Discorder CITR-FM (Radio station : Vancouver, B.C.) 2001-07-01

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 I   S C   O R   D E   R
NC HR IS1  © "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights
reserved. Circuldtion 1 7,500. Subscriptions, payable in advance, to Canadian residents are $15 for
one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2
(to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine.
DEADLINES: Copy deadline for the August issue is July 14th. Ad space is available until July 21st
and ccn be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss, damage, or any other injury to unsolicited mcnuscripts, unsolicited drtwork (including but not limited to drawings, photographs and transparencies), or any other
unsolicited material. Material can be submitted on disc or in type. As always, English is preferred. Send
e-mail to DSCORDER at discorder@club.oms.ubc.cd.
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 822.301 7 ext. 0, or our news and sports lines at 822.3017
ext. 2. Fax us at 822.9364, e-mail us at: citrmgr@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 #233-6138 SUB Blvd.,
Vancouver, BC. V6T 1Z1. CANADA,
1 printed in Canada
MUfMP grumpy and all that goes down
is a sandwich? Can I only stom-
th stinks. Tha
. Why so hi
encouraging others
blind eye, and hea
Your Man," is available in
and by mail from Blood
of the Young Records! Buy it!
Turn spineless! Mope all day!
(Blood of the Young, PO Box
14411, Minneapolis, MN 55414)
Now, while Bright Eyes'
single was, to me, unlistenable,
most of the other releases were,
thankfully, merely unremarkable, uninteresting, uninspired... un-Julie-friendly. I'm
just a cranky rat-baby-bastard
these days, and you'll have to
words for weighty in almost
Example: I suggest not purchasing the STEREO/ULTIMATE FAKEBOOK split. You,
however, will do
you that Ultimate Fakebook is
actually pretty good, with a
strong first track (good guitar
licks, well-realized vocals). You
all power-pop-with-bitten-lip
and he's powerhousing it in a
fine '80s style! This is middle of
the road, people: What are you
going to do about it? Support
it? 1 suspected as much. (Pop
Kid, 16 Raleigh Lane, Wayne,
NJ 07470)
I will tell you also not to
hunt for the new BRMC double
7", but only because, being
major label material, this'll all
be on the full-length album
anyway. That's due out any day
now. I like the band a little less
with each listen; perhaps it's
because I found out where the
band got its name. Marlon
Brando is no Jimmy Dean, let
me tell you! I do still think this
band has more to offer than
most new bands on major
labels today, but why the heck
am I reviewing major label stuff
anyway? Excuse me while I
ie "Indie Qu
badge from my sash. At least I
can keep the "Bitter Bee" one!
(This is on Virgin, how hard can
that be to find?)
brighten some of your days
with their supposedly gloomy
Wolfe, twin of the Bratmobile
Wolfe and ex-lady of that
Zumpano/New Pornographers
guy who kicked me repeatedly
at a Smugglers show who I'm
holding a grudge on for good.
But I digress. So she's, like, this
singer, and, like, her voice isn't
the strongest around, but she
gets the job done. She has a
really strong backing band, featuring fiddlers, accordionists,
and a pedal steel player, what-
that entails. I saw th(
band's debut back at the Pic
with the Nardwuar-less
Evaporators and Bratmobile
back in the day, and I'm
glad to say they've improved
immensely. For you who love
the country, or the unwavering
support of local acts, get thee
on this! (Mint, PO Box 3613,
Vancouver, BC V6B 3Y6)
Sub Pop's a funny label.
They're not quite from around
here, but we :
love them. At least their bands
the border for
here from time to time and usually put on a pretty entertaining
show, full of tambourines and
catchy choruses. The band's
"Tiger of the Night" single,
released as part of the Sub Pop
Singles collection, is not the
best ever, but it's still pretty
good. Everybody made fun of
the band's last full-length (or, at
least, The Stranger did, and
they're the only paper I
believe), but I don't think the
Makers have lost it yet. Sure,
the band may be a little too big
for its collective britches, but
they can still make any fool
dance! (Sub Pop, PO Box 20645
Seattle, WA 98102)
People, I'm going to end
this column with a cry for help.
You of discerning taste, you
who laughs with pleasure at
my chopping of artist's works
and hearts, send me tapes of
your favourite singles! Or send
me lists of the best si
there! Lead me in the din
of good times, if you can...
Send your own band's 7"s, or
tapes of your best stuff from
collecting days gone by, and
you'll make my summer (and,
if this works, my n
as well!) Thank you muchly in
:e, due to those who will
Svage my si
DiSCORDER 1*233-6138 SUB
Blvd., Vancouver, BC V6T 1Z1
Canada! The   Eunuch   Or  Repetitive
Symbols of My Time
This is my last article from
Kuwait. Outside, it is 50
degrees and dusty. The
lake/large puddle that grew
over the "winter" months in the
depression at the end of my
desert-backyard has begun to
dry. Forming in the evaporating
water, there are nodules of salt
the size of castrated gorilla testicles. This world has suddenly
and again become a place lonelier than the moon. I am
reminded of my first weeks
here, the air like someone holding a hair dryer to my face. It
makes a circle of my year, a
loop. No snake eating its tail,
more like a beige desert lizard
outside my window, head held
high, his spiny tail curled in an
almost circle around the simian
testicles of salt.
There is a swirling mass
inside me that I cannot figure
out. It does not look like torn off
gorilla testicles. It looks more
like some Star Trek warp core,
all blue and misty. The loneliness of this year has begun to
crack, the walls in my
monastery crumble like so
many of the bombed-out houses in Old Kuwait, the ones left -
rotting—as symbols and
reminders of the Iraqi Invasion.
I was not invaded by Iraq,
however. I have had no dictatorship accuse me of stealing
oil. I have not been violated by
a desperate country, and so I
have no reason to keep these
dry and brittle houses, littered
with bullet holes, as monu-
But here, they have kept
every momento mori of war.
Outside a museum, there is a
Mercedes, spray painted gold,
red paint for blood dripping
out the bullet holes—the size of
gorilla testicles, of course. The
car belonged to a member of
the royal family who was killed
escaping the invading troops.
The bullets still remain imbedded, and I can stick out a finger
and touch them. Out in the
desert there is a graveyard of
trucks and tanks, and the metal
is cracking and caving-in,
exposed to the perpetual desert
heat. The dunes are eating
them, and some have just
become barrels sticking out of
sand. I can also touch these hot
metal monsters, stick my hand
into the barrels of tanks: a hot
metallic fisting, no testicles
involved, gorilla's or otherwise.
But me, I have not been in
a war. Lately. I do not have
need for remembrances of gunfire and the sound of a booming
sky. I have merely spent a year
in exile. I have spent the time
with the desert, the sheep and
an autistic budgie. Yes, in the
desert, I have found the shells
of Bedouin Kalishnakovs, seen
the pistols that are hung freely
from the belts of proud 15-year-
old boys—symbols of manhood. Yes, I hear the shooting in
the night, the tribal families
who, during the day, drive the
Jaguars fast and watch satellite
TV in 15-bedroom mansions,
and, at night, go to the dark, go
the desert to try to remember
their past that was pulled away
from them by oil and money
and the western men not 50
years ago. Parents and grandparents tell me they remember
moving from tents and shacks
to brand new houses with pools
and air conditioners that rattled
like dried gorilla's testicles in a
hollow bamboo branch.
And now, my air conditioned home-for-one-year has
been packed up. I have rolled
my shirts around delicate
things and placed them in a
heavy suitcase, too heavy to
lift—perhaps some crumbling
bricks of my insides were accidentally packed too. Last to go,
my music and my computer to
write this article, a sign of the
dedication to CiTR and
DiSCORDER, even now, nine
nths s
i the v
Vancouver was exhaled into
this oven-like heat, and nine
months of dust settling in my
wrinkles. Wrapped carefully
somewhere in that hockey bag
is a bottle of desert sand. And a
dried gorilla's testicle of salt.
And a piece of metal, and a
piece of glass from a tank half-
buried in moving sand and violent memories.
The tank itself does not
remember, nor does the
encroaching desert. The lizards
and their spiny tails do, perhaps, but they are not telling. I
try to decipher their quick
movements, try to understand
their stories, but it is hot outside, and I am not as old as
I cannot truly show you
this world. I cannot expect a
true representation of any
world, only give you my feelings and my western imperialistic views. I can only show you
the pictures, write about the upright shadows of women in
black abayas. I can only tell you
about the wealth, and the opulence and a certain castrated
feel of the people walking in
western clothes, spending western money. I can only show you
the motorcycles travelling at
150 kmph, two teenage boys in
t-shirts and shorts, no helmets,
going fast, the wind in their
hair and between their legs,
perhaps trying to cool their hot
impulses that are, by law, illegal. They zoom past me while I
am in a slow taxi cab, then they
slow down and wave, madly, at
a westerner, shout through the
wind broken English. One
stands up, gripping onto the
shoulders of the one driving,
and they go faster, scream, and
weave in out of the cars, the
BMWs of the Kuwaitis and the
boxy Lada's of the immigrants.
For a while, I can see the boy
standing, waving his hands
above the roofs of other fast
cars, and then he disappears
into the blur of traffic lights and
lonely   highway  distance  at
And this morning, I place
my hands against the walls of
my crumbling house, stare at
the squares of dust outlining
the place where photographs—
people I have lost contact with
and places I used to call
home—used to be. I am coming
home. Whatever and wherever
that is. And I wonder, what is a
world without a desert?
Without the shells of gunfire to
pick up on early morning
walks? What is a world where I
am not alone? What is a world
without a man, standing outside his giant house trying to
pull a sheep out of his
Mercedes? The sheep, woolly
and scared, refuses to leave the
backseat comfort of the car. The
man has tied a rope around the
animal's neck, and yanks, his
foot against the racing green
paint. This animal is for a feast,
a traditional meal. And it sits,
stubborn, on its hind legs, testicles exposed and unmoving, a
piece of their cultural past that
refuses to be budged. And the
man curses in the hot Arabian
morning, but is laughing. And I
walk past, smile, and walk
towards home. Whatever and
wherever that is. •
Difficult Loves
The Transvestimentals, comprised of former and present
members of No Fun, Coal,
Gaze, The Mach Ills, cub, and
other bands, play mainly in
drag, and write songs that are
kind of glam, kind of English
punk, and quite noisy. Given
the costumes and the self-deprecating sense of humor that
comes with them, you might be
surprised to hear just how good
these songs are. "Trashed by
Love" is as loud, catchy, and
sweet as the Stiff Little Fingers'
"Barbed Wire Love," with more
overdriven guitars. "Meat Boy"
could almost be a previously
unheard track from the Rocky
Horror Picture Show, and "She's
Got Culture," ought to be sung
in sports arenas (although if it
were, that would mean that no
one was paying attention to the
lyrics). Then, of course,
there is the "Incidental
Transvestimental Song," which
traditionally opens and closes
the band's live sets. Be sure to
listen through to the end for the
guilty pleasure covers, recorded
in their practice space.
The Sad Sad Sadness of The
Cigarette Girl
This is a proudly lo-fi solo outing from Valeria Fellini, perhaps best known as a one-time
drummer for cub. But with the
possible exception of elements
of "Good Cement," recorded
with former bandmates from
Gaze, there's nothing here that
will remind you of cuddlecore.
Instead, Valeria sings sharp-
edged poetry in an often quavery,  digitally  delayed,   high
whose si
range from the
groovy-quirky to ska and
slightly twisted traditional
English folk. Alas, it's hard to
hear most of the lyrics, but the
bits that jump out are tantalizing ("The plastic-coated pussy
and the vinyl-covered dick... it's
all the rage," for instance, from
the last track). All proceeds go
to the Positive Women's
Network and Everywoman's
Health Centre.
Scabs And Dressings
Soressa is plenty stylish, as she
demonstrates on her CD artwork with her cool shoe collection, round glasses, and
magenta hair. She ,
3 the
very spare arrangements of the
music, which is a kind of east-
side coffee house nouveau folk.
Perhaps most satisfying is a
song about skating around
on prescription drugs,
"Rollerblades and Ativan,"
which includes the tasty lines,
"Double scotch in my
hand/The other held my
Ativan." Don't try this at home,
Into the Red
(Big City /Festival
Probably because of Tim's association with a band called Fear
of Drinking, I was half-expecting this to be a folk record
somewhere on the more drunken, rollicking, Pogues-ish end
of things. Instead, Into the Red is
mainly arranged with pretty
acoustic instalments, including
guitar, whistle,  flute, fiddle,
and harp. Bits are Celtic-
flavoured, and there are indeed
some serious lyrics. Others
might just be meant as ironic or
faux-naif, or at least that's all I
can make of, "They say the people are polite/I like them that
way myself/When you fall in
love with Canada/She won't
leave you on the shelf," from
"Oh Canada."
Trains Are Fast
(Interactive Liquid Creature)
This long (72 minutes) CD is a
noisy conglomeration of speedy
dissonant noise, often incoherent vocals, schizophrenic
beat-inspired lyrics, frantically-
played guitars, and spoken
word bits from fictional characters called The Announcer, The
Fool, and The Drunk. At times,
such as in the last (instrumental) track, Joel manages to create
a mood that is somehow both
hyper-energetic and incredibly
moody, apparently with nothing more than an acoustic guitar.
www.angelfire.com /id /ILK
This one's a bit of a jolt after a
couple of hours with Soressa
and the Joels. Fidgital might be
every bit as socially relevant,
but they come at it from a different, more electronic, direction. There are echoes of James
Bond themes, Pizzicato Five,
semi-ironic soundtracks to '70s
car chase movies, Planetarium
music, Tangerine Dream (and
other synthetic/psychedelic
types), '80s dance music, and
even first-generation swing.
The group thoughtfully lists the
beats per minute for each song,
www.fidgital.com »
s im&mm i dre
with rugged sports activities,
beautiful people are flaunting
what they got, sun worshippers
are soaking in the rays. Bloody
hell, I hate the sun. At least
there's the comfort of the carcinogenic effects of direct sun-
held on August 26th at Heritage
Hall again this year. Last year
ispect of the c<
xpanded to include
y works and there
were plenty of swell zines and
comics to see there. We expect
to see our own local heros like
Ralph Alphonso (Ralph), Brad
Yung (Stay As You Are (the fresh
#7 should be on shelves
presently]), Netty (Queen of the
Universe), and hopefully much
more. Friends from Washington
state such as David Lasky, Jason
Lutes, and Randy Wood will be
expected as well. Tables are up
for rent even as we speak and
will run about $30 for a full
table (3x6') and $15 for half.
Contact    Leonard    Wong   at
Add to my favourites list
the name Tim Grant for inking
skill and absolute otherworldly
imagination. His comic OFF
KILTER #6 has impressed me
greatly indeed. The way-out
storylines and bizarre twists
mixed with jaded, modern day
potty humour filled me with
both delight and horror. You'll
find frightening ass-scenarios as
legendary cultural phenomenon (secluded good-ol'-boy and
end to the side
stories and wacky dialogue.
Fabulous! Tying this tale together is Jimmy the Spitter, a recurring character from the deviant
mind of Mr. Grant. Is it worth
the $5 it costs? I say yes,
absolutely. So contact jim-
mythespitter@hotmail.com or
try to find this at local comic
If punk and zines are dead
we can rejoice in tin- creativity
that the anti-limelight always
brings. Bringing some of the
spirit back to us is a ratty little
zine called SOD AWF #4, cele
brating the joy of amateurism
and the freeing power it wields.
In this ambitious photocopied
fanzine we find some refreshingly enthusiastic rendezvous
with energetic, guitar swingin'
rebels know as punk rockers,
namely All Out, The Deadlines,
AFI, The Planet Smashers,
Speds, and St. Tibs Day.
Admittedly interviews of
obscure or even semi-obscure
bands are relatively meaningless to media-drenched consumers, but for the fan, the
"fan-zine" brings something
precious. If the interviewer is a
fan and is likely not getting
paid for the interview, we get
something quite passionate
even if it may seem rough
around the edges. This zine carries all the right ingredients of
humour, humility, and enthusiasm. Hope Ivy keeps going and
growing. Sod Awf, c/o Ivy, 9440
Glenacres Dr., Richmond,
BC V7A 1Y7 <sod_awf@hot-
A few years ago an author
of dubious talent by the name
of Irving Wallace met his own
creator, so to speak. While the
author enjoyed the successes of
a few bestsellers and a comfortable career, the truth remained
that he was a bit of a hack, i.e.
not among Dostoyevsky, Gide,
or even Stephen King (ouch). So
with the demise of this old-
guard can't we move on and
make room for real talent like
Stephen Moron? This two story
lit piece paints some amazingly
compelling details. While
unorthodox in format (the stories lack endings and even offer
alternative detours), it's the
competency, imagination, and
style that shine radiantly in
Moron's "Castle of the Robots"
and "The Dumb Animals."
Now here's progress in storytelling. Characters are quirky
and complex, not relegated to
mere dialogue-carrying meat
puppets, which can be found in
many of the fine bestsellers out
there. They do not insult one's
intellect but instead remind us
how lovely or frightening differences can be. Wherever
Stephen Moron is coming from
it is obvious that he is capable
of going to great heights, so
with this review I hope to be
one of the first to introduce a
true talent in the art of new fiction. Find this one around our
magazine shelves or contact
On a personal note, my
own project known as SPECK
FANZINE #8 is currently available and includes some interviews with bands I like such as
Steve Fisk, Simon Fisher Turner,
Ladytron, Photon Band, Tram,
and Vancouver's own Ashley
Park. Sure, a few of these were
presented in DiSCORDER
already, but there's gobs of
other crap to see in #8 too.
(Including a loving homage to
radio  listening and  involve-
Look for the pink cover with
lovely Natalie Wood. Thanks
for reading. Now get to work! •
Friday, June 8
Performance Works
s Un
rest of the play—and amid
much Sturm and Drang—they
keep swapping partners, but
only heterosexually mind you,
so they just go back and forth,
back and forth....
; indec
L^After watching the quartet
of Londoners in Patrick
Marber's Closer suffer and rage
their  way   through   the  mid
sift out of the emotional shrapnel. The print material teased us
risk is death. Desire, like the
world, is an accident. The best
sex is anon. We live as we
dream, ALONE"—but they didn't have a lot to do with this
.-, these
are exciting and I wanted the
play to be about them.
Ihe plot is as labyrinthine
with me while I whiz through
the  obligatory  synopsis:  An
seduced bv a mysterious young
stripper/drifter (Alice) when he
comes to her aid after she's hit
r. She i
book about her life. Then he
gets the hots for the photographer (Anna), assigned to take
his picture for the book's dust-
jacket. However, through a
chain of events begun by Dan
himself, Anna marries the doctor (Larrv) who first attended to
Alice when Dan brought her to
Casualty. Then for most of the
6 JULY 2001
sion is caused by the most
appalling selfishness and flab-
biness of character, we don't
care about these people (Alice is
the exception here, though this
feels somehow accidental), yet I
had the distressing sense that
Marber thinks we should.
The play itself is very style-
American in that grittv, shouty
New York stage kind of way.
Thus it's doubly funny when
one of the characters remarks,
on returning from a trip to the
Big Apple, "England always
imports the best of America."
But it's as if, in his fervour to be
England's answer to John
Patrick Shanley, Marber forgot
to give us characters and dramatic conflicts that we could
give a toss about.
Reasonably enough, I suppose, Richard Wolfe directs the
piece like the noisy wallow that
it is, allowing his actors to gnaw
through their meaty roles until
the juice drips. And they all
deliver performances that are
passionate and courageous. For
some, the play was nearly over
before they managed to snuggle
down with their accents, but
their places within the nasty
architecture of the British class
As Alice, Michelle Harrison
has the only role with real
potential for sympathy and
integrity, and she doesn't waste
any of it. Her Alice is laser
smart, transparently vulnerable
and much braver than the others, who, having no deep feelings of their own, thoughtlessly
mess with hers. Sarah Louise
Turner is fully believable as
Anna, the delicate English rose
with the steely stem and rotting
heart, while Kurt Maz Runte
actually manages to make Larry
clumsily touching at times. And
Steve Griffiths sensibly doesn't
try too hard to make Dan likeable. After all, on the play's own
terms at least, the others
deserve him. All except Alice,
who reveals that she opened
her heart to him when she rummaged through his briefcase
and discovered that he cut the
crusts off his sandwiches.
Perverse perhaps, but it's a rea-
Technically, the production
is quite stunning. Bryan
Pollock's sets and furniture,
mostly rolled on and off by the
performers, have a bias-cut
Caligari tilt to them, This is
cleverly echoed by costume
designer Andrea Hiestand in
the angular hems of Alice's
frocks and T-shirts. At one
point, an internet sex-line chat
is projected onto a huge video
screen rolled onto the stage
between the two correspon-
•espective corn-
work has been winning major
awards on both sides of the
Atlantic, but I just can't shake
the feeling that the problem
with this production is
Marber's play. Lust, deception,
victims and their exploiters, the
pretensions of class—these are
also explored by fellow British
playwright Steven Berkhoff
with harrowing brilliance and
cruelty. But Berkhoff's writing
is so wickedly stylized that it's
hyper-real, and his plays end
up making devastating comments on the human condition.
Closer didn't do it for me. I only
wish I'd seen the original
London mounting. Then I could
Raw Eggs and Semen
Expect Disappointment
Friday, June 15
The Hyperspace
Good Performance Art makes
me feel like I could still be in
bed asleep—and dreaming. Or
like I've gotten up in the dead
of night to go out and play. If
crumbly  old  buildings  with
stairways and secret spaces are
involved, then it's even better,
ers. Ver
blaming a playwright whose
dreams tend to happen in
places like that.
This event was produced
by Dynamo Arts Society in
collaboration with The
Hyperspace gallery. A wise and
wonderful choice of venue with
a long, high-ceilinged room
with spooky alcoves and a balconied mezzanine. (Someone
told me that it was the first location of the Helen Pitt Gallery.)
Most of us arrived in time
to poke around a little. There
were tortured paintings, beautifully wrought junkyard assemblages and some intriguing
set-ups   that   one   suspected
might become part of the show.
The first piece began when
a large, wood-encased bathtub
was pushed into view. In
it, Naufus Ramirez-Digueroa
lolled like a jolly Jean Paul
Marat. Climbing out with flippers on his feet, he flopped into
the centre of a big circle of 20
candles, each with an egg in
front of it, to perform a
makeshift cleansing ritual from
his native Guatemala. One by
one, he cracked the eggs over
various parts of his naked body,
giggling and slurping as he
rubbed the goo around.
Naufus' work is nearly always
concerned with the psychology
and politics of race and gender,
but it's performed with an
amazing playfulness and innocence. Rata Eggs and Semen was
no exception. Saving the best
egg till last, he motioned us to
follow him as he burst outside
and ran starkers into the road
on Pender Street. When he was
safely back indoors, Naufus got
into the tub for a good wash
and was grandly pushed back
into the shadows.
Human Faux Pas is a
Performance Art Collective consisting of David T Cheong,
Adad Hanna, Clay Hastings,
Mark Neufeld and Dione
Russell. It started off its portion
of the evening by projecting
some of its video work onto the
gallery wall, while Neufeld
pounded arhythmically on a
small drum kit. Gosh, were
those the Faux Pas guys taking
dumps on the floor? Was that
guy really peeing all over his
own face? Was this a parody of
really bad experimental video?
Not a moment too soon, it
finished and the live performance began. One of the group
darted around aiming a big
length of hose into a mound of
plastic. The mound slowly
inflated until it became a huge
blister with zippers, which
Hannah and Neufeld would
pull open and zip shut behind
them as they climbed in and out
of the thing. Cheong and
Russell walked among the audience encased in smaller pods
with their own inflation hoses.
All wore piercingly bright little
mag-lights tucked behind their
ears. Things got beautifully sinister when one of the people in
the big blister started calling out
descriptions of various audience members—things like
"blue shirt, hat on head, drink
in hand." One of the pod people
would aim their mag-light at
the person in question while the
other delivered them a red
envelope full of odds and ends
from the mother dome. A comment on how fate can spot us
and place the next step in our
hands? Damned if I know, but it
all made perfect sense as I sat in
the middle of this methodically
demented world that had taken
As I scurried to the loo, I
was stopped in my tracks by
the sight of Hastings at a
sewing machine on the other
side of the gallery. The big piece
of fabric he was pulling through
was actually the edge of a tablecloth. Bread and wine came
crashing to the floor as the cloth
got pulled off a table to reveal
the ninja guitarist (Dan
Dietrich) beneath it. Leaping
out like a wildman, he let fly
with about 15 seconds of magnificent feedbacky squall and
the piece was over. It had emptied out like the last crazy rush
of sand through an hourglass.
"Don't go away," I wimpered.
the  doi
deflating. •
aire No surprise, I like cartoons. But do you
know what my favorite
one is? No, not the Powerpuff
Girls, not Scooby Doo and certainly not Pokemon but Dexter's
Lab'. I love Dexter's Lab. Why?
It's funny, clever and it's for
geeks! The cartoon was created
by Genndy Tartakovsky and
my first exposure to it was on
the Jay Leno show. Oddly
enough he was interviewing
this six year old kid who had
just written an episode. "Pretty
cool," thought I, and the deed
was done, I was a Dexter fan.
Lately I haven't been watching
TV so my Dexter's Lab fix has
come in the form of comics. But
watching the cartoon is a must.
You have to hear the voices in
your head. (Wait, that didn't
sound right). It wouldn't be the
same without Dexter's bizarre
Russian accent echoing in my
i while I read.
The premise is pretty basic.
Dexter's a six-year-old super
genius with a huge secret laboratory under his house. He has
an older sister named Dee Dee
who dresses like a ballerina,
loves the color pink and kind of
appears vacant, but she usually
manages to frustrate and outwit
Dexter in a sort of benign way.
There's his Mom and Dad, who
are your standard sitcomy parents. They love him dearly but
are completely oblivious to
what goes on around them.
And lastly there's Mandark,
Dexter's arch nemesis, an eight-
year-old supergenius who is,
incidentally, in love with Dee
So what kind of crazy
shenanigans does Dexter get
into? The stories are usually
short but always funny. I was
giggling a second time while
sorting through them for this
review. The first issue starts
with Dexter reading comics. He
<X>:   bullshit
There's one sure way to
find out if someone's
insane. The scale of
insanity is large. There's the
kind of insanity, which is
pretty low on the scale or the
brand of insanity, which tops
the charts. The insanity I'm
talking about is closer to the
low-end, but still, insane is
insane, and you have to watch
It is very likely that a person is crazy if they insist on
drinking out of a straw. Now
this doesn't mean that you're
insane if you've drunk out of a
straw before. Sometimes you
have to use a straw. I'm pretty
sure you have to drink a milkshake out of a straw because it's
thick and cold and if you try to
pick it up and drink it, first,
your hand gets cold, and second, if you tip it too fast or too
far the whole thing will fall on
your face. But I'll have to check
on that 'cause I've never had a
milkshake before. But I've seen
people drink them, so I figure I
should know. When you're at a
restaurant they always give you
a straw. You can choose not to
use it, but it's pretty easy just to
go along with it. You never
have to pick up the glass, you
just lower your face and suck.
Kids don't count because for
kids straws are fun, especially
the kind that bend. They like
the colours or stripes or what-
ever's on them. They like to
blow bubbles. I'm talking about
old people here. Well, not
seniors 'cause they probably
like to drink out of straws.
Their teeth are sensitive and a
straw's like a tube straight to
the throat. They like that. So if
a kid o
you ALWAYS have to drink out
of a straw, you're insane.
The main reason why people want to drink out of a straw
is because of cleanliness. Take a
can of soda, for instance. If you
drink it without a straw your
mouth is going to have to touch
the can which may have been
dropped in a toilet by accident,
dried off, then put back on the
shelf. The appeal of the straw is
that it's clean and sterile, right
out of an individual wrapper,
just like a condom. So the number one reason why people use
a straw is because they're afraid
they might catch gonorrhea.
Drinking out of a can or
bottle with a straw is insane.
Have you ever seen anyone
drink beer through a straw?
Chances are that you haven't
because straw-users don't drink
beer. Beer doesn't come with
straws. To drink out of a glass,
decides to draw his own but
they all look like a six-year-old
did them. "Let the science
begin!" Dexter invents the
Kirbytron 2000 and leaps in,
becoming a superhero. The
great thing is the rest of the
comic is drawn in this
weird Dexter/Kirby hybrid
style. What else? Dexter and
Mandark have to use their
supergenius to save the world
but end up fighting over who
has made the best robot
ever. Mandark disguises himself as Dexter's mom so he can
destroy his lab. Dee Dee pushes
the wrong button and gets
huge. Dexter borrows his
Mom's rubber gloves and she
goes insane. My favorite issue
is the one where Dexter falls in
love with this girl genius,
Doreen. It's a wonderful spring
romance that blossoms along
swimmingly until Dexter shows
her his blueprints for his latest
V ill     1
actually open the mouth and
make contact with the glass that
was previously used by an old
man who just had a cock in his
mouth, is out of the question.
So they don't drink beer.
Mostly because it is not socially
acceptable to drink beer out of
a straw but also because beer
tastes like alcohol. Same goes
for wine.
Straw-users like to order
fruity little cocktails that taste
like Kool-Aid or some shit with
a hundred ingredients in it with
a stupid name like Screwhound
China Codtini. The fancy numbers always come with a straw,
maybe even an umbrella and a
piece of fruit. They like that. I'll
admit that I don't drink beer. I
don't drink soda (a word much
preferred over "pop") either.
On New Year's Eve 1997 I
resolved to quit drinking carbonated beverages. Why? FOR
think I might've read in the
National Enquirer that carbona-
tion was bad for you. I haven't
broken my resolution except
this one time when I had a sip
of Red Bull without knowing it
was gassed. But that doesn't
count 'cause I had no idea
I don't know. So I'm insane.
At least 1 don't drink out of a
fucking straw.*
and pulls out... the comic you're
reading! So he knows everything that's going to happen. It
of course doesn't happen anything like that. But the best part
is when Dee Dee gets her mitts
on the comic. She starts scribbling out the word balloons and
putting things in like, "I love
Dee Dee. She is the best sister in
the whole world."
Flowers appear around
Dexter's head. It was clever and
cute. It's the second greatest
thing about Dexter's Lib. It's fun
for everyone. Adults can read it,
kids can read it, little old
grannies can read it and get a
chuckle. The best thing of
course is that it puts a great spin
on science. Admittedly you
probably couldn't ever invent a
Kirbytron 2000, but it sure
sparks the imagination. The art
style is very fitting for the book.
A big, bombastic brightly-colored '50s deco. Simple and
exciting, very effective. DC has
also been using some interesting mainstays in the goofy cartoonists stable of artists.
The issue where Dexter's
n Jingle
love."     Dexter
n goes i
is draw
I by-
Stephen Destefr
recently for his w
Belle (another gre
should be reading!), and his
style shines through on this
issue. It was absolutely wonderful watching Dexter's mom
deteriorate in a way only
Destefano could do. Unlike the
Simpsons comics for example,
the artists who are involved are
allowed to stylize it their own
way. There is a distinct difference between a Bill Wray
Dexter's Lib and one of the reg
ulars, John Delaney.
There are 22 issues so far
and they come out once a
month. So when Mom and Dad
are on your case for watching
cartoons 'cause everyone
knows they rot sour mind, grab
a Dexter's Lib comic and yell out
"Let the science begin!"
Hopefully they will be satisfied
with their budding mad scientist and not put yoi
jacket. •
a strait
good morning Vancouver
Totally nuts. Totally. So,
there's this guy. He's got
a head like an overgrown
melon and a face that's all
maleable like dough. His face is
a boy man. You look at him one
minute and he's a mentally and
emotionally abused child
plucked from some weird 1890s
family portrait. The next minute
he's about 60 years old and he
looks all fat and old and weird,
worn by weather, time, and
anguish. But his eyes, mostly.
Bleak and dull, like they're
looking at nothing and completely within themselves in
their own stillness and lifeless-
ness. Utterly and unflinchingly
depressed. He's wearing
clothes that look like they were
picked out for him, like he was
incapable of choosing his own.
Brown Dockers, boat shoes,
clean new jeans, and what
looked like some kind of
denim, collared jacket. Here,
Bill, give me your arm. Put this
on. No, not that arm. This arm.
I had a really good place to
stand at this show. To the left,
right in front of the nut. The nut
thing, just started playing,
slowly and uncertain at first
like a band jamming for the first
time. He didn't move or express
much, except for an ankle lobbing his leg to the side out of
bent knees and a head tilted
backward, singing up toward
the microphone. Odd.
I saw a boy there. He
showed up a bit late. I noticed
him after a while and thought
to myself, maybe I should go
stand with him. Hold his hand.
Watch together and listen
together. But then I thought, no.
This is where I want to stand.
This is the best place I could
Like a little gnat, my brain
said "You are at the same show.
together. Please stop this mad-
So my little feet sticking out
of legs dinked over to the boy. I
held a hand. I tried to watch.
People were drinking beer and
being loud. I was distracted by
myself.   Myself  was  getting
madder at myself. Myself was
like, "You dumb girlfriend. You
compromised your spot. You
have been waiting for this show
for a long time. You have sur-
and a girl. You are stupid."
Then 1 started thinking
about how the guy on stage
was totally nuts. Totally. And
then my mind wandered, in the
midst of the music, to an article
I had read in the paper the day
before. About a woman who,
due to post-partum depression,
proceeded to drown all five of
her children in her bathtub,
including a two month old
baby girl. The oldest son, who
away in fear after he realized
what his mother was doing.
They found four children
wrapped in sheets and the oldest still in the bathtub. The
woman had called the police
shortly   after   what   she   had
band, who was at work, to tell
him. I started thinking about
dead children, I had compro-
show to hold a hand, and then
all 1 wanted to do was go home.
The night was anti-climactic
and nuts.
Nuts. Totally, totally nuts.*
7     -. i--  Michael Franti
DiSCORDER: Stay Human seems to be a natural progression in your
musical and political development Over the course of your career from
the Beatnigs, to Disposable Heroes, through the previous two
Spearhead projects, there seems to be a definite sense of refinement
and maturity in terms of both musical stylings and the subtlety and
maturity of your lyrics. What changes in yourself prompted the development from the hard, dark polemic of Disposable Heroes to the
equally incisive but more hopeful tone of the last two Spearhead
Michael FrantLThe first thing is that as I've grown, and especially
become more involved in activism outside of music, I've really seen that
the hardest thing isn't to try to, like, make a song that will piss people off:
that's really easy to do, you know, to raises issues and get people fired up.
The most important thing is to try to persevere and to struggle when you
see that, God, things in the world really don't change as fast as we want
them to, and one of the things that's helped me get through these difficult
times in my life is music. It's artists that are able to write beautiful music
and joyful music, but invest it with seeds in the lyrics, they are the artists
that endure for me, you know? I think of Bob Marley, Marvin Gaye,
Stevie Wonder especially. These are artists that wrote strong, powerful
statements about the world they lived in, but they did it through music
that you wanted to listen to over and over again. That's what I try to do.
You identify as (and are identified by others) as a Black man, yet unlike
many in the Black diaspora, you explicitly embrace your multi-ethnic
background. Has this helped you to develop an analysis that includes,
but also looks beyond simplistic singular identifications in the
struggle against oppression.
Yeah, definitely. You know, sometimes it's hard when you're younger.
When I was a kid, one of my parents was Black and one of my parents
was white, and I grew up in a community where my next door neighbours were Jewish, the family across the street was Mexican, the family
two doors down was Korean, another family down the block was Black.
But, in terms of the culture, the community I grew up in was mostly
white, so I felt like an outsider a lot of the time in that community. My
way of dealing with that was to hold on to my Blackness, to become
proud of it, and to only identify with that part of me, even though part of
me is European. But as I've grown, and been able to understand more
about myself and about the world I've been able to embrace all of me
and understand that we're not just solely our race, our gender, our environment, or our destiny, but that we're a makeup of all of those things,
and that the decisions and the choices we make in our lives are what ultimately affect who we are as individuals. Now I consider myself to be just
mainly a human being, and I'm trying... my biggest struggle is to
really try to link my mind and my body and my emotions. To link those
things is the path that I call spirituality, and the deeper that one grows in
that way, the more that you just identify yourself as a human being, as in
individual in the collective, and those things, like race and gender and
sexuality, they start to appear to be more and more superficial to the real
essence of who you are.
You have consistently demonstrated a strong feminist analysis. What
are your comments on the recent FCC ruling on the Sara Jones/DJ
Vadim collaboration "Your Revolution?" They banned the track
(which deals with the impossibility of true liberation for Black folks
until we overcome misogyny within our own culture) from public
airplay because it contains "sexual references and explicit language,"
totally disregarding the fact that the song was an obvious critique of
objectification and sexualization of women, especially Black women,
in popular culture.
No, really? I hadn't heard about that ruling. I've always called the FCC
the FUCC. I think that the whole concept of the "seven dirty words," the
idea that you should ban certain concepts, you should ban sexual
references, all these things are things that lead to our culture being
really fucked up. When I go to other countries they're allowed to say
the "seven dirty words" on the air, they're allowed to broadcast songs
that have them, and it's not corrupting kids to hear some bad words that
they say on the street all the time, or that they hear on records in their own
homes. But I think that it is larger than that: the worst crime that the FCC
has committed against the people in America is denying them access to
the airwaves, and putting those airwaves solely in the hands of those
who can afford to pay many, many millions of dollars: we're talking one
hundred million for a station in a major market.
Like your previous albums, the tracks on Stay Human are linked by
clear theme, in this case the racist death penalty. However, the focus is
on a fictional case. Why?
There's a lot of real life cases that I feel really strongly about, you know, of
course Mumia is one, Leonard Pelletier is another, but I didn't want to try
to prove to the world that one person was innocent, I wanted to show-
that the whole system was guilty. That's why I chose to use this fictitious
case. I wanted it to be like Orson Welles' War of the Worlds where you
heard this thing and you wondered "God, is this real?" That's how I
approached the album, like in the piece that I wrote at the beginning of
the record about Sister Fatima, the artwork, the photographs, and I hoped
that people would listen to it and wonder, "Is this something I just
hadn't heard about? This is unbelievable!" Because there are so many
cases that we haven't heard about.
I found the album's theme quite timely considering the rash of high-
profile executions in the US over the last two years. Whether or not one
supports capital punishment, the recent high-profile cases have clearly illustrated the racist and classist nature of the way it is implemented in the US. As the most recent examples, compare the attention that
cases such as McVeigh wherein a white man is executed versus other
similarly high profile cases such as Mexican national Juan Garza,
whose execution barely warranted a whisper, either of protest or
support It simply wasn't an issue.
Definitely. You know, of all of the people who are on federal death row,
87% of them are people of colour. In terms of convictions, the people
who get convicted on murder and sentenced to death in the State systems as opposed to the Federal death sentence cases, I was surprised to
leam that the single largest factor is not race but economics. Those who
could afford a defense got life, those who couldn't afford a defense
received the death penalty.
At the same time, one can't ignore the fact that in North America,
poverty generally tends to be racialized. People of colour form a
disproportionate proportion of the underclasses.
Yeah, totally. But like Angela Davis has noted in so many cases, the incidents of people of colour getting arrested are so much greater not because
people of colour commit so many more crimes, but because we have 24-
hour surveillance in our communities. Where I live, there are cops who
are up and down the streets all night long, busting people who are selling
crack and coke to white people (who just drive through my neighborhood looking for drugs), but they're not busting them.
How did you get involved in the Mumia Abu-Jamal case?
Probably in 1994 or 1995 somebody handed me a video tape, The Case for
Reasonable Doubt, which was eventually aired on HBO and was about
Mumia'scase. When I saw the film I just couldn't believe it. I was just so
shocked about how this dude could be framed so clearly, so obviously,
and yet nothing was happening to free him or even have his case reheard.
So I started getting more and more involved in it, and while 1 was
visiting Philadelphia on tour I would stop by and meet people like Pam
and Ramona Africa from MOVE, and other activists who were aware of
Mumia's case. Then, a few years ago, we started putting on a concert in
San Francisco called Mumia 911, sort of a day of awareness about
Mumia's case: Spearhead played a show, we had Digital Underground,
Tha Coup, and some other great bands. We also had several speakers,
Angela Davis spoke, and so every year we have been putting on 911
concerts and we sort of expanded it to be not just Mumia 911, but to just
be 911, period. We consider it a state of emergency right now with what's
going on with the prisons, with the death penalty in our country. While
we still wanted to highlight Mumia's case, we also wanted to take it
beyond that and show that there are so many people who are on death
row, so many people who are in prison unjustly
Can you speak briefly about your work on the latest Mumia Abu-
Jamal album (375 Progress Drive)? I've noticed that recently, especially
in Canada, his case has all but disappeared from public awareness
since Judge Yohn issued the latest stay of execution. How do we as
artists and activists maintain the focus on cases such as this?
I think that the main thing is that we have to find it within ourselves to
persevere. That's why we call it "the struggle," because it's a daily thing.
Sometimes we get frustrated, we feel that things aren't changing as fast as
we'd like them to be, and that's
when we have to turn to culture,
rum to music, to creativity to give us
that extra push to keep persevering
and say, "Okay, we're going to have
the energy to find the new way, find
the new vehicle to get the word out
there." I think creativity is the best
tool we have because we don't have
the money, we don't have the television stations, we don't have the
things that the corporate world has
to get our point across. We have to
find creative means through hitting
the streets, thaiugh organizing within our own communities, through
putting on concerts, through the
Internet, and through the best form
of media which is and always has
While the recent protests against
corporatization and corruption,
particularly in Vancouver (APEC)
Seattle (WTO), LA (Democratic
Convention), Philadelphia (Republican National Convention) and
Quebec (FTAA), have been heavily youth-driven, there seems to be
an ever growing polarization
between youth cultures of
activism and apathy. As an artist,
what is your philosophy on how
popular culture can help in the
development of the
compassion that generates activism, in particular with respect to the
socio-political apathy that seems to pervade the youth culture, particularly the youth culture of Black capitalism.
Well, it's tough. We're constantly bombarded with these messages, "Buy
this soft drink and it's going to make you happy, buy this car and it's going
to make you sexy, and if you wear these clothes it's going to make you
have a lot of friends," and I think to myself, "God, I want to be happy, I
want to be sexy and I want to have a lot of friends." But, if you kxik at
youtli culture especially in hip hop, there was a time when hip hop was,
like, people were saying "I'm pissed off and I want to get mine 'cause I've
been broke my whole life so I want to get paid." To me tliat was a political statement; people saying, "Hey, I'm broke and I want to get paid!" But
today you see videos and they're saying, "Now I'm paid and I'm still
pissed off." So what does that say? To me that says money and materialism doesn't bring its joy and happiness. So yeah, we're living in a world
where materialism has become the utmost concern, but it doesn't bring us
what we hoped it would bring, so we have to try and learn to move
beyond that and the only way 1 can really see to fight it is through the
music, you know what I mean? In terms of music it's through the artists.
There was the Woodstock concert a few years back and I went to it thinking, "Wow, this will be neat. It will restore the vision of the original
Woodstock where people were saying 'the system is fucked up but we're
going to fight against the system but be gixxt to one another.'" But when
I got to Wotxlstock it was like a bunch of bands on stage getting the crowd
to chant "Show us your fits!" to every girl that was pulled up on stage, and
I was thinking, "God, where have we come?" In the past it was the artists
who led it. It was the people like Santana who, for 25 years, has been
spreading the same message: that we're trying to create a world that
moves beyond borders, past borders. So I think that popular culture is
really important and the message in the music is ivally important and it's
up to the artists to try to motivate people.
Knowing your involvement in the anti-corporate globalization movement, are we going to see a further exploration of this in future
releases? Is this going to be a theme of an upcoming release or is it just
an aspect of your activism.
To me it's just an aspect of my activism. The anti-globalization movement is really important because it seems to us that it is something really new, because it is new to western shores, but it's really just a part of this
movement that people of colour have been engaging in around the world
for a longtime. It's the same movement that led Gandhi to say, "Hey, we
want your people out of here" to the British. "We don't want your businesses coming in here and exploiting our labour and our resources." It's
the same thing that twk place in the decolonization of Central America,
Africa, South America, Asia, all over the planet. People have been fighting against colonialism and imperialism and today it's taking its shape in
the form of corporations. So, for me, that is always a part of my music,
and the title of the album itself is part of that message. It's saving, "How
do we hold on to what it means to be human?" How do we first define
what it means to be human and embrace the positive aspects and the
negative aspects of being human? And once we've defined it, how do
we hold on to it in this world that's constantly trying to push our humanity out of us, and it's like there's a question of how to do that and there's
the question of putting a fist in the air with one hand and a peace sign
with the other and just saying to the whole world, "Stay human. I'm here,
photo by Wonder Knack, www.wonderknack.com
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DiSCORDER: I'm scared. I'm afraid that if I ask you the wrong
questions I'll get stoned to death at your show. Why do you think
such militant fandom and religious admiration is associated
with Fugazi?
The wrong questions really might merit a stoning; you can't blame
our fans for that. When I was a kid in the '70s and the Sgt. Pepper's
movie came out with the Bee Cees and Peter Framptonin it, I was
so outraged I went and protested outside the movie theatre with a
couple of my friends. I just felt that the Beatles' music was being
is just the province of Fugazi fans. I think it's just par for the course
with music; people take it pretty damn seriously. It defines their
lives in really intense ways and they leel protective of it. I can think
of worse things to get overheated about.
Why have you chosen to do an all Canadian tour? What took you
so long?
it of ti
n the early days of the band, we
o out for like six or seven months a year and we covered a
king ground. As the band continued, we kept adding to
age area so that in addition to the US, Canada, and Europe
d going to places like South America, Australia, the Far
k) it just got harder and harder to.make it back to places in
imount of time. Now that two of the guys in the band have
he responsibilities attendant with that makes it even hard-
■r all the ground we've established for ourselves. What we
is keep track of the places we haven't played in the longest
croscopic, like this tour actually isn't all of Canada but just
i we expect a
Have you been working on a new album? When c.
Yeah, we actually have two releases in the can and going through
the manufacturing pipeline as we speak. One is a 10 song album
and the other a 3 song single, and they are going to come out
simultaneously in the early Fall. Not too long to wait at this point.
We are also finally going to release an expanded DVD version of
Brendan has worked with Ted Leo and Lois, Guy with Blonde
Redhead, and Ian with Dischord bands in the time since
Instrument. What other projects have you been working on (Joe
in particular) in the last while?
We all have different stuff going on all the time. Joe has a label
called Tolotta records which has been really busy lately with releases from bands like Spirit Caravan, Dead Meadow, and Stinking
Lizaveta (for more info you can check out his web site at www.tolot-
ta.com). I've been doing some production here and there for various bands in DC, and I also have a label called Peterbilt that just
released a 2-CD set by a band called Octis. Brendan just produced a
record for Ted Leo and he's been doing a lot of soundtrack work for
things like TV documentaries... Ian of course has his hands full with
managing the band and running Dischord.
How do you decide whether or not you will release a band's
record on Dischord? A lot of the bands have shared or related
members; obviously Dischord is a community label. What are the
chances that a band from Moscow, Idaho who sends you a four
track recording is going to get called back?
A band from Moscow, Idaho has a 100% chance of getting a courteous reply from Dischord responding to their tape but actually a less
than 0% chance of getting that tape released on the label for the
simple reason that 1 Mschord is exclusively a DC label, only releasing
bands from within a community in DC. I think the concept behind
the label is to document a very specific scene, not to be a normal
"music industry" style label that is always on the scope for bands to
sign. Ian has always said that when there is no scene left to reflect
than the label will simply cease to exist.
Steve Albini has said that he would pay you to let him record you.
Have you ever considered recording with someone other than Don
Zientara? (Not that he does a bad job. He's pretty fucking good.)
We have actually recorded with other people besides Don (including
Steve Albini actually, who recorded a preliminary version of songs
that became the Killtaker album). John Loder recorded our second
EP Margin Walker and we did a Peel Session in England with the old
drummer from Mott the Hoople. But it's true that overall most of
the stuff we've done has been with Don at Inner Ear. We just feel
comfortable working with him—he's kind of grown along with us
from his originals track basement studk
place now.
Don Zientara uses an Otari MTR-90 at
needed to use all 24 tracks?
At this point it would be the rare song where
tracks. When a track is looming blankly I think il
to want to fill it. They may not all make the cut
tend to end up needing them all particularly noi
doing a lot of songs using an additioi
roadie Jerry Busher). In a way that is the beauty of smal
the forced economy of the 8 or 16 track forces you tc
radical mental editing from the git go. I tend to think y
great music on whatever machine you are faced with, each one just
demands a different plan of attack.
To my knowledge, Fugazi has never played a cover song.
Why not?
I think one time on our first tour we covered "Pay to Cum" by Bad
Brains with Joe singing for the goof, but that's the only time we ever
played any covers live. Sometimes in practice we'll fuck around
i'ith "Farmer John" or "I'm Free" or something, but at this point,
s fancy pants 24 track
r Ear. Have you ever
ve don't use all 24
s a natural impulse
in the mix, but we
that we have been
friend and
nake more
e don't want to fuck arou
wrote. We aren't really into "r
deliver the goods.
In 1982, Ian appeared on a co
Annadale ramp. In 2000, Ian v
;r of Thrasher, sitting on the Old
s reportedly at the grand opening
of the Vans park in DC. In the last Vans Triple Crown contest in
Vancouver the number one request for music that the skaters
wanted to have played during their contest run was Fugazi. (The
number two request was Metallica, in case you were wondering.)
Do any of you still skate? What do you think of the current skateboarding "industry" (ESPN, X Games, Transworld etc.)
I've never really been able to stand up on a skateboard without
fucking killing myself, but Ian does "still skate pretty regularly. As
far as the "industry"goes we don't really pay any attention to that
end of it, but we have been able meet a lot of awesome skaters and
BMXers over the years who have been really inspiring to us.
Why do you think a connection is always made between skateboarding and music? You would never hear of a pro golf player
requesting to hear Fugazi on the 17th hole or of a band playing
live in left field during a ball game. In pro hockey and basketball
the minute the play starts the music is stopped.
I guess it's 'cause there is a rhythmic flow to skating; the skater can
work off the energy of the music and incorporate it into his flow.
I really love basketball, but since the game is essentially a constantly shifting chaos depending on the independent decisions of 10 people at a time, music just wouldn't work choreographically—it would
just be distracting and lame.
I've noticed from both your album photos over the years and from
watching Instrument that at some point you stopped taking your
shirts off during live shows. Why? Now I'm sure you still get as
hot as you used to, and I can't attribute this to age because you all
look the same as you did in 1987. Was this a group decision?
(Judging by bands who play without shirts, I'd say you made the
right choice.)
I can't remember any specific moment where we made a conscious
group decision to no longer bare ourselves, but Joe thinks we may
have had some kind of awakening when we saw the inner sleeve
design our friend put together for the Repeater album with topless
shots of each of us, the nature boy thing kind of lost its appeal for us
after that, in our defense, when the band started we were playing
some pretty fucking hotMj
concerts and it becameB
i habit
. go c
i just suffer i
shirted, and I think that!
its all for the best. Now
we travel with a dry(
we   customized   with!
wheels so now after the]
shows we just
our funky clothes and
dry them for service al
the next show. •
See Fugazi LIVE with
Submission Hold and
Def Poets Society,
Saturday, July 7, Bill
Copeland Arena,
10 JULY 2001
? Wagon Chrjst
3y  Robert   Robot
I fi
Throbbing Pouch,
appeals to elec
teners alike." I
to fellow count
perhaps a bit <
ard the Wagon Christ album,
! thought, "Here's an album that
o-purists and electro-shy lis-
; sound is definitely comparable
sarts U-Ziq and Aphex Twin, but
:ier to digest with the use of
funky bass loops while keeping everything quite
mellow. Luke Vibert's music, on the other hand, is
varied. While his releases under his own name
invoke the words break beat, trip hop, and math
techno, he also dabbles in drum and bass on his
releases under the Plug moniker. Vibert's music
is warm and frenetic, cold and angular. He sounds
like someone who knows his craft and enjoys it. In
true rock star (or should I say electro star?)
fashion, Vibert was two hours late for our inter-
er    to    quell
the   following
jn   Christ.
DiSCORDER:   When   you're   reincarnated   which   animated
character would you like to be?
Luke Vibert: I wouldn't want to be a Simpson, although they're my
favorites. Did you get Battle of the Planets in Canada?
Of course.  I think it was called G-Force here , but I could be
I'd like to be 7-Zark-7. He made a really great noise.
Can you tell me why you let other people chose which tracks on
I don't particularly like the process of choosing tracks.  I'm just as
happy to let other people do it for me.
Your earlier records seem to vary greatly in style.
All my records are slightly different because I don't like to repeat
myself. But I think for obvious ways those first two or three albums
are different than my latest because I was trying to do something
different and not what came natural to me.  Which is much more
funky stuff.
You've done your share of remixes. When does a remix become a
completely new track?
It's always a new track, even if you just tweak it a bit. If I really like
a track then I keep all the good bits and just rearrange them.  But if
I don't like the track I'll add what I would like to hear.
I've heard that Aphex Twin won't be releasing anything for a
He's told a few people that he's just finished a quadruple LP.  He
has been recording constantly. I've got a few of his new tracks that
I will be playing tonight. They're very acidy.
A little bird also told me that you're working with Canadian MC,
Yeah, we've been working together on some demo versions of
Tell me what comes off the top of your head when I say the following words: The Magic Round About.
Britney Spears.
Foot and Mouth Disease.
Kid 606.
Me, again I'm afraid.  I did a show with hin
nights ago and he kept coming up and saying
me, sorry about the track." I like his track,"Luke Vibert Can Kiss My
Indy Rock Punk Ass." And he's good live too.
You've taken the Wagon Christ name from a Robert Crumb
Not really.  He's referred to only once, in a single frame of one of
Crumb's comic books.   I think if he were an actual reacurring
character I wouldn't have chosen the name.
Does Robert Crumb know that he's influenced you?
Nah, he's got his head up his asshole.
Have you seen the documentaries on him?
Yeah, I think he's a prick, but I like the magazines he publishes.  1
prefer Chris Ware.   He does a comic strip in some free paper in
Chicago as well as a publication called The Acme Novelty Library. I've
gotten off that Robert Crumb, over sexed, big assed thing.
I like to pretend that your name is French and pronounce it with a
Me too.
So do you have a French background?
It might well be. I don't have a fucking clue. My father's side as far
back as I know were all born and raised in Cornwall. Cornwall is an
interesting place because it's rij;ht on the cost.  There was a lot of
trade with the French, Africa, and Spain making for a nice mix of
You've lived in London for a while now.  Was there a Cornwall
music scene that interested you?
No, we had to pretty much make our own scene.   We just made
music we like and play it to each other at peoples houses.
I saw a Polaroid commercial the other day with a backing score
very similar to the track, "Hip-AIong-Hop" you did with BJ Cole.
Yeah, I've heard about, it but I haven't seen it.   I'll have to ask
Astralwerks about that. If someone uses an existing track of mine I
don't get any money.   Rather, it's the record label and publishing
company who make the profits. If I'm asked to make an original
composition then I can make a shit load of money. But that's never
happened to me.
What can we expect from you in the future?
I'll do another album with BJ Cole. My next record by myself will
probably be an acidy analogue type endeavor.  It will have a lot of
tracks Ninja Tune didn't put on this record, Musipal. I've been doing
those types of tracks for the past few years on a good 303. I've got
enough for 10 albums, but I'll just release one good one.
Any last words for the people who missed you tonight due to lame
L. A. about three
"Thanks for having
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coffee, a red-headed girl with braces approaches me for a djarum.
People walk around here with cigs hanging out of their mouths
24/7. And everyone drinks everywhere. You could get a liquor
license for a garbage can. Why can't BC be like this? Why are we
such FUCKING PURITANS? The 5-7 features local Montreal artists.
An interesting lot, but rather undeveloped in their sound. Julien Roy
is good with his laptop beats, Vrac attacks with a noise set, and
Rodeo In Reno get droned and stoned over a heavy analogue set-up.
The Ex-Centris show delivers. Montreal's AELab smoothes out into
ambience and beats, but it is California's Matmos that steal the night
with c\n incredible live show, playing a rat cage with a violin bow
and sampling a liposuction tube for "California Rhinoplasty."The
German group Rechenzentraum up the tempo with a fantastic off-
kilter and dark techno set and well-mixed off the cuff visuals. Back
at the SAT, we catch Mike Shannon cutting perfectly smooth on
three decks, and then Villalobos and Dandy Jack drop a Playhouse
sounding live set of hard, minimal house. After about an hour and a
03rd. Oh my God, it's been almost five days. My bones and muscles are tired. But I awake early with my companions to attend the
"Mutek Brunch." We arrive to a throng of stars standing in the
stairwell of a Plateau Royal bohemian pad. We eat bagels with
Matmos and Herbert and Mitchell Akiyama and Goem, then go for
a wet walk along the waterfront. Must sleep before show. The 5-7
brings Toronto's Dumb Unit label. Jeremy B. Caulfield, aka Lotus,
opens with a DJ set, followed by Matt (Attitude) and Mark
Thibidean, finishing off with Jacob Fairley playing and singing sans
shirt. The final event of the festival kicked off with the UK's Mathew
Herbert, accompanied by vocalist Dani Siciliano and Phil Parnel on
piano. Herbert sampled live various sound sources, including
destroying a Gerri Halliwell CD, breaking glass bottles, and for the
final encore, the audience going "aaah." Fairly mellow, brilliantly
executed: the top of my head tingles. Anticipation has got the better
of me: Thomas Brinkmann. He had a multitude of gear: two turntables, two pitch-controllable CD players, isolator, two EFX units,
drum machine, sequencer, and a sampler. My head and the crowd
quiet. Clicks. Layers and layers of clicks: vertigo. He remixes his
recent release, "Klick," produced with the use of rhythmic patterns
cut into the runout grooves of records. Bass feedback. It's good to
hear mistakes in the almost too perfect world of digital music. I'm
taring 6-spcaker surround sound. The final Sunday perforata
old with 800 plus. More info and audio archives: http:/hn
l-'70s architecture
s he is Jacques Villein
ve, smoke even thoi
if DiSCORDER agen
30th. Anarchist graffiti abounds around McGill: posters, slogans. I
prepare for the first Happy Hour. This is a big deal: no Gore-Tex
here. Everyone is slick. People wear a scarf to take a shit.
Vancouver's Ben Nevile has snagged a live slot as Ricardo Villalobos
and Dandy Jack are held up at the border. He astounds everyone
with his inventive and LIVE laptop set, performing with software he
wrote himself and a programmed air-MIDI joystick. Finally the
Chilean-Germans take over; Villalobos looks and rocks like a superstar. On to Ex-Centris. Everyone sits downon the floor in the seat-
less theatre. Martin Tetreault and I8U output bass and crackles, and
Goem quickly assault all with a wall of sound that forces me to
move away from the speakers. Mikael Stavostrand is dubby and
dicky but unremarkable. Montreal's Jetone finishes the evening with
a journey through classical ambient and sliced and diced beats in
another on-the-fly live laptop set.
31st. Ben Nevile and I head out for dejeuner at La Place Milton. Ben
says he needs to eat 30% more because he is bigger. Later, having
half, Villalobos takes over on the decks. Not only is he a stellar producer, he can DJ like a mindfucker! Smooth and hard, mixing in '80s
classics like Thomas Dolby, Nitzer Ebb, and Techiiotronic. We dance
until 3am, then head back to the dorms, dead tired.
01st. Burnout. We are wandering, eyes wide, feet barely supporting
bodies. Outside the SAT, the nightlife of St. Catherine's takes over,
five the intensity of Robson Street. 1 hear the music and the French
language all mixed together in a wet ensemble. Earlier at the 5-7,
Kapotte Muziek (the alter-ego of Goem) presented a live found-
sound, contact-mic performance by a workshop of festival goers.
That brings us to now to Process, whose mindbending visuals and
intricate minimal ambient music compliment the repetitive, Terry
Riley-esque set by Phillipe Cam (France). Gustavo Lamas
(Argentina) moves into beats 'n' washes, and Germany's DJ Triple R
plays a straightforward, muted set of dub techno. But the real surprise was Montreal's Akufen, who simply rocked the place with
hard, cutting beats and well-thought out programming. We walk
back in drenching rain, soaking ourselves to the skin.
02nd. I awake feverish and sick. Barely conscious at the 5-7,
Montreal's Mitchell Akiyama and Toronto's Tomas Jirku play two
solid minimal techno sets for their Substractif label launch. At the
main event, Dettinger, whose 20 minute set means I only catch the
last few textured minutes of beautiful soundscape. The rest of the
night was forgettable. Germany's Kompakt label crew of Jonas
Bering and Closer Music leave a lot to be desired. Closer play whole
tracks at llObpm, very basic crisp minimal house, and people start
to leave. DJ Tobias Thomas is plain boring: play the whole track,
mix for 10 seconds, put the flanger on, repeat. We leave early,
psyched for tomorrow,
(by Tobias V)
an stay on for the DJ-machin
sic for the throngs of chin stri
rent). I head to the airport fu
spent. There's no \
providing even nv
snobs (a term of e
(by Paul Sly)
Imagine lln>:,: tiiettrc packet to the gills, Matmos upfront, a giant film screen
behind them A hush descends upon the black-jacketed masses as MC Schmidt
runs a metal rod over Ins skin, picking up "chi" electrical impulses that produce loud electrical zing sounds. Drew Daniel mixes it in live with beats to
form "Ur Tchun Tan Tse Qi," an experimental house truck from their new
album, A Chance To Cut Is A Chance To Cure. Meanwhile, microsoiind
artist Ricliard Cliartierfilms the action close-up, blowing up Schmidt's skin to
sickening proportions on the screen. Then the rat cage: a contact mic is
attached, and the sounds are beautiful plucks and ablutions. With bravado,
Schmidt pulls out a violin bote and tlie souls of dead rats wail from the metal
bars. Matmos are serious looking. Even/one is standing to get a good look,
nodding to each otlier with silly grins. Like Herbert, the performance is marred
by technical problems, bill then work through it and the "live" aspect, somewhat of a novelty for "electronic music" heightens the experience. I talked to
Matmos over the phone from NYC. Despite numerous pltone problems and a
lost sheet of questions on my part, Matmos politely continued to answer my
belligerent pestering.
I mentioned Kid 606's latest comment in DiSCORDER bashing minimal techno as the "lowest common denominator" of electronic music. ("Wliat
about trance?'.?" I thought). Matmos responded along tlie lines of, "People in
glass houses..." and we went on to discuss the state of minimal techno and
IDM today. Drew: Too often, with IDM production I hear nowadays, it's a plateau.
There is no development, no movement. There aren't little themes or
subsets. There's basically beats ami noises for six minutes, then you're
done. That sense of moving through the time of a song like moving
through someone's house, going from one room to another, where
there's some continuity and a personality there are all parts used for
different things. I'm more interested in song shapes that have that kind
of movement. Scott Heron's tracks I really like.
DiSCORDER: On A Chance To Cut Is A Chance To Cure, all of the
sounds are from various surgical apparatus, live surgeries, rat cages,
acupuncture machines, certainly this is not minimal techno. Why
Drew: It's personal. My father and stepmother are both plastic surgeons. So there's an element of speaking with something that has been
around me my whole life, but exploring it through music, trying to
turn it into sound, which is something that I can control and use.
There's something aggressive in it, a cartoon version of what your parents do for a living.
Are you fans of David Cronenberg?
Drew: I am, Martin is not.
Martin: [Distant] He's a hack!
Drew: I really like Crash and Videodrome. I was really annoyed with
the adaptation of Naked Lunch, because of the way he handled
Burrough's    sexuality;    it    seemed    really   confused    to    me.
we're both from an academic context but I don't think we're wearing
that hat when we're making Matmos tracks. But often we are wearing
that hat when we are explaining Matmos tracks.There is a methodology, a working approach, and the theory is something that I can go
into, but I don't like to do it for the listener because it seems to look like
special pleading, like you are forcing your art to mean certain things.
And it often looks like something is supposed to be some sort of crux
or justification for the work, and I don't like that relationship. I guess
the theory for us goes into the discussion of what the liner notes will
be. We're making decisions about how much information people will
need, and how that information will change what they hear. But there
isn't an explicit position that we're taking.
Do you see yourself as a part of a tradition of artists, who are taking
up the body as a site of art, a site of protest?
Drew: Yeah, and for me, a lot of the art I find interesting is the extreme
body-art of the '70s. People like Gina Paine, or the Vienna Actionists,
test social limits of what is acceptable, and the property of the body,
ownership of the body with what they did to themselves and also to
the nature of the institutions of which the art is consumed, by bringing
very personal and intimate bodily experiences and events into a
gallery museum. I think our milieu is quite different from theirs in that
we make records that are portable, that aren't tied to any particular
institutional space. We aren't insisting on our bodies in the ways that
pop stars do. Pop star product is in a weird way closer to '70s perfor-
lukit mill Montreal's \ mce to dis
cuss Iccliuotwnic, minimalism und racing with jirku over email.
DiSCORDER: First: your obsession with Technotronic. Any story
behind it?
[DiSCORDER point-of-info: when lirku played live in Vancouver, he remixed
several Technotronic classics]
Tomas: I've recently been able to appreciate that kind of techno again
since contemporary techno has become so devoid of melody and
vocals. My early musical tastes were shaped by groups like The
Shamen, Technotronic, 808 State, etc. So when I throw some remixes of
my favourite old techno tracks into my live sets, it's nostalgic for me
and anyone in the audience with a similar appreciation.
A maddening question, but: What gear/software do you use?
Especially with the Variations CD on Alien8. Some of the sounds
(especially their processing) are extremely haunting.
I will only say that my production is done entirely on PC. Source samples from my recent productions have mostly been culled from my
favourite funk and pop tunes, and then processed to such an extreme
degree that the original is indiscernible.
What would you say if someone called your music "minimal techno"? Are you a "techno" producer?
I wouldn't object, it's a healthy genre to be associated with. But when
I'm producing I have "house" on my mind rather than "techno," I like
to keep things a little bit more funky than techno usually allows.
Thomas Brinkmc
What about Dead Ringers?
Drew: I haven't seen it, Martin has, and he regards it as a very sexist
Martin: HAaaAATED it!
Drew: I think there are a lot of people using the sort of fetishism of
medical technology as scary in very simplistic ways—look at Marilyn
Manson's work. I think it's just kind of cheap. People are already afraid
of medicine, so you aren't really doing anything transformative or
interesting by making art that says, "Wow! Medicine is scary." For us,
the challenge was to use [medical] material but to make it move in
other directions.
At this point, I pick up on the fact thai incessant sirens have beat going
off for the duration of the interview. I wonder: are they playing samples? Or
is this just another day in NYC, as Daniel claims? I try to chuckle, and Daniel
says, "You can remix us, and make us say interesting things " So / did. THE
interview, then all of a sudden, the sirens stoppctt. Then, we got into Herbert
and his neio album.
Drew: We gave Herbert the sound of Martin's jugular vein for his new
album because it has this bodily theme, and I'm working on a remix of
"the audience"right now. He's a very good friend at this point. Martin
and I were big fans of his work as Dr. Rockitt.
Now I began thinking: Herbert has his neiu musical Dogme-sfy/e manual, live, etc.
So I opened it up to tlicory.
I am curious: you guys are very articulate about all of this, is there
some sort of theory behind the body focus?
Drew: There was no theory before the record was made. But I am a
graduate student, I studied Philosophy, and now I am getting my PhD
in Renaissance Literature. Martin works at the San Fr,
Institute in their Performance and Conceptual Art Deparl
mance art as it insists on Jennifer Lopez's breasts, and on her body and
on her face. The facelessness of our music, it's literal, with the picture
of ourselves on the new record, our faces are concealed. We're using
sound rather than image, that's the big cut-off, that we aren't relying
on the experience of recognition you have when you see a performance of someone doing something extreme to their body. Instead,
you are hearing it as sound ,\iv\ 1 think that changes it quite a bit how
your imagination completes it.
Noio, Imving seen the performance, I question this. MC Schmidt seems
to be the submissive one, subjected to the venous physical pt\>t esses timing
their live, and very visual, performance at Mutek. His face and skin were
blown up on the screen, and many recent publications have been running a
photo of the duo with surgery marks on their faces. Contrary to the music, the
visual aspect of Maimers is as enthralling I \-spite their attempts to escape the
visual clement el'the body, thee Inn •eenly ended up reinforcing it. How to listen lo this album, then7 Daniel says that the optimal listening condition is
tltat of his father: he plays it m Ins operating room when he is operating
Daniel's father is a cosmetic surgeon.
Matmos: "We love your station."
(by Tobias V)
Tomas Jirku'sfame is growing like a rhizome as an internationally recognized
minimal techno composer, jirku combines dub elements with haunting
vconstrut I a sound whit It, although it borrows 'rem Cologne and
San Francisco, is distinctly his own. Mutek saw the launch ofSubstractif the
neio AIien8 offshoot focusing on electronic minimalism that features Toronto's
•? What S(
Would you call yourself a post-r.
I have some raving in my past, but the whole dnig culture turned me
off. And though I've been exposed to lots of music, I've never really felt
connected to any "scene.-' My tastes are too broad for me to narrow in
on something.
What constitutes a "live" performance in the age of laptop artists?
If the person performing can take credit for the production of the
music, then it's live to me. I don't need to be distracted by someone
twiddling a whole bunch ol knobs to be i on\ iiu ed that it's live, so as
long as my ears are stimulated, I don't see a need for a multime-
dia/multisensory display. Though there seems to be a need/market
for a DJ, I appreciate a live performance for the fact that you see the
producer and that respect for the music is given where it's deserved.
I've always felt that DJ culture directs a whole lot of unwarranted credit to people playing records.
Does your music attach itself to a certain sort of politics, or thinking/thought?
I don't connect myself to philosophies or politics. I prefer to think of
my music as an exhibition of my aesthetic ideals, and to attach myself
to something would only constrain me. And while minimalism is a
pleasant aesthetic, it appears to have saturated our culture to the point
where it has lost all context and meaning.
Watch out for unci mi me, releases on Khmg,. \lgoritl tin's Revolver, Truum, and
the LP Immaterial on Substractif •
(by Tobias V)
AND PRUL  SLY. m o g w a i
by heather termite
photos  amy pellet ie r
There's more to Scotland than deep fried Mars bars, gloomy weather and the over-usage of
the word "cunt." There just happens to be a thriving indie rock scene too, 'specially in
a little place called Glasgow.  I sat down with Stuart (Guitar), Barry (Guitar/Keyboards),
John (guitar),  and Martin (drums) of Mogwai  (who happen to hail from Glasgow) and
discussed some pertinent issues over some beers. A quick disclaimer to add: If you read
this and think that these guys are assholes, lighten up, you fuck, they're just joking.
DiSCORDER: What differences do you find in audience
reaction, between North America and the UK/Europe?
Stuart: Canada is definitely one of the better places to play. Some
places in England, or in Scotland, people have a short attention
span. And some places are really really good, like France was
good, and Iceland, and Japan.
Vancouver has a reputation for having really
unenthusiastic'crowds, even if it's their favourite band.
Stuart: Yeah, that's what it was like, It was terrible the last time
People think they're too cool to dance.
Barry: It was a lot of hard cunts the last time we played here.
What are some of your most hated bands? Or Anti-influences?
Stuart: I'd say Mogwai are least influenced bv the Rolling Stones.
il the
isted. /
Barry: The Rolling Stones and Suede.
Stuart: We don't particularly dislike them, but they certainly don'
influence us at all.
What new music/art/film has recently inspired you?
Stuart: I really liked that film Requiem For A Dream. Fucking
Brilliant. The new Autechre album is really good. The new Bardo
I read an interview where you said you
"sportz goths."
Stuart: That was about a black tracksuit,
Does that mean that you gothercise?
Stuart: You mean walking up and down?
Exercising in a goth manner.
Barry: We don't exercise at all.
Stuart: That should be clear really!
Barry: That sounds like something I won
What's the stupidest sub-genre, or genre you've found your:
being clumped into?
Stuart: Post-rock. Or 1 have to bring up a classic sin 86; I can't
remember who said it but "The New Wave Of Teenage Bands.
Barry: For fuck's sake.
Stuart: Now, we are the new wave of bands in their mid-twen
simple really.
ir fuck's sake.
John: We were the new wave of teenage bands!
What do you do to "celebrate life"?
Stuart: We don't really think of things in that kind of terms.
Barry: Too busy working.
Stuart: I don't know what we do, what do you do? [To John]
John: Drink.
Barry: Aye, we drink.
John: Pass the time.
What's the meanest thing you've ever done to an interviewer?
Stuart: Locked them in our room. I locked them in a dressing room
with these three lassies in Canada. Stole their camera.
Barry: We gave them money.
Stuart: We had a guy, and made him eat a hundred garlic cloves.
Barry: We gave him a lot of money. Like 75 or a hundred pounds.
Stuart: So I'd say we were quite nice, It was meant to be a
hundred, but he [points at Martin] never paid up.
Martin: Quite right. As well he deserved it. We did something else.
Stuart: 1 started slamming that French photographer, and then the
bastard TV crew that came.
Barry: They were dicks, they were so dicks!
Stuart: I gave them a small piece of my mind.
Barry: I heard that. I was fucking dying in the next room. It was
Stuart: They wanted us to play music for this TV show, but we
had only started rehearsing the day before and it was really, really
early so we weren't going to do it. Then it just turned really bad,
they had upset Aidan from Arab Strap, and that was like an insult
Barry: They also wanted serious answers as well. "Enough with
the comedy!"
John: Fuck off!
Stuart: As soon as I started asking them questions, trying to make
them explain themselves, his English wasn't too good, so he started, I don't know, gyrating. I really really got him back. I did.
Glasgow has a reputation as being a rough town.
Barry: Mostly?
The kind of music that comes out of there tends to be low on the
aggression scale; you guys fit into that.
Barry: You've never heard Belle and Sebastian?
John: They're pretty high up there.
Stuart: That guy Stuart stabbed me once. He was fucking chasing
me, chasing me in his Boy Scout uniform.
John: Shut up!
Barry: Smart cunt.
Would you say that's a refusion of the whole "lad" crowd, that
think they're tough?
Stuart: It's just totally different, I think that a lot of the bands from
Glasgow are much more, in fact, much less animistic, than less
evil. It's not like the bands from Manchester, it's not really a reflection of what's actually going on outside. It's more of a reflection of
what's going on in two pubs. If you went into a Housing Scheme
and asked the average person who Belle and Sebastian or the
Delgados were, they wouldn't know. It's more underground.
In playing the "Fuck The Curfew" song [in retaliation to the
Lanarkshire council's youth curfew] and with the change of
venue in Dublin to avoid crossing the picket line of Guinness
strikers, have you found yourselves being stigmatized as a
"political band?"
Stuart: No, I think that the curfew thing was probably a one-off
because, for me it was just common sense. It was just ridiculous.
We don't have any particular political agendas, apart from
attempting to overthrow the monarchy, and to introduce communism. And to make sure that women don't go anywhere. Make
There seems to be a medieval tinge to the new album. Does that
mean that you guys, are like, Rush fans?
Barry: Rush? No! No!
Stuart: I've never heard Rush.
Barry: I've heard them once and I was appalled, I know the guy
sings really high sometimes, and they've got a good drummer?
Stuart: I've never heard them.
You're missing out. Rush fans in Canada seem to be mostly pimply faced seventeen-year-old boys that sit in their bedrooms listening to Rush and masturbating.
Stuart: I used to be a pimply faced seventeen year old boy that did
a lot of masturbating, but Rush wasn't involved.*
14 july 2001
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w w w . v i d e o V/A
75 Ark Takes You To The Bridge
75 Ark
You take the good, you take the
bad, you take 'em both and
there you have the... 75 Ark.
This limited edition sampler
features the finest this bi-coastal
"alternative" hip hop label has
to offer. Deltron 3030 starts
things off with "Things You Can
Do." Also worth mentioning are
songs provided by Preserve,
Encore (from Handsome Boy
Modeling School) and Britain's
Nextmen. If you can get past
the name, Mista Sinista proves
to be an outstanding turntablist,
contributing arguably the best
track on this compilation.
Finishing off are the
always enjoyable Anti-Pop
Consortium, bringing back that
Digable Planets. The tracks that
fall short on this album incorporate that annoying off-tempo
rhyming style with ho's, money,
and clothes, themes that should
have been dead a long time ago.
Takes You To The Bridge leaves
me asking one question. If this
sampler is supposed to be representative of the underground
hip-hop scene, where are all the
female MCs?
Heather Termite
(Alternative Tentacles)
Long live Mumia Abu-Jamal...
Jello Biafra delivers on his outspoken promises to resist corporate control in all its forms,
especially (and in this case) cops
and corruption. So it looks like
Biafra is taking the plunge by
producing some of the last commentaries we may hear from
Mumia in a long time. Mumia
has recently been subjected to a
prison-wide gag order in
Philadelphia—inmates can no
longer speak to the press. Do I
even need to say more about
this? Although I get a bit weird-
n,ng  t
- hU
power pantheon (
this CD—I am a whitey, and
Assata Shakur's praises that
place Mumia proudly alongside
Malcom X make me feel a bit
out of the loop—I fully support
its message, and most importantly, Mumia's continued questioning which, in my mind,
follows and enlarges upon a critique begun by Marx and continued by Chomsky, Angela
Davis, and Biafra in North
America. Also on this CD is the
devil himself, Bob Dole, who
cries out tears of blood that public money was used to finance
Mumia's NPR commentaries
(most of which are now locked
away, never to be heard, somewhere in the vaults). Bob Dole is
everything Mumia isn't. Need I
say more? The music on this CD
by Man is the Bastard will
no doubt satisfy the hardcore/punk lover, and although
the lyrics are great, I can barely
hear them through the serious
grunting action and wall of guitars. Personally my favourite
modus operandi for revolutionary music is hip hop, techno,
and folk, but whatever works,
especially when their heart is in
the right place. May Mumia's
voice rise above the shit that
governs both North American
10,000 Hz Legend
So you go home to your parent's house, and in the basement you find a dusty old box
of records. You start flipping
through them and sandwiched
between the Nana Mouskouri
and Shorty Rodger's Chances
Are It Stuings you find mint
copies of Fleetwood Mac, The
Steve Miller Band, and Serge
Gainsbourg. So you steal them
and take them home for your
very own DJ set. You throw on
some Fleetwood Mac and start
jamming on it. Then you move
on to the new Autechre album,
and then you jam some Serge
for good measure. But then
your fuckhead roommate comes
in and puts on Beck! So you
take that off and throw on some
Jeans Team, and then finish
things off with "The
Joker"...Yeah, that's what the
new Air album is like.
Heather Termite
Destroy Tlie Neiv Rock
(Honest Don's)
This trio from Reno, Nevada
wears power-pop well on their
debut disc, with shades of Brit-
punk (a la 999 or Buzzcocks)
donned when needed. Sharp
guitar sounds dominate with
big hooks (like the opener "Dig
That Stupid Sound") and they
slow it down without getting
sappy ("For That Special
Someone Else"). If you're tired
of the cookie-cutter dribble
passed off for pop-punk,
destroy the new rock and check
Bryce Dunn
Clarence Park
mutated breakbeats and off-key
synth tones in your diet, chew
on this CD. Always a step up,
the classic Warp-ed sound gets
another twist with incredible
harmonic paralysis and computer-edited efx maelstroms.
Moving from dark and angry
("The Dogs") to ambience
("Oaklands") and a plain weird
cheesiness ("Lord Of The
Dance" complete with Irish
sounding flute-pipe sounds that
are perverted into a car-crashing break), Chris Clark constructs a universe of freaks. If
you are all over Plaid or
Squarepusher's latest offerings,
you will dig this—if you aren't,
you're only going to find more
of the same refined into a catatonic listening experience. As
much as I like Warp, it wasn't
until I heard "diesel raven" that
I was hooked into a second listen. Clark takes the breaks and
plays with a bit of melody and
muted riffs, eschewing schizo-
break madness and abrasive
textures for intrigue and suspense that conjures emotion
(imagine that!). Warp on.
tobias v
The Bright Side
This album is frustrating to listen to for the following n
a bit h
loud 11
the mix, drowning out the
music, and they are kind of
annoying. 2. When you really
listen to the lyrics you realize
that they are not as good as you
would hope. 3. Lyndsay says
that it sounds like all their other
stuff (bouncy retro indie pop)
and she's right. 4. Retro can
never really be that good cause
it's all been done before. 5. All
the bass lines sound like they
could be Inbreds bass lines. 6.
They market themselves as a
two piece (bass and drums) but
all the songs have keyboard or
horn over dubs, and the really
unfortunate thing is that the
keyboards and horns are what
make the songs. So, like eating
hot dogs in Wonderbread buns,
The Bright Side is good as long as
you never ever start putting too
much thought into it.
Lil Ricluird
the Invisible Man
I can barely listen to this record.
There are so many shitty
sounds, sounds that are so foreign that they have no names.
Eitzel calls them "keyboard
programs." I don't know how to
describe them to you. You'll
■""1 play it for
e'll li:
"Hear that? That  part? That
sounds like poo."
The Invisible Man was mixed
by Alex Oropeza and
Christopher Davidson, a couple
of jerks who don't know when
enough is enough. They don't
even leave Eitzel's lovely voice
alone. The production is just
garbage. The songs are strange,
maybe not as strange as the
lyrics, but they are so covered I
can't tell if they're strange in a
good way. The credits say,
"Blame Eitzel for everything
here," "Eitzel—the rest of the
mess," "Eitzel edits and adds
the stupid burp," "Eitzel stares
at a screen." This is when we're
supposed to offer reassurance.
Christa Min
Beautiful My Child
(Six Degrees Records)
My problem with the Six
Degrees label is that while they
put out a large amount of good
stuff, they haven't put out anything really great. Recent releases, a couple in the Latin vein,
have failed to genuinely interest
me despite being, for the most
part, well conceived. Euphoria,
featuring Ken Ramm, put out
an album in 1999 and now
returns with "Beautiful My
Child," a 12 track exploration
into a sound categorized (by the
label anyhow) as "guitronica."
The claim to fame of Mr. Ramm
is apparently his use of the slide
guitar in his atmospheric works.
Also involved in this project are
William Orbit, Garry Hughes,
B.J. Cole, and Madonna's
drummer Steve Sidelnyk
(that's what the notes say)! The
pieces are lush and textured, but
references, as per the biographical release, to Pink Floyd,
Fairport Convention,
Pentangle, John Barry, and
Tangerine Dream just don't pan
out. There are no musical references to "early 1970s psychedelia" either, despite the ample
use of pedals. A closer approximation would be a sound similar to that of Morcheeba or the
Supreme Beings of Leisure.
James Brown
Hanged Up
Man Overboard
When a new record label really
makes waves, it's often because
it releases every record like it
could be the last. This may be
made material in iconoclastic
packaging or the simple fact
that the owners really might not
be able to afford to put out
another record. At such a
moment it can be genuinely
exhilarating to ponder what
they might unleash upon the
world next, if finances allow for
Once such a label's initial
impact on music fans has come
back to it in the shape of (ahem)
"the Benjamins," it will find
itself poised to move in either
one of two directions. Kid 606's
f'igerbeatf) label is currently at
this parting of the ways and it
will be interesting to see which
path the kiddie cat decides to
prowl upon.
The first option is this: After
the company starts to achieve a
modicum of success its releases
start to come more frequently
and seem less definitive. After a
while it becomes hard to keep
up with—let alone get excited
Such is the case with
Montreal's Constellation label.
In the aftermath of Godspeed
You Black Emperorl's apocalyptic appearance on the scene,
the Quebec collective seemed
like a hive of creativity and
commitment. Sadly, that
impression has been lessened
by countless releases of varying
quality, each having more or
less to do with the imprint's
flagship act.
The latest Constellation
album comes from Hanged Up,
an instrumental duo peddling
an unconventional combination
of drums and viola. Their self-
titled debut certainly sounds
fine—echoing elements of The
Dirty Three and Einsturzende
Neubauten. But it doesn't feel
exciting or important. After
repeated listens, one is left with
the impression that this record
exists because it can, not
because it has to; that it is the
product of a clique enjoying its
success by resting on its laurels.
In contrast, San Francisco-
based underground hip-hop
label Anticon has used its recent
pushing the envelope and provoking responses. Man
Overboard by Halifax's Buck 65
is just one drop in the label's
increasingly torrential outpouring of claustrophobic, literate
and emotional "post-rap" (their
term, not mine). Made soon
after the death of the artist's
mother, it's an expressionistic
odyssey that delves into
bereavement, heartache, paranoia, humour and the true
meaning of hip-hop. What's
most remarkable is that Man
Overboard is pretty typical of
Anticon's output. Most everything the label releases is
steeped in the kind of need that
you just can't fake; it is the kind
of music that can only be made
by people who have found true
sustenance and redemption in
their chosen form. It may not be
real hip hop but, in these irony-
soaked times, it's about as real
per se as music gets.
Only Austrian abstract electronica label Mego can compete
with Anticon in terms of un-
brinkmanship. Both companies
are proof that success doesn't
necessarily lead to mediocrity.
The people at Constellation
might be well advised to follow
these examples. Then again, if
their hearts just aren't in it any
more, it could already be too
Sam Macklin
Canadians do good on this
album. Yes, it's post-rock-elec-
tronica in all its whiny-droney-
ness but it also has a real
funk-out element to it. Witness
"Renaissance of Space
Tourism,"   which   also   says:
of funk, of subtle
melody, in the post-everything
genres! As the liner notes say:
"Subtlety, experimentation and
raw, naive groove are not quite
dead in the world of music."
And the whole meeting of
worlds here—of Tortoise slowness and darkness, of rainy
drones, of expansive sound-
scaping with a vocal trowel and
a backbone groove—exposes,
like a peeper hiding behind
your shutters, catching your late
night perversions, an element of
Vancouver. Most of the tracks
were recorded in Vancouver
after Isotopia's main members
Jamie Tail and Daryl Askey
relocated here in 1996. Along
with Megan Wilson on bass and
Graham Kaye on drums, the
group continues to offer a well-
thought out yet sporadic alternative to their "I Don't
Understand Rock 'n' Roll" sentiments—the title of their rare
first EP. It's got jazz mood
swings and an emotional balance sheet. Check it.
tobias v
I'm Alive And On Fire
(Released by his own bad self!)
For those of you who missed it
the first time around, (I suspect
that would be many, considering his recorded output to date
is scarce), a collection of songs
released between 1996-1999 just
pooped outta the chute from the
riff-master known to some as
The Mango Kid, but to others,
you can just call him delicious.
Boogie rock with a blues-y (or
gutsy?) edge, plenty of sass for
yo' ass. Indeed.
Bryce Dunn
Vector*Based Fiction
(Altaira Records)
Au Pairs. Malaria. Delta 5.
How does Man Made Brain fit
with these bands? Chaos. Sure,
it may not be the shameless
New Wave chaos of horns and
guitar solos, but instead is the
new chaos of Something Wave,
that's for sure. Man Made Brain
is a four-piece whose noisy rock
expansions will be a welcome
addition to your life. Somehow-
spawned from Man...Or
Astroman?, the Man Made
Brain knows how to turn on the
spazz-charm for all to see.
There's guitar wanking, electro-
tweaking, and good old-fashioned screaming to set you
straight. Don't mistake this
band for anything other than
julie C
write for discorder..
call lyndsay at
822 3017 ext 3
totally nuts! reviews continued...
Morricone RMX
(Cinesoundz Records)
Morricone fans take note!
Although at the time of my
writing this, "Morricone RMX"
has not made it to retail stores
yet, take heed. This one will go
like hotcakes! Featuring artists
such as Apollo Forty Four,
Thievery Corporation, Bigga
Bush, Terranova, a
doing very i
ings of Ennio Morricone's clas-
c material, this
e of the all-time
rs albums
it remixes
mpetent rework-
will rank as
best Morricone ci
ever (the tracks ai
pop art
mtly   i
night suggest). In
fact, this is the only release ever
officially sanctioned by the man
himself involving covers by
:. Add John Zorn's
e-released The Big
undown to your Morricone
collection, with additional
tracks including a gem of a version of "The Ballad of Hank
McCain," and you'll be in
soundtrack heaven.
James Brown
Tremendous Efforts
(Bloodshot Records)
Imagine yourself in a smoky,
dimly-lit bar in the deepest
south. In the corner, by the
bathrooms, is a mechanical bull
getting a full workout by the
rowdy locals. At the end of the
bar is a small stage surrounded
by chicken wire, where a quartet of half-dead-looking musi-
down-home country music
which seems to be pleasing the
drunken crowd. Normally, if
the locals don't like the band,
beer bottles and chicken wire
meet, just like in that Blues
Brothers movie. But not
tonight. The lanky and surly
guitarist who shares vocal
duties has a cigarette dangling
out of his mouth and looks like
he could take any of the rednecks if the need arose.
That's Dallas Good. His
band, The Sadies have been
plying their trade of making
music for rednecks for the last
four years. The Toronto-based
country blues foursome is made
up of members from such legendary bands as Half Japanese
and such dependable Canadian
outfits like Jale, The Good
Brothers and Phleg Cramp.
They have had the pleasure of
touring as the backing band for
Toronto's blues bad boy, Andre
Williams, had the honour or
appearing on Blue Rodeo's
most recent album and even
had the notoriety of being Neko
Case's band, the Boyfriends,
during her 2000 North
American tour for her sopho-
ish,   Fun,
The Sadies prove that good
things come in threes. This
album builds on the hearty
cow-punk framework laid out
on their 1998 debut, Precious
Moments, and their 1999 sophomore release, Pure Diamond
Gold. The band solidifies that
solid rock 'n' twang reputation
by cranking out a mix of some
of the finest southern-fried
roots rock, blues and garage
punk to come out in quite a
while. Tremendous Efforts sports
a tidy, if uneven, split of ominous country instrumentais,
foot stomping sing-alongs and
hurtin' ballads.
It would be understandable
if one were torn between deciding whether the instrumentais
—on which the Sadies are at
their absolute best in years—
such as the moody opening
track "Pass the Chutney" and
the spooky "The Creepy
Butler," should be the soundtrack for that evening of drowning one's sorrows after the
wifey left and took the dog, or
that     creepy     hick    movie,
Fill out the guest musician
line-up with the members of
Blue Rodeo, yes all of them, and
four extra Good family members, and it makes for a lush
back-country sound. One that is
best suited for a weekend of
shootin' critters in Big Sky
Country with the drinking buddies than languishing away in
that dim and smoky bar.
Distance Will Be Swept Up
(Catch and Release/Sloth)
As ashamed as I am to admit it,
I am from Calgary. Being from
Calgary, I know first hand that
ittle  t
about the plai
cidence that you never really
hear about anything that is
going on there. Keeping this in
mind, I was excited to hear
about The Summerland 'cause,
as stated on the CD cover, "The
Summerland features frontman
P7, formerly of irreverent band
The Primrods." Obviously the
dudes who put out this record
understand that P7 is one of the
few good things that has
remained in Calgamerica. So I
listened to the CD. I was
expecting the edginess of The
Folk Oasis*
Real   roots  music,    from
our  backyard  and beyond.
Upcoming features
July 4
July 11
July 16
July 25
.Vancouver Island Musicfest
Vancouver Folk Music Festival
Rootsfest (Victoria)
WOMAD (Seattle)
WEDNESDAYS   at   9pm
CiTR  101.9   and  live  on  the  net
at   citr.ca
*a kumbaya  free  zone
Primrods but didn't get it.
So I listened to it again.
Monoculture, their awful
Stanford Prison Experiment
style emo-alt-rock song was
what stuck in my head after
round two. Fortunately, round
three revealed that the rest of
the album sounds nothing like
Monoculture and was actually
really good—a bit more polished than The Primrods but
still quirky angular rock songs
based around monophonic guitar lines, with the two nice mellow droney ones at the end.
The moral? Like Rocky Balboa,
this album gets its ass kicked
hard in the early rounds but
comes     back     to     conquer
for the Germans, and his
records are pressed at Basic
Channel. In any case, Moore
pushes dub forward another
notch by re-integrating the
experimental and minimalist
directions that various dub purveyors have taken back into a
live-drum classic approach. The
level of production on this
record is truly incredible—the
secret echo boxes get a workout
here, panning and moving
sounds beyond a simple delay
"Dub Blast" rocks the
on,   but   stays  away
repetition of sounds,
staying 1
near—this is the major
i and  i
i the
Volcanic Dub
(M Records)
Dub is musical molasses. No
matter how you twist it, it's
always molasses.    But every
once in a while
along who tun
into candy-co;
sticky    ammunition    for    an
assault rifle. Shot with bonbons,
that's    what    I    would    say.
difference between what Moore
is doing and other contemporary dub artists, such as Kit
Clayton. While Clayton deconstructs dub into repetition and
elementary particles, Moore
takes those particles and
reassembles them, constructs
them into new totems of dub
-. You c;
"Flexi"—here and ther
and I don't even know if this is
what he actually said because I
wasn't really paying attention)
that people who like poetry also
like pornography because both
are very specific. They are looking for something particular, a
description of a person's neck
or a  picture of feet rubbing
Whatever it is—they might not
even know until they find it—
drives them mad. My friend
Randal will not admit to liking
poetry or pornography. He
probably couldn't even choose
which one was worse. But he
only likes lyrics that are specific.
In "Essence" Lucinda
Williams sings "I am waiting
here for more." More what?
More ass-slapping? More ice
cream? What? The more vague
a phrase is, the more cliche it
becomes. These kinds of universal declarations seem to work
okay in country music, but
Essence sounds more popular
than that. The songs are some-
sometimes long,
rappy ,
rward  with s
ratches  and  ,
lches and
ything d
back, shooting and wooing. Of
special note here: "Dub Quake."
The synth takes on a peculiar
quality here—a bit distant—and
a steady, deep 4/4 can be heard
a bit far off. The percussion
slides around with the drum
hits. In fact, if I didn't know better, I would say that this is
Moore's subtle remix of a
JMaurizio record. His past interviews have attested to his love
could be mix
record. Then <
track, at a slow real dub pace,
whose background wailing gui-
s the soul.
tobias v
(Lost Highway/Universal)
Someone  once  said   (well,   I
know who, but I don't feel
much like explaining who he is
But fuck it. Car Wheels is a
thousand times better than this.
You can ask Randal what he
thinks (604.608.7125), but he
doesn't care. He only likes the
Mountain Goats.
Christa Min
Check out
online at
Julie Colero
Stows Bf n® WcM-f, M@m<&m^m
Record played most often on your show: Tie between
The Slits, Cut and Fifth Column, To Sir With Hate.
Record you would save in a fire:
Arap Strap, Philophobia or Smog, Knock Knock—either
one would help dig me out of the depression of losing
the rest of my collection.
Record that should burn in hell:
Any of Steve's picks off the "Zulu Staff Picks" wall!
Book that you would save in a fire:
The Collected Diaries Of Adrian Mole, by Sue Townsend. Life-affirming!
Worst band(s) that you like:
Take That; *N Sync; bis.
Last record you bought:
I buy in bulk. I anticipate buying the new White Stripes album.
First record you bought:
Weird Al Yankovic, Greatest Hits.
Musician you'd like to marry:
Jan St. Werner from Mouse On Mars, duh.
Favourite show on CiTR:
Hans Kloss' Misery Hour.
Strangest phone call ever received while on air:
I like it when bands get their friends to call in and request their music, not realizing
that if the band's never actually brought the music to us, there's no way we can
play it...* TORTOISE
Friday, June 2
Vogue Theatre
I should probably name
Tortoise's sound guy in the
heading. I'm not cool enough to
know what his name is, so I can
only report that he started the
evening off with an amazing
John Cage type moment.
Imagine this: a whole theatre
full of kids anxious to see
Tortoise. There's bad rock playing, and suddenly the lights
dim. Nobukazu Takemura
should take the stage. The
sound system sounds like it's
breaking down...yet it seems to
be coordinated with the projections. No one is on stage. Yes,
the sound system sounds like
it's breaking down, but I come
to the realization that it's part of
the show. The audience reaction
was so great: people cheering
whenever it seemed like the
sound was clearing up. They
didn't realize what was going
on. I thought it was Takemura
(I rushed to buy the CD), but
Vice President Jay (who didn't
even attend the show) told me
that it was Tortoise's sound guy.
Then Takemura and his partner
Aki Tsuyoko took the stage.
They fiddled on some laptops,
looked ultra cool. The music
was very soothing and electronic. At this point I still thought
they were responsible for the
wicked sound collage at the
beginning, so I was extra
impressed. My favourite part of
rapping robot
along v
ost of the other
ibers. It helped
that there were seats this time.
My feeling is that Tortoise is
best heard sitting down. I
could be wrong, because there
were a ton of people getting
down to the funky Tortoise
beat, even when there was no
funky beat. There were hippie
girls with drums hanging from
their shoulders. It was that
kind of night. What can I say?
Tortoise played a lot of songs
from TNT, which was pleasing.
They were just bang on; the
line between rehearsed and
improvised was blurry. The
fans weren't shy about letting
the band know; people were
shouting comments throughout. It was a little disconcerting, but everyone was too
drunk on the sound of the xylophone and the seamlessness of
the performance to get too dis-
In short, we left the Vogue
in a happy mood.
Wednesday, June 6
The Commodore
Night two of two for punk rock
supergroup NOFX and  their
traveling menagerie. Any of
these bands could come to town
villi s.
I was a little sleepy by the
time Tortoise took the stage.
The last time I saw them, I
remember feeling very apathetic and leaning against a wall,
local support. It'd be smiles all
around, but who are we to complain? A great lineup: fresh
from the kids in the bam on
Commercial Drive and playing
to the heavy-drinking mandatory coat check suckers. Things
looked promising.
Rise Against started as we
arrived. This band's album—on
Fat Wreck Chords, natch—is the
best thing I've heard this year.
Live, they delivered, and more.
Featuring half of Chicago stalwarts, 88 Fingers Louie, on guitar and bass, Rise Against
equals or betters the output of
even that personal favourite.
Vocalist Tim restlessly roams
the stage, on and off risers,
stacks, drums, crowd barriers,
staring bug-eyed as he sings.
Fast punk meets moody metal.
Not a note wasted. Awesome.
Swingin' Utters is not a
favourite. We sat back and
watched the tip jar levels rise.
The singer looked less interested in what he was growling
than the patrons were in their
drinking. The ironic part about
Swingin' Utters is that they
have one of the best punk
singers with them on stage.
Spike, the bass player, is also
the crooning frontman of Me
First and The Gimme Gimmes,
Fat Mike's notorious punk
cover band. Spike sings backup
without a microphone. When
he finally stepped up and sang
a verse late in the set, it got the
loudest cheer thus far.
I've never seen NOFX at a
bar. They're getting older, but
then aren't we all? They're all
right with it. Low-key, funny as
hell, more at ease with aging
than most. And why not?
NOFX's last couple albums
have been as good as anything
they've ever done. "The
Decline" fucking blew me
away. Of course they didn't
play it. As this was night two,
though, they played lots of
songs I never thought they
would. This band has been
around longer than most might
have believed. True, NOFX
shows bring out the leering jock
fucks with little notion of the
concept of punk rock—not to
mention kids at the all-ages
shows paying $80 a pop to
lugubrious scalpers—but they
are, through it all, a fucking
great band. With no plans to
retire anytime soon, and new
material stronger than ever, at
least the dumb fucks are hearing some excellent music for a
Trevor Fielding
Thursday, June 7
The Starfish Room
small group. You are distracted
by all the shiny buttons set
amidst plaid cotton shirts. A
steady voice pushes out over
the quiet buzz. You think you
hear it saying, "I'm Joey. Me
and my trusty companions will
guide you safely across this
treacherous frontier," now gesturing behind him with a wave
of his hand, "under the cover of
night, over into the land of the
free." The small group beside
you steps eagerly forward and
awaits further instruction. You
hear twangy guitar sauntering
in from a distance, stand-up
bass pacing your march, double
horns raising on end the qualia
of your inner ear, snare drum
and slide guitar certainly
designed to wash away your
fears. You are swallowed by a
wide desert of sounds extending off in every direction. The
journey is a long one, extending
well beyond "Minas de Cobre"
pass. Your glance wanders past
Juanita's sister's eyes, focusing
at the anatomically impossible
cacti in the distance. Each
Corona stops you flat for $5.50
(lime slice included). Are we
there yet? No. There's still a
great distance to travel under
"The Black Light" of night. A
few more tired steps and then
the music suddenly stops and
Joey disappears. The group of
followers is dazed. Are we there
yet? Joey reappears to warn
that you are about to cross the
"Crystal Frontier." The sweat is
beading on your brow and a
blue moon is glowing over
head. Joey starts cooing eerie
southern sounds. These sounds
make you feel uneasy. Do they
mean that capture is imminent?
You look to notice that Joey
seems far too happy for this to
be true. Oh I see... these indescribable sounds are quirky
cries of joy. They mean that
we've found our way, safely, to
our destination: that frontier
haven known as Calexico.
Remington Steele
Showbox, Seattle
Seattle! City of fun times and
cool summer moments! Me and
a calvacade of children went
down to this great city on a
Saturday to catch Bright Eyes. I
was also curious to hear Mates
of State, even though I think
their name sucks giant rotten
eggs. I have a problem with
names. I have a hard time going
to a movie or seeing a band if I
can't stand their name. Also I
WILL NOT eat in a restaurant if
I cannot stand the decor, even if
every single one of my friends
thinks it's the best restaurant
ever. Okey dokey. I gotta say,
the Showbox is a dreamy place
for slow dancing, with the giant
disco ball radiating a glittering
galaxy of twinkling lights!
Woulda been neat to be stoned.
Hello? Hello? Oh yes, the
music. Mates Of State were really good. They did this whole
switch-off, girl-boy, good times
emo vocals thing while jamming on just an organ and live
drums. Danceable heartbreak I
call it, although the stinker couple are totally in love. Next up
was Bright Eyes solo, what our
crew went down to Seattle to
see. Oh man. Oh boy. Holy.
Wow. Conor Oberst sat nervously on the stage, acoustic
guitar trembling beneath his
arm, legs shaking and voice
quivering. He was real nervous
at first. He screwed up a bunch
of songs and said, "Oh fuck,
sorry" a lot, which of course
made him 345% more endearing. Nobody cared. Everybody
loves him and will continue to
love him. Nobody's gonna say
they hate the guy for screwing
up a song or four.
I did not go down to Seattle
to see Death Cab For Cutie.
"EEEEWW Death Cab For
Cutie barf up your ass and poo
it out!" said Christa. "They're
totally boring... and they're not
even cute!" said Amy. "More
boring white boy indie rock...
Nobody cares. Nobody listens."
Said me. Snore. Yawn. They
played a Bjork cover. So what.
I can play Bjork covers too.
Lyndsay S
Thursday, June 21
Sky Church, Experience Music
Project, Seattle
The guitars sounded like
Christa Min
Thursday, June 21
I've always had a lot of respect
for DJ Spooky. Mainly because
he is willing to back up his
experimental and sometimes
self-indulgent DJ
sant r
And to this end, I was not disappointed. The evening began
with local rare groove gum DJ
Dana D dropping some well-
selected hip hop, down
tempo and d'n'b including
Squarepusher's new single,
"My  Red  Hot Car." Spooky
finally arrived around 11:40
after a nappy in his hotel room,
and after a quick interview with
yours truly and Robert Robot
for DiSCORDER, he headed on
out and proceeded to mix
together hip hop, breakbeats,
and jungle with prodigious use
of the EQ, including echo-
scratches, and feedback noise
crescendos. The medium-sized
but dedicated crowd got down
and dirty to Spooky's crazed
use of the mixer and solid selection of tracks.
The last time that I saw
Spooky was at the SFU Harbour
Centre three years ago, and
back then I was blown down by
his mixing, scratching abilities,
and his track selection—slamming together jazz and classical
records, beats, spoken word
pieces and rock music. After
talking about what he was
going to do, he really delivered
on his promise to trigger "musical memories" through sound.
This time around I was not as
blown away, as I found his
attention to be more dance-floor
focused and less experimental,
but part of that might also have
been Sonar. Spooky had a laptop hooked up to the visuals
screen, and for awhile it was
displaying an "X" made out of
dots, and some other moving
shapes and Spooky's "That
Subliminal Kid" logo, but after
some playing with it, it became
apparent that the visuals
weren't working. This was too
bad, as I was hoping to see how
the visuals would complement
the i
. All v
• got v
teaser. All things considered,
Rob Robot, Otac and I had a
great time, and to boot, we got
to see Sonar's dirty basement
and Spooky's woolly toque
complete with earflaps. For
Spooky's    latest    subliminal
http://www.ctheory.com Article
tobias v
go to shows, enjoy yourself, or
don't, either way, write them up for
this here magazine, yeh, it's called
discover, contact steve, the real
live action guy, at sdipo@axion.net
or call him at HOME at 922 3326 "X-	
July Long Vinyl
July Short Vinyl
Indie Home Jobs
1 Duotang
2 I Am The World...
3 Jerk With A Bomb
4 Ashley Park
5 Freeworm
6 Canned Hamm
7 Black Dice
8 Mouse on Mars
9 Hanged Up
10 Tricky Woo
11 Calexico
12 Mogwai
13 Destroyer
14 Fantastic Plastic...
15 Vote Robot
16 TheDirtmitts
17 Rovo
18 Puffy Ami Yumi
19 Chris Clark
20 Air
21 Oval
22 Weezer
23 V/A
24 Lucinda Williams
25 The Beans
26 Mumia Abu-Jamal
27 Sucre 3
28 Flashing Lights
29 The Icarus Line
30 Frank Bretschneider
31 TheMetic
32 Falcons
33 Fila Brazillia
34 Karl Denison
35 Nick Cave...
The Bright Side Mint
Out Of The Loop Kindercore
The Old Noise Scratch
The American Scene Kindercore
Cold Hands
Thrill Jockey
Les Sables Magiques  Sonic Unyon
Even My Sure... Quarterstick
Rock Action Matador
Streethawk: A Seduction      Misra
Beautiful Emperor Norton
In Meorm NA
Clarence Park
10,000hz Legend
Morricone RMX
Crane Wars
175 Progress Dr.
Sweet Release
Rebel Jukebox
Another Late Night
Dance Lesson #2
No More Shall We..
Sonic Unyon
Sony Japan
Thrill Jockey
Zum Media
Alt. Tentacles
Mille Plateaux
Blue Note
1 The Pinkos
2 Gapers Delay
3 Strunken White
5 Sunset Valley
6 V/A
7 Wellwater Conspiracy
9 Tijuana Bibles
10 The Kingsbury Manx
13 Cecilia et ses amis
14 The Automaticians
15 Red Monkey
16 The Evaporators
17 New Town Animals
18 TheTeenie Cheetahs
19 The Pattern
20 Lost Sounds
To My Valentine Empty
Pretty Song Proshop
Constant Collaboration     Rock School
Girl on a Go-ped Twisted Nerve
Parade on my Rain Sea Level
NBR        New Beat Recordings
Of Dreams
Mexican Courage
Been Passed Over
Screaming Gun
J'aime le popcorn
Get Uncivilized
Honk The Horn
Lose That Girl
Grand Royal
All City...
Mental Monkey
1 Xeroxed Brother
2 Hummer
3 Vancouver's Shame
4 Half Hour Late
5 Solasis
6 Mark Berbue
7 Heavy Bevan
8 The Switch
9 Six Block Radius
10 Little Man Syndrome
11 Pet Fairies
12 Whole Damn Country
13 Garnet Sweatshirt
14 Rheem Ruud Famiy
15 Victorian Pork
16 Joel
17 Les Jardiners
18 Heat Scores
19 Mr. Plow
20 Zero Percent Interest
Latest Thing
What's For Dinner?
Folsom Prison Blues
She Been
Restricted To Car Sex
Las Vegas Laser Child
Kill To Hide
Boner 4 Betty
American Woman
Pong Ping
I Just Wanna Beer
Heartx50' Woman
Moon Patrol
Run Santa Run
Rock Star
Talking About You Sumppi Wertheimer
Feverish GSL
1+1=Nothing Empty
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, "July" charts reflect airplay over June). Weekly charts can be received via e-mail. Send
mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-charts". •
CiTR's annual competition of live music!
Shindig 2001
All musicians welcome!
Send in your minimum 2 song demo with contact
info, ASAP to: Shindig! c/o CiTR
#233 6138 SUB Blvd
Vancouver, BC V6T 1Z1
Shindig kicks off in September at the Railway Club.
Interested in sponsorship opportunities?
call tobias at 822 1242
Our annual directory, chock full of contact numbers and addresses of
bands and the businesses that suport them, will be in the September
issue of ©B@©@ia®lia, The deadline for entries is August 1,2001.
YOU ARE A (Check one):
(elaborate below)
DESCRIPTION (15 words or less)	
. FAX:.
. URL:
1, 2001. #233-6138 SUB BLVD., Vancouver, BC
V6T 1Z1 fax: 604 822 9364!
i9Ef^§; SUNDAY
9:00AM- 12:00PM   All of
time is measured by its art. This
show presents the most recent
new music from around the
world. Ears open.
3:00PM  Reggae inna all styles
and fashion.
3:00-5:00PM   Real-cowshit-
caught-in-yer-boots country.
alt. 5:00-6:00PM British pop
music from all decades.
SAINT   TROPEZ   alt.    5:00-
6:00PM    International    pop
(Japanese,   French,   Swedish,
British, US, etc.), '60s soundtracks and lounge. Book your jet
set holiday now!
QUEER   FM      6:00-8:00PM
Dedicated to the gay, lesbiar
bisexual, and transsexual cor
munities of Vancouver and li
tened to by everyone. Lots c
human interest features, background on current issues and
10:00PM Hello India combines with Geetanjali to create...
Hello Geetanjali! Geetanjali features a wide range of music from
India, including classical music,
both Hindustani and Carnatic,
Ghazals, Bhajans, and
also Quawwalis, etc.
THE     SHOW 10:00PM-
12:00AM Strictly Hip-Hop -
Strictly Underground — Strictly
Vinyl. With your hosts Mr.
Rumble, Seanski, and J Swing
on the 1 & 2's.
2:00AM   Time to wind down?
Lay back in the chill-out room.
Trance, house, and special guest
DJs with hosts Decter and Nasty.
FILL-IN 2:00-6:00AM
8:00AM Spanish rock, ska,
techno, and alternative music —
porque no todo en esta vida es
BROWNS   8:00-11:00AM
Your favourite brown-sters,
James and Peter, offer a savoury
blend of the familiar and exotic
in a blend of aural delights!
Tune in and enjoy each weekly
brown plate special.
Instrumental, trance, lounge, and
RAPIDLY alt. 11:00-
GIRLFOODalt. 11:00- 1:00PM
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
DJ Hancunt is in training for
Olympic party athletics—soon to
be a gold medalist in drinking,
drug taking, and reckless sex.
BLACK NOIZE alt. 3:00-
DJ Nat X still sez: "Fuck You, My
EVIL VS. GOOD 4:00-5:00PM
Who will triumph?
Hardcore/punk from beyond the
6:00PM Join the sports dept.
for their coverage of the T-Birds
and some other goofiness, giveaways, and gab.
FILL-IN alt. 6:00-7:30PM
REEL   TO    REEL   alt.    6:00-
Movie reviews and criticism.
FILL-IN alt. 6:30-7:30PM
BY THE WAY 7:30-9:00PM
I don't know what I'm up to anymore. I play lots of odd German
electronix, some 7"s, and a
demo here and there. Go figure.
12:00AM Vancouver's longest
running prime time jazz program. Hosted by the ever-suave
Gavin Walker. Features at 1 1.
July 2: A rare date with the late
legend of the drums as band
leader... Billy Higgins with the
great Harold Land on tenor sax
and many others.
July 9: "Fabulous Phineas,"
Phineas Newborn, the underrated piano genius in a solo, trio
and quartet setting.
July 16: Drummer/bandleader
Buddy Rich and his big band in
an explosive "live" date. "Keep
the customer satisfied!"
July 23: Tenor sax giant John
Coltrane in a classic date..." The
Complete 'Lush Life' Session."
July 30: On his only recording,
forward thinking and intense
Hasaan Ibn Ali on piano with
the great Max Roach on drums.
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
hearts—thank fucking Christ.
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
WORLD HEAT 8:00-9:30AM
9:30-11:30AM Open your
ears and prepare for a shock! A
harmless note may make you a
fan! Hear the menacing scourge
that is Rock and Roll! Deadlier
than the most dangerous criminal!
BLUE MONDAY alt. 11:30AM-
1:00PM   Vancouver's      only
program. Music to schtomp to,
hosted by Coreen.
alt. 11:30AM-1:00PM
2:00PM Music and poetry for
C.P.R. 2:00-3:30PM
buh bump...buh bump...this is
the sound your heart    makes
when you listen to science talk
and techno...buh bump...
PROM QUEEN 3:30-4:30PM
CHiPSwronl Po I  SAINT  I p0
everything!-  TROPEZ I	
I Wo [&
iPL^J r
ANOIZE      1*1
10,000 VOICES (Tk)
AND     _
r |vvb "
ON AIR       LI
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
• Hk= Hans Kloss • Jz= jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk • Re= reggae • Rr= rock • Rts= roots
• Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world
20 JULY 2001 ELECTRIC AVENUES 3:30-4:30
(Last Tuesday of each month.)
10,000    VOICES 5:00-
6:00PM Poetry, spoken word,
preformances, etc.
FLEX    YOUR    HEAD    6:00-
8:00PM Hardcore and punk
rock since 1989.
Radio Ellenikathiko) 8:00-
9:00PM       Greek       radio.
alt.     10:00PM- 12:00AM
alt. 10:00PM-12:00AM Phat
platter, slim chatter.
6:00AM Ambient, ethnic, funk,
pop, dance, punk, electronic,
and unusual rock.
HOUR 6:00-7:00AM
7:00-9:00AM 3 you
of new and old music live from
the Jungle Room with your irreverent hosts Jack Velvet and Nick
The Greek. R&B, disco, techno,
soundtracks, Americana, Latin
jazz, news, and gossip. A real
10:00AM Japanese music and
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local
ANOIZE 12:00- 1:00PM Luke
Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
THE SHAKE 1:00-2:00PM The
manatee is my spirit animal. Me
da I'agita.
3:00PM Zines are dead! Long
live the zine show! Bleek presents the underground press
with articles from zines from
around the world.
5:00PM   "Eat, sleep, ride, listen  to Motordaddy,   repeat."
6:30PM Socio-political, envi-
ronmentally-activist news and
spoken word with some music
too. <rachelssong@lycos.com>
July 4: Vandana Shiva "Stolen
Harvest." Depeche Mode ticket
July 1 1: Water for People and
July 18: Jeremy Rifkin-Genetic
July 25: Area 1 Special. CD and
7:30-9:00PM sleater-kinney,
low, sushi... these are a few of
our fave-oh-writ things. (First
Wednesday of every month.)
9:00PM Indie, new wave,
punk, noise, and other.
FOLK OASIS 9:00-10:30PM
Roots music for folkies and non-
folkies... bluegrass, singer-song-
writers,worldbeat, alt. country
and more. Not a mirage!
HAR   10:30PM-12:00AM
Let  DJs Jindwa  and   Bindwa
Bhungra! "Chakkh de phutay."
12:00-3:00AM Mix of most
depressing, unheard and unlis-
tenable  melodies,  tunes and
FILL-IN 6:30-8:00AM
10:00-11:30AM Two hours
of non-stop children's entertainment including songs, stories,
poems, inteviews, and special
guests with your host Christina.
1:00PM From Tofino to
Gander, Baffin Island to Portage
La Prairie. The all-Canadian
soundtrack for your midday
2:00PM Crashing the boys'
club in the pit. Hard and fast,
heavy and slow. Listen to it,
baby (hardcore).
2:OO-3:O0PM Comix comix
comix. Oh yeah, and some
music with Robin.
3:00-5:OOPM On Hiatus! Will
the ladies return? Stay tuned.
LEGALLY HIP alt. 5:00-
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike news and v,ews
you need and even cruise
around while doing it!
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.
7:30-9:00PM The best in
roots rock V roll and rhythm
and blues from 1942-1 962 with
your snappily-attired host Gary
RADIO      HELL 9:00-
1 1:00PM   Local muzak from
9. Live bandz from 10-11.
1:00 AM
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
8:00AM  With  DJ Goulash.
10:00AM Trawling the trash
heap of over 50 years worth of
real rock V roll debris.
Email requests to <djska_t@hot-
12:00-2:00PM DJ Splice,
A.V. Shack, and Promo bring
you a flipped up, freaked out,
full-on, funktified, sample heavy
beat-lain trip, focusing on anything with breakbeats.
3:30-5:00PM Please keep on
rawkin' in the free world and
have a good breakfast. Rock
on, Nardwuar and Cleopatra
Von Flufflestein.
6:00-9:00PM David "Love
Jones brings you the best new
and old jazz, soul, Latin,
bossa,   and   Afric
Kick &roundi  ^loa-san
c fro
jnd the
HOMEBASS 9:00PM- 12:00AM
Hosted by DJ Noah: techno, but
FILL-IN 2:00-6:00AM
FILL-IN 6:00-8:00AM
/   relec
comedy sketches, folk m
endar, and ticket giveaways.
8-9AM:   African/World roots.
9AM-12PM: Celtic music and
show; local demo tapes, imports
and other rarities. Gerald
Rattlehead, Dwain, and Metal
Ron do the damage.
CODE BLUE 3:00-5:00PM
From backwoods delta low-
down slide to urban harp honks,
blues, and blues roots with your
hosts Jim, Andy, and Paul.
8:00PM Extraordinary political
research guaranteed to make
you think. Originally broadcast
on  KFJC  (Los Angeles,  CA).
SOUL TREE alt. 10:00-
1:00AM From doo-wop to hip
hop, from the electric to the
eclectic, host Michael Ingram
goes beyond the call of gospel
and takes soul music to the
nth degree.(Welcome back
PIPEDREAMS alt. 10:00-
THE RED EYE alt. 1:00-
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna ju ng! ist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I free
da jazz..." Out.—Guy Smiley
8:30AM Hardcore dancehall
chondria quake. Hosted by
Sister B.
listen to citr online
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Ve b*okoM4 bvj o iv»gWi*V millennium project@sugar refinery; wide mouth mason, chin@com-
modore; it is rubella, pan tourismos, butterflies attack, culottes© 1 19
lower lonsdale, north Vancouver (back alley, 7:30pm); giants of
/azz@blinding light!!; smut peddling sam, mr. plow, fsr, Vancouver's
shame@java joint; 3 deuces, mulligan men, ripley@gibsons (seattle);
Joshua redman quartet@vogue; sclavis/douglas/phillips/van der
schyff, tim berne's hard cell@vancouver east cultural centre; december
thirty jazz trio@western front; taku sugimoto, barre phillips@dr. sun
yat-sen classical gardens; bet.e and stef@studio 16; broken sound-
barrier feat, graham haynes, eyvind kang@performance works (9pm)
skye brooks, pete schmitt, marc wild, jp carter@sugar refinery; trilok
gurtu band, sex mob, zony mash@commodore; ross smith, tanya
phillpovich@starrydynamo cafe (4342 main); buddy guy, olu
dara@orpheum; asia/lotus roots web launch@video in studios; giants
of /azz@blinding light!!; operation makeout, it is rubella, pan tourismos, culottes@the operating room (473 powell); flash bastard, the
girls, the chris tait band@the pic; t minus 30 feat. Stewart walker,
sutekh, jerry abstract@i-spy (seattle); entertaining the troops feat,
otaku, todd tomorrow@republic (300 w. pender); sludgeplow, barbie
car, myenigma@gibsons (seattle); dave douglas new quintet, chris
potter quartet@vogue; normand guilbeault, riel plaidoyer musical/musical plea@vancouver east cultural centre; eve smith quar-
tetOstudio 16 (9pm); ellery eskelin, andrea parkins, jim black@studio
16 (midnight); kevin breit, sisters euclid@performance works
kaizen, golden wedding band@sugar refinery; richie hawtin, decks,
efx and 909@commodore; eigentiger!! new queer german@blinding
light!!; the hangmen, the rock 'n' roll survivors, billy the kid and the
lost boys@the pic; sugarman three, the burt neilsen band@starfish
room; sonar 4-year anniversary feat. jazzanova@sonar; kelley
hunt@yale; bela fleck and the flecktones@vogue; mark turner/kurt
rosenwinkel quartet, ellery eskelin@vancouver east cultural centre;
brigan krauss' 300@studio 16 (9pm); tim berne's hard cell@studio 16
(midnight); Canada day jazz fest celebration feat, mimosa, tim pos-
gate horn band, mark atkinson trio, flying bulgar klezmer band, anna
lumiere quartet and more@performance works (noon-midnight)
eyvind kang, laundryroom lullaby bait, local buddha@i-spy (seattle);
anticipation II w/dj veronica, the Sundance kid, loxley@sonar; texas
flood@yale; zombie 4, cockeyed ghost, brian kenny fresno@gibsons
skye brooks, masa anzai@sugar refinery; the sweetvittles wild and
wooly animation tour@blinding light!!; muzsikas featuring marta
sebestyen@cap college performing arts theatre; inject@montmartre
cafe (4362 main); gerald charlie@yale
Jessie and myki, cineworks (7pm)@sugar refinery; kool keith@com-
modore; independent exposure's all-animation tour@blinding light!!;
grande 4-year anniversay w/gman, wax, kemo, rizk, m'err@sonar;
taylor James, gary comeau@yale
international falls@sugar refinery; seven days of samsara, three inches of blood, since by man, the cost, when butterflies attack@ms. t's
cabaret; cinemuerte (5th thru 14th)@pacific cinematheque;
moe.©commodore; orquesta ibrahim ferrer, ruben
gonzalez@orpheum; byo8@blinding light!!; the beans, xiu xiu, dixies
death pool@starfish room; taylor James, dave haddock@yale; the
fucking chachis, the daryls, coccyx@gibsons (seattle)
the golden wedding band@sugar refinery; air, sebastien tellier@com-
modore; greyboy, buck 65@sonar; the indestructibles@yale; oozies,
quick 66, st James gate, slit liquor@gibsons (seattle)
8pm)@GRANDVIEW AUDITORIUM; frog eyes w/guests@sugar
refinery; jerk with a bomb, hot hot heal@the pic; double trouble@com-
modore; fugazi, submission hold, def poets society@bill copeland
sports arena (burnaby); the indestructibles@yale; sk and the punk ass
bitches, seawolf, the hi beams@gibsons (seattle)
kaizen@sugar refinery; the ladonnas, the felchers, the stag reels@the
22 JULY 2001
pic; brickhouse@yale; the fartz, pipefitter, two man advantage@gib-
greg macpherson band@sugar refinery; texas flood@yale; dj peter
madril@gibsons (seattle)
skye brooks, masa anzai@sugar refinery;   3 doors down, lifehouse,
tantric@plaza of nations; big pixel theory (10th and 1 1 th)@blinding
light!!; d:fuse, chris fisher@i-spy (seattle); kinnie star, chin@richard's;
steve hanson@yale
WED 11
elisa rose@sugar refinery; o-town@queen elizabeth theatre; beyond
the pale@norman rothstein theatre; adam beyer, rinse, slantooth@i-spy
(seattle); dave wakeling, english beat@richard's; tim williams@yale
gentleman reg, a northern chorus@sugar refinery; alejandro escovedo,
be good tanyas@richard's; best of pxl this! (12 and 1 3th)@blinding
light!!; tim williams@yale; studfinder, the lashes, the valley@gibsons
FRI 13
wedding band@sugar refinery; meg-a-metal festival@studebaker's;
michael franti and spearhead@commodore; solarbaby, rye catchers,
star collector@picadilly; kenny larkin, experimental liquor museum,
carlos miguel@i-spy (seattle); Vancouver folk festival (13th thru
15th)@jericho beach park; sue leonard, the big dawg band, mike
henry@yale; the nearly deads, the triggers, the heroic trio, the stink
bugs@gibsons (seattle)
SAT 14
third time's the charm presents scared of chaka@the pic; bossanova,
capozzi park, selena harrington@sugar refinery; dance this mess
around feat, le petite morte, the kremlin@the operating room; baby
blue sound crew@commodore; big sandy and his fly-rite boys, the corn
sisters@richard's; pxl this 10 (14th and 1 5th)@blinding light!!; sue
leonard, the big dawg band, mike henry@yale; the cripples, new luck
toy@gibsons (seattle)
SUN 15
unrefined@sugar refinery; brickhouse@yale
MON 16
jordi sancho@sugar refinery; texas flood@yale; dj peter madril@gib-
sons (Seattle)
skye brooks, masa anzai@sugar refinery; another girl, another plan-
et@blinding light!!; danny tripper and the journeymen@yale
WED 18
colin maskell@sugar refinery; the blood brothers, radio berlin, the red
light sting, p:ano@ms. t's cabaret; fishbone, akp@commodore; flat is
beauf;'ru/@blinding light!!; elevator@starfish room; taxi@yale
battery opera, craig norton@sugar refinery; snoop dogg, xzibit, east-
sidaz, etc.©pacific coliseum concert bowl; abject cinema@blinding
light!!; amazombies, picts@ms. t's cabaret; halo varga, jon deleri-
ous@sonar; taxi@yale; six beer bladder, asr, three years down, kite
festivol@gibsons (seattle)
FRI 20
golden wedding band@sugar refinery; reverend horton heat, bare
jr.@commodore; mission folk music festival (20th thru 22nd)@fraser
river heritage regional park (mission); plaster caster: a cockumentary
(20th thru 22nd)@blinding light!!; jerry doucette@yale; agent 86, ignorance, mea culpa, lead baby@gibsons (seattle)
SAT 21
motion soundtrack, brundlefly@sugar refinery; buddy miles@com-
modore; 2nd annual burnaby blues festival@deer lake (2-1 Opm); jerry
doucette@yale; the blacks, reckless bastards, swingding amigos@gib-
sons (seattle)
SUN 22
brickhouse@yale; the daryls, ficas, Jodie watts@gibsons (seattle)
MON 23
the need, erase errata, le petite morte@video in studios; sugar ray,
uncle kracker@queen elizabeth theatre; texas flood@yale; dj peter
madril@gibsons (seattle)
echo and the bunnymen@richard's; medical amateurs (24th and
25th)@blinding light!!; dave woodward@yale
WED 25
cheap trick, harmony riley@commodore; add n to (x)@starfish room;
todd taylor and the new vehicle@yale
MAINS@MS.T'S CABARET; pantera, slayer, static-x, skrape, morbid
angel@pacific coliseum; fear factory, puya, primer 55, dry kill
logicOcommodore; new cineworks@blinding light!!; the spitfires,
shake city, hissy fit@starfish room; mark farina@sonar; doc's blues,
incognito, bluespiggies, malpractice, the crawl, aural fixation@yale;
awkward star, anansi, greg sinibaldi trio@gibsons (seattle)
FRI 27
tower of power@commodore; trinh t. minh-ha's reassemb/age@blind-
ing light!!; mudhoney@starfish room; roots fest (27th thru 29th)@royal
roads (victoria); twisters@yale; the undisputed heavyweight champi-
ons@gibsons (seattle)
SAT 28
depeche mode@pacific coliseum; proclaimers@commodore; trinh t.
minh-ha's surname viet, given name nam@blinding light!!; sound tribe
sector 9@wise hall (1882 adanac); stationa, joel, cinchOsilvertone;
twisters@yale; texas funeral, the boss martians, the backstabbers@gib-
sons (seattle)
SUN 29
warren zevon, david lindley, wally ingram@commodore; trinh t. minh-
ha's naked spaces: living is round@blinding light!!; brickhouse@yale
green day, the living end@plaza of nations; grames brothers@yale
Special Events
on SATURDAY, JUNE 30, the asian society for
604.645.1229. • Sharin' in the Groove
Thur July 5th, The Commodore Ballroom GBiBBiBgm
July 27th, The Boot Pub, Whistler
July 2£th, The Wise Hall, Vancouver
1££2 Adanac
David Lindley & warren Zevon
The Commodore Ballroom
l/^°      o °°
\Ae Upslteam Dance Ciinse *ft
Sat Sept. 1st, On A Very Big Boat
7.TT V • i f- M «^ *•-■■■:•' »g
Tix @ Black Swan, Highlife, Zulu or
Tix 8r More info. @ wwwAip£taeamentertainment.com or call the Streamline @ (604) 904 4207
■23'E^g3LSiaB fflr.—in* master tapes...
Go Plastic
"The quintessential
I room producer. T
Jenkinson's distinctive programming style
push the drum and bass idiom into computer-
assisted total percussive mayhem - hyper-syncopated cyborg music tor the pulsing, frenetic digital
era. While this latest release clearly demonstrates
Jenkinson s legendary fastidiousness, Go Plastic
has more conviction and maturity that his earlier
work without sacrificing energy or basic dance
floor oomph. Could this mean a friendlier and more
melodic SQUAREPUSHER? Come check it out
CD 16.98     LP 19.98
Songs from the Hermetic
Theatre CD
Oh boy, four new works by that thoughtful
ambassador for the international avant-garde
underground, the super-prolific JOHN ZORN
Including his first foray into purely computer
music, Songs from the Hemietic Theatre also pays
tribute to the creative iconoclasts Harry Smith,
Joseph Beuys, and Maya Deren - three important
free spirits of the 20th century. As the Tzadik press
people wisely observe, this is "an essential collection of dialogues from one generation of the underground to another," Indeed.
Crane Wars CD/LP
in essential purchase for
you don't know THE BEANS by now
well shame on you. If you do, then
you've doubtless been in a state of
tremulous anticipation, awaiting the
release of their second full-length
recording. Either way, Crane Wars is I
anyone with even a passing interest in the local music scene or
the real meaning of post-rock. Everything that the band built
their loyal following on is here - epic wide-screen rock dynamics, eclectic instrumentation, electronic trickery and so much
more. The most amazing thing is that it leaves you with the
sense that the best is yet to come. World class.
CD/LP 16.98
After touring the U.S. with Neil
/"AHamburger Vancouver's foremost I
(and only) purveyors of 'entainmment'
have finally released their debut CD.
It's filled to the brim with songs that'll
have you cruisin' Robson with the top down and your top off.
Big Hamm (Slow, Tankhog, The Orientals) and Little Hamm
(July Fourth Toilet, various karaoke joints) have crafted a platter that'll have you laughing, crying, and dancing all at the same
time. Featuring such sing-a-long classics as "I Kissed All The
Girls At The Party", "Karaoke Lady", and the title track, as well
as bonus answering machine message, you could wait to buy
this...but why?
ir. and the urge to dance is forcing us to face,
and overcome, our inhibitions. Who better to guide
us onto the dance floor than MONSIEUR DIMITRI
from Paris, a man who understands the divine
value of a funky bass-line and ethereal wind instruments layered over steady, grooveable beats galore1
His remixes ->f Bjork the Brand New Heavies, and
Bob Sinclar are far out. though it's a shame to
name-drop only a lev/,.. This is a patio-ready affair.
as long as you've got the mosquito candles burning
- this smooth, steady mix will keep you outside
until long after dark!
CD 16.98
Been Here and Gone CD
"Think back to a moment to the summer of
I 1992... maybe some of you attended an in-store
at our old shack graced by the post-blues slide guitar
cries of THALIA ZEDEK and Chris Brokaw's combo
Come, Like their mentors in Television. ZEDEK and
Brokaw used their guitars to etch away into the surface of the songs, churning out a twangy shrapnel of
minor chord visceral rock. Here, on her solo debut,
THALIA marries the brooding pillars of Nick Cave
and Patti Smith, to offer 13 sorties guaranteed to get
your senses tingling.
The Wasp Factory CD |
Save your quarters, 'cuz the Zen
Arcade is closed. The at one time
unthinkable has happened... Sonic
Youth Mike Watt and J. Mascis
have ceased to matter. But think back,
my friends, to the hazy summers of the past when you were li\
ing all over me in a daydream nation
car seemed to have the SST logo on
in the way of a day at the lake. Cut tc
Vancouver's STATIONa are back with
album (inspired by the la
noisy, and epic outing th,
when every tape in your
it, and day jobs never got
summer 2001:
their third, and finest.
Banks' novel), an adventurous
reminds one. at times, of Polvo A
minor art classic, indeed
Better Day CD
Tigerbeat Six Recording Artists KID 606 and CEX
stop by Zulu on Tuesday July 17th at 4:30 pm
Some point to their lineage, which
includes members of the DBs,
Bangles Dream Syndicate and
Cowsills Others argue that their previous effort, Vermillion, was the alt-country unsung hero award
winner of 1998, Heck! It makes no difference, the kudos go
beyond pedigree and songwriting skill - this band is magical!
Yup, their alchemy is up there with Steve Earle and Lucinda
Williams. The Continental Drifters make masterful music from
base elements: pop, rock and roots. Features 12 gorgeous grass-
CD 16.98
All prices in effect until July 31, 2001
Bossa Per Due CD
Certified by the Thievery Corporation, NICOLA CONTE is the latest
groove-architect to join the Eighteenth Street Lounge school.
Known for smooth lines and flowing funk beats. CONTE 's eye for detail
flourishes as he flirts with his trusted materials - woody strings, resonant vibes, and loose jazzy beats. These drafts are acoustically rich and
the perfect complement for lounging moments entranced by a reverie
of opulent design. All in all, a tidy and stylish listen.., Bravo!
CD 19.98
Mixed by Luke
It's always hard to find a quiet spot at
I Sonar, but on a late night long ago, well
after the speakers' last thump, the Nordictrax brain trust held a special
meeting to quietly draft their blueprints for sonic expansion. Lazy
Transmissions articulates the discussion, collecting many of the proposed ideas that have shaped what is now history — an arsenal of
massive deep house 12" platters. Features 13 up-tempo mixes of
Home & Garden Mtrax, T.O.S.. Gavin Froome, Morgan Page, and
others! Essentials.
CD 14.98
The Director's Cut CD
Here at Zulu, we do not throw the term cult-group' around lightly.
No! We reserve this nomenclature for the taxonomy of outfits supported by the most fervently rabid of fans. Please do not send us any
more ears in the mail. It is here - the uncompromising and aesthetically flexible FANTOMAS album. Sonic highway robbery from Mike
Patton, Buzz Osborne, Dave Lombardo and Trevor Drum! Their agenda: to re-interpret 'soundtrack music' ranging from subtle and precise
compositions to those more brutal and explosive Join the cult!
The World Won't End CD
The spacey echo of the last notes in Big Star's Kangaroo hangs in
the air as evening euphoria embraces morning solitude. You hold
your breath 'til the next record plays: you're in limbo like a Polaroid
waiting to develop. Ah... JOE PERNICE, , the emulsion materializes
into a nervy mix of bright west-coast pop and pedal steel fused country. Someone mumbles the stark realization The World Won't End. you
wonder through the sanctioned melancholy... 'Is this good or bad9' A
brilliant record.
various KID 606 & FRIENDS VOL.1 cd
DELTRON 3030 positive contact/time keeps on slipping \t
THE BIONAUT lubricate your living-room cd
ORTON SOCKET 99 explosions cd
DAVID AXELROD S/T CD available july 17
his name is alive SOMEDAY MY BLUES CD m****^
NEOTROPIC la prochaine fois cd/2LP
FENNESZ ENDLESS SUMMER CD available mid-july
7&w S6<wi*ty at.L~~-.~-
?X69 TVett 4t£ /henue.
aUo- t/te %cdu. Satellite St<yz
fat /it>t*uve>vl<vuf. S^c-tv & Thifefey *7<w<<** ~&cuutcA:
tun*  'til $cdcf,  ?&*
TUxt S^W (ofietus, pcdy 2JJt:
Stop fy fa- a deal! ra*ui 'til /tuytat 15'
■   ■>■ <-.-'•'.'-.
I Zulu Records
1972 W 4th Ave
Vancouver. BC
tel 738.3232


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