Discorder CITR-FM (Radio station : Vancouver, B.C.) 1995-09-01

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"DiSCORDER" 1995 by the Studeni Radio Society ol the University of British Colun
rights reserved.
Circulation 20,000.
Subscriptions, payable in advance, to Canadian residents ai
the USA are $15 USD; $24 CDN elsewhere. Single copies
e $15 for one year, to residents ol
>s are $2.00 (lo cover postage, of
course*. Please moke checKs or money orders payable lo DiSCORDER Magazine.
DEADLINES: copy deadline for October issue is September! 3th (and I rioffy mean it this timel).
Ad space is available until Seplemberl 8th and can be booked by calling Kevin al (604)822-
3017 ext. 3. Our rates are available upon request. DiSCORDER is not responsible for loss,
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limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be sifcmitted on disc (Mac, preferably) or in type. As always, English is preferred.
From UBC lo Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as
through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the
CiTR DJ line at 822-2487, our office at 822-3017 ext. 0, or our news and sports lines at 822-
3017 ext. 2. Fax us at 822-9364, email us at CiTR@UNIXG.UBC.CA, visit our web site al
http://www.ams.ubc.ca/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd.,
Vancouver, B.C. CANADA V6T 1Z1.
•Printed in Canada
$§oK Sheep £<><*? In<**
SUb•culture free poetry readings
•brow skin phUOSOpllV
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...contemporary... alternative...
2742 W. 4th Avenue • Beside the Naam • Kitsilano BC • 732-5087 ■ CANADA _ LARGEST AND BEST KNOWN RECORD STORE        I
588 Seymour (Downtown) • Richmond Centre • Surrey Place Mall • Eaton Centre {I
822   2003
2003 W. 4th Ave. Vancouver BC V6J 1N3
Ph: (604) 739-9511  Fax: (604) 739-9561 airhea
dear airhead,
i am writing in response to brian
wieser's article on the national campus/community radio conference that
appeared in last month's issue of
discorder magazine, i am writing
(better late than never?) even
though i feel
that, given
brian's obvious slant, then
should have beei
response to the
tion, "What is campus
and community radi
anyway?" i am wri
because i was outraged by
and scared of the opinions
and implications contained in
the article.
brian is CiTR's elected president.
as such, he is technically elected to
be the voice of the station and to speak
on behalf of CiTR and its members,
whether or not he intended his piece
to be written on behalf of the station is
irrelevant because he was a CiTR representative at the conference and he
is speaking as a privileged, straight,
white, middle-class man. and he is oppressing so many people with every
touch of a typewriter key. what he
speaks is NOT what many members
of CiTR feel.
i was also at the radio conference
in edmonton. it was a frightening, confusing, and empowering experience
for me. beginning with a Native ceremony, ending with a baseball game/
barbecue, and featuring a separate
day for the Women's Conference, ncrc
'95, i feel, tried to offer something for
everyone and include everybody,
what the organizers and [most of the]
participants of the conference did not
try to include, however, was a place
for bigots.
brian states that the ncra has become "a collection of narrowly focused
activists involved in radio." this
» true: campus/community
stations give a voice to
those groups who would
not be given the time of
day anywhere else.
i would brian rather
111 our c/c stations ex-
JL,, ist as breeding
|||||k grounds for apathy and ignorance? we do
indeed have
my "focused" spoken-
word and music programmes which
provide an avenue to discuss issues
of racism, sexism, homophobia,
ablism, classism, etc. if one is going
to fight prejudice it is impossible to
conquer it all in one programme, that
is why we have "focused" shows,
whether it be a gay/lesbian/bisexual
show, a feminist show, or an environmental show, that is the beauty of c/c
radio, it's called strength in diversity,
he also states that, "unfortunately,
c/c radio includes more than just these
people — even if they weren't all in
attendance at the conference." true
again, no matter how much we'd all
like to think that c/c radio is comprised
of liberal, open-minded people (with
great taste in music to boot!), there is
a scary number of people who could
care less about equality, at CiTR, the
ratio of female to male programmers
is about one to six. the ratio of coloured programmers to Caucasian programmers is even more pronounced,
how's that for diversity? brian continues by writing that the airwaves should
not be used "to suppress any voice."
not even a fascist, racist, sexist,
homophobic, classist voice? what
"voice" does brian mean?
why the heck should you the
reader/listener care about a ny of th is?
well, brian is right on when he claims
that c/c radio is about "communities
of people" and about the "freedom to
speak." what he doesn't seem to understand is that many "communities of
people" are not going to feel that CiTR
is a safe place for them; and if these
people don't feel safe, how can they
even think that they have the freedom
to speak? we don't need to provide
airspace for racist, misogynist content
- [we'll] leave that for the corporate,
mainstream radio stations in this here
i was scared* to death to write this
letter, i know brian and i work with
him. heck, i like him. this was not intended as a personal vendetta against
him. but his article hit me so hard i
questioned my entire position at the
station; is it futile, pointless, and perhaps dangerous? i don't know.
miko Hoffman
CiTR programme director
Dear Airhead,
I am writing in response to Brian
Wieser's article on the NCRC in last
month's issue of Discorder mag. After
reading it, I thought Ya Allah, another
case of white male defensivenessl
Wieser passionately displayed his
angst as he wrote that Campus and
Community radio stations are being
rather unfair in their apparent inclination to social and political issues and
not enough on "issues with a broader
relevance". Well cry me a river!!! So
Wieser obviously doesn't think that
stinking racism, sexism, homophobia,
poverty, and such other concerns do
not effect the "broader" society.
Wieser is living in his privileged white
male world where the above issues
prevail in all their sickening glory.
Campus and community radio is a
very important resource for oppressed
peoples. Mainstream radio is about
wealth and exclusion. The status quo
always receives overwhelming support
and differing points of view are either
discouraged or twisted to
make them look ridiculous. On the
other hand, c/c radio is about
roots and representation. Here,
we dish out what
the privileged
don't want to
hear and that
means the
many different voices of
consciousness: anti-
racist, anti-
sexist, anti-
homophobic, anti-poverty, etc. Unfortunately, there are those like Wieser
that we must come across. Those who
are afraid that our concerns are "taking over", so to speak, and "infiltrating" their domain. Well, I hate to shine
the glaring white light on you, Wieser,
but there's a dimension of power in
all of this. The white right have the instruments of authority at their disposal.
They can silence our voices with one
flick of the wrist unless we stand up
and say fuck that, I' m gonna say what
I wanna say. I' m gonna make people
hear! That's why we turn to c/c radio
to provide the forum.
Wieser, in his conclusion, decides
to write the typical white male defensive trash by stating that "c/c radio is
a recipient of some of your tax dollars...". ("Your" obviously refers to the
capitalist-patriarchal class) Did I not
hear the fascist leader of the Reform
party say those same words? I'll just
remind Wieser that the "narrowly fo
cused activists involved in radio", as
he so ignoranth/ labels us, are taxpayers too! I'm glad to hear that the NCRA
is finally focusing on concerns that
should have been given top priority
long ago. It's high time that various
forms of mediums take action. After
all, that's what "alternative" radio is
for. I certainly hope that CiTR radio
will take the examples from progressively-conscious stations like Co-op
and not allow people like Wieser to
push it into the narrow confines of
white-supremacist society.
shazia islam
member of colour connected
against racism
While it is technically possible that
Thurston Moore and Beck were in the
audience during Pork Queen's performance, it is much more likely a
case of
identity involving the
I ways ef-
Sean Elliot
■jf Superconductor. Also,
it should be
loted that Pork
Queen was invited to play
Lollapalooza not
by Thurston
, but by
David Geffen who
could be seen backstage wearing
a "Bruce Pavitt Gave Me Head" t-shirt.
Barry Ledwidge
Hello Trish Kelly,
What gives woman? You are griping
in the latest Discorder about no good
quality zines out there and In Hell's
Belly is probably sitting under a table
leg in the office. What do you
Discorderites do with the copies I mail
out there? Especially pricey was the
three issue pack that went out last issue. If the mailroom types are absconding with it before it gets to you, call
me! Our first and last review was of
Issue #1. I am now just getting in all
the submissions for #14. Issue #12 is
up online at our site and a whole page
is dedicated to my favourite zines, their
addresses, etc. I am personally fund
ing the charge, to put up all the back
issues of Gee-zuz so that the world can
revel in John's brilliance, and I gave
local zines a big plug in a Discovery
Channel special on Wired Women
that will be aired in November. If this
isn't a great story I don't know what
is. Geeky secretary type quits and
becomes Hellpyre Ink tycoon while
working full time running a video production house.
I need all the support I can get to
keep IHB afloat and reviews in the
media are an important way to get
the word out there!
Thanks for taking the time to read
this.   :)
Helen S. Siwak
In Hell's Belly
Hello Discorder,
Just a little note to say I really appreciate all the things your paper does.
Such as the free directory and the
great local coverage of bands. Even
if your paper wasn't free I'd still be a
loyal reader. All of you do a great job
and I'm sure you'll continue to do so.
Thank you,
Mark Owen
drummer - Cirkus Mind
Hello. I love the Discorder. The problem is I love it too much. I'm lazy too.
I need the nice people at UBC to send
it to me once a month for a year because I refuse to get off my ass and
pick one up for free. Therefore I an
sending money. I live all the way out
in Coquitlam. There are 2 skaters out
here. No bands. Hmm. I'm now crying... I can't even pick up CiTR on the
damn radio sometimes. My car broke
down. Flat tires. Hurricanes. Floods.
However, this issue of the Discorder
(July's) made me smile. They grey
clouds are gone. Only sunshine.
Smiles. Chipmunks. Bands! Skaters!
cubl Sloan! Plutol Man, life is good.
Melanie Hawkins
Oopsl Those beautiful photos of the
suave and sexy Sister Lovers that we
published in last month's mag were
not taken by Jody Franklin, as we so
foolishly credited them. They were in
fact shot by Erica Henderson, to whom
we extend our sheerest apologies. We
also forgot to credit the photographers
who provided the spiffy pix for last
month's cover. They be Lisa Wayne
and David Galoway, and we be sorry
s $tgg°m»m 1
Ack! I'm late, I'm tired, my feet smell, and my usual network of
spies and informers has left me virtually dirriess for this month's
Vancouver Special. I'll Iry reo//y hard to get my shit together
by next month, but until then I'm afraid you'll hove to whet your appetites wilh a little Gossip Lite ™.
The big news on the local scene - or at least the news that Mint
Records publicity pimp Grant Lawrence has trumpeted enough to gain
ihe attention of the local papers - is lhat cub's temporary tour drummer Neko took offence to some comments made by a member of the
the dust had hardly settled whew the reports of the
hurricane started surfacing, it was that time of year
again and the locals were soon to be deep in the shit
once again, why thought some, did they year after
year put up with the destruction heaped upon them,
the so-called acts of god. the unforeseen and the seemingly unexpected, was it worth all this to live in paradise? the taking of the sea, the wind's blind path through
homes just newiy renovated from the last time, why
would one continue to live in an area that had for the
last five consecutive years been ravished by fire, flooded
by rain, torn apart by hurricanes, year after year of
pounding disaster, the hurricane season they called it
forest fire season, is it worth living on the shores of
maiibu with all its majestic beauty, clouded somewhat
now by pollution and film crews, to maybe have your
home washed away by the sea or torn apart from
fire? i say not fire island in new york is virtually disappearing daiy the sand washing away with every
passing day. the locals paying as much as +50.000 u.s.
to have their homes moved further and further up the
beach to avoid the sea they've paid so much just to be
near, how stupid are we as humans as to fuck with
mother nature? yet again and again we retvm to the
spots where the shit has hit the fans and build again
and again, and while most of these major disasters
happen in the lower 48 lef s not forget that we too are
guilty of foolish living, not just our american cousins,
shoddy building practices not more than a block from
my home have cost owners tens of thousands of dollars, and if they had had it fixed correctly the first
time maybe it would be better, but due to lax inspection
the problems persist and the building should just be taken
down, whafs my point? i don't really have one except
to say that as humans we are all so stupid, we seemingly don't learn from our mistakes, like dogs we're
slapped repeatedly by a newspaper that mother nature wields and we vt^/er learn, i'm as guilty as the
rest but like to think that i have learned some from
my past mistakes, we build over and over where we
shouldn't, live in areas we know are prone to acts of
god and then complain and expect the government to
bail us out fuck that you pays your money and you
takes your chances.
aiiu tes veil
audience at one of their recent shows and proceeded to pummel the
poor punk until he saw the error of his ways and apologized for his
boorish behaviour. Hmm, I always suspected that cuter than cute image was a sham..."The number you have reached is not in service" -
if you've called 684 PUNX line lately, you will have no doubt been
shocked to hear these words instead of the usual mix of blaring punk
rawk and garbled gig listings lhat made the PUNX line an indispensable guide lo Vancouver's all-ages punk scene. There are no plans to
resurrect the line any time soon, but if anyone out there wants to start
up a new one, we'll be sure to tell the world about it Nettwerk
Records will be holding their annual garage sale again this year.
Tentatively scheduled for September 23, the sale promises to provide
tons o' bargains on tons o' Nettwerk gear...The McRackins' first
trek across America came to an abrupt end when a tire blew on their
tour van and flipped over outside of Burlington, Colorado. Fortunately,
no one was seriously injured in the crash, largely thanks to ihe fact
that the McRackins, law abiding Canadians lhat ihey are, were all
wearing their sealbelts. (The hospital where the boys were treated
after the accident awarded ihem with "Survivor Certificates" to indicate that had they not been wearing sealbelts, the outcome of the
accident may have been far worse.) Lead vocalist/guitarist Bil
McRackin may have sustained a broken hand in the accident, but
other than lhat everyone is just a bit shaken up...Also courting disaster last month were The Wing nuts whose bass player, Bernie, had
his bedroom torched in a fire. The blaze started in the house next
door, destroying it, and then spread to Bernie's house. Fortunately,
no one was hurt and ihe fire was contained before it could spread
beyond Bernie's room, but, unfortunately, the master tapes for the
what was to be The Wingnuts new album were destroyed in the
blaze. The band will be holding a benefit for themselves on Friday,
September 29 at the Malcolm Lowry Room...On a lighter note, Mark
Broadie and the Beaver Patrol will be releasing an album on
none other than the mighty Shredder Records, the label responsible
for Jawbreaker, among others. .Joining Mark and the BP as fodder for
signing gossip, Calgary's Chixdiggit are heavily rumoured to be
ihe latest Canadians to be added to ihe Sub Pop roster. If you see
them sportin' Sub Pop Swatches when they hit the Pit Pub next week,
you'll know the ink is already dry...
That's it!?! That's it. I told you it was going to be little on the lean
side today...
I'm such a stickler for accuracy I'm compelled to include an erratum
of sorts in this month's column. The offending published material in
question is the review of Destroyer Sings in "Vancouver Special*
a couple of months ago. I claimed lhat lo-fi singer-songwriter Destroyer,
formerly of the fine lo-fi band True Love Forever (in fact, he's still with
them if they are indeed continuing as a functioning unit; however, I've
heard rumours to the contrary), included some sounds lhat resembled
"an accordion the way it should never be played". I was, after all,
writing ihe review while actually listening the tape, albeit for only the
second time. Hey, you'd hear a fucked-up accordion loo if you were
.fto Nom*»£fnn ooR REQuumty xmepuup pro-seam, aiready m pr«^^$j
6     SEPTEMBER 1995 on your sophomore listen of this mad genius' work. Anyway, upon       mine, and your second one might even be better. By the way, the new
further audition of the cassette, I feel I have to correct this error, espe-       tope's called The Drew Barrymore E.P., ond it's apparently dedicated
weeks now: the sounds heard on the
cassette are actually a synthesizer the
way it should never be played. There.
I feel much better now. Too bad if you
Fisting sure know how to give you
the grind when it's called for, and continue to do it even when if isn't. The
titles "Condemned" and "Fat Piece of
Shit" should give you ihe hint as to what
these guys are all about: candlelight
and wine are OK., but only as an adjunct to ritualized bloodshed and not
for setting the mood for a romantic dinner. I haven't heard such coarse vocal
gurglings since the voice-box bypass on
last year's Deliverance cassette by
Dreadnought. But it's the last track on
Fisting's four-song tape, Get That Ring
Out of Your Fucking Nose lhat really
sticks out (no pun intended). Fisting may
be metalheads, but ihey ain't melalfaces.
This tune demonstrates their pragmatic
approach to employment-seeking, as the
singer warns the new pierce "you'll
never get a fuckin' job". It had to be
to that hitless starlet of the
Lollapolooza circuit (correction: it
turns that Svend Erickson, guitarist
for Hole, has hit on her before; it's
just Pourtley Love who hasn't actually hit her yet). I don't think he's
serious about the Drew Barrymore
thing, so you can stop yakking oil
over this Discorder. The lyrics aren't
important anyway, serving as a travelogue for your aural journey over
misty seas and cathedral-walled
arias. If he is serious, ihough, he gets
ten rounds wilh Pourtley while armed
only with a mere rocket launcher and
some nerve gas (for himself).
Another group interested in the
sonic possibilities of soft, squishy
guitars is Readymade, a trio who
undoubtedly complimented
Speedbuggy quite nicely on their
recent bill together at a local club.
Their dreamy grooves bring to mind
Brit groups such as My Bloody Valentine and Spacemen 3. Fuzz, fuzz,
fuzz. Do no! adjust your speakers.
There's some acoustic guitar, bul
don't worry, the delay unit has been
While I'm only guessing (ond I'll do U j ^  .      ^ ^ .       ^ ^ f applied. Likejhat by Perfect Sound
it again), something tells me Kenn    J _y  '/ . / I     r L        L this tape could serve as a soundtrack
Sakurai should have done some Sec-   **"&.  T*fft *&*t, « ' 0,000 HrvJt t trnc^triL tm, fa yow dreams, and, at just over
ond Guessing himself when some years 7"^ £Jf *HU FwstW W- DflK SutforUrU thxt *ill K 20 minutes long, is indeed about the
ago he changed the name of his re- jA^wn-  fit  ZtLurrK  tltctrie   C-nlUry   trh, tkt   *3*rA- length of an average dream (betcha
-.ording project from The Electric Shoes
to, you guessed it, Second Guessing (you can guess lhat again). Shortly
after the cut "Ordeal By Roses" from Second Guessing's The Beautiful
Ugly cassette was included on one of Impact magazine's nationally-
distributed CD samplers about six months ago, I received a cassette
with Kenn's trademark deep, breathy vocals and feather-like guitar
playing, only this time under the name Perfect Sound. Could it be
lhat there is a second Second Guessing? Your guess is as good as
didn't know lhat).
Helen Gone are a local guitar-picking, rhythm section-less duo
whose switching between male ond female vocals (in this case, those
of Karl and Gail Hourigan) keeps their tapes interesting, if only for the
variety. They write great songs wilh infectious hooks, os tunes like
"People In Moose Jaw" ond "This Old House", from their new three
song demo, attest. "Dinosaurs" makes the observation lhat "we are
prisoners of classic rock", although considering who's going to hear
this song it's probably going to end up being another case of preaching to the converted.
There's also some switch-singing on Area 51 's 6-song tape, this
time by a couple of persons named Joni and Rick fronting a full rock
band. Like Helen Gone, they tend to wander a little into the mainstream side of things, but if that's what gets you off, you won't be
disappointed by the relaxed tension (oxymoron pat. pend.) of songs
like Joni's "Can't Get Over You" and "Sleep* or by the punchy melodies of Rick's "Another". Good first effort.
Finally, there's Lick, the long-awaited and cheesily-entitled cassette
from the Tanyo Chapman-led 1000 Stamps. Tanya's voice stands
alone, if voices can indeed stand, and is enticingly strong and confident (and on-key: she's taking a big chance). In an intimate setting,
like on "Whiskey Song" where the band takes a break, her powerful
pipes are capable of emitting soft moans right before belting out a
couple furious lines. The song is given legs, so lhat shows you lhat
voices are perfectly capable of standing. My favourite is "Poster Child":
"I don't want to make love to your alter ego/I am not the Poster Child
for the coolest people you know", sung with such intensity that I felt
bad because I thought she was singing to me. Hey, I don't even know
her; what am I getting all worried about?
Well, I hope ihis time I was occurate. I can't live wilh myself when
I make factual errors. But who am I kidding - this column is probably
rife with mistakes and omissions. You see, I couldn't oclually listen to
the topes since I was too busy mainlining Guided By Voices all last
month. I gotta get off these cheap kicks, baby. Cold turkey Hopefully
next month I'll have been through rehab (I hope I don't end up like
Jerry) so I'll have fresh reviews for ya. Until next month. Kisses to the
Crying Cooks.
Friday, September 15: Nomeansno and Another White
Male at the Centennial Building, Beban Park, NANAIMO
Friday, September 22: Dayglo Abortions, Lik the Pole,
Puncture & Backroom Shag at the New York Theatre (8 pm)
Saturday, September 30: Seaweed, Into Another & guests
at the Town Pump (4pm)
The gentry has won. This year's Vancouver Fringe Festival,
taking place between September 7-17, moves oway from
Mount Pleasant to Commercial Drive. Fringe goers this year can
expect a more festive atmosphere than in previous years, thanks in
part to the trendy flavour of the Drive, and also to the great pains
Fringe organizers have taken to ensure such an otmosphere develops
by hiring street entertainers and the like. Even with the move, ihough,
patrons will still be able to see a diverse program of dance, comedy,
drama, and music in both traditional and more on-lhe-edge forms.
Now in its 11 ih year, the Vancouver Fringe derives its name and
attitude towards ihealre from the Edinburgh Fringe Festival. This first
fringe began in 1947 as a movement against traditional theatre taking part in ihe first Edinburgh Theatre Festival. Eight ihealre companies were excluded from the mainstream production and hosted their
own festival on 'the fringe' of the other festival. Initially marginalised,
this alternative festival developed into something greater than the
mainstream theatre festival and has since spread into olher centres.
This spirit of the Fringe continues at the Vancouver Fringe with
mtional theatre spaces, experimental theatre, and performers
taking their own financial risks. Unlike mainstream theatre, which focuses on
bankable projects lhat ensure bums
in seals, ihe Fringe focuses on 'theatre for everyone'. Applicants are
accepted on a first-come, first-served
basis. Further, what is performed at
the Fringe is left entirely up to the performers. As one performer notes, "you
can go piss on yourself for an hour
;   and they won't stop you."
Finding ten suitable venues in  the
vicinity of Commercial Drive was a challenge, but unconventional theatre spaces
have always been a mainstay of the Fringe. The ten venues this year
will consist of the New York Theatre, the Vancouver East Cultural Centre, the W.I.S.E. Hall, Britannia Auditorium, the Edison Electric Gallery of Moving Images, ihe Grandview Salvation Army, La Quena
Cafe, the Firehall Arts Centre, Station Street Arts Centre, and Main
Dance Place. Fringe headquarters will be set up at Grandview Park.
The Fringe Lounge, always a source of inspiration (read cheap beer
and eats) and pertinent info on the shows, will be al the Legion Hall
on Commercial. The Lounge still serves as the place for performers
and fringe goers to find out the latest, check the reviews, quaff a few
HroH out 90 pitf om ***««frtf for
and wash their own damn dishes. And, of course, there are lots of
restaurants and coffee bars on the Drive to provide an alternative
resting place for theatre goers between shows.
Selecting which of the nearly 100 different shows to see at the
Fringe need not be an intimidating process. Information is out there:
check out the Fringe Headquarters at Grandview Park, go to the Fringe
Lounge to look at the production company's previous works, read the
reviews, or catch the buzz on the hits. Program guides can be found
in your local community newspaper, and at all Starbucks. For those
wilh a modem, check out the Fringe site at www.vannet.com/fringe
for info on venues, plays, and ticketing.
Based on previous productions, there will almost certainly be some
sure-fire, not-to-be-missed hits, such as One World Theatre's Alice in
Wonderland, Way Off Broadway Group's The Celestine Prophecy,
Dark Horse's The Big Dick, Unconscious Collective's Detrimental, Pen-
niless Theatre's P.U., Jacques Lalonde's A Closer Walk With Jean
Chretien, Lorraine Bowen's The Lorraine Bowen Experience Returns,
Foursight Theatre's Boadicea - The Red Bellied Queen, and Rumble
Theatre's and Zababwa Theatre's True Lies.
mental. For
ample, Ada*
Hannah appears ii
The Human Faux Pas,"
his first Fringe production and his first real
opportunity to showcase his
work among olher artists. Gert Jones and Jennifer Wagner, who appear in the female version of The Odd Couple, are also newcomers to
the Fringe experience. They stress, like Hannah, that the Fringe gives
them the opportunity to gain experience in theatre by mounting their
own works within the confines of the Fringe organization. Whether
supported by the 'Bank of Mom' or a generous government grant,
newcomers to the Fringe are able to develop their talents. The Fringe
provides artists the means to put on some 'crazy things' and dapple in
experimental theatre, and, if a show garners favourable reviews and
is an audience favourite, the Fringe can also provide a company the
chance to tour their show.
In the transition too 'festival' atmosphere, the Fringe is sliding out
of the margins and into mainstream recognition and status. The move
to Commercial and ihe subsequent corporate sponsorship has altered
the once neglected but grassroots inspired theatre festival that existed
in Mount Pleasant. The gentry has won, but the fringe spirit of unconventional theatre space, performers taking their own risks, and experimental theatre remains. Afterall, a successful fringe depends on
the people involved: organizers, volunteers, participants, and theatre
goers. Whatever your taste, there is still 'theatre for everyone' at this
year's Fringe.
Hj Kevin femlwyvrft with Phil Western
DiSCORDER: What would
you like to see occur in
Phil: Well, the ideal setup would
be in a city where all tastes are
reflected and there is a lot of
choices. That has yet to occur
here. It is asking a lot maybe for
a city to have this right away.
Five years ago there was nothing to do here from my perspective. It has improved now, and
there are lots of musicians working within this genre of ambient
music or whatever people label
it as. I would like to see more
venues established where live
electronic nights could occur in
a positive and frequent environ-
What was your first electronic music setup and how
did it evolve?
My first setup was an old, used
1 2 channel mixer, Roland D70,
Jupiter 6, Emax 2 sampler, three
Boss SE-50s, Atari Notator
Sequencer, and some guitar effects pedals. I had a nice period
of time when I was using this stuff
on a 32 channel mixing board.
I had this really crappy Akai
VX90 analog module that disappeared. I hove never been able
to remember where it went - I
think I lent it to somebody or
something. I would like to have
it back now, I bet I would program it differently now. Once I
got a Kurzweil 2000RS sampler
I learned a lot about programming, and a KORG wavestation
is the other thing that I have now.
It does wave sequencing and
makes really nice complex
sounds. The Kurzweil has its own
complex kind of sound. It's in
another world of its own for
sound. I have this TG77 FM
sound module that is really
freaky sounding, and the
freakier sounding the better -
€     SEPTEMBER 1995
that's why I got rid of the D70
keyboard. I have a PRO-1, 202,
303, 606, 808, that provide
many of the rhythmic sounds that
What was the very first recording that you did?
The very first one that I did was
when I was 1 7 ond I had just
graduated high school. I was in
this band that had studio space,
and there was a Tascam 8 track.
I have played drums since I was
9 years old. It was fun to experiment with different recording
techniques. I liked to be experimental with both primitive and
high-tech equipment while making stuff that was basically noise.
How much time per week
do you spend making musk?
It varies, but when I first got my
gear I was 2 1. It was a lot as I
had received some money and
was able to purchase my first
electronic setup. Between the
ages of 15-21 I used an 8-track
recorder on drums, guitar, and
bass with processing to try and
create something that was interesting. My influences were varied, but I liked the Cocteau
Twins, the Cure, and groups like
that. When I first got my gear I
spent 8 to 9 hours every night, I
had this garage where everything was set up. That lasted a
long time, but I couldn't say I do
that anymore. I go through periods like that, but then the inspiration dries up for awhile. It's
kind of a drag when it's not happening. My whole mood is dependent on my output almost, or
my productivity. In the weeks
when I am not as productive I
get pretty stressed out. Then,
when there is lots of ideas coming out, it's a real relief almost. I
work a lot at night.
What direction would you
like your music to go in?
I would like to be more experimental. Very rarely do my beats
have a 4/4 beat structure nowadays. Sometimes I like the results
you can get with primitive equipment and sometimes the more
you leave up to random chance
the better with experimental mu-
What kind of equipment
would you like to get in the
There is a couple of vintage analog synths I would like. I would
like an EMS synthi, and a
Theramin as well. I would also
like to find a Nordlead synthesizer. The Nordlead is a modern analog synth that makes really cool sounds.
How do electronic music
type labels treat people
from Vancouver?
It is hard to get things happening when you live here in Vancouver. Getting labels to pay
attention to you when you are
from Vancouver is a real challenge. The best luck I had was
when Robert Shea went to a
seminar in New York a couple
of years ago, that was when I
made a lot of contacts. Before
that it was more difficult. In many
record label offices in Europe,
when they get the demo cassettes or whatever they think of
Vancouver and Bryan Adams.
That can be hard to overcome,
but you just have to be persistent and make lots of phone calls
to follow up on your demo.
What is the difference between a traditional rock
band record contract and
one that you might have
experienced or heard
about within your musical
Well, a rock band contract involves going into a studio and
hiring an engineer, and it can
cost a lot of money - nearly
$50,000 to $100,000 for many
of the bands to put out a wide
release sort of album. I am not
talking about the major production, big budget deals. Much of
the 12" vinyl in Odyssey Records
is recorded in home studios for
next to nothing, and then are
sold to the many labels for nothing as well. Unless you are the
Orb, Future Sound of London,
Aphex Twin, or something similar, the money is minimal. For
many of the artists that are doing a similar style, there never
will be a lot of money, but you
will have a lot of fun. You probably won't be able to quit your
day job. The thing is, most of
these labels pay around
$10,000 tops if you are really
good and they don't want you
to release stuff on other labels.
That kind of money is not enough
to live on, and if you get it all at
once you are going to spend it -
get more gear, or whatever. The
record deal pays for your gear,
and a day job pays for the rest
of your concerns, This reality is
similar to many other types of
Why are you selling Odyssey Records?
I didn't really enjoy being a busi-
ally irresponsible. Tobin Boothe
(the soon to be owner) took most
of the responsibility. I am often
in the studio until 6 or 7 in the
morning, and often don't make
it to work on time. I am going to
miss it, but I have realized that I
can't continue living like this. I
would like to go traveling. I
would like to go back to school,
maybe film school. I don't presume to have a talent for it, and
you don't know you have one
until you are given the tools. Film
school gives you the gear, it
gives you the opportunity. It is
very difficult to try to pay for all do something with my life', so I
of this independently, and film sold my DJ stuff and bought a
school lets you make that first Poly 6 and a Roland 606 Drum
film. Film school is very expen- Machine.
What have you been
working on lately?
I was working on the Download
project this summer (with members of Skinny Puppy) and it
should be out very soon, in early
September. We might tour in Europe to promote this project I am
working with Dan Handrabur
(Vuemorph) on an ongoing basis. We did the Floatpoint CD on
ESP records together, and an Off
and Gone 1 2" on Exist Dance
records. We have some other
stuff that is coming out soon.
Some more 1 2"s for sure.
I dM BMfc with Pm Hwdrsbwr.
DiSCORDER: What is your
muskal background?
I started playing violin when I
was six, in Romania at a music
school. This school would teach
all the subjects as well as music,
but really music was first and
foremost, and the other subjects
weren't considered to be as important. It was different living in
a communist country. I took violin until grade 5, and then I
started piano with violin at the
same time, up until Grade 10
when I moved to Switzerland.
They put me at a university level
in Switzerland for music, which
wa** different. I was going to a
lot of classical music concerts for
my schooling, and one concert
featured a sound synthesizer. I
discovered Kraftwerk in 1 979,
and in Switzerland in 1981 I
began to DJ in clubs, and then I
got my first keyboard. My parents had discovered that I was
skipping classes because I was
DJing at night, and they said,
'Forget it, you are not going to
DJ anymore.' I said, 'I have to
When and how did you
end up in Vancouver?
In May 1 990. In the three years
before that I lived in Toronto and
Montreal. When I left Romania
for Switzerland at the age of 1 5,
I left behind a lot of friends, then
I left Switzerland for Canada. I
wasn't really sure of what I was
doing. My wife and I just wandered around. I lived in London,
Ontario - it was totally dead.
Then Quebec and Toronto, and
then we went to Vancouver to get
our Canadian passport so that
we could move to Costa Rica
and remove ourselves from Western life, making music, and everything. Then one of our demos
got played on CiTR radio and
we decided to stay and work on
music here.
Do you like living in Vancouver?
I do and I don't. I think that geographically we are super isolated and that it is difficult to get
music jobs. On the other hand,
it is kind of cool as we are removed from what is happening
in Europe. Things can develop
here independently, and I like
nature a lot. I want to travel
within BC, but without any
money it is hard to get out of the
city. Both my wife and I suffer
from rheumatism, which is affected by the rain greatly, and
that sometimes makes me want
to move somewhere where it
Have you seen any
changes in the music scene
in Vancouver?
I think things are changing because people from Vancouver
are releasing more of this music. ENDZEIT records has been formed to try to get more music
out there. A lot of people make
music because they love it.
When I first moved here it was
different, and there was really
just the Twilight Zone and it
played lots of more hard-core
stuff. My friend Steve, who DJed
there, would try to mix in stuff
like the Orb and Orbital, and the
owner would always tell him to
play much harder stuff. Steve
would want to play what he
wanted to play, and no one
knew that this stuff would develop or catch on in the many
ways that it has.
How did you First meet Phil
I heard of him before I actually
met him. I had heard that this
guy v,
ng o
had his own sound. I think that
we met and decided to work on
a track together. We worked on
some tracks very intensely and
quickly and these ended up on
the Outersanctum CD that I was
a part of. We drifted apart, and
then we started to make music
together again. It worked, and
we went to San Francisco to see
Mixmaster Morris, and the
Aphex Twin, and then we
worked in a studio in Yaletown
How would you describe
what it takes to get a music deal within the ambient
music genre?
Well, first, you can't set your
heart on a really big record deal.
It's not going to happen unless
you have a successful record that
resulted from a smaller previous
record deal, then you can get
lucky. Otherwise, I think it's cool
to work with a smaller label that
takes care of you, if they like the
music and promote the music
and allow you to express yourself. I think that should be good
enough. It is a good enough
starting point. To pursue this relationship you need to telephone
them and tell them you are sending a tape, then you send the
tape. Then I phone again and
ask them if they have received
the tape. I then wait a few weeks
and ask if they have listened to
the tape, and what they thought
of it, and if they have any suggestions. Then I call again a few
weeks later and ask them about
the music again. If that doesn't
work, keep them apprised of
your musical developments and
call frequently. Keep trying. If
they are after you, then it can
happen very quickly. Rock music may be easier in the corporate sense, because if you have
a well connected manager then
he or she can get you a deal
more easily. In ambient music
you have to get the record deal
yourself, which is kind of cool. It
is the war against the corporation; you eliminate a lot of the
management. Often, they are
not necessary.
How would you describe
your musk?
It's kind of hard to say. It could
be ambient music, but ethnic influences have crept in in a major way. Electronic music can
mean different things to different
people. It could mean those ugly
Moog records that were so
widely popular in the 1970's, it
could mean Brian Eno, Vangelis,
Giorgio Moroder, Depeche
Mode, Orb, Front 242, Future
Sound of London, Sun Electric,
Underground Resistance, Skinny
Puppy, or whatever.
How did the Outer Sanctum projects occur?
We decided to put out a bunch
of tracks from various people. I
think one night Cristina (Dan's
wife) and I planned it out and
we released 2000 CDs. I* sold
very well in Vancouver, although
there are copies still available.
We hired Robert Shea to promote the product, and for a few
months everything went well.
Then our investor decided to stop
funding his investment, and then
we released two 12"s. We never
got paid for these as a distributor elsewhere stiffed us on the
payment. You have to watch out
for that kind of thing, they will
stiff you. We only lost a grand
or so, but that could have put
out another one. Who knows?
That could have been the one.
What does the average
record deal involve for
So far I have only signed deals
where I still own the copyright,
but they have the right to release
it and manufacture it. You don't
get too much money for that kind
of deal. If you sell them complete
rights it can be more. The low
thousands and some promotion
is what you can expect.
What is most frustrating in
dealing with record companies?
First, the distance. It is hard to
call Europe with huge long distance charges. I don't have a lot
of money, ond if you don't spend
a lot of time and money on the
phone with them you end up
where I am now. No one is calling me, because I can't afford
to call them all the time. I have
to make a move and go to Europe personally to pursue another record deal. I am going to
Europe in October to make some
new contacts. I would like to get
more connected with e-mail or
something as well, but I have no
money for a computer for e-mail
right now.
What is your world wide
web home page address?
Chris Blohm at the Vancouver
School of Multimedia was kind
enough to help Phil, Cristina and
I with that, and I would like to
thank him again. The address is:
I would like to have more to do
with this aspect of technology,
and who knows?
You are in pre-production
on a music video • what
will be involved?
I will be helped by Chris Blohm
and his multimedia company
Web Pool Syndicate in Gastown.
Chris is helping me for free, and
I really appreciate it. We will use
a mixture of graphics, video,
film. I would like to bring this
video to Europe, so I can get it
played there through some contacts I have. This would help our
music a lot.
What else have you been
working on in the last
I have been working with Phil
Western and my wife Christina
on various projects. Phil and I did
the Floatpoint CD on ESP records
out of Belgium, and I did the
Vuemorph CD on Silent records
out of San Francisco. We are
working on several 1 2"s right
now. One is with ENDZEIT
records here in Vancouver, and
the other maybe with IQ records.
The Floatpoint album was
released a few days ago
in Japan, on August 23.
Any thoughts on going
there after your European
It would be nice to go there, but
for a small release like that we
will have to see. They mentioned
that we would have to sell 5000
copies or so to get a small tour.
The Japanese have a really good
ambient scene there, including
one of the two 24-hour all ambient radio stations in the world.
The other one is in Copenhagen.
We did an interview for a large
music magazine in Japan called
LOUD, and the editor said that
there was a buzz about us and
our sound. I hope I get a copy
of that magazine, and a copy
of the Floatpoint CD as well with
the Japanese fonts, That would
be really cool.
?[£Zf\ of NftTior*5
with A/ OAWO HAtVXfS
Vancouver's Biggest Dance. Party
■   tmo   \=
FRii I
687-5233 _■
October 6
The Orpheum
DOORS 6:30 P.M. • SHOW 7:30 P.M.
guests C^Je^C&Y&ttKr
**       with guests
DiSCORDER: How long
have you been together?
Mickey: Two and o half years as
Supergrass, but [Gaz and
Danny] were in a band before
called the jeqnifers, which people have actually heard of out
re. They ployed for about three
years. They were oil about 15
when they were doing that and
they did really well. I mean, they
were 15 at the time and stuff and
. they had a record deal. They
played around England, did the
whole works. Then they started
getting hassled by Nude Records
enough. It was the Jennifers and
|   Suede at the same time oh the
j   label and the label liked Suede.
[   They kept makingfhe Jennifers go
|   back ond re-record their demo
se they didn't like them. I
[   used to hear their original demo
>es because I knew Gaz years
o when he used to be in the
-inifers,  and  the first one
jnded brilliant. The next one
unded brilliant, too, but it
^ .        ; wasn't as impressive as the first
y v^r diligent in keeping our readers up-to-date on the seerningly <sndle$s flow of one Nude just sort of ground
^N^xt Big Things floating across the Atlantic, we here ^QiSCORQBft sent ace Jem 'ntt , 9rn„-,f0f ey to'd
_   .       :....     !. ,     _,        _ .  _. . :   .:     ■  . ■.,    ■> . . tnem to ruck orr ond mar was it.
reporter Selena Harrington to the Starfish Room not too long ago to get the skinny
on the latest of the NBTs, Oxford's Supergrass. Did they hove any legal
Supergrass is 21 year old Danny, whoj>!?ys the drums; 19 year old Gaz, who ^^lyMbutyoucWt
sings and plays gultacand 2$ year old Mickey - the old man of the group - who reaiiy worry about that. You don't
plays bass, the band recently released Its debut album, / Should Coco, and It was worry about a contract because
while touring to support this release thatthe witty and as yet unspoiled by success ^^"^^^l
(according to Selena) Mickey sat downf 6 talk about the origins of Supergrass, life somebody contracts are just
on the road, and his opinions of previous NBTs Blur and Oasis. Il-ere to make ■*« moneywork
interview by seletm hmington
What part of England are
you from?
We are from Oxford.
Do you know Ride?
Yeah, we know Ride. I see them
down at the local supermarket
when I'm doing my shopping.
They live on the same rood.
Is this your first time to
No, we played in Toronto about
three months ago. That was really good. I was just amazed at
the amount of people lhat actually turned up. I didn't think anyone would know who the hell we
were. We came across pretty
well, I think.
Is this your first time to Vancouver?
How much longer are you
here for?
We're off to Seattle tomorrow. It's
really expensive for us to be in
America and Canada, so we
haven't got time to see the sites
and be a tourist. We ore definitely here to work. We got to
make our money's worth.
How extensive is this tour?
It's only o two and a half week
tour. We did the same sort of
thing back in March with even
less press and nothing out, basically just to test the water and to
get us into the mood with
America. We're playing all the
clubs this time that we didn't do
lost time. So in effect it's like doing a month tour with two months
in between it or something.
Do you like touring?
Yeah and no. It depends how
much you can hang onto reality.
It's pretty easy to lose yourself on
tour. There's loads of temptations.
I just had a baby and stuff, so it's
really hard for me. I've left my
baby behind, but I'm back in a
Are you really popular in
We just heard yesterday that
we're number one on the album
charts there, which is pretty good
for England.
You beat Oasis?
Yeah, and we knocked Bon jovi
iik_ the!
p*j signs*, to
It's f'arlaphone in England, which
is ihe 3eat!es o*d bbel - which is
qiite handy because you go in
th'Sre arid ac t loads of free Beatles
CD's, which Is quite nice. We
signed *vi,*h Hum about June 4th
iyeor or something. So we've
By Girish
haven't heard of him, Omar
is arguably the best soul
supa in Britain. He's recorded
three killer albums and has
worked with some major R&B luminaries, including Stevie Wonder, Lamont Dozier and Leon
Ware. With credentials like that,
you can understand why his stop
in Vancouver was such a major
happening for the city's soul-jazz-
funk scene. And the gig? Man, it
was mind blowin', to say the
least. Omar performed cuts from
his first album There's Nothing
Like This, from his second album
Music, and from his newly released third album For Pleasure.
But more about the gig later.
Omar Lye Fook is currently
signed with the RCA record label, but previously he was part
of one of the giants of jazzy labels in England: Gilles Peterson's
Talkin' Loud Records. "I've always
been in music from when I was a
small kid. I was in orchestras,
brass bands, and I went to music
schools and college. I really
didn't start writing music-my own
songs - 'til I was about 14. Then
my dad started his own record
label called Kongo Dance and
through that I did some demo
sessions and recorded my first
single "Mr. Postman".*
When Omar's fifth single,
"There's Nothing Like This", was
released, it kicked up a rumpus
which convinced Talkin' Loud
Records to forge a deal wilh the
soul-man. They re-issued ihe sin
gle and it was an instant chart
success - his only one to date.
Omar's second album, Music (his
best album in my opinion), didn't
achieve the success the label big
wigs expected, and consequently
the deal was no more.
"That was just a political thing
and if wasn't so much Talkin'
Loud, 'cos that's a subsidiary of
Phonogram. I had problems with
ihe bigger label to a point where
it wasn't gonna help my career.
So I just left, basically, to look for
better, greener pastures, as it
were, and I think I've found it at
Now it may be just a coincidence, but ever since Omar
signed on to RCA he's worked
wilh some truly big figures in the
American soul music industry.
There's the three I mentioned
above, plus the keyboard "master" David Frank (featured on
Chaka Khan's wicked "I Feel For
You"), and the former Heatwave
bassist Derek Bramble.
"I was just fortunate to be in
the right place at the right time. I
mean, with Leon [Ware] they
asked me to sing a Marvin Gaye
rune ("Inner City Blues") in the
south 6f France, and he was the
musical director of the band. He
just said that he wanted to work
wilh me through the track lhat I
did and so we hooked it up."
(Leon Ware, for those of you who
are in Ihe dark, is a bit of a musical genius who is most renowned
for his work os producer and arranger to the late Marvin Gaye.
tZ   SEPTEMBER 1995 we signed [to EMI). And thatwas
really good, you know, that was
the level we were at then.
What singles?
We did "Caught By The Fuzz"
as our first single and then
"Mansize (Rooster)". We
playing gigs in Oxford and we
weren't very big, so we just did
it with this guy and he sold them
all out in about two weeks or
something and made his money
Has success come quickly
since you've signed to EMI?
Yeah. I mean, you can say, well,
yeah, we signed to a major label so they're going to be pushing it up people's asses really
badly ond it's going to go off realty fast, but at the same time you
got to be a good enough band
to sustain lhat. It's good to ride
that as well and not go
pletely nuts and lose it as a band.
That's where the true strength of
your bandjies - whether you can
ride all that shit
ducer irTOxfor^ho;*; sort of a
mate oi ours and he managed to
swing us ifiisproduclionj
the studio. We payed th<	
of the royalties,ond. we got,to
record. This was before we had
a record deal, so it was a bit of
a gamble. We did the six track
demo in a week with "Caught By
it, which is the ver-
We shipped it
company and
"      id said,
But itTbok about
Do you think that the NME
(New Musical Express) has
been instrumental In your
Probably. I don't know. It's like
people really take NME and
Melody Maker deeply seriously
out here.
Are you worried about the
fact that the NME tends to
take bands out of nowhere,
ut them, and then
kill them within a few seconds?
I've been worried about that, but
I really don't take the NME and
Melody Maker lhal seriously. I
in, I've seen loads of bands
that they've built up before and
xie seen ihem and they've been
. And I've seen loads of
s that they've built up and
s really good, so I don't
' em to judge my taste
>u know Blur or Oa-
I've met Blur and I've met
Where did you meet them?
We.^et Oasis a couple of times.
Wetsaw them about a month ago
\Ja festival.
Did you play with them?
They played ihe night before. We
iupporting ihem or anything. I don't know. I quite like
them as musicians. I don't think
their album contains a lot of variety though. It sounds quite similar. I respect them because they're
doing what they're doing and
there's plenty of room for them
and us in the world, you know.
And they're quite nice guys.
We've heard that they
aren't very nice.
Well, you don't believe everything you read.
The lead singer just stands
Yeah, well, that's fair enough.
What else is he going to do?
There was an ace interview with
him and he just said that if you
want to see jumping around go
to the circus. Blur are alright, but
I respect Oasis more. Blur are
good, but they've got a bad attitude with it as well. I think some
of their albums are really g<
and they've written some really
good songs and stuff,^1, urr ~
I don't know.        ,^
How did you come Up with
the name Supergrass?
Picked it/>ut of » hat. We hod
about tefi name*'     f    ^     A
I        1    /
Who* had  r"
to do wil
Not really. It
reference. Dof't ki
called Th-sod-fre i^Upetgra
c whiic just because it! SOU
'S -JThe! w-J realized!
. e just sounded really
*a|, so we didn't Use that
anymore. We -did a few eorly :
gigs called Supergrass and peo- K.
pie reotlylikld it sow* thought if
we charlged our name they might
not be there next week.
What does your album title (f Should Coco) mean?
It's from Ihe 50's and 60's in
South London ond stuff. It means
'I don't believe you'. It's like, 'I
should coco' - 'ya right mate' in
o sarcastic lone. It's just a really
good line. Nobody knows exactly what it means. People just
sort of say it.
What were your influences
growing up?
Umm, television probably.
Any particular show&»w„,y
- wv't know.  I used to like DrT
'ho a lot. That used to freak me
hide under the sofa A"
Who's your favourite Dr.
Either Tom E
Tomjiaker or Jon Pertwee.
As well, he has just released a
new album on Expansion Records
which is available on import.
Leon's contribution on For Pleasure can be heard on the track
"Can't Get Nowhere".)
Flicking through the multitude
of channels on the box recently, I
suddenly saw Omar bobbin'
about a dimly lit stage in the presence of Stevie Wonder. The show
was called Taratata (French) and
it was on TV5, to my surprise.
"Yeah, well, thatwas like a last
minute thing. They phoned me up
the day before and said, 'Would
you like to do if?' and I said,
'Yeah, of course.' Nerve racking
as hell -1 had to have the words
in front of me because I couldn't
remember the words. I was so
nervous. "Don't You Worry 'Bout
A Thing" was the track we did
the duet on."
How did all this come about?
Well, Stevie Wonder heard
Omar's second album and decided that he really wanted to
work wilh this young talent. They
did eventually work together,
Omar informs me, but it was difficult getting the track done as
Stevie's schedule was jam
"He's here and there promoting his album, so, you know, I
understand. But it will eventually
happen, 'cos he keeps saying
that he's gonna write my first
number one hit. So I'm gonna
have to hold him to it."
A t first Omar was pretty much
a one man band (notably on his
first album), but lhat has changed.
On Music he worked with a slew
of British musicians and vocalists,
such as Max Beesley, the brass
section of Incognito, Vanessa
Simon, and Carleen Anderson.
On For Pleasure, there's Nathan
East, Ray Parker Jr., Ray Hayden,
Tony Remy and Mica Paris, along
with Leon Ware, David Frank and
Derek Bramble. Omar is maturing and expanding his mind. He
made it clear that he wants to
work with more people, and
more power to him. He's worked
with so many talented musicians
already that I wanted to know
who was gonna be next. He had
no idea (There are quite a few
acts in Britain, however, that are
pricking up his ears, including
Don-E, for one.), but he did say
lhat he wanted soul music to grow
and flourish in his homeland.
"It's a matter of time. I think
we need an R&B TV show and
on R&B national radio station,
and then we can have an R&B
chart. In America R&B is massive
ond that's what we need - although we do have a strong underground following. But that's
I also asked Omar about the
success he's achieved outside the
U.K. He's massive pretty much all
over Europe and in Japan, and
he's goin' down a storm in Korea, believe it or not. His North
American tour has been going
along perfectly, garnering enthusiastic responses in San Diego,
LA, San Francisco and Seattle,
and the gig he did here at Dick's
on Dicks was kickin'. He
for over an hour and it
was amazing. His
is as good live as it
on his albums and hi
band exuded funk.
The last song that he
performed, "Fine",
was a solo effort
Bobby McFerrin style:
drum, bass, background
vocals and lead
from  one mouth.   In-
So there you have it:
Omar in a nutshell. He said he
was gonna tour for a while, take
a break, ond then work on his
next album, which I'm sure will
be luff! Meanwhile, take my advice and get his new album For
Pleasure. And while you're at it,
you might wanna seek out his
other albums as well and experience some British soul for yourself. Omar's lyi'
are a little deeper than the average run-of-the-mill R&B artist
- there's no 'I'
up and down' or 'I can't wait
to get you home 'cos I think
you're so fine.' Listen to the
track "Making Sense of It", for
instance, which describes the
difficulties of surviving and
serving dignity whilst
ployed. Omar is a class at
who sings straight from the
soul. Essential listening!
/3 nfggmim If you're not a fan of Vewywlse, you should be. dyron (AcfAachln
(Arms), Fletcher Vraqqe (guitar),lasonThlrsh(bass) andjlw.llndberg
(vocals) write uncowiproulsing, IkUv-se punh roch wiwtWoucjWtful,
positive lyrics to s'mg doing witk And sing along you will/
It was a pleasure to sit down witMitn in tke ladles roovn at the
CoYAUodore (the only <\ulet roow. during sound check} and get sovne
insist into a vnan and a band that truly believe In w.ahing a difference through music.
DiSCORDER: About Time is
the name of your latest album. Why did you name it
that and what's with the
cover art?
Jim: We were in the sludio hying
to come up with a name for the
title and a friend of ours walked
in when it was down to ihe wire.
We said, "What should we coll
Ihe tille?", and he said, "Well,
it's about time you guys put something out!" We were like, 'Well,
it's been two years and that's
cool', 'cause a lot of the songs
ore about how you spend your
time and not wasting time. So il
is kind of a metaphor for a lot
of the songs on the album. As far
trying to c
is slowly ticking at all times. It's
kind of like looking at your life
with lhat kind of urgency all the
You've been doing this a
long time but you're still
quite young. How old are
you guys now? How about
when you started?
We started in '89 and I'
29 now. Me and Fletch*
are both 29, Byron's
Was Pennywise
the first real
band for you?
Yeah. We we
mostly in backyard
party bands, nothi
serious. When we got together we never did cover
songs or anything, it was all
our own music. We've been
doing it that way ever since.
Why did you guys get into
Where we grew up in Hermosa
Beach there is a really strong
punk tradition. Black Flag, The
Circle Jerks, The Descendants - all
ig from this one circle mile
town wilh all of them going to the
high school and seeing
rid town. Punk rock has
always been really huge in Southern California, especially in the
surf/skate crowd. So it was just
part of growing up for me. We've
been playing since we
were sixteen.
You graduated
from UCLA and
Fletcher's an
electrician • how
about Jason
and Byron?
They just sit around
and play music.
When did you start to think
of music as a career and
not just fun?
Probably since we signed to Epitaph we started taking it a lot
-sty, and taking songwriting more seriously. When it
got to the point where we could
make money doing it
beach. Huntington Beach and
Malibu are the ones that get all
ihe glitz and glamour of being
L.A. beaches, but really Hermosa
and Manhattan are the ones lhat
are more rucked away and have
a more local vibe. It's cool. A lot
of rowdy kids.
Did you know each other
growing up?
Yeah. Jason lived on the next
street over from me, so I've known
him since I was a little squirt. And
I've known Fletcher since I was
real young too. Byron grew up
more in Redonda Beach, but we
all knew of each olher. We knew
we all played in bands and we
finally all just got together and
started playing.
In high school, were you
guys the geeks or were you
Growing up in Hermosa everyone did everything. Everyone
went to parties, ihere was no classification. We've all just been lit
tle surf-skate punks!
Where was there to hang
out before you were 21?
At the beach. That's always ihe
where people
skate and
hang out. You
could just live
at the beach,
go down at
ten in the
morning and
not leave till
after  sunset
How'd the
cops treat
They chased
us around a
lotl But now
these days ihey'
it. It's nice, but they still *
us play there.
Why not?
Just 'cause when we ploy there
'cause ihere's a big      automatically <
'Veil, it's
about tiwie
you guys fut
crowd of 500
people and it
turns ugly!
In past interviews
about being drunk -
is that a
big part of
being     in
It's just the
idea of doing
whatever you
want. We
have a lot of
■eally cool. It's really positive lyrics to our musk,
funny 'cause they used to break but we don't want to say, "Don't
up all our parties and raise hell, drink", and tell people what to
but now they're really cool about do. We want people lo do what-
i4   SEPTEMBER 1995
Yewywise pkoto by wdrew denw'son ever they want. A lot of Fletcher
doing what he wants is having a
twelve pack of Budweiser (ha ha).
I don't drink lhat much at all.
Once in a while when we play
I'll have a beer to take the edge
off, you know? But I usually save
it for the weekends every once in
a while.
Do you find straight-edge
kids listening to your music?
Yeah. I think judging from some
of the letters we get, the movement is still pretty strong. It's a
positive movement and I ihink it's
really cool. I think a lot of drugs
and drinking leads to further
abuse, but if you can handle it
and not go over the edge, it's no
big deal. At the same time, people who do drink, I don't want to
say they're dicks. That's been a
problem with straightedge, it was
like a holier-than-thou type scene
- "We're cool 'cause we don't
drink." Well, it's just the opposite
of other people.
Your messages are always
positive and not preachy.
I'm sure a
lot of people appreciate that.
It has a lot to
do with where
we grew up.
We've     had
friends die ot
an early age
and it galva-
solve   to  get
through things
like this!' There are olher bands
who say that's the worst thing,
having some kid say lhat their
music helped them out, but for
me, that was one of ihe best feelings I ever had. When ihis kid
from New Jersey came up to see
me I could tell lhat he was honest, lhat he had really deep psychological problems that he
needed lo get over, and I guess
You've maintained a socially conscious, positive attitude in you
music, which is so
rare to find in today's
punk rock.
Yeah, it's really rare.
There's a lot of whining
and snotty attitudes in the
new punk. It's like, lets say
asshole a hundred times and talk
about how I screwed your mother's dog!' They just want to be
real shocking.
Same thing with the grunge
scene: 'I'm going to take a lot
of drugs and talk about my demons!' To me it's like, I could
care less. I could shoot myself
    full of Comet
whether they
be drug problems or friends
with       drug
hod a friend
who had a re-   -__
oily bad drug
problem. He had his whole life
ahead of him and he was two
weeks away from graduating
from a  great college,  but he
ended up killing himself just
because he had
tai thing going
cocaine. When
have  somethi
like that happen to
someone you really
makes you take a
step back and firm
up your resolve to get
over things like that,
makes you look at your
life ond say, Whoa, am I smoking too much bud? Am I drinking
too much? What am I doing?'
Do you get letters from people or talk to people who
say they relate to what
you're saying?
Yeah, unbelievably. It sounds like
a rock cliche, but I've had a lot
of kids come up to me and say,
'Your music really inspires me and
it helped me through a hard time
when I really wanted to kill myself. Listening to your lyrics I realized I could get over something
"Vou gave us
tkis sWitty
car ai^d
we're goma
cleave it uy
av^d wiake it
a fritckiV
,h, I'rr
going to have
and write a
song about it.
That's just really destructive, I think.
'cause   they
so much. Kids
look up to
these people
and they read
the paper
and read
what they're
into. There's
.  bolism about
[Bands] are totally kidding
temselves if they think they don't
ave an effect on their fan base.
Just look at different kinds of mu-
: and you can tell that
the people into the mu-
ic are just like the
bands. Tonight you'll
see skater kids and
surf rats and
snowboard people.
People gather
around a vibe. So if
ju're writing about
shooting people and be-
md hox
cold-blooded killer, you're gonna
get a bunch of kids that want to
be cold blooded killers just like
you! I think people in different
types of music have a responsibility. They might be telling it like
it is, but I'd rather here someone
like Ice-T who's been through it
and says, 'It's fucked up. It's not
Your lyrics are always positive. You must have bad
days when you don't feel
like writing about happy
Yeah, totally. I ihink it's just an
extension of our personalities.
Jason ond I have always liked
writing that way. There are so
many people wilh a lot of cynicism and negativity. The whole
punk thing came out of a combination of rage and fear at society and the way the world was.
The music and the lyrics reflected
lhat and it was healthy atthe time.
I ihink we've come to a
time when we've all
complained and
•ve know how
screwed up
[the world] is.
I  think
turning the cor-
nd making
things better. Instead of
complaining that our parents
have given us ihis crappy world
to inherit, lets show them, 'Well
fuck you! You gave us this shitty
car ond we're gonna clean it up
and make it a bitchin' ride! We're
gonna cut off the top, make it a
low rider, ond look good in itl'
Has your success been a
steady climb?
Yeah, it was definitely a steady
climb. We've never been a band
that was trying to pull one over
on the audience by just playing
the cool chords and writing the
cool catchy phrases without anything underneath. So I think it's
our honesty in our approach to
music lhat people have caught on
You didn't have help from
MTV or much radio play, so
how did you get so popular?
I think it was just the CD getting
out. That and we also play on
surf and skate videos. When people hear a soundtrack that ihey
like they seek it out.
How's life with Epitaph?
It's fucking great, no matter what
people say about the label. You
just have to go in there and talk
to these people. It's so down to
earth. There are some great
bands on the label as well as the
people in the bands. We're great
friends with all of them.
Since you guys are doing
so well, is there any pressure?
There's always pressure as a
song writer to put out your best
music, but that's pressure you put
on yourself to make sure you give
your listeners what they want. But
as far as any pressure to gel a
gold record or a lot of airplay,
that was never anything we worried about. We just looked at
Black Flag's Damaged, which
sold 40,000 copies, or Jealous
Again, which sold probably a
quarter of lhat, and ihey didn't
get played on the radio, probably
never will, and they're great.
Was it a joy making this album?
No. The best part for me is when
we're writing a song and I come
up with the lyrics for it and I'm
like, 'Yeah, this is gonna come
together.' That's ihe only time it's
happy time for me. Immediately
after lhat we argue about little
parts of the song, and then we
bring it into the studio and we're
just not a studio band. When lhat
red light turns on, we just freak!
What can people expect
from About Timet
We wanted to remain true to our
roots and do the kind of mi
sic we've always been doing so lhat people can relate
lo us. Wilh every album we
don't just want it to be a replay of the last one, we try
and keep it fresh and keep
it different.
Are you involved in the production?
Yeah, we co-produce. Brett
(Gurewitz) and Jerry Finn will be
the first to tell you nothing is done
without Fletcher's approval,
whether it's buying a chili dog or
turning up the EQ. It's his world;
we're just in it.
By now you must have
played with or met a lot of
people that you admired
for years...
Oh yeah! This tour it's just sick. I
talked to Jack from TSOL, and he
was a huge hero of mine. Now
I'm on tour with him and we're
talking every night and shooting
the shit, and I'm like, 'This is Jack
from TSOL.' I've met o lot of other
people, too, and it's not a sick
thing where you idolize them, but
it's really cool. You get to meet
these people and find out where
they're coming from.
Are you spending more
time on the road?
It's getting more and more. This
year we're doing almost a hundred days and next year it'll be
different though,
i when we're
at home it's like
Pennywise is
gone. I talk
I think it makes it better so we
have experiences to write about.
You're married, right?
Yes. Fletch's engaged, too.
So life is good with
Pennywise? You're all getting along after all these
The thing with us is we never ever
hold a grudge. We can give each
other tons of shit and say the
worst stuff to each other, like,
'Fuck you! You're so ugly and fat,
I hate everything about you! Now
let's go do sound check ond gel
something to eat.' That's how it
Cinema From Around the World
& the World Around You
Sonic Outlaws (USA) Craig Baldwin's manic swirl of "found"
and low-tech documentation centres on Negativeland's copyright
clash with U2 and Island Records '301,302 - Food, Diet, Sex
& Film (South Korea) Park Chul-Soo's entertainingly lurid
mystery-thriller wonders about the links between food and sex.
Young Poisoner's Handbook (Great Britain)   Benjamin
Ross conjures dark comedy from the true story of a young boy
who tests his chemical concoctions on friends and family.
Mushrooms (Australia) Alan Maddens feel-good first feature
is a black comedy involving death, dismemberment and shoplifting
widows • Quentin Tarantino: Hollywood's Boy Wonder
(Great Britain) This David Thompson documentary gathers
interviews, film clips and music from Tarantino and his cohorts.
Canadian Bacon (USA) Michael Moore's hip, flip political
satire, featuring Canada and the U.S. as post-Cold War adversaries.
And featuring a special series of French films that has the filmmakers pointing their cameras inward and back at their own adolescences; including Wild Reeds, U.S. Go Home, Too Much
Happiness, and Brother: Red Roulette. And many more ...
Sept. 16     16 page Viacom Guide available all over town
Sept. 18     Passes on sale at 2 Box Offices: Pacific Cinematheque
(1131 Howe St.), ROGERS Video (BroadwayS Arbutus)
Charge by phone (Mastercard/VISA) 685-8297
B.C.Tel Film Festival Hotline 685-8352
Sept. 22     Advance Tickets on sale at all advance outlets
16 page Vancouver Sun Guide in Friday paper
Sept. 23     Souvenir Programme available at Box Offices, select
Starbucks, all Duthie Books & Videomatica
(Free Sept. 23-24 while supplies last!)
September 29 - October 15, 1995
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2509 W.
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life- ^1—1 by !■
^Tk.  -BfcSteve of Stev^g
&■ tft^ - * B __1 MBffi ■■_■■
iknew nothing about DFL (Dead Fucking
Last) when I agreed to interview them. Out
back in the alley behind the Commodore
(mmm - smell that air) with the sound of
Pennywise full into their set in the background/
I talked with Monty Methicks (guitar/vocals)
and Tom Davis (vocals), who, together with
Anthony Converse (drums) and Barta
Macintosh (bass), are DFL
DFL play hardcore fhe way it was meant to be played.
Their songs are short, fast, and instantly likeable. Never
having had heard them before, I got into them right away
and knew I had stumbled onto something great. I seriously recommend catching their next show and picking
up their latest release on Epitaph, titled Proud To Be. Yet
again. Epitaph, and more specifically Brett Gurewitz, has
picked a winner.
DiSCORDER: Where did DFL begin?
Monty: The band started a couple of years ago at Farmer's Market in
Los Angeles. Me and this kid we know, Adam, decided we were
going to start a hardcore band. We drafted Tom Davis, and then
Adam decided he wasn't going to play bass for us. But he produced
our record [Proud To Be).
Do you prefer yourselves as DFL or Dead Fucking Last?
Monty: Either or. It's a yachting term actually. If you were yachting
and you saw a boot coming in lost, you'd turn lo whoever you were
that poor boy. He's
watching the race with and say, "Oh, look «.
DFL." It's ihe last person that finishes ihe race.
Do you yacht?
Monty: I don't. I watched a yacht race in Maine once a couple of
years ago and one of the old fuckers there said it.
It says in your bio that you are "Delightful Companions".
Do you really get along that well?
Tom: Most certainly.
Monty: We get along very well. We love each olher. This last ten hour
drive from Eugene we shared ihe driving and...
Tom: ...picked berries, played frisbee and frolicked.
What happened at that border? (Major delays at the border resulted in DFL
arriving at the Commodore just in time
to go on stage.)
Tom: We just got Fucking harassed.
Monly: They fleeced us of all our merchandise.
I was going to ask you to describe your
music, but I've heard it now.
Monty: What would you say?
It's greatl A lot of people thought so.
Not many people knew who you were
and they were impressed!
Tom: Thank you.
I was stoked because it's not often you
catch a band that's great at a small
venue just before they get huge.
Tom: We've had really big shows and really
small shows. The show  doesn't matter. What
matters is having fun and...
Monty: The kids! Last night we played a really
small show in Eugene with a bunch of hippies
and we had a really fun time.
Tom: Moshing hippies!
Now you describe your music. Where
did it come from?
Monty: I was just sitting in my kitchen playing
songs after school.
What kind of songs?
Monty: Just DFL songs. I'm terrible. I can't tune
my guitar and no one does it for me. I just like
playing simple songs that are short. When I
hear on old punk tape, like old Bad Religion
or old Minor Threat or old Wasted Youth, that's
it. I just love to play fast. I love all music except
for country.
That is said a lot.
Tom: I love country, (joking)
Oops, sorry. Where did you come from
musically, Tom?
Tom: Musically, I was...
Monly: Tom had never been in a band before. I had to tell him what a
verse was, what a chorus was...
Tom: I basically just picked it up from what I'd seen over the years.
We were going to shows in the early 80's and seeing ihe best and
hanging out with everybody. We're just out there like any other band.
How old are you guys?
Tom: We're in our thirties.
Monty: I'm thirly-one.
You wear it well.
Monty: It's all ihe coffee I drink and the frolicking and the frisbee.
Where are you from?
Monly: L.A.
So, what bands would we be talking about that you were
hanging out with?
Monly: In ihe early days? The Germs, Black Flag, TSOL, Circle Jerks,
The Adolescents, Social Distortion. Not only would we go to the shows,
but we'd go to parlies with these people and hang out. Me and Tom
would always be hanging out on the sidelines. When we formed DFL,
even before ihe punk thing came back, people said, "You guys are
crazy. You're never going to get anywhere playing one minute songs."
Did you listen to anything else besides punk growing up?
Monty: When I was in grade seven I was really into my Led Zeppelin
So you weren't part of the glam scene?
Tom: No. I'd say right before lhat we were listening to Ted Nugent.
Monty: And Kiss. Me and Tom met when we were thirteen in a skate
Was it instant friendship?
Monly: Yeah. We played frisbee and frolicked.
This frolicking thing is a theme with you guys.
Monty: But we don't sleep together. You gotta draw ihe line some-
So before DFL were you working at McDonalds?
Monty: I was going to school. Tom was a pizza delivery guy. I had to
convince him lo give up the pizza delivery job lo go on this lour,
because ihere was some security there.
You're on Epitaph now but you were on Grand Royal.
How long were you on the Beastie Boys' label?
Tom: Two years.
Monly: In March we went out wilh Mike D and said, "We want to put
out another fucking album and we want to tour and get our music out
Ihere to the kids because we know the kids would realty be down wilh
some really crazy hardcore." He was like, "Well, can I order you
another cappuccino?" and we were like, "Fuck that!" So I went and
called Brett Geruwitz at Epitaph and said, "We're ready to record
another album." And a month later we were in the studio.
Tom: Mike D called Brett ond okayed the whole deal. So it all worked
out. We're all friends.
How did Brett hear about you?
Monty: Two years ago he heard our album and said he wanted to
sign us, but we wanted to stick with Grand Royal. Grand Royal's just
not a punk label and ihey didn't know what to do wilh us. Adam
totally helped us out and he took time off to produce our album.
Tom: He won't play bass for us but he'll produce.
He wrote your bio.
Monly: He loves us. We love him.
Have you toured much?
Monty: We played a couple of shows in Japan. The kids in Japan
went crazy. Tom ate at McDonalds everyday. This is our first tour.
Thanks to Pennywise. They've been cool but Fletcher's been torturing
us. He bought a BB gun and shot at us while we were on stage.
So what's up next?
Monty: We* really want to come back t<
album for a couple of months and then tc
Canada. We'll sit on the
Well, that's all my questions. Anything you want to add?
Tom: Thanks for taking notice.
Monty: Thank you
dfl photo by andrew dennison
t? Siggmm Are you
for an*ex-
Go back to
with the
bhe first campaign an activist
group puts on is important. It
must be effective and fun. An
early failure can be enough to demoralize
the founding members into quitting; a
sharp start can be enough to harness a lot
of good media attention and get an organization a reputation as a group to be reckoned with.
So initially, when Sarah Schulman, Ana Maria
Simo, Anne-Christine D'Adesky, Maxine Wolfe,
Marie Honan and Ann MaGuire got together in
New York City to plan the first direct action of the
Lesbian Avengers, they had decided to parachute
into Whitney Houston's wedding.
Eventually, they decided to crash the first day of
elementary school in a particularly homophobic part
of New York instead. At 8 am, in the fall of 1992,
50 lesbians, decked out in T-shirts that said "I Was
a Lesbian Child" and carrying lavender balloons
that read "Ask about Lesbian Lives", paraded up to
a school in District 24, marching band in tow. The
band played "We Are Family". Each child who went
to school that day was greeted by a lesbian and
given a balloon.
In 1 995 there are Avenger chapters all over the
U.S. and in other countries like Canada, England
and Australia. This is due, largely, to aggressive
recruitment tactics. Sarah Schulman, for example,
used her book tours as opportunities to promote the
Lesbian Avengers in the U.S. Veteran Avengers have
been known to relocate temporarily to a new city in
order to help another chapter wilh a difficult campaign. And if you meet an Avenger at a march and
tell her you want to start a chapter in your city she'll
help you get videos, leaflets and copies of ihe "handbook".
The Lesbian Avenger Handbook: A handy guide
o homemade revolution opens wilh ihe following
strategizing together are at the core
M^^^o the idea is.not ooh/ to undertake actions
■%Vto promoteSocial-ehange, but to provide
^^i^r a training ground for ihe lesbian activists
of the future. As a Lesbian Avenger you can acquire all the skills necessary for effective organizing. You learn how to make a poster, liase wilh the
media, lead an effective brain-storming session,
fundraise for a campaign, and plan for the worst
but do a lot belter.
The handbooks leave issues of identity and priorities up to the individual chapters. But certain
Avenger traits can be gleaned from the kinds of
activities ihey organize. Avengers are sneaky and
resourceful: they don't apply for grants and buy
photocopiers; ihey fun(d)raise by throwing wild
theme parties and recruit dykes wilh photocopying
privileges at their day jobs. They are sassy: ihey
put on kissing booths and their signature T-Shirts
say "The Lesbian Avengers: We Recruit". They are
organized: they have a training video and a handbook; they have legal observers at iheir demonstration; and they can make a wicked poster. They
know how to be subversive, but they also know
how to have a good time.
Most importantly, they are coming to a city near
you. Vancouver now has a chapter.
According to two of ihe organizers of the Van- s
couver chapter, the Vancouver Lesbian Avengers
are not as dogmatically in-your-face as iheir American sisters. But their primary issue is also lesbian
visibility. In particular, Vancouver organizer Aviva \
Lazar says, "We believe in being role models, which
is what visibility is (about). Role models for women
who are coming out or thinking about coming out."
Strategically, the Vancouver girls are less aggressive. Their actions are subtle: they are not always obviously political, but they effect social
change none-the-less. For Estelle, another Vancouver Avenger, what has been most empowering is
not being afraid anymore: "Most of the time we
are afraid to hold hands in the street, and why can't
we? It's such a simple thing. I do it now as an action. Physical affection in the street. Most people
will learn not to notice it anymore. That's part of
how we want to operate. For people to even read
ihe word lesbian while ihey are on the slreet is excellent. That's what we're out there for."
However, the Vancouver chapter is not opposed
to direct action. According to Aviva, ihe subtlety of
their actions is "just a reflection of who was part of
the group when we started. The women in the group
were inexperienced with political actions. Totally.
So we did what we were comfortable wilh."
The Vancouver chapter was formed in response
to recruitment. In April 1994 the Portland Avengers
showed up in Vancouver wilh the video, the handbook and lots of stories. After lhat the Vancouver
grrrls were pretty much on their own when it came
to deciding what kind of actions to launch. So ihe
Avengers turned to other queer groups to round out
iheir training. Estella, forexomple, has been attending meetings of the December 9th Coalition, an
umbrella group that works toward changing legis-
While the women are humble about their accomplishments, they've actually done quite a bit
during their first year. I'm sure a lot of you have
seen their Wonder Woman posters.
The last action they did was ihe Dyke March for
International Lesbian Week in June. At last year's
Pride parade ihey handed out chocolate kisses, each
attached to a card that said, "You've been kissed
by a Lesbian Avenger." They olso had their own
float: Wonder Woman sitting astride a truck filled
wilh caped women. At the Stonewall Festival they
held a kissing booth and to advertise iheir Dyke
March they handed out lollipops attached to cards
that said, "For lesbians who lick. Come to our Dyke
March." Last year ihey also crashed a ballroom
dance event at Robson Square: 20 dykes coupled
up and infiltrated the crowd. No one tried to kick
The Vancouver contingent hos been on hiatus
since the ILW March. Now they're recruiting for
Fall, because, according to Estelle, "we need a lot
of women-power for some of these actions. You just
can't make an impact on the public or the,media or
anyone wilh 2 or 3 people. We just need to have a
bunch of screaming lesbians."
The Vancouver chapter is not committed to in-
your-face politics. The present members feel the membership should determine how radical iheir politics
are. According to Aviva, "the actions lhat we will",
do will depend on the women who join ihe group.
If we have very political, action-oriented women
who want to organize something, that's great. If
we end of wilh a passive bunch lhat is more into
visibility and postering, that's what we'll dq^
really depends on you
n out there who are
s to the
md joir
Seattle Lesbian Avenger
KRISTA: How long have you been a fire-
eating Lesbian Avenger?
JEZBIAN: Since last fdlj/early winter. It was' a dark
..ond rainy night... no, KJ... I had an.iaea in my
head to have a Lesbian Avenger ballet/guerrilla
ballet in the two bars here to remind us all that We"
must "keep on our toes" when it comes [to] all of
.ihe qsioinejjght wing groups oridjhe initiatives ihey
keep filing in our state (WA), Itu**"
have defeated ihem once doesn't m
r (oooh, I'm sounding so metaphor
i start playing some Enyaj
raphed a ballet and I m
mdtrack for our piece d
Hmeln^fl-Sy'WBort of
the group or just coming
to one meeting with an
idea and a need for help.
If you have an idea, then
you organize; around it.
. You make it happen. You
get people within the Lesbian Avengers"to help
you out. You getavcall list
of people who want to attend and help out." -
Estella confesses'that
she is not into getting arrested. So unlike the New
York chapter, the Vancouver chapter is'less likely
to pose a risk to your
criminal record status.
And if you need another reason to become
a part of the revolution,
activism is good for your
health and your social
life. As the Lesbian
Avenger Manifesto
writes, "demonstrations
are a good place to cruise women ... confrontation
fosters strong bones ... Girl gangs are the wave of
the future."
The Vancouver chapter is now recruiting!
For information call the Vancouver hotline
at 669-9110 or the Xtra West bulletin line
at 688 -WEST, ext. 2005.
For a copy of the Lesbian Avenger handbook write to the Avengers c/o The Centre, 208 W. 13th Street, New York, New
York, 10011, or call (212) 967-7711, ext.
Go Girl!
resistance (s
We had talked b
Avenger who was a transplant from Austin teach u*
how to eat fire, but the one night she was going to
do it something came up and [we] weren't able to
learn then. The night of the ballet she brought all
the necessary equipment wilh her - she had learned
in Austin from the Avengers down there - and we
planned to do it outside the bar where we'd do the
second performance.
So after we'd finished ihe second performance -
because of fire codes and such we had to do it
outside (we didn't want to get the owner of the bar
in trouble) - we staked our place out on the sidewalk
by ihe entrance to the EASY (dyke bar) and Sabrina
broke out the paraphernalia. She took those of us
who hadn't had a chance to do it yet through it
very slowly, very meticulously, and we did it. I think
I was the first one to really do it on my first try. We
drew a small crowd, including ihis one drunk guy
who was really in awe and was cheering us on.
What can you tell me about fire-eating that
tS   SEPTEMBER 1995 won't give away the whole secret?
Well, it's non-caloric. It does not put hair on your
chest. Yet it is highly suggested lhat you have a
stick of gum or a breath mint available for use after
your last eat.
O'kay, so fire-eating is undeniably cool.
But I'm sure that's not the only reason
Avengers eat fire. What started this whole
The whole thing was actually started by the New
York City Avengers, who decided to use it during a
memorial ihey had for two queers (dyke Hattie Mae
Cohens and fag Brian Mock) whose house in Oregon had been firebombed at ihe height of the ballot
measure #9 - the first major anti-c-ueer measure
brought about by Lon Mabon, head of the Oregon
Citizen's Alliance - on September 26, 1992. Both
died in the bombing. The NYC Avengers felt lhat
ihey [Cohens ond Mock] should be recognized and
remembered. There is a chant that goes along with
the eating of fire: "Their fire will not consume us;
we take it and make it o
might be a good idea to show ihem a few more
examples of grrrls kissing each olher.
We also had ihe ballet. Basically we just went
into the two different dyke bars we have here and
arranged with the bartenders to have ihem pop in
the cassette that I had made up - we had mostly
classical/ballet music, ranging from Peter and the
Wolf to the Nutcracker, the only modern snippet in
there was 'Sing Hallelujah" by Dr. Alban - and we
staged our ballet.
The plot was: there are two kissing, cuddling,
happy lesbians (a couple) who are enjoying their
carefree life. Then all of ihe sudden the evil music
starts (using the horns from the wolf from Peter and
the Wolf] and the creepy conservative xians creep
up, in the form of cockroaches, wilh initiatives lhat
would limit queers and our rights. It appears that
they're gonna get to the happy dykes. But then, all
of the sudden, the heroines appear - Hands Off
Washington and Bigot Busters - two groups down
here lhat helped spread information and educate
people into not signing and working against the
initiatives (hot the xians filed last year. The cockles get sick and crawl away. The dykes and
their heroines all dance around happily, and then
the dykes fall asleep
after all iheir partying
under a huge blanket
jPRTER". They are
leeping soundly when
' -oaches return,
start rip-
(names of
(they had various slides of famous dykes - out and
not-so-out- throughout history, dyke art and pictures
of dykes I might have never met/seen before)... It
was a great time. If one group of dykes from NYC
could generate such a happening in a city thatwas
not their home, then why couldn't that happen elsewhere?
Who should be afraid of the Lesbian
Avengers and -why should they be afraid?
Afraid? Well, since I'm not officially an Avenger
anymore I don't know if I can answer this, but I
think in general I would say lhat anyone who thinks
with his XY chromosomes and/or the genitalia such
chromosomes usually produce, and those who allow such people to run their lives/run their minds,
should be afraid of the Avengers. Other than lhat
I think everyone shouldn't be afraid. They should
be cheering and supporting and partying with the
Jezbian's Top Ten Necessities for the Revo-
10. Combat boots (not necessarily Docs)
9. Lack of pompous/righteous altitude |
8. Presence of a fierce grrrl-positive attitude "
7. Yo-yo's
6. Bagels and cream cheese
5. A mind altering substance of your choice - be i
legal or illegal - but try to keep it to just one. Otherwise we'll never understand what everyone else is
4. A Makita cordless/rechargeable drill
3. Health care for ALL (just in case you inhale and
don't just eat the fire)
2. Anything that shines and looks pretty
1. Angry humour and humourous anger in all their
myriad forms and combinations
Oh, and one thing I almost forgot. More dykes neec
to be like me and toss out those damn chain wallets, honeys! They're sooooo passe! Grab a string
of pearls and attach those to your wallets! Now
there's a dyke accessory for the revolution/millennium. Pearls for everyone!
Ottawa Lesbian Avenger
Elista James
that could get them (obs in a traveling circus?
Well, I, personally, can whistle through my tongue
when I roll it up (you know, that thing 1 in 10 people can't do with their tongue?). And uh... well we
sure make great ballet dancers in pink tutus (yeah,
we really did have tutus made for us. By my mother!).
Denim/leather combinations. I also can do what I
consider to be one of the best Alvin (of Alvin and
the Chipmunks fame) imitations available. Oh, and
I do a good Bobcat Goldlhwait too.
Tell me about some of the Avengers actions you've been involved in.
Well, I conceived of and we had a kiss-in at our
local ABC (TV network) affiliate in support of their
decision to run the full, uncut episode of "Roseanne"
when she kisses Muriel Hemmingway. A lot of stations in the States either refused to show lhat episode or cut it short of the kiss. If the local station
had decided to not show or edit the episode it would
have been more of a protest. But when they decided to show ihe whole thing we still thought it
What made you
decide to join the
"Yanks of the Lesbian Avengers?
Their angry hu
Their humourous anger.
That fine alchemy between the two driving
forces in my life. It was
a grrrl-based group, it
was an activist group,
and our ACT/UP and Queer Nation had become
defunct and I needed an outlet for my activist self.
I first heard of the Avengers when I was waiting
for a subway while back in DC for the March on
Washington [April '93]. I was one of all those thousands of queers who were there for the MOW, and
we were just all over the subways. Each subway
ride was a parly.
There were all these cute grrrls handing out
Avenger propaganda. They were handing out the
Avenger manifestos on large newsprint broadsheets
and flyers about what they had planned: the world's
first Dyke March.
Well, I read the manifesto and was drooling by
the last word. I was floored. They were the best
thing since... since... KinderEggs. The energy there...
the cute grrrls... the "righteous anger" as ihe manifesto says... the celebration and the demonstration
all at the same time... ihe NYC Avengers eating fire
in front of the White House, and later, at the base
of the largest penis in ihe world, the Washington
Monument... the slide show ihey did using some
sheers held up between bamboo poles as a screen
"Men and most women do everything in their power
to make life uncomfortable for women who challenge the patriarchy. It is hard not to cooperate with
the patriarchy. Everything is involved. Every single
piece of information. Every action has to be understood and frequently challenged. Everything stemming from the patriarchy tells us lhat this world was
created by, for and about the male. All information
from the patriarchy is coloured by the male point of
view. Challenging and dissolving the patriarchy
means withdrawing support from male assumptions.
Lesbian separatism is an analysis which shows lhat
it is possible to withdraw support from men and the
belief lhat withdrawal of women's support will dissolve the patriarchy. Leave me a message.
Dominique's answering machine message, August
20, 1995
June: Are we going to use real names?
Dominique: When I was last interviewed on the
news I said, "Dominique" and I used my mother's
last name. I guessed thatwas safe. Well, my mother
made me promise never to do that again. So I
thought, I'll change my last name to Gazelle or something exciting, but having said lhat, I use my father's name so I can drag it through the mud. So I
can make him feel it... Yeah, Dominique Arronz is
Do you think message machines are important for the revolution?
Yes. They're important because when people call,
even if ihey get the wrong number, they hear my
message and it's always about "men are evil" and
"dykes are powerful", and one of ihem was about,
"I think men are a genetic mutation." It's sort of
Maybe you just need a radio show.
Well, I've been asked about lhat, but I don't feel
confident enough to do that now.
Can you think of anything in your childhood that may have indicated a predisposition to becoming a fire-eating Lesbian
Last year at the Dyke March in NYC, I thought to
myself, what would I think if someone came up to
me when I was 14 and said, "When you're 28
years old you'll be in NYC with 50,000 dykes
marching down the street, then finally eating fire at
the end." I'm not sure I'd be that surprised; maybe
about the lesbian part but not so much about the
fire-eoting. I think that I was always kind of anti-
Tell us about your fire-eating experience
with the Avengers.
Well, last year there were about fifteen Lesbian
Avengers from Ottawa who went down to NYC for
the Dyke March and Pride. We started off at the
community centre. It wos all Lesbian Avengers having a potluck - THE Dyke thing to do. And after we
all ate vegetarian food there was a fire-eating workshop in the backyard.
I learned lhat putting your lips on the hanger...
well, it wasn't painful, but you get these little blisters on the inside of you lips. I had this image of me
going to the pharmacy, saying, "I've got these little
blisters on the inside of my moulh from eating fire.
Do you have something for it?"
So Vaseline Intensive Care, you would say,
is a necessary tool for fire-eating?
Yes, yes. Or just the knowledge lhat it's just the teeth
you're supposed to clamp on the metal wire and
not your lips. But, you get excited.
When are -we going to see the Lesbian
Avengers eating fire on Parliament Hill?
Our fantasy is to light our torches on the Eternal
Flame. I guess we haven't found the proper action
or the proper motivation... You know, now thatwe're
talking about it, we have this really right-wing provincial leader now [Mike Harris] and he's truly evil.
We want to do some sort of action against him because homosexual rights are not part of his agenda.
He doesn't care. He hates us, and we have to remember that we have to keep fighting for our rights
because they can always be repealed ond maybe
this would be something lhat would be powerful
enough to use it [fire-eating].
How about the Dyke March coming up?
Yeah, the Dyke March, which is scheduled for October 15. We're going to Iry to get as many lesbians out as possible. Maybe lhat would be it.
Can YOU teach fire-eating now?
Yeah, I guess. It's something very vivid in my mind.
I've straightened out some hangers at home. They're
sitting by my bed ready to go. I have the technology*
Maybe you could go out to Vancouver and
teach the Lesbian Avengers there how to
eat fire.
Yeah, but we're afraid that once we go to Vancouver, no one will ever come back. But I think that
would be an idea... have fundraisers to send
Dominique to Vancouver to teach that skill. Maybe
I'll teach it to you before you go to Vancouver.
Will you?!
Sure, but you would have to be Christened as an
Avenger first, and you know what lhat means....
to &zggmim pwchtatey*!
_HV'_^_^_K__Ky_^_H_r* U\
&mur    mmn
■■'._ •'
*:*'< XtiaiWsh]
Sept. 7
The Commodore
Sept. 7
Sept 8&9
U.B.C. Pit Pub
The Town Pump
Sept. 8
The Commodore
Sept. 8
The Starfish Room
Sept. 14
The Commodore
Oct. 6
The Orpheum
Available in stores NOW! Oh. I forgot about that... So, is this a
Canada-wide Dyke March or an Eastern
Ontario thing?
All the Xlras [queer newspaper chain] are going to
carry the Dyke March information. Hopefully,.it'll
be Canada-wide, international even.
What is the dumbest thing you've heard
said about women and/or lesbians this
I was at the Clubhouse [Ottawa lesbian bar] and
ihere was this man objectifying women and I told
him to leave. I told him,.that he wasn't'welcome
here and that.he had no respect for lesbians. And
he said that he idid respect lesbians because he
hod a friend who brought him here who was a lesbian. He said, "My girlfriend is a'lesbian." That's "
what he said!
So I said, "We don't need you. We don't want
you jn here. We are not accessible to you. Why
st leave?"
I've had this day-long obsession about
making a live-action Lesbian Avengers
Movie, any thoughts on the subject?
Live Action is what we're all about. We're tired of
polite politics. We want to be out there... I think we
. were mode to be in a film.
But Diane Dimassa [creator of Hothead
Paisan/ Homocidal Lesbian Terrorist] has
to make it into a cartoon, because, you
know, the cdrtoorTalways comes first.
I've heard that some jaeople are too intimidated to
join us, but really, we're just regular.people. No,
actually, we're not regular; we're extraordinary. All
dykes are extraordinary.
But you have potlucks.
Yes. We have potlucks. And we have kissing booths.
And there's always recruiting for the kissing booth...
criminating against all gays a
of this, ond so I said, "Don't >
sing to start dis--
nderstand? This
is our space. Ihis one bar in this one city. You have
the whole world." And he kept repeating, "Stop
fucking wilh my mind! Stop fucking with my mind!"
He was like, totally-messed up. Then he said, "I
can become violent, you know." And I just started
laughing and walked away.
If you were to put you fire-eating experiences to music, what would the soundtrack
be like?
If I were a fag I would probably say something like
RuPaul. But lhat wouldn't have depth, right? So,
something like a drum beat with ani difranco's angry voice at the same time.
Like "coming up"?
Yeah, "coming up" is good. I like that one. That
one or... I think she'll have to compose something
specifically for fire-eating. I'm sure that we cou\d .
'    If we really put the energy into it.      —
Dominique's Top .10 Necessities for^the
10. Lesbian Land, protected by a fc
9. Weapons and armour
A secret potion lhat makes us
>r we want to be)       ,.^.^
7. A drum corps
|6. Computers, photocopiers, faxe
itific knowledge of genetic
the'ribgehesis,  researched and
do to cows'
4. A sense of h<
3. Cultivate our psychic ability to fly
2. Berries and Hagen Daaz Ice Cream (but
kind wilh chunks)
1. A good sense of hi
irfare and par
irried out byl
not talking about what
to make bombs out of just abou
recruit-her it we really put the energy into it.      —  N
For further information on the Lesbian Avengers, see Sarah Schulman's My American History: Lesbian & Gay Life During The Raagan/Bush Years (1994)
Check it Om*s
Go Girl!
"Demonstrations marked the passage to spring with
rocker Joan Jett and the Lesbian Avengers leading the way.
While Jett led a chant of "Fuck you!" at a NOW rally
telecast on C-SPAN, Californian Avengers stormed into
Exodus, an antigay conversion ministry, and released a
plague of locusts (actually 1000 crickets) as they shouted,
"We don't need to be cured." By the time the frightened
receptionist convinced 911 that there were "lesbians with
bugs" in the headquarters, the Avengers were slouching
toward Beth-er, halfway home."
reprinted from girlfriend magazine
Pacific Lega
Education A;
Are you an outgoing, spontaneous
man or woman over the age of 19
with a never-say-die attitude and a
good sense of humour?
We are a non-profit society that
helps young offenders and children
aged 8 to 12 who are at risk of getting
into trouble.
If you have about three hours per
week available for at least the next
six months we'd really like to hear
from you. We believe that one-to-one
interaction with a well-adjusted adult
can Improve the behaviour of a
troubled child.
Interested? Please call us today.
people would find this statement laughable: What's so hard about
making stuff up?' you might ask. Well it's got a lot to do wilh the
fact that the real world, the world lhat fiction writers model their stories on, is so, well, fucked. Fictionalising the world implies lhat you
understand something about it. 'But who understands this shit?' he
asked, waving his arms in the general direction of Bosnia, Rwanda,
and Preston Manning. 'How do you create an interesting, believable
fictional world when the real world is so tragically, laughably bizarre?'
As one of M.A.C. Farrant's characters says in her latest book. Altered Statements, 'How to keep going considering the arbitrary
nature of the world.' Farrant's is one of two
books launched by Arsenal Pulp Press this
month that respond to the challenge of late
twentieth century fiction. They do
two very different ways.
D ooks in Canada has de:
Farrant's 'deadpan' prose as "th
perfect antidote to the existential
solemnity lhat much current short
fiction exhibits", an assessment
that decorates the back cover
of Altered Statements. Deadpan is an apt descriptioi
for Farrant's prose-style,
I suppose, but I think
I   pre
I imagine "Altered Statements" is meant to stand as the centre-piece
of the collection. But, for me, the most interesting fiction is "Thunder
Showers in Bangkok", a piece which comes closer to being realised
as a 'story'. In it ihe first person narrator is not just another nameless
member of a generic suburban family, but is given a trace of identity:
a writer reflecting upon her place in the world years after the demise
of a poetry magazine, and one of the writers who was involved in its
production. This piece seems the real centre of the collection, not
because it uses techniques found in more conventional fiction (which
happen to work), but because it suggests the author's rationale for the
form and content of the rest of the collection:
e witnessed the death of the literary age.
able to say.
7 <=-*■*,
vides more distraction
than antidote. Most of Altered Statements' 22 fie
arise from white suburbii
Hon being a quirky solul
Alice Toklas. Farrant's voices all discuss the work-a-day I
alism that characterises North America these days, and their tones
run the gamut from blithe cheerfulness to paranoid fear. 'Fictions' is
Farrant's preferred term, and many of the pieces in the collection
can't really be classified as 'stories'. I'm no reactionary in such matters: the fact is thatmany traditional fictional devices don'tnecessarily
work in rendering the world these days. I'll spare you the tedious
monologue about what this means fiction is capable of, and what we
should expect from it. Suffice it to say lhat I don't think everything that's
not self-conscious poetry (or journalism) is good fiction.
Let's start with the 'deadpan wit.' Many of Farrant's fictions ore
amusing, much like gags in a British satire. Actually, the situation in
one of Farrant's stories, "The Miss Haversham Club", is reminiscent of
a Monty Python sketch I saw one time. In the story, like the sketch,
roving gangs of grannies - altered here by legislated hormone shots -
are described wreaking libidinous havoc on the male population, and
the patriarchy in general. The humour in this piece, like that in many
of the stories in the collection, would probably come off very well in a
spoken-word performance. Unfortunately, the humour is never allowed
to develop beyond the level of a gag, so it's not nearly as effective on
ihe page. It's not that the situation being described is 'just funny'.
Here, and throughout the book, the liberal humanist outrage of the
author echoes loudly behind the satire. But, though she breaks our
skin occasionally, Farrant's wit doesn't cut deeply enough to do any
damage, let alone turn the knife.
Farrant's pieces are free of many of the encumbrances lhat shackle
more conventional stories. Some of them are without punctuation, for
instance. Also, since few of them exceed ten pages (some are as brief
as one page), there's not much opportunity, or effort, to develop plot,
nor is there much in the way of characterisation. Most of the 'characters' are late twentieth century automatons, in conflict with the array
of slow-moving, but all-powerful, absurdities that dominate the contemporary landscape. Unfortunately, it's hard to empathize wilh these
characters since most of them aren't really fleshed out, and the average situation reads less like a conflict than a list of symptoms from
(cringe) 'post-modern society'. Worse, in order lo render her situations comic, Farrant stretches them slightly out of shape, and paints
ihem in the too-bright colours of a cartoon, which effectively distances
the reader from the force of her critique. A case-in-point is the collection's title piece. "Altered Statements" is a series of bureaucratic injunctions handed down by several departments of, who else, the anonymous governmental Big Brother. After reading communiques from the
Departments of Hope, Depth, Minority Integration, and the like, we
ore treated to a monologue from "the amorphous audience nervous
for another funfix", and, then, a fragment of a tract from the "terrorist
group SPEIV (Society to Prevent the Eradication of Inner Voices)".
In so far as this piece lists what Farront sees wrong with the world,
Little by little, w
And now?
Cities are dying for lack of what w<
Electronic wizardry is everything.
And we find ourselves committed to very small acts,
$M%      hoping to find a manageable content, some link, some
mr      rope to swing on, reduced to servicing our intense in-
f      verted passions because out there is so unknowable...
Don't bother sketching in a past for me, the final two-step
to this final step. That's sociology. Cause and effect.
True, this sounds a bit pretentious, but after a couple of dozen
WM      pages of 'deadpan' reportage, a recognisably human reaction
W     to an undistorted, realistic episode comes as a welcome relief. In
¥     fact, it leaves you wanting to see these characters in more depth,
as does the last story in the collection, "Green Plastic Buddha".
Farrant's world highlights our complicity with the bureaucratic and
consumerist agenda of the cynical bastards who run things, a vision
that's hard to deny. Yet neither her humour, nor the serious critique
lhat underlies it, works on the page as well as it should. Both would
reverberate more deeply if we were allowed to see her world inhabited by characters who are more recognisably humon, or at least
complex enough in their surrealism to be more inherently interesting.
Perhaps Farrant renders her situations in too few pages to allow them
to develop; perhaps by eschewing character development and conflict for monoloj'je, she deprives herself of the capacity for subtlety.
I cannot imagine a book more stylistically different from Altered Statements than Lawrence Brailhwaite's novel, Wigger. In Wigger, those
"existential solemnities" lhat Books in Canada finds so tiresome, and
that Farrant caricatures, are examined wilh the moist-lipped fascination of a twelve-year old jerking-off to his dad's copy o f
Swank. For all of the stylistic differences, though, the
world that Brailhwaite's characters inhabit is clearly
the same as Farrant's. But it's a view from the city,
not the suburbs; in fact, the book's 87 pages propel the reader through a part of the city that
paranoid mothers scuttle off to the suburbs to
avoid. Wigger, to put the matter bluntly, is
about inner city boys getting fucked. It's not
about them 'having sex', it's about the
'getting fucked'.  Thus,
Jerry sits down and pulls Kevin'
legs back between his legs.
—/ fcked him instead—
He turns towards him.
—Yeoh, remember, he likes it. He only screws
spades// silly isn't it—
And so on and so forth. 'Getting fucked' -whether this means fucking
each olher, getting fucked by older men (read 'authority figures'), or
getting fucked on coke, or shrooms, or crystal meth (usually with the
help of these authority figures) - serves as the book's unifying metaphor. As a premise for fiction, generational conflict has been exhausted
for a while now, but there's none of Douglas Coupland's glibness in
this book. Brailhwaite goes out of his way to be as in-your-face as
possible when sketching the bleak world of his protagonists, and in
this bed of sodomy he weds generational and racial tensions [Wigger
is a phrase-book of derogatory terms against blacks - coon, n-gger,
spook, spade, they're all here). The characters allude to liaisons with
cops, incestuous relations (or at least sexual tension) between brothers, and assaults upon black drag queens. One of the sub-plots of the
novel details a particularly charming S&M relationship between Brian,
a white high school student, and an older black man named Vernon,
whom we later surmise is a teacher at Brian's school (he has an office
there). We see nothing of the family life of any of these lads until the
end of the novel. When we do, it's not much of a surprise to see that
Jerry, the novel's central character, has a psycho for a dad. In fact,
though successive readings haven't really clarified this for me, Jerry's
dad might even be the above-mentioned Vernon. I would not be surprised by such a punch-line.
This seems like a good segue to my problems with the book. My
most nagging complaint has nothing to do with the book's content,
but with its clarity. Wigger is a lean book, and Brailhwaite doesn't go
out of his way detailing his characters for you. This, combined with
frequent unannounced shirtings of narrative perspective, and the narrator's fondness for referring to the characters as 'coon' or 'n-gger' as
frequently as by name, left me uncertain about the characters' relationships with each other, and sometimes (os above) about their actual identity. I understand the reasons for the lean prose-style, ond for
the most part I think it's appropriate, but it often tests the reader's
patience. In a similar vein, the author renders his characters'
disconnectedness not merely by relating their activities, but by doing
so in a self-consciously informal script. You get some sense of this in
the above excerpt: there is a peculiar fondness for slashes and periodically he will prefer to replace the odd v-wel with a d-sh. I imagine
some would condescendingly applaud this sort of 'youthful experimentation' while others would drone on about how such writing contributes to the corruption of the language. Me, I wonder to myself,
why bother? Since the story is narrated from an occasionally vague,
third-person perspective, should the author really worry about re-creating the broken thought processes of his characters in the narration?
A minor quibble really, since this e.e. cummings-slyle 'playfulness'
doesn't really get in the reader's way that much.
I don't feel particularly offended by Brailhwaite's nasty vision of
the inner city, nor wilh the vivid pallet that he's uses to render it,
though I'm sure lots of people will be. It would be wonderful if we
lived in a world of peace and harmony, but we don't, do we. Lots of
kids (girls and boys) get fucked-over in the inner city and white folks
still use stupid, red-neck terms to refer to blacks, even in Canada. I
don't find the (usually simultaneous) violence and sex in Wigger to be
particularly shocking, and I can't help but think that Brailhwaite would
be a bit disappointed about this.
This brings me to my main problem with Wigger. The book doesn't
collect the violent highlights of a month, or even a week, in the life of
Jerry and his chums. It purports to be literally a day in the
'ife. It's not difficult to conceive of a 24-hour
period being so rife with sex and violence, I
suppose. But it's almost impossible to imagine one being so completely bereft of humour, one from which women are so conspicuously absent. (There is one female character in Wigger, Jerry's sister, Erin.) Of course
there's nothing wrong wilh a novel rendering a
sketch of male despair, using situations designed
to disturb, or, if you're so inclined, to arouse. It's
just hard to make despair itself interesting when there's
o much of it out there, beyond our inner cities and
suburbs, in parts of the world quite without the advantages lhat come from living in North America. These days,
straight-faced despair for its own sake comes across as a
bit self-indulgent, really. It's impossible not to have it as a
lajor ingredient in any realistic late twentieth century fieri, since it's one of our common bonds. But the most interest-
fiction being written, I think, uses these bonds as a backdrop to the variations of human resilience that arise in the face of
Wigger is Brailhwaite's first novel, which seems worth taking into
consideration here. Though it's difficult to feel anything more than
dismay for his characters, he assembles them very efficiently from the
shards that he's given himself to work with. At times Brailhwaite seems
a bit too concerned wilh copping a bad boy 'tude, and the main
criterion for his plot-twists seems to be their shock value. But, on the
other hand, he has avoided any trite romanticism in his sketch of
inner-city life, and for lhat, I suppose, he deserves thanks.
Neither Wigger nor Altered Statements is the best book you
could read this year, bul they both give you a sense of the energy
to be found among fiction writers in the local scene. The energy
levels are good. |)y Irish Kelly
jean reaif
I am sure you have all noticed lhat the price of stomps has recently
gone up. Now it is just lhat little bit harder to communicate wilh
olher people. And please don't lough when I say that it is all part
of the government's plan to keep us alone and un-unified. How else
can I look at it? Exactly what would I be motivated to do if I considered ihe rate of inflation or the increase in labour costs? Nothing. So
please excuse me while I think up ways of fighting the man. TViere are
ways, you know. I'm not giving examples (god knows every government agency is probably scanning these pages after last month's testimonial on how to get bands across the border illegally), but let's just
say that there are ways of avoiding postage increases, and paying
for postage at all for that matter. It is up to you to investigate and
discover them. Don't just take it!
I recently had the opportunity to hang out and talk wilh a woman
named Pam who does a newsletter called Drop Out. We hod a very
interesting conversation about how school affected our ability to com-
n paper. Her newsletter is concerned wilh this topic and
is the present day school system.
Almost everyone has experienced the school system, so this is a
topic lhat everyone can relate to.
We talked about the five paragraph essay and how damaging
lhat type of formula writing has been to us. For myself, I know lhat it
frustrated me to no end when I was told to take an idea, expand on if
by giving details, and then reword my introduction to conclude.
As human beings, we grow instinctively. We are constantly processing information and reaching conclusions. In reality, the five paragraph essay formula doesn't get you anywhere. In fact, if you do
reach conclusions lhat are a step further than your inIro, you just haven't
done it right. Learning to express already thought out ideas is important and I wouldn't have a problem if we were also taught how to be
critical about what we are learning. But we are not, because critical
thought is inconvenient when there is a set agenda of what we are to
learn each day. It is inconvenient when each lesson is given a definite
time period and only specific conclusions are accepted as right.
All of this comes intr* play now, even offer I have dropped out of
the academic game. I am totally amazed by the depth of thought and
criticism in the zines I am reading lately. It really isn't revolutionary;
certain people have had the privilege of critical thought for centuries.
But for me, this is the first time I have come across so many people
asking why.
John Doe
(8.5 X 5.5; 40 pgs)
One of the main ideas for this zine is to provide interviews with anonymous people. I like the idea because often we get too concerned with
who is speaking: the speaker carries more weight than the words.
The people interviewed here provide some interesting opinions on
issues such as the stateness of punk, classism, higher education, and
violence. This zine is quite critical in its overall tone, which is great;
we need more critical thought. Upon reading it, you may see something that the author, Tim, needs to be called on too. Zines like this
can be a very important place for personal and small scale social
growth because being openly critical as a writer means being open
to criticism from your readers as well. Zines can be the place for open
discussion and growth if we choose to be honest and open wilh each
olher. Send one US dollar to Tim at: 4253 Ave. NE, #205,
Seattle, WA 98105.
Juxtsuppose #21/2
(set of ten cards)
Not quite a zine, this set of ten postcards took a lot
more effort to put together than most of the bubble
gum zines that get put in my mailbox. If you have ever
had a chance to marvel at that amazing zine called
Juxtsuppose, you will probably be imagining exactly
correctly how much energy these boys put into their postcards. The set of ten includes graphics which range from
diagrams of the media to war photos. Each card is consciously political, having a reverse side that includes text
from books, newspapers and zines wilh stories of police
brutality, the throw away mentality we have been raised
on, and technology. You realty can't write anything on them
yourself, but the text alone will impress your penpals enough
to validate you as a highly political intellectual. The beauty
is, you don't have to do a damn thing. Send thanks and Iwo dollars
to: P.O. Box 30007, North Vancouver, BC, Canada V7H 2Y8.
f SHU Believe #2
(8.5 X 6.5; 36 pages)
Greye, from New York, writes a very emotional tale about a boy
desperate to reach out. Being shy can be agonizing, or so this loud
.ally, IV
mouth can gather from the pages of / Still Believe #2. Pel
never been the type to hide my thoughts.
Greye's photography is very good, and lots of people will relate
to the loneliness in these pages. Send one US dollar to: Greye Pineda,
Cooper Station, P.O. Box 1595, New York, NY 10276.
e Upslut is about making fern
(8.5 X 5.5; 32 pgs)
Christine Doza, whose first z
cessible to everyone, now
does what she considers to be
more personal zine. Some of the
stuff inside CP #7 is excellent.
Christina talks about growing up
in terror of abusive stepfathers
and trying to struggle with the
social stigma of what is called
"domestic" violence. It really
made me think of how fucked
that term is, and how it minimizes what can be truthfully
called terrorism. Cats are domestic. Dogs are domestic.
But a man beating his wife?
Exactly what is domestic
about lhat? And yeah, there
are different definitions of
one word, but I really think
that all the definitions tor domestic have to be taken inlo consideration. It is easy to see how one definition can easily
cover up another. Maybe I am not being completely clear, but are you
getting my drift? Language is hard. Clarity is always an issue, and we
need to be always thinking.
Construction Paper 02
(8.5X5.5; 52 pgs)
I don't often get the chance to review two issues of the same zine in
one column, and even if I did, with a lot of zines it would just be a
matter of saying the same thing twice. But Christine has made a lot of
progress since the first issue of CP. She is even more critical, and that
is important; criticism makes people see what they don't like about
In CP #2, Christine discusses coming from a lower middle class
family and why lhat means something to her. She comes to very important conclusions about the subtitles of classism, and how she has
experienced the side of victim and victimizer. Send one US$ to:
Christina Doza c/o Construction Paper, One Mead Way, Bronxville,
NY 10708.
Some Dumb Girl In BrokenhearHand
(5.5 X 8.5; 32 pgs)
It is really painful to watch someone continue a cycle, especially when
it hurts them. I have lost track of how many zines
there are in the Some Dumb Girl series; each one
has been about Sharon's last relationship, the re-
| grets she has had, and the confrontations she hasn't
been able to make in person. Each one has had a
little courage in it, racking up points in the "learned
lhat lesson already" department. The last issue
s signed by the Getting Smarter Everyday Girl,
and I could really see it. But ah! with this new
issue, Sharon confesses to falling into the old
trap called Boyfriend. She has, however, improved, in that what took her four zines to cover
last year now only takes one zine. She mentions boy number three, says they are "totally
separate", and ihough she sounds convinced,
the only thing I am convinced of is lhat there
will be another zine from Sharon very soon.
Send stamps to: 8 Louis Ave., St. Catherines,
ON, L2M 2N5.
(7X8.5; 42 pages)
This zine, done by Sugar from San Francisco, is really important. A
couple of months ago I was talking about how race is ignored or
deemed unimportant in the punk community. Sugar's zine deals with
her frustration wilh the white middle class in America and how white
middle class attitudes are very much a part of punk rock. She talks
about conflicts based in racism and classism in Epicentre (the capital
of punk rock boyland Clistyte). There is a very awesome piece called
The Deconstruction of an Institution: Punk Rock Boy". It is very funny,
but it hits way too close to home. It is really wonderful to see someone
who can speak so clearly and lucidly about something I am often too
close to to see clearly. Sugar puts out a lot of anger that can prove
very educational for people of social privilege. Send two dollars and
stamps to: 2754 Harrison St., San Francisco, CA 94110.
Fantastic Fanzine #6
(5.5 X 8.5; 86 pgs)
There is so much in this zine lhat I can't think of how to start.
Let me explain it this way: vital vital vital. I haven't seen many
zines of this size that are this important. No dumb reviews, no
ui,!^    band photos, just important words. Essays by Erika, Mary,
Sugar, and an amazing piece by Nomy Lamm. Everything under the noon day sun is in here: writings by Sugar about growing up Latino and on the streets; Erika and Sarah's discussions
about being Jewish; a piece on discovering racial heritage by
lillith; and personal manifestos by Justin. And that is only the
beginning. Send Iwo dollars to Erika: 1 573 N. Milwaukee #473,
Chicago, IL 60633.
Unspoken Words I Wish I Could Speak
This zine is, I think, quite unique, in that Wilknee talks about manic
depression. Writing this zine is very cathartic for her; included are
secret letters and open discussions about boy appreciation and the
battle against sexism. Also, Wilknee talks about insomnia as a way
of life. Send a US dollar to: 17337 Tramonto, Apt. 306, Pacific
Palisades, CA 90272.
Ms. America Rides Again
(8.5 X 5.5; 40 pgs)
A little lighter fair by two grrrls, Sarah and Jen. MA is still very pro-
girl, with a lot of articles written for raising boy awareness, as weil as
some reviews. Send a dollar to: 405 Broadway, Apt. 15, Normal, IL
Wmmmm^ to ^feiiw®
l Locations
Oscar's New York Ifook Outlet
3036 West Broadway
Oscar's Art Pooks £ Books
1533 West Broadway
23 L^ggM^ f    \
:  ■
#ri\lettwerk's FirstClass BBS"
Macintosh, Windows, and
Command Line Users
nenwerk enhanced cds
sarah mclachlan. ginger, mystery machine
regular audio cds with bonus multimedia track
Playable on MAC and WINDOWS cd-rom machines,
jemonstpations available every Saturday at the week-shop
NettWeb URL
' WePk-Shop /XK5KKS" imi
blah. Grind bloh. Enjoy!
We'll start this month's column with four releases out of Ontario.
Orangeville's Bender brings us Music For Four Ears, the follow-up to
their full length, released last year on Ringing Ear Records. Sean,
Kevin and Andrew play suburban angst pop-punk; sort of generic,
but if you dig the So-Cal sound, then it may be worth your time.
(Ringing Ear Records, 9 Maplecrest, Newmarket, NH, 03857)
Packaged beautifully in a hond-seriographed plastic sleeve and
onion skin paper envelope, The Spiny Anteaters' clear red vinyl
release confused us at first. There is no information anywhere on the
record; we had to read their insert very carefully to find out that there
are two songs and the speed is different breach side. "PlanetMars"
is the A-side, a seven minute long minimalist journey (hot ends wilh a
locking groove. The B-side, "Car Crusher", is poppier, in My Bloody
Valentine fashion. The Spiny Anteaters also have a CD out on Chicago's Kranky Records (home of bands like Jessamine and Labradford)
and this 7" is fairly representative of iheir sound. (Baby Universe
Records, P.O. Box 1 335, Station B, Ottawa, ON, KIP 5R4)
ly sort of Cana-
rock-pop label
n clear red vinyl
New SE. If these Windsorites
don't idolize Eric's Trip and
Sloan, we'd be very surprised! Maybe if the
Poumons didn't make a conscious effort to sound like
;e Mari timers, the songs
. the Poumons' I
sr to list
mbers of Winnipeg bands Elliot
in excellent example of energetic, furry
n. The second song, "Nibbly Bit", seems
Still, if you're a major far
of minimalist, lo-fi fuzz wilh
Iry. (Think Records, 1005
Villalce Ave., Windsor,
ON, N8S 2J7)
More music from Ottawa: a split 7" by Two
For Flinching and Girl
Afraid, on Girl Afraid's
own label Pop Kid
Records. Two For Flinching is a female-fronted
three-piece who play pop-
punk fun. "Die", written by mi
and Banned from Atlantis, is
music with cool, lo-fi productic
to be about rejection, but we'
so fuzzy (but hey, we're not complaining!). This is Two For Flinching's
only vinyl release, the follow-up to their cassette EP on the Badwrench
The other side of this split features Girl Afraid's "Hazel Figurine",
a song about Steve Malkmus. This ain't no Pavement wannabe band,
though: "he's not plastic but he's plasticine"; "i'm beginning to see
through you/'cause you're so overrated". Harsh words wilh pretty
music; very reminiscent of quieter Eric's Trip songs. (Pop Kid Records,
2-90 Charlotte St., Ottawa, ON, KIN 8K2 or e-mail:
cc63 2@freenst.carleton.ca)
The record we've been curious about has finally
arrived in our mailbox: the split 7" featuring
Sparkmarker and Mystery Machine - two local bands with fairly different sounds. We thought
the record was going to be put out by Nettwerk
Records, but it seems that instead it's released by a
Nettwerk employee on his own label, Landspeed
(which has also put out a re-issue of Gob's debut CD-
EP). Sparkmarker have apparently written their track,
"Keep the Quarter", especially for this single. It's exactly what you would expect from them: loud, hard, good.
The Mystery Machine track, however, has been previously released: "Mouser" also appears on their latest full-
length on Nettwerk, J 0 Speed, and shows the band to be
continuing wilh iheir brand of Sonic Youth-influenced wanky
distortion with alternate tuning. (Landspeed Records, Box
386, 1027 Davie St., Vancouver, BC, V6E 4L2)
Those scary ghoulies The Fiends have a new one containing three great songs. "She's Not Broken" is retro-punk
a lo West Vancouver rock 'n' rollers the Smugglers (who,
incidentally, have loaned their drummer to the Fiends for a
couple of live shows). The 7" also includes a cover of the Seeds' song
"Pictures and Designs" and a surf instrumental done Greek-style. (Dr.
Mushroom's Optical Illusion Records, Kivelis 22-24, 11 146 Alhens,
Greece; e-mail: TheFiends@mindlink.bc.ca).
Our last Canadian release to tell you about is o
dian. It comes courtesy of the local indie noise
Trakshun Industries. Volume II of Optional Ingredi
Recipe is noisier than the first, but just as interesting. This edition continues the tradition of original, no-cover-the-same art, but ihis time there's
a bonus record which probably came from a
thrift store. Trakshun seems to believe in art but
not information, cuz we had to do our own
investigating to find out anything about the artists. Side one contains noise-ditties by Beauty
Pear, Torontonian Brian Ruryk (who
opened for the Jesus and Mary Chain in 1985
and produced the Leather Uppers latest album), and the Bren't Lewiis Ensemb.l.e.
Side two is more accessible to our ears, with
a track of melodic, ambient-type sounds by
the Supreme Dicks, a song by Total, and
a short, warped-sounding country tune by
Paula Frazer of Tarnation. (Trakshun Industries, 317A Cambie Street, Vancouver, BC, V6B 2N4)
Along with issue #8 ("Big Issue") of ihe Nipple
Hardness Factor 'zine is a split 7" by Shrimper-esque
boys Refrigerator and Nothing Painted Blue.
One song by the Franklin Bruno gang, three by Refrigerator; all of them very similar: poppy, melodic, extremely little-fi, although Refrigerator tends to be a bit
The 'zine itself is THE guide to 7" singles, containing
reports by cool campus stations, reviews by cool people, and occasionally a split single. It seems that they're
planning to include a record with each upcoming issue.
Try to get ahold of the issue which came with a Sammy/
Blonde Redhead split. [Nipple Hardness Factor, P.O. Box
461 778, Los Angeles, CA, 90046)
Major Matt Mason is named after a '60's puppet
television show. The record comes in a slacker-style, crayon-
coloured sleeve and the music is like what the Mountain
Goats might sound like on Valium. "The Lobster Song", on
the A-side, doesn't exactly have hit potential, but we like it
just ihe same, while "Mr. Mrs. Something" is a quieter, Smog-
style ballad. MMM seems to be one Daniel Johnston-influenced guy with an acoustic guitar. (Olive Juice Records, 1 86 Norfolk #50, New York City, NY, 10002)
Out of the Matador shipment of 7"s we've received, we liked
the Railroad Jerk record the best. "Bang ihe Drum" is from their
latest album One Track Mind and "Highway 80" was recorded at
the same time, but was never released - until now, that is. "Bang the
Drum" sounds so perfectly catchy in a sloppy, blues-pop kinda way
that it must be considered their 'hit' single. "Highway 80" boasts
interesting lyrics: "This is an intensely personal story because I am
an intensely personal person." (Matador Records, 676 Broadway,
New York City, NY, 10012)
Former Dickless members
hove formed a new and improved band called the Teen
Angels. Their first 7" was on
Scooch Pooch Records, although they are now new
Sub Pop signees.  "Teen
|     Dream" b/w "Julie's Jazz
Odyssey" is strong, tight,
screamin' punk - just what
you'd expect from three
I      tough women. (Sub Pop
I     Records, P.O. 20645,
Seattle, WA, 98102)
Vim, from Los Angeles, includes a member
of the Geraldine Fibbers. This is very different from the fully produced rock of the Fibbers. Vim is true mud-fi, complete wilh
a weirdly tuned bass and Calvin Johnson-esque vocals. Brought to us and you by the same label that released the
Adickdid LP and a Gumboil 7". (Dry Hump Recordings, 7211 Santa
Monica Blvd.-Suite 2, Los Angeles, CA, 90046)
We'd like to tell you about Punky Rockit. It seems they broke
up but got back together again to record their second record, called
Kickin'Ass Portland Style. The sleeve is more like a 'zine than a cover,
with song lyrics ond stories. They appear to have a total DIY approach to making music, and good music it is! Punk, sort of like a
garagey Unwound with girl and guy vocals. (Campground Records,
P.O. Box 15072, San Diego, CA, 92175.
Or check out their first 7" on Atomicfireball
Records, 201 1 NE 47th, Portland, OR,
Last up this month is Bubby Girl, who,
according to their insert, take their nome
from a Bav Island ghost who kills by chasing her victims, generally men, into the bush,
where she breathes her breath on them, causing them to suffocate. The A-side, entitled
"Stroke", is catchy guitar-pop with beautiful
harmonies, and the B-side, "Tunnel Fantasy",
is, simply put, slow punk. Pretty guitar sounds
with  spastic drumming.   (Boomberneatha
Records, 2365 Orange Avenue, Costa Meso,
CA, 92627)
Other new releases:
gus "hetero bash was flipper" - hardcore garage from Victoria
(Slow to Burn, P.O. Box 8386, Victoria, BC, V8W 3R9) ♦ Evelyn
Tremble Kool-aid - husky Morrissey-like vocals wifh soft, acoustic, strummy Brit-pop music (Sugarfrost, 149 Wellbrow Road,
Walton, Liverpool, L4 6TY, UK) ♦ Mike Flood are you the guru?
- experimental spoken word atop lo-fi, shrimper-type music (erroneous records, 87 Electric Avenue, #2, Somerville, MA, 02144)
♦ Slowsidedown - aggressive DIY hardcore (Red Alert Works,
P.O. Box 82865, Portland, OR, 97202) ♦ Inhalants "Kill You"
b/w "Automotic Pilot" - Garage-surf with distorted vocals (Unclean Records, PO Box 49737, Austin, Texas, 78765)
□ YES! I aw a pathetic little weenie.
So send we a CiTR. t-shirt!
r AVAII.AI5I.I'. IN ALL SIZKS • I'HONE 822-3017 (*-xt
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[_or _jck_ onc__ up_ _at_ CiTR _foj*_ _onlv
Saturday, August 19th
How to make a German
techno record:
1. Begin with a one-note
didgeridoo bassline
(turn the modulation
knob on your 303 every
8 bars or so for added
2. Add 4/4 drum beat at
130-135 bpm.
3. Fade in some spooky,
shimmering synth sounds
(ricochet them between left
and^right speakers if so desired).
4. Add hi-hats on the 2nd
and 4th beats of each bar.
5. Include some warm,
fuzzy, orchestral string
* *~" 'frlin'J* wl_* Rochrnoninov-
derivative harmonies to fill"
in the spaces.
6. Gradually add more and
more snare drums and bring
the whole thing to a feverish
7. Cut the drums and let the
bass kick.
But damn, it sure is funky,
isn't it?
Garth Giesbrecht
Soca energy and "jump up" *
thusiasm,    Lee
Saturday, August 19
In the almost forty-odd years
since their conception, Byron Lee
& the Dragonaires have become
a household name in the world
of Saco/Calypso music. And
while their popularity is greatest
in the Caribbean, the group isn't
unknown here in sleepy Vancouver, as their August 19, 1995
ind the Dragonaires lead a
sweaty summer crowd
through three marathon music sets - which is to be expected from these veteran
Bringing the infectious
dance frenzies of the Caribbean (such as Soca Butterfly, Shadow, Wave and the
infamous Iwer dance) to colourful party people everywhere is the raison d'etre
of   Byron   Lee   &   the
Dragonaires, whose rotating roster of musicians
(which included Reggae
great Jimmy Cliff in the
early 60's) has allowed
the party to go on and
on (much like a Caribbean Energizer rabbit).
Their current front line
party soldiers include
pelvic thrusting and hip
grinding performers
from Trinidad/Tobago
and easy going Jamaican musicians. Yeah
monL.a true melting
Canada really stands
out   in   the   world
where we have performed," Lee told his
Commodore audience. "We have all
sorts of nationalities
to attend our party,
and  what really
pleases us is the
strong Conodian
influence, along
with the ethnic Car-
ibbean    people
who give a complete mixture of cultures and allow for lots of fun."
Ifs the power of the music
that allows folks that we have
never met to put their arms
around each other and jump up
together. As Byron said, "Music
and sports are the only powers
that allow for that."
Jess Jessuran
The Town Pump
Monday, July 24
The "Sub Pop Human Touch
Tour" is what it said on the ticket,
but I really just went to see
First up was The Hardship
Post, a power trio that had been
stripped down to a duo. Evidently, the drummer has been
kicked out, so bassist Mike Pick
took the percussive duties and
Sebastian Lippa stuck to vocals
-and guitar without a bass player.
Starting with "If I..." as a slow
introduction to their set, they
sampled much material from
their album, Somebody Spoke,
and closed with an aggressive,
gut-wrenching cover of Sloan's
"Coax me". I had never heard
much of Hardship Post before,
but they rawkedl Forget power
trio, Hardship Post has embarked on a power duo trend -
look out Inbreds I
Next up was Zumpano. All
decked out in their slick suits,
these hometown faves drew
much of the crowd out to in front
of the stage. Opening with "The
Party Rages On", they immediately got people tapping their
feet and bopping lo their slickster
pop. Much of the material they
played was from loolk What the
Rookie Did?, but among the
highlights of the show were several covers, including "Orange
Air" and a Kinks' song.
Finally, up came Six Finger
Satellite. "Cock Fight" began
their barrage of noise and synthesizers. The lead singer, J.
Ryan, contorted around the
stage, occasionally hitting the
keyboards and disassembling
his microphone stand. Halfway
through ihe set, J. Ryan wandered jgiathe crowd and stared
people aown face to face. I even
received this dubious honour.
Oh, and they were loud too.
Six Finger Satellite was,
well... Six Finger Satellite.
Zumpano was great with both
their sefdfld the "audience-participation". Since the concert, I
bought the Hardship Post album.
Towards the end of their set, Sebastian Lippa said, "...and remember, it only takes two to
rawk." He was right.
Oruhuuie Quew»»-T—~ ■>*»■■». s
La Luna, Portland OR
August 11,1995
Okay. So I admit that the only
reason I went to this show was
to see Keanu Reeves. And I am
not alone when I say that. I am
sure that the only reason anyone
was there that night was the
chance that some Keanu sweat
might drip onto their bodies.
Unfortunately, there was a barricade in front of the stage, so
nobody could even get close to
the boy. This was not, however,
for lack of trying. That audience
was made up of the most relentless women I've ever seen. Hundreds of them, ranging from age
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thought running through their
heads;  "If I just get a little
Dogstar doesn't have a CD
released. They don't really even
have a demo tape. Nobody has
ever heard their music before.
Yet outside La Luna, tickets that
originally sold for $10.00 were
being scalped for as high as
$100.00. Not bad for an'indie'
There were two opening
bands on this night. Through
each, the fans watched and
waited patiently, no one daring
to leave for fear of losing their
perfect Keanu-viewing spot.
Seven Day Diary came on first.
Two female vocalists with guitars
playing ombient-folky type
songs. The audience listened
and gave the band the applause
they deserved. Now where's
Katie's Dimples, from
Tacoma, Washington, were on
next. This band over capitalized
on the fact that the audience was
90% female. The lead singer
strutted around like Elvis, taking
his shirt off a lot to show us his
buff body. Put your shirt back on
buddy. We're not here to see
Finally, the hour was upon
us. The moment we had all been
waiting for had arrived:
Dogstarl Keanu was within spitting distance of a roomful of fans
who had never been this close
to him before. The place went
crazy. Everyone suddenly rushed
at the bass player.
The band played a lot of their
own stuff, os well as a few covers, including Neil Young's,
"Keep on Rockin' in the Free
World". (Everybody loves Neil
Young these days). The members
of Dogstar are by no means brilliant musicians. Can Keanu re
ally play the bass? Well, from
where I was standing, it was
hard to tell, but he sure looks
good holding it. They screwed
up a lot, and each time they did,
they'd laugh, then start the song
again. The audience appreciated the laid back party atmosphere being generated from the
stage. Actually, I think the audience would have appreciated
anything - they could have been
up there singing musack versions
of country songs and nobody
would have cared. As long as
Keanu was there, holding his
bass, life was good.
Kris to Peters
Molson Ampitheatre
August 5,1995
Thirty bands. Two stages. No
band schedules posted anywhere. Canadian indie fest. Corporate sponsored. Pouring rain.
Big security men. Sloan's last
show. Bouncy people in skate
shoes and poorly dyed hair. Bad
facial piercings. Soul Asylum
and Stone Temple Pilots play
loudly in the background.
Sidestage is a fifteen minute
walk from the mainstage. It's
raining again. Missed the Monoxides. Only the G. Love & Special Sauce show on Monday
was worse than this. Tickets sold
separately for the 'mosh pif. Best
moment was during Thrush Hermit's Steve Miller cover set; guitarist Ian 'Arena Rock' Hermit
dove into the crowd singing
"Take the Money and Run";
singer Joel 'Arena Rock' Hermit
had the entire audience clap
ping their hands above their
heads to the beat of "Keep On
Rockin' Me Baby". Cheapest T-
shirt at the merch booth was
$27.00. Treble Charger wore
black afro wigs. Saw (good) -
Thrush Hermit, Superfriendz,
Mystery Machine, Treble
Charger, Sloan, Jale, Six Finger
Satellite, Huevos Rancheros,
Pluto, Stinkin' Rich. Saw (bad) -
13 Engines, Rusty, Glueleg,
Change of Heart. Missed (too
bad) -Monoxides, Hardship Post,
Plumtree, Local Rabbits,
Smoother. Missed (so sad) -
Adam West, Zumpano, Project
9, Subtractor, Shallow, Killjoys.
Written in backstage lounge:
"Gimme Corporate Indie Rock."
More rain. Fed by the corporate
hand. I don't know what to think
of all this anymore. Everyone on
stage looks really little. Miniature
models playing guitar. Rock concerts are for rock stars.
Wednesday, September 201 SATURDAY, SEPTEMBER 23 j
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CiTR 101,9 fM presents
greenhouse   jg-1=rfJr.,   ppgOTSM   ^^n^k__S_! ffififfi VARIOUS ARTISTS
The ALL Skanadian Club
Surfacing in the wake of Calypso's
sun splashed reign in Jamaica, old
ska eventually gave way to the familiar dub and reggae styles of the
Caribbean today. In Britain, however, ska re-emerged, primarily
under the Two-tone label, as an
white working class culture. Infused
with mod esthetics and rude-boy attitudes, the music appealed to the
disaffected youth of Britain's dance
halls, spreading worldwide and
impacting many youth subcultures,
including scooter gangs, leftist
skins, and new wave punksters.
Canada has had its share of
great ska bands, whether traditional, dub based, or "core". In the
late seventies and early eighties, on
the B.C. West Coast, the Villains
and the B-sides were putting out
some hot skankin' releases (before
being sucked into some weird kind
of Spandau Ballet vortex). Today,
Canadian bands such is King Apparatus and Scaface draw large,
enthusiastic skank fanatics, Vespas
and all. The ALL Skanadian Club
gives you sixteen danceable tracks,
and no "pop-rock" digressions
which plague other ska compilations. These bands all play ska and
rock steady, whether fast or slow,
with no pretensions. Of note are Ihe
inclusion of two B.C. bands, The
Two Tonne Bowlers from Penticton,
and Pressure Cooker out of Victoria. A worthy oddition to ony skank-
meister's collection and a bit of Canadian legacy, this CD gels a big
rude thumbs-up.
J. Boldt
The Real McKenzies
(IFA Records)
Music critiques are, of course,
wholly balanced, unbiased affairs
undertaken by only the most rational and analytical of people.
Judgement is never clouded or impassioned; in short, you, the reader,
can expect nothing less than the finest in music reviews from this mago-
Thus, the fact lhat I'm a kilt wearing, skeign dhu wielding, haggis
munching, scotch sipping, bagpipe
playing, caeber tossing, hairy Scot
will in no way affect my review of
the Real McKenzies self-titled debut
CD on IFA Records. Aye, that's th
truth o'it laddie.
Simply put, this is one of the finest bits of punkscot ever to grace a
jewel box. If you weren't a kilt wearing skeign dhu wielding haggis
munching scotch sipping bagpipe
playing caeber tossing hairy Scot
before you listen to this sonic bliss,
you will be afterwards. A sense of
humour, some good clean punk
power, and several gallons of
Glenfjddich make this my choice for
clan war soundtrack of the year. My
fiancee hasn't taken it off the CD
player for a week, an ah ken whay,
tha's ferthr'th, lads.
While it is near perfect, I have
to admit I wished such past great
hits as "Haggises" and "Highlander" could nae hae found a
place on th' album. Ach well, I
s'pose there's always next tyme fer
thai all. Besides, some of the included tracks are absolutely profound, like their version of "Loch
Lomond", or plenty dead'ard like
"Scots Wha'hae". Anyway, this CD
gels my pick of ihe spring/summer
season collection; nothing else was
near as much fun. Go get yourself
a copy and a huuuge glass of
Glenfiddich and watch the kilts go
Angus "Mad Haggis" Wilson
All Our Ancestors
The label responsible for the great
atmospheric ambience of One A.D.
and H.IA.'s Colourform have done
il again. However, for this journey
we return to Earth. All Our Ancestors suggests mystical rhythms from
an ancient temple hidden within the
dense clouds of the Himalayas.
Martin Franklin, Mykl O'Dempsey
and Rebecca Lublinski have brought
together the ancient water drums,
clay pots, Bansuri flutes, Tibetan
bells, and gongs of the past in a
delicate harmony with the synlhs of
today to create a mood of peaceful meditation and Eastern tranquillity. This LP consists of seven deep
tracks. My favourites are "Triple
Gem of Wisdom" (wilh its exotic
flutes and shimmering chimes) and
"Illumination" (with the slow pulse
of the Gamelon gong). Next lime
you feel like contemplating the
sound of one hand clapping, or
maybe the infinite mysteries of our
expanding universe, drop this into
your sound system and let the meditation begin. The only fault I have
wilh ihis album is its length. Unfortunately, it's only 47:53 minutes
long. Nevertheless, check il oul.
Brian Wright
Night of the Hunter
(Sonic Bubblegum)
Have you ever listened lo an album,
honestly intent upon absorbing its
every nuance, and slipped into a
coma? Me loo. I thought I'd like this
CD; I thought its sludgy hardcore
riffs and purring female vocals
would be welcome additions lo my
collection. Nope. Il went over my
head faster than you con say dead
Individually, the songs ore fine
and mildly entertaining. Together,
they amount to 39 minutes and 19
seconds of tedium. Sorry, but life's
just loo short.
Severe Exposure
(Sub Pop)
Personally, I don'l understand Six
Finger Satellite. I have never heard
ony of their previous albums or
oultakes so I have nothing to compare this lo. The first track on
Severe Exposure, "Bad Comrade",
starts wilh a moody ambienl sound
overlaid with the barely perceivable
whisperings of J. Ryan. It almost
sounds like a hip hop song until il
accelerates into a heavy bombardment of screaming and aggressive
chords and drums. "Cock Fight"
starts out as a gentle soundscape
and evolves inlo a wall of noise and
chants. "Rabies (Bab/s gol the)"
has an infectious little riff that goes
on forever with overlays of synthesizers and exclamations that a baby
has rabies. There is no single way
lo classify or associate a particular
genre to the sound of 6FS. It's noise
rawk, soundscapes, scary synthesizers and samplings. 6FS ore definitely ihe sub and not the pop, but
if you want something different, and
frankly a bit scary, you might want
to give this album a listen.
grahame quan
Somebody Down There Likes
The Streets of San Francisco...
(New Red Archives)
Two fairly new releases that have
been spinnin' steadily al my homestead lately are Somebody Down
There Likes Me and The Streets of
San Francisco...
First, the follow-up lo Sin Gallery from Calgary, ON's troubled
teens, the Forbidden Dimension.
Seems these lads just can't get
enough of the blood n' guts stuff,
with songs about marlian
graverobbers and crawling eyes,
all set to a garage rockin' beat. But
hey, if ya dig deep inlo their twisted
minds, you jusl might find a funny
Second, East Bay punks The
Swingin' Utters give us on impressive display of Stiff Little Fingers-style
rock under the helpful production
of Rancid's Lars Frederiksen.
Choppy hooks, sing-o-long lyrics
and a healthy dose of piss and vinegar make The Streets of San Francisco... the perfect stomping
grounds for the Swingin' Utters.
Bryce Dunn
Have you ever heard of the Ger
man band Bigod 20? Well, if yes,
forget all assumptions; Zip Campisi,
a member of Bigod 20, has taken
a very different musical step away
from Bigod 20's sound in his latest
project, called Seven. With Seven,
Zip has made a relatively smooth
transition lo the realm of electronic-
There are a total of seven tracks
on this disc, and each track is given
its representative number in the procession. For instance, track one is
called "One"; track two is called
"Two" and so on. The album works
well as an entire piece; the tracks
never seem to end, they just gently
melt into one another. Il all starts al
a leisurely pace, moving from the
sounds of a tweaked out music box
to sparse piano chords, and then
dropping into a hypnotic trip hop
journey, only to resurface as a
bounding soundscape.
The first pari of the CD is good.
However, after "Four" the rest of the
tracks seem to continue in a similar
route and eventually jusl fizzle out
and start to sound a bil trite. As you
can see, my opinions remain divided on this work, so try to have a
listen for yourself and then you de-
firion Wright
Skate to Hell EP
(Bad Taste Records)
Swedish skaters shankin'; slightly
sung with strong second-language
Hi-Fi Way
Upon a first listening, this Sydney
trio's second long-playing effort
sounds immediately like a favourite, well-cuddled album, without
being overtly reminiscent of anything from ihe past. Certainly, influences are there, bul they're hard to
pin down; and anyway, they're
swept away in the face of the skill
with which they are appropriated
by Messrs Rogers, Kent and
Hi-Fi Way marks singer/guitarist Tim Rogers' elevation to the pantheon of superlative songwriters
who combine a good ear for a tune
wilh unsentimental, original lyrics.
It is, simply, a great album. There
is not a single mis-step, not a song
you'd skip. Il is hard to actually
name the outstanding songs because they're all pretty bloody outstanding - well written, well executed, even enriching.
The album, like You Am I's first,
Sound as Ever, wos produced by
Lee Ranaldo (Sonic Youth), and it
was written while the band toured
the U.S. with Soundgarden (they
recently played in Vancouver sup-
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porting the Goo Goo Dolls). The disruptions of the touring life have left
no mark on the lads' work - if anything, they appear to have honed
their already fine musical instincts.
None of these songs are really
'catchy' in a McCartneyesque way,
bul they ore excessively memorable. The melodies are deceptively
simple, worming their way into your
brain and lodging there, taking on
their own meaning. There are many
moods and characters on H'hFi Way
- many songs seem lo be fractions
of biography. It is one of those rare
albums that you can immediately,
almost automatically, love, but
which also just improves wilh repeated playing. A mighty fine
I bunch o' tunes from a damn fine
bond, and hopefully the next album
isn't far away.
Sophie Ham ley
The Presidents...
Sulkers bewarel The Presidents
major label debut is an intensely
cheerful, up-rocking, whimsical
piece of work. No solemn diatribe
on war or losses and the like (even
the salamander death-song,
"Body", is a humourous twist of
imagery), but sunny tunes heralding such simple pleasures as, for
example, "Peaches", "Candy" and,
on "Back Porch", gumless grampa.
There's also a satirical, self-deprecating bend on dubious new success called "We Are Not Going lo
Make II". Sincere without being loo
syrupy (no fluffy bunny songs) and
infused with a wicked wit, this album is a great Ionic for those
grumpy grey mornings.
Samantha Blackburn
Incidental Music 1991-95
This is the second singles/b-side/
hard-lo-find tracks compilation put
out by those already legendary DIY
punk-pop (or is thai pop-punk?)
champions from Chapel Hill, North
Carolina. I like the 7" formal, bul
the unfortunate problem with 7"s is
that they go oul of print really fast
and then you are screwed. Fortunately, this compilation makes il
possible for you to gel all those rare
tracks   that   you've   been   so
undeservingly unable lo hear. (I
guess the super-hardcore fans who
hove gone rummaging for all those
rare tracks are feeling like they got
The tracks on this comp are not
in chronological order, but ihey all
go well together in any order you
play them. Some tracks have the
mellow portastatic acoustic sound,
while others have the same kick-ass
Superchunkish sound we all know
and love. The highlights (for me
anyway) are "100,000 Fireflies",
"Baxter", "Foolish" and the unlisted
track at the end (I'll let you find oul
whal it is). You definitely get the
quantity out of this compilation (68+
minutes), bul don'l worry, the quality is there too.
grahame quan
Trancewerk Express Vol. I
Trancework Express Vol. 1: A Tribute to Kraftwerk is exactly as the
title suggests. After a gratuitous
intro, there are eleven trance reconstructions of classic Kraftwerk cuts
such as "Music Non Slop", "The
Robots", "Autobahn", and other
Favourites. Participating artists include Audio Science, Ultrovision,
ExisOl, and others.
On the first few listens, it's fun
to hear new twists lo old Kraftwerk
material. As you can imagine, the
entire album is spiced wilh a generous collection of recognizable
Kraftwerkian samples. All the tracks
are fairly fine examples of standard contemporary trance, and that
is the main problem with this album:
after repeated listenings, one begins lo notice lhal all the tracks are
on the same level. There are no real
stand-out cuts, ond while listening
to one or two tracks is greal, listening to the whole album becomes a
bil monotonous. Considering how
ground breaking Kraftwerk were,
il would have been great if the
music could have continued in the
tradition of experimentation. However, if you love Kraftwerk and want
a fine example of how electronic
music has changed over the past
twenty years, pick this up and play
il right after listening to some of your
favourite Kraftwerk albums.
Brian Wright
(Sonic Unyon)
I hole getting behind with technology. Lacking a CD*OM player, il
wasn'l possible for me lo view the
two hours-plus of interaction included on treble charger's second
release. However, this fact didn't
prevent me from enjoying the other
25 minutes of music included on
More a continuation of the
band's fabulous debut NCI7than
anything else, Self-Title contains
seven songs which definitely sound
new ond different, yel are identifi-
ably treble charger. Songs like
"Morale" or "Sick Friend Colled"
are good examples, wilh their progressing song-structures, Dinosaur
Jr.-esque guitar parts and ever-so
hummable melodies. Being so familiar with Iheir songs and having
seen ihem live a few times now, it's
all quite good, bul fails lo make my
ears go 'wow' like they normally
do when I hear the band. Still, the
music will al least keep me entertained until 1 have a CD-ROM lo
see the rest of Self-Title.
Brian Wieser
This is indie rock. I love indie rock.
Before I had heard this bond I had
been told that ihey sounded like
Superchunk. I wasn't sure how lhat
would work for me because lately I
have found Superchunk lo be tuneless and annoying. This isn't. The
slightly out of tune vocals are a
perfect complement for the catchy
melodies. There are two singers,
both of whom are wonderful. This
is so catchy lhal when I hear it I am
templed to break oul in the fwist.
Definitely worth a listen.
Christina Knox
The newest Sugar release is a double album containing well over two
hours of music. Disc 1, consisting
of B-sides, live songs, and
unreleased tunes, starts off with
"Needle Hits E\ a great tune off
Ihe Helpless EP. Unfortunately, that's
the highlight of the album. The rest
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$15 Canada • US$15 USA • $24 Foreign P of the tunes, including songs written ond sung by bassist David
Barbe, are generally weak and
Disc 2 is a live show recorded
in November, 1994 in
Minneapolis. Basically it's 68 minutes of sour notes, out of tune harmonies, etc. It's an awful racket.
Maybe with the ability lo re-record
and lake lime in the studio, Bob
Mould's vocals are OK, bul they are
terrible live.
There's one other thing worth
noting: printed onto disc 2 is the
phrase "the joke is always on us,
sometimes." Is this CD supposed to
be a joke on the listener? I'm not
sure, but this release is certainly a
joke, and il will be on you if you
pay for this.
Closed EP
Halifax's jale have become an extremely proficient band, combining
tight playing and perfect harmonies
with more complex song structures
than those found in their previous
efforts. If you like that sort of British
pop sound thai Sloan seemed lo
adopt (from their formerly distorted
Sonic Youth sounds) towards the
end of their existence, this newer
jale should be your piece of (dream)
cake. Their new EP contains five
beautiful, mid-tempo songs; completely harmless and very nice.
But whal happened lo that rawness lhal I used lo find so charming
and appealing aboul jale? When I
first heard their debut 7", they
sounded so punk in such a wonderfully non-punk way, like they
were having fun and didn't give a
damn whether we cared or not. Listening to the evolution of this band,
however, I've come lo the conclusion lhat the songs jale used to write
were not necessarily the ones they
wanted to write, but simply what
they could write. The songs just
kinda came oul that way; now, with
years of practice, experience, and
louring, these women can write the
kinds of songs they want to.
Whether I like il or not.
This EP contains two songs written by guitarist Jennifer Pierce, and
a song each by drummer Alyson
Macleod (who has since left the
band to pursue her own), guitarist
Eve Harding, and bassist Laura
Stein. The fact that there are different songwriters makes for a nice
variety, although their styles are
very similar - it's obvious they
learned to play together. So here's
how il goes, folks (ie, are you
gonna like it or not?): if you've never
heard jale before but you like
smooth, melodic pop songs with
great harmonies, you'll like this sampling of their talents. If you heard
jale's full-length and liked it for being upbeat and pleasant, you'll like
this continuation of the same. Bull
if you've ever listened to early jale
and liked them for their spunkiness
and creative song writing, then be
warned: they've gone forward in
a musically conventional manner
and haven't turned back.
Born to Quit
Born to Quit is a short, len song
CD lasting jusl over 28 minutes. It
consists of happy ond sappy 50's-
ish tunes reminiscent of early
Beatles. There are a few catchy
songs such as "Midnight Moon",
"My Lucky Day", and "Need You
Around" (which also appears on
the Clueless movie sound track). But
while the songs are memorable and
will stick in your head, I'm afraid
they're not loo exciting either.
Sleepy Head
(Beggar'* Banquet/RCA)
As the follow up to the let down that
Big Red Letter Day was for many
Buffalo Tom fans. Sleepy Head
gives reason lo believe lhat the
band has another Let Me Come
Over left in them yel. I was prepared for perhaps a mellower Buffalo Tom here, but wilh the energetic
"Tangerine" ond the aggressively
melancholic "Summer", Sleepy
Head is a thorough CD with 14
very strong songs. At the same lime
lhat they retain their American guitar-rock with a country-folk edge to
their sound, Buffalo Tom are definitely edging back towards the
songwriting and performance that
made them so endearing a few
years ago. Il might lake a few ploys
to get inlo, but repeated listens has
made Sleepy Head an LP to stay
Brian Wieser
About Time
About Time is the fourth release from
Pennywise, a band thai has been
accumulating much popularity over
the past few years. This CD contains 12 songs that embody the
group's style of Southern Califor-
nian punk. Pennywise
about thi
Many of their songs on
this CD are about seizing the day; for example, the song "Try" is
record lhat I am completely missing. Given the title Inzombia, the
Night of the  Living
Deod-slyle cover photo
of the band and the
y   Ihe   band
poster   in   th
beauty of the
day: "All the ants
below share the same comfortable
exislence/But they still wear the
same frown/What a shame that
they can't see the beauty/That's surrounding them when there's so
much all around."
In comparison to their post albums, About Time has a more mature sound for Pennywise. This is a
great CD lhal is definitely worth
picking up.
Slant 6's Inzombia is completely
disappointing, bul not all that surprising. All the songs are pure Slant
6: very fast, very simple, very short
and very British-influenced,
Ramones-like punk rock that gives
you the impression lhal ihe band
members record while doped up on
loads of coffee and thai anyone
dancing to the beat would look like
she was experiencing an epileptic
seizure. But all the songs sound the
same to me. "Mascaria" and "Eight
Swimming Pools" stand out as far
as minimal chord variety and song
structure goes; "Inzombia" stands
out as far as song length goes (at
Frighteningfy enough, however,
Inzombia is perhaps less speedy
than the band's previous full length
release, Soda Pop Rip Off. Maybe
this is whal makes this second album less interesting than their first.
Or maybe this album is less interesting precisely because it is not
different enough from this first one.
At any rate, I found the whole
production disturbing because I
can't shake this feeling that there's
a level on which to understand this
agine this is supposed to be some
id of ghoul ish concept al-
1    bum. Ten points for imagi-
Jf   nation there. The problem
f    is thai the incomprehensibil-
I     ity of Christina Billotte's
/    voice means lhal most of the
""        jokes are lost on me.
Krista James
The Great Pacific Ocean
Wax up the surfboard and ride on
the waves to this cool new EP from
these four lads from Halifax, Thrush
Hermit. The Great Pacific Ocean,
their new six song CD-EP, really
hums with great lyrics and cool riffs.
A certain continuity ripples between
the cuts lhat musically tie into the
theme of, you guessed it, the Greal
Pacific Ocean.
Thrush Hermit have matured
since the release of the debut album last year, although some* songs
on iheir latest release still show signs
of zit-pocked teenage angst. In "The
Great Pacific Ocean", for example,
the lyrics invoke fond remembrances of high school: "And all
your time in junior high/Smoking
grass and skipping class/Listening
to your favourite records/By the
Pistols and Ihe Clash".
When they're not looking back
on the good old days, the boys explore such themes as nationalism
and the relative nature of fame, as
on "Patriot" ("On one station I'm a
champion/On another I'm unknown/On one corner I'm a hero/
But everywhere I am zero."), as well
as demonstrating their ability to create vivid lyrical imagery: "i've got
a solid heart of steel/It rests in my
ribcage and turns/All the wheels/
So boil my blood and trip away."
Ending with an instrumental
reprise of the title track, the album
as a whole behaves somewhat like
the body of water from which it
takes its name, surging forth wilh
pent-up frustration and world weariness before crashing into ihe shore
like breakers revealing a peaceful
Kevin Pendergraft
In stores Sept. tO
Certainly no strangers to the Vancouver scene. Finally product to support all the live
shows. For those not in the know, this is a hybrid mix of ska, punk, rap delivered with
one mighty sonic boom... Cross Canada tour starts early Sept., look out for dates.
Dro|>Cit_   Chiaroscuro SALD 21?
The follow-up to A Revolution—, this is more fuzzed out than the last, features a fine
cover of the Spacemen 3 classic "Losing Touch..."
Godsta*  Coastal 2Lp set HAC42
Wic Dalton (former Lemonheads bass player & Half A Cow Records honcho) and
friends deliver their second album. Features the usual guests Including various
Smudge members etc... LP set only.
Hunters & Collectots Demon Flower SALD 220
This has the angst and noise of the early Conny Plank produced stuff and the
songwritlng/pop sensibilities of Human Frailty period. Like his Australian peers Paul
Kelly and Ed Kuepper, Mark Seymour is a storyteller/songwriter. If you ever had a
soft spot for these guys, return, you won't be disappointed.
The Nectarine No 9 Niagara Polls SALD 214
"A complete hussy, coated in a becoming arrogance - the most ridiculously under-
recognized pop organism" The brilliance of Davey Henderson (of the FlteEnglnes/
Win) and crew is not to be missed. Kelman won the Booker, Irvine Welsh
Trainspotting Is a must read too. All eyes on Scotland... No need to be a cynical
bastard I suppose... Just don't Ignore this one.
The Nectarine No 9 Saint Jack SALD 222
October release
Davey Henderson returns wftfi one of the most Important releases of the year.
Melody Maker says "Saint Jack is a serious achievement. No other band could get
away with tfils most wouldn't even tfilnk of hying."
Punchbuggy  All Nite Christian Rollerskate SALD ??0
Still as good as it was a month ago...!
Also new f out on Montreal's Mag Wheel Records.
Local Punchbuggy shows
Aug. 30 Vancouver, Aug. 31 Victoria, Sept. I Whistler
Sept. 2nd Nelson, Sept. 6 Kelowna, Sept. 7/?/0 Vancouver
Sept. 10 Nelson
The Vacant Lot     Shake Weil sald V21
The 3rd album from Brooklyn's finest and It certainly Is their finest. 14 pop-punk
gems. Available on LP, cass & CD
Issistant Editor Da- -lion Man-
a ■-       ; $w .A- a, *;Ur -y      ' *.;<.a    a
\r.   ■-,, i v*a -     ^$tft£* * wr- -Aitanf V* s^cr--*
so give us a, ©mil »t
If you are remdy
59? VICTORIA CP. 265^7
J4P-2S*? septeiber
MYL 35
September's IND
1   ] various artists
oh canaduhl                           lance   rock 1
1  1
girl afraid/two for
flinching     split
pop    kidl
I    1   suckerpunch
1   2U*" phair
juvenilia                                         matador 1
1    2
teen angels
teen dream
sub    pop
|    2  wandering lucy
baby   eyes
I   3 various artists
all-skanadian club                           stomp 1
I    3
mike flood
are you the guru?
erroneous 1
|    3  the mcrackins
saving gr ce
closed ep                                           murder 1
I    4
mystery machine
heart of glass
nettw   rkl
1    4 pif co 88
1   5 ramones
adioB amigos                          radioact ve 1
I    b
we're going B hopping
planet    pimp 1
1    5 low noise
1   6 ani difranco
not a pretty girl              righteous babe 1
I    6
the stupes
Bhare it!
lance   r  ck 1
1    6 kreviss
1   7 modernettes
get it straight                                     zulu 1
ties to sever
lorem    ipsum 1
1    7 the deprogramaers
1   3young Canadians
no escape                                             zulu 1
the hate bombs
she's the girl
speedome  er1
I    8 trish kelly
1   gthe forbidden dimension somebody down there...             f uzzwarp 1
happy sockmen/candywheel Bplit
dead    br an 1
|    9 roach motel
is this who we are
1 iq various artists
elektro-induBtrial..north-weetcleopatra 1
1 10
nerdy girl
nerdy girl
rightw del
| 10 meow
nancy     song 1
1 *| i sleater -kinney
sleater-kinney                            chainsawl
1 11
Charlie is an icon
| 1 1   the mysterons
barbeque  with  elvis 1
1 12 pointed sticks
part of the noise                                 zulu 1
1 ,2
crown roast
unclean 1
|  1 2  mollie's revenge
i   wanna   b 1
1 13 huevos rancheros
dig in!                                                  mint 1
1  ,3
ruby falls
cafe no problem
silver   girl 1
|  13 squeeky
three 1
1 14 supergrass
i Bhould coco                         parlophone 1
music for four ears
ringing ear 1
|  14 gaze
1 15 sex with nixon
sex with nixon                   prezident al 1
1  15
new Be
th nkl
|  1 5  universal lounge act
1 16 wesley willis
greatest hits         alternative tentacles 1
1 16
the new bomb turks
sexual dreaming
1  1 6 the unhappies
17 excuse 17
...friends are dangerous   kill rock stars 1
I  17
boris the sprinkler
green bay route
bu gel
|   1 7  floragore
1 iSBuper friendz
mock up, Bcale down                      murder 1
same old flame
murder 1
I 1 8 johnny millenium
terminal 1
1 ig various artists
true independence H              dumb   drum 1
spare change
tooth and nail 1
|  19  collide
calling 1
20 perfume tree
a lifetime away                                     zulu 1
1 20
endearing 1
1 20 jabber
follow   your   voice 1
21 various artists
full dynamic range           cfuv/guacamole 1
1 21
nine pound hammer
teenage head
scooch pooch 1
| 21   euphonix
radio     exorc st 1
1 22 fugazi
red medicine                                dischord 1
wonderful world of joey blastoff!
sympathy  for 1
| 22 the insipids
huevos    diablos 1
23 tbat dog.
totally crushed outj                       geffen 1
1 23
the draws
alex's preference
en |
1 23 squelch
i  like  you 1
24 treble charter
self-title                                 Bonic   unyon 1
go Bailor
long distance
slumberland 1
1 24 frayed knots
green    light 1
25 christian death
death in detroit                       cleopatra 1
the aBtronauts
war of the satellites
shot    downl
| 25 the dunderheads
lost        boy   1
26 j°n spencer blues expL
. experimental remixes                matador 1
the spiny anteaters
planet mars
independ  nt1
1 26 sister lovers
did she call me baby? 1
27...-jiiB ruiz group
oh brother where art thou? minty freBh 1
the fiends
she's not broken
dr. mushroom's 1
1 27 more socks
blende    with    pens 1
28 various artists
darla records summer sampler     darla 1
eric's trip
stereo mountain
sappy 1
1 28 trevor jones
good  men   die  early 1
29 screw 32
unresolved   childhood   issues   wingnut 1
pounded clown
plate of poultry
last    resort 1
I 29  kid champion
luminites 1
30 the monoxides
out of the marsh                handsome    boy 1
J 30
soul junk
go away
sub    pop 1
30  butt cleavage
stagger stumble hurl 1
31 the stand gt
they're magically delicious   top drawer 1
1 il
car thieves
man from u.r.a.n.u.B.
planet    pimp |
31   marjorie cardwell
can't   refuse 1
32 papaB f ritaa
passion play ep                       minty    fresh 1
1 iZ
canned travolta
time to change
go-k   rtj
32  lashback
33 bum
make it or break it              impossible 1
1 33
land of the loops
multif amily garage sale
33 dashboard jesus
lion   man 1
34 various artistB
free to fight!     chainBaw/ candyass 1
1 34
elevator to hell
the who
Bappy 1
34 groverfur
i    like    you 1
35 various artists
tokyo trashville                         au ■ go    go 1
codepend  nt1
35 hlaise pascal
Bpotlight   kiddl! 1
1 speedy j
'95 remixes                                              plus    8
1      2 various artists
european techno heaven    jumpin&pumpin
1     3 the prodigy
Bcienide                                                           xl
4 various artists
patchchordB thru the atlantic        analog
5lucas rodenbuBh
the energy ep                             ebe    audio
6 dj edge
edge 16                                                        edge
7 adham shaikh
journey to the Bun                       instinct
8 slab
atomsmasher                hydrogen    dukebox
9 sarah mclachlan
possession                                        nettwerk
|   10 higher int. agency
colourform                                      waveform
mmm** m i» HOT0MYOE. SOWS
1     1   anything from davey allan & the e
2 girl trouble
where s the loserl
1    3 the great mongoose
> a bad motorcycle 1
4 oblivions
japtorcycle leather boyl
I    5 craapB
get off the road
6 mutant moriBter beach party
raotorbUdn' shake 1
7 jackie & the cedrics
go honda go 1
8 dirt bike naked
dirt bike naked J
9 the blenderheds
bugtooth 1
\0 fli*! trouble
mary motorcycle 1
FtM_MtfY-M!    Vjpn»( Tot n
1  1   papo ross y orqueota pambiche vamo'pa pambicha
cross current 1
2   jen-marc saint-val
3   carloB vives
classicos   de la
provencia  phillips 1
4   beenie man
reggae gold '95
5   leeton paul
carnival'95 hits
6   edith lefel
7   the justin vail trio
the trugh
8   Iob nichee
salsa de hiU
9   byron lee St the dragonaires       Boca tatie
10   femi kuti
africa fete 3
1   excuse 17
friends are dangerous    kill rock stars 1
2   that dog.
totally crushed out                        geffen 1
3   tattle tale
Bew true                                         Bt_francis 1
4   bikini kill
anti-pleasure dissertation kill rock stars 1
5   go sailor
blue sky                                     slumberland 1
6   teen angels
julie'e jazz Odyssey                          sub pop 1
7   nerdy girl
new jersey                                   rightwidel
8   various artists
free to fight               chainsaw/candyass|
9   jale
closed ep                                          murder 1
10   various artists
lemonline volume 1                       spinart 1
5   n-   XAR0U1TTS,   B   .   Wn   540   IK-  HA*****,   IL
1   1   jerry rivera
sony   discos 1
1   1   clouds
foo fighters             1     yo  la  tengo
1  2   rey ruiz
estamos solos
sony tropical
1   2   wax
lizard music             2     gene
3   el nene y bus...
oye rumbero
1   3   rake's progress
six finger satellite 3     sleeper
1  4   marc anthony
te conozco blen
sony   discos 1
I   4   earth eighteen
truly                           4     gwen    mars 1
1   5   pochi y su cocoband
estoy   enamorado   de
ti   kubaney 1
1   5   jay hawks
neil young                5     eleven
1   6   harmanos rosario
la duefia del swing
ka   en
1   6   menthol
bjork                          6     supergrass 1
7   papo ross & orquesta pambiche   mi camloncito
cross current 1
1   7   tiny buddy
gravity wax              7     Bjork
8   arturo sandoval
la guarapachanga
8  truly
menthol                    8    toenut
9  van leeter
dime de que presumes
1  9  whale
sugar ray                  g     laika
|10   cesar flores
- "^t*  	
j 10  **&*
kyuss                        io     bracket
Call Kevin at 822-3017 (ext.3) for info SUNDAYS
12:00PM Aloftmcsmeasiredbyitsart.
Most broadcasting shuns art for incestuous
maricet-music. ths show presents the most
recent new music from arm/id the wild. Ears
open. Hosted by Pad Steenhuseri and Cam
Reggae mna al styles and fasti on. Mike Cherry
and Peter Wiliams alternate as hosts.
SOUL CHURCH 3:00-5:00 PM Alternating
Sundays with Brent Argo. Vancouver's only
program devoted entirely to African-Canadian and African-American Gospel music. Your
host, Vince Yeh.
Dedicatated to the gay, lesbian, bisexual, and
transsexual communities of Vancouver and
listened to by everyone Lots of htman
interest features, background on current
issues and great music from musicians of all
sexual preferences and gender identities.
COBRA. 8:00-9:00 blue *yelow* red .
brde.square.triangle t? dead * dead * dead
GEETANJAU 9:00-10:00PM Geetanjai is
a one-hour radio show which features a wide
range of music from India. Ths includes classical music, both Hindustani and Camatic,
popular music from Indian movies from the
1930's to the 1990's, Sem-dassical music
such as Ghazals and Bhajans, and also
Quawwais, Folk Songs, etc. Hosted by J.
Dhar, A. Patel and V. Ranjan.
12:00 AM Join host Dave Emory and colleague Nip Tuck for some extraordinary political research guaranteed to make you think
twice. Bring you* tape deck and two C-90s.
Originally broadcast on KFJC (Los Altos, Cai-
4 AM Drop yer gear and stay up late. Naked
radio for naked people. Get bent. Love Dave.
and Peter, offer a savoury blend of the familiar
and exotic in a blend of aural delights! Tune in
and enjoy each weekly brown plate special.
1:00 PM With you* hosts the Gourd of
Ignorance and Don the Wanderer. What wil
we play today? Rog wil put it away.
CiTR's industrial/noise/ambient show,
- wimpy British pop, Beastie Boys, indie guitar
swing, and techno thrown in for good measure
Hit your olfactory nerve centre with
I endeavour to feature dead air, verbal
fiatiience (only when I speak), a work of
music by a twentieth- century composer-
can you say minimaist?-and whatever else
appeals to me. Fag and dyke positive. Mail in
your requests, because I am not a human-
answering machine. Got a quarter then cal
someone who cares.
women who sometimes don't fee! fresh, but
always get fresh. Spoken word and music:
light to heavy flow. Maximum protection
recommended formate listeners. HolyHannah!
It's a Femininst show.
BIRDWATCHERS 5:30-6:O0PM Join Colin
Pereira for all the weekend sports sHock from
the high altitudes and thin air of Point Grey.
Vancouver's longest running prime time jazz
program. Hosted by the ever-suave Gavin
Walker. Features at 11.
Sept. 4: Powertwuseabum (rarealso)
by the great trumpeter Freddie Hitbard with
an al-star line-up; Hank Mobley on tenor,
McCoy Tyner on piano, and some of the best
drumming by "Phily Joe" Jones.
Sept. 11: Back to school tonight as the
great saxophonist Julian "Cannonball"
Adderley introduces us to Jazz in an
entertaining and non-academic way.
Sept. 18: "Blues Bag," a wonderful and
seldom heard dassic by the great clarinettist,
Buddy DeFranco, this time on bass darinet
Backed by Art Blaket (drums) and other great
Sept. 25: Another rare happening: a
one and only meeting of the Modem Jazz
Quartet and the wonderful alto saxophonist
Paul Desmond - singing and lyrical.
4:00AM: The ultimate contrast. Screwing
you over with nostalgia, then bringing you
back to what you might cal realty. We do
poetry, too.
11:00AM That's right, bub! Punk-pop, surf-
slop, and lots more trash for yer can. Tune in
to me, Bryce D., for all the mid that's got
dass every Tuesday morning. Yowza!
Women in music and gmtsin music; two hours of
info and rawk. Ya don't need a penis to be a
musical Genius!
IQRA 5:30-6:00PM A Idf-hour of news,
issues, and concerns facing Muslims
throughout the world.
Meat the unherd where the unheard and the
hordes of hardy herd are heard, coutesy of
host and demo drector Dale Sawyer. Herd up!
RITMO LATINO 9:00-10:00PM Get on
board Vancouver's only tropical fiesta express
with your loco hosts Wend, Rolando, and
Mateo as they shake it and wiggle it to the
latest in Salsa, Merengue, Cumbia and other
fiery fiesta favountes. Latin music so hot it'll
give you a tan! iiRADIO SABROSAH
Altemating Tuesdays, live readings and the
latest in techno bizzarre with host Lupus
Warning: Thsshowis moody and uipredctable.
It encourages insomnia and may prove to be
CiTR im.9 £m
hazardous to you* health. Listener dscretion
is advised. The music, news and 2:00 WW0D
hostedbyParemay not be suitable forthe en tire
MUSIC AS A WHOLE 8:30-9:30AM Bob?!?
Maybe, kinda sorta, but not necessarily?
LOVE SUCKS l:15-3:00PMTuneinforthe
musical catharsis that is Love Sucks. If you can't
makesenseof it, at least you can dance to it!
MOTOROADDY 3:00-5:00PM "We love
you... but you're a bummer man!"
kicking giant, tuscadero, tJlycraft, neutral
mik hotel, ani difranco... these are a few of
our fave-otuwit things. La la la!
10:00PM-12:00 AMLetDJ'sJindwaand
Bndwa immerse you in radioactive Bhungra!
"Chakkh de phutay*. listen to al our favorite
Punjabi tines - remixes and originals. Brraaaah!
CANADIAN LUNCH 11:30-1:00PM Toques,
plaids, backbacon, beer, igloos and beavers.
STEVE* MIKE 1:00-2:00PM Crashing the
boys'dub in the pit. Hard and fast, heavy and
slow. Listen to it, baby.
Soukous, Samba, Salsa. Yes! Even Soca. Enjoy
this Tropical Daiquiri with El Doctor del Ritmo.
OUT FOR KICKS 6:00-7:30PM No
Brtenstocks, nothing polticaly correct. We
don't get paid so you're damn right we have
fun with it. Hosted by Chris B.
9:00PM Roots of rock _ roll.
9:00-11:00PM Localmuzakfrom9. Live
bandz from 10.
Sept. 28: Spanking Betty
- Alternating with RTY 11:00-1 AM
Chris Pariah explores the Metanoid states and
psycho-sonic scapes of The Infinite
Livingroom, that Nth dimensional space
between perplexed consciousness and
profound absurdty.
Greg here. Join me in the love den for a cocktail.
too. See you here... and bring some ice. X0XX
TELESIS 10:00-11:00AM Tune in for loud,
aggressive rock as well as discussions,
interviews 4 information relating to people
who live with physical & mental challenges.
12:00PM   Relax, don't do it... When you
wanna skank!
Strap on your vinyl Go Go boots for an
intergalactic ride to the stars. Hello Kitty!
PRESENTS...    3:30-4:OOPMHavea
good brunch!
NATION   2   NATION     6:00-9:00PM
Underground sound system-style
mastermix radio.
FOR THE RECORD 6:30-6:45PM Excerpts from Dave Emory's Radio Free
America Series.
HOMEBASS 9:00PM-12:00AM The
original live mixed dance program in
Vancouver. Hosted by DJ Noah, the main
focus of the show is techno, but also
indudes some trance, acid, tribal, etc...
Guest DJ's, interviews, retrospectives,
giveaways, and more are part of the flavor
of homebass.
LIMP SINK 12:00AM-2:42AM Hosted by the
G42 players. DJ Norm brings you the krunk.
Doctor K tafcs about more krunk. Brought to
you by copacetic man surfing the information
super doodiddeyooper highway. Contact:
12:00PM Now in its 10th year on the air,
The Edge on Folk features music you won't
hear anywhere else, studio guests, new
releases, Bnrish comedy sketches, folk music
calendar, ticket giveaways, etc., plus World
Cup Reportat 11:30 AM. 8-9 AM: African/
World roots. 9-12 noon: Celtic music and
feature performances.
Vancouver's only true metal show; local demo
tapes, imports and other rarities. Gerald
Rattfehead and Metal Ron do the damage.
THE SHOW G:00-8:00PMStrictlyHipHop
- Strictly Undergound - Strictly Vinyl
With your hosts Mr. Checka, Flp Out & J
Swing on the 1 4 2's.
THE BIG STOMP 10:00PM-1:00AM Killing
ugly rado with one easy step. Altemating
Alternating Saturdays.
SOMETHING   1:00-4:00AM "You can tell
by the way I use my walk. I'm a woman's
man ...no time to tak."
third time's
the charm
Muffc ***.{ « hole
yttfi/g Ftvr*M>'s
Love Off/
Radio frte
twice the
tropica! <i(-*f<*k\r~
Mary Tyler
SHOW      |
fmtniM Hy-|lK*
£§JPIIJ1-_M              1    **"™y    1
Aw«r« Houst
0Mt for toft
kip hop k*tit
and sometimes
|    CttUHitli
1     ONE STEP
wolf at the door/
Stf$ OfcttA
Liwf SimR
my little
Dial NEWS!
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CALL     Af/ACO     AT
Board Chair Harry Hartacheg
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Music Megan Mallett
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Production Aaron Robertson
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BUSINESS LINE £04/8223017
DJLINE (04/822-2487
MUSIC DBP'T. 604/822-8733
NEWS    LINK 604/822-5334
FAX      LINK      604/822-9364 REGULAR EVENTS
(WORLD BEAT] AT THE PIT PUB...Zoo Boogaloo w/djs Spun-K and Czech
(jazz, funk, reggae, hip hop) at the Slarfish Room.„Blue Room w/dj his (ambienl) al Automotive...80's Dance Night w/tff Brian St. Clair at
Graceland...Readings, Music & more al the Grind Gallery (every other Monday al 8pm)...
SOUL, HIP HOP & FUNK) AT THE PIT PUB...Passion w/djs Lace & Dickey Doo
at Richard's On Richards...Aqua w/dis Isis and Markem (ambient) at Benny's
Bagels Yale town... Boogie Ave w/dj Maggee (70's old school) at the Heritage
House Holel (453 Abbott)...Disco Night al the Commodore...The Greasy Spoon
w/Slick at Ihe Hungry Eye...Klassix Night w/dj David Hawkes at Luv Yr
Hair...New Wave/Retro 80's Night w/dj Atomic at the Twilight Zone...Aural
Fixation at DV8 (poetry - sign-up 7:30, show at 8:00)...The Tongue of the Slip
al the Glass Slipper (scheduled readers and open limited open mike - 9pm on
the third Tuesday of the month)...Drop-In Life Drawing Session al Ihe Gallery
Gachel (1134 Granville; 7-1 Opm)
WED: Velvet w/djs T-Bone, Dickey Doo and special guests (deep house) al The
Underground ...Reggae Night al Graceland w/dj George Barrett...Cat Club
w/djs Madness and Ali al the Starfish Room...Ginger Snaps w/di Mike &
Soma and live electronic guests at Mars...Mo' Funk w/ djs Soul Kid & Seren
trip hop, acid jazz _ funk) al Richard's On Richards...Punk Rock Wednesday
w/dj Twigboyal Ihe Twilight Zone...Suck w/dj Czech at luvafair...Max Murphy
Collective al Raffels...Open Mouth (open mic) w/hosl Carolyn Mark at Ihe
Malcolm Lowry Room (9pm - call ahead to read)...
THUR: Sol w/dj Markem and guests (progressive, trance, tribal, hard house)
at Graceland...The Bottle w/djs Clarence and David Love Jones (soul, jazz &
rare groove) at the Piccadilly...Soul V Funk in the Basement w/dj Marc and
guesls at the St. Regis (bsmt)...Nocturnal Injection Revelation w/dj Wonderbread
at the Twilight Zone...Cat House w/di Mick Shea (house) al Celebrities...
FRI: NewMindCandy w/dj Lee Haerlel and special guests al Graceland..Planet
ov Sound w/James Brown and guesls at the World (l-5)...lowdown w/djs
Lovely Lisa and Dick at Ihe St. Regis (bsmt)...Homo Homer w/dj Jules (house &
disco) al the Odyssey...Malebox w/dj Mick Shea (house) al
Celebrities...Blitzkrieg (tribal, industrial, goth) at the Twilight Zone...low Down
(funk, jazz, hiphop) at the St. Regis Basement Lounge...
SAT: Noah's Arc w/dj Noah at the World (1-5)...Yo Mama w/djs KlloCee
and J Swing (hip hop) at the Twilight Zone...Bad Boys Night Oul w/dj Jules
(house) at ihe Odyssey...djs Storm & Dickey Doo (house) al Celebrities...
SUN: Rewind w/dj Noah (retro rave) al Graceland...Uranus Invades Mars
w/djs Dickey Doo and Quest al Mars...Alternative Jazz al Cafe Deux Soleils
(every olher Sun|...dj Jules (house & disco) at the Odyssey..Ska Night w/dj
Pig at the Twilight Zone...Movie Night at the Railway Club...
Chris Smither at the Starfish Room...Jabber with gue
Insipids, Work To Rule, Joy Buzzer, Ismar Sultan and Soldiers of Mislor
the Hungry Eye...The Dead Cats and Nine Days Wonder al the Malcolm Lowry
Room...Achin' Blues Balls Band, Atlantis Bus, Cozy Bones and Windjammer at ;
the Commodore... Art Bergmann and Holly McNorland at the Gastown Muisc
Hall..Jim Byrnes at ihe Yale...Heather Ward at Raffels...Andre lachonce Trio
al the Glass Slipper...Welcome to my Reality at Ihe Theatre Street Studio (524
Powell St. - 8pm)...Dreamstate (spoken word & cinema) al TheatreE...Qp Drugs:
Narcotic Films for the Opiate-Inclined at the Edison Electric...The Basketball
Diaries (7:30) & The Englishman Who Went Up A Hill... (9:30) at fhe Holly-
SAT 2 Grrrls With Guitars w/Marcia Thompson 8. Kym Brown at Cafe Deux
Soleils...Ngoma at Ihe Starfish Room...Herald Nix ot the Malcolm LowryA
Room...Celestial Magenla with guests at the Niagara...Something Ska, The
Deadcats and The Soldiers at the Hungry Eye...Paperboys and Treehouse al
Ihe Town Pump...Underwater Sunshine & Breathe Underwater al The Piccadilly
Pub...Art Bergmann and Holly McNarland at the Gaslown Music Hall.. Jim
Byrnes at Ihe Yale...Powder Blues with Jerry Doucelle Band at the
Commodore...Len Aruliah Quartet al Raffels...Tony Wilson Sextel at Ihe Glass
Slipper...Latin Dance Night at Mezzaluna...On Drugs: Narcotic Films for the
Opiate-Inclined al the Edison Electric...Laxwesa Wa - Strength of the River at
the Vogue Theatre...The Basketball Diaries (7:30) & The Englishman Who Went
Up A Hill... (9:30) al the Hollywood...
SUN 3 Jonathan Richmond at the Starfish Room...Minority and Boxcutler at
Ihe Niagara...Les is Mo' Big Band at the Glass Slipper...Colin James, Los lobos
and Big Sugar al Pacific Coliseum...Fundraising dance parly Fiction featuring
dj Billy Carroll from New York at Vancouver Public Library Atrium...The Basketball Diaries (7:30) & The Englishman Who Went Up A Hill... (9:30) at the
MON 4 Madhuri Dixit at Pacific Coliseum...Auntie Kale al the Yale...
TUE 5 SPM, Trauf and Severe at the Town Pump...Bela Fleck and Ihe Flecklones
al the Vogue Theatre...Maceo Parker at Dick's On Dicks ..The Rootabeggars at
Ihe Gastown Muisc HalL.D.D.T., Wig and Big Cookie al Greg's Place
(Chilliwack)...Auntie Kate al the Yale...Cityfesl '96 Benefit at Ihe Glass
Slipper...Food Not Bombs presents Keith McHenry (founding member of FNB)
al the Stralhcona Community Centre (601 Keeler Si.)...
WED 6 Happy Man and Sugar Crash al Ihe Town Pump...CD release parly for
DDT w/The Deadcats al the Hungry Eye...Auntie Kate at the Yale.,.Lucky Dube
wilh Ihi Ala al the Vogue..Jaz Pigs at The Glass Slipper...Take Back the Might
(7:30 - Granville & Broadway)...
THU 7 Ford Pier plus Many Delightful Surprises al the Malcolm lowry
Room...Atlantis Bus and Superglad at the Slarfish Room„.Filter and Everclear
at the Commodore...Imp of the Perverse and Celestial Magenta al the Gastown
Music Hall...Contention, The Drowners, Cushe and Potm-d at the Town
Pump...Generation w/Spacelime Continuum and djs Isis, Markem & lace al
Graceland...Mix Master Mike w/dj Kilocee at the Hungry Eye. ..Kate HammeH-
Vaughan 8, guests at the Cordova Cafe...Yellowbelly at Raffels...Mike Allen
Trio at the Glass Slipper.. Johnny V at Ihe Yale...The Vancouver Fringe Festival
al various venues on Commercial Drive...Slide/Video presentation on budget
travel in Vietnam, Burma & Cambodia with photographer William Jans al me
Planetarium (7:30)...
FRI 8 The Colorifics at the Malcolm Lowry Room.. Jennifer Trynin at the Slarfish Room...Zolty Cracker and Aimless James at Ihe Hungry Eye...Cozy Bones
with guests at The Piccadilly Pub...Ringpiece and A Few Roosters at the Gaslown
Music Hall...Pretty and Twisted at the Commodore..Junkhouse and the Barstool
Prophets at the Town Pump..Johnny V al the Yale...Ellon John al Pacific
Coliseum...Boneaparl at Raffels...Miles Black Quartet al the Glass Slipper...The
Vancouver Fringe Festival al various venues on Commercial Drive...
SAT 9 B.N.U., Ed Hall and Rule 62 al Ihe Starfish Room...Zolty Cracker and
Amanda Stark al the Malcolm Lowry Room...The Sweaters, Queazy, Funkyard
and The Citizens at the Hungry Eye...The Grift and Pillow at The Piccadilly
Pub...Jabber ond Doug Deep at the Gaslown Music Hall..Junkhouse and the
Barslool Prophels al.lhe Town Pump..Johnny V at the Yale...Talking Pictures CD
release party al he Glass Slipper...Chris Gestrin Band at Raffels. ..Garnet Rogers
ot ihe Centennial,Th_atre...The Vancouver Fringe Festival at various venues on
Commercial Dfive.. Jleabolics (a hypermedia event featuring 'interdisciplinary
improvisations using new technologies lo create a group virtual reality") at Ihe
Norman Rothstein theatre (950 W. 41st Ave.)...On Drugs: Narcotic Films for
the Opiate-Inclined al Ihe Edison Electric...
SUN 10 All, Killdozer and Rule 62 at Ihe Town Pump...Slrunz and Farah
Ensemble at the Commodore...Dandelion at the Niagara...Francois Houle Trio
al the Glass Slipper...Blair Lewis ond Out of the Woods blend jazz, classical
and world beat music al Ihe Haywood Bandstand (English Bay)... The Vancouver Fringe Festival al various venues on Commercial Drive...
MON 11 Walerville, Groove Merchant, Sain! Someone and 1 000 Stamps at
Ihe Town Pump...Big Rude Jake & His Gentleman Players at Ihe Yale...Nu-tro: A
Benefit For Youth Co. and A Loving Spoonful featuring a collection of short skits
on current social issues, a fashion show and music by dj Brian St. Clair al
Graceland (7:30)...The Vancouver Fringe Festival al various venues on Commercial Drive...On Drugs: Narcotic Films for the Opiate-Inclined at &e Edison
TUE 12 Rule62 and Polarbeoral the Gastown Music Hall.. .Difference Engine
and Cinnamon al the Town Pump...Big Rude Jake & His Gentleman Players al
Ihe Yale. .The Vancouver Fringe Festival al various venues on Commercial Drive...
WED 13 Mouth Music at the Starfish Room...Mundane and Minority at the
Hungry Eye...Pursuit of Happiness and Tasle of joy at the Town Pump...Otis
Clay at the Commodore..John Hammond dl Richard's on Richard's...Get oul
yr Spandex, it's Van Rockin' Haten with Our Lady Peace at Ihe Pacific
Coliseum...Big Rude Jake & His Gentleman flayers at ihe Yale...The Vancouver
Fringe Festival at various venues on Commercial Drive... jB
THU 14 Knock Down Ginaer ond Bona Fly at ihe Malcolm Lowry Room...Qui
of Nowhere and Mr. Flood's Parly al the Starfish Room...Moris Tepper, HoHy
McNarland and Big Yellow Taxi at the Hungry Eye...Pursuit of Happiness and
Taste of Joy al the Town Pump...Diesel Candy and King Singleman at Ihe
Gastown Music HalL.Colleetive Soul and Rusty al Ihe Commodore.. Jim Hearsey
Band al Ihe Yate...Stratochiefs al Raffels...The Vancouver Fringe Festival at
various venues on Commercial Drive...Disclosures 2 opening reception al the
Gallery Gachel (1134 Granville - 5-9pm; exhibit runs lo Oct 22)...
FRI 15 Quinlron and Demolition Doll Rags al the Malcolm Lowry Room...Big
Gutpot the Starfish Room...Econoiine Crush ol the Town Pump...Dol DII Vog,
Kristia Jeanne Sheffield A The Burning at ihe Gastown Music HalL.The Primrods,
The Pasties and She Screams at the Hungry Eye. NoMeansNo and Another
While Male al Ihe Centennial Building in Bebari Park (Nanaimo; ALL-AGES -
7:30)...Tim Hearsey Band at the Yale...The Craze at Raffels...The Vancouver
Fringe Festival al various venues on Commercial Drive...
SAT 16 Copyright at Ihe Starfish Room. ..Dal Dit Vog, Kristia Jeanne Sheffield
& The Burning at the Gaslown Music Hall...Facepuller and Bluebeard at the
Hungry Eye...Burning Spear and Tropical Breeze at the Commodore...She Stole
My Beer al Ihe Town Pump...Tim Hearsey.Band at Ihe Yale...Ralph at
Raffels...Mind Gallery (instrumental arl-rockers perform in a surround sound
multimedia Ihealre. with computer graphics) al ihe Vancouver Film
School...Origination w/djs Michael, Dervish, Quest, Donald Glaude and more
(Seattle • (206) 251-1042)...The Vancouver Fringe Festival at various venues
on Commercial Drive...
SUN 17 No Means No, Alice Donut and Ultra Bide al the Commodore...The
Vancouver Fringe Festival at various venues on Commercial Drive...
MON 18 Spearhead at Richard's on Richard's...David Lindley and Hani Naser
al the Town Pump...Gary Preslon A the Harpoons at Ihe Yale...Andr4-PhlHlpe
Gagnon at the Orpheum...
TUE 19 Angry White Mob, Corpus Christi and Discipline of Anarchy Inc. at
the Hungry Eye...Fat Possum Mississippi Juke Joint Caravan al (he Town
Pump...Banal Adams ot GerM Place...The Neville Brothers .and Taj Mahal at
the Queen Elizabeth Theatre...Andre-Phillippe Gagnon at the Orpheum...So
Wrong They're Right: A 1 0,000 mile 8-lraclc trek on film by Russ Forster and
Dan Sutherland (with Russ Forster in da house) at the Edison Electric...
WED 20 EdwynCollins ar<d Ivy at Ihe Starfish Room...Immigrants, Soul Candy
and Silicone Souls at the Town Pump...A Few Roosters, Timber and Custer's
Last Bandstand ol |he Hungry Eye'...Andre-Phillippe Gagnon al the
Orpheum...Models for:d Personal Black Maria • a gallery installation by artist
& activist Owen O'lbole at ihe Edison Eleclric ('til Oct 5)...
THU 21 Coco love Alcorn ol the Malcolm Lowry Room...EEK and Youth Brigade at Ihe Town Pump...The Zen Archers al Raffels...Roger Whiltaker al the
Queen Elizabeth Thsalre (take yr mom)...James Keelaghan al ihe W.I.S.E.
hall...Models for a'Personal Black Maria - a gallery installation by artist &
activist Owen O'Toote at ihe Edison Eleclric ('til Oct 5)...
FRI 22 Dayglo Abortions, Lik Ihe Pole, Puncture and Backroom Shag at Ihe
New York theatre (AIL-AGES ■ 8pm)...Swank at the Malcolm Lowry
Room...Random Damage and Epsilon Knot al the Starfish Room...Crash Vegas
at Ihe Town Pump. .Texture, Dick V Jane and Underwater Sunshine at Ihe
Hungry Eye...incognito al the GastoWn Music Hall...The Bernie AraiQuartel
at Raffels...Models for a Personal Bbck Maria - a gallery installation by artist
& activist Owen O'Toole al the Edison Electric ('Ifl Oct 5)...
SAT 23 Tricky and Laika at the Starfish Room...Copyright al the Malcolm
Lowry Room...Mystery Machine and Another White Mole at Ihe Town
Pump...Tommy Floyd, Belly Button Window and Wig at the Hungry Eye.. Jude
at Ihe Gastown Music Hall...Danny Barnes Celtic Band al Raffels,..Models for
a Personal Block Maria • a gallery installation by artist & aclivistOwer*-O'Toole
atthe Edison Eleclric ('til Ocl 5)...
SUN 24 Sinister Six and The Fumes at Ihe Hungry Eye...Belly Carter and the
Geri Allen Trio at the Vogue Theatre (8pm)...Nusral Faleh Ali Khan at Ihe
Queen Elizabeth Theatre...Models for a Personal Black Maria - a gallery installation by artist & activist Owen O'Toole al the Edison Electric ('til Oct
5)...Walk for AIDS (1 lam - Second Beach)...
MON 25 face lo loce and Jughead's Revenge at the Commodore (All-
AGES)...Grrrls WilHGuilars w/ Helen Gone and Sue Leon, Marjorie Cardwell,
Michelle Gooding & the Robyn Carrigan Band at the Railway Club...Drew
Barnes, Skunk and Pitchfork at Ihe Town Pump...Mary Chopin Carpenter _ The
Mavericks al ihe Coliseum...Models for a Personal Black Maria - a gallery
instaRalion by artist & activist Owen O'Toole at Ihe Edison Eleclric ('til Ocl 5)...
TUI 26 Luther Allison al Ihe Town Pump...Holly McNarland at Ihe Gaslown
Music HalL.Boyz II Men & Monlell Jordan al GM Place...The Beaux Arts Trio
at Ihe Vancouver Playhouse...Models for a PersOnol Black Maria - a gallery
installation by artist & activist Owen O'lbole al the Edison Electric (Mil Ocl 5)...
WED 27 Models for a Personal Block Maria - a gallery installation by arlisl _
activist Owen O'Toole al Ihe Edison Eleclric (Mil Ocl 5)...
THU 28 The Widdershins al Ihe Malcolm Lowry Room...KMFDM, Korn and
God Lives Underwater al the Rage...Green Room al Ihe Town
Pump...Boxcutter, Bloody Worm and Knockin' Dog al Ihe Hungry Eye...The
Bead Game at Raffels...Models for a Personal Black Maria - a gallery installation by artist & activist Owen O'Toole at the Edison Electric (Mil Ocl 5)...
FRI 29 The Wingnuls at the Malcolm Lowry Room...David Gogo and Big
Bud at the Town Pump...The Citizens al Ihe Gastown Music Hall...Soul Crib
at Raffels...Vin Garbult at the W.I.S.E. hall...Models for a Personal Black
Maria - a gallery installation by artist & activist Owen O'Toole al the Edison
Eleclric (Mil Ocl 5)...
STARFISH ROOM..Roy Condo al Ihe Malcolm Lowry Room...Cozy Bones
at Ihe Hungry Eye...The Citizens al the Gastown Music Hall.. John Doheny
Quintet at Raffels...Models for a Personal Black Maria - a gallery installation by arlisl & activist Owen O'Toole at Ihe Edison Eleclric (Mil Ocl 5)...
The Abyss 315 E. Broodwoy (side entrance)
Alms Street Cafe 2505 Alma  lot Broadway)
AnzoClub 3W. 8th  (Mount Pleosant)
Arts Hotline
Bassix 217 W Hastings (al Cambie)
Backsloge lounge   1585 Johnston (Granville Island)
Black Sheep Books 2742 W. 4th (al MacDonald)
Cof* Deux Soleils 2096 Commercial  (the Drive)
Cafe Vieux Montreal 317 E. Broadway (Mount Pleosanl)
Caprice Theatre 965 Granville (Granville Mall)
Celebrities   1022 Dovle (a* Burrard)
The Clubhouse 400 Industrial
Club NRG 3699 Powell (Gastown)
CNfmox Theatre 999 Canada Place
Commodore Ballroom  870 Granville (Granville Moll)
Commodore lanes 838 Granville (Gronville Mall)
CordovoCofe 307 Cordova (Gaslown)
Crosstown Trolfic  316 W Hastings  (downtown)
DennKin Place Cinema   1030 Denmon  (West Enrrrd)
DV8 $\5 Dov,e (downtown]
Edison Electric Gallery/Cafe 916 Commerciol (ihe Drive)
Firehall Ar:s Centre  80 E. Cordova  (ot Main)
Food Not Bombs Vancouver
Frederic Wood Ibeotre (UBC)
Gaslown Theatre  36 Payrell  (Gastown)
Gaslown Music Hall 6 Powell (Gaslown)
Gloss Slipper   2714 Prince Edward  (Mount Pleasant)
GracetancT 1250 Richards  (downtown)
Greg's Ploce 45844 Yale Rd.  (Chilliwack)
TheGrind Gallery 4124 Main Si. (Ml. Pleosant)
Hastings Community Centre  2096 E. Hastings (near PNE)
"IW. Hastings  (downtown)
ollvwooa* **
jericho Arts Centre 1600 Discovery (Pt.'Grey)
lo Queno   1111 Commercial  (the Drive)
The lotus Club 455 Abbott IGostown)
IwA-Foir   1275 Seymour  (downtown]
Lux Theotre 57 E. Hastings (Gastown
Molcolm lowry Room 4125 E. Hastings (N. Burnaby)
Mars  1320 Riehord* (downtown)
Maximum Blues Pub 1176 Granville   (downtown)
New York Theotre 639 Commerciol (the Drive)
Niogoro Hotel Pub 435 W. Pender (downtown)
Odyssey Imports 534 Seymour (downtown)
Old American Pub 928 Main (downtown)
Orpheum Theatre Smithe & Seymour (downtown)
Pacific Cinematheque   1131 Howe  (downtown)
Paradise 27 Church INew West)
Paradise Cinema 919 Granville  (Granville Mall)
Pork Theatre 3440 Cambie (South Vancouver)
Picadilly Pub 630 W. Pender (al Seymour)
Pil Pub bdsement, Student Union Building  (UBC)
Pitt Gallery 317 W. Hastings  (downtown)
Plow Theatre  881 Gronville  (Granville Mall)
Raffels lounge 1221 Granville (downtown)
The Roge 730 Pacific Blvd. Soulb (Ploza of NoHons)
Roilwoy Club 579 Dunsmuir (al Seymour)
Richard's On Richards  1036 Richards (downtown)
Ridge Cinema  3131 Arbutus  (al 16th Ave.)
Romper Room 639 Commercial (the Drive)
Russian Hall 600 Campbell (Chinatown)
Scratch Records 317A Cambie (Gaslown)
fSoulhhill Candy Shop 4198 Moin (ot 26th)
Starfish Room   1055 Homer (downtown)
Starlight Cinema 935 Denman (West End)
Station Street Arts Centre 930 Station  (oft Main)
Si. Regis Hotel 602 Dunsmiur (downtown)
Theotre E 254 E. Hastings (Chinatown)
Town Pump 66 Waler Street (Gastown)
Track Records 552 Seymour  (downtown)
Trie.House lounge "602 Dunsmuir St. (downtown)
Twilight Zone 7*>lexonder  (Gastown)
' UBC CINEMA (located in ihe SUB)
UBC Grad Centre Gote 4  (UBC)
The Underground   1082 Gronville (downtown)
Voncouver Eosl Cultural Centre 1895 Venables (at Victoria)
Vancouver Little Theotre 3102 Main (Ml. Pleasant)
Voncouver Press Club 2215 Gronville IS. Granville)
Varsity Theatre 4375 W. 10th (Point Grey)
Video In Studios 1965 Main  (Mt. Pleasant)
Vogue Theatre 918 Granville (Granville Mall)
Woferfront Theatre  1405 Anderson (Granville Is.)
W.I.S.E. Hall  1882Adanac (the Drive)
Women In Print 3566 W. 4th (Kitsilano
Yale Blues Pub   1300 Granville  (downtown)
Zulu Records 1869 W. 4th (Kitsilano)
488 6219
222 2244
876 7128
684 2787
689 7734
687 1354
732 5087
254 1195
873 1331
683 6099
689 3180
681 7972
681 5446
682 4629
681 7838
; 681 1531
v 6835637
669 7573
; 683 2201
i'682 4388
255 4162
689 0926
872 6719
822 2678
684 MASK
685 1333
877 0066
688 2648
795 3334
322 6057
255 2606
681 4620
738 3211
873 4131
688 5351
251 6626
685 7777
685 3288
685 0143
230 MARS
688 8701
254 3545
688 7574
669 6644
682 3291
665 3050
731 3456
525 0371
681 1732
876 2747
682 3221
822 6273
681 6740
685 7050
473 1593
685 5585
681 1625
687 6794
738 6311
254 3545
874 6200
687 6355
876 7463
682 4171
689 0096
688 3312.
681 8915
683 6695
682 7976
871 3090
682 8550
822 3697
822 0999
254 9578
738 7015
222 2235
872 8337
257 6205
685 6217
254 5858
732 4128
681 9253
738 3232
34 SEPTEMBER 1995 Meue*
the pxuue>c of,
The New Album  from  Blind Melon
Produced by Andy Wallace and Blind Melon • Engineered and Mixed by Andy Wallace • Management: Chris Jones 1869 W 4th Ave.
Vancouver BC
tel 738.3232
MontoWed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
• I Heard
They Suck
An contrare, mes
amis' NOFX take the
slage with Ilieir follow-up to Punk in
Drublic. and challenge you to remain calm, seat-
eel and content with the amenities of your home
— See you at the show, pal.
CD 1698   Cassette 9*   LP 12*
• And Out
Come The
Viva la Rancid
Revolution! These
Last ofthe Mohican:
sharp shock times of skunking in the streets. Pure
punk/pop for uw people.
CD 14*   Cassette 9*   LP 12*
• The Twenty Seven Points
(2 CDs / 2 LPs)
• Ejector Seat Reservation
(CD / LP)
Aphex Twin
• Donkey Rhubarb
(CD-EP / 12")
My Life With The
Thrill Kill Kult
• Hit And Run
They came to town with promises of a new
album, and here t'is. Not content to rest on their
reputation alone. Hit And Run testifies to further explorations of a well-crafted heavy
dance/industrial sound they helped to pioneer
quite a few moons back.
CD 16s8
Chemical Brothers
• Exit Planet Dust
Fans of Future Sound Of London or
Aphex Twin, the Chemical Brothers (a/k/a
Tom Rowland and Ed Simons) have arrived!
Acquaint yourself with the the latest protagonists
of a freestyle revolution! Don't miss the Beat; it's
pretty heavy on this release.
CD 16*
• Sacrilicious
for more. Their latest, greatest Sub Pop releas
CD 14*   Cassette 10*
Utah Saints
• Ohio (CD-EP / 12")
• Times Fly (cd-ep / 12")
Julian Cope
I 20 Mothers (CD)
Various Artists
• Kids soundtrack
The soundtrack to this poignant and controversial
new documentary-style movie features some meaningful music very appropriate to the subject matter
being dealt with. Great songs from Daniel
Johnston Lou Barlow's Sebadoh and Folk
Implosion, and Slint allow the message of this
movie to ring through, forming a collection of songs
that are an effective companion to the visuals, never
undercutting the importance of the contemporary
urban issues Kids deals with.
CD 16*
Friends Of Dean Martinez
• The Shadow Of Your Smile
What do you get when you go to a party and the
house band sounds like Ennio Morricone.
Martin Denny, the Shadows, and Giant
Sand? You get to sway to the fab sounds of the
Friends Of Dean Martinez, of course!
CD 16*   Cassette 10*
enough to have found
all those rare B-sides?
Well, kids, here's a
compilation of live songs, B-sides and hard-to-find
Sugar material that should tantalize you. Seventeen
songs in total and guaranteed to satisfy your sugar
fix. One lump or two? Two please!
»16»   Cassette 10*
• Dagenham Dave (cd-ep)
• Roll With It (CD EP or 12")
® Viva
Last Blues
Will Oldham has
charted a self-conscious
re-evaluation of the
American folk tradition
ofthe singer/songwriter, moving from dusty
minimalism and transcendent mysticism into a
diversely fluent songwriter of considerable skill.
With Palace Music as "support," Oldham
has reached a new measure of competence that
represents his remarkable output thus far, while
confidently drawing from a broader repertoire of
musical forms. As such. Viva Last Blues is a
great record.
CD 14?* Cassette 9* LP 12*
Rocket From The Crypt
® Hot Charity
With a switchblade comb and a handful of hair
pomade. Rocket From The Crypt and their
newest recruit (JC 2000; trumpet) launch riff-
rock through the stratosphere and back into the
1950s. A wall of sound and "Mission Control we
have liftoff!" Note: not the major label debut
expected soon so that's all the more reason to
pull this into your orbit now!
LP 14*
Edwyn Collins
® Gorgeous George
See what the fuss is about — or just see him at
the Starfish Room on September 20th. Ex-
Orange Juice. Edwyn Collins' latest solo
outing Qorgeous George is as debonair as ever
and comes highly recommended. A fine release
and a class act.
CD 16*
These prices effective until September 30, 1995.
New! Computer Kiosk!
Drop by and check out "ZULU RETRO-ACTIVE," a
temporary interactive computer display on the MODERNETTES,
videos, rare photo images, and press clippings.
On display in the store until Sunday, September 17th.
^tember 7th
m Pub (UBC)
September 13th
Railway Club


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