Pis-cover A UttUi Uoo, « UttU OHHIna «w( (Mstota «n4 votU*j - If* 4 eov«*! Dte-coniente fit* hfl»iley, bemi* a SUPERGRASS *& OMAR 1* PEK1KIYWISE 1-* D.F£. W AVEWGERS .** airhead Vancouver specUtf dear 003&5X f earn read real live action wn^erreview S 6 charts 3£ onthedUtf 33 Ratebook 3^4 "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, damage, or any other injury as lo unsolicited manuscripts, unsolicited artwork (including but not 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 Itheory drama free poetry readings Ci| niiosophy screenplay cards theory" sub-culture bntemporary fiction poetry t| j sines philosophy culture hi#b™ free poetry readings ZineiS pary fiction brow skin poetry drama screenplay contemporary fiction 2A ...contemporary... alternative... 2742 W. 4th Avenue • Beside the Naam • Kitsilano BC • 732-5087 ■ CANADA _ LARGEST AND BEST KNOWN RECORD STORE I LISTEN UP! CANADA $ LARGEST AND BEST KNOWN RECORD STORE 588 Seymour (Downtown) • Richmond Centre • Surrey Place Mall • Eaton Centre {I COMPACT DISCS '"ORTS DOMESTICS INDEPENDENTS T-S MAGAZINES COLLECTABLES 822 2003 2003 W. 4th Ave. Vancouver BC V6J 1N3 Ph: (604) 739-9511 Fax: (604) 739-9561 airhea NCRC-R3VP 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 moreofabalai 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 city. 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 progressive 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 OF MOGULS 6 MISTAKEN IDENTITIES 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 common case of mistaken identity involving the I ways ef- fervescent 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 WHY HAST THOU FORSAKEN ME? 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 Editrix In Hell's Belly EVERYBODY LOVES TO BE LOVED 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. Thanks, Melanie Hawkins FUCK-UPS 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 (again). s $tgg°m»m 1 iOCAL DfRTf 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 cowshead 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. gth le^SawyerrMegaii:l?Jal'l^f; 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... DtMOReWtm! 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 KMHM 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 don't. 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 aid. 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. AUrMiS SHOWS! Friday, September 15: Nomeansno and Another White Male at the Centennial Building, Beban Park, NANAIMO (7:30pm) 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) Pir(e^i_(§w 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 rMAttojwm't{tory»n: 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 Vancouver? 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 future? 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 sphere? 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 Western? 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 together. 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. (laughs) What does the average record deal involve for you? 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: http://www,multimedia.edu/ -cblohm/om.htm/ 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 while? 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 trip? 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. 750 PACIFIC BLVD SOUTH INFO LINE: 685-5585 ?[£Zf\ of NftTior*5 KMFDM with Korw GOD LIVES UNDERWATER THURSDAY • SEPTEMBER 28th DOORS 8PM TICKETS AT TRACK AND ALL TICKETMASTER OUTLETS THURSDAYS LIVE ROCK LIVE ON Z-95 ALTERNATIVE ROCK & DANCE with A/ OAWO HAtVXfS SPECIALS • SPECIALS • SPECIALS SATURPAY CLUB 95 VANCOUVER Vancouver's Biggest Dance. Party LIVE ON Z-95 with BUZZ BISHOP &DJ's SWIF & KOOL 4 tw* YI/KWK* mxereersHHtzzz ■ tmo \= —KWtmtm—— FRii I PLAZA OF NATIONS 750 PACIFIC BLVD SOUTH RESERVATIONS & INFO: 687-5233 _■ MCA CONCERTS CANADA PRESENTS PHISH Friday October 6 The Orpheum DOORS 6:30 P.M. • SHOW 7:30 P.M. TICKETS ALSO AT TRACK RECORDS guests C^Je^C&Y&ttKr THURS. SEPT. 7 mTHE COMMODORES ** with guests MONDAY SEPT. 18 RICHARDS ON RICHARDS TICKETS AVAILABLE AT ALL TICKETMASTER OUTLETS OR CHARGE BY PHONE 280-4444 g*&ss 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 Canada? 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 England? 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 Jackso iik_ the! p*j signs*, to When EMI? 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 Rambaran FOR THOSE OF YOU WHO 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 RCA." 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 back. 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 How Throi Yeah 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 success? 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 there. 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" name?Didit 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. Who? 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 packed. "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- bloody-credible. 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! Si /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 25,llhinkJason's27. 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 music? 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 cool? 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 boardwalk 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 you? 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 sotyietWiVig out!" crowd of 500 people and it turns ugly! In past interviews you've talked about being drunk - is that a big part of being in No, 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- REGISTER NOI 838 GRANVILLE STREET 681- 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 ridef1 ,h, I'rr going to have and write a song about it. That's just really destructive, I think. Especially '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 needles [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 cool.' Your lyrics are always positive. You must have bad days when you don't feel like writing about happy stuff... 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 No> 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 *>ffanddo 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 years? 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 The 14th ANNUAL VANCOUVER INTERNATIONAL FILM FESTIVAL 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 ... PROGRAMME & TICKET INFORMATION 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 u r TINY T'S A I S SUNGLASSES SHOES VINTAGE 2509 W. BROADWAY .^Av,i:AAuy -SA mmt 9 L ■_. :ii_B_rjr »r<>B iixssiTCitI m !■■■■■! ^*#,f W life- ^1—1 by !■ ^Tk. -BfcSteve of Stev^g BSlhililii &Mike [■_»■! _J_-KB_ &■ 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 mmmu 'mm 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 8-lrack. 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 park. 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 vr^mw 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 looking for an*ex- riculartfC- tivity? Go back to school with the Lesbian Avengers! 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 comi 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. 3204. Go Girl! *M-»* 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 thing? 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 ked "LIBERAL COM- 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 Avengers. 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 saying. 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 ,r£#& "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. Beeeeeep." 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 fine. 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 educational. 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 Avenger? 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*! T T ¥a»l COL.I_ECTI^E _HV'_^_^_K__Ky_^_H_r* U\ &mur mmn ■■'._ •' *:*'< XtiaiWsh] TICKET^ Band Date Place FILTER Sept. 7 The Commodore PUNCHBUGGY Sept. 7 Sept 8&9 U.B.C. Pit Pub The Town Pump PRETTY & TWISTED Sept. 8 The Commodore JENNIFER TRYNIN Sept. 8 The Starfish Room COLLECTIVE SOUL Sept. 14 The Commodore PHISH 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 week? 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 [Revolution 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 en-loving-women do to cows' 4. A sense of h< tylhing 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 ^HJ- ^HJ- 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; PHONE 291-0049 VOLUNTEERS NEEDED 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. mintrand@aol.c IT'S HARD WORK WRITING FICTION THESE DAYS. A LOT OF 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 til&o this 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, 22 SEPTEMBER 1995 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. —DID YOU EVER WANT TO HAVE SEX W/ YOUR BRO THER. DOUG TOLD ME YOU WANTED TO, WHEN HE WAS SIX— —/ fcked him instead— (Ha) He turns towards him. —NAH— —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 Ms. ^tolikir (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 themselves. 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. Funeral (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 61761. OSCAR'S Wmmmm^ to ^feiiw® l Locations Oscar's New York Ifook Outlet 3036 West Broadway 737-3626 Oscar's Art Pooks £ Books 1533 West Broadway 731-0553 23 L^ggM^ f \ : ■ #ri\lettwerk's FirstClass BBS" ■604.731.7007 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 http://www_nettwerk.coin/ email: info@nettwerk.com ' WePk-Shop /XK5KKS" imi SATURDAYS ONLY. 1QAM-5PM /POSTERS & MORE! SEPTEMBER. BACK TO SCHOOL. ICKY YUCKY. HOMEWORK 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 relec xildbe. 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 label. 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, 97213) 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! I ' IIMihhMI I IM r AVAII.AI5I.I'. IN ALL SIZKS • I'HONE 822-3017 (*-xt •(Q L>-(Q XL)-(Q XXL)» □ Kelly Green J Forest Green □ Grey J Red □ Yellow ! CJ Navy Blue J Black □ Aspen U White ' Name 'Address 'City Province I Postal Phone I Send $15 to CiTR to have a t-shirt mailed t« [_or _jck_ onc__ up_ _at_ CiTR _foj*_ _onlv —nciMW 25 E^oSK^ SVEN VATH Graceland 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 ■fci.1}-^ 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 boil. 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 THE BYRON LEE DRAGONAIRES Commodore 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 groovers. 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 pot. "Vancouver, 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 HARDSHIP POST ZUMPANO SIX FINGER SATELLITE 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 Zumpano. 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 DOGSTAR SEVEN DAY DIARY KATIE'S DIMPLES 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 ISA Thinking of distributing Discorder at your k business? (604) 822-3017 FREE PIERCINGS With a jewellry purchase you receive a free piercing by Canada's most experienced piercers MACK'S LEATHERS 1043 GRANVILLE STREET 688-6225 THE EXPERIENCED PIERCERS 26 SEPTEMBER 1995 ten to age fifty, all with the same 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 Keanu? 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 EDGEFEST/THREE Molson Ampitheatre Toronto 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. Collins LAIKA Wednesday, September 201 SATURDAY, SEPTEMBER 23 j STARFISH ROOM 1 starfish room doorsspm . showiopm I ^9a si?.7 mmmzW mm&i PANSy DIVISION and guests SATURDAY SEPTEMBER 30 STARFISH ROOM /,-o£_ SfO _ -01-9 f" ^^*MBHffs',iioi.9 fM * INTO ANOTHER Saturday, September 30 • Town Pump § mm&v recordin'-miscin'-ma^terin' Sound for picture editin' ' cd cutting cd rom. hurnin' interactive * internet savvy graphic designin' n' printin' real time cassette duplicatin' and vinyl stickers so your hand can he cool too ($93/see) ......... /■_ — :" *_ ^A - - ■ 6 7 5?- i J^IATOI m DEMAND! ON SALE THIS MONTH: PALACE MUSIC ° Viva Last Blues $10.96 LP/cass $15.79 CD RANCID 'And Out ComeThe Wolves $9.65 LP/cass$l4.92CD NQfhIHeardTheySuck Live $9.65LP/cass$n.92CD UNWOUND o Self-Titled $8.99 lp $14.92 CD KISSYFUR » Frambuesa $14.92 CD BOWERY ELECTRICo Se/f-T/t/ed $9.87LP$h,92CD SOUL JUNK » 19SI $9.65 LP $14.92 CD CUB/P0TAT0MEN « Split $3.50 r $6.99 coep DOO RAG - Chunked and Muddled. $14.92 CD GATE ° Go/den $14.92 cd QUINTRON with special guests DEMOLITION DOLL RODS Friday, September 15th @ The Malcolm Lowry Room freefreefreefreefree...OK? RiW 311A CAMBIE STREET VAMCOUVER.B.C. CANADA V6R SNf PH: 687-6355 • FAX: 687-0488 ITS WW THE HEAT! ANI? THE PEAT! 13 weeks of non-stop actlonl & FRIENDLY COMPETITION JOKES FOR BEER ^ AMAZING PRIZES ROUND 1 September 12 (Host: Grant Lawrence Cirkus Mind Mossy Ledge Readymade September 19 Host: Lisa Marr Waltz Darling Sturvis Gleam September 26 Host: Lisa Marr [The Shoebox Coupon. Small Town Rhinos Technicians of the Sacrei Music starts at 9:30 pi at the Railway Club 999 Dunsmuir CiTR 101,9 fM presents ^_ BMdlft __________ XII MUSCWESmSfi greenhouse jg-1=rfJr., ppgOTSM ^^n^k__S_! ffififfi VARIOUS ARTISTS The ALL Skanadian Club (Stomp) 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 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 by. Angus "Mad Haggis" Wilson TUU All Our Ancestors (Waveform) 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 TUUPS 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. Barbara SIX FINGER SATELLITE 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 FORBIDDEN DIMENSION Somebody Down There Likes Me (Cargo) THE SWINGIN 'UTTERS 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 SEVEN 7 (Hypnotic/Cleopatra) 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 SATANIC SURFERS Skate to Hell EP (Bad Taste Records) Swedish skaters shankin'; slightly sung with strong second-language skills. YOU AM I Hi-Fi Way (RA/Warner) 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 Hopkinson. 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- BHSS1X DJ EQUIPMENT CLOTHING CDs & VINYL NEW RELEASES 0$ll*-:$7_.-;4 CANUCK ACID JAZZ HOUSE HIP HOP PROGRESSIVE REGGAE AMBIENT CLUB BEATS A BREAKS ^^mm^^^^^atmm^_ ■' ■■■ TURNTABLES NEEDLES HEADPHONES SLIP MATS CASES AS FUCK! MAIL ORDER SERVICE AVAILABLE 217 WEST HASTINGS (AT CAMBIE) VANCOUVER, B.C., V6B 1 H6 PH. (604) 689-7734 FX. (604) 689-7781 29 L^^jm^ Son O Lollapala SHOW MUST END SEPT 17TH Featuring brand new: ' White Zombie Offspring -J^ Green Day U Live Bjork Nirvana * Beastie Boy The Cure •/<-: Breeders/ j Ministry/ / Smashmg/ Pumr e planetarium ind light spectacular •sda^s through Sundays 9:00 P.M. ; / Info 738-7827 REALROCK A Roundhouse Production StFiMgllt 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 OF THE UNITED STATES OF AMERICA The Presidents... (Sony) 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 SUPERCHUNK Incidental Music 1991-95 (Merge) 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 shafted.) 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 VARIOUS ARTISTS Trancewerk Express Vol. I (Hypnotic/Cleopatra) 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 TREBLE CHARGER S»lf=Titi0 (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 Self-Title. 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 BUTTERGLORY Downed [Merge) 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 SUGAR (Rykodisc) 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 Subscribe to \mmm -§ Get a Free CiTR J-romo Pack! t-W S£nd cheque or money order to: SuBs c/o CiTR 233-6138 SUB Blvd T Vancouver, BC | V6T1Z1 $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. FredderF JALE Closed EP [murderecords) 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. SMOKING POPES Born to Quit (Capitol) 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. FredDerf BUFFALO TOM 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 PENNYWISE About Time (Epitaph) 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 non-cliched 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. sshhh SLANT 6 Inzombia (Dischord) 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 7:25). 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 THRUSH HERMIT The Great Pacific Ocean [Murderecords) 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 DDT LOTGOOP SALD 224 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 IN STORES OCTOBER 2 The 3rd album from Brooklyn's finest and It certainly Is their finest. 14 pop-punk gems. Available on LP, cass & CD WHICH POSITION WOULD YOU LIKE TO TRY? Issistant Editor Da- -lion Man- a ■- ; $w .A- a, *;Ur -y ' *.;<.a a \r. ■-,, i v*a - ^$tft£* * wr- -Aitanf V* s^cr--* Disco; so give us a, ©mil »t If you are remdy SHAKE THE RECORD LABEL 59? VICTORIA CP. 265^7 ST-LAM BERT, QUEBEC J4P-2S*? septeiber '95 LONG VINYL se Dteiber'9 5 SHORT Vlf MYL 35 September's IND IE HOME JOBS 1 ] various artists oh canaduhl lance rock 1 1 1 girl afraid/two for flinching split pop kidl I 1 suckerpunch smakl 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 4** 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 pebbles we're going B hopping planet pimp 1 1 5 low noise bye 1 6 ani difranco not a pretty girl righteous babe 1 I 6 the stupes Bhare it! lance r ck 1 1 6 kreviss expose 1 7 modernettes get it straight zulu 1 1 slambook ties to sever lorem ipsum 1 1 7 the deprogramaers freedumb 1 3young Canadians no escape zulu 1 8 the hate bombs she's the girl speedome er1 I 8 trish kelly untitled 1 gthe forbidden dimension somebody down there... f uzzwarp 1 9 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 inhalants Charlie is an icon rise | 1 1 the mysterons barbeque with elvis 1 1 12 pointed sticks part of the noise zulu 1 1 ,2 crown roast george 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 14 bender music for four ears ringing ear 1 | 14 gaze pda 1 15 sex with nixon sex with nixon prezident al 1 1 15 poumons 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 riBel 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 18 sloan same old flame murder 1 I 1 8 johnny millenium terminal 1 1 ig various artists true independence H dumb drum 1 19 blenderhead spare change tooth and nail 1 | 19 collide calling 1 20 perfume tree a lifetime away zulu 1 1 20 b'ehl/cheerleader split 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 22 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 24 go Bailor long distance slumberland 1 1 24 frayed knots green light 1 25 christian death death in detroit cleopatra 1 2b the aBtronauts war of the satellites shot downl | 25 the dunderheads lost boy 1 26 j°n spencer blues expL . experimental remixes matador 1 26 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 11 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 28 eric's trip stereo mountain sappy 1 1 28 trevor jones good men die early 1 29 screw 32 unresolved childhood issues wingnut 1 29 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 35 bottle zapatos codepend nt1 35 hlaise pascal Bpotlight kiddl! 1 C0UR1 rooi mO ARMAGEDDON 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 >W97yW0RLDBEATT0P10 1 1 anything from davey allan & the e 2 girl trouble where s the loserl 1 3 the great mongoose she' > 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 limis Bonodisc 3 carloB vives classicos de la provencia phillips 1 4 beenie man reggae gold '95 in 5 leeton paul carnival'95 hits j*» 6 edith lefel meci sonodisc| 7 the justin vail trio the trugh emil 8 Iob nichee salsa de hiU fuentes| 9 byron lee St the dragonaires Boca tatie vpl 10 femi kuti africa fete 3 mango1 WHAT THEY'lW LISTENING TO 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 magia sony discos 1 1 1 clouds , foo fighters 1 yo la tengo 1 2 rey ruiz estamos solos sony tropical 1 2 wax 2 lizard music 2 gene 3 el nene y bus... oye rumbero nrt 1 3 rake's progress 3 six finger satellite 3 sleeper 1 4 marc anthony te conozco blen sony discos 1 I 4 earth eighteen 4 truly 4 gwen mars 1 1 5 pochi y su cocoband estoy enamorado de ti kubaney 1 1 5 jay hawks S neil young 5 eleven 1 6 harmanos rosario la duefia del swing ka en 1 6 menthol 6 bjork 6 supergrass 1 7 papo ross & orquesta pambiche mi camloncito cross current 1 1 7 tiny buddy 7 gravity wax 7 Bjork 8 arturo sandoval la guarapachanga sony 8 truly 8 menthol 8 toenut 9 van leeter dime de que presumes 3rpl 1 9 whale 9 sugar ray g laika |10 cesar flores - "^t* rodven| j 10 **&* 10 kyuss io bracket LISTEN UP! BOOK SPACE FOR THE OCTOBER ISSUE BY SEPTEMBER 1 8TH 32 SEPTEMBER 1995 Call Kevin at 822-3017 (ext.3) for info SUNDAYS ARE YOU SERIOUS? MUSIC 8:00AM- 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 McKittrick. THE ROCKERS SHOW 12:00-3:00PM 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. HEATHER'S SHOW 6:00-8:00PM 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. RADIO FREE AMERICA 10:00PM- 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- |N THE GRIP OF INCOHERENCY 12:00AM- 4 AM Drop yer gear and stay up late. Naked radio for naked people. Get bent. Love Dave. MONDAYS BREAKFAST WITH THE BROWNS 8:15- 11:00AMYourfavouritebrown-sters,James and Peter, offer a savoury blend of the familiar and exotic in a blend of aural delights! Tune in and enjoy each weekly brown plate special. THE STUPID RADIO SHOW 11:00 AM- 1:00 PM With you* hosts the Gourd of Ignorance and Don the Wanderer. What wil we play today? Rog wil put it away. MEKANIKAL OBJEKT NOIZE 1:00-3:00PM CiTR's industrial/noise/ambient show, altemating withSKI NTIGHT BUFFOONERY - wimpy British pop, Beastie Boys, indie guitar swing, and techno thrown in for good measure Hit your olfactory nerve centre with jixie_scudeler9mindink.bc.ca. THE MEAT-EATING VEGAN 3:O0-4:00PM 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. FEMININE HY-JINX 4:00-5:00PM For 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. THE JAZZ SHOW 9:00PM-12:00AM 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 players. 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. SCREAMING INCONSISTENCIES 12:00- 4:00AM: The ultimate contrast. Screwing you over with nostalgia, then bringing you back to what you might cal realty. We do poetry, too. TUESDAYS THIRD TIME'S THE CHARM 9:00- 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! MARY TYLER MOORE SHOW 3:00-5:O0PM 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. THE UNHEARD MUSIC 7:00-9:OOPM 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 W0LFATTHED00R 10:OOPM-12:OOAM Altemating Tuesdays, live readings and the latest in techno bizzarre with host Lupus Yondertwy. AURAL TENTACLES MIDNITE - VERY LATE 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 WEDNESDAYS 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!" AND SOMETIMES WHY 7:3O-9:00PM kicking giant, tuscadero, tJlycraft, neutral mik hotel, ani difranco... these are a few of our fave-otuwit things. La la la! STRAIGHT OUTTA JALLUNDHAR 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! THURSDAYS 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. TROPICAL DAIQUIRI 2:O0-3:O0PM Zouk, Soukous, Samba, Salsa. Yes! Even Soca. Enjoy this Tropical Daiquiri with El Doctor del Ritmo. FLEX YOUR HEAD 3:00-5:00PM —HARD ERIC— —ERIC CORE— 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. ON AIR WITH GREASED HAIR 7:30- 9:00PM Roots of rock _ roll. LIVE FROM THUNDERBIRD RADIO HELL 9:00-11:00PM Localmuzakfrom9. Live bandz from 10. Sept. 28: Spanking Betty TALES FROM THE INFINITE LIVINGROOM - 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. FRIDAYS VENUS FLYTRAP'SLOVE DEN 8:30-10:00AM Greg here. Join me in the love den for a cocktail. We1hearretrostuff,groovyjazz,andthickerstuff 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. SKA-T'S SCENE-IK DRIVE! 11:00AM- 12:00PM Relax, don't do it... When you wanna skank! LITTLE TWIN STARS 2:00-3:30 PM Strap on your vinyl Go Go boots for an intergalactic ride to the stars. Hello Kitty! NARDWUAR THE HUMAN SERVIETTE 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: limpsink@broken.ranch.org SATURDAYS THE SATURDAY EDGE 8:00AM- 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. POWERCHORD 12:00-3:OOPM 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 GROOVE JUMPING 10:00PM-1:00AM 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." Areyok serious music? ■a_i-«_f__K ROCKERS SHOW SATURPAY EP6E fn*kf*ft Wrtktki ?rownf third time's the charm Muffc ***.{ « hole Chandra's show! yttfi/g Ftvr*M>'s Love Off/ DIGITAL flLHRM CHRONOMETER Radio frte WOMEN Te\esis tki SWlt> KAM SHOW twice the noise SKA THE YACHT CLU? CANADIAN LUNCH E_SEod POWER \ CHORD MEHHIIHRU WERT NOIZE BLOOD ON THE SADDLE love sucks SAM g&s^z/^xzz. tropica! <i(-*f<*k\r~ Little WMTM6I HmjUiim VMM Mary Tyler Show MOTOR DADDY mx YOUR HEAD AFRICAN 1 SHOW | NARDWUAR/ fmtniM Hy-|lK* 1 BIACKCTAH £§JPIIJ1-_M 1 **"™y 1 Hettkers Skew dtttrflfUr Aw«r« Houst ESOTERIH 0Mt for toft NATION 2 NATION THE SHOW (hiphop) polyphonic/ kip hop k*tit UNHEARD MUSIC and sometimes ON AIR WITH CREASED HAIR cobra. synaptic sandwich | CttUHitli THE JAZZ SHOW RITMO LATINO AFRICAN VARIETY LIVE FROM HOME BASS 1 ONE STEP BEYOND/ RADIO FREE 1 AMERICA wolf at the door/ witchdocotor highball Stf$ OfcttA [<il!j*KtUr RADIO HELL Groove JUMPWG RADIO T.Y./ TALES FROM THE INFINITE LIVINGROOM IN THE GRIP OF INCOHERENCY SCREAMING INCONSISTENCIES TbffAOEJ THEQRV.RFfl Liwf SimR my little crimson SOMETKENa AfterHours CiTR Dial NEWS! T*f£ PRO- GPAA*Af/A/G 0£**V. tPYS//£S A fOA/D £AR£W£U TO SOi/C Church aa/d Black AA/O Taat, WH/CH HS/U A/OCOA/G£R 8£ OA/ TH£ A/R. A/£Hf SHOWS.' H/ATCUfOR a gr£at ecues PRO G R A M M £ AIT£RA/AT/A/G St/A/OAKS, TOe£G/A/ g£PT. fO £ROAf 3- SPAf. f/£AKSAV TSSACK'f£U£RVSter. £ROAf SSPM /S Oi/R A/£Hf PO£TRY/ I / T£ R AT t/ R £ PR06RAAfM£H0ST£D eYP£T£R A/ORMAAA /QGA TS A A/£Hf CURR£A/T A££A/RS SHOW £ACP£.OR/A/G AfUSl/Af /SSt/£S, TU£S. S."30-6PAf. RAD/O £R££ tVOA4£A/ /S COOAf/A/G £OR A A/£W HOST£SSf /£ Wl/'O l/Af£ TO DO A PRO - HSO Af£AY SPOAf£A/-HfORD/ Mt/S/C PRO- GRAMAt£ PL£AS£ CALL Af/ACO AT £22-/242/ Board Chair Harry Hartacheg Business Mgr. Otia Ashby Currant Affair* Andraa Spanca Demos/Cassettes Dal* Sawyer Engineer Richard Anderson Entertainment Kevin O' Toole Librarian Claranca Chu Mobile Sound Andy Bonf laid Music Megan Mallett Praaidant Brian Wieser Production Aaron Robertson Programming Miko Hoffman Promotions Selena Harrington Secretary Chandra Laamaiatar Sports Dave Ryan Station Manager Linda Scholtan Student Engineer Parn Webb Traffic Mark Singh Vic* Praaident Ryan Ogg Volunteer Coordinator John Ruskin 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 MON: CiTR 101.9IM PRESENTS WORLD VIBES W/ECDOCTO DEL RITMO (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)... TUES: CiTR 101.9IM PRESENTS 1NFUSIA W/DJS GANDORF _ CO (JAZZ, 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... IRREGULAR EVENTS 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 Hollywood... 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 Eleclric... 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)... SAT 30 CiTR 101.9fM PRESENTS SEAWEED, INTO ANOTHER AND GUESTS AT THE TOWN PUMP (4pm - ALL-AGES; 1 Opm - OVER 19J...C1TR 101.9fM ALSO PRESENTS CUB, PANSY DIVISION AND GUESTS AT THE 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)... EVERYTHING YOU 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* ** otJazzSc 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) OUT EVERYWHERE 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 224-8007 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 8764165 738 7015 222 2235 872 8337 257 6205 685 6217 254 5858 732 4128 681 9253 738 3232 SUBMISSIONS FOR DATEBOOK ARE FREE! TO HAVE YOUR EVENT LISTED, FAX All THE REIEVENT INFO (WHO, WHERE, WHEN) TO 822 9364, ATTENTION 'DATEBOOK*. DEADLINE FOR THE OCTOBER ISSUE IS SEPTEMBER 221 34 SEPTEMBER 1995 Meue* underestimate the pxuue>c of, dMip. The New Album from Blind Melon (FEATURING "GALAXIE") DIG IN! Produced by Andy Wallace and Blind Melon • Engineered and Mixed by Andy Wallace • Management: Chris Jones 1869 W 4th Ave. Vancouver BC V6J1M4 CANADA tel 738.3232 STORE HOURS MontoWed 10:30-7:00 Thurs and Fri 10:30-9:00 Sat 9:30-6:30 Sun 12:00-6:00 NOFX • I Heard They Suck Uve 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* Rancid • And Out Come The Wolves 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* Fall • The Twenty Seven Points (2 CDs / 2 LPs) Swervedriver • 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* Supersuckers • Sacrilicious for more. Their latest, greatest Sub Pop releas CD 14* Cassette 10* Utah Saints • Ohio (CD-EP / 12") Orbital • 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* Morrissey • Dagenham Dave (cd-ep) Oasis • Roll With It (CD EP or 12") Palace Music ® 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, POINTED STICKS, and YOUNG CANADIANS with music, text, videos, rare photo images, and press clippings. On display in the store until Sunday, September 17th. lenoe Thursday ^tember 7th m Pub (UBC) Wednesday September 13th Railway Club Thursday
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Discorder CITR-FM (Radio station : Vancouver, B.C.) 1995-09-01
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Title | Discorder |
Creator |
CITR-FM (Radio station : Vancouver, B.C.) |
Publisher | Vancouver : Student Radio Society of the University of British Columbia |
Date Issued | 1995-09-01 |
Extent | 36 pages |
Subject |
Rock music--Periodicals |
Genre |
Periodicals |
Type |
Text |
FileFormat | application/pdf |
Language | English |
Identifier | ML3533.8 D472 ML3533_8_D472_1995_09 |
Collection |
Discorder |
Source | Original Format: Student Radio Society of University of British Columbia |
Date Available | 2015-03-11 |
Provider | Vancouver : University of British Columbia Library |
Rights | Images provided for research and reference use only. Permission to publish, copy, or otherwise use these recordings must be obtained from CiTR-FM: http://www.citr.ca |
CatalogueRecord | http://resolve.library.ubc.ca/cgi-bin/catsearch?bid=1190017 |
AIPUUID | c1df94d5-3d92-4c3f-8505-494a6895c1ee |
DOI | 10.14288/1.0049993 |
AggregatedSourceRepository | CONTENTdm |
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