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Discorder CITR-FM (Radio station : Vancouver, B.C.) 2001-11-01

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november   2001 that   magazine   from   citr   101.9   fm     free
almost transparent blue
ursula rucker
vandana shiva
rebecca godfrey
31 knots
mike patton
and more
DER 2 november 2001 ^r^TJWfl
31 Knots by Jane and James p.l
Rebecca Godfrey by Doretta Lau p. 12
Vandana Shiva by Thomas Hicks p. 13
Mike Patton by Naben Ruthnum p. 13
Jetone by tobias p. 14
Almost Transparent Blue by Steve Dipo p. 16
Ursula Rucker by Maren Hancock p. 18
Vancouver Special p. 4
Strut, Fret, & Flicker p. 5
Fucking Bullshit p. 5
7" p. 6
Panarticon p. 10
Over My Shoulder p. 7
Culture Shock p. 7
Radio Free Press p. 8
Kill Your Boyfriend p. 8
Under Review p. 19
DJ Profile p. 20
Real Live Action p. 23
Charts p. 27
On the Dial p. 28
Kick Around (comic) p. 29
Datebook p. 30
Look, it's Jetone made pretty by Lori K
Thanks to friendly little Jerry, too.
Just because we're losers doesn't mean
that we don't put in an effort!
Marc Crawford:
Christa Min
Brian Burke:
Barbara Andersen
Reg Dunlop:
Steve DiPasquale
Daniel and Henrik Sedin:
Lori Kiessling and Matt Searcy
Box Office:
Ann Goncalves
Markus Naslund:
Doretta Lau
The Enforcer:
Donavan Brashear
Would've designed much better
third jerseys:
Mike Payette, Scott Malin, Andrea
Nunes, Black Ding Dong, Jay
Douillard, Michelle Furbacher,
tobias, Ben Lai
Stats and Scorekeeping:
Mark, Lucas TDS, Mark Rossi, Kiran
Dhanoa, Dave Fisher, Samantha,
Mike Barter, Alexander
Bryce Dunn
Colour Commentary:
Luke Meat
Sara Young
Booster Club:
Carolyn DiPasquale
The Ubyssey
lin9' Matt Steffich
Cheering for team USA:
Maren Hancock
Orca Bay:
Linda Scholten
© "DISCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights
reserved. Circulation 17,500. Subscriptions, payable in advdnce, to Canadidn residents dre $15 for
one year, to residents of the USA ore $15 US; $24 CDN elsewhere. Single copies are $2
(to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Magazine.
DEADLINES: Copy deddline for the Jancember issue is November 21. Ad spdce is available until
November 28 and can be booked by calling Steve at 604.822.3017 ext. 3. Our rates are ovdildble
upon request. DiSCORDER is not responsible for loss, ddmdge, or any other injury to unsolicited manuscripts, unsolicited artwork (including but not limited to drawings, photographs and transparencies),
or any other unsolicited material. Materidl can be submitted on disk or in type. As always, English is
preferred. Send e-mail to DiSCORDER at
From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as
through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the
CiTR DJ line at 822.2487, our office at 822.301 7 ext. 0, or our news and sports lines at 822.3017
ext. 2. Fax us at 822.9364, e-mail us at:, visit our web site at or just
pick up a goddamn pen and write #233-6138 SUB Blvd., Vdncouver, BC, V6T1Z1, CANADA.
printed in Canada
Events at a glance:
$6 all night long, students free before 11pm.
iented by Bo
ry Friday aft
xwer, drink specials.
2GUERILLA, XLR8R & CITR Present MR. SCRUFF (Ninjatune/Manchester)
J-!ay. R —"-
PHATT PHUNK Presents PETE TONG (Essential Mix, RADI01)
n confirmed. Pete will finally I
before 11pm.
XLR8R + NORDIC TRAX Presents STACEY PULLEN (Black Flag, Detroit)
'—nd. No r
wits DJ KRUSH (Sony, Jpn) @ SWITCH
... DJ FOOD/DK/BONOBO/FOUR TET (12/6), DJ HEATHER (12/15) ai
Open: 9pm-2am
Club: [604] 683.6695 »us  long-
On Point and Red
It's been almost five y
Readymade's previo
player (called The Dramatic
Balanced), but fans of the first
release don't have to worry
about radical changes—the
band is still delivering the pensive, melancholy, dreamy,
understated, pretty, and yes,
Manitoba's Endearing label. On
Point and Red arrived at the perfect moment for me—a stormy
fall day when I came home
from CiTR carrying a soaking
wet plastic bag jammed to splitting with a couple or dozen (!)
CDs to listen to. Readymade
seems designed to calm down
even an overloaded, grumpy
reviewer—pop this into the
machine and you'll instantly
feel ready to settle in with a hot
drink and fluffy quilt, (by the
end of the 20th track you might
just feel as if you've been prac-
Rebel Jukebox
(Falcon Beach Music)
If Readymade makes you feel
generally dreamy, The Falcons
are aiming for something more
specific: their surf instrumentais
are apparently meant to transport listeners to an imaginary
beach in a past time. And while
the Falcons may have spent just
i their CD a:
-take, 1
primitive (although somehow
squeaky-clean) kind of feel to
this recording that is well-suited to the genre. There are no
fancy effects or studio trickery
here, and not even as much
echo as you might expect, but
just 13 straight-ahead guitar-
and-drum-driven originals, as
.•ell ,i
e class
the band is joined by a former
member of the Fentones. Some
of the standouts: "Half Nelson"
(with its huge drum solo), the
energetic "Jokers Wild," and of
made   coming   through   th<
speakers: this could be the per
feet soundtrack to a dark winte
evening in Vancouver.
(Swell Sounds)
Thermos is fronted by Annie
Wilkinson,    once    of    Zolty
Cracker and Knock Down
Ginger, now publisher of
and pick-up bassist for about a
zillion Vancouver bands.
Somehow she's found the time
for this project too, writing all
the songs, gathering together
musicians who seem just as
busy as she is, and she designed
a darned stylish CD package.
The resulting eleven tracks
remind me only a little bit of
Knock Down Ginger—the frequent layered harmonies and
basic guitar arrangements of
that band are replaced on the
best Thermos songs with a more
complex (yet still catchy) sound
that puts together elements like
keyboards, electric and acoustic-
guitars, various sampled
sounds, huge Zeppelin-esque
drums, and a "Tomorrow Never
Knows" Beatlesy kind of psychedelic grooviness. On the
tracks where Wilkinson harmonizes with herself, something
dark and assured comes
through in the songs. Where she
sings alone, her voice is either a
little tentative and wobbly, or
perhaps honestly, girlishly, vulnerable—contrasting sharply
against the carefully crafted,
and cool, instrumentation. •
We love Andrea Nunes (see
left). We love Scott Malin. We
love art. Send DiSCORDER
some pictures! #233-6138
SUB Blvd., Vancouver, BC
V6T 1Z1
www.FH1.CA proudly pr
THe "EdQe of Now" World Tour
UIITH  VOS6FF  +  HSffTCHC  (am)
Sunday, November 25
Commodore Ballroom @ 8:30 PM
"A trippecf-out blend of sexy, South
American rhythms and tropical trance
grooves. "-Rolling Stone
o 604.872.5200
Canada     stniaht
®.im        II
4 november 2001 strut, fret, and
Anyone fascinated by the evolution of cities should see this
extraordinary documentary.
Using footage gathered over the
decade since German unification, it follows the remaking of
the once-again capital on a scale
frighteningly close to that of
Baron Haussman's redesign of
Paris in the mid-19th century.
Like Patrick Keiller's unforgettable London (reprised at this
year's fest), it manages to be
both factual and extremely
poetic. The camera pans the
crumbling facades and still elegant spiral staircases of old
blocks of flats like a caress. The
red and yellow S-Bahn snakes
doggedly through the
upheaval. We know these
things are doomed, and the
demolition explosions come at
us like terrorism coverage. We
hear planners and architects
discussing the problem of newness ("It needs time to become
real") and of what to do with
some of the butt-ugly stuff
thrown up in the Soviet sector
during the 1960s (now dubbed
"East German Modernism").
And there's some astounding
footage of the massive rave held
a while back on the newly reopened Potsdammer Platz.
The political implications of
reconfiguring a city are insidi-
i the
of o
way, but filmmaker Hubertus
Siegert remains admirably
objective in letting what he's
documented speak for itself.
He does, however, allow himself one beautiful indulgence
when a poem called "The Angel
of History" slices through the
film like a runaway scene from
Wings of Desire: "...He stands
with his face to the past. His
mouth is agape... What we see
single catastrophe."
(Great Britain/France)
Only Europe could handle sex,
emotion and the kamikaze connection between the two quite
like this. The UK/France co-
production turns out to be a fortunate pairing, with graphic sex
getting the unflinching Gallic
treatment and emotion given
the reined-in but ultimately gut-
raking depth of the Brits.
The sex between Claire
(Kerry Fox) and Jack (Mark
Rylance) is casual only in the
no-strings sense. Every Wednesday, she comes to his bleak
South London gaff and they
shag on the floor with the ferocity of starving animals. We
never find out how this
arrangement began; only that it
can't continue in the same way
once one of them starts to question what it all means.
The  i
strings fucking can lead to
unexpected emotional attachment when you keep doing it
with the same person hits both
of them hard, but it's particularly heartbreaking to watch Jack's
emotional constipation shake
loose. Rylance gives a performance that's simply monumental. In fact, everyone is great
here and Marianne Fathfull is a
special treat as Claire's wise and
ballsy friend sailing gloriously
through late middle age.
Explicit and crazily intense
as the sex scenes are, director
Patrice Chereau makes them
seem extremely private—as if
you've walked in on the couple
and feel totally superfluous.
After a while, they don't so
couple—and the hideous affair
climaxes in a kind of exorcism
in the tenement where it's set.
Refreshing might seem an
odd word to use in the same
sentence as Svankmeyer, but
goddammit, he is. He taunts
squeamishness with scenes
which would, after all, be quite
at home in our dreams, and
frames his child actress in ways
which most North American
directors would shrink from in
knee-jerk discomfort. By cutting to the girl as she studies the
source story in her book of fairy
tales, Svanlcmeyer also seems to
be suggesting what the child
already knows: that in times of
crisis, myth is the best guide.
(British Columbia)
I spent a good part of this one
wondering whether it was just
plain bad or really good in a
way that I hadn't yet grasped.
Local actor and first-time director Laurie Maria Baranyay told
We know these things are doomed,
and the demolition explosions come at
us like terrorism coverage.
much arouse, as elicit empathy.
As a setting for Hanif
Kureishi's stories, London is
like a big, patient container for
everyone's folly—all warm and
lumbering, anarchic and hip—
and the soundtrack is perfectly
bookended by the moody beauty of the Tindersticks and
David Bowie. The film left me
feeling upset, randy and grateful as hell.
(Czech Republic)
The opposite of Disney is Jan
Svankmeyer. In his latest masterpiece, the captain of the surreal again mxes live action and
animation—this time, to bring a
Czech fairy tale to life.
The fable seems to concern
a pact with the devil, but one
that's more psychological than
consciously Faustian. The husband of a childless couple
carves his wife a doll from a tree
stump which she, in her grief,
takes to be her real baby.
Against strong misgivings, he
allows the deception to proceed, and the stump, looking
fetching in bib and soother,
comes to monstrous life.
As in many allegorically
loaded children's stories, the
catalyst for unravelling the
whole mess is a wise and intrepid girl-child—in this case, the
daugther   of a neighbouring
us that this tale of 24 hours in
the life of a terminally messed
up young woman was her
story—and I subsequently
shuddered in sympathy.
Flicking through a mental
checklist of as many of the
Dogma rules as I could recall
helped to explain away some of
the technical eccentricities—
such as the hand-held frenzy of
the cinematography, irritatingly
odd camera angles and the
reliance on available light (at
times almost non-existent)—but
didn't make it any easier to
watch as protagonist Mikey
(played by Baranyay herself)
kept turning the other cheek to
physically and emotionally
abusive males while mewling
her lines inaudibly through a
ridiculous, face-obscuring
blonde wig. Much of the dialogue was so over-the-top as to
be literally unbelievable. The
process of her awakening and
redemption was more satisfying, though—possibly because
it's less difficult to recreate a
process than to convincingly
portray a condition of dissolution and chaos.
I've still not quite decided if
Walk Backwards is a go or a no,
but in the end that's less important than the fact that Baranyay
has made a brave and stubbornly personal film. Once seen, it
can't be dismissed.
I once overheard some male
friends discussing a falling-out
they'd had with one of their
mates. They put it down to
"that Yoko thing." I knew right
away what they meant. One of
their number had taken up with
a woman whose life was so
strong and inspiring that he
was spending more time in her
world than in theirs. Or maybe
she was just a controlling and
manipulative bitch. Who
knows? The interesting thing
was the phrase itself. The fact
that Yoko Ono's name was still
attached to a syndrome so
many years after her liasson
with John Lennon says much
about the demonization she
was subjected to. Her prolific
career as an artist had been
going on long before all the
Beatles-related press and her
work was so off the radar that
even some of her contemporaries in the avant-guard art
world dismissed her as a flake.
As a performance artist, she's
an undisputed grandmother to
the current generation of practitioners.
The reason I'm chatterng
about all this is to draw attention to a play opening mid-
November at the Firehall Arts
Centre. The Yoko Ono Project,
written by Jean Yoon, uses performance art to illuminate Yoko
Ono's life, work and stigmatiza-
tion, In it, the lives of three different Asian-Canadian women
are forever changed when they
fall into Yoko's world. At this
poin, I don't know anything
more about the production, but
it has the potential to be one of
the most fascination shows this
fall. It runs November 15--
December 8. Call the Firehall at
689.0926 for tickets and info.
Speaking of performance
art, the LIVE biennial is a whole
festival full of it. It;s been going
on since mid-October andyou
still have four weeks to check
out performance which either
combines genres or defies genre
labelling altogether. One of the
things catching my eye is
Catwalk Envy: A Subverted
Runway Show. As well as
being an actual fashion show of
local artists, it also includes a
piece critiquing NAFTA. That's
at 9pm on November 9 and 10
at the Western Front. Also at the
Front on November 16 at 8pm,
are two spoken word operas,
Empire and Au Pair. The former is an allegory about a big
corporation and the latter looks
at European child-care workers
and their affluent American
employers. And you'd better
shake it or you'll miss David
Young (a.k.a. Yellowboy) in
Yello Diablo, which he
describes as "equal parts
wrestling and sound assult."
It's at Access Artist Run Centre
on November 2 at 9:30pm.
For more info on LIVE
event call 875.9576, go to or
be righteously analogue and
pick up a brochure from
somewhere. •
My favourite Rolling
Stones album is Let it
Be. I mean, if I had to
choose, but no one would make
choose because who really
es about the Rolling Stones
lanymore? Mike Jagger is really
old and ugly. He's always been
ugly, but now he's old. I have to
admit that he has quite an ass. I
|don't mean that I want to touch
because it turns me on, I mean
that if you just had a picture of
ss, with pants on of course,
tight ones, you'd never guess
that he was as old and ugly as
he is. His daughter, Liz Tyler,
in amazing ass, too. I wish I
an ass like that, all round
and like a pillow. She's a beauty.
who really cares because
she's not a rock star. So I don't
about her or her pops.
I care about great bands
like Pavement. But they broke
up. Still, good old Steven
Malkmust is still doing his
thing. It's just super. I mean, I
loved Busker Du, especially
their first album, Zen Arcade,
nd it's really too bad that they
broke up. I can still appreciate
Rob Mold's solo stuff. He's still
a punk rocker. He's keeping it
At least those bands didn't
[break up because someone
killed himself. I loved Nirvana,
land I still do, but it really sad-
jdens me to listen to Forget It and
realize that Curt Kobain isn't
around anymore. He was a
musical genius. Just like Ian
MacCurtis. I don't like New
Ordered as much as I liked Joy
Division. It's a totally different
band. But even more than Joy
Division, I adored In Excess.
They were an amazing band,
and they were at their peak
when Michael Hutchance committed suicide. It's really too
But I don't only like bands
that aren't together anymore.
I'm a huge Sonar Youth fan.
They've been around for years,
and they've never broken up.
Well, I guess the drummer, Bill
Berry, got cancer and left the
band after that, but they're still
going strong as a trio. I also love
The Cure. Technically, they're
still a band even though Robert
Jones says that Bloodflowers is
going to be their last album.
I guess my absolute
favourite new band has to be
The Strokers. I think they're just
fantastic because they sound
exactly like the Velvet Ground
and Television, two of my all
time favourite bands. The
Strokers do bring their own
fresh take on rock music,
though. And that's why I like
them. Sure, they're young, but
so am I, and I have to admit, for
a young buck, I sure know a lot
about rock and roll. •
Want 'em? Got 'em?
?' to tottom of ea: $120.00
at toshoJder lenglfi: $140.00
Icngsr than shoulder length: $150.00
Also included is a free jar of ar tread wax
a bar of our all-natural shampoo for after-c.
(a $23 value!).
$50/hr. (aiotofm AB
Beginning with a couple
entries from Alternative
Tentacles Records (PO Box
419092, San Francisco, CA
94141-9092), the first is a split
between THE FLESHIES and
VICTIM'S FAMILY, both with
a decidedly heavy bone to pick
with the world. Victim's Family
sound like Gwar on a bender,
and The Flesh
punk     with
humourous stre
On the opposite end of the
spectrum, or should I say the
opposite end of the smoke-
filled, bourbon-drenched bar,
tinkering away on a rag-tag
piano and crooning songs of
lonely nights and remembering
John Lee Hooker, is where
you'll find THE FLAMING
STARS. Bottom's up.
Heads up, THE FLASH
EXPRESS have figured out
who stole the soul from the rest
of us on a two-song testimonial
channeled straight outta the
garage. 1 shoulda known this
ild be c<
(Green Day), Dan Panic
(Screeching Weasel), Jason
White (Pinhead Gunpowder),
and   Doug   Sangalang   (One
with ex-members of The
Countdowns, still exorcising
those James Brown flashbacks,
I see. (Revenge Records, 5835
Harold Way, #203, Hollywood,
CA 90028)
"Am I On My Own" is a
song from the new platter from
Jesse Michaels, aka COMMON
RIDER. Evidently not, as this
former  Operation   Ivy   front
The Lobby." Say again? Also the
B-side, "Flight Of The Wounded
Locust," makes me feel like I'm
trapped in an old Colecovision
Time Angels). Impressed? Then
go get it, chum. (Lookout
Records, 3264 Adeline St.,
Berkeley, CA 94703)
Billie  Jo<
nth is San Diego's most misunderstood malcontents, THE
LOCUST. They win top prize
for the shortest songs of sci-fi
thrash coupled with the longest
titles to describe them, e.g.
"Alas Here Come The Hypochondriacs To Wait with You In
game gone horribly wrong—the
soundtrack to my video nightmares. (Gold Standard
Laboratories, PO Box 178262,
San Diego, CA 92177)
I would sleep a lot better at
night playing THE HORIZON-
TALIST before bedtime, visions
of old '70s European soft-core
flicks (as the song "Sudden
Death Overtime" demonstrates), dancing through my
head, performed by Stereolab
folk in different pyjamas. Based
upon simple repetitive patterns,
but in an upbeat and playful
way. (Horizontalist Records, no
address given, maybe under the
assumption that you can get it
by bugging Stereolab themselves, at
Come to think of it, I would
sleep, period, if I listened to
THE BUTCHIES every night
before bedtime, two tracks of
dual vocal, female pop
withzzzzzzzz... oh sorry. (Mr.
Lady Records, PO Box 3189
Durham, NC 27715) Next
month, a sackful of Christmas
coal (I hope not)! •
If you have a better mullet
than Patrick O' Hearn,
you can win his record!
Send pictures to
6 november 2001 AMERICA'S NEW WAR!
I have a dilemma, dear readers. A horned one, with a
soft coat and poisonous
blood. I keep her chained up in
my backyard, and while she
doesn't mind the rope and
restraint, it's the rain that really
gets to her. When she speaks,
she speaks in tongues and
sometimes I cannot make heads
nor tails of her intentions. I have
tried to ignore her, but especially since the Gray of Winter
moves in faster and faster with
each day, it has become harder
to block out her sounds.
On particularly cold days,
she is louder, and today, she is
almost speaking in a human
voice. She's talking about
bombs and guns and war, and
says something about the fragile state we are in, how we can
still laugh and where's the compassion in that? My brother
heard her speak about injustice,
but my father thought she said
"justice"—as if it were a word
any one of us knew anything
about anymore.
She once mentioned the
desire to escape, but the rope
held her strong, though she did
pull at the peg and gnaw at the
chain around her. After the
struggle she looked like a sick
puppet, rope and limbs mixed
up and oddly shaped. Anthropomorphic.
The problem I have, dear
readers, is whether or not to
mention her at all. We have
been inundated with news of
tumbling explosions and the
gaunt faces of children. And do
I lay my two cents down and
speak too? Or do I politely skirt
around the issue and instead
speak about fags and sex and a
sickly sick culture? Because,
really, when it comes down to
it, it's all about fags and sex,
isn't it? Isn't it?
In the long run, I went
against my duty of slashing culture in favour of random ram-
blings. I began with a list. I
figured if 1 was cool enough to
get my ass a column, then 1 am
going to do whatever the fuck I
want with it. Here is my list.
The fact is: anthrax is very
difficult to catch, people have
being trying to send it in packages for years, and very well
this, or we shall stagnate like
molluscs in a urine-filled swimming pool. The fact is: a couple
"religious fanatics" could not
pull off the massive terrorist act
that happened in NY. It was a
calculated attack. Is anyone
really questioning the motives
behind this act? It was not just
a random act. The fact is: the US
has been (implicitly or explicitly) involved in many Terrorist
Acts in South America, elsewhere overseas and even on
may have succeeded, though
those that became ill may have
never known the real cause.
Let's not panic. The fact is:
planes have been hijacked
before, they will be hijacked
again—we cannot live in fear of
this great
and should deal with their track
record before moving on to
other countries. The fact is: the
Taliban is a repressive regime,
yes, but this is not the right way.
The fact is: TV and newspapers
make money out of sensational-
istic stories, only this time it's
driving us to a World War. The
fact is: this can only lead to
more tumbling bombs and guns
and slow motion collapse. The
fact is: war is wrong. The
Muppet Shotv and Sesame Street
told me so. And why would
they lie?
Everyone else seems to
have a reason to lie. Except The
Muppet Show. Ironically, even
Sesame Street—the epitome of a
lie, all felt and material, robot
hands and plastic eyes—seems
to be the only one that never
broke our hearts. They still tell
me it's wrong to hurt others,
that it's wrong to lie and cheat.
And that counting and spelling
and learning can be fun. And
that there is nothing wrong
with purple skin or bright pink
hair. Or Muslims. Or Americans. And even monsters
deserve a chance.
I fear we've all become the
fanatics, some simply crying
"peace" and some rubbing their
crotch at the thought of war.
We've all become the right wing,
although I might suggest that
the people who read this magazine are perhaps a little more
sane than those that read snotty
rags filled with the green snot of
sensationalism and capitalism.
But while we sit and criticize the
people sitting next to us on the
bus or stand and say, "What a
disgust, what a crying shame,"
or point at the TV with a sharp
finger and say, "Lies!" I have to
question: is that enough?
We can all take differing
views. Thank fuck we can. One
can call the name of "defence"
as if it were the name of a lover
at orgasm, and one can invoke
"justice" as if it were something
simple and easy: a paid tor
blowjob. And some can jerk-off
the words "political extremism," or "terrorism," or "religion," or "capitalism," or any
multitude of words that are
nothing more than the sperm of
one ideology or another. But
this does not stop the fact that
violence is wrong. That this is
not the right way. That masturbating words do not make for a
pleasurable action.
Perhaps we were all raised
by idealistic Muppets, some
hippies that lived on a street
called "Sesame" with bright
colours and an urge to count us,
and laugh and eat cookies and
ruffle us under the giant yellow
wing of a beautiful, giant long-
necked bird. Perhaps these are
simplistic thoughts, which really amount to nothing but sex
with puppets, in the sense that
their reality is as comforting as
the hand of some other body on
my back.
Yes, we can laugh. Yes, this
is odd, and yes, this is true. But
I want that now. I don't want
this feeling that the world is
wrong. More wrong than it was.
And getting worse. How could
the same TV that once gave us
love can give us this hate? What
kind of a parent is that? •
The heater in my room is
finally working, but I am
still a cold, angry person.
Aside from the unnecessary
violence being unleashed upon
innocent Afghani civilians, this
month several things irked me,
including the ever-apparent
corporate takeover of arts festivals and my trip to UBC's
Museum of Anthropology.
If you haven't thought
about it, the Museum of
Anthropology is filled with artifacts stolen from First Nations
families. All this is done in the
name of academia; the museum
is spindoctoring the ill-gotten
gains of colonization into "a
learning experience for the public." Another problematic issue
is that the museum is based on
the hypocritical idea that the
colonizing forces that dismantled the First Nations' way of
life are the only forces that can
"save" First Nations culture.
When are we going to stop saying that the colonial damage
was done in the past and take
responsibility for our actions in
the present? It's time for stu- val that I found offensive. It
dents, professors, and curators went like this: the theme music
alike to let go of our over- from Casablanca runs under,
whelming sense of entitlement Two Asian lovers enter a train
over these artifacts. While pur- station. One is gripping a single
But as the pair approach each other, they pull out big
swords and start screaming in "Kung-Fu language"
while the VIFF slogan "Same Planet. Different
Worlds" flashes across the screen. Surprise! They
aren't lovers but shifty Asian folk who only know
how to interact by perpetuating acts of violence.
suing knowledge, we should
not perpetrate the very crimes
we claim to abhor.
In addition to museum
going, I had the privilege to
attend the Vancouver International Film Festival. So, I didn't read as many books as I
usually do. I actually left my
apartment and dealt with people. But alas, before every film,
there was a trailer for the festi-
rose. This seems to be a romantic tryst, a rendezvous between
two people who haven't met in
the longest time. But as the pair
approach each other, they pull
out big swords and start
screaming in "Kung-Fu language" while the VIFF slogan
"Same Planet. Different
Worlds" flashes across the
screen. Surprise! They aren't
lovers but shifty Asian folk who
only know how to interact by
perpetrating acts of violence.
Maybe it was supposed to be
ironic and ever-so-funny, but all
it served to do was highlight the
stereotypes we have of Asians
in North American society and
in film. My disappointment
with the trailer stems from my
perception of the festival as a
site of cinematic exploration
beyond mainstream expectation. In the films shown, the
characters—Asian or otherwise—have space to grow as
human characters, rather than
as predictable Hollywood
In other distasteful festival
news, there were trailers that
exploited images of poverty for
laughs. Were we as audience
members expected to be so
complacent that these images
would be palatable to our target
market, middle class taste
buds? Was the "otherness" of
the "violent Asians" and "stupid poor" supposed to make
e feel n
s left think-
programming is great, while the
underlying corporate interests
Speaking of corporate interests, the Vancouver International Writers and Readers
Festival took place once again.
This year, with the exception of
Smoking Lung Press,
Vancouver's small presses
failed to place authors in the
increasingly star-studded line
up. In response, Trish Kelly,
creator of zine The Makeout
Club, decided to put together
her own festival, "Crash," in
Why I Sing the Blues
order to give young writers the
exposure they deserve and
young readers the material that
most relates to their lives. The
three-night event took place at
the Sugar Refinery and due to
its success, Kelly plans on
expanding "Crash" next year.
Despite my cynicism and
support for "Crash", I still
attended the Writers Festival
launch for WHY I SING THE
BLUES (Smoking Lung Press)
edited by Jan Zwicky and Bran
Cran.   Why I Sing the Blues is a
collection of lyrics and poems
plus a CD. I was unsure
whether I would enjoy the
music and I wondered how the
poems would sound. My fears
were put to rest; everything that
occurred onstage was great.
(Offstage during intermission,
the schmoozing was too much
to bear.)
Brad Cran opened with a
reading from Ceist on the blues,
which had everyone laughing.
The Bill Johnson Blues Band
successfully set a number of the
poems to music, bill bissett
was his usually eccentric self
and his performance was more
Violent Femmes than it was
blues. For me, Don McKay was
the highlight of the evening. His
poems transcended the form
and sang not because of the
musicality of the structure, but
because of the quality of his
The entire time, Brad Cran
reminded the audience that
there was a book available. Why
I Sing the Blues also features
such CanLit masters as Fred
Wah and Loma Crozier. Seeing
the poems on paper allows for
a sense of the form, though
some of the poems don't adhere
to blues constraints.
Why I Sing the Blues—the
book, the accompanying CD,
and the launch—was the perfect antidote for my month of
discontent. It made me remember what is good about festivals, even when they are
backed by corporate interests. • Another month of post
living. How wonderful
it is to see how the corporations
are not letting the terrorists win.
No, they're fighting evil by getting good, God-fearing, patriotic North Americans to get out
there and buy stuff (or in some
cases, like the airline industry,
getting governments to bail
their asses out). I certainly hope
you are not falling behind in
this regard. You've seen the ads,
right? It's time to prove your
loyalty to the capitalist system
by doing your part to fight the
enemies of freedom. Buy something! Here's where I tie this in
with the article; since one of the
main reasons for setting-up
camp on these shores (killing
perhaps millions of the previous inhabitants and starting the
whole revolution thing) was to
have the option of a "free
press," it's our patriotic duty to
go out and buy zines! May I
suggest a few....
While I usually try to stray
from any glossy material, I have
to say a little something about
LITTLE ENGINES  issue  #1,
which comes to us from our
American pals in Seattle. This is
in the digest form like The
Baffler and Hermanaut, and it
offers many of the fictional and
odds and ends inclusions that
said periodicals sport, but with
some familiar Puget-sounding
names—Jim Munroe, for
instance, has been writing for
Seattle publications tor some
time. He's the author of the
lauded    book   Angry   Young
Spaceman and runs the No
Media Kings website. Damien
Jurado has been doing home
recording, writing and whatnot.
In Little Engines he donates
some of the transcripted messages he's found on recycled
answering machine recordings.
Nice stuff. Included also are
comics by Zak Sally and Al
Burian, other articles by David
Drury, Gerald Beckman,
Susannah Felts, Adam Voith,
and Andy Jenkins that make
Little Engines one of the most
welcome new reads this year.
Evidently issue #2 is available
now also.
The much anticipated TURF
#5 (1125 Pacific Drive, Delta, BC
V4M 2K2) zine/chapbook is
now available. Once again
Andrea, Joe, Randal, Barb, et al,
fill up this "bedside companion" with fascinating ideas and
opinions. In response to last
issue's "Youth Pension Plan,"
an incensed reader writes a
windy rant concerning the corruptness of such brainstorming.
I'm sure if we were to go back
in time and tell a caveman that,
one day, someone would work
kill your
Peter Kuper
Back in 1997 Vertigo published
a three-issue miniseries by Peter
Kuper called The System. When
I first saw it I marvelled at its
beauty and was surprised by its
violent honesty.
Reading The System now is
like a familiar nightmare. If you
haven't read it yet, you need to
be schooled. "The System"
referred to is the cyclic route of
life, as well as the system
money creaies. Each panel has a
clue relating to another part of
the story. A camera follows
each person after every
encounter, a la Slacker. A
screaming face becomes the
gaping entrance to the subway.
A spinning Saturn becomes a
dying man's eyes.
Kuper creates these seemingly unrelated tableaux to be
scrutinized and explored. The
great thing is that they are all
loosely related. A couple of
underlying story lines dominate
throughout—a murder mystery
and a political scandal, to name
a few. It's the modern reworking of Will Eisner's New York,
8 november 2001
resplendent with strippers,
gumshoes, suits, and skaters.
The story lines weave and jumble, culminating in one big
crash: it's the only way for the
system to stop. It's engrossing,
fluid, and everyone gets their
just desserts in the city that
never sleeps.    .
Kuper, as an artist, is quite
versatile. From scratch board to
airbrush, it's all very vivid,
which is perfect, because The
System has no dialogue. The art
is intricate and detailed. The
chockablock with hidden
design and symbols. You stare,
immersed in one section, only
to find your eyes travelling to
another bit of the puzzle. Like a
well-running system, all things
are presented as being in perfect
The art is chaotic yet
refined, soft and furious, explosive, concise, and tempered.
Kuper is conducting a symphony. He also uses every possible
visual aid to get his message
across. Symbols weigh heavy,
broadcast with media familiarity. Newspaper clippings and
money fly. Tattoos and graffiti
segue into each other. With the
intensity of a modern day war
poster, Kuper's The System is
iconoclastic and utterly stunning. Though it's all been said
and done before in this day
and age, I find that Kuper does
it with grace. Yes, this is a slice
of New York living, but the
story could've been anywhere
at anytime. Kuper's telling of it
is a work of art that slips in
under the radar and should not
be forgotten.
through the better part of their
day to receive round metal
objects and pieces of paper to
trade for things they could have
spent a couple hours hunting
for.... Oh well. Some folks have
to spread the discomfort they
feel to the next batch of peons.
There's also an interesting piece
on Canadian Tire money as a
viable currency (I never realized!) and a biting commentary
on the evils of managers: "At
most jobs, managers just have
to keep track of who came in 10
minutes late that morning."
(Thankfully the managers
where I work are saints, okay?)
Anyway, all that and more in
this beautiful little production.
Turf held its fifth birthday
party at Ms. T's on the 6th of
October [see show revieios] and
hosted a fine zine display area
where folks could flaunt their
publications. I picked up BUT-
OF DREAMS (Pregnant
Embryo Productions, Box 694,
185-911 Yates St., Victoria, BC
V8V 4Y9) and was much entertained by the lovely comics, and
a few written pieces, all based
on dreams by the artists.
Scenarios appear and re-form as
only dreams can, in very surreal
ways. It's one of the weird
things about being human, I
guess, understanding that
another's dreams are nearly
impossible to fathom or control.
Here's a big compilation of
those nocturnal visions set to
comic and type. Mind bending,
but a better listing of those
involved might have been a
good thing.
A fun little indie product
called      RENF     (renfmaga-
Art Spiegelman and Chip
I gotta say, this book is a true
comic fan's wet dream from its
colourful   size   down   to   its
unorthodox    plastic    covers. issue #2, is
subtitled "The Story Issue." The
stories are clicked-out on a
typewriter, errors included and
white-out avoided, just x's over
the fuck-ups. And the tales? Not
bad at all. Stylish, low-fi comics
are plentiful and amusing too.
It's always a good thing whenever someone takes the time to
make themselves the media.
The same can be said of the
small and spotty little zine
FRONT (stabbedinthefront@hot- Former issues have
shown some humble potential
but issue #4 takes on a decidedly odd structure, acquiring all
its contents from email.
Apparent-ly anyway. I would
urge anyone considering a zine
Limits is a history and critique
of Plastic Man and the man
behind him, Jack Cole. (Plastic
Man was a comic book superhero that Cole used to challenge
the genre in the '30s.) Written
by Pulitzer Prize winner Art
Spiegelman and designed by
Chip Kidd, this book is stunning.
From experience I know
(Ever so durable, and a tribute
to the protagonist, dontcha
know.) Initially upon seeing this
book, I didn't simply like it—I
lusted for it.
Forms   Stretched   to   Their
that Spiegelman is a writer to be
trusted. The book is informative, fun, critical and interesting. Spiegelman doesn't pander
to anyone, telling the story
from all sides. It's also hard not
project to cover what you are
passionate about. If you build it,
they will come. Just have some
tissues nearby.
Here's a weird phenomenon: A zine that has been on
hiatus for six to seven years but
raises its fierce noggin once
Box 63, Heme Bay, Kent, CTU
6YU England) Volume 2, #4
was released last year but is
making it to local shelves at present. If you like your music and
media coverage highly independent, honestly vicious, and
generously compiled, you
should grab this up. Editor
Richo and a group of cohorts
deliver what I could compare to
a hybrid of zines like Ptolemaic
Terrascope, Angry Theroean, and
Negative Capability. This issue
includes Mr. Brinkman of
Kompakt label/shop/distribution, Finland musician
Ektroverde, Noise makers
Contrastate, and an informative
piece on JG Ballard.
Thanks for reading, or am I
being presumptuous? I'm starting work on a new Speck
fanzine soon, so some good
contributions are welcome. Tell
me something about your
favourite pet. You can contact
me at
for just about anything since I
know just about everything, of
course. Remember that I'm way
more patriotic than any of you
assholes too, so get out of my
to get caught up in his writing
style. Spiegelman has a genuine
love of Plastic Man and his
wonder and excitement about
the art is contagious. Every
design element in this book has
been carefully calculated. It's
the genius of Chip Kidd. This is
a gorgeous book.
There are almost complete
reprints of impossible-to-find
Plastic Man issues in breathtaking full colour. I'm a sucker for
books that have a lot of visuals
to back up what they're talking
about. Plastic Man is an interactive, bombastic, crazy, goofy,
wavy, silly, fly-all-over-the-
place kind of guy and you need
to see every little detail to feel it.
With Kidd's design savvy this
book all but knocks you over.
I really enjoyed this book
because I didn't really know
much about Cole to begin with.
So it was like, "Yay! Something
new to learn about and
oooooooh look, it's so pretty."
This book was completely
enjoyable on all levels, much
like Plastic Man. •
listen to the
show every
from 2-3 pm
on citr 101.9
"A New Morning,
Changing Weather"
Epitaph 82020 CD/LP
"Survival Sickness"
Epitaph 82008 CD/LP
"The First Conspiracy"
67009 CD
"Capitalism Stole My
67022 CDS/7"
not September 11th, but the beginning of a permanent and precipitous decline in worldwide oil
production, the beginning of a deep
and protracted worldwide recession, and the unraveling of the
empire. -Stan Goff, US Special
Forces Master Sergeant (Ret'd).
The US media machine switches into high gear. OBL's broadcasts are now edited or pulled,
for reasons of "national security," and the US moves to knock
out the remaining media outlet
in the Middle East, Qatar's Al-
Jazeera, the only news agency
to scoop footage from inside
Afghanistan. Not to mention
the recent raids on Infocom, a
Texas ISP for Muslim and
Palestinian websites and charities. An FBI spokeswoman:
"We're hoping to find evidence
of criminal activity." Hoping in
desperate abandon at the
prospect of an enemy, drooling
over Anti-Terrorist legislation
so broad that, as one Arab
American said last week,
"Simply giving blankets to the
US Foreign Policy expert Noam
Chomsky and Middle East journalist Robert Fisk are ignored
by the corporate media, and
UBC's Sunera Thobani is condemned by all those Boys (With
Their Toys), from Gordon
Campbell to Vancouver Sun
journalist Pete McMartin.
Thobani is right. The Marxists
say this war is the continuing
destruction of global imperialism, but what is missing from
the standard Leftist analysis are
the patriarchal structures at
work on all sides, from the violently repressive Taliban to the
phallic anger of the West,
replete with the World's
Greatest Ball Licking Competition. (Who Can Suck Dubya
Best?) Biohazard, indeed. It's a
battle of cum-shots, where
every sticky dose brings not life,
but death. War becomes the
ultimate one-shot orgasm.
Spread your lips for the
anthrax, baby.
Open Cities at the Helen Pitt
Gallery became a contest of
wills. In the back room, performing her piece clown, performance artist Kim Dawn sings
over and over an off-key rendition of "Every Time I See You,"
surrounded by embarrassingly
personal photos and video-art
of a makeup application gone
berserk, whereas the rest of the
gallery is home to Open Cities,
featuring suave contemporary
minimalist paintings with
heavy post-structural explanation. The battle between the
curator and Dawn's friend
erupts out back, each arguing
the merits of the performance's
necessity to stop as it is "making
people uncomfortable" versus
the artist's integrity to drag it
out as long as possible. The
curator makes the call, and asks
Dawn to stop. She does. The
problem is two-fold. 1. The
gallery is too small for a loud
performance artist and paintings that desire conversation:
the curator should have realized this from the beginning. 2.
What's so wrong with making
people a little uncomfortable?
Dawn's performance was
evocative, edgy, and cause for
greater discussion than Open
Cities. Perhaps this was the real
problem: Dawn was getting all
of the attention instead of head-
liner Sara Graham, whose
detailed line drawings and pan-
tone paintings spoke less than
the artist's statement. Meanwhile, a lowered skatermobile
spins into the back parking lot,
the hooded brothers hop out,
beers in hand, to see Andrew
Dadson's Stylotech exhibit in the
back gallery, a.k.a. the washroom, home to a silver tag and
backlit tagger paint pens.
"That's it?" one of them says,
"You're in the washroom?!" I'd
have the same response. Better
off to keep tagging trains and
Kim Cascone @ Refrains by Tanya G.
buildings (check out the alley
behind the Sugar Refinery for
some amazing work) than to
attempt to get a good spot in a
gallery (long live Basquiat and
Futura). Until Nov. 10th @ 882
Refrains: Music Politics Aesthetics
on September 29th drew out the
masses to absorb talks on contemporary electronic music and
politics as well as hear the
sounds of the future. Brave
post-ravers mixed coffee with
weathered academics at 8am,
Green College at UBC, a little
out of their element; later, the
tables were flipped as Kim
Cascone (SF), Ben Nevile
(Victoria), Cid+Eric (Seattle),
and locals Jovian Francey and
Artificial Intelligence performed live sonic experimentation at the Video In, while DJs
tobias (yes, me) and Construct
showed that experimental tech-
no-electro shit can also get your
groove on. Highlights of the
day's talks included Steven
Shaviro (UW) taking on lesbian
Bjork-bots, Michael Jarrett
(Perm State) discussing Plastik-
man and trains in the same
breath, Discorder's own Steve
DiPasquale dropping the Live
on everyone (with Mr. Cascone
saying he will cite Steve in a
new paper!), SFU's Brady
Cranfield dialect-ing with Oval,
Chris Lee making the connections between Duke Ellington
and Paul Gilroy, Charles
Mudede throwing down hip
hop, pleasure, and Heidegger,
Janne VanHanen mixing Mix-
master Mike with rhizomes,
and general mayhem all over—■
not to mention the op-art green
vinyl floor and furniture extravaganza of Triina Linde, and
line-drawing Ample Lamps of
Olo J Milkman at the Video In.
Around 600 people showed up
to see Jean Baudrillard speak at
Emily Carr in a classroom that
only held 150. While I appreciate Emily Carr and the Charles
H Scott gallery's efforts to bring
in one of the world's foremost
postmodernists, the absolute
shortsightedness in not finding
a larger venue is inexcusable.
Lesson learned: despite all the
pragmatic-school cynicism of
postmodernism in the North
American academy, the kids
know what's up—people like
Baudrillard described what is
occurring now 30 years ago.
(But that doesn't mean they've
actually read anything by him.
A quick survey showed that out
of ten people, only one could
name a single text by
Baudrillard.) In any case, power
to the shit-disturbers who
rapped on the big folding doors
that could have been opened to
let the people hear Jean. The
"fire regulations" excuse was
poor and nonsensical, and I'm
glad a little postmodern ironic
juxtaposition threw off the
opening remarks.
fucked up in my "Andrew
Duke Dukes It Out" interview.
1. He's the Program Director,
and not Station Manager, at
CKDU Halifax. 2. He's still single, girls /guys, and not married. So go get 'em. 3. He's a
Until the margins marginalize the
majority! •
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With   31
^3  i Yi
*lJ  I Iv i
32 Knots holds the distinct privilege of
being the first band that has completely
blown me away by their live performance. I was awestruck by their ability
to maintain an intensity that never
turns smug, despite their skillful and
prolific musicianship. The jazz-like
tempo and meter changes in their music
are an impossible puzzle; they drove me
insane. There is a healthy dose of
numerical finagling, a pinch of darkness, and a splash of stark expression.
Their previous, self-released album,
Climax I Anti Climax, collected songs
that they recorded at various times over
a one year period. Their latest work
includes the Rehearsal Dinner EP on
Fiftyfourfortyorfight and a full
length, A Word is Also a Picture of a
Word, is forthcoming.
DiSCORDER: What stage of production are you at with the
forthcoming EP?
Joe H: Pretty much just overdubs, which we're doing next week.
We're going to have a bunch of friends record stuff over what we
have. We all agree we want to make it bigger than just our live
show. We have had ideas for other instruments that we just can't
do with three people live.
Like keyboards?
Joe H: Some keyboards.
Joe K: Horns. Violin. Cello.
Jay: Maybe cello.
Joe H: Who "maybe cello?" [Laughs.]
Joe K: Um, Sam.
Jay: It's such an ambitious project, it's fucking hard to bring it all
Joe H: Especially when you're broke. We've been taking our time,
and it's been really nice to space out the recording, even if it's
because we have no money. We'll record two days, then a month
later, record for another day. One day in between, we've mixed
down some of the first stuff that we did, and we decided that a
couple of the songs didn't turn out, so we re-recorded them. But
it's to the point now that we're just antsy.
Joe K: Right. We have a back-catalog of over 30 songs now, and so
it's like, "What the hell?" you know? It's so irritating.
Why do you play with your guitar way up here? Is it just more
Joe H: It's sort of because I used to and still play a lot of stuff on
acoustic guitar, so I just got used to that. And actually, to be completely honest, I was a heavier kid. I had this super heavy cheap
guitar, and the way it clung on me, the straps would pull my shirt.
It made me feel weird about my weight. But mainly it is leftover
from playing that acoustic guitar, and getting so used to it. When
Jay and I started writing more stuff...
Joe K: were stacked.
Joe H: I was stacked. I had boobs.
like for you guys? How does it
What is the songwritinj
Joe H: Before Joe [K] played with us, it was definitely more me
writing the songs. Over time, Jay and I started writing stuff together. Since Joe started playing in the band, it's been more of all of us
writing together. There's the occasional song where I'll explain to
the band, "I really like this song as it is." It's hard though. We're
really accustomed, I think, to all the songs being pretty equal.
Are the lyrics kind of secondary?
Joe H: They're secondary in the step, the process, but not necessarily in importance. The way I used to write a long time ago, I definitely had a—once we released something—an old, old thing we
did. Listening to it recently, I was really kind of embarrassed,
because I was young and... I don't know ...
Joe H: [Laughs] Yeah! In a bad way. For awhile, lyrics were kind of
on the back burner. That's tlie thing that frustrates me about the
whole math rock tag. Math rock seems to indicate that it's just the
music, and the words are just something to fill the void. "We
should have words here, just for the sake of words." That's why it's
sometimes hard for me to get into a lot of math rock. Sometimes
there's parts that I come up with and Joe and Jay will want to do
half the length that I want to do, but I wrote words to accompany
it—I guess I grow attached to it and I don't want to just hack it
Jay: And then it develops into this big fist fight, and we kick the
shit out of him.
Joe H: "But this is my magnum opus!"
Jay: "Fuck your magnum opus!"
What are your lyrics usually about?
Joe H: The thing that bothered me so much about writing words
and looking back on them was sometimes how blatant I would
make things. I begun realizing how self-involved and melodramatic it was. Now I just take a feeling and create a secret language out
of it. Not so that people don't understand it, but so that it will be
more universal. That also lets the message be felt in the music. The
words might not necessarily carry what it's about. It sounds so
Jay: Pretentious?
Joe H: And cliche. But 1 just have a tension burner. I'm trying to be
ultra sincere about things. This being the last frontier of sincerity
and seriousness for me, maybe? I can't write funny music for the
band. But you know... don't want to indict someone either. If you have a failed
love affair, and want to write about it, you don't want the person
to know exactly what you're writing about.
Joe H: Yeah. Sometimes singing about the exact event that
happened in your life is just redundant and not that big of a deal. If
you take the time to put it in the context of a larger paradigm, it
can reach people. I don't want to alienate people with words. I
don't want to write stuff that I feel has been said a million times.
Because it's all been said, but you can at least try to do it differently. On our last album, 1 just wish we could have included the lyrics
in the album. I don't like to mix words super up-front, but I don't
like it when you can't hear it either.
How do you guys feel about bands that have a political agenda
and their cause comes before their music?
Joe K: I think that's all fine and good, and very roots-sensible, but
unfortunately it's become a fashion trend for hardcore kids. Just
like any other trend in music, I don't really buy it anymore. If there
are people that do buy it, then more power to them.
Jay: Personally, I'm not that worldly-minded or political enough to
necessarily care. It sounds callous and ridiculous but...
The thing that really bothers me about it is that it just seems really pretentious and bands will use it as "This is our activism."
Jay: Yeah, it's esoteric, you know?
Yeah. You're not really doing anything. You're just performing
for a bunch of kids.
Jay: It's the whole idea of, if you're reaching a larger audience and
making a difference, then, theoretically, you're doing good. But... I
don't know.
Joe K: Not to mention that you're usually preaching to the converted, which really is the point. They want to get a positive response.
Jay: Just self-contained ideology or something.
Joe H: It's feeding into this mentality that everyone in the audience
already believes. It boosts everyone's egos. There's definitely a
small percentage of people who are oblivious to this factor and
champion a cause because they really do believe it.
Joe K: That number is just so small.
Well, like Rage Against the Machine. Some kids out there who
had never thought about these things before are gonna see it and
get into it.
Jay: Or Marilyn Manson: the backwoods kid in Nebraska who's
gay and considered a weirdo and doesn't have any other outlet.
Marilyn Manson might be his only link to any freakish subculture
thing, even though he's a trite piece of crap.
Joe H: Marilyn Manson or the kid?
Jay: It's a messy subject.
Joe H: It's something that has been on my mind—the politics to
everything, you know? Not just world politics or United States politics. The politics of indie rock makes me sick sometimes. It claims
to be all-encompassing, but there are all these little rules that you
have to secretly abide by.
Jay: And that's another universal theme—that just extends in every
facet of life. Even more fucking depressing.
Joe H: "Because I want the indie rock bubble to be perfect!" •
iie^sess Lately, I have been lamenting the slate of women's willing in Canada. It's
not that tliere isn't a wealth of novels, short stories, and poetry by women.
It's jusl thai many women arc a-nting on really banal, unli feminist topics
that claim lo be "the woman's experience" and "feminist." I'm tired of the
critics and professors who hold these books up as literature and tell tne that
character is going through a had divorce, hut finds herself sleeping with her
ex-husband and hates herself for it.The women and men 1 surround myself
wilh never act according to these prescribed gender roles. I'm tired of
"woman equals weak" and "man equals exploitative jerk."
Enter Rebecca Godfrey and her first novel. The Torn Skirt. Godfrey,
daughter of Dave Godfrey (House of Auansi founder) and Ellen Godfrey
(respected mystery writer), wanted to write about the Canada tlmt "Can
Lit" didn't cover. The world ofThe Torn Skirt is a world that Victoria tries
to repress. There are high school rapists, stoners, teenage prostitutes,
runaways, und young girls in detention centres. As well, there is no line
drawn between "culture" and "popular culture." The two co-exist, because
that's how it is in life. Our so-called "popular" culture is what we know
ami it is no better or worse than ballet and afternoon tea. Godfrey sums it
up best on her website: "A good thing about being raised by artists or
writers is tliat you don't see 'culture' as something in museums or the
CBC. It's just something you can do yourself."
The protagonist in The Torn Skirt is a teenage girl named Sara, but
this coming-of-age tale doesn't involve topics such as "my first period" or
"my first crush". Instead. Cod frey arvcrs the territory usually reserved for
male protagonists and male experience. Sara metis girls who can pick locks
and rob Johns. Stint herself is wanted by police for questioning. There are
no "why am 1 not prom queen?"and "does he like me7" self-esteem issues
here. Godfrey is aware that tliere are greater questions tliat need answering.
When I approached her for an email interview and told her it was for
Discorder, she wrote back to tell me tliat she liked CiTR and Nardwuar.
On her website, she reveals that when she moved to Nrw York at 22, she
"thought all the boys would be like Thurston Moore." It's safe to say:
Rebecca Godfrey is cool, and her book lives up to expectation.
DISCORDER: When did you start writing Tlie Torn Skirt?
Rebecca Godfrey: About five years ago.
What prompted you to begin a novel?
Insanity. High hopes.
What was the process like?
It was pretty rough. I have bad work habits.
Do you write everyday? What's your routine like?
I don't have a routine.  You always read about writers who work
strictly from 6:00 in the morning until 1:00 or whatever, but I
definitely do not have that kind of discipline. I just procrastinate a
lot and then force myself to stay at home and miss parties.
I heard you wrote about four novels worth of material before you
hit the right tone and voice for the novel. Is that true?
Yeah. I wanted to have a main character I liked, and it took me a
while to do that because I had to let go of having the more traditional type of narrator, and instead, let myself have a girl who is
kind of fucked up and out of control. It also took me a while to find
the drama. I wanted her to be constantly tempted, to be in situations
that were loaded or precarious, but also realistic. When I found what
those were,  I censored myself because I knew what tempts a girl
like her might turn off the sensible reader. I could hear this
imaginary reader saying, "she shouldn't do that," but after a while,
I just stopped caring about the sensible reader and let her have
her way. She's moving really fast; she's not the kind of girl who
spends a lot of time contemplating in her bedroom, so to keep that
kind of energy, to keep the book fast and quick, I ended up tossing
What do you have to say to critics who think that the protagonist
of The Torn Skirt, Sara, is too naive to be believable?
I haven't heard that. Do you think she's too naive?
No. I remember being very trusting at that age. I was with Sara
the whole way through the novel and thought you did a great job
with her voice and the tone of the novel. Why did you choose to
write about a teenage girl?
It's an interesting time because everything that happens to you
really matters. Every person you meet is really important. They have
the potential to completely change you. You think you know it all,
and you don't really know it all, and that creates a lot of potential for
mayhem and peril. I also just found most books with young girls
are pretty lame and off-base.
In your novel, the kids have titles like "Burnout." How would you
describe your high school self?
I thought I was Hardcore. Punk. But, really, 1 was probably more of
a timid little goth girl. I wore a lot of black eyeliner and wrote
painfully bad poetry.
I see from your author's photo that you've renounced the black
eyeliner. Do you still write poetry?
No, I renounced the poetry as well.
What bands were you listening to in high school?
By Grade 12 I discovered The Birthday Party, Pussy Galore, X, stuff
like that. I was obsessed with Sonic Youth.
Did you ever wear Love's Baby Soft? Do you wear it now?
I think I might have worn it when I was 12. I entered the "Be Miss
Love's Baby Soft" contest—the prize was an all-expense paid trip to
New York City. I didn't win. A girl in my book is addicted to it. She
drinks it like poison.
What did the contest involve? An essay detailing the greatness of
the product, or just a draw at random?
It was strictly based on photos. An essay would have been good. I
might have had a chance.
Where was your author's photo taken? I like the any-city feel it
has to it.
My best friend took it this summer on a roof, in the Lower East Side.
The hot or not section: Tell us whether the following items are hot
or not. You can even tell us why, if you wish. All of the following
appear in The Torn Skirt.
ACDC—Mildly hot back in the day. Not hot now.
Trans Am (the car, not the band) —Not hot.
Leonard Cohen's Beautiful Losers—Very hot, always hot, forever
Chatelaine—Hot. If you're looking for a casserole recipe.
Hammer of the Gods—I never finished it. It scared me.
Princess Diana—No comment.
Wonder Bread—Not hot. No protein.
Charlie's Angels (the TV show)—Not hot. Except for brief Tanya
Roberts interlude.
Happy Days—Not hot. Except for brief Pinky Tuscadero interlude.
Christian Hosoi— (The skater; I added this one) Hot. Except n
he's in jail for smuggling speed.
Cutex Quick and Gentle—Hot. Just cause I like those two words
together: quick and gentle.
Seventeen—Not hot. See The Torn Skirt pg. 88.
Maybelline—Hot in heavy doses only.
Led Zeppelin—Unfortunately, undeniably hot.
Who or what do you find influential?
Chan Marshall (Cat Power), Denis Johnson, Jane Eyre, Jean Rhys,
some bratty boys I knew and know.
What is it about Jane Eyre that you find influential? Do you mean
the book or the character?
The character, especially the first chapter. Considering when that
book was written, it's pretty radical. She's so fierce and unwanted.
She's like the OG orphan girl.
What are you reading right now?
Detective novels.
Current ones or old school noir titles like The Maltese Falcon?
Old school. Like Chandler and Simenon.
Name a few of the last albums you bought.
The Red Thread—Arab Strap, White Blood Cells—The White Stripes
Did The White Stripes album live up to expectation?
Yup. I like it a lot.
What was the last movie that you saw?
Band of Outsiders—Godard gangster film.
When the Converse warehouses shut down, did you have to find
a new shoe to support?
I don't support shoes.
How long have you lived in New York?
Seven years.
Are there any local bands there that you're really into?
In NYC? I like seeing Cat Power play. There's all these bands now
that are kind of fashiony art-rock and play galleries, like ARE
Weapons and FischerSpooner. They're okay.
What was the Creative Writing Program at Sarah Lawrence like?
They have bean bag chairs in the library. It was a good school. I
found there was a subtle pressure to write or copy the "well-crafted"
short story, the New Yorker, Raymond Carver kind of stuff. I like
stuff that's unrulier and dirtier; I don't really want to read or write
something I've read a hundred times before... stories about housewives and adultery. Still, I learned a lot.
I'm relieved that you didn't feel the pressure to write like Carver
or explore lame topics. What's your next project? I read that you
were either finishing or finished a non-fiction book on Reena
Yeah, I'm working on that now. It's not about Reena Virk particularly, more about the milieu of those kids who got involved in what
turned out to be a murder, and the police investigation and capture,
and then the trials.
What makes you angry?
I'm not really that angry anymore. I used to be angry about everything. I think writing the novel was cathartic because Sara is angry
all the time, and to get into her head, I had to constantly psychmy-
self up into that "fuck-you" mode. I probably worked out my own
anger issues that way.
How did September 11 affect you?
I heard the streets of New York silent for the first time. •
12 november 2001 By Thomas Hicks with Jackie Teed
In July, I had the pleasure of interviewing Dr. Shiva, a quantum physicist turned ecologist and winner
of the Alternative Nobel Prize Award (The Right Livelihood Award, 1993), to find out more about the
impact biotechnology is having on traditional and sustainable farming practices. Dr. Shiva traces the origin of biotech patents to Pope Alexander VI. His 1493 "Bull of Donation" granted ownership and control of non-Christian lands to the Catholic Church. According to Dr. Shiva the Church acted out of
extreme arrogance and societal desperation in response to the depletion of European resources. "No
society that lives with justice, that lives with sustainability has to create the kind of project of colonization that Europe had to in that period," states Dr. Shiva. This pattern is being repeated today by many
multinational corporations through WTO treaties.
Europe's need to colonize non-Christian countries arose from the pre-existing colonization of their
own resource base and the people who cared for it—women. Traditionally, it was women who held the
lcnowledge of the environment how to use it and how to care for it. But this power was seen as a threat
to the Church. "It was a culture that had put a handful of men in such situations of absolute, irresponsible power that they could construct whatever excuse they wanted to. They could find any learned
woman... declare her a witch and get away justifying it in terms of religion," states Dr. Shiva. Today a
similar persecution of outspoken scientists is carried out under the name of corporate science.
Dr. Shiva feels that to accomplish change today we must undo the three colonizations: the colonization of Nature; the colonization of women; and, the colonization of the Third World. She argues that
we must create a "new ecological pact with the Earth," and Nature; a pact enriched with the knowledge
of indigenous peoples and ancient relationships. She also believes the reversal of the colonization of
women is essential to realign our economic values toward those of sharing rather than plundering.
"For all the historical periods where women were left to look after sustenance, they are the ones where
we really have an economy of well-being still maintained."
Finally, Dr. Shiva points out that "the Third World colonization cannot be undone by sucking in the
last remaining resources of the Third World into world markets. To really decolonize the Third World
includes beginning with the people of the Third World and their needs, their cultures, their philosophies, and their values." Dr. Shiva argues that in most cases, the ways of Third World peoples' are
founded in connectivity and their "universe is the creation of the Supreme Power meant for the benefits of [all]."
Dr. Shiva believes in the interconnectedness of all things. In her writing she quotes the Taittreya
Upanishad: Whatever exists on earth is born of anna [food), lives on anna, and in the end merges into
anna. "I personally feel that [The Upanishads) are very, very important because the core of India has
been the core of a mode of non-violent thinking A deep connectedness where the human species is not
more privileged than the rest of Nature. We are all part of One. The highest human evolution is to live
within limits. The less you consume the more sophisticated you become."
Although remonstrated by scientific peers for her outspoken beliefs, she intends to go on quoting
these works. "You cannot do good science without doing good philosophy... every inspiration, whether
it is of Bohr or of Einstein came from connecting to a deeper philosophical level. You cannot have good
ways of living in the world without a good arrangement in your head about the place of every being."
Dr. Shiva argues that our fear of spirituality combined with our worship of technology and commerce
has led to many of today's destructive practices. "We need to have a far deeper spiritual grounding
and Gandhian politics are very spiritual," states Dr. Shiva.
Today's biotechnology industry claims food biotechnology is essential if we are to feed our growing population. Robert Shapiro, CEO of Monsanto states, "There is a need for agricultural productivity... to double... so I think this is unequivocally a good product." According to Dr. Shiva the current
paradigm of biotechnology is too mechanistic and reductionist to be used even as a starting point for
discussion of humanitarian uses. "It begins with the assumption that genes create organisms, which is
not true, and then it goes on to say that genetic modification is the solution to everything. It is false with
respect to the objects which it is dealing with. Which are not just objects alone, they are also subjects."
In our discussion, Dr. Shiva points out several alarming indicators of the degradation of traditional and sustainable agriculture in India. Local food production is unable to compete with subsidized
food imports to the degree that India now imports traditionally grown crops from Canada. As a result,
"our farmers are committing suicide. Our poor people are already literally dying of starvation... because
the national laws and policies that created obligations of the state to ensure that food reaches everyone
are now being dismantled under World Bank policy," she explains.
Dr. Shiva advocates self-governance in food production and opposes food subsidies. "Those subsides are what are creating climate imbalance. The are creating destruction of livelihoods of farmers
everywhere. They are creating food hazards. It is time to localize that which can and then have mutual
partnerships of cooperation for that which we can't produce locally based on sustainability and justice. I don't think it takes too much effort to redesign the world away from the non-sustainability; injustice and dispensability that the globalization model is based on. Because this model will devastate us,
whether it is by making the poor starve, denying them their right to water, denying farmers the right to
seed or just creating climate disasters of scales humanity cannot respond to."
Dr. Shiva follows in the footsteps of her spiritual namesake, Shiva the Transformer, with inspirational writings, speeches and actions. Her dream of having a non-violent, justice-based world for her
"symbolic grandchildren around the world" to live in is truly a transformation worth seeking. "To me,"
she says, "spirituality is about connectedness. It is about relationships. It is about responsibility." •
By Naben Ruthnum
With a brand neio band. Tomahawk, a recent album with the popular Fantomas, and sundry rumours about other musical activities, Mike Patton seems to have ignored the conventions of what is supposed to happen to aging rockers. I sent
him a batch of questions to satisfy my curiosity on certain topics, and he answered litem promptly. The moral of the
interview is to never trust what you read on the internet—it's ahvays premature or wrong.
DiSCORDER: The new Fantomas album was extremely successful, even reaching the Billboard 200...
why do you think this album of soundtrack covers had such mass appeal?
Mike Patton: Not real sure. It has been more successful than we expected. The first one was too. I don't
try to figure out why. We have toured quite a bit and I really think a chunk of people are looking for
something different from what is shoved down their throats.
Would you be interested in scoring a movie someday?
Someday, when I slow down, if it was the right project.
Your new project with Dan the Automator seems like it may enjoy a lot of mainstream success...
having been in a platinum band before (Faith No More, of course), how do you think a second bout
of popular recognition will affect you, personally and musically?
First of all, 1 don't know what would make you think it will be a mainstream success. We have to record
it first! [Note: bootlegs of early sessions that were illegally circulated earlier this year got a very favourable response
from those who heard them. Internet rumour A] Secondly, I really don't think of success in commercial
terms. As a matter of fact I think things are better for me right now then they have ever been. I'm in four
full time bands that are each very different from the other.
Each Mr. Bungle album seems to have a distinct flavour and approach. Is there a conscious decision
made to write in a certain format each time around, or is that just the way the band's musical tastes
have developed during the four years that have separated each album?
It just happens, without much thought. We all trade tapes of ideas and melt them all together.
Red House Painters frontman Mark Kozelek is thanked in the liner notes of Mr. Bungle's 1999 album
California. Is he a friend of yours, or of someone else in the band? Any chance we'll see a Patton/
Kozelek collaboration?
He helped out on the record. A friend of the bands'. No collaboration planned.
How do you, personally, pronounce Fantomas? I like to say it the French way.
I pronounce it many ways.
Your upcoming collaboration with the Dillinger Escape Plan is being eagerly anticipated by metal fans
everywhere. What is it that attracted you to Dillinger? Will the album be released on your label, Ipecac?
First of all nothing is confirmed. [Note: I guess that was internet rumour B. But it was from the official
Dillinger website. Hmm.] They asked if I would consider doing vocals on an EP with them. I said I would
consider it. That is all so far. No idea when it would/could happen or what label it would be on. Very
premature for that kind of talk. I love that band! They are great musicians and great guys. I'm sure if it
does happen it will be a major label bidding war. It will probably be all pop songs!.
Besides Dillinger, do you have any other favorite metal bands currently? Actually... while we're on
the topic... I realize you probably get asked this question constantly, but what groups/artists in
general are you listening to now?
I do hate this question. I listen to a lot. Sigur Ros, Sade, Melt Banana, Enon, Chicks on Speed, Bob Wills, etc.
While you're still annoyed from that last question, I'll go ahead and ask another oft-repeated one...
who are some of your influences, both on your composition and on your vocals?
You are on a creative roll!
Is your composition process solitary, or do ideas in your bands (Bungle, Tomahawk, Fantomas) get
developed by a single member and get shown to the rest of the band as an almost complete product?
Different bands that I am in work differently. Bungle is completely collaborative, Fantomas is mostly me,
Tomahawk is mostly Duane. But the process changes from record to record.
At the recent Fantomas show in Vancouver, there was a "significant female presence." Has this been
pretty standard around the world on this tour? Is it strange to have a more balanced audience? In fact,
does the audience at your shows matter to you at all or have any bearing on your performance?
Of course the audience matters!!!! Without an audience we would not tour. We love the ladies! Trevor
is not married!!!!
There seems to be a pretty obvious connection between your enjoyment of noise music and your
transformation of traditional word-based vocals to pure sound. Has this different approach to vocals
changed your approach to lyric writing? Does the sound of a group of words take precedence over
the literal meaning of the words?
Everything is based on sounds. Instruments make sounds, the voice is an instrument. Most times the
music dictates what is needed. Sounds can convey feelings as easy as words. People are so used to
being told how to feel through art. A lot of people feel the need to understand. I don't get that.
What do you do to insure that your range-stretching yelps and screams don't do any damage to your voice?
You have a new band, Tomahawk, which features the guitarist from the Jesus Lizard, bass player
from the Melvins, and the drummer from Helmet. Along with playing with all the other bands we've
mentioned, you're running the Ipecac label. Why so busy suddenly? Are these projects going to be
continuing bands, or one-time ventures?
I am a multi tasker. You don't even know half of the projects I'm working on... project with DJ crew the
X-ecutioners; project with Massive Attack and Prodigy people; etc. Plus I don't "run" the day to day
business of the label, my partner/manager does. Fantomas, Tomahawk, Peeping Tom and Mr. Bungle
are full time real bands. Staying busy is a lot more interesting than writing a book, for me. •
1 Montreal came alive (as it ahvays does, time
and time again, no matter how shit poor they
are) this past May for the Mutek festival of
experimental electronic music—covered in the
July Discorder. During Mutek, I had the
chance to interview many artists, including
original Vancouverite Tim Hecker, aka Jetone.
Along with Canadians Tomas Jirku and
Mitchell Akiyama, Tim is redefining the dub
traditions of experimental and minimal glitch
beats and ambient soundscapes. I met up with
him at the SAT Gallery on the third day of the
five-day festival and after seeing him perform
the previous night. We sat outside on Ste.
Catherine's and watched Montreal's mid-afternoon night-life swing into gear. Tim lias a way
of agreeing with you and telling you to piss off
in the same sentence. Quite incredible, really.
We talked about live laptop performances, his
despisal of Herbert's philosophy, and Mille
Plateaux. To facilitate reading, the interview
has been divided into numbered aphorisms
with titles taken from The Gay Science.
2001:   Of   the   Jetone
finding  the  correct  juhtone
14 november 2001 LTJ Taking Seriously. How do
you correctly pronounce "Jetone"?
There is no such correct pronoun-
I would go "J(g)uh - Tone" not
"Je'tone," that's how I conceptualized it in my brain. Since living in
a French part of the world it's
been adopted "Je'tone" more
often. Yep.
Does it mean anything?
Ayah, it kind of had a play on
words for me, jet tones and like
sounds of like, real loud noises,
and things like that. It was also
kind of a rip-off from a film production company based out of
Hong Kong.
Is that Jet Li related at all?
No, I think it is Wong Kar Wai's
films. Something like that. Yeah.
J Homo Poeta. Your performance last night went through
this whole melange of sounds. I really felt a classical ambient influence in mere. Do you have classical ambient vinyl lying around?
My head is always in that space. You can give the obvious references
to works like the classics in that genre like Aphex Twin's Works
Number 2, things like that. I'm more influenced by stuff lately like
Gas... a lot more things with a texture to it and a lot more abrasive,
like Christian Fennesz, some of the Mego artists, and even old skool
stuff I was into when I was a teenager like My Bloody Valentine... I
strive for all those types of elements. I can't explain it really.
Your performance was really neat; you started off with some beats,
they were really well cut, you did a couple of reversal techniques
and drops with the beats, and then you sort of moved out of the
beats and into ambient again. I got the feeling that instead of just
working with a patch, I'm going to show you all of the places I
can go, in terms of my releases and so on...
I kind of wanted to play a few tracks, instead of showboating all of
my styles, I wanted to do something a bit cohesive, and so what my
live set ended up being was just loading a bunch of sound files, and
I could drop them in and out and process them as I wanted, and 1
felt that these beat-oriented tracks were good for a little while, but
that it was time to drop it out. So I processed my way out of it, slowly... and then left it empty for about 20, 30 minutes, and just drifted
off into ambient world. I had a hard time, you know, basically figuring out whether I should put—what would be suitable—I didn't
let it ride out for too long.
[4] To Harm Stupidity. I didn't see [Rechezentraum]. I was out in
the lounge drinking. You get to a point in these festivals where you
just don't care anymore about most of the artists.
It's only Thursday! It's the second day...
I lcnow, but I have to save myself for the weekend—I've got a little
priority. I thought Matmos was cute, but they had these sort of windows of improvisation, they had these pre-ordained parts that are
basically—you could hear these flutes and saxophones, you could
tell that these are samples that are done and pre-set and just loaded
and ready to go. So it seemed like they had segments of improv and
segments of pre-set programming. It worked nice, it was a "cute"
kind of show, with all of their probes and cameras.
So what does "cute" connotate for you?
"Cute"? Well, it's like a quirkiness, a playfulness that a lot of people
don't have. Yep.
Do you think that they are up there with Herbert? Do you place
Herbert on a pedestal....?
No, no, not at all. 1 find [Herbert's] philosophies about music completely outdated and boring and traditionalist. 1 don't listen to his
music. I think he does nice "house" but I don't—demi-god? Not at
all. I mean, it's more industry hype bullshit basically. That's just my
I.5J Being Profound and Seeming Profound. If his philosophies
[Dogme-styled music making] are outdated, what would you say
is an emergent philosophy that would make Herbert out of date?
I don't know... that's a tough question... contending philosophy—
but it is not like his was the one that ruled before. I don't know if you
are familiar with his belief structure, he has this doctrine of like,
"You should use a sample once, you should never use it again." All
of this, all of these ideas he puts out from what I have read
are kind of futile quests for some sort of purity. This is the
idea that, pure samples: pure sounds, and I come at it from
a completely opposite perspective, I assume that my samples are contaminated, and the more contaminated the better, the more filled with segments of memory, melodies, and
bits of sounds from other pieces the better. I relate what I
do to—I think Jackson Pollock did these inkblot paintings in
which he... he had a stack of Japanese paper, and he threw
ink over them and kept pulling them off, and each time he
would start a new painting he would already have four previous works that would soak through. So each piece was
contaminated by all of the other works. There was no isolated work that was pure, and removed in and of itself. So...
I mean that would be the sort of rebuttal to that kind of idea.
Does that make sense to you?
It does quite a bit. I was very interested in that because
everyone is all wanking off about his new—he is trying to
make the musical equivalent to the Dogme-style of filmmaking, blah blah blah...
It's total bullshit, to me. But, whatever. Everyone has their own
way, it is good to have ideas about what you do, you know.
[oj In Media Vita. What do you think about Kid 606's comments
about minimal techno being totally dead?
He's trying to do minimal techno right now, he is trying to go in that
direction, but I understand his sentiment, it is kind of cannibalizing
itself right now, I don't really like minimal techno as a general blanket statement. There are particular artists which I like, Cologne
[Germany] artists mostly. Most of it, I am not that into it. Minimal to
me equates being boring.
lAt this point, a vehicle cruises down Sic. Catherine playing loud '80s
Glum Rock. We both look at the sunglassed dude toho is YELLING along to
the lyrics in leather with the top down. In Montreal, the '80s never died. 1
'Citess minimal techno pales in comparison with glam rock.]
Man that guy is rocking. OK, Mille Plateaux, you were talking
about Jackson Pollock, do you follow the theory behind that label,
in terms of it being named after Deleuze and Guattari's book of
the same name?
Sure, I'm a student in critical theory. I've fully read all of [D&G's|
essential works and I understand what Achim [Schezpanski, Mille
Plateaux label founder] is writing about. Sometimes I disagree with
certain things, but I think that ultimately what he is doing is a positive thing, trying to think about what is going on, and that is a good
[9J Thoughts. He is practical and, uh...
He puts his rhizomatics into the real world and turns it into a
moneymaking venture that keeps him well fed, I assume.
by   tobias   v
\_3 J Excelsior. At this point the discussion gets technical and 1 ask Tim if
he was using Logic Audio, a sequencing program environment, and he tells
me yes, he ivas. "It had a whole chain of processing programs, like granular freezers and things like that, so it wasn't really just like playing tracks
straight up." This allows Tim to be quite flexible in his live performance—
an anomaly in electronic music. "I could drop things in and out, no problem. I could throw things in, throw things out. I could run basically on
samples and the possibilities of sampling samples, and sample them continually, create these internal feedback loops, I could just play off what's
being generated itself for 20 or 30 minutes. "This begs the question of what
he thinks about live versus not-so-live perfo
Is it important for you that laptop perfc
somewhat "live," these days? There seems to be a bit of debate,
people are like, "Oh, they are just pressing play or watching their
DAT or letting a sound file run." What's your take on that?
I kind of oscillate between "It doesn't matter"—you could just put
on Chess Master and play chess—or, actually have a real live performance. There is just so much in between the complete chaotic...
if you leave a set that is just completely left to improvisation, there's
the likelihood it is going to sound like shit, because you can't do
what you want to do. It is such an abstract concept, [my live set] is
partly based on a rehearsed, pre-ordained direction, but having said
that, there is just a wide open margin of interpretation that allows
the way I set up my live set. You can tell people's live sets that are
just pressing play, muting and unmuting loops, I think it is absolutely boring, it's a terrible thing to see and I despise most "live" electronic shows because of that. It bores me to no end. Yup.
Last night there was Matmos, and Rechenzentraum. So what did
you think of Matmos vs. Rechezentraum? One that was quite
live—Matmos—and one that was a DAT—Rechenzentraum.
[bj Herd Instinct. Do you feel that there is an energy in
Montreal right now? I come from Vancouver, and there is
nothing going on like this.
I grew up in Vancouver, and I kind of left, but I stayed here
because of that reason, things were happening... there isan
infrastructure that supports that here, whereas in
Vancouver there is nothing [Maybe now, after Refrains and
New Forms, things will change—tv.]. You go to a festival
like this, you see artists, who are incredible, and instead of
seeing some dude who is playing on some bullshit rave
machine, it sounds terrible—you think OK, I can do something better than that, and it is incrementally better.
[7J The Fool Interrupts. It is somrwhere around this point
tliat I forget who I am interviewing. This liappens often, actually,
and especially at festivals where I liave not slept, yet, liave imbibed
vast quantities of cheap dejeuner eggs, beer, and joints. Staring
into Tim's face, the only connection I can suddenly make is tliat he
is the roommate of an old friend of mine. Quickly, I recover. He is
What is Michelle Rainer like as a roommate?
She is OK, she's clean in her aesthetic but she doesn't do
her dishes, and I find that this really bothers me.
What sort of roommate are you?
I'm the non-existent roommate. I don't see her very much, I
keep to myself. Yeah, basically, yeah. So we've drifted off
! land? [He gives me a quizzical look. Again.]
[10] V
| We Fearless Ones. And this is where I -wanted to say something
smart, to spark a good philosophical discussion, but right at the verge, BAM
I am shut down. 1 begin telling him how awhile ago I 'was talking to Seth
Horvitz, aka Sutekh, and how he has an upcoming album on Mille
Plateaux. And so explain how I was talking to Sutekh about the
philosophy, and how he liasn't read Deleuze and Guattari, and tliat
he isn't really into it from that perspective. I wanted to know if
Tim thought about these ideas while he tvas making music.
Do you think about the deterritorialization of music and
go, "Hmm, I wonder what I can sort of do," in terms of the
process of making music?
Nope, not at all. It's not to say that that doesn't round-about
affect you. It's not like you read a fucking book and think,
"Okay, I want to do some fucking philosophy that relates to
this chapter," it's just you've read it before and your brain
has been altered by it, and it just kind of changes itself. It's
like once you've read Nietzsche it's poisoned you forever.
There's nothing you can do about that. You are tainted for
good. And it's not like you are trying to make a track that
sounds like The Gay Science. That would be retarded and it
would be the biggest disingenuity you could do to
Nietzsche. Nietzsche works within you.
I respond to him that I get -what he means. But secretly, in my
head, I already am preparing the opening loops for a track called
"2001: Of Tim Hecker."
photos   by   lori    kiessling
J In Favour of Criticism. A friend of mine was saying
that you don't even need to read Mille Plateaux, because
you are already living it.
No! What, the book? Well, it's an indispensable text, it's such
a relevant—to now, it's not the doctrine of exploration of all
details on the Earth, but it's a great sort of life-guide it's
essentially a work of romantic mysticism—that's what it has
been called—and I think that is true, and beautiful in a time
when pragmatism has completely encapsulated the world.
It's someone who dreams about other ways. And thinks of
idea systems that can accommodate those thoughts. You can
dis it all you want, but it doesn't mean shit to me, basically
]siren gets loud] and I think that's a positive thing.
112J What one should learn from artists. Do you find your
music approaching that possibility of escape, or opening
up any sort of spaces, for that sort of thing?
Well... not really. For me, it's just more of a meditative purpose. The music—cheesy cliches about, you know, affecting
somebody—if it affects somebody, then that's good. I don't
believe in doing just some cold noise that's completely
machine-like. It's finding a balance between all of these
things. You can't explain how you work. You just do it. You
can try to explain it in retrospect, thinking back and trying to
analyse yourself, but, whatever.
[13] T
J Tlie Madman. That's pretty much what Matmos said
too: "Uh, whatever."
Thanks, tobias.
[Uh... whatever.]
Out now: "Ultramarin" on Force Inc.; "Ginotopia" on Meow 12,
the Tigcrbeat 6 compilation: cm album on Alien8 will also be out
soon; and some tracks for some Mille Plateaux compilations. Tim
will be playing in Vancouver at the Video In on November 9th.
Check for more information. How did you guys all meet and why is Almost Transparent Blue
Masa J Anzai: We all know each other from music school. VCC.
King Ed campus. That was a while back.
Kelly Churko: Vancouver Community College. '94 to '97 we were
there kind of overlapping. I was there the first year and then Masa
came and then Skye came after.
What did you guys study?
Skye Brooks: Jazz. Traditional jazz.
All of you guys play in different outfits around town. Can you
mention what those are?
K: I'll simplify things for myself anyway: I play in another band
with Masa called Hospital—that's our noise band—and Masa and
I also play in another band called Eye of Newt Collective which
plays at the Blinding Light once a month doing soundtracks of silent
movies, and also doing things on Tuesdays here which are
organized by these guys. What about you guys?
M: Right now... 1 don't know.
Do you lose track? That was going to be one of my questions: is it
difficult to focus creatively when you spread yourself out like
that, or does it keep the momentum going?
M: Not really. I guess lately this past year I've been dealing with
Have any of you ever been in just one project or is this how music
school culture goes?
K: We just like playing with each other. We like playing a lot—all
kinds of things.
M: Yeah, I wouldn't be satisfied with just one thing. It just wouldn't
satisfy my tastes.
K: I think you see that happening a lot though, in a lot of different
scenes in the city. You see a lot of different people being in a lot of
different projects. But it helps when you're theoretically educated. I
mean, I don't think that's the be all and end all of being a musician
'cause it's not at all, but it helps to facilitate ease of communication
of different styles of music: if you can read music, you don't have to
rehearse as much.
I don't know how long ago it was that you were all formally
educated, but has music changed for you since you started
thinking about it in those terms?
S: I play a lot more technically challenging music now as far as my
bands go. Before I only played rock 'n' roll based music and I would
be the drummer in a band, and yeah, I would be in one band only,
and I was in one band for years and it was kind of a punk rock band
and Masa and I played in another incarnation of that band later on.
Then I went to music school and I met all these ai
genealogy of it. Do you guys think that that kind of energy, not
necessarily fuels the music, but that you can read that energy
investing itself in it?
S: You can feel it. When I play with someone, I can really feel if
they've ever really been into that kind of thing or not. You can just
feel if there's something there. Like, I played with this bass player
the other night from Berlin, Trevor Williamson, and I'd never played
with him or met him before and I could—I mean, his bass was
covered in stickers, so it was kind of a giveaway—but even aside
from that I could tell, even though we were just doing free improv,
I could tell he had played that kind of full on music before, even .
though we were doing nothing that really sounded like that.
Is it something that can actually be understood in terms of the
notes, in that kind of positivist way, that you could actually notate
it out, or is it something else?
K: A feeling. What do you think?
M: Yeah, a feeling, the camaraderie, it's always going to be different
with different combinations of musicians. You can't really notate it.
K: I think you can hear that in Almost Transparent Blue, you can
hear the punk genealogy. Like, I wasn't so much into punk, I was
more into thrash, but it's the same kind of thing, but you can hear
that in our music, and we have that camaraderie as well. I mean, we
A-ir ffl 0  S  t
I        F-i'TJr-ft
freely improvised music which is the more main focus of the
Tuesdays here [at the Sugar Refinery]. I was lucky enough to do the
Time Flies thing in February which Coastal Jazz and Blues put
together—I got to play with musicians like Wayne Horvitz from
Seattle and Gino Roberts, a percussionist from Oakland, and I just
got back from the States playing with Ron Samworth and Dylan
Van der Schyffe.
What was this Time Flies thing?
M: It's a meeting of eight musicians in different combinations over
like three or four days. So yeah, I got to play with Paul Plimley and
Peggy Lee. So that's been good.
What about you Skye?
S: As far as regular projects or bands that I play in, there's one, Little
Stitches, and it's an improvised bass band—it's kind of electronically-influenced. Then there's another new band I play in, kind of
swing bass jazz stuff. Then I have my own band where I play guitar
and sing, too, which is really the one I'm concentrating on right now
and that band's called Vague Demons.
who had a really wide variety of tastes and were into lots of different kinds of stuff.
M: It all kind of works together. It comes out in every situation.
It expands your knowledge.
K: I grew up playing music. I've played music ever since I was five
years old because I grew up in a family of musicians. I grew up in a
family band—we traveled around Canada playing country music
when I was a kid. I grew up playing classical piano my whole life
until I went to VCC—well, you know, when I was in high school
I started playing like Slayer guitar—I loved thrashing—then I went
to VCC 'cause I wanted to learn how to play and I think I actually
got worse [everyone laughs]1. Technically. They had to fix a lot of
things, technically, so it was like starting all over again. But then
I discovered a lot of cool music when I was going to music school,
and these guys got me into a lot of different things.
You've all mentioned punk or metal. I have this really idealistic
bias that lots of bands that I like that don't actually play punk
music used to be punk, and I think that I can kind of read the
play with all different players, but we play with each otJier a lot,
and we like playing with each other, and we like each other. That's
part of the punk thing too, I think. It's not just showing up, doing a
gig, reading your music and then going home and taking your
paycheque—like, we love it, right? And we work as a team.
S: It's a collective.
K: That's the key to this band. We didn't want to have just like one
guy doing everything. We work as a team, and that's kind of the
punk thing too: hopefully, everyone helps each other out.
Do you think that, aesthetically now, that it's one way to make a
turn towards—I mean, in a strange way because to me now,
"Punk" capital "P" is a really narrow, confining thing—but do you
think that taking that energy is (
an open creativity in a lot of v
your music.
M: Yeah, I guess. Some of the n
r elements of improvised rr
something that people who have experienced a heavier land of music
are more open to, or they can understand it a little easier somehow.
16 november 2001 Yeah, because in your music there are these fairly, I'll say, legible,
traditionalist jazz motifs and then things really change, and that's
what sets the music apart. How is the music written?
S: All the tunes are written by one person. A lot of the tunes on the
album were written by Kelly—I got two tunes and Masa has one.
Masa has another tune that couldn't fit 'cause it was so long.
M: There are written parts that we go through, and then sometimes
there are segue parts that are left free, but then a lot of it is realizing
cues, when to come back, a lot of eye contact.
K: But sometimes the lines are blurred though, partly because we've
played together for so long, and because we played the material for
this particular CD for like two years—it's been a long time—but
because of that, it's a lot easier to blur the lines between improvisation and composition.
M: And I find that one of the more interesting aspects of this kind of
music is the segues: when the music sections change, how's it going
to change? And how is this going to happen?
S: Because you can make it as spontaneous as you want to make it.
There were things that we did in the studio that we never performed;
the songs took on a new thing. So, one of the great things about the
experience of recording that album for us is that there were some
moments that we got that were spontaneous, truly spontaneous.
absolutely fucking fantastic. I love the music; it was recorded, in
my opinion, very well. I love the way you guys mixed it, everything—top to bottom.... Regina?
K: Everyone wants to know [everyone laughs]. I was working as a
recording engineer in Regina at a recording studio for the last eight
months, and it was a really good studio and because I worked there,
I figured I could get a pretty good deal. So we were talking about
recording out here, but I would have had to fly here and fly back,
and also I would have had to take like two or three weeks off work,
so it was more economical for these guys to drive to Regina like in a
day, then we rehearsed for two days, then we recorded for two days,
then we mixed for two days, then we drove all the way back. I was
working at the studio but because the music's live, we had to have
another engineer, John Gasparic, and he's one of the other guys who
works there, and he's this really nice guy, and he put in extra time
after the day was done to help us record our album.
M: And it's a really nice studio.
K: Yeah, Touchwood Studio in Regina.
M: Direct into the computer.
You guys went digital?
K: Yeah, we had originally talked about certain recording concepts,
like we kind of wanted to have more of a lo-fi, sort of punk recording aesthetic to this album, but to do that you gotta record on tape,
and that costs a lot of money There was a tape machine there, but
we never used it. Pro-Tools is just so easy to do it, to get it all done
and mix, for this kind of project anyways. They hadn't seen anything like us before. They had never recorded a full band live like
that before and used all the tracks. Masa was in the vocal booth, and
Skye was in the drum room, and I was in the drum room with Skye
but my amp was in another room.
M: And then we had video monitors.
K: Yeah, they rigged up a video monitor system with cameras so
that Masa could see us and we could see him. But it was still kind of
hard. That's how we got even more of that hanging-by-a-thread feeling in the studio: I'm looking at the TV, but Masa's looking at the
camera, so our eyes aren't meeting. But it seemed to work. We had
a couple train wrecks in the studio.
S: By the time we got home, Kelly and I had been up for forty hours.
It was the most insane I've ever felt, 'cause we had worked so hard
and then we drove all the way home.
The drums sounded really good. What kind of mics did you guys
K: Well, on the kick drum we used a Shure SM-91 which is a flat
mic, which went inside the kick drum, and then on the outside we
had a Beta 56 which is a Shure mic as well. Then we had stereo mics
overhead which are AKG C-414s. One on the ride, which was another condenser mic.
S: Two on the snare: one on the bottom, and one on the top. And
then one way back in the room to capture...
Yeah, you can sense that. The great thing about jazz recordings is
they've always understood the idea of that ambience.
K: Well, filling the space, you know? Because the sound changes
when it's way out there. But, you know, they'd never recorded
drums like that either, the studio where I work—we replace all the
drum sounds. A drummer will come in, he'll play his tracks and
then we'll take his tracks and just put in samples where he hit. But
with something like this, I mean, they wanted to start tweaking shit,
and it was like, "No, man. That's how it's supposed to sound."
So you work in Regina at this place?
K: I did, yeah. But I'm moving to Japan next week.
Well, what's going to happen to the band?
K: We're, uh, taking time to write new material [everyone laughs].
S: I hope—I think we all hope—that we're going to play festivals
next summer. We're gonna try to get in, we're gonna try to submit
stuff to Victoriaville, obviously Vancouver Jazz Fest, maybe
What kind of influences do each of you have personally and/or
what kind of aesthetic influences this band?
S: The Boredoms, Mr. Bungle, Nomeansno.
M: Punk's definitely in there, especially the heavy parts. A lot of the
tunes are Kelly: very heavy, rhythmic, from metal.
K: First of all, what do you hear as influences?
There are these really tight, single-note passages where you and
Masa seem hooked up and they remind me of Uz Jsme Doma a
little bit. Do you guys listen to them?
K: Well, not regularly, but I think we all like them.
M: Yeah, Uz Jsme Doma, Zappa.
And then, some of my favourite parts is when you guys are doing
the really abstract things, like when you really stretch time out
and the song takes two minutes to build up and get going—that
takes guts. I love the kind of restraint that takes. I sincerely think
that silence and quiescence invested into this kind of music is still
one of the most radical things that can be done, and it takes a great
deal of discipline to restrain oneself from getting into Les
Claypool jam time.
S: That's taken some time, I think, for us to be able to do that, for
sure. I've noticed that we've all started to realize the importance of
that in the last few years. I didn't notice that in playing with people
right away, and in myself, too, the importance of leaving space and
letting the music breathe, and giving other people space, and where
you're fitting into the music.
What about you on the saxophone? There are a lot of sax giants
that I could possibly hear in there.
M: Oh, god. Obviously, John Zorn is a big part of my development,
I guess. Maybe too big—I'm trying to shed it. I don't really listen to
that much sax.
S: [Ken] Vandermark, Ornette [Coleman].
M: Yeah, Vandermark, all that stuff, Ornette, it all comes in there.
S: [Eric] Dolphy, too.
M: Yeah, Dolphy, yeah. Pharaoh Sanders. But you know, the tune
that I wrote for that CD, at that point I was listening to a lot of
Pennywise, and Bad Religion—that was what I was into at that time.
Skate punk stuff.
S: Yeah, the fast punk tune on the album—that really short one—
M: I grew up, like Kelly, I started on classical piano, then got into a
Metallica cover band playing guitar—I was really into metal. Right
now I listen to pretty much nothing but metal. Progressive hardcore
Do you guys like Zeni Geva at all?
K: Well, we did a show with KK Null and...
Fuck off!
K: ...and Masami Akita from Merzbow, they did a duo, we opened
up for them in Tokyo one time in Hospital. That was like two years
ago 1 guess. He's a nice guy, real nice guy.
Anything else you guys want to talk about before we wrap up
K: Well, getting back to the influences thing... like Masa says, he
doesn't really listen to a lot of sax players, but also, as a guitar
player, I don't really listen to music for guitar players. I've always
just listened to the whole band and that's always what I've appreciated, more than individual virtuosity. I've just appreciated bands,
and that's what we really hoped to achieve with this band is to
achieve a group unit—nobody stands out. We play together and we
work together and that's the concept, that's the focus—it's a group
effort. And hopefully we have a balance between all the players, and
everybody gets their moments to speak, but also can pull back and
let the person speak or people work as one solid unit. And that's the
music I've always liked to listen to, even though it may be
composed by one person like Naked City, John Zorn's band, still it's
a band, that's the point. He lined up those players to play his music
because he knew that they could be a good band and that's what
I've always liked is good groups rather than good players. •
M: And that's very exciting to me because it's full of so much tension, you just don't know how the hell we're going to get out of this
section, and then all of a sudden, "bang!", we're there, and that's
very rewarding when that happens.
K: I feel the same way. When we're playing live, we all know where
we're going, but we don't know how we're going to get there and
that's, I feel... we're always hanging by a thread. Always. And that's
the most exciting part, and hopefully the audience can feel that as
well in the live show, and I think they do, I think it does translate.
M: Yeah, as a listener, I like that a lot when a band does that.
K: 'Cause I'm on the edge when I'm playing, I really am, but we
trust each other, we trust that we can pull each other out, and we
always have.
M: Some of your tunes have been tried before but...
K: Some of my tunes have been tried before but couldn't find the
guys that could play them right. That's why we started this band--
we knew that we could trust each other.
Let's talk about the record for a minute. The record sounds
(il h e n
-song 1 s—-a-
b y~
DiPasqua i e
i7tsS?§aBissi uRsula rueker
Poet, musician, public intellectual, and hip hop Mommy
I had to get up earlier then usual to get to CiTR to record a phone
interview with Philadelphia spoken word artist Ursula Rueker.
Normally I'd be swearing to myself and scowling at my bus-riding comrades, but this morning I was more wired than tired and
looking forward to speaking with one of the most exciting voices
on the hip hop/spoken word scene—the ultra political and poetic
Rueker. You don't know her? You do know her. Her poems close
each Roots studio full-length album; her voice floats upon the
transfixed beats of Jazzanova, 4-Hero, King Britt and others and
now... each track from her debut solo album Supa Sista will not
leave my head. But it was through the Roots albums—through hip
hop—that I first heard Rucker's voice and so I when I first heard
her voice on the phone—much softer and less assured than when
on record—we started off by discussing—what else? The beginnings of hip hop.
At 34, Rueker was becoming a teenager in Philadelphia just as
hip hop (or rap) was fusing itself from all the diverse styles in black
music, spoken word—basically the oral/kinetic tradition. I asked
Ursula about her experiences sharing adolescence with hip hop,
and she confirmed by saying, "Hip hop was a big part of my life,
'cause that was pretty much the main influence on me and my
peers musically and culturally at that time. I remember being hospitalized for three and a half months when I was 14 as I had surgery because I had scoliosis. I couldn't keep my radio there with
me, so my mother brought my radio every Saturday, so I could listen to hip hop." She repeats, "You know, it's a big part of my life."
I dig deeper for more tales from back-in-the-day, and Rueker offers
a brief example of hip hop's maternal roots; "There was an all day
hip hop show here [in Philadelphia] every Saturday, and all the
kids would carry their boomboxes around outside, get cassette
tapes, and tape the show which was hosted by Lady B. She's pretty renowned here, at least for doing that at that time. [As] she was
the host, everybody connected the show to her." From the beginning of the Philly hip hop scene and right into the here and now
there continues to be many kick ass women representing.
I asked if, from her vantage point of being roughly the same
age as hip hop itself and having lived her life in a major American
urban center, she had observed a far greater power balance and
more respect between the sexes in hip-hop during its puberty.
"Um, I wasn't really thinking about that at that time," she laughed,
and then said thoughtfully, "looking back, yeah, women didn't
have to strip, you know, or talk about any kind of suggestive thing
either. They were just seen as dope lyricists and MCs like everybody else. The Real Roxanne, Roxanne Shante... everything was
just ditfereut, sou know? It had a different purpose and a more
meaningful purpose in terms of hip hop being a culture and not
just some music to be on the radio."
This little morsel made me even hungier and the women's
studies major in me took hold, I couldn't help but ask if Rueker
linked the shift from female positivity into female objectification to
capitalism infiltrating hip hop? Rueker was
/ay. That's not the only reason though
I was thinking about he significance of
a the title for the introductory track on her
album, "In her Elizabeth," written and performed by Daniel
"Gravy" Thomas. I brought this up, and Rueker offered me another glimpse into the rich herstory of black women's communities: "I
think it's a pretty obscure historical note. Daniel had to tell me
what Elizabeth was, because I didn't know either. Elizabeth was a
social community or social club for Black women around the time
of the Harlem Renaissance, and it was somewhere they went after
working, you know, say, in white people's homes all day. Kind of,
feeling displaced throughout the day and then they went and
joined together, they found a place together to strengthen themselves and celebrate themselves, in this place called Elizabeth."
The obscurity of black women's history in CanAmerica has
been obscured by the heavy cloak of white supremacist capitalist
patriarchal history, and throughout Rucker's album she moves the
mantel of lies aside to expand black female subjectivity. It is not
incongruent with Rucker's femcentric philosophy, though, that this
piece of women's herstory—that of the Elizabeth Club—was
offered to her from a male friend; Rucker's poetics naturally
accepts and celebrates, even as it challenges, the roles of black men
in her community. She elaborated on this theme in a discussion on
sure in her reply: "In a b
but it's one of the big 01
the name "Elizabeth" i
the importance of the family she has made with her male partner
and their two sons in response to a question I asked her about the
4Hero-produced track "7," which deals with the straightforward
tale of falling in love and trying to make it work:
I wondered if "7," evoking the biblical creation myth, also illuminates an actual moment in herstory when women were overcome and subjugated to men, so I asked Rueker about the accuracy of my interpretation, and it turns out that I had failed to factor
race into my hypothesis, and not that I was "reading too much into
it" as a friend had suggested the night before. As Rueker pointed
out, it is poetry after all and I can hear/read into it any damn thing
I want to: "I wouldn't say that you were reading too much into it,
but that [idea of a women struggling to experience heterosexual
romantic love outside of patriarchy] wasn't my intention. But,
again, I love when this happens because it confirms the idea that
art is open to interpretation, that it works on many levels. But
[what you're interpreting] is interesting. I did have another intention besides just discussing the love relationship between a man
and a woman. I have issue with America thinking that black families can't thrive and exist and be full and together, so ["7"] is a kind
of commentary and celebration of one black family, which is my
own, that fought and struggled and stayed together despite the
odds, despite the statistics. Not willing to be a statistic. Because
years and years ago I was in college and I saw a documentary
called "The Vanishing Black Family" and I'll never forget it. You
know, they just showed a lot of single women, a lot of families that
were headed by a matriarch, and a lot of black men kind of
absconding without responsibility, and it's not always like that.
There could be another way." And Rueker is living it. When she is
on tour, her partner looks after their kids: "You know, I'm really,
really grateful to him because he really supports me and I can't
honestly say that I would be supportive if it were him going out on
the road all the time. He's a different kind of bird." Even with a
partner to share the immense responsibilities of parenting, mothering takes up a lot of time. Could motherhood account for the delay
in releasing her full-length album? Or was Rueker wanting to wait
while she further honed her craft? Rueker responded, "I guess, you
know, until now it just wasn't the time. I was signed to a label at
one time and got dropped. So I thought it was going to happen a
couple years back and it didn't. I just kept on going with the daily
routine, and then !K7 popped up, and they showed interest and we
looked into them; their company; at the way that they represented
their artists, and figured that they would be a good place for me to
be and we took a chance. And everything's been good so far."
In an interview that I had read online she discussed the different tensions at play when performing pieces like "Song for Billy"
live [a brutal story of a baby girl, not yet a toddler, who is pimped
out by her addict mother as payment for drugs], so I asked her if
she would discuss this and she acquiesced. "Um, I'm never quite
sure how it's going to work in front of an audience, it's always different, and sometimes even when you're done you don't know
how it was received. Some people, some audiences are vocal, and
some aren't, so you aren't quite sure how it fell, or if it fell at all.
And so it's always just like a crapshoot, which is fine, because it
always keeps it fresh. But yeah, to do things like "Song for Billy, or
if I ever do "Return to Innocence," which was the last piece on the
last Roots studio album..." I interjected, "That's not in your live
repertoire right now?" "No," she continued "because it's the hardest thing for me to do, that one, because it is, like, ultra personal.
It's difficult, it's difficult to expose yourself like that publicly in
front of an audience."
What can we expect from Rueker when she plays Vancouver
November 6? "On tour I have three musicians with me, Tim
Motzer, who has some cuts on the album, is on guitar, Phillip
Charles is on bass and he has a track on the album also; most of the
album was engineered at his house. And Jim Hamilton who is a
percussionist. So it's very intimate, and it's very complete at the
same time, even though there are just three musicians and me. I
used to go out with just me and an MPC containing my music. My
friend Rob used to push his buttons and do his thing and it was just
us and it was all about the spirit and the intention and the sincerity and I don't think it matters if there are nine or three or no musicians, it's all where your head is at and how you put it out there."
After having listened to Supa Sista a great deal (because it is
fabulous) I would make an analogy between Rucker's work and
the work of somebody like bell hooks: at the same time very original and extremely intelligent, and yet the language and ideas are
totally accessible. Although accessibility isn't first and foremost in
Rucker's mind when she writes, she does see it as "very important
that the ideas are accessible. So that people don't feel alienated,
they don't feel that the ideas are too lofty for them to get with or
understand. These are common human experiences for someone,
maybe if it's not your experience you can still appreciate it and
respect is and understand, that's important, it's important to everyone to connect at this basic human level— that we persist. Because
we get so caught up in everything that is going on, in technology
and the media and we forget to really connect with each other."
Currently, Rueker is "getting through this tour," doing another
track with Jazzanova, and working on a book of poetry. Don't miss
her and her band kick the shit out of Richard's on Richards on
Tuesday, November 6.
From "7:"
Day world is yours
Whose world is this?
It's his
Do you remember the sweet surrender?
Do you remember that sineet surrender?
yeah, you better
Now, I urns born a slave, a rebel, an inherent queen no thing,
situation or person can steal my birthright I came forth in the
night a force to unreckoned with you sure you want to get with
Some may attempt to falter my steps...knock me down...but lam
resilient.. A just bounce
I... just...bounce
I... just...bounce
I... just...bounce
Able to leap small minds in a single bound
Land feet first on the ground
I abound with. ..Shelectricity
Tma gonna sing my ivomansong... make you listen to me
Ursula Rueker, "Womansong"
18 november 2001 APPLIANCE
Imperial Metric
I thought that, since this was on
the Mute label, it might be
worth some attention. Sure, it
deserves some praise. Here's
some expertly crafted psychedelic pop that flirts with the
succubus of success. As much
as Appliance may share commonalities with the spooky
instrumentation of bands like
Seefeel, Scala, or Tarwater,
they also tend to come close to
that unfortunate Coldplay territory when singer/songwriter
James Brooks breathily spews
forth like a tranquilized Bono.
Appliance apply plenty of
soothing electronic effects and
organ pumping, with a bit of
guitar strum for filler in the
right places.
Negative bitch-rants like
mine aside, Appliance WILL
gather plenty of fine reviews
and wads of fans. They could be
the next Spiritualized or Verve,
if they aren't already (what do I
know, I refuse to watch music
videos). Currently, the band is
touring with Hefner. So, some
good points of reference for y'all
out there, and I think that overall this is a "thumbs up" album
and for the price, I'll let you
know it is also a generous helping of sound at 12 songs in
about an hour. This is one of
those lonely Sunday morning
type albums, not one for trying
to get the party going.
(Six Degrees)
Ol-jope's opening track, "Just A
Dream," starts out with house
beats by Ron Trent, adds Jay
Rodriguez's saxophone, some
nice vocal arrangements, West
African drums, and features
Cuba's legendary Chucho
Valdes on Fender Rhodes. To
say that this album is a mix of
genres is an understatement.
Genres aren't merely stirred a
bit on this album, they're blended so thoroughly that the result
can't be classified as anything
other than tasty. "Batidos,"
writes Jay Rodriguez of his
group's name in the liner notes,
"are  in  Latin-American  cul-
shake." And a milkshake is
what this album somehow tastes
like. The ingredients couldn't be
more varied, but somehow they
are combined in a way that
leaves a pleasant aftertaste that
is both a bit traditional and distinctly urban. The song "Dear
Neven" has hand-clapping
looped into the track, reminiscent of Miles Davis' "Black
Satin." "Tengo Sed," in my
opinion the best piece, begins
with a sample of a police siren.
At its best, this album is an
interesting experiment, taking
sounds from different cultures
and fusing them in a somewhat
unique way. The best tracks
showcase great ingenuity. At
other points, however, the
musicians stick to a less creative
format—and although they
don't sound like St. Germain
knock-offs or anything, you get
the feeling that if the Batidos
had stuck to their game-plan,
the album would have had
more staying power. As it is, it's
a good fix of catchy beats, nice
melodies, and solid musicianship that'll keep a summer smile
on your face on the rainiest of
Lucas TdS
Test Pressure
I want to say that this is experimental jazzy breakbeats. But it's
not just that. Todd Drootin
takes the time to place every
single sound exactly where it
needs to be, creating a carefully
constructed and conscious down-
tempo excursion that moves
from piano riffs to noisy soundbites. It sounds nothing like
Kinder & Dorfmeister, or anything of that sort. It's jazzy in
the sense that it plays with
sounds—but it doesn't always
have a jazzy feel or use jazzy
samples. It's "jazz" in the sense
of free-play within a structure,
and for Books_On_Tape, that
structure has been reworked
and refined into a honed and
precise craft, using pop conventions—riffs, refrains, choruses—
where today, many choose
minimalist repetition. This is
not to say that the sound is poplike or commercial; on the contrary, the result for the listener
is the awareness of an artist at
the peak of his element, playing
with standard conventions of
songwriting, performing subtle
sound mindfucks, and producing very tight downtempo
material. This is to be somewhat
expected, considering that
Drootin's music has been used
for MTV spots, among other
things. In a way, he's like a
Brian Eno or Bill Laswell,
straddling the commercial
knowledge of technical studio
production with an inherent
curiosity in the nature of sound
and music. For Drootin, this
takes the shape of oddly sampled downtempo breakbeats
that aim to engage the listener
in a productive session of inquis-
opposed to primarily satisfying
the dance floor with the worn-
out grooves of repetitious and
predictable breaks.
Any remotely sensitive music
critic would balk at the entirely
necessary task of comparing the
failings of this EP to those of
Neotropic's La Prochaine Fois
(Ntone). After all, tarring two
records by British, female electronica artists with the same
brush smacks of discrimination
against a disadvantaged minority. Nevertheless, both of these
discs use the same musical formula and both fail to capitalize
on its large potential for the
The formula is one of the
most productive in music today:
the combination of grainy, digital noise with unabashed melodic sentimentality. This is the
very juxtaposition that made
Fennesz's Endless Summer
(Mego) this year's one absolutely essential purchase for music
lovers and, indeed, all other
human beings. Furthermore, in
my defence, it should be noted
that it has been brilliantly used
by at least one female, British
electronica artist—namely Leila
on her LP Like Weatlier (Rephlex).
These records work because
they counterpoint dissonant
noises and tonal melodies in a
dynamic and challenging fashion. What becomes clear with
records like Prickle and the
aforementioned Neotropic debacle is that, if the melodic side of
the equation is unspeakably
banal, then things just ain't
going to balance out.
Mira Calix's four-part opus
(bad sign, huh?) starts things
out promisingly with what
sounds like a heavily processed
field record a la Francisco
Lopez. But then the keyboards
kick in with a faux-classical self-
importance that would make
Jennifer Lopez cringe. Ponderous piano lines and portentous
analogue synth chords kick in,
establishing an irrevocable
mood of pretentious bad taste.
This mood is only alleviated when Andrea Parker (the
first lady of British electronica?)
shows up to remix "Skin with
Me" in the "nu skool electro"
style she helped to make fashionable a few years ago. This
mix may not be the best thing
since sliced samples exactly but,
by shifting the emphasis from
texture and melody to rhythm
and harmony, Parker adds both
levity and depth to a disc that
was previously as shallow as a
puddle of piss. It also—ahem—
helps me further distance myself
from any accusations of minority discrimination that may arise,
as discussed previously in this
Returning to that touchy
theme, if we must, I've often
pondered the possibility that
the future of music could/should
be in the hands of female electronica artists. All things considered, they seem to be the
people  most  naturally  posi
tioned to produce truly original
work. The world of electronic
music is ripe for colonisation by
a new wave of laptop-wielding
fembots. Sadly, given the climate of cynicism and bigotry
that pervades the UK music
scene, they probably won't be
Sam Macklin
truth lifting up its head above
For the first time in a long time I
sat down to listen to music. The
blinding high-pitched noise at
the beginning of the CD commanded me to do so: I had no
choice but to put away my
reading, sit back in my chair,
and breathe in the subtle workings of drones, harmonies, and
barely coherent minimal beats
that pulse through a stream of
moods. As my mind attempted
to relax, it began conjuring my
imagination into spectacles of
vision: I dreamt of picking up
rocks on a windswept Northern
BC Coast, grey clouds approach
from the east—the wrong direction for weather, and then I am
chilled from the cold even though
my house is warm, very warm,
rising in temperature, and then
before I know it, the speakers
have swollen and the bleeding
noise, which was always there,
waiting to pounce, from the
dark of the trees and the forest
and the eastern wind, defying
the west, she attacks in waves,
a rising gray wave from the
ocean, back turned, echoing
redemption, rising moon where
there should be sun. All too
soon, it is over, it has felt like
hours, it has been only 36 minutes: not too long, a capturing
moment that is enough to grab
you, dissect you, and then place
you back down where you
could have been, a bit off, like
coming back to the world and
noticing one subtle thing is
wrong with it—the majority of
people are now left-handed,
say. Thirty-six minutes is a good
time. Kim Cascone and other
experimental electronic musicians are working with albums
of that length, cutting out needless sound to reduce the experience to core elements; other
artists, such as Tomas Jirku,
Jetone, Tanaka Fumiyaka, Frank
Bretschneider, and Mitchell
Akiyama, are experimenting
with track lengths of 12-30 minutes, allowing the electronic
palate—be it beat-oriented minimalism, sample-laden experi-
develop itself over time, to take
time, enjoy the time, make the
most of this time. Vancouver's
Coin Gutter dreams the
absence of horror, creating their
own time, defining continuum
not by clocks, but by elastic
stretchings of frequencies that
drone high-pitched screams,
begging, begging, for the truth
behind the scandal.
Vie Golden Age
(Thrill Jockey)
jay Douillard
Tramps, Traitors and Little
(Drag City)
There's nothing like the prospect
of yet another fantastic Chicago
jam session to fill this writer's
heart with a sense of dread (in
anticipation of the seemingly
endless, numbing tedium that
will doubtless ensue). So you
can imagine that the prospect of
a "supersession" from Windy
City indie rock label Drag City
was not an entirely welcome
one. But, damn, if this little get-
together didn't turn out to be
quite the wing-ding.
Well, this is, after all, A Drag
City Supersession and not a
Thrill jockey Supersession. That
' >'M""''
ing t(
hear a pack of slack-jav
music school grads indulging in
sterile post-Slint instrumental
circle jerks will be severely disappointed. Instead, we get a
collection of originals and
covers arranged/played/sung
with considerable aplomb by
some of American indie rock's
more distinctive personalities.
The most noticeable voice
here is ex-Royal Trux driver
Neil Michael Hagerty, although
Smog's Bill Callahan and alt-
torch singer Edith Frost also
make prominent contributions.
Of these three major players, it's
Callahan who benefits most
from the unique setting—being
forced to ride above his usual
snail's pace by the rest of the
posse, he's very nearly persuad
ed t.
is even inspired to get a little
anthemic at times.
However, it's the back-seat
drivers that steer this particular
rock juggernaut on its most
scenic diversions. Tara Key's
wild, ragged guitar playing in
particular, is a real treat. But
what really lifts this very loose-
ly-themed album above the
level of played-out trad rock is
the string work of Jessica Billey
and Matt Bauder. Their contributions make perfect sense in
spite of being (or perhaps
because they are) rough-hewn
and   disconcertingly   off-key.
From these string arrangements to the band's choice of
cover-versioas (Randy Newman,
Black Sabbath) to the set's con
cise running time, this album is
a charming and very welcome
surprise. Plus, it's got Jim
O'Rourke on it, which is still
always a good sign as far as I'm
Sam Macklin
The Argument
HEY. Guess what. This sounds
exactly like the new Fugazi
It includes: more singing,
less yelling, three women, and a
cello. It's fancy, but yes, it's true,
it's amazing.
C/insf,7 Min
junk Collector
(Mo' Wax)
Happy skating, happy birds on
the cover, happy birds singing
inside the music, rolling, rolling
on my skateboard. Brother
takes off with his camera and
comes back with shots of
jumps, flips, slides. Somewhere
the sun must be shining, happy
colour robots are dancing under
the sun, pink, orange, purple,
green, pink. Drums, bleeps, and
my brother goes out again. He
says he likes it. I do too. It's
dedicated to him;
Danish Documentary
For a band from Calgary, Hot
Little Rocket is pretty dang
Danish Documentary is their
second release and was preceded by an EP titled Laika, which I
have not heard. Those smiling
folks from Endearing Records
want everyone to know that the
latest from this four-piece
"would sound good on a mix
tape with" the likes of Blonde
Redhead and Modest Mouse.
Perhaps this is because Hot
Little Rocket sounds exactly like
Modest Mouse would if they
were fronted by a muppet. Like
Modest Mouse, they combine
cacophony and harmony to
great effect, but with added
twang. These guys seem reluctant to reveal any personal
information on their website,
and the same is true of their
lyrics, which are rich with
streams of unrelated and
obscure images revolving around
the themes of movement and
stagnation. Notably, "Vive
Death!" and "Did Yr Ship Come
In?" are the only two songs on
Danish Documentary with punctuation marks in their titles.
And so I give them a punctuation mark, as in "Hey, these
guys are pretty doggone good!"
But I also give them a question
mark, because "Why does that
guy's voice have to be so
nasal?" Hot Little Rocket will be
opening for Eric's Trip, who
will retry the West Coast leg of
their reunion tour, playing
Richard's on Richards on
November 4 th.
Sara Young
19H^§£5^2B KARP
Action Chemistry
(Punk in my Vitamins)
Before metal became hilariously de rigeur again, Karp was
doing it. The band has since
passed into the land of the
nonexistent, but this anthology
of 7"s, compilation tracks, and
other bits and pieces is a pretty
good representation of the kind
of pleasurable punishment they
dished out. And there's nothing funny about it.
(Strange Attractors Audio
Every once in a while Landing
(previously known as May
Landing) lives up to the underground hype which proceeded
this release, sharing some dark
ambient territory with Windy
and Carl and some of the buzz
we like in Bardo Pond. Oceanless
does provide a fine mindfuck,
especially over the first three
tracks, but when it comes to
songs four and five, each clocking in at just over 21 minutes, I
often get the feeling that Landing
is just building a huge sonic
wall to hide the dead body of
Brian Eno.
Perhaps if we could hang a
carrot (or a huge spliff) in front
of them, they could see a destination. Some sort of goal is
always good. Instead what
hangs is a 300 pound slug over
the head of the listener. Not a
pleasant scenario at all. Hey, I
like drone... no, I love drone,
but this gets so redundant I
can't see the light at the end of
the sewer tunnel, dig?
Feminist Sweepstakes
(Mr. Lady)
Cher—of all people—was once
quoted in US magazine—of all
places—as saying, "If Roe vs.
Wade ever gets overturned,
women will shut this country
down." Well, as we speak, Bush
is stacking the US Supreme
Court with anti-choice judges;
Attorney General John Ashcroft
advocates a constitutional amendment banning abortion; Roe vs.
Wade may very well be in its last
days. Our sisters to the south
are suffering an unprecidented
backlash against decades of
feminist progress. Dear Cher, I
never thought I'd write you a
love letter, but I'd pee my pants
with joy if your prediction came
Le Tigre have made the
album of the year this year, the
year when it is probably most
needed and necessary. Miles
past their great self-titled debut
and even further beyond their
recent EP From the Desk of Mr.
Lady, Feminist Sweepstakes is so
good I can barely get my pulse
down long enough to write
anything coherent about it.
The aim of the album, if
"Keep on Living," the final
track, is to be believed, is to give
activists the strength to continue the struggle for freedom: to
ignore the voices that tell you
you're crazy, that you're a freak,
that you never had it so good;
to "name the phenomenon"
that belittles political sincerity
while enacting repression. It's
also a call to relearn pleasure, to
enjoy your body, to savour language, to make art.
If revolutions actually had
soundtracks—like if real life
were some sort of music video—
"On Guard" would sound good
behind a crowd of women
storming the Supreme Court.
Wanna talk about internal terrorism? I got yer speculum right
here, baby.
(Jade Tree)
Why does this album have a
pink graphic that reminds me of
"My Little Pony"? 1 have no
idea, but it certainly got me
hooked. Well maybe it's actually the lack of information in the
album booklet. The front just
has the cute little flying pony
and some stars. The back tells
us the album name and the
band, and that it is on Jade Tree
records. There is nothing on the
inside. Not a word. The front
panel is just one sided cardboard. If you were paying attention you will have a great
question for me. WHERE ARE
tell you. There are about eight
songs with unknown names—
maybe they are all part of one
piece called Anaesthetic. Hardcore
gone baroque. This album
should be huge, if the kids give
it a chance. It has just the right
Dm :,«|
1D1.3FM CiTR
of hip shake and discordant keyboards. I could say
that it reminds me of Refused at
times. They even have a few
singers (I don't know who they
are because they aren't listed)
and the vocal textures are pleasing to these ears. I think they
have blonde hair, though. I
hope that isn't a problem. It
might be. Join me or be crushed!
Jay Douillard
We Didn't Even Suspect That
He Was the Poppy Salesman
(Six Shooter)
Every now and again an album
comes along so intimate in its
delivery, so idiosyncratic in its
very nature, that one feels as if
one is eavesdropping on somebody reading their diary aloud
instead of listening to an album
intended for everyone's listening pleasure.
Rheostatics co-frontman
Martin Tielli's first official solo
album (he released an album of
material that was essentially
solo stuff in '97 under the
moniker Nick Buzz) initially
left me feeling this uneasiness
of intrusion which quickly melted into a case of the dizzyingly
warm fuzzies which one gets
when treated to a bottle of
Bushmills and new songs from
your guitar-plucking friend
around the fire in the living
room. Just so happens that living room is alternately in a
house with a smiley face on it in
Toontown and in a lonely cabin
in Poe's Dark Valley of Death.
Tielli's raw yet agile voice
wraps itself around his warm
yet simple guitar lines, so seamlessly drawing the listener into
his off-kilter world of pixie-ish
lovers, junkies, frozen Polish
peasants, street kids, forest creatures, fractured families, mice in
walls, warmongers, neurotic
inner voices, schoolyard bullies
and vengeful gods that it is
more surreal than what one
would expect from something
so stripped down and simple.
(File 13)
The cover of this album is a
washed out picture of a bare
and frozen urban park. In the
centre of the image, hovering
above a grey puddle, is a bulbous, translucent orange oval
that warms the entire landscape. The liner notes are a collection of unappealing scribbles.
That cover image, however, is a
perfect metaphor for the accomplishments of Brian Tester and
Amanda Warner of Minneapolis,
Minnesota, the main members
of Triangle, who reproduce
exactly this sensation of the
explosion of something beautiful and enticing from terrain
that seems at first to be sparse
and empty. The songs all use
the same basic instrumental formula, laying a foundation with
clipped electronic rhythm and
cold noises a la IDM, then transforming that base into something thoroughly human by
adding humble guitar strums,
innocent lyrics, and the incredi
bly sweet voice of Ms. Warner
herself. All the rhyme-free ultra-
indie rock lyrics might grate on
some, and many will question
the fundamental coolness of
naming the album after a meaningless punctuation mark, but
for the most part this album
strikes an excellent balance of
intelligence without pretension,
and childlike happiness without the company of its ugly, tag-
along friend coy.
Double Exposure
(Thrill Jockey)
Roger Whittaker.
The busker who plays the
Harp on Granville.
Philip Glass.
Fine musicianship, for sure;
but who would have guessed
that the apparent likeness of
such influence would be present in a work which also boasts
the influence of comparatively
more modem composers such
as Foreigner, Iron Maiden, or
the brothers Van Halen.
Imagine, if you will, a one-
off collaboration of the aforementioned influences, complete
with flute, cello, an Italian
Crumar synthesizer, and dueling electric guitars. A tremendous "coming-together" of the
creme de la creme of synth/
orchestral/guitar instrumentation. A dazzling display of semi-
instrumental magic, soothing,
yet hyperactively stimulating,
with its abundance of axe rif-
Suki and Lisa
Evil VS Good
Alternating Mondays
Record played most often on your show:
Jerry's Kids, Final Conflict, and all things 9 Shocks Terror.
Record you would save in a fire:
Suki: Negative Approach 7", Cheap Trick at Budokan. Lisa: Misfits, Collection 1.
Record that should burn in hell:
Suki: Anything that makes a guy in a pickup truck want to mosh.
Lisa: Anything by Jane's Addiction.
Book you would save in a fire:
Suki: Something about Japanese toy robots, or the devil.
Lisa: A book of ghost stories.
Worst band you like:
Suki: Maiden and the Priest, dude. Lisa: Cradle of Filth.
First record you bought:
Suki: Alice Cooper, Killer. Lisa: New Kids on the Block, Hangin' Tough.
Last record you bought:
Suki: Lip Cream bootleg; Shark Attack 7". Lisa: Slayer, Reign in Blood.
Musician you'd most like to marry:
Suki: Debbie Harry circa '77. Lisa: Dave Gahan of Depeche Mode.
Favorite show on CiTR:
Suki: These are the Breaks, word. Lisa: Powerchord.
Strangest phone call received while on air:
Suki: Some stud that wanted a date with an Evil vs Good host, and it didn't
matter which one.... Lisa: This creepy Australian guy begging to hear Anal Cunt
every other week. •
20 november 2001 Now picture the n
while recording together over a
few day period—it was nearing
the end of the sessions, which
have proved to be laborious
and saturated with constant ego
adjustment and introspective
turmoil. Alex Van Halen had
started complaining to Edward,
his brother, and Roger Whittaker,
about Philip Glass' insistence
on playing drums instead of the
synth he had been hired to play.
"Eddie, he's gotta stop
playin' my drums. I let him
play my drums on the first
track, now he thinks he's Phil
Collins," Alex lamented. "He's
gotta go, tell him to get back to
his keyboard or I quit."
The ultimatum was considered by Eddie and Roger, and
discussed thoroughly.
How to tell the confident
Glass that the drums were
Alex's domain on this piece?
There was to be no switching of
teams during this session, they
all agreed.
But to no avail.
While Alex pondered this
predicament, Eddie Van Halen
was experiencing his own.
During the recordings, Zamfir,
the oldest and most distin-
guishably pretentious, decided
it was time for him to experiment with foreign instrumentation. While playing Van Halen's
prized guitar during one track
was enough for all the other collaborators, Zamfir, confident in
his pan-flute playing wizardry,
may have been a little too confident in his guitar ability. He
was okay. But being okay was
not going to cut it for this spectacular experiment in musical
expertise. While open and communicative during the recording process, all the musicians in
the end could not bring it upon
themselves to belittle their comrades' overzealous nature, and
the result was a mediocre composition which fell short of the
masterpiece they had anticipated.
Much like our esteemed
brothers of the collaborative
kraut/crotch rock... TransChamps.
Trans Am are good at what
they do... they should stick to
their Deutsche-influenced bass-
ball; The Fucking Champs are
excellent, too. But they should
not be giving free guitar instruction to synthesizer players. A
satisfactory listen, but overall
the presence of Trans Am just
weighs down the C4AM95 Riff
after Riff after Riff mandate. I
guess the contrary might be
said by others like what my
friend Ben said to me after hearing it: "Awwww, I dunno man...
kinda sounds like Trans Am,
but way too Iron Maiden-y."
While Ben is a good buddy who
skateboards and is growing
a beard right now, one which
rivals a Michael McDonald/
Norelco-style beard, I disagree
with his negative response;
some people like Iron Maiden.
I love Iron Maiden.
Life Raft
Ideologically, I hate namedrop-
ping without a good reason. I'm
pretty sure probably less than
2% of the people reading this
review know who Martyn Bates
is and even fewer are likely to
be familiar with his work—
either with '80s synth duo
Eyeless in Gaza or, more recently, solo and teamed up with
low-end guru Mick Harris.
Since Bates is a cipher to most
Discorder readers and has nothing to do with Trixie's Undersea
Adventure at all, I should really
not mention him. But what the
hell, I'm a lazy snob like everyone else here and want to show
off my vintage underwear.
Life Raft, the first album by
Trixie's Undersea Adventure,
Gaza released one particular
record in 1982 called Drumming
the Beating Heart on Cherry Red
that you should get, because it's
Rebuild the Wall
(Snakeye Muzak/Universal)
In the context of this project—a
country-twang remake of Pink
Floyd's The Wall, in its entirety—Luther Wright and the
Wrongs comes off as a novelty
band, at best.
Some history first. In 1979,
avant-garde British band, Pink
Floyd, sets a new standard for
the concept album with its epic
of alienation and insanity, The
Wall. In 1991, a four-piece rock-
with Floyd, aside from the
namedrop in the title. Even better is their howling '97 debut,
Hurtiti for Certain. If you really
want to know what a great
band they can be, check out
either of those albums, instead.
Wright does score by bring-
By Andrea
reminds me of one Bates album
in particular—Mystery Seas.
Time works differently in Bates'
universe: endless synth chords
are stretched over deep seas of
echoing melody. Nothing ever
really starts, stops, or peaks in
this world—it just keeps tracing
the ripples in pools of melancholy. Trixie's live in a similar
netherworld: though eight different tracks are listed, Life Raft
is more accurately described as
an extended suite, a single
excursion into the stunning
dark drone of Nicole Huterbise's
accordion and Matthew Bailey's
keyboards. Huterbise's vocals
are Biblical, monochromatic,
sometimes conjuring up Nico
and a young Sinead O'Connor.
Though the lack of variation
from song to song can be wearing, patient listeners are in for a
hell of a ride.
(Incidentally,   Eyeless   in
pop outfit, called Weeping Tile,
forms in Kingston, Ontario, and
proceeds to release an EP and
two albums. In 1997, Weeping
Tile goes on self-imposed "hiatus" and splits into country
band Luther Wright and the
Wrongs—featuring guitarist
Luther Wright and the 'Tile's
former drummer Cam Giroux
and frontwoman Sarah Harmer.
Harmer is currently touring on
her second solo album, while
Luther and band are knocking
out tunes live from their own
take on that aforementioned
Floyd classic.
Rebuild the Wall—not to be
confused with the head-scratching teaser of Rebuild the Wall Pt.
1, which came out last April—is
the band's follow-up to 1999's
intimate Roger's Waltz. Which,
incidentally, is a far superior
album in almost every aspect,
and has almost nothing to do
bly big Floyd fans who would
find this a tough listen.
It makes you wonder
whether Roger Waters really
needed the royalty money to
okay this one.
By Andrea Nunes
ing Harmer back on board to
produce and to guest on a few
tracks as a backup singer. The
real coup was having her sing
co-leads on "Mother," which
easily rates as the album's best
track and is a faithful cover—
the only one that really does not
come off as comical.
If you like the stinky fro-
mage of novelty acts, get this
CD. The band's tongue-in-
cheek take on each song—complete with cheesy inflected
nasally cowboy drawl courtesy
of Luther Wright—becomes
either funnier or more trying
(depending if you are a hard
core Pink Floyd fan or not) with
each passing song. The album,
as an entire work, seems like
either a big inside joke or an
extremely peculiar way to pay
tribute to Pink Floyd.
Nevertheless, there are proba-
Factory Seconds
(Peanuts & Corn)
For a few years, Peanuts & Corn
Records has been one of
Canada's fastest-rising indie hip
hop labels. With successful
product out by Fermented
Reptile, Park-Like Setting, and
other Winnipeg artists, label
head Rod Bailey (aka mce'nroe)
has moved from the prairies to
Vancouver and added some
west coast talent to his stable.
Now, Peanuts & Corn has a
sampler of new and unreleased
material, strangely titled Factory
Seconds, to add to the constant
stream of new releases.
Producer/rapper mcenroe
does most of the production on
this album, and The Gumshoe
Strut and Gordski make a few
contributions. Factory Seconds
has plenty of banging beats and
original samples, mostly strings
and guitar, although several of
the tracks lack in bottom.
Lyrical content is usually the
hallmark of P&C material, and
Factory Seconds provides no
exception. Pip Skid demonstrates perhaps the best
rhyming and by far the most
mic presence on the roster, both
in his solo tracks and in his
group Fermented Reptile. The
other artists hold down as well,
polysyllabically shooting down
wack MCs, corporate MCs,
wack corporate MCs, and corporations in general. In
"Earnings Warning" and "Good
pairs his anticon-like vocal
styles with his own production
on these issues. While the social
commentary is well-informed
and welcome, a few numbers
find artists just having a good
time (see "Legos" by Yy and
The Gumshoe Strut), and introspection gets a word in edgewise on tracks like "Rainy Day"
by Josh Martinez. Notably, one
of the most powerful moments
of the album finds Pip Skid discussing an attempted rape his
mother experienced. Other
tracks devote more time to the
issue of misogyny, adding to
the rails against discrimination
that fill many of this compilation's 64 minutes. Doing what
needs to be done in this manner
is what largely defines Peanuts
& Corn as a label, thankfully
one of the least jiggy crews out
Micliael Schwandt
The Legend of Teddy Edivards
The Legend of Teddy Edwards is a loving tribute to
one of the great unsung heroes of the tenor saxophone and Jazz. Theodore Marcus Edwards was
born in Jackson, Mississippi on April 26, 1924.
Teddy tells his own story of his youth in Jackson,
then his move to Detroit in 1940 and his early
career and musical dues playing in territory
bands and blues groups. Landing in Los Angeles
in 1944 (as an alto saxophonist and clarinetist),
he found the hotbed of music was Central
Avenue in Watts. From 1944 to 1949 Central
Avenue was the home of every kind of Jazz and
every kind of club from the huge Club Alabam
to the little "after hour" joints. Central Avenue
was as important to Jazz in LA as 52nd Street was
to Jazz in New York. Central Avenue featured
Rhythm and Blues bands, big bands (Lionel
Hampton, Duke Ellington, etc.) and small groups
that were reflecting the new sounds of Charlie
Parker and Dizzy Gillespie called bebop or as the
musicians preferred "modern Jazz." Central
Avenue boomed, munitions plants brought people into the city and everyone was employed and
had money. Central Avenue was cookin'! It all
came to a crashing halt in 1949 due to an economic downturn, fifties middle class values setting in but most of all the onset of tough rules
and regs regarding clubs and a vehemently racist
LAPD (a huge number of new recruits were
white southern "crackers"). The police harassed
the clubs, busted heads and despised the friendly mixing of the races that Central Avenue and
Jazz music brought about.
Teddy talks modestly and eloquently about
his heroin addiction, (he was "clean" by 1952),
his is marriage and subsequent divorce, the birth
of his son, Teddy Junior, (who makes some lucid
statements in the film), and how he missed out
on Jazz history. He preceded Harold Land in the
historic Max Roach-Clifford Brown Quintet but
had to leave the band in LA and go to San
Francisco to attend the birth of his son. Like his
saxophone playing, Teddy is honest and straightforward. He is also an arranger and composer of
word and music. His two closest friends, Clora
Bryant (a great female trumpeter who began her
career as a teenager on Central Avenue), vocalist
Ernie Andrews as well as senior Jazz Historian
Dan Morgentern are heard at length as well but it
is the statements of Teddy Edwards Jr. that have
the most impact and insight into his father.
Along with all the talk and history is the
music of Mr. Edwards, the movie includes full
tunes played by his present working band plus
verbal commentary by the members of his group.
Now, Teddy works every weekend with his
band, even though he is in his mid '70s. He is
playing as well as ever. As Teddy says, "When I
start to sound bad I'll quit... I'll hang it up, man."
Judging by his present day playing in the
film..."hangin' up" his horn will take a long
time. The only major niggle I have with the
movie is one short vintage scene with young
Teddy (around 1959) and his group playing his
most famous composition, "Sunset Eyes." The
members of his band are unidentified. Teddy
could have been asked who they were but was-
This is a wonderful and warm portrait of a
Jazz musician who is still undeservedly unrecognized only because he chose to stay in LA and
not to relocate to "The Big Apple."
Gavin Walker
Gavin is host of The Jazz Show on CiTR Monday
evenings from 9:00 pm to midnight. Listen in on
November 12 ..elicit I li he presenting tin hour and a half
(9:30 pm to 11:00 pm) of one of the true bosses of the tenor
saxophone... Teddy Edwards!
Following over two decades of Vancouver independent music tradition, CiTR's legendary SHINDIG! Battle of the Bands carried on at
the venerable Railway Club (one of the few places in this city that
seems to have any character whatsoever since the Commodore
received its embalmer's-style makeover). The September 25th round
was carried by Restore, a drums, bass and vocals avant-jazz trio.
Their smoothly crooning vocalist contrasted well with her band-
mates' percussive, dare I say aggressive, attacking of their instruments. The bassist did an excellent job of filling the empty melodic
spaces by resorting to unconventional techniques such as playing
the odd guitar-style power chord and using distortion and other
effects. It was the drummer, though, who really stood out, hammering the hell out of his little jazz kit with passionate abandon.
All in all, they sounded to me like Portishead meets some John Zorn
Two girls/one guy pop trio Shrimpmeat also made a strong
showing that night. Sweet girl vocals with an overall tinge of eighties new-wavishness, the band, while not as blow-you-away-impres-
sive as Restore, still made a good impression on the audience with
their catchy, no-frills little numbers.
The evening's openers, verticalsmile (get it?) were a group of
wholesome-looking young lads who played a commercial radio-
friendly style of middle-of-the-road new-rock. The singer closed his
eves and danced around while he sang, kind of like Axl Rose used to
do on the really emotional Guns 'n' Roses power ballads. Not really a bad band, just perhaps a bit more suited to the talent contests
hosted by other local radio stations
The following night of Shindig, held on October 2nd, was won
by Disco Incognito's frenzied punkishness. With the singer/guitarist spewing forth in a demented piv.u her-hellfire and brimstone
fashion, backed by a wicked rhythm section featuring yet another
high-energy drummer as well as a keyboardist summoning a slew of
space sounds from his analog board, Disco Incognito succeeded in
winning over the panel of judges.
Disco Incognito was followed by the solo acoustic comedy musings of Mr. Plow. While some of his numbers drew appreciative
chuckles from the audience, his sometimes forced-sounding rhymes
negated the effect of some of his material. By the end of his set, Mr.
Plow seemed a tad pissed-off at the reaction (or lack thereof) from
the audience and cut it short early. Oh well.
The final band of the night was the band whose name caused
much confusion around the CiTR offices since the Shindig
Contestant list was tallied: OASIS!!! Were we to have our humble
little contest graced by the presence of the loutish monobrow
Mancunians so beloved by the British tabloid press? Well, apparently no. Their name is pronounced "zero as is" (another shining
example of side-splitting band-name humour) and they played
eighties synth pop complete with fake leather trousers and fake
English accents. Regaling the audience with smoke machines, displays of rock-star hedonism including (but not limited to) a bag of
Like cocaine and a smoke machine, "zero as is" seemed quite disappointed that they did not win the coveted Prize Drumsticks despite
all of their effort. Talking later to the vocalist, I learned that the reason that they did not win was their reliance on a drum machine,
which automatically put them in the negative with such a "rockist"
station as CiTR which "didn't understand" what they were trying to
do. Sorry, but I think that the reason that they didn't win was that
while they were a pretty brilliant joke, they were, nonetheless, still a
joke. I think that maybe they read too much into the symbolism of
the Prize Drumsticks.
The next show was won by the evening's first band to perform:
Six Block Radius. A trio of young women, their catchy vocal har-
monies backed up by solid, muscular riffs, managed to sway the
judges in their favour. When this band's instrumental musicianship
reaches the level of their vocals and offers a bit more variety to their
sound they could really become a force to be reckoned with on the
Vancouver music scene. Hell, they're still young, by the looks of it.
Give 'em a few years.
Next up were Flipswitch A tight-sounding new-school-semi-
punk band, they once again presented the evening's judges with the
"good band but better suited for commercial radio" dilemma so
common to Shindig. Though generally pleasing sounding, their
overall vibe was a little too similar to what is heard around the clock
on our local "alternative" stations. Talking to the judges after the
show, the general consensus seemed to be that bands of this genre
have all the help that they need out there in commercial radio land
in terms of contests and airplay. Sure, maybe it's a bit of a pro-underdog bias on our part, but hell, somebody's got to root for the underdog, n'est-cepas?
Tuesday the 23rd of October was, so far at least, one of the most
consistently solid nights of this year's Shindig. The evening began
with Ether's Void. They were pretty much like the band last week
that didn't win due to their radio-friendliness. They didn't win for
the same reason.
They were followed on stage by Mermaid Engine. Sounding
like a cross between, say, Jane's Addiction and some semi-electronic band like Econoline Crush, these guys presented a set of finely-
crafted tunes. While the audience was a bit taken aback by the taped
electronic sample interludes which began each number, the overall
effect went over well. If their sound had not been rendered so shrill
and off-balance by all of the evening's band's equipment piled in
front of the bass speakers, they could well have won the round.
That's not to minimize the quality of the set played by Bestest,
the night's final band. By the time this pop-punk trio came onstage,
the Railway Club was nearly empty. Whereas many bands would
have thrown in the towel at this point, these lads played their asses
off. Straddling the fine line between melody and power, musicianship and abandon, Bestest rocked the house. Maybe the beer in me
was making me all weepy-eyed and sentimental, but the sight and
sound of this band giving their all despite the lacklustre crowd was
pretty damn awesome. That attitude is what Shindig is all about,
dammit, and the judges seemed to agree as Bestest carried away the
Prize Drumsticks that night.
One comment that I have to make, though, before signing off is
that whether a band wins or not is often determined by how good
the competition is on a given night. For instance, a band that won on
a night where the competition sucked could easily have lost against
a band that came in second on a night where the competition was
tougher. I know it would really complicate things, but I wonder if it
would be possible to bring in some sort of cumulative-point system
to determine who makes it to the finals. It's just a thought.
Well, anyway, that's what's I've seen of Shindig so far. I strongly urge anyone out there with a free Tuesday night to head down to
the Railway to check it out. It's good wholesome fun. •
Mike S
22 november 2001 THE DAMNED
Friday, September 21
Commodore Ballroom
Disliked by the '76 punks for
being unable to hide their hippy
pasts, the Damned have nevertheless proved to be relatively
enduring and probably boast
about 10 genuinely classic tunes
(seven more than most English
punk bands of the era). A brilliant debut album (Damned
Damned Damned) and a string of
bonafide hits in the early years
eventually gave way to a Tap-
esque revolving line up and
they have been condemned to
the farewell/reunion tour
treadmill since about 1986.
This tour sees the return of
prodigal son Captain Sensible
(he's quit and returned at least
three times) with singer Dave
Vanian's missus Patricia Morrison on bass. Something of a
goth super-sub, she's propped
up the later line-ups of the Gun
Club and the Sisters of Mercy,
so on paper this could be the
most satisfying version of the
Damned since their 1988 tour
featuring all four original members. In reality, the results are
patchy to say the least. "Love
Song," "Grimly Fiendish,"
"Eloise," etc. are rousing
enough, but does anybody have
a use for a four minute version
of "Neat Neat Neat"? How
about "New Rose" with a
dubbed-out middle eight and a
twiddly guitar solo? New
album, Grave Disorder, is heavily featured and you've got to
admire their confidence in
choosing to ignore guaranteed
crowd-pleasers like "I Think
I'm Wonderful" and "Nasty."
However, the restless crowd
indicated I wasn't the only one
wishing they'd reach into their
past a bit more frequently.
Tragically, I missed The
Nasty On, but experience tells
me they must have blown the
second opening act off the
stage. The Swinging Utters
play graceless punk rock whose
sole nod to originality consists
of a talent-free (and largely
redundant) accordionist. They
fall somewhere between a "Cut
the Crap" era Clash and a post-
Shane Pogues, only (believe it
or not) worse.
Quentin Wright
Saturday, September 29
Progression Mixed Media
Worldwide Domination productions brought us this
evening of post-rock pandemonium against the backdrop of
the Progression Art Gallery (an
excellent venue on Hastings
soon to be shut down due to
city regulations) and a new
exhibit there entitled "Exhibit F:
Art in Progression" featuring a
variety of pieces (visual, textual, dolls) from young Vancouver artists. All proceeds went to
support the American Red
Cross efforts in New York and
Washington, DC.
I missed Marcel de
Montigni (a.k.a. Tyler Mount-
eney solo, former bassist for the
Instrumen and one of the driving forces behind Worldwide
itself) by seconds, but the general consensus among people I
talked to was that he was good.
He was followed within 20 minutes by the evening's highlight,
Sharkforce, leading the way in
post-Tortoise backlash in Vancouver. The only band playing
tonight that I'd seen before, I
came anticipating another terrific show—if you can ever really be prepared for the intensity
and energy that pours off a
band like this. This is the sort of
power that can and does send
palpable shock waves through
the audience. Not only were the
songs brilliant, the visual performance aspect of the show
was an end in itself, from the
demented messianic posturing
of the lead guitarist to the
trance-like hyper-kinesis of the
drummer, and right back
around to the obscene sophistication of the bassist. This personal chemistry between the
band members is how they can
pull off what would otherwise
be lacking lyrics (they opened
the set with a song the title of
which I can only presume to be
"Refrigerator")—the style of the
performance makes them worth
listening to—a totally successful
renovation and reinvention of
punk conventions. Another
plus was the semi-hostile audience banter between songs.
The charged atmosphere
induced by Sharkforce did
nothing to enhance the performance of Nicely Nicely, whose
brand of benevolent enthu-pop
seemed lacking in comparison
to their predecessors' calculated
antagonism. Wearing suits and
hopping nervously, they blared
out song after song of decent
but uninspired pop rock.
Towards the end of their set,
however, as they seemed to get
a hold on the atmosphere and
became more confident in their
own material, their performance improved and the room
filled up again with happily
nodding scenesters.
The final act of the night
was Bossanova, for whom the
lights were dimmed and a fresh
batch of friends of the Red
Cross herded in. As the rest of
the band got ready, the lead guitarist took the stage for a quick
solo set, chewing gum and carrying off a wicked Morrissey
impression. The last of his
exceptionally well-played songs
was a cover of "Anyone Who
Really Had a Heart," although
initially garnering a few
shocked stares, the confidence
and expression with which he
played made the song listenable
and powerful. Always hits you
when you least expect it. The
band itself played equally well,
mixing a good blend of technical skill with sincere enjoyment
of their music—if you're into
that kind of thing—even succeeding in prompting a few of
the aforementioned scenesters
to dance. The 20-minute jam
tacked on at the end, however,
was truly terrible. I spent the
latter 10 minutes conspiring
ways I could disrupt the set,
like maybe I could just casually
walk by the stage, pretend to
trip and knock out the keyboardist's patch cord (he struck
me as being the most obnoxious)... just horrible.
I'll leave the art reviews to
the experts, but the piece directly opposite the stage (signed
"KATIE"—or Katie Piasta,
according to the card on the
wall next to it) was too good to
be missed: the piece was called
"Pick-up Line #69" and it was
made out of two large panels of
rough wood painted green with
life-size, ghost-like figures in
the centre. On the left panel was
a woman wearing a dress and a
man behind her cupping his
hands over her breasts and in
the air above him it says "This
could be WWIII we should do
it." Then on the next panel it's
just the woman, smiling and
naked, and it says, "OK then."
The woman's '60s-vogue,
swept-over hairstyle and absence of pubic hair made this
one a killer.
Saturday, September 29
Video In Studios
The performance end of the
Refrains: Music Politics Aesthetics conference/performance
was a raging success. I came
expecting a lot more chin-
scratching than ass-shaking and
ended up with loads of both
and some fun surprises, too.
Unfortunately, I missed Artificial Intelligence's set but was
told that it was a raw exploration of techno from these up-
and-coming locals. Vancouver's
Jovian Francey served up some
ramshackle nuts-and-bolts
beats, fascinatingly arhythmic
in a cold, detached vein reminiscent of Autechre. He was all
over the place, though, mixing
in the sadly unsexy buzz of a
live vibrator, a few funny vocal
samples from what sounded
like a radio ad for penis ei
ment, and puzzling visuals
(provided by the Video In) that
alternated between geometric
shapes and some weird, home-
video type footage of a guy in a
radiation suit.
A few giggles and a stroke
of the goatee later, Cid + Eric
from Seattle were up. Their performance consisted mainly of
ambient drones and later on, a
few clicks and barely-there percussive elements, but it was the
visuals that stole the show.
Their music fused perfectly
with some nicely-chosen segments from Rene Leloux's
Fantastic Planet to create a perfectly ominous psychedelic
atmosphere. I was glued to my
spot until the set ended with the
escape of the little Oms from
the clutches of the menacing
blue giants.
There was a short break,
followed by the long-awaited
performance of San Fransisco
microsound artist and respected writer Kim Cascone, fresh
from his recent releases on Mille
Plateaux. Earlier in the day he
provided a keynote speech on
the "Aesthetics of Failure" for
the conference end of Refrains.
Until his set began, I took the
free earplugs at the front of the
Video In as a novelty, but once
his sublime ambient noise
onslaught was underway, I was
damn glad I had them—the volume was deafening. It was a little difficult at first, but laying
back in a soft couch in the corner and letting the ocean of
sound annihilate my frontal
lobes, I was soon swimming
blissfully in the sea of static,
thinking what a particle of light
must hear while coursing
through a fiber optic cable. I
was sorry when it was over.
Victoria's Ben Nevile was
up next, and he didn't disappoint, coming through with
some laid-back micro-house
grooves, simply arranged but
overflowing with glitchy funk
and granulated minimal dub. It
was exactly what was needed to
finally get people up and swaying. As soon as he wrapped up,
tobias and Construct set up
shop and quickly turned the
joint upside down, laying down
some experimental techno and
electro tracks that positively
exploded with danceability.
How so much funk can squeeze
out of such a sweetly microscopic bassline is beyond me,
but I was right up front shaking
my ass with everybody else.
When I finally headed home
sweaty and satisfied, there wasn't a soul in the place standing
still. A fitting end to the Open
Circuits festival and the best
free show I've seen in ages.
Sunday, September 30
Buck 65 (aka. Stinkin' Rich,
a.k.a. Rich Terfly of Halifax) has
been one of the Maritimes' most
prolific hip hop arl
early '90s, finally getting some
increased widespread recognition recently when Californian
label Anticon Records released
his Man Overboard album. With
or without any American
arbiters of cred, Buck 65 puts on
an impressive one-man live
In his recent Vancouver
appearance, the live vocal delivery was far more enthusiastic
than the deadpan that Buck 65
brings to releases like Man
Overboard and his Language
Arts albums. Although he never
seemed especially worked up,
he kept things fun by using a
few different voices to praise
himself, tell strikingly personal
stories, and give shout-outs to
his favourite foods.
Having spent over a decade
hosting a program at Dalhousie
University's CKDU, Buck 65
has heard his share of beats,
and there's almost nothing that
he won't incorporate into his
live set. The samples that he
throws into the mix show just
how open he is to ideas that
many others wouldn't go near.
Using turntables, as well as
some electronics that gave him
trouble all night, he put down
the mic a few times to demonstrate a decent repertoire of
The crowd that assembled
was unjustly small, but happy
to be there. Only a few got loose
enough to actually dance, but
all of the heads in the venue
were nodding in unison
throughout Buck 65's set.
Unfortunately (but inevitably),
one of Vancouver's most preposterous bylaws brought the
show to an end by midnight.
Michael Schwandt
St. Andrews-Wesley Church
Monday, October 1
I marvelled at the church setting: the hymn list on the wall,
the pews, the mass of worshippers. To my relief, Sigur Ros
hadn't taken the stage yet.
A while later, four spindly
guys took the stage. From
where I was sitting, the lights
made the band look larger than
life for the duration of their
lengthy set. Jon Birgisson sang
like a Vienna Choir Boy, played
his guitar with a bow and even
sang into it. That's really his
voice and not some machine or
some girl on the record. I was
One song became another
and another. It was a little like
being at a symphony. My mind
wandered and then returned to
the beautiful music. When the
show was over, the audience
gave Sigur Ros a standing ovation, which was met by the
band bowing in acknowledgement. The set was so long that
there was no expectation of an
encore. People were pleased,
but I felt a little conflicted. The
pered by my ass feeling sore
from the wooden pews. And
like the church services that I
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23H^Si®SB recall from yesteryear, enlightenment was accompanied flashes of sleepiness, possibly from
boredom. This makes me think
that the show was a true reli-
Thursday, October 4
Richards on Richards
Having recently become familiar with the music of Hawksley
Workman, I was curious to see
how his brand of esoteric post-
industrial folk-reggae would
translate into a  live setting.
Indeed, Hawksley puts on a
live show to remember—complete with extended rants about
his former life as a dog and the
Turkey carvng abilities of keyboardist   "Mr.   Lonely"   to   a
spontaneous     rendition     of
"White Christmas," there was
never   a   dull   or   contrived
moment to be seen or heard.
Instead,  Workman somehow
managed to be completely over-
the-top and ridiculous while
still seeming sincere.
Unfortuantely, to witness
this specacle one had to first
endure the karaoke night that
was Lily Frost's set. Complete
with feather boa, drum machine
and a keyboardist playing synth
bass, Frost followed her first
song, which seemed promising
until she insisted upon dancing
to it, with a collection of halfhearted songs that seemingly
aimed to insult as many musical styles as possible in 45 minutes.
The Hawk-man, by contrast, was able to inject life into
each one of his songs. We were
treated mostly to material from
his latest album (Last Night We
Were) The Delicious Wolves,
including recent hits "Striptease" and "Jealous of Your
Cigarette." Thankfully, those
who came solely to hear the former were bewildered and curious enough to spend the night
with a really strange man.
Daryl Wile
Friday, October 5
Richard's on Richards
I've wanted to see my favourite
Elephant 6 band (with Neutral
Milk Hotel running a close second) the Apples, for quite some
time. Friends who had seen
them before reported a fun time
with plenty of smiles from both
the band and audience alike.
Consistency is what this Denver
five piece should be known for
since smiles were the fashion of
the evening.
Unfortunately, the Minders, who put on a wonderful
show of baroque keyboards and
English-inspired guitar melodies a couple of months back,
didn't show for reasons unknown. If you missed their
show at the Starfish let shame
rain down on you.
The Apples started off with
newer stuff from Discovery looking at each other and smiling
while playing their instruments
like members of the Partridge
Family. Much to the pleasure of
yours truly the Apples played a
lot of old favourites including
songs that they claim they
haven't played in over five
years; the most memorable of
those being the instrumental
"Turncoat Indian" and the
not-so-old   Beatlesy   "Straw-
The sound was fair, as
Richard's always seems to be.
The band showed up a little late
resulting in a few humourous
pauses between sets. My only
complaint of the night was that
the lovely voice of drummer,
Friday, October 5
Vancouver East Cultural
It all made sense until she
brought out the kazoo. All of it:
the fusion of jazz and folk violin; the hints of the classical and
surreal; the shrieking, yelping,
howling in both English and
Czech, all of it made sense until
she brought out the kazoo.
Followed by the baby rattle and
the bells. Iva Bittova is a genius;
she can take any household
object and turn it into a musical
The Apples In Stereo: Smiles are free.
Hilarie Sidney, did not grace
our presence. Robert Schneider,
the chief songwriter and bandleader, looked high on something more than life for the
duration of the show, repeatedly saying, "Take care of yourselves" in an overly sincere
voice as the band said their
farewells before Richard's was
consumed by legions of bar
stars. The band has recently
talked about getting back in the
studio, and fans of Robert's solo
work can look forward to a new
Marbles album.
Friday, October 5
Nils Peter Molvaer delighted
the audience by his musical performance on October 5 at Sonar.
Nils is a reputable musical
entertainer from Norway, having performed in various countries around the world. His
credits include the release of his
CDs KHYMER and Solid Ether.
In his performance, he connected stylistic extremes: jazz,
ambient, house, electronic and
breakbeats, easily melting them
into convincing soundscapes of
deep intensity.
Massive beats and throbbing grooves underpinned the
trumpeter's fiery solos. His jazz
presentation was quite appealing. He also presented himself
as a rock session player.
In his performance, Nils
brought jazz's freedom together with the sounds of pop and
rock. Most of all, the electronic
collages and the furious, driving beats spoke most eloquently through Molvaer's
trumpet. The audience sure
enjoyed   his   superb   perfor-
instrument. She has an uncanny
ability to pick up music in the
oddest places (street noises, the
conversations of children, etc).
It didn't matter that things
stopped making sense because
the crazier they got, the better
the music was. Her performance was also lively and personable. While playing her
violin, she moved around the
stage, between the audience
and behind the velvet red curtains of the Cultch. Her songs
alternated between melancholy
and child-like happiness. Most
appropriate, however, was the
song she ended with: "Divna
Slecinka." Strange young wo-
Rana El-Sabaawi
Saturday, October 6
Vancouver    East    Cultural
After the first few minutes
of this improv showed it was
obvious that Bittova was leading and that Lee and Freedman
were either following or keeping things together, and having
a great time. For a while, it
seemed that Lori Freedman did
not know what to do while Iva
Bittova improvised vocally and
on her violin. But she caught up
eventually and made the most
incredible noises on her bass
clarinet. Iva went backstage
(still singing) and got her bag of
trinkets. Out came the Kazoo
and Lori appeared dumbfounded and truly amused while Iva
played it in her face. Once again
Bittova was leading. Peggy Lee
kept it all together with her
cello, which she played wonderfully. I wished that I'd heard
more of her during the show.
The show was quite an impres-
s (and humorous) metaphor
tions   between   women,   an
appropriate end  to the Vox
Femina series by New Music
Rana El-Sabaaawi
Saturday, October 6
Ms. T's Cabaret
Picture a scene from a sensationalist mob movie. There is a
table stacked with weapons, a
crowd is gathered around to
gander   at   the   merchandise
through a smoky haze accentuated by one kitschy, hanging
overhead light. Someone steps
up, lays the money down and
walks off with the goods.
Give this script to a surrealist to rewrite and they might
twist in the pen is mightier than
the sword theory, and change
the shady ruffians into idealistic young artists and bookish
hipsters. Now comics, poetry
and prose are perused and traded. Too far fetched? Well nevertheless, that is pretty much
what the Turf zine's birthday
party looked like down at Ms.
T's that night, kitschy light and
Oh, and there were bands,
doncha know. The Ewoks tortured everybody with minimalist, snotty, post riot grrrl,
keyboard spaz. This was as
amusing as it was somewhat
trying. Kind of like watching a
band of hydrophobic CEOs on
a sinking ship. Lots of fun, ya
know, and more punk than
most guitar-carrying dopes
with dyed hair. God bless them,
anyway. Try this shit in high
school and get mauled by an
ape in a jersey.
The Birthday Machine
proved, again, to be one of
Vancouver's most competent,
unheard bands. I heard shades
of Low with some Galaxie 500
(at times) floating around here
and there. The subtlety of the
BM is what I remember later.
They have the consistent pace
of a band that doesn't care
much about fleeting, short-term
thrills, only the practice and
maintenance of structured, low-
key sound. Their limited-release
first recording was available on
CDR and covered by stitched
felt. Very DIY.
The place filled. The show
sold out. The atmosphere had
become awfully warm and
those goddamned smokers
were determined to share some
disease with everyone. The
Battles were set to close the
show. Their retro-rock inspired
groove somehow made its way
through the smog to the happy
crowd. Tired, hot and stinky, I
decided to split a bit early, saying goodbye to the smiling,
relieved faces of the Turf hon-
chos. Nice kids. Good futures
Bleek Liteposter
Monday, October 8
Starfish Room
The October 8 concert at the
Starfish was the Faint's first
Canadian visit. So who do you
have open for the highly dramatic, now-wave bombast
which is the Faint's trademark?
Nobody had to look too hard or
too far. Vancouver's own Radio
Berlin were way freakin' obvious, and what a great way to
celebrate the new The Selection
Drone album. Sure, references to
the Cure are always made and
they get an ass-load of grief
from the locals, but Radio Berlin
is getting due respect as exotic
imports from other, less cynical
lands. Besides, they're way
more Gang of Four these days!
No, no, you're right, they
weren't the first band. The fun
began with Saddle Creek
Record's first non-Nebraskan
signed band Now It's
Overhead. Four kids with that
starving student look about
them, dreaming about a better
world. Tonight was my first
exposure to this (yet another)
band from Athens, Georgia and
impression. The rhythms took
some original turns and the
lyrics, sung by the 98 pound
weakling, were emotionally
provoking. The album was
bought by yours truly and
found to contain all the charms
of the live show, if not more. All
in all better than average indie
rock, perhaps not what most of
this crowd wanted but appreciated in the end.
The Faint claim to have
changed their original tactic,
from a guitar band to more electronic and keyboard oriented
synth-rock in order to produce
a more entertaining live experience. That's certainly what they
gave. Even a frigid Vancouver
audience displayed signs of
what could be mistaken for
dancing! I know, kinda frightening. The Faint chose as much
from the previous album as
from the newest, playing the
sure-fire crowd pleasers, "Call
Call," "Agenda Suicide,"
"Posed to Death," "The
Conductor" and ending with
the crazily spiky "Worked Up
So Sexual." I used special press
privileges to sneak back and
meet them, but they wouldn't
come home with me, the bastards. They just sat there looking exhausted. I walked outside
and suddenly it was 20 years
later again.
Bleek Forest Ham
Monday, October 8
Richard's on Richards
Taking the stage in full boxing
gear may be a nod to Elvis's
"Kid Galahad" but Elvez is far
from your typical Elvis impersonator. "Say It Loud, I'm
Brown And Proud" takes James
Brown's funk template and rejigs it as a Latino pride anthem.
"Lust for Christ" is a punk rock
hymn based on Iggy Pop's
"Lust for Life", while "If I Can
Dream" is a Vegas era Elvis rendition of Bowie's "Rock'n'Roll
Suicide" with the guitar licks
and vocal mannerisms of the
Beatles "Oh Darling."
Although billed as the second coming of his gospel show,
this was a slimmed down version of the original, which came
to Vancouver in 1998. His backing band, the Memphis Mar-
iachis, though wonderful as
ever, were down to a four piece
(from six) while the beautiful
Elvettes numbered only two
(the other two got lost sometime in 1999). Still, this was a
powerful show. To see the energy, creativity and passion that
this man puts into his performance is truly inspiring.
Undeniably gimmicky, he may
sometimes be dismissed as a
novelty act but his band are
kick-ass rockin', his words are
funny, clever and (gulp) educational, and to those in the know
Not kitschy, not ironic (that's
dead anyway, right?) but simply a brilliant performer. Don't
Quentin Wright
Tuesday, October 9
Commodore Ballroom
What kind of sorry state would
pop music be in today without
the'lead singer post-band solo
spin-off? What would people
have to listen to if they wanted
to hear their favorite lead
singers dabble in ethnic chanting, country and soothing adult-
contemporary soundscapes free
from the tension of their greedy
bandmates? Envisioning a musical climate bereft of Peter
Gabriel, Sammy Hagar and
Sting albums perhaps lowered
my expectations while I was
waiting for Ben Folds to take
the stage. It was in that state
that my anxieties of wincing at
an already unpopular, nearly
forgotten figure attempting to
somehow re-invent himself
were quickly relieved.
The new band is essentially
the old band, plus one guitar
player (whose volume never
seemed to surpass two anyway). But like his old band,
when he rocks, he summons
this inexhaustible energy that
his contemporaries in guitar-
pop rarely gather, and with the
towering melodies to match.
Also like his old band, the ballads end up lacking that spontaneity and fall flat.
The quirky pop formula
would've gotten stale had Mr.
Folds not eventually left his
piano seat, took centre stage
and donned his demonic,
Fisher-Price-neon-red "key-tar."
Sure, the satire in his great new
single, "Rockin' the Suburbs"
was pretty one-dimensional,
but it wasn't as smirk-coated
and emotionless as most critics
try to warn. It wasn't until the
very end of the song when
Folds actually started screaming and jumping and yelling,
"Pain!!!" that he blew it.
And then all seemed forgiven after a special solo encore of
five (five!!) shimmering BF5
songs. It was at this point of the
concert that Folds demonstrated that he is the greatest rock
pianist that has ever lived! You
can find better songwriting,
singing and musical dexterity
around, but maybe not all at the
same time by one person, live.
24 november 2001 If you've ever attempted to sing
while busting out wild piano
licks and solos at a blurring
speed, you know how much
harder it is than singing while
playing guitar.
Ending in an insane "Song
for the Dumped" jam (complete
with mellotron solo) topped it
off quite appropriately. While it
wasn't genius or salvation, it
was certainly more than anyone
could've expected!
Mark Rosini
Sunday, October 14
Richard's on Richards
When I predicted that maybe,
after Must've Been High and the
subsequent jamboree in May,
the cocaine and whiskey-filled
nights of yesteryear were over
for The Supersuckers. I was
right. Better judgement told me
not to attend the show, because
of my prediction. In consolation, I was glad to have seen
them when they were young
and belligerent, and when they
are old and depressing. I didn't
need further proof of this. My
musical taste had put them to
bed, in other words.
When a friend dragged me
out to see them the other night,
promising a "sure-thing," I
made sure it was going to be a
whiskey night and an experiment in audio neutrality. I was
going to review the performance this time. Relaxed.
Focused. And they had better
be ready for me.
The show started. Flash
Bastard were okay. I especially
liked their amplifiers. Matchless [Not true, man—C Min].
Like Silkworm's amps. I wondered if the guy from Flash
Bastard liked Silkworm. I wondered if Silkworm liked Flash
Bastard. I know that Silkworm
likes a band called Beef Magnet,
but this is Flash Bastard. Not
Beef Magnet. The whiskey was
good. Damn good. I began to
lose sight of the reason for
being there.
As I was becoming more
aware of my surroundings, I
heard The Supersuckers
announce that they were "The
best Rock and Roll Band in the
World/The crowd cheered and
their naivete started to annoy
me. They probably would have
cheered if this was a Christian
country/jazz revue. A revue
that offered $6 beers, and a $16
price tag on the ticket. It was
true. The evil powers that drove
this legendary Seattle/ Tucson
band were gone. While the
band was tight, there was nothing new material-wise and
there was definitely a "been
there, done that" feeling after
the show among the rock and
roll die-hards.
I took comfort in knowing
that I had the right to decline
future invitations to attend
shows which I knew were
going to annoy me.
Black Magnum
Thursday, October 18
DJ Assault holds the record for
the longest freestyle poem
about "My Nuts." It wasn't
entirely his fault. Afterall, his
nuts are cop killers and Scooby
Doo snacks, and when it comes
right down to the nut-action,
United Airlines did lose his
records, meaning that he had to
make do with Dana D's selection of jungle, hip-hop, and
about four ghetto-tech records.
(Which begs the question: why
didn't they call Vancouver's
infamous Ghetto-Tech DJ, DJ
Glyn? He could have pulled up
and handed over a crate of
booty-tits-n-ass-black-12"s and
Assault would have looked at
him and gone: "DJ Glyn is [my]
Assault still blew the lid off
the place with some insane
scratching and a "Happy Birthday" song (it was his birthday)
and freestyle rapping and some
quick cut mixing and his gregarious, friendly personality on the
mic (if you can get past the
whole Ghetto-Tech thang and
realize that, at least in my opinion, it is playful sexuality and
not downright misogynist—for I
count Peaches in the G-Tech
fold...). Star Watch: up front and
central (hanging over the railing,
to be precise) was's
infamous cur riimself, fresh from
2291 West Broadway @ Vine
Luther Wright
& the Wrongs
WRONGS recreate all of
PINK FLOYD'S classic tracks
from THE WALL, with a country
bluegrass twist.
WRONGS features 3 members
of WEEPING TILE, plus guest
vocals by SARAH HARMER.
568 SEYMOUR STREET 604-684-37;
25®£R&?e®iEa il*%
6th   Naked For Jesus
My Buddy Dave      A^ e
The Old Ripper
Semi-Finals Begin !
13th Three Inches of Blood
The Organ
20th Disco Incognito
Motorcycle Man
Six Block Radius
27th Bestest
* winner of Nov. 6th,
SHINDIG! rims every Tuesday at theN
Railway Club, starting September 11th and
sprinting hard to the marathon finals on
December 5th.
elec™,cs chart Bhassr SGOTJ
nzzne m
northbynortheast       IPP*..1
<N O
. *
0_ <
straight e
Not Just Another Music Shop
Seaside Studios
AMS Events
being tossed a possible lawsuit
by Oprah's lawyers (right on,
Ish, keep it up).
The rest of the night went
something like this: Assault
tries to play some so-so records
that he doesn't know, gets frustrated, gets on the mic and swc-
cessfully hypes the crowd while
he raps over a CD of his new
release. You've got to give him
credit for doing the absolute
best with the shittiest situation.
Word to Assault, and hopefully
next time he's in town, he'll
have his records and we'll get to
see him whiz through the ass 'n'
titties set so fast it'll knock your
teeth out and force you to bite
your friend's nuts.
Shows coming ijp that
ir a The Fall.
ryEMBER ZlfTH at the
stpsh room. Criminal
= Stellar
DJ Assault: poet laureate of "nuts".
Not reading the blurb about a film festival movie
and just going to it based on assumptions that
you gathered from its name alone is wrong. But
I grew up in an asshole-of-the-universe town
and I've seen my share of mullets. That kind of
exposure to a cultural phenomenon burdens a
person with a number of assumptions about
what a movie called Mullet should really be
Fully expecting the mullet of my youth, I
pictured burnt out glue addict relics from the
'80s—those thirty year olds that religiously
showed up at bush parties, stealing your beer,
answering to names like Johnny Six-pack and
Hurtin' Burton, blatantly advertising their general failure to be useful and their horribly scarred
livers—I, instead, experienced small town
Australian melodrama. As I watched, I kept
cursing myself for not thinking my movie choice
out more clearly. Firstly, the description in the
guide mentions none of the situations that my
mental picture evokes. Secondly, the movie is
Australian, not Canadian, and therefore has no
relation to my high school bush parties. And,
thirdly, mullet is not only the cliched fashion
faux pas that cool kids point at and laugh, but
also a kind of fish that people who eat fish think
The movie started off with promise. There
was this guy who, not only lived in a trailer on
the outskirts of some small little shithole town,
but also had this awful haircut and drove one of
those El Camino-esque truck/car monstrosities.
But rather than turning out to be the social reject
that I half expected, he ended up being more of a
rebel outcast—an ugly James Dean—"Breaking
All The Rules(!)" and trying to scandalously steal
his brother's wife. I get real bored pretty quickly,
and it didn't take long for me to get tired of
whatever it was that was going on. Every once
in a while, though, I would look around and see
people laughing and smiling and I wondered
what they could possibly be laughing at.
Ian Mosby
This movie was funny. When my jumbo sized
coke had finally filtered its way through my system and I had to go to the washroom near th<
middle of the movie, I became unhealthily anx
ious mid-pee, pleading desperately for my urin<
to sufficiently drain while cringing in horror a;
sounds of laughter from upstairs echoed througJ
the ventilation grates. When I got back to my
seat, it seemed that nothing important had happened (nothing important really happens
throughout the whole movie) but I felt aw
like someone had torn out the page of the book
that I was reading and then thrown it in a soggy
wet ball on the ground.
I'm not sure why 1 enjoyed the movie s
thoroughly. It's a pretty standard Gen-X plot
about a stereotypical, pathetic, slacker male. The
main character is not only in his early thirties
(dying his grey hairs with a jiffy marker), un
ployed, lazy, a self professed "writer," and kind
of greasy looking, but he also isn't so good with
girls and he hides his inadequacies beneath an
armour of heavy wit and sarcasm. The plot
revolves around his various apartments, which
he moves in and out of frequently throughoi
the film, and his various roommates, which
include a Eurotrash lesbian witch, a crazy futuristic Japanese exchange student, a Man
Leninist moron, a bitchy narcissistic
psuedo-actress, and a heroin addict man-child. I
think the premise of the movie is one of those
"soul-searching" sorts of things, but it's rr
funny than sappy, and devoid of preachin
Even when people get shot, are almost burned
alive, have a botched suicide attempt listening to
Nick Cave records late at night, and die in front
of the television, it's always with humour inl
I could call it a kind of Australian Trainspotting,
but that would be dumb. It was just a good
movie and it had a silly name that made
Ian Mosby
26 november 2001 November Long Vinyl
November Short Vinyl
November Indie Home Jobs
1 set fire to flames
2 aphex twin
3 le tigre
4 radio berlin
5 operation makeout
6 new town animals
7 gavin froome
8 couch potatoes
9 pole
10 various artists
11 death cab for cutie
12 hot little rocket
13 exploders
14 faust
15 strokes
16 f-minus
17 stereolab
18 beat happening
19 mad capsule markets
20 los straightjackets
21 international noise...
22 modest mouse
23 llorca
24 dj spooky that...
25 call and response
26 spiritualized
27 agnostic front
28 ladytron
29 Stratford 4
30 beachwood sparks
sings reigns rebuilds
feminist sweepstake
the selection drone
first base
is your radio active?
post & beam
cool ride
team mint vol. 2
the photo album
danish documentary
new vibrations
bbc sessions
is this it?
suburban blight
mr. lady
your best guess
nordic traxx
teenage usa
crashing through sampler
sing along with...
a new morning
everywhere and...
new comer
under the influence
let it come down
dead yuppies
the revolt against...
once we were trees
six degrees
emperor norton
emperor norton
jet set
sub pop
1 the exploders
2 new town animals
3 the evaporators
4 the locust
5 butchies
6 victims family
7 the horizontalist
8 electro group
9 five eight/clemente
10 clem snide
11 rhume
12 the flaming stars
13 red hot lovers
14 enon
15 removal/joey shithead
16 common rider
17 the pattern
18 the flash express
19 tijuana bibles
20 marmoset/firtips
what's what and...
lose that girl
honk the horn
where r we
calling dr. ...
twenty feet behind
line of sight
kids wanna rock
song for bob crane
detective kalita
days like this
listen (while you talk)
3 of 10
vho stole the soul?
i courage
nit. tentacles
self starter
alt tentacles
red line
self starter
animal world
1 six block radius
2 red hot lovers
3 three inches of blood
4 Victorian pork
5 Z28
6 fri haven
7 sharp teeth
8 insipid
9 cheerleader
10 shut up marie
11 tennesse twin
12 deadcats
13 mister nobu
14 L
15 bier gut
16 the lollies
17 solasis
18 ethers void
19 xeroxed brother
20 raya wrath of fancan
kill to hide
fuck or fight
I just wanna beer
rope you down
blues musik
russian radio
speed queen
raining like crazy
thoughts are occupied
c'mon wid your c'mon
rain jacket
be my bad boyfriend
not even thinking
The monthly charts are compiled based on the number ot times a CD/LP
("long vinyl"), 7" ("short vinyl"), or demo tape/CD ("indie home jobs") on
CiTR's playlist was played by our DJs during the previous month (ie, "November" charts reflect airplay over October). Weekly charts can be received via
email. Send mail to "" with the command: "subscribe citr-charts" •
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bisexual, and transsexual communities of Vancouver.Lots of
human interest features, background on current issues and
10:00PM Rhythm India features a wide range of music from
India, including popular music
from Indian movies from the
1930's to the present, classical
music, semi-classical music such
as Ghazals and Bhajans, and
also Quawwalis, pop and
regional   language   numbers.
THE     SHOW 10:00PM-
12:00AM Strictly Hip Hop-
Strictly Underground —Strictly
Vinyl. With your hosts Mr.
Rumble on ihe 1 & 2's.
2:00AM Join us in practicing
the ancient art of rising above
common thought and ideas as
your host, DJ Smiley Mike lays
down the latest trance cuts to
propel us into the domain of the
mystical. <trancendance@hot-
FILL-IN 2:00-6:00AM
8:00AM Spanish rock, ska,
techno, and alternative music —
porque no todo en esta vida es
"salsa!" (Temporarily moved to
Tues. 8-9PM.)
BROWNS 8:00-11:00AM
Your favourite brown-sters, James
and Peter, offer a savoury blend
of the familiar and exotic in a
blend of aural delights!
ah. 11:00-1:00PM
GIRLFOOD alt. 11:00-l :00PM
3:00PM Underground pop for
the minuses with the occasional
interview with your host Chris.
DJ Hancunt wants you to put
your fist to the wrist—you know
FILL-IN 4:00-5:00PM
6:00PM Join the sports dept.
for their coverage of the T-Birds.
EVIL VS. GOOD alt. 6:00-
7:30PM Who will triumph?
Hardcore/punk from beyond the
Movie reviews and criticism.
WIGFLUX      RADIO      7:30-
Since we can't go into advertising, we thought we'd go into
radio. Our blurb sux, but our
show don't. Tune into Wigflux
Radio with your hosts Vyb and
12:00AM Vancouver's longest
running prime time jazz program. Hosted by the ever-suave
Gavin Walker. Features at J 1.
Nov. 5: Walt Dickerson a.k.a.
"The Coltrane Of The Vibes,"
with pianist Andrew Hill and others on Dickerson's classic To My
Queen. Also Gavin has special
guest drummer/painter Gregg
Simpson stop by.
Nov. 12: Count Basie and his
orchestra Breakfast Dance And
Nov. 19: Fat Jazz, a rare album
by master alto saxophonist
Jackie Mclean with trumpet legend Webster Young and
teenage   tuba   sensation   Ray
Nov. 26: One of the unsung
giants of the tenor saxophone,
JR Monterose in peak form performing "JR In Action."
3:00AM Hosted by Trevor. It's
punk rock, baby! Gone from the
charts but not from our
hearts—thank fucking Christ.
Bluegrass, old-time music, and its
derivatives with Arthur and "The
Lovely Andrea" Berman.
WORLD HEAT 8:00-9:30AM
An old punk rock heart considers the oneness of all things and
presents music of worlds near
and far. Your host, the great
Daryl-ani, seeks reassurance via
9:30-11:30AM Open your
ears and prepare for a shock! A
harmless note may make you a
fan! Hear the menacing scourge
that is Rock and Roll! Deadlier
than the most dangerous criminal!
BLUE MONDAY alt. 11:30AM-
1:00PM   Vancouver's      only
program. Music to schtomp to,
hosted by Coreen.
alt. 11:30AM-1:00PM
PARTICLE 1:00-2:00PM
Incorporated into the soul are
the remnants of digital sound.
Unleashed, cryptic economies
accelerate the sound particles
through states of Becoming,
breaking the flesh, whirling,
hydra-head, rhizomatic sky.
CPR 2:00-3:30PM
i  6*"
| 12"
J Po I   SAINT   I p0 f
PARTS      C
ANOIZE        L^.
|polymorpheus| wonderland
theatre    j     of sin
SKA-T'S      L
10 ■
10 '
10,000 VOICES (Tk)
WEASEL       L-
ON AIR       IZ.
Cf= conscious and funky • Ch=
Hk= Hans Kloss • Ki=Kids • Jz=
children's • Dc= dance/electronic • Ec= eclectic • Gi= goth/industrial • Hc= hardcore • Hh= hip
jazz • Lm= live music • Lo= lounge • Mt= metal • No= noise • Nw= Nardwuar • Po= pop • Pu=
Re= reggae • Rr= rock • Rts= roots
28 november 2001 buh bump... buh bump... this is
the sound your heart makes
when you listen to science talk
and techno... buh bump...
3:30-4:30PM Christina returns
with a show for the little listeners
out there —kid's songs, stories,
special guests and more.
4:30PM Last Tuesday of every
10,000 VOICES 5:00-6:00PM
Poetry, spoken word, performances, etc.
thrash>Fastcore>Straightedge as
fuck. Since 1989,yo.
hardcore, a
9:00PM Greek radio.
(On hiatus 'til further notice.)
alt.        10:00PM- 12:00AM
alt. 10:00PM-12:00AM Phat
platter, slim chatter.
AURAL    TENTACLES     12:00-
6:00AM Ambient, ethnic, funk,
pop, dance, punk, electronic, and
unusual rock.
7:00 AM
9:00AM Bringing you an entertaining and eclectic mix of new
and old music live from the Jungle
Room with your irreverent hosts
Jack Velvet and Nick The Greek.
R&B, disco, techno, soundtracks,
Americana, Latin jazz, news, and
gossip. A real gem!
10:00AM Japanese music and
10:00AM-12:00PM Spike
spins Canadian tunes accompanied by spotlights on local artists.
ANOIZE 12:00-1:00PM Luke
Meat irritates and educates
through musical deconstruction.
Recommended  for  the   strong.
THE SHAKE 1:00-2:00PM
Please, no masse.
3:00PM Zines are dead! Long
live the zine show!
"Eat, sleep, ride, listen to
Motordaddy, repeat."
Socio-political, environmentally
with some music too.
Rememberance Day through interviews with war veterans and their
thoughts on the current war in
Nov. 14: A spotlight on
veganism;its morals and its ethi-
Nov.21: A feature on the children's
classic "Le Petit Prince" by
Antoine de Saint Exupery, with
giveaways to follow.
Nov.28: A talk with Naomi Klein.
(First Wednesday of every
REPLICA   REJECT   alt.   7:30-
9:00PM Indie, new wave, punk,
noise, and other.
FOLK OASIS   9:00-10:30PM
Roots music for folkies and non-
folkies... bluegrass, singer-songwriters,worldbeat, alt. country
and more. Not a mirage!
HAR 10:30PM- 12:00AM Let
DJs Jindwa and Bindwa immerse
you in radioactive Bhungra!
"Chakkh de phutay."
3:00-6:00 AM
8:00 AM
11:30AM Music inspired by
Chocolate Thunder, Robert Robot
drops electro past and present,
hip hop and intergalactic
2:00PM Crashing the boy's
club in the pit. Hard and fast,
heavy and slow (hardcore).
2:00-3:00PM Comix comix
comix. Oh yeah, and some music
with Robin.
5:00PM Back in full effect, Jan-9
and DJ Hedspin.
LEGALLY HIP alt. 5:00-6:00PM
5:00-6:00PM Viva la
Velorution! DJ Helmet Hair and
Chainbreaker Jane give you all
the bike news and views
you need and even cruise around
while doing it! http://www.sus-
No Birkenstocks, nothing politically correct. We don't get paid
so you're damn right we have fun
with it. Hosted by Chris B.
7:30-9:00PM The best in roots
rock 'n' roll and rhythm and blues
from 1942-1962 with your snap-
pily-attired host Gary Olsen.
RADIO HELL 9:00-11:00PM
Local muzak from 9. Live bandz
from 10-11.
1:00 AM
6:00AM Loops, layers, and
oddities. Naked phone staff.
Resident haitchc with guest DJs
and performers.
8:00 AM
CAUGHT  IN  THE   RED   8:00-
10:00AM  Trawling  the trash
heap of over 50 years worth of
real rock 'n' roll debris.
10:00 AM-12:00PM
Email requests to <djskaJ@hot-
12:O0-2:00PM Top notch crate
diggers DJ Avi Shack and Promo
mix the underground hip hop, old
school   classics   and   original
9:00PM David "Love" Jones
brings you the best new and old
jazz, soul, Latin, samba, bossa,
and African music from around
the world.
Hosted by DJ Noah: techno, but
also some trance, acid, tribal,
etc. Guest DJs, interviews, retrospectives, giveaways, and more.
HEAD 12:00- 2:00AM
FILL-IN 2:00-6:00AM
7:00AM-8:00AM Old and
new radio theatre productions of
all genres. We begin with sci-fi
episodes from the bizarre world
of Bill Lizard, and the old-time
series "Escape."(starts Nov. 1 1)
7:00AM-8:00AM From the
roaring '20s to the coked-up '80s
and beyond, come aboard and
join us in this discovery of the
underworld of Hollywood, pervasive tales of the Golden years of
Movieland. Also featuring special
guests, exploring the realm of
independent film both nationally
and around he world, and the latest news from the world of movie
12:00PM Studio guests, new
releases, British comedy sketches,
folk music calendar, and ticket
8-9AM: African/World roots.
9AM-12PM: Celtic music and
Vancouver's only true metal show;
local demo tapes, imports and
other rarities. Gerald Rattlehead,
Dwain, and Metal Ron do the
CODE BLUE 3:00-5:00PM From
backwoods delta low-down slide
to urban harp honks, blues, and
blues roots with your hosts Jim,
Andy, and Paul.
8:00PM Extraordinary political
research guaranteed to make you
think. Originally broadcast on
KFJC (Los Angeles, CA).
SOUL TREE alt. 10:00-1:00AM
From doo-wop to hip hop, from
the electric to the eclectic, host
Michael Ingram goes beyond the
call of gospel and takes
soul music to the nth degree.
(Welcome back Michael!)
PIPEDREAMS alt. 10:00-
THE RED EYE ait. 1:00-4:30 AM
EARWAX alt. 1:00-4:30AM
"noiz terror mindfuck hardcore
like punk/beatz drop dem headz
rock inna junglist mashup/distort
da source full force with needlz
on wax/my chaos runs rampant
when I free da jazz..." Out.-
Guy Smiley
Hardcore dancehall reggae that
will make your mitochondria
quake. Hosted by Sister B.
KicK Around
terri dark, jason mccoy@the orpheum; fix, loose in flight,
rush@vancouver east cultural centre (on sat. too); the dead-
cats, 12 midnite & suicide ride, the cronies; boarding house
skateshop tribute@anza club; yellow diablo fights a
car@access arts centre; the gloryholes, the cripples, weird sci-
ence@industrial coffee in georgetown; the golden wedding
band@sugar refinery; star collector@pic pub
sight unseen@waterfront theatre (continuing); Vancouver
stortelling festival@wise hall; salsa dance@wise hall; the lazy
cowgirls, the nasty on, the felchers@pic pub; bouncing souls,
flogging molly, one man army, madcap@graceland (seattle);
the colorifics@sugar refinery
eric's trip, hot little rocket, i kill my conscience at
times...@richard's on richards; Virginia rodrigues@vogue theatre; rogue folk club@wise hall; ivan klipstein, man at
arms@sugar refinery
momus, stereo total@starfish room; lost dog in space: the
comic art of andy mori@lucky's comics & art gallery ('til
Wednesday only); julie doiron, christine fellows@sugar refinery
in, the icarus line@the paradox (seattle); parallela jazz
series@sugar refinery; Ursula rucker@richard's on richards
the cinch, transformer, the burning brides@pic pub; the alan
matheson trio@the cellar; cineworks filmmaker forum@sugar
refinery; spiritualized@commodore; tall paul@richard's on
richards; g-nius dj battle/ebony & ivory sound crew@sonar
tori amos, rufus wainwright@orpheum; engine of the future,
the dollar store jesus@arts club backstage lounge; green eggs
and hammond@the cellar; ben wilson&chris kelly@sugar refinery; michelle shocked@richard's on richards; the coup and
sloan, flashing lights@croatian cultural centre; ihor kukurudza
quartet@the cellar (tomorrow too); jetone, ben nevile, djs glyn,
construct, and tobias@video in
SAT 10
MAGNETSdTHE COBALT; wayne horvitz' 4+ 1 ensemble,
zony mashy acoustic@norman rothstein theatre; wimpy ray
and his bloated icons, cherry bomb, the crispy flakes@the pic
pub; falcons, metalunas, phantom 309, surfdusters, and
more@mt. pleasant community centre (advance tix only); trail
vs russia, donkey engine, recidivist, w/shawn from unclean
wiener@ms.t's; springer and docommun@sugar refinery; dj
spen (basement boys)@sonar
SUN 11
dinner with robert ashley@western front; tales from the gimli
hospital@blinding light; metalwood@the jazz cellar; the gaza
strippers, the spitfires, as in as sin@anza club; the hudson falcons, the Wednesday night heros, the amazombies@the pic
pub; by a thread,himsa, closure@ms. t's
MON 12
shannon wright, songs: ohia@richard's on richards; perfect
lives (opera for television)@pacific cinematheque
30 november 2001
TUE 13
saul duck, trail vs russia@the starfish room
WED 14
solex, dalek, birthday machine@starfish room; b3@the cellar;
teetharces experiment@sugar refinery
THUR 1 5
kick in the eye@marine club; mike alien, oliver gannon quar-
tet@the cellar; vague demons and colour thief@sugar refinery;
emphysema (a love story)@van east cultural centre (continuing);
resin@sugar refinery
FRI 16
empire & au pair@western front; real mckenzies@the anza
club; pj perry quartet@the cellar; cunt@sugar refinery; tangerine dream@richard's on richards
SAT 17
pharcyde, souls of mischief, planet asia, rasco@commodore;
puentes brothers@richard's on richards; yoko ono project@fire-
hall arts centre (continuing); art damaged cabaret #3@ms. t's;
mr. badwrench, the deadcats, evil norton niels@pic pub; the
highbeams, the fliptops, midnight thunder express@industrial
coffee (georgetown); kevin house@sugar refinery
SUN 18
icp orchestra@western front; pj perry quartet (matinee)@the cellar;   bruno   herbert   trio@the   cellar;   25   suaves,   canned
ham@sugar refinery
MON 19
taj mahal@commodore; pharcyde, souls of mischief, planet
asia, rasco@the showbox (seattle); dashboard confessional,
midtown, rocky votolato@graceland (seattle)
TUE 20
pete tong@sonar; the fall@crocodile (seattle); bryn roberts quar-
tet@the cellar; emphysema (a love story)@van east cultural centre (continuing)
WED 21
brad turner quartet@the cellar; uncle bomb@sugar refinery
Vancouver underground film fest@the blinding light ('til sun);
vague demons@ms. t's; green eggs & hammond@the cellar;
colour thief@sugar refinery; stacey pullen@sonar
FRI 23
baker/plimley/kelly/vander der schyff@western front; frog
eyes, baron samedi@ms. t's; dave young quintet@the cellar
(tomorrow  too);   howard   roark  presents-  4   dex  and   no
brains@sugar refinery; dj krush@sonar
SAT 24
mr. solid, chick magnets, glue, typhus, marlin spike@seylynn
hall; broken crow quartet@sugar refinery; the Juliana theory,
the movielife, the starting line@graceland (seattle); j.p. carter
quartet@sugar refinery; critical band@roundhouse exhibition
SUN 25
bebel gilberto@commodore; benefit jazz-a-thon@the cellar;
emphysema (a love story)@van east cultural centre (last night,
Jaffa, dj bruno@sonar
TUE 27
painters painting@the blinding light
WED 28
billy & cory weeds quartet@the cellar; in the end time, assertion, vague demons@the railway; sida mon amour@the blinding light; ben wilson&mitch kinney@sugar refinery; wilco,
mercury rev@moore theatre (seattle)
alpha yaya diallo@richard's on richards; green eggs & ham-
mond@the cellar; eon' live set to beauty & the beast@the blinding light; parlour steps@sugar refinery
FRI 30
the buttless chaps@sugar refinery
Special Events
CiTR    presents   Mr.    Scru
ff with
special  guest  Dana  D  at
Sunday    November . 18,
(doors 8pm). Tickets are
$12 at
Zulu,          Boomtown,          Bassix,
Futuristic Flavour and Sonar.
In November Shindig coasts into
the semi-finals. Come and catch
your favourites every Tuesday at
the Railway Club. Jokes for beer,
heckling Ben... it's all good fun.
(Sorry,  Ben.)
A part of the Firehall Arts
Centre's "Attitude" program, The
Yoko Ono Project is "a cheeky
multi-media performance art comedy" investigating "the demo-
nization of one of the most
intriguing and controversial
artists in North American pop
culture." At the Firehall Arts
Centre, November 15-December
8. Call 604.689.0926.
It's November. That means
there's a chance that there will
be some wind. Let's hope it
comes, folks. Put away your
umbrellas and take it like a man.
a french language album from juno award winning songwriter
julie doiron. sparse, warm and lovely, julie will be appearing at the
sugar refinery, nov 5 and thursdays, nov 6.
poems Py clive. soundtrack Py jason, John (of the weakerthans)
and Christine fellows. Christine will be performing at the sugar
refinery, nov 5 and at thursdays, nov 6.
embracing Poth melody and abrasion, calgary's hot little rocket
evoke the dissonance of english guitar noise and the urgency of
american post-punk, hot little rocket will be opening up for eric's
trip at diegos, nov 3 and richards, nov 4.
from Vancouver, this is readymade's eagerly awaited 2nd album.
opar transcends old school shoegaze to create an album of
sprawling urPan soundscapes ideal for skytrain rides and rainy
nov 3: victoria: eric's trip/hot little rocket, diego's
nov 4: Vancouver: eric's trip/hot little rocket, richards
nov 5: Vancouver: julie doiron/christine fellows, sugar refinery.2 shows
nov 6: victoria: julie doiron/christine fellows. Thursdays
Advance tickets available at I
Futuristic Flavour, Scrape,  "
Noize, Zulu, Bassix,
Musfcwerx (Seattle),
charge-by-phone and all
tick&tma&ter \
TOUR 2001 / 2002
of EUROPE and
^^m^mm MOGWAI
The first new release from
Glaswegians MOGWAI since
this spring's full-length sees the
band looking back to the wall ot
People often come into our
store asking us what might
J    sound good in their CD players
along with, say, Knitter
One of my earliest concert
shimmering guitar power after the more meJIow moods of Dorfnwisier, Thievery Corporation, Llorca. or Saint
that album. A single 21 -minute song of epic proportions is Germain. Ranging from laidback and cool to upbeat and
leveled at the listener on this effort, based upon a simple danceable, we think these thirteen new remixes of BEBEL
nt Jewish melody that the band was taught by Arthur GILBERTO s debut Tanto Tempo are just the thing.
Baker, and reworked with their trademark gigantic sound
enhanced by the production work of Steve Albini.
CD 9.98
I Am;
is record should be called
I Amazing instead ot THE
ARGUMENT. Not just because
this record is amazing, which it
is, but because FUGAZI keep getting better and better.
Their previous release, the eclectic soundtrack to Jem
Cohen's, um, also amazing FUGAZI documentary,
Instrument, seems to have freed FUGAZI creatively, leading to all kinds of new sounds and ideas. Of course, the
basic FUGAZI nuts and bolts are still abundantly here,
and they still rock out with ease, but they've matured
considerably, demonstrating once again the significance
of their much-respected drive and integrity. Amazing,
yes, amazing.
CD 14.98   LP 12.98
DOUBLE EXPOSUBE...hmmm, with my limited photographic knowledge we seem to be discussing the
process ot exposing a single frame of film to two dynamic
mages! Needless to say, the results dramatically rupture
the definitions of photographic realism. Are you with me...
good, then sit back because your definition of sonic realism is about to get restructured also, as long time Zulu
faves TRANS AM and THE FUCKING CHAM'S exposure a
single strip of audio tape to two of heavy future-metal
CD/IP 12.98
Featuring tracks by Peter (Cruder (of Kinder and
(lorfmeister) TrOby Trio. Rae & Christian, King Brit, Faze
Action 4hero, and more.
CD 16.98
Putting the rock back into Baroque? Putting the
Baroque back into Goth? Putting the Goth back into
post-rock? Another ad-hoc agit-prop sock hop featuring
wrapped up in the requisite beautiful Constellation
Records packaging (the double ten-inch's sleeve even
smells nice). Many of our customers believe this splinter
group's previous effort to be the best GODSPEED! related
project so far. The follow-up does not disappoint.
Essential brooding.
CD 12.98    2X10" 16.98
All most as popular as the
So much music that attempts hypnosis is merely repetitious. Ladies and gentlemen - welcome to the real
thing. TRIPLE POINT is the debut solo album from
Destroyer drummer and multimedia-artist-about-town
Scott Morgan. Not just another local wannabe act, LOSCIL     THE GOLDEN ACME CD
/experiences was THE
Aquastage many summers ago.
At the peak of their powers, they capped their fine selection of originals with a handful of choice cover versions
— lovingly rendered glimpses at their record collections.
Continuing that thread, Grapes mainman KEVIN KANE
has culled an album of acoustic renditions of great
songs from the '60s to the '90s (with guest appearances
from Veda Hille and Neko Case). From The Kinks to    .
Kraftwerk, The Go Go's to Guided By Voices — snapshots from his youth, yours and mine handled with care
and grace. Limited to 500 hand-numbered copies, so
don't sleep on this local gem.
CD 12.98
It's hard to offer a cogent critique of global capitalism.
And it's even harder to do this from the context of popular culture, which normally trivializes or rejects political
analysis. For good or bad, THE (INTERNATIONAL) NOISE
CONSPIRACY has placed themselves in this difficult, even
contradictory position. Maybe their thoughtful political
agenda might not win them as many fans as the great
'60s influenced punk rock they play (which rocks even
harder live, by the way). But who knows, maybe their
message of life and revolution might also inspire us the
next time we find ourselves dancing uncontrollably to
their music, our limber bodies helping free our minds.
Smash it up for the multitude.
CD 19.98
makes limpid post-Monolake electronica so patently
impressive that it caught the ear of Chicago's Kranky label
- the imprint that brought GODSPEED YOU BLACK
EMPEROR! to a grateful world, lest we forget. Zulu
Records is proud to provide you with an opportunity to
catch the first wave of a genuine, Vancouver-based phenomenon. Get ready to ride the somnambulant ambience.
CD 16.98
I was once anointed by the sounds ot Mr. BOBBY
CONN. It was a pleasurable experience, but like most
that are characterized by hedonistic pursuits, there
were some permanent after effects. His music is daring, bold, youthful and wise (a rare mix), but also very
dangerous. Having said this, his perilous bombastic
combinations of soul, rock and introspective lyricism
have left me extremely eager to depart for the CONN
universe! There my friends, we can piece together the
CD 19.98
this November!
Zulu expands into the building next door at 1976 West 4th Avenue
This new space will feature extensive new and used vinyl, specialized
new CDs, and plenty of room to peruse our varied selection
'80s fad that saw thousands of youngsters racing
towards careers in dentistry,
today's youth retain dreams of
the lustrous DJ workplace. You
see... the skilled DJ is free, and destined to roam the
countryside with turntables stocked tor some chillin'
episodes. DJ FOOD AND DK are two such audacious individuals - mixing BOARDS OF CANADA, FOUR TET, BLACKALICIOUS DJ VADIM, JERU, NEOTROPIC and many more -
sure beats pulling teeth from bloody gums! Enjoy.
CD 19.98
Clearly one of the mos or the
Mojo rock historians, this 3 CD set is curated by
famous NYC guitarist/ post-punk impresario Robert
Quine. Featuring 3 live sets from the VU pre-Loaded era,
these recordings from dates in San Francisco and
Washington DC point to the peak of their 1969 counterculture prominence. Playing material from their first two
albums (with very little overlap on the individual set
lists), each night ends with blistering versions of "Sister
Ray" - a tune, then destined to reverberate for future
generations.' Rock'n'Roll" is the only previously
released track, as it appears on 1969: Velvet
Underground Live, and that should provide the curious
with some idea of Lou's intensity level. If "Electricity
comes from other planets," then this terrain is a pleasant
shock. Available early November.
3CD 46.98
LEHGRE Feminist Sweepstakes CD/IP
CEX Oops 1 Did It Again CD
MR. LEN Pity The Fool CD/LP
SOLE Learning To Walk CD
MODEST MOUSE Everywhere and His
Palour Tricks CDEP/12'
THE FAINT Mote/Dust Cdep/IZ'
R.L. BURNSIDE Burnside On Burnside CD
HOOD Cold House CD/LP
MONOLAKE Cinemascope CD
Zulu Records
1972 W 4th Ave
Vancouver BC
tel 604.738.3232
Mon to Wed   10:30-7:00
32 november 2001


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