Discorder CITR-FM (Radio station : Vancouver, B.C.) Jun 1, 1997

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/ \ *     •
.'  Friday, June 20 8pm
•fff^    *
Zony Mash
with Robin Holcomb
Sunday, June 22 9pm
_v -o   \;/
with Mo'fiwk Collec-ivV l
^Tuesday, June24 9pm :.    -
V i y
-X *
? du Maurier
Jazz June 1997
Issue #173
Shades Apart
Trish Kelly
Cowshead Chronicles
Vancouver Special
Interview Hell
Diary of Jonnie Loaf Boy
Seven Inch
Under Review
Real Live Action
On the Dial
June Datebook
production manager
barb yamazaki
graphic design/layout
atomos, ken paul,
barb y
Jeremy gruman, erin hodge,
tristan winch, andrea gin,
ross fleming
barb, jamie bilan,
richard noise
james b, nelse b, brady c,
mike c, val c, christian, glenn
d, anna f, frank?, gth, andrea
g, jen h, justin h, sydney h,
thomas h, |oyce i,  anthony k,
kellie k, namiko k, janis bmc,
jono, nardwuar, ken p, kris r,
dale s, June s, markus s, suki s
Caroline t, mark I, brian v
program guide
siobhan mccracken,
stefan udell
matt steffich
s distribution
Production this month saw us using at
least half a dozen different laser printers. Somewhere during the wee hours
of the morning, as another printer bit
the biscuit, this beautiful cover by
Vancouverite Ted Dave rose with the
morning sun, and all of a sudden, everything was good again. (Sigh) Avery
special thank you goes out to all the
staff of The Ubyssey for letting us use
their equipment. XOXO
© -DiSCORDER" 1997 by the Student Radio Society ol the University of British Columbia. All rights reserved. Circulation 17, 500.
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orders payable lo DiSCORDER Magazine.
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available until June 18lh ond can be booked by calling Kevin al (604)
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is preferred.
From UBC lo Langley and Squamish lo Bellingham, CiTR can be heard al
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at 822-3017 exl. 0, or our news and sports lines al 8220017 ext. 2. Fax us at
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Printed In Canada
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Hi, guys I love your magazine It's really cool. I subscribe to it. Hey, could you please send me
some stickers of real cool bands and lots of stickers I need them for my back bumper of my car.
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Send as many stickers as you can and keep writing cool articles
hey, women, read this' Vancouver rdpe relief and
women's shelter needs women volunteers who are
interested in helping their 24 hour crisis line dnd
their transition house lor women and their children,
there dre training sessions tuesddys evenings, for
more information and tor a training interview, call
872.8212. c'mon, do yer part!
(   ( /    V (      «. I   -
z o w l^h^ ad    chr </n j) c L «
"you look terrified of me/ you could do worse" ('the saddest day of my
life' — shudder to think)
all he could think of as she spoke to him was that he really needed a
smoke, the pocket of his shirt, that usually held his Winston's, was empty
and as he looked down at his hand cradled in hers, all he could think of was
putting a cigarette between his fingers and forgetting the whole day. the
day before and somehow looking towards the days that would follow, the
days without her. she had pulled down the long cuff on her t-shirt and was
now wiping her face with the cotton end, wiping away the tears that were
streaking her flushed face, she had come into his life only days before but
somehow she had changed it forever, her nature, infectious, alive and full
of things he didn't have in himself, and now as she told him that she didn't
know if she could continue all he could think of was how much he had to
lose, and how much he needed that winston. that smoke between his
fingers, between his lips, taking the drawn smoke deep into his lungs and
the need for the nicotine that would be coursing through his veins, his
mind projected to months from now, years ahead, what he could have
done differently, what he'd do tomorrow, the next day. her hand gripped
his. how could he let her get away? how could he just sit idly by and let
this happen? as she spoke she looked at him as if she really didn't want to
go. but he knew she was going to. the drug store across the street would
take care of his need for cigarettes, but what would take care of his need
for her? time? maybe, sure, he'd be okay, walking her to her door he asked
her to think it over, not to give up so soon, he wasn't going to. not yet.
kissing her at the door he started to miss her as soon as their lips parted,
he wanted to grab her and make her understand, how he felt about her.
why he did. letting go of her hand he turned and left her at her door and
headed towards the drug store, the drive home would be long even though
it was really only a few miles, the smoke would fill his car and he'd think of
her. maybe she'd be thinking of him.
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Sonethtng To Remembef Me By
4   juste./99?§ Vancouver!! oc     special
One phenomenon of
the current decade
is the release of
compilations in which the
common factor is the studio
at which the music was recorded. While this type of
collection has existed for quite
some Hme (good local examples include 1967's Live atthe
Grooveyard LP and 1979's
Voncouver Complication LP),
it is only recently that credit
to the studio itself has been
explicit on the front face of
the package. In the last couple of years, compilations
from the Fir St., Turtle, and
Fiasco Bros, recording studios
have made their way into the
local shops as well as onto
the airwaves of CiTR. Regular readers may recall the
cassette-only Faceplant compilation, Maximum Rabbit,
that was critiqued so eloquently in this column a few
months back.
Now, the latest such collection to crash-land on my
desk is In tho Bolh/ of tho
Pig, a six-song tape from
Pigbelly studios. This outfit is,
in fact, the basement facility
belonging to one of the fellows from the Unhappies,
who ante up a fine cut on this
cassette. "Melodrama Kid" is
as strong as anything they've
ever done, and, in terms of
mood and
have nestled very
snugly in |*
among the ^|
tracks on
their great,
and brand-
new, full-
length Secret Formula
that's getting
high rotation
on the borrowed tape
deck I abuse
in the name of
abuse. Other
tracks include the folky
singalong of Bev & Phil on
"Distance," the catchy punk
of the Seamen (R.I.P.) on
"Evel Steven," and the
humourous Revolving
Doormats with a kazoo-
driven instrumental version of
= by dale sawyer & janis mckenzie
ii in i um i ii
of the Lie," and "System of Departure." Kinda like Helmet
trying to not make every song
sound the same. Or Tool
without fhe sexy stuff. A great
accompaniment for the existential weeping I'm finding so
pleasurable these days.
the Cars' "Just What I
Needed." The contribution
from Dirtmitts is fantastic:
"Amaze Me" shows that the
band knows how to throw a
few twists in the guitar-driven
pop formula, and it makes me
look forward to
hearing their
new tape. Finally, as an
added bonus,
o m e
Song," exuding
more than a passing resemblance to mid-period Lou
Reed. This song, however,
wasn't recorded at Pigbelly at
all — it was donated by the
band. Oh, well, then again,
Live atthe Grooveyard wasn't
live, nor was it recorded at
fhe Grooveyard on Davie
Street. Pigbelly is simply upholding a long-standing Vancouver tradition of deceit and
Intensity is what you get
with Starfish Room live favourites CLOSED CAPTION RADIO on their seven-song cav
sette   Stere-
take note:
these four strong lads hate
it when you call them CCR,
so don't. And try to forget
you read that.
Eargasms ensue the second you insert / Give
You... BOSS AN OVA i nto the
tape slot. Eight songs of indie-
lounge hipster food, complete
with Hohner cheez whiz and
mi nor 7ths out of the Feliciano
songbook. Sounding like the
Monochrome Set in the
same way The Colorifics
sound like Orange Juice,
| Bossanova's rock'n'roll is silky
j smooth and parent-friendly
I like some kind of Stereolab
Tabernacle Choir, but with a
hint of some kind of unspoken sin smoldering yonder
like a burning Yma Sumac
doll. Maybe it's just the indulgence of the whole thing, this
set of numbers being great
wallpaper for that swinging
bachelor pad you erected in
the hopes that they'd re-release the Martin Denny
and Les Baxter catalogues
at Super Saver prices (maybe
they have). I would recommend this to Lovin' Spoonful fans, who'll get all wistful
and teary-eyed
when they hear the
continuous organ
chordal strands (by
songwriter Chris
Storrow) weaving
through every track. A
friend even compared
"My Ligeia" to The
Doors, although I lit
her on fire for that. The
ghost of Gary
Puckert and the entire
Union Gap can also
be felt overseeing the
Bacchanalic proceedings,
although you're probably
much too young a girl to
know who I'm talking about
(plus he isn't dead yet, I don't
think). EagerXavier Cugat
fans should, however, be
warned that there's not an
actual Bossanova to be heard
anywhere on the tape; perhaps that button's broken on
their organ.»DS
(Other Peoples Music)
I've always thought of them
as romantic, almost impossibly cool, figures: three
feenaged girls from Victoria
with their bangs hanging in
their black-rimmed eyes, their
mouths set in sneers that are
clearly audible on their rare,
old records. Unfortunately I
never did get to see them live,
since even in their second
(four-piece) incarnation they
survived mere months into the
1980s, but I treasured every
chance I got to hear their
scarce recordings at other
people's houses and even,
years ago, here at CiTR. (And
yes, the recordings were
scarce — before this compilation, all that was available
from The Dishrags were
two three-song 7"s (1979
and 1980] and one track on
the Vancouver Complication LP.)
So who were The
Dishrags, anyway? At first
they were a trio of sweet/
tough-voiced 15 and 16 year-
olds who came over to Vancouver in 1977 to play punk
rock thatwas more like Glen
Matlock than Sid Vicious,
more like The Ramones
than DOA, and more like
The Shangri-La's than X-
Ray Spex. They quickly became an essential part of
Vancouver's newborn punk
scene, and their live debut
(back when they were still
called DeeDee and the
Dishrags) was with Vancouver's very first punk band,
The Furies. Over their short
lifetime they played with The
Avengers and The Clash,
recorded, and suffered lineup
changes before finally breaking up in 1980, leaving behind only those seven released songs, on records that
have become harder and
harder to find.
So I was thrilled to find out
about this brand-new compilation, made up of 25 songs
recorded between 1978 and
1980, and including plenty
of fact-filled liner notes. For
one thing, Love/Hate provides a fascinating glimpse
into Vancouver's long-gone
first generation of punk. The
seven live songs, recorded by
Tom Harrison, are a revelation: for those of us who
weren't part of the tight, little
scene of the day, the sound
of the kids in the audience
mercilessly heckling (the eternally uncool) Terry David
Mulligan is a delicious,
nasty treat all by itself.
Love/Hate would be
worthwhile even if its only
value were as an historical
document, but there's more to
it than that. Put simply, The
Dishrags still sound good I And
after years of hearing things
like the so-called Seattle
Sound, easy listening, lounge,
and return of prog-rock, all of
us — from jaded reviewers to
a 13-year-old girl picking up
her first guitar — can find
something inspiring in these
songs, which have kept their
sound fresh and relevant after
almost 20 years now.
Now if they would only
autograph my CD ...»JM
which was eye
candy to say the least. On to
audio matters, the tunes of the
tape blast out of the 'blaster
with a crrunchl, followed by
a thudl, and landing with a
slapl to yer tympanic membrane, especially "Benevolence," "Displaced," "People •-Ki-tWJ h-tU
Who are you? (names, ages, instruments
played, hometown)
Jason Kolins: Burden is myself, 23, vocals,
Steve Matheson, 19, guitar, Ryan
Wagner, 19, guitar, Happy Kreter, 19,
bass, and Jason Vandermey, 18, drums.
We are from Cloverdale, Langley and
White Rock.
Dissent: Sean, vox. North Van. Mark, guitar, North Van. Ricky, drums. East
Van/Winnipeg. Leanne, bass. North Van.
Have any of you been inside Newton Inn
or The Coach House?
JK: Yes, I've been to the Newton Inn; I
was 16 and I went to see some friends of
mine's band, Caustic Thought. They
snuck me in and I also got to watch
naked ladies dance and drink Coronas.
Jason, (a) was Faceoff really the first
straightedge band in Vancouver? (b) did
you organize an all-Christian straightedge hardcore gig on a Cloverdale farm?
JK: a) Faceoff was definitely one of the
first but probably the worst to corne out
of a van. Wow! That was in '92. Everyone
has come a long way since those days. It's
good to see that at least we're all still
around playing and Still involved with
the scene. That is a plus,
b) Yes, I did put on a 'Christian' hard
core show last summer. Two of the
bands were 'Christian' HC bands who
were touring and needed a show on
short notice so I said, 'Yeah why not.' I
really like 'Zao's music. And I really
respect their conviction for what they
have to say, even though I am not a
Christian. I do like a lot of Christian
bands, like Strongarm. I think if you
feel strongly enough about something,
be it veganism, straightedge whatever,
as long as it's not hurtful or hateful to
others than it definitely has a place in
Leanne, is it true that you got Dissent on
a Poltergeist episode? How was it? How
can we recognize it?
Leanne: Yeah, I...
Ricky: Where do you get that information?!? Leanne's dad got us this gig on
Poltergeist, the TV series. We had to ...
well, actually, they had to put on alt this
crazy makeup, black eyeliner. Sean even
had to wear chains. They said I was
already perfect.
And Leanne, ya still there? Who is Alex
'A Train' Boyington? What does he do
for you?
Leanne: He's my bass teacher. He played
in the Payolas.
Happy, why did Gob (your other band)
have to re-edit its video for MUCH
JK: Happy is away on tour with Gob. So
I'll answer for his veganass. The end part
of the *B-Flat' video has a guy getting
run over by a train, and apparently this
was too much for much.'
Hey! Looking at the cover of an old Issue
of DiSCORDER (June 1991) we see the
following bands: Ten Feet fall,
Facepuller, Sparkmarker, Cat's Game,
and Sludge. Who should be on the cover
of DiSCORDER in 1997?
JK: Vancouver Hardcore in '97 would be
Sparkmarker, BNU, Strain, Burden,
Dissent, Plains of Abraham, Rite of
Passage and Target.
Mark: All those bands, except for maybe
Facepuller, were legends when I was a
teenager. I think today, you would probably put on Strain, Burden, Dissent ...
Capone, if they were still together.
Sean: Plains of Abraham.
Dissent, ask Burden TWO questions.
What's your favourite colour?
JK: My favourite colour's black, like the
X's on the back of my hands! And red,
like the blood gushing out of my nose
Redmond, WA, after Happy whacked me
with his bass.
What's the hardest line out of all your
The hardest line is, um, shit, I don't have
any hard lyrics. We're an emo-band How
about: 'You think you know me, you
dont know me at all, the walls you've
built to separate, in time will fall,' from
the song 'Stand' — pretty damn tough.
Burden: Six-song demo and live at CiTR
Dissent: one track, 'Humanity's Sin,' on
77>e Rubber Room, various artists CD.
Contact name and address:
Burden: c/o 18678, 80 Ave., Surrey, BC,
V4N 3G5.604.882.9652
Dissent: c/b Mark: 733.1790
Who are you? (names, ages, instruments played)
[Soy| Jeff I'm Jeff "Cruiser" Kruys, I play bass in Soy and
scream uniil my voice is gone
Marjoe Gortner I'm Marjoe Gortner, 32, Soy drummer/vocalist and part time mellotronist   I also listen to nothing but
Harvey Sid Fisher
Paul 23, guitar
[WroughUron Smile I Greg drums, 20
Nellie Jane guitar, 21
Sean: bass, 19.
Any good Hump anecdotes? Where is Mr. Hump,' legend
of Sidney, BC?
Jusl the one from Feb '93 when they opened for Ween at the
Cruel Elephant and when J-P went for his fly to piss on the
crowd, this Rollins (Henry, not Sonny) lookalike grabbed J-P's
starters pistol and fired it in his direction, so J-P and Hugh
(the rodeo clown) jumped the guy and it started a riot! We all
had to leave and then line up again to see Ween play for a half
hour until 2am when J-P told me he pissed in Ween's beer or
guava juice or whatever.
Greg: I used to see Mike on the bus (70 Pat Bay Highway, to be
precise), looking at school girls. He's rad, though.
Nellie Jane: 1 don't know who you're talking about, but it was
a much better question before you scratched out anti-dote and
replaced it with anecdote.
Besides Scott Henderson's studio, Sea of Shit, is there anywhere else for bands in Victoria to record?
Jeff: Well, there's always Roy Gbiv Ends Humanity Studios,
which is my 4-track, but that's pretty much just for Roy Gbiv,
my solo project.
MG: There's Degrassi in Colwood; some guy who lives near
Scott who apparently has this weird mini 64-track CD recording type-thing-or-other; some other guy in Oak Bay (I think
Rock: Iron Style recorded with them); Gary Brainless, Phil
Spector, George Martin. And a new one called Bent Sounds in
We here at DiSCORDER are compiling an informal poll.
Complete the following list, okay?
Favourite Victoria/Vancouver Island fanzine:
Jeff: Master Bitchl Great name. (Janet Wood's distro. Not sure if
it's still going.)
MG: Well, Chaos Comix may not be distro, but boy do they
have hot lookin' women in them.
Greg: Masturbytdi, for sure. I think I do one, but that has a
better name. Oh, wait, that isn't around anymore ...
Favourite BC ferries 'Queen of...' Why?
6    j*h*l99?'*r* Jeff Oak Bay\ Never expected that one
MG: The Queen of Mark E. Smith is pretty *fuckin'
rockin'. (The one with the Tilt-a-whirl on it, and
also has the Phil Lynnot Room.)
Greg 1 agree with Cruise there
Nellie Jane: Queen ofthe North. I've never actually seen it, I've only seen the poster with its silhouette and specs If you're interested, the poster
used to be located on the outside wall of the gift
shop on the Queen ofSaanich ... nght by the cafeteria and the 20 year old posters of chicken strips
and scaburgers.
Sean I think they should call one The Spirit of
Langford because no one cares about Langford as
much as they should
The evil
_____ / * Mi
11 ffl
Favourite 'Favourite:'
Jeff: I liked the favourite ferry question better
than the distro one.
MG: Favourite glue, did you ask? Um ... Any
kind that gets me high all the time.
Greg: I liked the distro one better than the ferry
one 'cause I got to say 'Masturbytch '
Nellie Jane: This is my favourite 'favourite ' My
favourite 'favourite' is the favourite 'favourite.'
Sean: I can't choose. They were all good. Maybe
the ferry one No! The distro one. No, wait! This
one is definitely my favourite 'favourite.' Maybe
not, I can't choose ... ahh!
Why did Let's Put the X in Sex break up?
Jeff: Everybody was going to be out of town for
the summer, and maybe the joke was getting
stale. It didn't stop me and Greg from forming
God Bless the Children of the Beast, though, our
tribute to Motley Crue.
MG: Jeffro neglected to mention the Suicidal
Tendencies cover band after that, and then the
Manowar cover band after that Those two lads
defy description.
Nellie Jane: The screecher went shrimp trawling or something. The rumours about Greg's
overdose were such lies. The band broke up
because of crustaceans, not drugs
Sean: Apparently, Tavis had to flee the country
due to rumours that he was the Unibomber
Who is the 'Squire Barnes' of Vancouver
Jeff: That'd have to be West Mundy, former
sports director at CFUV. I remember running
into him a while ago walking home from an
Entombed show — he was drunk and stumbling
up the sidewalk. He gave me a thumbs-up sign.
Sony that wasn't much of an anecdote, and I'm
probably defaming the poor guy, too
MG: We were hoping Squire would end up
chainsawed into pieces, about five months ago,
during reports on Pavel Bure's grandpa's mob
him of being a pedophile He moved to BC and
got a job as a cameraman for CHEK 6 He fell
down a flight of stairs on the job and almost died
Wrought: Iron Smile, ask Soy two questions.
Fave Confessor song?
Jeff: I like 'Condemned' — great fade in drum
Record label you _ most like to put out a Soy record?
Jeff Wild Rags!
MG: Wrong Again (Que ) would be pretty cool.
I think bands like Cryptopsy and Dahmer have
done stuff with them The label might be a little
too death for us, though Pessimiser, Six Weeks,
Slap-A-Ham, Regurgitated Semen Records,
Bovine would also be cool, too.
Paul Mavenck
And hey, Soy, please ask Wrought Iron Smile
two questions.
Favourite Testament song?
Greg: 'Curse of the Legions of Death:' "Attack of
the Locusts! Attack!"
Fave Archie Comics story?
Greg: The first one where Chip, later known as
Archie, rides into town doing a surfer (bmx
freestyle trick) on his bike
Nellie Jane: The one where Archie is torn
between loving Veronica and loving Betty. Have
you ever read that one?
Sean: I'd have to agree with Nellie Jane. That one
was really original and thought provoking
Anything else to add?
MG: I think that it's finally lime for people to
really open up their eyes to the wonderful possibility that is power violence — its gentle whimsy, its moods, its sometimes-oh-how-I-wish-I-
'a-hangin'-on kinda thing, you know? Spewing
total fucking hatred at stupidity is kinda nice, too
— like at a C.E.O., Tom Clancy, A&R putzes,
Greg: It's been rumoured certain members of Soy
and Wrought: Iron Smile have been joining
forces to create an emo-power violence band
called Sotting Soy: Smile!
Nellie Jane: Greg, are you calling us emo? I'm
not getting back in the van until you say we're
Sean: 2+2=5
MG: Last December we recorded an eight-song
demo. Contact us for a tape ($1.00). Meathead
Records (Thunder Bay) is soon puttin' us on a
CD comp; Inner Ear Records (Modesto) is
putting us on a comp with a whole slew of
groovy bands (we're sandwiched between
Capitalist Casualties and Man is the Bastard); a
comp. from Surfside Beach, SC; and some
German split thing in the works with Third
World Planet. As of this writing we've come up
with four or five songs since the demo. We're not
sure how we'll record them and release them.
Probably record with Scott again.
•Third World Panet/Republic of Freedom
Fighters split 8 5 flexi ($3 ppd)
•W:IS/The Warsaw Union split tape ($3 ppd).
Contact name and numbers:
Soy: 647 Speed Ave., Victoria, BC, V8Z 1A5
Wrought:Iron Smile: PO Box 8183, Victoria,
BC, V8W 3R8«
Sean: I'd have to say Jay Longprey, sportscaster
for CHEK 6 (a BCTV affiliate). He used to coach
little league in Ontario. Then someone accused
Live from Thunderbird
Radio Hell can be heard
every Thursday from 9
pm to 11 pm only on
CiTR 101.9 fm.
SHADES APART are a three piece emo-core band from New Jersey.
Mark plays guitar and sings lead vocals, Kevin plays bass and sings
back up vocals and Ed plays the drums. We had the pleasure of
interviewing them at their show at Graceland with the Descendents.
It's just too bad some hoodlums decided to break into their van
during the show — they couldn't have picked nicer guys to do it to.
By Suki & Kellie
DiSCORDER-. Have you ever had any paranormal experiences?
Mark: That's interesting, because we just
stayed with a friend of mine who's way into
esoteric things. He says that he has through
other channels. He says he's improved his
living through talking to spirits, I guess.
Kevin got hit by lightning.
Kevin: Oh, yeah that did happen. It was summer, Long Beach, New Jersey, and I was riding a bike over a bridge during a heavy
thunder storm and we got hit by lightning
and fell off our bikes and ran screaming like
little kids. But I've been having this weird
thing happen when I sleep in the van. I can't
tell if I'm dreaming or in a state of consciousness. I'll be there staring at the ceiling
and emo bands too. Being on Rev has p
ably helped us find more of a sound.
Ed: Rev is much less constrained than
[labels] like Fat or Victory or Epitaph. If you
buy one of those records, you pretty much
know what it's gonna sound like — which is
kinda like fascism to me — but I guess people are into that. Revelation is a lot more
diverse. Multivalent.
When you decided to go with Revelation, were
you scared of being pigeon-holed?
Mark: We were aware of it, but we weren'
worried about trying to get over with that
Ed: They already had Farside and Sense
Field. The label was making a deliberate
effort to unpigeon itself.
and I'll try so hard to wake up but I can't.
They say that feeling is the prelude to astral
Ed: I've been trying to teach myself to lucid
dream. But I can't. I always wake up. You try
to train yourself to look for visual cues in your
dream that tell you you're not awake. At that
point, if you can realize you're not awake you
can control what you are dreaming.
What was the best punk rock show you've ever
been to?
Mark: I know! Dag Nasty was supposed to play
but it was Squirrel Bait, Descendents, Agent
Orange. I'd say that was the most fun because
it opened my eyes to that kind of music and I
said, 'Wow, this is what I want to do.'
Kevin: When I saw Husker Du, that was what
got me into it.
So now that you guys have been on Revelation
[records] for two years, do you think that's
your home?
Mark: Yeah, the momentum kind of gets lost
when you wait, like, three years in between
Kevin: Personally, I'd like to grow with
Revelation and maybe get a broader audience into it. And they've done that. They've
opened up their label by signing different sounding bands. But the people
that are listening are still behind that
urb, thinking that Rev is this really specific kind of label.
Ed: New York straight edge!
Would you say that you feel like you're a part
of any music genre? You're hard to pin down.
Kevin: I think we overlap in a lot of different
scenes. We're not dead centre in one scene.
We have played shows with Victory bands
Kevin: That was kind of a weird time for us
too, when we put that record out. We had
decided to record a record, and we did Save
It, but we didn't even have a record label to
put it out, so we were just going to do it ourselves. Before that, we weren't fully active
with the band. We decided that with this
record, we wanted to be in everybody's face,
kind of aggressive, and get all our frustra
tions of the last few years out. It really fit
with Rev at the time, because it's pretty
intense and aggressive.
What comic characters best describe you?
Kevin: [laughing] Well, they were just calling
me Archie.
Ed: I guess that makes me Jughead. Mark
would be Mr. Weatherbee.
Mark: Was Shaggy from Riverdale?
Ed: Mark's Beetle Bailey.
Mark: One day I might be like Ziggy. [still
laughing] 'Cause everything sucks for him.
Poor Ziggy.
Mark: As a whole, I think we're more like
Family Circus (lots of laughing) ... the worst
comic ever!
What inspires or influences you outside of
Ed: I read a lot. I have a degree in literature.
I get a lot of inspiration from books. I like
Kurt Vonneget, also regular stuff like
Emerson and Shakespeare. I like the romantic poets.
Kevin: I'm just inspired by my family and
friends. I'm a really family-oriented guy. I
just like spending time with my brothers
and my wife.
Mark: Also, the people that you run into on
these kind of trips can be really inspiring.* from   the   diary   of   jonnie   loaf   boy
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do around a bunch of disgruntled revolutionaries. DJDinette made me sit in the corner and told me to keep my
mouth shut. I don't care; I've got nothing to soy to those
fools anyway.
DJ Dinette and her henchmen are in constant contact
with the leader ol the revolution — some freak who calls
himself Sub-Commander Marconi. Apparently he and his
hippie crew are holed up in the President's office and are
directing the revolution via walkie-talkie. In addition to the
radio station, they claim to have occupied the faculty club,
student council chambers, and the aquatic centre. No idea
why they are holding the aquatic centre, but no amount of
idiocy surprises me.
SubCommander Marconi gave DJ Dinette a list of demands to read over the air, but, as usual, she is being
stubborn. She told him that his demands were shit. He told
her to stop trying to co-opt his revolution. "The revolution
always gets co-opted!" she kept shrieking. They argued
about the demands for hours before DJ Dinette finally turned
off the walkie-talkie in disgust. She and Murray read their
own demands over the air. They want the President of the
University to resign. They want the station manager of CiTR
to resign. They are demanding on end to corporate rule.
"Free the market ... from capitalist swine," they chanted.
"Smash the state!" They demanded a ban on "flesh" in
university cafeterias, and an end to world poverty. They
demanded the abolition of classic rock and cuddle core.
No more Nike baseball caps; no more hair-clips. They want
Mountain Equipment Co-op to be nationalized, and all
fleece-ware to be sold at a discount. The two of them blathered on and on, until I thought it would never end. They
are being ridiculous. As if anyone is gonna comply with
their demands. As if anyone cares what they think. They
have occupied the university, but hardly anyone has no-
Day 3 of the Revolution
Things are getting a bit tense around here. The
police ore still holding positions outside the radio station and the revolutionaries are convinced
that a strike is about to be bunched. They claim
to hear strange sounds coming from underground. I personally don't think we ate worth
the police's bother, but Di Dinette's, henchmen
are a paranoid lot. They hove run out of ammunition (we ate all the doughnuts yesterday —
even the stale ones), and they keep cursing themselves for not buying more. Valso wish we had
more doughnuts, but this is because I'm hungry. We ran out of food last night and I am
starting to fantasize about hamburgers. I om
even feeling nostalgic for that disgusting, dried
fruit and granola we were constantly*eating^
The revolutionaries ordered a pizza ihis afternoon, I \
but the police wouldn't let the delivery boy into the j
We are all hungry, tired and starting to smell.
The revolutionaries are driving me crazy. They
are so nervous they have been chain-smoking ;
these awful, unfiltered cigarettes. They also continue to drink that vile coffee they are so fqnd
of. I can't figure out where it all comes from.
Their endless talk of revolution is depressing.
They are constantly bragging about haw? their
phones were being topped by CS IS and how
the government hos files on ihem as thick as
telephone books. It's hard for me to stop from;
laughing out loud. Those fools are. no threat ta
national security. They area threat to themselves!
This time*! was polite enough to keep my observations to rnyself... I am learning.
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Weather Permitting / have a habit of really sharing my life with people, and being really
honest about what my history is — and that inspires people to tell
me what's going on in their lives. If I tell someone I come from an
incest family, then that opens up a lot of room for people to tell
me that they also come from an incest family. Revealing those
secrets take away the power of them. (Trish Kelly)
Trish and I met to do radio and talk about
stuff. Here are some excerpts from our con-
DISCORDER: When did you start with Riot
Trish: My introduction to it was a benefit for
Women Against Violence Against Women. [It
was]   a  weekend-long  [event],   14  bands
played. My friend Kim gave me the name of
someone in Olympia. He said, 'Yeah, you got
to talk to these people, because there are lots
of women doing stuff down there.' So I called
Michelle, and I got a quite a few bands from
Olympia to come up, and then Tattletaie
came down from Seattle. [I was also introduced] to Riot Grrrl through Tattletale's zipe,
and talking to them. After that, there were
some crappy experiences with that, but after
that I did feel really inspired.
What crappy experiences?
Because there were  boy and girl bands,
maybe those [boy] bands didn't understand
what the concept of the whole benefit was.
Because I was involved in the straightedge
hardcore scene in Vancouver, we had hardcore   bands   playing   the   same   show   as      I
Tattletaie and Heavens to Betsy and Kicking
Giant. It was a really big mix. Like Facepuller
and Kicking Giant at the same show. So there
was some conflict.
I didn't know Facepuller were straightedge.
They aren't. So it was kind of a challenge
getting all those people together. Especially
considering   how  naive   I  was.   All   those
straightedge boys were my friends, and I didn't think about the fact that there could be
conflict. It kind of burst some bubbles for me
— of like how ideal this was going to be and
how everyone was going to be there for
WAVAW, but instead people had their own
agendas and stuff. But I was exposed to
Tattletaie and the fact that they were these
two young,  really small  girls who were
standing up there in front of an audience
without microphones and having people so
silent that you could've heard a pin drop.
They had such brave things to say and their
zine was so - I don't know - it just really got
to me. Madigan wrote this whole thing
about having hairy legs and how she liked to
run in the wind and have it blow her hair
and all this stuff. That was like a foreign concept to me. They were just so gentle but
firm. Like there was a boy who was wearing
a T-shirt that had a sexist image. And Jen was
like, 'Did you see that guy's shirt?' and I was
like, 'Oh, no I didn't.' She said, 'Do you want
to say something to him?' 'Uh, oh I'm scared'
kind of thing, and she took my hand and she
said, 'I'll go with you.' And she said, 'That
shirt is really offensive, and this is a benefit
for WAVAW,' and she was just really reasonable with him. And he was like, 'I'm so sorry,
I just thought black shirt and I just put it on.'
What was it?
You know that thing on the mudflaps?
The Playboy girl?
Yeah, he had that on his shirt, and he went
and changed his shirt. I was like, 'Wow.'
Y'know? You can deal with things. You can
confront people and it will be okay. And then
we started Riot Grrrl in Vancouver and we put
on shows and traded zines and kind of got in
contact with other women.
So after that show It got started?
Several people who were there were stoked
on it. Like Ingrid and Savan were already talking about it. They put out a zine called Riot
Grrrl Vancouver. We all got together and
started having meetings.
I wish I was there for that.
One of the big influences before that band
came up was Meredith — she was doing it
with me, she had a Heavens to Betsy LP, and
she played that song 'My Red Self which is
about menstruation. I remember talking to
Corin [of Heavens to Betsy, now of Sleater-
Kinney] about that song saying, 'That is such
an amazing song. I've never heard anything
like that in my life.' It was a song about n
struation. It was such a big concept that I
being exposed to.
So were you already 'out* then?
Oh, n
Do you think it had something to do with
getting involved with [Riot Grrrl]?
I think that the concept of 'girl love' was
something that was really freeing. I was in
11th grade at the time. I had switched schools
and gone to Ideal, a little alternative school
[with] a different environment. On the first
day that I walked into the school, Ingrid —
who was involved in starting all of this —
took my hand and walked with me down the
hallway. I was just so flabbergasted that we
could hold hands and walk down our school
hallway and feel that we weren't gonna be
ridiculed. And we weren't. People thought it
was normal. Girls were really affectionate
with each other.
It kind of created a safe environment for you
to be able to come out?
A safe environment tor me to realize that I
had feelings — that I wanted to do that,
because before that I hung out with a bunch
of jockey boys that were into hardcore
music. To know that it was okay to be caring with other women. And realizing that
what I wanted to be was a really big step
and coming to a point where I realized that
I fully wanted to come out. But that took
Were there other girls doing that at the same
time? Did you talk about that at Riot Grrrl
I don't know. I think we talked about having
crushes on girls, in a very innocent way, which
was really important. We didn't have a lot of
really serious discussions. A lot of it was really light-hearted, which was probably really
good. The main person that I talked to about
it was Kim Kinakin. But there definitely was
elements of it, it was definitely okay to talk
about or okay to experiment with.
So you identify as Lesbian?
People define the terms that they use in different ways ... I define myself as a lezbo 'cause
I prefer to be with women, and just because
of the level, like the depth of my attraction
and love and relationships with women. That
doesn't mean that I wouldn't have a relationship with a man if the opportunity came up
that I thought could [be] a healthy [relationship] and something that is going to help me
learn something. But that's on an emotional
level, whereas with women I'm really physically attracted to [them], as well as emotionally and spiritually.
Do you think that there are very many bi's In
Riot Grrrl?
I think there are a lot of bisexual women. And
I definitely want to make sure that they are
Because there is a problem that some dykes
feel that bi's get straight privilege.
I can't say that. Personally, I'm a femme, I
dress very femmy.
I wouldn't say very femmy.
Well today is an exception, but I was feeling
tough when I got up. So someone could
accuse me of the same thing — that I could
pass for straight, so you're not a hardassed
lezbo. But I just don't feel that that is fair.
I don't agree with that at all. I mean, we can
dress however the fuck we want to dress.
Isn't that what we were fighting for all along?
Totally. I've read some stuff on it. But fortunately I haven't experienced that much in my
life, I mean I do feel weird when I go to lesbian bars and stuff like that. How do I let
them know that I'm not just a straight girl
hanging out here, and I think that I speak my
mind and I have a voice in any community
that   I contribute to, and I make sure that I
do, so that people know who I am and what I
stand for.  I think that people should  be
judged by how much support they give their
community, what they're contributing or
what they're giving to it — not how much
they can pass for straight.*
(6 Jioit f997 \ 	
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Tliirt> is .in enormous difference between occup.
and ownership. The misrecognition of Ihis difference
is welt-represented by the common contemporary fas-
i in.iiion with the pleasures of style, code or text. The issue
becomes clearer upon examination: here the self-consciousness of use appears inverted. The category of property, however, manages to adapt to any word play, taking exceptional
advantage of doubt, while placing any condition of void in
its service. Void never left the dialogue, from start to finish,
establishing relational freedom in intellectual cul de sacs,
where answers are forever deferred. By void, I mean roughly
a sensation of absence that promotes a capacity for desire,
even to desire oblivion in the face of absolute nothing (the
will to ...). Within style there is an induced void, where interest becomes a virtual desert, a vacuum. This is the magnetic,
supposedly non-existent centre of interest, swathed in anxiety, denial and neurotic faith. It is totally human, relying on
our capacity for distraction. The movement of style lives and
dies by the virtual desert, the promise of death, yet at the
same time it is generally oblivious to whatever use of space
that has captured the popular or underground imagination.
In other words, it doesn't care, the cul de sacs are securely
insecure. Why should this level of indifference startle anyone? And why should it come as a surprise that the avant-
guarde is always the first player to join in the exploitation of
indifference — the avant-garde is always at the table, with no
game to be possibly played in its absence. Not to mention
the bloated intelligentsia, lost in onanistic language, while
smug in an always secure social standing. I am largely disappointed by both. In respect to my opening statement, what I
am trying to demonstrate is how unfortunate it is when the
arts and advertising (business) blend into one place and preoccupation, where one can no longer challenge the other, as
though they were always already inseparable and indistinguishable in the aesthetic levelling of everyday life. Creating
virtuality out of information, blinded to human care, masquerading frenzy for joy. With this apparent culpability, what
of their conjoined possible influence (with indifference and
distraction at work) on the conditioning of the self. The question I am pursuing is this: what establishes the condition of
the contemporary imagination? Panic and crisis?
In response, I would argue that the crisis of the self is a
whitewash. It overstates the obvious. There has never been
anything else. Only the form of expression has changed. It is
now problematically serving as a particularly misleading principal of organization (with the complacent and complicit intelligentsia made ineffectual by capital as a result of being
bought outright). The modern aestheticization of everyday
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lifehas moneyed pew parties (everyone is a team pJayer), but
left the old game pieces on the table (commodification). The
rules of appearance would like to prove that much has
changed, forcing the observation: isn't popular culture glorious! And what isn't popular culture? It has replaced everything, or so it seems. This is to be our reward? Within such a
so-called abundant field of possibility, our options should be
radically dissimilar, yet the same categorization appears again
and again. Show up as different and receive your place, seek
out your difference and fall into line, but absolutely do not
be without your difference, even if it's the same as everybody
else's. The onerous openness, this ultimate cul de sac, where
is the focus? Look around your field of references, relations
and options. Ask yourself what sense
of place and priority is promoted,
what sense of history is available?
What is the immediate context of
your life, your space, your praxis —
what are the limits of your imagination?
In popular culture, right can become wrong and then become dispersed and irrelevant, largely as a
result of the granting of affiliation,
recognition and absorption into its
form/forum of organization. This
process of translation and regeneration is usually presented as knowing and ironic irreverence — just
harmless and fun. As a consequence,
in the so-called private space of imagination, the desire for identity becomes too self conscious to recognize itself. This serves business fairly
well. Yet, in spite of the self, something else is there within the individual to respond with everyday living, a natural solvent capacity. This
is our unadorned human-ness. This h
our, just happenstance. It is here that we live out the choices
that are made without thinking, the actions done without attention, the parts ignored. It is the psychology that lies behind distraction. This simplicity can also be weakness. It is a
blank potential, a variable opportunity. It is duplicitous. It
can also justify apathy and laziness, promoted in the shadow
of the same non-thought. How and why did these categories
become estimable while responsibility is dismissed. There is
a truculent hegemony on our imaginative potential here, a
limit, a cul de sac that informs
the self. For example, I have
been told that once you play for
money, you can never go back.
What changed? Incidentally,
popular rhetoric would have it
that we lose our sense of self as
a subject in the type of accelerated lifestyle emphasized by
modern communication and
multi-media technologies.
Sometimes this same quality of/
for experience is touted as a
grand expansion of opportunities, all ripe for "finding yourself, dude." To both I would
counter that a sense of self was
never meant to be focused on
in such a gratuitous way so as
to cause it to become grossly
estranged and abstract from our
human-ness. We are undoubtedly creating excessive problems, and hoping for a resolution via indifference, that is to
somehow show up independ-
T shirts
itly from human history and conscious action.
Distraction deserves responsibility. It is a precarious
reflex. I feel that we are most ourselves when we are preoccupied, where we are not aware of ourselves being. Not in
the simple distracted-attention type sense, where, supposedly,
the bedazzling array of modern accoutrements and preoccupations designates our unconsciousness into relegated and
obedient submission. However, there is something to be
learned by such a common, brutal phenomenon. Through it
something becomes obvious. There is a necessary inter-relationship involved in all this: again, an aspect of our human-
ness. The latter quality of distraction mentioned is full of an
induced void, while the previous is a simple organic downtime, or a state induced with occupied concentration. Fundamentally, they are similar in result. Both
situations place self consciousness
into the inescapably common
event of non-awareness or distraction. I would argue that distraction
is an essential human condition
that is referenced in the creation of
culture. Distraction is also the essential human characteristic that is
opportunistically taken advantage
of, and then waxed romantically
about in contemporary, consumer-
ist popular culture. It is because distraction is fully integrated into the
aesthetic condition of being that it
is subject to constant attempted
manipulation. Turning distraction
from an actually quite simple matter of being — which is its charm -
- into the subject of a convoluted
body of representations (from consumerism to psychiatry) and a site
for complex power plays,
this text is pursuing: we are encouraged to focus too much on something that we take for granted,
in a way that misrepresents the object suggested. As a result,
our focus is turned towards the virtual desert — the induced
void — where use misrepresents occupancy for ownership.
Is this a biased intention, is it the fault of culture itself, or a
condition of the self? Can we effortlessly exchange spirits and
totems for scientific management and profit margins? At
a certain point these discourses are the same, but in
process they will induce different priorities and forms
of development. This is where conscious, dynamic and
applied human activity — the capacity to create and
choose — becomes principal and engaged. Distraction
is crucial in the creation and perpetuation of culture
because it is representative of the human capacity to
"take things for granted," enabling the suspension of
disbelief. What aspects of our present way of living enjoy this luxury? Within this process, after distraction,
anything seems possible. Here distraction, as an influence on the condition of the self, eventually turns inside out, becoming a social force and element of connectivity. From either the social or personal, it is an influence that is approached in a multitude of ways: from trance-
inducing dancing, driving long distances or daydreaming, to
shopping or watching television or films. I would suggest that
we take care to notice when, how and why we become distracted. It would appear that there is actually a lot at stake. It
sounds impossible or counter-productive, but by paying attention new experiences may become available, removed
from the typical sources (either art or overt profit-driven business). With effort, maybe we can somehow become closer to
the essential quality of distraction that informs the human
condition of being, and maybe we can also responsibly discover a more useful value for the void, if not question it outright. Hang on, more to come.
mr. kitty poulin*
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(I junor99?*tr* ma^Tpresen, to you the super pop sound explos.on known as Duotang!
Interview by Ken Paul/Photos by J. Bilan
DiSCORDER. Zippy [Sean], were you in a band called
Sean: Yes, I was. I played drums with them for a little under three years.
Didn't you also play in a band which was basically
just a celebration of the lead singer's hair?
Sean: Yeah, yeah! [laughs]
What band would that be, Hush?
Sean: Bovine, basically. It turned into Bovine, when
we added another bass player ... You know what?
Sometimes I think I should have stayed with
Bovine, we would have made a million dollars, it
sounded exactly like Bush X. Like that kind of crap.
Rod, you were in several Winnipeg bands such as The
Johns, Crimson Garden and Zen Bungalow. How the
heck did you two split away from all these bands to
form the mod squad known as Duotang?
Rod: I think those bands were just a way to get into
music. This is the first time I've been able to do
something that I was really happy about.
Was your first show as Duotang in the infamous Red
Fisher/Propaghandi basement?
Sean: That was our second show.
Rod [to Sean]: Well, the first one was when I was by
... And then your second show?
Sean: ... was opening for Bovine on their way here
to Music West [two years ago].
Rod: And our third show was at the Red Fisher
Sean: But it wasn't really ... when we played the
show, we didn't think of it as a band or anything,
we were doing it like for a laugh, to have some fun,
so it wasn't like, let's play this show as a band. We
had practised like five times.
What inspired you to put out a 7" on a label called
Name in Lights [pre-Mint]? What were the songs?
Rod: Name in Lights was just two guys in
Winnipeg, two friends of ours ... They had asked
us to put something on a 7" ... So we did songs
we had done on a very basic eight-track recording of the song "Slowdown" and the song "Choke
or Swallow."
Wasn't it recorded by sneaking into another band's
home recording studio? And later, the same band
actually opened a show for Duotang!
Rod: Umm ... [laughs] Uh, we did sneak into a
warehouse to record it. I don't know if the other
band opened for us, though.
Sean: What band did you hear we did it with?
Zen Bungalow?
Sean: Yeah.
Rod: Oh, but they didn't open for us though.
But it was in their sort of home recording studio?
Sean: Well, it was our warehouse — we were sharing — Rod was still in the band [Zen Bungalow]
and I was jamming with Rod.
Rod: And so the stuff was there and it was kinda
common knowledge that anybody could share anything, right? [laughs] So we took advantage of it.
What's Winnipeg known for, besides the great big
flood and wrestling?
[much laughter] Sean: Um ... the great music
scene. There's a lot of good bands in Winnipeg. We
should have a Much-Winnipeg er uh Much, like
prairies or something. It gets very little attention.
There are so many bands that are coming out of
Winnipeg that are doing well.
Any good Burton Cummings stories?
Rod [to Sean]: Isn't there one about him in your
area punching a kid at Seven-Eleven?
Sean: Yeah, but uh, I uh ... Burton Cummings and
Randy Bachman hang out by my place and eat at
Salisbury House all the time — ifs like this restaurant, it's a greasy spoon ... they go there all the
time. Burton lives in L.A. though, but he still
comes into Winnipeg, I don't know if he has a
house there or what, but he's there a lot.
L to R: Rod Slaughter and Sean Allum
He's got a community centre.
Sean: Yeah, he's got the community centre. He
bitched about it too. He wanted a community centre, and he got it. He was given it.
Any good Brad Roberts stories?
Sean: His brother Dan is the nicest guy in the
world. He's the quietest guy.
Rod: The nicest guy?
Sean: Well, he was always cool to me! He used to
work the door [at the Spectrum Cabaret]. He was
always cool. The girl [in The Crash Test Dummies],
Ellen, one Halloween, she was dressed as a belly
dancer and we all flipped, we thought she was the
sexiest chick in the world. 'Chick.' [In an Austin
Powers voice followed by much laughter:] Yeah,
baby, yeah! Dig it baby.
I want to know a little more about your uniforms. I
think you should sell them at the t-shirt stand, the kids
would go nuts!
Sean: Ha, yeah. Uh, we have a friend in Toronto
who makes them for us. He does Snug, his name's
Greg. I grew up with him, he's one of my best
friends. So when we started the band, we started
wearing suits, and when we went to Toronto, asked
him to make us suits.
Rod: This is actually just old stuff I used to wear as
a kid.
What's this about a music festival Duotang played
where Peter Jenner, ex-manager of Pink Floyd and
The Clash, was present? Rod, didn't you mess up
his name?
Rod: Yeah, yeah, well that was the only person I
wanted to meet at this conference. So I went in,
went in to the front desk, and they said, 'Well, who
were you going to see?' And I said I just wanted to
meet Peter Penner, and he was standing right
there, right beside me, so ... But then after that, he
forgave me and we had a great time, we sat for
hours, talkin' about Pink Floyd, The Clash and Billy
Bragg, all sorts of stuff.
And I heard while the two of you were talking, quite a
crowd gathered around you guys.
Rod: It was a whole group of people, and Duotang
was pretty new at the time, so I guess somebody
said let's all go see Duotang tonight, and he went
to the show, it was really cool.
How do you fare against your label mates in tour
antics? Like who is the king on Mint?
Sean: Smugglers ... When we went on tour with
them, they were like our big brothers ... they're just
like the best guys to tour with, the funnest... We
can out-drink them. They think they're drinkers,
they think they're party animals, but they're not.
How was it being ranked as second on the national
indie rock charts for '96?
Rod: It was pretty surprising considering we're a
pretty new band.
Your record had only been out for half a year?
Sean: Yeah, that was really good. That's one of the
things that I would say, personally, that I'm most
proud of, but you know, I mean a lot of the
records, I think that every record that came out
on Mint that year went to number one, but it
seemed like our record ... it kinda shows our fan
base too, we didn't make it to number one — we
got to number two — but we stayed on there for a
long time, you know.
Would you be interested in taking part in a tag-team
battle royal with other duos like The Inbreds, Sturvis
or Deja Voodoo?
[Rod falls over laughing]
Sean: We already fought, had a tag team battle
with The Inbreds, and uh, we kicked their butts.
So they had to get a third member in the band to
kinda even it out, ya know? 'Cause we're dirty
Rod.* Deja Voodoo are too old.
Sean: So uh, is this band from Vancouver, the other
one, are they the new band?
Sturvis, yeah. The drummer wears a wrestling mask.
Sean: Really!
Rod: Jesus!
Sean: Well, you can look flashy, but they're gonna
have to earn their stripes, and maybe in a year or
so we'll think about it. We have to talk to Don
King first.
There you have it! When the boys took to the stage
later that night at the Niagara, they were introduced by emcee Grant Lawrence, who warmed the
crowd up for the perfect pop that was Duotang.
Suddenly, all was chaotic as Sean pounded on the
drums and Rod busted the beats on his bass, to
songs which seemed double in time compared to
their recorded offerings. Needless to say, the show
was the cat's meow. Rod and Sean will be back in
Vancouver shortly to shoot a video for their song
"The Message". If we're lucky, maybe the boys
will play a few shows for us during their stay.
Listen to Nightlines on CBC Stereo, because
Duotang just may be doing an Hour of Power soon
with David Wisdom. By golly, If that isn't enough,
smash the ships and raise the beams kids, they
plan to record their new album during August,
with a slated fall release!*
More Info: http://mintrecs.com
<_?   E^ga_©3£ ClTnterview bv Sydney Herman^.
photos by Barb Yamazaki
Tullycraft + B
On a Friday afternoon,,    \
SL  Louis,  MO s and Seattle,   WA'* |
showed up on our side of the border to .
take part in a fun-filled night at the Anza Club.
Sydney Hermant was there to ask the indie-pop ■
folks some questions ... _ J
the interview
DISCORDER: OK, why don't you Introduce
Jen: My name's Jen and I'm in Bunnygrunt
and I play bass.
Matt: My name's Matt and I ...
Jen: No no no no, we're doing it in rounds.
Matt: Well, it's not as though the tape
recorder can tell who's in the circle.
Jen: Good point. You're providing us with
the questions, of course.
Umm. No? Am I? Hey, I don't think everyone has Introduced themselves.
Jen: Okay, Matt, do yours again.
Matt: No, I'm not talking anymore.
Tullycraft is: Sean on bass and vocals,
Gary on guitar, Geoff on drums.
Bunnygrunt is: Matt on guitar and vocals,
Karen on drums and vocals, Jen on bass,
Chris on guitar.
Jen from Rizzo was also along for the ride!
I want to hear the Corn Palace story.
Sean: You stopped at the Corn Palace,
Gary: We did the driveby.
Sean: You didn't pull in?
Matt: Yeah, well, we drove off the road
and we found it.
Gary: I think the little silhouette drawing
on the newspaper of the Corn Palace is
more exciting.
[They all concur.]
Chris: The banner ofthe newspaper has a
drawing of the Corn Palace beside the
South Dakota Times.
Gary: It could be Bagdad.
Matt: It could be the Kremlin.
Sean: Well, I noticed that when we were in
that town, that no matter where you are,
it's not a big town, that there are signs,
everywhere you go, that point:  'Corn
Palace - that way, 4 blocks' ... and it is
the centre of the town.
Matt: ... and all the directions for everything say like 'McDonald's, just two blocks
from the Corn Palace.'
Where is the Com Palace?
Matt: It's somewhere in South Dakota.
Sean: Corn, South Dakota.
Did they name the town after the Corn
Gary: It was Mitchell, South Dakota.
All: Yeah.
So what do you do when you go to the
Com Palace?
Sean: I can tell you, I've been in the Corn
Palace and you know what it is? It's a gymnasium  where they have their State
Championships, basketball. It's true.
Matt: Yeah, they said that the Harlem
Globetrotters were coming next week.
So it's all this hype and it's a gym?
Matt: Well, the outside of it is a Corn
Jen: It's made out of corn.
Chris: It's like corn sculpture on the outside, it's the most bizarre thing.
Matt: It's like the Kremlin.
It's completely edible.
Gary: Except the door handle.
Chris: When it gets hot in the summer, the
building explodes!
Then it's the Popcorn Palace!
Sean: But, you know [that] they have
tables with flags from every state and
there are these books, and you can track
people from your state and who have been
there   recently;   they   probably   have
Vancouver and Canada.
Matt: The FBI uses it.
Sean: You are supposed to sign in, and
then say, 'Oh look! Betty was here two
months ago!'
Chris: It's a good thing we didn't stop,
because Gary's a felon.
Do they have postcards?
Sean: Oh yeah, they have tons of postcards because every year they rebuild it;
the birds eat it, so every year it's a new
Chris: But it always looks vaguely like the
So, do they have pilgrimages?
Sean: You should organise a pilgrimage —
sign me up on your pilgrimage.
/* J4*H»199?^ unnygrunt
Bunnygrunt L to R:
Chris, Jen, Matt
and Karen
Tullycraft L to R: Jeff, Sean
and Gary
Karen:  Oh,
■■■■■■■K** just a stupid little
university in St. Louis,
a couple of blocks from my
parents' house.
Gary: SLU, Stupid Little University.
Okay, the Corn Palace story exhausted
me, why don't you start asking each
we should explain for
the readers that may be confused, why Gary [of Tullycraft] was with us
[Bunnygrunt] because Gary was with Jen,
Chris and I as we drove across the country.
Jen: And maybe we should explain why
Karen wasn't with us.
Karen: Because I'm not allowed to ride in
the car anymore.
Matt: We were coming out here to these
shows. This show and a couple others,
and Gary, at the time was in Chicago.
Gary: Doing some B-side work for the
Pumpkins [laughter], doing some session
Matt: And so we picked him up and drove
him across the country and showed him
the Corn Palace.
Sean: And Karen didn't come with them
because she refuses to tour in a car —
she flies to all her shows on super limited
Matt: Yeah, we only had six days to do this
so it would have been cruel and unusual
punishment to have Karen ride in the car,
play the shows, ride in the car and go
straight back to school.
Karen: And plus, I'm wimpy.
Where are you going to school?
Sean: Bunnygrunt, this is Sean from
Tullycraft. Do you have a new record in the
works or are you planning a new release?
Matt: Funny you should ask that, Sean, I
being Matt. Yes, we do have a new record
in the works.
Sean: Really? When is it coming out?
Matt: I don't know.
Sean: Well, well, what label is it going to
be on? Where should I look for it?
Jen: You will be able to find it in your local
record store, it will be under 'B.'
Sean: Do you know what the cover is going
to look like?
Jen: We are not at liberty to say at this
Matt: Hey, Tullycraft, do you have a new
album that will someday perhaps be
recorded and released once the songs
have been learned?
Sean: Well, you see now we just got Gary
Tullycraft back from Chicago two days ago
and I do have to teach him our new songs
and we do have an album's worth of material to be recorded and it's going to be out,
in late summer — yeah, in late summer.
Gary: Are you thinking, Bunnygrunt —
Chris especially — that yours will be out
by late summer?
Chris: Oh, gawd, no. It'll be lucky to [be in] '97.
'e're putting
an  album?
've been told
that  Geoff Tullycraft
sometimes wears a lion
suit when he plays drums —
that true, Geoff?
Geoff: I don't know what you're talking about.
Jen [Bunnygrunt]: I've seen Geoff in the
lion suit and he's super handsome.
Jen [Rizzo]: I've seen Jen in it, and she
looks super good.
Jen [Bunnygrunt]: It's true, I do look good.
Karen: Who's that speaking?
Jen: My name is Jen and I'm from Rizzo.
Karen: Are you the Jen, bass player for
Jen: No, not the bass player from
Bunnygrunt. Although I was earlier today.
I'm playing keyboard on one song, in
Tullycraft. [Here's] my question [for everyone], including DiSCORDER. When is the
last time you threw up from drinking and
what was it like?
Sean: Karen, last night!!!
[Everyone laughs.]
Karen: I did not throw up from drinking last
night. I could probably say that I have
never thrown up from drinking, but I'm
sure I'm getting close to that day.
Jen [Rizzo]: Alright! She's 24, the other
day, by the way.
Happy birthday.
Karen: That was yesterday.
Geoff [to Jen Rizzo]: You did this for my
benefit, didn't you?
Jen [Rizzo]: Geoff, what is your story,
cause I haven't heard it.
Geoff: I went out and got drunk a couple of
weeks ago, came home and threw up out
live together and on Valentine's Day we
had a housewarming party and I was drinking gin and tonics and finally I had to go
into the bathroom and throw up. I had
decided after that it wasn't a good idea to
drink gin and tonics anymore, so I left the
bathroom and went and got myself a beer
and continued with the
housewarming party.
That's so punk rock.
Chris: I had good toilet
Jen: Not to mention there
were people having sex in
the bathroom.
Chris: Yeah, we were having
other problems that night.
Sean: That doesn't sound like St.
Gary: That doesn't sound like problems!
Chris: When it's not you and you live
there. It's like, man, people are getting
action in my house and I'm not.
How many of you have been to Vancouver
Matt: Gary, Jen [Rizzo] and Chris.
Besides the Nardwuar show, did you get
taken on a tour or anything?
Matt: Not this time.
Jen [Rizzo]: That was introduction enough.
What's your favourite thing about
Matt: It's beautiful.
Jen: I like the socialized medicine.
That might not be around for much longer.
Jen [Rizzo]: The mountains looming over
the town.
Jen [Bun]: I like the coins.
Jen [Rizzo]: I like the accent a lot.
We don't have an accent, you have an
Jen: No, you do.
No, you have the long 'A's.
Americans: 'Ab'out 'ruff
Sean: My favourite thing about Canada is
Celine Dion.
She's pregnant and is taking time off her
multi-million dollar career.
Sean:  She  is  the female version  of
Meatloaf — she wears capes and she's
very dramatic.
Sean of Tullycraft makes a
zine called Thrill filled with
indie rock scene reports and
reviews, lots of photos (mostly of bunnygrunt) and it's free
so you can write him at: PO
Box 20639, Seattle, WA,
98102, USA.
Jen of Bunnygrunt also does
a zine called Panaphobia all
about panaphobic people in
the indie scene and their phobias, including Vancouver's
own Gaze and cub. Write to Jen
\at: Septophilia Records PO Box
3461, Maplewood, MO,
\63143, USA.
If you have already begun
\writing away for these zines,
\give yourself 20 indie cred
is ^m&umm c
It's Wednesday night at the Town Pump, and the bond is running late.
The room is black: lights down, standing room only. The crowd is getting restless when the music chonges to a boy's choir hymn. Spotlights
illuminate the instruments as though they are sacred objects: drum kit, single snare drum, microphones. Smoke hisses out inlo the room, billowing
up into the light. The boy's choir is replaced by a fast, industrial beat, layered with a fanfare thot wos probably used to introduce Nazi rallies. The
crowd fills fhe floor expectantly, waiting for the climox and for the bond
lo appear. No chonge. The beat is unremitting, the fanfare swells, the
smoke keeps pouring up into the lights. Someone yells, "get on the fucking stagel" Still no band. All the trappings of spectacle ore in place, the
spectators are here, but the individual band members are missing.
Laiboch strikes again: welcome to the Jesus Christ Superstars tour.
Laiboch is a Slovenian industrial bond known for its politics as much
as for its music. On this "promotional" tour, Laiboch is playing with religious symbolism in the sanne spirit wilh which they hove appropriated the
trappings of militarism and industrial production. The lead singer finally
appeared dressed as Jesus instead of the usual militaty-outfil, and the
band members wore clerical collars. Jesus Christ Superstars is a continuation of past tours such as Occupied Europe or NATO, with the main
difference being the target audience. Previously Laiboch has mostly concerned itself wilh critiquing an Eastern European brand of totalitarianism;
now they put the Western illusion of individuality on the block in this program geared toward Western audiences. By using the name and covering the title song from Andrew Lloyd Weber's monumental musical,
Laiboch suggests lhat lurking beneath the Western dream of individuality lies uniformity; the entertainment industry is a propaganda tool in the
West as much as art is subject to political manipulation in the East.
The name Laiboch is the original German name for the band's hometown of Ljubljana, Slovenia. I spoke with Ivan of Laiboch before the show,
and when asked why they chose the German name, he replied, "We did
it instinctively ... simply because there was a certain anti-German sentiment in the air since the end of the Second World War; Slovenia has
been pretty much occupied by German mentality and culture and so on.
This name has been a kind of forbidden — not forbidden officially — but
a forbidden symbol." By resurrecting the name, Laibach point to a troubled Slovenian history of foreign occupation (the Hapsburg Empire, Nazi
Germany and Tito's Communist regime). Forming a band under ihe name
Laibach in 1980 was also ihe first step in an ongoing project to rectify or
rejects his individuality." The aim of the band was to produce a creative
illusion of a totalitarian structure and to operate within it freely; to individualize fhe collective, not collectivize and socialize the individual. Band
member anonymity does not repress individual creativity but rather serves
as an open admission of the industrial nature of music industry ond artistic production, laibach makes industrial music, and os Ivan points out:
"The way we use the term 'industrial' wos more the principle of work
itself We ore producing our product in an industrial way; it goes through
severol different hands before il actually reaches the consumer." As well,
Laibach believe that the only way lo neutralize the power of ideology is
to deliberately appropriate the trappings of that ideology. Ivan comments,
"We use political language in pretty much the same way as poetical language ... the only way lo avoid being part of a political reality is lo actually use the same language." For instance, on the eve of war in the
Balkans, Laiboch played to o sold-out audience in Sarajevo. One band
member, dressed as a military general, gave a thundering speech lhat
was a collage of speeches by Tito, Hitler, and the local Serbian nationalist leaders. Thus Laibach may seem to have duplicated fhe totalitarian
regimes they oppose, when in foct they are holding up a mirror to society
and popular culture.
Another lactic of social critique is Laibach's re-working of popular songs
like "Sympathy for the Devil," "Final Countdown," "Life is Life," and
"Jesus Christ Superstar." The music is all Laibach wilh the grond choruses and techno military beat, but these songs gain new significance in fhe
context of Laibach's political aims and origins. Rock songs — supposedly
the embodiment of freedom and rebellion — are used to illustrate fhe
totalitarian workings of Eastern and Western systems. Laibach's covers
also challenge the concept of copyright in on industrial, digital world.
What is a "copy," when the "original" record is mass-produced on an
assembly line? As their Covenant states: "We proclaim that copies have
never existed."
The members of Laiboch founded NSK (Neue Slowenische Kunst) in
1984. The group was conceived as an art collective (literally, New
Slovenian Arts) that also included the visual arts group Irwin, and the theatre group Cosmokinetic Cabinet Noordung. Laibach represented fhe
ideological component of the collective, Noordung the religious, and
Irwin the cultural and historical aspects. They were soon joined by fhe
Department of Pure and Applied Philosophy and the New Collectivism
design section. The aims of NSK originally were similar to thot of
Laiboch: on attempt to free art from servitude lo the state propaganda
machine, and through art to form an autonomous social group. NSK,
like Laibach, believe that "traumas from the past affecting the present
and the future can only be healed by returning to the initial conflict." For
NSK, a key conflict occurred between fhe world wars when futuristic,
Utopian, avant-garde art forms were appropriated by emerging totalitarian regimes like Nazi Germony and Communist Russia. In order for
these states to represent themselves as the ideal social structure, they
transformed the avant-garde's Utopian dreams into Nazi Kunst and
Socialist Realism. NSK, in turn, appropriates these art forms as well as
the original modernist styles in a unique collage of past, present and
future, creating an art they call retrogardism. Emulating many avant-
garde artists of ihe 1920s and '30s, NSK formed as a collective in order
lo build new social structure.
In response to the creation of new Balkan states as well as the growing power of economic blocks like the European Community, NSK was
re-created as a meto-national state in 1991. NSK claims no physical territory: the state exists temporarily as a "living social sculpture." By declaring NSK to be a "stale in time," the group had created an extra-territorial
state dictated by art, a "state of the art" as opposed to art for the state.
NSK does not challenge the sovereignty of any other existing state, but
rather materializes and coexists peacefully within and without other states
for a period of time. For instance, in 1993, the NSK state was temporarily declared in Berlin's Volksbuehne Theatre for a period of three
days. This was the first peaceful occupation of a foreign country.
Entrance was restricted to those holding NSK passports or visas (which
were freely available to anyone regardless of gender, religion, or ethnic
origin at the "border"). Thus NSK proved that a state need nof exist in
opposition to other states or build walls around itself to preserve a national identity.
NSK is an example of a state founded on offinity and coalition rather
than on ethnic nationalism. Ivan confirms ihe rumour thot some Bosnian
refugees crossed international borders using NSK passports In Central
Europe, ol a time when ethnic tribalism is the cause of war among former
neighbours, NSK is a realized Utopia (literally a "nowhere place") lhat
is inclusive, non-aggressive, non-aligned: a state whose citizens were all
Laibach plan to return to North America, perhaps with NSK to peacefully occupy some part of the continent. I vote for Disneyland.*
To access the NSK Electronic Embassy:
Passport applications are also available at this site, or send requests to
NS* Information Centre c/o NSK POBox 75, 61117 Ljubljana, Slovenia
Sxcitirg Pop sounds
"exit planet right1
13 song CD/ $12 ppd
,»>       "IfeltgkWybythtir
}{ rhythmic, pop-punk
t6 j**H* f99?^ DIRECTORY ADVERTISING RATES *gst extra
Full Page (10 1 /4n w x 12" h) $348
Half Page (10 1 /4nw x 5 7/8" h) $223
Mag Size V (3 1 /4nw x 5 7/8" h) $96
Mag Size H (5n w x 2 7/8" h) $84
Pauper H (3 1/4" w x 2" w) $40
Pauper V (l"wx4"h) $40
Call the Ad Captain at 822-3017 (ext.3) and book your space NOW!
'.CASEQ/BM lY.yiDM|^-ii\X.-tt M IkVVV   .
M«(WMl^)iCID:JAZZ^H«»MW i W\%\ '
Pkommm beats*brem^ ;*" w
.'.:  TECHNO iimK'>-r:
mm* » mxmm w mm tm « ®m&m
(elaborate below)
DESCRIPTION (15 words or less):
BEFORE July 15, 1997
233-6138 SUB Blvd., Vancouver, BC V6T1Z1 M604J822-9364
Another Plebeian
CD available now!
This Apparatus Must Be Earthed
CD/LP in stores July 1
in Bazooka and the Hustler
CD/LP in stores July 1
Live @ Brickyard - June 14
J Sooio Unyon stuff available fay mail - CP $12 post paid j
Sonic Unyon Records POBox 57347 Jackson Station, I-
email jerks@sonicunyon.com     www.sonicunyon.com
phone 905-777-1223    fax 905-777-1161
nilton, ON, Canada L8P 4X2 Ioley
well. And, well, becouse
when 7"» need be left behind, us
in-house 7" experts ore o-takin'
over ihis monlh. Lots of li'l round
ones lo listen lo, little time to talk
obout 'em. So, enjoy ... ond pray
for Ms. Marvel's speedy recovery.
Cuz you wouldn't woo^tob*:..;,,
»luck with us pgoin
The jp*eiy: Harriet records
label, out of Massachusetts.
 f.  ...  ..
something cool to be heard.
Tullycraft's "Heroes and Villains"
celebrates a new and enlarged
version of the band, with help
from Chris of Incredible Fore*
of Junior ond   Sean Tullycraft's
spring catalogua, with o
whopping four reledspsi
They're oil noteworthy, «o, uh,
toke note: rifsl up, the latest o\
faring frftm Seattle'*)
tUUYCRAFTjyou know, that
fciand with fofflW Crayon and
Wimp Factor T4 members^
Who shor« this single with los
Ancles bond RIZZO. Both of
thos* bands contributed nifty;
trpek. ^^angAtaffrc/coml ;
piltsjioo on ChbrDcl records,
these tmi.^m»x3(e fosttis Catchy
poppy happy peppy. They are
heart. Jan Rizzo This song, re-
< Ord$d Bve ot sorrie drunken parly
Jwelf, the people ihere probably
s fury and reveals a less
cutesy SeqiY'as
the other hand, i
of the eight (?) tracks while record-
Rental Raccoon:* harmonies,
wacky lyrics, and multiple guitar
bits that ore so simple but oh so
pleasing. Your secret crush will
turn into so much more, friend.
Harriet-r #2: we bring to you
Ihe new VEHICLE FLIPS 7", one
of the best singles this month.
'Terminus' b/w "Salod Bar"
is somewhat of o departure
from the previous "indie
pop'-ness of their earlier recordings — this is almost
postrock, whatever the heck
lhat means. Side A is Tortoise-like in its bass-heavy,
groovin' mellowness, but with
Superchunk vocals. Cutesy
Slint? Maybe. It's long and excellent and a treat lo discover. The
olher side is more upbeat; this
waltz isn't too catchy, but is still
toe tappin'-inspiring — grab yer
fove dancin' pardnerl
Numero Ires is TOKIDOKI,
more indie-pop. The songs ore
similar to the cover: no, not purple ond yellow, but kinda fuzzy
and cute ond a little young-ish.
This "News Days* +2 record exemplifies "minimalist" in ihe best
possible way. Nora and Peter are
Chicago twee-sters who play
acoustic guitar and keyboards
and write sincere, lost-Jove ditties
which seem to imitate ihem Softies. Hey, ihem Softies should be
flattered, not insulted.
OK, lost in our Horriet
package comes courtesy of
ORANS, a mediocre sampling of folky stuff. The 7"
sleeve is tacky in the foke-mor-
ble-with-fake npped-paper-
overtop-collage way and, onci
again, the songs parallel the ai
Julie and Romona write pretty
enough songs and we can appreciate fhe folky melodies and
jangly guitars in Side B's first
song, "Paper." The other two
songs, however, are bogged
down woy too much by the "extra guitars* by o certain Jerry Kyn,
causing us ta cringe at the psych-
edelic results. Not Julie and
Ramona's fault! (Harriet, PO Box
649, Cambridge, MA, 02238)
Another split, this time one
who wins ond one who ... passes.
Simple Machines' residents IDA
have written "Maybelle," the first
recorded song to showcase the
addition of new bassist/vocalist
Karla to the already extremely
harmonious New York trio. Karla
makes Ida's lush hi
belter. Everything is good about
Ida: meandering, worm gui
without pretence. Makes the skull
tingle. The other side of this single is filled with Karla's other
bond, BEEKEEPER, who are a Iit-
dare we say, grungier sounding.
'Wait 'til Then' just does not compare to the Ida trock, but who says
you have to turn over the record,
anyway? (Simple Machines, PO
Box 10290, Arlington, VA,
Time to out the punk winners
of this monlh. There're two new
great queercore 7"s to rave
about: TEAM DRESCH and
Team Dresch v6.0 beta is on the
ultro-cool Oulpunk lobel/zine and
was recorded right here in Vancouver when they were in town
last winter for ihe Rock For Choice
.ftpfh song* ore a
 /than their previous efforts, but anything jody
Coyote produces is worth listening to. Ifs still fast, driving intell'*-
punk fpf:th»ltrong and brave at
heart. (Outpunk, PO Box
170501, Son Francisco, CA,
Another US band wilh a Vancouver connection. Pansy Division '*s:b«w one, Monodo, is O
Canodign-only release on our
yery own Mint Records. Could
this be the first goy-core Canadian anthem? Guess so, but
it's obout time, eh? And ihey're
doing more than most of us to
"unify" ita country by providing us with a Quebecois version
of "Manada" on Side 2. Same
purty hormonies and sassy humour (polcfn1 fun at the "Canadian" haircut) os ever. (Mint,
PO Box 3613 MPO, Voncouver, BC, V6B 3Y6)
And ot last, our finol 7" review is 100% Canadian and locol, too! CELESTIAL MAGENTA
us with rock, bordering on metal,
music with all the tricks: strong
vocals, feedback, and powerful
'      both
and   "Anothe
One," the promin
carries the tune and often gives
a sense of suspense. (Celestial
Magenta, c/o #5-3217
Heather Street, Vancouver, BC,
V5Z 3K4)*»
tt'tgfrss^" <^*r*.s*--#<^!+y"V*^ >
New  Records on Hopeless
tofmk"1* Heckle
iscography, includes
J and live tracks
"The Complicated Futility of ignorance"
New Jersey Hardcore, West coast
jets east coast fury.
Mustard Plug
"Fvilrlnp-rc Rpuuaro"
"Evildoers Beware"
sophomore release from
Michigan's ska-punk kings
All   prices  postage   paid   in   the   US,    add   25%   for   foreign   orders
Disnbuted By: FAB, Sonic Unyon, Scratch, and Cargo Canada
fg Jwie. 4997 \ basslines     _°
by dj noah (dJnoah@cyberttore.ca)
On Thursday, May
8th, The Chemical     Brothers
played in Vancouver to a
souled out crowd at The
Rage. It was a show reminiscent of the raves of the early
'90s. The visuals were flashing furiously behind the brothers as they "worked out" their
1 1 /2 hour set. It began with
a taste of "Leaving Home,"
the first single off their last
album, and expertly weaved
info "Block Roc km Beats" and
on into a "Setting Sun."Thetr
live version af litis track was
a tribute to their talent and
knowledge of this evolving
world of gear [that's musician
talk for pieces of electronic
equipment). What was particularly spine tingling was the
time  stretching  of   Noel
Gallagher's vocals, a tech-
'   ch   was   made
thanks    to    T
Power, a pioneering jungle act from the UK
The spirit of peace ond the
pure love of music was in the
air that ftrgfit, and the boys
from across tlie ocean did not
disappoint Still to come this
summer on Thursdays at The
Rage are Phaedra,
subClassic, Doc Martin, and
Hardfloor, all presented by
Dose who have opted for the
stability of a club to present
their shows, rather than the
unpredictability of warehouse
Some quick reviews for
you this month as well. The
TRANCE EUROPE EXPRESS 5 compilation put out
by Volume is the best of the
series so far An impressive
lineup that includes
Marshall Jefferson Carl
Cox and Christian Vogel,
TEX 5 explore* the complexities of electronic music,
from minimal, to funky, to
jungle. Twenty-three
songs and a booklet on
the artists featured, Volume releases some of
the  most impressive
that it is possible for an artist
to be ahead of the times. We
call them pioneers.
Every once in a while an
album comes across my
sound system that throws a
wrench into the logic machine. When you are used to
a certain consistent sound
from an artist, it is somewhat
of a shock when you hear
something that's off on a tangent. Usually, SPEEDY J
records smooth, upbeat songs
ever  find
shelves    around
From Logic Records
come the latest release from
Beltram Live is a mix of his
own releases, along with
some classics from his record
crates. Some of these tracks
date back to 1985, proving
with slick production. However, this time he wanted to
record some darker material,
and Public Energy No. 1 is
certainly born from the river
Styx. There is a melancholy
ambient and darkside drum
V bass on this 1 1 track experiment in blackness and
serves notice that Joachem is
a more versatile artist and has
now added a hint of
unpredictability to his work.
Locally, I've got three
gems to tell you about. Ian
Cognito and Jeremy Harrison
are SUBCLASSIC, and have
independently released Mum,
their first commercially available album. It is a mix of
styles, from goa to techno
(circa '92) to Eurpo-pop,
ind has been selling out
in local record shops
The several years
Ian and Jeremy s,
in London is obv
in   their  sound
Robert Shea
iecords   is the
vaited    Ethnic    Dub
Symmphony in Ten Parts by
on this CD are "Gunjoh" and
"Shift," both of which appear
on Welcome To Lotus Land,
as well as "Sacred Grounds,"
which has never been avail-
ible to the public, unless you
s that
s Map
heard it pbyed by a DJ who
was lucky enough to have received a copy of one of the
500 pressings that were done
a few years ago, $» intricate
sone structure that San is able
to maintain in all his songs
display his God-<ffYen talent
for absorbing knowledge
about the way sounds are created and manipulated. Not to
be outdone by the roster of
artists that Robert has assembled, Subduction Records
has put together a nine-
track, three-artist compilation that features SECT
(Romeo Lakovic), and
PHOMA (Stephen
Rosin). Cube is the first
release from Subduction
and catapults the listener
into a world of floating ambience and experimental
beats Watch for more
from this label before the
Next month will be an expose on BLUE WATER SYSTEMS, as well as reviews of
^J\jj\rs^—~s\dy*~*~^^       —/\jJ\r*>*—/\jJL-**—-AjJI/^-*—<\jJlr«*—~A-<Jjp~*—'wlr^
Natacha Atlas is the last
of the "big names" to come
off the Nation Records label,
following bands like
Transglobal Underground, Fun-da-mental,
and Loop Guru. Indeed, this
album was produced and
mixed by Count Dubulah, A.
Ahlan, and H. Manfu from
TGU, so the sounds are similar in tastes.
I first heard of Natacha
Atlas way back in 1994, on
Jah Wobble's Take Me to
God LP. Natacha Atlas stuck
out on that album, which,
unfortunately, is more than
what she does here, on her
own eponymous LP. This album is neither truly the ethnic
house one comes to expect
from Nation, nor is it real ethnic music, but instead it falls
into that flat category of people who try too hard.
I have my own theory of
why this album doesn't pass
muster and it doesn't have
anything to do with the talents
of Atlas herself — I think it is
because her musical tracks
don't complement her voice.
Another musical ensemble -
- someone more cutting edge
like Loop Guru or Banco de
Gaia — may have gelled better. If she wants to compare
herself to other ethnic divas
like Mercedes Sosa, then
Atlas had better come up with
a more passionate effort.
The Start it Up (Claude
Young Romixos)
I first heard this song on the
sensational mixed CD Jeff
Mills — Live in Tokyo. The
tracks are extremely dj-
friendh/ with a long and layered percussion intro that
builds continuously like
Yaletown. However, this track
has none of the congestion
and slimy yuppy infestation, just a low driving kick
drum and a bongo drum
sure to drive you mental
and create a torrent of
sweat down your spin. Not
a lot of music here, just relentless beats and bass.
Whatever   and   Ever
Ben Folds used to be an ex-
lounge piano player and
punk guitarist. Now he writes
better oo-ooh and bo-bo-ba
pop songs than Sloan. I just
can't bubble exuberantly
enough about this guy. His
backup band is an incomprehensibly subtle jazz drummer
who still rawks and a bass
player who thinks he's Eddie
Van Halen (or one of The
Inbreds). Ben himself tickles
the ivories and sings passably
well. But his lyricsl Gosh! He
can go from "I want my
money back/ Give me my
money back/ You bitch/ And
don't forget my black t-shirt"
to "I poured my heart out/ It
evaporated ... see?" He really does redefine pop in the
most ironic of ways, from his
band name (there're only
three of them) lo his hidden trock
at the end. This is definitely the
soundtrack to my life.
Blue Veil
(Independent, #342-916
W. Broadway, Vancouver,
Blue Veil (formerly known as
Stella) are a Vancouver
group which has appeared
from out of nowhere with a
solid debut CD. If has immediately landed in the repeat-
play pile near my compact
disc pbyer. Built on a foundation of noise, hiss, and
overdriven guitars in a
Moonsocket/Eric's Trip
fashion, the songs are folky
in their sparse arrangements,
vocal style and minimalist
composition. At the same
time, they still provide
enough oomph to more
closely resemble a drummer-less rock band, sometimes resembling Mecca
Normal in the process.
Although many of the
songs feature some percussion, this male/female duo
focuses your attention on
voice and electric guitar
through a dozen warmly
downtrodden songs. Another
one straight from four-track
and onto silicon, so if you dig
the lo-fi tip and noise-en-
songs,  blue Veil is
well worth checking out.
Brian Wieser
Lonely Days EP
This is the 23rd release of this
ever reliable German label.
The EP contains three versions
of the song "Lonely Days."
The A-side has a very long
narrative intro that's a little
cheezy. The B-side contains
my favourite version, "The
Club Version," which lacks
the vocal bits, and a harder
automotive "Saw Mix." The
tracks are clocked at 145
bpm and are very high energy and trancey. All three
versions have an underlying
303 theme with the essential
breaks, builds and rolls that
get glow sticks waving.
Cyberreality w/Age of
Cyberspace, Outland
Another high-power alien attack from Transient which is
sure to eclipse your senses.
Nothing overly unique in this
release, except for fhe presence of the somewhat apocalyptic ambient track,
"Outland 9027." The songs
are in the mid 140 bpms
GOA style and are sure to
captivate the floor with the
layered soundscapes and a
man with no name kick drum
to the head.
Long Days Ride Till Tomorrow
You (or af least I) have to love
a band that records songs at
2:30am and uses plastic bottles and glass and hand slaps
as percussion. In many ways
this album is the most honest
of oil of Eric's Trip's stuff. On
one early track Julie sounds
just like she's ripping off Kim
Gordon. On the last track
she's singing backup and you
can't tell if she's laughing or
crying or drunk. The band
seems to mature before your
very ears. My friends criticize
Eric's Trip for being sloppy,
but the calibre of songs on this
outtakes album is so high that
you can tell they spent hours
mulling over what was best
This is definitely an album lor
all those people who sit up
until 2:30am playing plastic
bottles thinking they're the
City of Refuge
(Tim Kerr)
John Fahey is one of those
rare people who you would
want to bring along an acoustic guitar on a camping trip.
As undisputed master of
folk blues for the past several decades, he has come
up with some of the simplest, most pure "unplugged" music around.
However, his new album,
City of Refuge, provides a
stark contrast to what you
might expect. Full ol industrial-
type ambient noise and background sound, it sounds like
Elizabeth Cotten held hostage by Einsturzende
Neubauten. Granted the
two parts of the title track,
which take up about half the
album, are much more
straightforward, more synonymous with the laid-back sound
he's best known lor. This is
sandwiched between some
pieces lull of the above-mentioned atmosphere — it all creates a sense ol urban decay
or alienation. Not the bucolic
sorts of images I'd expect to
be running through my mind
when I listen to Fahey.
In particular, the album's
closing track, "On the Death
and Disembowelment of the
New Age," seems like it might
even be a little dig at some of
the many sensitive, new age
guitarists whom Fahey has no
doubt influenced. Twenty minutes of eerie found sound, it
would be something better
suited to the Mute record label
than, say, the Wndham Hill one.
This album should really
be heard in its entirety, and
most importantly, it should
really be heard. And even if
you don't take my word for
it, it's endorsed by that
Michael Jordan of post-punk,
Thurston Moore. Is he getting royalties?
Michael Chouinard
Live Wired
(Off Beat)
This is a wiring experience of
local industrial music, live.
Packed into this double album
is some of Frontline Assembly's better known material, like "Millennium." The
best way to experience Live
Wired is to kick bock, relax,
ond really listen. Some of the
sounds created just bbw the
mind. Frontline Assembly carries a morbid tone, but it's
wonderlul. One can get well
into this industrial. Frontline
Assembly is extremely unique.
Marktu Schmid
Blow Your Headphones
(Ninja Tune)
To use hopelessly dated terminology indicative ol my sad
fixation with the '80s: "Totally
awesomel Rad, dudel" Oh,
wow, like, I leel like, Sean
Penn ... Nevertheless, this
very inspiring effort from Jake
Wherry and Oliver Trattles is
a cut above their last LP, Remedies. Along with Funky
Porcini, DJ Food and DJ
Krush, The Herbaliser is
defining trip hop for the late
'90s, creating the standard
for the genre that easily can
be called "illbient," or merely,
"rap tracks without the lyrics."
(Well, that is the best way to
describe this form of art!)
Noticeably absent from
this sophomore LP is the outfit's uncanny and silly fetish
for violent gangster epics like
Dirty Harry and Martin
Scorsese flicks. This time
around, the inspiration tends
to be simply awlul early '80s
cop shows. Is that an improvement? Well, it is in my mind!
Tracks that jump out at
you and churn your brain into
a beat-pounding sensation
include "Ginger Jumps the
Fence," "Mr. Chombee has
the Flaw," "Shocker Zulu,"
and "Theme from Control
Centre." And as ever, as with
all mechanised outfits, the
track titles are absolutely
meaningless. That's the
beauty ol it all. Absolutely
meaningless ...
Quantum Butterass
(Independent, General
Delivery, Sackville, New
Brunswick, E0A 3C0)
Considering their popularity in Canada, it's always
surprised me that The
Rheostatics haven't inspired very many imitators.
Once an innovative band
gets to their level, every big
city tends to spawn a few
groups that wear their influences on their sleeves. That
being said, I was happily surprised to hear Rock Plaza
Central for the first time.
Similarities with Etobicoke's
finest are both coincidental
and intentional. I say coincidental because of style; the
songs are acoustically driven
pop-rockers with liberal use of
dynamics. Instrumentation it
banjo to complement the foundation of bass/drums/guitar;
and the lyrics are stories unto
themselves, complementing
fhe creative and interesting
songs. At the same time, any
comparisons could be considered intentional because two
"guest" artists on Quantum
Butterass are brothers of the
Rheostatics' Martin Tielli, John
and Douglas.
If imitation is the sincerest
lorm of flattery, then Rock
Plaza Central is paying a
great compliment to a great
band. More importantly,
they've managed to make
one of the most enjoyable
records of the year.
Brian Wieser
Guitar Obstacle Course
(Trackshun Industries)
Bub: "This record would
sound beautiful if it was recorded wifh acoustic instruments. The distortion ruins it
oil, damn it! It's to chaotic. It
sounds wrong."
Barb: "No, you gots it
wrong, Bub. Distortion isn't
necessarily a bad thing. Confusion, unpredictability, imperfection brings about
beauty as well. Jeez, open
your ears!"
I don't understand experimental noise music. I have
been a fan for a while now,
listening to such local bands
as Beaty Pear, The Original Manifold, Music That
Bees Listen Too, and
Bellingham's Noggin.
Brian Ruryk is my favourite so far. Guitar Obstacle
Course — high, noodly electric guitar, screaming, field
recordings, drums, samples,
hair, all kinds of racket. A
couple songs, very effective
use of piano. Brian Ruryk has
a good ear for noise, though
the noise seems unrelenting at
times. This is where most ex-
perimental noise bands
lose me. Maybe I'm missing the point.
Recycled LP sleeve. Cut
and Paste. Nice.
Harry Cot
(Handsome Boy)
Now these guys are truly
grunge; they look grunge,
they sound grunge, their
whole image is grunge, but
they are grungey in the literal
sense, not in the cliche Seattle
sense. I guess that's what rock
'n' roll's all about — it's about
being sweaty and grimy. It's
about dressin' sloppy, sportin'
dreads, and wearin' toques and cowboy hots. It's about
possessing a "fuck you" attitude, and Rusty seem to
have if perfected.
Rusty's music reflects their
image: cocky, sleazy rawk V
roll with gruff, raspy vocals.
At times they sound a bit like
The Doughboys, though
less power pop, and more
gritty rock. They've got more
in common wifh mainstream
rock bands like Junkhouse
than fhey do with, say, The
Replacements or The
Rolling Stones. The lirst
couple of tunes, "Doin' Fine"
and "Empty Cell," are OK,
but that's about as good as
this album gets.
'The Search"b/w "Alien
This is a single from Transient
5, a great GOA and trance
compilation series from this
renown UK label. The two
songs are in the low 140
bpms with a prominent GOA
kick drum, bassline and layered arpeggiations. "Alien
Hitman" is definitely the more
original of the two tracks with
a less crowded sound and
funky and groovey percussive
breaks in the place ol the
usual GOA breaks.
Through Unlearning
Snapcase is definitely a
highly energized band, well
known for their acrobatic performances and it is their live
energy that is well-captured
in their latest LP. From the
opening track, "Caboose," to
the final chords of "Breaking
& Reaching," the stop and go
and go and go pace is relent
less. All the elements of the
Snapcase sound are in full
force: crazed harmonics, constantly changing structure, intense screaming vocals... lyrics continue to be well thought
out, following a sort of "sociology of straightedge approach."
While all of this may
sound as though Snapcase
has become rather repetitive,
I would argue that this olbum
has progressed in defining
their own unique sound. Furthermore, I think that because
there really is no other
hardcore band that comes
even close to resembling their
sound, Snapcase continues to
offer a fresh alternative to the
ever increasing glut ol generic hardcore bands.
Mark James Thomson
Deliciously Saucy
(Kelp, 32 Ascot Court,
Fredericton, NB, E3B 6C4)
Music that lulls with a sweet
melody juxtaposed with
noises and sounds of percussive clattering; irreverent,
creative, driving pop, Deliciously Saucy is a compelling
debut CD release for
Fredericton's Steaming
Toolie. Over 20 tracks
and 73 minutes, we are exposed to a dump of sound experiments and songs straight
Irom the 4-track and onto CD.
This disc differs from most
lo-fi fare by virtue ol the variety from song to song. Instrumentation — which mostly focuses on guitar and voice, but
also includes drums, banjo,
trumpets, and odd keyboard or
tape loop noodlings — differentiates this LP from what you'd
expect by such a group.
From the melancholy Broken Girl-esque strumming
of the third track, "Traffic
Jam," to the sound collage
of "The Soul Covering," De
liciously Saucy is exactly
what it promises.
Brian Wieser
The all-girl quintet
Styrofoam Tombstone
has finally put out a six-song
demo on the tiny LA Artwank
label. The band has seen several members relocate to
other cities, which has made
touring and recording much
less frequent than when they
began playing their feminist
pop music.
Their songs include a tribute to the character Sammi
Irom the soap opera Days of
Our Lives, a song about TV
watching coyotes and
"Shared Vision," a hilarious
comment on new ageism and
the growing fervour lor the
paranormal with the chorus,
"Yoga changed my life/ I
found an alien wife/ And I
have a psychic dog." The
songs aren't all just about fun
and games, though: "The
Math Queen" talks about girls
being discouraged in so-
called masculine subjects in
school, and "Suzette Barrette"
details the life of a woman
obsessed with the media-created ideal of looking like a
little girl. Funny lyrics and
catchy tunes are enough to
start the band off on a good
foot, although sometimes it's
hard to tell if the scratchy
sonics are intentionally lo-fi or
just a sign ol cheap equipment. Musically, they have a
ways to go, but the songs are
still good lun.
Kris Rothstein
Too Many Days Without
(Beggars Banquet)
I remember Swell very
from a show they played here
a couple ol years ago with
Madder Rose and Pluto.
Itwas brooding, atmospheric
rock music that I couldn't quite
put my finger on, but I knew I
liked it. Given the fond
memory I had for the band, I
think I may have set my expectations too high, because
this CD left me feeling a little
bit disappointed. The brooding feeling is still there, but at
times it borders on the ongst
you would have expected on
a record out of Seattle in
1993. However, the music on
Too Many Days Without
Thinking doesn't come across
quite as contrived as this
might suggest: at least there's
creative substance here, with
some interesting and original
sounding music beneath fhe
lyrics. Maybe this is a really
good recording and I just
haven't realized it yet, but this
one's gonna take a bit of time
to grow on me.
Brian Wieser
The Fourth Wise Man
In my mind, one of the most
un-DC of DC outfits (or
maybe: one of the most un-
Dischord of Dischord outfits).
Thousands of you out there
are collectively exclaiming,
'Thank God, almightyl" right
now; certainly, this isn't a strike
against Trusty, necessarily.
Much of the material here
draws from the late '70s/
early '80s British power pop/
punk acts (from which certain
notorious CA outfits have
drawn from in recent years).
At times thishomage takes the
form of direct quotes: check
out The Pretenders' riff
(from "The Wait") that
"Pointlesssly Pretty" is built
around. As much as I like
the Buzzcocks, The Jam
and co., I have to admit
that fhe '90s incarnation of
that sound hasn't really
been my gig. The best
tunes in this one, therefore,
are those that have a little
more of an edge to them:
"Unsnowplow," "Shawn
Tucker," etc. Hey, Sassy, cute
band alert!
joe bloggs
Robost EP
(Plink Plonk)
When I listen to a Detroit
techno release I wonder how
I could ever have bought and
played a Perfecto 12".
Techno is certainly where it is
at. Minimal funky techno is
the name of the game on this
release. I close my eyes and
all I see are bubblegum dancers. No breaks for water, only
hypnotic grooves and perhaps a hip replacement.
These songs will certainly put
a smile on your face.
Feed Your Head
(Planet Dog)
Planet Dog compilations are
always sort of illy, in that they
are never a featurette of the
best Planet Dog has to offer.
They don't offer the Big
Names, such as Eat Static
or Banco de Gaia. Instead
they attempt to create a
listenership lor those outfits
who exist on the fringe of the
ambient-techno scene that has
really grown too large for its
britches by now.
A word about the trance-
ambient genre now: the field
has new catch-phrases like
"illbient," "drum and bass"
and "funkno' of intelligent
techno" and "progressive
house." Labelisations are not
what the genre needs to revitalise itself. Similar to the
waning days of cyberpunk
and real industrial music,
techno requires a purging ol
the derivative and repetitive
crap to rebuild itself.
Planet Dog has tried to
remain on the forefront of the
movement, but albums like
this show that fhey, foo, are
falling behind. The tracks are
mellow and smooth, but they
don't establish a sense of distinction. The fact that I don't
even bother to point out any
standouts should be an indication ol how large an impression this album left on me.
However, an album like this
is great for reading, staring
blankly into space, or clipping your toenails.
Boringl With an album that
features Radiohead,
Elastica, Hole, Massive
Attack,   the  Chemical
Bros., Curve (haven't heard
from them for a while!),
Ruby, Chuck D, Lush and
the archsatanist himself,
Marilyn Monroe Manson
... this LP was damnedly disappointing! This album would
give movie soundtracks a bad
name except for the fact that
they already do have one.
Usually they're cheesy; this
album is just a yawner. Well,
the Curve track is decent, you
appreciate it in the way you'd
enjoy the Flintstones after
watching endless hours of
Beavis and Butthead.
Oh, and it features pissy
stereotypical gen-X losercore
dialogue like this (in a
stoned whisper): "LA is, like,
nowhere; and everyone who
lives here is lost." Shit, it's
enough to make you want to
get a job in a bond!
•loop  lOLTTOOQ'Tot      rooo  q.ou*-[ooo
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Saturday, April 12
Starfish Room
Macka-B projected Jah energy through his amazing stage
presence as the Mad Professor worked the mixing board,
looping and reverbing a beautiful musical vibe. Together with
the Electronic band, this dynamic British group awakened
the crowd with an utterly funky
beat. The lyrics preached political, yet positive messages.
Songs such as "Rasta Man"
focused on the proud heritage
of the Rastafarian culture
without causing the predominantly white audience to feel
Macka-B's dark humoured
lyrics addressed subjects such
as his native Britain's mad cow
disease. He made the disease
out to be a plague on oil non-
vegetarians looking forward to
their next burger. This song exemplifies Macka-B's use of the
stage os a musical equivalent
of a political rally, gathering
support for his moral ideals.
Amazingly enough, although
he spent the night preaching his
personal Utopia, the music was
left intact. In foct, it seemed as
though people were grooving
just as much to the messages
as they were to the dub reggae
sound. Perhaps this was due to
the humourous twist to the
songs. After all, there's no
ovoiding getting down to the
Rasta remix of the Fiddler on
Ihe Roof classic "If I was a Rich
Man." Macka-B and the Mad
Professor prove that dub-reggae remains alive and thriving.
Jen HillS, Joyce Indig
Wednesday, April 23
I had heard the name The
Bloody Chicletts, but I knew
nothing about them. Obviously,
they must have a few fans (or a
lot of friends) because they had
a decent sized crowd up front.
The Bloody Chicletts sounded
kinda like Weezer or maybe
The Cars with loud guitars.
The synthesizer was a nice
touch but they overused it. It
would have been more effective if it had been used more
sparingly. Often it seemed like
the synth guy only played to
keep his hands busy. Sometimes less is more.
Matthew Sweet and his
band (including Ric Menck and
Paul Chastain from Velvet
Crush), took the stage and
launched into "Come to California," the opening track from
his new Blue Sky On Mars album. They proceeded to churn
through 22 mostly sped up
tunes, drawing heavily from
1 991 's Girlfriend album. They
also threw in o Kinks cover
and a David Bowie tune.
Musically, the band was alright but they seemed uninterested in and unwilling to interact with the audience. Heck,
they hardly even looked up
Shouldn't a live show be, at
the very least, as entertaining as listening to the album?
I'm not sure this one was.
And is it a coincidence that
the more these artists get
played on "modern rock" rodio, the more dorks show up to
the shows? I think not. I'm sure
every frat was well represented
on this night
The next time Matthew
Sweet comes to town, I think
I'd be just as content to stay
home and listen to his CDs.
Fred Derf
Saturday, April 26
Railway Club
The end of April brought Veda
Hille and her band, (the Dancing One, the Awesome One,
and the Humble One, as they
were nicknamed in Germany)
back to their old haunt, the
Railway Club. Veda herself
earned the nickname the Little
Volcano in Hamburg and her
energy continues to be unwavering. Veda sang and played
the keyboards and a gorgeous
tenor guitar as usual. Her guitars, she told us, have the dramatic names of "Stella" and
"Blanche." Veda played a lot
of songs off her older olbum,
Path of a Body, os well as beau-
tiful songs like "Slumber
Queen" and "Bellyfish" off her
most recent CD, Spine.
Many of us are eagerly
awaiting the release of the
Emily Carr song cycle which
Veda joked is destined to be
relegated to the high school
curriculum as material about
everyone's favourite Canadian
painter. The Emily Carr songs
are brilliant arrangements of
passages from Carr's own
writings. Perhaps the most
stunning is the piece which
includes the only words Carr
ever   wrote   about   love:
"sleeves are sleeves, cheeks
are cheeks, and hearts are
blood and pumps." Veda also
did a spoken piece, the first
time I've heard her do one. It
was vibrant ond confusing, and
we were welcome, she told us,
to ask her afterwards what it
Kris Rothstein
Tuesday, April 29
Vogue Theatre
The Vogue was ful'
when Social Distortion took th<
stage opening with an
old Stones classic,
"Under My Thumb."
From there, they continued with more old stuff
and mixed it up with radio hits like "I Was
Wrong" ond "When the
Angels Sing," both taken
from their most recent effort. They even played the
classic "Story of My Life"
midway through the show.
The unfortunate thing
about watching the band
was the constant distraction
of people Irying to get up
on the stage while the
bouncers were trying to
keep them off. It ended up
getting really stupid and
singer Michael Ness (known
for having quite the temper)
was storting to lose it. Many
people were kicked out, and
seeing as how the band just
stood there on stage, this little
circus with the bour
actually amusing to watch. Just
when we thought we
had seen and heard it
all (Ness dedicated a song
to all the ladies in '
wearing black underwear), the
lights in The Vogue started to
go out. By this time, Ness was
about to kick the shit out of the
lighting technician. Somehow,
the crowd brought the band
back on stage for an encore. I
must say the encore was indeed
the cat's meow. "Cold Feelings
in the Night," "So Far Away,"
and Johnny Cash's "Ring of
Fire" made it all worthwhile.
Sure, Ness was a bit of a
cheeseball and The Vogue
could stand to review its crowd
control policy, but hey, the band
rocked, our favourite songs
were heard, Chuck Biscuits was
on drums, Ness apologized for
his unruly behaviour and I think
everyone went home satisfied.
Sunday, May 4
I arrived at The Rage just as
Bettie Serveert was storting
up. Only ever having had
heard this band before through
the walls of an old roommates
bedroom, I found myself hoping thot they would skip their
old hit single "Tomboy." To my
delight, Bettie Serveert was
more rock than the pop music I
was expecting. They got off to
a great start, and I think that
the guitar player was rocking
harder than anyone else in the
building. That kind ol energy
in a band — where the musicians are having a good time
and they'll be damned if the
crowd gives a f * * * — is refreshing these days, I must say.
Just os I was
"Passenger Side" in hard punk
rock style (that's right — two
rocks). I think the guy who
turned to me and said, "I guess
they wanted to get that one
over with" was accurate in his
assessment of the situation. I am
listening to Wilco and wondering when will be their next show
(I will withhold the unfortunate
answer to this inquiry).
Caroline Twiss
Monday, May 5
Vancouver East Cultural
It was great to see Ferron,
longtime feminist folkie and one
of the original purveyors of that
genre "women's music" in on
As I ex-
into the show,
wouldn't you know it, sound
problems. Really bad ones. The
band ended up having to use
only one of their guitars before
they finished early. I could definitely handle checking this
band out again at a sound
problem-free show, but the
same can be said for a lot
of shows.
On to the next.
Wilco rocked.
I have yet to meet a person
who did not totally dig this
show. The band struck a great
balance of songs between their
new album Being There, their
old album a.m., while throwing
in just a couple ol Uncle
Tupelo's tunes. I must say, the
highlight of the show for me
was when they blasted through
pected, a vast majority
of the audience fit the female/
35+/Commercial Drive-type
demographic, which was a big
shame. She deserves a wider,
younger audience. This is no
Ferron really rocks!
Opening was Seattle folk
neophyte Karen Pern'-k.
She's self-deprecating yet sincere, but needs some work on
the stage patter. She delivered
a good, strong set with a voice
and style somewhere between
Michelle Shocked and
Veda Hille. Her set included
great material about the Buddhist monk she gave a ride to
in Montana and the deranged
neighbour in "Apartment 12."
Ferron took the stage looking softer, rounder, more relaxed and at peace with the
world. Being the mother of a
three-year old will do that to yal
But cushy was not in the cards
musically with a crockerjack
guitarist and electric cello
player (both women) backing
her. The material we've heard
over the years at the Vancouver Folk Festival was ployed
with tighter, more polished arrangements which suited the
intimacy of the venue. Those
old songs ol heartbreak and
separation got a gender, quieter reading with less ol the
bitter edge she displayed in the
past. Ferron seems to have
moved past her "in your face"
phase and takes on her role as
folk elder and role model with
humour and maturity. She's still
up there havin' a good time
after all these years, and she
seems to be borrowing more
from the pages of male
>ngwriters like
Leonard Cohen than her
female counterparts.
She introduced her trademark classic "Testimony" (23 yr.
old song, and still resonant)
with a thoughtprovoking anecdote about women moving
from being victims to warriors
I to gardeners. At age 45, ex-
% Vancouverite Ferron is con-
% tent to sow her political
1 seeds quietly and let the
songs bloom and speak for
Val Cormier
Thursday, May 8
I can't remember the last
time I had this much fun at
a show. The Rage was
filled to capacity and the
interesting thing I noticed
that the main beverage that seemed to be
consumed was water
and  not beer.  Why
waste money on a beverage that you'll sweat
out immediately by
dancing when you
could have water for
DJs were spinning tunes as
part of a regular techno night
at The Rage and there was one
visual on the screen that
spooked me: a computer generated baby that gyrated to
music that only it could hear.
While I was busy ruminating on
this and chatting with a long,
lost friend, the energy level skyrocketed and the two Brits, Ed
Simons and Tom Rowland, commenced 90 minutes of furiously
running between their keyboards. I very cleverly managed to be in the vicinity of a
speaker as they started off with
"Loops of Fury," from the Wipe-
out XL video game soundtrack.
I'm sure the bass was not
good for my ears, but damn,
it felt good!
A lot of the songs were from
the Chemical Brothers' latest offering,  Dig Your Own
2Z June, &97 % Hole, and the variance of
sounds and different speeds -
- including bursts of noise —
within eoch song stood out. The
visual part of the show wos effective — in particular, a grid
of blinking eyes that swooped
towards and away from the
viewer — but was not intrusive.
The energy shown by the
Chemical Brothers themselves
wos echoed by the audience,
who danced ecstatically and
showed their appreciation by
much waving of hands. This reviewer hobbled to the Skytrain,
rejuvenated and with two very
sore feet.
June Scudeler
Friday, May 9
"Thank you," said Ben. "It
sounds kindo funny just saying
thank you, like when you order
a cheeseburger through the
drive-through window, but I really mean it, like, thank you."
His words could not express,
view. Ben Harper was halfway through a solo encore, just
doing what he does best. I've
been there when it was 86
Street, for all sorts of shows up
until the present day Rage, and
never before has this bar felt
warmer, and dare I say ... intimate? Some people in the
crowd could be heard saying
"Shh ..." and "Shutup" to complete strangers as we all gave
our attention to centre stage.
Through a show where I only
recognised a few songs (from
his last album Fight for Your
Mind) to unheard songs from
his forthcoming album The Will
to Live, Ben and the band lived
up to all reviews I have read
from his previous performances
here in Vancouver. An assortment ol guitars sat behind Ben
as if he were a craftsman with
his tools for creativity. The rest
ol the band kept the pace and
shone in the spotlight as much
as Harper did, and the crowd
didn't let up, bringing them
back for a second encore,
where he stood up for the first
time and led the crowd through
an emotional grand finale without the aid of the PA. I was
elated and felt taken away to
a much better world ... all I
could say was "Thank you,
thank you, Ben."
Friday, May 9
Chameleon Urban Lounge
When a concert gets billed as
"The Future of Jazz," I couldn't
miss the opportunity to check it
out. Part of the monster known
as Music West, Toronto jazz
Rita di Ghent made her third
appearance in Vancouver (her
second in a row at Music West)
at the  Chameleon   Urban
Lounge as part ol a triple bill
of acid jazz type groups.
Most, if not all, ol the short
45 minute set wos originals featuring her own style of music
called Sprawl. The basement
venue was packed with eager
listeners just standing on the
dance floor. Except for the occasional chatter and the one
ignored plea for some dancing,
the crowd stood mostly still
(with the contagious foot topping) during the performance.
Local bassist Marc Rogers
was the only other musician on
stage with di Ghent. She even
mused about lacking cash to
bring in other musicians for
Hogtown. The very bubbly and
genuinely excited Toronfonian
started with a solo tune called
"My Dream" which showcased
one of her great talents — her
coy lyrics. She discussed everything from men to babies to
Miles Davis.
When Rogers climbed the
stage to join di Ghent for the
second tune, someone in the
crov/d touted, "He's a good
bass player. He's got fat fingers. " Rogers' reputation is well
deserved. His solo on "Something Cool" (another original,
not the June Christy tune) blew
the audience away, and, not to
be outdone, di Ghent sang the
bluesy number with fresh attitude (if there is such a thing).
One of the highlights was
her version of "Loverman" com-
bined with a poem called
"Missing You," which was written by her sister. Intertwining
original material with standard
tunes is one of my favourite
aspects of di Ghent's work, but
adding more soul to an already
soulful standard even made the
standard seem like her own
stuff. She also worked in reverse, singing about her neighbourhood in Toronto in "Signs
of Spring in My Neighbourhood," with trumpet lines (on
tape, I swear) borrowed from
Clifford Brown's "Joy
She finished the set with another example of Sprawl called
"Peace Conspiracy." I'm not really a fan of hip hop and rap,
but di Ghent's tune had elements of both (at times she gestured like a rapper) yet it appealed to even a traditionalist
like myself. She has a definitely
refreshing sound. If the future
of Jazz is Rita di Ghent, then
the future sounds bright.
Justin Ho
Saturday, May 17
Starfish Room
Late  addition   to  the  bill,
Bossanova, were deceptively
named, as they neither played
nor danced any Brazilian version of the samba. Rather, they
are a keyboard-heavy rock
quartet which features both
strong vocals underlined by a
solid melody.
Modest Mouse made the
trip ocross the border to play
second, accompanied on stage
by a not-so-modest looking giant, stuffed, bleary-eyed rat.
The three-piece sped through
their set ol polished punk with
singer/guitarist Isaac Brock
pouring out raw, frenetic vocals, layered over a brooding,
expansive soundscape. They
managed to put on an interesting live show while also
displaying the quiet intensity
and strong evocativeness
which has won their record
ings rave t
This show marked the first
appearance of Thrush Hermit in these parts in over two
years, as they have spent the
time between their last EP, The
Great Pacific Ocean, and their
latest album (and major label
debut), SweetHomewrecker, lying low on the opposite coast.
They had hoisted a neon
"ROCK & ROLL" sign above
their heads, but you didn't need
to read any signs to know that
they were going to put on a
good show — right from the
get-go it was clear that Thrush
Hermit has only become bigger
and better in their absence from
the touring circuit. Bassist Ian
McGettigan put on an impressive display; he was the central visual focus of the band with
an array of excellent bass
wielding moves (including balancing it vertically on his chin),
while guitarists Rob Benvie and
Joel Plaskett on either side of
him took turns singing. Their set
was dominated by songs from
ihe new album, which are more
sophisticated than their older
stuff, but they did throw in "Po-
triot" and a stripped down version of "All Dressed Up" to
satisfy the long-time fans in
The Super Friendz had
a tough oct to follow, but they
proved to be up to the challenge, as they both looked comfortable on stage and performed their music with much
finesse — the youthful exuberance of the Thrush Hermit set
made them seem oddly mature
by comparison. Surprisingly,
their playlist was not composed
entirely ol songs off Slide Show,
their latest release, and they
played a good mix ol old and
new, including "Green Hand"
and "Machine Green" from
their overlooked murderecords
10" EP Play the Game, Not
Games. A definite highlight
was when they invited Catriona
ol Plumtree on stage to accompany them on the harmonica near the end of the set.
In a tour that has lightly been
billed as "Super Friendz Vs.
Thrush Hermit," these two
bands demonstrated that the
Andrea Gin
Sunday, May 18
Richard's on Richards
I hardly ever go to rock shows
anymore, but I thought I should
check out one more before I
reach the untrustworthy side of
thirty. Being a fan in every way
of Kim  Deal,  it seemed the
Breeders would be a fine
choice for me — especially
since I've always managed to
miss her when she comes to
town. (This goes right back to
her Pixies days.)
Anyway, I walked in a bit
late and onfy caught the tail end
of Paleface — a guy with a
guitar singing songs about
things like the PMRC. What
year is this?
The second act, Lutefisk,
started out promising enough
with some heavy, loopy funk
groove that for some reason reminded me of Jon Hassell.
However, loudness prevailed
and they launched into an average set of tunes that really
held few surprises. If you've
never heard Nevermind, you
might think this was all new.
Not bad, but the singer really
did sound like Tom
The Breeders then took to
the stage quite early, kicking off
with "No Aloha." They played
a mix of new songs along with
tunes from Last Splash and Pod,
while the band was an amalgam of the Breeders and
Tammy and the Amps.
Musically, it was pretty much
what I expected — lots of
quirky, raw, postf>unk hooks,
though I'd say the highlight was
the country-styled "Drivin' On,"
featuring Carrie Bradley's violin. (This could have been
brought up just a wee bit in the
mix). All in all, the band has
just the right amount of attitude without too much angst;
in other words, no riot grrrl
teeth-grinding here.
With all the posing in alternative music, it's a relief to see
someone like Deal who doesn't
put up with any bullshit but who
still seems so damn likeable. In
fact, she can be downright congenial. All night, she was very
friendly toward the crowd, telling bod jokes, casually chatting
up the people in the front row
between songs, stopping the
show for a second and pulling
a girl up onstage to let her find
a less claustrophobic place to
see, and playing lostond-found
with some GM keys that someone threw her. Then when the
hour long set was over, Deal
started wrestling with one of the
technicians,.who then carried
her offstage, as she saluted the
crowd in her own special way.
For the 25-minute encore,
she let one guy in the audience
pick out the songs from the set
list. And when it was over, she
hung around for a several
minutes, leaning over into
the crowd to shake everyone's hands.
Most of the rock shows I've
been to in recent years have just
turned me into a crab, but after the Breeders, I just had such
a darned good feeling. Maybe
even happy. Ah, the healing
power of musicl
Michael Chouinard.
Monday, May 19
Granville    Island
Bluegrass Festival
I went down there in search of
the legendary Hazel  Dick-
:al her
a number of years now. There
are a number of things that
have always attracted me to
Hazel, and which set her apart
from most in the bluegrass
world, in my mind: her high-Appalachian voice with timeless-
ness, its weight of years; her
profound affinity with old-style;
her penchant for digging up obscurities from old 78s and from
her travels in the back country
(much in the same way that
A.P. Carter and others used
to go on song-hunting trips in
the hills of Virginia, West Virginia and Tennessee back in the
twenties and thirties). On this
outing, Hazel was accompanied by her long-time friend and
musical partner Alice
Gerrard. Although they
started off a little stiff (no doubt
to the fact that custom problems
held them up at the border, resulting in the fact that they made
it to Granville Island about "two
seconds" before they were due
to go on), they soon found a
groove and started to really get
into their set of favourites,
Carter Family tunes, and
Louvin Brothers tunes. By
their closing set, they were in
high form and obviously enjoying themselves. Highlights included Hazel's "Working Girl
Blues" and "West Virginia, My
Home," not to mention her
sharp wit. Both The James
King Band (Virginia) and The
Ray Legere Band (Nova
Scotia) featured showmanship,
professionalism, and some fiery
picking and playing. What set
James King's outfit apart was
his distinctive booming voice,
which not only has a way of
arresting one's attention, but
lends some considerable conviction to his songs of lonesome-
ness and woe. The da/s events
were kept light, almost slap
stick, by the fact that the festival's rented chairs had a tendency to collapse il one leaned
"funny" on them — during the
course of the day, I must have
seen 15-20 folks get dropped
on the floor Interestingly, I
never saw one such accident
in the cordoned-off beer
area. Hmm ...
Tuesday, May 20
Moe's, Seattle, WA
Golden was a reasonably talented, all-instrumental, Don
Caballero-esque outfit. They
churned out a bunch of driving
and swelling jams. Between
song banter needs a bit of
work. The "special guest star"
for the evening was the Lonesome Organist (check out his
Thrill Jockey single.) The Lone-
band in the old-fashioned sense
(i.e. he plays all his instruments
at the same time). On this oc-
gan, the drums, the harmonica and the electric guitar, plus the vocals. A massive delay effect on his voice/
harmonica made the whole mix
even more bizarre. His material somehow falls into that
area where the JSBX and
Beck converge pretty heavily, but it's extra ragged and
it works. Unfortunately, we
only got about four or live
songs out of him.
Modest Mouse came on
soon afterwards. They struck
this reviewer as being one ol
the many bands that were
pretty inconceivable before the
advent of Sassy"s "cute band
alert." "Cute" indie/skater boy
looks, some feigned passion,
some "kinetic" guitar action,
but not a whole lot else. Thankfully, a broken guitar siring (!)
cut their set short, because guitar-boy couldn't be bothered to
change the string.
Trans Am came on at the
witching hour and blew everyone else out of the water. I was
worried by the fact that they
had pretty muddy sound to begin with, but that glitch got
ironed out somehow and the
rest of the show was right on
the money. These guys are stunning musicians: T.A.'s drummer
is easily the best drummer I've
witnessed in years; Mr. guitar/
keyboards and Mr. bass guitar Aeyboards both had chops
to burn. "Rough ..." was a definite highlight, with extra-
crunchy, Albini esque guitar
coming in in place of the massive distortion that they worked
into it on Surrender to the
Night. Dazed, but inspired,
by the end of the show, we
shuffled back into the
m.mobile, loaded up on
snack food, and high-tailed
it back to Vancouver in 1
hour and 33 minutes.
joe bloggs
23  E^XDHaB June '97
1   atari teenage not
bum, berton, bum     grand royal
2 oh susanna
oh -.isanna ep                    stella
3  su pert rien dr
slide show                       murder
4  meryn cadeil
6 blocks               handsome boy
5  sick of il all
built to last                     east west
6   bis
tlus is leen-c power*    gr*id roy_l
7 cibo matto
super relax                      wamer
g  chem»cal brothers
dis your own hole           virsm
9  pennywise
full cirde                            epitaph
10 long hind legs
Ions hind less     kill rock stars
11   sod is my co-pilol
Ihe best of...                    atavistic
12 zolly cracker
flush                                         zed
13  rollins band
come in and...       dream works
14  piUo nusic
lost blues and...             dras city
15 sea and cake
Ihe fawn                   thrill jockey
16 folk implosion
dare lo be...            communion
17  vesas beat
the vesas beat             candy ass
18   hissy til
what lo wear          independent
19  ruck cavil Ihe bad****** Ihe boatm*i's cal              reprise
20  the dropouts
come on1           unclean power
21  llynS kaUgar klezmer..
tiro                              independent
22 Hpsy
Ihe seductive...              asphodel
23 sparkmarker
.SO* wall burner...               crisis
24  Ion tool pole
unleashed                          epitaph
25  skarldalous all stars
hil me                           shanachie
26 nigHy nigliry bos-^ones lei's tare it                        bis ris
27 Irans am
surrender to the... thrill jockey
28  pinhead sun powder
Soodbye efl*.on avenue   lookout1
29 the soflies
winter pageant                            k
30  danielson family
tell another joke... tooth and nai
31  mn on
no way                           matador
32 tarnation
mirador              reprise/warn er
33 lakako minekawa
roomie cube                     march
34   shades apart
seeing thins**-              revelation
35  satan's pilsrims
around the world wilh... empty
fWK _W fOBOt/ WP10
1   deep Hue's
2   aat_
musk for scattered brains      Tavistic
3   panacea
low profile darkness            chrome
4   flex buslerman the horrible plans ot...               dhr
5   alec empire
low on ice                  mille plateaux
6   ector
eciior                                             dhr
7   shizuo
high on emolion ep                   dhr
8   mason n a
astro-harshtronrum        anti-music
9   cn-de
untitled                        trinder music
10 alec empire
the desi rover                               dhr
1  guided by voices
planations of...                matador
2 han son brothers
the hockey song   essential noise
3 pealmos
earl grey tea                sonorama
4 the fiends
gravedigger                sonic swirl
5 pansy dvision
manada                                    mint
6 the sprasue brothers
battle of the bands          Hillsdale
7 capsize 7
subgenius                  headhunter
8 sob/mcrackins
spU                                landspeed
9 micro-mini
heir apparent        collective fruit
10 junior varsily
go1 lo the ice...          peek-a-boo
11  drake tungslen
six pence for the... peek-a-boo
12 another girl
growing gold                        bmg
13 itch
my jenisalem          independent
14 Ihe puritans
let me stand..     ship ■_ anchor
15 strain
these years b/w regret  heartfirst
16 g force
apocalyptic cowboy   anonymous
17 Ihe loons
paradse b/w i d-ain...   time bomb
18  good horsey
errperor... bvv prik pages track-fin
19 submission hold
garlic lor victory1     independent
20 tullycraft rizzo
split                                     Harriet
21  kinnie --Jarr
woven                         violet inch
22 bunnygninl
johnny angel              seplophilia
23 kaclus
summer vacation       sonorama
24  bust
spin up! b/w i'm better radiopaqie
25 hayden
carry-on mentality      landspeed
26 rugboy/grilly kilty
split                              kindercore
27 scenic
sage             independent project
28 the red telephone
maya b/w down...     time bomb
29 juno
magnified and rediced..jade tree
30 fl?m
roach                       independent
31  davenport
quadruple overtime       peas kor
32 thumbnail
the sound of...          heacfiunter
33 elf power
Ihe wmlerhawk         kindercore
34 various artists
always wear an...     motorcycho
35 trisian psionic primrods split                                 melodiya
\ CiTR
1  ptimtree
in the sink
2 the colorifics
747 (now i see heaven)
3 gaze
preppy villian
4 the molesiics
now's the time
5  celestial magenta
salad days
6  kid champion
7 the hounds of buskervile
8  tickertape parade
audience with the pope
9 preston
10 oh susanna
11  k-slars
oVugs L gums
12 violet
(i step on all the) cracks
13  qaonset
desert blade
14   bronte brothers
luminous you
15  daddy's hands
s!ati*_ic wigs
16  jelous
mother of time
17  destroyer
karen is in rome
18 the bananas
mr. octopus is dead
19  sqieeky
len twenty-three
20 mizmo
tarantino cringe
21   touch & gos
campus radio boy
22 submission hold
ed anger
23  steep
silex mandy breeze
24  readymade
Ihe lamplighters ire dead
25 the beans
Italian vases
26 ani kyd
left holding Ihe bag
27 drtmilts
amaze me
28  the eh team
the edge
29 thrillseekers
30 mohan
poison free
31  crimson finch
silver bees
32 ratwurst
sammy hagar weekend
33 dj dolly
at Ian t is
34  bo-teki
dew d-ops
35  inter-mission
titled    rrdie    tQp    10
1 sound rack
2 zeena parkins
3 naked city
4 rova sax qiartet
5 john zom
6 fred frith
7 guy klucevsek
8 caiU bley tug band
9 wayne horvitz
10 various artists
dutch harbor atavistic
mouth-maul-beirayer tzadik
black box tzadik
john coKraie's ascension black saint
new traditions in east.... tzadik
eye to ear tzadik
stolen memories tzadik
goes to church ecm
zony mash knitting factory
gravichords... ellipsis arts
£__*> \. / ^< ir <%_,   £~>J . \
res**-? —<5c—mh Jr   'y~T—< /-.—»5-
£!ty PROV
1 YEAR: $15 CDN   $USl5 US   $24 ELSEWHERE
Z4 June (997 *?,* SUNDAYS
1100AM All of lima it measured by its
oil. This show presents die most recent
new music ran around I* "noHo. cars open.
KXA 11.-OOAM-12-00PM News, issues, od
ooncems facing Muslims throughout me
Reggae inna dl styles and fashion.
lum & helen for another monlh ol trawls.
Bring Confetti!
QUEER FM 6.-00-8.-OOPM Dedicated lo
the gay, lesbian, bisexual, and
transsexual communities of Vancouver
and listened to by everyone. Lots of
human interest features, background
on current issues and great music
preferences and gender identities.
GEETANJAU 9:00-10:00PM Geetanjali
features a wide range of music from
India, including classical music, both
Hindustani and Carnatic, popular music from Indian movies from the
1930's to the 1990'*, Semi-classical
music such as Ghazals and Bhajans,
and olso Quawwalis, Folk Songs, etc.
Join hosl Dave Emory and colleague Nip
Tuck for some extraordinary politicol
research guaranteed to make you think
twice. Bring your tape deck and Iwo C-
90s. Originally broadcast on KFJC (los
Altos, California!.
4:00 AM Drop yer gear and stay up fate.
Naked radio for naked people. Gel bent,
bve Dave.
11:00AM Your favourite brown-sters,
James ond Peter, offer a savoury blend
of the familiar and exotic in a blend of
aurd delights! Tune in and enjoy each
weekly brown plate spedal.
1*00 PM Wilh your hosts the Gourd of
Ignorance. What will we play today?
Rog will put it away.
Two shews became one! An hour of
Mekanikal Object Noize (industrial/
nois/techno) and an hour of Skintight
Buffoonery (lounge, jazz, britpop)
June scudelerOmindlink.bc.ca.
I endeavour lo feature dead air, verbal
flatulence (only when I speak), a work of
music by a twentieth-century composer
— can you soy minimalist? — and
whatever else appeals to me. Fag and
dyke positive. Mail in your requests,
because I om not a human-answenng
machine. Gotaquorter then call someone
who cares.
Usten for all Canadian, mostly independerf
VanoaWs longest running prime lime jazz
program. Hosted by the ev
Wafer. Fea
Feature dl
June 2: Justin Ho does the show!
June 9: Benny Carter (alto saxophone and
composer) — Further Definitions
June 16: Pianist/composer Jaki Byard —
The Sunshine of My Soul
June 30: Sonny Rollins (tenor saxophone) -
-On Inpulse
DRUM'N'SPACE I2O0-2O0AM Futunstic
urban breakbeat tor those who know.
11:30AM-1:00PM Join forces with a
samurai worrior gone wrong. Fill your
bento with feminist asian altitude. This
month interviews wilh The Third Sex,
Trish Kelley, and SleaterKinneyl
UCORICE A11SORT5 al. 11:30-1:00PM An
ededic music show. Fhone in ond request
Meat the unherd where the unheard
and the hordes of hardly herd are
heard, courtesy of host and demo
director Dale Sawyer. Herd up!
RITMO LATINO 9:00-10:00PM Gel on
board Vancouver's only tropical fiesta
express with your loco hosts Rolando,
Romy, and Paulo as they shake il and
wiggle it to the latest in Salsa,
Merengue, Cumbia and other fiery
fiesta favourites. Latin music so hot
it'll give you a tan! ,,RADIO
From Thelonious Monk to Meridilh Monk
... we'll play il. Genre-busting, cutting-
edge jazz ond other experimental
sounds, plus informative label/artist
features. Join Mike and Sean.
12:00AM Noise, ambient, electronic,
hip hop, free jazz, christian belter living
Ip's, the occasional amateur radio play,
Warning: This show is moody and unpredictable. Il encourages insomnia and
may prove to be hazardous to your
health. Listener discretion is advised.
10:00AM "Dude if you're playing pretty
gid music in my Camaro! Dude."
LOVE SUCKS 12:00-2:00PM If you can't
make sense of il, and that bothers you,
go somewhere else. We use sdssors.
HELLO INDIA 2O0-3O0PM A discovery of
Indian culture, its music heritage and
literature along wilh a touch of the latest.
ESOTERIK aft. 6:00-7:30PM Ambient/
experimental music for those of us who
know about the ilkthids.
SOLID STATE ah. 6:00-7:30PM Featuring
the latest in techno, trance, acid and
progressive house. Spotlights on local
artists, ticket giveaways, & live
performances. Hosled by M-Path.
archer prewilt, ida, new bad things ...
these are a few of our fay»-oh-writ things.
KXX OASIS 9*00-1000PM Acooslic/roots/
folk music in the middle of your week.
Focus on loed and Canadoian singer-
songwriters, regular features on other
regions with in-house visits.
12.O0AM Let DJs Jindwa and Bmdwa
immerse you in radioactive Bhungra!
"Chakkh de phutay* listen lo al our
favourite Punjabi tones — remixes and
originals. Brraooah!
soundtrock from the film in the archive
exile where Jad Fair gets his pHd
doing fieldwork in early cartoon jazz
FILIBUSTER al. 10:00-11:30AM Bad hill
blood, spy music and an accordian
fetish. Caution: high in fibre!
MUSIC FOR ROBOTS ah. 10.O0-1l:30AM
Viva La Robofica Revolution.
From Tofino to Gander, Baffin Island lo
Portage La Prairie. The all-Canadian
soundtrack for your midday snack!
STEVE & MIKE 1:00-2:00PM Crashing the
boys' club in the pit. Hard and fast,
heavy and slow. Usten lo it, baby
JUSTIN'S TIME 2:00-3:00PM Serving up
your weekly dose of Shirley Hom and
other jazz-filled confections.
and Punk rock since 1989. hltp://
mypage. di red. ca/f /flxyrhed/
OUT FOR KICKS   6:00-7:30PM   No
Bii*keristocks, nothing politically correct.
We don'l get pad so you're damn right
we have fun with il. Hosled by Chris B.
Roots of rock & roll.
9.O0-11 OOPM   Local muzak from 9.
Live bondz from 10-11.
10:00AM Join Greg in the love den for
a cocktail. We'll hear retro stuff, groovy
■azz, and thicker stuff too. See you here
... and bnng some ice. XOXX
TRESIS 10:00-11:00AM Tune in for
discussions, interviews _ information
relating to people who live with physical
& mental challenges.
12O0PM Tune in for another fun-filled
hour of ska with hosts Julie and Sko-T.
Charlie Brown once said lo Schroeder:
"plink, plink, plink, all day long! Good
UT7LE TWIN STARS 2:00-3:30PM Jacuzzi
Space rock at its finest.
PRESENTS... 3:30-4:<R)PM Have a
good brunch!
NATION 2 NATION all. 6:00-9:00PM
Underground sound system-style
mastermix radio.
David 'Love' Jones brings you the best
new and old Jazz, soul, latin, samba,
bossa & African Music oround the wodd.
FOR THE RECORD 6:30-6:45PM Excerpts from Dave Emory's Rodio Fret
America Series.
HOMEBASS 9:00PM-12:00AM The
original live mixed dance program in
Vancouver. Hosled by DJ Noah, the
main focus of the show is techno, but
also includes some trance, acid, tribal,
etc... Guest DJ's, interviews,
retrospectives, giveaways, and more
are part of the flavour of homebass.
UMP SINK 12O0-2:30AM Hosted by the
G42 players. 'The show that doesn't
hate you.' with your friendly pals Frior
Fritter Abfackein and Postman Pat.
Alternating wilh Dr. Killdare
Contactlimp sink8broken.ranch.org
LUCID SOUl 2:30-4:00AM Dr. Killdare
plunders even further inlo the wee hour
ond 7-11 derks awake. Waywayway
deep dance stuff and olher hallucinafying
Music you won't hear anywhere else,
studio guests, new releases, British
comedy sketches, folk music calendar,
ticket giveaways, plus World Cup
Reporfat 11:30 AM. 8-9 AM: African/
World roots. 9-12 noon: Celtic music
and performances.
Vancouver's only true metal show, local
demo tapes, imports and olher rarities.
Gerald Rattlehead and Melal Ron do the
LUCKY SCRATCH 3:00-5:OOPM Swing on
the gallows pole and git yer dose of blues in
the dtemoon. Hosts Anna and Andy.
THE SHOW 6:00-8:00PM Strictly Hip
Hop — Strictly Undergound — Strictly
Vinyl With your hosts Mr. Checka, Flip
Oul & J Swing on the 1 & 2's.
"livef-shows od bands-mission $6.00
— Performers are subject lo change."
EARWAX ok. 1O0AM- DAWN "Little bit of
drum, bit of bass and a whole lot of
noize". Late-night radio soundclash
destined to fist you hard. Zine features,
phat experimental chunes, and the
occasional turntable symphony. "Money,
we'll rock you on 'til the break of dawn."
-G. Smiley
*__ »_^ WM
Arts w Allison Dunnet
Board Chair Harry Hertscheg
Business Thomas Hides
Current Affairs Sarah Efron
Demos/Cassettes Dale Sawyer
Engineer Richard Anderson
Entertainment Clinton Ma
Mobile Sound Ken Orchard
Music Siobhan & Megan
President Ryan   Ogg
Production Mark Constantinescu
Programming Anna Friz
Promotions Justin   Ho
Secretary Chris Corday
Sports Slavko  Bucifal
Station Manager Linda Scholten
Traffic Marlene Yuen
Vice President Frank Henville
VolunteerCoordinator JohnRuskin
25 sm^jsmm june
FRI 30 Gene/Star 69-Graceland...Za Za Velvet and the
Midnites-South Hill Candy Shop.. Gangs/Always on My Mind-
Pacific Cinematheque...Namedropper-Chameleon... Hardrock
Miners-Railway Club...
SAT 31 Rollins Band/Skunk Anasie-Grocelond...2 Foot Flame/
Revulva/Go Devils/Dirty Harriets-Brickyard...The Rayons-3B
Beer Join! (Bellingham)...Ah Ying/A Little Life-Opera/King of
Chess/Viva Erotica-Pacific Cinematheque...Rob Wilk and Trout-
Talking Stick Gallery...Steve Mitchell's Yardsale-South Hill
Candy Shop...Namedropper-Chameleon...Hardrock Miners-
Railway Club...
JUNE SUN 1 Terror of Tiny Town/Joe Keithley/Landscape
Body Machine/ Tinman/Dissent/Girlparts-Anza Club...Gene-
Richard's on Richards. Chris Whitley-Richard's on Richards...
MON 2 YehudaAhe Mind of a Child/Exodus 1947/Round
Eyes in the Middle Kingdom- Pacific Cinematheque. .
TUE 3 Barbara Wilson-Women in Print...Lonesome Canadians-Railway Club
WED 4 J Church/The Sweaters/Treecrusher-Starfish
Room. The Cartels/Billy Butcher-Railway Club...
THU 5 CiTR PRESENTS Yo La Tengo/Softies The Starfish
Room.Lake of Dracula/July 4TH Toilet/The Original Mani-
fold-The Columbia...Johnny Ferreira & The Swing Machine-
Purple Onion. Gipsy Kings-GM Place...Sweet Dick-Railway
FRI 6 Claw Hammer/Closed Caption Radjo/Motorama-Star-
fish Room SlickChameleon.Yo La Tengo/Tommy-Crocodile
Cafe (Seattle)...Sweet Dick-Railway Club...
SAT 7 HOCKEYPALOOZA: Hanson Brothers/D.O.A./The
DeadCats/Royal Grand Prix-Graceland...Speedbuggy/
Bossanova/Blue Veil-Press Club...Dick'N'Jane/Breathe Underwater-Starfish Room.BuickMacKane-The Gate... Darkest of the
Hillside Thickets/Terror of Tiny Town/Frail-Brickyard...Bob
Mahaney Quintet-Chameleon...Sweet Dick-Railway Club...
SUN 8 The Beans-[lhe Sugar Refinery],..David Wilcox/Dayna
Manning-Art's Club Theatre...Sleater-Kinney/Bis-Crocodile Cafe
MON 9 Space/Muse-Starfish Room...
TUE 10 CiTR Presents Elevator to Hell/The Emptys/
gaze-Brickyard... Me'Shell Ndegeocello-The Rage...Alejandro
Escovedo/Linda McRae-Railway Club...
WED 11 The Readymade/Pipedream/Circle Square-Starfish
Room. Spearhead-The Rage...The Gang(June 1 1-20)-Vancou-
ver East Cultural Centre...Ron Sexsmifh-Railway Club...
THU 12 The Dalai Lamas-Purple Onion..Headstones-Starfish
Room...Millions of Brazilians-Railway Club...
FRI 13 Guttermouth/Suicide Machines/Another Joe-Starfish
Room...Drop D Anniversary Party-Brickyard...Millions of Brazilians-Railway Club...
SAT 14 Leahy-Starfish Room. Kittens/Shallow ND/Celestial
Magenta-Brickyard Ricky Lee Jones-Graceland...Herald Nix-
Railway Club
SUN 15 Rainy Days/Eunuch-Pacific Cinematheque...
MON 16 The Old Man and the Cottage/Karin's Face/1700
Metres  From the  Future/  Beauty or the Beast-Pacific
TUE 17 Peal/Charlie McKenzie Band-Railway Club...
WED 18 Peal/Charlie McKenzie Band-Railway Club...
THU   19 Blur-The Rage...Bush/Veruca Salt/Souls-GM
Place...Shade-Purple Onion... Veal-Railway Club...
FRI 20 Diana Krall-Orpheum.  Veal-Railway Club...
SAT 21  Treble Charger/Transister/Cool Blue Halo-Starfish
Room...Crankshaft/ Ted/ Mothertrucker-Brickyard.. Alpha
Diallo Yaya-Railway Club...
SUN 22 Daughter of Fire/Sonof Man-Pacific Cinematheque...
MON 23 Daughter of Fire/Sam-Ryong the Mute-Pacific
WED 25 Royal Farm/Ultra/Sugar Rush-Starfish Room...The
Empfys/Stellar Jays- Railway Club...
THU 26 Junk-Purple Onion...Ben Lee-Starfish Room...Slack-
Railway Club...
FRI 27 Herb Alpert-Vogue Theatre...The Paperboys...Linda
McRae/The Spirit Merchants/Daisy Duke-Railway Club...
SAT 28  Noise Therapy/Waiting For God/Nickleback/
Facepuller/Makeshift-North Surrey Rec Centre...Linda McRae/
The Spirit Merchants/Daisy Duke-Railway Club...
SUN 29 Carl Th. Dreyer-My Metier/Dancing/Symphony of
a City/Nighhtary- Pacific Cinematheque...
MON 30 Royal Grand Prix-Railway Club...
SriH RIUnJyOI III Ml.SU REVOLUTION* June 2K <_■ North Sum* Recreation
( eutre. i 'unctions Uln-ratim* Youth is or»an-
ivri:K\Ul(>\ W. JAZZ
Ql A|TET. Ju
\ fc^c Cbill f
', Jane 25,
STRA. June 21.
eveiythij^ nfk^ fn jmow
everywhere^" fl&feTO go
3B Beerjoinl 1226 N. Stole St. (Bellingham)
The Abyss 315 E  Broadway  (side entrance)
Anderson's Restaurant Pazz on ihe Creek)
Anza Club  3 W. 8th  (Mount Pleasant)
Arts Hotline
Bassix 217 W. Hastings  (at Cambie)
Backstage Lounge   1585 Johnston  (Granville Island)
Black Sheep Books 2742 W 4th   (at MacDonald)
The Brickyard   31 5 Carroll St.
Cafe Deux Soleils 2096 Commercial  (the Drive)
Cafe Vieux Monlreol   317 E  Broadway (Mount Pleasai
Caprice Theatre  965 Granville  (Granville Mall)
Celebrities   1022 Davie  (al Burrard)
Chameleon Urban Lounge   801 W Georgia (Downlowr
Club Mardi Gros 398 Richards St.
CN Imax Theatre  999 Canada Place
Columbia Hotel  303 Columbia  (a'C
Commodore Lones 838 Granville  (Gi
Cordova Cafe  307 Cordova  (Gastown)
Crosstown Traffic  316 W Hostings  (d<
Denman Place Cinema   1030 Denman   (West End)
DV8 515 Davie (downlown)
Firehall Arts Cenlre  80 E. Cordova  (at Mam)
Food Not Bombs Vancouver
Frederic Wood Theatre (UBC)
!e Mall)
360 734
488 6219
684 3777
876 7128
684 2787
689 7734
687 1354
732 5087
254 1195
873 1331
683 6099
689 3180
669 0806
687 5007
682 4629
683 3757
681 1531
683 5637
669 7573
683 2201
682 4388
689 0926
872 6719
822 2678
Garage Pub 2889 E. Hastings  (downtown) 822 9364
Mora 6 Powell  (Gaslown) 689 0649
Gaslown Theatre  36 Powell  (Gastown) 684 MASK
The Gate   1176 Granville (downlown) 688 8701
Graceland   1250 Richards  (downlown) 688 2648
Greg's Place 45844 Yale Rd.  (Chilliwack) 795 3334
The Grind Gallery 4124 Main  (Ml. Pleasant) 322 6057
HempB.C   324 W. Hastings (downtown) 6814620
Hollywood Theatre 3123 W. Broadway (Kitsilano) 738 3211
Hot Jazz Society 2120Main  (Mt. Pleasont) 8734131
It's A Secret 1 221 Granville St. (downlown) 688 7755
Jericho Arts Centre   1600 Discovery (Pt. Grey) 224 8007
La Quena  1111 Commercial  (the Drive) 251 6626
The Lotus Club 455 Abbott (Gaslown) 685 7777
Lucky's 3934 Main 875 9858
Luv-A-Fair  1275 Seymour  (downtown) 685 3288
Mars   1320 Richards  (downtown) 230 MARS
Maximum Blues Pub  1176 Granville  (downtown) 688 8701
Niagara Holel Pub 435 W Pender  (downtown) 688 7574
Meaialuna   1926 W Broadway
Odyssey Imports 534 Seymour  (downtown) 669 6644
Old American Pub 928 Main  (downtown) 682 3291
Orpheum Theatre   Smithe _ Seymour  (downtown) 665 3050
Pacific Cinematheque   1131 Howe  (downtown) 688 3456
Paradise 27 Church  (New Wesl) 525 0371
Paradise Cinema  919 Granville  (Granville Mall) 681 1732
Park Theatre  3440 Cambie  (South Vancouver) 876 2747
Picadilly Pub 630 W. Pender  (at Seymour) 682 3221
Pil Pub basement, Student Union Building  (UBC) 822 6273
Pill Gallery 317 W. Hastings (downlown) 681 6740
Plaza Theolre  881 Granville  (Granville Mall) 685 7050
Purple Onion   15 Water St. (gastown) 602 9442
Raffels Lounge   1221 Granville  (downtown! 473 1593
The Rage 750 Pacific Blvd. Soulh  (Plaza of Nations) 685 5585
Railway Club 579 Dunsmuir  (ol Seymour)
Richard's On Richard's   1036 Richards (downlown)
Ridge Cinema 3131 Arbutus (al 16th Ave.)
Russian Hall  600 Campbell  (Chinatown)
Scratch Records   109 W Cordova   (Gastown)
Southhill Candy Shop 4198 Main  (at 26th)
Slarfish Room   1055 Homer  (downlown)
Starlight Cinema 935 Denman  (West End)
Station Streel Arls Centre 930 Station  (off Main)
St. Regis Hotel  602 Dunsmiur  (downtown)
StoneTemple Cabaret   1082 Granville St. (downtown)
Sugar Refinery   1115 Granville (downtown)
Theatre E  254 E. Hastings (Chinatown)
Thunderbird Enl. Centre 120 W. 16th St. (N. Van)
The Tower 339 W. Hastings  (downtown)
Town Pump 66 Water  (Gaslown)
Track Records 552 Seymour  (downlown)
Twilight Zone 7 Alexander (Gastown)
UBC CINEMA (located in the SUB)
UBC Grad Cenlre Gate 4 (UBC)
Vancouver E. Cultural Cenlre   1 895 Venables  (al Victoria)
Vancouver Little Theatre 3102 Main  (Mt. Pleasant)
Vancouver Press Club  2215 Granville  (S  Granville)
Varsity Theatre 4375 W. 10th  (Point Grey)
Vert/Washout 2412 Mam   (Ml Pleasant)
Video In Sludios  1965 Main  (Ml. Pleasant)
Vogue Theatre 91 8 Granville  (Granville Mall)
Waterfront Theatre   1405 Anderson  (Granville Is.)
Western Front (303 E. 8th Ave)
Whip Gallery 209 E. 6th Ave  (al Main)
W.I.S.E. Hall   1882Adanac  (the Drive)
Women In Print 3566 W. 4th  (Kitsilano)
Yale Blues Pub  1300 Granville  (downtown)
Zulu Records 1 869 W. 4th  (Kitsilano)
681 1625
687 6794
738 6311
874 6200
687 6355
876 7463
689 0096
688 3312
988 2473
683 6695
682 7976
682 8550
822 3697
822 0999
254 9578
876 4165
738 7015
222 2235
872 2999
872 8337
331 7909
685 6217
876 9343
254 5858
681 9253
738 3232
i    RickiE Lee JONES]
Gho$T)Ihead rora I
The Rage s_____?j__
Thursday June 19
Sunday June 15
SOS • Fernando • Mama Mia • Dancing Queen
The Rage
r . /// cxtenty 'II Mi f\
Monday July \
The Orpheum
VlhAAf hup?
W <^<=* nesaau
Voisinr 1869 W 4th Ave.
Vancouver. BC
tel 738.3232
MontoWed 10:30-7:00
Thurs and Fri 10:30-9:00
Sat 9:30-6:30
Sun 12:00-6:00
re mixing skills
tracks os new works, fon can't loose, dear
listeners. A real Zulu favourite
7.98 con
Every once in o while a record comes out that Kicks
Out The Jams   that Smells Ilh* Teen
Spirit "Carp's latest opus (on K Records) is one
right now. It's relentless. It's intense II will hurt your
ears. It will really wc'
The best thing about this recording is that it seems unintention
ol, in a way. Like a well defined afterthought that becomes on
encore Once released os the companion to their excellent pop
record Dvit Al .whist Castle this collection of ambient
works is equally accomplished. Brian Eno is an obvious refer
erne here, but Olivia Treasor Coatrol hove their own pri
orities ond ambitions; judging
(torn these works, they are direct
ed toward the goal of gentle,
reflective ond intelligent subtlety
So on second thought, the best
thing obout ihis recording is its
simplicity, strength of execution
and quiet beauty. Very fine
12.18 a
Mag Earwhig co/ip
Combining equal parts twisted pap genius and conceptual rock opera,
this latest gem from Guided By Voices razzles, dazzles, ond
roots oil the way through. Cobra Verde give up the rock this time,
by order of Mr. Pollard, mov
ing closet to the source of power     |
for true tock inspirotion. This is the
complete aesthetic. Not only the
bludgeoning wails, but also the del
icote topestries of Modern Rock
Classic in their own time
16.98 co 12.98 ip
Midnight In A Perfect World co ep
We can't resist: This white Shadow casts long, thoughtful, explorato
ry disunions into Hip Hop's well worked tracks. Developing a sound of
his own, while keeping hooked into the
history that preceded him. For new fans,
this EP embodies on introduction to some
older material, bul for friends of the
family, il also sen
In St©re
Thursday June bth
CiMiHt It Tke Irratimal ci-n* ij-i.ei artists
Door creaks become rhythmic ground work. Phone colled in raps consciously
clumsily adorn beats. While crackles and silence equivocally share attention
ond appreciative design. DJ Vadim develops shady ambiance, laid out
like a lifestyle that seems ta issue from the space around us and then evaporate. Down tempo musique concrete for heads of all varieties. Worth the
effort, but also comes on easy.... Deep thinking rewarded. Rational.
8.88 ci-ep 8.88 imki
and Peter
Do It Yourself co cass
It is not a Phoenix that has risen from the ashes of
the UK's legendary Stone Roses but rather an
equally graceful ond enigmatic seahorse! That's
right, welcome back guitarist John Squire and
Tha Seahorses bock into the pop patheneon.
Their debut is a classy player topped by the fleshly
releases single "Love Is the Law, "so rather
than having your pals steer you onto this one, why
not (drum roll please) Do It Yourself?!!
16.88 cd 18.88 ciss
otncr S+uff
THF 1AM - nir.rtinn   Bonrlinn IRnv Cot*   " Rff K - (km N
Original Fire n
There is o dork humor to Moat
music. Informed by a sense of dread and anxiety obout out
fast paced technological society. But there is also a pronounced tension, a dichotomy. It is not all bad. They are alsi
ecstatic over the potential found in the same mechanisms at
endeavors that exploit, stit and challenge their (and our)
emotions. The best part is, we
gel to listen to the outcome
of all this. And with this col
lection of "odds and ends,"
the pleasure is certainly ours. |
18.88 a
Bricolage this: drum and bass and jazzy down-
tempo breaks. Anion Tobin intelligently draws
Ihe connections, if his picture is a little dark, it's
not because it's over-developed. Everything is in the
right place, Ninja Tana opproved. This record is
atmospheric and moody, and
These Issaquah boys may be modest, but they certainly have o lot to boast about: this maxi-EP contains nine tracks of
pure angst-pop created
intelligently and passionately. A perfect
release to help you plon
those long summer dri
ves. Fans of Built to
Spill and the
Pixies, take note.
12.88 ci
Something Te Remember Me By a
Life is funny, life is sod. Life is learning how to survive a broken
heart while trapped on a long train ride. Moments make up minutes,
and hours blend into days. As long as you leave something
to be remembered by... like Bon Leo has left us. iUj prkes
Red Apple falls cd/ip
They have been digging in graves, discovering ruins,
nostalgia and new questions. Not os robbers, but as
enthusiastic spirit chasers, laying down they become
the spaces uncovered by their experience. Now transformed, their rewarded effort becomes ours os well.
Bill Callahan (with a few 	
noble, notable and prolific
friends) has succeeded himself.
Eloquently stated and expertly
performed, this is easily
Smogs finest recording. Share  I
in this beautiful misery.
16.98 cd 12.88 lp
16.88 cd
JAYHAWKS The Sound Of Lies
THE JAM - Direction, Reaction (Box Set)
NICK CAVE (Are You) The One Thot I've Been
Waiting For? EP
COWBOY NATION * Cowboy Nation CD
BECK-Sissy Neck CD-EP/7 inch
ERIC'S TRIP  Long Days Ride Till
Tomorrow CD
APRIL MARCH Sings Along With The Makers COWBOY NATION Cowboy Nation
RADIOHEAD Paranoid Android CD EP Pis. I&2 MICROSTORE Reprovisors CD/12 inches
THE ORB  Asylum CD EP Pts. 1&2/12-inch GALAXIE SOO  Copenhagen CD
2olo Baseball Team/
Swing into Summer as If
Sun June 1 1:00pm
Wed June 4 6:30pm
Wed June 11 6:30pm
Sun June 15 11:00am
Tues June 17 6:30pm
Sun June 22 11:00am
Sun June 2? 1:00pm
n Zulu limbers up to take on all comers!! (Ri
Vs Paperbacks 0 Woodland
Vs Friendly Club ^ Magee
Vs Seciet 9 0 Magee
Vs Write Sox O Rogers
Vs Belvebots
Vs Strike® Woodland
Vs Paperbacks <@) Woodland
Beating As One
UNLIMITED Ploys lost TV Themes
MO TALENTS 100% Punk!
CHEAP TRICK Boby folk (7inch)
SUPERGRASS In it for the Money
THE MUFFS Happy Birthday to Me
SUPERGRASS Inl! Foi ihe Monev
THE CHARLATANS Tellin' Stories
THE DIGGERS Mount Everest
KBIKKIE Millionaire Sweeper ep
PH SHOP BOYS Red Letter Day
(Motiv 8 mix) EP
CAN Sacrilege
AMON TOWN Bricolage
Curtains co
like tailors, who see before them in each new fabric endless possibilities of elegance, grace and
beauty unfolding, The Tindersticks so too
seamlessly stitch songs of grandious proportions.
Curtains their third studio olbum, reveals a
band now well versed in the pop dynamics of
vibes/horns/string arrangments and comfortably
striding through a rich ond varied songbook.
Connoisseurs of musicol theatrics, singles such as
Bothtime or "Ballad of Tha
Tindersticks" unveil exactly what is behind the
Curtains - a welcoming interior for you!
16.88 CD (Available June 10th]
GREENGATE - Metaphysical Vibrations
SIMON JOYNER ■ Songs For The New Year
SMOG Red Apple Falls
SMOG Red Apple Falls
UNKWRAY Shodowman
YOIA TENGO-I Can Hear The Heart   KtTlLdow
Beating As ONe
AMY RIGBY • Dairy Of A Mod
FREAKWATER-Dancing Underwater
GRAVITY WAX Low Energy Particulate
GALAXIE 500 Copenhagen
FROGS -Stor Job EP
JAYHAWKS-Sound Of Lies
KARP Self Titled IP
ELVIS PRESLEY - Blue Hawaii, G.I. Blues, et o
original soundtrack deluxe collector's editic
soundtrack-TREES LOUNGE
JOE HWRY Trampoline
JAYHAWKS The Sound Of Lie;
COLD COLD HEARTS long Day's Ride...
CIRCLESQUARE - Standing on Marbles EP PORYMN*
inu-TDou m»_ T„Jn;„n, i„r„ri        WINDY AND CARL Portal
S iS L, Mae reiwm ■ in ik. s»
•      ' SPARKS Sparks In Outer Space


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