Discorder CITR-FM (Radio station : Vancouver, B.C.) 2002-06-01

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ne    2002    :    free
IjUg^J that   magazine   fro m   c i t r    1 0 1 . 9 f m <|&|y
corb    I u n d   band
jim    monroe
the   attac
waking   eyes
!   |   I
and    more. _ ^international
jazz funk
world vibe
06/21   BUGGE WESSELTOFT: New Conception in Jazz
AIKO SHIMADASurreal folk/noise songs
06/23     THE HERBALISER Mutant hiphop groove-meisters
LLORCA Hottest new name in jazz-infused house mu:
SEX MOB Knitting Factory alternative jazz slam-a-t
06/27     BULLFROG FEAT. KID KOALA R£B-,nspired groove w
PARKSIDE JONES 70's jazz-funk, post-rock, soul, £
06/29     NILS PETTER MOLVAER Electronic collages & furio,
VIN1CIUS CANTUARIA Seductive Brazilian jazz-infl
06/30     DE-PHAZZ Sexy, beat-crazy , and unpredictable
KIA KADIRI Energetic nu-schooi diva
IJ3;ui];(uf:uH(47[i];J vwn;?liTJIH^iMf ul»l
06/22   LLORCA / META4 COLLECTIVE Expioratio
06/24     CRASH Funk-based bop/acid jazz
06/25   JAMES CARTER ORGAN TRIO Burning sax
HOULE / GESTRIN 21st Century Bitches Br
06/28 LAPPELECTRO Euphoric, seductive dance <
06/29     IVANA SANTILLI Former Bass is Base diva
DIRECTIONS Live "jazz house"
^^        RfftTIYIII A
Ip^fe AdubvibMxom        HENKELL
jazz hotline 604-872-5200
TICKETMASTER 604-280-4444
We set the stage,  you set the mood.
' $m
thunderbird interview hell by e
the attack by brian disagree p. 9
waking eyes by ben lai p. 10
enon by bleek p. 11
!!! by jesse simon p. 12
corb lund band by val cormier p. 13
s.t.r.e.e.t.s. by sweet jesus^p. 14
jim munroe by doretta lau p. 16
fucking bullshit p. 4
radio free press p. 4
strut & fret p. 5
kill your boyfriend p. 6
Vancouver special p. 6
panarticon p. 7
over my shoulder p.
7" p. 18
under review p. I'M
real live action p. 20
charts p. 23
on the dial p. 24
kick around (comic) p. 24
datebook p. 26
That's Jonny O from STREETS in the vm
street on the right, and. possibly the friendly buTcreepy " . ,';
Keegan Sauder with the indy grab on the left, but we're not
sure. It might not even be an indy. Lori and Dan, the crazy
photographers, flipped all sorts of shit around.
Urawing: Andre
Charles Edmund
'Japan Air"Cheese
"To Revert" Floyd
art director:
Aggressive "Sad Plant"
production manager:
'Chfcsta "Feeble Grind" Min
*   real live.action editor:
Duncan "360 Flip" McHugh
j*r        under review editor:
w -      Sara "Switch" Young
. editorial assistant:
Donovan "Boneless" Schaefer
Jess* "McTwist" Simon, Sad
, Plant
Keith "Nollie Heelflip"
Turkowski, Randal Mindell,
Michael Schwandt, Kiran
Dhanoa, Michelle.
on the dial:
Bryce "Hang Ten" Dunn
"Half-Cab" Meat
Chuck E Cheese
Matt Steffich
us distribution:
Linda "Bumchuck" Scholten
© "DiSCORDER" 2002 by the Student Radio Society of the University of British Columbia. All
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From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as
through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR
DJ line at 822.2487, our office at 822.3017 ext. 0, or our news and sports lines at 822.3017 ext. 2. Fax us at
822.9364, e-mail us at: dtrmgr@mail.ams.ubc.ca, visit our web site at http: / /www.citr.ca or just pick up a
goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC V6T 1Z1 CANADA.
printed in Canada
Events at a glance:
Sunday Sessions presents:
Doors 8:00pm/$12.00 Door only
Ibiza, Sp
Doors 9:00pm/$15.00 Advar
coming soon...
TUE TACTICAL progressive grooves WED GRANDE r&b hip hop
FRI OVERWEIGHT hip hop, funk, b
Open: 9pm-2am
Club: [604] 683.6695
QTurbosound IT irv
1—_         r-^                    **
^SV^frTf^^^^^--        qy>
^JS ED ^}  j Jjjsftggisjc
Saturday, June 1                                                                                       Ford Pier / Clay George
Wednesday, June 5                                                                           Blair Jewers / Elijah Wood
Thursday, June 6                                                                                                          Teethacres
Friday, June 7                                                                                                          The Metalunas
Saturday, June 8                                                                 John Guliak and The Lougan Brothers
Sunday, June 9                                                                              Steve Dawson and Elliot Polsky
Thursday, June 13                                                                                                Rhythm Roundup
Friday, June 14                                                                                           Resin  with  Guests
Saturday, June 15                                                                               The Broken Crow Quartet
Sunday, June 16                                                                            Steve Dawson and Elliot Polsky
Monday, June 17                                                                                 The  Travelling  Troubadors
Wednesday, June 19                                                                                                JP Carter Trio
Thursday, June 20                                                        Amy Honey and the Top Bums with Guests
Friday, June 21                                                                                       Jack Harlan / Kevin Kane
Saturday, June 22                                                                      The Parlour Steps with Guests
Wednesday, June 26                                                                                       Marianne Grittani
Thursday, June 27                                                                          Belinda Bruce / The Beginners
Friday, June 28                                                                                           Al Tuck / Dave Gowans
Saturday, June 29                                                                                                     The Mad Dash
For booking info contact Amy Honey: amyhunnie@botmail.coDi
THE  MAIN  4210   MAIN   ST. 3  26TH  V5Y  2A6   604.709.8555
radio ircc Dif^^t
zines. etc. by Bleek
Hey there. Welcome again to
Radio Free Press. Yeah, I know I
amped out on you last time but
I hope you can understand the
intricacies of losing one's mind.
I mean I was hanging out the
window screaming "I'm mad as
hell and I'm not gonna take it
anymore!" Nice, eh? Well, eventually "they" came and took me
away, pumped me with medication, sent behaviour specialists and a couple of priests (I'm
not even Catholic and boy does
my ass hurt). At one point I was
coughing green vomit at some
guy with a big cross. Everything
is cool now, no sweat. The
source of negative energy has
been isolated and destroyed.
You see it seems that I fell into
the hideous trap of empathy
and concern for fellow human
beings. I know it sounds ridiculous, especially in this modern
world, but wow, was I bothered. Things have greatly
improved now that I hate
everybody again. Thanks.
Waiting for you slackers to
finally get some zines to me
gave me too much room to rant.
4 june 2002
Now that I've got a good stack
of reading material we can get
back to business. We'll start
with NIGNE #5 which is free
around the city in selected
places where hipsters buy their
music, literature, and coffee.
This issue finishes the interview
with Velma from Scooby Doo,
who goes into the tragic events
surrounding Shaggy's murder.
The comical "Reflections of a
Gangsta" speaks to me. A lot of
the issue revolves around the
topic of drugs, but not by
throwing sly winks or moral
condemnation, just thoughtful
observations. I disagree with
the prevailing belief that antidepressants are the prophesied
"Soma" and that they "alter a
person's attitude." It's a common concern (it shows up in
two out of three zines alongside
"what is really punk" articles)
but it's bullshit. Anti-depressants are not uppers. They just
relieve a sort of... uh... pain,
allowing sick people to be as
productive as any CEO or revolutionary. Just like treating asthma   helps   someone  breathe
normally. That's all. Best zine in
Where the hell was I? Oh
yeah... Brad Yung just released
the new STAY AS YOU ARE #8.
You know what to expect: a
couple of roommates bouncing
ideas, criticism, philosophy and
angst around. Brad has that
uncanny ability to transfer the
absolute mundane into a clever
look at societal futility and (add
redundant superlative here). All
this is meant to say I like this
zine and from what I hear
many of you kids like it too.
Check out the website at
www.stayasyouare.com. Best
zine in Vancouver.
Keeping with the Vancouver
scene and vivid local themes,
Daniel Rajala sent in his newest
compendium of poetry incorporating our fine landscape.
Daniel has always written with
a certain delicate pace, taking
in day-to-day experiences,
beautiful and negative sites and
translating them into thoughtful verse. The zine, called
PURPLE, should be available in
the regular indie magazine
shops or you can write to
<streaker@vcn.bc.ca>. Best zine
in Vancouver.
bullshit by Christa Min
By the time you read this,
my new website should
be up and running. The
website address is www.christa-
min.com. It is the most amazing
website on the world wide web.
First, you should go to the
photo section. There are about a
hundred photos in the gallery,
of me rollerblading down
Robson Street in a bikini (perfect tits and ass, you'll see) and
wrap-around sunglasses, talking on my cell phone that really just tops the rest. I look at
that photo and think, "Wow,
that is the essence of life
caught on film." It's really life
things. (Stores, you had better
stock up on Promise Ring
records, Pretty Woman DVDs,
Brad Pitt cutouts, marshmal-
lows, and anything that's purple because there is going to be
The most special section of
christamin.com is a personal
and I'm in all of them. I'm not
exactly sure who took the photos because people are always
taking pictures of me. (If you're
part of the Christa Min
paparazzi, and you want credit
for your little photo, email me
at christamin@christamin.com,
and I'll post a credit. If you happen to be in the background in
one of the photos of me, go
ahead and show all your
friends. I won't mind.)
Most of the photos are candid because I'm not much of a
poser. I'm very photogenic, so
it doesn't bother me when people take my picture. Most of
the photos look the same. I
look equally hot in each of
them, but there is this one shot
The two other zines that are
all too aware of their surroundings are LET IT BE KNOWN #3
COPS (APEC). Both publications are deeply political. Let It
Be Known powerfully criticizes
patriarchy in all its horrid forms
and exposes the devil in the
details. APEC spouts "a billion
reasons to oppose 'globalization' and the political and economic systems behind it." Yeah,
no small task but in a zine this
size you can get a lot accomplished. There are 78 pages of
condensed anger and knowledge   inside.   More   info   at
affirming. After you see that
photo, you might as well just
shut down your computer and
get out there and go rollerblading in the wind and call up
your lover on your cell, too.
But if you have a sore ankle or
a fat ass, keep browsing. My
other favourite picture is the
one of me in a tanning booth. I
look so happy and warm.
Okay, okay, HOT.
Also at christamin.com,
there is a.list of my favourite
things—my favourite bands,
movies, actors, foods, and
colours. You can read that section and see how much we
have in common, or you can
take my lead and let me introduce you to some great new
www.tao.ca /-letitbeknown.
Best zine in Vancouver.
Robin Bougie has recently
spewed out another emission of
CINEMA SEWER, displaying a
hot hot hot cover from his
spouse Rebecca. Having milked
the pomo dry, CS #9 delves into
other on-screen phenomena,
such as a fascinatingly creepy
expose on a few brave souls
who have killed themselves on
live TV. Not everything in this
zine is as feel-good as that
though, although
there is a great section on "Favourite
War Movies Ever
Made." Intentions
get blurred as
enthusiasm for
film gets mixed
with compiled lists
of shitty movies,
but that's exactly
what makes Cinema Sewer so goddamn fun. Ed
Brisson (local indie
cartoonist) contributes his interview with Barry
Gillis, maker of
the (reportedly)
exceedingly nauseating movie Things,
reviewed here as
well by Nick Shee-
han. Check out the interview
with Jack Hill (exploitation,
afros, vendettas, L>oobies,
weapons, etc.). Best zine in Vancouver.    ($4,   #320-440   East
journal that I update every
hour. I tell you all about my
feelings and my personal struggles. I know what you're thinking. You've been to these
personal websites before, and
they are all the same. Well, once
you see mine, you'll see that I
am special and different. My feelings are completely unique and
I know that complete strangers
will sincerely care about my
Visit my website, that's
www.christamin.com, and send
all your comments to christa-
min@christamin.com. I probably won't respond because I'll
be too busy, but it's always nice
to know how much you love
5th  Avenue,   Vancouver,   BC
Now on to one of the most
under-valued zines around
FIGHT, which has at least six
issues out now (unless I'm forgetting one). BGBWSF is the
product of Rusty Haight and
Chris Walter, a couple of local
punks with good instincts. If
you don't find the contents of
BGBWSF entertaining and
downright funny, you're part
of the problem. Through audacious creative writing, shocking revelations and sick
humour, this zine brings a
refreshing enthusiasm that has
been MIA in Vancouver for
some weird reason. (Pick an
address: Rusty Haight c/o
Sudden Death Records,
Moscrop POB 43001, Burnaby,
BC V5G 3H0 or Chris Walter
c/o Gofuckyourself Press, #34-
2320 Woodland Drive, Vancouver, BC V5N 3P2) Best zine
in Vancouver.
There are more small press
items out there and I apologize
for the under-coverage of chap-
books and other poetry type
thingies. I'm just not the right
guy for that job. And God
Damn you fuckers for not sending me news about zine fairs
and small press events, I hope
you die. Send complaints to
Have a good day! • Atrut&fret
performance/art by Penelope Mulligan
Friday, May 3
EDAM Studio
Among the Marquis de Sade's
voluptuous outpourings were
two companion novels, Justine,
or, the Misfortunes of Virtue and
Story of Juliette. The latter might
well have been subtitled "The
Rewards of Vice," since its
eponymous innocent quickly
jettisons virtue when she learns
not only that it can get you
chewed up and spit out, but
also how far one can go with its
Directed and choreographed by Barbara Bourget
and written by Elizabeth
Dancoes, Juliette the theatre
piece is closely based on characters and events in Sade's novel,
but from the outset, gave me
the feeling that it was stealing
power from under the Marquis'
nose. Always subject rather
than object, our protagonist
analyzed and interpreted her
experiences in ways both
impressionistic and acute. This
really ivas Juliette's story and
we clung to her like hooks on
her bustier.
It's interesting to compare
this take on a life of debauchery
with Modern Baroque Opera's
recent 101 Songs for the Marquis
de Sade. Besides being told from
a female perspective, Juliette
also addressed the psychological to an intriguing degree,
while retaining a constant link
to the social and historical context of the French revolution
against which it was set. It was
as much about the evolution of
a worldview as it was biography. A lot of the credit here goes
to playwright Dancoes.
Consider this early admonition
from one of Juliette's tutors:
"You must learn to love your
pain. It will make you immune
to those who would hurt you."
Framed only by black
drapes and without a scrap of
set to speak of except for a
chaise longue, the production
created an atmosphere thick
with danger and lust. Jeff
Harrison's lighting had a dark
gold bordello hue which, in the
intimate EDAM Studio, seemed
to wash over the audience as
The cast of nine v\
already standing motionh
onstage as we took our
seats, and their rather
prudish-looking street
clothes hinted somehow
at the prurience to come.
As the story progressed,
the performers shed ever
more layers of clothing
to reveal hardcore lingerie in myriad styles
and colours. Yet with few
exceptions, there was
nothing burlesque about
these disrobings. We
were watching the
methodical stripping
away of protection and
innocence. All of the performers committed fully
to the voluptuous cruelty of the text and seemed
very much at home with
Bourget's strenuously
provocative choreography.
Similar in structure
to Sade's novel, the play
unfolded in five "interludes"
bookended by an introduction
and an epilogue. Though the
entire cast was always onstage,
characters would  zoom into
focus, then recede into ambience. Only Juliette was in the
headlights almost constantly
and Andrea Donaldson filled
the massive role with ease. In
snowy white underthings, she
radiated the disarming freshness of someone discovering
exactly what she must do to
survive and prosper.
Although we were led to
assume  that  Juliette's  pain-
Ferrone, Miranda Huba and
Maria-Christina James were
wonderfully bold. But the one
who came flying out of leftfield
was Gillian Eugene as
LaDurand—a kind of super-
madam whose voracious
appetite for pleasure was
matched only by her lust for
power and unusually long clitoris (no, we didn't see it).
Eugene gave an unforgettable
inflicting clients were men, her
lovers and instructors in the
lucrative arts of prostitution
and power were women—and
in    these   roles,    Toni-Marie
performance that was part rapper and part madwoman.
War and other upheavals
are always a great backdrop for
decadence—partly     because
amid the general craziness,
anything seems possible—and
Graham Porter was compelling
as an increasingly disheveled
Parisian who would stagger in
to comment on the carnage.
Eventually, he took the role of
lewd MC, reminding us that in
a world of crumbling ideologies and shifting allegiances,
vice and debauchery are among
the few things that remain
dependable. Still in
stockings and suspenders, he'd nip over
to the keyboard and
bang out an ominous,
•lancholy soundtrack,
isically and dramati-
ly, this worked very
•11 and I wished that
: fellow onstage musi-
ns (Stewart Brinton
and Stefan Smulovitz)
could have been more
closely connected to the
Bourget created
Juliette for her Master of
Fine Arts Project, and
it's actually the third
part of a Sade trilogy.
Unlike the first two
installments, which
were dance works performed by Kokoro, this
is a text-based piece
mounted on theatre students from SFU's School
for the Contemporary Arts.
The result was physical theatre
so strong and stunning that it
felt ready for a professional
staging. •
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production and post-
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-* ma     n attic uja
5EtRg$B£tS& Id 11
comics and graphic art by Robin
Alan Moore and JH Williams
(ABC Comics)
I think at this point it should be
fairly obvious to you that I'm a
comic geek. So it should come
as no surprise that my friends
and I have spent countless
hours debating over who "the
best artist" and "the best
writer" is. It's always been
impossible for me to name a
favourite artist, but as far as
writers go, no problem: Alan
Moore, hands down. He is a
god. After doing The Watchmen,
Mr. Moore appeared in the
comics world sporadically, until
1999. Finishing up on From Hell,
it was the year ABC Comics
arrived. That year you couldn't
escape Moore, but to be honest,
who would want to? Here was
a man telling a million different
stories from a million different
perspectives. It was fresh and
First up, League of Extraordinary Gentlemen, a story about
fictional characters—Mina Murrey from Dracula, The Invisible
Man from the HG Wells book of
the same name, and Capt.
Nemo from 20,000 Leagues
Under the Sea, to name a few—
banding together to save the
British Empire. The art was like
the etchings in the old adventure tales I found in my Dad's
boys' magazines. But wait,
there was more: Top Ten, the
story of a police precinct on a
planet of superheroes. It was
told with pathos and
realism, but most of
all with humour. The
art was complex and
full of little surprises
in tribute to comic
superheroes of years
past. There was Tom
Strong, a throwback to
superheroes of the
pulp fiction era. There
Stories, a comic that
has a superhero for
goofs, kids, ladies,
and loners. But the
stand out of the bunch
would have to be
Promethea, a monthly
series illustrated and
inked by JH Williams
and Mick Grey.
Promethea starts in
a familiar extreme future world,
with floating cars and blazing
neon. Sophie Bangs is doing a
paper on "Promethea," a fictional character that seemed to
be eternally appearing in various forms of literature. She goes
to investigate why the character
keeps popping up in poems,
pulps, cartoons, comics, and
newspaper strips for centuries.
Sophie quickly discovers that
whoever channels the muse of
Promethea either becomes her
or projects her onto their loved
ones. Within two pages she
finds herself embroiled in forces
she can have control over if she
becomes Promethea. It's a
weird and fascinating story
with immediate intensity as
Sophie's forced to act and react
in a body she doesn't know,
wielding a power beyond her
comprehension. Each issue is
exploratory: whether learning
about the other Prometheas or
the world Promethea inhabits,
your grey cells get fattened. It's
rich in character and landscapes. The stories are also
replete with symbolism. Every
little thing means something
and you'll find yourself learning without noticing it.
"Humans are amphibious. That
means they live in two worlds
at once. Matter and mind."
Really? "The four horsemen
symbolize what life on earth is
already like. They show us why
we need an apocalypse." You
know, that makes sense. It's
utterly incredible. As well, the
character Sophie is instantly
likeable. And even though she
has a part of her life where she's
a superhero goddess, she still
worries about university and
her small breasts. She maintains
her regular identity because
that's who she is. She's easy to
relate to. There are also some
extraneous things I like about
ABC Comics. All the ads are at
the end of the comic. No interruptions in the middle of crucial
story lines! Moore is a writer in
every sense of the word: he
cares about the reader's reading
experience and I respect him so
much more for it. There is also
a sense of humour about the
book—dark and scary but realistic. The characters are honest
with each other. And I really
enjoy all the other Prometheas.
One's a turn of the century
Xena, another a transsexual sex
kitten. There is also a L'il
Orphan Promethea and a
harem dancer/slave. It's a
series that is never boring. Currently the story line finds
Sophie following the last
Promethea through death and
the universe as she tries to find
her husband. It's a bizarre
quest for knowledge and each
universe they encounter
requires some figuring out. And
guess what? You're still learning. Tantra and the
Kaballah, magic and
Masons—it's hard
not to. She encounters Aleister Crowley and the Baron
Munchausen. It's
quite all-encompassing.
So many comics
these days only
have one thing
going for it. It's one
of the reasons I only
buy Tom Strong if I
like the artist. But
Promethea's art team
will knock your
socks off. Not to
mention they are
still the same team
that started it. There are 20
issues now and each one is a
work of art. JH Williams penciled it and Mick Grey inked it.
Normally I wouldn't bother
mentioning the inker bur never
before has it been more apparent how much the inker does
than in Promethea. It becomes an
interesting play between positive and negative space. JH
Williams has this semi-realistic
style that really flows and lends
itself to Grey's inking. Their
taste in art is scrumptious—a
Monet tribute, a Charles Vess
guest appearance, a letterbox
edition, a charming Windsor
McKay imitation—just gorgeous, all of it. The colours are
also fantastic and spectacular.
Some of the last few issues have
appeared entirely in gold, blue,
and red colour. It's almost
mind-boggling. I've not seen
anything like it. Collages of
images and larger-than-life
blooming colours. Even the
page layout is different. Angles
and Moebius strips; it can be
confusing, but somehow Moore
manages to make the dialogue
interchangeable. He just feeds
you more knowledge and rereading it just fills in the holes.
They also design a series of borders incorporating some of the
objects found in the story line:
Aztec shapes, crawling vines,
stained glass, all adding to and
completing the art. It's nothing
but imaginative.
The greatest thing about
Promethea is that it exudes and
drenches you in imagination.
It's how Moore sucks you in. I
assure you, you'll never look at
comics the same way again. •
v^o iicoiive r apccioi,
local reviews by Janis McKenzie
Shot Spots: Trooper Tribute
Thirty Trooper covers by thirty
loud bands! The prospect is
simultaneously insane, intriguing, and a little scary. Looking
at the back of the CD and seeing
bands like SNFU, DOA,
Facepuller, and the Dayglo
Abortions listed, you might
even decide you don't need to
listen because you already
know what you'll get: a succession of high-speed piss-takes
that might be a little hard to
take for such a sustained period
of time. But even though you'll
hear some of the obvious and
thuggish moments you might
expect from punk bands taking
on classic rock, there are also
plenty of unexpected elements
that make this quite a bit of fun:
the catchy repeating bagpipe (!)
riff in The Real McKenzies'
"Long Time," the brazen (but
somehow reverent) fucking
over of "We're Here for a Good
6 june 2002
Time" by SNFU, the super-glam
vocals of Exit This Side's
"Moment that It Takes,"
Groovemonger's pure weird-
ness on "Round Round We
Go," JP5's sultry-swing-meets
rock approach to "$100,000,"
the Polka Shots' use of an
accordion, and the sheer appropriateness of DOA doing "Raise
a Little Hell." Other bands, like
The Sweaters ("Dump that
Creep") and Transvestimentals
("3 Dressed Up as a 9") somehow make their chosen Trooper
tunes sound like songs they've
written themselves. (I suspect
that Davidicus is doing the
same with "Janine," a track that
turns out to sound post-industrial.)
Showdown: 22 Golden Nuggets
from Vancouver/Victoria
RANCH Community
Before I even popped this one
into the machine, I knew Showdown was going to include at
least some "golden nuggets."
After all, I've already reviewed
and admired Graham Brown,
Carolyn Mark, Coal, Radiogram, Auburn, Swank, The
Deadcats, Big John Bates, and
Linda McRae, almost half of the
contributors. But the joy of compilations is discovering bands
you've somehow missed before,
and there's plenty of that here,
too. JT King has a kind of Edie
Brickell delivery; Geoff Berner
does a heartfelt minimalist
accordion and vocals thing;
Flophouse Jr. naughtily lifts a
section of "Raindrops Keep
Falling on My Head";- Butch
Murphy makes you want to do
some sexy dancing; The
Ploughboys know how to do
extremely authentic old-style
country swing; and David P
Smith's track is a rollicking
accordion-driven and drunken
runaway train. From the first
track, with the unbeatable Gra
ham Brown and the Prairie
Dogs, to Linda McRae's flawless twangy harmonies at the
very end, this is one of the good
Love To Night
Have you been yearning for a
new Matthew Sweet album?
Have you always wondered
what The Replacements would
have sounded like if they had
pulled themselves together and
cheered up a little bit? If so, this
is the CD for you. Kleiner and
his band play energetic, no-nonsense pop songs (and more
often than not unabashed love
songs) with a clean-scrubbed,
well-balanced, straight ahead
sound. Their arrangements,
relying on drums, bass, a single
guitar or piano, and the three
guys' voices without a speck of
studio trickery, are just as spare
and simple as the cover art.
Blue Ridge Reveille
It was only three months ago
that Auburn sent us a sampler
EP (Is It You?)—now here's the
full-length   CD,   with   extra
tracks just as pristinely recorded in singer Shelley Campbell's
living room, including guest
artists from bands like Bocephus King, The Parlour Steps,
Coal, Boomchix, and Radiogram. The overall effect is
exquisitely slow, quiet, uncluttered, and heartfelt, with can't-
girl Campbell's songs drawing
on bluegrass, urban folk as well
as traditional country influences. Put it on and you'll want
to do one of two things: borrow
a child to stand on your feet for
a slow wedding-party type
waltz, or lie back with a cool
drink and relax as you never
have before.
Gaga for Gigi
Maybe you're the kind of person who resists bands that have
been getting a lot of good press.
If so, you've probably been
avoiding Voiumizer like the
plague. But I must urge you to
hear them if you haven't
already. It's not because of their
pedigree (which is amazing), or
even because I happen to agree
that they're Vancouver's
answer to The Strokes, White
Stripes, and Hives. It's just
because I think that anyone
who can listen to the first track,
"I Promise You, Thomas," and
not be utterly smitten must not
really be alive. There are at least
three reasons why this CD is so
good. One is the aforementioned pedigree—Voiumizer is
indeed a supergroup, made up
of two couples. One couple is
best known for visual art (the
world-famous Rodney Graham
happens to put out CDs on his
own, and Shannon Oksanen did
the cover); the other includes
founders of two of Vancouver's
most important punk bands
(Jade Blade was in The
Dishrags; Bill Napier Hemy
was in The Pointed Sticks).
This is often the kind of thing
that works well on paper but
doesn't sound so great, but then
there's reason number two,
which is Jade's songwriting.
The songs are catchy/poppy
but really do rock, and better
yet, they're perfectly suited to
Shannon's sincere, untrained
voice. Reason number three is
musicianship—all of the band
members are good, but let's face
it, Bill can play anything, and
just the way it ought to be
played. Isn't that enough for
you? •
www.mintrecs.com patigrticoii
the sound of spectacle by tobias
. ..with tendrils from Montreal...
The US Needs To Smoke a
The Senate is on its way to
- opening up the debate on
decriminalizing marijuana; and
now we face—perhaps over an
issue that many would consider minor if not downright
silly—serious challenges to
Canada's sovereignty from our
next-door neighbour with the
Big Stick, the United States.
Pressure is already being
applied by the US Colonel
Robert Maginnis, a US government advisor on drug policy,
had this to say about Canada's
liberalizing tendencies: "To
antagonize [US] government
leaders and grass roots leaders
because you [Canada] insist on
having a radical drug policy
that we [the US] will not ignore
in the long term, then its going
to have adverse consequences
and I hope we would be able to
rectify it before it comes to
blows." People, people. I cannot
stress it enough: this is the same
argument, the very same logic,
that every nation, hell bent on
conquering the planet, has used
against its neighbour before acts
of invasion. Although, today,
invasion can occur without military force or occupation—
instead we invite in the DEA,
we bow to US policy, we adopt
the US dollar and cultural standards, methodologies and languages—we should not belittle
the powerful effect of the
United States in quashing,
throughout the past 70 odd
years, every independent decision that disagrees with its own
interests. These interests, moreover are not logical. They are, to
speak politely, ethically fascist.
They are neither democratic nor
even "liberal." We may be in the
age of Pax Americanus, but at
this rate, we have surpassed
hybris; the Village Fool is now
ruling the most powerful arsenal on Earth, and the time will
come for the neo-postmodern
Nero to fiddle while the pluto-
Cleaning Out Campbell
The Province's May interview
with the Premier's Cleaning
Lady—Christiana Helzel—is
one of the funniest things I've
read in a long time. Take this
quote from Helzel, who claims
that Campbell actually does
have a big heart: "Gordon is
taking us somewhere," she
says. "He has a plan for BC, I
think. I mean, he must, right?"
I can't figure out if this is a PR
job gone horribly awry, if the
Liberals are this desperate, or if
Helzel is just as taken in by the
Premier's charm as his dog. He
does love his dog, she says. And
what do dogs do? Obediently
wait for their masters. A word
of advice, Ms. Helzel: the
Premier does have a plan for
this Province—it's just unfortunate that it has nothing to do
with milk bones and a whole lot
to do with doing it doggy-style.
Guess who's the bitch?   .
Christ(y) Clark: A Lesson In
Liberal Education Minister
Clark has made some brilliant
remarks recently. After claiming
that the BCTF was a "political"
organization, and that most
individual teachers would rise
above union politics—this,
despite the fact that 91.5%
voted in favour of strike
action—she has tried to manip
ulate the conditions of the yet-
to-be-formed school planning
councils to include "regular
teachers" and not "union
activists." So let's see here: a
politician accuses the teacher's
union of being political as if it
was a dirty word; she then
appeals to some sort of pre-
political individuality^ What
exactly is this subjectivity? Well,
a better name would be the apathetic teacher. (Not the sympathetic teacher, as that would be
a hot potato.) Next, she tries to
maneouvre the apathetic teachers into the school councils,
despite the fact that the sole
teacher is elected to the council
by the school's staff. Hello
democracy! Here's some blatant
political manoeuvring and suppression ofCliarter Rights, for it is
easy to see that the union
activists will damn straight get
on the councils with the current
91.5% approval rate of such tactics. And to top it off, Clark
refuses to give a position to a
student representative on the
board, despite the presence of
three parents. The whole goddamn situation stinks: students,
it's time to take action and organize walk-outs! Now, more than
ever, your voice is needed in
defence of your education and
Afrika Aware
Philly techno DJ Bob Brown has
laid down a 37 track mix of
hard-to-find hard techno storm-
ers   in   support   of   Project
Concern, a Zambia based grassroots organisation attempting to
stop the spread of HIV. All profits go to PC, which focuses on
providing food, shelter, and
education for Zambia's 75, 000
street kids—and that's just in
the capital, Lusaka. Although
Brown's mixing leaves a little to
be desired, this is a great way to
get your hands on some vinyl-
only techno tracks as well as
support where it's needed.
Look for it in your local, independent techno record store—
and if they don't have it, bug
them to order it in!
The Strange World of Olo J
Olo J Milkman—a man of many
missions—is now up to a
prominent Show #60 or so with
his "(W)ith / With (Intent To
Hear)" netstreaming series. Check
www.aebc.com/olo23/ with, html.
It's a crazy link to follow and a
crazy show to listen to, mixing
together obscure acoustic
oddities, experimental post-
everything, melancholic
melodies—you name it. Mr.
Milkman also produces incredibly rhizomatic line drawings.
Check the site, and keep your
hands greased for free copies of
the mix-shows that are slowly
being distro'ed through an
artsy-friend near you. Collect
and trade! •
Until humanity is worth n
fiscal responsibility!
e than
over mv a
book reviews by Doretta
In Which I Show Myself to Be the
Shallow Egomaniac that I Am. by
Comparing Cities I Visited as if I Were a
Judge of a Beauty Pageant and Get to
Use the Word "Subvert" Twice in One
I'm feeling a little displaced, having travelled to Toronto,
Montreal, New York, and
Courtenay within the space of a
month. When I got back to
Vancouver, I managed to catch a
single NewMusicWest show:
Mint Night at the Video In. As
Young and Sexy sang about the
Bowmac sign on Broadway and
the less-than-pleasing aesthetics
of Vancouver, I wondered to
myself: is the city I live in ugly?
1 thought back to my travels to
gain points of reference.
Toronto started as a heat
wave, a blur of allergies, and a
drunken night at a Sadies
show. When everything settled
down, it snowed, and I found
myself in the midst of a number
of zinesters who've become
respected media types. I also visited a friend who is a PhD nerd
and another friend who is prep-
ping to be the next Atom
Egoyan. Along the way, Paul
Koob from Owls gave me his
comic   book   Hamster   Man.
.com) I
laughed out loud when I was
reading it in a super busy train
station. The next thing I knew, I
was at a small press fair, chatting
up various poets, zine girls, and
art kids. I wasn't myself. Instead,
I was a charming human
being capable of making witty
remarks. I found a treasure:
Big Boots, "a zine by, for,
and about women of colour."
fwww.bigboots.shemadeth is.com)
What you've heard about
Toronto, if you've never been
there, is true: "back east" is
another reality altogether.
Everyone I encountered had
three jobs, or spent their days
cloistered in their high rent
apartments trying to write
essays/novels/articles. The city
was dirty and the air quality was
gag-me bad. The row houses
were cute, but my money's on
Vancouver if the two were competing in a beauty pageant.
Montreal was brief, a night's
stay on the way to New York.
Even in the pall of streetlights, I
could tell it was a beautiful city, a
shoo-in for Miss Photogenic.
New York, city of my
dreams. On our way there, with
our sights set on Book Expo
America, my friends and I had a
near-death experience, which
involved a tire flying off a semi
tnick. We came through without
so much as whiplash. Since then,
I've had a new sense of things:
less cynicism, more positive
Surprisingly, New York was
Miss Congeniality; everyone we
stopped for directions was super
friendly and helpful. My travelling companions and 1 had a
long talk about September 11
and New York. We came to the
agreement that we wouldn't visit
the WTC ruins. It would be disrespectful, too much like slowing
down to watch the wreckage
from a car accident.
I returned to Toronto and
flew back to Vancouver. Two
days later, I found myself in
Courtenay, reading fiction to
some punk rock kids. The air
was clean and there was so much
beauty. Courtenay was idyllic (if
you ignored the fact that no one
was sober, ever) and had a tree
fort locals dubbed "The Ewok
Village," so the whole pageant
business came down to a no contest, small-town-takes-it-all win.
Back in Vancouver, I read
books by Vancouver authors as
an attempt to relocate myself in
the Pacific Northwest.
Twilight Suites
(greenboathouse books)
My writing about Aaron Peck's
first chapbook is probably a conflict of interest predicament of
Federal Liberal Party proportions, but just because dude is
my best friend, doesn't mean I
can't admire his work. Peck's
poetry eschews the narrative-
and-line-breaks formula to play
with language. Yet, the poems do
subtly tell a story. Twilight Suites
explores meaning in a world
inundated with signifiers...
okay, I'll stop before I sound too
much like a press release.
Getaway Girl
(greenboathouse books)
Tlie Sudden Weight of Snow
(McClelland & Stewart)
That's not a  mistake.  Laisha
Rosnau has two publications out
this spring season: a poetry clipbook, Getaway Girl, and a novel,
The Sudden Weight of Sumo.
Rosnau is talented both as a
poet and as a novelist. Her poem
"Spawning" continues to go
through my head, and after I finished reading her novel, I realized the many ways it subverted
tradition algender roles.
I am most impressed by her
imposition of a "female gaze,"
which does not become apparent
until the climax of the novel. The
Sudden Weight of Snow should
make for a great film.
Dead Girls
(McClelland & Stewart)
Last year, I predicted that Nancy
Lee's collection of linked short
stories, Dead Girls, was going to
be the talk of the Canadian literary scene. I was right. Since the
mainstream press has already
discussed and dissected Lee's
debut work, I just want to add
that Dead Girls is all the cliches of
praise you can think of, plus the
power to subvert the ideals
jpheid by the Canfit pundit
i to r
i th
i the
Canadian publishing world.
In Dead Girls, the city I live in
is ugly because the stories highlight how Vancouverites didn't
care much when all those
women were disappearing in the
Downtown Eastside. Lee's book
revealed that the citv I live in
may be physically beautiful, but
is spiritually lacking. What is a
city without compassion or
empathy? What is a city that
doesn't care about its most vulnerable women? We can all pretend that a measure of a city is its
restaurants, clubs, and proximity to ski hills and picturesque
beaches, or we can suck up the
realization that a city is only as
good as how its people treat each
other. To do otherwise, to only
talk about places to shop and the
best venues to find a cute boy or
girl to fuck is akin to covering up
the Bowmac sign on Broadway
with a big ol' Toys 'R' Us monstrosity. •
* An unparalleled documentary on
the cultural impact of advertising.
PLUS: Negativland videos!
v Live dubbed improv to
classic Dick Tracy, Jungle Girl.
& Buck Rogers serials!
Repellant and engaging video works
bringing sordid existences to life.
E>  eini
Laugh, gape and cry to
new and classic bike shorts!
||f Mandatory vi
Eleven breathtaking found
footage film by masters of the form.
Featuring works by BRUCE CONNER.
_ and mah Mccormick.
True punk reality TV
The latest from Vancouver's
onlyfilmmakers' co-op.
7E^g2g®3S Thunderbird Interview Hell
with Motorama
Who are you? (Names, food of choice, political persuasion, musical appendage.)
Marcus: TacoTime 1 lb veggie wrapper, fascist, guitar/backing vocals .
Ash: Cheeseburgers, hopeless romantic, vocals/antics.
Carl: Yves Deli slices, hooligan, drums.
Tony: Garlic, anarchist, guitar.
Describe the history of Motorama as though all members past and
present were comic book heroes.
Well Motorcycle boy brought together Captain Cheesehead, Girlboy,
and Squid Girl to fight Evil Dr. Boredom. Dr. Boredom's right hand
man Junkman mortally injured Captain Cheesehead so Motorcycle
Boy, Girlboy, and Squid Girl had to continue on without him until
they were joined by a sympathetic Neckbeard. Squidgirl decided
she needed to brush up on her Dark Arts and travelled to another
Galaxy to do so—promising to aid the others if necessary.
Squidgirl's replacement Willy Doit did not last long as he was
injured by the Memory Man (another of Dr. Boredom's minions)
and fell by the wayside and was quickly replaced by Captain
Birdman. In the meantime Girlboy was frightened nearly to death
and had to beg off, and the Cantakerous Johnny Anger quickly filled
his shoes. All the while a loner by the name of the Reverend had
been battling Dr. Boredom on his own. He heard about Motorcycle
Boy and his group's plight and decided to cast his lot in with them.
The evil Dr. Zetetic and the devious Huskee Dudes ate Johnny
Anger's resources, so he also fell by the wayside and was replaced
by Kid Positive. Which leaves us with Motorcycle Boy, Captain
Birdman, Neckbeard, Kid Positive, and the Reverend. Motorama is
now a more powerful alliance than ever, eager to battle Dr. Boredom
and his minions.
Argue the importance of all other projects past and present associated with current Motorama members.
Marcus: Presently both Ash and I are in a band called Veronica
which is three bass players, a drummer, and synth stuff—very
rockin' and danceable. Carl was recently in Filthy Rocket which was
a very driving punk band. Tony used to be in a band called Civic
Pride who were very cool—one of my all-time favourite Vancouver
bands. Harold used to play guitar with the Black Market Babies
(became the Black Halos). Ash used to have this great band called
Piss Queen and also played in Suicide Club, 5 Against 1, and Adolf
Rave about your favourite piece of gear making sure to get a few
digs in about how yours is better than the other members of
Marcus: My favourite piece of gear is my 1966 Gibson Melody
Maker made in Kalamazoo, which was once owned by Tortoise's
Bundy who also hotrodded it (speizel tuning pegs, brass nut, Seymour duncan humbuckers, badass bridge, and a phase selector
switch). You'll never experience a better sounding guitar.
Who is most likely to get kicked out of the van when Motorama
goes on tour?
Marcus: We really don't want to mention any names. Let's just say
the most negative of us will be kicked out of the van.
Are all math rockers just prog-rock wannabees who can't sing?
Marcus: I think there's a little more punk/metal in math rock than
prog rock. I don't think you can realiy compare the two. Math rock
to me is quite a bit more aggressive.
What is the current relevance of mp3.com?
Mp3.com is potentially a very powerful thing, but one must promote their site which can take up a serious amount of time and energy. Basically, anybody, anywhere in the world can listen to an
mp3.com artist's music, given they have a broadband internet connection or a lot of time on their hands.
What was the worst piece of press on Motorama and how have
you used it to your advantage?
A Georgia Straight writer once wrote a very scathing paragraph about
us when we opened for Clawhammer and Close Captioned Radio—
something to the effect of "Indie noise-rock parody band—completely unlistenable godawful noise." In a subsequent review of
Botch, Black Halos, and Gob, he said that Botch had dethroned us as
"the worst band he had ever heard." We immediately posted his
comments on the home page of the Motorama site (www.motora-
ma.net). Ron from Darth Brooks is very jealous of the review and
wants something like that said about his bands. Some day he'll come
into his own....
When and where was the first Motorama show? Who was in the
band then and where are they now?
Our first show was quite some time ago (maybe seven years) at the
Malcolm Lowry Room. Motorama's lineup at that time was Marcus,
Bart, Denise, and Ryan. The last I heard of Bart was that he had a tattoo shop in Victoria. Denise finished her PhD in Marine Biology and
moved to Los Angeles to do research at the University of California.
Ryan became disenfranchised and left. Marcus still remains.
Where do you play in Victoria and with whom?
We've played a few times in Victoria—once at this all-ages hall
downtown, twice at a place called Thursdays. The first time we
played in Victoria, we played with Martensville and the other two
times with Darth Brooks who are a great band: kinda
country/metal/industrial. High quality stuff!
Where are Motorama CDs available, and are any more releases
Motorama CDs are availabe at Zulu, Scratch, A&B Sound, HMV,
Virgin, etc. We're about to start another recording that should be
availabe in a couple of months as mp3s at the very least. •
www.motorama.net and iLnvw.mp3.com/motorama
ph: 604.874.6667 (Marcus)      email: <marcus@motorama.net>
Hot Water Music
Bouncing Souls
Dropkick Murphys
Bad Reliscion
The   (International)  Noise  Conspiracy
Death By Stereo
Agnostic Front
98 Mute
June 25
r. epitaph, com by Brian Disagree
The Attack is one of those bands that
keep you continually interested in the
punk scene. Think of them as individuals
who not only wear their hearts on their
sleeves but who also actively fight for a
better world-be it serving food with Food
Not Bombs or trying to start a union at
your local corporate supermarket to give
workers the wages and rights they
deserve. They have a sound reminiscent
of Minor Threat but still provide their own
unique freshness and a bounty of energy
to make you want to come back and see
them live again. I had the chance to speak
to the lead singer, Jeff, and this is what
came of it...
Jeff Kraft of
The Attack
Inside your tape's lyric booklet you said you believed in the term
"Self-Revolution." I was wondering if you could explain what this
term means to you?
Jeff: Well, Self-Revolution to me just means focusing mostly on
yourself. Always questioning yourself and thinking about what you
believe in and embracing that for yourself. Not necessarily pushing
it among other people but just, like, what you believe is revolutionary. Obviously I don't think you can change the world in many easy
ways. It's just what's important is to change what's inside yourself
and fight against all your evils. Find out what your evils are and
keep questioning yourself. Make yourself a better person as
opposed to pointing the finger constantly at other people when
there are lots of evils inside yourself.
Is it kind of a group thing or is it more of a solo adventure?
I'd say a bit of both. I wouldn't say that being in a group of people
who believe the same thing is necessarily the right idea-otherwise
our ideas would never come out of the halls that you play in a punk
show or the scene called activism or whatever you want to call it.
For example, if you want to confront sexism and you're a guy, you
can't fuckin' just sit around with a bunch of guys and talk about
how much sexism sucks. I think it's important for guys to discuss
their thoughts on sexism, and feminism and the patriarchy. But, I
also think it's even more important to establish relationships with
women and talk to them—and find out how to destroy the sexism
deep inside you. Does that make sense? It's a constant battle to get
rid of all that has been ingrained in you through society, through
the media and just through other friends. You have to be kind of
conscious about every single thing. It's easy enough to just wear a
patch that says "Stop Sexism" or "Stop Racism" or something like
that, but you have to take it further than that. Patches just don't do
the trick, you know. It comes from deep down inside you: you have
to look at it and constantly talk about it with people; with women
who are your friends, or your mothers or sisters, whatever. You can't
just say in one statement: "I'm not sexist." and be not sexist or you
can't say, "I'm not racist." and not be racist. It's a constant struggle
and everyone has to question it constantly.
On your Mental Health 7" EP you mentioned that you have been
struggling with depression for about eight years or so. How has
that affected your life and why do you think you have been
depressed constantly or depressed for so long?
Well, I think there are many reasons. There is still a lot that I don't
understand at all. Just in the past little while, maybe the past few
years I have been questioning why I get in really, really shitty
moods—especially around the winter time. Just the way I treat people, how I can be really, really fucked up to people I love because of
my depression or whatever. I think there are a lot of reasons and
probably the number one reason why tons of people are depressed
is there is no space to know who you are—or there is no space to
find yourself and just be alone and think. Especially living in cities,
living in the heart of Vancouver, in a house with 10 other people.
It's so hard to find the space where I can actually sit and clear my
thoughts. I think it's pretty hard and it's pretty rare to find a spot
that you can claim as yours for five seconds, you know, without
buying it.
I think in punk rock depression is kind of over-romanticized.
Emo bands singing "Oh woe is me." I think for the most part I am a
really privileged person. My reasons for depression are a lot more
different then someone who has actually gone through a lot of shit
in their life. In that way it's like a really privileged thing. That's kind
of one thing that I don't like. I don't like playing a victim when really there are so many people worse off than me.
I feel pretty powerless a lot of the time. I guess that might have
a lot to do with it. Again with the space: there is no space to clear
your head, it seems and you can't just drop out of the system or
whatever, I don't know sometimes I wish I could just ignore it, but
I know that's not the right way. Either way, the world is going to get
fucked, so you might as well kind of fight. But it just kind of bums
me out sometimes because it feels we are fighting a totally impossible battle.
How do you empower yourself to try and create change in this
society? Even if this world is so shitty, I've got to try and make a
difference even a little bit. How do you empower yourself in these
very depressing times?
I empower myself, I think, by embracing what I find is fun and holding on to what I love and finding out what I love; constantly looking
for inspiration and finding it. Usually it's through friends and a lot
of the time it's through music. I don't know, that just gives me hope,
you know. Basically having hope. That's what kind of gets me
through it. Just kind of kicking my ass and realizing a lot of stuff
about myself, maybe that I can't change the way everybody thinks,
but I can definitely change the way I think and I can constantly work
on myself and with the help of my friends they can help me become
a better person in the process. I'll help them become better people
through direct communication. In activist circles a lot of the time
people forget about the idea of community or establishing community they just want to go out and change the world but I don't think
you can do that without establishing communities first.
Jeff, you volunteer with the Vancouver chapter of Food Not
Bombs. Food Not Bomb's motto is "Protest Not Charity." Can you
explain to me in more depth what your group is trying to say?
I think I'm kind of the wrong person to talk to about that one. Just
because I don't personally really agree one hundred percent with
that statement, really. I can't really comment on what they are trying
to get out of that. The way I agree with it is that we're not just a charity or a soup kitchen who fuckin' hands out really shitty food to
some homeless person who just goes, "See you later, whatever." I
think it's like bringing it to light that there's a huge problem with
homelessness and hunger. People are fucking poor and people are
dying because they can't eat food. All the cuts on welfare and just
everything that Gordon Campbell is doing right now. In that way I
think it's good to say that we're a fuckin' protest and be out there.
But at the same time I think it's good to realize whether it's a protest
or not I think most of the people who need Food Not Bombs I don't
think they really necessarily give a shit whether we're a protest or
not. I think they just want to eat and I think that's really important.
I think it's more important to feed people on Hastings Street than go
to a demo made up of mostly middle-class people who can afford to
eat on their own. Does that make sense?
Yeah, it does.
That's why I'm involved in Food Not Bombs above anything else. I
think protest is a really important thing but definitely like... giving
out free food. I think it's more important to serve to people who
actually really, really need it and actually depend on us and depend
on being helped.
In your 'zine, Another Industrial Product Of Immaturity, you mentioned that you'd rather be a kid at heart than an adult. What kind
of things do you despise about adulthood, and how do you think
society would react if Jeff Kraft was still being a kid when he was
50 years old?
I certainly hope I'm like that when I'm old. I hope that I don't
become like my parents. I hope that I don't settle down because that
is what you are supposed to do. When you are forty, that is the time
you are supposed to have a house, and a mortgage and a really, really good job. That's nothing I want from life—and I don't think that's
a natural thing to want in life. That's just what we are told, and for
people coming from Christian backgrounds there is a lot of pressure
to start families and support your families. Which I think is good—
to start families—I'm not saying anything's wrong with that—just
the way we are taught to do it. To be an adult, you have to be
mature, and you have to have a job; to have fun as an adult, to cut
loose or whatever, on a Friday night is going drinking in a bar. You
have to be drunk to have a good time—and that's something I don't
identify with right now—and I'm 22—and that's something I never
want to identify with.
What are your personal dreams which you hope to accomplish
while you're alive—other then playing in a band and trying to
make a difference in the world?
Well, I definitely have dreams of doing lots of travelling and I have
been doing travelling but I don't want to stop anytime soon.
Definitely doing what I love—which is playing in bands and making music and meeting people through that—that is something that
I see happening in my life for a while still—and I like that a lot. Yeah,
just spending a lot of time with my friends and the person I love—
and one day starting a family with her—but still embracing what
makes me young. Just basically have fun in my life—and find out
what makes life fun—and hold on to it.
That's all I have for questions. Thanks a lot, Jeff. Do you have anything to tell people about The Attack!, or yourself and anything
you have coming up in the future?
Well, basically I kind of want to say that these are my ideas and
they're not really ideas of anyone who I'm in projects with. We
talked a lot about The Attack—but those are mostly my ideas and it
doesn't go for everyone else in the band. Hopefully I'll be writing
more fanzines soon and going on tour with the band, recording
more—just having fun and doing things. I'm putting on more all-
ages shows outside of stupid bars for DIY bands that aren't bar-
rock/hipster bands. That's it. •
http://drglove.net/~stephen/ WAKING EYES
interview and photos by Ben Lai
"Utter brilliance," said one reviewer of the
new CD Combing The Clouds from
Winnipeg's The Waking Eyes. Bold words
perhaps, but if you listen to the album you
might not disagree with him. The album
offers its listeners an irresistible blend of nostalgic rock and pop rarely heard these days.
The Waking Eyes are made up of Rusty
Matyas (who is also in Duotang and
Novillero), with Matt Peters and Steve
Senkiw (both of whom were in The Pets). I
talked to the band before their show presented by DiSCORDER at the Piccadilly Pub.
10 june 2002
DiSCORDER: Please tell me who you are and what you do in The
Waking Eyes.
Matt Peters: Okay. I am Matt. I play keyboards and guitar and bass
and all that wonderful stuff.
Rusty Matyas: And you sing?
Matt: And I sing.
Steve Senkiw: I am Steve, and I just joined this band. I play drums.
And guitar on one song.
Rusty: Two! And piano.
Steve: Oh. And sing.
Rusty: I'm Rusty and I play guitar and the bass and the drums and
sing and everything. We all do everything together.
This is a different lineup then when I saw you in Vancouver a few
months ago. Myron Schulz was with the band then. So what happened?
Matt: The last tour went really well. All of us thought it went awesome. Then just when we were about to practice with Steve, and it
has been in the works for a couple of months that Steve was going to
join the band, Myron decided all of a sudden that he wanted to quit
the band. And so the three of us just decided to keep on going, since
we are all doing everything anyways, one person leaving is not
going to change the band at all.
Rusty: But it did change the band.
Matt: It did change, yes.
So how much did it change?
Steve: I'll say a lot.
Rusty: [To Steve] Is that an accurate description you think?
Anything in particular that's different?
Matt: We don't play Myron's songs anymore obviously. You know,
well, because he's singing on them.
Steve: Myron is irreplaceable, in a league of his own I think.
Matt: The strange thing is that a lot of his stuff is even rockier than
what we were doing. But now our new stuff is far more along that
vein, more rock less pop I would say.
Steve: And sloppier.
Matt: And more fun. Sloppy is just more fun.
Two of you were in the band The Pets, a band that gathered tons of
amazing reviews after they broke up. What is the difference
between The Pets and The Waking Eyes?
Matt: The Waking Eyes is a completely different band, but I guess it
formed out of the ashes of The Pets to some degree. After The Pets
died, me and Myron got the idea of doing another project and then
we met Rusty. And there is no way we can do another project without Rusty. Then we just went and started recording our album,
which took us far too long. Took us 15 months to finally get it done.
Where was it recorded? How?
Matt: Just in our basements, apartments, and garages. It's all bits and
pieces sort of recording.
Rusty: We got an all new view on how to record now. Write the
songs as a band first. Learn how to play. And then record them.
You guys have new songs written already?
Steve: Too many.
Matt: We have way too many so we are going to have to sabotage
some. As soon as we get back home we are going to do some new
From reading various reviews the Waking Eyes have been compared to The Beatles, The Beach Boys, Guess Who, Queen, The
Doors and many other '60s and '70s bands.
Matt: We listen to all of those bands. I guess we are influenced by
them. I think it just has do with the fact that there is more than one
songwriter or songwriting team.
Rusty: We didn't necessarily go out to make them sound like that.
Over the course of 15 months with the adding and layering it just
ended up sounding the way it sounds.
You guys are originally from Steinbach, Manitoba.
Matt: Steve and I grew up in Steinbach, and Rusty grew up in
Winnipeg. I live in Winnipeg now.
I used to live in Winnipeg, and Steinbach is known only as the
land of car dealerships.
Steve: Yeah, yeah, yeah. It is. I work at one of them.
Rusty: I think everyone in Vancouver is from Winnipeg at some
What can you do in Steinbach other than buy a car? If you have a
friend visiting, for example.
Rusty: There is nothing to do. I'm not from Steinbach and I am saying that there is nothing to do. Don't go to Steinbach! Unless you are
recording at Matt's house.
Steve: This girl I knew came and I didn't know what to do. I was
going to take her to the water tower. [Everyone laughs] "Look at that!
It's a water tower!" is all that I can think of doing.
Matt: You know what you can do though. You can go to the main
drag and this big parking lot there, where everyone parks their five-
litre Mustangs and Z22s. You can listen to them roar their engines
all day.
Steve: All day. It's insane. Steinbach's fun.
Matt: In other words, you drink and you do drugs. [Laughs]
How is the music scene in Winnipeg?
Rusty: Has its ups and downs.
Steve: Depending on what you like. I say the most popular style of
music that comes out of Winnipeg is like the "prairie" stuff. Like the
Weakerthans, Christine Fellows, or Greg MacPherson. They are
Matt: But they write songs that are relevant to the area. We don't do
that at all. We have zero relevancy to Manitoba.
Rusty: The funny thing is that I don't think I could write a song
about the Prairies.
Matt: How can you write about wheat and combines?
Steve: The thing is that they pull it off and are great bands.
Matt: Oh yeah, nothing against them.
A lot of bands come from Winnipeg. More than you'd expect for its
Rusty: It's the whole "there is nothing else to do but to sit at home
and play guitar" thing.
Matt: In Vancouver every street corner you get some new glitzy
Rusty: Righteous babes. [Laughs]
Matt: Yeah, and righteous babes everywhere. But seriously there is
so much more stuff to do here compared to there. Not to take anything away from Winnipeg; it's a fun town. I like it a lot.
Steve: [Checks his watch] I need to call my mom to tape Survivor and
Friends. [Leaves]
[Rest of the band screaming and laughing]
Matt: That's not going to be in the interview.
Rusty: That's on the record. Right there.
Matt: [Speaking directly into the microphone] Everybody! That was
Steve by the way, thank you. His telephone number is...
Rusty: Calling his mom to tape Survivor and Friends.
Steve:  [Coming back] It's totally getting taped. Awesome. Rachel is
almost having a baby. Oh, it's intense.
Matt: Geez.
Steve: Sorry.
I guess you've toured Western Canada. Do you have any interesting tour stories you would like to share?
Matt: I don't know if any of those stories are printable.
Steve: Tell them about the one where you wiped your ass on a t-
shirt! [Laughing]
Matt: So we are in Hope, we are tired, and we haven't-even played
the show yet. We were looking for a restaurant. We eventually picked
one and sat down at a table. And this loud feisty French girl comes
in. You know, from the moment she stepped into the room and starts
serving us, her mouth did not stop moving. She was just like "Blah
blah blah fuck this blah blah blah Pantera blah blah blah my tits blah
blah blah I'm a groupie." It just got too much. We were just trying to
eat. We were tired and we had headaches. And when we were leaving she heard that we had merchandise. So we went to the van to
get two T-shirts, since we have two colours—blue and brown. But I
have something brewing in my stomach so I grab the blue one and I
just let out the nastiest fart you've ever smelled in your life. And I
just flossed my ass with the thing. We brought both T-shirts back and
immediately she was pointing at the blue one and saying "I want
that one!" She bought that stinky shirt.
Steve: Poor 24-hour diner employee just trying to make a living.
Matt: That is going to make us sound like assholes. We were running on about two hours sleep though. We were sick and tired.
So what is the deal with the suits you are wearing on this tour
Steve: We want to look super good.
Rusty: People just want to see people look good in nice suits. I am
sure people would much rather see us in suits than what we are
wearing now.
Matt: I think every item you sell needs a gimmick.
Isn't that just like The Smugglers or Duotang? Guys in matching
Rusty: Yeah, but I play in Duotang. And I am the one that came up
with it. So I'm allowed. •
You can check out The Waking Eyes at ■www.endearing.com. I' ii
You never know what the future holds. Five years ago
John Schmersai found himself in painful circumstances
when fellow Brainiac member Tim Taylor died in a car
accident, suddenly leaving John with a much lighter
schedule. Where to go and what to do? Schmersai
began recording a solo album under the alias of John
Stewart Mill, but this was nothing resembling what was
to come. It was time for a change of scenery and New
York provided much of the changes needed to re-invent
himself. Joining with ex-members of Skeleton Key (Rick
Lee and Steve Calhoon) the three became Enon. The
first album, titled Believol, on SeeThru Broadcasting
Records, attracted some good reviews and made my
Top 10 of the year 2000. Nobody else seemed to notice
as far as I could tell. The day I write this the day the
new Enon release, High Society, hit #2 on the CiTR
playlist. Describing Enon isn't exactly easy. The songs
might display an odd power pop blast while the next
track might be a brooding mind-fuck. A clue about some
influences can be found on an old bio from See Thru in
which Schmersai "claims to like the first Jackson 5
record, Ornette Coleman, and the Residents equally."
Whatever they're doing to music I find most of it very
appealing indeed. So it was with pleasure that I
received word from John Schmersai that he would agree
to an interview. We went for the cheap-ass email type.
able to do more on Touch and Go
must have had a hard time losing
DiSCORDER: Have you beer
than with See Thru? See Thr
We lost them, more like. Well... so far not that much has happened
with this band and Touch and Go. This record was pretty much put
together and was ready to put out when See Thru Broadcasting lost
its funding and went out of business. So for a more straight answer,
yes we can do a lot more on Touch and Go because it still exists as a
Who produced High Society?
Dave Sardy. He's the same guy that produced Believo! and the gent
that inspired See Thru. He is a maniac... he was working on the Bush
record when we were mixing High Society. I never see him much
these days he's always working on records in LA where, reportedly,
the better studios are.
I just read that Rick Lee has left the band. True? Why?
That guy is also a maniac. He is someone we all respect and love so
much musically—that was never an issue. But Rick was never able
to make commitments, and it got in the way too much. He was playing with a lot of different bands and that'd be cool if there was a
sense of priority or responsibility, but it got mucked up a lot and
he'd be double booked on stuff that would piss many peoples and
parties off. I don't know what to say; we are still friends if that is
what you wanna know. We were tired of waiting to be a band.
What were you doing in Kentucky?
I lived there just before Brainiac broke up. I lived in Newport, which
is basically split by a river and bridges from downtown Cincinatti.
I had an incredible apartment in what was the Masonic Temple of
Newport, Kentucky. The landlord of the building was this crazy guy
who had a lot of buildings in Newport and he also collected
antiques which he had in a shop on the first floor of the Temple. But
it was more like a garage sale. He had some real space taker-uppers
in there that kind of extended up the stairs of the building and into
the second storey, including a mechanical chair lift that went all the
way up the first stair case. I had four crazy old rooms that connected to one of the Meeting rooms which was like the size of a high
school gym; the Meeting room was inhabited by some friends of
mine and they let me share access to the bathroom and kitchen
which was in there. I paid $100 for the four raw rooms and the loft
where my bedroom was—utilities included!
Has moving to New York improved your life, work, and creativi-
1 would have to say yes on most of those counts. It took me a while
to feel like I could survive here; NY is not an easy city to start a band
in. I'm glad we are based out of here despite our crazy expenses and
other difficulties... I feel like it pushes us and motivates us in so
many ways.... but I wonder what it would be like if we were from
somewhere else. What would be different besides finances and time
on the hands? I don't know! The thing I do like about NY is that my
work ethic has definitely improved. When I lived in the Midwest it
was easy to find work and have any job that would pay your bills
and so often I would just take any job because it was easy! Whereas
now I feel more motivated to develop some other skill besides the
band craft. I have had some crazy jobs while I have been here and I
think it's just because there is a larger variety of opportunities that
come from around here... and the hustle of all these people focused
and moving all around you kind of challenges your perspective.
When you set about making a song you seem to be into creating
more layers than most people. On top of creating great hooks and
playing you throw in some unusual sounds. Where does that come
I wish there was one answer, and I wish that this stuff seemed
unusual to me. Sometimes a song is developed out of a textured
sound and sometimes a song is written on, say a guitar, and a texture-rich sound is added for spice. We have a methodology of Enon,
and it is all about picking your nose and making music with it.
Tell me about the tracks made for the Cartoon Network.
The only stuff I've really done for Cartoon Network is some incidental music for some newer Banana Splits cartoons that they hosted on there website. Do you know Banana Splits? It was a live and
animated kids show popular on TV in the '70s in America.
Can you tell me about the John Stuart Mill album, how that came
about and your view of it in retrospect?
That record was about getting through the time after Tim had died,
it wasn't really like I was making an album. I was just making
recordings 'cause I didn't know what to do with myself, but I wasn't gonna keep working on the next Brainiac record in denial or
something. I needed to do something different as an exercise, but I
still needed to be making music. It is about the battle of a public and
private life. That is one of the reasons it ended up being called John
Stuart Mill. I also did not feel like myself, and so therefore did not
want to self-title it like a solo record or something. I like that record
a lot because again, it wasn't like I was making a record when I was
doing it. So it isn't very tainted by da business. Music is often very
personal—for the listener and the composer. That music I realized I
would have no intention to ever perform it live because I couldn't
do it honestly every night. That music is supposed to be an in-the-
home type of experience. Eventually, I figured out that I wanted to
be in a band again and then there was Enon.
The loss of Tim Taylor was tragic and sad, of course. Can you
speak about his life and meaning to you?
Tim Taylor had probably the most inspiring effect on me, musically,
of anyone I ever met. There are a few people in my life that have
shaped the way I feel and the way 1 go about music. He is the only
one you would know of... and anyway he is the reason I am here
being interviewed by you today. I definitely would not be making
the music I make today had it not been for playing with Timmy
'Taylor and Brainiac.
Would there still be a Brainiac today if Tim was still with us?
That is a difficult question to answer. It has been five years since he
died and much has happened since then. I know he would still be
making music as I still.am. Timmy had music flowing through him
and he wouldn't know what else to do. But bands break up for all
kinds of reasons because it takes more than just music to keep them
together and they are after all several people that need to get along.
It is like being married to many several people... I'm sure you've
heard that one before. We would've probably been on a major label
had he stayed alive... and you know how that goes... I think if we
didn't succeed in THEIR grand sense, (become a household
name) we would have been put on the shelf like so many other
bands, unable to make a record until it was a "viable commodity"
and that would've been too much for a band that couldn't sit down.
What artists do you find exceptional these days. Any Top 10 lists?
I'm not sure I can come up with 10. There are a lot of good bands
here in NY right now. Like Black Dice are probably my favorite live
band, Love as Laughter, the Rapture are a good live band... of course
everyone's talking about the Yeah Yeah Yeahs. I have to say I really
like the White Stripes, they're grrrrreat! We don't listen to much current music together as a band. Toko and I listen to a lot of ancient
music. If you want to get some inspiration, listen to some early field
recordings of people playing traditional music from all over the
world. I recommend the Secret Museum of Mankind compilations as
well as many of the Nonesuch Explorer series.
I understand there was a video for "Come Into" which I have not
seen. As a rule I don't watch videos and take that old
Replacements' view that the music should stand alone. However I
can understand how videos can make a career. How do you feel
about music videos? Necessary evil or something to embrace?
The Replacements Shmacements. I like those guys okay, and I like
the one video ["Bastards of Young"] with the speaker and the guy
looking at the record while he listens. That shit was so true and
funny, but they came at a time when video was blowing up! It probably turned them off. We think video could be great! There is so
much you can do, it doesn't have to be expensive, you just need a little ingenuity. Look at some of the Devo videos or anyone else in the
beginning: those videos are all about lo-tech ideas. No one cares
about video these days... MTV don't play anything. And that is why
the Replacements should start making videos now! We just made a
video for "Carbonation," a song on the new record. And we had a
great time making it. Actually our part was fun. I have to give great
credit to Paul Wilm who directed and edited it. He also designed
our website.
Does Enon have any plans to come up around this area
(Vancouver or Seattle) in the future?
Maybe in July/ August for Seattle. I don't think we'll hit Canada till
this Fall, however. Your country and our country need to make some
deals, 'cause it's far too expensive to come over and play one or two
shows vou kind of need four or five shows to make it worth a band's
Any final comments, thoughts, revelations, etc.?
If you have a pet please take care of them: walk them and clean up
after them and groom them. Definitely make sure you scoop the
poop. If there is a heaven and hell, I think that hell is mostly filled
with people who don't scoop up their dog poop from the streets. I
am tired of looking down when I walk around there is so much
more to look at! •
www.enon.tv The name alone is enough to arouse curiosity.
You may have seen those three exclamation
points emerging from the head of a cartoon
character or ending off a particularly emphatic
line in a letter. If you've been around town,
you may have also seen those three symbols
next to the words "special guests" on the
poster for the upcoming Trans Am show and
thought to yourself, "Wow, they're pretty
excited by the special guests... I wonder who
they might be."
Of course, there is reason to be excited,
for those three exclamation points actually
stand for an eight-piece collective of musicians who have fashioned a sound as energetic and unexpected as the name might
suggest. After you see them you will be
talking about them and, so you don't
have to keep calling them "that band
with the three exclamation points," you
should know, right from the beginning,
that !!! is meant to be pronounced as
three of the same sound. ChicChicChic
and TookTookTook are both perfectly
Despite   calling   to   mind   the
dadaist poetry of Kurt Schwitters, the
origins of !!!'s name lie elsewhere.
"There's this song by [latin percussionist] Mongo Santamaria called
Dot Dot Dot," explains guitarist
Mario Andreoni. "We were interested in the three repetitive sounds."
They finally settled on a combination that embodied the repetition
and excitement that would form
the foundation of their sound.
Andreoni adds, "The song Dot
Dot Dot, by the way, is off a
record called Mongo Explodes in
case anybody wants to check it
out.   I   think   it's   a   fantastic
For those who have never
heard !!! before, their music is
fairly hard to pin down. Razor-
sharp dynamics collide with
magnificently      propulsive
rhythms to create a sound
that will get your head nodding by the end of the first
bar and have you dancing
wildly by the end of the
song. "The original intent
was always to make some
thing very rhythmic," says Andreoni, "but then
have the way we play music be over it."
The eight members of!!! (John Pugh, drums;
Tyler Pope, guitar; Justin Vanderyolgen, bass;
Mario Andreoni, guitar; Allan Wilson, sax and
percussion; Dan Gorman, trumpet and percussion; Nic Offer, vocals; and Jason Racine, percussion) spent much of the early '90s playing
in a series of different punk or experimental
bands. When they got together, the idea was
to situate that more experimental edge within a framework you could actually dance to.
Giving a hint to the origin of their
sounds, Andreoni relates the following
anecdote: "We used to have this really bad
stereo and you could never isolate the CD
from the turntable, so whatever you'd play
on the CD player would also play over a
record. We used to play [New York guitarist/composer] Glenn Branca over a lot
of Latin stuff and we found a lot of common links. They match rhythms a lot."
Since 1996, !!! have been finding
those common threads in music and
tying them together in a grand fashion.
Along the way their incendiary live
shows have won them a devoted following. "We've done four US tours
and a lot of regional stuff," says
Andreoni. "The first tour we did
we'd be playing straightedge shows
and a lot of those kids didn't like it.
On the most recent ones we played
a couple of towns where people
didn't know us. I like doing those
because it's a challenge. Usually
there's a small group of people
who are pretty into it versus a lot
of people who are kind of indifferent.  For the most part we
haven't had hostile reactions like
we used to."
After honing their sound on
the road, !!! finally released
their self-titled debut album in
2000 on the Gold Standard
Laboratories label. The record
managed to capture the energy of the band's live performances and did not escape
the attention of Chicago stalwarts Touch and Go, who
have  since signed   them.
"Having Touch and Go
behind us now has made
things a little bit easier. The recording budget is a
bit bigger and we have a little bit more to work
with," says Andreoni, looking forward to the
band's planned activities for the rest of the year.
"Later this year we're going to put out a 12" in
the old disco 12" style. It's probably going to
have three songs on it. The new full length will
probably be out in 2003."
Since the first album came out, six members of the band have moved out to Brooklyn
while the other two have remained on the
West Coast. "It definitely adds a new wrinkle to things," says Andreoni. "Me and the
other guy who live in California have been
flying to New York quite often and we
practice as much as we can. The people
that do a lot of the writing live on both
coasts so a lot of the ideas are exchanged
on tapes. It's definitely harder, but so far
everybody   has   maintained   a   pretty
strong desire to keep on going."
And it would indeed seem that the
challenges posed by being on opposite
sides of the country have not diminished the band's ability to make music.
By the time you read this, the eight of
them will have regrouped and taken to
the road with Trans Am. Although
claiming to have not heard Trans
Am's new album, Andreoni says,
"I'm pretty excited to go on tour with
them because they're into unusual
foundations of music and they also,
I guess, are pretty funny, too. A
mutual friend said they were really
fun to tour with."
Whether or not you believe
that Trans Am have jumped the
shark with their recent musical
offering is another matter for
another time, but with !!! on the
bill, it is guaranteed to be a
memorable evening whatever
happens. "We've never played
in Vancouver," says Andreoni,
and given that they've got a
new prospective audience to
win over, we can expect only
great things. •
.'.'.' play on June 8 at Richard's
with, erm, Trans Am. Their
first album is available in the
punctuation section wherever
fine records are sold.
Jesse Simor
12 june 2002 CORB
The resurgence of indie roots music isn't limited to Vancouver, as
was evidenced by the crowds straining to get in to see two Alberta
bands at the Railway Club on the Victoria Day weekend. One of
those groups, the Corb Lund Band, started in 1993 as a country
music-based side project for one of the founders of Edmonton
combo the smalls. The smalls blazed across Western Canada and
Europe for over a decade, but threw in the towel in 2001, leaving
Corb free to hit the road and tour behind his newest release, Five
Dollar #///What distinguishes Corb from the "been to Austin, got
my cool retro duds" wannabes is his genuine cowboy pedigree.
He can rope and ride, but he's also seen enough of the world to
write intellectually stimulating material well beyond the pablum of
commercial Hot New Country.
DiSCORDER bucked the recent trend to email interviews and
caught up with Corb, in person, before sound check at the Railway.
by Val Cormier
DiSCORDER: I guess we could start with a quick recap on your
band and where it came from.
Corb: I grew up on a ranch in southern Alberta, and when I was 17
I moved to Edmonton and started a rock band. We started the smalls
in '89, retired last year. We were, like, a cult phenomenon. We could
never get a label to sign us, but we had a rabid cult following, especially in Western Canada. In '93 I started this band, and we put out
two records and toured a little bit during the breaks. This is the first
recording with this band that I've put a lot of money into, a lot of
time and effort.
So this was more of a side project. Was there any overlap with the
For the listener, it's probably quite different, although I've heard
people say they can hear a few threads of similarity. I was one of the
songwriters in the smalls, too, and some of the tunes that they have
were written on an acoustic, and they could've gone either way.
I always say the smalls were like a modem Black Sabbath 'cause it
was pretty heavy. We were into Slayer, Sabbath, mixed in some
country, rock, jazz — but it was fundamentally pretty heavy.
How does your coming from a rural background contribute to
your approach and sound as an urban country band?
There is definitely a different vibe, whether it's from our childhood
upbringings or just the vibe we grew up with. Part of it is that
there's a work ethic there: some of us are from the farm, and we
grew up hauling hay, chasing cows, gettin' up in the morning to do
stuff. I like to think that putting a lot of work into our music and
touring comes from that.
Not only did you grow up on a ranch, but I hear you've got rodeo
in your blood as well.
Yeah, my dad, who's a vet, was a pro rodeo guy.
And that's you on the cover of the new album?
Yeah, that's me on a bull steer. I wasn't a champ, but I was third
place in the Calgary Stampede one year, so that was the height of it.
I went pretty hard at it for about four years, from 11 to 14. That was
the big news, being at the Stampede. And my mom—this is kind of
cool—{reaches for picture in CD liner notes] this is her in 1959. That
was the first year they had barrel racing as part of the major events
at the Calgary Stampede. She won it that year and the next. And
this is Dad [points to another picture in liner notes]—this is a family
affair—he went to the National finals a bunch of times. They rodeo'd
in Africa, Australia, all over the place.
When did you pick up on the music thing?
I think I started playing music at about 14, something like that. I
fooled around with an acoustic before that, but me and my friend
got into rock music about 14, and learned to play electric right away.
The first music I actually played on guitar was rock music, but I grew
up singing all those western story songs when I was a kid: Marty
Robbins, Kenny Rogers, Willie Nelson. I think Jim Reeves is the first
guy I can remember singing songs of, in the car or whatever.
As a songwriter, what kinds of things inspire you?
There's a lot of stuff, on the new album especially, that draws on
Alberta themes. Not specifically Alberta, but Western Canadian
rural themes. I lived in Austin last year for half of the year; I was
writing down there. My friends were bugging me, asking me if I
was going to come home with a bunch of songs about Texas. But
actually it had the opposite effect: when you're down there, they're
so proud of being from Texas, and it kind of makes you think about
where you're from, you know? It had the effect of inadvertently
making me write more songs about home themes.
How did you like Austin? Is it still a mecca for songwriters?
Oh yeah. It was great. I want to go back there in the wintertime. I'm
trying to align my career with the weather: summer in Canada, winter in Texas. At first I played open mics and then I started playing
gigs. It wasn't very hard. It's hard to make much money playing
gigs there because there's a million bands, but for a creative writing
thing and for networking, it's really good. I met lots of people, and
people started to come out to shows. It was kind of a confidence
builder, because it is, like you say, a "mecca" for country writers and
I was kind of intimidated at first. In the end, my stuff stood up, and
people quite liked it.
Is there a local scene still in Austin, or is it all formed by outsiders
these days?
Well, like any big city, there's a lot of people from other places
who've gone there, right? But it's a pretty creative vibe there. It's
probably true that unless you're touring, it's tough to make a living
there. I think there's a lot of bands there, here, everywhere else, that
do well in their town but don't get out on the road. And I think
that's really crucial. I've seen it a hundred times: band gets hot locally, starts playing shows, people come out, it's good for a while, and
then it burns out because they play too much in town and don't do
anything else. I only play Edmonton a couple times a year, maybe,
and spend the rest of the time touring.
Do you like touring?
It's tiring sometimes, but no, I like touring. For me, making records
is cool, but the thing in the back of my head is that if you can't pull
it off live, you're kind of faking it. I've always viewed live performance as the bedrock, the fundamental core of everything. So yeah,
I'm really into touring and playing. I like it.
I see that your producer on this new CD is Harry Stinson, who's
best known as one of the Dead Reckoners, who formed their own
indie label and are considered mavericks on the Nashville scene.
How'd you get him on board?
It was one of the most satisfying musical things I've done. My
manager in Edmonton had done some publicity for the
Reckoners before, I think. She sent him [Stinson] my last record
and asked if he wanted to record a couple of tunes and see how it
goes. He was really good about it, he did the gig and spent the
entire weekend in the studio with me and recorded two songs.
We had fun and I think he liked my stuff. It went really well, so
when I was in Austin I went to Nashville and recorded for a week
and a half. We finished the other half up in Edmonton in
November. Harry's quite amazing: he's an A-list backup vocalist
for Nashville sessions, and a session drummer. He's also a writer
and musical director for TV shows there. He's kind of a Civil War
buff too, and I'm into that stuff, so he gave us the historical-Civil
War tour of Nashville.
I noticed at your New Music West show that the drummer from
Nickelback got up and played a few songs with you. What's up
with that?
Ryan was the original drummer in our band, actually, and he's
played on all the records. The whole time 1 wasn't fully committed
because of the smalls, though, so when he got a call a couple years
ago from his buddies from Hannah [Alberta] to fill in, I was like,
"Yeah, okay, whatever." All of a sudden, about six months later it
was "boom!" And good for him: I don't blame him at all because I
wasn't playing full time either. We go way back.
I guess you've heard it's fairly trendy these days to slam
Yeah, I've heard a lot about that. It's just jealousy, I think. [Laughs]
Whether it's your style of music, I mean, whatever... more power
to 'em. The thing that I really respect is that they're out there
doing it, breaking all these records, and they're not trying to pretend they're from LA or anything. They're always talking about
Alberta, eh? I think that's great. I don't really listen to that much
rock radio anymore, but from what I've heard, their stuff is actually quite hooky.
Your new record's out on an Edmonton label, Stony Plain, which
is better known for its roster of established blues acts.
Yeah, Holger [label owner] is pretty selective, which is good. But
he's been doing it for so long that whatever he puts out gets a listen
because a lot of people respect him and he's well connected. Yeah,
I'm excited about that. And I get free Ian Tyson records, too.
I'd like to meet Ian, actually. He's a favourite of mine, too, just
because he's been one of the most successful people at capturing
Western Canadian experience in song, I think. Not a lot of people
can do it. It's easy to write about Texas, or whatever, because it's so
established, but it's more difficult to write about Calgary and not
come off sounding corny. It's hard. But he's done a really good job
and should be commended for his documentation of the Western
So do you ride much anymore?
When I can, but not as much as I used to. I go and visit the folks
two, three times a year and ride a bit. I had a horse named
Rooster since I was about 7 or 8, a little cow horse. He died about
two years ago, which was a drag, so I haven't had my own horse
since then.
Guess we should wrap this up—anything else we need to know
about Corb Lund?
I'm pretty into poker! [Laughs] I've been playing a lot lately. I'm a
student of the game. It was pointed out to me that there's a lot of
gambling references on the new album, which I didn't realize at
first. I've been playing at the casinos here and doing pretty well.
They don't know how to play it right! We're making Corb Lund
playing cards to sell at gigs, you know. •
More info and fine sioag available at wiew.corblundband.com
13E^3JiSSS T.R E
The setting: An impromptu
skate session at an isolated,
low-stroll oasis of Vancouver's
industrial locale. Our boards
narrowly escaped the scourge
that is Vancouver's average
barometric condition. The
goddamn rain spoiled another
day. You best believe Sweet
Jesus, with the help of Christa,
Lori, and Dan, were going to
take it to the STREETS.
Photos by Lori and Dan
DiSCORDER: To whom do STREETS owe the largest amount of
James: Hey guys, who do we owe the largest amount of gratitude?
No, RAD-itude, I said.
James: Oh... RAD-itude!! [Laughs] I say the movie Thrashin'.
Jonny O: We owe fuckin' RAD-itude to beers at 7am, and fucking
skating naked down hills, just your average bullshit. Just livin' gnar.
It's our lifestyle man.
There is not a single personality the STREETS owe RAD-itude?
Jonny: Uh... yeah, Animal Chin is pretty inspirational.
Mike P: Yeah man, Animal Chin!
Jonny: Yeah man, the spirit of Animal Chin! And the Z-Boys!
Everybody should go see that movie, man 'cause that truly represents what skating and the STREETS are all about. It is Vessence of
Indeed the RAD-issance.
Jonny: Yes! That's what they were, man, the RAD-issance of the 20th
James: Also, skating peoples' living rooms is pretty rad. Definitely
Georgia Street living room sessions.
How do you guys find the time and energy to juggle both skateboarding and the rigorous musical requirements of such a band?
Mike: It's harder to find time to drink beers.
Jonny: Well, it's not hard to find time at all. We dedicate ourselves to
both elements of our lifestyle. I mean, just skating from Point A to
Point B is enough, man. Like, anyone can incorporate getting rad
and shredding into their every day lives. Doesn't really matter. It's a
skate of mind.
Corey: Plus, we all try to get at least an ollie in at band practice.
Jonny: But with STREETS, it's like we did our research, man. We'd
go up to Mary Poppins [mini-ramp], and shred, then go directly
inside and channel our energy into the music.
That sounds totally RAD!
Jonny: Well this was back in the Corey Webster days [pre-STREETS
band], but he was kind of a kook in the movie Thrashin'.
You thought so? I thought he exemplified the RADness of the
Jonny: Well, we just go by what it stands for you know—STREETS:
Skating Totally Rules Everything Else Totally Sucks.
So where do the STREETS like to skate in Vancouver?
Jonny: Me, personally, I like alleyways. Not any particular one,
Mike: I like alleyways, and I like mini-ramps too. I can't really skate
bowls or anything. Never really got the knack for it. Originally, I'm
from Ontario, and they didn't have that sort of thing there. I'm more
about alleyways and mini-ramps.
Corey: And the streets, that goes without saying.
Jonny: Zarlac [Hastings Park] is pretty good to carve around in. But
lately I've been into Point A to Point B skating. Just putting a walk-
man on and going really fast. Cruising through traffic. Lazy ollies.
There's a nice hill on 7th and Fraser. It's really fun. It's got these big
speed bumps at the bottom, you just get really fast when you pump
over them. Totally fun.
Isn't it hard to skate with a walkman on? Personally, I'm not a
phones type of guy.
Jonny: Nah... 'cause you're stoked, man.
Corey: Nah, it isn't hard.
Jonny: One of our songs is about listening to Suicidal Tendencies
and skating down a hill. You just go with the vibe or whatever.
What else you guys got playing in your walkmans?
Jonny: Fuckin' Thin Lizzy, man.
Mike: Thin Lizzy, Deep Purple.
Jonny: Just a lot of '70s classic rock. Diamondhead. They are so good.
Corey: Hawkwind.
Jonny: Yeah, Hawkwind totally rules.
What about the Nuge? He was sort of on the fringes of skate-culture
in the '80s. The music you guys make reminds me of that sort of...
Mike: He's a piece of shit.
Jonny: No, not really into the Nuge.
Mike: I just don't think we really stand for anything that he does.
Sort of redneck, intolerance.
He married an Asian woman.
Mike: Oh. Well, really, I guess maybe I shouldn't have judged him so
She was only 15 years old, though.
Jonny: I'm more into Dinosaur Jr.
Christa: Isn't there another band called The Streets?
Cory: Yeah, there is... or was. The Streets were like a glam, butt-rock
band. So bad.
Don't you fear that they may come back to haunt you guys for jacking their name?
James: They are probably all dead.
Jonny: There was going to be a lawsuit. But we are STREETS, not
The Streets. It's like we're pretty harsh about how rad skating is. And
so if you don't skate, you suck. Nah, man. Just kidding. Sort of. I
mean, people read into our name, and they infer that we don't like
anything but skateboarding.
Were you guys big fans of Thrasher's Skate Rock collection in
the '80s?
Jonny: Yeah! Dylan Doubt [local skate photographer] brought us
back a box of them from the last time he went to Thrasher in San
[The interview pauses as all four band members begin to hold a ramshackle
High-Jump Competition on the loading dock. With Mike steering home the
winning jump, the combatants in this children's game, still weary from
their gruelling contest, find enough flair to reach back into their reserves,
and go on with the interrogation.]
Who did you guys look up to when you were younger? Particularly
in Vancouver.
James: I'd have to say that the people I used to find heroic changed,
or whatever. Or I changed, and I really don't find them to be very
inspiring anymore. Maybe Sluggo. A lot of those older guys own
companies now. It's kind of a disappointment in skateboarding. They
14 june 2002 just aren't the same.
Their role as hero changed somewhere along the line... or your
idea of a hero changed, sort of, huh?
James: Yeah. But my friends, really. That's who are my heroes in
skateboarding. Always have been. I mean, those are the people who
always influenced me. And Gator, before he murdered his girlfriend.
Yeah, to all the fallen skateboarders... who murdered their girlfriends.
Jonny: I really looked up to James Lindsay. Jamer. When I lived in
I saw him win like some X-treme Challenge that was on TSN last
year. Smile on his face the whole run, clearly an underdog, against
all of the east coast heavy weights, and Jamer, probably drunk—
and to the bewilderment of the cheeseball MC—landed a perfect
run. It was flawless, man. So I can see why you might have been
hyped on him. The MC was counting him out as a washed up
party animal, and here the guy busts a flawless victory.
Jonny: Yeah, man. I also like Rick [McCrank], Keegan [Sauder],
Quinn [Starr], Dylan [Doubt]....
Well, what about back in the day? Those guys are current
Jonny: Maybe Darcy Dennis. He's the guy I'd always hear legends
about when I was a kid.
Cory: I grew up with the Skate Ranch in Richmond, and all those
dudes are pro now. So I guess those were the guys I looked up to.
Carlos Longo?
Cory: Fuck, I remember him. China Creek legend. Destroyer. All
those old Jaks were fuckin' scary.
Jonny: Going back to Victoria, I mean, the heroes there were like
Syd Clarke, Jeff Halliday, he was really fuckin' good.
Mike: Jeff is still rad.
Jonny: He just doesn't skate as hard as he used to. Like all of us,
really. Now it's Keegan and Quinn, those kids. Super good style.
Dylan. I mean, I grew up on the island. So hands down, best style
ever, James Lindsay. When he skates, I just wanna stop and watch.
He's a total natural, he just flows. Skateboarding nowadays is getting so mechanical. I mean, it's starting to get a bit better, with people paying more attention to style, and things. Like back in the day.
They just wanted to surf, and carve. It's all about style.
Cory: People that can skate everything.
Jonny: Like Rick, man. He can skate everything, man. Like back in
the day, you had to have style. Everybody had style. Now theres
just robots out there... but I guess it's all about having fun, anyways.
I think we prefer the old ethic in skateboarding for sure.
Just getting rad?
Jonny: Yeah, whatever. Just dorking around on a curb, or whatever.
Just having a super good time.
Is it safe to say that you guys apply the same aesthetic to your
Everyone: Totally!
Jonny: I mean, originally, we just wanted to be a three-chord skate
rock band. That was Cory Webster. And we just got a lot better musically, so we were better musicians, so naturally, we wanted to just
become more technical and stuff. Now we will just write a pretty
technical song. Then write a shitty three-chord one to make up for it.
We will spend like three weeks on a song, then maybe spend five
minutes on another.
Cory: But we definitely are not into like skate punk music of today.
Jonny: Like snowboard rock, man. Totally sucks.
Mike: I think the consensus is that we basically hate new school
skate rock.
Jonny: I don't know if we hate it, man. Like early Bad Religion, early
NOFX, you know: back in the day.
Mike: I said New School, though. Not back in the day.
James: Back in the day, though, that was New School! Like
Descendants, and All. We're basically trying to fuse Classic Rock
with fucking old school pumk. A little bit of cross-over metal.
Cory: Some cross-over metal, mixed with a little Celtic inspiration.
I take it then that STREETS is not a Snowboard rock band?
Cory: No.
James: There's nothing wrong with it, though. We don't slag anyone
for doing whatever.
Do you guys allow the people in the pit to skate at your shows?
Jonny: We played at Video In and the kids were just going fucking
crazy. They were doing coffin rides into each other and acid drops.
Mike: Like we played with this band called The Attack.
Jonny: They were so good.
Cory: Like that guy street-planted his bass at that one show. And
Jonny did a couple of ollies.
Jonny: Yeah, I ollied off the stage. On the beginning of "Cory
Webster" on the album, there's a skate sample, and what we were
doing is playing live, and I'd ollie just like the part on the CD.
Would you guys agree that there hasn't really been a true skate-
rock band—a band that actually lives and breathes skateboarding, as well as making it the focal point of the music? No one has
taken it to interstellar achievement up to this point.
Jonny: Usually, one guy in the band skates or something, and I don't
know—like Suicidal Tendencies, did they even skate? I know
Metallica skated.
Mike: They did?
Cory: Yeah. Remember, that's how what's-his-name broke his arm-
James Hetfield.
Mike: Didn't Axl used to skate?
Jonny: Yeah, I think he did. I heard that, too. Yeah, I mean, skateboarding has always been cool, right? It's always been a force in
arts and music. Since the beginning.
What are STREETS' short-term goals?
Jonny: Hopefully, go on a little tour, man. We have a bunch of
friends in SF, a big crew called the Gnargoyles; they're really rad,
they came up here and played at one of our parties and everybody
got beat up. They're called Hightower, the band. So we will go visit
them. We have connections all along the coast, you know.
Mike: We are also playing some shows with Hightower and Three
Inches of Blood.
Jonny: Just lots of shows with our brother bands.
Do those dudes skate too?
Jonny: Yeah, some of them do.
Mike: No, they do. They all skate.
Jonny: Actually, we're planning to do a side project with Three
Inches of Blood. It's going to be called Blood On the Streets. Three
singers, two drummers, two bass players, four guitar players... we're
going to try and record a song with Jesse at Wreck-age, hopefully.
We're hoping it will be pretty epic.
James: We're also playing Naughty Camp 2002.
Jonny: Our goal is just to play. We are also planning another record,
and we are going in to record for that right away, too.
Mike: With Jesse at Wreck-age, of course.
Jonny: He's totally cool, I mean, he did so many local bands, The
Attack, Three Inches—he knows punk rock. He's just rad, you
know? It's like you go to another city, and guys aren't into what
you're doing. It's like, Jesse just knows, man. It's cool.
Mike: If you fuck up, he'll be patient with you, and if it's good, you
know. He tells you straight up. Encourages you, and stuff.
With all your new-found authority out on the streets, do you guys
seem to be butting heads with Vancouver Police agenda? They are
trying to clean up the streets, you know.
Jonny: Well, they don't oficially know who we are as a band, but we
had a party the final week we lived on Georgia Street which was
just the fuckin' classic shit, man. We brought a couple of quarter
pipes into the living room, so there was this huge session going
down in the house. Big wall-rides and stuff. At about 1:30am, the
cops came, and they came with the intent to just maim the occupants of the house. No warnings, no fucking questions asked, they
just started beating people down. And some kid got his lung punctured. And just, a whole bunch of lame shit went down. Total chaos.
Corey: They had their dogs and everything... just running through
the house macing people, and beating them up.
Jonny: Like I was the first person to talk to them, and I just wanted
to sort the situation out... and the police officer is just yelling in my
WASTED!" And I was like, "No, we're just running this party, you
know, and now I want to rationally sort this out." Then he grabbed
me and just threw me off the stairs onto the cement in the front. Like
nine stairs, to cement. And well, I landed it. Then a cop with a dog
But it was all good, I mean, we just circled the block, and then came
back, and moved our gear out the back, over to the Three Inches
Mike: Yeah, they had like about six people in the paddy wagon, and
they just dropped them into the wagon, pepper-sprayed, then
dropped them all off on Hastings and Main at five in the morning.
Corey: Our friend Adam C made a video tape of the party and it's
all on our website... skating in the living room, our last show there,
and stuff.
So although the Vancouver Police may have succeeded in cleaning
up the party, they certainly couldn't clean up the STREETS, could
Jonny: No, they couldn't. They can beat us down, mem, but they can
never take our spirits. •
Check STREETS on the World Wide Webster: http://ivww.geo-
cities.com/websterworms/streets.html. See STREETS live at Video In, June
6. Bring your skate and get a buck off admission. STREETS ride boards
furnished by Antisocial at Main and Broadway, the only "snowboard-free
skate shop" in the whole Vancouver area. No bikinis, no bullshit, skater-
owned and proud. They would also like to pay some RAD-itude to The
Creepy Friendly, Wreck-age Recording, Three Inches of Blood, and the
Gnargoyles. Sweet Jesus, who conducted the interview, rides boards furnished by Speedies Skateshop, wears pants by Rex Cox menswear in
Mission, BC, and only has himself, and His Father, to be thankful to.
Blessed Wishes! •
15 S^ojj^gs "Past Due" is a subversive protect and the publication of Everyone In
Silico bu No Media Kings is equally so. No Media Kings, Munroe's own
indie press was founded to publish his second novel. Angry Young
Spaceman. His first book, Flybov Action Figure Comes With
Gasmask, was a HarperCollins book that received great press and a number of accolades. Due to political reasons, however (explained below in the
Q & A), Munroe left the publishing giant. He has since regained the rights
to Flybov Action Figure and has made it a free download on his website.
The No Media Kings website also features a number of resources for
zine makers and those thinking of self-publishing a book-length xvork.
There's an excellent section titled "If you can make a zine, you can make a
book" and other DIY pearls of wisdom.
Above all, it's good to know that with the collapse of book distribution/publishing giant General Publishing/Stoddart and the continued dominance of giant bookstores in Canadian cities, Jim Munroe is around to
champion the indie cause in the big, bad literary world.
DiSCORDER: When were you editor of Adbusters?
Jim Monroe: I was managing editor of Adbusters between August
1995-August 1996.
How did it influence your philosophy and your approach to being
a writer?
My views were already quite similar to those in the magazine before
I worked there—it had been my favourite magazine for that reason.
But working there showed me that you could create something that
was professional-looking without having to hire professionals, as
long as the project was well-organized and interesting enough. Also,
I learned a lot about media activism by seeing how a creative campaign can get ideas out into the mass culture.
Why did you start your press, No Media Kings?
Three reasons. The first one was that I was never comfortable with
dm kjcdgjebe
by Doretta Lau
"You'll want to run this through a spell check—I'm -writing you from a
feminist science-fiction convention in Madison, Wisconsin and so I can't
cheek it myself," wrote Toronto writer, editor, and publisher Jim Munroe at
the end of his email interview His third novel—a highly politicized sci-fi
opus— Everyone In Silico, arrived at the DiSCORDER offices accompanied by an envelope marked "Past Due," which turned out to be a sample
invoice directed at one of ten large corporations. Everyone In Silico is
set in a corporatizedfuture (Vancouver 2036), and it was impossible not to
mention the corporation? bu name. Munroe didn't want to give am/one free
advertising, so he invoiced—among other megacompanies—a coffee chain,
a retail clothing giant, and an international beverage company for product
placements in his novel. Though no one sent a cheque, several accounting
divisions sent funny responses, which can be viewed at www.nomediak-
being with HarperCollins, because it was owned by Rupert
Murdoch—who owns Fox, NewsCorp, etc.—and his growing power
scares me. The second was that, coming from a community of
zinesters, I knew that self-publishing could be just as legitimate as
publishing with a corporation—and that me choosing to do so
rather than stay with HarperCollins would expose a wider audience
to this idea. Thirdly, because I had the experience with a corporate
house, I knew what their process was firsthand—and that, with my
background, 1 had developed a process that was just as effective.
Did your background in zines help with self-publishing your
Beyond teaching me how to do desktop publishing, editing, and distributing my writing, zines also allowed me to build up a network of
designers, editors, and supporters that were absolutely essential
skills in making books. I also got tons of feedback on what people
did and didn't like about my writing and ideas, which I never
would have gotten if I'd gone the more traditional route.
How does having a hands-on approach to all aspects of publishing
(from writing to production to promotion) affect your output as a
Well, the main thing it did for me was that when I was writing my
first full-length novel, I knew it would be published—I expected
that I would be publishing it myself. A lot of writers quit writing
their novels because they lose faith that it'll ever get published, but
1 was free to write as controversially and explicitly as I wanted to—
these turned out to be the fresh and exciting things that made it
appeal to readers and even, ironically, the editor of a corporate
publisher in NYC!
Would you go back to a publishing house?
I actually have a publishing house in the US—an indie called Four
Walls Eight Windows—because it's a lot harder to promote and distribute your books in a foreign country. But I'm having too much
fun with No Media Kings to give it over to another publisher... for
now, at least.
What is your writing process like?
I write 5000 words a week, which takes me about four sessions of
three-four hours each time. Six months later, I have a novel.
Who or what do you find influential?
Meesoo Lee's sublime videozines; Chris Ware's brilliant comic epic;
the Weakerthans' John Samson, my favorite poet; the fantastic people who set up my tour dates; my lady Susan Bustos, who works at
a lab when she's not playing bass; Sandy Plotnikoff, who shows art
on a laundry line.
How long did it take to complete Everyone in Silico?
Six months, another two to edit and another four to publish.
Does the title Everyone in Silico reference advertising of a certain
major clothing corporation? (Okay, I mean the Gap.)
Yep! "In Silico" is a genetics term.
How do you feel about cultural icons participating in Gap adver-
tisments? When I discovered that DJ Spooky, Chan Marshall (Cat
Power), and Blonde Redhead had done these ads, I suffered
moments of "I can't believe it." The only bright side to it was that
I found out that the husband and wife team of Paul Auster and
Siri Hustvedt had turned down this deal with the devil.
I think it's creepy and awful.
I liked your "Past Due" project. Did you have a personal favourite
I think that flowchart the Gap sent me, depicting the life cycle of an
invoice and where I went wrong, amused me the most.
Please tell me about your book tour, how you organized it and
how it all went.
I did a 13-city tour in 15 days, and it was awesome. My pal Joe
Ollmann, the Exclaim cartoonist, co-toured with his wonderful book,
Che-wing On Tinfoil—and since it was a comic he couldn't do a reading, so he did a puppet show instead to depict two of the stories.
Most of the east coast dates also featured the piano stylings of Mr.
Samuel Andreyev, a 21-year-old man about town. So we threw
comics, novels, and music together in for what we called the Indie
Smorgasbord tour. It was entirely set up on the goodness of people
on the No Media Kings mailing list—for instance, in Vancouver,
Hinterland's John Lucas pulled it together and his
band also did a set. We went from there to Halifax, crashing on
couches and floors in a mansion, a farm, a punk house—an incredible variety in people and places. Maybe three or four duds in the
whole tour, which is a really good success rate!
What are you currently working on?
I'm currently working on issue two of Novel Amusements, which is a
CDROM zine I do that compiles a bunch of vids and animated stuff
from a whole bunch of people. The theme for this issue is "Teenaged
Boys and Other Animals." See www.nomediakings.org/novela.htm
for more info.
What advice do you have to give writers trying to decide between
going to an established publishing house and doing it themselves?
Keep the risks low if you do self-publish—do zines, chapbooks,
comics before you sink money into doing stuff that's slick-looking.
You'll learn what you do and don't like about self-publishing, and it
may—as it did with me—become a life-long addiction. •
Trust me, you should check out wwzv.nomediakings.org. You won't be disappointed, even if you have a dial-up modem and a crappy computer.
16 june 2002 under review:
recorded media
Island Row
I usually can't listen to electronic music for too long; all the
bleeps and blurbs make me
think, "Is that my pager?"
"Whose phone is ringing?" But
I must open my mind. When
rock and pop are added to electronica, melody morphs with
machinery. (How many points
do I get for alliteration? None?
Okay.) On Island Rozv the mix is
just right. Capitol K is Kristian
Robinson from London. It is a
mostly mellow collection of
songs, but energetic enough
that you'll want to listen to it at
the beginning of the evening,
not the end. There is a pop quality to tracks like "Anon" and
"Pillow." And "Capitol Beat
Sticky" is a song I'll want to
hear on my next all-night drive
through the mountains. The
main reason I can't stop listening to this CD can be summed
up quite easily: guitar. It brings
a familiarity when the sampling
threatens to get out of control.
(See "bleeps and blurbs," opening sentence.) The mostly quiet,
acoustic guitar is present in the
best songs on this album. The
crashing guitar feedback in a
song like "Monster" on the
other hand, is too much of a jolt
after being lulled by a blissful
song like "Heat." But the ambient "Duffle Coat" soon restores
balance. Kristian Robinson listened to The Clash and Sonic
Youth while growing up, along
with ABBA and marching band
music. I don't know what to
make of that, but Capitol K
does. As he sings in "Soundwaves": "One of my favorite
things is soundwaves." Me too.
Have you ever pressed your
face up to shag carpet? And
after this carpet shag, up to a
piece of sandpaper? Rubbing
your face around, delicately,
even erotically, over the rough
stubble? No? Well: you now
have the perfect chance to perform this strange act aurally
with Cray's carefully textured
album. Australia's Cray, a.k.a.
Ross Healy, lays down the shag
with the first track, "Motherboard," which sets up the ears
for what is to be a granular-
microsound excursion. The
sonic plane is inviting, and
crackly, like crickets; and then
out of Blue—for I can only tell
you, now, that this is Blue-
arises the poking of the Sun. It's
a Greek Sun, the Sun that burnt
many wax wings but also shone
brightly on Achilles' armour.
It's the Dawn of the Beauty of
the Computer Age, and the
motherboard is the Monolith of
Circuitry. Soon, however, the
Universe has changed. A Zoo
emerges out of the hilarity of
chaos, and a monkey plays
organ chords over the distorted
animal signals, the languages
spiralling out of control,
hyper-accelerated and sped
up beyond comprehension:
"Usker," "Forna," the track
names pass by like the music, as
we delve deeper into the circuitry, until the bleeps and the
switching processors notice our
presence—"Mar562001" and I
think my CD player is speaking
to me in binary. Finally, it
decides to assault me—probably a good thing as what I was
doing to its 1/8" headphone
jack was nasty. It's "Wdd56-
broadband" time, according to
the tracklisting, and  shortly
live indie mus
cheap brew
great compar
WHAP! Mondays @ Mes
(1926 W.Broadway)
■a i
i ■
Victory artists:
The Witness
Protection Program
End This Week
With Knives
Farway artists:
The Red Scare
_|    Kevin Devine
Billy The Kid &
The Lost Boys
_J    The Spinoffs
* *          ) i
mm        l——-
m m    a r
m m
Mike Rivest
Julian Who
J    Billy The Kid
after the pandemonium is the
unpronouncable and just as
wire-grating "_rvrsdle." I think,
in our travels, we are somewhere around the processor: a
big, shiny God, a Thor of sorts,
some sort of Bowel-Earth God
(or is it the heart of the Sun?)
because the processor is HOT
and it is melting our ability to
hear: the sounds recede, while
only certain tonalities press
through, like keystrokes, into
our receptive, fibrous ear
canals. Then, we ARE in our ear
canals! Sounds, high-pitched,
telephone, blips and bleeps
and xylophone schizophrenic
orchestras: it's the noise of
sound, the stuff we usually
don't hear in our waxy innards,
as our brain—the processor—
tends to sift it all out into musical cadences and emotional
meanings. Well, no longer: I've
been aurally fucked and I've got
carpet burn. Which leaves us,
may I add, in perfect repose for
the digital cigarette, "rdOblst,"
each inhalation pinging sonar-
deep into the bowels of my
neural networks, just me and
my CD player and the probing
appendages that are CRAY
tobias v
45 or 46 songs that weren't
good enough to go on our other
(Fat Wreck Chords)
I suppose that NOFX is the first
"cool" band that I ever listened
to. S&M Airlines provided a
stark contrast  to  the  Bryan
Adams, Crash Test Dummies,
and Pearl Jam records which
had previously cluttered my
shelves. Fat Mike's whiney
vocals were funny, sarcastic,
political, and everything I
thought was cool in my 14th
year. With this kind of background, I loved 45 or 46 songs
that weren't good enough to go on
our other records, a compilation
of NOFX music that is exactly
like the title suggests. These
songs suck. The songwriting is
boring, they screw up, and
sometimes they stop mid-song
to chat. This is NOFX saying
"fuck you" and laughing when
you pay 24 bucks for a double
album full of shit. But you
know, with tracks like "Drugs
are Good," "Please Stop Fucking my Mom," and "Always
Hate Hippies"—and because I
didn't pay for it—I couldn't
help but enjoy this record. If
you've been listening for as
long as I have, you know that
this is what NOFX is. Enjoy it
for what it's worth.
Dave Gaertner
Rub em Doion, Rub em Out EP
(Sound Virus)
A lot is said about a "melodic
hard-core band" whose guitar
player doesn't use a foot switch.
The Red Light Sting relies on
dynamics, taking turns rocking
out, clever arrangements, keyboard noise, dissonant chords
and many other paps to keep
it interesting. Just when I am
overwhelmed by    "raw-raw-
gaw-raw-gaw" they play "la la
blab!" and my mind and ears
are refreshed.
These songs are best heard
played live as rocking out to
the maximum is enjoyable.
Nevertheless, this CD captures
their live energy very well. It's
nice to hear enough of the
words to be able to follow along
with the lyric sheet and the bass
is really nice sounding; very fat
and when it gets loud it distorts
The piano composition on
"Dirt Eating Zombies" is really
pretty. The phrasing of the
melody is quick yet somber and
reflective while the chords
plunk beautifully. I also love the
noises in the background (I am
a sucker for noises). As the last
track, this song really fills out
the CD as a whole.
The Sting's music makes
me think of Wet-Nap, Wrong
period No Means No, and
countless bands I have seen
play at Seylynn Hall over the
last seven years. However, there
is a wedge made of unknown
materials that separates this
band from anything I have ever
heard. Go see them play and
dance until stuff falls out of
your mouth and we laugh.
under review
continues on the
next page!
See 20 Miles LIVE:
June 22 at the Railway Club
r tha Inn (nonpar Qlnoc tvnlncinn ^*
Tiie new album from Judah Bauer, guitarist for the Jon Spencer Biues Explosion.    ^
"Twenty Miles shape familiar blues figures into irresisitably ragged pop songs much as
Jagger and Richards could in their glory days." -Chicago Reader
Battlecry Under a Winter Sun
(Teenage Rampage)
Nu-metal, you're going down!
Real metal has officially
reclaimed its title in the heavy
rock domain.
Three Inches of Blood
reign supreme with Battlecry
Under a Winter Sun. The six
warriors of hard, fast (rap-free)
rock have put the heavy back
in metal. Battlecry is a classic
metal CD reminiscent of simpler times, when jeans were
worn so tight that a coal-hanger
was required to zip them up
and beer balls were sold at the
local liquor store. Yeast infections were the norm and condoms were a foreign concept.
Those days are gone now.
But thanks to songs like "Ride
Darkhorse, Ride" and "Balls of
Ice," the memory still lives on.
Our saviours of authentic
medaevil metal may be too
young to have lived through
that pivotal era of rock, but they
seem to have captured the
essence of "Run to the Hills"
without knocking it off. For
instance, the gang hymns on
several tracks add a personal
touch of pilsner-shot-gunning
testosterone that makes banging your head along so much
the sweeter.
While "Lady Deathwish"
confirms Three Inches understand the importance of including the quintessential venom-
spewing-mistress-of-evil song;
core heads can rest assured that
there are no power ballads to be
found on this CD. However,
"Journey to the Promiseland,"
written and performed by
STREETS, provides a nice
break from the whiplash that
may occur from the first half of
the CD.
Battlecry Under a Winter Sun
is a reminder of what metal was
meant to be. Now if we could
just bring back beer balls.
Phyllis Oats
The Golden Dove
I never got to see Mary Timony
when she was in Helium. I was
probably too young or too
uncool when they came to Vancouver. Probably a mixture of
both. (Fear of leaving the house
and anxiety attacks when faced
with the prospect of having to
converse with other human
beings... I've already sunk into
way too much information territory.) But I got to see her at
Ladyfest in Olympia a couple of
years back and she blew everyone away. I can't remember
who else played now, except
maybe Sleater-Kinney. That's
how good Timony was. She survived my bad memory.
Anyhow, I thrashed Donovan (he was too busy rising
above my small world of irony
to really care) in order to get to
review this CD, and it was well
worth dishing out a beating to
get The Golden Dove into my
stereo. My copy of Timony's
18 june 2002
debut, Mountains, is slightly
worn from being played repeatedly. The Golden Dove sees Timony do that thing she does:
combine minor keys with fantasy lyrics to produce a sound
that is hers alone. I'm not digging The Golden Dove as much
as Mountains thus far, but it's
good nonetheless. (On another
note: Mary Timony and Nina
Nastasia, in Seattle! Playing
together! Well worth braving
the border crossing and possible body cavity searches to see
Doretta Liu
the freest of radicals
(No Type)
One of the oldest MP3 labels on
the internet takes a jump into
CD production this month with
the release of four new albums,
including this double-CD compilation of No Type artists.
David Turgeon's No Type has
remained an outsider label,
showcasing in-between experimental styles bordering
electronic music, noise, minimalism, and musique concrete.
At its best, it is challenging,
evocative, and stimulating; at
its worst—which is rare—it is
noisy and too easily pigeonholed as noise or hardcore.
•, this compilation, if a
pigeon, ate its own shadow,
leaving no hole for it to climb
through. Such a diverse amount
of styles are represented—from
Tomas Jirku's subtle minimal
groove "I think I'm in love" to
the bass-tone work of Le Chien
Borgne and the tonal-cuts of
Julie Rousse's "une a six idees
improvisees"—that I can only
summarize them briefly in
parentheses and short comments here. As a purchase—for
don't we all want practical
reviews now?—the double-
pack is well worth the effort, for
its vast depth is breathtaking in
its collection of artists and styles
whose talents are undeniable.
There are few compilations out
there that touch upon so many
issues in contemporary, we
could say non-academic, experimental music. Like BiP-HoP,
No Type is dedicated to the
odd, the obtuse, and the wicked
in the genres of microsound,
noise, IDM—it's really a milieu
of all these catchwords, leaving
the listener strangely comfortable in a sea of sound despite
that fact the she is lost beyond
compare, a veritable Alice in the
hands of someone who has lost
all language, all speech to tell
musical directions: above all,
Alice is in the land of No
Tiny,   King   of   Festivals:
A   Benifit   for   the   GLC   Food   Bank
Last of the Juanitas
31  Knots
The Metic
The Building Press
The Mahogany Throttle
Jon- Rae Fletcher
Burquitliam  Plaza
Video Tokyo
Volta Do Mar
The Blacklist
Sounds Like Braille
Radio Berlin
Saul Duck
Volunteer with Discorder!
Send a message to discorder@dub.ams.ubc.ca
with the subject line "I have nothing better to do."
July    1 s t- 6t h
Ms   T's    Cabaret
(339   W   Pender)
$10 for the first show, $5 for every show thereafter,
see www.onegoldruble.com for more information
thanks to Wantage USA, Fifty Four Forty or Fight!,
Arborvitae, Omnibus, Redwood, Woodson Lateral
and Ache Records.
Howdy folks! Y'all get
the bite-size version
this month, seeing as
how yours truly's a little low on
dough and, unlike my ears, the
build-up of wax has been scarce
'round these parts. But lemme
tell you what I've got for ya—a
triple threat from TKO Records,
for starters.
Here's how our contestants
finish up: first through the gate
a full-on hardcore workout on
their EP. Think Black Flag
(Damaged-era) vocals combined
with Poison Idea's crunchy
rhythm section and you get the
songs "War Machine," "My
Rifle," and "California Greenback." Wrap it in a cool Derek
Hess-inked sleeve and it's off to
the local skate park to carve the
bowl, dude.
Coming up close behind are
an equally thrashy two-song
trailblazer. "KFK Theme" goes
for the punk rock jugular, and
"Wasting Time" mops up the
mess, with a nod to The Vin-
by Bryce Dunn
dictives, or maybe a slightly
heavier Sloppy Seconds, with
emphasis on the vocal delivery
of the aforementioned. Clean—
but not squeaky—guitar and
thick production help push the
Killers to the top of their game.
And bringing up the rear
are THE RIFFS, who lag behind
with a couple of Dead Boys
meets Sex Pistols rock punk
tunes ("Such a Bore" b/w
"Coining Back"). The music is
played competently enough,
but the singer sounds flatter
than two-month old ginger ale.
Better luck next time, kiddo.
(TKO Records, 4104 24th St.
#103, San Francisco, CA 94114).
Boy, do I like THE SELBY
TIGERS. Their new single on
Dirtnap Records is like a ray of
sunshine filtered through
Geordie Laforge visor-like
glasses. It makes me want to
run outside and jump in a puddle dressed in duct-tape pants.
It makes me want to play the
key-tar. It makes me want to see
them live. "Snoball" and "Tell it .
to The Judge" are quirky songs
that remind me of the punk-
wave flair of The Rezillos (not
as spazzy mind you) and that's
a good thing. (PO Box 21249,
Seattle, WA 98111)
when they hear it, judging from
their zealous take on the '60s
garage/R&B feel of "So, The
Circus Is Back In Town." However, I'm not sure if they're
excited about the big top or
tube-tops when lead singer
Cato Salsa belts out the line "I
like to dress up in drag/I like
the feeling of being bad." Oh
okay, I get it, THAT kind of circus. "Rock and Roll and Satisfaction" is like two little songs
in one, the first half a raucous
MC5-minded strut and the second half turning to a slower
blues-like swagger, and just
before they can kick into gear
again, (you can hear the four-
count on drumstick intro), it
cuts off, leaving you slightly
confused but all the more
bemused that this combo from
Norway have these crazy ideas
in their heads. (Emperor Norton
Records, www.emperornor-
There she be, short and
sweet. 'Til next month! • New Music West
Tales from an Aging Scenester
by Val Cormier, Aging Scenester
I'd hoped to hit SXSW in Austin again this year as I did two years ago
(see May 2000 DiSCORDER) but time and budget wouldn't permit.
Besides, why not practice what I preach and support the local scene?
Pass in hand and sensible shoes on feet, I set out to do just that at New
Music West, the Little Festival/Conference That
Thursday began pleasantly enough with a stroll down
Granville—which is looking an awful lot like Austin's famous Sixth
Street, dare I say—right down to the drunken frat boys. However,
there's less 99-cent pizza joints in Austin. First stop was the
Morrissey to see local songwriter Jack Harlan. Good music, iffy
sightlines, cheap beer, and first sighting of the Straight scribe
researching annual drunk-boyz-on-prowl coverage. Also spotted
Radiogram's Ken Beattie, who was still pretty buzzed about his
publicity coup of getting his band on the covers of Discorder, the
Straight, and Queue. Ran into Jesse Zubot outside, who was lamenting those who think his Zubotta project is another version of Zubot
& Dawson: "I hate when people think you just like one thing." Right
on, dude.
Decided not to ignore the Puffy Ami Yumi hype and high-tailed
it to the Vogue to see part of their set. Highly catchy and fun: hell, if
I were half my age I'd have been down in the mosh pit. However,
when I was half my age nobody owned those pricey camcorders
and designer duds. PAY's rhythm section was impressive and one
metal (!) tune transported me back to high-school gravel pit parties
in the Kootenays. Ahh... straight from the Kootenays. Time for
another beverage. Next stop was the Yale, where the half-full joint
was jumpin' to the hot zydeco of Louisiana's Rosie Ledet. Such a
pity this event was under-publicized because her band could play
rings around most other musicians at NMW However, I don't think
the young scenesters would've approved of, or survived, the sight of
soccer moms (and pops) gettin' down on the dance floor.
Last stop on night #1 was the Penthouse, where I chatted with
some Calgary media types, as well as various local musos there to
check out Bottleneck and NMW poster kids Radiogram. New paint
and no more runway in this strip joint, but I swear I saw Ken take a
swing on the pole during their set. Eww. But not a bad night, over
all. I'm sure Beatle Bob would've approved.
Unlike SXSW, my Friday at NMW was interrupted by the ole
day job, which, however, provided a fine excuse to pass on the Gene
Simmons and Matthew Good speeches that afternoon. After a short
nap it was off to Richard's on Richards to see Fred Eaglesmith. The
crowd was sparse and surprisingly light on rowdy Fredheads. Corb
Lund Band from Edmonton pulled off a killer country-rock set,
which included a cameo appearance by Nickelback's drummer and
"Cover of the Rolling Stone." (Dang, am I really old enough to
remember the original version of that song?) Fred's set was fairly
lame—was in a bad mood and crappy sound didn't help. Outside I
had a very SXSW Moment when a complete stranger came up to me
for a casual chat. Gasp! In Vancouver!! Turned out she was from
Montreal and thought Fred wasn't any great shakes either. We parted ways at the Vogue, where Oliver Mtukudzi from Zimbabwe was
playing. Amazing Afro-pop and fabu dancing.
Hopped in cab to explore the quite pleasant emo-pop sounds of
Motion Soundtrack at Ms. T's Cabaret. First time I'd experienced
that quaint dive and first time in many moons I'd been carded. (All
those who know my true age can stop laughing now....) Next stop
was the Commodore to sate my curiosity about this man they call
Matthew Good. There's 20 minutes of my life I'll never get back.
Downstairs at the Commodore Cafe the hippie-hemp crowd was in
overdrive. Didn't catch the name of the band; didn't need to. Nice to
have a place to sit for a few minutes. The Constantines were just
taking the stage at the Pic when I arrived and helped restore my
faith in the taste of the younger set. However, I was fading on my
feet and forsook this chock-full-o-scenesters crowd in favour of the
Railway. Bocephus King was rockin' that joint but to a smaller
crowd than usual. Put my feet up and, strangely enough, met the
Constantine dude who'd been name-checked mere minutes ago at
the Pic.
Saturday I decided, for my first time ever, to check out the conference portion of NMW at Robson Square. Disorganization ruled
supreme—unlike, say (yeah, you know it's coming...) SXSW. No coffee for early arrivals? Travesty. Picked up the NMW compilation,
which had a surprisingly healthy chunk of roots bands on it this
year. (Oh bandwagon, where art thou?) The day started off well
enough with New-Agey-but-not-too remarks from Chief Leonard
George. Peter Garrett of Midnight Oil followed with the requisite
bite-the-hand remarks which were, according to one delegate,
"refreshing" compared to Gene Simmons' speech the previous day.
I sat through as much of the Nickelback circle-jerk session as I could
stand before grabbing lunch upstairs and returning for the radio
panel. Yet more wanking, for the most part, with CiTR's Bryce Dunn
doing his darnedest to uphold our station's surly-teenager reputation among the commerical jocks.
The T-Bone Burnett session was insightful and informative,
despite professional moron Terry David Mulligan's best efforts to
fuck it up. Left the room thinking about T-Bone's assertion that
"everything is a drum." Heavy, dude. Home for a quick change and
then off to the one and only free-booze-and-food event of NMW
(again, no comparison to the drink-and-drown aspects of SXSW) at
The Drink. The bands ranged from lame to lamer and hit high water
mark in Purpeloid, a nouveau-glam (is that what the kids might call
it?) and oh-so-schlocky band. However, I was able to consume close
to my body weight in fresh oysters from Denman Island. Mmm.
After I was denied entrance to the SRO Midnight Oil show at the
Commodore, I headed to the quiet confines of the Marine Club for
the remainder of the night. This club-hopping stuff's for the kids.
Swank and Los Furios were just fine, in any case, so why leave? We
did manage one last leg-stretching stroll to the Pic to catch the end
of The Gay's set. Gay? Oh so very. (Not that there's anything wrong
with that.)
I've heard that this year's NMW was up in attendance numbers,
no doubt helped along by the good weather. Good for them. New.
Music West has a lot of potential and room for growth and I suspect,
in typical Vancouver fashion, many locals would "suddenly" miss it
if it disappeared. I certainly didn't run into the long lines, insanely
long waits for cabs or pricey wristbands I'd wimessed at SXSW. I'd
give NMW a solid B, and I'm a hard marker.
Maybe what this music festival/conference needs are some
SXSW celebs to bless our dear, provincial little event. Oh Beattie Bob,
where art thou? •
Are you a local band or musician? We are now accepting
entries for SHiNDiG! 2002. Send in your minimum 3 song
demo of original material (all styles welcome) for an
opportunity to play CiTR's annual rock n' roll deathmatch!
Toss your demo, contact information, and anything else
you want us to see in an envelope and address it to:
SHiNDiG! 2002
c/o CiTR Radio
#233-6138 SUB Blvd.
Vancouver, BC V6T 1Z1
Questions? Interested in becoming a
sponsor? For more information please visit
http://www.citr.ca. You can also call us at
(604)822-1242 or email Ben at
19 iimgumm real live octioM
live music reviews
Friday, April 26
The Pic
After seeing John Ford live, it's
hard to believe that Nickelback
is the band that's putting Vancouver's music scene on the
The April 26 show at the Piccadilly Pub surpassed all expectations, which were fairly high to
begin with. After all, some of
Canadian rock's most influential
people have been singing Ford's
praises, including the two
Gordies. Johnson of Big Sugar is
producing their current album,
and Downie of The Hip recently
emblazoned his seal of approval
by sporting Forcl merchandise on
Their ragged unfiltered
approach to roots rock proved
more than worthy of these
celebrity endorsements. Ford
was relentless in their versatility
and showmanship, sharing
singing duties, swapping instruments and inviting people on
stage. Tlie local four piece band
made switching gears, from a
pure alt-country ballad called
"Ocean" to "Bullets,"—a more
straight-up rock 'n' roll tune-
blasted through the rest of their
Stones-infused set with the confidence of a band primed to
make the move from a touring
van to a touring bus.
Another sign that this band
won't be loading in their own
gear for much longer was the
unusual amount of new faces.
The regular reps, writers, and
promoters were still out in full
force, but the band's fan base has
obviously broadened beyond the
same 200 core music fans that
sustain Vancouver shows. Their
biggest fan, Pete Bastard, was
front row and centre singing the
words to every song with the
enthusiasm of someone out on a
day pass from Riverview... or
maybe he's always like that.
After rocking every which
way they could, Ford came back
for two encores. The first song
was an unapologetic homage to
one of their greatest influence,
"I'm Just Waiting on a Friend,"
which Rich Hope dedicated to
his "lady." Despite limited space
on the Pic stage, the band made
room for a somewhat seasoned
Stones fan who pushed her
somewhat seasoned ass through
For their last encore, Ford
turned the packed Pic into a regular hootenanny with drummer
Adrian Mack taking lead vocals
for an honest to goodness com-
bread-fed southern fried tune,
"Whaddyathink About That."
The John Ford experience
merely confirmed that they
deserve all the industry props
they get. Check them out soon.
Who knows... this time next year
JF could be singing the theme
song to Spiderman the Sequel.
Phyllis Oats
Friday, May 3
The Pic
Maybe I'm a little more lonely
than I care to admit, or maybe it's
just the wine talking, but seeing
Shikasta live can only be likened
to a really good fuck. I want
more and want it all night long.
If listening to lead singer/bassist
Russell Fernandes grind out all
the sexually-driven blues he has
in his soul doesn't make you
randy, then you need to adjust
your anti-depressant cocktail
(may I suggest a little less Lithi
um and perhaps a tad more Paxil
in your diet).
The blues trio from Toronto
worked harder on May 6 than
almost any band I've seen at The
Pic (and trust me, I've seen more
than I care to admit). The
Immortal Lee County Killers
come to mind—the first time,
when they opened for Bob Log
III and made him look like a has-
been novelty.
Sandwiched in between
Hotwire and Nasty On and possessed with the soul of James
Brown, Fernandes exploded
through every song as though
his whole body had been aching
to get that lyric and bass line out
of his system. Yet for some reason, the rocketing acceleration of
blues didn't seem to phase most
of the patrons. Many chose to
remain seated like they were listening to Lee Aaron sing "Mack
the Knife" at Cloud 9 and not a
kick-ass blues band at a packed
smoky bar.
Obviously, a majority of people came to see the other acts on
this particularly eclectic night,
including singer/songwriter
David Dondero, who had the
misfortune of playing first—
therefore, baring his soul to the
half-empty Pic. He strummed
through a short set, singing
quirky songs about heroic waiters and the pain of his parents'
divorce. After talking to him in
between sets, it was apparent his
quirk was no act.
Next was Hotwire, who hit
the stage with a lot of hair product and a lot of attitude—your
standard glam rock fare. The
local four-piece whipped the
crowd into a mild frenzy with
"Lick it Up," proving you can
never go wrong with a Kiss
cover. Finally, Nasty On headlined and yes, lead singer Jason
Grimmer rocked... but then again
he always does.
Aside from the lame reception from the very same Vancou-
verites who always complain
that there's not enough live
music in this city, it was a near
perfect show. Except, Fernandes
didn't play my favorite song,
"Anyone Else."Just as well; the
words "I want you to know I
came to get down" only makes
me pine for someone I haven't
met yet, a combination of sad
..'..'•..'. .   : .;':  '
jmt JUcb Jizpv Msni but m silted
20 june 2002 and horny—i.e., lonely. I guess
there are some voids rock can't
fill, but seeing Shikasta  live
comes pretty damn close.
Phyllis Oats
Monday, May 6
The Pic
Attention rock hos: if star fucking is your game, start going to
shows Sunday through Wednesday. Who cares if you have to
work the next day. The sheer statistical odds of bagging a rock
star are highly in your favour.
Only the truly devoted make it
out on Sunday through Wednesday.
Monday, April 6 was no
exception. Like a Greek pool hall,
there were virtually no women
on the Piccadilly premises. Me
and my bitches had our choice of
any of the 10 rock stars that
graced the stage.
The International Playboys
kicked our asses the way only an
opening act you've never heard
of can do on a sleepy weeknight.
The Missoula, Montana five-
piece were playing some pretty
funked-up shit. "Texass!" was a
dirty little number with some
blues undertones, while "Talkin'
Trash" melded punk rock with a
disco beat. At times I didn't
know whether I should do the
hustle or slam dance.
Lead singer Monte Carlo is a
true rock star—not a manufactured nu-metal pretty boy, but a
hardened, soulful 23-year-old,
who looks about 46. With
Sideshow Bob hair and perverted stage persona, he was bom to
entertain. I can't imagine what
kind of a day job this lunatic
could possibly hold down.
Fully expecting Chargers
Street Gang to be a let-down
after The Playboys, I was again
blown away. "You Fucking
Broke my Heart Again," a true
punk rock anthem, had me
screaming along to the chorus as
if the CD had been on heavy
rotation at my house all my life.
The Cleveland, Ohio quintet
were madmen, not only making
good use of space on stage, but
the whole bar. The spastic energy of karate kicking singer, Joe
Holzheimer, made most punk
rock singers look like lazy lounge
Despite two kick-ass perfor-
the highlight of the
night had to be the all-star jam at
the end. I turned my back for a
minute to check out the merch
table, when I was told to look up.
Lo and behold, my friends, E-
Mac and A-Gee, had been lured
away by the temptation of the
spotlight. They weren't alone:
Bryce (CiTR) Dunn, Jay (Halo)
Millette, Brian (Felcher) Laman-
na, and Siobhan DuVall were all
on stage with the Chargers, shaking tambourines and maracas,
singing "G-L-O-R-I-A." My only
regret is not saving any film in
my camera for the spectacle, but
the image will be forever saved
in my mental hard drive.
Both bands are a must-see
the next time they find their way
north of the 49th parallel, even if
it's on, say, a Tuesday. And
remember, ladies: the odds are in
your favour, so don't forget to
Phyllis Oats
Thursday, May 9
The Pic
The Organ was the first band to
play for a fast-filling house at the
Pic, and these CiTR Shindig
semifinalists have only
improved since those early performances. Plaintive in their pop
sound, The Organ' show no
regard for any line between
melancholy and happiness. This
was the first of two shows the
busy band played at NMW.
Next, Waking Eyes took
things to a brisker pace, with
olde style pop melodies that
would have Brian Wilson happily chomping on New York steak
in approval. Rod "Duotang"
Slaughter, a Winnipeg friend of
the band, contributed bass and
Calgarians Hot Little Rocket took the stage next, with all of
their usual bluster. As a unit, this
band is creative and plays
incredibly well together, which
prevents their swings from murmuring to noise from feeling
Sometimes, one finds himself torn between the nouns
"onslaught" and "barrage" in
describing a situation. That's
when he's reviewing a Moneen
show.   The   many   fans   who
crowded the stage in anticipation
were not disappointed by the
energy and intensity that have
given Moneen's concerts such a
strong reputation. Kind of like
Hum in an exuberant mood,
Moneen's "medody x aggression" rating is difficult to chart.
Finishing off the night were
The Salteens. The Salteens'
songs were great, but the band
seemed to be in strangely poor
spirits, bickering on stage over
the sound or the set list or whatever else. Their performance
reminded me of visiting a
friend's house for dinner, and
then watching the family get into
an old argument over dessert.
Perhaps the band's harmony
was spent after their earlier
NMW gig as Jordy Birch's band
at the much-heralded Puffy Ami
Yumi show.
Micliael Schzuandt
Monday, May 13
Sugar Refinery
I was super disappointed that the
Birthday Machine had withdrawn from the show. Burquit-
lam Plaza helped ease the pain,
momentarily pulling me from
my sadness. Nick from p:ano did
his usual funny covers and sweet
songs. He covered Destiny's
Child. Well, he laughed his way
through "Bills, Bills, Bills." He
probably would have been able
to keep a straight face had the
audience been quiet, but we were
all giggling /smirking /cackling.
Nick is my new favourite Vancouver kid. (Sorry Kevin Chong,
but covering Destiny's Child is
hard to beat.) This is my mini
wish list of Burquitlam Plaza covers: "Papa Don't Preach," "Ride
Wit Me," and that song with the
chorus that goes "she's a man
When Casiotone for the
Painfully Alone (one guy wearing an argyle sweater who
seemed kind of teddy bear-ish)
was warming up, I thought he
was going to create music that
would scare the shit out of us. He
had four or five amps stacked up
on top of each other. He also had
a different keyboard for every
song, so that when he ran out of
keyboards, he ran out of songs.
He sang, but I couldn't hear
what he was singing. His music
Hard-working music fans with lots of free time and patience are
encouraged to apply for this challenging but rewarding job.
This is a volunteer position with a $350/issue honorarium.
Please call Barbara at 604.822.3017 ext. 3 to obtain a job
description, or fax resume to 604.822.9364.
wasn't scary, just keyboards and
distortion. I kept saying, "He has
a keyboard for every song!" I am
good at stating the obvious.
Little Wings. What can I say
about Little Wings? Well, he
played barefoot, wearing a white
Jesus robe with a Mexican blanket over top. His songs were possibly funny, or he was possibly
funny. I'm not sure which. I do
know that I got distracted by a
series of drawings that Scott
Malin did where all the characters said "fuck." Okay, so I didn't get Little Wings. Other people
did, though, and I bet his mother
loves him.
Doretta Lau
Friday, May 17
Open Space Gallery (Victoria)
From the demon flowers of
Mount Tolmie to the Rosicrucian
Lamps on Harbinger Street, the
Victoria evening flowered with
perfume, wine, and cigar
smoke—a childish parody of
sophistication in a city whose
twilight was consecrated to the
young as they fed on each other,
rather than the calculating consumption of the young by the
old. In the tragic moral numbness of this, the Virgin City,
whose youth cannibalize each
other in a bloodless cycle of
dying and deflowering, emotionless, pornographic narratives
reproduce at an unnatural rate.
And on this night, in an upstairs
gallery off a downtown street
near the harbour, extreme noise
artist Merzbow proceeded with
his own unconscious multiplication of the uncanny. Following in
the aesthetic philosophy of Kurt
Schwitters, whose original
"Merzbau" (Merz—Schwitters'
own variation on German
Dadaism; bau—"building") were
colossal, polyhedral, plaster
sculptures which branched from
the walls and floors of his various studios, constantly under
construction (prefiguring contemporaneous Constructivist
and later Minimalist experiments
in the aesthetic interplay of
sculptural forms), Merzbow uses
electronically synthesized noise
to construct organic abstract
sound structures at tremendous
volume. Most of the darkly clad
hipsters in attendance on this
particular orange evening could
do no more than shut their eyes
while Akita Masami, wordless
kappa monster, sat, under a single lamp at a desk with two laptops, masterminding the
destruction and reforming of the
sonic landscapes crashing
around them. With earplugs or
without, snail-mind was induced
instantaneously. Nestled in these
holy strata of sound, my presence was a toxin; when the hour-
long set was finished and
Masami silently left the room, we
were paralyzed.
Saturday, May 25
The Blinding Light!! Cinema
The first night of CBC Radio
Three's 120seconds.com Digital
Film Festival featured Ben
Nevile and Randy Jones, which
would have interested tobias v.
But he is in Montreal and did not
attend the screening/music
event. Nor did I. Word from
120seconds.com's Carma Livingstone was that the first evening
was well-attended and most of
the audience stayed for the films
and left when the music started. I
digress, however, because night
one is not the subject of this
On night two, Vancouver's
indie rock scenesters were out in
full force with one thing on their
minds: the first live performance
from Vancouver's beloved
Destroyer in a long time. Thank
you to organizer Andrea Gin for
pulling another live music miracle. (Gin convinced The Battles,
who had been on something of a
performance hiatus at the time,
to play at her Turf Magazine
Birthday Party last October.)
Nerd that I am, I made my
friend Aaron, Dan Bejar worshipping geek that he is, accompany me to the Blinding Light at
7:30 so we would be assured
seats. But we were not the only
nerds shuffling about. There
were many other ironic black
frame glasses-wearing, thirft
store shirt-sporting, library card-
carrying nerds waiting patiently
for ticket sales to begin. Of
course, everyone was way too
cool to hyperventilate, but the
mentality was pretty much the
same as if we were 10 year-old
girls standing in line to buy tickets for Britney Spears.
Three and half hours later,
after screening eight short films
(including a documentary about
competitive karaoke, a super
funny music video for Casio
king World Provider, and the
"so good on so many levels"
(quote from former CiTR Secretary Ian Mosby) "It Hurts
Because You're Weak," which
was reminiscent of the CKY
videos, where skate kids do all
kinds of death-defying stunts
and do gross things like pick at
scabs), and a brief intermission,
Destroyer finally went onstage.
Bejar was joined by Chris Frey
(bass, vocals), Nic Bragg (guitar,
vocals), and Fisher Rose (drums).
Behind the band, a Destroyer-
made video played onscreen. All
our anticipation was met with
magic. (Now who sounds like a
Dan Bejar-worshipping geek?)
Before the fourth song, Bejar told
the audience it was the last song.
But he was joking. I think if he
hadn't been joking, there might
have been serious violence, or at
least some passive-aggressive
staring contests.
Yes, it was a good show. I'm
never one for analysis, just observation, so you'll have to find
some other nerd with an encyclopedic knowledge of all things
Destroyer to get the full, play-byplay lowdown. What I can offer
is this: from all appearances, it
looks like Vancouver has forgiven Dan Bejar for pulling a
tobias—that is, moving to Montreal. But he's back, and one
thing is certain: Destroyer's
upcoming album on Merge
Records is going to be pretty '
Doretta Lau
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featuring: Big Elvis,  Bobby Vega (KVHW, Sly and
the Family Stone) Alan Hertz (KVHW, Garaj Mahal),
Ray White (Frank Zappa and the Mothers, KVHW),
Eric Levy (Garaj Mahal), Tal Moi
Tickets also at Highlife, Zulu
or Upstream 604 904 4207
'(.-.     t.s. s  .     .
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EMQ #,
Tapto Vi-
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'   DOORS 12 NOON • SHOW 1:00PM • 8 HOUR SHOW!
: <g^ S PIayStation.2 ISHS JfflffiL. "
PURCHASE TICKETS gQBOQS AT hob.ca OR ticketmaster.ca tMIMM
maSTer the Vancouver Sun iPrifrinrol chart*
what's being played at CiTR 101.9fm
June Long Vinyl
June Short Vinyl
1 Hanson Brothers
2 People Like Us
3 Breeders
4 Tom Waits
6 Various Artists
7 Elvis Costello
8 Mimosa
9 Enon
10 Various Artists
11 Wilco
12 Medeski Martin...
14 The Beards
15 White Stripes
16 Herbaliser
17 Cato Salsa Experience
18 Bob Mould
19 Ursula 1000
20 Bratmobile
21 Cinematic Orchestra
22 Le Tigre
23 DJ Shadow
24 Makers
25 Blackalicious
26 John Vanderslice
27 Fucking Champs
28 Jivaro
30 Tijuana Bibles
31 Sparrow Orange
33 Telepopmusik
34 The Dudes
35 Three Inches of Blood
My Game Mint
Recyclopedia... Mess Media
Title TK 4AD
Blood Money Anti
Soundtrack Emperor Norton
Field and Streams Kill Rock Stars
When I Was Cruel Island
Bucolique Independent
High Society Touch and Go
Verve Remixed Verve
Yankee Hotel Foxtrot Nonesuch
Uninvisible Blue   Note
Three Longshot
Funtown Sympathy...
White Blood Cells V2
Something Wicked... Ninja Tune
A Good Tip... Emperor Norton
LiveDog   98 Granary
Kinda Kinky 18th St. Lounge
Girls Get Busy Lookout!
All That You Give Ninja Tune
Remixes Mr.   Lady
You Can't Go Home Again     MCA
Strangest Parade
Blazing   Arrow
The Life and Death.
Plastic Fang
Custom Made EP
Hands and Knees...
45 Or 46 Songs
Genetic World
1 Cato Salsa Experience
2 The Spitfires
3 The Riffs
4 Songs:Ohia
5 Matthew
6 Tijuana Bibles
7 Matt Pond
8 The Cleats
9 Riff Randalls
10 The Lollies
11 Evaporators
12 The Organ
13 Mea Culpa
14 Destroyer
15 Class Assassins
16 Stereo/Ultimate
17 Rye Coalition
18The Chrome Yellow
19 Various Artists
20 Bottles & Skulls
Sub Pop
Drag City
Tear it Up
Noise Factory
..   Fat Wreck
Picture Disc Emperor Norton
Juke Box High Glazed
Such A Bore TKO
The Gray Tower SC
Stars Numero
Mexican Courage Trophy
This is not Polyvinyl
Save Yourself Longshot
How Bout Romance Lipstick
Channel Heaven Evil World
Honk the Horn Nardwuar
We've Got to Meet      Genius
Corporate Nation
The Music Lovers
No Justice
ZZ Topless
Volume one
I am one...
Sub Pop
Northern Light
Out of Touch
June Indie Home Jobs
1 Hextalls I'm Sick of You
2 Byronic Heroes I'm  a   Drunk
3 Red Scare Try  to   Give   Up
4 The Accident Perestroika
5 Sharp Teeth Burn  Return
6 Bend Sinister Untitled
7 Amarillo Stars You've Seen This Before
8 Ether's Void It's Over
9 Mr. Plow
10 Bestest Wilfor
11 Winks Aprin Fell
12 Billy the Kid and the Lost Boys This One's For You
13 Roadbed JB   Fool
14 Too Hectic As You Were
15 Hot Bingo Bitch Where Are You,  Baby?
16 Dr. Pong Snapshot
17 Ryan Eugene .      Instead, I Sing
18 Six Block Radius Kill to Hide
19 Groovy Gals Trash Rap
20 The Whiskey Sour Notes Discomatic
This Guys The Limit Moustache Wax
Battlecry...      Teenage Rampage
The monthly charts are compiled based on the number of times a CD/LP
("long vinyl"), 7" ("short vinyl"), or demo tape/CD ("indie home jobs") on
CiTR's playlist was played by our DJs during the previous month (ie, "June"
charts reflect airplay over May). Weekly charts can be received via email.
Send mail to "majordomo@unixg.ubc.ca" with the command: "subscribe citr-
charts." •
23im&mms^ on
your guide to CiTR 101.9fm
9:OOAM-12:OOPM    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:OOPM    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, lesbian,
bisexual, and transsexual communities of Vancouver, tots of
human interest features, background on current issues and
great music.
10:00PM Rhythmslndia features a wide range of music from
India, including popular music
from Indian movies from the
1930s to the present, classical
music, semi-classical music such
as Ghazals and Bhajans, and
also Quawwalis, pop and
regional   language   numbers.
THE      SHOW 10:00PM-
12:00AM Strictly Hip Hop-
Strictly Underground—Strictly
Vinyl. With your host Mr. Rumble
on the 1 & 2's.
2:00AM Join us in practicing
the ancient art of rising above
common thought and ideas as
your host, DJ Smiley Mike lays
down the latest trance cuts to
propel us into the domain of the
mystical. <trancendance@hot-
mail.com> (on hiatus for the summer, will return in August)
8:00 AM
BREAKFAST        WITH        THE
BROWNS    8:00-11:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of the familiar and exotic in a
blend of aural delights!
11:00-1:00PM tocal Mike
and Local Dave bring you local
music of all sorts. The program
most likely to play your band!
GIRLFOOD alt. 11:00-1:00PM
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
DJ Hancunt wants you to put
your fist to the wrist—you know
5:00PM A chance for new CiTR
DJs to flex their musical muscle.
Surprises galore.
6:00PM Join the sports dept.
for their coverage of the T-Birds.
CRASH THE POSE alt. 6:00-
7:30PM Hardcore/punk as
fuck from  beyond the grave.
REEL    TO    REEL    alt.    6:00-
Movie reviews and criticism.
MY ASS alt. 6:30-7:30PM
Phelps, Albini, 'n' me.
Original rude gals, skanksters,
bad boys, big men and sing-
jays. Join Selector Krystabelle for
raw roots, dub-fi dub and some
heavy dancehall sounds.
12:00AM Vancouver's longest
running prime time jazz program. Hosted by the ever-suave
Gavin Walker. Features at 11.
June 3: Art Blakey and the Jazz
Messengers "A Night In Tunisia";
drummer/bandleader Blakey
leads his first sextet with two of the
days hottest saxophonists alto
Jackie Mclean and tenor Johnny
June 10: Coastal Jazz And Blues
Society's Media Director John
Orysik joins GAvin for a Jazz
Festival preview.
June 17: Jazz Festival star and
piano genius Ahmad Jamal and
his most famous album live At The
June 24: Guitarist Pat Martino,
Hammond master Joey DeFranco
and drummer Billy Hart with "Live
At Yoshi's". These giants with
Byron Landham replacing HArt
will be highlighted at this year's
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our hearts—
thank fucking Christ.
6:30 AM
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
9:30-11:30AM Open your
ears and prepare for a shock! A
harmless note may make you a
fan! Hear the menacing scourge
that is Rock and Roll! Deadlier
than the most dangerous crimi-
BLUE MONDAY alt. 11:30AM-
1:00PM   Vancouver's       only
program. Music to schtomp to,
hosted by Coreen!
FILL-IN alt. 11:30AM-1:00PM
Where dead samurai can pro-
CPR 2:00-3:30PM
Buh bump... buh bump... this is
the sound your heart makes
when you listen to science talk
and techno... buh bump...
LA BOMBA (First three
Tuesdays of every month)
ELECTRIC     AVENUES     3:30-
| Rg I
I Rts I
I Pol   SAINT   I p0 f
PARTS      n
10,000 VOICES (Tk)
ANOIZE      [^_
RACHEL'S      [^
WEASEL        ■—
PLANET        [a=|
ON AIR        LL
LIVE FROM...    u-
SKA-T'S       L
BREAKING      it
| Rts |
24 june 2002
Cf= conscious and funky • Ch= children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip hop
Hk= Hans Kloss • Ki=Kids • Jz=jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu= punk
Rg= reggae • Rr= rock • Rts= roots • Sk = ska »So= soul • Sp= sports • Tk= talk • Wo= world 4:30PM Last Tuesday of every
month, hosted by The Richmond
Society For Community Living. A
variety music and spoken word
program with a special focus on
people with special needs and
10,000     VOICES 5:00-
6:00PM Poetry, spoken word,
performances, etc.
8:00PM Up the punx, down
the emo! Keepin' it real since
1989, yo.
hup://flexyourhead. vancouver-
alt. 10:00PM-12:00AM
alt. 10:00PM-12:00AM
groove-ambient-soul jazz-fusion
and beyond! From (he bedroom
to Bombay via Brookyln and
back. The sounds of reality
remixed. Smile. <sswander-
6:00AM It could be punk,
ethno, global, trance, spoken
word, rock, the unusual and the
weird, or it could be something
different. Hosted by DJ Pierre.
7:00 AM
7:00-9:00AM Bringing you
an entertaining and eclectic mix
of new and old music live from
the Jungle Room with your irreverent hosts Jack Velvet and Nick
The Greek. R&B, disco, techno,
soundtracks, Americana, Latin
jazz, news, and gossip. A real
gem! <suburbanjungle@chan-
10:00AM Japanese music and
ANOIZE 11:30AM-1:00PM
Luke Meat irritates and educates
through musical deconstruction.
Recommended for the strong.
3:00PM Zines are dead! Long
live the zine show!
"Eat, sleep, ride, listen to
Motordaddy, repeat."
6:30PM Socio-political, environmental activist news and
spoken word with some music,
too. www.necessarwoices.org.
Beginning June 7th, tune in Fridays at
5PM for the Necessary Voices
Lecture Series.
(First Wednesday of every
9:00PM Indie, new wave,
punk, and other noise.
FOLK OASIS 9:00-10:30PM
Roots music for folkies and non-
folkies... bluegrass, singer-songwriters,worldbeat, alt country
and more. Not a mirage!
HAR 10:30PM-12:00AM
Let DJs Jindwa and Bindwa
immerse you in radioactive
Bhungra! "Chakkh de phutay."
12:00-3:00 AM
11:30AM Music inspired by
Chocolate Thunder, Robert
Robot drops electro past and
present, hip hop and intergalac-
tic funkmanship.
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and slow (punk and
2:00-3:00PM Comix comix
comix. Oh yeah, and some
music with Robin.
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 views
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 'n' roll and rhythm
and blues from 1942-1962 with
your snappily-attired host Gary
Olsen.   <ripitup55@aol.com>
RADIO      HELL 9:00-
11:00PM Local muzak from
9. Live bandz from 10-11.
1:00AM An old punk rock
heart considers the oneness of
all things and presents music of
worlds near and far. Your host,
the. great Daryl-ani, seeks reassurance via  <worldheat@hot-
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
8:00 AM
10:00AM Trawling the trash
heap of over 50 years worth of
real rock 'n' roll debris.
Email requests to <djska_t@hot-
12:00-2:00PM Top notch
crate diggers DJ Avi Shack and
Promo mix the underground hip
hop, old school classics and
original breaks.
2:00-3:30PM The best mix of
music, news, sports and commentary from around the local
and international Latin American
SERIES 5:00-6:00PM
June 7: Paul Hellyer, author of
June 14: Edgar Mitchell,
reknowned Apollo astronaut,
speaks on his journey to the
moon and seeing the Earth from
June 21: Howard Lyman, a former industrial farmer turned
vegan, talks about his brush with
death from cancer and his newfound knowledge on nutrition.
June 28: Naomi Klein,
activistjournalist and author of
No logo, speaks about current
global issues.
9:00PM David "Love" Jones
brings you the best new and old
jazz, soul, Latin, samba, bossa,
and African music from around
the world.
Hosted by DJ Noah: techno, but
also some trance, acid, tribal,
etc. Guest DJs, interviews, retrospectives,     giveaways,     and
HEAD 12:00-2:00AM
THE        SATURDAY        EDGE
8:00AM-12:00PM Studio
guests, new releases, British
comedy sketches, folk music calendar, and ticket giveaways.
8-9AM: African/World roots.
9AM-12PM: Celtic music and
in for a full hour of old and new
punk and Oi mayhem!
Vancouver's only true metal
show; local demo tapes,
imports, and other rarities.
Gerald Rattlehead, Dwain, and
Metal Ron do the damage.
CODE BLUE 3:00-5:00PM From
backwoods delta low-down
slide to urban harp honks, blues,
and blues roots with your hosts
Jim, Andv. and Paul.
8:00PM Due to popular
demand,Dave Emory returns to
the CiTR airwaves with his legendary   For The Record radio
SOUL TREE alt. 10:00-
1:OOAM 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
PIPEDREAMS alt. 10:00-
THE RED EYE alt. 1:00-
4:30 AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem
headz rock inna junglist
mashup/distort da source full
force with needlz on wax/my
chaos runs rampant when I
free da jazz..." Out.
—Guy Smiley
9:00AM Hardcore dancehall
reggae that will make your mitochondria quake. Hosted by
Sister B.
25E^g£®S3S dote book
what's happening in June
TO 604.822.9364 OR EMAIL
infreqiiency@sugar refinery; hatebreed, ensign@croatian cultural
ford pier, clay george@the main; g-bros@sugar refinery; CiTR PRESENTS CHRIS MURRAY,   GENERAL RUDIE,   KINGPINS®
the ad and the ego, negativland video compilation@blinding light!!;
suv@sonar; -outhem acifi+, cowbell, north shore academy of
dance@sugar refinery
grade,   witness   protection   program,   end   this   week   with
knives@mesa luna
improvision's dickin' around@blinding light!!; powderfinger@com-
modore;    timo    maas@sonar;    parallela    improvised    music
old and naked: new videos by donigan cumming@blinding light!!;
blair jewers, elijah wood@the main; cineworks independent film
makers' forum@sugar refinery (7-9pm); jp carter trio (10pm)@sugar
lavish, shrimpmeat, huskee dudes@railway club; the films of deco
dawson@pacific cinematheque; old and naked: new videos by
donigan cumming@blinding light!!; teethacres@the main; av
lodge@sugar refinery
the hangmen, the deadcats, el dorado@railway club; goa pete, aus-
tripin, Christopher schmidt, mojo man@dub 23 west; the metalu-
nas@the main; cris Williamson, wendy lynn@WISE hall; frog eyes,
jon-rae fletcher, jay@sugar refinery; Hie hangmen, the deadcats, el
dorado@railway club; mike watt, second men@richard's
john guliak, the lougan brothers@the n
hall; coal, the winks, the beginners@ms
not a toy, coin gutter, the din@sugar t
dubliners@benaroya hall (seattle)
eliza gylkyson@W!SE
rabaret; fond of tigers,
■ry; jethro tull, young
steve dawson,
lskv@the main
; J 0th
1 little mount
un rilev park c
y festi
val@50 t
. 30th
e (at Ontario);
;olor thief@sug
»r ret
v wk@richard
s on richards; a
eo in; casey an
d tin
way ck
b; po'
ugar refinery;
filmmaker, the
, kevii
parallelaseries@sugar refinery
queens of the stone age@richard's on richards; adam's rib@railway
club; tony wilson trio@sugar refinery
Vancouver boys due the girls featuring kevin kane, bob kemmis,
paul myers, robert wilson, jon wood, steve wright@railway club;
rhythm roundup@the main; kevin house@sugar refinery; queens of
the stone age@graceland (seattle)
resin@the main; teddy bear brigade@WJSE hall; the guthries, radi-
ogram@railway club; almost transparent blue@sugar refinery; mercury rev, the shins@sliowbox (seattle)
the frenetics, operation makeout@cobalt; the broken crow quar-
tet@the main; VASM@WISE hall; mr. underhill, the widows@rail-
way     club;     springer     and     ducommon@sugar     refinery;
botch@showbox (seattle); bratmobile@piccadilly
steve dawson, elliot polsky@the main; ensemble symposium@west-
ern front; Steven horwood photo auction@sugar refinery (6pm);
seven penny mayhem cabaret@sugar refinery (10pm)
the travelling troubadors@the main; RANCH presents...©the railway club; the frenetics, billy the kid and the lost boys, the spin-
offs@mesa luna
26 June 2002
parallelaseries@sugar refinery; nina nastasia, mary timony@crocodile
cafe (seattle); redbone@yale
jp carter trio@the main; barb dwyer, something about reptiles, jen
paches@railway club; elisa rose@sugar refinery; redbone@yale
amy honey and the top bums@the main; sanne lambert, evan
symons@railway club; av lodge@sugar refinery
buggie westeltoft@commodore; jack dejohnette and John
surman@vogue, denzal sinclaire@orpheum; atomic kornstad
trio@granville island market stage; jack harlan, kevin kane@the main;
ska-t's ska-jazz fest featuring easy big fella@railway club; third annual antimatter jazz and improvised music festival@sugar refinery;
boom bip and dose one, clouddead, lab techone, radioinactive, reaching quiet@graceland
atomic@gaswtown; charlie haden@vogue; kornstad trio@vancouver
east cultural centre; the parlour steps@the main; fetish night@WiSE
hall; 20 miles@railway club; third annual antimatter jazz and improvised music festival@sugar refinery; lyle lovett@the pier (seattle); city
girl's boys, dee dee ramone@catwalk (seattle); herbaliser@gastown
pacific northwest taiko fest featuring chibi taiko, one world taiko,
tsunami taiko, on ensemble, and portland taiko@capilano college performing arts theatre; atomic@vancouver east cultural centre; ahmad
jamal@vogue theatre; pied pumpkinOWISE hall; third annual antimatter jazz and improvised music festival@sugar refinery; guided by
voices@showbox (seattle)
dave holland quintet@the vogue; tommy lee@the rage; third annual
antimatter jazz and improvised music festival@sugar refinery; the
gnarwals, mike rivest, Julian who, billy the kid and the lost boys,
r3.1459...@mesa luna
gianluigi trovesi, gianni coscia, marilyn crispeIl@vancouver east cultural centre; lucky peterson@the commodore; third annual antimatter
jazz and improvised music festival@sugar refinery
marianne grittani@the main; Campbell ryga@the vogue; third annual
antimatter jazz and improvised music festival@sugar refinery; my
birthday@my house; drunk horse, the fucking champs@richard's on
hinterland, softcore, the parlour steps@railway club; belinda bruce,
the beginners@the main; denzal sinclaire@mcpherson playhouse (victoria); marilyn crispell@vancouver east cultural centre; metal-
wood@capilano college arts theatre; jimmy thackery@the yale; third
annual antimatter jazz and improvised music festival@sugar refinery
al tuck, dave gowans@the main; town pants@railway club; dave
brubeck quarter@royal theatre (victoria); marilyn crispell@studio 16;
third annual antimatter jazz and improvised music festival@sugar
the mad dashOthe main; bonnie ste. croix@WISE hall; town
pants@railway club; claudia acuna@mcpherson playhouse (victoria); dave brubeck quartet@the orpheum; Vienna art orchestra@the
vogue; nils petter molvaer@the commodore; eivind aarset trio,
campbell ryga@roundhouse; third annual antimatter jazz and
improvised music festival@sugar refinery
orchid highway, star collector@railway club; Vienna art orches-
tra@mcpherson playhouse (victoria); gavin bryars, holly cole@the
orpheum; de phazz@the commodore; claudia acuna quintet@van-
couver east cultural centre; third annual antimatter jazz and improvised music festival@sugar refinery; deepen featuring vernon, tyler
t-bone stadius, jay tripwire, matt, jay auto and more@lotus
special event*
CiTR is helping to present this collaboration between
chamber ensemble Standing Wave and dance company Kokoro Dance at the Vancouver East Cultural
Centre. June 5-8. They will be performing Peter
Maxwell Davies' Vesalii Icones and Giorgio
Magnanensi's aila. Shows are at 8pm and tickets are
$20/$16, available through Ticketmaster Check out
www.kokoro.bc.ca for more information.
Phhlk and CiTR present an evening of live electronic
music at the Vancouver East Cultural Centre featuring
Phhlk s Thereministahs. Nick Coulter, and Particle
Burn. Come out Sunday. June 9 to experience some of
the best in contemporary electronic composition.
Doors at 8pm. tickets $15/$10 through Ticketmaster.
place* fo be
bassix records
217 w. hastings
pacific cinematheque
131 howe
beatstreet records
pic pub
620 west pender
black swan records
3209 west broadway
railway club
579 dunsmuir
blinding light!! cinema
36 powell
richard's on richards
1036 richards
3611 west broadway
ridge cinema
3131 arbutus
chan centre
6265 crescent
scrape records
17 west broadway
club 23
23 west cordova
scratch records
726 richards
917 main
66 water
commodore ballroom
868 granville
sugar refinery
1115 granville
crosstown music
518 west pender
teenage ramapage
19 west broadway
futuristic flavour
1020 granville
Vancouver playhouse
hamilton at dunsmuir
highlife records
1317 commercial
video-in studios
1965 main
lotus hotel
455 abbott
western front
303 east 8th
the main cafe
4210 main
wett bar
1320 richards
mesa luna
1926 w. broadway
WISE club
1882 adanac
ms. t's cabaret
339 west pender
1300 granville
orpheum theatre
smithe at seymour
zulu records
1972 west 4th
604.738.3232 DEEPEN PRESENTS
TICKETS    = 123 + IN + OUT
$25.00 AT THE DOOR
I bassix
record store
Wi    m
deepen discs
© wHHtooVibes^ojn
Finally We Are No
One CD
Positioned somewhere between
the dynamics of fellow
Icelanders Sigur Ros, and the
intelligent compositions of fellow
sprightly programmers Lali Puna, MUM's sophomore effort
is startling listen for those interested an multifaceted album.
Demonstrating more breadth than their pleasant debut
Yesterday Was Dramatic..., MUM now combine a mixture
of electronic elements such as breezy beats/laptop tones,
and tweaked glitches, with a body of acoustic instruments
including piano, violins, guitar and voice. The result is
something neither purely electronica or pop-rock.. .neither
Kid A nor Cousin A. Are we bold enough to make a prediction? Yes! This will be a year-end critics picks topper.
Available June 4th
CD 19.98
Sharpen Your Teeth
Issac Brock of Modest Mouse
teams up with his pals in
Califone and Black Heart
Procession to create the beast
that is Ugly Casanova! Released on Sub Pop and recorded
from the profits of Brock's Epic Records windfall, this solo
debut gathers up all the loose ends, shattered fragments,
and miscellaneous errata that might not make the Modest
Mouse storyboards - a weaves them into a beautiful sonic
cape! Fully baked, theses ideas find tidy homes on this neat
album that speaks of experimentalism in the eye of super-
CD 16.98    2LP 16.98
The Golden Dove
A ccording to hipster "wisdom",
MMARY TIMONY is something
of a post-Riot Grrrl indie-rock
also-ran, but for those of us who
still-care-about-the-music-god-damn-it she's a unique and
deeply cherished talent. Always a mixture of the magical
and the mundane, her idiosyncratic songwriting transcends
petty pigeonholes, ascending to incomparably lucid dream-
scapes of beauty and bitterness. Rumored to be MARY'S
poppiest effort since the heyday of Helium, The Golden
Dove provides essential clues about the source of her evil
CD 16.98    LP 16.98
It seems ridiculous to say that rock is back - a statement
so perennial it could be planted as an alternative
hedgerow. Nevertheless, THE FUCKING CHAMPS play like
this was the freshest idea since the first time rock supposedly died and, as always, resurfaced like an awesome
phoenix painted on the hood of a throaty muscle car.
Indeed. Now, to be clear, when we say rock in this case we
mean heavy metal - like, you know, Priest and Maiden,
and stuff - and not the black clothed, boogified hard rock
that captivated so many of us over the last few seasons.
Yes, although the white belts may remain in both cases, as
well as the commitment to rocking energetically and hard,
sometimes differences of style are a substantial issue of
form, not simple inflections of the same universal. What
are we talking about? Come give your summer a preview,
CD 19.98    LP 19.98
Sunday June 9th at 4PM
"I've been looking for you
everywhere." Recent photography by Andrea Nunes - with
exquisite corpses and punch!
Sunday June 16th at 4PM
Calamalka (metatronix, plu-
gresearch): hip-hop, dub,
decks and fx.
Sunday June 23rd at 4PM
DJ Aural: computers, samplers and related
technology all conspire towards ambient
music for altered states.
Sunday June 30th at 4PM
Rob Mazurek of Chicago Underground Duo -
Taking a time out from the Jazz Festival,
Thrill Jockey's favorite son proves Laptop
plus sub-woofer equals tantric bliss!
Zulu Records
1972-1976 W 4th Ave
Vancouver. BC
tel 604738.3232
Mon to Wed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
Electric Sweat CD
The Hives cannot possibly rock
this hard forever! White
Stripes will surely show their real
stripes and fall from greatness!
The Noise Conspiracy will get
caught with their hands in the Gap bag soon enough! And
when this happens - GkWho will rock you? -who will roll
you? A: Mooney Suzuki
CD 19.98
Red Cities CD
Indie-rock scholars have traced the history of the BROKAW
lineage through somf impressive East Coast dynasties:
drummer for slow-cofj8 pioneers Codeine; visceral guitarist,
along side Thalia Zedek, in Come; contributor to Pullman;
as well as a memberbf the post-Bedhead outfit, The New
Year. Add sessions with Steve Wynn of the Dream
Syndicate and Mission of Burma s Clint Conley. and it's
easy to see that Chris s Verlaine meets-Sonic Smith
instincts have been finely honed! This is his solo debut...
witness history \
CD 16.98
Stirring the L.A. hip-hop s
bad-boy aesthetic, People Under The Stairs reti
another amazing collection of heavy bangers!
outing takes aim at LA's fading history of hip-hop glory,
crowned by Beatnuts. Pete Rock, Fellowship, Pharcyde,
and Souls Of Mischief, offering up a lofty mix of crate rabbin' rare grooves, old school breaks, and pure positive
vibes! They're already huge in Europe - ain't it time they
took their hometown! Available June 4th
CD 19.98
Three CD/LP
ARCHER PREWITT's expansive music is equally heady
and workman-like - as with his current home, Chicago.
Simultaneously hopeful and sad, PREWITT conjures, as
Thrill Jockey puts it, the "sonic feel of classic early 70's pop
and British folk." In other words, he is dandy enough to
savor the finery of sweet production and well-embellished
songs, yet also folksy enough to straightforwardly convey
some dusty truths with little conceit - all proof enough that
PREWITT has come of his own.
CD 19.98    LP 16.98
Live Recording Event CD
Take the trans-Canada highway up towards Calgary and
turn off at Stoney Trail. Motor on awhile - there's not
much traffic - through the pretty foothills until you come
across the Mecca Cafe. Not only the site of a mean burger,
the appropriately named Mecca is also the site of magic -
the music magic that is a voice of the paststill crooning
strong! Here is the audio document of BILLY COWSILL s
(who remembers the legendary COWSILLS??) return to
public performance. Features help from some of Albertals|§
finest high plains drifters including Steve Pineo on guitar!  .
CD 19.98
UNTIL JUNE 30 2002
Soundtrack CD/LP
lis short but worthwhile new
BELLE AND SEBASTIAN material is sure to please their many anxious tans, whose pent-
up energy has in the meantime doubtlessly filled many
overheated notebooks and on-line chat-rooms, in a bid to
sublimate their growing - and perhaps justified - impatience for new material. Used in one section of Todd
Solondz's last dark and cynical film, BELLE AND
SEBASTIAN'S Storytelling is described by Matador Records
as "an extended meditation" more than a soundtrack. This
sounds right to us, too: A few new songs and lots of
instrumental score, plus snippets of dialogue from the film
for context. Although not an ideal choice of BELLE AND
SEBASTIAN material for new listeners - one of their wonderful full-length albums would be a wiser option, we think
- Storytelling will find a welcome home in the book and
CD shelves of theft; JcKigtime, only temporarily satisfied
admires Available June 4th
CD 16.98   LP 16.98
David Grubbs- Rickets and
Scurvy CD/LP
Tram- A Kind Of Closure CD
Jon Rae Fletcher and The River-
Sparrow-Piano 1-10
Various-CBGB's Birth Of U.S.
Punk CD
Coldcut- 70 Minutes of Madness
CD (incoming!)
Peace Orchestra- Reset CD/LP
Hives- Barely Legal LP yellow
DJ Shadow- You Can't Go Home
DJ Shadow- full length vinyl
Fatten- Textstar CD aka Jan
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