Discorder CITR-FM (Radio station : Vancouver, B.C.) 1997-08-01

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C________) mil m
MURK F*ftm.ccrlsi
Club: 683.6695
Office: 683.6527
Fax: 688.2552
Sound system by:
Visual styling by:
© fIVe-0 © HgGRANDE
® pmsha     © FLEX Ctti$Htf 19 9?
Lake of Dracula
Folk Implosion
du Maurier Int'l Jazz Festival
Mille ncolin
Atari Teenage Riot
miko hoffman
art director
kenny paul
ad rep
kevin pendergraft
production manager
barb yamazaki
graphic design/layout
atomos, malcolm van deist,
kenny, barb y
barbara andersen, andrea gin,
malcolm, stu marvel,
stefan udell, tristan winch
barb, jason da silva, andrew
dennison, lester smolenski, eric
otis a, james b, Julie c, brady c,
mike c, sean c, christian, bryce
d, glenn d'c, jason ds, chris e,
greg e, gth, karen f, lee h, noah
g, pieter h, thomas h, anthony k,
kellie k, paul k, janis bmc, jono,
adam m, siobhan mc, stu m,
nardwuar, ken p, bill s,
June s, lester s, markus s,
eric t, brian w
programme guide
barb, miko
siobhan, tristan, miko
matt steffich
us distribution
hmm ...
discorder on-line
ben lai
linda scholten
computer consultants
steve chow, Jens b, mummy
hoffman, ryan ogger, mint bill,
Jtyuz #t?5
Cowshead Chronicles 4
Vancouver Special 5
Diary of Jonnie Loaf Boy 5
Interview Hell 6
SubCult. 16
Basslines 18
Seven Inch 19
Under Review 20
Real Live Action 22
Charts 24
On the Dial 25
August Datebook 26
Local genius Lester stole the show
this month with his awesome cover
& artwork for atari teenage rlot,
that riotous, anti-techno band from
Local computer failure, speedracer,
stole our patience, deciding to
"break" on the last night of production.
But that's our problem, not yours, right?
And you're reading this, so it's a moot
pont. Happy reading...
© "DiSCORDER- 1997 by the Student Radio Soaety ol the Univer-
sity of Brit,sh Columbia. All rights reserved. Circulation 17, 500.
Subscriptions, payable in advance, to Canadian residents are $ 15 for one
year, to residents of the USA are $15 US; $24 CDN elsewhere. Single
copies are $2 (to cover postage, of course). Please make checks or money
orders payable to DiSCORDER Magazine
DEADLINES: Copy deadline for the September issue is August 13th. Ad
space is available until August 20th and can be booked by calling Kevin
at (604) 822-3017 ext. 3. Our rates are available upon request
DiSCORDER is not responsible for loss, damage, or any other injury to
unsolicited manuscripts, unsolicited artwork (including but not limited to
drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc (Mac, preferably) or in type. As
always, English is preferred.
From UBC to Langley and Squamish lo 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 ihe 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, (HTiail us at: citr©unixg.ubc.ca, visit our web site at http://
www.ams.ubc ca/media/citr or just pick up a goddamn pen and write #233-
*"38 SUB Blvd., Vancouver, BC, CANADA V6T 1 Zl.
T^MtitedJn Ctuutffa
Nm    vi iA
•M 'ki
 r/iTAiif i
September 10
tickets available at all «#*■» outlets or charge by phone at 280-4444
Full Page
Half Page
Mag Size V
Mag Size H
Pauper H
Pauper V
(10 1/4"wxl2nh)
(10 1/4nwx5 7/8nh)
(3 1/4"wx5 7/8nh)
(5" w x 2 7/8" h)
(3 1/4" w x2"w)
Call the Ad Captain at 822-3017 (ext.3) and book your space NOW!
~c/n j)c
.cow {sfh^a d
brooklyn, n.y. 07.21.97 \__y
funny how time and space somehow skews perception, how absence, apparently, makes the heart grow fonder, i recently received a postcard from
a friend away on vacation and she spoke of simpler times together, the
events early on in our relationship, the first time we ever walked together,
the first time we had lunch, what she had to eat. the bagel i had eaten and
what i had had on it. i remembered other things, too, that maybe she did
not remember or had decided not to mention, the clothes she was wearing
the first time i met her. who she was with, what i had said, and now as i sit
here in brooklyn, n.y. writing the chronicles, i, too, have tricks being played
on me by my own mind, things i will take home with me to Vancouver and
have to ponder from a distance make perfect sense of. sort out things i will
have to put into perspective somehow, things i can't easily explain now to
you or to myself, it's happened before and each time i have negotiated it
to the best of my ability, for better or for worse, what can i tell you right
now? something i suppose, love, infatuation, being smitten, having a crush,
taking a shine to someone, all these things have one common thread, if
not many, i have mentioned this thing so many times before and i feel odd
doing it now, but i will anyway — your heart, even when broken, it seems
to be able to pick itself up from off of the canvas and step into it for more
punishment, while my heart is, for the most part, strong i feel something
coming on that could send it to the mat for at least an eight count, something i should be able to have control over but seemingly don't, i won't
know until i leave new york. it's a quick flight back to Vancouver thursday
evening but one that i now will stand still at times giving me ample time to
pause for thought, i'm confused right now — i know it — and i feel you
should know it as well, shaken perhaps, i came to new york expecting
nothing but leaving with a head full of conflict that needs sorting out and
the need to put things into much clearer focus, i feel the need to follow
through though take a chance and see what happens, i can't put it any
clearer than that, i'm sorry, home is again, apparently, where the heart is
and i need to get home to see if that is, indeed, true, it may be, however,
somewhere else entirely.
•f    august |j)a(7 TREECRUSHER
Yes I Don't
There must be something in
the water over in Victoria.
From the birthplace of Bum
(to name just one Victoria
band of many) comes
Treecrusher, the latest loud,
fast, energetic, pop-tinged boy
band from our province's capital. This three-piece covers songs
by The Lemonheads and
The   Doughboys,   and
cheerfully pounds its way
through originals with lyrics
as unabashedly goofy as
"You know I'm sorry when I'm
being a big fuckhead" and
as grim as "You won't find me
hangin' by my neck, but don't
think I haven't considered it."
Treecrusher's charm is that
these pull-no-punches words
and this rock-neck-inducing
music are leavened with such
good-natured noisy harmonies and hooks.
Building a Mystery (single)
"Building a Mystery (Clean
Version)" is how it's listed on
the back of the jewel case,
and my first indignant reaction is, "Why do we get the
clean version?" I mean, this
isn't CHQM, you know. Anyway, this is a very nice
sounding song, and Sarah
sounds lovely, as always.
(Still, I'd love to hear the
"dirty" version.)
Numb (single)
Fans of the girl singer-songwriter genre who may have
found Holly a bit scary in
the past need not be
afraid of this single! Sure,
she still has the tattoos and
the singing is still plenty
emotional (Sarah
McLachlan she isn't, I admit), but come on, there's
nothing to fear from this
very listenable song.*
Another i3 weeks of friendly
competition, jokes-for-beer,
and amazing prizes. CiTR is
now  accepting demos  for
Shindig '97 from all over BC.
Get your act together and let
us hear your noise. All that is
required is a 25-35 minute set
of original material and a little
chutzpah. Deadline for submissions is Sept i, 1997.
Send your tape  to:
Shindig '97
c/o CiTR
233-6138 SUB Blvd
Vancouver, BC   V6T IZ1
Remember to include
contact names & numbers!
For more info, contact Siobhan at 822-8733
or to become a Sponsor, call Brian at 822-12*'
101.9 fM
from   the   diary   of   jonnie   loaf   boy
Day 7 of the Revolution
This bloody revolution is still sputtering along, and 1 am
getting really sick of it. We have been holed up in this
decrepit radio station for a week and if I have to put
another slice of pizza down my throat, I'm gonna hack.
I'm not the only one getting fed up. The university is starting to get irritated and the other djs want us out. DJ Noah
and Witchdoctor Highball came by to throw a tantrum.
Their shows are being pre-empted by the revolution, and
they can't deal with it. Those egomaniacs need to be
personalities regularly, or they break out in hives. They
threw themselves repeatedly against the door of the radio station, but we are pretty securely barricaded in. One
of DJ Dinette's henchmen leaned out the window and
poured coffee grinds on them. Not a very nice thing to
do, considering that the Witchdoctor had just washed his
hair for the first time in several months. Who knows how
long it's gonna be before he gets a chance to rinse out
the grinds. The two of them left amid DJ Dinette's fierce
taunts, muttering something about a counter-revolution.
The university has appointed Nardwuar the Human
Serviette as their special envoy to try to resolve the conflict. God help us all. He came into the dj booth to check
on the conditions of the revolutionaries. He seemed visibly shaken, but it's hard to tell with him. He always seems
visibly shaken. I asked him if he would send in the Red
Cross to monitor my health. As the only hostage, I think I
deserve extra care. I showed him the red marks on my
upper lip left by the duct tape, but he seemed unimpressed.
I explained my heart condition to him. "My arteries are
getting gummed up with tofurella. My heart could burst
any second — just ask my doctor." He kinda smiled nervously and wrote something down in a tattered notebook.
He said he would send in someone to clean the bathroom.
Day 8 of the Revolution
Nardwuar arrived this morning accompanied by
some fat guy from the university administration. The
fat guy wouldn't give us his name and refused to
even shake our hands. Not that any of us wanted to
touch one of his beefy paws, but I think some common civility would have been appropriate. "This is
an illegal occupation," the fat guy goes, sending
the revolutionaries into a bout of fake snickering.
And DJ Dinette is like, "Listen lardo-boy, why don't
you get your fat suit out of here." And Nardwuar is
like, totally trying to play the peacemaker, with "Let's
all try to keep our heads cool," and all that. Finally
he got them all quiet and sitting down, and the revolutionaries presented their list of demands. This sent
fhe fat guy into another fit — his face turned red
and I swear I could see beads of sweat forming on
his bulging eyeballs. Poor Nardwuar had to calm
things down again, and patiently explain to the revolutionaries that he is not authorized to negotiate the
dismantling of capitalism or the apparatus of state
control. And DJ Dinette is like, "Then what's the point
of sitting down with you hacks?" And the fat guy is
like, "We are here to negotiate your surrender, and
nothing else." And DJ Dinette is like, "Then we are
suspending talks with you." And the fat guy is like,
"No, we are suspending talks with youi" And the
two of them start butting their chests against each
other until Nardwuar forces them apart by holding
DJ Dinette's favourite 7" between them. And
Nardwuar is squeaking, "I think f can safely say
that folks have broken down," and he and the fat
gify scurry out.
Day 9 of the Revolution
We have heard rumours that
Sub-Commander Marlboro and
the rest of the hippies have surrendered the President's office
in exchange for a couple of sodas. The revolutionaries are
pretty depressed. They just sit
sullenly on the floor and are no
longer arguing over the stationary bike. DJ Dinette keeps
scratching her scalp and aggravating the holes in her pants —
a sign she might peak-out. She
tried a couple of times to reach
Sub-Commander Marlboro on
the walkie talkie, but there was
no reply. The Virgin Murray has
really cracked up. He sits in the
dj chair with his cardigan pulled
over his head and has been
playing nothing but the
Macarena all day. The punk
version of "The Macarena" is
slightly amusing, but the whole
schtick loses its novelty after a
couple of hours. I suggested that
they all go out into the hall and
get some exercise — maybe a
game of soccer. They just glared
at me. Nardwuar came by this
afternoon, but DJ Dinette flung
a few empty pizza boxes at him
and he took off.
Day  10  of  the
This  morning  I  w«
woken up by the boot ol
a police officer prodding me in the balls.
"He'y buddy   you £
sponsible br this?    He
was holding a handke^
chief over his nose and
gesturing with h.s arm to
"ndicate the entire d
booth - the piles ol
pizza crusts   agoretle
butts and coffee gnnds.
■n the background,
Pavarotti was singing
some overblown ana.
Murray has a great ear
for   irony.   The   cop
pushed his face towards
Pme, and I could smell h.s
fetid doughnut breath
even above the stench of
the di booth. "Your cowardly bends slunk away
in the night," he goes.
And I look around and
see that I'm the only one
here. On the wall, sproY
paint:  "Waco   Oka^
Peru    CiTR!  Viva La
Revolution!" What a
bunch of lame-asses. Radio
Live from Thunderbird Radio Hell can
be heard Thursdays from 9-11 pm on
Who are you? (names, ages)
Cory the drummer, 14 (Cory Hatch), aka Greg.
Cory the guitarist, 26 (Senor Cory Smokebreak), aka Ryan.
Cory the bassist, old and sick (Coriander, Cory spice), aka
Cory the singer, 3.141592653589793238 (Cory Jorj Filter),
aka Jorj.
Pick 5 words to describe your band:
guitarist: Who, what, when, where and why
drummer: Can't you see I'm drinking?
bassist: I don't know, please stop.
singer: Gregarious, effervescent, unrequited, antidis-
estoblishmentarianistic and good.
Pick 5 words to describe your fans:
drummer: They're cuckoo for Cocoa Puffs.
bassist: Strange men with strange animals
guitarist: True worshippers of my art.
singer: Confused, drunk, prepubescent, Hanson and rare.
Why did Jorj drop the bass and become the 'front-
Jorj never dropped the bass. Sure, he lipped it over, tripped on
it, left it in Maple Ridge and Chilliwack, but NEVER EVER has
he dropped it.
Please describe how you and July Fourth Toilet
were ripped off by The Loved One when ya opened
for their final show?
At face value, neither opening band was paid as Kelly Simpson
(The Loved One's singer) decided his band merited all the
money We were also ripped off by Brian Salmi as the week
before we headlined at the same venue (the Niagara) and Mr.
Salmi split the money evenly between the three bands but
strangely, exactly one week later he gave all the money to the
headlining band In the end we weren't that ripped off as we
stole The Loved One's bass player for our band and singer
Cory bodyslammed Robert Dayton off stage during our set with
his back landing on the monitor It was more lhan just payment
Who is Vancouver's version of Iron Maiden and
Bif Naked because 1) she has as many tattoos as Steve Harris;
2) in certain lights she resembles Margaret Thatcher; 3) her
odds of becoming a tattooed millionaire are great; 4) her spoken word album makes one want to run to the hills
Who is Vancouver's version of Weird Al Yankovic
and why?
Age of Electric because 1) they can play metal, alternative,
grunge, rock, etc; 2) Al's song: 'Cable TV,' their song: 'Remote
Control,' 3) They make us laugh
Who is Vancouver's version of Cheap Trick and
Jet Set, because 1) same line-up .. two cute boys on vocals
and bass, eccentric nerd lead guitarist and misfit drummer; 2)
a neverending supply of catchy, poppy, candy-soaked,
grooves and hooks; 3) in 20 years they'll be hip again while
the other 20 000 bands lhat all sound like Radiohead,
Collective Soul, etc., will long have been forgotten; 4) one
word  BALLADS!!!
What happened at your Music Waste show this
year that caused it to be written up in Exclaiml,
Terminal City and The Georgia Straight?
The main reason is that all three of those periodicals were
there and all were impressed enough by the music and show
of the evening that they all found it worth mentioning. We
would like to thank the opening bands She Screams, Hookers
of Fire, Ani Kyd and the Sister Lovers for making the night a
complete success. Overall, the show really rocked, which
seems to either surprise or scare people in this city.
Ask yourself two questions and answer them.
Who's your fav Hanson, and why?
bassist: Isaac the guitarist, the eldest of the three because
he, like I, is the Andy Summer of this hot new '90s Police
wannabe band.
drummer Taylor the keyboardist because I've had a crush
on him since the day I saw him. The way he plays with both
hands makes me blush. If I met him I would just die!
singer: Zachary the 1 1 year old drummer. He's the youngest
ond he could fulfil all my prepubescent hairless fantasies I
never got to fill when I was his age.
guitarist   The as-of-yet unseen three year-old thalidomide
brother-bassist. The law does not allow me to tell you why.
What's your favourite animal?
Baby swallows.
Anything else to add?
Cory the singer wants to remind Nardwuar that he promised
to be my date if Hanson comes to town. We'll have a MMM-
boppin' good time!
Contact Name and Address:
The Cowards c/o 41 2-774 Great Northern Way, Vancouver,
BC, V5T lE5/Jorj: 604.873.6842, jc@siwash.bc.ca/ Greg:
foffi fdjl^e
Who are you?  (names, instruments played)
Kevin Rose Guiiar, and fashion sense
Andrew Molloy: Guitar, and street credibility.
Stephen Hamm. Bass, and sensitivity
Terry Russell Drums, and sex appeal
State your purpose.
Terry World dumb-ination
Andrew To have fun through creating world prob-   i
lems and to make up answers to these questio
that are long enough
Kevin: To live free of hassle and to ROCK OUT all night
and part of everyday
Hamm To go to Seattle, Portland, and Eugene, and then figure it out from there.
What's in your pockets right now?
Hamm A pack of smokes and a roach.
Andrew: My wallet in my back pocket
Terry: A Bona-Fide Government Issued Lice
Kill. (No lie       really ... OK, it's a Provincial  |
Pesticide applicator's permit.)
Kevin: You don't want to know — it's just n
Were other names considered for your  |
Hamm: No. We knew from the very beginning that there
name because it was obvious what we are about: power and failu
considering calling il the Terry Russell Ail-Star Review.
Terry: The name became official when we booked our first show (with the Tonics
and the Timber Kings). Tho next practice we had was engulfed in darkness when
a circuit breaker blew. As we stumbled our way down the urine-scented staircase
to the boiler room to reset the breaker, we knew we had found the name that was
meant to be.
How would you describe yourself to kids in the scene who haven't
heard you?
Andrew: Animal.
Hamm: Vegetable.
Terry: Bigger than a breadbox.
Kevin: We'd probably say: 'Hey young
feller, ever heard of rock V roll?'
Being a Super Group, what other super
groups do you consider to be  role
Cactus,   Mountain, the Monkeys and Axl Rose's
Explain Punkaoke, Glamaoke and Bowen
o other possible
': Punkaoke is what allows Terry to buy new cymbals and to wear skimpy
underwear in front of an audience. Glamaoke allows Hamm to buy wigs and
makeup. And Bowen Island gives Kevin an excuse to bail on practice early: 'Sorry
guys ... got a boat to catch.'
Ask yourself a question and answer it.
Why does everyone think we're so great?
Y'know, like, we just go out there and totally rock i
out and y'know like Kevin hangs out on Bower
Island and occasionally he like, goes down to the
legion and watches some jug band do Alanis covers and that's pretty rockin', but y'know when he ,
hits the 'Couv to play a show he's ready to totally rock out and Hamm spends most of his time fifteen feet
underground and when he emerges from the underworld he's totally
ready to rock out and Andrew's over in Victoria pushing people Devil worship
videos so when he's in town he's ready and y'know Terry is learning to program
computers to 'Do Lunch' and so when we all get our funky asses together there's
only one thing to do ... ROCK!
Contact name and address:
The best way is to check out our home page at the DUNBAR GARDENS web site
and sign the guestbook. Web site:
http://home.rogerswave.ca/irussell/power.html or e-mail: failures@mindless.com
or phone: 604.267.1 31 7 (Hamm or Terry).**
6   au£u!_t i3«)7 Cinema Beer Nuts
Coming 9/23/97
Cinema Beer Nuts
PO Box 7495, Van Nuys, CA 91409
Prices: cd-SW lp/cs-$7 7"-S4 Beer Nuts-CD:
to: $12
Disributed By: FAB, Sonic Unyon, Scratch, and Cargo Canada
New Releases still available from:
88 Fingers Louie, Mustard Plug, and Heckle
Available at AU
The Earlier Years
32-page color booklet includes
extensive liner notes by John & John
Distributed by BMG Musk: Canada, Inc. f^ omewhere between
^^^ chlaU]o and Ann
■i^,   -J Arbor exists Lake of
•i tmcula. Its inhabitants are
. warlon .Magas (vocals,
formerly of couch), Weasel
Walter (guitar, currently of cmcAGO
the filing Luttenbachers),
and, Heatherjvt (drums,
Jormerly of the Scissor girls).
ihey deliver the Now Wave
sound like a plague qfjrogs. I
talked to J^iarlon in Chicago via
cell phone whilst I was trapped
inside an abandonedjridge,
which wreaked havoc with the
reception, especially towards the
end of the interview...
interview and illustration
by Lester
well os Heatwave and Adam ond the Ants — the
new Adam and the Ants
The new Adam and the Ants?
He made an Adam and the Anls tribute band called
Adam and the Anls
That's very conceptual. It's exactly the
same name as the original band, though.
They were on extremely authentic tribute band The
record also hos Matt Kirzowsky, who played sax in
Prehensile Monkey Tailed Skink The rest of those guys
are now in Monkey Power Trio They play for on hour
every year, and for eoch hour they play they put oul
a 7' They |usi put out their second hour There was
Aaron Dilbway, who's a celebrity in his own right
He's in the Pterodactyls, Couch, Beast People, Isis ond
Werewolves He's also the Hanson Records CEO He
moved oul here to be m the Luttenbachers and decided Ann Arbor needed his leadership.
He had to pick up where Destroy All
Monsters left off.
There's a Destroy All Monsters 7" on Ecstatic Peace
[Records] and a lot of lhat is Mr Quinlron and
Panacea They look the stage in the original spirit of
Destroy All Monsters — crash the party and take over
That explains the photo of them on the
back cover.
Mike Kelly from DAM was the last lo go He seemed
a little irritated and eventually got booted off the
drums That's whal comprises that single Lei's see who
else played on the Many Moods . [lists several people) Nandor Navei, he's been in lots of bands: Hot
Licks, Maggot, Bagianl, now he's in To Live and
Shave In L A.
I remember talking to the oscillator player in To Live and Shave about the Silver
Apples, and I heard Lake of Dracula
played with them on tour.
Lake of
■:■■■■:, :,:.:. ■   ;■.-,■■:-■■.:-
Lester: 'A lake is an insoluble chemical
compound, and Dracula can obviously
take the immaterial form of a smoke or
gas.' This really worries me.
Marlon I chose lo name ihe band Lake of Dracula
because I wanted it to sound a little bit violent
People take it very literally: 'Ah, the vampire standing
in the water'
It sounds like a bad translation of a foreign horror movie.
Well, as a matter of fact, il is I went into a video
store a couple of years ago and it caught my eye It's
a Japanese movie I haven't been able to see it all
ihe way through, ihough I just like the name I love
exploitation movies I like Jack Hill's stuff, he did
Spiderbaby and Switchblade Sisters I also like a lol
of sexploitation movies
So, you want to tell me what the Now
Wave sound is all about?
Exactly what the Now wWave sound is, is haid to
define Obviously, il bears some relation lo No
Wave, bul we're noi trying to live in yesterday — not
lhat No Wave is a yesterday term, because it's really
an attitude, not really a style ol music. People talk
8   august -1337
about the bands today that are 'Neo-No Wave ' If a
rock band formed today, people wouldn't call them
'Neo-rock' when it's ]usl another rock band We don'l
need to resurrect anything 'cause it never went away.
Now Wave seems lo connote something more contemporary, something lhat hasn't been heard before.
There seems to be an affiliation between
Chicago bands and Bulb records.
The link was first established when Couch and Mr.
Velocity Hopkins — aka Peter Hopkins, the head of
Bulb at the time — lust played in Chicago with Math.
We played al the Milk of Burgandy, which was run
by Math, and a friendship was struck. We played
with the Flying Luttenbachers and made friends with
the Scissor Girls I would come up to play in the Many
Moods of Marlon Magas and many ol ihe people
on the record are from Chicago Everybody in Ann
Arbor hated Couch. We thought, 'What could we do
to really piss people off? We're breaking up, anyway. We should go solo.' So I called it The Many
Moods of Marlon Magas. That was the most self-
important, pompous name I could think of.
Who are the people on the record?
Lei's see, there was Waller from the Luttenbachers as
We played with them in San Francisco. It was so
crowded, the people were so sedate People just
stood ihere. That's okay, you know it's the underground thing. I just couldn't enjoy watching them
because I was packed in like a sardine. But I saw
them in Chicago. A bunch of us went and we just
started pogoing. I can't think of the last time I enjoyed
myself more at a gig
Lake of Dracula had a bass player at the
Vancouver show but no Manhattenite.
Jessica was with us. She's a permanent member of
the band now. But the Manhaftemle, he's a weird guy
[who] just shows up here and there
And he's in U.S. Maple?
I can neither confirm or deny lhal. It's all very black
hat. He's concealing his true identity. Usually we'll
play a show and he'll simply show up. You know,
crash around and break something.
And somehow this is what led to him
recording with you in the studio?
He wasn't there when we recorded that record. We
played the tape back and somehow he mysteriously
appeared on the tape. We played with him at the
Lounge Axe, [where] there was a two day festival of
Skingroft bands Walter didn't really have a good
time He was dismayed he had lo keep pulling at a
guitar string He wanted to |ump around on everything, so we arrived al the decision lo hove a bass
player We recorded a single shortly after Jessica
pined It's a split single with Monitor Radio, coming
out on Car Crash
Refresh my memory and tell me who Ken
Vandermark is? There seems to be a proliferation of his name on the Dot Dot Dot
Ken came from Boston He's a saxophonist and he's a
part-time member of the Flying Luttenbachers They
recorded a couple of albums with them He now disavows any association with them The guy's got a Hal*
lop on top of his head
The classic Chicago flattop, as pioneered
by Steve Albini?
Correct   The archetypal Chicago flattop
What's happening with your solo stuff
Lake of Dracula is the emergency now, so [my solo
stuff] is kinda on the backburner I think the future solo
stuff is going to be taking a rap direction.
You were saying there was almost a Bulb
community down in Chicago. Do bands
like Tortoise come to your shows to rip off
Heh, heh. Uh, well ... it's uh ...
That was just a setup for me to slag
The scenes are pretty separate Post-rock is really
pretty boring When I first heard that stuff, I was
peeved. I read the reviews aboul the shifting
harmonics and dope rhythms I was really surprised to
hear somelhing lhat I would expect to hear from
Buffalo Tom A lot of people who comprise the band
have stunning musical vocabularies. But apparently
they have buried it deep within the record, beyond the
reclm of hearing range. Personally, I could care less
But can you understand why people
enjoy it?
Actually, I think one big reason why ihey are so popular is that a good friend of theirs is the taste-making
critic of Chicago, Peter Markovic. He's the main rock
critic for The Reader, an influential Chicago publication He also contributes lo Trouser Press and he used
to publish Butt Rag People tend to believe what they
read. You have Wire magazine and stuff like that writing about Tortoise and how groundbreaking they are
Bands like lhat take all the fun oul of music. I mean,
you have lo smoke all this pot to get anything out of it.
I like music that shakes the walls and mokes people
dance, that hurts people's ears, that is powerful, that
makes it sound like the sky is going lo open up and
blood is going to rain down.
That seems to sum up Lake of Dracula's
Well, thank you Post-rock makes me think of sitting in
school and tapping my fingers. I'm sure they find our
music equally grating. I'm sure that they feel lhat
they've rocked much harder, with more relevance. We
wanna rock, but we don't wanna be a stupid rock
band. It's not like we're some metal band trapped in
a metal strailjacket, or some garage band who base
their aesthetic on their Hot Wheels set.
I've got a Hot Wheels set.
Yeah, um.
Just kidding. Well I do, but don't worry
about it.
From there we agreed that the now defunct Harry
Pussy were good becouse they made you want to kill,
and exchanged inaudible trivia about inept sexploitation We discussed bringing back armbands as
sensible fashion statements and the merits of incorporating fascism in rock — Marlon felt that "nobody's
done that in a while.' Some kids did eventually rescue
me from inside the fridge, after I agreed to buy them
beer Thanks to Mark Szabo for transcribing the interview and taking the fridge door off its hinges 'for my
own protection '• by JuUs colero
The Folk Implosion was just recently in the
studio, already recording material for their
next full length, which will be released "...
probably a long time from now," says Lou Barlow
"We're starting early we want to take a real step
forward from Dare to be Surprised We have themes
and formulas, songs lhat come together" Everyone
knows Lou as Mr. Sebadoh and most know him as
one half of The Folk Implosion, a band he shares
with John Davis. Live, Lou plays keyboards, John
plays guitar and their Vancouver show at the Starfish
Room on August 4th will debut iheir new bassist.
DiSCORDER's Julie Colero spoke with Lou, calling
from the studio
fn/ortunatelv, after much fiddling and fidgeting, wc
realize that this is a one-on-one interview, as Lou can't
get John's phone to work. There goes my organized
approach, as I scrap 90% oj my questions...
Julie: 1 attempted to study up for this
reading many a Folk Implosion article last night
before bed ... you're in every magazine right now!
Lou: 1 am? RIGHT NOW?
This month, last month ... 1 was a little bit
disturbed by the fact that you're everywhere
right now.
Wow, 1 didn't know that 1 had no idea. I'm sorry
I'm amazed at how much publicity you're getting
right now. Is it always like this?
1 guess it is ... apparently they had a hard time
drumming up interest in the Folk Implosion record,
so it's interesting to hear another side to that.
That's pretty good. That's perfect
You're happy that you're getting all this attention
right now.
Well, no. It's attention, but it's not ... 1 don't know
I'm sort of ambivalent as to its ultimate importance
If you're in a lot of magazines, your name is just
swimming around there.
I have never heard the big single that everyone is
always talking about, 'Natural One,' but I've got
the new album, and it's fun. I want to ask you
some Teen Beat-like questions, because people
are always saying [dreamily], 'Wow, that Lou
Barlow, isn't he great?' and then I put in a good
word for John, even though I have no clue what
he does, except that he's a librarian ...
John quit his job. No more of the library.
ls it full-time touring?
Full-time being a musician. It's not really touring,
but more musicianly concerns
Is all this bringing in any money?
Yeah, enough to live on, certainly.
It's the kind of situation where you can quit your
day-job and make music your day-job.
Yeah, John just did that a couple of months ago and
he's doing pretty good, as far as making his way as a
. ..oticed that the last Sebadoh [album] got
pushed pretty big, like you're becoming more
accessible to the masses.
I guess so ... it's a theory, anyway ...
When I play the new Folk Implosion in public
places, I get really mixed reviews about it. People
will come up and go, 'What is this?' and sometimes it's a good thing, and other times not. A lot
of people get confused by the fact that the record
is so eclectic. People can listen to one song and
love it, then listen to another and be led completely astray. Are you going to keep the diversity?
It's nothing we try at, so it's hard to say We just completed the instrumental basics for seven songs, and I
really honesdy can't tell you the direction the record's
going in ... being eclectic seems"~ ***
ie naturally
thing 1 just think it's healthy
What happens if people remember you for
'Natural One' and only 'Natural One,' after all the
amazing work you've done?
That's okay I can't complain about it Thai was. by
far, the most popular song I've ever done, and u
could very well lx the most popular song that I will
ever do. I've lulls* prepared inysell tor a life as a cult
figure  I'm ready for that
Arc there major radio stations thai will play your
music, or do you gel most airplay from college
College radio has always been the place where I
know that they'll play us, we'll always end up in
the top 10 of CMJ or whatever That happens with
just about everything that 1 do, Just because ol
Natural One,' there was a Utile bit of interest in
'Insinuation' as a single, so it got some airplay I hat
was a Utile bit of a follow-up
turn^ojfbythcn^tsong. I'vcjust always banmty
tiokU iy that. I'm Ukt, 'Ha ha, cant take it!'
-  ~   — 21. — — — .__ _ -Lou&arlow
I get a perverse satisfaction out of someone who
is able to listen to one song on our record and tUen
be completely turned off by the next song. I've just
always been really tickled by that I'm like, 'Ha ha,
can't take it!' We're not making it for that purpose,
we're not doing it consciously to fuck people up. It
just kinda comes out that way I'm always really
shocked when 1 find out how narrow-minded people are, musically. Music serves a pretty minimal
function in most people's lives. It's often about background music. We could do that too, but if we're
going to put together a record, we want something
that's really interesting for us to make, and to listen
to If I'm putting together a record, 1 want it to
reflect my own tastes.
Are you happy that the Folk Implosion is taking
you in a different direction than any of your
other projects?
Yeah ... it's good. When Sebadoh first got off the
ground, I had this whole solo thing lhat 1 was doing
which was quite different, I've always needed some-
'Pole Position' and 'Ii
almost the same time, insinuation' was more
like what you had done before, therefore ...
It was the only one that anyone would even entertain the idea of playing on the radio The formula,
the dance-inflected tune ...
So now you're typecast for ever and ever, amen?
Who knows? At this point, I'm weary of all that
indie/major, little radio/big radio stuff. It's hard to
get really worked up about it. If we never have
another hit, that's fine, as long as
musical steps forward. If no one no
so be it.
It seems as though the Vancouver
heading towards an electronic phi
isn't heading in that direction, is it?
I don't know ... we're using samples and synthesizers ... no scratching, though, 1 don't think 1 would
allow that. That would make me kinda mad We're
still very faithful to the guitar. It's never done us
wrong, there's no need to drop it now. In the '80s
ire taking
that, then
ihey said, ■ 1 he guitai is over, us lime foi keyboaids!'
and then ihere was a keyboard phase, and then
there was heavy metal, and then there was giuuge,
and now we're back to keyboards and ihen there
will lx* heavy metal again1
It's a little too predictable, isn't it?
1 find it conilortmg. reassuring 1 lie one thing I find
discouraging about the electronica thing Is thai
people are acting like it's something radically new
That really disturbs me Rather than embracing it as
what it is — the logical extension ol something lhal
started in the early 70s, with bands like Kraftwerk
— tUey see it as something foreign, like a Dying
saucer It's all jusl part ol the big, lovely, multicoloured fabric of music* The thing thai makes any
music powerful is your open-niindedness to oilier
types of music. Electronica will strengthen rock
music because rock bands will have lo get a lot better to even make people pay attention to them any
more Ileilromca is more an upper/nnddle-class,
urban thing; the fact is that in small towns across
America, rock and roll will never die |usl the lad
tUai the Stone Temple Pilots are the most popular
band in the world ...
We talk about Europe for a white, and about how the
Dutch arc blunt while blorth Americans are sometimes
rather jake.
Your songs manage to be pretty...
Yeah. Does daily life go that way as well?
Kinda, yeah My wife and I talk pretty much point-
blank about everything In the way thai John and 1
put our music together, we have to put things out
bluntly oftentimes: 1 don't like that.' 'Why?' 'Because
...' And that's really the only way we ever gel anytUing
done Whenever we try lo avoid doing that, that's
usually when the problems start. It is interesting lhat
that's not the way most of ihe world functions
For collaboration, it is important, isn't it?
ne that that's tUe way it should
h everytUing tUat you do, you
work that way and, collective-
become accustomed to mediocrity. You just don't want to rock the boat. I don't
know what that phenomenon is, where it came
from. Here [in America), there are so many colliding
cultures. When I'm listening to some German or
Dutch person tell me about how fake Amencans are,
I'm like, If you had to deal with the full-on cultural collision that is our country ...' They've had a hard
enough time just trying to stop fighting between
cultures over there. We've had to make our situation work for quite a while.
Are you going to keep making music until the
world ends?
1 hope so, 1 don't know whal else 1 would do I work
a lot, do a lot of travelling, and it's fairly stressful,
but you really can't beat it •
3    E^gSSESS
You would just a;
be for everyone,
know? But it doe:
ly, it's funny how du Maurier International) Jazz
Festival — June 20-29, 1997^
^^*5> ven though the Coastal Jazz and Blues Society puts on greal shows throughout the year, the big event is always the du Maurier International
W /^~~}     Jazz Festival, kicking off what we hope will be summer This festival may not be as big as Montreal's, but it has the reputation for being more
V_^>/       adventurous  None other than soprano sax master Steve lacy once said, "Your festival is justly considered by everyone to be one of the
greatest in the world today "
Despite the loss of venues like the Glass Slipper and the Commodore, a move ol the free shows from the Plaza to the Roundhouse, uncertain
sponsorship for the future and unpredictable weather that can only be called biblical, the festival did manage to pull through nicely Early tallies
had attendance down a bit due to some of the above mentioned factors, bul many shows, particularly those at the Vancouver East Cultural Centre,
were filled to capacity
Once again the line-up was a healthy mix of mainstream ond experimental, vocal and instrumental, down-home blues and music from around
the world And of those performances we attended, most were successes — with a couple that were as close to perfection as a performance can get.
Vancouver East Cultural Centre
While browsing through the Jazz Fest guide the
past several years I had noticed that many of
Europe's finest come here on a regular basis, often
with some aid from their government And this year
was no different, as once again we reaped the
benefits of old world good taste What was particularly exciting was the presence of two big bands,
the Vienna Art Orchestra and Italian trumpeter
Enrico Rava's Carmen Project One of these
was among the finest shows I've ever seen   The
On paper, the Rava show at the Vogue at first
seemed like it could not miss: 15 of Italy's finest
plus a conductor reinterpreting Bizet's classic
opera. The show began promisingly enough with
an off-killer version of the famous overture, but that
was about it as far as deconstructing the classic
goes For the rest of the hourlong set, the band
occasionally seemed stalled. Solos of clarinetist
Gianluigi Trovesi and acoustic guitarist Marco
Capelli definitely had moments of inspiration, but
the arrangements for the entire ensemble were too
timid and often muddy.
Opera is, of course, drama and drama needs
a climax or crescendo This show hod none. It just
ended. In the hands of an arranging genius like
Carla Bley, this project could have been startling;
in arranger Bruno Tommaso V it was not. To put
it simply, it was fine But it certainly didn't break
the fourth wall, as they say in theatre
Oh what a difference a day would make,
though. Celebrating the 20th anniversary of his
group, leader and arranger Matthias Ruegg
brought the Vienna Art Orchestra into the VECC to
play a set which sounded like they had been
rehearsing for 20 years   Tight does not begin to
"People might say we play a lot of different
styles. It's not true. We only play like the Vienna
Art Orchestra," Ruegg joked at the onset. Enough
said What followed was a virtually flawless hour-
and-a-half show where the band effortlessly reinterpreted classical music, funk, swing, latin, free
jazz and so on It would be too hard to pick standout performers in this lot, so I won't even try.
ir .Hi^us't 1997
But wait There's more Add to all this musicianship some healthy showmanship The band does
like to poke a bit of fun at itself During the last
encore, a slow, syrupy, soul number which functioned as a vehicle for one of the saxophonists to
wail, a couple of the trumpeters just started slow
dancing with each other to the delight of the sold-out
house And at the end ol both the set and the
encores, the entire group just hung there for an
extended bow, each with an arm dangling like an
elephant trunk There aren't many bands this diverse
or polished, but when you toss in charisma lo burn
and a devilish sense of humour, what you get is a
group of people who must be seen Let's hope fhey
make it back here before another 20 years pass.
Perhaps a thank-you note to Pro Helvetia and Austria's
Ministry of Foreign Affairs would be in order.
Performance Works
Both Jackie McLean and Jaki Byard have
taught music in New England and have played
with Charles Mingus And both of them brought
their talents to this year's festival, though they presented audiences wilh very different sets Byard's
body language negatively influenced his performance at his duet show with Michael Marcus
For the first set at Performance Works, he was
immobile, only occasionally glancing down
through his spectacles to look at his charts. And
his playing, though warm and subtle, felt some-
In the second set, both Byard and his playing
became more buoyant, especially on "The Family
Suite," which was sort of a survey course in jazz
piano from Fats Waller to Cecil Taylor
Mumbling to the audience and to the piano, he
brought the house down while banging out some
harsh clusters on the keys when he recited to the
audience, "Oh, the family's fighting now." Marcus,
performing on a variety of custom straight-horn saxes
and bass clarinet, was generally more consistent
through both sets and managed to pull off some
impressive Roland Kirk-style double sax playing.
The material, ranging from originals to standards
like "Naima" and "Body and Soul," was tasteful and
contemplative, though, with the exception of Jaki's
piano text book mentioned above, it could have used
a bit more spark Spark was something alto sax legend Jackie McLean and his band did not need, especially after Roland Vasquez's ultra-mild opening
act. (This salsa was definitely not picante.)
McLean's show was all bop and ballads, but the
emphasis here was on blowing. The entire sextet
played hard, especially rhythmic pianist Alan
Palmer and drummer Eric McPherson, who
was having hard bop conniptions. I thought he was
going to break apart. He may have in fact broken
something on the Ayofte drum kit, as there was this
rattle you could hear through his solos.
Even McLean's son, Rene, who started out a bit
stiff, was wailing away on his solos before too
long. This was the great altoist's first time in
Vancouver, and despite some minor sound problems at the beginning, he was warm and courteous, thanking the audience and the organizers on
several occasions before the show was over.
Richard's on Richards
Zony Mash is keyboardist Wayne Horvitz's
latest project. Apparently, the name is the title of
an old Meters' song, and this pretty much sums up
the band's aim Horvitz eschews his piano and synthesizers solely for the Hammond B3 organ. Close
your eyes and you'll hear Dr. Funk or Art Neville
Open them and you'll see your math teacher
The new band, including Pigpen bass player
Fred Chalenor, was so tight, turning the grooves
inside out and upside down through every turn.
Particularly hot was the band's version of Naked
City's "Sex Fiend." Horvitz's original performance
of it with John Zorn's classic band now seems
like the jalapeno version. The Zony Mash take on it
is pure habanero pepper — a dozen times as hot
The evening was not a single bill though, as
Horvitz and company backed up his wife Robin
Holcomb for her truly sublime opening set. The
material was mostly from her Elektra releases of
recent years as well as Larks, They Crazy, and was
her usual blend of free jazz, pop and American
folk idioms. On songs like "Electrical Storm" and
"American Rhine," she conjures up some wonderfully poetic imagery, which you could hear thanks
to the club's sound system. And on "March," she
stretches out for some frenetic soloing on her piano,
complete with elbow smashes to the keyboard
Western Front
It's a little disappointing when musicians of this calibre attract so little attention The New Winds collective is comprised of flautist Robert Dick,
saxophonist/clarinettist Ned Rothenberg and
trumpet/flugelhorn player Herb Robertson Dick
is probably the finest new music flautist on the planet, whose mastery of a wide assortment of techniques and instruments is quite simply one of a
kind He brought with him for this occasion the
worlds only stainless steel flute (I think), a massive F
contrabass flute and a custom creation with a sliding mouthpiece (the effect it created is similar to a
wah-wah pedal). New York mainstay Rothenberg's
credentials stretch from Dresher to Zorn and he
currently leads Power Lines, The Ned
Rothenberg Double Band and co-leads SYNC
Trio. I was awed at the power and intensity with
which Robertson played, he was almost too loud
for the venue Robertson has worked extensively
with Tim Berne, Marc Helias and most recently
as part of Bobby Previte s The Horse, as well
as several albums as leader. The band seemed to
be a vehicle for solo improvisation and exploration,
with Rothenberg often taking a back-seat as
Robertson and Dick soloed extensively.
The show was a superb display of unorthodox
technique and expression. Truly unique. Look for
New Winds' latest release, Digging It Harder Afar
on Victro.
Vancouver East Cultural Centre
Bill Frisell just may be the most important figure in
contemporary jazz guitar, and Quartet just may be
his masterpiece An attempt to categorise or even
describe Frisell's music is enough to leave any critic
confused. Born in Baltimore, Frisell played clarinet
as a kid, turning to the guitar later under the influence of American bluesmen Otis Rush, Buddy
Guy and others Wes Montgomery and Jim
Hall were later to charm Frisell and make a distinct
impact on his music. His early work for ECM Records
aside, what has remained a constant throughout
Frisell's work is an exploration of the roots of
American music and culture. Frisell's two most recent
albums, Quartet and Nashville (Elektra/Nonesuch)
mark the fruition of his meditations.
The performance on this evening fell somewhere
in the middle of the two releases, with Frisell drawing on both (Quartet more heavily) and reworking
some older material. Comprised of Eyvind Kang
on violin, Ron Miles on trumpet, and the inimitable Curtis Fowlkes on trombone, Quartet
absolutely captivated the capacity crowd. Opening
with a sort of brief improvisation, the band slowly
drifted into "Tales From The Far Side," with Kang
plucking and bowing exquisitely, often coaxing
banjo-like sounds from his fiddle. The night was
divided up into a collection of suites, often verging
on the sublime. The highlights of the evening included an extended Ellington-esque romp, and a
bluesy, sparse duet between Frisell and Miles.
When the band swung into John Hiatt's "Have A
Little Faith In Me," the cheers were deafening and
the couple notes which Frisell flubbed only added
to the charm. by Michael Chouinard
and Sean Casey
Vancouver East Cultural Centre
To say that Douglas' Quartet was probably his
least compelling project to date is like saying some
Coltrane album is only a three star endeavour.
Relative to the entire jazz corpus, a three star
Coltrane album is inevitably a five star affair.
Similarly, Douglas' contribution to modern jazz
and new music is significant enough to earn him
the sort of permissiveness only accorded a master. From straight bop to klezmer, free-improvisation to electronic manipulations (Douglas has
worked fairly extensively with electric trumpet and
the DX-7 and Akai S-900 synths), Douglas has
been a pre-eminent sideman and project leader
since the early '80s. His list of credits is impressive
not only for its breadth but for its lack of repetition
(his work with John Zorn's Masada is by far
his most extensive collaboration). His work as a
leader is equally impressive: Douglas currently
leads New and Used, the Dave Douglas
String Group, The tiny Bell Trio and most
recently the Dave Douglas Quartet.
Comprised of Douglas on trumpet, Ben
Perowsky on drums, James Genus on bass
and Chris Potter on saxophones, the Quartet duly
proceeded through a whole bunch of new Douglas
originals and a Bill Frisell tune. The pieces were signature Douglas: rhythmically brisk, imprecisely lyrical and exploratory (his tone and timbre are very
much his own). Curiously absent each time I've seen
Douglas take the stage are charts (although this time
he may have peeked at Potter's) which fuels the
rumours that he has the entire Masada songbook
in his head. Perowsky's soloing, however, was just
plain tedious. Chris Potter's playing this evening
was uninspired and uninspiring, with a few bright
spots. Genus' bass playing was astonishing.
"Genus is a genius," remarked a friend of mine,
and his bluesy walking lines were equal parts
groove and drive, and his soloing often extraordinary. He's collaborated with Douglas in the past on
Vincent Herring's "American Experience" and
on Douglas' 1995 release In Our Lifetime.
. John Zorn has remarked that "Dave Douglas
plays his ass off!" Douglas' most recent and most
intriguing composition is a piece for electric octet,
largely inspired by Omette Coleman's Free
Jazz, Coltrane's Ascension, and the music of
Boulez and Shoenberg. Rendered on this occasion with Vancouver cellist Peggy Lee, Michael
Moore on clarinet, Curtis Fowlkes on trombone,
Georg Graewe on piano, Ikue Mori and the
rhythm section from his quartet, the music was
astoundingly dense, punctuated occasionally by a
sort of fragility and some competent soloing from
the band. Unfortunately the acoustics in an open
air barn leave something to be desired, and I
found myself pining for the old Discovery Theatre.
An album version of Sanctuary (2 CDs) is due for
release August 12 on Avant. If you happen to be in
New York, you can catch a release party performance of Sanctuary at the Knitting Factory.
The folks at Coastal are kind enough to offer
a sample of what's on at the Jazz Fest for those
people on a tight budget or who are just curious
about underexposed music. As always, there is
lots of free stuff available during the festival at
various locations around town during the ten
days or so
On the first weekend, people congregate at
Gastown The acts here are designed to be pretty
accessible in order to keep the uninitiated from
ducking into store fronts. No glass shattering dissonance here. A highlight was hard bopping saxophonist Gary Bartx's appearance with the
Pacific Europe Jaxj Ensemble, though I
stayed to catch a few minutes of the Lost Chart
Ensemble from Quebec Five was plenty. I understand you just can't let Albert Ayler disciples
loose on innocent tourists who only want to buy
some smoked salmon, killer whale carvings or new
Canucks' jerseys. But some of us are sick to death
of the sensitive guy syrup.
Far more credible as far as funk goes was the
last five minutes I caught ol Slick Despite the
band's name, these folks play funk the way it's supposed to be — dirty and unpolished. In other
words, the funk was not being faked.
But the best of the free shows can usually be
found on the last weekend. For the first time this
year, these shows were not at the Plaza of Nations,
but at the Roundhouse, a community centre and
park at the edge of Yaletown's tree farm of high-
rises. For the most part, the area is a little cozier
than the Space 1999 atmosphere of the old Expo
site. However, the sound quality of the Discovery
Theatre was certainly missed.
The Performance Centre, next door to the
Festival Hall, suited the music of France's Hask
Quartet well. This was free form music with some
African melody thrown in — kind of a mix of
Steve Lacy and Abdullah Ibrahim If Cecil
Taylor could play a lullaby lo hush a baby to
sleep, this is what it might sound like.
Minor logistical problems aside, the final weekend was, as always, a good chance to hear some
of the finer musicians on earth. A fitting end to the
city's best ten days of music during the year. *
Ray Anderson, Big Band Record (Grammavision) •
Jackie McLean, Let Freedom Ring (Blue Note) • Bill
Frisell, Have a Little Faith (Elektra/Nonesuch) •
Robin Holcomb, Robin Holcomb
(Elektra/Nonesuch) • Vienna Art Orchestra, The
Minimalism of Erik Satie (Hal Art) • Robert Dick,
Third Stone from the Sun (New World) • Talking
Pictures, Mirror with a Memory (Red Toucan) •
Dave Brubeck, Time Out (Columbia) • Dave
Douglas, Five (Soul Note) • Francois Houle, Any
Tumultous Terrain (Red Toucan) • John McLauglin,
Extrapolation (Polydor) • Wayne Horvitz and the
President, Miracle Mile (Elektra/Musician) •
"Vancouver's answer to lo-fi revolutionaries, sebadoh and
EriCs Tripr - Vancouver Courier
"straight from 4-track and on to silicon, so if you dig the
lo-fi trip and noise enhanced songs, Blue Veil is well
worth checking out" -   DiSCORDER
Zulu. HMV- a&b
and Virgin
or available $12 ppd
aRsOn music
pilgrims of the mind
what's your shrine?
"...beautiful, atmospheric, stunning..."
"...warms the heart and lifts the soul
with stirring melodies, soaring synths
and hypnotic grooves..."
Debut CD in stores August 18th (MAP203-2)
Listen to HOMEBASS on CiTR FM102 Friday August 8th at 9pm
for "What's Your Shrine?" album debut broadcast
...more West Coast Electroniculture...
"Welcome To Lotus Land
featuring Vancouver's
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"Ethnic Dub Simmphon/
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Zero Brawl,
11  Sl^SSJEgffi ta action at the Warpea TAur Photo: Eric F
Millencolin consists of four pop punkers from Sweden. In town for the
Warped Tour on July 9th, Mathias and Erik (Millencolin's guitarists) had a
chance to sit down and chat with us about everything from vegetarianism
to politics. by ERIC AND KELLIE
YOU ARE A (Check one):
(elaborate below)
DESCRIPTION (15 words or less):
BEFORE August 15, 1997
233-6138 SUB Blvd., Vancouver, BC V6T1Z1 fax:(604)822-9364
101.9 fM
How's the Warped Tour going? It's probably bigger than anything you guys have
done before.
Mathias Yeah, it's definitely the biggest thing we've
done m the Slates ond Canada It's great, it's like a
festival everyday Greal bands, greal skaters We're
having a great time
Are you guys doing the Warped Tour in
Europe as well?
Mathias Yea hi
You guys just finished doing a skate tour
in Germany with SNFU?
Mathias It was good The shows were good, but
the skalmg port ol it was not that good. The skaters
were pretty good bul it was nothing like this The skating pretty much sucked
What is the song 'Story of My Life' about?
It's hard to tell whether the song is about
eating meat or not.
Erik The song is aboul eating. When we first storied louring we would slop al every gas station [to
buy] chocolate and chips ond stuff
So Nikola started to gain weight
He was getting really fat. That's pari
of ihe reason lhat we turned into
vegetarians The chorus goes, 'This
Mr PC, are you ready lo bow?'
That pari is jusl because a lol of
bands say that Millencolin doesn't
stand for anything [They soy we]
|usl write about nothing. Bul we
know where we stand politically
and we don't want lo involve il in
our music. We went vegetarian
because of personal stuff. I don'l like
killing animals, I love animals. Thai's
Mathias We *usl write about whal
we like, [about] things that happen
to us or whatever. I think other bands do ihe political
writing much better than we do.
So,   then   where   do   you   guys   stand
Erik: The thing is, I don't think that much about politics everyday, bul I do vote and stuff — I'm definitely
to the left
Mathias We come from Sweden, which is a good
country. We have good social security, we don't have
that much lo complain about So il feels kind ol weird
lo write aboul haling the government. We don't have
many homeless people or anything.
Erik: You can complain almost everywhere else.
When we see all the olher parts of the world, I'm very
happy to live where I do. So we see no reason to
write about songs like that. Refused is o band that
can write those kind of lyrics a lol better than us
Is there a difference between the scenes
in the north and south of Sweden?
Mathias II is different because they have that whole
straight edge movement in the north. It's very big.
There are also a lol of kids who get inlo that don'l
really know anything about it, they just do il because
everyone else is doing it.
Are you guys really big in Sweden?
Erik  We became really big with Life On A Plate.
which I didn't feel thai comfortable with ...
Mathias: We're big in the punk scene as well as
with the mainstream in Sweden,
Erik ■• -nusic is mainstream m Sweden because it
is a small country Refused ore on big TV shows
talking about their politics and stuff like lhal You
can't really categorize mainstream because It's all
mixed together
How many people live in Sweden?
Erik Eight million
It can't be a very big market to sell music.
Erik We sold 40,000 [copies] of Life On A Plate
just in Sweden, We came in fourth place on the international Swedish chart. The first was Oasis and olher
huge acts
The song 'Killer Crush' seems kind of sexist.
Mathias Nikola wrote the lyrics — maybe he is
the guy to explain il — bul he's actually saying
that you shouldn't care too much about the person's weight or stuff like thai when it comes to relationships,
Erik It's noi the looks lhat count. It's totally the opposite from sexist We might not be that clear in our message in the song
What is 'Loiin Must?'
Erik We got lhal from Refused. Must is like energy
If you're lozm must,' you're losing energy It's like get-
ling bored of stuff. That's one of our own invented
English slangs
How many times have you been across to
North America?
Mathias This is our third lime in the Slates and m
Canada as well,
Erik. This is the second time we played in Vancouver
Mathias We played at the Town Pump or something.
We were louring with Lagwagon and on lhat day they
played another show somewhere else in Vancouver An
all ages show. We ended up playing on our own, al a
pub. Il was fun, bul nobody knew us there, at all.
Erik: I guess all the guys who were into us were ol
the Lagwagon show.
What are your impressions of touring
Canada and the United States? Do you
notice a difference between the two
Mathias: I ihink Canada is more like Europe,
Erik Maybe more in Quebec. This town looks more
like Seattle But it's cleaner People seem to be more
like Europeans, There is a big difference between
playing California and here. It's strange how the continent has such big differences This town is really nice
with all Ihe mountains around.*
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AUGUST   1997
new ca now
available at
and ZULU
Heavier than the chain
that's attached to your
process of ®Mmmatl<em
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■cd release party
■Friday August 8 THE NIAGARA Atari style
now! Co-
optation of
idergroand ^4-
Iture is common
actice in the
entertainment and leisure
industries. Atari Teenage
Riot emerged from this
atmosphere of co-optation;    *I
as raue went ouerground and   '
became a part of the system,    ,
flTR became a uehicle in which     1	
Alec Empire, Hanin Elias and Carl
Crack could uoice their opposition to     "
the techno/raue industry. For Alec
Empire, his life has reuolued around
resisting mainstream culture and its
fascist tendencies. The gouernment, the
state, mass culture, racism and sexism
are all targets of Atari Teenage Riot's
political agenda. Digitial Hardcore
Recordings —- a record label,
an aesthetic, and a way of
life -- began when Empire
signed ATR to a major label;     ',
instead of deliuering them an I
album, he took the aduance
and started his own record
label. In addition to his work
with Atari Teenage Riot, flier
Empire is a prolific solo
artist with
productions on Force -
ir finr! mi-lp      ^j~~
"~^i~   I      \
ateux. J^m^m
4=3 S
" Jj^ I
How did you become involved in the punk scene at
such a young age?
Maybe it was because I could identify with the ideas It was |ust
happening in Berlin, a little bit later than it was in the US and in
England A lot of people who I thought were cool and were older
were into that But il was always, for me, the political thing, which
was maybe not so much an important part in the US, It was a way
of resistance and a way of not being port of the sociely — that was
always a very important part in the German punk scene. And I really
liked ihis fact because I grew up in the suburbs of Berlin — next to
a very rich suburb — and I just haled the way people would look
down on others that didn't have much money And of course the
music had such an energy I mean the first stuff I really liked was the
first rap stuff, because I was breakdanang. But I had the feeling thai
after two years this was getting really boring ond bod because of all
the commercial stuff that didn't have all the energy that I'd like
Was there any definitive moment when you became
political or was it just getting into punk music?
You have to see the whole political situation in Germany over (he last
20 years When we were younger, ihe RAF — the Red Army
Faction, these terrorists — were doing a lot of stuff like killing politi
cians and it was always very big in the medio. For us, these people
were kind of heroes because even if they killed people — the medio
always presented it as very bad, of course — ihey were just kilting
the assholes ... this stuff ond the people we haled anyway, who
supported the police and the government. And when we did the first
breakdancing in the streets, the police always gave us shil. There
was this aspect that something was wrong and we had to find olher
ways As I got older I started to read certain stuff like Foucaull, but
that was when I was already involved in the electronic scene. In
Germany, people who were involved in the first industrial stuff were
also very political and that came together when acid house from
Chicago and Detroit came over to Europe in the '80s
What is big in German youth culture now?
It's very different. Techno got really big and successful, but on the
other hand, I wouldn't soy that is the only thing people are listening
to European MTV broadcast a lot of American stuff and that was
bad, bul still, it was very international becouse it was in English and
it was the only music TV station. Since three years ago there's been
this German TV station, Viva, which has this rule*. 70 percent has to
be German [content]. Before, we thought, 'This is shit. MTV is so
powerful ond that's bad,' bul we didn't know it could get even
worse. This has destroyed a lot of independent structures, like smoll-
er shops and clothes. It just got lo a point where people were listening to a bt of German music and this is part of ihe whole process
ol young Germans becoming very notionalist again Alter the reunification of Germany, this is why I'm so pissed ofl with Germany,
anyway ... before that I grew up in Berlin and it was occupied by
the Americans, the French ond the English and the eastern part by ihe
Russians. So I never really felt Germon and I nevei nod any nationalistic feelings for this country because Berlin was always a very
international cily. But after the Wall came down it was turned into the
Geimon capital again and it's just becoming so German and it has
lost any part lhat wos interesting about the city, and good. There was
a lot ol people from a lot of different countries that weie living here
and it was interesting ond creative in the beginning. There s this whole
piocess of Germany becoming even more conservative and very fight
wing. The ma|onty ol the youth is not really doing anything against
that — they just accept it — but I cannot accept this. In the beginning
we thought techno was going to change the whole society because
it was our music, it was done by younger people and we thought it
would wipe a lot of old and conservative stuff away. But it didn't really do il because it was becoming just part of the system.
Who comprises Atari Teenage Riot's audience? Is it
more people from the punk scene or people from the
techno scene?
In the beginning it was nothing [laughs], I was part of the techno
underground around '90, '91, and then we decided when we saw
techno moving into this [commercial] direction to leave that scene. Of
course everyone gave us shit: 'Oh, you're using guitar samples and
you're punks anyway ... that's bad ' And because we were so
aggressive and political it was not what the techno scene really
wanted. At first [the techno scene] was political but then it got so
mainstream lhat all of these ideas did not fit m with TV, radio and the
major record industry At first no one was on our side, the punks
were saying, 'Thts is like techno,' and the people from the techno
scene were like, This is like punk!' We decided not lo play raves
any more in '92, so we toured through a lot of punk clubs. The
punks of ihe '90s ore maybe the most conservative people, they
were so shocked all of the time We don't use guitars on stage, it's
just an Atari, some drum machines and a sampler. This fact in 1992
was, for a lot of people, totally shocking. Which I didn't really understand because I knew from hip hop that there's just a dj and maybe
two MCs and that could be a band For the conservative punks,
they wanted the music to be real, made by real instruments. Through
the years a lot of people thought again about all this and saw what
we really achieved, and it was just growing Now it's a totally mixed
audience, I think that's good because it makes all the shows always
different. If you have a certain audience which is always doing the
some stuff and always wanting a certain cliche sold to them, it just
ends up being a very bad thing.
Have you noticed many differences in your European
versus your North American audience?
I think one of the biggest differences is [that] in America, people get
more excited earlier and easier. You hove to see it like this after the
World War, nothing really creative came from Germany. Okay,
there was Kroutrock and Kraftwerk, and maybe in the '80s the
industrial stuff, Einslurzende Neubauten and bands like that, but it
was always very underground. And the Germans are always like,
'Hr-nmm is this really good?' because most German bonds are the
worst shit. In fact, when Germans see something new or totally different they're like, 'What's this, am I allowed to like this?' In
Germany, people would be like, 'They don't use real drums on
stage, I like the music but for some reason ...' You know what I
mean? It is really bad. We did this tour with Beck, but we couldn't
have done this in Germany because the Beck fans over here would
freak out Over here they always want really pure stuff, I think this
is very boring, it never creates anything new when you think that different styles should never go together
Is there a very aggressive environment at your
shows?* —  W
Hmm yeah , I would soy yes. Mast of the time it's pogomg and
stage diving. We've had shows where there were fights going on,
but that was only because skinheads attacked the shows. Or people
did stuff after the shows, they went out into the streets and smashed
stuff, but I mean that is one of the ideas. But it's not like some industrial or punk bands where everyone is alone, dancing, and trying to
fuck up everyone else. It is not this kind of aggression, it more has to
do with unity, people are ail together and feel the same way and are
just responding. ___i_S_
Do you think that is entirety positive? At a lot of punk
and underground shows here there's been a deliberate move to eradicate this threatening and uncomfortable environment because it is viewed to be
especially exclusionary and detrimental to women.
t think that because Hanm Eltas is vary important to a lot of girls in
the audience ... it's different. Because Hanin is singing so much the
boys really have to respect her. They take her very seriously, [In] all
of the bad German techno, you have one dj in the background and
this girl singing stupid love stuff on top — a lot of people lose respect
for girls because they think that this is so stupid. This is exactly why
the media is pushing this certain image. They are always trying to
l. august ©97 push this one type of image, The Spice Girls, for
example There's this one thing about girls that
every housewife has to be hke That's bad But at
our shows I've never seen violence against girls,
never It's just not there This is the first time someone's ever asked me about that
How does feminism fit into Atari
Teenage Riot's political agenda?
Hanin always says thot for her she doesn't even
want to discuss it any more. She has a lot of
power already The whole (Digital Hardcore
Recordings] scene is like that, there are always
girls involved and in the bands For us it is not a
big thing to have girls in the band, or to do things
with girls. It is always more complicated than that.
When I had my punk band in the '80s, boys organized things differently (than we do], straight away
there was a certain power structure with one as
the boss and the others doing as he said. When
we do stuff with girls, that is not there. That is not
what I experience, but of course it con happen.
Hanin is always doing her own thing and she may
not agree exactly with what Carl and I are thinking, but that always keeps things alive She
approaches stuff so differently, sometimes doing
stuff or singing in certain ways or having ideas for
the band that I didn't even think about. But for us
we |ust go ahead and do it. It's the same kind of
question when people ask me, 'Well, Hanin
comes from Syria and Carl Crack, he comes from
Swaziland, Africa, this is multicultural? Is this one
of the ideas?' 1 mean it came together m Berlin
because we went to the same concerts ... because
when you live with each olher you don't even osk
the question.
Hanin does solo work too?
People say it's the first techno record that a girl has
done. She did her first EP in the end of '91 A bt of
djs soy it is one of the first and that all of the other
stuff that women have programmed was done after
that. I don't know whether it is really true It was a
record on Force Inc., a label where I produced a
lot of stuff. And then we left the techno scene and
that was it. She did this other EP last year, Show EP,
and again that was an important thing. At the time
there was a certain DHR sound already A lot of
bands on the label started it, they sounded a bit
like Atari Teenage Riot, and it was on a level where
I thought it may be getting dangerous if Atari was
at the centre of all of this. You know, where everyone was just copying it or just doing slightly different stuff, but not really moving it forward, which is
one of the most important ideas about DHR She
went ahead and did this EP with slow, distorted,
kind of hip hop beats and it was very strange. It
was totally different from all of the DHR stuff. And a
lot of people in the scene in Berlin and in Germany
totally freaked out because it was so different that it
was even provoking within the scene. I thought this
was really good. I like it when you even shock your
own audience. For her it would have been very
easy to have done an EP that was in the Atari-style.
But of course there are a lot people who are questioning her. It is same with my solo work, all of the
Mille Plateaux stuff. We like to destroy a certain
image that people have about us. We don't want
to become idols for younger people. They should
always rethink things.
Yeah, people seemed puzzled over the
fact that your solo stuff sounds so different.
People don't understand that it's the same approach
— not exactly, but it has nearly the same function as
the stuff [I do] with Atari Teenage Riot. It's just another side. People were shocked then because every
Mille Plateaux album sounded different — not compared to Atari, but compared to each other — and
it just confused everyone. With this technology you
can really develop stuff and move on, this is why I
use samplers and computers If you have a band
together with 'normal' instruments it's very difficult
to change a certain style
What direction is the next Atari album
going to take?
We can't really say now because we are going to
do it at the end of the year We always produce
stuff very quickly, sometimes it |ust takes two weeks
because we want the stuff sounding veiy spontaneous and alive. We don't like the idea ol working
on tracks, and working and working, making everything so superperfect it's getting boring Until now,
it was always the most noise otways got the most
attention and had the biggest effect But I don't
know if in the future maybe moie bands are doing
stuff like this or copying this, ond lheie could be
the time when doing the totally opposite thing could
have a much stronger effect. Af the moment it's not
the right time yet, but it could come eventually
we could do something maybe very slow.
There seems to be a link between populism and commercialism — are you
worried about the commodification of
Atari Teenage Riot?
No, I mean we are using elements of pop music to
get this exact effect I don't want to make music for
[what] I always call an underground elite, where
people can afford to buy very limited and rare
records from Berlin or something and only a few
people have access to it. It's the same function as
an university, where you gel a small number of people who think they are fhe coolest in the world and
they should rule and moke all decisions, but that's
not fhe point. That is why we go out there ond tour
wifh bands like Beck or even do interviews with
MTV. Normally, with a band like us, you could say
we should jusf ignore stuff like this [i e.. the mainstream] and be underground. Not going through
these chonnels would be a false resistance itself.
Because a lot of people never got in touch with
music like that and it's just about time to.
Why do you think that various agencies
of the system, such as the mainstream
media, have embraced you lately? Why
do you think they're paying so much
attention to you when your message
should be threatening to them?
You have to see that is the situation more in
America. For example, in Germany o lot magazines wouldn't write about us because of these
messages. There was this TV station in Berlin who
got sued by the highest court. They sued a TV station because they broadcast an interview with us
and because I am not officially a resident any
more in Germany, the others too They couldn't
get us so they had to sue the TV station. It's like a
lot of people are totally pissed off over tracks like
'Deutschland Has Gotta Die.' Some magazines
just wouldn't write about it because it's treated like
some Neo-Nazi band or something because for
them it's so left-radical, it is too extreme. I think in
America, it's becouse people ore excited obout
the music. Of course I know capitalism, it's so
easy when something starts to make money, oil
these idiots from these companies want to get
involved. But as long as we control everything I
don't see it as a big danger. Bands likePublic
Enemy got to a certain level too, without getting
fucked by whatever, the mainstream magazines
or something.
Recently, I came across this MTV CD
compilation and I noticed you were on it
and that really surprised me.
Yeah, stuff like this I don't really care about. It's just
a compilation for me, it's not a political statement,
it's just this track on there. If it would be like a Rock
the Vote CD, I wouldn't be on that. It just shows
people who didn't know about electronic music
what's there ... well of course, not what's there, it's
very limited. I don't see it as very important I know
a lot of people who would be like, 'Oh there's the
Prodigy on there too, I wouldn't be involved in that'
There is so much shit out there, I have to play in
some of the same venues where they played
[laughs] ... you know what I mean? When you start
thinking like this it doesn't make sense. I don't know
what kind of effect this compilation is having or
how this is coming across. Is it such an important
Well, I could just see if people saw this,
and you're supposed to be so politically
radical — you know, MTV is such a big
corporate entity that has so much control over music and people's tastes —
people might use it against you. I could
see it discrediting your message or your
For me, it's the same thing when MTV broadcasts,
lor example, a video of us, and some people say
it could come across wrong. But I think most people who do not hove all this information they are
just like, 'Woah, what is this? This is really interesting, I can identify with that.' And then ihey start
thinking in new directions; that's people from a certain mainstream audience. We don't make com
promises to gel on stuff like this and leave the
message behind and chonge the lyrics. If you do
that kind of stuff then it's silly and totally stupid. If it
just gels out there 1 think it could |ust help [the
cause]  Don't you think?
I don't know, I just can't stand the
Prodigy and MTV and stuff.
Of course, on our first album, it had a photo inside
in the booklet, [of] Claudia Schiffer the model with
a bullet through ihe head and she had this t-shirt,
Nazi Blondes Fuck Off,' and beside that was 'Kill
Music Television.' I still think this, I've said this to
MTV when I did interviews, I don't care.
Do you live in Germany, because you
mentioned you weren't a resident there
any more?
No, my residence is in London, but most of the
time, I have to say, I'm in Berlin because there are
the other members of the band and most of the
musicians. I can't stay here because I have problems wilh the police because of National Army service that I'm not doing, and I would need to go to
prison for a year. It's not at the level where they
make such a big deal out of it. But if I were a resident here I could get into problems.
How do you view European Union?
I think this will |ust be used lo exploit certain minorities of each country. They will always say in this
country we can build this company there and we
can pay people cheaper. At the moment, it looks
really bad. At first I thought, 'Wow what a great
idea, Germany without any barriers,' but it's just an
economic thing And even more the countries are
[becoming} conservative I just think it's going to
get really bad. Europe is going to be this island
where they want to get more and more powerful.
It's like that now with Germany too, they exploit
workers and countries. I just have to explain this
very carefully because there ore a lot of right wing
people who think Germany is losing power
because it is getting together with the gays, the
Jewish, the French ... [loughs] And you have to be
really careful when you make statements, because
if you just take one line out you could sound like a
normal right wing guy
When your records first came out, they
were boycotted. How are you viewed
nov/ in Germany?
There are a lot people who hate us. There are
stores that still want to find reasons not to sell the
records. Like the track 'PRESS.,' it has the SS
sign and there's this [record store] chain that is
maybe like Virgin, but it is only in Germany, and
they were like, 'No1 We don't sell the record
because it has this Nazi symbol in there!' [laughs]
But fuck it, as they say, if they make a statement
like that against Nazis, that's cool The fact that
[the record] is not selling [or] doesn't exist any
more, thai was always the main excuse, that it's not
commercial enough Bul of course there are people
who are not involved in the music business who
are just going totally crazy because of the lyrics,
they think that it's so radical and you should hang
us, blah, blah, blah.
Are there other cool record labels, like
DHR, in Germany?
Hmm ... there's this label, you know Patric from
He does his own label now, it's called Spite
Records And that is going to be interesting. I think
maybe he's going to develop stuff into a new
direction where maybe DHR is not going There's
this good label in England, it's called Ambush
Records. It's very experimental, it's more in The
Destroyer direction, maybe it's more lor djs. I
always hove to support Praxis Records, it's a
British label too It was more like a techno label
and they did a lot of hardcore stuff ... all these
people live in squats, and they have all these politics connected to that in a very strong way and
it's very good — that's important too. There is no
other stuff that exists where I think that even the
records ate creative Okay, there's Mille Plateaux,
but that for me went info a little bit of a wrong
direction too. A lot of people just use this label to
find reasons why techno should still live on. It's
like, okay, we've this intellectual, like the brain of
the techno movement —• Mille Plateaux I don't
want to be connected to fhe techno scene at all.
That is why I have to find different ways of getting
the stuff out.
So what type of stuff do you listen to?
I listen to a lot of Japanese noise, a lot of punk,
early US and UK stuff. I'm listening to some, but
just very few, interesting drum 'n' bass productions,
I buy maybe one record every six months Then I listen to a lot of old, early rock V roll, a lot of modern classical stuff.
What Japanese noise do you like to listen to?
The obvious stuff like the Boredoms, Merzbow,
Masonna. I bought a lot of stuff when I was in
Japan. There's this really good label called Donut
Records. Violent Onsen Geisha, I did a remix for
them a few months ago. When I djed for the first
time in Tokyo, I was djing and Merzbow and
Anarchy 7 [members of the Boredoms] and Violent
Onsen Geisha, they were supporting me. We did
this collaboration with DHR and ZK [sic] records
— that's the label where Violent Onsen Geisha puts
out stuff — so every DHR band acted as a producer and remixed one of their records and that
came out as a double CD or something.
When I heard Atari Teenage Riot and
other DHR stuff, Japanese noise immediately came to mind.
Which is strange, because when we started that it
wasn't an influence. I didn't listen to that stuff for
years, maybe '94 or something. In the '80s, for
example, I hated noise and industrial because it
was just depressing bullshit or art stuff. It always
works like that. With my record Hypermodernjazz,
journalists compared it to Sun Ra and before that I
didn't know Sun Ra, I just knew bebop like Charlie
Parker, stuff more from the '40s. And then I went out
and bought Sun Ra. So that is very strange when
people think something is an influence ... but then
I get new good records.*
a n
I wish to moke a confession: dear reader, I do not know fhe right
ness of whot I soy I only have faith in my convictions I feel this
faith as intense anxiety Anxiety, because I feel empathy for the
world I see society as deeply and complexly troubled in a number of
ways I use my analyses as a sort of attempted therapy in this respect
For others, if possible, but I must admit thai this is also very much for
me And I do take responsibility for all my sometimes convoluted arguments, my awkward words, constant qualifications and errors and
generalizations I am humbled by my imperfect texts I am compelled
to try and understand, and I dearly wish to help in what ever small
way But I must confess that real truth, whatever it might be, is elsewhere It is important to me for you to remember this one thing I am
writing creative, critically minded, occasionally theory based nonfiction — affilioted questions, suggestions and aphorisms in loose essay
form I make no claim to authority or finality, mine is just a voice out of
I bring this up to help introduce a topic that was suggested to me:
the issue of elitist languoge Charlie Bertsch and Joel Schalit, writing
for fhe UC Berkeley based internet publication 8od Subjects (http //
english-www hss emu edu/BS), examine this issue in terms of politics
and language Namely, the difficulty posed to the Left in articulating
their concerns. As a lefty, this is all good work to be confronted with
Before I get started, I must qualify that a lot of diversity is being unfortunately reduced into the word "left" and many of its permutations,
but space and the continuity of the discussion dictates that this
be so - kinda ironic
So, "why are leftists so hard to understand?" As an answer, Bertsch
and Schalit suggest that part of the problem is that
the way some concepts are described and used by Jm    ^^    £,
leftists, in attempting their analyses, is often unwieldy Q    C    $
and alienating — them big ideas, all thot acadt
vocabulary  Certainly, these practices are invo
and complex with significant reason, and so is
"world" they are designed to examine   Bul there is
also some separation between vocabulary and com-        Hf)      _F_,
plexity of argumentation here   It is more the words ■■■      "e»*
than the ideas of the left that Bertsch and Schalit identify as problematic After all, given better descriptions, ^ S
more sensitive to the needs of the context and possible reader,  large  ideas can become generally
comprehendable. To this end, Bertsch and Schalit propose the use of
metaphor, which, they argue, gives any potential "... audience a foothold " Metaphor can help place complex ideas into a familiar relationship  For example: ideology is sometimes active like a dictionary;
as when it categorizes, organizes and serves to describe experience
into meaning   This is a good idea, but a lot of metaphors would be
required to sufficiently get at a definition of ideology — it has been
the subject of entire books. Either way, a starting point
The main issue Bertsch and Schalit see is that because the audience to which many leftists are attempting to speak may be unfamiliar
with the analytical tools and language used, these tools and words
might contribute to a "communication breakdown " But tht blame for
this is not solely the fault of the left I might suggest that tho intimidating impression generated by such left-leaning words and ideas also
soys something of the powerful bias opposed to them This bias is not
incidentally found to be in favour of the dominant way of seeing the
world: capitalism. That is to say, I suspect that the common lack of
familiarity with leftist ideas and words is to a certain extent a continuation of the influence from the historically grounded power structures
that the left are trying to critically address Moreover, that many people find large and complicated ideas exhausting altogethei — too
much work tc even bother with, requiring too much time — might also
be a consequence of this same bias as well. We should examine why
some ideas seem laborious to comprehend, while others slip past
without notice. This issue should also be considered in terms of a
broad analysis of what constitutes common knowledge: what is held
to be right and wrong, how is it talked about, what is prioritized and
what is excluded; and all the other questions and conditions that may
apply in the fabrication of everyday knowledge This could also expand into an analysis of the possible constitutive capacity of language
defining the very condition of lived reality (including the recapitulation of history).
Now I do not think of myself as exceptional or unusual in any way,
and although I am not free from the influence of capital (or metaphorically: the man), I have chosen to prioritize the pursuit of some type of
appropriate skills to assist me in this desired endeavour, and have
necessarily spent considerable time trying to become familiar with the
vocabulary that often comes with the territory. Some of it is difficult to
learn, and I am still learning — there is a great deal I do not know But
if I can get this much of it so far, then so can anyone. Besides, I am
more interested in developing critical thinking skills first and foremost
I often worry about the "official" vocabulary later, although there are
obvious positive, constructive aspects to using "official" terms — locating shared discourse, for one   But there are lots of ways to get
involved with developing "critical awareness:" activism, union meetings, formal education, informal reading and discussion groups,
fanzines, to name a few, and even the internet (but hey, talk about
your special languages) I got started, ond thot is important To a
degree, it is a matter of designating priorities
I do not want to be misread as idealistic or simplistic by the last
assertion, I just want to draw attention to the notion that being outside
of any collected mass of ideas and language is intimidating, and thus
from this perspective can be seen as closed and elitist As Peler Ives,
another writer for Bad Subjects, argued, the left aren't the only ones
with a specialized language In this way, wilh all its secret talk aboul
little known music, culture and standards of evaluation thereof,
DiSCORDER itself easily fits the charge Undoubtedly, this underground
pop subculture is all exclusive stuff to the uninitiated It is also important to note here that it is not all of the left thot is oblique through
dense language use, just certain members of it — mostly those pesky
intellectuals ond academics (oh the damn division of labour) There is
actually a whole continuum of degrees of argumentative complexity
presented by the left (ever been on a protest march?). In this respect,
is it argumentative complexity itself that is the problem, or just the
complexity present in the writings of the left? Moreover, is specialized
language fundamentally elitist, or is it just how it is used? Nevertheless, the left should be committed to making itself less private and
misunderstood Which I believe it is If so, then what are the other
reasons why people do not get involved?
I would like to differentiate a sort of "accumulated personal capacity" and cultural and social availability  Not only to qualify my
d      a
the   s y s t
II      tho
p   i   t   a   I   i   s   t
previous comments regarding the development of critical thinking, but
also to emphasize the challenge posed to the writing of simple analysis in response to complex situations. Because of my history of development, my past, I personally have some of the cultural wherewithal
to feel that I could even begin to Iry and learn to be critical Not to
mention the ability to conceive of this os being an important capacity,
as well as the volition to attempt to become critical in the way that I
am. Such choices and priorities are informed by all the things that
make me up, they constitute me according to multiple interrelated
variables Although they are not necessarily entirely unique to me: I
am male, for example. It is not just internal factors that have an influence, the environment has much to do with who I am as well. This
implicates a complicated and dialectical set of possible psychological, economic, social and cultural influences and effects — the same
commonly found to be a central set of topic dimensions for the left.
Even in the most simple words or colourful figurative language, this
latter issue is very hard to describe, explain and comprehend. I feel
that it does necessitate a certain level of complex language use, if n jt
necessarily a specialized vocabulary, although the two often go together This problematizes the measure of what constitutes a complex
argument or difficult text How is this choice made? Who makes it?
For what reasons, to what end, etc There may be serious problems
associated with any attempted simplification of a complex issue and
all its possible variables. Al the very least, it might greatly decrease
the critical usefulness of texts that try This is to suggest that complicated language use is often an attempt to be responsible to a complicated world, as I argued earlier. In this way, complicated language
use can be necessary and thus unavoidable. However, I endorse gradated entrances into complex argumentation within individual texts,
designed to draw readers in and keep them interested and engaged.
This is a subject of form and style of presentation. In other words, the
ability to write well. (Hey, I'm trying.)
This is not just about learning how to use and comprehend language, there is also a challenging political-economic side to this issue Much money is spent in the attempt to become versed in some
specialized languages In my case, this money will be forever owed
to the government. The cost of formal education is another big issue
requiring lots of words, some big, most heated. In their essay, Bertsch
and Schalit remind us that "...we must buy access to the meaning of
specialized words." This is a crucial point to consider. It is important
lo be sensitive to structured inequality that limits access here, in part
through high costs. In response, I feel compelled to say: destroy the
system and all those money-grubbing capitalists! But what does this
do? What am I saying by this? What does it mean? The slippery
slope into detailed explanation is compelling. And there is more at
s e
work here lhan the simple suggestion that it is expensive to become
critically aware For example, I couldn't tell you the rules of hockey,
the names of all the members of the Wu-Tang Clan, how to operate
most Nintendo games, anything about the pas! television season, I
don't even have a license to drive. This is a lot of information, or
cultural knowledge, requiring considerable time ond level of commitment to acquire Some type of "choosing" is going down Again priorities are involved, yet how are they informed?
Obviously, there is something to be said of the style and place of
presentation of large ideas that influences their possible reception
and impact, their commonplace-ness In part, this is still somewhat an
issue of political-economy, but of a different order: access, ownership, influence And in this respect, it is basically an examination of
the significant five W's and a how — ask Noam Chomsky But it also
quickly goes beyond political-economic variables into the complex
field of culture The ideas that the left tend to use do not have the
luxury of a high degree of cultural currency They are not commonplace enough, and when they are presented, they are often rendered
simplistically or belittled. There is important ground work to be done
in this area, so that "hegemony" and "reification" can become informative not intimidating. Or as Ives argues, to point out that jargon
is not in and of itself a bad thing, "... jargon is only jargon for those
who don't use if." In this respect, his suggestion was the development
of a leftist "... influential, effective, prestigious, and — dare [he] say it
— hegemonic jargon."
To be clear and intelligible in their arguments is generally for the
benefit of the left, as it is for any attempt at persuasion, ideologies
aside  The left is particularly challenged by this issue
em because of its common intended basic goal. Something
along the lines of: the enrichment of ihe conditions for
human existence for oil. And this constant challenging
is not altogether a bad thing. Critical self and inter-
examination does work to produce a more sensitized
left But I would argue that if the left were attempting to
■*%      ^% defend investment banking or dance music, then the
' ■*■      9 is5ue of elitism might be differently presented, if at all.
I As such, the charge of elitism con stonewall the left
cold Being critical of others' positions is important, but
so is community building. Critique should be conducted
intelligently and with a sense of direction. Maybe guided
by some statement of higher-order intent For example: the enrichment
of the conditions for human existence for all, again. Without care,
simplistic or dismissive arguments insensitively attempted against complex positions can be easily taken advantage of for the
disempowermenl of everyone. As Ives pointed out, the charge of "politically correctness" was successful at reducing complex issues and
destabilizing the common opinion of progressive social movements'
value and purpose. It also had an influence internally, within the left.
As Ives puts it, "With the clever manipulation of the term 'politically
correct,' the Right has managed to get many people on the Left to
tacitly accept its logic." Yet, again according to Ives, "The only thing
that all the perspectives that are slandered with the term 'politically
correct' have in common is that conservatives are against them." By
this I am not advocating unconditional blanket support, but an amended
critical consciousness that is aware of its actions. We should be critical of ourselves when, why and how we are being critical of others.
We should be on guard, because the things we say and do can be
and are taken away from us. Yet this should be seen as an inducement
to stick to our guns.
But back to the problem of confusing writing more directly. I agree
with a friend of mine when she says, "If I can't understand it, I'm not
going to bother reading it." Not only is this friend of the school-going
sort, she's quite a smart and critical person in general. She is savvy
enough to recognize when her time is being wasted by excessively
wordy texts — they serve her no good purpose, they are not useful.
Besides, the really important stuff — the big challenging ideas that
might have high critical value — will eventually make their way to
more easily digestible forms. These forms can then be followed up as
individual readers' comprehension increases. What I do when confronted by a text that stumps me, if I think it is valuable and worth my
time, is read it slowly as though il were some ugly poetry, taking out
of it what I can. Rereading is also an option, as is just spending time
thinking about what I've read, or talking about it with friends. The
responsibility to be able to understand texts, complex or otherwise, is
a joint project of the reader and the writer. It is futile to demand that
everyone write at the same level, although there is nothing wrong
with clear writing in any case. And of course there are those arrogant
little devils who love to use big words in an attempt to satisfy their own
self interest. But they can fuck themselves. Fight the power. Hang on,
mr. kitty poulin
(For further reading, check out the January '97 issue of our very own
DiSCORDER. The interview with Cindy Doll, who also incidentally goes to
UC Berkeley [HQ for Bad Subjects], contains her own succinct opinion on
this set of issues).
lQ au-Sugti^ »»ctv     m mn a mi mm m. h-m. i
AUG. 31 m
Tickets: $25.00 - 29.50+s.c. al all js_®ass»outlets or Charge By Phone 280-4444
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5 PM - 7 PM
by dj noah (djnoah@cyberstore.ca)
decision to work as a professional dj, and then I got into
producing music
What was the Respect
album about?
That was for all the old acid
house guys like Adonis,
Phuture, Robert Armani, and
Marshall Jefferson They were
a big influence [or
e that si
oul the most is the Roland 303
boss synthesizer In the mid-
1980s, someone discovered
that this 303 machine could produce a loud squelching sound
This became known as the
"acid" sound in acid house It's
a good thing that this sound was
discovered, because the 303
produced a really shitty boss
sound If no one had played
around wilh this particular
machine, where would techno
music be today?
I don'l know where it might
be, but I do know that it is alive
and well and living in Germany
In 1992, Ramon Zenker (formerly of Interactive and
Phenomania) and Oliver
Bondzio teamed up to become
HARDFLOOR, a band whose
sound, up until jusl recently, was
based on using between two and
seven 303 machines for any
given song For several years,
their sound seemed almost stale
and was easy to recognize,
which for instrumental dance
music can be a downfall It wasn't until 1995 when they
released Dadamnfreaknoizefunk,
thot they broke their mould and
took a new direction that relied
less on the 303 ond more on
their creative talents
On Thursday June 26th,
Voncouver welcomed Ramon
and Oliver with waving hands
and dancing feet They performed for a few hundred people at the Rage and left
everyone wanting more I also
opportunity to tolk to
Chicago, just one of the nine
cities they visited on their North
Why the Roland 303,
which seems to be your
main instrument?
Well, it's not any more It was
when we started the group I just
love the sound that it makes.
When I heard my first acid
house records back in '86-'87, I
loved the sound   I made the
)    sho*.
Was acid house a big
sound in Europe in the
No, not really It kind of peaked
in the UK, but not really in
Germany It was a really underground thing and for me it was
the best time in my life
You also have releases on
Jackpot Records. Is this a
solo project?
Jackpot Records is my label. I
run it with my partner,
Heinrich Tillack, who has also
released stuff on Plus 8 We
are both really close friends
[with]   John    Aquavi
Richie  Haw
.  have
like, this Intellinet distribut
deal ond stuff. My releases
Jackpot ore just onother side
of me I really need lo do
other types of things
How did you and Ramon
connect to form Hardfloor?
We both were doing things
around the same time and I
heard he had a studio and I had
some ideas I was looking
around for a guy with equipment, so we just hooked up and
that was the beginning of
Do you find it easy to do a
live show, or are you more
of a studio band?
We kind of have a really set
live show We try lo reproduce
the tracks on stage the way we
did   it   i
inyl.    We'r.
freestyling or something We
try to represent it exactly like
So there isn't a lot of
improvising that goes on
on stage?
Oh, no. No, no, no The people, they really want to hear our
greatest hits They ask, 'Can we
hear this track, can we hear
that track?' They don'l really
want to hear the new stuff. We
have two new tracks in our
show, and the rest is from the
first three albums and the singles in between
Are you working on
another album right now?
We are thinking about it First,
we want to finish the US lour,
then we have to go bock to
England and play some of the
big festivals like Love Parade
and stuff like that Then we
have to go to Japan to do a
best   of    album    promotion
best of Hardfloor' album which
is coming out soon After all
that, we will try to work on the
Are you enjoying touring
as opposed to being in the
studio recording?
Urmph. It's we like to do a lot
of different stuff, and this is just
a different side. We are enjoying it right now, but I think that
three weeks is enough, and we
are lucky to go back home and
hook up with our friends and do
the production in fhe studio, stuff
like that But we are having a
good time touring.*
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hear previews of the tracks on our web site:
18 august 1937 by stu marvel
As of last week I have
dropped all my
courses, spent nearly all
my money, and decided to leave
indefinitely for Australia in October. Why? I'm not entirely sure,
but I'm certain ALL the answers
are waiting for me deep deep in
the snake-infested Outback.
For now, however, I am
yours with all the heartfelt mutual love and sharing that entails. So let's see what the Great
God of Smallish Records has
given to us this
And keep in mind that
I've been really
grumpy lately.
Gee, it's the
off-white noize EP
... wait a sec. EP?
What the sam hey '
— Stu! (you cry) Your
slide rule must have
slipped, girl. This
can't be no 7" rekkid
with eight bleedin'
songs on itl Well believe it, buddy. Maybe
ol' Mac down at Merge
is getting tight with the
dough, or maybe the
Filmstars didn't consider
this crop worthy of a
more glorious presentation . Either way, you don't have
to worry about poor sound quality from all these tracks being
sandwiched onto one liny
record; the poor sound quality
comes right from the source it-
selfl Drink deep anyway from
this wellspring of cracked,
hooky tape-loop crank pop.
Much more accessible than the
majority of stuff released on
their own Mobstar label, there's
many pretty hi-ball riffs buried
lightly in these songs (and song
fragments) — your task is to find
them. It shouldn't be hard
(Merge, PO Box 1 235, Chapel
Hill, NC, 27514)
I have to wonder what
records Mr   ROCKETSHIP
Dustin Reske has unearthed
recently  in  the
dusty bins of
Whatever he's
been listening to is plenty more
Nepalese drone than
rubberball pop, that's for darn'
tootin. The B-side sounds like a
Ravi Shankar jam session,
which is pleasant listening, but
strange to hear from such a
kingpin of unadulterated pop
fare. "Get On the Floor (and
Move It)" also attempts to stretch
stylistic boundaries, but rather
less favourably, I fear. While I
can swallow the zither thing
straight up, it breaks down
when grafted with Yankee sunshine strum. I can't explain how
uncomfortable this song makes
me feel. Uhm here: envision a
greasy, unshaved monk lurching around Disneyland, trying
unsuccessfully to feed the squirrels strips of boiled yak. It's something like that. (Jigsaw, PO Box
1440, Santa Cnjz, CA, 95061)
Pedigreed ambient experimenters STOCK, HAUSEN,
AND WALKMAN manipulate
sight, sound, Bontempi organs
and tinkly vibes in a double-
sided peon to the craven soundtracks of '60s skin flicks. These
fellows are fresh off the Buffalo Daughter remix album
boat, and their increasing expertise is evident. Snippets of
disjointed melody form slinky
wholes And it works (mostly).
The "Broccoli" side picture is
dashing, too, in a disturbingly
homely way. (Eerie Materials, PO Box 420816, San
Francisco, CA, 94142)
Some bands suit a variety
of moods; some bands cater to
only one or two. THE CAT'S
MIAOW have managed to
zoom in on not just an individual emotion, but a particular delicate shade of feeling.
Every time I hear this record, I
breathe a sweet violet hue, a
heady fragrance of lavender
horn and cascading purple
shadows. Gentle brush drums,
soaring melodies (all in French)
and always, always I'amour
dans la pluie. C'est magnifique!
(Drive-In, PO Box 88821 1,
Grand Rapids, Ml, 49588)
About three weeks back I
had a hysterical breakdown:
weeping, shrieking, wild caterwauling on the patio, you name
it. Forty-nine solid yards of freak-
out. And during the miserable
peak of it, I discovered that
every piece of music I own is
painfully unlistenable. In desperation, I assaulted the stack
of 7" slated for review in this
here column. And under the
leaning tower of Portland ga-
SHARKS KILL My sweet sal
vation. Not the music (though it
is competent, co-ed emo with
textured melodies and earnest
yelpings),  but the two
booklet inserts! Jammed
with diary re
poetry,  lyric explr
tions and Animal Liberation Front propaganda, they sang to
me like a heavenly
choir.    Add     '
lovely, h<
things like, "I was never in it for
the money" and "Now it's my
turn to make records." You then
play your very first show opening for the Breeders, ask all
GBV fans to buy your second-
rate grungy, hookless
rockwank, and cross your
talentless fingers. (AAJ, 1350
Mahan Dr #E4 Suite 203,
Tallahassee, FL, 32308)
NINOTCHKA appears to
be a Grimsey label collaboration of sorts, sporting as it
does many of the same people  who appeared on  last
handle. (Atomicfireball, 201 1
NE 47th, Portland, OR, 97213)
Q: You're the ex-drummer
for a world-famous perennially
adored rock group. Your other
bandmates have both released
solo albums, to varying levels
of success. You have been busy
studiously drinkinq up your profits. The coffers are slowly dwindling. What do you do? A: if
you're Mitch Mitchell, former
Guided by Voices stickman,
you quickly release a couple of
mediocre seven inches, billing
yourself as THE TERRIFYING
EXPERIENCE while saying
xcellent Ninian  Hawick/
Shebrews split single (John
Crozier, Bryan Hanna and
Stephanie Winter-Ruiz in particular). Grimsey is fast proving
itself as one of the most consistently lilting pop labels around,
and these string-drenched songs
are certainly no exception. Soft
candy for the soul? Yes, but "I've
Got Wings" is so darned lovely
I'm inclined not to care.
On the same label is LE
MANS, who sing what the
Volga boatmen must sing as
they row their weary craft homeward. They play what the
Florentine lovers must play as
they woo Latin sweethearts under pregnant moons. They
know what the ancient Greeks
must have known when they
plotted the wandering courses
of distant stars. Europop stars
whisper secrets of the ages in
sweet, bouncy Spanish. Open
your ears and risk being
charmed on foreign shores.
(Grimsey, PO Box 541,
Stillwater, MN, 55082)
One stadium-ready power
rock number, and one hoarse,
bombastic sprawler from ex-
Murderecords    stableboys
are well polished and competently executed; those of you
already TH fans will find
much to chew on here. Lots
of emotion. Not too heavy
on the chugging angst. Skilful guitar work. Quality pro-
j     duction. Just remember the
two sides play at different
speeds. And if this stuff whets
your appetite, you'll be happy
o know that their brand new
Ibum is out now on Elektra.
Just don't forget to send some
kind of Canadian honourarium
to Halifax headquarters. Even
the biggest tree has its roots,
y'know. (Bong Load Custom,
PO Box 931538, Hollywood,
CA, 90093-1538)
three clean boys your mom
ild gladly have over for
Christmas dinner any year.
Mild-mannered mod garage
yeh-yeh. Good 'nuff polished
rockabilly jive from Toronto is
even bettered by song titles like
"Thought I Saw You Breaking
Hearts at the Roxy Last Night"
and "Zug Me Zedya Zug Me,
You Litvak Lolita." Sure, they
might smooch you in the kitchen-
when nobody's looking, but you
can bet they'll do the dishes afterwards. (Spanking Good, 6-
368A College St., Toronto,
ON, M5T 1S6)»
i9 W^umm iUnder
On the heels of the ociddrenched
stereophone pop art music,
former member of Spacemen
3, Pete Bassmon, odeptly delves
further into a psychedelic river of
sounds on Soulweed True
enough, Bossman's vocals grace
virtually every song but the intent
seems to be instrumental
The final product works remarkably well Alpha Stone's
drug-hazed hedonism not only
documents a bygone era, but
places the '60s into the context
of the present age In effect,
Soulweed is a lucid '90s album,
deciphering, deconstructing and
most importantly, rebuilding the
essence of o generation that is a
mere shadow of itself The expeditions are lengthy ot times but
wifh legitimate sonic design Alpha Stone's intention is not a
quick musical snippet, but rather
a drone with purpose
While on the surface,
Sou/weed's nine tracks could be
exchanged for each other,
Bossman's parsley blotters of sound
are Rorschach flash cards — interpretive paintings from the abstract
school. Sou/weed is a fine vehicle for the brain to take a brief
hallucinogenic holiday.
Pieter Hofmann
Is Anybody Here From
(Active Sensing)
This techno/industrial group took
a unique approach to their album   It is deeply based on society's beliefs and opinions. Some
of their influences came from The
X-Files, Bladerunner, and other
strong symbolisms.
Associated Digital Sound
Research carry a bit of rhythm
and dance beat into all their
songs — "Roswell 1947" ond
"Solstice" display this feeling in
particular. Is Anybody Here From
America? is very insightful, depending on what you listen for.
Markus Schmid
One, two, three, four, let's count
the influences, shall we? Where
do I begin? This is a strong album, flowing from one genre to
another, creating an effect not
unlike a bad acid trip Sometimes
the tastes are good, if not great,
other times, so annoying they
make you wont to throw up From
top 40 bop to jungle, from country and western to industrial, from
trance techno to funk and jazz,
Glee's got if all except for classical,  imagine,   if you will, a
2o august 1^37
breakbeat added to a country
ditty Does it work? Not all the
time, and maybe not here, but at
least someone tried
Bran Van 3000 sports the
largest ensemble I've ever seen,
but I still don't believe this outfit
can be 25 people large — how
can anyone gel paid? More like
seven or eight ot the most The
vocalists, much like the styles,
vary Some sound like Beck, oth
ers like Mary J. Blige, but both
are annoying and derivative
sounding to me This album covers it oil, it's got the funk, it's got
the groove It's also weird and
eclectic enough to make it like
able by those who ore into the
fringe artists Bran Van obviously
doesn't core if they offend anyone wilh their sense of ridiculousness, and ridiculous this is. The
soundbites between Irocks outnumber the tracks themselves ond
are reminiscent of the house days
of Simon Harris, but they're a
lol of fun, not merely irritating
Resident Double U
(Time Bomb)
My mom always told me, "If you
can't say anything good about
someone, then don't say anything
at all * In any event, I am still
writing this review so there must
be something good in this release I guess my problem is that
there isn't much which separates
Crumbox, and a lot of other
Time Bomb artists, from so many
other bands (they're better than
your average indie band, but
then that doesn't mean much).
Maybe this perspective is compounded by indecipherable vocals (to otherwise interesting
sounding song titles) Any one
piece sounds good, but in total there is nothing unique
about this music
J. Bold!
Eat at Joey's
(Moon Ska)
Ska is meant to be experienced
live — it is the perfect dancehall
music. Often, however, a ska
band who is otherwise great
doesn't do them justice The
Toasters (founders of the Moon
Ska label) are one example. A
killer, amazing band live, their
albums just don't inspire me, with
the exception of a few songs Not
so wifh Seattle's Easy Big Fella,
their latest recorded material is
highly listenable, with an old
school sound and a youthful vigour matched by superb musicianship including a seamless horn
section and wonderful
Hammond B-3 work. Vocals
and harmonies are tight, precise
of The Waiters' "Rude Boy," the
sugary "Locked in the Chapel of
Love," the minimalist "Joey and
Ranma" (my favourite), and the
secret, hidden "Satan" track (their
trademark as of late) My only
regret is that they didn't include
their smokin' cover of Devos
"Uncontrollable Urge" which they
performed at their lasl gig here
(this song should appear on a ska
compilation in the near future)
See this bond live1
;. Boidt
Album Of The Year
Album of the year? Hardly That's
not lo soy thot Faith No More's
latest prog-metal excursion is a
bod clash of the two musical genres, a combination that makes the
relatively sane run for cover Album Of The Year* makes no apologies for its verbosity and on that
count, it succeeds
Adding Jon Hudson, their
fourth guitarist in five years, Faith
No More has found a niche ond
works it well Anthemic and claustrophobic right from the opening
bars, the bond prefers to kick you
square in the jewel box rather
than allowing any pretension of
easing you into their world. Fortunately, Album Of The Year is not
an all-out assault. The quintet
switches gears often enough to
relieve the barrage.
Vocalist Mike Patton is, at
times, a pitbull in front of the microphone, frothing menacingly
such as on "Collision," while on
other tracks ("Stripsearch," "Pristine") he transcends the metal-god
guru image for quasi-balladry.
Inexplicably, there is balance
where chaos should reign. Tense
and furious with a few sweets
thrown in, Album Of The Year is
a rare commodity: smart metal
without any hint of stillness.
Pieter Hofmann
Something to Remember
Me By
(Grand Royal)
Ben Lee is 18. Soon no longer to
be considered a child prodigy he
seems to have decided to make
music his choice in life. He is on
the album cover with o guitar in
hand, looking like a young Bob
Dylan, which is fitting because
the album is very pared down
and almost folk-like in its
minimalist ocousticness This is all
he really needs
He is in the class of performers that can create a mogic connection between himself and the
listener. He writes innocent songs
that succeed only due to the sincerity of what he has written and
the honesty of his performance
how his songwriting changes as
he makes that transition from teenager to adult, but for now he can
please those wanting to hear the
sound of a young heart
Note to Ben Lee addicts out
there the vinyl version contains
two more songs than the CD
Paul Kundarewich
Barbara Manning, alone and
with the SF Seals, can do no
wrong She is one of those
women who makes the world
a better place Her voice is as
sweet as honey and her songs
are pure pop bliss — but with a
deep ache OnJ2/2 Manning
gets some help from some Giant
Sand dudes The first four tracks
revolve around the concept of the
"Arsonist Story," about an evil
boy who gets his kicks setting
Manning also throws in her
usual great cover songs, but her
own "Blood of Feeling" and "Isn't
Lonely Lovely?" really capture my
heart The addition of piano and
trumpet really differentiate this
album from other pop records.
She is sooo great! A perfect album to curl up by the fire with
(Amphetamine Reptile)
After a brief stint in the major
leagues, the mighty Melvins are
back swinging for the AmRep
farm team
Honky starts out with an evil
dubbish number, featuring the
vocal stylings of Babes in
Toyland crooner Kat Bjelland.
They then continue along a very
crooked path, making stops at
drum machine mayhem, good
old fashioned grind and eerie
soundscapes "Laughing with Lucifer at Satan's Sideshow" is peppered with phone messages that
sound like record executives making all sorts of excuses. Don't be
fooled by your CD readout when
it says 70:53 — there are really
only 45 minutes of music with 25
minutes of silence at the end, giving you a chance to pause and
reflect upon what a fine album
you've just heard.
Marilyn Manson wishes
he could be as scary as the
Melvins, but guess what, makeup boy — you and your army of
drooling so-called individuals will
never in your wildest night-
Melvins create.
Charlie Church
Cache Coeur Naif EP
(Too Pure)
Mixing it up wilh Laetitia Sadier
and Mary Hansen of Stereolab
fame, the boys of Mouse on
Mars are back with four very
electronic pop songs. Mouse on
Mars Pan St. Werner and Andi
Toma) has released two fine albums, Vu/vo/ondand laora Tahiti,
which can be found almost anywhere Also, St Werner has
worked with Wolfgang Flur of
Kraftwerk on a project called
Yamo (they're all from the very
cool city of Cologne, Germany - home to CAN ond
the Mille Plateaux label)
This EP, despite its mediocre
cover art, is wonderful Skilfully
mixing Sodier's patented harmonies over a kinky selection of digital blips and ambient tides,
Mouse on Mors continues to
make dot matrix out of their contemporaries Their ease in both
appealing to my pop sensibility
and my desire for odd sounds is
only matched by Tortoise or the
Orb Not so cerebral that you're
cracking open the Advil, but not
so dopey that they're just block
rockin' their beats And since it
looks like this genre is poised to
become big in an elephantile
way, it's too early to project if they
are going top forty or just top
heavy Either way, they're really
good, and more pleasurable than
a stab in the face
tee Henderson
Gospel Oak EP
Her last album, Universal Mother,
contained quite a few gems. That
album was also the closest I've
come to listening to an open
wound Uncompromising? Yes.
Songs thot bear repeated listening in all but the blackest of
moods? No. This album is the
salve to that wound Her voice
has regained its full and rich delivery The melodies are catchy
and the drum programming provided by John Reynolds and
Jah Wobble give the Irish
instrumentals some world beat
sounds and a feeling of modernity. Her voice is also layered with
boiling and surfacing harmonies,
which give her music a new
found depth
Those expecting the unbridled
emotion of her first two albums
are going to be disappointed
Now the mother of two, the unadorned melodrama of Sinead's
youth has dissipated. This isn't
something that should be
mourned — one doesn't have to
scream at the top of one's lungs
to distil emotion or make a strong
statement. And this EP does both.
Paul Kundarewich
(Blast First/Mute)
In the early '80s, Blast First was
the label best known for introducing Europe to America's Sonic
Youth, Big Black, and the
Botthole Surfers. Everyone
freaked! Their influence was obvious; they were the bonds that,
you know, paved the way for
Seattle etc. ... Then, shortly before rock became a travelling lollipop, Blast First disappeared.
But Blast First came back and
they signed Panasonic, an analog synth duo from Finland, and
put out the infamous album Vakio.
Their signature style, harsh electronic beats clustering together
slowly while a singular note
modulates slowly and heavily
underneath, was already fully
formed The album is long ond
difficult, but worth it. In the summer of '96, they put out the
Osasto EP, which was more
breakbeat than broken beat, but
denting escape into
Panasonic put out Kulmo, and for
the first time, I'm eager to put
them on my walkman [Vakio
made me feel like I had the flu,
and Osasto gave me ADD)  Bril-
"Hahmo," "Aines," and "-25"
nest alongside more aggressive
structures such as "Rutina" and
the opener, "Teurastomo." When
I was a kid living in Calgary we
used to do the robot for spare
change, like I'd seen them do in
San Francisco, and like, a
mixed tape of Panasonic,
Autechre, and Speedy J
would have made us the maddest of robots ever!
tee Henderson
Full Circle
We could be close to hearing the
current reigning kings of the
sound that is fast, melodic, captivating and inspirational (punk
rock?). Well, I don't want to
sound like too much of a know-it-
all, but hey, it's close.
Pennywise deliver on Full Circle with 14 songs, based on living life to its fullest.
The album notes the suicide
of their bass player and longtime
pal Jason Thirsk, and serves os a
dedication to him and all the people who loved him. Sometimes,
when one is faced with such a
loss as do the remaining members of Pennywise, one's best
work shines through. Ya know,
after listening to their past three
albums, I'm enjoying Full Circle
the most. After hearing many
bands go the way of recording a
few slow, power ballads to
squeeze out a radio friendly
hit, I'm damn happy to report
that Pennywise have not gone
that way.
C'esf La Vie
Pantomine EP
Comprised of Minneapolis
scenesters (including an ex-
Lemonhead), Polara is a
band which tries as hard as it can
to sound British. They may be
from Middle America, but Polara
sounds like they're from the midlands of England. While they
may be mildly derivative on occasion, if you're a fan of anything
remotely influenced by the late-
'80s Manchester music scene,
you'll probably enjoy these
records. However, as much as I
liked the songs, there was something decidedly preconceived
about the sound. It was lacking
a spark of creativity, or some extra oomph, or possibly some fairy
dust in the studio somewhere.
There's nothing wrong with
the band or its music, but then
there wos nothing to make me
think that years from now I'd feel
like listening to either of these CDs. C'est Lo Vie is a well-arranged grouping of 12 songs,
each one enjoyable enough for
its noise-pop/Brit-rock influenced
sounds, and "Pantomine" is a
sampler of the band's work, with
one Allan Moulder (engineer for
My Bloody Valentine) remix
for good measure Like hundreds
and thousands of bands out there
with similar musical interests,
Polara is middle-of-the-road college rock — pleasant enough
unto itself. This is excellence in
mediocrity, and that's really not
such a bad thing, is it?
Brian Wieser
Push Kings
(Sealed Fate, PO Box 9183
# 120, Cambridge, MA, 02139)
I have a conspiracy theory: Paul
McCartney desires indie rawk
cred. How to do it? Infiltrate a
little known Boston, Massachusetts band, write the songs, play
the music and get this otherwise
unknown combo to take the credit
— at least for now. Then, after
the band's innocent, upbeat pop
melodies have captivated an unsuspecting world, BAM — he
announces his fiendish scheme
to win points with the slacker
Such a theory might be a
stretch, but it would explain why
the Push Kings wear its influence (note: singular) on its sleeve,
on its collar, on its pant-legging,
and all over this CD! From the
straightforward "Nine Straight
Lines" (which could very well
have been a 35 year old outtake
from Please Please Me] to the
Wings-esque "Love in My
Heart," the Push Kings fill a full
album's worth of memorable
songs. This unassuming four-
piece have compiled 14 delightful ditties capable of taking your
musical memory back to a time
when simplicity in melody and
creativity in arrangement (limited
only by what a live band could
perform on-stage) was dominant
in the musical world. Conspiracy
or not, that's enough reason to
give this recording a listen.
Brian Wieser
Around the World With ...
To people who think that surf
music is dying, dead or just plain
derivative, I urge you: check out
this new long-player from the
Oregonian five-piece known as
Satan's Pilgrims What sets
these guys apart from other instrumental outfits is the three guitar attack that allows for some
very crafty and catchy play between members, which is exemplified on tracks like "Theme From
Beat Girl" (a John Barry
penned number, who also did the
music for the 007 movies), and
"Devil's Punchbowl," a Pilgrims'
original tune
This is definitely a transglobal
affair, with musical stops in Japan (a cover of the Ventures'
"Ginza Lights"), Italy (for the classic theme from The Godfather),
Mexico (an original called "La
Cazuela" about a rather potent
cocktail), and the good ol' USA
(for a trip to "Hamilton Beach").
Live, these guys kick up one
helluva dancin' storm, so wherever you ore, Satan's Pilgrims
know that's where the oction is,
and will surely keep the surf banner flying high.
Bryce Dunn
Words and Pictures
(Artisan Music)
Bob Snider strikes me as a
Sesame Street version of
Charles Bukowski, as a perennially optimistic down-on-his-
luck muppet caterwauling charming and maudlin little ditties about
the metric system and the letter
"B" in a Frank Oz voice while
Oscar shouts for him to shut up.
It's not always profound but
what the hell, it's personal and
honest and unpretentious and,
not infrequently, strikingly
clever. Clever in a kind of
cheesy and a kind of goofy
way, but clever nonetheless
And it's pretty. Comfortably
and familiarly pretty, but still
pretty. And those ain't no small
Adam Monahan
In It For The Money
I found this new album from Supergrass to be quite a change
from their previous full-length /
Should Coco In It For The Money
is slick and has had all the rough
edges filed down Mind you, this
is not a bad thing! It took me a
while to get used to, but I love it
just the same I particularly like
the song "You Can See Me," a
song with great harmonies which
allow for an easy singalong.
The last song, "Sometimes I
Make You Sad," actually makes
my stomach turn, reminding me
of some sick, smelly carnival ride
Don't trust me, hop on for yourself If you liked Supergrass two
years ago, you'll still enjoy them
today — it just may take a few
laps around the pool.
The Basement Songs
Tariq (a guy and a band) comes
from Alberta, the land of the pickup truck, and heck, they sound
like what you might expect a
band from Alberta to sound
like: a twangy Canadian prairie (how's that for a stereotype?)
Tariq writes semi-catchy
heartfelt songs which, though
decent, tend to meander and
drag on way too long. They'd
be a lot stronger if a minute and
a half was knocked off each
tune. There are some songs I
like: "Crush," and "Dear Liza,"
however, "Not Just A Waiter"
is one truly terrible song It's
one of those aggravating half
spoken/half sung songs which
tries to be funny but isn't at all.
Unfortunately, it'll probably be
a big hit, likely with those who
loved The Pursuit of Happiness' "I'm An Adult Now "
Lyrically, Tariq writes a lot
from an "I" perspective and
seems to spend an awful lot of
time feeling sorry for himself.
The lyrics are nothing profound —
they mostly focus on the boy-
girl relationship thing, often
Rock and Roll Music PT. I
Tricky Woo's message is simple enough: in a world of rock
'n' roll imposters, Tricky Woo
of taiko is power Power to excite, power to move the very
air that surrounds us, power to
s the
. There
a fire in the hole and this Montreal trio is fanning the flames.
As the flames get higher, the
fever spreads and the kids are
injected with the punk-soul
beat. Their blood begins to
boil, their knees begin to
shake. They need a release.
Something to kill the pain But
there is no relief in sight. So
they submit to the impending
rock and roll fury that is Tricky
Woo With every pulsing beat
of the drums, throb of the bass,
and mind-bending of the guitar, the kids grow wilder, more
frantic. So too does Tricky
Woo. Like evil witchdoctors
casting their voodoo spells,
they have succeeded in possessing poor, unfortunate souls
with every spin of their hypnotizing brand of devil music
... including me. And you'll
Bryce Dunn
In Your Dreams
(Oo Zoo May)
three days and fou
worth of material from shows
which  Uzume  Taiko  per
formed at the Vancouver East
Cultural Cenlre a few years ago.
Taiko is essentially Japanese drum music It is very theatrical and very dynamic. One
minute it will be all thundering
rolls, while the next the sound
will almost evaporate Taiko
thankfully lacks the bombast and
tedium of extended rock drum
solos (think Carl Palmer paying
attention to nothing else except
his revolving drum kit for a
dozen elastically long minutes).
As artistic director John
Endo Greenaway says in the
album's liner notes, "The essence
And they certainly do find
some time to generate a lot of
power But the difference for
these performances though is
the presence of some guests on
other instruments, most notably
Peggy Lee on cello and
Takeo Yamashiro on a
shakuhachi, a flute-like instrument.  It is at these moments
greater depth.
Drums are often a hard in-
iment to make an impact mu-
]lly when they are played in
isolation. Uzume Taiko, however, does manage to discover
the  subtleties of percussion
where many others fail. Still, a
little help from some musical
friends can go a long way.
Michael Chouinard
Close Encounters of the
Bump and Grind
Nice melodies with good
beats, interesting samples and
some pretty female vocals on
a couple of tracks. Not too
, but c
intly likeable and catchy
(like its good lookin' bright
cover art). The album name
comes from that fountain of cultural inspiration, The Lusty Lady
in Seattle
Lata Twin Stars
High Performance
Listen up all of you — from real
techno aficionados to trendy
trainspotters — and especially
there! This is a real compilation. After the glut of bad compilations from gutless efforts
such as Planet Dog's Tranced
Out and Dreaming to that awful AMP compilation by MTV,
Instinct Electronica has restored
my faith in an otherwise haphazard and derivative genre.
This compilation has brought
back the cutting-edge spirit so
long-lost after the heydays of the
Trance Europe Express' first outings Like what Wipeout XL did
for introducing trance to the
everyman, and what Rocket
Fuel did for trip hop, High Performance does for techno in its
breakbeat, dub and drum V
bass guise.
I think one can safely ignore the hand that Beaumont
Hannant, Andrew Weatherall
(of Sabres of Paradise),
and Lol Hammond (of the
Drum Club) lent to this effort,
but damn it if their influences
aren't feltl What makes this
album truly outstanding are
tracks by Slab, Pilote Burst,
Blue Frog and Girl Eats
Boy, a Lol Hammond side-
project. This type of techno is
more suitable for the bedroom
than for the club — it's a type
of music that demands more
careful discretion in its search
for perfection. High Performance lives up to the real discerning techno listener's standards of perfectionism
Themes from a Common
(Lowdown Records)
As my friend says, "Oh yeah,
baby, this is it:" a unique album featuring a sampling of
Vancouver's richly talented
electronic music artists. To say
the least, some tracks are very
hot. Prime takes the lead with
his track, "Module Emission,"
ing  a  beautiful  303
ind "re
Mk Naomi's "333" is close
behind with its beautiful, entrancing sounds and soothing
kickdrum they have become
known for Words do not describe their beauty. You'll be
left wanting. Other artists include Ginger Snaps! favourites
Irridium with two extremely
groovy house tracks and
Phaedra with an off-beat
space-age trock.
-;S\50K"LAS|_\^. <*7
2i $4$mimm realliveaction
Sunday, June 8
I've never been a huge Spearhead fan, but this concert was
top notch The club was packed
and the surroundings reminded
me of UBC's Arts County Fair The
crowd was live and the band was
liver Throughout the night, the
floor wos jumping with crazy
heads and the band was constantly pumping out live beats and
improvising every olher song
There was a 30 minute musical tribute to the false god Mary
Jane that will be engraved in the
heads of fans that attended the
concert that night The remake of
The Jacksons' hit, "I'll be
there," and a revamping of the
nursery rhyme "Baa Baa Black
Sheep," were not only musically
entertaining bul also damn funny
What I enjoyed about this
show was the amount of time and
energy that went into every song
Political messages such as human
rights in third world countries
(APEC) and sexually transmitted
diseases fell right inlo ploce at
this concert Spearhead indirectly
displayed that there is a time lo
have fun and a time to be socially
aware and they can both happen in the same night
Tuesday June 10
When I first entered the Rage, a
different kind of vibe touched me.
The atmosphere felt intimate
compared to the usual sardine
sensation I feel there.
Me'shell Nd must have a
strong following of females
becouse approximately 70%
of the crowd was female.
Eventually, Me'shell Nd and
her band made it to the stage and
the Rage transformed into one
monstrous jazz lounge She wos
constantly switching from bass
guitar to keyboards throughout
the night without missing a beat.
The highlight of the night was
when she performed a 15 minute
extended version of her hit "Blah
Door." Her sexy, raspy voice
flowed eloquently with the band's
butta groove Her band members
had her/his brief moment of fame
as s/he did what they do best;
including a male vocalist that hit
the high notes higher than
Me'shell herself
After the stunning spotlight
dedicated to this one song was
burnt out, the concert returned to
its uneventful progress because of
her lack of interaction with the
audience and the absent enthusiasm that they returned.
21 august 1937
Saturday June 21
Performance Works
Fun for the Whole Family (John
Korsrud): initial brass assault
melts into rampaging bull elephant trombone into discordant
filmnoir soundtrack  Splendid
Funkadelic Relic (Rob
McKenzie) carefully constructed
pastiche of rock and roll cliches
form egomaniacal guitar solos to
the beginning of the theme from
Rocky Good
Typhoon (Bill Clark) drone of
horns blowing winds tension menace percussion lap of waves on
hull of ship growing crashing over
the bow ship drunkenly pitching
and rolling horns through scales
from crest to trough pitching vomiting in the swell driving rain
into the eye, calm winds soft
then again overtaken by tumult
jolted bounced roaring creaking
bulkheads yielding steel screaming ond with quiet violin  the
peace Like an angry Debussy
Iguana (JK): mythological
New York street corner Saturday
night — funk latin urban Blaring
horns gridlocked traffic guy dancing down the boulevaid he's got
his neon lights and his malt liquor and fuck you man Slop mo-
lion traffic cuts to stream of cabs
police cars coupes de ville brake
lights ribboning into the night
Speck (JK): tape loops layer
on layer themes grow and melt
organically seamlessly Haunting.
White Hot Core (JK): Thumping percussive barrage overlaid
with ascending vertiginous horns
tumbling skyward driven by guitar violin rising ever spinewise
headword crashing teeth on
edge into backbrain sense of falling ever upwards drugged
through Alice in Wonderland
psychedelica past giraffes still
smouldering whirling spinning
and falling upwards
And splash. Slow Floating
Floating Drifting along river of
treacle alcoholic clouds roll languid sickly through orange sky
everything sepia. Picked up by
pickle barrel riverboat of mummified ballroom dance cycling
eternally through endless rhumba
cha cha mambo images of New
England fantasies of Brazil Unable to break spell it's into the
clock and through the grinding
metronomic gears the shrill shouts
of the mice Slipping again into
the river and bobbing corklike
through rapids bobbing bouncing with the percussion and falling up again and spinning and
whirling rising falling ever up-
nothing  Sublime
All the musicians were magnificent, but particularly noteworthy were Jack Duncun, percussion, Ron Samworth, guitar,
Sheila McDonald, violin; Hugh
Fraser, trombone; Bill Clark,
trumpet and composition, and
John Korsrud himself, on
trumpet,   conduction,   and
Adam Monahan
Sunday, June 22
Whip Gallery
Intimate and relaxed, the
Whip is a great place to
see what is one of Vancouver's most popular bands,
I've seen The Molestics
several times before at
Blue Lizard events, bul
this band really shines
when there are less dis-
(although the Waldorf
energetic opening act They
played '60s psychedelic country,
R&B, rock a la Eagles and The
Grateful Dead, they wandered
into Ihe audience One fellow
seemed determined to damage
something They blended these
faces together well enough to be
considered "innovative " They
were a poor man's Grifters, not
bad but not thrilling
After a comparatively short
setup (Dieselhed also being Link's
backing bond), Link came on with
his wife (Visions of Yoko Ono
come to mind but she thankfully
did not pursue that role ) From
start to finish, Rock and audience
enjoyment were his goals, which
he fulfilled amazingly Starting
with  "Rumble"
found at the end of the
Buzzcocks show as well, is
that there aren't many "current" acts that can convey the
same sense of fun, fury and
Brandon Pierce
Thursday, July 10
Chameleon Urban Lounge
As the demise of the Town Pump
and olher venues will attest to,
djed events and dj theme nights
ore going to give live bands a
run for their money Perhaps it's
because venues perceive djs as
cheaper and more predictable
than bands Or maybe it is just
the ongoing death of rock and
roll Who knows Heck, I enjoy
both — I regularly see live bands,
but some of the
not crazy about prewar jazz and popular music which
form the foundation of the band's
what makes this
band great, besides solid musicianship, ,s
their deadpan
fun    I'*,
had a
ond Todd
(of   Double    Six)
have a good
thing going
They dj regu-
Mambo Hut at
the Waldorf's
Blue Lizard
events Their collection and selec-
spiring and fairly
,  fee
.ions' lyrics,
song be
in Winnipeg, unemployment, drugs, or sordid relationships. They play "traditional" pieces as well — at one
point, vocalist/trumpeter/
euphoniumist (if that is the correct term) Mike Saurette said they
were going to play a "new" song,
and then noted as an aside that
the song was written over a hundred years ago.
/. bold)
Friday, July 4
Starfish Room
There comes a time in every
man's life when he glimpses a
mystery of God Unfortunately,
I'm an old atheist but Link
Wray could about make one
Dieselhed was a talented,
Helmet at GraceJand
photo by Andrew Denm'son
bossonova, l
funk, mutant electronic jazz, moog,
and groove — both
contemporary and
vintage. It's great to
hear some of the wild,
funky, moog
psychedelia from the
'60s mixed with KC
and the Sunshine
Band's "I Get
Lifted," some
Barry White,
S   e
g   i   o
knows his fans —
he blew the doors off the joint.
The s
,  the
Vancouver, a great crowd — and
the man strolled and controlled
better than people a third his age.
Classics like "Jack the Ripper"
came back to life, TV tunes of Batman (Adam West style, of course
— sexy, suave, and debonair, an
ass-kicker like nobody's business
to revise the cliche) and "Rawhide" have rarely — if ever —
been done better. Admittedly,
with one lung, you can't expect
strong singing, but these were
petty concerns and his voice
wasn't half bad.
Honestly, the only bad thing
about this show, something I
Mendes Brazil
'66, and current
Asphodel darlings,
Tipsy. Keep an eye out
for a "double six" domino
motif in the future.
J. Bold!
Friday, July 11
Ah, Graceland. I could almost
smell the deep fried peanut butter and banana sandwiches. Oh
no, wait a minute, I'm in Vancouver, not Tennessee. No
hipshaking rock-a-hula tonight
Just a heaping tablespoon of big
Facepuller certainly got the
speakers shaking. The local boys
plodded through a fine set consisting of a lot of new material.
My one complaint was that the
drowned out some of lan's
fretboord gymnastics
The all powerful Melvins
Dale Crover kept time while
Mark Duterom and King Buzzo
squelched out amazing noises
that I'm sure were painful to
ing protection. All three of
the boys took turns (when not
groaning noises   An interstel-
Helmet had to work hard to
follow two superb acts, but they
did not disappoint Operating as
one of the tightest and most precise bunch of musicians gracing
this planet, Helmet offered up a
set of about half of the latest platter, Aftertaste, and the other half
were mostly the hits One
downside to their set was their
new rhythm guitarist who hos
way too much attitude and rock
star quality that just doesn't fit with
the laidbackness of the three core
The pluses far outweighed the
minuses, so it was a good time
had by all except the guy who
was unconscious on the sidewalk
Charlie Church
Tuesday, July 22
Luckily, I ran into someone I knew
at the show or else I would've
never known the name of the
opening band, The
Papillomas They ignored supporting band wisdom by not announcing their name loudly and
often, but did announce an
upcoming CD Their pop-punk
was pleasant enough, but hey
really caught my ear when they
slowed the tempo down and put
the emphasis on pop for one
song The contrast was startling
and stuck longer in my mind than
their punk rock tunes.
Supergrass, an English guitar/bass/drums trio with guest
live keyboardist, were in their
usual hyperkinetic form, though
their live show has gotten a lot
more even over the years. Singer
Gaz Coombes — he of the
sideburns — even has girls
screaming at him now. The songs
were sprinkled evenly between /
Should Coco and their latest, In
It for the Money. Songs from /
Should Coco, such as "Alright"
and "Caught by the Fuzz" garnered the most audience response, but the crowd really enjoyed themselves and this was
more than echoed by Supergrass themselves. "We like it
that you clap after each song,"
observed Gaz.
Between song patter was kept
to a minimum and Supergrass
focused on cranking out their
blend of Buzzcoclc influenced
punk-pop; they aren't afraid of
using vaudeville style piano or
background lalalas, either.
Their obvious enthusiasm was
much appreciated and Gaz's
sideburns were a wondrous
sight indeed.
June Scudeler Tuesday, July 15
Highlights include: our first introduction to the vats of grease our
bellies would soon be all-too-familiar with, which consisted of
deep fried-jalapeno dynobites ot
King Solomon's Reef; the skip-
ping-girl (who also played with
the pretty-OK combo The
Lookers)  trilling  o
"Spring Rolls, Spring
Rolls,"   as   sh
hopped    merrily
around  taunting
our recent oily excursion to the Reef
Then, brave, sweet
opening    oct
Mirah taking the
stage to strum sweet
acoustic folk-pop that
was a little too similar to
Edie Brickell for my liking,
but still got me all weepy during
the song about her cousin's death
bst year in an airplane crash.
Nikki McClure! With
blings and violent chest
thumpings, the whole durn festival coulda been billed "The
Nikki McClure Show" and I
would've paid twice as much.
No foolin'. The woman was
RAW. The day ended with a discovery that our motel TV played
the Cartoon Network 24
hours a day!
Wednesday, July 16
We ditched most of the
spoken word festival
(which I heard was earnest, if often painfully
confessional) in favour of
Lakefair and its nausea-
inducing rides.
We trailed our way
back to Yoyo to watch
The Feelings play toe-
tappingly well, even if
they coulda done without
the overly-histrionic second vocalist who kept tippling from a large paper
grocery bag.
The Cindy Wolfe
Puppet Show melded
into Nardwuar's Goblin set for feverish levels
of charming over-the-top
We wandered off-
Yoyo to see Lois and
Carrie Sleater-Kinney
do their duo thing as Tommy.
How Carrie manages to shake
it up so thoroughly while sitting
down, I'll never know; it was
good to hear her coming through
more clearly than she does in
that Sleater-Kinney band, too. If
anything either of these gals has
released tickles your remotest
fancy, you will NOT be disappointed. Now if they'd just
record an album ...
The Lookers did a fine cover
of my favourite irritating why-
Mountain Goats song, "Bad
Doctor." Speaking of the man
himself, I was unable to converse
with the ever-gracious John
Darnielle os my compatriots
pelted him with various gifts.
I watched my goodnaturedly
obsessive pal Jamie stand deod
front and centre through hours of
Japanese noise-core and a very
subdued Mecca Normal to
watch John take the stage as the
Mountain Goats at the end o' the
night Mountain Goats were, in
Cfif'Utl Thcstftc
^uty t5-26
fact, hands down the best act of
the festival. That John didn't a)
bust one of his dangerously throbbing veins, b) bite off and swallow the microphone whole, or c)
get mobbed by hordes of rabidly
adoring fans, is nothing short of
a miracle I KNOW we all
wanted a piece of that natty oxford buttondown He played for
just under an hour, including an
e extenda-mix singalong
version of "The Sign," but it was
nowhere near long enough. The
man is truly a consummate performer. Viva el Rincon de la
Thursday, July 17
One o'clock — an early start to
Yoyo day three — brought on the
Cha Cha Cabaret, hosted by the
lovely and beguiling Miss Lady
Hand Grenade This was a
showcase for generally mediocre
but occasionally exceptional
women. Standouts included the
charming Khaela Maricich, an
Olympia girl who performed with
a ukelele (be watching for more
of her in the future); Down
River, from San Francisco, who
bordered on performance art, but
created very beautiful music; and
Miss Murgatroid, from Portland, who ploys accordion with
a distortion pedal; c'mon, it
doesn't get much cooler than that.
After a lovely nap in the park,
I returned to the theatre reasonably well-rested and in pursuit of
some good bands to hear KG
(formerly Kicking Giant)
rocked the house They
even have a stand-up
bass! Very cool!
July scared the living bejeezus out of
me, but in a good
way! Kind of like
watching somelhing disturbing by
David Lynch (more
Eraserhead than Wild at
Heart, though). She does spoken word that really tests the limits of our nuclear family, happy,
healthy society, and has recently
released a CD
Of course, the personal highlight for me that afternoon was
The Lois, complete with Heather
Dunn on drums The Lois kept the
audience smilin' and rockin', and
even invited some lucky souls up
on stage to samba with them
They brought the house down for
over an hour, long past their allotted time, but she
did it for the kids ond
we all appreciated it.
The evening show
was apparently
meant to be the "hard
rockin"1 night, featuring one of the best
shows I saw for the
entire festival Behead The Prophet
No Lord Shall Live
rocked out harder
and faster than probably any band I've
ever seen before.
Joshua, the lead
singer, spent most of
his time in the pit (and
the guitar player enjoyed a brief sojourn
there at the end), a
ing every song parading a card with
the song title on it,
and there was a grizzled violin player that
looked like he was on
Also that night, another highlight of the festival: The Need
Featuring Rachel (aka the Drummer That Can't Sit Down), previously of Kicking Giant, The Need
is a queercore duo from Portland
that cannot be stopped. They rock
good and hard and had the highest turnout for their set of any of
the bands at the festival, with the
exception of Sleater-Kinney.
Mr. Chris
Friday, July 18
Okay, I just came down to Oly
town to see these particular
bands and they both ended up
fulfilling my rock 'n' roll fantasies.
Cold Cold Hearts were my festival favourites. The set aptly be
gan with Alison Wolfe faux ripping the heart out of some boy
with, "You won't be needing this
any more!" and throwing it off
stage. Cold Cold Hearts (members of Bratmobile and The
Cutthroats) are a punkier
and fuller sounding
Bratmobile Alison Wolfe and
Carrie Brownstein (of Sleater-
Kinney) both win, hands down,
for the best rock moves — ever.
Alison Wolfe danced around
the stage making great superstar poses — a domain usually
reserved for cockrockers She
was like a punk cheerleader!
Brownstein also had some
great leg action goin'. Sleater-
Kinney were as great as I expected them to be They live
up to the hype For the last
number, my favourite "Dance
Song '97," the band was
joined by The Need (Rachel on
keyboards and Radio Tragedy
on bass, both looking like
tough boy gangsters from the
'40s) and Donna Dresch for
a big dance out with Corin
Tucker leading the way — truly
a punk rock dream come true.
These Iwo bands confirmed
what I already knew — Girls
Rock Best!
Miss Lola Twinstars
Saturday, July 19
The entertainment
day than any other
day, in order to allow everyone an
opportunity to
catch the ultra-
American parade
that caps
Lakefair's festivities We ended
up getting an
extra 1/2 hour
sleep, though,
the  bands —
Dura Delinquent
— got kicked outta the festival.
I hadn't been expecting
tonnes from the afternoon portion
of the show — I only really
wanted to see Refect/Refect
(who I missed when they came
to Vancouver) — but that afternoon ended up being one of my
favourite Yoyo shows. The Murder City Devils kicked things
off and tore things up. Their
stew went down awful nice
with me — great songs, great
licks, great energy (for lpm),
great moves — colour me impressed Definitely my Yoyo
Refect/Refect came on next
and were really good. They're
just about the only band I can
think of that's realized that between song "banter" can be
(ought to be?) just as much of the
show as anything else. Some
bands are just talented in that
regard unwittingly, Refect/Refect
stress that aspect. Highlights for
me were "Slim's Shadow" (I usually focus on Sue Fox's songs —
today I learned to appreciate Slim
Moon's) and Slim's hilarious account of the day he moved to
Olympia, complete with an
apocalyptic lightning storm, an
ultra-camp red/white/and
blue cowboy outfit, and an
acid trip —all on New Year's
more "angst-ridden" image
and sound. They sounded all right
— like an entirely different band.
The afternoon closed with '70s
throwbacks Dead Moon. Despite a fair bit of ridiculousness
surrounding them (i.e. a drip candle on their drum kit) and their
sound, even they worked on that
particular afternoon.
At 8pm, after the parade had
ended, the musical entertainment
resumed. Kirihito (from Tokyo)
took to the stage and impressed
the pants off most everyone,
I would imagine They were
a Iwo man and recorded
bits noise outfit and they
were very, very tight.
Unwound came on
next and played a strange
and temperamental set
(peppered with a lot of sarcastic "Yeah, it's really great
to be here ..." comments
from Justin) that was almost
instrumental (!), but haunt-
iderfully melan-
md bril.
In the weeks since I had the
displeasure of seeing Modest
Mouse on a particularly lousy
night in Seattle a while back, they
have created a rather radical image change: they seemed to have
dumped their "cute skater boyz"
personas in favour
The night took a turn
after this, moving into bass-
heavy, dance-y territory —
the highlight of which, for
most, was Dub Narcotic
Sound System I have to
admit that I found Calvin's
moves irritating at times (distracting, self-indulgent), but
otherwise their sound was certainly "fat " The best two tunes
were saved for the last bit of
their set.
The show then moved into the
dj-based hip hop realm. Source
of Labor & Beyond was
strictly dj-based and was impressive but begged for some mc-ing.
Reality (Seattle)
put on a real
strong set of hip
hop in that ultra-
spiritual   "hip
vein. Maybe a bit
too spiritual, but
"dope" nonetheless.
Black Anger
(Tacoma), K's
house hip hop outfit, kept things on a
high note. With an
unbelievably talented dj serving up
delicious grooves and a number
of very talented mcs, Black Anger is a powerhouse testifying to
he fact that, yes, there is good,
strong hip hop outside of NYC,
LA and Philadelphia.
SlctUc^- Finney,  'Thc& tfebliny And CtUoitt
25 mgizmm august '9
1 fuck
pardon my french    matador
2 can
sacrilege                           mute
3 brand new unit
looking back again          byo
4 mouse on mars
cache coeur ...   thrill jockev
5 barbara manning
1212                           matador
G the mountain goat?
full force ... trance syndicate
7 buffalo daughter
sock,drugs ...       grand royal
8 the dinner is ruined elevator ...           sonic unvon
9 microstoria
reprovisers         thrill jockey
10 planet smashers
attack of the ...            stomp
11 songs:ohia
songs:ohia secretly Canadian
12 smog
red apple falls         drag citv
13 sub dub
dancehall ...              asphodel
1-4 anion tobin
bricolage                ninja tune
10 new bad things
ennui go                 pop secret
1G the go nuts
world's exeatest ... planet pimp
17 sect-response ...
cube                       subduction
18 the scissor girls
here is the "is not" atavistic
10 lung leg
hello sir           kill rock stars
20 various artists
letters to aliens   undercover
21 eric's trip
long days ride ...       sub pop
22 azita
music for ...               atavistic
23 chris houston
evil twang          mpermono
24 us maple
sane phat editor    skin graft
25 volume all stars
close encounters of...  slal>co
2G the hectics
ererything I need 360 twist!
27 asteroid 1>-612
all new hits            lance rock
28 the klezmatics
possessed             preen linnet
20 red stars theorv
but sleep came slowlv        rx
30 millencolin
for monkevt*             epitaph
31 curse of horseflesh
burning up ...          roto-flex
32 the superfriendz
slide show        murderecords
33 treble charger
maybe it's me smokin' worm
34 rebeoea west
G more weeks ...   cinn. toast
35 link wray
hillbilly wolf                norton
auqust '97 SHORT VINYL
1  the need
jackv o'lantern           outpunk
2 guided by voices
bulldog skin               matador
3 reclusives
more of the same         emptv
4 the let downs
atlanta                      3G0! twist
5 the fiends
gravedigger            sonic swirl
G murder citv devils
murder citv devils        emptv
7 the loons
paradise                  time bomb
8 discount
wonder pulled ...   liquid meat
0 the kiss offs
love's evidence ... peek-a-boo
10 peatmos
earl grey tea            sonoroma
11  ninotchka
ninotchka                    grimsev
12 thumbnail
the sound of ...      headhunter
13 the fiends
she looks outta sight dionvsus
14 ... marlon magas
yoiuig girl fever              scratch
15 stock, hausen, & ...
stripper                                eerie
16 another girl
growing gold                     bmg
17 invaders fr. fori), planet war l«tween the sexes              aaj
18  tullvcraft/rizzo
split                                harriet
10 the kent 3
burl ives                  mv fat ass
20 duster
transmission, flux                up
21  tokidoki
new davs                         harriet
22 vehicle flips
terminus                         harriet
23 ativin
modem ganc ...    secretlv Canadian
24  sofa
canyon (fade)      constellation
25 celestial magenta
clivedon                independent
2G lake of dracula
untitled                      skin graft
27 ovarian trollev/hazel
split                       candy ass
28  run on
as good as new          matador
20 matthew budden
long drift sleep   independent
30 catfight!
clover girl                  worrybird
31  the beekeepers
do you liehave ... l>eggars banquet
32 victory at sea
victorv at sea   villa villakula
33 jumprope
the pensive ep       motor way-
34  transonic
ultra dynamic         portobello
35 town managers
town managers          shredder
1   10 ft. henrv
oh oh
2 the tonebursts
masters of karate
3 fishburger
big ass burger
4 violet
i step on all the cracks
5 dirtmitts
6 thee pirates
the pirate song
7 daddv's hands
statistic wigs
8 submission hold
ed anger
0 blisterene
michael hunt
10 oh susai__>.
11  destrover
karen is in rome
12  preston
13 stratochief
she shoots, she scores
14  the colorifics
747 (now i see heaven)
15 irving klaw trio
170 wavs
16 plumtree
in the sink
17 jp5
fuzzyhead pills
18 the beans
italian vases
10 the molestics
now's the time
20  manifold
rails, flotation, aerodvnamics
21  michelle wong
22 pipebomb
23 l>ossanova
29 distinct damnations
24  sturvis
25 euphonix         let's
get out of these monkev suits
26  the spivees
johimy come lately
27  squeekv
ten twentv-three
28 thee uppercrust
20 kreviss
30 thrillseeker
31  the eh team
the edge
32 pan la spun*
33  blue veil
she knows
34 coal
35 cinderpop
frankie fishead
what   we   listened    foooo
ul-.i. (Ml )>fi\ur. (Ik ibonontal. •■iiim/v. Ut*-,)<l(^s*(. Intuit l>il>lc
Ikttkn . gr iMuhi (go!). .irto liiuls-.iv. neb case. ihounbin ^>,i(s'.
.Inl*. narvotic & lois'. unrest. rhillenoolin . lush. pluihtre.
Bongeohia. hax. ii>n minwn . Ul*. wisafcan . mtrfn ckMI .
ihonrypoar/. iwr&nda juh. iNarostoria. zuifcpano. \n\>^ nrHas
iv<l stars dieory . friends ol <ln, .  Urlrara fnaiuunl
Ma   CiTR
third    tide's   the   charm
1   the makers
o   scared of chaka
automatic ep
3   the revelators
we told you not ...
4   screamin' furys
why ep
5  curse of horseflesh
bar-din' up ...
6   nashville pussy
go motherfucker ..
get hip
7   the element 79
dig out!
3G0 twist!
8  the peechees
new moscow woman
nigger lnigger
9   necessary evils
thrill pill 7"
10 the spitfires
live @ Columbia & brickyard
FOR 20 %
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Au* *t*r\ ;   Si
f+«he *no1 « XxX   *va
^;e^"tt' its;
~SGkditG.     ■■■££
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Sel. anti §m_oaag? u§=©[p_ffi iptom©" sw&>§®@§
2<f au4usti9')7 SUNDAYS
11 -00AM All ol hme is measured by its
art This show presents ihe most recent
new music Irom around ihe world Ears open.
OKA ll:OOAM-12:0OPM News, issues,
and concerns lacing Muslims throughout
the world
Reggae inna all styles and fashion.
QUEER FM 6:O0-8:00PM Dedicated to
the gay, lesbian, bisexual, and
transsexual communities ol Vancouver
and listened to by everyone. Lots of
human interest features, background
on current issues and greol music
preferences and gender identities
GEETANJAU 9:00- 10:00PM Geelanjali
features a wide range of music hom
India, including classical music,
both Hindustani and Carnatic,
popular music from Indian movies
homlhel930'slothe 1990'*, Semi-
classical music such as Ghazals and
Bhajans, and also Quawwalis, Folk
Songs, elc.
THE SHOW 10-O0PM-12.-OOAM Strictly
Hip Hop - Strictly Undergound -
Strictly Vinyl With your hosts Mr. Checka,
Flip Out& J Swing on the 1 & 2's.
4:00AM Drop yer gear and stay up late.
Naked radio for naked people Gel bent.
Love Dave.
11:00AM Your favourite brown-slers,
James and Peter, offer a savouiy blend
of the familiar and exotic in a blend of
aural delights! Tune in and en|oy each
weekly brown plate special.
1*00 PM Wilh your hosts ihe Gourd of
Ignorance What will we play today?
Rog will put il away.
Two shows became one! An hour of
Mekanikal Object Noize (industrial/
nois/techno) and an hour of Skintight
Buffoonery (lounge, jazz, brilpop)
june_s_udeler@mindlinlc be co
I endeavour to feature deod air, verbal
flatulence (only when I speak), a work of
music by a twentieth-century composer
— can you say minimalist? — and
whatever else appeals to me. Fog and
dyke positive. Mail in your requests,
because I am not a human-answering
machine. Got a quarter then call someone
Join kirn & helen for another monlh of
travels. Bring Confetti!
Listen for all Canodian, rnoslfy independent
THE JAZZ SHOW   9:00PM-12:00AM
VoTE-Wsbngesf running prime time jazz
pro-jam. Hosted by lie ever-suave Gavin
Walker. Featured 11
Aug. 4 Quincy Jones and his big band —
This is How I Feel About ]azz.
Aug. 11: Underrated saxophone greot Lucky
Aug: 18: Drummer/leader Art Blokey -
Theory of Art.
Aug. 25: Wayne Shorter (tenor saxophone)
ond Herbie Hancock (piano) — Etcetera.
DRUM'N' SPACE 12:00-2:OOAM Futuristic
urban breakbeat for those who know
11:30AM-1:00PM Join forces with a
samurai warrior gone wrong Fill your
benlo wilh feminist asian altitude.
LICORICE A11SORTS ak. 11:30-1:00PM An
eclectic music shew Phone «i and request!
Meal the unherd where the unheard
and the hordes of hardly herd are
heard, courtesy of host and demo
director Dale Sawyer Herd up!
RITMO LATINO 9:00- 10:00PM Gel on
board Vancouver's only tropical fiesla
express with your loco hosts Rolando,
Romy, ond Paulo as they shake it and
wiggle il to the latest in Salsa,
Merengue, Cumbia and other fiery
fiesta favourites. Latin music so hot
it'll give you a tan! jjRADIO
NAKED RADIO olt. 10:00PM-12:00AM
From Thelonious Monk to Meridirh Monk
we'll play it Genre busting, cutting-
edge |azz and other experimental
sounds, plus informative label/artist
features Join Mike and Sean
12:00AM Noise, ambienl, electronic,
hip hop, free |azz, christian belter living
Ip's, the occasional amateur rodio play,
Warning: This show is moody and unpredictable II encourages insomnia and
may prove lo be hazardous lo your
health Listener discretion is advised.
10:00AM "Dude if you're playing pretty
gid music in my Comoro! Dude.'
LOVE SUCKS 12-O0-2-00PM If you can't
make sense of il, and lhat bothers you,
go somewhere else. We use scissors.
HELLO INDIA 2:00-3:OOPM A discovery of
Indian culture, ils music heritage and
literature along wilh a touch of the latest
MOTORDADDY 3:O0-5:OOPM Never ride
a motorcycle without wearing an
approved safety helmet!
ESOTERIK oil. 6:OO-7:30PM Ambient/
experimental music for those of us who
know about the illifhids.
SOLID STATE alt. 6:00-7:30PM Featuring
the latest in techno, trance, acid and
progressive house Spotlights on local
artists, ticket giveaways, & live
performances Hosted by M-Path
miranda July, mountain goals, dub
narcotic sound system ihese are a few
of our fave oh-writ things la la la!
FOLK OASIS 9:00-10:00PM Acoustic/roofs/
folk music in ihe middle of your week.
Focus on local and Canadaian singer -
songwriters, regular features on other
regions with in house visits
12:00AM Lei DJs Jindwa and Bindwa
immerse you in rodiooctive Bhungra!
"Chakkh de phutay' Listen lo all our
favourite Punjabi tunes — remixes and
originals Brroooah!
FILIBUSTER alt. 10:00-11:30AM Bod hill
blood, spy music and an accordion fetish.
Caution: high in fibre!
MUSIC FOR ROBOTS ah. 10:00-11:30AM
Viva La Robohca Revolution
From Tofino to Gander, Baffin Island to
Portage La Prairie. The all-Canadian
soundtrack for your midday snack!
STEVE & MIKE 1:00-2:00PM Crashing the
boys' club in the pit. Hard and fast,
heavy and slow. Listen to it, baby.
JUSTIN'S TIME 2*OO-3:00PM Serving up
your weekly dose of Shirley Horn and
other jazz filled confections
FLEX YOUR HEAD 3:00-5:OOPM Harcore
ond Punk rock since 1989. hltp://
Birkenstocks, nothing politically correct
We don't get paid so you're damn right
we have fun with it Hosted by Chris B
Roots of rock & roll
9*00-11:00PM Local muzak from 9
Live bandz from 10-11
10:00AM Join Greg in the love den for
a cocktail. We'll hear retro stuff, groovy
jazz, ond thicker stuff too See you here
and bring some ice XOXX
TELESIS 10:00* 11:00AM Tune in for
discussions, interviews & information
relating lo people who live with physical
& menial challenges
12:00PM Tune in for another fun filled
hour of ska with hosts Julie and Ska-T.
Charlie Brown once said to Schroeder:
"plmk, plink, plink, all day long! Good
LITTLE TWIN STARS 2:00-3:30PM Jacuzzi
Space rock at its finest
PRESENTS... 3:30-4:00PM Have a
good brunch!
NATION 2 NATION ah. 6:00-9:00PM
Underground sound system-style
maslermix radio
AFRICAN RHYTHMS all. 6:00-9:00PM
David "Love" Jones brings you the best
new and old Jazz, soul, latin, samba,
bossa & African Music around the world.
cerpls from Dave Emory's tadio Fret
America Series
HOMEBASS   9:00PM-12:00AM   The
original live mixed dance program in
Vancouver Hosled by DJ Noah, the
main focus of the show is techno, but
also includes some trance, ocid, tribal,
etc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are pari of ihe flavour of homebass.
LIMP SINK 12*00-2:30AM Hosled by the
G42 players "The show that doesn't
hate you " with your friendly pals Friar
Fritter Abfackeln and Postman Pal.
Alternating wilh Dr Killdare
LUCID SOUL 2:30-4:00AM Dr. Killdare
plunders even further into the wee hour
doing what he can to keep security guards
and 7-11 derks awake. Waywayway
deep dance stuff and other hallucinafying
Music you won't hear anywhere else,
studio guesls, new releases, British
comedy sketches, folk music calendar,
ticket giveaways, plus World Cup
Ueporta! 11:30AM 8-9AM:African/
World roots. 9-12 noon: Celtic music
and performances.
Vancouver's only true metal show, local
demo topes, imports ond other rarities.
Gerald Rattleheod and Metal Ron do the
LUCKY SCRATCH 3*00-5:OOPM Swing on
the gallows pole end git yer dose of blues in
ihe afternoon Hosts Anna and Andy.
hosl Dave Emory and colleague Nip
Tuck for some extraordinary political
research guaranteed to make you think
twice. Bring your tape deck and two C*
90s. Originally broadcast on KFJC (Los
Alios, California).
"Live! — shows and bands — odmission
$6.00 - Performers are subject lo
EARWAX ah. 1:00AM- DAWN 'Little bit of
drum, bit of bass and a whole lot of
noize" Late night radio soundclasb
destined to fist you hard. Zine features,
phat experimental chunes, and the
occasional turntable symphony. "Money,
we'll rock you on 'til the break of dawn."
- G. Smiley
VS7 H O 2V*
H        O V7
Arts Allison Dunnet
Board Chair Harry Hertscheg
Business Thomas Hicks
Current Affairs Sarah Efron
Demos/Cassettes Dale Sawyer
Engineer Richard Anderson
Entertainment Clinton Ma
Mobile Sound Ken Orchard
Musk Siobhan & Megan
President Ryan   Ogg
Production MarkConstanrinescu
Programming Anna Friz
Promotions Justin   Ho
Secretary Chris Corday
Sports Slavlco  Bucifal
Station Manager Linda Scholten
Traffic Marlene Yuen
Vice President Frank Henvle
Vdunleer Coordinator JohnRuskin august
FRI  1  Bloody Checletts/Dondy Warhols-Starfish   The
Offspring/Doughboys/gob-PNE Forum...C.R. Avery/
Jane    Lotsberg/Carolyne    Kuchta-Bfack    Sheep
Books. Gamelan    Madu    Sari-Dr.    Sun    Yat -Sen
Garden ..Gus Gus/lamb-Richard's on Richards...
SAT     2    Powell    Streel    Festival-Oppenheimer
Park.Sparkmarker/Zero Gauge/Ex Dead Teenager/
Ocean Three/Self Esteem Project Crosstown Traffic
SUN 3   Powell Street Festival-Oppenheimer Park...
MON 4 Folk Implosion/Len-Starfish...
TUE 5 CiTR PRESENTS Themes from a Common
Dream-Red Lounge...Terror of Tiny Town-Railway
Club...Del McCoury Band-Starfish...
WED 6 The Light Fantastic-Anza Club. Battle Royale-Sonar...
THUR 7 Reef/lncubus/Rule 62-Starfish Room...Breathe
Underwater/Kissing Ophelia-Purple Onion...
FRI 8 Puncture-Niagara...Modest Mouse/Closed Caption Radio/Veal-Starfish Room...Jing Liu-Dr. Sun Yat-Sen
Garden...Mahlathini/Mahotelln Queens-Vogue...Mark
SAT 9 CiTR PRESENTS Zumpano/gaze/
Bananacrash-Brickyard.Blue Veil-Cafe Deux
Soleil...Breathe Underwater-Purple Onion...Brand New
Unit/Superchief-Starfish Room...
SUN 10 CiTR PRESENTS Under the Volcano Festival Cates Park...
MON 11 CiTR PRESENTS The Muffs/Chixdiggit/
Groovie Goulies-Starfish Room...
WED   13   Saturnhead/Blisterene/Roswells-Gate
...Murphy's Law/Youth Brigade-Starfish Room...
THUR   14   Blue Veil-South  Hill  Candy  Shop   ...
Moneypenny/AII Purpose-Starfish Room ...Boomdaddy/
Trenchant-Purple Onion..1 Braineater. I Back, (art show
& musical performance)-Brickyard...
FRI   15   Critters   Buggin/Hellenkeller-Starfish
Room...Stephanie  Bolster/Christopher  Patton/
Barbara Nickel-Black Sheep Books...ASZA-Dr. Sun
Yat-Sen Garden...
SAT 16 Tiddlow's Lunchbox/Mossy Ledge/Underwater Sunshine-Starfish Room...The Evaporators/Ex-Dead
Teenager/The Skavengers/Slough of Despond-Hastings
community Centre...Cevin Fisher-Sonar...
SUN 17 Corrosion of Conformity-Rage...Amanda
Marshall/Philosopher Kings-Whistler Summit...
TUE 19 The Nixons-Starfish Room...Weird Al Yankovic-
PNE Coliseum...
THUR 21 Fish-Starfish Room...Sugar Crash-Purple Onion...
FRI 22 John Fogerty-Orpheum...Mark Jarman/Brian
Bartlett-Black Sheep Books...BC Chinese Music Associa-
tion-Dr. Sun Yat-Sen Garden. .
SAT 23 The Seahorses/Mansun-Rage...Tanya Tucker/
Collin Raye-PNE Coliseum...Sawagi Taiko-Western
SUN 24 Lilith Fair-UBC Thunderbird Stadium...
TUE 26 Righteous Brothers-PNE Coliseum...
THUR 28 Coal/Deadca»s-Brickyard...The Emptys/
Nerdy Girl/Citizen's Utilities/Kevin Kane-Purple Onion...
FRI 29 Sincere Lam & The Ensemble-Dr. Sun Yat-Sen
Garden...Lorna Crozier (poetry)-Shadbolt Centre...
SAT 30 Tom Jones-PNE Coliseum...
SUN 31 Beck-PNE Coliseum...Reel Big Fish/Kara's Flowers-Starfish Room...
Wed. Aug
Sun. Aug. 10 @ Cates Par ,
annual fe&fa| fll|PH' & social
tainiff»A?juj'Hgver be treate
Sat. Aug. 16 @ Hast
ncert f
bands, amazin
Ave.)-   9pm. CgJPfanWbn guy Julian
d music (byPork Queen/
imationPfaa !■!» $5!
ost diverse enter-
s-Jgp!s thrcwgl-f
ty, starring The Evaporators,
gh oH^^rhnMmGsod cause, great
'til Aug. 16@GdWery
(88 E. Cordova)/ 12-6pm.
group show featuring works by member artists.
3B Beer Joint 1226 N. State St. (Bellingham) 360 734 1881
The Abyss 315 E. Broadway (side entrance) 488 6219
Anderson's Restaurant (Jazz on the Creek) 684 3777
Anza Club 3 W. 8th (Mount Pleasant) 876 7128
Arts Hotline 684 2787
Bassix 217 W. Hastings (at Cambie) 689 7734
Backstage Lounge  1585 Johnston  (Granville Island) 687 1354
Black Sheep Books 2742 W. 4th  (at MacDonald) 732 5087
The Brickyard 315 Carroll St. 685-3978
Cafe Deux Soleils 2096 Commercial  (the Drive) 254 1195
Cafe Vieux Montreal 317 E. Broadway (Mount Pleasant) 873 1331
Caprice Theatre 965 Granville (Granville Mall) 683 6099
Celebrities   1022 Davie (at Burrard) 689 3180
Chameleon Urban lounge 801 W Georgia (Downtown) 669 0806
Club Mardi Gras 398 Richards Si. 687 5007
CN Imax Theatre 999 Canada Place 682 4629
Columbia Hotel 303 Columbia  (at Cordova) 683 3757
Commodore Lanes 838 Granville (Granville Mall) 681 1531
Cordova Cafe 307 Cordovo (Gastown) 683 5637
Crosstown Traffic 316 W. Hastings  (downtown) 669 7573
Denman Place Cinema   1030 Denman  (West End) 683 2201
Dr. Sun Yat-Sen Garden Main Holl 578 Carroll St. 662 3207
DV8 515 Davie (downtown) 682 4388
Firehall Arts Centre 80 E. Cordova  (at Main) 689 0926
Food Not Bombs Vancouver 872 6719
3fe tti|wt i£t«)7
Frederic Wood Theatre (UBC) 822 2678
Garage Pub 2889 E. Hastings (downtown) 822 9364
Mora 6 Powell (Gastown) 689 0649
Gastown Theatre 36 Powell  (Gastown) 684 MASK
The Gate   1 176 Granville (downtown) 688 8701
Graceland   1250 Richards (downtown) 688 2648
Greg's Ploce 45844 Yale Rd. (Chilliwack) 7 95 3334
The Grind Gallery 4124 Main (Mt. Pleasant) 322 6057
Hemp B.C. 324 W. Hastings (downtown) 6814620
Hollywood Theatre 3123 W. Broadway (Kitsilano) 738 3211
Hot Jazz Society 2120 Main (Mt. Pleasant) 873 4131
It's A Secret 1221 Granville St. (downtown) 688 7755
Jericho Arts Centre  1600 Discovery (Pt. Grey) 224 8007
LaQuena   Uncommercial (the Drive) 2516626
The Lotus Club 455 Abbott (Gastown) 685 7777
Lucky's 3934 Main 875 9858
Luv-A-Fair  1275 Seymour (downtown) 685 3288
Mars  1320 Richards (downtown) 230 MARS
Maximum Blues Pub  1176 Granville (downtown) 688 8701
Niagara Hotel Pub 435 W. Pender (downtown) 688 7574
Medialuna   1926 W. Broadway
Naam Restaurant 2724 W 4th Ave (kitsilano) 738 7151
Odyssey Imports 534 Seymour (downtown) 669 6644
Old American Pub 928 Main (downtown) 682 3291
Orpheum Theatre Smithe & Seymour (downtown) 665 3050
Pacific Cinematheque  1131 Howe (downtown) 688 3456
Paradise 27 Church (New West) 525 0371
Paradise Cinema 919 Granville (Granville Mall) 681 1732
Park Theatre 3440 Cambie (South Vancouver) 876 2747
Picadilly Pub 630 W. Pender (at Seymour) 682 3221
Pil Pub basement, Student Union Building  (UBC) 822 6273
Pitt Gallery 317 W. Hastings (downtown) 681 6740
Plaza Theatre 881 Granville (Granville Mall) 685 7050
Purple Onion  15 Water St. (gastown) 602 9442
Raffels Lounge  1221 Granville (downtown) 473 1593
The Rage 750 Pocific Blvd. South (Plaza of Nations)
Railway Club 579 Dunsmuir (at Seymour)
Richard's On Richard's  1036 Richards  (downtown)
Ridge Cinema 3131 Arbutus (at 16th Ave.)
Russian Hall 600 Campbell (Chinatown)
Scratch Records  109 W. Cordova  (Gastown)
Shadbolt Centre for the Arts 6450 Deer Lake Ave. (Burnaby)
Sonar 66 Water (Gastown)
Southhill Candy Shop 4198 Main (at 26th)
Starfish Room   1055 Homer (downtown)
Starlight Cinema 935 Denman (West End!
Station Street Arts Centre 930 Station (off Main)
St. Regis Hotel 602 Dunsmiur (downtown)
Stonefemple Cabaret  1082 Granville St. (downtown)
Sugar Refinery  1115 Granville (downtown)
Theatre E 254 E. Hastings (Chinatown)
Thunderbird Ent. Centre 120 W. 16th St. (N. Van)
The Tower 339 W. Hastings (downtown)
Track Records 552 Seymour (downtown)
Twilight Zone 7 Alexander (Gastown)
UBC Grad Centre Gate 4 (UBC)
Vancouver E. Cultural Centre  1895 Venables (at Victoria)
Vancouver Little Theatre 3102 Main (Mt. Pleasant)
Vancouver Press Club 2215 Granville  (S.Granville)
Varsity Theatre 4375 W. 10th (Point Grey)
Vert/Washout 2412 Main  (Mt Pleasant)
Video In Studios  1965 Main (Mt. Pleasant)
Vogue Theatre 918 Granville (Granville Mall)
Waterfront Theatre  1405 Anderson (Granville Is.)
Western Front (303 E. 8th Ave)
Whip Gallery 209 E. 6th Ave (at Main)
W.I.S.E. Hall   1882Adanac (the Drive)
Women In Print 3566 W. 4th (Kitsilano)
Yale Blues Pub  1300 Granville (downtown)
Zulu Records 1869 W. 4th (Kitsilano)
685 5585
681 1625
687 6794
738 6311
874 6200
687 6355
291 6864
683 6695
876 7463
682 4171
689 0096
688 3312
682 7976
682 8550
822 0999
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
331 7909
685 6217
876 9343
254 5858
732 4128
681 9253
jSWng*} *
Monday August 25
ThuNDerBird StaDium
^ Magna;
Kara's   Rlower-s
Sunday, August 31
Starfish Room irm,
Monday September 8
Live at General Motors Place
Pnfrincel    2SM
I '*< '*v.
Sunday September 21
Queen Elizabeth Theatre
Ir-,- ItScKipi
ORDER ONLINE: WWW.TICKETMASTER.CA 'lieu :&iscs\6fiisixiW%fTis. OLvgu
Adored for iheir -.pored oul mix of rode 'n' roll, elerlroniro. ond dub,
-mm   WMMl SCREAM lum us on wilh o new dose of solid stole no rome
^M down bliss' feoluring 6olh singles  Kowalski ond "Sfor,"
ef^n Vanishing Point will kirk /our super noi wogon over ond feove ya
,*W   loaded lo go Ride on PRMMl SCREAM'
/ 16" CD
infinite vislosol
On Pup *•"*
,e deadpan poise, but olso of
, So, as the saying goes,
Pup Tent
Strolling further awo<
|(ieIS LUHA, wilh then fourth
I  full length P.p T.nt, oppeo
1   ,nnnhle of loshioning o great ^^^^^^^^^^^
-lit blast- ol horns, vibes ond mo-
-[lecl.iciry'omes Irom other plot
16" CD   IO98 Cassette
COIOCUT     "^^^^
l J**'5"*! P,e«es cd-ep
I "J fa a.h,.,on of ,h,s mus     ^ t'7,   ' ' »Wk *" «■>
J "'Ponse lo Ninjo r«ne*s „„„„,    „P     uW 6e '■"■* «en os o
glistening. Turk donee (.7.0„ '        ' **" '0f "">** 9»od
*    CD-fp ^■■■■■■■■■■■■1
Allhough you may know NHW»-
Allhough you maTknow NEKO CASE |
as the manic drummer In Maow, hei
i   debut solo project The Virginian
\   is nothin' like! NMO's gone country
| with o whale host ol indie rock accompanists like Brian
I  Connelly (Shadowy Wen  Matt Murphy
j   ISuperfriemh  Rose Melberg ISoHie** Gaze) Carl
Newman (Zumpano Superiondudor) Peter Bourne
(Copyright) Beei (The Smugglers) and more! (PS   NEKO
ond her TOURING Boyfriends play August 6th ot the Gate!)
Ipsdsepi cd
HIOATIVEIANO hove gotten the
L soiy. fhe justly loigelec, uu ,
I anyone, especially Pepsi lawyers, but buy the album - you know n
I will be good, ond funny And by ihe way, the prediction is that this
won't be around lor long, ya dig fight the power
16" CD     ^^^^*^
'" tomW'l of **»»,„„..T.
"• """ever, rfoesn I —.	
12" CD-EP
Big Men Cry cd
Residing somewhere between Loop
6»ru and Perfume Tree
BANCO DEGAU hove steadfosly
emerged as o favorite amongst elhno- I
techno enthusiasts Specialising in ^ ^ ^ ^
,    hyperreolcollagesafsou^BsM*    Jdeiou[5to,el,
■mpedot Zulu ASAP'
16" CD
The Drop cd
Wfcy sun, wp ,hl-s om6j     rf
J   tfeo('M crofts in ,*„„„ f    ,
_ ■   NtfcDs/
!r«HH)+CD«i_? .'
$^omeeor/yfor '
rp«. Civilisado cd
New fork label Asphodels stable of artists (the likes ol We, Sub Dub. DJ
— •- -miy ike neW (ouna* ond pleosont Latin stylings of
_ Cool New fork
i spooky and mare) learn up lo. '""'T^,   0|| w„h greal success, hi
I     Ow 'ecommendot,on?tf m .„..,,     ._, I
's^S**    —
16" CD ""'^^^'nyourownborfcyord.
Wow 'em down
at Eranxl's cd
Wbnt'suoCalgaryndd another dignitary tc
unv UPPERS ore three lads with a new sptr
of the Beer Barrel Beats, so raise y
under this cap. Burp.
A'ma Matters CD-EP
"oned... Chilletl    r
, WINK I«2     ed-Cr°0veCI>
I Dw*« Ronch CD
Apart CD
E9o Trip CD
1869 W 4th Ave,
Vancouver. BC
tel 738.3232
MontoWed   10:30-700
Thurs and Fri 10:30-9:00
C- 9:30-6:30


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