To receive a list
of B.C. Musical HALL of
FAME inductees enclose a
SASE.
PO Box 56002, Vancouver,
BC, V5L 5E2
604.299.7201   (President
Donald R. Aikens)
604.327.7778 (fax)
Oland Sound Services
Rental of P.A. equipment.
Audio engineers, sound
techs.
#411-350 350 E. 2nd Ave.,
Vancouver, BC
604.874.1581   (Edward
Oleksiuk)
604.874.1581 (fax)
Retro-Restorations
Cassette/vinyl/8-track to CD
transfer. Pop & hiss removed.
604.264.9958
kands@intergate.bc.ca
Western Imperial
Magnetics, Ltd.
Pro tape & equipment
distributor * Ampex * Basf *
Mackie * AKG * Sony
7-12840 Bathgate Way,
Richmond, BC, V6V 1Z4
604.270.8682 (Dave Karius)
604.270.2745 (fax)
SOCAN
Performing rights society.
1201 W. Pender St., 4th floor,
Vancouver, BC, V6E 2V2
604.669.5569 (Kent Sturgeon)
604.688.1 142 (fax)
Cinestir Productions
Music video/film production
— 16mm/35mm (slow,
D.O.A., Coal, Colorifics,
Herald Nix}
48 E. 6th Ave., Vancouver,
BC, V5T 4P4
604.875.9927x22 (Marcus)
604.875.9971 (fax)
mrogers@amproductions.com
www.amproductions.com/
Summit Media Ltd.
Wholesaler of multi-media
packaging. I.E.: CD boxes, C-
o housings, Norelco boxes,
software packaging.
8-1 2840 Bathgate Way,
Richmond, BC, V6V 1Z4
604.231.0797 (Nigel Scott-
Brown)
604.270.2877 (fax)
promoters
Independent     Music
Friendship Society
Non-profit society to promote
and  develop  community
among local independent
musicians and performance
artists.
#150-1472   Commercial
Drive, Vancouver, BC, V5L
604.871.5540
cfest@hotmail.com
www.intergate.bc.ca/
corefest
Coastal Jazz & Blues
Society
Developing the jazz, blues
and  world  music   scene
locally,    nationally   and
internationally. Produce Jazz
Festival.
316 W 6th Avenue, Vancouver,
BQV5Y1K9
604.872.5200 (John Orysik)
604.872.5250 (fax)
cjbs@istar.ca
www.jazzvancouver.com/
STOP BY FOR LUNCH,
DINNER, DESSERT, OR
SOMETHING-COLD TO DJ
UNTIL
A WIDE SELECTION
1 /I LB PASTA w/
GREAT ATMOSPHERE
VED
THE
RES
LICE
'X^e Q-aj
OC/MG*^
G»®QQE>,£_VS
'OPEN MIC NITE
$2.50 TUESDAYS
 *   yWSQK)[__S[D£\y7S
^jrt&rt        PARTY CENTRAL
WS> BLUES EXCHANGE
MARTINI MADNESS (every 3*° friday)
ALL REQUEST NITE with dave gallager
MONDAY NIGHT FOOTBALL
POOL TOURNAMENTS
WORLD FAMOUS    ^~
WEDNESDAY PIT NITE
NEW THURSDAY NIGHT
TECHNO PARTY
LOTS OF GREAT PRIZE GIVE-AWAYS
ALL MONTH   LONG!
GOOD OLD STAN DBY-ALW AYS FUN, ALWAYS DEPENDABLE-THE PIT!
UBC • THE STUDENT UNION BUILDING • 6138 SUB BLVD.
1998 Local Music Directory Fireball Productions
Event co-ordinator/talent
booking includes The
Shanghai Room and Slims
315 Club (surf, garage, rock
V roll, rockabilly, swing).
604.874.7906 (Steve/Mary
Anne)
fireball@intergate.bc.ca
Noiseprom
If you have a band, we'll
probably book ya.
604.879.7240 Penny)
604.879.7240 (fax)
daytona@direct.ca
Punk Ass Promotions
Producers of annual festivals
in Vancouver and other parts
of BC. Stir the shit up!
Box 21552,1850 Commercial
Dr., Vancouver, BC, V5N 4A0
604.215.8314 (Meegan)
vo!cano@netidea.com
www.audience.com/
volcano/
Under the Volcano
Festivals
It's our 1 Oth anniversary and
we produce political art and
regional interdisciplinary
festivals throughout BC,
including the 10th annual
Festival for Art and Social
Change, August 7-8,  1999.
Musical inquiries welcome.
Box 21552,1850 Commercial
Dr., Vancouver, BC, V5N 4A0
604.669.5625 (Irwin)
604.644.4349 (alt. #)
volcano@netidea.com
www.audience.com/
volcano/
Universal      Concerts
Canada
#405-68      Water      St.,
Vancouver, BC, V6B 1A4
604.683.4233 (Paul
(marketing))
604.683.4298 (fax)
Wes Hegg
Music promoter in Calgary.
2523A   17th   Ave.   SW,
Calgary, AB, T3E 0A2
403.246.8916 (Wes)
403.246.8916 (fax)
heggw@cuug.ab.ca
www.melodiya.ab.ca/
Marvin "Big Poppa" Gill
/'// hip-hop all over your
ASS!!!
#26-Unit A- 13467 72nd
Ave, Surrey, BC, V3W 2N7
604.671.0874 (Marvin S.
Gill)
604.666-8334 (fax)
dangeralliance@hotmail.com
radio stations:
CAPR
University of Cape Breton
U. of Cape Breton, PO Box
5300, Sydney, NS, B1P6L2
902.539.4090     (Karen
Musial)
capr@caperl .uccb.ns.ca
stunion.uccb.ns.ca/capr/
CCRS
Cambrian College
1400 Barrydo, Sudbury,
ON, P3A 3V8
705.566.8101x7872 (Steve
St. Amant)
ccrs@venus.cambrianc.on.ca
CFAK
Service aux Etudiants, Local
l,Sherbrooke,PQ,ClK2Rl
Lynn Fournier
lfourn@abacom.com
callisto.si.usherb.ca:8080/
cfak/
CFBU 103.7 FM
500 Glenridge Ave.,  St.
Catharines, ON, L2S 3A1
905.688.5550x4628 (Kevin
D'lnnocenzo)
SUBSCRIBE  TO DiSCORDER
& RECEIVE A CiTR PROMO PACK!
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1 YEAR: $15 CDN   $USl5 US   $24 ELSEWHERE
DiSCORDER, 233-6138 SUB BLVD, VANCOUVER, BC   V6T 1Z1
1998 Local Music Directory
cfbu@vaxxine.com
www.vaxxine.com/cfbu/
CFCR 90.5 FM
PO Box 7544, Saskatoon,
SK, S7K 4L4
306.664.6678 (Patty Dinois)
cfcrmail@quadrant.net
www.lights.com/cfcr/
CFRO 102.7 FM
Co-op Radio
337 Carrall St., Vancouver,
BC, V6B 2J4
604.684.8494 (Rob)
cfromd@vcn. bc.ca
www.vcn.bc.ca/cfro/
CFRU 93.3 FM
University of Guelph
Level 2 UC, U of Guelph,
Guelph, ON, NIG 2W1
519.824.4120x8191 (John
Leacock)
jleacock@uoguelph.ca
www.uoguelph.ca/~cfru-fm/
CFSM
St. Mary's University
5th Floor, SU Bldg, 920 Robie
St., Halifax, NS, B3H 3C3
902.496.8776 (Joe Poissant)
cfsm@squid.stmarys.ca
huskyl ,stmarys.ca/~cfsm/
CFUV 102.1 FM
University of Victoria
PO Box 3035, U of Victoria,
Victoria, BC, V8W 3P3
250.721.8702 (Kevin Scofield)
cfuv@uvic.ca
cfuv.uvic.ca/
CHET 94.5 FM
Box 214, Chetwynd, BC,
VOC 1J0
604.788.2267 (Leo
Sabulsky)
sabulsky@sun.pris.bc.ca
www.chetradio.com/
CHMA 106.9 FM
Mount Allison University
315 University Centre, Mount*
A, Sackville, NB, EOA 3C0
506.364.2221
chma@mta.ca
aci.mta.ca/TheUmbrella/
CHMA/
CHRY 105.5 FM
York University
413 Student Centre, York U,
North York, ON, M3J1P3
416.736.5293        (Alok
Sharma/Ayal Senor)
chry@yorku.ca
www.yorku.ca/org/chry/
CHSR 97.9 FM
University of New Brunswick
4400, SUB, UNB, Fredricton,
NB, E3B 5A3
506.453.4985 (Nadia
McPhee)
506.453.4958 (fax)
f5xlk@unb.ca
www.unb.ca/web/chsr/
CHUO 89.1 FM
University of Ottawa
85 University Ave, Suite 227,
Ottawa, ON, K1N-6N5
613.562.5965x5  (Janet
Hilts/Engy Sedki)
chuofm@aixl .uottawa.ca
www.uottawa.ca/~chuofm/
CHYZ 94.3 FM
Laval University
Universite Laval, Pavilion Pol,
Ste-Foy, PQ, G1K7P4
418.656.2131x4595
(Frederic Bourgeois)
interlude333@hotmail.com
CIOI FM
Mohawk Radio
135 Fennell Ave., Hamilton,
ON, H8N 3T2
905.575.2175   (Yvonne
Mackay/Mike Car)
MackayY@dispatch.mohawk.ca
CiTR 101.9 fM
University of British Columbia
#233-6138 SUB Boulevard,
Vancouver, BC, V6T 1Z1
604.822.3017x1    (Julie
Colero)
604.822.9364 (fax)
citrmusic@mail.ams.ubc.ca
www.ams.ubc.ca/media/
citr/
CIUT 89.5 FM
University of Toronto
91  St. George St., Toronto,
ON, M5S-2E8
416.595.0909 (Mopa Dean)
Mopa_Dean@mail.
campuslife.utoronto.ca
www.ciut.utoronto.ca/
CJAM91.5FM
University of Windsor
Sunset Ave. U. of Windsor,
Windsor, ON, N9B 3P4
519.971.3606x401
(Christien Gagnier)
gagnie5@server.uwindsor.ca
www.uwindsor.ca/cjam/
Wallbridge L, Belleville, ON,
K8N 5B9
613.966.0923 PamiePettit)
cjlx@LoyalistC.on.ca
CJMQ 88.9 FM
Bishop's University
Box      2135,      Bishop's
University, Lennoxville, PQ,
JIM 1Z7
819.822.9600x2689 (Nick
Syrianis)
lican.net
CJLX 92.3 FM
Loyalist College
CJSF 93.9 Cable FM
Simon Fraser University
TC 216, Simon Fraser Universit,
Burnaby, BC.V5A1S6
604.291-3076,
jclarka@sfu.ca
www.sfu.ca/cjsf/
CJSR 88.5 FM
University of Alberta
Rm. 224 SUB, Edmonton, AB,
T6G2J7
403.492.5244 (Craig Elliott)
cjsrfm@gpu.srv.ualberta.ca
www.srv.ualberta.ca/
-cjsrfm/
CJSW 90.9 FM
University of Calgary
Rm. 127, University of Calgary,
Calgary, AB, T2N 1N4
403.220.3085 (Rusty Gragg)
403.220.3902 (fax)
cjsw@acs.ucalgary.ca
www.cjsw.com/
CKDU 97.5 FM
Dalhousie University
6136 University, Halifax, NS,
B3H 4J2
902.494.6479     (Shane
MacKinnon)
ckdufm@is.dal.ca
is2.dal.ca/~ckdufm/
CKMO 103.1 FM
3100 Foul Bay Rd., Victoria,
BC, V8P 5J2
250.370.3658 (Clint Lalonde)
lalondec@camosun.bc.ca
www.camosun.bc.ca/
~ckmo/
CKMS 100.3 FM
University of Waterloo
200 University Ave. W.,
Waterloo, ON, N2L3G1
519.886.2567 (Eva Rucki/
Terry Walter)
ckmsfm@web.net
watservl .uwaterloo.ca/
~ckmsinfo/
CKUL 99.7 Cable FM
University of Lethbridge
4401 University Dr., Rm. SU
16, Lethbridge, AB,T1K3M4
403.329.2335 (Dan
Ferguson/Scott Jar)
ckul@uleth.ca
home.uleth.ca/~ckul/
CKUT 90.3 FM
McGill University
Radio     McGill,     3647 University, Montreal, PQ,
H3A 2B3
514-398-6787x2599* pohn
B./Gordon K.)
CKUW
Univeristy of Winnipeg
224 Lockhart Hall, U of W,
Winnipeg, MB, R3B 2E9
204-786-9782 (Rob Schmidt)
uwsackuw@uwinnipeg.ca
www.winnipeg.freenet.mb.ca/
ckuw/
CLCR 101.5 Cable FM
Augustana College
Augustana College 4901-46
Ave., Camrose, AB, T4V 2R3
403.672.1571 (Kirsten)
clcr@augustana.ab.ca
CQBU
270 18th St., Brandon, MB,
R7A 6A9
204.727.9660 (Marty Zdan)
$ZDANMS@brandonu.ca
CSCR 90.3 Cable FM
Scarborough College
1265 Mili, Scarborough,
ON, MIC 1A4
416.287.7051 (Larry Nimjeh)
CSCR@scar.utoronto.ca
Sault & Area Community
Radio
Suite 204 143A Great
Norther R, Sault Ste. Marie,
ON, P6B 4Y9
705.946.2260 (Frank
Grgovich)
0
0
0
record label?/
distributors*
Capital Punishment
Fucking corporate rock since
1993. Send tapes.
2816      Kitchener      St.,
Vancouver, BC, V5K 3E3
604.253.6543   (Captial
Punishment)
fry
Grow your career.
604.805.5560      (Kevin
Holaughlin)
kevin@axionet.com
Indieland Music Services
Indie BC and Alberta
distribution/radio and press
servicing, CD manufacturing.
#102-2000 W. 12th Ave.,
Vancouver, BC, V6J 1S8
604.733.3472 (Gino)
604.733.9752 (fax)
gpezzani@deepcove.com
Map Records
Map is a Canadian West Coast
label specializing in the
mutating forms of
electroniculture, concentrating
on releasing the amazing music
produced by Vancouver's most
prolific Beat Hedonists.
1027 Davie Street #608,
Vancouver, BC, V6E 4L2
604.602.1038 (fax)
info@mapmusic.com
www.mapmusic.com/
Melodiya Records
Calgary
Independent music store and
label. Always looking for
talent.
2523A   17th   Ave.   SW,
Calgary, AB, T3E 0A2
403.246.8916 (Wes Hegg)
403.246.8916 (fax)
heggw@cuug.ab.ca
www.melodiya.ab.ca
Midnight Owl Records Inc.
A new, small label trying to
help the growing local indie
scene. Now doing graphics
and promotions work.
PO Box 65-2831 Shaugnessy St,
Port Coquitlam, BC,V3C3H1
604.552.0126 (Mark Owens)
604.939.4816 (Dawna
Yardley)
Mint Records
Neb    Case    and    Her
Boyfriends, The Corn Sisters,
Duotang, Huevos Rancheros,
Maow and The Smugglers.
PO   Box   3613   M.P.O.,
Vancouver, BC, V6B 3Y6
604.669-6468 (Randy)
604.669-6478 (fax)
mintrand@aol.com
www.mintrecs.com/
Monolithic
Everything that is required to
add meaning to your life.
P.O. Box 1234, Coquitlam, BC
604.939.8996 (James Wilson)
604.937.7878 (fax)
jgwilson@dowco.com
www.dowco.com/jgwilson/
National ink
It's not crowded at the top you
chickenshit bastards.
PO Box 29144, Delamont
PO, Vancouver, BC, V6J 5C2
604.680.2604 (R.D. Badcock
Rammone Robertson)
Nefer Records
Environmentally active youth-
run punk label with
international roster.
Suite 600-1027 Davie St.,
Vancouver, BC, V6E 4L2
604.435.7563 (Marzie
Damien)
604.430.5930 (fax)
nefer@axionet.com
Nettwerk Productions
We're not big fans of the
music industry.
1250 W 6th Ave., Vancouver,
BC,V6H1A5
604.654.2929       (Mark
Jowett/George Maniatis)
604.654.1993 (fax)
info@nettwerk.com
www.nettwerk.com/
Scratch Recordings/
Distribution
Enthusiastic providers of
candy for the sound kids.
109    W.    Cordova    St.,
Vancouver, BC, V6B 1 El
604.687.0495      (Jaime
Anderson)
604.687.0488 (fax)
spooner@scratchrecords.com
www.scratchrecords.com/
Sinusoidal Records
A plethora of local talent.
604.466.1717 (Rich)
604.466.1717 (Rich's fax)
604.264.9958 (Jen)
sine@ranch.org
sine.ranch.org/
Snot Factor
Entertainment Group
Indie distribution, promotion,
sales & marketing, tour support.
Current releases by/Sex! in
Sweden.
Box 2621, Vancouver, BC,
V6B 3W8
604.301.0147 (Keith Maurik)
blstrhed@vcn. bc.ca
Stereo-Type Records
We do what they do, but lo-fi
and better.
#4-1302 Gladstone Ave.,
Victoria, BC, V8R 1S1
kevinsco@uvic.ca
www.geocities.com/
SunsetStrip/Stadium/1432/
Transsiberian Music
The 'Lost Classic' re-issue
label of the future, here for
you today.
Box 144-1472 Commercial
Dr., Vancouver,  BC, V5L
3X9
604.253.0275 (Robespierre)
604.253.0275 (fax)
Zero Prophet Records
Failing more miserably than
thou.
PO Box 444, Qualicum Beach,
BQV9K1S9
Zulu Records
Rockin' the world of local
talent since 1983!
1869 W4th Ave., Vancouver,
BQV6J1M4
604.730.1107 (Kevin lee)
zulu@wimsey.com
record stares*
Bassix
CDs, records, magazines and
dj equipment.
21 7 W. Hastings, Vancouver,
BC, V6B 1H6
604.689.7734 (phone)
Evolution Records
Anti-mainstream music store
specializing in Punk,  Ska,
Hardcore, Garage and Surf.
We also do shows.
#4-231       Victoria      St.,
Kamloops, BC, V2C 2A1
250.828.PUNX  (Dennon
Stein)
250.828.7869 (fax)
Lucky's
Selling local and indie music
and zines as well as gaming
cards    and   comics   and
assorted novelties.
3972 Main St., Vancouver,
BC, V5V 3P3
604.875.9858 (Gabe)
604.875.9153 (fax)
Scratch
The spirit of independence
and basketball. Cash, Visa,
Interact
109    W.     Cordova    St.,
Vancouver, BC, V6B 1 El
604.687.6355      (Eddie
Spaghett/Teensy Weensy)
604.687.0488 (fax)
cathy@scratchrecords.com
Lifestyle Records
FEATURING VEDA HILLE, KINNIE STARR,
& OH SUSANNA
MONDAY, SEPTEMBER 21,1998
RICHARD'S ON RICHARDS
YO BITCH! CONTEST!
Win 2 tickets to the SCRAPPY BITCH TOUR and 1 CD
by each of the above artists by creatively telling
us the bitchiest, cruelest, jerkiest, most despicable thing that you have ever done to someone else.
Contest is open to ALL over the age of 19.
Send us a postcard with your story and contact
info by September 15th
DiSCORDER Scrappy Bitch Contest
233-6138 SUB Blvd
Vancouver, BC   V6T 1Z1
t be picked up in person. And we mean i'
1998 Local Music Directory Hard music since '96. The
Harpoons, Custom, Infernal
Majesty on roster to date.
European distribution.
604.688.7487 (John Yates)
416.761.7681 (in Toronto)
416.591.9028    (fax   in
Toronto)
morrell@istar.ca
www.infiniteweb.net/lri/
Zulu Records
New and used CDs, vinyl,
cassettes. Imports, domestic
and tons of local music. T-
shirts, magazines. We sell
records like Cornflakes!
1869 W. 4th Ave.,
Vancouver, BC, V6J 1M4
604.738.3232 (Kevin Lee,
manager)
venues
studios
Bullfrog      Recording
Studios
One stop shopping: real time
cassette and CD duplication.
Mastering, graphics and
mobile recordings.
2475 Dunbar St., Vancouver,
BC, V6R 3N2
604.734.4617 (Carlo Jorge)
604.734.1456 (fax)
Jonathan        Fluevog
Recording
32 track digital pro studio.
Great rates! No attitude!
604.975.4840 (Jon
Anastasiades)
604.688.8474 (fax)
jonathan-fluevog-
recording@usa.net
Brickyard
315 Carrall St., Vancouver,
BC
604.685.3978   (Sandy/
Linda)
Purple Onion
15 Water St., Vancouver, BC
604.602.9442
Republik
Music venue in Calgary.
219-17th Ave. SW, Calgary,
AB, T2S 0A4
403.244.1884 (Wes Hegg,
bookings)
403.244.1878 (fax)
DIAL UP YOUR HOG WITH A SUMMER TUNE-i
MOUNTAIN BIKES
ROAD BIKES
BMX
SKATEBOARDS
IN-LINE SKATES
738-7734
I CLOTHING
LOTS OF BIKE PARTS
ACCESSORIES
NOVELTY ITEMS
I REPAIRS TO ALL MAKES
2255 WEST BROADWAY
Book: Sept. 23 • Streets: Oct. 2
Book: Oct. 28 * Streets: Nov. 6
Call Kevin @ 822-3017 ext. 3 for
zine?/
publications
heggw@cuug.ab.ca
www.melodiya.bc.ca/
events. htm#Republik
Starfish Room
Original live music venue.
1055 Homer St., Vancouver,
BC, V6B 2X5
604.682.4171     (Keith
Buckingham)
604.682.1331 (fax)
Vancouver East Cultural
Centre
1895      Venables      St.,
Vancouver, BC
604.254.9578
Agree to Disagree
Growing music publication.
We specialize in punk and
"alternative" but will dive into
other styles as well. We're
looking for interviewers/
reviewers and people who
can write articles on anything.
POB 56057, 1 st Ave. Postal
Outlet, Vancouver, BC, V5L
5E2
604.874.0835     (Andy
Gronberg)
a2d@hotmail.com
members.xoom.com/a2d/
The Big Boy Book
Big Boy is a buddha, or the
Great Speckled Bird or Mr.
Bull Queen.
81 8 Hawks Ave., Vancouver,
BC, V6A 3J4
604.251.1146 (Jason
McLean & Marc Bell)
corporatedethburger
A/lore refreshing than a cherry
slurpee enema. Please send
us your stuff.
POBox 1234, Coquitlam, BC
604.939.8996 (James Wilson)
604.937.7878 (fax)
jgwilson@dowco.com
members.tripod.com/
-corporatedethburger/
DiSCORDER
That monthly magazine from
CiTR 101.9fM.
233-6138 SUB Boulevard,
Vancouver, BC, V6T1Z1
604.822.3017x3  (Miko
Hoffman, editor)
604.822.9364 (fax)
www.ams.ubc.ca/media/
citr/discord/
lcky Poo
Punks,   mods,   tortoises,
welshies, etc. Interview with
bands and reviews plus much
much more ... $2.
#405-1950 E.  11th Ave.,
Vancouver, BC, V5N 1Z2
604-874-2585 (Mar)
ssellars@radiant.net
Ralph
Coffee, jazz and poetry.
Music and zine reviews,
comics, opinions.
#505-1288    Broughton,
Vancouver, BC
604.654.2929 (Ralph Alfonso)
604.654.1993 (fax)
ralph@bongobeat.com
www.bongobeat.com
Spirit of '71
Canadiana for residents of
Canada.
PO   Box   21538,    1850
Commercial, Vancouver, BC,
V5N 4A0
Chris Eng
cje@intergate.bc.ca
Trashmaven
Art, sex, death, love, rock &
roll!  (Free zine for free
people)
604.258.3416 (Gerry-Jenn
c/oJP5)
psyclone@bc.sympatico.ca
Wank
Sacred cows make the tastiest
hamburgers.
PO Box 1559, Merritt, BC,
V1K 1B8
Reverend Scapegoat, idiot-in-
chief
revscapegoat@hotmail.com
1998 Local Music Directory excess I would say definitely ties into the other two.
I like these ideas.
Do you think there might be a voyeuristic
sense to listening to your songs?
No, definitely not. I'm just someone who likes to
play around with words and let them bang off each
other in the songs. I like to see if there's some new
meanings created.
It's inevitable that your name gets related
to Kiss. It simply isn't so — what do you
think?
Actually, at the time I didn't know much about '70s
rock or Kiss. I just liked the word Destroyer — it suited some four-track basement type guy with a heavy
metal name. It seemed a heavy word, a powerful
name. I like warring terms as well, as people are
probably starting to figure out.
The three main themes in your music are
Debauchery, the Literary, and Inner Peace.
Sounds like the main themes in my belief in life, not
just songs.
Contemporary music is common in today's
television commercials. What products
would you say are suited for your kind of
stuff?
I like to think that I wouldn't do it. I'd gladly write a
jingle for anyone and sell it to them, but I probably
wouldn't use one of my own songs for their sound-
Jways wear ex-private school gar-
*      is with this?
I went to private school for a couple of years. I think
my parents were always big into education, academics, etc. It was a small school in Calgary. Out
here I went to Richr
Did you have to wear the uniform then?
Not at Richmond High. The only uniform you had
to wear was a T-shirt tucked into your Buffalo jeans!
Forgive me, but how did you pick up the
guita^^H ^^^^T^
i. A Spanish c
when I was in grade nine, he
or four chords which I strummed
imber of years   By grade 1 1, my
a Paul Simon songbook and a
Hits type thing ... I'm not sure
ich more preferred a New
how I picked up the guitar and I
iressed much in the last 1 1 years.
ickin' style is pretty pol-
But your
'ished.
Yeah, I'm amazed I can pull it off.
ould do it too well, but sitting d<
e you know
again, it just comes
The
structures. You
for your
'don't think
the studio,
again and
i use of song
f more room
bout it.
is evolved on the
r as structure, but I've kind of become a
■Ringing. I've flirted with my own ver-
s 'operatic' singing and now it's more
jt actually performing. It seemed before that 'performing' was something to shy away from or something reflecting bad taste, i.e., one shouldn't really try
to entertain. Well, now I feel like an entertainer.
As far as the structures, let's see, I've been told I
know how to combine four chords into every possible
variation. But really, it's pretty thoughtless on my part.
The instrumentation has definitely
evolved.
Yes. In a way, it's more accomplished, but even
while recording the album I was flying by the seat
of my pants. I'd put the basic tracks down and then
if we had time I'd put some kind of organ or synth
track down. There is actually less instrumentation
than on the first CD, which, although super ramshackle, still had a lot of sounds going on.
The three main themes in your music are
Love, Death and Alienation.
Love, death, and alienation — where does that
leave me? Recently I've been trying to write songs
that are quite overtly political and I'm surprised
people don't pick up on that. The songs on City of
Daughters throw around some obvious political
rhetoric, phrases which I've copped from political
expressions — I feel that's the direction I'm going
in. As for love, people tell me that a lot, but really
I don't know, maybe in a political sense. You could
write a song about love, but have a back drop that
is a scene of decay ...
Some people say music is a gradual evolution, others argue for punctuated
changes. For example, if you think about
Dylan going electric, it was a very sudden
and punctuated change for the '60s scene
— people booed and cried for the acoustic
guitar. You're the same way. As soon as
you became cinched to the acoustic guitar,
you went electric and got an electric band.
Yes, I much prefer the way things are now. It was
pretty frustrating playing alone, especially in this
town. There was something about it that reeked of
'rock town' and it was fairly easy to put a band
together and take on some form of rock swagger-
dom. I sat down and said, 'Now's the time to get a
band.' I like electric music.
You and your band have various alliances
to local music. Do people approach you as
an elder statesman of the scene? A
Godfather? What are your ties?
Well, really, I've only been around a short while.
Perhaps through these ties, yes. As for a
Godfather, I've never had to call in a hit [laughs]!
Sorry. OK, the ties: there's Destroyer, who's made
up from members of Scott's bands, Meet
Daisy/TickerTape Parade/Sojourner; as well as
Steve's bands, Infernal Devices/Steep/Old Man
Wood. And then there's The New Pornographers,
which is John from Smugglers/Evaporators, Carl
from Zumpano/Superconductor, Fisher who plays
in lots of bands, Blaine and myself. There's also
The Vancouver Knights, which is just over a year
old, and is made up of myself, Sarah from
Kreviss/Thee Crusaders — it's her main vehicle,
she plays guitar and piano — and Jen from
Kreviss/The Tonics as well. The Vancouver Knights
have a new drummer now, Brady, who's got lots of
things on the go, including The Secret Three.
What was the first indie show you saw in
Vancouver?
It was super late in the game. Maybe The
Smugglers with Superconductor at the Town Pump,
or perhaps Kreviss. I saw a lot of local bands open
up for out of town acts. I remember seeing Mecca
Normal quite early*
Destroyer Deconstructed:
The Main Themes of Destroyer's City of Daughters LP
Of Andalucian blood, Destroyer
draws direct lineage to Old Spain
and the strange landscapes that
fueled the enigmatic dreams of
the passionate poet Garcia Lorca, paranoid
painter Dali, as well as the infamous auteur
of Un Chien Andalou, Luis Bunuel. Like this
triage of Spanish eccentrics, Destroyer's (lyrical) canvases are ripe with the interplay of
demonic themes: love, hate, desire, and,
sadly, their tragic ends. For a bard who simply "bounces" words around, his sonorous
poems offer rigorous forays into the troubling
vistas made from the harrowing affairs of both
decent and indecent people! We encounter
villains and saints, the poor and the rich, and
of course losers and lovers — all painted by
the same brush of his unique, unspoiled muse.
So, while sporting notoriously oblique lyrics,
Destroyer offers up a bold challenge: conquer
the inherent complexities of both language
and emotions, understand the sounds of old
and new, and, finally, visit his antithesis of
throwaway pop — The City of Daughters —
before it lies in ruin! Here's some ofthe attractions along the way:
Comments on the World As Will
With lyrics like "We demand a new dawn/
There are no locks, there are no keys/ Only
executors and executees" and instructions: "To
shy away from days of opulence," Destroyer
effectively begins with the grand statement —
social/political/economic relations are stagnant! The "will" referenced in the title is that of
general humanity, for, as Destroyer .notes, we
have supped too long on "villainy" and must
begin the process of erecting a new body.
Sounds easy? Just listen to his damning of legal
affairs! Overall, a brilliant album opener.
Delicate yet dense, it's the sort of song Michael A
Stipe would take and make overwrought.
No Cease Fires!
For some, this is considered the album's c
terpiece and thematic anchor. Destroyer w
ly offers his most poignant licks straight up -I
"Think globally, act nobly/ The ties that bin)
us blind us." Then the catchy 4/4 beat c<
in and carries this "supposedly" protagonist-*
less song through four minutes of jaunty talis;
If love is a crime, Destroyer knows we must
all be guilty — but not as guilty as those who
stand above the rank and file! — i.e., the
rows and rows of "Admirals" who govern the
prison-like state of love. (Yes, it's subtitled
"Crimes against the state of our love, baby").
Dark Purposes
The album's first completely solo song. I like
this number, although much ofthe naked passion in Dan's voice obscures his abnormal
and entertaining tale of modern day chivalry.
Then again, he could simply be reading the
Daily Telegraph.
Loves of a Gnostic
"Nothing does a body good, like another
body" ... With a series of observations
from the heretical dawn, Destroyer welcomes the Gnostic, the Esoteric and the
Unorthodox at his table, in this very heartfelt, quiet number — which, on closer examination, concerns itself with ideas of
transformation, individual revolt and the
romance of subtle rebellion.
The Space Race
With the nice re-working of a Salinger book
title, Destroyer now croons, "Raise the ramparts high/ Beneath a canopy of lies, as it
were," and here identifies with the said
author's general distaste of '60s idealism. As
Destroyer observes, what were once damned
as "lies" are now, in the '90s, merely recognized as the differences of opinion: "One
could say we've lost the Space Race/ Another
one could say we've won."
You were so Cruel
With Robin Hitchcock-esque production,
Dan's reverby voice is ghost-like as he
recounts the horror of first discovering spite,
which, cancer-like, occupies the anonymous
areas of his head. "Something happened,
which shouldn't happen" is a sorrowful chorus
which hangs heavy on the whole album — as
if to say, "Grief is here to stay."
Signs
Perhaps the most academically straight song
on the album. We have a complete confession from Destroyer: "Her interests are classical at best/ Best in modern times, modern
minds/SkM^MH^M^^where, Signs." His
^ ,ugh in
style, as if aclol^^fc^ing the
meer difficulties that face com^^^^jtion
5ugh his poetic shrugging of w
Uhff4f
Trueloveforever: two self-titled, self-releasg
Destroyer: Sings, self-released c
^ditionof 10-15)
self-titled, reissys^^Wfinker)
Wden Bridge
CDffinl
Destroyer: Ideas for Songs cass. Four-track
ramblings/preludes to Daughters (Granted
Passage)
Destroyer: C/7y of Daughters LP only (Cave
Canem/Tinker)
Destroyer: "You can't go home again" from
Switzerland is My Beat cass. comp (Granted
Passage)
*3 7
inch
and endocrine systems seem to have
united against me. It's strange;
twinges in the veins of my right
leg will precede random
numbnesses in my back, followed by deficits in the speech
centres of my brain and the
bane of my short life, migraine
headaches. However, like the
sible
, I ha>
neither consulted a doctor nor
rectified my attitude towards
sleep. (My current attitude towards sleep: avoiding it, preferably for long, almost godlike
periods of time, builds charac-
esting.) These little experiments
we conduct on our bodies are,
I suppose, all a part of the transition from a state of dependent childhood to independent
adulthood. I'm just a late
bloomer. Further evidence of
the progression of my mania
can be found in the fact that
this little anecdote has nothing
to do with seven inch records,
or indeed any form of recorded media at all.
longs to the fast, fight-picking,
BY THE INVISIBLE CLAIRE
ASSEMBLY LINE PEOPLE
PROGRAM
"Critical Gate" b/w
"Glass Static"
(Transcopic, 12 Deer Park
Road, South Wimbledon, London, SW19 3TW UK)
There's been an accident. A
crane collapsed and the Math
department of Punk University
smashed right into the Arts
wing, injuring hundreds of
undergrads. Fortunately,
they've got bedrest, hot tea,
and a bubbly dub remix by
Third Eye Tribe to help see
them through recovery.
THE DONNAS/
THE GROOVIE GHOULIES
"Wig Warn Bam" b/w
"Funny Funny"
(Gearhead, PO Box
421219, San Francisco, CA,
94142)
On this split release from
Gearhead records, the infamous Donnas contribute two
minutes of their trademark
yappy teenage crotch rock.
"Wig Warn Bam" is actually
quite catchy, but I will never
forgive the Donnas for that "ra-
song which has blighted my
existence since it arrived at
CiTR several months back. The
Groovie Ghoulies' song,
"Funny   Funny,"   is   just  as
aggravating.
FIREBALLS OF FREEDOM
S/T
(eMpTy, PO Box 12034,
Seattle, WA, 98102)
"Viva El Goto," the first song
on this four-song 7", is probably the best of the bunch, although the entire release is of
a distinctly high calibre. It be-
;ry ne*
garage punk. The guitar licks
on "Von Ferno" show that
Fireballs of Freedom are
not averse to a little wanky
showmanship where it counts.
JENNY MAE/GEM
"Cancel The Game" b/w
"A Clove of Harlots"
(Spare Me, 1 27 Great Kills,
Staten Island, NY, 10308)
My quality detector detects
nothing. It might be broken, so
who knows.
MARSHMALLOW COAST
The Scent of Credibility
(Spare Me, see above)
This is an admirable attempt
at cheesy demo-program mush-
pop sung off-key by caring
boys. The song titles are quite
nice: "Darker Side of Lightning," "Shimmering in a Bulb
of Glass," "Squirt Out The
Lights," "So n' So's With Emeralds In The Sky." Maybe
this is what AM radio would
sound like after a few
quaaludes. A quaint, witty little excursion.
THE NEED W/ JOE PRESTON & DJ ZENA
(Up, PO Box 21328, Seattle,
WA, 98111-3328)
Mad geniuses are rather rare.
It is for this reason that I advocate the praise, purchase, and
rything The Need produce,
be it musically satisfying or
not. I like to think that Rachel
and Radio fill a need, a niche
if you will,  in the  musical
reaching their full potential as
a sort of female Coil: crazy
perverts rewiring brains as
easily as they rewire guitar
pedals. The Need are, like
Coil, in a state of grace as far
as my opinion is concerned.
They could release ten volumes of looped cat noises and
I would still sing their praises.
The new 10", on Up Records,
brings morbid sex back into
the disco where it belongs.
"Vaselina" is super space
creep stalker rock, true to
form, very nice indeed. Lots
of hooks and mania here.
"Talk Potty," despite an encouraging title, wheedles on
a bit before finally degenerating into drum 'n' bass. Not
their best work, but then
again, the Need is less about
: tha
about
it beyond that, but it is very
good. "Car Radio" features
fuzz, expertly manipulated to
a level unmatched since The
Jesus and Mary Chain.
The stereo panning is a nice
touch. "Revenge!" features a
big band drum sound and
bubbly keyboards. And finally, the vocals on "I Could
Be Underground" alternate
between Prince-falsetto and
Nick Cave-drone.
SUNDAY PUNCHER
"Do  Over"  b/w "Jury
Duty"
(Turnbuckle, #435-163 3rd
Ave., New York, NY, 10003)
Sort of like shock therapy. I'm
in a hurry to finish this col-
jntence fragments
vill ha*,
suffic
vincing suggestible freak:
(like myself) to dress sharp,
smoke home-mac
experiments, and get laid
stacks  of  Bible
SPOON
"30 Gallon Tank" + 3
(Peek-A-Boo Industries,
PO Box 49542, Austin, TX,
78765)
The title track pops around
like crazy. I can't really define
s the
side,
-■olest
VIDI VITTIES
(Peek-A-Boo, see above)
Vague memories of a previous
Vidi Vitties release stir in
the murky depths. They seem
to be good memories, but details are not currently forth-
coming. All '
"Aguardiente
Latin guitar in
Even if the rest of the single
were utter crap, which it is
not, I would give the Vidi
Vitties genius props just for
that song alone. These folks
brains. They should be gilded
and put on display during
times of public celebration.
Printed
eluding Christianity's positions that
the Jews rejected the true faith and
killed Jesus. This heresy could be
Matters
CHRISTOPHER R. BROWNING
Ordinary Men: Reserve Police
Battalion 101 and the Final
Solution in Poland
(HarperCollins)
DANIEL JONAH GOLDHAGEN
Hitler's Willing Executioners:
Ordinary Germans and the
Holocaust
(Vintage)
Since this is the 53rd anniversary
ofthe Second World War, I figured
vile events of that struggle.
As we all know, World War II
was no more fought for the liberation of the Jews — considering whatever all-encompassing definition of
"Jewishness" the Nazis, and ordinary Germans, held — than the
American Civil War of 1861 -1865
was fought over the emancipation
of the slaves. And yet we, in a
multicultural, multi-faith nation like
Canada, often cannot believe how
a nation like 20th-century Germany
could willingly and enthusiastically
murder people solely on the basis
of their religious beliefs. But it is impossible upon reflection to believe
anything else could have occurred
in nations like post-WWI Germany,
14   September 1998
given the social conditioning of its
citizens.
It is this conditioning which
Browning and Goldhagen explore.
How could ordinary Germans —
who were neither Party nor SS members— actively, voluntarily, and brutally chase, assault, and murder fellow Germans and strangers who
posed no threat to them? Ordinary
Men explores the actions of a single unit involved in the eradication
of Jews over a two-year period in
Poland. In it, we find people initially not so different from ourselves.
Over a period of time, however,
they actively participated in the bar-
mTm
baric practices of mass murder,
ghetto clearing, and "Jew-hunts."
Their postwar reminiscences, tinged
with tainted "remorse" for their actions, reveal that, at the time, they
felt guiltless for murdering innocents;
indeed, at the time they felt proud.
Browning explores the range of men
in the battalion, from those who thoroughly enjoyed their genocidal acts
to those who evaded them. He also
reveals the potential for self-excursion from the killings: individual
soldiers — not only without the
condemnation of their fellows and
superiors, but also with the overt
approval of Himmler himself —
could choose not to participate
and even to transfer to other duties without penalty.
Goldhagen's Hitler's Willing Executioners studies why so few bothered to evade those duties. Instead
of considering how the Nazi Party
converted the Germans from hold-
titudes toward Jews to
of
sity,
Goldhagen shows how Germans
had long before been inculcated
with anti-Semitic beliefs. In the introductory chapters, he uncovers a
range of anti-Semitic literature and
politics from the Middle Ages, in-
somewhat absolved through conversion to Christianity. As the centuries progressed, a call for the removal of legal restrictions against
those of the Jewish faith came. But
it wasn't a popular call: many protested this radical departure from
institutionalized anti-Semitism.
Even those who fought for the
abolition of anti-Semitic policies
felt that, given time and the freedom to choose, the Jews would
recognize their moral corruption
and v
uld c
*> the
larger body social. Such v
the case. Jews persisted in being
Jewish, although they were also
finally recognized as also being
Germans. Their refusal to convert
raised the eliminationist ire of even
their supposed supporters.
With social Darwinism came the
belief that Jews were not and could
not be considered true Germans, a
sentiment which began in the late
nineteenth century. Even at this time,
people began to discuss methods
of removing Jews permanently from
Germany. In Germany, as in many
nations of the period, nationalism
was tightly bound to racism. Anti-
Semitism was abundant in most, if
not all, European nations — including those founded in the New
World. It was based not in reality,
nor through experience, but through
education by the church, in the
schools, and from one's parents. The
postwar period after the F irst World
War provided fertile soil for the further development of eliminationist
anti-Semitism. Some, like Hitler, began to profess an exterminationist
vision — for the Jews were not seen
as humans, but as demonic pests.
He was very overt about it: if they
left Germany, good; if we slaughter them, so much the better. Many
Germans, feeding on the belief that
Jews were the cancer of Germany
and were literally the agents of the
Devil, were of the same mind.
Upon Hitler's accession to
power, many institutions — social
and governmental — exceeded the
anti-Semitic agendum of the state.
The judiciary and the civil service
were particularly noted for this. Even
without government orders, cities
and towns strove to become
judenrein. The Germans weren't
indifferent to the suffering of Jews,
they saw it as necessary. Raised
upon fantasies of the malevolence
of their Jewish countrymen/women,
the Germans were ready to depart
on the mass murder bandwagon.
Mc*e frighteningly, it wasn't because they felt compelled by the
state to do so.
The German people often loudly
and successfully protested against
the policies of the Nazis, whether it
be the euthanasia program against
the mentally and congenially ill or
its anti-Christian policies. Strikes
were also successful during this period, indicating possibly that Hitler's
Germany was not as totalitarian a
state as Stalin's Soviet Union. In
other words, the Holocaust occurred
because ordinary Germans were
willing to perpetrate it. That being
said, it is true there were Germans
who reviled the Nazis' anti-Semitic
policies, but they appeared to be
few in number. In Thuringia, a land
of around 850,000, the Gestapo
only found 52 complaints against
the Holocaust. It is also true that
in many of the nations Germany
occupied, the locals were willing
to help the Germans ferret out their
fellow nationals.
Goldhagen does not assume
that the Germans, by being Germans, are guilty for the Holocaust.
Instead, as noted above, he shows
that, as individuals, they were predisposed culturally, not naturally, towards anti-Semitic brutality. Indeed,
as Goldhagen notes:
"For Germans to confront this
horrific part of their past is unpleasant in the extreme. That so many
are willing to do so is yet another
indication of how radically transformed democratic Germany has
become in the- second half of the
twentieth century" (p. 466).• Video Philter
Living in Seoul, South Korea,
was not the easiest thing I've
ever done in my life. It's
crowded, dusty — it's not Vancouver. To bide the time, I'd go down
to the American section of Seoul
and hang out in the back of a watering hole (and I do mean hole)
called Nashville. The only thing
that kept me in that place was the
free movies they played on the big
screen TV they'd set up in the back
room. Sometimes, for eight hours
at a stretch, I'd plant my ass in
front of the screen and along with
the usual assortment of high-ranking American military personnel
and fellow English teachers, I'd envelop myself in whatever celluloid
trash they chose to screen that day.
One fine Saturday, I was in
the middle of watching some of
the trashiest crap ever filmed. It
was a rip of Fatal Attraction called
Malicious, and it had "straight
to video" written all over it. Set at
a college, this masterpiece starred
Molly Ringwald in the Glenn
Close femme fatal role. The former
squeaky clean '80s queen meets
some "nice" guy who already has
a wonderful caring girlfriend, and
she succeeds in convincing him to
have sex with her on the hood of
her car in the middle of a rainstorm.
(Oh, how dirty!) As the camera
pulls back, the music and the actors approach climax, and I realize THEY'RE HAVING SEX IN THE
MIDDLE OF NAT BAILEY STADIUM! Right in the middle of centre field. Thank God the weather
was bad and the Canadians'
game had obviously been rained
out. Believe me, I haven't been able
to go to a game since.
Over the past ten years,
Vancouverites have become increasingly aware of our city's popularity with movie makers and TV
hacks from the lower 48. Precious
downtown parking spots mysteriously become no stopping zones,
well-guarded catering tables tempt
and enthral us, and suspension of
disbelief is unwelcomingly shattered when movies supposedly set
BY TANIA BOLSKAYA
in "Chicago" or "Portland" suddenly sport gun battles in Robson
Square. However, the most annoying thing about the movies (and
TV series) that are filmed in Vancouver is that, like the delicious
Malicious, they are so absolutely
terrible.
When a studio knows they
have a cheese-ball script, a hack
director and a cast of ham, the first
decision must be to send the whole
stinking lot to Vancouver and forget about it. That must have been
what the makers of The Crush
were thinking. This 1993 gem stars
Cary Ewles [The Princess Bride) as
a man who stumbles onto a really
great place to rent for cheap (so
you know this one's not actually
set in Vancouver) and Alicia
Silverstone (pre-C/ue/ess) as the
nubile daughter of his wealthy
landlord. Again ripping off Fatal
Attraction, but with a jail-bait version of the Glenn Close role, The
Crush is a fine evening's entertainment for anyone who wants their
filmed-in-Vancouver trash unadulterated by anything resembling
credibility or refinement.
Though I can't think of a really
good movie made in Vancouver
by a Hollywood studio (if you're
thinking Cousins, read Pauline
Lael's review], I can recommend
a few excellent films filmed in Vancouver by Vancouverites. Funny,
touching, and not a Glenn Close-
inspired character in site, is Mina
Shum s Double Happiness,
centred on the dilemma of a young
ChineseCanadian woman. Canadian enough to want a career and
an independent life, and Chinese
enough to want to please her parents, the character of Jade was
subtly and honestly brought to the
screen by writer/director Shum
and actress Sandra Oh. Shum's
latest work, Drive, She Said,
played at the Vancouver International Film Festival last year and is
finally going to make it to a regular theatre in the next month. A "romantic comedy-cum-road movie"
about a bank robbery, a hostage
taking, and major life decisions,
the Film Festival guide described
the picture as "an emotion-fuelled
Now available on video is perhaps one of the best films ever
filmed in this fair city: Kissed
Brought to the big screen in 1996
by UBC Film School graduate
Lynne Stopkewich, the setting
of the film is never mentioned, but
Vancouver's moody weather and
dark natural allurement are an integral part of this unusual story.
From a very early age, a girl
(Sandra) is obsessed with dead
things and the passage from life
to death. As an adult, Sandra
(played with perfect restraint by
local actress Molly Parker)
translates this into necrophilia. The
glory of Stopkewich's vision is her
ability to transform this "unnatural" act into something that can
be at least partially understood by
the average viewer. Says Roger
Ebert (the not-bald-one), "One
would think there was no way to
film this material without disgusting the audience ... What is amazing is that, at the end, we feel some
sympathy for Sandra, some understanding." If, by virtue of Kissed,
a millionaire middle-American can
see the beauty of fucking the
dead, the movie works.
Looking ahead to the status of
film in Vancouver, the signs are
positive. Next month's Vancouver
International Film Festival will no
doubt take the time and the
screens to display some fine local
talent. (Check next month's
DiSCORDER for a festival preview!) For the DIY crowd, the
newly opened Blinding Light
Cinema (36 Powell) has made a
call for submissions to the Vancouver Underground Film Festival and
on September 22/23 will feature
a program of new local works. Finally, as it dipped below the horizon of innovation and into the eternal darkness of banal mediocrity,
the X-F/7es, both movie and TV series, has moved to LA. See ya,
wouldn't want to be ya!*"
Basslines
FILM   FEST  PRIZE   PACKS
Thanks to those cinephiles at the Vancouver International Film Festival,
we have 2 prize packs to give away of a programme guide,
a poster, and 6 tickets to 3 films.
Send us a postcard with your name and number
and a reaeon why you ehould win. Deadline is September 1g>th.
t
DiSCORDER Film Contest
233-6133 SUB Blvd
Vancouver, L3C V6T1Z1
All prize packs must be picked up in person.
O
CI
BY DJ NOAH • dinoah@direc
If you are a regular reader of
BASSLINES, then you would
know that I have frequently
written about the local electronic scene. In fact, that's primarily what the focus of this
column was intended to be. I
wanted to bring to you the artists, the deejays, the people
behind the scenes, as well as
the music that are all organs
in the body of the "underground" scene. This month, I
decided to talk about the three
major steps in the journey of
music, from artist (DAN
HANDRABUR) to label
(NETTWERK) to record store
(MEKANIX).
Dan Handrabur is by far
one of Vancouver's top electronic artists, if not the top. His
discography is filled with albums and songs that have
drawn worldwide attention;
Everest (Dan and Phil Western
as Off & Gone), Welcome to
Lotus Land compilation, Frequencies From The Edge Of
The Tectonic Plate compilation,
Magnetic Blue compilation,
Coordinate 01 compilation
series, Ethnic Dub Simmphony
in Ten Parts (as Mere
Mortals), and the list goes
on. Recently, Dan signed a
multi-record deal with
Vancouvers' Nettwerk Records. For Dan, it was part necessity and part interest that
led him to sign. He had been
working on a lot of new tracks
in his quiet suburban home
and saw an opportunity to get
his music out to the people. He
knew of Nettwerk's capability
to export their artists' material
around the world and of their
great track record with artists
like Consolidated, Skinny
Puppy, and Sarah
McLachlan.
So far, Dan has completed
a Dreamlogic full-length with
the aid of his wife, Cristina
(Lunar Essence), as well as
another project, Weed. Both
of these albums are slated for
release on Nettwerk sometime
this year. There are no titles to
the albums, although I have
learned that Truth, Love, Spirit
is one of the possibilities for
the Weed album. Also, Dan
has informed me that he is
working on a symphonic
soundtrack for an animated
movie, Synesthesia, that will
be released by an established
animation company towards
the end of this year. The soundtrack is all classical music,
which is fitting considering
that Dan was trained in classical music. He feels like he is
coming full circle.
Weed is a sort of trip-hop
crossover band. There is a keyboard player, a bassist, a
drummer, Cristina providing
some vocals, and Dan. Other
different instruments are used
as well but none of them are
heard the way they come out.
They are "fiddled with" in an
electronic way so as to come
out tweaked and morphed.
The album was mastered in
New York City by Ted Jansen,
who is known mostly for his
work with Madonna, and
while it may end up being released in Europe first,
Vancouverites can be assured
that they will be exposed to
Weed as soon as I can get my
hands on a bootleg copy. Just
kidding, Dan!
The album is "very digestible," says Dan, referring to its
50-minute length and the short
attention span of people these
days, and it will be pushed as
a whole rather than a single
being picked first. I guess it
will be up to radio and club
djs to pick a possible single
after the album is released.
While they may be jumping on the band-wagon a little
bit late, Nettwerk still has
great intentions with respect to
releasing electronic dance
music. As of right now, Dan is
Nettwerk but others are sure
to follow. They have released
material recorded on Subcon-
alsc
t of
(who have put out
at least five albums in the last
year thanks to the seemingly
endless talent of Phil Western, cEvin Key and
Anthony Valcic) and also recently released the Roni Size
remixes of Sarah McLachlan's
"Sweet Surrender." I think that
Nettwerk Records will be able
to help Vancouver a great
deal, with distribution and recognition of its electronic artists
that sign with them, but I still
have much respect for the even
more independent labels like
Map Records (who are
bringing Sven Vath to Vancouver on September 17th!),
Outersanctum, Mo' Funk
and those artists that are releasing material completely on
their own.
Once Weed and Dreamlogic
(the artist) are released on
Nettwerk (the label), they will
surely find their way into
Mekanix (the record store).
Mekanix is Vancouver's newest record/dj gear store and,
while small, they will quickly
become the hotspot for techno
music in Vancouver. With
Bassix having cornered the
market on house and Hush
and Futuristic Flavour carrying mostly progressive house
and jungle, Mekanix will fill
the space left by these stores
in providing the best techno in
the city.
So there you have the journey of music — from artist to
label to store. All that is left is
for someone to buy the music
and hear it to give it life.*
advertising thafs
built to last
m*SMkmVrA'x
Book Space: September U
Artwork: September 29
Oh the Streets: October I
m-M7lext3)for\\
15®KSSI®S}_ Under
Review
ALBUMS • ZINES
ATIVIN
German Water
(Secretly Canadian)
Right away, Ativin appears to
fall cleanly into the so-called math
or post rock territory, with their
tightly played instrumental music,
little or only tactful distortion use,
and clever arrangements, all at
a mostly mid-tempo pace. Even
their record title sort of cops the
imagery popular with the supposed genre (all things nautical,
you see). Not to mention the album's art— as beautiful as it may
be — with its simple design and
old press look and feel
But if we turn a blind eye to
such admittedly obvious signifies, leaving the music to be taken
on in terms of its formal qualities,
Ativin does undeniably nice
work. Their songs are interesting,
evocative and well put together,
with neat, low-key, interlocking
melodies, efficient drumming and
the occasional sound effect — it's
all good stuff. Yet while they get
a lot out of their two guitars plus
drums line up, there's still a problem: it's hard not to just list off all
the familiar like-sounding bands
they resemble. Because, in the
end, Ativin does sound derivative. Don't get me wrong — they
do produce a highly enjoyable,
very listener-friendly variation of
the same old themes, techniques
and strategies of their peers and
mentors. Certainly, there are
much worse acts wandering
around in this area. In other
words, I dig it, but I've heard it
Brady Cranfield
THE CARTELS
Kingpin
(Outlaw)
The Cartels are an amazing
live band. They absolutely blew
me away when I saw them. They
didn't even have their real drummer, but they were tight and fast.
Punk rock at its finest. I still don't
know, though ... This album isn't
bad or anything, but it doesn't
grab you by the hair and swing
you around the room either.
Save your money, go see them
live and if you like them, buy
the CD.
Dave Tolnai
BIKINI KILL
The Singles
(Kill Rock Stars)
This is proof that Riot Grrrl will
never die quietly. Bikini Kill
were the rage back in the mid-
'90s and everybody loves 'em
still, thanks to this reminder, packaged as a 7" singles collection.
This CD is a crash-course in punk
rock feminism, passionately and
powerfully taught by Kathleen
Hanna and company. This compilation of all the harder-to-find
bits is impossible to dislike. It's
1998
time to learn about girl power
from those, like Bikini Kill, who
actually live it.
Julie Colero
THE BRIAN JONESTOWN
MASSACRE
Strung Out in Heaven
(TVT)
The sticker on the CD proclaiming "get ready for the revolution,
baby" really made me want to
dislike this album. On first listen,
it sounded familiar, but it wasn't
until the second listen that I realized it reminded me of those long
Sunday afternoons in high
school, watching the History of
Rock V Roll on TV, hoping to
catch the punk episode, but having to settle for the "British invasion" episode.
But you know, it is actually a
pretty good album, even if the
band does tend to use the whole
retro thing for all its worth. It is
rather derivative, but at least it's
done well. A tight band, some
rather catchy vocals, and excellent production. As for the actual
songwriting, well ... at times, it
seems that the songs have likely
been written by five out of seven
high school journal keepers.
Whatever, the Brian
Jonestown Massacre has got
its own schtick. I'll take this album over a reunion tour any day.
PaulB
THE CONNELLS
Sill life
(TVT)
Dear Connells,
I'm a little surprised that
bands — any band for that matter— can release what essentially
ts to the same album over
and over again.
And you guys seem to have
made a career out of it. You've
released album after album of
bland, mediocre, only-marginally-
better-than-Hootie and the
Blowfish pseudo rootsy pop.
You've got very little in the way
of diversity or dynamics; all your
songs lack life and energy. In fact,
they're just plain monotonous.
I'm amazed that after all these
years you haven't aspired to try
anything different and I'm equally
surprised you've endured more
than ten years with virtually the
identical line-up. C'mon, admit it
— surely you guys must get a bit
bored; it sure sounds like it.
Love always,
Fred derF
DJ ANDY SMITH
The Document
(Phase 4)
Most DJ mix CDs/tapes I hear in
the house/techno, etc. form usually showcase the DJs' abilities to
layer and meld tracks to create
their own vision of the music, or
in the swing of Ninja Tune,
scratch their way to new sounds.
This mix is neither; instead, it is
an eclectic mix of hip hop, soul
and old skool breaks, from
Grandmaster Flash to passion crooner Marvin Gaye to
funked-out Barry White to the
sliced-and-diced hip hop of Jeru
the Damaja. DJ Andy does
showcase a bit of his scratching
talents, but for the most part this
is a strange mix of music and
something I've never really heard
before. The tracks are mostly
dropped, sometimes beat-
matched, but are always skilfully
flowing from one genre to the
other. Don't mistake all of the
scratching for DJ Andy, though -
this mix-CD includes Grandmaster Flash's "Adventures in the
Wheels of Steel" which is purely
the Master ... not Andy.  Weird.
808 STATE
808:88:98
(ZTT)
This is a 10-years-of-808-State
compilation that brings back
flooding memories like the opening ocean-synths in the infamous
first track "Pacific" to the haunting, rave-era warehouse chords
of "Cubik." Everything from
808's side projects with Azura
to their hip-hop excursion
TheOnlyRhymeThatBites
and a more recent jungle mix of
"Cubik" to their (good Brahma, I
hate to say it ...) top 40 chart
"OnelnTen" is on here.
Expect well laid out beats in
Meatbeat Manifesto style that
laid groundwork for early
projects by Prodigy and The
Chemical Brothers. Don't expect the latter's cheese level
though — 808 is true to their era
and always cutting-edge and
staying ahead with their dreamy
synths and brit-breakbeats. You
may have also heard some of
808's tracks gracing one of extreme-skiing filmmaker Greg
Stump's movies. They inspire that
sort of panorama-vision-l-feel-like-
I'm-in-Tibet syndrome, or for those
of us that remember, thumping the
walls of some dirty and dank
warehouse with the throbbing
tobias
DAVE FISCHOFF
Winston Park
(Secretly Canadian)
While Elliott Smith is supposedly, perhaps justifiably, posed
to help revitalize "folk music" for
the Industry, more oddball artists
such as Dave Fischoff remain
pleasantly in the shadows, earnestly producing fine music without the dubious assistance of any
spin-doctoring. And this is definitely folk in the indie sense. Following Lou Barlow's lead,
whose lo-fi experiments are eas
ily as important as Bob Dylan's
famous electrification, Fischoff's
sombre home-sounding recordings are quietly charming, if
sometimes dissonant.
Fischoff's whispered and
slurred vocals have a soft, quirky
quality, and his pleasont voice is
kind of reminiscent of The Folk
Implosion's John Davies, to
my ear. The emphasis throughout
Winston Park is on Fischoff's vocal presence and his snapshotlike, economical, and beautiful
lyrics. Everyday things are given
an aura of romance or nostalgia, while situations are conveyed indirectly through oblique
description.
The accompanying music is
mostly lightly strummed and
plucked guitar, which is recorded
and mixed in a way that flattens
yet rounds out its tone. This produces a chiming mid range, with
little brightness, that blurs the discreteness of the notes and chords
played. Occasional found sounds
and droning noise fill up the extremely spare and slow-paced
arrangements. Sad and winsome, this is a soothing, heartfelt
recording. By the way, the track
titled "926" is my favorite, with
its cool, broken piano loop.
Brady Cranfield
FRENZAL RHOMB
Meet the Family
(Rubber)
Finally, a full-length Frenzal
Rhomb in our hemisphere! Yes,
it's Australia's punkest band
around, cranking out their fast,
catchy punk tunes. Plus, the song
titles! "Be Still My Beating Off,"
"U.S. Anus," "Genitals are
Funny," and of course, "Get
Fucked You Fuckin' Fuckwit," with
which they were kicked off a TV
show — injustice.
This is one of the best releases
of the year.
Trevor Fielding
GORKY'S ZYGOTIC MYNCI
Barafundle
[Mercury)
It's hard to believe that Mercury
would be supporting and promoting a Welsh band whose CD liner
notes are virtually unreadable by
any North American (they're
mostly in Welsh), but good for
them Gorky's Zygotic Mynci
reportedly topped the UK independent charts in 1995 when
they first appeared on the scene.
This band is great fun, with a
myriad of sounds: harmonies, religious chanting, James Bond
themes, psychedelic organs,
New Orleans jazz, and '70s
guitar rock. The traditional Welsh
ballads — slipped in among more
contemporary pop songs — provide a compelling complement
that is enhanced by the use of
traditional Welsh instruments.
Greot melodies and catchy riffs
place this band way ahead of
any formulaic Brit band (read:
Oasis)
BK
iKiLUDmyCaT
somehow, mismeasured
(PuFF 'N' PlaY)
During   a   sweaty  Modest
Mouse show, someone tapped
me on the shoulder and handed
me this home job. There's a scary
looking cat/rat on the front of the
construction paper liner notes.
The songs are mostly slow and
poppy. Weird flutes or something
are mixed with a Korean guy talking and other recordings on a
song called "Twinkle Little Sprinkle." jiF has a low voice that
seems to be recorded with a slight
delay to create a full sound. The
guitars use your run-of-the-mill
pedals, the drums are pretty
steady and the bass is nice. They
sound like the colour silver; kind
of like spaceships and metal
strings and rims. Any song on this
album would fit in well on the
Singles soundtrack. That was a
really good movie. I bet I'd like
iKiLLeDmyCaT live Look for
them in the directory. These
Vancouverites aren't anything
new, but they're alright.
Christa Min
LOS AMIGOS INVISIBLES
The New Sound of the Venezuelan Godazera
(Luaka Bop/Warner)
This is an album that is sure to
get the party people moving. This
is another international release
on David Byrne's Luaka Bop
label, which successfully blends
'70s funk and soul, traditional
South American styles, disco,
dance, rap and hip/trip hop —
all set to Spanish words and
voices. This release is sure to
please those with diverse musical tastes. Especially pleasing are
the group shout choruses which
purvey most of the disc's 19
songs. The band is having fun,
and so will you.
Steve Guimond
ROSE MELBERG
Portola
(Double Agent)
This is a truly independent release
and it demonstrates why, once in
a while, I celebrate the fact that
making a CD is so easy to do.
Portola is a rare, playful album
by The Softies' Rose
Melberg that would never have
been made or distributed by a
major label. The simplydesigned
release includes leftover songs by
Melberg and a few cover songs
(The Beatles, The Byrds, The
Everly Brothers). Melberg
played nearly all the instruments
on this CD, but had help from
friends and even her parents.
Melberg's delicate voice haunts
and delights.
BK
MIMI
Soak
(Luaka Bop)
Luaka Bop has put out some interesting music and, with production by the wacky Hector
Zazou, I had high hopes for
Soak. The music evokes the experimentation of Laurie
Anderson and Diamanda
Galas, but Mimi has the vocal
range and clarity of Sinead
O'Connor. The lyrics drive a
post-apocalyptic fear: "blood
veins mood change hope light
bleed dry/ shoot the breeze
dancing in the trees/ white with
fear." And the music, like the lyrics, contains layers of sound.
These songs fire the senses and
evoke the body. Feel this inside.
BK
MOGWAI
Kicking a Dead Pig plus
Fear Satan, Mogwai songs
remixed
(Jet Set)
As part of the latest burgeoning
and faddish hot spot — the Scotland scene — Mogwai s post-
space-rock experiments may be
just the thing to cheer up bored
MBV, Spacemen 3, Seefeel,
etc., fans. They have much in
common with these older
shoegazers: the dreaminess, the
noisiness, the drones, the long
songs, the thoughtful sombreness,
and an overt love of guitars —
and lots of them. But there is neither complete salvation nor restoration of past music forms here.
Mogwai is sometimes prone to
excessively dramatic gestures,
and some not-quite refined loud-
then-soft dynamics. They still seem
young and fairly unoriginal. This
last point is no longer the issue it
once was, though. Besides,
Mogwai is pretty good.
Nevertheless, they are helping to prove the flexibility and
ingenuity of guitar-based music,
Mogwai can be seen as challenging the recent, too easy, mass
popularization of "electronica."
However, these boys appear
more interested in experimentation than polemics, and thus have
jumped aboard the still prevalent
remix bonanza. But there is obvious sarcasm in the title of this
decent and lively collection.
For a collection of remixes by
many artists — including Hood,
Max Tundra, Arab Strap,
Third Eye Foundation, Alec
Empire, Klute, DJ Q, Kid
Loco, My Bloody Valentine,
U-ziq, Surgeon and Mogwai
themselves — Kicking a Dead Pig
is as cohesive as a good album
by just one. While each contributor puts something of their signature onto the base tracks used —
with Max Tundra, Arab Strap and
Mogwai's self remixes standing
;t for rr
e that
the remixers have become submerged within Mogwai's style.
The individual songs may be altered, yet the overall aesthetic
tends to clearly remain throughout, to good effect. This aesthetic
continuity probably owes much
to the technical side of Mogwai's
practice, which takes advantage
of the studio as an instrument in
and of itself. This sentiment is
probably shared by all of the artists involved. And in this case, this
similarity helps define, and possibly confine, the creative act. For
while the modern studio may be
a place with great potential, without care, it can quickly and easily help result in somewhat homogenous results, as found, for
example, with all the significant
features that make Mogwai's
sound already familiar. This is
also something brought to the studio environment. In this time of iety, many people
often end up willfully pursuing the
same diversity of choices. With
this in mind, questions arise: does
the modern studio have a greater
creative capacity than the present
potential of our creative imagination? Or are we on the threshold
of some new relationship (as always)? And, while the modern
studio has an assertive presence,
forcibly losing the guise of invisibility it can have with different
applications, when have we ever
"just heard the music?" If so, then
what are we listening to?
Brady Cranfield
MXPX
Slowly Going the Way of
the Buffalo
(A&M)
MxPx are a fine band. Sort of
Green Day meets Fat Wreck
Chords: poppy punk, nothing
remarkable. MxPx, though, have
this knack of writing incredibly
catchy vocal melodies that, try as
I might, I cannot get out of my
head. Witness "The Final
Slowdance" and "Tomorrow's
Another Day" for proof. Slogging
through the less impressive songs
is well worth it. If you belong to
Columbia House, this is probably
the coolest thing you'll be able
Trevor Fielding
SCHROEDER'S CAT
(We Don't Know How To)
Say It
(Emperor Norton)
These Irish lads may mean well,
but unfortunately, that isn't
enough. This four-song EP is nothing more than tedious. There is little in the way of musical variation,
and the lyrics are simply childish.
Having my teeth scraped and polished at the dentist is less boring.
BK
SIANSPHERIC
There's Always Someplace
You'd Rather Be
(Sonic Unyon)
Like the Swirlies' swashes of
sound that sweep around
With bending guitar breaks the
music makes
Noise and crash with gentle mass
While the voices are quietly
sleeping for all 1 1 tracks
Through samplers that fill the
cracks
My ears wait on the racks
Of music placed before me
My Bloody Valentine could
not be lost
Like their record that never was
Someplace You'd Rather Be
Is a disc I'm glad to see.
Brian Wieser
SONIC YOUTH
Silver Sessions (for Jason
Knuth) EP
(SYR)
In the last year, Sonic Youth
have released three EP's — including the perfectly executed
guitar drones on SYR1 and an
ambient, avant-garde collaboration with Gastr del Sol's Jim
O'Rourke on SYR3 — on their
own label. These, combined with
their pink-noize covered A Thousand Leaves LP for Geffen, hint
that Sonic Youth are far from being out of musical perspectives.
Their latest work, S//ver Sessions
(For Jason Knyth), comes as a
product of their recoursing for
ATL, but it bears little resemblance
to anything they've released in
the past.
Although Sonic Youth is right
at home with noise, this album
provides it in its most righteous
form: itwas produced from leaning their guitars against amps,
and feeding an outmoded beat-
box through the PA. The whole
EP has a feel of its own and would
be right at home as the soundtrack
to some post-nuclear world in
which everyone's ears pulsate with
the same frequency as the radiation. We're talking 'bout recursively
building washes of feedback, with
shards of white noise thrown in
for good measure. Broken tape
loops, inexpensive telephones, and
worn out xerox machines. I love
Paul B.
SWAYZAK
Snowboarding in Argentina
(Medicine)
Anyone who has been following
Swayzak knows that they have
been gearing up for a big release. This is it. Nine tracks of
beautiful, esoteric, pumping deep
house and ambient slow breaks
with a dub influence and a slow
west coast feel. Another beautiful set of tracks that brings me
back to herb-influenced, misty,
outdoor Squamish mornings and
Jericho BBQs.
tobias
TRICKY WOO
The Enemy is Real
(Sonic Unyon)
The Tricky Woo guys are fast
and furious, and even frightening.
Ifie Enemy is Real has a cute illustration on the front cover, with
two black bear cubs looking cute
in the grass. I was easily fooled
into thinking I would be in for
some easy Sunday listening.
Wrong! These bears turned out
to be mean bastards. This full-
length album is in fast mode, reminding me a lot of earlier
Rocket From the Crypt or
Jon Spencer Blues Explosion. The recording sounds a little rough and live, but that's exactly what these songs are about,
each hovering around two minutes, intertwined with a few studio noises and outtakes.
What strikes me as really
unique and interesting is the last
song, "Lead Wings." The wailing
of what sounds like an East Indian melody in the background
can be heard as the band
thrashes through a few minutes
of chaos.
Apparently, every time Tricky
Woo plays, it's nothing short of
mayhem, involving jealous boyfriends and flying beer bottles.
This is just one of those albums
which you have to pick up to really understand what it's all
about. Even then, I'm sure they'll
end up surprising you again and
again
Ken Paul
UNWRITTEN LAW
Unwritten Law
(Interscope)
I never really know what to think
when a pop-punk band makes
its way to a major label. Usually, the band ends up sounding
like every other pop-punk band
on a major label. And this is true
of Unwritten Law Some of
their shit sounds like Blink-182,
some of it sounds like Offspring. Hell, one song even reminds me of a Weezer song
from way back when. But that's
what is kinda cool about this album. There's a bunch of different shit on it and it all blends together well.
Dave Tolnai
VERNAL EQUINOX BOOK II
Music for Art Galleries
(Independent)
As an electronic music soundtrack by Toronto musician Timothy Rempel, this recording was
"sketches" inspired by
Margaret Atwood's novel,
Cat's Eye. It later evolved after
Rempel was introduced to the
artwork of painter Charles
Pachter and other songs were
developed as accompaniment to
his paintings. While at first it
may seem that the pairing of
written and visual inspirations
would lose consistency or focus,
this record holds tight and true
to an amalgam of influences.
Over 19 tracks, we hear an
assortment of synthesizers, primarily ambient, but occasionally
percussive. There is melody
within the music, but more often
we hear a mood. It's not quite
Phillip Glass, but it is in that
same vein of "movie music.'"Perhaps Rempel has created something altogether different. This is,
indeed, "art gallery music."
Brian Wieser
ANDY WHITE
Teenage
(True North)
This CD, first released in Ireland
in 1996, has finally made it
across the ocean — and White
himself just passed through Van-
is more than a singer/songwriter. He also writes poetry
(just published his first book of
poems/lyrics) and is an artist
(the liner notes are full of his
drawings). He writes pop/folk
songs about life and love and,
while he has a tendency to repeat his choruses too often, he
at times injects quirky observations ("he stuck a Canadian flag
on his backpack to say he wasn't
American," "reality's a place
between a man and a woman,")
in between smooth acoustic guitars and airy keyboards. White's
soft voice and ease with his music makes this  a very listenable
BK
VARIOUS ARTISTS
Happy Meals Vol. 2
(My)
As a follow-up to the very impressive first edition, volume
two of Happy Meals performs
admirably. Released on
Lagwagon singer Joey
Cape's label, it features 18 or
so songs that kick ass on the
lighter side of punk. Including
bands like Armchair
Martian, Chixdiggit, and
22 Jacks, as well as
unreleased NOFX, Lagwagon,
and Me First and the
Gimme Gimmes, this is a
sequel which easily equals and,
perhaps surpasses, the original.
One fine compilation.
Trevor Fielding
VARIOUS ARTISTS
Oh Canaduh2
(Lance Rock)
Time to take another trip down
punk rock memory lane. I guess
in the wake of all the Killed by
Death and Bloodstains archival
punk compilations comin' outta
the States, we Canadians must
follow suit with our own nostalgic and nationalistic tributes, so
why not? Eighteen combos from
all over the globe take a stab at
covering Canada's shining (for
the most part, very briefly) lights
of rock V roll history, and the
results are very enjoyable and
eye-opening.
Highlights include the Von
Zippers tearing through a version of Da Slyme's "Truck Stop
Nun", Sugar Shack (who I'm
sure had to stifle their laughter)
playing a song by Vancouver's
own Rude Norton, power pop
gems from More Fun and
Sator (doing Vancouver proud)
with The Modernettes'
"Barbra" and The Metros "In
With the Crowd" respectively.
Other choice cuts come from
Huevos Rancheros, The
Nomads and Junior Varsity.
With a tear in my eye and a
hand on my heart, I stand on
guard for thee and take pride in
punk rock's past and follow the
footsteps of its future. Amen.
Bryce Dunn
VARIOUS ARTISTS
Paris Is Sleeping
Respect Is Burning
Bonjour, mes petitesgrenouilles!
Aujourd'hui — la fromage de la
maison! Or, in English: a compilation of vocal, well-produced
and sometimes cheesy French
house music. Some good tracks
also by non-French artists such
as Paul Johnson, but also
classics by froggies Dimitri
From Paris and DJ Cam
Somehow this music reminds me
of a Dixie-land underground,
stone-walled, blues bar deep in
the heart of Paris with heroin
junkie cum bank robbers filling
the tables ... or perhaps just another night at Respect Is Burning,
the club night at Paris' huge
Queen's club where the house
pumps all night with luscious
basslines and groovy hooks in
this feel-good, have-sex atmos-
phere.
tobias
VARIOUS ARTISTS
Pretty In Pop EP
(Endearing)
Whoever dreamed up this compilation spent too much of his or
her youth glued to the movie
screen — who else would have
set in motion an EP of cool bands
covering tunes from '80s director John Hughes' films? This international gem of a CD has Vancouver's Speedbuggy, Winnipeg's The Bonaduces and
B'ehl, Australia's Ninety
Nine, and Ciao Bella — all
poppy and lo-fi, and all do a
terrific job with songs like "Don't
You Forget About Me" (by Simple Minds, from The Breakfast
Club). This is cute stuff.
Julie Colero
VARIOUS ARTISTS
Techno Breakbeat: fast forward to the new century
(Irma America)
Here's what I think happened:
this company Irma America realized that the whole genre of
electronic music suddenly had a
huge market, so they decided to
make a few CDs, then just let the
music roll and counted their
money — as Eric Band Rakim
put it. They then had some Italian guy from Milan compile an
album of shitty, unheard-of Italian acts (with overwhelmingly
original artist names such as Dr.
Cool G. and Science Force
and song titles like "Devotion
Dance"). However, what they
didn't count on is that most people don't want to hear shite.
No sir, I don't have many
positive words about this so-
called "compilation." Most
songs are produced and/or
copyrighted by the same three
names, which leads me to be
lieve that these tracks probably
weren't actually recorded by 14
different artists.
I'm just trying to find something good to say about Techno
Breakbeat and I'm coming up
empty. Most of the songs don't
even have a pad and then a
steady 4/4 kick throughout; and
this all adds up to an early '90s,
ethereal house track with the
standard 808 kit. Then I looked
in the liner notes ... sure enough,
remixed by Wink and published
in 1992. "Devil" samples the
Iggy Pop break from "Lust for
Life," but it is done so poorly and
disjointedly that it's just painful.
I don't have an earth shattering revelation to sum up this review, but I think that when watered down, genre-exploiting
compilations start coming out, it
is a sure sign that we are beyond infancy.
A.H.
SOUNDTRACK
There's Something About
Mary
(Capitol)
If I could find a fault with this
soundtrack, it's that Jonathon
Richman only appears three
times. Each of these new songs
serve as humourous odes that
summarize the movie's plot one
part at a time. If you've seen the
movie, you've already heard
these songs (and watched them
performed by Richman and a
sidekick, with brilliant deadpan
style). They remain as funny and
true to effect without visual accompaniment.
No question, Richman's three
songs are the highlight of this
soundtrack, but there are 1 1 others (some new, some old) by Ben
Lee, The Dandy Warhols,
Ivy, Joe Jackson, The
Lemonheads, Propellerheads,
and more. Not just a slapped-to-
gether selection of songs (as
some soundtracks are wont to
be), this collection fully brings
together the spirit of the movie
while still retaining musical quality. There's Something About
Mary has something about it —
namely, good songs, relevance
in context as a soundtrack, and
inter-connectedness - that
makes it worth listening to, and
worth having if only for Jonathon
Richman's contributions.
Brian Wieser
12i_ANNUAL
AIDSWALK
AIDSWALK
amwnwm Rea
Live
Action
ANI DIFRANCO
REBIRTH BRASS BAND
Saturday, July 11
Plaza of Nations
Tired of the same old summer fare,
standing in line for huge festivals,
and feeling like overcooked steak
at a BBQ? In this world of electric
nouveau Pacific Northwest Cuisine,
summer calls for a slightly different
recipe. Begin with a cool, misty outdoor venue. Add a taste-tempting
serving of spicy swing jazz, Southern-style and full of Cajun flavours.
Chase with a shot of heartfelt applause, a perfect compliment to the
appetizer. While the palate is still
warm and tingling, bring in the main
course; nothing could be as satisfying as a juicy slice of political-satirical-analytical folk rock. Ensure the
set is trimmed with fluffy bits of keyboards and sampling, a side of tight
dynamics, and smother with a
unique stage presence sauce. Add
blue hair for colour contrast, jacket
tassels for textural variation, and you
have a whole meal lhat will satisfy
your aural appetite.
C'est magnifique. There could
have been no better way to put a
twist on a summer that is slowly grow
ing stale The Rebirth Brass Band
were energetic and soulful and extremely mobile on stage. Of course,
Ani DiFranco was not to be outdone, playing percussion, guitar and
generally having a blast while performing for a crowd of dancing Canadians on the last stop of this year's
tour. Three encores? Who would
have guessed?
Patrick Cross
BENJAMIN BAGBY'S
BEOWULF
Thursday, July 16
The Longhouse, UBC
Beowulf is generally accepted as the
first great English literary masterpiece, the epic tale of a heroic
Scandanavian and his adventures.
Existing translations derive from a
single manuscript, dated from the
11 th century and, despite the horror of many firstyear English students,
Beowulf is one hell of a story.
Benjamin Bagby's claim-to-
fame is his presentation of Beowulf
in its original old English. Before
launching into the text, he explained
that each member of the audience
had, in the programs that they had
been given, a full translation of the
text he was to relate.
I put the translation aside. White
it was nice to have, Bagby is a true
"scop," a bardic storyteller of yore,
and his Beowulf is dramatic and theatrical. It was more fun listening,
watching, trying to pick out words here
and there that you could recognize
As with any foreign language,
the more I listened, the more I understood, and it was worth the effort.
By the fourth of six "chapters," the
audience was laughing and gasping and in sync with the story, turning the pages of their translation at
just the right time.
18    September 1998
I can't comment on Bagby's skill
as a lyre player, but the music complemented the performance, which
I'm sure was all it was meant to do.
It doesn't really matter because
Bagby made Beowulf fun. His performance was riveting, captivating,
and the next time the Vancouver
Early Music Festival brings him to
town, this is a must-see performance.
AUTECHRE
PERFUME TREE
DJCHANTAL
DJ ISIS & USA-MARIE
Thursday, July 30
Palladium
As i arrived, DJ Isis & Lisa-Marie
were already playing records and
the records they were playing were
decent, trancey, and suited the
evening People bought drinks and
LIVE MUSIC REVIEWS
say they played "vosed in," "fold4,
wrap5," "calipar remote" and more.
All the signature deep beats, bleeps
and crackles, whirring, prickly
sounds, and smooth, haunting melodies caroming over the top. It was
very dark in the Palbdium, which was
perhaps an aesthetic earned over from
their new album art — it suited their
minimal and lugubrious style.
My only criticism of the evening:
besides a couple of head bobs now
and then by one of the boys, we all
might as well have been watching
someone fix my VCR while listening
to Autechre on a really good stereo.
Not that I wanted tFiern to be flexing
on stage like the modern Van
Halen, Prodigy, but watching
Autechre hunched over a mixing
board in the dart with maglites in
help the image. I assume they played
'Cause Mix Master Mike is sick!"
screamed AdRock. Mix Master
Mike's skills were displayed on the
12 screen TV booth he scratched
from. Money was spent well on the
giant turntable stage that rotated 90°
every half hour, and was complete
with trap doors through which the
Boys came on stage. Everyone on
stage was dressed in matching
jumpsuits reminiscent of exterminators/Hare Krishnas/inmates.
I'm glad Money Mark was on
the keys because, during the two
song encore, he did gymnastics, running around the stage and leaping
over his keyboards. I'm glad also
because I missed his opening per-
'st+tiling emi difranco e*\ the piasa of nations
some people danced and it was
early still. I got the impression, as
Perfume Tree started to shuttle
around on stage before playing, that
there were a lot of people here waiting to see them. Their drum program
ming was very current, their melodies were memorable, and they did
well with vocals, but what frustrated
me was the sense that, as a group,
they're loo wary of attempting anything that hasn't already been done
in Europe, with bands like Seefeel
and St. Etienne.
Before Autechre, DJ Chantal
came on and played a whole hell
of a lot of records, all of which were
fantastic and displayed the dingy,
rough hip hop style which both influences and appears on the Warp
records discography
And OK, finally Autechre came
on very early Friday morning (like,
1 am) and many people were starting to look a bit tired, myself included All the lights were shut off
and some candles that had been lit
earlier were guttered, and the two
Autechre guys (Booth/Brown) came
on and leaned over a table of machinery and started to play. They performed mostly stuff off their new aL
bum, which I hadn't heard at the
time. I have now, though, and can
in the dark as an attempt to minimize the audience's focus on the
stage. But I think when people pay
to see a band live, even an electronic
one, there's an expectation on the
part of the ticket buyer and an obligation on the part of the group to
provide a reasonable semblance of
Lee Henderson
BEASTIE BOYS
TRIBE CALLED QUEST
MONEY MARK
Saturday, August 1
Pacific Coliseum
BREAK OF DAWN BREAK OF
Dawn BREAK Of Dawn Break Of
Dawn ... Is there an echo in here?
No matter. The Beasties are from
a much cooler planet than the one I
live on, and this show confirmed it.
How many bands you know go from
three mc's and 1 dj to distorted guitar and punk tempos to a stanckip
bass, a wah-wah pedal and bongo
drums without any awkwardness?
My head almost exploded (in a good
way) when they played "Time For
Livin" and "Egg Raid on Mojo." The
crowd wasn't as impressed with the
hardcore as I was. They much pre
ferred the hip hop samples.
"Does anyone have an Asprin?
sent from the stage, and, while
McLagen and the guitarist were fine
musicians, this band just didn't seem
as connected with the music as
Bragg obviously was.
Maybe I was just spoiled by having heard Bill all by himself.
ROCKET FROM THE CRYPT
CREEPER LAGOON
Friday, August 7
Starfish Room
Words cannot describe how com
pletely awesome Rocket From
The Crypt was. If I could think of
anything, two words come to mind,
and for anyone who was at the
formance. I blame my innate stupidity for missing him, and other circumstances beyond my control caused
me to miss Tribe. I cried when I could
hear them from outside, and I cried
later when people told me how great
Ihey were.
Disappointed I was in the sparse
Milerepa propaganda and the
spacey acoustics, but the Beastie
Boys made me come out feeling like
Christa Min
BILLY BRAGG
Monday, August 3
The Vogue
Charmer Billy Bragg was back in
Vancouver last month, cracking jokes
all the way. "Am I too late to enter
the Comedy Festival?" Billy is the guy
you want to run into at the pub, ihe
guy who will sit and tell you stories
and rant about everything that comes
to his broacithinking mind. He joked
about everything from Clinton to the
World Cup. It was like having your
very own Bill at the backyard bar-
He started off singing "Sexuality" and, despite the sore throat that
he had, his Cockney voice rang true
all by itself for nearly half the show.
He played a few Bragg tunes, then
he brought on Ian McLagen (from
The Small Faces) to play key
boards for a while before launching
into songs from Mermaid Avenue,
the new album of Guthrie material
that Bragg and American roots band
Wilco recorded.
Bill talked at great length about
Guthrie's song archive and about
how "Bob Dylan never wrote anything like this." He also played some
of the new songs which belong in
Bragg's capable hands. My only
complaint about the show was the
backing band and the poor sound
mix. Although they started touring
together, Wilco was strangely ab-
show, you'll know what I'm talking
about: scrambled eggs.
While watching opening act
Creeper Lagoon, only four words
came to mind: is it over yet?
Bryce Dunn
THE MAGNETIC FIELDS
AMERICAN ANALOG SET
THE PACIFIC OCEAN
Friday, August 14
Crocodile Cafe, Seattle
After the traditional and always delicious pre-Seattle-show Mexican dinner, it was time for the traditional and
always tedious wait for the club to
open.  Perhaps if I learned to drink
myself into oblivion this would seem
I was in no mood to be converted
tonight and The Pacific Ocean
only helped confirm this belief. One
part Containe, one part Versus/
Containe and one part unknown to
me (the drummer), equalled a poor
man's Versus. Seeing as how Versus
themselves would seem incredibly
pedestrian if it weren't for some intangible quality, it is no surprise I set
my focus elsewhere, such was the
fight to stay awake.
American Analog Set has
never done anything for me. When
I returned from my ginger ale run, I
ventured inside again to see what
was up with the Set. They sounded
very nice — the soundman at this
place never disappoints — and if I
had been in bed, I would probably
even flip the record if I was still awake
at the end of the side.
All of this dullness slipped quickly
into the past as it was now time for
the brilliant, droll homosexual (and
he's even shorter than I expected,
too) wit and catchy hooks of Stephin
Merritt's Magnetic Fields. The surprise was no drums, no percussion
of any sort at all. Sure, this wouldn't
be a shock at the folk fest, but for a
techno-pop band? Instead, it was a
lineup of guitar, cello, piano, and
banjo and the occasional second
guitar. Itwas beautiful. I knew these
were great songs, but to hear them
without the cheap synth and drum
machine wall of sound found on their
recordings made me think, "Hey
these are realty great songs." They
were funny (much banter about that
night's Bauhaus concert which
they were jealous to have missed),
performed songs I didn't recognize,
even ad-libbed a phony request
("Play that song about Jerry
Garcia!") and played until Merritt's
voice could take no more. I was
happy.
Sean Elliott
BAUHAUS
Saturday, August 15
Queen Elizabeth Theatre
Having grown up without the benefit of older siblings to introduce me
to music (my parents are old-time
country folk), I didn't come into
Bauhaus until they had already
exploded into their respective splinter groups. But once I did discover
them, I always regretted the thought
that I would never get to see them
Despite the reality that this was a
reunion, the anticipation about this
concert felt different lhan any of those
gone before Peter Murphy
summed it up during the show when
he said, "This is not rock and roll.
This is resurrection."
I have to admit that I expected to
see more resurrected goths in attendance. There were a few, but I noticed that those with the heavy
makeup and costumes tended to be
goths nouveau, while the golhsof-
old were dressed in the more conservative black jeans. But it was oh,
so black.
The show started with a fury of
blinding light and smoke. David J,
Daniel Ash, and Kevin Haskins
were in place and playing "Double
Dare," but Peter Murphy opted for
an extreme close-up video appearance. He gazed into the camera and
out at the audience with those hypnotic, shadowed eyes throughout the
first song. J and Ash stayed, for the
most part, on their sides of the stage,
content to let Peter Murphy diva his
way around the stage, playing to
the lights and, not just touching, but
grabbing the hands of a few audience members.
The onfy evidence that Bauhaus
hasn't played together in 15 years
came towards the end of the
show. Ash and J launched into
"She's In Parties," and Murphy
missed his cue. White he implored
his bandmates to restart, they kept
playing. Murphy did catch up, then
twisted the song into a version of
"Riders on the Storm." But the incident sparked a temper tantrum which
boiled over during "Kick In the Eye,"
when he yelled at the lighting crew
before leaving the stage.
When Bauhaus returned to the
stage for their first encore, they
cracked into T. Rex's "Telegram
Sam" and then into David Bowie's
"Ziggy Stardust." It was easily the
most energetic set of the night. The
tense, but the  15-minute "Bela
Lugosi's Dead" performance (with
Murphy doing his best undead) was
the perfect kick to end the show.
BK CiTR
charts
WHAT'S BEING PLAYED ON 101.9 FM
sept. 98 long
vinyl
sept. 98 short vinyl
1       stompin' torn
souvenirs
emi
1       the kiss offs               bottle blonde
peek-a-boo
2       the sadies
precious moments
bloodshot
2       curse of horseflesh    the fuck you say ...
ship rec'd
3      bikini kill
the singles
kill rock stars
3      the go-devils             end
feline
4      liz phair
whitechocolate...
matador
4       icu                               despite the smell ...
n.e.w./k
5       various
oh canaduh! 2
lance rock
5       forbidden dimension   i kiss yer shadow
ship rec'd
6       duotang
the cons & the pros
mint
6       the vendettas             can't stop
360 twist
7       fortune & maltese
and the phabulous pall ...         get hip
7        murder city devils     dancing shoes    die
young, stay pretty
8       beastie boys
hello nasty
grand royal
8       bunnygrunt/rizzo     split
kitty boo
9      the spinanes
arches and aisles
sub pop
9      eric the red               life after tuesday
caulfield
10    d.b.s.
i is for insignificant
sudden death
10    longstocking              will you stay?
k
11     shonen knife
happy hour
big deal
11     disgusteens                nothing personal
longshot
12    tricky woo
the enemy is real
sonic unyon
12    Sunday puncher        do-over
turnbuckle
13    bauhaus
crackle
beggars banquet
13    rizzo                           shymaster
cher doll
14    coal
one track mind
independent
14    capt. qitn.                  capt. qitn.
turkucken
15     frogs
sounds of north amerk
an ... Smithsonian
1 5    tight brothers             take you higher
ten-in-one
16    billy bragg & wilcc
mermaid avenue
elektra
16    sick bees                   push
up
17    joel rl phelps
downer trio: iii
pacifico
17    gem/jenny mae        split
spare me
18    the grassy knoll
II!
nettwerk
18     julie doiron/snailhouse   do you remember .
stereo-type
19    render useless
render useless
clue #2
19    torn freund                 digs
red ant
20    various
pretty in pop
endearing
20    sarah dougher          break in a brand n«
w...                      k
21 squirrel nut zippers
22 ray condo & his ..
23 arab strap
perennial favourites
door to door
philophobia
joaquin
24 circlesquare
25 solarbaby
and deeper encase
the power of negativ
independent
e ...  teenage usa
col.   sander's   h
tuesdays     1:00     pm
ideout
-2:30pm
26    gangster politics
gangster politics
moon ska/stomp
1    iron maiden                                                    ri
umber of the beast
27    tuscadero
my way or the ...
teen beat
2   metallica
master of puppets
28    hard rubber orchestra cruel yet hair
victo
3    judas priest                                           screan
ling for vengeance
29    richard buckner
since
mca
4    motley crue
shout at the devil
30    bis
intendo
grand royal
5   ozzy osbourne
blizzard of ozz
31     mean red spiders
places you call home        teenage usa
6   slayer
south of heaven
32    mogwai
kicking a dead pig
jetset
s/t
33    barbara manning
in new Zealand
communion
8   ratt
up from the cellar
34    pedro the lion
it's hard to find ...
made in mexico
9    scorpions
blackout
35    sianspheric
there's always someplace ...    sonic unyon
10 guns & roses                                             appetite for destruction
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 in August). Weekly charts can be received via email. Send mail to
"majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts"»
sept 98 indie home jobs
1       clover honey
three four
2       tickertape parade
audience with the pope
3       leeches
donkey kong
4       samsara seven
tug 0 war
5       we'cooshla
i am not a woman
6      touch  & gos
campus radio boy
7       london paris
unmatched sock
8       full sketch
sketchersize
9       captain cook & nootka sound
i'm glad for you
10    destroyer
karen is in rome
11     mizmo
sprite
12     kirby grips
mod boy
13    joel
back for thirds
14    hissy fit
s.h.e.
15    jP5
fuzzyhead pills
16    submission hold
ed anger
17    dreamy angel
laundromatte queen
18    starboys
Canadian beer
19    daddy's hands
statistic wigs
20    squeeky
ten twenty-three
NEW tunes that kept the
discorder production crew going
Spinanes • Liz Phair • Tied & tickled trio
• Pepper Sands • Takako Minekawa •
Selby Tigers • David Grubbs •
Rheostatics • Lambchop • Asian Dub
Foundation • United Schach
Corporation • Joel RL Phelps • Barbara
Manning • Dub Narcotic • Pullman •
Jon Spencer Blues Explosion
umrntj v.miv
bij Jason da Siiva On The Dia
YOUR ON-AIR GUIDE TO CiTR 101.9 FM
SUNDAYS
ARE YOU SERIOUS? MUSIC   8:30-
12:00PM All of time is measured by
its art. This show presents the most
recent new music from around the
world. Ears open.
THE ROCKERS SHOW 12:00-3:00PM
Reggae inna all styles and fashion.
BLOOD ON THE SADDLE alt 3:00-
5:00PM Real cowshit caught in yer
boots country.
WIRELESS air. 3:00-5:OOPM
QUEER FM 6KX)-8*00PM Dedicatee
to the gay, lesbian, bisexual,
trans
■al
Vancouver and listened to b;
everyone. Lots of human intere
features, background on currei
issues and great music from musiciar
of all sexual preferences and gend*
identities.
HELLO INDIA 8.-00-9-00PM
GEETANJAU      9:00-10:00PM
Geetanjali features a wide range of
music from India, including classical
music, both Hindustani and Carnatic,
popular music from Indian movies
from thei 930's to thei 990's, semi-
classical music such as Ghazals and
Bhajans, and also Quawwalis, folk
songs, etc.
THESHOW 10:00PM-1:00AM Stnctly
Hip Hop — Strictly Underground —
Strictly Vinyl With your hosts
Checkmate, Flip Out & J Swing on
the 1 & 2's.
THE CHILL-OUT ROOM 1:00-
4:00AM Sit back, relax, and enjoy
the mellow sounds of the Chill-Out
Room. Hosted by DJ Decter.
MONDAYS
BREAKFAST WITH THE BROWNS
8:15-11:00AM Your favourite browry
sters, James and Peter, offer a savoury
blend of the familiar and exotic in a
blend of aural delights! Tune in and
enjoy each weekly brown plate special.
Instrumental, trance, lounge and
ambience.
SOUPE DU JOUR 1:00-3:00PM
Feeling a little french impaired?
Francophone music from around the
globe, sans Celine Dion.
THE MEAT-EATING VEGAN 3:00-
4:00PM I endeavour to feature dead
air, verbal flatulence (only when I
speak], a work of music bya twentieth-
century composer — can you say
minimalist? — and whatever else
appeals to me. Fag and dyke positive.
Mail in your requests, because I am not
a humarvanswering machine.
EVIL VS. GOOD 4KW-5-00PM Who
will triumph? Hardcore/punk from
beyond the grave.
BBC WORLDNEWS SERVICE 5:00-
5:30PM
BIRDWATCHERS 5:30-6:00PM Join
the Sports department for their eye
on the T-birds.
POLYFILLER all. 6:00-7:00PM
HIP HOP HAVOC 7:OO-9fl0PM
THE JAZZ SHOW 9KX)PM-12:00AM
Vancouver's longest running prime time
jazz program. Hosted by the ever-
suave Gavin Walker. Features at 11.
Sept 7: Saxophone great Branford
Marsalis' Crazy People Music.
Sept 14: The magnificent Cannonball
Adderly Sextet (with Yusef lateef) in
Japan.
Sept 21: Cannonball Adderly again
narrating An History of Jazz.
Sept 28: The Art Ensemble of Chicago's
Full Force.
VENGEANCE IS MINE 12:00-
4:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our hearts —
thank fucking christ.
TUESDAYS
J-POP WONDERLAND 6:30-8:30 AM
Japanese early morning imports hosted
by Shin.
AROUND THE MIDDLE EAST IN AN
HOUR 8:30-9:30AM Middleeastem
music for your morning drive.
THIRD TIME'S THE CHARM 9:30-
11:30AM   Torrid trash-rock, sleazy
surf and pulsatin' punk provide the perfect
scissor kick to your head every Tuesday
morn. There's no second chance when
Kung-Fu is used for evil wilh drunken fist
Bryce. Kill-yaa!!!!
AUDIO SPROCKET alt 11:30AM-
1:00PM
TRAGIC ANIMAL STORIES alt
11:30AM-1:00PM
COLONEL SANDER'S HIDEOUT
1:00-2:30PM
ETHER TABLE 2:30-3:30PM
LADY DEATHSTRIKE'S BENTO 3:30-
5:00PM   Power   to   the people!
Feminist news, hiphop    tracks,
lesbionic rock and sushi galore!
BBC WORLDNEWS SERVICE 5:00-
6:00PM
RADIO ACTIVE 5:30-6:00PM
Activism, issues and fucking up the
corporate powers that be.
SAREGAMA       6:00-7:00PM
Featuring traditional (classical, light
and folk) and contemporary South-
Indian music.
THE UNHEARD MUSIC 7:00-
9:00PM Meat the unherd where
the unheard and the hordes of hardly
herd are heard, courtesy of host Dale
Sawyer. Herd up! New music,
independent bands.
LA BOMBA 9:00-10:00PM La
Bomba (the bomb| explodes with the
best salsa and merengue, with your
papi DJ Papilicious.
WITCHDOCTOR HIGHBALL alt.
10:00PM-12:00AM Noise,
ambient, electronic, hip hop, free
jazz, Christian better living LP's, the
occasional amateur radio play,
whatever.
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 12KX)AM-VERY
LATE Warning: This show is moody
and unpredictable. It encourages
insomnia and may prove to be haz- ardous to your health. Listener discretion is advised. Ambient, ethnic,
funk, pop, dance, punk, electronic,
synth, blues, and unusual rock.
WEDNESDAYS
SUBURBAN JUNGLE 7:00-9:00AM
A perfect blend of the sublime and
absurd, with your refined and exotic
hosts Jack Velvet and Carmen Ghia.
BOTH SIDES 10:00- 12:00PM Jose
Luis discusses free trade and other
issues in the Americas.
LOVE SUCKS 12-0O2-00PM Music
at work. (Cut up mixed genres —
eclectic, electric included but not
mandatory).
MOTORDADDY 3:00-5:00PM "eat,
sleep, ride, listen to Motordaddy,
repeat."
BBC WORLDSERVICE 5:00PM-
5:30PM
RACHEL'S SONG 5:30-6K>0PM Info
on health and the environment. From
recycling and conservation projects to
diet, health, and consumption and
sustainability in the urban context.
SOLID STATE alt. 6:00-7:30PM
Featuring the latest in techno, trance,
acid and progressive house.
Spotlights on local artists, ticket
giveaways, & live performances.
Hosted by M-Path.
ANDSOMETIMESWHYalt.7:30-
9:00PM barbara manning, joel rl
phelps, dub narcotic, sushi ... these
are a few of our fave-oh-writ things, la
la la!
MARY TYLER MOORE SHOW alt.
7:30-9:00PM Girl music of all
shapes and sizes.
FOUCOASIS 9*00-10HX)PMThe show
that's not afraid to call itself folk.
Featuring the best in local and
international acoustic-roots music:
Singer-songwriters, Cajun, Celtic and
beyond!
STRAIGHT OUTTA JALLUNDHAR
10KX)PM-12.-00AMLetDJsJindwa
and Bindwa immerse you in radioactive Bhungra! "Chakkh de
phutay." Listen to all our favourite
Punjabi tunes — remixes and originals. Brraaaah!
HANS KLAUS' MISERY HOUR 12:00-
4:00AM Mix of most depressing,
unheard and unlistenable melodies,
tunes and voices.
THURSDAYS
THE GREEK SHOW 6:30-8:30 AM
REEL   MUSIC   8:30-10:00AM
Soundtracks and classical.
FILIBUSTER 10:00-11:30AM
Part accordion-tinged musical
meanderings, part experiemental
weirdness, with a little bad hill blood
thrown in for good measure. This
show is a genre-free zone.
CANADIAN LUNCH 11:30AM-
1:00PM From Tofino to Gander,
Baffin Island to Portage La Prairie. The
ali-Canodian soundtrack for your
midday snack!
STEVE & MIKE 1:00-2:OOPM Crashing
ihe boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby,
(hardcore).
ONOMATOPOEIA 2:00-3:00PM
FLEX YOUR HEAD 3:00-5:00PM
Hardcore and punk rock since 1989.
www.geocities.com/SunsetStrip/
club/6479/
BBC WORLDSERVICE 5:00-5:30PM
ENTERTAINMENT DESK alt. 5:30-
6:00PM Movie reviews and criticism.
OUT FOR KICKS  6*00-7:30PM No
Birkenstocks, nothing politically correct. We don't get paid so you're
damn right we have fun with it. Hosted
by Chris B.
ON AIR WITH GREASED HAIR 7:30-
9:00PM Roots of rock & roll.
UVE FROM THUNDERBIRD RADIO
HELL 9*00-11-OOPM Local muzak
from 9. Live bandz from 10-11.
SLIPPERY SLOT alt. 11:00PM-
1:00AM Farm animals, plush toys
and Napalm Death. These are a few
of my favourite things. It's all about
shootin' the shit and rock n' roll,
baby.
PLUTONIAN NIGHTS 1:00-
4:00AM Late nightvinyl. Occasional
skips. Cheers.
FRIDAYS
CAUGHT IN THE RED 6:30-8:30AM
Garage rock and olher things.
ONE LOVE 8:3O-10:O0AM Anything
and everything from the wonderful
world of music, as long as harmonies
can be sung, and the melodies be
heard.
SKATS SCENE-IK DRIVE! KWXJAM-
12:00PM Scotty and Julie, playing
the music that gets them dancing and
singing in the DJ booth... (no, really!)
THESE ARE THE BREAKS 12:00-
2:00PM DJ Splice brings you a
flipped up, freaked out, full-on,
funktified, sample heavy beat-lain trip,
focusing on anything with breakbeats,
be it old school hip-hop jams, fresh
drum and bass jump-ups, downtempo
experimental trip-hop tracks, cold
ch il!in 70's soul cuts or crazy-ass
white label electrofunk. Versatile at
any style.
UTTLE 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
NOIZ 4:00-5:00PM self-tilled.
BBC WORLDSERVICE 5:00-5:30PM
FAR EAST SIDE SOUNDS alt. 6:00-
9:00PM Sounds of the transpacific
underground, from west Java to east
Detroit. Sound system operator, Don
Chow.
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 The
original live mixed dance program in
Vancouver. Hosted by DJ Noah, the
main focus of the show is techno, but
also includes some trance, acid, tribal,
etc. Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass.
LIMP SINK alt. 12:00-6:00AM
Tobias' Paradigm Shift (Rant, phone-
in and kiss your mother with the
guests).
DEAD AIR alt. 12:O0AM-LATE
Exceptionally interesting girl talk.
SATURDAYS
THE SATURDAY EDGE 8:00AM-
12:00PM Music you won't hear
anywhere else, studio guests, new
releases, British comedy sketches,
folk music calendar, and ticket
giveaways. 8-9AM: African/World
roots. 9AMI 2PM: Celtic music and
performances.
J-POP WONDERLAND 12:00-
1:00PM Saturday editionl Once
again, Shin brings you the best of
Japan.
POWERCHORD 1:00-3:00PM
Vancouver's only true metal show;
local demo tapes, imports and other
rarities. Gerald Rattlehead and Metal
Ron do the damage.
LUCKY SCRATCH 3:00-5:00PM
From backwoods delta low-down
slide to urban harp honks, crooners
and tunesters in the blue degree.
Blues and blues roots with your hosts
Anna and AJ.
RADIO FREE AMERICA 6:00-
8:00PM Join host Dave Emory and
colleague Nip Tuck for some extraordinary political research guaranteed to
make you think. Originally broadcast
on KFJC (Los Altos, Cal.).
LIVEI AT THE HI-HATI1 alt.
10:00PM-1:00AM "Live!-shows
and bands — admission $6.00 —
Performers are subject to change."
Maximum Soul.
PIPEDREAM alt. 10:00- 1:00AM
SOUL TREE alt. 1-00AM-DAWN
EARWAXalt. 1:00AM- DAWN "Little
bit of drum, bit of bass and a whole
lot of noize." Late-night radio
soundclash destined to fist you hard.
Zine features, phat experimental
chunes, and the occasional turntable
symphony. "Money, we'll rock you
on 'til the break of dawn."— G. Smiley
FRIENDLY COMPETITION • JOKES-FOR-BEER • AMAZING PRIZES
OUND 1
eptember 15th
Heat 16
Baked Alaska
42
September 22n
Road Bed
Phyzah M
Bounty Hunta & the Mutineers
September 29th
Mr. Underhill
Clover Honey
Citrus Conceptf Datebook.
WHAT'S HAPPENING I
FRI SEPT 4 Medicinal Compounds@Blinding Light; Alley Boys,
Mr. Pink, Jet Set@Brickyard; EDAM's New Dance@EDAM Theatre
(303 E. 8th Ave.); Strong Like Tractor, The Puritans, 60 Cycle
Buzz@Columbia
SAT 5 CiTR PRESENTS: WHISKEYTOWN, BOCEPHUS
KING@Starfish; Medicinal Compounds@Blinding Light; Squirrel Nut
Zippers, Bio Ritmo@Rage (early show! 7:30pm); Burning Spear, Alpha Yaya Diallo@Palladium; Cross Section Tour with Chris Simmonds,
Mike Huckaby@Sonar; EDAM's New Dance@EDAM Theatre (303
E. 8th Ave.); Johnny Legend & his Rockabilly Bastards, The
Reverberators@Piccadilly Pub; Kristia Sheffield, Swag@Railway
SUN 6 Slurpe-E@Sonar; Cannibal Corpse, Angel Corpse@Starfish;
Woebegone CD release party@Marine Club
MON 7 The Blue Dahlia, They Won't Believe MeOPacific
Cinematheque; Jazz Fish@Naam
TUE 8 Waco Brothers, Circus in Flames@Starfish; Smith & Mighty,
Rockers Hi-Fi@Sonar; Terry Glavin & Marie Annharte Baker
reading@Robson Central (750 Burrard)
WED 9 Stereotype@Chameleon; B.T.K., Joydrop@Starfish; The
Cartels@Piccadilly Pub; The Usual Suspects, Pulp Fiction@Norm Theatre (UBC SUB); Notorious, The Blue D_Wia@Pacific Cinematheque
THUR 10 Mayhem Aquarium, MK Ultra, Greeneyed
Jealousy@Starfish; EDAM's New Dance@EDAM Theatre (303 E. 8th
Ave.); The Usual Suspects, Pulp Fiction@Norm Theatre (UBC SUB);
FRI 11 Closed Caption Radio, DSK, Glimmer@Starfish; EDAM's
New Dance@EDAM Theatre (303 E. 8th Ave.); Species 2,
Titanic@Norm Theatre (UBC SUB)
SAT 12 Green Room, Third Eye Tribe, DJ Mark One@Starfish; Phil
Asher@Sonar; EDAM's New Dance@EDAM Theatre (303 E. 8th
Ave.);Speaes 2, Titanic@Uorm Theatre (UBC SUB)
SUN 13 BRANFORD MARSALIS@VANCOUVER PLAYHOUSE;
SHOOT OUT (Women in Film & Video Vancouver's scavenger hunt.
Call 685.1 152 for more info.); John Havelda reading@Kootenay
School of Writing (1 12 W. Hastings); Species 2, 7/ton/c@Norm Theatre (UBC SUB)
MON 14 The Escape, to/o@Pacific Cinematheque; Larry Volen
Duo@Naam
TUE 15 CiTR PRESENTS: SHINDIG! with HEAT 16, BAKED
ALASKA, 42@Railway; CiTR PRESENTS MISFITS, GUY
SMILEY@Starfish; Ninja Tune 6 with Mixmaster Morris, Amon Tobin,
SUBMISSIONS TO DATEBOOK ARE FREE!
FO HAVE YOUR EVENT LISTED, FAX ALL THE RELEVANT INFO (WHO, WHERE, WHEN) TO
822 9364, ATTENTION "DATEBOOK." DEADLINE
FOR THE OCTOBER ISSUE IS SEPTEMBER 18TH!
Spacetime Continuum@Sonar; Nick Cave and the Bad Seeds,
Low@Fifth Avenue Theatre, Seattle (sold out)
WED 16 The Spinanes, Pepper Sands@Starfish; Under the Skin,
TwentyFourSeven@R'\dge; The Spider's Web@Pacific Cinematheque
THUR 17 Barstool Prophets, Splitting Adam, three-sixty@Starfish;
Under the Skin, Twen/yFourSeven@Ridge; Bronstein's Children,
Sbi'ne@Pactfic Cinematheque
FRI 18 Jar, Resurrection Mary, Stronge Days@Starfish; Beouventure,
Dixie's Death Pool@Railway; .Gone with the W/od@Ridge; Sliding
Doors, Wild rft/ngs@Norm Theatre (UBC SUB)
SAT 19 The Smugglers 10th Anniversary party with The Hi-Fives,
The Donnas@Starfish; Mork Farina@Sonar; Perfume
Tree@Chameleon; Gone with the W/nd@Ridge; Sliding Doors, Wild
Things@Norm Theatre (UBC SUB)
SUN 20 Drew Milne & Pete Smith readirtg@Kootenay School of
Writing (112 W. Hastings); Cone with the Wmd@Ridge; Sliding
Doors, Wild Things@Norm Theatre (UBC SUB)
MON 21 Scrappy Bitch Tour wifh Veda Hille, Kmnie Starr, Oh
Susanna@Richard's on Richards; Garbage, Girls Against Boys@Plaza
of Nations; Five Empty Cartridges, Private Parfy@Pacific
Cinematheque
TUE 22 CiTR PRESENTS: SHINDIG! with ROAD BED,
PHYZAH, BOUNTY HUNTA AND THE MUTINEERS@Railway;
New Local Works@Blinding Light
WED 23 El Vez, Captain Cook and fhe Nootka Sound@Palladium;
Barry Elmes Quintet, David Occhipinti Trio@Vancouver East Cultural Centre; Trie Professional, True Kom ance@ Norm Theatre (UBC
SUB); New local Works@Blinding Light
THUR 24 Bonnie Ste. Croix@Starfish; Saskatchewan fflmpaol 20th
anniversary tour@Blinding Light; The Professional, True
Romance@Horm Theatre (UBC SUB); The House of Pain, Homo
Eroticus@?acihc Cinematheque
FRI 25 CiTR PRESENTS: BUILT TO SPILL, MODEST
MOUSE@Palladium (early show! 8pm); Tim Berne, Michael
Formanek Duo@Western Front; Roy Forbes CD release
party@Vancouver East Cultural Centre; The Big Hit, City of
Ange/s@Norm Theatre (UBC SUB)
SAT  26     New Waveaoke@Starfish;  The Big Hit,   City of
Ange/s@Norm Theatre (UBC SUB)
SUN 27   The Church@Richard's on Richards; Garbage Can Art
Contest & Auction@Granville Island;The Big Hit, City or"Ange/s@Norm
Theatre (UBC SUB)
MON 28   Eagle Eye CherryOSonar
TUE 29 CiTR PRESENTS: SHINDIG! with MR. UNDERHILL,
CLOVER HONEY, CITRUS CONCEPT@Railway; Dave Davies &
Ian Coleman@South Hill Candy Shop
WED 30 Jim Black@Naam
THUR OCT 1   Ray Condo & His Ricochets@Railway; Lyndi Scott
CD/video release party@BaBalu (654 Nelson St. Free!)
FRI OCT 2  Ray Condo & His Ricochets@Railway
VENUES • BARS • THEATERS • RESTAURANTS • RECORD STORES
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant Pazz on the Creek) 684 3777
Anza Club 3 W. 8th  (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge   1585 Johnston  (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th  (at MacDonald) 732 5087
Blinding Light     36 Powell St. 878 3366
The Brickyard 315 Carrall St. 685 3978
Cafe Deux Soleils 2096 Commercial (the Drive) 254 1195
Cafe Vieux Montreal  317 E. Broadway (Mount Pleasant)     873 1331
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities  1022 Davie (at Burrard) 689 3180
Cellar Jazz Cafe 3611 W. Broadway (downstairs) 738 1959
Chameleon Urban Lounge 801 W. Georgia (Downtown) 669 0806
Chan Centre for the Performing Arts 6265 Crescent Rd (UBC)
Club Mardi Gras 398 Richards St. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia (at Cordova) 683 3757
Commodore Lanes  838 Granville  (Granville Mall) 681 1531
Cordova Cafe 307 Cordova  (Gastown) 683 5637
Crosstown Traffic 316 W. Hastings  (downtown) 669 7573
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
Firehall Arts Centre 80 E. Cordova  (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings  (downtown) 822 9364
Gastown Theatre 36 Powell  (Gastown) 684 MASK
The Gate   1176 Granville (downtown) 688 8701
Greg's Place 45844 Yale Rd.  (Chilliwack) 795 3334
22   September 1998
The Grind Gallery 4124 Main  (Mt. Pleasant)
Hollywood Theatre 3123 W. Broadway (Kitsilano)
Hot Jazz Society 2120 Main  (Mt. Pleasant)
It's A Secret 1221 Granville St. (downtown)
Jericho Arts Centre  1600 Discovery (Pt. Grey)
Jupiter Care & Billiards      1216 (near Demon St)
La Quena  1111 Commercial  (the Drive)
The Lotus Club 455 Abbott (Gastown)
Lucky's 3972 Main
Luv-A-Fair  1275 Seymour (downtown)
Mars   1320 Richards (downtown)
Maximum Blues Pub   1176 Granville  (downtown)
Medialuna   1926 W. Broadway
Minoru Pavillion     7191 Granville (Richmond)
Moon Base Gallery 231 Carrall St. (gastown)
Naam Restaurant 2724 W 4th Ave (kitsilano)
Old American Pub 928 Main  (downtown)
Orpheum Theatre Smithe & Seymour (downtown)
Pacific Cinematheque   1131 Howe  (downtown)
Palladium (formerly Graceland) 1250 Richards (downtown)
Paradise 27 Church  (New West)
Paradise Cinema 919 Granville  (Granville Mall)
Park Theatre 3440 Cambie  (South Vancouver)
Picadilly Pub 630 W. Pender (at Seymour)
Pitt Gallery 317 W. Hastings (downtown)
Plaza Theatre  881 Granville  (Granville Mall)
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)
Richard's On Richards  1036 Richards  (downtown)
322 6057
738 3211
873 4131
688 7755
224 8007
251 6626
685 7777
875 9858
685 3288
230 MARS
688 8701
608.0913
738 7151
682 3291
665 3050
688 3456
688 2648
525 0371
681 1732
876 2747
682 3221
681 6740
685 7050
602 9442
665 3050
473 1593
685 5585
681 1625
687 6794
Ridge Cinema 3131 Arbutus (at 16th Ave.) 738 6311
Russian Hall 600 Campbell  (Chinatown) 874 6200
Scratch Records  109 W. Cordova  (Gastown) 687 6355
Seylynn Hall   605 Mountain Hwy (North Van)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Bby)      291 6864
Sonar 66 Water (Gastown) 683 6695
Southhill Candy Shop 4198 Main (at 26th) 876 7463
Squish'd Knish 4470 Main (at 29th) 879 9017
The Space 316 Hastings (downtown)
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
St. Regis Hotel 602 Dunsmiur (downtown)
Stone Temple Cabaret  1082 Granville St. (downtown) 488 1333
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
Vancouver E. Cultural Centre  1895 Venables (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/Washout  1020 Granville (dowtown) 872 2999
Video In Studios  1965 Main (Mt. Pleasant) 872 8337
Virgin Mega Store 788 Burrard (at Robson) 669 2289
Vogue Theatre 918 Granville (Granville Mall) 3317909
Waterfront Theatre   1405 Anderson  (Granville Is.) 685 6217
Western Front (303 E. 8th Ave) 876 9343
Whip Gallery 209 E. 6th Ave (at Main) 874 4687
W.I.S.E. Hall  1882 Adanac (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 0
1%
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MIXMASTER MORRIS, AMON TOBIN,
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u
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IJJ_fJ_l
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Pharsyde presents CHERRY BOMBS wl
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Funky breaks from this Orlando Florida
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Known more for his famous father &
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Television City Dream
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KLLE& SEBASTIAN
The Boy With The
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Just as good as their critically
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*iCVO W  Available Sept 8th
REAL MCKENZIES f ~
Clash Of The Tartans CD
The follow up their smash debut these local '
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S»i«..30Lf Available Sept 8t
THE SMUGGLERS
Growing Up a
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Imagine, who would have thought
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lads first started rocking our
shores, that their pledge "serve,
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life-long! Anyway, celebrate a
decade of peacoats, Wellingtons,
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PULLMAN • Turnstyles And
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SONIC YOUTH • Hoi  That
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MIKE JOHNSON* I Feel
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LITHOPS • Uni Umit CD
IRRESISTABLE FORCE •
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GUTTERMOUTH* Live From
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DEVOLVER • Affecting
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BOB MOULD-The Last Dog
+ Pony Show (Ltd. 2 CD set)
MORCHEEBA* Part Of The
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HIS NAME IS ALIVE* Can't
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DIVINE COMEDY * Fin De
Siecle CD
GUTTERMOUTH* Live At The
Pharmacy CD

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